作為文學史上之宮體典範而言，庾信賦及其宮體書寫之重要意義乃是多面向。宮體基本上是一種新變文風，以貴遊引領風騷。其次，宮體又是一種身皆與文化之表徵，其間藉由庾信宮體賦的書寫載體及其話語符碼，巧妙地映現當代王室權貴偏安江左的樂園隱喻建構。然則透過庾信賦由宮體樂園、園觴輓歌到桃源失落書寫之前後觀照，宮體書寫深化為作者與世變對話的內在途徑及其心靈符碼，其中體賦內化為庾信情志世界與歷史記憶的獨特隱喻，宮體賦既是庾信緬懷舊梁風華的美麗見證與文化脈絡，同時又成為他凝思世變與追憶家國的情志線索。因此職由宮體賦之書寫依據，展開文學、文化、政治、歷史、世界之多層次與多面向之書寫與對話，既是庾信賦語言與情志之具體現示，亦為庾信賦世變及其情志書寫之內在脈絡與深層底蘊。

As a model of “palace-style” (gongti宮體) poetry in the history of Chinese literature, and Yu Xin’s 庾信 rhaposides, and its form of gongti, was extremely significant. Basically, the gongti, whose theme was nobles’ travel, represented a new fad in writing during the Six Dynasties period. Moreover, gongti was also a symbol of status and culture; through the genre and implication of Yu Xin’s rhapsodies, the author presented a structure of metaphor, the technique that skillfully reflected the contemporary situation of the imperial family: they were content to retain sovereignty over a part of the country. Furthermore, Yu Xin’s rhapsodies also reflected the change from a paradise of gongti, to an elegy of national calamity, and finally to the perishing of the ideal of the “Peach Blossom Spring”; therefore, the writing of gongti further became a means to express the author’s innermost thoughts and feelings about the changing world. In summary, Yu Xin’s rhapsodies, with their deep implication and sequence of ideas, revealed the nature of the changing world through his sentimental writing.