(A lecture delivered to the Royal Asiatic Society, Korea Branch, in 1999)
Shin
Kyong-nim was born in 1935 in Ch'ongju, North Ch'ungch'ong Province, in
what is now South Korea. He grew up in the midst of Korea's old rural culture
and in later years went travelling about the countryside, collecting the
traditional songs of the rural villages. His literary career as a poet
officially dates from the publication in 1956 in the review Munhak Yesul
of three poems. For years after that he published nothing, immersing himself
instead in the world of the laboring classes, the Minjung, and working
as a farmer, a miner, and a merchant. The experience of those years underlies
much of his finest work as a poet. He only graduated from the English Department
of Dongkuk University (Seoul) in 1967, when he was over thirty.
His
fame as a poet dates mainly from the publication of the collection Nong-mu
(Farmers' Dance) in 1973, some of the poems from which were first published
in the avant-garde review Ch'angjak-kwa Pip'yong in 1970, heralding
his return to the literary scene. It would be difficult to exaggerate the
historical significance of this volume in the development of modern Korean
poetry. In 1974 Nongmu earned Shin the first Manhae Literary Award,
bringing his work unexpected publicity and critical attention. Shin thus
helped open the way for public acceptance of a poetry rooted in harsh social
realities, a militant literature that was to grow into the workers' poetry
of the 1980s.
Many
of the poems in this collection are spoken by an undefined plural voice,
a "we" encompassing the collective identity of what is sometimes called
the Minjung, the poor people, farmers, laborers, miners, among whom
the poet had lived. He makes himself their spokesman on the basis of no
mere sympathy; he has truly been one of them, sharing their poverty and
pains, their simple joys and often disappointed hopes. Shin is one of the
first non-intellectual poets in modern Korea and the awareness that he
knows the bitterness he is evoking from the inside gives his poems added
power.
Echoing
throughout Nong-mu are memories of the political violence that has
characterized Korea's history since its Liberation from Japanese rule in
1945. The divisions and conflicts of the first years of independence culminated
in the Korean War (1950-3). Later, throughout the 1960s and 70s, the government's
policy of industrialization led to a further brutal uprooting of rural
populations that had already undergone severe dislocation in the course
of the war, and violence continued. In those years, all forms of political
opposition or social organization were forbidden and fiercely suppressed
under the increasingly severe dictatorship of President Park Chung-Hee.
In particular, any advocacy of workers' rights was considered to be an
expression of communism, a sign of support for North Korea, and was punished
as a crime against national security.
In
a literary culture accustomed to the individualistic "I" speaker of the
western romantic tradition, or the fairly unspecified voice of modern Korean
lyrics, the collective "we" employed in Nong-mu was felt to be deeply
shocking. The leading recognized Korean poets in the 1960s and 1970s were
writing in a highly esthetic style inspired by certain aspects of French
Symbolism. Poets and critics alike insisted that literature should have
no direct concern with political or social issues. This had already been
challenged in the earlier 1960s by a number of younger writers and criticsincluding
the poet and essayist Kim Su-yong, who was killed in a car crash in 1968.
In particular, Kim's advocacy of a poetic style reflecting ordinary, everyday
spoken language, with its colloquialisms and pithiness, is reflected in
Shin's poems.
Later
volumes of Shin's poetry includeSaejae
(1979),
Talnomse (1985), Kananhan sarangnorae (1988),
Kil
(1990), and Harmoni wa omoni ui silhouette (1998). Shin uses easily
accessible, rhythmic language to compose lyrical narratives that are at
times close to shamanistic incantation, or at others recall the popular
songs still sung in rural villages if not in Seoul. Much of his work composes
a loosely framed epic tale of Korean suffering, as experienced by the farmers
living along the shores of the South Han River, the poet's home region,
in the late 19th century, during the Japanese colonial period, and during
the turmoil of the last fifty years.
No
poet has so well expressed, and so humbly, the characteristic voice of
Korea's masses, both rural and urban. Shin never sentimentalizes his subjects
but rather takes the reader beyond the physical and cultural exterior to
reveal them as intensely sensitive, suffering human beings.
