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Ernest Hemingway: A Biography (2017) 海明威 《老人與海》

July 6, 2018, 11:00 am
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Ernest Hemingway was seriously wounded during an Austrian assault on the Italian Front, in World War I on this day in 1918.
“If people bring so much courage to this world the world has to kill them to break them, so of course it kills them”
―from ERNEST HEMINGWAY: A Biography (2017) by Mary V. Dearborn
The first full biography of Ernest Hemingway in more than fifteen years is the first to draw on a wide array of never-before-used material, resulting in the most nuanced portrait to date of this complex, enigmatic artist. Considered in his time the greatest living American writer, Hemingway was a winner of the Pulitzer Prize and the Nobel Prize whose personal demons undid him in the end, and whose novels and stories have influenced the writing of fiction for generations after his death. Mary V. Dearborn’s revelatory investigation of his life and work substantially deepens our understanding of the artist and the man. READ more here: https://www.penguinrandomhouse.com/…/ernest-hemingway-by-m…/
圖像裡可能有一或多人、文字和室內



アーネストヘミングウェイ
Ibcパブリッシング, May 30, 2007 - 179 pages
3 Reviews




老人はたった1人で漁に出た。このところ、何も釣れない日がずっと続いていた。それでも彼はくじけず、大物に狙いを定めて、誰よりも遠くまで小舟を漕いでいく。執念の末、ようやく餌に食いついてきた獲物は、彼がこれまで見たこともないほど巨大な魚だった...。老人と大魚との死闘を通じて、老いの孤独、自然の厳しさを簡潔な文体で描いたヘミングウェイの代表作。
















The Old Man and the Sea : Om Illustrated Classics

Front Cover
Om Books International - 240 pages






The Old Man and the Sea : Om Illustrated Classics
Ernest Hemingway



The old man and the Sea (노인과 바다)
폴





















【海明威】  (Ernest Hemingway)，Thames and Hudson 作家圖文系列之一，台北：貓頭鷹，1999




On this day in 1952, The Old Man and the Sea was published in LIFE. Five million copies of the magazine sold in two days.




“Hemingway liked his burgers pan-fried, not grilled.”




Hemingway’s Hamburger
The search for Hemingway’s hamburger.
THEPARISREVIEW.ORG|由 CHERYL LU-LIEN TAN 上傳

The New Yorker
"Time did not seem to be pressing Hemingway the day he flew in from Havana."



How Do You Like It Now, Gentlemen?
Lillian Ross’s 1950 profile of Ernest Hemingway. “I started out very quiet and I beat Mr. Turgenev. Then I trained hard and I beat Mr. de Maupassant. I’ve fought two draws with Mr. Stendhal, and I think I had an edge in the...
NYR.KR|由 LILLIAN ROSS 上傳




















董橋︰饗宴


海明威愛住威尼斯一家宮殿旅館，金門綉戶，老氣橫秋，他的套房古典極了，大窗戶對着大運河，派頭不小。那年仲秋古城煙水悠忽，街巷闃寂，大橋小橋人影稀 疏，橋下遊船都靠在一邊午休。倫敦相熟的意大利同學帶路，繞完弄堂繞進大街繞到山腰上找到那家老舊的宮殿。掌櫃客氣，各處瀏覽了一遍還請喫下午茶，說旅館 裏老一輩伙計都不在了，他們記得海明威，粗獷一條漢子，毛茸茸像拳師，言談倒和氣，話不多，輕描淡寫，不嚕囌，像他筆下的英文句子。喝酒也斯文，房間裏煙 味濃得很，天熱赤膊寫作，用打字機打字，用鉛筆改稿。一住好幾天，衣着樸素，亞麻布衣褲皺兮兮，很瀟灑。掌櫃的說好多年前《紐約客》雜誌上一幅漫畫畫海明 威，畫一隻筋絡虬結的手臂和一隻多毛的手，手裏緊緊抓着一朵玫瑰花，題目是《海明威的靈魂》。我早歲愛讀海明威，英文報刊上寫他的文章都剪存，厚厚兩冊卷 宗塞得滿滿的，年久散佚，舊夢縹緲。都說他的短篇小說比長篇好。其實短的長的都講究。迷惘，虛無，陽剛，簡練，每一本都像照常昇起的太陽，那麼耀眼，那麼 闌珊。《戰地春夢》裏凱瑟琳臨終前說：「我一點兒都不怕。這祗是個卑鄙的騙局。」海明威從來不否定努力，不否定紀律。紀律，幫規，堅忍，他從來守着：「勇 敢的人不會出岔子」。凱瑟琳死了，弗烈德里哥熄了燈彷彿在向一具石像告別，然後走出醫院，然後在雨裏走回旅館。海明威整套作品離不開傳遞一個信息：告別虛 幻的榮耀，挑戰傲慢的騙局，承受磨難的救贖。他是《老人與海》裏的老人，為天生的信仰潛進字海裏跟典章制度的巨鯊搏鬥，求存。《老人與海》一九五二年初 版。一九五四年，諾貝爾文學獎頒給海明威。明年是二○一四年，得獎剛好六十年，一甲子。台灣老朋友老張很想籌錢出版一本追憶海明威的文集，翻譯歷來英美文 評家評論海明威的文章，選錄海明威同代人記述海明威的軼事，刊登海明威所有作品初版的封面。那些評論文章老張譯了不少。中文報刊上寫海明威的零散文章他也 剪存了，選一批收進文集裏不難，逐一釐清版權要花點時間。今日世界出版社出版的《戰地春夢》和《老人與海》中文譯本的導論和序文也應該收進集子裏。海明威 寫的報刊特稿美國結集出版過，書信集也有，都可以選一批譯成中文收成一輯。老張要我寫一篇搜藏海明威初版的隨筆，穿插一些閱讀海明威的散記。搜藏初版和讀 書散記我資歷不足，不敢亂寫，寫淺了怠慢他，寫深了冤枉他。海明威初版都很貴，我無力多買，只藏了幾部：一九二四年的《我們的時代》，一九二六年的《太陽 照常昇起》，一九二七年的《沒有女人的男人》，一九二九年的《戰地春夢》，一九三二年的《死在午後》，一九三五年的《非洲青山》，一九四○年的《鐘為誰 鳴》，一九五二年的《老人與海》。海明威一九六一年自殺死了，一九六四年蒐集出版的花都憶往之作《流動的饗宴》我最喜歡。他第四任妻子瑪麗說海明威一九五 七年秋天在古巴着手寫這本書，一九五八到五九年帶回美國愛達荷州故居接着寫，一九五九年四月又帶到西班牙寫。一九六○年春天他在古巴寫完這本書，秋天在美 國又修飾過一遍。書裏寫的是一九二一年到一九二六年的巴黎。海明威說那時候沒錢買書，常到西爾薇婭的莎士比亞書店借書。冬天街上風大，很冷，書店裏又暖和 又閑散，桌子上書架上都是書，新書擺在櫥窗裏，牆上掛滿著名作家的照片，故世的在世的都有。西爾薇婭一張臉像雕塑，輪廓深刻，言談生動。他說她的腿很漂 亮，人又和善，愛開玩笑，愛聊天。海明威說他第一次走進書店很不好意思，沒帶夠錢交保證金申請借書證。西爾薇婭說保證金什麼時候方便什麼時候交，她先給他 做了一張借書證，說隨便借走多少本書都可以。海明威說她沒理由這樣相信他，他在申請表上填的地址又是巴黎的窮苦區。她不在乎，照樣那麼高興那麼歡迎他。他 借了屠格湼夫和兩本體育雜誌和勞倫斯的《兒子與情人》。西爾薇婭說還可以多借些。他於是又借了《戰爭與和平》和一本陀思妥耶夫斯基的短篇小說。「看那麼多 書你不會那麼快再來了，」她說。「我得回來還錢，」海明威說，「我公寓裏還有些錢。」她說她不是那個意思：「等你方便才還錢不遲。」海明威問她喬伊斯什麼 時候會來。她說通常過了午後晚些才來：「你沒見過他嗎？」海明威說餐館裏見過，他和家人在用膳，沒好意思多看，不禮貌，況且那家館子貴極了。那是八十多年 前的巴黎。四十多年前我第一次去巴黎好餐館還是貴。便宜的其實也不少，碰運氣碰得到好吃的。我住的小旅館靜得很，房間小陽台雕花欄杆前俯看小巷很詩意。午 後四點多鐘了，大街小餐館的後門就在巷子裏，相熟的伙計捲起衣袖點算剛送到的海鮮：「好大的魚，」他仰着頭跟我打招呼，「來吃晚飯吧！」小旅館隔壁是一家 麵包店，麵包剛出爐，好香。海明威說，在巴黎吃不飽的時候覺得特別餓，該死的糕餅舖子櫥窗裏那麼多糕餅，餐館外面路邊餐桌坐滿了食客，饞死人了。那幾天我 不斷想起海明威講究形容詞的用法，用得恰當不容易，盡量少用是出路：乾乾淨淨的屠格湼夫；乾乾淨淨的海明威，多好。有一天，海明威在咖啡館裏寫稿，一個麗 人走進來坐在角落裏等人。她太漂亮了。他一見動心，文思斷了：「你在等誰我不管，」他想。「從此再也見不到你了我也不管。這一刻，你是我的。全巴黎都是我 的。我卻屬於這本筆記簿和這枝鉛筆。」早年還有一個人喜歡《流動的饗宴》：倫敦一家律師樓的見習律師奈吉爾。二十來歲，又高又瘦，一頭鬈髮像鳥窩，一臉書 卷氣，金絲眼鏡兩塊圓圓的鏡片護着一雙湖水藍眼睛。鼻樑高得出奇，嘴唇薄得出奇，人中長得出奇。話不多，一口牛津英語跟他的相貌很般配。是個書蟲，經常蹲 在老威爾遜舊書店裏挑書。老威爾遜說是個世家子弟，爺爺第一次世界大戰時期當財政大臣的機要秘書，父親是郵政局出納部主管，母親是舞台設計師，他們家珍藏 歷代飛禽書籍出名，爺爺是這門學科的專家，寫過專書。奈吉爾不一樣，只收老小說，當代小說只愛喬伊斯和海明威。老威爾遜介紹我們認識。他上班的律師樓跟我 上班的英國廣播電台很近，他來參觀過，我請他在電台餐廳吃午飯，他說比外頭好吃，又便宜，從此得空常來找我吃飯，飯後到電台酒吧喝咖啡。海明威小說奈吉爾 熟透了，說寫得極好的是《雪山盟》和《老人與海》：「寫得最好的倒是《流動的饗宴》了。」《雪山盟》我讀外文系啃過，考過，苦死了。「你細細再讀一遍，不 難看出斯泰因為什麼這樣評定海明威的小說，」奈吉爾說。斯泰因是美國女作家，比海明威老，長住巴黎，提倡先鋒派藝術，運用重複和瑣碎和簡化的手法寫作，她 的小說《三個女人的一生》我喜歡。她說海明威是她讀到的「最羞澀最驕傲最芳香的說故事的人」。《流動的饗宴》裏寫斯泰因寫了不少，幾乎當她是寫作班的老 師，教訓海明威必須讀哪些作家不要讀哪些作家。奈吉爾說寫巴黎寫人物寫成《流動的饗宴》簡直了不起。翻譯家湯新楣先生也這樣說。威尼斯一家書籍裝幀作坊有 一本《流動的饗宴》，皮面裝潢很漂亮，說是一位藏書家訂做的，皮畫貼出畢加索一幅靜物，有酒杯，有水果，有盤子，有刀叉，有調羹。我跟奈吉爾說了，他心 動，也想找桑科斯基裝幀店做一本，後來做了沒有我不知道。這本書美國初版書衣其實也好看，油畫畫巴黎納夫橋的秋冬景色。書名摘自海明威一九五○年寫給朋友 信上的一句話：「年輕的時候運氣好住過巴黎，這輩子不論去到什麼地方，巴黎都和你在一起，因為巴黎是一席流動的饗宴」。我在巴黎找過海明威住過的房子，照 書上寫的地址找，路人都說拆掉了，門牌也重編，找不到。那天天陰，細雨迷濛。
董橋





http://en.wikipedia.org/wiki/Ernest_Hemingway



 Baker, Carlos. (1969). Ernest Hemingway: A Life Story. New York: Charles Scribner's Sons. ISBN 978-0-02-001690-8

 海明威傳 台北: 志文 1981/1990

 ---
 爸爸海明威，南京：譯林，1999

A. E. Hotchner - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/A._E._Hotchner - 頁庫存檔 -翻譯這個網頁
Hotchner is best known for Papa Hemingway, his 1966 biography of Ernest Hemingway, whose work he had adapted for plays and television. His play Sweet ...
 *****

To Use and Use Not

By JULIE BOSMAN2012年07月10日

In an interview in The Paris Review in 1958 Ernest Hemingway made an admission that has inspired frustrated novelists ever since: The final words of “A Farewell to Arms,” his wartime masterpiece, were rewritten “39 times before I was satisfied.”
Those endings have become part of literary lore, but they have never been published together in their entirety, according to his longtime publisher, Scribner.
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John F. Kennedy Library and Museum
Ernest Hemingway in 1947.
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John F. Kennedy Presidential Library and Museum
Ernest Hemingway's first-page draft for “A Farewell to Arms.”
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The new edition, with the original cover art.
A new edition of “A Farewell to Arms,” which was originally published in 1929, will be released next week, including all the alternate endings, along with early drafts of other passages in the book.
The new edition is the result of an agreement between Hemingway’s estate and Scribner, now an imprint of Simon & Schuster.
It is also an attempt to redirect some of the attention paid in recent years to Hemingway’s swashbuckling, hard-drinking image — through fictional depictions in the best-selling novel “The Paris Wife” and the Woody Allen film “Midnight in Paris,” for instance — back to his sizable body of work.
“I think people who are interested in writing and trying to write themselves will find it interesting to look at a great work and have some insight to how it was done,” Seán Hemingway, a grandson of Ernest Hemingway who is also a curator of Greek and Roman art at the Metropolitan Museum of Art, said in an interview. “But he is a writer who has captured the imagination of the American public, and these editions are interesting because they really focus on his work. Ultimately that’s his lasting contribution.”
The new edition concludes that the 39 endings that Hemingway referred to are really more like 47. They have been preserved in the Ernest Hemingway Collection at the John F. Kennedy Presidential Library and Museum in Boston since 1979, where Seán Hemingway studied them carefully. (Bernard S. Oldsey, a Hemingway scholar, listed 41 endings in his book “Hemingway’s Hidden Craft,” but Seán Hemingway found 47 variations in manuscripts preserved at the Kennedy Library.)
The alternate endings are labeled and gathered in an appendix in the new edition, a 330-page book whose cover bears the novel’s original artwork, an illustration of a reclining man and woman, both topless.
For close readers of Hemingway the endings are a fascinating glimpse into how the novel could have concluded on a different note, sometimes more blunt and sometimes more optimistic. And since modern authors tend to produce their work on computers, the new edition also serves as an artifact of a bygone craft, with handwritten notes and long passages crossed out, giving readers a sense of an author’s process. (When asked in the 1958 Paris Review interview with George Plimpton what had stumped him, Hemingway said, “Getting the words right.”)
The endings range from a short sentence or two to several paragraphs.
In No. 1, “The Nada Ending,” Hemingway wrote, “That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.”
The “Live-Baby Ending,” listed as No. 7, concludes, “There is no end except death and birth is the only beginning.”
And in No. 34, the “Fitzgerald ending,” suggested by Hemingway’s friend F. Scott Fitzgerald, Hemingway wrote that the world “breaks everyone,” and those “it does not break it kills.”
“It kills the very good and very gentle and the very brave impartially,” he wrote. “If you are none of these you can be sure it will kill you too but there will be no special hurry.”
Hemingway also left behind a list of alternate titles, which are reprinted in the new edition. They include “Love in War,” “World Enough and Time,” “Every Night and All” and “Of Wounds and Other Causes.” One title, “The Enchantment,” was crossed out by Hemingway.
Patrick Hemingway, Ernest Hemingway’s only surviving son, said in an interview from his home in Montana that when Scribner suggested the raw material be published, he agreed.
“They do give insight to how Hemingway was thinking,” said Patrick Hemingway, who is 84. “But it is absolutely true that no matter how much you analyze a classic bit of writing, you can never really figure out what makes talent work.”
Susan Moldow, the publisher of Scribner, said that while Hemingway is a perennial strong seller, especially for schools and libraries, “the estate is constantly wanting to present the work afresh.”
“This is one of the most important authors in American history,” she said. “And fortunately or unfortunately you need to keep refreshing or people lose interest.”
After reading the various endings, Ms. Moldow added, she didn’t question the author’s decision; the actual ending — cool and passionless after an epic tale of war and love, with the protagonist leaving a hospital in the rain — has stood the test of time.
“Ultimately,” she said, “I think we have to be glad that he went with the ending that he went with.”

書業

海明威的47個結尾

JULIE BOSMAN報道2012年07月10日
1958年，歐內斯特·海明威(Ernest Hemingway)在《巴黎評論》(Paris Review)訪談中坦言，他那部講述戰爭年代的傑作《永別了，武器》（A Farewell to Arms）的結尾，他重寫了39遍才算滿意。對於寫作中受挫的小說家來說，這句話至今仍是一種啟迪。
那些結尾已成文壇佳話，但按照長期出版海明威作品的斯克瑞伯納出版社（Scribner）的說法，它們從未被放在一起完整地出版。
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John F. Kennedy Library and Museum
1947年的歐內斯特·海明威。
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John F. Kennedy Presidential Library and Museum
海明威作品《永別了，武器》的第一頁手稿。
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《永別了，武器》新版書延用了初版的封面畫作。
斯克瑞伯納出版社將於下周推出初版於1929年的《永別了，武器》的新版，其中會收錄這些不同的結尾，以及書中其他一些段落定稿前的修改稿。
這一新版是海明威遺產基金會和斯克瑞伯納雙方協議的結果。斯克瑞伯納目前隸屬於西蒙與舒斯特出版集團（Simon & Schuster）。
此舉也是力圖扭轉近年來暢銷小說《巴黎妻子》（The Paris Wife）、伍迪·艾倫（Woody Allen）的電影《午夜巴黎》（Midnight in Paris）等虛構作品將海明威塑造成的那種虛張聲勢、酗酒莽漢的形象，讓人們對海明威的注意力放回到他數量可觀的作品上。
歐內斯特·海明威的孫子、紐約大都會博物館希臘與羅馬藝術部負責人肖恩·海明威（Seán Hemingway）在採訪中說：“我想，對寫作有興趣、剛開始寫作的人都會興緻勃勃地看一部傑作，看看它是怎樣寫成的。他也是一位俘獲了美國公眾想像力 的作家，這些不同版本令人感興趣，因為它們集中展現的是他的工作。這終究是他永恆的貢獻。”
這個收入海明威所說的那39種結尾的新版，實際上收了47種結尾。自1979年以來，這些資料被保存於波士頓的約翰·F.肯尼迪總統圖書館 （John F. Kennedy Presidential Library and Museum）中的歐內斯特·海明威藏區，肖恩·海明威在那裡做過仔細研究。（海明威研究專家伯納德·S.歐德塞[Bernard S.Oldsey]在他的著作《海明威的秘技》[Hemingway’s Hidden Carft]一書中曾列舉41種結尾，但肖恩·海明威在肯尼迪圖書館收藏的書稿中發現了47種。）
這些不同的結尾被編上名稱，作為附錄收入這個330頁的新版中。該書封面沿用了初版封面上的畫作——一對赤裸着上身、相互倚靠的男女。
對於熱愛海明威作品的讀者來說，這些結尾就像驚鴻一瞥，讓人陶醉地看到這部小說也可能以另一種基調結束，有的更直率，有的更樂觀。由於當代作家大都 使用電腦寫作，這個新版《永別了，武器》也像是一種手工製品，展現了一種業已失傳的手藝，上面有手寫的注釋、筆記和劃掉的長段落，讓讀者感覺像在看作家寫 作的過程。（1958年《巴黎評論》那次訪談中，採訪者喬治·普林頓[George Plimton]問海明威什麼是他的挑戰，他說，“用對詞。”）
這些結尾，短則一兩個短句，長則好幾個段落。
在一號“虛無結尾”中，海明威寫道：“那就是這個故事的全部。凱瑟琳死了，你會死，我也會死，那就是我能向你保證的一切。”
在七號“活嬰結尾”中，他最後寫道：“除了死亡，沒有終結。誕生只是開始。”
而34號結尾叫“菲茨傑拉德結尾”，是因為靈感來自海明威的朋友F.司各特·菲茨傑拉德(F. Scott Fitzgerald)提的建議。海明威寫道：這個世界“擊倒了每個人”，有些人“即使沒有被擊倒，也會死”。
“它不偏不倚地殺死善良的人，溫和的人，勇敢的人，即使你一概不是，請相信它也會殺死你，只是沒那麼匆忙而已。”
海明威還留下了一系列可供選擇的書名。新版中也收了這些書名，其中有《戰爭中的愛情》（Love in War），《世界夠了，時間也夠了》（World Enough and Time），《創傷與其他事業》（Of Wounds and Other Causes），還有一個被海明威自己劃掉的標題《魅力》（The Enchantment）。
海明威唯一還在世的兒子帕特里克·海明威(Patrick Hemingway)在蒙大拿州的家裡接受採訪時說，聽說斯克瑞伯納出版社提議出版這些原始材料，他就同意了。
84歲的帕特里克說：“它們確實讓人可以看到海明威是怎麼思考的。但無論你怎樣分析一部經典作品的寫作，有一點是絕對無疑的：你始終弄不明白他是如何施展才華的。”
斯克瑞伯納出版人蘇珊·莫爾多（Susan Moldow）說，雖然海明威作品的銷量經久不衰，尤其受學校和圖書館歡迎，“遺產基金會仍然想讓他的作品保持新鮮感”。
她說：“這是美國歷史上最重要的作家之一，無論幸或不幸，你都要保持出新，不然人們就失去了興趣。”
莫爾多還說，她讀了不同的結尾，認為作者最終的決定，也就是實際的那個結尾無可挑剔：一場戰爭與愛的史詩故事之後，主人公在雨中離開醫院。這個結尾冷靜而不動聲色，經受住了時間的考驗。
她說：“總而言之，我們還是得為他選擇了這個符合他風格的結尾而感到高興。”
特約翻譯：彭倫。外國文學編輯，業餘從事文學翻譯，他正在編纂《巴黎評論》系列中譯本。

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  Hemingway and Ourselves  1954： 223(8) 海明威與我們*


「詮釋 伊塔羅．卡爾維諾（ Italo Calvino）著《為什麼讀經典》
*翻譯可能不正確


 Maudlin Yeh 的相片。

"He is so very incorrect, except in this: he gave the century a way of making literary art that dealt with the remarkable violence of our time. He listened and watched and INVENTED the language--using the power, the terror, of silences--with which we could name ourselves." (Frederick Busch, Reading Hemingway without Guilt) 1992年，紐約時報在海明威逝世30周年刊了一篇文章，標題是：沒有罪惡感地讀海明威。"政治不正確"--這是紅極一時的海明威，後來最受批評之處。他對女性對猶太人對同志甚至對各種暴烈運動的觀點都在60年代以後備受奚落。然而毫不意外，真正懂創作的人都繼續推崇他，即使對他也有過意見的卡爾維諾。他在1954年剖析自己從年輕到後來對海明威的愛恨交織的那篇文章<海明威與我們這一代>中，像個叛逆後再度理解並感激父輩的學徒說道： "你唬不了我的，老頭。你沒有誤人子弟，你不是那種冒牌大師。" 卡爾維諾知道，現代文學如果有本帳，那海明威給的絕對比他拿走的多。沒有海明威，現代文學裡就沒有那些冷峻直接、不加裝飾又幹練的語言，那些20世紀人們得以說出自己不同於前世代的語言。
Maudlin Yeh


"He is so very incorrect, except in this: he gave the century a way of making literary art that dealt with the remarkable violence of our time. He listened andwatched and INVENTED the language--using the power, the terror, of silences--with which we could name ourselves." (Frederick Busch, Reading Hemingway without Guilt)


1992年，紐約時報在海明威逝世30周年刊了一篇文章，標題是：沒有罪惡感地讀海明威。"政治不正確"--這是紅極一時的海明威，後來最受批評之處。他對女性對猶太人對同志甚至對各種暴烈運動的觀點都在60年代以後備受奚落。然而毫不意外，真正懂創作的人都繼續推崇他，即使對他也有過意見的卡爾維諾。他在1954年剖析自己從年輕到後來對海明威的愛恨交織的那篇文章<海明威與我們這一代>中，像個叛逆後再度理解並感激父輩的學徒說道：

"你唬不了我的，老頭。你沒有誤人子弟，你不是那種冒牌大師。"

卡爾維諾知道，現代文學如果有本帳，那海明威給的絕對比他拿走的多。沒有海明威，現代文學裡就沒有那些冷峻直接、不加裝飾又幹練的語言，那些20世紀人們得以說出自己不同於前世代的語言。






ourselves[our・selves]
  • [代](複)
1 ((〜 -self))我々自身を［に］. ▼動詞の直接・間接目的語または前置詞の目的語. ⇒HERSELF 1
Weseated ourselves.
私たちはこしかけた.
2 ((強意))私たち自身［みずから］.
(1) ((weとともに用いて))
Wewillhandletheproblem ourselves.
私たち自身がその問題を取り扱おう.
(2) ((usの代わりに用いて))
They, unlike ourselves, disliketravel.
彼らは私たちとちがって旅行がきらいだ.
(3) ((weまたはwe ourselvesの代わりに用いて))
Ourchildrenand ourselves willbegladtocome.
子供たちも私どもも喜んでうかがいます.
3いつもの自分, 正常な精神状態. ⇒ONESELF[語法]
Wehavenotbeen ourselves sinceheleft.
あの人がいなくなってから, どうかなってしまった.
between ourselves
ここだけの話だが.

