南宋魏慶之《詩人玉屑》，採錄宋初以來詩話、筆記等180餘種說詩學文獻，體現詩藝、詩格、詩法、詩病，堪稱集兩宋詩學之大成。其書徵引諸家，輯述而不評論，然去取詳略之際，予奪抑揚之間，已自有其裁斷與評價。本文考察《詩人玉屑》之編印與宋代詩學之傳播，從雕版印刷之為傳媒，與寫本相濟爭輝，促成「唐宋變革」切入；復坐實雕版印刷「易成、難毀、節費、便藏」之種種便利，更借鏡谷登堡活字版印刷之所以為「變革之推手」，所生發之諸般傳媒效應，創意詮釋，轉相論證，以見寫本印本之二元傳播，助長了宋詩之疏離唐詩，催生了唐宋詩之異同，促成了「詩分唐宋」之趨勢。此從《詩人玉屑》徵引《苕溪漁隱叢話》、《王直方詩話》、《誠齋詩話》、《白石詩說》、《陵陽室中語》、《東坡詩話》、《復齋漫錄》諸詩話，大多推尊陶潛、杜甫，宗師蘇軾、黃庭堅，取徑江西詩法，所謂「媒介即信息」，此中自有傳播與接受之消息。至於徵引《石林詩話》、《臨漢隱居詩話》、《溪詩話》、《滄浪詩話》，與上述詩話異調變奏者，則是南宋詩學之回授反撥。自《石林詩話》而《苕溪漁隱叢話》；從《誠齋詩話》、《白石詩說》至《詩人玉屑》，宋代詩學注重詩藝、詩法，其消長、形成，與宋人審美追求「法式規範」大有關係。

In Shih-jen Yü-hsieh（《詩人玉屑》）, poet Wei Qing-zhi（魏慶之）of the Southern Sung Dynasty collects the art of Sung literature in a nutshell; for example its criticism of Sung poetry’s style, form, sentence structure, and weaknesses is said to be the essence of both Northern and Southern literary highlights. This publication analyzes the canonic works of its time; through what it chooses not to say, it is clear to the readers of its critical attitude towards contemporary literature. In this paper, through scrutinizing the making-process of Shih-jen Yü-hsieh it is seen how Sung poetry employ the technique of the printing press to raise competition against hand-written manuscripts; the result confirms what is later defined as the “Tang-Sung Restoration”. Due to the fact that these publications were “easily produced, scarcely damaged, low in cost, effortlessly preserved,” the printing press naturally became the “key to the Restoration”—thus such interaction between circulation of the work and its popularity reached its peak during this period. The literary movement of Sung, therefore, started to divert from its Tang inheritance, ultimately accomplishing the trend that “departs the Sung style from Tang poetry.” From Shih-jen Yü-hsieh, I would like to extract various poems including Tiaoxiyuyin Cong-hua（《苕溪漁隱叢話》）, Wang-zhifang Shi-hua（《王直方詩話》）, Chengzhai Shi-hua（《誠齋詩話》）. Bai-shi Archive（《白石詩說》）, Lingyang Chamber Poems（《陵陽室中語》）, Tung-P'o Shi-hua（《東坡詩話》）and Fuzhai Man-lu（《復齋漫錄》）, most of them showing demonstrate their appreciation for Tao Yuan-ming（陶潛） Du Fu（杜甫）, Zōng-shī Su Shi（宗師蘇軾）,and Huang T'ing-chien（黃庭堅）, which trace back to the poetics of Jiangxi. As to understand the equivalence of “medium and message” （「媒介即信息」）, reader response and critical acceptance must be brought into discussion. Several exceptions, such as（《石林詩話》）, Linhan Yin-Ju Shi-hua（《臨漢隱居詩話》）, Gongxi Shi-hua（《溪詩話）》and Canglang Shi-hua（《滄浪詩話》）, are examples of Southern Sung’s poets reflections of the dynasty’s particular history. Out of Shilin Shi-hua, Linhan Yin-ju Shi-hua emerges; and from Chengzhai Shi-hua to Shih-jen Yü-hsieh, it is seen how the poets of Sung value the art of semantics as well as the structure of the poem, to which contributes to Sung poems’ emphasis on “regulated formations.”