Hwang Jini

1.1. Birth and Early Life

Hwang Jin-i was born around 1506 in Kaesong (then known as Songdo), the former capital of the Goryeo Dynasty. Her father was a noble scholar named Hwang Jin-sa, but her mother was a gisaeng or a woman of Cheonmin (lowest social class) status, possibly named Jin Hyeon-geum, who some legends describe as visually impaired. Due to the Joseon era's `Jongmobop` (following the mother's social status), Hwang Jin-i, despite her noble father, was born into the lowest social class. It is believed that "Hwang Jin-i" was not her birth name but rather "Hwang Jin" with the suffix "-i" attached, a common practice for women's names at the time. Another name attributed to her is Jinrang (眞娘).

Raised by her single mother, Hwang Jin-i received an education comparable to that of a noble daughter. She began learning Hanja (Chinese characters) at the age of eight and by ten, she was reportedly capable of reading classical Chinese texts and composing Han poems. Her talents also extended to calligraphy and playing the gayageum, a traditional Korean string instrument. Legends suggest that mineral water flowed from a well on a hill in Jangdan County, where she lived, even until Korea's liberation in 1945.

1.2. Becoming a Gisaeng

The exact circumstances of Hwang Jin-i's decision to become a gisaeng are not definitively known, but several legends explain her choice. One prominent story recounts that at the age of 15, a young man from her village, deeply in love with her, died of lovesickness after his proposal was rejected due to their differing social statuses. During his funeral procession, his coffin reportedly stopped in front of Hwang Jin-i's house and refused to move. Hwang Jin-i, in a gesture of profound sorrow and regret, took off her inner skirt (sokjeoksam) from her Hanbok and placed it on the coffin. Only then did the coffin proceed. This event is said to have led her to believe that a normal life was not possible for her, prompting her to choose the path of a gisaeng.

Another account suggests she became a gisaeng out of despair over her status as an illegitimate daughter of a gisaeng or `cheonmin` mother. Regardless of the precise reason, her decision to become a gisaeng was a deliberate act of refusing the strict social norms imposed on women of her time. The Joseon Dynasty, during her birth, was in a period of transition following the downfall of the tyrannical King Yeonsan-gun and the ascension of King Jungjong, which brought about a new social atmosphere that allowed gisaengs more opportunities to showcase their artistic talents. The gisaeng life offered her an unparalleled freedom to pursue education in dance, music, art, literature, and poetry-subjects typically inaccessible to most young women in Joseon society.

1.3. Life as a Gisaeng and Artistic Activities

After choosing the gisaeng path, Hwang Jin-i enrolled in a `gyobang` (gisaeng training institution) where she honed her artistic skills. She became proficient in playing the geomungo, composing sijo poems, and mastering various forms of dance. Her talents quickly made her famous throughout the Joseon Dynasty. She was officially registered as a `hojang`, a position akin to a public record keeper, which further allowed her freedom in her artistic pursuits.

Hwang Jin-i, known by her gisaeng name Myeongwol (Bright Moon), was not only celebrated for her beauty and vocal abilities but also for her deep knowledge of Neo-Confucianism and classical texts. She engaged with prominent scholars, intellectuals, and even royalty of her time, exchanging poems and forming relationships. She was known to challenge and even humble high-ranking officials and scholars, including the royal relative Byeokgyesu, and the Buddhist monk Jijok Seonsa, who was renowned for his ten years of ascetic practice. Hwang Jin-i famously seduced Jijok Seonsa, causing him to break his monastic vows, and challenged Byeokgyesu's pride, proving her wit and charm.

She was also known for her unique approach to her profession, often appearing without elaborate makeup or luxurious clothing, believing that such adornments would hinder her freedom of expression. Her life as a gisaeng allowed her to express herself and her emotions through music, poetry, and dance, often exploring themes of sorrow and love, which were common among gisaengs. While gisaengs were more educated than most women, their low social standing meant they could never be the primary wives of yangban (noblemen) and often faced societal stereotypes. Despite these limitations, Hwang Jin-i's art depicted the complex emotional struggles of gisaengs, making her a unique figure who transcended her social class.