 牌子上刻著海明威在《流動的饗宴???》中的一句話：「這就是我們年輕時的巴黎；雖然窮，卻很快樂。」......晚年的海明威曾說：「要是我那時候死了就好了。」唉！

命運是不能比的，紀弦詩中說：「君非海明威此一起碼認識之必要」。

我說了：MOMENT OF TRUTH 其實是海明威翻譯西班牙鬥牛的"決戰之剎那間"…..

十幾年前（可能近 20年），台灣翻譯一本談北歐航空公司生意和服務品質的書：
『關鍵時刻』（ Moments of truth by J Carlzon - 1989 - New York: Perennial Library）

這書名有典故，是 1932年海明威（Ernest Hemingway）寫 Death in the Afternoon時，從西班牙文的el momento de la verdad 翻譯過來的，原先的 the moment of truth 是指闘牛時最後鬥牛士瞄準、給牛致命一刺的瞬間。後來引伸為「一大危機［転機］ .」。（ A critical or decisive time, at which one is put to the ultimate test, as in Now that all the bills are in, we've come to the moment of truth—can we afford to live here or not?）

管理學上，想讓服務過程的互動更為人性化，所以有這方面的說法：The humanization of service: respect at the moment of truth by GR Bitran, J Hoech - Sloan Management Review, 1990 ；或醫療上When this initial moment of truth goes well, a positive cycle begins be- tween the customer and the organization; when it goes poorly, it may be difficult to ...




《從荷馬到海明威/》
蔡義忠撰.
出版地/出版者/出版年, 臺中市/普天/1971 民60. 稽核項, [9],254面/19公分.

 《一個乾淨明亮的地方》

海明威著，陳夏民編譯，逗點文創出版
用字簡潔，大量對話，降低對事物的判斷或描述， 使讀者自行體會未被說出的部分——美國小說家海明威（Ernest Miller Hemingway，1899-1961）堅信「冰山理論」，作品也服膺此一美學，因此，由譯者陳夏民所編的這本短篇小說傑作選，故事核心總在情節之外， 看似呼之欲出，卻終究如生活局部般被時間截斷，留下想像的泛音。全書有洋溢童年啟蒙氣味如〈印第安人的營地〉或〈三聲槍響〉，挫敗愛情如〈一則很短的故 事〉或〈白象似的群山〉；有時敘事柔軟體貼，如〈雨中的貓〉或〈等了一整天〉，有時則強悍俐落不改記者本色，如〈法蘭西斯．麥坎伯幸福而短暫的一生〉。被 喬伊思力讚的〈一個乾淨明亮的地方〉，速寫一間午夜咖啡館，一老一少店員對話，折映出一個時代的疲軟與空無，而始知：「世物皆空，人也不例外。需要的，不 過是光，還有某些程度的乾淨與秩序罷了。」 （Herbie Hancock）


完全沒作者介紹
一票名家名著的簡介 不過多說"評價"


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Mark Twain Himself: A Pictorial Biography; Mr. Clemens and Mark Twain: A Biography

July 6, 2018, 3:33 pm
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Mark Twain Himself: A Pictorial Biography 1960： 此書《馬克·吐溫畫傳》從二手書店便宜取得。看到Google Books的資訊 (相比AMAZON，更能發揮其特色)，才知道University of Missouri Press,重印 ( 2002) ，是Mark Twain and His Circle 叢書的第一本。


Mark Twain Himself: A Pictorial Biography ()

Mark Twain Himself Hardcover – 1960
by Milton Meltzer (Author)

Publisher: Bonanza;

WINGS BOOKS

Mark Twain's life—one of the richest and raciest America has known—is delightfully portrayed in this mosaic of words and more than 600 pictures that capture the career of one of America's most colorful personalities. The words are Twain's own, taken from his writings—not only the autobiography but also his letters, notebooks, newspaper reporting, sketches, travel pieces, and fiction. The illustrations provide the perfect counterpoint to Twain's text. Presented in the hundreds of photos, prints, drawings, cartoons, and paintings is Twain himself, from the apprentice in his printer's cap to the dying world-famous figure finishing his last voyage in a wheelchair. Mark Twain Himself: A Pictorial Biography will not only inform and entertain the casual reader but will provide a valuable resource to scholars and teachers of Twain as well.



Contents


MISSOURI BOYHOOD 1 I Did It for Florida 2


TRAMP PRINTER 24 A Glorious Sight 26


MISSISSIPPI PILOT 33 Learning the Mississippi 34


LIT OUT FOR THE TERRITORY 44 Overland Stage to Nevada 44


REPORTER AT LARGE 68 Awful Slavery for a Lazy 70


A Night in Jail 86


THE TROUBLE BEGINS AT 8 110 Twain on Dickens 112


FAMILY LIFE Cont Mark Twains House 123




WRITER AT WORK 148 An Author for 20 Years and an Ass for 55 150


PATENTS PUBLISHING AND 190 A Charming Machine 194


A PEN WARMED UP IN HELL 202 The Moralist of the Main 204


ROVING AMBASSADOR 214 Another Throne Gone Down 218


THE BELLE OF NEW YORK 230 A GhostWritten Obituary 233


A Reading List 291


Index 299


Copyright


Common terms and phrases

Popular passages

Page 211 - It is by the goodness of God that in our country we have those three unspeakably precious things : freedom of speech, freedom of conscience, and the prudence never to practice either of them.‎
Appears in 233 books from 1887-2007
Page 151 - Then a sentimental passion of a vegetable fashion must excite your languid spleen, An attachment a la Plato for a bashful young potato, or a not-tooFrench French bean ! Though the Philistines may jostle, you will rank as an apostle in the high aesthetic band, If you walk down Piccadilly with a poppy or a lily in your mediaeval hand.‎
Appears in 218 books from 1881-2008
Page 77 - Other things leave me, but it abides; other things change, but it remains the same. For me its balmy airs are always blowing, its summer seas flashing in the sun; the pulsing of its...‎
Appears in 104 books from 1889-2008
Page 207 - You see my kind of loyalty was loyalty to one's country, not to its institutions or its office-holders. The country is the real thing, the substantial thing, the eternal thing; it is the thing to watch over, and care for, and be loyal to; institutions are extraneous, they are its mere clothing, and clothing can wear out, become ragged, cease to be comfortable, cease to protect the body from winter, disease, and death. To be loyal to rags, to shout for rags, to worship rags, to die for rags — that...‎
Appears in 94 books from 1883-2007
Page 34 - I was so far above the water that I seemed perched on a mountain, and her decks stretched so far away, fore and aft, below me, that I wondered how I could ever have considered the little Paul Jones a large craft.‎
Appears in 65 books from 1875-2006
Page 167 - ... you could see a streak on the water which you know by the look of the streak that there's a snag there in a swift current which breaks on it and makes that streak look that way...‎
Appears in 138 books from 1870-2008
Page 7 - After ten more minutes the town is dead again, and the town drunkard asleep by the skids once more. My father was a justice of the peace, and I supposed he possessed the power of life and death over all men and could hang anybody that offended him. This was distinction enough for me as a general thing; but the desire to be a steamboatman kept intruding, nevertheless. I first wanted to be a cabin-boy...‎
Appears in 94 books from 1875-2007
Page 6 - ... came to our section left us all suffering to try that kind of life; now and then we had a hope that if we lived and were good, God would permit us to be pirates. These ambitions faded out, each in its turn; but the ambition to be a steamboatman always remained.‎
Appears in 66 books from 1875-2006
Page 169 - I felt good and all washed clean of sin for the first time I had ever felt so in my life, and I knowed I could pray now.‎
Appears in 87 books from 1931-2007
Page 275 - Deal" from A Connecticut Yankee in King Arthur's Court. The Gilded Age gave an entire era its name. "The future historian of America," wrote George Bernard Shaw to Samuel Clemens, "will find your works as indispensable to him as a French historian finds the political tracts of Voltaire."1 There is a Mark Twain Bank in St.‎
Appears in 69 books from 1875-2007

About the author (2002)


Milton Meltzer has written a great many books for both children and adults, including Dorothea Lange: A Photographer's Life and Carl Sandburg: A Biography. He now resides in New York City.
The Mark Twain and His Circle Series, edited by Tom Quirk and John Bird

Bibliographic information

QR code for Mark Twain Himself
TitleMark Twain Himself: A Pictorial Biography
Volume 1 of Mark Twain and his circle series
AuthorsMark Twain, Milton Meltzer
EditorMilton Meltzer
Editionillustrated, reprint
PublisherUniversity of Missouri Press, 2002



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這本1988年再版的書，應該是取材；Mr. Clemens and Mark Twain: A Biography Paperback – December 15, 1991
by Justin Kaplan
  • Paperback: 432 pages
  • Publisher: Simon & Schuster; Reissue edition (December 15, 1991)


Mark Twain, the American comic genius who portrayed, named, and in part exemplified America’s “Gilded Age,” comes alive in Justin Kaplan’s extraordinary biography.

With brilliant immediacy, Mr. Clemens and Mark Twain brings to life a towering literary figure whose dual persona symbolized the emerging American conflict between down-to-earth morality and freewheeling ambition. As Mark Twain, he was the Mississippi riverboat pilot, the satirist with a fiery hatred of pretension, and the author of such classics as Tom Sawyer andHuckleberry Finn. As Mr. Clemens, he was the star who married an heiress, built a palatial estate, threw away fortunes on harebrained financial schemes, and lived the extravagant life that Mark Twain despised. Kaplan effectively portrays the triumphant-tragic man whose achievements and failures, laughter and anger, reflect a crucial generation in our past as well as his own dark, divided, and remarkably contemporary spirit.

Mr. Clemens and Mark Twain brilliantly conveys this towering literary figure who was himself a symbol of the peculiarly American conflict between moral scrutiny and the drive to succeed. Mr. Clemens lived the Gilded Life that Mark Twain despised. The merging and fragmenting of these and other identities, as the biography unfolds, results in a magnificent projection of the whole man; the great comic spirit; and the exuberant, tragic human being, who, his friend William Dean Howells said, was “sole, incomparable, the Lincoln of our literature.”




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Strong Opinions by Vladimir Nabokov. Nabokov and the moment of truth

July 6, 2018, 6:41 pm
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Nabokov and the moment of truth



“My advice to a budding literary critic would be as follows. Learn to distinguish banality. Remember that mediocrity thrives on "ideas." Beware of the modish message. Ask yourself if the symbol you have detected is not your own footprint. Ignore allegories. By all means place the "how" above the "what" but do not let it be confused with the "so what." Rely on the sudden erection of your small dorsal hairs. Do not drag in Freud at this point. All the rest depends on personal talent.”

―from STRONG OPINIONS by Vladimir Nabokov





Review

Hauteur is Nabokov's middle name. Even when admitting to intellectual lacunae, he does so with the air of an aristocrat putting a peasant in his place: "I am completely ignorant of Wittgenstein's works, and the first time I heard his name must have been in the fifties. In Cambridge I played football and wrote Russian verse." This is a great way of getting through life. Such self-assurance usually charms people or cows them. Either way it insures one's supreme independence, both allows one to preen one's own feathers and snip at the plumage of rival peacocks. Strong Opinions - a collection of Nabokov's articles, interviews, letters to editors, and fugitive book reviews - is a marvel of malicious glee, deft phrases, and iconoclastic absurdities. His literary judgments, in particular, are deliciously haywire, as if a lunatic had been reading too much of Oscar Wilde: "Finnegan's Wake is nothing but a formless and dull mass of phony folklore, a cold pudding of a book, a persistent snore in the next room, most aggravating to the insomniac I am." Since this sort of whimsy goes on for pages and pages, Strong Opinions is less a portrait of Nabokov the master novelist, or even Nabokov the narcissist, than it is a little joke book concocted by Nabokov the funnyman, whose favorite American films, not too surprisingly, are those of the Marx Brothers. How cold intellects love Groucho and his nutty family! But can one picture Nabokov in a Marx Brothers film? Perhaps - as a replacement for Margaret Dumont, the statuesque stuffy society grande dame. (Kirkus Reviews) --This text refers to an out of print or unavailable edition of this title.

Product Description

In this collection of interviews, articles, and editorials, Nabakov ranges over his life, art, education and politics amoung other subjects.
See all Editorial Reviews

Product Details

  • Paperback: 368 pages
  • Publisher: Vintage (March 17, 1990)
  • Language: English
  • ISBN-10: 0679726098
  • ISBN-13: 978-0679726098
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"I don't think in any language. I think in images. I don't believe that people think in languages. They don't move their lips when they think. It is only a certain type of illiterate person who moves his lips as he reads or ruminates. No, I think in images, and now and then a Russian phrase or an English phrase will form with the foam of the brainwave, but that’s about all."
-- Vladimir Nabokov from a BBC Interview (1962) included in "Strong Opinions" (1973)
In this collection of interviews, articles, and editorials, Nabokov ranges over his life, art, education, politics, literature, movies, and modern times, among other subjects. Strong Opinions offers his trenchant, witty, and always engaging views on everything from the Russian Revolution to the correct pronunciation of Lolita.




這本書有一翻譯本：{ 固執己見}時代文藝出版社，1998
翻譯問題和錯誤相當多。
不過，讀得下去的人多少可以從中知道他的堅持。

現在網路上可以找到一些文本。譬如

http://www.kulichki.com/moshkow/NABOKOW/Inter03.txt

*****http://www.kulichki.com/moshkow/NABOKOW/Inter12.txt

    Nabokov's interview. (03)  Playboy [1964]


This   exchange   with   Alvin   Toffler    appeared    in
Playboy  for  January,  1964. Great trouble was taken on
both  sides  to  achieve  the   illusion   of   a   spontaneous
conversation.  Actually,  my  contribution  as printed conforms
meticulously to the answers, every word of which I had  written
in  longhand before having them typed for submission to Toffler
when he came to Montreux in mid-March, 1963. The  present  text
takes  into  account the order of my interviewer's questions as
well as the fact that a  couple  of  consecutive  pages  of  my
typescript  were apparently lost in transit.Egreto perambis
doribus! 這是Vladimir Nabokov自創的 參考英文人行道

    Nabokov's interview. (12)  The Sunday Times [1969]


In early June, 1969, Philip Oakes sent  me  a  series  o)f
questions  on  behalf  of  The  Sunday  Times, London. I
happened to be greatly annoyed by the editorial liberties  that
periodicals  in other countries had been taking with material I
had supplied. When he arrived on June 15, I gave him my written
answers accompanied by the following note.

   When  preparing  interviews  I  invariably  write  out  my
replies  (and sometimes additional questions) taking great care
to make them as concise as possible.
   My  replies  represent  unpublished  material,  should  be
printed verbatim and in toto, and copyrighted in my name.
   Answers   may   be   rearranged   in  whatever  order  the
interviewer car the editor wishes: for  example,  they  may  be
split,  with  insertion of the questioner's comments or bits of
descriptive matter (but none of  the  latter  material  may  be
ascribed to me).
   Unprepared  remarks,  quips, etc., may come from me during
the actual  colloquy  but  may  nut  be  published  without  my
approval. The article will be shown to me before publication so
as  to  avoid  factual  errors  {e.g.,  in names, dates,
etc.).

   Mr. Oakes' article appeared in The Sunday Times  on
June 22, 1969.

As  a  distinguished entomologist and novelist do you find
that your  two  main  preoccupations  condition,  restrict,  or
refine your view of the world? 

   What  world?  Whose world? If we mean the average world of
the average newspaper reader in Liverpool, Livorno,  or  Vilno,
then  we  are dealing in trivial generalities. If, on the other
hand, an artist invents his own world, as I think  I  do,  then
how  can  he be said to influence his own understanding of what
he has created himself? As soon as we start defining such terms
as "the writer,""the world,""the novel," and so on,  we  slip
into  a  solipsismal  abyss where general ideas dissolve. As to
butterflies-- well, my taxonomic  papers  on  lepidoptera  were
published  mainly  in  the  nineteen  forties,  and  can  be of
interest to  only  a  few  specialists  in  certain  groups  of
American butterflies. In itself, an aurelian's passion is not a
particularly unusual sickness; but it stands outside the limits
of  a  novelist's  world, and I can prove this by the fact that
whenever I allude to butterflies in my novels,  no  matter  how
diligently  I  rework  the stuff, it remains pale and false and
does not really express what  I  want  it  to  express--  what,
indeed,  it can only express in the special scientific terms of
my entomological papers. The butterfly that  lives  forever  on
its  type-labeled pin and in its O. D. ("original description")
in a scientific journal dies a messy death in the fumes of  the
arty  gush.  However--  not  to let your question go completely
unanswered-- 1 must admit that in one sense  the  entomological
satellite  does  impinge upon my novelistic globe. This is when
certain place-names are mentioned. Thus if I hear or  read  the
words  "Alp  Grum,  Engadine" the normal observer within me may
force me to imagine the  belvedere  of  a  tiny  hotel  on  its
2000-meter-tall  perch  and  mowers  working  along a path that
winds down to a toy railway; but what I see first  of  all  and
above  all  is  the  Yellow-banded  Ringlet settled with folded
wings on the flower that those  damned  scythes  are  about  to
behead.

What  was  the most amusing item you recently found in the
papers? 

   That bit about Mr. E. Pound, a venerable fraud,  making  a
"sentimental visit" to his aima mater in Clinton, New York, and
being  given  a standing ovation by the commencement audience--
consisting, apparently, of morons and madmen.

Have you seen the cinema version of  your  Laughter
in the Dark?

   I  have.  Nicol  Williamson  is,  of  course, an admirable
actor, and some of the sequences are very good. The scene  with
the  water-ski  girl,  gulping  and  giggling, is exceptionally
successful. But I was appalled by the  commonplace  quality  of
the  sexual passages. I would like to say something about that.
Clichés and conventions breed remarkably fast. They  occur
as  readily  in the primitive jollities of the jungle as in the
civilized obligatory scenes of our  theater.  In  former  times
Greek  masks  must  have set many a Greek dentition on edge. In
recent films, including Laughter in the Dark, the  porno
grapple  has  already  become  a  cliché though the
device is but half-a-dozen years old. I would have  been  sorry
that Tony Richardson should have followed that trite trend, had
it  not  given  me  the  opportunity  to form and formulate the
following important notion: theatrical acting, in the course of
the last  centuries,  has  led  to  incredible  refinements  of
stylized  pantomine  in  the  representation  of, say, a person
eating, or  getting  deliciously  drunk,  or  looking  for  his
spectacles,  or making a proposal of marriage. Not so in regard
to the imitation of the sexual  act  which  on  the  stage  has
absolutely  no  tradition  behind it. The Swedes and we have to
start from scratch and what I have witnessed up to now  on  the
screen--  the  blotchy male shoulder, the false howls of bliss,
the four or  five  mingled  feet--  all  of  it  is  primitive,
commonplace,  conventional,  and therefore disgusting. The lack
of art and style in these paltry  copulations  is  particularly
brought  into  evidence  by their clashing with the marvelously
high level of acting  in  virtually  all  other  imitations  of
natural gestures on our stage and screen. This is an attractive
topic  to  ponder  further, and directors should take notice of
it.

When you are writing your novels, you  have  a  remarkable
sense  of  history and period, although the situations in which
your characters are m'uol"üed reflect perennial  dilemmas.
Do  you feel that any given time creates special problems which
interest you as a writer? 

   We  should  define,  should  we  not,  what  we  mean   by
"history."  If  "history"  means  a "written account of events"
(and that is about all Clio can claim),  then  let  us  inquire
who  actually-- what scribes, what secretaries-- took it
down and how qualified they were for the job. I am inclined  to
guess  that  a  big part of "history" (the unnatural history of
man-- not the naive testimony of rocks) has  been  modified  by
mediocre  writers and prejudiced observers. We know that police
states (e.g., the Soviets) have actually snipped out and
destroyed such past events in old books as did not  conform  to
the  falsehoods  of the present. But even the most talented and
conscientious historian may err.  In  other  words,  I  do  not
believe  that  "history"  exists apart from the historian. If I
try to select a keeper of records, I think  it  safer  (for  my
comfort,  at least) to choose my own self. But nothing recorded
or thought up by myself can create any  special  "problems"  in
the sense you suggest.

You  say  somewhere  that,  artistically  speaking, you
prefer Lolita to all your other books.  Has  y  our  new
novel  Ada  superseded  Lolita in your affection?

   Not really. It is true  that  Ada  caused  me  more
trouble than all my other novels and perhaps that bright fringe
of  overlapping  worry  is  synonymous  with the crest of love.
Incidentally, speaking of my first nymphet, let  me  take  this
neat  opportunity to correct a curious misconception profferred
by an anonymous owl in a London weekly a couple of months  ago.
"Lolita"  should  not  be  pronounced in the English or Russian
fashion (as he thinks it should), but with  a  trill  of  Latin
"l"s and a delicate toothy "t."

Do you feel isolated as a writer? 

   Most of the writers I have met were Russian emigres in the
nineteen  twenties and thirties. With American novelists I have
had virtually no contact. In England, I  had  lunch  once  with
Graham  Greene.  I  have dined with Joyce and have had tea with
Robbe-Grillet. Isolation means liberty and discovery. A  desert
island  may be more exciting than a city, but my loneliness, on
the whole, has little significance.  It  is  a  consequence  of
chance  circumstance-- old shipwrecks, freakish tides-- and not
a matter of temperament. As a private person I am good-natured,
warm, cheerful, straightforward, plainspoken, and intolerant of
bogus art. I do not mind my own writings  being  criticized  or
ignored  and  therefore  think  it  funny  that people not even
concerned with literature should be upset by my finding  D.  H.
Lawrence  execrable  or  my seeing in H. G. Wells a far greater
artist than Conrad.

What do you think of the so-called "student  revolution
"? 

   Rowdies  are  never  revolutionary,  they are always reac'
tionary. It is among the young that  the  greatest  conformists
and  Philistines  are found, e.g., the hippies with their group
beards  and   group   protests.   Demonstrators   at   American
universities  care  as  little about education as football fans
who smash up subway stations in England care about soccer.  All
belong to the same family of goofy hoodlums-- with a sprinkling
of clever rogues among them.

What are your working methods? 

   Quite  banal.  Thirty  years  ago  I used to write in bed,
dipping my pen into a bedside inkwell, or else I would  compose
mentally  at  any time of the day or night. I would fall asleep
when the sparrows woke up. Nowadays I write my stuff  on  index
cards,  in  pencil,  at a lectern, in the forenoon; but I still
tend to do a lot of work in my head during long  walks  in  the
country on dull days when butterflies do not interfere. Here is
a disappointed lepidopterist's ditty:


   It's a long climb
   Up the rock face
   At the wrong time
   To the right place.


Do you keep a journal or seek documentary reminders?

   I  am  an  ardent memoirist with a rotten memory; a drowsy
king's absentminded  remembrancer.  With  absolute  lucidity  I
recall  landscapes,  gestures,  intonations, a million sensuous
details, but names and numbers topple into oblivion with absurd
abandon like little blind men in file from a pier.



                       


                           
                       
                     


                   


                   
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Oscar Wilde arts centre plans backed.   "De Profundis" By  Oscar Wilde來自深淵的吶喊：王爾德獄中書 /自深深處  

                     

                                              July 7, 2018, 3:30 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Oscar Wilde 分享了 1 條連結。
2 小時
BBC.COM
Oscar Wilde arts centre plans backed
A vision for the future development of Reading Prison has been backed 


Artist Patti Smith reads from Oscar Wilde’s 100 page letter De Profundis, which he wrote during his two year incarceration in Reading Prison. For the first time this notorious prison has opened to the public where artists, writers, performers and ex-prisoners have been responding to the work of Wilde and the environment of the prison itself. Exhibition curated by Artangel.



-5:34



BBC Radio 4
Stephen Rea reads from Wilde's famous letter in the prison cell where it was written.


Oscar Wilde's "De Profundis" by Rupert Everett 
https://www.youtube.com/watch?v=VBx2e6_-GLU


― from "De Profundis"
"To deny one's own experiences is to put a lie into the lips of one's own life. It is no less than a denial of the soul.”

“The most terrible thing about it is not that it breaks one’s heart—hearts are made to be broken—but that it turns one’s heart to stone.” 



“The gods are strange. It is not our vices only they make instruments to scourge us. They bring us to ruin through what in us is good, gentle, humane, loving.” 

"Do not be afraid of the past. If people tell you it is irrevocable, do not believe them. The past, the present and future are but one moment in the sight of God. Time and space are merely accidental conditions of thought. The imagination can transcend them."

“The final mystery is oneself. When one has weighed the sun in the balance, and measured the steps of the moon, and mapped out the seven heavens star by star, there still remains oneself. Who can calculate the orbit of his own soul?”

“If I got nothing from the house of the rich I would get something at the house of the poor. Those who have much are often greedy; those who have little always share.”

De Profundis (Latin: "from the depths") is a 50,000 word letter written by Oscar Wilde during his imprisonment in Reading Gaol, to Lord Alfred Douglas, his lover. Wilde wrote the letter between January and March 1897; he was not allowed to send it, but took it with him uponrelease. In it he repudiates Lord Alfred for what Wilde finally sees as his arrogance and vanity; he had not forgotten Douglas's remark, when he was ill, "When you are not on your pedestal you are not interesting." He also felt redemption and fulfillment in his ordeal, realizing that his hardship had filled the soul with the fruit of experience, however bitter it tasted at the time.

