“隱”指隱晦含藏，“顯”指鮮明顯揚。作為文藝術(shù)語，它們指詩文創(chuàng)作過程中，有些事理須隱晦含藏，有些事理須鮮明顯揚，體現(xiàn)在語義和文辭上，則或含蓄或顯豁，理想的藝術(shù)境界是隱顯有度。文辭含蓄，語義隱晦，并不是晦澀難懂，而是耐人尋味；文辭明白，語義顯豁，也不是直白外露，而是明確清楚。從普遍意義來講，“隱”與“顯”并不是非此即彼的對立關(guān)系，而是可以互相轉(zhuǎn)變流動的辯證關(guān)系，其間體現(xiàn)“道”的變化。

"Concealment" refers to keeping things hidden, whereas "revelation" means making things abundantly clear. As an artistic and literary term, this pair of opposites refers to a creative process in which some things need to be hidden and others abundantly clear. When applied to semantics or rhetoric, it refers to subtle or explicit modes of expression. An ideal work of art is marked by a proper balance between concealment and revelation. Understatement or hidden meaning does not mean being cryptic, but rather being profound in significance. On the other hand, plainness of wording or conspicuousness of meaning does not mean sheer transparency, but rather clarity. Generally speaking, concealment and revelation are not mutually exclusive. They are instead interchangeable and feature two-way dialectic mobility, revealing Dao in constant change.

引例 Citation：

◎竊惟《中庸》一篇，圣賢之淵源也，體用隱顯，成己成物備矣。（張栻《跋〈中庸集解〉》）

我個人認為《中庸》這一篇文章，是圣賢思想的本源，它的本體、作用或含蓄或顯揚，成就自己、成就外物的方法都齊備了。

I personally believe that the essay titled "The Golden Mean" is the source of sagely thought. It conceals or reveals its essence and functions in accord with circumstances, resulting in accomplishment for self and others. (Zhang Shi: Postscript to Collected Explanations of and Commentaries on The Golden Mean)

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供稿：北京外國語大學 外語教學與研究出版社

責任編輯：錢耐安