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Writing Is a Way of Expression
所謂“書（書寫）”就是用文字將事情、想法、情感等記錄并發(fā)布出來?！皶痹x指書寫，引申指寫下來的文字作品。在中國傳統(tǒng)語境中，“書”包括一切用文字書寫下來的書信、札記、文章、書法作品、圖書等。南朝劉勰的《文心雕龍》常從字源出發(fā)考察文體的特性與功用。他用前代典籍中“書”字音義同“舒”的解釋來說明書寫的一般意義：“舒”有展開、呈現(xiàn)、表達(dá)等含義，引申指舒展暢快的心理感覺和精神狀態(tài)?！皶笨捎脕砻枘∈挛?、記錄感受、表達(dá)思想、抒發(fā)情感、排遣郁悶等。人都有自我表達(dá)的需要，自我的外化可能具有認(rèn)知、實(shí)踐、審美等方面的意義，認(rèn)知、實(shí)踐意義的實(shí)現(xiàn)也會(huì)帶來審美上的意義。劉勰由此從源頭上肯定了一切文體、文學(xué)藝術(shù)表現(xiàn)手段的根本意義，概括了文章寫作、文藝創(chuàng)作的基本功能，并在更廣泛的意義上突出強(qiáng)調(diào)了文章的審美特點(diǎn)和人的審美需求，標(biāo)志著文學(xué)理論的初步自覺。
To write is to record and release events, ideas, and feelings by means of written words. Shu (書) literally means "to write" and by extension "written works." In the context of traditional Chinese culture, written works include all letters, notes, essays, calligraphic works, and books. In The Literary Mind and the Carving of Dragons, Liu Xie, author active during the Southern Dynasties, frequently takes an etymological approach to examining the features and functions of literary styles. He interprets the general significance of writing by pointing out that according to the classics of previous generations, the characters 書 and 舒 were the same in meaning and pronunciation. As a verb, the character 舒 literally means "to stretch" and by extension "to present" or "to express." As a noun, it takes on the metaphorical meaning of mental relaxation and comfort. Writing, as the character 書 denotes, assumes the roles of depicting things, recording feelings, conveying ideas, expressing emotions, relieving melancholy, and so on. Every person has a clear need for self-expression. The externalization of one's internal state may be meaningful in cognition, practice, and aesthetics, while the realization of such meanings in cognition and practice will result in further aesthetic significance. Starting from the original meanings of the characters, Liu proceeds to affirm the essential significance of all literary styles and means of literary and artistic expressions, summarizes the basic functions of writing and literary and artistic creation, and in a broader sense emphasizes the aesthetic features of writing and the aesthetic need of humanity. His views mark the initial self-awareness of Chinese literary theory.
引例 Citations：
◎上古結(jié)繩而治，后世圣人易之以書契，百官以治，萬民以察，蓋取諸夬（ɡuài）。（《周易·系辭下》）
遠(yuǎn)古時(shí)期人們以結(jié)繩記事的方式來治理國家，后世圣人用書契代替結(jié)繩，百官用書契裁決政務(wù)，萬民則通過書契察知事情，這大概是取夬卦的“裁決、決斷”之義。
Leaders of primitive times ruled with knotted cords. Sages of later generations replaced them with characters. Officials used characters in governance. The masses of people used them in examining things. This may come from the idea of "judgment" or "decision" suggested in the hexagram of guai. (The Book of Changes)
◎揚(yáng)雄曰：“言，心聲也；書，心畫也。聲畫形，君子小人見矣。”故書者，舒也。舒布其言，陳之簡(jiǎn)牘，取象于夬，貴在明決而已。（劉勰《文心雕龍·書記》）
揚(yáng)雄說：“言語是發(fā)自內(nèi)心的聲音，文字是表現(xiàn)心意的符號(hào)。聲音文字將內(nèi)心表現(xiàn)出來，就能分辨出君子和小人?！彼郧叭藢ⅰ皶〞鴮懀苯忉尀椤笆妫òl(fā)布、展現(xiàn)）”。將言語、事情記錄、呈現(xiàn)在簡(jiǎn)牘上，這個(gè)取象于《周易》的夬卦，夬卦的意義就在于幫助人們明白決斷。
Yang Xiong said: "Speech is sounds from the heart, while writings are symbols from the heart. When sounds and symbols take form, a man of virtue can be distinguished from a man of base character." Therefore, writing is a way of expression. The practice of expressing with words and putting them down on bamboo and wooden slips is suggested in the hexagram of guai in The Book of Changes, which stresses the importance of clarity and determination. (Liu Xie: The Literary Mind and the Carving of Dragons)
◎書者，舒也。襟懷舒散，時(shí)于清幽明爽之處，紙墨精佳，役者便慧，乘興一揮，自有瀟灑出塵之趣。（費(fèi)瀛《大書長(zhǎng)語·乘興》）
“書（書法）”是“舒展”的意思。寫書法，當(dāng)在心情舒暢、閑適之時(shí)，在清凈、幽雅、明亮、氣爽之地，用精良上佳的紙墨，身邊之人也要反應(yīng)機(jī)敏，這時(shí)趁著興致一揮而就，自然就有瀟灑自如、超凡脫俗的意趣。
Calligraphy is a means of expression. A person, with ease and peace of mind, chooses a tranquil, secluded, bright, and clear place for writing. With paper and ink of superior quality and an alert attendant, he makes strokes in high spirits and enjoys the unworldly pleasure of freedom. (Fei Ying: Idle Words on Big Character Calligraphy)
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：錢耐安
