Brilliant Poet, Imprisoned Heart
Image credit: Wikimedia Commons
Why would a woman, born into an extremely prominent and wealthy family, who was well-educated and described as being a beautiful and exceptionally talented poet suffer from deep depression, and die at the young age of 27?
It is no secret that the combination of beauty and brains has not always been well-received by male-dominated societies, whether from the distant past or in our more contemporary times. In Nansorhon’s case, she was truly a victim of strict Confucian orthodoxy, which dominated Korea’s political and social life during the Choson Dynasty of the 16th Century.
She was born in 1563, and her father, Ho Yop was a well-respected Confucian scholar noted for his code of honor, and her brothers were also scholars and distinguished politicians.
In fact, two of her brothers, Hagok and Ho Kyun would have profound influences in her life. Hagok, Nansorhon’s elder brother, fully recognized her talents and was instrumental in helping her further her education. However, Hagok died prematurely at the age of 38, which was a devastating blow to Nansorhon. And Ho Kyun, as you will see later, is the reason why we can still read her poems today.
It is said that she showed great intelligence even as a child, and gained recognition as a prodigy when she penned a very complicated long-form poem when she was only 8! It is also believed that she probably read all the books in her family’s extensive library before she was forced into an arranged marriage at 15.
Being from an aristocratic and highly-educated clan did not liberate her from the severe restrictions which were forced upon women during her time. In many ways, her high status made it worse, as it was deemed that women of noble families should only function as bearers of children (to ensure the existence of the elite) and also be kept at home to maintain their rarified existence. And so, Nansorhon and other women of her rank were confined to the “inner” quarters, never to escape the dictates of Confucian doctrines which demanded women be subservient to men, and only be seen but not heard.
Limitless Worlds through Books, while Imprisoned in the Inner Chambers
One can only imagine her suffering. To have experienced limitless worlds free of constricts through her knowledge of books, tragically juxtaposed with her restricted life of being confined to the women’s quarters and also neglected by her notoriously unfaithful husband, who was also jealous of her superior intelligence and artistry. Compounding her sorrows were the death of her two children; a girl who died shortly after birth and a son who died before reaching his second birthday. And it was probably because of these circumstances that many of her poems echo the mystical and naturalistic ideals of Taoism and shamanism, both of which blatantly contrast with neo-Confucian doctrines that prevailed during the Choson Dynasty (1392 - 1910).
Throughout Nansorhon’s life, she was deeply conflicted by the strict confines of neo-Confucianism imposed upon her, which was to be a dutiful wife and daughter-in-law of an elite family; against her intense desire to break free of the social barriers that blocked her brilliant creativity and artistry. Although her imagination was unfettered, she was physically and emotionally immured within her husband’s household, from which he was often absent.
It is widely rumored that she committed suicide. Before her death, she made a request that all her poems be burned. She probably made such an affecting choice due to a sense of hopelessness, as well as selfless consideration for her family’s reputation. Due to the extreme gender bias of 16th Century Korea, it was considered improper for a woman to write poetry, and if these poems were to be read, they would damage the lineage of the family!
Posthumous Fame & Praise
Fortunately for her legacy, and for the world, not all her works were destroyed. It was one of her brothers, Ho Kyun ( a prominent scholar and writer), who saved some of the poems and then took it upon himself to make her work known to a wide audience. Ironically, she gained posthumous fame and honor in China, the home of Confucianism, before her work was recognized in her own country.
There were a few open-minded men in Korea who praised her talent. One such was Yu Songnyong, who was a well-known literati and government official.
This is what he expressed in 1591 of Hansorhon’s poems, “They are so bright and elegant that it is more than I can grasp and appreciate. The chiming sounds are like those of jade pieces brushing against each other…She had a capacity to consider the abstract and practical, such as her feeling and thoughts toward things and thoughts on the one hand, and on the other, her deep concern for events of the times and social conditions.”
To fully comprehend Nansorhon’s brilliance, it is necessary to read her poems in their original forms. The majority of them were written in Chinese and in the tradition of Tang poetry which had many rules pertaining to the number of characters that can be used for each line, rhythmic structure, symmetry, and so forth. However, her works transcend barriers of language, time, and culture for anyone who has experienced personal loss, isolation, and intense longing for artistic expression.
Below are two poems by Ho Nansorhon. The first illustrates her sensitivity to the plight of women outside of her own social sphere, and the second, is a poignant expression of longing.
Here is an interesting link that actually shows the residence of Nansorhon when she was a child in Kangnung, Korea.
References:
Choe-Wall, Yang Hi. Vision of a Phoenix: The Poems of Ho Nansorhon. Cornell University, 2003.
Korean Female’s Poems Are Oldest to Survive. 7 Sept. 2007, koreajoongangdaily.joins.com/2007/09/07/artsDesign/Korean-females-poems-are-oldest-to-survive/2880246.html.
TANG DYNASTY POETRY | Facts and Details. factsanddetails.com/china/cat2/4sub9/entry-5436.html.
