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The purpose of this paper is to consider the life and study of An Bang-jun(安邦俊) who lived during the period of historic upheaval in the late 16th and early 17th centuries as Honamsalim(湖南士林), and to examine the figure of Oryun(五倫) and its meanings embodied in Oryunga(五倫歌), by relating this to the creation of Chinese poem. Furthermore, this study will reveal the significance of his Oryunga(五倫歌) in terms of the history of Oryunsiga(五倫詩歌). An Bang-jun(安邦俊) was a moralist who worked hard to stay home, improve his studies and train his mind, rather than go into government service. In particular, he emphasized Dokhaeng(篤行) which practice his realization through reading and lecturing in his study. Thus, he who was maintaining the moral center of pratice, created Oryunga(五倫歌) to solve the problem about the losing of the principle of the world and the human nature being soiled. This encouraged him and his students to practice in order to teach later students academic indicators by shaping the ethics of practice, Oryun(五倫), in Chinese poem. Oryunga(五倫歌) consisted of Oryun(五倫) one after another. Especially in the case of Elders first, it was divided into the ethics between teacher and student, and ethics between older brother and younger brother. This was the result of recognizing the ethics of Elders first as an important ethical norm that should be nurtured in terms of knowledge and blood-related communities, with the aim of strengthening strengthen ties or unite groups within local scholar groups or their own families. Therefore, Chinese poem Oryunga(五倫歌) has a similar aspect to Sijo(時調) in its composition. In addition, unlike the formative style embodied in the Sijo(時調), the chinese poem presented a justifiable proposition with a focus on the principle that the subordinate should have in human relations, and was enhancing the effect of delivering lessons by citing the biography of the person who performed positive or negative acts. This was similar to the writing style of a book like Dongmongseonseup(童蒙先習), chinese poem Oryunga(五倫歌) is meaningful in that it has strengthened its legitimacy as a practical ethics by presenting the key elements of each item of Oryun(五倫) in a compressed manner, replacing the scriptures described in prose.

Chungyeong-ga(春景歌) is the only collection of Gasa(歌辭) in the National Hangul Museum, first introduced in academia. A total of four pieces of Gasa are on display; "Giheo-gok(期會曲)", "Chungyung-ga(春景歌)", and another works of the same title, "Answer on Chungyung-ga(答春景歌)" are common works by women members of Lee Byung-ho(李秉灝)’s family in Uiryeong(宜寧), Gyeongsangnam-do. It is a collaborative work and a series of Gasa(連作歌辭), which is a collection of four impressions felt by each participant after spring play. The last "Answer on ChunKyung-ga(答春景歌)" contains emotion of the female speaker, who did not participate in spring play, lately took the spring play trip alone. This song can be called a song from the boundary line between the participants of the spring play and the absentee. Lee Byeong-ho's family's Number of breeds were gathered on the 8th of March 1915 to get food, and to go to a nearby scenic spot(Munsan-Jeong文山亭, Gwansu- Jeong觀水亭, Tower Rock塔巖, Jungwha-Dang中和堂 etc.) and to go to boating. At this time, while introducing the details of the attendees and the absentee, singer also boasts of her family and daughter who have lived in custody. In these works, there is a strong sense of friendly solidarity and self-sufficient attitude toward spring play among the women in the family. When synthesizing the contents of all four works, we can check the spring play schedule and place, the cost, the food menu, and the scenic spots etc. The four works are complementary relations. ChunKyung-ga is a combination of the traveling Gasa(紀行歌辭) composed of departure-itinerary-ears, and Whajeon Gasa(花煎歌) which sings collective nightlife scene and sings a tough life as a woman. Women gathered in one place to eat food, solve the accumulated emotion, and pursue the bonds and communication among women. Writer focused on exploring nearby scenic spots, building poetry, boating and watching the mountain. It is a good example of the mixture of the works of the 19th century female writer who emphasized the introduction of the center of the journey and the fascination with the family, and works which emphasize the communication and harmony between women through play. Considering the fact that there are few studies and the existence itself of the Gyubang-Gasa(閨房歌詞) in Gyeongnam Province, Chungyong-ga is a critical data to identify the literary world of Gyubang-Gasa in the future. These Gasa collection on the spring play performed by the women in Lee Byeongho's family, lived in Dam-an(牆內) Village in Jungkyo-ri, has a special meaning in terms of the good example that can explore women's consciousness and various materials of the spring play.

