許慎的《說文解字》常是歷來運用「以形索義」訓詁方法之依據，在「形訓」的運用上，有其重要性。通觀清人展現訓詁特色解釋《詩經》的專著，如胡承珙《毛詩後箋》、陳奐《詩毛氏傳疏》，大多在推崇《毛傳》下，依循《傳》說發揮，真正能「以三家辨其異同，以全經明其義例，以古音古義證其譌互，以雙聲疊韻別其通借。意有省會，復加點竄」不專主一家，善於吸取《三家詩》的優點，重視文脈意義的貫通與全經句例，且折衷至當，糾正《傳》、《箋》、《正義》的錯誤，並提出自己的創見，應屬馬瑞辰《毛詩傳箋通釋》一書了。《說文》在《通釋》的運用極廣，或以《說文》辨其通借，讀以本字；或校勘異文，定其訛誤；或以《說文》義訓爲歸；或以釋聲爲據，可謂多方運用。本文主要探討馬瑞辰《毛詩傳箋通釋》以《說文》字形證《詩》義的成就及缺失。而透過馬氏據《說文》「以形索義」所衍生的問題，本文將進而探討以《說文》字形用於訓詁之形訓的實踐上的效用與限制。

Maoshizhuanjiantongshi is the masterpiece written by MA-Ruichen. He attempted to comment and explain Shijing comprehensively. Thus, he could not be restrained by Maozhuan and Zhengjian while composing Maoshizhuanjiantongshi. Moreover, he is so knowledgeable that he makes good use of various evidences to prove his opinions. For example, Shuowenjiezi is one of the important materials he used. In this essay, there are two research purposes as follows: (1)Examining how MA-Ruichen used the information of Shuowenjiezi. (2)Exploring the advantages and disadvantages of using the information of Shuowenjiezi to compose Maoshizhuanjiantongshi. Finally, with the results of the research, the explanation for the form of a Chinese character would be briefly given.