Notable 16th-Century Poetess

By Choi Yearn-hong

Heo Gyun was one of the most admired young political leaders, writers and novelists of the Joseon Kingdom. His novel, ``Hong Gil-dong,'' was fantastic to all my friends in our early childhood days.

Hong Gil-dong is still Korea's Robin Hood to many young people. During my stays in Korea, I often visit his hometown in Gangneung, Gangwon Province. His house was restored in its original location on the coast near the East Sea surrounded by pine trees.

He had a brilliant sister, Nanseolheon. I happened to read her poetry book, ``Vision of Phoenix,'' edited by Yang Hi Choe-Wall and published by the Cornell University East Asia Series. This essay is inviting Korea Times readers to review the 16th century poetess via this book.

The book is recommendable to those who are interested in Korean classic literature, especially in the 16th century Joseon Kingdom. Heo was a brilliant poetess from an aristocratic family who faced a tragic death for treason because of her brother's idealism and social change-oriented political thought.

The brother, Gyun is a famous writer and novelist. He compiled her sister's poetry book after her death at 26 or 27. She will be remembered because of her brother's act in preserving her poetry, even though she died young.

Heo Nanseolheon produced hansi poetry in Chinese words in the strict rhyme rule. She must have been educated within her family, as there were no schools for girls or women in the 16th century.

In fact, women were not supposed to study poetry and literature. At that time, only aristocratic men, who could be educated to serve the government, were allowed to take lessons.

Hence, her poetry was unique and a great exception to the social and literary norm of the time. Later in the Joseon period, women did produce essays and diaries in hangeul, the Korean alphabet.

Yang Hi Choe-Wall did a good job as a translator of Heo's hansi and provided a valuable introduction and commentaries on the poems she translated and printed in this volume.

Choe-Wall discussed plagiarism in Heo's poems at length, and concluded that only 18 lines out of 214 poems could be considered as plagiarized from Chinese poems in the compilation process, since some of her poetry was destroyed at the time of her death.

However, this ``plagiarism'' should not hurt Heo's poetry, as she did not seek fame in her life. She must have read the poems by Li Po and Tu Fu of Tang China, and set them as her models.

So places such as rivers and mountains were often used in her poems. Her poems were to be burnt according to her will, so her brother compiled her remaining poems and published them as a poetry book. Therefore, the talk of plagiarism after her death could be unfair to her.

Choi-Wall guessed that her brother might have used some lines from Chinese poems in the compilation process. Poetry must have comforted her in her short life. In her young age, she lost her two children and never recovered from the sorrow.

There was no reason to damage her reputation. Some male chauvinists in the Joseon Kingdom downgraded her poetry, which is well documented in this book.

Choe-Wall discusses the influences of the Tang and Ming poets on Joseon in the 16th century from an academic perspective, which may be outside the interests of most poetry readers.

A great majority of poetry lovers may not need to learn or listen to such a discussion. Hansi requires understanding of Chinese poetry. I know Chinese characters cannot imitate Heo's poems, but I appreciate Choe-Wall's work.

Heo's poems target three themes: nature, woman's lives and her idea of Utopia ― the immortal world she dreamed of.

Poetry was obviously a companion, comfort and haven to her. In the following samples, I include a couple of poems for The Korea Times, ``To Hagok'' was dedicated to her elder brother who was exiled in the northern regions, and ``Song for the Poor Girl'' was dedicated to girls from the disadvantaged social class, or to herself.

To Hagok

By the dark window a silver candle burns low;

Fireflies flit a cross the high pavilion.

In the deep of night, I am anxious and cold;

Gently, autumn leaves fall.

News from the northern frontier is scarce;

I cannot restrain my endless worries

From far away I think of Green Lotus Palace,

On the empty mountain, shrubs breathe a bright moon.

Song for the Poor Girl

A pair of golden scissors in her hand,

Fingers stiffened by the night's chill.

She cuts a bridal costume for another,

Yet year after year she sleeps alone.

From her poems, I could feel her warmth toward the humanity she saw around her, although the barriers for her to cross were wide. She was apparently a nice human being, a nice sister and a friend to her poor neighbors.

Her sentiment tended toward melancholy or sadness, but the creation of her work was obviously a comfort; in this she shares a feeling with other poets, whether of the 16th century or the 21st century.

Dr. Choi is a poet and writer residing in the Washington area. He can be reached at yearnhchoi@gmail.com.

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