Literature: Korean Literature: Its History and Development Directions by Professor Lim
Chaesuk, Ph.D. Department of Product Design, Hyupsung University Seoul, Korea and Emeritus Professor Yang-Taek Lim, Ph.D. Hanyang University Seoul, Korea Contents
I. Introduction Literature which is one of the
important elements of culture refers to art with language as a means of
expression of human’s sentiment. Originally, literature was a generic term for
the studies such as pure literature, philosophy, historical studies, sociology,
and linguistics besides the studies such as natural science or politics, law,
and economics. However, nowadays, it simply means ‘pure literature.’ In particular, Poem which can be
called ‘the flower of literature’ is a verse expressing the impressions felt
from a human’s spiritual life and natural/social phenomena with succient
language with cadence (rhythm and harmony).
Poem is broadly classified into 3 types of poems : lyric poem, epic poem, and
dramatic poem. Lyric poem[1]
is an expression of an individual’s inner feelings and is the majority of
modern poems. Epic poems[2]
describe the history of a nation or a country in a novel-like way. Dramatic
poems[3]
refers to poetry taking on a form of a drama. Poems are generally written by
dividing up lines. In contrast, prose poems[4]
take on the form of a prose yet is instilled with poetic impressions. In addition to these, there are
poetry with a fixed form arranging and constituting poetic words according to a
fixed rule, and free verse which completely disregards the formal rules. Against the aforementioned
background, this paper is an attempt by ‘an anonymous literatist’ to search for
the development direction of Korean modern literature by taking a general
overview and a comparison of the history of Western literature and Oriental(referring to Korean in this paper)
literature. Before going into the text, the author
would like to mention the two points as follows : First, in order to make a more
detailed comparsion between the history of Western and Oriental literature, the
difference in their philosophies may have to be understood. However, because
this breaks away from the goal and limitation of the analysis of this paper
mentioned earlier, it is substituted with a paper by Lim(2008)[5].
Second,
when making a brief overview
of the history of Western and Oriental
literature, it would be ideal to introduce Chinese literature[6].
However, the history of Oriental literature
will be discussed on the basis of Korean literature because
it is truly difficult for Chinese literature to be property translated into
English. In fact, such work is beyond the scope of the current work.
II. Brief
Review of
Western Literature Along
with the emergence of Christianity during the
14th century,
medieval literature in Europe enjoyed the futility of the
present life and eternity of the next life.
The representative works include “The Divine Comedy
: Divina Commedia”
by Dante Alightieri(1318)[7].
By the era of modern country
during the 15~16th
century,
William Shakespeare (1564~1616) and Miguel de Cervantes (Saavedra)(1547~1616)
were in action. First of all, Shakespeare was an English poet and playwright,
and has written a total of 37 plays and collection of poems as a great writer.
‘Romeo and Juliet’ was written
according to ‘The Tragical History of
Romeus and Juliet’ by Arthur Brooke (? ~1563) in 1594. It was the first
work that recited a romantic tragedy. ‘Hamlet’
(1601) is one of the 4 major tragedies of Shakespeare along with ‘Othello,’ ‘King Lear,’ and ‘Macbeth.’
It is about taking the revenge of the father king who was robbed of his throne.
the revenge tragedy was popular at the time which recited the human anguish of
prince Hamlet. ‘Othello’ (1604)
realistically and strongly depicted a human’s love and jealousy. ‘King Lear’ (1605) narrated a tragedy
between King Lear and his three daughters. Even King Lear realized that human
is a mere animal. ‘Macbeth’
(1605) drew upon the life of a Scottish general named Macbeth. Next, ‘Don Quixote’ (1605) by Miguel de Cervantes was a satirical novel by
the Spanish author, Cervantes. The official title of the novel is ‘The Ingenious Hidalgo Don Quixote of La
Mancha.’ Although the lunacy and fantasy of
chivalry by the main character suffers a miserable and cruel defeat as it
collides with reality, his courage and noble cause is undaunted. It is praised
as the first and the best novel that depicted a real human being. During the process of
establishing French classicism in the 17th century, an ideal human character
was pursued. An Essay Concerning Human
Understanding (1690) by John
Locke (1632~1704) emphasized experience while criticizing the unreasonable
presupposition of existing modern rationalism (existence of innate ideas and
universal truth) by Rene Descartes(1596~1950), and has presented a new
direction of studying modern philosophy by suggesting a new standard of truth.
Furthermore, Two Treatises of Civil
Government (1690) by Locke and Du
contrat social (1762) by Jean-Jacques Rousseau (1712~1778) have justified
the political organization of citizens based on new political requests at the
time. From these
ideas by Locke and Rousseau, belief on representative democracy and belief on
freedom of citizens and dignity of man, in other words, the sprout of all
modern can be seen.[8] Romaticism which claimed the
superiority of emotion over reason emerged in the late 18th century.
