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Although Un'yeong-jeon is a highly important work in the history of Korean classic novels, its author remains unknown to date. Through in-depth historical research this paper reveals Un'yeong-jeon was written by Seong Ro(成輅, 1550-1615). Another work of Seong Ro is Seokjeonyugo, which is analyzed in this paper together with Un'yeong-jeon and the documents left by other writers of the time. This analysis has reached the conclusion that Un'yeong-jeon was written by Seong Ro. He is a descendant of Seong Sam-mun, one of the “six martyred ministers.” Identifying Seong Ro as the author of Un'yeong-jeon finally explains why Seong Sam-mun appears in the work, as well as the reason why Grand Prince Anpyeong is depicted so positively.

The Kimyoungcheoljeon, owned by Jo Won-gyeong, refers to a text transcribed by a person named Park Jeung-dae around 1762, and is the closest to Kimyoungcheolyousa, among the relatively long texts of Kimyoungcheoljeon. In this paper, the text owned by Jo Won-gyeong is examined, revealing that two creative methods were mainly used. The first is the foreground of history using historical facts. The second is the augmentation by fictional creation. Using these two methods, the text owned by Jo Won-gyeong was able to express all the twists and turns in the life of Kim Young-cheol based on facts, while adding fiction in a touching way. In summarizing the two creative methods of Kimyoungcheoljeon, owned by Jo Won-gyeong, it can be said that the ‘Yeon-ui(演義)'s Principle’, the traditional East Asian writing method, was mainly used. Therefore, in this paper, the relatively long Kimyoungcheoljeon, represented by the text owned by Jo Won-gyeong, was renamed as ‘Yeon-eui novel Kimyoungcheoljeon’, in order to distinguish it from the ‘Jeongye(傳係) novel Kimyoungcheoljeon’ written by Hong Se-tae.

What is the outstanding point of Gwangmunjajeon廣文者傳, which is said to have been written by Yeonam燕巖 around the age of 18 and made his name known in one day. Yeonam wrote the original biography of Gwangmun in the early years, and ten years later, he wrote the reminiscence of Gwangmun. The main subject of interest in this paper is the original biography of Gwangmun. Whether to view the original biography and reminiscence as the same narrative or as separate narratives has been the main point of research on this work. I think the original biography of Gwangmun is a work of complete narrative in itself, and in this article, I focused on the narrative completeness of the original biography and its superiority as a classical work. The narrative of the original biography is characterized by 'excellent arrangement of narrative segments' and 'close connection between narrative segments.' The narrative of original biography is largely composed of four segments, of which the first, second, and fourth segments are composed of an anecdote before Gwangmun became famous, an anecdote about the moment when Gwangmun became famous, and an anecdote after becoming famous. As we read this work, it is easy to get into by the interest that comes from each episode, but we unknowingly accept the time variance acquired by the sequential composition. This time variance can be said to have a narrative completeness, and the natural connection between the segments and segments of the narrative through auxiliary characters enhances the completeness of this work. The appearance of auxiliary characters from homeowner to drugstore owner and from drugstore owner to Unshim, a gisaeng is not only lively in the work itself, but also contributes to the multifaceted highlighting of the theme of this work, 'faith.' On the other hand, the third segment seems to enumerate bits of information about Gwangmun at first glance, but this also features a characteristic overview of Gwangmun's humanity, such as Gwangmun's ugly appearance and poor speech, and nevertheless being considerate and unconstrained, and has not been revealed as major anecdotes. It can be said that it complements the character of Gwangmun. The original biography of Gwangmun, the reminiscence, and the author's preface of Banggyeonggakwejeon放璚閣外傳 should be reviewed in consideration of how each was written. At the time of the creation of the original biography, Dalmun達文(another name of Gwangmun) had a high reputation as a person of trust in Joseon, and accordingly, Yeonam portrayed Gwangmun(Dalmun) as a person representing faith with narrative integrity in the original biography. The whole narrative of original biography highlights the value of faith. On the other hand, after the evaluation of Dalmun changed, the meaning of caution against those struggling for fame is contained in the reminiscence, and the author's preface of Banggyeonggakwejeon.

This paper focused on the literature of Im, jeok, which has not been fully illuminated yet, based on the 1709 tour. He became interested in a landscape tour under the influence of his cousin Hong, Tae-Yu. Hong, Tae-yu's proposal and Kim, Chang-hup's newly built a new house seem to have led Im, jeok to a tour of Mt. Seorak and other areas in the fall of 1709. As a result of examining the related works, it was able to reveal that Im, jeok's travelog had the following characteristics. First, Im, jeok tried to promote the beauty of the mountain, which was never illuminated before, such as Sibipokdong at Mt. Seorak and Naksuam nearby Hongcheon. Second, it tried to highlight a beautiful scenery with its cultural value and landscape beauty; in the case of Samyeonjeongsa, which has just been built and has yet to be illuminated on the Im, Jeok's works.

