曹操外定武功，內興文學，為漢末之際政治情勢、學術思潮、文學風格轉變的關鍵性人物。劉勰以洞察的鑒別力，簡要的語言，於《文心雕龍》一書，精準地掌握曹操人品、才性的特質，其作品特色與戰亂時代、政治身分的關聯，及曹操在建安文士中扮演的領袖地位；也在文體大備的當代，適切援用曹操對文體作法的意見，足以說明文體的寫作旨要與發展的流變。 然而，魏武兼融儒墨道法的思想，對其詩文明古而能創新、言語樸質率直的影響，與曹操樂府詩作的內容、音樂聲調，及其在詩歌史上獨特的表現、應有的地位等，劉勰或隻字不提，或語帶貶抑，此固因劉勰評詩、論文、賞樂有其標準，而用語的概括、籠統，也是使正確評騭受限的原因。

Tsao, Tsao wielded his military and literary talents at crossroads, in a time when political situations, academic trends, and literary styles were changing. Liu, Hsieh (the author) shows his fine grasp of Tsao, Tsao, in depicting Tsao's personality, talent, the unique connections betwween his works and the upheaval years as well as his political statue, and Tsao's leadership among the Chien-An literary figures. Above all, Liu, citing Tsao's view about literary styles, was able to present the essence of literature writing and its development. Tsao showed his combined knowledge about four different schools in his writings. His poetry exemplified classic models, but, at the same time, exhibited creativity, too. His language was unsophisticated and direct. However, Liu either never mentioned Tsao's unique performance and standing in poetry. He simply ignored the content and rhythms of Tsao's (樂府詩作). Even if Liu talked about it, he did not hide his disregard towards Tsao's poetry. This could be that Liu's literary comments, though with his declared high standard, was restricted by his own unclear, vague language.