《詩經‧國風》開創了比興傳統，其中「以男女喻君臣」的表現「棄婦情結」的抒寫傳統，堪稱「風景這邊獨好」，深受後世悲士與逐臣之青睞。屈原首沾其溉，他于《國風》傳統的基礎上，踵事增華，發揚光大，將「棄婦情結」之抒寫傳統更為自覺而廣泛地運用於〈離騷〉等作品中，淋漓盡致地抒發詩人懷才不遇的悲士情懷，由此奠定了中國文學「棄婦情結」的抒寫模式。〈風〉〈騷〉「棄婦情結」抒寫傳統前後相續，同中有異。在表現手法、托寓寄情、意志情感、心理刻畫、結構安排、形象塑造、情景結合、語言描寫等方面，〈風〉〈騷〉均呈現出由簡而繁、由淺而深、由實而虛等明顯不同的藝術特徵和審美趣味。這正是屈原繼承並發揚《詩經》比興傳統，使其詩歌藝術思維產生巨大飛躍的可喜之處。由〈風〉〈騷〉所形成的中國文學「棄婦情結」的表現傳統，開啟了後世悲士不遇文學主題之新徑。詩祖〈風〉〈騷〉，功莫大矣。

“Shi Jing.guofen” originated the tradition of figure of speech and enlargement in chinese literature. The representation of using men and woman to draw a parallel with kings and officers, are popular with the sad intellectuals and deported officers.Qu Yuan was the first one to use the skill. On the basis of “guo fen”, he inherited and developed it. He use “the sense of the abandoned wife” spontaneously and comprehensivly in the works”Li Sao”. In the work,he fully expressed the poet’s sad feelings because of being over looked by the king, by which,hfound the writing system of “the sense of the abandoned wife” in chinese literature. “Sao” inherited the great traditional writing skill from “Fen”, but there are differences in the similarity. As for the expressing skills, putting the writers’ feelings into their works, sense, description of the mentality, structure, the creation of the figure of speech, the combination of sense and scenary anddescription. Both “fen” and “sao” shows the distinct differences of artistic earmark and aesthetic interest from easy to complex, concret to abstract.It really is Qu Yuan who handed down and developed the tradion of figure of speech and enlargement, which makes a great progress in his ideas of poetry. The “sense of the abandoned wife” formed from “Fen” and “Sao”, which opens anew way for the literature on sad intellectuals in the future. “Fen” and “Sao” which are the origional source literature contribute a lot to the latter development of the literature.