王国维《人间词话》的境界说，是刘若愚中西比较诗学思想的重要支柱之一。他在1962年的《中国诗学》中，已翻译了《人间词话》的重要论点。但是他并没有在《中国文学理论》中讨论和翻译王国维的理论，因为他认为王国维曾受叔本华与尼采的影响，“他的观念并不完全属于中国固有传统”[188]。
《人间词话》的全译，分别有涂经诒和李又安二人的译本。刘若愚曾将“境界”译为“world”，涂经诒的英译《人间词话》接受了刘若愚的译法。但是，李又安不同意这种译法。她基本用拼音来表示“境界”，而不是译出该词。因为她认为“境界”这个词是不可译的，如果一定要译，“一些蹩脚的词语如‘被描述的现实的范围’（sphere of reality delineated）也许能最好地传达出它的意思”。李又安又说，如果是单独的“境”字，她会译成“状态”（state）或“诗歌状态”（poetic state）。[189]
李又安曾于1949年进清华大学进修，后来翻译与研究《人间词话》，正是因为在清华接受了浦江清的指导和建议。1950年至1951年，李又安将她的译文交给钱锺书夫妇、周汝昌等人看过，回美国之后又征询过周策纵和傅汉思的意见。[190]
对于“造境”“写境”，涂经诒和李又安二人的英译见表17-27。
17-27 《人间词话》例句英译对比
涂经诒如刘若愚一样，将“境”译为“world”，李又安则译为“state”，并且涂经诒将“造”和“写”译为动词，李又安将其译为形容词，都有各自的考量。
从上述历代中国文论的译文举例和分析来看，中国文论的英译者对于关键词语的译法、文论观念的注解，时常带有自己的思考，也时常隐含着他们对其他译法的不认同。在这些译文差异的背后，一方面可以看出译者对翻译原则的不同理解，另一方面更可看出译者对于中国诗学传统的不同理解。这正是研究中国文论英译的意义所在。
[1] 参见马祖毅、任荣珍：《汉籍外译史》，武汉，湖北教育出版社，1997。
[2] 参见Homer Hasenflug Dubs，trans.，The Works of Hsüntze，London，Arthur Probsthain，1928，p.5.
[3] 参见Burton Watson，trans.，Hsün Tzu：Basic Writings，Columbia University Press，1963，1996；Xunzi：Basic Writings，Columbia University Press，2003.
[4] 参见John Knoblock，trans.，Xunzi：A Translation and Study of the Complete Works，Vol.3，Stanford University Press，1988.
[5] Scott Cook，“Unity and Diversity in the Musical Thought of Warring States China”，Doctoral Thesis，University of Michigan，1995.
[6] Victor H.Mair，Nancy S.Steinhardt and Paul R.Goldin（eds.），Hawai‘i Reader in Traditional Chinese Culture，p.130.
[7] 参见James Legge，trans.，The Sacred Books of China：The Texts of Confucianism：Part III-IV The Li Ki，Oxford，Clarendon Press，1885；New York，Gordon Press，1976. 另可参见James Legge，trans.，Li Chi：Book of Rites：An Encyclopedia of Ancient Ceremonial Usages，Religious Creeds，and Social Institutions，Chai Ch’uand Chai Winberg（eds.），New Hyde Park，University Books，1967.
[8] 参见James Legge，trans.，The Sacred Books of China：The Texts of Confucianism：Part III，p.32.
[9] 参见Walter Kaufmann，Musical References in the Chinese Classics，Detroit，Information Coordinators，1976，pp.31-33.
[10] Scott Cook，“Yue Ji-Record of Music：Introduction，Translation，Notes，and Commentary”，Asian Music，26.2，1995，pp.19-24.
[11] Stephen Owen，Readings in Chinese Literary Thought，pp.50-56.
[12] 参见James Legge，The Chinese Classics，Vol.Ⅳ，The She King，p.34.
[13] Scott Cook，“Yue Ji-Record of Music：Introduction，Translation，Notes，and Commentary”，Asian Music，26.2，1995，pp.23-24.
