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nǐ róng qǔ xīn 拟容取心 Compare Appearances to Grasp the Essence 指诗人在采取比兴手法的时候，通过类比、描摹事物的形象外貌，摄取事物内在的意蕴和义理，从而将原本不同的事物联系、结合在一起。“拟容”说的是重视“比兴”的具体形象；“取心”说的是摄取事物的精神实质，即重视事物形象所包含的内在意蕴和理趣。合起来的意思是，借助能表达一定意义的事物形象，来寄寓、抒写作者的思想感情。见于《文心雕龙·比兴》，由《周易·系辞上》中的“拟物立象”发展而来。刘勰（465？—520）提出这一术语，主要用以阐释比、兴都是由彼及此，二者又有不同：比为“拟容”，贴合事理最重要，忌不伦不类；兴为“取心”，感发幽微，以意相联。 This term means a poet uses the techniques of analogy and stimulation to depict the form and the external appearance of things. He takes in internal connotations and the principles of things, thus linking originally different things and combining them. Nirong (拟容 comparing appearances) […]

nánxì 南戏 Southern Opera 指北宋末年至明末清初流行于南方的汉族戏文。其源头是宋室南渡之时，产生于温州地区的戏种，在当时被称作传奇、戏文等，又被称为温州杂剧、永嘉杂剧、永嘉戏曲等。其特点是将民间唱腔引入杂剧，在村坊小曲的基础上发展起来，起初没有宫调、节奏方面的讲究，只是顺口可歌而已。元代高明（1301？—1370？）创作的《琵琶记》，标志着南戏体制的完备。南戏继承了宋代杂剧，开启明代传奇，篇幅长，角色丰富，而且各种角色都可演唱。《荆钗记》《刘知远白兔记》《拜月亭》《杀狗记》是南戏代表作。我国南方戏曲中有多种声腔都是在南戏基础上发展起来的。 Nanxi (南戏), the Southern Opera, refers to the Han ethnic opera from the late Northern Song to the late Ming and the early Qing dynasties. The opera was created in the Wenzhou region when the Song government fled south. At the time, it was also known as chuanqi (传奇 drama), xiwen (戏文 play)

mù jī dào cún 目击道存 See the Way with One’s Own Eyes 视野所及而瞬时感悟到“道”的存在。源自《庄子》。庄子（前369？—前286）强调人可以直观感悟到“道”的存在，而无需依赖语言说明和逻辑思辨。后被用于文学创作与鉴赏领域，强调超越耳目感知和逻辑思辨，在涤除一切杂念和外物干扰的心境中领悟并臻于最高的艺术境界。这一术语意在彰显文艺审美中直观感悟与超越功利的特性。 The term, which first appeared in the Chinese classic writing Zhuangzi (Zhuangzi 369 ?-286 BC), means that one can easily see the existence of the Dao with no need to rely on verbal explanation or on logical analysis. Later it was used for

mínɡ fèn shǐ qún 明分使群 Proper Ranking Leads to Collaboration. 明确个人的职分差等以组成能够相互协作的群体。荀子将“能群”看作是人区别于禽兽的重要特征。而人在没有约束的情况下，会出于自身对外物的欲求，与人争夺，进而导致群体的混乱。因此，在群体之中必须依据道义的原则，明确个人分位的差等以及与之相应的职责、权益，并以此作为人与人相处的规范，从而约束彼此间的纷争，实现相互协作。 Group collaboration is possible only when the individuals within it are clearly ranked and there is a social order. For Xunzi, the ability to “work together” is what distinguishes humans from animals. Without social restraints, humans will follow their innate desires and fight over

mínɡdé 明德 Illustrious Virtue 彰显美德或纯明的德行。“明德”最初是对为政者的一种要求。“德”特指为政者在照顾百姓、任用官吏、施加赏罚等方面的良好品行。“明德”即是在施政中遵循并彰显这些德行。后世用“明德”指称为政者应该具备的显明的品德。而在儒家看来，为政之德是人的内在德性的扩充，因此为政者的“明德”即体现着至高的道德。 This term means to manifest rectitude or upright conduct. The term was originally used to describe qualities expected of the sovereign. De (德) specifically meant fairness and decency towards the populace, in the appointment of officials, and the bestowing of rewards and punishments. Mingde (明德) as a verb was to govern in

