本文將「永明體」的生成與《文心雕龍》、《詩品》的撰著，視為一個相互連屬的文學自覺運動，透過其間密切的對話關係，嘗試說明永明詩學在中國詩學史上所具有的關鍵意義，實包含了聲與文兩個面向。永明詩人除了對於「聲」有突破性的自覺意識，他們對於「文」，包括字的形音義、詞組、句構、語序、用典在作品中的交織呈現，也著力甚深，並以聲文結合成如胸臆語的自然語文形式為理想。永明詩學在聲與文的反思為漢語詩歌注入了巨大的改變動能，使漢語的特性可以在詩歌中，更大幅度地發揮形塑節律與意蘊的潛力，為五言詩開拓出嶄新的面貌。筆者另有專文探討永明詩學的聲律理論，本文則以「聲與文的交織」、「內在聲文形式的建構」、「語構的開拓」三個部分，論證永明詩學對於「文」的反思。

The emergence of the Yongming poetic style and the writing of Wenxin diaolong 文心雕龍and Shipin 詩品 can be viewed as interconnected parts of a literary consciousness movement. This paper explores the intimate dialogue between them, arguing that the key significance of Yongming 永明poetics in the history of Chinese poetry lies in the dual aspects of sound and literariness. Yongming poets not only developed an innovative awareness of sound (聲), but also focused profoundly on literariness (文) in their work, as embodied in the interweaving of phrases, sentence structure, word order, allusions, and the forms, pronunciations and meanings of Chinese characters. At the same time, they considered their ideal to be the combining of sound and literariness into a natural, almost visceral form of language. With its reflections on sound and literariness, Yongming poetics infused poetry with an enormous reformative momentum, lending the characteristic features of the Chinese language even more scope to exercise their potential to shape prosody and meaning, thus giving five-character poems a completely new look. The author has written elsewhere on the tonal prosodic theory of Yongming poetics; the present paper instead centers around three themes that demonstrate its reflections on literariness: the interweaving of sound and literariness, the construction of an internal sound-literariness form, and opening up the structure of language.