The problem feminist studies face today is the tendency to avoid our own tradition of literary context. My paper examines oriental feminist literary theory and the concept of the `Poetic-Eye` which stems from the Chinese classic literary theory of Taoism Korean classic literary thought is a combination of Confucianism, Buddhism, and Taoism, and many arguments of poetics have emerged from these philosophies and religions. The distinction between the eye of western context and the eye of eastern meaning should be carefully observed. This concept of the eye refers to the concept of the gaze. In this paper, the eastern eye/gaze does not relate to an outer eye but more closely to the inner eye. Taoism placed special meaning upon the word; however, the word cannot define truth and self yet suggests its presence. Therefore, the word itself and silence cannot be distinguished; one becomes the other. Words cannot express real meanings. The special point of the `Poetic-Eye` is found somewhere between emptiness and form; in other words, it is found within the dynamic field of text. The `Poetic-Eye` illustrates universal creative force, great sources of writing, and the core of fantasy which is connected with the reader`s apprehension. `Tao` means `the way to truth,` and the `Poetic-Eye` implies `the way to the truth of the text.` My paper analyzes Huh Nansulhun`s text and Emily Dickinson`s poetry by applying the concept of the `Poetic-Eye.` Both writers are unique and creative poets in the literary tradition of Korea and North America. Their poetry is often chaotic and rebellious because the poets rejected the myth of female inferiority and embraced androgynous manners and consciousness. In my study, I have found the poets` androgynous voices and codes that lead to a deconstructive literary fantasy. Their poetry functions as channels displaying the `Poetic-Eye` in various formats. I hope that feminists will also take a fresh look at our own tradition of literature.