「雜」在《文心雕龍》裡，除一般性意義，也還有理論性意義可言。首先， 「雜」具有傳統以來交織與多元之意，與「文」的概念幾乎相輔相成，至漢更與 編織之事結合，使其概念更為形象化，而編織也常被類比與文章創作，影響及於 《文心雕龍》，劉勰也常以錦繡編織比擬創作，並以「雜」描述文學作品種類與 內涵的多樣性。其次，雜相對於純正，故劉勰常以「純/正宗一雜/支流」 相對概念，不僅用以評判儒家經典與諸子學說間的關係，也用以詮釋文體流變的 情況，其中「雜」意謂是由純正主流文體所衍生出的次文體，或是文體發展之中， 某些未盡然符合規範的作品而言。「雜文」亦是立基於上述兩點，進一步提出的 文類概念，其涵蓋對象眾多，但主要者為對問、七與連珠，三者皆自賦流衍變化 而出，但因題材特殊，也欠缺實際功能，審美風格也與賦體不同，故不在〈詮賦〉 討論，須另歸〈雜文〉而分析之。如此，也意謂劉勰呈現出賦的特殊性，以其具 備強大彈性與活潑生命力，故易於濡染其他文體，或演變出新文體的現象。

Za (雜）has many theory meanings in Literature Mind and Carving of Dragon. Za (文心雕龍）is considered that about aesthetic feeling, Han people a considered the relationship between Za and weave .Za also considered mean to various. We can find Liu-Shen (劉親）describe the various of literature creations. The meaning of Za-Wen (雜文）was established form Za. Za-Wen included many other of literary forms, but Due-Wen (對問）、Chi (七）and Lean-Chiu (連珠）are most important. Liu-Shen try to analyze the relationship between Fu and this three literary forms. Due-Wen、Chi and Lean-Chiu were also derive from Fu, but can not belong with Fu, because of the subject matter and purpose is different from Fu . Liu-Shen so wrote Za-Wen to discuss theme. Finally, Liu-Shen’s Za-Wen also might has some relationship with Ban-Gu’s Za-Fu.