中華思想文化術語(連載三)

1．諷諭 /fěngyù/

Subtle Admonition

指文學作品借用一定事例或思想，含蓄婉轉地向統(tǒng)治者傳達民情民風、批評時政，從而使統(tǒng)治者能夠接受諷諫，革除政弊。“諷”是指諷諫、勸誡，要求詩文中的批評語言含蓄婉轉，“諭”是曉諭、表明，文章主旨最終要歸結為勸鑒、批評。也就是說，它實際包含密不可分的兩方面:一是文學的表達方式(“諷”要婉轉含蓄)，二是文學的社會功能(“曉諭”統(tǒng)治者)?！爸S諭說”由漢代學者解釋《詩經》時總結提出，儒家以此倡導文學對朝廷教化和社會民風的干預作用，將其視為文學的特殊使命。唐代詩人白居易大量創(chuàng)作諷諭詩，強化詩歌創(chuàng)作的社會功能，推進了這一文學傳統(tǒng)，對后世文學創(chuàng)作影響很大。

The term refers to the use of allegories to convey popular mood and public opinion and make critical comments on state affairs to the ruler in a tactfulmanner in the hope to persuade him to correct wrong policies．Feng(諷)represents making critical but persuasive comments subtly through poetry or prose;yu(諭)means delivering an explicit message．Such literary writing is intended to be both critical and persuasive;and it has two integral aspects，namely，a subtle literary way of expression as required by feng，and its social function of sending explicitmessages to the ruler as required．The theory of subtle admonition was advocated by scholars of the Han Dynasty based on their interpretation of The Book of Songs．Confucian scholars from then on promoted the use of subtle admonition to influence decision-making of the ruler and socialmores in a literary way．Bai Juyi，a poet of the Tang Dynasty，wrote many such poems，further reinforcing the social function of poetry and advancing this literary tradition，which had great impact on literary creation of later generations．

引例Citations:

或以抒下情而通諷諭，或以宣上德而盡忠孝。(班固《兩都賦序》)

(有些作品表達臣民的思想感情同時也希望由此將其中的諷喻傳達給君王，有些作品則是宣揚君主的恩德同時引導臣民克盡忠孝義務。)

Some literary works use subtle admonition to convey what the subjects think and feel，in the hope that the subtle advice could reach the ruler，whereas other works expound thekindness and benevolence of the ruler so as to guide the populace to fulfilling their duties and obligations．(Ban Gu:Preface to“Essays on Chang'an and Luoyang”)

古之為文者，上以紉王教，系國風;下以存炯戒，通諷諭。(白居易《策林·六八·議文章》)

(古人寫文章，往大了說是為了闡明朝廷教化與社會民風的關聯(lián);往小了說是保存諫戒、傳達諷喻。)

Writings by ancient scholars could be said that at a higher level they aimed at explaining some kind of link between the ideas of the ruling court and popular sentiment in society．At a more practical level，they sent a clearmessage of advice to the rulers through allegories．(Bai Juyi:Collection of Essays in Preparation for the Final Round of the Imperial Exam)

2．賦比興 /fùbǐxīng/

Narrative，Analogy，and Association

《詩經》創(chuàng)作的三種表現(xiàn)手法。“賦”是鋪陳事物直接敘述;“比”是類比;“興”是先言他物以引出所詠之詞，有兩層含義，一是即興感發(fā)，二是在感發(fā)時借客觀景物婉轉地表達出某種思想感情。“賦比興”為漢代儒家所總結和提出，后來演變?yōu)橹袊糯膶W創(chuàng)作的基本原則和方法。

These are the threeways of expression employed in The Book of Songs:a narrative is a direct reference to an object or an event，an analogy metaphorically likens one thing to another，and an association is an impromptu expression of a feeling，a mood or a thought，or using an objective thing as metaphor for sensibilities．Confucian scholars of the Han Dynasty summarized and formulated this concept of narrative，analogy，and association，which later became the basic principle and method in classical Chinese literary creation．

引例Citations:

賦、比、興是《詩》之所用，風、雅、頌是《詩》之成形。(《詩大序》孔穎達正義)

(賦、比、興是《詩經》創(chuàng)作的三種手法，風、雅、頌是《詩經》體制上的定型。)

