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Graceful Wording Should Not Conceal Content, and Intricate Rhetoric Should Not Drown Out the Author's Feelings and Thoughts
華美的文飾不掩蓋文章的內(nèi)容實(shí)質(zhì)，繁富的辭藻不淹沒(méi)作者的思想情感。這一術(shù)語(yǔ)屬于創(chuàng)作論，出自南朝劉勰《文心雕龍·情采》。針對(duì)魏晉以來(lái)有的文人為了寫(xiě)作而造作情理，不得不依靠各種文飾來(lái)掩飾內(nèi)容的空虛，劉勰初步討論了文章形式與內(nèi)容的關(guān)系問(wèn)題。他繼承《論語(yǔ)》“文質(zhì)彬彬”的觀點(diǎn)，強(qiáng)調(diào)文與質(zhì)應(yīng)當(dāng)并重，形式與內(nèi)容均衡相稱，絕不可以文害質(zhì)。
This term comes from the traditional Chinese theory of literary creation. It first appeared in The Literary Mind and the Carving of Dragons by Liu Xie of the Southern Dynasties. Rebutting the way some men of letters had since Wei and Jin times taken to faking emotions or arguments just for the sake of writing, and relying on all kinds of flowery language to disguise the emptiness of content, Liu discussed in brief the relation between form and content. Assuming the idea of mingling graceful wording with substance propounded in The Analects, he advocated giving equal value to content and form. His belief was that a balance should be struck between these two, and meaning should not be sacrificed in the pursuit of beauty in form.
引例 Citations：
◎子曰：“質(zhì)勝文則野，文勝質(zhì)則史。文質(zhì)彬彬，然后君子?！保ā墩撜Z(yǔ)·雍也》）
孔子說(shuō)：“實(shí)質(zhì)多于文飾則會(huì)言行粗野，文飾多于實(shí)質(zhì)則會(huì)虛飾浮華。形式與實(shí)質(zhì)配合適當(dāng)，然后能成就君子的品格。”
Confucius said, "When one's inner disposition is in excess of his outward grace, he will look uncultured; when one's outward grace is in excess of his inner disposition he will seem to be superficial. Only when his inner disposition and outward grace are in balance can he be a man of virtue." (The Analects)
◎夫能設(shè)模[謨]以位理，擬地以置心，心定而后結(jié)音，理正而后摛（chī）藻，使文不滅質(zhì)，博不溺心，正采耀乎朱藍(lán)，間色屏于紅紫，乃可謂雕琢其章，彬彬君子矣。（劉勰《文心雕龍·情采》）
要能夠先設(shè)立一個(gè)格局來(lái)安排文章要闡發(fā)的內(nèi)容，擬定一個(gè)基調(diào)來(lái)安頓文章要抒發(fā)的思想情感。思想情感安頓好了再配合韻律，內(nèi)容端正了再鋪陳辭采，這樣就可以使華美的文飾不掩蓋文章的內(nèi)容實(shí)質(zhì)，繁富的辭藻不淹沒(méi)作者的思想情感。要使朱、藍(lán)這樣的正色光彩閃耀，紅、紫之類的間色一概摒棄不用。這樣才是修飾文章、使文與質(zhì)兼?zhèn)涞卯?dāng)?shù)木有袨椤?/p>
When writing an article, design a structure for discussing your intended content, and set a keynote for expressing your feelings and thoughts. Then support such feelings and thoughts with a metrical pattern and adorn such content with formal beauty, making sure that wording does not conceal content and intricate rhetoric does not drown out the author's feelings and thoughts. Make perfectly regular colors such as vermilion and blueness shine. Do not use in-between colors such as orange and purple. This, I insist, is what a proper man should do — adorning his writing by making it both beautiful in style and rich in content. (Liu Xie: The Literary Mind and the Carving of Dragons)
推薦：教育部 國(guó)家語(yǔ)委
供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社
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