創作自是「課虛無以責有，叩寂寞而求音」，從一無所有之中構思出具體形象，由寂寥無聲之中，創造出鏗鏘悅耳的文章。陸機深懂至音要道，能於無中聽有。《文賦》以創作比之「曲盡其妙」，其心靈活動喻如「罄澄心以凝思，眇眾慮而為言」，其清新表現比如「收百世之闕文，採千載之遺韻」。陸機更以音聲樂器的「應」、「和」、「悲」、「雅」、「豔」為例，來論成功與失敗的創作：成功的文章其形式好比「音聲之迭代，五色之相宣」，其剪裁取捨真可謂「塊孤立而特峙，非常音之所緯」。把失敗的弊病，比喻成為單絃獨奏、和絃之無聲，或曲調雖典雅，卻無藝術魅力。所以，寫作不只心法像彈琴，文法也像書法。陸機《文賦》所談的文法，無一不像書法，如他說善寫作者，「精騖八極，心遊萬仞」、「觀古今於須臾，撫四海於一瞬」、「籠天地於形內，挫萬物於筆端」，這些形容完全適用於書法大家。 　　在許多討論陸機的文章中，從音樂與書法切入，仍不多見。以魏晉既重精神，又好玄學式融匯的文藝思潮，自然易於將文學、玄學、繪畫、音樂、書法等心法冶於一爐，互相闡發，一語貫之。《世說新語》顧愷之談作畫說：「四體妍蚩，本無關於妙處；傳神寫照，盡在阿堵中。」這個「傳神寫照」，正是魏晉的同一精神，文學創作可以取用，藝術創作如繪畫、音樂、書法等亦可取用。試看東晉王羲之書法之自由灑脫、行雲流水，不正是與陸機、與整個魏晉風度契合嗎？ 　　因此，本文擬將《文賦》旨趣跨越琴、書二藝，互相比照，以證陸機學識之深廣，思想之玄遠。

Lu Ji’s (261-303) “Literature: A Rhapsody” is concerned with the process of writing, from the search that precedes inspiration to the transforming effect on the reader that follows putting down the pen. In between, the writer's task is to harmonize this inner world of thoughts and feelings with the outer world of things, and to find words to match his perception of meaning or truth……. The protagonist of the Rhapsody, his act of writing–comprises three stages. First he gathers fuel. Next he compresses his far-flung material in his mind, achieving a concentrated view of the world and his work. Finally, the completed work flows from his pen with the force of a rushing wind to carry out literature's task of mortal transformation. This is the first systematic treatment of literary criticism in Chinese and one of only a few to be cast in literary form. It pays attention to the definition of genres in more detail than Cao Pi’s (187-226) “On Literature”, and is concerned with the description and solution of fault.