王世贞诗学思想大体上可以分为前、后两个时期。在南北文化走向融合、南北诗风相互渗透的明代文化格局中,前期王世贞追随李攀龙,张扬盛唐及汉魏的诗风,欲借此来重振其心目中萎靡不振的明代诗风。中年后,王世贞认真开始反思早期片面标举北方诗风的偏颇。随着阅历的丰富、视野的扩大,他后期大力倡导以“剂”为美,强调对南北诗风应在各取所长、各去所短的基础上,将二者有机地统一起来,使之相融相济、相辅相成。在南北文化交融的历史进程已经开启、且已悄然加速的明代,这种诗学理论无疑是具有前瞻性和启发性的。在世界范围的文化与艺术交流日益加强的今天,王世贞后期以“剂”为美的诗学思想,其意义不应低估。 Wang Shizhen’s poetics can be roughly divided into two periods before and after. In the cultural pattern of the Ming Dynasty, where the North and South cultures converged and the North-South poetic style permeated each other, Wang Shizhen followed the poetic style of Li Panlong, Zhang Yang Sheng Tang and Han Wei in the early stage in an attempt to revive the poetic style of the Ming Dynasty. After middle age, Wang Shizhen seriously began to reflect on the unilateral bias of the poetic style in the north. With the rich experience and widening of his field of vision, he vigorously advocated using “agent” as his beauty in the latter part of his life and emphasized that the poetry style of the north and south should be organically unified on the basis of each director and his shortcomings, Make it compatible with each other, complement each other. In the Ming Dynasty, where the historical process of cultural blending between North and South was opened and quietly accelerated, this kind of poetic theory is undoubtedly forward-looking and inspiring. Today, with the ever-increasing exchange of culture and art around the world, the significance of Wang Shi-zhen’s poetic thinking based on “agent ” in the later period should not be underestimated.