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ERIC VOEGELIN:希特勒与德国人;城邦的世界《秩序与历史 第二卷》埃里克·沃格林

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 作者:  沃格林
     書名:  希特勒与德国人   三聯2015


人子啊,我照樣立你作以色列家守望的人。所以你要聽我口中的話,替我警戒他們。
我對惡人說:惡人哪,你必要死!你─以西結若不開口警戒惡人,使他離開所行的道,這惡人必死在罪孽之中,我卻要向你討他喪命的罪(原文是血)。
倘若你警戒惡人轉離所行的道,他仍不轉離,他必死在罪孽之中,你卻救自己脫離了罪。--以西結書 第三十三章 7-9

So thou, O son of man, I have set thee a watchman unto the house of Israel; therefore thou shalt hear the word at my mouth, and warn them from me.
When I say unto the wicked, O wicked man, thou shalt surely die; if thou dost not speak to warn the wicked from his way, that wicked man shall die in his iniquity; but his blood will I require at thine hand.
Nevertheless, if thou warn the wicked of his way to turn from it; if he do not turn from his way, he shall die in his iniquity; but thou hast delivered thy soul.
人子,我也這樣立你作以色列家族的警衛;你聽了我口中的話,應代我警告他們。
為此,當我告訴惡人:『惡人,你必喪亡!』你若不講話,也不警告惡人離開邪道,那惡人雖因自己的罪惡而喪亡,但我要由你手中追討他的血債。
你若警告惡人叫他離開邪道,但他不肯歸正,離開邪道,他必因自己的罪惡而喪亡,你卻救了自己。」


城邦的世界

城邦的世界

又名: 秩序与历史·卷2
译者: 陈周旺
作者: [美]埃里克·沃格林
ISBN: 9787544705257
页数: 494
定价: 55.00
出版社:译林出版社
装帧:大32开
出版年: 2008-09

简介 · · · · · ·

  《城邦的世界》是《秩序与历 史》的第二卷。《城邦的世界》第一部分探讨米诺斯和迈锡尼的希腊前史。然后讨论荷马史诗,它被十分正确地视为希腊文明的决定性转折。第二部分涉及城邦的制 度组织,但真正关注的是从赫西俄德到赫拉克利特的古风时代的诗人和思想家。其中包含了沃格林一些最有力、最动人的分析。最后,“雅典世纪”讨论阿提卡戏 剧、智者和公元前5世纪的历史学家。这一部分显然是为下一卷主要的柏拉图研究做铺垫的。柏拉图其实已经出现在这一部分了,特别是作为智者讨论的资料来源和 陪衬。在这里,我们又一次领教了沃格林酣畅淋漓的解说技巧和尖锐辛辣。

作者简介 · · · · · ·

埃里克·沃格林(Eric Voegelin),1901年生于德国科隆,但他“完全是在维也纳熏陶成长起来的”,而沃格林的学术生命,严格说来,却是在美国度过和完成的。沃格林大 学期间主修的是法律,他的导师是名噪一时的法律实证主义大师凯尔森,但他似乎更关心“法国、德国哲学家以及天主教神学家的著作”,而在公众眼中,沃格林是 一位不折不扣的政治哲学家。一切地域文化的界限,学科专业的藩篱,在沃格林身上都土崩瓦解。


目录

主编的话
编者导言
序言
详细目录
导论:人与历史
第一部分 克里特人、亚该亚人和希腊人
第一章 希腊与历史
第二章 克里特与亚该亚社会
第三章 荷马和迈锡尼
第二部分 从神话到哲学
第四章 希腊城邦
第五章 赫西俄德
第六章 告别神话
第七章 美德与城邦
第八章 巴门尼德
第九章 赫拉克利特
第三部分 雅典世纪
第十章 悲剧
第十一章 智者
第十二章 权力与历史
索引
译后记

书摘插图

第一章 希腊与历史
  第1节 基本问题
  对希腊的秩序经验及其符号进行哲学探讨,在今天不免困难。经过几代人的努力,现在我们对希腊文化的实证知识不断稳步增长,新的地平线越来越开阔,最近又破 译了迈锡尼B线字体。然而,理论分析与知识进步并不同步。由于迄今陈出不穷的新资料和日新月异的视野,理论分析的滞后,也许是不可避免的。这一研究现状造 成了很多困难,剪不断,理还乱,乃至于导论对于读者来说,不仅不利于弄明白,反而越弄越糊涂。因此,倒不如将那些随着主题自身的展开而产生的理论问题提出 来。
  但开端问题是无法回避的——当我们试图去认定、界定我们打算展开的主题之时,这第一个理论问题就应运而生了。当我们批判性地提问,向题的 性质马上就一清二楚了:“希腊秩序”、“希腊的秩序经验及其符号”这些语言,到底是指哪一个为了政治行动而以持久形式组织起来的具体社会?否定性的回答 是,在古典时代的希腊,我们既找不到像埃及、巴比伦或亚述那样的宇宙论形式的帝国,也找不到像以色列那样的历史形式的社会,在以色列,政治制度和秩序的启 示真理之间,存在密切的联系。
  ……

The Remains of the Day; An Artist of the Floating World (Kazuo Ishiguro);賀洪禎國老師退休 Anthony Hopkins 兩片

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伍迪艾倫 回到倫敦「遇見愛」









In at number 94 in our 100 Best Novels series ... Kazuo Ishiguro’s novel about a retired artist in postwar Japan, An Artist of the Floating World, "reflects on his career during the country’s dark years and is a tour de force of unreliable narration"


Kazuo Ishiguro’s novel about a retired artist in postwar Japan, reflecting...
THEGUARDIAN.COM|由 ROBERT MCCRUM 上傳





【世界日報╱記者馬雲/好萊塢報導】

2010.09.25 03:37 am

伍迪艾倫(右)指導娜歐蜜華茲(左)和安東尼歐班德拉斯(左二)演戲。

(圖:索尼提供)

愛情喜劇大師伍迪艾倫(Woody Allen)回歸近年創意巔峰源地倫敦,拍攝都會喜劇「命中注定,遇見愛」(You Will Meet a Tall Dark Stranger),北美25日上映。透過一家兩代人的婚姻變故,探討婚姻、背叛、命運、生活與愛情。

伍迪艾倫每部愛情片,城市都是重要角色。他在紐約拍攝「安妮霍爾」(Annie Hall)、「曼哈頓」(Mannhatan)後,他轉向另一人文氣息濃厚、浪漫與罪惡相交織的城市倫敦。

本片其實是伍迪艾倫「倫敦三部曲」的第三篇,之前他還以倫敦為背景拍了「愛情決勝點」(Match Point)和「遇上塔羅牌情人」(Scoop),同樣是講述婚姻、背叛、人性的貪婪,並都有犯罪情節。在他眼中,倫敦是與紐約一樣,充滿欲望、貪婪、貧 富差距的城市。他希望透過這些城市人的婚姻變故,去探討人的脆弱本性和愛情的複雜。

伍迪艾倫的電影總有以下特色:角色對白很多,並往往有旁白。角色之一必然會捲入某種犯罪,招牌式嘲諷對白常帶有尖酸的幽默感。命運、緣份總是重要元素,並總能吸引很多明星加入。

本片邀集奧斯卡影帝安東尼霍普金斯(Anthony Hopkins)、潔瑪瓊斯(Gemma Jones)喬許布洛林(Josh Brolin)、娜歐蜜華茲(Naomi Watts)、安東尼歐班德拉斯(Antonio Banderas)、菲達品托(Freida Pinto)等眾多老中青優秀影星參與演出。

安東尼霍普金斯與潔瑪瓊斯飾演艾菲(Alfie)與海蓮娜(Helena),在結褵多年後,艾菲迷上應召女郎,決定離開老伴。

可憐的海蓮娜終日迷惘度日,漸而倚賴一位甫喪妻的占卜師。偏巧兩人的女兒莎莉(娜歐蜜華茲飾),同一時間對身旁的小說家老公羅伊(喬許布洛林飾)感到厭倦。

正當羅伊對神秘女子蒂雅大流口水,莎莉正好也與風度翩翩的藝廊老闆葛雷格(安東尼歐班德拉斯飾)乘興來段愛火試燃。

片中幾乎每個角色都在感情背叛和出軌,憧憬更美好的愛情幻想,卻不願意珍惜眼前人。伍迪艾倫總喜歡拿「命運」來開玩笑,讓觀眾體會人生的無常。本片風格與「愛情決勝點」很相似,但故事設計和人物刻畫並未超越,相對平庸。

*****
A lovely piece on The Guardian website today about The Remains of the Day http://www.theguardian.com/…/the-remains-of-the-day-by-kazu…

Kazuo Ishiguro’s Booker-winning novel is a story of unspoken love for anyone who’s ever held their true feelings back
THEGUARDIAN.COM|由 PETER BEECH 上傳


“Most of us aren’t where the big decisions are made. We do our jobs, and we take pride in them, and we hope that our little contribution is going to be used well.”


—Kazuo Ishiguro, The Art of Fiction No. 196, interviewed by Susannah Hunnewell in “The Paris Review” no. 184 (Spring 2008)





















Paris Review - The Art of Fiction No. 196, Kazuo Ishiguro


The Paris Review is a literary magazine featuring original writing, art, and...


THEPARISREVIEW.ORG


















Kazuo Ishiguro was born in Nagasaki, Japan on this day in 1954.


"But that doesn't mean to say, of course, there aren't occasions now and then- extremely desolate occasions—when you think to yourself: 'What a terrible mistake I've made with my life.' And you get to thinking about a different life, a better life you might have had. For instance, I get to thinking about a life I may have had with you, Mr. Stevens. And I suppose that's when I get angry about some trivial little thing and leave. But each time I do, I realize before long—my rightful place is with my husband. After all, there's no turning back the clock now. One can't be forever dwelling on what might have been."
--from "The Remains of the Day"


Here is Kazuo Ishiguro's profoundly compelling portrait of Stevens, the perfect butler, and of his fading, insular world in post-World War II England. Stevens, at the end of three decades of service at Darlington Hall, spending a day on a country drive, embarks as well on a journey through the past in an effort to reassure himself that he has served humanity by serving the "great gentleman," Lord Darlington. But lurking in his memory are doubts about the true nature of Lord Darlington's "greatness," and much graver doubts about the nature of his own life. READ an excerpt here: http://knopfdoubleday.com/…/the-remains-of-t…/9780307961440/














重記 賀洪禎國老師退休聚會
由於2010年9月26日晨 無意間又看 HBO
the-remains-of-the-day
這次重聽 Peter Vaughan - Mr. Stevens, Sr.講的印度管家處理桌下的老虎之故事....



所以取出2005/1/05 寫的作品
重記 賀洪禎國老師退休聚會之最大一件事是他約有2年戒到明目買書.......

禎國老師退休

禎國( Hong Chen-kuo老師八月一日從國立台北商業技術學院 (the National Taipei College of Business)退休。 我上周四說,他要活百歲,如此他選的月退法,才會將台灣經濟拖垮。
他在( 7/21)贈我們一組舊文:「知識分子的情愛與風俗—試探張賢亮的小說世界」、「談當前台灣文化現象」、「台灣的經濟建設—一項回顧與前瞻」、「咖啡與書香—北青座談系列之一」、「經濟方向球專欄(立報)」、「存在的體認與超越」、「詩歌 Epitaph翻譯」…..我說他與青年朋友介紹影響他的一些名著「咖啡與書香—北青座談系列之一」最感人。我希望他能繼續補充這未竟的愛書之旅。


今天 HBO再不斷地播好看的電影:TheRemainsoftheDay won the 1989 Booker Prize.【譯名情況:長日將盡 ( )/告別有情天 ( )/去日留痕 (其他 ) ...。書籍:『長日留痕』(南京:譯林出版社,2003)】我們可以引用主角安東尼.霍普金斯、艾瑪.湯普森在海濱談;「黃昏無限好」來勉勵他,他還有第二春。

電影中有一次重要的Lord Darlington,晚晏,該莊園的未來新主人劉易斯舉杯說,舉座嘉賓皆Decent, honorable and well-meaning『長日留痕』p.100正派、體面、本意善良)。

這最足以形容醉紅樓三桌的各路好漢、佳人。我上周奉命將他們打成草稿。這種人脈,最足以說明他的無限好的資產。
周四老師 31年匠氣)榮退聚會:明目書友會約 20人;周末派約5 人;老包派約3人;邊城出版約6人。


明目書友會 /明目幫
賴顯邦研讀印度學
黃月棋明目的老闆夫人
鍾漢清 戴明顧問公司 simon university. http://mypaper.pchome.com.tw/news/2adigoxl/
辜振豐作家暢銷書部落http://blog.yam.com/kucf326/
邱振瑞著名日本文學翻譯者
楊灌園台大農學博士
楊澤編輯豬+羊+鞭
賴鼎銘世新教務長 (2008? 升為校長)
劉后安法務部
葉春榮中央研究院人類所
楊碧川史學家
林長正電腦程式師
廖為民一橋出版社
吳錫德淡江大學教授 (2009升等成功)
劉端翼時報編輯
張仁傑淡江大學教授
舒國治名作家
歐麗娟台灣大學教授
林國卿大眾傳播業
涂明德美語老師
賴星明
李靜宜世新圖書館
鄭宏南自稱「無業遊民」
【記一番還可以補救的缺失。我在四月推出: 明目之友:
老師七月底退休流水宴 (確定日期另行通知 )
參加者請於六月十五日前撰『兄交遊誌』 (5百字之內 ) 寄鍾漢清hcsimonl@gmail.com。由於老師堅持「免戰」,所以我們原擬作一本可以讓他珍藏的小書還沒開工…… .
周末派
陳墇津政大教授
呂正會淡大教授
陳惠學中華工程
蔡其達時報編輯
潘光哲中央研究院 (現胡適紀念館和殷海光紀念館主管)
老包派
劉鈐佑群學出版社 (現經營良好)
陳文棋自由作家
朱道凱翻譯家
邊城出版 (這高品質出版社出2-3本好書之後就結束營業)
李亞南
伍至學
陳建銘
張?
張貝雯
林逸蓁

*****




Kazuo Ishiguro: how I wrote The Remains of the Day in four weeks

The author reveals how the Tom Waits song Ruby’s Arms served as inspiration for his Booker prize-winning classic novel





Emma Thompson and Anthony Hopkins in the 1993 film adaptation of Kazuo Ishiguro's Booker prize-winning novel The Remains of the Day.
 Emma Thompson and Anthony Hopkins in the 1993 film adaptation of Kazuo Ishiguro’s Booker prize-winning novel The Remains of the Day. public domain Photograph: public domain

CITIZENS: A Chronicle of the French Revolution

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“Asked what he thought was the significance of the French Revolution, the Chinese Premier Zhou En-lai is reported to have answered, 'It’s too soon to tell.'”
--from CITIZENS: A Chronicle of the French Revolution by Simon Schama
Instead of the dying Old Regime, Schama presents an ebullient country, vital and inventive, infatuated with novelty and technology--a strikingly fresh view of Louis XVI's France.

Vintage Books & Anchor Books 的相片。

禪學隨筆 (鈴木大拙); "The Way of Zen" (1957) by Alan Watts

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Philosopher, writer, and interpreter of Eastern philosophy, Alan Watts was born 101 years ago on this day in 1915...


Alan Watts 的相片。
Alan Watts


Alan Wilson Watts was born in Chislehurst, Kent, England on this day in 1915.

"[Zen] enters into everything wholeheartedly and freely without having to keep an eye on itself. It does not confuse spirituality with thinking about God while one is peeling potatoes. Zen spirituality is just to peel the potatoes."
--from "The Way of Zen" (1957) by Alan Watts


In his definitive introduction to Zen Buddhism, Alan Watts explains the principles and practices of this ancient religion to Western readers. With a rare combination of freshness and lucidity, he delves into the origins and history of Zen to explain what it means for the world today with incredible clarity. Watts saw Zen as “one of the most precious gifts of Asia to the world,” and in The Way of Zen he gives this gift to readers everywhere.



禪學隨筆應是孟祥森譯的 台北的志文出版社出版 這篇也是待校之文


禪:答胡適博士(鈴木大拙)

禪學隨筆
鈴木大拙著

編者前言

   文學博士鈴木大拙﹐京都大穀大學佛教哲學教授﹐生於一八六九年。他可說是當代活著的最偉大的佛教哲學權威(一九六六年已去世)﹐而且毫無疑問的是最偉大的 禪學權威。關於佛學﹐他用英文發表的主要著作約有十二部﹐或者更多一些﹔他用日文所寫的著作﹐則至少在十八部以上﹐這些都是西方人尚未有機會讀到的。再者 ﹐從英文的禪宗出版年鑒﹐我們可以看出來﹐他是把禪宗傳到日本之外的世界先鋒﹐因為除了忽滑穀快天的《武士的宗教》(Religion of the Samurai, Luzac & Co. 1913)和The Eastern Buddhist ( 《東方佛教》雜誌﹐一九二一--一九三九)之外﹐直至一九二七年﹐西方讀者沒有見到任何有生活體驗的禪宗著作﹔一九二七年鈴木博士出版了他的 Essays in Zen Buddhism (《禪論集》)第一集。
  鈴木博 士的著作是權威之作。他不僅研究過梵文﹑巴里文﹑中文和日文的原著﹐而且對於西方思想有最新的認識﹐他熟悉德文﹐法文和英文﹐而後者他用之於說話和寫作是 如此流利。更且﹐他不僅是一個學者﹐也是一個佛弟子。雖然他不是佛教任何支派的教士﹐他在日本每一個寺廟中﹐卻都受到尊敬﹐因他對於精神事物的知識--這 是每一個坐在他腳邊聽道德人都親身經歷的--是直接而深刻的。當他談到高階層的意識﹐他是以一個住於其中的人發言﹐他給予那些進入他的心靈領域者的印象﹐ 是使人覺得他是一個尋求智性象徵﹐以便描繪那「超乎智性」的覺醒領域之狀況的人。
   至於那些不能坐在大師腳邊聽道的人﹐他的著作是一個必要的替代品。然而所有的這些著作﹐在英國已於一九四○年以後絕版﹐而留在日本的部份﹐則焚毀於一九 四五年的東京大火﹐這次的火災燒卻了四分之三的東京。因此當一九四六年我到達日本時﹐同作者商量﹐為倫敦的佛教會--我與我的妻子被提名為主持者--刊印 他的著作集﹐把以前的傑出著作重新排印﹐並盡可能迅速的把許多新著作的譯本印刷出來﹐這些著作是鈴木教授在戰亂時期隱居在自己家中寫出的。
   對於禪本身我在此處無須說什麼﹐但是關於禪的書籍--諸如艾倫·維特(Alan Watts)的《禪之精神》( The Spirit of Zen) ( Murray 版)﹐我的《禪佛教》(Zen Buddhism) ( Heinemann 版)﹐以及佛教學會所出版的中國禪宗經典翻譯和其他著作--銷量的增加﹐證明瞭西方對于禪宗的興趣迅速上昇。然而禪是一個極易被人誤解的題材﹐因此由一個 共認的權威所發表的言辭是我們急切需要的。
  現在這本書包括七篇文章和講辭﹐她們 最初是刊登在不同的期刊中﹐如果我們不收集成書﹐恐怕會埋沒在檔案之中﹐而使未來的讀者失去閱讀的機會。它們發表的時間﹐涵蓋了將近半個世紀(一九○六 --一九五三)﹐而且發表的地方也有很大的空間變化。這些篇幅是在鈴木博士的指導之下﹐加以選擇修訂和排列。我做為本書的編者﹐並不認為自己有任何功勣﹐ 因為﹐我所做的只是提議讓這般優異的資料﹐儘可能使廣泛的大眾有閱讀的機會。我很感謝各期刊的編輯允許重刊各篇文章﹐並對佛教學會所有的會員﹐致我深切的 謝意﹐因為他們負擔了重新列印各篇文章的工作。下面幾則注言﹐可能是讀者感興趣的﹕
  一﹑《佛教中的禪宗》。 這篇文章原刊載於一九○六-七年的 The Journal of the Pali Text Society期刊。後來抽印為小冊子。鈴木博士曾寄給亞歷山大·費雪( Alexander Fisher)--一位傑出的藝術家﹐他是英國和愛爾蘭佛教學會的早期會員之一--後來又轉到我的手中。當我要求鈴木博士答應把它收入本書中﹐鈴木要求加 上下面的注言﹕
  「這篇文章是一九○六年為巴厘文學會所寫﹐我想這是我關於禪佛教 所寫的第一篇文章。它所根據的是史學家所寫的禪宗傳統歷史﹐這些資料中並沒有包括後來在敦煌所發現的稿本。不過這篇文章對於禪學者仍舊可以提供一些知識 --特別是那些對于中文原著感到困難的西方學者。我依照後來的學習所得做了少數修正﹐但這篇文章主要的部份仍舊保持原來的樣子。
  二﹑《禪佛教》。這篇文章原刊載於一九三八年的 Monumenta Nipponica ﹐也是鈴木博士所稱的早期著作﹐就是說﹐由於他思想的成熟以及晚近的發現﹐而對禪佛教與它的發展產生觀點上的變化之前﹐所寫的著作。
  三﹑《禪體驗的解釋》。原刊載於一九四四年的 Philosophy - East and West ﹐這個期刊是由 Charles A. Moore 博士所編﹐由普林斯頓大學出版﹐版權為其所有。這篇原是在一九三九年夏天﹐於夏威夷大學所舉辦的「東西哲學家會議」中宣讀的。
  四﹑《佛教哲學中的理性與直觀》。這篇文章是取自 Essays in East-West Philosophy (《東西哲學論叢》﹐是由Charles A. Moore 所編﹐一九五一年﹐火奴魯魯﹐夏威夷大學出版社出版)。這是一九四九年夏季﹐在火奴魯魯舉行的第二屆東西哲學家會議中﹐鈴木博士親自宣讀的。這是許多人認為著者最偉大的作品之一。
  五﹑禪:答胡適博士(鈴木大拙)。這是對胡適博士的一篇回答。胡適博士的文章發表於一九五三年四月﹐夏威夷大學出版社出版的 Philosophy - East and West 中﹐鈴木博士立即發表這篇回答。更近一步的註解﹐請參看該篇前端的編者注言。
  六﹑《問答》。這篇文章是鈴木博士特別為一九五三年八月出版的《中庸之道》( The Middle Way)--倫敦佛教學會的刊物--所寫。
   七﹑《禪的自然觀》。這是一九五三年八月﹐鈴木博士在瑞士的 Ascona 所宣讀的一篇文章。一九五四年刊載於 Eranos Jahrbuch期刊。
倫敦佛教學會主席韓福瑞 ( Christmas Humphreys)

A short story by P G Wodehouse

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“There are moments, Jeeves, when one asks oneself, 'Do trousers matter?'"
"The mood will pass, sir.”
― from "The Code of the Woosters" by P.G. Wodehouse


P.G. Wodehouse (1881-1975) was perhaps the most widely acclaimed British humorist of the twentieth century. Throughout his career, he brilliantly examined the complex and idiosyncratic nature of English upper-crust society with hilarious insight and wit. The works in this volume provide a wonderful introduction to Wodehouse’s work and his unique talent for joining fantastic plots with authentic emotion. In The Code of the Woosters, Wodehouse’s most famous duo, Bertie Wooster and his unflappable valet Jeeves, risks all to steal a cream jug. Uncle Fred in the Springtime, part of the famous Blandings Castle series, follows Uncle Fred as he attempts to ruin the Duke of Blandings while he is preoccupied with his favorite pig. Fourteen stories feature some of Wodehouse’s most memorable characters, and three autobiographical pieces provide a revealing look into Wodehouse’s life. With his gift for hilarity and his ever-human tone, Wodehouse and his work have never felt more lively. With a New Introduction by John Mortimer

Everyman's Library 的相片。



A short story by P G Wodehouse

The Episode Of The Theatrical Venture

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Title: The Episode Of The Theatrical Venture
Author: P G Wodehouse [More Titles by Wodehouse]


Third of a Series of Six Stories
[First published in _Pictorial Review_, July 1916]


It was one of those hard, nubbly rolls. The best restaurants charge you sixpence for having the good sense not to eat them. It hit Roland Bleke with considerable vehemence on the bridge of the nose. For the moment Roland fancied that the roof of the Regent Grill-room must have fallen in; and, as this would automatically put an end to the party, he was not altogether sorry. He had never been to a theatrical supper-party before, and within five minutes of his arrival at the present one he had become afflicted with an intense desire never to go to a theatrical supper-party again. To be a success at these gay gatherings one must possess dash; and Roland, whatever his other sterling qualities, was a little short of dash.

