以往追索賦的淵源時，或者僅就精神、功能等大方向著眼，如《詩》源說，不免流於浮泛；或者從遣詞、造句等方面與其它文類近似處觀察，如《辭》源說，以至泥於皮相，對於賦的一些具體特點均乏堅實的解釋力。好比：賦為何經常採取主客對問的結構？主對為何常採分夠昇論式？內容又為何不出聲色犬馬的範疇？ 學界都同意：先秦時期沒有近代意義的文學觀念；學界也都承認：自整類而言，最早具備近代意義的文學特質者乃賦這種文類，而賦興於先秦末葉。這就立刻令人好奇不已：從一個沒有文學的母體中如何孕育出文學的嫡長子－賦呢？ 作品不是自生的，乃人的產品，但古往今來從未有抽象的人，無不是特定時、空、文化下的具體存在，而什麼類型的人勢必導致他們的文學產兒具有什麼樣的基因通性。那麼，賦這種文類在早期是由那種社會出身、學養背景的人帶到世上，以至啟下某種特質特色呢？ 筆者嘗撰〈賦源平章隻隅〉，解答第一個問題，現在欲以本文處理餘者。

　　　　　This paper can be divided into two parts. In the first part consisting of four chapters, I will explore those topics as revealed in earlier rhapsodies, which were exactly the concerns of the intelligentsia in the Warring States Period. In other words, the earlier rhapsodies should be viewed as the philosophical argumentations amouflaged in the popular literary expression. In the second part, I will bring forth a suggestion that the literary adaptation of those philosophical argumentations had something to do with earlier rhapsodists' status in court, their intellectual cultivations, the princes' vulgar tastes, and their antipathy to decent preachings.