In The Book of Songs，narrative，analogy，and association are three techniques in its creation，whereas ballads，court hymns，and eulogies represent three established styles of the poems．(Kong Yingda:Correct Meaning of“Preface to The Book of Songs”)

賦者，敷陳其事而直言之者也;比者，以彼物比此物也;興者，先言他物以引起所詠之詞也。(朱熹《詩集傳》)

(賦，是鋪陳事物而直接敘述;比，就是以他事物比喻此事物;興，就是先說他物然后再引出所吟詠的事物。)

A narrative is a direct description of an object，an event or a relationship．An analogy metaphorically likens one thing to another．An association employs a metaphor as a lead-in for the real subject of a poem．(Zhu Xi:Studies on The Book of Songs)

3．格調 /gédiào/

Form and Melody

指詩歌的體制聲調，包括思想旨趣和聲律形式兩方面，涉及詩歌批評的品位與境界。“格”指詩歌的體制合乎規(guī)范;“調”指詩歌的聲調韻律。唐宋時期的一些詩論家倡導格調，意在確立詩歌的雅正標準。明清以后的格調說，多強調作品應符合儒家正統(tǒng)思想，這影響了詩人的情感表達與藝術創(chuàng)作?！案裾{”后來也用到其他文藝領域。

The term refers to the form and metrical patterns，aswell as content，of poetry．It relates to artistic taste and appeal in poetry criticism．Ge(格)refers to the need to satisfy established metrical rules，while diao(調)refers to the need to follow tone and rhyme schemes in poetry．Some poetry critics of the Tang and Song dynasties stressed the importance of form and melody in order to establish a set of elegant and authoritative standards for poetry．Theory on form and melody in the Ming and Qing dynasties often emphasized the importance for poets to abide by Confucian orthodoxy，thus constraining their expression of feelings and artistic creations．The term was later also used in discussions of other forms of art．

引例Citations:

高古者格，宛亮者調。(李夢陽《駁何氏論文書》)

(高雅古樸就是“格”，婉曲清亮就是“調”。)

To be elegantand unaffected is to satisfy the requirements of form;to be tuneful and resonant is to follow the rules ofmelody．(LiMengyang:Arguments Against He Jingming's Views)

白石詞以清虛為體，而時有陰冷處，格調最高。(陳廷焯《白雨齋詞話》卷二)

(姜夔的詞以清新虛空為主要特色，雖然有凄清冷寂的地方，但格調最高。)

Jiang Kui's poems are characterized by ethereal purity．Though tinged with loneliness and sadness at times，they are of high standard and taste．(Chen Tingzhuo:Remarks on Lyrics from White Rain Studio)

4．華夏 /huáxià/

Huaxia

古代居住于中原地區(qū)的漢民族先民的自稱。最早稱“華”“諸華”或“夏”“諸夏”?！叭A夏”實際表達的是以漢民族為主體的中原先民對其共同的生活、語言、文化特征的一種認同和傳承。秦建立以華夏為主體的統(tǒng)一的多民族國家以后，華夏才成為比較穩(wěn)定的族群。自漢代以后，華夏又有了“漢”這一名稱與之并用。后來華夏進一步引申為指中國或漢族。

The forefathers of the Han people living in the Central Plains referred to themselves by this term．Earlier on they called themselves Hua(華)，Zhuhua(諸華)，Xia(夏)or Zhuxia(諸夏)．The term Huaxia(華夏)embodies the common identity of the way of life，language，and culture of the people living in the Central Plains，mainly the Han people，and the inheritance of such identity．The Huaxia people evolved into a fairly stable ethnic group in the Qin Dynasty，which established a unified country ofmany ethnic groupswith Huaxia being the principal group．In the Han Dynasty，the term Han became an alternative name of Huaxia．Later，the term Huaxia was extended to refer to China or the Han people．

引例Citation:

夏，大也。中國有禮義之大，故稱夏;有服章之美，謂之華。華夏一也。(《左傳·定公十年》孔穎達正義)

(夏的含義是“大”。華夏族的禮儀宏富偉大，所以稱為“夏”;華夏族的衣服華美出眾，所以稱為“華”。“華”與“夏”是同一個意思。)

