Chinese Classical Literature

《菜根谭》(谨言慎行,君子之道) with English Translations

“谨言慎行,君子之道”出自《菜根谭》,《菜根谭》是元末明初道人洪应明收集编著的一部论述修养、人生、处世、出世的语录世集。本段大意:即使十句话能说对九句也未必有人称赞你,但是假如你说错了一句话就会接连受人指责;即使十次计谋你有九次成功也未必归功于你,可是其中只要有一次失败,埋怨和责难之声就会纷纷到来。所以君子宁肯保持沉默寡言的态度,绝不冲动急躁,做事宁可显得笨拙,绝对不能自作聪明显得高人一等。 《菜根谭》(谨言慎行,君子之道) 十语九中,未必称奇,一语不中,则愆尤骈集;十谋九成,未必归功,一谋不成,则訾议业兴。君子所以宁默毋躁,守拙无巧。 If out of ten utterances, nine are correct, others will not necessarily call you a genius. They will, however, throw all the blame on you for the one utterance that provided incorrect. If you make ten plans and nine of them succeed, others will not necessarily praise you for your acumen. They […]

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《鲁人徙越》(选自《韩非子·说林上》) with English Translations

鲁人徙越是一个成语,意思是鲁人身善织履,妻善织缟,而欲徙于越,出自战国哲学家、思想家,政论家和散文家韩非的《韩非子·说林上》。选自《韩非子·说林上》,《淮南子·说山训》《说苑·反质》都曾收入。共有两个版本,前大半部分相同,但结果不同。这则寓言以鲁人身怀绝技却要去无用武之地的越地的故事,表明做任何事情都必须考虑客观的要求,只凭主观臆断,结果必定是失败的。 《鲁人徙越》(选自《韩非子·说林上》) 鲁人身善织屦,妻善织缟,而欲徙于越。或谓之曰:“子必穷矣。”鲁人曰:“何也?”曰:“屦为履之也,而越人跣行;缟为冠之也,而越人被发。以子之所长,游于不用之国,欲使无穷,其可得乎?” A native of Lu was good at making hempen sandals and his wife at weaving silk taffeta; and they intended to move to the State of Yueh. Someone told them that they would become poor if they should do so. The native of Lu asked him, “Why do you think so?”The other

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《教学相长》(《礼记》节选) with English Translations

教学相长,汉语成语,意思是教和学两方面互相影响和促进,都得到提高。出自《礼记·学记》:“是故学然后知不足,教然后知困。知不足然后能自反也,知困然后能自强也。故曰教学相长也。” 《教学相长》(《礼记》节选) 虽有嘉肴,弗食,不知其旨也;虽有至道,弗学,不知其善也。是故学,然后知不足;教,然后知困。知不足;然后能自反也,知困;然后能自强也。故曰,教学相长也。 Even when there is good food, you will not know its deliciousness, if you don’t taste it; even when there is a good doctrine, you will not know its virtue, if you don’t learn it. Therefore, to learn makes us realize our deficiency, and to teach makes us know the difficulties. Having

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郑复光《光与色》(《镜镜痴》节选)with English Translations

郑复光(1780—约1853):清代著名科学家。字元甫、瀚香,安徽歙县人。精通数学、物理与机械制造。1846年写成《镜镜冷痴》5卷,集当时中西光学知识大成。在完成此书的基础上,制造了中国最早的一台测天望远镜。另著有《郑元甫札记》(手抄本)、《郑瀚香遗稿》(手抄本)、《安徽通志稿》有传。 《光与色》(《镜镜痴》节选) 郑复光 目睹物而知形,然形非色不见;色非光不见。故色必资乎光;画资乎日,夜资乎月星与火。光盛则色显,光微则色隐。色依光以现其形:色浓则明,色淡则藏;色立乎异,则相得益彰,色傍乎同,则若存若亡。 We know the shape of a thing when we see it, but its shape will not be seen if it has no color. The color of a thing will not be seen if there is no light. So the color for us to see has to depend on light, just as

