我国诗歌美学理论,从古以来就有自己的特色。《尚书》上就有“诗言志”的说法,这一观点影响深远。以后陆机在《文赋》中又提出“诗缘情而绮靡”,“诗缘情”可说是对“诗言志”的发展和补充。从此,诗歌言志抒情之说,就成为古代诗歌审美判断的基本标准之一。诗歌内容要有情有志,情志都要美,在今天看来,这一理论仍有着现实的合理性,是需要我们加以继承和发展的。 “诗言志”中所说的“志”,是指抱负,思想志向。把它作为审美判断的一条标准,就意味着把美与伦理道德、与善、与政治思想联系起来。从这里可以看出,我国古代诗歌美学是重视诗歌内容的思想性的。这符合诗歌创作的实际,因为诗歌总是要表达一定的思想的。如杜甫的《茅屋为秋风所破 The theory of Chinese aesthetics of poetry has its own characteristics since ancient times. “Shangshu” there is “poetic statement” argument, this point of far-reaching impact. After Lu Ji in the “Wen Fu” also put forward the “poetry of love and ornate”, “Poetry Emotion” can be said to “Poetry Express Zhi” development and supplement. Since then, the rhetoric of poetry has become one of the basic criteria for the aesthetic judgment of ancient poetry. In the opinion of today, there should be realistic and rational rationality in the content of poetry, which requires us to inherit and develop. The “Chi” in “Poetry Express” refers to ambition and ideological ambition. Taking it as a criterion of aesthetic judgment means linking beauty with ethics, benevolence, and political thought. It can be seen from this that the ancient Chinese aesthetics of poetry attaches great importance to the ideological content of poetry. This is in line with the reality of poetry, because poetry always expresses certain ideas. Such as Du Fu’s "hut broken by the autumn wind