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思想内容平庸、体制风格驳杂的文艺作品。“音”指表达心声的文字，特指诗句；“体”是根据内容确定的体裁、风格。钟嵘之所以提出这一批评术语，是针对当时有些青年诗人缺乏生活阅历和艺术经验，仅仅因为喜欢诗或羡慕诗人的风雅形象而写诗，其作品既缺乏真情实感和个人体悟，又没有明确的主旨与统一的情感基调，因此内容凌乱，风格驳杂。刘勰在《文心雕龙·宗经》中，也针对这种风气，提出了文学创作应当效法儒家经典的六条原则：“情深而不诡”（感情深厚而不欺诈），“风清而不杂”（风格清新而不杂乱），“事信而不诞”（记事真实而不虚妄），“义贞而不回”（道理正直而不邪曲），“体约而不芜”（体制简练而不芜杂），“文丽而不淫”（文辞华美而不浮靡）。

This term refers to works of art which are banal in content and jumbled in form. Here yin (音) stands for words from the heart in general and poetic creation in particular. Ti (体) refers to the choice of genre or style on the basis of content. Zhong Rong used this concept to criticize some young poets of his time who, lacking true feelings and personal experience, could only produce works ill-organized in content and form, devoid of any clear theme or core emotion. In his opinion, they wrote poetry only out of love or because they admired poets for their refinement. Liu Xie proposed six principles for emulating the creation of Confucian classics, in the chapter "Regarding Classics as Ultimate Sources" in his The Literary Mind and the Carving of Dragons. First, writing should be an outcome of deep feelings, not of guile. Second, it should be stylistically innovative without causing confusion. Third, it should truthfully record people and things rather than distort them. Fourth, it should abandon sophistry in favor of fair reasoning. Fifth, it should be neatly structured, not too wide-ranging. Sixth, it should be charming without any hint of decadence.

引例 Citation：

◎于是庸音杂体，人各为容，至使膏腴子弟，耻文不逮，终朝点缀，分夜呻吟。（钟嵘《诗品》卷上）

此时有些诗人写的作品思想内容平庸、体制风格驳杂，却自以为作品很美，以至于一群贵胄子弟都以作品文采不及他人为耻，成天点缀文辞，大半夜还在吟诗。

Works by some poets of today are banal in content and jumbled in form, but these poets still believe that their poems are truly beautiful. As a result, many children of noble birth regard lack of adornment in their poetic compositions as shameful. They are busy seeking out literary embellishment all day and go on chanting poems well into the night. (Zhong Rong: The Critique of Poetry)

庸音杂体

庸音杂体

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