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Hymn of Death: Episodes 5-6 (Final)

Some love stories are meant to be happily-ever-after, some are doomed from the start, and some are simply fated to shine brightly before flaring out. Woo-jin and Shim-deok’s love was a blazing beacon, burning hotly for a short time yet changing everyone it touched. They each left behind, in their own words, what it was like to live in a world filled with oppression, and their belief that it’s better to die free than live in chains.

  
EPISODE 5

Woo-jin receives a call at work from Shim-deok, but she doesn’t speak, she only listens to his voice. He senses that it’s her and says her name, and she slams the phone down and cries.

In the morning, Jeom-hyo goes to Woo-jin’s father, concerned that Woo-jin didn’t come home last night. Woo-jin’s father checks with the assistant, who tells him that Woo-jin left work early yesterday. He searches Woo-jin’s study and finds the box filled with Shim-deok’s letters, and his hands shake with fury as he reads them.

Shim-deok is approached by a record executive about a recording contract, and he offers her enough money to send her sister to the U.S. to study. He agrees to pay her as soon as the recording is finished, so she signs right away.

As she’s walking home, she’s surprised to see Woo-jin waiting for her. Wordlessly, he pulls her into his arms and asks, “Don’t go anywhere. Stay by my side. I don’t think I can live without you.” He asks Shim-deok to go to Tokyo with him, and Shim-deok is filled with so much joy that she can’t answer, she just flings herself into his embrace again.

He leaves right away, which makes Shim-deok pout, but he tells her to be patient and they’ll soon be together for good. She admits that she has something to take care of first anyway, but when Woo-jin seems about to offer her money for her siblings’ education, she cuts him off and says that all she wants from him is his love (and he jokes that he’s broke anyway, ha).

Woo-jin goes home to settle things before going on to Tokyo, and when he gets there, he finds his father and Jeom-hyo standing over a bonfire made of his books and writings. His father flings Shim-deok’s letters in Woo-jin’s face, asking if he really goes to Gyongseong to visit a vulgar woman who sings for unknown men.

Woo-jin says that she’s precious to him, and his father admits that it’s common for a man to look at women for a moment. Woo-jin says it’s not just a moment, and that he tried for years to forget her, but it’s no use. He tells his father that he’s leaving with Shim-deok and never coming back.

His father yells at him, asking what Shim-deok is to him that he’d forget all filial piety. Woo-jin snaps back that he’ll give up filial piety or anything else to be with her. His father threatens that without his money, Woo-jin will lose the woman and his love for writing, because he won’t be able to withstand poverty.

Woo-jin says that if Shim-deok abandons him for that reason then it’s simply his fate, and his father screams at him to get out. As he leaves, Woo-jin stops to apologize to Jeom-hyo and ask her not to forgive him.

Shim-deok breaks off her engagement to Hong-ki, who isn’t exactly surprised, and says that he understands. He’s worried for her reputation, though, since their engagement was already announced and she’s relatively well-known. She thanks him for his concern, and he asks her for a favor — to think of him sometimes, and hope that he meets someone even better and lives happily ever after. Awww, he’s a good guy.

Her family is not so understanding, but Shim-deok tells them about her recording contract and how it will pay for Sung-deok’s education. She promises to do the same for Ki-sung, her younger brother, but she still worries about her sick father.

She asks the record executive for a down payment on future recordings to pay for Ki-sung’s education. He tells a friend, Mr. Lee, and they guess that Shim-deok is her family’s sole breadwinner. Mr. Lee decides to offer her the money, as he feels Shim-deok’s talent is worth supporting. Ki-sung is also studying music, which he hopes will also “shine the light of Joseon” around the world.

Soon after, Ki-sung overhears some fellow students talking about Shim-deok, and how she was seen leaving Mr. Lee’s house. There are rumors that she’s having an affair with Mr. Lee, that her fiance found out and called off the wedding, and that Mr. Lee pays her for the use of her body.

Ki-sung hears this and starts swinging his fists. He runs home to confront Shim-deok about the money from Mr. Lee, demanding to know what happened between her and Mr. Lee. Shim-deok is confused, so Sung-deok explains about the rumors and begs her to say they aren’t true.

Shim-deok is so hurt that they would believe she’d sleep with a man for money that she runs outside to cry. But the rumors are too far-spread to avoid, and she begins losing singing jobs because the theatres are reluctant to be associated with her. She can’t even walk down the street without hearing the murmurs about her supposedly loose morals.