To
give you an idea of the poetry being written and admired in Korea when
Shin Kyong-Nim was beginning his poetic career, here is a poem by the leading
lyric poet of the time, So Chong-ju, published in 1960. At this time, So
Chong-ju had developed a strong attachment to what he conceived as the
spirit of the ancient Korean culture of Shilla. He employs the voice of
characters, and a variety of symbols, from the Shilla Foundation Myths
to express yearnings that remain unspecified in nature. In part such poems
reflect the search for an authentically Korean world-view and poetic expression
after the deep traumatisms of the long Japanese occupation and the Korean
War. This kind of poetry is often termed 'Symbolist' or 'Imagist' because
the flow of symbolic images that constitute the poem are not given any
interpretation.
Flower-garden
monologue
A
short poem spoken by Shasu
True,
songs are fine, but even the finest
will
only rise to the clouds, then return;
your
speeding horse with its flashing hooves
was
brought to a halt at the edge of the sea.
Now
I have lost all desire for wild boar, arrow-struck,
or
those mountain birds that the falcons take.
Dear
flowers, each dawn new created,
I
love you dearly, dearest of all
I
simply stand leaning against the door you have closed.
I
beseech you! Open this door. Open the door, dear flowers.
Though
the way ahead lies through fire and flood,
I
beseech you! Open this door. Open the door, dear flowers.
1960
is the year of the April Revolution, when the students led the nation in
its dramatic rejection of the corruptions of the Syngman Rhee regime. It
is also the year when the poet Ko Un ceased to live as a Buddhist monk
and although he is best known for his later career as a leading dissident
and nationalist poet, the poetry he was writing around 1960 is not notably
different from that of the majority of other poets of the period. Ko Un's
first collection of youthful poems, Other World Sensitivity, was
published in 1960 and there we find him writing poems like this:
Spring
rain
On
your sleeping silence, wave,
spring
rain falls and dies.
The
night dark in the water may soar up
but
by the spring rain on your sleeping water
wave
far
away by that rain's power
far
away rocks are turned to spring.
Above
this water where we two lie sleeping
a
rocky mass looms, all silence.
But
still the spring rain falls and dies.
I
have already metioned how Kim Su-yong began to react against the obscure
symbolism and elevated, artificial language of the poems being produced
in the wake of the Korean War, a poetry apparently completely divorced
from the intense suffering of the time. He too had begun his career as
a Symbolist, writing poems as arcane and remote from social realities as
those of anyone else; but the events of 1960 represented a major turning-point
in his own perception of society and the future of Korea. The following
poem is date June 15, 1960
The
Blue Sky
Jealous,
a
poet once said that the skylark was free,
mastering
the blue sky;
but
that must be modified.
Those
people who have soared aloft
for
the sake of freedom
know
what the skylark sees
that
makes it sing,
they
know why the smell of blood
must
mingle with freedom,
why
revolution
is
bound to be a lonely thing.
This
is obviously a very different kind of poetry, directly related to the events
of only a few weeks before. However, Kim Su-yong was by nature a thinker,
his poetry was always thoughtful, and he could never simply capture simple
moments of experience. By contrast, here is one of Shin Kyong-Nim's first
poems, written in 1956.
A
Reed
For
some time past, a reed had been
quietly
weeping inwardly.
Then
finally, one evening, the reed
realized
it was trembling all over.
It
wasn't the wind or the moon.
The
reed was utterly unaware that it was its own
quiet
inward weeping that was making it tremble.
It
was unaware
that
being alive is a matter
of
that kind of quiet inward weeping.
That
poem was first published in 1956, as one of the poet's initial works, and
it was included with a few other very early poems as Section Five of the
original (short) edition of Farmer's Dance. Most of the poems in the volume,
however, are dated to the very late 60s or, above all, the early 70s and
the poet has arranged them without great regard for the date of composition.
As explained already, the poet is emerging at this moment from a period
of complete immersion in the world he evokes. It is surely significant
that for about eight years he wrote virtually nothing.
If
we take a few of the poems in Farmers' Dance, it may be easier to see a
few general characteristics. The first poems in the book are also some
of the earliest after the break, being dated to 1965-6; they reflect life
in remote rural villages:
On
a Winter's Night
We're
met in the backroom of the co-op mill
playing
cards for a dish of muk;
tomorrow's
market-day. Boisterous merchants
shake
off the snow in the inn's front yard.
Fields
and hills shine newly white, the falling snow
comes
swirling thickly down.
People
are talking about the price of rice and fertilizers,
and
about the local magistrate's daughter, a teacher.
Shall
we get drunk? The bar-girl smells
of
cheap powder, but still, shall we have a sniff?
We're
the only ones who know our sorrows.
