shèn zhōng zhuī yuǎn 慎终追远 Mourn the Deceased and Memorialize Those Long Gone 慎重地对待丧事、追念逝去的先人。曾子主张以“慎终追远”的态度对待逝者。随着逝者的远去，人们容易逐渐淡忘其存在及其对自己的关爱与影响。“慎终”即要求人们慎重地遵行丧礼的仪节，表达对逝者的真挚哀悼。“追远”则要求人们依礼祭祀逝者，以缅怀其恩情及其德行、功业。曾子认为，“慎终追远”的做法有助于敦厚人情。 This term means to hold obsequies in a proper way and cherish the memory of those long deceased. This is what Zengzi believed one should do toward the deceased. As someone passed away, with the passage of time, people close to […]

shǎngshàn-fá’è 赏善罚恶 Reward Good and Punish Evil 奖赏善人，惩罚恶人。古人认为，国家、社会要治理得好，必须善善恶恶（喜爱善的，憎恶恶的），以弘扬良好的风尚；善恶依法而断，赏罚依法而行。合理合法有功是善，背理违法有罪是恶。赏与罚是治国治军的重要手段，是领导者掌握的重要权柄；赏罚有示范作用——赏为了劝善，罚为了惩恶，所以必须依照规矩，赏罚得当，善恶分明，这样才能形成健康向上的社会风尚。它是诚信精神和善恶观念的有机统一。 Ancient Chinese believe that if the state and society are to be well-governed, what is good must be loved and what is evil must be despised in order to create a positive social environment. Good and evil should be identified and rewards and punishments should be meted

sè 色 Rūpa / Matter 在佛教的语境中，色指一切能使人感知到的东西，包括有形的物质和仅有形式而无形状的东西。色初指有形的东西，是视觉器官的认知对象。色又与“名”相对，并在十二缘起当中与其合称（“名色”），指生命个体在一次轮回当中所具备的精神和物质的总合。通常意义上，“色”可以指任何可感、有质碍、由极微构成而会坏灭的物质。但在某些语境中，佛教又使用“无表色”等概念，以区别于可见的物质，指具备形式、效用但不可言状的东西。 In Buddhist terminology rūpa refers to perceivable things, comprising materiality and forms. Rūpa originally indicates things with a shape, objects recognized by the organ of sight. Rūpa further forms a pair with ming (名nāman), or name, listed among the twelve links of dependent origination in the combination mingse (名色 nāmarūpa), name-and-form, indicating the totality

sānglǐ 丧礼 Mourning Rites 送葬、哀悼死者之礼，是人伦生活中的一项重要礼仪。古代“丧礼”依据逝者与行礼之人的关系，对丧期、服饰以及具体的行礼仪节都做出了详细规定。人们通过“丧礼”表达对逝者的哀痛与缅怀。同时，“丧礼”也对人情的表达做出节制，以避免哀痛过度而毁伤身体。此外，“丧礼”对行礼之人的身份及其相应仪节的区分，体现着古人对人伦关系的理解与规范。在当代社会，由于生活方式的改变，“丧礼”的形式及其所体现的人伦关系都发生了不同程度的变化。 To hold a funeral and mourn one who has passed away is an important ritual in the lives of the Chinese. In ancient China, there were detailed rules for such rites, based on the relations between the mourner and the deceased, such as the length of mourning, dress code, and

sānjiè 三界 Traidhātuka / Three Realms of Existence 佛教将众生所在的世界分为欲界、色界、无色界三种，合称“三界”。欲界中的众生，受到感官欲望的驱使而活动；色界中的众生远离了食欲、淫欲，但仍受到形式概念的束缚；无色界中的众生，能脱离一切名称概念而活动。凡三界众生都因作业受业而处于轮回之中，故谓三界苦轮。“三界”一方面是佛教的宇宙观，另一方面体现了佛教禅修世界的不同境地。 In Buddhism, the universe of sentient beings is composed of three realms: (1) the realm of desire (kāmadhātu), where the mind is motivated by sensual pleasures; (2) the realm of subtle forms (rūpadhātu), where the mind becomes uninterested in sensual objects but still engaged in conceptual mental