The Chinese character夏(xia)means big and great．Since the ancient Huaxia people practiced grand and elaborate rituals，they called themselves Xia(great)．Their dresses were resplendent，so they were referred to as Hua(splendid)．Therefore，both Hua and Xia refer to the Han people．(Kong Yingda:Correct Meaning of Zuo's Commentary on The Spring and Autumn Annals)

5．懷遠以德 /huái yuǎn yǐdé/

Embrace Distant Peoples by Means of Virtue

指用恩惠、仁德去安撫、懷柔邊遠地區(qū)的部族、民眾等。是歷代華夏族政權用以處理與其他民族、未納入直接統(tǒng)治范圍的邊遠部族以及外國關系的一種政治理念，也是“以德服人”思想的重要方面。中國是一個多民族國家，以華夏族為主體的政權，自認為是大國并且文化發(fā)達，對于那些遠離中華文化的邊遠部族、民眾等，一般不采取武力征服，而是用比較溫和、合于儒家“仁德”的手段，達到安撫并使之歸順的目的。

This expression refers to pursuing conciliatory and benevolent policies and offering benefits to tribes and groups in remote areas．It was a political concept adopted by successive governments led mostly by the Han people in their relationswith other ethnic groups，tribes in remote areas not yet directly under their rule，and foreign states．Italso represented an important componentof the theory ofwinning over others by virtue．China was，as it is today，amulti-ethnic country．The Han-led government ruled over a large territory and believed that they had an advanced culture．They usually took a conciliatory approach based on the Confucian concept of benevolence in dealing with the tribes and populations in remote regions，rather than conquering them by force，with the goal of placating them and winning their allegiance．

引例Citation:

管仲言于齊侯曰:臣聞之，招攜以禮，懷遠以德，德禮不易，無人不懷。(《左傳·僖公七年》)

(管仲對齊侯［齊桓公］道:臣聽說，招撫尚未歸順的諸侯，用禮;安撫邊遠地區(qū)的部族、民眾，用德。不違背德和禮，沒有人會不歸附。)

Guan Zhong said to the Marquis of Qi，“Ihave heard it said:Win over the disaffected with respect and embrace distant peoples with virtue．With virtue and respect unchanging，there is no one that will not be embraced．”(Zuo's Commentary on The Spring and Autumn Annals)

6．肌理 /jīlǐ/

Reasoning and Structure

本義指肌肉的紋理，引申指事物細密的條理。作為文學術語由清代翁方綱首先提出，兼指義理與文理兩方面:義理是詩歌所闡述的道理或事理，主要指合乎儒家的思想和學問;文理是詩歌的條理或脈理，主要指詩歌的結構、格律和各種創(chuàng)作技法。明清以來，性靈派倡導文學抒發(fā)個體性情，摒棄教化;神韻派贊美詩歌意境的空靈玄虛。翁方綱反對這兩種詩學主張，推崇宋詩的創(chuàng)作原則與方法，強調詩歌在義理上以經義為準繩，以學問為根底;文理上強調精細縝密，形式雅麗、窮形極變但要內容充實。清代乾嘉時期經學和考據之學盛行，肌理派就是在此背景下形成的詩派。翁方綱宣揚詩歌內容和形式的有機聯(lián)系，推動了學人詩派的發(fā)展，但他一味鼓吹以學問考證作詩，受到同時代及后代文藝批評家的批評。

The term originally refers to the texture of muscle，and later by extension it refers to well-organized principles in things．As a literary term，itwas first used by Weng Fanggang，a Qing-dynasty scholar，to refer to two aspects:yili(義理，reasoning)and wenli(文理，structure)．The former is about views or reasoning，primarily concerning Confucian thinking and learning expressed in poetry;whereas the latter represents texture of poetry，especially poetic structures，metrical schemes and rhythms，and other techniques of writing．Scholars of the Xingling School(School of Inner Self)of the Ming and Qing dynasties advocated rejecting dogmatic guidelines and expressing one's emotions and thoughts in literary works，while adherents of the Shenyun School(School of Elegant Subtlety)believed in subtlety and implicitness expressed through poetry．Criticizing both literary trends，Weng promoted the principles and techniques of the Song Dynasty poetry．In terms of yili，he emphasized the need to follow classical Confucian tradition and erudition．In terms of wenli，he advocated exquisite intricacy，attention to details，and graceful structures with a great many variations，as well as the need to convey a substantive message．During the reign of Emperor Qianlong and Emperor Jiaqing of the Qing Dynasty，a boom in the study of Confucian classics and textual research led to the emergence of the Jili School(School of Reasoning and Structure)．Weng advocated integration of form and content in poetry，thus promoting the development of poetry based on classic learning．However，his overemphasis on classic scholarliness in poetry was criticized by scholars of both his age and later generations．

