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本文对元稹、白居易同题之作《缚戎人》加以辩析，提出一个与陈寅恪先生不同的看法。陈先生认为：“乐天贞元既未尝在西北边睡，自无新所见闻，”因而不能“超越微之之范围而别有增创”。而本文却认为：如果“立足以史”，元诗或有所“超越”和“增创”，但诗歌是文学艺术，允许虚构，未必都要“亲所见闻”。如果从叙史的艺术性审美性角度综合考虑，则白诗的“超越”与“增创”显而易见。
This article analyzes the arguments of Yuan Zhen and Bai Juyi, “Bound Rongrong”, and puts forward a different view from that of Chen Yinkai. Mr. Chan said: “Lotte Zhenyuan neither tasted sleep in the northwest, since no new knowledge,” and therefore can not “exceed the micro-range without creating additional.” However, this article argues that if “based on the history”, Yuan Dynasty poetry has some “transcendence” and “increasing creation”, but poetry is a literary art which allows fictionalization, and may not all have to “see and hear”. If we consider it from the perspective of artistic aestheticity in the history of the Syrian historians, the transcendence and creation of the white poems are obvious.