The purpose of this study is twofold：I want to investigate the circumstance of making Korean and Japanese writing of Kim So-woon and understand the world of life-long texts produced by him consistently. Kim was perfect Korean, but he went into Japan in very early age, so acquired Japanese language thoroughly in Japanese dirt. He never doubted his identity as a Korean, but he raised himself under the Japanese influence because of circumstance factors. Kim, like almost every Korean modern writer, received the influence of Japanized western literature before having perceived the native cultural tradition sufficiently. Moreover, the intensity of influence he received by Japan was far more powerful than others because of his early visit to and settlement in Japan. Especially Kim had become cultured about the knowledge on modern poetry by reading many Japanized western anthology particularly during the late Meiji and early Taishō period. Individually Kim was conscious that he was neutral between Korea and Japan, however, he was adapted too far to the Japanese intellectual society. So he should have found the equilibrium between the past and the present；the past that his own root is inevitably in Korea, and the present that his life environment is actually nearer to Japan than to Korea. Such being the case, Kim’s own choice was translating, not Japanese culture into Korean, but Korean into Japanese, so introducing it to Japanese readers. Kim collected Korean folk songs extensively to compile them in the shape of 1933’s Collection of Joseon Folks Songs by Korean Alphabet, some parts of which were translated and then published Collection of Joseon Children’s Songs(1933) and Collection of Joseon Folk Songs(1933) respectively. He succeeded, to some extent, in delivering relatively simple Korean folk songs in the form acceptable to Japanese readers. But Kim So-woon had big difficulty in translating Korean modern poetry of full-scale composed under the overwhelming impact of Japanese and western literature, both because the aspects of modern Korean poetry in a creational stage varied and because it was originally impossible to fully represent the phonetic features of Korean language which is the essence of modern Korean poetry through Japanese language. Kim confessed an unsatisfied feeling that he couldn’t translate the soft resonance of Korean language into Japanese in his famous Japanized anthology of Korean poetry, Chosun sijip(1943). Indeed, what he made in Chosun sijip was a bundle of Japanized poems indited originally in Korean, so his task of translation reached the limit.