This paper explores how the first-generation postwar poets dug out the inter-production relationship between the national capital Taipei and the country's narrative through the epics from the late 1970s to early 1980s. Li Hsien embarked from the national capital Taipei to expand his own urban and rural experiences, and Lin Fan devoted himself to writing the ancient city Tainan. Both of them represent the turning-point phenomena of spiritual history of the first-generation postwar poets.In his ”A Visit to the Ancient City” Li Hsien's action of encircling the ancient city Taipei from the North Door, West Door, South Door to the East Door, established a ring-like, internal and external visiting structure. Lin Hsien not only synchronically represented the national capital's disorderly architectural symbols, but also developed a diachronic gaze via two maps-- ”The Layout and Reconstruction of Ming and Qing Dynasties” and ”Construction Blueprint.” As for Lin Fan's ”The Country's Counterpoint at Certain Time,” Lin Fan used the concept of counterpoint in music discovering the counterparts of ”Nation/Local/Academy/Intellectuals” existing in the ancient city Tainan, and furthering his dialect on border poetics.It shows in their epics that the first-generation postwar poets Li Hsien and Li Fan roamed around in the national capital Taipei and ancient city Tainan respectively and employed their sense experiences to examine the cities' historical symbols, which had been eliminated in the process of documenting official history narratives. The poets also applied the ”counterpoint” and ”dialectical narrative” in their epic writings on the national capital Taipei and ancient city Tainan to show their strong consciousness of reconstructing the origins of history and space.