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玉山社出版公司2016

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轉眼又到了2016年的年末,謝謝大家這一年來對玉山社的支持。
回顧這一年,我們推出《百年立霧溪》、《台灣時光機》、《一個人.環島.趣》、《結婚要有愛情:獻給所有人的泰瑞薩觀點Ⅴ》、《繪本感小物的旅行紀事》、《阪神地區與大眾休閒:近代日本現代性再考》、《一個家族.三個時代:吳拜和他的子女們》、《台灣健檢書》、《在時間隙縫裡的親子旅行》等優質書籍,並順利與日本角川書店同步推出《湯德章 不該被遺忘的正義與勇氣》。
展望明年,除了將在明年1月份推出《在台灣尋找Y字路》外,我們會持續努力,帶給大家更精彩、豐富的好書。
同時,我們也將更積極地與讀者面對面,不僅在1/21(六)晚上7點,在華山文創園區的青鳥書屋舉辦《在台灣尋找Y字路》新書發表會,在2/8-2/13舉行的2017年台北國際書展期間,我們也將推出系列沙龍活動,屆時還請務必抽空參加。
再次感謝大家的支持,也祝大家新年愉快!
圖像裡可能有天空和戶外

蔣彝 Chinese Calligraphy《倫敦畫記》《重訪中國》 The Silent Traveller in London/Japan/Edingburg/San Francisco/Oxford...

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蔣彝 - 國家圖書館期刊文獻資訊網中國文化研究論文目錄系統:進階查詢

readopac2.ncl.edu.tw/.../search/search_result.jsp?...蔣彝
3. 擬議整理吾國論藝文物. 蔣彝 · 慶祝蔣慰堂先生七十榮慶論文集; 民57.11; 頁213-216 ... 5. 中國詩畫的共同創作愛力. 蔣彝 · 幼獅月刊; 41:5; 民64.05; 頁41-45.


Chinese Calligraphy
An Introduction to Its Aesthetic and TechniqueThird Revised and Enlarged Edition
This is the classic introduction to Chinese calligraphy. In nine richly-illustrated chapters Chiang Yee explores the aesthetics and the technique of this art in which rhythm, line, and structure are perfectly embodied. He measures the slow change from pictograph to stroke to the style and shape of written characters by the great calligraphers.
Speech and writing are two organs of the same human impulse—the conveyance of thought: the one operating through hearing, the other through sight; the one by sound from mouth to ear, the other by form or image from hand to eye. But each can do something besides convey thought. Spoken words can be so arranged as to discharge aesthetic “musical” significances, as in much Western poetry. Written words can be formed to liberate visual beauties; and it is these which form the subject of this book. In addition to aesthetic considerations, the text deals with such more practical subjects as the origin and construction of the Chinese characters, styles, technique, strokes, composition, training, and the relations between calligraphy and other forms of Chinese art.
For the third edition the author has added two new chapters: “Calligraphy and Painting” discusses the dependence of Chinese painting on calligraphic training and techniques; “Aesthetic Principles” explores the fundamental concepts underlying every Chinese art form.
Chinese Calligraphy is a superb appreciation of beauty in the movement of strokes and in the patterns of structure—and an inspiration to amateurs as well as professionals interested in the decorative arts.


  • Preface by Sir Herbert Read
  • Author’s Note
  • I. Introduction
  • II. The Origin and Construction of Chinese Characters
  • III. The Styles
  • IV. The Abstract Beauty of Chinese Calligraphy
  • V. Technique
  • VI. The Strokes
  • VII. Composition
  • VIII. Training
  • IX. The Relations between Calligraphy and Other Forms of Chinese
  • Bibliography
  • Index



蔣彝《重訪中國》(China Revisited, 1977) 香港:三聯1980  (簡譯本)  
此書當然只能當歷史參考。不過,還是有作者的諸多家世和遊覽盧山等,可參考.....


 
…..宋瓷無論設計、色彩和質地,都極和諧、簡單。宋瓷已經達到最高境界。…..
----蔣彝《愛丁堡畫記》台北:西遊記2006,187



這本書的一些問題
印刷無法印出"古色古香"
地名翻譯有問題 應該是幫了倒忙
漢文本的缺點是沒附一相關的倫敦地圖 我相信大半讀者都搞不清楚文中的地理


倫敦畫記 The Silent Traveller in London 1937
作者:蔣彝(啞行者)原文作者:Chiang Yee
譯者:阮叔梅
出版社:西遊記
出版日期:2006年

數十年來,蔣彝這位才華洋溢又迷人的中國作家及畫家,以啞行者的沉思紀錄受讀者喜愛……這次他要我們「透過中國之眼」來觀看英國風光。
                         ──宮布利希(E. H. Gombrich,藝術史大師,《藝術的故事》作者)
上世紀的西方世界出版了許多關於中國的書籍,但由中國作家以英文來寫西方,即使在今天也不多見。蔣彝的倫敦遊記出版於1938年,不但是少數幾本廣為在 西方流傳的華人著作,這本書也扭轉了旅行書寫的傳統:透過一個中國傳統畫家的眼光,來看大家早已熟悉的倫敦。蔣彝沒有被異國的新鮮經驗所迷惑,也並未死守 僵化的成見,悠遊其中卻仍保有自我的傳統。
他近距離觀察倫敦人的習性與他們的喜好,對下午茶及喋喋不休討論天氣的習慣著迷不已;餵鴿 子、散步、人名,種種倫敦日常生活的平凡瑣事,都激起他的好奇。蔣彝懷著熱情與驚訝,用幽默而細膩的文字,一步步踏進這個陌生的大都會。他體驗著這裡的四 季更迭,還有惡名昭彰的濃霧,生活的越久,對這座城市以及它的居民,情感也越來越深。
書中並配上作者饒富趣味的水墨速寫。他獨有的畫家 之眼,更處處流瀉在細膩的文字之中,眾多外在環境的微小細節,他都賦予極具視覺性的描述,使讀者猶如看見一幅幅畫一般。《倫敦畫記》同時也是一本關於中國 及轉變中的世界的書。他生動敏銳的記錄下當時倫敦的生活樣貌,揉雜了對失落故土的濃濃鄉愁,以及山雨欲來風滿樓的憂心忡忡。更重要的是,作者展現了在混亂 的世界局勢與中西文明衝擊之下,如何以清明的眼光與寬大的心胸,在其中找到自己的定位。

本書特色
蔣彝是英 文旅遊文學的異數。20世紀前半葉,當旅行這回事仍充滿重重阻礙時,去到異國一向都是西方「強權」的專利,畢竟這是大航海時代以來的悠久傳統。而蔣彝,這 個原本充滿救國意識的官員,被迫中斷政治生涯並流落他鄉後,竟陰錯陽差地開啟遊記作家的生涯。他一個來自傳統、前現代文明的異鄉人,可說是唯一一個從東方 眼光看西方的特例,顛覆了當時旅遊探險的觀察對象。
得獎與推薦記錄
西方藝術史大師宮布利希
陳義芝、雷驤、楊澤、羅智成 等詩人畫家 共同推薦
旅行有時是雙向的。當世界站到你面前時,你是否也準備好站在世界的前面?準備好你的知識、觀點、教養或尊嚴?從這本書你可以發覺,蔣彝準備得十分充足,即使比起七十年後他絕大部分的同胞…… 
                                ──羅智成(詩人)
久聞蔣彝之名,但願早見他的作圖風格。樂於推薦。
                                ──雷驤(作家、畫家)
數十年來,蔣彝這位才華洋溢又迷人的中國作家及畫家,以啞行者的沉思紀錄受讀者喜愛……蔣彝先生顯然樂於用中國風格描寫新事物,這次他要我們「透過中國之眼」來觀看英國風光。
                                ──宮布利希/
啞行者倫敦畫記首版於1938年,契合時代,深刻地洞悉英國與中國的生活方式,具有優雅綿長的魅力。
                                ──Times Literary Supplement
作者簡介
蔣彝
享譽西方逾半世紀的中國作家 作品首次引進台灣在西方,旅遊文學作家「啞行者」名聲響亮,在以英文寫作的華人散文作家中,堪稱與林語堂齊名,但其作品,卻在70年後,才「還原」為中文母語,與作者的同胞相見。
啞行者,本名蔣彝(1903-1977),首部作品是1937年在倫敦出版的《湖區畫記》,一個月內第一版即售罄,接著再版8次,從此以遊記作家的身分 為人所知。此後他多方遊歷英美各大城鎮,專注於遊記寫作,「啞行者畫記」系列陸續推出倫敦、北英格蘭、牛津、愛丁堡、都柏林、巴黎、紐約、波士頓、舊金 山、日本等11本遊記,成為歐美知名的旅遊作家。其作品至今仍被視為旅遊文學的經典。每本遊記,除散文,並配有他自己畫的插圖、寫的詩歌,熔詩、書、畫、 文、史、印於一爐,妙趣橫生。
啞行者於英文世界一鳴驚人,在中文世界反倒默默無聞,生前作品從未譯成中文出版,只有在他逝後,1977年香港三聯書店出版了他的中譯書《重返中國》(China Revisited)。
蔣彝出生於江西九江的書香世家,他的父親蔣和庵擅長丹青,尤工花鳥人物,因此自幼即從父親習書畫,並接受完整的私塾教育。其後政局動盪,舉家遷移廬山山 腳下,在此處的生活經驗,奠定蔣彝一生對自然環境的傾慕與鄉愁。五四運動後,蔣彝因政治因素被迫遠離家國。1933年,他在英國倫敦大學經濟學院學習,後 並被東方學院聘為講師,教授中國文化。1955年,他接受哥倫比亞大學聘任,在東亞系教授中國文化課程,於是遷居紐約,一直到1977年去世。
蔣彝以「啞行者」(Silent Traveller)為筆名,暗喻對官場政治的痛恨失望,同時也自表「我以沉默之姿在倫敦四處游蕩,在沉默之中觀察各種事件」的態度。
譯者簡介
阮叔梅
現為北美《世界日報》特約記者,同時從事翻譯、寫作。譯有《智利秘密行動》、《大汗之國》、《網之下》。祖籍福建福州,生於台灣屏東,長於台北市,目前旅居美國。淡江大學英文系畢業,密蘇里新聞學院新聞寫作碩士。曾任雜誌社編輯、報社編譯、語文中心英文教師,

詳細資料

  • 叢書系列:書房
  • 規格:平裝 / 288頁 / 15*22.5cm / 普級 / 單色印刷 / 初版
  • 出版地:台灣

目錄

序 Foreword
前言 Introduction
Part I 倫敦景色 London Scene
倫敦的春天 Spring in London
倫敦的夏天 Summer in London
倫敦的秋天 Autumn in London
倫敦的冬天 Winter in London
倫敦的霧 London Fog
月下倫敦 London under the Moon
雪中倫敦 London in Snow
風雨中的倫敦 London in Wind and Rain
PART II 倫敦生活 London Life
關於兒童 About Childen
談書籍 On Books
關於雕塑 About Statues
人名研究 A Study of Names
在美術館 At Galleries
談戲劇與電影 On Plays and Films
關於下午茶 About Teatime
談食物 On Food
談飲酒 On Drink or Wine
談男人 On Men
談女人 On Women
老人 On Old Age
幾位人物 Some Personalities
結語 Conclusion

1938年11月,《星期泰晤士報》(Sunday Times)於倫敦的伯爵廣場舉辦全國書展,吸引了數千人前往參觀,其中還包括瑪麗皇后和肯特公爵等知名人士。書展大受歡迎,主要有一個原因,包括成名作 家、新進作家在內,總共幾十位作家在那兒舉辦演講;其中也有新書《啞行者倫敦畫記》的作者蔣彝。蔣彝在擠得滿滿的演講廳內,向超過七百名聽眾就「一個中國 人眼中的英國」發表演講。面對聽得入神的聽眾,蔣彝表示﹕「這個國家的人相信,中國人做事的方法完全不對。可有沒有人想過,中國人對這國家的人也有同樣想 法﹖你們把名字擺在姓前面,我把我的姓蔣擺在名字彝前面。在中國,結婚之後開始談戀愛。在英國,結婚之後,戀愛似乎自然而然就終結了。」演講後,蔣彝以毛 筆為聽眾在新書上簽下他的中文名字,逗得大家非常開心。《星期泰晤士報》報導,「他的簽名大受歡迎。」
二十世紀起始,東方逐漸引起人們 興趣。藝展、書本、文章、戲劇演出、學院亞洲文化課程,在在擴大並刺激了英美人士的視野。多位漢學家也貢獻良多,前外交官劍橋的翟理思(H.A. Giles),編了著名《中英字典》,還針對中國歷史、文學、宗教寫了許多學術論著。莊士頓(Reginald Johnston)爵士不僅是中國末代皇帝的老師,也是中國佛學、文學、儒家思想方面的學者;阿瑟?魏里(Arthur Waley)譯介了大量中國古典巨著,非凡成就極得文學界重視。另外還有一些相關文化事件:1935年11月皇家學院史無前例的「國際中國藝展」,提供英 國觀眾一次難能可貴的美學饗宴;1930年代中期熊式一成功翻譯中國劇作《王寶釧》,並搬上舞台,使觀眾充份領略中國古典戲劇獨特之美;林語堂的《吾國吾 民》(1935)?賽珍珠的《大地》(1931)?依恩?傑克生(Innes Jackson)的《昨日中國》(China Only Yesterday)(1938)?彼得?佛萊明(Peter Fleming)的《獨行記:中國之旅》(One’s Company: A Journey to China)(1934)以及其他書,都讓西方見到了現代中國的社會面及文化面。這所有的事件和出版品加在一起,多少去除了難以數計的刻板印象和誤會,認 為中國神秘又野蠻,也對這有著傑出文明與文化的國家,多了些了解。
這種氛圍自然有利蔣彝成為成功而受歡迎的作家。在寫出《啞行者倫敦畫 記》之前,蔣彝已因前面幾本力作而享有文名:介紹中國藝術的《中國眼》(1935)、記述他至英國西北部湖區旅遊經歷的《啞行者湖區畫記》(1937), 以及《中國書法》(1938)。這些書全都以英文寫成,全都廣受歡迎。好比,他有關湖區的那本書,初版之後,立刻在短期內印了好幾刷。《中國眼》和《中國 書法》也再版了好幾次,至今,許多國家仍視後者為該領域的經典著作。
本書作者僅僅用了三年時間,就獲得這種成功,自然值得敬佩。而只要想到,他1933年來到英國時,英文能力還非常有限,就更令人刮目相看了。蔣彝確實令人刮目相看,一位極不尋常的「普通人」,以文學、藝術成就為終生目標,而且不惜付出任何代價,堅持追求此一目標。
蔣彝1903年生於江西九江一個富裕家庭。其父為著名人像畫家,對於花、鳥繪畫特別情有獨衷。蔣彝自幼接受傳統教育,研習中國古籍,做古詩,練習書法、 國畫。在他成長過程中,1911年的國民革命和1919年的五四運動,都為中國人的國家意識和文化生活帶來極大震憾。受到當時先進思想衝擊,認為唯有進步 的科學才能造就新中國,蔣彝選擇就讀南京的國立東南大學化學系,並於畢業後在高中教了大約一年化學。不過,中國政治上的動蕩和社會經濟的不穩定,很快就促 使他決定,投身政治,以便參與社會革新與革命。他加入北伐軍,掃除軍閥,統一了國家,隨後在三個不同地方擔任縣長,包括他家鄉九江。後來,為了地方上一家 外國石油公司,蔣彝和一名極有權力的軍閥發生爭端。他辭去政府公職,於1933年離開中國,前往英國,並打算一、兩年內束裝返國。沒想到,他在國外一直滯 留了下去,直至1975年,才有機會重回中國,當時,距離他離開國門已經四十二年。
1933年,蔣彝剛到英國,便進入倫敦大學成為學 生。1935年起,他於東方研究院擔任中文系助理講師,當時莊士頓爵士是該系系主任。後來,由於了解到中國醫藥在歷史上的重要地位,衛爾康歷史醫學博物館 (The Wellcome Historical Medical Museum)於1938年聘請蔣彝,為其設立中國部門,安排展出。兩年後,一場空襲中,他位於漢普思德林區(Hampstead Heath)附近公園山路(Parkhill Road)的住處遭到炸毀,蔣彝才搬到牛津,直到1955年移居美國。
在英國二十年期 間,蔣彝非常幸運,認識了許多藝術家、學者、詩人、劇作家,其中有中國人,有英國人。由於活躍的文化氛圍,倫敦是極少數能夠吸引中國流亡海外人士和知識份 子的歐洲城市。他們經常聚會,討論各種時新議題,互相支援。且舉幾位蔣彝在倫敦遇到的人士作例子:藝術家徐悲鴻、劉海粟,著名京劇演員梅蘭芳,劇作家熊式 一。同時,蔣彝也交了許多英國朋友,像是詹姆士.史都華.洛克哈特(James Stewart Lockhart)爵士、威廉.米爾納(William Milner)爵士、赫伯特.里德(Herbert Read)和莊士頓爵士。能夠進入這麼優秀的知識份子圈,對他自然大有助益,使他更明白文化交流帶給雙方的好處,也深層體會東西方文化的共通處。
到達英國不久,蔣彝就給自己取了「啞行者」這名字。傳統上,中文「啞」這個字隱喻了謙虛和智慧,在這兒,則強調出蔣彝在西方遭遇的種種困境,尤其是語言 方面。這名字標示了蔣彝的新身份,也一輩子跟著他,經常出現在他的信件、明信片、簽名上。這名字還是他十二本旅行書的標題,書中記述了他在不同城市、國家 的旅行經驗,以及他對東西方相似之處的探索。
經由他輕鬆幽默的筆調,至今世界各地已有幾百萬人認識了啞行者。整體而言,較之其他旅行 書,他的書有兩個特點:首先,書中包含了許多蔣彝的圖畫、素描、詩作,多彩多姿的封面上還有他手寫的中英文標題;其次,蔣彝非常細膩地觀察了西方的文化活 動,並與自己的母國互做比較。
《啞行者倫敦畫記》是繼《啞行者湖區畫記》之後出版的。湖區國家公園一直以令人摒息的自然美景,及與十九 世紀英國浪漫主義的關聯聞名。蔣彝1936年夏天至該區旅遊後,即寫了一本書。這書原本以旅遊日記的方式寫成。蔣彝陸續將手稿寄給幾家不同出版社,得到的 卻是一封接一封的退稿信。出乎意料地,過了幾個月,一家出版社決定給蔣彝的手稿一次機會,不過,他們要求修改「啞行者在湖區」這標題,因為擔心可能讓人聯 想到刻板而負面的中國人形象,好比,邪惡的傅滿洲醫師。幾經折衝,出版商妥協了,同意留下標題中「啞行者」這名詞,但需加上副標「一名中國藝術家在湖 區」。出版商對這書的銷售前景毫無把握,只同意給蔣彝六本書,還不打算付他任何版稅。藝評家赫伯特.里德寫了前言,稱讚蔣彝勇氣十足:「進入我們國家的殿 堂,以自己的方式致敬。」里德讚美該書:成功證明「華茲華斯的詩作相當貼近某些東方情感和思想」(註1)。讓出版商跌破眼鏡的是,蔣彝的書大為暢銷,頭版 一個月就賣光了。接下來再版的書,作者自然拿到了版稅,而「啞行者」這意念,也成了他隨後旅行書的標誌。
刁鳴健(M. T. Z. Tyau)寫的《留英管窺記》(1920)一書也需在此一提。蔣彝前往英國前,他的朋友曾石虞送了他這本書,當作禮物。毫無疑問,蔣彝後來決定寫旅行書, 以至他的寫作方式,多少都受了這書影響。不過,只要比較兩本書,立刻就會發現,它們在主題和風格上,完全不一樣。姚是1909至1916年間於倫敦學習法 律的中國學生,回到中國後,才記錄下他印象中的倫敦、他懷念的倫敦。那書總共三十章,範圍廣泛,明顯偏重社會政治面,其中包括下面幾章:〈街名〉、〈下午 茶〉、〈自由之邦〉、〈家庭制度〉和〈法庭〉。相對而言,蔣彝的《啞行者倫敦畫記》就詩意些,較重印象。這書顯示,蔣彝對自己旅行書寫的獨特風格相當自 信,在主題安排及敘述方式上,也複雜得多。這書包含了兩部份:〈倫敦景色〉和〈倫敦生活〉。第一部份呈現了倫敦四季中和不同氣候下的市容,突顯了中國人對 自然環境的敏銳感受;第二部份則遵循英文隨筆作家寫作傳統,對兒童、書本、美術館、食物、老年等各色題目進行深思。不過,整本書合起來,卻是中國觀察家以 藝術化而詩意方式重建了的倫敦。他的描述印象化而片片斷斷,獨特卻精巧,一覽無遺畫出了這偉大城市的全景。
1930和40年代,《啞行 者倫敦畫記》風靡了西方讀者,之前,他們只讀過歐洲人所寫關於中國人和中國文化的書。忽然,他們發現了一個全新而陌生的聲音在談論他們的文化──他們那經 常自視為較優越較進步的文化。某種層面上,傳統上身為觀察者的西方旅行作家和人種學者,成了被觀察的對象。角色顛倒了過來。蔣彝一點都不隱瞞他的族裔身 份,還經常提到自己的文化背景,提到中國人。這種文學技巧不僅大膽,而且極具創意。倫敦這本書,如同蔣彝其他的書,無論語言結構、文章內容或用字遣詞,都 非常中國化,英文讀者讀來,必覺充滿異國風味。不過,這些讀者一定也會為他的幽默、智慧、簡潔,甚至極具技巧的自貶所傾倒,另外就是穿插文中迷人的圖畫和 書法了。他們很快發現,啞行者呱噪又溫和,他筆下的中國人世故而具人性。
本書讀者一定不會忽略蔣彝新鮮而機敏的觀察。我得強調,這些觀 察經常既顛覆又啟發,挑戰傳統思想,並點醒我們,必須重新評估自己和周遭世界。許多人喜歡抱怨倫敦的霧、雨和風,可是蔣彝卻在惡劣的氣候裡發現了美,發現 了樂趣。他喜歡「雨中散步,因為可以真正欣賞自然之美。」他告訴讀者如何發現並欣賞現代城市之美。除了花、樹、湖、公園裡的鴨,皮卡得利圓環 (Piccadilly Circus)和攝政街(Regent Street)上的人群這種都市裡常見的景象,也可以讓蔣彝驚嘆、開心不已。他說,他喜歡觀看雨中的人群。「我看不到他們的臉孔或身體,只見得到移動的雨 傘。如果那些傘是深藍色的,我很可能將它們誤認為海潮,正由我立足的地方不斷往外沖刷。」英文名字那一章也充滿創意。蔣彝說,他花了三天時間,將倫敦電話 簿上的名字由第一個流覽到最後一個,並驚訝地發現,英文名字和中文名字一樣怪。他留意到,英文名字可能自相矛盾,用字可能很奇怪,姓氏尤其如此。為了強調 自己的意思,他以英文姓氏寫成一篇短文,只不過,「文法是中式的」,因為動詞時態不對,也沒有冠詞。
膽小鬼(Coward Man)和黑孩子(Dark Child)──不是好孩子(Goodchild)──上漁夫(Call Fisherman)那買魚(Buy Fish)。漁夫拿鯡魚(Fisherman Handover Herring)給孩子(Child),膽小鬼煎鯡魚(Fry Herring)由灰(Gray)煎成棕(Brown)。聰明狐狸(Wise Fox)由孩子那接過鯡魚(Take Herring),和膽小鬼同樂(Full Joy)。膽小鬼拿刀子(Knife)走來(Walk Down),孩子大叫(Child Call Loud),有人(Man Want)要殺人(Man-Slaughter Child)。還有呢(Whatmore)?
表面看來, 《啞行者倫敦畫記》說的是作者對一個城市的印象,實際卻是對英國文化和中國文化的比較。在討論倫敦景色時,蔣彝舉出許多鮮活實例,比較並說明東西方的相似 之處。他寫道,他深知西方的種族歧視,也深感厭惡,十九世紀末二十世紀初一些英文作家,對東方所知有限,卻錯誤百出地談論中國。蔣彝決心,以自己的筆,糾 正遭扭曲的形像和謬誤的事實。與其義正詞嚴地指責那些謬誤,蔣彝選擇「找出世上所有人類的共同點」(註2) 。他自相異之處尋找共同點。在這本研究倫敦的書裡,當討論到工作時間、兒童教育,甚至對愛情的期盼時,蔣彝指出,儘管語言、膚色、宗教、習慣不同,世界各 地的人還是有許多共通之處,而這些共通之處正是未來互信、和諧共處的基礎。
蔣彝也不吝於介紹一些基本的儒家思想,即祖國的傳統哲學思想 給讀者。為了強調智慧、真誠、同情,他經常提到儒家思想和道德規範,好比,孝道,子女尊敬並照顧父母及長輩的責任。他提到儒家思想時,一點都不教條。相對 地,他讓讀者感受到一點中國大眾哲學的趣味,並以一些精心挑選的實例、格言,喚起他們的好奇。
值得一提的是,蔣彝以不懂政治為由,幾乎 在所有書裡,刻意避開這方面的話題。這種避談政治的態度並非無知,而是體現了他一貫的堅定信念,認為在促進世界和平上,文化,必將扮演舉足輕重的角色。那 同時也是他的策略,在1930年代動蕩不安的時代裡,為自己尋得安身立命之道。
蔣彝一直讓人覺得,他是個快活的人。他臉上總帶著笑,文 字總讓人捧腹。然而,在他內心深處,卻一直存在一股深深的悲傷、恐懼、焦慮和鄉愁。蔣彝從不讓人知道內心感受,直到晚年,他才承認,他並不似人們一直以為 的那般快樂無憂(註3)。蔣彝書寫倫敦這書時,生活中發生了兩件不幸。1938年春天,二十年來教導他、支持他的兄長去世了,使他極度悲傷。接著,幾個月 之後的七月,他的家鄉陷入日本侵略者之手。蔣彝的妻子和四名兒女都留在中國,他們的安危前途成了他永遠的牽掛。他將悲傷痛苦埋在心裡,只偶而觸景傷情,看 到假日慶祝場面、兒童歡笑、楊柳、公園青草,這些深埋的情緒才會迸發出來,變得懷舊而善感。他懷念他的家人,他的故鄉。
書寫旅行書,解讀中國文化,在在使得啞行者乘著想像之翅,回到自己的故鄉。這種假想,猶如中國人中秋賞月的傳統,至少,能夠暫時疏解鄉愁,聊以自慰。因此,較為細心的讀者,應該可以自此書和其他書裡,自充滿活力輕鬆的語調中,感覺到一絲淡淡的哀愁。
《啞行者倫敦畫記》初版至今已超過六十年。包括二次大戰、中華人民共和國建國、冷戰、尼克森訪問中國、柏林圍牆倒塌等重大書件,都為世界和東西方關係帶 來了巨幅改變。然而,在此高科技和全球化的時代,蔣彝的書仍然得以啟發今日的讀者。倫敦的景物早已全非,人生的美和本質卻仍一樣,仍有待我們去發掘和珍 藏。文化價值和習俗變了,人性基本上最終渴求的仍是愛、諒解與和平。因此,重新出版《啞行者倫敦畫記》,不僅只是重新出版了一本好書,還象徵對蔣彝理念和 文化貢獻的認同和欣賞。我確信,讀完這書後,蔣彝的結語仍會不斷縈繞我們心頭:「我在倫敦看得愈多,對四周景物愈覺親切;對倫敦生活了解愈深,愈堅信人 道、慈愛和美。為什麼人們要因種族和國籍而產生間隙呢?」
鄭達
                              波士頓,2001年6月
1. 赫伯.瑞德,〈前言〉;蔣彝著,《啞行者湖區畫記》(倫敦:鄉村生活有限公司,1937),xi-xii頁。
  2. 蔣彝,《重返中國》(紐約:諾頓,1977),49頁。此書有漢譯
  3. 蔣彝,《重返中國》(紐約:諾頓,1977),48-49頁。
鄭達,波士頓撒佛克大學(Suffolk University)英語系副教授,正在撰寫由文化層面切入的蔣彝傳,傳記名稱暫定《啞行者:來自東方的藝術家》。

  • §內文1
前言 Introduction
只要恰好讀過我寫的那本關於英國「湖區」的書,就一定沒法想像,我會以倫敦為寫作題材。畢竟,我 在書裡說過,倫敦的霧讓人住起來不怎麼舒服。我說的是真話。不過,具有理性思考能力的人,總能由每件事裡找到一些美感。在倫敦的這段時間,有時我覺得這兒 乏味,有時又覺得有趣。自五年前抵此,我見過倫敦許多美好的一面,也對所見之事做了相當多的反思。身為東方人(事實上,有個倫敦人批評我是「過時的」中國 人),我註定了要由不同角度觀察倫敦。可我的觀點真的會與眾不同嗎?這,我不敢確定。

我的讀者肯定得自己判斷。有人覺得,國籍不同,人也 會變得極端不同。我不以為然。表面上,人或有差異,但他們吃飯、喝水、睡覺、穿衣、躲風、避雨,卻毫無二致。本質上,他們對未來的期盼更大同小異。個別思 想永遠都只是個別思想,共同品味卻不分國界,將不同的人連繫在一起。你明白,在你們的屠夫眼裡,一隻活蹦亂跳的小羔羊是要宰來吃的,不是拿來欣賞的!在中 國屠夫的眼裡,也一樣!