The representative theorist and author at the time was Jean-Jacques Rousseau
(1712~1778). He became the pioneer of Western
‘Modern Literature’ due to his biography, ‘Les
Confessions’ (1712). Due to the influence of
Romanticism, works by Johann Wolfgang von Goethe (1749~1832) such as ‘The Sorrows of Young Werther’ and ‘Faust’ were born. Especially, ‘Faust’ (1806) is the greatest
masterpiece of world literature which is a two-part drama written by devoting
the entire life of Goethe (1806~1831), the greatest writer in Germany. In
this work, there is a religious thinking that if a human continues to work hard
for endless self-improvement, they eventually receive
salvation. It is worthwlile to note that at the time during the 16th century, Goethe’s biographical
literature showed that a
human personality and behavior can be in harmony with refinement in contrast to
Shakespeare and
Cervantes was unaware of ‘the discord between human personality and
behavior.’ In the 19th century,
the bourgeoisie who newly emerged during the process of revolution in politics
and the industrial sector attempted to find their self-portrait in literature.
Honoré de Balzac depicted the life and destiny of a human being as a member of
society rather than individuality or character. Due to this influence, ‘Modern
Novel’ originating from Cervantes grew significantly. The
emphasis was on
the fact that even in literature, poems gradually faded and
prose came to be more dominant along with the establishment of a bourgeois
society,[9]
and reflecting this trend, novels written in prose became the typical form of
literature in modern times. The direction of 20th
century Western literature can be said to be determined by the great Russian
writers, Lev Nikolaevich Tolstoi(1828~1910) and Fyodor Mikhailovich Dostoevskii
(1821~1881). Both of these writers wrote world
class masterpieces which delved deep into human behavior and pursued the
extreme limits of human psychology. First of all, Tolstoy’s ‘War and Peace’ (1869) was written for 7 years
from 1863. This is an excellent fusion of historical novel and artistic novel
as a work depicting the Russian people’s uprising in the liberation war. ‘Anna Karenina’ (1875) is a full-length
novel by Tolstoy which draws on the marriage of Russian aristocrats during the
19th century. This novel is permeated with the
futility of life and fear about death than admiration for life.[10] The next work, ‘Crime and Punishment’ (1866) by
Dostoyevsky is a world-class masterpiece about a poor college dropout murdering
an old pawnbroker who is considered a cancerous being and depicts the recovery
of an alienated humanity. ‘The Brothers
Karamazov’ (1879) is the last full-length novel of Dostoyevsky. This
work is also a masterpiece which shows enormous scale and elaborates
composition about ideological and religious issues and contemplation about the
essence of a human-being which has tormented the author throughout his life.[11]
III. History of Korean Literature Korean medieval literature begins
from the era of the Three Kingdoms(4th century~mid 7th century). The
300 years from the Japanese Invasion (1592~1598) to the time period right
before the March 1st Independence movement in 1919 can be said to be the
transitional period from midieval literature to modern literature.[12]
A typical example was 'Songgang Gasa’(Songgang’s
Prose Poetry Book) by the poet Songgang Jeong Cheol(1536~1593) during the
reign of King Seonjo of Joseon dynasty. This was a collection of poems
compiling prose and ‘sijo’(traditional three-verse Korean
poem) all of which had such artistic value that they were
recorded as great works in the history of Korean literature. Since the late 17
th century,
Korean literature started breaking away from the feudal system amidst the
various changes in society.[13]
For example, there was ‘Tale of
Honggil-dong’ by Gyosan Heo Gyun, which was written during the reign of
Gwanghaegun of Joseon(reigned 1608~1623) [14].
Under the influence of the Chinese novel, ‘Water
Margin,’ this novel was the first ‘Korean novel’ which was a rendering of
the author's revolutionary ideas for reforming corrupt politics and breaking
down the flaws of the social system after the Japanese Invasion (1592~1958).
The most serious flaw was the difference in class of legitimate children and
illegitimate children. The major story is as follows. The main character,
Gildong born between minister Hong and his maid Chunseom was always treated
with contempt while growing up. He was smart and very learned. So he knew how
to conjure up wind and rain and the art of transforming himself. However, he
couldn’t endure the disdain from his family and left his home to join the den
of bandits where he became a ringleader who organized ‘Hwalbindang’(活貧黨), i.e., a band of Robin Hoods. By
harassing the ‘Yangban’
class and helping the poor
peasants with stealing unjust riches from corrupt
officials and landed gentry, he inevitably became
a War Minister due to the appeasement of the government. But he eventually
departed his homeland for Nanking(南京). On his way, he settled
down at the nation of Yul-do and built an ideal kingdom. Furthermore, ‘Kuwoonmong’(九雲夢) (Nine Clouds’ Dream) by Seopo
Kim Manjoong (1637~1692) during the late Joseon dynasty (13th year
of the reign of King Sukjong) is greatly acknowledged as the ‘ancient novel’ of
Korea.[15]
The theme of the work is like the following.
