本文以西方浪漫詩歌研究中直接關聯抒情詩文類品質之概念?「瞬刻超越體驗」為基點，探討司空圖《二十四詩品》一重要意涵。文中提出︰中國傳統詩論此一經典之作，以後設反省方式，集中演呈了魏、晉以來中國詩歌所形成的獨特超越精神。在《二十四詩品》中，超越境界可因其宗教和哲學意味之不同而分為凌虛遨遊和靜觀玄默兩類。前者乃道教之幻想世界，《詩品》則以唐代更玄學化的觀念，進行了消化；後者乃由元康、永嘉時期的玄學及嗣後的佛教天臺宗思想，推動而形成，在《詩品》中卻主要經由向、郭玄學而被演呈。玄學觀念和遊仙詩傳統中亦仙亦隱的詩境，乃成為凌虛式的仙人與山水花竹間體味玄韻淡泊的高士相處而不亂的依據。在此兩類境界之中，「近而不浮，遠而不盡」的當下本在式超越，在很大程度上，代表了中國古典抒情詩獨特之美學傳統。

　　　　　By applying the concept which defines the generic quality of the Western romantic lyric poetry,“the experience of momentary transcendence,”to the study of Ssu-k'ung T'u's (837-908) Twenty-Four Varieties of Poetry, this essay offers a new interpretation of this classic critical writing. It argues that this masterpiece of Chinese poetics, through a self-reflexive or meta-lyric discourse, demonstrates the unique transcendental realms of Chinese poetry formed in and after the Wei-Chin period (196-420). The transcendental realms demonstrated in this work could be divided into two categories religiously or philosophically: the celestial in flight over heaven and the recluse in contemplation of the earthly beauties. The former is the fantastic world of the“roving immortal poetry”associated with Taoist religion, which Twenty-Four Varieties of Poetry recasts in terms of the more metaphysicalized T'ang Taoist religion; the latter is the realm of the metaphysical and natural landscape poetry catalyzed by the Western-Chin metaphysics and subsequent T'ien-t'ai Buddhism, which is, however, in this critical work recaptured through the lens of Kuo Hsiang's (253-312) metaphysics. The ideas of Wei-Chin metaphysics and the poetry which situates its world between the recluse and the immortal constitute a bridge between the two transcendental realms. In these two transcendental realms, the immanent transcendental experience or the realm of so-called “being close at hand without being frivolous, and far-reaching without escaping”, to a great extent represents the unique aesthetic tradition of classic Chinese poetry.