薛濤는 唐代 여성 시인 가운데 가장 많은 시를 남긴 시인임에도 불구하고 주류문학사에서 거의 다루어지지 않았다. 근대 이전에 薛濤 시에 대한 비평들은 대부분이 그녀의 생애와 일화 등 傳奇에 집중되어 있었다. 明末 女性詩에 대한 사회적 관심이 증가하면서 薛濤의 시도 다시 주목받고 평가될 수 있었다. 이 시기 ‘無雌聲’이라는 비평 관점과 언어가 나타났으며 이후 논자들에게 영향을 미쳤다. 그 안에 담긴 관점과 서술 태도는 현대에는 ‘남성화 경향’이나 ‘남성 모방’이라는 말로 변화하였다. ‘無雌聲’은 ‘雌聲’의 부정을 통해 薛濤의 시를 긍정적으로 평가하는 것으로 여성시에 대한 기존의 인식과 그를 기반으로 형성된 정형성을 드러낸다. 역대 薛濤시에 대한 서술과 비평은 그녀의 人品과 詩品을 동일시하는 경향이 있다. 薛濤는 시 창작을 통하여 자아를 발견하고 시인으로서의 정체성을 확립해 나갔다. 薛濤 시의 서술 방향 역시 이 점에 주목하여 서술되어야만 현재에도 그 의미와 가치가 음미 될 수 있을 것이다.

Xue tao was rarely dealt with in the history of mainstream literature, even though she was the female poet who left the greatest number of poetries in Tang dynasty. In prior to modern times, the most of the criticisms of her poetry were focused on the biography such as her life and related anecdotes. At the end of the Ming dynasty, as social interest on women’s poets and poetry increased, Xue tao’s poetry drew finally the attention again. At the time, some literary people thought themselves historiographers who discover and record female writers and they gave the utilitarian meaning to these behaviors. For this reason, Xue tao’s poetry was chosen for the object of appreciation and evaluation as a literature work with independent value, and the characteristic of female writer was also evaluated positively. The remarkable thing was that appeared the view of criticism and language of Wucisheng with the meaning of ‘there is not being feminine nuance’ on Xue tao’s poet in this period. It was used by critics later in a similar pattern, and, in recent times, it has been changed to “masculinization tendency” or “male imitation.” This ‘Wucisheng’ is a positive evaluation of Xue tao’s poetry through the negation of ‘Cí shēng (Jasung_female voice)’ and it’s based on the premise of the negative side of ‘Cí shēng’. ‘Wucisheng’ is, as a critical remark consistent with ‘Wuzhifenqi’, targeted women in the perception of literary men or revealed their perception of poetry created by women writers. In Xue tao’s poetry, it is hardly found the parting sorrow or deep regret like in another poems that appeared women as a depiction objective or narrator in terms of poetic material or theme. Even when describing the parting sorrow, she maintained an aesthetic distance and sometimes drawing it as the loss of soul mates. In poetry depicting everyday lyrics and the scenery of the season, Xue tao expressed honest feelings and awareness of reality in easy language without using of any fancy polish or authentic precedent. This is the most important personality of the female writer, Xue tao’s thought and language expression that can not be included in ‘Wucisheng’.