The main character Seonjin was the pupil of Yukgwandaesa. But due to his
crime of harassing eight Taoist fairies, he was born into the human world with
the name, ‘Yang Soyu'(楊少游). He passed the higher civil
service examination as a boy and suppressed the revolt of Samjin and Tibetan
Empire of Hebei, and for his meritorious deed, he was revered and installed as
Duke, and became the son-in-law of the King. Up until then, he met the eight
reincarnations of the eight Taoist fairies one after another and took them as
wives. While living abundantly, he felt life was meaningless and reached great
enlightenment after listening to a Buddhist sermon, and converted to Buddhism. ‘Kuwoonmong’ is considered an immortal
work in the literary history of Korean ancient novel.
It had a lot of influence in the later generations and became
the foundation of ‘Okrumong,’ and ‘Okryeonmong,’ During the 18th
century, ‘Hanjungrok’(閑中錄)[16]
by Hyegyeong-gung Hong(惠慶宮 洪氏, 1735~1815), the wife of Prince
Successor ‘Sado’, can be called the beginning of Korean modern literature. ‘Hanjungrok’ unfolds with ‘Imohwabeon,'
the murder of Princess Successor ‘Sado’ which happened in the 38th
year of King Yeongjo’s reign (1762) as the background[17].
In the meantime, ‘Changjo’(Feb. 1919~May 1921) was the
starting point of Joseon ‘New Literature.’[18]
In fact, the March 1st Independence Movement in
1919 was the beginning of Korean modern history,[19]
and it was especially not only the turning point of Joseon
New Literature[20]
but also the genuine beginning of Korean New Literature.[21] The early poets during the 1920s
usually published their works in literary coterie magazines starting with ‘Changjo’(Creation) and leading to ‘Paeheo’(Ruins), ‘Janmichon’(Rose Village), and ‘Baekjo’(Swan).
These people commonly stressed the expression of emotions through ‘free verse.’
In other words, the inner will which wanted to free the
suppressed emotions as a resistance to the moralite of the themes or entrapment
of forms shown by poems during the
period of national enlightenment erupted. The representative poets who
embodied the traditional sentiment of the nation during the mid 1920s can be
said to be Kim Sowol(金素月, 1902~1934) and Han Yongun(韓龍雲, 1879~1944).
The reason for which their
works are loved regardless of whether the reader is a beginner or an expert in
poems is because their poems is easily understood by any
Korean and give a desperate impression. From his early days of poem
composition, Kim Sowol who can be really called the ‘national poet’ showed deep
interest in folk-song style lyric poetry.
The examples of his poetry include ‘Azaleas,’
‘Mountain Flowers(Sanyuhwa),’ ‘On
One’s Way,’ ‘Parents,’ ‘Chohon’(evocation), ‘Golden Turf,’ ‘Mountain,’ ‘The Distant
Future,’ and ‘The Cuckoo(Jeopdongsae).’
Kim Sowol particularly made appropriate use of 3 metres and 4 metres of folk
songs to expand poetic concepts, and provided a concrete form to the inner mind
based on the emotion. Furthermore, he expanded the base of poetic materials and
refines emotion through the use of appropriate vocabulary. Such
command of language and sensational ideas were an
expression of new sensitivity difficult to obtain with just a modification of
traditional emotions. It should be emphasized that Kim
Sowol overcame the instability of poetic structure shown by other modern poems.
For instance, in his ‘Azalea,’
written in 1922, he straightened the
poetic concept through a simple yet well-organized structure, and maximized
the effect by combining the concept with a familiar traditional rhythm. Meanwhile, Han Yongun released
his poems to the world by compiling them in a collection of poems called ‘Nimui Chimmuk’ in 1926. His poems pursued
the meaning of practical life and deeply reflects on the goal of an
individual's life in historical conditions.