1.4. Relationships and Love

Hwang Jin-i's exceptional beauty, wit, and artistic prowess attracted many men, from high-ranking scholars to commoners, who sought her company. Her relationships were often subjects of anecdote and legend.

She developed a profound respect for Seo Gyeong-deok, a leading scholar of her time. Although she attempted to seduce him, she failed to sway his integrity. Instead, she was so impressed by his scholarship and noble character that she became his disciple, frequently visiting his hermitage with her geomungo and wine to learn Tang poetry from him. Together with Seo Gyeong-deok and Pakyon Falls, Hwang Jin-i was known as one of the "Three Wonders of Songdo" (송도삼절_{Songdo Samjeol}^Korean), a testament to her legendary status.

Her romantic entanglements included a six-year cohabitation with the famous singer Yi Sajong, spending three years at his home and three years at hers before they parted ways. She also traveled extensively with literati and artists, visiting famous mountains like Mount Kumgang with Yi Saeng, a minister's son, sometimes resorting to begging or selling herself for food during their travels. These relationships, while unconventional for her time, allowed her to experience life freely and deeply, inspiring much of her artistic output.

1.5. Later Life and Death

The precise date and cause of Hwang Jin-i's death remain unknown, though it is estimated to have occurred around 1560 to 1567. Legend has it that before her death, she made an unconventional last request: that her body not be placed in a coffin but instead left exposed by a stream outside the east gate of Kaesong. This was purportedly to serve as a warning to other women, to prevent them from falling into similar "licentious" ways, or perhaps as a final act of defiance against the rigid Confucian traditions of Joseon society. Some accounts claim her wish was fulfilled, and her body was later buried by a man who took pity on her. Her grave is said to be located in Pangyo-ri, Jangdan-myeon, Jangdan County, Gyeonggi Province (currently Panmun-gun, Seonjeok-ri in North Korea).

After her death, Hwang Jin-i's legacy was complex. While her artistic genius was undeniable, her bold lifestyle and perceived "immoral" conduct, particularly her challenges to the hypocrisy of the `yangban` class, led to her being largely ignored or criticized in official historical records. Her works were often suppressed or lost during subsequent periods of conflict, such as the Imjin War and Byeongja Horan, and many were deliberately destroyed due to the prevailing societal condemnation of her as a symbol of "obscenity." Despite this, her stories and poems continued to be passed down through oral tradition and folk tales, preserving her memory and artistic contributions. Some of her surviving works are found in anthologies like Cheongguyong-eon, Haedonggayo, and Dongguksi-seon, as well as in historical records such as Geumgye Pildam and Eou Yadam.

2.1. Sijo Poetry

Only a handful of Hwang Jin-i's sijo poems exist today, but they are highly regarded for their literary merit and emotional depth. Her sijo often describe the natural beauty of Kaesong, including sites like the Manwoldae palace ruins and Pakyon Falls in the Ahobiryong Mountains. They also convey the personal tragedy of her lost loves and serve as responses to famous classical Chinese poems, frequently reflecting on themes of separation and unfulfilled affection. Her sijo are praised for their intricate craftsmanship, sophisticated language, and innovative use of imagery, which injected vitality into the conventional sijo form.

In one of her most famous poems, "I will divide this long November night," Hwang Jin-i uses the term 어론님_eoronnim^Korean, which carries a double meaning, referring to both her beloved and a person frozen by winter cold, illustrating a poignant "frozen love."

冬至 섯달 기나긴 밤을 한 허리를 잘라 내어
春風 이불 아래 서리서리 넣었다가
어론님 오신 날 밤이여든 구뷔구뷔 펴리라.^Korean

I will divide this long November night
and coil by coil
lay it under a warm spring blanket
and roll by roll
when my frozen love returns
I will unfold it to the night.

