Wolmyoung(월명사)
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- Title
- Wolmyoung
- Family Name
- -
- First Name
- Wolmyeongsa
- Middle Name
- -
- Preferred Name
- -
- Pen Name
- Wolmyong, Wolmyoung, 월명
- ISNI
- 0000000464521446
- Birth
- Unknown
- Death
- Unknown
- Occupation
- Buddhist monk, Writer
- Period
- Modern
- Representative Works
- -
- Descriptions
- Korean(한국어)
- English(English)
월명사(月明師)
1. 기본정보
월명사(月明師)는 8세기 신라 경덕왕(景德王, 재위 742∼765) 때의 승려이자 화랑인 향가 작가이다. 그의 대표작은 〈제망매가(祭亡妹歌)〉 〈도솔가(兜率歌)〉이다. 피리를 잘 불어 달의 운행을 멈추게 하였다고도 한다. 그와 관련된 기록은 《삼국유사》에 전한다.
2. 생애
월명사는 8세기 중후반 신라 경덕왕대를 살았던 향가 작가이다. 그에 대해 기록하고 있는 문헌은 《삼국유사》 〈월명사도솔가(月明師兜率歌)〉가 유일하기에 그의 생애 전체를 알기는 어렵다. 그러나 분명한 것은 그가 향가 2편을 창작했고 피리연주에 능했으며 국선지도(國仙之徒)에 속했고 거주지가 사천왕사(四天王寺)였다는 사실이다.
위에서 살펴본 단편적인 문헌기록을 토대로, 월명사를 크게 문학인, 음악인, 화랑, 승려의 4가지 모습으로 나누어볼 수 있다. 첫째, 문학인으로서의 월명이다. 월명은 죽은 누이를 애도하는 노래인 〈제망매가〉와 백성을 편안하게 다스리는 노래인 〈도솔가〉를 지었다. 2편의 작품으로 그가 서정적인 또는 정치적인 종교시 성향의 작품을 창작한 작가임이 확인된다.
둘째, 음악인으로서의 월명이다. 월명은 피리 연주에 능해 그가 달밤에 사천왕사 대문 앞의 큰길을 거닐며 피리를 불었더니 그 달이 운행을 멈춘 적이 있었다고 한다. 그래서 그 길을 월명리(月明里)라 했고, 월명사 역시 이로써 이름이 드러나게 되었다고 《삼국유사》가 증언하고 있다. 월명의 피리 연주자로서의 정체에 대해서는 풍류를 만끽하는 예능인, 혹은 주술사이거나 대중교화에 임하는 승려로 해석하기도 한다.
셋째, 화랑으로서의 월명이다. 월명은 승려이자 화랑인 낭승(娘僧)이라고 해석한다. 그것은 월명이 승려로서 “불교 의식요인 범패에는 능하지 않고 다만 국가 화랑도(花郞徒)에 속하여 향가를 알 뿐”이라고 한 발화로 확인된다. 월명은 본래 화랑이었다가 화랑의 쇠퇴와 함께 승려로 소속을 이동했다고 추론한다.
넷째, 승려로서의 월명이다. 월명이 머물렀던 사천왕사는 7세기 삼국 통일전쟁시기 술법으로 당나라 군사를 물리쳤던 호국사찰이다. 사천왕사의 역사를 고려했을 때 월명의 스승이었던 능준대사(能俊大師)나 월명사도 호국적 주술승이었던 것으로 추론한다. 또는 〈도솔가〉 〈제망매가〉 텍스트에서 확인되는 것처럼 월명이 미륵신앙, 미타신앙을 믿었다고 해석하기도 한다.
3. 작품세계
월명사의 대표작은 〈제망매가〉 〈도솔가〉이다. 〈제망매가〉는 10구체의 향가로, 누이의 죽음이라는 개인적 경험을 소재로 하여 생명의 무상성에 대한 고뇌를 종교적으로 승화시켜 노래한 서정성 짙은 작품이다. 이 향가를 짓고 재를 올리니 광풍이 불어와 노잣돈인 지전을 서쪽으로 날렸다고 한다. 〈제망매가〉는 언어의 조탁을 통해 획득된 높은 문학성으로 주술적 효력을 발휘한 사례로 평가받는다.
