中華思想文化術語(連載十七)

1. 變化/biànhuà Change

事物存在的基本狀態。“變”與“化”既可合而言之，也可以分別而論。在區別的意義上，“變”指顯著的變化，“化”指隱微、逐漸的變化。一般認為，天地萬物包括人與社會，都處于“變化”之中。只有不斷“變化”，才能長久地存在和發展。“變化”的原因在于人和事物所具有的對立屬性之間不斷碰撞、交合。有人認為“變化”遵循著恒常的法則，是可以認識和把握的；但也有人主張“變化”是無常的，難以把握。而佛教則認為萬物的“變化”都是虛假的，萬物是寂靜不遷的。

The term refers to the fundamental state of the existence of things.Bian(變)and hua(化)may be used as one word or separately.Specifically， bian means manifest change， while hua indicates subtle and gradual change.Ancient Chinese thinkers generally held that all things under heaven and on earth， including humans and society， are all in a state of change.Only through constant change can they permanently exist and develop.Change is caused by constant clash and integration between the conflicting properties with which people and things are endowed.Some scholars believed that change follows a constant law and can thus be understood and grasped，while others maintained that change is unpredictable and therefore difficult to grasp.Buddhism， on the other hand， holds that changes of things are only superficial， and that all things are still and motionless.

引例 Citations：

◎剛柔相推而生變化。(《周易·系辭上》)

(剛與柔之間相互推移而產生變化。)

The interaction between firmness and gentleness produces change.(The Book of Changes)

◎變言其著，化言其漸。(張載《橫渠易說·系辭上》)

(“變”說的是事物顯著的變化，“化”說的是事物隱微逐漸的變化。)

Bian refers to obvious changes of things，while hua suggests gradual changes of things.(Zhang Zai：Zhang Zai's Explanation of The Book of Changes)

2. 中和/zhōnɡhé Balanced Harmony

人心所達到的中正、和諧的狀態。人的喜、怒、哀、樂等情感的活動及其在言行上的表現符合禮的要求，不失偏頗進而達到一種和諧的狀態，即是“中和”。治理者如果能夠體認并達到“中和”的狀態，以此治理天下，天地萬物就會處于端正、恰當的位置，和諧、有序，就可以實現彼此間的共同繁榮與發展。

Balanced harmony is an ideal state of human mind.When people's emotions such as joy， anger， sorrow，and happiness are expressed in an unbiased way in keeping with the rites，a state of mind featuring balanced harmony is achieved.If a ruler can reach such a state of mind and exercise governance accordingly，everything in heaven and earth will be in its proper place，be orderly and in harmony with each other.This will deliver common prosperity and development for all.

引例 Citations：

◎喜怒哀樂之未發，謂之中；發而皆中節，謂之和。中也者，天下之大本也；和也者，天下之達道也。致中和，天地位焉，萬物育焉。(《禮記·中庸》)

(喜怒哀樂還沒有被事物感發時的狀態，稱作“中”；喜怒哀樂表現于言行而都能符合規范，稱作“和”。“中”是天下的根本，“和”是天下最普遍的法則。治理者能夠達到“中和”，天地就能處于正位、萬物便可生長繁育了。)

When joy， anger， sorrow， and happiness are not yet expressed as a response to other things， they are in a state of balance.When they are expressed in words and deeds in accordance with the rites，harmony is achieved.Balance is the foundation under heaven，while harmony is the universal rule under heaven.If a ruler can achieve balanced harmony， both heaven and earth will be in their proper places， and all things will prosper and thrive.(The Book of Rites)

◎能以中和理天下者，其德大盛。能以中和養其身者，其壽極命。(董仲舒《春秋繁露·循天之道》)

(能夠以“中和”治理天下的人，他的德政就會極大興盛。能夠以“中和”修養自身的人，他的壽命就會很長久。)

When one rules the world with balanced harmony，virtuous governance will flourish.When one achieves balanced harmony in self-cultivation， he will enjoy longevity.(Dong Zhongshu： Luxuriant Gems of The Spring and Autumn Annals)

3. 尚同/shànɡtónɡ Conform Upwardly

指是非標準同一于上級統治者。“尚同”是墨家的基本主張之一。墨子認為，在沒有國家、政治之時，人們會因為是非標準的混亂而導致相互非議、爭斗，造成彼此之間的傷害。因此主張立賢能之人為天子及各級官吏，所有人的言行是非標準皆服從于上級，并最終同一于天子；天子則服從于上天的要求。墨家認為“尚同”是實現天下大治的重要手段。

This term means conforming to the superior in applying standards for right and wrong.It is one of the basic positions of the Mohist school.Mozi believed that in the absence of a state and political power，confusionover right and wrong would give rise to conflict and fighting，causing harm to the antagonists.Therefore，he held that worthy and talented men should be the Son of Heaven and his officials at various levels.Everyone should adopt their superior's standards for judging right and wrong in words and deeds，and ultimately follow the ruler's standards.The sovereign ruler himself should submit to Heaven's will.The Mohists believed that conforming upwardly was an important means to ensure great order under heaven.

