补充与晕化,是艺术联想中的两个重要环节。大凡优秀的艺术往往能引起观赏者思想感情上的共鸣,使人从其中所展示或暗示的情境中产生出种种联想。前不久读到王朝闻同志的《不即不离》一文(见《文学评论》八三年第三期),觉得文中对于传统文论中关于“含蓄”一词的阐释的归纳很明确简要:“传统文论中的所谓含蓄、蕴藉或隐,这些概念可能包含着两方面的意思。一方面是指艺术对生活的反映,不作兴说尽道绝,而要留有余地;一方面是 Supplementary and faint, is the art of the two important links in the association. In general, good art can often resonate emotionally with the viewer’s mind, creating a variety of associations from the context in which it is presented or implied. Not long ago, I read Comrade Wang Zhaowen’s not-out-of-freedom article (see Literary Criticism, Issue 3, 1983) and concluded that the summary of the interpretation of the term “subtle” in the traditional literary theory is clear and concise: The so-called implicit, implicit or implicit in traditional literary theory may contain two meanings: one is the reflection of art on life and the other is on the one hand