Korean literature is the body of literature produced by Koreans, mostly in the Korean language and sometimes in Classical Chinese. For much of Korea's 1,500 years of literary history, it was written in Hanja. It is commonly divided into classical and modern periods, although this distinction is sometimes unclear.
There are four major traditional poetic forms: hyangga ("native songs"); byeolgok ("special songs"), or changga ("long poems"); sijo ("current melodies"); and gasa ("verses"). Other poetic forms that flourished briefly include the kyonggi-style, in the 14th and 15th centuries, and the akchang ("words for songs") in the 15th century. The most representative akchang is Yongbi och'on ka (1445–47; Songs of Flying Dragons), a cycle compiled in praise of the founding of the Yi dynasty. Korean poetry originally was meant to be sung, and its forms and styles reflect its melodic origins. The basis of its prosody is a line of alternating groups of three or four syllables, which is probably the most natural rhythm to the language.
One famous earliest poetry or lyric song was the Gonghuin (Konghu-in) by Yeo-ok during Gojoseon.
Hyangga
Hyangga () was written in Korean using modified hanja in a system that is called idu (). Specifically, the variety of idu used to write hyangga was sometimes called "hyangchal". Idu was a system using hanja characters to express Korean. The key to the system was to use some hanja characters for their intended purpose, their meaning, and others for their pronunciation, ignoring their pictographic meaning. On the surface, it appears to be a complicated, even incomprehensible system, but after using the system one becomes comfortable with certain characters consistently standing for Korean words.
Hyangga was the first uniquely Korean form of poetry. It originally indicated songs that were sung in the Silla period. Only twenty five survive. The Samguk yusa contains 14 poems and the "Gyunyeojeon", a set of biographies of prominent monks, contains eleven poems. Both these classic works were written much after the Unified Silla, in the subsequent Goryeo dynasty, yet the poems in the Samguk yusa appear to be based on no-longer-extant records actually from the Silla period.
Hyangga are characterized by a number of formal rules. The poems may consist of four, eight or ten lines. The ten-line poems are the most developed, structured into three sections with four, four, and two lines respectively. Many of the ten-line poems were written by Buddhist monks, and Buddhist themes predominate the poems. Another dominant theme was "death". Many of the poems are eulogies to monks, to warriors, and to family members.
Jemangmae-ga (Lament for My Sister; 제망매가; 祭亡妹歌) is a hyangga written by a Buddhist monk named . Through this hyangga he mourns the death of his sister. Ode to Eternal Life ()
Goryeo songs The Goryeo period was marked by a growing use of hanja characters. Hyangga largely disappeared as a form of Korean literature, and "Goryeo gayo" () became more popular. Most of the Goryeo songs were transmitted orally and many survived into the Joseon period, when some of them were written down using hangul.
The poetic form of the Goryeo songs is known as byeolgok () or changga. It flourished during the middle and late Koryo dynasty. It is characterized by a refrain either in the middle or at the end of each stanza. The refrain establishes a mood or tone that carries the melody and spirit of the poem or links a poem composed of discrete parts with differing contents. The theme of most of these anonymous poems is love, the joys and torments of which are expressed in frank and powerful language. The poems were sung to musical accompaniments chiefly by women entertainers, known as kisaeng. There are two distinct forms: dallyeonche ()and yeonjanche (). The former is a shorter form in which the entire poem was put into a single stanza, whereas the latter is a more extended form in which the poem is put into several stanzas. The Goryeo songs are characterized by their lack of clear form, and by their increased length. Most are direct in their nature, and cover aspects of common life.
Sijo and Gasa
Sijo and gasa are closely linked to the development of hangul in the early Joseon period. As hangul was created, akjang was developed as a way to note musical scores using the Korean script. King Sejong himself is credited with a compilation of Buddhist songs.
Sijo (literally current tune) was common in the Joseon period. Although its poetic form was established in the late Goryeo period, it did not become popular until the Joseon period. Many of the sijo reflected Confucian thought; the theme of loyalty is common. Sijo are characterized by a structure of three stanzas of four feet each. Each foot contains three to four syllables except on the third stanza, where the 1st foot is supposed to have 3 syllables and the 2nd foot can have as many as seven. Sijo are thought to have been popular with common people.
Gasa is a form of verse, although its content can include more than the expression of individual sentiment, such as moral admonitions. Gasa is a simple form of verse, with twinned feet of three or four syllables each. Some regard gasa a form of essay. Common themes in gasa were nature, the virtues of gentlemen, or love between man and woman.