This paper examined the compositional change in Eobusa(漁父詞), converting from nine-stanza to eight-stanza, by the Gagokwonryu' Music Group(歌曲源流 歌樂集團) in the mid-to-late 19th century. There are two types of Eobusa in the collections of songs. One is nine-stanza, and the other is eight-stanza. The former directly inherited the nine-stanza Eobubuga(漁夫歌) adapted by Lee, Hyunbo(李賢輔, 1467∼1555) in 1549; the latter is a direct inheritance of Eobusa, which is one of the contemporary Gasa(歌詞). The change from nine-stanza to eight-stanza in Eobusa holds significance in relevance to the formation of current Eobusa. The change itself was understood as a way to obtain popularity by strengthening entertainment factors in the piece and therefore consumed among the public exclusively in this manner. As a result, eight-stanza Eobusa is regarded as a simple piece reduced in length without considering nine-stanza organicity. The common notion about the formation of eight-stanza Eobusa is a misunderstanding due to the previous analysis. The Gagokwonryu' Music Group converted the Nine-stanza to Eight-stanza in two stages. In the 1st stage, the number of lines in the 1st verse decreased from three to two, and the 5th and 6th verse - six lines in total- were combined into the 5th verse - four lines-. In the 2nd stage, the number of lines in the 1st verse went back to 3, and the 5th verse decreased from four to three lines. As a result of this conversion achieved through two stages, each verse of eight-stanza Eobusa is formed in three line, giving more stability to the piece -the poetic sentiment develops in a state where the odd-numbered and the even-numbered verse are paired: sailing out(1stㆍ2nd; 出船), sailing(3rdㆍ4th; 行船), return(5thㆍ6th; 歸船) and berth(7thㆍ8th; 碇泊)-, and it also strengthened the mood of Kanngho-eunil(강호은일) even more when compared with nine-stanza. This feature of Eight-stanza Eobusa matches the leisurely and soft six-beat melody of Eobusa, which directly inherited it.

The purpose of this study is to clarify ‘unexpected endings’ in Pansori literature and examine their aesthetic meanings, especially focusing on Tokkijeon and Onggojipjeon. In terms of the inevitability and probability of narratives, an ‘unexpected ending’ could be defined as an ending that seems to be relatively less probable and inevitable and deviate from the essential characteristics of Pansori literature. In this regard, an 'unexpected ending' is a concept that is contrary to an 'agreed ending' to which diverse agreed meanings have been assigned. Among the numerous variations of endings, one of the most ‘unexpected endings’ of Tokkijeon is that the turtle takes his own life. In Onggojipjeon, the version which ends with Onggojip’s death is one with the most unexpected ending. The unexpected ending structure built up by the deaths of characters is not only neutralizes the interclass conflicts inherent in the narratives but also answers to the call for creation of a new world where there is no need to take sides with any character. Therefore, these endings align well with the essence of Pansori literature, showing us the desires of people who enjoyed it for a whole new life with freedom in a new world.

The Hermit Lee Paerang-e is a person of various aspects of cultural characteristics in the 18-19th century, and has long been a subject of interest and envy for many people. Nevertheless, all existing studies on Lee Paerang-e were limited to individual works, and no research has dealt with the link between them. The works related to Lee Paerang-e are found in a number of literary works, and this paper studies The three main themes of the Lee Paerang-e narrative are the reason he became a Hermit, his excellent writing skills, and taoist ideology. Lee Paerang-e is a combination of two or more characters, and the representative characters are Lee Jung-hae and Lee Eun. Lee Jung-hae is a relative of Lee Jung-so, a key figure in Noron. Sung Hae-eung and Yu Bon-hak specified Lee Jung-hae as Lee Paerang-e. Lee Eun is the main character in Shim Neung-sook’s LeeEun Jeon in which his various Hermit stories written while working as Lee Paerang-e and the evaluation of the contemporary people are very detailed. Shim Neung-sook is the only writer who has specified Lee Eun as Lee Paerang-e. Lee Paerang-e was a representative Hermit in the late Joseon Period. Compared to Kim Sat-gat, who became a wandering poet due to his tragic personal history despite being an outstanding writer, Lee Paerang-e, who left various narratives in the preceding era, can be seen as a pioneering type of wandering intellectuals. But, Lee Paerang-e and Kim Sat-gat have different character types. Kim Sat-gat wrote poems with strong social satire and playfulness, but Lee Paerang-e has no social satire works or plays. Lee Paerang-e’s literary and poetic talents were widely recognized during the period, but the number of works handed down is considerably smaller than that of Kim Sat-gat. Essentially, the Lee Paerang-e’s Hermit story focuses on taoist ideology while Kim Sat-gat’s Hermit story is more realistic and enjoys the arts. It is the decisive limit that leaves Lee Paerang-e as a Hermit, not a Poet. The material used in the Lee Paerang-e’s narrative shows the complex culture aspects of the time. Lee Paerang-e’s folktales about taoist ideology can be interpreted as a way for a nobleman who was alienated from the central power of the time to relieve his feelings about the real situation. Further research will talk about the trend of succession and change from Lee Paerang-e’ narrative to Kim Sat-gat’s narrative in the late Joseon Dynasty.