本文旨在對明代理學家王龍溪詩歌美學相關議題進行闡述，並在闡述中得出其詩歌美學意蘊是：學人經「顏子」般致知頓入、「夜氣虛明」培養工夫，達及「至樂無樂」身心狀態，將能自動興發出「至詩無言」。「至詩無言」，就如「至樂無樂」一樣，不是沒有言語，而是超越人為意識分別性語言，進入「良知性命」根本的「手舞足蹈而不自知」之言，也就是「忘言」、「默識」之言，其是無不言的，因其所興發的，是「無所待而自中乎道」的「道」之言，其意蘊無窮而深遂，非人間言詮、「傍人門戶、比量揣擬」的「小技」所能及。本文最後依此美學思想角度，得出龍溪詩學觀特徵。而這樣詩學觀的揭示，將有助學界對中晚明性靈文學思想深層理解。本文對龍溪詩歌美學及其詩學特徵之揭顯，意義便在於此。

The essay focuses on expounding issues on poetic aesthetic of Wang Longxi, an ideologist in the Ming Dynasty, to obtain the implication for thoughts of poetic aesthetics, i.e. achieving Yanzi’s practice of “zhizhi dun ru” （gain insights into the acquired knowledge）, self-cultivation of “ye qi xuming” “emptiness and brightness of night air”, and the physical and psychological state of “zhi le wu le” “happiness is the absence of the striving for happiness” will arouse “zhishiwuyan” “wordlessness of ultimate poetry” automatically. Same as “zhi le wu le,” “zhishiwuyan” ‘doesn’t mean wordlessness but means that the distinguished language transcends human awareness to enter words of “dance for joy unknowingly” of the fundamental realm of “liangzhixingming” “intuitive knowledge and natural destiny”, namely that words of “forgetting words” and “tacit knowledge” are not wordless, as what arouses is words of Dao “doctrine or the way or path in Taoism” of “expecting nothing but practicing Dao,” while its infinite, abundant and abstruse implication goes beyond what interpreted in the human world as “insignificant skills” of “depending upon , conjecturing and estimating.” Only “zhizhi” （acquiring knowledge）, attainment of “ye qi xuming,” and Yanzi’s first class moral quality of a state of happiness being the absence of the striving for happiness will an aesthetic work of wordlessness of ultimate poetry be created. Finally, this essay acquires the characteristics of Longxi concepts of poetics in accordance with the perspective of aesthetic thoughts, and the reveal of the characteristics of such concepts of poetics will lead the academic circle to gain a profound insight into thoughts of spiritual literature in the mid and late Ming Dynasty, thus signifying the reveal of Wang’s thoughts of poetic aesthetics and poetic characteristics.