原文
http://www.gutenberg.org/cache/epub/921/pg921.txt
主題活動內容試閱
來自深淵的吶喊：王爾德獄中書（160週年誕辰紀念版）
De Profundis

----中國的一版本
自深深處 朱純深譯，收入 王爾德作品集，北京：人民文，2001學


*****
"Oscar Wilde: From the Depths"
Now - February 14, 2016
Lantern Theater Company
Philadelphia, PA
This new play pries open the imagination of Oscar Wilde, the most original and artistic mind of his generation. At the height of his literary success and incandescent celebrity he is brought to sudden and catastrophic ruin. Now, desolate and alone in his cell at Reading Gaol, he struggles to overcome the darkness that threatens to engulf him. Conjuring up a cast of characters from his memory, he revisits the stories from his meteoric career and unconventional personal life in search of transformation and salvation. More here:http://www.lanterntheater.org/2015-16/oscar-wilde.html





OSCAR WILDE: FROM THE DEPTHS (Lantern): A love that dared not speak its mind
With his brilliant work and tragic arc, Oscar Wilde remains a fascinating…
PHINDIE.COM


                       


                           
                       
                     


                   


                   
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Andrei Bely 別雷《彼得堡》 Petersburg 

                     

                                              July 8, 2018, 5:22 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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作者: [俄]別雷(Андрей Белый)
Andrei Bely (redirect from Андре́й Бе́лый)
bʊˈɡajɪf] ( listen)), better known by the pen name Andrei Bely (Russian: Андре́й Бе́лый, IPA: [ɐnˈdrʲej ˈbʲelɨj] ( listen); 26 

彼得堡
  • 1916 Petersburg (revised edition published, 1922)

Translations[edit]
There have been four major translations of the novel into English:
In a review of all the existing English translations, Professor Michael R. Katz writes " . . . if someone wants to read Bely's masterpiece and to understand most of it, then learn Russian and read it in the original; if he/she wants to understand some of it, then read Maguire and Malmstad's magisterial annotated, introduced, and reasonably well-translated scholarly edition; and if someone wants just to say that he/she has read Bely's Petersburg for the sake of adding one notch to his cultural gun . . . then go read Elsworth's version."[4]
出版社:浙江文藝
出版時間:2018年01月
人民幣 ¥88
ISBN：9787533951085
內容簡介
在西方，安德列•別雷被看作是20世紀俄國小說家中*傑出的天才。著名小說家納博科夫更是將安德列•別雷*重要的作品《彼得堡》與西方的另外三部劃時代作品——《追憶似水年華》《尤利西斯》《變形記》一起，列為他*欣賞的20世紀西方四大名著。
《彼得堡》憑藉豐盈的想像和跳躍的意識流描寫，再現了1905年俄國革命期間,彼得堡十天裏所發生的故事。在宏大的背景下，工廠罷工、遊行、暗殺頻頻上演，平民與貴族、革命党人與奸細密探輪番登場。不按時序構成的故事情節和人物意識活動，共同繪織出一幅20世紀初俄羅斯帝國末期的多重奏圖景。在作者筆下，“彼得堡”不再是一個純粹的地理概念，它聯結著俄國的歷史與未來，成為東方和西方“兩個敵對世界的交接點”，具有世界規模的象徵性。
作者簡介
[俄]安德列•別雷(1880—1934)，俄國象徵主義詩人、作家，出生于一個富裕家庭，自幼受到良好的教育。父親是大學數學系教授，母親愛好音樂，擅長鋼琴演奏，數學的精確性和音樂的藝術性都在別雷的創作中留下了深刻的影響。別雷自1901年開始發表文學作品，著有詩歌《藍色天空中的金子》《灰燼》《甕》等，長篇小說《銀鴿》《彼得堡》《莫斯科》《頭面像》等。
安德列•別雷在小說中不僅關注俄羅斯民族的文化歸屬和精神源流，而且實驗性地利用多種藝術形式的聯覺性特徵，將象徵與意識流巧妙結合，他也因此與普魯斯特、喬伊絲等作家一同進入20世紀著名意識流大師的行列。
目　　錄
原編者的話/003
開場白/006
第一章 講一位可敬的人，他的智力遊戲及存在的飄忽無定性/009
第二章 講一次會引起種種後果的約會/091
第三章 講尼古拉•阿波羅諾維奇•阿勃列烏霍夫怎麼為一個想法陷入窘境/175
第四章 在這裏，敍述的線索中斷了/238
第五章 講鼻子邊上有個贅疣的先生及一個內容可怕的沙丁魚罐頭盒/342
第六章 講灰濛濛的一天發生的事件/411
第七章 又名： 灰濛濛一天發生的事件仍在繼續/540
第八章 也是最後的一章/674
尾 聲/726
譯後記/732
前　　言
譯後記
靳戈
安德列•別雷（АндрейБелый，１８８０—１９３４）是二十世紀初享有世界聲譽的俄羅斯作家。長篇小說《彼得堡》是他最著名的代表作，因為這部作品他被譽為“二十世紀最偉大的小說家”之一。由於歷史上的原因，我國讀者對這位俄羅斯近代大作家及其創作至今仍比較陌生。
安德列•別雷是個筆名，別雷原名伯里斯•尼古拉耶維奇•布加耶夫。１８８０年１０月２６日別雷出生在莫斯科，父親是莫斯科大學數學系著名教授，母親愛好音樂，擅長演奏鋼琴。他從小受到良好的教育，１９０３年從莫斯科大學數學系畢業後，又留在該校文史系繼續學習三年。大學生時代，他既精心攻讀專業課程，又對達爾文主義、玄秘主義及叔本華和康得的唯心主義哲學產生濃厚的興趣，同時酷愛各種藝術，對音樂、美術、雕塑、建築都有較深的造詣，並開始文學活動。１９０６至１９２３年間，他曾多次出國，有時為了進修學業，有時是純粹的旅遊或想改換一下生活環境，先後到過法國、義大利、斯堪的納維亞半島、非洲和中東地區，旅居次數較多、時間較長是在德國柏林。二十年代中期後基本定居莫斯科，直到１９３４年１月８日病逝。
在政治上，安德列•別雷雖然經常以超黨派自居，卻始終關切祖國人民的命運。年輕時，他深感沙皇專制統治下俄國社會的黑暗腐敗和世態的畸形醜惡，於是總贊成變革；不管這種變革是什麼性質，由哪個階級階層領導，他都擁護。１９０５年革命前夕，他發表《綠草地》一文，將俄羅斯比作迄今遭巫魔禁錮的美女，預言她將因革命而獲得新生。而在１９０６年寫的自傳及《社會民主黨和宗教》等文章中，則表示自己贊成神秘主義也同情革命，甚至稱：“就社會觀點來說，我屬於社會主義者”①。１９１７年二月革命後，他支持資產階級的克倫斯基臨時政府，同年底又為無產階級領導的十月革命的勝利熱烈歡呼。在此後的蘇維埃年代裏。他不理解甚至公開表示不贊同馬克思、恩格斯的唯物主義，卻從一開始就積極參加祖國的新文化建設，應邀熱情為青年作者授課或進行專業輔導。
在文學事業上，安德列•別雷一生堅持探索，勤於筆耕，而且是個多面手。自１９０１年首次發表作品以來，他始終既寫詩又寫散文還寫小說，既編雜誌又從事理論著述，數量相當可觀，給後世留下一份十分豐富、獨特的文學遺產。其創作方面的代表作，有詩歌《藍色天空中的金子》（１９０４）、《灰燼》（１９０９）和《甕》（１９０９）、《基督復活》（１９１８）、《公主與騎士》（１９１９）和《星》（１９１９）及《離別以後》（１９２２），用帶韻律的散文寫的四部“交響曲”（《英雄交響曲》或《北方交響曲》、《戲劇交響曲》、《複返》和《暴風雪高腳杯》）（１９０３—１９０８），長篇小說《銀鴿》（１９１０）、《彼得堡》（１９１３—１９１４）、《莫斯科》（１９２６）和《頭面像》（１９３２）等。這些不同樣式、體裁的作品，有的寫中世紀社會，有的屬於宗教傳說故事，有的表現古代歐洲，有的講過去和當前的俄羅斯生活，取材極為廣泛，多採用象徵性形象和奇特的手法表達作者對種種悲劇黑暗現象的不滿和哀傷及對真善美理想境界的憧憬和追求，同時都不同程度地包含對人生的神秘主義觀點。他還發表文藝論著《象徵主義者》（１９１０）和《為什麼我成了個象徵主義者》（１９２８）等，編輯出版象徵主義雜誌《幻想者劄記》（１９１９—１９２２）等，長期系統宣傳象徵主義文藝思想。和勃洛克、勃留索夫一起，安德列•別雷被認為是當時俄羅斯文壇上象徵主義流派的三主將之一。他晚年出版的回憶錄《在兩個世紀的交接點上》（１９３０）、《世紀之初》（１９３３）和《兩次革命之間》（１９３４），是關於二十世紀頭三十年裏歐洲和俄國象徵主義文學運動不可多得的珍貴材料。
特別是長篇小說《彼得堡》，問世後著實走紅了好長一陣子。蘇維埃政權初年根據小說故事改編的同名話劇，搬上舞臺後曾經吸引了政府主管文化和文學藝術的人民委員盧納察爾斯基的興趣和注意。經作者本人修改、刪節後於１９２２年由柏林時代出版社出版的本子，在俄羅斯及蘇聯國內多次再版。當時甚至出現過一股“《彼得堡》熱”，不少作家因模仿它出了名。就連一直自感同作者“格格不入”的高爾基也承認自己“讚賞安德列•別雷的作品所表現的緊張
和獨創性”。
但是，從安德列•別雷逝世不久的三十年代中期開始，他的包括《彼得堡》在內的全部創作漸漸變得不受重視和被冷落了。起初，是因為１９３５年蘇聯政府“批准”確認“社會主義的現實主義”為“蘇聯文學與蘇聯文學批評的基本方法”，而他始終屬於不按照“基本方法”進行創作的作家之列。後來，特別是在第二次世界大戰結束不久，安德列•別雷和許多非社會主義現實主義作家一起被當局作為“頹廢派”或甚至“政治上和藝術上反動的蒙昧主義與叛變行為的代表者”遭到公開的點名批判。這樣，他在革命前及蘇維埃政權初期曾經風靡了整二十年的著名長篇小說《彼得堡》自１９３５年以後，就再也沒有重版過。
蘇聯文學界對安德列•別雷及其名著《彼得堡》重新發生興趣，始于六十年代初。當時，在蘇聯社會廣泛批判個人崇拜及其危害、全面反思半個世紀來蘇聯文學的歷程、緊張探索蘇聯文學新的更加開闊的前景中，人們又重新想起了安德列•別雷，想起了他的代表作《彼得堡》。１９６２年，蘇聯國家科學出版社出的九卷本《簡明文學百科全書》
第一卷首次把安德列•別雷列為重點作家和俄羅斯象徵派的代表，作了不帶“頹廢”、“反動”等批判性帽子的介紹，所舉經歷和主要成就中，著重稱《彼得堡》是他的“最佳作品”。在１９６５年面世的該百科全書第五卷所列《“意識流”文學》條目中則說，“圍繞著作為一種創作原則的‘意識流’形成了整整‘一個流派’……他們是普魯斯特、斯泰因、伍爾夫、別雷，最後還有喬伊絲”，把作家的名字與法國、美國、英國及愛爾蘭二十世紀歐美文學“意識流”的主要代表人物並列在一起，從而表明他在世界文學發展中的地位和重要性。１９７８年，１９２２年柏林出版的《彼得堡》在絕版四十多年後公開面世。１９８１年，莫斯科的科學出版社把《彼得堡》最早未經修改刪節的版本列為蘇聯科學院文學典籍叢書的一種，加了專家的大量注釋後重新出版；科學院院士利哈喬夫為之撰寫的序言中稱它是“在俄羅斯文學中第一部同時表現了東方和西方，也就是表現了全世界的作品”，認為它“至今具有現實的世界意義”。美國的《簡明不列顛百科全書》也把安德列•別雷列為重要作家，說他是“俄國象徵派最主要的理論家和詩人”，其《彼得堡》等小說作品“風格近似愛爾蘭作家喬伊絲。他在發展寫作新技巧方面對後來的俄國詩歌和散文的風格影響很大”。八十年代末蘇聯出版一部專門研究《彼得堡》的著作甚至這樣寫道：“沒有安德列•別雷的創新手法，就難以理解二十世紀歐洲文學中像喬伊絲的《尤利西斯》、加繆和卡夫卡的長篇小說及普魯斯特部分作品等重要文學現象的產生。這是一個統一的探索心理描寫手法的藝術體系，它豐富了二十世紀的世界藝術”。至此，安德列•別雷作為有世界聲譽的俄羅斯文學名家，他的《彼得堡》是一部近代俄羅斯文學經典性名著的意義，再次得到蘇聯及國際上的確認。
《彼得堡》全書共八章，加一個簡短的“開場白”和“尾聲”，主要寫了１９０５年革命時的十多天裏在俄國首都發生的一些人和事。彼得堡。潮濕陰冷的九月底十月初。權力很大的貴族參政員阿波羅•阿勃列烏霍夫一家三人已經分裂。靠忠誠和堅定平步青雲的參政員年過花甲，仍擔任“一個重要機構的首腦”，念念不忘要壓制一切現存秩序的異端；他的妻子安娜•彼得羅夫娜不滿丈夫的冷漠無情，兩年半前已隨一位義大利演員出走西班牙；正上大學的兒子尼古拉與父親表面和睦，內心充滿厭惡，他熱衷於新康得主義，不滿現實，曾許下要幫助一“輕率政黨”的諾言。當時俄國與日本交戰失敗，使彼得堡和全國的局勢處於一觸即發的危急狀態；活躍于工人和貧民區的恐怖政黨派平民知識份子黨員杜德金把一個裝有定時炸彈的沙丁魚罐頭盒秘密帶到尼古拉家裏。尼古拉因不久前的愛情糾葛遭到沙龍年輕的女主人索菲婭的嘲笑，決心報復，於是頭戴黑鬍子假面具，身披通常滑稽劇裏丑角穿的紅色多米諾式斗篷，出入各種場合，並參加了一次父親和索菲婭均到場的舞會，引起紛紛議論。舞會上，尼古拉收到一封信，信中要求他兌現諾言，用沙丁魚罐頭盒裝的定時炸彈炸死父親，他為自己真要去幹這弑父勾當而深感痛苦；同時阿波羅則被告知近日有人要加害于他，兇手和這舞會上穿丑角斗篷的是同一個人，即他兒子，弄得他惶惶然坐立不安，此事還使他失去最近升任大臣的可能性。其實那信是打進“輕率政黨”的利潘琴科假借党的名義寫的，旨在破壞革命。索菲婭的
丈夫利胡金少尉從妻子那裏得知那信的內容，乘機敲詐尼古拉。真誠參加“輕率政黨”並為此曾遭流放的杜德金認清利潘琴科的真面目，氣得發了瘋，遂深夜潛入利潘琴科的郊區別墅，用剪刀殺了他。無奈並萬般痛苦的尼古拉與利胡金大吵一場後急忙回家，以便立刻找出沙丁魚罐頭盒把它扔到涅瓦河裏。社會上形勢發展很快，不斷有群眾集會、遊行，還傳說有人在夜空中見到了“白色的斗篷”，預言耶穌基督二次降世。阿勃列烏霍夫父子各自懷著不同的驚恐心緒
回家，阿波羅在兒子房裏發現一個沙丁魚罐頭盒不知為何物就隨便拿到自己房內，尼古拉不知沙丁魚罐頭盒已被先到一步的父親無意中取走還到處尋找。兩人見面時雖仍疑恨重重卻又複萌骨肉之情，當天因被情人遺棄的安娜•彼得羅夫娜回來後也受到丈夫不失體面的接待。正當這一家三口重歸於好，共進晚餐後已安寢時，突然一聲巨響，接著便滿屋濃煙，窗破門塌。老參政員從此退休，和妻子一起回到鄉下。當場失去知覺的尼古拉清醒過來後出國療養、旅遊和進行考古研究。數年後回來時，父母均已去世，他從此蟄居父親的領地，成了個只偶爾去教堂或在家讀讀啟蒙主義哲學著作的白髮老人。
在這些通過斷斷續續不按通常時序敍述構成長篇小說大體故事情節的主要事件和人物中，很容易發現有不少直接來自十九世紀俄羅斯文學名著。例如，阿波羅•阿勃列烏霍夫及其與妻子安娜•彼得羅夫娜和兒子尼古拉的關係，立刻使人想起托爾斯泰《安娜•卡列尼娜》裏卡列寧一家人；平民知識份子出身的恐怖政黨成員杜德金顯然是普希金的長詩《銅騎士》裏那個憤怒的小人物葉甫蓋尼的繼續，更鮮明地帶有陀思妥耶夫斯基筆下的拉斯科爾尼科夫（《罪與罰》的主人公）及伊萬•卡拉馬佐夫和斯麥爾佳科夫（《卡拉馬佐夫兄弟》裏的主要人物）的印跡。《彼得堡》的特別獨到之處，首先在於作者根據現實和藝術本身的發展，利用前人的一些情節和人物加以諷刺模擬性的改變，再創造，在表現“沙皇統治下彼得堡的覆滅”這個傳統的和流行的主題時具有了新的內涵，既對官僚階層作了詼諧的諷刺，又對恐怖主義作了明確的否定。眾所周知，作家構思這部小說時俄國現實表明，沙皇政府的官僚統治不僅殘酷反動，而且早已完全腐朽沒落，而當時一些像社會革命黨那樣的極端黨派雖然成功地暗殺了普列維（內務大臣，１９０４年）、斯托雷平（總理大臣，１９１１年）等不少政要，卻絲毫無助於俄羅斯社會的進步。可見這部作品的一些具體描寫雖然帶有神秘主義和宿命論的悲觀色彩，但它所揭示的基本主題思想，不僅十分重要，而且完全切合生活實際，具有明顯的現實意義。
長篇小說《彼得堡》的創新及其重要性和意義，還遠不止於此。作家本人在一封信中說過：“革命、日常生活、１９０５年等等進入情節並非有意，純屬偶然……我的整部長篇小說是借象徵性的地點和時間描寫殘缺不全的想像形式的下意識生活。”“我的《彼得堡》實質上是對被意識割斷了同它自然本性聯繫的瞬息間下意識生活的記錄……它的真正的登場人物，則是一些想像的形式，即所謂不曾遊到意識這道門檻的想像形式。”因此，“不妨可以把這部長篇稱作
‘大腦的遊戲’”。
安德列•別雷這封信是針對１９１３年《彼得堡》在刊物上逐章連載後有人指責它對１９０５年的日常生活和環境描寫“有重要的知識性錯誤”而發的，意在表明作者當時根本沒有打算像人們所習慣看到的那樣去描寫１９０５年革命、日常生活和人物形象，連彼得堡這個地點都只是一種象徵，一種“想像的形式”罷了。他的任務，不在於
反映通常所說的現實、正確描述人們在幹什麼和想什麼，而在表現人們“心靈的生活”，展示所謂“未經消化的感覺的沸騰”，“記錄”人們“瞬息間的下意識生活”。可見，按照作者原來的構思，《彼得堡》就是一部大膽反傳統的標新立異之作，一部打破現實主義傳統的象徵主義和意識流長篇小說。
長篇小說題名《彼得堡》。它的“開場白”裏指出彼得堡只是“地圖上的一個點”和“我們帝國諸多城市中的一個”，同時立刻交代說“彼得堡要不是首都，那也就沒有彼得堡”。緊接著在第一章裏通過主人公早晨乘坐馬車去上班因看到涅瓦河遠處和煙霧彌漫的瓦西列夫斯基島時腦子裏更浮現出傳說中二百年前城市產生的背景後，又一再稱彼得堡從此成了東方和西方“兩個敵對世界的交接點”。因此，儘管小說裏彼得堡是作為故事地點而存在的，而且對城市的河流、運河、島嶼、橋樑、公園和縱橫交錯的大街、馬路都說得十分明確、具體，然而在作者的筆下，它又不只是個地理概念，而是俄羅斯帝國乃至包括東方和西方即整個世界的象徵。
與此相聯繫，小說中反復出現這樣的話：“彼得堡的大街具有確鑿無疑的特徵：彼得堡的大街把過往的人們變成影子，而影子又把彼得堡的大街變成了人。”意思是說，作品所描寫的一些人是當時具體生活在彼得堡的人，卻又不僅如此，他們都是那個成了“兩個敵對世界交接點”的彼得堡的虛幻具象。一種具有更普遍、廣泛的社會現象的影子。例如對中心主人公之一阿波羅•阿勃列烏霍夫，小說一開始就介紹說他既有“深遠的蒙古族血統”又曾是“接受基督教洗禮”的親王的後裔，然後著重指出他擔任政府“一個機構的首腦”後一方面敵視工人和貧民，厭惡曲線和紅色，主張堅決壓制，同時奢談什麼“仁愛”和人道主義，鼓吹引進西方的生產機器。這種複雜矛盾的特點，充分表明這位老參政員是個同時兼具東方民族的殘忍和西方文明的虛偽的典型代表。小說中的尼古拉和索菲婭、杜德金和利潘琴科、僕人謝苗內奇和安娜•彼得羅夫娜夫人等一些主要人物形象，也基本如此，他們都是現實的、具體的人，同時又是某種具有一定普遍意義的現象的影子。
這樣，《彼得堡》的敍述雖然有明確具體的時間、地點，由一些顛倒了時序卻貫穿始終的人和事組成的相對完整的故事情節，同時又把其中的地點當作東方和西方“兩個敵對世界的交接點”的象徵，把幾位中心人物形象分別當作更普遍、廣泛的社會現象的影子來描寫，從而使自己的整個藝術畫面具有了世界規模的象徵性。它所揭示的極度激化的社會矛盾和危機，也成了既是俄國的又是全世界的，故事結束時主人公家裏一聲巨響突發的災難，同時象徵著一種世界性災難的來臨。
在《彼得堡》裏，對地點、時間、人物及其行為的種種鮮明的象徵性描述，還不時為人物的心靈活動“未經消化的感覺的沸騰”即豐富複雜的直覺及直覺產生的下意識活動、純主觀的無邊無際的自由聯想所打散或沖淡，以致使小說的情節時斷時續、時序顛倒，許多片段完全成了人物感覺、感受和下意識生活的直接呈現。例如，把現實中的人物當成某種概念、現象的影子原是一般象徵主義文學中常見的，而在這部作品中反復出現的“彼得堡的大街把過往的行人變成了影子”，則乃是主人公最初的一種直覺及由此引發的自由聯想的結果：阿波羅•阿勃列烏霍夫早晨經過涅瓦大街去機關上班時見到了過往的人群，因為他是坐在轎式馬車裏，所以首先看到人們的鼻子、帽子、陽傘，於是他腦海裏出現的仿佛不是人群而是些不同形狀和顏色的鼻子、帽子和陽傘，由直覺中的鼻子、帽子和陽傘又聯想到人們都成了影子。又例如，小說頭一章前八節寫主人公起床、用餐、乘馬車去機關，以後諸章中主人公獲悉有人要謀害他，尼古拉接到要自己兌現諾言的信，杜德金弄清利潘琴科的卑鄙用心，以及最後一章寫主人公到旅店會見出走兩年半後剛回來的妻子和尼古拉急忙回自己房間尋找沙丁魚罐頭盒等全部關鍵性的情節，都只有很簡單的寥寥幾筆，而對其間人物不由自主地連連產生的回憶、聯想、感覺等緊張的下意識內容，卻每每給以數百數千字乃至整整連續幾節的詳細記述。就是一些表面上屬作者客觀敍述的故事背景，都既帶有鮮明的象徵性，又充滿不受理性控制的主觀隨意性。例如，第二章中關於１９０５年革命爆發時氛圍的渲染：那些日子裏擁到街上的人群被比作全身“各個部位不斷變化著”的“多足蟲”，而天沒有颳風、沒有狗叫和工廠沒有鳴汽笛的“夜間荒原上”神秘而清晰有力的“嗚嗚嗚嗚”聲，則被理解成“含義空前”的“１９０５年的十月之歌”。如此等等，同樣都是人物非理性的內心的主觀感覺。《彼得堡》的絕大部分篇幅都採用這種方式敍述，即對客體（現實生活事件和各種人物）斷斷續續幾句簡單多半帶象徵性的交代之後，便是人物（有時是作者自己）內心“未經消化的”和“沸騰”著的感覺、感受，他的種種沒有必然聯繫的奇特聯想，即所謂“瞬息間的下意識生活的記錄”。安德列•別雷本人談及《彼得堡》時不見使用過“意識流”這個術語，但他這部長篇的敍述方式充斥著典型的意識流手法。
正是這種象徵和意識流的有機的巧妙結合，使《彼得堡》在內容和技巧上獨具一格，新穎別致，蘊含著異常的魅力，閃爍著迷人的光彩。與分別被托爾斯泰和陀思妥耶夫斯基發展到登峰造極的以真實的生活描寫為基礎的傳統現實主義小說不同，安德列•別雷提供的藝術畫面是現實的又是非現實的，時空上有明確具體的界定的，同時又是朦朧的、模糊的和無限的，乃至具有世界性的廣闊內涵。《彼得堡》在描繪典型環境和典型人物及暴露批判黑暗現實的精細、深刻方面也許不及一些經典的現實主義傑作，但它借助於藝術象徵和意識流及通過二者的結合所表現的俄國和世界當時正面臨的災難性危機方面，卻要比它同時代用傳統現實主義方法寫成的作品強烈、緊張得多，因此也更震撼人心，催人猛醒。
此外，《彼得堡》的風格和文體也異常獨特。除因為一些主要情節和人物是對十九世紀文學名著的諷刺模擬而使小說的敍述始終籠罩著一種亦莊亦諧的氣氛之外，作者還力求各種藝術的融合，最大限度地發揮長篇小說形式的藝術表現力。整個作品猶如一幅包羅萬象的巨型繪畫或雕塑，作者的手筆時而簡樸明快，時而沉滯凝重。許多完全或基本相同的句子、段落在不同情況下的多次重複等等，更可以看出作家有意把諸如對位、變奏、轉調等音樂中的作曲法技巧移植到長篇小說中，使人讀來覺得像一部複雜的交響樂。作者還常常把許多同音詞、聲音相近的詞和仿聲詞放在一起連用，使前一句子的最後一個詞與後一句子的起頭一個詞聲音相同或相近，從而使小說的行文具有奇妙的音響效果和節奏感。
應該說明的，是關於本書的翻譯。因為它是用象徵主義和意識流方法寫成的，內容涉及古希臘羅馬神話、東西方幾大宗教和哲學流派及天文、地理、數學、邏輯、歷史、藝術、音樂等整個人類文化領域的許多專門知識，獨特的文體中還摻雜大量生冷的乃至作者自己創造的詞語，句子結構和標點符號也非同一般，要讀懂它已不容易，要移譯就更加困難，連作者本人都說他的作品“不可譯”。《彼得堡》首次被譯成德文出版時，精通該文的作者說，“儘管譯者具有修養”，但“譯得真糟糕”。本人俄漢兩種語言及文學修養都不高，所以儘管自己青年時代曾在小說描寫的那個地點生活多年，花了比譯一般文學作品多數倍乃至近十倍的時間和精力，但對譯文仍感到非常沒有把握。坦率地講，有不少地方實在沒辦法，是連蒙帶猜譯的。之所以把它拿出來見讀者，一方面試譯了一章半在《世界文學》上見刊後得到了一些同行和讀者的首肯、鼓勵，同時也因為我國至今沒有人翻譯過它。我只希望我先來冒一次險，拋出一塊粗陋的磚，以便在不久的將來能引出較好地傳達出這部名著風采的美玉來。讓我們共同努力，把我國的外國文學名著翻譯中的這個空白填上。
我的老伴楊光通曉英俄兩種外語，長期在北京外國語大學英語系執教翻譯理論和實踐課，出版過多種譯作。在《彼得堡》的翻譯過程中，她也付出了智慧和心血。
最後需要說明一點。正如上面已經提到的那樣，《彼得堡》原文有兩個不同的版本。一個是１９１３至１９１４年在雜誌上發表後於１９１６年由雜誌社出的單行本，另一個是十月革命後經作者本人刪節、壓縮於１９２２年在柏林出版的本子；蘇聯二三十年代流行的均是後者。本書是小說未經刪節、壓縮最初面世的文本，根據１９８１年莫斯科的科學出版社所出蘇聯科學院文學典籍叢書版本全文譯出。
免費線上讀
第一章
講一位可敬的人，他的智力遊戲及存在的飄忽無定性
曾經有過一個可怕的時候，
對它的回憶還很新鮮……
我的朋友啊，讓我為你們
來講講當時的事件———
我講的故事將十分悲慘。
亞歷山大•普希金
阿波羅•阿波羅諾維奇•阿勃列烏霍夫
阿波羅•阿波羅諾維奇•阿勃列烏霍夫出身於一個相當受人尊敬的家庭： 他最早的祖先是亞當。可這不是主要的，更加無比重要的，在於他高貴的直接的祖先是閃，也就是閃米特族、赫梯族和紅皮膚種族的老祖宗本人。
這裏，我們還是轉到那些不那麼遙遠的古老祖先上來吧。
這些祖先原本（好像是）生活在吉爾吉斯卡依薩茨汗國安娜•伊萬諾夫娜女皇執政時，參政員的高祖阿勃拉依親王從那兒到這裏來忘我地為俄羅斯帝國效忠，他在接受基督教洗禮時取名安德列，外號烏霍夫。關於他深遠的蒙古族血統，俄羅斯帝國徽章圖冊就是這麼記載的。為簡單起見，阿勃拉依烏霍夫後來就乾脆成了阿
勃列烏霍夫。
據說，這位高祖便是他們家族的起源。
……
身穿帶金絲飾紐的灰色服裝的僕人，用粉撲把書桌上的塵埃抹掉；頭戴尖頂帽的廚師往開著的門裏探了一眼。
“你看，他自己起來了……”
“正抹香水呢，快要來喝咖啡了……”
“清早信差來了，老爺好像有信———期班牙寄來的：貼著期班牙郵票。”
“瞧我對您說什麼來著，您最好少去管那些信……”
“就是說，安娜•彼得羅夫娜……”
“啊———就是說……”
“是啊，我只是隨便這麼……關我———什麼事，什麼也沒有……”
廚師的腦袋突然不見了。阿波羅•阿波羅諾維奇•阿勃列烏
霍夫得意揚揚地走進書房。
……
放在桌面上的一支鉛筆引起了阿波羅•阿波羅諾維奇的好奇心。阿波羅•阿波羅諾維奇打定主意： 使鉛筆尖變得更細。他快步走到桌子跟前，並抓起……吸墨器，他深深地沉思著，拿著它在手裏轉了好久，直到想到手裏拿的是吸墨器而不是鉛筆。
他顯得漫不經心，因為那一瞬間有個深刻的思想突然浮現在眼前。而就在當時，在非上班時間，那思想一直在賓士向前（阿波羅•阿波羅諾維奇急著要到機關去）。他死的當年該按時出版的《日記》，又多了一小頁。
阿波羅•阿波羅諾維奇很快地記下已經展開的思想進程；記下這進程後，他想：“該上班去了。”於是到餐廳去喝他的咖啡。
事先他好像有點不高興，固執地詢問老僕人：
“尼古拉•阿波羅諾維奇起來了嗎？”
“沒有，還不曾起來……”
阿波羅•阿波羅諾維奇不滿意地抹了一下鼻樑：
“哎哎……告訴我，究竟什麼時候———告訴我———這麼說吧，尼古拉•阿波羅諾維奇他……”
“他起床稍稍晚一點……”
“怎麼個稍稍晚一點，啊？”
沒有等到回答，他當時便看了看表，神氣地邁步去喝咖啡。
正好是九點半。
十點鐘，他老人家上機關去了。尼古拉•阿波羅諾維奇，一個少年，通常起床是在———兩小時之後。每天早晨，參政員都要打聽一遍尼古拉起床的時間。而且，每天早晨他都要皺一次眉頭。
尼古拉•阿波羅諾維奇是參政員的兒子。
一句話，他是一個機構的首腦……
阿波羅•阿波羅諾維奇•阿勃列烏霍夫以英勇、忘我的行為出名，不止一顆星落在他繡金絲的胸前： 斯坦尼斯拉夫的和安娜的，以及甚至———甚至一隻白鷹。
勳章帶，他佩戴的是藍色的勳章帶。
而不久前，從那個凝聚著愛國主義感情的朱紅漆小盒子裏又放射出鑽石證章的光芒，也就是勳章： 一枚亞歷山大•涅夫斯基勳章。
在此再現的這個已經不存在的人，他原來的社會地位怎麼樣？
我看這個問題提得十分不妥。阿勃列烏霍夫經常發表精彩、冗長的演說，因此整個俄國都知道他；這些演說不是爆炸性的，它們只明顯而悄悄地給敵對的黨派施放某種毒藥，從而使那個黨派對自己的提案作出讓步。自從阿勃列烏霍夫被安置到重要的崗位上以後，第九局便閑著無事可幹了。為了促使俄國引進美國的打捆機，阿波羅•阿波羅諾維奇在必要時用書面形式發表演說，同第九局進行了頑強的鬥爭（該局不贊成引進）。參政員的演說迅速傳遍所有地
區和省，其中有的地區和省的面積不小於德國。
阿波羅•阿波羅諾維奇是一個機構的首腦： 嗯，那個……怎麼稱呼來著？
一句話，是個想必你們大家都知道的機構的首腦。
如果把我們這位尊敬的活動家的乾瘦和極其難看的外貌同他主管的那架無限龐大的機器相比，人們也許會天真地驚訝得一愣一愣的。可是瞧吧———所有的人絕對都對這個腦袋迸發出的智力感到吃驚，它反對整個俄國，反對政府的大多數部門，只有一個機構例外。不過這個機構的首腦，受命運的支配，默默地躺在棺材裏已經快兩年了。
我們這位參政員剛滿六十八歲；他那張蒼白的臉使人想起灰色的吸墨器（在得意的時候），或———像一張韌性很強的制型紙（在空閒的時候）；參政員勞累時，那雙嵌入深綠色凹眶裏的石頭般的眼睛看上去是藍色的，而且很大。
照個人看，我們還得說一句： 當看到在熊熊燃燒的俄羅斯血紅的背景上是自己的兩隻完全綠色的和被無限誇大的耳朵時，阿波羅•阿波羅諾維奇竟毫不在乎。不久前，畫面上出現的他便是這樣———在“猶太佬的”一份幽默雜誌的卷首頁上；人來人往的大街上，血紅封面的小刊物在那些日子裏以驚人的速度增多了……

