2018 JSG Summer Hanmun Workshop (Intermediate)
This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영.
목차
- 1 Description
- 2 Class
- 3 Schedule
- 4 Translation
- 5 List of Hanmun Text
- 6 Text translated by Individual Project
- 6.1 VI-0. (sample) 學琴師襄 translated by YO
- 6.2 VI-1. translated by Student 1
- 6.3 VI-2. translated by Student 2
- 6.4 VI-3. translated by Student 3
- 6.5 VI-4. translated by Student 4
- 6.6 VI-5. translated by Student 5
- 6.7 VI-6. translated by Francisca Cho
- 6.8 VI-7. translated by Student 7
- 6.9 VI-8. translated by Student 8
- 6.10 VI-9. translated by Student 9
- 6.11 VI-10. translated by Althea Volpe
Description
The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature. Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.
Class
A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:
- Week 1 : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
- Week 2 : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
- Week 3 : intertextuality, allusions, and pattern, literary precedents and elicitors
Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.
Instructor
Participants
- 참가자 명단 Participants List cf. 역대 참가자 Previous Participants
Schedule
- Session 1 - 9:00–10:30 AM
- Session 2 - 10:40–12:00 AM, 1:00–2:00 PM
- Session 3 - 2:10–4:00 PM
the 3-Week Schedule - View Details
| Date | Contents | |
|---|---|---|
| 7/2 | S1: Opening Ceremony, Placement Test
S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun |
|
| 7/3 | S1: Tongmong sŏnsŭp 1–4
S2: Ch’ugu 1, 4; Hagŏjip 1–5 S3: Short passages 8, 23, 43 |
|
| 7/4 | S1: Tongmong sŏnsŭp 5–8
S2: Hagŏjip 6–10
|
Field Trip
|
| 7/5 | S1: Tongmong sŏnsŭp 9–13
S2: Ch’ugu 5, 7, 9; Hagŏjip 11–15 S3: Short passages 10, 13, 16 |
|
| 7/6 | S1: Tongmong sŏnsŭp 14–17
S2: Ch’ugu 13, 15, 16; Hagŏjip 16–20 S3: Short passages 9, 15, 24 |
|
| 7/9 | S1: Tongmong sŏnsŭp 18–22
S2: Ch’ugu 18, 19; Hagŏjip 21–25 S3: Short passages 4, 11, 12 |
|
| 7/10 | S1: Tongmong sŏnsŭp 23–25
S2: Ch’ugu 22, 24, 30; Hagŏjip 26–30 S3: Short passages 1, 11, 33, 37 |
|
| 7/11 | S1: Tongmong sŏnsŭp 26–30
S2: Hagŏjip 31–35
|
Special Lecture
|
| 7/12 | S1: Tongmong sŏnsŭp 31–34
S2: Ch’ugu 32, 37, 39; Hagŏjip 36–40 S3: Short passages 5, 17, 20, 38 |
|
| 7/13 | S1: Tongmong sŏnsŭp 35–38
S2: Hagŏjip 41–45
|
Field Trip
|
| 7/16 | S1: Tongmong sŏnsŭp 39–42
S2: Ch’ugu 41, 46, 50; Hagŏjip 46–50 S3: Short passages 21, 27, 36 |
|
| 7/17 | S1: Tongmong sŏnsŭp 43–47
S2: Hagŏjip 51–55
|
Special Lecture
|
| 7/18 | S1: Tongmong sŏnsŭp 48–52
S2: Ch’ugu 56, 57, 58; Hagŏjip 56–60 S3: Short passages 2, 6, 43 |
|
| 7/19 | S1: Tongmong sŏnsŭp 53–56
S2: Ch’ugu 59, 60; Hagŏjip Review 1 S3: Short passages 29, 34, 42 |
|
| 7/20 | S1: Tongmong sŏnsŭp Review
S2: Ch’ugu Review; Hagŏjip Review 2 S3: Short passages 28, 44 |
Translation
We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:
- (1) Faithfulness to the original text
- (2) Linguistic clarity of the translating language
- (3) Detailed annotation to integrate contextual and intertextual information
- (4) Observance of academic convention for translation
List of Hanmun Text
- Session 1 : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)
- Session 2 : Ch’ugu 推句 (Versed Lines)
- Hagŏjip 學語集 (Collection of Sentences for Learning)
- Session 3 : Excerpts for practice
Session 1: 童蒙先習 Preparatory Learning for the Youth
The Tongmong sŏnsŭp is a well-known hanmun primer for novices after their initiation in hantcha with the Chŏnjamun 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (oryun 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.
