이청준 소설에 나타난 작가와 독자 간의 상호텍스트성 : 「떠도는 말들」과 「다시 태어나는 말」을 중심으로

이현영 ( Lee Hyonyoung ) 한국독서학회 2022 독서연구 Vol.- No.62

본 논문은 《언어사회학서설》 연작 가운데 「떠도는 말들」과 「다시 태어나는 말」을 중심으로 독자의 능동적 해석이 가능한 대목에 대해 섬세하게 추적해 나가는 것을 연구 목적으로 삼는다. 본고가 두 작품을 선정한 이유는 두 텍스트에서 ‘본문에 서술되지 않은 사건’과 ‘미래로 열린 결말’, ‘단어의 서사적 장치’란 공통점을 발견할 수 있었기 때문이다. 2장에서는 「떠도는 말들」을 중심으로 ‘서술되어 있지 않은 사건’이 독자들의 단어의 해독과 미래로 열린 결말에 어떤 인과적 관계를 보여주는가를 분석하였다. 한편 3장에서는 「다시 태어나는 말」을 중심으로 실제로 존재하는 것들에 대한 ‘단어’의 서사적 장치가 ‘서술되지 않은 사건’과 ‘미래로 열린 결말’에 이르기까지 어떠한 단계로 심화시키는가에 대해 살펴보았다. 이를 통해 본 논문은 《언어사회학서설》의 표층적 층위에 머무르기 쉬웠던 이청준의 창작관에 대한 심층적인 근원을 살필 수 있을 것이며 궁극적으로는 작가와 독자간의 상호텍스트성과 관련된 이청준만의 독특한 글쓰기 원리를 밝힐 수 있을 것이다. This thesis aims to delicately trace the passages that the reader can actively interpret, focusing on 「Wandering Words」 and 「Reborn Words」 in the 《Introduction to the Sociology of Linguistics》 series. This article selected these two works because commonalities can be found in the two texts: “unexplained events,” “open endings into the future,” and “the narrative apparatus of words.” In Chapter 2, focusing on 「Wandering Words」, we analyzed what kind of causal relationship the “unexplained events” show in the readers’ interpretation of words and open endings into the future. Conversely, in Chapter 3, focusing on 「Reborn Words」, we examine how the narrative device of “words” for things that actually exist is deepened to “unexplained events“ and “open endings into the future.” Through this, this thesis will be able to examine the in-depth roots of Lee Chung-jun's view on creativity, which remained on the superficial level in 《Introduction to Linguistic Sociology》. Ultimately, it is possible to discover Lee Chung-jun's unique writing principle related to the intertextuality between the writer and the reader.

朝鲜朝诗人李瀷化用杜诗典故论略

최해련,지수용 국제언어문학회 2022 國際言語文學 Vol.- No.51

Lee Ik was a great poet and poetry critic of the Joseon Dynasty. Lee lived in the latter period of Joseon Dynasty, in which the literary world was full of "learning from Tang Dynasty". The most highly prized poet by Lee was Du Fu and his poems. It can be said that Lee's poetry criticism and poetry creation activities are inseparable from his research and acceptance of Du poetry.The deep understanding and appreciation of Du Fu led Lee to regard Du’s poems as a model of learning and accepted in his own poetic practice. Lee often used allusions of Du’s poems in his poems as an important way to learn and accept Du’s poems, including words and stories in Du’s poems. The words, sentences or events in Du's works were explained, or directly borrowed or reassembled to create new consonants according to the needs of the poet. By internalized changing the form of Du's words and phrases, he created a new meaning and realized using the old and creating the new. Therefore, about the use of Du's classical works, its essential meaning and artistic merit can be understood and grasped from the three aspects: "Teaching", "Creating" and "New". On a certain degree, Lee's use of the Du’s words and events was another embodiment of his learning, character, thoughts and emotion, as well as a trans-temporal and transnational inheritance of Du's artistic life. In terms of the psychological structure of individual creation, it is an excellent way for poets to realize the spiritual interface with Du Fu, as a connection crossing space, time and cultures. 李瀷是朝鲜朝后期优秀的诗歌评论家和诗人。李瀷生活的朝鲜朝后 期,文坛上盛行“学唐”思潮。在众多唐代诗人及诗歌当中,李瀷最为推 崇的是杜甫及其诗歌。可以说,李瀷的诗歌批评和诗歌创作活动,与他 对杜诗的研究与接受是密不可分的。对杜甫和杜诗的深度理解和高度 欣赏,使得李瀷在自己的诗歌创作中经常化用杜诗典故,即杜诗语典和 事典。李瀷对杜诗典故的化用,并不是对杜诗表达形式的简单学习和模 仿,而是对它富有创造性的“化”和“用”。具体来说,李瀷对杜诗典故的 化用,就是将杜诗的诗语、诗句或事典化解开来,或直接借用,或重新 组合,并使之融入自己的诗歌语境中,形成一个有机的整体。李瀷对杜 诗典故的化用,经过了诗人的冥思苦索和深思熟虑,达到了一种“旧中 出新”的化用效果。故此,我们可以从“师”“造”“新”三个层面来理解和把 握李瀷化用杜诗典故的本质意义。从某种意义上来看,李瀷对杜诗典故 的化用不仅仅是他学识、性格、思想、情感等诗人自我的一种体现,同 时也是诗人对杜诗思想情感和诗歌风格的秉承和扩展,是对杜诗艺术生 命的一种跨时空、跨国界的传承和弘扬。

