The article analyzes the evolution of the work of one of the leading South Korean poets, Kim Jiha, as two polar ideological aspects (rebelliousness and cosmism) are reflected in his poetry.

Keywords: poetry of the Republic of Korea, rebelliousness, cosmism, Pansori, Kim Jiha, the period of Park Jonghee's rule.

Kim Jiha, real name Kim Yong-il, was born on February 4, 1941 in Mokpo (South Jeolla Province). He graduated from high school in Wonjeong, Gyeongsang Province, where his family moved. In 1966, he graduated from the Department of Aesthetics at Seoul National University. His literary debut took place in 1969, when his poems "Yellow Earth", "Rain", "Bean Flowers" were published in the November issue of the Poet magazine (Siin).

* * *

A native of Jeolla Province, whose main population was made up of peasants, Kim Jiha could not accept the return of the class hierarchy. This is exactly the policy pursued by Park Jonghee, who took as a model the course of creating large economic conglomerates of the chaebol 1 type in Japan. He put his own people from the military circle at the head of them, returned the Confucian style of government, and essentially "reanimated" Confucianism in new living conditions. During Park Jonghee's rule, the country also lived under strict state of emergency laws, working 12-16 hours a day. People from the villages left for the cities, the villages became impoverished, which caused extreme discontent among the peasants. The period of the 1960s and 1970s was characterized by violent student unrest. The liberal rule of Korea was replaced by the military. Before that, the country was completely anarchy, terrible poverty, and at the same time - an unbridled passion for the freedom of people who had long lived in semi-feudal conditions. This led the country to chaos, as noted above, General Park Jonghee came to power. A traditionalist with a secular education, an adherent of the class hierarchy. The attitude of historians to this person is ambiguous. President Park Jonghee, who stifled all dissent, was also a great reformer who laid the foundations for South Korea's current economic miracle.

Strict discipline was introduced in the country: economic and political. "The Fourth Republic (the period of Pak Jonghee's rule), as a rule, is assessed in both Korean and domestic literature as a period of extremely rigid totalitarian power and the most dictatorial period of modern Korean history, because it was characterized by the introduction of a state of emergency, a ban on any political activity. Pres were published-

1 Chaebol - South Korean large financial and industrial conglomerates, usually owned by the same family. The largest of them are Samsung, Hyundai, LG.

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presidential decrees that were aimed at directly removing the opposition. Military courts have issued a large number of sentences under political articles for violating presidential decrees (including death sentences)" [Samsonov, 2005, p. 163].

In 1970, Kim Jih's pamphlet "Five Bandit Thieves" was published, depicting social injustice in a sharp satirical manner. Soon the poet was arrested and charged with spreading Communist propaganda.

Five bandit thieves (About chdk)

(Excerpt from the poem)

I write poetry, not neatly, but as it turned out.

Finally, with the tip of my pen, in the presence of the spirit, I bring out the worst crimes.

Punished with sticks on the buttocks so that the muscles and bones still itch.

The black iron handcuffs make my wrists ache.

What I want to write about so often, I can't bear to keep silent.

Although the pain from the sticks is still strong,

I will tell a terrible story about malicious bandits.

Both in ancient times and in ancient times, on the full moon of the first month of the third day, the border of the country was determined under Paektuzan 2.

Hear us, stand up among all, the best first ancestor!

We gathered in the east square in a frenzy of anticipation for Tangun 3.

As the departed first ancestor-the sun, the sun, arise, the solar race, appear!

Was there ever such poverty?

Is there anyone among the people who would die from overeating?

Or would you be tired of silk clothes that you can take off during the sales season and buy another one?

The work of honest people was often passed off as theft.

The son of a high-ranking official took over everything in the same year.

Immorality, forced taxes have overflowed the cup of patience

And in peacetime they rob the people.

Wise kings probably have a habit of stealing from the age of three.

Up to 80 years left, what to do with it?

Five thieves live in the heart of Seoul.

There's a lot of shit in the south,

Dirty water in the Hangan river is bubbling,

There's a litter of plucked chickens in the north

Under the bare bark in the west, north, and east, they drink all the juices.

