男女主角分別是陳繼儒趙麗宏的女頻言情小說《小窗幽記：漢英對照陳繼儒趙麗宏無刪減+無廣告》，由網絡作家“陳繼儒、周文標、周文標、應佳鑫”所著，講述一系列精彩紛呈的故事，本站純凈無彈窗，精彩內容歡迎閱讀！小說詳情介紹：—漢英對照本“處世三奇書”序TheSketchesoftheMingandQingDynastiesGoingAbroad—Prefacetothe“ThreeCanonsofPersonalCultivation”趙麗宏ZhaoLihong“處世三奇書”是中國古典文學的漢英對照本。在中國傳統(tǒng)文化的出版物中，這是一套體例新穎的雙語讀本。這個讀本，不僅向讀者展現了中國古典文學一方迷人的天地，也為對中國文化有興趣的英語讀者提供了一個學習的園圃。讀者可以由中文而英文，也可以由英文而中文。研習英文的中國讀者，學習中文的外國讀者，都可以在其中獲得閱讀的樂趣。揟hreeCanonsofPersonalCultivation?isaChinese...
《小窗幽記：漢英對照陳繼儒趙麗宏無刪減+無廣告》精彩片段
—漢英對照本“處世三奇書”序
The Sketches of the Ming and Qing Dynasties Going Abroad
— Preface to the “Three Canons of Personal Cultivation”
趙麗宏
Zhao Lihong
“處世三奇書”是中國古典文學的漢英對照本。在中國傳統(tǒng)文化的出版物中，這是一套體例新穎的雙語讀本。這個讀本，不僅向讀者展現了中國古典文學一方迷人的天地，也為對中國文化有興趣的英語讀者提供了一個學習的園圃。讀者可以由中文而英文，也可以由英文而中文。研習英文的中國讀者，學習中文的外國讀者，都可以在其中獲得閱讀的樂趣。
揟hree Canons of Personal Cultivation?is a Chinese-English version of Chinese classical literature. In the publications of Chinese traditional culture, this is a set of bilingual readings with new style. It not only shows the charming world of Chinese classics, but also provides a learning garden for English readers who are interested in Chinese culture. Readers can read the canons in two ways, either from Chinese to English or from English to Chinese. Both Chinese readers who are learning English and foreign readers who are learning Chinese are enabled to get the pleasure of reading them.
《菜根譚》《小窗幽記》和《圍爐夜話》是明清時期流傳下來的三本以修身養(yǎng)性、勸善勵志為中心話題的清言體小品集，作者分別是洪應明、陳繼儒和王永彬。因其在同類書中出眾的地位和影響力，被世人譽為“處世三奇書”，頗受文人墨客和普通百姓的喜愛。
The Roots of Wisdom, Meditative Notes in Solitude and Fireside Talk at Night are the three famous books successively appearing in the Ming Dynasty (1368-1644) and the Qing Dynasty (1644-1911), with subjects mainly on moral cultivation and inspirational exhortations on doing good and working hard, and therefore known as the 揟hree Canons of Personal Cultivation?out of their unparalleled status in books of the same kind and influence among the intellectuals and ordinary people.