                       


                           
                       
                     


                   


                   
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 Homer's Iliad...Omeros

                     

                                              July 8, 2018, 5:40 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924. 

Homer's Iliad
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D22%3Acard%3D1


譬如說，例外的理論
全書及〈引言〉p.2 ：https://en.wikipedia.org/wiki/Orion_(mythology)

 Him the old man Priam was first to behold with his eyes, as he sped all-gleaming over the plain, like to the star that cometh forth at harvest-time, and brightly do his rays shine amid the host of stars in the darkness of night, the star that men call by name the Dog of Orion. [30]    Homer, Iliad, Book 22http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D22%3Acard%3D1















Nobel laureate poet Derek Walcott has died aged 87 at his home in the Caribbean island of St Lucia after a long illness, local media reports say.
He was regarded by critics as one of the greatest Caribbean poets.
The writer's collections include In A Green Night: Poems 1948 - 1960 and his epic work, Omeros, which draws on Homer's Iliad and Odyssey.

***
Alphonse de Lamartine 1790 – 1869


Then follow the incriminating epithets: 
"The rhymester of the 'Last Canto of Childe Harold'
could alone be capable -of such an ineptitude; he who 
strives to atone for his lack of inspiration and ideas 
worthy of his subject, by insipidities against Italy, 
insipidities we would qualify as insults were it not, as 
Diomedes says (in the Iliad), that the taunts of fools 
and cowards are of no account."

*****

from Omeros
BY DEREK WALCOTT
BOOK SIX


Chapter XLIV

I

In hill-towns, from San Fernando to Mayagüez,   
the same sunrise stirred the feathered lances of cane   
down the archipelago’s highways. The first breeze

rattled the spears and their noise was like distant rain   
marching down from the hills, like a shell at your ears.   
In the cool asphalt Sundays of the Antilles

the light brought the bitter history of sugar
across the squared fields, heightening towards harvest,   
to the bleached flags of the Indian diaspora.

The drizzling light blew across the savannah   
darkening the racehorses’ hides; mist slowly erased   
the royal palms on the crests of the hills and the

hills themselves. The brown patches the horses had grazed   
shone as wet as their hides. A skittish stallion   
jerked at his bridle, marble-eyed at the thunder

muffling the hills, but the groom was drawing him in   
like a fisherman, wrapping the slack line under   
one fist, then with the other tightening the rein

and narrowing the circle. The sky cracked asunder   
and a forked tree flashed, and suddenly that black rain   
which can lose an entire archipelago

in broad daylight was pouring tin nails on the roof,   
hammering the balcony. I closed the French window,   
and thought of the horses in their stalls with one hoof

tilted, watching the ropes of rain. I lay in bed
with current gone from the bed-lamp and heard the roar   
of wind shaking the windows, and I remembered

Achille on his own mattress and desperate Hector   
trying to save his canoe, I thought of Helen   
as my island lost in the haze, and I was sure

I’d never see her again. All of a sudden
the rain stopped and I heard the sluicing of water   
down the guttering. I opened the window when

the sun came out. It replaced the tiny brooms   
of palms on the ridges. On the red galvanized
roof of the paddock, the wet sparkled, then the grooms

led the horses over the new grass and exercised   
them again, and there was a different brightness   
in everything, in the leaves, in the horses’ eyes.


II

I smelt the leaves threshing at the top of the year   
in green January over the orange villas   
and military barracks where the Plunketts were,

the harbour flecked by the wind that comes with Christmas,   
edged with the Arctic, that was christened Vent Noël;   
it stayed until March and, with luck, until Easter.

It freshened the cedars, waxed the laurier-cannelle,   
and hid the African swift. I smelt the drizzle
on the asphalt leaving the Morne, it was the smell

of an iron on damp cloth; I heard the sizzle   
of fried jackfish in oil with their coppery skin;
I smelt ham studded with cloves, the crusted accra,

the wax in the varnished parlour: Come in. Come in,   
the arm of the Morris chair sticky with lacquer;   
I saw a sail going out and a sail coming in,

and a breeze so fresh it lifted the lace curtains   
like a petticoat, like a sail towards Ithaca;   
I smelt a dead rivulet in the clogged drains.


III

Ah, twin-headed January, seeing either tense:   
a past, they assured us, born in degradation,   
and a present that lifted us up with the wind’s

noise in the breadfruit leaves with such an elation   
that it contradicts what is past! The cannonballs   
of rotting breadfruit from the Battle of the Saints,

the asterisks of bulletholes in the brick walls   
of the redoubt. I lived there with every sense.
I smelt with my eyes, I could see with my nostrils.



Chapter XLV

I

One side of the coast plunges its precipices   
into the Atlantic. Turns require wide locks,
since the shoulder is sharp and the curve just misses

a long drop over the wind-bent trees and the rocks   
between the trees. There is a wide view of Dennery,   
with its stone church and raw ochre cliffs at whose base

the African breakers end. Across the flecked sea
whose combers veil and unveil the rocks with their lace   
the next port is Dakar. The uninterrupted wind

thuds under the wings of frigates, you see them bent   
from a force that has crossed the world, tilting to find   
purchase in the sudden downdrafts of its current.

The breeze threshed the palms on the cool December road   
where the Comet hurtled with empty leopard seats,   
so fast a man on a donkey trying to read

its oncoming fiery sign heard only two thudding beats   
from the up-tempo zouk that its stereo played
when it screeched round a bridge and began to ascend

away from the palm-fronds and their wickerwork shade   
that left the windscreen clear as it locked round the bend,   
where Hector suddenly saw the trotting piglet

and thought of Plunkett’s warning as he heard it screel   
with the same sound that the tires of the Comet
made rounding the curve from the sweat-greased steering wheel.

The rear wheels spin to a dead stop, like a helm.   
The piglet trots down the safer side of the road.
Lodged in their broken branches the curled letters flame.

Hector had both hands on the wheel. His head was bowed   
under the swaying statue of the Madonna   
of the Rocks, her smile swayed under the blue hood,

and when her fluted robe stilled, the smile stayed on her   
dimpled porcelain. She saw, in the bowed man, the calm   
common oval of prayer, the head’s usual angle

over the pew of the dashboard. Her lifted palm,   
small as a doll’s from its cerulean mantle,   
indicated that he had prayed enough to the lace

of foam round the cliff’s altar, that now, if he wished,   
he could lift his head, but he stayed in the same place,   
the way a man will remain when Mass is finished,

not unclenching his hands or freeing one to cross   
forehead, heart, and shoulders swiftly and then kneel   
facing the altar. He bowed in endless remorse,

for her mercy at what he had done to Achille,   
his brother. But his arc was over, for the course   
of every comet is such. The fated crescent

was printed on the road by the scorching tires.
A salt tear ran down the porcelain cheek and it went
in one slow drop to the clenched knuckle that still gripped

the wheel. On the flecked sea, the uninterrupted   
wind herded the long African combers, and whipped   
the small flag of the island on its silver spearhead.


II

Drivers leant over the rail. One seized my luggage   
off the porter’s cart. The rest burst into patois,   
with gestures of despair at the lost privilege

of driving me, then turned to other customers.
In the evening pastures horses grazed, their hides wet   
with light that shot its lances over the combers.

I had the transport all to myself.
                                                   “You all set?
Good. A good pal of mine died in that chariot   
of his called the Comet.”
                                     He turned in the front seat,

spinning the air with his free hand. I sat, sprawled out   
in the back, discouraging talk, with my crossed feet.   
“You never know when, eh? I was at the airport

that day. I see him take off like a rocket.
I always said that thing have too much horsepower.   
And so said, so done. The same hotel, chief, correct?”

I saw the coastal villages receding as
the highway’s tongue translated bush into forest,   
the wild savannah into moderate pastures,

that other life going in its “change for the best,”   
its peace paralyzed in a postcard, a concrete   
future ahead of it all, in the cinder-blocks

of hotel development with the obsolete
craft of the carpenter, as I sensed, in the neat   
marinas, the fisherman’s phantom. Old oarlocks

and rusting fretsaw. My craft required the same   
crouching care, the same crabbed, natural devotion   
of the hand that stencilled a flowered window-frame

or planed an elegant canoe; its time was gone   
with the spirit in the wood, as wood grew obsolete
and plasterers smoothed the blank page of white concrete.

I watched the afternoon sea. Didn’t I want the poor   
to stay in the same light so that I could transfix   
them in amber, the afterglow of an empire,

preferring a shed of palm-thatch with tilted sticks   
to that blue bus-stop? Didn’t I prefer a road
from which tracks climbed into the thickening syntax

of colonial travellers, the measured prose I read
as a schoolboy? That cove, with its brown shallows   
there, Praslin? That heron? Had they waited for me

to develop my craft? Why hallow that pretence   
of preserving what they left, the hypocrisy   
of loving them from hotels, a biscuit-tin fence

smothered in love-vines, scenes to which I was attached   
as blindly as Plunkett with his remorseful research?   
Art is History’s nostalgia, it prefers a thatched

roof to a concrete factory, and the huge church
above a bleached village. The gap between the driver   
and me increased when he said:
                                              “The place changing, eh?”

where an old rumshop had gone, but not that river
with its clogged shadows. That would make me a stranger.   
“All to the good,” he said. I said, “All to the good,”

then, “whoever they are,” to myself. I caught his eyes   
in the mirror. We were climbing out of Micoud.   
Hadn’t I made their poverty my paradise?

His back could have been Hector’s, ferrying tourists   
in the other direction home, the leopard seat
scratching their damp backs like the fur-covered armrests.

He had driven his burnt-out cargo, tired of sweat,
who longed for snow on the moon and didn’t have to face   
the heat of that sinking sun, who knew a climate

as monotonous as this one could only produce   
from its unvarying vegetation flashes   
of a primal insight like those red-pronged lilies

that shot from the verge, that their dried calabashes   
of fake African masks for a fake Achilles
rattled with the seeds that came from other men’s minds.

So let them think that. Who needed art in this place   
where even the old women strode with stiff-backed spines,   
and the fishermen had such adept thumbs, such grace

these people had, but what they envied most in them   
was the calypso part, the Caribbean lilt   
still in the shells of their ears, like the surf’s rhythm,

until too much happiness was shadowed with guilt   
like any Eden, and they sighed at the sign:   
HEWANNORRA (Iounalao), the gold sea

flat as a credit-card, extending its line
to a beach that now looked just like everywhere else,   
Greece or Hawaii. Now the goddamn souvenir

felt absurd, excessive. The painted gourds, the shells.   
Their own faces as brown as gourds. Mine felt as strange   
as those at the counter feeling their bodies change.


III

Change lay in our silence. We had come to that bend   
where the trees are warped by wind, and the cliffs, raw,   
shelve surely to foam.
                                 “Is right here everything end,”

the driver said, and rammed open the transport door   
on his side, then mine.
                                  “Anyway, chief, the view nice.”   
I joined him at the gusting edge.
                                                 “His name was Hector.”

The name was bent like the trees on the precipice   
to point inland. In its echo a man-o’-war
screamed on the wind. The driver moved off for a piss,

then shouted over his shoulder:
                                              “A road-warrior.
He would drive like a madman when the power took.   
He had a nice woman. Maybe he died for her.”

For her and tourism, I thought. The driver shook   
himself, zipping then hoisting his crotch.
                                                               “Crazy, but   
a gentle fellow anyway, with a very good brain.”

Cut to a leopard galloping on a dry plain   
across Serengeti. Cut to the spraying fans   
drummed by a riderless stallion, its wild mane

scaring the Scamander. Cut to a woman’s hands
clenched towards her mouth with no sound. Cut to the wheel   
of a chariot’s spiked hubcap. Cut to the face

of his muscling jaw, then flashback to Achille   
hurling a red tin and a cutlass. Next, a vase   
with a girl’s hoarse whisper echoing “Omeros,”

as in a conch-shell. Cut to a shield of silver   
rolling like a hubcap. Rewind, in slow motion,   
myrmidons gathering by a village river

with lances for oars. Cut to the surpliced ocean   
droning its missal. Cut. A crane hoisting a wreck.   
A horse nosing the surf, then shuddering its neck.

He’d paid the penalty of giving up the sea
as graceless and as treacherous as it had seemed,   
for the taxi-business; he was making money,

but all of that money was making him ashamed   
of the long afternoons of shouting by the wharf   
hustling passengers. He missed the uncertain sand

under his feet, he sighed for the trough of a wave,   
and the jerk of the oar when it turned in his hand,   
and the rose conch sunset with its low pelicans.

Castries was corrupting him with its roaring life,   
its littered market, with too many transport vans   
competing. Castries had been his common-law wife

who, like Helen, he had longed for from a distance,   
and now he had both, but a frightening discontent   
hollowed his face; to find that the sea was a love

he could never lose made every gesture violent:   
ramming the side-door shut, raking the clutch. He drove   
as if driven by furies, but furies paid the rent.

A man who cursed the sea had cursed his own mother.   
Mer was both mother and sea. In his lost canoe   
he had said his prayers. But now he was in another

kind of life that was changing him with his brand-new   
stereo, its endless garages, where he could not
whip off his shirt, hearing the conch’s summoning note.



Chapter XLVI

I

Hector was buried near the sea he had loved once.   
Not too far from the shallows where he fought Achille   
for a tin and Helen. He did not hear the sea-almond’s

moan over the bay when Philoctete blew the shell,   
nor the one drumbeat of a wave-thud, nor a sail   
rattling to rest as its day’s work was over,

and its mate, gauging depth, bent over the gunwale,   
then wearily sounding the fathoms with an oar,
the same rite his shipmates would repeat soon enough

when it was their turn to lie quiet as Hector,   
lowering a pitch-pine canoe in the earth’s trough,
to sleep under the piled conchs, through every weather

on the violet-wreathed mound. Crouching for his friend to hear,   
Achille whispered about their ancestral river,   
and those things he would recognize when he got there,

his true home, forever and ever and ever,   
forever, compère. Then Philoctete limped over   
and rested his hand firmly on a shaking shoulder

to anchor his sorrow. Seven Seas and Helen   
did not come nearer. Achille had carried an oar
to the church and propped it outside with the red tin.

Now his voice strengthened. He said: “Mate, this is your spear,”
and laid the oar slowly, the same way he had placed   
the parallel oars in the hull of the gommier

the day the African swift and its shadow raced.
And this was the prayer that Achille could not utter:   
“The spear that I give you, my friend, is only wood.

Vexation is past. I know how well you treat her.   
You never know my admiration, when you stood   
crossing the sun at the bow of the long canoe

with the plates of your chest like a shield; I would say   
any enemy so was a compliment. ’Cause no   
African ever hurled his wide seine at the bay

by which he was born with such beauty. You hear me? Men   
did not know you like me. All right. Sleep good. Good night.”   
Achille moved Philoctete’s hand, then he saw Helen

standing alone and veiled in the widowing light.   
Then he reached down to the grave and lifted the tin   
to her. Helen nodded. A wind blew out the sun.


II

Pride set in Helen’s face after this, like a stone   
bracketed with Hector’s name; her lips were incised   
by its dates in parenthesis. She seemed more stern,

more ennobled by distance as she slowly crossed   
the hot street of the village like a distant sail
on the horizon. Grief heightened her. When she smiled

it was with such distance that it was hard to tell
if she had heard your condolence. It was the child,   
Ma Kilman told them, that made her more beautiful.


III

The rites of the island were simplified by its elements,
which changed places. The grooved sea was Achille’s garden,   
the ridged plot of rattling plantains carried their sense

of the sea, and Philoctete, on his height, often heard, in   
a wind that suddenly churned the rage of deep gorges,   
the leafy sound of far breakers plunging with smoke,

and for smoke there were the bonfires which the sun catches   
on the blue heights at sunrise, doing the same work   
as Philoctete clearing his plot, just as, at sunset,

smoke came from the glowing rim of the horizon as if   
from his enamel pot. The woodsmoke smelt of a regret   
that men cannot name. On the charred field, the massive

sawn trunks burnt slowly like towers, and the great
indigo dusk slowly plumed down, devouring the still leaves,   
igniting the firefly huts, lifting the panicky egret

to beat its lagoon and shelve in the cage of the mangroves,   
take in the spars of its sails, then with quick-pricking head   
anchor itself shiftingly, and lift its question again.

At night, the island reversed its elements, the heron   
of a quarter-moon floated from Hector’s grave, rain   
rose upwards from the sea, and the corrugated iron

of the sea glittered with nailheads. Ragged
plantains bent and stepped with their rustling powers   
over the furrows of Philoctete’s garden, a chorus of aged

ancestors and straw, and, rustling, surrounded every house   
in the village with its back garden, with its rank midden
of rusted chamber pots, rotting nets, and the moon’s cold basin.

They sounded, when they shook, after the moonlit meridian   
of their crossing, like the night-surf; they gazed in   
silence at the shadows of their lamplit children.

At Philoctete, groaning and soaking the flower on his shin   
with hot sulphur, cleaning its edges with yellow Vaseline,   
and, gripping his knee, squeezing rags from the basin.

At night, when yards are asleep, and the broken line
of the surf hisses like Philo, “Bon Dieu, aie, waie, my sin   
is this sore?” the old plantains suffer and shine.