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Zeng Rui: Hearing the Cuckoo in My Boudoir Song of Picking Tea ~ 曾瑞·《闺中闻杜鹃·采茶歌》 with English Translations

这支散曲,以闺中女子自诉心声的形式,淋漓尽致地表现了思妇的情怨。全曲分三段:自起首至“愁无际”为〔骂玉郎〕,写现时的“闻杜鹃”;“帘幕低垂”至“厮禁持”为〔感皇恩〕,忆前时的闻鹃情形,补明了题目的“闺中”;“我几曾离”至结尾为〔采茶歌〕,则是“闺中闻杜鹃”的反应和感想。 本段为节选《采茶歌》。 曾瑞·《闺中闻杜鹃·采茶歌》 我几曾离, 这绣罗帏? 没来由劝我道 “不如归”! 江南正着迷, 这声儿 好去对俺那人啼。 Hearing the Cuckoo in My Boudoir Song of Picking Tea Zeng Rui O When have I Left the embroidered screen? Why should you cry To me: “Better go home!” My gallant in the south is entranced in love scene. Why don’t you cry to him

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Zeng Rui: Hearing the Cuckoo in My Boudoir Gratitude to the Emperor ~ 曾瑞·《闺中闻杜鹃·感皇恩》 with English Translations

这支散曲,以闺中女子自诉心声的形式,淋漓尽致地表现了思妇的情怨。全曲分三段:自起首至“愁无际”为〔骂玉郎〕,写现时的“闻杜鹃”;“帘幕低垂”至“厮禁持”为〔感皇恩〕,忆前时的闻鹃情形,补明了题目的“闺中”;“我几曾离”至结尾为〔采茶歌〕,则是“闺中闻杜鹃”的反应和感想。 本段为节选《感皇恩》。 曾瑞·《闺中闻杜鹃·感皇恩》 帘幕低垂, 重门深闭。 曲阑边, 雕檐外, 画楼西。 把春酲唤起, 将晓梦惊回。 无明夜, 闲聒噪, 厮禁持。 Hearing the Cuckoo in My Boudoir Gratitude to the Emperor Zeng Rui The curtain hanging low, Tightly closed double door, The winding balustrade And the sculptured eaves fade. West of the painted bower you sing, Awakening me, drunk in spring, From my

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Zeng Rui: Hearing the Cuckoo in My Boudoir Blaming My Gallant ~ 曾瑞·《闺中闻杜鹃·骂玉郎》 with English Translations

这支散曲,以闺中女子自诉心声的形式,淋漓尽致地表现了思妇的情怨。全曲分三段:自起首至“愁无际”为〔骂玉郎〕,写现时的“闻杜鹃”;“帘幕低垂”至“厮禁持”为〔感皇恩〕,忆前时的闻鹃情形,补明了题目的“闺中”;“我几曾离”至结尾为〔采茶歌〕,则是“闺中闻杜鹃”的反应和感想。 本段为节选《骂玉郎》。 曾瑞·《闺中闻杜鹃·骂玉郎》 无情杜宇闲淘气。 头直上耳根底, 声声聒得人心碎。 你怎知我就里, 愁无际? Hearing the Cuckoo in My Boudoir Blaming My Gallant Zeng Rui How pitiless is naughty cuckoo’s cry! It has assailed my ears from on high. Cry on cry has vexed me and broken my heart. O cuckoo, how could you know the reason why I feel a

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《郑燮致弟书》 with English Translations