引例 Citation：

◎上之所是，必亦是之。上之所非，必亦非之。己有善，傍薦之。上有過，規諫之。尚同乎其上，而毋有下比之心。(《墨子·尚同中》)

(上位者所肯定的，必須也加以肯定。上位者所否定的，必須也加以否定。自己有好的主張，就想法進諫給上位者。上位者有過錯，就規勸他。是非標準都同一于上位者，而不要有與下位者比附的想法。)

What your superior affirms， you must also affirm.What your superior rejects， you must also reject.If you have a good idea， manage to go to your superior and recommend it.If your superior commits an error，admonish him and remonstrate.Upwardly you should conform to your superior，not to your subordinates.(Mozi)

4. 天籟/tiānlài Sounds of Nature

天地萬物自然發出的聲音。莊子(前369?—前286)將聲音分為“人籟”“地籟”和“天籟”三種。“人籟”是人吹奏竹簫所發出的聲音；“地籟”是風吹過大地上的孔洞所發出的聲音；“天籟”并非是有別于二者的另一種聲音，而是指天地萬物自己所發出的千差萬別的聲音，并非他者有意使之發聲。莊子對“天籟”的肯定，意在破除主觀用心的影響，發現并尊重萬物真實自然的狀態。后人多用“天籟”指詩文天然渾成、得自然之趣的審美意境，用“天籟之音”指稱自然發出的悅耳動聽的樂聲。

This term refers to sounds produced by all things in nature between heaven and earth.Zhuangzi(369?-286BC)divided sounds into three categories： “ human sounds，” “ terrestrial sounds，” and “ celestial sounds.” According to him， “human sounds” refer to sounds made by a vertical bamboo flute when a person blows air into its top end. “Terrestrial sounds” refer to sounds produced by the earth's apertures when wind blows through them. “Celestial sounds” are not totally different from the above two.They refer to multifarious sounds made naturally by all things in the universe，which are not sounds created by external factors.By defining the “sounds of nature” this way， Zhuangzi meant to minimize the influence of the subjective mind so as to discover and respect the natural state of all things.People of later generations generally use this term to describe a literary work such as a poem or an essay that is written in a smooth way and has the appeal of natural charm.They also use the term “music of Nature” to refer to naturally produced sounds that are pleasant to the ear.

引例 Citation：

◎子游曰：“地籟則眾竅是已，人籟則比竹是已。敢問天籟。”子綦曰：“夫吹萬不同，而使其自己也，咸其自取，怒者其誰邪!”(《莊子·齊物論》)

(子游說：“地籟是風吹過大地上的眾多孔竅所發出的聲音，人籟是人吹奏竹簫所發出的聲音。請問天籟是什么?”子綦說：“風吹過萬種孔竅而使它們發出不同聲音，這些聲音都是各個孔竅的自然狀態自己產生的，鼓動眾竅發聲的還有誰呢!”)

Ziyou said： “‘Terrestrial sounds'are those produced by the earth's apertures； while ‘human sounds’are those that come from a vertical bamboo flute.What then are ‘celestial sounds’?” Ziqi answered： “When the wind blows across the land，it makes a myriad of different apertures produce varied sounds.Such sounds are made naturally by those apertures.What else could rouse them to create such sounds?”(Zhuangzi)

5. 意興/yìxīnɡ Inspirational Appreciation

“興”中所蘊含的意或者“興”發時心物交會所產生的意(意義、趣味等)。是作者通過對景物感受到某種意趣、意味等之后直接創作出富有一定含義的藝術形象。這一術語主張作者將思想情感自然而然地融入對于描寫對象的感受之中，并通過藝術形象和審美情趣傳達出來，從而激發讀者的聯想，產生更豐富的領悟。

The term refers to the meaning implicit in an inspiration，or meaning and charm generated when poetic emotion encounters an external object or scene.It is an artistic image an author creates when appreciating the beauty and charm intrinsic in an object or scene.According to this term，an author should incorporate his sentiments and thoughts into the object or scene depicted to convey them through artistic images and aesthetic appreciation.This will spark the reader's imagination and thus enable him to gain a deeper appreciation of a poem.

