韓愈古文內容豐富，文體多樣，風格各異；然學者論黃主要風格特色，則多以為韓文剛健宏肆，氣勢雄陸，具有陽剛之美，為其主調。而韓文另有一類「正反變化，詼詭奇譎」作品，則與其主調大異其趣，風格明顯不同，偏於陰柔之美，可謂別調。此類作品，或由於形格勢禁，有所忌許，不可以書見；或蘊釀本深，明說反淺，藉婉轉以傳神。故文之為義有隱顯之不同；而其作法亦極變化奇譎，有賴讀者之會心。韓文名篇〈進學解〉適為一例。故本文即以〈進學解〉為例，透過「寫作背景」、「取材與章法運用」、「文章結構」、「篇旨顯隱」等多方面之探討，以彰顯韓文「正反變化，詼詭奇譎」之另類風格，增水韓文美學之研究。其中尤其著重「取材與章法運用」、「文章結構」、「篇旨顯隱」之探討，以印證大家為文，神明變化於規矩之中，以意運法，自然成文，而又法無不備之造詣。

The writing by Han Yua are all-inclusive, multi-formed and various-styled. In talking about his major characteristics, almost always, it is the review of critics- “Magnificence and masculine aesthetics both compose a melody for his writings”. There are, however, some separate writings in “synchronizing ambiguity with literalness by all too witty signifying”, the so-called alternative style, emphasizing feminine-delicate aesthetics. Why to it this way? One, some words was forced must not known to the public under the dictatorship. Another, the best writing is most to decoct much wisdom into plain metaphor words. My proposal will give the “An essay in persuading to proceed to learn” as an example: to present Han Yus’ alternatives style and aesthetics insight in writings, with multi-aspected discussion about “background”, “application of gathering material to skilful presentation”, “structures” and “theme of ambiguity and literalness”. Especially emphasize “application of gathering material to skilful presentation”, “structures” and “theme of ambiguity and literalness”, so as to witness Han Yus’ being both skilful and natural.