dàn jiàn xìngqíng, bù dǔ wénzì 但见性情，不睹文字
To Impress Readers with True Feelings Oblivious of Its Wording
This happens when a literary work reveals to its reader the truth and beauty of its author’s innermost feelings, to the point that the reader becomes oblivious to the wording. Such an idea was first raised by the Tang Dynasty poet-monk Jiaoran (720-796?). It emphasizes three points. First, the core value of literature is to express one’s true feeling; the wording is only a tool. Second, both the author and reader should focus on the meaning while forgetting the words. Third, tacit understanding is crucial to art and literature. Only through dialogue between souls can a variety of illocutionary implications be activated. The whole term highlights the importance of imagery and artistic ambience in classical Chinese literature.
Poetic lines carry two or more implications, lying outside of language itself. If you encounter a truly great poet such as Xie Lingyun, you will be struck with his bold and uninhibited expression of feeling and forget his wording. This is probably because his works have reached the highest level of poetic excellence. (Shi Jiaoran: Poetic Styles)
This eight-line poem is permeated with a calmly executed vital energy. It is sometimes vigorous, sometimes quiet and elegant. It rises and falls rhythmically until it has given full vent to the author’s pent-up feelings. So impressed with the author’s true feelings, readers will pay no heed to his actual wording. (Fang Dongshu: Rambling Words to Expose the Secrets of Poetry Writing)