The young man on the other side of the table was quite nice about it. While not actually apologizing, he went so far as to explain that it was "old Gerry" whom he had had in his mind when he started the roll on its course. After a glance at old Gerry--a chinless child of about nineteen--Roland felt that it would be churlish to be angry with a young man whose intentions had been so wholly admirable. Old Gerry had one of those faces in which any alteration, even the comparatively limited one which a roll would be capable of producing, was bound to be for the better. He smiled a sickly smile and said that it didn't matter.

The charming creature who sat on his assailant's left, however, took a more serious view of the situation.

"Sidney, you make me tired," she said severely. "If I had thought you didn't know how to act like a gentleman I wouldn't have come here with you. Go away somewhere and throw bread at yourself, and ask Mr. Bleke to come and sit by me. I want to talk to him."

That was Roland's first introduction to Miss Billy Verepoint.

"I've been wanting to have a chat with you all the evening, Mr. Bleke," she said, as Roland blushingly sank into the empty chair. "I've heard such a lot about you."

What Miss Verepoint had heard about Roland was that he had two hundred thousand pounds and apparently did not know what to do with it.

"In fact, if I hadn't been told that you would be here, I shouldn't have come to this party. Can't stand these gatherings of nuts in May as a general rule. They bore me stiff."

Roland hastily revised his first estimate of the theatrical profession. Shallow, empty-headed creatures some of them might be, no doubt, but there were exceptions. Here was a girl of real discernment--a thoughtful student of character--a girl who understood that a man might sit at a supper-party without uttering a word and might still be a man of parts.

"I'm afraid you'll think me very outspoken--but that's me all over. All my friends say, 'Billy Verepoint's a funny girl: if she likes any one she just tells them so straight out; and if she doesn't like any one she tells them straight out, too.'"

"And a very admirable trait," said Roland, enthusiastically.

Miss Verepoint sighed. "P'raps it is," she said pensively, "but I'm afraid it's what has kept me back in my profession. Managers don't like it: they think girls should be seen and not heard."

Roland's blood boiled. Managers were plainly a dastardly crew.

"But what's the good of worrying," went on Miss Verepoint, with a brave but hollow laugh. "Of course, it's wearing, having to wait when one has got as much ambition as I have; but they all tell me that my chance is bound to come some day."

The intense mournfulness of Miss Verepoint's expression seemed to indicate that she anticipated the arrival of the desired day not less than sixty years hence. Roland was profoundly moved. His chivalrous nature was up in arms. He fell to wondering if he could do anything to help this victim of managerial unfairness. "You don't mind my going on about my troubles, do you?" asked Miss Verepoint, solicitously. "One so seldom meets anybody really sympathetic."

Roland babbled fervent assurances, and she pressed his hand gratefully.

"I wonder if you would care to come to tea one afternoon," she said.

"Oh, rather!" said Roland. He would have liked to put it in a more polished way but he was almost beyond speech.

"Of course, I know what a busy man you are----"

"No, no!"

"Well, I should be in to-morrow afternoon, if you cared to look in."

Roland bleated gratefully.

"I'll write down the address for you," said Miss Verepoint, suddenly businesslike.

* * * * *

Exactly when he committed himself to the purchase of the Windsor Theater, Roland could never say. The idea seemed to come into existence fully-grown, without preliminary discussion. One moment it was not--the next it was. His recollections of the afternoon which he spent drinking lukewarm tea and punctuating Miss Verepoint's flow of speech with "yes's" and "no's" were always so thoroughly confused that he never knew even whose suggestion it was.

The purchase of a West-end theater, when one has the necessary cash, is not nearly such a complicated business as the layman might imagine. Roland was staggered by the rapidity with which the transaction was carried through. The theater was his before he had time to realize that he had never meant to buy the thing at all. He had gone into the offices of Mr. Montague with the intention of making an offer for the lease for, say, six months; and that wizard, in the space of less than an hour, had not only induced him to sign mysterious documents which made him sole proprietor of the house, but had left him with the feeling that he had done an extremely acute stroke of business. Mr. Montague had dabbled in many professions in his time, from street peddling upward, but what he was really best at was hypnotism.

Altho he felt, after the spell of Mr. Montague's magnetism was withdrawn, rather like a nervous man who has been given a large baby to hold by a strange woman who has promptly vanished round the corner, Roland was to some extent consoled by the praise bestowed upon him by Miss Verepoint. She said it was much better to buy a theater than to rent it, because then you escaped the heavy rent. It was specious, but Roland had a dim feeling that there was a flaw somewhere in the reasoning; and it was from this point that a shadow may be said to have fallen upon the brightness of the venture.

He would have been even less self-congratulatory if he had known the Windsor Theater's reputation. Being a comparative stranger in the metropolis, he was unaware that its nickname in theatrical circles was "The Mugs' Graveyard"--a title which had been bestowed upon it not without reason. Built originally by a slightly insane old gentleman, whose principal delusion was that the public was pining for a constant supply of the Higher Drama, and more especially those specimens of the Higher Drama which flowed practically without cessation from the restless pen of the insane old gentleman himself, the Windsor Theater had passed from hand to hand with the agility of a gold watch in a gathering of race-course thieves. The one anxiety of the unhappy man who found himself, by some accident, in possession of the Windsor Theater, was to pass it on to somebody else. The only really permanent tenant it ever had was the representative of the Official Receiver.

Various causes were assigned for the phenomenal ill-luck of the theater, but undoubtedly the vital objection to it as a Temple of Drama lay in the fact that nobody could ever find the place where it was hidden. Cabmen shook their heads on the rare occasions when they were asked to take a fare there. Explorers to whom a stroll through the Australian bush was child's-play, had been known to spend an hour on its trail and finish up at the point where they had started.

It was precisely this quality of elusiveness which had first attracted Mr. Montague. He was a far-seeing man, and to him the topographical advantages of the theater were enormous. It was further from a fire-station than any other building of the same insurance value in London, even without having regard to the mystery which enveloped its whereabouts. Often after a good dinner he would lean comfortably back in his chair and see in the smoke of his cigar a vision of the Windsor Theater blazing merrily, while distracted firemen galloped madly all over London, vainly endeavoring to get some one to direct them to the scene of the conflagration. So Mr. Montague bought the theater for a mere song, and prepared to get busy.

Unluckily for him, the representatives of the various fire offices with which he had effected his policies got busy first. The generous fellows insisted upon taking off his shoulders the burden of maintaining the fireman whose permanent presence in a theater is required by law. Nothing would satisfy them but to install firemen of their own and pay their salaries. This, to a man in whom the instincts of the phoenix were so strongly developed as they were in Mr. Montague, was distinctly disconcerting. He saw himself making no profit on the deal--a thing which had never happened to him before.

And then Roland Bleke occurred, and Mr. Montague's belief that his race was really chosen was restored. He sold the Windsor Theater to Roland for twenty-five thousand pounds. It was fifteen thousand pounds more than he himself had given for it, and this very satisfactory profit mitigated the slight regret which he felt when it came to transferring to Roland the insurance policies. To have effected policies amounting to rather more than seventy thousand pounds on a building so notoriously valueless as the Windsor Theater had been an achievement of which Mr. Montague was justly proud, and it seemed sad to him that so much earnest endeavor should be thrown away.

* * * * *

Over the little lunch with which she kindly allowed Roland to entertain her, to celebrate the purchase of the theater, Miss Verepoint outlined her policy.

"What we must put up at that theater," she announced, "is a revue. A revue," repeated Miss Verepoint, making, as she spoke, little calculations on the back of the menu, "we could run for about fifteen hundred a week--or, say, two thousand."

Saying two thousand, thought Roland to himself, is not quite the same as paying two thousand, so why should she stint herself?

"I know two boys who could write us a topping revue," said Miss Verepoint. "They'd spread themselves, too, if it was for me. They're in love with me--both of them. We'd better get in touch with them at once."

To Roland, there seemed to be something just the least bit sinister about the sound of that word "touch," but he said nothing.

"Why, there they are--lunching over there!" cried Miss Verepoint, pointing to a neighboring table. "Now, isn't that lucky?"

To Roland the luck was not quite so apparent, but he made no demur to Miss Verepoint's suggestion that they should be brought over to their table.

The two boys, as to whose capabilities to write a topping revue Miss Verepoint had formed so optimistic an estimate, proved to be well-grown lads of about forty-five and forty, respectively. Of the two, Roland thought that perhaps R. P. de Parys was a shade the more obnoxious, but a closer inspection left him with the feeling that these fine distinctions were a little unfair with men of such equal talents. Bromham Rhodes ran his friend so close that it was practically a dead heat. They were both fat and somewhat bulgy-eyed. This was due to the fact that what revue-writing exacts from its exponents is the constant assimilation of food and drink. Bromham Rhodes had the largest appetite in London; but, on the other hand, R. P. de Parys was a better drinker.

"Well, dear old thing!" said Bromham Rhodes.

"Well, old child!" said R. P. de Parys.

Both these remarks were addressed to Miss Verepoint. The talented pair appeared to be unaware of Roland's existence.

Miss Verepoint struck the business note. "Now you stop, boys," she said. "Tie weights to yourselves and sink down into those chairs. I want you two lads to write a revue for me."

"Delighted!" said Bromham Rhodes; "but----"

"There is the trifling point to be raised first----" said R. P. de Parys.

"Where is the money coming from?" said Bromham Rhodes.

"My friend, Mr. Bleke, is putting up the money," said Miss Verepoint, with dignity. "He has taken the Windsor Theater."

The interest of the two authors in their host, till then languid, increased with a jerk. "Has he? By Jove!" they cried. "We must get together and talk this over."

It was Roland's first experience of a theatrical talking-over, and he never forgot it. Two such talkers-over as Bromham Rhodes and R. P. de Parys were scarcely to be found in the length and breadth of theatrical London. Nothing, it seemed, could the gifted pair even begin to think of doing without first discussing the proposition in all its aspects. The amount of food which Roland found himself compelled to absorb during the course of these debates was appalling. Discussions which began at lunch would be continued until it was time to order dinner; and then, as likely as not, they would have to sit there till supper-time in order to thrash the question thoroughly out.

* * * * *

The collection of a cast was a matter even more complicated than the actual composition of the revue. There was the almost insuperable difficulty that Miss Verepoint firmly vetoed every name suggested. It seemed practically impossible to find any man or woman in all England or America whose peculiar gifts or lack of them would not interfere with Miss Verepoint's giving a satisfactory performance of the principal role. It was all very perplexing to Roland; but as Miss Verepoint was an expert in theatrical matters, he scarcely felt entitled to question her views.

It was about this time that Roland proposed to Miss Verepoint. The passage of time and the strain of talking over the revue had to a certain extent moderated his original fervor. He had shaded off from a passionate devotion, through various diminishing tints of regard for her, into a sort of pale sunset glow of affection. His principal reason for proposing was that it seemed to him to be in the natural order of events. Her air towards him had become distinctly proprietorial. She now called him "Roly-poly" in public--a proceeding which left him with mixed feelings. Also, she had taken to ordering him about, which, as everybody knows, is an unmistakable sign of affection among ladies of the theatrical profession. Finally, in his chivalrous way, Roland had begun to feel a little apprehensive lest he might be compromising Miss Verepoint. Everybody knew that he was putting up the money for the revue in which she was to appear; they were constantly seen together at restaurants; people looked arch when they spoke to him about her. He had to ask himself: was he behaving like a perfect gentleman? The answer was in the negative. He took a cab to her flat and proposed before he could repent of his decision.

She accepted him. He was not certain for a moment whether he was glad or sorry. "But I don't want to get married," she went on, "until I have justified my choice of a profession. You will have to wait until I have made a success in this revue."

Roland was shocked to find himself hugely relieved at this concession.

The revue took shape. There did apparently exist a handful of artistes to whom Miss Verepoint had no objection, and these--a scrubby but confident lot--were promptly engaged. Sallow Americans sprang from nowhere with songs, dances, and ideas for effects. Tousled-haired scenic artists wandered in with model scenes under their arms. A great cloud of chorus-ladies settled upon the theater like flies. Even Bromham Rhodes and R. P. de Parys--those human pythons--showed signs of activity. They cornered Roland one day near Swan and Edgar's, steered him into the Piccadilly Grill-room and, over a hearty lunch, read him extracts from a brown-paper-covered manuscript which, they informed him, was the first act.

It looked a battered sort of manuscript and, indeed, it had every right to be. Under various titles and at various times, Bromham Rhodes' and R. P. de Parys' first act had been refused by practically every responsible manager in London. As "Oh! What a Life!" it had failed to satisfy the directors of the Empire. Re-christened "Wow-Wow!" it had been rejected by the Alhambra. The Hippodrome had refused to consider it, even under the name of "Hullo, Cellar-Flap!" It was now called, "Pass Along, Please!" and, according to its authors, was a real revue.

Roland was to learn, as the days went on, that in the world in which he was moving everything was real revue that was not a stunt or a corking effect. He floundered in a sea of real revue, stunts, and corking effects. As far as he could gather, the main difference between these things was that real revue was something which had been stolen from some previous English production, whereas a stunt or a corking effect was something which had been looted from New York. A judicious blend of these, he was given to understand, constituted the sort of thing the public wanted.

Rehearsals began before, in Roland's opinion, his little army was properly supplied with ammunition. True, they had the first act, but even the authors agreed that it wanted bringing up-to-date in parts. They explained that it was, in a manner of speaking, their life-work, that they had actually started it about ten years ago when they were careless lads. Inevitably, it was spotted here and there with smart topical hits of the early years of the century; but that, they said, would be all right. They could freshen it up in a couple of evenings; it was simply a matter of deleting allusions to pro-Boers and substituting lines about Marconi shares and mangel-wurzels. "It'll be all right," they assured Roland; "this is real revue."

In times of trouble there is always a point at which one may say, "Here is the beginning of the end." This point came with Roland at the commencement of the rehearsals. Till then he had not fully realized the terrible nature of the production for which he had made himself responsible. Moreover, it was rehearsals which gave him his first clear insight into the character of Miss Verepoint.

Miss Verepoint was not at her best at rehearsals. For the first time, as he watched her, Roland found himself feeling that there was a case to be made out for the managers who had so consistently kept her in the background. Miss Verepoint, to use the technical term, threw her weight about. There were not many good lines in the script of act one of "Pass Along, Please!" but such as there were she reached out for and grabbed away from their owners, who retired into corners, scowling and muttering, like dogs robbed of bones. She snubbed everybody, Roland included.

* * * * *

Roland sat in the cold darkness of the stalls and watched her, panic-stricken. Like an icy wave, it had swept over him what marriage with this girl would mean. He suddenly realised how essentially domestic his instincts really were. Life with Miss Verepoint would mean perpetual dinners at restaurants, bread-throwing suppers, motor-rides--everything that he hated most. Yet, as a man of honor, he was tied to her. If the revue was a success, she would marry him--and revues, he knew, were always successes. At that very moment there were six "best revues in London," running at various theaters. He shuddered at the thought that in a few weeks there would be seven.

He felt a longing for rural solitude. He wanted to be alone by himself for a day or two in a place where there were no papers with advertisements of revues, no grill-rooms, and, above all, no Miss Billy Verepoint. That night he stole away to a Norfolk village, where, in happier days, he had once spent a Summer holiday--a peaceful, primitive place where the inhabitants could not have told real revue from a corking effect.

Here, for the space of a week, Roland lay in hiding, while his quivering nerves gradually recovered tone. He returned to London happier, but a little apprehensive. Beyond a brief telegram of farewell, he had not communicated with Miss Verepoint for seven days, and experience had made him aware that she was a lady who demanded an adequate amount of attention.

That his nervous system was not wholly restored to health was borne in upon him as he walked along Piccadilly on his way to his flat; for, when somebody suddenly slapped him hard between the shoulder-blades, he uttered a stifled yell and leaped in the air.

Turning to face his assailant, he found himself meeting the genial gaze of Mr. Montague, his predecessor in the ownership of the Windsor Theater.

Mr. Montague was effusively friendly, and, for some mysterious reason, congratulatory.

"You've done it, have you? You pulled it off, did you? And in the first month--by George! And I took you for the plain, ordinary mug of commerce! My boy, you're as deep as they make 'em. Who'd have thought it, to look at you? It was the greatest idea any one ever had and staring me in the face all the time and I never saw it! But I don't grudge it to you--you deserve it my boy! You're a nut!"

"I really don't know what you mean."

"Quite right, my boy!" chuckled Mr. Montague. "You're quite right to keep it up, even among friends. It don't do to risk anything, and the least said soonest mended."

He went on his way, leaving Roland completely mystified.

Voices from his sitting-room, among which he recognized the high note of Miss Verepoint, reminded him of the ordeal before him. He entered with what he hoped was a careless ease of manner, but his heart was beating fast. Since the opening of rehearsals he had acquired a wholesome respect for Miss Verepoint's tongue. She was sitting in his favorite chair. There were also present Bromham Rhodes and R. P. de Parys, who had made themselves completely at home with a couple of his cigars and whisky from the oldest bin.

"So here you are at last!" said Miss Verepoint, querulously. "The valet told us you were expected back this morning, so we waited. Where on earth have you been to, running away like this, without a word?"

"I only went----"

"Well, it doesn't matter where you went. The main point is, what are you going to do about it?"

"We thought we'd better come along and talk it over," said R. P. de Parys.

"Talk what over?" said Roland: "the revue?"

"Oh, don't try and be funny, for goodness' sake!" snapped Miss Verepoint. "It doesn't suit you. You haven't the right shape of head. What do you suppose we want to talk over? The theater, of course."

"What about the theater?"

Miss Verepoint looked searchingly at him. "Don't you ever read the papers?"

"I haven't seen a paper since I went away."

"Well, better have it quick and not waste time breaking it gently," said Miss Verepoint. "The theater's been burned down--that's what's happened."

"Burned down?"

"Burned down!" repeated Roland.

"That's what I said, didn't I? The suffragettes did it. They left copies of 'Votes for Women' about the place. The silly asses set fire to two other theaters as well, but they happened to be in main thoroughfares and the fire-brigade got them under control at once. I suppose they couldn't find the Windsor. Anyhow, it's burned to the ground and what we want to know is what are you going to do about it?"

Roland was much too busy blessing the good angels of Kingsway to reply at once. R. P. de Parys, sympathetic soul, placed a wrong construction on his silence.

"Poor old Roly!" he said. "It's quite broken him up. The best thing we can do is all to go off and talk it over at the Savoy, over a bit of lunch."

"Well," said Miss Verepoint, "what are you going to do--rebuild the Windsor or try and get another theater?"

* * * * *

The authors were all for rebuilding the Windsor. True, it would take time, but it would be more satisfactory in every way. Besides, at this time of the year it would be no easy matter to secure another theater at a moment's notice.

To R. P. de Parys and Bromham Rhodes the destruction of the Windsor Theater had appeared less in the light of a disaster than as a direct intervention on the part of Providence. The completion of that tiresome second act, which had brooded over their lives like an ugly cloud, could now be postponed indefinitely.

"Of course," said R. P. de Parys, thoughtfully, "our contract with you makes it obligatory on you to produce our revue by a certain date--but I dare say, Bromham, we could meet Roly there, couldn't we?"

"Sure!" said Rhodes. "Something nominal, say a further five hundred on account of fees would satisfy us. I certainly think it would be better to rebuild the Windsor, don't you, R. P.?"

"I do," agreed R. P. de Parys, cordially. "You see, Roly, our revue has been written to fit the Windsor. It would be very difficult to alter it for production at another theater. Yes, I feel sure that rebuilding the Windsor would be your best course."

There was a pause.

"What do you think, Roly-poly?" asked Miss Verepoint, as Roland made no sign.

"Nothing would delight me more than to rebuild the Windsor, or to take another theater, or do anything else to oblige," he said, cheerfully. "Unfortunately, I have no more money to burn."

It was as if a bomb had suddenly exploded in the room. A dreadful silence fell upon his hearers. For the moment no one spoke. R. P. de Parys woke with a start out of a beautiful dream of prawn curry and Bromham Rhodes forgot that he had not tasted food for nearly two hours. Miss Verepoint was the first to break the silence.

"Do you mean to say," she gasped, "that you didn't insure the place?"

Roland shook his head. The particular form in which Miss Verepoint had put the question entitled him, he felt, to make this answer.

"Why didn't you?" Miss Verepoint's tone was almost menacing.

"Because it did not appear to me to be necessary."

Nor was it necessary, said Roland to his conscience. Mr. Montague had done all the insuring that was necessary--and a bit over.

Miss Verepoint fought with her growing indignation, and lost. "What about the salaries of the people who have been rehearsing all this time?" she demanded.

"I'm sorry that they should be out of an engagement, but it is scarcely my fault. However, I propose to give each of them a month's salary. I can manage that, I think."

Miss Verepoint rose. "And what about me? What about me, that's what I want to know. Where do I get off? If you think I'm going to marry you without your getting a theater and putting up this revue you're jolly well mistaken."

Roland made a gesture which was intended to convey regret and resignation. He even contrived to sigh.

"Very well, then," said Miss Verepoint, rightly interpreting this behavior as his final pronouncement on the situation. "Then everything's jolly well off."

She swept out of the room, the two authors following in her wake like porpoises behind a liner. Roland went to his bureau, unlocked it and took out a bundle of documents. He let his fingers stray lovingly among the fire insurance policies which energetic Mr. Montague had been at such pains to secure from so many companies.

"And so," he said softly to himself, "am I."




[The end]
P G Wodehouse's short story: The Episode Of The Theatrical Venture





Wodehouse (ˈwʊdˌhaʊs  )

Definitions

noun
Sir P(elham) G(renville). 1881–1975, US author, born in England. His humorous novels of upper-class life in England include the Psmith and Jeeves series

Derived FormsWodeˈhousian adjective   ~ episode

Excite the senses or desires of (someone):she still tantalized him(as adjective tantalizing (memory)the tantalizing fragrance of fried bacon

Reginald Jeeves is a fictional character in a series of humorous short stories and novels by P. G. Wodehouse (1881–1975), being the highly-competent valet of a wealthy and idle young Londoner named Bertie Wooster. Created in 1915, Jeeves continued to appear in Wodehouse's work until his last completed novel Aunts Aren't Gentlemen in 1974, a span of 59 years. The name "Jeeves" comes from Percy Jeeves (1888–1916), a Warwickshirecricketer killed in the First World War.[1]
Both the name "Jeeves" and the character of Jeeves have come to be thought of as the quintessential name and nature of a valet or butler, inspiring many similar characters (as well as the name of the Internet search engine Ask Jeeves). A "Jeeves" is now a generic term in references such as the Oxford English Dictionary.[2]
In a conversation with a policeman in "Jeeves and the Kid Clementina", Jeeves refers to himself as both a "gentleman's personal gentleman" and a "personal gentleman's gentleman."[3] This means that Jeeves is a valet, not a butler—that is, he serves a man and not a household. However, Bertie Wooster has lent out Jeeves as a butler on several occasions, and notes: "If the call comes, he can buttle with the best of them."[4]

"Even before the events of 1938-39, culminating in Kristallnacht, the family was convinced that they must leave the country. Gay describes the bravery and ingenuity of his father in working out the agonizing emigration process, the courage of the non-Jewish friends who helped his family during their last bitter months in Germany, and the family's mounting panic as they witnessed the indifference of other countries to their plight and that of others like themselves. Gay's account - marked by candor, modesty, and insight - adds an important and curiously neglected perspective to the history of German Jewry."--BOOK JACKET.

"The Moonstone" by Wilkie Collins 月光石

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月光石 [經典全譯本]
The Moonstone

  • 定價:299 (HKD100)
  • 規格:平裝 / 528頁 / 15*21cm / 普級 / 單色印刷 / 初版
  • 出版地:台灣

月光石[經典全譯本] The Moonstone (William Wilkie Collins ...


 《月亮宝石》(Moon Stone) ,[英]威廉·威尔基·柯林斯(William Wilkie Collins),1842~1889。


[转载]英国卫报遴选“1000本死前必读小说”.....死不了了 - 人人 ...

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英国卫报(Guardian)在2009年一月,由一群专业人士选出了1000本每个人在死前必读的小说,不是选最佳小说,也不是选最喜爱的 ... 006 1868 Wilkie Collins 威尔基.柯林斯The Moonstone 月光石 月神之石 ... 031 1931 William Faulkner Sanctuary

Everyman's Library
William Wilkie Collins was born in Marylebone, London, England on this day in 1824.

