Recorded as a folk song, 〈HeoUngaegibonpuri〉 reveals the appearance of a ‘daughter’ who is shunned by her parents in front of death. On the other hand, 〈HeoUngaegibonpuri〉, which was recorded as a folktale, highlights the image of a ‘mother’ who is in charge of both labor and childrearing. In particular, in folktales, HeoUngaegi’s motherhood is encouraged and demanded by King Yeomra and the village grandmother or mother-in-law. Bonpuri is also similar, but the narration is more complicated in that Kang Eulsaeng’s version depicts HeoUngaegi’s identity vaguely. This is because HeoUngaegi, Kongjwi’s stepmother at first, becomes Kongjwi herself in the end. This shows Simbang’s ambitious intention to illustrate the two extremes of motherhood by contrasting Kongjwi’s stepmother HeoUngaegi with Kongjwi’s HeoUngaegi. The problem is that the intention of such Simbang fails. Due to the structure of the narrative, HeoUngaegi has no choice but to leave this world. Therefore, the mother’s place is left blank. Instead, the mother-in-law, who protects the patriarchy, takes the place. The mother-in-law’s act of actively expelling HeoUngaegi in Kang Eulsaeng’s version implies that motherhood becomes a kind of power in a patriarchal society. In other words, motherhood is surrounded by interests. What is important is why 〈HeoUngaegibonpuri〉 was handed down in the ritual, and why the transmission context was cut off today. 〈HeoUngaegibonpuri〉 depicts the death of a woman, that is, the death of a mother. The story of Kongjwi Patjwi, inserted in Kang Eulsaeng’s version, shows that the myth focuses more on “mother’s death” than anything else. Regardless of genre, most of the speakers in 〈HeoUngaegibonpuri〉 are women because women sympathized with the death of such a mother. However, the reason why the ritual transmission of 〈HeoUngaegibonpuri〉 has disappeared is that the reality depicted by the narrative can no longer be accepted. Now ‘motherhood’ is not something that must be adhered to beyond the limits of death. The existence of 〈HeoUngaegibonpuri〉, where the transmission of rituals has been cut off, shows the changed reality of today.