Of the heart vibratile, carried tear and smile, happiness and filthy. The person is between this heart, draw uses up changes in temperature.
心的颤动，携带了泪水与微笑，美好与丑恶。人就在这方寸之间，绘尽冷暖。
Consciousness is dominating action, behavior and consciousness agree originally, but the person has two sides sex, the ” before person of one side “ , the ” after person of one side “ . The ” before “ person is appetent it is somewhat, but want those who consider figure to model again, at this moment, the person makes one side looking glass all round. The ” after “ person is with the heart, the dialog with oneself and chat, it hides in the late night, expose rarely. Ground of your fix eyes on looks attentively at no less than in lens oneself, often can be one of Jing again however: The figure of the ” before “ person always is not as good as the figure of the ” after “ person can agree with interior trend. Know individual character of Fei of rice of home of painting and calligraphy of Northen Song Dynasty is unusual, bearing is crackers, he can cast a leg, run anyhow hall, also can put not dry inkstone one's writing or painting into the bosom. But this is his figure before the person, it is place of Song Hui an administrative unit in Xizang to accept, accept for numerous official place, accept for social place. Why can you realize Mi Fei's gain and loss? He of literary talent horizontal excessive how brandish pen creation, or how be fond of care half for calligraphy? Account delicacy is little, the one side of the ” after this “ person, was flooded by the figure of the ” before “ person, later generations unknown.
意识支配着行为，行为和意识原本一致，但人是有两面性的，一面“人前”，一面“人后”。“人前”是意欲有所为，但又要考虑形象的塑造，这时，周围人成为一面镜子。“人后”则是与心，与自身的对话与交谈，它藏在深夜里，很少暴露。正如你目不转睛地注视镜中的自己，却又常常会为之一惊：“人前”的形象总是不及“人后”的形象能够跟心灵的走向一致。都知道北宋书画家米芾个性怪异，举止癫狂，他可以撒开腿，随随便便地跑上殿，也可以把未干的砚台墨迹揣入怀中。可这是他在人前的形象，为宋徽宗所接受，为众臣所接受，为社会所接受。可何以知米芾之得失？才气横溢的他如何挥笔创作，或如何为书法喜忧参半？记载鲜少，这“人后”的一面，就被“人前”的形象淹没了，后人不得而知。
Figure of the ” before “ person appears by other protruding, gain and loss of the ” after “ person relies on him body to realize. Body realizes the shadow that serves as figure, coverture is under figure. “ happy event is angry should not form at lubricious ” , this is the tradition of Chinese the ancients, no matter gain and loss, they always hide idea at the heart. After Yao and Shun, the monarch accepts so called abdicate and hand over the crown to another person, always first evade, subsequently 3 let and suffer. For many times the expressional backside of politely decline, our fact difficult conjecture the billows of its heart, what accept kingship to be able to make he feels faint probably is anxious, person of which one gather in wary marketplace can talk casually about him purple is frame-up, probably his rapture has built everything already, because of oneself eventually be able to regnant the world, this sparks again probably its hard the recall with emotion that character says, because backside of ” of “ abdicate and hand over the crown to another person is worn with respect to bury the rain of blood of wind of raw meat or fish of incomplete of photograph of a flesh and blood. Sure have so that have break, but only general character is between them, party is entire not verbal, hide at the heart completely. Know only purposely.
“人前”形象由他人凸现，“人后”得失靠自己体悟。体悟作为形象的影子，被覆在形象之下。“喜怒应不形于色”，这是中国古人的传统，无论得失，他们总是将想法隐匿于心。尧舜以后，帝王接受所谓的禅让，总是先推脱，随后三让而受。多次辞让的表现背后，我们实难揣测其内心的波澜，或许接受王位会使他感到隐隐的担忧，唯恐市井里哪一撮人会闲话自己帝位不正，或许他的狂喜早已盖过一切，因为自己终于得以君临天下，这或许又触发其难以言说的感怀，因为“禅让”背后就埋藏着一场骨肉相残的腥风血雨。必定有得有失，可他们之间唯一的共性是，当事人全不言语，全藏于心。只有心知。
With Chinese ancient time lukewarm soft downy rice paper is same, this kind of “ knows people purposely only the habit of ” is in days the ability after pan is accumulated gradually those who come down. “ big news hopes sound, big aeriform ” , the appearance of deep concealment and Wen Wan is the type that favores for most person place. Calm fall in a bodhi, silent and heart dialog composition just are the right way that intelligence is able to leap. Then father rides Qing Niu to give case cereal to close, encounter in Zhuang Zhoumeng butterfly, it is the dialog of field and one heart, heart of the “ in complying with Chinese culture knows the tide of ” .
