Lee Yong-ak, who continued resistance to recover the lost sovereignty even when the Japanese colonial rule’s oppressive exploitation went to extremes before liberation, had the turbulent journey of life and literary backgrounds from the time he was born to the time he went to North Korea. He accepted numerous northern people who were alienated from the particular group beyond unhappy personal history with national sentiments rather than personal emotion and resisted, but he did not receive any benefits even from the government liberated from the Japanese colonial rule. Accordingly, when Hegel’s independent awareness and consciousness and the dialectic of master and slave were applied, how the independent elements in the liberation period reacted and changed became crucial. The transfiguration of the main entity for itself was a natural result in that he struggled under the Japanese oppression in order to secure national identity and autonomous independence but could not see its realization. Lee Yong-ak revolted against the confusing political and social contradictions right after the liberation as the main entity of liberation space and awareness of reality and continued to work to embody it into action and works. This understanding is divided into two: one is practical consciousness of the self for itself to restore the lives of those who were alienated from the center, and the other is to achieve national integration beyond the corrupt ideological conflicts of the liberation space. But as the privileged class and opportunists gained supremacy again in the liberation space, the lower class and northern wandering people could not take root in their homeland and repeated the error of homecoming changing into departure from home again, and the waiting for and joy of the liberation changed to frustration and anger. In the reality where ideological conflicts brought about the division of the nation, the joy of liberation was expressed into frustration and anger again in the works of Lee Yong-ak. So they show the transfiguration from the petit bourgeois’ hope and the main entity of waiting and national vocation into the principal agent of frustration and anger, respectively. As his work that reveals the joy of liberation, there is ‘Ode to May.’ Before expressing freely the reality of liberation in which ‘my hope’ becomes ‘our hope,’ he sang calmly with reflective posture of ‘mirror.’ The work that expresses anger in the reality where hope disappeared is ‘Angry Eyes.’ He cries for rushing out into the street crying out ‘angry angry eyes’ in the reality where northern wandering people hardly entered the center when they were driven out into the foreign land. The liberation political situation was a chaotic world where freedom and labor of the nation not only failed to solve the survival problem but also the power logic of the strong nations instigated fight for superiority of the privileged class of vestiges of Japanese imperialism and opportunists and the ideological conflicts between the left and the right. The aspect of transfiguration of Lee Yong ak’s poetry in the liberation period should be understood in the context of such realities of the times. It would be more difficult for him, who pursued the nation for itself, to tolerate the fact that oppressors were not the Japanese imperialists but the same compatriots. The impoverished main entity on which hope was no longer laid could not advance to universal main entity and ethical main entity and degenerated and regressed regretfully.