移情说是朱光潜重审中国传统诗歌的重要理论资源。他在诗学反思中之所以推崇移情说,主要是因为他接受了近代西方的自然观。西方浪漫主义者们试图用移情说颠覆近代模仿论,但却暗中和近代模仿论分享了共同的预设,即假定艺术家把自然物首先看作了无意义的物质材料。一方面,朱光潜在贯彻移情说时完全崇信这种近代自然观;但另一方面,朱光潜对中国山水诗歌的某些阐释却背离了近代以来人们对自然的构想,同时也就放弃了他所坚持的移情说。朱光潜的诗学理论与其论诗实践之间的矛盾是我们反思中西美学观念图景之差异的重要契机。 Empathy is Zhu Guangqian’s important theoretical resource to review Chinese traditional poetry. The reason why he advocates empathy in his poetic reflection is mainly because he accepted the view of nature in modern West. Western romanticists tried to overthrow modern imitation theory with empathy but secretly shared the common presupposition with modern imitation theory that the artist regarded the natural objects as the meaningless materials first. On the one hand, Zhu Guangqian fully adheres to this modern concept of nature when it comes to implementing empathy; yet on the other hand, some of Zhu Guangqian’s interpretations of Chinese landscape poetry depart from the concept of nature since modern times and at the same time give up Empathy that he insisted said. The contradiction between Zhu Guangqian’s poetic theory and his practice of poetry is an important opportunity for us to reflect on the differences between Chinese and Western aesthetics.