This article intends to illuminatc one of the characteristics of saseol-sijo, that is, to contain non-lyric factors such as describing commoners' vivid daily life and assuming the form of a minimal story. I consider this phenonmenon to be a result at the saseol sijo’s encounter with yadam or "short story in Chinese, ” both of which flourished in the late Choson period that is characterized by its reaching the culmination of the Bakhtinian sense of dialogic principle. What is common to the both literary forms, one is a lyric and the other is a narrative, is that they were formed, performed, and circulated around the space of the “town” where dialogism reveals its highest level. It is apparent from this situation that the two heterogeneous literary forms could encounter, influence, and correlate with each other.
Unlike other typical lyric texts, which a lyrical “I” expresses and conveys his or her climaxed emotion in a monologic voice, many of the saseol sijo texts ante various types of characters as their narrators in a same way that a narrative employs a character to evolve a story. Furthermore, a large quantity of saseol sijo texts tend to have a short story, even though it assumes n minimal form. This article considers these “non” or “anti” lyric features as the outcomes of the saseol sijo’s dialogue with yadam.