Second, Wen Xin Diao Long emphasizes the role of emotion in the whole process of literary creation. It is required that literary creation should "concentrate on anger and chant emotion" and advocate "writing for emotion"; Oppose "creating feelings for the sake of writing" ("Love"). It is believed that the creative conception is "pregnant with emotion" (Shensi), the structure is "keeping things in order to meet the emotion" (General Art), and the tailoring requires "setting the emotion to the position" (Rongjian), and even the genre and style of the work all play an important role. This understanding is quite profound and conforms to the characteristics and laws of literature. "Wen Xin Diao Long" also has in-depth discussion and discussion on style and character. In the chapter "Style", Liu Xie inherited Cao Pi's opinion on style, and made further development. He thought that the reasons for the formation of writer's style were innate talents and temperament differences: "Emotion won"; There is also a difference between acquired learning and dyeing: "Tao dyeing is condensed." And all kinds of different articles are divided into four groups of eight-body, each group has its own positive and negative body: "elegance and strangeness, Austria and distinctiveness, complexity and agreement;" Strong and light "; However, they are related to each other. "Although the eight bodies are different, they will integrate numbers. If they are in the ring, they will converge." The author's uneven evolution in these eight forms will form his own unique style. Liu Xie's research on style had a direct impact on later Poems and Twenty-four Poems. On the basis of style theory, Liu Xie especially praised "the character of the wind". The word "style" was originally a special term for evaluating the mental outlook of characters in the Southern Dynasties. The word "style" in literary theory criticism is derived from here. "Wind" means that literary works should have strong ideological and artistic appeal, that is, the "wind moves" in the preface to poetry. "Bone" is the requirement of vigorous and fresh performance. The theory of "style of character" is not only aimed at the floating style of writing in the Southern Dynasties, but also summarized from the traditional literary theory. The theory of "strength of character" had a great influence on the development of poetry in the Tang Dynasty. The theory of artistic imagination in Wen Xin Diao Long is also incisive. Inheriting the views of Wen Fu on this issue, this paper makes further discussion and development. "Shensi Pian" borrows the idiom "The shape is above the river and the sea, but the heart is below Wei Que" to discuss the characteristics of artistic imagination beyond the limitation of time and space: "Therefore, it is silent and thoughtful, and thinking for thousands of years; Quietly moving, seeing Wan Li. " However, he went a step further than Lu Ji's point of view. He thought that artistic imagination was not born out of nothing, and it showed that the basis of artistic imagination could only be the materials or raw materials in objective life with the visual metaphor of "extensive knowledge as food for the poor". This view is in line with reality. At the same time, it also puts forward the important viewpoint of "God and things travel". "God" means "thinking", which is a common vocabulary in the Six Dynasties, meaning that the characteristics of thinking are not rapid; Language out "easy? On the copula: "God is the only one, so it is not quick, but it can't be done." "Things" are objective reality. "Wandering between God and things" means that a writer can't live without concrete and emotional images in the whole process of artistic imagination, and the two are always organically combined, which is the characteristic of image thinking. "Wen Xin Diao Long" also emphasizes that only when the writer's spirit and psychology are in a state of "emptiness and quietness", can he better gallop his artistic imagination without being disturbed by the outside world. The theory of "emptiness and quietness" originated from Taoism, which was further developed by Xunzi, and Liu Xie creatively applied it to the theory of literary and artistic creation. When discussing the artistic imagination, Wen Xin Diao Long also put forward some opinions, such as "accumulating knowledge to store treasures, making rational decisions to enrich talents, and studying and reading to make poor photos", and emphasized that artistic imagination should have extensive daily accumulation of life knowledge, thus laying a solid foundation for his theory of artistic imagination. After Wen Xin Diao Long, the exposition of artistic imagination and image thinking has had an important influence on later generations. For example, Wang Changling said that "God is in things" (Tang Yin Gui Qian, Volume II), Su Shi said that "God is in contact with all things" (After the Picture of Shu Li Boshi Mountain Villa), and Huang Zongxi said that "ancient human feelings can't be separated from each other" (Preface to Huang Fuxian's Poems) and other viewpoints are all immersed in. In Wen Xin Diao Long? The article "Shensi" also makes a good exposition of the relationship between "rhetoric", "ambition" and language. As for literary creation, the problems discussed in Wen Xin Diao Long include: literary exaggeration, structure, tailoring, pragmatism, rhetoric, implication and temperament. In the discussion of these issues, there are also many incisive ideas. For example, in Exaggeration, Wen Xin Diao Long not only proposed for the first time that literary creation can not be separated from necessary exaggeration to make the author's performance more prominent, but he also advocated exaggeration and restraint, and opposed exaggeration and inaccuracy.