宋真宗大中祥符年間，西崑集出，隔年即有文禁之詔，世人每受到石介「怪說」的誤導，以「雕章麗句，膾炙人囗」為浮 ，卻忽略西崑集序另一段話：「歷覽遺編，研味前作，挹其芳潤，發於希慕」，所透露的他們寫詩的背景和意圖。 這個文學團體，和其他貴遊文學團體不同，他們不甘為應制弄臣的歌頌昇， 而將文學的遊戲性，轉為嚴肅性，形成「和意不和韻」的和詩方式。且「宣曲二十二韻」詩，更因寓諷，而鷘動聖上，然而在遭到打壓之後，卻形成推波助瀾之效，而使西崑詩盛極一時，也讓我們不得不對他們包蘊密緻的寫作方式作一背景的考察，以說明當日的時空環境，如何促成此種沈博絕麗詩體的盛行。 此外，楊億、劉筠的唱和詩佔全集的一半以上，且在後期形成一唱一和、曲 高和寡的現象，因而也對這類詩進行解讀，並試用法人布爾迪厄(Bourdieu)的場域（champs）和生存心態（habitus）的觀點，針對此現象和西崑興衰之始末作更進一步的探索。

　　　　　During the second decade of Emperor Zhen's reign (1008-1017, i.e., Da-zhong xiang-fu大中祥符 ), just one year after the publication of Xi-kuen-ji [An Anthology of Western Kuen Style]西崑集, the Emperor immediately issued the edict of censure to the print market. Commentators have since been misled by Shi Jie's石介 Guai-shuo [On Mysteries]怪說 to believe that "ornamental, florid, and fashionable" means euphuistic, forgetting an important passage in Xi-kuen-ji: "All classical poetry, however minor they are, having been thoroughly perused and chewed, we thus try to incorporate their eminence so as to emulate them." These words, I argue, seem to have revealed the background and intention of the Western Kuen Style. Unlike other elitist literary community, this coterie of literati would not sing panegyrics of a peaceful world to please the court, as if they were the masters of the revels. They turned the sweetness and delight of literature into an earnest societal activity, and antithetical songs thus emphasized substance over versification. When Xuan-qu er-shi-er yun [Twenty-two Imperial Songs]宣曲二十二韻was censured and banned from the market by the imperial court because of its allegorical satire, the result was unanticipated: the oppression provided a forceful wave to push Western Kuen poetry onto the top among the poets' choice of genres. Such a situation forces us to investigate the background through which they developed their pregnant-exquisite包蘊密緻 style which yielded learned substance in sublime expression 沉博絕麗. In addition, over half of the anthology is occupied by Yang Yi's 楊億and Liou Yun's劉筠 poems, which later developed into a form of antithetical questions and answers. The extremely intellectualistic曲高和寡 phenomenon prompts us to explain the poems with Bourdieu's theory of champs and habitus, which we believe could support our interest in the rise and fall of the Western Kuen Style.