我一向喜歡記下心中感觸。這本關於倫敦的書在我心中醞釀已久,但我始終羞於這麼快便將其付梓。我同意我朋友的說 法,第一印象總是最新鮮有趣。但我們稍後往往發現,第一印象經常是錯的。還沒來倫敦前,我常聽朋友述說種種到那兒旅遊的見聞,也在報上、書上讀過許多記 載。但那些資料都太籠統,沒法讓我有個清晰概念。我想,凡是讀過、聽過有關中國見聞的人,肯定也有同樣感慨。有許多人,到中國旅遊幾個月回來,便可以寫出 有關中國的書,內容涵蓋文學、哲學、家庭生活、社會情形、經濟狀況。還有些人,根本沒去過中國,也可以寫書。我只能佩服他們的大無畏精神,以及輕易歸納重 大事情的本領。

我想,很多人跟我一樣,經常遭人誤解,動不動就落入某種刻板印象,可又有口難言。有個英國朋友認為,所有中國年輕人都是共 產黨員,所以,我一定也是共產黨員。另一個朋友批評我老頑固,是屬於過去年代裡的人。而我跟他們也不過是泛泛之交。我想,一定很多人奇怪,我頭上怎麼沒有 辮子?一定也有很多人以為,我就是活生生的吳先生、陳查理!
一個謙遜、能力有限的人,絕不敢就重大議題發表概括性的言論。我必須先在這兒敬告讀者,不要期望我在本書中探討倫敦的歷史或學術議題。包括英國人在內的各國歷史學家、研究人員、藝術家,已經就這城市的重要議題,寫了許許多多的書。

這 些都是關於倫敦的經典之作。我的書,卻是另一類。在觀察重大事件上,我一向沒有太多自信,因此,我總是隨興瀏覽一些小地方。這些無所不在的小細節,總能吸 引我去凝望、注視、思考,並帶給我極大樂趣。正因細小,它們很容易就讓人忽略了。這本微不足道的書或許該稱為平日隨意觀察所得,也許能在睡前或茶餘飯後, 帶給一些讀者樂趣。我馬上就要進入書中,較有秩序地談談我的印象了,不過,我最好還是在這兒,先給讀者們一些免費樣品,就像糖果糕餅店常常做的那樣。下面 這些都是我記得的第一印象。我是搭乘法國船由上海抵達法國的,到倫敦前,我先在巴黎待了一夜。出了多佛(Dover)港市後,我在鐵路沿線得到的第一印象 就是一頂接一頂的高禮帽。離城愈近,禮帽愈多。那時我想,我大概進了製造禮帽的工廠了。接著我尾隨一名來維多利亞車站接我的同胞前往中餐館。

我們才進地鐵站電梯,就見到一名上了年紀、工人模樣的人,正在申斥一名挺俊秀的年輕人,因為那人跑進電梯時走錯了方向。雖然前者臉上、手上都很骯髒,像是 剛剛由煤礦坑裡爬出來,但是較之穿著時髦西裝的另一個人,他卻更懂得遵守公共秩序。我對那事印象深刻,也大惑不解,但我想,倫敦人根本不會注意到這類事。 幾天後,我在塔得漢法院街(Tottenham Court Road)上的多明尼恩戲院前等巴士。巴士才停下,一群人便擠過去,準備上車。

這 時我見到一名年輕人,攔住一位中年男人,他打算在乘客下車前擠上去。雖然那人擠呀擠的,年輕人卻緊緊拉住他,直到所有乘客下車為止。那一幕嚇了我一大跳, 最後,還忘了上車。我得說,中國大城市裡絕對見不到那工人和年輕人,對他們,我只有無限敬意。我相信,我的同胞或許也和他們一樣,會心生不滿,但絕不會如 此這般地路見不平。有了這些人,車掌和警察必可輕鬆許多!

我不知道,讀者是否會喜歡這類論調。我絕非為學富五車的人而寫!我記得,有回和 一位女士聊天,她告訴我,她絕不會為了自娛娛人,寫一本敘述「零碎事件」的書,因為,沒有學者會做那樣的事!許多中國人會完全贊同她。原來全世界的學者都 一樣,對這個發現,我頗感興味。你或許知道,我們尊崇儒家思想。儒家的美德包括正直、孝順、真誠等,任何題目只要不包含這些德行,就不在學者討論之列。一 本書,如果不涉及這些內涵,也進不了書房或較嚴肅的房間,以免冒犯那些「經書」。

我現在正在寫的這類書,在中國,稱為「枕下書」,或「茶 餘飯後的談資」。簡單講,就是你們的床邊閒書。我寫不出喬納森‧史維佛(Jonathan Swift)的《向讀者致意》(Compliment to the Readers)。在書中,他將讀者分做膚淺、無知、飽學三類,並說,他有支幸運之筆,寫出來的東西三類讀者都能欣賞。我只希望,我的讀者不會抱怨,我帶 著他們看了那麼多倫敦市內一般人根本不會注意到的小地方。

我想,只要對中國食物略有所知,應該就聽過「Chop Suey」這詞兒。來到倫敦之後,我經常邀請朋友上中餐館吃飯。看著菜單,他們總是點「Chop Suey」這道菜。一吃入口,他們都會問我,這菜裡有些什麼?我的回答很簡單:「什麼都有。」所有中國廚子和服務員都知道,英國客人喜歡這道菜。這道菜中 文叫「雜碎」,廣東發音聽起來則像「Chop Suey」。「雜」是「混合」的意思,「碎」是「零零星星」,合起來就是「混合了所有東西」。那道菜裡有些不錯的肉和蔬菜,混合起來,味道卻滿怪的。有趣 的是,如今在西方社會,那已成了一道著名的中國菜!言談至此,也許我該稱這書為「倫敦雜碎」,書裡沒什麼大不了的東西,但也許有些人會覺得,挺可口的。

我 很幸運,在倫敦過了極有意義的五年,接二連三遇上重大事件:英王銀婚慶、英王喬治五世駕崩、外相霍爾危機、王儲退位、女王登基加冕、巴士司機大罷工、外相 伊登危機等等,都是一生只能遇上一次的大事。一名東方人如我,卻幸運地在短短的時間內全碰上了!我曾遠遠見過三位國王,光憑這點,我如果還活在舊時代的中 國,就會被認為是最可敬的人了。現代中國對這事就沒有太大興趣。

我不打算在書中討論政治,因為我壓根兒就不懂。這五年來,我總覺得,每個倫敦人都能談論政治,也都能頭頭是道地分析政治,顯得我分外愚蠢。每回我表示自己 不懂政治,人們都要大吃一驚。一天傍晚,我到住家附近的郵筒寄信,一名我認識了四年的老郵差和我攀談起來。當時適逢希特勒入侵奧地利不久,他想知道我的看 法。我說自己對此一無所知,他臉上現出了非常困惑的表情。接著我問他:「你對發生在阿比尼西亞、西班牙、中國的事件有什麼看法?」他很從容地回答說,自己 有滿腹的意見,但這三個國家的問題完全不一樣。

許多人都抱持這種態度,還會在聽到我說它們毫無二致時,激烈地和我爭論。他們說,每個人都 希望和平,但幾乎每個人若非在打仗,就是正在準備打仗。每天,「和平」這兩個字都會大量出現在報上,但是,「戰爭」出現的次數也不遑多讓。阿比尼西亞人需 要教化。奧地利人活在修斯尼格(Schuschnigg)(註一)的專制暴政下。無法無天的中國人需要法令約束。對於這些論調,我只能目瞪口呆!三年前, 一位年輕女性朋友來我這兒喝茶,我們天南地北地無所不聊。她全然贊同意大利「教化」阿比尼西亞人之舉,因為她認為後者是野蠻人。

我微微笑 著,不發一語,然後問她:「依妳看來,中國人呢?」她表示,中國人是文明人,她痛恨那跟我們作對的親愛鄰居。我聽了很高興,但絕不同意她的說法,認為中國 人不是野蠻人。若我們真是文明人,為什麼老一輩,甚至一些當代的人,仍然視荷蘭人、法國人、英國人,乃至所有歐洲人為「洋鬼子」?我想,「野蠻人」一詞也 不見得就不好,關鍵在於怎麼定義。事實上,幾千年前印度人就稱我們為野蠻人了。唐朝玄奘赴印度取經,多年下來,那爛陀的僧侶早視他為自己人,他們想說服 他,不要回中國:
「印度,」他們說,「是菩薩出生地。雖然祂早已遠離凡塵,祂的聖蹟還在這兒。一座座地造訪、參拜這些聖蹟,歌頌祂的德性,生活才 能喜樂。為什麼來這兒了,突然又要離開呢?況且,中國還是塊野蠻之地。他們嘲諷和尚,蔑視宗教,所以菩薩不想生在那兒。住在那土地上的人,視野有限,罪孽 深重。所以(印度的)聖人、智者不想到那兒去……」(註二)

由玄奘的傳記看來,他的回答充滿國家尊嚴,大力讚揚儒家道統、人道主義、人文 思想。可我還是看不出來,我們怎麼就不該被稱作「野蠻人」了。我敢肯定,五千年前,埃及人一定稱我們為「野蠻人」!詹姆士‧洛克哈特爵士曾在香港及崴海衛 的政府工作近四十年,對於中國有非常深入的研究。從前,他還未病犯沉痾之時,我每週六早上都會去拜訪他。他是個非常幽默的人。有時候,他要我為他解釋一小 段中文,那時,他總會說自己是無知的 「洋鬼子」。

但他非常愛國(這是我能找到最適切的字眼了),他告訴我,他幾乎將所有中文藏書中的 「夷」字都刪掉了。他收藏了整套《古文選珍》(Gems of Chinese Literature),該書係翟理思教授所譯,他並找了上海一家中文出版社發行中文版。不幸的是,在一段長篇中,「夷」字連續出現多次,他於是將那些字 全改成了我的「彝」,因這兩個字發音相同。有一天,我拿著這書去找他,並說,我變成「野蠻人」了。他大笑出聲,還解釋說,一定是我的出版商同胞搞錯了。 噢,那段快樂時光將一直留存在我的記憶裡,直到我們在另一個世界再度相逢!

這書還附了我的插圖,較之其他有關倫敦的書,或許可以因此產生不同風味。在這兒待了將近一年後,我開始私下以毛筆畫出四周景物。一位很懂中國畫的英國朋友 警告我:再努力,也不可能以毛筆畫出英國景色。他認為,我不僅不可能達成目標,連原有的風格都可能給破壞了。我很感激他的關懷,卻不打算就此放棄。三年 來,我失敗了無數次,然而,我那本英國湖區書上的繪畫,卻受到讀者的青睞。我尤其感激那些坦率批評我畫作的人,還告訴我他們喜歡和不喜歡的作品。我希望他 們告訴我,他們對這書裡畫作的感想。

如今,大多數人對中國畫的模樣和主題多少都有了概念,不幸的是,他們往往還帶著些成見。如果看到畫中 有一兩隻鳥、一些樹、幾塊疊在一塊兒的石頭,他們就會認定,那是不錯的中國畫。可如果他們發現畫裡有西式建築、現代人物,他們就會斷然說道:「那不是中國 畫。」無論畫藝如何,他們都不再有興趣。我們的畫和你們的畫固然有差異,但差異不在主題,而在使用的媒介。我們由四周景物吸取靈感,繪畫花、鳥、山水。也 許我們不會直接臨摹大自然,但我們畫的卻是記憶中的大自然。本書中的作品,畫的都是過去幾年我居住過的地方,希望讀者們不會存有偏見,認為它們不夠「中國 化」而不喜歡它們。我也希望讀者們不會存有另一種偏見,認為這類畫中國味太濃,因此不合他們的品味。我希望讀者能夠客觀地批評我的作品。

在 這兒還有一點我得提一下。大多數歐洲人或許不了解今日中國人的心理狀態。我說的不僅是我自己,而是我所有的同胞。只要是人類,大概都會有某種程度的「自卑 感」。但我們來自遙遠的地方,對這個歡樂開朗的民族,總會拿祖國來做些比較。我們知道自己有許多弱點,但我們相信,只要努力,只要有充裕時間,我們必可糾 正。畢竟,對任何國家來說,急進式的改革只會雪上加霜,既非一人之力,也非短時間能夠解決。我們的歷史和我國的面積,都只讓事情更加複雜。我們之中有些人 發現,融入倫敦生活非常困難,於是便冥頑不靈地置身局外。有些人不願融入某些圈子,因為總有人在看了有關中國的通俗電影、書籍後,提出許多不好回答的問 題。這些全都源於「自卑感」。孔子說:「不患人之不己知,患不知人也。」正因如此,我一直設法嘗試了解倫敦。

我在這兒遇到的每個朋友對我 都很好。每回見面,他們都會問我,是否有來自家鄉的好消息?但我們得到的消息很少是正面的。真的,對我們而言,沒有消息就是好消息!除了內部問題,我們還 有個自做多情的鄰居,不顧我們的意願,堅持跟我們做朋友。過去五年,報上所有消息都關係到這個爭端。世人一定覺得有趣,一名年輕姑娘想嫁個老頭子,可在兩 情相悅之前,卻不斷尋事啟釁,以為如此一來便可如願。世界歷史上大概還沒發生過這樣的事情吧!對此,我沒意見,也不想發表意見,畢竟,我是「沉默旅者」。 況且,我心裡還有許多其他事需要思考。我以沉默之姿在倫敦四處游蕩,在沉默中觀察各種事件。

我在《泰唔士報》上讀過一篇名為「沉默地鐵」 的文章。文章表示,經常推出新方案以取悅顧客的倫敦交通局近日宣布,準備花一大筆錢,讓部份地鐵車廂安靜無聲。「但是這項改變,」文章繼續道,「讓嘈雜車 廂上的沉默旅客,變成沉默車廂中的嘈雜旅客,一旦完成,不過是倫敦地鐵的另一項革新,充其量也只能吸引過去二十年來偶至首都一遊的旅客。」我節錄這段話只 有一個目的:儘管很多人不信,在倫敦,做個沉默的人,還是可能的。我得說,沉默有一點極好,較之其他喋喋不休以填滿自己時間的人,你可以逍遙自在一些。 「時間」,是生活裡挺重要的一點,特別是對住在倫敦的人而言。 布魯克小姐 (C. M. N. Brooker)收藏的日晷上有段題字,在這兒,容我引用:
時間,等待的人覺得太慢
恐懼的人覺得太快
悲傷的人覺得太久
歡笑的人覺得太短
可戀愛中的人覺得,時間是永恆

啞行者也許該屬於最後一類!這書像記錄,記下了過去五年我在倫敦跟自己說過的話。在這兒,我一直都是沉默的。
註一:修斯尼格(Kurt von Schuschnigg,1897-1977)。奧地利政治家,1934年原本的總理恩格爾伯特‧陶爾斐斯(Engelbert Dollfuss)被刺身亡,因而繼任。
註二:勒內‧格魯塞(Rene Grousset)著,《沿著佛陀的足跡》(In the Footsteps of the Buddha),頁199。

人名研究 A Study of Names
於我,英國名字雖然有趣,卻很難理解。剛開始,聽到不同的人有著相同的名字,總嚇 我一跳。走在繁忙的倫敦街頭,經常聽到路人呼喚約翰、查理。公園裡,每隔一段時間,似乎就會有男孩回應湯姆或喬治的叫聲。我很快發現,派對裡很多女士名叫 珍、瑪琪琳、或佛蘿拉。我很好奇,如果剛好同時來了三個約翰和四個瑪琪琳,他們怎麼區分彼此?有一回,大家聊得正開心,我聽到一位男士向我的朋友說:「比 爾,你覺得這樣好嗎?」「我覺得很好,比爾。」對方回答。我忍不住問我的朋友,他們為何那麼稱呼彼此?他答道:「他名叫比爾,我也是。」於是我說:「你不 覺得你在叫自己嗎?」他回答,「不會,我從沒這麼想過。」我還是一頭霧水!

一位中國女孩來這兒的教會寄宿學校就讀。我想修女們大概不太會 念她的中文名字,於是幫她取了個英文名字「瑪格莉特」。她告訴我,已經有三個學生叫瑪格莉特了,她不知道,一旦有人喊這名字,她該怎麼反應?剛開始她還很 為難,後來,終於發現了修女們對於同樣名字不同人的叫法。但聽她的描述,那差異似乎並不明顯。不過,她說,修女們叫這名字時,她總會抬頭,看著她們的眼 睛。她很聰明!我常聽英國朋友說,他們憑直覺就可以分辨。他們覺得,我的問題是庸人自擾,因此,我依然是一頭霧水。

有一回,我在報上讀到一位女性讀者的投信,她在信中表示:
不久前,我為新生女兒取名瑪莉安。我知道這名字過時了,以前有陣子聽起來甚至有點可笑,但我萬萬沒想到,至今許多我的朋友仍然無法接受這名字,甚至建議我使用縮寫。有些不受歡迎的名字如今又回頭備受青睞,瑪莉安難道就不會嗎?
不久,另一名讀者回信到同一份報紙說:
除 了流行,還有其他因素需要考慮。許多名字,像奧斯卡(Oscar)和雅比斯(Jabez),都因讓人聯想到不愉快而退場。也有相當多名字因為成了音樂劇嘲 笑的對象,也消失了。至於戰爭,則讓「庫司伯特」(Cuthbert)和 「可列倫斯」(Clarence)成為不好的字眼。沒人知道,什麼樣的突發事故會讓某個名字變得不受歡迎。

讀過這兩段文字,我很驚訝也充 滿好奇地發現,有些名字可能沒人喜歡,有些卻可能大家搶著要,突發事故還可能讓它不受人歡迎。總之,依我的拙見,中國人在這方面還是聰明些,因為每個人都 取了不同的名字。偶而,有可能,兩個人用了相同的名字,畢竟我們都會選用有正面語義的名字,但那機率只有百萬分之一。

我經常想,英國人讀 小說時,如果看到自己的名字出現在美好的情境中,一定會非常高興,像是:「安德魯真了不起,做了這樣的事!」一位漂亮女孩說道;或是,「史黛拉是我見過最 美的女孩。」一位帥氣的年輕人喃喃道。不過,話說回來,如果名叫亨利的男人在晚報上看到下面的標題:「亨利被控犯了謀殺罪」,他還讀得下去嗎?

我想另一個原因,也許得以解釋為何英國人喜歡取相同的名字。我猜想,他們認為所有的人都是兄弟,所以傾向於以最大眾化的名字稱呼彼此。有時,在酒吧裡,喝 醉酒的人會喊我「傑克」或「約翰」。而國王、皇后、王子、和公主,也全都和老百姓有著相似的名字,再度證明了英國民主的本質。我想,中國在很早的時候,就 已經過濾了一些名字。中國有一本書是這麼說的:名有五……不以國,不以官,不以山川,不以隱疾,不以畜牲,不以器幣。

不過,在西元前二世 紀,偶而還是有人用了這裡面的名字。回到那時候看看,有人以自己的生日或家族排行為名,很多人還以自己的職業命名。有些名字非常奇特,像「黑肱」、「黑 臀」、「羊肩」、「狐髮」等等,後來這些名字就沒人用了。男人的名字經常跟儒家德性相關,女人的名字經常是花名。雖然,取名的時候我們可以隨心所欲不受限 制,可是我們只有百家姓。我覺得很有趣,英國人只能自有限的人名裡選擇自己的名字,可他們的姓卻多到無法計數。我沒資格討論這些姓氏的起源或變遷,可我花 了三天時間,由倫敦電話簿上第一個名字翻到最後一個,而我必須說,那非常有趣!

我知道,雖然大家都會避免做荒唐事,卻喜歡聽聽別人這方面 的經歷!我在電話簿上發現了許多沒法想像的英國姓氏。好比,一位有著漂亮雙唇的美麗女孩可能是「坎貝爾」(Campbell)家的人,這字最普遍的意思是 「不對稱的嘴巴」。一位英俊年輕人來自「卡麥隆」(Cameron)家,意思是「歪鼻子」。一個竊賊可能是「高貴先生」(Mr. Noble),一個生病走路慢吞吞的人可能是「匆忙先生」(Mr. Rush),一個矮子可能姓「長人」(Longfellow),一名國會議員可能是「管家先生」(Mr. Butler)。噢,仔細一想,真是太多太多了。我相信,沒有女士會喜歡生在「老年」(Old)或「衰老」(Older)家。

如果有人叫 作「貧窮先生」(Mr. Poor)或「沒錢先生」(Mr. Farthig),日子肯定不會好過。若客人名喚「貪心」(Greedy),主人心裡不知道會怎麼想。我不知道,如果好朋友裡有人姓「年輕丈夫」 (Younghusband)「達令」(Darling)「愛人」(Love)「親愛的」(Dear),到底該怎麼稱呼才妥當?「無愛」 (Loveless)先生或小姐可能有很多愛人,「和尚」(Monk)可能不是和尚!我想,我可能鼓不起勇氣和「大膽小姐」(Miss Dare)「男性小姐」(Miss Male)「男人太太」(Mrs. Manly)「元帥夫人」(Lady Marshall)「強壯女士」(Madam Strong)說說話。假設報上有這麼個標題:「Miss Middlemiss Missing」,而Missing是姓的話,我還真不知道該把middlemiss譯為中型小姐或中年小姐?

你也許會說,專有名詞頭一 個字母一定要大寫,可是,我有些同胞剛學英文,並見到類似「Englishs car runs over」的句子時,往往會抱怨,這句子有文法錯誤。他們其實不知道,「English」在這兒是姓氏。他們永遠沒法了解下面這種句子:「England reaches England」或「London is in London」。我們經常拿別人的名字玩遊戲,我想英國人也一樣,也許那遊戲還更有趣些。我們很少以姓氏玩遊戲,因為變化太有限,可是英國姓氏就不一樣 了。我試著寫過一篇短文,除了連接詞和介系詞,完全使用英國姓氏。

這文章用的是中國文法,第三人稱動詞不變,沒有冠詞,很少使用代名詞。文章是這樣的:
膽小鬼和黑孩子──不是好孩子──上漁夫那買魚。漁夫拿鯡魚給孩子和膽小鬼,鯡魚由灰煎成黃。聰明狐狸由孩子那接過鯡魚,和膽小鬼同樂。膽小鬼拿刀子走來,孩子大叫,有人要殺人。還有呢?

所 有斜體字都是姓氏。有一回,我碰到一名來自坎伯地(Cumberland),名叫「羊肉」的農民。他和我的朋友很熟,所以他們只以姓氏相稱。我們三個坐下 來,他們開始熱烈討論羊肉。我朋友說:「羊肉,羊肉怎樣了?」接下來的談話裡還不斷提到那兩個字。我得承認,那天我沒怎麼聽懂他們的對話!

我 們很早就知道近親結婚的壞處,所以遠自西元前一千二百年,有著同樣姓氏的人就不得通婚。雖然我們只有百家姓,卻找不到一對同姓的夫妻。一名北方男子絕不會 和同姓的年輕女孩發生關係,即使她住在南方。說來有趣,雖然姓氏繁多,英國人從不介意和同姓的人結婚。好比,報上有過這麼一篇文章:
今日消息指出,屬地為拜耳佛(Pyrford)、蘇瑞(Surrey)和加爾各達的喬治坎伯爵士及夫人的長女,瓊安‧麥尼兒‧坎伯小姐,已於加爾各達成婚,嫁給住在哈洛(Harrow)的坎伯先生及女士的幼子,坎尼斯‧馬克瑞‧坎伯先生。

那 記者興致似乎不小,標題寫著:「嫁了──姓氏不變」。我不清楚,同姓通婚是否真有壞處,可是中國人總認為,同姓的人一開始都是一家人。即使在如今步調快速 的時代,我們這方面的想法似乎依然不變!中國人是世界上最保守的民族!英國和中國名字間還有另一個區別。英文是教名在前,姓在後,中文卻剛好相反。自從來 到這裡,常常有人叫我彝先生,但其實應該是蔣先生。有些人比較小心,叫我蔣彝先生!

許多倫敦街名也非常有趣。在這兒,我引用了《笨趣》上的「倫敦新街名字典」:
空氣街──醫生送病人到這兒換個環境。
安好街──永遠健康。
冷水浴廣場──非常振奮。
紡線桿街──全都是紡織女工。
時裝街──當令時節美不勝收的景象。
第一街──極端古老。
星期五街──一週裡其他日子都嫉妒得不得了。
大史密斯街──這是史密斯家的那一位?
偶像巷──傳教士那兒去了?
愛情巷──哪種愛?「烏龜之愛」?
天堂街和絕世無雙街──這兩者真難選擇。
世界末路──完了。

加 上詮釋,這些路名就變得有趣了!倫敦許多街道以聖人、國王、王子、知名家族命名,不過,令我費解的是,有好幾條街叫做「倫敦街」,好像到了外國城市一樣。 我真希望見到「雪原」和「半月街」這種地名,因為我在倫敦很少看到雪,也很少看到月亮。有一次我上腐爛街(Rotten Row),可那兒沒有半樣腐爛東西。還有一次我到了「耐心街」,卻見到滿街匆匆忙忙的人。倫敦還有兩個地方讓我印象深刻:會議巷(Meeting House Lane)和停戰大道(Makepeace Avenue)。我心想,喜歡開會、討論停戰事宜的人,怎麼都不來這兒呢?




