A Brief Introduction to Literary Criticism in History

The purpose of Liu's Literary Criticism was to oppose the "floating and tricky" and "blackmail" of the literary style at that time, and to correct the narrowness and bias of the literary criticism in the past. Its outstanding contributions in the history of literary criticism are:

① Initially established the concept of literary history. He believed that the development and changes of literature were ultimately influenced by the times and socio-political life. He said in the chapter of "Sequence of Times" that "the change of literature is colored by the world's situation, and the rise and fall depends on the order of time", and in the chapters of "Sequence of Times", "Passage of Change" and "Talents and Strategies", he explored the reasons for the flourishing and declining of literature from the ancient times to the two Jin Dynasties, combining the change of political styles and characteristics of the times with the characteristics of the times to evaluate the writers and their works. For example, he said that the "generalized and airy" style of Jian'an literature was due to "the accumulation of chaos in the world, and the decline of popular discontent", and that the proliferation of metaphysical poems in the Eastern Jin Dynasty was due to the social trend of "valuing the metaphysical" at that time. He noticed the decisive influence of social politics on the development of literature. Not only that, he also noticed the relationship of succession in the evolution of literature. From this, he opposed the bad tendency of "competing with the modern and neglecting the ancient" at that time. All these are very valuable.

②Analyzing and discussing the relationship between the content of literary creation and the form of expression, and advocating the equal importance of text and quality. In the "Bones" chapter, he advocated "style and bone"; in the "Love" chapter, he emphasized the love of literature. However, between the two, he emphasized the importance of "wind" and "emotion", and he advocated "creating a text for the sake of emotion" and opposed "creating an emotion for the sake of a text", firmly opposing the tendency of one-sidedly pursuing the form.

3. He summarized the experience from all aspects of creation and put forward the lessons of failure that should be avoided. He pointed out the importance of the writer's "God swims with things" in creation, and emphasized the mutual influence and transformation of emotion and scenery. He also pointed out that different styles were the result of the differences between a writer's innate talent and temperament and his acquired knowledge and experience. In response to the prevailing trend of "close attachment but distant detachment" and "over-exuberance in new works", he proposed the necessity of inheriting literary tradition and discussed the relationship between the "new" and the "old" in literary creation. In addition, he offered many insights into the use of such techniques as rhyme, couplet, allusion, simile, and hyperbole in creative writing.

4 Preliminary establishment of the methodology of literary criticism. In the chapter of "Knowing the Voice", he criticized the undesirable trend of "valuing the ancient and neglecting the modern", "revering oneself and suppressing others", "believing in pseudo and obsessing over the true", and "sticking to one corner of the world", and demanded that critics should be "disinterested in the lightness and importance of things, and unbiased in their hatred and love". At the same time, he also put forward the criticism method of "six views": one view of the body, to see whether the content and style are consistent; two view of the rhetoric, to see whether the rhetoric is accurate in expressing the feelings and reasoning; three view of the general change, to see whether there is inheritance and change; four view of the odd and positive, to see whether the layout is rigorous and appropriate; five view of the matter and meaning, to see whether it is relevant to the use of the canon; and six view of the Gongshang, to see whether the rhyme and rhythm are perfect. This was the most comprehensive and fair evaluation standard at that time.

Wenxin Diao Long (文心雕龙), with its great significance and far-reaching influence on the development of literary criticism and literary theory in ancient China, is a very valuable legacy, which has received more and more attention and attention from theoreticians in many countries around the world. In China, there are many studies, commentaries and translations of Wenxin Diao Long. Existing versions of the shadow Yuan to Zheng Ben, "four series" photocopy of the Ming Jiajing Ben, another present Fan Wenlan "Wenxin Diao Long Note", Yang Mingzhao "Wenxin Diao Long school note", "Wenxin Diao Long School Note Gleaned", Zhou Zhenfu "Wenxin Diao Long Note", Wang Liqi "Wenxin Diao Long proofs", and so on.