[14] 参见Samuel Kidd，China，or Illustrations of the Symbols，Philosophy，Antiquities，Customs，Superstitions，Laws，Government，Education，and Literature of the Chinese，pp.350-356.
[15] 参见James Legge，The Chinese Classics，Vol.Ⅳ，The She King，pp.34-35.
[16] Sui-kit Wong，Early Chinese Literary Criticism，p.4.
[17] Stephen Owen，Readings in Chinese Literary Thought，pp.37-38.
[18] Steven Van Zoeren，Poetry and Personality：Reading，Exegesis，and Hermeneutics in Traditional China，Stanford University Press，1991，p.97.
[19] Haun Saussy，The Problem of A Chinese Aesthetic，Stanford University Press，1993，p.75.
[20] Victor H.Mair，Nancy S.Steinhardt and Paul R.Goldin（eds.），Hawai‘i Reader in Traditional Chinese Culture，p.130.
[21] Sui-kit Wong，Early Chinese Literary Criticism，p.5.
[22] Steven Van Zoeren，Poetry and Personality，p.13.
[23] 参见Sui-kit Wong，Early Chinese Literary Criticism，p.6.
[24] 参见Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，Princeton University Press，1987，p.57.
[25] 参见Victor H.Mair，Nancy S.Steinhardt and Paul R.Goldin（eds.），Hawai‘i Reader in Traditional Chinese Culture，p.133.
[26] Sui-kit Wong，Early Chinese Literary Criticism，p.6.
[27] Stephen Owen，Readings in Chinese Literary Thought，p.46.
[28] 参见Sui-kit Wong，Early Chinese Literary Criticism，pp.11-12.
[29] Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，p.106.
[30] 参见Joseph Needham and Wang Ling，“Science and Civilisation in China”，History of Scientific Thought，Cambridge University Press，1956，pp.279-344；Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，pp.32-43.
[31] Ronald Clendinen Miao，“Literary Criticism in China at the End of the Eastern Han”，Literature East and West，16，1972，pp.1013-1014，1018.
[32] Donald Holzman，“Literary Criticism in China in the Early Third Century A.D.”，Asiatische Studien，28.2，1974，pp.113-114，121，128.
[33] Sui-kit Wong，Early Chinese Literary Criticism，p.22.
[34] Stephen Owen，Readings in Chinese Literary Thought，pp.57-58.
[35] Victor H.Mair，Nancy S.Steinhardt and Paul R.Goldin（eds.），Hawai‘i Reader in Traditional Chinese Culture，p.231.
[36] 参见Robert Joe Cutter，“To the Manner Born？ Nature and Nurture in Early Medieval Chinese Literary Thought”，Scott Pearce，Audrey Spiro and Patricia Ebrey（eds.），Culture and Power in the Reconstitution of the Chinese Realm，200-600，Harvard University Asia Center，2001，pp.53-71.
[37] 参见Ronald Clendinen Miao，“Literary Criticism in China at the End of the Eastern Han”，Literature East and West，16，1972，p.1027.
[38] 参见Sui-kit Wong，Early Chinese Literary Criticism，p.24.
[39] 参见Stephen Owen，Readings in Chinese Literary Thought，p.16.
[40] 参见Stephen Owen，Readings in Chinese Literary Thought，p.584.
[41] Donald Holzman，“Literary Criticism in China in the Early Third Century A.D.”，Asiatische Studien，28.2，1974，pp.114-115，120.
[42] 参见Sui-kit Wong，Early Chinese Literary Criticism，p.32.
[43] Sui-kit Wong，Early Chinese Literary Criticism，p.31.
