Korea's famous & lt; Chunhyang biography & gt; in the end is how a story ah?

The novel 'Chunhyang Chuan' is a classical literary masterpiece that has been passed down orally by the Korean people for a long time. It is said that the story was first produced in the 14th century during the era of King Gongmin of Goryeo, and it was not until the end of the 18th century and the beginning of the 19th century that a complete work was finalized in the reigns of King Young-jo (1724-1776), the twenty-first generation king of the Lee Dynasty, and King Jeong-jong (1776-1800), the twenty-second generation king of the Lee Myung Dynasty. It was only during this period that a complete work was finally formed. There have been many different versions such as the Jeonju version of "The Martyr Chunhyang's Song for Keeping the Festival", the Kyung version of "Chunhyang's Tale", the Chinese version of "The Record of Suosan Gwanghwangro", the Han version of "Chunhyang's Tale", and the codex "Ancient Chunhyang's Tale", etc. In 1954, the Publishing House of the Writers' Alliance of Korea published "Chunhyang's Tale" with the title "Chunhyang's Tale" after organizing and annotating it on the basis of "Martyr Chunhyang's Song for Keeping the Festival"

The story of Chunhyang's Tale is a household name and well known to everyone. It is divided into two volumes. The upper volume is about Chunhyang, the daughter of Wolmei, a retired prostitute (note: retired prostitute refers to a geisha who changed her nationality). Moon plum's daughter Chunxiang Chingming tour of spring in the wide cold building met two classes of Hanlin's son Li Menglong, the two mutual admiration, private marriage. Li Hanlin soon transferred to the capital, ordered Menglong first, Chunxiang, Menglong had to say goodbye. The next volume writes the new South Plains Ambassador Bian Xuedao arrived and forced Chunxiang to guard the hall for him (Note: guarding the hall is the meaning of concubines, but is not a formal concubine.), Chunxiang did not comply, forced to go down. Chunxiang refuses to comply and is forced to go to prison, her life is at stake. Menglong won the examination in Beijing and was appointed as the royal envoy of Quanluo, secretly inspecting the Southern Plains. He found out the truth of Bian Xuedao's evil deeds, and went to Bian Xuedao's birthday banquet in microclothes, dropping a satirical poem to attack him. Afterwards, Bian Xuedao was dismissed and punished, and Chunxiang and Menglong were reunited and *** went to the capital.

Why did such a sentimental story with a happy ending become so popular at the end of the Li Dynasty, evolving into the stereotypical novel Chunxiang Zhuan? Simply put, this is because Chunhyang Chuan expressed the thoughts and emotions of the Joseon people at that time, and the Joseon people had to reflect their loves, hates, and desires through Chunhyang Chuan. In the feudal society of the Joseon Dynasty at the end of the 18th century and the beginning of the 19th century, the aristocracy was extravagant, the rule of the two classes was dark and corrupt, and the people were persecuted and exploited. Peasants' revolts, citizens' struggles, and the revelations and attacks on the feudal system by actual thinkers had all reached a climax, and the feudal system of the Li Dynasty was on the verge of collapse. It was under these historical conditions that the Chunxiang biography was perfected through the oral tradition of the people.

It is clear from this that Chunxiang Zhuan is by no means a mere romance novel. It takes the love story only as a plot thread, while the struggle against Bian Xuedao is the central event. It attacks the corrupt rule of the bureaucrats of the Li Dynasty. The theme of the novel is to glorify the resistance of the people. This theme is illustrated in the poem "Golden Bottle of Wine and Thousands of People's Blood" written in the novel.

The main character of the novel is Sung Chun-hyang, the daughter of a retired prostitute, Wol-mae. During the circulation of the work, the Korean people y sympathized with her misfortune and warmly praised her unyielding qualities. She is a representative of the beautiful image of Joseon women who fought for freedom of love and marriage at the end of the Lee Dynasty.

Marriage should be a union of love. The young Chunhyang made a free choice of her "life matter" according to such a criterion. Although she is the daughter of a retired prostitute, but "since early childhood, strong will, the amount of people". "Never like that ingenious generation", dreaming of "*** knot the same heart" of love. Guanghan building coincidentally met two classes of the son of Hanlin Menglong, Chunxiang break through the boundaries of identity hierarchy, resolutely and Menglong married. But marriage is after all a social issue, and the faltering ruler of the Li Dynasty continues to uphold the strict class identity system to prolong his dark rule. So when Menglong had to leave the South Plains with his father for the capital, their free marriage revealed more and more the difference in status and class, and Chunxiang, in order to safeguard her rights and personality, started to confront and fight against the feudal society.

