1915년 辛亥吟社에서 刊行된 『姑婦奇譚』은 士大夫家의 姑婦가 주고받은 對句詩를 모아 엮은 詩文集이다. 이 작품은 전통적으로 수용되어온 閨房文學의 典型性과 特性에 구애받지 않고 근대 여성문학의 가능성을 모색하고 있다. 형식면에서 應口作對에 의한 對句 詩를 기본형으로 삼고 있으며 酒令과 같이 經史 내용을 적재적소에 배치하는가 하면 家庭內 大小事 등을 題材로 취택한 뒤 여성 특유의 섬세한 시각, 洞察力을 동원해 독자들에게 남다른 感覺과 才致를 전해주고 있다. 이와 함께 시 解說 부분은 또 하나의 敍事라 해도 좋을 만큼 間島 內 朝鮮人들의 삶, 그곳의 현실을 생동감 있게 증언해줌으로써 근대 間島移民史의 몫마저 감당하고 있는 것으로 밝혀진다. 그러나 이 작품이 갖는 보다 큰 의의는 姑婦의 체험을 바탕으로 남성들에 의해 구축된 他者化된 여성상을 거부하고 주체적인 여성성을 부각시켜 나간다는 점에 있다고 할 수 있다.

Kobugidam(姑婦奇譚) is a Korean medieval lyric work that takes a standing in succession to traditional female literature based on Chinese letters, while representing both femininity and modernity. Indeed, there have been many questions about this work in terms of whether it orients to modern era or seeks to turn back to premodern era. However, it was found that this work made concepts of traditional female literature fade out at once successfully through devising a unique form and making a change to content with multilateral aspects of women`s self-awakening and insight of reality during transition to modern era. Above all, Kobugidam bears close resemblance to many traditional lyric works in formal aspects such as Juryeong(酒令) and poetic to facilitate lyric composition in a give-and-take manner, rather than follow specific styles. This way facilitated making impromptu poems in turn. In particular, it was also fit for places of competition for tact and wit. Moreover, Kobugidam focused on narrating modern women`s thinking and experiences as well as unfamiliar landscape of Gando(問島；southeastern area of Manchuria), so it successfully eliminated the passive and modest nature of female discourses at once, which previous traditional female literature followed and modeled. This indicates that the women in those days had unambiguous literary perspectives. Their modern senses resisted any femininity compelled by men, and took initiative in discourse for themselves to go to the embodiment of female self-awareness and experience into lyric froms. In particular, contrary to the colors of traditional female discourse, it is notable that Kobugidam maneuvers lyric words in amusing, satirical and humorous ways and thereby breaks down conventional robust boundaries between male and female literature at once