Abstract: It is widely acknowledged both at home and abroad that Qian Zhongshu was a connoisseur of classical literary heritage with profound aesthetic sensibilities. However, few recognize him as an aesthete capable of extracting principles from his aesthetic insights and modeling them into theoretical frameworks. This may be due to the academic community's failure to use Qian's “bridging” methodology to illuminate the intrinsic connections within his body of work, as well as its latent linkages with Western intellectual giants like T.S. Eliot. Therefore, a systematic analysis of the intricate mechanisms within the “Theory of Poetic Correspondence” is necessary. This involves integrating Qian's “Molecular Poetics” rooted in his “Theory of Imagery” into Eliot's framework of the “objective correlative.”

Key words: Theory of Poetic Correspondence, bridging, T.S. Eliot, Qian Zhongshu, aesthetic methodology

摘要： 海内外公认钱钟书是对古典文学遗产有博大精深之美感的鉴赏家,然甚少人确认他又是能从其美感提炼原理卓见暨史论建模的美学家。这怕是学界尚未用其“打通”方法去透视钱学整体赖以合成的内部联系所致,也与尚未敞亮钱学与西学巨子如艾略特的隐性渠道相系。于是,系统剖析“诗性对应论”的微妙机理,即在艾略特论述“客观对应物”的原理框架中,“互通有无”地置入钱钟书植根于“喻象说”的“诗语分子学”,这无疑是将钱学“榫头”严丝合缝地嵌入了艾略特的学理“榫槽”。钱钟书与艾略特所以能合出如此别样的美学“混血儿”,其“内驱力”当在彼此皆从其对象身上发现了自己所欠缺、又最想要的“另一半”;或你所亟需的,正是我甘愿奉献的。

关键词: 诗性对应论, 打通, 艾略特, 钱钟书, 美学方法论