「走內線的路」是梁宗岱對其文學批評立場的明確宣言，這不只是主張從關注作品外部的客觀因素回歸至作品本身而已，其中更蘊有他深刻而獨到的見解。梁宗岱以為文學批評之目標在於透過作品來求得「讀者與作者間精神底交流與密契」，甚而要在讀者心裡重織作者創作時「靈魂活動底過程和背景」，這種「體驗批評」的方法構成他的批評觀之根本基礎；正是在此基礎上，他才認為「真正的理解和欣賞只有直接叩作品之門」，並提出「走內線的路」之要求。換言之，當我們企圖理解梁宗岱為何拒斥「外線」、迴向「內線」，此種「體驗批評」之觀念便是不應忽視的關鍵因素，而這即意味著：僅憑藉我們今天習以為常的「內部批評」視角，並無法真正把握「走內線的路」的精義，因為後者的核心關懷不單是抉發作品文字形構所喚起的審美效果，毋寧說，寄寓於作品中的作者心靈體驗才是其終極的旨趣所在。 ＂Taking the Internal Route＂ was Liang Zongdai's declaration of his position on literary criticism. This declaration is not just about reverting from concentrating on objective factors external to the texts back to the texts themselves, but also demonstrates Liang's profound and unique perspectives. Liang considered the purpose of literary criticism to be the pursuit of ＂spiritual communication and tacit understanding between readers and writers,＂ or even the readers' reconstruction of the writers' ＂processes and background of spiritual activities.＂ ＂Experimental criticism＂ became the foundation of his literary criticism. Based on this foundation, he determined that ＂true understanding and appreciation can only be obtained through texts,＂ consequently, he established the requirement to ＂take the internal route.＂ In other words, when we try to understand why Liang rejected the ＂external route＂ in favor of the ＂internal route,＂ the concept of ＂experimental criticism＂ is key and should not be ignored. This means that we cannot grasp the essence of ＂taking the internal route＂ merely from the perspective of ＂intrinsic criticism＂ to which we have become accustomed. ＂Taking the internal route＂ is not just about the aesthetic experience caused by words in the texts, but rather, about the ultimate purport of the writers' spiritual experience as expressed in their works.