Prose
Korean prose literature can be divided into narratives, fiction, and literary miscellany. Narratives include myths, legends, and folktales found in the written records. The principal sources of these narratives are the two great historical records compiled in Classical Chinese during the Koryo era: Samguk sagi (1146; "Historical Record of the Three Kingdoms") and Samguk yusa (1285; "Memorabilia of the Three Kingdoms"). The most important myths are those concerning the Sun and the Moon, the founding of Korea by Tangun, and the lives of the ancient kings. The legends touch on place and personal names and natural phenomena. The folktales include stories about animals; ogres, goblins, and other supernatural beings; kindness rewarded and evil punished; and cleverness and stupidity. Because the compiler of the Samguk yusa was a Zen master, his collection includes the lives of Buddhist saints; the origin of monasteries, stupas, and bells; accounts of miracles performed by Buddhas and bodhisattvas; and other tales rich in shamanist and Buddhist elements. It also includes the 14 hyangga mentioned above. The compilations made in the Koryo period preserved the stories of prehistoric times, of the Three Kingdoms, and of the Silla dynasty and have remained the basic sources for such material. Later compilations made during the Yi dynasty served as a major source of materials for later Yi dynasty fiction.
Fiction
Korean fiction can be classified in various ways. First, there is Korean fiction written in Chinese and that written in Korean. Second, there are the short works of one chapter, "medium" works of about 10 chapters, and long works of more than 10 chapters. Third, there are works of yangban writers and those of common writers. In respect to the last classification, however, there is also a group of fictional works in which the viewpoints of the yangban and the commoner are combined. Most of this fiction was based on the narratives mentioned above, the author adding incidents and characters to the original story. It is not possible to assign definite dates or authors to most of these works. The stories are generally didactic, emphasizing correct moral conduct, and almost always have happy endings. Another general characteristic is that the narratives written by yangban authors are set in China, whereas those written by commoners are set in Korea.
The literary miscellany consists of random jottings by the yangban on four broad topics: history, biography, autobiography, and poetic criticism. Like fiction, these jottings were considered to be outside of the realm of officially sanctioned Chinese prose (e.g., memorials, eulogies, and records), but they provided the yangban with an outlet for personal expression. Thus, their portrayal of the customs, manners, and spirit of the times in which they were composed make these writings an essential part of Korean prose.
The first known classical work of Korean fiction is Kŭmo sinhwa (金鰲新話 금오신화 New stories from Mount Kŭmo) by Kim Sisŭp. It was written in Chinese. From the 17th century onwards, fiction became increasingly popular and more readily available through book rental schemes.
Pansori-based fiction was a particularly popular form of fiction, appearing in the late 17th and early 18th century, based on the five orally transmitted pansori (Chunhyangga, Simcheongga, Heungbuga, Jeokbyeokga and Sugungga). Although based on older traditional songs, it was composed in its present form in the 1870s by Shin Jae-hyo, a pansori writer, and was characterized by human stereotypes of ordinary people of the time.
In the mid-Joseon period, parable-like stories were published. By the end of the Joseon period, many writers had started to deviate from the orthodox conventions of classical Chinese literature, and literature about common people such as merchants, thieves, or gisaeng was commonplace.
Kim Manjung (1637–1692) wrote The Cloud Dream of the Nine (). Tale of Hong Gildong () Chunhyangjeon is a kodae sosol () novel based on the pansori Chunhyangga. Several lives of the poet Ch'oe Ch'iwŏn have come down: In hanmun the Choegounjeon () Choemunhonjeon (), in hangul the Choechungjeon (), The Story of Faithful Ch'oe.
Oral literature Oral literature includes all texts that were orally transmitted from generation to generation until the invention of Hangul (han'gul)--ballads, legends, mask plays, puppet-show texts, and p'ansori ("story singing") texts.
Some song lyrics (e.g., Hyangga), which originated in oral tradition, were recorded using the hyangchal system, reflecting the highly developed literary activity from early in Korean history. These orally transmitted texts are categorized as ballads and are classified according to singer (male or female), subject matter (prayer, labour, leisure), and regional singing style (capital area, western, and southern). The songs of many living performers, some of whom have been designated as "intangible national treasures" by the South Korean government, are still being recorded.
Legends include all those folk stories handed down orally and not recorded in any of the written records. These legends were for long the principal form of literary entertainment enjoyed by the common people. They deal with personified animals, elaborate tricks, the participation of the gods in human affairs, and the origin of the universe. An example of a folktale orally passed is the Gyeonmyo jaengju which is about a journey a cat and a dog take to retrieve a lost marble out of gratitude toward their master.