羅隱의 詠史懷古詩

임원빈 한국외국어대학교 외국문학연구소 2003 외국문학연구 Vol.- No.14

LuoYin was a celebrated poet of the last period Tang Dynasty. It was disordered at those days, and he come under the influence of Confucian theory, and he cared greatly for his nation and society. His Poem on history and Poem recalling antiquity were also related to social issues. Both of them are based on historical facts. They mainly aim at satirizing the present with the past. We will see the satiric meaning and writer's mentality in this paper. This paper has four chapters : The first chapter, introduction which contains the background characteristic of times, characteristic of LuoYin's poems and motives & object of this study. The second chapter tells about the satiric meaning of Poem on history and Poem recalling antiquity. We can see the fact that he had satirized the last period of Tang Dynasty in his poems with the dissipated and unashamed former emperors. In addition, we can also see the writer's care for his nation and people through his satiric view from Poem on history and Poem recalling antiquity. The third chapter mainly shows the writer's mentality from his Poem on history and Poem recalling antiquity by the division into 'sentimentality', 'resentment' and 'ridicule'. Sentimentality and resentment are the general factors of Poem on history and Poem recalling antiquity, but ridicule is the unique feature of LuoYin's poems. The last chapter is the conclusion. We can see the importance of LuoYin's poems through the study on satiric feature and writer's view & mentality from his Poem on history and Poem recalling antiquity.

한국(韓國) 한시(漢詩)의 특징(特徵)과 전개(展開) 우언시(寓言詩)의 특징(特徵)과 전개(展開) 양상(樣相)

송병렬 ( Pyung Nyul Song ) 동방한문학회 2010 東方漢文學 Vol.0 No.42

Fable poem is to reveal meaning indirectly using other things. Especially, it berhymes human and social reality using animals and plants. Fable poem is that when writer tries not to expose emotion straight but reveal it indirectly, he use allegory as rhetoric. However, it is recognizing irrationality about real world that writer berhymes reality and using the irrationality, expressing emotionally is fable poem(寓言詩), so fable poem is creation of poem more than rhetoric. Thus, fable poem(寓言詩) is different from general lyric poetry. Fable poem has aspect of literature for amusement like being sarcastic of natures of objects or making writer`s emotion caricatures in the course of figuring or personifying other objects, and aspect of developing works through the techniques figuring objects and personifying the figured objects. Also, it has aspect of satiring society of the time or political reality by having come on animals and plants. Korean fable poems leave various fable poems from Choi Chiwon to modern Lee Geonchang. Fable poems of Choi Chiwon generally show despair about that he couldn`t achieve self-realization such as gloom because he can`t go out high government post and depression that he feels due to Goelpum system(骨品制) in Sinla(新羅) society. Lee Gyubo`s fable poems show his ego as a writer. Kwon Pil leans on the world aimed by Taoism, criticizing the corrupt world. But ultimately he mainly criticizes about real society. In Dasan Jung yakyong`s fable poem, animals and plants that have relation of mutual opposition appears. Dasan set leopard, serpent and dog killer for predator, and magpie, sparrow and dog for prey. But applying for social relationship on this, this connects to the relation between ruler and subject. It is the feature that he berhymed social relation between rule and subject with natural relation between predator and prey. These fable poems have aspects that have something connection each other with not only individual features but other contemporary writers` fable poems. Therefore these aspects reveal development of Korean fable poem well.

