유득공의 『이십일도회고시(二十一都懷古詩)』는 회고시(懷古詩)와 영사시(詠史詩) 구분론에 혼동을 일으키는 작품이다. 제목은 회고시로 되어 있지만 기존연구에서는 영사시로 규정하는 경향이 강하였다. 반정균이 “죽지(竹枝), 영사(詠史), 궁사(宮詞) 등의 여러 시체의 장점을 겸하고 있다.”라고 평하였듯이 일방적으로 어느 한 양식으로 규정할 수 없는 특성을 지니고 있다.
원매의 영사시 삼종설(三種說)과 육조시대 영사시의 유형을 ‘사전형(史傳型)’, ‘영회형(詠懷型)’, ‘사론형(史論型)’으로 구분한 제익수의 논의를 종합하여, 만당시대에 새로운 양식의 영사시가 대두하며 영사시와 회고시의 구분이 모호해지는 양상이 나타난다는 점을 살펴보았다. 이를 통하여 ‘촉경서정(觸景抒情)’의 표현방식과 칠언절구의 』의 양식적 특성이 연원을 두고 있다.You DeukGong(柳得恭)'s ‘Twenty one capital's Hwegosi’ is categorized as ‘Hwegosi’, but now it's considered as ‘Youngsasi’. But on the other hand, he is criticized by Ban JungGyoon(潘庭筠) that he contains many pros from many different genres of poems, such as ‘Jookjsa’(竹枝詞), ‘Youngsasi’, ‘Goongsa’(宮詞), Since his poems include many different genre's pros, his poems can't be categorized as certain genre. The purpose of this report is to state the distinguishable facts that draw a line between ‘Youngsasi’ and ‘Hwegosi’, and find out the genre of ‘Twenty one capital's Hwegosi’.
According to Yuan Mei's ‘Three types of Youngsasi theory’, ‘Youngsasi’ can be categorized in to three different followings; First, dealing with historical events and person by adding writer's critique. Second, using historical events to express the writer's conscious and feelings. Third, dealing with historical event with the writer's subjective view and stating criticism. First and second type existed way before Tang dynasty, but the third type started showing from late Tang dynasty. Many writers, such as Liu Yuxi, Du Mu, Li Shangyin, show a characteristics through their poem, combining ‘Hwegosi’ and ‘Youngsasi’. Quatrains became popular during late Tang dynasty and because of this, ‘Youngsasi’, ‘Hwegosi’, ‘Jookjisa', and 'Goongsa' were also written in quatrainso style. They all focus on one scene and imagination, which leads to making a integrate and long lingering poem. ‘Twenty one capital's Hwegosi’, which includes many different poem genre's pros, shows a characteristics of it's genre through out this point.