32 pages 1-hour read

The Story of Hong Gildong

Fiction | Novel | Adult | Published in 1600

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Literary Devices

Situational Irony

Situational irony occurs in literature when a character’s actions bring about the opposite of their intended results. This type of irony underscores every plot element of The Story of Hong Gildong, from Gildong’s conception to his rise to King of Annam.


Gildong’s defining feature is that his birth was an accident. Gildong’s father sleeps with a maid after being rejected by his wife; thus, the author characterizes Gildong as having been born of the wrong person. The minister says to his wife: “If you had heeded me in the past, this child would have been born of your body” (3-4). Gildong is brilliant and powerful—he would have been the ideal son had he not been born to a servant. The irony of Gildong’s birth sets up the rest of the novel’s events because he constantly defies expectations.


The situational irony of Gildong’s story continues as he develops his powers. The more his father tries to suppress him, the stronger Gildong becomes, to the point that he can wield supernatural forces. This type of irony brings humor to the narrative because the attempts of the king and nobility to capture Gildong and keep him down are endlessly subverted in clever, mischievous ways. Gildong and his bandits foil the plots of all those in power until Gildong becomes a king and earns his family’s and the King of Joseon’s respect. 

Hyperbole

Hyperbole is a poetic trope that uses exaggeration for emphasis and comic effect. In The Story of Hong Gildong, hyperbole is present in the author’s descriptions of everything related to Hong Gildong’s personality and exploits. From birth, his intelligence is unparalleled: “He needed to hear only one thing to understand ten, and learning ten things allowed him to master a hundred” (3). Even as a child, he has grand plans for himself: “I would wear a moon-sized insignia of a commander on my waist and sit upon a high seat from which I would order a thousand men and ten thousand horses to conquer the east and subdue the west” (4). Establishing Gildong as a larger-than-life character who operates on a grand scale elevates him to mythic status.


Hong Gildong uses hyperbole for entertainment. Hong Gildong is a work of popular fiction from the Joseon era, and stories in this genre relied on heroes, wars, and adventures. It is more exciting for a hero to battle thousands of foes than 10 or 20; thus, Haein Monastery contains thousands of monks and Gildong defeats hundreds of uldongs. Gildong gives each of the false Gildongs 500 men to lead through the provinces, and he takes three thousand bandits and their families to Jae Island. He overtakes Yul Island with an army of 100 thousand men, prompting 70 castles to surrender before he takes over the country. He can leap into the sky and ride on clouds. Thematically, hyperbole shows that there are no limits to Gildong’s talents, achievements, or imagination. In that sense, he is the opposite of the small-minded individuals who tried to impose limitations on him.

Fantasy

Fantasy is a literary genre in which magical and supernatural elements dominate the narrative. A fantasy tale can take place in an unknown world, or fantastic elements can exist within an otherwise realistic setting. Magic, spirits, and monsters are accepted aspects of Gildong’s world, as evidenced by the presence of the shaman and physiognomist at the beginning of the story, the uldongs that live in the mountains, and Gildong’s ability to wield supernatural powers.


Fantastic elements enter the narrative when Gildong learns sorcery as a child. He first demonstrates his powers when he defeats the assassin Teukjae: “Gildong remained still as he cast spells using the eight trigrams, raising a dreadful wind that confused Teukjae’s mind. […] The room then transformed itself into an immense field filled with countless rocks, layers of green mountains that soared into the air with intimidating grandeur” (16-17). Gildong often uses magic to defeat his enemies: When he attacks the governor’s hall with his bandits, he uses magic to shorten the distance between the office and the bandits’ village so they can escape without being followed. When he fights the uldongs, he summons “Heavenly Soldiers” (57) to restrain them so he can slaughter them. Even Gildong’s death includes an element of fantasy. After the storm on Myeongsin Mountain, Gildong and his wife’s bodies are never found, cementing Gildong’s status as a mythical figure.

Static Characters

Gildong is an example of a static protagonist. Often, protagonists in fiction are dynamic: They learn, grow, and change throughout the course of a story or novel. Young characters often have a coming-of-age narrative, in which they move from childhood to adulthood. Other protagonists may face challenges that force them to confront truths about themselves and the world so that they can surmount internal or external obstacles. Static characters enter the story fully formed, and their character, mindset, and actions remain consistent throughout the narrative.


Action heroes and heroines and fairytale archetypes are often static characters: The world tries to change them in vain, and their appeal comes from their unwavering resolve. Gildong’s static nature as a character is a sign of strength because he consistently defies the expectations of those around him. The qualities he exhibits as a child only grow stronger with age, and he overcomes the circumstances of his birth to find glory and acknowledgment without changing who he is at heart. The characters who change in the end are those who doubted him, mainly Minister Hong mo and the King of Joseon. As a static character, Gildong proves that an underdog can prevail by staying true to himself.

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