Unrestrained and Ingenuous Spirit
洒脱不羁，真率自然。“疏野”所反映的实际是诗歌创作中的一种“无心”状态，即任由本心本性与外物遇合，不从主观情志出发，不刻意选择外在景观与素材，不刻意运用某种手法、技巧，不精雕细刻、反复推敲。为文如为人，洒脱不羁，率真豁达，质朴自然。它不仅代表一种自然天成、冲淡疏旷的美学风格，还表 现了一种胸怀万物而又超然物外的生存状态与人生境界。
An unrestrained and ingenuous spirit reflects a state of “carelessness” in poetic creation, whereby the poet allows his inner self to encounter external things without constraint. It does not proceed from the poet’s subjective feelings and aspirations nor does it choose any particular scenery and subject matter. It neither shows favor to any particular technique or means of expression, nor does it pay undue attention to wording. It encourages the poet to write just as freely, spontaneously, and naturally as he behaves in real life. It represents not only a natural, quietly elegant, and unrestrained aesthetic style, but also a magnanimous mind and an elevated state of being.
▌引例
情性疏野曰闲。（释皎然《诗式·辩体有一十九字》
When a poet demonstrates a free and ingenuous spirit, he writes in a relaxed style. (Shi Jiaoran: The Theory of Poetry
Utter Innocence
本义指婴儿未经世俗染污的纯洁心灵，也指成年人仍然保有的婴儿般的赤诚真心，那种在功利世界里仍能坚守的初心。它既是古人推崇的理想人格的一种表征，也是文艺作品中美好人物形象塑造的一种类型。
This term refers to the pure heart and soul of a newborn babe, untainted by worldly affairs. Most often, it refers to adults who retain the utter innocence of an infant, holding themselves aloof from worldly goals. The term promotes an ideal personality worshiped by ancient Chinese and represents a laudable type of character often portrayed in literary works.
▌引例
大人者，不失其赤子之心者也。（《孟子•离娄下》）
He who is capable of retaining a childlike heart is a truly virtuous man.
至乐无乐
Utmost Happiness Lies in Not Aware of the Happiness.
至高的快乐是内心祥和而超越乐与不乐的判断。庄子（前369？—前286）认为，快乐应该依从于自己的本心，如果以世俗观念为判断依据，可能会背离生命的本质；如果为情感和欲望所驱使，可能会伴随失落与伤害。快乐与否的判断实际上源于对利害得失的判断，而利害得失是相对的、可变的，因此，忘却得失利害、没有了快乐意念才是“至乐”的境界。
Utmost happiness is an inner peace that transcends any judgment as to whether we are happy or not. Zhuangzi (369?-286 BC) held that happiness should be dictated solely by the heart. If we measure happiness against a worldly criterion, we may lose sight of life’s essential purpose. If we are driven by emotions and base desires, harm and loss may be the result. Our happiness in fact depends on our judgment of loss or gain. However, loss or gain is relative and subject to change. Only when we totally forget this question can we attain utmost happiness.
▌引例
果有乐无有哉？吾以无为诚乐矣，又俗之所大苦也。故曰：“至乐无乐，至誉无誉。” （《庄子•至乐》）
Is there happiness or not in this world of ours? My belief is that utmost happiness lies in not even being aware of it. However, this very thought is exactly what agonizes us all. Hence the maxim: “Utmost happiness is when we do not strive for it, and highest praise consists in having no need for praise.” (Zhuangzi)
感物
Sensed Externalities
指人为外物所触动产生了创作冲动，经过构思与艺术加工，形成为文艺作品。“物”指直观可感的自然景物、生活场景。古人认为创作缘起于外界事物的感召而激起了创作欲望，文艺作品是外物与主观相结合的产物。这一术语强调了文艺创作源于生活的基本理念。
A person’s creative impulse is triggered by one or more externalities, and after conceptualization and artistic treatment, this results in a work of art. Such externalities include both natural sights and scenes from life which can be directly sensed. Ancient Chinese believed that creation resulted from externalities which evoked a desire to create, and that works of art and literature were the result of combining externalities with subjective thinking. This term emphasizes the fundamental idea that artistic creation is rooted in life.
▌引例
人禀七情，应物斯感，感物吟志，莫非自然。（刘勰《文心雕龙·明诗》）
People have the seven emotions of joy, anger, sadness, fear, love, loathing and desire. He expresses his feelings and aspirations in a poetical way when he is stimulated by the external world and his heart is touched. All poems come from natural emotions. (Liu Xie: The Literary Mind and the Carving of Dragons)
中华思想文化术语
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