<p class="ql-block"><b style="font-size:20px;"><u> ?。燮撸荨凹t杏枝頭春意鬧“，著一“鬧”字而境界全出；“云破月來花弄影“，著一“弄”字而境界全出矣。</u></b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> "The red apricot branches are in full bloom with spring in the air", the word "in full bloom" brings out the whole scene; "The clouds break, the moon comes out, and the flowers play with their shadows", the word "play" brings out the whole scene.</b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> 「赤い杏の枝が満開で、空気は春めいている」では、「満開」という言葉が情景全體を表現(xiàn)します。また、「雲(yún)が切れ、月が出、花が影で戯れる」では、「戯れる」という言葉が情景全體を表現(xiàn)します。</b></p> <p class="ql-block"><b style="font-size:20px;"><u> ?。郯耍菥辰缬写笮。灰允嵌謨?yōu)劣?！凹?xì)雨魚兒出，微風(fēng)燕子斜“，何遽不若“落日照大旗，馬鳴風(fēng)蕭蕭“？“寶簾閑掛小銀鉤”，何遽不若“霧失樓臺，月迷津渡”也。</u></b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> There are different levels of realms, but they are not used to determine superiority or inferiority. “Fish come out in the drizzle, swallows fly slantingly in the breeze”, why is it not as good as “the setting sun shines on the big flag, horses neigh in the wind”? “The precious curtain hangs a small silver hook”, why is it not as good as “the fog obscures the tower, the moon confuses the ferry”.</b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> 境地には様々なレベルがありますが、優(yōu)劣を決めるものではありません?！胳F雨の中、魚が湧き、燕がそよ風(fēng)に斜めに飛ぶ」は、なぜ「夕日が大きな旗を照らし、馬が風(fēng)にいななく」ほど良くないのでしょうか。「貴重な幕に小さな銀の鉤が掛かっている」は、なぜ「霧が塔を覆い隠し、月が渡し舟を惑わせる」ほど良くないのでしょうか。</b></p> <p class="ql-block"><b style="font-size:20px;"><u> ?。劬牛輫?yán)滄浪《詩話》謂：“盛唐諸公唯在興趣，羚羊掛角，無跡可求。故其妙處，透澈玲瓏，不可湊拍，如空中之音，相中之色，水中之影，鏡中之象，言有盡而意無窮?！庇嘀^北宋以前之詞亦復(fù)如是。然滄浪所謂“興趣”，阮亭所謂“神韻”，猶不過道其面目，不若鄙人拈出“境界”二字為探其本也。</u></b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> Yan Canglang said in his Poetry Talk: "The poets of the heyday of the Tang Dynasty were only interested in interest, like an antelope hanging on a horn, leaving no trace. Therefore, their wonderfulness is clear and exquisite, and cannot be matched, like the sound in the air, the color in the mirror, the shadow in the water, and the image in the mirror. The words are finite but the meaning is infinite." I think the same is true for the ci before the Northern Song Dynasty. However, what Canglang called "interest" and what Ruan Ting called "charm" are just the appearance of it. It is better for me to pick out the two words "realm" to explore its essence.</b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> 顔滄浪は詩談の中でこう述べている?！柑拼问⑵冥卧娙摔郡沥?、ただ面白さだけに興味を持っていた。まるで角にとまったカモシカのように、痕跡を殘さない。それゆえ、その素晴らしさは澄み渡り、精妙で、比類のないもので、まるで空気の音、鏡の色、水の影、鏡の中の姿のようだ。言葉は有限だが、その意味は無限である?！贡彼我郧挨卧姢摔馔瑯敜韦长趣预à毪人激Α￥筏?、滄浪の言う「面白さ」や阮廷の言う「魅力」は、あくまでも外見に過ぎない。その本質(zhì)を探るには、「境地」という二つの言葉を取り出す方が私には合っていると思う。</b></p> <p class="ql-block"><b style="font-size:20px;"><u> 王國維（1877年12月3日—1927年6月2日），初名德楨，字靜安，又字伯隅，初號禮堂，晚號觀堂（甲骨四堂之一），又號永觀，謚忠愨。浙江省杭州府海寧人，中國學(xué)者、國學(xué)大師。</u></b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> Wang Guowei (December 3, 1877 - June 2, 1927), originally named Dezhen, with courtesy name Jing'an and also courtesy name Boyu, was first known as Litang, later known as Guantang (one of the Four Oracle Bones Halls), and also known as Yongguan. He was posthumously named Zhongque. He was born in Haining, Hangzhou Prefecture, Zhejiang Province. He was a Chinese scholar and master of Chinese studies.</b></p><p class="ql-block"><br></p><p class="ql-block"><b style="font-size:20px;"> 王國維（1877年12月3日 - 1927年6月2日）、初名は徳真、號は靜安、號は伯裕。初めは理堂、後に官堂（四甲骨堂の一つ）、また永観とも稱された。諡號は鍾馗。浙江省杭州県海寧に生まれた。中國の學(xué)者であり、漢學(xué)の達(dá)人であった。</b></p>