在元代，上虞劉氏以閩學為家學，為朱熹的嫡系傳人。其中，劉履（1317-1379）編有詩歌總集《風雅翼》十四卷，表面上旨在探討《文選》的詩歌傳統，實際上卻是宗於朱熹的詩學觀念，並施行各種編纂手段，企圖取代梁代昭明太子蕭統的主張，以至其身為原編者的地位。事實上，自朱熹讚揚《文選》詩學以後，宋元理學家多番改編這部總集，期望使之歸入道學的價值之下。在此風氣中，《風雅翼》具備宏大的結構與成熟的觀念，值得重視。本文希望探討它如何重新詮釋《文選》的詩學傳統，令《文選》得以與朱熹的「三變三等」說接上，進而一窺元代理學家對詩學的介入。本文會先簡單整理宋代理學對《文選》的態度與討論，特別是朱熹的對《文選》與詩學觀點，以了解劉履編書的種種前因；接著，本文會分別探究組成《風雅翼》的三部分，即《選詩補註》、《選詩補遺》和《選詩續篇》，以分析劉履改易《文選》詩歌傳統的方法。鑑於傳統論述往往視「文章總集」與「理學總集」為各自發展的傳統，本文也期望藉由分析《風雅翼》的主張，證明兩者並非截然二分，而是時有交疊。相信這將有助補充詩學與文學文獻學方面的一點空白。

In the Yuan dynasty, The Liu family in Shangyu claimed themselves as the heir of Zhu Xi (1130-1200). Liu Lu (1317-1379), a member of this family, even published an anthology titled Fenya Yi. In this book, following the idea of Zhu Xi, Liu modified the poetry in Wen Xuan by rearranging their order and adjusting the number of works. It resulted in the transference of authorship of Wen Xuan which should originally belong to Xiao Tong (501-531). In fact, after hearing Zhu Xi’s praise for Wen Xuan, many young neo-Confucians had a strong will to adapt this classic anthology so that it could have much more connection with Zhu Xi’s ideas. Liu’s book was a typical example of this phenomenon. This article discusses how Fenya Yi reinterprets the poetics of Wen Xuan so that Wen Xuan would become an evidence of the theory of ‘Three Generations and Three Grades’ which was designed by Zhu Xi. It is also hoped to show how the neo-Confucians intervened the tradition of Wen Xuan. The first part of this article simply introduces the Song Confucians’ viewpoints towards Wen Xuan in order to understand the reason for the publication of Fenya Yi. Then, the article separately analyzes the three parts of the anthology as known as Xuanshi Buzhu, Xuanshi Buyi and Xuanshi Xupian. Liu used different methods to elaborate his idea in these parts. In the past, when talking about the Chinese anthologies, people usually described the style of poets and neo-Confucian as a binary opposition. However, by studying Fenya Yi, it proves that there was an intersection of them.