Korea (Hamilton)/Chapter 4

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A SANG-KO

The inhabitants of the Hermit Kingdom are peculiarly proficient in the art of doing nothing gracefully. There is, therefore, infinite charm and variety in the daily life of Korea. The natives take their pleasures passively, and their constitutional incapacity makes it appear as if there were little to do but to indulge in a gentle stroll in the brilliant sunshine, or to sit cross-legged within the shade of their houses. Inaction becomes them; nothing could be more unsuited to the character of their peculiar costume than vigorous movement. The stolid dignity of their appearance and their stately demeanour adds vastly to the picturesqueness of the street scenes. The white-coated, white-trousered, white-socked, slowly striding population is irresistibly fascinating to the eye. The women are no less interesting than the men. The unique fashion of ​their dress, and its general dissimilarity to any other form of feminine garb the world has ever known, renders it sufficiently characteristic of the vagaries of the feminine mind to be attractive.

Women do not appear very much in the streets during daylight. The degree of their seclusion depends upon the position which they fill in society. In a general way the social barriers which divide everywhere the three classes are well defined here. The yang-ban or noble is, of course, the ruling class. The upper-class woman lives rather like a woman in a zenana ; from the age of twelve she is visible only to the people of her household and to her immediate relatives. She is married young, and thenceforth her acquaintances among men are restricted solely to within the fifth degree of cousinship. She may visit her friends, being usually carried by four bearers in a screened chair. She seldom walks, but should she do so her face is invariably veiled in the folds of a chang-ot. Few restrictions are imposed upon the women of the middle class as to their appearance in the streets, nor are they so closely secluded in the house as their aristocratic sisters ; their faces are, however, veiled. The chang-ot is by no means so complete a medium of concealment as the veil of Turkey. Moreover, it is often cast aside in old age. The dancing-girls, slaves, nuns, and prostitutes, all included in the lowest class, are forbidden to wear the chang-ot. Women doctors, too, dispense with it, though only women of the highest birth are allowed to practise medicine.

In a general way, the chief occupation of the Korean woman is motherhood. Much scandal arises if a girl attains her twentieth year without having married, while no better excuse exists for divorce than sterility. In ​

​respect of marriage, however, the wife is expected to supplement the fortune of her husband and to contribute to the finances of the household. When women of the upper classes wish to embark in business, certain careers, other than that of medicine, are open to them. They may cultivate the silkworm, start an apiary, weave straw shoes, conduct a wine-shop, or assume the position of a teacher. They may undertake neither the manufacture of lace and cloth, nor the sale of fruit and vegetables. A descent in the social scale increases the number and variety of the callings which are open to women. Those of the middle class may engage in all the occupations of the upper classes, with the exception of medicine and teaching. They may become concubines, act as cooks, go out as wet nurses, or fill posts in the palace. They may keep any description of shop, tavern, or hotel ; they possess certain fishing privileges, which allow them to take clams, cuttle-fish, and bêches de mer. They may make every kind of boot and shoe. They may knit fishing-nets, and fashion tobacco-pouches. If some little respect be accorded to women of the middle classes, those of a lower status are held in contempt. Of the occupations open to women of the middle classes, there are two in which women of humble origin cannot engage. They are ineligible for any position in the palace : they may not manufacture tobacco-pouches. They may become sorceresses, jugglers, tumblers, contortionists, dancing-girls and courtesans. There is this wide distinction between the members of the two oldest professions which the world has ever known : the dancing-girl usually closes her career by becoming the concubine of some wealthy noble ; the courtesan does not close her career at all. ​

​It is impossible not to admire the activity and energy of the Korean woman. Despite the contempt with which she is treated, she is the great economic factor in the household and in the life of the nation. Force of circumstance has made her the beast of burden. She works that her superior lord and master may dwell in idleness, comparative luxury, and peace. In spite of the depressing and baneful effects of this absurd dogma of inferiority, and in contradiction of centuries of theory and philosophy, her diligent integrity is more evident in the national life than her husband's industry. She is exceptionally active, vigorous in character, resourceful in emergency, superstitious, persevering, indomitable, courageous, and devoted. Among the middle and lower classes she is the tailor and the laundress of the nation. She does the work of a man in the household and of a beast in the fields; she cooks and sews; she washes and irons; she organises and carries on a business, or tills and cultivates a farm. In the face of every adversity, and in those times of trial and distress, in which her liege and lazy lord utterly and hopelessly collapses, it is she who holds the wretched, ramshackle home together. Under the previous dynasty, the sphere of the women of Korea was less restricted. There was no law of seclusion; the sex enjoyed greater public freedom. In its closing decades, however, the tone of society lowered, and women became the special objects of violence. Buddhist priests were guilty of widespread debauchery; conjugal infidelity was a pastime; rape became the fashion. The present dynasty endeavoured to check these evils by ordaining and promoting the isolation and greater subjection of the sex. Vice and immorality had been so long and so promiscuously practised, however, that already men had begun to keep their women in seclusion of their own accord. ​If they respected them to some extent, they were wholly doubtful of one another. Distrust and suspicion were thus the pre-eminent causes of this immuring of the women, the system developing of itself, as the male Koreans learnt to

dread the evil propensities of their own sex. It is possible that the women find, in that protection which is now accorded them, some little compensation for the drudgery and interminable hard work that is their portion.