華夏文化的發(fā)展，每個歷史時期都有創(chuàng)造性的文學形態(tài)，并在各自領域中登峰造極，成為一個時代的文化標記。明清兩朝也不例外，在前后五個多世紀里，小說顯然是明清時期的一個主要文化特色，其次就是那些飽蘊著智慧才情、展示著世態(tài)風情的輯錄和承載著先人學說和思想的格言體小品集了。通過這些作品，我們可以清楚地了解到：優(yōu)秀的文學家，是中國傳統(tǒng)文化的脊梁，他們那些形諸文字的精神與情感結晶是中華文明最有生命力的一部分。世風日下依然能倡導并堅持孝悌，物欲橫流依然能淡泊名利，仕途得意依然能心存憂患意識，遭遇不測依然能泰然處之，國家危亡依然能竭盡忠誠，溫飽之余依然能不忘勞作之苦，生活清貧依然能寄情山水，凡此種種，都是這些優(yōu)秀文人留給后世的寶貴精神財富。
In the long history of China, cultural development of each era has its own creative literary form and insurmountable height, thus becoming a cultural mark of the time, the same those of the dynasties of Ming and Qing. During more than five centuries, the novels and fictions are of course the primary literary identity of the dynasties, and the collections brimming with human wits and revealing the ways of the world and the compilations of previous classical works, ancestors?quotes and their developed writings must be the next. Through these works and writings, we see clearly that the excellent literati燼re really the backbone of Chinese classical culture, and that the crystallization of spirit and emotion they created in words is one of the most vivid parts of Chinese civilization. As the breeders of the civilization of that times, even when the general moves were getting worse and worse they would remain faithful to filial piety and fraternal duty; even when in an acquisitive time they would remain indifferent to fame and wealth; even when content with their official careers they would remain preoccupied with the misery consciousness; even when coming across unexpected occurrences they would remain unruffled and take them燾almly; even when the state was in peril they would remain loyal; even when having enough food and clothing they would remain concerned about the pain of labor; even when living a poor life they would remain disposed to bask in the poetic mood between mountains and rivers. ?All these refined qualities are the precious spiritual wealth the excellent literati handed down to us later generations.
“處世三奇書”所收納的短句小品均為清言體，風格相似，讀起來朗朗上口，既有詩歌的韻律又有散文的流暢。這些編輯成集、主題鮮明的短句小品，是被柔美化了的格言，似詩非詩，似文非文，是小品文的一種，形式上是介于箴言警句和散文之間的文體，通常由前后對仗或排比的兩句或兩段組成，以達到均衡與和諧之美。由清言匯集而成的書籍叫清言集或清言體小品集，有分編和不分編兩種，題材自由，體例松散，所收清言小品數量少則近百則、多則數百則不等，每則小品的篇幅少則七八個字，多則逾百。內容涵蓋古賢經典和民俗文化，其中尤以演繹儒道釋三家之言為多，形式短小精致，文風飄逸清雅，具有“小品中的小品（林語堂語）”的美稱。
The short sketches contained in the 揟hree Canons of Personal Cultivation?are all with distinctive themes, clear-spoken, similar in style, easy to read, and full of the rhythm of poetry and fluency of prose. So far as the form is concerned, these sketches belong to a kind of maxims literarily beautified with a manner of seemingly like but actually not a poem or seemingly like but actually not a prose, normally composed of two sentences or two paragraphs adorned with antitheses, couplets and other rhetoric devices to achieve the beauty of balance and harmony, and with its writing style lying between maxim and prose. The collections with such writings are called clear-and-upright sketches, usually there being two ways of compilation, classified or non-classified, either freely with subject matter or loose in layout, in which the pieces collected vary from nearly one hundred to several hundreds, and Chinese characters used in different pieces vary from seven or eight to more than a hundred, and the contents arranged cover Chinese classics and folk culture, mostly related to the sayings derived from the theories of Confucianism, Taoism and Buddhism. They are short in length, vivid in format and elegant in expression, and therefore praised by Mr. Lin Yutang (a famous modern Chinese scholar) as 揳 mini-sketch of sketches?
“處世三奇書”的可貴之處在于：三位作者皆以其豐富的學養(yǎng)、淵博的知識、明敏的思辨、冷雋的文字、促人深省的儆誡、益人心智的啟迪，以及豁達如禪的覺醒，從古賢經典和民俗文化中擷取菁華但又不簡單地復述這些原文，而是在賦予它們一定的情景襯托后將其鍛造成一個個既養(yǎng)眼又養(yǎng)心的段子，于寥寥雋語中將經典所含的意旨優(yōu)雅地展現在讀者面前，充分詮釋了中國傳統(tǒng)文人的文化底蘊和人文情懷，為世人展現了一幅古人修身養(yǎng)性的清晰圖景，讓讀者在誦讀這些金科玉律時多了一份愉悅感和親近感。
The praiseworthiness of the 揟hree Canons of Personal Cultivation?is as obvious as this: instead of simply quoting the original sayings, the three authors, by applying their rich learning and cultivation, profound knowledge, dialectical thinking, grave and stern expressions, thought-provoking warning, meditative enlightenment and self-awareness, turned out their sketches in the least paradoxes to exemplify the extracts from the classical works and folk culture, and gave prominence to the pieces well matched with relevant scene, sight, circumstances, background or landscape, thus achieving the effect of being pleasant to readers?eyes and minds. Their endeavors fully annotate the cultural deposits and humanistic sensibilities of the traditional literati, and thus enable us to have the opportunity to see a clear picture of the personal cultivation of the ancients, and make us feel more pleasure and intimacy than ever in reading the famous aphorisms of ancient classics.
