1.忠/zhōnɡ

Loyalty

“忠”是一種盡己所能的態(tài)度。處在某一身份或職位的人應(yīng)全心全意地履行其職責(zé)，而不應(yīng)受個人私利的影響?！爸摇钡膶ο罂梢允琴x予其職分的個人，也可以是其履職的組織、團(tuán)體乃至國家。例如在古代社會，人們認(rèn)為君主應(yīng)該忠于民眾，臣屬應(yīng)該忠于君主。

Loyalty involves doing one’s utmost. A person in a certain position or office should wholeheartedly perform his duties and must not be influenced by personal interests. The object of loyalty can be the person who appoints you to your post or grants you a position；it can also be an organization，group or the state where you belong. For example，in ancient society it was thought the monarch should be loyal to the people while the subjects should be loyal to the monarch.

引例 Citations：

◎曾子曰：“吾日三省吾身：為人謀而不忠乎？與朋友交而不信乎？傳不習(xí)乎？”(《論語·學(xué)而》)

(曾子言：“我每日多次反省自己：為他人謀劃是否未盡忠心？與朋友交往是否不守信諾？傳授的學(xué)問是否沒有溫習(xí)？”)

Zengzi said，“Each day I reflect on myself several times. Have I failed to be loyal to someone when offering my advice to him? Have I failed to keep my word to my friends? Have I failed to review the teachings I have learned?” (TheAnalects)

◎盡己之謂忠。(朱熹《論語集注》)

(竭盡自己所能就是忠。)

To do all one can is what loyalty requires. (Zhu Xi：TheAnalectsVariorum)

2.物化/wùhuà

Transformation of Things

事物彼我界限的打破及相互轉(zhuǎn)化，是事物的一種存在狀態(tài)?！拔锘币徽f出自《莊子·齊物論》。莊子通過“莊周夢蝶”的寓言來說明“物化”的意義。莊子認(rèn)為，自身與他者、夢與醒以及一切事物之間的界限與區(qū)別都可以被破除，從而實現(xiàn)物與物之間的轉(zhuǎn)化與流通。如果執(zhí)著于彼我的區(qū)別，就不能體認(rèn)“物化”，如在夢中一般；但如果執(zhí)著于“物化”，同樣會跌入夢中。

This is a form of the existence of things when the boundary between things is broken and one thing transforms into another. The term“transformation of things” comes fromZhuangzi，who illustrated the concept in the fableZhuangziDreamedofBecomingaButterfly. He believed that the boundary and difference between oneself and others，between in a dream and being awake，and between all things can be broken. Consequently，one may achieve the transformation between one thing and another. However，if one holds onto the difference between oneself and the others，one cannot achieve the transformation of things，as if in a dream. If one is bent on transforming things，one may still fall into a dream.

引例 Citation：

◎昔者莊周夢為胡蝶，栩栩然胡蝶也，自喻適志與！不知周也。俄然覺，則蘧(qú)蘧然周也。不知周之夢為胡蝶與？胡蝶之夢為周與？周與胡蝶，則必有分矣。此之謂物化。(《莊子·齊物論》)

(從前莊周夢見自己變成了蝴蝶，翩翩飛舞的一只蝴蝶，遨游各處悠游自在，不知道自己是莊周。忽然醒過來，自己分明是莊周。不知道是莊周做夢化為蝴蝶呢，還是蝴蝶做夢變化為莊周呢？莊周與蝴蝶必定是有所分別的。這就叫做“物化”。)

Once I，Zhuang Zhou，dreamed that I became a flying butterfly，happy with myself and doing as I pleased. I forgot that I was Zhuang Zhou. Suddenly I woke up and I was Zhuang Zhou again. I did not know whether Zhuang Zhou had been dreaming that he was a butterfly，or whether a butterfly had been dreaming that it was Zhuang Zhou. There must be a difference between the two，which is what I call“transformation of things.” (Zhuangzi)

