來(lái)源：“學(xué)習(xí)強(qiáng)國(guó)”學(xué)習(xí)平臺(tái)

詩(shī)歌在歌詠的同時(shí)以含蓄委婉的方式對(duì)執(zhí)政者進(jìn)行諷諫。“文”指有文采的歌詠；“譎”指曲折變化，意思是不要直陳執(zhí)政者的過失；“諫”就是規(guī)勸、諫誡。出自《毛詩(shī)序》。最初由儒家總結(jié)《詩(shī)經(jīng)》的表達(dá)手法而提出，后來(lái)成為文藝作品應(yīng)當(dāng)遵循的標(biāo)準(zhǔn)。它的核心思想是，詩(shī)歌可以對(duì)執(zhí)政者進(jìn)行勸諫、諷刺，但要以含蓄委婉的言辭、比興譬喻的方式寄托對(duì)執(zhí)政者的批評(píng)以及對(duì)現(xiàn)實(shí)的不滿。這一命題是儒家政治倫理在文學(xué)批評(píng)領(lǐng)域的具體表現(xiàn)。

This term shows that poetry should indirectly and mildly advise a ruler against wrongdoing. The critic should resort mainly to tactful and sensitive wording, trying not to appear blunt or offensive when admonishing the ruler. The term first appeared in Preface to Mao's Version of The Book of Songs; it was created by Confucian scholars in summarizing the various means of expression in The Book of Songs. Later, it became a criterion for measuring all works of art and literature. The core message is that, while poetry can be used to criticize or satirize a ruler and also to show discontent with social reality, a mild or indirect way should be employed, namely analogy, association, simile, and metaphor. This view is a manifestation of Confucian political ethics in the field of literary criticism.

引例 Citation：

◎上以風(fēng)化下，下以風(fēng)刺上。主文而譎諫，言之者無(wú)罪，聞之者足以戒，故曰風(fēng)。（《毛詩(shī)序》）

執(zhí)政者用風(fēng)詩(shī)教化百姓，百姓也用風(fēng)詩(shī)譏刺執(zhí)政者，用富于文采的詩(shī)歌對(duì)執(zhí)政者含蓄委婉地進(jìn)行勸諷，歌詠的人不會(huì)因此獲罪，聽聞詩(shī)歌的人足以引起警誡，所以將這類詩(shī)稱作“風(fēng)”。

Rulers use feng (ballads) to cultivate the people and the people use them to ridicule the rulers. So long as a critic advises the monarch mildly and through beautiful poetry, he will not be found guilty and the monarch he criticizes will become more careful in making decisions. These poems are called feng. (Preface to Mao's Version of The Book of Songs)

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供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社

責(zé)任編輯：劉懌莎