中華思想文化術(shù)語(連載十九)

1. 逍遙/xiāoyáoCarefree

人的心靈的一種自由、無待的狀態(tài)。最初由莊子提出并以之名篇。莊子認(rèn)為，人的心靈可以超越于形體無法逃避、無可奈何的境遇之上，消除對于物的依賴，進(jìn)而達(dá)到心靈的自由、無礙。西晉郭象重新解釋了“逍遙”之義，認(rèn)為有待之物能夠安于各自的性分即達(dá)到了“逍遙”。

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:

◎芒然彷徨乎塵垢之外，逍遙乎無為之業(yè)。(《莊子·大宗師》)

(安閑無待地神游于塵世之外，逍遙自在于自然無為的境地。)

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

◎夫小大雖殊，而放于自得之場，則物任其性，事稱其能，各當(dāng)其分，逍遙一也。(郭象《莊子注》)

(事物雖然有大小的不同，但若安放于自得的范圍內(nèi)，則每一事物都按照其本性發(fā)展，功用與其本性相合，擔(dān)當(dāng)各自的職分，則它們所達(dá)到的逍遙是一樣的。)

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. 興寄/xīnɡjìXingji(Association and Inner Sustenance)

運(yùn)用比興、寄托等藝術(shù)手法，使詩歌情感蘊(yùn)藉、內(nèi)涵深厚、寄托感慨。由初唐時代的陳子昂首次提出?！芭d”是由外物觸發(fā)而興發(fā)情感，“寄”是寄托某種寓意。興寄最初是指詩人的感興要有寓意，達(dá)到托物言志的目的；后來引申為詩歌要有贊美或諷刺的寓意。興寄這一術(shù)語繼承了先秦時代感物起興的詩歌傳統(tǒng)，強(qiáng)調(diào)詩歌的感興之中要有深沉的寄托，是比興理論的重要發(fā)展，對于盛唐詩歌擺脫齊梁時代詩歌追求華彩而摒棄寄托的創(chuàng)作態(tài)度、推動唐詩健康發(fā)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(興)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:

◎仆嘗暇時觀齊梁間詩，彩麗競繁而興寄都絕。每以永嘆，思古人?？诌婂灶j靡、風(fēng)雅不作，以耿耿也。(陳子昂《與東方左史虬修竹篇序》)

(我曾經(jīng)在閑暇時讀齊梁時期的詩歌，這些詩辭藻堆砌、競相華麗，但是興寄的味道一點(diǎn)兒都沒有。我常為此長嘆，推想古人經(jīng)常擔(dān)心詩風(fēng)漸至頹廢華靡，《詩經(jīng)》的風(fēng)雅傳統(tǒng)不再振興，心中定會耿耿不平。)

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)

◎仆嘗病興寄之作堙郁于世，辭有枝葉，蕩而成風(fēng)，益用慨然。(柳宗元《答貢士沈起書》)

(我曾經(jīng)擔(dān)憂那些有興寄特色的作品被埋沒掉，文章追求浮華枝葉，恣縱成為風(fēng)尚，這個時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. 行己有恥/xínɡ jǐyǒu chǐConduct Oneself with a Sense of Shame

對自己的言行保持羞恥之心。出自《論語》。在孔子看來，一個人的德行的養(yǎng)成不只是言語、行為符合外在的規(guī)范，更要在內(nèi)心對于自身的不足或違禮背德之行感到羞恥，進(jìn)而能夠在羞恥心的刺激下，按照德禮的要求改正、完善自己的言行。羞恥心的確立是儒家教化的重要目標(biāo)。

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:

◎子貢問曰:“何如斯可謂之士矣?”子曰:“行己有恥，使于四方，不辱君命，可謂士矣?！?《論語·子路》)

(子貢請教:“如何做才可以稱為士?”孔子說:“對自己的言行保持羞恥之心，出使四方諸侯，不辱沒君主賦予的使命，就可以稱為士了?！?

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，齊之以刑，民免而無恥。道之以德，齊之以禮，有恥且格。”(《論語·為政》)

(孔子說:“用政令加以引導(dǎo)，用刑罰加以規(guī)范，民眾能免于罪過，但沒有羞恥之心。用道德加以引導(dǎo)，用禮加以規(guī)范，民眾不但有羞恥之心，而且能夠自覺合于規(guī)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. 南戲/nánxìSouthern Opera

指北宋末年至明末清初流行于南方的漢族戲文。其源頭是宋室南渡之時，產(chǎn)生于溫州地區(qū)的戲種，在當(dāng)時被稱作傳奇、戲文等，又被稱為溫州雜劇、永嘉雜劇、永嘉戲曲等。其特點(diǎn)是將民間唱腔引入雜劇，在村坊小曲的基礎(chǔ)上發(fā)展起來，起初沒有宮調(diào)、節(jié)奏方面的講究，只是順口可歌而已。元代高明(1301?—1370?)創(chuàng)作的《琵琶記》，標(biāo)志著南戲體制的完備。南戲繼承了宋代雜劇，開啟明代傳奇，篇幅長，角色豐富，而且各種角色都可演唱?！肚G釵記》《劉知遠(yuǎn)白兔記》《拜月亭》《殺狗記》是南戲代表作。我國南方戲曲中有多種聲腔都是在南戲基礎(chǔ)上發(fā)展起來的。

Nanxi(南戲)， 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(傳奇，drama)，xiwen(戲文，play)as well as Wenzhou Zaju(溫州雜劇，Wenzhou Opera)，Yongjia Zaju(永嘉雜劇，Yongjia Opera)，and Yongjia Xiqu(永嘉戲曲，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:

◎(龍樓景、丹墀秀)皆金門高之女也，俱有姿色，專工南戲。(夏庭芝《青樓集》)

