陸時雍《唐詩鏡》是明代少見「尊李抑杜」的唐詩選本，尤其對李白古體詩的選評，與當時流行的復古風潮差異極大，然其詩學意涵卻鮮有研究者。本文指出，陸氏論詩重情真、韻長，批評杜甫「苦於摹情」，意在反對復古派模擬刻劃而無生氣，故更推崇李白「指點大意」的創作方式。其次，陸氏將李白五言分為「率意」與「托意」兩種，擬古五言以婉轉善托者為代表，修正《古今詩刪》不收〈古風〉的極端。七古部分推翻復古派以初唐為正宗，肯定太白想落意外、氣韻縱橫，推舉為新的審美型態。最特別的是，明清唐詩選本普遍不另立樂府名目，《唐詩鏡》卻將李白「樂府」從古詩中獨立出來，此舉不僅凸顯樂府之於太白的獨特性，也同步彰顯陸氏「欲露還藏」的神韻詩學。挑戰潮流極為不易，陸時雍選評李白之詩學意義，亦於焉丕顯。

Among the Tang poetry anthologies in the Ming dynasty, Lu Shiyong’s Tang shi jing is one of the rare anthologies that praises Li Bai more than Du Fu. However, the reasons Lu Shiyong praises Li Bai’s poems are rarely discussed. This article focuses on Lu’s comments on the ancient style poetry (gu feng) of Li Bai. Lu Shiyong emphasizes the “spiritual resonance” (shenyun) of the poems, and holds that poetry should leave room for the readers’own imagination. Lu Shiyong criticizes Du Fu’s poetry for being overly narrative, while Li Bai was good at improvisation and letting people think beyond the words. Li Bai’s creative approach is apparent in two features of his poems. One is the yadaoshicun, which shows melody and emotion in the characters. Another is “thoughts that surprise the reader” (xiang luo yiwai), which manifests Li Bai’s bold generosity and momentum. This article also finds that Lu Shiyong paid special attention to Li Bai’s yuefu poetry. Whereas most Ming and Qing anthologies did not create an independent category for yuefu, Lu Shiyong categorized Li Bai’s yuefu as an independent group, apart from his other ancient style verse. This approach has two poetic implications. First, Lu lets the readers see that yuefu poetry is a genre of special importance for the appreciation of Li Bai’s poetry. Second, emphasizing yuefu serves to highlight “spiritual resonance”, the theory of poetry espoused by Lu. Going against the critical trends of one’s time is not an easy task, but Lu Shiyong subtly used Li Bai for this purpose.