從「辨乎騷」 《文心雕龍》〈在如何面對對待已有的文化遺產的問題上當然被作為通變基點礎上，處理好迥異於儒家意識形態但又有著不可忽視的巨大影響力和文學價值的《離騷騷入經」不同，劉勰承認了緻的「辨」，才能順利地進行一方面以經典之義作為宗旨其與經典一併納入通變思想體系又區別處理兩種文化的方式方面，構成劉勰通變思想的完整體系。

The Literary Mind and the Carving of Dragons – the 28th chapter of Tradition and Change, illustrates that the principle of change in literary is to make the revival of tradition classics. Hence, the classical Confucianism should be the starting point of making new literary and artistic creation when there are so many cultural heritages surrounding. In order to maintain the core of Classics when changing, it is necessary to encounter and explain the impact of Li Sao, whose ideological sphere is different from Confucianism but with the tremendous influence and literary value. Different from transplanting Li Sao into Classic of Poetry (or Shijing) indiscriminately by Han academicians, Liu Hsieh recognizes the difference of Li Sao, and also deems the guide of change as following: it needs to study Li Sao dialectically before innovating new changes successfully. In the process of studying and understanding Li Sao, Liu sticks to principal as classical Confucianism, meanwhile he adapts to new trend of literature in order to take both classics and new in to his conception of tradition and change. This method is to have mainstream culture coexist with second arising culture, but also to keep the different characters of two cultures, considering inheritance and innovation, which is the construction of Liu Hsieh’s whole conception of tradition and change.