다음으로 4구체 향가 〈도솔가〉인데, ‘도솔’은 미륵이 사는 불교의 이상세계인 도솔천(兜率天)을 뜻한다. 이 작품은 하늘에 두 개의 해가 나타난 괴변을 없애기 위해 왕의 요청으로 창작되었다. 하늘의 질서와 지상의 질서를 동일시했던 당대의 사유체계를 고려하여, 두 개의 해는 단순한 기상이변이면서 불길한 조짐으로 해석하는 것이 통설이다. 부처에게 꽃을 뿌려 공덕을 칭송하는 의례인 산화공덕(散花功德)을 하며 불린 이 노래는 위압적 주술 언어를 사용해 노래의 효력을 기대하였다. 이 노래를 부르자 해의 변괴가 사라졌다고 한다.
〈도솔가(兜率歌)〉는 꽃을 호명하는 전반부와 꽃에게 미륵좌주를 모셔올 것을 명령하는 후반부로 나뉜다. 1행~2행에서는 돈호법을 사용해서 꽃을 불러들이는데, 꽃은 악귀를 쫓으며 부처를 모셔오는 존재로, 천상과 지상을 연결하는 매개체이다. 3행~4행은 명령이다. ‘미륵좌주(彌勒座主)’에서 ‘미륵’은 미래의 부처이고 ‘좌주’는 의례의 주인공인 부처를 뜻한다. 결국 이 노래는 산화공덕 의례를 대접받을 주인공 미륵을 모셔오라고 꽃에게 명령하고 있는 것이다. 4행으로 된 짧은 노랫말과 명령의 어법은 간단명료하여 위기를 타개하는 데 효과를 발휘했다고 평가된다.
(현대역)
오늘 이에 산화가를 불러
뿌린 꽃아 너는
곧은 마음의 명령을 부림이니
미륵좌주를 모셔라
(원문)
今日此矣散花唱良
巴寶白乎隱花良汝隱
直等隱心音矣命叱使以惡只
彌勒座主陪立羅良
4. 특징 및 의의
월명사가 한국고전문학사에서 지니는 의의는 크게 두 가지이다. 첫째는 서정 향가 작가로서의 위상이다. 그의 대표작 〈제망매가〉는 누이의 죽음을 절실한 비유로 노래하여 〈찬기파랑가(讚耆婆郞歌)〉와 더불어 향가 가운데 가장 문학성이 뛰어난 서정시로 평가받는다. 둘째는 주술 향가 작가로서의 위상이다. 월명사는 〈도솔가〉를 창작하여 고대가요 〈구지가(龜旨歌)〉나 〈해가(海歌)〉의 주술적인 어법과 형식을 향가의 입장에서 계승했다고 평가된다. 또한 월명사는 〈안민가〉를 쓴 충담사(忠談師)와 함께, 융천사(融天師)로부터 시작되는 정치적 주술 향가 작가의 계보를 잇고 있다고 평가받는다.
5. 기타사항
5.1. 번역현황 : 〈제망매가〉
5.1.1. 영어
Kim Kichung, Che mangmae ka (Requiem), An Introduction to Classical Korean Literature : From Hyangga to P'ansori, New York: M.E. Sharpe, 1996, 21-22.
Kim Yun-seong, Mourning Deceased Sister, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee Sung-won, In Memory of the Dead Sister, The Anthology of Koean Poetry, Seoul: The Literature and Life Co., 1988.
Lee, Peter H., Requiem for the Dead Sister, The Columbia Anthology of Traditional Korean Poetry, New York and Chichester : Columbia University Press, 2002, 16.
Lee, Peter H., Requiem, Anthology of Korean Literature : From Early Times to the Nineteenth Century, Honolulu: University of Hawaii Press, 2003, 19.
Lee, Peter, Che mangmae ka (Requiem for the Dead Sister), A History of Korean Literature, Cambridge University Press, 2003, 75-77.
O'Rourke, Kevin, Che Mangme Ka (Ritual Service for A Dead Sister), The book of Korean poetry : songs of Shilla and Koryŏ, University of Iowa Press, 2006, 3.
Wilson, Graeme, For a Dead Sister, Korea Journal 19-2, Seoul: Korean National Commission for Unesce, 1979.
5.1.2. 스페인어
Kim Hyun-Chang, Canción en la muerte de la hermana, Antología de la Poesía coreana, Seúl: Universidad Nacional de Seúl, 1987.
Kim Hyun-chang, Canción en la muerte de la hermana, Poesía coreana, Madrid: Colección la muralla Ávila, 1967.
Min Yong-tae, Canción para una hermana muerta, Versos coreanos, Caracas: Árbol de fuego, 1977.
5.1.3. 이탈리아어
Riotto, Maurizio, In morte della sorella, Storia della letteratura coreana, Palermo: Novencento, 1996.