Another notable sijo, "Green water, do not boast," is addressed to Byok Kye Su (also known as Yi Changon or Yi Jongsuk), a man famed for his virtue whom Hwang Jin-i famously seduced. The poem uses "Green water" as a pun on Byok's name (벽계수_碧溪水^Korean), and "Full Moon" is a play on Hwang Jin-i's gisaeng name, Myeongwol (명월_{Bright Moon}^Korean). This poem, also known as "Blue Stream," metaphorically represents her longing for him to stay, depicting the complex emotions of a gisaeng who falls in love with a client despite the societal restrictions on their relationship.

청산리 벽계수(靑山裏 碧溪水)야 수이 감을 자랑 마라.
일도창해(一到滄海)하면 다시 오기 어려워라.
명월(明月)이 만공산(滿空山)할 제 쉬어간들 어떠리.^Korean

Green water, do not boast
of your rapid flow from the blue mountains.
It is hard to return
when you've reached the blue sea.
A full moon graces these peaceful hills:
Won't you rest a while?

2.2. Music and Other Arts

Hwang Jin-i was a multifaceted artist, excelling not only in poetry but also in music, dance, painting, and calligraphy. She was particularly skilled at playing the geomungo, a six-stringed zither, and her musical compositions were noted for their skilled arrangement. Her expertise in various art forms allowed her to express her emotions and intellect beyond the confines of written verse, making her performances highly sought after by both the upper and lower classes.

2.3. Riddles and Intellect

Hwang Jin-i was renowned for her quick wit and extraordinary intellect, often challenging men who sought her company with complex riddles. Her most famous riddle, "Jeomiligu Idubulchool" (점일이구 이두불출_{點 一 二 口 牛 頭 不出}^Korean), was reportedly given to any man who wished to become her lover. The solution to the riddle was embedded within its title: "Jeomiligu" (점일이구_{點 一 二 口}^Korean) combines to form the Chinese character for "spoken word" (言), and "Idubulchool" (이두불출_{牛 頭 不出}^Korean) forms the character for "day" (午). When combined, these two characters create the Chinese character for "consent" (許). This riddle demonstrated her intellectual prowess and served as a test to find a man of equal intellect, one whom she might consider for marriage. It showcased her ability to engage in intellectual discourse, a privilege rarely afforded to women in Joseon society.

3.1. Social Criticism and Spirit of Freedom

Hwang Jin-i's life was a direct challenge to the strict social norms and patriarchal structures of the Joseon Dynasty. Born into a low social status despite her noble lineage, she refused to be confined by societal expectations that restricted women to domestic roles and limited their intellectual and artistic pursuits. By choosing the life of a gisaeng, she gained a unique freedom to learn, express herself, and interact with various social classes, including the most prominent scholars and officials.

Her artistic expressions, particularly her sijo, often contained subtle or overt critiques of the hypocrisy and superficiality of the `yangban` class. Her seduction of figures like Jijok Seonsa and her intellectual challenges to others were seen as acts of defiance against the moral authority of the male-dominated Neo-Confucian society. She pursued personal autonomy and artistic expression as a form of social commentary, embodying a spirit of freedom that resonated with many, even as she was condemned by the conservative elite. In some modern interpretations, she is depicted as a "revolutionary" and "class-conscious" figure who broke conventions and sought to elevate the status of women and artists.

3.2. Literary and Historical Position

Hwang Jin-i holds a unique and significant position in Korean literary and historical contexts. Her sijo poems are considered among the most beautiful ever written, praised for their high literary quality, sophisticated language, and innovative use of imagery. She is credited with bringing a new vitality to the sijo form, particularly by infusing it with themes of love and human emotion that were often absent from the more formal sijo of male scholars.

Within the history of gisaeng literature, Hwang Jin-i is a towering figure. Her ability to compose poetry in both Hangeul and Hanja, coupled with her mastery of music and other arts, set her apart. Despite efforts to suppress her legacy due to her social status and unconventional lifestyle, her works and anecdotes persisted through oral tradition, influencing subsequent generations of artists and writers. She represents a powerful female voice in a period when women's contributions to arts and letters were largely marginalized, making her an enduring symbol of women's artistic prowess and resilience in Korean history.

