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This paper was written for the purpose of examining the sociological meaning of effeminate-writing tendencies in literati poetry including gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) in medieval China. Gongti-shi(宮體詩) of Southern Dynasties is generally regarded as the fruit of cultural power by high literary circles. To this point I try to find out what gave birth to noble-formal poetry like gongti-shi(宮體詩) from out of the literary environment in Wei-Jin(魏晉) Dynasties. I also discuss the literatis' creative aspirations, requiring them to strike a careful balance between collectivizied and individual styles. Based on the above-mentioned topics, I hope that further study on the following problems will be possible. First, it is necessary that we make a discreet approach to the canon[正典]. To this day, many canons are regarded as the bases of establishing a literati's identity, but when they were creating poetry, they did not rely upon canons only, due to newly emerging social factors. I think literati in medieval China payed special attention to many variables that canons could not deal with, and these functioned as new paradigms to literati whose social positions were precarious in the political chaos of the times. Gongti-shi(宮體詩) written by high literary circles in the latter half of the Southern Dynasties[南朝] is a product of seeking sensual pleasures that the canon prohibited, which has been criticized severely as a hotbed of decadence by the existing major theoreticians. But I interpreted this literary prodigalism[文章放蕩論], asserted by Liang's[梁] Emperor Jian-wen[簡文帝]; Xiao Gang[蕭綱], as a new attempt to overcome existing 'canon-centripetalism'[宗經] to allow for a creative environment dissimilar to the canon for poetry. So the literati's desire to be against, as well as off the canon brought on the birth of this effeminate-writing tendency. This brought the literati to a new horizon of free imagination rather than creative restraint. The next problem is a matter of writing style. Gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) of Southern Dynasties[南朝] and Tang Dynasty[唐] have always been criticized because of their luxurious form. As a matter of fact, numerous historians of Chinese literature do not concentrate their attention on the poetry and prose of Southern Dynasties[南朝]. On the other hand, they overestimate the Movement of Classical Prose[古文運動] of Tang[唐] without exception. But if the poetry and prose of Southern Dynasties[南朝] are really so useless to literary tradition, we cannot help but ask repeatedly whether the acclaimed writers also have no worth at all, and ask which literary nutrition the masterpieces of posterity have absorbed in themselves. I think that in the middle Tang[唐], the emergence of extraordinary poets, like Li Bai[李白] and Du Fu[杜甫], owed a great deal to the writing styles of the previous period, and that the rhetorical devices elaborate made by gongti-shi(宮體詩) and guiyuan-shi(閨怨詩) considerably contributed to the development of poetic form in the following period.