The Legend of the Garden of Soswae-won – May 2025

By Park Nahm-Sheik

Comprised of a large garden in a wooded area in the heart of Jeonnam Province, not far from the Gwangju city limits, lies Soswae-won (소쇄원), which literally refers to a space that is clear, clean, and cool all at once. It is a fitting description of the breathtaking scenery that the area’s groves of bamboo afford us. It conjoins nature and art seamlessly, resulting in an immaculate sight of rhythm, melody, and harmony.

Soswae-won was the brainchild of Yang San-bo (1503–1557), a loyal disciple of Jo Gwang-jo (1482–1519). Jo belonged in the inner circle of the palace during the reign of of King Jungjong (r. 1506–1544). It was Jo’s fate to die via a royally bestowed potion in Neungseong (today known as Neungju), where he had just earlier been banished for treason.

Neungseong was in the vicinity of Soswae-won, and Yang San-bo decided to return home to the town of Damyang, where Soswae-won itself was situated. He took up residence at Soswae-won with plans to spend the rest of his life there in mourning, remembering his dearly beloved mentor and guiding light in a peaceful setting. Originally, “Soswae” came from Yang’s pen name, which was thus a fitting moniker for this memorial site.

Before long, Soswae-won became a de facto forum for interchange of opinions among the leading intellectuals of the day. It offered a calm out-of- the-way haven for deep thinkers from near and afar to come together for serious discourse. Of the major movers and shakers of the day, Jeong Cheol, better known by his pen name Songgang (1536–1593), was likely the best-known personage associated with Soswae-won. In terms of seniority, expertise, and accomplishment, he was easily the most iconic face of Soswae-won.

What qualified Songgang to be a prime mover behind Soswae-won? In the first place, he was enough of a visionary to be a fitting soulmate with Yang San-bo, the sole financier-founder of the garden. Secondly, these two great minds got together and birthed this outstanding think-tank way ahead of its time. Thirdly, Songgang’s brush-stroke calligraphy graces the signboard hanging on the front entrance to Jewon-dang (the “Moon-Viewing Gazebo” on the premises of Soswae-won). Last, but far from least, Soswae- won was a living room of sorts, where Songgang entertained leaders of the local intellectual circle, moderating their wide-ranging discourse. On top of everything, Soswae-won was Songgang’s private study where he could immerse himself in scholarly pursuits of choice.

Among Songgang’s most prominent masterpieces are Gwandong-byeolgok (An Ode to Gwandong) and Samiin-gok (An Ode to His Majesty the Sovereign). Gwandong was an older name for the Gangwon Province area. Sok-samiin-gok (Sequel to Samiin-gok) is yet another great lyrical work attributed to him. These two great works of poetry eloquently testify to his deep-rooted attachment to the beauty of Gwandong and to his fervent allegiance to the Supreme Ruler of the Kingdom as well.

During his preeminent career, Songgang was appointed to a succession of highest-level government portfolios. He was the provincial governor of Gangwon Province, Jeolla Province, and Hamgyeong Province (now in North Korea). As if this wasn’t enough, he was made the occupant of the three highest positions in the central government: Prime Minister, Right Minister, and Left Minister.

A friend of mine by the name of Jeong Gu-seon is Songgang’s best-known living descendant. I am honored to count Jeong among my close friends. We went to the same middle school in Gwangju back in the early 1950s. More power to him as contemporary torchbearer for the great institution that Soswae-won has all along been in our hearts. Not many cultural institutions in Korea today can compare to Soswae-won. Let me close by proposing three cheers for Soswae-won, Songgang, and Jeong Gu-seon.