불교철학적인 물음에 비추어 본 이청준 소설

한순미(Han Soon-Mi) 국어국문학회 2008 국어국문학 Vol.- No.149

The aim of this study is to examine the latter works of Lee Chung-jun with questions derived from Buddhist Philosophy. As it scrutinized, Lee has dedicated himself to widening critical mind and search for the answer by Buddhist ontology, good-evil theory and viewpoint of language and world. In 〈Rebirthing Words〉, by the Tea Ceremonies of Buddhist figure Cho-Eui, Lee seeks for the clue of true words beyond fake words. In 〈Bi Hwa Mil Gyo〉, Lee's quest for answer broadens the suffering of writer -what and how to write- into reflection on representationalism. In 〈In Gan In〉, based on Buddhist ontology and evil-good theory, ontological search of the way from awakening of Theravada Buddhism to practice of Mahayana Buddhism is located. In kunstlerromans such as 〈House of Wings〉 and 〈Mu So Zak〉, matters of dualistic conflict such as subject-object and life-death are delineated by liberal artists who accomplished non-dualistic and Infusionalistic state. As it mentioned above, Buddhist philosophical questions are placed in the depth and tugs Lee's writing. Therefore, Lee's novel may well be comparable with the process Buddhist topics get unraveling. Throughout the way Lee seeks answers on these questions, his novels spontaneously make close look on the contact point of Buddhist philosophy and post- modern thought.

이문구 동시에 나타난 고유어와 이야기시적 특성 연구

남지현(Nam Ji-Hyun) 한국아동청소년문학학회 2010 아동청소년문학연구 Vol.- No.7

This study focused on native Korean words as a poetic language and the characteristics of narrative poems in children's poetry of Lee Mun-gu. Lee Mun-gu often used native Korean words in his text so he is called as'the keeper of native Korean words'. The status of these native Korean words should be estimated as a poetic language. Because the dominant position of signifier is important in the poetic genre and native Korean words including sound symbolism such as onomatopoeia and mimetic word are useful to express the very meaning and the feelings the poet intended. In addition strange Native Korean words can arouse the unfamiliarity of traditional things that Lee Mun-gu wanted to succeed in his literature. But that unfamiliarity can also prevent the juvenile readers from understanding his poems. Lee Mun-gu wrote some narrative poems different from the fairy tale poem in length and the narrative tendency but there was no study about this. In his narrative poems I found the aim to deliver some kind of knowledges or critical message toward modem life. Lee Mun-gu was famous for his own writing style based on an oral cultural tradition and that colloquial style was also found through a tone in his narrative poems. Thus he supposed the implied readers as the receiver of the poetic discourse he sent.

