中华思想文化术语(连载十九)

1. 逍遥/xiāoyáoCarefree

人的心灵的一种自由、无待的状态。最初由庄子提出并以之名篇。庄子认为，人的心灵可以超越于形体无法逃避、无可奈何的境遇之上，消除对于物的依赖，进而达到心灵的自由、无碍。西晋郭象重新解释了“逍遥”之义，认为有待之物能够安于各自的性分即达到了“逍遥”。

The term refers to a state ofmind totally free from all constraints.Itwas first proposed by Zhuangzi in one of his most well-known essays.According to him，people's minds can go beyond predicament in a way that their bodies cannot，somentally they can be independent of material concerns and free of all worries.Guo Xiang of the Western Jin Dynasty had a new definition of the term:By acting in accordance with its own nature，everything can be free of troubles and worries.

引例Citations:

◎芒然彷徨乎尘垢之外，逍遥乎无为之业。(《庄子·大宗师》)

(安闲无待地神游于尘世之外，逍遥自在于自然无为的境地。)

People should seek carefree enjoyment beyond the constraints of the human world.(Zhuangzi)

◎夫小大虽殊，而放于自得之场，则物任其性，事称其能，各当其分，逍遥一也。(郭象《庄子注》)

(事物虽然有大小的不同，但若安放于自得的范围内，则每一事物都按照其本性发展，功用与其本性相合，担当各自的职分，则它们所达到的逍遥是一样的。)

Things， big and small， are different from each other.But when they are placed where they should be， each of them will develop as its nature dictates， shoulder their proper responsibilities，and ultimately achieve the same degree of freedom.(Guo Xiang:Annotations on Zhuangzi)

2. 兴寄/xīnɡjìXingji(Association and Inner Sustenance)

运用比兴、寄托等艺术手法，使诗歌情感蕴藉、内涵深厚、寄托感慨。由初唐时代的陈子昂首次提出。“兴”是由外物触发而兴发情感，“寄”是寄托某种寓意。兴寄最初是指诗人的感兴要有寓意，达到托物言志的目的；后来引申为诗歌要有赞美或讽刺的寓意。兴寄这一术语继承了先秦时代感物起兴的诗歌传统，强调诗歌的感兴之中要有深沉的寄托，是比兴理论的重要发展，对于盛唐诗歌摆脱齐梁时代诗歌追求华彩而摒弃寄托的创作态度、推动唐诗健康发展有很大作用。

The term means the use of analogy， association， and inner sustenance in writing a poem to give implicit expression to one's sentiments，thus enabling the poem to convey a subtlemessage.The term was firstused by the Tang Dynasty poet Chen Zi'ang.Xing(兴)means the development of inner feelings invoked by external objects， and ji(寄)means finding sustenance in them.Later itwas extended to mean that poetry should be written to convey a message of praise or satire.The term carried on the pre-Qin poetical tradition of creating inspiration by writing about a subject and stressed that while depicting sentiments in poetry，the poet should find sustenance in it.The term represented an important developmentof the theory of analogy and association.It played amajor role in ensuring that poets in the prime of the Tang Dynasty broke away from the poetic style of the Qi and Liang of the Southern Dynasties， which pursued ornate language instead of inner sustenance，thus enabling Tang poetry to develop in a healthy way.

引例Citations:

◎仆尝暇时观齐梁间诗，彩丽竞繁而兴寄都绝。每以永叹，思古人常恐逦逶颓靡、风雅不作，以耿耿也。(陈子昂《与东方左史虬修竹篇序》)

(我曾经在闲暇时读齐梁时期的诗歌，这些诗辞藻堆砌、竞相华丽，但是兴寄的味道一点儿都没有。我常为此长叹，推想古人经常担心诗风渐至颓废华靡，《诗经》的风雅传统不再振兴，心中定会耿耿不平。)

When I read the poems of the Qi and Liang of the Southern Dynasties in my leisure time，I found them full of ornate rhetoric heaped together without sustenance.Ioften feel resigned as I can well imagine that the ancients were always concerned about poetry becoming decadent and the tradition of objectively reflecting reality as shown in The Book of Songs getting lost.(Chen Zi'ang:Preface to My Poem “The Bamboo”Composed with Inspirations from Dongfang Qiu)

◎仆尝病兴寄之作堙郁于世，辞有枝叶，荡而成风，益用慨然。(柳宗元《答贡士沈起书》)

(我曾经担忧那些有兴寄特色的作品被埋没掉，文章追求浮华枝叶，恣纵成为风尚，这个时候更需要作品有感慨和意味。)