miàosuàn 庙算 Court Calculation 朝廷对军国大事的谋算。“庙”为庙堂，是古代朝廷议事之所。“庙算”即是于战争开始之前，在庙堂之上郑重地谋算战争中己方的优势、劣势，从而决定应对策略。孙子认为，战争不只是战场上的争斗，还受到政治、经济等不同因素的影响。因此“庙算”需要结合可能的战争态势，对国家各方面的情况进行综合评判与谋算。“庙算”是战争准备的必要环节。 This term means court calculation on major military and state affairs. The imperial court here refers to the place for officials to deliberate on affairs of state in ancient China. The purpose of calculation prior to war was to work out a strategy based on the state’s strengths and weaknesses.

mí bú yǒu chū, xiǎn kè yǒu zhōng 靡不有初，鲜克有终 All Things Have a Beginning, but Few Can Reach the End. 所有的事情都会有开始，但很少有人能够做到善终。“靡”，无，没有；“初”，开始；“鲜”，很少；“克”，能够。语出《诗经·大雅·荡》。原本斥责周厉王昏庸无道，政令多变而为害百姓。“靡不有初，鲜克有终”具有深刻的现实意义和哲学意义，做人、做事、为官、理政，有一个好的开端并不难，难的是始终如一地坚持到最后。它告诫我们，做事情不要轻易更改，不能开始时信誓旦旦但很快就忘记初衷，更不能轻言放弃，一定要做到有始有终、善始善终。 All undertakings have a beginning, but few people are able to see things through to the end. Mi (靡) means “nothing, none,” and chu (初) means “beginning.” Xian (鲜) means “few,” and ke (克) means “are able, can.”

máodùn 矛盾 Paradox of the Spear and the Shield / Contradiction 可以刺穿任何东西的矛和没有任何东西能够刺穿的盾。“矛盾”之说出自《韩非子》。可以刺穿任何东西的矛和没有任何东西能够刺穿的盾，这两个命题是不相容的。一个人不能同时肯定这样两个不相容的命题。后世即以“矛盾”指称事物之间的对立关系，也意指言行自相抵触。 The term comes from a story in Hanfeizi. In the story, mao (矛) is a spear that is said to be able to pierce anything; dun (盾) is a shield that is said to be able to be pierced by nothing. Mao and dun are a paradox

liùyì 六艺 The Six Arts “六艺”有两种不同的含义：其一，指《诗》《书》《礼》《乐》《易》《春秋》等六部经典。历代儒者通过对“六经”文本的不断解释，为这些经典赋予了丰富的意义。“六艺”之学体现着古人对于世界秩序与价值的根本理解。其二，指礼、乐、射、御、书、术等六种技能，是古代学校教育的基本内容。 The six arts may refer to two sets of content. They may refer to the Six Classics: The Book of Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annals. Confucian scholars through the ages kept

liùɡuān 六观 Six Criteria 文章鉴赏和批评的六个角度，亦是文章本身所具有的六方面要素，包括“位体”（谋篇布局）、“置辞”（遣词造句）、“通变”（对前人作品风格的继承与创新）、“奇正”（表现手法上的守正与新变）、“事义”（援引事例以证立论）、“宫商”（音律节奏）。“六观”作为批评方法论，是《文心雕龙》整个理论体系的重要一环，它使文章批评自此有章可循，避免了批评的主观性，对后世的诗文评论有着指导与规范的作用，也对现代文学理论建构具有显著影响。 The term refers to the following six criteria on literary appreciation and criticism which are also six key elements in writing: structural layout of writing, choice of words to construct sentences, acceptance and innovation in the style of earlier writers, inheriting and transforming traditional ways of expression, citing examples to