劉勰於《文心雕龍‧程器》內申論文學創作及主體人格的關聯，以為無論文人或武士，都應修養道德、鍛鍊幹才，努力外發為實際事功，同時又兼具文章創作能力。真正完美的「文人」，除了寫作之能以外，或以政事著稱，或以武功顯赫，抑或以高潔人格現身於世；絕非徒能馳騁文墨、撰述言辭而已。其實，早在《左傳》、《國語》、《呂覽》諸典籍裡，已見古人「慎辭無欺」，亦即期許文辭必須符合主體言行舉止的觀念。此外，文辭之美與道德之善，兩者的辯證思考，更常見諸歷代文論資料，不絕如縷。先秦時孔子、老子均以為必先涵養道德之善，才能真正外發為文辭之美。漢代時桓寬、揚雄、王充，則期許文人不應徒能營構文辭，更應能夠向外建功，然則道德之善及文辭之美，適可相輔相成。下及魏晉六朝，面對整體性的綺麗文風，其一如徐幹、葛宏之輩，以德行為本、文章為末，本末相輔相成為其持論，其二如王粲、桓範、裴子野之流，針砭作品不切世用，亦將文學價值歸本於人格修養。總言之，在劉勰看來，文學創作的價值，並不自外於道德的修養與實踐，而如此的文學觀點，早在《文心雕龍》之前，即有跡可尋。

Liu Hsiehe discussed the relationship between Morality and literature, It is meaning literature is not an independent issue from morality. In fact, the relationship is an important issue in Chinese literary critique. At several ancient codes and records which are earlier than (The Literary Mind And The Carving Of Dragons), critics considered what one says should be honestly, and the value of literature is basic on morality. In short, Liu Hsiehe's point is not innovative, That is a historical and glorious literature point.