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克魯泡特金。居浩然《十論》《居正與辛亥革命 : 居氏家藏手稿彙編》/中國哲學書電子化計劃。翻譯毛澤東《民眾大聯合》

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居正與辛亥革命 : 居氏家藏手稿彙編
ISBN:9787101081664

类别:中国图书
出版社:中华书局

居正(1876-1951),中國當代著名民主革命家、政治家、軍事家、法學家。年輕時赴日學習加入中國同盟會,參與組織共進會,辛亥革命武昌起義 指揮者之一,辛亥革命元勳。本書編者為居正的孫女居蜜博士,書中收錄了居正與辛亥革命有關的家藏手稿資料,對研究居正與辛亥革命都具有非常重要的史料價 值。
    本書由章開沅先生作序,全書由“居正與武昌革命(代導言)/ 郭芳美”、“居氏辛亥革命家藏手稿”、“梅川譜偈(民國前十年至民國十年)”、“辛亥劄記”,以及附錄“居正手稿檔案典藏史/ 居蜜”組成。
“居正與武昌革命(代導言)”一文探討了居正在武昌革命時的活動情形,並由這些活動探討居正對當時武昌革命團體的影響力,更進一步衡估其成就。作者認為:居正對武昌局勢的穩定,皆有積極貢獻。
“居氏辛亥革命家藏手稿”收納最重要、切題的居正手稿檔案影印件,可展示並還原百年前之場景,清楚體認民國肇建的過程。為方便讀者閱讀,手稿影印件後附有對照釋文。
“梅川譜偈”為居正自傳性文字,始於清光緒二年(1876),迄於民國三十七年(1948),共七十三年。“梅 川譜偈”雖以居正自身簡歷為綱,然而內容中十之八九涉及國家大事,所以就內容而言,對瞭解當時國家大事,極富參考價值。本書收錄了其中的民國前十年至民國 十年手稿原件和對應的線裝印本。
“辛亥劄記”,後又名“梅川日記”,是武昌首義、全國回應之時,居正隨時將重要見聞記錄於日記內,以本末體條分 縷述。所記多所經歷,對於研究辛亥革命史有重要參考價值。“辛亥劄記”曾於民國十八年(1929)刊刻,民國三十三年(1944)重刊時,訂名《梅川日 記》,內容也多有增損。本書所收據民國三十三年(1944)刊本影印。
“居正手稿檔案典藏史”一文回顧了居正手稿檔案的典藏經過,同時收錄了2002年部分文獻及文物捐贈南京總統府,2004年將日記、書信、照片等捐贈上海圖書館,以及居正史料介紹等相關資料。


 http://ctext.org/zh
中國哲學書電子化計劃


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よ‐よ【代代/世世】

    これまで経過してきたそれぞれの時期・時代。だいだい。「―の為政者」「―に伝える」
    仏語。過去・現在・未来の三世。
    別れ別れの世界。それぞれ別の生活。男女についていう。
    「白河のしらずともいはじ底きよみ流れて―にすまむと思へば」〈古今・恋三〉
世世其の美を済す
《「春秋左伝」文公一八年から》先人の善行や美徳を代々受け継いでいく。
 http://ctext.org/chun-qiu-zuo-zhuan/wen-gong-shi-ba-nian/zh
 天下之民,謂之八元,此十六族也,世濟其美,不隕其名,



居浩然,徐萱是徐芳的妹妹


*** 居浩然的翻譯

居浩然 (1959)將patterns 翻譯成系統,可參考 (如patters of expression 表現象徵系統,《十論》,台北:文星書店再版,1987,頁42)

從《周縱策論學通信集》,可知居浩然可能是毛澤東的《民眾大聯合》的首位英譯者。


毛澤東:民眾大聯合(共三篇)


毛主席於1919年寫的《民眾大聯合》共三期,很有收藏借鑑價值。

民眾大聯合《一》
(一九一九年七月二十一日)
國家壞到了極處,人類苦到了極處,社會黑暗到了極處。補救的方法,改造的方法,教育,興業、努力、猛進。破壞,建設,固然是不錯,有為這樣根本的一個方法,就是民眾的大聯合。
我們豎看歷史,歷史上的運動不論是那一種,無不是出於一些人的聯合。較大的運動,必須有較大的聯合。最大的運動,必有最大的聯合。凡這種聯合,遇有一種改革或一種反抗的時候,最為顯著。歷來宗教的改革和反抗,學術的改革和反抗,政治的改革和反抗,社會的改革和反抗,兩者必都有其大聯合,勝負所分,則看他們聯合的堅脆,和為這種聯合基礎主義的新舊或真妄為斷。然都要取聯合的手段,則相同。
古來各種聯合,以強權者的聯合,貴族的聯合,資本家的聯合為主。如外交上各種「同盟」條約,為國際強權者的「聯合」。如我國的什麼「北洋派」、「西南派」,日本的什麼「薩藩」「長藩」,為國內強權者的聯合。如各國的政黨和議院,為貴族和資本家的聯合。(上院至元老院,故為貴族聚集的穴巢,下院因選舉法有財產的限制,亦大半為資本家所盤踞)至若什麼托辣斯(鋼狄托辣斯,煤油托辣斯……)什麼會社(日本郵船會社,滿鐵會社……)則純然資本家的聯合。到了近世,強權者、貴族、資本家的聯合到了極點,因之國家也壞到了極點,人類也苦到了極點,社會也黑暗到了極點。於是乎起了改革,起了反抗,於是乎有民眾的大聯合。

自法蘭西以民眾的大聯合,和王黨的大聯合相抗,收了「政治改革」的勝利以來,各國隨之而起了許多的「政治改革」。自去年俄羅斯以民眾的大聯合,和貴族的大聯合,資本家的大聯合相抗,收了「社會的改革」的勝利以來,各國如匈、如奧、如捷,如德,亦隨之而起了許多的社會改革。雖其勝利尚未至於完滿的程度,要必可以完滿,並且可以普及於世界,是想得到的。
民眾的大聯合,何以這麼厲害呢?因為一國的民眾,總比一國的貴族資本家及其它強權者要多。貴族資本家及其他強權者人數既少,所賴以維持自己的特殊利益,剝削多數平民的公共利益者,第一是知識,第二是金錢,第三是武力。從前的教育,是貴族資本家的專利,一般平民,絕沒有機會去受得。他們既獨有知識,於是生出了智愚的階級。金錢是生活的謀借,本來人人可以取得,但那些有知識的貴族和資本家,整出什麼「資本集中」的種種法子,金錢就漸漸流入田主和老闆的手中。他們既將土地和機器,房屋,收歸他們自己,叫作「不動的財產」。又將叫作「動的財產」的金錢,收入他們的府庫(銀行),於是替他們作工的千萬平民,僅只有一佛朗一辨士的零星給與。做工的既然沒有金錢,於是生出了貧富的階級。貴族資本家有了金錢和知識,他們即便設了軍營練兵,設了工廠造槍。借著「外侮」的招牌,使幾十師團,幾百聯隊地招募起來。甚者更仿照抽丁的辦法,發招牌,明什麼「徵兵制度」o於是強壯的兒子當了兵,遇著問題就抬出了機關槍,去打他們懦弱的老子。我們目看去年南軍在湖南敗退時。不就打死了他們自己多少老子嗎?貴族和資本家利用這樣的妙法,平民就不敢做聲,於是生出了強弱的階級。
可巧他們的三種法子,漸漸替平民偷著學得了多少。他們當作「枕中秘」的教科書,平民也偷著念了一點,便漸漸有了知識。金錢所以出的田地和工廠,平民早已窟宅其中,眼紅資本家的舒服,他們也要染一染指。至若軍營里的兵士,就是他們的兒子,或是他們的哥哥,或者是他們的丈夫。當拿著機關槍對著他們射擊的時候,他們便大聲地喚。這一陣喚聲,早使他們的槍彈,化成軟泥。不覺得攜手同歸,反一齊化成了抵抗貴族和資本家的健將。我們且看俄羅斯的貌貅十萬,忽然將驚旗易成了紅旗,就可以曉得這中間有很深的道理了。
平民既已將貴族資本家的三種方法窺破,並窺破他們實行這三種是用聯合的手段。又覺悟到他們的人數是那麼少,我們的人數是這麼多。便大大地聯合起來。聯合以後,有一派很激烈的,就用「以其人之道,還治其人之身」的辦法,同他拚命的搗蛋。這一派的首領,是一個生在德國的,叫作馬克思。一派是較為溫和的,不想急於見效,先以平民的了解入手。人人要有點互助的道德和自願的工作。貴族資本家,只要他回心向善能夠工作,能夠助人而不箐人,也不必殺他;這一派人的意思,更廣、更深遠,他們要聯合地球的一周,聯合人類作一家,和樂親善一一不是日本的親善一一共臻盛世。這派的首領為一個生於俄國的,叫作克魯泡特金。


克魯泡特金(Пётр Алексе́евич Кропо́ткин)

(西元1842.12.9—1921.2.8)

俄國無政府主義革命家及地理學家。生於親王貴族之家。先至西伯利亞服役,再到中國滿州及北歐地區探勘地貌後,逐漸轉為社會主義思想。重要論著為《互助論:進化的一種因素》。


  革命通常是由「飽受虐待壓迫者」發起採取的正義行動,無法確保未來能夠得到相對的補償。……很不幸地,這些革命的領導者們,通常只著眼於下一步的戰術,反而忘了真正重要的目標。假如革命家未將嶄新時代已經來臨的訊息予以宣揚周知,其計畫注定會遭到失敗的命運。

節自《革命者回憶錄》


革命成功是希望,而不是絕望。

節自《革命者回憶錄》


我們要知道世界上的事情,本極易為。有不易為的,便是因子歷史的勢力一一習慣一一我們倘能齊聲一呼,將這個歷史的勢力衝破,更大大的聯合,遇著我們所不以為然的,我們就列起隊伍,向對抗的方面大呼。我們已經得了實驗。陸榮廷的子彈,永世打不到曹汝霖等一班奸人,我們起而一呼,奸人就要站起身來發抖,就要拚命的飛跑。我們要知道別國的同胞們,是乃常用這種方法,求到他們的利益。我們應該起而仿效,我們應該進行我們的大聯合!
一一原載《湘江評論》第二期
民眾的大聯合(二)
(一九一九年七月廿八日)
以小聯合作基礎
上一回本報,已說完了「民眾的大聯合」的可能及必要。今回且說怎樣是進行大聯合的辦法?就是「民眾的小聯合」。
原來我們想要有一種大聯合,以與立在我們對面的強權者害人者相對抗,而求到我們的利益。就不可不有種種做他基礎的小聯合,我們人類本有聯合的天才,就是能群的天才,能夠組織社會的天才。群和「社會」就是我所說的「聯合」。有大群,有小群,有大社會,有小社會,有小聯合,有大聯合,是一樣的東西換卻名稱。所以要有群,要有社會,要有聯合,是因為想要求到我們的共同利益,共同的利益因為我們的境遇和職業不同,其範圍也就有大小的不同。共同利益有大小的不同,於是求到共同利益的方法,(聯合)也就有大小的不同。
諸君!我們是農夫。我們就要和我們種田的同類,結成一個聯合,以謀我們種田人的種種利益。我們種田人的利益,是要我們種田人自己去求。別人不種田的,他和我們利益不同,決不會幫我們去求。種田的諸君!田主怎樣待遇我們?租稅是重是輕?我們的房子適不適?肚子飽不飽?田不少嗎?村裡沒有沒田作的人嗎?這許多問題,我們應該時時去求解答。應該和我們的同類結成一個聯合,切切實實彰明較著的去求解答。
諸君!我們是工人。我們要和我們做工的同類結成一個聯合,謀我們工人的種種利益。關於我們做工的各種問題,工值的多少?工時的長短?紅利的均分與否?娛樂的增進與否?……均不可不求一個解答。不可不和我們的同類結成一個聯合,切切實實彰明較著的去求一個解答。
諸君!我們是學生,我們好苦,教我們的先生們,待我們做寇讎,欺我們做奴隸,閒鎮我們做囚犯。我們教室的窗子那麼矮小光線照不到黑板,使我們成了「近視」,桌子太不合式,坐久了便成「脊柱彎曲症」,先生們只顧要我們多看書,我們看的真多,但我們都不懂,白費了記憶。我們眼睛花了,腦筋昏了,精血虧了,面血灰白的使我們成了「貧血症」』成了「神經衰弱症」。我們何以這麼呆板?這麼不活潑?這麼萎縮?呵!都是先生們迫著我們不許動,不許聲的原故。我們便成了「僵死症」。身體上的痛苦還次,諸君!你看我們的實驗室呵!那麼窄小!那麼貧乏--幾件壞儀器,使我們試驗不得。我們的國文先生那麼頑固,滿嘴裡「詩云」「子曰」,清底卻是一字不通。他們不知道現今已到了二十世紀,還迫著我們行「古禮」守「古法」,一大堆古典式死屍式的臭文章,迫著向我們腦子裡灌,我們板書室是空的,我們遊戲場是穢的。國家要亡了,他們還貼著布告,禁止我們愛國,象這一次救國運動,受到他們的恩賜其多呢!唉!誰使我們的身體,精神,受摧折,不愉快?我們不聯合起來,講究我們的「自教育」,還待何時!我們已經陷在苦海,我們要求講自救:盧梭所發明的「自教育」,正用得著。我們盡可結合同志,自己研究。咬人的先生們,不要靠他。遇著事情發生一一象這回日本強權者和國內強權者的跋扈一一我們就列起隊伍向他們作有力的大呼。
諸君!我們是女子。我們更沉淪在苦海!我們都是人,為什麼不許我們參政?我們都是人,為什麼不許我交際?我們一窟一窟的聚著,連大門都不能跨出。無恥的男子,無賴的男子,拿著我們做玩具,教我們對他長期賣淫,破壞戀愛自由的惡魔!破壞戀愛神聖的惡糜,整天的對我們圍著,什麼「貞操』卻限於我女子,「烈女嗣」遍天下,「貞童廟』又在那裡?我們中有些一窟的聚重在一女子學校,教我們的又是一些無恥無賴的男子,整天說什麼「賢妻良母」,無非是教我們長期賣淫專一賣淫。怕我們不受約束,更好好的加以教練,苦!苦!自由之神,你在那裡,快救我們!我們於今醒了!我們要進行我們女子的聯合!要掃蕩一般強姦我們破壞我們精神自由的惡魔!
諸君,我們是小學教師,我們整天的教課,忙的真很!整天的吃粉條屑,沒處可以游散舒吐。這麼一個大城裡的小學教師,總不下幾千幾百,卻沒有一個專為我們而設的娛樂場。我們教課,要隨時長進學問,卻沒有一個為我們而設的研究機關。死板板的上課鐘點,那麼多,並沒有餘時,沒有餘力,一一精神來不及!一一去研究學問。於是乎我們變成了留聲器,整天演唱的不外昔日先生們教給我們的真傳講義。我們肚子是餓的。月薪十元八元,還要折扣,有些校長先生,更仿照「克減軍糧」的辦法,將政府發下的錢,上到他們的腰包去了。我們為著沒錢,我們便做了有婦的鰥夫。我和我的親愛的婦人隔過幾百里幾十里的孤住著,相望著,教育學上講的小學教師是終身事業,難道便要我們做終身的鰥夫和寡婦?教育學上原說學校應該有教員的家庭住著,才能做學生的模範,於今卻是不能。我們為著沒錢,便不能買書,便不能遊歷考察。不要說了!小學教師直是奴隸罷了,我們想要不做奴隸,除非聯結我們的同類,成功一個小學教師的聯合。
諸君!我們是警察。我們也要結合我們同類,成功一個有益我們身心的聯合。日本人說,最苦的是乞丐,小學教員和警察,我們也有點感覺。
諸君!我們是車夫,整天的拉得汗如雨下!車主的賃錢那麼多!得到的車費這麼少!何能過活,我們也有什麼聯合的方法麼?
上面是農夫、工人、學生、女子、小學教師、車夫、各色人等的一片哀聲。他們受苦不過,就想成功於他們利害的各種小聯合。
上面所說的小聯合,象那工人的聯合,還是一個很大很籠統的名目,過細說來,象下列的:
鐵路工人的聯合,
礦工的聯合,
電報司員的聯合,
電話司員的聯合,
造船業工人的聯合,航業工人的聯合,
五金業工人的聯合,
紡織業工人的聯合,
電車夫的聯合,
街車夫的聯合,
建築業工人的聯合,
方是最下一級聯合,西洋各國的工人,都有各行各業的小聯合會,如運輸工人的聯合會,電車工人聯合會之類,到處都有,由許多小的聯合,進為一個大聯合,由許多大的聯合,進為一個最大的聯合。於是什麼「協會」,什麼「同盟」,接踵而起,因為共同利益只限於一部分人,故所成立的為小聯合,許多的小聯合彼此間利益有共同之點,故可以立為大聯合,象研究學問是我們學生分內的事,就組成我們研究學問的聯合厶象要求解放要求自由,是無論何人都有分的事,就應聯合各種各色的人,組成一個大聯合。
所以大聯合必要從小聯合入手,我們應當起而仿效別國的同胞們,我們應該多多進行我們的小聯合。
《湘江評論》第三期一九一九年七月二八日出版
民眾的大聯合(三)
(一九一九年八月四日)
中華「民眾的大聯合」的形勢
上兩回的本報己說完了(一)民眾大聯合的可能及必要,(二)民眾的大聯合,以民眾的小聯合為始基,於今進說吾國民眾的大聯合我們到底有此覺悟麼?有此動機麼?有此能力麼?可得成功麼?

(一)我們對於吾國「民眾的大聯合」到底有此覺悟麼?辛亥革命,似乎是一種民眾的聯合,其實不然.辛亥革命乃留學生的發縱指示.哥老會的搖旗喚吶,新軍和巡防營一些丘八的張弩拔劍所造成的,與我們民眾的大多數毫無關係。我們雖贊成他們的主義,卻不曾活動。他們也用不著我們活動。然而我們卻有一層覺悟。如道聖文神武的皇帝,也是可以倒去的。大逆不道的民主,也是可以建設的。我們有話要說,有事要做,是無論何時可直說可以做的。辛亥而後,到了丙辰,我們又打倒了一次洪憲皇帝,原也是可以打得倒的,及到近年,發生南北戰爭,和世界戰爭,可就更不同了,南北戰爭結果,官僚、武人、政客,是害我們,毒我們,剝削我們,越發得了鐵證。世界戰爭的結果,各國的民眾,為著生活痛苦問題,突然起了許多活動。俄羅斯打倒貴族,驅逐富人,勞農兩界合立了委辦政府,紅旗軍東馳西突,掃蕩了多少敵人,協約國為之改容,全世界為之震動。匈牙利崛起,布達佩斯又出現了嶄新的勞農政府。德人奧人捷克人和之,出死力以與其國內的敵黨搏戰。怒濤西邁,轉而東行,英法意美既演了多少的大罷工,印度朝鮮又起了若干的大革命,異軍特起,更有中華長城渤海之間,發生了「五四」運動。旌旗南向,過黃河而到長江、黃浦漢皋,屢演話劇,洞庭閩水,更起高潮。天地為之昭蘇,姦邪為之辟易。咳!我們知道了!我們醒覺了!天下者我們的天下。國家者我們的國家。社會者我們的社會。我們不說,誰說?我們不干,誰干?刻不容緩的萬眾大聯合,我們應該積極進行!

(二)吾國民眾的大聯合業已有此動機麼?此間我直答之日「有」。諸君不信,聽我道來一一
溯源吾國民眾的聯合,應推清末諮議局的設立,和革命黨一一同盟會一一的組成。有諮議局乃有各省諮議局聯盟請願早開國會一舉。有革命者乃有號召海內外起兵排滿的一舉。辛亥革命,及革命黨和諧議局合演的一出「痛飲黃龍」。其後革命黨化成了國民黨,諮議局化成了進步黨,是為吾中國民族有政黨之始。自此以後,民國建立,中央召集了國會,各省亦召集省議會,此時各省更成立三種團體,一為省教育會,一為省商會,一為省農會(有數省有省工會。數省則合於農會,象湖南)。同時各縣也設立縣教育會,縣商會,縣農會(有些縣無)。此為很固定很有力的一種團結。其餘各方面依其情勢地位而組設的各種團體,象
各學校里的校友會,
族居外埠的同鄉會,
在外國的留學生總會,分會,
上海日報公會,
環球中國學生會,
北京及上海歐美同學會,
北京華法教育會。
各種學會(象強學會,廣學會,南學會,尚志學會,中華職業教育社,中華科學社,亞洲文明協會……),各種同業會(工商界各行各業,象銀行公會,米業公會……各學校里的研究會,象北京大學的畫法研究會,哲學研究會……有幾十種),各種俱樂部……
都是近來因政治開放,思想開放的產物,獨夫政治時代所決不准有不能有的,上列各種,都是單純,相當於上回本報所說的「小聯合」。最近因政治的紛亂,外患的壓迫,更加增了覺悟,於是竟有了大聯合的動機。象什麼
全國教育會聯合會,
廣州的七十二行公會,上海的五十公團聯合會,
商學工報聯合會,
全國報界聯合會,
全國和平期成會,
全國和平聯合會,
北京中法協會,
國民外交協會,
湖南善後協會(在上海),
山東協會(在上海),
北京上海及各省各埠的學生聯合會,
各界聯合會,全國學生聯合會……
都是,各種的會,社,部,協會,聯合會,固然不免有許多非民眾的「紳士」「政客」在裡面(象國會,省議會,省教育會,省農會,全國和平期成會,全國和平聯合會等,乃完全的紳士會,或政客會),然而各行各業的公會,各種學會,研究會等,則純粹平民及學者的會集。至最近產生的學生聯合會,各界聯合會等,則更純然為對付國內外強權者而起的一種民眾大聯合,我以為中華民族的大聯合的動機,實伏於此。

(三)我們對於進行吾國「民眾大聯合」果有此能力嗎?果可得成功麼?談到能力,可就要發生疑問了。
原來我國人口只知道各營最大合算、最沒有出息的私利,做商的不知設立公司,做工的不知設立工黨,做學問的只知閉門造車的老辦法,不知共同的研究。大規模有組織的事業,我國人簡直不能過問,政治的辦不好,不消說,郵政和鹽務有點成績,就是依靠了洋人。海禁開了這久,還沒一頭走歐洲的小船,全國唯一的「招商局」和「漢冶萍』,還是每年虧本,虧本不了,就招入外股。凡是被外人管理的鐵路,清潔,設備,用人都要好些。鐵路一被交通部管理,便要糟糕。坐京漢,津浦,武長,過身的人,沒有不嗤著鼻子咬著牙齒的!其餘象學校搞不好,自治辦不好,乃至一個家庭也辦不好,一個身子也辦不好。「一丘之貉」「千篇一律」的是如此,好容易談到民眾的大聯合?好容易和根深蒂固的強權者相抗?
雖然如此,卻不是我們根本的沒能力,我們沒能力,有其原因,就是「我們沒練習」。
原來中華民族,幾萬萬人從幾千年來,都是幹著奴隸的生活,沒有一個非奴隸的是「皇帝」(或曰皇帝也是「天」的奴隸,皇帝當家的時候,是不准我們練習能力的)。政治,學術,社會,等等,都是不准我們有思想,有組織.有練習的。
於今卻不同了,種種方面都要解放了,思想的解放,政治的解放,經濟的解放,男女的解放,教育的解放,都要從九重冤獄,求見青天。我們中華民族原有偉大的能力!壓迫逾深,反動愈大,蓄之既久,其發必遠,我敢說一句怪話,他日中華民族的改革,將較任何民族為徹底,中華民族的社會,將較任何民族為光明。中華民族的大聯合,將被任何地域任何民族而先告成功。諸君!諸君!我們總要努力!我們總要拚命向前!我們黃金的世界,光榮燦爛的世界,就在面前!
《湘江評論》第四期1919.8.4出版


原文網址:https://kknews.cc/history/moqlp59.html













笛卡兒(René Descartes);The Age of Genius: The Seventeenth Century and the Birth of the Modern Mind, 2016

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笛卡兒(René Descartes)

(西元1596.3.31—1650.2.11)

法國哲學家。近代唯物論的先鋒,提出了著名的「我思故我在」命題,成為西方現代哲學思想的奠基人,啟蒙了日後的「歐陸理性主義」哲學。亦在幾何數學及物理光學等領域有重要的貢獻。


  在日常生活裡的舉動多半不容猶疑,因此,當我們無法判別哪一種才是最正確的看法時,只得遵循最具有可能性的看法,這是不變的真理。進一步來說,即便自己與他人的看法在相較之下,實在無法確定何者的可能性較大的時候,也只能親自從中擇選一項。接下來,當必須執行這個選項時,就再也不容懷疑,而必須將其視為非常真實、非常確實的東西才行。

節自《方法論》


方法導論 笛卡兒著/黃金穗譯

The Age of GeniusThe Seventeenth Century and the Birth of the Modern Mind

前表紙
Bloomsbury Publishing2016/03/01 - 368 ページ
The Age of Genius explores the eventful intertwining of outward event and inner intellectual life to tell, in all its richness and depth, the story of the 17th century in Europe. It was a time of creativity unparalleled in history before or since, from science to the arts, from philosophy to politics. Acclaimed philosopher and historian A.C. Grayling points to three primary factors that led to the rise of vernacular (popular) languages in philosophy, theology, science, and literature; the rise of the individual as a general and not merely an aristocratic type; and the invention and application of instruments and measurement in the study of the natural world.

Grayling vividly reconstructs this unprecedented era and breathes new life into the major figures of the seventeenth century intelligentsia who span literature, music, science, art, and philosophy--Shakespeare, Monteverdi, Galileo, Rembrandt, Locke, Newton, Descartes, Vermeer, Hobbes, Milton, and Cervantes, among many more. During this century, a fundamentally new way of perceiving the world emerged as reason rose to prominence over tradition, and the rights of the individual took center stage in philosophy and politics, a paradigmatic shift that would define Western thought for centuries to come.


譯者: 吳萬偉 / 肖志清
出版年: 2019-12
頁數: 387
定價: CNY58.0
裝幀: 平裝
ISBN: 9787521707243
內容簡介 · · · · · ·
歐洲的17世紀,堪稱是一個戰火紛飛的世紀,100年中只有3年沒有打仗,歐洲的社會面貌發生了劇烈的變遷。同時這也是一個創造力大爆發的世紀,歐洲學者在思想領域取得了輝煌成就,湧現出伽利略、培根、笛卡兒、牛頓、玻意耳、霍布斯、約翰•洛克等一大批科學和思想的巨人,正是這一個世紀的巨變將西方文明推上了人類歷史舞臺的正中。《天才時代》探索了17世紀歐洲社會變遷和思想進步之間的聯繫。
殘酷的三十年戰爭沉重打擊了天主教會的思想壟斷,使得信仰和思想逐漸獲得自由。正因如此,17世紀也成為一個思想上魚龍混雜、泥沙俱下的時代。這個時代既有一絲不苟的科學探索,又有對超自然力量的強烈熱衷,對煉金術、神秘學、占星術、魔法的癡迷;連牛頓、笛卡兒等新世界觀的開創者,也與它們有說不清道不明的聯繫。但是喧囂會逐漸結束,科學思維終於從迷霧中走出,構成現代思想的基石。
圖像裡可能有文字

著者について (2016)

A.C. Grayling is professor of philosophy at and Master of the New College of the Humanities, London. He believes that philosophy should take an active, useful role in society and is a prolific author whose books include philosophy, ethics, biography, history, drama and essays. He has been a regular contributor to the TimesFinancial Times, the Observer, the Independent on Sunday, the Economist, the Literary ReviewNew Statesman, and Prospect, and is a frequent and popular contributor to radio and television programs, including NewsnightTodayIn Our TimeStart the Week, and CNN News. Among his recent books are Towards the Light: The Story of the Struggle for Liberty and Rights that Made the Modern WestLiberty in the Age of TerrorDescartesThe Good Book: A Secular Bible, and The God Argument.

康德《論永久和平》(Immanuel Kant)《康德歷史哲學論文集》/《康德書信百封》Correspondence /《論永久和平》Albert Schweitzer – Nobel Lecture

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康德(Immanuel Kant)

(西元1724.4.22—1804.2.12)

德國哲學家。德國古典哲學派的創始人。主張須先確認一般形上學,再對理性予以批判,繼而發展成日後的唯心主義。代表作為《純粹理性批判》、《實踐理性批判》與《判斷力批判》。


應當適時全面廢除預備軍人。

  因為,預備軍人的身上總是配有武器,這會對其他國家造成戰爭的威脅,導致雙方相互刺激,進而衍生成永無止境的軍備競賽。……我認為,如果受雇的目的是為了殺人或者被殺,那麼人類便只淪為他人(他國)使用的機器或道具而已,這恐怕有損於我們自身人格的人權。

節自《論永久和平》


康德的《純理性批判》還沒拜讀。不過,Jean Piaget 根據它的科學研究都拜讀過。

康德《實用人類學》充滿智慧。

Immanuel Kant was born on April 22nd 1724. No philosopher since Aristotle has exercised such influence

Kant transformed how the modern world approached enduring problems
Philosopher Immanuel Kant was born on this day in 1724

ECON.ST


比較1972.2.24 一封短信.中文有幾處重要的錯誤......


.......清楚地認識到自己的能力以及運用這種能力的界限將會使人們在一切良好的有用的東西面前變得確信勇敢而堅定相反不斷地用甜美的希望欺騙人們用不斷更新的但卻時常失敗的嘗試把人們羈絆在超出自己的力量的事物之中將會導致輕視理性進而導致懶惰或者狂熱幻想。---李秋零編譯康德書信百封致約翰貝林 (1786.4.7)上海人民出版社1992103-104


康 德書信是康德哲學思想體系的一個重要組成部分。它們不僅包含了康德對自己思想體系的許多重要的說明和解釋,形成了康德哲學著作的一個重要補充,而且以動態 的方式再現了康德哲學思想形成的過程。同時,它們也是康德生活與事業的忠實見證人。如何使這有限的百封書信成功地體現康德的思想和生平,是一項要求頗高的 任務。在編選方面,編譯者所遵循的原則就是:一方面要盡可能挑穩定對研究康德思想和生平最有價值的書信,另一方面也要照顧到康德生平各個時期的連續性,避 免出現空白現象,為此,在體例上採取了編年史的方法,即按年代先後排列。

迄今,已發現的康得書信大約有300多封。這本《康得書信百封》主要是從科學院版《康得全集》第10-13卷,即第二部分選出,並根據該版本翻譯的。除此之外,編譯過程中還參考了J.蔡貝編選 的《康得書信集》的第1封、第50封選出;K.福蘭德編《康得其人及其事業》;R.艾斯勒《康得辭典》;阿爾林古留加《康得傳》,中譯本。


Front Cover
Cambridge University Press, May 26, 1999 - Biography & Autobiography - 639 pages
This is the most complete English edition of Kant's correspondence that has ever been compiled. The letters are concerned with 
This is the most complete English edition of Kant's correspondence that has ever been compiled. The letters are concerned with philosophical and scientific topics but many also treat personal, historical, and cultural matters. On one level the letters chart Kant's philosophical development. On another level they expose quirks and foibles, and reveal a good deal about Kant's friendships and philosophical battles with some of the prominent thinkers of the time: Herder, Hamann, Mendelssohn, and Fichte.
可以讀近7成的英文版書信
 http://books.google.com.tw/books/about/Correspondence.html?id=uk4My4IN-PAC&redir_esc=y

 所選與中文《康德書信百封》雷同的將以紅色標示:

Contents

To Moses Mendelssobn February 7 1766 38
88

1768
94

To Simon Gabriel Suckow December 25 1769 47
102

Letters 17701780
108

FromJobann Heinrich Lambert October 13 1770 61
115

From Jobann Georg Sulzer December 8 177061
121

From Marcus Herz July 9 1771 68
129

1773
139

From Jobann Caspar Lavater April 8 1774 90 249
149

1776
156

1777
162

To Marcus Herz August 18 1778 240 268
168

To Marcus Herz February 4 1779 246
174

To Marcus Herz after May n 1781 266
180

ToJobann Bernoulli November 26 1781 272
186

To Christian Garve August 7 1783 205
195

To Moses Mendelssobn August 26 1783 206
201

From Jobann Scbultz August 2 r 1783 208
208

ToJobann Scbultz Fehruary 17 1784 221
215

To Theodor Gotrlieb von Hippel July 9 1784 132
221

To Christian Gottfried Schiitz September 13 1785 243
228

1786
240

ToJobann Bering April 7 1786 266
249

From Jobann Erich Biester June n 1786 275
256

To Christian Gotrfried Schiitz June 25 1787 300
262

FromJobann Cristoph Berens December 5 1787 320
268

1788
274

From Meyer September 5 1788 333 181
281

1789
287

From Salomon Maimon April 7 1789 351
293

To Carl Leonhard Reinhold May 19 1789 360
311

To Friedrich Heinrich Jacohi August 30 1789 375
318

FromJobann Gottfried Carl Christian Kiesewetter
326

1790
335

To Francois de la Garde March 25 1790 424
341

From Ludwig Heinrich Jakob May 4 1790 426
347

no From Salomon Maimon May 25 1790 430
351

in ToJobann Friedrich Blumenhach August 5 1790 438
354

To Abrabam Gotthelf Kastner August 5 ? 1790 439
355

To August Wilhehn Rebberg before September 25 1790
357

From Ahrabam Gotthelf Kastner October 2 1790 451
359

FromJobann Benjamin Jachmann October 24 1790 451
361

ToJobann Friedrich Reichardt October 25 1790 453
371

To Christoph Friedrich Hellwag January 3 1792 461
372

To Jobann Friedrich Gensichen April 19 1792 466
375

FromJobann Gottfried Carl Christian KiesewetterJune
378

From Maria von Herhert August 1792 478
379

From Ludwig Ernst Borowski August ? 1792 479
380

FromJobann Gottlieb Fichte August 18 1792 481
381

FromJobann Gottlieb Fichte September 2 1792 483
382

To Ludwig Ernst Borowski September 26 1792 485
386

From Salomon Maimon September 20 1792 486
387

To Karl Leonhard Reinhold September 22 1792 487
389

To Jacob Sigismund Beck September 27 1792 488
392

To Jacob Sigisnmnd Beck December 4 1792 549 444
394

To Jacob Sigismund Beck November 2 1792 496
395

From Jacob Sigismund Beck November n 1792 499
396

From Jacob Sigismund Beck May 32 1792 525
414

FromJobann Erich BiesterJune 18 1792 518
416

To Prince Aexander von Beloselsky Summer 1792 519
417

To Jacob Sigismund Beck July 3 1792 510
420

ToJobann Erich Biester July 30 1792 512
422

FromJobann Gottlieb Fichte August 6 1792 513
423

To the Theological Faculty in Konigsherg late August 1792
425

From Jacob Sigismund Beck September 8 1792 527
428

To Rudolph Gottlob Rath October 26 1792 536
433

To Jacob Sigismund Beck October 26 27 1792 537
434

To Ludwig Ernst Borowski October 24 1792 540
436

From Jacob Sigismund Beck November 10 1792 545
439

From Salomon Maimon November 30 1792 548
440

ToJobann Benjamin Erhard December 21 1792 551
447

From Maria von Herhert anuary 1793 554
450

From Jobann Benjamin Erhard January 17 1793 557
453

To Elisabeth Motherhy February 12 1793 559
455

To Carl Spener March 22 1793 564
456

To Ahrabam Gotthelf Kastner May 1793 572
457

To Carl Friedrich Staudlin May 4 1793 574
458

To Ma tern Reufi May 1793 575
459

To Friedrich Bouterwek May 7 1793 576
461

To Jacob Sigismund Beck August 18 1793 584
464

From Jobann Gottlieb Fichte September 20 1793 592
465

From Jobann Erich Biester October 5 1793 596
467

From Jobann Gottfried Carl Christian Kiesewetter November 13 1793 605
468

From Salomon Maimon December 2 1793 606
470

ToJobann Gottfried Carl Christian Kiesewetrer December 13 1793 609
472

From Maria von Herhert early 1794 624
474

To Karl Leonhard Reinhold March 18 1794 610
476

ToJobann Erich Biester April 10 1794611
477

ToJobann Erich Biester May 18 1794 615
478

From Jacob Sigismund BeckJune 17 1794 630
479

To Jacob Sigismund BeckJuly i 1794 634
482

From Friedrich August Nitsch July 251794 636
483

From Friedrich Wilhehn II October i 1794 640
485

To Friedrich Wilhehn II after October 12 1794 641
486

To Francois Theodore de la Garde November 24 1794 643
489

To Carl Friedrich Staudlin December 4 1794 644
490

From Samual Collenhusch December 26 1794 647
493

Letters 17951800
497

To Carl Leonhard Reinhold July i 1795 668
499

To Samuel Thomas Soemmerring August 10 1795 672
500

To Sanmel Thomas Soemmering September 17 1795 679
501

From Sophie Mereau December 1795 689
503

From Matern Reufi April i 1796 699
505

From Jacob Sigismund Beck June 20 1797 754
512

From Jacob Sigismund Beck June 24 1797 756
518

From Christian Weiss July 25 1797 764
524

ToJobann Gottlieb Fichte December 1797 789
534

1798
541

From Jobn Richardson June 22 1798 808
548

From Jobann Gottfried Carl Christian Kiesewetter
554

Biographical Sketches
563

Glossary
617

Index of Persons 63 3
633

Copyright


 

 

*****

康德歷史哲學論文集 - Google 圖書結果

台北:聯經

2002 - 309 頁
 康德的歷史哲學長久以來一直為國內學術界所忽略,往往被視為一套未成熟的理論,只是過渡到黑格爾、乃至馬克思的歷史哲學之橋樑。這是一種不幸的誤 解,因為康德的歷史哲學自成一套,與馬克思與黑格爾的歷史哲學屬於不同的類型。康德本人並未撰寫一部討論歷史哲學的專著,但是他有八種著作直接涉及歷史哲 學,包括1795年出版的《論永久和平》。
  本書包括這八種著作的中譯及註釋,書末並附有詳細的研究書目,供研究者參考之用。康德歷史哲 學名句摘錄「啟蒙是人類之超脫於他自己招致的未成年狀態。」──〈答「何謂啟蒙?」之問題〉「如果現在有人問道:我們目前是否生活在一個已啟蒙的時代?其 答案為:不然!但我們生活在一個啟蒙底時代。」──〈答「何謂啟蒙?」之問題〉「建國底問題不論聽起來是多麼艱難,甚至對於一個魔鬼底民族﹙只要他們有理 智﹚也是可以解決的。」──《論永久和平》「君王從事哲學思考,或者哲學家成為君王,這是不可遇,亦不可求的;因為權力之佔有必然會腐蝕理性之自由判 斷。」──《論永久和平》「自然底歷史始於「善」,因為它是上帝底作品;自由底歷史始於「惡」,因為它是人底作品。」──〈人類史之臆測的開端〉
作者簡介
李明輝
  原籍臺灣屏東,1953年出生於臺北市。國立政治大學哲學系及國立臺灣大學哲學研究所(碩士班)畢業。
  其後獲得「德國學術交流服務處」(DAAD)獎學金,赴德國波昂大學進修,於1986年獲得該校哲學博士。
  曾擔任國立臺灣大學哲學系客座副教授、中國文化大學哲學系副教授,目前為中央研究院中國文哲研究所研究員暨國立臺灣大學國家發展研究所合聘教授。
   主要著作有《儒家與康德》、《儒學與現代意識》、《康德倫理學與孟子道德思考之重建》、《當代儒學之自我轉化》、《康德倫理學發展中的道德情感問 題》(德文本)、《現代中國儒學》(德文本,即將出版),譯作有H. M. Baumgartner的《康德「純粹理性批判」導讀》、康德的《通靈者之夢》及《道德底形上學之基礎》。






Albert Schweitzer – Nobel Lecture
Nobel Lecture, November 4, 1954
The Problem of Peace
http://nobelprize.org/peace/laureates/1952/schweitzer-lecture.html

它提中國的一些人,又說到康德提「永久和平」的歷淵 源。(Immanuel Kant (1724-1804), Zum ewigen Frieden (1795). English translation entitled Perpetual Peace (New York: Columbia University Press, 1932); the introduction is by Nicholas Murray Butler, Nobel Peace co-laureate for 1931. )最後引一節聖經。


May the men who hold the destiny of peoples in their hands, studiously avoid anything that might cause the present situation to deteriorate and become even more dangerous. May they take to heart the words of the Apostle Paul: "If it be possible, as much as lieth in you, live peaceably with all men".13 These words are valid not only for individuals, but for nations as well. May these nations, in their efforts to maintain peace, do their utmost to give the spirit time to grow and to act.

