According to this literary view-point, their criticizing the literary spirit(文風) finally appeared as a movement of Ko-mun Renaissance(古文復興運動). This movement, like every Ko-mun writer of China, started with a negative view of reality in their unlucky situation.
This movement made much of Yang-ki(養氣) theory and Yon-tak(鍊琢), and accepted Poong-kol(風骨), and Hung-ki(興奇) which were the essence of the movement, and followed a satire and a composition of Ka-jon(假傳). They were in pursuit of new meaning(新意), even the slightest meaning hidden in the word, and through looking for a new genre continuously, they published Pa-han-jip(破閑集), the first critical essay on poetry in Korea. They also opened the scene of sa(辭) literature through Hwa-Kwi-ko-rae-sa(和歸去來辭). They followed Ko-mun spirit in poetry and mainly did long poems, so that their poems contain many meaningless words, which made them unaesthetic and remained real.
However, there was a deep gap between their literary works and theories because they couldn't neglect reality as contemporaries. Hardships in life and friendship among them forced them to follow existing literary spirit.
Finally, members of Chook-rim-ko-hoe(竹林高會), according to the new literary trend, advocated Ko-mun Renaissance and tried to correct a literary vice but in vain.
It was not because of inconsistency of problem consciousness or insincerity of inventive trial, but because of the limit of level for which social public situation called at that time. The level was of Chinese literature on process beyond the usual standard.