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無一字無來歷
No Word Is Without a Source
作品中凡是獨創(chuàng)性的表達都能在前人作品中追溯到源頭。黃庭堅（1045—1105）此語揭示了文學的繼承性或者說“文本間性”, 指出文學上的獨創(chuàng)要以廣泛閱讀前人的作品為基礎，同時要“點鐵成金”, 善于化用前人作品中的字句或意旨。創(chuàng)作上的繼承或源流關系一般體現(xiàn)為作品中的用典和對前人詞句、意象等的化用，但又不能片面追求援引前人的詞句、意象，亦步亦趨，落入復古主義的窠臼。此語還表明文學接受也是需要溯本追源的。
All creative literary expressions draw on works of earlier writers. This concept, put forward by Huang Tingjian (1045-1105), points to what is known as inheritance or intertextuality of literature, stating that literary creativity should be based on extensive reading of works of earlier writers. At the same time, one should turn iron into gold by making creative use of the expressions and meanings of such works. The relationship between inheritance and origin in works is generally reflected in the use of allusions and the adaptation of expressions, phrases and imagery from earlier works. However, one should not just quote expressions, phrases and imagery from these works, nor blindly copy them, so as not to fall into the trap of retrogression. This concept also highlights the need to trace the origin in appreciating literary works.
引例 Citations：
◎自作語最難，老杜作詩，退之作文，無一字無來處。（黃庭堅《答洪駒父（fǔ）書》）
自己創(chuàng)造詞句是最難的，杜甫寫詩，韓愈寫文章，沒有一個字沒有出處。
Creating your own expressions and phrases is most demanding. In Du Fu's poems and Han Yu's essays, there is not a single word that is without a source. (Huang Tingjian: A Letter of Response to Hong Jufu)
◎然予觀宋景文近體，無一字無來歷。而對仗精確，非讀萬卷者不能，迥非南渡以后所及。（王士禛《香祖筆記》卷十）
然而我看宋祁的近體詩作，沒有一個字沒有出處。而且對仗精工，如果不是讀過很多書是做不到的，遠非南渡之后的文人所能企及。
However, I can see that not a single word in Song Qi's modern-style poems is without an original source. His poems are so well-crafted and balanced in structure, which shows that he could not have written them if he had not read a lot of books, and his poems are far beyond the ability of the literati of the Song Dynasty after it moved south. (Wang Shizhen: Notes from the Orchid Studio)
推薦：教育部 國家語委
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
