冼玉清詩歌內容多為感懷即事、交往酬唱、遊景等，其早期詩歌，傳統主題的痕跡非 常深刻，甚至成為一些一揮即就的“鑲嵌”，這似乎就是黃節評其詩“陳想未除、陳言未去”的 原因。在中期至後期，此鑲嵌情況越來越少，出現越來越多巧妙的轉化與運用。冼玉清擅於描 物、長於敘事，其古體勝於近體，時有雋筆。她以其賦筆與情感交織出國難文學《流離百詠》， 讓讀者看見了一個如在眼前的亂世。戰火結束後，新中國到來，冼玉清把眾多新時代的觀念與詞 語寫入詩歌，然而大都顯得格格不入，這凸顯出在新時代中，古代詩學哲學基礎與現代觀念的不 協調，以及古典與新時代的詩歌語言問題。

Xian Yu Qing was a poet who wrote Chinese traditional poetry. In her youth, her verses and imagery were similar to famous poets such as Du Fu and Wang Wei. As a result, Huang Jie, another famous poet, commented that she had “not abandoned old thought and old language”. However, in her middle and later life, her poetic language became more and more ingenious. Xian Yu Qing was especially good at narration; her “Gu Ti”(古體)is better than her “Jin Ti”(近體). She wrote an anthology called “Liu Li Bai Yong”《流離百詠》(One Hundred Songs in the Displaced Period of War), delivering the Sino- Japanese war’s imagery to her readers. After the war, the People’s Republic of China was established, bringing new concepts and words that were written into Xian Yu Qing’s poetry. But they seem out of place, and showed the conflict between Chinese classical poetic philosophy and modern concepts, as well as the problems between classical poetic language and the language of the new era.