Board huts crackle between the South and North.

The crab's shell cracks, the nose cartilage cracks, turning everything inside out.

2 Paektusan mountain in the Changbeksan plateau, translated from Korean Paektu-white head, is located in the DPRK-the highest point of the Manchurian Mountains.

3 Tangun-the mythical first ancestor, founder of the ancient state of Joseon on the Korean peninsula, son of the Heavenly Lord and mother bear.

4 Korean proverbs: "The habit of stealing from three years remains until eighty", "Who stole a needle, steals an ox".

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A park with medicinal water fenced off, and they write false reports at their own discretion.

The royal Palace is full of flowers, music on national instruments can be heard from there all day and night, and you can hear blows on the rice mass.5
Financial oligarchy, members of the National Assembly, high officials,

The general staff, the justice of the peace - all known to the world.

My liver is aching, the pain has grown as big as Namsan Mountain, and my throat is dry, as if there is no water on the mountain without grass and trees.

The brutality of the entire world in the lair of five bandits

Turned into the internal organs of every person.

These bastards stuck large ox eggs to their bellies and became thieves ' assistants, milking the seven jewels.6
First, one leader stole, then each official stole.

Both day and night they indulge in theft, improving their skills...

<"Sasange", 1970>

The poem published in the Catholic magazine "Ideology" (Sasange) caused dissatisfaction of the authorities. The entire circulation of the magazine was confiscated, and the poet and publishers were arrested.

Lim Hyun-hyun, a literary critic and professor at Chung'an University, later noted: "The revival of constitutional reforms in Korea under President Park Jonghee before and after 1969 was accompanied by violent demonstrations against the government. Kim Ji-ha's poem "Five Bandit Thieves" was the first signal to ignite the flame of the struggle against the dictatorship of power " [Kim Chi-ha, 2006].

The poem tends towards the form of pansori 7, which is similar in genre to a fairy tale. The author acts as a storyteller, the work is full of colloquial expressions, dialectisms, images from mythology. The poet contrasts modern reality with antiquity in its pristine purity, invokes the mythical and ancient ancestor Tangun.

The appeal to antiquity is characteristic of many Korean poets. The ruler is the sun, and his entourage is the solar race. They are the ones who will save the country and the people. The identification of the ruler with the sun is based on the ancient Korean idea of the sacred role of the ruler. M. I. Nikitina wrote that the myth of the Sun Woman and her parents is the main solar myth of Korean culture [Nikitina, 2001, p. 12]. This solar myth is hidden under a superficial layer in one of the Buddhist rituals of the Silla state, which took place under Gyeongdok-wan (VIII century). The ritual is based on the marriage of the sovereign with the Sun Woman, which establishes harmony in the world and society. Probably, hence the poet's call: "Oh, sunny race, come!" The poet points to the eastern borders of the country, where, apparently, in the second half of the 7th century, under the sovereigns of Munmun-wan and Sinmun-wan, its active development and transformation into a part of the national sacred space took place. The tradition of watching the sun rise from the east goes back to ancient times, meaning to keep an eye on the eastern borders. In the poem, Kim Jiha recalls this custom, when the people gathered in the space from the east and met the sunrise: We gathered in the east square in a frenzy of anticipation for Tangun (the sun).

5 Korean bread made from glutinous rice, prepared on agricultural holidays and for family celebrations; steamed rice in flat wooden vats is beaten with wooden mallets (most often by young men or young men), turning it into a homogeneous mass.

6 Seven jewels (gold, silver, lapis lazuli, tridactina shell, agate, coral, rock crystal or pearls).

7 Pansori is a Korean folk drama that syncretically combines musical drama and folk song tale. The actor of pansori, to the rhythm of a chango (percussion instrument), conveyed the content of the staged work, alternating the penis (chhan) with recitative (aniri) and accompanying the story with dance and facial movements (palim) [Kontsvich, 2001, p. 393].

