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This thesis is focused on the anonymous poets who had lost their name and only their works were handed down in collection of Sijo poems of the 18th century. The aim of this study is to contemplate the texture of sentiment that was brought out in Sijo created by the anonymous poets. These poems were all attached to the Yisakdaeyup, the main chapter of Chungguyoungun. To succeed that analysis, I examined thoroughly fragmentary informations from written documents, like various collections of Sijo poems about the anonymous poets. In conclusion, they were not homogeneous poets of class, but heterogeneous poets of class who were liberal intellectuals, rich bureaucrats, gisaengs and the middle-class singers. They all had elegant taste of the Sijo music and enjoyed song in an atmosphere of freedom more than past. Those times, Sijo as poem had weakened its position between the appreciators in the space for its performance but, Sijo as song were wide spreaded and sung. In process of that, many Sijo works have lost those creator's name and the authorship of writing a lyric had weakened. The appreciators and special singers of Sijo took in poems of unknown poets naturally, because those suited to their taste. That literal tendency means that in the 18th century people who appreciated the Sijo in all kinds of class recognized it with art just expressing humane emotion and they didn't have any intention to maintain Confucian normative view of art.