[44] 关于陈世骧英译《文赋》的详细讨论，参见陈国球：《“抒情传统论”以前——陈世骧早期文学论初探》，载《淡江中文学报》，2008（18）；陈国球：《陈世骧论中国文学——通往“抒情传统论”之路》，载《汉学研究》，2011（2）。
[45] 参见Shih-Hsiang Chen，Literature as Light against Darkness，pp.22-24.也可参见陈国球：《陈世骧论中国文学——通往“抒情传统论”之路》，载《汉学研究》，2011（2）。
[46] 参见Shih-Hsiang Chen，trans.，Essay on Literature，pp.vi-vii，xiii-xiv.此处中译引自陈世骧：《以光明对抗黑暗：〈文赋〉英译叙文》，载《中外文学》，1990（8）。
[47] 陈国球：《“抒情传统论”以前——陈世骧早期文学论初探》，载《淡江中文学报》，2008（18）。
[48] 参见James J.Y.Liu，“Review of The Art of Letters：Lu Chi’s ‘Wen Fu，’ A.D.302”，Philosophy，28.104，1953，p.75.
[49] 参见Achilles Fang，“Rhymeprose on Literature”，Harvard Journal of Asiatic Studies，14.3-4，1951，pp.527-528.
[50] Sui-kit Wong，Early Chinese Literary Criticism，p.50.
[51] Sam Hamill，The Art of Writing：Lu Chi：Wen Fu，The American Poetry Review，15.3，1986，pp.23-27.
[52] 参见Sam Hamill，The Wen Fu of Lu Chi，Portland，Breitenbush Books，1986.
[53] Sam Hamill，The Art of Writing：Lu Chi’s Wen fu，Minneapolis，Milkweed Editions，1991.
[54] 参见Sam Hamill，The Art of Writing：Lu Chi’s Wen fu，pp.11，16，20.
[55] Stephen Owen，Readings in Chinese Literary Thought，pp.73-74.
[56] 参见David R.Knechtges，“Problems of Translation：The Wen hsuan in English”，Eugene Chen Ouyang and Yao-fu Ling（eds.），Translating Chinese Literature，Indiana University Press，1995，pp.47-48.此处中译引自［美］康达维：《〈文选〉英译浅谈》，见赵福海：《文选学论集》，102～103页，长春，时代文艺出版社，1992。
[57] Tony Barnstone and Ping Chou，The Art of Writing：Teachings of the Chinese Masters，pp.5-6.
[58] 参见Joseph Roe Allen，“Chih Yu’s Discussions of Different Types of Literature：A Translation and Brief Comment”，Institute for Comparative and Foreign Area Studies，University of Washington，1976，p.17.
[59] 参见Sui-kit Wong，Early Chinese Literary Criticism，p.66.
[60] 参见Wendy Swartz，Robert Ford Campany，Yang Lu and Jessey J.C.Choo（eds.），Early Medieval China：A Sourcebook，New York，Columbia University Press，2014.
[61] 参见Sui-kit Wong，Early Chinese Literary Criticism，pp.79-80.
[62] 参见Sui-kit Wong，Allan Lo Chung-hang and Kwong-tai Lam，The Book of Literary Design，Hong Kong University Press，1999.
[63] 参见（南朝）刘勰：《文心雕龙》，杨国斌英译，周振甫今译，北京，外语教学与硏究出版社，2003。
[64] Donald Arthur Gibbs，“Literary Theory in the Wen-hsin tiao-lung ”，Doctoral Thesis，University of Washington，1970.
[65] 参见Paul Youg-shing Shao （Nan Ye-ch’ün），“Liu Hsieh as Literary Theorist，Critic and Rhetorician”，Doctoral Thesis，Stanford University，1982.
[66] 参见Zhao Heping，“Wen Xin Diao Long：An Early Chinese Rhetoric of Written Discourse”，Doctoral Thesis，Purdue University，1990.
[67] 参见James J.Y.Liu，Chinese Theories of Literature，p.21.中译本参见［美］刘若愚：《中国文学理论》，29页。
[68] Zong-qi Cai，A Chinese Literary Mind：Culture，Creativity，and Rhetoric inWenxin Diaolong，Stanford University Press，2001.
