中華思想文化術語(連載五)

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中華思想文化術語(連載五)

1.聲一無聽，物一無文 /shēnɡ yī wú tīnɡ，wù yī wú wén/

A Single Note Does Not Compose a Melodious Tune，Nor Does a Single Color Make a Beautiful Pattern.

單一聲響不構成動聽的旋律，單一顏色不構成美麗的花紋。其本質強調文學藝術的美在于多樣性的統一與和諧，只有在多樣性的統一與和諧中才能創造美。這一命題后來構成中國古代文藝理論的重要原則，推動文藝的繁榮與發展。

This statement suggests that the beauty of literature and art lies in the unity and harmony of diverse elements. It became an important principle in ancient Chinese theories on literature and art，and facilitated the development of literature and art.

引例 Citations：

聲一無聽，物一無文，味一無果，物一無講。(《國語·鄭語》)

(單一聲響不能構成動聽的旋律，單一顏色不能構成美麗的花紋，單一味道不能成為美食，單一事物無法進行比較。)

A single note does not compose a melodious tune；a single color does not form a beautiful pattern；a single flavor does not make a delicious meal；and a single thing has nothing to compare with. (DiscoursesonGovernanceoftheStates)

五色雜而成黼黻，五音比而成韶夏，五性發而為辭章，神理之數也。(劉勰《文心雕龍·情采》)

(多種顏色的絲才能繡成美麗的花紋，多種聲音配合成動聽的音樂，多種情感抒寫成美妙的辭章，這是自然之理呀！)

It is natural that silk of different colors can be used to embroider a beautiful pattern，different notes to produce melodious music，and expressions of different feelings to present a fine work of literary art. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

2.圣 /shènɡ/

Sage / Sageness

人所能達到的最高品德，也指具有這種最高品德的人，即“圣人”。“圣”一般與“智”相對而言，“智”是對“人道”的把握，而“圣”則是對“天道”的把握。由于具“圣”德之人能夠把握“天道”，因此在人倫日用中通達無礙。

The term refers to the highest realm of human integrity and morality，hence one who has reached this state is a sage. It is often used in relation to “wisdom，” since one who is a wise man understands the way of man，while one who is a sage understands the way of heaven. Thus a sage with knowledge of the way of heaven will interact successfully with other people.

引例 Citations：

聞君子道，聰也。聞而知之，圣也。圣人知天道也。(郭店楚簡《五行》)

(聽聞君子的準則，可謂之“聰”。聽聞而能知曉其義，可謂之“圣”。圣人知曉“天道”。)

He who listens to the principles of men of virtue is wise；he who not only listens but also understands them is a sage. The sage understands the way of heaven. (Wuxing，from the bamboo slips unearthed from a Chu State tomb at Guodian)

孔子，圣之時者也。(《孟子·萬章下》)

(孔子，是圣人中把握時運的人。)

Confucius was a sage who was able to seize the opportunity of his era. (Mencius)

3.詩言志 /shī yán zhì/

Poetry Expresses Aspirations.

詩歌表達作者內心的志向。“志”指詩歌作品中所表達的作者的內心志向、思想，兼及情感因素。“詩言志”最先見于儒家經典《尚書·堯典》，是中國詩論的“開山綱領”(朱自清語)，經過歷代詩論家的演繹，其蘊涵不斷得以豐富，并由此確立了中國文論關于文學特征的基本觀念。

A poem expresses aspirations in one’s heart.Zhi(志) here means the author’s aspirations，emotions，and thoughts. The concept of “poetry expressing aspirations，” first seen in the Confucian classicTheBookofHistory，was hailed by Zhu Ziqing as the “manifesto” of Chinese poetry. Enriched by poetry critics through the generations，it was later established as a basic concept in Chinese literary criticism.

引例 Citations：

詩言志，歌永言。(《尚書·堯典》)

(詩是表達內心志向的，歌是用語言來吟唱的。)

Poems express aspirations deep in one’s heart，whereas songs are verses for chanting. (TheBookofHistory)

詩者，志之所之也，在心為志，發言為詩。(《詩大序》)

(詩是內心志向所生成的，在心中為志，形成言語就是詩。)

Poems come from aspirations. An aspiration in heart is an aspiration；an aspiration in words is a poem. (Preface toTheBookofSongs)

4.詩緣情 /shī yuán qínɡ/

Poetry Springs from Emotions.

