The construction of the ＂female subject＂ in the history of Taiwan's new poetry debuted in the ＂male gaze＂ of the poets Chin Tzu-Hao, Yu Kwang-Chung, Pai Chiu, Yang Kuang-Chung, etc. The female subjects in writings of the male poets were mostly presented in a simplified way, as female bodies, and often became the object/imagination of erotic writing. The women in their poems were always in a state of ＂silently accepting,＂ which created an ultra-stable opposing structure between physiological male/female. With a stereotyped masculine/feminine impression, this structure turned all ＂intricate comparisons of sex＂ into an accomplice that shaped the ＂silent subject.＂ The feminine subject forced to be silent was only able to be turned over at the end of the 1990s, with the appearance of female poets such as Yan Ai-Lin and Chiang Wen-Yu. They resisted secular viewpoints and traditional morality and no longer restrained women's own passions in their writings. They used poetry to ridicule men's erotic imaginations and anxieties about sex organs and even stopped avoiding writing about homosexual orientation. Techniques such as homonyms and puns became their masterstrokes to subvert patriarchal language through female poetic language. Different from Yan and Chiang's endeavors to subvert every established convention and overthrow male constraints, Chen Yu-Hong in the early 21st century intended to utilize poetry to summon the source of female pedigree, reproduce the ideal female image, and reconstruct the female subject in poetry. Lo Jen-Ling exercised the female power from ＂black＂ and ＂equanimity＂ and used poetry writing to restore the female subject position. This article attempts to peruse the representative works of these four female poets, hoping to see the faint transitions in the process of establishing the ＂female subject＂ in the history of Taiwan's new poetry and to clarify how the late female writers sent out self-positioning signals with poetry.