목재(木齋) 홍여하(洪汝河)의 한시(漢詩) 창작양상

楊勝皓 ( Yang¸ Seung-ho ) 동방한문학회 2020 東方漢文學 Vol.0 No.83

木齋 洪汝河(1620~1674)는 17세기 嶺南南人을 대표할 만한 문학가이지만 지금까지 그에 대한 연구는 역사가와 경학가에 집약되어 있다. 그는 390首의 시를 남긴 시인이었지만 한시에 대한 연구는 목재시 일부를 다룬 정도에 불과하다. 이에 본 논문에서는 『木齋集』 권1,2에 실려 있는 한시 390수 전체에 대해 살펴보고자 하였다. 한시는 한 인물이 평생을 두고 창작하며, 생애전반의 감회와 정서가 녹아있기 때문에 그 인물의 삶과 떼어놓고 생각할 수가 없다. 그래서 먼저 목재의 생애에 대해 살펴보고, 한시 390수 전체를 형식, 제재, 창작방식의 기준으로 분류하여 목재시의 대표적인 시작 특성과 창작양상에 대해 살펴보고자 하였다. 형식에 의한 분류를 통해 정형화된 近體詩와 排律詩 창작을 지향하였고, 기타 다른 雜體詩는 지양했음을 알았다. 제재에 의한 분류를 통해 사람 간의 관계를 염두에 둔 시작을 많이 하였고, 학문연구에 대한 감회를 읊은 讀書詩, 생활의 터전과 관련된 田園詩와 遊覽詩 같은 작품들에 주목할 수 있었다. 창작방식에 의한 분류를 통해 기억의 효율적 정리와 고조된 감정의 표현, 생각의 논리적 전개를 위한 聯作詩와 한시 창작의 동기부여와 자극의 수단으로 여긴 和次韻詩 작품이 많이 있다는 것도 알게 되었다. 이를 통해 그의 삶에 대한 자세와 한시 창작양상에 대해 개괄하였고, 혼란했던 당대 문단 속에서 목재는 어떤 모습으로 자리하고 있었는지도 엿볼 수 있었지만 본 논문만으로 목재시 전체를 이해하기에는 부족하다. 본 연구는 목재시 전체를 좀 더 면밀하게 검토하기 위한 초석에 불과하다. 추후 개별 한시의 시적 미학과 표현양상 등에 대한 세밀한 연구가 계속되길 기대한다. Mokjae(木齋) Hong yeo-ha(洪汝河, 1620~1674) is a literary representative of the 17th-century Yeongnam Namin(嶺南南人, a school of Southerners of Yeongnam Province), but so far his research has been concentrated on historians and scholars. He was a poet who left behind 390 poems, but his research on poetry was only a fraction of the Mokjae poems. Therefore, in this paper, we tried to look into the total number of 390 poems in volumes 1 and 2 of The 『Mokjae literary collection(木齋集)』. Chinese poems creates a character for the rest of his life, and since the emotions and emotions of his entire life are melted, he cannot think apart from the character's life. So, first, we tried to look at the life of Mokjae and classify the whole into 390 poems, based on the form, sanctions, and creative method to examine the typical poetry writing characteristics and creative patterns of Mokjae poems. Through classification by formality, I aimed for the creation of formal modern poems(近體詩) and magnification poems(排律詩), and found that other miscellaneous poems(雜體詩) were avoided. Through the classification by sanctions, poetry writing was a lot with the relationship between people in mind, and I was able to pay attention to works such as reading poems(讀書詩) that impressed with academic research, rural poems(田園詩) and excursion poems(遊覽詩) related to my life. Through the classification by the creative method, I also found out that there are many works such as series of poetry (聯作詩) for efficient organization of memory, expression of heightened emotions, and logical development of thoughts, and rhyme-echoing borrowing(和次韻詩), which is considered as a means of motivation and stimulation of creative creation. Through this, he outlined his attitude toward life and the creative pattern of Chinese poems, and it was possible to get a glimpse of what the Mokjae was in the confused times parnassus, but this paper alone is not enough to understand the whole. This study is only a cornerstone to examine the whole Mokjae poems more closely. It is expected that detailed studies on poetic aesthetics and expressions of individual poems will continue in the future.

어린이시노래 연구

이지호(Yi, Ji-ho) 한국아동청소년문학학회 2014 아동청소년문학연구 Vol.- No.15

Children’s poem-song is the song made of children’s poem. Some children’s poems are good for reading and some children’s poems are good for singing. The latter are appropriate for song’s words. There are some children’s poems which a songwriter wants to make songs. There are some children’s poems which a songwriter can make songs easily. It may be possible that the former and the latter have the same meaning. Because the literary codes of children’s poem are connected musical codes of children’s poem strongly. There are 5 methods of constructing song’s words with a children’s poem. The first is ‘Copying’, which means using a children’s poem without further amendment. The second is ‘Adjusting, which means using a children’s poem with repeating some words or phrases. The third is ‘Proofreading’, which means using a children’s poem with correcting words or phrases. The fourth is ‘Revising’, which means using a children’s poem with amendment in structure of meaning. The fifth is ‘Mixing’, which means using two or more children’s poems together. Copying-songs and Adjusting-songs can be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song maintains its original state. But Proofreading-songs, Revising-songs and Mixing-songs can not be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song is not same as what it was.

