在诗的接受和鉴赏方面,泰戈尔非常重视读者的主体地位,强调接受主体的领悟性、主体感受的整体性以及阐释批评的创造性,但他并不否定作者创作意图和文本意义的存在,而且将作者、文本与读者之间的和谐统一作为文学审美的理想状态。这样的接受理论与西方20世纪现象学诗学既有相通之处,又有深刻的差异。 In terms of the acceptance and appreciation of poetry, Tagore attaches great importance to the reader’s subjective status, emphasizes accepting the comprehension of the subject, the integrity of the subjective feelings and the creativeness of the criticism. However, he does not negate the author’s intention of creation and the meaning of the text, The harmonious unity of the author, the text and the reader serves as the ideal state of literary aesthetics. This theory of acceptance has both the similarities and the profound differences with the phenomenological phenomenology of the 20th century in the West.