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This article reconsiders the existing reading method for <Seong sanbyeolgok> and presents a new interpretation method of the work from the perspective of intertextuality. Intertextuality refers to the property of a text being interdependent with all past or future discourses. Here, the concept of text is quite broad, encompassing not only literary texts but also other symbol systems and even culture in general. From this perspective, pavilion literature such as <Seongsanbyeolgok> is composed of various ‘texts’ based on the real world, and various meaning contexts are given to the interpretation of the work depending on the level at which the influence relationship of the texts is viewed. As a result of the analysis of the work, <Seongsanbyeolgok> shows the process in which the poetic speaker, represented by a guest, learns for himself the way of life of Im Eok-ryeong, who first gave the meaning of ‘sikyeong (息影)’ to the pavilion, and here seclusion is a connection with reality. It is not a break, but a ‘seclusion waiting for a good time.’ Therefore, even though <Seongsanbyeolgok> seems to be a simple borrowing from <Sikyeongjeong 20yeong>, it was found to have a strong reality orientation when considering the context of borrowing and the totality of meaning. In the end, the work ends with the communal speech of all three people, Lim Eok-ryeong, Kim Seong-won, and Jeong Cheol, who shared the joys and sorrows of this fate.

<Seongsanbyeolgok>, Jeongcheol, Song Ganggasa, Kanghogasa, Eunilgasa, Sikyeongjeong, Im Eokryeong, Kim Seongwon