Iwas concerned that the works based on association and inner sustenance would get lost and thatwritings with only elaborate rhetoric would prevail.We really need works that have substance.(Liu Zongyuan:Letter to Scholar Shen Qi)

3. 行己有耻/xínɡ jǐyǒu chǐConduct Oneself with a Sense of Shame

对自己的言行保持羞耻之心。出自《论语》。在孔子看来，一个人的德行的养成不只是言语、行为符合外在的规范，更要在内心对于自身的不足或违礼背德之行感到羞耻，进而能够在羞耻心的刺激下，按照德礼的要求改正、完善自己的言行。羞耻心的确立是儒家教化的重要目标。

The term is from The Analects.From the point of view of Confucius，the cultivation ofmoral conduct is not only words and deeds in accordance with social norms，butmore importantly one should have a sense of shame about personal inadequacies and violations of moral conduct.Moreover，stimulated by a sense of shame，one can correct and perfect self-conduct in accordance with moral and social norms.The establishment of a sense of shame is an important goal of Confucian teaching.

引例Citations:

◎子贡问曰:“何如斯可谓之士矣?”子曰:“行己有耻，使于四方，不辱君命，可谓士矣。”(《论语·子路》)

(子贡请教:“如何做才可以称为士?”孔子说:“对自己的言行保持羞耻之心，出使四方诸侯，不辱没君主赋予的使命，就可以称为士了。”)

Zigong asked， “What qualifies a person to be called a shi(roughly referring to those at the social stratum between the aristocracy and the common people)?” Confucius said， “He who conducts himselfwith a sense of shame， and does not disgrace the tasks entrusted by his sovereign when dispatched elsewhere， may be called a shi.”(The Analects)

◎子曰:“道之以政，齐之以刑，民免而无耻。道之以德，齐之以礼，有耻且格。”(《论语·为政》)

(孔子说:“用政令加以引导，用刑罚加以规范，民众能免于罪过，但没有羞耻之心。用道德加以引导，用礼加以规范，民众不但有羞耻之心，而且能够自觉合于规范。”)

Confucius said， “If people are guided by governmental decree and made to behave themselves through punishments， they will avoid punishment， but will have no sense of shame.If they are guided by morality and behave themselves in accordance with social norms，they will have a sense of shame and will follow rules.”(The Analects)

4. 南戏/nánxìSouthern Opera

指北宋末年至明末清初流行于南方的汉族戏文。其源头是宋室南渡之时，产生于温州地区的戏种，在当时被称作传奇、戏文等，又被称为温州杂剧、永嘉杂剧、永嘉戏曲等。其特点是将民间唱腔引入杂剧，在村坊小曲的基础上发展起来，起初没有宫调、节奏方面的讲究，只是顺口可歌而已。元代高明(1301?—1370?)创作的《琵琶记》，标志着南戏体制的完备。南戏继承了宋代杂剧，开启明代传奇，篇幅长，角色丰富，而且各种角色都可演唱。《荆钗记》《刘知远白兔记》《拜月亭》《杀狗记》是南戏代表作。我国南方戏曲中有多种声腔都是在南戏基础上发展起来的。

Nanxi(南戏)， the Southern Opera， refers to the Han ethnic opera from the late Northern Song to the late Ming and the early Qing dynasties.The opera was created in the Wenzhou region when the Song government fled south.At the time，itwas also known as chuanqi(传奇，drama)，xiwen(戏文，play)as well as Wenzhou Zaju(温州杂剧，Wenzhou Opera)，Yongjia Zaju(永嘉杂剧，Yongjia Opera)，and Yongjia Xiqu(永嘉戏曲，Yongjia Play).Drawing on local folk singing styles，the Southern Opera first developed on the basis of village operas without any traces of palace styles and rhymes，and itwas noted for being natural and smooth in singing.A Tale of the Pipa， a play by Gao Ming(1301?-1370?)， marked the maturity of the Southern Opera.The Southern Opera inherited the Song zaju and heralded the emergence of chuanqi of the Ming Dynasty.Chuanqi plays were long enough to accommodate multiple roles and all performers sang.The Southern Operamasterpieces include The Romance ofa Hairpin，The Story of theWhite Rabbit， The Moonlight Pavilion， and The Killing of a Dog.Many operas in southern China were created based on the Southern Opera.