[69] 参见James J.Y.Liu，Chinese Theories of Literature，p.33，125.中译本参见［美］刘若愚：《中国文学理论》，49、188页。
[70] 参见Ronald Egan，“Poet，Mind，and World：A Reconsideration of the ‘Shensi’ Chapter of Wenxin diaolong ”，Zong-qi Cai（ed.），A Chinese Literary Mind，p.104.
[71] 对于这个概念的辨析，可以参见Zong-qi Cai，“The Polysemous Term of Shenin Wenxin diaolong ”，Olga Lomová（ed.），Recarving the Dragon：Understanding Chinese Poetics，Prague，Charles University，The Karolinum Press，2003，pp.27-72.
[72] 参见敏泽：《钱锺书先生谈“意象”》，载《文学遗产》，2000（2）。
[73] 参见John Timothy Wixted，“The Literary Criticism of Yuan Hao-wen［1190-1257］”，p.vii.
[74] 参见Sui-kit Wong，Early Chinese Literary Criticism，pp.102-103.
[75] 参见James Robert Hightower，“The Wen Hsüan and Genre Theory”，p.518.
[76] Sui-kit Wong，Early Chinese Literary Criticism，p.155.
[77] 参见Victor H.Mair，Nancy S.Steinhardt and Paul R.Goldin（eds.），Hawai‘i Reader in Traditional Chinese Culture，p.282.
[78] 参见David R.Knechtges，Wen Xuan，or Selections of Refined Literature，Vol.1，Princeton University Press，1982，p.75.
[79] 参见John Marney，Liang Chien-wen Ti，Twayne Publishers，1976，pp.80-82.
[80] 参见Sui-kit Wong，Early Chinese Literary Criticism，pp.137-140.
[81] 参见John Marney，“P’ei Tzu-yeh：A Minor Literary Critic of the Liang Dynasty”，Selected Papers in Asian Studies，1976，pp.161-171.
[82] 参见Wu Fusheng，The Poetics of Decadence：Chinese Poetry of the Southern Dynasties and Late Tang Periods，Albany，State University of New York Press，1998，pp.30-33.
[83] 参见Wang Ping，“Culture and Literature in an Early Medieval Chinese Court：The Writings and Literary Thought of Xiao Tong （501—531）”，Doctoral Thesis，University of Washington，2006，pp.62-64.
[84] Richard Ho Man Wui，Ch’en Tzu-ang：Innovator in T’ang Poetry，Hong Kong，The Chinese University Press，1993.
[85] 参见Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，p.173.
[86] 参见Jennings Mason Gentzler，“A Literary Biography of Liu Tsung-yuan，773-819”，Doctoral Thesis，Columbia University，1966，pp.168-169.
[87] 参见Richard W.Bodman，“Poetics and Prosody in Early Mediaeval China”，pp.404-424.
[88] 参见Stephen Bokenkamp，“The Ledger on the Rhapsody：Studies in the Art of the T’ang Fu”，Doctoral Thesis，University of California，1980.
[89] 参见Graham Martin Sanders，Words Well Put：Visions of Poetic Competence in the Chinese Tradition，Cambridge，Harvard University，Asia Center for the Harvard-Yenching Institute，2006.
[90] 参见Richard W.Bodman，“Poetics and Prosody in Early Mediaeval China”，p.58，367.
[91] 参见Joseph J.Lee，Wang Ch’ang-ling，Boston，Twayne Publishers，1982.中文修订版参见李珍华：《王昌龄研究》，西安，太白文艺出版社，1994。
[92] 参见Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，pp.185-186.
[93] 此处应为《广雅》，参见［日］遍照金刚：《文镜秘府论汇校汇考》，卢盛江校考，1382页，北京，中华书局，2006。
[94] Pauline Yu，The Reading of Imagery in the Chinese Poetic Tradition，p.174.
[95] 参见Richard W.Bodman，“Poetics and Prosody in Early Mediaeval China”，pp.49，451.
[96] 关于相关的争论背景，参见陈尚君：《〈二十四诗品〉真伪之争评述》，见《陈尚君自选集》，76～87页，桂林，广西师范大学出版社，2000。
[97] Stephen Owen，Readings in Chinese Literary Thought，p.302.
