Five years ago, I met a Korean-American woman named Stephanie Han in the USA, whose grandmother was a first generation Korean immigrant to Hawaii. Stephanie had in her possession a one-of-a-kind manuscript; the only known copy of "Lotus Bud", a play performed for a short time at the University of Hawaii. The drama was presented in 1934, when Korean culture was introduced to the Americas by the Boseong-Hoe. A review of was included in their 70th anniversary pamphlet. The article is as follows;

¡°One outstanding event in the early 1930's was the presentation of the Korean classical drama Hong Gil-Tong directed by Fern Weaver McQueston at the Farrington Theatre, University of Hawaii, with Rose Shon, Bernice Kim and Arthur Song, leads. The earliest novel recorded in Han-gul, Ho Kyun's 'Tale of Hong Gil-Tong' is a satiric novel protesting the discrimination against concubines and their children. (Han Woo-keun, Prof. Korean History, Seoul National University, Tran. Lee Kyung-shik) This was the first major stage project undertaken by both the 'older-young immigrants' and the second generation Korean-Americans resulting in closer relationships between these two groups. Lotus Bud was another production involving the entire Korean Community. Choon Hyang Jon was the major production for the Golden Jubilee Celebration."

is a drama made in the same narrative structure as the story, however, it is not possible to tell whether and are part of the same story. It is important that was adapted to classical drama and played at the Farrington Theatre, University of Hawaii, because for the first time we can confirm that Americans took part in the English adaptation of Korean classical works and their dramatic presentation. Rose Shon, Bernice Kim and Arthur Song seem to be 2nd generation Korean-Americans. So I am sure that and were made or played by Korean-Americans.

is an adapted work from the story of Hong, Gil-Dong, reconstructed under a Western viewpoint. Though it assumes the form of a drama, it was originally a novel, and it is clear that it was changed during the process of dramatization. was a play script put on stage in Hawaii in 1934, and I put forth that the adapter was an American, owing to the contents and the situation changing to a more Western style. I also put forth that the director and the main cast were either pure Americans or second generation Korean-Americans. While, it is certain that they obtained their sources from first generation Korean-Americans, it is clear that underwent a western stylistic shift. It is a possible contention that the final adaptation was a result of the reflection of the Korean-Americans' marginal self into the transfiguration. Actually, the drama was played in advance of in 1930s. The 'lotus bud' in the title came from the Korean classical novel , yet, its contents are from the story of Hong, Gil-Dong. The narrative structure of follows the Noble-Hero structure(the noble family line, abnormal birth, prominent capability, foundling and death, overcoming death, crisis in the adulthood, triumph in the struggle). The hero, Hong, Gil-Dong was a superhuman being. Accordingly, the result must be an anticipated triumph through struggle. Although he used magic as a means to overcome the problems and antagonists in everyday life, this must be taken as a non-rational element in the narrative structure. Gil-Dong's surreal features like these are decolorized in . The rationality in delineating the character goes down the contingency in the plot, and makes the narrative structure more detailed. Thanks to the rationality in delineating the characters, a stable, rational aesthetic permeates in the whole work.

The point of the origin story of Hong, Gil-Dong is to stress the hero's uniqueness. However, we have to agree to suspend rationality from the hero's distinctive quality because of the magic. In one story, Gil-Dong becomes a boss of the thieves in a robber's den, in order to realize his greater goal of becoming a "Robin Hood-like" chivalrous robber. This is one device used to stress his distinctive quality as a hero.

The robbers, who are under the boss Li, El-han, have acted as chivalrous robber before Gil-Dong joined them, because Li, El-han, the boss of the robbers in is constructed in the image of Robin Hood.

The point of the narrative in is the nuptial tie between Gil-Dong and Lotus Bud. Gil-Dong's father, Hong Pansa and Lotus Bud's father, Li, El-han are mutual enemies. In this respect, we can say that also includes elements of the story. The adapter modified the story of to , based on a similar consciousness. This modification is present throughout the whole process of 'ellipsis, addition, and change' within the story of .

Although was based on the Korean classical novels, it is a modern dramatic script. Both genres are contained within the structure, as a matter of fact. The characters, like 'Yeon-hwa[lotus bud]' or Cheung, are clearly from the . However, Gil-Dong is the hero of the . The story is based on the narrative of his trials and exploits. The story, , is best understood through the viewpoint of the heroic and popular novel, or popular historical story. However, a love story is also interwoven within the narrative structure of . Sometimes, Gil-Dong is presented as a hero speaking for the masses via his superhuman power, but on the whole, the love story with the heroine Yeon-hwa[lotus bud] serves as the dominant underlying theme of , similar to the connection between Superman and Lois Lane in the West. Of course, the narrative structure of Hong, Gil-Dong as a protagonist is the central motive power within . The newly added elements are a result of the writer's creative license. However, it is viewed can be said to be another Hong, Gil-Dong story, modified under the rational consciousness of the Western world. A Korean "Superman" whose superhuman abilities do nothing to detract from his overall humanity.