1 Rhetorical aspects of the article

Traditional rhetoric is divided into two major aspects of negative rhetoric and positive rhetoric: negative rhetoric, including phonological rhetoric - to pay attention to the level of going up into, yin and Yang clear and cloudy, the syllable corresponds to the superimposed double sound, and rhyme; discourse rhetoric - in the synonymous near-synonymous words. -In synonymous and near-synonymous words and phrases, make the choice of meaning and collocation suitable for the context, and make the choice of color harmony suitable for the feelings and language style; grammatical rhetoric - in synonymous expressions, make the most appropriate choice for the length of the sentence, the whole and the scattered, the active and the passive, the affirmative and the negative, the constant and the changeable, the Chen doubt and the praying and sighing, and so on. Chapter Rhetoric - the conception of the article, the selection of materials and layout, emotions and facts, style and details, modification and evaluation. Positive rhetoric - especially after a long period of rhetorical practice and the formation of a fixed and recognized rhetorical pattern.

Liu Fo in "Wenxin Diao Long", on these two aspects are appropriate and profound discussion, especially on the negative rhetoric of the discussion, not only on the article skills, but also in-depth to the psychological activities and thinking laws and language generation level of the relationship between not only at that time up to today is still an important guiding significance.

Chinese characters have an architectural square structure as an independent individual unit, and an individual unit is a syllable, which has different values of yin and yang, a feature that provides favorable conditions for the rhetoric of Chinese speech.

In the aspect of phonological rhetoric, Liu did not follow the "eight diseases" of the celebrity Shen Yao, but focused on the problem of "flying and sinking" and "double sound and rhyme".

In "Shen Si", Liu put forward the "search for sound and rhythm depending on the ink", in the "sound and rhythm", and said: "Where the sound has a flying and sinking, ringing with double stacked. The double sound is separated from the word and every mistake, superimposed rhyme mixed sentence and must be separated; sinking is loud and broken, flying is sound soaring not return." The meaning is that the tone of the words is divided into yin and yang, clear and cloudy, flat and oblique, and there is a difference between double and overlapping rhymes in the sound and rhyme of the words. (At that time, it was said that the level and oblique tones, so it was said to be flying and sinking. Previously, the musical term Gongshangjiaozhengyu was borrowed to refer to the pitch of the voice. The Wengjing Mysterious Mansion Lecture talks about the three techniques of tuning the voice: it states that Gongshang is the flat tone, Zheng is the upper tone, Fei is the upper tone, Jiao is the upper tone, and Shangjian is the lower tone. (Here, fly refers to yin and clear, level tone; sink refers to yang and turbid, oblique tone.) The words of yin and yang, clear and turbid, should be interspersed with alternating level and oblique tones; if even the oblique tones are used, there is a feeling of sound and gas sinking and wanting to be broken, and if even the level tones are used, there is a feeling of sound and gas soaring and floating and not descending. (such as Cao Zhi "beautiful woman": Luo Yi He fluttering, light train with the wind also, Pan Yue "eulogy": looking at the hut think of its people, into the room to think of the experience) and double rhyming words, must be used in conjunction with the two words, if the two words inserted into the other words, or will be used for a word divided into the neighboring two sentences, it will result in the "eat the text"- -This is indeed a brilliant idea. This is indeed insightful, many tongue-twisters are not intentionally use this kind of interspersed and cause "must be" of "eat text" well. Once this problem, it must be "left in the way and look for the right, the end of the stagnation and discuss the front", "then the sound of the turn in the kiss, Ling Ling, such as Zhenyu, the words in the ear, tired, such as Guanzhu carry on." Liu Fei thinks, for rhyme is easy and choose and difficult - different tone from the said and - the tone with the right tone called harmony, the same sound corresponds to the said rhyme - the corresponding position on the same rhyme word echoed called Rhyme. It is clear that Liu Fu not only attaches great importance to but also accurately grasps the phonetic characteristics of Chinese characters, and has made valuable contributions to the theory of phonetic rhetoric. How to use rhyme, "chapter and verse" has a theory: "If it is to change the rhyme from the tone, so the section of the language gas, ...... but two rhymes easily, then the sound of the rhyme is slightly manic, a hundred sentences do not change, then the lips and kisses to sue the labor of the wonderful talent, although the touch of the thought of the chastity, where if the folding in the peace, and the common to keep the faults." The idea of compromise is in line with the aesthetics of the use of sound and rhyme.