Shall
we try raising fowls this year?
Winter
nights are long, we eat muk,
down
drinks, argue over the water rates,
sing
to the bar-girl's chop-stick beat,
and
as we cross the barley-field to give a hard time
to
the newly-wed man at the barber's shop, look :
the
world's all white. Come on snow, drift high,
high
as the roof, bury us deep.
Shall
we send a love-letter
to
those girls behind the siren tower hiding
wrapped
in their skirts? We're
the
only ones who know our troubles.
Shall
we try fattening pigs this year?
Lands
Far Apart
Old
Park's from Kuju. Kim's a fellow
grew
up in some Cholla coastal place.
The
October sunshine still stings our backs.
Stones
fly, dynamite blasts, cranes whine.
Let's
go to the bar there under its awning,
hand
in our chits, drink some makkolli.
All
we've got left now is our pent-up fury,
nothing
more. Just oaths and naked fists.
We
hear tales of outside from the council clerks
who
dump their bikes beneath the big tree.
Oh,
this place is too remote, we miss the city's
din
here in this god-forsaken construction site.
Tonight
let's get out to the bars down the road,
play
cards, belt out songs at the top of our voices.
The
siren wails; one final slapat the fat behind of
the
woman who cooks in the chop-house,
and
off we go, dragging our carts along,
covered
in dust, counting the days
till
pay day. Outside the drying room a dog
is
barking; down the sides of the yard
where
red peppers lie drying, the village kids
play
at ch'egi using their feet. The girls,
keeping
the sunlight off their heads with a towel,
giggle
away the weight of the stones in their panniers;
the
foreman yells at the top of his voice. In this remote
far-off
construction site the autumn sun is slow to set.
The
Night We Make Offerings
I
don't know what dad's dead cousin's name was.
The
night we make the offerings for him,
winter
rain is gloomily pattering down
and
the younger relations, having nothing else to do,
gather
in a side room where the floor's been heated
to
gamble at cards or play chess.
From
the lamplit verandah rises the sound
of
a hand-mill churning out a slurry of green beans.
When
our uncles arrive from their distant home,
their
greatcoats full of the stink of grass,
we
go out with lanterns and delve
into
the roof-thatch after nestling sparrows.
Tonight's
dad's cousin's offerings; winter rain
patters
down in my heavy heart.
Dad's
cousin spent a miserable short life
and
I don't even know what his name was.
Puzzlement
echoes in that last line, the sense of a deep generation gap and also an
unspoken question: when and how did that cousin die? We soon return to
the collective mode, and the apparently happy band of rural revellers in
the poem that gave its name to the entire collection:
Farmers'
Dance
The
ching
booms out, the curtain falls.
Above
the rough stage, lights dangle from a paulownia tree,
the
playground's empty, everyone's gone home.
We
rush to the soju bar in front of the school
and
drink, our faces still daubed with powder.
Life's
mortifying when you're oppressed and wretched.
Then
off down the market alleys behind the kkwenggwari
with
only some kids running bellowing behind us
while
girls lean pressed against the oil shop wall
giggling
childish giggles.
The
full moon rises and one of us
begins
to wail like the bandit king Kokjong; another
laughs
himself sly like Sorim the schemer; after all
what's
the use of fretting and struggling, shut up in these hills
with
farming not paying the fertilizer bills?
Leaving
it all in the hands of the women,
we
pass by the cattle-fair, then dancing
in
front of the slaughterhouse
we
start to get into the swing of things.
We
are made to feel very strongly the underlying contradiction between the
festive appearance and the harsh social reality, with the accompanying
sense of helplessness. There are a number of poems in which unspoken memories
of events in the past can be felt casting dark shadows:
Party
Day
Dad's
cousin's been drunk and rowdy since daybreak.
Cheerless
leaves are falling on the awning.
Women
clustered in the back yard are making a fuss,
the
excited bride's boasting about her new husband.
Have
you forgotten? Dad's cousin's drunk and rowdy.
Have
you forgotten the day your father died?
No
point in listening to his stupid voice.
Finally
a proper party comes alive beneath the marquee,
the
excited bride's boasting about her in-laws.
Even
though the truck's arrived, drawn up in front:
Have
you forgotten? Dad's cousin's drunk and rowdy.
Have
you forgotten how your father died?
