zūnshēng 尊生 Respect Life 尊重自己的生命，也尊重他人的生命。也说“重（zhònɡ）生”。生命属于每个人只有一次，任何人都不可轻易放弃生命，更不允许随意剥夺他人的生命。对于执政者而言，则要求以民众生命为重，尽可能满足民众正当的生存需求，不得做任何危害民众生命健康的事情。当然，不合道义的苟且偷生也是不被认可的。 This means respecting and valuing one’s own life as well as that of others. Since each person has only one life to live, he does not easily give up his life and will not take away other people’s lives. He who is in power should respect people’s lives and do

zhǔ wén ér jué jiàn 主文而谲谏 Admonition Through Tactful Wording 诗歌在歌咏的同时以含蓄委婉的方式对执政者进行讽谏。“文”指有文采的歌咏；“谲”义为曲折变化，意思是不要直陈执政者的过失；“谏”就是规劝、谏诫。出自《毛诗序》。最初由儒家总结《诗经》的表达手法而提出，后来用为一切文艺作品应当遵循的标准。它的核心思想是，诗歌可以对执政者进行劝谏、讽刺，但要以含蓄委婉的言辞、比兴譬喻的方式寄托对执政者的批评以及对现实的不满。这一命题是儒家政治伦理在文学批评领域的具体表现。 This term shows that poetry should indirectly and mildly advise a ruler against wrongdoing. The critic should resort mainly to tactful and sensitive wording, trying not to appear blunt or offensive when admonishing the ruler. The term first appeared in the “Introductions to Mao’s

zhìlè-wúlè 至乐无乐 Utmost Happiness Lies in Not Aware of the Happiness. 至高的快乐是内心祥和而超越乐与不乐的判断。庄子（前369？—前286）认为，快乐应该依从于自己的本心，如果以世俗观念为判断依据，可能会背离生命的本质；如果为情感和欲望所驱使，可能会伴随失落与伤害。快乐与否的判断实际上源于对利害得失的判断，而利害得失是相对的、可变的，因此，忘却得失利害、没有了快乐意念才是“至乐”的境界。“至乐无乐”说体现出中国古代文人学士通达的心性、自由多元的人生价值观，激发了他们反思、批判与超越的精神。 Utmost happiness is an inner peace that transcends any judgment as to whether we are happy or not. Zhuangzi (369?-286 BC) held that happiness should be dictated solely by the heart. If we measure happiness against a worldly criterion, we may lose sight

yuánróng 圆融 Consummate Interfusion 圆满融通。在佛教典籍中，圆融既指各种事物之间相互融通统摄的本来状态，也指避免偏执任一见地的真理观。如天台（tāi）宗说空、假、中三谛，分疏三个层面的真理，有别于传统的二谛，凸显了不落空有两边、又不离两边的圆融意旨。而华严的“六相圆融”，指出一切事物都有总、别、同、异、成、坏三对看似矛盾的方面，其实超越了概念的对立，可于一体具现。 In Buddhist scriptures, “consummate interfusion” has two meanings: (1) the original state of all things, which are interfused with and governed by each other, and (2) a viewpoint on truth that argues against adherence to any judgment. The Tiantai School interprets “consummate interfusion” in this way: it develops the concept

Yuánhé tǐ 元和体 The Yuanhe Style of Poetry 指唐宪宗元和年间（806—820）开始流行的诗歌体式及风格。有广狭二义：广义的理解指元和以来的各种新体诗文，一般认为元和以后流行的新的文风、诗风，是由韩愈（768—824）、元稹（779—831）、白居易（772—846）、张籍（767？—830？）等元和年间的著名作家开创的；狭义的理解则是指元稹、白居易诗歌中的长篇排律和中短篇杂体诗。元稹、白居易的诗歌注重叙事，如《连昌宫词》《长恨歌》《琵琶行》都是长篇叙事诗的代表作；其次是注重诗歌形式的通俗化，具体说就是诗的语言明白晓畅，容易为读者理解记忆；注意诗歌与音乐的结合，韵律的优美和谐，便于唱诵。 This term refers to the poetic style most popular during the rule of Emperor Xianzong (806-820) of the Tang Dynasty under the reign title of Yuanhe. It can be understood either broadly or narrowly. In a broad sense, the Yuanhe style of poetry refers to all