๋์ ๋ํ์ค์ ํฐ ๋น๋๊ท
๊ฐ๋ํ ๋ด๊ฐ
์๋ฆ๋ค์ด ๋ํ์ค๋ฅผ ์ฌ๋ํด์
์ค๋๋ฐค์ ํนํน ๋์ด ๋๋ฆฐ๋ค
๋ํ์ค๋ฅผ ์ฌ๋์ ํ๊ณ
๋์ ํนํน ๋ ๋ฆฌ๊ณ
๋๋ ํผ์ ์ธ์ธํ ์์ ์์ฃผ๋ฅผ ๋ง์ ๋ค
์์ฃผ๋ฅผ ๋ง์๋ฉฐ ์๊ฐํ๋ค
๋ํ์ค์ ๋๋
๋์ด ํนํน ์์ด๋ ๋ฐค ํฐ ๋น๋๊ท๋ฅผ ํ๊ณ
์ฐ๊ณจ๋ก ๊ฐ์ ์ถ์ถ์ด ์ฐ๋ ๊น์ ์ฐ๊ณจ๋ก ๊ฐ ๋ง๊ฐ๋ฆฌ์ ์ด์
๋์ ํนํน ๋๋ฆฌ๊ณ
๋๋ ๋ํ์ค๋ฅผ ์๊ฐํ๊ณ
๋ํ์ค๊ฐ ์๋ ์ฌ ๋ฆฌ ์๋ค
์ธ์ ๋ฒ์จ ๋ด ์์ ๊ณ ์กฐ๊ณคํ ์ ์ด์ผ๊ธฐํ๋ค.
์ฐ๊ณจ๋ก ๊ฐ๋ ๊ฒ์ ์ธ์ํํ
์ง๋ ๊ฒ์ด ์๋๋ค
์ธ์ ๊ฐ์ ๊ฑด ๋๋ฌ์ ๋ฒ๋ฆฌ๋ ๊ฒ์ด๋ค
๋์ ํนํน ๋๋ฆฌ๊ณ
์๋ฆ๋ค์ด ๋ํ์ค๋ ๋๋ฅผ ์ฌ๋ํ๊ณ
์ด๋์ ํฐ ๋น๋๊ท๋ ์ค๋๋ฐค์ด ์ข์์ ์์์์ ์ธ์ ๊ฒ์ด๋ค
Nawa Natasyawa huin dangnagwi
Gananhan naega
Areumdaun natasyareul saranghaeseo
Oneulbameun pukpuk nuni narinda
Natasyareul sarangeun hago
Nuneun pukpuk nalligo
Naneun honja sseulsseulhi anja sojureul masinda
Sojureul masimyeo saenggakanda
Natasyawa naneun
Nuni pukpuk ssaineun bam huin dangnagwireul tago
Sangollo gaja chulchuri uneun gipeun sangollo ga magarie salja
Nuneun pukpuk narigo
Naneun natasyareul saenggakago
Natasyaga ani ol ri eopda
Oonje beolsseo nae soge gojogonhi wa iyagihanda.
Sangollo ganeun geoseun sesanghante jineun geosi anida
Sesang gateun geon deoreowo beorineun geosida
Nuneun pukpuk narigo
Areumdaun natasyaneun nareul saranghago
Eodiseo huin dangnagwido oneulbami joaseo eungangeungang ureul geosida
Biography
Baek Gihaeng, known as Baek Seok (1912โ1995), was a North Korean poet beloved by all Koreans. In the Republic of Korea, the publication of his works was strictly prohibited for many years because he was labelled a North Korean and a communist. However, since the publication of his collected works in 1987, he has been widely re-evaluated by scholars and critics.
