宋玉〈神女賦〉與〈登徒子好色賦〉分別開創出「神女」「閑邪」兩類型辭賦，雖都意在勸諷讀者不可沈湎情欲與女色，但策略與情節並不相同。主要差異在：前者，神女總是現身男性夢中，似欲與男性親近，但女性主動求歡本不見容於現實常理與規範，故才以同為非理性的「夢」作為現身場景；最後卻忽然離去，讓夢醒的男子傷懷不已。如此結局，意在提醒讀者，莫過執著男女情愛，否則也只能空留辛酸餘恨。後者，男性與美女相遇不在夢境之中，而男性往往因堅持道德禮法，不願貿然親近，寧可獨自承受失戀之苦，卻在歷經一夜焦慮浮躁後，於天明時平靜心情。如此情節，應是強調君子好德勝於色，且能克己復禮、無違禮法的修德觀念，此一觀念又契合於儒家「靜」與「慎獨」的修養工夫。

Sone-Yu's Shen Nu-Fu and Den Tu Zi-Fu is the first composition of ＂Goddess＂ and ＂Abnegation＂ type of Fu. There are different persuading strategic and the plot between two type Fu. In Goddess type of Fu, the goddess always takes the initiative to come into man's dreamland, but disappeared suddenly, letting the man be sad and alone. In Abnegation type of Fu, The man often encounter the beauty in the reality. But the man instant moralities to be unwilling to express his mind to the beauty. The man endure pains and heartbroken emotion. And to go through wakefulness, finally he can recover his calm. This plot confort to the Confucianists philosophy.