Zhong Rong's works Miao Li and Wen Xin Diao Long in Qi and Liang Dynasties are the first poetry monographs in the history of China's poetry theory. In addition to the preface, the book is divided into three volumes: upper, middle and lower. This paper comments on 122 representative writers of five-character poems from Han Wei to Qiliang and a group of "ancient poems" by Wu Ming, and divides them into three categories according to their advantages and disadvantages, each of which is a book. Comments, one for each person or one for several people, can be used to trace the source, discuss the style, appreciate famous works, express gains and losses, show the pros and cons, and judge the pros and cons. With its original style, Shi Pin studies five-character poems as pure literature, creates an aesthetic-centered criticism method, and expounds four important poetic viewpoints: First, the theory of material sense. Zhong Rong put forward a theory based on "things" based on China's ancient natural philosophy of "Qi" monism. In Preface to Poetry, enlightenment means: "The beast of Qi is touching, so it shakes its temperament and dances." His so-called "things" include not only natural scenery such as "spring birds, autumn moon, summer rain in Xia Yun, cold in winter", but also social life such as "Chen Chu went to the border, the Han concubine resigned from the palace", "bones lying in the wild, the soul chasing the canopy", "guarding the outside, killing the public, and stuffing the guests with clothes and tears". The second is the "three meanings" theory. Zhong Rong had "six words" and "six meanings" before, and Zhong Rong mainly had "three meanings", which showed the historical track of the evolution of China's ancient poetry theory from miscellaneous literature theory to pure literature theory. He reinterpreted the "three meanings" as: "the text has been exhausted and the meaning is more than enough, and it is also prosperous; Because things are metaphorical, they are better than others; Straight books, fable writing, and fu also. " This is entirely from the perspective of poetry creation to understand Fu, Bi and Xing. The specific principle of "macro-philosophy, three meanings combined, and appropriate" is "blow dry it with wind, moisten it with Cai Dan", which is based on deep feelings and exuberant spirit, in the form of beautiful words and flowers. The third is the theory of "taste". Zhong Rong's poetry appreciation emphasizes "taste" and "taste", such as "five words are the essence of literary words, and more works are tasteful" and "too much words are dull and tasteless". Poetry is judged by "taste" or "taste", and "the one who makes the taste endless and is tempted by it" is regarded as "the highest point of poetry", thus raising the "taste" belonging to the physiological level to the aesthetic level. The fourth is the theory of parting. Inspired by Ban Gu's "Nine Comments" and Liu Xin's "Seven Strategies", Zhong Rong insisted on grading, distinguishing schools and tracing the origin according to the standards of pure art in view of the shortcomings of the critics at that time. However, due to his basic views on the genre of five-character poems, the formal style is the first, the ancient style is the second, and the new style is the lowest, so many people rank it improperly. On the contrary, Zhong Rong traces back to the viewpoint of the separation of poetry and Sao, and clearly confirms that poetry is superior to Sao, while the orthodox school basically uses the artistic method represented by poetry, and the artistic methods used by the classical school and the new school generally belong to Sao. The above four aspects reflect the basic characteristics of Zhong Rong's poetry, which is worthy of being "deep in thought and far in meaning" (Zhang Xuecheng's Notes on Literature and History, Poetics), and has opened a precedent for pure literary poetry.