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Writing That Runs Counter to Its Author's Aspirations Is Worthless
如果所寫文章與自己內心的情志不一致，這樣的文章有何價值呢？“言”指言辭、文章，“志”指作者的思想情感。出自南朝劉勰《文心雕龍·情采》。劉勰認為，在創作的時候，應當為情而造文、為志而發言，就像《詩經》的創作者們那樣，心中有志向、有愁思、有歡欣，然后發為歌詠，形成詩篇，自然就是佳作。如果所寫與所想所感不一樣，或者內心蒼白、無病呻吟，如此寫出的作品就毫無意義。這一術語批評了崇尚浮華、忽視真情實感的現象。
If a piece of writing contradicts its author's aspirations, why bother to write it at all? Here, yan stands for either "speech" or "writing," and zhi refers to an author's feelings and aspirations. The term originates from The Literary Mind and the Carving of Dragons by Liu Xie of the Southern Dynasties. In Liu's view, a writer should write to express his feelings and aspirations in the same way the authors of The Book of Songs did, bursting into songs and verses to voice their aspirations, sorrows and joys. Only such writings can be truly good. If what they put down on paper does not accord with what they think or feel, or if they themselves are soulless and can only show an affected sentimentality, their writings will naturally prove meaningless. This term criticises writers who are pompous and flashy to the neglect of true feelings.
引例 Citation：
◎夫桃李不言而成蹊，有實存也；男子樹蘭而不芳，無其情也。夫以草木之微，依情待實；況乎文章，述志為本。言與志反，文豈足征？（劉勰《文心雕龍·情采》）
桃樹、李樹雖然不會說話，樹下卻被踩出了小路，那是因為它結出了甘甜的果實；從前有位男子種植蘭花，開出的花卻沒有香氣，那是因為沒有相應的情感投入。像草木這樣的細微之物，還得依賴情感投入（它才綻放香氣）或者有待結出果實（樹下才會踩出小路）；何況寫作文章，就應該以抒寫情志作為根本。如果所寫的言辭與內心的情志不一致，這種文章還有何價值呢？
Trees bearing peaches and plums do not have to talk, yet the world, attracted by the sweet fruits they yield, beats a path to them. A man once planted an orchid but its flowers did not exude any fragrance. Why? Because he did not put his heart into his cultivation. Even trees and flowers rely on sincere care to bear fruit or to give off a sweet scent. So it is with the business of writing, which is essentially about voicing one's feelings and wishes. If what is written contradicts the author's aspirations, what's the point of writing at all? (Liu Xie: The Literary Mind and the Carving of Dragons)
推薦：教育部 國家語委
供稿：北京外國語大學 外語教學與研究出版社
責任編輯：錢耐安
