About 40 editions of the Korean classical novel Chunhyangjeon are available in seventeen countries, including China, Taiwan, Japan, Malaysia, Vietnam, Mongolia, and India in the East and the USA, the UK, France, Germany, Spain, Italy, Russia, Poland, the Czech Republic, and Hungary in the West. The act of translation is not simply rendering one language into another, but also changing the language system in order to interpret how the text will be received in the target culture. As a result of this process, there must be some cultural collisions and occupations displayed in the translation. Likewise, translated Chunhyangjeon is to experience similar collisions and occupations framed by foreign cultures. Japan took the greatest advantage of occupying Korean culture through interpretations of the text. To assit with colonization of the Joseon period, they made use of Chunhyangjeon to try to understand the realities of the Joseon people. As an attempt to discover the national traits of Joseon, they had the Japanese people read the translated versions of Chunhyangjeon and also Simcheongjeon and Heungbujeon. They found Confucian ideas in the text which included the three principles: filial duty, fidelity, and friendship. Accordingly, they unveiled their political intentions to strongly oppress the colonized country. On the contrary, English translations showed different aspects and directions in their translations. H. N. Allen, an American diplomatic minister and doctor, worked with James S. Gale, a Canadian missionary. Particularly fascinated with Joseon culture, Gale labored to produce a complete translation of the Flower in Prison (Okjunghwa). However, whether intentionally or not, his work often seems tainted by Orientalism because he regarded Joseon's spiritual values as those of Christianity. One of the other notable works is a French translation by J. H. Rosny. This work modifies the love of Chunhyang and Lee Mongryong by adopting western-style plays and jokes. It even includes kissing scenes and low-neck dresses of the female character forbidden in Joseon culture. This version was used for a Russian translation by Chekhov and also for the Vietnamese translation Chunhyang-Nangja (1910).