His poems were instilled into the enlightened will trying to establish a
definite status of an ego in reality. Such enlightened will was expressed
as a national consciousness. It
is worthwhile to note the fact that Han Yongun as a poet was unique in the
following aspects : He was neither active in the sphere of influence of the new
literature movement which was actively unfolding during the times, nor
participate in specific literary circle activities. He
wrote poems in his own literary world. 1. Korean Modern
Literature in the Period of National Enlightenment In the period of national enlightenment, Korean literature is broadly divided up into two types by reflecting such duality. One is ‘enlightened songs,’ ‘historical biographies,’ ‘enlightened mongyoorok,’ and ‘devotional novels’ by the authors who were former reformed Confucianists emphasizing ‘Strenuous Efforts to Save the Country.’ The other type includes ‘songs,’ ‘new style poetry,’ and ‘new novels’ by authors who were former Japanese international students putting ‘civilization and enlightenment’ first.
1) Literature on ‘Strenuous Efforts to Save the Country’ The
literature taking the thought of ‘Strenuous Efforts to Save the Country’ as its
foundation emphasized the anti-foreign aspect. In
contract, the literature
based on civilization and enlightenment ideas lay stress on the aspect of
anti-feudalistic ideas as it tries to actively take in modern culture. The
representative work of the Korean literature
on ‘strenuous efforts to save the country’
include ‘Korean national anthem’[22]
by Jeon Gyeongtae, ‘Dongsimga’[23]
by Lee Jungwon, and ‘Maegukgyeongchukga,’[24]
and ‘Uijangcheongjo’[25]
by Songcheon private school students. Shin Chaeho(申采浩,
1880~1936) released historical biographies such as ‘Eulji Mundeok,’ ‘Story of
General Yi Sunshin,’ and ‘Story of Choi Dotong’ telling stories about heroes
who saved the nation and elevated the spirit of the nation from the
Japanese invasion. Park Eunsik(朴殷植,
1859~1925) published a translation called ‘Founding of Swiss Republic’[26]
and released ‘Story of Cheon Gaesomun,’ and ‘Mongbaegumtaejo’ in 1911.
2)
Literature for ‘Civilization and Enlightenment’ Gukcho(菊初) Lee Injik(李人稙, 1862~1916)[27],
the representative author of new-style novel is a new-style novel author as
well as a journalist who pioneered new-style novels with the unity of speech
and writing with a strong prosaicness for the first time in Korea. His
major works besides his representative work, ‘Hyulnu’(tears of blood)(血淚)[28]
include ‘Gwi Seong(鬼聲)’(Ghost Sound)[29],
‘Moranbong’(牡丹峰)[30],
‘Chiaksan’(雉岳山)[31],
and ‘Silver World.’[32]
He has also written short stories such as
‘Binseonrang(貧鮮郞) Ilmiin(日美人).’
‘Tears of Blood’ is Korea’s first
new-style novel which was published in series in ‘Mansaebo News’(萬歲報) in 1906. While there were well-known or unknown
new-style novels prior to that, it can be said to be the first representative
work as the first ‘modern novel’ in recognition of its cultural value. ‘Moranbong’(牡丹峰) was
also published as a series in ‘Maeil
Sinbo’(每日申報)
in 1913 but to ended as an unfinished work.
The
themes are as follows : When
Sino-Japanese War(Jun. 1894~April 1895) swept over Pyeongyang in 1894, the 7
year old heroine Okryeon(玉蓮) lost her parents and was
injured while fleeing. But she was saved by a Japanese soldier and with the
help of an army surgeon Inoue(井上), she went over to Japan to
attend an elementary school. However, when the army sergeon Inoue was kill in
action, his wife abused Okryeon. While lost and unable to find a place to go
to, she met Gu Wanseo and went over to the US. When Okryeon was studying in
Washington, she dramatically met her father and was engaged with Gu Wanseo.
Meanwhile, in Pyeongyang, her mother, upon receiving a letter from her daughter
whom she thought was dead, felt like it's a dream to come true. It
was the intention of the author(Lee Injik) that
he tried to present a moral of the new era by taking the theme
of yearning for a civilized society and common-law marriage. In the meantime, the
representative figure in new style poetry is Yukdang(六堂) Choi Namseon(崔南善, 1890~1957) and his major work would be the new
style poem titled ‘From Sea to a Boy’(1908). This new style poem is the first ‘modern
poem’ of Korea, which was put in a comprehensive magainze called
‘Sonyeon’(Youth) in 1908. The first part of the poem begins with an
onomatopoeic words, “Cheolseok Cheolseok
Cheok Swaaa,” and takes on a form of a free-style poem different from the previous
Korean poems. First, from the aspect of form,
there is the limitation of not being able to completely overcome the appearance
of poetry with a fixed form which uses the repeating number of characters like
the traditional three-verse Korean poems. Next, from the aspect of content,
it has the limitation of encouraging the civilization and enlightenment, not an
individual’s lyricism. Because Choi Namseon was a figure
who played a leading role in taking in modern culture during the period of
enlightenment, his ideas was evident in his poem, ‘From Sea to a Boy.’ ‘Sea’
means a new world for which one
is trying to reach through civilization and enlightenment, and ‘A Boy’ can be
interpreted as a hero of a new civilized world. The authors would like to
emphasize that ‘new style poetry’ in Korea was led by a strong foreign
orientation. As a result, almost all of the works praised the new era and new
civilization. This style of poem used more oral vocabulary than ‘Gaehwa Gasa or Changga’(A Japanese folk
song at that time) and divided up lines and stanzas. However, since it is
not completely broken away from the previous form of poetry yet,
new style of poetry
in Korea may not be called a completely-new style of poems in the aspect of its
content and form, it shows some form of free style poetry in the introductory
part of a poem from the aspect of form. It is the transitional form of poetry
which had a big influence in the development of Korean ‘modern poetry’.