Chapter XLVII

I

Islands of bay leaves in the medicinal bath   
of a cauldron, a sibylline cure. The citron   
sprig of a lime-tree dividing the sky in half

dipped its divining rod. The white spray of the thorn,   
which the swift bends lightly, waited for a black hand   
to break it in bits and boil its leaves for the wound

from the pronged anchor rusting in clean bottom-sand.   
Ma Kilman, in a black hat with its berried fringe,   
eased herself sideways down the broken concrete step

of the rumshop’s back door, closed it, and rammed the hinge   
tight. The bolt caught a finger and with that her instep   
arch twisted and she let out a soft Catholic

curse, then crossed herself. She closed the gate. The asphalt   
sweated with the heat, the limp breadfruit leaves were thick   
over the fence. Her spectacles swam in their sweat.

She plucked an armpit. The damn wig was badly made.   
She was going to five o’clock Mass, to la Messe,   
and sometimes she had to straighten it as she prayed

until the wafer dissolved her with tenderness,
the way a raindrop melts on the tongue of a breeze.
In the church’s cool cave the sweat dried from her eyes.

She rolled down the elastic bands below the knees   
of her swollen stockings. It was then that their vise   
round her calves reminded her of Philoctete. Then,

numbering her beads, she began her own litany   
of berries, Hail Mary marigolds that stiffen   
their aureoles in the heights, mild anemone

and clear watercress, the sacred heart of Jesus   
pierced like the anthurium, the thorns of logwood,   
called the tree of life, the aloe good for seizures,

the hole in the daisy’s palm, with its drying blood   
that was the hole in the fisherman’s shin since he was   
pierced by a hook; there was the pale, roadside tisane

of her malarial childhood. There was this one
for easing a birth-breach, that one for a love-bath,   
before the buds of green sugar-apples in the sun

ripened like her nipples in girlhood. But what path   
led through nettles to the cure, the furious sibyl   
couldn’t remember. Mimosa winced from her fingers,

shutting like jalousies at some passing evil
when she reached for them. The smell of incense lingers   
in her clothes. Inside, the candle-flames are erect

round the bier of the altar while she and her friends   
old-talk on the steps, but the plant keeps its secret   
when her memory reaches, shuttering in its fronds.


II

The dew had not yet dried on the white-ribbed awnings   
and the nodding palanquins of umbrella yams   
where the dark grove had not heat but early mornings

of perpetual freshness, in which the bearded arms   
of a cedar held council. Between its gnarled toes
grew the reek of an unknown weed; its pronged flower

sprang like a buried anchor; its windborne odours   
diverted the bee from its pollen, but its power,
rooted in bitterness, drew her bowed head by the nose

as a spike does a circling bull. To approach it
Ma Kilman lowered her head to one side and screened   
the stench with a cologned handkerchief. The mulch it

was rooted in carried the smell, when it gangrened,   
of Philoctete’s cut. In her black dress, her berried   
black hat, she climbed a goat-path up from the village,

past the stones with dried palms and conchs, where the buried   
suffer the sun all day Sunday, while goats forage   
the new wreaths. Once more she pulled at the itch in her

armpits, nearly dropping her purse. Then she climbed hard   
up the rain-cracked path, the bay closing behind her   
like a wound, and rested. Everything that echoed

repeated its outline: a goat’s doddering bleat,
a hammer multiplying a roof, and, through the back yards,   
a mother cursing a boy too nimble to beat.

Ma Kilman picked up her purse and sighed on upwards   
to the thread of the smell, one arm behind her back,   
passing the cactus, the thorn trees, and then the wood

appeared over her, thick green, the green almost black   
as her dress in its shade, its border of flowers
flecking the pasture with spray. Then she staggered back

from the line of ants at her feet. She saw the course   
they had kept behind her, following her from church,   
signalling a language she could not recognize.


III

A swift had carried the strong seed in its stomach   
centuries ago from its antipodal shore,
skimming the sea-troughs, outdarting ospreys, her luck

held to its shadow. She aimed to carry the cure   
that precedes every wound; the reversible Bight   
of Benin was her bow, her target the ringed haze

of a circling horizon. The star-grains at night   
made her hungrier; the leafless sea with no house   
for her weariness. Sometimes she dozed in her flight

for a swift’s second, closing the seeds of her stare,
then ruddering straight. The dry sea-flakes whitened her   
breast, her feathers thinned. Then, one dawn the day-star

rose slowly from the wrong place and it frightened her   
because all the breakers were blowing from the wrong   
east. She saw the horned island and uncurled her claws

with one frail cry, since swifts are not given to song,   
and fluttered down to a beach, ejecting the seed   
in grass near the sand. She nestled in dry seaweed.

In a year she was bleached bone. All of that motion   
a pile of fragile ash from the fire of her will,   
but the vine grew its own wings, out of the ocean

it climbed like the ants, the ancestors of Achille,   
the women carrying coals after the dark door   
slid over the hold. As the weed grew in odour

so did its strength at the damp root of the cedar,   
where the flower was anchored at the mottled root   
as a lizard crawled upwards, foot by sallow foot.
Derek Walcott, Chapters XLIV-XLVII from Omeros. Copyright © 1990 by Derek Walcott. Used by permission of Farrar, Straus & Giroux, LLC, http://us.macmillan.com/fsg. All rights reserved.
Source: Omeros (Farrar Straus and Giroux, 1990)


                       


                           
                       
                     


                   


                   
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 Henry Havelock Ellis 作品等

                     

                                              July 9, 2018, 12:38 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Today's Portrait of the Day is Henry Havelock Ellis.
Psychologist, physician and pioneer in the scientific study of sex, Havelock Ellis was the author of 'Studies in the Psychology of Sex' (7 volumes, 1897-1928), a book banned in Britain but published in the USA. His work 'Sexual Inversion', co-written by John Addington Symonds, was the first medical textbook on homosexuality. One of the first scientists to investigate the effect of psychedelic drugs, Havelock Ellis was also an advocate for sex education, birth control and women's suffrage.
Learn more about Havelock's life and work in today's free #Pride talk. Room 27, 12.30pm.
圖像裡可能有1 人、文字

2014年12月5日 星期五
Henry Havelock Ellis 作品



哈夫洛克·靄理斯-思想的藝術
(2011-12-03 19:22:24)

亨利·哈夫洛克·靄理斯（Henry Havelock Ellis，1859-1939）英國性心理學家、思想家、作家，1859年2月2日出生於英國倫敦附近的庫羅伊登市一個海員家庭，父親是一個船長；靄理斯6歲曾隨父親飄洋過海，1875年16歲時跟隨父親前往澳大利亞，在悉尼一所私立學校做見習教師，4年後返回英國；1880年入倫敦聖·湯瑪斯醫學院學醫，開始研究性心理學，同時熱衷文學創作；但靄理斯沒有將醫生作為未來的職業，學習期間把主要精力放在文學、藝術以及社會活動方面，因此畢業後沒有去當醫生，而是積極追尋自己的人生志向，從事性科學研究和文藝、社會思想評論，1890年出版第一部散文集《新精神》；靄理斯在哲學、宗教、社會學、人類學等方面均有較大貢獻，在性心理學方面的主要貢獻是編輯《現代科學叢書》，並出版《性心理學研究錄》。


Works
  • The Criminal (1890)
  • The New Spirit (1890)
  • The Nationalisation of Health (1892)
  • Man and Woman: A Study of Secondary and Tertiary Sexual Characteristics(1894) (revised 1929)
  • Studies in the Psychology of Sex (1897–1928) seven volumes (listed below).
  • translator: Germinal (by Zola) (1895) (reissued 1933)
  • Sexual Inversion (1897) (with J.A. Symonds)[11]
  • Affirmations (1898)
  • The Evolution of Modesty, The Phenomena of Sexual Periodicity, Auto-Erotism(1900)[12]
  • The Nineteenth Century (1900)
  • Analysis of the Sexual Impulse, Love and Pain, The Sexual Impulse in Women(1903)[13]
  • A Study of British Genius (1904)
  • Sexual Selection in Man (1905)[14]
  • Erotic Symbolism, The Mechanism of Detumescence, The Psychic State in Pregnancy (1906)[15]
  • The Soul of Spain (1908)
  • Sex in Relation to Society (1910)[16]
  • The Problem of Race-Regeneration (1911)
  • The World of Dreams (1911) (new edition 1926)
  • The Task of Social Hygiene (1912)
  • Impressions and Comments (1914–1924) (3 vols.)[17]
  • Essays in War-Time (1916)[18]
  • The Philosophy of Conflict (1919)
  • On Life and Sex: Essays of Love and Virtue (1921)
  • Kanga Creek: An Australian Idyll (1922)[19]
  • Little Essays of Love and Virtue (1922)
  • The Dance of Life (1923)[20]   有漢譯
  • Sonnets, with Folk Songs from the Spanish (1925)
  • Eonism and Other Supplementary Studies (1928)
  • The Art of Life (1929) (selected and arranged by Mrs. S. Herbert)
  • More Essays of Love and Virtue (1931)
  • ed.: James Hinton: Life in Nature (1931)
  • Views and Reviews (1932)[21]
  • Psychology of Sex (1933)有漢譯 潘光旦北京:商務
  • ed.: Imaginary Conversations and Poems: A Selection, by Walter Savage Landor(1933)
  • Chapman (1934)
  • My Confessional (1934)
  • Questions of Our Day (1934)
  • From Rousseau to Proust (1935)
  • Selected Essays (1936)
  • Poems (1937) (selected by John Gawsworth; pseudonym of T. Fytton Armstrong)
  • Love and Marriage (1938) (with others)
  • My Life (1939)
  • Sex Compatibility in Marriage (1939)
  • From Marlowe to Shaw (1950) (ed. by J. Gawsworth)
  • The Genius of Europe (1950)
  • Sex and Marriage (1951) (ed. by J. Gawsworth)
  • The Unpublished Letters of Havelock Ellis to Joseph Ishill (1954)





靄理斯-思想的藝術：

達·芬奇不但在科學方面是至高的偉大人物，而且是科學精神的具體化、藝術家、大自然的愛好者，這是我們最好應銘記在心的一個事實。如果我們意識中對這一事實認識清楚，那麼就會避免許多錯誤。我們將不再發現設計藝術家為了受到他們所認為的思想藝術家的束縛而愚蠢地惱怒不已。一位像布倫內提爾那樣心胸狹窄的教師，儘管在他自己範圍裏多麼有用，但當他愚昧地宣稱他所謂的"科學的破產"時，也就不會再像前幾年那樣（可能現在仍如此）被人看作是先知。很不幸，許多人冒充"科學工作者"，而實際上卻沒有資格取得這一稱號。他們可能在小密室裏堆砌一些事實，做著有益的勤奮的工作，而這些事實可能有朝一日由那些更真實地受到科學精神啟發的人加以研究；他們可能把真正的科學家的發明應用到實際生活上而多少做些必要的工作。他們自己有權利使用"科學"這個名字，就如那些造出堆積在陶器店裏的盆缽和盤子的人有權利使用"藝術"這個名字一樣，其實他們都無權使用這些稱號。他們還不知道，科學並不是堆積孤立事實的知識積累，而是積極的知識的組合，是把一種非常精緻的工具的銳利刀鋒應用到世界上，而如果沒有最廣闊的眼光以及最激蕩的豐富想像力，就不可能達成這項工作。

法蘭西斯·加爾頓——我舉出一位由於有一些共同的興趣而我有幸與之接近的人——就是屬於這種更真實的科學家。他不是職業科學家；他甚至願意別人把他的喜愛科學看作只是一種嗜好。從一般職業科學家的觀點來看，他可能是一位業餘科學家。他甚至不是一位博學的業餘科學家，就像有些人的情況一樣。我懷疑他是否真正精通任何專題的文獻，雖然我以為這並不怎麼要緊。當他聽到某一有名人物和他從事同一領域內的研究時，他就要查看這個人的研究工作；威斯曼在從事遺傳學方面的研究時，就出現這種情況，而我在展讀加爾頓的信中，看到他無法正確拼出威斯曼的名字時，不禁付之一笑。對於科學的態度，加爾頓可說是開風氣之先，就像17世紀末和18世紀初的博物館的開路先鋒們的態度，如查德斯肯特、阿希摩爾、伊芙琳以及史龍：對於那些才開始或還沒有引人好奇的事物具有無法滿足的好奇心。我曾對墨西哥的仙人掌麥斯卡爾從事一些個人的實驗，以探測它產生幻象的特性，這種仙人掌的特性當時在英國鮮為人知，加爾頓對此表示強烈的興趣，想要親自去做實驗，只是最後因年老而作罷。但是，加爾頓的好奇心並不只是孩子般的好詢問，而是基於此點，他的好奇心與一種幾乎是獨特結構的頭腦相合作，他的頭腦既正常又敏銳。所以，一方面他的好奇心轉變為極為精巧和富有發明創造的多種方法，另一方面，好奇心受到穩定的謹慎和理智的檢驗而得到指導和控制。他知道如何保持那種巧妙的平衡而不會有任何的嚴厲、緊張或獨斷，只是顯得有趣而親切，表現出最可靠的謙虛。這些特性難能可貴地結合在一起——人們可以在他的《人類能力之探討》中看到一切——使他成為天才人物的典型，天才不是憑藉職業或苦心的訓練來達成使命的，而是憑著自然的功能，照亮世界的暗處，在人類經驗的不那麼正統的領域裏創造科學，這些領域以前只是人們興之所至的物件，或者完全沒有被人所察覺。他是一位徹底的藝術家，而如果（報導所說）他生命最後一年主要致力於寫一本小說，那麼這部作品就代表他全部的美妙活動；他從未做其他別的事。只有他的傳奇是真實的。


加爾頓的表親是名聲更著的卻爾斯·達爾文，他在大自然和科學方面也同樣是純粹的喜愛者和藝術家。無疑，一度有很多愚昧的人認為這兩個名字似乎不適用於達爾文。有人認為達爾文幾乎不是一位天才，只是一位研究事實的枯燥而辛勤的平常學子。他自己甚至有一次悲歎自己對於詩和藝術的冷漠，對此事許多人難以忘懷。但是達爾文是少數的選民之一，他在潛意識（如果不是在意識）的本性中就認識到"科學是詩"，而在一個完全不同于傳統詩和藝術的領域裏，他卻同時是詩人和藝術家。只有這種天賦的人才能夠在讀馬爾薩斯的作品時得到一個暗示，想到自然淘汰是有機生物之所以連綿不斷的主要模式的創造性力量；他的奇妙的進化學理論也是如此。甚至在實驗的瑣碎事務方面，例如讓一位音樂家在他的溫室裏演奏巴松管，以確定音樂是否影響植物，他有著詩人或藝術家的全部的發明想像力。他在對待大自然的整個態度上是詩人和藝術家，可是我懷疑是否有人已指出這一點。他努力工作，但對於他來說，工作是一種遊戲，如果工作不是遊戲的話，由於他健康情況欠佳，他就無法開展他的工作。我們一再在他的《生活與信劄》中，發現諸如"我極為高興"的句子來引述他的觀察與實驗。而他在提及一個生物學上的問題時曾說，這種問題猶如下盤棋。我真的懷疑：是否還有任何偉大的科學家比達爾文更是一位藝術家，更有意識地感到自己是在這個世界裏玩遊戲，由於生活的樂趣而感到更美好的興奮。這個人創造了雌雄淘汰的理論，使得整個生命的適應成為藝術，也使得生命的適應的秘密成為詩，而他很可能發覺"詩和藝術"是索然無味的。

我們可以判斷這些生物學家的觀點比較容易達成目的，這是因為他們涉足於活生生的大自然，但我們不單是在生物學家中發現喜愛者和藝術家的態度。當天才人物悠游於有人所謂的物理學家的不毛之地時，我們也同樣明顯地發現這些態度，法拉弟在實驗室工作，一間簡單的實驗室，卻對真正的科學精神可能是至關重要的地方，如果沒有他在電磁學方面的研究工作，我們可能就會錯過（感到痛苦或不感到痛苦）我們現代生活中最實用的機器：發電機和電話。然而法拉弟眼前並沒有實際目標；我們可以說：他探討大自然，就像詩人探討感情一樣。這樣就足以使他成為最高的科學家。為他寫傳的貝斯·鐘斯博士對他很瞭解，他說，法拉弟的第一個偉大特點是他對於事實的信任，第二個偉大特點是他的想像力。我們在此看到了他性情的根本所在。重要的只是要記住：這兩個特點不是分開和明顯的。這兩個特點本身可能是對立的特性；這是因為在法拉弟身上，這兩個特點在有力的緊張狀態裏結合在一起，這樣他就成為探討大自然秘密的一種很有效的工具。他的朋友和同事蒂德爾似乎覺察了這一點。蒂德爾寫道，"他的想像力所具有的威力十分巨大"——他"從一些最細微的起點開始，達到最偉大的目的"，從"氧和氮的氣泡直到地球本身的大氣包層"——但"他像一位強壯的騎士一樣駕馭想像力"。法拉弟本人也說過同樣的話："讓想像力賓士，用判斷和原則保衛它，但用實驗來掌握和指導它。"他在另處曾說，他年輕時，他可能會補充說他當時仍然是，"一位具有十分生動想像力的人，並且能夠像相信《百科全書》一樣地相信《天方夜譚》。"但不久他就獲得一種以實驗來檢驗事實的本能，不信任沒有測試過的所謂基本事實，而接受他以這種方式所得到的一切結論，完全漠視為一般人所接受的信仰。（他在桑德瑪尼亞教堂確實是一位忠實和虔誠的長老，而這在這位迷人的人物中並不是最不具魅力的特點。）蒂德爾堅稱法拉弟的心智活動有這二個層面。他表現"美妙的歡愉"，他具有"容易興奮和激動的性情"，同時"在歡愉的表面之下有著一座火山般的熱能"。他自己相信從遺傳中具有一種賽爾特人的氣質；有人傳說他的祖先來自愛爾蘭；我現在在愛爾蘭找不到法拉弟家族，也找不到任何像法拉弟的姓名，但蒂德爾由於自己是愛爾蘭人，所以寧願相信這種傳說是可靠的。這只能說明這種性情中感情歡愉活潑的一面。還有另一面，也是蒂德爾所堅稱的：喜愛秩序，極端頑固，高度的自律，而這種自律能把內心的熱火轉變成清晰而集中的白熱光。蒂德爾說在這兩種特性的交匯融和下，"他成為一位先知，並時常顯現一種靈感，只有憑著同情才能瞭解這種靈感。"他廣闊而出於感情的想像力變成真理的僕從，並一經點觸，就有生氣。在完成物理實驗時，他會經歷一種孩子似的喜悅，眼睛也閃閃發亮。雪爾范納斯·湯普森在他論法拉弟的書中堅信，法拉弟對試驗和證明的永恆衝動結合了由於想像力的奔放而產生的孩子似的喜悅心情，"甚至到了他生命最後的日子裏，他也會因為看到一次新實驗而高興得幾乎跳起舞來，然而他總是毫不猶疑地把由實驗所提示的觀點推進到其邏輯的結論，儘管這些結論可能多麼廣泛地引自為人接受的思想模式。"他的方法是《天方夜譚》的方法，只是轉移到事實的領域。

法拉弟不是一位數學家。但如果我們轉向在抽象計算的領域裏活動的開普勒，我們也會發現這些特點的完全相同的結合。我們應把宇宙太陽中心論的建立歸功於開普勒，而不歸功於哥白尼，而開普勒比任何人更是牛頓的先驅。人們說，如果沒有開普勒的話，很難設想有誰會取代他的地位，在我們宇宙的科學性創造活動中擔當他的特殊角色。要擔當這麼一個先鋒人物的角色，需要奇特地混合在表面上相反的特性。只有一種打破舊秩序的大膽、獨創以及冒險的精神，才能掙脫統治天文學幾千年之久的長久傳統和一成不變的先見。只有一位有無限耐心、謹慎、辛勤和準確的研究者，才能建立新的革命性觀念，以取代這些傳統和先見。開普勒把能力難能地結合在一起。他擁有最狂浪的奔放的想像力；然而他對計算準確性的尊重比世人所知道的更甚。他願意相信：地球是一種動物，如果發現她有肺或鰭，他也不會吃驚。同時，他決心奪取準確的真理，他極有耐心地辛勤工作著，以致他的一些最仔細的計算甚至重複做了70次之多（沒有借助於對數）。在開普勒身上最為清楚地體現了形成至高的科學藝術家的兩個基本特性。

開普勒很可能把我們帶引向愛因斯坦，愛因斯坦是自從他的時代以來，在瞭解宇宙方面最偉大的先鋒，並且由於他似乎已經贏得了和牛頓同等的地位，他確實已不單是一位先鋒了。一件有意義的事是：雖然愛因斯坦有一種極為謹慎和長於批評的心智，並被認為常識豐富，但他深深敬慕開普勒，時常引用開普勒的話。因為愛因斯坦也是一位具有想像力的藝術家。

愛因斯坦顯然是一位藝術家，甚至在外表上也如此，見過他的人常注意到這一點："他看起來更像音樂家而不很像科學家，"有個人寫道，那些很瞭解愛因斯坦的人說："他基本上是一位發現者，也是一位藝術家。"事實上，他是位精通于最普通為人公認的藝術之一的藝術家，是位有成就的音樂家，一位優秀的小提琴家，他自己說過：即興演奏鋼琴"是他生活中的一件必需品。"據說，他在傾聽音樂時，會容光煥發；他喜愛巴赫、海頓和莫札特，比較不喜歡貝多芬和瓦格納，而對蕭邦、舒曼以及音樂中所謂的浪漫派，則不感興趣，這是我們可以預料到的。他對音樂的喜愛是天生的；還是小孩子的時候，就產生了這種喜愛，那時他想出一些"讚美上帝"的小曲子，並自己演唱，在那麼小的年紀，音樂、大自然、上帝就開始在他身上變成一種統一體。萊布尼茲說："音樂是人類靈魂從進行自己未意識到的計算時所經受的歡愉。"音樂最為抽象，它是最接近數學的藝術——我們可能回憶，根據畢達哥拉斯的發現，音樂和數學是如何有著它們的共同來源的——而音樂成為愛因斯坦喜愛的藝術，這是不足為奇的。建築是他僅次於音樂的愛好——歌德把建築藝術稱之謂"凝固的音樂"——這是很自然的，因為在建築中，實際上我們投身於靜態和動態轉變成可見的美的機制之中。他漠視繪畫，雖然他不是偉大的讀者，但他被文學所吸引。他在文學中並不怎麼去追求藝術，而是追求感情；在文學領域裏，具有嚴格結構成分的作品不再吸引他了，所以他不愛讀易蔔生的作品；他大大傾心於賽凡提斯、凱勒和史特林堡；他深深敬慕莎士比亞，但對歌德較冷淡，然而他最狂熱地喜愛的作家卻是所有偉大作家中有著最高度感情，神經組織中最陷入分裂狀態的陀思妥也夫斯基，尤其是他的傑作《卡拉瑪佐夫兄弟》。"陀思妥也夫斯基所給予我的，超過任何科學家，超過高斯。"在愛因斯坦看來，所有的文學分析或美學技巧都無法穿透像《卡拉瑪佐夫兄弟》這樣一部作品的中心，只能用感情把握這部作品。他一說到《卡拉瑪佐夫兄弟》，就容光煥發，他只能以"道德的滿足"來形容而別無它詞。因為平常意義的道德作為一種系統來說，對愛因斯坦是沒有什麼意義的；他甚至不把道德包括在科學裏，使他滿足的是具體體現在藝術中的道德歡愉。再者，據說，愛因斯坦的感情生活方式的基調是索福克勒斯的安提戈涅的呼喚："我來這兒不是跟你一起去恨的，而是跟你一起去愛的。"他感到，生活中所能提供最好的事情是洋溢著快樂之光的臉龐。他是位激進的民主派、和平主義者，而不是（人們時常想像的）社會主義者；他相信所有智力方面的工作都具有國際性，他認為這絕不會損毀國家的特性。

這兒要說清楚的一個要點是：愛因斯坦並不只是在閒暇和遊戲時才是一位藝術家，就如同一位偉大的政治家可能打高爾夫球，或者一位偉大的軍人可能種蘭花一樣。他在全部工作中都保持同樣的態度。他追尋科學的感情之根，而感情也正是藝術之根的所在。愛因斯坦很敬慕物理學家馬克斯·普朗克，愛因斯坦這麼說到他："那種使他合宜地投身於工作的感情狀態，就像一位元獻身者或一位元情人的感情狀態。"我們可以說，愛因斯坦本人似乎也應驗了這句話。他甚至不像一些人可能認為的是屬於那種嚴格的宗派，即那種主張所有真正科學都是正確規範的宗派；他認識到：生物科學一定在極大程度上獨立於數學之外。他有一次說，如果數學是科學的惟一途徑，那麼，大自然對歌德來說，將會是模糊不清的，因為歌德具有一種非數學，甚至反數學的心智，然而卻擁有一種比很多準確的科學研究者更偉大的直覺力量。愛因斯坦認為：一切偉大的科學成就都始於直覺。他不斷重複這點，雖然他補充說，由於創新也是需要的，所以直覺就一定不能孤立。人們通常認為許多科學發現是純粹的思想成果，但愛因斯坦卻傾向於視為真正的藝術成果。他要把這個觀點具體化於一切教育之中，使教育成為一種自由的、活生生的過程，不死記硬背，也不考試，主要是一種訴諸感覺的過程，以便獲得美妙的反應。為了達到他的目標，甚至為了達成道德的個性，他要每一個孩子學習一種手工藝，細木工、裝釘書，或學其他的，他並且像埃利·富爾一樣，對電影的教育價值有很大信心。我們看到，在愛因斯坦一切活動的後面都有著這麼一個觀念：物理學家的工作是要去獲得一幅圖畫，他所謂的"世界圖畫"。愛因斯坦于1918年在一次紀念普朗克的慶祝會上說："我同意叔本華的意見，即吸引人們從事科學和藝術的最有力的動機之一是一種渴望擺脫日常生活及其令人痛苦的粗魯和淒涼的荒蕪狀態，此外，擺脫由他們自己不斷改變的欲望所形成的枷鎖。這種渴望驅迫那些具有較強烈敏感性的人走出個人生活，進入客觀知覺和瞭解的世界。這種渴望是一種驅動力量，就像一種力量把身處喧囂混雜的鬧市的居民趕往平靜閒適的阿爾卑斯山高處，在那兒他們似乎可以俯視永恆。和這種消極的動機結合在一起的是一種積極的動機，這種積極的動機促使人們尋求一種適合於他們性情的簡單的世界觀，以這麼一種反映世界觀的圖畫來取代世界，從而征服世界。畫家、詩人、哲學家、科學家都是以各自的方式，在這麼做著。"斯賓格勒曾謹慎地辯稱：物理學、數學、宗教和偉大的藝術都有完美的一致性。我們大可以指出愛因斯坦就是這種一致性的高尚的具體化。

