虛靜Void and Peace

排除一切欲望與理性思維的干擾，達(dá)到心靈的純凈與安寧。由道家老莊最先提出，荀子也用它說(shuō)明專(zhuān)心致志所達(dá)到的一種精神狀態(tài)。由于這種心境與文藝審美中無(wú)物無(wú)我、無(wú)知無(wú)欲的心理特性相通，因此，古代思想家與文藝批評(píng)家也用“虛靜”來(lái)說(shuō)明文藝活動(dòng)中的審美心理。這一術(shù)語(yǔ)強(qiáng)調(diào)文藝創(chuàng)作中的心靈自由，認(rèn)為它是達(dá)到審美最高境界的重要前提。

Void and peace mean that all distractions， such as desires and rational thoughts， should be dispelled to attain peace and purity of the soul. The idea of void and peace was first proposed by Laozi and Zhuangzi， the founders of Daoism， and then used by Xunzi to refer to a state of mental concentration. Such a state of mind is similar to the psychological conditions in appreciation of works of literature and art， which are characterized by being totally free from the awareness of oneself and the outside world， and free from any urge and desire. Therefore， thinkers and literary critics of earlier times used this term to explain the state of mind in literary and artistic creation and appreciation. It stressed the need for spiritual freedom in artistic creation， suggesting that this is an important precondition for reaching the highest level of aesthetic appreciation.

引例 Citations：

◎致虛極，守靜篤。（《老子·十六章》）

（達(dá)到虛空境界，心中沒(méi)有任何雜念；堅(jiān)守安寧心境，不受外物干擾。）

When one attains the state of void and peace， his mind becomes peaceful and free of any distractions. He can withstand the temptations of the outside world. （Laozi）

◎是以陶鈞文思，貴在虛靜，疏五藏，澡雪精神。（劉勰《文心雕龍·神思》）

（因此構(gòu)思文章，最重要的是虛靜，不受外物干擾，身體舒泰如同五臟貫通了一樣，精神潔凈如同洗潔過(guò)一樣。）

In conceiving an essay， one should strive for a mental state of quiet emptiness and not let oneself be bothered by external interferences， and be relaxed and at ease just like all his internal organs are put in perfect comfort and his spirits refreshed by a thorough wash. （Liu Xie： The Literary Mind and the Carving of Dragons）

知音Resonance and Empathy

體會(huì)和理解文藝作品的意蘊(yùn)與作者的思想感情。原指音樂(lè)欣賞中的知己，后經(jīng)魏晉南北朝時(shí)期文藝批評(píng)家的闡釋?zhuān)脕?lái)泛指文藝鑒賞中的心心相印、互相理解?！爸簟弊鳛槲膶W(xué)批評(píng)的核心概念，涉及文藝創(chuàng)作與鑒賞中的個(gè)體差異與共性等諸多問(wèn)題，有著豐富的精神內(nèi)涵，與西方的讀者反應(yīng)批評(píng)理論、接受美學(xué)、解釋學(xué)等基本思想有一致之處。

The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei， Jin， and Southern and Northern dynasties to mean resonance or empathy between writers / artists and their readers / viewers. As a core concept in literary criticism， it touches upon both particular and general issues in artistic creation and appreciation， involves rich intellectual implications， and meshes with the Western reader-response criticism， receptive aesthetics， and hermeneutics.

引例 Citations：

◎是故不知聲者不可與言音，不知音者不可與言樂(lè)。知樂(lè)則幾于禮矣。（《禮記·樂(lè)記》）

（不懂自然聲音的人無(wú)法與其談?wù)撘袈?，不懂音律的人無(wú)法與其談?wù)撘魳?lè)，通曉音樂(lè)的人也就接近懂得禮了。）

Talking about melody with someone who has no ear for natural sounds would be a waste of time， and so would discussing music with someone who knows nothing about melody. One who knows music is close to understanding social norms. （The Book of Rites）

◎知音其難哉！音實(shí)難知，知實(shí)難逢，逢其知音，千載其一乎?。▌③摹段男牡颀垺ぶ簟罚?/p>

（理解音樂(lè)是多么困難??！音樂(lè)實(shí)在難于理解，理解音樂(lè)的人很難遇到，要遇到理解音樂(lè)的人，恐怕是千年一遇呀！）

It is such a challenge to understand music！ Since music is so hard to understand， it is difficult to find people who can appreciate it. It may take a thousand years to find someone who understands music！ （Liu Xie： The Literary Mind and the Carving of Dragons）