詩歌緣于詩人內心的情感。西晉陸機《文賦》提出，詩人情動于心，而后才有詩歌創作。“詩緣情”說與“詩言志”說互為補充，強調文學的抒情性與審美特征，表現出魏晉時代文學觀念的變遷。因此，“詩緣情”也成為中國古代關于詩歌與文學本質看法的另一代表觀點。

Poems originate from the poet’s heart-felt feelings. Lu Ji of the Western Jin Dynasty said in The Art of Writing that a poet must have a surge of feeling deep in his heart before he could create a poem. This view，complementing the concept of “poetry expressing aspirations，” stresses the lyrical and aesthetic nature of literary works and echoes the evolution of literary tastes during the Wei and Jin dynasties. “Poetry springing from emotions” represents another viewpoint on the nature of poetry and literature in ancient China.

引例 Citations：

詩緣情而綺靡。(陸機《文賦》)

(詩歌源于情感因而形式華麗好看。)

Poetry，springing from emotions，reads beautifully in its form of expression. (Lu Ji：TheArtofWriting)

人稟七情，應物斯感，感物吟志，莫非自然。(劉勰《文心雕龍·明詩》)

(人稟受了各種情感，受外物刺激而心有所感，心有所感而吟詠情志，所有的詩歌都出于自然情感。)

Everyone has diverse feelings，and he expresses his feelings and aspirations in a poetical way when he is stimulated by the external world and his heart is touched. All poems come from natural emotions. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

5.史才三長 /shǐ cái sān chánɡ/

Three Strengths of a Good Historian

指修史或治史的人所必須具備的史才、史學、史識等三項專長。這是唐代著名史學理論家劉知幾提出的史學觀點。“史才”指史書撰述能力；“史學”指豐富的歷史知識和資料；“史識”指分析和評判歷史的思想見識。劉知幾認為，修史或治史的人必須同時具備這三種能力，其中“史識”最為重要。

According to the renowned historiographer Liu Zhiji of the Tang Dynasty，those who study and write history must have three strengths，namely，the ability to compose historical works，rich knowledge of history and historical materials，and deep insight that enables them to analyze and evaluate history. Liu believed that deep insight in analyzing and commenting on history was the most important of the three qualifications.

引例 Citation：

史才須有三長……三長，謂才也，學也，識也。(《舊唐書·劉子玄傳》)

(所謂“史才”必須具備三方面專長……三方面專長指的是“史才”“史學”“史識”。)

A historian must have three strengths. …The three strengths are talent，learning，and insight. (TheOldTangHistory)

6.書院 /shūyuàn/

Classical Academy

唐宋至明清時期出現的一種文化教育機構，是私人或官府所設的聚徒傳授、研究學問的場所，兼具教學、研究、藏書等多種功能。它淵源于佛教禪林和私人藏書樓，萌生于唐，興盛于宋。南宋初年，朱熹、張栻、呂祖謙、陸九淵等學者興辦書院，使之成為講學及學派活動的基地。書院獨立于官學之外，多設于環境寧靜優美之地，由名師碩儒主持，追求學術自由與創新，注重言傳身教、人格塑造，不圖科舉功名。南宋末年，書院逐步趨于官學，并與科舉制度貫通。書院的興衰與宋明理學的興衰互為表里。1901 年清政府下令書院全部改為學堂。書院前后存在一千多年，對中國古代教育和文化發展、推動中國文化走向海外產生過重大影響。

Classical academies were cultural and educational institutions that existed in China from the Tang and Song dynasties through the Ming and Qing dynasties. They were established either by the public or the government to serve the multiple purposes of education，research，and library service. Their origins were Buddhist monasteries and private libraries in the Tang Dynasty. Classical academies flourished in the Song Dynasty. In the early years of the Southern Song Dynasty，Zhu Xi，Zhang Shi，Lü Zuqian，Lu Jiuyuan，and some other scholars established academies that served as teaching and research centers of their respective school of thought. The academies were independent of government schools and were located mostly in tranquil and scenic places. Under the supervision of learned Confucian scholars，the academies pursued academic freedom and innovation. Teachers taught by both precept and example，and laid stress on shaping their students’ moral character，rather than encouraging them to win degrees in the imperial civil examination system. By the end of the Southern Song Dynasty，however，the academies became increasingly government-oriented and were linked with the imperial civil examination system. The rise and decline of the academies was in harmony with the rise and decline of the School of Principle during the Song and Ming dynasties. In 1901 the Qing government ordered all the academies be changed to schools in modern sense. Having existed for more than 1，000 years，the academies greatly helped develop traditional Chinese culture and education，and convey Chinese culture abroad.