5.2. 번역현황 : 〈도솔가〉
5.2.1. 영어
Kim Yun-seong, Spray Flowers & Pray the Lord, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee, Peter H., Song of Tusita Heaven, The Columbia Anthology of Traditional Korean Poetry, New York and Chichester : Columbia University Press, 2002, 16.
Lee, Peter, Turinnorae(Song of Tusita Heaven), A History of Korean Literature, Cambridge University Press, 2003, 71-72.
O'Rourke, Kevin, Tosol ka (Song of the Tsita Heaven), The book of Korean poetry : songs of Shilla and Koryŏ, University of Iowa Press, 2006, 16.
5.2.2. 이탈리아어
Riotto, Maurizio, Dedica, Storia della letteratura coreana, Palermo: Novencento, 1996.
6. 자료
6.1. 원문자료 출처
일연(一然, 1206~1289)의 《삼국유사(三國遺事)》 권 제5 〈감통(感通)〉 제7 〈월명사도솔가(月明師兜率歌)〉에 실려 있다.
[국사편찬위원회] 《삼국유사》 〈월명사도솔가〉
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005_0020_0060_0010&begin=sy_a_005_0023
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005r_0020_0060_0020&begin=sy_a_005_0024
7. 참고문헌 및 외부링크
7.1. 참고문헌
김완진, 《향가해독법연구》, 서울대학교출판문화원, 1980.
박노준, 《향가 여요의 역사》, 지식산업사, 2018.
양주동, 《증정(增訂) 고가연구》, 일조각, 1965.
이임수, 《월명의 삶과 예술》, 경주문화축제위원회, 2003.
7.2. 외부링크
7.2.1. 참조 웹사이트
[두산백과] 월명사(月明師)
http://www.doopedia.co.kr/doopedia/master/master.do?_method=view&MAS_IDX=101013000854755
Wolmyeongsa (月明師,)
1. Introduction
Wolmyeongsa (月明師: 月明 is a Buddhist name and 師 is a honorific title which means “master” or “tutor”) was a writer of hyangga (native songs from the Silla dynasty (B.C. 57-935) into the early Goryeo dynasty written in hyangchal) during the time of King Gyeongdeok (r.742∼765) in the eighth-century. He was a Buddhist monk and member of the Hwarang (a society of elite warriors). His main pieces are Jemangmaega (祭亡妹歌 Requiem for the Dead Sister) and Dosolga (兜率歌 Song of Tusita Heaven). It was said that his piri (피리 pipe instrument) playing was so good that it stopped the moon in its orbit. Records about him are in Samgugyusa (三國遺史 Memorabilia of the Three Kingdoms).
2. Life
Master Wolmyeong was a hyangga writer who lived in the mid to late eighth century during the reign of Silla’s King Gyeongdeok. Because Wolmyeongsa Dosolga (月明師兜率歌 Song of Tusita Heaven by Master Wolmyeong) in Samgugyusa is the sole document to record his details, it is difficult to fully know who he was. However, what is clear is that he composed two hyangga and was a skilled piri player; he was a leader monk of Hwarang (國仙之徒 Gukseonjido), and his home was Sacheonwang Temple (四天王寺).
Based on the short text examined above, Master Wolmyeong is largely considered to have been a writer, musician, Hwarang member, and Buddhist monk. [1] First, Master Wolmyeong was a writer. Master Wolmyeong wrote Jemangmaega, a song commemorating the death of his sister, and Dosolga, a song about ruling citizens peacefully. These two pieces show that he was a writer who tended towards the composition of lyrical and political-religious poems.
Second, Master Wolmyeong was a musician. It was said that there was one moonlit night when Master Wolmyeong, a very skilled piri player, was playing his piri while walking on the large road by the front gate of Sacheonwang Temple when the moon stopped in its orbit. Thus, according to Samgugyusa, this road was called Wolmyeong-ri (月明里), and Master Wolmyeong’s name, indeed because of this, became known very well. Master Wolmyeong’s fame as a piri player, thus, makes him a performer - a sorcerer - who enjoyed art of great taste and a Buddhist priest who imparted edification for the masses.
Third, Master Wolmyeong was a member of the Hwarang. Master Wolmyeong was a nangseung (郎僧 a Buddhist monk who was also a member of the Hwarang). This can be confirmed in a quote attributed to him, “I am not skilled in chanting beompae (梵唄 Buddhist chant). I know hyangga merely because I follow the national Hwarangdo.” It is inferred here that Master Wolmyeong, originally a Hwarang member, moved his affiliation to the Buddhist priesthood with the decline of Hwarang influence.