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Naive belief in a just monarch is characteristic of the common people and traditional patriarchal consciousness. Here we have young Kim Jiha, a native of the people, who dreams of class equality and a wise ruler. The current rulers are far from the rulers of antiquity, they rob the people, forcing them to be poor.

Radicalism of beliefs resulted in direct diatribes, sometimes obscene curses. Unbridled young energy longed for rapid change, and perhaps even for moving North, because it is not for nothing that Tangun, whose remains are buried in North Korea, is mentioned.

Kim Jiha is a native of South Jeolla, at that time the poorest province in Korea's history, where peasant unrest was constantly breaking out, which was brutally suppressed by the authorities. Democratically minded people were attracted to the ideas of equality and free labor, and they looked back to the North of the peninsula, where in the 1960s and 1970s (thanks to the help of the Soviet Union) the economic and political situation was more stable.

The collection "Yellow Earth" - the first book of the poet, was published in December 1970 in the publishing house "Hanelmungo". The title of the collection is deeply symbolic. Yellow is the color of earth and mourning clothes in Korean Confucian culture, and the yellow earth contains the remains of Kim Ji's relatives and friends. The poems of the collection are full of tragic content, disbelief in their own strength. The book consists of three parts.

The poet shows the history of Korea, describing the hardships of the common man in the" Yellow Land "(Hwan Tho) and the revival of his spirit in the poems" South "and"Field". In the poem "Brother" - the desire for freedom and equality.

In unvarnished descriptions - the smell of dirt, bloodstains.

Burn!
Drive me mad
with the smell That Comes from the breast of the rough yellow earth,
The suffocating smell
That splashes like a flame into the darkness.
Burn in the confusion of darkness,
Drive me crazy with a bright and clean life
Emaciated flesh, stunted souls.
Burn!
In the pitch-black darkness,
In the slits of swollen eyes.
Drive me crazy with the smell,
the stifling smell of decay.
In the confusion of darkness,
Blood, gush and burn!
Fall under the eternal yoke of silence
that reigns in the dark.
Ah, April's blood,
Bring out the scent of those lurking in the dark,
Drive everyone crazy with a bright and clean life.
(Translated by V. Letuchy from the interlinear translation by E. Te)

The collection's poem "April Night" is dedicated to the memory of students who participated in the 1960 demonstration against Lee Seung-man's government, which was violently suppressed.

"After the April revolution, students of the College of Liberal Arts and Science at Seoul National University turned to national origins. They initiated a national movement in the country, began to collect folklore: folk songs, phansori, shamanic chants. From this period, my poetry also began to change" (see the poet's interview with Ariran TV, 2006.- www.klti.or.kr).

In April 1972, the poem "Empty Rumors" ("Pio") was published, criticizing the abuse of power. Later, "On July 13, 1974, Kim Jih was sentenced to death by a Seoul military tribunal on charges of" communist conspiracy " to overthrow the government

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executions. A few weeks later, the death sentence was commuted to life imprisonment... In February 1975, he was released under an amnesty" [Kim Ji Ha, 1977]. In 1975, he was awarded the prize of the Association of Writers of Asia and Africa "Lotus" (a French-language magazine about writers and poets of Africa and Asia).

In the collection "Thirst", the poet continues to call for social justice, and at the same time there are poems in which the poet speaks about friendship, about faith in life. The collection, published in 1982 by the Changjakkwa Piphyunsa publishing house, contains works created in the mid-1970s and early 1980s. Part one contains 24 poems, including "Thirst", part two-20 poems, including "Unpaved Road", in part three-12 poems. The fourth section contains five essays, including" Myeongdong's Diary " (Myeongdong ilgi), where the poet describes the days spent in a prison cell:

"In this terrible cell, a person must erase everything beautiful from his memory, extinguish the last rays of hope.

Here you can never know if it's day or night. The cells are illuminated around the clock with weak electric light, all of them are exactly the same size and geometrically correct square shape...

