"Pratyrsa" is an important notion of poetics which Wang Fuzhi borrows from Buddhis logic and the Yogacara school of thought. This essay discusses the extended meanings of this notion in poetics in relation to its three denotations in Wang's own Yogacara studies, "presence," "ready-made," and "revealing fact." Wang's use of the first two meanings carries on a tradition started from Yuankang and Yongjia periods and reflects the theorist's concern for using immediate experience and sensuous inspiration in poetic composition. For Wang Fuzhi himself, these meanings are also particularly grounded on his cosmological view of seeing the universe as a perpetual transformation process and his understanding of poetic experience as confrontation with an intercourse between heavenly ordinance and human nature. By the concept of immediacy, Wang highlights one of characteristics of Chinese lyricism distinct from historiography. The third meaning of this notion, "revealing fact," has been purposefully ignored by contemporary scholars since it apparently falls outside their prefabricated framework of modern artistic psychology used in the studies of the ancient literary theory of the fusion of emotion and scene. This essay argues that the basis of Wang Fuzhi's thought on relationship between emotion and scene is not artistic psychology but the correlative thinking in Chinese philosophy, wherein the universe by nature possesses the order of aesthetic values. The final part of this essay discusses the paradoxical value of pratyrsa in relation to Wang's moral philosophy and his poetics. It demonstrates that the presenting of xingti (moral noumenon) at here-and-now world and the maintaining good are a kind of "bipolarity within oneness" in Wang's thought by which historicism of his moral philosophy is conspicuously revealed.