宋人之學唐，主要在汲取優長，作為創作之觸發。學唐法唐只是過程與手段，其終極目標要在變唐、新唐與拓唐，而自成一家。宋代雕版印刷之崛起繁榮，圖書流通之便捷多元，促成詩話筆記之大量出現。詩話筆記之編著，總結詩歌之創作經驗，歸納文藝鑑賞之原理原則，推波助瀾了此種文風思潮。在印本、寫本圖書交相傳播之宋代，詩話在提供學習唐詩，師法典範之餘，往往避忌沿襲剽竊，標榜點化改造。宋詩既導源於昌黎，於是自歐陽脩以下，多宗法「陳言務去，詞必己出」。宋人之學習韓愈，表現於詩話筆記，於此乃又踵事增華，變本加厲。今以宋末魏慶之《詩人玉屑》為主要文本，覆按其書徵引北宋元祐以來之詩話筆記，就傳播與接受之觀點，借鏡活字印刷之傳媒效應，以考察唐宋詩之沿襲與點化、學古與通變。傳承與開拓之並重相濟，自是宋代詩學關鍵課題之一。

Scholars of Song (宋) Dynasty study Tang (唐) culture primarily to adopt their strengths and forte, from which literary inspiration and creativity are evoked. Learning the Tang philosophy is merely a means to achieve three ultimate goals: transformation, renovation, and expansion of Tang literature in attempt to establish a style of Song’s own. During this period, the printing technique has reached its peak, resulting in a large increase in book publications all over China. While both printed and written copies circulate widely during this dynasty, punctuation is often attuned in order to prevent plagiarism. The poetry of Song initiated from Han Yu (昌黎); that is why after Ouyang Xiu (歐陽脩) most styles demonstrate a style that “value precision and originality”. Most commentaries indicate how Han Yu is appreciated by Song scholars, which in turn benefit a Han-style way of writing in later Song literature. Shih-jen Yü-hsieh (詩人玉屑) by Wei Qing-zhi (魏慶之) is selected as this paper thesis for its elaboration on a variety of literary criticism of contemporary Song. From the perspective of cultural expansion and acceptance, I would like to look into how the invention of movable-type printing influenced the inheritance and attunement of Tang and Song literature since the Yuan Yu Era (元祐) as a means link tradition to innovated literary methodology. Inheritance and reinvention are both considered as key issues concerning the study of Song poetry.