中國詩學素來有「詩言志」、「詩緣情」兩大傳統，分別源於先秦兩漢以前及魏晉六朝以後，詩歌由社會詩用轉向個人抒情的發展。是文學反映政治、社會或具有政教諷諭，漸趨發展為個體以一己之感物反映創作主體個殊之審美經驗，由此兩者交互表現出中國詩歌之特色，即關注群體共同價值及個體存在價值之創作意向的實踐。由於文學史上以「詩言志」為精神依止大多以「復古」為幟，交互與「詩緣情」進行辯證，而又以明清格調、性靈詩學主張分流對峙尤為強烈。故本文以明初格調說之先聲李東陽，以及晚明性靈說之先聲李贄，分別以「詩樂合論」詩主「和」及「個體自覺」詩主「真」之詩學分流起點為觀察視角，相應於「詩言志」、「詩緣情」詩學傳統進行內部聯繫，以說明「詩言志」詩教精神之「復古」，和「詩緣情」詩主情性之「新變」，實為兩種創作意識的對峙。吾人於文學史評價之界定，當應重新審視兩者，不宜以格調、性靈詩學之執「用」、執「體」而偏頗其中一方。

This treatis attempts to use viewpoint of creative consciousness to demonstrate the relationship between “Shi Yan Zhi” and “Shi Yuan Qing” in traditional chinese poetics. The author discusses the consciousness of group and individual in the field of “Shi Yan Zhi” and “Shi Yuan Qing” and then concludes an important element of the diverse poetic discourses in Ming Dynasty. The author believes that group consciousness of a poet come from his concern about country, and his individual consciousness grows from the awareness of self-consciousness. This point deserves explicit emphasis, in the creative consciousness of group and individual, between the creation of group concerning and self-awareness, they stand at opposite positions: the former emphasizes meanings of literary function for transform social traditions, and the latter emphasizes meanings of literary essence for express lyrical self. For reason mentioned above, it offers the key to an understanding of the diverse poetic discourses in Ming Dynasty. This will lead us further into a consideration of controversy for tradition and individual in Ming Theories of poetry. The question resolves itself into the following two points. First, the theories of poetry of Li Dong Yang and the Ming Neo-classical School has developed from the political-educational function of the “Shi Jing” on the Han Dynasty. Therefore, we may say that theory of Ge-diao of the Neo-classical School was influenced by aesthetic norm of “Shi Yan Zhi”. Secondly, The poetics in late Ming Dynasty in contrase to the Neo-classical School, it proposed “authentic sentiments” as a sufficient condition for a work to last through generations. One of the notable features of Xing-ling School is the poetical rendering of reveal true sentimets. Viewed in this light, poetic of “Shi Yan Zhi” can be regarded as ideological enlightenment of Xing-ling School. From these remarks one rational point becomes very clear: The creative consciousness of group and individual, they stant opposite each other. We should not overlook that the antagonistic relations between “Shi Yan Zhi” and “Shi Yuan Qing” of literary history leave room for a variety of interpretatios. From this viewpoint of creative consciousness of group and individual one may say that “Shi Yan Zhi” and “Shi Yuan Qing” are two important fountainheads for poetic history. This point deserves explicit emphasis.