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中華思想文化術(shù)語(yǔ)(連載五)

1.聲一無(wú)聽(tīng)，物一無(wú)文 /shēnɡ yī wú tīnɡ，wù yī wú wén/

A Single Note Does Not Compose a Melodious Tune，Nor Does a Single Color Make a Beautiful Pattern.

單一聲響不構(gòu)成動(dòng)聽(tīng)的旋律，單一顏色不構(gòu)成美麗的花紋。其本質(zhì)強(qiáng)調(diào)文學(xué)藝術(shù)的美在于多樣性的統(tǒng)一與和諧，只有在多樣性的統(tǒng)一與和諧中才能創(chuàng)造美。這一命題后來(lái)構(gòu)成中國(guó)古代文藝?yán)碚摰闹匾瓌t，推動(dòng)文藝的繁榮與發(fā)展。

This statement suggests that the beauty of literature and art lies in the unity and harmony of diverse elements. It became an important principle in ancient Chinese theories on literature and art，and facilitated the development of literature and art.

引例 Citations：

聲一無(wú)聽(tīng)，物一無(wú)文，味一無(wú)果，物一無(wú)講。(《國(guó)語(yǔ)·鄭語(yǔ)》)

(單一聲響不能構(gòu)成動(dòng)聽(tīng)的旋律，單一顏色不能構(gòu)成美麗的花紋，單一味道不能成為美食，單一事物無(wú)法進(jìn)行比較。)

A single note does not compose a melodious tune；a single color does not form a beautiful pattern；a single flavor does not make a delicious meal；and a single thing has nothing to compare with. (DiscoursesonGovernanceoftheStates)

五色雜而成黼黻，五音比而成韶夏，五性發(fā)而為辭章，神理之?dāng)?shù)也。(劉勰《文心雕龍·情采》)

(多種顏色的絲才能繡成美麗的花紋，多種聲音配合成動(dòng)聽(tīng)的音樂(lè)，多種情感抒寫成美妙的辭章，這是自然之理呀！)

It is natural that silk of different colors can be used to embroider a beautiful pattern，different notes to produce melodious music，and expressions of different feelings to present a fine work of literary art. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

2.圣 /shènɡ/

Sage / Sageness

人所能達(dá)到的最高品德，也指具有這種最高品德的人，即“圣人”?！笆ァ币话闩c“智”相對(duì)而言，“智”是對(duì)“人道”的把握，而“圣”則是對(duì)“天道”的把握。由于具“圣”德之人能夠把握“天道”，因此在人倫日用中通達(dá)無(wú)礙。

The term refers to the highest realm of human integrity and morality，hence one who has reached this state is a sage. It is often used in relation to “wisdom，” since one who is a wise man understands the way of man，while one who is a sage understands the way of heaven. Thus a sage with knowledge of the way of heaven will interact successfully with other people.

引例 Citations：

聞君子道，聰也。聞而知之，圣也。圣人知天道也。(郭店楚簡(jiǎn)《五行》)

(聽(tīng)聞君子的準(zhǔn)則，可謂之“聰”。聽(tīng)聞而能知曉其義，可謂之“圣”。圣人知曉“天道”。)

He who listens to the principles of men of virtue is wise；he who not only listens but also understands them is a sage. The sage understands the way of heaven. (Wuxing，from the bamboo slips unearthed from a Chu State tomb at Guodian)

孔子，圣之時(shí)者也。(《孟子·萬(wàn)章下》)

(孔子，是圣人中把握時(shí)運(yùn)的人。)

Confucius was a sage who was able to seize the opportunity of his era. (Mencius)

3.詩(shī)言志 /shī yán zhì/

Poetry Expresses Aspirations.