Baek Seok was born in Jeongju in North Pyeongan. He studied English literature with French and Russian at Aoyama Gakuin University in Tokyo, Japan, before returning to Korea, where he began a career in journalism at the Chosun Ilbo in 1934. It was in the Chosun Ilbo, on 31 August 1935, that Baek published his first poem โJeongju Seongโ (Jeongju Fortress). The next year, on 20 January, he personally published a collection of 33 poems he had written, entitled Saseum (Deer). It was long believed that Baek Seok had died on a collective farm in 1963; however, personal documents later revealed that he lived until 1996 (Choe 2001). Baek Seokโs poetry contains a lot of North Korean language, reflecting his origins.
Baek had a lover called Jaya, whose birth name was Kim Yeonghan (1916โ1999). She became a gisaeng1 at the age of 16 to support her family following the death of her father. She learned court music and dancing from Ha Kyuil (1867โ1937), a well-known authority on court music, and became renowned for her talents in artistic performance. Kim met Baek Seok in her early twenties when he was an English teacher at the Yeongsaeng Kobo school in Hamgyeong, North Korea. Baek used to call Kim โJayaโ, referring to the poem โJayaogaโ (ๅญๅคๅณๆญ, Zi ye wu ge) by Li Bai (701โ762), also known as Li Bo. Baek and Jaya wanted to marry, but faced opposition from Baekโs family who were unhappy about Jayaโs background. Baek wanted to flee with Jaya to Manchuria, but she refused out of concern for him.
In 1989, Jaya set up a successful business, running a high-end restaurant for politicians and businessmen with her fellow gisaeng. She also established the Baek Seok literary award. In 1996 she published the book My Love Baek Seok (Nae Sarang Baek Seok). Jaya later gave away one billion dollars (100 billion won) to construct a temple in the middle of Seoul named Gilsang Temple. Missing Baek, she said that one billion dollars was worth less than one line of his poems.
It is often assumed that the โNatashaโ in Baekโs poem is Jaya and that the poem describes his dream to flee with his lover to Manchuria. Baek Seok had a great interest in Russian literature and was also known to be fluent in Russian. Perhaps the name Natasha alludes to the prominent character in Tolstoyโs War and Peace, reflecting his love for Russian literature.
Commentary
North Korean words
Baek Seokโs poems are coloured by his North Korean identity. They often contain words and phrases from the Pyeongbuk region. One example in this poem is chulchuli โ baepsae in Modern Korean โ meaning โblue titโ. Other examples include: magari โ omaksari in Modern Korean โ meaning โhutโ, and gojogonhi โ goyohi in Modern Korean โ meaning โquietlyโ.
Dialect is a significant feature of Baekโs poetry and its use appears to be of great importance to the poet. Yet this feature of language may be rendered invisible in the process of translation. Iโve underlined the North Korean words in the original poem above. There are many different ways in which a writer may choose to reveal a regional identity when writing in their native language. However, it is questionable whether a translator also needs to create a similar identity โ or whether they can themselves create a distinct voice. When the terms are โfunctionโ words rather than โcontentโ words, I think it is best to transcribe their features โ even partially. If the word is a content word, perhaps we can translate it using a common English word and include a footnote to show its linguistic and cultural heritage.
Onomatopoeia and vowel harmony
Another challenge when translating Korean poems is the rich use of onomatopoeic expressions. These are examples of words without much meaning, yet with melodic repetition, they become a key prosodic feature. One method of reviving such meanings is to approximate the prosodic forms and meanings from the original poem. In this poem, the word pukpuk, with its repetition of the dark vowel u, is used to describe the way the snow falls heavily yet quietly. Although not strictly adhered to nowadays, vowel harmony was one of the defining characteristics of the Korean language and common to the other languages of Altaic origin. In Korean, vowel harmony was strictly observed until the 15th century. Light vowels, such as a (ใ
) and o (ใ
), only occurred with other light vowels, whereas dark vowels, such as u (ใ
) and eo (ใ
), only occurred with other dark vowels. Light vowel pairs bring a light atmosphere, whereas dark or heavy vowels bring a heavy atmosphere. Consider the following examples, taken from Kiaer (2018: 10):