고전시가 분석에서의 자연어처리 활용 ― 次韻詩 詩句의 부자연스러움 증명

이다연 중국어문학연구회 2022 중국어문학논집 Vol.- No.135

Rhyme-matching poem is a kind of replying poem. It is written based on the rule that the rhymes in the original poem should be used in order. Loved by great poets, it achieved widespread popularity after the Song Dynasty. However, rhyme-matching poems had been criticized for unnatural expressions due to the use of fixed rhymes, and such works had been pointed out. So this study performed the ‘fill-mask’ task using the embeddings of pre-trained models that learned Chinese classical text in a Masked Language Modeling (MLM) so as to verify whether the expressions of the verse in rhyme-matching poems is unnatural compared to those of original poems. The subject of this experiment is the poems of the literary network led by Su-Shi in the North Song Dynasty. The experimental result shows the probability to predict the rhyme tokens in rhyme-matching poem was lower than that of original poem; the probability was much lower in the long poem. This proves that the expressions in rhyme-matching poems are not general compared to that of original poems, but more strongly represents the need for using rhyme-matching method in the literary networks. In conclusion, this study demonstrates that rhyme-matching poems were advantageous for close connection with the original poems and the authors.

한국전쟁기와 청소년 시문학

문선영(Moon, Sun-Young) 한국아동청소년문학학회 2012 아동청소년문학연구 Vol.- No.10

This article is to take a view of the historical significance of teenager poems during the Korean War in Korean Literature, especially in Korean Teenager Poems Vol. 1, a collection of the Academic literary awards, focused on the narratives of rhetoric of realistic time and space. Teenager poems during the war are so familiar that they are literary texts written not by adults but by young people. They are easy to be approached for evoking sympathy in linguistic forms and give their views of the world through their thinking system. It is a surprise because of the images of urgent and hopeless war. It introduces the question for combination and understanding. The following is a summary of the body of this article. First, I look into the context of teenager poems during the war at the aspect of an ‘odyssey’. This is not the deductive methodology but pays attention to how the poems make poetic expressions in time and space during the war. There are three types of poems which are about what have special perception of reality, what trace the context of life in intrinsic reality, and what have remarkable emotional responses along with self-identity problems at the period of adolescence. Second, above all, there are a few poems presented perception of reality during the war. But they are significant that after penetrating tensions between reality which exists and reality which has to be, are records of determination stitching up seriously reality and hope. While weaving the historical reality leading astray, their works go down the bottom of suffering and wish ‘the flag’ and ‘the day’. This power in perception of reality comes from teenagers’ poetic expressions. Third, it is another odyssey that teenager poems during the war reveal through so-called ‘moral’ works looking at the intrinsic reality. There are not only the poetic themes of good relations among people or co-existence with nature, but also apparatus which acquires the intrinsic realities during the war. Those kinds of realities are the colorful weaving from the poems. Fourth, the last odyssey is the poems which have remarkable emotional responses and narratives of taking a detour. They reveal personal lyricism made of many materials like a sense of season, sorrows and dreams. ‘Detouring narratives’ would make the burden for teenagers who are growing up in the brutal world and soon become the member of the world. But it could be rather sincere and clear poetic expression in hard days of war and in the context of emotional adolescence. It could make them a step forward. The teenager poems during the war originated in a state of tension between the unquestionable life and the questionable life and we could have a look at the properties which result from setting adolescence in the war time. We have searched a weather chart where landscapes could be presented specifically inside and outside through the poetic expressions of realistic time and space beyond the war. Most of all, the discovery of the bright aspects of teenage poems and the power of devoting oneself to detecting the life is significant for contributing to deepening the social meaning in Korean teenager literature.

