A Korean Adoptation of Shakespeare in Choi Inhoon’s Typoon
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In his novel Typhoon (1973), the celebrated Korean novelist Choi Inhoon (1936-2018) finds a kinship with Shakespeare’s The Tempest. His thematic development of death and resurrection in the tempest finds a kinship with Shakespeare. But Choi’s source materials are not confined to The Tempest alone; the protagonist’s psychomachia and inaction can be read as comparable to Hamlet’s situation on the sea, and, further, Choi also intertextualizes Marina, a character borrowed from Shakespeare’s Pericles. However, these allusions and homages to Shakespeare are not as significant as Choi’s borrowings from Shakespeare’s governing metaphors of sea, shipwreck and tempest, which remain as overarching atmospheres within his novel. In fact, while Shakespearean romance may be characterized by familial reunions and reconciliations as a means of performing (and, finally, resolving) political conflicts, Choi foregrounds history as time and historical change as his fictional protagonist. As the wind blows, so time flows. As the wind blows, so the time flows. Choi seems to assert romance as the mode most appropriate to representing the seasonal cycles of mutability repeating an archetypal pattern of separation and reunion, life and death, despair and hope, all of which transcend individual and national life. Adopting romance so as to represent a politically utopian vision in terms of the trans-historical thirteenth month in the coda of the novel, Choi melds his version of geographical Asianism to the spiritual kinship of non-allied countries. Choi realizes a biological adoption and a literary adaptation of Shakespeare in the novel: he makes use of his creative adoptation of Shakespeare in his reconfiguration.
Abstract
In his novel Typhoon (1973), the celebrated Korean novelist Choi Inhoon (1936-2018) finds a kinship with Shakespeare’s The Tempest. His thematic development of death and resurrection in the tempest finds a kinship with Shakespeare. But Choi’s source materials are not confined to The Tempest alone; the protagonist’s psychomachia and inaction can be read as comparable to Hamlet’s situation on the sea, and, further, Choi also intertextualizes Marina, a character borrowed from Shakespeare’s Pericles. However, these allusions and homages to Shakespeare are not as significant as Choi’s borrowings from Shakespeare’s governing metaphors of sea, shipwreck and tempest, which remain as overarching atmospheres within his novel. In fact, while Shakespearean romance may be characterized by familial reunions and reconciliations as a means of performing (and, finally, resolving) political conflicts, Choi foregrounds history as time and historical change as his fictional protagonist. As the wind blows, so time flows. As the wind blows, so the time flows. Choi seems to assert romance as the mode most appropriate to representing the seasonal cycles of mutability repeating an archetypal pattern of separation and reunion, life and death, despair and hope, all of which transcend individual and national life. Adopting romance so as to represent a politically utopian vision in terms of the trans-historical thirteenth month in the coda of the novel, Choi melds his version of geographical Asianism to the spiritual kinship of non-allied countries. Choi realizes a biological adoption and a literary adaptation of Shakespeare in the novel: he makes use of his creative adoptation of Shakespeare in his reconfiguration.
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