詩人透過意象與節奏、聲調性的互相滲透、組合，進而成為詩歌。「猿聲」在古典詩歌中算是出現頻率高的詞語，自先秦《楚辭》的擬聲詞到六朝《世說新語》、《水經注》的延伸，猿聲意象逐漸形成，演化至唐詩「猿聲」典故作為意象已經成熟。特別的是，「猿聲」通常搭配三峽、長江流域等南方地理位置，同時形成「地理位置＋風物」的標準搭配公式，演變為不受特定地理位置影響、普遍性的哀愁意象。其次，詩人為使入韻容易，將「猿聲」詞組再塑造，重新賦予猿聲新的詞組。最後，出現猿聲並非偶然，藉由詞語再塑造以及與「斷腸」典故的結合運用，猿聲的悲傷形象已經徹底融入詩歌並獲得高度接受，成為詩人寄託思鄉、送別、貶謫、懷念親友等情感的媒介之一。

The poet completed the poetry by combining languages and words with lyrical and rhythm. To put it another way, the imagery, rhythm, and tone are being collaborated and became the poetry. Indeed, the Chinese culture flourished under the poetry. The in classical poetry. According to classical poetry, it is true that the phrase of gibbon’s call appears frequently. It is not only the Onomatopoeia in《楚辭》 Chu Ci from Qin Dynasty, but also gradually developed into a special imagery in 《世說新語》Shih-Shou Hsin Yu and 《水經注》Shui Jing Zhu. Especially, the gibbon’s call associated with certain specific well-known geography, landscape, and object, such as Three Gorges, the Yangtze. It had become a general grief in ancient poetry style. Moreover, the poet remodeled the phrase of gibbon’s call for rhythm purpose, and create new forms of gibbon’s call. The idea of phase by reshaping and interpretation integrated gibbon’s call into poetry. The topic of gibbon’s call is often being used to describe as a feeling of homesick, farewell, relegate, and miss.