境界

He integrated the ideological essence of Confucianism, Buddhism and Taoism, and used the " Natural kindniss " to express the Innateknowledge ontology, which composed his ontology theory ; He took this "Natural kindniss" as the basic of his theory, to pursue the Humanity realm which claim "One Unity of All Things" and the Easefulness realm which claim "free and easy", he thought both the two realms have the same mean, and finally proposed the theory of realm. On the Effort theoretically, Luo Jinxi emphasized "all lays down and breaks the unreal ontology theory", to fit the Natural kindniss in the just moment .He fused the Effort and the Ontology , which made the two together. As to the theory of "Awakening Oneself by discreet on One"s Own","The investigation of things" and "Filial piety and fraternalduty, Luo Jinxi also put forward an especial theory which made his thought into a perfect system and reached an extensive and proficient realm.

他融合儒释道的思想精华，用"赤子之心"来表述良知本体，构成其思想的本体论学说；并以此赤子良知为理论基点，追求"万物一体"之仁的境界与"生意活泼，了无滞碍"的洒脱之乐的境界，认为仁之境即是乐之境，乐之境即是仁之境，最终提出追求仁乐合一境界的境界论思想；在工夫理论上，罗近溪强调"放下一切、打破光景"，顺适赤子良知之当下状态，将工夫融释在良知本体中，即工夫即本体，即本体即工夫，表现出一种无工夫之工夫论；在关于慎独、格物、孝悌慈等论题上，近溪也提出了极具理论特色的观点，使其思想形成了一卓然圆熟的体系，达到了一"博通圆融"的境地。

It is the highest level that man can reach in realizing the infinitude and eternity of the universe with intuition.

二、文学宇宙境界的构成特征在文学作品中宇宙境界是由时间意象和空间意象构成的宏大境界。

This text human life state problem root visual field in human life meaning the inside, Increase actual in the demand of contemporary human life state, with the human life"s important function that China with the west already the cognition of the some human life state is a foundation to shine on, pass to analysis human life state innate character with study, announce to public the human life state to path, combine as to it"s the exaltation proceeds studying of first step.

本文将人生境界问题植根于人生意义的视野中，立足于引导和提升当代人人生境界立场，以中国和西方已有的人生境界的理论认识为基础和参照，通过对人生境界本质的分析和研究，揭示了人生境界对人生的重要作用，并对其提高的途径进行了初步的探讨。全文共分为三大部分：第一部分主要阐述人生境界的本质。

It is certainly true, as Schiller saw, that the Greek chorus of satyrs, the chorus of primitive tragedy, moved on ideal ground, a ground raised high above the common path of mortals. The Greek has built for his chow he scaffolding of a fictive chthonic realm and placed thereon fictive nature spirits.

席勒的见解是正确的，他认为：希腊萨提儿歌队，原始悲剧的歌队，所常常遨游的境界，确实是一种&理想的&境界，是一种远远超出凡夫行径之上的境界，因为希腊人为这种歌队虚构了一种假设的自然状态的空中楼阁，而把假设的自然人物放在它上面。

The Buddhist "Jingjie" what we call is the Chinese translation of "Visaya" in Buddhist teaching. It was "Jingjie", not other words. It was a sort of our understanding of "Visaya", and it was corresponding to our understanding of "境界". So we translated "Visaya" with "Jingjie".

我们所说的佛家&境界&是我们中国汉语言对佛教典籍中的&Visaya&的译称，所以用&境界&而不用其它的词，已经包含了我们对于&Visaya&的一种理解，这种理解同我们对于&境界&意义的理解是对应的，于是我们才选用&界&去译称&Visaya&。

Therefore, Jingjie was our Chinese word, its spirit meaning was endowed by us. Just as the translation of "Visaya", Buddhist idea endowed it more profound spirit meaning.

因此说，&境界&是我们中国本土的，其精神层面的内涵也是我们自己赋予的，只是用&境界&译称梵语&Visaya&后，佛教思想赋予了&境界&更深刻的精神内涵。

Human in religious sphere is controled by belief ,and extricating himself from common customs .

审美境界是直接性的境界，伦理境界是过渡境界，宗教境界则是最高境界。

The nature of man and life is intuit; man's different intuits of the universe and life lead to four different life states, and the transcendent state is the best one that an ideal life could reach, which is also that of a sage. The transcendent way to be a sage is "To be wise but through a mediocre way".

人及人生的本质是觉解，人生的意义因觉解不同而不同，人对宇宙人生不同的觉解形成四种不同的人生境界，天地境界是理想人生所能达到的最高境界，也是圣人的境界，实现成圣的超越之路就是&极高明而道中庸&。

Being as temperate as jade is an aesthetic principle of celadon culture. When manufacturing celadon, craftsmen focused on the shape and glaze color, advocating natural beauty. Some scholars hold that natural jade stone represents the first level of art, the semi-natural porcelain is the second level of art, calligraphy, painting, and bronze constitute the third level of art, and celadon with green glaze baked in fire is the highest state of Chinese ceramics.

青瓷追求造型和釉色的文人情趣，崇尚&天然去雕琢&的自然美，有学者认为，天然玉石器为艺术的第一境界，半人半天然的瓷器为艺术的第二境界，人为的书画、青铜器为艺术的第三境界，人与火共同创造的青瓷釉水艺术是中国陶瓷的最高境界。

People in Natural bourn and utilitarian bourn have not moral value for not understanding human's essential nature. Moral bourn and transcend bourn correspondingly saint and solon are perfect bourns, which erects topmost moral aim.

自然境界和功利境界中的人由于对人之正性根本没有觉解，所以不具备道德价值，而道德境界和天地境界以及与之相应的圣贤人格才是冯友兰心目中的道德理想，从而为道德修养树立了最高的价值目标。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。