The verve theory of Chinese Poetics came into being in aesthetic studies of the Six Dynasties，and became prevailed in the Ming and Qing Dynasties. As a note on poets and poetry，Wang Shi-zhen’s theory of Poet Verve combined the painting theories after the Six Dynasties and the poetic theories of SIKONG Tu and YAN yu. The core of the verve theory of Chinese Poetics is：poetry should use brief words to convey implicit and limitless meaning and verve，and express emotion and idea that is unable to tell or write by telling and writing nothing. The way to reach this realm is to understand language implication from language itself. Facing the limitations of language in expressing emotion and idea，poets generally take two kinds of strategies：the first is to seek the maximum within the limitation，try one’s best to characterize people，trace their voice and appearances，and forge words and sentences，to approach the state of being alike in spirit；while the second is to transfer limitation into advantage，merge the implicit with explicit meaning of wording，characterize the vivid image as much as possible to express the writer’s emotion and ideas，it means to develop the energy of language sufficiently，to make progress from negative overcoming to positive conquest and appropriate application. The verve theory of Chinese poetics is a theoretical summary of the existence and work mode of the second strategy in Chinese poetry history，it covers an important aesthetic feature of Chinese ancient poets and poetry：implicitness. The verve theory of Chinese poetics pursues the meaning beyond words，and the target of expressing limitless meaning by limited words. In fact，it is a common and necessary characteristic of all excellent poets and poetry，a universally effective aesthetic style，it contains a poetic skill that is common in all over the world and from the ancient time to current：indication and association of vocabulary and image.