2. Korean
Modern
Literature
under Japanese
Colonial Rule Development
1) Beginning of Modern Novels Chunwon(春園) Lee Gwangsu(李光洙, 1892~1950) stressed anti-feudalistic consciousness
and modern awakening while claiming literature was an expression of
‘affection’. During the 1910s,[33] he
had released short stories like ‘Mujeong,’[34]
‘Young Sacrifice,’[35]
‘Dedicator,’[36] ‘Kim
Gyeong,’[37]
‘Sorrow of a Boy,’[38]
‘To a Young Friend,’[39]
‘Wandering,’[40] and
‘Yun Gwangho’.[41]
Especially, ‘Mujeong’(無情)[42]
can be evaluated as a ‘modern novel’ since it is Korea's first full-length
modern novel. The storyline of this novel is as follows : Lee Hyeongsik,
English teacher at Gyeongseong School in Seoul gradually began to have feelings
for Seonhyeong, the daughter of elder Kim while giving her private English
lessons. Yeongchae was his childhood friend and the daughter of Mr. Park who
used to adore him. Yeongchae confessed her love for him. At the time, Yeongchae
became a Gisaeng (Korean geisha) to save her father who was imprisoned.
Afterward, when Yeongchae lost her virginity to Gyeongseong School
superintendent Mr. Bae, she left a suicide note to Hyeongsik and disappeared
without a trace. In the meantime, Yeongchae was about to commit suicide and met
Byeongwuk who was studying abroad in Tokyo and changed her mind. She left Japan
to study music and dance. The engaged couple, Hyeongsik and Seonhyeong went to
study abroad in the US. They were on their way to study abroad on the same
train. They made a promise to themselves that they would work hard to spread
civilized ideas after they finish their studies abroad and return to their
homeland. Indeed,
‘Muheong’(無情)
not only makes readers at the time pay extra attention with the theme of
yearning for modern civilization, new educational ideas, and praise of free
love but also is praised as a work with a pioneering significance of signaling
the start of Korean modern literature. Thus, this novel
shows the view and vitality of the adventurous young generation and positively
presents the national enlightenment awareness as well as desperately
actualizing deep sorrow
of the nation. In addition, the railroad and the train, which
were the symbol of modern civilization
at the time, form the foundation for unfolding
the work, and the idea of free love is fully expressed through a love triangle.
2) Modern Free Verse Kim
Eark, Hwang Seokwu, and Ju Yohan have made important contributions in
introducing the form of ‘free verse’ based on significant influence from the
Western symbolism poetry during the early stages. Kim Eark(金億, 1896~?) released
early free verses such as ‘Spring is gone,’ and ‘Grave’ on ‘Taeseomunyesinbo’(Western
Literature and Arts), Nov. 30,
1918. Hwang
Seokwu(黃錫禹,
1895~1960) published works such as ‘Lover comes
to the Snow,’[43]
‘Sogok,’ ‘Grave of Byukmo,’[44]
‘Sinking of the Sun,’ ‘Guidance of My Lover,’ and ‘Palace of Eumrak’ similar to
Japanese free verses and translation of foreign poems. They continued to
dominately express the emotion of despondency, uneasiness, and cursing.
the poetic structure was unstable, its cadence was imprecise, and chaotic
phrases are jumbled up. Ju Yohan released ‘Sinae,’ five
volumes of ‘Spring,’ ‘Snow,’ and ‘Story’ under the big title, ‘Etude’ in
‘Hakwoo,’[45] and
published ‘Fireworks,’ ‘Midnight Dream,’ ‘Days of Sun,’ and ‘Morning Virgin.’
