In modernizing period, wemen`s collections of Sino-Korea poetry by ex-gisaeng, 『Namjeonsigo(藍田詩稿)』 and 『Chuninjaejieon(千인齊志言)』, had been issued. 『Chuninjaejieon(千인齊志言)』 was planned and issued by Lee Gu-sou herself and 『Namjeonsigo(藍田詩稿)』 was by the daughter of Seo Nam-Jeon. Since such features were different from the previous collections of literacy works by women, there has been much attention toward them. To be able to issue the collections of literacy works by women themselves was because the social background around them had changed. After the mid-19th century, the recognition that women also needed education had socially been formed and the women acquired a basis to seek new lives through learning. The poetry meetings where women could acted as poets revved up and through the places such as , they acquired the opportunities to submit their poems. Seo Nam-Jeon, while reflecting on her splendid gisaeng life, embodied her satisfied life as a poet at those times into her poems. With the poems submitted to placed at front of the collection, she built the image with the sense of history as well as that of a poet. She also showed the self-esteem through the poems with traces of communicating with other people and symbolizing the joy of composing poetry. The processes of building a new image through their poetry were a part of women`s self historicized way. By composing her mother`s collection of poems, "Namjeonsigo(藍田詩稿)", Lee So-do, a daughter, created the history of the poet family and she left her own poems at the end of the collection, so that she tried to create her own history. By reissuing "Chuninjaejieon(千인齊志言)" as a collection of poems under the name of "Bongsunwha(鳳仙花)" about 60 years later, Lee Gu-sou had been creating her another history through this process. I hope that this study helps to understand the life and culture of women writers, who had been Gisaeng, in the modernizing period.