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直致 Direct Expression
詩歌的描寫或語言直接而不婉曲。致：到，抵達(dá)。與南朝鐘嶸提出的“直尋”含義接近。鐘嶸不滿有的詩歌搬用典故，認(rèn)為詩歌是感于外物、吟詠情性之作，寫景抒情應(yīng)有真切的審美感受，語言表達(dá)應(yīng)當(dāng)不假雕飾、生動(dòng)鮮明。唐代詩論家殷璠繼承了鐘嶸的觀點(diǎn)，提出了“直致”，進(jìn)一步說明詩歌寫景抒情應(yīng)當(dāng)直接使用質(zhì)樸率真、明朗自然的語言，傳達(dá)自己的眼中之美、心中之情。
This term means that the description and language used in poetry should be direct and straight forward rather than implied. Here, zhi (致) means reaching to something. The origin of this term may be traced to the concept of direct search first proposed by Zhong Rong of the Southern Dynasties. He disapproved of the excessive use of allegories in some poems, maintaining that a poem could only be written when a poet was inspired by external objects. Whether describing scenery or expressing his thoughts, the poet should present his sentiments with vivid writing while avoiding the use of rhetoric. Yin Fan, a Tang Dynasty critic of poetry who followed Zhong Rong's view, put forward the term "direct expression," believing that one should use simple, clear and vivid language to describe both scenery and his sentiment.
引例 Citations：
◎觀古今勝語，多非補(bǔ)假，皆由直尋。（鐘嶸《詩品》卷中）
綜觀古今名篇佳句，大都不是借用前人詩句或使用典故，而是直接從自身體驗(yàn)中尋求而得。
An examination of well-known poetic works of both the past and the present shows that most of such poems hardly quote lines of classic poetry or literary allusions. Rather, they are directly inspired by the personal experiences of poets. (Zhong Rong: The Critique of Poetry)
◎至如曹劉，詩多直致，語少切對(duì)。（殷璠《河岳英靈集序》）
至于說到曹操、劉楨，他們的詩作直接而不婉曲，很少注意形式上的平仄工整。
The poems of Cao Cao and Liu Zhen are direct rather than implied in style, and these two poets cared little about tonal harmony. (Yin Fan: Preface to A Collection of Poems by Distinguished Poets)
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：劉懌莎
