《文心雕龍‧詮賦》：「子淵〈洞簫〉窮變於聲貌」。饒宗頤在比較皇甫謐與彥和之說後發現：彥和進王褒而退馬融，本文嘗試詮釋其原因。又「聲貌」一詞歷來之解釋均側重聲音形象美之書寫，筆者透過文本之相互比較與彥和在《文心雕龍》書中用「聲貌」一詞之狀況，以及貫穿《文心雕龍》的通變二元思維，將王褒〈洞簫〉放在整個賦體流變中檢驗，對「窮變於聲貌」提出不同之解釋，以為「窮變」是在相互文本影響下所開創出的新局面，在文辭氣力上的新修辭策略；「聲貌」是語言的形象美與聲律美，「窮變於聲貌」，在整個賦體流變中是一個新語體風格的起點，是在相互文本影響下新變的語體風貌。

“QuanFu” in “The Literary Mind and the Carving of Dragons” says: The change of “language style's form” in Zi-Yuan's Dong Xiao. After comparing the theory between Huang Pu-Mi and Yan-He, Rao Zong-Yi discovers that Yan-He put Wang-Bao in an important position and expelled Ma-Rong. Now I try to interpret the reasons. Usually, the explanation of Sheng Mao puts more emphasis on the beauty of voice and image. I bring up a different definition about “The change of Sheng Mao” on the foundations of comparisons among contexts and the phrase “Sheng Mao” in The Literary Mind and the Carving of Dragons as well as the examination Wang-Bao's “Dong Xiao” on the base of the change of Fu style which passes through transforming duality thinking of The Literary Mind and the Carving of Dragons. In my opinion, “Change” is a new situation under the anxious influences of contexts and is also a new rhetoric strategy. “Sheng Mao” is the beauty of language's image and voice. “The Change of Sheng Mao" is a starter of new language style in the “Fu” style and the anxious influence of contexts.