[98] Herbert Allen Giles，A History of Chinese Literature，p.179.
[99] Launcelot A.Cranmer-Byng，A Lute of Jade：Selections from the Classical Poets of China，pp.99-100.
[100] 参见Wai-Lim Yip，“Selections from ‘The Twenty-four Orders of Poetry’”，Stony Brook，11.3-4，1969，pp.280-287.
[101] Yoon-wah Wong，Ssu-K’ung T’u：A Poet-critic of the T’ang，The Chinese University of Hong Kong，1976，p.33.
[102] Yoon Wah Wong，Sikong Tu’s Shi Pin：Translation with an Introduction，National University of Singapore，1994，p.9.
[103] Tony Barnstone and Ping Chou，The Art of Writing：Teachings of the Chinese Masters，p.23.
[104] Stephen Owen，Readings in Chinese Literary Thought，pp.299，301.
[105] 参见Maureen A.Robertson，“To Convey What is Precious：Ssu-K’ung T’u’s Poetics and the Erh-shih-ssu Shih P’in ”，David C.Buxbaum and Frederic W.Mote（eds.），Transition and Permanence：Chinese History and Culture：A Festschrift in Honor of Dr.Hsiao Kung-ch‘üan，Hong Kong，Cathay Press，1972，pp.323-357.
[106] 参见Pauline Yu，“Ssu-K’ung T’u’s Shih-P’in：Poetic Theory in Poetic Form”，Ronald Clendinen Miao（ed.），Studies in Chinese Poetry and Poetics，San Francisco，Chinese Materials Center，1978，pp.81-104.
[107] Wai-leung Wong，“Chinese Impressionistic Criticism：A Study of the Poetry-talk［shih-hua tz’u-hua］Tradition”，Doctoral Thesis，Ohio State University，1976.
[108] Craig Fisk，“Formal Themes in Medieval Chinese and Modern Western Literary Theory：Mimesis，Intertextuality，Figurativeness，and Foregrounding”，Doctoral Thesis，University of Wisconsin，1976.
[109] Hsiao-Ching Hsu，“Talks on Poetry［shih-hua］as a Form of Sung Literary Criticism”，Doctoral Thesis，University of Wisconsin Madison，1991.
[110] 参见Jonathan Chaves，“‘Not the Way of Poetry’：The Poetics of Experience in the Sung Dynasty”，Chinese Literature：Essays，Articles，Reviews，4.2，1982，pp.199-212.
[111] 参见Jonathan Chaves，“Ko Li-fang’s Subtle Critiques on Poetry”，Bulletin of Sung and Yuan Studies，14，1978，pp.39-49.
[112] Adele Austin Richett，“Method and Intuition：The Poetic Theories of Huang T’ing-chien”，Adele Austin Richett（ed.），Chinese Approaches to Literature from Confucius to Liang ch‘i-chao，Princeton University Press，1978，pp.97-119.参见［美］阿黛尔·里克特（李又安）：《方法和直觉：黄庭坚的诗论》，见莫砺锋：《神女之探寻——英美学者论中国古典诗歌》，271～285页。（莫书译为“法则与直觉”，但“方法”更恰，故更正之。）
[113] Seng-yong Tiang，“Huang T’ing-chien’s Theories of Poetry”，Tamkang Review，10.3&4，1980，pp.429-446.
[114] David Palumbo Liu，The Poetics of Appropriation：The Literary Theory and Practice of Huang Tingjian，Stanford University Press，1993.
[115] Wang Yugen，Ten Thousand Scrolls：Reading and Writing in the Poetics of Huang Tingjian and the Late Northern Song，Harvard University Asia Center，2011.
[116] 参见Jerry D.Schmidt，“Ch’an，Illusion，and Sudden Enlightenment in the Poetry of Yang Wan-li”，T’oung Pao，60.4-5，1974，pp.230-281；Boston，Twayne，1976，pp.40-49.
