Of the competed period of editing Jang·Dan (장·단<어부가>), there is six-months` gap between Rong Am and Taegye. And Taegye`s epilogue Rong Am requests earnestly is not put in the first edition of Rong Am Jip. Taegye engraves on wood plate of his own handwriting, arranging small articles related with Eobuga, also his work. Twelve Songs cf Dosan and its preface. The inside story of one work divided into two woks has several reasons, however, the primary factor is the gap of edition time. Not until two years later, retired into Yean uncorruptibly, he begins to have an interest in Eobuga, and under Taegye`s leadership who has been fascinated with it from his childhood, digging-up ind revised-editing is propelled. Among two versions. Rong Am Mun Jip and Taegye`s wood block printing of his own handwriting. the latter is acknowledged as true version. Of Jang-ga which has a form of inserting two Yeom gu into four Ilyuntoche gu, some critic argues that Jang-ga should be returned into the category of customary Gasa(歌詞) or Gasa(歌詞). However, in view of the structure and esthetic sense and development of Garak history, appropriateness d those argument is not certain. Jang-ga , a mixed breed between Gyungiche-ga and Jip-gu poetry, can be put in the new genre, what is so called, Eobuga, with some groups of Si-ga regarded as order of same kind. Five Dan-gas is not of five Danhyeongs` consecution equivalently, but of 4 + 1 structure. No objection in regarding the last poem only as a part of shijo genre, but genre ascertainment of other four poems should be held over.