“诗人之赋丽以则”的确切含义，在作者扬雄《法言》语境中并不清晰，而在刘歆《七略·诗赋略》中得到阐明。具体而言，毛诗《大序》“温柔敦厚”诗教说，经扬雄发挥建构为“诗人之赋丽以则，辞人之赋丽以淫”的赋史观，这一赋史观为刘歆《七略·诗赋略》接受并表述为：赋由诗分流而出，初犹“作赋以风，咸有恻隐古诗之义”（失志悲痛而表达委婉），符合这一标准的赋即“诗人之赋”。此后逐渐偏离源头，走向文辞的侈俪闳衍，这一阶段的赋被称为“辞人之赋”。扬雄的赋史观经刘歆《七略》、班固《汉志》传播，在六朝仍有影响，此后逐渐被遗忘，具体表现为“诗人之赋丽以则”之“则”指向“恻隐”之义被忽略。钩沉这一赋学观念演化史，还可以对汉代今、古文四家诗学的某些传承线索与观念做出梳理、澄清及反思。

The true meaning of “The Fu of the men of the poetry are gorgeous and provide standards” is much clearer in Liu Xins Qi Lue than in its first context by the author Yang Xiong. Specifically speaking, the idea of “being tender and gentle ”The Fu of the epideictic poets are gorgeous and lead to excess from “The Main Preface (Daxu) of Mao Poetry（Mao Shi）” was firstly accepted and changed to the conception of the history of Fu of “The Fu of the men of the poetry are gorgeous and provide standards” and The Fu of the epideictic poets are gorgeous and lead to excess by Yang Xiong. Yong Xiongs idea of Fu history, which was then spread by Liu Xins Qi Lue·Shi Fu Lue and Ban Gus Han Zhi,was misunderstood or forgotten by scholars after the Han Dynasty and the Six Dynasties. A case in point is that the key word “standards” as in “The Fu of the men of the poetry are gorgeous and provide standards” was overlooked when used in the sense of “compassion”. A probe into the evolution history of the concept of Fu studies sheds lights on more historic clues and their profound conceptions about the four schools of Confucian classics in the Han Dynasty.