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Being Quiet and Reticent
指清靜無為、沉默寡言的外表。它多是長期專注于探索高深、玄遠(yuǎn)、新奇問題的人所特有的神態(tài)、行為方式等。在南朝劉勰（465？—520？或532？）的《文心雕龍·隱秀》中，它特指蘊(yùn)含深遠(yuǎn)意義、深沉情感而又平淡樸實的文字，或指于平淡樸實的文字中蘊(yùn)含不同尋常的思想感情的風(fēng)格。后來由此演變?yōu)橐环N類似于西方文論中“冰山原則”“零度介入”的寫作方式，追求一種表面看來波瀾不驚實則蘊(yùn)含豐富、回味悠長的審美效果。
This concept is about the quiet and reticent demeanor of people who are preoccupied with exploring profound, esoteric and novel issues. In The Literary Mind and the Carving of Dragons, written by Liu Xie (465?-520? or 532?) in the Southern Dynasties, it refers to writings with profound meaning and deep emotion but are expressed in a plain, simple, unpretentious and unadorned way. Also it refers to a style of similar kind. Later, this concept evolved into a writing style of pursuing an aesthetic effect that appears plain but is rich and evocative, similar to the writing style of iceberg principle and zero intervention in Western literature.
引例 Citations：
◎且人君以玄默為神，澹泊為德，今樂遠(yuǎn)出以露威靈，數(shù)（shuò）搖動以罷（pí）車甲，本非人主之急務(wù)也。（揚(yáng)雄《長楊賦（并序）》）
況且，君主本應(yīng)保持清靜無為的精神狀態(tài)，堅守淡泊的德行，而像現(xiàn)在這樣因為愛好遠(yuǎn)游、顯露聲威，屢屢興師動眾而使車騎兵士疲勞困倦，這本不是君主著急要做的事情。
Moreover, the monarch should have maintained a pure and inactive state of mind and held fast to the virtue of quietness. But as it is now, because of the hobby of traveling far and showing off his status, the monarch makes charioteers and horses tired and weary, which is really not a matter of urgency for him to do. (Yang Xiong: "Changyang Rhapsody" with a Preface)
◎夫立意之士，務(wù)欲造奇，每馳心于玄默之表；工辭之人，必欲臻美，恒溺思于佳麗之鄉(xiāng)。（劉勰《文心雕龍·隱秀》）
那立意深遠(yuǎn)的人，務(wù)求有新奇的構(gòu)思，常在沉靜寡言的外表下掩藏著奔馳的思緒；工于言辭的人，一定想要達(dá)到完美的境界，經(jīng)常沉浸在辭藻華麗處反復(fù)琢磨。
Those who are profound in thinking often seek to explore new ideas; therefore, under the appearance of quietness and reticence they often have galloping thoughts. And those who are skilled in rhetoric often aim to achieve perfection, so they often immerse themselves in ornate oratory. (Liu Xie: The Literary Mind and the Carving of Dragons)
推薦：教育部 國家語委
供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社
責(zé)任編輯：錢耐安
