本文試圖對楊慎詩學論述中關於六朝詩歌的定位進行考察。首先還原出楊慎當時面對之詩壇景況的論述語境，乃為了改正李攀龍、何景明二人專主盛唐，獨尊李、杜的現況而發，故他以揭示杜甫詩並非篇篇皆佳、唐代詩作非首首皆好為出發點，希冀矯正學詩者僅學唐代兩位大家、只觀唐詩、只用剽襲模擬的方式創作的弊病。接下來從讀詩、解詩的角度下手，把楊慎對六朝詩的提倡，和他要求博學的脈絡作綰合。因為楊慎認定學習六朝詩是讀懂唐以後詩歌作品的必要手段，所以借用時人對李白、杜甫高度接受的風尚，採取引用杜甫說法為自身背書等方式來提倡六朝詩歌。再者，把六朝詩歌放到楊慎整體詩學脈絡中考察，判定六朝詩僅是整個詩歌傳統中的一環，地位並未高於其他朝代。楊慎肯定的是人人有詩、代代有詩的觀點，六朝詩歌的地位，既非附庸於其他朝代，也未較他者為高。楊氏特別提點六朝詩歌既是因前人的輕視忽略，也是基於他追源溯流的興趣。最後以六朝詩歌在楊慎詩學中的地位為基礎，兼論雷磊等以楊慎為首的「六朝派」論述是否合理。由於各家對楊慎詩學中六朝詩歌的地位不明，再加上內部論述中有難以與原先流派作出明確切割、前後互相矛盾等問題，判定「六朝派」的提法，可能尚須斟酌

This paper aims to study the position of Six Dynasty poetry in Yang Shen's poetics discussion. First, by restoring the poetic trends of the time, we look into the discourse context which Yang Shen faced. In order to correct the fact that Li Panlong and Ho Chingming only respected High Tang and Li Bai and Du Fu's poetry, Yang Shen started by revealing that not every poem by Du Fu and other Tang poets was good, in a hope to stop and correct people from only studying these two poets and developing the negative habit of emulation and plagiarism. Second, by starting from the approach of reading and explaining the poem, we can combine the advocate of Six Dynasty poetry and the requirements of erudition. Yang Shen regards learning Six Dynasty poetry as an essential method for comprehending poems composed after the Tang dynasty; therefore, he capitalized on Li Bai and Du Fu's popularity that prevailed at that time and began citing Du Fu's opinion as support for his advocating Six Dynasty poetry. Third, Yang Shen viewed Six Dynasty poetry as only a part of the poetic tradition and having no higher a status than poetry from other dynasties. Yang Shen affirmed that every poet has a fewgood poems and every generation has different poetry. The status of Six Dynasty poetry was not dependent upon other dynasties, but at the same time was not superior to them either. Yang Shen especially emphasized Six Dynasty poetry because people found it easy to ignore or disregard. He was interested in finding the roots of this literary phenomenon. Finally, the status of Six Dynasty poetry in Yang Shen's poetics is used as a basis to discuss whether Lei Lei and other scholars' discourse on Yang Shen being the leader of ＂Six Dynasties School＂ was rational or not. The status of Six Dynasty poetry in Yang Shen's poetics is unclear in the discourse of these scholars. Also it is difficult to differentiate this assertion from the original school and discourse on it, making the issue that much more convoluted. Therefore, discussion on the ＂Six Dynasties school＂ needs to be thought through more and discuss with greater care