引例Citations:

同之與異，不屑古今，擘肌分理，唯務折衷。(劉勰《文心雕龍·序志》)

(我不介意自己的見解與前人的見解是否相同，也不介意這些見解來自古人還是今人，只是通過對文章的條理和義理進行細致分析，力求找到不偏不倚、最為合理的看法。)

Idon't care ifmy views differ from those of others，nor do I care if the differing views are from ancient scholars ormy contemporaries．What Ido care is analyzing carefully the structure and reasoning ofwritings in order to arrive at a balanced view．(Liu Xie:The Literary Mind and the Carving of Dragons)

義理之理，即文理之理，即肌理之理。(翁方綱《志言集序》)

(詮釋儒家經典所追尋的“義理”中的“理”，實質上就是文章的道理和事理，也是文章的脈理和條理。)

Yili in Confucian classics is all about structure and reasoning in writing，i．e．，the texture and proper presentation of writings．(Weng Fanggang:Preface to Collection of My Works)

士生今日，經籍之光盈溢于世宙，為學必以考證為準，為詩必以肌理為準。(翁方綱《志言集序》)

(士人生于這個年代，正值儒學繁榮昌盛，輝映世間，因此，做學問的人必以查考驗證為標準，寫詩的人必以遵循肌理為標準。)

Today'smen of letters are in an era when Confucian studies are flourishing．It is therefore imperative that scholars base their study on research and verification，and that poets focus on the structure and reasoning of their works．(Weng Fanggang:Preface to Collection of My Works)

7．江山 /jiāngshān/

Rivers and Mountains/Country or State Power

本義指河流和山嶺，代指一個國家的政權及其所覆蓋的全部疆域(義同“河山”)。這種用法隱含著這樣的觀念:河流、山嶺地形險要，是衛(wèi)護國家安全、政權穩(wěn)固的天然屏障;疆域是國家的構成要素。

The term，similar in meaning to heshan(河山)，literarily means rivers and mountains．It is used to refer to the sovereignty of a state and all its territory．The term has these implications:rivers and mountains provide natural barriers that protect the country and its sovereignty;territory is the key feature of a state．

引例Citation:

割據江山，拓土萬里。(《三國志·吳書·賀劭傳》)

(以武力占據一方，建立政權，開拓大片疆土。)

To seize a region by force，establish a regime there，and extend its territory far and wide．(The History of the Three Kingdoms)

8．教化 /jiàohuà/

Shaping the Mind Through Education

指教育和感化。是中國古代重要的政治理念和治國方法。當政者一般通過行政命令、道德教育、環(huán)境影響、通俗讀物傳播、科舉考試等諸種有形和無形的手段的綜合運用，將主流價值觀潛移默化地向民眾普及，使之深入民眾的日常活動之中，從而實現(xiàn)政治與風俗的合二為一。

Shaping themind through education was a key concept of the political philosophy and an essentialway of governance in ancient China．Rulers usually used a combination of means，both visible and invisible，to subtly spread their values among people so that these values would be observed in people's daily life，leading to integration of governance and socialmores．Thesemeans include issuing administrative decrees，conducting moral education，creating a favorable environment，disseminating popular literature that promoted ethical values，and selecting officials through imperial examinations．

引例Citation:

故禮之教化也微，其止邪也于未形。(《禮記·經解》)

(所以禮對民眾的教育和感化作用是隱微的，它能夠將不好的東西消弭于未成形之時。)

Educating and influencing the people through li(禮)has the invisible impact of getting rid of immoral thoughts in the bud．(The Book of Rites)

9．九州 /jiǔzhōu/

Nine Zhou(Regions)