一本遊記改變了世界──序蔡志忠「日本行腳」

.李南衡
.從馬可波羅說起

義 大利威尼斯商人的兒子馬可波羅(Marco polo,1254~1324)於 1271 年隨父親和叔叔經中亞、天山南路到達中國,於 1275 年 5 月抵達元朝的上都開平,受元世祖忽必烈的寵信,曾在揚州當了三年官,留在中國 17 年間曾到處遊歷。1292 年奉命護送公主出嫁到伊兒汗國(今伊朗、敘利亞、小亞細亞一帶),從泉州出發、經馬來亞、蘇門答臘、印度南部,乘風破浪安抵波斯(今伊朗),任務完成後回 國,於 1295 年底回到故鄉威尼斯。次年威尼斯與熱內亞戰爭,他率領船隊作戰被捕,在獄中口述他到東方旅遊的經過,由同獄囚犯比薩的魯思梯謙以古法文(當時義大利的文言 文)記述。他於 1298 年口述完畢,次年出獄,終老家鄉,默默無聞。

我們今天所談到的《東方見聞錄》,是後人給改了的書名,原來它 叫(世界的敘述),分為三部分:從威尼斯到中國、在中國各地、從中國回到威尼斯。其中記述最 多最詳的當然是在中國的見聞,甚至還有些元朝宮廷祕辛。原本逸散之後,經過多人的潤色、加筆與削減,早已不是原來的面目了。如果馬可波羅是漫畫家蔡志忠的 話,誰也休想隨便亂改,那麼傳神有趣的四格漫畫改了就不像「畫」了!馬可波羅地下有如,一定頓腳搥胸自己沒學漫畫。

再說,馬可波羅當時 並沒有受到重視,一般人只把它當作「東」方夜譚來談,說中國以黑色的石頭(煤)作燃料,說中國以驛馬傳遞信件,說中國有印刷術,說中國 商人不必身帶笨重的金幣銀幣銅幣,而是帶著輕便的紙鈔……誰肯相信啊!本來嘛,歷史上說真話的人,往往都被人懷疑。怪不得蔡志忠在他的《日本行腳》裡畫到 大眾浴室時,他說澡堂裡面用木板分開男女兩邊。他認識一位大眾浴室的老闆,妙的是他的眼睛右邊大左邊小,因為──右邊是「女湯」。蔡志忠就是怕別人不相 信,所以他補充說:「讀者如果以為我瞎吹,可以到東京練馬中山湯大眾浴室找中山老闆瞧瞧,便知道我不是蓋的。」其實,誰有閒工夫去什麼練馬找中山湯大眾浴 室嘛!討厭的是,自從看了他那篇「行腳」之後,每次到日本東京看到了眼睛一個大一個小的男人,我都以為這傢伙一定是浴室的老闆!

馬可波 羅死後,他的《東方見聞錄》才廣受傳閱大受歡迎。當然,沒有馬可波羅,今天您到什麼百勝客根本就吃不到義大利脆餅和義大利麵,全世界也沒有冰淇淋這 玩意了。因為這些都是馬可波羅從中國帶回去的。這還算小事一樁!如果沒有馬可波羅的《東方見聞錄》刺激冒險家,狄亞士絕不可能對東方那麼感興趣,拼命去找 新航路而發現好望角!哥倫布也不可能因此發現了新大陸,也就是說,若沒有馬可波羅的《東方見聞錄》就沒有今天的美國!一本遊記竟然改變了世界,雖然是一百 多年後才看出了效果,但遊記之威力不可忽視從這裡可以得到印證!蔡志忠這本遊記《日本行腳》是否有這麼厲害,我們只好交待子子孫孫密切注意就是了!

.再從黃遵憲說起

黃 遵憲先生字公度,別署人境廬主人(1848~1905),30 歲任駐日大使館參贊,至 35 歲奉命調任美國三富蘭西士果(即舊金山)總領事為止,出使日本五年多,著作兩本研究日本鉅著:《日本雜事詩》和《日本國志》。《日本雜事詩》就如王韜所說 的:「敘述風土、記載方言,錯綜事跡,感慨古今,或一詩但紀一事、或數事合為一詩,奇搜山海以外,事繫秦漢而還,仙島神州,多編日記,殊方異俗,咸入歌 謠。」又如狄葆貸所讚許的:「寫物如繪,妙處橫生,以悲憫之深衷,作蟬嫣之好語。」

黃遵憲先生除了以詩的方式寫日本之外,更以真功夫寫 就了《日本國志》四十卷,包括年表、國統、鄰交、天文、地理、職官、食貨、兵、刑法、學術、禮俗、物 產、工藝等志,寫成四部,一呈總理各國事務衙門、一送李鴻章、一送張之洞,而自存其一。他眼見日本明治維新,認為「日本維新之效成則且霸,而首受其衝者為 吾中國。」所以他才拼命研究日本,寫成《日本國志》。薛福成在《日本國志》序說先生:「採書至二百餘種,費日力至八九年。」怪不得有意維新的清德宗光緒皇 帝於光緒 24 年(1898 年)2 月命樞臣進《日本國志》,繼再索一部。

黃遵憲先生在日本國志自序上說:「昔契丹主有言,我於宋 國之事,纖悉皆知,而宋人視我國事,如隔十重雲霧。」他又說:「余觀日本士夫,類能讀中國之書、考 中國之事,而中國士夫好談古義,足己自封,於外事不屑指意。無論泰西,即日本與我僅隔一衣帶水,擊拆相聞,朝發可以夕至,亦視之若海外三神山,可望而不可 即,若鄒衍之談九州,一似六合之外,荒誕不足議論也者,可不謂狹隘歟。」當時日本研究中國的書,與中國研究日本的書就已經不成比例了,黃先生於光緒 6 年(1880 年)說的這些話,已過了一百又七年,情況如何呢?傳斯年先生集跋人境廬詩草中說:「其日本國志,成於甲午之前,今五十餘年,不聞有書可代之也。」

我們常聽人說什麼「親日派」、「反日派」,我都覺得很可笑,先好好地、認真地瞭解日本再說吧!

.該如何瞭解日本

瞭 解一國最好最快的辦法是住在該國一段時間,和該國的人朝夕相處,閱讀該國的書報雜誌,這樣才能深入瞭解一國的風俗民情。但這並不是每個人都辦得到,退而 求其次的辦法就是閱讀上述那些人所寫的遊記、報導或研究專書。當我還不諳日本語文之前,我從前輩的書上讀到許多、學到許多。記得第一本是董顯光先生寫的好 像叫日本幽默集,讀起來那麼容易、那麼有趣。而後像崔萬秋先生的東京見聞記、日本見聞記,司馬桑敦先生的扶桑漫步,…都使我受益匪 淺。至於鄭學稼先生的日本史五冊,則屬於功夫派,可惜只寫到第四次中日戰爭,馬關條約訂定後日軍占據台灣,而未寫現代史,殊為可惜。

另 一本由英文認識日本的書,則是「啞行者」莊彝先生寫的《日本畫記》*,他除了引經據典大談日本各遊覽勝地、風土民情外,興之所至還揮毫寫下一首詩,或用水 墨畫一張圖存念。我看了之後深為喜愛,立即著手翻譯成中文。可是蔣彝先生晚年辭去哥倫比亞大學中文研究所教職後,曾傳聞他去了大陸(我們這裡資訊不怎麼發 達,其可信度多少無從確知),後來又傳聞他過世了。在我們這裡「以人廢文」的社會當然無處發表,《日本畫記》一書因而只譯了半本約八、九萬字,在我半途而 廢的工作中又加多了一項。那本《日本畫記》我之所以會那麼喜歡,主要還是喜歡蔣先生的畫,那麼可親、那麼溫暖的畫,多少加了些畫家的感觸進去,絕非攝影作 品所可比擬的。
* 這本書其實不是蔣彝先生作品中的上選之作 (hc 日本 Turtle 出版社 (1974) 有平價本)
書名: The Silent Traveller in Japan : A Romantic Guide 已無美國版封面的《日本畫記》而代之以 "靜靜的日本紀行"---我當然知道這是"啞行者"的作品
不過作者在北海道札幌等地交談的是英文 所以不是啞行
由於是日本 作者的小幅書法與像特多 (待號事者去數)
目錄有 47 節 整頁畫 (plates)16 未計入全書的文字430頁
















The Silent Traveller in Japan (1972)

Chiang Yee (Author), Chiang Lee (Illustrator)












蔡志忠就是那麼可親

我對蔣彝先生的《日本畫記》無法以中文出版的遺憾、心疼,一直到看了蔡志忠的《日本行腳》才稍獲得平息。因為蔡志忠的漫畫也是那麼可親、那麼溫暖。

以 外國人身分來畫日本的,蔡志忠並不是第一人。早在幕府末期,英國的新聞記者漫畫家華古曼(C. Wirgman,1835~1891)於 1857 年以倫敦新聞記者身分到日本採訪新聞,兩年後乾脆住在橫濱,將日本幕府末期的一些政治社會事件,畫成單幅漫畫寄回英國,又收徒教西洋畫之外,還辦了一本幽 默漫畫雜誌,模仿倫敦的《笨拙》,發行《日本笨拙》(Japan Punch)雜誌。

第二位也不是蔡志忠,他是法國插畫家畢果(G. Bigot,1860~1927),他曾為法國作家左拉的小說《娜娜》繪製插圖。1881 年到日本,次年起在日本陸軍士官學校教書。他畫的是單幅政治諷刺漫畫。

一言表過就到了法國漫畫家柴波(Daniel Zabo)。十幾年前他路過台灣時,在聯合報副刊登了一些他漫畫筆下的台灣,受大家歡迎,書店印了他畫的日本印象《神風》漫畫冊,及一本漫畫香港,我們才有幸欣賞這位法國漫畫家的作品。

蔡 志忠和柴波斯畫的日本有許多共同點:兩個人的漫畫都麼可親,畫的都是小市民生活;兩個人都觀察入微,以幽默簡潔的筆法表現出來;兩個人都是以外國人的眼 光來看日本(雖然國籍不同);兩個人都很會消遣自己、消遣日本人(柴波把瘦骨如材的「自己」畫進漫畫中,而蔡志忠悶了一下,派他的手下大將光頭神探去頂替 「自己」)。

柴波的漫畫遊記《神風》在日本大受歡迎暢銷一時,因為日本人也很想知道外國人如何看他們。前幾年有個住在日本的法國人為了一本《老外命真苦》,大大地暢銷,後來還出了續集。所以我堅信蔡志忠的《日本行腳》在台灣暢銷自不話下,應該利用其「剩餘價值」到日本賺它一票才是。

.美中有不足

漫 畫家就是漫畫家,他的使命就是把漫畫畫好。而蔡志忠這本《日本了腳》的唯一缺點就是「廢話太多」!說明文字多了一點,他的文筆不好嗎?不!正是因為太高 明我才說它是「缺點」!他應該嚴守井水不犯河水的原則,否則他再這麼寫下去,那我們這些爬格子吃飯的還能混嗎?誠懇期望他知所改進!


 The Silent Traveller in San Francisco 三藩市畫記

我發現竟然很少介紹 Chiang Yee's Works :Chiang Yee - Wikipedia, the free encyclopedia- [ 翻譯此頁 ]



李南衡: 日本通/ The Silent Traveller in Japan 《日本畫記》

他的啞行系列 (The Silent Traveller series) 如下 標紅者為我知道有譯本
  • The Silent Traveller: A Chinese Artist in Lakeland (London: Country Life, 1937 reprinted Mercat, 2004) ISBN 1-84183-067-4
  • The Silent Traveller in London (London: Country Life, 1938 reprinted Signal, 2001) 6 impressions by 1945.
  • The Silent Traveller in the Yorkshire Dales (London: Methuen 1941) at least 3 editions by 1942. Not known if re-printed
  • The Silent Traveller in Oxford (London: Methuen, 1944 reprinted Signal, 2003)
  • The Silent Traveller in Edinburgh(London: Methuen, 1948 reprinted Mercat, 2003) ISBN 1-84183-048-8
  • The Silent Traveller in New York, (London: Methuen, 1950)
  • The Silent Traveller in Dublin, (London: Methuen, 1953)
  • The Silent Traveller in Paris (New York: W. W. Norton, 1956)
  • The Silent Traveller in Boston (New York: W. W. Norton, 1959)
  • The Silent Traveller in San Francisco (New York: W. W. Norton, 1963) ISBN 0-393-08422-1
  • The Silent Traveller in Japan (New York: W. W. Norton, 1972) ISBN 0-393-08642-9



再介紹點 The Silent Traveller in San Francisco 這本書出版第一版後約30年 我還在台北買得到原文書 真是緣份 (或許如蔣彝先生自己說的 舊金山市天天 (或他訪問的十幾次間)大改變 所以現在城市風貌幾乎完全變了)

蔣先生的啞行系統都無索引 這是"名士作風"而已 很不智 書中有許多有趣的人物和故事呢.....現代科技或稍可幫助: Amazon.com: Silent Traveller in San Francisco (9780393084221): Yee ...- [ 翻譯此頁 ]

《克羅采奏鳴曲》 The Kreutzer Sonataby Leo Tolstoy,

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第9小提琴奏鳴曲》,作品47,別稱《克羅采奏鳴曲》(法語:Sonate à Kreutzer),是路德維希·范·貝多芬於1802年至1803年間創作的小提琴奏鳴曲,發表於1805年。[1]貝多芬並未給這部作品定調(參見右邊的封面圖),但它通常被稱為《A大調第9小提琴奏鳴曲》。
克羅采奏鳴曲以其所需的小提琴演奏技巧、深沉熱烈的感情和近四十分鐘的演奏時長而聞名。作品中所蘊涵的感情豐富,第一樂章所表達的是憤怒,而第二樂章是沉思的,第三樂章則表現出歡樂蓬勃的氣氛。