羅 馬 書 Romans 12:18 [hb5] 如若可能,應盡力與眾人和睦相處。
[kjv] If it be possible, as much as lieth in you, live peaceably with all men.
[bbe] As far as it is possible for you be at peace with all men.

內村鑑三1861—1930《代表性的日本人》《獨立短言》

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內村 鑑三

(萬延2.2.13—昭和5.3.28∕西元1861.3.26—1930.3.28)

日本明治至大正時代的基督教思想家。11歲開始學習英語,15歲就讀札幌農學校。無教會主義的創始人。代表作是以流暢英文書寫的《我是如何成為一個基督徒的》』(How I Became a Christian)。


  善待女士之道,不在陪同看戲享樂,不在餽贈錦衣玉帶,不在雇婢侍奉以烘襯貴氣。善待女士之道,在於男子必須潔身自愛以回報其謹守貞操,在於樽節家計開支以省其焦心勞慮。丈夫倘若如是體貼,妻子便應與其同甘共苦、秉義共濟。善待女士之道,在於鼓舞其高貴的品行,而非激發其賤劣的虛榮心。

節自《獨立短言》

代表的日本人:深植日本人心的精神思想

Representative Men of Japan

  • 定價:320
 

內容簡介

與新渡戶稻造《武士道》、岡倉天心《茶之書》並列
日本人以英文向歐美介紹日本文化與思想的代表著作
西鄉隆盛、上杉鷹山、二宮尊德、中江藤樹、日蓮上人
從五位代表性日本人認識大和精神

  《代表的日本人》一書列舉出西鄉隆盛、上杉鷹山、二宮尊德、中江藤樹、日蓮上人五人為日本人典型的代表,透過這五位歷史人物的處世之道,闡述日本人的核心精神。與《武士道》、《茶之書》並稱為三大日本人論。

  ●向西洋傳達日本人的精神

  本書的寫作背景正值日本明治維新後開始強盛的時代,日清戰爭與日俄戰爭的戰果讓全世界注意到日本這個國家。然而外國對日本的認識尚淺,只有片面的刻板印象,如:異常忠誠的武士道精神、切腹等等,但真正讓日本強大的並不只有這些,因此作者內村鑑三選擇用英文撰寫此書,希望透過敘述這五位人物的生平,將日本人的精神思想傳達給外國人知道。

  身為基督徒的他更引用歐美熟知的《聖經》內容,讓世界知道在被基督教國家的人們稱作「異教徒」的日本人當中也有不輸西方聖人的人物存在,例如西鄉隆盛如何等待機會、改革日本;上杉鷹山身為一個統治者,卻又擁有多麼無私的精神,願意縮衣節食、與百姓同甘共苦;日蓮在佛教流派分歧的時代,如何教人重回佛教經典的教義、改革佛教⋯⋯而這些代表人物的思想精神都用不同的方式遺留下來,供後人效法。

  ●非典型人物傳記

  本書除了向外國傳達日本精神思想的目的之外,同時也是內村鑑三在強勢的西化浪潮下,對於該如何作為日本人為國家找到出路,試圖作出結論的一本書。

  西鄉隆盛(1828-1877)——新日本的創立者
  上杉鷹山(1751-1822)——封建領主,政治家典範
  二宮尊德(1787-1856)——農民聖者,農政改革者
  中江藤樹(1608-1648)——村裡的老師,儒學教育家
  日蓮上人(1222-1282)——佛僧,日本的馬丁路德

  內村鑑三透過這五位不同身分的歷史形象,從政治、治國、農業、教育、宗教五個面向切入,向後世傳達秉持信念、追求理想的根本道理。

  書中對於近代的西方文明以及輕易接受西方文明的近代日本文明做出批判,認為日本應重視自身的核心價值,而非一味接受西化,反應出強烈的國家主義色彩。

  ●內村鑑三與日本與基督教

  內村鑑三身為一位虔誠的基督徒卻不曾忘記他的「根」,他曾說過自己生命中有兩個他所愛的「J」,一是日本(Japan)、一是耶穌(Jesus),將終其一生侍奉這兩個「J」。

  由此可見,內村鑑三在信奉基督教之後,反倒對日本傳統的精神思想、價值觀有了全新及更深的體會。身為武士之子的他,將日本傳統的精神思想視為「本樹」,正如德文版後記中所述,日本並非僅僅是受到基督教影響的「接枝」。這份愛惜本國文化的心不分國界,值得所有人學習。

得獎與推薦記錄

  ◎影響美國第三十五任總統甘迺迪的一本書,甘迺迪曾在訪問中表示上杉鷹山是他最景仰的日本政治家。
 

作者介紹

作者簡介

內村鑑三(1861-1930)


  日本明治~大正時期的思想家,宗教家。學生時代在札幌農學校與新渡戶稻造為同學,於在學期間受洗。1884年留學美國,歸國後擔任教職。1891年於第一高等中學任教時,在教育勅語宣讀式上因為沒有敬禮而被迫辭職(不敬事件)。之後開始寫作,於1900年創刊雜誌《聖書之研究》。提倡不受特定教派或神學束縛、純粹以《聖經》為本的「無教會主義」。著有《求安錄》、《我如何成為基督》。

譯者簡介

陳心慧


  青山學院大學國際傳播學系碩士。現任專業中日筆譯、口譯人員。譯有《圖解世界5大宗教全史》、《餐桌上的日本史》、《日本古都圖解事典》、《切腹的日本史》、《速解日本文化論》等。
 
 

目錄

前言

一  西鄉隆盛──新日本的創立者
1 一八六八年的日本維新
2 誕生、教育、啟示
3 維新革命中所擔任的角色
4 朝鮮問題
5 被當作反賊的西鄉隆盛
6 生活與人生觀

二  上杉鷹山──封建領主
1 封建制
2 人與事業
3 行政改革
4 產業改革
5 社會與道德的改革
6 為人處事

三  二宮尊德──農民聖者
1 本世紀初的日本農業
2 少年時期
3 能力試煉
4 個人的援助
5 其他公共事業

四  中江藤樹──村裡的老師
1 日本故有的教育
2 少年時代與自覺
3 景仰母親
4 近江的聖人
5 內心世界

五  日蓮上人──佛僧
1 日本的佛教
2 誕生與出家
3 黑暗的內與外
4 宣言
5 獨力對抗世間
6 劍難與流罪
7 最後的日子
8 人物評價

德文版後記
 
 

德文版後記

  我非常高興受到邀稿。希望藉由拙作《代表的日本人》的後記,向德國的藝文界,尤其是讀過我另一著作《我如何成為基督徒》(How I Became a Christian)的讀者傳遞我的一些想法。

  本書並非敘述現在的我。現在的我「接枝」成為基督教徒,而本書主要介紹的是我原來的「本樹」。我感謝神,不僅賦予我生命,更給予了我自由意志。我的生命在母體內形成之前,就已經受到許多影響。神早在二千年以前就開始從我國人民當中揀選祂的子民,終於,我也被神揀選,成為祂的僕人。教我什麼是宗教的並非基督教的傳教士,在那之前,是日蓮、法然、蓮如等值得尊敬的偉人,教導了我的祖先和我宗教的精髓。我們有無數的中江藤樹當我們的導師,無數的上杉鷹山當我們的封建領主,無數的尊德當我們的農業指導者,另外還有無數的西鄉隆盛當我們的政治家。在我受到拿撒勒人耶穌的召喚,臣服在祂跟前之前,這些人為我打下了基礎。想要用一天的時間讓一個人,況且是一個國民改變宗教並不是一件容易的事。真正的皈依,是一件需要花上幾世紀時間的大工程。美國人當中最偉大的華特.惠特曼(Walt Whitman)曾說過這樣的話:

  Immense have been the preparations for me,
  Faithful and friendly the arms that helped me.

  (為我所作的準備是浩瀚的,忠實與友善是曾援助我的手臂。)

  千萬不可認為武士道或日本的道德比基督教優秀,就因此覺得滿足。武士道的確非常傑出,然而,就算如此,武士道也不過是世界上眾多的道德之一,它的價值與斯巴達的道德或斯多亞主義的信仰相同。因為有這些道德,才能孕育出像來古格士(Lycurgus)或西塞羅這樣的人物,但卻孕育不出像查理曼大帝或格萊斯頓這樣的偉人。武士道無法讓人們皈依,也無法再造或赦免人們的罪。武士道是一種未完成、屬於現世的道德。雖然有許多的優點,但武士道就像舉世無雙的富士山,就算是舉世無雙,也只不過是一座沒有生命的山。武士道又像是櫻花獨一無二,但終究逃不過凋零的命運。因此,千萬不可認為武士道有一天將會取代基督教,或認為武士道本身非常優秀,有武士道就夠了。

  然而另一方面,如果認為只有基督教才能從石頭中給亞伯拉罕興起子孫,那可就大錯特錯了。很遺憾地,現在有許多人抱持著這樣的錯誤與迷信,在各地宣揚基督教。遺傳是自然法則,也就是神的法則。因此,並不是超自然的宗教把其他一切全都廢棄就好了。根據中國的宗教,純粹的「天」與純潔的「地」結合,才能夠結出美好的果實。也就是說,天再純粹,只有天是結不出果實的。就算是基督的話語,只要掉落在石地上,馬上就會枯萎。為了讓某些東西結出百倍、某些東西結出六十倍、某些東西結出三十倍的果實,必須讓它們落在美好的大地上。神的恩惠除了來自天之外,也來自地,否則就結不出美好的果實。輕視人類在大地上的各種要素,認為所有人只要有來自天上的福音就夠了,這樣的信仰等於違背了純樸人類的常識,是不符合現實的事。基利家出身的保羅,身為法利賽農夫之子,也在哲學家奧列里烏斯的羅馬接受希伯來人的教育,這就是最好的證明。

  我是武士之中最卑微的人,也是信奉耶穌基督者之中最卑微的人。無論在哪一邊,我都是最微小的存在,雖然如此,我仍舊無法漠視或輕視我體內武士的部分。身為武士之子,與我的精神相符的是自尊與獨立,我厭惡的是狡猾的手段與表裡不一的虛偽。武士精神當中有一個與基督教平分秋色的律法,那就是「對於金錢的執著是諸惡的來源」。對於近代的基督徒公然倡導「金錢就是力量」的律法,毅然決然地提出反對意見,是身為武士之子的我應該要做的事。就算與全世界的基督徒為敵,就算每個人都高唱「瑪門(財富)是我們的真神」,在神的恩惠之下,身為武士之子的我還是會堅守我的立場─「主才是我們的真神」。

一九○七年五月十一日,於東京
內村鑑三
拾書偶得
我想,購書成癖的人,得空時應該多翻動自家藏書,必然會有意外的驚喜。內村鑑三《代表性的日本人》英文版,是我去年五月到日本旅行,購於羽田機場的改造社。確切地說,那是離開日本前最後一間書店了,書蟲們應該把握最後機會,否則就得等下次了。我之前有個壞習慣,若要撰寫引介某個日本作家或思想家,一心急想購得全集,這樣較能底氣十足。但是我後來發現,以我目前的情況,根本無法完成這個理想,頂多買來散冊選集或傳記之類。朋友說,我不是這個領域的研究者,不是要撰寫博士論文,只為實現自己的讀書之樂,這又有何妨?他說得有點道理,我還是朝著這個方向,隨時準備踏上想像與抱負的路程。
我購買內村鑑三《代表性的日本人》一書,同樣出於這樣的心情,在尚未購得全集之前,先以選集為出發點,待日後各項條件俱足,再購買全集不遲。通常,我這樣發心的時候,都能購得價錢公道的全集(在此,我特別感恩於書神的眷顧)。姑且不說電子書的方便性,我依然偏愛紙本書,它與我的距離最近,我不必盯著螢幕,而且隨時可與它相隨神遊。不消說,在我尚未習得日文之前,所有的閱讀活動都仰賴譯本的傳揚,沒有這個文化視窗或介面,我就看不見深刻的人文風景了。所以於我譯者和譯本的功勞極大,進一步說,它們是各個領域的義工,比林立的便利商店更具神聖性,全年無休二十四小時為讀者效勞,值得讀者向他們致敬。(2020年1月17日)



圖像裡可能有3 個人
未提供相片說明。
圖像裡可能有2 個人



陶 淵明(陶 潛)365—427,一海知義著 陶淵明‧陸放翁‧河上肇 hc 2007

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陶 淵明(陶 潛)

(約興寧3—元嘉3∕西元365—427)

*中國晉代詩人。自號五柳先生。雖曾仕官,後因「不為五斗米折腰」而辭官歸田,親務農作,被譽為「田園詩人」。於最著名的五言詩《桃花源記》中勾描了自食其力的和諧社會。


〈飲酒詩〉二十首之九

清晨聞叩門,倒裳往自開。

問子為誰歟?田父有好懷。

壺漿遠見候,疑我於時乖。

「襤縷茅簷下,未足為高栖 。

一世皆尚同,願君汩其泥。」

深感父老言,稟氣寡所諧。

紆轡誠可學,違己詎非迷!

且共歡此飲,吾駕不可回。


(日)一海知義著 陶淵明‧陸放翁‧河上肇我喜歡這老式日本學者河上肇和一海知義等人的每月細讀一兩首‧陸放翁 詩的聚會
河上肇 Kawakami Hajime 2007 年 hc blogs 引
千古興亡 百年悲笑 一時登覽 ---陸游 多難只成雙鬢改 浮名不作一錢看 (周作人集陸游句) 行也blog 坐也 blog 放下blog 何等自在

萩生徂徠著 《蘐園隨筆 五卷》 ; 《徂徠先生國學問答書》

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荻生 徂徠

(寛文6.2.16—享保13.1.19∕西元1666.3.21—1728.2.28)

日本江戶時代中期的儒學家。貶抑朱子學說,另立古文辭學派,鑽研中國古文經典。倡導發展實用知識的「實學」思維。在著作中闡述政教分離的思想。重要著述有《政談》與《論語徵》等。


  (朱子《通鑑綱目》)有此論述:即便博記歷代人物之評論者也,皆為傳聞異辭,縱使高潔之士,恐於多涉謬學而致品格低劣。

荀子亦云:「學問者,乃飛耳長目之道也。」身處此國,卻對未曾見聞之異國事物,能如耳畔親聆,謂之其耳生翼;生於今世,卻對數千載前之古老記事,得如眼下親睹,謂之長目者也。換言之,廣增見聞及詳盡事實,謂之學問,而學問乃窮究歷史者也。

節自《徂徠先生國學問答書》


王溢嘉新增了 2 張相片
【書:與其多讀,不如精讀】
  荻生徂徠是日本江戶時代知名的漢學家,他父親荻生方廣是一位醫師,曾在德川綱吉手下做過事。當德川綱吉升任幕府的第五代將軍時,認為荻生方廣對他不忠,於是將他流放到現在日本千葉縣的一處窮鄉僻壤。
  當時徂徠已經十四歲,窮鄉裡根本沒有學校。他沒有書、沒有老師、沒有同學,家裡只有一本比較像樣的書──《大學諺解》(以日本假名寫的,用以解釋中國四書之一《大學》)。
  在貧瘠而又孤獨的環境中,徂徠開始徹底精讀家中有限的書籍,遇到不懂的地方,除了失意的父親外,沒有可以請教的老師,好學的他只好從頭到尾背誦所讀的書。在背誦如流後,因為沒有別的書可讀,也無事可做,只好再讀同一本書。
  在將《大學諺解》直的默寫一遍後,閒著也是閒著,於是又將它用橫的默寫一遍,真正做到了滾瓜爛熟、倒背如流的地步。
  他就這樣在鄉下待了十年。二十五歲時,父親終於獲赦,全家重回江戶。這時,徂徠不僅擁有閱讀中國古文原籍的能力,而且也因徹底地精讀,而對文質微妙的變化有著敏銳的感覺與趣味。
  他的漢學實力很快就壓倒了當時江戶的學者,不久,即成為日本古文辭學派的創始者。
  日本近代作家夏目漱石,也有很深的漢學造詣。他小時候不太喜歡與其他小孩玩耍,只靜靜地看自己喜歡的書。晚年在一篇《回憶》的隨筆裡,他說:
  「孩提時,我曾到聖堂的圖書館,專心摹寫徂徠的《諼園十筆》,現在我希望有生之年能再度重覆當時的情景。」
  夏目漱石的漢學品味,深受徂徠的影響,他們深厚的根基都建立在反覆研讀少數幾本經典著作上,並因此而成為一代宗師。
  雖然「為學要如金字塔,要能博大要能高」,但「博大」與「精深」往往是不可兼得。荻生徂徠的故事告訴我們,讀書或做學問,與其「博大」,不如「精深」;與其「貪多」,不如「惜少」。
****
Title/Author蘐園隨筆 五卷 / 萩生徂徠著
Main Author萩生, 徂徠
Imprint東京 : 鳳出版, 昭和53[1978]


LocationCall NumberBarcodeStatus 
 Main Lib 1F East Asian Collection 131.308 6052 v.7  [Nearby on shelf] 2249955 AVAILABLE

Other title續日本儒林叢書
蘐園十筆 十卷
桂館野乘及漫筆 二卷
讀書會意 三卷
水哉子 三卷
近聞寓筆 四卷
代奕雜抄 二卷
坤齋日鈔 三卷
侗菴筆記 二卷
學資談 一卷
國字示蒙附錄 一卷
鋤雨亭隨筆 三卷
Descript.册 ; 22公分
Series日本儒林叢書. 第七卷. 續編一, 隨筆部(1)
Note續日本儒林叢書第一册
與下列著作合刊:蘐園十筆 十卷 / 萩生徂徠著 -- 桂館野乘及漫筆 二卷 / 原雙桂著 -- 讀書會意 三卷 / 澁井太室著 -- 水哉子 三卷 / 中井履軒著 -- 近聞寓筆 四卷 / 吉田篁墩著 -- 代奕雜抄 二卷 / 石川香山著 -- 坤齋日鈔 三卷 / 西島蘭溪著 -- 侗菴筆記 二卷 / 古賀侗菴著 -- 學資談 一卷 / 田中頤著 -- 國字示蒙附錄 一卷 / 村上勤著 -- 鋤雨亭隨筆 三卷 / 東夢亭著
Alt Author萩生, 徂徠
原, 瑜
澀井, 太室
中井, 履軒
吉田, 篁墩
石川, 香山
西島, 蘭溪
古賀, 侗菴
田中, 頤
村上, 勤
東, 夢亭

坂口安吾;小林多喜二;迦爾洵 (英語:Vsevolod Mikhailovich Garshin)

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坂口 安吾(坂口 炳五)

(明治39.10.20—昭和30.2.17∕西元1906.10.20—1955.2.17)

日本小說家。於第二次世界大戰後,開始秉持理性主義思維,反抗陳舊的傳統。在最知名的文章〈墮落論〉中,審視了日本武士道在二戰中發揮的影響。另有小說《白痴》亦為代表作品。


  即便燒掉了法隆寺或平等院,也不會造成大礙。假如真有需要,儘管把法隆寺給拆了,改建成車站亦無妨。我民族的光榮文化與傳統,絕不會因此就灰飛湮滅。……假如真有需要,儘管把公園改闢成菜園也成。若是出自於真正的需求,必然會展現其真正的美麗風采,因為那是真實的生活樣貌。況且,只要是真實的生活樣貌,就不會淪為效顰學步;只要是真實的生活樣貌,就算是效顰學步,也會與獨特創見同樣優異。

節自〈日本文化之我見〉〔寫於二戰期間〕




2月18日
〈鳥獸人物戲畫〉

鳥羽僧正覺猶

(約天喜1—保延6∕西元1053—1140)

*日本京都高山寺珍藏的四幅捲軸之一,相傳為平安時代後期的天台高僧鳥羽僧正(覺猷)所繪,但是迄今仍未被證實。圖中將鳥獸擬人化,戲玩嬉鬧,構思詼諧而逗趣。

  

2月19日




大鹽 平八郎

(寛政5.1.22—天保8.3.27∕西元1793.3.4—1837.5.1)

日本江戶時代後期的儒學家。潛心研究陽明學並廣收門生。曾於大坂町奉行任職與力(民政警察),於天保8年2月19日為饑荒災民於大阪起義事敗而自盡,史稱大鹽平八郎之亂。




  ……天災流行,終至饑饉,此乃天降誥誡。然居上位者視之無睹,且小人奸佞之徒掌政霸權,只圖私囊中飽、掠脂斡肉,棄民生塗炭於不顧。此番謬妄,爾等已暗訪明察,不勝疾首嗟吁……,再難氣忍聲吞。縱無湯武之勢、孔孟之德,唯為天下蒼生,甘冒蕭牆之禍,邀集志士仁人,率先誅伐苛民之官役,再戮驕橫之大阪商賈。謹此草檄。

節自《大鹽平八郎檄文》




2月20日

小林 多喜二

(明治36.10.13—昭和8.2.20∕西元1903.10.13—1933.2.20)

日本大正昭和時代的作家。被視為無產階級文學的代表作家。由於參與當時非法的日本共產黨活動,遭到思想警察逮捕,當天即慘死於刑訊,引發了軒然大波。代表作為《蟹工船》與《為黨生活的人》。


  「有黑暗才有光明」。來自黑暗的人,最能感到光明的可貴。世上不全是洋溢幸福的人。正因為有了不幸的托襯,這才顯得出幸福的難覓。請將這些牢牢記在心底。因此,如若我們想要過上真正的好日子,就得先備嘗勞苦才行。

  阿瀧(娼婦,作者的情人)們過著不足為外人道的生活;但是,絕對不能忘了,仍要朝向未來的美好生活目標邁進喔。這麼一來,就可以為了這個目標再繼續忍耐下去。
節自《書簡集》


 ****

弗謝沃洛德·米哈伊洛維奇·迦爾洵 (英語:Vsevolod Mikhailovich Garshin, 俄語:Все́волод Миха́йлович Гáршин, 1855年2月14日-1888年4月5日) 是俄國短篇小說家。
迦爾洵(Всеволод Михайлович Гаршин)

(西元1855.2.14—1888.4.5)

俄國小說家。曾在俄土戰役中志願從戎,將無情戰火的深切體驗,完整如實地呈現在作品中。以心理分析的短篇小說著稱,作品流露一股悲觀的情緒。重要作品包括〈絳華〉、〈四日〉與〈藝術家〉等。


  那張臉已經不成人形了,骨骸也崩離散落。裸露的顎骨浮現出一抹永不消退的淺薄獰笑,令我厭惡得幾乎反胃。我過去雖曾把弄過骷髏,也曾以利刃直接從完整的人頭上刮削部分組織做成玻片,但從未有過這種感覺。我替那具骸骨套上軍裝,看到了熠熠閃亮的鈕釦,不禁打起了哆嗦。「原來這就是戰爭!」我心想,「這就是戰爭的面貌。」

節自〈四日〉
----

迦爾洵出生在一個中等貴族長官家庭。曾進入聖彼得堡礦業學院學習,1877年自願參加俄土戰爭,加入巴爾幹運動並在行動中負傷。戰爭結束後被晉升為長官,不過他想全身心投入文學事業而辭退。曾經在報紙上寫過文章,多是一些藝術展覽評論。[1]他參軍的往事給予他文學創作上的靈感,1877年寫下第一部作品《四日》正是基於戰場上的親身經歷。

儘管早期獲得成功,但是他患有周期性精神疾病,1888年4月他從五層樓高的住所跳樓企圖自殺,5天後在紅十字醫院宣告死亡,年僅33歲。

著作[編輯]

  • 《四日》,1877年
  • 《膽小鬼》,1879年
  • 《藝術家》,1879年
  • 《棕櫚》,1880年
  • 《紅花》,1883年
  • 《偶然事件》,1878年
  • 《娜傑日達·尼古拉耶夫娜》,1885年

中譯本[編輯]

  • 《迦爾洵短篇小說集》,高文風譯,黑龍江人民出版社,1981年
  • 《迦爾洵小說集》,馮加譯,外國文學出版社,1983年


Antigone: A Drama of Defiance. 莎孚

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莎孚(Σαπφώ)

(約西元前610—不詳)

*古希臘詩人。教導萊斯博斯島的少女們在愛芙羅黛蒂的祭典上獻歌載舞。一般認為是同性戀者,「lesbian(女同性戀者)」一詞的語源即來自其居住地名稱。曾被柏拉圖譽為第十謬思。


  宛如紅蘋果般的豔紅

高掛在枝頭

絲線,也高高地掛在林梢

高得連紡紗人都快看不見了

不,正因為他們看丟了

所以才沒發現

那顆紅蘋果


死亡是件壞事

神祇們也立下了如是規誡

否則,大家應當早就死去了吧

***

此名劇的中英文本都不難找到

Antigone is a tragedy by Sophocles written in or before 441 BC. Of the three Theban plays Antigoneis the third in order of the events depicted in the plays, but it ...


安提戈涅古希臘悲劇作家索福克勒斯公元前442年的一部作品,被公認為是戲劇史上最偉大的作品之一。該劇在劇情上是忒拜三部曲中的最後一部,但是最早寫就的。劇中描寫了伊底帕斯的女兒安提戈涅不顧國王克瑞翁的禁令,將自己的兄長,反叛城邦的波呂尼刻斯安葬,而被處死,而一意孤行的國王也遭致妻離子散的命運。劇中人物性格飽滿,劇情發展絲絲相扣。安提戈涅更是被塑造成維護神權/自然法,而不向世俗權勢低頭的偉大女英雄形象,激發了後世的許多思想家如黑格爾克爾凱郭爾德希達等的哲思。



Where do your first loyalties lie: family or society?
The dilemma is at the heart of Antigone - a drama written by Sophocles nearly 2,500 years ago. Is it still relevant today?
關於這個網站

Benjamin Franklin 《富蘭克林自傳》力行十三項箴言,華盛頓(George Washington)1732—1799

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華盛頓(George Washington)

(西元1732.2.22—1799.12.14)

美國第一任總統(1789—1797)。於美國獨立戰爭中擔任全殖民地軍隊的總指揮官,帶領人民贏得民主勝利。強調孤立主義外交原則,不與其他國家結盟,不卷入列強紛爭。


  美國人民將成為自由人或仍舊是奴隸?美國人民是否能擁有自己的財產?決定這兩個問題的關鍵時刻,如今已經迫近眼前了。……在上帝的看顧之下,即將出生的幾百萬人的命運,將完全取決於我們這支軍隊的勇氣與行動。面對殘酷又無情的敵軍,勇敢抵抗是我們唯一的道路,否則,就只能卑微地認輸屈服。因此,我們必須痛下決心,在勝利和死亡之間擇一而行。

節自〈發表《獨立宣言》以後,在長島戰役開打之前對軍隊的宣言〉

**
Benjamin Franklin 《富蘭克林自傳》力行十三項箴言


“Only a virtuous people are capable of freedom. As nations get corrupt and vicious, they have more need of masters.” 
―from THE AUTOBIOGRAPHY
"A dying man can do nothing easy."
- Benjamin Franklin to his daughter while lying on his death bed, #OnThisDay 1790

A new edition to Everyman's Library...
"From a Child I was fond of Reading, and all the little Money that came into my Hands was ever laid out in Books. "
--from "The Autobiography" (1817) by Benjamin Franklin
Benjamin Franklin’s account of his rise from poverty and obscurity to affluence and fame has charmed every generation of readers since it first appeared. Begun as a collection of anecdotes for his son, the memoir grew into a history of his remarkable achievements in the literary, scientific, and political realms. A printer, inventor, scientist, diplomat, and statesman, Franklin was also a brilliant writer whose wit and wisdom shine on every page. His Autobiography has deservedly become the most widely read American autobiography of all time—the self-portrait of a quintessential American. Franklin was a remarkably prolific writer, and is equally beloved for his humorous, philosophical, parodic, and satirical writings, parables, and maxims, which he published under an astonishing number of pen names, including Poor Richard, the Busy-Body, and Silence Dogood. This hardcover edition of The Autobiography and Other Writings contains a varied selection of these, including “The Kite Experiment,” “A Parable Against Persecution,” “Observations Concerning the Increase of Mankind,” “Rules for Making Oneself a Disagreeable Companion,” and “The Way to Wealth.” READ an excerpt here: http://knopfdoubleday.com/…/the-autobiography-and-other-wr…/



Here's a deep dive into the essay that brought you sayings such as "Early to bed and early to rise makes a man healthy, wealthy, and wise."




Professor Sophus Reinert and colleagues dig into the lasting power of Franklin’s treatise on...
HBSWK.HBS.EDU



溫紳專欄/鑑古觀今

1758年2月16日

力行十三項箴言的富蘭克林



 富蘭克林多彩多姿、多才多藝的生涯,實如華盛頓所說的:「你應該感到欣慰,因為你的一生並沒有白活。」

 富蘭克林是研究電學的先驅,一七五二年他進行震驚世界的用風箏吸引天電的實驗。在光學、化學、熱學、聲學等方面也做出了重要的貢獻。

 一七五八年二月十六日,富蘭克林發表了他的自傳,剖析一個藉藉無名的學徒到成為後人尊稱當代最偉大的美國人的心路歷程,這本法文版自傳,細膩地刻出了他成功的軌跡。

 文中,富蘭克林除了闡述「挺身捍衛自己的權益時,可千萬別踩在別人腳趾上」等睿智看法之外,還詳細列出他力行不輟的十三則處世箴言:

 一、節制飲食:食不過飽,飲不過量;二、沉默是金:非人或於己有利者勿言,同時避免瑣談;三、生活規律:物歸定位、事有定時;四、決心:決心為其所當為,事既決定,則貫徹到底;五、切莫浪費;六、勤儉耐勞:忌浪費時間,常從事有益的工作,且避免不必要之行為;七、真誠:思無邪、行無詐;八、公正:莫為惡去善而損人;九、溫和:不走極端且逆來順受;十、清潔:在身體、衣著、住處均需保持;十一、平靜:莫為繁瑣或無法避免的事件所困擾;十二、貞操;十三、虛懷若谷:效法耶穌基督和蘇格拉底的謙遜精神。

 憑藉這十三項德行的修養,使得富蘭克林產生驚人的苦幹精神,也由此昇華而臻於世所罕見的傑出行為,能留芳千古。


2015.1.18 賓大

Happy 309th Birthday to the university's founder, Ben Franklin! To quote the man himself, "At 20 years of age the will reigns, at 30 the wit, at 40 the judgment."


Happy 309th Birthday to the university's founder, Ben Franklin! To quote the man himself, "At 20 years of age the will reigns, at 30 the wit, at 40 the judgment."

