郭沫若早期提出的“灵感”论、“内在的韵律”说和“体相一如”的诗观 ,不纯粹是理论思辩的产物 ,某种程度上也是对他本人创作经验的概括。郭沫若早期诗学也不单针对诗歌发言 ,由于小说、戏剧创作经验的介入 ,使郭沫若有理由去思考诗、小说和戏剧同属文学的共通性和它们分属不同文类的差异 ,从而初步建构起包括诗歌、小说、戏剧在内的诗学整体。 Guo’s early “inspiration” theory, “intrinsic prosody” and “poetry view of” the same body as one’s body "are not the product of theoretical thinking and argumentation, but to a certain extent, they also summarize his own creative experience. Guo Moruo’s early poetics did not address poetry either alone. Due to the involvement of fiction and drama creation experiences, Guo Moruo reasoned to think about the commonalities of poetry, novels and drama belong to the same literature and their differences in different genres, Poetry, fiction, drama, poetry as a whole.