“We often hear, almost invariably, however, from superficial observers, that guilt can look like innocence. I believe it to be infinitely the truer axiom of the two that innocence can look like guilt.”
―from "The Moonstone" by Wilkie Collins


The Moonstone is a stunning yellow diamond the size of a bird's egg that glows like the harvest moon and harbors a flaw in its brilliant depths. Inherited by the beautiful young Englishwoman Rachel Verinder, it is also a sacred talisman to the Hindu priests who hope to bring it back to their holy city in India, from which it was looted long ago. The diamond's disappearance sets in motion an intricately plotted mystery. Wilkie Collins gives the reader all the necessary pieces to the puzzle, but they are so cleverly disguised that his surprise ending takes the breath away. The elements that make up The Moonstone—a purloined jewel that carries a mysterious curse, an indefatigable British police sergeant, a drama of theft and murder in a spacious country house—have been repeated, in varying guises, throughout much of the avalanche of detective fiction that followed Collins's immensely popular 1868 novel. But none of those books has surpassed the richness and suspense of the storytelling of The Moonstone, the first detective novel and the continuing standard of its genre. Introduction by Catherine Peters. READ an excerpt here:http://knopfdoubleday.com/book/30206/the-moonstone/



Denis Diderot :《狄德罗文集》, 《狄德罗传》, 《狄德羅畫評選》,《懷疑論者的漫步:狄德羅文選》

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French philosopher, art critic, and writer Denis Diderot was born in Langres, Champagne, France on this day in 1713.
"Man was born to live with his fellow human beings. Separate him, isolate him, his character will go bad, a thousand ridiculous affects will invade his heart, extravagant thoughts will germinate in his brain, like thorns in an uncultivated land."
--from Memoirs of a Nun
Memoirs of a Nun, which began as a joke and grew into a masterpiece, was one of the loudest salvos fired in the continuing battles between the clergy and the intelligentsia which defined so much of eighteenth-century French history. Diderot's story of a novice held in a convent against her will and forced to undergo curious spiritual and sexual trials displays all the brilliance, icy wit, and worldliness of the Enlightenment at its best.


Everyman's Library 的相片。

Enlightenment philosopher and writer Denis Diderot was born‪#‎onthisday‬ in 1713 http://ow.ly/Cf8pY

Enlightenment philosopher and writer Denis Diderot was born #onthisday in 1713 http://ow.ly/Cf8pY

台灣立報社論:狄德羅3百歲

2013-10-02 21:52 作者:本報訊生於1713年10月  5日的狄德羅 (Denis Diderot)3百歲冥誕即將來臨,我們特別在此對這位「啟蒙時代」的大師致敬。因為,在我們這個時代,知識越來越為分殊零碎,人們的生活越來越為細瑣 自利,反映在經濟、政治、教育和文化創造上,普遍出現僵滯化、淺碟化的現象。回顧這位「百科全書」派的思想家,其識見何其恢宏,其視野何其高遠!不禁讓我 們感慨,相較於歐洲的18世紀,我們的21世紀其實需要一個新的啟蒙運動,解放思想,重建知識體系。
狄德羅出生於3百年前,但是,於今看來,他是現代的先行者,他其實更屬於我們共同的未來。
我們這個時代,「自由」毋寧是最大的價值與信仰。但是,真要論「自由」,沒有人比狄德羅的認知和實踐更為徹底。對他而言,自由並不只是做我們想做的 事,而是去探索、去認識一切足以影響我們、足以決定我們生活樣態的事物。他負責主編的《百科全書:科學、藝術、工藝詳解詞典》就是例證。在物質欠缺、政 治、宗教高壓的惡劣條件之下,他集結盧騷、伏爾泰、達朗貝爾等一時之俊秀豪傑,窮盡畢生之力,為人民建構一套得以獨立於專制王權、教會神權和保守經院哲學 的科學知識體系。知識的大噴發,讓人們的思想從封建的束縛解放出來,從而構成了啟蒙時代集體追求自由、平等社會理想的厚實基礎。
恩格斯稱許他「為了對真理和正義的熱誠而獻出了整個生命」,如是品評,於今回顧,依然令人動容。
狄德羅對知識的好奇、熱情和全面掌握的欲望,讓他的眼界和評斷永遠走在時代最前端。也因此,在他的另外一本著作《對自然的解釋》當中,他的演化觀點超前於達爾文,而他對於物質粒子的組合和運動的推衍,也預告了量子物理和當代生物學的方向。
此外,在他與海納爾神父(abbé Raynal)合寫的《兩個印度的歷史》當中,他也最早對殖民問題做出批判,認為西方的宰制將造成大自然和原住民的巨大災難。而耗費他畢生心血的《百科全 書》更是字裡行間蘊藏著對專制王權和神權迷信的嘲弄。他認為對當權者的憤怒、不滿是國民主權的基礎,也是歷史的動力,面對不公不義,每一個體都有奮起反抗 的權利。這樣的認知,把我們帶回到最滾燙的現實政治,3百年前如斯,於今更甚。
台灣在政治、經濟、媒體等面向長期以來淺碟化、細瑣化的現象令人憂心,我們認為,一個「再啟蒙」的時代應該到來,以狄德羅做為典範,擴展知識面向,激發人民對科學、哲學、思想的熱情,厚植理性批判的能量,為追尋一個更為進步、理想的社會而共同努力。

懷疑論者的漫步:狄德羅文選

【作 者】:(法)德尼·狄德羅著;陳修齋,張冠堯譯 【叢編項】:世界賢哲名著選譯 貓頭鷹文庫 第二輯 【裝幀項】:19cm / 305頁 【出版項】:三聯書店上海分店 / 1989




  • ----
    德羅畫評選, 陳占元譯, 北京, 人民出版社, 1987
    *****

    狄德罗传

    作  者:[法]安德烈·比利著,张本
    出 版 社:商务印书馆
    出版时间:1995-9-1
    本书作者安德烈·比利(1882——1962)是法国作家,文艺评论家、记者,1942年被选为龚古尔学会院士,他的作品除了常见于报刊的文艺评论外,尤以撰写名人传记著称,计有《狄德罗传》、《巴尔扎克传》、《圣贝夫——生平和时代》、《龚古尔兄弟》等。

    contents
    告读者
    第一部分 制刀师傅的儿子
    出生地与先人
    制刀行会
    父母亲
    童年与故乡
    “把德尼培养成一个司铎吧”
    出逃与巴黎路多维克大公学院
    学院的学习生活
    第二部分 路易十五时期的流浪生涯
    讼师事务所与担任家庭教师
    昂日修士
    光顾咖啡馆、谈情说爱和伏尔泰的《哲学信札》
    雕刻家维勒
    与安多瓦奈特结婚
    卢梭和孔狄亚克
    第三部分 文桑的囚徒
    出版商勒伯勒东和改编钱伯斯《百科全书》
    《百科全书》的宗旨
    达朗贝和其他作者
    《哲学思想录》
    《怀疑论者的漫步》、《论自然宗教的长处》及其他
    被捕与《论盲人书简》
    文桑监狱
    审讯与供词
    囚居中的主编与父亲的来信
    卢梭来访与第戒学院征文
    第四部分 《百科全书》的初 期
    格里姆与卢梭;百科全书内容介绍
    贝蒂埃神甫不怀好意;进科全书第一卷《艺术》和《政治权威》条目
    论聋哑人书简;普拉德长老事件
    百科全书头两卷遭到查禁
    音乐插曲
    “狄德罗是音乐家”?
    霍尔巴赫男爵
    格里姆的《文学通讯》;本堂神甫珀提
    第五部分 “嘎咕先生”们
    第六部分 哲学家的私生活
    第七部分 《百科全书》告成
    第八部分 女皇陛下的哲学家
    补白:狄德罗著作中的译本




    *****

    "Man was born to live with his fellow human beings. Separate him, isolate him, his character will go bad, a thousand ridiculous affects will invade his heart, extravagant thoughts will germinate in his brain, like thorns in an uncultivated land."
    --Suzanne Simon from MEMOIRS OF A NUN "La Religieuse" (1796) by Denis Diderot


    Memoirs of a Nun, which began as a joke and grew into a masterpiece, was one of the loudest salvos fired in the continuing battles between the clergy and the intelligentsia which defined so much of eighteenth-century French history. Diderot's story of a novice held in a convent against her will and forced to undergo curious spiritual and sexual trials displays all the brilliance, icy wit, and worldliness of the Enlightenment at its best.


    ****


    狄德罗文集The Aeneid 卷一 第462行

    如果我記得沒錯,這本狄德罗文集以前有廣播公司版本。可是狄德罗Denis Diderot 認 為
    The Aeneid (əˈniːɪd; in Latin Aeneis, pronounced ... Aeneidos is a Latin epic poem written by Virgil in the late 1st century BC (29 ...)最美的一句是:卷一 第462行。(兩處翻譯卻天差地別啦!2014年10.6決定抄出,送港民.....)


    He halted, and said, with tears: ‘What place is there,
    Achates, what region of earth not full of our hardships?
    See, Priam! Here too virtue has its rewards, here too
    there are tears for events, and mortal things touch the heart.
    Lose your fears: this fame will bring you benefit.’
    Translated by A. S. Kline © 2002 All Rights Reserved

    即使在這裡,光榮也仍然獲得應得的報償;人生不幸的事也仍然贏得同情之淚;生活的痛苦也仍然打動人心。不要害怕,我們在他們眼中並不陌生,我們是相當安全的。(楊周翰譯)



    狄 德罗文集

    作者: 狄德罗
    副标题:他常常超越了他的时代
    ISBN: 9787800889530
    页数: 588
    定价: 29.8
    出版社:中国社会出版社
    装帧:平装
    出版年: 1997年7月第一版
    简介 · · · · · ·
       目录:
      狄德罗的生平与著作(代序)
      哲学思想录
      哲学思想录增补
      供明眼人参考的谈盲人的信
      对自 然的解释 关于物质和运动的原理
      关于美的根源及其本质的哲学探讨
      关于《私生子》的谈话
      演员奇谈
      论 天才
       关于“天才”
      达朗贝和狄德罗的谈话
      达朗贝的梦
      谈话的继续
      拉摩的侄儿
      布甘维尔《旅行计》补 篇
      《百科全书》选

    "Robinson Crusoe: His Life and Strange Surprising Adventures" by Daniel Defoe

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    “Now I saw, though too late, the Folly of beginning a Work before we count the Cost, and before we judge rightly of our own Strength to go through with it.”
    ―from "Robinson Crusoe: His Life and Strange Surprising Adventures" by Daniel Defoe
    This classic story of a shipwrecked mariner on a deserted island is perhaps the greatest adventure in all of English literature. Fleeing from pirates, Robinson Crusoe is swept ashore in a storm possessing only a knife, a box of tobacco, a ⋯⋯
    更多

    Everyman's Library 的相片。




    ***


    Foe is a 1986 novel by South African-born Nobel laureate J. M. Coetzee. Woven around the existing plot of Robinson CrusoeFoe is written from the perspective of Susan Barton, a castaway who landed on the same island inhabited by "Cruso" and Friday as their adventures were already underway. Like Robinson Crusoe, it is a frame story, unfolded as Barton's narrative while in England attempting to convince the writer Daniel Foe to help transform her tale into popular fiction. Focused primarily on themes of language and power, the novel was the subject of criticism in South Africa, where it was regarded as politically irrelevant on its release. Coetzee revisited the composition of Robinson Crusoein 2003 in his Nobel Prize acceptance speech.



    Nobel acceptance speech[edit]

    When Coetzee was awarded the 2003 Nobel Prize in Literature, he revisited the theme of composition as self-definition in his acceptance speech, entitled "He and his Man".[14] Coetzee, who had lectured in character before, narrated a situation in which an elderly Crusoe quietly living in Bristol becomes the ambivalent muse of Defoe. According to The Guardian, this act of composition "write[s] "Defoe into existence, rather than the other way around."[14] Although Crusoe is the narrator of the piece, Coetzee indicated he did not know whether Crusoe or Defoe represented him in the lecture.[14] By contrast, he clearly identified himself with Barton in Foe: "the unsuccessful author—worse authoress."[15]


    馬克·吐溫 Autobiography of Mark Twain, The Gilded Age《康州美國佬在亞瑟王朝》、 《苦行记》 Roughing It 

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    “Giving up smoking is the easiest thing in the world,” quipped Mark Twain, “I know because I’ve done it thousands of times.”
    《21世纪的资本》称,世界正重回马克•吐温笔下外表光鲜、贫富悬殊、矛盾重重的镀金时代;


    About 1,960,000 results (0.36 seconds) 








    Happy Birthday to author Mark Twain, born on this day in 1835.
    Featured Artwork of the Day: John Flanagan (American, 1865–1952) | Mark Twain | 1935 http://met.org/14nmcun

    Happy Birthday to author Mark Twain, born  on this day in 1835.  Featured Artwork of the Day: John Flanagan (American, 1865–1952) | Mark Twain | 1935  http://met.org/14nmcun
    Roughing It is a book of semi-autobiographical travel literature written by American humorist Mark Twain . It was written during 1870–71 and published in 1872 as a prequel to his first book Innocents Abroad . This book tells of Twain's adventures prior to his pleasure cruise related in Innocents Abroad .
    Roughing It follows the travels of young Mark Twain through the Wild West during the years 1861–1867. After a brief stint as a Confederate cavalry militiaman, he joined his brother Orion Clemens , who had been appointed Secretary of the Nevada Territory , on a stagecoach journey west. Twain consulted his brother's diary to refresh his memory and borrowed heavily from his active imagination for many stories in the novel.
    Roughing It illustrates many of Twain's early adventures, including a visit to Salt Lake City , gold and silver prospecting , real-estate speculation, a journey to Hawaii , and his beginnings as a writer.
    In this memoir, readers can see examples of Twain's rough-hewn humor, which would become a staple of his writing in his later books, such as Adventures of Huckleberry Finn , The Adventures of Tom Sawyer , and A Connecticut Yankee in King Arthur's Court .
    US astronauts Frank Borman and James Lovell read "Roughing It" aloud to pass the time aboard NASA's Gemini VII, a 14-day-long Earth orbital mission in December 1965. Borman recalls reading the book during an on-camera interview in the 1999 PBS -TV (USA) television program "Nova: To the Moon".

    [ edit ] 2002 movie adaptation

    Based on Mark Twain's 1872 autobiographical novel, this made-for-cable film is presented in flashback form, as aged humorist Mark Twain ( James Garner ) is invited as the keynote speaker for the Bryn Mawr College graduation ceremonies of 1891. At first concerned that his reputation as a humorist will embarrass his daughter Suzy ( Jewel Staite ), who is among the graduates, Twain decides to throw all caution to the winds by delivering an inspirational speech in which he recalls his own early days as a Missouri-bred greenhorn on the wild western frontier. Admitting that his recollections may stretch the truth a bit ("When I was younger, I could remember it, whether it happened or not"), Twain spins a tale of two brothers, Sam and Orion Clemens ("Sam Clemens" was of course, Twain's given name). Jealous over Orion's (Greg Spottiswood) appointment as secretary to the governor of the Nevada Territory, young Sam Clemens ( Robin Dunne ) insists on tagging along, but soon parts ways when he decides that nascent Carson City does not suit his desire for adventure. In search of fortune and his destiny, what ensues is an extended adventure which includes a rugged interlude digging for gold under the baleful eye of a brutal foreman (Eric Roberts); a wild card game during torrential rains; a bone-chilling winter; and an episode involving a gang of outlaws headed by a man ( Ned Beatty ) so cruel that he bit off the ears of his victims as a "calling card". The cast also includes Jill Eikenberry as Twain's wife Livy and Adam Arkin as a "wild-eyed character" named Henry. Filmed in Calgary, the four-hour miniseries version of Mark Twain's Roughing It was presented by the Hallmark cable channel beginning March 16, 2002.

    [ edit ] Notes

    [ edit ] External links


    On this day in 1862, Mark Twain left for Carson City, Nevada, a trip which, after much varnishing, became "Lost in Snow," a tale of disaster and near-death incorporated into ROUGHING IT (1872). Twain was still young Sam Clemens at this point — a twenty-six-year-old who had gone West in the grip of gold fever, and had quickly grown tired of his pick and shovel. The trip from Unionville to Carson City was to initiate a new plan: instead of actually mining for gold, Clemens and his cronies would go into real estate, buying and selling claims for other gullibles. Between the travelers and the implementation of this new get-rich scheme lay a series of disasters — a flood, a fight, and then with night closed upon them "like a cellar door," a blinding, knee-deep snowstorm. When the horses bolted and the last, life-giving match fizzled out, the men repented their most damning sins — whiskey, tobacco, cards — and resigned to meet their Maker...
    "We put our arms about each other's necks and awaited the warning drowsiness that precedes death by freezing. It came stealing over us presently, and then we bade each other a last farewell. A delicious dreaminess wrought its web about my yielding senses, while the snow-flakes wove a winding sheet about my conquered body. Oblivion came. The battle of life was done."
    Then the storm broke, and the men were soon settled in a comfortable inn — it was only fifteen paces away all the time — where they drank, smoked and played cards until they felt fully restored. Source:http://todayinliterature.com/
    Mark Twain 的相片。
    ----

    苦行記
    馬克·吐溫



      《苦行記》是美國著名現實主義作家、幽默大師馬克·吐溫的一部半自傳體著作,作者以誇張的手法記錄了他1861-一1865年間在美國西部地區的冒險生活。書中的情節大多是作者自己當年的所見所聞和親身經歷,我們可以在他的自傳裡發現那一系列真實的素材, 也可以在他的其他作品中看到這些情節的藝術再現及作者審美趣旨的發展。
      《苦行記》也是十九世紀淘金熱時期美國西部奇蹟般繁榮的寫照。全書由幾百個妙趣橫生的小故事構成,讀之既令人捧腹,為之絕倒,又活脫脫勾畫出當年美國西部生活五花八門的突兀現實,是社會的面面觀與眾生相:發財與揮霍,追求與冒險,野心與慾望,強力與巧智,希望、奮鬥、鑽營、落空、潦倒、幻滅……在萬頭鑽動的黃金夢幻中,展現出一幅幅目不暇接的喜劇畫圖,喜劇現實的誇張與幽默化,在馬克·吐溫筆下,鑄成了這部燴炙人口的《苦行記》。
      《苦行記》是馬克·吐溫的第二部成名之作,也是他的寫作技巧日趨成熟,日臻完美的標誌,充分顯示了他的早期創作風格。構思粗獷豪放,樸素自然,語言輕靈、活潑、平易流暢,文風幽默、詼諧,耐人尋味。作者在書中以流浪漢的形像出現,以一個百分之百的實地參加者的身份運用第一人稱進行描述,更增加了這部小說的真實感和藝術魁力。
      馬克·吐溫在《苦行記》中採用了其他西部作家常用的幽默手法,但技巧更成熟、更巧妙、更高超。他那運用口語講故事的特殊姿態在書的主人公身上有生動的表現。有時,他那神來之筆會出其不意地觸動你的笑神經,使你笑得前仰後合而不能自己。
      然而,取笑逗樂,幽默揶揄並不是《苦行記》的所有內容。進行道德教育的意圖和鼓吹政治改革的熱情與幽默詼諧一樣是《苦行記》的一個有機組成部分。在書中,作者毫無顧忌地對政府的腐敗無能、官員的愚昧讀職以及社會上存在的種族歧視等醜惡現象進行了揭露與鞭答。
      值得一提的是,《苦行記》中有一章是專門描寫當時在美國的華僑生活的。作者以飽滿的熱情讚揚了華僑的聰明智慧,刻苦耐勞和忠厚老實等優秀品質,對他們所遭受的不公平待遇給予深深的同情,同時他還懷著滿腔義憤對美國政府的種族歧視政策和一小撮壞人的殘暴行為進行了有力的遣責。這一事實生動而具體地說明了馬克·吐溫是中國人民的忠實朋友。
      《苦行記》是我國唯一尚未全文翻譯介紹的馬克·吐溫的長篇著作。它的書名早已散見在國內外一些書籍、雜誌和評論文章中。由於譯名很不統一,在讀者中造成了混亂。這裡僅將我們見到的譯名錄出,為讀者和研究者提供一些方便:
      1、《艱苦生涯》(見許汝祉譯《馬克·吐溫自傳》);
      2、《苦難生涯》(見程華:《同情中國人民的美國作家-一馬克·吐溫》,載《外國史知識))1983年第9期);
      3、《苦幹》(見張友松、陳瑋譯《馬克·吐溫傳奇》);
      4、《辛酸記》(見國際書店進口書書名標籤);
      5、《苦行記》(見方傑譯《美國的文學》,香港今日世界出版社1975年出版)。
      根據本書的主要情節,我們採用了《苦行記》作為本書的譯名。
      《苦行記》是由美國HarPer&Brothers出版公司在1872年2月初版發行的。後來又有幾個新版本問世,文字上稍有改動。初版內容共七十九章,計二十章寫作者隨哥哥奧里昂乘驛車前往內華達赴任的旅途見聞;四十一章寫他在美國西部的生活,參加淘金活動和當記者的生涯;十六章寫他的夏威夷之行; 最後兩章寫他從夏威夷回到美國後在各地的演講旅行。我們採用的是美國Rinehart出版公司1953年的版本。該版本刪去了最後十八章,以作者西部生活的結束為結尾,從而使全書意蘊與書名更加吻合,內容相對完整。該版本載有羅德曼·W·保羅的序言,現一併譯出,供讀者參考。
      馬克·吐溫作為現實主義幽默大師,其影響越洲跨洋,深受世界各國廣大讀者的喜愛並受到文學批評界的廣泛重視。我國介紹馬克·吐溫的作品是從1906年開始的。八十餘年來,他的作品已在我國廣為流傳,其主要著作都已陸續譯出,有的還有幾個版本,但是,這部既幽默風趣又極具研究價值的《苦行記》卻仍付缺如。廣大讀者迫切希望一睹其廬山真面目。我們有幸承擔了這一補缺的任務,但願這一工作能夠差強人意。劉文哲 

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    2004
    A Connecticut Yankee in King Arthur's Court By  Twain, Mark(1835-1910)
    馬克‧吐溫《康州美國佬在亞瑟王朝》 何文宏、張煤譯,上海:譯文,2002

    Electronic Text Center, University of Virginia Library
    http://www.gutenberg.net/dirs /etext01/4milln10.txt 

    Chapter 2 第二章亞瑟王朝第12頁
    KING ARTHUR'S COURT

    By his look, he was good-natured; by his gait, he was satisfied with himself. He was pretty enough to frame. He arrived, looked me over with a smiling and impudent curiosity; said he had come for me, and informed me that he was a page.
    ......他走過來,笑嘻嘻地抬起頭,帶著一種厚顏無恥的好奇心望著我,說他是來找我的,還告訴我說,他是一名侍童。

    "Go 'long," I said; "you ain't more than a paragraph."
    「得了吧你,」我說:「你算什麼屎桶,大不了也就是個尿壺。」

    【page (BOY (in the past)
    a boy who worked as a servant for a knight and who was learning to become a knight Compare pageboy (BOY).】」

    CH (張華) 留言:
    「雙關語一般都不好譯。由page和pargaraph想到word與sentence:
    Marriage is not a word. It is a sentence.
    還有bachelor與master:
    Marriage is an institution in which a man loses his Bachelor's Degree and the woman gets her Masters. 」

    ---hc
    「拉斐爾」中有一處:「……在拉斐爾為漢普頓法院所畫的那些畫稿中,整個人物是絲毫不改地從馬薩喬的畫中搬來…….」(『德拉克洛瓦論美術和美術家』,平野譯,河北教育出版社,2002,p.18。)

    這「法院」,是「王宮」(Hampton Court Palace)之誤解
    或許可由此進入:http://www.answers.com/topic /hampton-court-palace? 
    Hampton Court ハンプトン・コート((ロンドン西郊のThames 河畔にある舊王宮)).

    不過它的注提供些現存於V&A Museum之資料。

    這種藝術史方面的知識,多少可以幫助讀者了解『康州美國佬在亞瑟王朝』(A CONNECTICUT YANKEE IN KING ARTHUR'S COURT by MARK TWAIN 1889;南京:譯林,2002)第7章「默林的塔樓」(p.41)的「藉題發揮」。(這本小說,其實有太多文化背景須要加註的。)


    In a letter dated this day in 1933, President Franklin D. Roosevelt wrote to the International Mark Twain Society to acknowledge that he took his famous "New Deal" from the following passage in Chapter 13 ("Freemen") of Mark Twain's A Connecticut Yankee in King Arthur's Court:
    "...here I was, in a country where a right to say how the country should be governed was restricted to six persons in each thousand of its population….
    I was become a stockholder in a corporation where nine hundred and ninety-four of the members furnished all the money and did all the work, and the other six elected themselves a permanent board of direction and took all the dividends. It seemed to me that what the nine hundred and ninety-four dupes needed was a new deal."