He published in 1924 his collection
of poems called ‘Beautiful Midnight’ contains 64 poems including ‘Spring Water
Alone.’ His poems drew
closer to readers by using the emotions and vocabulary of the Korean
people. Editor’s Note: Part II this two-part paper will be presented in the following issue of this
Journal. -JP References Ahn Hwak (1922), History
of Joseon Literature, Seoul : Hanil Bookstore. Baek Cheol (1948), “Korean Newspaper Undergraduate
Research”, Modern Times Volume, Seoul
: Suseonsa. Baek Cheol (1949), “Korean Newspaper Undergraduate
Research”, Current Times Volume,
Seoul : Suseonsa. Baek Nakcheong (1969), Citizen’s Literature Theory, Seoul : Creation & Critism. Cho Dongil (1982), ‘Introductory History to Korean
Literature’, Volume 1~5, Jisik Sanup Publication Co., Ltd. ` Eom Muwung (1978), Issue of Overcoming Colonial Literary Viewpoint, Seoul : Creation
& Criticisim. Kim Gijin (1958), 30 years we have walked, Seoul : Sasanggye. Kim Dongin (1948), Traces of 30 Years of the Literature World, Seoul : Sincheonji. Kim Hyeon and Kim Yunsik (1972), History of Korean Literature, Seoul :
Culture & Intellect Park Jonghong, Overview
on History of Korean Modern Literature, http://blog.naver.com/red492/20013774264 Yeom Sangseop (1927), ‘Literature & Arts and
Life,’ Chosunmundan No.19, February Issue Yeom Sangseop (1927), “A Spiritual Study of National
Social Movement,” Chosunilbo. Yeom Sangseop (1962), “Hwaengbo Mundan Hwaesanggi,”
Seoul : Sasanggye. Lim Yangtaek (2008), “A Study on the Logical
Structure of Neopregmatism : Eastern and Western Philosophy”, Hanyang Journal
of Economic Studies volume 29 no.2, Hanyang Economic Research Institute, Nov.
30. [1] Lyric poem originated from the English, ‘lyric poem’ or the French, ‘poéme lyrique’
stemmed from
singing according to ‘lyre’ (七絃琴). [2] The examples of an epic poem are ‘Ilias’ and
‘Odysseia’ of Greece and ‘La Chanson de Roland’ of France. [3] The examples of dynamic poem are plays(戱曲) written by Shakspeare, Goethe, Corneille, and Racine. [4] The examples of
prose poem include ‘Le Spleen de Paris’ by Charles-Pierre
Baudelaire(1821~1867), ‘Le Chants de Maldoror’ by Comte de Lautréamont(1846~1870),
‘Poems in Prose’ by Ivan Sergeevich Turgenev(1818~1883), etc. [5] Lim Yangtaek (2008), “A Study on the Logical
Structure of Neopregmatism : Eastern and Western Philosophy based on
Western and Oriental Philosophy”, Hanyang Journal of Economic
Studies Vol. 29 No. 2, Hanyang Economic Research Institute, Nov. 30. [6] It is
generally known that, in Chinese literature, the three literary geniuses: Tao
Qin(陶淵明, 365~427), Li Bai(李白, 701~762), and Du Fu(杜甫, 712~770) were the most noticeable. “Return to Home
Country(405),” a representative work of Tao Qin(陶淵明), a Chinese poet during Eastern Jin and Song Dynasty,
was a poem about the feelings of abandoning one’s government service and returning
to one’s hometown. Li Bai(李白)
is a poet who was active during the golden age of Tang Dynasty and is praised
as a Shiseon(詩仙) as the best Chinese poet along with Du Fu. Li Bai recited
about 1,100 poems currently in existence and showed a poetical style in which
his words became a poem. Du Fu is also a top poet during the heydays of Tang
Dynasty, and is called ‘the Poetic Saint.’(詩聖) [7] The Italian author and philosopher, Dante Alightieri (1265~1321) wrote “The Divine
Comedy”(Divina Commedia)(1318) about the sorrow of losing a woman whom one
loved named ‘Beatrice.’ The Divine Comedy was divided up into 3 parts: hell,
purgatorium, and heaven. The Toscana regional dialect used in this work was
established as the top language of Italian Literature. [8] Lim Yangtaek(2008), op. cit. [9] The French poet, Paul
Valery(1871~1945) explained the difference between poetry and prose by
comparing the former to ‘dancing’ and the latter to ‘walking’. In other words,
prose has a clear subject like walking which aims to reaching a target as an
act towards a subject. On the other hand, the ultimate purpose of poetry is the
act itself like dancing. However, walking and dancing have something in common.
Both use the ‘body’. When applying this to poetry and prose, both use ‘language’.