引例 Citation：

其他先儒過化之地，名賢經行之所，與好事之家出錢粟贍學者，并立為書院。(《元史·選舉志一》)

(其他先世儒者曾經教化百姓、著名賢士生活并留下事跡的地方，以及那些樂意出錢糧供養學者的富裕人家，都可成為創設書院的緣由。)

Places where earlier Confucian scholars taught，or where distinguished men of virtue lived and left behind stories and legacies，or wealthy families who were willing to support scholars with money and food，could all contribute to the establishment of classical academies. (TheHistoryoftheYuanDynasty)

7.滋味 /zīwè/

Nuanced Flavor

詩歌中能夠使欣賞者反復回味的意蘊，實即詩歌美感。南朝詩論家鐘嶸在《詩品》中提出，五言詩歌創作時應重視內容與形式的配合，從而使欣賞者在品讀中回味無窮。后來“滋味”也指從事文藝創作時的一種趣味。

This term refers to an effect that allows lasting satisfaction and rewarding in poetry appreciation，which is a particular sense of beauty offered by poetry. In the Southern Dynasties，poetry critic Zhong Rong proposed in The Critique of Poetry that in writing five-character-per-line poems，one should pay special attention to the combination of form and content，so that readers could enjoy a poem with inexhaustible delight. Later，nuanced flavor also came to refer to a kind of taste in literary and artistic creation.

引例 Citations：

五言居文詞之要，是眾作之有滋味者也。(鐘嶸《詩品序》)

(五言詩在各種詩體中居于首位，是眾多作品中最有審美意味的。)

Five-character-per-line poems constitute the most important poetic form and are most richly imbued with nuanced flavors. (Zhong Rong：Preface toTheCritiqueofPoetry)

至于陶冶性靈，從容諷諫，入其滋味，亦樂事也。(顏之推《顏氏家訓·文章》)

(至于文章可以陶冶心靈，委婉地諷諫帝王，使讀者感受到一種審美意味。這也是一大快事。)

A literary work cultivates the mind，implicitly satirizes or criticizes a monarch，and enables the reader to obtain a sense of aesthetic appreciation. Reading such works gives one great delight. (Yan Zhitui：AdmonitionsfortheYanClan)

8.有無 /yǒuwú/

YouandWu

“有無”有三種不同含義：其一，指個體事物的不同部分，實有的部分為“有”，空虛的部分為“無”；其二，指個體事物在生成、存在、消亡過程中的不同階段或狀態，既有之后、未消亡之前的狀態為“有”，未有之前與既終之后的狀態為“無”；其三，有形、有名的具體事物或其總和為“有”，超越一切個體事物的無形、無名的本體或本原為“無”。就第三個意義而言，有些哲學家認為“無”是世界的本體或本原，“有”生于“無”；另一些哲學家則認為“有”才是更根本的，反對“有”生于“無”。在“有無”的關系中，“有”與“無”既相互區別，又相互依賴。

The term has three definitions. First，it describes two different dimensions of things：One is with form and the other without form. Second，it refers to two different stages or states of a thing during its generation，existence，and demise.You(有) refers to the state of a thing after it has come into being and before it dies out；wu(無) refers to the state of a thing before its birth and after its death. Third，yourefers to any tangible or identifiable thing or the sum total of such things；wurefers to the original source or ontological existence，which is intangible and unidentifiable，and transcends all specific objects. With regard to the third definition，some philosophers considerwuto be the original source or ontological existence of the world，andyoucomes fromwu； others believe thatyouis fundamentally significant，and dispute the notion thatyouowes its existence towu. Despite their differences，youandwuare mutually dependent.

引例 Citations：

故有之以為利，無之以為用。(《老子·十一章》)

(所以說事物“有”的部分帶給人便利，“無”的部分發揮了事物的作用。)

Therefore，the with-form part of an object provides ease and convenience，whereas the without-form part performs the functions of that object.(Laozi)

有之所始，以無為本。(王弼《老子注》)

(“有”之所以肇始存在，以“無”為根本。)

The formation and existence ofyouoriginate fromwu. (Wang Bi：AnnotationsonLaozi)

9.剛柔 /ɡānɡróu/

GangandRou

人和事物所具有的兩種相反的屬性或德性。主要有三種含義：其一，就自然物或器物而言，“剛”指堅硬，“柔”指柔軟。其二，就個人的品格而言，“剛”指為人剛毅、堅強，“柔”指溫柔、謙遜。其三，就為政、執法的風格而言，“剛”指嚴厲，“柔”指寬宥。“剛柔”被認為是“陰陽”的某種具體表現。“剛”與“柔”之間的對立與調和是促成事物運動變化的根本原因。在具體事物或行事中，二者應達到某種平衡，“ 剛”與“柔”過度都是不好的、危險的。

