Under The View Of Phenomenology "Twenty-four" Of Poetry

" Twenty-four styles" is China’s poetic model, is the aesthetic artistic conception theorymasterpiece, is the style category theory epitomizing, literati for its more discuss. However,"twenty-four styles" inconclusive" twenty-four grades of poetry author makes" of" knowing"predicament, traditional research methods is difficult, so this paper try to use and ancientChinese literary theory has many similarities to the phenomenological literary theory of"poetry", twenty-four system. The use of Ingarden phenomenological ontology towards the"twenty-four styles" for levels of carding and beauty of the generation mechanism of therefined, with" twenty-four" of poetry aesthetic way of life; to borrow Duff Heiner"transcendental emotion" phenomenology" twenty-four" on poetry emotion types ofmetaphysical criticism, sort out the" twenty-four styles" emotion category developmentgeneration context, thereby revealing their aesthetic ideal paradigm and the type of emotionaldevelopment direction, in order to exploit the" twenty-four styles" aesthetic quality andtheoretical value; using the Heidegger style theory of existentialism," twenty-four styles" styleaesthetic depth mining and meaningful exploration, attempts to" twenty-four grades ofpoetry" great style exists in depth analysis, which reveals the poetic style of" twenty-four" inthe theory of existence. It forms from surface to depth of inner logic, thereby solve"twenty-four styles" aesthetic puzzle, also gave" twenty-four styles" of aesthetic justification.