That is to say, the language used in poetry, that is, poetic language move the
heart of readers. On the other hand, the language used in prose is a practical
language with the major purpose of communicating meaning and symbol. [10] In
order to properly understand the work of Tolstoy, there is a need to closely
examine his life. Tolstoy was an aristocrat born in count’s family. Although he
lost his mother when he was young, he grew up in a rich environment. He set up
a harmonious family with a young wife he met during his mid-30s. He churned out
his works while taking care of his territory and working hard to manage his
finance. He was not sensitive to his reputation or the response of his readers
and didn’t have a sense of rivalry to authors in the same era like Dostoevskii.
Later on, according to his confession, literature was just ‘a pastime’ of a
rich count (Chosun Ilbo, Dec. 23, 2009). [11] The life of Dostoevskii
is like the following. Dostoevskii who was from a poor class gave up on
entering public service even though he graduated from a good university and
went into the path of ‘proletarian writer’ at an early age as he said. He was
constantly tormented by a sense of inferiority while suffering the humiliation
of getting less pay for his writings than aristocrat authors. He was also
branded a political prisoner as well as an epileptic and a gambling addict. To
him, literature was a lifeline that supported him in his unfortunate
circumstances (Chosun Ilbo, Dec. 23, 2009). [12] Cho Dongil, Introductory
History to Korean Literature Volume 1~5, Seoul: Jisik Sanup Publication
Co., Ltd., 1982~1988. [13] Eom
Muwung (1978), Issue of Overcoming
Colonial Literary Viewpoint, Seoul: Creation & Criticisim, Winter
Issue. [14] Gyosan(蛟山) Heo Gyun(許筠) served as the Jwachamchan(左參贊, a post of the second junior rank under the State
Council) during the reign of Prince Gwanghae(1608~1623) but was executed by
slow slicing for treason. [15] Yi Jae(李縡) said in
“Samkwanki”(三官記), “Kim Manjung
was devoted to his parents and wrote ‘The Cloud Dream of the Nine’ in order to
comfort his mother.” <0} {0><}0{>Both the Chinese
version and Korean version of this work are passed down, and it is difficult to
tell if the Korean version precedes the Chinese version.<0} {0><}0{>The traditional
version of ‘The Cloud Dream of the Nine’ can be classified into the Korean copy
version, the Korean published version, the Chinese published version, and the
translated version.<0} {0><}0{>Among these, the
Korean published version and various types of printed books have been
circulated, and for the Korean copy version, the Lee Gawon(李家源) collection
version was published in Deokgi Publishing Company(德基出版社) in 1955. <0} {0><}0{>For the Chinese
published versions, there 3 books of 6 volumes of block books published in
1803, and the Chinese 漢文懸吐本 was published
as a printed book in 1916. <0} {0><}0{>Other
translations include a translation into <0} {0><}0{>English under
the name, The Cloud Dream of the Nine
by J. S. Gale in 1922, and there were also 2 types of Japanese translations as
well.<0} {0><}0{>The oldest among the ones that are currently passed down are the
Korean manuscripts consisting of 4 books and 4 volumes which are owned by Seoul
National University library. It is presumed to be an earlier version than other
Korean versions or Chinese versions. <0} {0><}0{>It seems to be not too distant from the era of
Kim Manjung due to its elegant language
and writing style. It might even be the original work of Kim Manjung. [16] Joongang Sunday, Jan. 10, 2010. [17]‘Hanjungrok’ consist of four volumes. Volume 1 was written during the 19th year of King
Jeongjo’s reign when princess Hong was 60 years old. Volume 2 and Volume 3 were
written during the 1st and 2nd year of King Sunjo when
she was 67~68 years old
(1801~1802). Volume 4 was written during the 5th year of
Sunjo’s reign(1805) when she was 71 years old. Kim Hyeon & Kim Yunsik
(1972), “History of Korean Literature”, Culture
& Intellect, 1972 Spring edition ~ 1973 Winter edition. [18] Kim Dongin (1948), “Traces of 30 Years of the
Literature World”, Sincheonji. [19] Kim Gijin (1958), ’30 years we have walked,’ Sasanggye, 1958 August edition [20] Yeom Sangseop (1962), ‘Hwaengbo Mundan Hwaesanggi,’ Sasanggye, Nov.~Dec. 1962 [21] It was newly examined in ‘Citizen’s Literature
