中華思想文化術語(連載十八)

1.形而上/xínɡ'érshànɡ

What Is Above Form/The Metaphysical

無形或未成形質，一般以此指稱有形事物的依據?！靶味稀边@一術語 出自《周易·系辭上》，與“形而下”相對而言?！靶巍敝感误w，“形而上”是指在形體出現之前，也即無形者。此無形者被稱為“道”。

The term means what is formless or has no formal substance yet.It generally indicates the basis of physical things.The term “what is above form”comes fromThe Book of Changesand is used as the opposite of“what is under form.” “Form” indicates physical shape.“What is above form” refers to the state before a physical shape emerges，namely，formlessness.That which is formless is called “Dao.”

引例Citation:

◎形而上者謂之道，形而下者謂之器。(《周易·系辭上》)

(未成形質者稱為“道”，已成形質者稱為“器”。)

What is above form is called“Dao”，and what is under form is called “an object.” (The Book of Changes)

2.形而下/xínɡ'érxià

What Is Under Form/The Physical

有形或已成形質，一般指實際存在的具體事物?！靶味隆边@一術語出自《周易·系辭上》，與“形而上”相對而言?！靶巍敝感误w，“形而下”指在形體出現之后，也即有形者。此有形者被稱為“器”?！靶味隆钡拇嬖谝浴靶味稀睘橐罁?。

The term means what has a form or what has a formal substance.It generally indicates existing and concrete things.The term “what is under form”comes fromThe Book of Changes.It is used as the opposite of“what is above form.” “Form” indicates physical shape.“What is under form”refers to the state after a physical shape has emerged，namely，physical existence.That which has a form is called“an object.” What is under form takes what is above form as the basis of its existence.

引例Citation:

◎形而上者謂之道，形而下者謂之器。(《周易·系辭上》)

(未成形質者稱為“道”，已成形質者稱為“器”。)

What is above form is called “Dao，” and what is under form is called “an object.” (The Book of Changes)

3.諷諭/fěnɡyù

Subtle Admonition

指文學作品借用一定事例或思想，含蓄婉轉地向統治者傳達民情民風、批評時政，從而使統治者能夠接受諷諫，革除政弊?！爸S”是指諷諫、勸誡，要求詩文中的批評語言含蓄婉轉，“諭”是曉喻、表明，文章主旨最終要歸結為勸鑒、批評。也就是說，它實際包含密不可分的兩方面:一是文學的表達方式(“諷”要婉轉含蓄)，二是文學的社會功能(“曉喻”統治者)?！爸S諭說”由漢代學者解釋《詩經》時總結提出，儒家以此倡導文學對朝廷教化和社會民風的干預作用，將其視為文學的特殊使命。唐代詩人白居易大量創作諷諭詩，強化詩歌創作的社會功能，推進了這一文學傳統，對后世文學創作影響很大。

The term refers to the use of allegories to convey popular mood and public opinion and make critical comments on state affairs to the ruler in a tactful manner in the hope to persuade him to correct wrong policies.Feng(諷)represents making critical but persuasive comments subtly through poetry or prose；yu(諭)means delivering an explicit message.Such literary writing is intended to be both critical and persuasive；and it has two integral aspects，namely，a subtle literary way of expression as required by feng，and its social function of sending explicit messages to the ruler as required.The theory of subtle admonition was advocated by scholars of the Han Dynasty based on their interpretation ofThe Book of Songs.Confucian scholars from then on promoted the use of subtle admonition to influence decision-making of the ruler and social mores in a literary way.Bai Juyi，a poet of the Tang Dynasty，wrote many such poems，further reinforcing the social function of poetry and advancing this literary tradition，which had great impact on literary creation of later generations.

