《詩經》正變說源於〈詩大序〉，自鄭玄《詩譜》建立條例、分置篇目、孔穎達等《正義》補充說明以後，遂成一立基於〈詩序〉之詮釋標準。簡而言之，凡作於文武成王之際、內容又關乎王政之化之〈風〉、〈雅〉諸篇即為正詩，餘為變詩。自宋以後，學者於〈詩序〉已有質疑，以〈詩序〉為基礎之正變說亦漸受各方質難。筆者考察諸家說法，以為魏源「四始即正始」、「三篇連奏」等說法最接近正變說之初衷。〈正風〉、〈正雅〉美后妃之德、燕群臣嘉賓等內容，均為封建制度、宗法社會所服務。其餘變詩既無關宗法封建，縱有美明君善政之詩，亦不得列於正詩。鄭玄所創之正變說，實為宗法社會之遺續。然而若以通經致用的角度理解正變，則該說適足以警惕人君，使其精益求精，此亦令人研讀《詩經》時可得之收穫

The idea of ”feng-ya-cheng-pian” (風雅正變) from the Book of Songs, that stemmed from ”shih-ta-hsu (詩大序).” A new interpretation of the standard has been produced, since Cheng Hsuan (鄭玄) re-write poetry directory and the Kong Yingda (孔穎達) supplementary note. In short, the poetry produced in the Wun Wang, Wu Wang, and Keng Wang, the content on the good politics is ”cheng”, the other is the ”pian poetry.” Since the Song Dynasty, scholars began to doubt, ”shih-hsu”, people started to question the ”feng-ya-cheng-pian.” Author of various interpretations, and finally found Wei Yuan's (魏源) ”si-shi is zheng-shi (四始即正始) and ”san-pian-lian-zuo (三篇連奏)” is closest to the original appearance of ”feng-ya-cheng-pian”. ”Feng” and ”ya,” praise the king's wife and happily entertain guests. Poetry the behavior described on the feudal system and the patriarchal society is ”cheng,” the other is ”pian”, although it may also be politically correct subject matter. Cheng Hsuan's ”feng-ya-cheng-pian” is the legacy of the patriarchal society. If we use ”pass through practical” point of understanding ”feng-ya-cheng-pian”, then this argument can not only alert those in power, but also make people better, this may be the modern reading Book of Songs, available at the time of harvest