    Mark Twain 的相片。

    -----

    "Thanksgiving Day, a function which originated in New England two or three centuries ago when those people recognized that they really had something to be thankful for -- annually, not oftener -- if they had succeeded in exterminating their neighbors, the Indians, during the previous twelve months instead of getting exterminated by their neighbors, the Indians. Thanksgiving Day became a habit, for the reason that in the course of time, as the years drifted on, it was perceived that the exterminating had ceased to be mutual and was all on the white man's side, consequently on the Lord's side; hence it was proper to thank the Lord for it and extend the usual annual compliments." - Autobiography of Mark Twain, Volume 1


    Mark Twain 的相片。

    Robert Finlay:鄭明萱譯《青花瓷的故事》The Pilgrim Art: Cultures of Porcelain in World History

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     Robert Finlay《青花瓷的故事》(鄭明萱譯) ,2011年出版,一年內四刷。
    2015年年底有第二版,可能是換封面。


     Robert Finlay《青花瓷的故事》(鄭明萱譯) 的出版社編輯,堅持正文不附外文字母,書末用對照表說明。
    這會有些問題,譬如說,內文"特安農宮 (凡爾賽)"沒收入對照,而Wikipedia有其它譯法: Petit Trianon  小特里亞農宮,凡爾賽宮。



    https://books.google.com.tw/books?id=uHWIKuAYbK8C&pg=PA399&lpg=PA399&dq=JOHN+GAY+To+a+Lady+on+her+Passion+for+Old+China+%28172

    鄭明萱的譯藝,或許可以比較她翻譯Wallace Stevens 的 "Anecdote of the Jar",《青花瓷的故事》,頁28-29:

    On "Anecdote of the Jar" - English

    www.english.illinois.edu/maps/poets/s_z/stevens/jar.htm
    ·                                
    ·           


    Anecdote of the Jar


    I placed a jar in Tennessee,
    And round it was, upon a hill.
    It made the slovenly wilderness
    Surround that hill.


    The wilderness rose up to it,
    And sprawled around, no longer wild.
    The jar was round upon the ground
    And tall and of a port in air.



    It took dominion everywhere.
    The jar was gray and bare.
    It did not give of bird or bush,
    Like nothing else in Tennessee.

    可以比較中國的四個版本:其三

    史蒂文斯《壇子軼事》的三個譯本_龍回仁_新浪博客


    其四,參考(美)華萊士·史蒂文斯 Wallace Stevens 
     最高虛構筆記   副標題: 史蒂文斯詩文集 
      譯者: 陳東飚 / 張棗出版社: 華東師範大學出版社,出版年: 2009, 頁數: 402,第65頁

    罈子軼事


    談點鄭明萱譯的《青花瓷的故事》:貓頭鷹出版社採取的正文不寫洋字母的方式,卻是對讀者極不方便,即,書名還要查它的漢字筆畫數.....又譬如說描寫英國運河的沿河地名,你根本無從查起。
    目錄未依原書在各章內分節。


    譯者不知何故,都不將聖經及各經採用《》表示,譬如說,
    頁85 (她採用的翻譯是不完全的:
    舊約以斯拉 記(天主教譯名是厄斯德拉上)3:12King James Bible
    But many of the priests and Levites and chief of the fathers, who wereancient men, that had seen the first house, when the foundation of this house was laid before their eyes, wept with a loud voice; and many shouted aloud for joy:
    1. 許多曾在這地基上,親眼見過先前的聖殿的老司祭、老肋未人和老族長 ,面對這座聖殿,不禁放大哭,卻也有許多人歡喜高呼,



    青花瓷的故事
    青花瓷的寰宇之旅,是全球化首次真正興起的濫觴!
      如果沒有瓷的誕生,英國就不可能出現下午茶文化。
      瓷器,在長達一千五百年的時間裡,曾是專屬於中國獨有的發明。
      絲綢、茶葉、瓷器,這三樣來自「東方中國」的產品,曾經讓整個西方世界為之瘋狂。而瓷器的精美、光滑、細膩,尤其讓歐洲人深深醉心,不但引發歐洲人的豔羨,更引發歐洲人的無限想像和嚮往。
      若從葡萄牙人來華算起,三個世紀內共有三億件中國瓷器在歐洲登岸,歐洲人除了瘋狂收集中國的精美瓷器,就連運送途中損壞的碎瓷片都可做成首飾出售,各國君王更紛紛成立實驗室或派出商業間諜,一心想破解中國獨霸千年的製瓷祕方。
      當年「中華帝國」的天威之盛,不光光風靡歐洲大陸,鄰近的東北亞、東南亞地區,無一不為之心悅誠服。而瓷器的流通歐洲,除了激發十四世紀商業冒險活動的興起,亦與地理大發現、海上霸權的興起,環環相扣、息息相關。
      「天下第一瓷都」的景德鎮,在十八世紀初無疑是全球最大的工業複合生產區,三千座窯密密麻麻遍布全鎮,每天得消耗掉一萬擔白米和一千頭豬,不但為朝廷燒製奇珍異件,為中國百姓生產家常器皿,更為世界各地的客戶:江戶、馬尼拉、巴達維亞、德里、伊斯法罕、開羅、威尼斯、阿姆斯特丹和巴黎等地,特製符合當地品味和需求的瓷器。景德鎮的分工之細,工業化之精,不但比亞當斯密的工業分工理論還早出現,更比福特的汽車生產線足足早了一個世紀以上!
      十八世紀中國瓷器行銷各地數量之巨,遍布之廣,已首度充分證明:一種世界級、永續性的文化接觸已然形成,所謂真正的「全球性文化」,首次於世界史中隆重登場。而青花瓷的出現,不但集工藝、美學、商貿之大成,更是東西美學相互影響下的第一件「全球化」商品。
      世界史的探討雖已從多種不同貨品切入:鹽、茶、巧克力、咖啡、馬鈴薯、香料、絲綢等,但比起其他商品的單向旅程:香料吃下肚,絲綢穿上身,終而褪色或消失,瓷器最特別的是以完整成品形式外銷,不僅歷時常在,而且成為媒介,跨越遙遠的距離,承載著文化意涵,藉由貿易形式在世界各地流通,促成不同文化的交互影響。
      青花瓷的寰宇之旅,是全球化首次真正興起的濫觴。而從歐洲人發現製瓷祕方的那一刻起,中華帝國的命運也從康雍乾三朝的豐華盛世,悄悄步向近代三百年的動盪不安與衰頹。英文小寫的「china」,竟與大寫的「China」,如此命運相同,令人扼腕。
      且看《青花瓷的故事》,一探中國青花瓷如何發揮驚人的寰宇影響力,以關鍵樞鈕的角色帶動整個世界體系運轉,雄霸世界一千年!
      瓷器自七世紀發明問世以來,始終居於文化交流的核心,中國瓷器則反映了世界史中一項規模最龐大的文化轉型活動。《青花瓷的故事》藉由瓷器,將中國、印度、伊斯蘭世界、歐洲、日本、韓國、東南亞、東非的歷史合為一體,強調國際各區域間的交流、互動、影響,使我們對世界史有更清晰深入的認識。不但結合「生產、分配、消費的歷史」、「科技、貿易、藝術的歷史」與「社會、商品、文化、政治、文學的歷史」三者於一爐,既關注於細節,又清楚聚焦於全球主題。
    作者簡介
    羅伯特.芬雷 Robert Finlay
      美國阿肯色大學歷史教授,著有《文藝復興時期的威尼斯政治》、《圍困中的威尼斯:一四九四至一五三四年間義大利戰爭期的政治與外交》
    譯者簡介
    鄭明萱
      文學、文史、文物翻譯人。著有《多向文本》,主要譯作包括中譯《極端的年代》、《少年時》、《費城奇蹟》、《哥倫布大交換》、《到葉門釣鮭魚》、《數學天方夜譚》,以及英譯《故宮勝概新編》、《匠心與仙工——故宮明清雕刻》、《敬天格物──中國歷代玉器導讀》等多種。並以《從黎明到衰頹》榮獲金鼎獎首位最佳翻譯人獎。

    目錄

    引言
    一 天下瓷都:十八世紀的景德鎮
    二 瓷之祕:十八世紀中國與西方
    三 瓷之生:中國與歐亞大陸
    四 中國的瓷文化:商業、士大夫、鑑賞家
    五 青花瓷之生:穆斯林、蒙古人、歐亞大陸的文化交流
    六 中國瓷居首:韓國、日本、東南亞大陸區
    七 中國瓷稱霸:東南亞海洋區、印度洋、西南亞
    八 中國瓷之衰與亡:西方與世界
    尾聲 香客瓶藝術
    注釋
    參考資料
    中英對照表

    The Pilgrim ArtCultures of Porcelain in World History

    Front Cover
    University of California PressFeb 17, 2010 - Art - 440 pages

    Illuminating one thousand years of history, "The Pilgrim Art "explores the remarkable cultural influence of Chinese porcelain around the globe. Cobalt ore was shipped from Persia to China in the fourteenth century, where it was used to decorate porcelain for Muslims in Southeast Asia, India, Persia, and Iraq. Spanish galleons delivered porcelain to Peru and Mexico while aristocrats in Europe ordered tableware from Canton. The book tells the fascinating story of how porcelain became a vehicle for the transmission and assimilation of artistic symbols, themes, and designs across vast distances-from Japan and Java to Egypt and England. It not only illustrates how porcelain influenced local artistic traditions but also shows how it became deeply intertwined with religion, economics, politics, and social identity. Bringing together many strands of history in an engaging narrative studded with fascinating vignettes, this is a history of cross-cultural exchange focused on an exceptional commodity that illuminates the emergence of what is arguably the first genuinely global culture.

    Contents

    Introduction
    1
    1 The Porcelain City
    17
    2 The Secrets of Porcelain
    47
    3 The Creation of Porcelain
    81
    4 The Culture of Porcelain in China
    107
    5 The Creation of BlueandWhite Porcelain
    139
    6 The Primacy of Chinese Porcelain
    175
    7 The Triumph of Chinese Porcelain
    214
    8 The Decline and Fall of Chinese Porcelain
    253
    Epilogue
    297
    Notes
    307
    References
    337
    Images
    417
    Copyright






















    ----28:57
    《特別呈現》 20130423 《china•瓷》上集青花瓷的故事
    本期節目主要內容: 16世紀葡萄牙人就已經開始將大量的中國青花瓷運往歐洲,如今在歐洲,幾百年前的青花瓷依然在歐洲的博物館陳列,展現它那不變的風采。而在中國,景德鎮的瓷器更是名揚中外,而青花瓷更是這裡的主打產品,青花瓷的燒製在這里長久的傳承。而許多人不知道是,青花瓷並不是中國土生土長的,而是由波斯工匠所帶來。讓我們一起探尋青花瓷的故事。(《特別呈現》 20130423 《china•瓷》 上集青花瓷的故事)

    http://tv.cntv.cn/video/C22787/8d1e8219d0214116b23b7f538afaec67

    Robert Graves: "Good-Bye to All That: An Autobiography" (1929), The White Goddess, The Greek Myths

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    "Patriotism, in the trenches, was too remote a sentiment, and at once rejected as fit only for civilians, or prisoners. A new arrival who talked patriotism would soon be told to cut it out."
    --from "Good-Bye to All That: An Autobiography" (1929) by Robert Graves
    In this autobiography, first published in 1929, poet Robert Graves traces the monumental and universal loss of innocence that occurred as a result of the First World War. Written after the war and as he was leaving his birthplace, he thought, forever, Good-Bye to All That bids farewell not only to England and his English family and friends, but also to a way of life. Tracing his upbringing from his solidly middle-class Victorian childhood through his entry into the war at age twenty-one as a patriotic captain in the Royal Welsh Fusiliers, this dramatic, poignant, often wry autobiography goes on to depict the horrors and disillusionment of the Great War, from life in the trenches and the loss of dear friends, to the stupidity of government bureaucracy and the absurdity of English class stratification. Paul Fussell has hailed it as ""the best memoir of the First World War"" and has written the introduction to this new edition that marks the eightieth anniversary of the end of the war. An enormous success when it was first issued, it continues to find new readers in the thousands each year and has earned its designation as a true classic.

    Vintage Books & Anchor Books 的相片。
     Suetonius, The Twelve Caesars: An Illustrated Edition (1979; Trans, RobertGraves, 1957)

     In Greek mythology, Orthrus (also called Orthros, Orthos, Orthus, Orth and Orphus) was a two-headed dog and a doublet of Cerberus, both whelped by the chthonic monster Echidna by Typhon. "Orthus has a phallic name that means 'Upright-erect' and is a herm-like figure; and as for his two heads, presumably one looked backward."[1]
    Graves, Robert, 1960. The Greek Myths, ch. 34. Graves makes highly speculative connection of these creatures with the calendar

      When shooting on assignment he tended to retain the best images for himself: the portrait of Robert Graves that appeared in a 1941 issue of Picture Post shows a young man focused on his work; the one from the same session that Brandt held back shows the poet looking more mature, a quill pen clasped between his teeth and a slightly mad, oracular gleam in his eye.

     

     

     

    2010年4月23日星期五


    grammar, The White Goddess

    The White Goddess: a Historical Grammar of Poetic Myth is a book-length essay upon the nature of poetic myth-making by author and poet Robert Graves. First published in 1948, based on earlier articles published in Wales, corrected, revised and enlarged editions appeared in 1948, 1952 and 1961. The White Goddess represents an approach to the study of mythology from a decidedly creative and idiosyncratic perspective. Graves proposes the existence of a Europeandeity, the "White Goddess of Birth, Love and Death," inspired and represented by the phases of the moon, who lies behind the faces of the diverse goddesses of various European mythologies.
    Graves argues that "true" or "pure" poetry is inextricably linked with the ancient cult-ritual of his proposed White Goddess and of her son. His conclusions come from his own conjectures about how early religions developed, as there is no historical evidence that the "White Goddess" as he describes her ever figured in any actual belief system.

    The White Goddess
    White goddess.JPG
    The White Goddess cover (Farrar Straus Giroux, 1997).
    AuthorRobert Graves
    CountryUnited Kingdom
    LanguageEnglish
    Genre(s)Mythology, Poetry
    Publication date1948



    主要作者Graves, Robert, 1895-
    書名/作者The WhiteGoddess : a historical grammar of poetic myth / by Robert Graves
    出版項New York : Vintage Books, 1958. (3rd printing, March 1960)


    總圖2F人社資料區PN1031 G7z 1958

    《台灣兒歌與民謠之旅》

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    李遠哲院長「序」(原刊:1999年中時副刊)
    1998年9月,我到公視錄影----與旅美作曲家周文中教授對談「藝術與科技」,休息時,初識劉美蓮女士,她提到本土音樂與兒歌的發展,因我離<兒歌>太久遠,隨口說:「台灣兒歌好少」,他回應一句話,讓我思索良久。她說:「台灣兒歌並不少、只是大人不再天真」。
    今知劉老師將調查研究數年的史料,加上管弦Live錄音的CD,出版《台灣兒歌與民謠之旅》,我讀著每一首歌曲的身世,誠摯向「知名兒歌背後不知名的作者致謝」。
    兒歌的作詞者是爸爸,兒歌的作曲者是媽媽,兒歌的推廣者就是保姆,社會是兒歌的大搖籃,國家健康、家庭幸福,兒歌才有希望,兒童才有快樂!一群默默耕耘的台灣文化的工作者,已經開闢出一片花園,非常令人肯定。
    九二一大地震重創台灣,這套CD書首版3000套將捐贈災區中小學及幼稚園,再版也將陸續捐贈各縣市學校。我祝福全台灣的學童,快快樂樂學音樂、音樂給他們快快樂樂!
    【註】原文發表已17年,部分提及錄音及其他,已稍做調整,文責由劉美蓮負責。
    劉美蓮的相片。

    Jack London, The Call of the Wild, White Fang

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    John Griffith Chaney was born in San Francisco, California, on this day in 1876.
    "He was mastered by the sheer surging of life, the tidal wave of being, the perfect joy of each separate muscle, joint, and sinew in that it was everything that was not death, that it was aglow and rampant, expressing itself in movement, flying exultantly under the stars."
    --from "The Call of the Wild" (1903) by Jack London
    Jack London’s two most beloved tales of survival in Alaska were inspired by his experiences in the Yukon during the Klondike Gold Rush. Both novels grippingly dramatize the harshness of the natural world and what lies beneath the thin veneer of human civilization. The canine hero of The Call of the Wild is Buck, a pampered pet in California who is stolen and forced to be a sled dog in the Alaskan wilderness. There he suffers from the brutal extremes of nature and equally brutal treatment by a series of masters, until he learns to heed his long-buried instincts and turn his back on civilization. White Fang charts the reverse journey, as a fierce wolf-dog hybrid born in the wild is eventually tamed. White Fang is adopted as a cub by a band of Indians, but when their dogs reject him he grows up violent, defensive, and dangerous. Traded to a man who stages fights, he is forced to face dogs, wolves, and lynxes in gruesome battles to the death, until he is rescued by a gold miner who sets out to earn his trust.

    Vintage Books & Anchor Books 的相片。



    "He was mastered by the sheer surging of life, the tidal wave of being, the perfect joy of each separate muscle, joint, and sinew in that it was everything that was not death, that it was aglow and rampant, expressing itself in movement, flying exultantly under the stars."
    Jack London, The Call of the Wild

    Vintage Books & Anchor Books 的相片。

    啟蒙札記:陳樂民

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    Ben Chen 的相片。

    2008 陳樂民 ( -2009)的這聯不講究對稱,或舒發心情。


    讀陳樂兒子寫的(代後記: 民即使是一粒沙子,也該是一粒有靈性的沙子所引陳樂民先生 的看法是中國須要再有200年的啟蒙之教育才行.....苦口相勸.....  

    ****
    中國社會科學院歐洲研究所前所長、中國歐洲學會前會長陳樂民因病搶救無效于前幾天2009的一個淩晨去世,享年78歲。

    陳樂民在大學畢業後的半個多世紀中長期從事“民間外交”、國際政治和中西歷史文化的研究工作,主要著作有《戰後西歐國際關係:1945—1984》、《“歐洲觀念”的歷史哲學》、《戴高樂》、散文集《文心文事》、《學海岸邊》等。

    陳樂民的夫人資中筠也是著名學者,資中筠此前曾透露,陳樂民患有尿毒症,完全要靠血液透析來維持生命,每個星期有三天要在醫院裏。

    學 者潘小松表示,陳樂民是歐洲問題專家,是在中國首倡“歐洲學”觀念的人。在陳樂民看來:“歐洲體現的不僅僅是地理概念,也不限于政治的或經濟的概念,而尤 其是一種文明的概念。”陳樂民曾認為亨廷頓“文明衝突論”裏所謂“文明衝突”是假托“文明”而言的政治衝突。

    作為歐洲史研究 專家,陳樂民卻兼具傳統文人情懷,會書法,懂國畫,他在回憶李一氓時曾說:“氓公兼通中西學問,雅好詩詞,寫得一手熔篆隸于一爐的‘李體字’,又是古文物 收藏鑒賞家。我生性喜愛文墨,與這樣的領導人相處、追隨左右,那種徜徉文事的氛圍,自然如魚得水,大大抵消了日常工作的枯燥乏味。”
    □陳樂民
      陳樂民,1930年生,中國社會科學院歐洲研究所研究員、前所長。著有《戴高樂》、《歐洲觀念的歷史哲學》、《撒切爾夫人》、《東歐巨變和歐洲重建》等。
      我讀書甚為駁雜,漫羨而無所歸心;新書讀得比較少,“新潮”書幾乎沒有認真讀過。下列十種“舊”書可以說是對我的晚年思想和治學最有影響的;有一些成了我的“案頭書”。這裏我用了“種”,而沒有用“冊”,是因為每一“種”可能牽涉不止一“冊”。


    先說中國書五種:
      一、《孟子》,我幼年的“啟蒙”書,我個人體會,讀了《孟子》,再讀其他相關的書,有許多方便之處。孟夫子經常偷換概念,強詞奪理,批判異己不留余地,但那是時代的反映。《孟子》是了解當時政治和社會的一個“通孔”。
    廣州出版社 / 32開/2001-05/ 9.50元
      二、《徐光啟集》,王重民先生輯校,上海古籍出版社1984年版。徐是有 明一代具有開放和開明眼光的“奇材”,是中西文化交流史中的開篇人物。往昔大半因其皈依了天主教,他的科學功績在歷史書中沒有得到應有的評價。今年是他逝 世370周年;據悉,上海徐匯區(他的老家)文化局將重修毀于“文革”的墓址。另相關的書如梁家勉先生編著有《徐光啟年譜》,考稽事實之翔,取材之廣,旁 徵之博,堪稱傑作。老學人的治學態度,令我心折。此書差不多已被我翻爛了。前曾托人問上海古籍出版社是否還有存書,答雲沒有了。似乎也無重印之想。如今文 人“明星化”,名聲大噪了;而很有不少有真才實學的人卻默默無聞。此人間世相,老朽如我,只能嘆息。
      三、魯迅的《阿Q正傳》,提示我國的“國民壞根性”,入木三分,同時是面鏡子,時常照照,可以自警和警世。同類作品有胡適的《差不多先生傳》。惜乎吾國國民此類病依然很重,幾乎無藥根治。奈何!奈何!
    ………………………………………………………………………
    圖書名稱: 插圖本阿Q正傳:漢英對照
    出版社: 新世界出版社
    作者: 魯迅/丁聰/等
    裝幀: 平裝
    開本: 32開
    出版日期: 2000-06
    版次: 第一版
    國標編號: 7-80005-563-9/I
    譯者: 楊憲益/戴乃迭
    頁數: 156
    原價: 13.00元
    ………………………………………………………………………………
      四、馮友蘭《中國哲學史》兩種:上世紀30年代的舊作上下冊和晚年的《新編》七冊。舊 作在大陸有無售者,不詳。《新編》前六冊已由人民出版社幾次重印;獨第七冊因故未能在大陸印行,以至《新編》就結在第六冊上。此是我出版界一怪事。但臺灣 版已出了全七冊。另,第七冊以《中國現代哲學史》的書名先後在香港和廣州印行,總算聊勝于無。坊間同類哲學思想史的書不少,但個人管見,都繞不過馮著二 種。
      五、《顧準文集》,貴州人民出版社印行。顧準作為當代偉大的思想家,在知 識界已有廣泛的共識。最近聽說某境外華人信口臧否人物,妄說,顧準算什麼,若把他的文章譯成外文,會讓人啼笑皆非。不知他在國外讀過哪些高文典冊,以致狂妄如此!至于淺陋如我,正是讀了顧準使我在十年前的耳順之年大為開竅,頓生識之恨晚之感。

      以上五種是中國書,以下講外國的,也是五種:
      一、伏爾泰的《哲學通信》,中國譯本是上海人民出版社出的。我 看過原文,中譯文大體不差。此是伏爾泰旅英的25封通信,故又稱《英國通信》。英國的自由風氣早在歐陸之先,伏氏在英所見所聞,備受感慨和啟示。全書涉及 彼時英國的宗教、政府、議會、文化、培根、洛克、牛頓,等等。這本書說明伏爾泰在英國已被“啟蒙”了。英國對法國“啟蒙運動”的影響,常被輕視;伏氏此書 大有助于了解歐洲這段的社會思想史。
      二、康德關于歷史哲學的論文集。我先讀過兩種英譯選集:《論歷史》和《政治文選》。後商務印書館出了何兆武先生翻譯的《歷史理性批判文集》,選目大同小異。此書已成為高校世界史和國際關係史學科的必讀書。但我要補充說,要深懂此書,一定要讀一讀康德的批判哲學。
      三、黑格爾的《歷史哲學演講錄》,我也是先看了英譯本。我國有王造時中譯本。欲了解西方文明史,此書不可不讀。他是從東方文明開篇的,主題是講歐西文明。黑格爾論述歷史發展的雄辯力,是令人震撼的,雖然你不必同意他的所有觀點。
      四、《共產黨宣言》,這本書的價值,用不著我多說。我在做研究工作時,是時常要翻閱的,尤其是它的前半部。我最早讀它時是二十幾歲,現在七十多歲了,還常常要翻一翻。只是體會大不相同了。
      五、托克維爾的《在美國的民主》,還有他的《舊制度和革命》,中譯本均已輯入商務版的“漢譯名著”叢書。另,托克維爾退出政壇後寫了不準備公開的《回憶錄》,身後還是流傳出來了。目前似尚無中譯本。托克維爾在這些書中觀察時勢和對時勢的預測,時常使我震動;他對歐陸“舊制度”的批判,絕不在概念上停留哪怕是幾秒鐘,其鋒利和準確性全在敘事當中。
      我家的書架上擠滿了各式各樣的書,雜亂無章,但是以上這十“種”書,翻來翻去,總會湊在一起,這大概也可以反映出它們的“使用率”吧。