在我們到達數學的領域時，我們就進入了一些過程，這些過程對於一些人來說，似乎是所有人類活動中最不具有人性的、並且是遠離詩的。然而藝術家卻在這兒擁有最充分的想像力。伯特蘭·羅素在他的《神秘主義與邏輯》一書中說："數學可被定義為一種科目，在這個科目中，我們永不知道我們在談些什麼，也不知道我們所談的是否真實。"我們是處身在藝術的想像領域，而數學家是在從事一種創造性的工作，這種工作就其秩序井然而言像音樂，然而在另一層面上重新產生宇宙的秩序，這樣就似乎成為一種天體的音樂。最偉大的數學家為了要發現一種類似於他們的工作的性質而一再訴諸藝術，這並不使人驚奇。他們確已在種類極為繁多的藝術中發現這種類似性。在詩、在繪畫、在雕刻中發現，但是，我們卻確實在音樂——最抽象的藝術、數位和時間的藝術——中，發現了最緊密的類似性。米塔·雷佛雷說："數學家的最佳工作是藝術，一種高度而完美的藝術，如同最神秘的想像之夢那樣大膽、清晰而透明。數學的天才和藝術的天才彼此接觸。"而西爾威斯特在他的《相互的理論》一書中這樣寫道："難道代數不是好像已經獲得了一種美術的尊嚴了嗎？工作者能在這種尊嚴中，自由發展他的觀念，就像在一場歌舞戲的主題或一幅畫的主題中。它已經達到這麼一點：即每一種已適當發展的代數結構，就像一幅技巧老練的風景畫一樣，都能暗示位於畫布極限以外的無限距離的觀念。"貝特蘭德·羅素又說："如果以正確態度看待數學，數學不僅擁有真理，而且也有至上的美——一種冷靜而嚴肅的美，像是雕像的美……真正的歡愉精神，意氣風發，具有一種超人的感覺，這些試驗最優越狀態的試金石，都確實能夠在數學中發現，如同能在詩中發現一樣。"

這位數學家已登臨人類思想階梯的最高梯級。這也是我們全體都在拾級而上的相同的那個階梯，從個人的嬰兒時代爬起，也從種族的嬰兒時代爬起。莫利哀的喬登40多年來一直在發無聊的議論，自己也莫明其妙。人類在整個漫長的生涯中一直想著詩，卻也同樣地顯得無知。

靄理斯雜記-印象和感想：

 1913年4月19日

我有時候覺得很奇怪，人們常常認為，如果一個人不能贊同他們的意見，那就一定是反對這種意見。我想起幾年前，佛洛德在給我的信裏說，要是我能夠克服我對他的理論的敵對態度，他將感到莫大的愉快。我趕快回他的信，我對他的理論並不持敵對態度，雖然他的理論不是所有細節都能為我所贊同。如果我看見一個人在一條危險的山路上往前奔，而我不能一直跟在他後頭，這並不表示我反對他。相反，我可能喚起人們對這位探險者的注意，我可能讚賞他的勇氣和技巧，甚至歡呼他的努力取得成果，至少是讚賞他的偉大的理想。總之，我跟他不是意見一致，但是我不反對他。

一個人為什麼要敵視別人呢？敵視是多麼無聊啊！敵視是一把利劍，誰拿起它來，它就刺傷誰的手。握劍的人死在劍下，這是耶穌的教導，可是他自己一直記不住。這位譴責大師狠狠地，不顧一切地，用言語作利劍，譴責"文士"和"法利賽人"，以致後世把這兩個名詞當作偽君子的同義詞。然而耶穌的教會卻變成古往今來的文士和法利賽人的最大的產生地，直到今天他們還構成它的堅強堡壘。

再看路德。天主教正在那兒一點兒一點兒死去，輕柔地，甚至可以說是雅靜地。忽然來了這麼個五大三粗的莊稼漢，渾身力氣沒處使，對著那垂死的教會拳打腳踢，把它打醒了，把它踢出精神來了，延長它的生命一千年。那個志在消滅天主教的人卻成了天主教有史以來的最大的恩人。

世界上的事情老是這樣陰差陽錯。我們的朋友也許是壞我們大事的人，而最後反而是我們的敵人搭救了我們。



1916年3月30日
一位女士給我看一封很不像話的信，是一位我原來以為是個彬彬有禮的人寫給她的。這位先生為自己辯護，說是常言道，"對於潔淨的人，一切都是潔淨的。"這也許不是罕見的經驗。

"對於潔淨的人，一切都是潔淨的。"這也許是真理。可是我有時候悔恨聖保羅當初沒有把這個危險的真理用另一個方式表達："對於骯髒的人，一切都是骯髒的。"
海洋以它的廣大胸懷接納許許多多垃圾，在太陽和風的大力作用和海水的鹽性消毒作用之下，一切都轉化成有用的美好而使人振奮的臭氧。可是有些狹隘的、關閉的心胸，不是像海洋而是像陰溝。我反對那些陰溝冒充具有只有大海才具有的美德。

1916年11月30日

 聽說H.馬克沁爵士死了。這條新聞喚起我對這位名人的惟一的印象，是他給了我們所有致命的武器之中最最致命的武器，這種武器正在毀滅歐洲的居民。

30多年以前的一天，我們站在馬克沁周圍聽他解說他的槍的機構，看他表演它的驚人的性能。我現在還似乎看見那常常顯示有發明的天才的人的溫和的、天真的神情，還似乎看見那謙虛然而得意的微笑，當他輕巧地、撫愛地盤弄他那美麗的玩具的時候。我們正在觀看的時候，我們之中有一位若有所思地問他："這東西不是要把打仗弄得更可怕嗎？"馬克沁很有信心地回答："不會！它將使戰爭成為不可能！"

千萬年以來的夢想者們，天才的赤子們，一直在人們的耳朵邊悄悄地灌輸那騙人的幻想：如果你要和平，你就得為打仗做好準備。連銅器時代開始時候第一個想到把短刀拉長成為寶劍的天才發明家也一定相信他已經使戰爭成為不可能。

192211月14日

 "像鴕鳥一樣把腦袋鑽進沙堆裏，"好像再沒有比這個比喻更常常被人們用來互相嘲笑了。誰有興趣翻翻近二三百年的通俗雜誌之類的東西，准會不一會兒就看見這個比喻，就像每隔幾分鐘就聽見教堂裏響起喪鐘一樣。

我們差不多不用思索就會知道鴕鳥不會幹這種蠢事。為了弄清楚這一點，我特地問過我的一位恰巧是研究鴕鳥生活習性的權威的朋友——因為在他的著作裏他簡直不屑一提這個迷信——他告訴我，鴕鳥是有一種容易引起這種迷信的舉動，那就是把它的腦袋往下一搭拉，避免引起注意。只有人才是惟一把腦袋鑽進沙堆、閉上眼睛、裝作沒看見周圍事實的兩隻腳的動物。沒有一種鳥敢這樣做。世界沒有為它們提供如此生存的條件。就是人類也沒有膽量敢這樣做，如果不是他在早先就給他自己建造起一堵保護他的大牆，可以容他躲在裏邊胡思亂想而不受到懲罰。

                       


                           
                       
                     


                   


                   
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 Notre Astérix gaulois réussira-t-il à intimider Tintin le Belge ?

                     

                                              July 9, 2018, 11:16 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Équipe de France de Football
沒有自動替代文字。



Bureau Français de Taipei - 法國在台協會覺得飄飄欲仙。 3 小時 ·  🇲🇫⚽️🇧🇪️ 高盧與比利時英雄對峙！今晚法、比大對決！看看高盧英雄阿斯特里克斯能不能擊退比利時的丁丁？雖然紅魔-比利時隊實力堅強，我們希望法國藍隊能拿到進入決賽的資格！法國隊加油！👏 Demi-finale France-Belgique ce soir ! Notre Astérix gaulois réussira-t-il à intimider Tintin le Belge ?? On espère que les Bleus remporteront leur ticket pour la finale, même si les Diables Rouges sont aussi très forts ! Allez les Bleus !!! 😁 #FiersdetreBleus #Demifinale #FRABEL #加油 Équipe de France de Football 沒有自動替代文字。    2015年1月10日 星期六 Astérix et Obélix；Matisse:Father & Son   這感人的故事引發一些聯想：第一次碰到Astérix et Obélix是1978年，我的牛津大學畢業的同學靦腆地說，他們中學學法語從他倆的漫畫故事開始。我當時有地利之便，讀了幾本......沒想到作者87歲了.....沒錯，一息尚存，人都會做他的天職 (睡前翻Matisse:Father & Son By John Russell，知道Henry Matisse在臨終前一天，仍跟"親人"要紙和筆，為她畫像......)，愛他的祖國。               Asterix creator comes out of retirement to declare 'Moi aussi je suis un Charlie'   INDEPENDENT.CO.UK              Albert Uderzo, the 87-year-old creator of the well-loved French comic series Asterix, has come out of retirement to draw a new cartoon to show solidarity with the victims of the Charlie Hebdo attack this week.      The two new cartoon have appeared, the most powerful of which shows Asterix punching an assailant high in to the air, while angrily exclaiming: “Moi aussi je suis un Charlie”, meaning: “I’m Charlie too”.   appears to be a sketch showing the characters Asterix and Obelix stood next to each other, their head bowed and their hats in their hands. Asterix holds a single rose in one hand, and the small Dogmatix is seen looking sadly over his shoulder.   The images have been published in French newspaper Le Figaro, where Uderzo is quoted as saying: “I am not changing my work, I simply want to express my affection for the cartoonists that paid for their work with their lives.”       “How can anyone do something so appalling? How can people claiming to be human beings murder people they have never met but have said something wrong so from that moment, must be killed? This is insanity!”     In pictures: Reaction to Charlie Hebdo attack   “Young cartoonists are taking up the mantle now and I wish them courage. They will always remember the atrocity that happened to their colleagues, which no one could have predicted,” he said.          Twelve people were killed when the offices of satirical French magazine Charlie Hebdo was attacked on Wednesday. Ten of those killed were staff members of the magazine, and two were French police officers, one of whom was Muslim.


張貼者： Hanching Chung 於 上午5:12 沒有留言:    2015年6月16日 星期二 How the French Think In 2003, as America was gearing up for the invasion of Saddam Hussein’s Iraq, a tall Frenchman with a thick silvery mane took the floor at the UN in New York. Dominique de Villepin was then France’s foreign minister, and what marked minds was not only his uncompromising anti-war message, but the way he uttered it: his speech was a magnificent rhetorical appeal to values and ideals. In a deep, silky tone, he spoke for an “old country” that has known war and barbarity but has “never ceased to stand upright in the face of history and before mankind”. As the “guardians of an ideal, the guardians of a conscience”, the UN, like France, he declared, had a duty to plead for disarmament by peaceful means. There was something quintessentially French about this speech, argues Sudhir Hazareesingh, a professor of politics at Oxford University, who opens his impressive new book with the scene. What is it about the French, he asks, that makes them think and speak like this? http://econ.st/1LbEBtB
                       


                           
                       
                     


                   


                   
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 Orwell's work, The Unesco Courier and the review 'The Impact of Science in Society'. Sweden commits $48 million to UNESCO becoming the Organization’s largest donor   

                     

                                              July 10, 2018, 8:23 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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UNESCO Director-General, Audrey Azoulay, and the Permanent Delegate of Sweden to UNESCO, Ambassador Annika Markovic, on 10 July signed a Programme Cooperation Agreement (PCA) whereby Sweden will allot 430 million Swedish Kronor, approximately US$48 million, over a four-year period, beyond its regular contribution to the Organization’s budget.









UNESCO








On this day in 1903, famed author George Orwell was born in Bengal (present-day India). The year before his passing, he published one of his most famous works – 1984 – a fictional story that took readers into a dystopian future of government control and surveillance.

Orwell, whose birth name was Eric Arthur Blair, was convinced from a young age that he would be a famous author. Much like his peers, Orwell considered Lenin one of the most significant men of his time, but his refusal to conform often led him to be deeply critical of imperialism and capitalism. Later in life, Orwell vehemently criticized communism, as evidenced in his book 'Animal Farm'.
Today, we take the opportunity to remember Orwell’s contributions to literature and for his critical eye on social norms. Just shy of 1984, UNESCO published two special issues in The Unesco Courier and the review 'The Impact of Science in Society', exploring the intersection of fiction and reality and focused on Orwell's work. How does today compare to Orwell’s predictions for the future?


Check out here some of the articles dedicated to Orwell. Enjoy the read!


1️⃣️ George Orwell, a ‘Tory anarchist’ https://on.unesco.org/2MjZl98


2️⃣️ Nineteen Eighty-four: from fiction to reality https://on.unesco.org/2ttfvpP


3️⃣️ Orwell's vision: the world in 1984 https://on.unesco.org/2K5ydhz


#UnescoCourier#OnThisDay#GeorgeOrwell#Culture#Literature#History







                       


                           
                       
                     


                   


                   
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 Marcel Proust, Swann's Way，彭淮棟兄推薦我讀此卷

                     

                                              July 11, 2018, 8:22 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Penguin Classics
"What richness, what variety, is hidden unbeknownst to us within that great unpenetrated and disheartening darkness of our soul which we take for emptiness and nothingness."—Marcel Proust, Swann's Way
Marcel Proust was born on this day in 1871.
PENGUINRANDOMHOUSE.COM
Swann's Way by Marcel Proust | PenguinRandomHouse.com
The first volume of one of the greatest novels of the twentieth century, in Lydia Davis's award-winning translation…

                       


                           
                       
                     


                   


                   
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"Grant";   "Hamilton" ; Alexander Hamilton By Ron Chernow； Joanne Freeman on Alexander Hamilton the man and 'Hamilton' the musical

                     

                                              July 11, 2018, 8:23 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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https://www.cbsnews.com/news/ron-chernow-on-his-latest-biography-grant/


Ron Chernow, the historian whose award-winning biography of Alexander Hamilton was the basis of the hit Broadway musical, is back with his seventh book, "Grant" (Penguin). It chronicles the life of Civil War general and 18th President Ulysses S. Grant.
On "CBS This Morning" Monday, Chernow was asked what attracted him to writing about Grant.

grant-chernow-cover-penguin-244.jpg 
 PENGUIN

"Well, I've always had this fantasy of writing a big sweeping saga about the Civil War and Reconstruction," he said, "and Grant is the person who's at the center of that. It's really two acts of the same drama. And just if you look through the prism of Ulysses S. Grant, everything significant that happens between 1861 and 1877, he's right smack at the center of it."
Co-anchor Charlie Rose asked, "What made him the great general he was?"
"Grant captured three Confederate armies — at Fort Donelson in 1862, at Vicksburg in 1863 and most famously at Appomattox in 1865," Chernow said. "And yet, Lee is the one who's romanticized as the great general. Robert E. Lee never captured a Union army.
"Grant was decisive, he was determined, he was aggressive, and — unlike Lee, who had plans for winning individual battles — Ulysses S. Grant had a strategy for winning the entire war."
He did that, Chernow explained, by taking all the Union armies which had been operating independently and coordinating them so that they functioned as a single fighting unit.  
"Grant respected Lee, but he also thought that Lee was highly overrated," Chernow noted. "He said Robert E. Lee was a man who needed sunshine. He felt that Lee was actually politically operating in a much easier environment in the South where he was constantly glorified, [whereas] in the North — where there was a lot of anti-war sentiment, the so-called 'Copperhead Democrats'— Grant felt that he was constantly being denigrated from his own side.

1009-ctm-grant-qa-1415074-640x360.jpg 
Biographer Ron Chernow.
 CBS NEWS

"Lee had a lot of advantages. Grant had more advantages in terms of manpower, but Lee was fighting on home territory, Lee was fighting a defensive war, which is much easier, Lee had all these spies which who could track the Union movements, and Grant had to protect these very long supply lines going down from the North to the South."
Chernow says one goal of his book was to change the terms of the historical controversy over Grant's drinking, from "Was Grant a drunkard?" to "Was Grant an alcoholic?"
Co-anchor Gayle King asked, "What's the difference between a drunkard and an alcoholic?"
"Drunkard is a Victorian term; it implies that drinking is a moral failing," Chernow said. "Nowadays we know that alcoholism is a chronic disease, and Grant had it. Once he took one drink, he could not stop drinking. It triggered often extreme personality change. He became a rather jovial and silly personality.
"And one thing I discovered is there was a definite pattern to his drinking. A lot of people in good faith say, 'I never saw Grant drink.' But what he would do, he would not touch a drop of alcohol for two- or three-month periods. After a major battle he would then go up to a small town on a side trip, have a two- or three-day bender that his officers and his men never saw, and then he would come back, as William Tecumseh Sherman said, 'fresh as a rose.' When I tell this story to my friends in AA, they all said the same thing: Ulysses S. Grant was a high-functioning alcoholic."
Chernow also settled the controversy over whether Grant's friend and publisher Mark Twain had ghost-written Grant's autobiography, published in 1885 soon after Grant's death, which is often called the greatest memoir ever written by a U.S. president.
It was a book Grant did not want to write.
"The year before he died he was financially wiped out by the Bernie Madoff of his day," Chernow said. "At the same time he was diagnosed with cancer of the tongue and throat and in excruciating pain."
He wrote the memoir — as much as 10,000 words a day — during the last year of his life. Chernow examined the original manuscript at the Library of Congress and confirmed it was all in Grant's own handwriting.
In fact, Twain said of Grant's memoirs, "Their style is flawless … no man can improve upon it."
What made Grant such a good writer?
"Grant had always prided himself on his writing. He wrote all of his wartime orders. He wrote all of his own speeches as president, and he was also considered a great raconteur. So in a way it's not surprising that he produced what is now thought to be the greatest military memoir in American letters."
And what of Chernow's biography?  "Is this a musical or not?" Rose asked.
"I think it's safe to say that Grant's life does not move to a hip-hop beat," Chernow laughed. "But I'm hoping it will be a film!"
  • "Grant" by Ron Chernow (Penguin), in Hardcover, eBook, Digital Audio Download and Audio CD formats. Available via Amazon

-----


Today in History: Aaron Burr shoots Alexander Hamilton in a duel in Weehawken, N.J., 1804. Yale's Professor Joanne B. Freeman, History and of American studies weighs in on the complicated man who inspired a musical. #OTD



----

Alexander Hamilton
Book by Ron Chernow
4.1/5Goodreads4.6/5Barnes & Noble


Publisher's description: In the first full-length biography of Alexander Hamilton in decades, National Book Award winner Ron Chernow tells the riveting story of a man who overcame all odds to shape, inspire, and scandalize the newborn America. ...Google Books
Originally published: April 26, 2004
Author: Ron Chernow
Congrats to Lin-Manuel Miranda and the entire Hamilton: An American Musical cast on their incredible Tony Awards sweep! If you can't get enough Hamilton, read the book that started it all.




Congratulations to the Tony Award Winners! Read the books that inspired the plays | Penguin...
Last night, Hamilton cleaned up at the Tony Awards, to no one's surprise. If…
PENGUINRANDOMHOUSE.COM


----



A musical about America’s first treasury secretary does not sound like obvious material for a blockbuster. Yet "Hamilton" has been met with near-universal critical acclaim and an insatiable public




"Dramatic, erudite and cool all at once": the reasons for "Hamilton"'s success at the Tonys
Why everyone wants to see “Hamilton”. From December
ECON.ST

----

Hamilton: An American Musical could have been a very different show.




Here Are All the Hamilton Posters That Didn't Make It to Broadway
If at first you don't succeed, make 30 more.
BLOOMBERG.COM











Hamilton: An American Musical could have been a very different show.

翻譯年糕


Here Are All the Hamilton Posters That Didn't Make It to Broadway
If at first you don't succeed, make 30 more.
BLOOMBERG.COM




                       


                           
                       
                     


                   


                   
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  The Last Lion: Winston Spencer Churchill 

                     

                                              July 11, 2018, 2:33 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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百萬字
廣場不畏懼或者樂於挑戰厚重的歷史書，是有一回邀請席代岳先生（1939年生，譯有羅馬帝國衰亡史、希臘羅馬英豪列傳、蒲魯塔克札記等等）幫忙翻譯。
席先生開出接翻譯的三個條件：
1.百萬字以上
2.之前沒有譯本
3.原著是經典
對於第一項條件，席先生的看法是認為歷史書不夠厚，許多事是說不清楚的。這代表某類歷史讀者的主張，同時也給我們帶來刺激。
廣場出版要達成百萬字這項里程碑得等到邱吉爾傳三大冊的出版（原文每冊超過一千頁）。
圖像裡可能有2 個人、文字

From Wikipedia, the free encyclopedia
Jump to navigationJump to search
The Last Lion: Winston Spencer Churchill
AuthorWilliam Manchester, Paul Reid
CountryUnited States
LanguageEnglish
GenreBiography
PublisherLittle, Brown and Company
Published1983, 1988, 2012
No. of books3
The Last Lion: Winston Spencer Churchill is a trilogy of biographies covering the life of Winston Churchill. The first two were published in the 1980s by author and historian William Manchester, who died while working on the last volume. However, before his death, Manchester had selected Paul Reid to complete it, and the final volume was published in November 2012.
Volumes[edit]
  • The cover of the first US edition of the first volume.
    •   
  • The cover of the first US edition of the second volume.
Visions of Glory, 1874–1932[edit]
The 973-page volume was published in 1983. In 2011, the book was placed on Time magazine's top 100 non-fiction books written in English since 1923.
Alone, 1932–1940[edit]
The 756-page volume was published in 1988.
Defender of the Realm, 1940–1965[edit]
The 1232-page volume was published in 2012. This is the final volume of the late William Manchester's trilogy about the life of Winston Churchill. Manchester died at the age of 82 on June 1, 2004, after suffering for several years from two strokes, following the death of his wife in 1998. The strokes severely impaired his ability to write, resulting in his announcement, in August 2001, that he would be unable to complete the third volume. At the time of this announcement, he had completed about 100,000 words of the third volume and had declined approximately twelve inquiries from potential collaborators to complete the book. His view at the time was that "I have all the research done for the rest of the third volume, a hell of a lot, to the end of Churchill's life. But what I can't get people to understand is that nobody else can write it. Nobody has my style. Nobody could put it in context like I can. I'm the only person who can write that book."[1]
Before he died, he chose Paul Reid, a former feature writer for Cox Newspapers, to complete the work.[2]
The third volume focuses on Churchill's years as Prime Minister of the United Kingdom during the Second World War. It was published on November 6, 2012, 24 years after the publication of the previous volume.
Bibliography[edit]
  • Manchester, William (1983). The Last Lion: Winston Spencer Churchill: Visions of Glory, 1874–1932. Boston: Little, Brown & Co. ISBN 0-316-54503-1.
  • ——— (1988). The Last Lion: Winston Spencer Churchill: Alone, 1932–1940. Boston: Little, Brown & Co. ISBN 0-316-54512-0.
  • Manchester, William; Reid, Paul (2012). The Last Lion: Winston Spencer Churchill: Defender of the Realm, 1940–1965. Boston: Little, Brown & Co. ISBN 0-316-54770-0.
References[edit]
  1. Jump up^Dexter Filkins, Ailing Churchill biographer says he can't finish trilogy. New York Times, August 14, 2001. Retrieved 2014-07-23.
    Jump up^ Langworth, Richard (Mar 5, 2009), The Last Lion, volume III: comment on the third volume from one of its proof readers.
External links[edit]

"Ailing Churchill Biographer Says He Can't Finish Trilogy", New York Times, August 14, 2001
"Taming The Last Lion: An NC writer keeps a promise to Winston Churchill biographer William Manchester", Charlotte Observer, November 7, 2010
C-SPAN Q&A interview with Paul Reid about Defender of the Realm, December 23, 2012

                       


                           
                       
                     


                   


                   
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徐志摩《一本沒有顏色的書》1934：朱自清《歐遊雜記》； 1943：《倫敦雜記》

                     

                                              July 12, 2018, 7:29 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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過手/過眼的書，可能近2萬本。
前幾天，颱風來台前，將漢先生的二十多本書/期刊，拿出去曬。後來，忙於他事，它們已經"風吹雨打"。
每個Google slides 檔案，都有其故事。
漢清講堂近4年，約得230片，有些是"搶救書籍"的，因為分散前，該作些告別。
"徐志摩《一本沒有顏色的書》；朱自清在歐洲、倫敦 1931-32"：徐的，是今天加的；朱的，是幾年前做的40張，還不滿意，所以都無法發表。







1929年喪妻：5子女。

1931年與陳竹隱訂婚之後游歐。1932年歸國後結婚。1934：《歐遊雜記》； 1943：《倫敦雜記》(7個月見聞)

















YOUTUBE.COM
230 川端康成と東山魁夷 2018-05-04
川端康成戰前的作品與戰後有著顯著的不同, 梅原猛指出了戰後川端康成身心的轉變。…

                       


                           
                       
                     


                   


                   
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  Artificial Intelligence: The promises and the threats. Sandy Koffler, the UNESCO Courier’s founder

                     

                                              July 13, 2018, 6:28 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Artificial Intelligence is all around us.
Between myth and reality, where exactly do we stand?
The #UNESCOCourier latest issues examines how AI is changing our future.
圖像裡可能有文字




Artificial Intelligence: The promises and the threats

Digital work by the artist Evgenija Demnievska, representing Janus, the Roman god with two faces: one looking at the past, the other at the future. He presides over all transitions, from one state to another.
Computers and robots are now learning to make decisions! Of course, “deciding” is a big word for machines that have no consciousness and whose level of “reasoning” is not even as evolved as that of a frog. But the latest developments in artificial intelligence (AI) are enough to frighten some and to arouse the fantasies of others.
Between myth and reality, where exactly does the current research stand in this technology that threatens to disrupt all others? In its Wide Angle section, the Courier attempts to untangle the various paths of inquiry and offers some terminological signposts to help uninitiated readers to find their way through the fascinating but scary world of AI.
For many, the word “intelligence” is only a metaphor when it is applied to machines or robots which are destined ‒ we are assured ‒ to remain simple and humble assistants to humans. AI helps us transcend language  barriers through machine translation, to perform many routine tasks, even to do the housework, manufacture goods, detect illnesses at an earlier stage than doctors can, and to create prosthetics that can be activated by a thought.
Even so, the combination of deep learning and big data is not only provoking a revolution in  AI, but also setting off a Fourth Industrial Revolution(link is external), which our societies may not quite be prepared for. Many experts believe that AI is more of a cultural revolution than a technological one, and that education will have to adapt quickly to the new realities – so that future generations learn to live in a world that is radically different from the one we know today.
The question already being raised is: isn’t there a risk that data available to AI will be used to confirm preconceived ideas and prejudices? Racial profiling, censorship, prediction of the criminal personality, etc. – these discriminatory criteria are already being used by machines that are taught to analyse patterns of behavior. The more complex the technological development becomes, the more complex are the ethical questions it raises. The development of killer robots is a striking example of this.
Alongside these ethical challenges, there is the risk of monopolization of power. While AI is only taking its first steps in Africa, a small number of countries are investing billions of dollars in basic research – which is almost entirely in the hands of a few computing giants, as we know. These international challenges call for international coordination. This is essential if AI is to be developed responsibly.                                                                                                               

As our regular readers already know, this is the 70th anniversary of the UNESCO Courier, and in each issue this year, we are publishing an article that takes a retrospective look at the exceptional adventure of our magazine. On 18 July we celebrate another exceptional anniversary: the centenary of the birth of Nelson Mandela, who, during his lengthy imprisonment on Robben Island was deprived of the right to read all publications – except the Courier!
In Trending, we offer you a chance to discover – via drone – the mysterious temples of Tiwanaku in Bolivia. You will also journey to the Galapagos in Ecuador, in the company of  Luc Jacquet, the director of March of the Penguins, which won an Oscar in 2006. 
Twenty years after the terrible massacres of the war in Algeria, we go back in time with Our Guest, documentary film-maker Malek Bensmaïl – whose mission it is to create a contemporary memory of his country. The relationship between history, memory and artistic creation are also at the core of the reflection of Guadeloupean philosopher Alain Foix, to whom we have devoted the pages of our Ideas section.

