本文嘗試從典律運作的理論探討明代詩學的理論分歧。明代前中期格調詩派在建立美學規範的共同目標下，展演了最為典型的典律拉鋸戰，豐富了詩歌史的詮釋，卻也留下了程古所帶來的模擬之弊。晚明的詩學則是從作者及讀者兩個層次逐步解構格調派的典律運作，一方面以「真性情」作為文章傳世的充分條件，另一方面，則從文本、作者、讀者間的錯綜關係，揭示閱讀現象的複雜，從而意識到讀者在典律運作時的關鍵地位。此一進展改變了傳統詩學的視野及思辨方向。因此，從這個角度言，明代詩學亦可視為：由格調派側重建構文化傳統的關懷，以樹立典律來落實教與學的運作模式；至晚明轉為由創造文化的角度，從作品傳世的機制來思考當代文學的可能性，從而釋放批評者的權力以與讀者共享閱讀經驗。

This essay attempts to use theory of literary canonization to demonstrate the diverse poetic discourses in Ming Dynasty. In the common striving to establish an aesthetic norm, the "Ge - diao" (Style) School developed in early and middle Ming Dynasty showed us a typical battle on canon, which certainly enriched the interpretation of poetic history and yet also left a faulty trend of imitating the past. The poetics in late Ming Dynasty endeavored to deconstruct, on the levels of both the author and the reader, the canonization of the Ge - diao School. On the one hand, it proposed "authentic sentiments" as a sufficient condition for a work to last through generations. On the other, it analyzed the complicated reading phenomenon by looking into the relationship between the text, the author and the reader, and posited the prominent role of the reader in the formation of canon. This development in late Ming Dynasty radically changed the vision and approach of traditional poetics. Hence fore, the poetics of Ming Dynasty can be seen as a process from the concern of constructing a cultural tradition, as proposed by the Ge - diao School, to establish the canon as a model for teaching and learning, to the concern for cultural creativity, as proposed by late Ming Dynasty, to think about the possibility of contemporary literature in terms of the mechanisms of how the work can last, in order to release the critic's power to share with the reader.