中國的別稱。《尚書·禹貢》中將中國劃分為九州，分別是冀州、兗州、青州、徐州、揚州、荊州、豫州、梁州、雍州。同時代或稍后的典籍《周禮》《爾雅》《呂氏春秋》等有關“九州”的說法大同小異?！熬胖荨弊鳛樾姓^(qū)劃在歷史上并未真正實行過，但它反映了春秋末期以來中華先民棲息生活的大致上的地理范圍。

This term is an alternative designation for China．According to The Book of History，the country consisted of nine zhou(州)，namely Jizhou，Yanzhou，Qingzhou，Xuzhou，Yangzhou，Jingzhou，Yuzhou，Lian gzhou，and Yongzhou．There are similar references to the nine zhou in classic works of the same or later period，such as The Rituals of Zhou，Er Ya，and Master Lv's Spring and Autumn Annals．The nine zhouwere never adopted as actual administrative divisions of the country，but they did show the general geographical area inhabited by the Chinese people since the late Spring and Autumn Period．

引例Citations:

九州生氣恃風雷，萬馬齊喑究可哀。我勸天公重抖擻，不拘一格降人才。(龔自珍《己亥雜詩》)

(九州生機勃勃靠的是風雷激蕩，萬馬齊喑的局面實在令人悲哀。我奉勸上蒼定要重振精神，打破一切清規(guī)戒律降生更多人才。)

The vitality of China depends on wind and thunder，unfortunately not a single horse's neighing is heard．Iurge the Lord of Heaven to once again lift his spirits and，breaking all bonds and fetters，send talent of all kinds to the human world．(Gong Zizhen:Miscellaneous PoemsWritten in the Year of 1839)

吾恐中國之禍，不在四海之外，而在九州之內矣。(張之洞《勸學篇·序》)

(我恐怕中國的禍患，不在中國之外，而在中國之內。)

As I see it，the cause of China's disasters lies not overseas but within the country．(Zhang Zhidong: Preface to Encouragement to Learning)

10．科舉 /kējǔ/

The Imperial Civil Examination System

通過分科考試選用官吏的制度。隋文帝統(tǒng)一中國后，廢除以門第、品級為主的選人制度。隋煬帝大業(yè)元年(公元605年)正式開科取士。歷代科舉，在考試科目、內容、錄取規(guī)則上均有變化。各科之中，以進士科最難，也最為士人所重。元明以后，考試內容以《四書》《五經》文句命題，答題是寫一篇文章，格式為八股文，觀點需以《四書集注》等為依據。1905年光緒皇帝下詔廢科舉。科舉制促進了貴族政治向官僚政治的轉換，同時兼具教育、選官、考試、社會分層、文化傳承等多種功能。它是隋朝以后1300年間中國最主要的“選舉”方式，對中國社會發(fā)生的影響是極其深廣的。

This is the system in which officialswere selected through different levels of examinations．After Emperor Wen of the Sui Dynasty reunified China in 581，he abolished the system of selecting officials on the basis of family background ormoral character．In 605，the first year of the reign of Emperor Yang of the SuiDynasty，the system to select officials through imperial civil examinations was officially established．From then on，examination subjects，content，and recruitment standards varied from dynasty to dynasty．The jinshi，the highest level and themost difficult of imperial civil examinations，was always themost revered by scholars．In the Yuan and Ming dynasties，examination content was based on the Four Books and the Five Classics and had to be answered in the form of the“eight-legged”essay and refer to Commentaries on the Four Books and other classics．In 1905 Emperor Guangxu of the Qing Dynasty issued an edict abolishing the imperial civil examination system．For 1，300 years since the Sui Dynasty，the imperial civil examination system was the main method for selecting officials，which had a broad and profound influence on Chinese society．Ithastened the transformation of aristocracy based politics to bureaucracy-based politics and had multiple functions such as educating people，selecting officials，choosing talent through examinations，social stratification，and carrying forward the traditional culture．

引例Citations:

太宗即位，思振淹滯，謂侍臣曰:“朕欲博求俊彥于場中，非敢望拔十得五，止得一二，亦可為致治之具矣。”(《宋史·選舉志一》)

(［宋］太宗即位后，打算給那些有德有才卻久遭埋沒的人提供機會，對身邊的大臣說:“我想通過科舉考試廣求德才出眾的人，并不指望選上十個人就有五個人出眾，只要其中有一兩個出眾的，就可以把科舉考試作為實現(xiàn)政治清平的手段了。”)

