古代诗人和诗评家都很重视诗情的含蓄.宋代欧阳修认为:诗最好能“含不尽之意,见于言外”(《六一诗话》);清代吴乔也说:“诗贵有含蓄不尽之意”(《围炉诗话》).含蓄,就是不直不露,能将诗情表现得更深更浓,刘勰把它比作“河流中蕴藏着的珠玉”(“川读之韫珠玉”);含蓄,就是“言有尽而意无穷”(姜夔:《诗说》),给读者留有余地,由读者去咀嚼,去领悟. Ancient poets and poet critics all attach importance to the implicitness of poetic sentiment. Song Ouyang Xiu believes that: poetry is best able to “contain inexhaustible meaning, seen outside the words” (“61 poetry”); Qing Dynasty Wu Qiao also said: “Poetry “You have a subtle intent” (“Imperials of Poetry”). Implicit, that is not straight, can show deeper and deeper poetry, Liu Ye compared it to “the river is full of Zhu Yu” (“Chuan The ”Zhu Yu Zhu Yu,“ read; subtle, is ”words are endless,“ (Jiang Yan: ”poetry"), leaving room for the reader, the reader to chew, to comprehend.