Fourth, Master Wolmyeong was a Buddhist monk. Sacheonwang Temple, where Master Wolmyeong resided, was a Buddhist temple of national defense from which incantations were used to defeat Tang dynasty forces during the seventh century period of the war of three kingdoms unification. Considering the history of Sacheonwang Temple, it is inferred that Master Wolmyeong’s teacher Great Master Neungjun (能俊大師) as well as Master Wolmyeong were sorcerer monks for national defense. In addition, it is confirmed in the text of Jemangmaega and Dosolga that Wolmyeong practiced Maitreya and Amida Buddhist faiths.
3. Works
Master Wolmyeong’s main pieces are Jemangmaega and Dosolga. Jemangmaega is a 10-line hyangga. It is a piece heavily drenched in the lyricism of religiously sublimating with song the anguish of life’s meaninglessness as he personally experienced it in his sister’s death. It was said that in writing this hyangga and offering the ashes, a gust of wind blew in and paper bills, his travel expenses, were thrown westward. With such an exquisite literary expression, the words of Jemangmaega were seen as having magical effects.
Next is the 4-line hyangga Dosolga. “Dosol” signifies Dosolcheon (兜率天), the Buddhist realm where Maitreya lives. This piece was composed by the request of the king in order to rid of the anomaly of two suns appearing in the sky. In considering that the reasoning of the period equated heaven’s order with earth’s order, it is accepted wisdom to interpret the two suns as both simply an extreme weather event and an ominous sign. This song was sung while performing Sanhwagongdeok (散花功德), a ceremony in which pious acts were praised by scattering flowers for Buddha. It used the coercive language of magic by which they waited for the song’s effects; and it was said that with the song, the calamity of the suns went away. [2]
Dosolga divides into a first half, where the flowers are called, and a second half, where there is a command to usher Maitreya Bodhisattva over to the flowers. In lines 1-2, apostrophes are used to call the flowers. As things that warded off demons and welcomed Buddha, flowers were media that connected heaven and earth. Lines 3-4 are commands. “Mireuk” in “Mireukjwaju (彌勒座主)” signifies the future Buddha and “jwaju” who is the main entity of the ceremony. Ultimately, this song is a command for the flowers to usher in the entity to be worshipped in the Sanhwagongdeok ceremony, Maitreya. The grammar of the short song and command in four lines is terse, and thus, was effective for resolving the crisis.
(Translation into Contemporary Korean)
Today, upon the song of scattered flowers
Scattered flowers, you
Heed the command of an upright heart
Bring the Maitreya Bodhisattva
(Original Text)
今日此矣散花唱良
巴寶白乎隱花良汝隱
直等隱心音矣命叱使以惡只
彌勒座主陪立羅良 [3]
4. Style and Legacy
Master Wolmyeong was influential in the history of classical Korean literature in two ways. The first was his status as a lyric hyangga writer. His main work Jemangmaega, in which his sister’s death is a pressing metaphor, is a lyric poem of the highest order among hyangga, an honor it shares only with Changiparangga (讚耆婆郞歌 Ode to the Hwarang Gipa). The second was his status as an incantational hyangga writer. Master Wolmyeong, with Dosolga, was the successor of the incantational grammar and form of ancient Korean songs, Gujiga (龜旨歌 Song of the Turtle) and Haega (海歌 Song of the Sea). Further, with Master Chungdam (忠談師), who wrote Anminga (安民歌 Song of Statesmanship), Master Wolmyeong continued the tradition of political incantational hyangga writers, which had begun with Master Yungcheon (融天師) [4]
5. Others
5.1 Works in Translation of Jemangmaega
Kim, Kichung, Che mangmae ka (Requiem), An Introduction to Classical Korean Literature: From Hyangga to P'ansori, New York: M.E. Sharpe, 1996, 21-22.
Kim, Yun-seong, Mourning Deceased Sister, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee, Sung-won, In Memory of the Dead Sister, The Anthology of Korean Poetry, Seoul: The Literature and Life Co., 1988.
Lee, Peter H., Requiem for the Dead Sister, The Columbia Anthology of Traditional Korean Poetry, New York: Columbia University Press, 2002, 16.
Lee, Peter H., Requiem, Anthology of Korean Literature: From Early Times to the Nineteenth Century, Honolulu: University of Hawaii Press, 2003, 19.
Lee, Peter H., Che mangmae ka (Requiem for the Dead Sister), A History of Korean Literature, New York: Cambridge University Press, 2003, 75-77.