Some
poems suggest the social climate of the period, when people longed to take
to the streets, demonstrate, denounce, but dared not on account of the
military dictatorship, the all-present KCIA, the danger of being accused
of being pro-communist. The next poem was written in 1972, the year when
virtually all political activity was banned.
The
Way to Go
We
gathered, carrying rusty spades and picks.
In
the bright moonlit grove behind the straw sack storehouse,
first
we repented and swore anew,
joined
shoulder to shoulder; at last we knew which way to go.
We
threw away our rusty spades and picks.
Along
the graveled path leading to the town
we
gathered with only our empty fists and fiery breath.
We
gathered with nothing but shouts and songs
The
next poem seems to suggest that the outcome of such moments is less than
satisfactory.
The
Storm
The
bicycle store and the sundae soup shop closed.
All
the inhabitants came pouring out into the marketplace
shaking
their fists and stamping their feet.
The
younger ones went pounding on jing and kkwenggwari
while
the lasses came following behind them singing.
But
then suddenly winter arrived
dark
clouds gathered and dropped damp sleet.
The
young men scattered and hid indoors
only
the old and the women still tottered about, coughing.
All
winter long we shook for dread.
And
in the end the bicycle store and the sundae soup shop
failed
to re-open.
Instead,
the poet focuses our attention on a momentary vignette of immense pathos:
That
Day
One
young woman all alone
follows
weeping behind a bier.
A
procession with no funeral banners, no hand-bell in front.
Ghost-like
shadows
along
the smoke-veiled evening road,
a
breeze scattering falling leaves
down
alleys with neither doors nor windows,
while
people watch hiding
behind
telegraph posts and roadside trees.
Nobody
knows the dead
man's
name that dark
and
moonless day.
Another
poem from 1966 comes to remind us that deep hopelessness had set in long
before Park Chung-hee proclaimed the Yushin Reform of the Constitution
in 1972, that the hopes of 1960 had been very short-lived and that the
military coup of 1961 had encountered very little reistance:
March
1
When
every alleyway's soggy with sewage
and
by each house with its shabby shaky wooden fence
tattered
rags hang flapping like flags,
our
country hates us. When the first day of March
visits
this remote hill town.
When
unemployed youths fill the alleyways
and
the plots of the poor spread ever wider
in
house agents dens, barbers' shops, soju bars
our
country rejects us. When March the first
once
again comes to this remote hill town.
We
do not believe that flowers will bloom
in
this dust-laden wind. We do not believe
the
news of our country borne on this dust-laden wind.
When
the lasses have all become whores and left,
the
lads gone crazy slashing at daylight
so
that all the county is sullied with blood
our
country leaves us for good. When the first day of March
goes
off and abandons this remote hill town.
March
1 marks Korean Independence, and should suggest national pride but that
is not what these poems suggest:
Before
and After March the First
Mahjong
game, dawn, wallet empty.
Step
into street, face shrivelling at biting wind.
Turn
into Noraengi the miser's place.
Get
drunk in a flash at daybreak.
Shabby
boots thick with mud at the bar.
Still
early dawn, before sunrise,
but
the marketeers are silent for dread,
pigs
off to the slaughterhouse
shudder
and scream for all they're worth.
Go
staggering into the unheated room.
Lifting
a face livid with poverty and fear
the
wife keeps on and on pestering: Let's leave
this
dreadful place before March the First.
Most
of the poems in section 3 repeat this scene, with the male figure struggling
but overwhelmed, obliged to go drinking with his workmates after work,
while the wife waits and suffers at home, and no solution is available.
Going
Blind
Once
the sun weakened, the lads from the lower village
came
calling on me, bringing bottles of soju.
The
wife used to jump and cry out if even so much as
the
shade of an apricot blossom touched the window;
it
took only a few glasses of soju to stir us up
so
we stamped on the floor, pranced round the yard.
After
that we would start to turn just a little bit crazy.
Weeping
aloud, giggling too and shouting out loud,
we'd
drag the wife out to dance the hunchback's dance.
The
weather was still bad despite the extra third month,
my
voice calling the wife stayed pinned to the ground.
I
dreamed I'd shaken off the lads
and
was about to set off for some distant city.
The
poems in Part 4 contain a different perspective. In Part 3, Seoul had been
invisible, a far-away and undesirable place of power and corruption. Now
the speaker seems to be living in Seoul, the home town has become a foreign
place to which there can be no return:
Mountain
Town Visit
Market
day, yet business is slacker than normal.
