Base upon works of the Ying-Ying Zhuan (The Story of Ying-Ying), famously legendary novel in Tang Dynasty, as well as Dong Jie-yuan’s Xi Xiang Ji Zhu Gong Diao (Master Tung’s Romance of the West Chamber) in Jin Dynasty, Wang Shih-fu’s Xi-Xiang Ji (West Chamber) is a major breakthrough in terms of rhetoric, forms, and ritual of solo performance in Chinese opera and drama. In other words, it itself is a milestone in Ming drama, followed by imitation and extending work in its Ming and later Qing dynasties, together with reflections on previous literature within Chinese drama and fiction. It also enlightens the peculiar theme of the “sense and sensibility”(in Chinese term, qing li zhu ti) and work of the West Chamber’s genre (xi xiang gu-shi lei-xing). In sum, these could be demonstrated as an aesthetic embodiment of the theme “sense vis-à-vis sensibility” (in Chinese term, qing li dui zhi). Overall, the development of the West Chamber’s genre (xi xiang gu-shi lei-xing) within Ming’s drama and fiction is generally modeled by the theme of the “sense vis-à-vis sensibility” (qing li dui zhi). As a result, this research paper deals with the development, meanings, and implications of the West Chamber’s genre, from the discourse upon traditional concept of the “wen yi zai dao” (literally, literature conveys the Sage’s instructions) and later the theme of the “qing li dui zhi”. By and large, the major contribution of this paper is to systematically provide the gist of development of the West Chamber’s genre within Ming’s drama and fiction, and in the meantime to highlight the sociological ideologies and thought as well as the progress made in the pioneering concepts in Chinese literature. The author has also presented the implications that conventionally affective work (in literature term, yan zhi), which has long been overshadowed for centuries, has now re-surfaced in Ming Dynasty.