中國詩歌以抒情為傳統主流，情景交融則為抒情的經典手法，詩中景語多為情境而設，以烘襯詩情為目的。晉宋之際的謝靈運，作為提升山水題才成為詩歌主題的第一人，其誠中景物卻多客觀呈現，少見主觀點染以烘托其情的意圖，以致詩中情、景多分立而少有聯繫，既不求相映成趣，亦未從反面視托，與抒情傳統著意於情景交融的手法大異其趣。本文詳析詩例，以明謝靈運山水詩與抒情傳統在情景聯繫上的審美追求不同，並遲帶論析了謝詩多歷時性結構、多用賦而少比興、以遊覽觀景為主而抒情為輔、景物其物審美對象而非情感觸媒等特色，俱與抒情卜統有別。這些差異，顯示謝詩偏離抒情傳統的事實。本文認為，謝誠對傳統的偏離，乃因其作思維主要承繼自「兩晉玄言詩歌系統」。此系統歷經詠懷詩、招隱詩、遊仙詩，以至玄言詩一脈相承的發，園現出共同的特徵有四：第一，山水伴隨玄理的內容組合；第二，先敘山水而末言感悟的公式化結構；第三，抒情性微弱淺談；第四，如實客觀的寫景視角。凡此特徵皆與謝詩的特色相符，可知此系統即謝靈運山水詩脫胎所自的文學背景。至於陶淵明田園誠，與謝誠約當同時自玄言詩中走來，卻何以未脫情景交融的抒情典型？本文藉由堯斯的「讀者接受」理論，解釋其日在於謝誠的接受影響主要來自清談盛關的當代文學環境，而陶詩則受抒情傳統習制約較深，二人的情景書寫策略因此不同。本文據此，又對文學史中以陶詩為「正始系」，謝詩為「太康系」的舊說提出商榷，分析陶詩的特點實近於「太康系」，謝誠則近於「正始系」。

The tradition of classical Chinese poem is lyrical. “Fusion between Emotion and Scene” is a classical tactic of this lyric tradition. The paragraphs which described scene in poem were usually designed and regarded from lining with the feeling. Xie LinYun in the Jin to song Dynasty was the first one who composed poetry with the subjects of landscapes. But most of the scenery in his poetry was so unemotional that feeling and scene were discrete and there were just few connections between them. This study analyses poem examples in details in order to present the differences between Xie LinYun’s landscape poetry and traditional lyric. Those differences indicted that Xie diverged from the track of traditional lyric. The primary reason causing the diverging was that Xie’s composing tactic was been given birth by “the poetry system of XuanYan” in Jin Dynasty instead of lyrical tradition which come along from ShiJing. There are four raptures can prove that Xie’s landscape poetry inherited from “the poem system of XuanYan”. However, at the same era as Xie, why was Tau YuanMing close to the lyrical tradition instead of “the poetry system of XuanYan”? The “Reception theory” introduced by Hans Robert Jauss can explain this contradiction. Besides, this study also controverts an accepted opinion in the history of Chinese literature that Tau should belong to “the poem system of ZhengShi” and Xie should belong to “the poem system of TaiKang”.