한국 漢詩문학에서 唐詩의 가치와 수용양상 硏究

손복 한국중국언어문화연구회 2012 한중언어문화연구 Vol.- No.28

Tang (Dynasty) poem in Chinese literary history is positioned as the supreme poem as well as the great literary and cultural heritage of China and therefore, it should not be assessed simply as a poetic genre in the history. The reason why reading and appreciating Tang poem in order to understand Chinese culture and thought is meaningful is that the background of Chinese consciousness is implied in Tang poem as China itself. In particular, Tang poem is not just limited to Chinese literature. Tang poem, as a great human cultural heritage, had also influenced over our literature directly and indirectly. And there has been a lot of controversies so far while discussing over what signifies Tang poetry style in a differentiated perspective with Song (Dynasty) poem in connection with so-called Tang poetry style that was our classic poetry following Tang poetry style. In this regard, this study reviewed a pattern as to how literary historic value and features of Tang poem had been accommodated in our Chinese poetic literature and influenced over our such literature. Poetic achievement of Tang poem that was assessed as the greatest value in Chinese literary history had underwent accommodation, transformation and development process in connection with our Chinese poem. Overall current of our Chinese poetic history had shown its own unique pattern depending on each times or poets along with their tendency of learning Chinese Tang poem or Song poem. It goes without saying that strenuous effort of our ancestors who tried to improve poetic level qualitatively of their own by modeling Chinese superior poems in advance was imbued in this issue of learning Tang (poem) or Song (poem). In our Chinese poetic history, Chinese poetry style has an aspect of having partly accommodated Chinese poetic achievements as they are or further developed them partly as well and its summary is as follows. First, our Tang poetry style succeeded poetry school mainly based on Jeol-gwi (절귀), not a verse (율시), in its style. There were a lot of poets who left master poems even in verse among the poets of early poetry school (학당) but while passing through early 16 century, as its style was gradually concentrated on Jeol-gwi in general, we could not find any outstanding works in particular in addition to Jeol-gwi. In addition, most of this Jeol-gwi was also concentrated on 7-lettered poem instead of 5-lettered poem. Second is accommodation of romantic features. Romantic features is the one that could be seen mainly in Lee, Baek’s poems in terms of the fact that it expressed poem motivated by imagination of poets, not by their experience, like unworldly expression or royal poem (궁사), Boudoir lament poem (규원시) or Frontier poem (변색시). These features could be seen conspicuously in our Chinese poetry style as time passes and it is considered that this trend may be mainly influenced by poems of Lee, Hu-baik who worshipped poems of Lee, Baek. Third is accommodation of sensual, splendid (염려) and luxurious (기미) expressions. In the early poetry school, such expression was prominent and gradually, its expression had been steadily imbued with refined and delicate touch strongly. Fourth is accommodation of introvert, static expression. This way of expression is to show poetic emotion implicitly with understated sense without directly exposing its emotion. Therefore, such poems have a tendency of naturally introvert and static pattern. As these features are elements harmonized with our emotion, it is hard to regard such elements as a specific poet’s influence. Fifth, elements like maximization of image exploitation and strengthening accustomed Tang poem and reading poem (소리 시) could be enumerated and these elements are evaluated to be a unique poetic achievement of our poetic school that was almost impossible to be found in Tang poem and an early poetic school. Learning Tang (poem) of our country had been succeeded by starting f...