引例Citations:

◎或以抒下情而通諷諭，或以宣上德而盡忠孝。(班固《兩都賦序》)

(有些作品表達臣民的思想感情同時也希望由此將其中的諷喻傳達給君王，有些作品則是宣揚君主的恩德同時引導臣民克盡忠孝義務。)

Some literary works use subtle admonition to convey what the subjects think and feel，in the hope that the subtle advice could reach the ruler，whereas other works expound the kindness and benevolence of the ruler so as to guide the populace to fulfilling their duties and obligations.(Ban Gu:Preface toEssays on Chang'an and Luoyang)

◎古之為文者，上以紉王教，系國風；下以存炯戒，通諷諭。(白居易《策林·六八·議文章》)

(古人寫文章，往大了說是為了闡明朝廷教化與社會民風的關聯；往小了說是保存諫戒、傳達諷喻。)

Writings by ancient scholars could be said that at a higher level they aimed at explaining some kind of link between the ideas of the ruling courtand popular sentiment in society.At a more practical level，they sent a clear message of advice to the rulers through allegories.(Bai Juyi:Collection of Essays in Preparation for the Final Round of the Imperial Exam)

4.象外之象，景外之景/xiànɡwàizhīxiànɡ，jǐnɡwàizhījǐnɡ

The Image Beyond an Image，the Scene Beyond a Scene

欣賞詩歌的過程中所產生的文本形象之外的第二藝術形象，是讀者經聯想產生的精神意象。前一個“象”“景”指詩歌作品中直接描寫的物象和景象，后一個“象”“景”則是指由此引發讀者多方面聯想所營造出的新的意象和意境。由道家與《周易》關于“言”(語言)、“意”(思想或意義)、“象”(象征某種深意的具體形象)三者關系的學說發展而來。魏晉至唐代的詩學倡導“象外之象，景外之景”，旨在追求文本之外的精神蘊涵和意象之美。這一術語同時也表現了中華民族的藝術趣味與審美境界。

Readers of poetry create images and scenes in their minds based on what they are reading.These are the readers'imaginations based on what is depicted in the poems.The term comes from Daoist theories about the relationships between discourses，ideas or meanings，and images that symbolize profound meaning inThe Book of Changes.From the Wei，Jin to the Tang Dynasty，poetry critics sought“the image beyond an image，the scene beyond a scene”in order to pursue the spiritual implications and the beauty of images that are beyond textual descriptions.This term gives expression to the artistic and aesthetic tastes and ideals of the Chinese nation.

引例Citations:

◎詩家之景，如藍田日暖，良玉生煙，可望而不可置于眉睫之前也。象外之象，景外之景，豈容易可談哉!(司空圖《與[汪]極浦書》)

(詩歌所描寫的景致，猶如藍田蘊藏著美玉，玉的煙氣在溫暖的陽光中若隱若現，可以遠遠望見，但是不能就近清楚地觀察。通過欣賞詩歌景象而產生的之外的景象，豈可容易表達出來呀!)

The imagery of poets is like the sunshine warming Lantian so that fine jades under its ground issue smoke:They can be seen from afar but not observed right before your eyes.The image beyond an image，the scene beyond a scene，are they not simply beyond words!(Sikong Tu:Letter to Wang Jipu)

◎蓋詩之所以為詩者，其神在象外，其象在言外，其言在意外。(彭輅《詩集自序》)

(大概詩之所以成為詩，就在于神韻在物象之外，物象在語言之外，語言在意義之外。)

That which makes a poem a poem is a poetic appeal beyond the image，an image beyond the words and words saying things beyond their meaning.(Peng Lu:Preface toCollected Poems of Peng Lu)

5.信言不美，美言不信/xìnyánbùměi，měiyánbùxìn

Trustworthy Words May Not Be Fine-sounding；Fine-sounding Words May Not Be Trustworthy

可信的話并不漂亮，漂亮的話多不可信。老子鑒于當時社會風氣與文風的浮華不實，倡導返樸歸真與自然平淡的生活方式和文學風格。魏晉時代，文人崇尚自然素樸，反對虛浮華麗的創作風氣，出現了像陶淵明這樣偉大的詩人，文藝創作也倡導真實自然的思想與風格。自此之后，中國古代文藝以素樸自然為最高的審美境界。

To address the extravagance in social mores and in the style of writing of his time，Laozi advocated simple and natural lifestyles and literary presentations.During the Wei and Jin dynasties，men of letters valued natural and simple literary styles and were opposed to extravagant and superficial styles.This line of thought led to the emergence of great poets like Tao Yuanming，and shaped literary writings to reflect direct thoughts and natural expressions.Subsequently，ancient Chinese literature and art took simplicity and naturalness as the highest aesthetic standards.

