“興”中所蘊(yùn)含的意或者“興”發(fā)時(shí)心物交會(huì)所產(chǎn)生的意（意義、趣味等）。是作者通過對(duì)景物感受到某種意趣、意味等之后直接創(chuàng)作出富有一定含義的藝術(shù)形象。這一術(shù)語主張作者將思想情感自然而然地融入對(duì)于描寫對(duì)象的感受之中，并通過藝術(shù)形象和審美情趣傳達(dá)出來，從而激發(fā)讀者的聯(lián)想，產(chǎn)生更豐富的領(lǐng)悟。

The term refers to the meaning implicit in an inspiration, or meaning and charm generated when poetic emotion encounters an external object or scene. It is an artistic image an author creates when appreciating the beauty and charm intrinsic in an object or scene. According to this term, an author should incorporate his sentiments and thoughts into the object or scene depicted to convey them through artistic images and aesthetic appreciation. This will spark the reader's imagination and thus enable him to gain a deeper appreciation of a poem.

引例 Citations：

◎凡詩，物色兼意下為好。若有物色，無意興，雖巧亦無處用之。（王昌齡《詩格》）

但凡詩歌，景物描寫、意義與趣味兼?zhèn)渥詈谩Ｈ绻蛔⒅鼐拔锩鑼?，缺少意興，描寫技巧再高超也用處不大。

A good poem instills meaning and inspiration in its description of scenery and imagery. If a poem only describes scenery and fails to inspire people, no matter how eloquent the description may be, it will have little appeal. (Wang Changling: Rules of Poetry)

◎南朝人尚詞而病于理，本朝人尚理而病于意興，唐人尚意興而理在其中，漢魏之詩，詞、理、意興無跡可求。（嚴(yán)羽《滄浪詩話·詩評(píng)》）

南朝詩人追求辭藻而說理不足；本朝詩人崇尚說理，作品缺乏意興；唐代詩人注重意興同時(shí)蘊(yùn)含道理；漢魏詩歌的文辭、道理和意興自然融合在一起而不露痕跡。

Poets of the Southern Dynasties were good at using rhetoric but weak in logic. The poets of our Song Dynasty champion logic but are weak in creating inspirational ideas. Poets of the Tang Dynasty gave equal weight to both meaning and inspiration, with logic implicit in both. The poems of the Han and Wei dynasties blended the choice of words, logic, and the inspiration imperceptibly. (Yan Yu: Canglang's Criticism of Poetry)

（推薦：教育部 國家語委 供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社）