The term `Youth-Writing` means writing about life and feelings of one`s senior-high stage. Ji Rang Ge, Mi Lu De Shi and some pieces of Di Xia Xiang Chou Lan Diao not only corresponded to it, but also appeared some different distinguishing features and emotional appeals. The same and difference were according to all those authors` life of course. However, this paper focused on the narrative texts to observed how did they construct their present or absent youth-viewpoints through the time discourse and how did they determine the interactions between personal and collective life by describing events. In addition, the contrast between now and past selves could reveal different lyric subjects.

This paper aims to discuss special feature and significance about Tao Yuanming`s shape implemented in < Tao Yuan-ming`s Poetic ideas > by Shi-Tao who is a personalism painter of the 17th century, and in addition the significance of his philosophy of life and modern value of his poem. Shi-Tao reproduced Tao Yuanming`s shape with unique painting idea which is the picture follows `the mind` and affected by Yangmingism, and some special features andsignificance of following can be defined as. First of all, Shi-Tao paid attention to Tao Yuan-ming`s nature away from the point of view of the existing which visualize seclusion while revering Tao Yuan-ming as noble hermit. Shi-Tao completed a `biography narrative written by picture` by showing process to menifest nature and recover nature perfectly. Shi-Tao organically connected twelve poems and twelve pictures in the < Tao Yuan-ming`s Poetic ideas >, and communicated Tao Yuan-ming`s philosophy of life by reinforcing limitation of story which is not communicated organically by pictures only with episodes of poem. Secondly, Shi-Tao visually represented problems of Tao Yuan-ming`s mind and heart. He letted the action of an individual`s mind be central concept and then imagined emotion and mental for objects in the picture. Shi-Tao used Tao Yuan-ming`s body as mechanism in order to visualize mind. He implemented problems and change of Tao Yuan-ming`s mind through shape of Tao Yuan-ming`s body, motion of the arm, and lost eyes, nose, mouth in the picuure. Thirdly, Shi-Tao embody Tao Yuan-ming as personage who is the individualized human and have independent eco. People after the age of Southern Song discussed Tao Yuan-ming and his poem in association with loyalty with confucian values, and Painting related to Tao Yuan-ming also succeeded confucian values. Political analysis was gradually emphasized about Tao Yuan-ming`s poem by confucianism thought to devide ego and world and deny individual desire. But Shi-Tao reenacted a person who have the individualized human away from these existing enforced and extrinsic trend and imagined that real reason for Tao Yuan-ming to return home is desire for ego, nature, and freedom. In this process, Shi-Tao placed a notice that anyone can be ideal human like Tao Yuan-ming if keep aloof from the worldly desires through training and effort. Fourthly, described happiness which is amusement to meet true eco. Existing painting being made with Tao Yuan-ming as `cho-eun` had way of curing displaced people by concerning loyalty and fidelity for previous dynasty. Shi-Tao guided to let displaced people escape from ego to fetishize past wounds instead of accommodating the traditional way. New interpretation about Tao Yuan-ming as displaced people is relevant in regard to let us reflect on ego healing and suffusion of existence by experiencing `amusement to meet to true ego` in the mother nature instead of consuming life with pain and injury by our desire.

이 논문은 `本來, 原本, 原來`에 대해 의미, 통사, 형태, 화용 등 변별적 특징을 비교분석한 결과 다음과 같다. 의미적 특징에서 이들이 호환여부의 기준에 따라 1) 호환형, 2) 의미차이가 있는 호환형, 3) 非호환형으로 삼분된다. 1) `本來, 原本, 原來`가 [+先時]의 의미특징을 지닐 때 호환이 가능하다. 2) `本來`가 [+本質]의미특징을 지니고 `原來`, `原本`가 [－本質]의미특징을 지녔을 때 호환 가능하나 호환한 후 각기 의미가 다르다. 3) `本來`가 [+恒定], [+理當]의미특징을 지녔을 때 `原來`, `原本`과 호환할 수 없다. `原來`가 [+原狀], [+領悟]의미특징을 지녔을 때도 `本來`, `原本`과 호환할 수 없다. 통사적 특징에서 부사어로 기능할 때 `本來`，`原本`，`原來`는 호환 가능하다. 이때 `原來`가 주어 앞에 위치하지만 `本來`，`原本`는 주어 뒤에 위치한다. 사용빈도로 볼 때 모어화자들은 `原來`를 선호하고 그 다음이 `本來`이다. 베이징대말뭉치 자료에서 `原來`는 `本來，原本`보다 더 쉽게 관형어기능을 담당한다는 것을 보여준 다. `原來`는 구체명사를 수식하는 반면에 `本來`，`原本`는 추상명사, 형용사를 수식 한다. 이는 `原來`의 `애초의`라는 속성과 `本來，原本`의 `고유의`라는 속성과 관련 된다. 그밖에 `原來`는 전치사 `比，與，和，?`의 목적어가 될 수 있으나 `本來`， `原本`는 그럴 수 없다. 형태적 특징에서 `原本`이 ＡＡＢＢ의 중첩형식을 취할 수 있으나 나머지는 그럴 수 없다. 화용적 특징에서 `原來`는 근원적으로 원인을 설명하는 어기로 전체 명제를 평가하는 역할을 한다. `本來`는 `이치상 이렇다`는 화자의 어기를 나타낸다. `本來，原本`는 `사실상 이렇다`는 화자의 어기를 나타낸다.