指詩(shī)歌作品通過(guò)形象化而寄予作者的主觀認(rèn)識(shí)或感受，并能激發(fā)讀者的聯(lián)想。“寄”是寄予一定的思想內(nèi)容和個(gè)人情志，“托”是托物寓興。是清代常州詞派提出的一個(gè)文學(xué)術(shù)語(yǔ)。張惠言主張?jiān)~要繼承《詩(shī)經(jīng)》的比興、諷喻傳統(tǒng)。周濟(jì)進(jìn)而認(rèn)為，初學(xué)寫(xiě)詞應(yīng)力求有寄托，以提升作品意蘊(yùn)、激發(fā)讀者的思考和藝術(shù)想象；待入門(mén)后，則不能拘于寄托，而要言意渾融，無(wú)跡可尋。這一主張實(shí)質(zhì)是反對(duì)觀念先行，強(qiáng)調(diào)文學(xué)自身的特性，對(duì)于當(dāng)時(shí)的文學(xué)創(chuàng)作有積極的導(dǎo)向作用。

The term refers to the entrusting of the poet's subjective understanding or sentiments to imagery in poetic works. It can also stir responsive appreciation of the reader. Ji (寄) means having a specific thought or individual feelings, and tuo (托) means giving expression to such thought or feelings through the channel of an object. It is a literary term first used by a group of ci (詞 lyric) poets from Changzhou during the Qing Dynasty. Zhang Huiyan stressed that lyric writing should follow the tradition of analogies, associations and allegories in "The Book of Songs." Zhou Ji further suggested that an aspiring poet should entrust his thought to imagery in order to raise the artistic appeal of his work and stimulate the imagination of the reader. After having established himself, however, the poet should not be bound by the technique of entrusting to imagery; rather, his words and sentiments should blend seamlessly. This view emphasized the primacy of nature of literature as opposed to the primacy of concept and provided a new guidance for literary creation at the time.

引例 Citation：

◎夫詞，非寄托不入，專(zhuān)寄托不出。（周濟(jì)《宋四家詞選目錄序論》）

作詞，如果沒(méi)有寄托，就很難深入；如果只專(zhuān)于寄托，就不能意出詞外。

When writing ci poetry, one cannot effectively express one's thoughts and sentiments without entrusting them to imagery. On the other hand, overreliance on imagery will make it hard for one to clearly express his idea. (Zhou Ji: Preface to Contents of Selected Poems of the Four Poets of the Song Dynasty)

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