随物宛转 与心徘徊——论文学创作中的“感物”

Interacted with the Inanimate,Intertwined with the Spirit——On Sympathy of the Inanimate in Literary Creation

“感物”一方面注重自然景物,将景物视为作家创作的源泉与诱因;另一方面,又重视主体情感与客体景物的融会,讲究心物交应、物我同一。从“感”的原始义出发,萌生了传统的“天人感应”之说。进入中国古代音乐领域后,以心物感应为基础触发了艺术创作与审美思想;“物”有几种不同含义,体现了文学创作过程中的三个阶段。钟嵘、王夫之、叶燮等人进一步发展了该理论。“感物”揭示出的是中国古代以心物感应为基础的主客关系认识,显示出心物之间“随物宛转”、“与心徘徊”的交融关系。

＂Sympathy of the inanimate＂, on the one hand, emphasizes natural scenery and regards the scenery as the source and cause of the writer＇s creation; on the other hand, it also attaches great importance to the blending of subjective feelings and objective sceneries, focuses on the interaction between spirit and the inanimate, and combines the objective and subjective worlds into one. The so - called ＂Interaction between the Heaven and Man＂ is rooted from the basic meaning of ＂sympathy＂. While it was applied in ancient Chinese music, it changed into the artistic life and aesthetic thoughts based on interaction between spirit and the inanimate. The inanimate can be ambiguous, which embodies the three stages in literary creation. Expounded by Zhong revealed the subject and object relationship based on is, the ＂interacted and intertwined＂ Rong, Wang Fuzhi, Ye Xie, etc., ＂sympathy of the inanimate＂ interaction between spirit and the inanimate in ancient China, that blending of spirit and the inanimate.