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  This article elucidates what the basis of each love discourse is and how it changes, in comparison with the love discourse suggested by Kwang-Su Lee"s 『Heartlessness』, published in the late 1910"s and the love discourse accommodated in the early 1920"s, the period after the 3·1 movement, focusing on the two long novels in the roman feulilleton of the Donga-Ilbo, 『The Drama of Illusion』by Do-Hyang Na, and 『what did you gain?』 by Sang-Seop Yeom.
  On the premise that the modernity discourse on the discovery of modernistic self and the manifestation of individuality is just characteristic inherited in the genre of novel, this ariticle tries to find out the life and the consciousness of characters in the novel, and the writer"s consciousness coping with the modern times through their love discourse. In the novel of 『Heartlessness』, the love discourse, recognized as the passageway to find out the modern individual and form the modern social relationships (in that sense, one of the "modernism" discourse), was based on the optimistic view that they can escape from the "traditional" idea , consciousness, order, and custom. However, in the early 1920"s roman feuilleton of the newspapers, more emphasis was layed on the tragic finale of the characters having pursued the romantic love with the rosy view. The characters trying to pursuing the "modern" things in the novel struggled between the estrangement between the reality and the ideal or fell prey to the conflict. In other words, It was the sacrifice of "the modern thing" which had substituted for "the traditional thing". This could be the question raised by novels against the reality of the love discourse based on the "modernism".
  Do-Hyang Na raises such questions through the philanthropism, grouped into the "modernism" and Sang-Seop Yeom through the revelation of most characters falling into the self-contradiction although participating in the love discourse. Of course, this way of confronting with the reality can not be claimed to be wholly new thing. The reason is that it is the unique way of the genre of novel itself. However, it is really new way in that it is the question raised against the "modernism" inclined by novels before the 1920s. The meaning of this question raised by the time can be elucidated that the way of facing with the reality in the novel, not regularized by the "nationalism discourse" or "modernism", began in earnest.

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