2. Rhetorical aspects of discourse

In the rhetorical aspect of discourse, Liu advocated the careful selection of words.

The "Flaws" cites four defects in the use of words, all of which impede the beauty of the text.

Chen Si's text, the group of talented people, and the eulogy of Emperor Wu Yun: 'Zun Ling Yong hibernation'; the ode to Emperor Ming Yun: 'the holy body floating light', floating light like a butterfly, Yong hibernation is quite suspected of insects, the implementation of respect for the extreme, how can it have the same effect as the most important thing, the most important thing is the most important thing. The "Ode to the Emperor Ming" said: "The holy body is floating light"! -- to refer to the words of the tiny insects and animals and applied to the honored elder, is indeed a collocation object error.

Pan Yue for the talent, good at mourning, but sad brother, then the cloud sense of mouth, hurt the young son, then the cloud heart as doubt. Ritual text in the honor of the extreme, and the implementation of the next stream, although the rhetoric is enough to mourn, the righteousness of the Si alternative. --Sense of mouth Ze can only be used to condole the death of the mother, heart such as doubt can only be used to mourn the death of the father, --Pan Yue with its condolences for peers and juniors, belong to the use of the wrong word, with the wrong object, and is the wrong distribution of emotional color.

The other two flaws cited, Zuo Si against filial piety ideological errors and Cui Yuan Yu Shun mistakenly compared to the notorious Li Gong, although the idea and analogies of the error, but after all, through the rhetorical expression, categorized as a discourse rhetoric is not improper.

The rhetoric of the discourse, but also involves the use of words, Liu Fu in the "Refinement of the word" put forward with the word "four essentials": ...... is to decorate the word belongs to the piece, must be selected: one to avoid bizarre, the second province of the United States side, the three right to re-emerge, the fourth tone of a single complex. Weird, the birth of a dangerous and strange words, such as raging; joint side, the same side of the word, such as lofty; heavy out, the same word offenders that is the same word in the sentence repeated use; single compound, word shape barren strokes more or less. --Carefully think about it, are reasonable: read the text when encountering bizarre words, as if barefoot walking in the path of the strange stone every now and then, will be consumed by the spirit of the bad mood; joint side of the set, such as fostering the Hakka firmly guarding the cold window of the empty loneliness, the lost and far away from the return of the Lotus Road to return to the free and so on, but also dull and lack of eyes; re-emergence of the evils of the word of the sound of the shape of the word is not monotonous and boring; word barren brush strokes are many and varied! If you do not deploy, it will be or lost in the slim, or lost in the base heavy. No wonder that Liu勰 sighed: so good for the text, rich in 10,000, poor in a word, a word is not less, avoiding each other for difficult.

Grammar and rhetoric part, Liu in the "chapter and verse" in the chapter and verse to arrange the content and rhyme according to the arrangement of the chapter and verse of the proposition. According to the content, to "control the introduction of reasoning, send to meet the interactions" that is, according to the expression of reasoning, sometimes branches and sparsely quoted, and sometimes tightly linked to the theme of the non-twisted; according to the rhyme, it is "if the chapter and sentence is not constant, and the word has a number of enumeration, the four words are dense and not rapid, the six words of the rich and non-slow, or to change to three or five, the cover should be the right section of the machine also. ." LiuFuZhou advocate, the choice of sentence, with long with short, or long and short interspersed, the whole combination of scattered, completely in line with the rhyme needs, rhyme urgent, less syllables short words and sentences, rhyme slow, can be used ShuMan's long sentence, rhyme ups and downs, can be long and short and the whole combination of scattered, in order to receive the effect of the gas and introspection.

