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"Jurnal ini membahas tentang duka seorang gisaeng yang tersirat dalam empat puisi karya gisaeng Yi Maechang yaitu 술취한 손님에게 (Sulcwihan Sonnimege, Untuk Tamu yang Mabuk), 스스로 박명을 한탄함 (Seuseuro Bangmyeongeul Hanthanham, Meratapi Kemalangan Sendiri), 새장의 학 (Saejangeui Hak, Bangau dalam Sangkar) dan 스스로 한스러워 (Seuseuro Hanseureowo, Bersedih Sendiri). Gisaeng merupakan wanita penghibur yang dilegalkan oleh pemerintah untuk bekerja menghibur raja atau para bangsawan. Meskipun memiliki beberapa privilege, namun sebenarnya gisaeng juga menyimpan kesedihan karena profesinya tersebut. Melalui metode kualitatif, penulis ingin mengetahui seperti apa duka gisaeng yang tersirat dalam keempat puisi Yi Maechang serta simbol dan imaji yang ia gunakan untuk menggambarkan kesedihannya.Hasil penelitian menyimpulkan bahwa keempat puisi Yi Maechang menekankan pada imaji penglihatan dan perasaan. Ia juga menggunakan simbol seperti bangau yang terkurung dalam sangkar, batu permata berharga yang belum diketahui orang-orang, atasan hanbok sutera yang robek, dan air mata mutiara untuk menggambarkan dukanya sebagai gisaeng. Melalui analisis imaji dan simbol, dapat diketahui bahwa duka Yi Maechang sebagai gisaeng antara lain mengalami keterkungkungan akibat profesinya tersebut, harus melayani pria yang tidak ia cintai, serta kesepian dan kepedihan akibat ditinggal pergi oleh kekasih.

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This journal discusses about the sorrow of gisaeng that knotted in four Yi Maechang‟s poems entitled 술취한 손님에게 (Sulcwihan Sonnimege, To The Drunken Guest), 스스로 박명을 한탄함 (Seuseuro Bangmyeongeul Hanthanham, Lamenting One‟s Misfortune), 새장의 학 (Saejangeui Hak, Crane in The Cage), and 스스로 한스러워 (Seuseuro Hanseureowo, Grieve by Herself). Gisaeng is female entertainers that legitimazed by the government to entertaining the king or the nobles. Eventhough gisaeng have some privilege but actually gisaeng also retain the sorrow because her profession. Through qualitative method, the writer want to know what kind of sorrow that knotted in four Yi Maechang‟s poems and symbol and image that she used to describe her sadness.

The result of this study is four Yi Maechang‟s poems emphasize the usage of view image and feeling image. She also used symbols like crane in the cage, jade whose genuine worth remains unknown, silken robe, and tear like pearl to describe her sadness. Through image and symbol analysis, it knowed that the grief of gisaeng Yi Maechang is she has been bounded due to her profession as gisaeng, she has to entertain someone whom she doesn't love, and feel lonely and sorrow because her lover left her."

"A soaring literary achievement from internationally acclaimed writer Yu Hua, whose novels are now appearing in English for the first time, Chronicle of a Blood Merchant provides an unflinching portrait of China under Chairman Mao, as a factory worker must sell his blood to overcome every crisis. Xu Sanguan is a Chinese everyman-a cart-pusher in a silk mill struggling under the cruelty and hardships of Mao's leadership. His meager salary is not enough to sustain his family, so he pays regular visits to the local blood chief, followed by stops at the Victory Restaurant, where he pounds on the table and demands his ritual meal: "A plate of fried pork livers and two shots of yellow rice wine. And warm the wine up for me." But fried pork livers and yellow rice wine are not enough to restore Xu Sanguan. With the country in the throes of the Cultural Revolution, his visits to the blood chief become lethally frequent and his obligations to his family press against him mercilessly. At the height of famine, the Xu family lies motionless in bed, rising twice a day to consume increasingly watery rations of corn gruel. Xu Sanguan's wife is forced to stand on a stool in the center of town wearing a sandwich board that reads "prostitute". Yile, his wife's bastard son, forever haunts Xu Sanguan's sense of honor. And when Xu Sanguan sells his blood so he can take his family out to a proper meal, he does not invite Yile, who paces the town, famished and in tears, offering himself as a son to any man who will buy him a bowl of noodles. In a series of heartbreaking reversals, Xu Sanguan decides to risk his own life to save Yile and comes to understand that in a society ravaged by suspicion, hostility, and poverty, blood money not only pays debts, but forgives them as well. With rare emotional intensity, grippingly raw descriptions of place and time, and clear-eyed compassion, Yu Hua gives us a stunning tapestry of human life in the grave particulars of one man's days."