十年前，周文標先生在上海人民出版社出版發(fā)行《菜根譚》漢英對照本時，我曾為他寫過一篇序。據我所知，十余年來，他一直不懈地致力于用英文翻譯和編撰中國傳統(tǒng)典籍，并在呈現方式上做了積極的探索。這次他與百花洲文藝出版社共同成套推出“處世三奇書”漢英對照本，足見他這些年在這方面所傾注的時間和精力。周文標先生是上海市作家協會的會員，我為我們作協有這么一位孜孜不倦向世界推廣中國傳統(tǒng)文化的同仁感到驕傲。衷心祝賀他的“處世三奇書”漢英對照本成功出版，這是明清小品走向世界的一次積極嘗試。期待他有更多新著在不久的將來問世。
10 years ago, when Mr. Zhou Wenbiao抯 The Roots of Wisdom in Chinese-English version was about to be published by Shanghai People抯 Publishing House, I wrote a preface for him. As I know, Mr. Zhou has been unceasingly spending most of his spare time on translating and compiling Chinese classics in English for more than ten years, and has made an active scrutiny into the modes of presentation. This time, he and Baihuazhou Literature and Art Press jointly plan to issue the 揟hree Canons of Personal Cultivation?in the form of three-in-one packing, which shows how much time and energy he has devoted in this respect. Mr. Zhou is a member of Shanghai Writers Association, and I am proud to have such a colleague who has been working so tirelessly to introduce Chinese traditional culture to the world. Here I抎 like to extend my hearty congratulations on his successful publication of the Chinese-English 揟hree Canons of Personal Cultivation? thinking that it is a positive attempt for the sketches of the Ming and Qing Dynasties to go abroad. Furthermore, I抣l look forward to seeing his more new works to be published in the near future.
是為序。
It抯 my pleasure to write this preface as above.
2018年7月31日于四步齋
Four-Pace Study in Shanghai
July 31st, 2018
序
Introduction to Meditative Notes in Solitude
周文標
Zhou Wenbiao
《小窗幽記》凡194則，為《處世三奇書》的第二部。
Meditative Notes in Solitude, the second book of the 揟hree Canons of Personal Cultivation? contains 194 sketches in all.
陳繼儒（1558年—1639年)，《小窗幽記》的作者，明末文學家、書畫家，字仲醇，號眉公、麋公，華亭（今上海松江）人。諸生，年二十九，隱居小昆山，后居東佘山，杜門著述，工詩善文，書法蘇、米，兼能繪事，屢受詔用，皆以疾辭。擅墨梅、山水，畫梅多冊頁小幅，自然隨意，意態(tài)蕭疏。論畫倡導文人畫，持南北宗論，重視畫家的修養(yǎng)，贊同書畫同源，有《梅花冊》《云山卷》等傳世。著述除《小窗幽記》（又名《醉古堂劍掃》）外，還有《太平清話》《安得長者言》《模世語》《狂夫之言》《見聞錄》《六合同春》《陳眉公詩余》《虎薈》《眉公雜著》《吳葛將軍墓碑》《妮古錄》等。
Chen Jiru (1558-1639), the author of this book, is a man of letters, calligrapher and painter of the Ming Dynasty, styled Zhongchun, Meigong or Migong, born in Huating (now Songjiang District, Shanghai), who,after admitted as a scholar, began his seclusion in Small Kunshan at the age of 29 and then in East Sheshan, focusing on writing. Being an adept in composing poems and essays, he laid great store on imitating Su Shi and Mi Fu in calligraphy and paintings, and declined the imperial edicts time and again on the plea of indisposition. He was good at drawing plums and mountains with black ink and habitually had his paintings of plum made into small albums brimming with natural casualness and easy grace. Theoretically, he insisted that painting should be exactly literati one no matter which school it belongs to, and that the accomplishment of a painter should be emphasized, and calligraphy and painting should be regarded as homologous. His Album of Plum and Roll of Cloudy Mountain are well known to the world. In addition to Meditative Notes in Solitude, he also wrote books such as Taiping Qinghua, Ande Zhangzheyan, Mushiyu, Kuangfuzhiyan, Jianwenlu, Liuhe Tongchun, Chen Meigong Shiyu, Huhui, Meigong Zazhu, Wu Ge Jiangjun Mubei, Nigulu and etc.