The term refers to two opposing properties or qualities that objects and human beings possess. The term has three different meanings. First，when describing natural or man-made objects，gang(剛) means hard androu(柔) means soft. Second，when describing human qualities，gangmeans strong and determined，whileroumeans gentle and modest. Third，when describing a style of governance or law enforcement，gangmeans strict androumeans lenient.Gangandrouare one of the manifestations ofyinandyang. Their mutual opposition and accommodation are the basic causes of change，and they must achieve a certain balance within any object or action. Too much of either is inappropriate and dangerous.

引例 Citations：

是以立天之道曰陰與陽，立地之道曰柔與剛，立人之道曰仁與義。(《周易·說卦》)

(所以確立天的法則為陰與陽，確立地的法則為柔與剛，確立人世的法則為仁與義。)

The laws governing the ways of heaven areyinandyang，those governing the ways of the earth arerouand gang，and those governing the ways of human society are benevolence and righteousness. (TheBookofChanges)

剛柔相推，變在其中矣。(《周易·系辭下》)

(剛與柔相互推移轉換，變化就在其中了。)

Change occurs whengangandrouinteract. (TheBookofChanges)

10.神韻 /shényùn /

Elegant Subtlety

指文學藝術作品中清遠淡雅的意蘊和韻味。原本是對人物的風度神情的評價，魏晉時人認為人格之美在于內在精神氣韻，不同于漢代人推重外形。后來這一概念進入書畫理論，指作品內在的精神韻味。明代人從書畫理論引入詩歌理論，使神韻成為對詩歌風格的要求，清代王士禎是“神韻說”的發揚光大者，他特意編選了《唐詩神韻集》，借編選理想的詩歌闡發自己的審美趣味，又在詩歌理論著作中大力倡導，構建起獨具特色的詩歌藝術審美體系，從而使“神韻說”得以完善定型，最終成為清代詩學的一大流派。

This term refers to the subtle elegance of literary and artistic works. It was originally used to depict a person’s mien and manner. During the Wei and Jin dynasties，the propriety inherent in a person was valued，whereas during the previous Han Dynasty，a person’s external appearance was stressed. Later on，this concept was incorporated into the theory of calligraphy and painting to refer to the elegant subtlety of a work. In the Ming Dynasty，the concept was extended to the theory of poetry，and elegant subtlety became a requirement for composing poetry. Later，Wang Shizhen of the Qing Dynasty further developed the theory of elegant subtlety. In compilingTheElegantSubtletyoftheTangPoetry，he elaborated on his aesthetic views. In his writings on poetry theory，Wang Shizhen championed these views and created his own unique poetical aesthetics，enriching the theory of elegant subtlety，and making it a major school of the Qing-dynasty poetics.

引例 Citations：

詩之佳，拂拂如風，洋洋如水，一往神韻，行乎其間。(陸時雍編《古詩鏡·詩鏡總論》)

(好詩如同拂面的清風，如同流過的浩大河水，仿佛有種神韻行進在詩的字里行間。)

Just as gentle breeze touching one’s face and the river flowing past，a good poem has elegant subtlety permeating its lines. (Lu Shiyong：AComprehensiveDigestofGoodAncientPoems)

予嘗觀唐末五代詩人之作，卑下嵬瑣，不復自振，非惟無開元、元和作者豪放之格，至神韻興象之妙以視陳隋之季，蓋百不及一焉。(王士禎《梅氏詩略序》)

(我曾經讀唐末五代時的詩人作品，格調卑下猥瑣，氣勢不振，非但沒有開元、元和年間詩作的豪放風格，在神韻、興象的絕妙方面，甚至連陳、隋衰微時期的詩作的百分之一都比不上。)

I have read the works by poets of the late Tang Dynasty and the Five Dynasties and found their poetry mean-spirited，trivial，and depressed. They were far less bold and daring than those poems written between the Kaiyuan and Yuanhe periods of the Tang Dynasty. Worse still，they did not have the slightest traces of the elegant subtlety and inspiring imagery that were evident in the poetry written in the State of Chen during the Northern Dynasties and in the Sui Dynasty when poetry was already in decline. (Wang Shizhen：ForewordtoPoetrybytheMeiFamily)

