中华思想文化术语(连载五)



中华思想文化术语(连载五)

1.声一无听，物一无文 /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.

单一声响不构成动听的旋律，单一颜色不构成美丽的花纹。其本质强调文学艺术的美在于多样性的统一与和谐，只有在多样性的统一与和谐中才能创造美。这一命题后来构成中国古代文艺理论的重要原则，推动文艺的繁荣与发展。

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：

声一无听，物一无文，味一无果，物一无讲。(《国语·郑语》)

(单一声响不能构成动听的旋律，单一颜色不能构成美丽的花纹，单一味道不能成为美食，单一事物无法进行比较。)

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)

五色杂而成黼黻，五音比而成韶夏，五性发而为辞章，神理之数也。(刘勰《文心雕龙·情采》)

(多种颜色的丝才能绣成美丽的花纹，多种声音配合成动听的音乐，多种情感抒写成美妙的辞章，这是自然之理呀！)

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

人所能达到的最高品德，也指具有这种最高品德的人，即“圣人”。“圣”一般与“智”相对而言，“智”是对“人道”的把握，而“圣”则是对“天道”的把握。由于具“圣”德之人能够把握“天道”，因此在人伦日用中通达无碍。

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：

闻君子道，聪也。闻而知之，圣也。圣人知天道也。(郭店楚简《五行》)

(听闻君子的准则，可谓之“聪”。听闻而能知晓其义，可谓之“圣”。圣人知晓“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，圣之时者也。(《孟子·万章下》)

(孔子，是圣人中把握时运的人。)

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

3.诗言志 /shī yán zhì/

Poetry Expresses Aspirations.

诗歌表达作者内心的志向。“志”指诗歌作品中所表达的作者的内心志向、思想，兼及情感因素。“诗言志”最先见于儒家经典《尚书·尧典》，是中国诗论的“开山纲领”(朱自清语)，经过历代诗论家的演绎，其蕴涵不断得以丰富，并由此确立了中国文论关于文学特征的基本观念。

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：

诗言志，歌永言。(《尚书·尧典》)

(诗是表达内心志向的，歌是用语言来吟唱的。)

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

诗者，志之所之也，在心为志，发言为诗。(《诗大序》)

(诗是内心志向所生成的，在心中为志，形成言语就是诗。)

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

4.诗缘情 /shī yuán qínɡ/

Poetry Springs from Emotions.

诗歌缘于诗人内心的情感。西晋陆机《文赋》提出，诗人情动于心，而后才有诗歌创作。“诗缘情”说与“诗言志”说互为补充，强调文学的抒情性与审美特征，表现出魏晋时代文学观念的变迁。因此，“诗缘情”也成为中国古代关于诗歌与文学本质看法的另一代表观点。

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：

诗缘情而绮靡。(陆机《文赋》)

(诗歌源于情感因而形式华丽好看。)

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

人禀七情，应物斯感，感物吟志，莫非自然。(刘勰《文心雕龙·明诗》)

(人禀受了各种情感，受外物刺激而心有所感，心有所感而吟咏情志，所有的诗歌都出于自然情感。)

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.史才三长 /shǐ cái sān chánɡ/

Three Strengths of a Good Historian

指修史或治史的人所必须具备的史才、史学、史识等三项专长。这是唐代著名史学理论家刘知几提出的史学观点。“史才”指史书撰述能力；“史学”指丰富的历史知识和资料；“史识”指分析和评判历史的思想见识。刘知几认为，修史或治史的人必须同时具备这三种能力，其中“史识”最为重要。

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：

史才须有三长……三长，谓才也，学也，识也。(《旧唐书·刘子玄传》)

(所谓“史才”必须具备三方面专长……三方面专长指的是“史才”“史学”“史识”。)

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

6.书院 /shūyuàn/

Classical Academy

唐宋至明清时期出现的一种文化教育机构，是私人或官府所设的聚徒传授、研究学问的场所，兼具教学、研究、藏书等多种功能。它渊源于佛教禅林和私人藏书楼，萌生于唐，兴盛于宋。南宋初年，朱熹、张栻、吕祖谦、陆九渊等学者兴办书院，使之成为讲学及学派活动的基地。书院独立于官学之外，多设于环境宁静优美之地，由名师硕儒主持，追求学术自由与创新，注重言传身教、人格塑造，不图科举功名。南宋末年，书院逐步趋于官学，并与科举制度贯通。书院的兴衰与宋明理学的兴衰互为表里。1901 年清政府下令书院全部改为学堂。书院前后存在一千多年，对中国古代教育和文化发展、推动中国文化走向海外产生过重大影响。