    啟蒙劄記
    启蒙札记
    作者: 陳樂民
    出版社: 三聯書店
    出版年: 2009-10
    頁數: 198
    定價: 19.00
    裝幀: 平裝
    叢書文史悅讀
    ISBN: 9787108032423

    內容簡介 · · · · · ·
    作為國際政治和歐洲學家,作者在卷首語中寫到:至此,我經過幾十年的反復思考,只弄明白了一個簡而明的道理:我摯愛的祖國多麼需要一種徹 底的啟蒙精神。何謂啟蒙?作者引領讀者去探求啟蒙的歷史過程、瞭解思想家的代表、反思中國的啟蒙。在今天人們對啟蒙的理解五花八門的時候,看看 這部小書,會有新的心得體會。
    作者簡介 · · · · · ·
    陳樂民 國際政治與歐洲學家。中國社會科學院榮譽學部委員,歐洲研究所研究員,前所長。前歐洲學會會長。退休後繼續研究、著述。主要著作有《戰後西歐國際關 系,1945—1984》、《歐洲觀念的歷史哲學》、《東歐劇變和歐洲重建》、《戰後英國外交史》(主編並主要撰稿)、《西方外交思想史》(主編並主要撰 稿)、《歐洲文明的進程》、《十六世紀葡萄牙通華系年》、《冷眼向洋——百年沉浮啟示錄》(主編並作者之一)、《歐洲文明十五講》、《從一滴水看宇宙—— 萊布尼茨讀本》、《文心文事》、《徜徉集》,以及譯作並序:《有關神的存在和性質的對話》(馬勒布朗士著)等等。
    目錄 · · · · · ·
    前言:啟蒙劄記
    一 何謂啟蒙
    講一點十八世紀以前的歷史
    科尼斯堡的聖人——康得與啟蒙
    康得論啟蒙——讀康得何謂啟蒙,答復這個問題
    啟蒙在蘇格蘭
    啟蒙的進程——以英國為例
    英國啟蒙的近代意義
    二 伏爾泰與啟蒙
    伏爾泰與啟蒙——伏爾泰誕生三百年
    重讀伏爾泰《哲學通信》
    理性·人性·文人
    跟伏爾泰去英國
    理性在歷史的長途跋涉中
    伏爾泰與愛爾維修
    伏爾泰:剷除卑鄙
    《論寬容》中譯本問世——兼及譯家蔡鴻濱
    伏爾泰的一篇諷寓小品
    伏爾泰的大腦
    從迷信到理性——伏爾泰為什麼寫歷史哲學
    閑說伏爾泰與中國
    大雜家伏爾泰
    敬畏思想家
    三 論其他啟蒙思想家
    說說狄德羅
    狄德羅的一篇小說:《女教徒》
    狄德羅的沙龍隨筆
    盧梭是怎樣一個人
    論盧梭
    思想巨人約翰·洛克
    大衛·休謨何許人
    伏爾泰筆下的盧梭與休謨
    法蘭西斯·培根
    四 啟蒙與中國
    瞎子摸象——啟蒙時期歐洲哲學家眼中的中國哲學
    萊布尼茲與中國——兼及儒學與歐洲啟蒙時期
    啟蒙在中國
    市民社會的經驗在歐洲
    李慎之去世五年祭
    即使是一粒沙子,也該是一粒有靈性的沙子(代後記)

    MIDNIGHT'S CHILDREN. A Novel of India's Coming of Age Salman Rushdie

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    "Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me."
    --from "Midnight's Children" (1981) by Salman Rushdie
    光是這選句,沒什麼了不起。不過,這是本長篇。



    A contemporary classic novel, in which the man who calls himself the "bomb of Bombay," chronicles the story of a child and a nation that both came into existence in 1947—and examines a whole people's capacity for carrying inherited myths and inventing new ones.

    MIDNIGHT'S CHILDREN. 此書台灣商務有譯本:午夜之子

    Salman Rushdie and Midnight's Children

    http://forum.bomoo.com/showthread.php?t=1804

    紐約時報
    April 19, 1981
    A Novel of India's Coming of Age
    By CLARK BLAISE



    MIDNIGHT'S CHILDREN
    By Salman Rushdie.


    The literary map of India is about to be redrawn. The familiar outline - E.M. Forster's outline essentially - will always be there, because India will always offer the dualities essential for the Forsterian vision: the open sewer and the whispering glade, Mother Theresa and the Taj Mahal. Serious English-language novelists from India (often called Indo-Anglians), or those from abroad who use Indian material, have steered a steady course between these two vast, mutually obliterating realities; hence the vivid patches of local color provided by the timeless South India of R.K. Narayan's novels and the cool pastels added by the later fiction of Anita Desai. The Indian novels of Paul Scott and Ruth Jhabvala also fall comfortably between those two poles. For a long time it has seemed that novels from India write their own blurbs: poised, witty, delicate, sparkling.
    What this fiction has been missing is a different kind of ambition, something just a little coarse, a hunger to swallow India whole and spit it out. It needed a touch of Saul Bellow's Augie March brashness, Bombay rather than Chicago-born, and going at things in its own special Bombay way. Now, in ''Midnight's Children,'' Salman Rushdie has realized that ambition.
    If I am to do more than describe my pleasure in this book, if I am to summarize and interpret, I would have to start by saying that ''Midnight's Children'' is about the narrator's growing up in Bombay between 1947 and 1977 (and about the 32 years of his grandparents' and parents' lives before that). It is also a novel of India's growing up; from its special, gifted infancy to its very ordinary, drained adulthood. It is a record of betrayal and corruption, the loss of ideals, culminating with ''The Widow's'' Emergency rule. As a growing-up novel with allegorical dimensions, it will remind readers of ''Augie March'' and maybe of Gunter Grass's ''The Tin Drum,'' Laurence Sterne's ''Tristram Shandy,'' and Celine's ''Death on the Installment Plan'' as well as the less-portentous portions of V.S. Naipaul. But it would be a disservice to Salman Rushdie's very original genius to dwell on literary analogues and ancestors. This is a book to accept on its own terms, and an author to welcome into world company.
    The ''midnight's children'' of the title are the 1,001 children born in the first hour of Indian independence, Aug. 15, 1947. Two of these babies are born in the same Bombay nursing home on the very stroke of midnight: a boy born to wealth and a boy born to the streets. And, of course, a nursemaid switches babies: a street singer cuckolded by a departing Englishman is given the aristocratic Muslim infant and names him Shiva; a wealthy Kashmiri-descended family, the Aziz/Sinais, is given the ''cucumber-nosed'' English-Hindu and names him Saleem. Shiva and Saleem (the narrator) are destined to be mortal enemies from the stroke of midnight.
    Saleem receives all the attention. His birth is celebrated with fireworks, and Prime Minister Nehru sends a letter saying that his fate will forever be entwined with that of India. Growing up on a Bombay estate, he bumps his head one day while hiding in his mother's laundry hamper and discovers a gift for telepathy. From the age of nine, he can enter other lives at will, see through walls, plumb all secrets, including the secret of his true parentage. But his telepathic gifts bring death and destruction and very little happiness. He discovers that every one of the midnight children is miraculously gifted; only Saleem is telepathic, but some can travel through time (and even report that India is destined to be ruled by a ''urinedrinking dotard'') and one can change sex at will. The extravagance of Mr. Rushdie's inventions will call to mind the hovering presence of Gabriel Garcia Marquez; call it a tropical synchronicity.
    The midnight children are the hope of the nation, and they await Saleem's calling of a ''midnight parliament.'' The only thing inhibiting Saleem from embracing his political destiny arises from his fear of the murdering street tough Shiva, whom he knows to be the rightful inheritor of all his privileges. And so, because of Saleem's fear and guilt, the gifts of the midnight children are never pooled. When they do finally meet, it is during Mrs. Gandhi's ''Emergency.'' Because of the threat they pose to the Only True Succession, the 581 surviving midnight's children are sterilized, and then treated to an even deadlier procedure: They are sperectomized - drained of hope.
    (Perhaps you wondered about the real reasons for the Emergency, the various Indo-Pakistani wars, the deaths of certain Indian and Pakistani political figures? Simple: to destroy Saleem, the Sinais and the gifted extended family of midnight's children. The plot of this novel is complicated enough, and flexible enough, to smuggle Saleem into every major event in the subcontinent's past 30 years. Saleem the Nose - variously called Snotnose, Stainface, Baldy, Sniffer, Buddha and Piece-of-the-Moon - knows).
    The complex plotting of the book can be gauged (and its playfulness appreciated) by observing how closely an old seer's prophecy is followed. Of Saleem, it is predicted shortly before his birth: '''A son ... who will never be older than his motherland - neither older nor younger. ... There will be two heads - but you shall see only one - there will be knees and a nose, a nose and knees. ... Newspaper praises him, two mothers raise him! Bicyclists love him - but, crowds will shove him! Sisters will weep; cobras will creep. ... Washing will hide him - voices will guide him! Friends mutilate him - blood will betray him! ... Spittoons will brain him - doctors will drain him - jungle will claim him - wizards reclaim him! Soldiers will try him - tyrants will fry him ... He will have sons without having sons! He will be old before he is old! And he will die ... before he is dead.'''
    As a Bombay book, which is to say, a big-city book, ''Midnight's Children'' is coarse, knowing, comfortable with Indian pop culture and, above all, aggressive. Salman Rushdie assumes that the differences between Colaba and Chembur are as important, and can be made as interesting, as the differences between Brooklyn and The Bronx. ''We headed north,'' Saleem notes, ''past Breach Candy Hospital and Mahalaxmi Temple, north along Hornby Vellard past Vallabhbhai Patel Stadium and Haji Ali's island tomb ... We were heading towards the anonymous mass of tenements and fishing-villages and textile-plants and film-studios that the city became in these northern zones. ...'' Its characters speak in many voices: ''Once upon a time there were Radha and Krishna, and Rama and Sita, and Laila and Majnu; also (because we were not unaffected by the West) Romeo and Juliet, and Spencer Tracy and Katherine Hepburn.'' Much of the dialogue (the best parts) reads like the hip vulgarity - yaar! - of the Hindi film magazine. The desiccated syllables of T.S. Eliot, so strong an influence upon other Anglo-Indian writers, are gone. ''Midnight's Children'' sounds like a continent finding its voice.
    How Indian is it? It is slangy, and a taste for India (or a knowledge of Bombay) obviously heightens the response. Here is a description of a cafe where Saleem's mother goes secretly to meet her dishonored first husband: ''The Pioneer Cafe was not much when compared to the Gaylords and Kwalitys of the city's more glamorous parts; a real rutputty joint, with painted boards proclaiming LOVELY LASSI and FUNTABULOUS FALOODA and BHEL-PURI BOMBAY FASHION, with filmi playback music blaring out from a cheap radio by the cash-till, a long narrow greeny room lit by flickering neon, a forbidding world in which broken-toothed men sat at reccine-covered tables with crumpled cards and expressionless eyes.'' Very Indian.
    Of course there are a few false notes. There is a shorter, purer novel locked inside this shaggy monster. A different author might have teased it out, a different editor might have insisted upon it. I'm glad they didn't. There are moments when the effects are strained, particularly in the early chapters, when an ancient Kashmiri boatman begins sounding like ''The Two-Thousand-Year-Old Man.'' On a more serious level, Mr. Rushdie at first has a difficult time endowing the villains of Indian politics with mythic stature (Grass's Germany made it so easy); petty household intrigues seem more momentous than the misaffairs of state (Marquez's Latin America made it easy too). But with Ayub Khan, the Bangladesh war, ''The Widow'' and her son, the later pages darken quite handsomely. The flow of the book is toward the integration of a dozen strongly developed narratives, and in ways that are marvelous to behold, integration is achieved. The myriad personalities of Saleem, imposed by the time, place and circumstance of his extraordinary birth (''So much, yaar, inside one person,'' remarks a Pakistani soldier, of the Saleem then known as Buddha, the tracker, ''so many bad things, no wonder he kept his mouth shut!''), are reduced to a single, eloquent, ordinary soul. The flow of the book rushes to its conclusion in counterpointed harmony: myths intact, history accounted for, and a remarkable character fully alive.
    Clark Blaise's most recent books are ''Lunar Attractions,'' a novel, and ''Days and Nights in Calcutta'' (with Bharati Mukherjee), a memoir. He teaches at Skidmore College.

    Books of the Times



    Published: April 23, 1981
    By John Leonard MIDNIGHT'S CHILDREN. By Salman Ru shdie. 446 pages. Knopf. $13.95.
    IT is impossible to resist a novel that contains the sentence ''My sister the Brass Monkey developed the curious habit of setting fire to shoes.'' Or one that will pause to observe, as it considers an unhappy India, ''Sacred cows eat anything.'' According to ''Midnight's Children,'' guilt is a fog, optimism is a disease, freedom is a myth, fried spiders cure blindness and ''Gandhi will die at the wrong time.'' Nevertheless, Salman Rushdie chortles.
    We have an epic in our laps. The obvious comparisons are to Gunter Grass in ''The Tin Drum'' and to Gabriel Garcia Marquez in ''One Hundred Years of Solitude.'' I am happy to oblige the obvious. Like Grass and Garcia Marquez, Mr. Rushdie gives us history, politics, myth, food, magic, wit and dung. He adds, in no particular order, a blind art lover, a poet who is verbless and impotent, some vultures and cobras, a peep show and many clocks, telepathy and the nose as a genital organ.
    His children of midnight were born on Aug. 15, 1947, at the stroke of independence for India. Saleem Sinai tells us, ''From the moment of my conception, it seems, I have been public property.'' And why not? Didn't Nehru himself send a personal letter of congratulation? Won't Saleem himself be a ''mirror'' of the new nation? 1,001 Gifted Children
    Of course, there are two new nations, whether they like it or not. One of them is Pakistan. And Saleem understands himself to be a Moslem. And when, at the age of 9, in a laundry hamper, he comes to appreciate his telepathic powers, he comes also to understand that there were 1,000 other babies born on that same stroke of midnight. Each has a secret resource which consorts with the occult. Notice: 1,001 gifted children; we have enough tales for Scheherazade. And those siblings, India and Pakistan, would murder in the crib.
    Mr. Rushdie, whose other novel, ''Grimus,'' I haven't read, was born in Bombay and now lives in London. Bombay is the viscera of this novel, as Danzig was for Gunter Grass in ''The Tin Drum.'' But the ice-blue eyes of Saleem, a Kashmiri, look back at a history of lakes and mountains, of red sails, at memory itself, which, like fruit, is saved ''from the corruption of the clocks'' by the act of writing.
    Partition - into India and Pakistan - is a fraud, like the parted middle of the hairpiece on the bald head of the Englishman Methwold, who insists on observing his particular amenities until the clock ends the colonial occupation. ''The baby in my stomach stopped the clocks,'' says one character. Saleem, considering the future, wonders: ''Was genius something utterly unconnected with wanting, or learning how, or knowing about, or being able to?'' Such a subcontinent doesn't have a chance. Since 1947 it has been a bad Indian movie.
    Fragmentation is the theme of the novel, from the sheet with the hole in it through which Saleem's grandfather is permitted to glimpse portions of the body of the woman he will marry, all the way to a dismembering of history. ''We are a nation of forgetters,'' Saleem says, and he isn't even sure of his own father. He is reading aloud, like Scheherazade, his dreams, as if to impress a departed wig.
    Mr. Rushdie isn't nice, although he is funny and vulgar. The world of ''Midnight's Children'' is not at all genteel, as the world of Anita Desai tends to be. It is the shadow in Paul Scott's mirror or, perhaps, what E. M. Forster heard in the cave, with a lot of symbolic curry added - the clocks, the dreams, ''the ambiguity of snakes,'' the moon and the silver spittoon, the fishermen and the clowns. He is asking: who broke us apart, and why must we die, fragmented, for a failed India? And 1,001 Plots
    Why failure? Mr. Rushdie plays many games; the reader needs to be a loyal modernist. ''Midnight's Children,'' with its 1,001 plots, is an exercise in criticism. Saleem is at once Superman, Sinbad and Pinocchio, not to mention Buddha. Eating, he speaks of ''pickled chapters.'' We are reminded that ''no audience is without its idiosyncracies of belief.'' Unspoken words cause bloat. His ear, the woman Patma who must listen to him read aloud his autobiography, deserts him for a while, and he is unmoored. Of himself, he says:
    ''I was a radio receiver, and could turn the volume down or up; I could select individual voices; I could even, by an effort of will, switch off my newly discovered ear.'' The signals he is receiving are from the children of the midnight clock; they will die with the nation; they will burn like shoes.
    If I understand Mr. Rushdie, he is equally outraged by (1) the English imposition on India; (2) Indira Gandhi's ''emergency,'' which did away with liberal democracy in India, and (3) the novel itself, which can't find out how to explain partition and fragmentation and a hole in the spiritual heart. We occupy this hole, and laugh while clenching fists. I wish Mr. Rushdie's children, all of them orphans of history, would take over the world at dawn. This novel - exuberant, excessive, despairing -is special.


    Charles Perrault, Robin Hood

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    Charles Perrault, the "father of the fairy tale," was born on this day in 1628.
    "She said to her, 'Grandmother, what great arms you have!'
    'That's to embrace you the better, my child.'
    'Grandmother, what great legs you have!'
    'That's to run the better, my child.'
    'Grandmother, what great ears you have!'
    'That's to hear the better, my child.'
    'Grandmother, what great teeth you have!'
    'That's for to eat you.'
    And upon saying these words, this naughty Wolf threw himself upon Little Red Riding Hood, and ate her."
    --from LITTLE RED RIDING HOOD
    "Puss in Boots,""Blue Beard,""Tom Thumb," and other beloved fairy tale classics, as set down by the man who first rescued them from the oral tradition in the 17th century.
    Everyman's Library 的相片。



    British Museum


    Born ‪#‎onthisday‬ in 1628: Charles Perrault, writer of folk tales like‪#‎Cinderella‬ (Cendrillon). Discover more about Disney Princesses in the collection on Tumblrhttp://ow.ly/GZUKJ


    Born #onthisday in 1628: Charles Perrault, writer of folk tales like #Cinderella (Cendrillon). Discover more about Disney Princesses in the collection on Tumblr http://ow.ly/GZUKJ

    Charles Perrault (12 January 1628 – 16 May 1703) was a French author and member of the Académie française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The best known of his tales include Le Petit Chaperon rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté(Puss in Boots), La Belle au bois dormant (The Sleeping Beauty) and La Barbe bleue(Bluebeard).[1] Many of Perrault's stories, which were rewritten by the Brothers Grimm, continue to be printed and have been adapted to opera, ballet (such as Tchaikovsky'sThe Sleeping Beauty), theatre, and film. Perrault was an influential figure in the 17th-century French literary scene, and was the leader of the Modern faction during theQuarrel of the Ancients and the Moderns.

    Perrault in an early 19th-century engraved frontispiece[5]

    Robin Hood and Maid Marian. 'Robin Hood and his Merry Men ... With 8 illustrations in colour by Walter Crane.', 1915

    ****

    The British Library 的相片。



    2011/5/27 HBO 兩部Robin Hood電影之一


    Robin Hood

    Theatrical release poster
    Directed byRidley Scott
    Produced by
    Screenplay byBrian Helgeland
    Story by
    • Brian Helgeland
    • Ethan Reiff
    • Cyrus Voris
    Starring
    Music byMarc Streitenfeld
    CinematographyJohn Mathieson
    Editing byPietro Scalia
    Studio
    Distributed byUniversal Pictures
    Release date(s)May 14, 2010
    Running time140 minutes (Theatrical)
    156 minutes (Director's cut)
    Country
    • United Kingdom
    • United States
    LanguageEnglish
    French
    Budget$155 million[1]
    Gross revenue$321,669,730[2]
    Robin Hood is a 2010 British/American adventure film based on the Robin Hood legend, directed by Ridley Scott and starring Russell Crowe. It was released in the United Kingdom on 12 May 2010, after premiering at the 2010 Cannes Film Festival and was released in the United States on 14 May 2010.[3]

    Plot

    It is 1199 and Robin Longstride (Russell Crowe) is a common archer in Richard the Lionheart's (Danny Huston) army. A veteran of the Third Crusade and Richard's war against Philip II of France (Jonathan Zaccaï), he now takes part in the siege against Chalus Castle. Disillusioned and war-weary, he believes the King when he invites him to give an honest view of the war and the King's conduct. After Robin gives a frank but unflattering appraisal, Richard immediately breaks his promise of no repercussions for speaking honestly and has Robin and comrades taken prisoner to be judged after ending the siege. The betrayed men decide to free themselves and desert. Following the death of Richard, Robin and two other common archers, Allan A'Dayle (Alan Doyle), Will Scarlett (Scott Grimes), as well as soldier Little John (Kevin Durand), attempt to secretly return to their homeland after fighting abroad for the past 10 years. Along the way they come across an ambush of the Royal guard by Sir Godfrey (Mark Strong), an English knight collaborating with the French. Philip of France had ordered Sir Godfrey to assassinate Richard. Having discovered the King is already slain, Sir Godfrey is chased off by the arrival of Robin and his companions. Aiming to return to England safely and richer in pocket than when they left it, Robin and his men steal the armour of the slain knights and, under the guise of noblemen, head for the English ships on the coast. Before leaving the scene of slaughter, Robin promises one of the dying knights, Robert Loxley (Douglas Hodge), to return a sword to the knight's father in Nottingham.
    Upon arriving in England, Robin (who has assumed the identity of Loxley) is brought to London and chosen to inform the Royal family of the King's death. He witnesses the coronation of King John (Oscar Isaac), the younger brother of Richard. Showing no remorse to his poor kingdom, John orders harsh taxes to be collected, sending Sir Godfrey off to the North to do so. He has no idea that Godfrey is a French agent who, using French troops, will use this Royal Decree to stir up enough unrest to cause civil war in England.
    Robin and his companions head to Nottingham, where Loxley's old and blind father Sir Walter (Max von Sydow) asks him to continue impersonating his son, in order to prevent the family lands being taken by the crown. Loxley's widow, Lady Marian (Cate Blanchett), is initially distrustful of Robin, but soon warms to him when he recovers taxed grain for the townsfolk to plant.
    Meanwhile, Godfrey's actions have stirred up the northern barons, who march to meet King John and demand the signing of a charter of rights. Having realized Godfrey's deception, and knowing he must reunite his people in order to meet an imminent French invasion, the King agrees. A battle follows in which Robin and the northern barons attack Godfrey's men while the latter are ransacking Nottingham—but not before Godfrey has slain the blind Sir Walter.
    The film climaxes with a French invasion on England's Dover Beach, opposed by an English army. In the midst of the chaos, Marian attempts to kill Godfrey but he gains the upper hand over her and prepares to kill her. However, Robin intervenes and duels Godfrey himself. The English are victorious and Godfrey attempts to flee on horseback, but Robin, from long distance, puts an arrow through his neck. When King John sees the French surrendering to Robin rather than to himself, he is unhappy, believing it to be a major threat to his power. Therefore, in the final scenes, King John not only reneges on his promise to sign the Charter of the Forest, but also declares Robin to be an outlaw. In response to this, Robin moves to Sherwood Forest with Lady Marian and his friends to form what will become the Merry Men of Sherwood Forest. "So," as the concluding scroll says, "the legend begins."