詩(shī)歌表達(dá)作者內(nèi)心的志向?！爸尽敝冈?shī)歌作品中所表達(dá)的作者的內(nèi)心志向、思想，兼及情感因素?！霸?shī)言志”最先見(jiàn)于儒家經(jīng)典《尚書·堯典》，是中國(guó)詩(shī)論的“開(kāi)山綱領(lǐng)”(朱自清語(yǔ))，經(jīng)過(guò)歷代詩(shī)論家的演繹，其蘊(yùn)涵不斷得以豐富，并由此確立了中國(guó)文論關(guān)于文學(xué)特征的基本觀念。

A poem expresses aspirations in one’s heart.Zhi(志) here means the author’s aspirations，emotions，and thoughts. The concept of “poetry expressing aspirations，” first seen in the Confucian classicTheBookofHistory，was hailed by Zhu Ziqing as the “manifesto” of Chinese poetry. Enriched by poetry critics through the generations，it was later established as a basic concept in Chinese literary criticism.

引例 Citations：

詩(shī)言志，歌永言。(《尚書·堯典》)

(詩(shī)是表達(dá)內(nèi)心志向的，歌是用語(yǔ)言來(lái)吟唱的。)

Poems express aspirations deep in one’s heart，whereas songs are verses for chanting. (TheBookofHistory)

詩(shī)者，志之所之也，在心為志，發(fā)言為詩(shī)。(《詩(shī)大序》)

(詩(shī)是內(nèi)心志向所生成的，在心中為志，形成言語(yǔ)就是詩(shī)。)

Poems come from aspirations. An aspiration in heart is an aspiration；an aspiration in words is a poem. (Preface toTheBookofSongs)

4.詩(shī)緣情 /shī yuán qínɡ/

Poetry Springs from Emotions.

詩(shī)歌緣于詩(shī)人內(nèi)心的情感。西晉陸機(jī)《文賦》提出，詩(shī)人情動(dòng)于心，而后才有詩(shī)歌創(chuàng)作。“詩(shī)緣情”說(shuō)與“詩(shī)言志”說(shuō)互為補(bǔ)充，強(qiáng)調(diào)文學(xué)的抒情性與審美特征，表現(xiàn)出魏晉時(shí)代文學(xué)觀念的變遷。因此，“詩(shī)緣情”也成為中國(guó)古代關(guān)于詩(shī)歌與文學(xué)本質(zhì)看法的另一代表觀點(diǎn)。

Poems originate from the poet’s heart-felt feelings. Lu Ji of the Western Jin Dynasty said in The Art of Writing that a poet must have a surge of feeling deep in his heart before he could create a poem. This view，complementing the concept of “poetry expressing aspirations，” stresses the lyrical and aesthetic nature of literary works and echoes the evolution of literary tastes during the Wei and Jin dynasties. “Poetry springing from emotions” represents another viewpoint on the nature of poetry and literature in ancient China.

引例 Citations：

詩(shī)緣情而綺靡。(陸機(jī)《文賦》)

(詩(shī)歌源于情感因而形式華麗好看。)

Poetry，springing from emotions，reads beautifully in its form of expression. (Lu Ji：TheArtofWriting)

人稟七情，應(yīng)物斯感，感物吟志，莫非自然。(劉勰《文心雕龍·明詩(shī)》)

(人稟受了各種情感，受外物刺激而心有所感，心有所感而吟詠情志，所有的詩(shī)歌都出于自然情感。)

Everyone has diverse feelings，and he expresses his feelings and aspirations in a poetical way when he is stimulated by the external world and his heart is touched. All poems come from natural emotions. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

5.史才三長(zhǎng) /shǐ cái sān chánɡ/

Three Strengths of a Good Historian

指修史或治史的人所必須具備的史才、史學(xué)、史識(shí)等三項(xiàng)專長(zhǎng)。這是唐代著名史學(xué)理論家劉知幾提出的史學(xué)觀點(diǎn)?！笆凡拧敝甘窌瞿芰Γ弧笆穼W(xué)”指豐富的歷史知識(shí)和資料；“史識(shí)”指分析和評(píng)判歷史的思想見(jiàn)識(shí)。劉知幾認(rèn)為，修史或治史的人必須同時(shí)具備這三種能力，其中“史識(shí)”最為重要。

According to the renowned historiographer Liu Zhiji of the Tang Dynasty，those who study and write history must have three strengths，namely，the ability to compose historical works，rich knowledge of history and historical materials，and deep insight that enables them to analyze and evaluate history. Liu believed that deep insight in analyzing and commenting on history was the most important of the three qualifications.