One day, the Japanese police come to Shim-deok’s house with a summons from the director of Education and Management. She refuses to go without knowing why he wants to see her, so the officers take her away forcibly. She’s frog-marched all the way to the director’s office, but she manages to stay dignified.

Although she’s fluent in Japanese, she will only speak in Korean, pointing out that the director may work for Japan but he was also born in Korea. He caresses her face, then slaps her and calls her a whore when she pushes his hand away.

He says he has a singing job to offer her for the Japanese Government-General of Korea, which would involve singing at banquets and other shows celebrating Japan’s prosperity. Shim-deok says that she’s about to leave for Osaka to record for a Japanese recording company and turns him down.

But the director makes a not-so-veiled threat towards her family, and Shim-deok turns back in shock. He chuckles that they can have a drink when she returns from Osaka — privately, of course.

EPISODE 6

Over dinner that evening, Shim-deok’s parents express interest in the offer, but Ki-sung snaps at Shim-deok angrily never to stoop that low no matter how important singing is to her. Sung-deok agrees with him, and as her siblings loudly argue with their parents, Shim-deok quietly takes herself to her room to pack.

Later, Sung-deok joins Shim-deok where she’s sitting outside. She asks if she’s still meeting Shim-deok in Osaka next week to play piano for her recording, and she asks why Shim-deok is leaving so much earlier. Shim-deok just says that there’s someone she needs to see.

There’s a letter in her room from Woo-jin, and in it he mentions that he heard the rumors about her after arriving in Tokyo. He says they sound like nonsense, and that the only words he believes are hers. He expresses regret for not bringing her to Japan with him, and urges her to hurry to him and be the vivacious woman she was when they met.

Some time later, Woo-jin receives a female visitor, but it’s not Shim-deok as he expects — it’s Jeom-hyo. She tells him to come home, because his father has refused to eat until he returns to run the company. She says that there are others who can write even if Woo-jin doesn’t, but nobody else can run his family’s company. Woo-jin says that’s not his business anymore.

Jeom-hyo asks if he plans to stay away until his father dies, and says that she’ll expect him home soon, but Woo-jin tells her not to get her hopes up. She says that she married him having never met him, and she’s never asked for his heart. But she believes it’s her duty to love and support Woo-jin even though his heart lies elsewhere, and she urges him, not to be a husband to her, but to be a son to his father.

Woo-jin goes to the theatre where Hae-sung and Kyosuke work as playwrights. They invite him to stay and watch rehearsal for their newest play, but he declines, so Hae-sung says they can have dinner later. As he heads back to his boarding house, Woo-jin thinks about the time he’d told Shim-deok he never had a dream, and his father’s insistence that he give up writing in favor of the family business.

Shim-deok is there when he arrives at the boarding house, and they share smiles tinged with sadness. They go to a park, where Woo-jin tells Shim-deok that he should return to Korea because he can’t abandon his father, yet he can’t return, because in Korea he can’t write or be with her.

She says they’re facing the same dilemma, telling him about the Japanese Government-General’s job offer. She says that if she returns and sings for them, her soul will die, but if she doesn’t return, her family will die.

She reminds Woo-jin of the day they met and he was reading Arishima Takeo’s book. She says that she used to think of Arishima, and his death, every time she thought of Woo-jin. She tells Woo-jin that she understands why Arishima and his lover killed themselves together — they must have wanted to rest, and be where they’d never have to part.

She says bleakly, “I want to rest now. I’m so exhausted. But I can’t do that for fear I might end up missing you too much.” Woo-jin replies, “If that’s the reason, you can rest. I used to think that [Arishima] ran away from life, but I no longer think so. He made that choice to live. In order not to lose himself, he chose death.”

Shim-deok stares at him, her eyes welling with tears, as he says tenderly, “For the first and last time in my life, I want to live life as who I am. Even if that life means death. So you can rest in peace, too. By my side.”

That night, when Hae-sung goes to Woo-jin’s room to take him to dinner, all he finds is a note asking him to come to Osaka in five days, and an address.

