今人詮釋《詩經》，雖多以不在重視「風雅正變」之說，然「風雅正變」說在《詩經》詮釋傳統中實具有相當重要之地位，並曾產生極為深遠之影響。本文針對《詩經》詮釋傳統中之「風雅正變」說加以探討，全文主要分為以下四節：一、「風雅正變」說釋義。二、「風雅正變」說之起源問題論考。三、「風雅正變」說之解經特質。四、「風雅正變」說之流衍與反動。本文結論認為《詩經》「風雅正變」說在《毛詩．關雎．序》（世稱〈詩大序〉）中已略具雛形，至鄭玄解《詩》乃大加敷衍 ;其說具有「寓作於述」、「強調《詩經》鑑誡功能」、「說經務求融通」等解經特質。又自漢，歷經魏、晉至唐，在《詩經》詮釋上，「風雅正變」說皆居於主導之地位。宋代疑經風氣興起，此說乃受到批評，爾後質疑者代不乏人。透過本文之探討，期對「風雅正變」說之含義、起源、解經特質及流衍等，有較具系統之瞭解。

Even though most people today tend to overlook the idea of “feng-ya-cheng-pian” (風雅正變) when interpreting the Book of Songs, this concept played an important role in and had a major influence on traditional interpretation of the Book of Songs. In light of this, this paper attempts to reach a clearer understanding of this concept by looking at its meaning, origin, characteristics, and development of the concept. Discussion in this paper is divided into four sections, as follows: 1. the meaning of “feng-ya-cheng-pain”; 2. the origin of the term; 3. characteristics of the concept; 4. the development of and the reaction against the concept. Herein we conclude that the notion “feng-ya-cheng-pian” appears in a preliminary form in the “mao-shih-kuan-chu-hsu” (more commonly referred to as the “shih-ta-hsu”) and was fully fleshed out by the time of Cheng Hsuan's commentary on the Book of Songs. It characteristics include tendencies to “cloak interpretation in description”, “an emphasis on the prescriptive role of the Book of Songs”, and “an emphasis to achieve overall consistency in intepretation of the classics”. This notion played a primary role in interpretation of the Book of Songs from the Han Dynasty, through the Wei and Chin Dynasties, and into the Tang Dynasty. By the time of the Song Dynasty, though, the prevailing atmosphere of doubting the classics led to this notion coming under criticism, a trend that has continued into the present.