引例Citations:

◎(龙楼景、丹墀秀)皆金门高之女也，俱有姿色，专工南戏。(夏庭芝《青楼集》)

((龙楼景、丹墀秀)都是金门高的女儿，都长得很漂亮，擅长表演南戏。)

Longloujing and Danchixiu were both daughters of Jinmengao.They were beautiful and good at giving South Opera performances.(Xia Tingzhi:Pleasure House Collection)

◎金元人呼北戏为杂剧，南戏为戏文。(何良俊《四友斋丛说·词曲》)

(金、元时代的人把北戏称作杂剧，南戏称作戏文。)

The Northern Opera was known as zaju and the Southern Opera as xiwen in the Jin and Yuan dynasties.(He Liangjun:Works from the Four-scholar Study)

5. 年/niánNian/Year

在文字学意义上，“年”的本义指庄稼成熟，即年成。因庄稼大都一岁一熟，“年”渐等同于“岁”，成为历法上的时间单位(一年)，后又引申指年节(春节)。在历法意义上，它是指中国传统农历(阴阳合历)的一个时间周期，平年12个月，大月30天，小月29天，全年354或355天；闰年13个月，全年383、384或385天。作为一个时间周期，它与中国古代的农业生产密切相关，反映农耕社会的时间意识和思想观念。近代以来，西方的历法(公历)传入中国，1912年为中华民国正式采用，形成了公历与农历并行的双历法系统，所以“年”现在既指农历的时间周期，也指公历的时间周期，视具体的语境而定。

In the literal sense， the Chinese character nian(年)means the ripening of crops.As crops are mostly harvested annually， the Chinese character nian has gradually come to refer to the period of one year， and later it is used to refer to the annual Spring Festival.When it comes to the calendar，it refers to the period of one year on the lunar calendar(lunisolar calendar)，which has 12 months:7 months each of 30 days and 5 months of 29 days， altogether 354 or 355 days.A leap year has 13 months， altogether 383 or 384 or 385 days a year.As a lunar calendar， it is closely related to agricultural production cycles in ancient China， and it epitomizes ancient Chinese people's awareness of time and concept in an agrarian society.The Gregorian calendar from the Westwas adopted by the Republic of China in 1912，ushering in a dual system of lunar and solar calendars.As a result， nian(year)refers to a year on the solar or lunar calendar， depending on the context.

引例Citation:

◎年年岁岁花相似，岁岁年年人不同。(刘希夷《代悲白头翁》)

(每年繁花盛开十分相似，但是前来赏花的人却不同。)

Blossoms look the same season after season；but people enjoying the flowers look different from year to year.(Liu Xiyi:Feeling Sorry for a White-haired Old Man)

6. 品题/pǐntíMake Appraisals

对人的品行、才干、风貌等进行品评，判断其高下。盛行于汉末魏晋时期。品题在初兴时具有一定的进步意义，看人不论出身，只论德行才华，是鉴别人才、量才授官的重要手段。魏晋人士清谈的内容之一就是对于人物的识鉴和品藻，当时称为“题目”。但自魏末晋初开始，对人物的品评逐渐倾向于门第权势，九品中正制的形成与此有关。另一方面，品题由对人物的品评转向对于诗文书画的品评，选拔人才的功用削弱，艺术审美的意义凸显，这种风尚影响到南北朝的文学批评，催生了各种诗品、画品、书品等批评著作的出现。

This concept means appraising someone's character， ability， conduct and approach， which was a common practice from the late Han through the Jin and Weidynasties.The practicewas considered a good one when it was first introduced， as people were judged by their moral character and ability， not their family background，making it an important means of selecting officials based on their competence.Appraisal of others was a popular conversational topic among the people in the Wei and Jin dynasties.However，such appraisal gradually shifted towards people's family status，power and influence in the late Wei and early Jin dynasties，which led to the establishment of the nine-rank system for selecting and appointing government officials.There was also a shift in making appraisals away from people towards poetry，paintings and calligraphic works.Thusmaking appraisals played a less important role in selecting officials while assuming a more significant role in the appreciation of art.This influenced literary criticism in the Southern and Northern Dynasties and led to the creation of works of literary critique on poetry，paintings and calligraphy.

引例Citations:

◎(许)劭与(许)靖俱有高名，好共覈(hé)论乡党人物，每月辄更其品题，故汝南有“月旦评”焉。(《后汉书·许劭传》)

([许]劭和[许]靖都有名望，喜欢聚在一起详细评论同乡的人物，每个月都要更换品评的对象，所以汝南的人称他们为“月旦(每月初一)评”。)

Xu Shao and Xu Jing were both celebrities in Runan who liked to comment on their fellow townsmen and changed the subjects they commented on everymonth.What they did was referred to by the locals as“making monthly appraisals.”(History of the Later Han Dynasty)

◎诸英志录，并义在文，曾无品第。嵘今所录，止乎五言。虽然，网罗今古，词文殆集。轻欲辨彰清浊，掎摭病利，凡百二十人。(钟嵘《诗品序》)

