一九六○年代，旅美漢學家陳世驤提出中國文學「抒情傳統」之說。其後，接續者甚多，已形成論述譜系。這種說法，乃建立在中西比較文學「平行研究」的架構上，從而突顯中國文學的特質，其正面價值應予肯定；然而，也相對的造成某些負面的影響：一則這種說法乃是一種「覆蓋性的大論述」，遮蔽了我們對中國文學之多元性的詮釋視域；二則這種說法隱涵著單一線性的文學史觀，將體類分殊的中國文學簡化為一種「孤樹狀的結構圖式」。本論文針對這樣的負面影響，進行反思、批判，並且提出另向的詮釋與重構。主要的論點是：中國古代的詩歌「美典」(aesthetics)，乃呈現了多面向的變遷以及叢聚狀的結構。

In the 1960s, Sinologist 陳世驤 established "lyrical tradition" among Chinese literary critique. Afterward it became a genealogical discourse that was inherited by many scholars. This discourse relys on "parallel studies" in East/West comparative literature studies in order to highlight the distinguishing characteristic of Chinese literature. The positive value of this study is unquestionable. However, it causes some effects influence: Firstly, this statement is a kind of "Coverage Of Grand Narrative" that overlay the multiple horizons of the Interpretations on Chinese Literature; Secondly, the statement implies unitary linear view of literary history which simplifies Chinese literature to an "Isolated Tree stat Structure". After reflecting on and criticizing the negative influence, and reestablishing a different way of interpretation, I argue that: Chinese ancient poetic "aesthetics" presents multidimensional transition and clustered structure.