本文從三方面探討了袁枚的詩歌理論。指出：袁枚詩論的核心在於抒發詩人的「性情」，並把是否抒發「性情」看做是詩歌創作和批評的標準；他認為「大巧之樸，濃後之淡」是詩歌的至美境界，並從藝術構思和藝術傳遞兩方面臻於這一境界進行了詳盡精到的分析；他提出「詩有工拙，而無今古」的主張，闡述了自己文學進化論的觀點，反對乾嘉文壇風行一時的復古之風。

　　　　　This article probes into Yuan Mei's poetic argumentation from three aspects. It points out that the centre of Yuan Mei's poetic argumentation lies in expressing the poet's disposition and regarding whether it expresses disposition as a criteria of poetic creation and criticism. He thinks "simple lying in elegant" is a perfect poetic realm and has a detailed analysis from the article composition and communication. He advocates the stand of "a poem can be regarded asexcellent or inferior without regarding the present and the past "and explains the position of his own literary evolution against the restoration of ancient ways of Qian Jia literary circle.