Choegounjeon (최고운전) Choemunhonjeon (최문헌전), in hangul the Choechungjeon (최충전, 崔忠傳), The Story of Faithful Choe. Oral literature Oral literature includes all texts that were orally transmitted from generation to generation until the invention of Hangul (han'gul)--ballads, legends, mask plays, puppet-show texts, and p'ansori ("story singing") texts. In spite of the highly developed literary activity from early in Korean history, song lyrics were not recorded until the invention of Hangul (han'gul). These orally transmitted texts are categorized as ballads and are classified according to singer (male or female), subject matter (prayer, labour, leisure), and regional singing style (capital area, western, and southern). The songs of many living performers, some of whom have been designated as "intangible national treasures" by the South Korean government, are still being recorded. Legends include all those folk stories handed down orally and not recorded in any of the written records. These legends were for long the principal form of literary entertainment enjoyed by the common people. They deal with personified animals, elaborate tricks, the participation of the gods in human affairs, and the origin of the universe. An example of a folktale orally passed is the Gyeonmyo jaengju which is about a journey a cat and a dog take to retrieve a lost marble out of gratitude toward their master. The mask plays are found in Hahoe, Chinju, T'ongyong, Kimhae, and Tongnae in North and South Kyongsang provinces; Yangju in Kyonggi Province; Pongsan in Hwanghae Province; and Pukch'ong in south Hamgyong Province. The most representative plays are the sandae kuk genre of Yangju, the pyolsin kut of Hahoe, and the okwangdae nori (five-actor play) of Chinju. Although the origin of these plays is uncertain, they are generally presumed to have developed from primitive communal ceremonies. Gradually, the ceremonial aspect of the plays disappeared, and their dramatic and comic possibilities were exploited. The dialogue was somewhat flexible, the actors being free to improvise and satirize as the occasion demanded. The plays were not performed on a stage, and there were no precise limits as to the space or time in which the performances took place. The audience also traditionally responded vocally to the play as well as passively watching it. The organization of the mask plays—through repetition and variety—achieves a remarkable effect of dramatic unity. (see also dramatic literature) Only two puppet-show texts are extant, Kkoktukaksi nori (also called Pak Ch'omjikuk; "Old Pak's Play") and Mansok chung