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在中国古代辞赋文学中，感春的传统可溯自屈原。后世对楚骚中伤春之音的祖述继承，往往因两个相关主题──时间与理想的展开，易于产生动人心魄的佳篇。朱子《感春赋》中“悼芳月之既徂兮，思美人而不见”，就是关合两者的凝炼表现。对于如何消释春愁，这在魏晋玄风影响下的赋作中，曾一度出之以真正悦乐的情调，但因个性弱化而难开生面。既忧时又乐道的情理内涵，在朱子等富文学情趣的理学家手中，获得恰当的拓展，表现出儒家情怀与骚人哀怨的融通。朱子《感春赋》在朝鲜辞赋史上颇具影响，先后出现不少次韵及和韵之作。李朝中期儒学家家尤庵的《次感春赋》在精神境界与情理容量上，对朱子原作尤具会心。究其原因，则在于“惟晦翁其不敢忘”的生命热情以及对儒家忧乐观的深刻体悟。赋的感春传统在朝鲜的流衍，是颇具文化意蕴的一个文学现象。
In ancient Chinese literature and prose literature, the tradition of feeling spring can be traced back to Qu Yuan. Later succession to the ancestral succession of Chu Chun’s poetic sound of the Spring Festival is often apt to produce a moving and enchanting article due to two related themes ─ ─ time and ideals. In the book of “Feeling Chun Fu”, Zhu Xi, “Mourning the Moon, not only contemplates the beauty but does not see,” is the condensation of the two. How to dissipate the sadness of spring, which under the influence of the Wei and Jin Xuanfeng in the once made with a truly happy mood, but due to weak personality and difficult to break new faces. The connotation of both worry and happiness is properly expanded in the rich literary neo-Confucianism, such as Zhu, and shows the merging of Confucian sentiment and indignation. Zhu Zi “feel Chun Fu” in the history of Korea dictum quite influential, there have been many times rhyme and rhyme and make. In the middle period of the Li Dynasty, Confucianism expert You Um in the “sub-sense of Spring Fu” in the spiritual realm and the capacity of emotion, especially for the original Zhu. The reason lies in the passion of life but “unobtrusive but unpleasant” as well as profound understanding of the Confucian concept of happy and optimistic. The sensual tradition of Fu in North Korea is a literary phenomenon quite culturally meaningful.