classical Korean literature was rare but suddenly became more prominent in the early 20th century. Traditional Korean stories almost always have happy endings. According to Kim Yol-kyu, Koreans used humor as one way to relieve pent-up han, which is why han is always accompanied by humor in folk music and pansori. All surviving pansori epics have happy endings. According to Minsoo Kang, "there is not a single piece of evidence that anyone prior to the 20th century thought that the word [han] held some special meaning for the Korean character". According to Michael D. Shin, a collective expression of han was observed by Western missionaries during the Great Pyongyang Revival of 1907. William Blair, a missionary, described the revival: "Then began a meeting the like of which I had never seen before, nor wish to see again unless in God's sight it is absolutely necessary. Every sin a human being can commit was publicly confessed that night." Lord William Cecil observed: "[The missionary] reached only the words "My Father" when with a rush a power from without seemed to take hold of the meeting. The Europeans described its manifestations as terrifying. Nearly everybody present was seized with the most poignant sense of mental anguish; before each one his own sins seemed to be rising in condemnation of his life." Shin calls what they observed a very raw form of han, and argues that the "awkward" and "terrifying" way in which it was expressed suggests that a culture of han did not exist at that time. According to William Blair, it was an outpouring of the Holy Spirit. A very raw form of han, on a collective level, was observed in 1907, but a national culture of han did not exist in Korea. Colonial Korea The concept of han, as a national characteristic, originated from Yanagi Sōetsu's theory of the "beauty of sorrow" () and Japanese colonial stereotypes of Korea and its people. Following the March First Movement, an independence movement that ended with the death of about 7,000 Koreans at the hands of the Japanese police and military, the Japanese art critic Yanagi Sōetsu wrote articles in 1919 and 1920, expressing sympathy for the Korean people and appreciation for Korean art. In his 1920 article, Yanagi said: "The long, harsh and painful history of Korea is expressed in the hidden loneliness and sadness of their art. It always has a