3. Rhetorical aspects of chapters

Liu's rhetorical aesthetics is the most brilliant part of the chapter rhetoric.

Re-containment and style. The body of "Body Nature" is the body of the article, and the nature of "Body Nature" is the nature of the human being, which is the relationship between the style of the article and the personality of the author. Wen has "eight winds of the discussion" that is poor list of eight styles of articles - one said elegant, two said far Austria, three said that the essence of about, four said that the obvious attached, five said that the red tape, six said that the magnificent, seven said novelty, eight said that the light of the wind. And according to different standards are divided into four groups: ideological content - elegant and strange anti-, emotional and moral implication - Austrian and obvious difference, the expression of the subject matter - complex and about the wrong, the body image and rhyme --The expression of the subject matter is complicated and confused, and the style and flavor of the body is strong and lightly misbehaved. Anyone who writes, all hope that as soon as possible to form their own unique style, Liu勰 pointed out that the style of the article and the author's cultivation are inextricably linked - "If the emotion is moving in the form of the reasoning and the text to see, cover along the hidden and to the obvious, due to the internal and the symbols of the external also. However, there is talent, gas, rigid and flexible, shallow and deep learning, learning to have elegant Zheng. And temperament of the flickering, pottery dye condensation, is to pen area cloud treacherous, the literary court wave of treacherous have carry on. Therefore, the rhetoric and reasoning of the vulgar Jun, can not turn its talent, style just soft, rather or change its gas, the matter of shallow and deep, have not heard of perverse learning, the style of Ya Zheng, rarely against its habits. Each teacher becomes a heart, and its difference is like a face." From this point of view, the text should be like a person, it should be good. The author's inner feelings externalized into the language of the article, the author's talent, temperament, temperament, habits and become a stained personality, inevitably overflowing into the article style. Therefore, to cast their own unique style, we must focus on cultivating talent and learning, and improve the quality of personality. No wonder that Liu Feo in the "God's thought" advocated "Taojun Wen Si, noble in the quiet, sparse boil five viscera, bath snow spirit; cumulative learning to store treasure, discretionary reason to rich talent, research to poor light, tame to deduce the rhetoric." Only if this is the case will it help the formation of the style of the article.

The article has a style, more bones, only to stir up feelings, rhetoric, and brilliant. What is style? "Poetry" total of six meanings, the wind crown its first, Sinai sense of origin, the chi of the rune deed also. It is to 怊 (ch o sadness and indignation) frustrated to describe the feelings, must start in the wind, meditation paving rhetoric, not first in the bone. Therefore, the rhetoric of the bones, such as the body of the tree skeleton, the feelings of the wind, as if the shape of the package gas. If the words are straight, then the bones of the text will be made; if the intention is cool, then the wind of the text will be clear." In short, the wind is full of works in the sentiment and talent, is the fundamental power of probation. Bone is pertinent, concise, appropriate, fluent and harmonious language. Bone points to the rhetorical aesthetics of touching talent and vivid language. To make the article contains wind tree bone, it must be "practiced in the bone, the analysis of the words must be fine, deep in the wind, the statement of feelings must be obvious." Liu also further pointed out the different effects on the article with or without bones: "The words are firm and hard to move, and the sound of the knot is condensed and not stagnant, which is the strength of the bones of the wind. If the words are barren and fat, complicated and unorganized, then there is no sign of bones. If you don't think about it, and if you don't have any gas, then you don't have any wind. Xiangru Fuxian, (as the "Adult Fugue") gas No. Lingyun, the rhetoric, is its wind Thu also." In this view, Bai Juyi "root feelings, seedling words, Chinese sound, the real meaning" of the theory, and Liu Feiqi wind bone of the proposal, are also the most important words!