和中国古代温软柔和的宣纸一样，人们这种“仅有心知”的习惯是在时光一次次的淘洗后才逐渐积淀下来的。“大音希声，大相无形”，深深的隐匿与温婉的外形是为大多数人所偏爱的类型。沉静在一棵菩提下，默然与心对话作文才是心智得以飞跃的正确途径。于是老子骑青牛出函谷关，庄周梦中遇蝶，都是一场与心的对话，顺应了中国文化中“心知”的潮流。
Between heart, it is the limitation on a kind of space. Leaf of the top of a wall comes back fall branch, dance is inside the courtyard, have nothing to do with other. Can fall Ying Zhimei, both neither wishs to be shared together with other, wait for when the flower is used up, also have court of one person sweep only, have one person only, suffer from cold-resistant meaning and loneliness. ” of “ gain and loss limitation is in the space of “ feelings ” , must learn to assume. Since marrow traces to the source at the heart, what the marrow that contain limit needs between feelings is heavy, with “ materiality ” allows “ aeriform ” . If say deep thought originates,experience, heart the gain and loss between, there's something behind all this can be made. Ever Fan Youshi carries the country on the back all night writ of be used to, because stupid, chill is penetrative in relapse instead all the time answer, there is a thief in the home by chance wait falls in brim, awaiting Ceng Guofan light-off to retire for the night, can carry the article on the back till that thief ripe, ceng Guofan is in as before repeatedly, still cannot give article back. Final thief is driven beyond forbearance, jumped from bridge, scolding Ceng Guofan face to face is ” of head “ small ass.
方寸之间，是一种空间上的限制。墙头花瓣旋落枝头，舞在院内，便与他人无关。可落英之美，既不愿同他人一道分享，则待到花尽之时，也只有一人洒扫庭院，只有一人，苦耐寒意与寂寞。将“得失”限制在“寸心”的空间之内，就必须学会承担。既然精髓溯源于心，则寸心之间需容拘精髓之重，以“有形”容“无形”。如果说深刻的思想来源于经历，则方寸之间的得失，大有文章可作。曾国藩幼时彻夜背习文书，因为笨，寒意彻骨之中一直反反复复，恰巧家中有位梁上君子正伺在檐下，候着曾国藩熄灯就寝，可直到那贼将文章背熟，曾国藩依旧在反复，仍无法将文章背出。最后小偷忍无可忍，从梁上跳了下来，当面骂曾国藩是头“小蠢猪”。
We know Ceng Guofan only is generation name Confucianism, always see his body is in exalted honor only, forgot to analyse the gain and loss of its backside however. Cannot expect Ceng Guofan is gotten by rebuke of a thief the occasion of be flushed, he is in get brilliant positive result while lost one part self-respect even, the ooze that he can look attentively at himself in the shadow only is worn hematic cut, look for of drift along ground is worn trifling and safe feeling. He probably torturous oneself, again second choose to stand fast in dark night. When turn one's head, become famous or deny already became impersonal aspect, and he is opposite at least feel no regret of “ feelings ” . This is heart of a make inquiries and the process that feels relieved slowly.
我们从来只知曾国藩是一代名儒，总是只见他身处高位之荣耀，却忘了分析其背后的得失。无法料想曾国藩被一个贼训斥得面红耳赤的场面，他在得到辉煌成果的同时甚至丧失了一部分自尊，他只能在阴影里注视自己的渗着血的伤口，苟且地寻觅着些许安全感。他或许一次次拷问自己，又一次次在暗夜里选择坚守。回首时，成名或否已成客观局面，而他至少对“寸心”无愧。这是一个叩问内心而慢慢释然的过程。
Popular feeling carries press press force on the head, accept torturous. Such, gain and loss is presentative nevertheless. “ feelings tells the requirement that ” raises, depend on Gu defending the heart not only, do not be confined to aeriform ” of “ old photograph, still undertake the test of ability to the person. Whether “ from heart institute desire, and do not even more quadrature ” ? Come off the heart from inside darkness come out, speak with its. The breach of popular feeling was drawn the outline of outline, we must straight face, and feelings is informed.
人心顶受压力，接受拷问。如此，得失不过是表象。“寸心知”提出的要求，不仅在于孤守心灵，不仅限于“大相无形”，还是对人承担能力的考验。是否“从心所欲，而不逾矩”？将心从黑暗中剥离出来，并与其对话。人心的缺口被勾勒出了轮廓，我们不得不直面，且寸心得知。
Heart, vibrate again, be like some kind of uncanny air, this is the dialog of people and popular feeling, at the moment, gain and loss ases if numerous flower falls inside the courtyard. Withered sees only outside the wall, do not know a courtyard inside, already great achievements full branch.
心，又颤动，似某种神秘的旋律，这是人影与人心的对话，此刻，得失仿佛院内繁花落尽。墙外只见凋零，不知院内，已然硕果满枝。(文/谢天和)