讀者會10年後(2010)與Peter 暢談Benjamin Franklin後來,買一Norton 批評版, 可能放在永和。

《富蘭克林自傳》今日世界出版-黃正清譯 1975/5th reprinting今日世界出版◎黃正清譯《富蘭克林自傳》 Benjamin Franklin. 本書說,傳主去世10年之後,西洋才有 autobiography 一字。
by Benjamin Franklin, 1775
Benjamin Franklin wrote his Autobiography, which was never completed, at four different periods of his life. The first half, more or less, was written in two weeks during an interval spent with friends at Twyford, England, in 1771. It is in the form, later abandoned, of a letter to his son. At the same time or a little later, Franklin also composed an outline of the rest, or most of the rest, of the work. Subsequent portions were written at Passy, France, in 1784 and at Philadelphia in 1786 and 1788. All but the last were published without authorization in a French edition the year after Franklin died. The first edition of these three parts in English was brought out by William Temple Franklin in 1818. The fourth part was not printed until 1868, when it was recovered by John Bigelow, then American minister to France. The Autobiography has long been a part of American literary history and one of the best-known works of its kind in the world. Five relatively short passages from the Autobiography are reprinted here, dealing with well-known occurrences in Franklin's life. The first two passages were written in 1771 and were brought by Franklin to Philadelphia in 1775; hence the placement of the selection at this point in the volume. The last three selections had been outlined in 1775 but were not actually written out until the 1780s.
My brother had, in 1720 or 1721, begun to print a newspaper. It was the second that appeared in America, and was called the New-England Courant. The only one before it was the Boston News-Letter. I remember his being dissuaded by some of his friends from the undertaking as not likely to succeed, one newspaper being, in their judgment, enough for America. At this time (1771) there are not less than five-and-twenty. He went on, however, with the undertaking. I was employed to carry the papers to the customers, after having worked in composing the types and printing off the sheets.
He had some ingenious men among his friends, who amused themselves by writing little pieces for his paper, which gained it credit and made it more in demand; and these gentlemen often visited us. Hearing their conversations and their accounts of the approbation their papers were received with, I was excited to try my hand among them; but, being still a boy, and suspecting that my brother would object to printing anything of mine in his paper if he knew it to be mine, I contrived to disguise my hand, and, writing an anonymous paper, I put it in at night under the door of the printing house. It was found in the morning and committed to his writing friends when they called in as usual. They read it, commented on it in my hearing, and I had the exquisite pleasure of finding it had met with their approbation, and that, in their different guesses at the author, none were named but men of some character among us for learning and ingenuity. I suppose that I was rather lucky in my judges, and they were not really so very good as I then believed them to be.
Encouraged, however, by this attempt, I wrote and sent in the same way to the press several other pieces that were equally approved; and I kept my secret till all my fund of sense for such performances was exhausted, and then discovered it, when I began to be considered with a little more attention by my brother's acquaintance. However, that did not quite please him as he thought it tended to make me too vain. This might be one occasion of the differences we began to have about this time. Though a brother, he considered himself as my master, and me as his apprentice, and, accordingly, expected the same services from me as he would from another, while I thought he degraded me too much in some he required of me, who from a brother required more indulgence. Our disputes were often brought before our father, and I fancy I was either generally in the right, or else a better pleader, because the judgment was generally in my favor. But my brother was passionate and had often beaten me, which I took extremely amiss; and, thinking my apprenticeship very tedious, I was continually wishing for some opportunity of shortening it, which at length offered in a manner unexpected.
Perhaps the harsh and tyrannical treatment of me might be a means of impressing me with the aversion to arbitrary power that has stuck to me through my whole life.
One of the pieces in our newspaper on some political point, which I have now forgotten, gave offense to the Assembly. He was taken up, censured, and imprisoned for a month, by the speaker's warrant, I suppose, because he would not discover the author. I too was taken up and examined before the Council; but, though I did not give them any satisfaction, they contented themselves with admonishing me, and dismissed me, considering me, perhaps, as an apprentice who was bound to keep his master's secrets.
During my brother's confinement, which I resented a good deal notwithstanding our differences, I had the management of the paper; and I made bold to give our rulers some rubs in it, which my brother took very kindly, while others began to consider me in an unfavorable light, as a youth that had a turn for libeling and satire. My brother's discharge was accompanied with an order (a very odd one) that "James Franklin should no longer print the paper called the New-England Courant."
On a consultation held in our printing office among his friends, what he should do in this conjuncture, it was proposed to elude the order by changing the name of the paper; but my brother, seeing inconveniences in this, came to a conclusion, as a better way, to let the paper in future be printed in the name of Benjamin Franklin. And, in order to avoid the censure of the Assembly that might fall on him as still printing it by his apprentice, he contrived and consented that my old indenture should be returned to me, with a full discharge on the back of it, to show in case of necessity. And, in order to secure to him the benefit of my service, I should sign new indentures for the remainder of my time, which was to be kept private. A very flimsy scheme it was; however, it was immediately executed, and the paper was printed, accordingly, under my name for several months.
At length, a fresh difference arising between my brother and me, I took upon me to assert my freedom, presuming that he would not venture to produce the new indentures. It was not fair in me to take this advantage, and this I therefore reckon as one of the first errata of my life; but the unfairness of it weighed little with me, when under the impression of resentment for the blows his passion too often urged him to bestow upon me, though he was otherwise not an ill-natured man - perhaps I was too saucy and provoking.
When he found I would leave him, he took care to prevent my getting employment in any other printing house in town by going round and speaking to every master, who accordingly refused to give me work. I then thought of going to New York, as the nearest place where there was a printer; and I was rather inclined to leave Boston when I reflected that I had already made myself a little obnoxious to the governing party, and, from the arbitrary proceedings of the Assembly in my brother's case, it was likely I might, if I stayed, soon bring myself into scrapes; and, further, that my indiscreet disputations about religion began to make me pointed at with horror by good people as an infidel or atheist.
I concluded, therefore, to remove to New York; but my father now siding with my brother, I was sensible that, if I attempted to go openly, means would be used to prevent me. My friend Collins, therefore, undertook to manage my flight. He agreed with the captain of a New York sloop to take me. I sold my books to raise a little money, was taken on board the sloop privately, had a fair wind, and in three days found myself at New York, near 300 miles from my home, at the age of seventeen, without the least recommendation or knowledge of any person in the place, and very little money in my pocket.
The inclination I had felt for the sea was by this time done away, or I might now have gratified it. But, having another profession, and conceiving myself a pretty good workman, I offered my services to a printer of the place, old Mr. W. Bradford, who had been the first printer in Pennsylvania, but had removed thence in consequence of a quarrel with the governor, General Keith. He could give me no employment, having little to do and hands enough already; but, he said, "My son at Philadelphia has lately lost his principal hand, Aquilla Rose, by death; if you go thither, I believe he may employ you." Philadelphia was 100 miles farther. I set out, however, in a boat for Amboy, leaving my chest and things to follow me round by sea.
In crossing the bay, we met with a squall that tore our rotten sails to pieces, prevented our getting into the Kill, and drove us upon Long Island. In our way, a drunken Dutchman, who was a passenger too, fell overboard; when he was sinking, I reached through the water to his shock pate [thick hair], and drew him up, so that we got him in again. His ducking sobered him a little, and he went to sleep, taking first out of his pocket a book, which he desired I would dry for him. It proved to be my old favorite author, Bunyan's Pilgrim's Progress, in Dutch, finely printed on good paper, copper cuts, a dress better than I had ever seen it wear in its own language. I have since found that it has been translated into most of the languages of Europe, and suppose it has been more generally read than any other book, except perhaps the Bible. Honest John was the first that I know of who mixed narration and dialogue; a method of writing very engaging to the reader, who, in the most interesting parts, finds himself, as it were, admitted into the company and present at the conversation. Defoe has imitated him successfully in his Robinson Crusoe, in his Moll Flanders, and other pieces; and Richardson has done the same in his Pamela, etc.
On approaching the island, we found it was in a place where there could be no landing, there being a great surf on the stony beach. So we dropped anchor and swung out our cable toward the shore. Some people came down to the shore and halloed to us, as we did to them; but the wind was so high and the surf so loud that we could not understand each other. There were some small boats near the shore, and we made signs and called to them to fetch us; but they either did not comprehend us, or it was impracticable, so they went off. Night approaching, we had no remedy but to have patience till the wind abated; and, in the meantime the boatmen and myself concluded to sleep, if we could; and so we crowded into the hatches, where we joined the Dutchman, who was still wet, and the spray breaking over the head of our boat leaked through to us, so that we were soon almost as wet as he. In this manner we lay all night with very little rest; but, the wind abating the next day, we made a shift to reach Amboy before night, having been thirty hours on the water without victuals or any drink but a bottle of filthy rum, the water we sailed on being salt.
In the evening I found myself very feverish and went to bed; but, having read somewhere that cold water drunk plentifully was good for a fever, I followed the prescription and sweat plentifully most of the night. My fever left me, and, in the morning, crossing the ferry, I proceeded on my journey on foot, having fifty miles to Burlington, where I was told I should find boats that would carry me the rest of the way to Philadelphia.
It rained very hard all the day. I was thoroughly soaked, and by noon a good deal tired, so I stopped at a poor inn where I stayed all night, beginning now to wish I had never left home. I made so miserable a figure, too, that I found, by the questions asked me, I was suspected to be some runaway indentured servant and in danger of being taken up on that suspicion. However, I proceeded next day, and got in the evening to an inn within eight or ten miles of Burlington, kept by one Dr. Brown. He entered into conversation with me while I took some refreshment, and, finding I had read a little, became very obliging and friendly. Our acquaintance continued all the rest of his life. He had been, I imagine, an ambulatory quack doctor, for there was no town in England or any country in Europe of which he could not give a very particular account. He had some letters, and was ingenious, but he was an infidel, and wickedly undertook, some years after, to turn the Bible in doggerel verse, as Cotton had done formerly with Virgil. By this means he set many facts in a ridiculous light, and might have done mischief with weak minds if his work had been published; but it never was.
At his house I lay that night, and arrived the next morning at Burlington, but had the mortification to find that the regular boats had gone a little before, and no other expected to go before Tuesday, this being Saturday. Wherefore, I returned to an old woman in the town, of whom I had bought some gingerbread to eat on the water, and asked her advice. She proposed to lodge me till a passage by some other boat occurred. I accepted her offer, being much fatigued by traveling on foot. Understanding I was a printer, she would have had me remain in that town and follow my business, being ignorant what stock was necessary to begin with. She was very hospitable, gave me a dinner of ox-cheek with great goodwill, accepting only of a pot of ale in return; and I thought myself fixed till Tuesday should come.
However, walking in the evening by the side of the river, a boat came by, which I found was going toward Philadelphia, with several people in her. They took me in, and, as there was no wind, we rowed all the way; and, about midnight, not having yet seen the city, some of the company were confident we must have passed it, and would row no farther. The others knew not where we were; so we put toward the shore, got into a creek, landed near an old fence, with the rails of which we made a fire, the night being cold in October, and there we remained till daylight. Then one of the company knew the place to be Cooper's Creek, a little above Philadelphia, which we saw as soon as we got out of the creek, and arrived there about 8 or 9 o'clock on the Sunday morning, and landed at Market Street wharf.
I have been the more particular in this description of my journey, and shall be so of my first entry into that city, that you may in your mind compare such unlikely beginnings with the figure I have since made there. I was in my working dress, my best clothes coming round by sea. I was dirty from my being so long in the boat; my pockets were stuffed out with shirts and stockings; and I knew no one, nor where to look for lodging. Fatigued with walking, rowing, and want of sleep, I was very hungry; and my whole stock of cash consisted in a single dollar and about a shilling in copper coin, which I gave to the boatmen for my passage. At first they refused it on account of my having rowed; but I insisted on their taking it. Man is sometimes more generous when he has little money than when he has plenty, perhaps to prevent his being thought to have but little.
I walked toward the top of the street, gazing about, still in Market Street, where I met a boy with bread, I had often made a meal of dry bread, and, inquiring where he had bought it, I went immediately to the baker's he directed me to. I asked for biscuits, meaning such as we had at Boston; that sort, it seems, was not made in Philadelphia. I then asked for a threepenny loaf, and was told they had none. Not knowing the different prices nor the names of the different sorts of bread, I told him give me threepenny worth of any sort. He gave me, accordingly, three great puffy rolls. I was surprised at the quantity, but took it, and, having no room in my pockets, walked off with a roll under each arm and eating the other. Thus I went up Market Street as far as Fourth Street, passing by the door of Mr. Read, my future wife's father; when she, standing at the door, saw me, and thought I made, as I certainly did, a most awkward, ridiculous appearance. Then I turned and went down Chestnut Street and part of Walnut Street, eating my roll all the way, and coming round, found myself again at Market Street wharf, near the boat I came in, to which I went for a draft of the river water; and, being filled with one of my rolls, gave the other two to a woman and her child that came down the river in the boat with us and were waiting to go farther.
Thus refreshed, I walked again up the street, which by this time had many cleandressed people in it, who were all walking the same way. I joined them, and thereby was led into the great meetinghouse of the Quakers near the market. I sat down among them, and, after looking round awhile and hearing nothing said, being very drowsy through labor and want of rest the preceding night, I fell fast asleep, and continued so till the meeting broke up, when someone was kind enough to rouse me. This, therefore, was the first house I was in, or slept in, in Philadelphia.
I then walked down toward the river, and, looking in the faces of everyone, I met a young Quaker man, whose countenance pleased me, and, accosting him, requested he would tell me where a stranger could get a lodging. We were then near the sign of the Three Mariners. "Here," said he, "is a house where they receive strangers, but it is not a reputable one; if thou wilt walk with me, I'll show thee a better one." And he conducted me to the Crooked Billet in Water Street. There I got a dinner; and, while I was eating, several questions were asked me, as from my youth and appearance I was suspected of being a runaway.
After dinner, my host having shown to a bed, I lay myself on it without undressing, and slept till six in the evening, was called to supper. I went to bed again very early, and slept very soundly till next morning. Then I dressed myself as neat as I could, and went to Andrew Bradford, the printer's. I found in the shop the old man, his father, whom I had seen at New York and who, traveling on horseback, had got to Philadelphia before me. He introduced me to his son, who received me civilly, gave me a breakfast, but told me he did not at present want a hand, being lately supplied with one; but there was another printer in town lately set up, one Keimer, who perhaps might employ me. If not, I should be welcome to lodge at his house, and he would give me a little work to do now and then till fuller business should offer.
The old gentleman said he would go with me to the new printer; and when we found him, "Neighbor," said Bradford, "I have brought to see you a young man of your business; perhaps you may want such a one." He asked me a few questions, put a composing stick in my hand to see how I worked, and then said he would employ me soon, though he had just then nothing for me to do; and taking old Bradford, whom he had never seen before, to be one of the townspeople that had a goodwill for him, entered into conversation on his present undertaking and prospects; while Bradford (not discovering that he was the other printer's father), on Keimer's saying he expected soon to get the greatest part of the business into his own hands, drew him on by artful questions, and starting little doubts, to explain all his views, what influence he relied on, and in what manner he intended to proceed. I, who stood by and heard all, saw immediately that one was a crafty old sophister and the other a true novice. Bradford left me with Keimer, who was greatly surprised when I told him who the old man was.
Keimer's printing house, I found, consisted of an old damaged press, and a small, worn-out font of English types which he was using himself, composing an elegy on Aquilla Rose, before mentioned, an ingenious young man of excellent character, much respected in the town, secretary to the Assembly, and a pretty poet. Keimer made verses, too, but very indifferently. He could not be said to write them, for his method was to compose them in the types directly out of his head; there being no copy but one pair of cases, and the elegy probably requiring all the letter, no one could help him. I endeavored to put his press (which he had not yet used and of which he understood nothing) into order to be worked with; and promising to come and print off his elegy as soon as he should have got it ready, I returned to Bradford's, who gave me a little job to do for the present, and there I lodged and dieted. A few days after, Keimer sent for me to print off the elegy. And now he had got another pair of cases, and a pamphlet to reprint, on which he set me to work.
These two printers I found poorly qualified for their business. Bradford had been bred to it and was very illiterate; and Keimer, though something of a scholar, was a mere compositor, knowing nothing of presswork. He had been one of the French prophets and could act their enthusiastic agitations. At this time he did not profess any particular religion, but something of all on occasion; was very ignorant of the world, and had, as I afterward found, a good deal of the knave in his composition. He did not like my lodging at Bradford's while I worked with him. He had a house, indeed, but without furniture, so he could not lodge me; but he got me a lodging at Mr. Read's, before mentioned, who was the owner of his house; and my chest and clothes being come by this time, I made rather a more respectable appearance in the eyes of Miss Read than I had done when she first happened to see me eating my roll in the street.
I began now to have some acquaintance among the young people of the town that were lovers of reading, with whom I spent my evenings very pleasantly; and gained money by my industry and frugality. I lived very contented and forgot Boston as much as I could, and did not wish it should be known where I resided, except to my friend Collins, who was in the secret and kept it faithfully.
At length, however, an incident happened that occasioned my return home much sooner than I had intended. I had a brother-in-law, Robert Holmes, master of a sloop that traded between Boston and Delaware. He being at Newcastle, forty miles below Philadelphia, and hearing of me, wrote me a letter mentioning the grief of my relations and friends in Boston at my abrupt departure, assuring me of their goodwill toward me and that everything would be accommodated to my mind if I would return, to which he entreated me earnestly. I wrote an answer to his letter, thanking him for his advice, but stated my reasons for quitting Boston so fully and in such a light as to convince him that I was not so wrong as he had apprehended. ...
About this time [1730], our club, meeting not at a tavern but in a little room of Mr. Grace's set apart for that purpose, a proposition was made by me that, since our books were often referred to in our disquisitions upon the queries, it might be convenient to us to have them all together when we met, that, upon occasion, they might be consulted. And, by thus clubbing our books to a common library, we should, while we liked to keep them together, have each of us the advantage of using the books of all the other members, which would be nearly as beneficial as if each owned the whole. It was liked and agreed to, and we filled one end of the room with such books as we could best spare. The number was not so great as we expected; and, though they had been of great use, yet some inconveniences occurring for want of due care of them, the collection, after about a year, was separated and each took his books home again.
And now I set on foot my first project of a public nature - that for a subscription library. I drew up the proposals, got them put into form by our great scrivener Brockden, and, by the help of my friends in the Junto, procurred fifty subscribers of 40s. each to begin with and 10s. a year for fifty years, the term our company was to continue. We afterward obtained a charter, the company being increased to one hundred. This was the mother of all the North American subscription libraries, now so numerous. It is become a great thing itself and continually goes on increasing. These libraries have improved the general conversation of the Americans, made the common tradesmen and farmers as intelligent as most gentlemen from other countries, and perhaps have contributed in some degree to the stand so generally made throughout the colonies in defense of their privileges. ...
In 1732 I first published my Almanac, under the name of Richard Saunders; it was continued by me about twenty-five years and commonly called Poor Richard's Almanac. I endeavored to make it both entertaining and useful, and it accordingly came to be in such demand that I reaped considerable profit from it, vending annually near 10,000. And observing that it was generally read (scarce any neighborhood in the province being without it), I considered it as a proper vehicle for conveying instruction among the common people, who bought scarcely any other books. I therefore filled all the little spaces that occurred between the remarkable days in the calendar with proverbial sentences, chiefly such as inculcated industry and frugality as the means of procuring wealth, and thereby securing virtue, it being more difficult for a man in want to act always honestly, as (to use here one of those proverbs) "it is hard for an empty sack to stand upright."
These proverbs, which contained the wisdom of many ages and nations, I assembled and formed into a connected discourse prefixed to the Almanac of 1757, as the harangue of a wise old man to the people attending an auction. The bringing all these scattered counsels thus into a focus enabled them to make greater impression. The piece, being universally approved, was copied in all the newspapers of the American continent; reprinted in Britain on a large sheet of paper to be stuck up in houses; two translations were made of it in French; and great numbers bought by the clergy and gentry to distribute gratis among their poor parishioners and tenants. In Pennsylvania, as it discouraged useless expense in foreign superfluities, some thought it had its share of influence in producing that growing plenty of money which was observable for several years after its publication.
I considered my newspaper, also, another means of communicating instruction, and, in that view, frequently reprinted in it extracts from the Spectator and other moral writers; and sometimes published little pieces of mine own, which had been first composed for reading in our Junto. Of these are a Socratic dialogue, tending to prove that, whatever might be his parts and abilities, a vicious man could not properly be called a man of sense; and a discourse on self-denial, showing that virtue was not secure till its practice became a habitude and was free from the opposition of contrary inclinations. These may be found in the papers about the beginning of 1735.
In the conduct of my newspaper, I carefully excluded all libeling and personal abuse, which is of late years become so disgraceful to our country. Whenever I was solicited to insert anything of that kind, and the writers pleaded (as they generally did) the liberty of the press, and that a newspaper was like a stagecoach in which anyone who would pay had a right to a place, my answer was that I would print the piece separately if desired, and the author might have as many copies as he pleased to distribute himself, but that I would not take upon me to spread his detraction; and that, having contracted with my subscribers to furnish them with what might be either useful or entertaining, I could not fill their papers with private altercation, in which they had no concern, without doing them manifest injustice.
Now, many of our printers make no scruple of gratifying the malice of individuals by false accusations of the fairest characters among ourselves, augmenting animosity even to the producing of duels; and are, moreover, so indiscreet as to print scurrilous reflections on the government of neighboring states, and even on the conduct of our best national allies, which may be attended with the most pernicious consequences. These things I mention as a caution to young printers, and that they may be encouraged not to pollute the presses and disgrace their profession by such infamous practices, but refuse steadily, as they may see by my example that such a course of conduct will not, on the whole, be injurious to their interests. ...
In 1737, Colonel Spotswood, late governor of Virginia, and then postmaster general, being dissatisfied with his deputy at Philadelphia, respecting some negligence in rendering and want of exactness in framing his accounts, took from him his commission and offered it to me. I accepted it readily, and found it of great advantage; for, though the salary was small, it facilitated the correspondence that improved my newspaper, [and] increased the number demanded, as well as the advertisements to be inserted, so that it came to afford me a considerable income. My old competitor's newspaper declined proportionally, and I was satisfied without retaliating his refusal, while postmaster, to permit my papers being carried by the riders. Thus he suffered greatly from his neglect in due accounting; and I mention it as a lesson to those young men who may be employed in managing affairs for others, that they should always render accounts and make remittances with great clearness and punctuality. The character of observing such a conduct is the most powerful of all recommendations to new employments and increase of business.
I began now to turn my thoughts to public affairs, beginning, however, with small matters. The city watch was one of the first things that I conceived to want regulation. It was managed by the constables of the respective wards in turn; the constable summoned a number of housekeepers to attend him for the night. Those who chose never to attend, paid him 6s. a year to be excused, which was supposed to go for hiring substitutes, but was, in reality, much more than was necessary for that purpose, and made the constableship a place of profit; and the constable, for a little drink, often got such ragamuffins about him as a watch that respectable housekeepers did not choose to mix with. Walking the rounds, too, was often neglected, and most of the nights spent in tippling. I thereupon wrote a paper, to be read in Junto, representing these irregularities, but insisting more particularly on the inequality of this 6s. tax of the constables, respecting the circumstances of those who paid it, since a poor widow housekeeper, all whose property to be guarded by the watch did not perhaps exceed the value of £ 50, paid as much as the wealthiest merchant, who had thousands of pounds' worth of goods in his stores.
On the whole, I proposed as a more effectual watch, the hiring of proper men to serve constantly in that business; and, as a more equitable way of supporting the charge, the levying of a tax that should be proportioned to the property. This idea, being approved by the Junto, was communicated to the other clubs, but as originating in each of them; and though the plan was not immediately carried into execution, yet, by preparing the minds of people for the change, it paved the way for the law obtained a few years after, when the members of our clubs were grown into more influence.
About this time I wrote a paper (first to be read in Junto, but it was afterward published) on the different accidents and carelessnesses by which houses were set on fire, with cautions against them, and means proposed of avoiding them. This was spoken of as a useful piece, and gave rise to a project, which soon followed it, of forming a company for the more ready extinguishing of fires and mutual assistance in removing and securing of goods when in danger. Associates in this scheme were presently found, amounting to thirty. Our articles of agreement obliged every member to keep always in good order and fit for use a certain number of leather buckets, with strong bags and baskets (for packing and transporting goods), which were to be brought to every fire; and we agreed about once a month to spend a social evening together in discoursing and communicating such ideas as occurred to us upon the subject of fires as might be useful in our conduct on such occasions.
The utility of this institution soon appeared, and many more desiring to be admitted than we thought convenient for one company, they were advised to form another, which was accordingly done; and thus went on one new company after another, till they became so numerous as to include most of the inhabitants who were men of property. And now, at the time of my writing this (though upward of fifty years since its establishment), that which I first formed, called the Union Fire Company, still subsists, though the first members are all deceased but one, who is older by a year than I am. The fines that have been paid by members for absence at the monthly meetings have been applied to the purchase of fire engines, ladders, fire hooks, and other useful implements for each company, so that I question whether there is a city in the world better provided with the means of putting a stop to beginning conflagrations; and, in fact, since these institutions, the city has never lost by fire more than one or two houses at a time, and the flames have often been extinguished before the house in which they began has been half consumed. ...
It had been proposed that we should encourage the scheme for building a battery [cannon] by laying out the present stock, then about £ 60, in tickets of the lottery. By our rules, no money could be disposed of till the next meeting after the proposal. The company consisted of thirty members, of whom twenty-two were Quakers and eight only of other persuasions. We eight punctually attended the meeting; but, though we thought that some of the Quakers would join us, we were by no means sure of a majority. Only one Quaker, Mr. James Morris, appeared to oppose the measure. He expressed much sorrow that it had ever been proposed, as he said Friends were all against it, and it would create such discord as might break up the company. We told him that we saw no reason for that; we were the minority, and if Friends were against the measure and outvoted us, we must and should, agreeably to the usage of all societies, submit. When the hour for business arrived, it was moved to put this to the vote; he allowed we might do it by the rules, but, as he could assure us that a number of members intended to be present for the purpose of opposing it, it would be but candid to allow a little time for their appearing.
While we were disputing this, a waiter came to tell me that two gentlemen below desired to speak with me. I went down and found there two of our Quaker members. They told me there were eight of them assembled at a tavern just by; that they were determined to come and vote with us if there should be occasion, which they hoped would not be the case; and desired we would not call for their assistance if we could do without it, as their voting for such a measure might embroil them with their elders and friends. Being thus secure of a majority, I went up, and, after a little seeming hesitation, agreed to a delay of another hour. This Mr. Morris allowed to be extremely fair. Not one of his opposing friends appeared, at which he expressed great surprise; and, at the expiration of the hour, we carried the resolution eight to one; and as, of the twenty-two Quakers, eight were ready to vote with us and thirteen, by their absence, manifested that they were not inclined to oppose the measure, I afterward estimated the proportion of Quakers sincerely against defense as one to twenty-one only; for these were all regular members of that society, and in good reputation among them, and who had notice of what was proposed at that meeting.
The honorable and learned Mr. Logan, who had always been of that sect, wrote an address to them, declaring his approbation of defensive war and supporting his opinion by many strong arguments. He put into my hands £ 60 to be laid out in lottery tickets for the battery, with directions to apply what prizes might be drawn wholly to that service. He told me the following anecdote of his old master, William Penn, respecting defense. He came over from England when a young man, with that proprietary, and as his secretary. It was wartime, and their ship was chased by an armed vessel, supposed to be an enemy. Their captain prepared for defense; but told William Penn and his company of Quakers that he did not expect their assistance and they might retire into the cabin, which they did, except James Logan, who chose to stay upon deck, and was quartered to a gun. The supposed enemy proved a friend, so there was no fighting; but, when the secretary went down to communicate the intelligence, William Penn rebuked him severely for staying upon deck and undertaking to assist in defending the vessel, contrary to the principles of Friends, especially as it had not been required by the captain. This reprimand, being before all the company, piqued the secretary, who answered, "I, being thy servant, why did thee not order me to come down? But thee was willing enough that I should stay and help to fight the ship when thee thought there was danger."
My being many years in the Assembly, the majority of which were constantly Quakers, gave me frequent opportunities of seeing the embarrassment given them by their principle against war, whenever application was made to them, by order of the Crown, to grant aids for military purposes. They were unwilling to offend government, on the one hand, by a direct refusal; and their friends, the body of the Quakers, on the other, by a compliance contrary to their principles, using a variety of evasions to avoid complying, and modes of disguising the compliance when it became unavoidable. The common mode at last was to grant money under the phrase of its being "for the King's use," and never to inquire how it was applied.
But, if the demand was not directly from the Crown, that phrase was found not so proper, and some other was to be invented. Thus, when powder was wanting (I think it was for the garrison at Louisburg), and the government of New England solicited a grant of some from Pennsylvania, which was much urged on the House by Governor Thomas, they could not grant money to buy powder because that was an ingredient of war; but they voted an aid to New England of £ 3,000 to be put into the hands of the governor, and appropriated it for the purchasing of bread, flour, wheat, or other grain. Some of the Council, desirous of giving the House still further embarrassment, advised the governor not to accept provision as not being the thing he had demanded; but he replied, "I shall take the money, for I understand very well their meaning; other grain is gunpowder," which he accordingly bought, and they never objected to it.
It was in allusion to this fact that, when in our fire company we feared the success of our proposal in favor of the lottery, and I had said to a friend of mine, one of our members, "If we fail, let us move the purchase of a fire engine with the money; the Quakers can have no objection to that; and then, if you nominate me and I you as a committee for that purpose, we will buy a great gun, which is certainly a fire engine."
"I see," said he, "you have improved by being so long in the Assembly; your equivocal project would be just a match for their wheat or other grain."
Those embarrassments that the Quakers suffered from having established and published it as one of their principles, that no kind of war was lawful, being once published, they could not afterward, however they might change their minds, easily get rid of, reminds me what I think a more prudent conduct in another sect among us, that of the Dunkers. I was acquainted with one of its founders, Michael Weffare, soon after it appeared. He complained to me that they were grievously calumniated by the zealots of other persuasions, and charged with abominable principles and practices, to which they were utter strangers. I told him this had always been the case with new sects, and that, to put a stop to such abuse, I imagined it might be well to publish the articles of their belief and the rules of their discipline. He said that it had been proposed among them but not agreed to for this reason:
When we were first drawn together as a society [said he], it had pleased God to enlighten our minds so far as to see that some doctrines, which were esteemed truths, were errors; and that others, which we had esteemed errors, were real truths. From time to time He has been pleased to afford us further light, and our principles have been improving and our errors diminishing. Now we are not sure that we are arrived at the end of this progression and at the perfection of spiritual or theological knowledge; and we fear that, if we should once print our confession of faith, we should feel ourselves as if bound and confined by it, and perhaps be unwilling to receive further improvement, and our successors still more so, as conceiving what their elders and founders had done to be something sacred, never to be departed from.

This modesty in a sect is perhaps a singular instance in the history of mankind, every other sect supposing itself in possession of all truth, and that those who differ are so far in the wrong; like a man traveling in foggy weather, those at some distance before him on the road he sees wrapped up in the fog, as well as those behind him, and also the people in the fields on each side, but near him all appear clear, though in truth he is as much in the fog as any of them. To avoid this kind of embarrassment, the Quakers have of late years been gradually declining the public service in the Assembly and in the magistracy, choosing rather to quit their power than their principle.
Source
Memoirs of Benjamin Franklin, New York, 1839, Vol. I, pp. 32-43, 89-90, 118-120, 125-127. The Works of Benjamin Franklin, etc., etc, Jared Sparks, ed., Boston, 1836-1840, Vol. I, pp. 151-156.

Quotes
"George Washington - the Joshua, who commanded the sun and the moon to stand still, and they obeyed him."— Benjamin Franklin, at an official dinner..
The British Ambassador proposed as a toast: "England - the sun - whose bright beams enlighten and fructify the remotest corners of the earth." The French Ambassador proposed: "France - the moon - whose mild, steady, and cheering rays are the delight of all nations, consoling them in darkness." Franklin then proposed the above toast.

Quotes
"Oh, very well, Doctor, I had rather relate your stories than other men's truths."— Abbé Raynal, when told by Benjamin Franklin that Polly Baker was a fabrication.

Quotes
"I succeed Dr. Franklin. No man can replace him."— Thomas Jefferson, at the Court of France when asked if he replaced Franklin as American ambassador. 1785.

******


As a literary genre, autobiography, narrating the story of one's own life, is a variation of biography, a form of writing that describes the life of a particular individual. From the point of view of psychoanalysis, autobiography is of interest as the story told by the patient to the analyst and to himself.
Autobiography in the modern sense began as a form of confession (Saint Augustine), even though there are memoirs in classical literature (Xenophon's Anabasis, Julius Caesar's Gallic wars). Such introspective works can be considered attempts at self-analysis before the psychoanalytic discovery of the unconscious. In 1925 Freud wrote An Autobiographical Study, in which the story of his own life merges with that of the creation of psychoanalysis. According to Freud, biographical truth does not exist, since the author must rely on lies, secrets, and hypocrisy (letter to Arnold Zweig dated May 31, 1939). The same is true of autobiography. From this point of view, it is interesting that Freud framed his theoretical victory and the birth of psychoanalysis in terms of a psychological novel.
The function of autobiography is to use scattered bits of memory to create the illusion of a sense of continuity that can hide the anxiety of the ephemeral, or even of the absence of the meaning of existence, from a purely narcissistic point of view. This story constitutes a narrative identity (Ricoeur, 1984-1988) but is self-contained. In contrast, the job of analysis is to modify, indeed to deconstruct, this identity through interpretation. Because the analyst reveals repressed content, he is always a potential spoiler of the patient's autobiographic story (Mijolla-Mellor, 1988).
Although autobiography has been of greater interest to literature (Lejeune, 1975) than to psychoanalysis, a number of psychoanalysts (Wilfred Bion and Marie Bonaparte, among others) have written autobiographies, thus confirming the link between the analyst's pursuit of self-analysis and autobiographical reflection.

Bibliography
Freud, Sigmund. (1925). An autobiographical study. SE, 20: 1-74.
Lejeune, Philippe. (1974). Le pacte autobiographique. Paris: Seuil.
Mijolla-Mellor, Sophie de. (1988). Suvivreà so passé. In L'autobiographie. Paris: Les Belles Lettres.
——. (1990). Autobiographie et psychanalyse. Le Coq-Héron, 118, pp. 6-14.
Ricoeur, Paul. (1984-1988). Time and narrative (Kathleen McLaughlin and David Pellauer, Trans.). Chicago: University of Chicago Press. (Original work published 1985)
—SOPHIEDE MIJOLLA-MELLOR

關於John Keats... Ode on a Grecian Urn. "To Autumn"《書簡集》

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濟慈1795-1821年輕的時代也翻譯拉丁文名詩,年表(Keats’s Life)1811年第2行”Finish translating The Aeneid. (KEATS POETICAL WORKS, edited by H. W. Grrod, OUP, p.xxvii)。


Culture Desk
Bringing Keats Back to Life

To celebrate the two-hundredth anniversary of the poet’s death, a foundation created a C.G.I. rendering that looked and spoke like he did.
By Anna Russell




2月23日濟慈(John Keats)

(西元1795.10.31—1821.2.23)

英國詩人。棄醫從文。浪漫派代表,詩風色彩斑斕、細膩幽深。生前未獲文壇重視,英年謝世後才獲得極高的評價。著名詩作包括〈恩底彌翁〉、〈聖艾格尼絲之夜〉、〈夜鶯頌〉和〈致秋天〉等。



  近來的官吏,在成為外交官或大臣以後,便隨之喪失了人性。我們全都在這股官僚習氣中,費力地喘息。……而今,一個人的偉大,不再是因為他的高尚品行,竟是由扣在鈕孔上的徽章數目所決定的。

世上最傑出的作家都來自於英國的重要理由之一,在於英國社會對待這些作家的方式:生前摧殘蹂躪、死後榮耀加冠。這些作家大都走過了人生的坎坷曲徑,嘗遍了社會的辛酸苦難。

節自《書簡集》



"To Autumn" by John Keats
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.