3.慎獨/shèndú

Shendu

儒家提出的一種道德修養(yǎng)方法?！吧鳘殹庇袃煞N不同含義：其一，將“獨”理解為閑居獨處。人們在獨處時，沒有他人的監(jiān)督，最容易放縱行事?！吧鳘殹奔匆笤讵毺帟r謹(jǐn)慎對待自己的行為，自覺遵守道德、禮法的要求。其二，將“獨”理解為內(nèi)心的真實狀態(tài)。人們可以在言行上表現(xiàn)出符合道德、禮法的要求，但心中卻沒有對道德、禮法的認(rèn)同與追求。“慎獨”則要求在心上做工夫，使內(nèi)心與道德、禮法所要求的言行相符。

A kind of ethical self-cultivation advanced by the Confucian school of thought，the term has two different meanings：First，du(獨) is understood as at leisure and alone. When people are alone，without someone else’s supervision，they easily act in an undisciplined and immoral way.Shendu(慎獨) requires being careful with one’s conduct when being alone，consciously following morality and the requirements of etiquette. Second，duis understood as an inner true state. People may in their words and actions manifest what is in accord with morality and the requirements of etiquette，but in their heart they do not accept or pursue any morality or etiquette.Shendurequires that one makes efforts in one’s heart，so that one’s inner world is in agreement with the words and actions required by morality and etiquette.

引例 Citations：

◎是故君子戒慎乎其所不睹，恐懼乎其所不聞。莫見乎隱，莫顯乎微，故君子慎其獨也。(《禮記·中庸》)

(因此君子在沒有人看見時也是謹(jǐn)慎的，在沒有人聽到時也是有所恐懼的。沒有比隱蔽的地方更容易表現(xiàn)的了，沒有比隱微的地方更容易顯明的了，因此君子應(yīng)“ 慎獨”。)

A man of virtue is cautious when he is not being watched by others and apprehensive when what he says is not being heard. There is nothing more visible than in what is secret，and nothing more obvious than in what is vague and minute. Therefore，a man of virtue is watchful when he is at leisure and alone. (TheBookofRites)

◎此謂誠于中，形于外，故君子必慎其獨也。(《禮記·大學(xué)》)

(這是說實存于內(nèi)心的東西，會表現(xiàn)在外，因此君子必須“慎獨”。)

This means what one truly believes in his heart and mind will find expression in the open. That is why a man of virtue must be cautious when he is at leisure and alone. (TheBookofRites)

4.非命/fēimìnɡ

Rejection of Fatalism

反對人事由命運所決定的觀念。“非命”是墨家的基本主張之一。墨子提出，人民的貧富、國家的治亂都取決于人自身的作為，而不是由命運所決定的。將人事托付于命運，是在推卸行為主體的責(zé)任，只會導(dǎo)致國亂民貧。只有依據(jù)“兼愛”等道德原則，通過自身的努力作為，才能獲得實際的利益。

A belief that events are not predetermined and a denial of fate is a basic component of Mohist thought. Mozi proposed that poverty and turmoil are brought about by our own acts rather than predetermined by fate. Blaming human affairs on fate is nothing other than relieving actors of responsibility for their actions and will only bring chaos to the state and poverty to the people. Only by embracing ethical principles such as impartial love and by our own efforts，can we gain practical benefits.

引例 Citation：

◎執(zhí)有命者，此天下之厚害也，是故子墨子非也。(《墨子·非命中》)

(主張命運決定人事的人，是天下的大害，因此墨子反對他們的主張。)

Those who hold that there is fate are harmful to the world. For that reason Mozi is opposed to their stand.(Mozi)

5.知音/zhīyīn

Resonance and Empathy

體會和理解文藝作品的意蘊與作者的思想感情。原指音樂欣賞中的知己，后經(jīng)魏晉南北朝時期文藝批評家的闡釋，用來泛指文藝鑒賞中的心心相印、互相理解?！爸簟弊鳛槲膶W(xué)批評的核心概念，涉及文藝創(chuàng)作與鑒賞中的個體差異與共性等諸多問題，有著豐富的精神蘊涵，與西方的讀者反應(yīng)批評理論、接受美學(xué)、解釋學(xué)等基本思想有一致之處。

The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei，Jin，and Southern and Northern dynasties to mean resonance or empathy between writers / artists and their readers / viewers. As a core concept in literary criticism，it touches upon both general and particular issues in artistic creation and appreciation，involves rich intellectual implications，and meshes with the audience’s response in Western criticism，receptive aesthetics，and hermeneutics.