The first conflict between Chun-hyang and the society is between Chun-hyang and Meng-long, which is a contradiction of two ideas. On the one hand, Chunxiang has always been steadfast in her love. She chose Menglong never to climb the famous family, in love, she had reminded Menglong that between the two families there is a "noble" and "Pengmen" difference, and waited until Menglong "will decide to be true" before combining. On the other hand, at the critical moment of his departure from the South Plains, the noble son Menglong believes in the feudal family tradition that "marrying a geisha's daughter as a concubine is not only bad for the family, but also ...... will surely jeopardize his future", and says to Chunxiang, with whom he was once passionately in love, "Can't we just be together? "The two of us just can't help but break up". This is undoubtedly a manifestation of Menglong's capitulation to the traditional concepts of feudalism.

The conflict between Chunxiang and Menglong was actually a clash between free marriage and the hierarchical status system of "inferiority and superiority" at that time. At that time, Chunxiang pointed out to Menglong, "Don't think that Chunxiang is a lowly woman, so you can abandon her arbitrarily". Chun-hyang further denounces the unreasonable hierarchy: "The two classes of nobles are all vicious! Hate! Hate it! Hateful, hateful, hateful, hateful, hateful, hateful, hateful, hateful, hateful, hateful, hateful, hateful! Anyone would like to see lovers in the world, but I never thought that there are such cruel two classes in the world!" This is Chunxiang's heartfelt call for freedom of love, but also the status of the hierarchical system of grief and indignation protest and serious criticism!

The second conflict between Chunxiang and society occurs between Chunxiang and Bian Xuedao, which is Chunxiang's direct and sharp contradiction and struggle against the two classes and the feudal system, which is a class conflict between the rulers and the ruled, and between the oppressors and the rebels.

The cause of this conflict is Chunxiang's refusal to obey Bian Xuedao for the guard hall, and Bian Xuedao's use of privilege to imprison Chunxiang on death row. Chunxiang is a victim of feudal tyranny, but at the same time an exposer and protester of it. Above the public hall, Chunxiang rebukes Bian Xuedao face to face, "Why is that man who abducted a married woman not guilty?" "Do you rule the people here or do you specialize in torture to weed people out?" Then, and further exposed: "so that the Taoist priests, do not put the four Chief Secretary, do not know forty-eight square South Plains people's suffering, but know that the law to favoritism." She publicly put forward, to "redress the grievances", "would like to get seven feet sword, assassinate thieves and slanderers". She believes that "innocent people will always turn the day", "so that the road is bound to have no good end". Here, Chun-hyang's complaints and protests are the expression of the long-standing resentment and hatred of the Joseon people towards the feudal system. Chun-hyang's struggle against the bureaucratic tyranny from the freedom of personal love to the dignity of her personality has greatly enhanced the social significance of Chun-hyang's image. This makes Chun-hyang an expression of the thoughts, emotions, wills and aspirations of the Korean people at that time.

Lee Mong-ryong was an intellectual who came from the two classes at the end of the feudal period and had some progressive ideas. In the early days, he was a noble gentleman who pursued individuality and liberation and demanded marriage autonomy; when he was appointed as the royal envoy of Jeolla, he was the image of a "clean official" within the feudal ruling class in opposition to Bian Xuedao. The difference between him and the corrupt two classes of the society at that time was that he had some contact with the people. He was a secretive inspector of the Southern Plains and paid attention to the voices of the lower classes. He himself said, "If you want to know what is going on in the city, you have to ask the farmers". He was also able to punish corrupt officials in accordance with public opinion within his power and authority. Finally, he dropped a satirical poem at Bian Xuedao's birthday banquet:

The golden bottle of wine is filled with the blood of a thousand people,

The jade plate of delicacies is filled with the cream of ten thousand people,

The tears of the people fall when the candle tears fall,

The song of discontent rises high when the voice is high.

The poem mercilessly exposes the crimes of Bian Xuedao and his gang in exploiting the people, and focuses on the public's resentment and protests against the morally corrupt feudal bureaucrats who behaved in an ugly manner. After the incident, Bian Xuedao was dismissed in time, cleaned up the prison inmates, and reunited with Chunxiang to fight against the capital.

In the era when the feudal system was in decline and the people's struggle was on the rise, it was possible to produce a "clean official" like Li Menglong. But to completely solve the sharp contradiction between the corrupt feudal system of Li Dynasty and the people, a "clean official" from two classes of aristocrats, using the method of "imperial envoys" and dismissal is absolutely unable to accomplish this historical task. The image of Mongryong only shows that the people of Joseon needed to express their desire to oppose the social evils and change the status quo through the image of this ideal "clean official" at that time.

