The aim of this paper is to examine the aspect of a Classical Chinese translation of Sijo in the 17th century and its literary-historical meaning. The results are as follows. There are two methods of Classical Chinese translation in the late 17th century. The one is to transform Sijo into Sino-Korean poetry privately, and the other is to convey Sijo just as like that in accordance with the surroundings of a performance. The former is to take over the aspect of a Classical Chinese translation until the 16th century, while, the latter is to show a new trend that takes a serious view of Sijo music and is eager to record Sijo. The early stage of Classical Chinese Translation of Sijo is an experimental and fragmentary work which is not only customary but also regarded as an expediency. Arriving around the late 17th century and the early 18th century, it shows a trend of generalization by many authors. Two methods of Classical Chinese translation, a `representation` for `record` and a `conversion-to-poem` by `conversion-to-self, can be understood as a transitional figure in the history of Classical Chinese translation of Sijo. The process of Classical Chinese translation of Sijo puts a series of repetitional process into its own body. With studying such Classical Chinese translation of Sijo, we`ll be able to step up to literary-historical facts of late Chosun more concretely and precisely.