引例 Citations：

◎凡詩，物色兼意下為好。若有物色，無意興，雖巧亦無處用之。(王昌齡《詩格》)

(但凡詩歌，景物描寫、意義與趣味兼備最好。如果只注重景物描寫，缺少意興，描寫技巧再高超也用處不大。)

A good poem instills meaning and inspiration in its description of scenery and imagery.If a poem only describes scenery and fails to inspire people， no matter how eloquent the description may be， it will have little appeal.(Wang Changling：Rules of Poetry)

◎南朝人尚詞而病于理，本朝人尚理而病于意興，唐人尚意興而理在其中，漢魏之詩，詞、理、意興無跡可求。(嚴羽《滄浪詩話·詩評》)

(南朝詩人追求辭藻而說理不足；本朝詩人崇尚說理，作品缺乏意興；唐代詩人注重意興同時蘊含道理；漢魏詩歌的文辭、道理和意興自然融合在一起而不露痕跡。)

Poets of the Southern Dynasties were good at using rhetoric but weak in logic.The poets of our Song Dynasty champion logic but are weak in creating inspirational ideas.Poets of the Tang Dynasty gave equal weight to both meaning and inspiration，with logic implicit in both.The poems of the Han and Wei dynasties blended the choice of words， logic， and the inspiration imperceptibly.(Yan Yu： Canglang's Criticism of Poetry)

6. 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 compiling The Elegant Subtlety of the Tang Poetry，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：A Comprehensive Digest of Good Ancient Poems)

◎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：Foreword to Poetry by the Mei Family)

7. 政貴有恒/zhènɡ ɡuì yǒu hénɡ Stability Is the Key to Governance.

國家大政貴在穩定持久。“政”指國家根本性的制度、法令、政策；“貴”即崇尚；“有恒”即保持穩定。一個國家，尤其是大國，一定要保持其根本制度、根本大法的穩定性、持久性，不能朝令夕改，反復無常，否則會引起政局動蕩、社會混亂；尤其在根本性問題上不能出現顛覆性變化，否則難以挽回和彌補。這個道理和“治大國若烹小鮮”有相通之處。

It's the key to governance to ensure sustained stability.Zheng(政)refers to the fundamental systems，laws， and policies of a state.Gui(貴)means the most valuable thing.Youheng(有恒)means to ensure stability.A country， especially a large country， must preserve the constancy of its basic systems and fundamental laws.Laws， especially fundamental ones， must not be changed from time to time at random.Otherwise， the country will land into political turmoil and social chaos， resulting in irreversible and irreparable damages.This is the same notion as embodied in the saying“Governing a big country is like cooking small fish.”

引例 Citation：

◎政貴有恒，辭尚體要，不惟好異。(《尚書·畢命》)

(國家的大政貴在穩定持久，國家的話語貴在切實簡要，不能一味追求標新立異。)

What is most valuable for governance lies in its sustained stability，advocating clear and straight wording，not seeking novelty.(The Book of History)

8. 治內裁外/zhìnèi-cáiwài Handling Internal Affairs Takes Precedence over External Affairs.

治理好國家的內部事務，才能處理好對外事務。“治內”是指國家內部的治理達到理想狀態；“裁外”是指量度天下大勢，制定對外政策，選擇適當的政治、外交、軍事等手段，影響國際格局。它告訴我們一條原理：國家內政是對外方略的基礎。

A country's internal affairs must be handled well before its external affairs can be handled well.Zhinei(治內)means that domestic governance has achieved an ideal state； caiwai(裁外)means assessing the broad trends in the world， making external policies， and selecting appropriate political， diplomatic， and military measures to influence the international situation.This tells us a basic principle：a country's internal governance is the foundation of its external strategy.

引例 Citations：

◎內政不修，外舉事不濟。(《管子·匡君大匡》)

(國內政務不去整治好，對外用兵就不會成功。)

If internal affairs are not handled properly，using military force externally will not succeed.(Guanzi)

◎三王不務離合而正，五霸不待從橫而察，治內以裁外而已矣。(《韓非子·忠孝》)

(夏、商、周三代開國君主沒有致力于與誰疏遠、與誰聯合就能匡正天下，春秋五霸也沒有搞合縱連橫就能明察天下大勢，他們不過是在治理好內政基礎上再處理對外事務罷了。)

The founding rulers of the Xia， Shang， and Zhou dynasties did not try to impose order on the land by keeping their distance from some or becoming close to others，nor did the Five Most Powerful Kings of the Spring and Autumn Period discern the broad trends in the world by forming vertical or horizontal alliances.They managed external affairs only after they had handled their internal affairs well.(Hanfeizi)