In the literature of Pansori(판소리), lots of women can be seen but most of them are lower classes. Especially in contrast with the dishonest males, females are portrayed constantly honest. But Ongnyu(옹녀), the heroine of Pyunkangsoi-ka(변강쇠가) is a very interesting character distinguishing from other affirmative portrayed females. Because it\'s not depicted only for positive point of view. Rather than a negative point of view is prevailing. One way she is portrayed as a licentious woman craving for passion, the other way she is as a powerless womanfolk. It\'s not for sure why it is portrayed twofold. While, in the late 19 century, Shin, jae-hyo(신재효) remade Pyunkangsoi-ka, he seemed to raise it as a licentiousness. We cannot confirm its above reason. Because now Pyunkangsoi-ka remade by Shin, jae-hyo is left over only, not an original one. However there are lots of plausible proofs for why it\'s been true that Shin, jae-hyo‘s remakes makes it. First, Shin, jae-hyo is a man who has corrected many things of them while remaking Pansori six works. Second, the appreciation review about Pyunkangsoi-ka before remaking is different from the remade Pyunkangsoi-ka by Shin, jae-hyo. And then why Shin, jae-hyo bring Ongnyu into relief as a licentious woman? It is as follows. First, Ongnyu is a kind of woman newly born in a urban atmosphere. Second, the negative point of view about those women deserves Ongnyu special emphasis as a licentiousness. Finally, the negative aspect of Ongnyu is a collaboration of a newly urban atmosphere and the class of Pansori who regard them as a threat to an existing govern system. We, however, can read a man-centered medieval govern system is seemed to be decayed from a condemnation about the negative configuration for Ongnyu.