引例 Citation：

史才須有三長(zhǎng)……三長(zhǎng)，謂才也，學(xué)也，識(shí)也。(《舊唐書·劉子玄傳》)

(所謂“史才”必須具備三方面專長(zhǎng)……三方面專長(zhǎng)指的是“史才”“史學(xué)”“史識(shí)”。)

A historian must have three strengths. …The three strengths are talent，learning，and insight. (TheOldTangHistory)

6.書院 /shūyuàn/

Classical Academy

唐宋至明清時(shí)期出現(xiàn)的一種文化教育機(jī)構(gòu)，是私人或官府所設(shè)的聚徒傳授、研究學(xué)問(wèn)的場(chǎng)所，兼具教學(xué)、研究、藏書等多種功能。它淵源于佛教禪林和私人藏書樓，萌生于唐，興盛于宋。南宋初年，朱熹、張栻、呂祖謙、陸九淵等學(xué)者興辦書院，使之成為講學(xué)及學(xué)派活動(dòng)的基地。書院獨(dú)立于官學(xué)之外，多設(shè)于環(huán)境寧?kù)o優(yōu)美之地，由名師碩儒主持，追求學(xué)術(shù)自由與創(chuàng)新，注重言傳身教、人格塑造，不圖科舉功名。南宋末年，書院逐步趨于官學(xué)，并與科舉制度貫通。書院的興衰與宋明理學(xué)的興衰互為表里。1901 年清政府下令書院全部改為學(xué)堂。書院前后存在一千多年，對(duì)中國(guó)古代教育和文化發(fā)展、推動(dòng)中國(guó)文化走向海外產(chǎn)生過(guò)重大影響。

Classical academies were cultural and educational institutions that existed in China from the Tang and Song dynasties through the Ming and Qing dynasties. They were established either by the public or the government to serve the multiple purposes of education，research，and library service. Their origins were Buddhist monasteries and private libraries in the Tang Dynasty. Classical academies flourished in the Song Dynasty. In the early years of the Southern Song Dynasty，Zhu Xi，Zhang Shi，Lü Zuqian，Lu Jiuyuan，and some other scholars established academies that served as teaching and research centers of their respective school of thought. The academies were independent of government schools and were located mostly in tranquil and scenic places. Under the supervision of learned Confucian scholars，the academies pursued academic freedom and innovation. Teachers taught by both precept and example，and laid stress on shaping their students’ moral character，rather than encouraging them to win degrees in the imperial civil examination system. By the end of the Southern Song Dynasty，however，the academies became increasingly government-oriented and were linked with the imperial civil examination system. The rise and decline of the academies was in harmony with the rise and decline of the School of Principle during the Song and Ming dynasties. In 1901 the Qing government ordered all the academies be changed to schools in modern sense. Having existed for more than 1，000 years，the academies greatly helped develop traditional Chinese culture and education，and convey Chinese culture abroad.

引例 Citation：

其他先儒過(guò)化之地，名賢經(jīng)行之所，與好事之家出錢粟贍學(xué)者，并立為書院。(《元史·選舉志一》)

(其他先世儒者曾經(jīng)教化百姓、著名賢士生活并留下事跡的地方，以及那些樂(lè)意出錢糧供養(yǎng)學(xué)者的富裕人家，都可成為創(chuàng)設(shè)書院的緣由。)

Places where earlier Confucian scholars taught，or where distinguished men of virtue lived and left behind stories and legacies，or wealthy families who were willing to support scholars with money and food，could all contribute to the establishment of classical academies. (TheHistoryoftheYuanDynasty)

7.滋味 /zīwè/

Nuanced Flavor

詩(shī)歌中能夠使欣賞者反復(fù)回味的意蘊(yùn)，實(shí)即詩(shī)歌美感。南朝詩(shī)論家鐘嶸在《詩(shī)品》中提出，五言詩(shī)歌創(chuàng)作時(shí)應(yīng)重視內(nèi)容與形式的配合，從而使欣賞者在品讀中回味無(wú)窮。后來(lái)“滋味”也指從事文藝創(chuàng)作時(shí)的一種趣味。

This term refers to an effect that allows lasting satisfaction and rewarding in poetry appreciation，which is a particular sense of beauty offered by poetry. In the Southern Dynasties，poetry critic Zhong Rong proposed in The Critique of Poetry that in writing five-character-per-line poems，one should pay special attention to the combination of form and content，so that readers could enjoy a poem with inexhaustible delight. Later，nuanced flavor also came to refer to a kind of taste in literary and artistic creation.

