It is very problematic that Manhoengcheongryu(만횡청류), of which the contents are mostly about obscenity, was published in 『Chengguyeongeo(靑丘永言)』, an anthology of Sijo(시조) works. This paper considers its meaning in the history of literary thoughts, by comparing Manhoengcheongryu and Minge(민가), Chinese folk songs. Most of the works of Minge of the Ming are compiled by the late Ming writer Feng Menglong into 『Guazhier(掛枝兒)』, and 『Shange(山歌)』. Therefore this comparative study begins with an examination of the systematic construction of those two anthologies by Feng and 『Chengguyeongeon(청구영언)』 by Gim Chentaek arid in extension, comparison of their consciousness of the editorship. Manhoengcheongryu and Minge of the Ming have songs of ``secret love(私情)`` in common. Their major contents vary from affectionate feelings between man and woman to a pursuit of secret and liberal love, and to sexual deviations from social norm. ``Secret love`` itself means resistance to social norm and system as it was not socially permitted. If there were not conversion of recognition about those two genres, Feng and Gim could not have compiled the songs containing social taboo into the anthologies. Feng regarded man and woman`s ``secret love`` of the lower classes as ``true feelings``(眞情). He highly valued their songs of love as ``true songs``(眞聲). This high estimation of Minge should be understood in coherence with the history of thought from the teachings of Wang Yangming(王陽明), especially Lizhi(李贄), a leftist member of that school to Yuan Hongdao(袁宏道) of Gongan(公安) school. Feng was influenced by them in the collection of Minge. Gim Chentaek took a serious view of ``emotion and musical harmony``(情境咸載。宮商諧和) in poetry. So he considered songs which expressed frank human emotion and had musical symphony important, irrespective of nationality or class. Lee Jeongseoup(李廷燮), in his epilogue of 『Chengguyeongeon』, emphasized ``following feelings``(率情), not ``following the heavenly nature``(率性) in the context of ``率情而發, 緣以俚語``. He was able to value highly the songs of Manhoengcheongryu by the lower classes and in Korean through the affimation of feelings(情). Lee`s ``following feelings``(率情) and Gim`s ``emotion`` are related to Feng`s ``true feelings``. From this we could understand properly the collection of Manhoengcheongryu into 『Chengguyeongeon』 in the universality of 17~8C East Asia.