Generally speaking, Namtu poetics inherited the basic ideas from poetics of the North Song Dynasty, and poets at that time held that the composition of poets should consist of profound literature knowledge, comply with certain rules, pursue novel attic feelings and shun weak and worldly narrations. However, though most poetic critics take positive views to these features, they try to correct the drawbacks of later scholars without breaking through the theoretic frame of Yuanyou poetics. They believe that poets should be natural, without too many novel ideas, and that the weakness is not caused only by rhyme. Besides, some critics endeavor to break away from Yuanyou poetics, and hold that poets should be created for some reasons and be integrated with all merits. All in all, Namtu poetics reveal the transitional period after the formation of Song poetics.%总体而言,宋代南渡诗论沿袭北宋诗学思想,一般仍主张诗歌创作应具备深厚的学养、创作遵循一定的法则、追求新奇的艺术感受、忌讳诗句的弱与俗。然而,不少诗论家在肯定上述观点的同时,又在不动摇元祐诗学的整体框架下纠正江西后学创作的弊端,提出具有法度的自然诗风、诗句不必奇险过甚、＂弱＂不单纯是音律问题,同时也体现在内容方面,也不必片面忌弱与忌俗。更有甚者,一些诗论家试图背离元祐诗学尤其是黄庭坚诗论,提出诗歌须有为而作,创作应博采众长,肯定为元祐诗人所否定的元白、郊岛诗风、大历、西昆诸体等。总之,南渡诗论典型地体现了宋调成型之后流弊渐露,而诗坛尚未找到新的诗歌榜样这一过渡时期的芜杂状态。一方面,诗论家感受到元祐诗学尤其是黄庭坚诗论的弊端,另一方面又无力全面清算,只能在继承中修正,在修正中突破。
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