New Tales of the Golden Terrapin (金鰲新話, 금오신화) (Source)
Kim Shiseup (金時習, 김시습, 1435-1493) was a Chosun dynasty Confucian and Buddhist scholar. He was of the Gangreung Kim Clan (江陵金氏, 강릉김씨); his courtesy name (字, 자) was Yeolgyeong (悅卿, 열경); his pen name (號, 호) was Maeweoldang (梅月堂, 매월당) among many others; his dharma name (法名, 법명) was Seoljam (雪岑, 설잠); his posthumous name (諡, 시) was Cheonggan (淸簡, 청간). Born to a military family in Seoul, Kim Shiseup was immediately recognized as a child prodigy. He learned how to read at eight-months old and composed his first Classical Chinese poem at the age of three. (I suspect Kim Shiseup may have been a high-functioning autistic savant, as he suffered from stuttering all his life and was not very sociable.) News of his genius soon traveled around Seoul and reached the court. When Kim Shiseup was just five years old, King Sejong (世宗, 세종, 1397-1450, r. 1418-1450) invited him to the Royal Secretariat (承政院, 승정원) to write poetry. While the King did not personally meet him, he gave Kim Shiseup silk cloth as a gift. Because of this monumental event, he received the nickname “the five year old (五歲, 오세).” Others poking fun of him would later twist his nickname to “arrogant toward the world (傲世, 오세)” as a pun. In 1452, after the three-year mourning period for his mother, Kim Shiseup married a woman from another gentry family, but still feeling downcast decided to enter a Buddhist monastery to study Buddhism. While at the monastery, he heard news that Prince Suyang (首陽大君, 수양대군) had usurped the throne from his nephew King Danjong (端宗, 단종, 1441-1457, r. 1452-1455) to become King Sejo (世祖, 세조, 1417-1468, r. 1455-1468). He lamented the situation, and burned all his writings and books. Kim Shiseup then received tonsure and became a Buddhist monk. Since he survived King Sejo’s purges, he would later become known as one of the “Six Surviving Ministers (生六臣, 생육신).” For some number of years, Kim Shiseup traveled vagabond around the countryside, but eventually became a hermit on Mount Geumo (金鰲山, 금오산) near Gyeongju (慶州, 경주). In 1471, after King Sejo and his successor passed away, he decided to move to a mountain near the capital. Ten years later in 1481, Kim Shiseup gave up being a Buddhist monk (還俗, 환속) and married again. Soon after, however, when Lady Yoon (淑儀尹氏, 숙의 윤씨, 1455-1482) was dethroned for scratching the face of the monarch, Kim Shiseup again fled from the capital to wander around the countryside. He passed away in 1493 from illness with no children.
Throughout his life, he was renowned for his poetry and writing. During his vagabond years on Mount Geumo from 1465 to 1471, Kim Shiseup wrote several works on Confucianism and Buddhism in an attempt to resolve the two, when the latter was deemed by many of his contemporary intellectuals as heterodox. It was also during this time period that he authored what is considered to be the first ever Korean novel, the New Tales of the Golden Terrapin (金鰲新話, 금오신화) . Written in Classical Chinese, this work is a collection of six stories, containing a mix of prose and poetry. Two of the poems in this novel are Lyric Poetry or Ci (詞, 사), one of which is from the first story in the novel, Playing Jeopo at the Temple of Ten-Thousand Fortunes (萬福寺摴蒲記, 만복사저포기). In this story, an old man named Yang (梁生, 양생), who lost his parents at an early age, laments his bachelor status. At a nearby Buddhist temple, Yang bets with Buddha to grant him a wife, throwing betting sticks used in the board-game Jeopo (摴蒲, 저포), and wins. The next day, a young woman shows up to the temple to supplicate for her parents that were killed in a raid by Japanese pirates (倭寇, 왜구). They both converse and welcome each other, and become husband and wife.
生雖疑怪, 談笑淸婉, 儀貌舒遲, 意必貴家處子, 踰墻而出, 亦不之疑也.
생수의괴, 담소청완, 의모서지, 의필귀가처자, 유장이출, 역불지의야.
Although Master [Yang] doubted and thought it was strange — [the young handmaiden’s] laughter was clear and elegant; her appearance as leisurely and composed –, he thought to himself that she must have come from a rich household, and stepped over a wall to escape. He then stopped doubting.
觴進, 命侍兒, 歌以侑之, 謂生曰: “兒定仍舊曲, 請自製一章以侑, 如何?”
상진, 명시아, 가이유지, 위생왈: “아정잉구곡, 청자제일장이유, 여하?”
With a chalice of wine put forward, he directed the handmaiden to sing to enliven [the aura]. Calling Master [Yang], she said, “This young one can only fit to old tunes. Please write one verse to suggest for enlivening [the aura]. Would you?”
