Ko Yoon.. Poetic Identity of Korea | Yusuf Abu Los

At the next session of the Sharjah International Book Fair, South Korea will be the guest of honor at the fair for the first time. Guest of Honor is an annual global tradition that the fair’s organizer, the Sharjah International Book Authority, has been accustomed to, which has introduced Arab-Emirati culture to many international book fairs, and every time Sharjah is the guest of honor at these antique fairs.
Today, there are six months and a few weeks between us and South Korea’s hospitality at the Sharjah International Book Fair, during which I have occasionally seen the light of South Korea’s culture, history, literature and arts. , where possible, and within available limits, it defines the provision of Korean cultural materials. The ancient Asian nation, with its mythological, religious, faith and mythological spectrums, is the first historical foundation for any living culture in the world.
In one of Ashraf Abu al-Yazid’s essays on Korean literature, I read that he does not refer to contemporary Korean poetry except to refer to his prince Go Ahn in the words of Abu al-Yazid, and the “primary” here is that Korean poetry is nothing more than a metaphor for the emirate of Arabic poetry, but in reality it is There is no emirate of poetry in Korea or Asia as a whole. However, Go Ahn, born in 1933, is a prince in and of himself, sitting on more than 150 books, according to the material in my hands, he was a Buddhist monk, and his biography says, and, he Once more than in prison.
I am concerned here with poetry first, and it is necessary to point out here the lack or lack of circulation of Korean poetry, especially contemporary poetry, with literal translation into Arabic, second, third, and fourth. We are talking about translating poetry here, whether it is transmitted directly from Korean or through a third intermediate language, often here it is English or French.
As the appreciation of poetry in any translation seems to be usually done by the professional reader’s literary or cultural intuition, the professional reader of poetry translations can distinguish whether a translation is good or bad.
From the translation, at first glance, Go Yun’s poetry seems to be born from nature: water, waterfall, forest, mountains and wind. These elements are the incubator for the birth of all poetry not only in Korea but in the world. , the different creativity here depends on the poet, because the waterfall, the forest, the forest are all over the world, but necessarily different is the poet, and thus the language of the poet.
Go Yoon is above all a humanist poet, touching Korea in his poetry before seeing the country.
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