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The aim of this paper is to examine the formation and context of change of the lyrics on Gwonjuga. Gwonjuga is one of the Twelve Gasa. Now there are two kinds of lyrics of Gwonjuga. One is called old song, the other is current song. There are many differences between two songs. Distinct feature of old song is the first line 'hold on hold on' but there is not in current song. Current song starts with 'brew alcohol from elixir plant'. This change of the lyrics woud be affected by Gwonjuga in Daedongpunga. That song is maybe the text on transition period from old song to current song. Current song is divided into ten parts, Gwonjuga in Daedongpunga is divided into five parts. This division of lyrics was not seen before. Current song has new lyrics, for example Sijo of Park In-lo. We can find blessing meaning from current song, because current song was sung in a birthday feast for an old man. On the other hand we can find sad feeling in transience of life from old song. According to singing place lyrics of Gwonjuga had been changed.

Beyond our expectation, excreta motif advents now and then in river novels. Firstly, the excreta motif related to bad men gives jolly catharsis and shows their human aspect, by making them have bitter experience or fall into a chamber pot. Secondly, the excreta motif related to foolish men shows a contempt to them and envy at the same time. They care naught for an established form and even enjoy the pleasure of excretion by eating feces and urine or forget themselves. On the one hand, the excreta motif related to good men is shaping up to the aspect that they drink excremental water to shock and awake faults of another person or they mention about fecal matter or throw around excremental water to make cheerful atmosphere and break a nasty quarter with another person. Even if we grant that the mention about excretion is anathema, interesting incidents related with excretion give pleasant laughter to readers. These excreta motifs in river novels show moderate satire and productive humor and role as the function of relax by mocking bad men. The excreta motif of river novels is in charge of an axis of river novel's satire and humor differently with the excreta motif of another novels.

In this thesis, I explore the ways in which Man-o(晩悟) Lee hu-yeun(李厚淵, 1798～1863) write the <Sunlu-byulgok(仙樓別曲)> and its meaning. Lee hu-yeun wrote another poetry the <Sunlu-akbu(仙樓樂府)> reciting the same ‘Pleasure-Seeking(遊興)’ experience in Sung-chun(成川). This thesis focused on the <Sunlu-byulgok(仙樓別曲)> and <Sunlu-akbu(仙樓樂府)>. I explore widely the difference between the Hangul(Korean alphabet) Kasa(歌詞) and the Hanmun(Classical Chinese) Akbu(樂府) in the expression of Genre, and its meaning of reciting the same experience by different Genre. To conclude, Lee hu-yeun wrote the <Sunlu-akbu(仙樓樂府)> with friends in Sung-chun(成川) of Pleasure-Seeking region, then he created the <Sunlu-byulgok(仙 樓別曲)> based on the <Sunlu-akbu(仙樓樂府)> by transformation of Genre(:Hanmun Akbu→Hangul Kasa). Then he made Kisaeng(妓生, Korean geisha) sing <Sunlu-byulgok(仙樓別曲)> in the Pleasure-Seeking Place. This thesis explore the writing of poetry and its enjoyment aspect in the Late Chosun Dynasty thus.

This essay has a doubtful point explained by other researchers who endlessly tried to find the "original text" of <Guunmong(九雲夢)>. So far, we have a lot of studies on the text of <Guunmong>. All of them tried to distinguish the "original text" of <Guunmong>. However, <Guunmong> is not one of the sacred books, which people would not even change a letter of them. <Guunmong> is a novel, and anyone who transcribed it could have changed its text on purpose. Even if we suppose that there was no intentional change by transcription, it is still impossible to reconstruct the "original text" because both "A group" and "B group" texts have defective sentences, and it is believed that <Samjangsi(三章詩)> which was used as a proof was not on the "original text" from the start. The conclusion of this research is that without Seopo(西浦)'s own handwriting text of <Guunmong>, any effort to find or reconstruct the "original text" of <Guunmong> based upon existing texts, is in vain.

In this thesis, I examined the inner relation of Korean Confucian culture and Cheon-goon narrative, focusing on in case of Cheon-goon-bon-gi. Following three conclusions are deducted. First of all, the transcripted Cheon-goon-bon-gi which is owned by national central library of Korea is the base text of the printed Cheon-goon-bon-gi which is also owned by national central library of Korea. Second of all, Cheon-goon-bon-gi used a lot of annotation over 130. And Cheon-goon-bon-gi took the format of history. It revealed that the writer Jung, Giwha made an effort to show off his knowledge of Confucian classics to some degree. Third of all, such distinguishing characteristic of Cheon-goon-bon-gi is related with the characteristic of 19th century's Korean Confucian culture that puts emphasis on knowledge.