O’Rourke, Kevin, Che Mangme Ka (Ritual Service for a Dead Sister), The Book of Korean Poetry: Songs of Shilla and Koryŏ, Iowa City: University of Iowa Press, 2006, 3.
Wilson, Graeme, For a Dead Sister, Korea Journal, 19:2, Seoul: Korean National Commission for UNESCO, 1979.
Kim, Hyun-Chang, Canción en la muerte de la hermana, Antología de la Poesía coreana, Seúl: Universidad Nacional de Seúl, 1987.
Kim, Hyun-chang, Canción en la muerte de la hermana, Poesía coreana, Madrid: Colección la muralla Ávila, 1967.
Min, Yong-tae, Canción para una hermana muerta, Versos coreanos, Caracas: Árbol de fuego, 1977.
Riotto, Maurizio, In morte della sorella, Storia della letteratura coreana, Palermo: Novencento, 1996.
5.2 Works in Translation of Dosolga
Kim, Yun-seong, Spray Flowers & Pray the Lord, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee, Peter H., Song of Tusita Heaven, The Columbia Anthology of Traditional Korean Poetry, New York: Columbia University Press, 2002, 16.
Lee, Peter H., Turinnorae (Song of Tusita Heaven), A History of Korean Literature, New York: Cambridge University Press, 2003, 71-72.
O’Rourke, Kevin, Tosol ka (Song of the Tsita Heaven), The Book of Korean Poetry : Songs of Shilla and Koryŏ, Iowa City: University of Iowa Press, 2006, 16.
6. Resources
6.1 Sources of Original Text
[National Institute of Korean History] Wolmyeongsa in Samgugyusa (三國遺史)
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005_0020_0060_0010&begin=sy_a_005_0023
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005r_0020_0060_0020&begin=sy_a_005_0024
7. References and External Links
7.1 References
Kim, Wanjin, Hyangga Haedokbeob Yeongu (A Study on the Decoding of Hyangga), Seoul National University Publishing Council, 1980.
Pak, Nojun, Hyangga Yeoyo ui Yeoksa (History of Hyangga Yeoyo), Jisik Sanupsa, 2018.
Yang, Judong, Jeungjeong Goga Yeongu (Revised and Enlarged Study on Old Song), Ilchokak, 1965.
Lee, Imsu, Wolmyeong ui Sam gwa Yesul (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003.
7.2 External Links
[Doosan Encyclopedia] Wolmyeongsa (月明師)
http://www.doopedia.co.kr/doopedia/master/master.do?_method=view&MAS_IDX=101013000854755
8. Notes
1. The story of the life of Master Wolmyeong is referred from Lee Imsu, Wolmyeong ui Sam gwa Yesul (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003, 1-2; Pak Nojun, Wolmyeong ui Hyangga Munhak Segye (Wolmyeong’s Literary World of Hyangga), Gyeongju Culture Festival Organizing Committee, 2003, 53-60. Four aspects above are not exclusive as they simultaneously appear in a single figure, Mater Wolmyeong. Also, note that the attempt to specify Master Wolmyeong’s identity based on the four aspects are limited to estimates and inferences due to a lack of evidence.
2. Pak, Nojun, “Je 6-jang Gyeongdeonkwang Sidae ui Hyangga (Chapter 6 Hyangga during King Gyeongdeok),” (History of Hyangga Yeoyo), Jisik Sanupsa, 2018, 82-85.
3. Yang, Judong, (Revised and Enlarged Study on Old Song), Ikchokak, 1965, 318-377.
|
Original Text |
Yang, Judong’s Interpretation |
Translation into Contemporary Korean |
|
今日此矣散花唱良 巴寶白乎隱花良汝隱 直等隱心音矣命叱使以惡只 彌勒座主陪立羅良 |
오ᄂᆞᆯ 이ᅌᅦ 散花 블어 ᄲᆞᄊᆞᆯᄫᅩᆫ 고자 너는 고ᄃᆞᆫ ᄆᆞᅀᆞᄆᆡ 命ㅅ 브리ᄋᆞᆸ디 彌勒座主 뫼셔롸 |
오늘 이에 산화가를 불러 뿌린 꽃아 너는 곧은 마음의 명령을 부림이니 미륵좌주를 모셔라 |
Kim, Wanjin, (A Study of the Decoding of Hyangga), Seoul National University Publishing Council, 1980.