引例 Citations：

◎是故不知聲者不可與言音，不知音者不可與言樂，知樂則幾于禮矣。(《禮記·樂記》)

(不懂自然聲音的人無法與其談?wù)撘袈?，不懂音律的人無法與其談?wù)撘魳?，通曉音樂的人也就接近懂得禮了。)

Talking about melody with someone who has no ear for natural sounds would be a waste of time，and so would discussing music with someone who knows nothing about melody. One who knows music is close to understanding social norms. (TheBookofRites)

◎知音其難哉！音實難知，知實難逢，逢其知音，千載其一乎！(劉勰《文心雕龍·知音》)

(理解音樂是多么困難?。∫魳穼嵲陔y于理解，理解音樂的人很難遇到，要遇到理解音樂的人，恐怕是千年一遇呀！)

It is such a challenge to understand music! Since music is so hard to understand，it is difficult to find people who can appreciate it. It may take a thousand years to find someone who understands music! (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

6.活法/huófǎ

Literary Flexibility

指詩文創(chuàng)作在遵守規(guī)矩法度的同時，又不可死守規(guī)矩法度，要有所變化和創(chuàng)新。與拘泥于前人格套、不知變通的“死法”相對立。使作品具備活法的途徑，是善于學(xué)習(xí)前人，在廣泛涉獵、融會貫通的基礎(chǔ)上，不拘泥、不膠著，從自己的情感和作品的美感出發(fā)，使作品的文法、語言呈現(xiàn)嶄新的意義。宋代文論家們受到了圓轉(zhuǎn)靈活的禪風(fēng)影響，在詩文領(lǐng)域倡導(dǎo)活法，使之成為詩文創(chuàng)作的重要原則。

Literary flexibility means that one should respect the rules for writingpoetry or prose but not be bound by them；one should encourage change and innovation. The opposite of literary flexibility is literary rigidity under whose influence the writer mechanically imitates the forms of established writers without innovation. One way to attain literary flexibility in one’s works is to draw inspiration from others extensively and absorb their talent while refraining from sticking mechanically to the model. One should base oneself on his own feelings and the aesthetic principles so as to create new styles and new ways of expression. Influenced by the Chan spirit of liberal flexibility，literary critics of the Song Dynasty championed flexibility in literary pursuit and established it as an important principle guiding poetry and prose writing.

引例 Citations：

◎?qū)W詩當(dāng)識活法。所謂活法者，規(guī)矩備具，而能出于規(guī)矩之外，變化不測，而亦不背于規(guī)矩也。是道也，蓋有定法而無定法，無定法而有定法。知是者則可以與語活法矣。(劉克莊《后村集》卷二十四引呂本中《〈夏均父集〉序》)

(學(xué)作詩要懂得活法。所謂活法，就是作詩的各種規(guī)矩法度全都具備，又能跳出規(guī)矩法度的限制，使詩文產(chǎn)生各種不可預(yù)測的變化，而且還不違背規(guī)矩。這個道理就是，說有恒定的規(guī)矩法度又沒有恒定的規(guī)矩法度，說沒有恒定的規(guī)矩法度卻又有恒定的規(guī)矩法度。懂得這個道理的人，就可以與他談?wù)摶罘恕?

Those who wish to learn to write poetry should master literary flexibility. By this I mean that，while knowing all the rules for poetry，the poet goes beyond them to reflect unpredictable changes in his poetry yet without compromising the rules. The principle underlying this way of writing is that there should be set rules，yet they are not fixed；where there seem to be no rules，rules do exist. You can discuss literary flexibility with others only if they understand this principle. (Lü Benzhong：Foreword toTheCollectedPoetryofXiaJunfu)

◎文章一技，要自有活法。若膠古人之陳跡，而不能點化其句語，此乃謂之死法。死法專祖蹈襲，則不能生于吾言之外；活法奪胎換骨，則不能斃于吾言之內(nèi)。斃吾言者，[故為死法；]生吾言者，故為活法。(俞成《螢雪叢說· 文章活法》)

(寫文章這種技藝，必須有自己的活法。如果只是拘泥于古人的陳法，而不能將他們的詞句化陳出新，這就叫死法。死法只會因襲模仿，不能讓我的文章在語言之外獲得新生?；罘▌t能超凡脫俗，不會讓我的文章被語言困死。文章被語言困死，[所以稱死法；] 使文章在語言之外獲得新生，所以稱活法。)

