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While sijo encompasses a wide variety of traditional Korean poetry, one specific variation that derives from it is known as sijo chang. One of the most significant differences when comparing standard sijo with sijo chang is the presence of musical instruments.
Yun is considered the greatest master of the sijo form in Korean literature. [3] His most famous composition is The Fisherman's Calendar (어부사시사, 1651) [4] a cycle of forty seasonal sijo. In both Chinese and Korean classical poetry, the fisherman
Sijo is a traditional Korean vernacular poetic form that emerged in the Koryǒ period, flourished during the Chosǒn dynasty, and is still written today. Common themes include, but are not limited to, the following: nature, nostalgia of the past, love interests, historical events, moral instruction.
Sŏ Ir-ok (or Seo Il-ok; born 1951) is a Korean sijo poet. Since her debut as a poet in 1990, she has written realist sijo poems with gritty descriptions of Korean society, based on her interest in the marginalized.
Lee Geunbae (Korean: 이근배; born 1 March 1940) is a South Korean sijo poet. He is known for his compositions on Korea's traditions and indigenous environments. He is one of the major contemporary sijo poets. In 2002, he was chosen as chairman of the Society of Korean Poets. He has served as the director of the Korean Headquarters of the ...
Coupled with his modern poetical sensibility toward sijo and its free verse potential, the poet's sijo possessed the power to communicate for and to the people. [5] In a sijo contest sponsored by the Dong-a Ilbo and judged by poet jurist Lee Byeonggi in 1939, Yi's poems Fallen Leaves" (Nagyeop) and "Azaleas" (Jindalle) were awarded prizes. Yi's ...
Many kisaeng were skilled in poetry, and numerous sijo composed by kisaeng have survived. These often reflect themes of heartache and parting, similar to poems composed by scholars in exile. [7] In addition, some of the most famous kisaeng poems were composed to persuade prominent scholars to spend the night. [8]
Lee's poems from this period recall the fact the poet had made his literary debut with sijo or traditional Korean poetry characterized by highly restricted form. [4] Such evolution in Lee's poetic mode indicates that the urgency and the wrenching emotions of his early years have been replaced with psychological calm and contemplative leisure.