Huang Tingjian

Jiāngxī shīpài 江西诗派 The Jiangxi School of Poetry 中国文学史上第一个有正式名称的诗文派别。它以北宋江西籍著名诗人黄庭坚（1045—1105）的“点铁成金”“夺胎换骨”说为主要创作理念。该流派写诗以吟咏书斋生活为主，崇尚瘦硬奇拗的风格；强调师承前人，或师承前人之辞，或师承前人之意；重视文字的推敲技巧，追求字字有出处。这一创作理念与唐代诗歌追求兴象风神有着明显的不同，它的影响遍及整个南宋诗坛，甚至影响到近代。 The Jiangxi School of Poetry was the first school of poetry and prose with a formal name in Chinese literary history. It took as its core tenets the notions of “turning a crude poem or essay into a literary gem” and “squeezing new life out of […]

chén yán wù qù 陈言务去 The Necessity of Eliminating Banal Expression 主要有两层含义：其一，指写文章时要去掉那些用腻了的陈旧言辞；其二，指构思文章时要摈除人云亦云的庸俗之见。这是唐代著名文学家韩愈（768—824）针对散文写作提出的观点。韩愈强调写文章应该变革创新，努力摒弃一切陈旧的言辞和论点，不可因循守旧。这一见解与韩愈所领导的“古文运动”提出的“文以明道”，提倡古文、反对骈文等观点是一脉相承的。 This term has a two-fold meaning. Firstly, it refers to the need to rid an essay of banal wording. Secondly, it encourages authors to discard mediocre, derivative ideas when writing. It is a term raised by the Tang Dynasty man of letters Han

Sònɡzájù 宋杂剧 Poetic Drama of the Song Dynasty 宋代产生的由滑稽表演、歌舞、杂戏组合而成的综合性戏曲形式，是以唐代参军戏为基础并吸收当时的歌舞、曲艺等发展起来的早期戏剧形式。内容上以滑稽讽刺为主，演出形式多采用“一场两段”，有时候会增加“杂扮”。宋杂剧角色有四到五人，一人主唱，主要通过演唱大曲叙事，其他角色则承担宾白、插科打诨、歌舞表演等。北宋时期的戏剧演出非常普遍，开封、洛阳两地尤其兴盛。整个两宋期间，杂剧也在不断演变中，角色分工更细，造型手法更多样，戏剧情节更复杂。宋杂剧是元代北杂剧的前身，其艺术形态、艺术手法等也直接影响了后世的其他戏剧形式。 Poetic drama of the Song Dynasty refers to a combination of comic shows, song and dance, and variety shows. It is an early form of traditional Chinese drama based on Canjunxi (comic dialogical plays of the Tang Dynasty) and drawing elements from song and dance plus other

ɡǔwén yùndònɡ 古文运动 Classical Prose Movement 指唐代中期至北宋时期提倡用古文创作的文学革新运动。其特点是反对六朝以来的骈文创作，兼有思想运动和社会运动的性质。这一运动的代表者，有唐代的韩愈、柳宗元，以及宋代的欧阳修、苏洵、王安石、曾巩、苏轼、苏辙等人。“古文”相对于“骈文”而言，这一概念由韩愈最先提出，指先秦两汉的散文，其特点是句式长短不限，不追求声律和对偶，在内容上注重表达思想、反映现实生活。“骈文”指六朝以来讲究排偶、辞藻、声律、典故的文体。骈文中虽有优秀作品，但大多形式僵化、内容空虚。韩愈倡导继承两汉的文学传统，文以明道，得到了柳宗元等人的大力支持并形成声势浩大的“古文运动”。韩愈提倡古文的实质是将改革文风与复兴儒学道统结合起来，把文章写作引向为政教服务。但骈文并未就此绝迹，晚唐以后还在流行。北宋欧阳修凭借其政治地位，大力提倡古文，他的同辈苏洵，学生王安石、曾巩、苏轼、苏辙，苏轼门下又有黄庭坚、陈师道、张耒、秦观、晁补之等人，都是古文能手，各树旗帜，最终使宋代古文运动达到波澜壮阔的地步。 It refers to the literary reform movement in the mid-Tang to the Northern Song period. It opposed rigidly rhythmical prose featuring parallelism and excessive elegance that had been popular in the Six Dynasties, and advocated a return to writing in “truly” classical Chinese. This movement was both intellectual

diǎntiě-chéngjīn 点铁成金 Golden Touch 指高明的作者用平常词句或化用前人的词句创造性地表达出神奇精妙的意蕴。亦指高手修改文章，善于从平凡文字中提炼出闪光点。北宋黄庭坚沿袭刘勰的“宗经”思想，强调学习、揣摩经典作品的表达技巧，巧妙化用前人的词句，化平常、腐朽为神奇，使自己的文章主旨鲜明而又富有文采。此说推动了宋代及后世关于诗文创作手法的讨论。 The term “golden touch” means creatively expressing novel and exquisite meaning through the use of simple language or by transforming old phrases from past masters. The expression also can be used to describe the way that an accomplished man of letters edits writings. By minor adjustment, he can bring out

qìgǔ 气骨 Qigu (Emotional Vitality andForcefulness) 指作品的气势与骨力。多形容文学艺术作品所呈现出的刚健劲拔的精神气度和力度美。“气骨”这一术语出现于南朝，与当时的人物品评风气相呼应，用来形容诗文、书法、绘画等文学艺术作品中劲健的精神气度和内在骨力，与“风骨”含义接近，而与“风姿”（作品外在的风貌姿态）相对。 This term refers to the emotional strength and the vitality of a literary work. It was first used during the Southern Dynasties, resonating with the social practice of making comment on people. The term was used to describe the emotional vigor and forcefulness of artistic works such as poetry,

biécái-biéqù 别材别趣 Distinct Subject and Artistic Taste 诗歌应具有的特殊题材和特殊的人生趣味。北宋以来，在黄庭坚的倡导下，江西诗派追求学问，以议论入诗，忽略诗歌自身的感兴特点。南宋严羽对此深为不满，在《沧浪诗话》中提出这个概念，旨在划清诗与非诗的界限，说明诗歌的本质是吟咏情性，而不是堆砌书本知识、卖弄学问；诗歌重在表现感受、传达意味，而不是单纯阐发义理，诗的义理应融化在审美意象中。“别材别趣”的提出，说明文论家注意到了诗歌自身的审美特性，倡导回归唐诗的创作方式和风格。 Poetry should have its distinct subject and artistic taste. In the Northern Song Dynasty, inspired by Huang Tingjian, poets of the Jiangxi School used poetry as a means to express views on public issues. In doing so, they tended to overlook the use of inspiring and evocative