中華文化術(shù)語選篇

“中華思想文化術(shù)語”是濃縮了中華哲學(xué)思想、人文精神、價值觀念等的以詞或短語形式固化的概念和文化核心詞。它們是中華民族幾千年來對自然與社會進行探索和理性思索的成果，積淀著中華民族最深沉的歷史智慧。本文選登“中華文化術(shù)語”詮釋和英文翻譯，使中國人更加理解中國古代哲學(xué)思想，也使世界更加了解中華思想文化。

格調(diào)

Form and Melody

指詩歌的體制聲調(diào)，包括思想旨趣和聲律形式兩方面，涉及詩歌批評的品味與境界?！案瘛敝冈姼璧捏w制合乎規(guī)范；“調(diào)”指詩歌的聲調(diào)韻律。唐宋時期的一些詩論家倡導(dǎo)格調(diào)，意在確立詩歌的雅正標(biāo)準(zhǔn)。明清以后的格調(diào)說，多強調(diào)作品應(yīng)符合儒家正統(tǒng)思想，這影響了詩人的情感表達與藝術(shù)創(chuàng)作?！案裾{(diào)”后來也用到其他文藝領(lǐng)域。

The term refers to the form and metrical patterns， as well as content， of poetry. It relates to artistic taste and appeal in poetry criticism. Ge （格） refers to the need to satisfy established metrical （格律的） rules， while diao （調(diào)） refers to the need to follow tone and rhyme schemes in poetry. Some poetry critics of the Tang and Song dynasties stressed the importance of form and melody in order to establish a set of elegant and authoritative standards for poetry. Theory on form and melody in the Ming and Qing dynasties often emphasized the importance for poets to abide by Confucian orthodoxy （正統(tǒng)觀念）， thus constraining their expression of feelings and artistic creations. The term was later also used in discussions of other forms of art.

引例 Citations：

◎高古者格，宛亮者調(diào)。（李夢陽《駁何氏論文書》）

（高雅古樸就是“格”，婉曲清亮就是“調(diào)”。）

To be elegant and unaffected （不矯揉造作的） is to satisfy the requirements of form； to be tuneful and resonant is to follow the rules of melody. （Li Mengyang： Arguments Against He Jingmings Views）

◎白石詞以清虛為體，而時有陰冷處，格調(diào)最高。（陳廷焯《白雨齋詞話》卷二）

（姜夔的詞以清新虛空為主要特色，雖然有凄清冷寂的地方，但格調(diào)最高。）

Jiang Kuis poems are characterized by ethereal （超凡的，虛幻的） purity. Though tinged with loneliness and sadness at times， they are of high standard and taste.（Chen Tingzhuo： Remarks on Lyrics from White Rain Studio）

文氣

Wenqi

作品中所表現(xiàn)出的作者的精神氣質(zhì)與個性特點。是作家的內(nèi)在精神氣質(zhì)與作品外在的行文氣勢相融合的產(chǎn)物。“氣”原指構(gòu)成天地萬物始初的基本元素，用在文論中，既指作家的精神氣質(zhì)，也指這種精神氣質(zhì)在作品中的具體表現(xiàn)。人稟天地之氣而形成不同的個性氣質(zhì)，表現(xiàn)在文學(xué)創(chuàng)作中，便形成不同的文氣，呈現(xiàn)出獨特風(fēng)格特點及氣勢強弱、節(jié)奏頓挫等。

Wenqi （文氣） is the personality an author demonstrates in his works， and is a fusion （融合） of his innate temperament and the vitality seen in his works. Originally， qi （氣） referred to the basic element in the initial birth and formation of all things， as well as heaven and earth. In literary criticism， it refers to an authors distinctive individuality and its manifestation （表現(xiàn)） in his writings. Humans are believed to develop different characters and traits endowed by the qi of heaven and earth. Reflected in literary creation， such different characters and traits naturally find expression in distinctive styles and varying degrees of vigor as well as rhythm and cadence（抑揚頓挫） .

引例 Citations：

◎文以氣為主，氣之清濁有體，不可力強而致。（曹丕《典論·論文》）

【文章由作家的“氣”為主導(dǎo)，氣有清氣、濁氣兩種形態(tài)（決定人的氣質(zhì)優(yōu)劣與材質(zhì)高下），不是強行可以獲得的?！?/p>

Literary writing is governed by qi. Either clear or murky， qi determines the temperament of a writer， refined or vulgar， and his talent， high or low. Qi cannot be acquired. （Cao Pi： On Literary Classics）

◎氣盛則言之短長與聲之高下者皆宜。（韓愈《答李翊書》）

（作者的內(nèi)心氣勢很強，那么句子長短搭配和音調(diào)的抑揚頓挫自然都會恰當(dāng)。）

If a writer has a strong inner flow of qi， the length of his sentences will be well-balanced， and his choice of tone and cadence will just be right. （Han Yu： A Letter of Response to Li Yi）