引例Citations:

◎信言不美，美言不信。善者不辯，辯者不善。(《老子·八十一章》)

(可信的話并不漂亮，漂亮的話多不可信。善良的人往往不能能言善辯，能言善辯的人往往不善良。)

Trustworthy words may not be fine-sounding；fine-sounding words may not be trustworthy.A kindhearted person may not be an eloquent speaker；a glib person is often not kind.(Laozi)

◎老子疾偽，故稱“美言不信”，而五千精妙，則非棄美矣。(劉勰《文心雕龍·情采》)

(老子憎惡虛偽矯飾，所以他認為“漂亮的話多不可信”。但他自己寫的《道德經》五千言，思想深刻而文筆優美，可見他并沒有摒棄文章之美。)

Laozi detested pretense，so he said，“Flowery rhetoric words may not be trustworthy.” However，the 5，000-wordDao De Jing(another name ofLaozi)he wrote is not only profound in ideas but reads beautifully.That means he was not opposed to writings using fine words.(Liu Xie:The Literary Mind and the Carving of Dragons)

6.協和萬邦/xiéhé-wànbānɡ

Coexistence of All in Harmony

指古代有賢德的君主通過實行仁政，將天下諸侯都聚集在自己周圍，以實現不同民族的融合和文化上的涵化，形成和諧統一的部落聯盟或多民族國家。這一思想是中國文化整體和諧觀的重要表現，是中華民族文化精神的核心觀念。

The term refers to the exercise of benevolent government by virtuous and wise rulers in ancient China to win the allegiance of all the vassals，so as to achieve an integration and acculturation of different ethnic groups and create a harmonious and unified alliance of tribes or a multi-ethnic state.Harmonious coexistence of all is a key feature of the concept of social harmony in Chinese culture and one of the core values of the Chinese nation.

引例Citation:

◎克明俊德，以親九族。九族既睦，平章百姓。百姓昭明，協和萬邦，黎民于變時雍。(《尚書·堯典》)

([帝堯]能夠明揚大德，使自己的氏族親善。自己的氏族親善以后，辨明部落百官族姓的等次。百官族姓的等次明晰之后，大大小小的諸侯國才能和諧共融，普通民眾也才能變得和睦。)

(Emperor Yao)was able to promote moral values，so that amity prevailed in his clan.He then clarified the hierarchical order of tribal officials.Only when this was done could all vassal states，big and small，prosper in harmony，and the people become friendly with each other.(The Book of History)

7.修齊治平/xiūqízhìpínɡ

Self-cultivation，Family Regulation，State Governance，Bringing Peace to All Under Heaven

“修身”“齊家”“治國”“平天下”的縮寫。以個人自身修養為基礎逐步向外擴展，先治理好家庭，進而治理好邦國，更進而安撫和治理天下百姓。這是中國古代儒家倫理哲學和政治抱負的一個重要命題，體現了儒家由個人而家而國而天下層層遞進的道德政治觀。在逐步向外擴展的過程中，個人的德行和修養與不同層面的政治抱負息息相關。

Self-cultivation is the starting point of several steps moving outward.The next step is managing family affairs，followed by governing the state.The final step is moving to provide peace and sound governance to all under heaven.This process is a fundamental theme in Confucian moral philosophy and discourse on politics.It is a gradually expanding process beginning with the individual and emanating outward into serving and benefiting anever-larger whole.In such a process an individual's virtue and self-improvement are inseparable from his political aspirations.

