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An Introduction to Classical Korean Literature: from Hyangga to P An Introduction to Classical Korean Literature This page intentionally left blank NEW STUDIES IN ASIAN CULTURE An Introduction to Classical Korean Literature From Hyangga to P'ansori Kichung Kim An East Gate Book ~~ ~~o~1~~n~~~up LONDON AND NEW YORK An East Gate Book First published 1996 by M.E. Sharpe Published 2015 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint ofthe Taylor & Francis Group, an informa business Copyright © 1996 Taylor & Francis. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use of operation of any methods, products, instructions or ideas contained in the material herein. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation withoutintent to infringe. Library of Congress Cataloging-in-Publication Data An introduction to classical Korean literature : from hyangga to p'ansori I Kichung kim p. em. "An East gate book." ISBN 1-56324-785-2 (hardcover : alk. paper).­ ISBN 1-56324-786-0 (pbk. : alk. paper) I. Korean literature--History and criticism. I. Kim, Kichung, 1934- PL956.K48 1996 895.7'09-dc20 96-11505 CIP ISBN 13: 9781563247866 (pbk) ISBN 13: 9781563247859 (hbk) For Kumja, Kenneth, Karen, and Colin This page intentionally left blank Contents Preface 1x 1. What Is Korean Literature? 3 2. The Mystery and Loveliness ofthe Hyangga 11 3. The Incomparable Lyricism ofKoryo Songs 25 4. Notes on the Samguk sagi and Samguk yusa 49 5. Notes on Shijo 75 6. The Literature ofChoson Dynasty Women 95 7. Ho Kyun: Hong Kiltong chon and the Hanmun Lives 141 8. Kuun mong and "Unyong chon" 159 9. The Literature ofShirhak: Yonam, Pak Chi-won 171 10. Notes on P'ansori 197 11. Toward Modem Korean Literature 209 Works Cited 219 Index 223 This page intentionally left blank Preface My study of classical Korean literature has been part of an effort to discover the sources of my own being. Not knowing classical Korean literature, I felt excluded from the soil in which I ought to have rooted my intellectual, emotional, moral, and spiritual being. Whatever other literatures I studied, I felt that I would better understand them once I understood my own cultural roots. And so began an exploration of classical Korean literature that has lasted for nearly ten years, a step-by-step journey on which one discovery has led to another and yet another. Thus my encounter with the enigmatic, enchanting hyangga, the earliest surviving vernacular Korean poetry, led me to the incomparable lyric songs of the Koryo kayo, the earliest poetry recorded in the Korean script. Similarly, when I set about writing on the works of Choson women writers, I had planned one brief essay, mainly about Hanjung nok, the memoirs of Lady Hong, and the shijo written by kisaeng poets. But as I discovered the poetry of Ho Nansorhon and the kyubang kasa, the unpublished poetry of yangban women, one essay grew into two and then three. And as I completed the third essay I came to see I had only scratched the surface of my subject; there was so much more literature by Choson women writers to be studied and discussed. I believe the same is true of every subject I have explored in this volume. From the beginning, therefore, this study has been a personal undertaking. More than anything else, it is a report on my reading of those works of classical Korean literature I came to love. Natu­ rally I wanted to share with others what I had come to appreciate ix x PREFACE and love, especially those who, like myself, wished to become ac­ quainted with classical Korean literature. Ruskin has said that all our work should be in praise of what we love. It is in this spirit that I have undertaken this study. This volume is intended for the nonspecialist reader, and I have tried to write it as plainly as possible, avoiding jargon. At the same time, wishing to make my discussion up-to-date, I have consulted as much of the available scholarship, in Korean and English, as I could. I believe scholarship and general accessibility are not mutu­ ally exclusive. This is only a first report. In my further explorations I hope to expand my coverage to include the kasa of literati men and more on oral and hanmun literature. My thanks go to the many scholars and translators without whose ·published works this exploration into classical Korean literature would not have been possible. Foremost among them are Cho Tong-il, whose five-volume Hanguk munhak t'ongsa (A Com­ prehensive History of Korean Literature) has taught me a great deal, Peter H. Lee, and Richard Rutt. I owe special thanks to my two mentors, Suh Doo Soo, my first and most influential guide, who initiated me into classical Korean literature, and Kim Y ong­ suk, who for many years has been generous with her time and encouragement. In addition, I have incurred many debts during the years this study has taken shape. I wish to thank the Korean Culture and Arts Foundation for providing a generous publica­ tion grant; the Korea Foundation, for a summer fellowship and gifts of books; California State University at San Jose, for sab­ baticals, research grants, and other assistance too varied to detail, and especially the staff of the university interlibrary loan service, for locating all the obscure titles I needed; Robert Buswell of UCLA and Korean Culture, who encouraged me by publishing several of my essays on classical Korean literature in Korean Culture and gave permission to reprint that material; and Bruce Fulton, my editor, friend, and colleague whose help has been indispensable in completing this book. Poems from Anthology of PREFACE xi Korean Literature, compiled and edited by Peter H. Lee, The Bamboo Grove by Richard Rutt, Form and Freedom in Korean Poetry by David R. McCann, and Anthology ofJapanese Liter­ ature, compiled and edited by Donald Keene, are quoted by permission of the translators and publishers. Unattributed trans­ lations are my own. This page intentionally left blank An Introduction to Classical Korean Literature This page intentionally left blank 1 What Is Korean Literature? Why begin with such an obvious question? Isn't Korean literature simply all the literature produced in Korean by Koreans? But it's not quite as simple as that. This question, in fact, is central in determining both the boundaries and the character of classical Korean literature-that literature written in Korea from the earli­ est times to the end of the nineteenth century. What makes the question a central one is the historical fact that hanmun--literally "letters of Han," that is, Chinese characters-­ was the written language of practically all literate Koreans from about the beginning of Korea's recorded history to the end of the nineteenth century. 1 For this reason most of the written literature in Korea from the earliest times through the nineteenth century was written in hanmun even though hangUl, the Korean alphabet, had been available since the mid-1400s. How did such a situa­ tion come about? The answer to this question lies in the history of written language in Korea. Until 1446, when King Sejong promulgated the hunmin chongum-the twenty-eight-letter phonetic alphabet uniformly referred to today as hangul-the Korean people had lacked an indigenous writing system that represented their spoken lan­ guage. There had thus developed two entirely different language systems in Korea--native Korean for speech and Sino-Korean hanmun for writing. Because Korean and Chinese are linguisti­ cally unrelated and Chinese characters are more ideographic than phonetic, it was nearly impossible for Koreans to use Chinese characters to represent their spoken language. And yet to ex­ press themselves in writing they had to first translate their 3 4 CLASSICAL KOREAN LITERATURE thoughts and speech into classical Chinese. Understandably, there­ fore, they made repeated efforts to adapt Chinese characters to the Korean language. Two examples are the hybrid writing systems hyangch 'al and idu---both little more than modest efforts to add a phonetic dimension to what was basically an ideographic writing system. Neither was effective in representing Korean. The gross inadequacy of such writing systems was perhaps best summed up by King Sejong in the royal rescript of 1446 by which he promul­ gated the hunmin chongum: While there is a great difference between the Korean language and Chinese, there are no proper letters that the Korean people can use in writing their language and expressing their thoughts. From the time of the Silla Dynasty a system of writing known as ldu has been used in the daily life of ordinary people as well as in government busi­ ness. But it is too complicated, imperfect, and inconvenient a system for the Koreans to use freely in expressing their own ideas and thinking, because too many Chinese characters are involved in it.
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