Drought,
so in the fields hot dust clouds rose while
roofs,
stone walls, stood weary like the laborers.
The
bus stopped in front of the common market
from
where the wife's grave could be seen.
Beneath
a roadside stall's awning I and the boy
drank
a tepid beverage produced by foreign capital.
I
wonder why my hometown friends, seen again at last
after
long separation, have such bloodshot eyes?
No
words. Just hands clasped
and
shaken. That lying smile.
The
narrow chicken-shop alley
littered
with stones and sticks and hoes.
In
front of the barber's shop that used to ring
with
farmers' and miners' quarrels.
The
rice-store path where volunteer firemen used to run.
It's
market day, yet everywhere is gloomier than normal.
Rough
hands grasp mine as I walk away from the wife's grave,
grasp
and won't let go.
Such
poems can suggest multiple layers of emotion, especially when the returning
visitor finds himself confronting childhood friends and the unspoken memories
of grim days long past:
A
Friend
Spotty
always used to get praised in composition class.
His
father guarded the tombs of the Hongs of Namyang.
He
worked at the cooperative rice-mill and set himself up
in
an earth-walled house with no maru.
bought
cucumbers and sour soju
then
sent his wife to boil up some kuksu noodles;
his
wife stammered bashfully like a young girl.
I
knew her father.
I
knew him; he used to deliver liquor on a bicycle,
a
sturdy fellow, always in high spirits.
I
know that mound of stones too, covered with bindweed
under
the zelkova; he was stoned to death and buried there.
Is
that why you're ashamed of your wife, and your first kid,
in
third grade, shy of strangers just like her?
Of
the A-frame in front of the kitchen, the rough water jar?
Old
friend. Nowadays I can make my way alone
to
the pine grove up behind the warehouse.
That
place where my cousin and his friends
used
to make charcoal, old friend.
We
get even more drunk surrounded by the wheat bran
and
the noise of the mill,
go
out to the market, arms round shoulders.
Old
friend, is that why you're ashamed?
The
climax of the entire sequence comes at the end of section 4:
Commemorations
1.
Cotton
turumagi
overcoats
stinking
of makkolli
the
men squatting on straw mats
were
discussing the times with haggard faces.
Fearfully
emaciated faces.
Still
the kids were cheerful.
In
a bonfire lit under a sheltering rock
they
roasted stale rice-cake ttok and dried pollack,
went
racing in circles and toppling headlong.
2.
--Even
after twenty years the home village
hasn't
altered in the least. Poverty-like
kids
are crying and they are all
shouting
at me.
Speak
out! Speak out! Speak out!
Alas,
there is nothing I can say.
The
poet is empowered to become 'the voice of the voiceless' but seems himself
still to be extremely unsure about what he can say. That is surely why
the poems that follow this one, inSection
5, are Shin Kyong-Nim's earliest works, his first attempt to 'Speak out'
which led him only back into years of silence.
The
last two sections continue to echo the voices of the village-folk, still
as hopeless and alienated and unconscious as ever, but now more remote
from the poet. The poems have become records of memories rather than the
direct reflection of events.
Section
six seems to begin with a new poetic vocation, but set now in a dream:
Night
Bird
I
woke from a dream
where
I was pursued by a bier
round
and round a zelkova tree.
Suddenly
I heard a bird sing.
Wake
up now, mistreated wretch.
Open
your lips, downtrodden wretch.
Flying
carefully through a lowering sky
with
not a spare inch for so many resentful ghosts,
that
night bird sobs so sadly.
One
boy sobs sadly, too, pitifully
clinging
to the back of the bier.
Past
and present have lost their unity, the speaker has lost touch with his
past:
Year's-End
Fair
I'm
looking increasingly haggard,
ashamed
of being alive.
Along
the now dismantled rails
a
little county town
a
cold year's-end fair.
to
whispers full of malice.
All
day long I wandered through the market alleys
hoping
to find someone I knew.
This
poem is like a lot of other in the book, an evocation of almost nothing
happening. Should we compare Shin Kyong-Nim with Samuel Beckett? There
is certainly a feeling of absurdity in a lot of his work; people spend
whole lifetimes waiting for sense to come, but in vain it seems. The celebrations
that tradition imposes only serve to highlight the lack of any will to
rejoice, while any preparation for resolute action, or even protest, turns
quickly into a whimper or a drinken riot. The dance of the farmers announced
in the title barely rises above a shuffle except when it turns into a rough
drunken shambles, and never takes off into the carefree mirth that the
simple peasants are expected to enjoy in the lighter forms of pastoral
and georgic. The reader in search of charm and aesthetic pleasure is going
to be frustrated.