4.1. Portrayals in Literature

In the late 20th century, Hwang Jin-i's story gained significant attention in both North and South Korea, inspiring a diverse range of novels. Notable literary works include a 2002 novel by North Korean writer Hong Sok-jung, which uniquely became the first North Korean novel to win a literary award, the Manhae Prize, in South Korea. Another bestseller was a 2004 novel by South Korean writer Jeon Gyeong-rin. These literary interpretations often explore her life with varying perspectives, sometimes portraying her as a "revolutionary" figure who challenged class consciousness. Other authors like Yi Tae-jun, Kim Tak-hwan, and Choi In-ho have also penned novels based on her life.

4.2. Adaptations in Film and Television

Hwang Jin-i's life has been extensively adapted into films and television dramas, solidifying her status as a cultural phenomenon. She is often depicted as an intelligent and artistic woman who defied the patriarchal society.

Hwang Jin-i's story has also been adapted into operas, including "The Moon That Rose Again After 400 Years － Hwang Jini" staged in 2003 at the Seoul Arts Center, and a traditional Korean operetta "Hwang Jini" performed by the National Center for Korean Traditional Performing Arts in 2009, featuring traditional music and Hwang Jin-i's poems. Additionally, she has been portrayed in the 1982 KBS1 documentary Rivals in History by Noh Kyung-joo, and her name inspired a popular trot song titled "Hwang Jin-i" by Park Sang-chul.

5.1. Key Contemporaries and Influences

Hwang Jin-i's life was intricately woven with that of many significant figures of her time, who either influenced her or were influenced by her.

• Seo Gyeong-deok: A prominent Neo-Confucian scholar whom Hwang Jin-i admired and learned from, despite her failed attempts to seduce him. Their relationship became a symbol of intellectual and artistic connection transcending social boundaries.
• Byeokgyesu (Yi Changon/Yi Jongsuk): A royal relative and a man of high standing whom Hwang Jin-i famously seduced, challenging his pride and showcasing her charm and wit.
• Jijok Seonsa: A Buddhist monk renowned for his ascetic practices, whom Hwang Jin-i reportedly seduced, leading to him breaking his vows. This anecdote highlights her powerful allure and defiance of conventional morality.
• Yi Sajong and Yi Saeng: Other literati and noblemen with whom Hwang Jin-i had significant relationships, demonstrating her extensive social network and her freedom to engage with various individuals across social strata.

5.2. Gisaeng Culture and Social Stratification

Hwang Jin-i's life was shaped by the unique social system of gisaengs in Joseon Dynasty. Gisaengs were officially sanctioned female entertainers, educated from a young age in poetry, music, and dance. While they were more educated than most women of their time, they were still considered part of the `cheonmin` class, the lowest social stratum, often facing stereotypes and lacking full societal respect. They provided entertainment for the `yangban` class, performing sijo poems, singing, and dancing. Despite their artistic privileges, gisaengs faced the harsh reality that they could never become the primary wives of `yangban` men, limiting their social mobility and personal freedom in marriage. Hwang Jin-i, however, often broke from these conventions, using her position to express herself and challenge societal norms.

5.3. Joseon Dynasty Society and Women's Roles

The Joseon Dynasty was a deeply patriarchal society governed by strict Neo-Confucian principles, which heavily dictated women's roles and status. Women were largely confined to their homes, considered property, and had limited rights. Marriage was arranged, and daughters born out of wedlock, like Hwang Jin-i, faced severe social stigma and were often deemed "untouchable." This rigid societal framework made Hwang Jin-i's life and choices particularly remarkable. Her refusal to conform to these restrictions and her pursuit of an independent artistic life represented a profound act of rebellion against the prevailing expectations for women, making her a symbol of early female emancipation and resistance against oppressive social structures.