中华文化术语选篇

“中华思想文化术语”，是浓缩了中华哲学思想、人文精神、价值观念等的以词或短语形式固化的概念和文化核心词。它们是中华民族几千年来对自然与社会进行探索和理性思索的成果，积淀着中华民族最深沉的历史智慧。本文选登“中华文化术语”诠释和英文翻译，使中国人更加理解中国古代哲学思想，也使世界更加了解中华思想文化。

厉与西施，道通为一

A Scabby Person and the Beautiful Lady Xishi Are the Same in the Eyes of Dao.

身长癞疮的人与美丽的西施，从道的角度看都可相通为一。厉，通“癞”，指长有癞疮的人。这是庄子关于审美相对性的著名论述。原意指身长癞疮的人与著名的美女没有区别，因为她们都是“道”的产物及体现。美丑的判断只是人们主观上的感觉而已，而且美丑之间还可相互转化。庄子的这一思想，强调从造物的本原看，美丑都符合道，都具有内在的同一性。这个思想启发后世的文艺评论家从相反相成的维度去看待自然万物与文学创作。

This is a famous statement made by Zhuangzi on how beauty is relative. Originally it meant there was no difference between a beauty and an ugly person， because they both came from and reflected Dao. The character 厉（lai） meant 癞 （lai， covered in scabs） in ancient Chinese. Whether a person is beautiful or ugly is but a subjective perspective in the mind of the beholder. Besides， beauty can turn into ugliness， and vice versa. Zhuangzi， from the perspective of the origin of all things， stressed that beauty and ugliness are both in accord with Dao and are inherently the same. This idea has encouraged later literary critics to look at all things， including literary works， from the perspective that opposite things complement each other.

引例 Citations：

◎举莛与楹，厉与西施，恢诡谲怪，道通为一。（《庄子·齐物论》）

（细小的草茎与高大的庭柱，身长癞疮的人与美丽的西施，还有各种诡变怪异的事物，从道的角度来说都可相通为一。）

In the light of Dao， a small blade of grass or a tall pillar， someone as ugly as a favus patient or someone as beautiful as Lady Xishi， as well as crafty and strange things， are all the same. （Zhuangzi）

◎大用外腓，真体内充。（司空图《二十四诗品·雄浑》）

（道表现于各种客观事物，而真实的精神本质却是内蕴其中的。）

Dao manifests in an array of objective things， but its genuine spirit lies within them. （Sikong Tu： Twenty-Four Styles of Poetry）

乐而不淫，哀而不伤

Express Enjoyment Without Indulgence and Express Grief Without Excessive Distress

快乐而不放纵，悲哀而不伤身。原是孔子对于《诗经·周南·关雎》中有关青年男女爱情描写的评语，后世儒家将其作为倡导诗歌及其他文学作品中正平和、情理谐和之美的基本规范与评价标准。这一术语与儒家提倡的中庸思想相一致。近现代以来，其思想内涵也因受到时代潮流冲击而不断更新。

This is what Confucius said of the description of love between young men and women in the poem entitled “Guan Ju” in “Ballads of Zhounan，” The Book of Songs. Later Confucian scholars regarded this as a basic requirement for poems and other literary works to advocate impartiality， peace of mind， and harmony between emotion and reason， making it a criterion for evaluating literary works. Its connotation is in accord with zhongyong （the golden mean） of Confucianism. In the more recent history， the connotation of the term has been continuously renewed to keep pace with the times.

引例 Citations：

◎《關雎》乐而不淫，哀而不伤。（《论语·八佾》）（《关雎》快乐而不放纵，悲哀而不伤身。）

The poem “Guan Ju” expresses enjoyment without indulgence and grief without excessive distress. （The Analects）

◎《国风》好色而不淫，《小雅》怨诽而不乱。（司马迁《史记·屈原贾生列传》）

（《国风》虽然描写爱恋情欲，但是并不放纵；《小雅》虽有怨恨与批评，但是并不煽动祸乱。）

Ballads from the states express passion of love without indulgence. Minor court hymns make complaints and criticisms without inciting trouble. （Sima Qian： Records of the Historian）