Instead,
we see, the poet has brought us into direct contact with people whose lives
could scarcely be more remote from that of the poetry-reading milieu of
1970s Seoul. Not that it was totally unfamiliar, since many of the people
living in Seoul had come there from just such remote villages; but it was
the first time that anyone had ventured to make such realities the subject
of lyric verse that clearly had no other purpose. This is not activist
poetry in the sense that it seeks to provoke outrage and social change.
It is much closer to memorial verse, a commemoration of lost generations,
like a war memorial: "Least we forget".
The
last poem in the book expresses something not unlike nostalgia, it is full
of the sense of turning pages; yet perhaps there is also a trace of hope
in the last line? At least, history goes on and the tale is not yet fully
told:
We
Meet Again
We
first met
in
the squeaky back seat of the classroom
up
the cold dew-sodden stone stairs.
Mates
from Kyongsang and Cholla
as
well as Ch'ungch'ong provinces,
we
first grasped hands in friendship
in
rain and wind and dust.
In
shouts and curses and fisticuffs.
Our
second-floor wooden rented room in Ch'ungmu-ro,
the
grog-house down that obscure alley in Ulchi-ro,
the
ruins of Myong-dong,
dark
basement caf?s,
that
old professor's lectures on western history
echoing
in the classroom,
the
silence in the library on Saturday afternoons
the
distant roar of trams
if
you turned a page.
A
friend came dashing out,
his
great hands white with chalk,
he
said one was up in some Kangwon mountain town
running
a fish shop, while another was in charge
of
a rice mill in a remote Ch'ungch'ong village.
We're
all scattered far and wide now,
in
factories, mines, even in distant countries,
we
get up in the night and hold out a hand,
we
look to see what's flowing in our blood,
we
see things clotting in the dark:
the
noise of shouting blazing up
in
Cheju and Kangwon and Kyonggi provinces
in
rain and wind and dust,
in
nostalgia, dissatisfaction, and fruitfulness.
Shin
Kyong-Nim continued to write, of course, although none of his later volumes
had the impact of Farmer's Dance. His interest in rural traditions
of song brought a deeper lyricism into his work, although that is something
that hardly comes through in translation. Several later poemswith
titles taken from Shamanistic rites addressed the issue of the unhealed
division of Korea. These poems are more dramatic and emotional than anything
in Farmers' Dance:
Ssitkim
Kut
--
A wandering spirit's song
Go
your way in peace, they say, go your way in peace.
With
your broken neck, hugging severed limbs,
go
a thousand, ten thousand leagues down the road
to
the land beyond, without night or day;
go
your way in peace, they say, go your way in peace.
Sleep
now, they say, sleep quietly now.
Though
a myriad million years pass, never open those eyes
blinded
with blood as you fell in barley field, meadow,
or
patch of sand;
sleep
now, they say, sleep quietly now.
Seize
hold, with your slashed and slivered hand
seize
warmly hold of these blood-covered hands.
A
new day has come, the sun is shining bright,
birds
are carolling, the breeze is balmy,
so
seize hold with your slivered hand, they say, seize hold.
I
cannot go with my broken neck and severed limbs,
I
cannot seize your blood-covered hands.
I
have come back, with blood-blinded eyes glaring,
I
have returned
with
my broken neck, hugging severed limbs;
I
grind my teeth and wish bitter frost may drop from heaven.
I
cannot seize hold with this slivered hand,
I
cannot seize your blood-covered hands;
I
have come back, a dense storm-cloud,
to
alleys, markets, factories, quays;
I
have come back, a violent clamor.
Time
will not allow much more illustration. There are two possible ways ofending
this paper. One is to read one of the most recent poems of Shin Kyong-Nim
that I have translated, though he has published more since I did these.
I think it exemplifies his entire life and work.
Outside
the Wall
Splendid
trees, magnificent flowers,
all
are growing inside the garden,
while
there is nothing but tough grass and tiny flowers
in
the stony ground stretching outside the wall,
where
I sit with a bottle of soju from the tiny store, here,
where
I have been laboring for thirty years past and more.