郑板桥(1693年-1766年),原名郑燮,字克柔,号理庵,又号板桥,人称板桥先生,江苏兴化人,祖籍苏州。清代书画家、文学家。 《郑燮致弟书》 吾意欲筑一土墙院子,门内多栽竹、树、草花,用碎砖铺曲迳一条,以达二门。其内茅屋二间,一间坐客,一间作房,贮图书史籍,笔墨砚瓦,酒董茶具其中,为良朋好友,后生小子论文赋诗之所。其后住家,主屋三间,厨房二间,奴子屋一间,共八间,俱用草苫,如此足矣。或曰,此等宅居甚适,只是怕盗贼,不知盗贼亦穷民耳。开门延入,商量分惠,有什么便拿什么去。若一无所有,便王献之之青毡,亦可携取质百钱救急也。吾弟当留心此地,为狂兄娱老之资,不知可能遂愿否? I am thinking of building a house enclosed with earthen walls, in which plenty of bamboos, trees and various flowers should be planted. There should be a curved path paved with broken bricks leading to the porch. There are two spacious rooms behind the porch, one used as drawing-room and the other

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Zeng Rui: Admonition to Common People To the Tune of Four Pieces of Jade ~ 曾瑞·《四块玉·警世》 with English Translations

小令始终以生动的形象组合来代替枯燥的说教,以“果”引出“因”,语重心长。全曲篇幅短小,朗朗上口,令人过目难忘。“狗探汤”、“鱼着网”两则形象极为生动,其负痛急走、心有余悸的情态如在读者目前。章回小说中有“惶惶若丧家之犬,急急若漏网之鱼”、“鲤鱼离却金鳌钩,摆尾摇头更不来”的习语,曲中正是利用了这种为人所熟悉的视觉印象。“痛着伤”既显示了所遭危险的可怕,又有教训沉重、“吃一堑长一智”的意味,从而为引出下文的训诫敲响了警钟。“探汤”、“着网”究竟是在比喻些什么。第四句揭示了答案,原来指的是花街柳巷嫖妓寻乐的险事。为寻花问柳而痛吃苦头固然咎由自取,但妓女设圈套、行“邪魔”的手段也确实狠毒,一个“旺”字,坐实了前文“急”、“痛”的缘起。读者至此掩卷,愈觉起首两句比拟的贴切。妙在作者撇过“邪魔”,回过头来重新渲染“柳腰花貌”在外表上的娇艳,最后以“君莫赏”三字轻轻带住,不啻为当头棒喝。将“柳”、“花”两度紧挨着“邪魔旺”拈出表现,于是警惕春楼以色惑人的主旨便跃然纸上了。 曾瑞·《四块玉·警世》 狗探汤, 鱼着网, 急走沿身痛着伤。 柳腰花貌邪魔旺。 柳弄娇, 花艳妆, 君莫赏。 Admonition to Common People To the Tune of Four Pieces of Jade Zeng Rui It’s a foolish dog, Dipping its tongue into boiling pot, It’s a silly fish, Casting itself into fishnet, Away with brothel, or you’ll be fatally caught. Willow waists and good looks are

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Ceng Rui: Lamenting the Times (2) to the tune of Sheep on the Hillside ~ 曾瑞·《山坡羊·叹世(二)》 with English Translations

曾瑞(生卒年不详), 元代散曲作家。字瑞卿,自号褐夫。大兴(今北京市大兴区)人。因喜江浙人才风物而移家南方。《录鬼簿》记他“临终之日,诣门吊者以千数”,可知他当时已有盛名。由于志不屈物,不解趋附奉承,所以终身不仕,优游市井,赖江淮一带熟人馈赠为生。善绘画,能作隐语小曲,散曲集有《诗酒馀音》行于当世,今佚。 曾瑞·《山坡羊·叹世(二)》 荣华休傲, 贫穷休笑, 循环世态多颠倒。 恰春朝, 早秋宵, 花开花谢都知道。 今岁孟春花更早。 花, 依旧好。 人, 空谩老。 Lamenting the Times (2) to the tune of Sheep on the Hillside Ceng Rui Proud of yourself not when you have wealth and rank, Laugh not at those on whom the fate plays a prank. The wheel of fortune keeps rotating,

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