An endless, agonizing wait, whose name is penal servitude for life. Time passed as if idly: on the roof of the prison building, the grass withered from the heat does not move from the breeze, all around is hopeless melancholy. The stench that fills the cells and the animal growls of the guards on duty, hard labor from dawn to dawn, bean or barley porridge mixed with pebbles and pickled shrimp, the rotten smell of which turns your cheekbones, with the clang and rattle of spinning mechanical scissors, thieves, bandits and other criminal scum constantly bickering among themselves, like a pack of dogs... " [Kim Ji Ha, 1977].

The collection "Thirst" (1982) was a transitional stage from the poetry of 1960-1970 to the subsequent period, from the mid-1980s to the end of the XX century.

Thirst
New dawn at the back of the street
Writes your name, democracy,
How long has my head forgotten you,
And my feet have long, too long forgotten you.
There is only one path
In the hot chest-the memory of the thirst for freedom,
So I write your name secretly from everyone, democracy!

Where is that nook where the predawn ray has not yet fallen?
The sounds of footsteps, the noise of birds, the blows from the slamming of the door.
A long, long word, whose cry is it?
A moan, a loud cry, a sigh-there, in my exhausted chest,
In the deep meaning of the name,
In a single glittering word
Resurrected pain,
Revived memory of the thirst for freedom,
Revived faces of dead friends.
Trembling hands, trembling chest...
in trembling anger on a wooden board
I write clumsily and painstakingly
in chalk

Holding my breath, grumbling,
I write your name in secret from everyone, democracy!
With a dry throat
With a dry throat
Hooray for democracy!

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The poem "Thirst" reflects the position of a person who has been in a state of struggle for a long time. Here we do not see the anguish, the protest that overwhelmed the poet in the early period of creativity.

The man managed to overcome the intensity of his passions, but the loss of friends is still alive in his memory.

From the collection "Thirst".

8Chirisan
If you look at a mountain covered in snow,
The blood is boiling.
If you look at the top of its blue
Anger radiates like fire.
There,
Under the mountain
The scarlet blood still lingered.

In the volume field so far
The power of that mountain is bubbling,
Overflowing the cup of patience,
Howling in weeping,

The pupils of the departed in white robes burn with fire 9.

Flashing sickles, crying, they curse
The poverty that had long suffocated them,
Abandoned all hopes,
Gone...
still in my chest everything is bubbling

Icy winter
Gone like the waters of a stream,
And they returned, revived, by the flow of the stream,
Life does not give me long sounds
An old song...

if you look at a mountain covered in snow
If you look at the top of its blue
The pain is still alive in me, and everything is bubbling in my chest
.
Chirisan mountain,
Chirisan Mountain...
you have become the last refuge of the departed.

According to Korean beliefs, mountains are the abode of the souls of the dead, worshipping the mountain as a holy place is one of the rituals in the life of Koreans. In the past, the dead were buried in the mountains. In this poem, Mount Chirisan is a symbol of mourning for Koreans who died in the struggle for radical changes in the country. Memories of the past do not give the poet peace, he can not accept the pain of loss: "My chest is still churning."

8 The Jirisan Mountains are located in southwestern Korea, the second highest mountain range in the Republic of Korea, stretching across three provinces - South Jeolla, North Jeolla and South Gyeongsang. In Jeolla Province, the poet's homeland, peasant unrest often broke out.

9 White - in feudal Korea, the color of the national everyday clothing of Korean peasants and simple artisans, men and women; a fabric woven from a special type of cannabis native to Korea.

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The education of a person of the Confucian tradition was based on obedience and humility before the powerful of this world. But in the second half of the twentieth century, the Korean, having tasted the spirit and ideas of Western Europe, is unstoppable within the boundaries of traditional humility. And back then, did the poet Kim Jiha think about the consequences when he wrote poems that denigrated, in his opinion, the unjust existing regime that took away his family and friends?

The rebellious spirit was inherent in Korean poets in the first half of their career, when they were young and hot.

Kim Jiha in the poetry of the 1980s is more reserved in his feelings and emotions. However, this is typical of many Korean poets and writers, who, after completing half of their life, become more conservative in their views and turn to the traditional perception of the world. This state of the poet is preceded by the search for himself as a person and the knowledge of the world in all its diversity.

