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In this paper an introductory study of Wen-hsin Tiao-lung is attempted under 13 heading, each of which is handled with a few entries as follows:
1. life of Liu Hsieh and the time of his writing Wen-hsin Tiao-lung: a. The days of his youth and his study of Buddhism. b. Details about his writing of Wen-hsin Tiao-lung. c. His life of civil service. d. His friendship with Buddhist Monk Yu. e. His later years and his other writings.
2. Meaning of Wen-hsin Tiao-lung: a. Wen-hsin, mind of literature. b. Human arts and mind. c. An introduction to literature. d. Tiao-lung, artistry.
3. Composition of Wen-hsin Tiao-lung: a. Significance of 50 pien as a number, in relation with I-ching, the Book of Changes. b. Composition. c. Classficatioln of 50 pien. d. commentaries on Wen-hsin Tiao-lung.
4. Genres theory: a. Significance of Confucian Classics as fundamental literary models. b. Derivation of literary genres. c. Classification of literary writings with wen and pi. verse and prose. d. Reevaluation of Liu Hsieh's genres theory.
5. Function of mind and creative writing: a. Thinking and imagination. b. Cultivation of wholesome mind in preparation of creative writing. c. Learning. d. Taste and elegance of literary works.
6. Individuality and style: a. Formation of literary style. b. Classfication of styles. c. Writer and style. d. Changes and modulation of style. e. Stylistic characterization in view of individual writers. f. Stylistic characterization in view of literary genres.
7. Thought and artistry: a. Expressiveness of writers' thought and adequacy of artistry. b. Talent and learning. c. Artistry and contents.
8. Change of literary vogue and creative writing: a. Vogue and tradition. b. preparation of three elements in writing: thought, exemplification and vocabulary. c. Elimination and dilation. d. Technical skill.
9. Effects of sound and phrasing: a. Language and sound. b. Harmony of sound. c. Literature and sound. d. Spontaneous sound and artificial sound. e. Length of Jine. f. Method of phrasing. g. Couplet.
10. Metaphor and exaggeration: a. Hsing. metaphor. b. Pi. simile. c. Exaggeration. d. Use of historical allusions.
11. Characters and words: a. Study of form, sound, and meaning of characters. b. Standard of character selecting. c. Correctness of wording. d. Effects of characters and word in composition.
12. Environment and literature: a. Social environment and literature. b. Natural environment and literature. c. Summary of writers' characterisitics throughout dynasties.
13. Literary criticism and its criterion: a. Literary criticism and prejudice. b. On training of literary crities. c. Six points to observe in attempting literary criticism.
1. life of Liu Hsieh and the time of his writing Wen-hsin Tiao-lung: a. The days of his youth and his study of Buddhism. b. Details about his writing of Wen-hsin Tiao-lung. c. His life of civil service. d. His friendship with Buddhist Monk Yu. e. His later years and his other writings.
2. Meaning of Wen-hsin Tiao-lung: a. Wen-hsin, mind of literature. b. Human arts and mind. c. An introduction to literature. d. Tiao-lung, artistry.
3. Composition of Wen-hsin Tiao-lung: a. Significance of 50 pien as a number, in relation with I-ching, the Book of Changes. b. Composition. c. Classficatioln of 50 pien. d. commentaries on Wen-hsin Tiao-lung.
4. Genres theory: a. Significance of Confucian Classics as fundamental literary models. b. Derivation of literary genres. c. Classification of literary writings with wen and pi. verse and prose. d. Reevaluation of Liu Hsieh's genres theory.
5. Function of mind and creative writing: a. Thinking and imagination. b. Cultivation of wholesome mind in preparation of creative writing. c. Learning. d. Taste and elegance of literary works.
6. Individuality and style: a. Formation of literary style. b. Classfication of styles. c. Writer and style. d. Changes and modulation of style. e. Stylistic characterization in view of individual writers. f. Stylistic characterization in view of literary genres.
7. Thought and artistry: a. Expressiveness of writers' thought and adequacy of artistry. b. Talent and learning. c. Artistry and contents.
8. Change of literary vogue and creative writing: a. Vogue and tradition. b. preparation of three elements in writing: thought, exemplification and vocabulary. c. Elimination and dilation. d. Technical skill.
9. Effects of sound and phrasing: a. Language and sound. b. Harmony of sound. c. Literature and sound. d. Spontaneous sound and artificial sound. e. Length of Jine. f. Method of phrasing. g. Couplet.
10. Metaphor and exaggeration: a. Hsing. metaphor. b. Pi. simile. c. Exaggeration. d. Use of historical allusions.
11. Characters and words: a. Study of form, sound, and meaning of characters. b. Standard of character selecting. c. Correctness of wording. d. Effects of characters and word in composition.
12. Environment and literature: a. Social environment and literature. b. Natural environment and literature. c. Summary of writers' characterisitics throughout dynasties.
13. Literary criticism and its criterion: a. Literary criticism and prejudice. b. On training of literary crities. c. Six points to observe in attempting literary criticism.
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