Woo-jin and Shim-deok take the train to Osaka, hand in hand. They do the things any couple in love would do, finally free to just be together. At night, Woo-jin writes while Shim-deok cuddles up to him, and she tells him that she’s thought up a poem of her own. She only has one stanza, but she and Woo-jin take turns imagining more lines, until the poem is finished:

Shim-deok:
Life running in the vast wilderness
Where is it that you are heading?
In this lonely world filled with cruel suffering
What are you looking for?

Woo-jin:
In this world made of tears
Will my death truly be the end of it all?
Those of you in search of happiness,
Only futility awaits you.

Shim-deok:
Those smiling flowers and crying birds
All share the same fate.

Woo-jin:
Pitiful life, absorbed in living,
You are the one dancing on the blade.

Sung-deok arrives in Osaka, and she plays the piano while Shim-deok records songs for her album. When she’s finished with the planned songs, Shim-deok asks if she can record one more. It’s the poem that she and Woo-jin wrote together, set to her favorite song “Waves of the Danube,” and which she’s titled “Praise of Death.”

Shim-deok walks Sung-deok to the ferry that’s to take her back to Korea. Shim-deok tells her where to find some money she’s hidden and asks her to give it to their mother. Sung-deok asks when Shim-deok will be home, but Shim-deok just tells her sister not to miss her boat and sweetly wishes her farewell.

Hae-sung arrives at the address that Woo-jin left for him, but again there’s no Woo-jin, only a book filled with his writings.

Woo-jin and Shim-deok catch another ferry together, and instead of their real names, they give their pen names for the passenger roster: Kim Soo-san and Yoon Soo-sun. Later Woo-jin finds Shim-deok on the deck, and she says she was wondering if she forgot anything, but she doesn’t think she did.

That night, in their cabin, Shim-deok plays a record of “Waves of the Danube” while Woo-jin writes a note asking whoever finds it to send his luggage home. Shim-deok says it’s nearly dawn, and Woo-jin pulls her cloche hat from a drawer and puts it on her — he’s kept it all these years.

They go to the deck, and Shim-deok remembers the time they went to the dance hall at the end of the play tour. Woo-jin recalls her dancing with Nam-pa that night, so Shim-deok removes her shoes and asks him to dance. Woo-jin leaves his shoes next to hers, and they waltz on the deck to music only they can hear.

Your unforgettable name. Deep in my heart your name is engraved, and I long for you. You set fire to my heart. In my heart, you ignited the indistinguishable flame of love. Before your name can be forgotten, I long for you again. Ah, even at the moment of death, I shall call out your name. Even as I am living, my heart longs for you. Until the moment of death, I will long for you. You set fire to my heart. In my heart, you ignited the indistinguishable flames of love… Shim-deok.

When their dance is over, Shim-deok ducks her head to hide the tears in her eyes. But Woo-jin tips up her chin and wipes her tears, taking her hands in his and kissing her as his own tears fall. They share one final, peaceful smile, then walk together towards the ship’s railing.

Soon, the only sound is the crashing of the ocean’s waves.

The Theory of Death and Life, May 4, 1926:

Are you truly living? No, I am yearning for death in order to truly live.

  
COMMENTS

First, let me share this: Praise of Death, sung by Yoon Shim-deok. If you haven’t heard this lovely, haunting song that’s credited as being the first Korean pop song ever recorded, take a minute to appreciate the real Yoon Shim-deok’s beautiful voice. The song, which was released two weeks after her death, was a huge success in both Korea and Japan. Yoon Shim-deok was truly a talent, and her death was a tragedy on many levels, not the least of which was the loss of a great singer.

I mentioned previously that the less Woo-jin was allowed to make his own life choices, the more he looked like he was dying inside. It’s worth noting that, as soon as he decided to leave it all behind and strike out on his own, including being with Shim-deok, he started smiling again. And when as he stopped fighting his love for Shim-deok and asked her to be with him, she also seemed to make an immediate turnaround. I think that people often downplay how important it is for our emotional well-being to be able to make our own life choices, but Woo-jin and Shim-deok are a perfect example of how crucial that is in life. Even when they decided to end their lives together rather than live without each other, they went to their ends smiling and happy, even contented, because it was their choice to stay together, even in death.