生欣然應之曰: “諾.” 乃製滿江紅一闋, 命侍兒歌之, 曰:
생흔연응지왈: “락.” 내제만강홍일결, 명시아가지, 왈:
Master Yang was enthralled and responded, “Certainly!” He then wrote one verse of the tune Filling the River Red (滿江紅, 만강홍) and directed the young handmaiden to sing it:
To the Tune of Filling the River Red:
Sorrowful and Doleful, Chilly Spring
惻惻春寒 측측춘한 仄仄平平
羅衫薄 라삼박 平平仄
幾回腸斷 기회창단 仄平平仄(韻)
金鴨冷 금압랭 平仄仄
晩山凝黛 만산응대 仄平平仄
暮雲張繖 모운장산 仄平平仄(韻)
錦帳鴛衾無與伴 금장원금무여반 平仄平平平仄仄(韻)
寶釵半倒吹龍管 보채반도취룡관 仄平仄仄平平仄(韻)
可惜許 가석허 仄仄仄
光陰易跳丸 광음이도환 平平仄仄平
中情懣 중정만 平平仄(韻)
Sorrowful and doleful, the spring is chilly;
My silk jacket is thin.
How many times have I had my liver cut?
My golden duck-shaped burner grows cold;
Eventide mountains congeal as if eyebrow paint;
Dusk clouds open up as though an umbrella.
Upon silken curtains and feathered quilts, I have no companions to be together with:
The precious hairpin half-turned calls for the dragon-shaped pipe.
Oh, how pitiful this is!
Light and darkness easily bolt away as if a pellet.
My inner emotions remain dejected.
- 腸斷(창단) – Literally, “to cut a liver.” Refers to heartbreak.
- 金鴨(금압) – Literally, “metal duck” or “golden duck.” Refers to an incense burner in the shape of a duck.
- 光陰(광음) – Literally “light and shadow.” Refers to time.
燈無焰 등무염 平平仄
銀屛短 은병단 平平仄(韻)
徒收淚 도수루 平平仄
誰從款 수종관 平平仄(韻)
喜今宵鄒律 희금소추률 仄平平平仄
一吹回暖 일취회난 仄平平仄(韻)
破我佳城千古恨 파아가성천고한 仄仄平平平仄仄(韻)
細歌金縷傾銀椀 세가금루경은완 仄平平仄平平仄(韻)
悔昔時 회석시 仄仄平
抱恨蹙眉兒 포한축미아 仄仄仄平平
眠孤館 면고관 平平仄(韻)
The lamp has no flame;
The silver folding-screen is short.
My lonely collected tears,
Who will follow and like?
Jovial, tonight’s Chu’s tunes (鄒律, 추률),
Once played, bring back the warmth,
And smash the resentments of the thousands of ancients in our beautiful town.
The delicate song, the Golden Silk-thread (金縷曲, 금루곡), overturns my silver bowl.
Regretting the times of the past,
I embrace resentment, with a worried frown.
And I slumber in my lonely room.
- 鄒律(추율) – Refers to a melody composed by Zou Yan (鄒衍, 추연, 305-240BC), a Chinese philosopher who was the founder of the School of Naturalists (陰陽家, 음양가) and theorized the Theory of Five Elements (五行相生說, 오행상생설) of Chinese philosophy. In one account, Zou Yan visited the State of Yan (燕, 연, 11th c.-222BC) located in northern China at the invitation of King Zhou of Yan (燕昭王, 연소왕, ?-279). There, because of the cold weather, grains did not grow. Zou Yan is said to have blown a wooden, reeded pipe (律管, 율관) to cause the weather to become warmer and allow crops to grow.
- 佳城(가성) – Literally, “beautiful town.” Euphemistically refers to one’s burial mound.
- 金縷(금루) – Name of a tune. It also has another Lyric Poetry rubric.
- The poem follows the a variant of tune, Filling the River Red (Manjianghong). The variant is Spring Waters Connects with the Heavens (春水連天, 춘수연천). Its rubric has two verses of ninety three characters in total (雙調九十三字). The former verse has eight lines with five oblique tone rimes (前段八句五仄韻). The latter verse has ten lines with six oblique tone rimes (後段十句六仄韻). The oblique tone rime used throughout the poem is 旱(한). As described in the Imperial Compilation of Lyric Poetry Rubrics (欽定詞譜, 흠정사보):
雙調九十三字, 前段八句五仄韻, 後段十句六仄韻
平仄平平, 平平仄, 仄平平仄(韻), 平仄仄, 仄平平仄, 仄平平仄(韻), 仄仄平平平仄仄(韻), 仄平仄仄平平仄(韻), 仄仄平, 平仄仄平平, 平平仄(韻)
平平仄, 平平仄(韻), 平仄仄, 平平仄(韻), 仄平平平仄, 仄平平仄(韻), 平仄平平平仄仄(韻), 仄平平仄平平仄(韻), 仄仄平, 仄仄仄平平, 平平仄(韻)