With
no need to feel futile and even less call to be sorrowful,
spreading
my wet socks on the wall to dry,
reclining
with my head pillowed on my jacket,
I
can see pale stars abandoned faint in the sky above
beyond
our footsteps dimly printed across the fields.
How
can I just idly hum to the bird song creeping from the ailanthus?
In
the stony ground stretching outside the wall
with
bent trees and shrivelled flowers,
I
find myself lying mingled with abandoned stars and dreams.
The
humble man of the poor village has no desire to enjoy or write about the
elegant gardens of the rich and content. He has all he needs outside the
wall, with stars and dreams. Or I might end by reading several versions
of one poem that I did in an attempt to explore various ways of translating
a poem that is particularly noted for its ballad-like qualities of language
and rhythm. First, a 'standard' translation, line-by-line and as close
as possible to the sense of the original:
Mokkye
Market
The
sky urges me to turn into a cloud,
the
earth urges me to turn into a breeze,
To
turn into a peddler sad even in autumn light,
going
to Mokkye Ferry, three days' boat ride from Seoul,
to
sell patent face-powders, on days four and nine.
The
hills urge me to turn into a meadow flower,
the
stream urges me to turn into a stone.
To
hide my face in the grass when hoarfrost bites,
to
wedge behind rocks when rapids rage cruel.
To
turn into a traveller with pack laid by, resting
on
a clay hovel's wood step, river shrimps boiling up,
changed
into a fool for a week or so, once in thrice three years.
The
sky urgesme to turn into a breeze,
the
hills urge me to turn into a stone.
The
Song of Mokkye Market
Turn
into a cloud, the sky insists,
become
a breeze, the earth suggests,
become
a breeze and wake the weeds,
clouds
scattering, the rain blown away
from
the riverside bank where the ferry lands.
Turn
into a peddler, haunt the fairs,
finding
no joy in bright autumn sun,
visit
Mokkye market on every fifth day,
sell
Park's Patent Powder to the women there,
only
three days by boat from the streets of Seoul.
Turn
into a flower, the hills suggest,
become
a pebble, the river insists;
on
chill frosty nights hide your face in the grass,
in
the fury of rapids wedge under a rock.
Become
a wanderer, wearily resting
outside
a poor hut, your pack laid aside,
take
shrimps from the river and boil them hard,
a
happy fool for a week, after so many years.
Turn
into a breeze, the sky suggests,
become
a pebble, the hills insist.
The
Ballad of Mokkye Fair
I
heard the sky speak, and it said to me:
Turn
into a breeze so glad
That
it wakes the weeds at the river-side
When
storms and rain are gone;
Turn
into a peddler all forlorn,
To
Mokkye Fair plod on,
Full
three days from Seoul by boat, for sure
There
the women are waiting in line
For
your patent powder, your knick-knacks sweet,
When
the date has a four or a nine.
I
heard the hills speak, and they said to me:
Turn
into a flower, dear boy;
The
river murmured: Turn to stone
And
let that be your joy.
Hide
your face when hoarfrost bites,
Hide
it in the sedge;
Take
refuge when the torrents rage,
Behind
a boulder wedge.
Turn
into a wanderer; weary, take rest
By
some poor hovel's door;
Stay
there, lay your pack aside,
Boil
shrimps from the river's shore.
Enjoy
yourself, play the fool for a bit,
After
all this time alone.
I
heard the sky speak: Become a breeze;
But
the hills bade me turn to stone.
Shin
Kyong-Nim continues to roam; you can often meet him in Insadong of an evening,
roaming with friends from one bar to another and usually spending at least
part of the time in the bar called 'For Peace Making' which is often full
of the very loud raucous voices of more-or-less drunken artists and writers.
If he recongizes you, he will probably repeat one of his favourite greetings,
one full of feeling, very simple, and completely sincere, like the poet
himself: "Come along; come and have a drink!"
Shin
Kyong-Nim's Nongmu / Farmers' Dance is available in
a bilingual edition, translated by Brother Anthony and Young-Moo Kim, published
in 1999 in Korea by DapGae Publications and in the U.S by the Cornell
East Asia Series (Cornell University East Asia Program)
A
selection from Shin Kyong-Nim¡¯s later poems, with a few from Farmers¡¯
Dance, is available in Variations, a bilingual edition of
poems by Kim Su-Young, Shin Kyong-Nim, Lee Si-Young, translated by Brother
Anthony and Young-Moo Kim, published in 2001 by the Cornell
East Asia Series (Cornell University East Asia Program)