曹丕是一代守成的明君，也是建安文學的俊傑，無論詩賦文章、文學理論，及對當時文風的鼎盛，都有開創性的建樹，與深遠的影響。劉勰對於曹丕的評論，基本上不離這些範疇，不僅探討的文學體裁甚廣，且寄語褒貶，言而有據，大致可信；對於曹丕的文學觀點，如文氣說、文士批評的態度、文章的地位與作用等，亦多予以甄採、肯定，並據以開創其文體、文術、鑒賞批評的理論；對於曹丕文學上的評價，也能不受政治因素、輿情的左右，全面性地客觀探討；尤其以宏觀的器識，掌握曹丕好文，直接促成建安文士受重視、小賦流行、詔令獨盛的文風，皆為有識之見。惟劉勰基於樂教思想的侷限，與重視文學的教化功能，視〈燕歌行〉同韶夏之鄭曲，忽略〈燕歌行〉在詩歌形式上開創性的貢獻；又責謎語用乖遠大，則不免矯枉過正。此外，以建安文學部分的特質，代替全體，既無法涵蓋建安文學旳全面，「觀其時文，雅好慷慨」，「並志深而筆長，故梗概而多氣」的說法，亦無法突顯曹丕詩文主要的內涵與特質。

Taso Pi was not only a wise emperor of the Wai Dynasty but also an elite of Chien-An literary cirele. He has profound influence on and great contribution to the poetry, prose, genres technique and thriving literary theories. All the above are the general assessment of Taso from Liu Hsieh, a credible critic who objectively analyzed a wide range of genre. He adopted and agreed with Taso’s literature viewpoints such as his style and attitude for literacy critic as well as the position and function of his work. Moreover, Liu also used these as the foundation to create his theories on genres, literacy and critic. Liu’s evaluation on Taso’s work was very impartial and free of political and emotional factors. With Liu’s vision and Taso’s passion for literature, Liu promoted the value of Chien-An literary. trend of poetry and proclamation. However, Liu, limited by the philosophy of music education and emphasized on the teaching function of literature, neglected the contribution of Yan-Ge-Xing to poetry and treated it as decadent music. He also criticized the unusual and dynamic allegory which was overcorrected. He took some qualities of Chien-An literary as a whole. Resulting the negligence of the comprehensive view of Chien-An literary of "contemporary articles are prefer to fervent" and "articles with deep thinking and elegant rhetoric become fervent and plentiful" repressed the main purposes and characters of Taso's work.