#双语阅读#【古文里的高级审美词汇，怎样翻译成英文？】品佳作，赞盛景，本想脱口而出，奈何词穷无言。中华文化广而博，这里整理了一些古文中高级审美词汇表达，学起来吧！
1.洗炼 Terseness / Make Writing Succinct
精简词句，提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净，不炼不纯。惟陈言之务去，独戛戛乎生新。（孙联奎《诗品臆说》）
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄，元气未分为浑。（杨廷芝《 <二十四诗品> 浅解》）
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道，惟神是守。守而勿失，与神为一。 （《庄子·刻意》）
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情，又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐，状溢目前曰秀。 （张戒《岁寒堂诗话》卷上引刘勰语）
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸，太白不能为子美之沉郁。 （严羽《沧浪诗话·诗评》）
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练，重在传达神韵，具有空灵特点的作品澄澈透明、飘逸灵动，能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵，今人布置一角已见繁缛。（恽格《南田画跋·题画》）
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄，而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法，旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容，创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者，谓其外枯而中膏，似淡而实美，渊明、子厚之流是也。（苏轼《评韩柳诗》）
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代，万趣融其神思，余复何为哉？畅神而已。（宗炳《画山水序》）
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴，高雅简古。用于文艺批评，主要指文艺作品中所体现出的意蕴高远古朴、情志高雅，凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文，存于今者，无不高古浑朴。（章学诚《文史通义·内篇五·妇学篇书后》）
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称，也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域，指艺术作品所呈现出的风格与气概，内涵偏重于宏伟壮大，多用“雄浑”（heroic）“浑厚”（immense）“峥嵘”（sublime）等来修饰。
▌引例
盛唐诸公之诗，如颜鲁公书，既笔力雄壮，又气象浑厚。（严羽《答出继叔临安吴景仙书》）
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.（内容来源于中国日报网英语点津）
1.洗炼 Terseness / Make Writing Succinct
精简词句，提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净，不炼不纯。惟陈言之务去，独戛戛乎生新。（孙联奎《诗品臆说》）
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄，元气未分为浑。（杨廷芝《 <二十四诗品> 浅解》）
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道，惟神是守。守而勿失，与神为一。 （《庄子·刻意》）
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情，又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐，状溢目前曰秀。 （张戒《岁寒堂诗话》卷上引刘勰语）
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸，太白不能为子美之沉郁。 （严羽《沧浪诗话·诗评》）
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练，重在传达神韵，具有空灵特点的作品澄澈透明、飘逸灵动，能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵，今人布置一角已见繁缛。（恽格《南田画跋·题画》）
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄，而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法，旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容，创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者，谓其外枯而中膏，似淡而实美，渊明、子厚之流是也。（苏轼《评韩柳诗》）