[117] Jerry D.Schmidt，“The ‘Live Method’ of Yang Wan-li”，Ronald Clendinen Miao（ed.），Studies in Chinese Poetry and Poetics，San Francisco，Chinese Materials Center，1978，pp.287-320.
[118] Faye Chunfang Fei，trans.，“The Register of Ghosts”，Chinese Theories of Theater and Performance from Confucius to the Present，University of Michigan Press，1999，pp.37-38.
[119] Richard John Lynn，“Some Attitudes of Yuan Critics Toward the San-ch’u”，Literature East and West，18.3，1972，pp.950-960.
[120] 参见Shun-in Chang，“The Liu-i Shih-huaof Ou-yang Hsiu”，Doctoral Thesis，University of Arizona，1984，pp.127-138.
[121] Stephen Owen，Readings in Chinese Literary Thought，pp.360，362.
[122] Stephen Owen，Readings in Chinese Literary Thought，pp.377-378.
[123] 参见Yu-Shih Chen，“The Literary Theory and Practice of Ou-yang Hsiu”，Adele Austin Richett（ed.），Chinese Approaches to Literature from Confucius to Liang Ch’i-ch’ao，pp.67-96；Yu-Shih Chen，Images and Ideas in Chinese Classical Prose：Studies of Four Masters，chapter 3 “Ou-yang Hsiu：The Return to Universality”，Stanford University Press，1988.中译本参见陈幼石：《韩柳欧苏古文论》，上海，上海文艺出版社，1983。
[124] 参见Ronald Egan，trans.，“Ouyang Xiu，Preface to Xie Ximeng，Cai Pin Shi”，Kang-i Sun Chang and Haun Saussy（eds.），Women Writers of Traditional China：An Anthology of Poetry and Criticism，Stanford University Press，1999，pp.725-727.
[125] 参见Wai-Lim Yip，“Yen Yü and the Poetic Theories in the Sung Dynasty”，Tamkang Review，1.2，1970，pp.183-200.中译本参见叶维廉：《中国诗学》，99～113页。
[126] ［美］刘若愚：《中国文学理论》，60页。
[127] Richard John Lynn，“Wang Shih-chen as Critic and Poet”，Doctoral Thesis，Stanford University，1971.
[128] Richard John Lynn，“Orthodoxy and Enlightenment：Wang Shih-chen’s Theory of Poetry and Its Antecedents”，Theodore de Bary（ed.），The Unfolding of Neo-Confucianism，Columbia University Press，1975，pp.217-269.
[129] Richard John Lynn，“Sudden and Gradual in Chinese Poetry Criticism”，Peter N.Gregory（ed.），Sudden and Gradual：Approaches to Enlightenment in Chinese Thought，University of Hawai‘i Press，1987，pp.381-427.
[130] Richard John Lynn，“The Talent Learning Polarity in Chinese Poetics：Yan Yu and the Later Tradition”，Chinese Literature：Essays，Articles，Reviews，5.1-2，1983，pp.157-184.
[131] Richard John Lynn，“Yan Yu’s Canglang Shihuaand the Chan-Poetry Analogy ”，Comparative Literature：East & West，2.2，2002，pp.19-26.
[132] 参见Richard John Lynn，trans.，“Ts’ang-lang’s Discussions of Poetry：‘An Analysis of Poetry’”，Victor H. Mair（ed.），The Columbia Anthology of Traditional Chinese Literature，Columbia University Press，1994，pp.139-144.
[133] Richard John Lynn，“The Talent Learning Polarity in Chinese Poetics：Yan Yu and the Later Tradition”，Chinese Literature：Essays，Articles，Review，5.1-2，1983，p.157.
[134] Stephen Owen，Readings in Chinese Literary Thought，p.393.
[135] 参见Peng Chung Chang，trans.，“Tsang-lang Discourse on Poetry”，The Dial，73.3，1922，p.275.
