本文從理論、實踐兩層面檢驗在「喜而謔之」與「憤而吐之」上，元好問呈露個人情性之於詩、詞不同載體的相對尺度差異；發掘元氏深明人情有所不能解，於詩卻有所不能道，小詞則可適切承擔起這份餘溢難禁情感的想法。其詞論推崇蘇、辛而聯繫的「以詩為詞」，實際重在作家圭臬詩教之人格本質，並非真正混同詩、詞個別體裁的禮義規範。恰如《遺山樂府》留有許多圍繞風月歡場與閨怨兒女的宮體詞，此於彼詩幾無覓處，彷彿連其自身都陷入詞風勸淫批評；然由元好問「雖時作宮體，亦豈可以宮體概之」觀點看， 只要發端君子源頭的忠誠之心，宮體艷科也就僅止表象嫌疑，從中又能窺見他認為詩、詞雖存區隔，但終得會通的關鍵所在。綜觀之， 可以說元好問詩與詞乃同在不虧大節前提下所具備拘謹、疏放兩種面貌；而以詩為詞不必然連結提升詞體地位的「尊體」思想。藉此個案，想必能夠提供我們重新感受文體間既分際又交疊的複雜之處。

Examining Yuan Hao-Wen’s theory and practice of writing Shi (lyric poetry) and Ci (song lyric), this paper analyzes the sense of pro¬priety in “Jocularity” and “Resentment” expressions between these two different emotion carriers to illustrate the thought Yuan realize human feelings in Shi can’t be vented, but in Ci can, because Ci than Shi is the lower status of literary form. We don’t totally agree with previous studies referring to Yuan as one of admirers of “Creating Ci from Shi”. In fact, Yuan created Ci from Shi by refining writer’s personality toward moral teachings in Shi rather than mixing up the levels of formality determined by Shi and Ci separately. For example, Gon-ti related to the subject-mat¬ter about being immersed in love, such as luxury and dissipation life in the brothel and Female melancholy longings in the boudoir, is the major characteristic of traditional Ci, and most of “Creating Ci from Shi” writ¬ ers criticized Gon-ti for tending to debase the spirit of human. On one hand, there are a lot of Gon-ti works in Yi-Shan Yue Fu, the collection of Yuan’s Ci, in contrast with almost no in his Shi, but on the other hand, he asserted “Despite writing Gon-ti Ci occasionally, it isn’t summed up in the name ‘Gon-ti’.” For Yuan’s perspective, as long as Gon-ti originates from writer’s sincerity and loyalty, it just has the outer surface on suspi¬cion. In conclusion, it can be said Yuan regarded Ci as an informal way of writing expression compared with his Shi, but both of them are under the same premise of not losing honesty, and furthermore, “Creating Ci from Shi” isn’t combined with promoting status of Ci inevitably. Base on this case, probably we can bring back the complexity of literary forms in view.