| date | 童蒙先習 |
|---|---|
| 7/03 | 童蒙先習 01 - 04 |
| 7/04 | 童蒙先習 05 - 08 |
| 7/05 | 童蒙先習 09 - 13 |
| 7/06 | 童蒙先習 14 - 17 |
| 7/09 | 童蒙先習 18 - 22 |
| 7/10 | 童蒙先習 23 - 25 |
| 7/11 | 童蒙先習 26 - 30 |
| 7/12 | 童蒙先習 31 - 34 |
| 7/13 | 童蒙先習 35 - 38 |
| 7/16 | 童蒙先習 39 - 42 |
| 7/17 | 童蒙先習 43 - 47 |
| 7/18 | 童蒙先習 48 - 52 |
| 7/19 | 童蒙先習 53 - 56 |
| * | 御製童蒙先習序 |
| ** | 跋文 |
Session 2-1: 推句 Versed Lines
The Ch’ugu is a collection of pentasyllabic quatrains (o’ŏn chŏlgu 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the Ch’ŏnjamun 千字文, along with the Saja sohak 四字小學 [Four-character Minor Learning], Tongmong sŏnsŭp, and Kyŏngmong yogyŏl 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced t’oego) 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”[1] Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as t'oegu, not ch’ugu. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 Kosa ch’waryo 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that Ch’ugu was more popular as a primer in mid-Chosŏn period.
- ↑ Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using t’oe 推 “push” instead of ko 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ko instead of t’oe, upon which they became good friends in literature. This story is introduced in the Tangshi jishi 唐詩紀事.
| date | 推句 |
|---|---|
| 7/03 | 推句 01, 04 |
| 7/05 | 推句 05, 07, 09 |
| 7/06 | 推句 13, 15, 16 |
| 7/09 | 推句 18, 19 |
| 7/10 | 推句 22, 24, 30 |
| 7/12 | 推句 32, 37, 39 |
| 7/16 | 推句 41, 46, 50 |
| 7/18 | 推句 56, 57, 58 |
| 7/19 | 推句 59, 60 |
| 7/20 | 推句 Review |
Session 2-2: 學語集 Collection of Sentences for Learning
The Hagŏjip is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with Hagŏ 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. Hagŏ was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.
Format
In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese kaeriten 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.
E.g. 學而時習之면 不亦悅乎아
if Q-ending
The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.
After the sentence, key grammatical words and patterns will be introduced.
C: Clause P: Phrase V: Verb A: Adjective N: Noun Adv: Adverb
| date | 學語集 |
|---|---|
| 7/3 | 學語集 01 - 05 |
| 7/4 | 學語集 06 - 10 |
| 7/5 | 學語集 11 - 15 |
| 7/6 | 學語集 16 - 20 |
| 7/9 | 學語集 21 - 25 |
| 7/10 | 學語集 26 - 30 |
| 7/11 | 學語集 31 - 35 |
| 7/12 | 學語集 36 - 40 |
| 7/13 | 學語集 41 - 45 |
| 7/16 | 學語集 46 - 50 |
| 7/17 | 學語集 51 - 55 |
| 7/18 | 學語集 56 - 62 |
Session 3: 選讀 Short Passages for Practice
Excerpts for practice:
8. “Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.
43. “Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.
10. “Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.
16. “Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.
9. “Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi.
15. “Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.
24. “Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.
28. “Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.
39. “Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.
33. “Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.
37. “Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.
34. “Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.
1. “Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.
42. “Ch’ŏyong-nang” 處容郎, Samguk yusa.
5. “Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.
11. “Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.
38. “Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.
27. “Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.
36. “Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.
2. “Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.
44. “Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.