I went into this drama believing that there’s no explanation that would convince me that death would be preferable to life without the one you love. I’ve lost love, and I’ve survived, so I admit that my thinking wasn’t very sympathetic. But after seeing Woo-jin and Shim-deok’s story (and I’m going by this version story, as the real-life events were much less idealistically romantic), I can now understand why they made the decision to die together rather than live apart. It wasn’t simply about losing each other — there were extenuating circumstances for both of them that made the thought of life back in Korea untenable. Woo-jin faced the death of his creativity and autonomy and a life spent as his father’s puppet, and Shim-deok was returning to the possibility of public censure and most likely being forced to serve the Japanese politicians with her body. So, they chose a short life together over a long life, apart and miserable. I can’t honestly say that they made the wrong choice, especially considering how, in their final minutes, they both finally looked happy and at peace.

All in all, I’ve really enjoyed this little gem of a drama. It wasn’t perfect — the editing seemed rushed at times, and I felt as though a lot of the political relevance was skimmed over in favor of the romance. I would have liked for the show to have been four hours long and given us a bit more social and political commentary. It would have explained for those not familiar with the political climate during that time period why Woo-jin and Shim-deok felt so desperate to hold onto what little happiness they could find in a world where freedom was hard to come by. But overall I felt that the show was well-acted and lovingly directed, and it made me want to learn more about the real-life Kim Woo-jin and Yoon Shim-deok, to read his writings and listen to her music. It’s always a victory for a drama or movie when the audience is left wanting more, so in that sense, Hymn of Death did its job and then some.

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Wow, just pushing out the recaps like nobody’s business 😁😁 Thank you so much, @lollypip 🥰🥰🥰🥰🥰 But I’m currently sick in bed, but I promise to come back and read the remainder of everything bright and early (my time 😅😅) tomorrow morning!!!

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Thanks for the recap, Lollypip! I had the same feeling as you after watching and thought that an extra hour to give a bit more historical background would have been a nice touch.
I absolutely agree that this mini-series was very well-done. They tackled a sensitive topic (double suicide in the name of love and freedom) in a difficult time period in Korean history. I like how the writing didn't glamourize their final decision and focused on Woo Jin and Shim Doek finding peace with their choice.

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What scare me is that after watching this final episode,, I suddenly understand why they choose to jump and do the double suicide..

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I sort of understand, especially her dilemma... she was probably going to become a comfort woman with a voice, basically. (I was furious at her parents for pushing her into the arms of the Japanese). However, I’m also a firm believer in finding options to live. I think they could have tried to escape to China or the US.

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Her parents were a piece of work. To have the mother not care at all about her well being except how much she was going to get paid and the father to say do it for me.Her siblings weren't much better. She was in a no win situation.

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Both actors did a great job. You could feel the love and the sadness when they were apart. I know the series was romanticised a bit more than what really happened but I still loved it. The decision they made, made sense somehow because you could feel how desperate they were. Both were with their backs to the wall and had no other means to escape reality...

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Thanks for the recaps @Lollypip! I enjoyed this mini-drama for focusing on artists during Japanese occupation. I could have done without the oppressive parents, especially hers, but it emphasised how difficult their lives were. The clash of archaic Joseon and modern Westernised culture was fascinating. I would have loved a bit more on that. It’s a topic that is still very relevant, though I see how it could be problematic for a Korean audience.

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Thank you for your recap, @lollypip. I've started watching episode 1 as a result of your efforts. ;-)

One of the things that the written word cannot convey is the feeling evoked by the drama's music. Jo Kwan-woo's rendition of "Only My Heart Knows" is the track that reached out and grabbed my ear. Dang, that flute accompaniment is lovely.

I've posted the four pieces on my fan wall, starting here:
http://www.dramabeans.com/members/pakalanapikake/activity/719526/

I'll be back later after I finish watching the show. ;-)

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I look forward to reading what you think afterwards :)
The music was lovely 😊

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My love for LJS could blind me to any plot flaw. Luckily, this felt tonally consistent and I enjoyed everything but the time skips. I especially loved the pained way Woojin looked at Shimdeok when he'd already fallen in love with her but right before he admitted he was married. Heartbreakingly beautiful.

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Sorry, don't hate me on this but... I just kept thinking... Why couldn't they have run away to another country and live together? I could probably come up with a hundred reasons why they didn't, but I just don't want to. Choosing death is just... I can't understand it and it's wrong. I should've stayed away from this drama knowing it'll mess with my standpoint, eh? My bad, hehe.

