The purpose of this essay is to study on the beauty of the implicative expression in Hyang-Ga. We did this work for the four works; Heonhwaga, Tosolga, Mojukjirangga, Anminga. The result of the argument follow as; 1. Each intentioned meaning is not the surface text's meaning but the deep text's meaning in the four works. 2. If the deep text's meaning expressed in the surface text's meaning, those meaning cause the difficult situation for the poetic speaker or hearer, or intended object in the four works. 3. The series of expressions(homonymy, polysemy, referential uncertainty, symbol, antonomasia etc) have relation to the ambiguity and the beauty of the implicative expression in the four works, but the series of expressions(generalized synecdoche and ellipsis etc) only have relation to the beauty of the implicative expression in the four works. As the results of the above argument, we have the conclusion that the beauty of the implicative expression is discovered in Hyang-Ga.

The purpose of this essay is to study on the beauty of the implicative expression in Hyang-Ga. We did this work for the four works; Heonhwaga, Tosolga, Mojukjirangga, Anminga. The result of the argument follow as; 1. Each intentioned meaning is not the surface text's meaning but the deep text's meaning in the four works. 2. If the deep text's meaning expressed in the surface text's meaning, those meaning cause the difficult situation for the poetic speaker or hearer, or intended object in the four works. 3. The series of expressions(homonymy, polysemy, referential uncertainty, symbol, antonomasia etc) have relation to the ambiguity and the beauty of the implicative expression in the four works, but the series of expressions(generalized synecdoche and ellipsis etc) only have relation to the beauty of the implicative expression in the four works. As the results of the above argument, we have the conclusion that the beauty of the implicative expression is discovered in Hyang-Ga.

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