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<span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'>(</span><span style='color: rgb(34, 34, 34); font-family: "MS 明朝";' lang="KO"><font face="굴림">草廬三間</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'>)</span><BR><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'></span> <BR><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'><font color="#000000">>"I think the <br>> term ch'oryŏ samgan, other than ch'oga samgan, is a rather unusual one, <br>> but also referring to a native Korean measurement--that is kan, ca. <br>> 1.82 meters times 1.82 meters. "3 kan" therefore comes to about 30 <br>> square meters--that's what, the size of a student's studio? </font></span><BR><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'><font color="#000000"></font></span> <BR><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'><font color="#000000">Yes, but in this case "3 rooms", </font><font color="#222222">間 is also "room" (in Chin. too).</font></span><BR><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'></span> <BR><p style="background: white;" class="ecxMsoNormal"><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">나</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">한</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">간</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'>, </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">달</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">한</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">간에</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">청풍</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'>(</span><span style='color: rgb(34, 34, 34); font-family: "MS 明朝";' lang="KO"><font face="굴림">淸風</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";'>) </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">한</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">간</font></span><span style='color: rgb(34, 34, 34); font-family: "Times New Roman";' lang="KO"> </span><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림">맛져두고</font></span></p><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font face="굴림"></font></span> <BR><span style="color: rgb(34, 34, 34); font-family: AppleGothic;" lang="KO"><font color="#000000">I also like the sequence I, moon, wind . Years ago someone told me, Koreans avoid "I". Well, definitely not in Sijo. I think it was the late Chŏng Pyŏnguk who did some statistics about Sijo and the highest frequency had "I"....</font></span><BR><p style="background: white;" class="ecxMsoNormal"><br> >This is therefore *not* an example for poetry in <br>> the context of "garden culture" (and garden architecture) but more so <br>> of the sort of gardens (and possibly related buildings) that Werner <br>> described, and that again is something I would see as proof for the <br>> absence of garden culture. …</p><p style="background: white;" class="ecxMsoNormal"> </p><p style="background: white;" class="ecxMsoNormal">Yes, it is not about garden at all, it is about 풍류, and therefore </p><p style="background: white;" class="ecxMsoNormal">>but more so <br>> of the sort of gardens (and possibly related buildings) that Werner <br>> described, and that again is something I would see as proof for the <br>> absence of garden culture. …</p><p style="background: white;" class="ecxMsoNormal">is beside the point, right?</p><p style="background: white;" class="ecxMsoNormal"> </p><p style="background: white;" class="ecxMsoNormal">Best</p><p style="background: white;" class="ecxMsoNormal">Werner</p><div id="SkyDrivePlaceholder"></div> <BR> <BR><div>> Date: Sun, 12 Aug 2012 21:41:15 -0700<br>> From: hoffmann@koreaweb.ws<br>> To: koreanstudies@koreaweb.ws<br>> Subject: Re: [KS] Korean Tea Ceremony and other wonders<br>> <br>> <br>> 十年을 經營하야 草廬三間지어내니<br>> <br>> Translated as:<br>> <br>> It took ten years to build / my little thatched hut.<br>> <br>> What about the kyŏngyŏng-haya part?<br>> That just seems so essential. Isn't he saying that it took 10 years of <br>> his life to plan that hut (not to actually build a small house), and is <br>> that not just a poetic way to say he needed an awful long time to get <br>> his life straight, to understand what all is about, what's important <br>> and what not? Reminds me a lot of Tang period poetry, clearly informed <br>> by Buddhist thought. I like how you translate the third and last line <br>> ending in -porira, kind of really reflects the a fresh and imposing, <br>> early Korean Buddhist spirit (that somehow disappeared during Chosŏn <br>> times) while being very contemporary in feeling.<br>> <br>> The late Richard Rutt, whom I very much admire for his translations, <br>> rendered the poem as follows:<br>> <br>> At the end of ten years’ work<br>> I have a hut with a straw roof.<br>> The clear wind lives in one half,<br>> and the bright moon in the other.<br>> There’s no space to invite the hills--<br>> they will have to stay outside.<br>> <br>> I like the translation of the first line, for it seems to reflect the <br>> meaning of kyŏngyŏng more pointedly, and "hut with a straw roof" seems <br>> not to be so overly cute than "little thatched hut" also. But your <br>> ending, on the other hand, that seems far more Korean in spirit (almost <br>> pre-Chosŏn Buddhist) than the all too passive ending by Rutt. <br>> <br>> Beautiful, absolutely beautiful this spirit! No family, no social life, <br>> no responsibilities, just an old man enjoying himself and his endless <br>> wisdom. Today you have to be a Facebook executive, sell your stock <br>> portfolio early enough, and get a house in the Berkeley Hills to enjoy <br>> this kind of life. Also gives you some hints as to why there were <br>> peasant unrests in Korea almost every single year all through the <br>> Chosŏn period--they just did not achieve the same yangban wisdom, did <br>> not invest into the right portfolio to relax the same way Mr. Song Sun <br>> was privileged to. <br>> <br>> Let's return to garden culture and garden architecture: A "hut" is <br>> little by definition. The phrase "little thatched hut" (in the <br>> translation) is an often used phrase in English, and familiarity with <br>> phrases is good for translations, maybe. But, and since this comes up <br>> within the context of garden culture (and architecture), I think the <br>> term ch'oryŏ samgan, other than ch'oga samgan, is a rather unusual one, <br>> but also referring to a native Korean measurement--that is kan, ca. <br>> 1.82 meters times 1.82 meters. "3 kan" therefore comes to about 30 <br>> square meters--that's what, the size of a student's studio? The <br>> standard Korean house was in traditional times more around five kan <br>> large. Of course, there were all kinds of variations, regional ones and <br>> by status. A poor peasant family house could have well been only three <br>> kan large. In any case, this is "just" poetry: we may simply take this <br>> to mean a reference to a smaller house "in the hills" (or mountains), <br>> which COULD be a kind of pavilion but also just a standard <br>> Korean-style, smaller house--not the normal yangban residence. Now, <br>> that is for sure a classical poetic setting in both China and Korea. <br>> But please note how very 'loose' and non-pointed the references to <br>> nature are, pretty much in line with what Werner described. There are <br>> no specific references to specific locations (e.g. specific mountains <br>> and rivers, as so often in landscape painting, for example, and other <br>> poems, usually referring to places in China, at least until the <br>> mid-Chosŏn period). This is therefore *not* an example for poetry in <br>> the context of "garden culture" (and garden architecture) but more so <br>> of the sort of gardens (and possibly related buildings) that Werner <br>> described, and that again is something I would see as proof for the <br>> absence of garden culture. … A single short poem, of course, is by no <br>> means sufficient to proof anything. <br>> <br>> Maybe Dr. Kim-Renaud could kindly summarize how the mentioned <br>> conference paper by In-Souk Cho interprets this particular poem in <br>> relation to Korean architecture? I'd again fear the worst here. That <br>> MIGHT then be a great example of exactly the kind of manipulative <br>> writing I was referring to (or it might not). <br>> <br>> <br>> Best,<br>> Frank<br>> <br>> <br>> <br>> --------------------------------------<br>> Frank Hoffmann<br>> http://koreaweb.ws<br>> <br></div> </div></body>
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