"濟慈不僅是天才的詩人、見解卓絕的文論家,也是性格開朗、善解人意的普通人,《評傳》在向我們揭示濟慈驚人之詩才、不凡之詩論的同時,也讓我們看到了他對 親情、友情的看重,還有他的不甘示弱、慷慨大度……濟慈是傅修延的學術初戀,是其碩士論文的研究對象。如今,近三十年過去了,傅修延仍然對濟慈懷有一種 “朝聖者的靈魂”。為了撰寫此書,傅修延還利用在英國倫敦大學國王學院做訪問研究的機會,對濟慈一生的行蹤進行了系統的實地尋訪。正因為如此,《評傳》把 濟慈復原到了其生活的社會歷史和生存環境之中,讓我們看到了濟慈之所以為濟慈的根本原因。"2008-06-13 作者:楊莉

hc:此評傳無索引 所以無法追 Keats-Shelley 和 Rome,之故事 或名詩 詞如 negative capability等
注解中的倫敦大學等 可能有時代錯誤 p.77


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關於"濟慈"的資料 英文相當完備 幾乎可以論月-日追蹤John Keats的發展 --哈佛大學出的Keats傳最值得參考:


John Keats— Walter Jackson Bate | Harvard University Press

www.hup.harvard.edu/catalog.php?isbn=9780674478251
Since most of Keats's early poetry has survived, his artistic development can be observed more closely than is possible with most writers; and there are times ...  1979年


精彩論文: 有漢譯
The Poet as Hero: Keats in His Letters (1951) , 收入The Moral Obligation to Be Intelligent: Selected Essays By Lionel Trilling,pp.224-


  E.E. Cummings,Norton Lectures 1952-53,   i: six nonlectures, Harvard University Press, 1981,至少提2次Keats. 第3講說他在哈佛大學讀書時   收到的印象最深刻的禮物是: Keats的詩信合集
於世間一切中我唯明了愛之神聖與幻想之真
他沉浸於那些精神的高空---一隻未知和不可知的鳥兒開始歌唱.......



The life of Keats provides a unique opportunity for the study of literary greatness and of what permits or encourages its development. Its interest is deeply human and moral, in the most capacious sense of the words. In this authoritative biography—the first full-length life of Keats in almost forty years—the man and the poet are portrayed with rare insight and sympathy. In spite of a scarcity of factual data for his early years, the materials for Keats’s life are nevertheless unusually full. Since most of his early poetry has survived, his artistic development can be observed more closely than is possible with most writers; and there are times during the period of his greatest creativity when his personal as well as his artistic life can be followed week by week.
The development of Keats’s poetic craftsmanship proceeds simultaneously with the steady growth of qualities of mind and character. Walter Jackson Bate has been concerned to show the organic relationship between the poet’s art and his larger, more broadly humane development. Keats’s great personal appeal—his spontaneity, vigor, playfulness, and affection—are movingly recreated; at the same time, his valiant attempt to solve the problem faced by all modern poets when they attempt to achieve originality and amplitude in the presence of their great artistic heritage is perceptively presented.
In discussing this matter, Mr. Bate says, “The pressure of this anxiety and the variety of reactions to it constitute one of the great unexplored factors in the history of the arts since 1750. And in no major poet, near the beginning of the modern era, is this problem met more directly than it is in Keats. The way in which Keats was somehow able, after the age of twenty-two, to confront this dilemma, and to transcend it, has fascinated every major poet who has used the English language since Keats’s death and also every major critic since the Victorian era.”
Mr. Bate has availed himself of all new biographical materials, published and unpublished, and has used them selectively and without ostentation, concentrating on the things that were meaningful to Keats. Similarly, his discussions of the poetry are not buried beneath the controversies of previous critics. He approaches the poems freshly and directly, showing their relation to Keats’s experience and emotions, to premises and values already explored in the biographical narrative. The result is a book of many dimensions, not a restricted critical or biographical study but a fully integrated whole.



  • The First Years (1795–1810)
  • Abbey’s Wards (1810–1815)
  • Guy’s Hospital (1815–1816)
  • An Adventure in Hope (Summer 1816)
  • The Commitment to Poetry: Chapman’s Homer, Hunt, and Haydon (Autumn 1816)
  • Completing the First Volume (November and December, 1816)
  • The Laurel Crown and the Vision of Greatness (December 1816 to March 1817)
  • A Trial of Invention: Endymion
  • An Act of Will (June to December, 1817)
  • Negative Capability
  • Another Beginning (December and January, 1817–1818)
  • Devonshire and Isabella (February to April, 1818)
  • The Burden of the Mystery: the Emergence of a Modern Poet (Spring 1818)
  • The Departure of George Keats and the Scottish Tour (Summer 1818)
  • Reviews, the Writing of Hyperion, the Death of Tom Keats (Autumn 1818)
  • Hyperion and a New Level of Writing
  • Fanny Brawne; The Eve of St. Agnes (Winter 1818–1819)
  • A Period of Uncertainty (February to April, 1819)
  • The Odes of April and May, 1819
  • The Final Beginning: Lamia (May to July, 1819)
  • The Close of the Fertile Year: “To Autumn” and The Fall of Hyperion (July to September, 1819)
  • Illness (Autumn and Winter, 1819)
  • Adrift (January to August, 1820)
  • The Voyage to Italy (August to November, 1820)
  • Rome and the Last Months (November 1820 to February 1821)
  • Appendices
    • I. Family Origins
    • II. The Length of Keats’s Apprenticeship
    • III. The Keats Children’s Inheritance
  • Index

The real John Keats – TheTLS

JONATHAN BATE. December 4, 2012. Lawrence M. Crutcher. GEORGE KEATS OF KENTUCKY. A Life 384pp. University Press of Kentucky. $40; distributed in ...


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Jonathan Bate. Print publication date: 1989. Print ISBN-13: 9780198129943. Published to Oxford Scholarship Online: October 2011.




幾年前有一書 A Beautiful Mind,大陸先有翻譯本,取名<普林斯頓的幽靈>,有點「希區考克加上馬克斯」的聯想。然後有改編之電影,於是,再版改書名為<美麗心靈—納什傳>。台灣翻譯:<美麗境界>。 
香港翻譯最俗不可耐。解說這beautiful 可以成一文。不過我有自己獨到見解:或許作者心中所想的是John Keats(1795-1821) Ode on a Grecian Urn 的 " Beauty is Truth, Truth Beauty,"that is all…


2011年7月15日星期五


Keat’s Ode on a Grecian Urn// Steps To An Ecology Of Mind

Keat’s Ode on a Grecian Urn 時,不斷追問:
” What is the whole poem about?”
“ What exactly has Keats seen ( or chosen to show us) depicted on the urn he is describing?”.
人類學:“What is the general form of their life?” “ What exactly are the vehicles in which that form is embodied?”
我們可注意「formvehicle」;另一方面,科學之一義為「描繪與敘述」。
希臘古甕是其文化形象
(一景是群眾狂歡; 二景是青年追逐一姑娘; 三景是群眾牽一牛在街上走,要去宰牛祭天。每一景都是monent of truth,對詩人而言,則是moment of beauty),『希臘古甕曲』是一種了解與解釋。
參考資料:
Clifford Geertz 1983)“From the Native’s Point of View: On the Nature of Anthropological Understanding in Local Knowledge : Further Essays in Interpretive Anthropology , pp. 55-70, Basic Books 這本有簡體字中譯本『地方性知識』,北京:中央編譯出版社(2000)。可能是「過度詮釋」一例,本文譯成「文化持有者的內部眼界:論人類學理解的本質」。我這篇雜誌或許能協助讀者進入我的「過度詮釋」。
G. Bateson's1949 " Bali: The Value System of a Steady State" in Steps To An Ecology Of Mind1972,1987,Jason Aroson, Inc.
M. H. Abrams附錄
Keat’s Ode on a Grecian Urn(希臘古甕曲):【Clifford Geertz特別提到的Leo Spitzer的解釋Keat's Platoism,用 表示;我依Keat 傳記()研究,認為spirit應也是要素。】
Thou still unravish’d bride of quietness你是「平靜的」還未曾失身的新娘,
Thou foster-child of silence and slow time你是「沉默」和「悠久」抱養的女孩,
Sylvan historian, who canst thus express 林野的史家,你賽過我們的詞章,
A flowery tale more sweetly than your rhyme: 講一篇花哨的故事這樣有風采;
What leaf-fring’d legend haunts about thy shape 枝葉邊緣的傳說纏繞你一身,
Of deities or mortals, or of both, 是講的TempeArcady山坳
In Tempe or the dale of Arcady? 一些神,還是人,還是神同人在一起?
What men or gods are these? What maidens loath? 這些是什麼人,什麼神,什麼樣小女人
What mad pursuit? What struggle to escape?不願意?怎麼樣猛追?怎麼樣脫逃?
What pipes and timbres? What wild ecstasy? 什麼笛?什麼鐃鈸?什麼樣狂喜?
Heard melodies are sweet, but those unheard 聽見的樂調固然美,無從聽見的
Are sweeter; therefore, ye soft pipes, play on; 卻更美;柔和的笛管,繼續吹下去,
Not to the sensual ear, but, more endear’d, 不對官能而更動人愛憐的
Pipe to the spirit ditties of no tone對靈魂吹你們有調無聲的仙曲:
Fair youth, beneath the trees, thou canst not leave 美少年,你在樹底下,你不能拋開
Thy song, nor ever can those trees be bare; 你的唱歌,這些樹也永不光禿;
Bold Lover, never, never canst thou kiss, 勇敢的忠情漢,你永遠親不了嘴,
Though winning near the goal-yet, don’t grieve; 雖然離目標不遠了-也不用悲哀;
She cannot fade, though thou has not thy bliss, 她消失不了, 雖然你得不到豔福,
For ever wilt thou love, and she be fair! 你永遠會愛,她也會永遠嬌美。
Ah, happy, happy boughs! That cannot shed 阿,幸福的永遠枝條!永不會
Your leaves, nor ever bid the Spring adieu, 掉葉,也永遠都不會告別春天;
And happy melodist, unwearied, 幸福的樂師,永遠也不會覺得累,
For ever piping songs, for ever new; 永遠吹奏著曲調,又永遠新鮮;
More happy love! More happy, happy love! 更加幸福的,更加幸福的愛情!
Foe ever warm and still to be enjoy’d. 永遠的熱烈,永遠都可以享受
For ever panting, and for ever young; 永遠的喘氣,永遠的年富力強;
All blessing human passion far above, 遠遠的超出了人欲的糾纏不清,
That leaves a heart high-sorrowful and cloy’s, 並不叫一顆心充滿了饜足和憂愁,
A burning forehead, and a parching tongue. 並不叫額上發燒,舌頭上焦黃。
Who are these coming to the sacrifice? 這些前來祭祀的都是歇什麼人?
To what green altar, O mysterious priest, 神秘的祭師阿,上什麼青青的祭壇
Lead’st thou that heifer lowing at the skies, 牽去的這條牛,讓它對天空哀呻,
And all her silken flanks with garlands drest? 給她絲光的腰身都套了花環?
What little town by river or sea-shore, 那一座小城市,靠海的,或者靠的河,
Or mountain-built with peaceful citadel或者靠了山築起的太平的城堡,
Is emptied of its folk, this pious morn? 出空了這群人,虔誠趕清早去進香?
And, little town, thy streets for evermore小城市,你的街道會永遠沉默,
Will silent be; and not a soul to tell 也不再有一位生靈能回來講明了
Why thou are desolate, can e’er return.你可以從此轉成了這般荒涼。
 
O Attic shape, fair attitude! With brede 希臘的形狀;希臘的姿態!滿處
Of marble men and maiden overwrought, 飾滿了大理石的男男女女,
With forest branches and the trodden weed; 枝葉在搖曳青草在腳底下起伏;
Thou silent form! Dost tease us out of thought 靜默的形體,引我們越出了塵慮,
As doth eternity: Cold Pastoral像「永恆」引我們一樣:冰冷的牧歌!
When old age shall this generation waste 等老年斷送了我們一代的來路,
Thou shalt remain, in midst of other woe 你還會存在,看人家受到另一些
Than ours, a friend to man, to whom thou say’st, 苦惱的時候,作為朋友來申說
“Beauty is Truth, Truth Beauty,”-that is all 「美即是真,真即是美」,-這就是
Ye know on earth, and all ye need to know. 你們在地上所知和須知的一切。

John Keats was born ‪#‎onthisday‬ in 1795. This frieze inspired his poem Ode on a Grecian Urn http://ow.ly/DwToo

Louis Auguste Blanqui 布朗基《祖國在危急中》《歐洲政治經濟學史》《永遠抗爭》法國二月革命

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INSURRECTION: Le plus saint des devoirs (Blanqui).
~Dictionnaire des idees recues 庸見詞典Gustave Flaubert 
Google Translate: INSURRECTION: The holiest of duties 最神聖的職責(Blanqui).

 布朗基《祖國在危急中》北京:商務,1980
《祖國在危急中報》1870年11月8日:〈一個民族的滅亡〉 (pp.142~44),像一首激昂慷慨的詩。










法國二月革命

(西元1848.2.24)

1848年2月22日,法國工人與學生上街遊行要求改革;2月24日,推翻了當時的法國國王路易腓立,建立法蘭西第二共和國,首創無產階級革命成功的歷史先例。


  人民的勝利,成功地扯斷了捆縛著言論與出版自由的強制的法律鎖鍊。這項勝利,迫使以往字義含糊的法令必須予以明文化。


  假如只是將共和國更換成別的政體名稱,那就是敷衍人民。光是變更名稱還不夠,必須改革體制才行。共和國的真正意義是解放勞工。

出自 布朗基(Louis-Auguste Blanqui)法國工人運動家








2005-02-26 11:34:59 評論賞析|其他評論 
抄記草書:布朗基(Blanqui)和 Villiers de l'lsle-Adam 



抄記草書:布朗基(Blanqui)和利爾亞當(Villiers de l'lsle-Adam)



阿蘭 德戈著永遠抗爭Blanqui by Alain Decaux)王鵬 洪嘉瑞譯,北京:三聯,1992 

布朗基,Blanqui, Louis Auguste。法國尼斯人(當地法、義文通用,所以有些義大利文資料)生於1805,過世於1881【20萬人送別】;法國十九世紀左翼運動的主要 
領袖之一。「無產階級專政」之「發明」。
E. J. Hobsbawm在革命的年代一書說(類似)他屬精英幫革命」。到answers. Com 去可以略知傳主布朗基(1805~1881 Blanqui,Louis-Auguste )生平大要。

Louis Auguste Blanqui - Wikipedia

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

Blanqui 搜google中文,一半以上都是台灣去巴黎的旅館「住進了13區的旅館MERCURE BLANQUI,是China Town的所在,迫不及待的出來逛Hotel門前的市集」。

中國似乎低調處理他,道理如下文之最末段:

「法國早期工人運動活動家 ,革命家 ,空想社會主義者。1805 年 2月1日出生 。1825 年入巴黎大學攻讀法律和醫學,1827年輟學從事革命活動,參加反對國王查理十世的街壘戰,失敗後出國。1829 年 8 月回到巴黎 ,開始接受F.N.巴貝夫、C.-H.de 聖西門和F.- M.-C. 傅立葉的思想影響。積極參加1830 年七月革命。其後加入共和派組織人民之友社 ,進行推翻七月王朝的活動,成為該社左翼領導人之一。
布朗基1830~1879年組織工人起義,曾多次被捕。1871年巴黎公社選舉時他在缺席的情況下當選委員。布朗基派是公社的多數派,起了重要的領導作用。1879 年4月在獄中的布朗基當選法國議會議員。6月出獄。這時他已 74歲,前後在獄中度過 30 多年,有革命囚徒之稱。 出獄後他仍保持旺盛鬥志,繼續積極參加工人運動。1881 年1月1日逝世。1月5日,近 20萬人為他送葬。布朗基的社會政治思想是在實際鬥爭中,在空想社會主義特別是巴貝夫學說影響下形成和發展的。他的實際革命活動和關於武裝奪取政權實行革命專政的思想遠優於一般空想社會主義者。但他強調由少數革命者通過起義推翻剝削制度,他主張的專政仍然是少數革命家的專政,而不是整個階級即無產階級的專政。K.馬克思和F.恩格斯對布朗基的革命活動和英勇獻身精神給予很高評價,同時對布朗基主義的錯誤觀點給予原則性的批評。 」 

hc猜測:... 布朗基,LA(Blanqui,Louis Auguste),1805-1881;1837年布朗基(J A Blanqui)出版《歐洲政治經濟學史》(顧良,馮文光譯. 北京商務印書館1980,1997重印.),被認為是經濟學說史或經濟思想史的開山之作。

His uncompromising communism, and his determination to enforce it by violence, had brought him into conflict with every French government, and half his life had been spent in prison. Besides his innumerable contributions to journalism, he published an astronomical work entitled L'Eternie par les astres (1872), and after his death his writings on economic and social questions were collected under the title of Critique sociale (1885).


書籍[編集]

  • 『天体による永遠』(浜本正文訳、雁思社、1985年)2012年に岩波文庫へ。
  • 『革命論集 上下』(加藤晴康訳、古典文庫、現代思潮社、1967年,1968年) 1991年に彩流社より改訂増補版。

Louis-Auguste Blanqui Archive

Blanqui as an older man

“it is my duty as a proletarian, deprived of all the rights of the city, to reject the competence of a court where only the privileged classes who are not my peers sit in judgment over me” [Defence Speech].







路易·奧古斯特·布朗基(法語:Louis Auguste Blanqui;1805年2月1日-1881年1月1日)是一位法國社會主義者和政治活動家,曾以領導人的身份參與過1871年在法國爆發的巴黎公社。布朗基也以其布朗基主義而知名。巴黎公社議會主席。

經歷[編輯]

1805年,路易·奧古斯特·布朗基生於距尼斯約五十公里的小縣城普格德尼
在1818—1824年六年之間,年輕的布朗基先後在瑪珊學校和查理曼中學學習。
最初他在孔龐(Compans)將軍家做了兩年家庭教師,後來又在瑪珊學校當輔導教員
1824年,他加入了燒炭黨的秘密組織。
1827年,他參加了所有的學生運動,曾經三次受傷,兩次被刺刀刺傷,一次是11月19日在烏爾街的街壘上被子彈打傷。
1828—1829年間,布朗基遊歷了法國南方、義大利和西班牙
1829年8月回到巴黎。隨後,他在《地球報》做了幾個月速記員。在這段時間裡,他接觸了聖西門和傅立葉的空想社會主義學說。
1830年7月,反對查理十世法令的浪潮剛剛掀起時,布朗基就離開了《地球報》編輯部,用他自己的話來說,他立即「拿起了槍桿,戴起了三色帽徽」。
在七月王朝的頭兩年,布朗基積極參加了幾次學生示威遊行,1831年初,他被警察逮捕,關進了福爾斯監獄,三個星期以後才被釋放。福爾斯監獄是布朗基所坐過的許多監獄中的第一個,他在這些監獄裡度過了半生。
1832年,路易·菲力浦政府的內務部長加西米爾·彼里埃企圖解散「人民之友社」和逮捕該社領導人,並以違反出版法令和陰謀危害國家安全的罪名審判「人民之友社」。
1832年1月,布朗基、拉斯拜爾、托雷,於貝和其他領導人一起被捕。
1832年,布朗基和蘇珊恩·阿美利·塞爾結了婚。
1837年5月8日,奧爾良公爵結婚,頒布了大赦令,布朗基被釋放了,但是把他送到逢土瓦茲地區受警察管制。他和他的全家定居在風景如畫的瓦茲河邊的讓西村。在讓西的這一時期是布朗基一生中最平靜的時期。就是在這裡,他仍然不斷考慮國內大事和怎樣建立人民政權。他認為成功的重要條件是建立一個團結一致、紀律嚴格的密謀者的核心。
1837年,他創立了一個新的組織——「四季社」來代替「家族社」。
1839年,布朗基認為發動起義的大好時機已到。這一年,經濟危機進入了激化階段,廣大人民更趨貧困,失業現象日益增加。政治危機進一步加深了經濟危機;下議院已經解散;內閣總理摩萊辭職。路易·菲力浦未能組成新內閣。巴黎的人民激憤起來。
1839年初,布朗基回到巴黎。
1844年,布朗基被監禁在聖米歇耳山監獄四年以後,被轉移到圖爾監獄,不久送進了醫院,在那裡仍然受到嚴密的監視。 1846年,由於經濟危機,圖爾市發生了多次暴動,當時有人告發,說當地的共產主義社團是在布朗基的唆使下發起暴動的。因此,布朗基再度入獄。1847年4月26日到29日在布盧瓦進行審判時,由於缺乏證據,布朗基又被放回,重新回到圖爾醫院。
1848年的二月革命,才解放了他。 2月25日他到達巴黎。
1851年2月,在二月革命三周年的時候,布朗基寫了一篇給在倫敦的法國流亡者的著名「獻詞」,題目為:「人民要警惕」,他譴責了路易·勃朗、賴德律—洛蘭和其他1848年「社會主義者」的叛變行為。
1852年底,布朗基準備越獄。那時,他母親和他十五歲的兒子來到貝爾島。他母親為他的越獄作了一切必要的準備。但是,內務部截獲了他放在一個漁夫簍子夾層里的一封信,知道了這件事情。因此,布朗基單獨被關進了地牢,看管也更加嚴了。
1853年,布朗基和關在他隔壁牢房的卡扎旺重新準備越獄。
1853年4月5日,布朗基和卡扎旺越獄。
1854年秋,巴爾貝斯獲釋,監獄中兩個對立黨派之間的關係有了改善。
1857年,布朗基和三十一個難友一起被押送到科西加島的科爾特。
1859年8月16日大赦之後,布朗基才獲准重返巴黎。
布朗基回到巴黎不久,又訪問了倫敦。在這裡住著許多避難的法國政治家,其中有布朗基的朋友拉康勃勒和巴特爾米。回到巴黎以後,布朗基又從事革命活動,積極重建一個社團。他巧妙地躲開警察,但警察追蹤不放,最後還是逮捕了他。
1861年6月,他被控告參與組織一個秘密團體,而被判處四年徒刑。
1864年,布朗基患了病。人們把他送進耐格醫院,放在一間單人病房,受著警察的監視。他的朋友們常常去探望他。就是在這裡,他認識了沙利·龍格。
1865年初,布朗基參加了《誠實報》的出版工作,該報主編是布朗基的得意門生居斯塔夫·特里東。
1865年在列日召開的國際學生代表大會上,布朗基遇見了特里東,認識了保羅·拉法格和格朗日,格朗日後來成了布朗基最親密的朋友。在這幾年裡,布朗基寫了許多文章。他在六十年代末所寫的一些研究政治經濟學、哲學和社會主義問題的文章,在他死後編成兩卷出版,書名叫做《社會批判》。
1867—1868年,布朗基寫了《有關武裝起義的指示》,詳細闡述了革命和巴黎專政建立後應該採取的措施,說明了他的鬥爭計劃,指出應該在哪些街道上修築街壘,提供了告人民書和告軍隊書的典範,等等。
1870年普法戰爭時期,法國軍隊一開始就節節失利,引起人民群眾對帝國的極大憤慨。人民聚集在協和廣場上公開表示憤慨不滿。布朗基派認為,此刻可以輕而易舉地推翻帝國,於是急忙把布朗基從布魯塞爾叫來。布朗基在8月12日抵達巴黎。
1871年2月8日將進行國民議會的選舉。在各俱樂部、委員會和報紙編輯部所提出的四十三個候選人名單中沒有布朗基的名字。然而布朗基在選舉中還得到了五萬二千八百三十九票。
1871年11月12日,布朗基突然被移送到凡爾賽監獄。被拘留了差不多一年之後,到1872年2月15日和16日,凡爾賽第四軍事法庭才對他的案件進行審判。
1879年4月的第二輪選舉的結果,他以六千八百零一票對五千三百三十票擊敗了資產階級共和黨候選人甘必大的朋友拉凡屠容,當選為波爾多的議員。但下議院宣布布朗基當選無效。
1881年1月1日去世。
1881年1月5日舉行了葬禮。布朗基的遺體葬在拉雪茲公墓

大岡信Makoto Ōoka 1931-2017;菅原道真 845—903《拾遺和歌集》

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菅原 道真

(承和12. 6.25—延喜3.2.25∕西元845.8.1—903.3.26)

日本平安時代的學者。精通漢學與和學,被日本人尊為學問之神。於醍醐天皇時晉升為右大臣,因遭左大臣藤原時平進讒言而被貶。後世將其尊為天滿宮的奉祀主神。


  送春不用動舟車,

  唯别殘鶯與落花。

若使韶光知我意,

今宵旅宿在詩家。

出自〈送春〉


東風微起時,

晚梅冷香悄拂送。

春寒芳歲憐,

莫忘花開一如昔,

家主遠南行。

出自《拾遺和歌集》


臨行別依依,

汝居屋畔林梢尖。

樹影遠漸漸,

頻頻回首探顧盼,

不忍又流連。

出自《拾遺和歌集》





"文藝復興巨匠"型:


朝日新聞(The Asahi Shimbun)


詩人で、朝日新聞の詩歌コラム「折々のうた」で知られる大岡信さんが亡くなりました。音楽や演劇、美術など文学に限らぬ多彩な評論活動。ご冥福をお祈りします。



詩人の大岡信さん死去 朝日新聞コラム「折々のうた」:朝日新聞デジタル
朝日新聞の詩歌コラム「折々のうた」で知られ、文学をはじめ音楽、演劇、美術など多彩な分野で評論活動を行った詩人で、文化勲章受章者の大岡信…


ASAHI.COM

Ooka's poetrycolumn was published without a break seven days a week for more than 20 years on the front page of Asahi Shimbun, which is Japan's leading national newspaper.[5]

Makoto Ōoka
Poet
Makoto Ooka is a Japanese poet and literary critic. He pioneered the collaborative poetic form renshi in the 1990s, in which he has collaborated with such well-known literary figures as Charles Tomlinson, ... Wikipedia
BornFebruary 16, 1931 (age 86 years), Mishima, Shizuoka Prefecture, Japan



  • 1959年 A Concise history of modern painting. Revised ed., 1968. New ed., 1974. 大岡信訳『近代絵画史』紀伊國屋書店, 1962年


著書[編集]

詩集・連詩[編集]

  • 記憶と現在 ユリイカ 1956
  • 大岡信詩集 ユリイカ 1960(今日の詩人双書)
  • わが詩と真実 思潮社 1962
  • 大岡信詩集 思潮社 1968
  • 大岡信詩集 思潮社 1969(現代詩文庫)
  • 彼女の薫る肉体 湯川書房 1971
  • 砂の嘴・まわる液体 青地社 1972
  • 大岡信詩集 五月書房 1975
  • 遊星の寝返りの下で 書肆山田 1975
  • 悲歌と祝祷 青土社 1976
  • 透視図法―夏のための 書肆山田 1977
  • 春 少女に 書肆山田 1978
  • 歌仙(石川淳安東次男丸谷才一)青土社 1981
  • 水府 みえないまち 思潮社 1981
  • 連詩 揺れる鏡の夜明け(トマス・フィッツシモンズ共著)筑摩書房 1982
  • 草府にて 詩集 思潮社 1984
  • 詩とはなにか 詩集 青土社 1985
  • ヴァンゼー連詩 岩波書店 1987
  • ぬばたまの夜、天の掃除器せまつてくる 岩波書店 1987
  • 浅酌歌仙 石川淳、丸谷才一、杉本秀太郎共著 集英社 1988
  • 故郷の水へのメッセージ 花神社 1989
  • ファザーネン通りの縄ばしご―ベルリン連詩(谷川俊太郎、H.C.アルトマン、O.パスティオール共著)岩波書店 1989
  • 朝の頌歌 詩集 銀の鈴社 1989(ジュニア・ポエム双書)
  • とくとく歌仙 丸谷才一、高橋治井上ひさし共著 文藝春秋 1991
  • 地上楽園の午後 花神社 1992
  • 火の遺言 花神社 1994
  • 続 大岡信詩集 思潮社 1995(現代詩文庫)
  • 光のとりで 花神社 1997
  • 続続 大岡信詩集 思潮社 1998(現代詩文庫)
  • 捧げるうた50篇 詩集 花神社 1999
  • 世紀の変り目にしやがみこんで 思潮社 2001
  • 旅みやげにしひがし 集英社 2002
  • 大岡信全詩集 思潮社 2002
  • 闇にひそむ光 連詩 岩波書店 2004
  • 大岡信詩集 岩波書店 2004
  • きみはにんげんだから 詩集 大岡亜紀画 理論社 2004
  • すばる歌仙 丸谷才一、岡野弘彦共著 集英社 2005
  • 鯨の会話体 詩集 花神社 2008

アンソロジー[編集]

  • 折々のうた 1-10 岩波新書、1980-92
  • 新折々のうた 1-9 岩波新書、1994-2007
  • 新編・折々のうた 朝日新聞社、1983-94 のち文庫
  • ことばよ花咲け 愛の詩集 集英社文庫 1984
  • うたの歳時記 学習研究社 1985-86
  • 四季歌ごよみ 恋・春夏秋冬 学習研究社 1985-86 のち角川文庫
  • 集成・昭和の詩 小学館 1995
  • 現代詩の鑑賞101 新書館 1996
  • 百人百句 講談社 2001
  • 折々のうた三六五日 日本短詩型詞華集 岩波書店 2002
  • 星の林に月の船 声で楽しむ和歌・俳句 岩波少年文庫 2005

評論・詩論・評伝等[編集]

  • 現代詩試論 ユリイカ 1955
  • 詩人の設計図 詩論集 ユリイカ 1958
  • 芸術マイナス1 戦後芸術論 弘文堂 1960
  • 抒情の批判 日本的美意識の構造試論 晶文社 1961
  • 芸術と伝統 晶文社 1963
  • 眼・ことば・ヨーロッパ 明日の芸術 美術出版社 1965
  • 超現実と抒情 昭和十年代の詩精神 晶文社 1965
  • 文明のなかの詩と芸術 思潮社 1966
  • 現代芸術の言葉 晶文社 1967
  • 現代詩人論 角川選書 1969 のち講談社文芸文庫
  • 蕩児の家系 日本現代詩の歩み 思潮社 1969
  • 肉眼の思想 現代芸術の意味 中央公論社 1969 のち中公文庫
  • 言葉の出現 晶文社 1971
  • 紀貫之(日本詩人選) 筑摩書房 1971 のちちくま文庫
  • たちばなの夢 私の古典詩選 新潮社 1972 「私の古典詩選」岩波同時代ライブラリー
  • 彩耳記 文学的断章 青土社 1972
  • 現代美術に生きる伝統 新潮社 1972
  • 狩月記 文学的断章 青土社 1973
  • 装飾と非装飾 晶文社 1973
  • 今日も旅ゆく・若山牧水紀行 平凡社 1974「若山牧水」中公文庫
  • 日本の古典 別巻1・グラフィック版 百人一首 世界文化社 1975 のち講談社文庫
  • 星客集 文学的断章 青土社 1975
  • 本が書架を歩みでるとき 花神社 1975
  • 青き麦萌ゆ 毎日新聞社 1975(現代の視界 2) のち中公文庫
  • 風の花嫁たち 古今女性群像 草月出版 1975 のち現代教養文庫
  • 岡倉天心 朝日新聞社 1975(朝日評伝選)
  • 子規・虚子 花神社 1976
  • 年魚集 文学的断章 青土社 1976
  • 詩への架橋 岩波新書 1977
  • 現代文学・地平と内景 朝日新聞社 1977
  • 超現実と抒情 昭和十年代の詩精神 晶文社 1977
  • 昭和詩史 思潮社 1977
  • 明治・大正・昭和の詩人たち 新潮社 1977
  • 大岡信著作集 全12巻 青土社 1977-78
  • ことばの力 花神社 1978
  • うたげと孤心 大和歌篇 集英社 1978 のち岩波同時代ライブラリー
  • 片雲の風 私の東西紀行 講談社 1978
  • 逢花抄 文学的断章 青土社 1978
  • 日本詩歌紀行 新潮社 1978
  • 四季の歌恋の歌 古今集を読む 筑摩書房 1979 のち同文庫
  • アメリカ草枕 岩波書店 1979
  • 詩歌折々の話 講談社 1980
  • 宇滴集 文学的断章 青土社 1980
  • 詩とことば 花神社 1980
  • 小倉百人一首 世界文化社 1980
  • 日本語の世界 11 詩の日本語 中央公論社 1980 のち同文庫
  • 百人一首
  • 《折々のうた》の世界 講談社、1981
  • 現代の詩人たち 青土社 1981
  • 萩原朔太郎 (近代日本詩人選)筑摩書房 1981 のち同学芸文庫
  • 現世に謳う夢 日本と西洋の画家たち 中央公論社 1981 のち同文庫
  • 詩の思想 花神社 1982
  • 人麻呂の灰 折々雑記 花神社 1982
  • 加納光於論 風の薔薇 1982
  • 日本詩歌読本 三修社 1982 のち講談社学術文庫
  • 詩歌の読み方 思潮社 1983
  • 短歌・俳句の発見 読売新聞社 1983
  • 表現における近代 文学・芸術論集 岩波書店 1983
  • マドンナの巨眼 青土社 1983
  • 古典のこころ ゆまにて 1983
  • 日本語の豊かな使い手になるために 読む、書く、話す、聞く 太郎次郎社 1984 のち講談社+α文庫
  • 水都紀行 スウェーデン・デンマークとの出会い 筑摩書房 1984
  • ミクロコスモス 滝口修造 みすず書房 1984
  • 抽象絵画への招待 岩波新書 1985
  • 詩・ことば・人間 講談社学術文庫 1985
  • 万葉集(古典を読む) 岩波書店 1985 のち同時代ライブラリー、現代文庫
  • 詩歌ことはじめ 講談社学術文庫 1985
  • 楸邨・竜太 花神社 1985
  • 〈折々のうた〉を語る 講談社 1986
  • うたのある風景 日本経済新聞社 1986
  • ヨーロッパで連詩を巻く 岩波書店 1987
  • 窪田空穂論 岩波書店 1987
  • 人生の黄金時間 日本経済新聞社 1988 のち角川文庫
  • 詩人・菅原道真 うつしの美学 岩波書店 1989 のち現代文庫
  • 永訣かくのごとくに候 弘文堂 1990
  • 連詩の愉しみ 岩波新書 1991
  • 詩をよむ鍵 講談社 1992
  • 光のくだもの 小学館 1992
  • 「忙即閑」を生きる 日本経済新聞社 1992 のち角川文庫
  • 美をひらく扉 講談社 1992
  • 私の万葉集 1-5 講談社現代新書 1993-98
  • 人生の果樹園にて 小学館 1993
  • 1900年前夜後朝譚 近代文芸の豊かさの秘密 岩波書店 1994
  • あなたに語る日本文学史 2巻 新書館 1995
  • 正岡子規 五つの入口 岩波セミナーブックス 1995
  • 大岡信の日本語相談 朝日文芸文庫 1995
  • 日本の詩歌 その骨組みと素肌 講談社 1995 のち岩波現代文庫
  • ことのは草 世界文化社 1996
  • しのび草 わが師わが友 世界文化社 1996
  • ぐびじん草 世界文化社 1996
  • みち草 世界文化社 1997
  • ことばが映す人生 小学館 1997
  • しおり草 世界文化社 1998
  • 拝啓漱石先生 世界文化社 1999
  • 日本の古典詩歌 全5巻 岩波書店 1999-2000
  • 北米万葉集 日系人たちの望郷の歌 集英社新書 1999
  • おもひ草 世界文化社 2000
  • いのちのうた NHKサービスセンター 2000
  • 日本語つむぎ 世界文化社 2002
  • 瑞穂の国うた 世界文化社 2004 のち新潮文庫「瑞穂の国うた―句歌で味わう十二か月―」
  • 生の昂揚としての美術 花神社 2006
  • 人類最古の文明の詩 朝日出版社 2008
  • ひとの最後の言葉 ちくま文庫 2009

共編著・対談・鼎談・往復書簡集[編集]

