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There are 139 pieces of the tanabata poetry in the Manyosyu. In the tanabata poetry that the poet was known, The oldest poetry is the 8-1518~9 poetry that Yamauenookura composed. But, a tanabata poetry was composed in the kyengsin year. If it is sure that the year is 680 year, this tanabata poetry must be the oldst in the Manyosyu. Becaese the tanabata legend is the foreign legend that was imported from China, It was exotic mood in Japanese people. It was imported in accordance with fusion to the world of ancient Japan mythology. It is probable that it is not only Kakimotonohitomaro who first fused to the world of ancient Japan mythology, but also Tenmu age that it was composed. According to this variation, the tanabata poetry in the Manyosyu was composed without regard to the Milky Way in the night sky. The Milky Way of the tanabata legend was changed to the Amenoyasukawa in the world of ancient Japan mythology. because the heavenly tanabata legend was fused to the world of Yatihoko god who began to live on the earth, it was changed to the human tanabata legend.

Soseono was a very important and powerful person in Ancient Choson. She played a leading role in the formation of two kingdoms : Koguryo and Baekje. Yet the very existence of Soseono has neither drawn any attention from the academic circles nor have any researches been conducted by the historians. Most of her achievements in our history have remained hidden and unknown. This thesis aims at reevaluating her roles and achievements to make historical studies more true to history. The primary source of Soseono first appears in the Baekje chapter of “SamgukSagi(History of Three Kingdoms)"(연도). According to the book, she married Wootae and had two sons by that marriage but Wootae died soon. After her husband's death, she had lived a widowed life until she met and remarried Jumong from Buyo. The most detailed information about Soseono is in “Chosun Sanggosa"(연도) written by Shin, Chaeho(pen-name Danje). "Hwandan Gogi"(연도) also gives a little information about Sosoeno. Judging from these records, Soseono was born around 55 B.C. and died in 6 A.D. The Juksokchong(stone tomb) in the northwest of Mt. Weerye Fortress Wall, the capital of early Baekje, is believed to be the tomb of Soseono, the mother of King Onjo of Baekje. The legend “HwaninJonsol" tells Sosoeno was a powerful princess of Kyerubu tribe at Onyeosansung(Onyeo Mountain Fortress Wall) which had a matriarchy. From the childhood, she was educated and trained to be the leader of her tribe. She was energeticand martial. As a widow, sheruled her tribal territory successfully with her two sons. When she took Jumong as her second husband, he was in the politically and economically insignificant position. After remarriage, she helped Jumong found Koguyro in Hwanin area, offering him her vast territory and subjects. He helped him sit on the throne of Koguryo. Some years later, Jumong deserted Soseono and took another spouse named Ye. At that, she voluntarily gave the sovereign power over Koguryo to Jumong and left Koguryo with her two sons by her previous marriage and her political followers. She migrated south via Nangnangsagun(four colonies of China) until they settled near the Han River of Korea Peninsula. She helped her two sons, Biryu and Onjo, establish Sipje and Baekje Kingdoms, respectively. Though the definite year is not known, it is believedsome offsprings of Biryu, the founder of Sipje, went into Japanese Isles and became the progenitor of some Japanese royal clans. The recent announcement of Japanese Emperor, “the Emperor Himself has inherited Korean blood from his maternal side" seems to prove the historical fact. As has already been stated, the information about Soseono is limited to “SamgukSagi” and Shin, Chaeho's writings. We may assert the scarcity of the information about her owes to the deeply rooted male chauvinism of historians and scholars in this society based on the Confucianism. Accordingly, it is lifelong task for us to discover more historical records about Soseono and carry out the research. Unless we find out one of our greatest woman leader in our history and let the world know her, her brilliant achievements will be buried forever.

