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外文原稿：

Hwang Jini: An Examination of Life as a Joseon


Hwang Jini was a famous Joseon Dynasty kisaeng, likely to have been born around 1506in the scenic city of Kaesong, now in modern-day North Korea. She was known also by her adopted kisaeng name of Myeongwol, meaning “bright moon”. Details of her birth are inconclusive at best, but it is generally agreed that she was born the illegitimate daughter of a yangban, who, having been seduced by her mother’s beauty and charm, had consented to relations. 
Growing up, she was noted for her exceptional beauty and musical prowess, and a story stands that a young man of the village, so distressed by his unrequited love for her, had died of heartbreak. This story is instrumental in the development of a picture of young Jini,because during the young man’s funeral procession, she laid her blouse on the casket as a sign of her regret and sorrow. This sensitivity to life and the needs of others, combined with her natural beauty and talent, made her an appropriate candidate to become a kisaeng. 
A kisaeng is an officially sanctioned female entertainer, trained in music, dancing, and poetry composition. This being said, there is a fine historical line between being a professional entertainer and being a prostitute for the very wealthy and powerful. In many ways, kisaengs were merely the playthings of the yangban, the ruling noble class of the time, and not respected as the highly trained performers that they were. Hwang Jini is considered the most famous of these because she stood out from the expected norm. Kisaengs in general had more freedom than the average women of the time, due to the nature of their job. Jini, however, especially refused to be confined to the standards of her day, and had little regard for societal restraints. In shaping this unique worldview, Jini was influenced by the expected role of her gender, important worldly events, characterizing relationships, the class divide, her education and role as a kisaeng, and her life in both Kaesong and Hanyang.
Korea’s Joseon Dynasty was heavily divided between the rich and poor, and male and
female. Ancient Korean society relied largely on Confucianism as a moral code and
way of life.
This meant that, according to Confucian ideals, the woman’s place was at home while the man was to be out participating in society. Promoters of this idea were members of the ruling class,the yangban, who had emerged from a group of literati. They held themselves in high intellectual esteem, living extravagant lifestyles funded by the government. Kisaengs, while often taken as concubines or secondary wives by men of yangban status, were typically born into the lowest class, making them ineligible to be primary wives or hold any recognized power.
Should a kisaeng rise to any sort of exemplary fame or attention, it was merely considered an indication of her ability to manipulate the heartstrings and purse-strings of the men she catered to,but it was still only a figurative role. In classical Korean thinking, this was almost shameful,because women of the time were, without resorting to obvious stereotypes, trained only to cook,clean, and raise children.
 Where many kisaengs may have felt freedom from hiding behind a prettily painted face, Hwang Jini was a rare exception in that she often remained barefaced. Why Jini was so free from restraint is open to interpretation. It could be a combination of her instance of birth, the relationships she formed with forward-thinking men, or the innate power that comes from acknowledging one’s own beauty.
In discovering what shaped Jini to be the noble character she was known to be, it is
important to first discuss the crucial societal events in her life. She was born in a time of turbulence in the Joseon Dynasty. Around the time of her birth, a corrupt king (Yeonsan) was dethroned and replaced by his brother, Jungjong.
 The Joseon kingdom was at a crossroads attempting to adapt to a new lifestyle brought about by the new king, and this provided Jini with a suitable stage to demonstrate her art. 
However, despite the changes, there were still struggles
throughout the kingdom, including the purging of Neo-classical Confucianists when Jini was a young girl. 
Joseon kings were ambiguous in their relationships with this group of literati, and
throughout Jini’s life she would see the tension that arose between the gilded old world of monarchic rule and the revolutionary thinking of modern Confucianists.
Understandably, the life of a kisaeng can be devoid of meaningful relationships, due to the near-prostitution element of the position. But this is perhaps part of what drove Jini to become a kisaeng. It is said that when she was young, her beauty, much like her mother’s, had attracted a young rich man (the son of a yangban). The two fell madly in love, but because of Jini’s status as an illegitimate daughter and of being the lowest class, their relationship was fated from the start. But tragedy struck with the early and untimely death of this young nobleman. This was a defining moment in Jini’s life, and indirectly shaped her views on men and love thereafter. 
However she was not completely disillusioned with men, because later she met the most influential person in her life: the scholar Seo Kyung Duk. However this time,unlike many others, it was she who experienced unrequited love.
Seo Kyung Duk was a famous scholar who led a simple life engrossed in the study of
human philosophy8. He had a small group of students, among whom “Hwang Jini was a roseamong thorns. He loved her as a beautiful flower – gazed upon but not picked”9. Hwang Jini aptly titled him as one of the “three wonders of Kaesong”, along with herself and thefamous Pakyon Falls. Kyung Duk was the one man who wouldn’t fall prey to her gentle charm and grace, which attracted Jini even more. 
She liked to tell him how she was able to seduce a hermit who had meditated celibately for 30 years, but Kyung Duk never wavered, and this nobility of
character endeared him to her. It is said that her true love was the previously mentioned ill-fated son of a yangban, and perhaps she latched onto more of the idea of Kyung Duk than the actual person because he was unwavering and predictable. After her traumatic loss, she must have felt betrayed, especially by the yangban class who looked on her with disdain. 
In her pained confusion, Kyung Duk, provided a welcome contrast and provided a stability that she was unused to. Whereas with the son of a yangban she first had him then lost him, with Kyung Duk she never had anything to lose.
Throughout her career as a kisaeng, Jini was to encounter many different men. None
would prove to capture her attention as much as Kyung Duk, but her relationships with each played an important role in further shaping her image as an independent woman. 
The first is So Seyang. Seyang was convinced that “a man who allowed himself to be captivated by a woman was not a man at all”10, and he said he would live with Jini for a month and then leave with no regrets. However he proved no match for the famed kisaeng, who, with no grief herself, composed and sang a poem, causing him to regret his words. This shows her as a woman independent of the wants of a man, free to come and go as she pleases. 
Next she met Yi Sajong,a famous Seoul singer and musician. The two made an agreement to live together for six years, with each one providing provisions for three years. 
Again Jini left without looking back, perhaps
knowing that every subsequent relationship would be devoid of meaning because her true love was forever unattainable.

外文翻譯

黃真伊：考察朝鮮時代的妓女生涯

‘黃真伊’是朝鮮王朝有名的藝妓，在1596年左右出生于山水之城——開城，現(xiàn)如今的北朝鮮。同時也因她的藝妓名‘明月’而著稱，意為明月。關(guān)于她的出生以及其他細節(jié)還沒有確切的結(jié)論，但是人們普遍認為她是“兩班”——古代高麗和朝鮮的貴族階級官員的私生女，該官員是被‘黃真伊’母親的美貌和魅力所誘惑從而與之交往。
‘黃真伊’長大后因她傾國傾城的美貌和音樂天賦被人熟知，還有一則故事里說到：在村里‘黃真伊被一個年輕人癡情暗戀因為一廂情愿沒有得到回應(yīng)最終郁郁寡歡心悸而死，這則故事在塑造年輕的‘黃真伊’形象上起到了一定的作用，，因為在這位逝世的年輕人的葬禮中，‘黃真伊’將自己的寬松上衣鋪設(shè)在棺材里以示遺憾和悲傷。這種對生活的敏感度和對他人的需求，與其身上特有的天賦和美貌讓她成為藝妓合適的人選。

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