The purpose of this writing was to seek its significance in the social aspect by examining the aspect of fantasy targeting <Geumbanguljeon>. <Geumbanguljeon> is condensed into fantastic elements such as the Supreme Being, the Sea God, Yongja, Yongnyeo, Seongwan(仙官), Seonnyeo(仙女), ghost, Magic Ball, and Guryong(sow). Especially, a heroin appears in front of narration with the shape of magic ball, which is an alien substance(異物). Thus, fantasy can be considered to be major characteristic of being noted in this work. Accordingly, the fantasy, which is shown in this work, was examined by being divided into wonderland and reality. As a result, the wonderland and the reality were implementing the ideology, which is indicated in wonderland, in reality while maintaining close relationship. In other words, the wonderland delivered a mandate from Heaven(天命) by continuously intervening in reality so that gentle Haeryong can build patriarchy. Geumryeong was allowed to pass through the process that Hyo(孝) and Yeol(烈) are internalized even if making a sacrifice for the head of a family by giving the alien-substance(異物) shape or transcendental ability. This aspect was closely related to a situation of being settled ideology of fidelity in a woman in the process of establishing patriarchy in Joseon period. Ultimately, a woman's unsurpassed ability, which was shown through magic ball in <Geumbanguljeon>, and all the fantasies, which appeared in the front of narration, were excluded from the logic of reality. Geumryeong, who was disguised as a woman, was realizing the Confucian ideology with being embraced by logic of reality called polygamy under patriarchy. Through this discussion, there will be significance in the aspect of having critically accepted reality of a woman, which had not been captured with being depressed by positive logic dubbed a woman's gender mobility in addition to the structure of heroic novel, and of having confirmed importance of fantasy in classical novel.

This paper is aimed to confirm the hypothesis that Chunhyang-sinseol(春香新說), Namchang(男唱) Chunhyang-ga(春香歌), and Ikbu-jeon(益夫傳) were written by the authors who belonged to the middle class in the country districts, so there were some commonness of Chunhyang(春香) character in these works. From the confirm, I drew the following conclusion on Chunhyang(春香) character in these works. 1. Chunhyang was educated pursuant to the Confucian standard. She was the partner of Yidoryeong(李道令), not his wife since they were not legally married. However, she followed almost all the marriage proceeding. 2. Chunhyang was characterized by her practice of Confucian ethics, so she was regarded as the traditional faithful wife. 3. With the practice of Confucian ethics, Chunhyang asserted that there should not be the discrimination on the grounds of social status and class. And this assert reflected the consciousness of the middle class in the country districts, who promoted the upward social mobility with the practice of ethics. In short, according to their class consciousness the middle class in the country districts understood Chunhyang and described her.

