Abstract: In his early poetics writings during different periods, Zhu Guangqian blended and modified Croce's “intuition” and Lips' “empathy” to varying degrees. In the process of appropriation and transformation, Zhu Guangqian gradually developed his own coherent and comprehensive poetic system that unified subjective and objective elements. However, this unity of subject and object poetics, which is based on the dichotomy of subject and object in the West, faces various incongruities and contradictions when interpreting the characteristics of the inseparability of subject and object in Chinese classical poetry, which is particularly reflected in the writing and revision of Zhu Guangqian's Poetics and other works. In the final version of Poetics, Zhu Guangqian chose to delete his unique recognition of the characteristics of Chinese classical poetry and the corresponding impressionistic comments in order to maintain the harmony of his own system.

Key words: Zhu Guangqian, Croce, Poetics, intuition, empathy

摘要： 朱光潜在早年不同时期的诗学著述中对克罗齐的“直觉说”与立普斯的“移情说”有着不同程度的混用和改造。在挪用和改造的过程中,朱光潜也逐渐形成了自己一套颇为完整融洽的主客观统一诗学体系。不过,这一建立在西方主客二分思维之上的主客观统一诗学,在解读中国古典诗歌的主客不分、物我相通特征时面临着诸种不协调和矛盾,这尤其体现在朱光潜在《文艺心理学》、《诗的隐与显》和《诗论》等著述的写作和修改过程中。最后,在《诗论》的定稿中,朱光潜为了保持自我体系的融洽性,而选择移除了自己有关中国古典诗歌特征的独特体认和相应的模棱两可的印象式评点话语。

关键词: 朱光潜, 克罗齐, 《诗论》, 直觉, 移情