Theory’ by Baek Nakcheong (Creation & Criticism, 1969 Summer Edition). <0} {0><}0{>However, it criticized that Gabo Reform(甲午改革, 1894~1896) or Donghak Peasant Revolution(1894) is a movement
without a genuine civic awareness and was separated with the general public. [22] Tongnip
Sinmun(The
Korea Independence Daily News), 1896.<0} 5. [23] Tongnip
Sinmun(The
Korea Independence Daily News), 1896.<0} 5. [24] Daehan
Maeil Sinbo(The Korea Daily News), 1905.<0} 12. [25] Daehan
Maeil Sinbo(The Korea Daily News), 1908.<0} 10. [26] Daehan
Maeil Sinbo(The Korea Daily News), 1907. [27] Gukcho(菊初) Lee Injik(李人稙, 1862~1916), following his role as the
chief editor of ‘Kukmin Shinbo’(國民新報) on February
1906 and the chief editor of ‘Mansaebo’(萬歲報) in June of the
same year, became the president of ‘Daehan Shinmunsa’(大韓新聞社). <0}{0><}0{>However, he left a blemish in his life with his strictly
pro-Japanese acts such as helping Yi Wanyong(李完用) when Korea was robbed of its national sovereignty(Aug. 22,
1910) and presenting a tribute(獻頌文)
to the coronation ceremony of the Japanese King, Taisyo(大正). [28] Mansaebo,
Jul. 22, 1906~Oct. 10, 1906 [29] Volume
1 was published by Gwanghakseopo in 1907 and Volume 2 was published by
Jungangseokwan. [30] Maeilshinbo,
Feb. 5, 1913~Jun. 3, 1913 [31] Volume
1 was published by Yuilseokwan in 1908 under the name of Lee Injik, and Volume
2 was published by Dongyangseowon in 1911 under the name of Kim Gyojae. [32] Dongmunsa,
1908. [33] Chunwon(春園) Lee Gwangsu(李光洙) was born in
Jeongju(定州), Pyeonganbukdo,
now the North Korean Territory.<0} {0><}0{>He was born from a tenant farmer’s
family and lost his parents and became an orphan in 1902. Afterwards, he became
a clerk by joining Donghak(東學). But due to
the severe oppression of the authorities, he moved to Seoul in 1904. <0}In t{0><}0{>he following year, he fled to Japan by
the recommendation of Il Jin Hoi, a pro-Japanese organization. Then, he
transferred to Meiji School and organized ‘Sonyeonhoi’(少年會) and published ‘Sonyeon’(少年). while studying
there. In the meantime, he started releasing poems and reviews.<0} {0><}0{>In 1910, he graduated the same school
and temporarily returned to his homeland and taught at Osan School(五山學校). Then, he fled
to Japan again and entered the department of philosophy at Waseda University.
He published a series of Korea’s first full-length novel titled ‘Mujeong’(無情) in ‘Maeilshinbo’(每日申報) and pioneered
the new history of Korean novel literature. <0}{0><}0{>After drafting the Feb. 8 declaration of
independence by Tokyo international students in 1919, he defected to Shanghai
and was the former president of ‘Tongnip Sinmun’(獨立新聞) by
participating in the Provisional Government of the Republic of Korea. <0} {0><}0{>Upon returning to his homeland on April
1921, he married Heo Yeongsuk(許英肅) and joined
‘Donga Ilbo’(東亞日報) in 1923 and
served as chief editor. While being active in the press such as being the
vice-president of ‘Chosun Ilbo’(朝鮮日報) in 1933, he
wrote many works including ‘Jaesaeng’(再生), ‘Mauitaeja’(麻衣太子),
‘Danjongaesa’(端宗哀史), and ‘The
Soil.’(土) <0} {0><}0{>He was imprisoned for the ‘Suyang Dongwuhoi(修養同友會) incident’ in
1937 but was released for sick bail in just 6 months. From then on, he
seriously leaned towards pro-Japanese activities. In 1939, he became the
chairman of Joseon Writer’s Association(朝鮮文人協會), a
pro-Japanese group, and changed his Korean name to a Japanese name, Gayama
Mitsuro(香山光郞). <0} {0><}0{>He was detained by the Anti-Nationalist
Law after the August 15 liberation from the Japanese Imperialism and was
released on sick bail but was abducted to North Korea during the Korean War.<0} {0><}0{>He died from an illness at Manpo(滿浦)
in 1950. [34] Daehan Hunghakbo No.11~12, Mar.~Apr. 1910. [35] Sonyeon No.14~17, Feb.~May 1910. [36] Sonyeon No.20, Aug. 1910. [37] Cheongchun
No.6, Mar. 1915. [38] Cheongchun
No.8, Jun. 1917. [39] Cheongchun
No.9~11, Sept.~Nov. 1917. [40] Cheongchun
No.12, Mar. 1918. [41] Cheongchun
No.13, Apr. 1918. [42] Maeilshinbo,
Jan. 1, 1917~Jun. 14, 1917. [43] Changjo
No.6, May 1920 [44] Paeheo
No.1, Jul. 1920. [45] First
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