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：

其他先儒过化之地，名贤经行之所，与好事之家出钱粟赡学者，并立为书院。(《元史·选举志一》)

(其他先世儒者曾经教化百姓、著名贤士生活并留下事迹的地方，以及那些乐意出钱粮供养学者的富裕人家，都可成为创设书院的缘由。)

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

诗歌中能够使欣赏者反复回味的意蕴，实即诗歌美感。南朝诗论家钟嵘在《诗品》中提出，五言诗歌创作时应重视内容与形式的配合，从而使欣赏者在品读中回味无穷。后来“滋味”也指从事文艺创作时的一种趣味。

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：

五言居文词之要，是众作之有滋味者也。(钟嵘《诗品序》)

(五言诗在各种诗体中居于首位，是众多作品中最有审美意味的。)

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

至于陶冶性灵，从容讽谏，入其滋味，亦乐事也。(颜之推《颜氏家训·文章》)

(至于文章可以陶冶心灵，委婉地讽谏帝王，使读者感受到一种审美意味。这也是一大快事。)

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.有无 /yǒuwú/

YouandWu

“有无”有三种不同含义：其一，指个体事物的不同部分，实有的部分为“有”，空虚的部分为“无”；其二，指个体事物在生成、存在、消亡过程中的不同阶段或状态，既有之后、未消亡之前的状态为“有”，未有之前与既终之后的状态为“无”；其三，有形、有名的具体事物或其总和为“有”，超越一切个体事物的无形、无名的本体或本原为“无”。就第三个意义而言，有些哲学家认为“无”是世界的本体或本原，“有”生于“无”；另一些哲学家则认为“有”才是更根本的，反对“有”生于“无”。在“有无”的关系中，“有”与“无”既相互区别，又相互依赖。

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(无) 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：

故有之以为利，无之以为用。(《老子·十一章》)

(所以说事物“有”的部分带给人便利，“无”的部分发挥了事物的作用。)

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，以无为本。(王弼《老子注》)

(“有”之所以肇始存在，以“无”为根本。)

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

9.刚柔 /ɡānɡróu/

GangandRou

人和事物所具有的两种相反的属性或德性。主要有三种含义：其一，就自然物或器物而言，“刚”指坚硬，“柔”指柔软。其二，就个人的品格而言，“刚”指为人刚毅、坚强，“柔”指温柔、谦逊。其三，就为政、执法的风格而言，“刚”指严厉，“柔”指宽宥。“刚柔”被认为是“阴阳”的某种具体表现。“刚”与“柔”之间的对立与调和是促成事物运动变化的根本原因。在具体事物或行事中，二者应达到某种平衡，“ 刚”与“柔”过度都是不好的、危险的。

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(刚) 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：

是以立天之道曰阴与阳，立地之道曰柔与刚，立人之道曰仁与义。(《周易·说卦》)

(所以确立天的法则为阴与阳，确立地的法则为柔与刚，确立人世的法则为仁与义。)

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)

刚柔相推，变在其中矣。(《周易·系辞下》)

(刚与柔相互推移转换，变化就在其中了。)

Change occurs whengangandrouinteract. (TheBookofChanges)

10.神韵 /shényùn /

Elegant Subtlety

指文学艺术作品中清远淡雅的意蕴和韵味。原本是对人物的风度神情的评价，魏晋时人认为人格之美在于内在精神气韵，不同于汉代人推重外形。后来这一概念进入书画理论，指作品内在的精神韵味。明代人从书画理论引入诗歌理论，使神韵成为对诗歌风格的要求，清代王士祯是“神韵说”的发扬光大者，他特意编选了《唐诗神韵集》，借编选理想的诗歌阐发自己的审美趣味，又在诗歌理论著作中大力倡导，构建起独具特色的诗歌艺术审美体系，从而使“神韵说”得以完善定型，最终成为清代诗学的一大流派。

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：

诗之佳，拂拂如风，洋洋如水，一往神韵，行乎其间。(陆时雍编《古诗镜·诗镜总论》)

(好诗如同拂面的清风，如同流过的浩大河水，仿佛有种神韵行进在诗的字里行间。)

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)

予尝观唐末五代诗人之作，卑下嵬琐，不复自振，非惟无开元、元和作者豪放之格，至神韵兴象之妙以视陈隋之季，盖百不及一焉。(王士祯《梅氏诗略序》)

(我曾经读唐末五代时的诗人作品，格调卑下猥琐，气势不振，非但没有开元、元和年间诗作的豪放风格，在神韵、兴象的绝妙方面，甚至连陈、隋衰微时期的诗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)