In Kojiki, a number of Goddesses appear throughout the story and among them, Mioya(御祖), interpreted as Mother(母)or Mother of Gods(母神), have been found in 14 cases. First a close study on the distribution of Mioya has shown that nine examples are actually the focus of interest and out of this, seven examples clearly identify the implication of <Mother and Child(son)> relations. This is found only in books I and Ⅱ and none in book Ⅲ. Referring to the structure of conscience shown in each books such as Age of God in book I, Age of Man and God in book Ⅱ and Age of Man in book Ⅲ, Mioya can be understood as the <Mother God> instead of <Mother>. Next, the Gods in Kojiki can be distinguished into the following two categories : Takamusubinokami(高御産巢日神) and Kamimusubinokami(神産巢日神), also called the Hiizumo(非出雲) and Izumo(出雲) lines respectively. In ancient time, 非出雲 was called Kagetomonomichi and, 出雲 was called Sotomonomichi deriving from the meaning rear side of the mountain. From this fact, if the later is not only confined to Izumo area but allow the assumption that it is Sotomo which has an implication of the surrounding coastal areas of Japan sea such as Tsugaru, Atsunai, Echigo, then it can be approved that Takamusubinokami is affiliated to Kagetomo lines Kamimusubinokami line and yet also belongs to the Sotomo line. According to their origins, Goddesses in Kojiki can be categorized into Kagetomo (影面) and Sotomo(背面) line and findings show that Mioya was applied solely as Mother God in the Sotomo line. On the other hand, thoughKonohananosakuyahime(木花佐久夜比賣) and Toyotamahime(豊玉比賣), both respectively considered to have important roles, were not considered as Mioya because they were not one of the Sotomo line. On the other hand, Noiman divided Mother Gods into three categories. A Mother God that has both positive and negative sides, an extremely terrible Mother God that is extremely negative, and finally a Mother God that is a condense of positive sides. Mioya is a Good Mother who constantly stands by her Son, Miko(son of God) during the ceremony and acts as a guidance to make sure that all the procedures are smoothly carried out. Finally, it has been found that in many cases, it is described in relations to birth within the fire or rice plants that it is often understood as the Mother of Creation(生成母) or God of all Grains(穀物神) in other words, the Mother God of the Earth.

This treatise treats the tropics of magic arts and play in the travels that are included in Yeonhaeng-rok, Hwa-jip(a tale book), Yikook(a strange land) of Korea. That deals with only a part of about 500 kinds of Yeonhaeng-rok, but it will be a help to studies of magic arts and play in the future. Many elements of magic arts and play are a by-product of the interchange of Korea and the other countries of Eastern Asia, East Asia and the other areas of the world. Magicians and their magic arts seen to travelers are diverse, but in that diversity we can find the fact that magic arts show realistically the uncertainty of human affairs. And we can also find a important value of Yeonhi-gi(a book of play) that is recording the concrete aspects of play at that time, because it enables us to know Korean and Chinese culture, the characteristic of play at that time and its literary excellence. Confucian's response to magic arts and play can be divided into three types. The first response is that though Confucian cannot enjoy them because of their Buddhist and Taoist elements, if they have the contents that encourage good and punish evil, they can be recommended to common people. The second type of Confucian recognized them negatively due to their lewd element, but they thought that if magic arts and play are didactic, they don't have to be prohibited. But the position of the third type of Confucian is that they should be prohibited necessarily because of their immoral and obscene irrational aspects. I think that the traveler's assertion that we have to learn the strict order consciousness of Chinese seeing magic arts and play needs to be written indelibly on our heart, even if the times is different each other. The problem that the magic arts of Yeonhaeng-rok appear again in Hwa-jip, I think, has meaning more than a simple re-gathering. Besides, the topic of magic arts and play needs to be discussed in a religious viewpoint centering around the East-West interchange history concerning to them.

According to time and places to see animals even if they are same, the fortune telling point of view concerned with animals is totally different. From the prehistoric age, people used animal symbols representing a certain meaning to demonstrate a variety of living culture, religion, and thought of the time. Many animal images were shown in drawings incised on rocks and cave paintings as well as mural paintings in the graves, clay dolls, and pottery. These animal symbols are reflected in people's conscious world of those days and depict a part of living culture. Koreanancestors embossed the symbolic and suggestive meanings manifested in the outward figure and behavior of animals. Most animal figures appeared in ancient relics and sites can't be wholly interpreted. Cultural and ideological backgrounds of the time should be first understood and their contexts studied to understand the animal symbols precisely appeared in Korean culture. The folklore related to animals approves their spiritual power and represents the relations between human and nature and the understanding and interpretation of many-sided human life. Relics decorated with animal figures reflect the conscious world of ancient people and include a part of living culture. Research on the folklore as to animals can be started from this point of time. The approaching system on animal folklore can be classified into three basic kinds : diachronic and synchronic approach, the use of folkloric and scientific models, and the approaching system understanding the spatial world structure via animals. I investigated animal symbols shown in Korean culture by employing these approaching systems. Unlike the folkloric study of other fields, the study on the folklore in regard to animals deserve notice in the concrete objects expressing animals such as archaeological excavations and artistic materials and their basic characters. The language comprises the sign system to deliver information. The diversity of animals appeared in Korean culture act as the symbolic system of signs and characters in various cultural relations and deliver the cultural information throughout all periods and fields. Animal symbols serve as a password and a key to the secret of culture.