There are two series in Go-Gŭm-So-Chong(古今笑叢). One is Toyo Bunko(東洋文庫)’s, and the other is Garam Collection’s. Toyo Bunko’s is named Go-Gŭm-So-Chong that had been edited by extracting a little part from Eo-U-Ya-Dam(於于野談), Ha- Dam-Gi-Mun(荷潭記聞), Jam-Gok-Pil-Dam(潛谷筆談), Jong-Nam-Chong-Ji(終南叢志) and Cheon-Ye-Rok(天倪錄). And after this, it had been combined Myeong-Yeob-Ji-Hae(蓂葉志諧) in a single volume. Garam Collection’s is named Go-Gŭm-So-Chong too, but that edited by extracting some parts from Chon-Dam-Hae-I(村談解頤), Eo-Myeon-Sun(禦眠楯), and Sok-Eo-Myeon-Sun(續禦眠楯) that contains some obscene stories. So far, it has been Toyo Bunko’s named Go-Gŭm-So-Chong published by Hong, Manjong(洪萬宗, 1643～1725). But by the new discovery of Bu-Bu-Go(覆瓿藁) contains the preface of Sok-Go-Gŭm-So-Chong(續古今笑叢序), it could be supposed that both of the Go-Gŭm-So-Chong and Sok-Go-Gŭm-So-Chong had been edited by Hong, Manjong. In addition, after reviewing related records, it is possible to assume that Garam Collection’s named Go-Gŭm-So-Chong is not under the pretense. And some obscene stories that edited and inserted by Hong, Manjong in Sok-Go-Gŭm-So-Chong had been carried and denominated the name of Go-Gŭm-So-Chong by someone who had transcribed those works.

The purpose of this article is to introduce the overall contents of “Diary日記” of Nam Gongcheol南公轍 and reveal its characteristics. In the year of 1807, he participated the ambassador group as a representative officer of Donggisa冬至使, and his diary recorded his experience. "Diary" has two books in Seikido成簣堂library of Ishikawa Takeyoshi石川武美 library in Tokyo, Japan. Originally, there were three books, but the first one was lost. However, it is possible to reconstruct the journey of the first book that has been lost through the "Jungju-Urok中州偶錄", which is the record of the person who participated in the same trip. The second book and the third book of the present book are the record from the time immediately after arriving in Beijing to the time of returning to Joseon after completion of the mission. It is presumed that the "Diary" was recorded during the trip or during the stay in Beijing. Because he participated in the group as a representitive officer, he was restricted from acting in the process of going to Beijing from Hanyang and staying in Beijing. Because of this, he was very limited to be able to see and hear directly. Instead, he was exchanging information with Chinese people through Nam Seokro南石老, and he recorded what Nam Seokro have reported. The "Diary" records most of the exchanges with the Chinese literary people through the Nam Seokro, but also reports on what Nam Gong-cheol have seen himself. During his stay in Beijing, he met with many Chinese people including Cao Jiang曹江, Chen Yongguang陳用光, and Zhu Yuren褚裕仁. "Diary" also has a detailed record of it. Another remarkable thing in “Diary” is the record of the magic. Nam Gongcheol invited the magician to watch the magic, and it is characteristic that the portrayal of the manner in which it is performed is not only realistic, but also describes in an analytical manner what kind of tricks the magic is taking. There is little known about the existence of Nam Gongcheol’s Yonhaengnok. Descriptions of things such as the building system are overly detailed, but such detailed descriptions seem to be glowing in the recordings of the Chinese literary companions and magic.

This paper aims to identify the characteristics of the structure and contents, and the purpose of writing the Yang Sa-ryong’s story[<梁四龍傳>]. The results of the study are as follows. The Yang Sa-ryong’s story[<梁四龍傳>] is written by Seogwi Lee gibal[西歸 李起浡(1602～1662)] The Yang Sa-ryong’s story[<梁四龍傳>] begins with a philosophical argument for the establishment of a legitimate relationship between heaven and man. This beginning is hard to see in other works. And this introduction serves as a device for the author to prove his reasons through a preconceived character throughout the work. The Yang Sa-ryong’s story[<梁四龍傳>] emphasizes Yang Sa-ryong's filial piety and deepen the various themes through the composition of overlapped narratives. The Yang Sa-ryong’s story[<梁四龍傳>] extends the subject through various inserted stories. This composition is different from the typical filial tale. So, unlike the general story of the filial piety simply encourages filial piety, this story focuses on what the ideal human figure looks like. The topic of the story is closely related to the thoughts of the author's righteousness. In conclusion, the author tried to establish a human figure who practices what he ought to do as the heaven gave it. In other words, the author tried to find a friend who did what he had to do through the story and tried to spread the justice he showed.