According to Chunhyang-ga, performed by Jangjabaek(張子伯) in the late 19th century, Chunyang dreams two kinds of dream in the situation, within which she is faces the threat of death in jail. One of these is the dream in which she meets the dead in the world beyond(\'the scene of Whangneongmyo(黃陵廟) and the other is the bad dream in which the impending death is suggested. The bad dream is followed by the interpretation of the dream by the blind man(\'the scene of interpretation of dream\'). Chunhyang overcomes the threat of death with the shamanic thinking in \'the scene of Interpretation of dream\'. The main sentiment in this scene is the comic(滑稽). This sentiment collides with the fear and the pity only to produce highly intensive pity. The dramaturgy, by which this scene is produced, uses various Neoreumsae(theatrical acts) in order to represent the reality truly. This version is for the common people. In the \'scene of Whangneongmyo\', Chunhyang surmounts the terror of death with Confucian ideas. The main sentiment in this scene is the sublime. The sublime, combined with the hideous, creates the strong impression of the extreme sadness. The dramaturgy in this scene uses only the narrative song to create the fantastical mood. This version is for the literate. In the nascent time of Chunhyang-ga there exists only \'the scene of interpretation of dream\' but then later, there coexists the scene of Whangneongmyo. But these two scenes are represented alternatively, namely, selective according to the condition in the real performance situation. Subsequently, \'the scene of interpretation of dream\' is omitted and also \'the scene of Whangneongmyo\' is deteriorated or even excluded now and then. The historical vicissitudes of the two scenes are in the process within which the class distinction of audience undergoes changes and the form of Pansori performance is changed from the \'theatre-centered\' to the \'music-centered\' and also in which the tragic feeling, along with the intensity of sentiment, declines.