至情
True Passion
感人至深的真情。“至情”一词先秦即已有之，但直到晚明时期，戏曲家汤显祖（1550—1616）将其引入文艺创作，始成为文艺理论术语。因受到左派王（阳明）学的影响，汤显祖特别强调文艺创作中的“情”，以与宋明理学的“理”对抗，认为“情”才是文艺作品的创作动因和推动力，“至情论”即由此出炉。在汤显祖看来，世界是有情的世界，人生是有情的人生，有情人生的最高境界即是至情，由至情通向至美，从而达到真和美的统一。而最好的至情表达方式即是戏剧，所谓“因情成梦，因梦成戏”。汤显祖的“至情论”呼唤着精神自由和个性解放，对宋明以来的封建礼教形成了有力冲击。
This term stands for deep and genuine emotions. The expression already existed in Pre-Qin times, but only during the late Ming Dynasty did it become a term in literary theory, when playwright Tang Xianzu (1550-1616) introduced the concept into literary creation. Influenced by the leftist faction of Wang Yangming's philosophy of the mind, Tang Xianzu put special emphasis on 'passion' in literary creation as opposed to 'principle,' as was advocated by the Neo-Confucian School of Principle of the Song and Ming dynasties. He believed that 'passion' was the driving force in literary creation, hence his theory of 'true passion.' In his view, the world was not void of passion, and neither were human lives. The highest status of living a passionate life was to have true passion which would then lead to true beauty and thus achieve unity between truth and beauty. To him, true passion was best expressed through drama, as he claimed that 'passion will turn into dreams, and dreams into drama.' His theory gave voice to spiritual and individual freedom. As such, it delivered a powerful blow against the feudal codes of ethics coming down from the Song and Ming dynasties.
引例 Citations：
◎言语应对者，情之饰也；言至情者，事之极也。今臣言至情不讳，君其恶之乎？（《六韬·文韬·文师》）
言语应对，是对真情的文饰；言语体现真情，那是最好的事情。如今我说的都是真情之言并且直言不讳，您听了不会反感吧？
Words and responses serve to express true feelings. The best thing is to speak one's mind. What I say today is all sincere and honest. I trust you are not offended by what I have said. (The Six Strategies)
◎吾备旧知，故陈至情，虽逆于耳，骨肉之惠也。（《三国志·魏书·袁术传》）
我与您算是故交，所以对您表露最真挚的情意，虽然听起来不大顺耳，但这是至亲之人才有的爱护。
We are old friends, so I am speaking my mind. My words may not be agreeable to the ear, but they convey the care of a person who cares for you most dearly. (The History of the Three Kingdoms)
◎情不知所起，一往而深，生者可以死，死可以生。生而不可与死，死而不可复生者，皆非情之至也。（汤显祖《〈牡丹亭记〉题词》）
人的情感在不知不觉中被激发起来，而且越来越深，活着时可以因为情而死，死了又可以因为情而生。活着不愿为情而死，死后又不能为情复活的，都没有达到感情的极致。
Love can be aroused unconsciously and deepen over time. Because of love, the living can embrace death and the dead be brought back to life. Those who do not want to die for love and cannot resurrect for love after death have simply not attained love's ultimate sublimity. (Tang Xianzu: A Preamble to The Peony Pavilion)
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供稿：北京外国语大学 外语教学与研究出版社
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