The touching talent and vivid language is important, but must be made for the love of the text, but not for the text and make love. To write the truth, do not false false words. "The lead so decorated face, and hope Qian was born in Shuzhi; literary style so decorated words, and the defense of beautiful in the nature of the feelings." Liu Feixin's theory, to rectify the sick moaning, words without meaning, artifice, empty false and popular streams, is no less than a stick in the head alarm bells ringing.

The heavy fusion, Ming Yinxiu. The length of the article, the content of the details, semantics, hidden, fine police mediocre, but also for the text of the necessary considerations. The "fusion cut" pointed out: "standardize the body is called fusion, cut the floating rhetoric is called cut. If you cut it, it will not be dirty, and if you melt it, the program will be clear and smooth." In short, the melting is to refine the meaning and the center, and the cutting is to refine the words and the language. Because "all thoughts are first issued, rhetoric bitter mixed, the heart is not weighed, will be light." Therefore, Liu勰 put forward the "three standard theory" -- "is to grass to create Hong Pen, the first three standard: Crawl end in the beginning, then set up feelings to position body; Lift the right in the middle, then discretionary things to take the class; Return credit in the end, then summarize the rhetoric to cite the main points. Then Shu Hua Bu Shi, dedicate alternate sections of the text (dedicate: can, alternate: no.), the rope according to the need to adjust the text. That is, according to the need to adjust the text), outside the rope and ink, the beauty of the material has been hacked, so it can be the first and the last round, coherent order. If the art is not vegetarian fixed, and commissioned by the heart of the words, heresy series to, cumbersome will be more. Therefore, the three standard established, the second discussion of words and sentences. Sentence can be cut, enough to see its sparse, the word shall not be reduced, to know its secret." "Three standard theory" puts forward the three parts of writing a good article, three guidelines: first of all, according to the reasoning to determine the genre of the article; secondly, analyze the material to select a typical topic; once again, briefly outline the meaning of the outline. Then processing embellishments, processing details, article coherent first and last, finalize the whole text.

The semantics are obvious and hidden, and the meaning of the word is hidden. Hidden show" cloud: "the heart of the move far away, the change of the deeper Wen feelings, the source of Ao and Pai Sheng, Root Sheng and Yingjun, is the English lemonade, there are show and hidden. Hidden also, outside the text of the heavy (ch ng) purpose also; show also, the piece of the only one also. Hidden in order to compound the meaning of work, show to outstanding as clever. This is a great achievement of the old chapter, and a great meeting of talents." In today's words, hidden that is, outside of the string, show that is, in the chapter of the warning. The article is shallow and exposed certainly not full of incense, the whole vulgar language is difficult to deafen. The text has a sound, as if "stone Susanna jade and mountain glory, water and water pearl and Chuan Run"; piece of show language, like the moon according to the day and night bright, tree dip spring and Lin Cui.

The article show sentence, or from the heart, or benefit from the invocation.

The article's beautiful sentence or from the heart, or benefit from citation. "Things" that: Whether it is "citing ancient things and do not take the old words," the use of the dark citation, regardless of "take the old words one ten thousandth" of the selection of the essence of the citation, but also regardless of the "quite discretionary poems, books and biographies" of the synthesis of mining As long as it is to "prove the present by citing the past and the present on the basis of facts and meanings", it is not to be blamed. And the "finger flaws" that: "If you plunder people's beautiful words, think of their own strength", then "the precious jade bow, the final fly its have. If you write about it, you will uncover the suitcase, and if you pick it up, you will explore the bag. However, the world is far too light, at the same time for the particular." From this point of view, Liu Feo is not against citation, but against plagiarism. Citation is clear borrowing, aiming to help their own text, plagiarism is clear copying, aiming to when their own chapter. All copying is no different from open-box robbery, copying is also like pulling out the waist of the locks of theft, plagiarism of the previous generation of the thief taste a little lighter, the same generation of the same theft is a crime.

