The novel “Hong Gildong jeon” is still enjoyable to read even now. Is that what a ‘classic’ is? The author blended physiognomy, eccentricity, disguise, and geomancy to create a kind of “chivalry novel.” That’s why it’s interesting. The novel has a direct trigger for conflict.
The conflict begins with the physiognomist who was instigated by Choran (Hong Daegam’s concubine). The physiognomist, abetted by Choran, visits Hong’s father, Hong Daegam, and says, “If Gildong succeeds, he will become king, but if he fails, there will be a great calamity.” Using this statement as a pretext, Choran attempts to kill Gildong. Feeling threatened for his life, Gildong kills the physiognomist and leaves home. Afterward, he settles on an island called “Jedo,” thousands of miles away from Joseon, and finds a propitious site for the grave of his father, Hong Daegam, under Mount Ilbong. With the help of a favorable change in fate that came from the site, Gildong conquers the land of Yul-do and becomes king. This is the ending of the novel.
The novel “Hong Gildong jeon” serves as a valuable source for glimpsing into the era of physiognomy, geomancy, and saju (Chinese astrology) during the lifetime of Heo Gyun (1569-1618). In the novel, Heo Gyun portrays physiognomy negatively and geomancy positively. It’s not physiognomy itself but the ill intentions of the physiognomist that were problematic. Heo Gyun also shows an interest in saju and even records his own assessment in his writings. This serves as valuable material for understanding what saju interpretations were like during that time. It’s commonly misunderstood that saju interpretations have remained the same over time, but they actually change depending on the era and society. In other words, they reflect the culture of the times. Heo Gyun writes an extensive evaluation of his own saju, and here’s a part of it.
“I was born in the year of Gi-sa, the month of Byeong-ja, on a day of Im-shin, at the hour of Gyemyo. (...) Truly, my destiny is precarious. Since ‘metal’ attacks ‘wood,’ my body is always weak (...) and I am unable to succeed in my endeavors. Speaking recklessly and clashing with others (...) I will encounter great misfortune and meet my death....”
Why did he interpret his own birth chart negatively, thus trapping himself in the snare of destiny? These sentences are not in line with the saju commonly practiced today. Yuan Shushan (1881~?), the greatest Chinese astrologer of the 20th century who had a significant influence on Korean saju after liberation, is an example. If Yuan Shushan had examined Heo Gyun’s birth chart, he might have praised it as the chart of “a great leader with all five elements.” Saju, geomancy, physiognomy, and the like are a kind of “cultural phenomenon” that cannot be judged by the standards of superstition or science alone. It’s a cultural matter, but it can also be a matter of belief. Belief can be a great driving force behind one person’s success.
BTS’s youngest member, Jungkook, is a prime example of this. On July 25th, the U.S. music publication Billboard announced that BTS Jungkook’s first solo single, “Seven,” had entered the main single chart, “Hot 100,” at number one. A month later, on August 24th, Spotify, the world’s largest music streaming service, announced that “Seven” had also reached number one on the “Weekly Top Songs Global” chart. It’s truly remarkable. Fans from all over the world closely follow Jungkook’s every move. Unlike other BTS member, Jimin, he “believes in destiny.” He expresses his saju through tattoos on his arm. It’s a new combination and culture of saju and tattoos.
Among Jungkook’s tattoos, there is one that transitions from a clock to a chain to a microphone to a musical note. The clock’s hands point to 3:23, his time of birth. The clock is connected to the microphone’s cords that act as a chain, with the microphone heading towards a musical note. This symbolizes “destined to sing from birth.” He also has the tattoo “110604,” representing June 4th, 2011, the day he moved from Busan to Seoul, which is an auspicious day for him.
While Huh Kyun left a document called “Haemyeongmun” stating, “being in a fate to die of misfortune,” Jungkook’s tattoos convey a blessing of his destiny in singing. Fate unfolds as its owner thinks. Saju and geomancy are neither science nor superstition but rather a part of culture. I believe they can be commercialized as part of K-culture worldwide.
