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zhōngguó 中国 Zhongguo (China) 古代华夏族、汉民族以黄河中下游流域为中心生活和活动的区域。“中国”最初是一个地域兼文化的概念。华夏族多建国于黄河流域一带，以为居天下之中，故称“中国”（与“四方”相对）。后泛指中原地区以及在中原地区建立的政权和国家。清以来，“中国”始专指我国的全部领土与主权，现在只作为“中华人民共和国”的简称。 This term refers to the areas along the middle and lower reaches of the Yellow River where ancient Huaxia (华夏) people or the Han people lived. Originally, the term Zhongguo (中国) meant both this region and its culture. The Huaxia people established their states along the Yellow River. Believing the […]

zhíxún 直寻 Direct Quest 诗人即兴而感，直接抒写。这是南朝钟嵘《诗品》中针对诗歌过多使用典故的现象提出的创作主张，他汲取了道家的自然思想，通过考察前人的优秀诗篇，提炼出一种新的诗歌创作方式——“直寻”，即直接描写所感知事物，直接抒发内心情感并创造出情景契合的审美意象。明清时期诗学的“性灵说”受到其影响。 A poet should directly express his thoughts and sentiments when he is inspired. This is a concept for writing poems proposed by poetry critic Zhong Rong of the Southern Dynasties in his work “The Critique of Poetry” as a reaction to the excessive use of allusions and quotes from earlier

zhīyīn 知音 Resonance and Empathy 体会和理解文艺作品的意蕴与作者的思想感情。原指音乐欣赏中的知己，后经魏晋南北朝时期文艺批评家的阐释，用来泛指文艺鉴赏中的心心相印、互相理解。“知音”作为文学批评的核心概念，涉及文艺创作与鉴赏中的个体差异与共性等诸多问题，有着丰富的精神蕴涵，与西方的读者反应批评理论、接受美学、解释学等基本思想有一致之处。 The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei, Jin, and Southern and Northern dynasties to mean

yuánqǐ 缘起 Dependent Origination 梵文pratītyasamutpāda的意译。“缘起”就是“依缘（一定的条件）而起（发生）”。意思是一切事物、现象乃至社会的一切活动都是因缘和合体，都处于相续不断的因缘关系中，依一定条件而有生灭变化。“缘起”是佛教思想的起点，也是佛教各宗派所共有的理论基础。佛教以此解释宇宙万物、社会乃至各种精神现象变化无常、生灭变化的内在法则。 The term is a translation of the Sanskrit word pratītyasamutpāda. Yuan (缘) means conditions; qi (起) means origination. That is to say, all things, phenomena, and social activities arise out of the combinations of causes and conditions. They exist in the continuous relationship between causes and conditions. Thus all things originate, change,

yǒuwú 有无 You and Wu “有无”有三种不同含义：其一，指个体事物的不同部分，实有的部分为“有”，空虚的部分为“无”；其二，指个体事物在生成、存在、消亡过程中的不同阶段或状态，既有之后、未消亡之前的状态为“有”，未有之前与既终之后的状态为“无”；其三，有形、有名的具体事物或其总和为“有”，超越一切个体事物的无形、无名的本体或本原为“无”。就第三个意义而言，有些哲学家认为“无”是世界的本体或本原，“有”生于“无”；另一些哲学家则认为“有”才是更根本的，反对“有”生于“无”。在“有无”对待的关系中，“有”与“无”既相互区别，又相互依赖。 The term has three definitions. First, it describes two different dimensions of things: One is with form and the other without form. Second, it refers to two different stages or states of a thing during its generation, existence, and demise. You (有) refers to the state of a thing after

yǒujiào-wúlèi 有教无类 Education for All Without Discrimination 任何人都可以或必须接受教化；而人接受了教化，也就没有了因贵贱、贫富等而产生的差异。（一说：在教学时对学生一视同仁，不会按地位、贫富等将学生分成差等。）“教”指礼乐教化，即“人文”；“类”即种类，指贵贱、贫富、智愚、善恶、地域、种族等差别、区分。“有教无类”所昭示的是一种超越等级、地域、种族等差别的普及教育思想，更是一种主张平等待人、反对种种歧视的“人文”精神。 Education can and must be provided for all. It eliminates the differences in social status and wealth. (Another explanation is that education should be provided to students without discrimination on the basis of social status or wealth.) Education consists of teaching of social norms, music, and moral

yǒu dé zhě bì yǒu yán 有德者必有言 Virtuous People Are Sure to Produce Fine Writing. 品德高尚的人一定有著述或妙文传世。儒家认为作家的人品（道德修养）与作品（文章价值）往往有内在的联系，品德高尚的人文章自然高妙，而善写文章的人却未必道德高尚，以此提出作家著述应以传播道德为使命，道德文章要相互统一。但后世儒家文士有时过于强调文章的道德作用与作家个人品德对文章的影响从而忽视了文学自身的创作特点与价值。 Virtuous people are sure to write fine works which will be passed on to later generations. According to Confucianism, the moral character of a writer determines the value of his work, virtuous people would naturally write well, but those

yǐnxiù 隐秀 Latent Sentiment and Evident Beauty 诗歌与文章既隐含丰富的思想感情，又有秀美的名言佳句。源出《文心雕龙》篇名，在该篇中，“隐”是隐含，指在叙事或写景中隐含超出事、景之外的意义，能引发读者的无限联想；“秀”是秀美，指一篇之中应该有能凸显这一意义的精妙词句。二者密不可分，共同构成优秀文学作品的审美特征。后来也作为诗文写作的一种修辞手法。 This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty. “Latent sentiment and evident beauty” first appeared as the title of a chapter in The Literary Mind and the Carving of

yīnyáng 阴阳 Yin and Yang 本义指物体对于日光的向背，向日为“阳”，背日为“阴”。引申而有两重含义：其一，指天地之间性质相反的两种气；其二，指两种最基本的矛盾势力或属性，凡动的、热的、在上的、向外的、明亮的、亢进的、强壮的为“阳”，凡静的、寒的、在下的、向内的、晦暗的、减退的、虚弱的为“阴”。“阴”“阳”或“阴气”“阳气”的相互作用决定着万物的生成及存在状态。阴阳理论后来成为古人说明和理解宇宙万物、社会和人伦秩序的基础，如天阳地阴、君阳臣阴、夫阳妻阴等，阳贵阴贱，阳主阴从。 The primary meaning of yin and yang is the orientation of things in relation to the sun, with yang meaning the sunny side and yin the shady side. There are two extended meanings: 1) two opposite kinds of qi (气) in nature; and 2) two basic contrary forces or

yìxiàng 意象 Yixiang (Imagery) 文学作品中表达作者主观情感和独特意境的典型物象。“意”指作者的思想情感；“象”是外在的具体物象，是寄寓了作者思想情感的艺术形象。在文学创作中，“意象”多指取自大自然中能够寄托情思的物象。“意象”强调文学作品的思想内容与形象之美的和谐生成，是一种成熟的文艺形态。 Imagery refers to a typical image in literary works, which embodies the author’s subjective feelings and unique artistic conceptions. Yi (意) literally means an author’s feelings and thoughts, and xiang (象) refers to the image of a material object in the external world, an artistic image reflecting the author’s thoughts and feelings. In