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The Epic Persian Poem that Chronicles the History of the Silla Kingdom

<Kush Nama> is one of the most renowned epic poems in Persian literature. It depicts the stolen past of Persian history under Islamic rule in the form of heroic epic and mythical allegory. Surprisingly, more than 500 pages of the original <Kush Nama> which consists of over 800 pages in total, are dedicated to the history of Silla on the Korean Peninsula, particularly the era before Unified Silla. For several centuries, the oral tradition of <Kush Nama> was passed down, but it was transcribed and compiled by the Iranian scholar Iran-Shah Ibn Abdal Khayr in the 11th century. After the long efforts by domestic scholars, the original manuscript was secured, having been previously held by The British Library, and through international collaborative research spanning 13 years involving the United States, Iran, China, and Korea, the work has come to light.

Not only does this epic serve as an important literary source that sheds new light on the relationship between the Sassanid dynasty of Persia and the kingdom of Silla, but it also captivates with its tales of marriage and love between Persian princes and Silla princesses. It adds an intriguing aspect to the narrative. Since its discovery in 2009, primarily through the work of Professor Lee Hee-su at Hanyang University, <Kush Nama> has been creatively revived in various forms such as fairy tales, novels, documentaries, and more, mostly focusing on stories of war, heroes, and love.

The ACC Asia Contents Performance <Kush Nama - The Never-Ending Story> was co-produced by ACC and the theater company Playfactory Mabangzen, which has received accolades such as the 2022 Best 7 award. Director Seo Jeong-wan, who is recognized for his work across genres such as theater and musicals, participated along with writer Ahn Li-jun, known for “Demian Wiedergeburt” and “I Wasn’t There in Gwangju.” Everyone anticipated seeing how they would represent the epic Persian epic poem “Kush Nama” with limited space and time through their innovative approach, capturing its mythical and historical grandeur.

<Kush Nama> in a Monologue Format Focusing on the Inner Lives and Emotions of the Characters

Three actors stepped onto the serene and restrained square stage. These are three characters representing China, Persia, and Silla: Kush, Abtin, and Fararang. Each of them leads the story through their own monologues.

Kush, son of a Chinese emperor, is thrown into a river as soon as he is born. Prince Abtin of the fallen Persian Empire raises Kush, the child of his enemy, with love. However, Kush eventually betrays Abtin and even kills his son. Abtin is chased by Kush and the Chinese army to Silla, and marries Fararang, a princess of Silla. Abtin needed the power to seek revenge, while Fararang wanted to break free from her father’s embrace and live freely. Although it was a marriage of convenience, love blossoms between them as they face hardships together, and their son Peridun is born. Abtin receives assistance from the Silla army to rebuild his kingdom, but he meets his demise in the process. His son Peridun eventually becomes a national hero, reclaiming his father’s territory and maintaining a good relationship with Silla, his mother’s kingdom. This is the main storyline.

Kush harbors conflicting emotions toward his father and country who abandoned him, as well as toward Abtin who saved him. He experiences anger, sadness, inferiority, and madness, yet his thirst for attachment and revenge lingers within him. Abtin feels a sense of betrayal toward his sons Kush and the extreme pain of losing both his country and children. He holds onto the dream of rebuilding the nation and Fararang dreams of becoming an explorer of unknown lands, so they enter into a marriage of convenience. However, while being with Abtin, Fararang experiences true love. When Fararang’s son, Peridun, seeks the path of revenge, Fararang urges him to choose a life driven by love instead of endless vengeance. However, in the end, Peridun decides to seek revenge against the Arabs and Kush in honor of those who sacrificed themselves. They achieve victory, but in the process, other lives are lost.

Listening Attentively to the Stories of Various Anonymous Individuals Who Lived through the War

The three actors once again become themselves, but then transform into different characters once more. Kush starts off as a loyal subject, then becomes an assassin, followed by roles as a dwarf and a merchant. Peridun first plays the role of his brother, Savar, then transforms into his father, Abtin. He later takes on roles as a court official, the king of Silla, and a blacksmith. Fararang initially plays the role of a wet nurse, then becomes a storyteller, a sailor, and finally a message runner who traverses the borders with official documents.

In the midst of the protagonist’s main storyline and the soliloquies performed by the three actors, they suddenly appear and disappear, making their presence and stories easily overlooked. Therefore, one must stay focused and alert to not miss their presence. If one watches closely, even amidst the war, these nameless individuals hold onto their professions and protect their precious loved ones, staying true to their inherent roles. Within them are vividly captured the emotions of anguish resulting from their own choices, encompassing themes of good and evil, life and death, and love.

Fararang’s line as a wet nurse, “I don’t have much to give anymore, but I'll still give you everything that’s left. My dream is to become nourishment for you,” resonates deeply. The deep dilemma of the message runner, risking his life as he runs on the road to deliver news, lingers in the situation being conveyed. “As I run the roads with letters that will drive them to their deaths, I will slowly die on my journey. I have premonitions about what kind of vision I will see at the moment of death. The landscape of a horse left behind in the wilderness, quietly munching on the grass. In the very spot where I fall, a blade of grass grows. It’s the body that finally found its place, grown from the grass that the horse tore up.”

As loved ones perish in the vicious cycle of revenge, the Silla hymn “Jemangmae” is recited through the letter sent by Fararang to the message runner.

Is it Not Possible for a New Story of “Twists and Symbiosis” to Begin, Rather than a Tragedy?

It is said that the playwright, Ahn Li-jun, adapted this <Kush Nama> based on the question raised during discussions with the directing team, contemplating whether a story could begin anew, moving away from the seemingly unending tales of war, terrorism, revenge, and the vicious cycle of sacrifice that continue to persist in modern society. They sought to reinterpret an old traditional heroic epic, which had long focused on external events, from a fresh perspective centered around the characters.

Ask Yourself the Question in Your Own Heart

In this play, the character of the “Master Storyteller” is very important. Kush, who advocates for revenge and conflict, clashes with Ferdin, who encourages forgiveness rather than killing. In the end, as the internal conflict of the belief in the possibility of alternative choices reaches its peak, the scene transitions to the Master Storyteller. He poses a question to the entire audience. “Are you curious about what happens next? Then, throw a coin to the Master Storyteller. Don’t throw it to me; throw it to yourselves in your own hearts.”

In the words of Playwright, Ahn Li-jun, “The entrance of the Master Storyteller character brought the idea of an ending to mind. Could it be that each individual is not just one story, but many stories combined? Just as tree branches ultimately converge into one, and as it appears that individual stories stand alone but are actually narratives that exist within a larger story, theater is a grand image and story that does not simply end but perpetuates in a continuous cycle. I wanted to raise the question of the cycle where you, yourselves, will create and shape the world, and how you will bring it to an end. Perhaps the only way to stop war, throughout human history, is by listening to the voices of ordinary citizens. If the hearts of each and every individual are not united, could war ever truly come to an end?”