    Cast

    董橋: 英華沉浮錄(卷一~ 六)

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    令人訝異的是,在譯界卓著聲譽的Rendition(譯叢),在Dong Qiao的簡介中,把《英華浮沉錄》譯成The Ups and Downs of Britain and China。很明顯,譯的人連書的前序也不翻一翻,把「英華」當作國家名稱,「浮沉」自然就是「ups and downs」了,「英華浮沉」無端變了「英中盛衰」。稍稍了解書的內容,就知書名大概可譯成:Swimming in the Seas of English and Chinese Language。---許迪鏘 【文學.translate﹕總得看一點董橋】



    董橋先生的文章、文意和交往圈等,都很有意思。偶爾可發現英文排版問題,如 p.171 as it 打成asit,p.223 的fine 打成"fme",這都是出版社的錯 (究竟為什麼會有這類錯誤,該追究)。



    董橋:我的舊作

    2011年12月04日
    六十年代讀完書我到新加坡住了一年。玫瑰園一位隣居俞老師是教書先生,五十歲光景,清癯儒雅,說話抑揚頓挫,國語標準極了,老花眼鏡從早到晚掛在胸前晃來晃去,短袖襯衫漿洗得乾淨硬挺,天多熱風多大油亮一頭花白頭髮總也不亂。俞家客廳掛着俞平伯一幅小中堂,工楷抄錄杜工部〈秋興〉一首。俞老師說他和俞平伯同姓不同鄉,早年在北平上過俞先生的課,勝利後南來前夕求俞先生寫了這幅字。俞老師在一家中學教國文,平日談天愛談白話文言夾雜為文的竅門,愛談英文小說對話譯成中文的難處。交往熟了俞老師給我看過他的幾本筆記簿,密密麻麻記了許多中文英文的病句和佳譯,說是將來退休很想寫一本《書海沉浮錄》。

    七十年代我去了幾趟新加坡每一趟都去看望俞老師,退了休他和俞太太都蒼老了許多,老說身體多病,精神不濟,想寫點文章都沒法寫了。八十年代我再去,玫瑰園俞家應門的是一對日本夫婦,說俞先生年前過世,俞太太回台灣跟女兒女婿住,房子賣給他們了。九十年代《明報》要我開專欄寫些讀中文讀英文的心得,我想起俞老師也想起他的《書海沉浮錄》,索性改「書海」為「英華」做了欄名念紀這位客地相逢的舊隣居。《英華沉浮錄》一寫好幾年,一九九五年十二月四日寫到一九九七年十二月三十一日。先是老朋友潘耀明在明報出版社替我一本一本結集出版出了十卷小書。賣得似乎不錯,老潘索性出了十卷盒裝本,袖珍簡便,輕巧可喜,台灣遠流出版社看了喜歡,公元兩千年依內容重新編成六冊一套書,談閱讀談文物談文化談語文談人物分門類分得清楚,還挑選六個篇名做了書名:《天氣是文字的顏色》、《紅了文化,綠了文明》、《竹雕筆筒辯證法》、《鍛字練句是禮貌》、《給自己的筆進補》和《酒肉歲月太匆匆》。真是匆匆,明年二○一二年一月我滿七十歲,知交胡洪俠從我幾十年來寫的一千八百多篇文章選了七十篇編出一部《董橋七十》,香港版歸牛津大學出版社出版,大陸版歸北京海豚出版社出版。香港牛津一九九八年至今替我出版了十幾二十種文集,總編輯林道群說還要重出一些舊書為我慶旦,連遠流版《英華沉浮錄》也要重編重印,囑我寫一篇隨筆壓卷。七十「從心所欲,不踰矩」。從心所欲誰都樂意。不踰矩,不容易。賣文幾十年,愛怎麼寫就怎麼寫忽然都在情理之中,真好。

    重印舊作我倒不放心也不情願,生怕那是踰矩了:舊作難滿意,再搬出來讓人指指點點未免可笑。前輩鮑耀明先生最近在北京拍賣周作人生前所藏墨迹為香港英華漁人協會籌款,裏頭一件沈尹默替周作人寫的「苦雨齋」匾額我一見傾倒,尺寸不大,大字小字沈先生寫得拙,寫得穩,寫得蒼秀,買是買不起了,剪下圖錄壓在書桌玻璃墊下看看過過癮。周作人一九六一年給鮑先生的信上說,沈尹默寫「苦雨齋」匾額原本寫了兩枚,一枚從前裱好掛在家裏,經亂已經散失,這一枚未曾裝裱,苦雨齋也改建給兒子住了,匾額用不上,不如送給鮑先生:「此係大約三十年前之物,其時沈君尚未成為海上書家,其字似亦更有其趣,請查閱,未知以為如何?」我的舊文能像沈先生的舊字寫得那麼好重印我不介意。事實不然:我遲疑是難免的,林道群年輕悟不出我這層顧慮。美國文評家埃德蒙.威爾遜七十歲那年印明信片列明他拒不從命的二十件事:拒絕審讀原稿;拒絕依題為文;拒絕寫序;拒絕作宣傳語句;拒絕做編輯工作;拒絕當文學評審;拒絕開課;拒絕講學;拒絕演說;拒絕廣播拒絕上電視;拒絕參加筆會;拒絕回答問卷;拒絕出席研討會;拒絕售賣原稿;拒絕送書給圖書館;拒絕為陌生人簽書;拒絕名字印上信箋;拒絕提供個人資料;拒絕送照片;拒絕發表文學或其他問題之意見。來信請他做裏頭任何一件事他祗消在相關項目上劃鈎回覆了事。這張卡片挨駡挨了好幾年,我原想訂一條「拒絕重印舊作」只好作罷。人老了怕熱鬧怕多事怕應酬不奇怪,高興了寫寫文章出出新書蠻好玩,回鍋翻炒老東西那是後人的事了。威爾遜七十高齡了還這麼孟浪實在過份,吳魯芹先生說不想從命可以回信婉拒,可以置之不理,犯不着這樣粗魯相待。現代人心急,我的舊信札舊原稿簽名本老早讓人扔出去拍賣了。也許是電腦普遍,人人打字,我這一代老人文稿還寫在原稿紙上,書迷看了好玩爭相收去。圖書館裏相識的一位書迷喬先生說過不了幾年書都存在網上,圖書館裏這堆書也許都成廢紙,勸我趕緊化身電腦人。

    我不甘心,情願這輩子接着寫原稿紙製造古董,印紙本書製造情趣。老派人捨不得老派事,重印我的舊作正是抗拒電子書的壯舉,總比都往網上貼要好。昨天晚上老穆來我家談天,他說出版社還翻得出我的舊作去重印,可見穀倉豐盈,年年有餘,好兆頭,怨什麼!記得玫瑰園俞老師家裏藏着一幅吳青霞的《游魚圖》,說是五尾鯉魚五福臨門,年年春節都拿出來掛在廳堂上討吉利。俞老師說早年他的老師朱自清家裏也收着一幅明朝人畫的《游魚圖》扇頁,朱自清說畫得真討喜:「興許朱老師也在討個吉利!」這兩天北京泰和嘉成拍賣行在拍中國字畫,看圖錄我看中張大千一幅小小的《游魚圖》,是錢君匋先生舊藏。錢先生八十年代來香港我請他吃過飯,前輩和氣又有趣,畫畫、刻印、寫字樣樣了不起,還設計過許多老上海書籍封面。錢先生眼尖,張大千筆法這樣調皮的遣興小品最難得,技法比齊白石嫻熟多了。我打電話請譚然替我安排電話試拍,幾經競價竟然歸我了,不貴,是個好兆頭。游魚沉浮,從心所欲,十足老民國游戲筆墨的風情,我看了心中又靜又閑:《英華沉浮錄》重印不重印出版社定奪,我不管,省心。


    英華沉浮錄(卷一)

    作者: 董橋
    出版社:牛津大學
    出版日期:2012/06/21
    語言:繁體中文





      《英華沉浮錄》六卷是董橋1995至1997年在《明報》的專欄文字。這六卷本依內容分集,於每篇文末加上原來寫作的日期。

      作者說他相信語言文字與時並進。新詞彙、新句法反映新事物、新情景,只要自成合理的新意,當可豐富語文的內涵;相信語言文字是文化的載體,承載文化之餘,往往也會傾覆文化。文化認識的深淺雅俗,決定語文境界之高下清濁。

      這些文章曾引起香港朝野的注意,連上海的報紙也在陸續選刊。作者希望在安裝了空調設備的現代書房裡,依然會有一盞傳統的明燈照亮文稿。新和舊是可以同時存在的:多少前朝舊宅的深深庭院裡,處處是花葉掩映的古樹。

    作者簡介

    董橋

      曾任《明報》總編輯,《讀者文摘》總編輯,《明報月刊》總編輯,香港美國新聞處「今日世界」叢書部編輯。現任《蘋果日報》社長。

    目錄
    目 錄
    v 我的舊作
    1 春寒說酴醾
    3 瀏覽這樣的中英文
    5 “假如人生是一缽櫻桃”
    7 雜談英國名家文章
    9 美女答曰:哪裡!哪裡!
    12 小紅被門檻絆倒
    15 他抱著朱紅的橘子回來
    18 “列寧是唱什麼的?”
    21 “隨便她唱吧!”
    24 夜行者的獨白
    27 “趕緊掏出我的文化”
    30 “周先生,新華社你管不管?”
    33 性感的品味
    36 銀行家的黨爸爸
    39 潘金蓮孝服底下的紅裳
    42 過一個文化的夏季
    45 到外國去讀幾本書吧
    48 不皺眉頭的哲學家
    51 葉道人揮劍砍蕉
    54 不可一日無此君
    57 婉兒退到屏風外唸經
    60 文學是這樣進步的
    63 叫魯迅太沉重
    66 飽讀詩書太好了
    69 玫瑰香氣正濃
    72 “你有沒有長的內衣?”
    75 膚淺的文字優越感
    78 零的故事
    81 撕爛《通鑑》包脂麻
    84 菊香書屋裡的昏燈
    87 文字是肉做的
    90 密密縫,早早歸
    93 聽說錢氏故居要拆掉
    96 嚼楊木,夢小山
    99 “我看著舒服”
    102 桂花巷裡桂花香
    105 文章不長皺紋
    108 臘月裡的玫瑰
    111 “臨去秋波那一轉”
    114 爐邊瑣談
    117 日本首相挖苦清朝大臣
    120 惦念不識字的汪大娘
    123 “老同志,給我看一會兒!”
    126 古書上小故事好玩
    129 留住文字的綠意
    132 流星紀事
    135 “I only put down what I saw”
    138 老翁帶幼孫闊步庭院
    141 《大都》小識
    144 你畫他寫我來讀
    147 來鴻談文
    150 不看芙蓉爭看她
    153 赤裸的民族,赤裸的文化
    156 妹妹跌進山藥窖
    159 讀錢其琛兒子的文字
    162 吃掉水滸裡的好漢
    165 “卻道天涼好個秋”
    169 苦雨齋蕭寂得像古寺 p.171 as it 打成asit
    172 讀查先生在理大的講稿
    175 木頭床主的睡蓮
    178 秋日讀書筆記
    182 一年沉浮的隨想
    185 “是一是二,我佛無說”
    188 雲對雨,雪對風
    191 “一枝一葉都含秀”
    194 查詞典讀小說
    197 《辭源》插圖錯了等等
    200 看那滿壁縹緗
    203 手足勾引,言語調戲
    206 才女這樣自負
    209 豔婦急曰:藥渣、藥渣!
    212 香草美人雜鈔
    215 “閑人不得索鴨”
    218 黃浦江畔的玉琢歲月
    221 無燈無月也無妨
    224 天氣是文字的顏色
    227 假明清筆記四題
    230 懷舊漫興
    233 給《文人事》寫的序
    236 寒夜聽雨亂讀書
    239 “心思如水銀瀉地”
    242 書房瑣掇
    245 光著屁股求光碟
    248 Kill Your Darlings
    251 新聞是歷史的初稿
    254 莫斯科的寒夜









    (二)目 錄
    1 “浪子和尚耳”
    4 語言學家寫《勸菜》
    7 溫庭筠得美人在做什麼?
    10 “兩株棗樹的況味”
    13 夜闌書房叢話
    16 文字因”受眾”而變
    19 掉唸沒有風景的書店
    23 “國王死了,王妃也死了”
    26 喝了飲料漫天艷陽
    29 董先生,該讀幾本閑書了
    33 “純呆的境界”
    37 《宋家黃朝》隨讀隨抄
    41 讀《知識份子的乳房》
    45 無聊讀書雜錄
    53 文章四忌似取
    57 杏花春雨科學
    60 托爾斯泰的淋病
    64 小資產階級遊園遺夢
    70 鬢雲終的學術
    74 劉再復的赤腳蘭花
    77 “為建華世兇厚免之”
    80 毛孟靜在乎,我也在乎
    83 “我怎麼能早說呢?”
    86 讀書人的禮數
    89 連周南也稱讚饒教授
    92 一部新編的錢鍾書散文
    96 Quotable Quotes
    99 未能忘情說輩分
    102 《陋室銘》是誰寫的?
    105 胡同的名字叫百花深遠
    108 想起《水滸》裡的粉子
    111 “井裡,一直有水”
    114 句句道著今日事
    118《中國文學史》的風波
    121 花瓣都睡著了
    124 文章靠別人補遺
    127 夏志清改張愛玲的英文
    130 紅了文化,綠了文明
    133 等待追憶
    136 歷史原該是喜劇
    139 還是藍襪子可愛
    143 半中半西西齋雜記
    146 白頭如新,傾蓋如故
    152 讀陳布雷的聯想
    155 信,是有緣的
    158 和尚頭頂不燙香疤
    161 一肚皮不合時宜
    164 百花裡浮想
    167 種豆得瓜
    170 故園那株白玉蘭
    173 姓董的
    176 閱微志異
    179 點亮案頭一盞明燈
    182 二十八袋麵粉的惆悵
    185 但願千家萬戶都養花
    188 一捧雪
    191 Regarding Henry的聯想
    197 我們看電影去
    200 讀金性堯史評漫興
    203 杜德嬌這位英國教授
    206 晴雯挽著頭髮闖進來
    209 留住沙龍的落地長窗
    212 狐媚偏能哄人
    215 石頭裡的《燕山詩話》
    218 竹林的精神面貌
    221 博覽一夜書
    224 “為古今美女開一奇局”
    227 紙上美女與街上衛玠
    231 追憶香(火因)繚繞的三保洞
    234 “老先生高論極是!”
    237 重訪萬竹樓
    241 答憶園主人
    245 額上大書:”招租”
    249 “吳(日含)這個人怎麼樣?”
    252 送孩子去上學深造
    255 愛閑說
    259 給《雅舍小品》增肥
    262 《英華沉浮錄》跋語

    (三)目 錄1 方招□求生拙之趣
    3 書房階前的花影
    5 匯豐那張黃花梨圈椅
    7 竹雕筆筒辯證法
    10 布政司老家的深深庭院
    13 蕭美人蒸出來的文化
    16 “江山如夢月如燈”
    19 沒有故事的字
    22 泛起歲月的風采
    25 胭硯齋裡的劉旦宅
    28 案頭清供老胡蘆
    31 “佐我翰墨惟汝功”
    34 玻璃廠裡的小玲瓏
    37 好古譚薈
    46 所羅門王的石榴園
    49 舊時的月色
    52 張秀那一年閨秀小楷
    55 容顏不老的青山
    58 從雍正的近視眼說起
    62 兩般彩筆,一樣風情
    66 張志魚害死舊版《辭海》
    69 回歸石頭記
    72 玩古董,玩學問
    81 舊美術,新語言
    84 假雪芹害苦了真專家
    87 說秘戲圖
    90 無言是上策
    92 文字減價戰
    94 還是一家兩制好
    96 女法官的憂慮
    98 ”我輩有主矣!”
    100 甜蜜蜜叔叔
    102 杜鵑花開在山坡上
    104 Professionalism, Stupid!
    106 聽聽那古老的聲音
    108 紫桃硯的命運
    220 “聲音與憤怒”
    112 在那小山坡的焦土上
    114 遙想當年《京報》
    116 馬戲班端的是難混
    119 不得教人養小叔子
    122落日餘暉裡的老聽差
    125 梁銘彥愛讀武俠小說
    128 天要下雨?娘要嫁人?
    134 但願翠翠平安無恙
    137 中國可以發問
    140 話裡的玄機
    143 總書記與王丹談心
    146 “祖國是愛你們的”
    149 拆掉李鴻章的舊宅
    152 The Purity of Chinses
    155 永遠的鄧小平
    161 閱讀三題
    164 遺失了梁啟超之後
    167 英國大選雜念
    170 假洋鬼子與小紅衛兵
    173 衙外瑣語
    176 阿爾巴尼亞青年的琴聲
    180 太平頂上有一塊蟾蜍石
    183 讓年輕人犯一點錯
    187 梁錦松的要求和挑戰
    191 晦暗時代的民主信徒
    195 六四:永不犯黃的新聞
    199 “完全正確,大人!”
    202 與司徒先生閒話偷閒
    206 聽那波利尼西亞的海韻
    210 董、陳的六朝煙水氣
    213 過客達達的馬蹄
    217 嚮往張信剛的文化中國
    220 怪鵝回歸記
    223 非常文學得的回歸
    226 回歸十日談
    229 亂吞唐三藏的人蔘果
    232 老橡樹上的黃絲帶
    235 毀掉她花樣的年華
    238 “是對是錯,吾愛吾國”
    241 步周德熙文化之態原韻
    244 “讀書比殺豬容易”
    247 “割禾青”得美麗景象
    250 寧靜的噪音


    (四)目 錄1 哪裡哪裡
    3 As與”作為”
    5 “機會”難逢
    7 房屋署的應用文
    9 “這次”的喜悅
    11 中文大學的中文
    13 研討會真了得
    15 小處失調
    17 “一向”與”同時”
    19 “細水黃色水果”
    21 先求達意
    23 政治語言
    25 是簡報不是簡布
    27 帶點威嚴的文字
    29 戴妃”並”不急
    31 文字受洗
    33 送上一塊梅子餅
    35 “親愛的約翰”
    37 不要經典要經讀
    39 “進步語文”
    41 “獲”得個混血兒
    43 “故”與”也”
    45 對白最難寫
    47 討厭的第三者
    49 退休漫說
    51 哪一位不但美貌而且...
    53 律師追救護車
    55 “安能雌伏!”
    57 “給百合花上色……“
    59 借來的中文
    61 清流中的俗流
    63 跟誰分享呢?
    65 茶與風情
    67 誠誠樸朴的讀書人
    69 有物、有理、有方
    71 林肯風骨何在?
    73 在黑暗中拋媚眼
    75 我們的他們,前頭的將來
    77 還要勒什麼令?
    79 晚香玉和提燈
    81 一說便俗!
    83 文化氣息與專業意識
    85 “林青霞表示...“
    87 懷念邱吉爾
    89 用學養去認字解詞
    91 “神明在上,我不敢“
    93 想起跛腳鴨
    95 施祖祥說普通話
    97 關注溫碧霞的姿色
    99 話說八字不可改動
    101 紅了電腦,黑了詩人
    103 人怕老,文怕嫩
    105 寶玉打攪,黛玉勞神
    107 “當喜心翻倒也!”
    109 剪掉劉雪湖的墨梅
    111 搭地鐵,聽英語
    113 不必優雅,但求體面
    115 孔夫子視福貴如浮雲
    117 “早也瀟瀟,晚也瀟瀟”
    119 “孩子,我也愛你”?
    121 “此乃重要文件”
    123 社交派對語言
    125 評論女人騎馬的軍官
    127 是陳年老酒浸出來的
    129 豬小姐叫巧克力蛋糕
    131 如果沒有你...
    133 香港中文不是葡萄酒
    135 淺嘗那杯女兒紅
    137 莎朗.史東寫小說
    139 “來人啊,拉下去殺了!”
    141 第一隻鳳凰的啼聲
    144 鴇母高呼:見客啦!
    146 偶學八大玄虛之筆
    148 還是瑪麗和約翰的九七!
    151 趕走寢宮裡的衛兵
    153 第四頁有三十七個錯字
    156 鳴鳳款步走出月亮們
    159 太懶.太笨.太俗
    161 張佛老遊園戲字
    164 “這是錢教授的風去了!”
    167 錯把異鄉當故鄉
    170 撫想當年鬢香釵影
    173 會講英語的人被強姦
    176 語文神遊太虛幻境
    179 請魯主任多多講英文
    182 董建華的辭職信
    185 港督回董建華的信
    188 生命不是一盒巧克力糖
    191 “雪還沒有話哩”
    194 孟浪的男生,孟浪的椽筆
    197 心口上那顆朱砂痣
    200 說文解字日誌四帖
    203 善待母語,維繫尊嚴
    206 蕩漾著優越感的語文
    209 在中國情懷下親一親臉
    212 陳若曦論方言寫作
    218 鍛句煉字是禮貌
    221 太假的假洋鬼字
    224 填金等等五帖
    227 施老先生的概嘆
    230 寫點體面的公函
    233 “有事請走後門”
    236 想入非非的小婦人
    239 聽聽張老先生的話
    242 夏濟安的譯筆還是好的
    245 辨別金石聲
    248 文字不可俗氣
    251 投資環境語漢字規範
    254 眉園家塾裡的背書聲


    (五)目 錄1 毛澤東會寫信
    4 語文竟是那麼希臘
    7 赫胥黎怕堂皇空洞的字
    10 親愛的稅務局長...
    13 王混妻子調皮
    16 “批改作文,不要多改”
    19 文字美食家
    22 秋雨、心香等三段
    25 夜讀瑣疑
    29 小聲曰:”是鄧拓!”
    32 高明的指點
    35 儲大泓先生的來信
    38 貂蟬可畏外五段
    41 文人譯筆清賞
    44 淺淺的歌詞,深深的感動
    50 財政司的智商真那麼低嗎?
    53 搞什麼文字推理!
    56 是Dong Jianhua 才對
    60 一封回信
    63 聖誕政治食譜
    67 點起正月半的花燈
    70 “你的不來使我斷電”
    73 公務員事務司的中文信
    82 等待更多知名的真學人
    85 把法治精神譯成中文
    88 張五常論文章清楚
    91 霍英東先生的春天
    94 開封的槐樹,茅頓的霜葉
    97 老教授那本小策子
    100 文謅謅的廣東話
    103 告訴他們:上圖書館去!
    106 別忘了中文有個”了”字
    110 語文的情網
    113 飄著淡淡的麝香和琥珀
    116 教育署《強力指引》小議
    119 王永平先生的來信
    122 “常老師早!”
    126 與文字的鬥爭
    130 戴卓爾把球踢給北京
    133 倫敦公園清談
    137 搞好語文不必花大錢
    141 “學問存放在東京”
    144 明鏡高懸下的中文
    147 榆樹溝裡的新聞記者\
    150 文字輪迴六道中
    153 Your ’un-obedient’ servant…
    157 “我們偏偏不肯認命”
    161 人文教育的博雅品味
    164 “胴體”原是”屠體”
    167 元帝豈可戴綠頭巾
    170 “沒有我你冷不冷”
    177 莊嚴的演詞,莊嚴的中文
    180 李國能那一株玫瑰
    183 再看那”神聖的胴體”
    186 是跟國語接軌的時候了
    189 人道是傷春悲秋不長進
    192 媚香樓裡的捉刀人
    195 別了,教人臉紅的文章
    198 告訴我翡翠有多綠
    201 陳正方的中文進化論
    204 “言而至此,再無言矣”
    207 給自己的筆進補
    210 有”你”就該有”娥
    213 別再妨礙創作了
    216 說文,解字
    219 解讀鶴窠
    222 尊敬通曉中文的外國人
    225 調皮的語言
    228 教育不是革命戰鬥
    231 文字下酒,吃的風流
    234 宮文就命
    238 連胡先生都要請人過目
    241 “母病速歸”的存在價值
    244 他們就這樣長大了
    247 譯是漫議
    250 說得體
    254 大鬍子林肯的傳世演詞
    258 一種解釋,一個看法
    262 順治皇帝苦讀中文吐血
    (六)目 錄1 會批命的布政司
    3 《沉思錄》的結集小感
    5 貝聿銘鄉愁變奏曲
    7 “我對這土地愛的深沉”
    10 聽那槳聲,看那燈影
    12 古道西風鞭瘦馬
    15 畫完最後一筆文人畫
    18 胡風兩顆碩大的淚珠
    21 “That’s too good!”
    24 “各苦生民數十年”
    27 黃色藏書資本家
    30 啖幾顆西園掛綠
    33 像她這樣的知識份子
    39 陳沖也讀Kundera
    42 訪煙波縹緲之樓
    45 吳靄儀的信箋
    51 毛澤東燒香拜菩薩
    54 信如心細
    57 哭吧,王蒙!
    60 進士第裡的幾聲呢喃
    63 文化在靜心齋裡傳燈
    66 援庵先生給兒子的信
    69 酒肉歲月太匆匆
    72 誰願意作螺絲釘?
    75 張愛玲不聽電話
    78 “這燈兒,不亮了!”
    81 野火那麼猛的文字
    84 劉旦宅畫裡見文采
    87 懷念梁醫生的叔公
    90 鄭振鐸炒焦了股票
    93 悼”文學良心”之逝
    96 文潔若寫林徽因
    99 吳(日含)迷失在矌野中
    102 老佛爺聽戲看病
    105 花花草草都傷心
    108 送別全銓
    111 杜南發筆下書畫因緣
    114 迎席揚
    117 萃錦園中滿地相思
    120 “這些人都是有用的”
    130 幻境中的名士
    133 在陽臺看靄靄紅塵
    136 羅素的不平之鳴
    139 海棠花下的革命情人
    142 陸古孫的生死戀
    145 讀《林家次女》浮想
    149 “弄顏色玩玩的人”
    152 敬愛的老師
    155 我跟梁愛詩的舅舅吃飯
    158 罵”共匪”長大的一代
    162 忽然又懷念徐訏先生
    168 運氣不濟的翻譯家
    171 老《大公報》的錚錚風骨
    174 李鴻章這傢伙!
    180 院子裡那顆苦楝樹
    183 傅斯年是母雞
    186 胡適之到哪裡去了?
    199 許家屯筆底禪悟
    192 “為天龍八部所見”
    195 “蘇雪林是誰?”
    198 孫中山在大學堂的演講
    202 因為吳建雄是女性...
    206 現代文學筆記兩則
    209 章太炎是”章瘋子”?
    212 我請啟功先生寫字
    215 講真話的人
    218 小東西的上帝
    221 “學辜先生的英文”
    224 《辭海》的三位主編
    227 冬安
    230 送別書店巡閱史
    233吳宓開燈尋找高岡的祖國
    236 于右任家書八葉
    239 金耀基站在歷史上的樓臺上
    243 黨裡有這樣懂學問的人
    246 海棠落花時節
    249 多尋幾個明白人
    252 附錄

    David Bowie’s Top 100 Books; 陳為廷的:All-TIME 100 Novels ;10 Greatest Books of All Time; Oxford World's Classics;學生的;流亡者的書架:認識中國的50本書Osip E.Mandelstam《曼德爾施塔姆詩選》

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    The world lost one of its greatest cultural figures today, as legendary musician David Bowie passed away at age 69. He died after a battle with cancer. Bowie was known as a forward-thinking chameleon musician who was always changing, innovating, and creating new sounds and styles. Even in his late 60s, Bowie was producing new music. His last album, Blackstar, was released only days before his death.
    Bowie was also, not surprisingly, an avid reader and many of his albums were influenced by books. When Vanity Fair asked him “What is your idea of perfect happiness?” he responded simply “reading.”
    In 2013, Bowie posted his 100 favorite books on his public Facebook page. The list is a characteristically eclectic list featuring everyone from Junot Diaz and George Orwell to Angela Carter and Muriel Spark.
    RIP Bowie. The world was a better place for having you in it.

