《玉臺新詠》的編纂目的和選錄標準眾說紛紜，但少有以選詩內容為主，並關注詩集整體價值的說法。宮教讀本一說雖前有所承，但本文從六朝風氣出發，為宮教一說尋得社會和家庭需求的女教源流，以及宮教文書的傳統及發展脈絡，並關注詩歌選本形式和文學風氣對其內容的影響。經由分析〈序〉和選詩，可知詩作中的女子形象與〈女誡〉中婦女四行的定義相合，以女子言行為典範，供讀者效仿的教育方式，合乎〈女誡〉、〈女史箴〉等女教或宮教讀本的形式。而詩作中對德言容工概念的創新運用，進一步產生了不飾容貌和無心紡織的文學手法，也典範化了思婦和棄婦等女子形象。宮體詩向來有「傷於輕艷」之評，此類詩風如何與道德教化並存？宮體詩和豔詩又該如何劃分界線？或可從編選者對於當代文學風尚、立身與文章不同的評價標準，以及六朝時期對《詩經》不同的解讀，以致對書寫男女情愛的寬容與接納三點，來看待《玉臺新詠》所收錄描繪女體與情愛的作品。雖然如此，宮體不代表無節制的淫艷，重新檢視被評論為豔情詩的作品，有助於辨析宮體詩依然保存的格調和界限。由《玉臺新詠》的宮教目的和選詩中呈現當代的文學意識，可知編纂時的多元意圖及其時代性

This paper is mainly about a unique aspect of Yu tai xin yong that previously hasn't been noticed: a textbook of wife rules. There are many discussions between scholars about why and how Yu tai xin yong has been edited. However, if we focus on the poems and reconsider the book as an entirety, we find that it is not only a poetry anthology, but also a textbook teaching women how to be the perfect wife. Proof of this is in the preface and poems, which contain the same style of women in traditional textbooks of wife rules, such as Nu jie. The evaluation of Liang dynasty poetry shows its common themes to be that of vanity and eroticism. How can this kind of poetry mold women into perfect wives? Here we must note the way Liang poets wrote and their awareness of literature. For them, the over-sentimental way they used to describe women and those women's good quality are two different things. If we take a look at the way they interpreted the Book of Odes, we could see that they might be more open to writing poems about relationship between men and women than would presuppose. Finally, from the selection of poems in the anthology and the literature trends of the Liang dynasty, we can understand the editor's multiple intentions and see Yu tai xin yong as the reflection of that time