從文學發展流變的角度來看， 魏晉南北朝文學中的海洋書寫， 相對於先秦兩 漢時代而言， 在創作視角與意識方面有「承」與「變」兩個明顯的特徵。所謂「承」， 指作者仍採觀望、遠眺、想像的虛寫手法， 呈現出審美視角的承繼特徵； 所謂「變」， 指以「海」、「濤」為題的作品大量增多， 呈現出書寫意識的轉變特徵。至於在作 品內容的表現方面， 則可區分為寄寓嚮慕、頌詠描摹兩大主題； 前者多為「情」 的抒發， 後者多為「景」的表達。

In comparison with the previous three dynasties, two distinct aspects, Cheng (inheritance) and Bien (change) stand out in the maritime literature in the Wei Jin Southern and Northern Dynasties in the transition of Chinese literature. The characteristic of Cheng means that the writers describe maritime scenery by imaging or by observing the ocean from afar. The characteristic of Bien can be seen in the increasing pieces of work entitled by “sea” or “wave” during this period. It reveals the message that the authors’ consciousness have changed about the maritime writing. Yearning for immortal and praise for the sea are the two major themes in the maritime literature. Furthermore, the former express mostly the writers’ emotions and the latter describe mainly the maritime scenery.