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dú shū xìnglíng, bù jū gétào 独抒性灵，不拘格套 Bold Expression of One’s True Self 文学创作抒发自己真实独特的性情，不拘泥于任何格式套路。原为明代文学家袁宏道（1568—1610）对其弟弟袁中道（1570—1626）文学创作的评语，后来成为公安派的核心理论主张，与当时前、后七子“文必秦汉，诗必盛唐”的复古主义观点形成了鲜明的对抗。公安派强调文艺源于个人性情，讲求独创性，重自由，反拘束，要求诗人不为成法所限。在当时尊古、模拟盛行的风气下，这一命题有个性解放和反传统的意义，对于当时及后代的文艺创作产生了积极影响。 This term indicates that a writer should give expression to his true feelings in literary creation and not be constrained by particular regulations or formulas. It was first used by the Ming Dynasty writer Yuan Hongdao (1568-1610) as he commented on […]

déxìng 德性 Virtuous Nature / Morals as Human Nature 人的道德本性。最早见于《礼记·中庸》。古人普遍承认，人天生所具的本性之中包含着人对于外物的感知与欲求。但是，对于人性之中是否包含道德性的因素，古人则持有不同的见解。大部分儒者认为，人性之中同时还包含着仁义礼智等道德的根基，也即是“德性”。“德性”需要经过一定的修养工夫，才能最终成就善行。 This refers to people’s innate moral nature. The term first appeared in The Book of Rites. Ancient Chinese people widely believed that inborn human nature had feelings and a craving for knowledge of the outside world. However, they had different views as to whether morals

dàoxīn 道心 Moral Mind / Moral Consciousness 符合道德原则的知觉意识。“道心”与“人心”对举，见于古文《尚书》、《荀子》等典籍。宋儒特别重视“道心”与“人心”的概念，对其含义进行了解释和发挥。宋儒认为，心的知觉活动包含两类内容：其一，依循于道德原则的知觉意识，即是“道心”。其二，由耳目等身体官能所生发的对外物的欲求，称为“人心”。“道心”源自天命所授的本性，合于天理，但往往隐微而不易显现。人应努力发挥“道心”的功用，以克服“人心”中过度的欲望。 The “moral mind” refers to people’s awareness of moral principles. It is set in contrast to the “human heart,” and appears in classics such as the “Old Text” version of The Book of History, and Xunzi. Confucian scholars in the Song Dynasty attached great importance to both

dào bù tóng, bù xiāng wéi móu 道不同，不相为谋 Part Ways and Part Company 走的路不同，不会在一起商量怎么走；人的主张、信念等不同，不会选择一道合作共事。“道”本指道路，这里泛指主张、信念、志趣、看法、行事原则等；“谋”本指谋划，引申指合作共事。对于合作共事而言，最重要的是彼此达成共同的目标原则，没有共同的目标原则，双方不可能顺利合作，但是也不能为了合作而放弃原则。坚持原则，不是拒绝合作，而是拒绝无原则的迁就。人与人共事，国与国合作，皆循此理。 Travelers heading down different paths do not plan together how to travel. Originally, the saying meant people with different views and beliefs do not seek to work together. Dao (道 way), which originally referred to “road,” is extended to include opinions, beliefs,

dàn jiàn xìngqíng, bù dǔ wénzì 但见性情，不睹文字 To Impress Readers with True Feelings Oblivious of Its Wording 文学作品完美呈现作者的本性真情，让读者全身心感受到性情的真与美，而感觉不到文字的存在。由唐代诗僧皎然（720—796？）提出。此语一是强调性情为本，文字只是工具；二是强调写作者与接受者都要得意忘言；三是突出文学艺术以心会心的特点，只有通过心灵对话才能激活言语之外的多重意蕴。它体现了中国古代文学重视意象、意境构造的特点。 This happens when a literary work reveals to its reader the truth and beauty of its author’s innermost feelings, to the point that the reader becomes oblivious to the wording. Such an idea was first raised by