11.意象 /yìxiànɡ/

Yixiang(Imagery)

文學作品中表達作者主觀情感和獨特意境的典型物象。“意”指作者的思想情感；“象”是外在的具體物象，是寄寓了作者思想情感的藝術形象。在文學創作中，“意象”多指取自大自然中能夠寄托情思的物象。“意象”強調文學作品的思想內容與形象之美的和諧生成，是一種成熟的文藝形態。

Imagery refers to a typical image in literary works，which embodies the author’s subjective feelings and unique artistic conceptions.Yi(意) literally means an author’s feelings and thoughts，andxiang(象) refers to the image of a material object in the external world，an artistic image reflecting the author’s thoughts and feelings. In literary creation，imagery often refers to those images in nature with which an author’s feelings and thoughts are associated. Emphasizing the harmonious relationship between beauty in both form and content，it is a mature state of literary creation.

引例 Citations：

窺意象而運斤。(劉勰《文心雕龍·神思》)

(探尋心中的意象而構思運筆。)

An author explores the imagery in his mind，conceives a work，and writes it down. (Liu Xie：TheLiteraryMindandtheCarvingofDragons)

意象欲出，造化已奇。(司空圖《二十四詩品·縝密》)

(詩歌的意象渾欲浮現，大自然是這般奇妙。)

What a wonderful state of nature it is when the imagery of a poem is about to emerge! (Sikong Tu：Twenty-fourStylesofPoetry)

12.學 /xué /

Learn

學習，儒家認為它是成就道德生命的一種修養和教化方式。一般意義上的“學”主要指對知識的理解和掌握，而儒家所言之“學”則更多指向道德品性的養成。個人通過后天對經典和禮法的學習以及對圣賢的效法，不斷培養、完善自身的德性，以成就理想的人格。道家則反對“學”，如老子主張“絕學無憂”，認為“學”會帶來內心不必要的憂慮，乃至破壞人的自然狀態。

To Confucianism，learning is the way to cultivate oneself to achieve moral integrity. The usual meaning of the term is to acquire knowledge and understanding，but for Confucianism it focuses more on the cultivation of moral and ethical qualities to achieve personal growth. Through learning classics and rites，and following the practices of sages，a person is able to cultivate and improve his moral standards and thus become a person of ideal qualities. Daoists，on the other hand，are against learning，and Laozi said that“fine-sounding arguments”only cause unnecessary worries，and can disrupt a person’s natural state of mind.

引例 Citations：

學而時習之，不亦說乎？(《論語·學而》)

(學習并按一定的時間實踐所學的內容，不也是愉快的嗎？)

Isn’t it a pleasure to learn and apply from time to time what one has learned?(TheAnalects)

君子博學而日參省乎己，則知明而行無過矣。(《荀子·勸學》)

(君子廣博地學習并且每日檢查反省自己，那么他就會智慧明達而且行為沒有過錯了。)

A man of virtue learns extensively，reflects upon and examines himself every day；he thus becomes wise and knowledgeable，and conducts himself properly.(Xunzi)

13.思 /sī/

Reflecting/Thinking

心所具有的思考與辨別的能力。儒家認為“思”是人心所獨有的重要功能。心能“思”，因此可以不像耳目之官一樣被外物牽引或遮蔽。人只有通過心之“思”，才能發現內在于心的道德品性的根基，并由此通達于“天道”，從而確立人之所以為人的本質。如果缺少“思”的工夫，人將喪失其主體性與獨立性。

The term means the ability to reflect and evaluate. Confucian scholars considered this a unique quality of the human mind. By reflecting，a person will keep himself from being led astray or getting confused by what he sees or hears. Through reflecting，a person will discover the foundation of morality. This leads to understanding natural laws，and eventually，the essence of being human. Without reflecting，humans will lose their individual consciousness and independence.

引例 Citations：

學而不思則罔，思而不學則殆。(《論語·為政》)

(只“學”而不“思”，則會迷茫昏亂；只“思”而不“學”，則會疑惑危殆。)

Learning without reflecting leads to confusion；reflecting without learning leads to danger. (TheAnalects)

耳目之官不思，而蔽于物，物交物則引之而已矣。心之官則思。思則得之，不思則不得也。此天之所與我者，先立乎其大者，則其小者不能奪也。(《孟子·告子上》)

(耳目這類器官不能“思”，因此為外物所蒙蔽，與外物接觸便被牽引而去。心這一器官能“思”，“思”則有所得，不“思”則不能得。這是天賦予我的，先確立心作為大者的官能，如此則不會被耳目之官的欲望遮蔽。)

