杜甫詩歌風格沈鬱雄渾，後人推許為一代「詩聖」。仇兆鰲為杜詩作注，則稱許其成就「上薄風騷，下該沈宋」，顯示杜詩在唐代詩歌發展史上承先啟後之功。 從文學史觀點看來，杜甫倡言「風騷共推激」（〈夜聽許十一誦詩愛而有作〉），以《風》、《騷》並舉的文學觀，超越陳子昂及一般復古主義者，是一種卓越的識見。理論之外，嗟戀屈、宋的杜甫，更在創作上具體實踐其「竊攀屈宋宜方駕」〈戲為六絕句〉的論點，詩歌創作屢屢兼有屈、宋騷體之精神與意趣，妙而不著抄襲之象。 本文試從杜甫的詩賦作品多角度推尋杜甫取騷入詩的創作，發微杜詩的屈騷意趣。

Du Fu’s poetry style is strongly vigorous and fragrant. The descendants admired him as "the saint poet of the age”. Cho Chao Bie had written some notes for Du’s poems and praised his achievement of "followed the Lisao and exceeded Shen Song". It showed that Du Fu plays an important role in the heir to ancient sages and teaching posterity of the Tang poetry. From the viewpoint of the literature history, Du Fu initiated “to stir up Fong and Lisao together.” By the literary view of Fong and Sao, he surmounted Chen Tzuang and the people who would like to restore ancient ways. It was one kind of remarkable experience. Except the theory, he loved Qu Yuan and Song Yui’s poems very much, and specifically fulfilled his argument in the creation and the significance of Du Fu’s poems by using Lisao as the material in his poems. His poetry combined Qu Yuan and Song Yui’s Lisao style without being considered as plagiarism. This article tries to infer the meanings and connotation of Du Fu’s poems from many sections of his literature theory that verifies and searches the mood of Qu Yuan’s Lisao.