https://www.youtube.com/watch?v=mUWcyDEvsYA
~~~~
《克羅采奏鳴曲》(附魔鬼) 許海燕譯   台北:志文,1997


The Kreutzer Sonata (RussianКрейцерова соната, Kreitzerova Sonata) is a novella by Leo Tolstoy, named after Beethoven's Kreutzer Sonata. The novella was published in 1889, and was promptly censored by the Russian authorities. The work is an argument for the ideal of sexual abstinence and an in-depth first-person description of jealous rage. The main character, Pozdnyshev, relates the events leading up to his killing his wife; in his analysis, the root cause for the deed were the "animal excesses" and "swinish connection" governing the relation between the sexes.

Summary[edit]

Tolstoy's novella inspired the 1901 painting Kreutzer Sonata by René François Xavier Prinet.
During a train ride, Pozdnyshev overhears a conversation concerning marriage, divorce and love. When a woman argues that marriage should not be arranged but based on true love, he asks "what is love?" and points out that, if understood as an exclusive preference for one person, it often passes quickly. Convention dictates that two married people stay together, and initial love can quickly turn into hatred. He then relates how he used to visit prostitutes when he was young, and complains that women's dresses are designed to arouse men's desires. He further states that women will never enjoy equal rights to men as long as men view them as objects of desire, yet describes their situation as a form of power over men, mentioning how much of society is geared towards their pleasure and well-being and how much sway they have over men's actions.
After he meets and marries his wife, periods of passionate love and vicious fights alternate. She bears five children, and then receives contraceptives: "The last excuse for our swinish life -- children -- was then taken away, and life became viler than ever." His wife takes a liking to a violinist, Troukhatchevsky, and the two perform Beethoven's Kreutzer Sonata (Sonata No. 9 in A Major for piano and violin, Op. 47) together. Pozdnyshev complains that some music is powerful enough to change one's internal state to a foreign one. He hides his raging jealousy and goes on a trip, returns early, finds Troukhatchevsky and his wife together and kills his wife with a dagger. The violinist escapes: "I wanted to run after him, but remembered that it is ridiculous to run after one's wife's lover in one's socks; and I did not wish to be ridiculous but terrible."
Later acquitted of murder in light of his wife's apparent adultery, Pozdnyshev rides the trains seeking forgiveness from fellow passengers.

名所江戶百景 (歌川廣重 Hiroshige) : One Hundred Famous Views of Edo.

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Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo. George Braziller, 1986
1992年日譯本

近年新英文版
  • Trede, Melanie; Bichler, Lorenz (2010). One Hundred Famous Views of Edo. Cologne: Taschen
  • Forbes, Andrew; Henley, David (2014). 100 Famous Views of Edo. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY
  • Melanie Trede, Hiroshige: 100 Views of Edo. Taschen, 2007.

Wikipedia 列出119幅的簡單介紹
https://en.wikipedia.org/wiki/One_Hundred_Famous_Views_of_Edo

Wikipedia各國語中,寫得最好的,可能是法語版。


名所江戶百景(めいしょえどひゃっけい)是浮世繪師歌川廣重安政3年(1856年)到安政5年(1858年)之間創作的浮世繪



Happy New Year's Eve! In this polychrome woodblock print, foxes gather at the large, old enoki (hackberry) tree on New Year's Eve to prepare to pay homage at the Ōji Inari shrine, the headquarters of the Inari cult in eastern Japan (Kantō). http://met.org/2inorc9
Utagawa Hiroshige (Japanese, 1797–1858) | 名所江戸百景 王子装束ゑの木大晦日の狐火 New Year's Eve Foxfires at the Changing Tree, Ōji | Edo period (1615–1868) | ca. 1857 | Japan
圖像裡可能有樹、植物和戶外




Is ‘The Mikado’ Too Politically Incorrect to Be Fixed? Maybe Not.

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The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, which was the second longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time.[1][n 1] Before the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.[2]


Enduring popularity[edit]

The Mikado became the most frequently performed Savoy Opera,[85] and it has been translated into numerous languages. It is one of the most frequently played musical theatre pieces in history.[86] A feature on Chicago Lyric Opera's 2010 production noted that the opera "has been in constant production for the past 125 years", citing its "inherent humor and tunefulness".[44]

https://en.wikipedia.org/wiki/The_Mikado



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Caitlin Burke, center, with members of the New York Gilbert & Sullivan Players in “The Mikado” at the Kaye Playhouse at Hunter College. CreditJulieta Cervantes for The New York Times
To devotees of British comic opera, “The Mikado” is one of the pinnacles of the genre. But, increasingly, it also represents an embarrassment.
At the heart of this 1885 operetta by the librettist William Gilbert and the composer Arthur Sullivan is a satire skewering British bureaucratic zeal. But its setting is Japan: an imaginary town with the snigger-worthy name Titipu, whose infantilized citizens are ruled by a despot — the Mikado — with laws that are as draconian as they are daffy. Traditional productions have enthusiastically amplified the Victorian-era casual racism of the work with extravagant amounts of bowing and shuffling and casts of white actors singing in a pinched, nasal tone while sporting taped-back eyelids and yellowish makeup.
On Wednesday, the New York Gilbert & Sullivan Players presented a new production of “The Mikado” at the Kaye Playhouse at Hunter College that makes a solid case that, in the midst of the wreckage of political incorrectness, the work is a comic gem worth salvaging. Armed with great skepticism, I found myself won over by the show’s handsome designs, sharp acting and (for the most part) impressive singing, and came to admire the adroitness with which the director, David Auxier, defused the work’s most damaging cultural land mines.
Getting it right meant a lot to this company. Last year, the Gilbert & Sullivan Players scrapped a planned revival of its older production of “The Mikado” when posters showing a white actress in yellowface drew sharp protests. Over the course of the following year, the organization convened an advisory panel, diversified its company by hiring more Asian-American actors and brainstormed ways to contextualize the show.
The main resulting innovation is a new prologue, written by Mr. Auxier, which frames the operetta as the fantasy of a Victorian librettist, caused by mild head trauma. The scene is the London office of the D’Oyly Carte Opera Company in 1884, where Gilbert (Joshua Miller) and Sullivan (David Macaluso) have just unveiled their latest show, “Princess Ida.” As actors interrupt with petitions and complaints, the company’s impresario, Richard D’Oyly Carte (Matthew Wages), urges the two men to conceive their next joint venture.
As it happens, an exhibition of Japanese art and handicrafts is being set up in town, and D’Oyly Carte has brought a selection for Gilbert and Sullivan to preview. Amid the chatter, nonsense syllables pop out that will coalesce into the made-up Japanese names of “The Mikado”: A soprano’s delectable voice is deemed “yum-yummy indeed”; a vexatious but talented tenor is “that ill-mannered, unwashed, nincum — nanki — oh, poo!” When Gilbert is struck on the head by a falling object, the stage is set for an operetta in which a prince disguised as the minstrel Nanki-Poo (the very accomplished tenor Daniel Greenwood) vies for the hand of the lovely Yum-Yum (the pert soprano Sarah Caldwell Smith).
The prologue is not just an effective way to frame the show and cushion the impact of its more offensive elements. It also feels quite organic. After all, Gilbert & Sullivan operettas draw much of their comedy from overt references to their own artifice. Jokes about tenors or recitatives, for instance, playfully turn the spotlight on the conventions of the genre. Sometimes the story, in all its magnificent ridiculousness, seems like mere scaffolding, propping up the ritual of the performance.
This sense is reinforced by the imaginative costumes by Quinto Ott, which mix Victorian silhouettes with vibrant Asian fabrics. The actors who play Gilbert, Sullivan and D’Oyly Carte in the prologue remain recognizably British as they take on the roles of Pish-Tush, Ko-Ko and Poo-Bah. Add to that the checkered ethnic makeup of the chorus, and the Japanese setting becomes unobtrusive to the point of invisibility.
What’s left is a tightly choreographed comedy of manners with coolly precise slapstick and the requisite helping of improvised winks at the New York audience. Spoken dialogue flows smoothly into patter arias and ensemble numbers, some of them sung with a weightless, silky blend that would be the envy of more classically rooted choirs. The orchestra, led by Aaron Gandy, struggles to measure up much of the time, but that irritation, too, recedes into the distance as the madcap merriment takes its course.

THE FOUR-DIMENSIONAL HUMAN:Ways of Being in the Digital World

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THE FOUR-DIMENSIONAL HUMAN
Ways of Being in the Digital World
By Laurence Scott
248 pp. W.W. Norton & Company. Paper, $16.95.
“The Four-Dimensional Human,” the first book by the British writer Laurence Scott, is a curious entry in the crowded field of tech criticism. The book nimbly ranges across the charged and vexing aspects of digital life — the gradations of online friendship, trolls, the allure of voyeuristically monitoring old friends — while also neglecting some of its most fundamental issues. Surveillance is mentioned in passing, privacy appears a dim concern, and there’s hardly a mention of any tech figure not named Zuckerberg or Page. You might finish the book without remembering that essential debates about power, speech and civil liberties are being hashed out not in public but in Silicon Valley boardrooms. At the same time, the economic and political conditions propagated by these companies — the tremendous income inequality, the progressive commoditization of everyday life and communications — seem to hover out of view, lending, like a distant moon, some gravity but not much light to the proceedings.
Now that we’ve established all the things that “The Four-Dimensional Human” is not, it’s important to emphasize what it is: namely, a considered perceptual and aesthetic tour through the digital sensorium. Clever, allusive, with a capacious sense of humor, the book sizzles with intelligence. Scott mixes observations of deep profundity and eloquence with some head-scratching notions about digital life. But through it all, “The Four-Dimensional Human” is sustained by such fine writing, as well as an eclectic palette of references, from Seamus Heaney to schlock horror films, that it’s hard not to be charmed. I don’t share Scott’s belief in “the miracle of connectedness,” but I do agree that the upheavals of our multimediated lives deserve critical assessment.
The book’s principal weakness may be its overarching conceit that we have all somehow become four-dimensional human beings. By this Scott seems to be referring to the many ways in which always-on connectivity, mobile technologies and various databases containing scattered bits of personal information have scrambled our relationship with the world. This proposition seems to call out for a dose of media history, say, by examining the ways in which previous communications technologies, from the telegram to television, contributed to a sense of disembodiment or of time stretching and unfolding in strange new ways.
Scott overlooks those kinds of comparisons and instead trains his eye on the modern individual’s relationship to the digital world, its bizarre new folkways and vast sense of possibility. Sometimes this causes him to slip into what feels like an unearned mysticism, marveling, for instance, at “the strange sorrow that Skype provokes” (by making us feel as if we’re in more than one place at once). His tone can become elegiac and airy: “The children of digitization will grow up expecting to occupy space robustly and to live prolifically in one another’s rooms. Their strength will be measured, like the density of muscle fibers, according to the knit of their connectedness.” It’s evidence of Scott’s writerly skill that these extended metaphors don’t collapse on themselves. The problem seems to be that Scott pulls off these dazzling analogies all too easily and that, consequently, he gets mired in this discursive mode in which symbols and interpretations pile ever more ponderously on top of one another. A chapter called “A Different Kind of Buzz” manages to draw impressive mileage out of the beehive and its numerous semiotic associations. Along the way, Scott invokes the influence of beehives on Western architecture, Hamlet, Dionysus (“born, like an accidental text message, of Zeus’ thigh”), the video game series Grand Theft Auto and Marcel Duchamp, to name a few.
Another chapter takes “All That Is Solid Melts Into Air,” Marshall Berman’s study of modernity, as a jumping-off point from which to consider how digital life, like capitalism, can seem immaterial yet ubiquitous and oppressive. The superabundance of content — endless parodies of cultural products that themselves are borrowed references to previous films, TV shows, jokes, memes or ideas we’ve all experienced a hundred times before — furnishes “the sense that life is a collection of likenesses, lived out elsewhere.” The endless categorizing, hash-tagging and liking we engage in is a way of making sense of a world that seems populated by mass-produced variations of familiar themes. We face, then, a “crisis of originality,” where “the pressure we feel when writing” something as simple as a Facebook birthday greeting “is the pressure of the artist. How do we make it new?”
One response might be to burrow deeper into the meta-realm of reference and parody. Scott makes an unexpectedly persuasive case for how, in the movie “Scream,” Wes Craven cleverly toyed with the very horror clichés he helped popularize. Stylized self-consciousness becomes a reasonable response to a lack of substance. Or sometimes the two are one and the same, as Scott finds in the “normcore” trend, in which the L.L. Bean-and-khaki wardrobes of white suburbanites were appropriated by urban hipsters. The point? Either to disappear into the urban masses or to signal a weary accommodation with a culture exhausted by the feeling that everything had been done before.
Whether any of this hangs together for you may depend on your tolerance for the sort of cultural analysis in which a clearly brilliant critic spends pages worrying over subjects that sometimes seem less than worthy of his full attention. This isn’t simply a matter of one’s brow, high or low. Scott’s consideration of Katie Price — Britain’s Kim Kardashian, an omnipresent media star famous mostly for being famous — has some interesting things to say about the nature of celebrity, particularly in a social media culture in which we are often encouraged to act like microcelebrities of our own. But he’s on shakier ground when marveling that Yo — an app whose function is limited to sending a simple “Yo” message to a recipient — “is an early example of style-resistant discourse, its willfully generic exterior containing an infinite variety of meaning.” There may be something funny and even defiant about Yo’s deliberate monotony, but I would pause before claiming that “this is a noble approach to the problem of continual novelty in a world composed of finite aesthetic possibilities.”
There are other points, too, where Scott gets lost in his thicket of interpretations. He revisits the public downfall of John Galliano, the chief designer for Christian Dior who was caught on video harassing some Jewish patrons in a Paris cafe. Galliano’s scene caused him to be denounced by the actor Natalie Portman, who at the time was the face of a Dior perfume. “The public violence of Galliano’s outburst,” Scott asserts, reminded the world of Galliano and Portman’s “positions as individuals in a corporate structure” and ensured that Portman, “as a cracked commodity,” could “no longer maintain the coherent illusion she was paid to enact.” On some higher analytical plane, this may be true, but it seems far more obvious that Portman, as a Jew, felt compelled to dissociate herself from someone who had made ugly anti-Semitic comments.
It’s possible to finish “The Four-Dimensional Human” with the feeling of having contended with a great intellect who hasn’t quite yet found his subject. Scott’s erudition is impressive, as is his ability to catch hold of a cultural reference and worry out the last drops of insight. But his metaphysical vision causes him to neglect the material reality in front of him — the craven hunger of tech giants for personal data and influence over our decisions; the ways in which today’s innovators have tried to prove their revolutionary bona fides by freighting their inventions with false myth and pathos. There’s little doubt that the internet, writ large, has changed how we live. But to say that we, as human beings, are fundamentally different seems to grant our new digital technologies a kind of sentience and autonomy that they haven’t yet earned.

Woody Allen Reviews a Graphic Tale of a Scandalous Starlet

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CreditFrom "Mary Astor's Purple Diary"

MARY ASTOR’S PURPLE DIARY
T
he Great American Sex Scandal of 1936
By Edward Sorel
Illustrated. 167 pp. Liveright Publishing. $25.95.
Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to “Moose Murders.” Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny and, in the end, touching.
But why Mary Astor? Just because she happened to be under his linoleum? I mean I liked Mary Astor. I enjoyed seeing her up on the screen, but I never lost my heart to her the way Sorel has, and if it had been my linoleum she surfaced from, I wouldn’t have felt driven to research all the interesting details that have mesmerized the author. To me, Mary Astor was a very good, solid actress but not the exciting equal of, say, Bette Davis or Vivien Leigh. (Who was the equal of Vivien Leigh?) And when Bogart, in “The Maltese Falcon,” says his murdered partner was too smart a detective to follow a man he was shadowing up a blind alley but then tells Astor, “But he’d have gone up there with you, angel. . . . He’d have looked you up and down and licked his lips and gone, grinning from ear to ear,” I give this appraisal a lukewarm nod.
The truth is I can think of a dozen other femmes fatales I’d prefer to be lured up a dark alley with to enjoy a beating or violent death. Even Sorel, who is so smitten with this movie star that he wants to see her put on a postage stamp, agrees she never achieved the sensual humidity of Rita Hayworth or Marilyn Monroe. So what did Mary Astor have that such a good book could be written about her? Well, for one thing, she had a major scandal — and a torrid one at that. And while she may not have projected sex appeal, she did reek of aristocracy, or at least her name, Astor, smacked of the manor. Of course she was in no way related to the richest man who went down on the Titanic. Astor wasn’t her real name. She was born Lucile Vasconcellos Langhanke, a name that would probably never even fit on the average movie marquee.tinue reading the main storyntinue reading the main story
And as we study Sorel’s text, we are surprised to learn that the woman who played the warm, wise mother of daughters Judy Garland and Margaret O’Brien in “Meet Me in St. Louis,” the maternal presence who sang with her spouse in the film’s Victorian parlor was in fact a foulmouthed, hard-drinking, sex-hungry carouser. Born to awful parents, a mother who never seemed to like her and a father who exploited her success financially, she developed acting aspirations early and was fortunately blessed not just with talent but great beauty. Just after turning 17, despite her pair of helicopter parents, she was already having a major affair with John Barrymore, who was hugely older than she, infinitely more experienced, a big league boozer and one of the greatest actors on the American stage. A partnering like theirs required clandestine meetings and stolen moments of passion; they met in hotel rooms, they made love. The affair, with its close calls and heavy breathing, is chronicled by Sorel with pace and humor.
I used the word eccentric before to describe his storytelling style, and it includes delightful digressions into his own life experiences. He will suddenly leave the main shenanigans to describe personal anecdotes that somehow seem to add to and not distract from his narrative. In the midst of everything, he suddenly channels the departed Mary from the beyond and converses with her as she candidly reveals personal feelings in a novel interview.

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Barrymore’s offer of private “acting lessons” kicked off a drama-filled career.CreditFrom "Mary Astor's Purple Diary"

At first, Lucile Langhanke was doing some small acting, being noticed mainly for her looks. She soon winds up in the film capital and captures the imagination of Jesse Lasky, a studio big who wants to sign her for pictures. Lasky changes her unwieldy Teutonic birth name, and suddenly she is transmogrified by this Hollywood god into Mary Astor. At first she does small parts in undistinguished celluloid nonsense, but eventually she gains some traction and finds herself a promising actress running with the West Coast party set. As the affair with Barrymore has petered out, she dates, and takes up with a benign character named Glass, who held her interest for a while much to the consternation of her parents, whose influence she has trouble shaking. She drops Glass and meets Ken Hawks, the brother of the great director Howard Hawks. Him she marries, and while he proves companionable as a husband, from the get-go she notices a certain sluggish quality to his libido. Red-blooded herself, young Mary begins an affair with a producer who impregnates her. She doesn’t want the baby, but an abortion would be a career meltdown given prevalent Catholic pressures. She enters some tricked-out joint that advertises what they call “therapeutic treatment” but in fact is a cover for the necessary surgery to send her home appropriately pristine. Cut back to Ken Hawks, her amiable milchidik bedmate who is directing an airplane epic, and wouldn’t you know it, while shooting a flying scene, his own plane crashes and Mary is a widow. Devastated, she is helped in her grief by movie colony friends like Fredric March and Florence Eldridge, by Edward Everett Horton and other familiar onscreen faces because she is by now a regular working actress in the movie community.
All the above and the lurid drama about to unfold are recounted by Sorel in much livelier fashion than my own little sketch-in of events, and his drawings beef up the flavor of the environment he depicts. Mary is sad, she drinks, she works, and eventually meets a doctor named Franklyn Thorpe. Thorpe is a jazzy L.A. medic, in fact, doctor to the stars with a celebrated clientele. He and Mary marry, and in time, although they have a child together, Dr. Thorpe apparently fails the trial by mattress that seems to trip up certain men in Mary’s life. Sorel notes she makes bad choices, and Thorpe is one of them. But while married life between the percales is again humdrum and the relationship is deteriorating, her career is now ascending, and she lands a choice part in the film version of the hit Broadway play “Dodsworth.” One of the stars is the wonderful Walter Huston, and playing his wife is Ruth Chatterton. Mary is the third of the illustrious cast, a prestige score for her. At this point she would really like to be rid of her husband, and who can blame her? His practice has fallen off, and he is dependent on Mary’s fame and fortune for status, much the same as her parasite father was. Dr. Thorpe does not relish the idea of a divorce, and the pair drone on in limbo, paralyzed by those twin gods of failing matrimony, Fear and Inertia. Then comes a trip to New York for Mary, away from her husband. Her hormones tintinnabulating as usual, one senses the critical mass for playing around has been reached.