()内に人物のみが入っている場合は、対談・鼎談相手を示す。
  • 現代詩評釈 吉田精一分銅惇作共編 学灯社 1968
  • 現代詩論 7 天沢退二郎共著 晶文社 1972
  • 詩の誕生(谷川俊太郎)対話 読売新聞社 1975
  • 討議近代詩史(鮎川信夫吉本隆明)思潮社 1976
  • 古寺巡礼京都 東福寺 福島俊翁共著 淡交社 1977
  • 批評の生理(谷川俊太郎)思潮社 1978
  • 論文演習 古関吉雄共編 桜楓社 1979
  • 芭蕉の時代(尾形仂) 朝日新聞社 1981
  • 詩歌歴遊(対談集)文藝春秋 1981
  • 詩と世界の間で(谷川俊太郎往復書簡集)思潮社 1984
  • 海とせせらぎ 日本の詩歌(対談集)岩波書店 1985
  • 現代詩入門(谷川俊太郎)中央公論社 1985 のち文庫
  • 俳句の世界(川崎展宏)富士見書房 1988
  • 日本人を元気にするホンモノの日本語(金田一秀穂)ベスト新書 2006
  • 歌仙の愉しみ 岡野弘彦、丸谷才一共著 岩波新書 2008

翻訳[編集]

  • 長い歩み 中国の発見 シモーヌ・ド・ボーヴォワール 内山敏共訳 紀伊国屋書店 1959
  • 抽象芸術 マクセル・ブリヨン 滝口修造、東野芳明共訳 紀伊国屋書店 1959
  • 近代絵画史 ハーバート・リード 紀伊国屋書店 1962
  • ピカソのピカソ ディヴィッド・ダグラス・ダンカン 美術出版社 1962
  • ガラダリ ロベール・デシャルヌ 美術出版社 1963
  • 昆虫記 アンリ・ファーブル 少年少女世界の文学 河出書房 1967 のち岩波少年文庫
  • 語るピカソ ブラッサイ 飯島耕一共訳 みすず書房 1968
  • ミロの版画 デッサン 銅版画 石版画 木版画 書籍 ポスター 河出書房新社 1974
  • 道化のような芸術家の肖像 J.スタロバンスキー 新潮社 1975
  • プレヴェール詩集 やさしい鳥 偕成社 1977(詩の絵本)
  • みつけたぞぼくのにじ ドン・フリーマン 岩波書店 1977
  • まっくろけのまよなかネコよおはいり J.ワグナー 岩波書店 1978
  • 鬼と姫君物語 お伽草子 平凡社 1979 のち岩波少年文庫「お伽草子」
  • アラネア あるクモのぼうけん J.ワグナー 岩波書店 1979
  • おふろばをそらいろにぬりたいな ルース・クラウス 岩波書店 1979
  • 木の国の旅 ル・クレジオ 文化出版局 1981(フランスの傑作絵本)
  • 宝石の声なる人に プリヤンバダ・デーヴィーと岡倉覚三・愛の手紙 大岡玲共訳 平凡社 1982 のち平凡社ライブラリー
  • 日本合わせ鏡の贈り物 トマス・フィッツシモンズ 大岡玲共訳 岩波書店 1986
  • ジョン・アッシュベリー詩集 飯野友幸共訳 思潮社 1993
  • 万葉集(少年少女古典文学館) 講談社 1993
  • サンタクロースの辞典 グレゴアール・ソロタレフ 朝日新聞社 1995

戯曲、歌劇[編集]

  • あだしの 小沢書店 1972
  • トロイアの女(大岡信潤色、「早稲田小劇場」(現「SCOT」)により初演、1974)
  • 水炎伝説 (石井眞木作曲、実相寺昭雄演出、1990)
  • オペラ 火の遺言(一柳慧作曲、台本は朝日新聞社、1995)
  • 生田川物語 能「求塚」にもとづく (一柳慧作曲、観世榮夫演出、2004)

映画[編集]

  • あさき夢みし 1974 ATG(「とはずがたり」に基づくオリジナル脚本。クレジットは「作」と表記。監督は実相寺昭雄)

音楽[編集]

  • 「環礁」(武満徹作曲、ソプラノオーケストラ、1962)
  • 「暗黒への招待」(大岡信構成、一柳慧作曲、1964)
  • 「私は月には行かないだろう」(小室等作曲、1971)
  • 「死と微笑」(座光寺公明作曲(Op.6)、バリトンピアノ、1980)
  • 合唱組曲「方舟」(木下牧子作曲、1980)
  • 「炎のうた」(大岡信・ジュリエット・グレコ共訳詞、グレコ歌唱、1986)
  • 合唱曲「夏のおもいに」(山岸徹作曲、1986)
  • 「風姿行雲」(湯浅譲二作曲、日本の伝統楽器と声(アルトおよびテノール)、1988)
  • 交響曲「ベルリン連詩」(一柳慧作曲、ソプラノとテノールとオーケストラ、1988)
  • 伶楽交響曲第2番「日月屏風一雙 虚諧」(一柳慧作曲、1989)
  • 「富士へ」(三善晃作曲、1990)
  • 合唱曲「春のために」(山岸徹作曲、1992)
  • 合唱曲「なぎさの地球」(木下牧子作曲、2002)
  • 合唱曲「わたしは月にはいかないだろう」(木下牧子作曲、2005)
  • 「オーロラのごとく 巻雲のごとく(大岡信「光る花」より)」(一噌幸弘作曲、2007)
  • 混声合唱とピアノのための「箱舟時代」(鈴木輝昭作曲、2012)

ラジオドラマ(NHK放送詩劇・ラジオ芸術劇場)[編集]

  • 宇宙船ユニヴェール号 1960年
  • 新世界 1961年
  • 運河 1962年
  • 墓碑銘 1964年
  • 夢の浮橋 1965年
  • 写楽はどこへ行った 1966年
  • 化野 1966年
  • 麟太郎 1967年
  • 金色の夢 1969年
  • イグドラジルの樹 1971年

テレビドラマ[編集]

  • 写楽はどこへ行った[3] (ラジオドラマ脚本をテレビ用に改作) 1968年


Honoré Daumier(1808-1879)ドーミエ諷刺画の世界 / 喜安朗編

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〈街頭的音樂師〉

杜米埃(Honoré Daumier)

(西元1808.2.26—1879.2.10)

法國畫家、漫畫家、雕塑家和版畫家。在貧困的生活中,創造出充滿強烈諷刺意味的作品風格。這幅水彩畫中的老夫妻雖已倦累疲憊,仍然堅毅地挺直腰桿為生活拚搏。


 “The clown brings us anarchy, freedom and intuition. It’s a very Russian combination.” Russia’s best-known clown faced down Vladimir Putin over the invasion of Ukraine. Now he's coming to London http://econ.st/1vEiodI
SUNDAY morning at Slava Polunin’s house in Marne, south-east of Paris, is an eye-popping affair. Circus acrobats entangle themselves in elegant inversions in his...
ECON.ST


奧諾雷·杜米埃(Honoré Daumier)(1808年2月26日-1879年2月10日)是法國著名畫家、諷刺漫畫家雕塑家版畫家。是當時最多產的藝術家。



Honoré Daumier, French, 1808 – 1879
Une Erreur Excusable, 1857, Lithograph
Chickens believing to find the cage in which they spent their first youth






Marie Lescadieu
PRINTING - ENGRAVING IN EUROPE 15th c. to beginning 20th c
2月11日下午7:21 ·

Honoré Daumier, French, 1808 – 1879
Une Erreur Excusable, 1857
(Chickens believing to find the cage in which they spent their first youth)



D TO QUEUE


193 法國藝術家杜米埃(Honoré Daumier) 2017-09-18 漢清講堂




杜米埃 (H. Daumier 1808-79) 作的動人的小丑 (The Clown),補捉到了波特萊爾散文詩中的某種情感:他宛如一位被遺忘的高貴人物,擬視遠方;群聚四散而去:唯獨一小孩用好奇的眼神看著他。系統與變異:淵博知識與理想設計法

Peter Gay: On the other hand, I know no prejudice so widely shared, no stereotype so facilely applied, as the notion that ''bourgeois'' means materialistic, philistine, narrow-minded, tasteless and prudish. Denigration of the class that emerged triumphant from the French Revolution and reigned supreme as ''Victorians'' has been with us since the early 19th century, epitomized in the caricatures of Daumier. Few contradictions reach so deep in our cultural sensibility as this triumphant ignominy.


Honoré Daumier(1808-1879)說過:我們必須跟隨我們的時代
Ingress"如果時代錯了的話那怎麼辦呢?"--Jean-Auguste-Dominique Ingres | artist | 1780 - 1867 | The National ...

Baudelaire: 波特萊爾的《惡之華》:題詠 (Epigraphes)
 14奧諾雷.杜米埃肖像題詩 Vers Pour Le Portrait de M. Honore Daumier
Gombrich 在Photographer  as Artist: Henri Cartier-Bersson 一文中說Honoré Daumier更善於創造類型畫而非寫實

一點點指正: 凱綏.珂勒惠支 這篇的注有一小錯 (281頁  他是Max Liebermann 1947-1935)是著名的畫家) (她 的名 卻不用德文Käthe Kollwitz 凱綏·柯勒惠支/ 寇維茲(Kathe Kollwitz)是本世紀最重要的兩、三個女性畫家之一。
她的創作最接近現在對「女權主義」此術語的真正詮釋。然而她用的仍是扎根於十九世紀的形式。要 將她跟其他畫家做一比較時,最易讓人聯想到的,並非同時期的德國畫家格羅斯(George Grosz)或迪克斯(Dix),而是杜米埃(Honor Daumier) 及米勒(J.F.Millet)。





書名/作者 杜米埃 = Daumier eng / 廖瓊芳著 出版項 臺北市 : 藝術家, 民89(2000) 版本項 初版
主要作者Rey, Robert
書名/作者Honoré Daumier / text by Robert Rey ; [translated by Norbert Guterman]
出版項New York : Abrams, 1985
版本項Concise ed
總圖2F藝術資料區N6853.D38 R48z 1985 1583328 可流通
主要作者Delteil, Loys, 1869-1927
書名/作者Honoré Daumier : [oeuvre lithographiae] / Loeys Delteil. --
出版項Paris : Delteil, 1925-1930
總圖2F藝術資料區NE2415.D2 D45 v.1 2427386 可流通

主要作者杜彌爾 (Daumier, Honoré, 1808-1879)

Daumier, Honoré 1808-1879
書名/作者ドーミエ諷刺画の世界 / 喜安朗編
出版項東京都 : 岩波, 2002

總圖2F藝術資料區947.35 4411 2242697 可流通

主要作者蘇 茂生
書名/作者根斯勃羅Gainsborough雷諾爾兹Reynolds羅伊斯達Ruisdael荷加斯Hogarth多米埃Daumier / 蘇茂生著
出版項臺北市 : 光復, 民68[1979]

總圖2F密集書庫947.5 4462 v.10 2028386 可流通


「諷刺性插畫的意象組構與表現:以Honoré Daumier(1808-1879)為例」,蕭嘉猷,

Daumier, Honoré (ônôrā' dōmyā'), 1808-79, French caricaturist, painter, and sculptor. Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre législatif [the legislative paunch] testify to his early direct and bitterly ironic approach. After the suppression of Caricature his work appeared in Charivari, where he mercilessly ridiculed the bourgeois society of his day in a highly realistic graphic style. Relished as cartoons in his time, Daumier's lithographs, of which he produced almost 4,000, are now considered masterpieces. He also painted about 200 small canvases of power and dramatic intensity that were stylistically similar to his lithographs. Among these are Christ and His Disciples (Rijks Mus.); Republic (Louvre); Three Lawyers (Phillips Gall., Washington, D.C.); the romantic Don Quixote and The Third-Class Carriage (both: Metropolitan Mus.). Daumier's sculpture includes over 30 small, painted busts. An example of his work in this medium is a statuette in the Walters Art Gallery, Baltimore. In his last years he suffered from increasing blindness. His financial condition was perilous. Corot put at his disposal a cottage in Valmondois, and it was there that Daumier died.
Bibliography
See his Teachers and Students (tr. 1970); catalog raisonné ed. by K. E. Maison (2 vol., 1968); biography by R. Rey (1985); studies by K. E. Maison (1960), O. Larkin (1966), H. P. Vincent (1968), and J. L. Wasserman (1969).

John Steinbeck( 1902~1968 )《憤怒的葡萄》。吳魯芹的「餘年集」訪史坦貝克故居:現在,無法維持此清一色菜湯啦.......

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"In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage." ....
Born 119 years ago today, 27th February 1902, , "a giant of American letters,". .... Read more below




史坦貝克(John Ernst Steinbeck)

(西元1902.2.27—1968.12.20)

美國小說家。從史丹福大學退學後,立志成為作家。作品中對移民工人的底層生活多所描述。為1962年諾貝爾文學獎的得主。著名小說包括《憤怒的葡萄》與《月亮下去了》等。


  咱們得忍耐才行呀。因為,湯姆,就算是全世界的人都消失了,就只有咱們(窮人)還可以繼續安然生存;因為,像是湯姆啦、還有咱們啦,都鐵定能夠活下去的嘛。那些傢伙(富人)怎可能剷除消滅我們呢?因為,咱們可是活生生的人,活得可好的呢。……有錢人在世時雖然威風八面,可他死掉以後,家業交到不成材的兒孫們手中,也就全被敗得一毛不剩了。不過呢,湯姆,咱們可是一代接著一代生生不息呢,根本沒啥好怕的。湯姆,這世界可是正在改變呢。

節自《憤怒的葡萄》





Restoring Your Past - Photo Restoration by Grant Kemp
2月27日下午4:42·

Born 119 years ago today, 27th February 1902, John Ernst Steinbeck Jr. was an American author. He won the 1962 Nobel Prize in Literature "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception." He has been called "a giant of American letters," and many of his works are considered classics of Western literature.
During his writing career, he authored 27 books, including 16 novels, six non-fiction books, and two collections of short stories. He is widely known for the comic novels Tortilla Flat (1935) and Cannery Row (1945), the multi-generation epic East of Eden (1952), and the novellas Of Mice and Men (1937) and The Red Pony (1937). The Pulitzer Prize-winning The Grapes of Wrath (1939) is considered Steinbeck's masterpiece and part of the American literary canon. In the first 75 years after it was published, it sold 14 million copies.
Most of Steinbeck's work is set in central California, particularly in the Salinas Valley and the California Coast Ranges region. His works frequently explored the themes of fate and injustice, especially as applied to downtrodden or everyman protagonists.
Cup of Gold ....
Steinbeck's first novel, Cup of Gold, published in 1929, is loosely based on the life and death of privateer Henry Morgan. It centers on Morgan's assault and sacking of the city of Panama, sometimes referred to as the 'Cup of Gold', and on the women, fairer than the sun, who were said to be found there.
Tortilla Flat .....
Steinbeck achieved his first critical success with Tortilla Flat (1935), a novel set in post-war Monterey, California, that won the California Commonwealth Club's Gold Medal. It portrays the adventures of a group of classless and usually homeless young men in Monterey after World War I, just before U.S. prohibition.
Of Mice and Men ....
The drama about the dreams of two migrant agricultural laborers in California. It was critically acclaimed and Steinbeck's 1962 Nobel Prize citation called it a "little masterpiece". Its stage production was a hit, starring Wallace Ford as George and Broderick Crawford as George's companion, the mentally childlike, but physically powerful itinerant farmhand Lennie. Steinbeck refused to travel from his home in California to attend any performance of the play during its New York run, telling director George S. Kaufman that the play as it existed in his own mind was "perfect" and that anything presented on stage would only be a disappointment.
The Grapes of Wrath ....
Steinbeck followed this wave of success with The Grapes of Wrath (1939), based on newspaper articles about migrant agricultural workers that he had written in San Francisco. It is commonly considered his greatest work. According to The New York Times, it was the best-selling book of 1939 and 430,000 copies had been printed by February 1940. In that month, it won the National Book Award, favorite fiction book of 1939, voted by members of the American Booksellers Association. Later that year, it won the Pulitzer Prize for Fiction, and was adapted as a film directed by John Ford, starring Henry Fonda as Tom Joad; Fonda was nominated for the best actor Academy Award.
John Steinbeck died in New York City on December 20, 1968, of heart disease and congestive heart failure. The day after Steinbeck's death in New York City, reviewer Charles Poore wrote in The New York Times: "John Steinbeck's first great book was his last great book. But Good Lord, what a book that was and is: The Grapes of Wrath."
This is my colourised version of a darkly toned portrait taken in 1935, by Sonya Noskowiak, but I have posted the original untouched image within the comments.








吳魯芹的「餘年集」台北:洪範,1982
上一代的文人寫文章,引文都太長......



訪史坦貝克故居
大讚蔬菜湯 (只提供此)......
現在,無法維持此清一色菜湯啦.......
http://steinbeckhouse.com/



John Steinbeck’s birthplace and boyhood home is a restored Queen Anne style Victorian built in 1897.  The Steinbeck family purchased the home in 1900 and raised their family there.  It was purchased by The Valley Guild in 1973.  It is now a charming restaurant serving lunch Tuesday through Saturday located two blocks west of the National Steinbeck Center at 132 Central Avenue in Salinas and also features a gift shop, The Best Cellar.
The Valley Guild was formed by eight enthusiastic women who shared a common interest in gourmet cooking and wanted to showcase the Salinas Valley produce.  The Valley Guild renovated and restored the house after purchasing it.  It was opened to the public as a restaurant on February 27, 1974 – the 72nd anniversary of John Steinbeck’s birth.

Featured Menu Items

  • Lemon Bundt CakeWith locally grown fresh strawberries and whipped cream.
  • Chicken Apple BrieLarge salad with grilled chicken breast, apples and Brie cheese. Served with basil vinaigrette.
  • Chicken BundlesChicken breast, tarragon cream sauce wrapped in philo dough and baked to a golden brown. Served with rice and vegetables.


剛讀點吳魯芹的「餘年集」,有點不習慣,因為他談的是花甲之年退休的成就。現在,須推出「九十幾」的,談悔,談憾,才有點說服力,才容易心服。
不過,「愛」人這回事,與年歲無關。永遠都不要怕說出我愛你。
"When I asked one person, 'Do you wish you accomplished more?' He responded, 'No, I wished I loved more.'"
MEDIUM.COM
A popular theory about happiness claims we experience it most in youth and old age, with a dip in the middle for "middle-age-misery." My interviews with 90-somethings paint a very different picture.


“Travels with Charley” John Steinbeck’s 1962/No Wrath, but Some Discontent, When Nobel Prize Was Awarded to Steinbeck

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史坦貝克(John Ernst Steinbeck)

(西元1902.2.27—1968.12.20)

美國小說家。從史丹福大學退學後,立志成為作家。作品中對移民工人的底層生活多所描述。為1962年諾貝爾文學獎的得主。著名小說包括《憤怒的葡萄》與《月亮下去了》等。


  咱們得忍耐才行呀。因為,湯姆,就算是全世界的人都消失了,就只有咱們(窮人)還可以繼續安然生存;因為,像是湯姆啦、還有咱們啦,都鐵定能夠活下去的嘛。那些傢伙(富人)怎可能剷除消滅我們呢?因為,咱們可是活生生的人,活得可好的呢。……有錢人在世時雖然威風八面,可他死掉以後,家業交到不成材的兒孫們手中,也就全被敗得一毛不剩了。不過呢,湯姆,咱們可是一代接著一代生生不息呢,根本沒啥好怕的。湯姆,這世界可是正在改變呢。

節自《憤怒的葡萄》


"15 Books to Read Around the Campfire," including IN THE WOODS and TRAVELS WITH CHARLEY: bit.ly/2sIUNCB



Author Christine Carbo (THE WEIGHT OF NIGHT) recommends these 15 nature-filled books to read by the campfire, RV, or even on the couch.
OFFTHESHELF.COM




梅英東最喜愛的作家是諾貝爾文學獎得主、曾當過記者的史坦貝克。史坦貝克小說中的人物,大多是經濟大蕭條時代被輾壓的底層工農人物。
「史坦貝克以前也是記者,他常把新聞故事發展成小說,你住在某地,學習當地的歷史,訪問人,然後你寫小說。我就是在學史坦貝克這件事,我跟著和平隊去某個地方住,然後開始寫作。」
我問梅英東,「你的學生現在還讀史坦貝克嗎?」他給我一個無奈的表情:「他們不讀,但我『強迫』他們讀史坦貝克,還有海明威、歐威爾、吳爾芙……。人們常問:『你如何成為一名作家?』我說就是不停地讀。但我的學生不這麼認為,他們只想寫自己媽媽的故事,我說老天,我再也無法讀更多媽媽的故事了!」https://www.twreporter.org/a/michael-meyer-interview


Today is the 48th anniversary of the death of John Steinbeck, Author (1902-1968), winner of the 1962 Nobel Prize in Literature.
Steinbeck was one of the most popular and decorated American writers of the mid-twentieth century, and many of his books—which include The Grapes of Wrath (winner of the 1940 Pulitzer Prize), Of Mice and MenEast of Eden and many others—continue to be read and loved by millions today.


圖像裡可能有1 人、套裝






Travels with Charley By John Steinbeck
Travels with Charley: In Search of America is a travelogue written by American author John Steinbeck. It depicts a 1960 road trip around the United States made by Steinbeck, in the company of his standard poodle, Charley. Wikipedia
查理與我:史坦貝克攜犬橫越美國》 Travels with Charley: In Search of America 約翰史坦貝克著,麥慧芬譯,台北:馬可孛羅出版社,2003,頁127

There in the quiet, with the wind flicking tree branches and distorting the water’s mirror, I cooked improbable dinners in my disposable aluminum pans, made coffee so rich and sturdy it would float a nail, and, sitting on my own back doorsteps, could finally come to think about what I had seen and try to arrange some pattern of thought to accommodate the teemingcrowds of my seeing and hearing.












No Wrath, but Some Discontent, When Nobel Prize Was Awarded to Steinbeck

閱讀

50年後諾貝爾文學獎的「幽靈」

When their best-laid schemes of mice and men, and authors and writing, went awry, the members of the Swedish Academy made the best of what they thought was a bad situation in 1962: they awarded the Nobel Prize in Literature to John Steinbeck. The decision came amid their general dissatisfaction with the candidates for the prize that year, according to documents recently released by the academy.
1962年,瑞典學院(Swedish Academy)的成員們在“人鼠之間”、作家與作品之間所做的精心計劃出了問題,只好在糟糕的狀況下做出他們認為最佳的選擇,於是把諾貝爾文學獎頒給了 約翰·斯坦貝克(John Steinbeck)。根據學會最近披露的文件,當年評委們在文學獎得主問題上存在很大分歧,因此才最終做出了這個決定。

As has become its custom, after a 50-year waiting period the Swedish Academy released documents on the internal deliberation of its committee members as well as a privately kept shortlist for the literary prize, The Guardian said, citing a report in the Svenska Dagbladet of Stockholm.
《衛報》引用斯德哥爾摩《瑞典日報》(Svenska Dagbladet)上的一篇報道,稱根據慣例,瑞典學院在50年保密期後公開了評獎委員會成員的內部評議文件,以及一份秘密保存的文學獎候選人最終名單。

According to The Guardian, 66 authors were put forward for the literature Nobel in 1962, and the list was narrowed down to Steinbeck, Robert Graves, Lawrence Durrell, Karen Blixen and Jean Anouilh. But after looking at the field of contenders a committee member, Henry Olsson, wrote, "There aren't any obvious candidates for the Nobel prize and the prize committee is in an unenviable situation."
根據《衛報》報道,1962年,有66位 作家被提名為文學獎得主,最終名單被縮小到斯坦貝克、羅伯特·格雷夫斯(Robert Graves)、勞倫斯·德雷爾(Lawrence Durrell)、卡倫·布里森(Karen Blixen)和讓·阿努依(Jean Anouilh)。但在看過全部候選人之後,評委會成員亨利·奧爾森(Henry Olsson)寫道:“諾貝爾獎沒有脫穎而出的候選人,評獎委員不是什麼美差。”

Blixen, the Danish author who wrote "Out of Africa" under the pen name Isak Dinesen, became ineligible when she died in September 1962. Graves, whose novels included "I, Claudius," was nonetheless regarded primarily as a poet and Olsson, The Guardian said, was reluctant to give the prize to an Anglo-Saxon poet until Ezra Pound, whose work he greatly admired, died. (Although Olsson objected to Pound's politics.) Durrell's series of novels "The Alexandria Quartet" was not yet considered a significantly substantial body of work (the author had also been passed over in 1961), while Anouilh, the French dramatist, had the bad fortune to come between the 1960 Nobel victory of his countryman Saint-John Perse and the ascent of Jean-Paul Sartre, who would win in 1964.
丹麥作家布里森曾以伊薩克·迪內森 (Isak Dinesen)為筆名創作了《走出非洲》(Out of Africa),她於1962年9月逝世,因此失去了獲獎資格。格雷夫斯的小說包括《我,克勞迪斯》(I, Claudius),但他主要被人們視為詩人。根據《衛報》報道,奧爾森不願把諾貝爾文學獎頒發給盎格魯-撒克遜詩人,直到埃茲拉·龐德(Ezra Pound)去世之後,他非常熱愛龐德的作品,儘管不贊同龐德的政治觀點。德雷爾的系列小說《亞歷山大四重奏》(The Alexandria Quartet)在當時還沒有被公認為傑作,作者亦已於1961年逝世。而法國劇作家阿努依則是運氣不佳,因為1960年諾貝爾文學獎剛剛授予他的同胞聖 瓊·佩斯(Saint-John Perse),與此同時正值讓-保羅·薩特(Jean-Paul Sartre)崛起,後來薩特於1964年獲得諾貝爾獎。

So the prize was given to Steinbeck, whose body of work consisted merely of such enduring novels as "Of Mice and Men,""The Grapes of Wrath,""Cannery Row" and "East of Eden."In awarding the Nobel to Steinbeck, the Swedish Academy offered no public hint of its internal weariness, citing him for being among "the masters of modern American literature" and "for his realistic as well as imaginative writings, distinguished by a sympathetic humor and a keen social perception."
於是這個獎就落入斯坦貝克囊中,他的全部 作品其實只有幾部較為持久不衰的小說,諸如《人鼠之間》(Of Mice and Men)、《憤怒的葡萄》(The Grapes of Wrath)、《罐頭工廠街》(Cannery Row)和《伊甸之東》(East of Eden)。在斯坦貝克的頒獎典禮上,瑞典學院並沒公開暗示自己的內部問題,而是讚美斯坦貝克可以躋身“美國現代文學大師之列”,以及他的“現實主義和富 於想像力的寫作,充滿同情心的幽默感與敏銳的社會意識”。
翻譯:董楠

此文簡單可喜
 “Travels with Charley”  當然台灣已有翻譯
不過 能讀原文更有意思....

Travel books

Steinbeck's journey of rediscovery

Jul 11th 2012, 12:48 by B.R.

IN THE first post of an occasional series, one of the Gulliver correspondents expounds the charms of his favourite travel book...

Debate about John Steinbeck’s 1962 road book, “Travels with Charley”, often coalesces around two questions: Why did he write it? And how much of it is true?
In the opening chapter, Steinbeck says that he decided to wend his lonesome way across America in a camper van, accompanied only by Charley, a sickly poodle, because he was an American writer who had been stuck in New York for too long and had thus grown unfamiliar with his subject: “writing about America, [I] was working from memory, and the memory is at best a faulty, warpy reservoir.” His son, though, tells a different story. The real motivation for the trip, he says, was that Steinbeck thought he was dying, and wanted to say farewell to his homeland.
As for the tale’s veracity, stories abound. It is said that Steinbeck actually spent barely a night in the cramped camper, sometimes staying in glitzy hotels instead. Some claim that he was not often alone, since he had his wife for company. Others say that the conversations he recorded with the many ordinary, and several extraordinary, people he came across were made up.
It is true that the dialogue is perhaps too beautifully crafted to ring true. But this is to miss the point of one of the greatest travelogues ever written. It is churlish to hold beautifully crafted prose against “Travels with Charley”. Indeed, in a book with so much to commend it, the majesty of Steinbeck’s writing is the single biggest draw.
Better to think of it as a poetic tale of rediscovery. From New York he first travels through New England and then across the Midwest to Montana (“of all the states my favourite and my love”). Along the way, Steinbeck finds two countries: one that he recalls and one that is changing and homogenising. In Seattle, he wonders why “progress looks so much like destruction.” He remembers when Salinas, the town of his birth, proudly announced its 4,000th citizen. When he returns it is home to 80,000. “I have never resisted change, even when it has been called progress,” he writes, “and yet I felt resentment toward the strangers swamping what I thought of as my country with noise and clutter and the inevitable rings of junk.”
Having worked his way down through California, Steinbeck takes a left towards the racist South. This leg of the trip has been hanging, unspoken, over the story. He approaches it with the dread of the outsider. “When people are engaged in something they are not proud of, they do not welcome witnesses. In fact, they come to believe the witness causes the trouble.”
He watches a spiteful daily campaign by a group of women calling themselves “the Cheerleaders” against a young black child attending a white school. Twenty times he hears the same joke when people see that he is riding with his dog: “I thought you had a nigger in there!”. After a confrontation with a man he has picked up, who says he would lay down his life to stop his child “going to school with niggers”, Steinbeck decides it is time to wend his way back to New York.
“I early learned the difference between an American and the Americans,” he writes. “They are so far apart that they might be opposites.” In the course of its long journey, the book celebrates both: the underlying fabric of what it is to be an American, and the myriad contrasting individuals who make it up. Generally he still finds a country to love and admire. And even in those encounters one suspects may be mere fiction, there are deep truths to be had.

libraries;前田慶次郎;韓國三一獨立運動;島原之亂

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島原之亂

(寛永14.10.25—15.2.28∕西元1637.12.11—1638.4.12)

日本江戶時代的天主教徒抗爭事件。島原地區農民因長期受到藩主欺壓,憤而推舉天草四郎作為領袖揭竿起義。三萬義勇軍死守原城,抵抗十二萬幕府軍長達四個月後,於2月28日後全體自盡。


幕府軍指揮荷蘭船艦朝城邑開砲以及勸降。從城裡送出的拒降書詳述,己軍起義並非圖謀霸奪天下,而是為爭取信仰的自由才死守家園,又指責幕府軍在內戰中利用了外國的軍力,是極為卑劣的行為。以下為拒降書的一段文字:

「如是之幸,斷非邪道者也。然,竟見唐舟譯注渡海航來。區區小事,況城中皆為草民,何苦外揚家醜。吾國家事與他國洋務,當內外有別是盼。」

(譯注:中國船隻,亦泛指外國船艦。)


2月29日


前田 慶次郎(前田 利太、前田 慶二)

(約天文2—慶長10∕西元1533—1605)

日本戰國時代末期至江戶時代初期的武將。為名將前田利家的姪子、上杉景勝的部屬。文武兼備,熟稔經典古文,個性風趣,自號無苦庵。附圖為前田慶次郎道中日記(慶長6年)


  無苦庵(作者本人)上無應孝養之尊親,下無需憐憫之幼子。雖未思垂披僧衣,卻深以束髮為苦,故剃之圖淨。迄今雙手屈伸靈活,不必雇納轎夫;既無宿疾纏身,自不需備儲藥草。雲無心以出岫,亦算饒富其趣;倘缺賦詩雅興,月殘花凋又何嗟嘆。平素睏時晝可寐,醒時夜可起。既是九品蓮台不欲求,何來八萬地獄愆當擲。在世之時堪盡壽,及死之刻了無憾。

出自〈讚於自畫像〉



韓國三一獨立運動(삼일운동)

(西元1919.3.1)

韓國在日韓合併之後發起的獨立運動。1919年3月1日,33名獨立運動者於首爾發表獨立宣言,隨後引發50萬民眾的示威遊行,要求獨立的風潮旋即席捲朝鮮各地,寫下了解放運動史上的光輝一頁。


  我們在此宣布朝鮮的獨立,以及朝鮮人民成為自由民族。我們向世界各國明白宣示,我們與後代會基於人類平等的要義,永遠維護民族獨立的天賦權利。我們有五千年歷史的威信作為後盾,我們有兩千萬民眾的忠誠作為助力,為了永恆不變的民族自由發展而主張獨立。我們以人類的良心為起點,順應世界改造潮流的契機,與之同步邁進而宣布獨立。

節自《獨立宣言》第一段


***
「往前看,英國人有什麼可以幫我們?」
「英國人現在不行。共產黨抓得很緊,(一臉)主權在我,他特別防英國人。他怕英國人在香港搗亂,他知道英國人還有一些有很好的印象留在香港。所以他對英國防範比美國還重。所以不大可能希望英國能夠幫你們香港爭取民主,沒甚麼作用。」
熟悉思想哲學的余英時,隨口說出一本對彭定康民主思想有重要影響的政治哲學書籍。「我知道他思想上很受Karl Popper 的影響,他有一本著名的著作叫《The Open Society and Its Enemies》那是彭定康最欣賞的書,那是講民主自由最重要的一本書。所以彭定康,香港人對他印象好,因為他是最後一任嘛。」
奧地利哲學家Karl Popper於1945年寫成上述著作,有別於傳統政治哲學爭辯民主是否對人類社會是較「好」的制度,作者相信人類文明的存續並非依賴「絕對的知識」,而是靠建立容許意見、知識及理論得以切磋辯論的程序及制度,在面對不同時代,都能夠繼續完善,並自由回應當下時代需求,這便是Popper所說的「開放社會」,也即是民主,而它的敵人,就是「絕對的知識」。


