Korean poetry

Sijo - An introduction.

As I'm in the habit of saying, I'm no expert, and this also applies to my knowledge of Korean poetry and its various forms. My interest comes from a life-long love of eastern places and the beauty that emanates from them. What follows are my own gleanings, with as few mistakes and as few of my own opinions as possible.

Background.

Odd as it might seem, the Korean language does not belong to the Chinese family, though in common with many countries in that part of the world, classical Chinese was the main written language until the mid fifteenth century AD when the Korean alphabet was invented.

Korea, much like China, had various "Dynasties", the first recorded one being the SILLA (57 BC - 935 ad). It was in this dynasty, during the 5th century, that a system was devised to transcribe what was only a spoken language before into a written one, using a system that utilised Chinese graphics. Most, if not all, the traditional old Korean songs/poems (called "hyangga") were written down at this time, but only about 25 survive today.

Again, like in most other countries of the region, Buddhist monks and knights ("hwarang") were the most literate scholars for a long time, and 17 of the 25 extant hyannga were concerned with Buddhist though and inspiration. It wasn't really until the Korean alphabet was invented that it became more commonplace for other educated people to write their songs/poetry in the local vernacular. During the Koryo dynasty (918 - 1392 ad) Several forms evolved (and most of them have passed out of common use). this introductory piece will only deal with Sijo, which is still alive and thriving today.

Sijo (pronounced - seezho) - how they evolved:

It is believed that Sijo were first written in the early years of the Choson dynasty (1392 -1910 AD). In the first half of it the writers were mostly the lettered classes and women entertainers, and then beginning from the 18th century they were also written by all sorts of people.

Any subject is allowable, though many stay with the old favourites of complaints about virtue, the beauty of friendship, fear of death, desertion, the natural world, and (of course) matters of religion and inspiration.

A long form, sasol sijo, was developed - and through this all the crafts of poetry became used, such as alliteration, assonance, etc - especially onomatopoeia. Also, they took on board a lot more humour, satire, and many tended towards burlesque - being written by ordinary people not only scholars, they often became very frank and explored the entire range of the vernacular.

Details of form and structure:

Sijo are often based in nature, but by no means always, very often using word play and puns, metaphors, symbols, you name it - the entire bag of poetic tools. They deal with, mostly, subjective and personal subjects - ranging from the profound to the proverbial, gentle humour to a sharp wit. They can be narrative or carry a theme.

Sijo are traditionally composed in three lines of 14-16 syllables each, totalling between 44-46 syllables. Each line has a pause or break in the middle, approximately. Since its importation into the English language in modern times, sometimes each of the three lines has been split into two at the mid-line pause, making it a six line layout.

The first line (or two in the case of the six line layout) introduces a situation or problem. The second line develops or "swings" much like in Japanese forms (renga, tanka, haiku). The third line usually resolves what has gone before, with the first part using a "twist" of tone, meaning or some other method.

Although the form is not metric, it can have elements of a "sprung rhythm" - mainly because of the nature of the Korean script, and they were originally written to be sung. This can lead to each half line being divided into two parts.

Right? Right.. quarters, averaging between 3 and 5 syllables, not often discernable or strictly necessary, but it does add to the musical quality of the verse.

Sijo do not as a rule use end rhymes - though some modern exponents of the form (notably WillimKim) have experimented with them, with varying degrees of success. It's probably best to avoid them if at all possible, and remember the three things that make sijo unique - basic structure, rhythm and musicality, and the "swings" or "twists".

Suggested syllabic patterns:

These tend to work well, if you are using a -

14 syllable line : 7 + 7; 6 + 8 (or) 8 + 6
15 syllable line : 7 + 8 (or) 8 + 7
16 syllable line : 8 + 8; 9 + 6 (or) 6 + 9

Unless you have a very good and specific reason to do otherwise, line 2 is usually the longest line in sijo. For preference *don't* exceed 46 syllables - though you can use less than 44, with due care and attention.

Beware: terse/choppy phrases don't work all that well, Sijo are essentially musical. If it sounds disjointed when read aloud you need to rethink it, add more syllables more often than not - smoothly does it! Especially between lines 1 and 2.

Remember at all times:

Line 1 presents a theme or problem.
Line 2 "turns" the thought, develops it.
line 3 resolves the problem or concludes the theme.
(The first "half" of line 3 must have a "twist", by using a surprise in tone, sound, meaning or other device.)

End rhymes (in particular) can overpower the subtle structure of sijo, if you must use them please do so very sparingly. Internal rhyme is better, again used very sparingly. A fair guideline is no more than a couple in either case.

Sijo are a short form - be carefull with your word choices, don't waste the few you have. Using imagery is good when your subject requires it, but it is by no means considered essential.

Linked and series:

Several Sijo can be "linked", much in the way of Japanese renga, by taking an aspect from one and either "turning" or "pivoting" on it for the next one.

Similarly, several Sijo can be written developing a theme or topic into a series.

Why not try it?


Have fun!

Neil