In New York she is introduced by Bennett Cerf to George S. Kaufman, the most successful comic playwright on Broadway. As much as I love Kaufman and grew up idolizing his inspiration and craftsmanship, I would not rank him Adonis-wise with, say, Clark Gable or Gary Cooper. Despite his brilliant mind and directorial skills, I have to say he was basically a nerdy-looking, professorial type of Jew, complete with standard tribal hooter and the natural blessing of wit common to his people. Behind his long, gloomy face and spectacles this man could never be mistaken for a boudoir mechanic. In fact, Kaufman was a terrified germophobe, and here we see how deep kissing with a hot partner always trumps bacteria. Kaufman swept Mary off her feet. In addition to taking her to empyrean heights in bed, he took her to the theater, to the opera, to “21” and the fabled Algonquin Round Table for lunches alongside Woollcott, Benchley and viper-sharp Dorothy Parker. Another pleasure of the book that Sorel treated me to is a quote of Dorothy Parker’s I never came across before, and I am a devoted Algonquin fan. Apparently disgusted with the trash the Hollywood studios turned out, Miss Parker quipped that MGM stood for “Metro-Goldwyn-Merde.” He also quotes Lillian Hellman’s great description of a vacuous actress: “Her face is unclouded by thought.” So here is our heroine, miserably unhappy in her marriage, doing New York with Groucho Marx’s favorite comedy writer, and that’s saying a lot for Kaufman. When the clock strikes midnight and she must return to California, she presses her husband for that divorce but Thorpe remains intransigent. Opposing lawyers take up arms, and a custody fight ensues for the Thorpes’ only child. The doctor uses the daughter as a weapon to prevent Mary from leaving him. He claims she is unfit as a mother to have possession of their child, and as proof, he says she is a flagrant adulteress. To bear that out, he offers up her diary. Oy vey, there’s a diary.

Photo

CreditFrom "Mary Astor's Purple Diary"

Can you believe this woman committed those four-times-a-night workouts with Kaufman to print and, worse, her husband has somehow secured said raunchy volume? In it are graphic accounts of the sex between this married mother and another woman’s spouse. Yes, Kaufman too was a married man, and as the first accounts of their purple canoodling hit the tabloids, the court fight turns into a blood bath. Of course it must be said Kaufman and his wife Beatrice had an open marriage, which meant both were free to explore their own romantic adventures without threat to the household. While these ground rules make cheating a nonissue for Kaufman, the public embarrassment of having one’s every fondle logged rhapsodically, even with an A-plus report card, can make a man somewhat self-conscious entering a restaurant.
Also the level of sophistication required to appreciate Kaufman’s type of free-loving arrangement with his wife reads like Swahili to Mr. and Mrs. Front Porch, and the Porches were precisely who kept the nation’s motion picture industry solvent. Many a Beverly Hills swimming pool was dependent on popcorn sold in the Bible Belt. On top of this, our heroine was still in the middle of filming “Dodsworth,” her big opportunity to move up in class. Suddenly the studio looks around and realizes they have a very heavy financial investment in a movie featuring a tabloid adulteress doing a laundry list of abominations with a libertine New York husband whose ancestors were slaves to Pharaoh, if you get my meaning. The panicky moguls hear certain church fathers float the word boycott. They begin to smell box office leprosy. After all, the American public was at that time such a clean public, such a naïve nation of holier-than-thou prudes. Think about how demonstrably upset even in much more liberal years people were during the making of “Cleopatra” when Richard Burton was fooling around on the set with succulent Liz Taylor while she was still married.
Now imagine you’re Sam Goldwyn sitting on top of his liability with half a movie in the can and one of the stars is suddenly famously wicked. What would you do? Goldwyn did what any businessman in crisis mode would do. He called a meeting. Should they fire Mary, eat the money already spent filming half a movie, recast and begin again? Do they scrap the whole project altogether and flush away production costs plus the numerous bucks they shelled out to buy the rights? Meanwhile, as the tabloids ran excerpts from the portion of the diary allowed in evidence, many a celebrity sweated audibly over the nightmare that he might wind up doing a walk-on part in the next installment of Astor’s caloric hanky-panky. Fortunately for all, the judge on the case was into the studio heads for several career favors, and at this point I will bail and refer you to Sorel’s book for an account of how things turned out, which he does much better than I ever could.
It is, of course, common knowledge that Mary did go on eventually to do “The Maltese Falcon” and “Meet Me in St. Louis,” two great American movies, and she was quite effective in the disparate roles. She continued to act, she retired, wrote books that hit the best-seller lists and in a moving finale to this whole mishegas, she gets done in by the demon rum, the ravages of age and the toll of a life lived on an emotional trampoline. Her last days are spent in an actors’ retirement home, a very lovely one with individual cottages. There is much good companionship available there, but she mostly chooses to dine alone and to be by herself. She dies in bed peacefully, leaving behind a legacy of fine movie performances. I believe it was Sartre who said all lives were of equal value and who am I to argue the point, but some lives are so much more fun to read about than others, and Sorel has told Astor’s story with great flair and energy. I hope he gets his wish and over time Mary winds up commemorated on a postage stamp. Until then, I’m going to have another look under my linoleum. Maybe among all that schmutz there’s an idea I could take to the bank.

{細說東海早期風華}梁碧峰編著

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曹永洋來電。劉國鈞給他{細說東海早期風華}梁碧峰編著,東海大學圖書館,2016




東海大學草創期校園規劃與建設的故事
   梁碧峯
壹、東海大學校園設計、規劃與建築專家
東海大學草創時期曾參與校園設計、規劃與建築的專家們頗多,將部分重要建築師其個人簡歷茲陳列於下:
何士個人簡歷
范哲明個人簡歷
林斯銘(林澍民)簡歷
貝聿銘個人簡歷
張肇康個人簡歷
陳其寬個人簡歷
貳、東海大學美援建築傑作
一、美國聯董會與美援---東海大學

本校董事會與貝氏夥伴們的東海校園建築、設計

、貝氏夥伴們對東海大學校園建築、設計所付出的心血
後記
雖然美國聯合董事會本希望是西式的高層樓房建築,而較不喜歡中式建築,但經由聯合基金會所聘請兩位建築師顧問:狄寶賽建築師與王大閎建築師的認同,終於可以接受中國的唐代建築。使得東海籌備之初,1954年,聯合董事會所正式聘請旅美建築師貝聿銘(1917-  )先生負責建築設計,經由貝聿銘與其助手張肇康(1922- 1992)、陳其寬(1921-2007)兩位先生共同參與設計,初步設計工作在紐約進行,一切辛苦用心設計,就可獲得安慰。
女生宿舍

辦公大樓

文、理學院

圖書館

體育館

文理大道

奧柏林學生活動中心--銘賢堂

相關檔案:東海大學草創期校園規劃與建設的故事(全).pdf

「國島水馬」畫《漫畫台灣年史》

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1940年元旦「國島水馬」畫台灣寶船

圖像裡可能有畫畫

提問:為何有1895-1945  完整的年畫!
漫畫台灣年史》是台灣日治時期的在臺日本漫畫家國島水馬所畫的漫畫。最先於1931年1月17日出版發售,1940年在臺灣各地巡迴展出,之後前衛出版社於2000年推出加入臺灣史學者戴寶村解說的復刻版。本作是目前已知最早的臺灣歷史漫畫,內容是1895年~1945年的臺灣大事紀。[1]
目錄製作與展出[編輯]
作品以鳥羽繪手法,約略每年一幅手繪彩色圖在絲絹上,最後再依照年代順序裝幀而成。每一幅畫包含該年臺灣的大事紀,畫面中填滿中日夾雜的文字,不同於現今簡短文字的漫畫風格。[1][2]
本作最先發表於1931年1月,並於1940年1月10日於台北公會堂(現稱中山堂)展出,之後在屏東、高雄、台南、嘉義、台中、新竹、基隆、宜蘭,全臺巡迴展出。現今可見的版本是從1895年到1945年間最完整的五十幅作品。[1]

評價[編輯]

漫畫台灣年史

  • 定價:400


  《漫畫台灣年史》由日治時期在台漫畫家國島水馬所畫的畫作,畫作內容是依照日本統治台灣的五十年期間,約略每年一幅所畫出來的五十件作品,每一幅作品皆以台灣該年所發生的大事紀所繪,主要繪於在絲絹上,然後依照年代順序裝幀而成。

  在原畫作品中,國島水馬特定殖民者角度的視野,其觀點雖非客觀,但也紀實呈現出當時日本政府在殖民地台灣的重大歷史事件與見證,已然成為了解台灣日治時期歷史極重要的美術著作。

  本書以國島水馬畫作為主,另請台灣史專家戴寶村教授解說輔佐參考,透過圖文的搭配,一一回顧爬梳日本治台的五十年大事記,從國島水馬詼諧逗趣的畫筆,彩繪出另類的台灣史觀點!



國島水馬/畫


  原名國島守,日治時期在台日本人,生卒年不詳。  在台期間參與畫壇活動頻繁,曾為台灣日本畫協會及栴檀社會員,會員包括有木下靜涯、宮田彌太郎、鄉原古統等日人畫家,台人部分則有林玉山、陳進、郭雪湖等知名的畫家在內。  其作品《漫畫台灣年史》畫譜亦多次展於台日報及台灣各地巡迴展出。

目錄

從台灣史畫的發現到台灣畫史的再造圈 謝里法
日治之前的台灣歷史背景圈 戴寶村
台灣漫畫年史序
武官總督
文官總督
武官總督
明治廿八年史〔1895〕
明治廿九年史〔1896〕
明治三十年史〔1897〕
明治卅一年史〔1898〕
明治卅二年史〔1899〕
明治卅三年史〔1900〕
明治卅四年史〔1901〕
明治卅五年史〔1902〕
明治卅六年史〔1903〕
明治卅六年史〔1904〕
明治卅八年史〔1905〕
明治卅九年史〔1906〕
明治四十年史〔1907〕
明治四十一年史〔1908〕
明治四十二年史〔1909〕
明治四十三年史〔1910〕
明治四十四年史〔1911〕
明治四十五年史〔1912〕
大正二年史〔1913〕
大正三年史〔1914〕
大正四年史〔1915〕
大正五年史〔1916〕
大正六年史〔1917〕
大正七年史〔1918〕
大正八年史〔1919〕
大正九年史〔1920〕
大正十年史〔1921〕
大正十一年史〔1922〕
大正十二年史〔1923〕
大正十三年史〔1924〕
大正十四年史〔1925〕
昭和元年史〔1926〕
昭和二年史〔1927〕
昭和三年史〔1928〕
昭和四年史〔1929〕
昭和五年史〔1930〕
昭和六年史〔1931〕
昭和七年史〔1932〕
昭和八年史〔1933〕
昭和九年史〔1934〕
昭和十年史〔1935〕
昭和十一年史〔1936〕
昭和十二年史〔1937〕
昭和十三年史〔1938〕
國立公園與十大勝景
台灣產物

從台灣史畫的發現到台灣畫史的再造
謝里法


  『台灣漫畫年史』是依照日本統治台灣的五十年,約略每年一幅所畫出來的五十件作品,這作品一直保留得非常完整,藏在員林陳勝道醫師家裡,前兩年陳醫師突然過世,有人想要借來展出,家人遍找不到作品的下落,至今音訊杳然。

  約在十年前,我由於難得回到台灣,所以一回來就到處拜訪藝壇朋友,得以親睹各家所藏的台灣美術中許多好作品。後來又認識一些有心收藏藝術品的人士,就將所看到的介紹給他們去收藏,員林陳醫師的『台灣漫畫年史』就是在我建議下購得的。

  當年陳醫師似有意在員林家鄉創立一間私人美術館,一度很努力於收購作品,他常對人說,在眾多收藏品裡,堪稱鎮館之寶的只有兩件:一件是台南畫家薛萬棟的膠彩畫〈遊戲〉(我在一九七○年代所寫的《日劇時代台灣美術運動史》裡曾以一節篇幅介紹過),是當時「府展」中難得一見的傑作,尤其作者畢生只留下這一件作品,情形甚為特別,因而愈覺珍貴。陳醫師能獲得此畫,可說是收藏家的一大緣份。另外還有一件,就是『台灣漫畫年史』了。

  關於『台灣漫畫年史』的發現,說來十分偶然,有一家官林藝廊是我十年前逛畫廊時常造訪的地方,老闆姓名雖已不記得,但此人神通廣大,什麼稀奇的作品都能得手,再從他店裡轉賣出去,所以幾乎每次都能夠在那裏看到另人驚訝的好作品,這也就是我經常逛呀逛就走進這間畫廊來的理由。

  在那裡我曾看過任瑞堯的速寫;張秋海的小幅油畫;黃土水作品的石膏原模;石川欽一郎的書信,以及國島水馬所畫的這件聯作。所以在我認識陳勝道醫師之後,就將所見的這些都講出來給他聽,當時尚看不出他是否把聽進去了,等隔一年再回台灣時,赫然在他家看見這件作品,才知道他聽完當天就匆匆把它買回去了。那天他還貼近我耳邊偷偷告訴告訴我:「我對太太說這是你的東西,只暫時寄放在這裡,以後她要是問起來,你也這麼說。」

  至於『台灣漫畫年史』的作者國島水馬何許人,只知他是居住在台灣的日籍漫畫家,其生平似乎沒有人知道。我曾打電話請教畫界前輩鄭世璠先生,他說聽過這個人,但也僅止於聽過而已。我問他還有誰可以請教的,他竟回答說「當今之世我不懂的事,大概也找不到其他的人啦!」使我打消再去探尋的念頭。

  直到最近《台灣近代美術大事年表》(顏娟英編撰)出版,我認真查了一下,終於找到幾則相關的記事:

  ◎一九三一年一月十七日,國島水馬手繪『台灣漫畫年史』出售。(台灣日日新報,一月十七日)

  ◎一九四○年一月十日,漫畫家國島水馬於台北公會堂(今之中山堂)初次展出『台灣漫畫年史』畫譜。(台灣日日新報,一月九日)

  ◎五月十八日,國島水馬『台灣漫畫年史』漫畫展於台日報。六月十三–廿五日巡迴展於屏東、高雄、台南、嘉義、台中、新竹、基隆、宜蘭。

  從這三則消息得知「台灣漫畫年史』最早發表的年代和地點,而且幾乎是遍及全島性地展出。致於是否有政府當局配合做政策性宣傳,則不得而知。然而可斷定在那年代裡看過此畫譜的人一定不在少數,國島水馬在當時也一定因此而有了不小的名氣。

  隨後又在《台灣近代美術大事年表》中查出國島水馬的個人記事:

  ◎一九二九年十月十三曰,日本畫研究會於國島水馬宅舉行。(台日,十月十三日)

  ◎一九三○年二月,台灣東洋畫研究團體栴檀社成立,設事務所於台北神烏裱具店,會員:村潭節子、大岡春濤、蔡品、林玉山、陳進、木下靜涯、村上無羅、宮田彌太郎、那須雅城、野間口墨華、國島水馬、鄉原古統、郭雪湖。(台日,二月四日)

  ◎一九三二年九月三十日,台灣日本畫協會第一回展於博物館,會員:井上一松、後藤竹堂、加藤紫軒、鄉原古統、常光雪山、木下靜涯、武部竹令、野間口墨華、森牧齋、國島水馬。(台日,九月廿九日)

  ◎一九三五年五月,國島水馬舉辦楠公六百年紀念作品展於台北第三高女。(台日,五月三十一月)

  從以上在年表中摘取的零星記事,雖然還查不出國島氏的完整生平,但他參與當時東洋畫之主流畫會,如日本畫研究會及栴檀社,與木下靜涯、鄉原古統、林玉山、陳進等一起展展,多少可看出他在台灣畫壇上的份量,而「一九二九年十月十三日,日本畫研究會於國島水馬宅」這則記事、又暗示國島氏的住宅必有相當寬濶的空間可容納研究會的所有同仁,從而觀察出他在台灣期間的狀況和地位。

  這套『台灣漫畫年史』聯作,最先出現於一九三一年一月,又在一九四○年一月展出於公會堂,五月以後開始全島各地巡迴展出,最後我們所看到的是從一八九五年到一九四五年五十年間最完整的五十幅作品,可見國島氏是每年一幅陸續畫下來。無疑地,還是從殖民者眼中看到的台灣史,有作者特定的選擇條件,他的觀點不見得是今天台灣史家所能認同。但它畢竟是被畫出來了,以一件美術作品來為歷史作見證,已然成了歷史的文件。這使做為一名美術史研究者又是藝術創作者的我,無法不因台灣美術界未曾在作品中針對過去的歷史發言而深感遺憾。

  「台灣漫畫年史』於一九九三年我為帝門藝術中心策劃「台灣美術史文件大展」時借展過一次,算是戰後第一回公開露面,當時有許多人要求拍照,都獲得展出單位負責人的允許。展完後,我親手把作品奉還,陳醫師則送我一份禮物,就是從這套作品翻拍出來的照片集,我把它帶到巴黎,過了幾年又帶回來。日前看到芹田騎郎的台灣圖繪「由加利樹林裡』也是前衛出版社出版的,於是便想起或許也應該讓『台灣漫畫年史」有同樣的機會出版,便將這冊翻拍的照片請主持出版社的林文欽先生過目,當下他極感興趣,就這樣決定了出版事宜。

  在本畫集出版之同時,我想表示一下個人的願望:我非常希望藉著這畫集,能對今天的台灣美術界有所啟示,鼓勵台灣的漫畫家以台灣人的立場畫出一套反映二十世紀的「台灣漫畫年史』,相信以今日台灣畫家的能力,應是不難做到才對!

1999年9月19日於台中

The Most Beautiful Walk in the World: A Pedestrian in Paris By John Baxter 《浪漫的巴黎文學徒步之旅:世界上最美的步道》

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忘掉何時買這本《浪漫的巴黎文學徒步之旅:世界上最美的步道》(The Most Beautiful Walk in the World: A Pedestrian in Paris By John Baxter )2017年元月打算報告W. Benjamin的The arcades project,先讀兩章相關的部分---我相信還有更多處可利用:
第20章: 尋找馬諦斯
第37章: 世界上最美的步道




浪漫的巴黎文學徒步之旅:世界上最美的步道

The Most Beautiful Walk in the World: A Pedestrian in Paris


內容簡介

放慢腳步,當一位旅行者,而不是觀光客!
生活美食旅遊作家 韓良憶 再次推薦

  對一座城市的愛戀,就像對一個人的愛戀,
  總是一見鍾情,剩下的不過是深入了解。


  每個人眼中的巴黎都不一樣,每個人心中都有自認獨一無二的咖啡館、完美的公園、最賞心悅目的景致,以及最美的一段漫步路線。

  美國作家亞當高普尼克認為,沿著塞納河路一路散步「是世界上最優美的漫步路線」;澳洲長大的作家約翰巴克斯特,住在巴黎聖日爾曼區,他則認為巴黎最美的漫步路線要屬他所住的奧德翁路。

  一次偶然的機會,巴克斯特在友人情商之下,當起「巴黎文學之旅」的嚮導,自然而然從他認為巴黎最美的這條漫步路線講起。

  說起這條奧德翁路,文青必看愛情文藝片《愛在日落巴黎時》和伍迪艾倫電影《午夜巴黎》均曾以這條路為故事背景,來此取景。傳奇的「莎士比亞書店」就開在這條街上,當年海明威經常出入這裡,還有費茲傑羅、喬伊斯、畢卡索等人在咖啡館徘徊,在午夜出入,塑造出巴黎的美麗與哀愁……巴黎是屬於步行者的城市,只有走路,你才會了解巴黎多樣的故事,跟著巴克斯特一起漫步吧!

作者介紹

作者簡介

約翰巴克斯特(John Baxter)


  約翰巴克斯特(John Baxter)是個生活經驗豐富的作家、記者、電影編劇、電影製作人及評論家。1939年出生於澳洲,父親是位糕餅店師傅,他從小就喜歡美食、閱讀與電影,後來移居英國與美國等地從事各種創作。結識身為電影製片的妻子瑪莉杜後,選擇巴黎做為居住之地,在巴黎生活超過二十年,並在巴黎帶領文學徒步之旅。

  巴克斯特出版過幾十種不同著作。包含巴黎生活傳記,以及電影導演費里尼、庫柏力克、伍迪艾倫、史蒂芬史匹柏,以及演員勞勃狄尼洛等人的傳記,同時他也寫科幻小說,編輯電影雜誌,還負責巴黎作家工坊。歷經不同的文化與生活,使他的作品幽默風趣,信手拈來,均是典故,滿紙珠璣。

  他和妻子瑪莉、女兒露易絲住在巴黎聖日爾曼區,傳奇的「莎士比亞書店」就在同條街上。電影《愛在日落巴黎時》以及伍迪艾倫的《午夜巴黎》均曾以這間書店為背景。

譯者簡介

傅葉


  喜歡美食、美酒與生活的人。前半生以音樂維生,後半生決定與文字為伍。目前專業翻譯與寫作。

目錄

譯序  一起去巴黎/傅葉
第一章    起來走吧!
第二章    聖誕節倒步行走
第三章    男人的責任
第四章    炙熱的火焰
第五章    兩隻烤鹅
第六章    好萊塢時刻
第七章    海明威的鞋子
第八章    海明威的真誠
第九章    大道步行者
第十章    殺手的花園
第十一章    遊走四方的流浪客
第十二章    徒步的音樂
第十三章    為權力而走
第十四章    書商咖啡館的提議
第十五章    自由解放的城市
第十六章    討厭的萬事通
第十七章    鴉片小徑
第十八章    來自巴黎的明信片
第十九章    腳下的歷史
第二十章    尋找馬諦斯
第二十一章    尊貴的沙丁魚
第二十二章    穹頂餐廳三女神
第二十三章    鵝肝的美味
第二十四章    當你開始體會巴黎
第二十五章    地下的世界
第二十六章    天堂與地獄酒店
第二十七章    藍調時分
第二十八章    蒙帕納斯的藝術時光
第二十九章    蜜桃的滋味
第三十章    阿里格市場
第三十一章    罪惡大道
第三十二章    夜之門
第三十三章    十九區的小地方
第三十四章    重回時光小徑
第三十五章    地鐵上的澳洲人
第三十六章    奇特的邂逅
第三十七章    世界上最美的步道
附錄  創造你的巴黎回憶

孤獨;李耀宗翻譯作品

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他是讀書人,紐約市周邊臥虎藏龍、人才濟濟,在王浩教授招集推動下,華人教授學子為探索自己專業之外知識以擴大學術視野,於1987年成立了讀書會,每月聚會一次,成員有高友工、李耀宗、鄭培凱和幾位搞哲學的後輩,王浩是數理邏輯學家,當代哲學界舉足輕重的人物。讀書會成員個個博覽群書、知識淵博又熟諳西方哲學,高友工幾次邀我參加,我有自知之明,望高卻步。倒是偶爾去參加他們會後的聚餐,一來可以見朋友,二來有高友工、王浩在,必有美酒、美食,一般的情況下,討論仍在熱烈進行,但談話氣氛誠摯謙和。
  高友工在文化藝術浩海中扮演了許多不同角色,角色之間有時重疊、互補、借用。
--- Prof. Yu-kung Kao 高友工;貼“心”朋友高友工 (江青)

 讀書會友李耀宗說:“高先生是我最敬佩的學者,能和他結識是我的福氣,他的風采和見識將永存我心中。”他回憶道:“我跟友工最後一次見面時,大概因為我是學西方中世紀的,他送我兩本劍橋文學導讀(Cambridge Companion)系列的書,一本是1986年版的古英語文學,另一本是2008年版的中世紀法國文學。可見他對西方文學獵涉之深廣與對其研究最新發展的持續關注,在漢學家中,幾乎絕無僅有。”


李耀宗翻譯作品
Yawtsong Lee's Translations
李耀宗祖籍山西平定,出生於蘭州,生長於台灣,生活於紐約
http://www.shanxipingding.org/Yawtsong%20Lee%20%20Books.html



http://shanxipingding.blogspot.tw/

Friday, April 17, 2015


孤獨

原作者:Thomas Jeffries Betts   出版日期:19171
譯者:李耀宗(紐約)  Yawtsong Lee (New York)

隨著1913年冬天的尾巴,亨利.巴爾多抵達了遼山他有個高大粗壯的身子,脆挺的鬍子從下頜撐出,那頭黑髮似乎巴不得從他的前額上卷。他頭頂上蓋著一頂飽經風霜的哔叽遊艇帽衣襟的鈕扣孔墜著一條紅色絲帶,他行走時總偏好他的左腳。巴爾多是個自豪的男人,而且他很開心,因為他的夢延伸進了大白天:半個世界以外是諾曼底的卡朗唐,而在卡朗唐有個歐德,比麵包還香的歐德,在等他攢足與她嫁妝等額的聘金和她到東方的船票錢。而在西貢呆了那些年後,他的難得的機會終於來到了;他的兵團從西貢上船啟程回國把他留下,那些年還在他踝骨留下一枚槍子兒—那時不是邊境有事兒嗎—還留下胸前這枚因那枚子彈而賺得的綬帶。
        四星期後河上的結冰因春暖而融冰,他的船終於回到他身邊。她是艘矮胖的貨船,兩舷有一道道锈痕,還有腰上寫著大大的中國字“大肚子”。在細高的煙囪上環著三圈彩色,紅,白和藍,對於他,巴爾多,而言—當然除了歐德之外—她,大肚子,是世上最美的了。
        他密鑼緊鼓地往這艘船因之得名的大腹便便的船艙塞進褐色的豆餅,然後就讓她再次出海,她的發動機哐啷哐啷地,像一個疲憊的打鐵匠的榔頭,響著,沿著海岸往一千英里外的上海駛去。三星期後她又回到他身邊,下一次也是隔三星期回來一次。每當她回來時,巴爾多那段碼頭的長長一溜碎石灘頭上就會洶湧著半裸的,銅色上身的苦力將豆子運進裝貨口。巴爾多看著這一切,他碼頭上的熱鬧喧嘩,像個成熟婦人的 “大肚子” —特別是每次他的船來之後他淨賺的五十墨西哥元,他是開心得很的。值得,他思忖著,真的很值得。比起西貢,他在這兒攢的聘金增加得更快,在這兒他也不懷念(西貢的)卡提納街,雅克,皮埃爾和保羅;不是完全不想,是不那麼思念啦。
           過一會兒他又發現他還是想念他們的,所有的。在那兒,晚上是很舒服的,坐在“陌生人”咖啡館前,頭上棕櫚樹搖曳簌簌,面前白色桌上擺著餐前酒一杯,等他啜飲。可不是,那時多愜意啊,跟這裡的俱樂部很不一樣。巴爾多對這裡的俱樂部不敢恭維。俱樂部裡那些人說的,想的,喝的,跟卡提納街上不可同日而語啊。而且那俱樂部還特貴。所有他不欣賞那兒,也不再去那兒。他寧願孤獨—不錯,孤獨一個人。
           而當他嘗試著吞下孤獨的苦果時,他想到一個辦法。這是個五月的傍晚,“大肚子”已經慵懶地沿江而下了,他發現尤里烏斯.棱特洛夫在向他,巴爾多,的買辦憤憤抱怨為何幾包德國毯子沒運到,他一面說著,一面在買辦不為所動的鼻子底下不斷動著貨物的提單。棱特洛夫個子很高,人很瘦,動作快捷突兀,像鳥一般,在他窄長,鳥一般的鼻子下,長期居留著淡淡的一道八字鬍鬚。巴爾多知道他是鄰居,這個德國人住在離他住所不到五十碼的地方。他忙不迭地表示遺憾並承諾補償,說的當然是那一溜海岸的商業界通用語言,英語。毯子準是不知擱在哪兒了。找到之前,如有什麼暫時的不便,或者毯子真的沒如約運到,他,巴爾多,法華貨船公司代表,會給予賠償,他先在此表達同情和遺憾了。那麼他們可以回家了吧。
          棱特洛夫凝視著他。然後,氣消了,並且有些驚訝地說:
          “那些人,你在俱樂部的那些朋友,和他們夫人—他們不喜歡看到你跟我在一起。”他聲音裡沒有一絲懊惱。語氣就像在講述貿易統計數字。
           “那些老爺們—哼,”巴爾多回答,然後他們一起走出事務所。他們一路話不多,因彼此的真誠而有些尷尬,他們離開碼頭一直來到棱特洛夫家門口停下來。這房子是用本地的褐土平原的粘土建造的,窗戶外包著亮麗的紅色百葉遮門。棱特洛夫駐足,以喉音清了清喉嚨。
          “你—你願意進來吃點東西嗎?”他遲疑了一會兒終於說出。
          “好啊!”巴爾多忙應道,他心裡想到自己那靜無人聲的家,那陳舊煙草的臭味,以及那一望無際的一間又一間的房間。他熱衷地重複:“當然好啊!”
          他們在棱特洛夫的院子裡用餐,在鋪有一塵不染的白桌布的小圓桌上面對面地坐著。當暮色逐漸暈染天空時,他們身邊的藤蔓就綻放了潔白的月光花,它的芬芳蓋過了短矮的檉柳發出的刺鼻味。附近磚窯的池塘裡,青蛙的怨歌變成了搖籃曲。兩人好整以暇地,美美地吃著,慢條斯理的一口口間,他們談話的音量在增加,但中間還是有著靜靜品嚐的時段。一個女人伺候著,她的頭髮緊緊纏在頭飾上方,短襖與藤蔓摩擦出簌簌聲。
          起先巴爾多對於不是由男僕而是一位女子伺候用餐感到驚訝。不過,他思忖,這還是可以理解的。這就是為什麼棱特洛夫,他覺得,警告他,跟他為伍會在社交圈遭到怎樣的排擠。然後他又開始在心中琢磨。這個如此安詳寧靜,言語得體的人到底是什麼樣的人?為什麼他從來不提他老家巴伐利亞?他經常流利地引述並為他,亨利.巴爾多,翻譯成英文的歌德和蘇德爾曼,他又尊歌德又尊蘇德爾曼,要作何解釋呢?他的歌德,蘇德爾曼,他的赫伯特.斯賓塞和他的蕭伯納,又如何跟伺候他們的神色平靜的女子說到一塊兒呢?巴爾多呆呆地思忖著,逐漸地他感到他一定要跟這個說話慢條斯理,語音低沉洪亮的人成為永久的朋友,不管他人生的主調是什麼。他大口大口地把這種堅定的信念吸入身體,他覺得氣入丹田渾身舒暢。
          這晚上的高潮是在用餐結束時。那女子一言不發站到棱特洛夫座椅右邊—等待著。德國人看了她一眼,起身,又猶豫片刻,然後親了她,嘴對嘴地親了她嘴唇。巴爾多立刻做了一個表示看不慣的動作,然後又恢復了東方的無言容忍。他熟知黃海沿岸事物的各種奇怪複雜因素,但從未看過或聽說本地女子被吻。終於,他抬起眼睛。棱特洛夫已回到座位坐下,女子已離去。
          “那,”巴伐利亞人說,“那是個錯誤。”然後,他聲音裡既沒有自豪也沒有遺憾地繼續說話。“我跟你說了吧。我是八年前來這裡的。那時我年輕驕傲,並且—我老家有個對象。可是我並不喜歡這兒;我不了解這兒的人。我很孤獨,很想家,有鄉愁而又孑身一人。所以—我很愚蠢—我就找來這個女人。她叫櫻花。我犯了錯誤。我把她當作體面婦人。每晚,就像今晚,我都親她;我親她的嘴唇。後來我知道自己犯了錯誤。我又不能叫敏娜來團聚。如果她來了,這些港口的貴婦們不會拜會她的。她會很孤獨,而我知道她會受不了那種孤獨。” 他的聲音停頓,但就那麼一會兒。“同時我也不能讓櫻花走路—她已經習慣了過乾淨日子,習慣了每晚被我親嘴。她家人不會讓她回去的。更何況她現在已經跟家人變得陌生了。她回去會很孤獨。我能咋辦呢?” 他從英文改口為當地話: “沒法子。”
          又一陣沉默,終於巴爾多凝重地表示同意: “的確,沒有解決之道。”然後他的思緒又回到自己身上。 “那你,你也感到孤獨嗎?”
           “我也很孤獨,”德國人說。然後他解釋說: “不過所有人都是孤獨的,不是嗎?我們又不是別人養的畜生。如果要做自己的主人,就得孤獨。”他總結他的論點說: “沒法子。”
           而巴爾多一面吸著他的馬尼拉煙草,一面吸入友誼的氛圍,點頭同意。
           他很晚回到家,他高挺著頭,大口飲進夜晚的沁涼空氣,覺得一切才開始。的確如此。整個長夏,他幾乎每晚都在檉柳叢邊主要是聆聽棱特洛夫這個德國人以他深沉的低音對人,事, 時代發表堅信不移,但刀下留情的評論。漸漸他更認識了棱特洛夫本人,敏娜和櫻花,以及他的過去。他已學會忍受每晚親吻那位乾淨無語的中國婦人,頂多翻一翻眼表示他的靈魂的尷尬。巴爾多知道了棱特洛夫的信念,就是因為這些信念,他被逐出歐伯蘭特婁。“我是個理想主義者,” 巴伐利亞人說。“我是理想主義者,我無法接受服役。那時我還年輕,我當時覺得他們” —他一揮手囊括了眾多高階和知名人士— “我當時覺得他們是不對的。現在我覺得他們只是犯了錯誤。他們不了解。”即便對於巴爾多而言,巴爾多是心甘情願地服役,並且還在踝骨裡留了一顆槍子兒, 即便對於巴爾多而言,他逃避帝國的兵役也是情有可原的。
            那的確是個美好的夏天,“大肚子”每三星期進港一次,並且每次留下五十元左右的淨收益,可以加到那必須攢到與歐德嫁妝等額的聘金裡。有一天巴爾多收到一份文件任命他為法國領事,於是他在大院的一根不起眼的旗桿上掛起了法國三色旗。終於,在七月,聘金攢足了,並兌換成法國黃金;巴爾多便展開最後的任務,就是要攢下一千五百法郎,約六百多元,供歐德搭船來東方與他團圓。在他事務所牆上大地圖上他把圖釘釘在馬賽的位置,當船票錢越攢越多時,那顆圖釘就沿著輪船通往上海的路線上往前挪。然後—然後天下大亂了。一聽到謠傳 他立馬去找棱特洛夫。
            “是的,”德國人說,“是的,打仗了。這是一場可怕,艱苦的戰爭。”他頓了頓,接著若有所思地說: “是的,他們連我這種人都不嫌棄。我這兒有一份文件。他們可以對我逃兵的往事既往不咎—他們說我是逃兵—如果我立刻去青島報到他們就赦免我。”
            巴爾多沉默片刻,在考慮適當用詞。 “我雖感遺憾,”他終於說。 “但你這樣就可以在戰爭結束時回到敏—回到歐伯蘭特婁。這樣比較好。”
             “我嗎?我不會去青島。”
             “但是—你的國家呢?”
             “我的國家犯了錯誤。他們錯了。他們不了解。這裡” —他指著自己的頭— “這裡告訴我,我不可以去。所以我會留在這裡。” 在他最後上揚的語調裡,不僅僅是德語常有的期待的聲調。
             但是巴爾多不理會那尋求他的寬容和友誼的眼神;他目睹著心目中一個神的瓦解。在他的混沌中,他突然聽到一個像是自己的聲音。“我很遺憾。我可以尊敬我的國家的敵人。但我只能蔑視一個與自己國家為敵的人。我很遺憾。”然後他轉身離開了,不顧棱特洛夫凝視無限遠的眼神,與那籠罩他的悲傷做著征戰。
             但他戰勝了悲傷。之後的三個月裡,遼山的日子只是“大肚子”的來來去去。每三星期她離港南行,她下腹的紅色高高呈現在水上,她的半裸的螺旋槳擊打著褐色的河水,她的保險箱機載承載著一千個南方苦力在滿洲地裡辛苦一個夏天後回山東老家的船資。這位法國人還給他們添一份勞累,每次船返港時便對船做一次大修,和貨物大搬移。畢竟巴爾多這船是寶貴的,君不知有多少針對法國船隻和法國的各種陰謀在醞釀嗎?他不是法國的代表嗎?最近不是有從北京派出的駱駝隊破壞了跨西伯利亞鐵路嗎?他能不防著所有這一切嗎?巴爾多很忙,非常忙,忙得沒有閒暇去想那個窗上有紅遮門的房子,直到十一月剛結冰時節,航道裡的浮標已被取出水面,而港口被正式宣布閉港。冬天降臨了。
            這時巴爾多開始反思自己的情況,才意識到棱特洛夫在他生活裡留下了的空白。他漸漸感覺到了這空白,慢慢地在他心中有了一種不安和惶惑,而又因為自己那不敢表達的思念感到厭惡自己。這都怪棱特洛夫。為什麼怪人家,他不知道,也不敢追究。但毫無疑問是棱特洛夫讓他如此孤單的。他開始恨棱特洛夫,那是一種憂心忡忡的,不安的恨,他把這歸因於他的國籍,他的背信,他的軟弱,但就是不去怪罪巴爾多自己。但即使這樣恨他,他還是無法甩掉那個人對他的強烈吸引,這使他更加恨他。而他非常孤獨。
             日復一日巴爾多坐到他的染有灰塵的小事務所—倉庫現在清空了,河上的冰日益增厚—他在桌上處理零星的事務。然後他就會不由得去看輪船海圖,代表歐德的圖釘如今就要到科倫坡了。自從閉港後,那圖釘便再也沒有移動過,在春天把“大肚子”帶回他這裡之前,圖釘還是不會移動的。然後,假借視察那些川流不息的,六根輪輻車輪,長毛小馬拖曳的運豆車,他的視線會投向窗外,但旋即盯住棱特洛夫窗子那紅色遮門和窗格。然後他會對自己這好奇要求天打雷劈—可是又會忍不住看一眼。
              有一天,他正看著,突然發現紅色遮門是關嚴的。棱特洛夫多半是病了,他覺得,要么就是走了。或許他已經走了,去向他的君王盡忠,那麼巴爾多就有正當的理由恨他了。巴爾多拐彎抹角地向他的僕人們打聽。沒有,他們告訴他,德貿的主人沒有走。他傷到了,在臥床休養。他穿著鐵鞋在河冰上溜的時候崴了腳踝,還著涼了。而巴爾多就開罵了,從“呆子” —這字眼即使中國人也覺得有點冲—開始到所有能想到的罵人話都用上了,臭罵了苦力一番,才轉身離去。
               可是他總去他的蒙著灰塵的事務所,因為那裡可以看到棱特洛夫的住所;那晚他也在那裡,一頁一頁地翻著一份已經翻爛的“巴黎生活”雜誌。漸漸他總會把眼光移向窗戶和窗外棱特洛夫的房子。然後他眼神愕然停住,因為有一扇窗—那些終日關嚴的窗戶之一—出現了一框黃光。他定睛再看,便覺得那黃光一直是在那兒的,八月以來就一直亮著,棱特洛夫專為他,巴爾多,亮著。第二天那房子還是同樣—所有窗戶都遮陽了—除了那扇發出黃光的窗。再過一天還是如此。之後的早晨德國人窗戶外的遮門都大開著—棱特洛夫康復了—但那晚又都關上了,除了那扇透出黃光的窗。現在,巴爾多深信不疑,是棱特洛夫在召喚他,因此就越發厭惡他;他告訴自己,不但要恨棱特洛夫的頑固,還要鄙夷他的軟弱。他以自己的孤獨鞭打自己,並對這種痛甘之如飴。
              冬天漸漸接近尾聲。殘了腳踝的巴爾多被拴在家裡足不出戶,離棱特洛夫近在咫尺。他呆在那裡,白天看著紅邊的窗戶,晚上看著那一方黃光。他無法掙脫,黃光的召喚在他心中產生激烈抗拒。那德國人—幹嘛老杵在他,巴爾多,眼皮底下啊?他衷心期盼春天把“大肚子”帶來。
              春天卻不著急著來,但終於有一天漲了潮,破了一直到碼頭邊的冰,浮冰在褐色水中洶湧打漩,河水顯示了威力把它們推到了海裡。冰去了,船就來了—吃水多多的高船。它們興奮地駛入,一路與冰塊碰撞著;靠了碼頭,成群的喧囂的苦力一擁而上,開始卸貨。其中一馬當先的,打著一面嶄新三色旗 的就是“大肚子”,她的貨艙裡,各種貨物之間有三包並不令人起疑的零裝貨,上面蓋著“三角X"的發貨單印記。
                和該有事,亨利 巴爾多正站在踏板上(他不是法國領事嗎)嚴防任何對他的船和祖國的陰謀,偏偏就碰到了這三包裡的一個包裹。碰到時,他的外套被扯破了,於是他注意到扯破他外套那根鐵絲。任何鐵絲都不應該在零裝貨裡存在,更休說是可用來製作小電池的絕緣電線。法國人一下子警覺起來,就展開調查,旋即發現另兩個蓋了”三角X 記號的包裹,它們裡面都被巧妙地挖空,塞滿了油膩的,黃色包裝的條棒,上面蓋著戳記: "杜邦—炸藥。”
             於是,當一名自稱叫阿凌夫的,話很多的本地人來領取三個包裹時,巴爾多便問了他一些問題。他很趕,這中國人說。那些包裹都是些樣品,明天要拿到長春去的,而他,小的,去長春之前還有很多事要做。長春,法國人琢磨,在去哈爾濱的路上,而哈爾濱在跨西伯利亞鐵路上,要是鐵路上一座橋給炸了—他把貨給了那人,然後一早晨發了三個電報—一份給上海法國領事,一份給長春的日本上校,一份給哈爾濱的俄國總指揮官。之後他回到“大肚子”並繼續監督裝貨。
              “哼!”他嗤一聲,非常得意,“我們的鐵路,不會爆炸了!”之後的兩天裡他忙著裝貨,馬不停蹄地,直到塞滿船艙的豆餅使得“大肚子”的吃水線在稀薄的淡水裡壓到水下半英尺。然後他看著她轉了彎,得意地拉著喇叭,用前腳撥開碎冰,去征服海洋,他緩緩轉身,禁不住因勝利而得意洋洋。
    這樣的事,得意一點並不為過吧。要是在國內,在戰場,或者他再年輕些,不要說這樣的事,再多的事也是份內之事。可是在這裡,他這把年紀,這肥胖的身子,加上腳踝裡還有個東京灣的槍子兒—
    他們,俱樂部他們那些人,笑談著“我們的盟友,” 誇誇其談地講到喀爾巴阡山口之役,就彷彿是他們自己攻打了那些山口。罷了!他們哪一個做了什麼,全部都做了什麼是可以跟他做的這件事媲美的?倒不是這事會被大聲張揚,那是當然的,但是像他這把年紀,還跛腳—倒不是一定要讓他們知道。也許將來告訴他們;不是現在,連棱特洛夫都不要告訴,雖然他是最討厭霍亨索倫王朝的—可是怎麼老是轉到棱特洛夫那兒?他不禁望望窗戶。五十碼外夜裡德國人那窗戶一方黃光。巴爾多硬是把視線拉回自己屋子四壁之內。          
                  第二天早晨他醒來時發現地面實實在在出了一身汗,終於擺脫了冬天的寒意。空氣中終於有了潮濕,終於樹木和房舍不再像是硬紙板剪裁出來的,杵在白藍色單調色調背景裡的物體。地平線柔和了,朦朧了;土地不再赤裸,平原的盡頭籠罩著薄薄的水霧,不可透視,卻誘惑人們去它後面探幽訪勝,細語著它隱藏的神秘。巴爾多大院外的道路上遲來的運豆板車開心地濺起泥濘行走,而之前由於路面結冰堅硬,那僵硬的泥巴在輪下破碎而包住輪子軸心。城市上空偶爾一群野鴨隱在霧中向下尖聲叫道:我們要往北飛向凍原啦!我們要去交配啦!它們一排隊伍劃過霧氣瀰漫的天空。
                現在在諾曼底該是春天了,巴爾多想著。溝渠裡蟄伏了六個月的生命已蠢蠢欲動;它們兩岸已潑灑了大片的金黃的鈕扣,就是那些金鳳花;白楊樹在春色裡閃爍著。歐德會在那兒—等待,就像他在等待。她會感到孤獨,很孤獨嗎?他想著。
                 想著想著他的眼神又從天邊回到身邊。這時他注意到棱特洛夫的房子每一扇窗都被遮門遮蓋並鎖上。他一時愕然瞪眼,然後向自己解釋。棱特洛夫一定是又病了吧。我很同情你—但是他又說且慢。什麼同情!罷了!他旋即把注意力轉回灰蒙的桌面,翻動著文書,直到他對那些文書感到厭煩;然後他步入大院,看著他的園丁老黃栽種鬱金香。現已是午後,他當然背向著面對德貿大院那堵牆。
               他還在那裡沐浴在難得的美好黃昏時,電報來了。上面整整寫滿了兩段空格。那一夥嫌犯—一共七人—連同他們的危險行頭經過了長春,當然他們被一網打盡。至於他,巴爾多,都誇他“提供了睿智機敏的合作”;將來,等到吐露姓名不至於危及未來行動時,會有獎勵和勳章的;共和國和帝國不會不懂得感念的。哦,不錯嘛。對於他這個老戰士,98年次的,腳踝打壞了的老軍人而言,這可不賴,不賴啊!他們,在西貢的咖啡館坐著的,他們會為他感到高興。他們會感到高興,在卡朗唐的歐德會為他感到驕傲,而在這裡—他又被寂寞席捲。他的身體因渴望友誼,同情共鳴,賞識理解,至少有個伴,而顫抖著。他不自覺地戴上發亮帽舌的帽子,把它低壓到額頭,向俱樂部邁進。
              他在那兒就待了二十五分鐘。那裡的總人口,統共五人,愉快地同他打招呼,在他的慫恿下同他喝了一杯,以盎格魯撒克遜特有的方式把全世界都聽過的,美好講述過的拉伯雷說的故事挺糟蹋地講述了一番。此時使團的醫生戴維斯加入他們,帶來一大堆新聞,並在口袋裡揣著一份認捐書。
               他們聽說皇家海軍預備軍官史密斯的事了嗎?他在加利伯利戰死了。砲彈彈片。巴爾多期盼地望著醫生。
               “那是不錯的。我—替他—高興。人總有一死,時間地點之差而已。那樣瞬間死在敵人炮火下,還是不錯的。不是嗎?”
               才不是呢。他挺倒霉的,他們認為。他們的聲音壓過了法國人的聲音,而醫生的聲音又壓倒了眾人的聲音。
                “當然,當然。就像大多數英雄烈士一樣,他身後蕭條。拿不到一毛保險理賠,你們能想得到嗎,他母親孓然離開這裡。我們要她回家—我們在募捐,曉得吧—我們希望你名字排在前面。你是領事,又是大班,每星期你的汽船進港,靠你為生。我知道你一定會鼎力相助?”
               巴爾多愕然看著他,旋即當他想到他當年在東京灣叢林耳中充斥著中國土製砲彈聲南征北戰的日子,他面色略有緩和。這人,這位史密斯,也是個為國從軍的人。
               “好的,我會捐錢。別人出多少呢?'
               "是的,是的。我就知道你會幫忙。”他在胸口口袋摸了一會兒,簌簌地取出認捐書。“其他領事--達爾內爾,嚴西,野口,比阿蘇提,都各認捐五十元。”他期待地停住。
                 原來他們先找了英國,意大利和日本領事—哦,還有那根本沒有參戰的美國的領事,才找了他。
                “好的,好的。我也捐同樣的金額。”
                “謝了,朋友。就知道你會幫忙。當然,當然。史密斯夫人會非常感謝的。不了,謝了,艾吉,我就不參加你們的橋牌了。我今晚還得修補那些被巴爾多‘大肚子’上的老爺吊車弄傷的本地人。晚安。”
                 他出去時,門砰的一聲關上,但巴爾多並沒留意他的離去,也沒有聽到他們一窩蜂爬上樓梯到打牌房去打橋牌。對於一個不啻打了一場勝仗的人,他們就這麼打發了?然後他腦子裡就縈繞著揮之不去的各種數字。五十元就是一百二十七法郎,就是他事務所樓上地圖上輪船航線上的一千多英里。他得把那圖釘往回挪,挪回到科倫坡。五十元,那可是三個星期才能攢下的錢;他見不到歐德,孓身一人待著的時間又得加長三個星期了,
                   酒吧的侍童小心翼翼地把六人的飲料帳單推向他跟前。法國人不解地看著帳單。
                  “請簽字,”中國人諾諾地表示。
                  “真豈有此理!”巴爾多抗議。“算了,算了,算了!”他大筆一揮,簽了,旋即奪門而出,離開了俱樂部。
                 拖著身子走回家—回到安全的地帶—那幾百碼的短短距離,他感覺走了幾個小時;當他在邋遢的地毯上踩出灰塵和陳舊的煙草臭味時,他心中唱起感恩之歌。他不覺轉向開敞的窗子,凝視不到兩百英尺外的熟悉的一方黃光。然後他拾起煙斗,點燃,開始一口一口吞雲吐霧,出神。他一直望著窗外,看看霧中的星星,又看看那不再閃爍的有光的窗。
                到底他那樣坐了多久,他也不知道。但漸漸地,他感覺一種長距離的,長寂靜的平和襲上心頭。漸漸地,他所知道的宇宙開始在空間擴散。在他周圍,在世界周圍,裹著一層氛圍把它與以太隔離開來,將其孤立。因之,星星朦朧了,顏色也變得不是它們的原色了。高懸在那層薄膜之外,星星在閃爍發亮,雖然他不知道有多亮,而他的生命曾經在那些星星之中遨遊。他給它們取了新鮮的名字— “陌生人”咖啡館的皮埃爾,軍團的雅克.杜波依斯和保羅.格里蒙,他把十幾個人名抬舉到穹蒼;他把金星—只不過他從小被教會稱呼它為牧童星—保留給歐德。但他們都遠在天邊—孓然一身—在他和他們之間阻隔著孤獨的水霧以及千山萬水。然後他想到其他星星,更遠更小的星星,是迷霧擋住了他的視線而無法看到的。那些星星,他想著,那些星星就是遼山的人們,這些人比千山萬水外的朋友們更感到遙遠。對於他們,他的憤懣也已消弭。俱樂部那些人來到他面前,單純地一心要飲酒歡笑,或只要給他們指引,他們就不惜捐軀。他們都是好男兒—好孩子—都是好男兒,他想著,但他們不了解。他們太遙遠了,中間阻擋著層層雲霧,他們不會了解的。
                對於亨利.巴爾多而言,世界有了祥和。他,終於,了解了。他整理了他的世界,正確地,全面地看清了他的世界,他很快樂,他的孤獨不再疼痛。他還是孤獨的,他琢磨,但心裡有了平靜;左右沒有親近的人。然後他眼睛往下看棱特洛夫房子那一方黃光。
              是的,他還有棱特洛夫,敏娜和櫻花的棱特洛夫,巴伐利亞的棱特洛夫。但他現在能理解棱特洛夫了;他也和自己一樣遠離了仇恨,恐懼和痛苦。兩人都超脫了俗世的情結。此時,棱特洛夫窗口的光開始晃動。
               他望著那一方黃光,因為靈魂中新近尋獲的平靜而欣喜,那黃光,他的世界裡唯一的真實,也已改變。那光開始暗淡。他呆呆望著它,那溫暖的光摻雜了一絲灰色,他想讓自己相信火光的搖曳會使得火苗更加旺盛。但內心深處他知道並非如此。那光,他的光,正在死亡;他的希望也隨著火苗暗淡。他掙扎著不去想這令人哭笑不得的諷刺:剛才取得的寧靜心境怎麼就這麼輕易被粉碎了呢;他祈禱著臨終的光的痛苦能盡快結束。漸漸地,那光芒褪色了;逐漸,絕望的陰雲籠罩了他。然後火苗突然一亮,照亮了窗框,然後就沉入黑暗。黑暗籠罩了亨利.巴爾多的靈魂。
            逐漸,他從幻覺中甦醒。他,巴爾多,法國老戰士,就為了燭火的搖曳而喪志嗎?如此,那火光和它意味的一切都從他心中消失,只留下了一個名字,一個人,棱特洛夫。  棱特洛夫病了。他的朋友—想到這個詞,他心中有個什麼像是破碎了,他感到疲憊—他的朋友,  棱特洛夫,他親愛的朋友,病了;沒有人在那兒照顧他。一定沒有人照顧他,否則他的燭光為何熄滅?而他,巴爾多,要去他朋友那兒,告訴他他是他朋友,讓他病好起來,原諒他—是的,並且請求原諒,因為他有太多需要被原諒的過錯。
             在黑暗中他慌忙地摸索尋找那老舊的布帽子。他找出牛眼馬燈,點燃,匆匆出門,踩著泥濘的小路走向窗上有紅色遮門的房子。他敲門,門便馬上無聲地開了,櫻花,平靜地,像往常一樣穿著整齊地,出現在馬燈的光圈裡。
              “主人說了你會來這邊的,”她用本地話說。“好極了。他忘了留給我油錢。這兒有一封給你的信。” 她把信遞給他。巴爾多機械地展開信,開始閱讀:

“我的好朋友!
          ”你會來的。我知道你會來的,你看了信就會明白一切。