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代，万趣融其神思，余复何为哉？畅神而已。（宗炳《画山水序》）
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴，高雅简古。用于文艺批评，主要指文艺作品中所体现出的意蕴高远古朴、情志高雅，凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文，存于今者，无不高古浑朴。（章学诚《文史通义·内篇五·妇学篇书后》）
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称，也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域，指艺术作品所呈现出的风格与气概，内涵偏重于宏伟壮大，多用“雄浑”（heroic）“浑厚”（immense）“峥嵘”（sublime）等来修饰。
▌引例
盛唐诸公之诗，如颜鲁公书，既笔力雄壮，又气象浑厚。（严羽《答出继叔临安吴景仙书》）
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.（内容来源于中国日报网英语点津）
专升本文学常识必看（2）
唐宋古文八大家之首是:韩愈
主张文章应“惟陈言之务去”的文学家是韩愈
代表唐代散文最高成就的作家是韩愈、柳宗元
《马伶传》的作者是侯方域
属于人物传记的是侯方域《马伶传》
侯方域在《马伶传》中说马伶为提高演技“乃走事昆山”
这里“昆山”所用的修辞格是借代
#专升本语文# #四川专升本备考#
唐宋古文八大家之首是:韩愈
主张文章应“惟陈言之务去”的文学家是韩愈
代表唐代散文最高成就的作家是韩愈、柳宗元
《马伶传》的作者是侯方域
属于人物传记的是侯方域《马伶传》
侯方域在《马伶传》中说马伶为提高演技“乃走事昆山”
这里“昆山”所用的修辞格是借代
#专升本语文# #四川专升本备考#
唐人韓昌黎《答李翊書》首倡古文，云“始者，非三代兩漢之書不敢觀，非圣人之志不敢存。處若忘，行若遺，儼乎其若思，茫乎其若迷。當其取於心而注於手也，惟陳言之務去，戛戛乎其難哉！其觀於人，不知其非笑之為非笑也。如是者亦有年，猶不改。然后識古書之正偽，與雖正而不至焉者，昭昭然白黑分矣，而務去之，乃徐有得也”。然唐代古文並未盛行於世，晚唐五代仍流行綺靡之文風。到了宋初，諸多有遠見卓識的文人主張恢復韓柳文風，其間王禹偁即其典型代表也。王禹偁的《答張扶書》，力倡古文之道，首推韓昌黎文風，由此即可見出一斑。今節錄此文而鈔之，並將所録附之於後。
答張扶書
秀才張生足下，僕之登第也與子之兄為同恩生，故僕兄事子之兄，父事子之父，子之於僕亦弟也。子又以攜文致書問道於我，他人宜有答也，况子之於我哉。然僕頃嘗為長洲令，因病起抄書得目疾，不喜視書，書不讀久矣。雖強之，少頃必息其目，不數日不能竟一巻，用是見僕道益荒，而文益衰也。又四年之中，再為謫吏，頓挫摧辱，殆無生意。以私家衣食之累，未即引去，黽勉於簿書間以度朝夕，尚有意講道而評文乎？
為子力讀十數章，茫然難得其句，昧然難見其義，可謂好大而不同俗矣。夫文傅道而明心也，古聖人不得已而為之也。且人能一乎心至乎道。修身則無咎。事君則有立。及其無位也，懼乎心之所有不得明乎外，道之所畜不得傳乎後，於是乎有言焉。又懼乎言之易泯也，於是乎有文焉，信哉不得已而為之也。既不得已而為之，又欲乎句之難道耶？又欲乎義之難曉耶？必不然矣。請以六經明之，詩三百篇皆儷其句諧其音，可以播筦、薦宗廟，子之所熟也。……夫豈句之難道耶，夫豈義之難曉耶？今為文而捨六經，又何法焉？若第取其書之所謂弔由靈，易之所謂朋盍簮者，模其語而謂之古，亦文之弊也。近世為古文之主者，韓吏部而已。吾觀吏部之文，未始句之難道也，未始義之難曉也。其間稱樊宗師之文必出於己，不襲蹈前人一言一句。又稱薛逢為文以不同俗為主。樊、薛之文不行於世，吏部之文與六籍共盡。此蓋吏部誨人不倦，進二子以勸學者。故吏部曰，吾不師今，不師古，不師難，不師易，不師多，不師少，惟師是爾。今子年少志專，雅識古道，又其文不背經㫖，甚可嘉也。姑能逺師六經，近師吏部，使句之易道，義之易曉，又輔之以學，助之以氣，吾將見子以文顯於時也。某頓首。
答張扶書
秀才張生足下，僕之登第也與子之兄為同恩生，故僕兄事子之兄，父事子之父，子之於僕亦弟也。子又以攜文致書問道於我，他人宜有答也，况子之於我哉。然僕頃嘗為長洲令，因病起抄書得目疾，不喜視書，書不讀久矣。雖強之，少頃必息其目，不數日不能竟一巻，用是見僕道益荒，而文益衰也。又四年之中，再為謫吏，頓挫摧辱，殆無生意。以私家衣食之累，未即引去，黽勉於簿書間以度朝夕，尚有意講道而評文乎？
為子力讀十數章，茫然難得其句，昧然難見其義，可謂好大而不同俗矣。夫文傅道而明心也，古聖人不得已而為之也。且人能一乎心至乎道。修身則無咎。事君則有立。及其無位也，懼乎心之所有不得明乎外，道之所畜不得傳乎後，於是乎有言焉。又懼乎言之易泯也，於是乎有文焉，信哉不得已而為之也。既不得已而為之，又欲乎句之難道耶？又欲乎義之難曉耶？必不然矣。請以六經明之，詩三百篇皆儷其句諧其音，可以播筦、薦宗廟，子之所熟也。……夫豈句之難道耶，夫豈義之難曉耶？今為文而捨六經，又何法焉？若第取其書之所謂弔由靈，易之所謂朋盍簮者，模其語而謂之古，亦文之弊也。近世為古文之主者，韓吏部而已。吾觀吏部之文，未始句之難道也，未始義之難曉也。其間稱樊宗師之文必出於己，不襲蹈前人一言一句。又稱薛逢為文以不同俗為主。樊、薛之文不行於世，吏部之文與六籍共盡。此蓋吏部誨人不倦，進二子以勸學者。故吏部曰，吾不師今，不師古，不師難，不師易，不師多，不師少，惟師是爾。今子年少志專，雅識古道，又其文不背經㫖，甚可嘉也。姑能逺師六經，近師吏部，使句之易道，義之易曉，又輔之以學，助之以氣，吾將見子以文顯於時也。某頓首。
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