Dedicated to Kim Sooyoung
Books
Books are important.
Every book teaches life.
That's why they're more important than me.
I dream of tragic glory,
But not like Marilyn Monroe's.
I dream of adultery, shameless
kisses, in the sun rays of dark
clothes I dream of the burning body of Adonis
There is a revolution in children's poetry, a revolution!
The tragic glory of the revolution
is more important than me

There is no order in me.

And even for one day there is no schedule.
However
The more I read the books, the more stupid I feel.

In vodka
I take comfort.
In books about oppression, you can't understand everything.
In books that tame my negative feelings,
It comforts the exhausted imagination.

What can happen
In one day of the life of a flea, bug or midge?
Are we weaker than insects that we can't earn our bread?
My secret world

You can read about it in books,
That's why they are needed.
I don't even know the modern world.

So, books,
Broadcast!
Why don't you say anything?
Can't you rebel? Flowing backwards, raging blood

Blood in my hands, my blood like that, mad, rebelling.
Isn't that blood in my veins? Don't mean anything? What is your meaning?
You are silent?
In this room, in this painful silence...
I burn with shame, oh, my books!

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The poem is dedicated to the memory of the poet Kim Sooyoung (1921-1968), who influenced the work of Kim Jih.

Having received recognition from the world youth community, the poet turned to the world. He stopped feeling lonely. Knowledge of the world - in books, through which you can find inner freedom. The poet reflects on himself, in the public consciousness known as a tragic poet-rebel, de facto he is a stranger to scandalous fame, like Marilyn Monroe. This is an important point in understanding his work. The poet, who has established himself as a freedom fighter against the dictatorship of power, is not a supporter of Nietzschean morality. In Confucian morality, one is famous for pointing out the injustices that are being committed in society in order to improve the world.

He is alien to individualism, which makes a person lonely. In the late 1980s and early 1990s, Kim Jiha's poetry changed. In adulthood, the poet revises the system of values, a new attitude to life appears. The generation of the 1980s could not help but notice this change, and the view of Kim Jiha only as a fighter against the authorities and its oppositionist remained in the past. But any system of values that accompanied the poet during periods of creativity is important. The poet's early works are an important page for understanding the time and generation of the 1960s and 1970s in the Republic of Korea.

The world of his poetry is expanded to new horizons. Thus, the collection "Thirst", moving away from us in time, becomes another inverted page in the modern history of Korea.

Kim Jiha's main collections are: "Yellow Earth" (Hwang Tho, 1970), "Thirst" (Thaneung monmarim-yro, 1982), "Sweetheart" in 2 parts (Erin, 1986), "Black Mountain, White Room" (Komeung sang Hayan pan, 1986), " Rainy Cloud in the days of drought" (I kamun nar-e pikurim), "My Mother" (Na-y dmdni), "Improving the field of stars" (Pelpath-el urdrymyd, 1989)," Worrying about the main thing " (Chunsim-e kvarum, 1994). Collection of selected prose " Rice porridge "(Pub), plays: "Napoleon Cognac" and "Bronze Lee Sunsin".

From the first book of the poet "Yellow Earth" to the collection "Blue and White Stars" - a huge distance with a wide range of literary genres: lyrical poems, ballads, narrative (story-themed) poems, drama and prose, where philo-

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Sophia and religion (Catholic faith, tonkhak teaching, shamanism, Buddhism) have united in a single creative impulse.

The collection " Love of your neighbor "(1996) leaves a sense of peace. In poems about love for a woman, the poet was internally liberated, the world shone with new colors of life, previously unknown to his rebellious spirit.

* * *

The Russian philosopher Nikolai Berdyaev wrote: "True freedom is an expression of the cosmic (as opposed to chaotic) state of the universe, its hierarchical harmony, and the inner connectedness of all its parts. The cosmic is always free, there is no forced necessity in it, there is no gravity and pressure, there is no materialization of one part for another" (Berdyaev, 2007, p. 158). This worldview is close to many Korean poets, cosmic pacified their rebellious souls.

