中华思想文化术语(连载十七)

1. 变化/biànhuà Change

事物存在的基本状态。“变”与“化”既可合而言之，也可以分别而论。在区别的意义上，“变”指显著的变化，“化”指隐微、逐渐的变化。一般认为，天地万物包括人与社会，都处于“变化”之中。只有不断“变化”，才能长久地存在和发展。“变化”的原因在于人和事物所具有的对立属性之间不断碰撞、交合。有人认为“变化”遵循着恒常的法则，是可以认识和把握的；但也有人主张“变化”是无常的，难以把握。而佛教则认为万物的“变化”都是虚假的，万物是寂静不迁的。

The term refers to the fundamental state of the existence of things.Bian(变)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：

◎刚柔相推而生变化。(《周易·系辞上》)

(刚与柔之间相互推移而产生变化。)

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

◎变言其著，化言其渐。(张载《横渠易说·系辞上》)

(“变”说的是事物显著的变化，“化”说的是事物隐微逐渐的变化。)

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

人心所达到的中正、和谐的状态。人的喜、怒、哀、乐等情感的活动及其在言行上的表现符合礼的要求，不失偏颇进而达到一种和谐的状态，即是“中和”。治理者如果能够体认并达到“中和”的状态，以此治理天下，天地万物就会处于端正、恰当的位置，和谐、有序，就可以实现彼此间的共同繁荣与发展。

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：

◎喜怒哀乐之未发，谓之中；发而皆中节，谓之和。中也者，天下之大本也；和也者，天下之达道也。致中和，天地位焉，万物育焉。(《礼记·中庸》)

(喜怒哀乐还没有被事物感发时的状态，称作“中”；喜怒哀乐表现于言行而都能符合规范，称作“和”。“中”是天下的根本，“和”是天下最普遍的法则。治理者能够达到“中和”，天地就能处于正位、万物便可生长繁育了。)

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。能以中和养其身者，其寿极命。(董仲舒《春秋繁露·循天之道》)

(能够以“中和”治理天下的人，他的德政就会极大兴盛。能够以“中和”修养自身的人，他的寿命就会很长久。)

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

指是非标准同一于上级统治者。“尚同”是墨家的基本主张之一。墨子认为，在没有国家、政治之时，人们会因为是非标准的混乱而导致相互非议、争斗，造成彼此之间的伤害。因此主张立贤能之人为天子及各级官吏，所有人的言行是非标准皆服从于上级，并最终同一于天子；天子则服从于上天的要求。墨家认为“尚同”是实现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，傍荐之。上有过，规谏之。尚同乎其上，而毋有下比之心。(《墨子·尚同中》)

(上位者所肯定的，必须也加以肯定。上位者所否定的，必须也加以否定。自己有好的主张，就想法进谏给上位者。上位者有过错，就规劝他。是非标准都同一于上位者，而不要有与下位者比附的想法。)

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. 天籁/tiānlài Sounds of Nature

天地万物自然发出的声音。庄子(前369?—前286)将声音分为“人籁”“地籁”和“天籁”三种。“人籁”是人吹奏竹箫所发出的声音；“地籁”是风吹过大地上的孔洞所发出的声音；“天籁”并非是有别于二者的另一种声音，而是指天地万物自己所发出的千差万别的声音，并非他者有意使之发声。庄子对“天籁”的肯定，意在破除主观用心的影响，发现并尊重万物真实自然的状态。后人多用“天籁”指诗文天然浑成、得自然之趣的审美意境，用“天籁之音”指称自然发出的悦耳动听的乐声。

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：“地籁则众窍是已，人籁则比竹是已。敢问天籁。”子綦曰：“夫吹万不同，而使其自己也，咸其自取，怒者其谁邪!”(《庄子·齐物论》)

(子游说：“地籁是风吹过大地上的众多孔窍所发出的声音，人籁是人吹奏竹箫所发出的声音。请问天籁是什么?”子綦说：“风吹过万种孔窍而使它们发出不同声音，这些声音都是各个孔窍的自然状态自己产生的，鼓动众窍发声的还有谁呢!”)