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Because they didn't kill themself over impossible love like the story conveyed, they were free spirits in very restrictive society they maybe were lovers who both suffer from depression (lyrics of Hymn of Death strongly suggest so in case of ShimDeok) and decided on suicide pact.

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@bdxpelik,
My understanding as to why they didn't simply leave Japan is that Shim-deok's family was being threatened if she did not comply with the slimeball bureaucrat's "offer she could not refuse." I suspect he wouldn't have let her go to Osaka in the first place if her family were not hostages.

As @shach says, they were both free spirits trapped in intolerable family, social, and political circumstances, with no realistic prospect that they would ever change. It speaks to the degree of their despair that they decided as they did in the face of what they perceived to be a hopeless future.

I agree that they both appear to be depressed, especially in view of Woo-jin's drinking and writing all night. He reminds me of the brilliant Jazz Age cornetist Bix Biederbecke, who drank himself to death by age 28. It was as if his soul could not contain his musical genius.
http://www.redhotjazz.com/bix.html

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There is also a fine version of "Hymn of Death" in the movie "Love, Lies" 해어화, performed by contemporary actress Seo Yeon-He.

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@ Rick,

Thank you for mentioning LOVE, LIES. I'll check it out. Some of my faves are in the cast. ;-)

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I can see why Woo-jin and Shim-deok both felt such existential despair that they decided to end their lives. The impossibility of following their callings in Korea was at least as responsible as their families' unceasing demands for them to sacrifice their innermost being. And then there was the illicit romance angle. That could have worked out if they had remained in Japan – except that Shim-deok's family was already being threatened by the skeevy bureaucrat. I have to wonder what happened to them after she failed to return from Osaka. (Manseh, Lee Chul-min, for projecting a suitably icky vibe.)

As bad as Woo-jin had it, it was even worse for Shim-deok because of the nasty, baseless gossip about Mr. Lee's philanthropic decision to support her brother's music education. Too bad he didn't make a public statement to refute the slander. Perhaps Writer-nim intended this development to be an editorial comment on malicious gossip and the damage it continues to wreak in 2019. Sadly, the singer's greedy family treated her like the goose that laid the golden egg – and then had the nerve to criticize her for being paid peanuts. Given the overwhelming bleakness of her prospects, I cannot blame Shim-deok for exercising her free will to opt out of an intolerable no-win situation. She just used a different method from the little daggers with which yangban women in sageuks are expected to defend their honor.

Much as I tried to view the drama according to its fictional departures from real life, I couldn't ignore what I'd learned in the fascinating genealogy article “The Three Sisters of PyongYang” by Laura Shin. http://www.dramabeans.com/2019/02/hymn-of-death-episodes-3-4/#comment-3406883 It particularly galled me that Shim-deok's composition of the lyrics to her final recording was fobbed off as a collaboration with Woo-jin. Grrr. It would have been nice to see her doing some writing of her own to parallel his literary activity.

A number of anachronisms challenged my suspension of disbelief: a swing jazz club – when swing did not evolve as such until about 1930 – while the Shimmy dance was still in vogue in 1921, until the Charleston became the rage in 1926; magnetic recording tape – not invented until 1928; the 1962 Royal Albert “Old Country Roses” china pattern used in the tea shop; insufficient greasy kid stuff brilliantine plastering down every Westernized man's hair.

For the heck of it, I've posted vintage jazz and dance footage on my fan wall, starting here:
http://www.dramabeans.com/members/pakalanapikake/activity/720339/. Scroll up.

Thanks again for recapping, @lollypip. ;-)

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Part 1 of 2

@lollypip,
It occurs to me that, in addition to Shim-deok's and Woo-jin's insurmountable obstacles, there is something else at work in HYMN OF DEATH, and that is the Zeitgeist. All over the world, there was a wrenching break with the old order that played out during the First World War. Old empires (Ottoman, Austria-Hungary) crumbled. Overseas colonies were shuffled between winners and losers, setting the stage for future battles for independence. Revolution dethroned the Tsar of Russia. Freedom was in the air, along with the demand for self-determination. Women's suffrage movements across the globe gained political power for their constituencies after lengthy campaigns (although in certain jurisdictions, women already exercised voting rights). What was happening at the national level was reflected in individual lives as well.

