Manboksa-jeopo-gi(萬福寺樗蒲記) and Yiseng-guijang-jeon(李生窺墻傳), which are two tragedies of Geumoh-sinhwa(金鰲新話), provide the tragic points of view with lessons in the soft, slow and lyrical way, regardless of the Buddhist colors. Such a style represents the esthetic characteristic which is quite different from that of the Western tragedy which makes people realize their own egos through the intense ends. It starts from the difference between the Oriental point of view, which values the universal world containing the existence of God fundamentally identical as the ego of humans, and the Western point of view which considers humans as those suffering from their own destiny before God. Because of this, the man of strong will, who wants to become dignified before God and himself by accepting his destiny and protecting his internal nobility, is in the center of tragedies in the Western world. This is the compromise between the destiny affection and the tragic resistant spirit. Oedipus overcame his destiny and protected his legitimacy through the oracle that the country where his tomb was located would flourish. On the other hand, the ‘relationship’ between humans or humans and the universe is in the center of tragedies in Korea. Because of this, there are many love tragedies. The affection or fidelity among individuals sometimes even puts off the universal order. In other words, it is possible for the character in the novel to keep living with his deceased lover as if she were alive. It reflects the possibility that one’s earnest wish can be communicated with the universal power. However, there is a limit for putting off the universal order. It is inevitable for individuals to have ontological limits in the vast universe. Therefore, tragedies become possible. The ‘Destiny Affection’ which is shown in the Korean tragedies reflects the fact that the universe and humans share a fundamental identity. However, such a fact does not establish tragedies by itself. The resistant spirit of the Korean affection-oriented tragedies shows that lovers do not give up their affection for each other until they die. While Manboksa-jeopo-gi plans the Buddhist conquest, it shows a solitary conclusion that the character in the novel does not get married and disappears in the end. Such a conclusion provides the readers with a long lingering image as well as fundamental questions about life and love.
The concluding method of Yiseng-guijang-jeon represents the characteristic of the Korean tragedies well. Lee Saeng who cannot take the reality of his wife's death and dies at the end provides an extremely strong image. This is closely related with the tendency of the author who highly valued fidelity as one of the six loyal courtiers. It can be said that the author's loyalty towards the deceased king is contained in this novel. As a result, the cause of the powerfulness can be found from the sorrowful indignation. It is possible to emphasize the tragedy of the sorrowful indignation by combining fidelity with affection. There are so many tales about men and women dying of lovesickness. Looking at the resentment related with love and the earnest love of the lumberjack who never forgets his love after becoming a rooster, we can find the complete model for Korean tragedies in this novel.