In writing essays，it is necessary to maintain literary flexibility. If one is bound by the clichés of the classical masters and fails to producenovel ideas，this is what we call literary rigidity. Literary rigidity refers to mechanically copying others without permitting one’s own work to acquire new ideas. Literary flexibility，however，allows one’s work to free itself from clichés so that the work will not be stifled by stereotyped style of writing. Literary rigidity leads to a literary dead end，while literary flexibility encourages the birth of new ideas by going beyond the limitations of conventional way of writing. (Yu Cheng：ReflectionsfromDevotedReading)

7.政者正也/zhènɡ zhě zhènɡ yě

Governance Means Rectitude.

“政”就是“正”的意思?！罢奔凑?、治理國家；“正”即堅持原則，端正品行，處事公正?！罢哒病庇袃蓪右馑迹阂皇菑?qiáng)調(diào)為政者在施政層面應(yīng)堅持原則、端正品行、處事公正；二是在道德層面強(qiáng)調(diào)為政者應(yīng)嚴(yán)格要求自己，通過自身的示范作用，影響下屬和民眾一起循行正道、遵守社會規(guī)范。它是古代“人治”“德政”思想的具體體現(xiàn)。

Zheng(政)，or governance，refers to policy and managing the country，whilezheng(正)，or rectitude，refers to adherence to principle，decent behavior，and handling matters with fairness. This term has two meanings. First，it emphasizes that those who govern should adhere to principle，behave correctly，and handle matters with fairness. Second，it emphasizes that at a moral level，those who govern should be strict with themselves，that they should play an exemplary role and thus show their subordinates and the people how to follow the right path and comply with social norms. It is a concrete expression of the idea “rule by man”and “governing by virtue” in ancient times.

引例 Citations：

◎季康子問政于孔子，孔子對曰：“政者，正也。子帥以正，孰敢不正？”(《論語·顏淵》)

(季康子問孔子如何治理國家?？鬃踊卮鹫f：“政就是正的意思。您本人帶頭走正道，誰敢不跟著走正道呢？”)

When asked by Ji Kang about governance，Confucius replied，“Governance is all about rectitude. If you lead along the right path，who would dare not to follow you?” (TheAnalects)

◎子曰：“其身正，不令而行；其不正，雖令不從?！?《論語·子路》)

(孔子說：“統(tǒng)治者自身端正，即使沒有下令，事情也會得到執(zhí)行；要是自身不正，縱使下令百姓也不會遵從。”)

Confucius said，“When a ruler acts in the right way，things get done even without him giving any order. When he is not right，people will not comply even when ordered.” (TheAnalects)

8.與民更始/yǔmín-gēngshǐ

Make a Fresh Start with the People

和民眾一起革新政治。更始：重新開始。原指帝王即位改元或采取某些重大措施，后指執(zhí)政者與民眾一起變革現(xiàn)狀，開創(chuàng)新局面。其中蘊含著悠遠(yuǎn)深厚的民本思想和君民一體、上下一心、共同革故鼎新的精神。

The term means to make political reform together with the people.Gengshi(更始) means to make a fresh start. The term used to refer to a new emperor ascending the throne，taking a new reign title or implementing a series of new policies. Later，it came to mean that the rulers worked together with the people trying to change the status quo and opening up new prospects. The term reflects a profound and far-reaching thought of putting people first，and highlights the spirit of monarchs and the people working with one heart and one mind to abolish what is old and establish in its place a new order.

引例 Citation：

◎朕嘉唐虞而樂殷周，據(jù)舊以鑒新，其赦天下，與民更始。(《漢書·武帝紀(jì)》)

(我贊美堯、舜而喜歡商、周，依據(jù)舊時做法并參照新規(guī)，下詔給所有罪犯免刑或減刑，和百姓一起開創(chuàng)新局面。)

I praise ancient emperors Yao and Shun；I like the Shang and Zhou dynasties. I have issued an imperial decree to either exempt criminals from punishment or commute their sentences on the basis of the old practice and new rules，so that we may open up a new era together with the people. (TheHistoryoftheHanDynasty)

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