Draw Inspiration from External Objects
由自然物象或其他事物而觸發(fā)作者的創(chuàng)作興致和情感。自然物象或其他事物使作者生發(fā)與物象有關(guān)聯(lián)的某種情感，并因此構(gòu)成作品中的意象?！芭d”是一種對(duì)外物產(chǎn)生情感反應(yīng)或起興反應(yīng)的心理機(jī)能，簡(jiǎn)稱“起興”“起情”或“興發(fā)”“興情”。創(chuàng)作者之所以產(chǎn)生這種反應(yīng)，或是由于本身具有某種情感、興趣而為外物觸發(fā)；或是由于外物寄寓了創(chuàng)作者的某種情感而成為一種意象，創(chuàng)作者又由此意象而體驗(yàn)到其中所蘊(yùn)含的情感。前者相當(dāng)于主體對(duì)物象的心理投射效應(yīng)，后者則是物象呼喚、引導(dǎo)主體進(jìn)入移情體驗(yàn)。自然物象、文藝作品中的物象及一切對(duì)象都具有起興、起情、興發(fā)、興情的作用。南朝劉勰在《文心雕龍·詮賦》中以此語(yǔ)概括漢代抒情小賦的特點(diǎn)，同時(shí)也指出一般抒情作品的審美效果及創(chuàng)作要求。
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This term refers to the way an author may be motivated to have creative thoughts at the sight of natural objects or other things. The imagery in his work is thus constituted.?Xing?(興) here refers to the mental capacity to produce an emotional response to an external object, either because the author feels a certain emotion or interest inspired by the external object, or because the external object has become a vehicle for carrying the author's existing emotion awakened by the imagery. The former is equivalent to the mental projection effect of the subject onto the object, while the latter is the object calling and guiding the subject into empathic experience. Natural objects, objects in literary and artistic works and indeed all objects are capable of arousing emotion and feelings. In his book?The Literary Mind and the Carving of Dragons, Liu Xie of the Southern Dynasties used the concept "drawing inspiration from external objects" as a summary of the characteristics of the lyrical works of the Han Dynasty in the style of?xiaofu?(小賦) and as a description of the aesthetic effects and writing requirements of general lyrical works.
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引例 Citations：
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◎至于草區(qū)禽族，庶品雜類(lèi)，則觸興致情，因變?nèi)?huì)。（劉勰《文心雕龍·詮賦》）
至于賦中草木禽獸以及眾多的事物品類(lèi)，是因?yàn)樗鼈冇|動(dòng)了創(chuàng)作者的興致，引發(fā)了創(chuàng)作者的情感，而且使作品隨事物的變化而努力追求情和物的融合。
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As for the plants, birds, beasts and many other things in the fu-style works of the Han Dynasty, they aroused the authors' interest, and they inspired their emotions. Furthermore, they make the work seek the fusion of emotions and things as these changed. (Liu Xie: The Literary Mind and the Carving of Dragons)
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◎來(lái)賓，字修文……詩(shī)鮮經(jīng)籍之腴而饒性靈之趣，觸興寫(xiě)懷，都成妙諦。分席詞壇，傾心大雅，有以也夫?。ǚㄊ缴啤栋似煸?shī)話》）
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來(lái)賓，字修文……他的詩(shī)很少擷取經(jīng)籍中的豐富典故和辭藻，而著重抒寫(xiě)性靈之真趣；觸物興情，抒寫(xiě)心懷，都能生成精妙意趣。在詞壇上占有一席之地，讓高雅之士?jī)A心欣賞，這也算是有所得吧！
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As to the author Laibin, styled Xiuwen... his poems rarely pick up the rich allusions and rhetoric in the classics, but focus on expressing the inner spirit; thus touch the heart, and generate subtle interest. He has a place in the world of words and is highly appreciated by people of sophisticated taste. This sure is an accomplishment. (Fa Shishan: Biographies of Qing Poets)
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