Who invented Hangul?
Christianity in Korea
Hangul, a phonemic Korean alphabet invented around 1446 by scholars in the court of Sejong the Great, was little used for several centuries because of the perceived cultural superiority of Classical Chinese (a position similar to that of Latin in Europe). However, the Catholic Church became the first Korean religious organization to officially adopt Hangul as its primary script. Bishop Siméon-François Berneux mandated that all Catholic children be taught to read it. Christian literature printed for use in Korea, including that used by the network of schools established by Christian missionaries, mostly used the Korean language and the easily learned Hangul script. This combination of factors resulted in a rise in the overall literacy rate, and enabled Christian teachings to spread beyond the elite, who mostly used Chinese. As early as the 1780s, portions of the Gospels were published in Hangul; doctrinal books such as the "Jugyo Yoji" (주교요지) appeared in the 1790s and a Catholic hymnal was printed around 1800.
Korean literature
In the mid-Joseon period, parable-like stories were published. By the end of the Joseon period, many writers had started to deviate from the orthodox conventions of classical Chinese literature, and literature about common people such as merchants, thieves, or gisaeng were commonplace.Oral literature includes all texts that were orally transmitted from generation to generation until the invention of Hangul (han'gul)--ballads, legends, mask plays, puppet-show texts, and p'ansori ("story singing") texts.
In spite of the highly developed literary activity from early in Korean history, song lyrics were not recorded until the invention of Hangul (han'gul). These orally transmitted texts are categorized as ballads and are classified according to singer (male or female), subject matter (prayer, labour, leisure), and regional singing style (capital area, western, and southern). The songs of many living performers, some of whom have been designated as "intangible national treasures" by the South Korean government, are still being recorded.
Legends include all those folk stories handed down orally and not recorded in any of the written records. These legends were for long the principal form of literary entertainment enjoyed by the common people. They deal with personified animals, elaborate tricks, the participation of the gods in human affairs, and the origin of the universe.
The mask plays are found in Hahoe, Chinju, T'ongyong, Kimhae, and Tongnae in North and South Kyongsang provinces; Yangju in Kyonggi Province; Pongsan in Hwanghae Province; and Pukch'ong in south Hamgyong Province. The most representative plays are the sandae kuk genre of Yangju, the pyolsin kut of Hahoe, and the okwangdae nori (five-actor play) of Chinju. Although the origin of these plays is uncertain, they are generally presumed to have developed from primitive communal ceremonies. Gradually, the ceremonial aspect of the plays disappeared, and their dramatic and comic possibilities were exploited. The dialogue was somewhat flexible, the actors being free to improvise and satirize as the occasion demanded. The plays were not performed on a stage, and there were no precise limits as to the space or time in which the performances took place. The audience also traditionally responded vocally to the play as well as passively watching it. The organization of the mask plays—through repetition and variety—achieves a remarkable effect of dramatic unity. (see also dramatic literature)
Only two puppet-show texts are extant, Kkoktukaksi nori (also called Pak Ch'omjikuk; "Old Pak's Play") and Mansok chung nori. Both titles are derived from names of characters in the plays. No theory has been formulated as to the origin and development of these plays. The plots of the puppet plays, like those of the mask plays, are full of satiric social criticism. The characters—Pak Ch'omji, governor of P'yongam, Kkoktukaksi, Buddhist monk, and Hong Tongji—dance and sing, enacting familiar tales that expose the malfeasance of the ruling classes. (see also puppetry)
The final type of folk literature is found in the texts of p'ansori of the Yi dynasty. These texts were first recorded in the 19th century as verse, but the written forms were later expanded into p'ansori fiction, widely read among the common people. This transformation from poetry to narrative fiction was easily accomplished, since p'ansori were always narrative. Originally the entire p'ansori performance repertoire consisted of 12 madang ("titles"). Although all 12 remain as narrative fiction, only five of them are sung today. The texts evolved gradually from the legends, which provided their sources and were altered and expanded as they were passed from one performer to another.