The system of slavery among the Koreans is confined, at present, to the possession of female slaves. Up to the time of the great invasion of Korea by the Japanese armies under Hideyoshi, in 1592, both male and female slaves were permitted. The loss of men in that war was so great that, upon its conclusion, a law was promulgated which forbade the bondage of males. There is, however, the sang-no (slave boy), who renders certain services only, and receives his ​food and clothes in compensation. The position of the sang-no is more humble than that filled by the paid servant and superior to that of the slave proper. He is bound by no agreement and is free to leave.

The duties of a slave comprise the rough work of the house. She attends to the washing — an exacting and continuous labour in a Korean household ; carries water from the well, assists with the cooking, undertakes the marketing and runs errands. She is not allowed to participate in any duties of a superior character ; her place is in the kitchen or in the yard, and she cannot become either a lady's maid or a favoured servant of any degree. In the fulness of time she may figure in the funeral procession of her master.

There are four ways by which the Korean woman may become a slave. She may give herself into slavery, voluntarily, in exchange for food, clothes and shelter through her abject poverty. The woman who becomes a slave in this way cannot buy back her freedom. She has fewer rights than the slave who is bought or who sells herself. The daughter of any slave who dies in service continues in slavery. In the event of the marriage of her mistress such a slave ranks as a part of the matrimonial dot. A woman may be reduced to slavery by the treasonable misdemeanours of a relative. The family of a man convicted of treason becomes the property of the Government, the women being allotted to high officials. They are usually liberated. Again, a woman may submit herself to the approval of a prospective employer. If she is found satisfactory and is well recommended, her services may realise between forty, fifty, or one hundred thousand cash. When payment has been made, she gives a deed of her own person to her purchaser, imprinting the outline of her hand upon the ​

​document, in place of a seal, and for the purpose of supplying easy means of identification. Although this transaction does not receive the cognisance of the Government, the contract is binding.

As the law provides that the daughter of a slave must take the place of her parent, should she die, it is plainly in the interests of the owner to promote the marriage of his slaves. Slaves who receive compensation for their services are entitled to marry whom they please; quarters are provided for the couple. The master of the house, however, has no claim upon the services of the husband. The slave who voluntarily assigns herself to slavery and receives no price for her services may not marry without consent. In these cases it is not an unusual custom for her master, in the course of a few years, to restore her liberty.

Hitherto, the position of the Korean woman has been so humble that her education has been unnecessary. Save among those who belong to the less reputable classes, the literary and artistic faculties are left uncultivated. Among the courtesans, however, the mental abilities are trained and developed with a view to making them brilliant and entertaining companions. The one sign of their profession is the culture, the charm, and the scope of their attainments. These "leaves of sunlight," a feature of public life in Korea, stand apart in a class of their own. They are clled gisaing, and correspond to the geisha of Japan; the duties, environment, and mode of existence of the two are almost identical. Officially, they are attached to a department of Government, and are controlled by a bureau of their own, in common with the Court musicians. They are supported from the national treasury, and they are in evidence at official dinners and all palace entertainments. They read and recite; they ​dance and sing; they become accomplished artists and musicians. They dress with exceptional taste; they move with exceeding grace; they are delicate in appearance, very frail and very human, very tender, sympathetic, and imaginative. By their artistic and intellectual endowment, the dancing girls, ironically enough, are debarred from the positions for which their talents so peculiarly fit them. They may move through, and as a fact do live in, the highest society. They are met at the houses of the most distinguished; they may be selected as the concubines of the Emperor, become the femmes d'amour of a prince, the puppets of the noble. A man of breeding may not marry them, however, although they typify everything that is brightest, liveliest, and most beautiful. Amongst their own sex, their reputation is in accordance with their standard of morality, a distinction being made between those whose careers are embellished with the quasi chastity of a concubine, and those who are identified with the more pretentious display of the mere prostitute.
A PALACE CONCUBINE