引例 Citations：

五言居文詞之要，是眾作之有滋味者也。(鐘嶸《詩(shī)品序》)

(五言詩(shī)在各種詩(shī)體中居于首位，是眾多作品中最有審美意味的。)

Five-character-per-line poems constitute the most important poetic form and are most richly imbued with nuanced flavors. (Zhong Rong：Preface toTheCritiqueofPoetry)

至于陶冶性靈，從容諷諫，入其滋味，亦樂(lè)事也。(顏之推《顏氏家訓(xùn)·文章》)

(至于文章可以陶冶心靈，委婉地諷諫帝王，使讀者感受到一種審美意味。這也是一大快事。)

A literary work cultivates the mind，implicitly satirizes or criticizes a monarch，and enables the reader to obtain a sense of aesthetic appreciation. Reading such works gives one great delight. (Yan Zhitui：AdmonitionsfortheYanClan)

8.有無(wú) /yǒuwú/

YouandWu

“有無(wú)”有三種不同含義：其一，指?jìng)€(gè)體事物的不同部分，實(shí)有的部分為“有”，空虛的部分為“無(wú)”；其二，指?jìng)€(gè)體事物在生成、存在、消亡過(guò)程中的不同階段或狀態(tài)，既有之后、未消亡之前的狀態(tài)為“有”，未有之前與既終之后的狀態(tài)為“無(wú)”；其三，有形、有名的具體事物或其總和為“有”，超越一切個(gè)體事物的無(wú)形、無(wú)名的本體或本原為“無(wú)”。就第三個(gè)意義而言，有些哲學(xué)家認(rèn)為“無(wú)”是世界的本體或本原，“有”生于“無(wú)”；另一些哲學(xué)家則認(rèn)為“有”才是更根本的，反對(duì)“有”生于“無(wú)”。在“有無(wú)”的關(guān)系中，“有”與“無(wú)”既相互區(qū)別，又相互依賴。

The term has three definitions. First，it describes two different dimensions of things：One is with form and the other without form. Second，it refers to two different stages or states of a thing during its generation，existence，and demise.You(有) refers to the state of a thing after it has come into being and before it dies out；wu(無(wú)) refers to the state of a thing before its birth and after its death. Third，yourefers to any tangible or identifiable thing or the sum total of such things；wurefers to the original source or ontological existence，which is intangible and unidentifiable，and transcends all specific objects. With regard to the third definition，some philosophers considerwuto be the original source or ontological existence of the world，andyoucomes fromwu； others believe thatyouis fundamentally significant，and dispute the notion thatyouowes its existence towu. Despite their differences，youandwuare mutually dependent.

引例 Citations：

故有之以為利，無(wú)之以為用。(《老子·十一章》)

(所以說(shuō)事物“有”的部分帶給人便利，“無(wú)”的部分發(fā)揮了事物的作用。)

Therefore，the with-form part of an object provides ease and convenience，whereas the without-form part performs the functions of that object.(Laozi)

有之所始，以無(wú)為本。(王弼《老子注》)

(“有”之所以肇始存在，以“無(wú)”為根本。)

The formation and existence ofyouoriginate fromwu. (Wang Bi：AnnotationsonLaozi)