22. "Xushi" 虛實 [Emptiness and fullness], Sunzi bingfa 孫子兵法
(Poetry) Sample Classical Chinese Poems
Text translated by Individual Project
VI-0. (sample) 學琴師襄 translated by YO
VI-1. translated by Student 1
VI-2. translated by Student 2
VI-3. translated by Student 3
VI-4. translated by Student 4
VI-5. translated by Student 5
VI-6. translated by Francisca Cho
卷 第三 > 塔像第四 > 洛山二大聖 觀音 正趣 調信 > 승려 조신이 꿈을 꾼 후
세상의 덧없음을 알고 정토사를 지어 정진하다
昔新羅爲亰師時, 有世逵寺 今㒷教寺也.之莊舎在溟州㮈李郡 按地理志, 溟州無㮈李郡唯有㮈城郡, 夲㮈生郡今寧越. 又牛首州領縣有㮈霊郡, 夲㮈已郡今剛州. 牛首州今春以.校勘 161 今言㮈李郡未知孰是.. 夲寺遺校勘 162僧調信爲知莊. 信到莊上恱□守金昕公之女惑之深. 屢就洛山大悲前潛祈得幸. 方數年間其女已有配矣. 又徃堂前㤪大悲之不遂已哀泣至日暮. 情思倦憊, 俄成假寢忽夢金氏娘容豫入門粲然啓齒而謂曰, “児早識上人於半面心乎愛矣未甞暫忘, 迫於父母之命強従人矣. 今願爲同穴之友故來爾.” 信乃顛喜, 同敀校勘 163郷里計活四十餘霜校勘 164有児息五. 家徒四壁. 藜藿不給. 遂乃落魄扶携糊其口於四方. 如是十年周流草野, 懸鶉百結亦不掩体. 適過溟州蟹縣校勘 165嶺大児十五歳者忽餧死. 痛哭收瘞於道. 從卛校勘 166餘四口到羽曲縣 今羽縣也.. 結校勘 167茅於路傍而舎. 夫婦老且病飢不能㒷. 十歳女児巡乞, 乃爲里獒所噬號痛卧於前, 父母爲之歔欷泣下数行. 婦乃□澁拭涕倉卒而語曰, “予之始遇君也色羙年芳衣袴稠鮮. 一味之甘淂與子分之, 数尺之煖得與子共之出䖏五十年, 情鍾莫逆恩愛綢繆可謂厚縁. 自比年來衰病歳益深, 飢寒日益迫, 傍舎壺漿人不容乞, 千門之耻重似丘山. 児寒児飢未遑計補, 何暇有愛恱夫婦之心㦲. 紅顔巧笑草上之露, 約束芝蘭柳絮飄風. 君有我而爲累, 我爲君而足憂. 細思昔日之歡, 適爲憂患所階. 君乎予乎奚至此極. 與其衆鳥之同餧焉知隻鸞之有鏡. 寒弃炎附情所不堪然, 而行止非人離合有數, 請從此辝.” 信聞之大喜各分二兒将行, 女曰, “我向桑梓. 君其南矣.” 方分手進途而形開. 殘燈翳吐, 夜色将闌. 及旦鬢髮盡白. 惘惘然殊無人世意. 已猒勞生如飫百年辛苦. 貪染之心洒然氷釋. 於是慚對聖容懴滌無已. 歸撥蟹峴校勘 168所埋兒乃石弥勒也. 灌洗奉安于隣寺. 還京師免荘任傾私財創淨圡寺, 懃修白業. 後莫知所終. 議曰. 讀此傳掩卷而追繹之, 何必信師之夢爲然. 今皆知其人世之爲樂欣欣然役役然, 特未覺尓. 乃作詞誡之曰. 快校勘 169適湏臾意已閑, 暗從愁裏老蒼校勘 170顔. 不湏更待黄梁校勘 171熟, 方悟勞生一夢間. 治校勘 172身臧否先誠意, 鱞夢蛾眉賊夢藏. 何似秋來清夜夢. 時時合眼到清涼.
VI-7. translated by Student 7
VI-8. translated by Student 8
VI-9. translated by Student 9
VI-10. translated by Althea Volpe
善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa.
德曼(一作万)諡善德女大王。姓金氏。父真平王。以貞觀六年壬辰即位。御國十六年。凡知幾有三事。初唐太宗送畫牧丹三色。紅紫白以其實三升。王見畫花曰。此花定無香。仍命種於庭。待其開落。果如其言。二於靈廟。寺玉門池。冬月眾蛙集鳴三四日。國人怪之問於王。王急命角干閼川弼吞等。鍊精兵二千人。速去西郊問女根谷必有賊兵。掩取殺之。二角干既受命。各率千人問西郊。富山下果有女根谷。百濟兵五百人。來藏於彼。並取殺之。百濟將軍亐召者藏於南山嶺石上。又圍而射之殪。又有後兵一千二百人來。亦擊而殺之。一無孑遺。三王無恙時。謂群臣曰。朕死於某年某月日。葬我於忉利天中。群臣罔知其處。奏云何所。王曰。狼山南也。至其月日王果崩。群臣葬於狼山之陽。後十餘年文虎大王創四天王寺於王墳之下。佛經云。四天王天之上有忉利天。乃知大王之靈聖也。當時群臣啟於王曰。何知花蛙二事之然乎。王曰。畫花而無蝶。知其無香。斯乃唐帝欺寡人之無耦也。蛙有怒形兵士之像。玉門者女根也。女為陰也。其色白。白西方也。故知兵在西方。男根入於女根則必死矣。以是知其易捉。於是群臣皆服其聖智。送花三色者。蓋知新羅有三女王而然耶。謂善德真德真聖是也。唐帝以有懸解之明。善德之創靈廟寺。具載良志師傳詳之別記云。是王代。鍊石築瞻星臺。