    David Bowie’s Top 100 Books

    Interviews With Francis Bacon by David Sylvester
    Billy Liar by Keith Waterhouse
    Room At The Top by John Braine
    On Having No Head by Douglass Harding
    Kafka Was The Rage by Anatole Broyard
    A Clockwork Orange by Anthony Burgess
    City Of Night by John Rechy
    The Brief Wondrous Life Of Oscar Wao by Junot Diaz
    Madame Bovary by Gustave Flaubert
    Iliad by Homer
    As I Lay Dying by William Faulkner
    Tadanori Yokoo by Tadanori Yokoo
    Berlin Alexanderplatz by Alfred Döblin
    Inside The Whale And Other Essays by George Orwell
    Mr. Norris Changes Trains by Christopher Isherwood
    Halls Dictionary Of Subjects And Symbols In Art by James A. Hall
    David Bomberg by Richard Cork
    Blast by Wyndham Lewis
    Passing by Nella Larson
    Beyond The Brillo Box by Arthur C. Danto
    The Origin Of Consciousness In The Breakdown Of The Bicameral Mind by Julian Jaynes
    In Bluebeard’s Castle by George Steiner
    Hawksmoor by Peter Ackroyd
    The Divided Self by R. D. Laing
    The Stranger by Albert Camus
    Infants Of The Spring by Wallace Thurman
    The Quest For Christa T by Christa Wolf
    The Songlines by Bruce Chatwin
    Nights At The Circus by Angela Carter
    The Master And Margarita by Mikhail Bulgakov
    The Prime Of Miss Jean Brodie by Muriel Spark
    Lolita by Vladimir Nabokov
    Herzog by Saul Bellow
    Puckoon by Spike Milligan
    Black Boy by Richard Wright
    The Great Gatsby by F. Scott Fitzgerald
    The Sailor Who Fell From Grace With The Sea by Yukio Mishima
    Darkness At Noon by Arthur Koestler
    The Waste Land by T.S. Elliot
    McTeague by Frank Norris
    Money by Martin Amis
    The Outsider by Colin Wilson
    Strange People by Frank Edwards
    English Journey by J.B. Priestley
    A Confederacy Of Dunces by John Kennedy Toole
    The Day Of The Locust by Nathanael West
    1984 by George Orwell
    The Life And Times Of Little Richard by Charles White
    Awopbopaloobop Alopbamboom: The Golden Age of Rock by Nik Cohn
    Mystery Train by Greil Marcus
    Beano (comic, ’50s)
    Raw (comic, ’80s)
    White Noise by Don DeLillo
    Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom by Peter Guralnick
    Silence: Lectures And Writing by John Cage
    Writers At Work: The Paris Review Interviews edited by Malcolm Cowley
    The Sound Of The City: The Rise Of Rock And Roll by Charlie Gillete
    Octobriana And The Russian Underground by Peter Sadecky
    The Street by Ann Petry
    Wonder Boys by Michael Chabon
    Last Exit To Brooklyn by Hubert Selby, Jr.
    A People’s History Of The United States by Howard Zinn
    The Age Of American Unreason by Susan Jacoby
    Metropolitan Life by Fran Lebowitz
    The Coast Of Utopia by Tom Stoppard
    The Bridge by Hart Crane
    All The Emperor’s Horses by David Kidd
    Fingersmith by Sarah Waters
    Earthly Powers by Anthony Burgess
    The 42nd Parallel by John Dos Passos
    Tales Of Beatnik Glory by Ed Saunders
    The Bird Artist by Howard Norman
    Nowhere To Run: The Story Of Soul Music by Gerri Hirshey
    Before The Deluge by Otto Friedrich
    Sexual Personae: Art And Decadence From Nefertiti To Emily Dickinson by Camille Paglia
    The American Way Of Death by Jessica Mitford
    In Cold Blood by Truman Capote
    Lady Chatterly’s Lover by D.H. Lawrence
    Teenage by Jon Savage
    Vile Bodies by Evelyn Waugh
    The Hidden Persuaders by Vance Packard
    The Fire Next Time by James Baldwin
    Viz (comic, early ’80s)
    Private Eye (satirical magazine, ’60s – ’80s)
    Selected Poems by Frank O’Hara
    The Trial Of Henry Kissinger by Christopher Hitchens
    Flaubert’s Parrot by Julian Barnes
    Maldodor by Comte de Lautréamont
    On The Road by Jack Kerouac
    Mr. Wilson’s Cabinet of Wonders by Lawrence Weschler
    Zanoni by Edward Bulwer-Lytton
    Transcendental Magic, Its Doctine and Ritual by Eliphas Lévi
    The Gnostic Gospels by Elaine Pagels
    The Leopard by Giusseppe Di Lampedusa
    Inferno by Dante Alighieri
    A Grave For A Dolphin by Alberto Denti di Pirajno
    The Insult by Rupert Thomson
    In Between The Sheets by Ian McEwan
    A People’s Tragedy by Orlando Figes
    Journey Into The Whirlwind by Eugenia Ginzburg




    被點到玩「曾經陪伴自己/對自己影響很深的書」的遊戲。來列一下。
    一、《迷路的詩》◎楊照
    國中在苗栗,突然有段時間,變得很喜歡看書。也不知從何看起。就到圖書館從劉鏞全套一本一本看完、再看光禹、侯文詠小說集,這樣每堂課在抽屜底下看完。有天上歷史課的時候,我那個高中也在台北念、在師大的時候,也曾是個文青的歷史老師,抓到我在偷看書,就塞了一本封面是個看起來頗自戀的青年的獨照的書給我,說:「看點別的吧」。
    從那開始。在兩層意義上,我進入了一個新的世界。首先是文學。書裡面那種迥然不同的文字演繹方式令人震懾。另外,是政治。看裡頭寫這些高中生天天在討論什麼鄉土文學論戰、美麗島大審,把妹的招數居然是談什麼存在主義。讓我深深挫敗想說,幹,平平十五十六歲,我在這邊天天超越自己、肯定自己、創造自己,還有什麼教不教你詐,到底是在幹嘛?
    這個「建中青年社」,到底是有沒有那麼神?
    抱著那樣的想法,才終於打定主意,去考建中、去加入建青社。雖然時代變了,這個學校,跟1979年前後的書裡寫的比起來,難免是有點包裝不實。但那也已經是另外的故事。
    二、《挪威的森林》◎村上春樹
    加入建青社,學長開了一百本小說必讀書單。整個高一上學期,從《百年孤寂》、《四喜憂國》、《如果在冬夜,一個旅人》、《降生十二星座》,一路讀下來,我還是在抽屜底下,讀完了五十本各種小說。
    但老實說,其他都忘得差不多。作為一個喜歡在網誌上使用「噢」這個語助詞的假掰文青,印象最深的,還是村上春樹噢。
    真的噢。
    最喜歡了噢。
    就像跟小熊抱在一起在三葉草茂盛的山丘斜坡上打滾玩一整天一樣喜歡噢。
    那也是我模模糊糊認識「學運」的開始。即使那個時候,根本也不瞭解1960年代的日本,到底發生過什麼事。
    但至少我們記起了「可怕的不是國家機器,而是缺乏想像力」這種句子。回想起來,也許該慶幸是從這樣一個疏離的角色去認識到「運動」,在十六歲的時候,這樣開始理解在那裏頭、或在那之外,的人與人間的疏離與信任。
    即使到了二十三歲的現在,也還沒有搞懂。
    三、《學運世代:眾聲喧嘩的十年》◎何榮幸
    四、《到芬蘭車站:馬克思主義的起源與發展》◎艾德蒙‧威爾森
    五、《學校在窗外》◎黃武雄
    高一下學期接手建青主編。但根本不知道要編什麼。一個後來去念建築系的學長說,「去看看這個吧」,丟了一個網址給我。然後就去了寶藏巖。親眼目睹第一場抗爭,認識裏頭的學生,見識活生生的「學運」。並且困惑這些人為什麼沒事要叫自己「公社」?
    編完那期,後來在書店亂晃的時候,才看到《學運世代》那本書。知道所謂「野百合世代」不只是1990年三月突然發生在那個廣場上的一張課本圖片。才開始認識1980年代以降的各種運動。
    後來又在書店亂逛的時候,讀到後兩者。開始認識作為一個常常借錢的革命者的馬克思、似懂非懂地讀那些理論導讀;也慶幸在讀到1980年代批判「特別權力關係」的同時,讀到黃武雄有系統的自由主義教改論述。
    直到今天,都還是我很重要的思想資源。尤其每次遇到又在吵教改、吵十二年國教時,我總還是會再把《學校在窗外》拿出來讀讀。後來幾年,在清華學院碰到奉黃武雄為師的學院導師李天健,感到各種興奮。當然,自由主義的教改進路,也有其侷限。幾年後讀到柏儀的碩論,覺得驚艷,也是一個很好的左翼進路的挑戰。
    六、《夢的終點》◎陳芳明
    七、《寒夜》◎李喬
    八、《藤纏樹》◎藍博州
    從文學到政治,再回到文學。
    從歐洲的社會主義運動回望台灣,正想著說:台灣的左翼運動何以這麼貧瘠的同時,讀到陳芳明書寫1970年代的海外台獨運動,不啻是一種,嗯,沛然莫之能禦的震撼。在那裏頭,第一次聽到「左獨」、讀到史明、謝雪紅。
    追索著陳芳明的日治時代左翼運動研究,再回到李喬。再往下讀到藍博洲。是另一輪命運的回返。
    李、藍,是我十三歲那年,在家旁邊參與的社區劇團的先後任團長。我們演出他們的小說,但懵懵懂懂。長大以後,才驚訝想說:哇靠,這什麼神奇的團長組合。
    在高三苦悶的日子裡,我分別接連幾天,把這兩本小說讀完。看那些1920年代,苗栗大湖青年農民運動者參與文協、農組運動,和1950年代苗栗在地參與中共省工委會的故事。覺得所有遙遠的,現在都近了起來。
    那些原本以為遙遠的左翼傳統,不只在歐洲,也在台灣;不只在台灣,也在我的苗栗故鄉。那是我腳下所在的土地長出來的故事。裏頭有衝突的敘事、藤纏似的糾結。而差不多從那時開始,我決定回過頭來,去理解它。
    九、《歷史劇場:痛苦執政八年》◎林濁水
    所有這些閱讀的經驗,都發生在2006-2009年之間。
    那樣一個苦悶的年代。如果你還記得。
    我高三時的補習班在重慶南路上,每天下課,都得經過特偵組,看到大批的記者駐紮等候。一晚,經過新光三越前,首次看到有人拿著報紙大喊「號外!」。行人匆匆走過、報紙在新光三越亮白的強光中漫天飛舞。像極電影場景。報紙頭版斗大標題:陳水扁聲押。
    我站在街頭,感覺龐大的困惑。
    那幾年,台灣獨立、轉型正義,變成一種汙穢的詞語。統媒的宣傳固然成功。但細數扁從2000年上任、至2008年後期激進台獨的搖擺行徑,你的確不免質疑,這到底是搞真的,或不過是一種挽救政權的政治手段?
    一些神聖的詞彙變得不可輕信。
    但你還能相信什麼?相信那個讓家鄉最貪腐的政客,走在街頭擔任總指揮「反貪腐」的運動嗎?相信特偵組司法公正、不偏不倚?相信你剛剛再學運、社運史裡學到的那個「國民黨」?還是相信「憲法一中」,真可以逆轉勝呢?
    還沒來得及想清楚,黨國已然班師回朝。
    我記得那前幾天,才和學長楊杰一起搭公車到公館的「逆轉勝總部」。買一件「建國」T,在寥寥的人群裡,看《再見列寧》;然後,不久幾天,開票當晚,我搭262從西門町回家,經過國民黨的競選辦公室。耳機播著〈逆轉勝〉那首歌,還是持續的困惑起來……
    如果上面那些書領我走進文學、走進學運社運、走進淹沒的台灣史、走進故鄉,林濁水這本很難被歸類為是理論、政治史、文學、或一則寓言的書,則領我走進從我九歲到十七歲,那些發生在我身邊,我卻來不及走進的「政治」。
    後來這些年,我還是時時想起那位卡珊卓。翻起這本書來。
    十、《想像的共同體:民族主義的起源與散布》◎Benedict Anderson
    終於上了大學。剛受完賴曉黎社理的磨難、同時考進清大人類所的邱星崴說:「廢柴,來念點書吧」。於是,大一那年,一個禮拜,我們有四個讀書會。最重的這個讀書會,我們每週得做逐句摘要、串概念、畫出概念圖。每個禮拜,都是艱辛的搏鬥。
    而安德森的命題,則注定是困擾我們、又激勵我們的一道終生的難題。然而,也正在那個閱讀的經驗中,我們理解社會科學之於生命的可貴。
    在閱讀、討論中,我們理解,不要把民族主義當作一種像社會主義、自由主義那樣的意識形態來理解、或信仰,當你說「我們台灣人」的時候,永遠得保持警惕,這樣的民族敘事,是否造成了不當的排除和壓迫;但與此同時,我們也要正視民族主義的愛,「想像的共同體」並不等同於「虛構」,去理解它的物質基礎、去承認他一旦形成,就是真實存在。不要想用一句「虛假意識」就將它打發、不是迴避它就能成就國際主義。
    我們重視階級。但它應該與民族的獨立、民族的自決放在同等重要的位置。兩者不可相互化約。
    終其一生,我們必須尋求兩者的平衡,與共同的解放。
    這才是台灣作為一個共同體,終生的永恆難題。
    --
    不知不覺寫那麼多。
    無論如何,雖然這裡頭許多作者,在後來的日子裡,我們有過交流、甚至交鋒,有些時候,並不互相認同。有的則在政治立場上根本對立。
    但我永遠謝謝他們寫過這些文字。是它們伴我長成。
    後來這些年,不是很有時間靜下來念書。許多時候,還是很想念那些泡在書店,一本一本,把他們給淘出來的日子。
    BTW,這遊戲要再點三個人。麻煩 賴中強、 陳惠敏、和 魏揚。ㄏㄏㄏ。
    (不然你們要把書架倒下來,讓書壓在你頭上,接受書架挑戰也是可以)

    共104網頁

    All-TIME 100 Novels

    Critics Lev Grossman and Richard Lacayo pick the 100 best English-language novels published since 1923—the beginning of TIME.








    The 10 Greatest Books of All Time







    Frank Micelotta / Getty
    Author Tom Wolfe
    Let's not mince words: literary lists are basically an obscenity. Literature is the realm of the ineffable and the unquantifiable; lists are the realm of menus and laundry and rotisserie baseball. There's something unseemly and promiscuous about all those letters and numbers jumbled together. Take it from me, a critic who has committed this particular sin many times over.
    But what if—just for argument's sake—you got insanely rigorous about it. You went to all the big-name authors in the world—Franzen, Mailer, Wallace, Wolfe, Chabon, Lethem, King, 125 of them— and got each one to cough up a top-10 list of the greatest books of all time. We're talking ultimate-fighting-style here: fiction, non-fiction, poetry, modern, ancient, everything's fair game except eye-gouging and fish-hooking. Then you printed and collated all the lists, crunched the numbers together, and used them to create a definitive all-time Top Top 10 list.





    Yes, it would probably still be an obscenity. But it would be a pretty interesting obscenity. And that's what we have in J. Peder Zane's The Top 10 (Norton; 352 pages).
    Each individual top 10 list is like its own steeplechase through the international canon. Look at Michael Chabon's. He heads it up with Jorge Luis Borges's Labyrinths. (Nice: an undersung masterpiece by a writer's writer.) He follows that up with by Pale Fire by Nabokov at #2. (Hm. Does he really think it's better than Lolita? Really?) Then with number 3 he goes straight off the reservation: Scaramouche, by Rafael Sabatini. (What? By who?) The whole exercise is an orgy of intellectual second-guessing, which as we all know is infinitely more fun than the first round of guessing.
    There's plenty of canon fodder on the lists. Zane, who's the books editor at the Raleigh News & Observer, has done a statistical breakdown of the results, so we know, for example, that Shakespeare is the most-represented author (followed by Faulkner, who ties with Henry James; they're followed by a five-way tie, which you can read about for yourself). But I'm more interested in the dark horses, the statistical outliers, which lay bare the secret fetishes and perversions of the literati. Douglas Coupland puts Capote's unfinished Answered Prayers at number one, blowing right by Breakfast at Tiffany's and In Cold Blood, too. Jonathan Franzen begins straight up the middle, with The Brothers Karamazov, but turns a sharp corner at #9 with The Man Who Loved Children by Christina Stead, and another at #10 with Independent People by Halldor Laxness. The quintessentially American Tom Wolfe starts by reeling off four French classics in a row. Norman Mailer revives John Dos Passos's out-of-fashion U.S.A. trilogy for his #6 (and shows uncharacteristic forebearance by leaving his own works off the list). And so on. (At times one reads in the knowledge that one is being messed with. There's an outside, screwball chance that David Foster Wallace really reveres C.S. Lewis's The Screwtape Letters above all other books, but I feel comfortable asserting—having read Infinite Jesttwice—that Wallace does not feel that way about Stephen King's The Stand (at #2) or The Sum of All Fears, by Tom Clancy (#10).)





    There are several lifetimes' worth of promising literary leads here—544 books in all. An 85-page appendix providing enlightened summaries of all the works mentioned is worth the price of admission all on its own. But to get you started, here, in all its glory, is the all-time, ultimate Top Top 10 list, derived from the top 10 lists of 125 of the world's most celebrated writers combined. Read it and— well, just read it.
    1. Anna Karenina by Leo Tolstoy
    2. Madame Bovary by Gustave Flaubert
    3. War and Peace by Leo Tolstoy
    4. Lolita by Vladimir Nabokov
    5. The Adventures of Huckleberry Finn by Mark Twain
    6. Hamlet by William Shakespeare
    7. The Great Gatsby F. Scott Fitzgerald
    8. In Search of Lost Time by Marcel Proust
    9. The Stories of Anton Chekhov by Anton Chekhov
    10. Middlemarch by George Eliot


    英文的名著叢書中,最有名的書系之一;

    Oxford World's Classics - Oxford University Press

    ukcatalogue.oup.com/category/academic/series/general/owc.do
    Results 1 - 10 of 500 - The Classic First Edition. H. W. Fowler, David Crystal. 978-0-19-958589-2. Paperback. 14 October 2010. £9.99. Oxford World's Classics.




    ※  黃國昌:有思想論述的行動才有力量 : 中研院法律所副研究員黃國昌今下午到台灣大學演講,黃國昌在演講時表示,政府遇到跟ptt.cc

    文學寓言
    雨果 《悲慘世界》; 阿道斯‧雷歐那德‧赫胥黎 《美麗新世界》; 卡夫卡 《變形記》; 喬治‧歐威爾 《一九八四》、 喬治‧歐威爾 《動物農莊》; 卡謬 《異鄉人》 卡謬、 《瘟疫》; 米蘭‧昆德拉 《生命中不能承受之輕》、 米蘭‧昆德拉 《笑忘書》; 赫拉巴爾 《過於喧囂的孤獨》;薄伽丘 《十日談》 ;托爾斯泰  《戰爭與和平》 、托爾斯泰 《復活》; 杜斯妥也夫斯基 《罪與罰》; 三島由紀夫 《美德的背叛》; 魯迅 《狂人日記》 ;魯迅 《阿Q正傳》; 柏楊 《醜陋的中國人》 ;扎米亞京的 《我們》; 查爾斯‧狄更斯 《雙城記》

     哲學
    柏拉圖 《理想國》; 叔本華 《意志與表象的世界》; 馬丁‧海德格爾 《存在與時間》 ;沙特 《存在與虛無》; 朱利安巴吉尼 《一把鑰匙,走進哲學》; 朱利安巴吉尼 《我們為什麼要活著》、 朱利安巴吉尼 《自願被吃的豬:100個讓人想破頭的哲學問題》、 朱利安巴吉尼 《鴨子中了大樂透》; 羅蘭.巴特 《戀人絮語》; 尼采 《查拉圖斯特拉如是說》; 米歇爾·福柯 《規訓與懲罰》、傅柯 《瘋癲與文明》; 克里希那穆提 《最初與最後的自由》; 斯賓諾莎 《倫理學》 ;克里希那穆提 《人類的當務之急》 ; 詹姆士.杭特 《僕人:修道院的領導啟示錄》 、詹姆士.杭特 《僕人修練與實踐》

    心理學
    佛洛伊德 《夢的解析》、 佛洛伊德 《圖騰與禁忌》

     史地與民族
    麥金德 《世界歷史的地理樞紐》; 巴森 《從黎明到衰頹:五百年來的西方文化生活》 ;柄谷行人 《世界史的結構》 ;史明 《台灣人400年史》; 林媽利 《我們流著不同的血液》 ;葛超智 《被出賣的台灣》; 王金壽、江以文、杜文苓...等 《社會運動的年代:晚近二十年來的台灣行動主義》; 吳介民、顧爾德、范雲 《秩序繽紛的年代:1990-2010》 ;鄭南榕基金會 《剩下就是你們的事了:行動思想家鄭南榕》 ;林宗弘等 《崩世代:財團化、貧窮化與少子女化的危機》 ;杭亭頓 《文明衝突與世界秩序的重建》

    傳記 希特勒 《我的奮鬥》; 喬治‧歐威爾 《巴黎倫敦落難記》 ;陳水扁 《1.86坪的總統府》

    政治思想
    馬漢 《論制海權》 ;潘恩 《常識》 ;湯瑪斯‧摩爾 《烏托邦》 ;馬克思 恩格斯 《共產黨宣言》 ;漢娜‧鄂蘭 《共和危機》 、漢娜‧鄂蘭 《極權主義的起源》、 漢娜‧鄂蘭 《政治的承諾》 ;若林正丈 《戰後臺灣政治史》; 約翰.彌爾 《自由論》; 班納迪克.安德森 《想像的共同體-民族主義的起源與散布》 ;戴倫.艾塞默魯 詹姆斯.羅賓森 《國家為什麼會失敗》 ;約翰.蓋斯提爾 彼得.列文 《審議民主指南:21世紀公民參與的有效策略》; 袁紅冰 《台灣大劫難:2012不戰而勝台灣》 ;袁紅冰 《台灣大國策》、 袁紅冰 《台灣大國魂》、 袁紅冰 《被囚禁的台灣》; 李登輝 《台灣的主張》、 李登輝 《二十一世紀台灣要到哪裡去》 ;徐賁 《正派社會和不羞辱》 ;胡平 《論言論自由》 ;威廉.道布森 《獨裁者的進化:收編、分化、假民主》; David Butler Austin Ranney編著 《公民投票的實踐與理論》; 海伍德 《政治的意識形態》 社會學 馬爾薩斯 《人口論》 ;梭羅  《公民不服從》; 林萬億《福利國家-歷史比較的分析》;林萬億 《臺灣的社會福利:歷史與制度的分析》; 賀佛爾 《群眾運動聖經》; 索維爾 《知識份子與社會》 ;彼得‧艾克曼 傑克‧杜瓦 《非暴力抗爭─一種更強大的力量》; 克雷.薛基 《鄉民都來了:無組織的組織力量》; Allan G. Johnson 《見樹又見林》; Marie L.Campbell Frances Gregor《為弱勢者畫權力地圖︰建制民族誌入門》; Si Kahn 《組織結社:基層組織領導者手冊》; 金夏普 《198種非暴力抗爭方法》 ;何明修 《四海仗義:曾茂興的工運傳奇》 ;吳音寧 《江湖在哪裡? ──台灣農業觀察》; 楊儒門 《白米不是炸彈》 ;佛雷勒 《受壓迫者教育學》 ;西蒙 波娃 《第二性》

    綠色思想
     梭羅 《湖濱散記》; 斯佩納德.拉魯索(編) 《梭羅:綠色先知》; 何明修 《綠色民主:台灣環境運動的研究》; 吳晟、吳明益(編) 《溼地.石化.島嶼想像》; 謝志誠、何明修 《八輕遊台灣:國光石化的故事》

     經濟學
    亞當斯密 《國富論》 ;馬克思 恩格斯 《資本論》; 史帝文.李維特,史帝芬.杜伯納 《蘋果橘子經濟學》; 史帝文.李維特,史帝芬.杜伯納 《超爆蘋果橘子經濟學》
    歡迎轉載


    老爹的社運青年必讀書單

    1.海賊王
    人權議題、轉型正義與抵抗權

    2.銀魂
    自由貿易與殖民主義

    3.無殼蝸牛連環砲
    房地產問題與青年貧窮

    4.Monster
    真相與和解

    5.20世紀少年&21世紀少年
    極權主義

    6.政治最前線
    政府運作與政黨政治

    7.王牌至尊
    政黨與選舉

    8.銀之匙
    農業議題與經濟發展

    9.神劍闖江湖十本刀篇
    轉型正義

    10.憂國的拉普斯金
    官僚體系與國際政治

    11.死亡預告
    生命權

    12.圖書館戰爭
    言論自由

    13.Dr. Dmat ~ 瓦礫下的醫師

    危機管理

    14.醫界風雲(住院醫生PGY)
    健康權

    15.進擊的巨人
    政治陰謀與革命

    16.怪醫黑傑克
    人道關懷

    17.犬神
    環境生態

    18.狼的孩子雪和雨
    弱勢家庭

    19.最終兵器少女
    戰爭

    20.火鳳燎原(前期)
    政治操作與傳統價值之解構

    21.裁判長這案子判五年如何
    司法實務

    22.阿特雷亞斯的天平
    司法與正義

    23.改革之獸
    政治公關與媒體操作

    24.沈默的艦隊
    國際關係與世界和平

    25.聖堂教父
    政治實務

    26.銀河英雄傳說
    什麼都有(但我不喜歡少女風!!!)

