兴趣
Xingqu (Charm)
“兴”中所蕴含的趣或者是“兴”发时心物交会所产生的趣（情趣、意趣等）。是诗歌中所蕴含的、读者通过欣赏而获得的特定的审美趣味。南宋诗论家严羽在《沧浪诗话》中倡导诗歌的感染力，反对直接说理，主张让读者在品读和感悟中得到愉悦和满足。这一术语后来成为评价诗歌的重要标准，明清诗学也受到积极影响。
The term refers to charm inherent in an inspiration, or charm created when the object or scene depicted in a poem is appreciated. It is a type of aesthetic enjoyment contained in a poem which is gained through the reader’s act of appreciation. In Canglang’s Criticism of Poetry, Yan Yu, a poetry critic of the Southern Song Dynasty, voiced his love for poetry’s emotional charm and argued against direct expression of an idea in poetry. He stressed the need to enable readers to gain insight and satisfaction in a natural way through personal reflection and contemplation. This term later became an important criterion for evaluating poetry, exerting a strong influence on the poetry theories of the Ming and Qing dynasties.
引例 CITATIONS
诗者，吟咏情性也。盛唐诗人惟在兴趣，羚羊挂角，无迹可求。 （严羽《沧浪诗话·诗辨》） （诗歌吟咏的是本性真情。盛唐诗人的诗作特别着意兴趣，如同羚羊晚上将角挂在树上睡觉，没有任何痕迹可寻。）
One should write poetry only to express one’s true sentiments and personality. In their poems, Tang-dynasty poets made particular efforts to inspire meaning, charm, and emotion. Their style is like an antelope hooking its horns onto a tree when sleeping at night, so that its trace cannot be found. (Yan Yu: Canglang’s Criticism of Poetry)
古诗多在兴趣，微辞隐义，有足感人。而宋人多好以诗议论。夫以诗议论，即奚不为文而为诗哉？ （屠隆《文论》） （古代诗作多注重审美情趣的传达，用词含蓄而寓意隐微，足以感染读者。而宋代诗人大多借诗歌来论事说理。用诗歌论事说理，那为何不写成文章而非要写成诗呢？）
Classical poems mostly focused on inspiring meaning, charm, and emotion through hints with subtle wording and implied meanings, and that is why they moved readers. Poets during the Song Dynasty, however, tended to use poetry to comment on public affairs or make arguments. If that was what they wanted to achieve, why didn’t they write essays instead of poems? (Tu Long: On Essay Writing)
Xingqu (Charm)
“兴”中所蕴含的趣或者是“兴”发时心物交会所产生的趣（情趣、意趣等）。是诗歌中所蕴含的、读者通过欣赏而获得的特定的审美趣味。南宋诗论家严羽在《沧浪诗话》中倡导诗歌的感染力，反对直接说理，主张让读者在品读和感悟中得到愉悦和满足。这一术语后来成为评价诗歌的重要标准，明清诗学也受到积极影响。
The term refers to charm inherent in an inspiration, or charm created when the object or scene depicted in a poem is appreciated. It is a type of aesthetic enjoyment contained in a poem which is gained through the reader’s act of appreciation. In Canglang’s Criticism of Poetry, Yan Yu, a poetry critic of the Southern Song Dynasty, voiced his love for poetry’s emotional charm and argued against direct expression of an idea in poetry. He stressed the need to enable readers to gain insight and satisfaction in a natural way through personal reflection and contemplation. This term later became an important criterion for evaluating poetry, exerting a strong influence on the poetry theories of the Ming and Qing dynasties.
引例 CITATIONS
诗者，吟咏情性也。盛唐诗人惟在兴趣，羚羊挂角，无迹可求。 （严羽《沧浪诗话·诗辨》） （诗歌吟咏的是本性真情。盛唐诗人的诗作特别着意兴趣，如同羚羊晚上将角挂在树上睡觉，没有任何痕迹可寻。）
One should write poetry only to express one’s true sentiments and personality. In their poems, Tang-dynasty poets made particular efforts to inspire meaning, charm, and emotion. Their style is like an antelope hooking its horns onto a tree when sleeping at night, so that its trace cannot be found. (Yan Yu: Canglang’s Criticism of Poetry)
古诗多在兴趣，微辞隐义，有足感人。而宋人多好以诗议论。夫以诗议论，即奚不为文而为诗哉？ （屠隆《文论》） （古代诗作多注重审美情趣的传达，用词含蓄而寓意隐微，足以感染读者。而宋代诗人大多借诗歌来论事说理。用诗歌论事说理，那为何不写成文章而非要写成诗呢？）
Classical poems mostly focused on inspiring meaning, charm, and emotion through hints with subtle wording and implied meanings, and that is why they moved readers. Poets during the Song Dynasty, however, tended to use poetry to comment on public affairs or make arguments. If that was what they wanted to achieve, why didn’t they write essays instead of poems? (Tu Long: On Essay Writing)