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This term refers to an effect that allows lasting satisfaction and rewarding in poetry appreciation, which is a particular sense of beauty offered by poetry. In the Southern Dynasties, poetry critic Zhong Rong （？-518？）proposed in “The Critique of Poetry” that in writing five-character-per-line poems, one should pay special attention to the combination of form and content, so that readers could enjoy a poem with inexhaustible delight. Later, nuanced flavor also came to refer to a kind of taste in literary and artistic creation.
Qu is the aspirations, emotions, and interests expressed in the work of a writer or artist. His pursuit of qu determines his unique perception and comprehension of nature and life. It also determines what theme he chooses for his work and how he gives expression to it. Qu is invisible but manifests its value and appeal through aesthetic appreciation.
This term refers to the philosophical substance of a work as well as its literary appeal conveyed to readers through its artistic image. In other words, it means the philosophical insights and aesthetic engagement that readers acquire through the process of appreciatively reading classic literary works. For example, poets of the Wei, Jin, or Southern and Northern dynasties were fond of entertaining abstruse schools of philosophy in their poems, while Song-dynasty poets often used poetry to comment on the society of their time. Both practices were treated as faults by some critics of later times. Some later critics even maintained that philosophical content should never figure into a poem apart from artistic images. Instead they insisted that the substantial content of the poem should be conveyed only by means of artistic images so that it could be grasped by readers through their appreciation of the work’s artistic features, thus the term “substance through artistic appeal.” Li (理) in this phrase refers to insights derived from the experience of life rather than bookish knowledge and learning. It is not something that can be acquired or expressed through logical argument. Qu (趣) refers to the aesthetic delight readers obtain when they acquire insight into life through reading classic literary works. This concept turns the dispute over whether poems could present logical arguments into a theory of the integration of reason and taste in poetic writing. It helps critics appreciate dialectically those literary works that contain both logic and insight.
A poet should directly express his thoughts and sentiments when he is inspired. This is a concept for writing poems proposed by poetry critic Zhong Rong （？-518？）of the Southern Dynasties in his work “The Critique of Poetry” as a reaction to the excessive use of allusions and quotes from earlier works. Inspired by naturalist ideas of Daoism and by his own reading of the fine works of earlier poets, he developed a new form of poetic creation which he named “direct quest.” By this, he meant directly describing matters that one senses and learns about, directly expressing one’s inner feelings, and creating aesthetic images in which the sensibilities match up with current realities. The theory of inner self used in Ming- and Qing-dynasty poetics was influenced by this idea.
This term means poetry creation should present the unembellished beauty of nature and the genuine sentiments of human beings. The original meaning of yingzhi (英旨) is good taste. Used as a literary term, however, it refers to charming content and imagery in poetry. In The Critique of Poetry, Zhong Rong（？-518？） of the Southern Dynasties called on poets to express their thoughts and sentiments in their own words and opposed borrowing expressions from ancient poets. He criticized the excessive attention to ornate language and tonal rhythms in the writing of five-character-per-line poetry. He maintained that spontaneously created poems of good taste were most valuable. The expressions “natural” and “simple and unaffected” in later literary criticisms contain Zhong Rong’s ideas.
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