“興”中所蘊含的趣或者是“興”發(fā)時心物交會所產(chǎn)生的趣（情趣、意趣等）。是詩歌中所蘊含的、讀者通過欣賞而獲得的特定的審美趣味,。南宋詩論家嚴羽在《滄浪詩話》中倡導詩歌的感染力，反對直接說理，主張讓讀者在品讀和感悟中得到愉悅和滿足,。這一術語后來成為評價詩歌的重要標準，明清詩學也受到積極影響,。

The term refers to charm inherent in an inspiration, or charm created when the object or scene depicted in a poem is appreciated. It is a type of aesthetic enjoyment contained in a poem which is gained through the reader's act of appreciation. In 'Canglang's Criticism of Poetry,' Yan Yu, a poetry critic of the Southern Song Dynasty, voiced his love for poetry's emotional charm and argued against direct expression of an idea in poetry. He stressed the need to enable readers to gain insight and satisfaction in a natural way through personal reflection and contemplation. This term later became an important criterion for evaluating poetry, exerting a strong influence on the poetry theories of the Ming and Qing dynasties.

引例 Citations：

◎詩者,，吟詠情性也,。盛唐詩人惟在興趣，羚羊掛角,，無跡可求,。（嚴羽《滄浪詩話·詩辨》）詩歌吟詠的是本性真情。盛唐詩人的詩作特別著意興趣,，如同羚羊晚上將角掛在樹上睡覺,，沒有任何痕跡可尋。

One should write poetry only to express one's true sentiments and personality. In their poems, Tang-dynasty poets made particular efforts to inspire meaning, charm, and emotion. Their style is like an antelope hooking its horns onto a tree when sleeping at night, so that its trace cannot be found. (Yan Yu: Canglang's Criticism of Poetry)

◎古詩多在興趣,，微辭隱義,，有足感人。而宋人多好以詩議論,。夫以詩議論,，即奚不為文而為詩哉？（屠隆《文論》）

古代詩作多注重審美情趣的傳達,，用詞含蓄而寓意隱微,，足以感染讀者。而宋代詩人大多借詩歌來論事說理,。用詩歌論事說理,，那為何不寫成文章而非要寫成詩呢？）

Classical poems mostly focused on inspiring meaning, charm, and emotion through hints with subtle wording and implied meanings, and that is why they moved readers. Poets during the Song Dynasty, however, tended to use poetry to comment on public affairs or make arguments. If that was what they wanted to achieve, why didn't they write essays instead of poems? (Tu Long: On Essay Writing)

（推薦：教育部 國家語委 供稿：北京外國語大學 外語教學與研究出版社）