((龍樓景、丹墀秀)都是金門高的女兒，都長得很漂亮，擅長表演南戲。)

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

◎金元人呼北戲?yàn)殡s劇，南戲?yàn)閼蛭摹?何良俊《四友齋叢說·詞曲》)

(金、元時代的人把北戲稱作雜劇，南戲稱作戲文。)

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

在文字學(xué)意義上，“年”的本義指莊稼成熟，即年成。因莊稼大都一歲一熟，“年”漸等同于“歲”，成為歷法上的時間單位(一年)，后又引申指年節(jié)(春節(jié))。在歷法意義上，它是指中國傳統(tǒng)農(nóng)歷(陰陽合歷)的一個時間周期，平年12個月，大月30天，小月29天，全年354或355天；閏年13個月，全年383、384或385天。作為一個時間周期，它與中國古代的農(nóng)業(yè)生產(chǎn)密切相關(guān)，反映農(nóng)耕社會的時間意識和思想觀念。近代以來，西方的歷法(公歷)傳入中國，1912年為中華民國正式采用，形成了公歷與農(nóng)歷并行的雙歷法系統(tǒng)，所以“年”現(xiàn)在既指農(nóng)歷的時間周期，也指公歷的時間周期，視具體的語境而定。

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:

◎年年歲歲花相似，歲歲年年人不同。(劉希夷《代悲白頭翁》)

(每年繁花盛開十分相似，但是前來賞花的人卻不同。)

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. 品題/pǐntíMake Appraisals

對人的品行、才干、風(fēng)貌等進(jìn)行品評，判斷其高下。盛行于漢末魏晉時期。品題在初興時具有一定的進(jìn)步意義，看人不論出身，只論德行才華，是鑒別人才、量才授官的重要手段。魏晉人士清談的內(nèi)容之一就是對于人物的識鑒和品藻，當(dāng)時稱為“題目”。但自魏末晉初開始，對人物的品評逐漸傾向于門第權(quán)勢，九品中正制的形成與此有關(guān)。另一方面，品題由對人物的品評轉(zhuǎn)向?qū)τ谠娢臅嫷钠吩u，選拔人才的功用削弱，藝術(shù)審美的意義凸顯，這種風(fēng)尚影響到南北朝的文學(xué)批評，催生了各種詩品、畫品、書品等批評著作的出現(xiàn)。

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:

◎(許)劭與(許)靖俱有高名，好共覈(hé)論鄉(xiāng)黨人物，每月輒更其品題，故汝南有“月旦評”焉。(《后漢書·許劭傳》)

([許]劭和[許]靖都有名望，喜歡聚在一起詳細(xì)評論同鄉(xiāng)的人物，每個月都要更換品評的對象，所以汝南的人稱他們?yōu)椤霸碌?每月初一)評”。)

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)

◎諸英志錄，并義在文，曾無品第。嶸今所錄，止乎五言。雖然，網(wǎng)羅今古，詞文殆集。輕欲辨彰清濁，掎摭病利，凡百二十人。(鐘嶸《詩品序》)

(諸位名家編選的總集，意在收羅文章，并沒有品評作品的高下。我的《詩品》收錄，僅限于五言詩。然而古今的詩人以及他們的代表作品差不多搜羅殆盡了。我就是要辨明詩人的高下，指出作品的優(yōu)劣，共計品評了一百二十人。)

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。主要含義有二:其一，作為軍事用語，指兩種不同的用兵應(yīng)敵的方式:“正”指在了解敵方作戰(zhàn)意圖基礎(chǔ)上的正面應(yīng)敵，“奇”指隱蔽自己的作戰(zhàn)意圖，靈活地運(yùn)用偷襲、設(shè)伏等手段，以達(dá)到出其不意的效果?！捌妗迸c“正”的運(yùn)用需要相互配合。“奇正”有時也被用來處理、應(yīng)對日常事務(wù)。其二，作為文藝批評術(shù)語，用來稱說文章思想內(nèi)容上的純正與奇詭以及文辭上的典雅與巧麗。南朝劉勰(465?—520)為了矯正齊梁時期的文壇過于重形式、片面追求新奇的弊病，將“奇正”引入文學(xué)批評。他認(rèn)為，文學(xué)創(chuàng)作應(yīng)當(dāng)在思想內(nèi)容上以儒家經(jīng)典為依歸，以文辭上的巧麗奇異為配合，只有執(zhí)“正”(思想純正)以馭“奇”(文辭巧麗)，才能使文章的主旨新穎而不邪亂，詞采美麗而不浮夸。后世詩歌評論及戲曲批評也用到這一術(shù)語。

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:

◎以正治國，以奇用兵，以無事取天下。(《老子·五十七章》)

(以正規(guī)的方式(清靜之道)治國，以奇詭的方法用兵，以不攪擾人民來治理天下。)

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)

◎凡戰(zhàn)者，以正合，以奇勝。故善出奇者，無窮如天地，不竭如江海。(《孫子·兵勢》)

(大凡用兵作戰(zhàn)，都是以正面應(yīng)敵，以奇兵取勝。所以善于出奇的人，出奇用兵的手段像天地那樣無窮無盡，像江海那樣長流不竭。)

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)

◎是以將閱文情，先標(biāo)六觀:一觀位體，二觀置辭，三觀通變，四觀奇正，五觀事義，六觀宮商。(劉勰《文心雕龍·知音》)

(因此閱讀和評論文章，先要標(biāo)明需要考察的六個方面:一是謀篇布局，二是遣詞造句，三是對前人作品風(fēng)格的繼承與創(chuàng)新，四是表現(xiàn)手法上的守正與新變，五是援引事例以證立論，六是音律節(jié)奏。用這些方法進(jìn)行考察，文章的優(yōu)劣就可以看出來了。)

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)

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)