Analysis

Through the appreciation of the content of the theory, can also be seen in Liu's rhetorical point of view. He pointed out in "Knowing the Voice" that the appreciation of works from two major aspects of the six elements to start, put forward the "six views" - is to read the literature, the first six views: a view of the body (i.e., genre sentiment), the second view of the rhetoric (i.e., decorative rhetoric), the third view of the change (i.e., through the ancient and modern), the fourth view of the odd and positive (to adapt to the times). (i.e., to adapt to the times) four view of the strange and positive (that is, the language posture is elegant and smooth or strange and bizarre), five view of the matter of righteousness (i.e., according to the matter of the class of righteousness, refers to the typical themes) six view of the Gongshang (that is, the tune of the sound of the harmony and the arrangement of the tone of rhetoric). Art both shape, then the advantages and disadvantages see. If the embellishment of the text of the sentiment and rhetoric, the viewer Phi text into the sentiment, along the wave to discuss the source, although the ghost will be obvious." The above six views, position body, through the change, the matter belongs to the content of the work, set the rhetoric, odd and positive, Gong Shang belongs to the form of the work. From the above theory, only from the content to the form of the overall consideration, these six aspects are ironed out properly just right, can make the article "such as the spring stage of the Hei crowd, the bait of stopping the passers-by".

In terms of the use of positive rhetoric, Liu also gave a lot of attention to the use of rhetoric. The "Li Rhetoric" specializes in couplets, will be divided into two groups of four compatible couplets - content, words, things, for a group; to the meaning of the points, the positive and negative for a group. Each of the pairs of words and events has its own anyway, and the two groups are inclusive of each other. In terms of specific utilization, Liu勰 pointed out that "if the words are not clear, it will make us sleepy. It is necessary to make the rationale round and dense, and to link the chapters together. Iterative use of odd and even, section to miscellaneous wear, is its expensive ear."

Liu lived in the era of heavy parallelism, and I have its eyes, a large "Wenxin Diao Long", the whole body of parallelism for the text, enough to prove its love. Therefore, the method advocated can be said to be unique and well versed in the essence of the three - parallelism and scattered, to show the beauty of the intricate, long and short mixed use, there is a spirit of life.

"Exaggeration" is devoted to exaggeration. Liu Fenghua did not study the form of hyperbole as it is today, but seized the key of whether the hyperbole is in line with the matter of sense and reason, and divided the hyperbole into two categories and pointed out its different effects: "However, when the decoration is poor in its essentials, then the sound of the heart will rise, and exaggerate over the reason, then the name of the truth of the two misbehavior." -If the exaggeration is sensible to the essence of God, it will cause a strong ****ing, and vice versa, it will be contrary to the facts and unreasonable.

Today, if we face this kind of exaggeration -- "The straw is thick like a vat, and the awns are sharp to the sky. A piece of wheat husk is a piece of tile, a grain of wheat is three days of grain. The straw is a pillar, the awn is a beam, the wheat husk is a roof, and on the top of the building is written in big letters, a great socialist paradise." "Corn and rice are dense and thick, covering the sky and the ground with no wind. Even if a satellite falls, it will bounce back in mid-air." --Who can not feel y what Liu Fei said, hit the nail on the head and yet vital!

Additionally, "Bixing" talks about similes, and "Things" talks about references, all of which are not published. I'm not going to repeat myself.

Liu can be more than 1500 years away from now, put forward this so much so far difficult to exceed its court of incisive rhetorical theories is rare and precious. The theory of rhetoric, both rational interpretation, but also language evidence, evidence, both in the form of the content of the article, but also about the author's thinking, temperament, cultivation, talent. He was able to explain the relationship between the beauty of talent, virtue, and love and the beauty of rhetoric and literature, explaining the aesthetics of rhetoric as a result of emotional movement and rhetoric, and recognizing that "when things move, the heart also shakes," and that "when feelings are based on things, the meaning must be clear and elegant; when things are based on feelings, the rhetoric must be clever and beautiful," although there was no grandiose dialectic at the time, and it was not yet a time to argue about rhetoric. Although there was no grand dialectical materialism at that time, today it seems to be fully in line with this point of view. Under the guidance of this point of view, he established a systematic theory of dissecting and analyzing the feelings from the understanding that the content determines the form, and he put forward the idea that "the time changes, the quality of the text and the generation changes" from the understanding of historical materialism and realistic materialism, and "the text changes are stained by the world's situation, and the rise and fall is related to the time sequence. "This rhetorical concept of choosing to inherit and innovate according to the times, and this rhetorical concept of serving the times with "the language of the times" is still a principle of rhetorical aesthetics that must be followed today. Wenxin Diao Long" is a large and sophisticated body of thought, deep text Zhou Na, my essay only on rhetoric and slapdash, skimming and floating light. If it becomes a brick to attract jade, it is also fortunate to carry forward my wish.

