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The primary objective of this study is to present the most significant perspective in interpreting <Seojaeyahoirok(書齋夜會錄)>. For this purpose, a question could be raised, which the existing studies' partial tendency of arbitrarily excluding the author's real situation in interpreting this work is suspicious. Instead of this, the essential principle of creation in literature-the author's mentality as a fundamental material of any work-could be recalled as a proper perspective. Thus, the theory of analytical psychology is applied for the methodology in this study. The narrative of <Seojaeyahoirok> is composed of personified four stationary friends, a paper, a pen, an ink and an inkstone. Each character could be proposed as the author's other self. That is, the author could reach the state of self-discovery in respectively scrutinizing the individual unconsciousness representing the four characters. The self-realization pursued in <Seojaeyahoirok> is not related to the concept of perfection linked with a special directivity. The author took great pains to how to evaluate himself as a proper man rather than set up the scrupulous strategy concerning about his social and political condition or the relationship with the king. The author, Shin Gwanghan, attempted not to obtain something, but to discover himself in order to recover and rearm the original mental state. Consequently, it can be presumably said that he tried to clearly demonstrate his ambiguous standpoint as long as he can, after return to the Court via this work.

Seojaeyahoirok(書齋夜會錄), Shin Gwanghan, allegory, Analytical Psychology, complex, self-discovery, Mental Rearmament