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èrbǐng 二柄 Two Handles 君主所掌握的两种权柄，即赏罚之权。奖赏与惩罚是政治治理的基本手段，不同学派都有所讨论。韩非子（前280？—前233）特别重视赏罚在政治治理中的作用，认为赏罚应以国家的法令为依据，合乎法令则赏，违背法令则罚。人们畏惧刑罚、喜好奖赏，就会按照法令的规范行事。韩非子同时强调，君主应掌握施加赏罚的权力，以保证赏罚依据法令而行，避免赏罚之权旁落而成为个人谋求私利的工具。 In this context, two handles mean a sovereign ruler has the power to both confer rewards and mete out punishments. Both are basic ways of governance and have been subjects of discussion in different schools of thought. Ancient scholar Hanfeizi (280?-233 BC) attached great importance to the role of rewards […]

dào wènxué 道问学 Quest for Knowledge 从事对知识学问的追求。道：循着。“道问学”一说出自《礼记·中庸》，与“尊德性”共同构成了对人的道德修养的要求。《中庸》认为，人的道德的养成，不仅需要发挥天赋的道德本性，还需要后天的不断学习。人们应该在知识学问的讲习中，把握经典所传承的道理，并不断体认这些道理在生活细节上的要求，进而将对道理的认知转化为现实的德行。 This term, first appearing in The Doctrine of the Golden Mean, means pursuit of knowledge. This term and the concept of revering the virtuous nature of human beings are important to foster one’s virtue. According to The Doctrine of the Golden Mean, moral cultivation requires both revering the

dàzhuàn 大篆 Greater Seal Script 汉字发展演变中的一种书体。与“小篆”相对。有广狭两方面含义：狭义专指籀文（先秦刻石书体），以战国时的秦国石鼓文为其典型代表，其特点是笔画凝重，构形多重叠，比金文更为规范、严正；广义指“书同文”之前包括金文、籀文及春秋战国时期各国的刻石文字。秦统一以后为小篆代替。 The greater seal script is a form in the evolution of Chinese characters. Standing in contrast to the lesser seal script, it has two meanings. The narrow meaning specifically refers to the pre-Qin script engraved on stones (zhouwen 籀文), modeled after stone-drum script in the Kingdom of Qin during the

dámíng 达名 Unrestricted Name 普遍事物的通名。“达名”是墨家所使用的一种名称类别。墨家注重对名的辨别，强调以恰当的名来指称事物，以实现名实相合。墨家将所用之名分为三类，即“达名”“类名”“私名”。“达名”是最普遍的名，如“物”之名。“物”即用以指称所有事物。 “Unrestricted name” is a term of classification used by the Mohist School. It is a general name for ordinary things. The Mohists stressed the importance of properly naming things in different ways to reflect their real nature. They had three ways of naming things: unrestricted, classified, and private. “Unrestricted name”

cí shàng tǐ yào 辞尚体要 Succinctness Is Valued in Writing. 文辞要切实简要地传达文章所要表达的主要意思或主要内容。“体要”，体现精要。源于《尚书》，原指政令、法规的文辞应体现精要或切实简要，刘勰（465？—520？）将它引入文学批评，强调文辞须切实精当，体现文章的要义。这一术语体现了中国文化推崇的“尚简”传统，即以简练精当的文辞传达出充实、概括性的内容，不能为了追求文辞上的标新立异而忽略文章本来要表达的主要内容。这一要求，后来成为古文写作的基本要求，对文学创作起着重要的指导作用。 Writing should be substantive and succinct in expressing main ideas or key content. “Succinctness” means to capture the essence. The idea comes from The Book of History, originally referring to the requirement that government edicts and regulations should be terse and to the point.

