The tradition of reflecting on the spring in the history of ode poetry dates back to Qu Yuan. Later poets inherited the sentimental voice in Chu ode poetry and, inspired by two related themes, time and ideal, composed heart-rending masterpieces. The sad voice in Zhu Xi's "Ode to Spring", "I am so sorrowful/No longer the moon full/No more my girl", achieves the total unity of time and ideal. As to how to relieve springtime sorrow, ode poetry composed to the mystic bends of the Wei and Jin dynasties was whiten with a tone of genuine joy, but failed to become popular be- cause of character weakness. Poetry with a tone of sorrowful joy was developed in the hands of Zhu Xi and other idealist Confucianists, radiating Confucianist feelings and on Yuan-style sorrow. "Ode to Spring" exerted a peat influence on the history of Korean ode poetry, and many pieces were com- posed following the thyme used by Zhu. Song Si-yul's "Secondary Odes to Spring" is the most out- standing imitation of zhu's" Ode," because of his" never- forget- who- taught- me" enthusiasm and deep understanding of Confucian values of joy and sorrow. The spread of the tradition of spring-sor- row ode poetry in Korea is a literary phenomenon with deep cultural meanings.