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. 意兴/yìxīnɡ Inspirational Appreciation

“兴”中所蕴含的意或者“兴”发时心物交会所产生的意(意义、趣味等)。是作者通过对景物感受到某种意趣、意味等之后直接创作出富有一定含义的艺术形象。这一术语主张作者将思想情感自然而然地融入对于描写对象的感受之中，并通过艺术形象和审美情趣传达出来，从而激发读者的联想，产生更丰富的领悟。

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：

◎凡诗，物色兼意下为好。若有物色，无意兴，虽巧亦无处用之。(王昌龄《诗格》)

(但凡诗歌，景物描写、意义与趣味兼备最好。如果只注重景物描写，缺少意兴，描写技巧再高超也用处不大。)

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)

◎南朝人尚词而病于理，本朝人尚理而病于意兴，唐人尚意兴而理在其中，汉魏之诗，词、理、意兴无迹可求。(严羽《沧浪诗话·诗评》)

(南朝诗人追求辞藻而说理不足；本朝诗人崇尚说理，作品缺乏意兴；唐代诗人注重意兴同时蕴含道理；汉魏诗歌的文辞、道理和意兴自然融合在一起而不露痕迹。)

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. 神韵/shényùn Elegant Subtlety

指文学艺术作品中清远淡雅的意蕴和韵味。原本是对人物的风度神情的评价，魏晋时人认为人格之美在于内在精神气韵，不同于汉代人推重外形。后来这一概念进入书画理论，指作品内在的精神韵味。明代人从书画理论引入诗歌理论，使神韵成为对诗歌风格的要求，清代王士祯是“神韵说”的发扬光大者，他特意编选了《唐诗神韵集》，借编选理想的诗歌阐发自己的审美趣味，又在诗歌理论著作中大力倡导，构建起独具特色的诗歌艺术审美体系，从而使“神韵说”得以完善定型，最终成为清代诗学的一大流派。

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：

◎诗之佳，拂拂如风，洋洋如水，一往神韵，行乎其间。(陆时雍编《古诗镜·诗镜总论》)

(好诗如同拂面的清风，如同流过的浩大河水，仿佛有种神韵行进在诗的字里行间。)

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)

◎予尝观唐末五代诗人之作，卑下嵬琐，不复自振，非惟无开元、元和作者豪放之格，至神韵兴象之妙以视陈隋之季，盖百不及一焉。(王士祯《梅氏诗略序》)

(我曾经读唐末五代时的诗人作品，格调卑下猥琐，气势不振，非但没有开元、元和年间诗作的豪放风格，在神韵、兴象的绝妙方面，甚至连陈、隋衰微时期的诗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. 政贵有恒/zhènɡ ɡuì yǒu hénɡ Stability Is the Key to Governance.

国家大政贵在稳定持久。“政”指国家根本性的制度、法令、政策；“贵”即崇尚；“有恒”即保持稳定。一个国家，尤其是大国，一定要保持其根本制度、根本大法的稳定性、持久性，不能朝令夕改，反复无常，否则会引起政局动荡、社会混乱；尤其在根本性问题上不能出现颠覆性变化，否则难以挽回和弥补。这个道理和“治大国若烹小鲜”有相通之处。

It's the key to governance to ensure sustained stability.Zheng(政)refers to the fundamental systems，laws， and policies of a state.Gui(贵)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：

◎政贵有恒，辞尚体要，不惟好异。(《尚书·毕命》)

(国家的大政贵在稳定持久，国家的话语贵在切实简要，不能一味追求标新立异。)

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

8. 治内裁外/zhìnèi-cáiwài Handling Internal Affairs Takes Precedence over External Affairs.

治理好国家的内部事务，才能处理好对外事务。“治内”是指国家内部的治理达到理想状态；“裁外”是指量度天下大势，制定对外政策，选择适当的政治、外交、军事等手段，影响国际格局。它告诉我们一条原理：国家内政是对外方略的基础。

A country's internal affairs must be handled well before its external affairs can be handled well.Zhinei(治内)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：

◎内政不修，外举事不济。(《管子·匡君大匡》)

(国内政务不去整治好，对外用兵就不会成功。)

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

◎三王不务离合而正，五霸不待从横而察，治内以裁外而已矣。(《韩非子·忠孝》)

(夏、商、周三代开国君主没有致力于与谁疏远、与谁联合就能匡正天下，春秋五霸也没有搞合纵连横就能明察天下大势，他们不过是在治理好内政基础上再处理对外事务罢了。)

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)