Poetry has three meanings. "Poetry has three meanings" is Zhong Rong's general requirement for literary creation. Zhong Rong said: "Therefore, poetry has three meanings: one is prosperity, the other is comparison, and the third is fu." Zhong Rong's theory of "three meanings" comes from the theory of "six meanings" in the preface to poetry, but it has new theoretical contributions. He changed the order of traditional Fu to Xing, highlighted the position of Xing and expanded the connotation of Xing. He said: "the text has done its best, but it is also prosperous; Because things are metaphorical, they are better than others; Straight books, fable writing, and fu also. " In today's words, Zhong Rong's "Xing" means that the language of poetry should be meaningful and meaningful, so it has surpassed the traditional view that "Xing" is a writing technique. After Zhong Rong's new explanation of "Xing", Si Kongtu in Tang Dynasty had nothing to say, Yan Yu's "Lingyang tune, no trace to ask" and so on. "Comparison" means that the narration of scenery depends on the author's own feelings; Fu is a direct statement and description of things, but it also needs to use meaningful language in writing. Moreover, it is necessary to comprehensively use the "three meanings", that is, as he said, "macro three meanings, use them properly, use them dry with wind, use them moist with Dan color, and make the tasters infinite and the listeners tempted". This is the most poetic and tasteful work. If only metaphor is used, it will hinder the poet's expression of emotion and the people who experience poetry to grasp poetry. If only fu is used, poetry will appear messy and rambling, and people who experience poetry will not feel it. Xing is based on "Xing" and is used with. With beautiful and vigorous style of writing and concise and powerful language as the backbone and beautiful words as the embellishment, we can write good poems that make listeners tempted and critics sing and sigh.
Zhong Rong emphasized that poetry creation must focus on "wind power" and at the same time "moisten with Cai Dan". Wind Power and Cai Dan are both the best works. In essence, the emphasis here is "Jian 'an Wind Power". Judging from his exposition of "Jian 'an Wind Power" and the examples cited, he set such a standard for "Wind Power": it has the characteristics of generosity and sadness, direct pursuit of nature, emphasis on spirit over form, and clear and concise language style. Zhong Rong's wind theory has become one of the theoretical weapons of Chen Ziang's poetry innovation movement, and its symbol is the weak poetic style that later generations oppose moaning without illness.