中華文化術語選篇

“中華思想文化術語”，是濃縮了中華哲學思想、人文精神、價值觀念等的以詞或短語形式固化的概念和文化核心詞。它們是中華民族幾千年來對自然與社會進行探索和理性思索的成果，積淀著中華民族最深沉的歷史智慧。本文選登“中華文化術語”詮釋和英文翻譯，使中國人更加理解中國古代哲學思想，也使世界更加了解中華思想文化。

厲與西施，道通為一

A Scabby Person and the Beautiful Lady Xishi Are the Same in the Eyes of Dao.

身長癩瘡的人與美麗的西施，從道的角度看都可相通為一。厲，通“癩”，指長有癩瘡的人。這是莊子關于審美相對性的著名論述。原意指身長癩瘡的人與著名的美女沒有區別，因為她們都是“道”的產物及體現。美丑的判斷只是人們主觀上的感覺而已，而且美丑之間還可相互轉化。莊子的這一思想，強調從造物的本原看，美丑都符合道，都具有內在的同一性。這個思想啟發后世的文藝評論家從相反相成的維度去看待自然萬物與文學創作。

This is a famous statement made by Zhuangzi on how beauty is relative. Originally it meant there was no difference between a beauty and an ugly person， because they both came from and reflected Dao. The character 厲（lai） meant 癩 （lai， covered in scabs） in ancient Chinese. Whether a person is beautiful or ugly is but a subjective perspective in the mind of the beholder. Besides， beauty can turn into ugliness， and vice versa. Zhuangzi， from the perspective of the origin of all things， stressed that beauty and ugliness are both in accord with Dao and are inherently the same. This idea has encouraged later literary critics to look at all things， including literary works， from the perspective that opposite things complement each other.

引例 Citations：

◎舉莛與楹，厲與西施，恢詭譎怪，道通為一。（《莊子·齊物論》）

（細小的草莖與高大的庭柱，身長癩瘡的人與美麗的西施，還有各種詭變怪異的事物，從道的角度來說都可相通為一。）

In the light of Dao， a small blade of grass or a tall pillar， someone as ugly as a favus patient or someone as beautiful as Lady Xishi， as well as crafty and strange things， are all the same. （Zhuangzi）

◎大用外腓，真體內充。（司空圖《二十四詩品·雄渾》）

（道表現于各種客觀事物，而真實的精神本質卻是內蘊其中的。）

Dao manifests in an array of objective things， but its genuine spirit lies within them. （Sikong Tu： Twenty-Four Styles of Poetry）

樂而不淫，哀而不傷

Express Enjoyment Without Indulgence and Express Grief Without Excessive Distress

快樂而不放縱，悲哀而不傷身。原是孔子對于《詩經·周南·關雎》中有關青年男女愛情描寫的評語，后世儒家將其作為倡導詩歌及其他文學作品中正平和、情理諧和之美的基本規范與評價標準。這一術語與儒家提倡的中庸思想相一致。近現代以來，其思想內涵也因受到時代潮流沖擊而不斷更新。

This is what Confucius said of the description of love between young men and women in the poem entitled “Guan Ju” in “Ballads of Zhounan，” The Book of Songs. Later Confucian scholars regarded this as a basic requirement for poems and other literary works to advocate impartiality， peace of mind， and harmony between emotion and reason， making it a criterion for evaluating literary works. Its connotation is in accord with zhongyong （the golden mean） of Confucianism. In the more recent history， the connotation of the term has been continuously renewed to keep pace with the times.

引例 Citations：

◎《關雎》樂而不淫，哀而不傷。（《論語·八佾》）（《關雎》快樂而不放縱，悲哀而不傷身。）

The poem “Guan Ju” expresses enjoyment without indulgence and grief without excessive distress. （The Analects）

◎《國風》好色而不淫，《小雅》怨誹而不亂。（司馬遷《史記·屈原賈生列傳》）

（《國風》雖然描寫愛戀情欲，但是并不放縱；《小雅》雖有怨恨與批評，但是并不煽動禍亂。）

Ballads from the states express passion of love without indulgence. Minor court hymns make complaints and criticisms without inciting trouble. （Sima Qian： Records of the Historian）