          “我的朋友,你知道嗎,也有些怪你。你讓我再一次了解孤獨的滋味。我如今已變得脆弱,我無法在這裡面對孤獨。那種孤獨太難熬了。我走了,連我的理論和哲學也顧不上了,我需要緩解我的孤獨。我不能告訴你我去了哪裡。 也許你以後會知道。在情感面前,哲學也得低頭。
再見。
              ”你的知己!
                      “尤里烏斯.棱特洛夫。
            ”請照顧櫻花。

          巴爾多將燈光移回女人方向,女人期待地仰望著他。
          “你主人什麼時候走的?”
          “昨天。 他忘了—”
          “他去了什麼地方?”   
          “小的不知道。他乘日本鐵路往長春去了。他忘了— 
          “他去做什麼?”
          “主人說了什麼樣品,什麼零裝貨的樣品來著。”
          巴爾多愕然看著她。阿凌夫—零裝貨— “樣品” —長春—這些一股腦衝上他心頭,呈現出一幅可想而知的圖景—哈爾濱的槍決行刑隊。他,這個做了那麼了不起的大事的人,如今卻什麼也不能做,什麼也不能做。他能做什麼呢?能做什麼呢?
           女人湊近一步,臉依然仰望他。“他忘了—”她不忘這句話。
           一時之間,在亨利.巴爾多腦中閃過牆上的地圖,那圖釘離科倫坡還有段距離。眼看歐德的名字即將蹦出舌尖,他把它吞回去了。那不是他職責所在;畢竟他得對已經死去的朋友棱特洛夫忠心。他用櫻花完全聽不懂的法語向櫻花說:
           “唉,朋友,我們將有很長的一段孤獨!”

           然後他低頭親吻了她上揚的嘴唇。    

Chinese Culture and History ETC 中華語文知識庫 在線漢語字典 漢典 漢典古籍 四庫全書 詩詞在線线 諸子百家 開放文學 中國古籍全錄 古詩文網 詩詞庫

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Forster's genius was quiet; Howard's End, E. M. Forster's classic 1910

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Both as a writer and as a moralist, E.M. Forster regarded the exploration of abstract forms and ideas as dubious, valuing messy humanity instead. Some regarded this as woolly thinking—a famous Cambridge critic, F.R. Leavis, believed his lectures were characterised by “intellectual nullity”. But the novelist—who died on June 7th 1970—was covertly sophisticated




E.M. Forster died on this day in 1970
ECON.ST





Everyman's Library

"She lay under the earth now. She had gone, and as if to make her going the more bitter, had gone with a touch of mystery that was all unlike her."
—from HOWARDS END (1910) by E.M. Forster


“The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.”
―from HOWARDS END (sic) by E.M. Forster
"I do like Christmas on the whole.... In its clumsy way, it does approach Peace and Goodwill. But it is clumsier every year."
~from "Howard's End" by E.M. Forster




First published in 1910, Howards End is the novel that earned E. M. Forster recognition as a major writer. At its heart lie two families—the wealthy and business-minded Wilcoxes and the cultured and idealistic Schlegels. When the beautiful and independent Helen Schlegel begins an impetuous affair with the ardent Paul Wilcox, a series of events is sparked—some very funny, some very tragic—that results in a dispute over who will inherit Howards End, the Wilcoxes' charming country home.

At its heart lie two families—the wealthy and business-minded Wilcoxes and the cultured and idealistic Schlegels. When the beautiful and independent Helen Schlegel begins an impetuous affair with the ardent Paul Wilcox, a series of events is sparked—some very funny, some very tragic—that results in a dispute over who will inherit Howards End, the Wilcoxes’ charming country home. As much about the clash between individual wills as the clash between the sexes and the classes, Howards End is a novel whose central tenet, “Only connect,” remains a powerful prescription for modern life. READ more here: http://www.penguinrandomhouse.com/…/howards-end-by-em-fors…/#

Howards End (1910) is an ambitious "condition-of-England" novel concerned with different groups within the Edwardian middle classes represented by the Schlegels (bohemian intellectuals), the Wilcoxes (thoughtless plutocrats) and the Basts (struggling lower-middle-class aspirants).
It is frequently observed that characters in Forster's novels die suddenly. This is true of Where Angels Fear to Tread, Howards End and, most particularly, The Longest Journey.

著名的小說就叫"Howard's End"(中文譯本叫做《綠苑春濃》,聯經,1992;
《此情可問天》,業強,1992),書名中的Howard是姓氏,End是宅第的名稱,通常位置在一條街道的盡頭, ...

Peter Drucker 認為Howards End 一書是 E. M. Forster (1879-1970)的小說中最偉大的,也是20世紀最細緻的英國散文作品。它可以作為英國階級系統的寓言;書中可見維繫社會的禮儀已開始瓦解了。小說中提到的德國表兄妹雖從未露面,但他們的醜陋、驕慢和目中無人的優越感卻是籠罩全書的陰影。 ({旁觀者的時代},頁253)


Howards End英文原文
http://www.gutenberg.org/cache/epub/2891/pg2891.txt


end 角


  • The outside or extreme edge or physical limit; a boundary: the end of town.
  • (面をもつものの)端の部分, 境界(線), 周辺地域, はずれ
    The monument to Forster in Stevenage, Hertfordshire, near Rooks Nest where Forster grew up and on which he based the setting for his novel Howards End. The area is now known as Forster Country.




    電影情節已忘 One of the best Ismail Merchant/James Ivory films, this adaptation of E. M. Forster's classic 1910 novel shows in careful detail the injuriously rigid British class consciousness of the early 20th century. The film's catalyst is "poor relation" Margaret Schlegel (Emma Thompson), who inherits part of the estate of Ruth Wilcox (Vanessa Redgrave), an upper-class woman whom she had befriended. The film's principal characters are divided by caste: aristocratic industrial Henry Wilcox (Anthony Hopkins); middle-echelon Margaret and her sister Helen (Helena Bonham Carter); and working-class clerk Leonard Bast (Sam West) and his wife (Nicola Duffett). The personal and social conflicts among these characters ultimately result in tragedy for Bast and disgrace for Wilcox, but the film's wider theme remains the need, in the words of the novel's famous epigram, to "only connect" with other people, despite boundaries of gender, class, or petty grievance. Filmed on a proudly modest budget, Howards End offers sets, spectacles, and costumes as lavish as in any historical epic. Nominated for 9 Oscars, including Best Picture and Best Director, the film took home awards for Thompson as Best Actress, Ruth Prawer Jhabvala's adapted screenplay, and Luciana Arrighi's art direction. ~ Hal Erickson, Rovi



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      1. Howards End 1992 Subtitulos en español

        • 1 month ago
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        CINE DE 1992 " La mansión Howard " con Anthony Hopkins, y Emma Thompson --- Director: James Ivory Estreno --- 13 / 03 ...


    電影名稱:[英]霍華德莊園/此情可問天/Howards End
    電影類型:劇情/愛情
    上映日期:1992
    劇情簡介:
      故事發生在20世紀的英國,瑪格麗特和海倫兩姐妹結識了富有而又保守的威爾科斯一家。而海倫就與保羅威爾科斯產生了一段短暫的感情後離開了威家,而瑪格麗特卻與威爾科斯太太建立起了融洽的關係。不久威爾科斯太太病重死去,並留下遺囑將鄉村別墅霍華德莊園贈給瑪格麗特。遺囑被亨利發現並將它隱藏起來。亨利向瑪格麗特表達了愛慕之情並向她求婚,瑪格麗特答應了他。海倫離開威家以後偶然認識了小職員倫納德巴斯特,海倫的聰明和熱情激發了他的靈感,而巴斯特有著一段不幸的婚姻。不久巴斯特被老闆解雇,海倫因此而請求亨利幫助,但亨利卻發現巴斯特的妻子是他過去的情人,所以拒絕了海倫的請求。感情上受到折磨的巴斯特和海倫一起過了一夜。第二天海倫不辭而別去了莊園。婚後的瑪格麗特始終想讓兩家關係相互融洽起來。她安排海倫來霍華德莊園度假,卻發現她已懷上了巴斯特的孩子。威爾科斯家的大兒子查理斯認為這有失體統,與巴斯特發生爭執,卻將其打死,他自己也因此進了監獄。瑪格麗特掌管了霍華⋯⋯

    The Eye of Baudelaire. Parisians: An Adventure History of Paris

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    The Eye of Baudelaire

    November 25, 2016 | by 
    A new exhibition looks at the upheaval in the visual culture of Baudelaire’s Paris.

    François Biard, Four Hours at the Salon, 1847.
    In puritanical America, the intellectual tradition is in exile from the luxury of the senses: Americans hold steadfast to the idea that the right kind of knowledge comes from the Word of books. Harold Bloom’s omnipresent theory of the anxiety of influence would have you think that writers did nothing else but read the work of their forefathers in Oedipal distress, ignoring the sensual theater which makes a part of any lived life. In post-revolutionary Paris, where the optic regime underwent a series of explosive changes as the Romantics and post-Romantics pressed against all limits of language, to ignore the visual influence on literature is to misread it. Images flooded homes in books, keepsake albums, lithographs, small paintings, and photographs; they plastered the streets with, as Baudelaire described it, a “monstrous nausea of posters,” and crowded shop-windows and studios. They covered museums like doilies covered the bourgeois interior; they were in the dark rooms of stereoscopes, erotic printers, and panoramic theaters. It comes as no surprise that the theories of literature of the era made metaphoric use of mirrors (Stendhal), decals (Sand), and screens (Zola).
    At the Museum of Romantic Life, in Paris, curators have set about trying to capture this flurry of imagery. “The Eye of Baudelaire,” commemorating the 150th anniversary of his death, recreates the visual culture in which he was immersed with a collection of paintings, photographs, sketches, and frontispieces. The museum, a stone’s throw from Pigalle, occupies the house where George Sand lived, wrote, and wore her men’s clothes. The rooms, painted in rich, warm colors of burgundy and deep red, replicate the look of an old salon; the architecture, virtually untouched, requires that you cross the courtyard and climb several spiral staircases to enter. 
    *
    Baudelaire spent his childhood visiting artists’ studios; his father, a priest by profession, sketched and painted in his spare time. “When I was young, I couldn’t feed my eyes with enough printed or engraved images,” Baudelaire wrote of this picture-drunken reverie. “I thought these worlds would have to end and their ruins strike me before I would ever turn into an iconoclast.” But iconoclast he would become. Though he hated the press for its thoughtless dogmatism (a Satanic “black beast,” he called it), he took up his first job as a journalist and art critic in the 1840s, and the experience of looking hard at paintings shaped his aesthetics just as much as the experience of translating Edgar Allen Poe. Ingres, whose realism he likened to the new false positivism, he didn’t like; nor did he like the “ever so pretty” portraits of bourgeois housewives by Jean-Hippolyte Flandrin. He enjoyed Eugène Delacroix, whose fury of brushstrokes escaped the “tyranny of straight lines.” In his small exile of an apartment on the Île Saint-Louis, Baudelaire hung Femmes d’Algers dans leur appartement, an allegorical head representing Pain, and the series of Hamlet lithographs (with whom, if it wasn’t already obvious, Baudelaire self-identified)—all by Delacroix, who he deemed “the poet of painting.”

    Frontispiece for Les fleurs du mal, by Félix Bracquemond. Baudelaire didn't like the image and chose to publish the book with his photograph instead.
    The difference between Baudelaire and the generation before him was the loss of hope (“Hope, vanquished, weeps”) and the general sense that material improvements for some did not make for the good of all. The revolution of 1848 destroyed the belief in the bourgeois-middle class as progressive, along with the illusion of language as a realist reflection of the world. Baudelaire ridiculed Victor Hugo, godhead of French Romanticism, and his “belief in progress, the salvation of mankind by the use of balloons, etc.” But even as he founded the tradition that Wallace Stevens dubbed “the poetry of the poor and dead,” Baudelaire—something of a military milksop—remained “physiquement dépolitiqué,” as he put it. His only direct action during the turmoil was to fire one shot, at random. Later he tried to siphon off revolutionaries for the collaborative murder of his stepfather. (The plan was not successful.)
    This was a time when new democratic ideals, social mobility, and a succession of ideologically conflicting regimes overthrew the visual status quo, upsetting the given meaning of physical cues and gestures. The way one interpreted this semiotic chaos—the way you looked at the world—took on profound political import. In this context, a gaze—or the gaze, I should say, as it was pretty much ubiquitously upper-class and male—came to constitute authority. Visual description—of the woman’s body, of the workman’s hands—was thought to be one and the same with moral and medical prescription. Sociologists claimed that prostitutes could be expected to behave themselves only if they were kept under vigilant watch. The destruction of the old Paris and its replacement with broad, straight boulevards was implemented not only under the pretense of improving hygiene and sanitation, but so that the maintenance of such could be properly surveyed by those that lived in the apartments above them.

    Édouard Manet, Olympia, 1865.

    Baudelaire's self portrait, 1860. "Here the mouth is better," he wrote in the margin.
    Baudelaire revolted against this omniscient frame of vision—what he called “the modern lantern which throws its gloom against all objects of knowledge”—with shadow. The apertures of his poems are circumscribed, with obsessively recurring images giving the sense of a narrowing line of sight, as if the speaker were going blind or close to death. There’s light there, but it’s indirect, seeping through a fog or disappearing with the day’s end, another reverie turning out to be mirage. At the exhibit, I was struck by what I could not see, the half-lit figures and sharply detailed foregrounds fading into sky or chiaroscuro. Whenever I picked out Baudelaire’s favorite paintings in a given room, they seemed to be the ones that most forcefully kept their secrets.
    Because the material world was used to classify and control, to turn subjects into objects, it was the unseen which came to constitute a radical subjectivity. “When I look at a good portrait,” Baudelaire wrote, “I guess (divine) at that which is self-evident, but I also guess at that which is hidden.” An empathy rooted in the imagination was the only means of relating to the human being interred beneath the fleshy materialism and false market values of the age. “How convenient it is to declare that everything is totally ugly within the habit [dress] of the époque, rather than applying oneself to extract from it the dark and cryptic beauty, however faint and invisible it is.” Neoclassical ideals and ideas about what did and did not merit artistic treatment still ruled strong; in this context Baudelaire insisted that every culture’s signs are relative, as are its aesthetic criteria. “What is a critic schooled in the traditions supposed to do in front of a modern product from China?” he would ask.
    This kind of embodied vision had its basis in Descartes, who had rooted the process of perception in the retinae’s film rather than in the “pure” senses. Goethe, whom Baudelaire read fastidiously, discovered that when he was shut in a dark room, images stayed in his eyes even when he looked away from them. The turn from emission-based, corpuscular theories to wave-motion explanations of sight further embedded the mind in the body. Baudelaire incorporated these ideas into his work, but he didn’t lose himself in the relativist inferno—“the abyss, the unbridled course”—as the Romantics had, with their extreme subjectivity. He seems to locate truth in the relationship mediated by a reciprocal gaze, between subject and object; between the painting, its painter, and the viewer; between two people walking past each other on the street. Rather than the omniscient, Minerva-like sight implicit in much of Western art, Baudelaire’s “forest of symbols” looks at you “with familiar eyes.”
    *
    This quality would characterize two of the biggest art scandals of the era. Édouard Manet was one of Baudelaire’s closest friends, and though the poet made a point never to write about his art—Manet was presumably too close of a semblable-frère—he would complete the revolution in paint that Baudelaire had started with words. In Olympia and Déjeunersur l’herbe, it was not the nakedness of the woman deemed offensive; it was her reversal of the viewer’s gaze, reminding him that she “cannot be [visibly] understood from any point of view” as Théophile Gautier observed. Unknowable, she guards her subjectivity; only she can understand herself. Manet and Baudelaire were not feminists—I still cringe when I read the poems in which the speaker bites, scratches, or gets drunk off of a woman’s hair. But the essentially private, clouded nature of their subjects would be crucial for the idea that the flâneur-about-town maybe didn’t know all that much about what he was observing on the streets.
    I’ve been thinking about what it means to look at other people in a “post-truth” world, as would be the state of things according to the recent election and confirmed by the OED’s late word of the year. Once, going uptown on the New York subway, a friend told me that he didn’t like the people-watching on public transit. The crowd was ugly; to stare was to become a voyeur, often motivated by Schadenfreude. I found this so sad, imagining a city in which everyone blindfolded themselves in public, stumbling through the streets guided by noises and banisters, removing their masks only when alone or in the presence of people they knew. This isn’t so far from the reality in our world of strangers-as-passersby, where a capitalist infrastructure prescribes most social exchanges. It’s hard to see, really see, someone else from behind the windshield of your car, in the rush from job to gym to supermarket, surrounded by people who are doing the same, all the while being comforted by the intimacies afforded by Facebook. Speaking about the Baudelairean moment, Walter Benjamin would define modernity in terms of the loss of the ability to look.

    Etienne Carat, Baudelaire with etchings, 1863.
    When Baudelaire was on his deathbed, speechless and in the late stages of syphilis, his mother, looking for answers in his overcoat, found two photographs of her son; apparently he’d been keeping these on his person. It’s surprising that he let himself be photographed at all; he likened the camera’s lens to “a dictatorship of opinion,” interrupting the active self-questioning required on the part of the viewing subject so as to prevent his thinking he had mastery over the perceived object. A politics of sight encrypted in the medium itself—physiquement depolitiqué. In the pictures, he seems to be trying to compensate for this perceived defect. He stares at the camera with inflamed black pupils, his eyes making him appear aggressively unhinged, as if trying to pierce through the lens itself. The escape from the mise en abime of flat images and surfaces—what Angela Merkel recently called “the dangers of digitization,” which she likened to the social disruptions of Baudelaire’s own Industrial Age—hinges on the embodied vision for which he once asked. A gaze that appears to be physically depoliticized is dangerous precisely because it is political. The way you look at the stranger who passes you on the street matters; it determines whether or not you let her look back.
    L'oeil de Baudelaire” is on display through January 29 at the Le Musée de la Vie Romantique in Paris.
    Madison Mainwaring is a graduate student at the École des Hautes Études en Sciences Sociales in Paris, where she studies the way women responded to French Romantic ballet in the early nineteenth century. She has contributed to The Atlantic, T: The New York Times Style Magazine, and VICE Magazine, among others.


    We Love Paris


    In 1900, Émile Zola climbed to the second platform of the Eiffel Tower, camera equipment in tow, so he could photograph Paris from every angle — because only photographs could record the panoramic city he had reconstructed in his novels. In 1940, Adolf Hitler, believing he too stood at the center of something, rose from the seat of his car as it slowly circled the Place de la Concorde before dawn; later, from the top of the Parvis du Sacré-­Coeur, he gaped at the city he had fantasized about since boyhood, when he studied street maps and dreamed of reconstructing Paris in the heart of Berlin.
    Heinrich Hoffmann, from “Parisians”
    Adolf Hitler in Paris, 1940.

    PARISIANS

    An Adventure History of Paris
    By Graham Robb
    Illustrated. 476 pp. W. W. Norton & Company. $28.95
    Unlikely bedfellows though they are, Zola and Hitler are denizens of Graham Robb’s “Parisians: An Adventure History of Paris,” a valentine to the City of Light. Robb is no stranger here. The acclaimed British author of biographies of Hugo, Balzac and Rimbaud, he first experienced the city as a boy, when his parents treated him to a week’s holiday as a birthday present. But, as Robb learned, Paris is too volatile and complicated, too historically dynamic, to be illuminated by any one person’s life. His solution: to write, as he explains it, “a history of Paris recounted by many different voices,” a series of character studies arranged to commemorate the shifting streets and sundry plot lines that give meaning to the city.
    雨果傳/ Victor Hugo: A Biography ( Graham Robb)

    Some of the figures in Robb’s Paris are familiar: Marie Antoinette, Baron Haussmann, Charles de Gaulle, even Nicolas Sarkozy. Some of Robb’s characters may be less well known — like Henry Murger, author of “La Vie de Bohème,” whom Robb satirizes as a proto-blogger dishing up “intimate slices of his life” and becoming, in effect, the “literary pimp” of his doomed mistress. Her unhappy life, the basis of his book, was his ticket out of the Latin Quarter and into a grand apartment on the Rue Notre-Dame de Lorette, a “new street with no history and a smooth asphalt surface,” as Robb pointedly notes, “built on wasteground at the point where the Right Bank rises up towards Montmartre.”
    Though Americans may not have heard of the ingenious criminal Eugène-­François Vidocq, his portrait lies at the symbolic heart of Robb’s book. Employed by the police to track down other crooks, Vidocq spent 16 years as head of the Sûreté Brigade and then founded the Bureau of Universal Intelligence, a detective agency with a huge database of information on thousands of citizens. When the bureau closed in 1843, most of the documents vanished, as did the wily Vidocq. A master of surveillance and disguise, he turned up here and there, supposedly spying on Louis Napoleon even as he was advising him. After Vidocq died, his coffin was opened — to reveal not the master criminal but the body of an unknown woman.
    To Robb, the disappearance of Vidocq’s body and of his extensive files, some of which landed in secondhand bookshops, represent the nature of Paris itself, whose very streets come and go. The city was built on sand and swamp and from plugged-up sinkholes. Only a man like Vidocq would know “how many obscure dramas were wiped from the history of Paris by demolition and urban renewal.”
    No reliable map of Paris existed until the end of the 18th century. When Marie Antoinette fled the Tuileries in 1791, her carriage became lost as soon as it left the palace, turning right instead of left, crossing the Pont Royal to the dark lanes of the Left Bank. Louis Napoleon Bonaparte arrived in Paris carrying a map marked with nonexistent streets. By 1853, as Napoleon III, he had employed Georges-Eugène Haussmann to lay waste entire neighborhoods and construct open vistas with broad, leafy boulevards. Napoleon III “buried acres of history,” Robb writes. “A boulevard named after a battle obliterated the mementos of a million lives, and at the end of his reign, the Archives Nationales went up in flames.”
    Yet Robb is less interested in Napoleon III than in Charles Marville, official photographer of the Louvre, who was commissioned to photograph the quartiers Haussmann would soon demolish. “It might be seen as an archaeology in reverse,” Robb wryly notes. “First the ­ruins, then the city that covers them up.” However, in Marville’s photographs the streets are empty. Perhaps long exposures would have reduced any movement to a blur; maybe that’s why he chose to take his pictures in the early morning. In any case, the people of Paris have eerily evaporated, just as Marville would. He sold his business and was never heard of again. “Every living city is a necropolis,” Robb writes, “a settling mountain of populations migrating downwards into the soil.” We retrieve what we can.
    A  century later, the president of the French Republic, Georges Pompidou imagined a Paris of tall towers (to him, the spires of Notre-Dame were too short) made of high-tensile steel, along with a modern museum that would look like an oil refinery. While the Pompidou Center was being built, the historian Louis Chevalier wrote his masterpiece, “The Assassination of Paris,” in a room at the Hôtel de Ville above the one in which Haussmann remapped the city. Yet Chevalier did more than denounce the wreckers and planners. He reconstructed his beloved city from memory. “Left to itself, History would forget,” he explained. “But fortunately, there are novels — loaded with emotions, swarming with faces, and constructed with the sand and lime of language.”