주요한의 상해시절 시와 이중적 글쓰기의 문제

박경수(Park Kyung su) 한국문학회 2014 韓國文學論叢 Vol.68 No.-

이 글은 주요한이 상해시절에 쓴 시의 특징과 전후 맥락을 파악하기 위한 것이다. 그동안 논의된 결과를 제시하면 다음과 같다. 첫째, 주요한이 대한민국 상해임시정부의 기관지인『독립신문』에 발표한 시는'송아지'와'요(耀)'란 필명으로 발표한 시 7편이다. 그동안 주요한의 시로 보아 왔던'목신(牧神)'이나'밝참'등으로 발표한 시는 주요한의 시 작품으로 볼 수 없다. 둘째, 주요한이 상해에서 국내로 송고하여 발표한 시는 80편 이상이다. 그가 상해 호강대학에 입학한 이후 2년간은 작품 발표를 크게 줄였지만, 3학년 이후부터는 다시 활발하게 작품을 발표했다. 셋째, 주요한이 독립신문에 발표한 시는 당시의 정치적 상황과 매체의 성격에 맞추어 쓴'상황시'로 정치적 담론의 성격을 갖는다. 이들 시는 민족의식과 조국애를 구현하고 있지만, 웅변조의 설득적인 목소리에 의한 메시지 중심의 시이며, 격정에 의한 관념적인 시라는 한계를 갖는다. 이러한 시는 일본 유학시절에 일본어로 쓴 으로부터 이어진 것이며, 상해시절 이후에는 시 에서 다시 나타난다. 넷째, 주요한이 상해시절 국내로 송고하여 발표한 시는'상해체험 시'와'고향생각 시', 그리고'전통지향 시'로 크게 구분할 수 있다. 다섯째, 주요한의 '상해체험 시'는 시의 어조와 문체, 묘사적 특징이나 주제적 성향에서'독립신문 시'와 크게 달랐다.'상해체험 시'는 상해의 풍경을 관찰자적 입장에서 담담하게 묘사하되, 이국지향의 시선에 따라 시적 대상을 관능적으로 묘사하고 있는 탈정치적인 성향의 시였다. 이러한 묘사시는 일본 유학시절부터 모색된 것이다. 여섯째, 주요한의'고향생각 시'는 다시 두 범주로 구분하여 논의했다. 한 가지는 유년시절 고향에 대한 기억들을 되새기면서 유토피아로서의 고향의식을 나타내는 작품들이며, 다른 한 범주는 고향에 대한 향수의식을 조국애나 민족의식과 결부시키고 있는 작품들이다. 이러한 작품들은 상해시절 이후 시조나 민요시의'전통지향 시'와 만나게 된다. The purpose of this study is to grasp the characteristics of Ju, Yohan's poems in Shanghai and its context of his front and rear poems. Consequences that have been debated are as follows. 1. Poems that are published in 『Doklipsinmun』(i. e. independent newspaper), the journal announced by provisional government of Republic of Korea, include seven pieces which were printed in the name of'Songaji' and'Yo'. Those poems named'Mokshin' or'Bak-cham' which have been recognized as Ju, Yohan's, can not be considered as his real pieces. 2. Poems that have been submitted from Shanghai and then released in Korea include more than 80 pieces. Although he diminished his publishing activities for two years after he entered Hogang University in Shanghai, he vigorously started to announce his pieces right after he got into a junior in University. 3. Poems that are published in 『Doklipsinmun』, have a characteristic of occasional poetry which is written according to the feature of the media. Even though these poems implement national consciousness and patriotism, these poems are rather ideal and passionate which can be regarded as a limitation of the pieces that has the tone of persuasive oratory. These poems has been rooted from the piece called which was written by Japanese by himself, Ju Yohan, when he was a student in Japan. Also it appears again in the poem named . 4. Poems that have been submitted from Shanghai and then released in Korea can be categorized in three different groups,'Poems of Shanghai Experiences', 'Poems of Hometown consciousness', and'Tradition-orienting Poems'. 5. Ju, Yohan's poems were different from those of poems published in independent newspaper in the aspect of tone, style of writing, characteristics of description, and tendency of the theme. Poems that are sorted as experiences of Shanghai, describe the surroundings of Shanghai calmly in the spectator's point of view and also portray the object sensual and attractive according to the view of exoticism. His effort of seeking this kind of descriptive poems have been started after his time as an international student in Japan. 6. I reclassified Ju, Yohan's poems of 'Poems of Hometown consciousness in two different categories. First group include pieces showing hometown consciousness regarding utopia, which were extracted out from the childhood memories of the homeland. Second group contains pieces that associates nostalgia with patriotism or national consciousness. These poems encounter 'Tradition-orienting Poems' concluding 'Sijo' and poems which are based on folk songs, all of which were written after the Yohan's time of Shanghai.