Korean beliefs were associated with the worship of the Sky (Creator), to which a person can always turn for help. The Taoist vertical of Heaven-Earth-Man, where the connection between Heaven and Earth was carried out through man, is well described in the songs of the Khwarans of the Silla era (VI-VIII centuries) [Nikitina, 1982, p.27].

Among the Koreans of the former Soviet republics (Kazakhstan and Central Asia), when worshipping the spirits of their ancestors during the agricultural holidays in spring and autumn (tano and chusok), it is customary to first pay homage to the supreme deity, i.e., the Sky, as well as the spirit of the Earth.

Man as a guide between Heaven and Earth had to have special properties of the soul. In ancient Korea, a hwarang is a poet who must be able to compose poetry before turning to the Sky. The idea of a single god-Hananim-formed the basis of Tonghak Choi Jeu's teaching.
Confucian ideology, which taught the younger to obey the older: parents, the senior in the social hierarchy, the sovereign, did not exclude the fact that there is a supreme being - Heaven.

Such an understanding of the world order excludes any rebellion on Earth, it pacifies pride, because before Heaven, as before God, everyone is equal: it judges according to its conscience and does not accept any earthly titles and regalia. But Confucianism and cosmism are a conflict at the level of ideologies. The laws of nature do not obey the hierarchy of human society. In the soul of a Korean of the Joseon era, incompatible religious and philosophical teachings could coexist up to the modern era: Confucianism, Taoism, Buddhism, and even shamanic beliefs. But Confucianism in Korea was more orthodox [10] than in China and Japan, and its doctrines had been mainstream in Korea since the Joseon era.

Many Koreans are subject to the laws of Confucianism while serving in the government and in various corporations. After leaving the service or being left alone with nature, they turn to the Sky. Earth and Space are living organisms. This understanding is inherent in the Far Eastern worldview.

Cosmic is very important, it is filled with a special meaning for the Korean, as it is identified with the freedom of the spirit, which is excluded in the Confucian society.

Kim Jiha's poetry in the last decade of the last century is the antithesis of the early period of his work. If before that he was a rebel poet, an oppositionist to the authorities, then in more mature years the poet tries to live with the world around him in cosmic harmony. This can be seen in one of his latest collections.

"Before, I was more concerned with the socio-political direction, my main interest was directed to the topic of life. I used to think that life is opposed to death. And death represents fascism. But after being in prison, I realized that death is a part of life.

10 After the Manchu conquest of China in 1644, Korea was considered to have true Confucianism (Confucian ideas in the Zhusi variant).

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My consciousness turned to life in the universe and environmental problems of the environment, against the destruction of life in the cosmic order "[Kim Chi-ha, 2006].

The lyrical cycle of Kim Jiha's poems in the collection "Worry about the Main Thing" presents us with the poet in a different capacity.

The collections "Improving the field of stars "and" Worrying about the main thing " show the individual inner world of the poet, his desire to merge with nature, they do not contain the radical moods that were characteristic of the young author.

Tightrope walking
In the evening in my body
The blue light comes on.
In all parts of the body.
And even in the brain.

After I leave,
A tree will grow.
After I leave
Above the theme tree
I will ascend as a young moon.

Oh love,
About the wonderful moment of birth
Let me know."

I'll break the shell and come out,
I'll kick it away and break free,
I will become the universe,
I will come to life, I will certainly rise again.
<1990>

In this world, nothing can disappear just like that, the chain of rebirths is given for a new rebirth.

The syncretic concept of nature and man "one in the other "or" all in all " is typical of the consciousness of Korean poets. There is no division of the world into the world of nature and society, natural and supernatural. This view of the world has not been crossed out by modern civilization or the Christian faith.

Worrying about the main thing

I accidentally saw it in the spring
Waving flower stalk

Out of the ground,
Pushing the ground apart, it broke free
A huge force in a rage.

The flower blooms,
Blooms in all its glory.
It fades.

Dreary,
swaying in the wind,

I'm not steady on my feet either.

Tomorrow
I'll go to the village,
I'll go...
I'll be free and strong.