The process of emancipation and enfranchisement had actually been under way since long before the turn of the Twentieth Century. A "shot heard round the world" rang out in North America, followed by revolution in France. Nationalist movements of liberation followed elsewhere in Europe in the 1840s. Simultaneously, the abolition of slavery was pursued. On another level, the American Civil War played out as a battle over states' rights – including the right to secede from the Union. Self-determination was the name of the game.

Meanwhile in Joseon, traitorous elements sold out the nation to Japan. Koreans became second-class citizens in their native land. On the surface, the country was being dragged into the modern age, but the old patriarchal order remained in force. It was as stifling as the new overlords, but it was self-inflicted.

In the wake of WWI in the West, old Victorian social norms went out the window. I doubt that it is possible to overstate just how shocking the public behavior of the flappers and sheiks was to their elders. We have to remember that the Sexual Revolution of the 1960s was merely a later wave that followed the tsunami that had been unleashed forty years earlier. I would even posit that the biggest movers and shakers during both periods of excess were not teenagers, but college students and young adults in their late twenties, including military veterans. (Recall the old 60s rallying cry “Don't trust anyone over 30”?) I've long had the sense that the 1920s roared precisely because so many people who managed to survive the carnage of mechanized warfare on an industrial scale – and the ghastly influenza pandemic that followed on its heels – were simply glad to be alive, and celebrated that fact. To unbridled excess until the Depression came crashing down. It was like dancing on the Titanic.

- Continued -

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Part 2 of 2

As an American, a couple of Revolutionary War slogans come to mind when I think of Woo-jin's desire to break free from the strictures of his father's stifling demands for filial piety. “Give me liberty or give me death.” I can see Woo-jin's being in full agreement with Patrick Henry's ringing call for freedom. “Live free or die” is another one. That sentiment sounds like something else the playwright would espouse. When even the right to self-determination is denied, the only way left to assert one's sovereignty in the face of intolerable conditions is to refuse to endure them any longer.

In the case of Shim-deok, she comes across as completely worn down by the struggle to single-handedly support her family, as if pursuing her own career as a performer and recording artist were not draining enough. Are they really so helpless that they can't lift one finger on their own behalf? It's ludicrous and off-putting. Her parents' demands that she marry a trophy husband so they'll be sitting pretty is pathetic. How exactly does that differ from her allegedly selling her body for her brother's educational expenses? HYMN OF DEATH is far from the first drama I've seen with parental fiduciary incompetence. It's one of my most hated tropes. Her siblings' reaction to the rumors about their sister was a heinous betrayal, and painful to watch. How can they be so clueless? It must run in the family. Add to that Shim-deok's being targeted by the predatory bureaucrat who threatens her unworthy family, and I can understand her feeling of being out of options. The one bright spot in her life, her relationship with Woo-jin, cannot be acknowledged or pursued in Korea without igniting even more scandal. That's a whole lot of nothing left to live for.

I cannot help but have a sense that Shim-deok fixated on the double suicide of Japanese writer Arishima Takeo and his married lover from the moment she heard of it. If they hadn't killed themselves first, could she and Woo-jin have somehow found another way to deal with their own difficult situation? With this ill-starred pair, we'll never know.

-30-

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Thank you for this poignant commentary. I always savor your insights.

“In the depth of winter, I finally learned that within me there lay an invincible summer.”
— Albert Camus (1913-1960)

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Thank you, @stlucysday. There are times when I think it is necessary to remember that individuals do not exist in a vacuum ("No man is an island..." -- John Donne), and that the tenor of the times affects us whether we like to admit it or not.

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This sad mini drama was the perfect thing to watch in this rainy and cold weather. I snuggled up in my cozy blanket and had a warm drink as I watched the beautiful scenery and bittersweet romance. I loved the period costumes, especially the purple one (such a deep and rich color). Now moving onward to something lighthearted to balance things out! Overall I enjoyed it and would recommend!

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Vow nice so cute and both feelings are heart touched ...and the sound poem lines vow heart feeling touched my heart truly....

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Shin Hye Sun is a real gem of an actor. U can stop noticing all the small details in her acting that marked in my head for quite sometime. Both of them shows their performances remarkable and to combine it with the sad truth of the story, stays a bit longer in your heart and makes u feel thankful enough that those kind of a government have already passed and pity them for they have been born in that era where people seemed disabled in all of their senses. Where the government is the most source and the number 1 tool of Evil to make people's lives tormenting to live for.

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