The naked and the read

Books arrived daily by mail, FedEx, or by hand on the doorstep – a half-dozen was not unusual. At social functions, airports, readings, while he was walking to dinner along the waterfront of Provincetown, or riding the A Train to Manhattan from Brooklyn, people pressed books into his hands. Not that Norman Mailer was short of books; his library, at four different locations, amounted to more than 7,000 volumes. His last wife, Norris Church, referred to them as Kudzu, the pernicious creeping vine that covers large swathes of the American South. As fast as she gave them away, they reappeared on every flat surface in their two homes. Norman, she said, spent $1,000 a month on books, and received a large number gratis from writers in search of a recommendation.
He resisted Norris’s efforts to shed them, to the extent that those deemed worthy of further examination were retained on the dining room table in his Provincetown house for a week or two, where he would read the opening pages of more than a few. That scarred table, large enough to seat twelve, was Mailer’s cockpit, the place where he conducted all his business, save writing his books. Every morning he sat there for a couple of hours, always facing a wall to avoid the fierce morning light from the harbour coming through the large oriel window. Eating his eggs, he read the New York Times and Boston Globe, and sorted through the mail. He also did two crosswords to “comb my mind”, as he put it, before climbing to his attic study, where he would work two shifts, 11 till 2, then 4 till 8. More books were up there, mainly reference works for whatever project was under way, plus a score of dictionaries and thesauruses, some of them nearly clawed to pieces.
On most days during Mailer’s final three years, I arrived at his Provincetown home for coffee and talk at around 10 o’clock. Invariably, the table was piled high with books, several days of mail, printouts of email messages (Norris received the latter; he never touched a computer), bound galleys and manuscripts, and copies of Vanity Fair, the NationPoetry, the American Conservative and Esquire, among other magazines. When the piles grew too high, they were moved to the oriel window shelf, eventually blocking the view. When this occurred, Norris and Norman’s assistant Dwayne shunted stuff to recycling, charity or to the basement, where he had shelves built a few years before his death in 2007. Three or four times a year, I’d cull items there for his archive.
My wife and I catalogued the books in the three libraries: in Provincetown, about a thousand volumes; in the Brooklyn Heights apartment overlooking the East River’s Buttermilk Channel, approximately 3,400; in his writing studio in DUMBO (Down Under the Manhattan Bridge Overpass), another 1,500. About 1,200 reference books and numerous foreign editions of his forty-odd published books are part of his archive that went to the Harry Ransom Center at the University of Texas in Austin in 2005. After his death, the rest of his library was donated to the Norman Mailer Center and is now in storage.
Mailer couldn’t live without books, but he was not interested in them as objects. When he needed some pages for a public reading, he often tore them out of the book rather than carry it. He gave me a first edition of his Advertisements for Myself (1959), with four chunks, totalling 106 pages, missing. The inscription, dated May 1995, reads: “For Mike, this working copy of Advertisements for Myself with sections removed. God knows what I tore them out for”. His copy of Priscilla Johnson McMillan’s Lee and Marina (1977), dismembered when he went to Dallas with Larry Schiller to interview Marina Oswald, was later patched together with duct tape. Dostoevsky’s The Idiot was similarly reconstructed. One of his favourites for public readings was a six-page description of an embalming from the opening chapter of Ancient Evenings (1983). Norris was furious when he ripped this section from her inscribed copy, and then lost it. Books cringed when they felt his hand. Dust jackets were a hindrance, he said, and were often shucked. He felt similarly about bookmarks. His barbarous method of marking his place was to fold a page twice diagonally so that it stuck out at the top. Limited editions were of limited interest. Unlike John Updike, who published scores of them, Mailer never initiated a single one, but went along cheerfully with about ten proposed by speciality presses – Targ, Lord John, Dolmen, Caliban and Franklin Library. Over the course of a week in 1978, he signed 10,180 copies of Franklin’s leatherbound thirtieth-anniversary edition of The Naked and the Dead, for which he was paid $2 a book.
His disrespect for books as objects provides a clue to the nature of his library: it was assembled over the decades to meet his need for models, reference material, to replenish his toolbox of tropes and techniques, and to keep up with his contemporaries – in short, out of literary need. He didn’t collect first editions of his favourite authors, those he listed on seven published surveys. They were: Dos Passos (on all seven), Tolstoy (six), Spengler, Thomas Wolfe and Marx (five), Dostoevsky, Stendhal, Hemingway and James T. Farrell (four), as well as Malraux and Steinbeck on three occasions. Several other writers are listed twice, including Melville, Borges and E. M. Forster, the only English author. There are many cheap used or paperback editions of his favourite authors, none of them worth much apart from the value of some inscribed copies – from Susan Sontag, Colin Wilson, William Manchester (The Last Lion, his biography of Churchill) and James Jones, who inscribed a copy of From Here to Eternity, “To my most feared friend, to my most beloved enemy”. Instead of inscribing The Unmaking of a Mayor, his 1966 account of his unsuccessful 1965 run for mayor of New York on the half-title page, William F. Buckley went to the index, knowing Mailer would look his name up. When he did, he would see two words: “Hi Norman”.
As a matter of principle, Mailer avoided reading his books after they were published; he changed his style for many of his books, sometimes radically – The Executioner’s Song (1979) is perhaps the best example – and he wanted to avoid being tempted by old narrative modes and gambits. But there were exceptions. When I brought copies belonging to friends of mine for him to sign, he would leaf through, reading a few pages here and there. I remember giving him a copy of An American Dream, the 1965 Andre Deutsch edition with a wonderfully garish jacket illustration, and he read for several minutes from chapter four. When he closed it he said that it depressed him: “I’ll never write that well again”. Another time, while signing a copy of The Executioner’s Song, he remarked that his style was changed by the prose of this narrative. “It was never the same”, he said, “flattened out, less lively.”
Perhaps the first thing one would have noticed about the Brooklyn library is the amount of poetry. Mailer said once that he loved poetry, but added, “I don’t approach it critically. To be a great critic of poetry would take a lifetime of work. I read it to replenish myself”. In addition to the anthologies of American verse he kept in the loo, perhaps half of the 300 volumes of poetry in a floor-to-ceiling bookshelf in the living room of his apartment are by American poets. It was the only one of the twenty-odd bookcases in the apartment devoted to one genre. Some of the volumes came from poet friends – James Dickey, Sandra Hochman and Norman Rosten (the late poet laureate of Brooklyn, who signed his letters to Mailer “Norm II”) – but most reflect Mailer’s catholic tastes. There are volumes by poets as different as Wallace Stevens, John Berryman and Amy Lowell, as well as several by her cousin, Robert, whose poem, “For Norman Mailer” appears in his Notebook 1967–68. Lowell’s inscription, “For Norman, This brief though true return for your kind portrait. Cal”, refers to Mailer’s depiction of Lowell in The Armies of the Night (1968), which Lowell said was “the best, almost the only thing written about me as a living person”. There are seven Ezra Pound titles. Mailer visited Pound in Venice in 1970, and gave him a copy of Deaths for the Ladies (and Other Disasters), his 1962 collection of gnomic, Pound-like gists and piths. Asked which of Mailer’s poems he liked, “the old eagle”, as Mailer described him, said, “All of them!”
There are fewer French poets than British, but a large number of French novelists. Mailer studied French at high school, college and also at the Sorbonne, which he attended on the GI Bill in 1947–8. His written French was good enough to translate portions of Souvenirs intimes, the memoir of Picasso’s first mistress, Fernande Olivier, for use in his biography Portrait of Picasso as a Young Man (1995), and he spoke it well enough to converse with French friends such as Jean Malaquais (the translator of The Naked and the Dead into French, published in 1950 with an introduction by André Maurois), and Romain Gary. Malaquais, who Mailer said “had more influence on my mind than anyone I ever knew”, introduced him to the work of André Gide, whose collection of Socratic dialogues, Corydon (1924), spurred Mailer to write two long philosophical self-interviews, “The Metaphysics of the Belly” and “The Political Economy of Time”, published in Cannibals and Christians(1966). His interest in French literature began in his senior year at college when he read André Malraux’s Man’s Fate. Shortly after graduation from Harvard in 1943, he told a friend, “I’d like to be another Malraux”. It could be argued that Mailer became the American equivalent of Malraux, the writer as engagé intellectual. Malraux was Minister of Culture under Charles de Gaulle, and in the early 1960s Mailer hoped to become a key adviser to President Kennedy, a cultural Cardinal Richelieu who would link the White House to the most exciting currents and actors on the American scene. He wanted a seat at the Camelot round table, an aspiration which was extinguished after he stabbed his second wife, Adele Morales, with a penknife.
In a 1963 letter to Pierre Brodin, a French critic who asked about his interest in French literature, Mailer said that “the French novel has always been more congenial to me than the English”, and goes on to name his favourites. They include not only Proust, Flaubert and Joris-Karl Huysmans (Mailer adapted his Satanic Là-Bas into a screenplay, published in Playboy in 1976), but Georges Simenon, of whom he said, “He is never a great writer, but he is certainly a marvelous one, so natural, so effortless”. Mailer got hooked on Simenon during the war when he read Faubourg (Home Town in Stuart Gilbert’s 1944 translation), and over the years assembled a collection of over 200 of his novels. He numbered them so he could reread them in sequential order, which he continued to do until the end of his life.
Mailer mainly read translations of the French writers, but owned several in the original, including Proust’s Un Amour de Swann and Le Ravissement de Lol V. Stein by Marguerite Duras. His favourite French novel was Stendhal’s Le Rouge et le Noir. He used the novel’s protagonist, Julien Sorel, the ambitious young man from the provinces as a touchstone in several of his essays, most memorably in a 1968 review of Norman Podhoretz’s Making It, where he compares his erstwhile friend’s move from Brooklyn to Manhattan (“one of the longest journeys in the world”, Podhoretz wrote) to Sorel’s ascension to Paris from Verrières. In 1949, when Mailer and Malaquais were writing screenplays in Hollywood for Samuel Goldwyn, Mailer tried to convince Montgomery Clift to play Sorel in a film version of the novel that he would write. Clift was interested but got called away to another project.
Mailer may have been more influenced by French novelists than British ones, but he nevertheless admired the skills of the latter. During a visit to London in the autumn of 1961, he told an interviewer, “Sentence for sentence, the good British authors write better than we do. I’m thinking of people like Amis, Waugh, Graham Greene. Some are bad: I’ve never been able to read Joyce Cary”. He may have stumbled when reading the late and largely forgotten novel The Fearful Wife (1947), the only Cary novel he owned. On the other hand, he owned most of Forster’s novels. Forster was not “one of the novelists I admire most. But I have learned a lot from him”. He was stunned when an important character in The Longest Journey, Gerald Dawes, was killed in a football game part way through the novel, causing the other characters to change in unforeseen ways. “It taught me”, Mailer wrote, that “character can dissolve in one stricken event and re-form in startling new fashion.” In a Paris Reviewinterview in 1964, Mailer said that “Forster gave my notion of personality a sufficient shock” that after The Naked and the Dead (1948) he stopped writing in the third person for over a decade. Forster, he said, “had a developed view of the world; I did not”.
His best-loved British novelist was Graham Greene; he once said that The End of the Affair was the best anatomy of a love affair he had ever read (the fact that Greene wrote to him to say that he was “moved and excited” by the “magnificent” Advertisements for Myself did no harm to their relationship). Besides Greene’s great early novels, Mailer owned three later works: Dr. Fischer of Geneva (1980), Monsignor Quixote (1982) and Greene’s non-fiction account of his long relationship with the Panamanian dictator, Omar Torrijos, Getting To Know the General (1984). He also owned the three-volume biography of Greene by Norman Sherry. Speaking on the BBC programme Omnibus in 1971, he praised Nineteen Eighty-Four for its “profoundly prophetic vision of a world filled with dull, awful, profoundly picayune little wars . . . that would kill the world slowly”. Orwell admired Mailer’s work, and said in a letter in 1949 that The Naked and the Dead was “awfully good, the best war book of the last war yet”, a comment that appeared on paperback copies of the novel for decades. Some of the other British books on the shelves are The Mill on the FlossWomen in Love (discussed at length in The Prisoner of Sex, 1971), The Good Soldier and Cyril Connolly’s The Missing Diplomats, a non-fiction examination of the scandal surrounding the Cambridge spies Guy Burgess and Donald Maclean, which Mailer probably consulted for Harlot’s Ghost. The earliest book by a British writer is Charlotte Brontë’s final novel, Villette (1853), a Folio Society edition which shows no dog ears. There is nothing by Austen, Dickens, Trollope, or Hardy.
Dostoevsky’s struggle to write The Idiot month by month as a serial while suffering from epileptic fits was on Mailer’s mind when he was under commensurate pressure in the eight-month span during which he published his serial novel, An American Dream, in Esquire in 1964. Crime and Punishment is another obvious influence; Mailer’s protagonist, Stephen Rojack, like Raskolnikov, is an intellectual murderer interrogated by the police and goes into spiritual exile, although Dostoevsky’s man goes to Siberia, while Rojack goes to Guatemala and Yucatán. He read Henri Troyat’s biography, Tolstoy (1965; translated from the French by Nancy Amphoux, 1967), shortly after his eightieth birthday and told me it was the finest biography he had ever read, superior to Richard Ellmann’s biography of Joyce.
Many of his large collection of books on Hitler and Nazi Germany are listed in a six-page bibliography appended to his last novel, about Hitler’s youth, The Castle in the Forest (2007). Just as large is his collection of books about the Kennedy assassination, including two sets of the twenty-six-volume Warren Commission Report. He also owned several works by Freud, quite a number by Jung, and several books by Wilhelm Reich, including Character Analysis (1933), which he said was not a literary influence but valuable for “the idea that a man’s physical posture is his character”, which he memorably applied to Richard Nixon in St George and the Godfather (1972). He had all the books by the psychologist Robert Lindner, including Rebel Without a Cause and Prescription for Rebellion. Lindner and Mailer became friends in the early 1950s, and Lindner, who died suddenly in 1956, gave extensive feedback on Mailer’s unpublished 1954–5 marijuana journal, “Lipton’s” (tea was then slang for marijuana).
Another essay would be needed to comment on Mailer’s collection of Judaica, especially the work of Martin Buber on the Hasidic movement, and yet another on the large number of philosophical works, from Aristotle to Kierkegaard to A. J. Ayer. One influential volume must be named: Walter Kaufmann’s 1956 anthology, Existentialism from Dostoevsky to Sartre, which Mailer read during the seventeen days he was confined at Bellevue Hospital in New York while awaiting a determination of his sanity after stabbing his wife. It is more than likely that he read the chapter on Nietzsche, “Live Dangerously”, and the passage from which it comes: “For believe me, the secret of the greatest fruitfulness and the greatest enjoyment of existence is: to live dangerously! Build your cities under Vesuvius! Send your ships to uncharted seas! Live at war with your peers and yourselves!” One can imagine what resonance this must have had for the lonely reader in the violent ward of Bellevue.

吉田兼好著《徒然草》 李永熾譯;周作人譯:《徒然草》抄;Donald Lawrence Keene (1922~2019) 英譯:Essays in Idleness:1967 川端康成 《日本的美與我 一、月歌的桂冠;二,雪月花時最懷友。三 299 紫式部源氏物語》

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吉田兼好著《徒然草》

李永熾譯,台北:當代,1988

 周作人譯:《徒然草》抄
Donald Lawrence Keene (1922~2019) 英譯
  • 吉田兼好Essays in Idleness: The Tsurezuregusa of Kenko (Columbia Univ Pr, June 1, 1967)




川端康成 《日本的美與我》喬炳南譯:一、月歌的桂冠;二,雪月花時最懷友。三 299 紫式部源氏物語



川端康成 《日本的美與我》喬炳南譯:一、月歌的桂冠;二,雪月花時最懷友。




 川端康成 《日本的美與我》喬炳南譯,諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯






川端康成 《日本的美與我》喬炳南譯,台北:臺灣商務,1970/1985 三版
這本書應屬精讀、背誦、研究翻譯的好書。

現在諾貝爾獎的網站有 川端康成 1968年




川端康成 《日本的美與我》喬炳南譯,台北:臺灣商務,1970/1985 三版

這本書應屬精讀、背誦、研究翻譯的好書。
我猜此篇為所有中文翻譯 (包括稍後的中國版)的原始參考版,所以最值得參考。


現在諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯 (它與《日本的美與我》的附錄的英文版https://www.nobelprize.org/prizes/literature/1968/kawabata/lecture/
,略有不同,有不少改善,譬如說,


But when we come to the following poems of the Empress Eifuku, who lived at about the same time as Ikkyu, in the Muromachi Period, somewhat later than the Shinkokinshu, we have a subtle realism that becomes a melancholy symbolism, delicately Japanese, and seems to me more modern:
“Shining upon the bamboo thicket where the sparrows twitter,
The sunlight takes on the color of the autumn.”
“The autumn wind, scattering the bush clover in the garden,
sinks into one’s bones.
Upon the wall, the evening sun disappears.”


 《日本的美與我》喬炳南譯,所附的英文;比較2種英文版本,可知道介紹文和詩文都有改進:

 But when we come to the following poems of the Empress Eifuku (1271~1342), from the late Kamakura and early Muromachi periods, somewhat later than the Shinkokinshu, we have a more subtle realism. It becomes a symbol of a  delicately Japanese melancholy symbolism,, and seems to me more modern:

“Shining upon the bamboo thicket where the sparrows twitter,
The sunlight takes on the color of the autumn.”

"The hagi* falls, the autumn wind is piercing, 
Upon the wall, the evening sun disappears.”





報吉時 #展覽 2019 讀衣 以「四季」為命題,董陽孜老師將四季擬人化命名為「滴翠」、「荷淨」、「月華」、「寒松」.並且依照不同特性,使用不同運筆方式撰寫。讀衣特展活動只到下周一,快把握最後時間唷!
"Reading Clothes" exhibition was initiated by Taiwanese contemporary artist Dong Yangxi which combines calligraphy art and fashion. This year, 7 groups of domestic and foreign fashion designers were invited to participate in the design. If you are a traditional culture & fashion lover, you must come to Huashan!
時間 Time:2019/11/02-11(六日一)10:00-20:00⋯⋯
 





HCJAPAN.BLOGSPOT.COM
川端康成 《日本的美與我》喬炳南譯,諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯 18:59NOW…




D.H. Lawrence Selected Essays, "Women in Love", "The Rainbow", "The Laughter of Genius":D. H. Lawrence’s Essays

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D.H.勞倫斯(David Herbert Richards Lawrence)

(西元1885.9.11—1930.3.2)

英國作家。認為人類真正的幸福必須靈肉合一,於作品中露骨地描繪性愛場面,因而頗受爭議。創作風格橫跨寫實主義與現代主義。知名作品包括《虹》、《兒子的情人》和《查泰萊夫人的情人》等。


  我要世間的男女能夠充分地、徹底地、誠實地、完備地思考有關「性」的問題。……說什麼處女純潔得像張白紙,那根本是胡謅。不論是少女或少男,滿腦子裝的都是性衝動和性幻想,而且深受折磨,只能靜待時間來撫平這股混亂。關於「性」,我們必須經過多年的誠實思索、多年的追尋答案,更歷經了一番艱辛的奮鬥以後,才總算找到了真實的純潔與滿足。

節自《查泰萊夫人的情人》序文






CONTENTS
Novels
Novellas
Short Stories
Plays
Poetry
Non Fiction
Travel



Novels
The White Peacock (1911)--Read now
The Trespasser (1912) Read now at Freeread
Sons and Lovers (1913) Read now at Freeread
The Rainbow (1915) Read now
The Lost Girl (1920)--Read now
Women in Love (1920) Read now at Freeread
Aaron's Rod (1922) Read now at Freeread
Kangaroo (1923) Read now
The Boy in the Bush [with M. L. Skinner (died 1955)] (1924)
The Plumed Serpent (1926) Read now
Lady Chatterley's Lover (1928) Read now

Novellas
Love Among the Haystacks (1930) (see Collected Short Stories--below)
The Ladybird (1923) Read now
The Fox (1923) Read now
The Captain's Doll (1923) Read now
St Mawr (1925) Read now
The Virgin and the Gypsy (1930) Read now
The Man who Died (also published as The Escaped Cock) (1929) Read now

Short Stories
The Prussian Officer and Other Stories (1914) Read now
The Prussian Officer (also known as honour and Arms)
The Thorn In The Flesh (also known as Vin Ordinaire)
Daughters Of The Vicar
A Fragment Of Stained Glass
The Shades Of Spring (also published as The Soiled Rose)
Second Best
The Shadow In The Rose Garden
Goose Fair
The White Stocking
A Sick Collier
The Christening
Odour Of Chrysanthemums
England, My England and Other Stories (1922) Read now at Freeread
England, My England
Tickets, Please
The Blind Man
Monkey Nuts
Wintry Peacock
You Touched Me
Samson And Delilah
The Primrose Path
The Horse Dealer'S Daughter
Fanny And Annie
The Woman Who Rode Away and Other Stories (1928) Read now
The Woman Who Rode Away
Two Blue Birds
Sun
Smile
The Border-Line
Jimmy and the Desperate Woman
The Last Laugh
In Love
The Man Who Loved Islands
Glad Ghosts
None of That!
The Rocking-Horse Winner
The Lovely Lady
Collected Short Stories (A Project Gutenberg of Australia compliation) Read now
A Modern Lover (1933)
Her Turn (1913) (also known as Strike Pay and Turnabout is Fair)
Love Among The Haystacks (1930)
Mother And Daughter (1929)
New Eve And Old Adam (1934)
Rawdon'S Roof (1928)
Strike-pay (1913) (also known as Ephraim's Half Sovereign)
The Blue Moccasins (1928)
The Mortal Coil (1917)
The Old Adam (1934)
The Overtone (1933)
The Princess (1925)
The Witch A La Mode (1934)
Things (1928)
Other Short Stories
The Miner at Home
Delilah and Mr Bircumshaw
A Lesson on a Tortoise
Lessford's Rabbits
A Prelude (1907)
A Fly in the Ointment (1913)
Once--! (1930)
A Hay Hut Among the Mountains (1930)
A Chapel among the Mountains (1930)
Christs in the Tyrol (1930)
Mr Noon (1934)


Plays
The Daughter-in-law (1912) Read now
The Widowing of Mrs Holroyd (1914) Read now
Touch and Go (1920) Read now
David (1926) Read now
The Fight for Barbara (1933) Read now
A Collier's Friday Night (1934) Read now
The Married Man (1940) Read now
The Merry-go-round (1941) Read now
Altitude--a fragment (1924)
Noah's Flood - a fragment

Poetry
Love Poems and others (1913)
Amores (1916) - Read now at Freeread
Look! We have come through! (1917) - Read now at Freeread
New Poems (1918) - Read now at Freeread
Bay: a book of poems (1919) - Read now at Freeread
Tortoises (1921)- Read now at Freeread
Birds, Beasts and Flowers (1923) Read now
The Collected Poems of D H Lawrence (1928)
Pansies (1929)
Nettles (1930)
Last Poems (1932)
Fire and other poems (1940)

Non Fiction
Study of Thomas Hardy and other essays (1914)
Movements in European History (1921)
Psychoanalysis and the Unconscious (1921)
Fantasia of the Unconscious (1921) - Read now at Freeread
Studies in Classic American Literature (1923)
Reflections on the Death of a Porcupine and other essays (1925)
A Propos of Lady Chatterley's Lover (1929)
Apocalypse and the writings on Revelation (1931)
Phoenix: the posthumous papers of D H Lawrence (1936)
Phoenix II: uncollected, unpublished and other prose works by D H Lawrence (1968)

Travel
Twilight in Italy and Other Essays (1916) - Read now at Freeread
Sea and Sardinia (1921) - Read now
Mornings in Mexico (1927) - Read now
Etruscan Places (1932) - Read now


Updated 16 April 2011
Glass Sydney - Valiant Glass - Glass & Mirrors Specialists in Sydney
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Fresh Flowers and Gifts Australia
Fresh Flowers and Gifts New Zealand
Everyman's Library



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"Humanity is a huge aggregate lie, and a huge lie is less than a small truth. Humanity is less, far less than the individual, because the individual may sometimes be capable of truth, and humanity is a tree of lies. And they say that love is the greatest thing; they persist in SAYING this, the foul liars, and just look at what they do! Look at all the millions of people who repeat every minute that love is the greatest, and charity is the greatest— and see what they are doing all the time. By their works ye shall know them, for dirty liars and cowards, who daren't stand by their own actions, much less by their own words."
--from "Women in Love" (1920) by D.H. Lawrence


Women in Love begins one blossoming spring day in England and ends with a terrible catastrophe in the snow of the Alps. Ursula and Gudrun are very different sisters who become entangled with two friends, Rupert and Gerald, who live in their hometown. The bonds between the couples quickly become intense and passionate but whether this passion is creative or destructive is unclear. In this astonishing novel, widely considered to be D.H. Lawrence's best work, he explores what it means to be human in an age of conflict and confusion. It was written during World War I, and while that conflict is never mentioned in the novel, a sense of background danger, of lurking catastrophe, continually informs its drama of two couples dynamically engaged in a struggle with themselves, with each other, and with life's intractable limitations. Lawrence was a powerful, prophetic writer, but in addition he brought such delicacy to his treatment of the human and natural worlds that E. M. Forster's claim that he was the greatest imaginative novelist of our generation does him too little justice rather than too much. READ an excerpt here:http://knopfdoubleday.com/book/98552/women-in-love/



"The Rainbow" by D.H. Lawrence台灣書林有麥克米倫學生版的影印本1993
我趁機翻一翻,讀末章,感受作者獨特的文風和生命思想。
用Google查一下,約有50個版本和不同的封面。

Everyman's Library


“Was his life nothing? Had he nothing to show, no work? He did not count his work, anyone could have done it. What had he known, but the long, marital embrace with his wife. Curious, that this was what his life amounted to! At any rate, it was something, it was eternal. He would say so to anybody, and be proud of it. He lay with his wife in his arms, and she was still his fulfillment, just the same as ever. And that was the be-all and the end-all. Yes, and he was proud of it.”第4章


“Why, oh why must one grow up, why must one inherit this heavy, numbing responsibility of living an undiscovered life? Out of the nothingness and the undifferentiated mass, to make something of herself! But what? In the obscurity and pathlessness to take a direction! But whither? How take even one step? And yet, how stand still? This was torment indeed, to inherit the responsibility of one’s own life.”
―from "The Rainbow" by D.H. Lawrence

D.H. Lawrence’s The Rainbow was published on this day in 1915. A month later, all unsold copies were seized and destroyed by the authorities on pornographic grounds.
“If I were the moon, I know where I would fall down.”
― from "The Rainbow"
Spanning the second half of the nineteenth century and the beginning of the twentieth, D. H. Lawrence’s provocative novel traces the lives of three generations of one family on their Nottinghamshire farm. Rooted in an agrarian past, Tom and Lydia Brangwen and their descendants find themselves navigating a rapidly changing world—a world of unprecedented individualism, alienation, and liberation. Banned after an obscenity trial in 1915 for its frankness about sexuality, THE RAINBOW was most remarkable for the pathbreaking journeys of its female characters, particularly that of Ursula Brangwen, whose destiny Lawrence explored further in his next novel, Women in Love. In its surface drama, in its capacious and expansive rhythms that so resemble the rhythms of nature itself, THE RAINBOW is one of the world’s great examples of the multi-generational family saga. But the large claim that Lawrence’s masterpiece has made on the attention of readers and critics stems less from this fact than from the deeper parallel history he provides for the Brangwens—a history of the growth of their souls, moving in a great arc from sensuality to self-awareness and freedom.




"The Laughter of Genius":D. H. Lawrence’s EssaysGarrett Moritz

"When Lawrence got going, he almost always went too far, but hitting a nerve of truth on the way."--Brenda Maddox, p.215
From the time we write our first five-paragraph essay, we learn that an essay must conform to specific rules--how stringently it follows those rules determines the essay’s quality. D. H. Lawrence’s essays, however, don’t conform to those same standards. Though we might imagine him following some higher, essay-writer’s code, in actuality he takes a pragmatic approach, namely, if it looks good, do it. Lawrence’s essays succeed not because they conform to a set of rules especially well, but because they do what works, creating a specific character, imitating spontaneous conversation, and stepping on the occasional exposed "nerve of truth" on the way through the conceptual wilderness.
Consider Lawrence’s conversational style--using metaphor, anaphora, and sentence fragments--in the opening gambit of "Indians and Entertainment":
We go to the theatre to be entertained. It may be The Potters, it may be Max Reinhardt, King Lear, or Electra. All entertainment.
We want to be taken out of ourselves. Or not entirely that. We want to become spectators at our own show. We lean down from the plush seats like little gods in a democratic heaven, and see ourselves away below there, on the world of the stage, in a brilliant artificial sunlight, behaving comically absurdly, like Pa Potter, yet getting away with it, or behaving tragically absurdly, like King Lear, and not getting away with it: rather proud of not getting away with it.
We see ourselves: we survey ourselves: we laugh at ourselves: we weep over ourselves: we are the gods above of our own destinies. Which is very entertaining. (Lawrence 52)
This is a very typical beginning for Lawrence. He does little in the way of introduction--he h as no need of such commonplace, even boring niceties--and begins his discussion of entertainment 'straight away. He describes us, saying "We want to be taken out of ourselves." He gives no evidence for this, or the statements that follow. He cites no experts. He stands on the shoulders of none. He doesn’t care a whit about passive voice. But there is a difference between not following convention and being wrong. Though Lawrence’s points do not appear as a standard, rhetorical fortress, few would disagree with, or be able to effectively argue against them. Maybe they are too general, too universal, or too vague for the average critic to talk at length about. Maybe they are just true. Needless to say, he is often convincing without being explicitly logical—ethos and pathos can be just as effective as logos (Aristotle 1:25). And when we "lean down from the plush seats like little gods," we see another characteristic of Lawrence’s essay: the surprise metaphor. Lawrence, likely drawing from his experience in fiction as a hyper-descriptive writer, is able to consistently reach into his magic sack of metaphors and pull out a shiny new one--or at least a particularly apt one--almost every time. Though this "little gods" metaphor is perhaps not his best or most vivid, it does well enough to illustrate Lawrence’s quickness in this difficult type of descriptive visualization. Furthermore, one rarely speaks of "little gods," for both words seem to contradict the other. It is unusual, eye-catching, thought-provoking, and possibly even a little condescending. And then, in the last paragraph, Lawrence describes what these "little gods" do, using an anaphora in a chain of colons which is certainly very rare and probably not even grammatically standard. It is unusual, and is of questionable "correctness." But the use of periods might weaken the sentence flow Lawrence sought, in effect counteracting a "breathless" sort of pseudo stream-of-consciousness effect. Lawrence seems to be trying to create a sense that all of these things are part of the process of theater--a single, indivisible experience--over the course of an evening. To divide the process, using periods and capital letters, would be a less truthful description. Lawrence then rounds off this passage with a trademark sentence fragment: "Which is very entertaining." He could have written, more correctly, "This is very entertaining," but chose not to. For Lawrence, it was far more important to write what an effective speaker would say rather than base his decisions on grammatical rules.
This effective speaker that makes such decisions is the character in Lawrence’s essays, the kind of character who we sometimes agree with and sometimes laugh at, but who is always absorbing. The character is talking to us, even sneaking in his opinion of a few plays--he’s the kind of character who always has an opinion on such things--and focuses, more than anything else, in speaking in the most engaging way he can. For this reason, Lawrence doesn’t always write essays in the standard style with an introduction, thesis, evidence, and conclusion. Instead Lawrence approaches argument as a series of cycles. We can see one such "cycle" in the passage above. The first paragraph ends with "All entertainment" and the final paragraph ends with "Which is very entertaining," bringing us through the cycle. Though it admittedly isn’t always as apparent as in this example, as a general rule, Lawrence continues to return to major ideas again and again in his essays, developing new questions in each cycle. While a traditional essay does something similar in relying on "key terms" to tie various parts together, this cyclical nature is more than just a repetition of key ideas--it provides the structure of the essay. Essays generally can be viewed, say, as a series of stacked blocks, all hierarchically ordered. Lawrence’s essays, though, are much more like a spiral which, though drawn around a fixed point, when traced drift continuously farther from the center, covering more ground. Such essays are almost bound to hit "a nerve of truth" eventually. Interestingly, this cyclical, spiral essay structure is very much like a prolonged conversation--as people talk about a complicated issue, they find themselves returning to the same basic concepts again and again, making corollary points which they missed the first time. Lawrence’s use of this conversational structure, though disorganized by essay standards, is rather convincing and pleasant relative to the average essay, since we are used to such a conversational structure, while ordinary essay structure, though efficient, is something which is unnatural enough that schools must teach it. But as long he makes his point effectively, why worry about rules or propriety? For instance, his repetition of "we" throughout the passage creates a smaller cyclical effect of the type discussed above, binding the paragraph together. Also, it is more conversational and maybe even more pleasant than a stodgier pronoun. Lawrence’s essays are highly conversational in tone--it seems that parts of them could easily be stuck into a story as dialogue. Lawrence even works essay material into character’s dialogue or thoughts in his fiction, though this matter is beyond the scope of this paper.
While it similarly employs a conversational tone and the Lawrencian character, "Pornography and Obscenity" is additionally useful for it perhaps contains a "nerve of truth" of the kind Maddox spoke of. While it declares little that a logician would affirm as true, it says many things that a person might agree with. That is, quite possibly, the essence of what Maddox was getting at. The essay begins with that trademark quick start, not even repeating the topic from the title but beginning, "What they are depends, as usual, entirely on the individual," and then continuing with a sort of surprise description:"What is pornography to one man is the laughter of genius to another" (Portable 648). The metonymy, "the laughter of genius," is a good example of Lawrence’s formative descriptive skill: the average essayist would likely not have put it quite so aptly or poetically. Instead of speaking in abstraction, Lawrence uses a physical description as a symbol for abstraction, and is much more memorable and effective for that. But just as notable as the Lawrencian beginning is the "stuff" in the middle of "Pornography and Obscenity"--where Lawrence condemns both those who shiver at the thought of publishing sexual materials and Bohemians who freely accept sex: they’re either a bunch of furtive masturbating perverts or intellectual, nonphysical ghosts. It seems Lawrence wants to single-handedly be right, for he refuses to accept that anyone could be on his side. And he at times uses little evidence, asking the reader to make leaps of faith with him. Besides, whether we are persuaded by his unorthodox conversational methods or not, it’s a pretty wild ride:
Without secrecy there would be no pornography. But if pornography is the result of sneaking secrecy, what is the result of pornography? What is the effect on the individual?
The effect on the individual is manifold, and always pernicious. But one effect is perhaps inevitable. The pornography of today, whether it be the pornography of the rubber-goods shop or the pornography of the popular novel, film and play, is an invariable stimulant to the vice of self-abuse, onanism, masturbation, call it what you will. In young or old, man or woman, boy or girl, modern pornography is a direct provocative of masturbation. It cannot be otherwise. When the grey ones wail that the young man and the young women went and had sexual intercourse, they are bewailing the fact that the young man and the young women didn’t go separately and masturbate. (Portable 657-658)
So this is how Lawrence fills the middle of his essays. He starts "Without secrecy their would be no pornography"--a valid claim, though he takes no pains to prove it. And from this axiom he derives a whole set of equally unsupported corollaries: pornography’s effect on people is "always pernicious." Lawrence has no need of muddling, qualifying phrases here, despite that earlier what was pornography to one could easily be the "laughter of genius" to another. And this pornography, before so indeterminate, now has a definite effect: pornography equals masturbation. And it gets better: the "grey ones"--another metonymy, symbolizing puritanical social leaders--far from condemning masturbation, advocate it. This ignores that the "grey ones" would condemn masturbation--stolid logician Bertrand Russell’s speaks of masturbation as amoral (Russell 70). But Lawrence, it seems, does not want anyone on his side. He is right, others wrong, and proof is unnecessary. It seems unfortunate that Lawrence would write less objectively in hopes of being more entertaining. But then again, maybe it is the abrupt epiphany in the midst of philosophical sleepwalking which makes him so fulfilling. He might not always be right, but he’s always an interesting read.
"Nottingham and the Mining Countryside" is another good example of a Lawrencian essay. It makes appeals based on a subtle, almost subterranean aesthetic vision which surfaces mostly in the imperious though conversational style at the end of the essay. In many instances though, it employs the same techniques as the earlier excerpts--such as informality, repetition and metaphor:
Do away with it all, then. At no matter what cost, start to alter it. Never mind about wages and industrial squabbling. Turn the attention elsewhere. Pull down my native village to the last brick. Plan a nucleus. Fix the focus. And then put up big buildings, handsome, that sweep to a civic centre. And furnish them with beauty. And make an absolute clean start. Do it place by place. Make a new England. Away with little homes! Away with scrabbling pettiness and paltriness. Look at the contours of the land, and build up from these, with a sufficient nobility. The English may be mentally or spiritually developed. But as citizens of splendid cities they are more ignominious than rabbits. And they nag, nag, nag all the time about politics and wages and all that, like mean, narrow housewives. (Portable 623)
Again, there is not a huge amount of evidence, but this is a conclusion, and conjecture is rather more conventionally permissible here than otherwise. And Lawrence’s utopian scheme shows a blatant disregard for matters of political economy--but the essay character is hardly a penny-pinching accountant. Ignoring all of that, the passage is largely a success. Using short, almost oratorical-sounding sentences, exclamations, and grandiose commands, Lawrence creates an inspirational tone as he calls for aesthetic reform. So we see that the character is, unsurprisingly, a true idealist--he’s excited enough to "shout" using the exclamation point. Furthermore, we see repetition, though it is concentrated rather than distributed as in the cyclical use of "we" and "entertainment" in "Indians and Entertainment." Describing the citizens as those who "nag, nag, nag" does much to emphasize the continual nature of the nagging, as well as reinforce the idea through repetition. Though occasionally such repetition seems a bit forced, here it seems to fit nicely into the cadence of the sentence. And Lawrence couldn’t end an essay without surprise metaphors: he describes the citizens as both "rabbits" and "mean, narrow housewives." Lawrence has called for action in his own terms, and there might even be a "nerve of truth" buried in his language romp. Some might find him splendid and some might find ridiculous, but few indeed would claim him meek.
Throughout his essays, Lawrence is consistently unorthodox. Rather than kowtowing to convention, Lawrence is more concerned with conversational effectiveness and his own brand of truth. It is a cliché that truth sometimes lies along a "path less traveled." If that’s so, Lawrence is something of a trailblazer. And though his trails might not always go anywhere in particular, the view along the way can be spectacular. Which is very entertaining.

