作为考核人物优劣的核心标准，才具有对文才、史才、政治之才等的广泛指涉性，在这种混合运用中，不仅文才独到的性质难以呈现，而且文学创作中无视主体才赋限定、片面夸大学问作用的论调也屡见不鲜。严羽“诗有别才”论的提出，完成了文才本体性质的美学认定，也为创作划定了门槛。从主体素养而言，文艺创作需要别才;具体到每一文体、每一题材，也都面临着更为具体的别才讲求。而这一思想的成熟是以玄学为重要契机的，玄外审美、文笔之辨使文才独有的性质获得初步认知。以此为基础，宋代诗学于文人独到禀赋的关注、于以学为诗创作弊端的反思与宋代禅学标榜“教外别传”的潮流融合，直接催生了“诗有别才”理论。

As the core criterion to judge the merits and demerits of a person, talent was a general category to refer to literary talent, talent of historical study and political talent. Due to the mixed use of talent, a literary talent could hardly denote his unique features. And it was not rarely seen that the limitation of ontological talent was ignored and the function of learning was exaggerated in a one-sided way. Yan Yu(严羽)put forward his theory that poem writing requires special talent, which not only completed the aesthetic confirmation of the ontological features of literary talent, but also delineated the threshold for literary creation. So far as the ontological quality is concerned, literary creation requires special talent. Concretely speaking, every style or theme has its more specific requirement for special talent. It was metaphysics that offered an opportunity for the maturity of this thought. Beyond-metaphysic aesthetics and the distinction between the literary method and the narrating method enabled people to have an initial cognition of the unique features of literary talent. On this basis, Song poetics showed concerned for the unique talent of the literati and reflected the drawback of the poetic creation by using the poet’s own learning. As a result of its integration with the Song Zenist trend of understanding which was independent of Buddha’s preaching, the theory that poem writing requires special talent came into being.