〈諧讔〉一章，列為《文心雕龍》「論文」十篇中最後一篇，作為文體的一格，居今而言，實有重大的意義存在。劉勰身當六朝，去今一千五百年前後，其論古今文體時，對於民間流傳蘊含諷刺、幽默性質的滑稽故事，以及市井流傳的「蠶蟹鄙諺，貍首淫哇」，以為匹夫之思，未易輕棄，小道亦可觀；寄予「苟可箴戒，載于禮典」的冀望（《文心雕龍．諧讔》），故於《文心雕龍》中專設「諧讔」一體，希望這些俗說諺語，能夠融會義理，適應時事，有益於世道人心，達到「會義適時，頗益諷誡」的效果。如此，則諧辭讔言，亦如九流之有小說，必有可觀者焉。 我國傳統的文學觀點總是主張要言志、載道，滑稽作品、殘叢小語之在中國，其發展雖來自野史稗官，淵源甚早，但一直被認為是不登大雅之堂的小道，所以，班固《漢書．藝文志》，小說列於九流之末，並且引孔子說的話說：「致遠恐泥，是以君子弗為也」，滑稽者流、小說家地位也不高，只有太史公可說是懂得「諧讔」之妙的人；《史記》特列〈滑稽〉一傳，就是以一種調笑嬉戲的筆法，道出嚴肅的治國之道。而清代紀曉嵐作《四庫．提要》卻黜而不載，劉勰能特譬一章，予俳諧作品一席之地，專論「諧」、「讔」及其相關類型文學的緣起、名義以及特色、功用等方面的問題，可證明其識見卓絕，不屑古今，融會雅俗的態度。 劉宋之際，尚無所謂「民間文學」的學術用語，《文心雕龍》裡也無討論「民間文學」的專篇，但綜觀《文心雕龍》全書，相關論述散見各篇，更值得注意的是，當劉勰為各體文學「原始要終」時，從未忽視民間文學在中國文學各種文體發展中的先驅地位；總要推本溯源，肯定其作為士大夫文學的源頭活水的特質；同時，揭出民間文學相關類型的種種特色，強調其在文章創作、觀風問俗，及有益人倫教化方面的貢獻。〈諧讔〉篇就是站在實用主義的立場，對通俗的、富於社會性的「諧辭」、「讔語」、「謎語」、「諺語」，從緣起、名義、功用等各方面深入剖析闡發，並揭示「諧」「讔」末流之弊；提醒後之作者，設若「空戲滑稽，效而不已」，終將「德音大壞」（〈諧讔〉）。 細讀〈諧讔〉這一篇，劉勰所討論到的文體有四：「諧」、「讔」、「諺」、「謎」，本論文即就此四體，分別探討其緣起、名義、功用、發展、寫作原則等問題，復由「會義適時，頗益諷誡」的觀點，檢視「諧讔」的變遷，以印證俳諧滑稽之文的親和力和感染力，並謹此就教於方家。

The part about “Witty Words” and “Concealed Metaphor” is the last chapter in the 10 chapters about “articles with rhyme” in the book, When Hsin Tiao Lung, written by Liu Hsieh. Its main content is to discuss about the source, definition and function of “Witty Words” (playing with words) and “Concealed Metaphor” (word games). In ancient times, the civilians had no channels for pleading if having any resentment and complaints towards the governor, so they had to use witty words, comic metaphor or concealed riddle to express their dissatisfaction or expectation. Being “funny” indicates simple words and conforms to social conventions, so that listeners will laugh understandingly. Being “Concealed” means using concealed words to hide the real meaning, and using treacherous metaphor to state certain things. In opoch times, there were many comic people being recorded. They always mediated dispute by teasing and playing, to restrain governors' wrong politics and acts of violence, and speak out very serious menas for managing a country. Therefore, the function of “Concealed Metaphor” can help to invigorate a state, correct individual's characters, and secondly, it can also help to correct fault, solve puzzles. Liu Hsieh listed “Witty Words” and “Concealed Metaphor” as one kind of literary styles, and left a seat for this joke kind of articles, which could be regarded as him being outstanding in viewpoint. There were many articles after that, however, there were only a few of that inherited the spirit of “Witty Words” and “Concealed Metaphor”. In other words, an article should be satire, funny but involve no major principle, aiming at the reality, then it can possess “the value of teaching, satirizing and metaphor” advertised by Liu Hsieh. For instance, “Pai Min-Kuo” in the “Biography of Mao Ying” (Biography of writing brush head) by Han Yu of Tang Dynasty, described in “Flowers in the Mirrors” (Ching Hua Yuan), they are both funny and satire, reflect the reality and have educational meaning.