9.剛?cè)?/ɡānɡróu/

GangandRou

人和事物所具有的兩種相反的屬性或德性。主要有三種含義：其一，就自然物或器物而言，“剛”指堅(jiān)硬，“柔”指柔軟。其二，就個(gè)人的品格而言，“剛”指為人剛毅、堅(jiān)強(qiáng)，“柔”指溫柔、謙遜。其三，就為政、執(zhí)法的風(fēng)格而言，“剛”指嚴(yán)厲，“柔”指寬宥?！皠?cè)帷北徽J(rèn)為是“陰陽(yáng)”的某種具體表現(xiàn)?！皠偂迸c“柔”之間的對(duì)立與調(diào)和是促成事物運(yùn)動(dòng)變化的根本原因。在具體事物或行事中，二者應(yīng)達(dá)到某種平衡，“ 剛”與“柔”過(guò)度都是不好的、危險(xiǎn)的。

The term refers to two opposing properties or qualities that objects and human beings possess. The term has three different meanings. First，when describing natural or man-made objects，gang(剛) means hard androu(柔) means soft. Second，when describing human qualities，gangmeans strong and determined，whileroumeans gentle and modest. Third，when describing a style of governance or law enforcement，gangmeans strict androumeans lenient.Gangandrouare one of the manifestations ofyinandyang. Their mutual opposition and accommodation are the basic causes of change，and they must achieve a certain balance within any object or action. Too much of either is inappropriate and dangerous.

引例 Citations：

是以立天之道曰陰與陽(yáng)，立地之道曰柔與剛，立人之道曰仁與義。(《周易·說(shuō)卦》)

(所以確立天的法則為陰與陽(yáng)，確立地的法則為柔與剛，確立人世的法則為仁與義。)

The laws governing the ways of heaven areyinandyang，those governing the ways of the earth arerouand gang，and those governing the ways of human society are benevolence and righteousness. (TheBookofChanges)

剛?cè)嵯嗤?，變?cè)谄渲幸印?《周易·系辭下》)

(剛與柔相互推移轉(zhuǎn)換，變化就在其中了。)

Change occurs whengangandrouinteract. (TheBookofChanges)

10.神韻 /shényùn /

Elegant Subtlety

指文學(xué)藝術(shù)作品中清遠(yuǎn)淡雅的意蘊(yùn)和韻味。原本是對(duì)人物的風(fēng)度神情的評(píng)價(jià)，魏晉時(shí)人認(rèn)為人格之美在于內(nèi)在精神氣韻，不同于漢代人推重外形。后來(lái)這一概念進(jìn)入書畫理論，指作品內(nèi)在的精神韻味。明代人從書畫理論引入詩(shī)歌理論，使神韻成為對(duì)詩(shī)歌風(fēng)格的要求，清代王士禎是“神韻說(shuō)”的發(fā)揚(yáng)光大者，他特意編選了《唐詩(shī)神韻集》，借編選理想的詩(shī)歌闡發(fā)自己的審美趣味，又在詩(shī)歌理論著作中大力倡導(dǎo)，構(gòu)建起獨(dú)具特色的詩(shī)歌藝術(shù)審美體系，從而使“神韻說(shuō)”得以完善定型，最終成為清代詩(shī)學(xué)的一大流派。

This term refers to the subtle elegance of literary and artistic works. It was originally used to depict a person’s mien and manner. During the Wei and Jin dynasties，the propriety inherent in a person was valued，whereas during the previous Han Dynasty，a person’s external appearance was stressed. Later on，this concept was incorporated into the theory of calligraphy and painting to refer to the elegant subtlety of a work. In the Ming Dynasty，the concept was extended to the theory of poetry，and elegant subtlety became a requirement for composing poetry. Later，Wang Shizhen of the Qing Dynasty further developed the theory of elegant subtlety. In compilingTheElegantSubtletyoftheTangPoetry，he elaborated on his aesthetic views. In his writings on poetry theory，Wang Shizhen championed these views and created his own unique poetical aesthetics，enriching the theory of elegant subtlety，and making it a major school of the Qing-dynasty poetics.

