中國性靈詩派的二位代表：袁宏道、袁枚，其所倡之「性靈」詩說，實包含率真、靈妙、風趣等多重意涵。而其以「戲」「嘲」為題的詩歌，最能表現出詩人在遊戲中、真趣橫生的深妙意味。本文即針對二袁嘲戲為題詩歌的題材內容：老病、愛慾、與物對話、與當事文化及往聖古哲對話等四部份，分析其中所蘊藏的諸種意涵：既拘束又自由、既焦慮又釋放、既愛又慾、既戲物又嘲己、既拆解又還原。凡此正可視為其性靈詩論：「獨抒性靈，不拘格套」「風趣專寫性靈」的一種具體表現。

Yuan Hong-tau and Yuan Mei are two representative poets of School of Nature Spiritual Power, which is one of three major poem doctrines in Ming and Qing Dynasty. The poem theory of these two poets focuses on 'native sensibility' which includes a multiplicity of implications, for example forthright, sincere, subtleties, and gusto. The 'game' and 'cynic' of their poem subject miraculously express one's personal nature, and uniquely draw forth what lies in one's bosom. The purpose of this paper is to examine the heart tenet of School of Nature Spiritual Powers through two Yuan's work about 'game' and 'cynic' and to interpret the meaning of the inconsistent subjects, for example freedom and constraint, anxiety and liberation, love and desire, banter material and cynic oneself, deconstruction and reduction. All of these meanings embody their poem theory of 'expressing personal nature and not restricted by convention.' and 'gusto uniquely describe native sensibility'.