明末距今并不久遠，但是有關《小窗幽記》成書的說法卻不少，歧義頗多：有的說《小窗幽記》全書共12卷，分醒、情、峭、靈、素、景、韻、奇、綺、豪、法、倩12個主題；有的說《小窗幽記》全書12卷只軼剩7卷；也有的說《小窗幽記》全書12卷大半已軼，今僅存醒、情、峭、靈4卷；甚至還有人認為，《小窗幽記》系明人陸紹珩（1624年前后尚在世）所著。這些莫衷一是的說法直接導致當今書市上出現了各種版本的《小窗幽記》。
It is not very far away from the late Ming Dynasty, but still there have existed many disputes about the formation and version of Meditative Notes in Solitude. Some said that there were 12 volumes in total, respectively termed as Xing (clear-headedness), Qing (love between sexes), Qiao (self-extrication), Ling (spirit), Su (simplicity), Jing (scenes), Yun (charm), Qi (splendor or excellence), Qi (prettiness), Hao (boldness or heroicness), Fa (transcending the mundane world), and Qian (beautifulness or attractiveness); some said there were only 7 volumes still extant; some said the majority of the volumes were missing, only the first four volumes were remaining; and some even thought Meditative Notes in Solitude was attributed to Lu Shaoheng (still alive in 1624). Such a wide spectrum of objections on this燽ook has directly resulted in various versions nowadays.
《小窗幽記》另一個值得關注的是刊印時間問題。據史料記載，《小窗幽記》首版問世于乾隆三十五年，也即1770年。時有文人陳本敬作序如是：
Besides the difference of versions, the time of the book抯 printing is also a question worth noting. According to historical materials, Meditative Notes in Solitude first appeared in the thirty-fifth year of Qianlong (1770), prefaced by Chen Benjing, another man of letters of the early Qing Dynasty. The full text of the preface is as follows:
太上立德，其次立言，言者心聲，而人品學術恒由此見焉。無論詞躁、詞儉、詞煩、詞支，徒蹈尚口之戒，倘語大而夸，談理而腐，亦豈可以為訓乎？然則欲求傳世行遠，名山不朽，必貴有以居其要矣。眉公先生負一代盛名，立志高尚，著述等身，曾集《小窗幽記》以自娛，泄天地之秘笈，擷經史之菁華，語帶煙霞，韻諧金石，醒世持世，一字不落言筌。揮塵風聲，直奪清談之席；解頤語妙，常發(fā)斑管之花。所謂端莊雜流漓，爾雅兼溫文，有美斯臻，無奇不備。夫豈卮言無當，徒以資覆瓿之用乎？許昌崔維東博學好古，欲付剞劂，以公同好，問序于余，因不辭谫陋，特為之弁言簡端。
The best is to cultivate virtue, the next best, to establish arguments. The one who establishes arguments actually speaks his own mind, wherefrom his moral character and academic knowledge can be seen. The establishment of arguments is a matter of wording and expression, the most important thing of which lies in guarding against a loose tongue. If one regardlessly indulges in exaggeration and stubbornly clings to outworn rules and ideas, how can he inspire his fellow beings? The eternity of writings can only be realized through the words uttered to the point and capable of standing to the test of time. As a prolific writer, Mr. Meigong was in high repute all his life for his noble aspiration. He compiled Meditative Notes in Solitude to amuse himself by revealing the secret how to be a worthy man between heaven and earth, picking extracts from classics and history and then relating them with elegant expressions and rhyme of metal and stone to enlighten the world without falling in the net of words. His writings were superior and well esteemed among the clear-and-upright sketches. To make people understand and laugh at the same time, he often aired his exquisite opinions with witty remarks much in little. In his writing, stateliness matched with fluency, elegance accompanied by gentleness, beauty approaching perfection, nothing is too wonderful and marvelous. He knew clearly that casual utterances, if not appropriate, can only be good for nothing. Now, Cui Weidong of Xuchang, a profound scholar fond of classics and with the same taste as the author抯, intends to print the book to meet the unfulfilled wish of the author and requests me to write a preface for it. Despite of my little talent and less learning, I would still like to render the short preface as this.
