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Whether the ancient Chinese novel originates from the historio-biographical literature hasn't yet been decided by Chinese scholars. Ancient Chinese novel is generally thought to have its origin in the myths and legends of ancient times, in the fable of the pre-Qin(秦) dynasty and the fiction of the Han(漢) Wei(魏) and the six dynasties (the latter recording strange events and events about special people). But this view neglects the position in history and the effect on the later novels the historio-biography literature had. From ancient times all the way to pre-Qin times, the concept of novel didn't exist yet, and the fiction with unique literary from didn't come into being yet. The myths, legends, fables and historio-biography literature produced at that time are probably the earliest narrative literature in China. Although they don't have a complete fictional form, they prepared for the later novels concerning thoughts, subjects and linguistic expression. In recent years, the treatise which discuss the relationship between the historio-biography literature and ancient Chinese novel generally discuss the subject from the angle of Shi-ji(史記)'s art style. It is no doubt that the origin and thriving of the ancient Chinese system of annual records is due to Sima Qian(司馬遷) and his Shi-ji, but the narrative structure and some methods of creating characters originated from the historio-biography literature in pre-Qin times. At that time, there was no distinction between history and fiction, so historians always used the literary methods to record history. Today, from the literary point of view, we call these historical books the historio-biography literature. China has an age-old historical trodition in science, in this trodition, because of possessing both characteristics of history as well as literature, pre-Qin's historio-biography literature not only opened up a wide subject field for the development of ancient Chinese novels, but also provided a good narrative model for later authors of novel because it recorded in the true detail the historical events, circumstances and characters. Especially Yi-zhou-shu(逸周書), Zuo-zhuan(左傳), Guo-yu(國語), Zhan-guo-ce(戰國策) accumulated abundant and creative experiences in many aspects such as creative method, subject choice, form system, narrative art, portraying characters, describing circumstances, aesthetic standards etc, and also deeply influenced the forming and developing of later novels.

When comparing Kakinomotono Hitomaro's No. 45 song [Akino] written in Chinese character with another one in the same language by the same author, you can see the striking difference in lyricism between them according to what their classifications are or who their writers are. I could ascertain that Manyoshu like Zouka, Banka(death mourning songs), & Kiryoka(travel songs) were respectively correspond with their poetries and proses and that Waka(Japanese lyric songs) were originally written under the influence of Chinese poetry and prose when I checked the transcription of <宿> classified by Budate against the Chinese one. Especially, the expression of <宿> in Akino song is closely related to the ancient asterism and also has been proved to belong to the category of “Genii(super naturalbeings)” songs. That is, its meaning is more close to the one of “gatherings of stars” pronounced as 「xiu」 than one of “lodging" pronounced as 「su」 in Chinese. Therefore you could draw an inference from it that the songs tired to reflect the will of “a system of genealogy descend” in such as Taoism or Housen <封禅> of the ancient China.

SamYu in China is the place that SamMyo is banished after he lose the war with a race of HwaHa. SamYu in Korea is the place that HwanWong with the meaning in mundane world cultivates the ShinSI(the holy place). SamYu is recorded in “Su", “SunJeon", “ChoSa", “SanHaeKyoung" of Chinese documents, these the earlier documents has focused on the main content that SamMyo is banished to the SamYu by Sun, and the documents since HanNaRa(Han Nation) is rather conjectural writings that SamYu’s location dosen't know accurately. People recognize that SamYu is located in LongSiHyun, MunHwagSi, and WinNan in GganSuSung in China, now. This is the latter historian's the new opinion that it is appeared to discuss SamYu's location, which SamYu’s real location is another. SamYu in both Korea and China show up to related to any specific historic fact, perish of MyoGyok and foundation of GoChoSun, this means SamYu may be have the possibility which is related to a historic specific ethnicity or specific facts. Like SamMyo doesn't appear his being any more in history after he is banished by Sun, SamYu seems to disappear completely in the history, too. However after more than 1,000 years pass away, it ensured its existence by reappearing in DanGun myth of Korea. SamYu(an altar) and KunRun is the same name, but their pronunciation is different. SamYu is an altar of DonYiGyok. SamYu has the shape that is piled to three floors a square floor over a diamond shape foundation, which is the unity point between man and God, that is to say, it is the holy place. In the latter, it is makes use of tomb style, therefore it is developed to GeokSeokChong, Recently it got to be a brilliant style, ChangGunChong-is located in GoGuRyu. DongYiGyok disperse and live in east-north of China and Korea due to lose the war with HwaHaGyok. DongYiGyok transfer to have SamYu Belief of their Belief Thing(ShinAngMul). They made SamYu(an altar) and settleddown there. It is got to be their capital. This is the SamYu TaeBaek which the center place in GoChoSun. I accept the research method and its results of archaeology, history, psychology, and linguistics in order to reduce the dangerous factor that use as the ancient material(made by mythological imagination) is. In this study, some problems can be solved. To more supplement, it will have to research about the altar of SamYu shape(three stories' altar of four sides shape). I consider it will have to be a research about an unfortunate slip of the tongue is related to an altar or folk culture. Besides, it has to study the relation of DdaWonCoWu's culture is known for GoChoSun and DongYiGyok culture during the neolith. This work can bring to an correct conclusion only by connection research of diverse studies like above-mentioned methods.