Works Cited
Lawrence, David Herbert. "Indians and Entertaiment."Mornings in Mexico and Etruscan Plays. Harmondsworth: Penguin, 1960.
Lawrence, David Herbert. The Portable D.H Lawrence. Diana Trilling et al. New York: Penguin Books, 1977.
Aristotle. The Rhetoric and Poetics of Aristotle, trans. W.R. Roberts, ed. Frederick Solmsen. New York: Random House, 1954.
Russell, Bertrand. "The Taboo on Sex Knowledge."Marriage and Morals. London: Unwin, 1929.
Maddox, Brenda. DHL: The Story of a Marriage. New York: Simon and Shuster, 1994.


© 1997 Garrett Moritz. All rights reserved.
Inside the File Cabinet
gtexts blog

 

 

Selected Essays (Penguin Twentieth Century Classics) [Paperback]

D.H. Lawrence, John Lyon



Part 1 Love and life: sex versus loveliness; give her a pattern; love; cocksure women and hensure men; nobody loves me; books; climbing down Pisgah; reflections on the death of a porcupine; democracy; the state of Funk; insouciance.

Part 2 The spirit of place: England - whistling of birds, Nottingham and the mining country, dull London; Italy - the spinner and the monks, flowery Tuscany, man is a hunter; Germany - the crucifix across the mountains, Mercury, a letter from Germany; Mexico and New Mexico - New Mexico, Indians and an Englishman, just back from the snake dance - tired out, Corasmin and the parrots, a little moonshine with lemon.

Part 3 Writing and painting: John Galsworthy; Benjamin Franklin; Moby Dick; Whitman; Giovanni Verga; preface to the American edition of new poems; accumulated mail; making pictures; introduction to these paintings. Part 4 Lawrence and Magnus: the later Mr Maurice Magnus - a letter.



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D H Lawrence - Selected Essays (Penguin)

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  • Paperback: 346 pages
  • Publisher: Penguin Books; Reprint edition (1954)

D H Lawrence - Selected Essays (Penguin) [Paperback]

D H Lawrence, Richard Aldington

Donald Keene 1922~2019 (2 )

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Works in English[edit]

Original PublicationTranslation(s)
The Battles of Coxinga: Chikamatsu's Puppet Play, Its Background and Importance (Taylor's Foreign Pr, 1951)
The Japanese Discovery of Europe: Honda Toshiaki and other discoverers 1720–1952 (Routledge and K. Paul, 1952)日本人の西洋発見 (錦正社, 1957). Jp trans. 藤田豊 & 大沼雅彦
nihonjin no seiyou hakken 日本人の西洋発見 (中公叢書, 1968). Jp trans. 芳賀徹訳 [?trans of 2nd ed]
Japanese Literature an Introduction for Western Readers (Grove Pr, June 1, 1955)
Modern Japanese Literature: An Anthology (Grove Pr, June 1, 1956)
Living Japan (Doubleday, 1959)生きている日本 (朝日出版社, 1973). Jp trans. 江藤淳 & 足立康
ikiteiru nihon Revised edition published as 果てしなく美しい日本 (講談社学術文庫, 2002). Jp trans.  足立康改 [?mistake. ?Separate work]
Major Plays of Chikamatsu (Columbia University Press, January 1, 1961)
Four Major Plays of Chikamatsu (Columbia University Press, June 1, 1961)
Donald Keene, Kaneko Hiroshi (photography) & Jun'ichirō Tanizaki (introduction), Bunraku: The Art of the Japanese Puppet Theatre (kodansha International, 1965)文楽 (講談社, 1966). Jp trans. 吉田健一
bunraku
Japanese Discovery of Europe, 1720–1830. Revised/2nd ed. (Stanford University Press, June 1, 1969)
The Manyoushu (Columbia University Press, 1969)
Twenty Plays of the Noh Theatre (Columbia University Press, June 1, 1970)
War-Wasted Asia: letters, 1945–46 (Kodansha International, 1975)昨日の戦地から (中央公論新社, 2006). Jp trans. 松宮史朗.
kinou no senchi kara
World Within Walls: Japanese Literature of the Pre-Modern Era, 1600–1867 (Henry Holt & Co, October 1, 1976)
Second book in the "A History of Japanese Literature" series
日本文学史 近世篇, 2 vols. (中央公論社, 1976–77). Jp trans. 徳岡孝夫訳
nihon bungakushi kinseihen
Landscapes and Portraits: Appreciations of Japanese culture (Kodansha International, 1978)
Meeting with Japan (学生社, 1979)日本との出会い (中央公論社, 1972). Jp trans. 篠田 一士
nihon tono deai
Some Japanese Portraits (Kodansha Amer Inc, March 1, 1978/9)日本文学散歩 (朝日選書, 1975). Jp trans. 篠田 一士
nihon bungaku sanpo
Travels in Japan (Gakuseisha, 1981)日本細見 (中央公論社, 1980). Jp trans. ??
nihonsaiken
Dawn to the West: Japanese Literature of the Modern Era; Fiction (Holt Rinehart & Winston, April 1, 1984)
Third book in the "A History of Japanese Literature" series
Dawn to the West: Japanese Literature in the Modern Era; Poetry, Drama, Criticism (Holt Rinehart & Winston, April 1, 1984)
Fourth book in the "A History of Japanese Literature" series
Dawn to the West: Japanese Literature in the Modern Era (Henry Holt & Co, September 1, 1987)
The Pleasures of Japanese Literature (Columbia University Press, October 1, 1988; ISBN 0-231-06736-4)古典の愉しみ (JICC, 1992). Jp trans. 大庭みな子
koten no tanoshimi Later published by 宝島社, 2000.
Donald Keene with Herbert E. Plutschow, Introducing Kyoto (Kodansha Amer Inc, April 1, 1989)
Travelers of a Hundred Ages: The Japanese As Revealed Through 1,000 Years of Diaries (Diane Pub Co, June 1, 1989)百代の過客 日記にみる日本人 (朝日選書, 1984 and 1988). Jp trans. 金関寿夫
hyakudai no kakaku: nikkini miru nihonjin Later published by Asahi, 2011 and 2012. [?trans of revised edition]
Modern Japanese Novels and the West (Umi Research Pr, July 1, 1989)
No and Bunraku: Two Forms of Japanese Theatre (Columbia University Press, December 1, 1990)能・文楽・歌舞伎 (講談社, 2001). Jp trans. 吉田 健一 & 松宮史朗
noh, bungaku, kabuki
Appreciations of Japanese Culture (Kodansha Amer Inc, April 1, 1991)
Donald Keene with Ooka Makoto, The Colors of Poetry: Essays in Classic Japanese Verse (Katydid Books, May 1, 1991)
Travelers of a Hundred Ages (Henry Holt & Co, August 1, 1992)
Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century (Henry Holt & Co, June 1, 1993)
First book in the "A History of Japanese Literature" series
On Familiar Terms: A Journey Across Cultures (Kodansha Amer Inc, January 1, 1994)
Reworking of the 1990–1992 Japanese newspaper column.
このひとすじにつながりて (朝日選書, 1993). Jp trans. 金関 寿夫
kono hitosuji ni tsunagarite
Modern Japanese Diaries: The Japanese at Home and Abroad As Revealed Through Their Diaries (Henry Holt & Co, March 1, 1995)
Later published by Columbia University Press, 1999 [?revised edition] Japanese edition published first.
The Blue-Eyed Tarokaja: A Donald Keene Anthology (Columbia University Press, June 1, 1996). Editor. J. Thomas Rimer碧い眼の太郎冠者
aoi me no taroukaja
On Familiar Terms: To Japan and Back, a Lifetime Across Cultures (Kodansha Amer Inc, April 1, 1996)
もう一つの母国、日本へ - Living in Two Countries (Kodansha International, 1999). Jp trans. 塩谷紘
English and Japanese bilingual text
Donald Keene with Anne Nishimura & Frederic A. Sharf, Japan at the Dawn of the Modern Age: Woodblock Prints from the Meija Era, 1868-1912 (Museum of Fine Arts Boston, May 1, 2001)
Sources of Japanese Tradition: From Earliest Times to 1600 compiled by Donalde Keen, Wm. Theodore De Bary, George Tanabe and Paul Varley (Columbia University Press, May 1, 2001)
Emperor of Japan: Meiji and His World, 1852–1912 (Columbia University Press, April 1, 2002)明治天皇 (新潮社, 2001). Jp trans. 角地 幸男.
meiji tennou Also published in 4 volumes, 2007.
Donald Keene with Lee Bruschke-Johnson & Ann Yonemura, Masterful Illusions: Japanese Prints from the Anne Van Biema Collection (University of Washington Pr, September 1, 2002)
Five Modern Japanese Novelists (Columbia University Press, December 1, 2002)思い出の作家たち―谷崎・川端・三島・安部・司馬 (新潮社, 2005). Jp trans. 松宮史朗
omoide no sakkatachi: Tanizaki, Kawabata, Mishima, Abe, Shiba
Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan (Columbia University Press, November 1, 2003)足利義政と銀閣寺 (中央公論新社, 2008). Jp trans. 角地 幸男.
Yoshimasa to ginkakuji
Frog In The Well: Portraits of Japan by Watanabe Kazan 1793–1841 (Asia Perspectives),(Columbia Univ. Press, 2006)渡辺崋山 (新潮社, 2007). Jp trans. 角地 幸男
Watanabe Kazan
Chronicles of My Life: An American in the Heart of Japan. (Columbia University Press, 2008)私と20世紀のクロニカル』 (中央公論新社, 2007)
watashi to 20 seiki no kuronikaru Later published as ドナルド・キーン自伝 (中公公論新社, 2011). Jp trans. 角地幸男 Un Occidental En Japon (Nocturna Ediciones, 2011). Es trans. José Pazó Espinosa
So Lovely A Country Will Never Perish: Wartime Diaries of Japanese Writers (Columbia University Press, 2010)? 日本人の戦争 作家の日記を読む (文藝春秋, 2009). Jp trans. 角地幸男
nihonjin no sensou: sakka no nikki wo yomu
The Winter Sun Shines In: A Life of Masaoka Shiki (Columbia University Press, 2013)正岡子規 (新潮社, 2012). Jp trans. 角地 幸男
Masaoka Shiki






Donald Keene
Donald Keene.jpg
Donald Keene in his Tokyo home in 2002.
Native name
キーン ドナルド
Born
Donald Lawrence Keene

June 18, 1922
New York City, United States
DiedFebruary 24, 2019 (aged 96)
CitizenshipJapanese
Children1
偉大的日本文學家鬼怒鳴門(唐納德・基恩)文化 語言 
美國出生的日本文學研究家、翻譯家鬼怒鳴門(唐納德・基恩),於2月24日因心臟衰竭在東京去世,享耆壽96歲。先生在紐約的一家書店初次邂逅《源氏物語》後,與日本結下了長達80年的不解之緣。本文請與他合著《我的日語修行》一書的日語教育學者,為我們講述他畢生的功績和個人魅力。
編者註:在本文日語版發表三天後的2月24日,唐納德・基恩因心力衰竭在東京市內的醫院去世,享耆壽96歲。作為日本通向世界的橋樑,先生的一生,功績卓著,發揮了無人可以替代的寶貴精神。在此我們謹向他表達衷心的感謝,並以本文哀悼,祈願故人安息。
鬼怒鳴門(唐納德・基恩,1922~2019年)是一位偉大的日本文學研究者、翻譯家。2012年3月初,89歲的他獲得了日本國籍,在東京都北區定居。在其眾多著作中最為引人注目的,恐怕當屬那部獨自撰寫、共計18卷的《日本文學史》。他飽讀古今文學作品原文,從1976年到1997年,耗費21年時間完成了這部巨著。從年紀而言,也就是用了整個從54歲到75歲的期間做出了此番壯舉。

30歲出頭完成的曠世名著

在這部作品之前,基恩還有一部曠世名著。那是將從古至今的大量日本文學翻譯作品精選編纂而成的選集,成為了推動日本文學走向世界的契機。他將精選的名作全文或部分章節的英語譯文按照年代順序進行排列,編寫了古典篇《Anthology of Japanese Literature》(《日本文學選集・古典篇》)和近代篇《Modern Japanese Literature:An Anthology》(《日本文學選集・近代篇》)兩冊,分別於1955年和1956年在紐約出版。在英語譯文上,除了借用現成的譯本外,他還委託熟人另行翻譯,或者親自動手翻譯。當時,基恩只有30歲出頭。從《萬葉集》《源氏物語》等古典到三島由紀夫、太宰治等人的現代作品,除了散文作品外,還收錄了和歌、連歌、俳句、漢詩文、能、狂言和淨琉璃等,內容豐富均衡,無論何時看來,都會覺得魅力無窮。
提到此事,基恩微笑著說「託福託福,雖然當時很年輕,但總算是沒出什麼大錯」。
基恩開始編寫這部選集是在1953年夏天,當時他初次來到京都大學研究所留學。令人驚訝的是,1955年5月回國之前,他就完成了從提煉構思,整理大量的原稿並加以編輯,再到出版談判的一系列工作,如此龐大的工程竟然只用了不到兩年的時間。
2013年11月18日,攝於東京北區的唐納德・基恩家中。左邊是筆者(筆者提供)
2013年11月18日,攝於東京北區的唐納德・基恩家中。左邊是筆者(筆者提供)

與源氏物語的邂逅

1938年,16歲。哥倫比亞大學入學時期(提供:柏崎唐納德・基恩中心)
1938年,16歲。哥倫比亞大學入學時期(提供:柏崎唐納德・基恩中心)
基恩初次接觸到日本文學是在1940年。他在紐約的一家書店用0.49美元(49美分)購買了威利(Arthur Waley)譯本的《源氏物語》(兩冊),從此愛不釋手。由於成績優秀,他在學校跳級,1938年9月,年僅16歲的他進入了哥倫比亞大學,而隔年第二次世界大戰在歐洲開戰後,充斥著戰況報導的報紙令他感覺可怕而無法閱讀。就在此時,威利譯本《源氏物語》的文字之美捕獲了青年基恩的心。
後來,他在哥倫比亞大學參加了角田柳作的「日本思想史」課程,逐漸加深了對於日本的理解。1941年12月,以日軍偷襲夏威夷珍珠港為導火索,日美進入了戰爭狀態。不久之後,他得知了加州大學柏克萊分校有一所海軍日語學校。日美交戰,需要掌握日語,而他在聽廣播說美國缺乏日語人才後,主動寫了一封申請信,希望進入海軍日語學校學習,後得到錄取通知。起初,基恩一門心思考慮的只是學習日語。

在海軍日語學校學習日語

1942年2月到1943年1月的11個月,基恩在海軍日語學校接受了集中的日語教育。大部分教師是日裔,教科書用的是長沼直兄編寫的《標準日本語讀本》。除了從入門級別到具有一定修養的日本成年人的讀寫級別的日語外,他還由於軍務中需要解讀手寫文字,學習了「草書」。日裔教師們對學生們傾囊相授,師生之間建立了牢固的信賴關係。
畢業後,基恩以海軍情報士官的身份開始在珍珠港執行任務,後來又隨軍前往阿圖島、基斯卡島、艾達克島、菲律賓、沖繩和關島,從事與日軍相關的翻譯、日軍日記的解讀、日軍俘虜的審訊和翻譯等工作。基恩在課堂上結識了不少可以信賴的日本人,在戰場上對日本人也並不抱憎惡感,他說他從日本人的日記中深刻領悟了他們的內心想法。後來他還寫過一部解讀大量古今日記文學的《百代過客》(正篇・續篇),這成為了其代表作之一。基恩對日記文學的關注,源於他在戰場上的體驗。
1945年,身為海軍情報軍官的基恩在沖繩與日裔二代部下們合影(提供:柏崎唐納德・基恩中心)
1945年,身為海軍情報軍官的基恩在沖繩與日裔二代部下們合影(提供:柏崎唐納德・基恩中心)
1945年8月,大戰在基恩預想的時間之前結束了。他回到了哥倫比亞大學,在研究所學習日本文學。1947年秋天,他轉入哈佛大學,1948年秋天,他開始在英國劍橋大學從事研究活動,1951年憑藉針對近松門左衛門淨琉璃的研究成果,獲得了哥倫比亞大學授予的博士學位。

終於如願前往日本

1945年到1952年的期間,盟軍總司令部(GHQ)佔領下的日本一直沒有接收留學生。直到1951年日美簽署舊金山和約,日本恢復主權,基恩才實現了留學日本的夙願。拿到獎學金後,1953年夏季,他如願前往魂牽夢縈的古都京都留學。
當時,他借住在位於京都市東山區今熊野的一戶民宅,一個標準日式的房子裡。櫻樹和楓樹環繞四周,還能聽到屋前的山谷傳來潺潺溪流聲。他希望體驗傳統的日式生活,所以在寒冷的冬季也不用暖爐,而是用炭火取暖,吃飯也是拜託寄宿家庭的女主人奧村綾子烹煮和食,還在鋪著榻榻米的書房裡擺上一張又矮又小的和式書桌,看書寫字都是跪坐在桌前。在編輯前文提到的《Anthology of Japanese Literature》的過程中,大量的英文打字工作都是在這個書桌上完成的。
1955年5月回到美國的基恩於當年9月出版了作為古典篇的《Anthology of Japanese Literature》。出版之前,日本協會(Japan Society,美國的日本交流團體)曾承諾,如果初版印刷的2000本沒有售完,那麼協會將負責收購,誰知在耶誕節之前初版就宣告售罄了。於是又開始再版加印。令人意想不到的是,在經過戰爭、佔領後,當時與日本的接觸機會越來越多的美國人開始對日本文化產生了興趣。次年,近代篇也順利出版,時至今日,這兩本書依然經常再版印刷。
選集出版半個世紀之後的2006年,在哥倫比亞大學舉行了50週年慶典。基恩回憶起當時的情況稱,在世界各地從事日本文學的教育、研究和翻譯工作的人士齊聚一堂,紛紛表示自己最初接觸到日本文學正是通過這部選集,令自己感到欣喜萬分。
1956年9月13日,基恩在東京品川的喜多能樂堂扮演狂言劇碼「千鳥」中的太郎冠者(渡部雄吉攝影)
1956年9月13日,基恩在東京品川的喜多能樂堂扮演狂言劇碼「千鳥」中的太郎冠者(渡部雄吉攝影)

近代日本代表性人物的評傳

除了文學作品的研究和翻譯活動外,基恩還在79歲高齡的2001年出版了評傳《明治天皇》,開闢了一片新天地。這是一部分為上下兩冊,共計1000頁的巨著。儘管1945年戰敗後,天皇發表了「人間宣言」,但日本仍然一直沒有一本將明治天皇(1852~1912年)作為凡人加以刻畫的評傳。基恩依據數量龐大的資料,採用嚴謹的筆風,理性地描繪了這樣一個具有國際視野的人類終生扮演著「神」的角色所走過的一生。後來,他在2007年出版了江戶後期畫家《渡邊華山》評傳,歸化日本國籍以後分別於2012和2016年出版了近代日本短詩型文學的兩名改革者《正岡子規》《石川啄木》評傳,每次都引發了言論。
與作家三島由紀夫在一起。1964年6月18日攝於東京虎門「福田家」餐館(提供:中央公論新社)
與作家三島由紀夫在一起。1964年6月18日攝於東京虎門「福田家」餐館(提供:中央公論新社)

加入日本籍和新的家人

2012年,在取得日本國籍的同時,基恩擁有了日本人的家人。他將淨琉璃三味線演奏者誠己(68歲)收為了義子。誠己的藝名叫做越後角太夫。
2012年3月8日,取得日本國籍後,基恩舉行記者會,公佈了自己的日本名。後方拿著相機拍照的是他的義子誠己,攝於東京北區政府(時事)
2012年3月8日,取得日本國籍後,基恩舉行記者會,公佈了自己的日本名。後方拿著相機拍照的是他的義子誠己,攝於東京北區政府(時事)
角太夫曾為基恩的朋友在大英博物館圖書館發現的古淨琉璃劇本譜曲,並在2009年進行表演,讓其重見了天日。2017年6月初,兩人合作在大英博物館圖書館實現了「越後國柏崎 弘知法印御傳記」古淨琉璃公演。這個據傳是1692年來到長崎出島荷蘭商館當醫生的德國人肯普法(Engelbert Kaempfer)從日本帶回歐洲的古淨琉璃劇本由此得以重生,還促成基恩和角太夫這對義父義子結下了一段不可思議的緣分。
誠己稱義父為「父親大人」,兩人總是開著玩笑歡談,幸福之情溢於言表。在美國,基恩沒有享受到家庭的天倫之樂,而成為日本人以後,他經常參加誠己親屬們的聚會,被一大群人們圍著叫「大哥」、「伯伯(叔叔)」,那樣的時光總是令他非常享受。
即使邁入96歲高齡,基恩依然筆耕不輟,從沒有停止過新書的撰寫。他說,「我從不認為這將是我的最後一本書」。 基恩畢生取得的偉大成就,今後也將永遠銘記在人們的心中。
2017年5月,在柏崎唐納德・基恩中心觀看古淨琉璃的排練。右邊是義子誠己(宮澤正明攝影)
2017年5月,在柏崎唐納德・基恩中心觀看古淨琉璃的排練。右邊是義子誠己(宮澤正明攝影)
標題圖片:攝於唐納德・基恩位於東京都北區的家中,2011年10月(時事)



日本文學研究者、翻譯家(唐納德・基恩,1922~2019年)。Donald Keene’s Japanese Adventure...Some Japanese Portraits by Donald Keene 日本文學散步

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鬼怒鳴門(唐納德・基恩,1922~2019年)是一位偉大的日本文學研究者、翻譯家。2012年3月初,89歲的他獲得了日本國籍,在東京都北區定居。在其眾多著作中最為引人注目的,恐怕當屬那部獨自撰寫、共計18卷的《日本文學史》。他飽讀古今文學作品原文,從1976年到1997年,耗費21年時間完成了這部巨著。從年紀而言,也就是用了整個從54歲到75歲的期間做出了此番壯舉。

編者註:在本文日語版發表三天後的2月24日,唐納德・基恩因心力衰竭在東京市內的醫院去世,享耆壽96歲。作為日本通向世界的橋樑,先生的一生,功績卓著,發揮了無人可以替代的寶貴精神。在此我們謹向他表達衷心的感謝,並以本文哀悼,祈願故人安息。
鬼怒鳴門(唐納德・基恩,1922~2019年)是一位偉大的日本文學研究者、翻譯家。2012年3月初,89歲的他獲得了日本國籍,在東京都北區定居。在其眾多著作中最為引人注目的,恐怕當屬那部獨自撰寫、共計18卷的《日本文學史》。他飽讀古今文學作品原文,從1976年到1997年,耗費21年時間完成了這部巨著。從年紀而言,也就是用了整個從54歲到75歲的期間做出了此番壯舉。

30歲出頭完成的曠世名著

在這部作品之前,基恩還有一部曠世名著。那是將從古至今的大量日本文學翻譯作品精選編纂而成的選集,成為了推動日本文學走向世界的契機。他將精選的名作全文或部分章節的英語譯文按照年代順序進行排列,編寫了古典篇《Anthology of Japanese Literature》(《日本文學選集・古典篇》)和近代篇《Modern Japanese Literature:An Anthology》(《日本文學選集・近代篇》)兩冊,分別於1955年和1956年在紐約出版。在英語譯文上,除了借用現成的譯本外,他還委託熟人另行翻譯,或者親自動手翻譯。當時,基恩只有30歲出頭。從《萬葉集》《源氏物語》等古典到三島由紀夫、太宰治等人的現代作品,除了散文作品外,還收錄了和歌、連歌、俳句、漢詩文、能、狂言和淨琉璃等,內容豐富均衡,無論何時看來,都會覺得魅力無窮。
提到此事,基恩微笑著說「託福託福,雖然當時很年輕,但總算是沒出什麼大錯」。
基恩開始編寫這部選集是在1953年夏天,當時他初次來到京都大學研究所留學。令人驚訝的是,1955年5月回國之前,他就完成了從提煉構思,整理大量的原稿並加以編輯,再到出版談判的一系列工作,如此龐大的工程竟然只用了不到兩年的時間。
2013年11月18日,攝於東京北區的唐納德・基恩家中。左邊是筆者(筆者提供)
2013年11月18日,攝於東京北區的唐納德・基恩家中。左邊是筆者(筆者提供)

與源氏物語的邂逅

1938年,16歲。哥倫比亞大學入學時期(提供:柏崎唐納德・基恩中心)
1938年,16歲。哥倫比亞大學入學時期(提供:柏崎唐納德・基恩中心)
基恩初次接觸到日本文學是在1940年。他在紐約的一家書店用0.49美元(49美分)購買了威利(Arthur Waley)譯本的《源氏物語》(兩冊),從此愛不釋手。由於成績優秀,他在學校跳級,1938年9月,年僅16歲的他進入了哥倫比亞大學,而隔年第二次世界大戰在歐洲開戰後,充斥著戰況報導的報紙令他感覺可怕而無法閱讀。就在此時,威利譯本《源氏物語》的文字之美捕獲了青年基恩的心。
後來,他在哥倫比亞大學參加了角田柳作的「日本思想史」課程,逐漸加深了對於日本的理解。1941年12月,以日軍偷襲夏威夷珍珠港為導火索,日美進入了戰爭狀態。不久之後,他得知了加州大學柏克萊分校有一所海軍日語學校。日美交戰,需要掌握日語,而他在聽廣播說美國缺乏日語人才後,主動寫了一封申請信,希望進入海軍日語學校學習,後得到錄取通知。起初,基恩一門心思考慮的只是學習日語。

在海軍日語學校學習日語

1942年2月到1943年1月的11個月,基恩在海軍日語學校接受了集中的日語教育。大部分教師是日裔,教科書用的是長沼直兄編寫的《標準日本語讀本》。除了從入門級別到具有一定修養的日本成年人的讀寫級別的日語外,他還由於軍務中需要解讀手寫文字,學習了「草書」。日裔教師們對學生們傾囊相授,師生之間建立了牢固的信賴關係。
畢業後,基恩以海軍情報士官的身份開始在珍珠港執行任務,後來又隨軍前往阿圖島、基斯卡島、艾達克島、菲律賓、沖繩和關島,從事與日軍相關的翻譯、日軍日記的解讀、日軍俘虜的審訊和翻譯等工作。基恩在課堂上結識了不少可以信賴的日本人,在戰場上對日本人也並不抱憎惡感,他說他從日本人的日記中深刻領悟了他們的內心想法。後來他還寫過一部解讀大量古今日記文學的《百代過客》(正篇・續篇),這成為了其代表作之一。基恩對日記文學的關注,源於他在戰場上的體驗。
1945年,身為海軍情報軍官的基恩在沖繩與日裔二代部下們合影(提供:柏崎唐納德・基恩中心)
1945年,身為海軍情報軍官的基恩在沖繩與日裔二代部下們合影(提供:柏崎唐納德・基恩中心)
1945年8月,大戰在基恩預想的時間之前結束了。他回到了哥倫比亞大學,在研究所學習日本文學。1947年秋天,他轉入哈佛大學,1948年秋天,他開始在英國劍橋大學從事研究活動,1951年憑藉針對近松門左衛門淨琉璃的研究成果,獲得了哥倫比亞大學授予的博士學位。

終於如願前往日本

1945年到1952年的期間,盟軍總司令部(GHQ)佔領下的日本一直沒有接收留學生。直到1951年日美簽署舊金山和約,日本恢復主權,基恩才實現了留學日本的夙願。拿到獎學金後,1953年夏季,他如願前往魂牽夢縈的古都京都留學。
當時,他借住在位於京都市東山區今熊野的一戶民宅,一個標準日式的房子裡。櫻樹和楓樹環繞四周,還能聽到屋前的山谷傳來潺潺溪流聲。他希望體驗傳統的日式生活,所以在寒冷的冬季也不用暖爐,而是用炭火取暖,吃飯也是拜託寄宿家庭的女主人奧村綾子烹煮和食,還在鋪著榻榻米的書房裡擺上一張又矮又小的和式書桌,看書寫字都是跪坐在桌前。在編輯前文提到的《Anthology of Japanese Literature》的過程中,大量的英文打字工作都是在這個書桌上完成的。
1955年5月回到美國的基恩於當年9月出版了作為古典篇的《Anthology of Japanese Literature》。出版之前,日本協會(Japan Society,美國的日本交流團體)曾承諾,如果初版印刷的2000本沒有售完,那麼協會將負責收購,誰知在耶誕節之前初版就宣告售罄了。於是又開始再版加印。令人意想不到的是,在經過戰爭、佔領後,當時與日本的接觸機會越來越多的美國人開始對日本文化產生了興趣。次年,近代篇也順利出版,時至今日,這兩本書依然經常再版印刷。
選集出版半個世紀之後的2006年,在哥倫比亞大學舉行了50週年慶典。基恩回憶起當時的情況稱,在世界各地從事日本文學的教育、研究和翻譯工作的人士齊聚一堂,紛紛表示自己最初接觸到日本文學正是通過這部選集,令自己感到欣喜萬分。
1956年9月13日,基恩在東京品川的喜多能樂堂扮演狂言劇碼「千鳥」中的太郎冠者(渡部雄吉攝影)
1956年9月13日,基恩在東京品川的喜多能樂堂扮演狂言劇碼「千鳥」中的太郎冠者(渡部雄吉攝影)

加入日本籍和新的家人

2012年,在取得日本國籍的同時,基恩擁有了日本人的家人。他將淨琉璃三味線演奏者誠己(68歲)收為了義子。誠己的藝名叫做越後角太夫。
2012年3月8日,取得日本國籍後,基恩舉行記者會,公佈了自己的日本名。後方拿著相機拍照的是他的義子誠己,攝於東京北區政府(時事)
2012年3月8日,取得日本國籍後,基恩舉行記者會,公佈了自己的日本名。後方拿著相機拍照的是他的義子誠己,攝於東京北區政府(時事)
角太夫曾為基恩的朋友在大英博物館圖書館發現的古淨琉璃劇本譜曲,並在2009年進行表演,讓其重見了天日。2017年6月初,兩人合作在大英博物館圖書館實現了「越後國柏崎 弘知法印御傳記」古淨琉璃公演。這個據傳是1692年來到長崎出島荷蘭商館當醫生的德國人肯普法(Engelbert Kaempfer)從日本帶回歐洲的古淨琉璃劇本由此得以重生,還促成基恩和角太夫這對義父義子結下了一段不可思議的緣分。
誠己稱義父為「父親大人」,兩人總是開著玩笑歡談,幸福之情溢於言表。在美國,基恩沒有享受到家庭的天倫之樂,而成為日本人以後,他經常參加誠己親屬們的聚會,被一大群人們圍著叫「大哥」、「伯伯(叔叔)」,那樣的時光總是令他非常享受。
即使邁入96歲高齡,基恩依然筆耕不輟,從沒有停止過新書的撰寫。他說,「我從不認為這將是我的最後一本書」。 基恩畢生取得的偉大成就,今後也將永遠銘記在人們的心中。
2017年5月,在柏崎唐納德・基恩中心觀看古淨琉璃的排練。右邊是義子誠己(宮澤正明攝影)
2017年5月,在柏崎唐納德・基恩中心觀看古淨琉璃的排練。右邊是義子誠己(宮澤正明攝影)
標題圖片:攝於唐納德・基恩位於東京都北區的家中,2011年10月(時事)

近代日本代表性人物的評傳

除了文學作品的研究和翻譯活動外,基恩還在79歲高齡的2001年出版了評傳《明治天皇》,開闢了一片新天地。這是一部分為上下兩冊,共計1000頁的巨著。儘管1945年戰敗後,天皇發表了「人間宣言」,但日本仍然一直沒有一本將明治天皇(1852~1912年)作為凡人加以刻畫的評傳。基恩依據數量龐大的資料,採用嚴謹的筆風,理性地描繪了這樣一個具有國際視野的人類終生扮演著「神」的角色所走過的一生。後來,他在2007年出版了江戶後期畫家《渡邊華山》評傳,歸化日本國籍以後分別於2012和2016年出版了近代日本短詩型文學的兩名改革者《正岡子規》《石川啄木》評傳,每次都引發了言論。
與作家三島由紀夫在一起。1964年6月18日攝於東京虎門「福田家」餐館(提供:中央公論新社)
與作家三島由紀夫在一起。1964年6月18日攝於東京虎門「福田家」餐館(提供:中央公論新社)

Japanese literature expert Keene plans move to Tokyo

BY TOSHIHIRO YAMANAKA CORRESPONDENT
2011/04/19

photoDonald Keene conducts a lecture last month at Columbia University. (Mari Sakamoto)
NEW YORK--The renowned Japanese literature expert Donald Keene, professor emeritus at Columbia University, is teaching for the last time this spring term.
The 88-year-old Keene will step down in late April, bringing to an end a teaching career at Columbia that began in 1955.
After concluding his teaching duties, Keene plans to move permanently to Tokyo and fulfill his dream of writing full time.
Keene was very concerned following the Great East Japan Earthquake of March 11. He had made many visits to Chusonji temple in Hiraizumi, Iwate Prefecture, and Matsushima in Miyagi Prefecture, two of the hardest-hit prefectures in the Tohoku region.
"I have had special feelings toward the Tohoku region since I first traveled along the 'Oku no hosomichi' 56 years ago," Keene said. "I lectured for about six months at Tohoku University, and I am acquainted with the priests at Chusonji temple. I am very worried."
Keene referred to the classic work of literature written by the haiku master Matsuo Basho (1644-1694), which he translated into English under the title, "The Narrow Road to Oku."
While there is high scientific interest now in the United States on how to prevent earthquakes and tsunami, Keene is skeptical about the Western-style conviction in science that believes humans can control natural disasters.
"I am a person who has been heavily influenced by Japanese culture," Keene said. "I am moved by the sense of resignation that feels the power held by nature cannot be resisted."
In his final term at Columbia, Keene has been lecturing on such Noh songs as "Funabenkei" and "Yuya."
His initial encounter with Japanese literature was purely by accident.
Having skipped grades in school, Keene entered Columbia University when he was 16. One day, he happened to sit next to a Chinese-American student and started learning kanji from him. Keene was deeply struck by the beauty of kanji.
He was also fascinated by the English translation of "The Tale of Genji" that he read when he was 18, and he volunteered to enter the U.S. Navy's Japanese language school.
He was surprised to hear about Japanese soldiers fighting to the death at Attu in the Aleutian chain. During the Battle of Okinawa, he searched for Japanese hiding in caves.
His days in Qingdao, China, were spent interrogating Japanese prisoners of war.
"I saw the dark side of humans," Keene said. "There were Japanese POWs who betrayed their fellow soldiers, and there were U.S. soldiers who duped Japanese POWs into giving up their artwork possessions."
Becoming fed up with the interrogations, Keene asked for a discharge. He returned to New York, but he could not find an occupation that interested him.
"I resumed my study of Japanese literature because I felt the Japanese language best suited my constitution," he said.
Over the course of 70 years of research, he has written more than 40 books.
When asked to name his personal top three among all the books he has published, Keene gave the Japanese titles for works that he also wrote in English, a multivolume "History of Japanese Literature" as well as books titled in English as "Yoshimasa and the Silver Pavilion" and "So Lovely A Country Will Never Perish."
"Looking back, what I feel about my life is that it is not me who chose Japan, but Japan who chose me," Keene said. "After retiring from teaching, I will move to Japan and apply for Japanese citizenship. While immersing myself in the Japanese language, I want to devote my time to reading and writing."
His first project is to complete a biography of Masaoka Shiki (1867-1902), a haiku poet of the Meiji Era (1868-1912).