1930년대 사전의 외래어 수용 양상 -모던조선외래어사전(1937)과 조선어사전(1938)을 중심으로-

안예리 연세대학교 언어정보연구원 2020 언어사실과 관점 Vol.51 No.-

This study aims to examine loanwords entries in the Korean dictionaries of the 1930s, when foreign new words surged into Korean. To this end, the analysis was made by comparing The New Dictionary of Foreign Words in Modern Korean (1937), the first Korean foreign language dictionary compiled by Lee Jong-geuk, and Joseoneosajeon (1938), the first Korean dictionary compiled by Moon Se-young. Both dictionaries intended to present the standard form of loanwords by establishing hierarchies between entry words in macro-structure. However, there were distinct differences in terms of the specific criteria to setup the standard forms in two dictionaries. A sample analysis of diet-related words showed that the entry words of the two dictionaries were much more inconsistent than the matching ratio. Among the common entries, 7.7% had the same spellings, and 9.9% had different spellings. The reason for the difference in spelling was the difference between the use of special characters to write foreign words and the establishment of a phoneme correspondence between foreign and Korean languages. In addition, there was a difference that Lee’s dictionary contained a total of foreign words used in the literature at that time, while the dictionary of Moon contained only those that were deemed to have become everyday words. Finally, unlike Moon Se-young, Lee Jong-geuk did not recognize words from Japanese as loanwords because he did not see Japanese as a foreign language.

이상화 시어 ‘목거지’의 주석학적 연구

김주현 한국현대문학회 2024 한국현대문학연구 Vol.- No.72

본고에서는 이상화의 시어 ‘목거지’에 대해 주석학적으로 논의하였다. 김용직이 ‘목거지’를 ‘잔치’를 뜻하는 ‘모꼬지’의 대구 방언으로 주장한 이래 다양하게 해석되어 왔다. ‘목거지’가 ‘모꼬지’라는 주장에 동조하는 연구자로 이기철, 송민, 홍윤표 등이 있다. 그러나 이상규, 김권동, 유재천 등은 ‘목거지’를 개인 언어로 보았다. 곧 ‘목전(前)’, ‘볼거리’, ‘길목·어귀’ 등의 의미로 파악한 것이다. 본 연구자는 1920~30년대 모꼬지와 관련된 어휘들을 광범위하게 조사하였다. 그것은 20세기 들어와서 못고지, 모ᄭᅩ지, 못거지 등 다양하게 나타난다. 못고지와 못거지는 발음의 유사성에 따라 목고지, 목거지로도 표현되었는데, 이상화는 시에서 후자를 사용한 것이다. 못거지·목거지·모꺼지, 못고지·목고지·모꼬지는 소리로 보면 거의 동일하지만, 형태(자형)가 다른 표기로 볼 수 있다. 그리고 ‘못거지’와 ‘목거지’가 연철되어 ‘모꺼지’로, ‘못고지’와 ‘목고지’는 ‘모꼬지’로 실현되는데, 이 가운데 마지막 낱말이 표준어가 된 것이다. 한편 ‘먹거지’와 ‘먹고지’는 뜻이 ‘목거지’와 ‘목고지’와 다를 바 없다. 그렇다면 그것은 음가의 유사성, 또는 의미의 인접성에 따른 표현으로 보는 것이 적합하며, 그 뜻은 ‘모꼬지’로 볼 수 있을 것이다. 이것들을 새로운 단어로 규정하기 어려운 것은 이 낱말의 사용이 극히 적을 뿐만 아니라 ‘모꼬지’의 의미로 사용된 낱말이기 때문이다. 그리고 ‘목거지’가 대구뿐만 아니라 춘천에서도 사용되었다. 이러한 ‘목거지’가 1930년대 중반 『조선어표준말모음』(1936)이 공포된 이후 ‘모꼬지’로 통일되기에 이른다. Since Kim Yong-jik first claimed that ‘Mokgeoji’ of Lee Sang-hwa’s poem was the Daegu dialect of ‘Mokkoji’, which means ‘festival’, it has been interpreted in various ways. However, Lee Sang-gyu, Kim Kwon-dong, and Yoo Jae-cheon saw ‘Mokgeoji’ as a personal language. It was grasped as the meanings such as ‘being imminent’, ‘a spectacle’, and ‘street corner or entrance’. In the 20th century, mokkoji appeared in a variety of ways such as Mokgoji, Mosgoji, and Motgeoji. Motgoji and Motgeoji were expressed Mokgoji and Mokgeoji according to the similarity of pronunciation, and Lee Sang-hwa used the latter in his poem. Motgoji, Mokgeoji, Mokkeoji, and Motgoji, Mokgoji and Mokkoji are almost the same in terms of sounds, but they can be seen in different forms. In addition, ‘Motgeoji’ and ‘Mokgeoji’ are realized as ‘Mokkeoji’, and ‘Motgoji’ and ‘Mokgoji’ as ‘Mokkoji’, of which the last word is solidified into the standard word. The meanings of ‘Meokgeoji’ and ‘Meokgoji’ are no different from ‘Mokgeoji’ and ‘Mokgoji’. The reason why these words are difficult to define as new words is that not only the use of these words is extremely small, but they are also used as the meaning of ‘Mokkoji’. In addition, considering that ‘Mokkoji’ was used not only in Daegu but also in Chuncheon, Such ‘Mokgeoji’ has been unified as ‘Mokkoji’ since the “The Collection of Korean Standard Language” was promulgated in the mid-1930s.

