劉勰在《文心雕龍•哀弔)篇中，選潘岳哀體為創作之典範，忽略曹植、陸機、孫楚三家之作，筆者乃從「哀」之文體意義出發，確定劉勰「哀」之文體規範後，再以此規範檢驗曹植，孫楚、潘岳、陸機之作，確立潘岳作品之典範意義，並對「義直而文婉，體舊而趣新」作如下之詮釋:事理能正直不偏的，透過多重修辭手段的文辭，加以委婉曲折的表達，並在繼承舊有的四言體裁與哀怨語體之外，能透過多重修辭策略委婉曲折的表達，產生「言有盡而意無窮」的新的韻緻。

　　　　　Liu Hsieh(劉勰 ), in the "Ai Dao"(哀弔) of" The Literary Mind and the Carving of Dragons", set Pan Ue "Ai Ti" to be the model of creation and ignore the works of Cao Zhi (曹植), Lu Ji (陸機) and Sun Chu (孫楚) .I try to start from the meaning of "Ai" literary form, making sure the stipulation of Liu Hsieh "Ai" literary form. Through the definition, I exam the works of Cao Zhi, Sun Chu, Pan Ue, and Lu Ji. What I am doing nom is to recognize the meaning of Pan Ue's work and make the explanation of "things are impartial and be expressed by an in directed way", "Old literary style for new interests" through multi-decorated phrases and vocabularies. In addition, the new style, "feeling are more than words", is showed by the strategy of multi-decorated phrases and as well as succeed old composition style.