引例 Citations：

詩(shī)之佳，拂拂如風(fēng)，洋洋如水，一往神韻，行乎其間。(陸時(shí)雍編《古詩(shī)鏡·詩(shī)鏡總論》)

(好詩(shī)如同拂面的清風(fēng)，如同流過(guò)的浩大河水，仿佛有種神韻行進(jìn)在詩(shī)的字里行間。)

Just as gentle breeze touching one’s face and the river flowing past，a good poem has elegant subtlety permeating its lines. (Lu Shiyong：AComprehensiveDigestofGoodAncientPoems)

予嘗觀唐末五代詩(shī)人之作，卑下嵬瑣，不復(fù)自振，非惟無(wú)開(kāi)元、元和作者豪放之格，至神韻興象之妙以視陳隋之季，蓋百不及一焉。(王士禎《梅氏詩(shī)略序》)

(我曾經(jīng)讀唐末五代時(shí)的詩(shī)人作品，格調(diào)卑下猥瑣，氣勢(shì)不振，非但沒(méi)有開(kāi)元、元和年間詩(shī)作的豪放風(fēng)格，在神韻、興象的絕妙方面，甚至連陳、隋衰微時(shí)期的詩(shī)作的百分之一都比不上。)

I have read the works by poets of the late Tang Dynasty and the Five Dynasties and found their poetry mean-spirited，trivial，and depressed. They were far less bold and daring than those poems written between the Kaiyuan and Yuanhe periods of the Tang Dynasty. Worse still，they did not have the slightest traces of the elegant subtlety and inspiring imagery that were evident in the poetry written in the State of Chen during the Northern Dynasties and in the Sui Dynasty when poetry was already in decline. (Wang Shizhen：ForewordtoPoetrybytheMeiFamily)

11.意象 /yìxiànɡ/

Yixiang(Imagery)

文學(xué)作品中表達(dá)作者主觀情感和獨(dú)特意境的典型物象?！耙狻敝缸髡叩乃枷肭楦?；“象”是外在的具體物象，是寄寓了作者思想情感的藝術(shù)形象。在文學(xué)創(chuàng)作中，“意象”多指取自大自然中能夠寄托情思的物象?！耙庀蟆睆?qiáng)調(diào)文學(xué)作品的思想內(nèi)容與形象之美的和諧生成，是一種成熟的文藝形態(tài)。

Imagery refers to a typical image in literary works，which embodies the author’s subjective feelings and unique artistic conceptions.Yi(意) literally means an author’s feelings and thoughts，andxiang(象) refers to the image of a material object in the external world，an artistic image reflecting the author’s thoughts and feelings. In literary creation，imagery often refers to those images in nature with which an author’s feelings and thoughts are associated. Emphasizing the harmonious relationship between beauty in both form and content，it is a mature state of literary creation.

引例 Citations：

窺意象而運(yùn)斤。(劉勰《文心雕龍·神思》)

(探尋心中的意象而構(gòu)思運(yùn)筆。)

An author explores the imagery in his mind，conceives a work，and writes it down. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

意象欲出，造化已奇。(司空?qǐng)D《二十四詩(shī)品·縝密》)

(詩(shī)歌的意象渾欲浮現(xiàn)，大自然是這般奇妙。)

What a wonderful state of nature it is when the imagery of a poem is about to emerge! (Sikong Tu：Twenty-fourStylesofPoetry)

12.學(xué) /xué /

Learn

學(xué)習(xí)，儒家認(rèn)為它是成就道德生命的一種修養(yǎng)和教化方式。一般意義上的“學(xué)”主要指對(duì)知識(shí)的理解和掌握，而儒家所言之“學(xué)”則更多指向道德品性的養(yǎng)成。個(gè)人通過(guò)后天對(duì)經(jīng)典和禮法的學(xué)習(xí)以及對(duì)圣賢的效法，不斷培養(yǎng)、完善自身的德性，以成就理想的人格。道家則反對(duì)“學(xué)”，如老子主張“絕學(xué)無(wú)憂”，認(rèn)為“學(xué)”會(huì)帶來(lái)內(nèi)心不必要的憂慮，乃至破壞人的自然狀態(tài)。

To Confucianism，learning is the way to cultivate oneself to achieve moral integrity. The usual meaning of the term is to acquire knowledge and understanding，but for Confucianism it focuses more on the cultivation of moral and ethical qualities to achieve personal growth. Through learning classics and rites，and following the practices of sages，a person is able to cultivate and improve his moral standards and thus become a person of ideal qualities. Daoists，on the other hand，are against learning，and Laozi said that“fine-sounding arguments”only cause unnecessary worries，and can disrupt a person’s natural state of mind.