신화 속 영웅을 통해 본 스포츠영웅의 조건: 오디세우스와 이승엽을 중심으로

김성태,문혜은 인문사회 21 2022 인문사회 21 Vol.13 No.3

The Condition of a Sports Hero Seen Through a Mythical Hero-Analysis of Odysseus and Lee Seungyeop-Sungtae Kim & Hyeeun Moon Abstract: This study prioritizes comparing and analyzing the actions of the hero Odysseus in the ancient myth Iliad and the hero’s conditions such as the hero’s essence and fate he showed with the modern sports hero Lee Seung-yeop. A result of analyzing the actions of Odysseus and Lee Seung-yeop through Joseph Campbell’s Genshin Impact and Christopher Bogler’s hero’s travel model, the actions of separation-introduction-return are all entirely consistent, and had the hero’s condition that heavenly talent, outstanding ability. They also had a strong will to accept their destiny but never give up, and had all the heroic traits of victory in war and return from travel. Through this, Heroes who appeared in ancient myths have reached the present age and have become sports heroes. And Its form differs depending on the time and region, but it has universality that exists on the back side, so heroes are timeless and symbolic of that time. Key Words: Myth, Hero, Sports, Odysseus, Lee Seung-yeop 신화 속 영웅을 통해 본 스포츠영웅의 조건:오디세우스와 이승엽을 중심으로김 성 태*ㆍ문 혜 은** 요약: 본 연구는 고대 신화 일리아드에 등장하는 영웅 오디세우스의 행적과 그가 보여준 영웅의 본질과 숙명 등 영웅의 조건을 현대 스포츠 영웅 이승엽과 비교 및 분석하는 것을 우선으로 한다. 조셉 캠벨의 원질신화와 크리스토퍼 보글러의 영웅의 여행 모형을 통해 오디세우스와 이승엽의 행적을 분석한 결과, 모두 분리-입문-귀환이라는 행적이 일치하며 영웅의 조건인 천부적인 재능과 탁월한 능력을 갖추고 있었다. 또한 자신의 숙명을 받아들이면서도 포기하지 않는 강한 의지의 존재였으며 전쟁에서의 승리와 여행에서의 귀환이라는 영웅의 특성을 함께 갖추고 있었다. 이를 통해 고대 신화에 등장하는 영웅은 현대에 이르러 스포츠 영웅으로 변화했으며 시대와 지역에 따라 그 형태는 다르지만, 이면에 존재하는 보편성을 갖고 있기에 영웅은 시대를 관통하는 존재이자 그 시대를 상징하는 존재라는 것을 확인할 수 있었다. 핵심어: 신화, 영웅, 스포츠, 오디세우스, 이승엽 □ 접수일: 2022년 5월 31일, 수정일: 2022년 6월 12일, 게재확정일: 2022년 6월 20일* 주저자, 고려대학교 문화콘텐츠학과 박사과정 수료(First Author, Completion of Doctoral Course, Korea Univ., Email: dkryuji@naver.com)** 교신저자, 고려대학교 문화콘텐츠학과 박사과정 수료(Corresponding Author, Completion of Doctoral Course, Korea Univ., Email: lledu@hanmail.net)