引例Citation:

◎古之欲明明德于天下者，先治其國。欲治其國者，先齊其家。欲齊其家者，先修其身。(《禮記·大學》)

(過去想要讓美德在全天下發揚光大的人，先要治理好自己的邦國。想要治理好自己的邦國，先要治理好自己的家[周朝時為封地]。想要治理好自己的家，先要努力提高自身修養。)

The ancients，who wished to promote illustrious virtue under heaven，first had to rule their own states well.Wishing to govern their states well，they first had to manage their fiefdoms well.Wishing to manage their fiefdoms well，they first had to cultivate themselves.(The Book of Rites)

8.和為貴/héwéiɡuì

Harmony Is Most Precious.

以和諧為貴?！昂汀?，和諧、恰當，是在尊重事物差異性、多樣性基礎上的和諧共存。本指“禮”的作用就是使不同等級的人既保持一定差別又彼此和諧共存，各得其所，各安其位，相得益彰，從而實現全社會的“和而不同”，為儒家處理人際關系的重要倫理原則。后泛指人與人之間、團體與團體之間、國家與國家之間和諧、和睦、和平、融洽的關系狀態。它體現了中華民族反對暴力沖突、崇尚和平與和諧的“文”的精神。

Make harmony a top priority.He(和)indicates congruity and appropriateness.It is a state of congenial co-existence on the basis of due respect for differences and diversity.At first，this phrase referred to the role ofli(禮，rites/social norms)which is to keep citizens of distinct social status co-existing in a harmonious way，with everybody having his or her own place and staying there contentedly for mutual benefits，resulting in a“harmonious yet diverse” society.It is an important moral concept of the Confucian school in managing inter-personal relations.The term later evolved to refer in general to harmonious，congenial，peaceful，and agreeable relationships among people，groups，and states.It epitomizes the “civil” nature of the Chinese people，who oppose violent conflicts and aspire for peace and harmony.

引例Citation:

◎有子曰:“禮之用，和為貴。先王之道，斯為美，小大由之。有所不行，知和而和，不以禮節之，亦不可行也?！?《論語·學而》)

(有子說:“禮的應用，以和諧為貴。古代君主的治國方法，可寶貴的地方就在這里，不論大事小事都依照“和”的原則去做。也有行不通的時候，如果仍一味為了和諧而和諧，而不用禮來加以節制，也是不可行的?！?

Youzi said，“Make harmony a top priority in the application of rites.That is a key feature that characterizes governance by sovereign rulers in ancient past.Always act upon the rule of harmony，no matter whether the issue at hand is minor or major.Sometimes，however，this rule may fail to work.If one insists on seeking harmony just for the sake of harmony instead of qualifying it with rites，then there will be no hope to succeed.”(The Analects)

9.虛壹而靜/xūyī'érjìnɡ

Open-mindedness，Concentration，and Tranquility

荀子所提出的一種用以把握日用倫常之道的心靈狀態。荀子認為，需要通過心的作用才能知“道”。但人心時常處于被遮蔽的狀態，只有進入“虛壹而靜”的狀態才能發揮應有的作用?！疤摗笔遣皇挂咽詹卦谛闹械闹R妨礙將要接受的東西?！耙肌笔鞘雇瑫r兼得的知識類目分明，彼此無礙?！办o”是不以虛妄而混亂的知識妨礙正常的心靈活動。

This refers to a state of mind Xunzi proposed as a way to master theDaoof general morality.He believed that one gets to knowDaothrough the action of one's heart and mind.But since the human heart and mind are often closed，they can only function normally when one is open-minded，concentrated，and consequently tranquil.Xu(虛)，or open-mindedness，prevents prior knowledge from hindering the acquisition of new knowledge.Yi(壹)，or concentration，allows one to assimilate knowledge of different categories while keeping them from interfering with each other.Jing(靜)，or tranquillity，is to keep the false and confusing knowledge from obstructing one's normal process of contemplation.

引例Citation:

◎人何以知道?曰:心。心何以知?曰:虛壹而靜。(《荀子·解蔽》)

(人如何能夠知曉道?回答:用心。心如何能夠知曉?回答:做到“虛壹而靜”。)

How can people learn to knowDao?The answer is to use one's heart and mind.How can the heart and mind know?The answer is to achieve open-mindedness，concentration，and tranquillity.(Xunzi)

選自“中華思想文化術語”系列圖書(外語教學與研究出版社出版)