論及六朝詩歌流變與發展，齊代的永明體與梁代的宮體很著名，但在永明體之後，宮體之前的小斷代，也有為數不少的詩人，並形成獨特的詩壇風貌。在鍾嶸《詩品》、蕭子顯〈文學傳論〉或蕭綱〈與湘東王書〉裡，都提到此時的文學以追隨謝靈運、鮑照或謝朓等人為主流，可見元嘉體、永明體的影響仍在，但詩壇即將開展出新的面貌。本文試圖將此時期幾個作品數量足夠的詩人—如沈約、吳均、王筠、柳惲、何遜與劉孝綽，特別提出來討論，辨別他們所追隨的前代作家，探索他們的作品風格與特色。在文學品味上，他們對二謝、鮑照的風格尤為賞愛；在技巧上，他們學習鮑謝的摹景詠物特徵。他們可能就是裴子野說的「貴遊總角」，是鍾嶸指稱的「輕薄之徒」，且這批詩人在永明體流行之後，在宮體盛行之前，成為梁代文學的主流。

When we discuss the evolution of poetry during the Six Dynasties, we may think of the remarkable Yong-Ming poetry from the Qi Dynasty and Palace poetry from the Liang Dynasty. However, in the period between Yongming and Palace genre formation, many poets were keeping on creating, and further forming the unique poetic style in the literary world. In “Shi Pin” and “Wen Xue Chuan Lun”, or “Yu Xiang Wang Dong Shu”, these authors all mentioned that the Chinese literary world viewed Xie Lingyun, Bao Zha, Xie Tiao, etc. as the leaders and followed their literary style in that era. Therefore, we could know that the impact of the Yuanjia genre and Yongming genre still making influence, but the poetic world is going to embrace a brand-new appearance. As a result, the purpose of this paper is to discuss literary styles and features from the poets such as Shen Yue, Wu Jun, Wang Yun, Liu Yun, He Xun, and Liu Xiaoch, who has adequate poems in that period and also try to study the previous poets they followed.On literary taste, they especially appreciate Xie Lingyun, Bao Zhao, Xie Tiao’s literary style, on writing skills, they learned Bao Zhao and Xie Tiao’s literary techniques to depict the scene and symbolize objects. Although they may be the one that Pei Ziye and Zhong Rong called, ‘Qing Bo Zhi Tu’, which means they are frivolous and come from noble families in Chinese, they still became mainstream in the literary world of the Liang Dynasty.