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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.

On the Hymnal Lyricism of <Mojukgirangga(慕竹旨郞歌)> and <Changiparangga(讚耆婆郞歌)> in Relation to Literary Time and Genre

A Study on the Meaning of Desire Mentioned in a Epical Shaman Song Baridegi and Present Myth on an Adopted Child - focusing on the Baridegi by a Shaman Kim Bok-Sun - Lee, Min-Heui Baridegi is one of the most famous epical shaman song in Korea, passing down by shaman of today. Baridegi(=princess Bari) was abandoned by her parents right after her birth. Nevertheless, she forgives her parent, goes through rough adventures and saves her parent’s life by bringing the holy water from the underworld. In a "Bari's story like this, an abandoned Baridegi makes a role as a mediator to realize desire of characters. For example, Baridegi not only realizes parent's dearest desire for life, Dongsuja(holy water keeper)'s desire for children in a internal point of view, but also satisfies prayer's desire for guiding the soul of dead to the underworld, shaman's desire for successful performing ritual in a external point of view. It can be considered these desires of figures in a Baridegi in connection with an adopted children's story today. Especially, it means a success story of an adopted child who comes into the spotlight through the Mass Media. Though Children abandoned by parents, and after that adopted by foreign foster parents, they are able to return to Korea in glory as a hero or heroine like a princess Bari by the commercial interest of the mass media, on that particular occasion for that once they grown up to be a famous public figure in the world. From this view point, myth on Bari sheds light on ageless themes like isolation and abandonment which continue to haunt modern society.

This paper aims to interpret Loyalists' Love-songs for the King(忠臣戀主之詞) from the viewpoint of ‘the subject and the others’. These Love-songs have been written in traditions with the female speaker of the male servant, specially in this paper all of them exiled. The writers and their works interpreted in this paper are Cho wi's(梅溪 曺偉, 1454~1503) Manboonga<萬憤歌>, Jeong Ceol's(松江 鄭澈, 1536~1593) Samiingok(思美人曲), and Sok-miingok(續美人曲). Also, Chinese works Quyuan(屈原)'s Lisao<離騷> and others are interpreted as the originators of these works. In real life, all the writers were <a male; a governing classes; a Junzi(君子)>, on the other hand in their Loyalists' Love-songs, they disguised as <a female; a governed classes : a xiaoren(小人)> by the persona. The points of this paper are as below : The first point is to show the tradition of the Loyalists' Love-songs in Chosun. The speaker of Quyuan(屈原)'s Lisao<離騷> is male, which had been changed into female by Cho wi. This alternation had been made according to the changes of the classical scholar's role as a servant. The latter had been succeeded by Jeong Ceol, who perfected the Loyalists' Love-songs with a splendid performance. The second point is to pursue the question how deep and fully this unfamiliar, downfallen and literary situation could make the writers understand the others and could make them change their subject in their real life. In Sok-miingok(續美人曲), Jeong Ceol raised the problem of alienation that he must have experienced during his exile period. Although it was not enough for him hiding behind female persona to have the most precious right to give up his subject with his own will, his question in argument must be meaningful. However, he must have shown limits. He was born to be 'a Junzi(君子)' and he was in belief that he could go back to his pre-glorious days sooner or later. That's why he couldn't abandon his subject in order to give a warm reception to the others unconditionally.