In Zoom, we travel the world, this time in the company of Floriane de Lassée, a photographer fascinated by these walkers who transport loads on their heads that are as varied as they are voluminous. With their backs sometimes bent, but their heads still held high, these modern caryatids carry with them the weight of tradition, education, family – and life itself.




The UNESCO Courier. February 1955 Rare Masterpieces of World Art. 1954. by Sandy (editor-in-chief) Koffler. Currently unavailable



MIT
In Memoriam: Sandy Koffler On 11 November 2003, Sandy Koffler passed away in Paris at the age of 86. Koffler was the founder and Editor-in-Chief until 1977 of the UNESCO Courier magazine, published in 35 languages until 2001.
 Sandy Koffler met Leonardo founder Frank Malina in 1947 at the inception of UNESCO, when Malina was helping set up the UNESCO science program; Koffler then established Courier. This deep and uninterrupted friendship lasted over 30 years of hectic discussions, shared enthusiasms and mutual encouragements.
Malina left UNESCO to devote himself to kinetic art and, later, to the establishment of the international art/science journal Leonardo. Malina’s sudden death in 1981 threw the immediate future of the journal into some doubt; it was then that Koffler offered his editorial experience to assure the continuation of Leonardo; he served as Editor-in-Chief during 1981–1982 until the Leonardo editorial offices were moved to San Francisco, where they are still headquartered.
Koffler and Malina were part of a generation that helped rebuild world institutions after World War II; Koffler dedicated his life to promoting international understanding and making known the world heritage and developments in education, science and culture. Koffler is survived by his wife, Pauline Koffler, who also served for many years as a corresponding editor of Leonardo. The Leonardo network mourns the departure of a friend, colleague and kindred spirit who contributed through his work to the creation of a saner world based on international collaboration and dialogue.




The Unesco Courier可能有中文版

· 巴黎 · 非營利組織

Since its creation in 1948, the UNESCO Courier has been spreading 


UNESCO
One man with a visionary idea.
What if, wherever you are in the world, you could travel to distant lands, and learn about those cultures?
Today, we pay homage to Sandy Koffler, the #UNESCOCourier’s founder.
To our readers, thank you for coming along for the ride. The first #CourierForum is only the beginning!
ℹ https://on.unesco.org/2LrvyuI #CourierForum

圖像裡可能有1 人、坐下


courier 

  • [kə'ːriər | kúr-]
[名]
1 （手紙・小包などの）運搬［配達］人；急送［宅配］便業者
a motorcycle courier
バイク急送便のメッセンジャー
a private courier firm
宅配便会社.
2 ((主に英))旅行世話人；（旅行社の）ガイド, 添乗員.
3
(1) （外交文書・重要書類などを携行する）急使.
(2) 急使が利用する輸送機関（飛行機・船など）.
4 ((C-))((新聞・雑誌等の名称に用いて))…クーリア, …新報
the Liverpool Courier
リバプールクーリア. 

                       


                           
                       
                     


                   


                   
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 McCarthy, Richard M (USIS  美新處)

                     

                                              July 13, 2018, 7:50 am
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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(上周，季季說：USIS 當年買《現代文學》600本。)
台灣稱呼洋人，喜歡只用性或者名，很不好的習慣。
因為 講McCarthy，可能會誤以為是"恐共"的美國國會議員Joseph McCarthy。
當時美國新聞處借居孫立人將軍住過的......處長叫McCarthy, Richard M.
網路上有他13頁的回憶訪談，我認為很值得整理出來供國人參考：
McCarthy, Richard M. - Association for Diplomatic Studies and Training
www.adst.org/OH%20TOCs/McCarthy,%20Richard%20M.toc.pdf

                       


                           
                       
                     


                   


                   
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周保松 一點讀書心得   Le Petit Prince 《小王子》 ( Antoine  Saint-Exupéry) ；周保松《小王子的領悟》；《玫瑰的回憶》The Tale of the Rose:The Love Story Behind The Little Prince

                     

                                              July 13, 2018, 5:49 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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一點讀書心得
2018/7/13 — 11:17
我在大學任教政治哲學教多年，發覺閱讀原典，對學生的學習有許多好處。所謂閱讀原典，就是選擇一些學術經典作深度閱讀，與作品直接對話。但我也發覺，在閱讀過程中，同學經常會遇到各種困難，以至半途而廢，入寶山而空手回。對於這種由閱讀而來的挫折，我也體會甚多。
以下所談，是我多年來的一點讀書體會。不過，我必須強調，這不是甚麼定論或指引，而只是很個人的一點分享，畢竟每個人的讀書方式和閱讀經驗都不一樣。
一，甚麼是閱讀呢？在我看來，這是一場思想的相遇。當你選擇一本學術著作，並決定嘗試進入時，你是在進入一個思想的世界。這個世界處理的問題，很可能十分重要但異常困難；用的語言和邏輯，很可能頗為陌生兼不易把握；提出的觀點，很可能聞所無未聞甚至匪夷所思。因此，足夠的認真、足夠的謙遜，以及足夠的迎難而上的好奇心，都很重要。
二，捧起一本學術著作，我們最好習慣帶著問號去閱讀：作者在處理甚麼問題？這些問題為何重要？作者又是在甚麼學術傳統回應別人的挑戰？支持這種回應的理由有足夠說服力嗎？如果沒有，我們是否有更好的出路？帶著問題去閱讀，我們就不會那麼容易迷失在理論的迷宮，同時令自己和作者處於一種對話的狀態。
三，宜慢讀細讀，不宜速讀粗讀。人文社科著作許多都涉及抽象的概念、嚴謹的論證和深邃的思想，因此要習慣慢咀細嚼。讀一遍，不懂，再讀；再不懂，繼續讀。一篇文章反覆讀十數遍，然後才略有所得，是常事。如果貪多務得，囫圇吞棗，最後可能記了一堆似懂非懂的學術套話和時髦術語，思想的收穫卻可能甚少。
四，無論擺在我們面前的著作多麼有名，也不宜用一種崇拜的、甚至膜拜的心態去讀，更不要認定這些著作所說，必然就是真理。在任何時候，都不要盲從權威，不要失去自己的判斷力。我們當然可以相信某套理論或堅持某種立場，但一定要有充份理由支持。不僅對待經典如此，對待自己的老師，也應如此。「吾愛吾師，吾更愛真理」，理應是追求學問的基本態度。
五，如果能力和條件許可，最好多讀外文原典，少讀譯本。一開始也許讀得很慢很吃力，但只要堅持一段日子，慢慢習慣以後，你會發覺這種努力絕對值得。與此同時，最好是閱讀重要思想家本人的著作，而不是只讀詮釋這些哲學家的二手文獻。還有就是要學會群讀，而不只是獨讀。例如辦個讀書小組，幾個人一起讀，然後互相討論彼此交流。我辦讀書組多年的經驗告訴我，只要持之以恆，這種讀書方式往往既愉快收穫又大。
六，不要強求自己讀一些根本讀不進去或完全找不到共鳴的著作，無論這些著作受到多少人推崇或影響力有多大。說到底，閱讀的目的，是滿足自己的好奇心和享受思想的盛宴。如果讀來味同嚼蠟，樂趣全無，那倒不如先放下，改讀其他。也許過一段日子重拾，或會另有所得。世間沒有甚麼非讀不可的書，也不見得所有人都會喜歡同一本書，畢竟每個人都不一樣。
七，讀那些能夠回應你的關切和助你解惑的書。也就是說，最好不要隨意地東讀一點西讀一點，而能因應自己關心的問題，有計劃地讀。例如你關注自由問題，可以去讀穆勒的《論自由》和伯林的〈兩種自由的概念〉；關心社會正義問題，可以去讀羅爾斯的《正義論》或諾齊克的《無政府、國家與烏托邦》；對國家正當性問題有興趣，可以去讀洛克的《政府二論》或盧梭的《社會契約論》。這是一種以問題為導向的閱讀：儘量讓你的關懷和困惑，推動你去探索和欣賞沿途美好的知識風景。
八，學術潮流此起彼落，時髦術語層出不窮，更有一些作者喜歡故弄玄虛，令讀者暈頭轉向，以為愈含混愈艱澀的文字便愈有深度。實情往往不是這樣。好的學術著作，通常能用清晰明確的語言將道理講清楚。有些書你讀不下去，未必是你能力不足，而是對方寫得不好。
九，不僅要學會讀，還要學會寫。所謂的寫，最好不要只是摘抄筆記或抒發幾句感受，而是嘗試用自己的語言，將該書主要觀點整理出來，並逐點檢視它們是否合理。許多時候只有通過寫，我們才能確定自己在多大程度上讀懂了一本書。
在這個追求速讀易讀的年代，以上這幾點讀書心得，也許不合時宜。但慢慢閱讀，慢慢咀嚼，慢慢在其中理解和領悟，其實也不錯。
原載《在乎》（香港：牛津大學出版社，2017)。



2017.9.23

台灣的新書太多了。新書發表會一場接一場。我通常只選附近的場。
然而，有時可能有些緣分。缪詠華女士今年來漢清講堂發表 (對了，阿邦轉引的殷琪的故事，應該是要轉送寫過【長眠在巴黎】的她)不忘送周保松簽名的【小王子的領悟】-- 她向作者卡油的。
我回贈一本重量級的Silverstein的書【不同的舞步】。並請她設法聽聽作者誦自己的詩的"聲優"水準。
我還說，很怕看原書數十倍篇幅的書；也不喜歡爭"馴服"、"馴化"、"親近"的翻譯。
歸檔之前，讀些，免得辜負作者、贈書者的美意。
感動的事：作者從("徹底改變了香港，也徹底改變了我"的)雨傘革命(2014)的喧鬧之餘， 來台北"平靜"。
"我的少年時代，大部分的人文養分都是來自台灣。....走進一個有情有義的文學世界。......我仍然清楚記得，當年讀到司馬中原的【啼明鳥】時的那份激動，.....給我前行的勇氣和希望。"
今晚跟保松老師座談，幫校長要了保松老師的簽名。擇日送去給校長。✌️！

沒有自動替代文字。






-----

這是下月要出版的繆詠華翻譯的"小王子 狐狸篇"部分：
"「最好在同一個時間過來，」狐狸說。「比方說，要是你下午四點鐘來的話，三點鐘一到，我就會很快樂。時間越臨近，我就會越感到快樂。四點鐘一到，我就已經坐立難安，而且會很擔心；我會發現快樂是要付出代價的！可是要是你來的時間不一定，我就永遠也不會知道什麼時候該做好心理準備⋯⋯這可是需要儀式的。」～狐狸，《小王子》"


我要提議：這隻狐狸是"損失函數" (loss function)的創始人之一：
損失函數描述某些可調整的參數的不同數值下，該系統遭受的損失。損失函數的運用範圍，應侷限在損失是可加以衡量的場合。
損失函數的最重要應用是可協助我們，從只求”符合規格”的心態、觀念，轉換到透過對於流程的改善，持續地將某目標值的變異縮小。
---W. Edwards Deming 《新經濟學》台北：經濟新潮，2015





2015.9.19
 2000年是Antoine  Saint-Exupéry百年祭 : the French aristocrat, writer and pioneering aviator Antoine de Saint-Exupéry (1900–1944).
他的所有作品似乎都有漢譯了 (台灣也如此).

*****
這可能是法國式怨偶.
一般外人很難想像如此婚姻關係:
 After his disappearance, Consuelo de Saint Exupéry wrote The Tale of the Rose, which was published in 2000 and subsequently translated into 16 languages.[100]
 我在舊書攤買到:《玫瑰的回憶》，黃葒譯，上海:譯文，2002 

 看了後面四章. 還不錯. 他們在美國也是活在名人圈和友善圈中 (外地租屋.  屋主一聽是Antoine  Saint-Exupéry 自願免費.....)

英文本: Saint-Exupéry, Antoine (Consuelo de); and/tr. by Esther Allen. The Tale of the Rose: The Love Story Behind The Little Prince. New York: Random House, 2000.

The Tale of the Rose: 
The Love Story Behind The Little Prince
30 Reviews
Random House Publishing Group, Jan 14, 2003 - Biography & Autobiography - 352 pages
Consuelo  and Antoine de Saint-Exupéry met in Buenos Aires in 1930—she a  seductive young widow, he a brave pioneer of early aviation, decorated  for his acts of heroism in the deserts of North Africa. He was large in  his passions, a fierce loner with a childlike appetite for danger. She  was frail and voluble, exotic and capricious. Within hours of their  first encounter, he knew he would have her as his wife.

Their  love affair and marriage would take them from Buenos Aires to Paris to  Casablanca to New York. It would take them through periods of betrayal  and infidelity, pain and intense passion, devastating abandonment and  tender, poetic love. The Tale of the Rose is the story of a man  of extravagant dreams and of the woman who was his muse, the inspiration  for the Little Prince’s beloved rose—unique in all the world—whom he  could not live with and could not live without.

 *****
有空應該重溫這小王子的天真 (2010)

Spotlight:
'Le Petit Prince'
'Le Petit Prince'
What is the name of the tiny planet in the book 'The Little Prince'?  The planet — or asteroid — is named B-612; it had reportedly once been  seen through a telescope by a Turkish astronomer. Antoine de Saint-Exupéry, the aviator and author of  Le Petit Prince  (The Little Prince), was born  on this date in 1900. Saint-Exupéry combined his love of flight with his  love of writing to compose the tale of an aviator who meets the  diminutive ruler of the smallest planet in the solar system. One of literature's most famous allegories about the importance of innocence and  love, Le Petit Prince was  written in the 1940s, during World War II. Saint-Exupéry had fled from  France to New York. His yearning for a more idyllic time and for his  home is evident in the book.  
Quote:
"It is only with the heart that one  can see rightly, what is essential is invisible to the eye."— Antoine de Saint-Exupery



永遠的《小王子》
閱讀ADRIENNE GAFFNEY2014年02月13日



摩根圖書館的「《小王子》：一個紐約故事」(The Little Prince: A New York Story)展揭示出這部法語經典之作鮮為人知的紐約根源，探索這部看似簡單實則意味深長的童書的起源。
Graham S. Haber, courtesy of the estate of Antoine de Saint-Exupéry
摩根圖書館的「《小王子》：一個紐約故事」(The Little Prince: A New York Story) 展揭示出這部法語經典之作鮮為人知的紐約根源，探索這部看似簡單實則意味深長的童書的起源。20世紀40年代初，法國被德國佔領期間，該書作者、飛行員安 托萬·德·聖-埃克蘇佩里(Antoine de  Saint-Exupéry)流亡到美國。他住在曼哈頓，專心寫一個故事：一個陷入困境的飛行員與一個來自他世的小男孩之間的友誼。他在中央公園南邊和比 克曼社區的家中、長島的一個避暑地和一個朋友在第52街的工作室寫作和繪製《小王子》。那個工作室後來變成了法國餐館La  Grenouille。這部簡練的中篇小說去年4月迎來了誕生70周年紀念，是法國被閱讀最多的作品。這部小說正被改編成一部即將上映的3D動畫電影，由 瑞秋·麥克亞當斯(Rachel McAdams)、詹姆斯·弗蘭科(James Franco)和瑪麗昂·歌迪亞(Marion  Cotillard)配音。但是紐約對這本書不可否認的影響力卻很少被探究。聖-埃克蘇佩里在紐約的那些年很重要，因為那是他最後的日子。1943年，在 《小王子》的第一批書上架之後一周，他乘船重返戰場，回到他的偵察小組。臨走前，他匆忙地把這本書的手稿送給紐約的一個朋友，作為告別禮物。一年後，在巴 黎解放前幾周，他的飛機在地中海上空失蹤。人們一直沒有找到他的屍體。摩根的展覽展出了少數幾本有他簽名的《小王子》中的一本，以及他失蹤那段時間所佩戴 的身份腕帶，上面刻有他的名字以及他的出版商在紐約的地址。
安托萬·德·聖-埃克蘇佩里1944年在撒丁島。
John Phillips, courtesy of the John and Annamaria Phillips Foundation
這場展覽的關鍵是聖-埃克蘇佩里的原始手稿。透過有咖啡漬的草稿修 改、最初的水彩畫以及私人信件和草圖，《小王子》的構思過程被生動地呈現出來。同時展出的還有最早的素描——小王子和他的寵物狐狸這些人物就是從這些素描 演化而來的——以及聖-埃克蘇佩里最初畫的幾幅描繪小王子的小星球的素描。手稿最初有三萬字，最終被精簡到不到一半——原稿提到曼哈頓、長島和洛克菲勒中 心的部分最終都被刪除了。手稿中還列舉了一組能引起共鳴的詞句，聖-埃克蘇佩斟酌再三，最終選擇了那句成為全書中心句的話：「本質的東西用眼睛是看不見 的。」
「一個紐約故事」證明了這個童話故事的哲理對孩子和大人長久的影響 力。摩根的展覽還展出了P·L·特拉韋爾(P.L. Travers)寫的最早的一篇對《小王子》的書評。《瑪麗·波平斯》(Mary  Poppins)系列的作者預見道，「《小王子》將用一道側光照耀孩子們。它將照到頭腦之外的某個地方，在那裡發光，直到他們長大後能夠理解。」
摩根圖書館&博物館，麥迪遜大道225號；1月24日至4月27日；themorgan.org。
本文最初發表於2014年1月24日。
翻譯：王相宜




Time Wasted
September 18, 2015 | by 

From The Little Prince.
When we got married, my husband and I knew we didn’t want to do anything elaborate: we had neither the money nor the inclination and, in any case, we wanted to get the wedding over with and begin the marriage. (Proper weddings, as any bridal magazine will tell you, take months of preparation.) So: we agreed on a date, got our license, I bought a suit, and we went to City Hall with our siblings and our two dearest friends.
After the ceremony, we took the subway uptown and met our families for lunch. I’d booked the upstairs dining room of a venerable French restaurant because I knew the food would be good, and everyone would feel comfortable. Like everything else about the wedding, I must admit I didn’t give it too much thought; I knew the day would be nice no matter what and, for my life’s sake, very much hoped it would not be the most important. 
But when people asked me where we were planning to have the lunch, and I told them, their eyes would light up. “But you know The Little Prince was written there!” they would say in delight. “How romantic! How perfect!” It was true: Saint-Exupery had written the iconic book while staying in what was then an artist friend’s atelier during the war—in the very space that is now the restaurant’s upstairs dining room. 
And we would smile and say, yes, what luck, we weren’t even thinking of that! 
Because the secret truth is, we have both always hated The Little Prince. Its whimsy and passion-play significance had always left my fiancé cold; I found the isolation of the book’s landscape deeply scary. Besides, I’ve never liked anything set in space. I’d read it as a child, of course, and later in French class, and I had watched the creepy cartoon version with a sort of horrified fervor. But my feeling had always been one of active aversion—the last theme I’d ever have chosen for a wedding. It’s not the sort of thing one takes pleasure in disliking; the love people feel for that book is pure and real, and if I could love it, I would. I think we both feel that way; we certainly laughed ruefully together about the coincidence. (To the extent that people laugh ruefully in real life, that is.) 
At a certain point before the wedding, I found myself in a bookstore, and I thought, I’d better get a copy of The Little Prince. I thought it would be funny to produce it amid the toasts and read a quote aloud—the sort of cheesy quote people put on their yearbook pages or on tote bags—and we’d tell everyone about our shared aversion to the book, and it would be charming and irreverent and show how well matched we were, or something. It wouldn’t be a real reading—that would be something of great significance, and very personal and surprising, and maybe unsentimental. I bought it, and I stuck it in my bag, and I forgot about it until the day before the wedding. I read it through that night.
I had it in my bag—the bag with my makeup and my bouquet and my ID—and when I stood up, my hands were shaking. Here is the part I read:
The little prince went away, to look again at the roses.
“You are not at all like my rose,” he said. “As yet you are nothing. No one has tamed you, and you have tamed no one. You are like my fox when I first knew him. He was only a fox like a hundred thousand other foxes. But I have made him my friend, and now he is unique in all the world.”
And the roses were very much embarrassed.
“You are beautiful, but you are empty,” he went on. “One could not die for you. To be sure, an ordinary passerby would think that my rose looked just like you—the rose that belongs to me. But in herself alone she is more important than all the hundreds of you other roses: because it is she that I have watered; because it is she that I have put under the glass globe; because it is she that I have sheltered behind the screen; because it is for her that I have killed the caterpillars (except the two or three that we saved to become butterflies); because it is she that I have listened to, when she grumbled, or boasted, or ever sometimes when she said nothing. Because she is my rose. 
And he went back to meet the fox.
“Goodbye,” he said.
“Goodbye,” said the fox. “And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.”
“What is essential is invisible to the eye,” the little prince repeated, so that he would be sure to remember.
“It is the time you have wasted for your rose that makes your rose so important.”
“It is the time I have wasted for my rose—” said the little prince, so that he would be sure to remember.
“Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose …”
“I am responsible for my rose,” the little prince repeated, so that he would be sure to remember.
And by the end, of course, I was crying.
Sadie Stein is contributing editor of The Paris Review, and the Daily’s correspondent.






                       


                           
                       
                     


                   


                   
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《世界史綱》 THE OUTLINE OF HISTORY；Being a Plain History of Life and Mankind

                     

                                              July 13, 2018, 6:30 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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書名：《世界史綱》上下，，出版社：水牛，作者：Hubert George Wells/原著，譯者：梁思成/譯，



THE OUTLINE OF
HISTORY
Being a Plain History of Life and Mankind

BY
H. G. WELLS

WRITTEN WITH THE ADVICE AND EDITORIAL HELP OF

MR. ERNEST BARKER,
SIR H. H. JOHNSTON, SIR E. RAY LANKESTER
AND PROFESSOR GILBERT MURRAY

AND ILLUSTRATED BY
J. F. HORRABIN


http://gutenberg.polytechnic.edu.na/4/5/3/6/45368/45368-h/45368-h.htm
                       


                           
                       
                     


                   


                   
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Public and Private Life of Animals (1877)

                     

                                              July 13, 2018, 6:31 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   

                   
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東山魁夷、Van Gogh 的書

                     

                                              July 13, 2018, 6:54 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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24:41230 川端康成と東山魁夷 2018-05-04

Rielke 詩集



****

Van Gogh Museum



In a letter to his brother Theo, Vincent van Gogh wrote of his ‘irresistible passion for books’ and that the study of literature was as essential to him as his daily bread. Van Gogh created albums for his family and friends, containing poems and prose he selected himself. What’s your passion?

Piles of French Novels, Vincent van Gogh (1887) #VanGoghCollects

                       


                           
                       
                     


                   


                   
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 Ian Buruma 日中美文化專家

                     

                                              July 14, 2018, 5:22 pm
                     


                     
                     

                     
                     
                                          
                     
                                          
                     
                   


                   
                   


                     
                     

                       
                       

                         
                              
                         

                          
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Ian Buruma - Wikipedia
https://en.wikipedia.org/wiki/Ian_Buruma
このページを訳す
Ian Buruma (馬毅仁, born December 28, 1951) is a Dutch writer, editor and historian who lives and works in the United States. In 2017, he became editor of The New York Review of Books. Much of his writing has focused on the culture of Asia, ...


