Canglang shihua, acknowledged as a masterpiece in the field of classical Chinese literary criticism, has been widely valued. Up to now, it is still the research core of Song Dynasty's poetics. Unfortunately, many contemporary scholars followed in the footsteps of their predecessors, or even forced a comparison between Yan Yu's poetics and Western literary theories. A part of them paced back and forth in cozy nest, and others submerged into the atmosphere of aesthetics. As a result, they all went astray. The sinology has its origin. Literary criticism is no exception. The influences of Canglang shihua on literary critics in ancient China were considerable. This phenomenon already revealed that the sources of its poetics were the documents and concepts with which they were very familiar. Yan Yu was born at the middle stage of Southern Song Dynasty. He faced an unhealthy trend in poets' circles at that time and gnashed his teeth in anger. Under the circumstances, he pointed out the view about "jiechan yiweiyu" to insist on the traditional purpose of poetry so as to bring order out of chaos and develop a doctrine simultaneously. Canglang shihua is wide-ranging and profound. If we cannot follow the current to look for the source, it is difficult for us to have insight into its connotations. Yan Yu's meticulous theoretical framework was established by the concepts of "wufa", "wuru", "miaowu" and "rushen". Based on these understandings, this dissertation makes a thorough investigation into the meaning of "wufa". It is undoubtedly useful to reconstruct Canglang shihua's system of poetics in the future.

稱美一時、流聲千載的《滄浪詩話》，至今仍廣受重視，終是宋代詩學研究的核心課題。可惜的是，當代學者大都因襲陳言，甚或比附西學，不是徘徊於熟悉的安樂窩裏，就是陷溺於美學的大氛圍中，迷途未返。 華夏學術，有本有原，文論自不例外。《滄浪詩話》對後世詩論家的影響至鉅，已足反映其詩學淵源，本不離歷代士人耳熟能詳的重要文獻和觀念。 身處南宋中晚期的嚴羽，面對當時詩壇的歪風，痛心疾首，故「借禪以爲喻」，定詩之宗旨，以求撥亂反正，「斷千百年公案」，成一家之言。 《滄浪詩話》博大精深，不能沿波討源，知其所自，便難洞察幽微。從「五法」「悟入」到「妙悟」「入神」，是嚴羽精心構築的觀念框架。鑒此，本文以「五法」爲中心，考釋其義，見其規模，爲日後重構《滄浪詩話》的詩學體系，奠定基礎。