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Nature is the main source of inspiration in the philosophy of Taoism and Confucianism, and then in the Korean teaching of tonghak (XIX century). In Korea, according to tradition, a Confucian scholar or civil servant who was excommunicated from the court settled in the remote mountains, where he grew millet, rice, and beans; he lived according to the rhythms of nature. The bustle of the secular world, the intrigues of the palace were contrasted with life in nature. The poet, also escaping from the hustle and bustle of the city, dreams of gaining strength and creative inspiration in the countryside, in the bosom of nature.

Kim Jiha's creative path is a vivid example of how his poetry was improved in the process of life and creative search, tragic trials. If in the early period of Kim Jiha's work in the glorious past of the country, he saw its happy period, which was characteristic of traditional Confucian thinking, and took subjects for his works from its history, then, starting from the mid-1980s, his poetry is addressed to man and his cosmic destiny.

Is it because of my age?

Is it because of my age?
I can see through a veil.
But the eyes are the net of the soul
And in the soul of darkness.
Before dawn - evening sunset.
I'm hungry in a dark room.
Long-awaited sounds of slowly cutting scissors,
Making a circle,
They subside.
On the street
Frost is falling off,
Like the ends of broken threads.
Without buttons from last year's jacket.
Trample still the rest of the heat.
I can hear it from the street
My clear-eyed
My wife is back,
The sound of scissors is heard...

New spring 3

Fresh fragrance
I'm alone in nature.
Spring has come.
I whisper with herbs.
I'm having a conversation with my swollen kidneys.
And there is no place for loneliness,
And then
And earth, and water, and air, and wind,
"all brothers.
But they are much more important than my brother,
They are gentlemen of the highest rank.
And from these thoughts
Light on the soul.

And from happiness
I sing, soaring higher than the birds.

"The mature and free will directs its act of willing, its action, to the cosmic, divine life, to the rich content of life, and not to emptiness. Mature and free will is a creative will that goes out of itself into cosmic life "[Berdyaev, 2007, p. 161].

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New Spring 4

I'm still alive,
I thank the Creator.
All day strong,
I can eat,
I thank the Creator.

Spring has come,
I see flowers,
I thank the Creator.

The soul is full,
Embracing the Universe.

When I'm standing under a tree,
all of a sudden...
I hear the sounds of a broken life,
There is a wailing chirp of birds ...

In this poem, the opposition of top-bottom, Sky-Earth is clearly felt. Everything connected with the Sky is beautiful, because the Creator gives a person the right to live on Earth, feel strong, see flowers, and embrace the whole world with his soul.

Everything related to the bottom-Earth causes anxiety and anxiety. Human society, not realizing its cosmic destiny, continues to sow evil and wars. "In his freedom and his creativity, a person cannot be separated and separated from the cosmos, from the universal being <...> In the universe, a person is free..." [Berdyaev, 2007, p.163].

list of literature

Berdyaev N. A. The meaning of creativity: The experience of justifying a person. Moscow: ACT "Keeper", 2007.

Nikitina M. I. Drevnyaya koreiskaya poeziya v svyazi s ritualom i mifom [Ancient Korean poetry in connection with ritual and Myth]. East lit., 1982.

Nikitina M. I. The Myth of the Sun Woman and her Parents and its "satellites" in the ritual tradition of ancient Korea and neighboring countries / Comp. and ed. by V. P. Nikitin, St. Petersburg: Peterburgskoe vostokovedenie, 2001.

Samsonov D. A. Gosudarstvennoe ustroystvo Respubliki Korei po konstitutsii yusin [The State structure of the Republic of Korea under the Constitution of Yusin]. Issue 8. St. Petersburg, 2005.

Kim Ji Ha. "I would become a hundred-empty tribune..." / / Literaturnaya gazeta. 7.12.1977.

Kontsvich L. Traditional Korean music // Korean studies. Selected works, Moscow: Publishing House "Muravsky-Gaid", 2001.

Kim Chi-ha. Five Thieves // Korean Literature Translation Institute & Arirang (DVD Production DGMORE), 2006.

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