"Wenxin Diao Long"

"Wenxin Diao Long" *** ten volumes, fifty articles, divided into the upper and lower parts, each of which is twenty-five, including the General Theory, the style theory, the theory of creativity, the theory of criticism of the four main parts. The upper part, the five essays from "The Original Way" to "Discussing the Sao", discusses "the pivot of literature" and expounds the author's basic viewpoints on literature, which is the program and theoretical foundation of the whole book. The twenty essays from "Ming Shi" to "Shu Shi" are centered on the "Preface to Essays", each of which is divided into one or two or three literary styles, and can be called a treatise on literary styles. The lower part of the book, the twenty articles from Shensi to Moushi, centers on the "analysis of feelings" and focuses on issues related to various aspects of the creative process, which is a theory of creativity. The four essays, "Chronology," "Talent Strategy," "Knowing the Voice," and "Cheng Ware," criticize the literary styles and achievements of writers in the past from different angles and discuss the methods of criticism, which can be called a treatise on the history of literature and a treatise on criticism and connoisseurship. These two parts of the lower part are the essence of the whole book. The last one, Preface to the Zhi, explains the purpose of one's own creation and the intention of the deployment of the whole book. Although Wenxin Diao Long is divided into four aspects in terms of content, the theoretical viewpoints are consistent at the beginning and the end, and the various parts of the book follow each other, and the body is large, with a rigorous system, which is unprecedented in ancient literary criticism, and it is the treasure of China's literary theoretical heritage, and it is an important reference for us to be engaged in the creation of literature and criticism of literature, and it is also an indispensable basis for the study of the development of literature in China from the ancient times to the time before Nanqi. For the study of the development of Chinese literature from the ancient times to the period before the Southern Qi, it is an indispensable basis, worthy of our attention and good research. His achievements are outstanding, unprecedented, and universally recognized.

However, due to Liu's body name is not yet obvious, the academic world at that time is still not very well known to him, "Wenxin Diao Long" came out, the crystallization of this heart and soul is not the literary world's attention, the approval of the celebrities. At that time, shen yao high position, in the political and cultural circles have important position, liu fengxiao want to first get his recognition, but no opportunity to approach him. Once, Liu Fo put the book on his back, like a book seller, waiting for Shen about the roadside. When Shen You passed by in his car, he stopped him. Shen was curious to bring the book to read, immediately attracted to the book, that the book "deep understanding of the literature" ("Southern History - Liu Fu biography"), greatly appreciated. Later, he often put Wenxin Diao Long on the table to read at any time. After Shen's praise, Liu's fame was big, "Wenxin Diao Long" finally spread in the scholarly circles. At the same time, at the age of thirty-eight, Liu Fu said goodbye to the Dinglin Temple, where he had stayed for more than ten years, and "started his home by the invitation of the court", embarking on his career.

Liu's "Wenxin Diao Long" (Fifty Articles) is the first work of literary criticism in ancient China. He advocated that literary works should have "bones of style" (rich content) and beautiful forms (literary style), and put forward six standards of literary criticism ("six views") and the training they must have, systematically elaborating the theory of literary criticism since the pre-Qin period, which has an important position in the history of literature. It is an important position in the history of literature.