    Although Robb often narrates various sections from the point of view of his characters, inhabiting them and fudging, to a certain extent, the line between traditional history and make-believe, his characters don’t sound alike, which can be a hazard when a historian affects the pose of a novelist. Robb claims he wrote with “a flavor of the time in mind,” and insists he didn’t insert anything artificial into his stories. That “Parisians” required as much research as his earlier, more conventionally structured book “The Discovery of France” is evident on every page. Yet if “Parisians” resembles Simon Schama’s “Dead Certainties,” which is also about the limits of historical knowledge, Robb, in employing the techniques of the novelist, animates his characters mainly for “the pleasure of thinking about Paris.” That pleasure is also the reader’s.
    The Pompidou family inhabited a town house on the Île Saint-Louis next to the building Baudelaire lived in as a young man. It’s no accident that Robb mentions this, for the poet and the novelist (as well as the historian and the photographer, the con man and the archivist) are the true protagonists of his always changing, ­always vibrant Paris.
    Robb even imagines a Proust“acquainted with the law of modern life according to which one’s immediate surroundings remain a mystery while distant places seen in guidebooks and paintings are as familiar as old friends whose material presence is no longer required to maintain the friendship.” And so the miracles of modern life also include a novel, “À La Recherche du Temps Perdu,” that can’t be read between stops on the Métro and that, like Robb’s delightful mapping of Paris, captures living persons in time past, time passing and even time to come.
    Brenda Wineapple is the author, most recently, of “White Heat: The Friendship of Emily Dickinson and Thomas Wentworth Higginson.” Her anthology, “Nineteenth-Century American Writers on Writing,” will be published next fall.

    *****
    Books of The Times

    A Pointillist Tour, Revolution to Riots


    From “Parisians: An Adventure History of Paris”
    “Barricade on the Boulevard Saint-Germain near Rue Hautefeuille, May 1968,” a photograph by Alain Dejean.

    If you’d like a status update on Britain’s tangled feelings about its neighbor France, you could do worse than study The Sunday Times of London’s current hardcover nonfiction best-seller list. At No. 9 is the book in front of us now: the British historian Graham Robb’s admiring “Parisians: An Adventure History of Paris.” More beloved by English readers, though, at No. 4, is a book by Stephen Clarke with this impish title: “1000 Years of Annoying the French.” Garçon, there’s some snark in my soup.

    PARISIANS

    An Adventure History of Paris
    By Graham Robb
    Illustrated. 476 pages. W. W. Norton & Company. $28.95.
    Jerry Bauer
    Graham Robb
    The appearance of one of Mr. Robb’s books on an English best-seller list, or any best-seller list, says good things about the state of British-French relations. It says even better things about the state of literary culture. That’s because Mr. Robb, over the course of a half-dozen books, including excellent biographies of Balzac, Victor Hugo and Rimbaud, and a volume called “The Discovery of France,” has proved himself to be one of the more unusual and appealing historians currently striding the planet. In a better world his books would be best sellers everywhere.
    To observe that Mr. Robb’s books are unusual is to say several things at once. Most obviously, they sometimes apply hardy, free-range kinds of research. “The Discovery of France” was given a jolt of life by his back-road explorations on a bicycle. (“This book,” he wrote, “is the result of 14,000 miles in the saddle and four years in the library.”) They also take unusual forms. In Mr. Robb’s new book one chapter is written like a screenplay, while another employs witty question-and-answer sections that function like lemon juice squeezed over a platter of oysters. Clearly Mr. Robb is restless, and he has little interest in being a droning, by-the-numbers tour guide.
    It’s not hard, however, to think up ways to write stunt history. What’s truly unusual about Mr. Robb is the amount of real feeling and human playfulness he smuggles into his books, those unmistakable signs of a mind that’s wide awake and breathing on the page.
    Did I mention that he is also jaggedly funny? His prose approximates Ian McEwan’s by way of Anthony Lane. In his new book a group of Parisians in the Latin Quarter in the 1840s don’t die from disease, they die from “various illnesses known collectively as ‘lack of money.’ ”
    “Parisians: An Adventure History of Paris” arrives with an odd subtitle (adventure history?) that makes it sound as if it were written on a skateboard and sponsored by Mountain Dew. Here’s what this book really is: a pointillist and defiantly nonlinear history of Paris from the dawn of the French Revolution through the 2005 riots in Clichy-sous-Bois, told from a variety of unlikely perspectives and focusing on lesser-known but reverberating moments in the city’s history.
    Among the set pieces here is an account of a young Napoleon losing his virginity to a prostitute in the Palais Royal; a portrait of the man who created the catacombs; and an investigation into how Marie Antoinette, while attempting to flee the city to save her life, became lost just a few yards from home.
    There’s much more: disquisitions on police work and photographers and playwrights and France’s strange DeLillo-ish history of faked political assassinations; a portrait of Émile Zola’s long-suffering wife; an inquiry into the links between alchemy and the early days of nuclear fission; an account of Hitler’s short tour of Paris’s landmarks; a view of the affair between Juliette Gréco, the actress and later singer, and a young Miles Davis; an assessment of the 1968 student riots; and a glimpse at the politics of Nicolas Sarkozy and the roiling discontents of recent French immigration.
    Mr. Robb builds his histories from small piles of angular details. The section on Napoleon begins by observing “the army of wet nurses who left their babies at home and went to sell their breast milk in the capital.” During an account of one policeman’s search for a criminal who is also a hunchback, Mr. Robb can’t help noting the difficulties: “there were something in the region of 6,135 hunchbacks in Paris.” Once Zola discovered cameras, he writes, he tended to “behave as though he was always about to be photographed.”
    Mr. Robb’s prose is fleet and ingenious. He describes the “sucking sound” of modern French police sirens, the “snickering” of certain neon signs, the melodious “parping of automobiles.” His good humor is infectious. When young men were finally allowed to visit young women in Parisian college dormitories in the 1960s, he writes that they brought “wine, cigarettes, Tunisian pâtisseries, hot dogs and erections.” Describing the soulless towers in immigrant suburban Paris, he notes dryly: “The planes coming in to land at Roissy-Charles de Gaulle always missed them, but the towers were falling apart anyway.”
    Mr. Robb pores over old newspapers, tour guides and photographs. (About one favorite picture, he writes: “So much information is contained in that split-second burst of photons that if the glass plate survived a holocaust and lay buried under rubble for centuries in a leather satchel, there would be enough to compile a small, speculative encyclopedia of Paris in the late second millennium.”)
    He is just as familiar with resources like CNN and eBay, and into a discussion of Quasimodo’s climbing abilities, he casually drops a mention of parkour.
    He extends his embrace to Paris’s new wave of Arab immigrants. “Their Paris was a rap litany of place names that only the most exhaustive guide book would have recognized as the City of Light: Clichy-sous-Bois, La Courneuve, Aubervilliers, Bondy,” he writes. But he adds: “They, too, were children of Paris, and, like true natives of the city, they expressed their pride in angry words that sounded like a curse.”
    Mr. Robb’s animating idea during the composition of “Parisians,” he declares, “was to create a kind of mini-Human Comedy of Paris, in which the history of the city would be illuminated by the real experience of its inhabitants.”
    Through friends in Paris, Mr. Robb writes, he learned things: “a certain Parisian art de vivre: sitting in traffic jams as a form of flânerie, parking illegally as a defense of personal liberty, savoring window displays as though the streets were a public museum.”
    He goes on: “They taught me the tricky etiquette of pretending to argue with waiters, and the gallantry of staring at beautiful strangers.” His book — argumentative, gallant, parked athwart oncoming historical traffic, as if on a dare — is as Parisian and as bracing as a freshly mixed Pernod and water.

    Edgar Allen Poe : Selected Prose, Poetry, and Eureka/ Annabel Lee (1849)

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    “I have absolutely no pleasure in the stimulants in which I sometimes so madly indulge. It has not been in the pursuit of pleasure that I have periled life and reputation and reason. It has been the desperate attempt to escape from torturing memories, from a sense of insupportable loneliness and a dread of some strange impending doom.”
    ― Edgar Allan Poe
    One of the most original American writers, Edgar Allen Poe shaped the development of both the detective story and the science-fiction story. Some of his poems—”The Raven,” “The Bells,” “Annabel Lee”—remain among the most popular in American literature. Poe’s tales of the macabre still thrill readers of all ages. Here are familiar favorites like “The Purloined Letter,” “The Fall of the House of Usher,” and “The Murders in the Rue Morgue,” together with less-known masterpieces like “The Imp of the Perverse,” “The Narrative of A. Gordon Pym,” and “Ligeia,” which is now recognized as one of the first science-fiction stories, a total of seventy-three tales in all, plus fifty-three poems and a generous sampling of Poe’s essays, criticism and journalistic writings.

    “By the time Edgar Allan Poe wrote “Eureka: A Prose Poem,” the last major work he published before his premature death in 1849, his attitude toward certain men of science had softened.”

    Since adolescence, Edgar Allan Poe had been picking fights with science....
    THEPARISREVIEW.ORG|由 MAX NELSON 上傳




    The New York Review of Books


    Marilynne Robinson on Edgar Allan Poe


    On Edgar Allan Poe by Marilynne Robinson
    Edgar Allan Poe was and is a turbulence, an anomaly among the major American writers of his period, an anomaly to this day. He both amazed and antagonized his contemporaries, who could not dismiss him from the first...
    NYBOOKS.COM



    British Museum新增了 2 new photos


    Edgar Allan Poe was born ‪#‎onthisday‬ in 1809. These are illustrations to his poems: ‘The Raven’ by Édouard Manet and ‘The Sleeper’ by Dante Gabriel Rossetti


    Annabel Lee

    By Edgar Allan Poe

    Annabel Lee (1849)

    Wikisource has original text related to this article:

    Annabel Lee

    Main article: Annabel Lee


    The last complete poem written by Poe, it was published shortly after his death in 1849. The speaker of the poem talks about a lost love, Annabel Lee, and may have been based on Poe's own relationship with his wife Virginia, though that is disputed.

    Edgar Allan Poe died in Baltimore, Maryland, on this day in 1849 (aged 40).
    "Annabel Lee"
    It was many and many a year ago, 
    In a kingdom by the sea,
    That a maiden there lived whom you may know
    By the name of Annabel Lee;
    And this maiden she lived with no other thought
    Than to love and be loved by me.
    I was a child and she was a child,
    In this kingdom by the sea,
    But we loved with a love that was more than love—
    I and my Annabel Lee—
    With a love that the wingèd seraphs of Heaven
    Coveted her and me.
    And this was the reason that, long ago,
    In this kingdom by the sea,
    A wind blew out of a cloud, chilling
    My beautiful Annabel Lee;
    So that her highborn kinsmen came
    And bore her away from me,
    To shut her up in a sepulchre
    In this kingdom by the sea.
    The angels, not half so happy in Heaven,
    Went envying her and me—
    Yes!—that was the reason (as all men know,
    In this kingdom by the sea)
    That the wind came out of the cloud by night,
    Chilling and killing my Annabel Lee.
    But our love it was stronger by far than the love
    Of those who were older than we—
    Of many far wiser than we—
    And neither the angels in Heaven above
    Nor the demons down under the sea
    Can ever dissever my soul from the soul
    Of the beautiful Annabel Lee;
    For the moon never beams, without bringing me dreams
    Of the beautiful Annabel Lee;
    And the stars never rise, but I feel the bright eyes
    Of the beautiful Annabel Lee;
    And so, all the night-tide, I lie down by the side
    Of my darling—my darling—my life and my bride,
    In her sepulchre there by the sea—
    In her tomb by the sounding sea.
    *
    A compact selection of Poe’s greatest stories and poems, chosen by the National Endowment for the Arts for their Big Read program. This selection of eleven stories and seven poems contains such famously chilling masterpieces of the storyteller’s art as “The Tell-tale Heart,” “The Fall of the House of Usher,” “The Cask of Amontillado,” and “The Pit and the Pendulum,” and such unforgettable poems as “The Raven,” “The Bells,” and “Annabel Lee.” Poe is widely credited with pioneering the detective story, represented here by “The Purloined Letter,” “The Mystery of Marie Roget,” and “The Murders in the Rue Morgue.” Also included is his essay “The Philosophy of Composition,” in which he lays out his theory of how good writers write, describing how he constructed “The Raven” as an example.


    優美的安娜貝爾.李 寒徹顫慄早逝去
    作者:大江健三郎
    譯者:許金龍
    出版社:北京:人民文學: 2009 聯經出版公司 :2009年

    書名脫胎自美國詩人艾倫坡著名詩作〈安娜貝爾.李〉,講述二戰後為美國人所收養的日本國際級女演員櫻闖蕩國際影壇多年後,回國參與記念德國作家亨利希. 封.克萊斯特跨國性電影拍攝計畫。主催此計畫的電影製片人木守,找來從大學時代就認識的社會運動伙伴小說家大江擔綱電影的劇本家,他嘗試將原作的抗暴情節 與日本農民的反壓迫的起義事件連結,而以女演員櫻為中心的拍攝,女英雄的形象也取代原著以男性為故事主角的設定;小說家大江的母親,在戰後不惜冒黑市交易 風險、也要維持地方劇團演出的「說故事者」使命,則分在演員櫻、小說家大江以及承襲母親故事採集者、長期在四國推行女權運動的小說家的妹妹身上顯現;但這 個拍攝計畫卻因一個涉及櫻的殘忍祕密而宣告終止。







    *****
    Edgar Allen Poe : Selected Prose, Poetry, and Eureka
    這本書 書林翻印過




    Auden 的 Introduction

    Poor Poe! At first so forgotten that his grave went without a tomb-stone twenty-six years ... today in danger of becoming the life study of a few professors.

    (W.H. (Wystan Hugh) Auden (1907-1973), Anglo-American poet. repr. In The Recognition of Edgar Allen Poe, ed. E.W. Carlson (1970). Edgar Allan Poe, introduction (1950).)



    “EDGAR ALLAN POE died in Baltimore on Sunday last.”




    From the Richmond Semi-Weekly Examiner, vol. II, no. 98, October 12, 1849:
    THEPARISREVIEW.ORG|由 SADIE STEIN 上傳



    What is the Nash equilibrium and why does it matter?

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     Nash自撰的" Nash equilibrium"的論文,中國有譯本。




    What is the Nash equilibrium and why does it matter?

    Sep 6th 2016, 23:00 BY S.K.






    This week “The Economist explains” is given over to economics. For each of six days until Saturday this blog will publish a short explainer on a seminal idea.
    ECONOMISTS can usually explain the past and sometimes predict the future—but not without help. One of the most important tools at their disposal is the Nash equilibrium, named after John Nash, who won a Nobel prize in 1994 for its discovery. This simple concept helps economists work out how competing companies set their prices, how governments should design auctions to squeeze the most from bidders and how to explain the sometimes self-defeating decisions that groups make. What is the Nash equilibrium, and why does it matter? 
    One of the best-known illustrations is the prisoner’s dilemma: two criminals in separate prison cells face the same offer from the public prosecutor. If they both confess to a bloody murder, they each face ten years in jail. If one stays quiet while the other confesses, then the snitch will get to go free, while the other will face a lifetime in jail. And if both hold their tongue, then they each face a minor charge, and only a year in the clink. Collectively, it would be best for both to keep quiet. But given the set-up, an economist armed with the concept of the Nash equilibrium would predict the opposite: the only stable outcome is for both to confess.
    In a Nash equilibrium, every person in a group makes the best decision for herself, based on what she thinks the others will do. And no-one can do better by changing strategy: every member of the group is doing as well as they possibly can. In the case of the prisoners' dilemma, keeping quiet is never a good idea, whatever the other mobster chooses. Since one suspect might have spilled the beans, snitching avoids a lifetime in jail for the other. And if the other does keep quiet, then confessing sets him free. Applied to the real world, economists use the Nash equilibrium to predict how companies will respond to their competitors’ prices. Two large companies setting pricing strategies to compete against each other will probably squeeze customers harder than they could if they each faced thousands of competitors. 
    The Nash equilibrium helps economists understand how decisions that are good for the individual can be terrible for the group. This tragedy of the commons explains why we overfish the seas, and why we emit too much carbon into the atmosphere. Everyone would be better off if only we could agree to show some restraint. But given what everyone else is doing, fishing or gas-guzzling makes individual sense. As well as explaining doom and gloom, it also helps policymakers come up with solutions to tricky problems. Armed with the Nash equilibrium, economics geeks claim to have raised billions for the public purse. In 2000 the British government used their help to design a special auction that sold off its 3G mobile-telecoms operating licences for a cool £22.5 billion ($35.4 billion). Their trick was to treat the auction as a game, and tweak the rules so that the best strategy for bidders was to make bullish bids (the winning bidders were less than pleased with the outcome). Today the Nash equilibrium underpins modern microeconomics (though with some refinements). Given that it promises economists the power to pick winners and losers, it is easy to see why.
    Previously in this seriesMonday: Akerlof's market for lemons
    Tuesday: The Stolper-Samuelson theorem

    John Berger (1926-2017): Ways of Seeing; "The Success and Failure of Picasso" ; Art and Revolution: Ernst Neizvestny, 《約定》Keeping a Rendezvous 《講故事的人》(The Storyteller)

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    By Will Gompertz, BBC arts editor
    John Berger's 1972 programme Ways of Seeing changed the way many of us saw.
    He argued that the advent of mass media fundamentally altered our perception of art.
    The programme was to become iconic and highly influential but would not, he told me a couple of months ago, be made today.
    He challenged convention, the establishment and us. He had the eye of artist, intellect of an academic, and charisma of a born performer.
    He was though, above all, a writer and story teller. He enriched our lives with his novels, poetry and criticism.
    He showed us how to see, not as individuals, but together.

    line break

    Mr Overton, who edited Portraits: John Berger on Artists and Landscapes: John Berger on Art, said: "John Berger said his great themes were the experience of exile and the disastrous relationship between art and property.
    "So it feels like we need him more than ever at the moment. But he also said some books get younger with time, and I know many of his will.
    "John Berger's legacy is one of encouragement and hope, and a massively diverse range of work in all genres.
    "He showed us how to see art not as a relay race of individual geniuses but as a kind of companionship."
    Berger's Bafta award-winning BBC TV series Ways of Seeing became regarded as one of the most influential art programmes ever made.
    He died at his home in Paris.

    !!!!
    Pablo Picasso was born in Malaga, Spain on this day in 1881.
    "The creative spirit, genius as a state of being was celebrated as an end in itself because it alone did not have a price and was unbuyable."
    --from "The Success and Failure of Picasso" by John Berger
    At the height of his powers, Pablo Picasso was the artist as revolutionary, breaking through the niceties of form in order to mount a direct challenge to the values of his time. At the height of his fame, he was the artist as royalty: incalculably wealthy, universally idolized−and wholly isolated. In this stunning critical assessment, John Berger−one of this century's most insightful cultural historians−trains his penetrating gaze upon this most prodigious and enigmatic painter and on the Spanish landscape and very particular culture that shpaed his life and work. Writing with a novelist's sensuous evocation of character and detail, and drawing on an erudition that embraces history, politics, and art, Berger follows Picasso from his childhood in Malaga to the Blue Period and Cubism, from the creation of Guernica to the pained etchings of his final years. He gives us the full measure of Picasso's triumphs and an unsparing reckoning of their cost−in exile, in loneliness, and in a desolation that drove him, in his last works, into an old man's furious and desperate frenzy at the beauty of what he could no longer create.



    John Peter Berger (born 5 November 1926) is an English art criticnovelistpainter andpoet. His novel G. won the 1972 Booker Prize, and his essay on art criticism Ways of Seeing, written as an accompaniment to a BBC series, is often used as a university text.

    John Berger John Berger - Wikipedia, the free encyclopedia


    Bibliography[edit]

    • A Painter of Our Time (1958)
    • Permanent Red (1960) (Published in the United States in altered form in 1962 as Toward Reality: Essays in Seeing)
    • Poems on the Theatre translated from Bertolt Brecht with Anya Bostock (1961)
    • The Foot of Clive (1962)
    • Corker's Freedom (1964)
    • The Success and Failure of Picasso (1965) 台北:遠流
    • A Fortunate Man (with Jean Mohr) (1967)
    • Art and Revolution: Ernst Neizvestny And the Role of the Artist in the U.S.S.R (1969)
    • The Moment of Cubism and Other Essays (1969)
    • Return to My Native Land translated from Aimé Césaire with Anna Bostock (1969)
    • The Look of Things: Selected Essays and Articles (1972)
    • Ways of Seeing (with Mike Dibb, Sven Blomberg, Chris Fox and Richard Hollis) (1972)台北:台灣商務等
    • G. (1972)
    • A Seventh Man (with Jean Mohr) (1975)
    • About Looking (1980)
    • Into Their Labours (Pig EarthOnce in EuropaLilac and Flag. A Trilogy)
    • Another Way of Telling (with Jean Mohr) (1982)
    • Boris [9] (1983)
    • Jonah who will be 25 in the year 2000 (with Alain Tanner) (1983)
    • And Our Faces, My Heart, Brief as Photos (1984)
    • The White Bird (U.S. title: The Sense of Sight) (1985)
    • A Question of Geography (with Nella Bielski) (1987)
    • Goya's Last Portrait (with Nella Bielski) (1989)
    • Keeping a Rendezvous (1992) 《約定》  桂林: 廣西師範大學,2009
    • Pages of the Wound (1994)
    • To the Wedding (1995)
    • Photocopies (1996)
    • Titian: Nymph and Shepherd (with Katya Berger) (1996)
    • Isabelle: A Story in Shorts (with Nella Bielski) (1998)
    • At the Edge of the World (with Jean Mohr) (1999)
    • King: A Street Story (1999)
    • Selected Essays (Geoff Dyer, ed.) (2001)
    • The Shape of a Pocket (2001) 抵抗的群體桂 林: 廣西師範大學,2009
    • I Send You This Cadmium Red: A Correspondence with John Christie (with John Christie) (2001)
    • My Beautiful (with Marc Trivier) (2004)