rénzhězì’ài 仁者自爱 A Man of Benevolence Cherishes Himself. 有仁德的人珍爱自己。这是孔子（前551—前479）的学生颜回提出的命题，为“仁者爱人”提供了主体性原点。依照儒家的逻辑，仁者必“自爱”，而后推己及人，达到“爱人”，也因此必然赢得他人的爱，形成人我之间爱的循环。此外，古来提倡“自爱”者不少，未必限于儒家，其意不是要人自私自利，而是要人自尊自立，为国为民有所作为。 This concept was first raised by Yan Hui, one of Confucius’ (551-479 BC) disciples. He provided a subjective source for benevolence. According to the Confucian School, a man of benevolence is sure to cherish himself and then extend his love to others. In return, he is

qínɡjiào 情教 Moral Instruction Carried Out with Emotion 指文学作品所具有的以情动人的教育功能，即文学作品可以通过描写男女爱情及人世间的真情感化读者、净化心灵，并最终影响、改变社会风气。由明末著名通俗文学家冯梦龙（1574—1646）提出。冯氏强调“情”是人的一种本能、天性，始于男女，而流注于君臣、父子、兄弟、朋友之间，小说要写真情，有真情才能感动人心，从而起到教化作用。冯梦龙倡立“情教”说，并不是要抛弃道德和说理，只是他认为情比道德和说理更本质、更真切，更贴近人的本性。“情教”说发展了明中叶以来重情尚真的思想，代表了冯梦龙的文学观与世界观。他用毕生精力加工整理并创作了大量通俗文学作品，也是对这一思想的实践。 The educational function of a literary work is best fulfilled through discreet emotional influence, based on the belief that a literary work can affect and purify the reader’s soul through descriptions of love between men and women and of true feeling available in the world to

qínɡ jiān yǎ yuàn 情兼雅怨 A Mixed Quality of Grace and Sorrow 诗歌既表达了诗人的怨苦情感，又不违背雅正的审美标准。这是南朝著名文学理论家钟嵘（468？—518）提出的评判诗歌好坏的标准之一。钟嵘从艺术角度评价曹植（192—232）的诗“情兼雅怨”，其意强调诗歌要抒发诗人内心的怨苦，但这种情感的宣泄一定要适度，符合雅正标准。对于“雅怨”的具体解释，则存在不同看法：一种认为“雅怨”就是“雅正之怨”，重心在“怨”，说曹植的诗虽然抒发了受压抑的怨苦，但诗风温厚平和，符合“雅”的要求；另一种认为“雅”“怨”是并立的概念，说曹植的诗同时兼有雅正与怨苦两种艺术特点。不管哪种理解，钟嵘的“情兼怨雅”说，既是对陆机（261—303）“诗缘情”理论的发展，也是对传统诗歌理论“发乎情，止乎礼义”所作的进一步说明。 Poetry should express a poet’s grief while not violating the aesthetic rule of proper grace. First raised by the renowned Southern Dynasties literary theorist Zhong Rong (468?-518), this is an important criterion used to judge the merit of poetry. Proceeding from an

qínɡ fā yú shēnɡ 情发于声 Feelings Find Expression in Musical Poetry. 当人们受到外界事物的触发，情感在心里激荡，就会用诗歌表现这种情感并用一定的音乐旋律咏唱出来。见于《毛诗序》。这是中国古代关于诗歌起源的一种说法，与《尚书》中的“诗言志”大体接近且一脉相承。在上古时代，诗歌、音乐、舞蹈三位一体，密不可分，“情发于声”体现了上古诗歌的主要特点。到了后来，诗歌逐渐成为单纯的语言艺术，与音乐、舞蹈脱节，“情发于声”的说法也就退出历史舞台了。 When feelings surge up in people’s hearts due to inspiration from external objects, they will find expression in poetry and music. This is stated in “Preface to Mao’s Version of The Book of Songs,” echoing the idea of “writing poetry to voice one’s

pútí 菩提 Bodhi 断除烦恼的智慧。意译为“觉”，指摆脱各种烦恼障碍的智慧。菩提是各种修行道路所追求的目标，但不同路径达到的菩提等级有别。中国佛教有本觉、真觉的思想倾向，认为修行所及的结果，其实是本来具备的本性智慧。 Bodhi refers to the noblest form of wisdom, which is capable of eliminating afflictions. The literal meaning of the term is “enlightenment” or “awakening.” It refers to the wisdom that can do away with afflictions of all kinds, which hinder the believer’s progress towards his or her ultimate enlightenment. Admittedly, bodhi