Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon
 The complete collection of poems by Nansŏrhŏn, a 16th century sequestered noblewoman and one of Korea’s first feminists in literature, considered by many Korean scholars to be Korea’s greatest poet.

Nansŏrhŏn’s writes frequently in the Korean han style of “deep sighs,” a thematically-styled poetry reminiscent of the Chinese “women poets of anguish,” practiced by writers such as Li, Ch’ing-chao (1084-1151). In this style, hardships that cannot be overcome but only endured are named and lamented: the death of children, abandonment by husbands, and destruction of households from war are a few examples. She did not lose the means to express her feelings, however, and her poetry remains as testament to the process of her responses to her life.

The feminism of Nansŏrhŏn begins with her education and the act of writing poetry.  If a Korean noblewoman of this period wrote about progressive themes that challenged social norms, she had to express the ideas by using personas and troping traditional formal structures. Poetry written in this manner could then be defended by the noblewoman as simply practicing variations on poetic tradition, despite the subtextual commentary on abandonment, experiences or opinions on sequestering, larger questions about socialized gender roles and identity, or what it means to be an artist. 

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Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon
 The complete collection of poems by Nansŏrhŏn, a 16th century sequestered noblewoman and one of Korea’s first feminists in literature, considered by many Korean scholars to be Korea’s greatest poet.

Nansŏrhŏn’s writes frequently in the Korean han style of “deep sighs,” a thematically-styled poetry reminiscent of the Chinese “women poets of anguish,” practiced by writers such as Li, Ch’ing-chao (1084-1151). In this style, hardships that cannot be overcome but only endured are named and lamented: the death of children, abandonment by husbands, and destruction of households from war are a few examples. She did not lose the means to express her feelings, however, and her poetry remains as testament to the process of her responses to her life.

The feminism of Nansŏrhŏn begins with her education and the act of writing poetry.  If a Korean noblewoman of this period wrote about progressive themes that challenged social norms, she had to express the ideas by using personas and troping traditional formal structures. Poetry written in this manner could then be defended by the noblewoman as simply practicing variations on poetic tradition, despite the subtextual commentary on abandonment, experiences or opinions on sequestering, larger questions about socialized gender roles and identity, or what it means to be an artist. 

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Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon

Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon

Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon

Spring Mountain: The Complete Poems of Ho Nansorhon: Poems of Ho Nansorhon

Overview

 The complete collection of poems by Nansŏrhŏn, a 16th century sequestered noblewoman and one of Korea’s first feminists in literature, considered by many Korean scholars to be Korea’s greatest poet.

Nansŏrhŏn’s writes frequently in the Korean han style of “deep sighs,” a thematically-styled poetry reminiscent of the Chinese “women poets of anguish,” practiced by writers such as Li, Ch’ing-chao (1084-1151). In this style, hardships that cannot be overcome but only endured are named and lamented: the death of children, abandonment by husbands, and destruction of households from war are a few examples. She did not lose the means to express her feelings, however, and her poetry remains as testament to the process of her responses to her life.

The feminism of Nansŏrhŏn begins with her education and the act of writing poetry.  If a Korean noblewoman of this period wrote about progressive themes that challenged social norms, she had to express the ideas by using personas and troping traditional formal structures. Poetry written in this manner could then be defended by the noblewoman as simply practicing variations on poetic tradition, despite the subtextual commentary on abandonment, experiences or opinions on sequestering, larger questions about socialized gender roles and identity, or what it means to be an artist. 

Product Details

ISBN-13: 9781945680809
Publisher: White Pine Press
Publication date: 06/03/2025
Pages: 140
Product dimensions: 6.00(w) x 9.00(h) x 0.00(d)

About the Author

Nansŏrhŏn (1563-1589, penname “White Orchid”) was a sequestered noblewoman who lived during the sixteenth century in Korea. Considered by many Korean scholars to be Korea’s greatest female poet, she died at the age of twenty-seven.


Ian Haight’s collection of poetry, Celadon, won Unicorn Press’ First Book  Prize. With T’ae-yong Hŏ, he is the co-translator of Spring Mountain:  Complete Poems of Nansŏrhŏn and Homage to Green Tea by the Korean  monk, Ch’oŭi, both from White Pine Press. Other awards  include Ninth Letter’s Literary Award in Translation, and grants from the  Daesan Foundation, the Korea Literary Translation Institute, and the  Baroboin Buddhist Foundation. Poems, essays, interviews, reviews,  microfiction and translations appear in Barrow Street, Writer’s Chronicle,  Hyundai Buddhist News, Full Stop, MoonPark Review and The Poetry  Review (UK).


T’ae-yong Hŏ has been awarded translation grants from the Daesan  Foundation and Korea Literature Translation Institute. With Ian Haight, he is  the co-translator of Borderland Roads: Selected Poems of Kyun Hŏ—finalist  for KLTI’s Grand Prix Prize—and Magnolia and Lotus: Selected Poems of  Hyesim—finalist for ALTA’s Stryk Prize. Working from the original  classical Korean hanmun, T’ae-yong’s translations of Korean poetry have  appeared in Agni, New Orleans Review, and Prairie Schooner.

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Asian poetry
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