Listen to this articlegé / bùgé 隔／不隔
Disharmony / Harmony
“隔”指诗文抒情写景不够真切自然，情与景若即若离，让读者产生违和、难以代入的阅读感受；“不隔”指诗文写景抒情真切自然，给读者带来宛如亲见亲历的审美感受。由王国维（1877—1927）在《人间词话》中提出。它传承了古代文艺家以自然为美、注重阅读感受的理念，也受到西方艺术直觉论的影响。直觉关乎艺术经验和心理习惯，有关这对范畴的讨论，表明中西文艺美学思想开始接轨。
“Disharmony” here means an insincere articulation of feeling or an unnatural depiction of scenery. This happens when there is a lack of complete blend of feeling and scenery, causing readers to feel at odds, or unable to identify, with what they are reading. “Harmony,” on the other hand, means a true expression of feeling or a natural depiction of scenery, creating an aesthetic feeling of “being right there to witness.” This pair of contrasting terms was first used by Wang Guowei (1877-1927) in his critical work Poetic Remarks in the Human World, where he combines the appreciation of natural beauty and the emphasis on the reading experience favored by ancient China’s literati along with the influence of Western notions of artistic intuition. Intuition relates to artistic experience and psychological habit, and discussion of this pair of opposites shows the convergence of Chinese and Western literary aesthetic thought.
引例 Citations：
◎因采菊而见山，境与意会，此句最有妙处。近岁俗本皆作“望南山”，则此一篇神气都索然矣。（苏轼《东坡题跋·题渊明〈饮酒〉诗后》）
（因采摘菊花而看到南山，随意而见的景与悠然自得的心情相通，“见南山”一句最有妙味。近年通行的刻本都写作“望南山”，那全诗的神韵就都索然了。）
While picking chrysanthemums beneath the eastern fence the poet sees the southern mountains–a harmony between the idyllic scenery his eyes casually fall on and a sense of leisurely contentment. “I see the southern mountains” is a most wonderful phrase. However, in recent block-printed editions this has been changed to “I survey the southern mountains” which takes away the charm of the entire poem. (Su Shi: A Collection of Su Dongpo’s Prefaces and Postscripts)
◎文以意为主，辞以达意而已。古之文不尚虚饰，因事遣辞，形吾心之所欲言者耳，间（jiàn）有心之所不能言者，而能形之于文，斯亦文之至乎？（赵秉文《〈竹溪先生文集〉引》）
（文章以意蕴为主，言辞能够表达意思就可以了。古人的文章不崇尚无意义的修饰，都是根据内容遣词造句，表达我心中想要表达的，偶尔心中有难以用语言传达的意思，但能用文辞表达出来，这也算是达到写作的最高境界了吧？）
It suffices for an essay to convey its author’s meaning with well-chosen words. Ancient men of letters disdained empty rhetoric. They chose their words and constructed sentences on the basis of content, free from unnecessary modifiers. Even though they found it hard, once in a while, to articulate themselves effectively, so long as they could lay bare their hearts in words, it was to be the highest attainment in writing. (Zhao Bingwen: A Preface to Selected Works of Dang Huaiying)