|
Original Text |
Kim, Wanjin’s Interpretation |
Translation into Contemporary Korean |
|
今日此矣散花唱良 巴寶白乎隱花良汝隱 直等隱心音矣命叱使以惡只 彌勒座主陪立羅良 |
오ᄂᆞᆯ 이ᅌᅦ 散花 블러 보보ᄉᆞᆯᄫᅩᆫ 고자 너는, 고ᄃᆞᆫ ᄆᆞᅀᆞᄆᆡ 命ㅅ 브리이악 彌勒座主 모리셔 벌라. |
오늘 이에 散花 불러 솟아나게 한 꽃아 너는, 곧은 마음의 命에 부리워져 미륵좌주 뫼셔 나립(羅立)하라. |
4. Pak, Nojun, (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003, 53-60.
Wolmyeongsa (月明師,)
1. Introduction
Wolmyeongsa (月明師: 月明 is a Buddhist name and 師 is a honorific title which means “master” or “tutor”) was a writer of hyangga (native songs from the Silla dynasty (B.C. 57-935) into the early Goryeo dynasty written in hyangchal) during the time of King Gyeongdeok (r.742∼765) in the eighth-century. He was a Buddhist monk and member of the Hwarang (a society of elite warriors). His main pieces are Jemangmaega (祭亡妹歌 Requiem for the Dead Sister) and Dosolga (兜率歌 Song of Tusita Heaven). It was said that his piri (피리 pipe instrument) playing was so good that it stopped the moon in its orbit. Records about him are in Samgugyusa (三國遺史 Memorabilia of the Three Kingdoms).
2. Life
Master Wolmyeong was a hyangga writer who lived in the mid to late eighth century during the reign of Silla’s King Gyeongdeok. Because Wolmyeongsa Dosolga (月明師兜率歌 Song of Tusita Heaven by Master Wolmyeong) in Samgugyusa is the sole document to record his details, it is difficult to fully know who he was. However, what is clear is that he composed two hyangga and was a skilled piri player; he was a leader monk of Hwarang (國仙之徒 Gukseonjido), and his home was Sacheonwang Temple (四天王寺).
Based on the short text examined above, Master Wolmyeong is largely considered to have been a writer, musician, Hwarang member, and Buddhist monk. [1] First, Master Wolmyeong was a writer. Master Wolmyeong wrote Jemangmaega, a song commemorating the death of his sister, and Dosolga, a song about ruling citizens peacefully. These two pieces show that he was a writer who tended towards the composition of lyrical and political-religious poems.
Second, Master Wolmyeong was a musician. It was said that there was one moonlit night when Master Wolmyeong, a very skilled piri player, was playing his piri while walking on the large road by the front gate of Sacheonwang Temple when the moon stopped in its orbit. Thus, according to Samgugyusa, this road was called Wolmyeong-ri (月明里), and Master Wolmyeong’s name, indeed because of this, became known very well. Master Wolmyeong’s fame as a piri player, thus, makes him a performer - a sorcerer - who enjoyed art of great taste and a Buddhist priest who imparted edification for the masses.
Third, Master Wolmyeong was a member of the Hwarang. Master Wolmyeong was a nangseung (郎僧 a Buddhist monk who was also a member of the Hwarang). This can be confirmed in a quote attributed to him, “I am not skilled in chanting beompae (梵唄 Buddhist chant). I know hyangga merely because I follow the national Hwarangdo.” It is inferred here that Master Wolmyeong, originally a Hwarang member, moved his affiliation to the Buddhist priesthood with the decline of Hwarang influence.
Fourth, Master Wolmyeong was a Buddhist monk. Sacheonwang Temple, where Master Wolmyeong resided, was a Buddhist temple of national defense from which incantations were used to defeat Tang dynasty forces during the seventh century period of the war of three kingdoms unification. Considering the history of Sacheonwang Temple, it is inferred that Master Wolmyeong’s teacher Great Master Neungjun (能俊大師) as well as Master Wolmyeong were sorcerer monks for national defense. In addition, it is confirmed in the text of Jemangmaega and Dosolga that Wolmyeong practiced Maitreya and Amida Buddhist faiths.
3. Works
Master Wolmyeong’s main pieces are Jemangmaega and Dosolga. Jemangmaega is a 10-line hyangga. It is a piece heavily drenched in the lyricism of religiously sublimating with song the anguish of life’s meaninglessness as he personally experienced it in his sister’s death. It was said that in writing this hyangga and offering the ashes, a gust of wind blew in and paper bills, his travel expenses, were thrown westward. With such an exquisite literary expression, the words of Jemangmaega were seen as having magical effects.
