本文主要研究後七子之領袖人物李攀龍的詩論與創作，首先針對李攀龍詩論之內涵，分為 「崇古」、「法式」、「格調」三點加以探討，可知其尊古、學古、依循古法、古調的用心，此乃上承李夢陽，下開後七子，而蔚為一時風氣；其次觀察李攀龍最具代表性的詩作－擬古樂府是否與其詩論以及前人評價相符，依 「擬議」、「變化」兩大重點加以檢視與比較，可知李攀龍以擬為作，固然大部分為尺寸古法之作，其中亦有別出心裁、反映現實之佳作，不應因其 「擬古」而視為因襲剽竊甚至全盤否定；最後則思索歷來學者對於李攀龍詩論與創作的嚴厲批判是否允當，「擬作」並非一無可取之處，其創作意圖亦有尊習典範的用心在，本文即欲在此認知基礎上，重新對李攀龍之擬古樂府作一番爬梳與整理，並試圖肯定其「 擬議以成新變」的意義與價值。

This research aims to study the poetics and creative practice of the leader of the Latter Seven Masters-Li Panlong. The discussion starts from the literary elements of "classics", "form", and "style", and from the analysis we see Li's dedication to the study of classical Chinese literature, revealing his creative works and preferences which mimic works in ancient forms. Extending from the achievement of Li Mengyang, Li Panlong's style prevailed and he led the Latter Seven Masters in the forming of a new literary school. This analysis examines Li Panlong's poetic theories and the critics on his most representative work-the Ni Gu Yue Fu (imitation of the old-style Yue Fu) from the two key aspects-"apery" and "variations". From the analysis, we see that even though this series of Li Panlong's work adheres strictly to the styles and forms of the classical Chinese poems, creativity is not completely absent from the context. There are indeed many good works that reflect the reality of his times, and should not be negated by the accusation of plagiarism. Finally, the harsh criticisms of Li Panlong's poetic theories and creative works are investigated for the purpose of examining their legitimacy. "Imitation" is not without merit; the attempt to explore the values of the classics is a value in itself. With this principle in place, we reorganized Li Panlong's Ni Gu Yue Fu, with an attempt to reestablish the meaning and value of his effort to impart creativity in apery.