In the hope that their children may achieve that success which will ensure their support in their old age, parents, ​when stricken with poverty, dedicate their daughters to the career of a gisaing, much as they apprentice their sons to that of a eunuch. The girls are chosen for the perfect regularity of their features. Their freedom from blemish, when first selected, is essential. They are usually pretty, elegant, and dainty. It is almost certain that they are the prettiest women in Korea, and, although the order is extensive and the class is gathered from all over the kingdom, the most beautiful and accomplished gisaing come from Pyöng-an. The arts and graces in which they are so carefully educated, procure their elevation to positions in the households of their protectors, superior to that which is held by the legal wife. As a consequence, Korean folk-lore abounds with stories of the strife and wifely lamentation arising from the ardent and prolonged devotion of husbands to girls, whom fate prevents their taking to a closer union. The women are slight of stature, with diminutive, pretty feet, and graceful, shapely hands. They are quiet and unassuming in their manner. Their smile is bright; their deportment modest, their appearance winsome. They wear upon state occasions voluminous, silk-gauze skirts of variegated hues; a diaphanous silken jacket, with long loose sleeves, extending beyond the hands, protects the shoulders; jewelled girdles, pressing their naked breasts, sustain their draperies. An elaborate, heavy and artificial head-dress of black hair, twisted in plaits and decorated with many silver ornaments, is worn. The music of the dance is plaintive and the song of the dancer somewhat melancholy. Many movements are executed in stockinged feet; the dances are quite free from indelicacy and suggestiveness. Indeed, several are curiously pleasing.

Upon one occasion, Yi-cha-sun, the brother of the ​

​Emperor, invited me to watch the dress rehearsal of an approaching Palace festival. Although this exceptional consideration was shown me unsolicited, I found it quite impossible to secure permission to photograph the gliding, graceful figures of the dancers. When my chair deposited me at the yamen the dance was already in progress. The chairs of the officials and chattering groups of the servants of the dancers filled the compound; soldiers of the Imperial Guard kept watch before the gates. The air was filled with the tremulous notes of the pipes and viols, whose plaintive screaming was punctuated with the booming of drums. Within a building, the walls of which were open to the air, the rows of dancers were visible as they swayed slowly and almost imperceptibly with the music.

From the dais where my host was sitting the dance was radiant with colour. There were eighteen performers, grouped in three equal divisions, and, as the streaming sunshine played upon the shimmering surface of their dresses, the lithe and graceful figures of the dancers floated in the brilliant reflection of a sea of sparkling light. The dance was almost without motion, so slowly were its fantastic figures developed. Never once were their arms dropped from their horizontal position, nor did the size and weight of their head-dresses appear to fatigue the little women. Very slowly, the seated band gave forth the air. Very slowly, the dancers moved in the open space before us, their arms upraised, their gauze and silken draperies clustering round them, their hair piled high, and held in its curious shape by many jewelled and enamelled pins, which sparkled in the sunshine. The air was solemn; and, as if the movement were ceremonial, their voices rose and fell in a lingering harmony of passionate expression. At times, the three sets ​came together, the hues of the silken skirts blending in one vivid blaze of barbaric splendour. Then, as another movement succeeded, the eighteen figures broke apart and, poised upon their toes, in stately and measured unison circled round the floor, their arms rising and falling, their bodies bending and swaying, in dreamy undulation.

The dance epitomised the poetry and grace of human motion. The dainty attitudes of the performers had a gentle delicacy which was delightful. The long silken robes revealed a singular grace of deportment, and one looked upon dancers who were clothed from head to foot, not naked, brazen and unashamed, like those of our own burlesque, with infinite relief and infinite satisfaction. There was power and purpose in their movements; artistic subtlety in their poses. Their flowing robes emphasised the simplicity of their gestures; the pallor of their faces was unconcealed; their glances were timid; their manner modest. The strange eerie notes of the curious instruments, the fluctuating cadence of the song, the gliding motion of the dancers, the dazzling sheen of the silks, the vivid colours of the skirts, the flush of flesh beneath the silken shoulder-coats, appealed to one silently and signally, stirring the emotions with an enthusiasm which was irrepressible.

The fascinating figures approached softly, smoothly sliding; and, as they glided slowly forward, the song of the music welled into passionate lamentation. The character of the dance changed. No longer advancing, the dancers moved in time to the beating of the drums; rotating circles of colour, their arms swaying, their bodies swinging backwards and forwards, as their retreating footsteps took them from us. The little figures seemed unconscious of their art; the musicians ignorant of the qualities of their wailing. ​Nevertheless, the masterly restraint of the band, the conception, skill and execution of the dancers, made up a triumph of technique.

As the dance swept to its climax, nothing so accentuated the admiration of the audience as their perfect stillness. From the outer courts came for a brief instant the clatter of servants and the screams of angry stallions. Threatening glances quickly hushed the slaves, nothing breaking the magnetism of the dance for long. The dance ended, it became the turn of others to rehearse their individual contributions, while those who were now free sat chatting with my host, eating sweets, smoking cigarettes, cigars, or affecting the long native pipe. Many, discarding their headdresses, lay upon their sitting mats, their eyes closed in momentary rest as their servants fanned them. His Highness apparently appreciated the familiarity with which they treated him. In the enjoyment and encouragement of their little jokes he squeezed their cheeks and pinched their arms, as he sat among them.