Soon after Emperor Taizong of the Song Dynasty ascended the throne，hewanted to help people with both moral integrity and professional competence come to prominence，so he said to hisministers，“By recruiting remarkable people through the imperial civil examination system，I do not expect five out of ten of those recruited to excel．If one or two out of ten do，the imperial civil examination system can be used as an effective means to maintain political stability．”(The History of the Song Dynasty)

科舉必由學校，而學校起家，可不由科舉。(《明史·選舉志一》)

(科舉必須經由學校，但從學校推舉上來的人才，可以不經過科舉考試。)

The imperial civil examination system had to be implemented through schools，but those recommended by schools to official positions do not necessarily need to take the imperial civil examinations．(The History of the Ming Dynasty)

11．厲與西施，道通為一 /lài yǔXīshī，dào tōng wéi yī/

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(qū)別，因為她們都是“道”的產物及體現(xiàn)。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(fā)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(chuàng)作。

This is a famous statementmade by Zhuangzi on how beauty is relative．Originally itmeant 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 themind 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 patientor 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(xiàn)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)

12．樂而不淫，哀而不傷 /lèér bùyín，āiér bùshāng/

Express EnjoymentW ithout Indulgence and Express GriefW ithout 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(guī)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(xiàn)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 youngmen 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 ofmind，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。(《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 hymnsmake complaints and criticisms without inciting trouble．(Records of the Historian)

13．利用厚生 /lìyòng-hòushēng/

Make Full Use of Resources to Enrich the People

充分發(fā)揮物力的效用，使民眾生活富裕。古人認為，良好的政治在于“養(yǎng)民”，讓民眾生活富足?！袄谩敝v的是統(tǒng)治者應當節(jié)儉而不奢靡浪費，使物盡其用;“厚生”講的是減輕徭役賦稅，使民眾生活安寧、富裕、幸福。它是中國近代民生主義、社會主義的思想淵源之一。

The ancient Chinese believed that good governance allowed people to lead a life of plenty．The ruler should be frugal，not extravagant or wasteful．He should make good use of the country'smaterial resources，reduce the corvée and tax burdens on the people so that they could live peaceful，prosperous，and happy lives．This belief was one of the sources of advocation for the people's livelihood and socialist thinking in modern China．

引例Citations:

德惟善政，政在養(yǎng)民……正德、利用、厚生，惟和。(《尚書·大禹謨》)

(帝王的德行要體現(xiàn)為良好的施政，施政要以養(yǎng)育民眾為目的……端正德行、物盡其用、使民眾富裕，這三項工作要兼顧協(xié)調，配合得當。)

A ruler should manifest his virtue in good governance，and the goal of governance is to bring a good life to the people… The ruler should act in an upright and virtuous manner，and ensure that the country's resources are put to good use and that the people live a prosperous life．These three goals complement one another．(The Book of History)

14．良史 /liángshǐ/

Trustworthy Historian/Factual History

好的史家或史書，即能根據史實，客觀記載書寫，無所隱諱，信而有征。無論是史家，還是史書，判斷其好壞的標準都在于記載歷史是否客觀真實。這是科學史學的首要條件。

This refers to historians or history books that record historical facts in an objective and truthfulway based on evidenceswithout covering up anything．Objectivity is the ultimate criterion for judging historians or history books in historiography．

引例Citations:

然自劉向、揚雄博極群書，皆稱遷有良史之材……其文直，其事核，不虛美，不隱惡。(《漢書·司馬遷傳贊》)

(可是自從劉向、揚雄博覽群書之后，都稱贊司馬遷具備優(yōu)秀史家的資質……他行文正直合理，敘事翔實正確，不虛假贊美，不掩蓋惡行。)

However，after reading a huge number of books，Liu Xiang and Yang Xiong came to view Sima Qian as a great historian…His accounts are straightforward and reasonable，accurate and substantive，and free from false praise;they do not cover up evil deeds．(The Han History)

凡善惡必書，謂之良史。(蘇鶚《蘇氏演義》卷上)

(無論善惡，都照直記錄書寫，這就叫好史書。)

A factual history is one which records both good and evil that have happened．(Su E:Textual Studies by Su E)

選自“中華思想文化術語”系列圖書(外語教學與研究出版社出版)