引例 Citations：

學(xué)而時(shí)習(xí)之，不亦說(shuō)乎？(《論語(yǔ)·學(xué)而》)

(學(xué)習(xí)并按一定的時(shí)間實(shí)踐所學(xué)的內(nèi)容，不也是愉快的嗎？)

Isn’t it a pleasure to learn and apply from time to time what one has learned?(TheAnalects)

君子博學(xué)而日參省乎己，則知明而行無(wú)過(guò)矣。(《荀子·勸學(xué)》)

(君子廣博地學(xué)習(xí)并且每日檢查反省自己，那么他就會(huì)智慧明達(dá)而且行為沒(méi)有過(guò)錯(cuò)了。)

A man of virtue learns extensively，reflects upon and examines himself every day；he thus becomes wise and knowledgeable，and conducts himself properly.(Xunzi)

13.思 /sī/

Reflecting/Thinking

心所具有的思考與辨別的能力。儒家認(rèn)為“思”是人心所獨(dú)有的重要功能。心能“思”，因此可以不像耳目之官一樣被外物牽引或遮蔽。人只有通過(guò)心之“思”，才能發(fā)現(xiàn)內(nèi)在于心的道德品性的根基，并由此通達(dá)于“天道”，從而確立人之所以為人的本質(zhì)。如果缺少“思”的工夫，人將喪失其主體性與獨(dú)立性。

The term means the ability to reflect and evaluate. Confucian scholars considered this a unique quality of the human mind. By reflecting，a person will keep himself from being led astray or getting confused by what he sees or hears. Through reflecting，a person will discover the foundation of morality. This leads to understanding natural laws，and eventually，the essence of being human. Without reflecting，humans will lose their individual consciousness and independence.

引例 Citations：

學(xué)而不思則罔，思而不學(xué)則殆。(《論語(yǔ)·為政》)

(只“學(xué)”而不“思”，則會(huì)迷?；鑱y；只“思”而不“學(xué)”，則會(huì)疑惑危殆。)

Learning without reflecting leads to confusion；reflecting without learning leads to danger. (TheAnalects)

耳目之官不思，而蔽于物，物交物則引之而已矣。心之官則思。思則得之，不思則不得也。此天之所與我者，先立乎其大者，則其小者不能奪也。(《孟子·告子上》)

(耳目這類器官不能“思”，因此為外物所蒙蔽，與外物接觸便被牽引而去。心這一器官能“思”，“思”則有所得，不“思”則不能得。這是天賦予我的，先確立心作為大者的官能，如此則不會(huì)被耳目之官的欲望遮蔽。)

The eyes and ears cannot think，so they can be deceived or misled by external things. But the mind can think and reflect. Through reflection，cognition can be achieved，whereas without reflection，nothing can be accomplished. This is the gift Heaven bestows on us. One should first establish the primacy of the mind，and then eyes and ears will not be misled. (Mencius)

14.自強(qiáng)不息 /zìqiánɡ-bùxī/

Striving Continuously to Strengthen Oneself

自己努力向上，強(qiáng)大自己，永不懈怠停息。古人認(rèn)為，天體出于自身的本性而運(yùn)行，剛健有力，周而復(fù)始，一往無(wú)前永不停息。君子取法于“天”，也應(yīng)發(fā)揮自己的能動(dòng)性、主動(dòng)性，勤勉不懈，奮發(fā)進(jìn)取。這是中國(guó)人參照天體運(yùn)行狀態(tài)樹(shù)立的執(zhí)政理念和自身理想。它和“厚德載物”一起構(gòu)成了中華民族精神的基本品格。

The term means that one should strive continuously to strengthen himself. Ancient Chinese believed that heavenly bodies move in accordance with their own nature in a vigorous and forever forward-going cycle. A man of virtue，who follows the law of heaven，should be fully motivated and work diligently to strengthen himself. This is the Chinese view on governance and self development，established with reference to the movement of heavenly bodies. Together with the notion that a true gentleman has ample virtue and carries all things，it constitutes the fundamental trait of the Chinese nation.