고전 여성시의 사적 고찰

조연숙 한국사상문화학회 2013 韓國思想과 文化 Vol.69 No.-

Classical women’s poems are the works created by women, or presumed to be written by women, roughly being divided into classical woman’s poetry and classical woman’s Chinese poem. Looking into the classical women’s poem from the historical perspective, the basis of the descendant classical women’s poems can be judged to be arranged during the Goryeo Dynasty. The period before the Goryeo Dynasty, as a creeping period of classical women’s poems, witnessed women writers incubating dreams for poetry with a slight activity of creating works. During the Goryeo Dynasty, the women of a good family and gisaeng, who formed the main writer class of women’s poems, created works showing the characteristic of women’s poem; in this context, that period can be called the establishment period for women’s poem. Afterwards, with the coming of the era of the Joseon Dynasty, many a woman writer was engaged in creating poem on the solid basis of woman’s poem arranged by women pioneers in poems during the Goryeo Dynasty period; indeed, the period of the Joseon Dynasty can be called the heyday of women’s poem. However, in the 20th century, classical women’s poem faced the period of its decline according to the stream of the times. Women’s poems during the Goryeo Dynasty include Chinese poems and Goryeo folk songs; Chinese poems are showing a more diversified appearance in the aspect of writers and works in comparison with the previous period. Goryeo folk songs were arranging a framework that formed a big vein of women’s poem later in terms of their themes with a multitude of songs presented, expressing a woman’s fidelity praying for her husband’s safe return, a romance between man and woman, and the sorrowful love of farewell. In addition, even in their form, Goryeo folk songs are showing formal diversity by creating works in the form of a circulatory structure and dialogic style. Accordingly, women’s poems during the period of the Goryeo Dynasty, from the macroscopic viewpoint of classical woman’s poetic literature history, are of significance in terms of the poetic literature history in that they arranged a basis of classical woman’s poem from the aspect of writers, works, and form. 고전 여성시는 고전시 중 여성이 지었거나 여성이 지은 것으로 추정되는 작품들로 크게 고전여성시가와 고전여성한시로 나눌 수 있다. 현전하는 고전 여성시는 상고시대로부터 삼국⋅통일신라시대, 고려시대, 조선시대, 20세기에 이르기까지 실로 다양한 계층의 여성 작가들이 풍부한 여성 정감의 세계를 보여주고 있는데, 이를 사적으로 살펴보면 현전하는 고전 여성시의 기반은 고려시대에 마련된 것으로 볼 수 있다. 고려시대 이전은 고전 여성시의 잠동기(潛動期)로서 여성시가 태동하고 여성 작가가 미미하게 작품 활동을 한 시기이며, 고려시대에 이르러서는 후에 여성시의 주된 작가층인 사족(士族) 여성과 기녀가 작가로 가담하여 여성시의 특성을 보여주는 작품을 창작하는 시기로서 여성시의 정립기라고 할 수 있다. 그리고 이후 조선시대는 고려시대에 마련된 여성시의 기반 위에 많은 여성 작가가 여성시를 창작하는 여성시의 전성기라고 할 수 있으며, 20세기는 시대의 흐름에 따라 고전 여성시가 감소하는 쇠퇴기라고 할 수 있다. 고려시대 여성시로는 한시와 고려속요가 있는데, 한시는 전 시기에 비해 작가와 작품 면에서 한결 다양해진 모습을 보여주고 있다. 고려속요는 돌아오지 않는 남편의 무사 귀환을 기원하고 여성의 정절과 남녀 간 애정과 이별의 정을 노래한 작품이 다수 산출되어 주제 면에서 이후 여성시의 큰 맥을 형성하는 기틀을 마련하고 있는 것이다. 그리고 형식면에서도 순환구조와 대화체 형식의 작품을 창작하여 형식의 다양성을 보여주고 있다. 따라서 고려시대 여성시는 고전 여성 시문학사라는 거시적 관점에서 볼 때 작가와 작품, 형식면에서 고전 여성시의 기반을 마련하였다는 점에서 시문학사적 의의를 찾을 수 있다.

高丽末鄭誧词的中国词接受融合情况

김현주 한국외국어대학교 중국연구소 2009 中國硏究 Vol.47 No.-

This study, under the great topic of in what form the chinese ci poems had been adopted into the Goryu dynasty as well as how it was expressed, more specifically, through the initial analysis of the creation background of ci poems of Goryu Jeong Po鄭誧(1309~1345), it is to examine the author’s creation attitude toward ci poems, the aspects of the work and also the adoptive style of Chinese ci poems. The ci poems of the author Jeong Po had three kinds of 詞牌(names of the tunes to which ci poems are composed), 11 ci poem works and those were all that ci poems were inserted into the melody which was in trend during Tang Song period. However, most of them were, unlike Chinese ci poems, not anymore special than reciting the scenery of the season. Throuth the ci poem works which describe scenery of the season, he implicitly expressed the his disappointed state of mind. With Lee JaeHyun李齊賢on the head, the <蔚州八景>詞written through 聯章歌辭of 8詠體 which was widely used from Goryu to Josun dynasty has shown the new aspect from which the chinese ci poems advanced from Goryu. Jeong Po, who understood the tendency of creation of Goryu poet, would be a critical source for viewing the settlement of Chinese ci poems into the Goryu’s literary world as well as the process of the evolvement.