Ian Buruma: 'Fascist rhetoric is creeping back into the mainstream ...
https://www.theguardian.com/.../ian-buruma-tokyo-romance-fascist-rhetoric-brexit-trum...
2018/03/25 - Ian Buruma: 'Fascist rhetoric is creeping back into the mainstream'. Rachel Cooke. The editor of the New York Review of Books on Trump, Brexit – and A Tokyo Romance, his memoir of life in Japan where he once went on ...
Donald Richie 1924-2013
  • With Ian Buruma (photos) (1980). The Japanese Tattoo (hardcover). Weatherhill.
 
Folk Opera
By IAN BURUMA
The novels "Sandalwood Death" and "Pow!," by Nobel Prize winner Mo Yan, combine literary imagination with a peasant spirit.
《紐約書評》和《倫敦書評》的内容都非常深入，不是一般大學生能欣賞而馬上愛讀的，但是它的文字都非常洗練而精確，像史景遷的文字就有這樣的特色。其他的作者們（包括也偶爾寫中國問題的布魯瑪[Ian Buruma]）也都文字精彩，震懾人心。



Bibliography[edit]
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日本之鏡：日本文化中的英雄與惡人
作者:[荷蘭]布魯瑪(Ian Buruma) 著，倪韜 譯
出版社:上海三聯
出版時間:2018年05月
人民幣¥69
ISBN：9787542662019
內容簡介
強調禮節、秩序及儀式，溫柔文雅、合群順從的日本人，其大眾文化中卻處處糅合了*病態的暴力與色情美學。以“家庭”為價值判斷的核心，對“母親”“父親”形象的期望、幻想，造成日本人對性別的焦慮與矛盾。男性對“母性”的渴望、對女性力量的恐懼，以及對女性性欲的憂慮，通過穀崎潤一郎、吉行淳之介、溝口健二、鈴木清順等人的作品展現無遺。而重視合群、強調集體的日本人，個人內心情感與自我主張在社會規範與社會期許面前毫無作用。群體和人際關係的束縛，造成在義理人情之前，道德、法律都需退讓，進而說明日本人往往缺乏個人責任承擔意識的民族性。
《日本之鏡》通過對電影、戲劇、文學、藝術和神話傳說鞭辟入裏的分析，剝開附在日本文化表面的層層面紗，解釋日本民族這些兩極又矛盾的文化特性，同時勾勒出日本人如何映照出自身的樣貌。無論是黑澤明的電影、三島由紀夫的小說、文樂《忠臣藏》、宮本武藏的傳說，或是黑幫片與家庭劇，伊恩•布魯瑪都信手拈來，幽默風趣地探索有如鏡子般反射出現實的戲劇性幻想。他對日本大眾文化中病態怪誕的行為提供一個與眾不同的解釋，讓讀者能理解這個被迫溫文爾雅的民族如何借由“人為”的風格化與儀式感，尋求壓抑自我的解放。
作者簡介
伊恩•布魯瑪（Ian Buruma），生於荷蘭海牙。曾擔任《遠東經濟評論》和《旁觀者》雜誌記者，為《紐約時報》《新聞週刊》等報刊撰寫關於亞洲的政治和文化評論，並曾任教於牛津、哈佛、普林斯頓、格羅寧根等大學。現為《紐約書評》主編、紐約巴德學院保羅•威廉斯教席之民主、人權和新聞學教授。出版的著作有《零年：1945現代世界誕生的時刻》《罪孽的報應：德國和日本的戰爭記憶》《創造日本：1853—1964》等。2008年被授予“伊拉斯謨獎”以表彰他“在歐洲對文化、社會或社會科學做出的重要貢獻”，同年以其卓越的著作幫助美國讀者理解亞洲的複雜性而獲得“肖倫斯特新聞獎”。2008年和2010年被《外交政策》雜誌列入“全球頂尖思想家”。
倪韜，1985年出生，畢業於復旦大學國際政治系，法學學士，現從事新聞工作，任英文報紙Shanghai Daily評論員。
目　　錄
導讀　日本：有容乃大的“亞”文化與社會（內藤康）
新版序言
初版序言
第一章　神之鏡
第二章　永恆的母親
第三章　神聖的婚姻
第四章　惡女
第五章　活的藝術品
第六章　賣身的藝術
第七章　第三種性別
第八章　硬派
第九章　忠心的家臣
第十章　黑幫和虛無主義者
第十一章　取笑父親
第十二章　漂泊的靈魂
第十三章　結語：一個溫文爾雅的民族
注 釋
索 引
免費線上讀
導讀　日本：有容乃大的“亞”文化與社會（選摘）
本書作於20世紀80年代前期。筆者是1966年生人，少年時期正值70年代二戰後日本經濟高速成長後期，80年代泡沫盛宴初期進入大學，80年代末期入職日本媒體業至今。本書描繪了三十年前的日本文化、社會萬象等，令人甚是懷念。
本書觸及的至80年代為止的日本亞文化實際如何，姑且先放一放，在此筆者想先就本書中尚未登場、後來對日本乃至世界亞文化都具有重大影響的人物談一談，他就是北野武（藝名彼得武［BEAT TAKESHI］）。
眾所周知，北野武是世界知名電影導演，同時也以畫家等不同藝術身份活躍於世。他在1997年的威尼斯電影節憑藉電影《花火》摘得金獅獎，最近還獲得了法國政府授予的“法國榮譽軍團勳章”。
然而在我看來，北野武的原點應該是名為“彼得武”的搞笑藝人，在這方面他的魅力從未減弱。
彼得武在80年代初期，憑藉日本富士電視臺製作的搞笑節目“THE MANZAI”(日本漫才比賽)一躍成名。在此之前，他只是一名活躍于東京淺草地區的無名漫才師。他和搭檔“BEAT KIYOSHI”一起參加了這個節目，融合諸如“紅燈，大家一起過就不可怕”等黑色幽默元素的快節奏漫才作品使他們人氣急升。他們還出演了富士電視臺的節目《我們滑稽一族》，參演人員還有同為人氣藝人的明石家秋刀魚等人。當時還是高中生的我每週心心念念，他們胡鬧式的表演每次都讓我笑到捧腹流淚。對於他們的搞笑手法，也有來自成人社會的“不道德”的指責聲。在他們之前，70年代知名搞笑組合“漂流者”的熱門節目《八點全員集合》也曾受到類似的指責，PTA（日本家長教師聯合會）稱其為“不想給孩子看的節目”、“不良節目”等。但當時，包括我在內的年輕人和孩子們都狂熱地支持著這些節目。
這之後，彼得武通過參演電影《戰場上的聖誕快樂》）等，作為演員也開始活躍起來，1989年發佈導演處女作《兇暴的男人》，以暴力為主題的獨特視點獲得了極高的評價。
雖然持續得到國際性的高度評價，彼得武並沒有遠離自己的原點—搞笑藝人。1997年在威尼斯電影節上獲得金獅獎之後，因厭煩被捧上世界級大師的高位，他策劃並出演了一個非常白癡的日本電視搞笑節目“Brief 4”。節目內容極具衝擊性，包括他在內的四個搞笑藝人僅著短內褲出沒于東京各地，白癡般吵吵鬧鬧，這至今仍是日本搞笑界的傳說節目，視頻網站中可以找到部分節目內容。
“暴發戶”彼得武秉持“鐘擺原理”這一搞笑理論，即“社會地位提高了，就要做相同分量白癡的事情來取得平衡”，這一點在他年近70歲、已經獲得世界性聲譽的今天也不曾改變。他在搞笑節目中總以異想天開、時而全裸的扮相逗得觀眾爆笑不止，這樣以藝人的姿態出現在世人面前，就是包括我在內的眾多日本人喜愛他的理由吧。
像他這樣兼具藝術家的高尚性與搞笑藝人庸俗性的人物在世界上也是極少見的吧。如本書中所指出的，可以說這種特性也是日本亞文化的特徵之一，這是我讀過本書後的一點感悟。
本書的日文譯名“日本のサブカルチャー”中，サブカルチャー即中文的“亞文化”。“亞”的意思是“第二位、略遜一籌、非主流”，筆者也曾聽一位中國出身的大學教授說過，過去“很大一部分中國人認為日本文化是中國文化的‘亞流（模仿者）’”。就是說比起本源的中國文化要稍遜一籌，當時雖略有些不是滋味，但最近筆者也開始思考，日本文化的特質正是建立在這個“亞”的基準上。
顯然，日本古時引進中國文化，並以此為基礎發展出了自身的文化。明治維新以後日本積極吸收西方文化，並用漢字詮釋了眾多西方的概念。“文化、文明、民族、思想、法律、經濟、資本、階級、分配、宗教、哲學、理性、意識、主管、客觀、科學、物理、化學、品質、固體、時間、空間、理論、文學、電話、美術、喜劇、悲劇、社會主義、共產主義”等“和制漢語”舉不勝舉，其中很多為中文所採用，這一點的知曉度已經很高了。
日本雖倚仗近代化的成功進入過列強盟友之列，並在20世紀某個時期覬覦亞洲盟主之位，但結果是迎來了第二次世界大戰戰敗的悲劇性結局。二戰後日本被編入以美國為主導的國際體制之中，推進國家重建，重建過程中也吸收了諸多美國文化。
20世紀50年代，日本依然處於貧乏時期，人們觀看從美國引進的電視節目，憧憬美國豐富多彩的生活。70年代筆者童年時期，電視上也播出了很多美國製作的動畫和電視劇。如今除了電影作品外，這類內容幾乎不會在電視上播出，但日本的動畫作家、電影導演都是在美國等外國文化的暈染中成長起來的。
日本文化就是這樣，歷史上總是在大國文化的影響中持續扮演著“亞流”，並從中創造出了屬於自己的文化。謂之“亞”絕非羞恥之事，模仿是通往創造的階梯，大量地吸收外來文化並創造出屬於自己的文化能量，可以說是日本文化的一大特徵吧。
近年來，這樣的日本亞文化正受到來自世界的關注，前面提到的北野武作品當然也是其中之一。此外，日本創造的動畫、電視劇、音樂、時尚等各種流行文化也正席捲歐美亞。
本書寫成的20世紀80年代，對日本流行文化的關注度與評價絕對稱不上高。當時的日本人都抱持著這樣的想法：迄今為止的日本流行文化都是歐美的“亞流”，絕不是值得驕傲的東西。
不過要說這種自卑情結是何時慢慢產生變化的，還要追溯至90年代後期。筆者1999年前往臺灣採訪時，看到蔓延在年輕人為主的人群中對日本流行文化的強烈關注，確實非常驚奇。臺北的街道上張貼著當時流行的濱崎步的大幅海報，書店裏擺放著各種“哈日族”所寫的介紹日本的書。這之後，這股熱潮逐漸向亞洲各國、歐美等國蔓延開來。
如此日本文化，當然絕對稱不上高尚，換言之，並不能稱之為優秀文化。曾被視為下流之物的浮世繪春宮圖都得到高度評價，並在大英博物館舉辦了展覽等事實也是很好的例證。
日本文化，如前面提到的北野武，也如現今的流行文化，其源泉就是“有容乃大”的強大核心。也是如本書所述的欲望的開放、能夠說出“喜歡所喜之物”的自由氛圍。
本書還指出了日本社會一成不變的一面。例如筆者至今依然沒有感到些許變化的是個人在日本社會中的存在狀態。書中提到：“在日本，個體永遠都是某個大團體的一分子……事實上，他們不能脫離團體而存在。這些團體當中的人際關係並不一定建立在友情之上。無論摩托車公司、劇團，還是黑幫，日本的團體更像是一個個大家庭。”這樣的傾向，不僅在要求對組織忠誠的過去存在，現今依然存在，實際上在筆者所屬的組織中也能感受到。
如上所述，提到日本社會、文化的現有狀態，必須要考慮時代的限制。不過本書中指出的“靜謐、沉穩同時庸俗、下流”的日本文化的側面，竊以為是至今為止日本能量的源泉。筆者身為一名日本人，希望日本能繼續展現這種“亞”文化魅力。

第二章　永恆的母親（選摘）
在黑幫題材類型片中，高倉健是最負盛名且最具男人味兒的演員，拍攝過多部作品，其中一部裏，他在刺死敵對幫派的老大後，被扔進一座戒備森嚴的監獄。在牢裏，唯一讓他牽掛的是母親。家姐的畫外音傳到他和觀眾的耳朵裏：“親愛的弟弟，你知道麼？媽媽每天都呼喚你的名字。”頓時，這位剛毅的黑道英雄好漢連同放映廳裏的影迷們一起失聲痛哭。
一位年過七旬、富甲一方的商人因為有過見不得人的政治勾當和犯罪前科，不惜斥鉅資大搞宣傳，試圖為他不堪的聲名洗白。他是怎麼做的呢？通過向電視臺購買廣告時段，播放他年輕時孝順地背著母親的畫面。
每天夜晚，成千上萬的日本生意人將經濟奇跡拋之腦後，躲進諸如名為“媽媽的味道”或“母親”的居酒屋裏。在威士卡加水的作用下，他們退回到兒時狀態，尋求那些被稱為“媽媽桑”的女人的細心聆聽。這些“媽媽桑”以精神病醫生般的專業耐心，聆聽男人們傾訴自己的心事：老婆如何嘮叨個不停，公司的課長如何不地道，他們如何賣力工作卻又無人賞識。在得到“媽媽桑”的幾句溫和建議和暖心的鼓勵後，這些日本經濟鬥士又跌跌撞撞地踏上了回家的路，互相攙扶著，不時撲到同伴的背上，並為了重回八歲的光景而興奮地大呼小叫。
守候在家的“母ちゃん”—本意是媽媽，但通常用來指代妻子—在等待丈夫的歸來。他踉踉蹌蹌進了家門，妻子為其脫下鞋襪，如有必要的話給他準備吃的，聽著他的醉話，然後扶他上床。
自打須佐之男拒絕服從治海的指示而是吵著鬧著要媽媽，抑或自打他姐姐天照大神耐心忍受弟弟的無禮行徑以來，世間似乎鮮有變化。人們常常很難不生出這種感覺：日本的兩性關係中，女人都是母親，而男人都是兒子。
庫爾特•辛格（Kurt Singer）是對20世紀30年代的日本世風有最敏銳認識的外國觀察家之一，他曾發表如下看法：“看著日本的母親背著孩子，哼著小曲，幽靜地漫步於街上，讓人感到日本的生命之河流經她的身軀後，獲得了新的活力。與她相比，那些忙個不停、極端自我的男人就像一群刺兒頭，毫無魅力不說，還很不實在；他們只是有用或招人厭的工具，對生命的秘密一竅不通。”
日本孩子，尤其是男孩——而且以長子為重——差不多就像上帝。這可不是隨便說說，據某位美國知名學者稱：“耍性子的小孩和日本萬神殿中以遷怒於人類來發洩怨氣的神祇之間存在可比性。兩者都期待別人能提供慰藉，好讓他們安寧和平靜下來。實際上，民間信仰認為，孩子是神的恩賜，或者本身就是需要得到照料的神。”
遷就看來是日本母親喜用的辦法。辛格口中的“神聖暴君”若表現不端，甚至就算是放肆搞破壞，母親往往也只是報以溫和的一笑，並立馬原諒他們。倒是女孩子較少被驕縱，因為她們是被當成未來的母親加以培養的，因此只能施予，不能索取。目前在西方，遷就子女這套似乎也很吃香，但日本的不同之處在於，這種遷就可以維持很久。即使孩子長大，比方說六歲了，要是發起脾氣來，喂糖吃仍是哄其消氣的普遍做法，哪怕眼看就要開飯了。
對待年幼孩子的態度從某種意義上來講，與對待醉鬼或外國人的態度差不多。社會不要求他們對自己的任何言行負責，因為他們根本不懂害臊為何物。人們應該寬容而不是責罰他們。這份寬厚是外國人在日生活的一個重要原因，同時也解釋了為什麼日本男人下班後多半都是一副醉醺醺的模樣，甚至必要時還會裝醉。
許多撫養孩子的傳統方法似乎助長了孩子消極被動的依賴性。無論白天還是夜裏，孩子很少一個人，母親總會陪他一起睡。外出時，孩子不是用嬰兒車推著，獨立面對世界，而是被包裹在溫暖的繈褓內，緊緊綁在母親背後。她鞠躬，孩子也跟著鞠躬。就這樣，孩子在感受母親心跳的同時自動學會了社會禮儀。因此，他的安全感往往完全依賴于母親在場。
最壞的——但絕非罕見——情況是，這會導致一種扼殺個體獨立性的依附關係。孩子明白了，要想得寵獲益，上上策是表現得消極而依賴。日語裏有個對應的詞，叫“甘える”，詞典給出的解釋是“濫用他人之愛，裝孩子撒嬌”。按照精神病醫生土居健郎的看法，這點是理解日本人性格的關鍵所在。這種心態一直延續到成年後：在公司或任何組織內部，新人會在前輩面前裝孩子，女人在男人面前裝，男人在母親面前裝，有時則在妻子面前裝，日本政府在外來強國面前裝，比如美國。一個滋長這種消極依賴性的教育體制顯然不太鼓勵人們的個體積極性或責任心。
使問題更趨複雜的是，母親又需要孩子依賴她，以滿足自己的情感需求。孩子若同母親的想法對著幹（也就是自作主張），往往會使母親緊張，感到孩子不再需要她了。
總之，這種現象近來變得更嚴重了。在這個推崇節育和核心家庭的年代，妻子們被關在高層住宅樓狹小的公寓內，只能與電視機為伴，很容易一門心思撲在孩子身上。往往只有孩子才能讓她們感到欣慰，也是她們與外界的唯一聯繫。簡言之，她們活著就是為了孩子，特別是當婚姻的基礎並非浪漫幻想時，更是如此。
無怪乎孩子長大後離家出走時，母親會痛苦萬分。她極力想把孩子留在身邊，能留多久是多久。孩子終生都會懷念童年樂園（無疑，心情是複雜的，多少摻雜著被壓抑的恨意）。對這個伊甸園的思念是日本文化的重要一面，這種思念既是集體記憶，也是個人情愫。
小說家谷崎潤一郎（1886—1965）就是個很好的例子，雖然他略有幾分古怪。他永遠無法忘記母親，楚楚動人的関，“我直到六歲還在吃她的奶”。順帶提一句，這在日本並不罕見，小孩斷奶比較晚。在作品《幼少時代》（1957）中，穀崎潤一郎談及母親時寫道：“她不僅長著一張漂亮的臉蛋，她大腿處的皮膚是如此可愛，如此白皙，如此嫩滑，當我們一塊洗澡時，每看她一眼我都會心花怒放。”
穀崎的戀母情結就像宗教崇拜。據說，他和祖父很親近，而祖父是日本人中少有的希臘東正教徒。谷崎還記得，祖父是怎樣為“聖母瑪利亞”祈禱的，而那時還是個小男孩的自己，又是如何“盯著懷抱聖嬰耶穌的瑪利亞……懷著一種近乎難以名狀的敬畏之情，望著她那仁慈、深情的雙眼，久久不願從她身邊離開”。
寫於1959年的《夢的浮橋》是穀崎最具挽歌氣質的有關母親的作品之一。對兩位母親的記憶始終縈繞在主人公糺的心頭：一個是他五歲時去世的生母，一個是繼母。兩人的形象常在腦海中重合，叫他難以分清。不過他還是記得和生母共寢過，“她是個矮小纖瘦的女人，一雙豐滿的小腳宛如糕團……”（穀崎是賞鑒女性玉足的行家。）他吮吸著母親的乳房，“乳汁涓涓地流淌著。她的酥胸散發著秀髮和乳汁交織在一起的香氣，飄繞在我的臉際。雖然四周很黑，但我隱約仍能看到她雪白的乳房”。
幾年後，母親去世了，他跟奶媽睡在一起，仍記得“那個甜蜜、朦朧的白色夢境，那片飄繞著發香和奶香的溫暖酥胸……它怎麼就沒了……難不成這就是死亡的意味？”這讓人又聯想起須佐之男對他在冥界的母親的強烈思念。也許戀母情結和對死的嚮往之間存在什麼聯繫？辛格說過，“日本人時刻準備赴死，可以拋卻自己的性命，或親手終結它，這或許呼應了他們神聖祖先的那種熱望”。
辛格寫下這段文字的時間正值二戰結束後，那時許多日本人比今天更渴望告別塵世。但即便考慮這點，我仍懷疑刻板地理解日本人所謂的“求死之心”是否恰當。穀崎描寫的與其說是對死的渴望，不如說是對朦朧的白色夢境、充斥感官肉欲的無意識境界的嚮往。許多禪宗式的冥想招式都是為此而設計的：目的是讓人變得麻木，甚至喪失有意識的頭腦，陷入一種沒有自我的感官境界，就像躺在一個溫暖的日本混合浴池中。
主人公將近十四歲時，他的繼母生了個孩子，但旋即被送到某個偏僻的鄉村讓人撫養。主人公再度生出幻覺，似乎第二個母親和生母並無兩樣，並很快恢復了舊習：“……我躺著，把臉埋進她的懷裏，貪婪吮吸湧出的乳汁，我不自覺地以一種嬌嗔的、孩子般的聲音喃喃道，‘媽媽’。”
然而，伊甸園般的童年總會過去。孩子到了六歲上下就會被託付給學校老師和其他外界教育者。從此，服從社會規範的鏈條便越來越緊地束縛住他們。這麼做的心理意義不容小覷。嬌生慣養的小神仙們過去生活在以自我為中心的世界裏，現在被要求嚴守規矩。造成的震撼是巨大的。在西方，大人教育孩子說這世上除了他們外還有別人。日本孩子則不然，他們對此毫無準備，而且也永遠無法適應這點。在許多日本人的身上，溜鬚拍馬式的循規蹈矩和麻木不仁的自私自利會交替出現，其易變性不僅令人生厭，而且難以捉摸。
男孩活得尤其艱難，因為他們必須混出個人樣來。家運的興旺有賴於他們日後的成就。只有兒子有成就，做媽的才有資格驕傲。這意味著，聽話的兒子必須通過所有資格考試，考入名牌學府，最後進入名牌公司，對了，甚至還得和合適的物件成婚。
當這些聽話的兒子整日埋首於書卷，背這個記那個的時候，他們的母親也沒閑著，玩命似的同別的母親一爭高低。她們把兒子當作是一場永無止境的社會蛇梯棋局中的一枚棋子。這些所謂的“教育媽媽”（教育ママ）督促兒子備考的那股子執著勁兒，同極力把孩子推向好萊塢星途的媽媽一比，可謂有過之而無不及。儘管這種望子成龍會被孩子利用——“如果你再不多弄點巧克力給我吃，我就不備考了”— —“教育媽媽”可不是人見人愛的對象。
早在1894年，在這一現象尚不如此氾濫時，小說家樋口一葉就寫過一篇辛辣的短篇小品，描寫的正是這樣一位母親，“她的心比富士山還高，但生活中的地位卻讓她只能屈居於山腳之下”。她為兒子操辦了一段“美滿的婚姻”，無情地將他真正的心上人掃地出門，讓除了她自己以外的所有人都苦不堪言。
日本媽媽同猶太母親很像，永遠都在忍辱負重和自我犧牲。這有可能，而且也往往作用到了孩子身上。孩子每每失敗，就感到自己辜負了母親所做的犧牲。而且不論他取得何種成就，也無法報答母親的恩情。孩子的負罪感是母權力量最持久的支柱之一。因考試落第而自尋短見的孩子留下的遺書十分雄辯地證明了這點。它們多半是因辜負母親而作的悲切道歉。
日本電影中還有一類專門展現母親犧牲奉獻的影片，即所謂的“慈母片”（母物，按字面意思是“母親之道”）。這類電影表面上歌頌了永遠在獻身的母親，實際上卻在肆無忌憚地消費孩子對母親的負疚感和暗藏的攻擊心理，其放肆的程度，只可能源自徹底的無知或極端的犬儒主義；不過，由於後一種情況在日本實屬罕見，人們只能認為存在的是前一種情況。
該類型片中最典型且最出色的一部作品是《日本的悲劇》（1953），這部電影的名字起得恰到好處，理由不止一條。飾演母親一角的是擅長此類慈母片的女星望月優子，因此，去世前幾年，她被親切地喚作“日本的母親”*。望月優子息影后踏入政壇，相當有效地利用了她的這層形象。電影的背景設在戰爭結束後不久，那時的日本滿目瘡痍，人人都是吃了上頓沒下頓。望月優子扮演的是一位貧窮的戰爭寡婦，為了一雙兒女，她什麼樣的苦都咽得下去，不知遭了多少罪！住在自己丈夫家裏的她被小叔子逐出家門，越來越困窘，直到最後不得不在一處低俗的濱海度假勝地當陪酒女，夜夜忍受屈辱。為了孩子，她什麼都肯幹。
但是孩子們領情麼？顯然不領情。他們瞧不起她，女兒跟有婦之夫的老師私奔了，兒子則想辦法讓東京某位有錢的醫生收他做養子。影片接近尾聲的一幕讓人悲從中來，兒子讓母親別再來看他，因為他已正式認他人作父。這位一貧如洗、犧牲自我的日本母親無從選擇，只好步有同樣遭遇的母親們的後塵：在迎面開來的一輛火車前縱身一躍。就這樣，讓他們瞧瞧吧。放映廳裏隨後響起一片觀眾擦手絹的沙沙聲：發片方往往會根據這些影片的催淚指數，在宣傳海報上標注兩塊手絹或是三塊手絹
圖像裡可能有文字


                       


                           
                       
                     


                   


                   
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