    27.黃昏流星群
    高齡議題

    28.大使館的工作守則
    外交實務

    29.家栽之人
    法律與青少年

    30.
    革命情迷
    (我沒看過)

    31.封神記(港漫)
    專制與革命

    ----

      書單是見仁見智。余先生不錯,不過如果他是北大第一才子,中國還有什麼希望......

    流亡者的書架:認識中國的50本書

    目錄

    推薦序 流亡者的書架 / 吳介民(中央研究院社會學研究所副研究員)
    自 序 讀書:通往自由之路,或通往奴役之路
    第一卷 絕俗求知道欲真 自甘牛鬼與蛇神反抗的高度:劉曉波《劉曉波文集》
    「六四」是一道肩上的閘門:王丹《王丹回憶錄》
    出中國的路比出埃及更長:張伯笠《逃亡者》
    愛是久忍耐:蘇曉康《寂寞的德拉瓦灣》
    以監獄為家的聖徒:劉賢斌《若為自由故:劉賢斌文選》
    四川地震讓「統戰對象」變成「國家公敵」:夏明《政治維納斯》
    我不願終身在黑暗中吃喝:梁慕嫻《我與香港地下黨》
    守死善道,循善取義:趙越勝《燃燈者:回憶周輔成》
    一個人怎樣才能不被黑暗所吞沒?:龔祥瑞《盲人奧里翁》
    是「兩頭真」,還是「一頭真」?:胡績偉《胡績偉自述》
    第二卷 投槍一例偏心刺 獅吼寒宵百鬼驚揭秘世界上最成功的洗腦術:陳冠中《盛世:中國,二零一三年》
    改革已死,轉型在即:王天成《大轉型》
    黨不變則國不變:張博樹《中國憲政改革可行性研究報告》
    不是改革,而是劫掠:朱嘉明《中國改革的歧路》
    能攻心則反側自消:王力雄《我的西域,你的東土》
    帝力於我何有哉?:王笛《茶館:成都的公共生活和微觀世界》
    「混混」當道,鄉村淪陷:黃海《灰地:紅鎮「混混」研究》
    一九八八之後是一九八九:韓寒《一九八八:我想和這個世界談談》
    「遺民」與「移民」:哪裡是你的國家?:哈金《自由生活》
    名為「大國崛起」,實為「烏有之鄉」:周有光《周有光百歲口述》
    第三卷 著述猶然史上愁 名山縱僻豈藏憂讓子彈「不要飛」:李劼《梟雄與士林》
    狂人、畸人與病人:冉雲飛《吳虞和他生活的民國時代》
    此岸已無中研院:岳南《從蔡元培到胡適:中研院那些人和事》
    她為什麼對「土共」有免疫力?:齊邦媛《巨流河》
    白山黑水的悲歌:伊原澤周校注《戰後東北接收交涉紀實:以張嘉璈日記為中心》
    殺戮有時,醫治有時:張正隆《雪白血紅》
    早識天涯路本歧:戴晴《在如來佛掌中:張東蓀和他的時代》
    戀舊從新法,逢人效鬼辭:余英時《未盡的才情:從顧頡剛日記看顧頡剛的內心世界》
    三十年前的拉薩,三十年後的天安門:李江琳《一九五九:拉薩!》
    「貴族學校」的「流氓教育」:北島等《暴風雨的記憶:一九六五至一九七零年的北京四中》
    第四卷 九州億兆皆苟活 漫漫長夜何時晨謊言的製造者和謊言的對抗者:索爾孟《謊言帝國》
    當代中國的「老殘遊記」:齊福德《三一二號公路》
    野草在歌唱:伊恩.強森《苛稅、胡同和法輪功:底層中國的緩慢革命》
    像鎖住長江一樣鎖住人心:何偉《消失中的江城》
    鋼鐵是怎樣沒煉成的?:李政亮《中國課:系上紅領巾的中國式青春》
    超級巴士之奪命狂奔:范疇《中國是誰的:從台北看北京》
    「金磚中國」、「邪惡中國」與「人權中國」:吳介民《第三種中國想像》
    看哪,這些戴著白手套的教父:喬.史塔威爾《亞洲教父:香港、東南亞的金錢和權力》
    破解共產黨與孔夫子的偽聯盟:莊萬壽《中國民族主義與文化霸權》
    統一未必幸福,分裂未必痛苦:葛劍雄《統一與分裂:中國歷史的啟示》
    第五卷 治國之政听于民 豈以天下逞一人
    從匪首到皇帝的路有多遠?:龔楚《龔楚將軍回憶錄》
    刀尖上的中國農村與中國農民:弗里曼等《中國鄉村,社會主義國家》
    天府之國何以淪為人間地獄?:東夫《麥苗青菜花黃:大饑荒川西紀事》
    周恩來不是人民的總理,而是毛氏的家臣:邱會作《邱會作回憶錄》
    倡優蓄之而不自知:陳伯達《陳伯達最後口述回憶》
    毛澤東是國際恐怖主義的祖師爺:程映虹《毛主義革命:二十世紀的中國與世界》
    那紅色是鮮血的紅色:周德高《我與中共和柬共》
    一座獻給獨裁者的城市:洪長泰《地標:北京的空間政治》
    與魔鬼能做一筆多大的生意?:瑪格蕾特.麥克米蘭《只爭朝夕:當尼克松遇上毛澤東》
    毛澤東是希特勒的「加強版」:張戎、喬.哈利戴《毛澤東:鮮為人知的故事》

    ------

    亨德里克.房龍 《人類的故事》等等 Our Battle: Being One Man's Answer to "My Battle" by Adolf Hitler

    $
    0
    0
    Hendrik Willem van Loon (January 14, 1882 – March 11, 1944) was a Dutch-Americanhistorian, journalist, and award-winning children's book author.

    過世後60年,還有人幫他寫傳

    Van Loon: Popular Historian, Journalist, and FDR Confidant

     By Cornelis A. van Minnen 2006 / Arthur M. Schlesinger, Jr.序



    Works[edit]


    Supposed evolution of the word "mother" in The Story of Mankind, by Hendrik van Loon
    A list of works by Hendrik Willem van Loon, with first publication dates and publishers.
    • The Fall of the Dutch Republic, 1913, Houghton Mifflin Co.
    • The Rise of the Dutch Kingdom, 1915, Doubleday Page & Co.
    • The Golden Book of the Dutch Navigators, 1916, The Century Co.
    • A Short History of Discovery: From the Earliest Times to the Founding of Colonies in the American Continent, 1917, David McKay
    • Ancient man; the Beginning of Civilizations, 1920, Boni and Liveright
    • The Story of Mankind, 1921, Boni and Liveright
    • The Story of the Bible, 1923, Boni and Liveright
    • Witches and Witch-Finders, 1923, article from the June 1923 Mentor Magazine
    • The Story of Wilbur the Hat, 1925, Boni and Liveright
    • Tolerance, 1925, Boni and Liveright  有漢譯
    • The Liberation of Mankind: the story of man's struggle for the right to think, 1926, Boni and Liveright
    • America: The Story of America from the very beginning up to the present, 1927, Boni and Liveright
    • Adriaen Block, 1928, Block Hall
    • Multiplex man, or the Story of Survival through Invention, 1928, Jonathan Cape
    • Life and Times of Peter Stuyvesant, 1928, Henry Holt
    • Man the Miracle Maker, 1928, Horace Liveright
    • R. v. R.: the Life and Times of Rembrandt van Rijn, 1930, Horace Liveright
    • If the Dutch Had Kept Nieuw Amsterdam, in If, Or History Rewritten, edited by J. C. Squire, 1931, Simon and Schuster
    • Van Loon's Geography: The Story of the World We Live In, 1932, Simon and Schuster
    • To Have or to Be—Take Your ChoiceJohn Day (1932)
    • "Gold" 1933, article from the Cosmopolitan March 1933
    • An Elephant Up a Tree, 1933, Simon and Schuster
    • An Indiscreet Itinerary or How the Unconventional Traveler Should See Holland by one who was actually born there and whose name is Hendrik Willem Van Loon, 1933, Harcourt, Brace
    • The Home of Mankind: the story of the world we live in, 1933, George G. Harrap
    • The story of inventions: Man, the Miracle Maker, 1934, Horace Liveright
    • Ships: and How They Sailed the Seven Seas (5000 B.C.-A.D.1935), 1935, Simon and Schuster
    • Around the World With the Alphabet, 1935, Simon and Schuster
    • Air-Storming: A Collection of 40 Radio Talks, 1935, Harcourt, Brace
    • Love me not, 1935
    • A World Divided is a World Lost, 1935, Cosmos Publishing Co.
    • The Songs We Sing (with Grace Castagnetta), 1936, Simon and Schuster
    • The Arts (with musical illustrations by Grace Castagnetta), 1937, Simon and Schuster
    • Christmas Carols (with Grace Castagnetta), 1937, Simon and Schuster
    • Observations on the mystery of print and the work of Johann Gutenberg, 1937, Book Manufacturer's Institute/New York Times
    • Our Battle: Being One Man's Answer to "My Battle" by Adolf Hitler, 1938, Simon and Schuster
    • How to Look at Pictures: a Short History of Painting, 1938, National Committee for Art Appreciation
    • Folk Songs of Many Lands (with Grace Castagnetta), 1938, Simon and Schuster
    • The Last of the Troubadours: The Life and Music of Carl Michael Bellman 1740-1795 (with Grace Castagnetta), 1939, Simon and Schuster
    • The Songs America Sings (with Grace Castagnetta), 1939, Simon and Schuster
    • My School Books, 1939, E. I. du Pont de Nemours[a]
    • Invasion, being the personal recollections of what happened to our own family and to some of our friends during the first forty-eight hours of that terrible incident in our history which is now known as the great invasion and how we escaped with our lives, 1940, Harcourt, Brace
    • The Story of the Pacific, 1940, George G. Harrap
    • The Life and Times of Johann Sebastian Bach, 1940, Simon and Schuster
    • Good Tidings (with Christmas songs by Grace Castegnetta), 1941, American Artists Group
    • The Praise of Folly by Desiderius Erasmus of Rotterdam, with a short life of the Author by Hendrik Willem van Loon of Rotterdam who also illustrated the Book, 1942
    • Van Loon's Lives: Being a true and faithful account of a number of highly interesting meetings with certain historical personages, from Confucius and Plato to Voltaire and Thomas Jefferson, about whom we had always felt a great deal of curiosity and who came to us as dinner guests in a bygone year, 1942, Simon and Schuster
    • Christmas Songs, 1942
    • The Message of the Bells (with music by Grace Castagnetta), 1942, New York Garden City
    • Fighters for Freedom: the Life and Times of Thomas Jefferson and Simon Bolivar, 1943, Dodd, Mead & Co.
    • The Life and Times of Scipio Fulhaber, Chef de Cuisine, 1943
    • Adventures and Escapes of Gustavus Vasa, and how they carried him from his rather obscure origin to the throne of Sweden, 1945
    • Report to Saint Peter, upon the kind of world in which Hendrik Willem van Loon spent the first years of his life - an unfinished, posthumously published autobiography, 1947, Simon and Schuster

    在台灣,1960~1970年代,許多人被房龍的《人類的故事》之懷舊故鄉教堂頂樓極目遠眺回憶所感動。其實房龍的書在30~40年代就有翻譯 (台灣商務印書館翻印《發明的故事》等)。
    十幾年前 (約2000?),中國興起房龍 的著作集的出版,有些書可能是湊出來的,譬如說,《名人的故事》北京:東方,2006; 《房龍音樂的故事》成都:時代,2003。
    在美國,房龍被看作著名作家歷史學家和記者,其影響主要來自於他的著作。但在學術界房龍的影響則不大。
    儘管中國公眾可能對房龍缺乏了解,但在中國的知識界,房龍卻擁有相當的認知度。早在1927年,其著作《古人類》就已由中國作家林微音(非林徽因)翻譯出版(書名《古代的人》[2])。《人類的故事》在1930年代出現中文版。中國當代作家郁達夫曾評價說:「范龍(即房龍)的這一種方法,實在巧妙不過,乾燥無味的科學常識,經他那麼一寫,無論大人小孩,讀他的書的人,都覺得娓娓忘倦了」。「……范龍的筆,有這一種魔力。但這也不是他的特創,這不過是將文學家的手法,拿來用以講述科學而已。」[3]1950年代以後,房龍的著作在中國大陸長期遭禁。1980年代中後期起,中國大陸的大學生開始重新傳看房龍的著作。到2000年以後中華人民共和國境內實際上掀起了房龍著作的出版熱潮,市面上同時存在著同一部著作的多種翻譯版本。部分中國知識分子把閱讀房龍著作作為了解西方歷史、接受人文主義啟蒙教育的捷徑。房龍作品的通俗性、趣味性和傾向於自由主義的思想也相當程度上滿足了中國讀書界的需求,有人認為他是「人文主義大師」[來源請求]
    房龍在歐洲幾乎不享有知名度,即使在他的故鄉荷蘭也有很多人不知道房龍或者不認為他是知名人士[來源請求]



    1.  My School Books was a chapter from the unpublished autobiography of Hendrik Willem van Loon made by the DuPont chemical company to demonstrate their new 'PX Cloth' on school books, and distributed free at the New York Worlds Fair in 1939

    人類的故事 亨德里克.房龍 著 / 吳奚貞 譯 協志工業叢書出版公司 2006年當 代歷史家亨德里克.房龍(Hendrik Willem van Loon)以他一貫淺顯的語言,輕鬆流暢的筆法,為我們敘述人類五十萬年歷史的演變和大事,全書洋溢著作者的智慧,人情味和幽默感,配上作者親自繪製的精 美插圖,讓讀者讀來趣味盎然,印象深刻而對歷史有初步的認識。這是一部信史,是學習歷史的入門書;但讀起來卻像一部迷人的小說。



    主要著作[編輯]


    • 《荷蘭共和國的衰亡》(1913)英文名:The Fall of the Dutch Republic
    • 《荷蘭共和國的興起》(1915)英文名:The Rise of the Dutch Republic
    • 《荷蘭航海家寶典》(1916) 英文名:The Golden Book of the Dutch Navigators
    • 《發現簡史》(1917)英文名:A Short History of Discovery: From the Earliest Times to the Founding of Colonies in the American Continent
    • 古人類》(1920)英文名:Ancient man; the Beginning of Civilizations
    • 人類的故事》(1921)英文名:The Story of Mankind
    • 《聖經的故事》又名《漫話聖經》((1923)ISBN 9789861780832 英文名:The Story of the Bible
    • 女巫獵巫者》(暫名)(1923)英文名:Witches and Witch-Finders
    • 《帽子威爾伯的故事》(暫名)(1925)英文名:The Story of Wilbur the Hat
    • 寬容》又名《人類的解放》(1925)ISBN 9570492112 英文名:Tolerance
    • 《人類解放的故事》(1926)英文名:The Liberation of Mankind: the story of man's struggle for the right to think
    • 《美洲的故事》(1927)英文名:America: The Story of America from the very beginning up to the present
    • 《阿德里安·布洛克》(1928)英文名:Adriaen Block
    • 《多重人》(暫名)又名《憑藉發明而生存的故事》(暫名)(1928)英文名:Multiplex man,或the Story of Survival through Invention
    • 《彼得·施托伊弗桑特的生平與時代》(暫名)(1928)英文名:Life and Times of Peter Stuyvesant
    • 《製造奇跡的人》(1928)英文名:Man the Miracle Maker
    • 《倫勃朗的生平與時代》又名《人生苦旅》又名《倫勃朗全傳》(1930)英文名:R. v. R.: the Life and Times of Rembrandt van Rijn
    • 《如果荷蘭人守住了新阿姆斯特丹》(暫名)(1931)英文名:If the Dutch Had Kept Nieuw Amsterdam
    • 《房龍地理》(1932)ISBN 9787561331644 英文名:Van Loon's Geography
    • 《黃金》(暫名)(文章)(1933)英文名:Gold
    • 《輕率的旅行》(暫名)(1933)英文名:An Indiscreet Itinerary or How the Unconventional Traveler Should See Holland by one who was actually born there and whose name is Hendrik Willem Van loon
    • 《上樹的大象》(暫名)(1933)英文名:An Elephant Up a Tree
    • 《人類的家園》(1933)英文名:The Home of Mankind: the story of the world we live in
    • 《發明的故事》(1934)英文名:The story of inventions: Man, the Miracle Maker
    • 《船:它們如何在七大洋航行》(暫名)(1935)英文名:Ships: and How They Sailed the Seven Seas (5000 B.C.-A.D.1935)
    • 《與字母一起漫遊世界》(1935)英文名:Around the World With the Alphabet
    • 《廣播風暴》(暫名)(1935)英文名:Air-Storming: A Collection of 40 Radio Talks
    • 《勿愛我》(暫名)(1935 )英文名:Love me not
    • 《分裂的世界是迷失的世界》(暫名)(1935)英文名:A World Divided is a World Lost
    • 《我們唱的歌》(暫名)(1936)英文名:The Songs We Sing
    • 《論藝術》又名《藝術》(1937)英文名:The Arts
    • 《聖誕頌歌》(暫名)(1937)Christmas Carols (with Grace Castagnetta)
    • 《見證印刷術的謎團與約翰古騰堡的貢獻》(暫名)(1937)英文名:Observations on the mystery of print and the work of Johann Gutenberg
    • 《我們的奮鬥:對阿道夫·希特勒我的奮鬥回答》(暫名)(1938)英文名:Our Battle: Being One Man's Answer to "My Battle" by Adolf Hitler
    "The danger is not just another demagogue toting a modern Mein Kampf; there are thousands of little Mein Kampfs being written on social media by people who feel victimised and betrayed and have come to the conclusion that someone else’s death, starvation, expulsion or torture would solve their problems."
    If its first week is anything to go by, 2016 could be an even more turbulent…
    THEGUARDIAN.COM|由 PAUL MASON 上傳


    • 《西方美術簡史》(1938)英文名:How to Look at Pictures: a Short History of Painting
    • 《眾土民歌》(暫名)(1938)英文名:Folk Songs of Many Lands
    • 《最後的吟遊詩人》(暫名)(1939)英文名:The Last of the Troubadours: The Life and Music of Carl Michael Bellman 1740-1795
    • 《唱遍美國的歌》(暫名)(1939)英文名:The Songs America Sings
    • 《我的課本》(暫名)(1939)英文名:My School Books
    • 《入侵》(暫名)(1940)英文名:Invasion, being the personal recollections of what happened to our own family and to some of our friends during the first forty-eight hours of that terrible incident in our history which is now known as the great invasion and how we escaped with our lives
    • 《太平洋的故事》(1940)ISBN 9578225342 英文名:The Story of the Pacific
    • 《約翰·塞巴斯蒂安·巴赫的生平與時代》(1940)英文名:The Life and Times of Johann Sebastian Bach
    • 《喜訊》(暫名)(1941)英文名:Good Tidings
    • 《伊拉斯謨的《 <愚人頌>及作者簡介》(暫名)(1942 )英文名:The Praise of Folly by Desiderius Erasmus of Rotterdam, with a short life of the Author by Hendrik Willem van Loon of Rotterdam who also illustrated the Book
    • 《與世界偉人談心》又名《天堂對話》(1942)英文名:Van Loon's Lives: Being a true and faithful account of a number of highly interesting meetings with certain historical personages, from Confucius and Plato to Voltaire and Thomas Jefferson, about whom we had always felt a great deal of curiosity and who came to us as dinner guests in a bygone year
    • 《聖誕歌》(暫名)(1942)英文名:Christmas Songs
    • 《鈴鐺的訊息》(暫名)(1942)英文名:The Message of the Bells
    • 《托馬斯·傑弗遜》《西蒙·玻利瓦爾的生平與時代》(原版為一本書)(1943)英文名:Fighters for Freedom: the Life and Times of Thomas Jefferson and Simon Bolivar
    • 《廚師長西庇阿·菲拉貝的生平與時代》(暫名)(1943)英文名:The Life and Times of Scipio Fulhaber, Chef de Cuisine
    • 《古斯塔夫·瓦薩的冒險和逃走》(暫名)(1945)英文名:Adventures and Escapes of Gustavus Vasa, and how they carried him from his rather obscure origin to the throne of Sweden
    • 《致天堂守門人》(1947)英文名:Report to Saint Peter, upon the kind of world in which Hendrik Willem van Loon spent the first years of his life - an unfinished, posthumously published autobiography

    "Annals" by Tacitus

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    羅馬史家塔西佗(Tacitus)曾稱日耳曼人議事時都喝酒,以免有人撒謊。
    "The more numerous the laws, the more corrupt the government."
    --from "Annals" by Tacitus
    The complete historical works of the greatest chronicler of the Roman Empire in a wholly revised and updated translation. A brilliant narrator and a master stylist, Tacitus served as administrator and senator, a career that gave him an intimate view of the empire at its highest levels, and of the dramatic, violent, and often bloody events of the first century. In the Annals, he writes ab⋯⋯
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