Byun Hak-do was a typical feudal bureaucrat at the end of the Lee Dynasty. Extravagance and favoritism are his characteristics. In the novel, he is in opposition to Chunxiang, Menglong and the general public. He was originally an "unethical villain" who was "tricky and unruly", but he was continued to be appointed by the bureaucratic ruling group as the ambassador of the South Plains. Instead, he relies on his power to persecute the people and even wants to put Chunxiang to death. Bian Xuedao's greed and brutality are indicative of the fact that the feudal society of the Li Dynasty was so corrupt and decayed that it was close to the brink of death.

The images of Chunhyang, Mongryong and Byunhakdo are typical representatives of different classes of characters in Joseon society at that time. In addition, the book also portrays characters such as maids of honor, schoolboys and geisha, which enriches the picture of social life in the work and shows the author's sympathy for the lower class people.

Artistically, The Legend of Chunxiang is a middle-aged novel with national characteristics and folklore style. The structure of the novel is characterized by folk tales: it has a beginning and an end, and is highly storytelling. The "upper volume" of the novel is written from the birth of Chunxiang to the love and parting with Menglong, which is the "beginning" of the story; the "lower volume" follows the above, unfolding a broad social picture and a scene of ups and downs of struggle. The "next volume" follows the above, unfolding a broad social picture and a series of ups and downs in the struggle: Chunxiang's courageous fight against Bian Xuedao, the imperial envoy's secret inspection of the South Plains, the meeting in the prison, the birthday banquet to fill in the poems, the dismissal of the official, and so on, which step by step pushes the story to the climax and highlights the theme of the work. The "upper volume" focuses on lyricism, the "lower volume" focuses on narration, and finally ends with a happy ending, turning sorrow into joy. The whole work is complete, unified and harmonious, with the interest of classical art.

In terms of characterization, Chunxiang biography, like many folklore works, is closely integrated with the development of the novel's plot in its depiction of the characters' appearance, psychology, and environment. And this description, in turn, clearly shows the author's praise and criticism and expresses the emotions of the people. In portraying Chunxiang, the author combines the episodes of spring tour, love, marriage, etc., and uses fine strokes to depict her appearance, mood, and psychology; moreover, through the scenes of parting, interrogation, and imprisonment, she expresses her inner thoughts and qualities of pursuing equality, defying violence, and struggling courageously. The characters are realistic and ideal. The image of Menglong in the book highlights the use of contrasting techniques to show his thoughts and character in the development of the plot. The writer has praised and criticized him, basically affirming and criticizing. As for the corrupt official Bian Xuedao, he uses the caricature technique to sketch his ugly appearance, showing the people's hatred and denial of the feudal bureaucrats. From this, we can see that the basic creative method of Chunxiangzhuan is realism, but it also contains elements of romanticism.

The style and language of Chunxiang is characterized by folk literature, a combination of "speaking and singing". The "speaking" part is written in prose, while the "singing" part is in rhyme. The prose is easy to understand and is used for narration; the rhyme is beautiful and elegant and is used for description and lyricism. In the novel, the language of the characters is also written in prose and rhyme. Chunxiang's language is written in prose and rhyme, sometimes high and sometimes low, showing her rich inner world and noble qualities; Menglong's language is written in rhyme, reflecting his upbringing and identity; Bian Xuedao's language is written in prose, which seems to be pretentious, rude and arbitrary; the farmer's lyrics are simple and harmonious, showing the nature of the laborers.

The Biography of Chunxiang also quotes many folk songs, nursery rhymes, idioms, aphorisms, slang and short stories, which further enhances the ethnic and folklore character of the work. The book also mentions poetic allusions to ancient Chinese writers, and these, rubbed together with things with Korean national characteristics, mix and mirror each other, reflecting the classical style of the novel even more.

The biography of Chunhyang was also infiltrated by feudalism during its long circulation. On the one hand, the Li dynasty, which was on the verge of collapsing, was praised for its "holy virtue", "longevity" and "peace and prosperity"; on the other hand, it was publicized for its "divine spirit of heaven and earth" and "the spirit of the gods of heaven and earth". On the other hand, it also publicizes religious superstitions such as "the gods of heaven and earth", "divine retribution", and "the end of bitterness and sweetness". These cannot but affect the perfection of the work's thought and image.

All in all, Chunhyang Chuan is an excellent classical literary masterpiece created collectively by the Korean people, and it is the valuable literary heritage of the Korean people, which is y loved by the majority of the Korean people, and up to now, it still gives us a beautiful artistic enjoyment.