Many kinds of stories appear in folk culture that mention urination. Stories with an allusion to urination are more than just about excrement. Stories about women's urination are more frequent than stories about men's. Through my research on the mask drama, I have found that there are many stories about women's urination in Kyungsando. Therefore, I have tried to discover the reason why. I have found that these stories have appeared in mythology, personal legends, folklore and shaman plays. I feel that it is necessary to look at stories of women's urination from a different approach. Normally it is thought that showing a woman's body is done as a way of attracting men. However, I found that what was more important in the folk stories was where the urination took place and the quantity of the urination. It seems that the quantity of the urination was much greater in comparison with a normal situation. Moreover, the main idea of the stories is about a woman who is extraordinary. She is related to a special person or the story is connected to her capacity to reproduce. The different aspects of urination by women can be divided into four parts : Thus, we will see a change the way of looking at these stories and the social recognition of the women. The first aspect appears through the creative myth. In this myth, the main body of the story is about a big woman who is chosen by the god of creation. She has a great quantity of urination and also has great power of reproduction. In these stories, she is treated as a creative god herself who creates the rivers and other things for the people, who work to construct the villages and the castles. The second aspect appears in ancient lectures and the orally-transmitted myths about urination in a woman's dream. This was a prediction that she could be married to a person who might be an important man. After they got married, they would have a son who would be the king of the country. All of these stories were connected with historical people and were made like mythological stories. There was a dream that was on top of a mountain. The urination flowed throughout the entire world. It was associated with the birth of a person who could have political power and become king. However, it was passed from the elder sister to the younger sister. The younger sister bought the dream from the elder sister. Thus, their lives were changed through the dream. In this dream, the women's urination is connected to the power of reproduction and the birth of a human being who could control the entire world. The third aspect appears in shaman plays and folklore. The women's urination was connected with praying for the richness of the village. The shaman did it. Even without the character of the mountain god or the sacred body, the act of urination could be treated as a kind of symbol of praying for the richness of the agricultural society and the fishing village. The fourth aspect appears in the mask play, which is done in modern times. The women's urination is treated as a way of attracting men and showing them their power to reproduce. Even though the main idea of the urination still has the essential element of reproduction, the external form has changed in many ways to become more vulgar. Finally, the meaning of women's urination is changing and suffering with the passage of time. Thus the meaning of women's urination has changed from the urination of the creative god to the urination of the important person to human urination as a simulation of the Gods to attracting men's attention. All of this is really related to the way we look at women. As women's position in life has lowered, so has the power of women to reproduce and the characteristic of being creative has become weaker and weaker through successive generations. Thereby, the meaning of the urination act has become a simple act like reproduction and shaman imitations and it has become a way of showing the temptations of men.

This paper attempts to deal with how the art of living, characteristic features, ways of thinking, distinction between the sexes, views of the language and money are represented in Japanese proverbs. Major findings are as follows : 1) In the art of living, the Japanese tend to be realistic, practical, and selfish. In addition, they are opportunistic and value saving one's face. They also pay respect to those who are in power. On the other hand, they look down upon the weak. In everyday life, they judge diligence and sincerity based on the facts such as how early they get up and how hard they work, and they also give high value to persistent efforts and patience. 2) Regarding characteristic features, Japanese people are portrayed to be quite ambivalent; they are in general warm-hearted toward neighbors but from time to time they are mean to them. Accordingly, it is hard to predict when they would change their attitudes from being kind to being evil-minded toward neighbors. On the other hand, they sometimes do disgraceful or impersonal things with no scruple when they are not seen by others. Moreover, in order to hide their weakness, they don't usually hesitate to boast themselves and justify their behavior. The Japanese have a very solid attitude toward friendship. They believe the friends of the past can not become the enemies of the day. Thus, their relationship is built upon a high standard of courtesy and moderation. 3) Gender-related proverbs portrait women positively only in a limited sense. Overall, the predominance of men over women prevails. This has been formed since the aristocracy of Heian period (A.D. 794～1192) and through the 700-years-long ruling by Samurais. Particularly, the confucianism which was the political ideology of Tokukawa period (A.D. 1603～1867) played a major role in promoting the gender segregation. 4) With regard to the use of language, many proverbs deal with the verbosity and the negative use of language. Thus, Japanese people are very much prudent when they communicate each other. 5) Proverbs dealing with money matters often show that Japanese people are devoted to the pursuit of wealth and they are likely to clearly define where their interests lie even between parents and children.