    • Berger on Drawing (2005)
    • Here is Where We Meet (2005)
    • Hold Everything Dear (2007)
    • From A to X (2008)
    • Meanwhile (2008)
    • Why Look at Animals? (2009)
    • From I to J (with Isabel Coixet) (2009)
    • Mural translated from Mahmoud Darwish with Rema Hammami (2009)
    • Lying Down to Sleep (with Katya Berger) (2010)
    • Railtracks (with Anne Michaels) (2011)
    • Bento's Sketchbook (2011)
    • Le louche et autres poèmes (with Yves Berger) (2012)
    • Cataract (with Selçuk Demirel) (2012)
    • Understanding a Photograph (Geoff Dyer, ed.) (New York: Aperture, 2013)[10]

    敦作家約翰‧伯格(John Berger)在著作《講故事的人(The Storyteller》 桂林: 廣西師範大學,2009

    早期的有趣 發掘蘇聯藝術家Ernst Neizvestny.....


    Art and revolution

    Art and Revolution:

    Ernst Neizvestny, Endurance, and the Role of the Artist
    Vintage Books, 1998 - 192 頁


    In this prescient and beautifully written book, John Berger examines the life and work of Ernst Neizvestny, a Russian sculptor whose exclusion from the ranks of officially approved Soviet artists left him laboring in enforced obscurity to realize his monumental and very public vision of art. But Berger's impassioned account goes well beyond the specific dilemma of the pre-glasnot Russian artist to illuminate the very meaning of revolutionary art. In his struggle against official orthodoxy--which involved a face-to-face confrontation with Khruschev himself--Neizvestny was fighting not for a merely personal or aesthetic vision, but for a recognition of the true social role of art. His sculptures earn a place in the world by reflecting the courage of a whole people, by commemorating, in an age of mass suffering, the resistance and endurance of millions. "Berger is probably our most perceptive commentator on art...A civilized and stimulating companion no matter what subject happens to cross his mind."--Philadelphia Inquirer




    John Berger pays tribute to his good friend


    The Observer, Sunday 8 August 2004


    At every railway crossing in France there is a solid notice, a panel with writing on it which reads: 'Attention! Un train peut en cacher un autre.' Cartier-Bresson, whatever the event he was photographing, saw the second train and was usually able to include it within his frame. I don't think he did this consciously, it was a gift which came to him, and he felt in the depths of his being that gifts should continually be passed on. He photographed the apparently unseen. And when it was there in his photos it was more than visible.

    Yesterday he joined the second train. At the age of 95 - with all his agility - he jumped it. He has joined his inspiration. Six years ago he wrote something about inspiration: 'In a world collapsing under the weight of the search for profit, invaded by the insatiable sirens of Techno-science and the greed of Power, by globalisation and the new forms of slavery - beyond all of this, friendship and love exist.' He wrote this in his own handwriting, which was open like a lens which has no shutter.

    Bullshit! I now hear him saying, look at my drawings, there is no second train in them! So I look at some reproductions of some of his drawings. How drawings change - even 24 hours after a death; their tentativeness disappears, they become final. He said repeatedly in his later years that photography no longer interested him as much as drawing. Drawing - or anyway drawing as he drew - has less to do with the sense of sight than with the sense of touch, with touching the substance and energy of things, with touching the enigma of life without thinking about eternity or the second train. Drawing is a private act. Yet Cartier-Bresson returned to it, knowing very well that it was an act of solidarity with both those who see the second train and those who don't.

    That's better, he says.

    An epitaph for him? Yes, a photo he took in Mexico in 1963. It shows a small girl in a deserted street carrying a framed daguerreotype portrait of a beautiful and serene woman which is almost as large as the child. Both are about to disappear behind a tall fence.

    The last second of visibility, but not of the woman's serenity or the girl's eagerness.

    JOHN BERGER1926-2017與 Walter Benjamin:說故事的人 Art critic and author

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    Art critic and author John Berger has died at the age of 90.
    His best-known work was Ways of Seeing, a criticism of western cultural aesthetics, but he also won the Booker Prize for his novel G.
    He donated half the prize money to the radical African-American movement, the Black Panthers.
    His editor Tom Overton, who is writing Berger's biography, said the writer "let us know that art would enrich our lives".
    Berger was born in Hackney, north London, and began his career as a painter.
    Soon after his work was exhibited in the 1940s, he turned his hand to writing. His works ranged from poetry to screenplays, writings on photography, the exploitation of migrant workers and the Palestinian struggle for statehood.






    John Berger (Strasbourg, 2009)John Peter Berger (born 5 November 1926) is an English art critic, novelist, painter and author. His novel G. won the 1972 Booker Prize, and his essay on art criticism Ways of Seeing, written as an accompaniment to a BBC series, is often used as a college text.
    Contents[hide]

    Biography

    Born in Hackney,[1]London, England, Berger was educated at the independent St Edward's School in Oxford. "His father, S.J.D. Berger, O.B.E., M.C., had been an infantry officer on the western front during the First World War".[2] Berger served in the British Army from 1944 to 1946; he then enrolled in the Chelsea School of Art and the Central School of Art in London. Berger began his career as a painter and exhibited work at a number of London galleries in the late 1940s.[2] His art has been exhibited at the Wildenstein, Redfern and Leicester galleries in London. Berger has continued to paint throughout his career.[3]
    While teaching drawing (from 1948 to 1955), Berger became an art critic, publishing many essays and reviews in the New Statesman. His Marxist humanism and his strongly stated opinions on modern art made him a controversial figure early in his career. He titled an early collection of essays Permanent Red, in part as a statement of political commitment, and later wrote that before the USSR achieved nuclear parity with the US he had felt constrained not to criticize the former's policies; afterwards his attitude toward the Soviet state became considerably more critical.
    After a childless first marriage, Berger has three children: Jacob, a film director; Katya, a writer and film critic; and Yves, an artist.

    Literary career

    In 1958 Berger published his first novel, A Painter of Our Time, which tells the story of the disappearance of Janos Lavin, a fictional exiled Hungarian painter, and his diary's discovery by an art critic friend called John. The book's political currency and detailed description of an artist's working process led to some readers mistaking it for a true story. After being available for a month, the work was withdrawn by the publisher, under pressure from the Congress for Cultural Freedom[1]. The novels immediately succeeding A Painter of Our Time were The Foot of Clive and Corker's Freedom; both presented an urban English life of alienation and melancholy. In 1962 Berger's distaste for life in Britain drove him into a voluntary exile in France.
    In 1972 the BBC broadcast his television series Ways of Seeing and published its companion text, an introduction to the study of images. The work was in part derived from Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction.
    His novel G., a romantic picaresque set in Europe in 1898, won both the James Tait Black Memorial Prize and the Booker Prize in 1972. When accepting the Booker Berger made a point of donating half his cash prize to the Black Panther Party in Britain, and retaining half to support his work on the study of migrant workers that became A Seventh Man, insisting on both as necessary parts of his political struggle.[4]
    Many of his texts, from sociological studies to fiction and poetry, deal with experience. Berger's sociological writings include A Fortunate Man: The Story of a Country Doctor (1967) and A Seventh Man: Migrant Workers in Europe (1975). His research for A Seventh Man led to an interest in the world which migrant workers had left behind: isolated rural communities. It was his work on this theme that led him to settle in Quincy, a small village in the Haute-Savoie, where he has lived and farmed since the mid-1970s. Berger and photographer Jean Mohr, his frequent collaborator, seek to document and to understand intimately the lived experiences of their peasant subjects. Their subsequent book Another Way of Telling discusses and illustrates their documentary technique and treats the theory of photography both through Berger's essays and Mohr's photographs. His studies of single artists include most prominently The Success and Failure of Picasso (1965), a survey of the modernist's career; and Art and Revolution: Ernst Neizvestny, Endurance, and the Role of the Artist, on the Soviet dissident sculptor's aesthetic and political contributions.
    In the 1970s Berger collaborated with the Swiss director Alain Tanner on several films; he wrote or co-wrote La Salamandre (1971), The Middle of the World (1974) and Jonah who will be 25 in the year 2000 (1976).[5] His major fictional work of the 1980s, the trilogy Into Their Labours (made up of the novels Pig Earth, Once in Europa, and Lilac and Flag), treats the European peasant experience from its farming roots into contemporary economic and political displacement and urban poverty.
    In recent essays Berger has written about photography, art, politics, and memory; he published in The Shape of a Pocket a correspondence with Subcomandante Marcos, and written short stories appearing in the Threepenny Review and The New Yorker. His sole volume of poetry is Pages of the Wound, though other volumes such as the theoretical essay And Our Faces, My Heart, Brief as Photos contain poetry as well as prose. His recent novels include To the Wedding, a love story dealing with the AIDS crisis stemming from his own familial experience, and King: A Street Story, a novel on homeless and shantytown life told from the perspective of a street dog. Berger initially insisted that his name be kept off the cover and title page of King, wanting the novel to be received on its own merits.
    Berger's 1980 volume About Looking includes an influential chapter, "Why Look at Animals?" It is cited by numerous scholars in the interdisciplinary field of Animal Studies, a group that seeks broadly to consider human-animal relations and the cultural construction of terms like 'human,''animal' and so on. Collectively they took Berger's question to mean that scholars are surrounded by animals but often do not actually see them, and that there are good theoretical and ethical reasons to study animals in the humanities.
    Berger's most recent novel, From A to X, was longlisted for the 2008 Booker Prize;[6] Berger and Salman Rushdie were the only former winners to be nominated in that year.

    Bibliography

    • A Painter of Our Time (1958)
    • Permanent Red (1960)
    • The Foot of Clive (1962)
    • Corker's Freedom (1964)
    • The Success and Failure of Picasso (1965)
    • A Fortunate Man (1967)
    • Art and Revolution: Ernst Neizvestny And the Role of the Artist in the U.S.S.R (1969)
    • The Moment of Cubism and Other Essays (1969)
    • The Look of Things: Selected Essays and Articles (1972)
    • Ways of Seeing (1972)
    • G. (1972)
    • A Seventh Man (1975)
    • About Looking (1980)
    • Into Their Labours (Pig Earth, Once in Europa, Lilac and Flag. A Trilogy)
    • Another Way of Telling (1982)
    • And Our Faces, My Heart, Brief as Photos (1984)
    • The White Bird (U.S. title: The Sense of Sight) (1985)
    • Keeping a Rendezvous (1992)
    • Pages of the Wound (1994)
    • To the Wedding (1995)
    • Photocopies (1996)
    • King: A Street Story (1999)
    • Selected Essays (Geoff Dyer, ed.) (2001)
    • The Shape of a Pocket
    • I Send You This Cadmium Red (with John Christie)
    • Titian: Nymph and Shepherd (with Katya Berger)
    • Here is Where We Meet
    • Hold Everything Dear (2007)
    • From A to X (2008)

    References

    1. ^Births England and Wales 1837-1983
    2. ^ ab"John Berger", Literary Encyclopedia
    3. ^Profile of Berger at OpenDemocracy.net
    4. ^McNay, Michael (24 November 1972). "Berger turns tables on Booker". The Guardian. http://www.guardian.co.uk/news/1972/nov/24/mainsection.fromthearchive. Retrieved 5 December 2009.
    5. ^ Christian Dimitriu, Alain Tanner, Paris: Henri Veyrier, 1985, pp. 125-134.
    6. ^http://www.guardian.co.uk/global/2008/jul/29/bookerprize 2008 Booker longlist announced

    Further reading

    • Dyer, Geoff Ways of Telling: The Work of John Berger, ISBN 0-7453-0097-9.
    • Dyer, Geoff (Ed.) John Berger, Selected Essays, Bloomsbury. ISBN 0-375-71318-2.
    • Krautz, Jochen Vom Sinn des Sichtbaren. John Bergers Ästhetik und Ethik als Impuls für die Kunstpädagogik am Beispiel der Fotografie, Hamburg 2004 (Dr. Kovac) ISBN 3-8300-1287-X. [2](German)

    External links



    .. John Berger - The Storyteller約翰伯格-講故事的人. 簡體版: 廣西師範大學出版社. 翁海貞譯

    约翰·伯格随笔代表作,定居的耕作者和从远方面来的旅者物质的融合辉映,行走成就的无界书写,故事引导的纸 间旅行。
      我从不曾想把写作当成一种职业。
      这是一个孤栖独立的行动,练习永远无法积蓄资历。
      幸运的是任何人都可以开始 这一行动。
      无论政治的抑或是个人的动机促使我写点什么,一旦笔尖触及纸面,写作便成了赋予经验以意义的奋斗。
      每个职业都有自己的 领地,同时也有其权能的极限。
      而在我看来,写作,却没有自己的领地。
      写作不过是去接近所写经验的行为,正如(但愿)阅读 是去接近所写文本的行为一样。
               ——约翰·伯格


    内容简介

    今天,约翰.伯格生活、工作在法国阿尔卑斯山的一个小村庄。在社区里,人们将他看作 一个受欢迎的陌生人,他们中的许多人将他视为亲爱的朋友。人们认可、欣赏他讲故事的天赋,而在过去十年里,这个天赋有了极大的进益。
    1935年,沃尔特·本雅明写了一篇非常杰出的随笔,题为《讲故事的人》。约翰·伯格的写作显然深受这篇随笔的影响。本雅明区别出两种传统的讲故事者:定 居的耕作者;从遥远地方来的旅行者。在他阿尔卑斯山的家里,我多次从约翰·伯格身上看到这两种类型的并存。
    伯格的思想引导他成为农民,而他作为农民的经验又影响他的思想,这一点是无法表述的。我们暂且孤立出一个重要的方面:相对于工业资本主义的宣传,农民阶级 保存着一种历史感,一种时间的经验。以伯格的话来说,扮演毁灭历史角色的不是马克思主义者或者无产阶级的革命,而是资本主义本身。资本主义的兴趣是切断与 过去的所有联系,将所有努力和想象转向未曾发生的未来。
    对于剥削和疏远,农民是再熟悉不过的;但是,对于自欺,他们却不那么敏感。正如黑格尔著名的主奴辩证里的奴隶,他们与死亡、世界的基本过程和节奏之间保持 着更直接的关系。通过他们自己双手的劳作,他们生产、安排他们的世界。在他们的轶事和故事里,甚至在他们的闲话里,他们根据记忆的法则编织自己的历史。他 们知道是谁通过进步得利,他们有时沉默地,有时秘密地保留着一个完全不同世界的梦想。约翰·伯格展示了应当向他们学习的是什么。
    讲故事的人将自己的声音借给他人的经验。随笔作家将自己借给特定的场景,或者他所写作的问题。约翰·伯格本人的事业和思想形成一个语境,只有在这个语境 里,我们才能理解本文集里的文章。但是更多地了解约翰·伯格的关键是为了更有效地向他学习,更深刻地理解他所提出的各种紧迫议题和困难问题。

    作者简介

    约翰·伯格   1926年出生于英国伦敦。   1944至1946年在英国军队服役。退役后入切尔西艺术学院和伦敦中央艺术学院学习。   1940年代后期,伯格以画家身份开始其个人生涯,于伦敦多个画廊举办展览。   1948年至1955年,他以教授绘画为业,并为伦敦著名杂志《新政治家》撰稿,迅速成为英国颇具争议性的艺术批评家。   1958年,伯格发表了他的第一部小说《我们时代的画家》,讲述一个匈牙利流亡画家的故事。此书揭露的政治秘闻,以及对绘画过程细节的刻画,令读者误 以为这是一部纪实作品。迫于“文化自由大会”的压力,出版商在此书上市一个月之后便回收入仓库。之后发表《克莱夫的脚》和《科克的自由》两部小说,展示英 国都市生活的疏离和忧郁。   1962年,伯格离开英国。   1972年,他的电视系列片《观看之道》在BBC播出,同时出版配套的图文册,遂成艺术批评的经典之作。小说G,一部背景设定于1898年的欧洲的浪 漫传奇,为他赢得了布克奖及詹姆斯·泰特·布莱克纪念奖。   此一时期,伯格亦对社会问题颇为关注,这方面的成果是《幸运的人一个乡村医生的故事》和《第七人欧洲农业季节工人》,后者引发了世界范围内对于农业季 节工人的关注。也因为这本书的写作,伯格选择定居于法国上萨瓦省一个叫昆西的小村庄。1970年代中期以来,他一直住在那里。后来,伯格与让·摩尔合作制 作了摄影图文集《另一种讲述的方式》,将对摄影理论的探索与对农民生活经验的记录结合在一起。   他对单个艺术家的研究最富盛名的是《毕加索的成败》,以及《艺术与革命》,后者的主角乃是苏联异议雕塑家内兹韦斯特尼。   在1970年代,伯格与瑞典导演阿兰·坦纳合作了几部电影。由他编剧或合作编剧的电影包括《蝾螈》、《世界的中央》以及《乔纳2000年将满25 岁》。   进入80年代,伯格创作了“劳动”三部曲,包括《猪猡的大地》、《欧罗巴往事》、《丁香花与旗帜》,展示出欧洲农民在今日经济政治转换过程中所承受的 失根状态与经历的城市贫困。他新近创作的小说有《婚礼》、《国王:一个街头故事》,还有一部半自传性作品《我们在此相遇》。   伯格还撰写了大量有关摄影、艺术、政治与回忆的散文,展示出宽广的视野和卓越的洞识。这些文章收录于多部文集,较有影响力者包括《看》、《抵抗的群 体》、《约定》、《讲故事的人》等。   2008年,伯格凭借小说From A to X再次获得布克奖提名。





    目录

    序言
    白鸟
    伦勃朗的自画像
    自画像
    白鸟
    离乡
    讲 故事的人
    在异国城市的边缘
    吃者与被吃者
    丢勒:一个艺术家的肖像
    在斯特拉斯堡的一夜
    萨瓦河畔
    明信片诗四首
    在 博斯普鲁斯海峡
    曼哈顿
    冷漠剧院
    两个梦
    所多玛城
    大洪水
    爱情入门
    头巾
    戈雅:穿衣服和不穿衣 服的玛哈
    勃纳尔
    莫迪里阿尼的爱情入门
    哈尔斯的谜
    最后的照片
    在一个莫斯科公墓
    恩斯特·菲舍尔:一个哲学家 与死亡
    弗朗索瓦,乔治斯,艾米丽:挽歌三部曲
    引向那个时刻
    未述说的
    艺术的工作
    论德加的一个舞者铜像
    立体 主义的时刻
    克劳德·莫奈的眼睛
    艺术的工作
    绘匦和时间
    绘画的位置
    论可见性
    未修筑的路
    每一天更红
    马 雅可夫斯基:他的语言和死亡
    死亡的秘书
    诗歌的时刻
    屏幕和《封锁》
    西西里的人生
    列奥帕第
    世界的生产
    母 语
    1945年8月6日
    广岛
    在所有色彩里
    出处及感谢

    1第一部分  讲故事的人

    不时有些社 团院校--多数是美国的--邀我去作美学演讲。有一回我想应承下来,带上只白色木头做的鸟去。不过我终究没有去。问题在于如果不谈论希望的法则和邪恶的存 在,就无法谈论美学。在漫长的冬季,上萨瓦(HauteSavoie)某些地区的农民会做些木鸟挂在厨房里,兴许也挂在

    2第二部分在异国城市的边缘

    它叫文 艺复兴酒吧,位于火车站铁道口附近的卡车道旁。里面丝毫不像个酒吧。实际上,连个吧台都没有。不过是个小前厅布置而成的餐馆。酒瓶--不过半打--摆在一 个装药的角落柜里。三个男子和一个女人坐在一张桌前打牌--belote。最年长的男子起身招待我们。

    3第三部分母语

    雪一周前已经融化, 大地刚刚露出来,像一个醒得太早的人,蓬着头。嫩草一撮一撮地茁起,不过?多还是旧年的枯草:稀疏、了无生气、几近白色。醒得太早的大地蹒跚地走到窗前。 无边无际的天空是白的,闪着光,很机灵的样子。天空不泄露秘密,不开玩笑,让人无从捉摸阴晴。大地

    說故事的人


    華特‧班雅明《說故事的人》-世界末日- 新浪部落

    班雅明,若不提 其他顯赫的名聲與頭銜,算來可是個較你我資深許多的「超級讀者」。 1892 年出生於德國,是重要一位文學評論與思想者,並譯有波特萊爾與普魯斯特的作品。

    Isaac Asimov's;廣文書局:《誤差論》《 生命與能力 》《視覺錯覺》

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    Yale University Library

    “It isn't just a library. It is a space ship that will take you to the farthest reaches of the Universe, a time machine that will take you to the far past and the far future, a teacher that knows more than any human being, a friend that will amuse you and console you – and most of all, a gateway, to a better and happier and more useful life.”

    Happy birthday to author Isaac Asimov (1920-1992), best known for his works of science fiction and popular science! This first edition copy of “3 by Asimov: Three Science Fiction Tales” can be found at the Beinecke Library. Explore the Beinecke’s incredible collections here: http://beinecke.library.yale.edu/



    《九彎十八拐》文學雙月刊
    以撒.艾西莫夫(Isaac Asimov,1920-1992),是美國科幻小說黃金時代的代表人物之一。67期有他的秒幻短篇,茲選其中一篇分享:〈不朽的詩人〉
    「是啊」,菲尼阿斯.威爾奇博士說,「我能使古聖先賢起死回生──」
    他有些醉了,不然不會如此胡言亂語。當然,一年一次的耶誕節夜晚,多喝點也是無可厚非。
    史考特.羅伯特森──年輕的英國文學大學講師,放好酒杯,朝左右瞥了一眼,看看有沒有人聽見他們的談話。
    「我是當真的。不只魂魄,肉體我也能召回來。」
    「我從來沒想到這種事竟然可能。」羅伯特森一本正經地說。
    「為什麼不可能?不過是簡單的時間轉換罷了!」
    「你指的是時間旅行?這有點太──哦──離奇了吧?」
    「會者不難嘛!」
    「怎麼做呢,威爾奇博士──」
    「你以為我會告訴你?」物理學家板起臉孔,迷迷糊糊地想找酒喝。他說:「我召回不少人,阿基米德、牛頓、伽利略……真是些可憐蟲。」
    「難道他們不喜歡這裡?我們的科學一定使他們著迷了吧?」羅伯特森說,他對談話越來越感興趣。
    「不錯,他們的確很著迷,尤其是阿基米德,我用學過的一點希臘文向他解釋了一些東西後,他樂得幾乎要發狂,可是,不……不……」
    「出了什麼岔子?」
    「文化不同,他們無法適應我們的生活,成天感到孤獨、驚怕,我只好送他們回去啊!」
    「這樣糟糕!」
    「是啊,都是歷史上偉大的人物。但缺乏變通性,不是那種能包容一切的靈魂。後來我試了一下莎士比亞。」
    「什麼!」羅伯特森不覺驚呼起來,好像要害被一擊命中了。
    「別叫嚷,小夥子──」,威爾奇說,「不雅觀。」
    「你說你把莎士比亞召來了?」
    「不錯,我要找一個能包羅萬象的心靈。一個知人論世,能和相差幾世紀的人們生活在一起的人,只有莎士比亞能做到。我有他的簽名,一個珍貴無比的紀念品。」
    「你帶著?」羅伯特森的眼睛幾乎要跳出來了。
    「就在這兒。」威爾奇把背心的口袋一個個摸過,「啊──這就是。」
    他把一張名片遞給講師,名片的一面印著「克萊恩父子五金批發公司」另一面潦草地塗著「willmshakesper」。這是莎士比亞自己的簽名式,與現在通行的拼寫法williamshakespeare很不相同,莎士比亞的手跡保存至今的只有他的三個簽名。
    「他看上去是什麼樣子呢?」羅伯特森簡直神魂顛倒了。
    「不如他的那張畫像。禿頭,鬍子挺難看,滿口土腔。當然,我花了莫大的力氣設法讓他喜歡我們的時代。我告訴他,他的劇本我們欽佩得五體投地,至今各國仍上演不衰,不僅是英國文學中最偉大的作品,也是全世界最偉大的作品。」
    「好─好─」羅伯特森透不過氣地說。
    「我還說,人們對他的劇本所寫的評論多如牛毛。自然,他想看看,我於是從圖書館借了一本。」
    「怎麼樣?」
    「哦,他入迷了。當然,他不懂一些現代用語,也不知道十六世紀以來所發生的事情,但我一一幫他解決了。可憐的人,從來沒想到會受到如此看重,他不斷地說『蒼天保佑』!經過五個世紀,什麼東西榨不出來?我想人們甚至可以從一塊破抹布裡擰出一桶水來。」
    「他不會說這種話。」
    「為什麼?他寫劇本時落筆千言,他說人生有限,非得分秒必爭不可。他用六個月時間寫了《哈姆雷特》。老故事,他只是『拂拭』了一下。」
    「就像擦鏡子一樣拂拭了一下?」這位英國文學講師憤怒地說。
    物理學家沒有理會,他看到幾步遠的櫃檯上有一杯沒喝過的雞尾酒,就橫著移過去。「我告訴這不朽的詩人,我們大學裡有開莎學課程。」
    「我就教莎學──」
    「我知道,我幫他在你的夜校班上報了名。我沒見哪個人像可憐的比爾那樣急於瞭解後世對他的評價。他很用功。」(比爾,莎士比亞的名字威廉的暱稱。)
    「你讓莎士比亞上我的課?」羅伯特森啞著嗓子說。哪怕這是醉教授的糊塗話,也叫他夠吃驚的了。不過這恐怕不是醉話。他想起來了,課程上有一個人,禿頭,口音奇特……」
    「當然沒用真名,」威爾奇博士說,「別管他用什麼名字了。我犯了個大錯誤,這可憐的傢伙。」他終於抓住了酒杯,正對著酒搖頭。
    「為什麼是錯誤?出了什麼事?」
    「我只好把他也送回1600年去──」威爾奇憤怒地吼叫起來,「你以為一個人能承受得了多少侮辱?」
    「你說的是什麼侮辱?」
    威爾奇博士一口乾了那杯雞尾酒,「你──,你這呆瓜,你給了他一個不及格。」

    《九彎十八拐》文學雙月刊的相片。






    《視覺錯覺》台北廣文書局1969

    Introduction to Visual Illusions by M. Luckiesh

     

    Only a part of what is perceived comes through the senses from the object. The remainder always comes from within. Artists, architects, stage artists, magicians and camoufleur either take advantage of optical illusions or try to avoid them. They are vastly entertaining, useful, deceiving or disastrous, depending upon the viewpoint.
    Included in the introduction is a history of optical illusions and an initial discussion on understanding optical illusions.
    Click the link below to start reading this chapter.
     Chapter 1 - Introduction: Optical Illusions Are Everywhere

     ----

    生命與能力台北廣文書局1969


    Life and Energy is one of Isaac Asimov's most famous and popular scientific books.[citation needed]
    Life and Energy is about the biological and physicalworld, and their contrasts and comparisons. The first chapters deal with the common questions of the distinctions between living and inanimate objects. Asimov then explains in a step by step manner about the physical world first through slow, but interesting chapters. He writes about the effect and major role of the evolution and advance of man by fire and heat, he tells about thermodynamics (and its laws), he recollects the thoughts of previous scientists, and their painstaking works, and finally, the quantum theory and radiation, which has revolutionised physics and technology. An explanation of electricity and basic chemistry laws and features are also included. The physical section ends here, and continues into biology. He now continues on with special chemistry, and leaves behind physics. From this, the book leads into the functions of enzymes, amino acids, cells, the body as a whole, and the process of the cells and organs to work together to become one.

    Publication

     -----

    Yardley Beers, WØJF

    - [ 翻譯此頁 ]
    檔案類型: PDF/Adobe Acrobat - HTML 版
    By Dorothy Sands Beers. Yardley Beers, WØJF, sits in his .... of a book, The Theory of Error. At present Yardley's room in Boston's ...


    Yardley Beers

    12 April 1913 - 01 October 2005

    Introduction to the theory of error

    這本台灣約1965年有廣文書局翻譯本 誤差論

    Theory of Errors (Paperback)

    by Yardle
    y Beers (Author)
    • Paperback: 66 pages
    • Publisher: Addison-Wesley Educational Publishers Inc; 2nd edition (December 1957)
    • Language: English


    THE WISDOM OF FAITH WITH HUSTON SMITH

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    此主題與我1974-75年在東海大學的通識課類似。


    http://billmoyers.com/series/the-wisdom-of-faith-with-huston-smith-1996/


    THE WISDOM OF FAITH WITH HUSTON SMITH

    All religions, at their core, are the same; this remarkable claim is made by Huston Smith, bestselling author and professor of comparative religion at Syracuse University, MIT and the University of California, Berkeley. Raised a Methodist, Smith also practices yoga, prays five times daily as Muslims do, and joyfully joins his daughter and her Jewish husband in observing the Sabbath. He has traveled around the world 10 times, visiting ashrams and temples, synagogues and mosques, zen masters and swamies.
    His book The World’s Religions has sold more than 2.5 million copies worldwide since 1959, and is considered one of the defining treatises on the subject. In this series of conversations with renowned journalist Bill Moyers, Smith provides thoughtful insights into the world’s largest religions with these compelling episodes: Hinduism and BuddhismConfucianismChristianity and JudaismIslam, and A Personal Philosophy — and how, taken at their best, they provide universal truths that unite and define the human spirit. (1996)

    • March 26, 1996 | The Wisdom of Faith with Huston Smith
      The religious historian takes us from India to Tibet to Japan to explore two great religions — Hinduism and Buddhism.
    • April 2, 1996 | The Wisdom of Faith with Huston Smith
      Confucius was no God, but his teachings were the invisible mortar holding together a society containing one quarter of the world's population.
    • April 9, 1996 | The Wisdom of Faith with Huston Smith
      The religious historian considers the "dense and palpable" spirit of Christianity and the intimate relationship between Jews and their God.
    • April 16, 1996 | The Wisdom of Faith with Huston Smith
      The religious historian on Islamic conceptions of order, justice, mercy, and compassion.
    • April 23, 1996
      Author and professor Huston Smith on recognizing the vitality in all spiritual traditions, using his own remarkable explorations as an example.
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