文学作品中表达作者主观情感和独特意境的典型物象。“意”指作者的思想情感；“象”是外在的具体物象，是寄寓了作者思想情感的艺术形象。在文学创作中，“意象”多指取自大自然中能够寄托情思的物象。“意象”强调文学作品的思想内容与形象之美的和谐生成，是一种成熟的文艺形态。

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：

窥意象而运斤。(刘勰《文心雕龙·神思》)

(探寻心中的意象而构思运笔。)

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。(司空图《二十四诗品·缜密》)

(诗歌的意象浑欲浮现，大自然是这般奇妙。)

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

12.学 /xué /

Learn

学习，儒家认为它是成就道德生命的一种修养和教化方式。一般意义上的“学”主要指对知识的理解和掌握，而儒家所言之“学”则更多指向道德品性的养成。个人通过后天对经典和礼法的学习以及对圣贤的效法，不断培养、完善自身的德性，以成就理想的人格。道家则反对“学”，如老子主张“绝学无忧”，认为“学”会带来内心不必要的忧虑，乃至破坏人的自然状态。

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：

学而时习之，不亦说乎？(《论语·学而》)

(学习并按一定的时间实践所学的内容，不也是愉快的吗？)

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

君子博学而日参省乎己，则知明而行无过矣。(《荀子·劝学》)

(君子广博地学习并且每日检查反省自己，那么他就会智慧明达而且行为没有过错了。)

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

心所具有的思考与辨别的能力。儒家认为“思”是人心所独有的重要功能。心能“思”，因此可以不像耳目之官一样被外物牵引或遮蔽。人只有通过心之“思”，才能发现内在于心的道德品性的根基，并由此通达于“天道”，从而确立人之所以为人的本质。如果缺少“思”的工夫，人将丧失其主体性与独立性。

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：

学而不思则罔，思而不学则殆。(《论语·为政》)

(只“学”而不“思”，则会迷茫昏乱；只“思”而不“学”，则会疑惑危殆。)

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

耳目之官不思，而蔽于物，物交物则引之而已矣。心之官则思。思则得之，不思则不得也。此天之所与我者，先立乎其大者，则其小者不能夺也。(《孟子·告子上》)

(耳目这类器官不能“思”，因此为外物所蒙蔽，与外物接触便被牵引而去。心这一器官能“思”，“思”则有所得，不“思”则不能得。这是天赋予我的，先确立心作为大者的官能，如此则不会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.自强不息 /zìqiánɡ-bùxī/

Striving Continuously to Strengthen Oneself

自己努力向上，强大自己，永不懈怠停息。古人认为，天体出于自身的本性而运行，刚健有力，周而复始，一往无前永不停息。君子取法于“天”，也应发挥自己的能动性、主动性，勤勉不懈，奋发进取。这是中国人参照天体运行状态树立的执政理念和自身理想。它和“厚德载物”一起构成了中华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，君子以自强不息。(《周易·彖上》)

(天的运行刚健有力，一往无前，君子的处世，应像天一样，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，不自强而功成者，天下未之有也。(《淮南子·修务训》)

(自帝王公卿到普通百姓，不奋发进取就能建立功业的，普天之下没有这样的事情。)

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

外有敌国，则其计先自强。自强者人畏我，我不畏人。(《宋史·董槐传》)

(外有敌对的国家，我们首先要谋求使自己强大。如果自己强大了，敌国就会畏惧我们，我们就不会畏惧他们。)

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.厚德载物 /hòudé-zaiwù/

Have Ample Virtue and Carry All Things

以宽厚的德性承载天下万物。多指以宽厚之德包容万物或他人。古人认为，大地的形势和特质是宽厚和顺的，它承载万物，使万物各遂其生。君子取法于“地”，要像大地一样，以博大宽厚的道德容纳万物和他人，包含了对自身道德修养及人与自然、社会和谐一体的追求。这是中国人参照大地山川状貌和特质树立的治国理政和为人处事的理念和理想。它和“自强不息”一起构成了中华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：

地势坤，君子以厚德载物。(《周易·彖上》)

(大地的气势厚实和顺，君子应以宽厚美德容载天下万物。)

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

地势之顺，以地德之厚也。厚，故万物皆载焉。君子以之法地德之厚，而民物皆在所载矣。(陈梦雷《周易浅述》卷一)

(大地的形势是和顺的，因为大地具有宽厚的品德。因其宽厚，所以能承载万物。君子效法大地的宽厚品德，百姓、万物就都能被包容了。)

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)

选自“中华思想文化术语”系列图书(外语教学与研究出版社出版)