(诸位名家编选的总集，意在收罗文章，并没有品评作品的高下。我的《诗品》收录，仅限于五言诗。然而古今的诗人以及他们的代表作品差不多搜罗殆尽了。我就是要辨明诗人的高下，指出作品的优劣，共计品评了一百二十人。)

Compilations ofworks of famous authors are meant to bring works together on an extensive basis rather than comparing their literary attainment.The Critique of Poetry I have compiled， however， is a selection of five-character regulated verses only.As almost all the poets and their masterpieces are already included in other compilations， mine just includes the works of 120 poets， with comments on the merits and demerits of their works.(Zhong Rong:Preface to The Critique of Poetry)

7. 奇正/qízhènɡQi or Zheng/Unexpected or Frontal

“奇”是反常的、出其不意的，“正”是正面的、正常的。最早由《老子》提出。主要含义有二:其一，作为军事用语，指两种不同的用兵应敌的方式:“正”指在了解敌方作战意图基础上的正面应敌，“奇”指隐蔽自己的作战意图，灵活地运用偷袭、设伏等手段，以达到出其不意的效果。“奇”与“正”的运用需要相互配合。“奇正”有时也被用来处理、应对日常事务。其二，作为文艺批评术语，用来称说文章思想内容上的纯正与奇诡以及文辞上的典雅与巧丽。南朝刘勰(465?—520)为了矫正齐梁时期的文坛过于重形式、片面追求新奇的弊病，将“奇正”引入文学批评。他认为，文学创作应当在思想内容上以儒家经典为依归，以文辞上的巧丽奇异为配合，只有执“正”(思想纯正)以驭“奇”(文辞巧丽)，才能使文章的主旨新颖而不邪乱，词采美丽而不浮夸。后世诗歌评论及戏曲批评也用到这一术语。

Qi(奇)means surprise while zheng(正)means direct and normal.First advanced by Laozi， the concept has twomain meanings.First，it is amilitary term about two opposing ways of fighting.Zheng means meeting the enemy head-on based on an understanding of its intention，while qi means keeping one's intention to oneself and launching surprise attack and laying ambush on the enemy in order to secure surprise victory.Z heng and qi need to be applied in a coordinated way.While a military term，qi and zheng is also used to deal with daily affairs.Second， as a term of literary and art criticism， itmeans an article is pure and original in terms of theme and elegant and stylish in terms of diction.Liu Xie(465?-520)of the Southern Dynasty first introduced qi and zheng in literary criticism to oppose attaching excessive importance to form and novelty，a trend which was popular in the literary circles in the Qiand Liang dynasties.Liu Xiemaintained that literary creation should be based on Confucian classics in terms of theme，to be embellished by stylish rhetoric.He believed that pure thought(zheng)must come before rhetoric(qi)so that an essay would be original in terms of theme and beautiful but unexaggerated in terms of diction.The term qizheng was later also used in literary criticism of poetry and opera.

引例Citations:

◎以正治国，以奇用兵，以无事取天下。(《老子·五十七章》)

(以正规的方式(清静之道)治国，以奇诡的方法用兵，以不搅扰人民来治理天下。)

A state should be ruled by the normalway， fighting should be conducted in a surprised way， while ideal governance should let people handle their own affairs.(Laozi)

◎凡战者，以正合，以奇胜。故善出奇者，无穷如天地，不竭如江海。(《孙子·兵势》)

(大凡用兵作战，都是以正面应敌，以奇兵取胜。所以善于出奇的人，出奇用兵的手段像天地那样无穷无尽，像江海那样长流不竭。)

In all warfare， the directway is tomeet enemy attack head-on， but surprise attack should be launched in order to secure victory.One who is good atusing surprise attack will have at his disposal a rich reservoir of such tactics as inexhaustible as Heaven and Earth and as unending as the flow of rivers and streams.(The Art ofWar)

◎是以将阅文情，先标六观:一观位体，二观置辞，三观通变，四观奇正，五观事义，六观宫商。(刘勰《文心雕龙·知音》)

(因此阅读和评论文章，先要标明需要考察的六个方面:一是谋篇布局，二是遣词造句，三是对前人作品风格的继承与创新，四是表现手法上的守正与新变，五是援引事例以证立论，六是音律节奏。用这些方法进行考察，文章的优劣就可以看出来了。)

Six criteria should be applied in reading and commenting on an article:structure， diction， continuity and change， use of new and traditional techniques(qi and zheng)， use of allusions， and rhythms and prosody.(Liu Xie:The Literary Mind and the Carving ofDragons)

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)