Next is the 4-line hyangga Dosolga. “Dosol” signifies Dosolcheon (兜率天), the Buddhist realm where Maitreya lives. This piece was composed by the request of the king in order to rid of the anomaly of two suns appearing in the sky. In considering that the reasoning of the period equated heaven’s order with earth’s order, it is accepted wisdom to interpret the two suns as both simply an extreme weather event and an ominous sign. This song was sung while performing Sanhwagongdeok (散花功德), a ceremony in which pious acts were praised by scattering flowers for Buddha. It used the coercive language of magic by which they waited for the song’s effects; and it was said that with the song, the calamity of the suns went away. [2]
Dosolga divides into a first half, where the flowers are called, and a second half, where there is a command to usher Maitreya Bodhisattva over to the flowers. In lines 1-2, apostrophes are used to call the flowers. As things that warded off demons and welcomed Buddha, flowers were media that connected heaven and earth. Lines 3-4 are commands. “Mireuk” in “Mireukjwaju (彌勒座主)” signifies the future Buddha and “jwaju” who is the main entity of the ceremony. Ultimately, this song is a command for the flowers to usher in the entity to be worshipped in the Sanhwagongdeok ceremony, Maitreya. The grammar of the short song and command in four lines is terse, and thus, was effective for resolving the crisis.
(Translation into Contemporary Korean)
Today, upon the song of scattered flowers
Scattered flowers, you
Heed the command of an upright heart
Bring the Maitreya Bodhisattva
(Original Text)
今日此矣散花唱良
巴寶白乎隱花良汝隱
直等隱心音矣命叱使以惡只
彌勒座主陪立羅良 [3]
4. Style and Legacy
Master Wolmyeong was influential in the history of classical Korean literature in two ways. The first was his status as a lyric hyangga writer. His main work Jemangmaega, in which his sister’s death is a pressing metaphor, is a lyric poem of the highest order among hyangga, an honor it shares only with Changiparangga (讚耆婆郞歌 Ode to the Hwarang Gipa). The second was his status as an incantational hyangga writer. Master Wolmyeong, with Dosolga, was the successor of the incantational grammar and form of ancient Korean songs, Gujiga (龜旨歌 Song of the Turtle) and Haega (海歌 Song of the Sea). Further, with Master Chungdam (忠談師), who wrote Anminga (安民歌 Song of Statesmanship), Master Wolmyeong continued the tradition of political incantational hyangga writers, which had begun with Master Yungcheon (融天師) [4]
5. Others
5.1 Works in Translation of Jemangmaega
Kim, Kichung, Che mangmae ka (Requiem), An Introduction to Classical Korean Literature: From Hyangga to P'ansori, New York: M.E. Sharpe, 1996, 21-22.
Kim, Yun-seong, Mourning Deceased Sister, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee, Sung-won, In Memory of the Dead Sister, The Anthology of Korean Poetry, Seoul: The Literature and Life Co., 1988.
Lee, Peter H., Requiem for the Dead Sister, The Columbia Anthology of Traditional Korean Poetry, New York: Columbia University Press, 2002, 16.
Lee, Peter H., Requiem, Anthology of Korean Literature: From Early Times to the Nineteenth Century, Honolulu: University of Hawaii Press, 2003, 19.
Lee, Peter H., Che mangmae ka (Requiem for the Dead Sister), A History of Korean Literature, New York: Cambridge University Press, 2003, 75-77.
O’Rourke, Kevin, Che Mangme Ka (Ritual Service for a Dead Sister), The Book of Korean Poetry: Songs of Shilla and Koryŏ, Iowa City: University of Iowa Press, 2006, 3.
Wilson, Graeme, For a Dead Sister, Korea Journal, 19:2, Seoul: Korean National Commission for UNESCO, 1979.
Kim, Hyun-Chang, Canción en la muerte de la hermana, Antología de la Poesía coreana, Seúl: Universidad Nacional de Seúl, 1987.
Kim, Hyun-chang, Canción en la muerte de la hermana, Poesía coreana, Madrid: Colección la muralla Ávila, 1967.
Min, Yong-tae, Canción para una hermana muerta, Versos coreanos, Caracas: Árbol de fuego, 1977.
Riotto, Maurizio, In morte della sorella, Storia della letteratura coreana, Palermo: Novencento, 1996.
5.2 Works in Translation of Dosolga
Kim, Yun-seong, Spray Flowers & Pray the Lord, Hyangga: Oldest Korean Songs, Seoul: One Mind Press, 1986.
Lee, Peter H., Song of Tusita Heaven, The Columbia Anthology of Traditional Korean Poetry, New York: Columbia University Press, 2002, 16.
