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Other inspiring collections of Lee's poetry and essays include; Light a Fire in My Soul (1979), The Face of Time (1989), A Little Prayer (2011), Happiness of Waiting (2018) and As If Leaves Are Seen After Flowers Fall (2011). Her poem "The Love Song of a Dandelion" which is a reflection on both consolation and hope appeared in Korean middle ...
Kim Sowol (Korean: 김소월; 1902–1934) was a Korean language poet famous for his contributions to early modern poetry. [1] Throughout his life he wrote his poignant poetry in a style reminiscent of traditional Korean folk songs. The most prized example of this style was "Azaleas (진달래꽃)", the title poem of his sole collection of poetry.
Korean poetry can be traced at least as far back as 17 BC with King Yuri's Song of Yellow Birds but its roots are in earlier Korean culture (op. cit., Rutt, 1998, "Introduction"). Sijo , Korea's favorite poetic genre, is often traced to Confucian monks of the eleventh century, but its roots, too, are in those earlier forms.
A Flower Tree (Korean: 꽃나무) is a poem written by the Korean author Yi Sang and published in the magazine <Catholic Youth (가톨닉靑年)> in July 1933. It is one of the representative works in surrealist and introspective literature from the 1930s. The poem explores themes of self-identity, the desire for self-fulfillment, and the ...
Chu Yo-han's work as a whole more or less reflects a gradual turning away from styles and forms influenced by Western poetry toward traditional Korean poetry. Like Kim Eok, he was a major figure in Korean Literature who pioneered the move away from Western imitation to his literary roots.
Ko Un (Korean: 고은; born 1 August 1933) is a South Korean poet whose works have been translated and published in more than fifteen countries. He had been imprisoned many times due to his role in the campaign for Korean democracy [1] and was later mentioned in Korea as one of the front runners for the Nobel Prize in Literature.
Gasa (Korean: 가사) or kasa was a form of poetry popular during the Joseon period in Korea. Gasas were commonly sung, and were popular among yangban women. Jeong Cheol, a poet of the 16th century, is regarded as having perfected the form, which consisted of parallel lines, each broken into two four-syllable units.
The poem “The Heartbreak of Cheoyong” (Cheoyong danjang) signaled the beginning of the third period and a radical break with from his previous work. The poems of this period, rather than centering on the chimerical world of images that were the subject of his previous poetry, emphasized the other worldly, the plane beyond images.