[136] 参见［美］刘若愚：《中国文学理论》，58页。
[137] 参见Richard John Lynn，“The Talent Learning Polarity in Chinese Poetics：Yan Yu and the Later Tradition”，Chinese Literature：Essays，Articles，Review，5.1-2，1983，p.157.
[138] 参见Shih-Hsiang Chen，“Chinese Poetics and Zenism”，Oriens，10.1，1957，pp.131-139.参见陈世骧：《中国诗学与禅学》，见李达三、罗钢：《中外比较文学的里程碑》，169～177页，北京，人民文学出版社，1997；《陈世骧文存》，182～189页。
[139] 参见［美］刘若愚：《中国文学理论》，58、121页。
[140] 参见Richard John Lynn，trans.，“Ts’ang-lang’s Discussions of Poetry：‘An Analysis of Poetry’”，The Columbia Anthology of Traditional Chinese Literature，p.143.
[141] 参见Richard Lynn，“Orthodoxy and Enlightenment”，The Unfolding of Neo-confuciaism，p.226.
[142] 参见Chang Peng Chun，trans.，“Tsang-lang Discourse on Poetry”，The Dial，73.3，1922，p.275.
[143] 参见Stephen Owen，Readings in Chinese Literary Thought，p.404.
[144] （元）元好问：《元遗山诗集笺注》，施国祁注，北京，人民文学出版社，1958。
[145] 参见王韶生：《元遗山论诗三十首笺释》，载《崇基学报》，1966（2）。
[146] 参见陈湛铨：《元遗山论诗绝句讲疏（上）》，载《香港浸会学院学报》，1968（1）。
[147] 参见何三本：《元好问论诗绝句三十首笺证》，载《中华文化复兴月刊》，1974（72）；1974（73）；1974（74）；1974（75）。
[148] Stephen Owen，Readings in Chinese Literary Thought，p.422.
[149] Stephen Owen，Readings in Chinese Literary Thought，p.435.
[150] 参见Tony Barnstone and Ping Chou，“Wei Qingzhi：Poets’ Jade Splinters”，The American Poetry Review，24.6，1995，pp.41-50.
[151] Tony Barnstone and Ping Chou，The Art of Writing：Teachings of the Chinese Masters，pp.44-45.
[152] 参见［美］刘若愚：《中国文学理论》，118～121页。
[153] Chih-ping Chou，Yuan Hung-tao and the Kung-an School，Cambridge University Press，1988.参见周质平：《公安派的文学批评及其发展：兼论袁宏道的生平及其风格》，台北，台湾商务印书馆，1984。
[154] Jonathan Chaves，“The Panoply of Images：A Reconsideration of the Literary Theory of the Kung-an School”，Susan Bush and Christian Murck（eds.），Theories of the Arts in China，Princeton University Press，1983，pp.341-364.
[155] Ming-shui Ming，The Romantic Vision of Yuan Hung-tao，Late Ming Poet and Critic，Taipei，Bookman Books，1997.
[156] 参见［美］刘若愚：《中国文学理论》，66～68页。
[157] Richard John Lynn，“Tradition and Synthesis：Wang Shih-Chen as Poet and Critic”，Doctoral Thesis，Stanford University，1971.
[158] Richard John Lynn，“Orthodoxy and Enlightenment：Wang Shih-chen’s Theory of Poetry and Its Antecedents”，Theodore de Bary（ed.），The Unfolding of Neo-Confucianism，pp.217-269.
[159] 参见Richard John Lynn，“Wang Shizhen’s Poems on Poetry：A Translation and Annotation of the Lunshi jueju ”，John Ching-yu Wang（ed.），Chinese Literary Criticism of the Ch’ing Period（1644-1911），University of Hong Kong Press，1993，pp.55-95.
[160] 参见Arthur Waley，Yuan Mei：Eighteenth Century Chinese Poet，chapter 7 “The Poetry Talks and the Cookery Book”，London，George Allen and Unwin Ltd.，1956.
[161] 参见Jerry D.Schmidt，Harmony Garden：The Life，Literary Criticism，and Poetry of Yuan Mei［1716-1798］，Part Ⅱ “Yuan Mei’s Theory of Poetry and Practice”，London，Routledge，2003.
