清初以降，詩史觀一時盛行，素來以奇僻隱晦而聞名的李賀詩，亦於此時為詩史觀的擁護者所注目，姚文燮即為策略性的持詩史觀以箋釋李賀詩的第一人。他於《昌谷集註》提出箋釋李賀詩的態度與方法，一是視李賀為「詩史」，二是認為解詩必須做到「以身心為古人」、「以身心為李賀」。姚文燮視李賀為詩史，認為其詩藏有忠愛諷諫之詩教。姚氏的觀念主導了箋釋，遂援引史事，乃至於構築情境以詮釋李賀詩，此箋釋觀念與行為，產生了「情節化」的箋釋。這種箋釋語言將李賀詩泰半視為有具體本事及明確寄託之意的作品，務求將詩中的隱晦符號一一解謎。姚文燮的作法確實有強解、穿鑿附會之弊，但本文的研究興趣不在於詮釋效度的核驗，而是從情志批評研究的角度，討論姚文燮的作者觀與箋釋方法，並理解其詮釋《昌谷集註》的最終目的，是為了實踐自身詩學理念，將箋釋效益反用於自身及現世。

Yao Wenxie (1628-1692), in his Anthology of Changgu’s Poems, proposed two ways of analyze the poems of Li He (790-816). One way is to read Li’s poems as “shishi” (poetic history), and the other is to propose that to explain Li’s poems one must impersonate Li, be him, body and mind. Yao regards Li as a historic poet, whose poems contains hidden message like loyalty, love, and irony. That viewpoint dominates his annotations of Li’s poems, with abundant historical references in his notes. In Anthology of Changgu’s Poems, Li is constructed with Yao’s extremely stereotypical imagination due to his theory of physical and intellectual impersonation. Yao’s method of annotation and viewpoint to Li produces so-called “synoptic annotation” in this paper. This kind of annotative language generally regards Li’s poems as works alluding to realistic or parodic background events. In spite of the obvious absurdity in the approach, this paper intends not to criticize the validity of Yao’s criticism but to, from the perspective of Emotion-Intentional Criticism, investigate Yao’s understanding of Li’s emotion-intention (qingzhi) and how he manipulated and applied his viewpoint as an author.