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袁枚突起于清代中叶的乾嘉时期，他在考据成风的文化氛围中，在个体差异普遍消解、人们埋头于对古代典籍的训释与模仿之时，异军突起，独树一帜。他的性灵诗说，犹如一股强有力的旋风，产生了巨大的冲击波，突破了当时诗坛上流行的“格调说”、“肌理说”等的樊篱，冲破了传统诗学理念与时代风尚，对“格调”诗的模拟因袭、“肌理”诗的学问考订、浙派的短饤琐屑，统统子以强有力的冲击，促进了诗歌观念与诗歌创作的解放。以他为首的性灵诗派，是清代最有影响的诗派之一；同时，袁枚以其充满创造精神、洋溢天才之气的诗歌作品，涤荡着清中叶诗坛上的陈腐之气，给诗坛吹来清新的空气。 在清代乾嘉之际的诗坛，袁枚是一个首开风气的人物)，他的突出的历史贡献，主要表现在以下几个方面。 第一，把诗歌从考据学问的遮蔽中凸现出来。这种努力在乾嘉时代有着特殊的重要意义。 清朝是中国最后一个封建王朝，“有清一代，为中国的文艺复兴时代，各种学术，都很发皇，有人说，清代的文化，是以前中国旧文化的总结束，以前所有种种的东西，在那时无不一一重现，这句话实在是很确适的。”(胡行之《中国文学史讲话》，第125页)浩如烟海的文化遗产，一方面为人们提供了可资借鉴的精神产品，另一方面又让一些读书人钻人其中，不能自拔。于是在文体呈现一种集大成局面的同时，学古拟古成为一种风气，而复古风气盛行的契机，是考据之学的流行。 乾嘉时期，一道夺目的文化风景，便是朴学考据的盛行。在当时，考据之学严重渗透到诗歌创作，人们埋头故纸堆中，关注的是字句的来历、格律上的得失，而失去的是对文学精神的把握。袁枚最大的历史贡献，就在于正本清源，努力找回诗歌失落的本体，找回文学失落的生命力和创造性。 在乾嘉时期考据之风弥漫之时，人们的文学活动自觉不自觉地受到了流行风气的浸染。在文学创作上，填书塞典的现象非常普遍。正如袁枚所说的那样：“近见作诗者，全仗糟粕，琐碎零星……句句加注，是将诗当考据作矣。”(《随园诗话》卷五)写诗如同“古董开店”(同上)。更有甚者，有的人“误把抄书当作诗” 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