Lee, Peter H., Turinnorae (Song of Tusita Heaven), A History of Korean Literature, New York: Cambridge University Press, 2003, 71-72.
O’Rourke, Kevin, Tosol ka (Song of the Tsita Heaven), The Book of Korean Poetry : Songs of Shilla and Koryŏ, Iowa City: University of Iowa Press, 2006, 16.
6. Resources
6.1 Sources of Original Text
[National Institute of Korean History] Wolmyeongsa in Samgugyusa (三國遺史)
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005_0020_0060_0010&begin=sy_a_005_0023
http://db.history.go.kr/item/imageViewer.do?levelId=sy_005r_0020_0060_0020&begin=sy_a_005_0024
7. References and External Links
7.1 References
Kim, Wanjin, Hyangga Haedokbeob Yeongu (A Study on the Decoding of Hyangga), Seoul National University Publishing Council, 1980.
Pak, Nojun, Hyangga Yeoyo ui Yeoksa (History of Hyangga Yeoyo), Jisik Sanupsa, 2018.
Yang, Judong, Jeungjeong Goga Yeongu (Revised and Enlarged Study on Old Song), Ilchokak, 1965.
Lee, Imsu, Wolmyeong ui Sam gwa Yesul (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003.
7.2 External Links
[Doosan Encyclopedia] Wolmyeongsa (月明師)
http://www.doopedia.co.kr/doopedia/master/master.do?_method=view&MAS_IDX=101013000854755
8. Notes
1. The story of the life of Master Wolmyeong is referred from Lee Imsu, Wolmyeong ui Sam gwa Yesul (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003, 1-2; Pak Nojun, Wolmyeong ui Hyangga Munhak Segye (Wolmyeong’s Literary World of Hyangga), Gyeongju Culture Festival Organizing Committee, 2003, 53-60. Four aspects above are not exclusive as they simultaneously appear in a single figure, Mater Wolmyeong. Also, note that the attempt to specify Master Wolmyeong’s identity based on the four aspects are limited to estimates and inferences due to a lack of evidence.
2. Pak, Nojun, “Je 6-jang Gyeongdeonkwang Sidae ui Hyangga (Chapter 6 Hyangga during King Gyeongdeok),” (History of Hyangga Yeoyo), Jisik Sanupsa, 2018, 82-85.
3. Yang, Judong, (Revised and Enlarged Study on Old Song), Ikchokak, 1965, 318-377.
|
Original Text |
Yang, Judong’s Interpretation |
Translation into Contemporary Korean |
|
今日此矣散花唱良 巴寶白乎隱花良汝隱 直等隱心音矣命叱使以惡只 彌勒座主陪立羅良 |
오ᄂᆞᆯ 이ᅌᅦ 散花 블어 ᄲᆞᄊᆞᆯᄫᅩᆫ 고자 너는 고ᄃᆞᆫ ᄆᆞᅀᆞᄆᆡ 命ㅅ 브리ᄋᆞᆸ디 彌勒座主 뫼셔롸 |
오늘 이에 산화가를 불러 뿌린 꽃아 너는 곧은 마음의 명령을 부림이니 미륵좌주를 모셔라 |
Kim, Wanjin, (A Study of the Decoding of Hyangga), Seoul National University Publishing Council, 1980.
|
Original Text |
Kim, Wanjin’s Interpretation |
Translation into Contemporary Korean |
|
今日此矣散花唱良 巴寶白乎隱花良汝隱 直等隱心音矣命叱使以惡只 彌勒座主陪立羅良 |
오ᄂᆞᆯ 이ᅌᅦ 散花 블러 보보ᄉᆞᆯᄫᅩᆫ 고자 너는, 고ᄃᆞᆫ ᄆᆞᅀᆞᄆᆡ 命ㅅ 브리이악 彌勒座主 모리셔 벌라. |
오늘 이에 散花 불러 솟아나게 한 꽃아 너는, 곧은 마음의 命에 부리워져 미륵좌주 뫼셔 나립(羅立)하라. |
4. Pak, Nojun, (The Life and Art of Master Wolmyeong), Gyeongju Culture Festival Organizing Committee, 2003, 53-60.
Original Works5 See More
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Korean(한국어) Printed/Published Work이제 닭 울음소리 한번 듣고 나니 대장부 일이 다 끝나버렸네
Ije dang ureumsori hanbeon deutgo nani daejangbu iri da kkeunnabeoryeonne
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English(English) BookPoems from Korea
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Norwegian(Norsk) BookHANEN HAR GALT HELTEN HAR GJORT ALT HAN MÅTTE GJØRE
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