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(jià)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(duì)自然與社會(huì)進(jìn)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。

隱秀

Latent Sentiment and Evident Beauty

詩歌與文章既隱含豐富的思想感情，又有秀美的名言佳句。源出《文心雕龍》篇名，在該篇中，“隱”是隱含，指在敘事或?qū)懢爸须[含超出事、景之外的意義，能引發(fā)讀者的無限聯(lián)想；“秀”是秀美，指一篇之中應(yīng)該有能凸顯這一意義的精妙詞句。二者密不可分，共同構(gòu)成優(yōu)秀文學(xué)作品的審美特征。后來也作為詩文寫作的一種修辭手法。

This term means that prose and poetry may contain latent sentiments and thoughts， as well as expressions and sentences that present an apparent sense of beauty.“Latent sentiment and evident beauty” first appeared as the title of a chapter in The Literary Mind and the Carving of Dragons. There， “l(fā)atent sentiment” means what lies beyond events and landscapes in a narrative or a description， triggering imaginations on the part of the reader. On the other hand， “evident beauty” refers to the kind of beauty created by expressions and sentences in a piece of writing， which bring out that latent meaning. The latent and the apparent qualities are inseparable， constituting an aesthetic feature of good literary works. Later， this term developed into a rhetorical device in writing prose and poetry.

引例 Citations：

◎是以文之英蕤，有秀有隱。隱也者，文外之重旨者也；秀也者，篇中之獨(dú)拔者也。（劉勰《文心雕龍·隱秀》）

（因此優(yōu)秀的文章要兼具“秀”和“隱”。所謂“隱”，就是指文章在語言之外隱含有多重意蘊(yùn)；所謂“秀”，則是具有既彰顯主旨又獨(dú)到突出的秀美詞句。）

Thus， an excellent piece of writing should have both beautiful in language and a message hidden between the lines. The former refers to beautiful sentences and expressions that accentuate（強(qiáng)調(diào)）the message of the writing while the latter represents the multiple significance that lies beyond the text. （Liu Xie： The Literary Mind and the Carving of Dragons）

◎情在詞外曰隱，狀溢目前曰秀。（張戒《歲寒堂詩話》卷上引劉勰語）

（思想感情隱含于語言背后叫做“隱”，寄寓思想感情的景象鮮活地展現(xiàn)在讀者眼前叫做“秀”。）

Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.（Zhang Jie： Notes on Poetry Written in the Pine and Cypress Studio）

直 尋

Direct Quest

詩人即興而感，直接抒寫。這是南朝鐘嶸《詩品》中針對(duì)詩歌過多使用典故的現(xiàn)象提出的創(chuàng)作主張，他汲取了道家的自然思想，通過考察前人的優(yōu)秀詩篇，提煉出一種新的詩歌創(chuàng)作方式——“直尋”，即直接描寫所感知事物，直接抒發(fā)內(nèi)心情感并創(chuàng)造出情景契合的審美意象。明清時(shí)期詩學(xué)的“性靈說”受到其影響。

A poet should directly express his thoughts and sentiments when he is inspired. This is a concept for writing poems proposed by poetry critic Zhong Rong of the Southern Dynasties in his work “The Critique of Poetry” as a reaction to the excessive use of allusions（典故）and quotes from earlier works. Inspired by naturalist ideas of Daoism and by his own reading of the fine works of earlier poets， he developed a new form of poetic creation which he named“direct quest.” By this， he meant directly describing matters that one senses and learns about， directly expressing ones inner feelings， and creating aesthetic images in which the sensibilities match up with current realities. The theory of natural disposition and intelligence used in Ming- and Qingdynasty poetics was influenced by this idea.

引例 Citations：

◎觀古今勝語，多非補(bǔ)假，皆由直尋。（鐘嶸《詩品序》）

（綜觀古今名篇佳句，大都不是借用前人詩句或使用典故，而是直接從自身體驗(yàn)中尋求而得。）

A comprehensive survey of the best-known works of ancient and current poets shows that most of the poets did not borrow favored lines or literary allusions from their predecessors， but directly sought inspirations from their personal experiences. （Zhong Rong： Preface to “The Critique of Poetry”）

◎我手寫我口，古豈能拘牽？（黃遵憲《雜感五首》之二）

（我要用我的文字來表達(dá)我想說的意思，怎么能夠?yàn)楣湃宋恼碌乃枷雰?nèi)容和文字形式所束縛？）

Since I want to use my own words to express my feelings， how can I let myself be bound by the content and forms of ancient writings？ （Huang Zunxian： Five Poems on Random Thoughts）endprint