YANG Woo-Jung, an epic poet, was also known as to be a communist (YANG Chang-Joon) and an anti communist (YANG Woo-Jung). In this paper I investigate to comprehensively capture this person with three different faces, with his conversion being the center of my argument. Epic poet YANG Woo-Jung’ first started making sentimental poems in his hometown Haman, expressing the sorrow of the farming family which was collapsing under colonial rule. By the end of the 1920’s, as he started building relationship with KAPF, the proletarian art group, his work’s emphasis gradually shifted to the subjectivity of farmers through a class-oriented viewpoint. In Seoul, YANG Woo-Jung was assigned to publish “Kungi”, practically the official journal of KAPF. Eventually he was expelled from KAPF because he rebelled against the headquarter of KAPF in relation to the tug of war being fought in the movement of Korean communist party reconstruction. After coming back to Haman, YANG Woo-Jung participated in the Red Farmers Union activism, but got arrested. After a few years of imprisonment, he announced his conversion. In his announcement of conversion, quoting Rousseau, he rejected communism and reemphasized the importance of family. Unlike in Japan, in Korea, the conversion to family values did not mean could not be construed as adaptation to the colonial rule, and therefore, YANG Woo-Jung was rearrested a few years after he had been released. After Korea’s liberation, YANG Woo-Jung once again became active as a left-wing activist, but in response to the issue of the trusteeship at the end of 1945, he turned into an anti-communist who supported Syngman RHEE. However, his anticommunism was not a criticism of the doctrine of communism itself rather, his criticism was nationalistic, condemning communism as an anti-national ideology. This inclination became clear as he systematized the One Nation Principle(一民主義), a national policy by Syngman RHEE, after he had established the ROK government. Under the massive clamp down and conversion campaign, YANG Woo-Jung criticized communism and capitalism from a nationalistic standpoint referring to Rousseau once again as if to repeat his own past conversion. But this time, unlike his previous conversion where he had emphasized family, he put home as the foundation of his argument. In the past, he could not complete his conversion because family was the allegory of nationals, but home could serve as an allegory for nation and thereby could accomodate his adaptation to the establishment. Family was his starting point, but by replacing it with home, YANG Woo-Jung’s conversion was finally completed.