cíhuà 词话 Criticism on Ci Poetry / Cihua (Story-telling with Song and Speech) 主要含义有二：其一，指评论词人、词作、词派，记述词的本事及相关考订的著作，是中国古代诗学文献的一个组成部分。词话借鉴诗话而来，滥觞于北宋，成熟于南宋。著名的词话著作有清代陈廷焯（1853—1892）的《白雨斋词话》、王国维（1877—1927）的《人间词话》等。《人间词话》是王国维在接受了西方美学理论之后，融汇中西美学思想，以崭新的眼光对中国词人与词作做出的评论。表面上看，《人间词话》沿袭了中国传统的诗话、词话一类作品的体例，实际上它已初具理论体系，是晚清以来最有影响的文艺批评著作之一。其二，指盛行于元、明两代的一种说唱艺术形式（其中的“词”主要指词曲），如《大唐秦王词话》，有说有唱，韵文、散文并用。由宋代说话伎艺发展而来，明代中叶以后，逐渐演变为弹词和鼓词两个系统，并且取代了“词话”名称。又，明后期及清前期“词话”还曾用来指称夹杂词曲的章回体通俗小说，如《金瓶梅词话》等。 This term has a two-fold meaning. First, it refers to any work that offers commentaries on ci poets, poems, schools of ci poetry, the gist of a ci poem and textual criticisms. This type of work is a constituent part of scholarly inquiry into classical Chinese

chōngdàn 冲淡 Quiet Elegance 冲和平淡。用于文艺批评，主要指语言平和质朴、意境闲适恬静的一种诗歌风格。它看似空无所有，实则充盈无限；看似平淡无奇，实则意味悠长。这多与作者冲和平淡的性情相应，反映作者尝遍人生百味之后的心态与境界，是超越一切语言表达与文章法则的真情流露。冲淡作为一种美学理念，不仅影响到文艺创作，也塑造文人学士的心性，影响他们的人生态度。 This term is used in literary criticism to refer to a poetic style marked by the plainness and simplicity of wording and by a leisurely quietude. Despite its seeming sterility, such a style is full of life’s potentialities and possesses a profound appeal. This echoes the author’s mild and placid

chìzǐzhīxīn 赤子之心 Utter Innocence 本义指婴儿未经世俗染污的纯洁心灵，也指成年人仍然保有的婴儿般的赤诚真心，那种在功利世界里仍能坚守的初心。在政治伦理领域，它指人类善良的真心本性，主要是推己及人的恻隐之心或者是童真一般的尚实求真的品格；在文艺创作与审美领域，它主要指具有丰富情感和美好纯真理想的童心，是超越了一切功利心、尘俗气息以及过于理智、缺乏审美情趣的心理状态。它既是古人推崇的理想人格的一种表征，也是文艺作品中美好人物形象塑造的一种类型。 This term refers to the pure heart and soul of a newborn babe, untainted by worldly affairs. Most often, it refers to adults who retain the utter innocence of an infant, holding themselves aloof from worldly goals. In the field of political ethics, the term highlights humans’ natural kindness, calling

chǐ 耻 Shame 羞耻，是一种重要的道德心理。在人们认同于某种道德的前提下，一旦发现自身的言行背离了道德的规范，就会自觉地产生愧疚、自责的心理，这即是所谓的“耻”。儒家将这种道德心理的建立，视为人伦教化的重要目标。儒家不只要求人们遵守外在的道德规范，还要求人们对于道德行为有着发自于内的认同，通过羞耻之心实现自我的道德约束。“耻”后来也用作对不道德言行的一种评价，即“可耻”。 Shame is an important part of moral psychology. Once there are commonly accepted morals and once people find that their own words and deeds violate those morals, they will consciously feel guilt and self-reproach – this is known as “shame.” Confucians considered the development of such a moral psychology to be

chēngqíng-lìwén 称情立文 Establish Moral Standards in Keeping with Human Feelings 依据情感而制定礼的规范。称：权衡。出自《礼记》和《荀子》。儒家认识到，人的情感是自然生发的，需要获得适当的抒发与表达。这种情感诉求也对人的言行乃至人伦秩序有着不可回避的影响。要实现有序而稳定的人伦生活，需要对个体的情感做出适当的安顿，而不是一味地加以抑制。因此，礼对于人伦生活的规范，要以情感的合理诉求为依据。 This concept originated in The Book of Rites and Xunzi. The Confucian view is that human emotions arise naturally and need to be properly expressed. They have an inescapable influence on people’s conduct and their moral behavior. To maintain an orderly and stable moral order,