以“怨”言诗是中国诗学中一个重要传统。古人对作为诗学批评概念的“怨”的重视由来已久。孔子提出“诗可以怨”,被汉儒解释为怨刺上政,说明那时的诗教观;屈原以芳草美人自况,以自慰失意,他可说是“哀怨起骚人”的典型;处于文学自觉时代的陆机提出“诗缘情”的纯文学主张,而这“情”自然包括了怨情。于是诗歌创作渐渐离开儒家诗教,摆脱对政治的依附而独立发展。刘勰亦有“蚌病成珠”的说法,认为好的诗歌是郁结和发愤的结晶。齐梁时期最为杰出的诗歌批评家钟嵘在其素有“百代诗话之祖”之称的著作《诗品》中,极大地拓展古来诗“怨”的传统。孔子认为诗歌可以“兴观群怨”,四者排列中“怨”只是排列在最末位的作用,而钟嵘重视诗可以排解怨情作用,把怨诗置于较高品位;且发展“怨”的内涵及其外延。钟嵘发挥了诗“怨”的观点,强调诗歌要抒发怨情,并把它贯彻到具体的作家批评之中。本文我们试以《诗品》以“凄怨”批评的各家作品为例,体会钟嵘以“怨”评诗的丰富内涵。 It is an important tradition in Chinese poetics to “resent” poetry. The ancients have long attached importance to the “resentment” as the concept of poetic criticism. Confucius put forward “poetry can complain”, interpreted by Confucianism Confucianism as a torture to politics, explain the poetic view at that time; Qu Yuan to beauty grass beauty, disappointment with masturbation, he can be said to be “sad complain of Sao” typical; Lu Ji, in the age of literary conscience, put forward the purely literary proposition of “poetry,” which naturally includes resentment. As a result, poetic writing gradually left Confucianist poetic teaching and got rid of independent dependence on politics. Liu Hsiu also said that “a good poem is a crystallization of stagnation and anger.” The most outstanding poetic critic in the period of Qi and Liang, Zhong Rong, greatly expanded the tradition of the ancient poem “Resentment” in his book The Book of Poetry, which is called as “the ancestor of the poetry of the generation”. Confucius thought poetry can “Xing Guanlan”, arranged in the four “resentment” is only arranged in the last position, and Zhong Rong poems can solve the role of resentment, the resentment poetry at a higher grade; and the development of “ Resentment ”Connotation and Extension. Zhong Rong played the poem “resentment” point of view, stressed that poetry should express grievances, and put it into concrete criticism among the writers. In this paper, we try to use the works of poem and poem “grievances” as an example to understand the rich content of ZHONG Rong criticizing poems with “grudges”.