本文從方法論的角度，分「工夫從上做下」、「興趣」說、「妙悟」說、「詩宗盛唐」說與「別材別趣」說等五小節對嚴羽《滄浪詩話》詩論加以探析，認為嚴羽詩論已構成一完整的詩學理論體系，且特具有方法論的意義。其論述內容雖多承續前賢，但以其強調具本體論意義的「興趣」說而能兼融並蓄，貫串上下。與當時他家詩論相較，主要之差異實在他對詩本體的回歸與詩學方法論上。就方法論言，他提倡對詩本色的回歸，故強調功夫須從上做下、本色、當行；他提出「興趣」說，將主客體加以溝通融合為一，堪為其詩論的代表；他以禪喻詩，強調「妙悟」的詩學方法特色，又不避「學」、「參」，使其方法論具有全面的完整性；他以盛唐為宗，既有明確之目標，更強調其「氣象」、「興趣」的特點；他提出「別材別趣」之說，用駁以才學、議論為詩之不是，實補江西詩派詩論之不足。整體而言，嚴羽詩論兼融「情」、「理」，合併唐、宋，確具有劃時代的詩學理論意義，特別是在方法論上，為後人指出了一條切實可行的詩學之道。

This article divides into five sections: [1] Learn from the Classic Books, [2]Theory of Interest, [3] Theory of Thorough Enlightenment, [4] Learn from High-Tang Poetry, [5] Theory of Distinct Talent and Interest, probing the poetics of Yan Yu’s Canglang Poetry Talks from a standpoint of methodology. It sees Yan Yu’s poetics as a complete system of poetic theory, and especially possessing the significance of methodology. While most content of discourse is inherited past sages, it can cover various concepts and the context is coherent,because “theory of interest” makes much of having significance of ontology.Compared with poetics of other schools at that time, the main difference is return of poetry noumenon and poetic methodology. As far as methodology is concerned, he advocated returning to essentials of poetry, emphasizing that skills and academic attainment must be obtained via elementary learning and adhering
to fundamentals. He proposed “theory of interest”, fused subject and object as one, visibly typical of his poetics. He composed poems with Buddhist Zen,emphasized the “enlightenment” phase of poetic method, and never rejected learning and study, thus making his methodology possess comprehensive completeness. He followed the trend of the Tang Dynasty’s halcyon days: not only having clear object, but also emphasizing characteristics of style and purport. He refuted the fault of making poems with talent and comment, proposing “theory of distinct talent and interest”, which alleviated insufficiencies of the Jiangxi school of poetry. In sum, Yan Yu’s poetics fused emotion with reason and united Tang with Song Dynasties, giving it epochal significance in poetic theory. For posterity it clearly defined a practical and feasible way of poetics, especially in methodology.