引例 Citations：

天行健，君子以自強(qiáng)不息。(《周易·彖上》)

(天的運(yùn)行剛健有力，一往無(wú)前，君子的處世，應(yīng)像天一樣，自己努力向上，永不停息。)

Just as heaven keeps moving forward vigorously，a man of virtue should strive continuously to strengthen himself. (TheBookofChanges)

自人君公卿至于庶人，不自強(qiáng)而功成者，天下未之有也。(《淮南子·修務(wù)訓(xùn)》)

(自帝王公卿到普通百姓，不奮發(fā)進(jìn)取就能建立功業(yè)的，普天之下沒(méi)有這樣的事情。)

Neither monarchs，ministers，nor commoners have ever achieved great accomplishments in the world without first striving to strengthen themselves.(Huainanzi)

外有敵國(guó)，則其計(jì)先自強(qiáng)。自強(qiáng)者人畏我，我不畏人。(《宋史·董槐傳》)

(外有敵對(duì)的國(guó)家，我們首先要謀求使自己強(qiáng)大。如果自己強(qiáng)大了，敵國(guó)就會(huì)畏懼我們，我們就不會(huì)畏懼他們。)

Facing hostile countries，we must first of all strive to become strong. If we have strengthened ourselves，enemy states will fear us and we will not fear them. (TheHistoryoftheSongDynasty)

15.厚德載物 /hòudé-zaiwù/

Have Ample Virtue and Carry All Things

以寬厚的德性承載天下萬(wàn)物。多指以寬厚之德包容萬(wàn)物或他人。古人認(rèn)為，大地的形勢(shì)和特質(zhì)是寬厚和順的，它承載萬(wàn)物，使萬(wàn)物各遂其生。君子取法于“地”，要像大地一樣，以博大寬厚的道德容納萬(wàn)物和他人，包含了對(duì)自身道德修養(yǎng)及人與自然、社會(huì)和諧一體的追求。這是中國(guó)人參照大地山川狀貌和特質(zhì)樹(shù)立的治國(guó)理政和為人處事的理念和理想。它和“自強(qiáng)不息”一起構(gòu)成了中華民族精神的基本品格。

This term means that one should be broad-minded and care for all things and people. Ancient Chinese believed that with its topography and other natural features being generous and peaceful，the earth sustained all things in the world，allowing them to grow and develop in keeping with their own nature. Men of virtue model themselves on the earth，and just like the earth，care for all things and fellow human beings with open heart and virtue. This embodies the pursuit of moral cultivation and harmony among people and between people and nature. It represents the Chinese views and ideals on governance and human relationship，which were inspired by the formation and features of mountains and rivers in China. Together with the notion of constantly exerting oneself for self-improvement，it forms the fundamental character of the Chinese nation.

引例 Citations：

地勢(shì)坤，君子以厚德載物。(《周易·彖上》)

(大地的氣勢(shì)厚實(shí)和順，君子應(yīng)以寬厚美德容載天下萬(wàn)物。)

Just like the earth，which is generous and peaceful，a man of virtue should have ample virtue and accommodate all things. (TheBookofChanges)

地勢(shì)之順，以地德之厚也。厚，故萬(wàn)物皆載焉。君子以之法地德之厚，而民物皆在所載矣。(陳夢(mèng)雷《周易淺述》卷一)

(大地的形勢(shì)是和順的，因?yàn)榇蟮鼐哂袑捄竦钠返隆Ｒ蚱鋵捄?，所以能承載萬(wàn)物。君子效法大地的寬厚品德，百姓、萬(wàn)物就都能被包容了。)

The peaceful nature of the earth is due to its virtue of generosity. Thus，it can accommodate and provide for all things. By modeling himself on the earth，a man of virtue should care for all people and all things. (Chen Menglei：ASimpleAccountofTheBookofChanges)

選自“中華思想文化術(shù)語(yǔ)”系列圖書(外語(yǔ)教學(xué)與研究出版社出版)