:关于诗歌的“兴”的界说 ,不同历史阶段有所不同。从大处看 ,以六朝为界 ,分野显然。《诗经》兴体诗的“兴”其本质是“起”;六朝后的诗歌 ,“兴”的本质则是“感”。《诗经》兴体诗是借物起兴 ,较单一 ;六朝以后诗歌则是感物兴情 ,较复杂。《诗经》兴体诗中情与景大都只是局部交融 ,六朝以后诗歌的“兴”,其情与景渐趋“融彻”。但是从总体上说 ,作为美学范畴的“兴’,其本质都是物对心的感发和心与物的相互契合 : The definition of “Xing” in poetry varies from one historical stage to another. From the big picture, with the six dynasties as the world, the distinction is obvious. The essence of “Xing” in “Xing Jing” poem of “The Book of Songs” is “Qi”; after the Six Dynasties, the essence of “Xing” is “sense”. Xingshi poem in the Book of Songs is borrowed from the building, more single; poetry after the Six Dynasties is the feeling of things, more complicated. In the Book of Songs, most of the romances and sceneries in Xingtai Poems are only partial blending. After the Six Dynasties, the poetic “Xing” of poetry gradually becomes more and more melted. However, on the whole, as a category of aesthetics, “Hsing” is essentially based on the mutual affection of the object and the relationship between the heart and the object