The eyes and ears cannot think，so they can be deceived or misled by external things. But the mind can think and reflect. Through reflection，cognition can be achieved，whereas without reflection，nothing can be accomplished. This is the gift Heaven bestows on us. One should first establish the primacy of the mind，and then eyes and ears will not be misled. (Mencius)

14.自強不息 /zìqiánɡ-bùxī/

Striving Continuously to Strengthen Oneself

自己努力向上，強大自己，永不懈怠停息。古人認為，天體出于自身的本性而運行，剛健有力，周而復始，一往無前永不停息。君子取法于“天”，也應發揮自己的能動性、主動性，勤勉不懈，奮發進取。這是中國人參照天體運行狀態樹立的執政理念和自身理想。它和“厚德載物”一起構成了中華民族精神的基本品格。

The term means that one should strive continuously to strengthen himself. Ancient Chinese believed that heavenly bodies move in accordance with their own nature in a vigorous and forever forward-going cycle. A man of virtue，who follows the law of heaven，should be fully motivated and work diligently to strengthen himself. This is the Chinese view on governance and self development，established with reference to the movement of heavenly bodies. Together with the notion that a true gentleman has ample virtue and carries all things，it constitutes the fundamental trait of the Chinese nation.

引例 Citations：

天行健，君子以自強不息。(《周易·彖上》)

(天的運行剛健有力，一往無前，君子的處世，應像天一樣，自己努力向上，永不停息。)

Just as heaven keeps moving forward vigorously，a man of virtue should strive continuously to strengthen himself. (TheBookofChanges)

自人君公卿至于庶人，不自強而功成者，天下未之有也。(《淮南子·修務訓》)

(自帝王公卿到普通百姓，不奮發進取就能建立功業的，普天之下沒有這樣的事情。)

Neither monarchs，ministers，nor commoners have ever achieved great accomplishments in the world without first striving to strengthen themselves.(Huainanzi)

外有敵國，則其計先自強。自強者人畏我，我不畏人。(《宋史·董槐傳》)

(外有敵對的國家，我們首先要謀求使自己強大。如果自己強大了，敵國就會畏懼我們，我們就不會畏懼他們。)

Facing hostile countries，we must first of all strive to become strong. If we have strengthened ourselves，enemy states will fear us and we will not fear them. (TheHistoryoftheSongDynasty)

15.厚德載物 /hòudé-zaiwù/

Have Ample Virtue and Carry All Things

以寬厚的德性承載天下萬物。多指以寬厚之德包容萬物或他人。古人認為，大地的形勢和特質是寬厚和順的，它承載萬物，使萬物各遂其生。君子取法于“地”，要像大地一樣，以博大寬厚的道德容納萬物和他人，包含了對自身道德修養及人與自然、社會和諧一體的追求。這是中國人參照大地山川狀貌和特質樹立的治國理政和為人處事的理念和理想。它和“自強不息”一起構成了中華民族精神的基本品格。

This term means that one should be broad-minded and care for all things and people. Ancient Chinese believed that with its topography and other natural features being generous and peaceful，the earth sustained all things in the world，allowing them to grow and develop in keeping with their own nature. Men of virtue model themselves on the earth，and just like the earth，care for all things and fellow human beings with open heart and virtue. This embodies the pursuit of moral cultivation and harmony among people and between people and nature. It represents the Chinese views and ideals on governance and human relationship，which were inspired by the formation and features of mountains and rivers in China. Together with the notion of constantly exerting oneself for self-improvement，it forms the fundamental character of the Chinese nation.

引例 Citations：

地勢坤，君子以厚德載物。(《周易·彖上》)

(大地的氣勢厚實和順，君子應以寬厚美德容載天下萬物。)

Just like the earth，which is generous and peaceful，a man of virtue should have ample virtue and accommodate all things. (TheBookofChanges)

地勢之順，以地德之厚也。厚，故萬物皆載焉。君子以之法地德之厚，而民物皆在所載矣。(陳夢雷《周易淺述》卷一)

(大地的形勢是和順的，因為大地具有寬厚的品德。因其寬厚，所以能承載萬物。君子效法大地的寬厚品德，百姓、萬物就都能被包容了。)

The peaceful nature of the earth is due to its virtue of generosity. Thus，it can accommodate and provide for all things. By modeling himself on the earth，a man of virtue should care for all people and all things. (Chen Menglei：ASimpleAccountofTheBookofChanges)

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)