[162] 参见Mark A.Borer，trans.，“Yuan Mei，Jin Xianxian Nüshi mu Zhiming （A Tomb Inscription for the Female Scholar Jin Xianxian）”，Women Writers of Traditional China：An Anthology of Poetry and Criticism，pp.777-781.
[163] 参见Denis Mair，“Yuan Mei，Champion of Individual Taste”，Hawai‘i Reader in Traditional Chinese Culture，pp.567-573.
[164] ［美］刘若愚：《中国文学理论》，70页。
[165] 参见Timothy S.Phelan，“Yao Nai’s Classes of Ku-wenProse：A Translation of the Introduction”，Institute for Comparative and Foreign Area Studies，University of Washington，1976.
[166] Kai-Cheong Leung，“Hsü Wei as Dramatic Critic：An Annotated Translation of Nan-tz’u hsü-lu：Account of Southern Drama”，Doctoral Thesis，University of California，1973.
[167] 参见Kai-Cheong Leung，Hsü Wei as Drama Critic：An Annotated Translation of Nan-tz’u hsü-lu，Eugene，University of Oregon，1988.
[168] 参见Faye Chunfang Fei，“Xu Wei on Theater”，Chinese Theories of Theater and Performance from Confucius to the Present，pp.48-49.
[169] 参见Nathan K.Mao，Ts’un-yan Liu，Li Yü，chapter 6 “Li’s Dramatic Theory”，Boston，Twayne Publishers，1977.
[170] 参见Faye Chunfang Fei，“Xu Wei on Theater”，Chinese Theories of Theater and Performance from Confucius to the Present，pp.77-87.
[171] 参见Sui-kit Wong，“Ch’ing in Chinese Literary Criticism”，Doctoral Thesis，University of Oxford，1969.
[172] ［美］刘若愚：《中国文学理论》，62～65页。
[173] Siu-kit Wong，trans.，Notes on Poetry from the Ginger Studio，Hong Kong，Chinese University Press，1987，p.viii，xvi.
[174] 参见Sui-kit Wong，trans.，“Three Excerpts from Shi Guangzhuan ”，Renditions33-34，1990，pp.182-187.
[175] Stephen Owen，Readings in Chinese Literary Thought，p.452.
[176] Stephen Owen，Readings in Chinese Literary Thought，p.494.
[177] ［美］刘若愚：《中国文学理论》，127页。
[178] Hsia Chih-ching，The Classic Chinese Novel：A Critical Introduction，Columbia University，1968.
[179] David L.Rolston，How to Read the Chinese Novel，p.xv，xvi.
[180] 参见David L.Rolston，How to Read the Chinese Novel，pp.124-145.
[181] 参见David L.Rolston，How to Read the Chinese Novel，pp.146-195.
[182] 参见David L.Rolston，How to Read the Chinese Novel，pp.196-243.
[183] 参见David L.Rolston，How to Read the Chinese Novel，pp.244-294.
[184] 参见David L.Rolston，How to Read the Chinese Novel，pp.295-315.
[185] 参见David L.Rolston，How to Read the Chinese Novel，pp.316-340.
[186] 参见John Ching-yu Wang，Chin Sheng-t’an，New York，Twayne，1972.中译本参见［美］王靖宇：《金圣叹的生平及其文学批评》。
[187] 参见Sally Kathryn Church，“Jin Shengtan’s Commentary on the Xixiang Ji（The Romance of the Western Chamber）”，Doctoral Thesis，Harvard University，1993.
[188] ［美］刘若愚：《中国文学理论》，70页。
[189] 参见Adele Austin Richett，Wang Kuo-wei’s Jen-chien Tz’u-hua：A Study in Chinese Literary Criticism，p.23.
[190] 参见Adele Austin Richett，Wang Kuo-wei’s Jen-chien Tz’u-hua：A Study in Chinese Literary Criticism，pp.x-xi.