本文主要以明末清初的佛教對文學的態度以及論詩的基本傾向作為討論對象。試圖就晚明以來叢林盛行的論詩風尚之起因、演變、特色及其反響，描繪出一個大致的輪廓。並希望以此為基礎，認識（一）明末清初的佛教的文化態度、（二）文人與佛教的互動關係、（三）中國傳統詩論與佛教之間的相互影響、（四）明清佛教對前代經典與人物的詮釋方式。 雖然自晚唐五代以來，佛教界一直存有詩僧的傳統，但從未像明末清初（幾乎等於十七世紀）一般出現這樣大規模的隊伍。同時明末清初的僧人也標舉宋代的德洪覺範成為理想詩僧的典型，在明末清初僧人的詮解下，德洪覺範不但具有卓越的文學稟賦，而且成為充滿正義感以及強烈忠義節操的形象，這樣刻意的詮釋正好反映出當時叢林論詩主張的特殊面向，第一是強烈的關懷現實，第二則是喜好詩文的文化傾向。這樣的文化態度在當時頗具影響力的曹洞宗尊宿覺浪道盛身上，正好得到充分的展現，本文藉著覺浪道盛的例子，省察當時叢林詩論的特徵以及他對語言文字獨到的認識。最後就當時反對者的意見來看他們反對叢林論詩風尚的理由與論證。 本文要說明的是明末清初的佛教具有高度的社會關懷與文化成就，他們的論詩風尚與主張也具體反映了當時的文化趨勢與價值體系與佛教之間的複雜對應關係。

This article discusses the Buddhist attitudes towards literature and the key features of their poetic criticism during the Ming-Ch'ing transition. This article sketches the contours of such poetic criticism by examining their origin, evolution, progress, and character. Opposing views to theirs are discussed, too. This study provides a foundation for understanding: 1) Buddhist cultural criticism; 2) the interaction between intellectuals and the Buddhists; 3) the mutual influence between traditional Chinese poetic criticism and Bud dhism; and 4) seventeenth-century Chinese Buddhist hermeneutics. There has been a long tradition of Buddhist priests assuming literary roles since the T'ang dynasty. However, in terms of quantity and quality, the situation of seventeenth-century China is unprecedented. The eminent literary monk of Sung China, Te-hung Chüeh-fan, who created the idea of ""Wen-tzu Ch'an'' (Ch'an Buddhism as/in language), was considered as an ideal. He was not only known for his literary gift, but also for his uprightness and loyalty to the country. This foregrounds the principal direction of seventeenth-century Buddhist poetry, one that combines social concerns and Buddhist thought. This article focuses on the master of the Ts'ao-Tung sect, Chüeh-lang Tao-sheng, to examine the Buddhist poetic criticism and Chüeh-lang Tao-sheng's accomplishments. Opposing views to his are discussed, too. This article will clarify the complex relationship between Buddhism and contemporary systems of values