從「正」典作為一種文化論述其實是象徵意義與實際功能的離合拉鋸看來，劉勰面對魏晉辭賦化的綺靡流風而標舉「原道」，到唐代韓愈志於古文而著意「原道」，散行與駢儷在這一汲文學典律論述中互有上下的焦點轉移，顯然無法單單定位在文類辭章的推陳出新，而可以進一步探索促成文化架構重組的不同價值觀－亦即所謂「道」的差異性。當劉勰標舉文學是原生於「道（神理）」，而以聖人經典的方式，作用於文化體制之中，其實是承繼楊雄、司馬遷等人的「經典」文化論述，並進一步完備「道－聖－文」於書寫型式上的具體辭章結構及風格示範；企圖透過型式寓意－比如《春秋》以簡要的筆法進行善惡褒貶、如《詩》以藻辭譎喻進行諷諫美刺，來達成具體的社會功能。到了中唐，文學在文化論述中所扮演的角色，明顯因為客觀環境的要求－尤其是貞觀年間以來整個朝中上下對於科試時文的檢討與變革，而在型式、寓意上都出現改弦易轍的發展方向。辭章書寫被要求愈是清晰明白愈能辨惑達理，越不中程式規範越能切合時務。韓愈就是在這樣的背景中提出辨明現實利害、立足施用體制的〈原道〉論述。唐代古文因此與傳統文化經典標舉的寓意模式劃清了界限。換言之，源於個人與時代環境、社會體制的相磨相盪，表現自我遭逢生存問題所採取的對應姿態，才是真正的「修辭以明其道」。古文運動因此不在於推出公認的典型，而是鼓吹一種個人化的書寫方式，與一種個人版本的聖人之道。

　　　　　When we investigate the "canon formation" of literary rules and models as a type of cultural discourse, their symbolic meanings and practical functions cannot always be seen independently from each other. From Liu Hsieh 劉勰, who in the Wei and Chin Dynasties when rhapsodic literary styles were popular highlighted the "origin of the Tao," to Han Yu 韓愈, who in the Tang Dynasty was devoted to ancient classical styles and focused on "returning to the original Tao," ordinary and rhythmical prose exhibited diverse notions of literary rules and models. As such, these "canonical discourses" should not merely be considered innovations in literary style. Instead, the different values that caused the cultural structure to be reconstructed, the so-called diversity of the Tao, should be explored. When Liu Hsieh said that literature originated in the "Tao"(spiritual rules) and used the classics to apply the Tao within the cultural systems of his time, he was merely reiterating the concepts in the cultural essays of Yang Hsiung 楊雄 and Ssu-ma Ch'ien 司馬遷. In addition, he expressed the concept of "Taoist and Sagely Writings" 道聖文　within his concrete structure of composition and exemplary writing style. Liu Hsieh hoped to achieve a concrete social function via standardized morality by imitating the succinct writings of the Spring and Autumn Annals 春秋 to teach morals and the eloquent phrasing of the Book of Odes 詩經 to satirize and admonish. By mid-Tand, literature in the role of cultural discourse began to change due to a differing in subjectivity. In particular, during the Chen-Kuan 貞觀 era the imperial examination system was debated and subjected to reforms, causing it to change in form and content. Clarity of writing gained in popularity, as it could more easily express feelings and principles. A lack of conformity to a rigid writing style was considered to depict reality better. It was in this setting that Han Yu strove to define reality through a systematic discourse on yuan tao 原道. Thus, Tang Dynasty writings marked a watershed between new forms and traditional, classic moral tales. In other words, the way one faces the problems in his life are affected by various actors such as the individual's personality, the time in which he lives, and his society, which is what Han Yu called "choosing proper words to illuminate the Tao" 修辭以明其道. Therefore, this movement in classical writing was not to promote a publicly accepted literary format, but rather to encourage a personalized writing style and an individualistic and sagely Tao.