4·19 세대 문학에 나타난 가장성에 관한 연구: 김승옥과 이청준의 소설을 중심으로

조소명 국제인문사회연구학회 2024 Studies on Humanities and Social Sciences (SHSC) Vol.6 No.4

4·19 세대 문학에 나타난 가장성에 관한 연구:김승옥과 이청준의 소설을 중심으로 조 소 명 연구 목적: 본 논문의 연구 목적은 김승옥과 이청준 소설에 나타난 ‘가장성’을 탐구하는 데 있다. 연구 방법: 연구 방법으로는 ‘상징적 가면’, ‘교양’, ‘냉소주의’, ‘상품 물신주의’, ‘주체성’에 대한 슬라보예 지젝의 이론을 참고하였다. 연구 내용: 본 논문은 김승옥과 이청준의 초기 소설을 대상으로 삼아 4·19세대로서 근대산업화에 대응하는 양상의 차이를 논하고자 하였다. 김승옥의 경우, 위악을 통해 속악한 현실에 입사한 뒤 냉소주의를 거쳐 자본주의 근대 현실에 흡수되는 경향을 보인다. 이청준의 경우, 가면 쓰기를 통해 자본주의 질서의 허구성을 탐구하고, 새로운 주체성을 모색하는 방향으로 나아간다. 결론 및 제언: 본 논문은 김승옥과 이청준의 초기 소설에 나타난 ‘가장성’을 논의하는 데 초점을 맞추었다. 이에 따라 이러한 경향이 중후반기 소설과 연관되는 방식에 관해서는 충분히 논하지 못한 한계를 지닌다. 이후의 연구에서 이에 대한 보완이 필요할 것이다. 핵심어: 김승옥, 이청준, 가장성, 외양, 허구 A Study on the Pretense in the Literature of the 4·19 Generation: Focused on Kim Sung-ok and Lee Chung-jund’s Novel Somyoung Cho** Abstract: The purpose of this thesis is to explore the “Pretense” in the early novels of Kim Seung-ok and Lee Cheong-jun, the representative of the 4.19 generation. Consciousness that hides the inside in social reality and pretends to play itself is a common feature found in both writers. This is a way for the 4.19 generation, who have experienced 4.19 and 5.16 consecutively, to seek life in a rapidly changing situation. In chapter II, focusing on Kim Seung-ok’s early works, I discussed the process of subjectivation in which the main characters of the novel enter into reality by the act of wickedness, are transformed into cynicism, and consequently are absorbed into the logic of capitalist equivalent exchange. In Chapter III, the study was conducted focusing on Lee Cheong-jun’s early works with the motif of “Mask”. In contrast to Kim Seung-ok, Lee Cheong-jun’s novels explore the fictitious nature of the capitalist commodity economy, which is supported by commodity fetishism. And it tends not to identify entirely with the reflective distance from the order. In this reality, the main character, who was wearing a social mask while being alienated, finds the possibility of new subjectivity through love. Key Words: Kim Sung-ok, Lee Chung-jun, Pretense, Appearance, Fiction □ 접수일: 2024년 8월 5일, 수정일: 2024년 8월 19일, 게재확정일: 2024년 8월 28일* 이 논문은 2021년 대한민국 교육부와 한국연구재단의 지원을 받아 수행된 연구임(NRF-2021S1A5B5A17057943). ** 성결대학교 국어국문과 강사(Lecturer, Sungkyul Univ., Email: urodance@naver.com)

