The cross fire to <Chuiyu-boobeokjeong-ki>―on the one hand it is social criticism or resistance not to make a compromise and on the other it's the concentration upon Taoism or escapism―is caused by Kim, si-seop's borderline consciousness. Either the borderline consciousness is not the mutual concession or the vague stretching over the two different territory. This is not just between the physical area, it stands on its own after coming from doings, situations, consciousness and every possible fields. When we apply the common way of reading to the writings presupposing borderline consciousness, it is apprehended that we take the wrong sow by the ear or underestimate it on account of its ambiguity. <Chuiyu-boobeokjeong-ki> features borderline consciousness. So we need to cut loose from a conventional reading to appreciate an esthetic sense it creats. For this reason, we define the new concept 'space boundary zone' as the kernel of a borderline consciousness. Space boundary zone is a special room having various overlapping time slots in one physical space. Time slots show historicity―it inosculates past and present―in the space boundary zone and a man in that place becomes history. While a man in the time slot goes through various time layers simultaneously, he especially feels sympathy for allied situation to his circumstances. Boobeokjeong is the place where there is a space boundary zone.
They pass through 'Chui(醉)', a margin between consciousness and unconsciousness and 'Yu(遊)', routine and deviation in entering space boundary zone. Hong-saeng never stop feeling a sensation of pleasure when he get drunken, his dim consciousness drove him to the Boobeokjeong as his taking a stroll on the river. Ascending a river means Boobeokjeong is above where he used to be, the above is the heavens as for space and also the past as for the time. Consequently, Boobeokjeong is an actual place in history as well as a dreamscape with a fantasy of the heaven. He present writer concentrates on eliciting a lamentation of the rise and fall, connecting from the lunar world or the fairly land with Dangun, the founding father of the Korean nation, Kija and Dongmyungwang. Hong-saeng's realistic grief in Boobeokjeong is linked up with his historical sorrow. His poem displays the feeling of sorrow. He rises to the climax facing one part of a time layer, he makes an image Miss Ki, the his historical shape of ego. Cantillation between Hong-saeng and Miss Ki is the conversation from one ego to another, their poems never make a separate scenery but one esthetic feeling as a whole. A Hong-saeng's poem full of sorrows exposes his loneliness, Miss Ki combines Hong-saeng's grief with the image of the heaven and express surrealistic landscape of the Boobeokjeong. As for the last poem, Hong-saeng laid a poetic theme before Miss Ki and she responds in singing including the process of the first brush at the Boobeokjeong and their separation. A highly elated sorrow still survive to the end, Miss Ki vanished into thin air. At that time Boobeokjeong got changed from space boundary zone to reality, Hong-saeng had a dim consciousness through the momentary tremor of consciousness.
After this, Hong-saeng underwent the floating of consciousness due to his loneliness of self-effacement, he was to be an aide of Kyeonu in the heaven and finally he found his way out. We can see much chance of communicating with each other, Hong-saeng and Miss Ki. The writer of <Chuiyu-boobeokjeong-ki> is anxious for a mate, a truthful relation can communicate with each other sincerely and self-pity and affection for incomplete ego. And an upward movement of space―from Pyeongyang to Boobeokjeong and from Boobeokjeong to the heaven―shows an uprush of a longing and unbearable sadness.