宋人的詩、詞之辨在詞學史上具有很重要的意義，它是詞體發展到一定階段的產物。沈義父生當宋、元之交，較之李清照所處的時代，兩宋詞學理論與實踐都有了更為豐富的積累，其詞學代表作《樂府指迷》強調的乃是詞不同於詩的本色理論，和李清照一樣，都在一國「別」字上下功夫，力圖將詞與詩之間的界限做進一步的劃分，構架詞自身鮮明獨立的理論體系，然而，在建構純文學詞論的同時，它卻又在不知不覺中逐步趨同於詩論，將其審美觀點與詩歌的審美意念交融契合。本文從「詞學接受詩學觀念影響」的角度來探討沈義父《樂府指迷》，沈氏立論之初衷乃是將詩學用以為逆向參照，試圖建構出一套完全不同於詩學的理論體系，以顯示詞「別是一家」的獨特風采。並也確實地找出了詩、詞核心的不同之點：詞合樂歌唱，由合律歌唱這一核心特徵出發，本可以推衍出一整套的創作要求。然而隨著詞由俗趨雅，他雖把「協音律」的要求強調得斬釘截鐵，可是一涉及詞的語言、立意、風格與情調等問題，便悄悄地與詩學精神聯合為一，從而表述了自己求雅、求正、求含蓄的詩化的詞學主張。一方面嚴守詩詞界限，一方面跨越界限相融，以致雅化詞論最終與詩學的趨同。可見南宋雅詞論者一方面架構獨立於詩之外的理論體系，另一方面又將詞學審美意識與觀念和詩學觀念交匯融合，詞論在這一矛盾而統一的過程中，最終將詞學理論化為詩歌理論的一部份，亦可見詞學表現藝術完全是在詩教的支撐下逐漸完善起來的。

The augments between Poet and Tsu in Sung dynasty reveals great significance in Tsu's history, and it can be regarded as the natural outcome of the development of Tsu's style. I-Fu Shen was litterateur between Sung and Yuang dynasty, during which the theory and development of Sung Tsu was plentifully accumulated in comparison with the era of Ching-Chao Li. Similar to Li, Shen's representative works named Yueh-Fu-Chih-Mi intentionally stressed the differences and laid the boundary between Poet and Tsu, and formulated unique theoretical framework. However, it gradually approached the Poet theory imperceptibly, and blended Poet's estheticism harmoniously. In other words, on one hand, it followed strictly the differences between Poet and Tsu, on the other hand, it fused the differences by breaking the boundary between them. This study intends to uncover the polished Tsu's theory from Shen's Yueh-Fu-Chih-Mi and its tendency toward Poet from the perspective of “Poet theory affects Tsu theory”. From the viewpoints of identical school and different feature, the complex cultural implication of Sung Tsu in the prosperous age can then be investigated. Through the processes of contradiction and unification, Tsu's characteristics finally become part of Poet theory, and it can be concluded that Tsu's artistic development was completely formulated by the support of Poet.