李用休 한시의 파격적 구성과 실험성

박동욱 한국한시학회 2007 韓國漢詩硏究 Vol.15 No.-

Hyehwan LEE Yong-Hyu(1708〜1782) revealed his works that were extraordinary in terms of both form and substance. His outstanding experimental trials were consistently appreciated by his contemporary writers. Many commentators who studied Hyehwan have also mentioned them. However there have not been sufficient studies about his works through substantial approach. In this study, I have tried to explain his unique experimental spirit on the form through two aspects such as “the unprecedented structure in sequential poems” and “the experimental spirit in arranging poetic words”. A sequential poetry is not a rare form so that many young and old writers have used this form, but the way that Hyehwan wrote his sequential poems were different from others. His sequential poems were organized in the form of picaresque. His sequential poems were not progressed in the same way as a epic poem. Each piece of his poems was organized independently. The message of each piece in his poems was simple and clearly delivered. In addition, he maximized the effect of each poem by adding his extraordinary idea. Those independent pieces of poems were gathered to build a sequential poem delivering the meaning. The unprecedented nature of poetic words and arrangement of them in Hyehwan poems were not be able to be compared with other writers’. The unprecedented natures in form, which were revealed in his poems, can be analysed in two aspects. First, the structure and organization of poetic words. Second, the arrangement of letters. In terms of the structure and organization of poetic words, he used the way where a variety of couplets were played. In terms of the arrangement of letters, he adopted a unique way where the poetic words were arranged in accordance with the visual placement rather than pitch and rhyming characters. Hyewhan’s those trials often violated rules in the Chinese poetry. He deliberately broke the existing strict rules writing the Chinese poems to develop his own new beauty of poems. As you are well aware of, many writers tried a variety of literary experiments in the 19th century. It is no exaggeration to say that he was one of the leaders in such experimental challenges. 혜환 이용휴(1708~1782)는 형식과 내용 모두에서 매우 독특한 작품을 선보였다. 그의 탁월한 실험적 시도에 대해서는 당대의 인물들이 일관되게 평가하고 있으며, 혜환을 연구한 여러 논자들도 이미 이러한 부분을 지적한 바 있다. 그러나 아직 실체적 접근을 통한 해명은 미진한 바가 없지 않다. 본 논문에서는 혜환만이 가지고 있는 형식적 실험성을 ‘連作詩의 破格的 構成’과 ‘詩語 布置의 實驗性’이라는 두 측면으로 해명하려 했다. 연작시는 선후배 작가들에게서 흔하게 찾아볼 수 있는 형식이다. 그러나 혜환이 구사하는 연작시의 구성 방식은 남다르다 할 수 있다. 그는 연작을 피카레스크 형식으로 구성했다. 그의 연작시는 서사의 흐름으로 전개되지도 않고, 또 각 편은 모두 독립적으로 구성되어 있다. 각 편의 메시지는 단순하고 명징하게 전달되며, 여기에 탁월한 발상법을 가미하여 시의 효과를 극대화시킨다. 그러한 독립적인 편들이 모여서 하나의 연작시를 이루고 의미를 도출해 내고 있다. 혜환 시에 보이는 시어와 포치의 파격성은 다른 작가와는 비교가 되지 않는다. 그의 시에 보이는 형식상의 파격은 대개 몇 가지로 나누어 볼 수 있는데, 첫째 시어의 구조와 조직의 경우, 둘째 글자 배치의 경우 등이 있다. 우선 시어의 구조와 조직 면에서는 對句를 다양하게 變奏하는 방식을 사용하였다. 글자 배치의 경우에 있어서는 平仄과 韻字 보다는 시각적 배치에 따라 시어를 배치하는 특이한 방식을 채택하였다. 혜환의 이러한 방식은 한시의 禁忌를 위반하는 경우도 많았다. 그는 의도적으로 엄격한 한시 作詩 방식을 離叛하여 그만의 새로운 한시 미학을 만들어 내었다. 이미 잘 알려져 있듯 18세기 문단은 다양한 방식의 문학적 실험이 실천되었다. 이러한 실험의 전위에 그가 위치하였다 해도 과언이 아님을 확인할 수 있다.

오봉(五峯) 이호민(李好閔)의 시문학(詩文學) 연구(硏究)

정경훈 ( Kyung Hun Jung ) 한국한문고전학회 2007 漢文古典硏究 Vol.15 No.-

This thesisis a study on Obong, Lee Homin as a bureaucrat and poet in the middle of Chosun(1553-1634). This is the first close inquiry into his life and Sino-Korean Poetry. It is very important to study Lee Homin in the field of Sino-Korean Poetry history in the middle of Chosun because he is a typical poet in the middle of Chosun and has been applauded by researchers and scholars. Most of his works, however, were lost during the war so there are a few works, which are untrue to his fame. He was in charge of the diplomatic documents in Japanese Invasion of Korea in 1592. His outstanding writing competence made him the best writer of the eraand had an effect on Sino-Korean Poetry. His works have been called the best and affected to the poets since those days. This thesis is generally made up of two parts; his life and his Sino-Korean Poetry. In the part of his life, the life which has been misunderstood is reorganized. In the second part, we can find three characters in his Sino-Korean Poetry. One of his three characters is that he had the talent of poetry as a statesman and bureaucrat. In Lee Homin`s poetry, the mind of King Suncho was well expressed because he sought safety with King Suncho in Uijoo during Japanese Invasion of Korea in 1592. Although his poetry doesn`t express the miserable lives of common people in that day, there are a lot of poetry expressed his concerns about his country, Chosun Dynasty. This shows the point of his view as a bureaucrat close to King Suncho. Another is that in his poetry we can find everyday life not as a bureaucrat`s. He was a witty writer who described free and quiet life after retirement. He included death of his close friends and parting from them in his Sino-Korean Poetry. The third is that he used not trite but novel and difficult words. As he was a gifted poet, he switched the words of other poets tactfully and created new words.