乾隆三十五年歲次庚寅春月，昌平陳本敬仲思氏書于聚星書院之謝青堂。
Written in the spring of the thirty-fifth year of Qianlong
By Chen Benjing of Changping
Hall of Xieqing of Star-gathering Academy
在這篇序中，作序之人除了譽美之詞外，直接稱謂《小窗幽記》作者為“眉公先生”，而“眉公”正是陳繼儒的雅號。由于“乾隆三十五年”離作者去世中間隔了131年，有人因此說《小窗幽記》是偽作。對此，譯者并不認同，反倒以為這極有可能跟一段駭人聽聞的丑惡歷史有關：作者卒于明王朝行將覆滅的1639年，而付梓的時間卻是1770年，這中間一百多年恰恰是清王朝連續(xù)四代皇帝大興文字獄的時期，捕風捉影，冤殺株連，殘酷程度為華夏有史以來所未見。書中第71則有這樣的內容：“料今天下皆婦人矣。封疆縮其地，而中庭之歌舞猶喧；戰(zhàn)血枯其人，而滿座貂蟬自若。我輩書生，既無誅亂討賊之柄，而一片報國之忱，惟于寸楮尺字間見之。使天下之須眉面婦人者，亦聳然有起色?！?陳繼儒離世前在自己的書中留下這么一段呼吁抵抗清軍入侵的文字，在后來清王朝統(tǒng)治集團的高壓之下自然是見不得天日的。由此推斷《小窗幽記》的刊印之路因這場文字獄而受阻，想必還是有一定依據的。今日我輩有幸捧讀這么一本因幽禁而被塵封過一個多世紀的清言古籍，怎能不感慨上蒼有眼，造化無欺？！
Chen Jiru died in 1639, but his book was first printed in 1770, between which there were 131 years apart. It is because of this long interval that someone held that the book was a fake. But I cannot agree and think instead that the late printing of the book is most likely to have something to do with an appalling history of ugliness caused by the first four emperors of the Qing Dynasty. Just as the history shows, since the establishment of the Qing Dynasty in 1644, the new rulers, in order to strengthen their reign, had carried out a ruthless literary inquisition of nearly a century and half against those whose writings were considered even slightest offensive by the imperial court, never seen before.
揑n my opinion, today抯 men at court are all sissyish. They sing and dance to their hearts?content in the magnificent halls while the frontiers are being lost one after another. They have fair maids to attend their grand parties as if nothing had happened while the generals and soldiers are fighting to the last drop of their blood along the borders. We scholars, with warm hearts to serve our country, but not entitled to make war on the invaders, can only write with pens to express our deep concern for the situation, hoping that all the sissy men at court will be aroused from indifference and show up as real men.?
This is the full text of No. 71 sketch picked from Meditative Notes in Solitude, in which the author appealed for resistance against the Qing troops. From this we may deduce the reason why the book had been prohibited for so long a time. Today when we luckily have the book in our hands and read the content as this, how can we not felicitate ourselves with emotion on the favor Heaven has done to us!
2017年9月于上海
Shanghai, China
September, 2017
