The literary critics and philosophers of East-asia believed the being of beings that is tao, tathagata and li. Their stable attitudes come from belief on the universal truth. Everyone who lived in the East-asian world had the universal textbook which was valid to all creatures before 19th century. Wonhyo thought that saddarma pundarika sutra must be a best textbook of all mankind. he analyzed the structure, content and style of that sutra. Toege recommended close reading to his disciples. He apprehended the whole content of text first, and then analyzed every part of text next. He also took account of parts when he grasped the meaning in its totality and vice versa. He always thought non controversial being would be more important than controversial beings. Yonam compared the art of writing with the art of war. Like soldier who exercises to march in file, to attack and to defend, writer has to collect, arrange and compose materials unceasingly. Every writer has to make his writings fresh and rare by interrelating texture and structure like a general who has to make his soldiers active by interrelating concrete conditions in detail and whole situation. Zeami searched for flower which symbolizes uppermost enlightenment in his education of drama. Education of drama is not only problem of technique but also problem of mind for him. He who wants to be an actor has to do penance to make his own flower of enlightenment bloom in his inner mind. If someone wants to perform his part with brilliance, he should open his inner eyes. Reality(monomane) would be one of minimum essentials to education of drama. But good actors are supposed to master grace from natural experience. The flower means the egolessness state of mind. It needs docta ignorantia in other words "don`t know mind". To study literary education of East-asia, mutual cooperations in the East-asian level will be an unavoidable necessity for scholars and teachers to collect and arrange the data. Unfortunately, there have not been productive dialogues on this issue among the scholars and teachers in the field, and this resulted in the lack of interdisciplinary joint work in literary education of East-asia. We regard not only universality of East-asia but also differences of individual unit of East-asia as of great importance. There have been many articles which mix Zhu Xi with Yulkok. What is the difference between Zhu Xi and Yulkok? There are many scholars who cannot answer this question. The scholars who do not take a context of East-asian culture into consideration cannot make a distinction between creative idea and imitation. We do not want to rationalize particular phase of literary education in Korea through isolated nationalistic point of view but to contribute to making rich the method and scope of literary education in East-asia through its concrete research.