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It is necessary to increase the proportion of 4 to 5 performances in <Cheongsan Byeolgok> to approach the cause of creation. Then it became clear that the poetic speaker's attitude, who was disillusioned with reality but did not hide in another world such as Cheongsan or the sea, and did not abandon reality. Here, the image of mountains and water inherited the green forest of Hyangga or the symbol of trees and water. This is because the color of the green mountain was also the color of forests and trees. By describing the personality of the ideal type as the color of mountains and water, nature was imagined as an ideal type or an ideal direction. This perception continued to the next era, and at the same time, the characteristics of mountains and water were distinguished in affection poetry. The reason why the scenes directed by birds and deer in the third and seventh performances seem strange is that the beings who should stay in the sky and on the ground did not. This was a situation in which the symbols of birds and fish in place favored by Confucian scholars collapsed. Through works from various periods, the possibility of this phenomenon being transformed in various ways was suggested. This article does not focus on partially esoteric words. Instead, the lack of data was resolved through comparison with works from various eras. In this way, it was intended to shed light on the historical location of <Cheongsan Byeolgok>. I hope that this work's view of nature and life will be revealed in three dimensions again.

It is not easy to distinguish poems that sing only true love while ignoring any poetic background. Nevertheless, the reason why the authenticity of the emotion of love is discussed here is because it is an attempt to re-read the sheer function of literature. Any text singing love would not have intended to contain only superficial emotions. Of course, on the contrary, there are many cases where it is no more or less revealed on the surface. For that reason, this article examined its authenticity, especially in relation to the expression of love of Gisaeng, focusing on Chinese poetry and Sijo. First, in the case of works judged to be false love songs, it was found that it was largely due to the customary writing attitude. And it was also examined that songs that aspire to true love were mainly produced in private spaces. These songs also had the characteristic of the existence of a reply poem. In conclusion, this article explained that the feelings of love of Gisaengs were not a matter of dichotomy between positivity and denial, but a structural problem of contemporary society, and furthermore, it was a process to confirm that it originated from the process of deprivation of femininity.

GASA(歌辭) is a genre in which various artists participated because they can contain many narratives in terms of formality. As various writers participated, the Gasas contain stories of various themes. As many female readers were created in the late Joseon Dynasty, many works dealing with women's stories appeared. As the title suggests, the main character in the old maid's song has a serious disability for an elderly maid who is quite old. In feudal society, where Confucian ideas were firm, there were times when it was unimaginable for women to do something on their own. You can see what a great cry the old maid's voice began here. This is because the past is an important stepping stone to draw the developed image of the present and the future. This article read the appearance and situation of the old maid in the work for the Samseol Basic <Nocheonyeoga> and examined what disability meant for the old maid in a time when there were many Confucian restrictions. At that time, the social atmosphere was that those who did not get married could not be treated as full adults in the community, and only those who got married were recognized as members of society. In an era when marriage through free meeting was impossible, women who could not get married late due to physical disabilities or poor economic conditions were helplessly worried about their marriage. In <Nocheonyeoga>, we will be aware of the human desire buried by the human defect of disability and visit the struggling image of old maid to achieve that desire.