chóngshū 虫书 Insect Script 春秋战国时期流行的一种特殊书体。又称“鸟虫书”“鸟虫篆”。是篆书的一种变体。因其形态取象于鸟虫之形，故得名。虫书大多铸造或镌刻在兵器、钟鼎上，如湖北宜昌附近出土的越王勾践剑，上面的八字铭文就是鸟虫书。秦朝通行的书体有八种，“虫书”列第四。王莽（前45—公元23）篡位时官方规定的六种书体中亦有“鸟虫书”，用于书写旗帜、符信，或作为印章文字。 Insect script was a special style of calligraphy current in the Spring and Autumn Period and the Warring States Period, also known as “bird-and-insect script” and “bird-and-insect seal script.” It was a variation of seal script. Characters written in this style resembled birds and insects in nature, hence the name.

cǎoshū 草书 Cursive Script 汉字发展演变中的一种书体。按发展历程可分为草隶、章草、今草、狂草等阶段。它始于汉代，主要是为了书写便捷，提高效率，当时通行的是草隶，后书家损益笔法，逐渐发展为章草。传至汉末，相传张芝（?—192？）摆脱了章草中所保留的隶书形迹，上下字之间的笔势牵连相通，并省减偏旁、相互假借，形成为今草（即今天俗称的草书）。发展到唐代，张旭、怀素（725-785，一说737-799）等草书大家相继产生，他们抒发性情、解放怀抱，将草书写得更为自由纵放，笔势绵延环绕，章法跌宕起伏，结字大胆奇诡，形态变化多端，成为“狂草”。后人又称狂草为“大草”，称今草为“小草”。 Cursive script, also known as running hand, is a particular style of Chinese calligraphy. It went through four stages of development: cursive clerical, semicursive, regular cursive and wild cursive. It began in the Han Dynasty, aiming to facilitate handwriting and increase efficiency. The first popular form of cursive script was

bùpíngzémíng 不平则鸣 Cry Out Against Injustice 本义是物体没有放平就容易发出声响，引申为人受到了不公正的对待就要发出不满的声音。唐代著名文学家韩愈（768—824）意在说明文学作品的创作是因为作者受到外界的激发，心中产生“不平之气”，这种不平之气推动作者用文学语言表达出来。这一理论是对孔子（前551—前479）“诗可以怨”和司马迁（前145或前135？—？）“发愤著书”说的继承与发展，北宋欧阳修（1007—1072）进一步提出了“诗穷而后工”的见解，认为诗人在困厄艰险的环境中，幽愤郁积于心，才能写出精美的诗歌作品。 This expression originally denotes an observation that when objects lose their balance, they make sounds. Figuratively, it means that an ill-treated person will make sounds of protest and complaint. Han Yu (768-824), a famous writer in the Tang Dynasty, used the phrase to point out that writers will

bù fèn bù qǐ, bù fěi bù fā 不愤不启，不悱不发 Instruct Only Who Is Anxious to Learn; Teach Only Who Wants to Express Himself but Does Not Know How. 教导学生，不到他想弄明白而不得的时候，不去开导他；不到他想说却说不出来的时候，不去启发他。“愤”是将懂未懂时非常着急的状态，“启”即开导、引导，“悱”是想表达但表达不出来心里郁闷的状态，“发”即阐发、说明。这是孔子提出的教育智慧。它强调学生在教学过程中的主体地位。现代中国教学论中的“启发性原则”即渊源于此。 One should not instruct a student until he is anxious to learn; one should not give guidance to a student until he wants to express himself

bīng zhě xiōngqì, zhēng zhě nì dé 兵者凶器，争者逆德 Weapons Kill; War Is Immoral. 兵器是杀人的工具，战争是违背道德的恶行。“兵”本义是兵器，引申指军队；“争”指冲突、争斗，在此指战争；“逆德”即违反人性，背弃仁爱之德。中国古人，即便是兵家，也都将武力、战争视为凶事，是不到万不得已才采取的非正常手段；即便采取了这种手段，也主张坚持仁义原则。这是中国人崇尚仁爱和平的“文”的精神的又一表达式。 Weapons are tools of death; war is wicked and against morality. The original meaning of bing (兵) is “weapon” and is extended to mean “army”; zheng (争) means “conflict” and “struggle” and here means “war”; nide (逆德) means inhuman, contrary to benevolence and compassion.