日本文學散步

Some Japanese Portraits (Kodansha Amer Inc, March 1, 1979)

KyotoAshikaga Yoshimasa (Jp. 足利 義政) (January 20,
1435–January 27, 1490) was the 8th shogun of the Ashikaga shogunate who reigned
from 1449 to 1473 during the Muromachi period of Japan. Yoshimasa was the
Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan (Columbia Univ Pr, November 1, 2003)
世界windows之旅( 65
Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan (Columbia Univ Pr, November 1, 2003) by D. Keene
KyotoAshikaga Yoshimasa (Jp. 足利義政 ) (January 20, 1435–January 27, 1490) w
比喻光陰。唐˙李白˙春夜宴桃李園序:夫天地者,萬物之逆旅;光陰者,百代之過客。
路過的客人、旅人。史記˙卷七十七˙魏公子傳:然嬴欲就公子之名,故久立公子車騎市中,過客以觀公子,公子愈恭。
短暫停留的旅人,含有短促漂泊、渺小的意味。唐˙李白˙春夜宴從弟桃園序:夫天地者,萬物之逆旅。光陰者,百代之過客

---
ドナルド・キーン
『百代の過客』上・下
1984 朝日選書
金関寿夫訳

Donald Keene

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Donald Keene in his Tokyo home in 2002.
Donald Lawrence Keene (born June 6, 1922 in New York City) is a Japanologist, scholar, teacher, writer, translator and interpreter of Japanese literature and culture. Keene is currently University Professor Emeritus and Shincho Professor Emeritus of Japanese Literature at Columbia University, where he has taught for over fifty years.
Keene has published about 25 books in English on Japanese topics, including both studies of Japanese literature and culture and translations of Japanese classical and modern literature, including a four-volume history of Japanese literature. Keene has also published about 30 books in Japanese (some translated from English).
Keene is the president of the Donald Keene Foundation for Japanese Culture.

Contents

[hide]

 Education

Keene received a Bachelor's degree from Columbia in 1942. He studied Japanese language at the U.S. Navy Japanese Language School in Boulder, Colorado and in California, and served as an intelligence officer in the Pacific region during World War II. Upon his discharge from the Navy, he returned to Columbia where he earned a master's degree in 1947.
He studied for a year at Harvard University before transferring to Cambridge where he earned a second masters, after which he stayed at Cambridge as a Lecturer from 1949-1955. In the interim, he also studied at Kyoto University, and earned a Ph.D. from Columbia in 1951. Keene credits Tsunoda Ryūsaku as a mentor during this period.
Keene taught at least two courses [Elementary Conversational Japanese, and Japanese Literature in (English) Translation] at the University of California (Berkeley), c. 1954/55[citation needed]

 Publications

 Translations

  • Chikamatsu Monzaemon, The Battles of Coxinga: Chikamatsu's Puppet Play, Its Background and Importance (Taylor's Foreign Pr, 1951)
  • Dazai Osamu, No Longer Human (New Directions, 1958)
  • Chikamatsu Monzaemon, The Major Plays of Chikamatsu (Columbia Univ Pr, June 1, 1961)
  • Yoshida Kenkō, Essays in Idleness: The Tsurezuregusa of Kenko (Columbia Univ Pr, June 1, 1967)
  • Mishima Yukio, Five Modern No Plays - Including: Madame de Sade (Tuttle, 1967)
  • Chushingura: The Treasury of Loyal Retainers, a Puppet Play (Columbia Univ Pr, April 1, 1971)
  • Mishima Yukio, After the Banquet (Random House Inc, January 1, 1973)
  • Dazai Osamu, The Setting Sun (Tuttle, 1981)
  • Abe Kobo, Three Plays (Columbia Univ Pr, February 1, 1997)
  • Matsuo Bashō, The Narrow Road to Oku (Kodansha Amer Inc, April 1, 1997)
  • Kawabata Yasunari, The Tale of the Bamboo Cutter (Kodansha Amer Inc, September 1, 1998)
  • Yamamoto Yuzo, One Hundred Sacks of Rice: A Stage Play (Nagaoka City Kome Hyappyo Foundation, 1998)
  • Donald Keene & Oda Makoto, The Breaking Jewel, Keene, Donald (trans) (Columbia Univ Pr, March 1, 2003)

 Editor

  • Anthology of Japanese Literature from the Earliest Era to the Mid-Nineteenth Century (Grove Pr, March 1, 1960)
  • Anthology of Chinese Literature: From the 14th Century to the Present Day (co-editor with Cyril Birch) (Grove Pr, June 1, 1987)
  • Love Songs from the Man'Yoshu (Kodansha Amer Inc, August 1, 2000)

Works in English

  • The Battles of Coxinga: Chikamatsu's Puppet Play, Its Background and Importance (Taylor's Foreign Pr, 1951)
  • The Japanese Discovery of Europe: Honda Toshiaki and other discoverers 1720-1952 (Routledge and K. Paul, 1952)
  • Japanese Literature an Introduction for Western Readers (Grove Pr, June 1, 1955)
  • Modern Japanese Literature: An Anthology (Grove Pr, June 1, 1956)
  • Major Plays of Chikamatsu (Columbia Univ Pr, January 1, 1961)
  • Four Major Plays of Chikamatsu (Columbia Univ Pr, June 1, 1961)
  • Japanese Discovery of Europe, 1720-1830 (Stanford Univ Pr, June 1, 1969)
  • Twenty Plays of the No Theatre (Columbia Univ Pr, June 1, 1970)
  • World Within Walls: Japanese Literature of the Pre-Modern Era, 1600-1867(Henry Holt & Co, October 1, 1976) -(Second book in his "A History of Japanese Literature" series)
  • Some Japanese Portraits (Kodansha Amer Inc, March 1, 1979)
  • Dawn to the West: Japanese Literature in the Modern Era (Henry Holt & Co, September 1, 1987)
    • Dawn to the West: Japanese Literature in the Modern Era; Poetry, Drama, Criticism (Holt Rinehart & Winston, April 1, 1984) -(Fourth book in his "A History of Japanese Literature" series)
    • Dawn to the West: Japanese Literature of the Modern Era; Fiction (Holt Rinehart & Winston, April 1, 1984) -(Third book in his "A History of Japanese Literature" series)
  • The Pleasures of Japanese Literature (Columbia Univ Pr, October 1, 1988; ISBN 0-231-06736-4)
  • Donald Keene with Herbert E. Plutschow, Introducing Kyoto (Kodansha Amer Inc, April 1, 1989)
  • Travelers of a Hundred Ages: The Japanese As Revealed Through 1,000 Years of Diaries (Diane Pub Co, June 1, 1989)
  • Modern Japanese Novels and the West (Umi Research Pr, July 1, 1989)
  • No and Bunraku: Two Forms of Japanese Theatre (Columbia Univ Pr, December 1, 1990)
  • Appreciations of Japanese Culture (Kodansha Amer Inc, April 1, 1991)
  • Donald Keene with Ooka Makoto, The Colors of Poetry: Essays in Classic Japanese Verse (Katydid Books, May 1, 1991)
  • Travelers of a Hundred Ages (Henry Holt & Co, August 1, 1992)
  • Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century (Henry Holt & Co, June 1, 1993) -(First book in his "A History of Japanese Literature" series)
  • On Familiar Terms: A Journey Across Cultures (Kodansha Amer Inc, January 1, 1994)
  • Modern Japanese Diaries: The Japanese at Home and Abroad As Revealed Through Their Diaries (Henry Holt & Co, March 1, 1995)
  • The Blue-Eyed Tarokaja: A Donald Keene Anthology (Columbia Univ Pr, June 1, 1996
  • On Familiar Terms: To Japan and Back, a Lifetime Across Cultures (Kodansha Amer Inc, April 1, 1996)
  • Donald Keene with Anne Nishimura & Frederic A. Sharf, Japan at the Dawn of the Modern Age: Woodblock Prints from the Meija Era, 1868-1912 (Museum of Fine Arts Boston, May 1, 2001)
  • Sources of Japanese Tradition: From Earliest Times to 1600 compiled by Donalde Keen, Wm. Theodore De Bary, George Tanabe and Paul Varley (Columbia Univ Pr, May 1, 2001)
  • Emperor of Japan: Meiji and His World, 1852-1912 (Columbia Univ Pr, April 1, 2002)
  • Donald Keene with Lee Bruschke-Johnson & Ann Yonemura, Masterful Illusions: Japanese Prints from the Anne Van Biema Collection (Univ of Washington Pr, September 1, 2002)
  • Five Modern Japanese Novelists (Columbia Univ Pr, December 1, 2002)
  • Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan (Columbia Univ Pr, November 1, 2003)
  • Frog In The Well: Portraits of Japan by Watanabe Kazan 1793-1841 (Asia Perspectives),(Columbia Univ. Press, 2006)
  • Chronicles of My Life: An American in the Heart of Japan. (Columbia Univ. Press, 2008)
  • So Lovely A Country Will Never Perish: Wartime Diaries of Japanese Writers (Columbia Univ. Press, 2010)

 Honorary degrees

Keene has been awarded nine honorary doctorates, from:

Awards and commendations

  • Kikuchi Kan Prize (Kikuchi Kan Shō Society for the Advancement of Japanese Culture), 1962.[1]
  • Van Ameringen Distinguished Book Award, 1967
  • Kokusai Shuppan Bunka Shō Taishō, 1969
  • Kokusai Shuppan Bunka Shō, 1971
  • Yamagata Banto Prize (Yamagata Bantō Shō), 1983
  • The Japan Foundation Award (Kokusai Kōryū Kikin Shō), 1983
  • Yomiuri Literary Prize (Yomiuri Bungaku Shō), 1985 (Keene was the first non-Japanese to receive this prize, for a book of literary criticism (Travellers of a Hundred Ages) in Japanese)
  • Award for Excellence (Graduate Faculties Alumni of Columbia University), 1985
  • Nihon Bungaku Taishō, 1985
  • Donald Keene Center of Japanese Culture at Columbia University named in Keene's honour, 1986
  • Tōkyō-to Bunka Shō, 1987
  • NBCC (The National Book Critics Circle) Ivan Sandrof Award for Lifetime Achievement in Publishing, 1990
  • The Fukuoka Asian Culture Prize (Fukuoka Ajia Bunka Shō), 1991
  • Nihon Hōsō Kyōkai (NHK) Hōsō Bunka Shō, 1993
  • Inoue Yasushi Bunka Shō (Inoue Yasushi Kinen Bunka Zaidan), 1995
  • The Distinguished Achievement Award (from The Tokyo American Club) #65288;for the lifetime achievements and unique contribution to international relations), 1995
  • Award of Honor (from The Japan Society of Northern California), 1996
  • Asahi Award, 1997
  • Mainichi Shuppan Bunka Shō (The Mainichi Newspapers), 2002
  • The PEN/Ralph Manheim Medal for Translation, 2003

National Honors and Decorations





Order of the Rising Sun (3rd Class) rosette

Notes

  1. ^"Professor Gets Prize; Keene of Columbia Cited for Work in Japanese Letters,"New York Times. March 5, 1962.
  2. ^"Donald Keene, 7 others win Order of Culture,"Yomiuri Shimbun. October 29, 2008.

[edit]See also

[edit]External links


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唐納德·基恩(Donald Keene 1922-2019 ドナルド・キーンさん)死去 96歳;入籍日本,adult adoption

Donald Keene, a scholar of Japanese literature who became the first foreigner to receive the country's highest cultural award, died of heart failure at a Tokyo hospital on Sunday.
U.S.-born scholar of Japanese literature Donald Keene dies at 96


FILE PHOTO: Donald Keene shows off a placard with his name written in Japanese at Tokyo's Kita ward office after becoming a Japanese citizen in Tokyo, Japan, in this photo taken by Kyodo March 8, 2012. Mandatory credit Kyodo/via REUTERS

TOKYO (Reuters) - Donald Keene, a scholar of Japanese literature who became the first foreigner to receive the country’s highest cultural award, died of heart failure at a Tokyo hospital on Sunday.

Keene, 96, was known for introducing Japan’s culture in the United States and around the world through his scholarship and translations of classical and modern Japanese literature.


“It was all of sudden. I was shocked,” Akira Someya, the director and secretary-general of the Donald Keene Centre in the northern city of Kashiwazaki, told Reuters.

Keene, who befriended giants of Japanese literature such as Yukio Mishima and Yasunari Kawabata, was awarded the Order of Culture in March 2008, the first non-Japanese to receive it, and became a Japanese citizen in 2012.


He graduated from university in 1942 and studied Japanese under the auspices of the U.S. Navy before working in military intelligence during World War Two, interrogating prisoners and translating documents.

Keene went on to a career as a scholar of Japanese literature and was credited with a key role in winning recognition for “The Tale of Genji”, an 11th-century masterpiece often called the world’s first novel, as world-class literature.

After more than half a century teaching at Columbia University, Keene moved to Tokyo full-time and took Japanese citizenship following the devastating earthquake and nuclear disaster in northeast Japan in 2011.


Reporting by Tetsushi Kajimoto; Editing by Clarence Fernandez
Our Standards:The Thomson Reuters Trust Principles.


Prominent U.S.-born Japanese literature scholar Donald Keene, who introduced a number of talented Japanese writers to the world, died of cardiac arrest at a Tokyo hospital on Sunday. He was 96.


He obtained Japanese citizenship in 2012 after seeing the struggle of people hit by the 2011 quake-tsunami disaster that devastated the coastal Tohoku region on March 11, 2011.




Keene was a close friend of a number of Japanese novelists and scholars, including late novelist Yukio Mishima, Nobel Prize winner Yasunari Kawabata and writer Junichiro Tanizaki.


Born in New York in 1922, he became fascinated with Japanese literature after he read an English translated version of the Tale of Genji, at Columbia University when he was 18.


The Tale of Genji, written by Murasaki Shikibu in the early 11th century, is a love story of a son of an emperor and is generally considered the world’s first novel.


Keene’s interest in contemporary Japan grew while as he served as the Japanese-language interpreter for the U.S. Navy during World War II, interrogating a number of Japanese prisoners and translating diaries left by Japanese soldiers.


In 1953, he entered a graduate school of Kyoto University to study Japanese literature. He also taught at Columbia University in New York, frequently visiting Japan and translated a number of contemporary works of Japanese novelists into English, becoming close friends of them.


“I have been happiest when I thought I had discovered some work not fully appreciated by the Japanese themselves, and as an enthusiast, I have not tried to keep my discovery to myself but to ‘publish’ it,” Keene wrote in his autobiography titled “On Familiar Terms,” published in 1994.


“I am glad that I had the chance to contribute to a basic understanding in the West of Japanese literature, and of Japanese culture in general,” he wrote.


Keene was a professor emeritus of Japanese literature at Columbia University.


“Professor Keene played the leading role in the establishment of Japanese literary studies in the United States and beyond,” the university said in a statement posted at its Donald Keene Center of Japanese Culture.


“Through his scholarship, translations, and edited anthologies, and through the work of students he trained and inspired, he did more than any other individual to further the study and appreciation of Japanese literature and culture around the world in the postwar era,” the university said.



Famed Japanese literature scholar Donald Keene dies at 96
The Japan Times·5 hours ago



Donald Keene, renowned scholar of Japanese literature, dies aged 96

The Guardian·53 mins ago



Noted scholar Donald Keene dies


NHK WORLD·5 hours ago



日本の古典から現代文学まで通じ、世界に日本文学を広めた日本文学研究者のドナルド・キーンさんが亡くなりました。東日本大震災の後、日本への永住を決めて日本国籍を取得したキーンさんは生前、日本の文化と人生、戦争と日本との出会いなどを朝日新聞に語っています。

ドナルド・キーンさん死去

ドナルド・キーン
Donald Keene/1922年、NY生まれ
1940年源氏物語に触れ、日本語を学ぶ
1945年沖縄戦で捕虜の住民を尋問
1953年京都大学大学院に留学
1992年コロンビア大名誉教授
2012年日本国籍を取得
主な受賞菊池寛賞、読売文学賞、朝日賞、毎日出版文化賞、文化勲章
朝日新聞社
写真・図版
日本文学研究者のドナルド・キーンさん死去 96歳(2019/2/24)
日本の古典から現代文学まで通じ、世界に日本文学を広めた米コロンビア大学名誉教授で文化勲章受章者のドナルド・キーンさんが24日、心不全のため、東京都内の病院で死去した。96歳だった。喪主は養子のキーン……[続きを読む]

■語る 日本の文化と人生

写真・図版
【アーカイブ】日本人とともに生きたい 古今の日記読み、心を知った ドナルド・キーンさんに聞く有料会員限定記事 (2012/10/22)
【2012年10月22日朝刊文化面】 日本文学者のドナルド・キーンさんが日本永住を決めて東京に戻ってから1年が過ぎた。3月に日本国籍を取得。取材や講演などに引っ張りだこで、90歳とは思えない慌ただしい日々を過ごしてきた。少し落ち着いてきたと…[続きを読む]

■戦争と、日本との出会い

写真・図版
【アーカイブ】67年前、私は沖縄の戦場にいた 日本国籍取得のドナルド・キーンさん(2018/10/25)有料会員限定記事
【2012年6月20日朝刊社会面】 東日本大震災からの復興を励まし、寄り添うかのように今年3月、日本国籍をとった日本文学研究者のドナルド・キーンさん(90)。初めて日本の地を踏んだのは67年前、沖縄に……[続きを読む]

■日本国籍を取得

■ドナルド・キーンさんの本

Lifelong Scholar of the Japanese Becomes One of Them

TOKYO
WITH his small frame hunched by 90 years of life, and a self-deprecating manner that can make him seem emotionally sensitive to the point of fragility, Donald Keene would have appeared an unlikely figure to become a source of inspiration for a wounded nation.
Yet that is exactly how the New York native and retired professor of literature from Columbia University is now seen here in his adopted homeland of Japan. Last year, as many foreign residents and even Japanese left the country for fear of radiation from the Fukushima nuclear accident that followed a deadly earthquake and tsunami, Dr. Keene purposefully went the opposite direction. He announced that he would apply for Japanese citizenship to show his support.
The gesture won Dr. Keene, already a prominent figure in Japanese literary and intellectual circles, a status approaching that of folk hero, making him the subject of endless celebratory newspaper articles, television documentaries and even displays in museums.
It has been a surprising culmination of an already notable career that saw this quiet man with a bashful smile rise from a junior naval officer who interrogated Japanese prisoners during World War II to a founder of Japanese studies in the United States. That career has made him a rare foreigner, awarded by the emperor one of Japan’s highest honors for his contributions to Japanese literature and befriended by Japan’s most celebrated novelists.
Dr. Keene has spent a lifetime shuttling between Japan and the United States. Taking Japanese citizenship seems a gesture that has finally bestowed upon him the one thing that eludes many Westerners who make their home and even lifelong friendships here: acceptance.
“When I first did it, I thought I’d get a flood of angry letters that ‘you are not of the Yamato race!’ but instead, they welcomed me,” said Dr. Keene, using an old name for Japan. “I think the Japanese can detect, without too much trouble, my love of Japan.”
That affection seemed especially welcome to a nation that even before last year’s triple disaster had seemed to lose confidence as it fell into a long social and economic malaise.
During an interview at a hotel coffee shop, Japanese passers-by did double takes of smiling recognition — testimony to how the elderly scholar has won far more fame in Japan than in the United States. A product of an older world before the Internet or television, Dr. Keene is known as a gracious conversationalist who charms listeners with stories from a lifetime devoted to Japan, which he first visited during the Battle of Okinawa in 1945.
BUT what is perhaps most remarkable about Dr. Keene is that Japan, a racially homogeneous nation that can be politely standoffish to non-Japanese, has embraced him with such warmth. When he legally became a Japanese citizen this year, major newspapers ran photographs of him holding up a handwritten poster of his name, Kinu Donarudo, in Chinese characters. To commemorate the event, a candy company in rural Niigata announced plans to build a museum that will include an exact replica of Dr. Keene’s personal library and study from his home in New York.
He says he has been inundated by invitations to give public lectures, which are so popular that drawings are often held to see who can attend.
“I have not met a Japanese since then who has not thanked me. Except the Ministry of Justice,” he added with his typically understated humor, referring to the government office in charge of immigration.
Still, in a nation that welcomes few immigrants, Dr. Keene’s application was quickly approved. To become Japanese, Dr. Keene, who is unmarried, had to relinquish his American citizenship.
His affection for Japan began in 1940 with a chance encounter at a bookstore near Times Square, where Dr. Keene, then an 18-year-old university student at Columbia, found a translation of the Tale of Genji, a 1,000-year-old novel from Japan. In the stories of court romances and intrigue, he found a refuge from the horrors of the world war then already unfolding in Europe and Asia.
Dr. Keene later described it as his first encounter with Japan’s delicate sense of beauty, and its acceptance that life is fleeting and sad — a sentiment that would captivate him for the rest of his life.
When the United States entered the war, he enlisted in the Navy, where he received Japanese-language training to become an interpreter and intelligence officer. He said he managed to build a rapport with the Japanese he interrogated, including one he said wrote him a letter after the war in which he referred to himself as Dr. Keene’s first P.O.W.
LIKE several of his classmates, Dr. Keene used his language skills after the war to become a pioneer of academic studies of Japan in the United States. Among Americans, he is perhaps best known for translating and compiling a two-volume anthology in the early 1950s that has been used to introduce generations of university students to Japanese literature. When he started his career, he said Japanese literature was virtually unknown to Americans.
“I think I brought Japanese literature into the Western world in a special way, by making it part of the literary canon at universities,” said Dr. Keene, who has written about 25 books on Japanese literature and history.
In Japan, he said his career benefited from good timing as the nation entered a golden age of fiction writing after the war. He befriended some of Japan’s best known modern fiction writers, including Yukio Mishima and Kenzaburo Oe. Even Junichiro Tanizaki, an elderly novelist known for his cranky dislike of visitors, was fond of Dr. Keene, inviting him to his home. Dr. Keene says that was because he took Japanese culture seriously.
“I was a freak who spoke Japanese and could talk about literature,” he joked.
Japanese writers say that Dr. Keene’s appeal was more than that. They said he appeared at a time when Japan was starting to rediscover the value of its traditions after devastating defeat. Dr. Keene taught them that Japanese literature had a universal appeal, they said.
“He gave us Japanese confidence in the significance of our literature,” said Takashi Tsujii, a novelist.
Mr. Tsujii said that Dr. Keene was accepted by Japanese scholars because he has what Mr. Tsujii described as a warm, intuitive style of thinking that differs from what he called the coldly analytical approach of many Western academics.
“Keene-san is already a Japanese in his feelings,” Mr. Tsujii said.
Now, at the end of his career, Dr. Keene is again helping Japanese regain their confidence, this time by becoming one of them. Dr. Keene, who retired only last year from Columbia, says he plans to spend his final years in Japan as a gesture of gratitude toward the nation that finally made him one of its own.
“You cannot stop being an American after 89 years,” Dr. Keene said, referring to the age at which he got Japanese citizenship. “But I have become a Japanese in many ways. Not pretentiously, but naturally.”

美國教授90歲高齡入籍日本


90歲高齡的唐納德·基恩(Donald Keene)瘦小的身軀前弓,自嘲的態度讓他看似情感敏感,甚至是脆弱。這些都讓他看起來不像是會讓一個傷痕纍纍的民族受到鼓舞的人物。
但在他的第二故鄉日本,這名土生土長的紐約人、哥倫比亞大學(Columbia University)的退休文學教授卻正給人以這種印象。2011年,在地震和海嘯造成重大傷亡,並引發福島核事故之後,許多外國居民,甚至是日本人出 於對輻射的恐懼逃離該國。基恩博士卻故意反其道而行之。他宣布將申請日本國籍,以示支持。
基恩博士本已是日本文學和知識分子圈中的知名人物,這一姿態使他幾乎上升到民間英雄的高度。以他為主題的讚揚性報章報道、電視紀錄片,乃至博物館展覽層出不窮。
這是基恩博士生命中意外的頂點。這名帶着羞澀笑容的安靜男士從二戰期間審問日本戰俘的海軍下級軍官,成長為美國的日本研究奠基人,生涯已然不凡。這 樣的經歷使他成為極其罕見的外國人,因為對日本文學的貢獻而被天皇授予日本的最高榮譽之一,還與日本最著名的一些小說家過從甚密。
基恩博士一輩子在日本和美國之間奔波。得到日本國籍似乎表明,他終於被賜予了許多以此為家、甚至在此終身交友的西方人未能得到的一樣東西:接納。
基恩博士說,“剛開始申請的時候,我覺得自己會收到一大堆憤怒的郵件說,‘你不是大和民族的一員!’但是,他們接納了我。”他用“大和”這一古老的名字來稱呼日本。“我想,無需太多功夫,日本人就能察覺我對日本的熱愛。”
由於深陷長期的社會和經濟不振,即便是在去年的三重災害之前,日本就似乎喪失了信心。因此,基恩博士對日本的好感似乎格外受到歡迎。
在酒店咖啡廳進行訪談時,路過的日本人先是一愣,繼而對他報以微笑,證明這名年長學者在日本獲得的名聲遠遠超過了美國。基恩博士屬於互聯網和電視之 前那個時代的老派人物,他因為優雅健談而聞名,能用一生熱愛日本的故事讓聽眾着迷。他第一次來到日本,是1945年的沖繩島戰役。
但是,基恩博士最非凡的一點大概是他被日本人熱情地接納。日本是單一民族國家,對外國人禮貌卻冷淡。當他今年正式成為日本公民的時候,主要報紙都刊 登了他舉着一張手寫紙板的照片,上面寫着他的日文漢字名字“鬼怒鳴門”(Kinu Donarudo)。為了紀念這一事件,新潟農村地區的一家糖果公司宣布計劃興建一座博物館,其中包括原樣複製基恩博士在紐約家中的私人圖書館和書房。
他說,公眾演講的邀請讓他應接不暇。由於太受歡迎,往往需要通過抽籤來決定誰能聆聽他的演講。
“自那以後,我沒遇到一個不感謝我的日本人——除了法務省,”他用自己經典的輕描淡寫式的幽默感談到負責移民的政府部門。
不過,在一個極少歡迎移民的國度裏,基恩博士的申請迅速得到批准。基恩博士未婚,為了成為日本人,他必須放棄美國國籍。
基恩博士對日本的感情始於1940年一次偶然的經歷。他當時18歲,是哥倫比亞大學的學生,在時報廣場附近的一家書店裡,他找到了一本作於1000 年前的日本小說《源氏物語》(Tale of Genji)的翻譯本。他在宮廷愛情和陰謀的故事中找到避風港,暫時忘卻已在歐亞展開的世界戰爭的慘況。
後來,基恩博士將之描述為自己第一次接觸日本細膩的美感,以及它對生命短暫而哀傷的接受。這種情緒將縈繞他的餘生。
當美國捲入戰爭的時候,他加入了海軍。在那裡,他接受了日文訓練,成為一名口譯員和情報官。他說自己設法與審問的日本人建立了融洽的關係,還說其中有一人戰後給他寫信,自稱是基恩博士的第一名戰俘。
戰後,與幾名同學一樣,基恩博士運用自己的語言能力,成為美國的日本學術研究先驅。在美國人中,他最為人熟知的可能是在20世紀50年代初翻譯和編寫的一套兩卷文集。這套書被用來向一代又一代大學生介紹日本文學。他說,當他開始職業生涯時,美國人對日本文學幾乎一無所知。
“我認為,我用一種特殊的方式將日本文學引入西方世界,使它成為大學文學典籍的一部分,”基恩博士說。他已撰寫了25本關於日本文學和歷史的書籍。
在日本,他說自己的職業生涯得益於良好的時機:戰後日本進入了小說寫作的黃金期。他與日本一些最知名的當代小說家成為好友,包括三島由紀夫 (Yukio Mishima)和大江健三郎(Kenzaburo Oe)。甚至對訪客出了名地暴躁難耐的年長小說家谷崎潤一郎(Junichiro Tanizaki)也喜歡基恩博士,邀請他去家裡做客。基恩博士說,那是因為他認真對待日本文化。
“我是個說日語、談文學的怪物,”他開玩笑說。
日本作家稱,基恩博士打動人的不止是這些。他們說,他出現的時候,正值日本在經歷毀滅性戰敗後開始重新發現自身傳統的價值。基恩博士告訴他們,日本文學能引起全球共鳴。
小說家辻井喬(Takashi Tsujii)說,“他讓我們日本對自己文學的重要性有了信心。”
辻井說,基恩博士之所以為日本學者接受,是因為他擁有辻井所形容的那種溫暖而直觀的思維方式,與他眼裡許多西方學者冰冷的分析方法截然不同。
辻井說,“基恩君在情感上已經是個日本人了。”
現在,在職業生涯的尾聲,基恩博士再次幫助日本人找回自信,這一次的方式是成為他們中間的一員。基恩博士去年才從哥倫比亞大學退休,他說計劃在日本度過餘生,將此作為一種姿態,感謝這個最終接納自己的民族。
基恩博士在提到自己獲得日本國籍的年齡時說,“做美國人做了89年,也不可能就不再做美國人了。但在很多方面,我已經成為日本人。不是做作的,而是自然而然的。”
本文最初發表於2012年11月2日。
翻譯:黃錚

2012.4.17
Keene's love for Japan still growing after 70 years

Donald Keene relaxes in the Kyu-Furukawa Gardens in Tokyo’s Kita Ward, near his home for 38 years. (Makoto Kaku) 
Donald Keene relaxes in the Kyu-Furukawa Gardens in Tokyo’s Kita Ward, near his home for 38 years. (Makoto Kaku)

Keene's love for Japan still growing after 70 years


April 17, 2012
By YOSHIKO SUZUKI/ Staff Writer

In 1940, the Japanese literature scholar Donald Keene came across an English translation of the acclaimed 11th-century Japanese novel “Genji Monogatari" (The Tale of Genji) in a bookstore in Times Square.

War had started in Europe the previous year after Nazi Germany’s invasion of Poland, but Keene found himself transported to a different world inhabited by Japanese court nobles, apparently insulated from violence.

It was a life-changing experience. He glimpsed an entirely different face of a country he had thought of as nothing more than a dangerous military state. It triggered a search for the real identity of Japan and the Japanese that has occupied the rest of his life.
“Not a day has passed without thinking about Japan (since I began studying Japanese at Columbia University at the age of 17),” Keene, 89, said in an interview after obtaining Japanese nationality in March.

Soon after, Japan attacked Pearl Harbor and Keene became an interpreter for the Navy, traveling to Attu in the Aleutian Islands and Okinawa. He met real Japanese for the first time and also read diaries  and letters left by dead Japanese soldiers.

The writers’ last words revealed fear of death and longing for their loved ones back home. The hackneyed language of wartime propaganda was noticeably absent.

Much later in his life, those experiences helped him write “So Lovely a Country Will Never Perish: Wartime Diaries of Japanese Writers,” which analyzes the diaries of Jun Takami (1907-1965), Futaro Yamada (1922-2001) and other authors.

He began studying Japanese literature after World War II and came to Japan in 1953 to attend Kyoto University. He taught at Columbia University from 1955 to April 2011, spending half of the year in New York and the other half in Tokyo.

In 1962, overcome by the loss of his mother, Keene received a telephone call from Japan telling he had been awarded the Kikuchi Kan Prize for achievements in Japanese culture. It was the first of many awards for his work on Japan.

Keene has written a number of key books on Japanese literature, including the mammoth “Anthology of Japanese Literature: From the Earliest Era to the Mid-Nineteenth Century.”
The 18-volume series, which discusses works from the “Kojiki” (Record of Ancient Matters), Japan’s oldest extant chronicle, to the novels of Yukio Mishima (1925-1970), took 25 years to complete.

Over the past decade, he has followed up a biography of Emperor Meiji, “Emperor of Japan: Meiji and His World,” with a series of lives seeking to shed new light on key Japanese figures.

“I find pleasure in discovering something new (in those people) that other people have not,” he said.

For example, the haiku poet Shiki Masaoka (1867-1902) repeatedly wrote in his essays that he was no good at English, but Keene said documents actually showed that Masaoka was fairly good at the language, getting the second-best English examination scores in his high school class.

The student who topped the class, who later became famous as the novelist Soseki Natsume (1867-1916), was “a genius,” according to Keene.

Keene made up his mind to acquire Japanese citizenship in January 2011, when he was thinking about what he wanted to do with the remainder of his life.

The Great East Japan Earthquake, which devastated northeastern Japan on March 11, 2011, subsequently gave that personal decision a broader meaning, he said.
Keene’s intellectual curiosity shows no sign of waning as he approaches 90.
His next scholarly project is a biography of Hiraga Gennai (1728-1780), a well-known inventor and a student of Western science and technology.

“People have suggested that I take a break,” he said. “But you can learn as long as you live.”

Writer Ryotaro Shiba (1923-1996), who wrote a book with Keene, once wrote: “I have never met a person whose childhood image I can imagine so easily.”

Keene’s eyes shone throughout his interview with The Asahi Shimbun. It was easy to see Shiba’s point.

Excerpts from the interview, which was conducted in Japanese, follow:


* * *
Question: What made you decide to obtain Japanese nationality?
Answer: It started when I was hospitalized early last year. I was able to take my time and think about the rest of my life, and I realized that there is little time left for me. When I wondered about the last thing I wanted to do, it was to become Japanese.
If it had not been for the Great East Japan Earthquake, my obtaining Japanese citizenship would only have made a few columns in the newspapers. But the earthquake, tsunami and ensuing nuclear accident have given my personal wish a special meaning.
I have received many letters. They said they were encouraged or impressed by my decision to leave the United States and settle in Japan at a time when many non-Japanese people fled Japan.

Q: You were not happy to hear of foreigners leaving Japan, were you?
A: No. In my heart, I was already Japanese.
I could not sleep after I watched black waves sweeping the coast. I was worried about what had become of Matsushima (the group of islands in Miyagi Prefecture) and the Chusonji temple (in Iwate Prefecture), both closely associated with the haiku poet Matsuo Basho (1644-1694).
Last year, I visited Chusonji and made a speech there. Some people in the audience had lost family members and had their homes washed away. As I spoke, I found my heart filled with empathy for the survivors. I thought I wanted to live with them. It was an awakening experience.

Q: Many Japanese have lost confidence in their country because the path to recovery remains unclear. We wonder why you have gone so far as to obtain Japanese citizenship.
A: It is because my real home is here. I write only on things related to Japan. I have not written anything on the United States. In addition to many friends, I have many pleasures outside of work in Japan.
Another important factor is that my disposition suits Japan. One example is the courtesy shown in interpersonal relationships. When you buy something, the sales clerk always says, “Thank you.”
Americans call each other by their first names or will slap each other’s backs even when they meet for the first time. I am not really comfortable with expressing closeness in such a way. I cannot explain myself well, but I was born with a Japanese aspect.
Granted, Japan has lost some of its strong self-confidence, but it has a role to play today that it did not during the height of the asset-inflated economic growth of the late 1980s, when it bought the Rockefeller Center.

Q: What role is that?
A: There are many meanings to it. Japan’s reputation in the world shot up after its defeat in World War II. I stayed in Tokyo for about 10 days in December 1945. All that remained were storehouses and chimneys. It was commonly said that it would take more than 50 years for Japan to rebuild itself. I had a different opinion. I thought this country would come back fairly quickly.
It may sound strange, but I was confident because of my experience at a barber’s. When I had my face shaved, I did not have the slightest impression that Japan had been at war.
If the woman at the barber had harbored ill feelings, she would have been able to slash my throat with her razor. I did not have to worry. I felt that the war had already become a thing of the past in Japan.

Q: Wasn’t that because Japanese are forgetful?
A: That experience showed that there are many possibilities in one people. During the war, I was with the Navy and questioned captured Japanese soldiers. I had no resentment toward them. I felt close to them. In the past, Japanese people did incredibly bad things, but it was not that the entire nation was belligerent. There were people who produced beautiful works of art.
The experience of war may have changed the Japanese, but the economic miracle that followed changed my view on Japan in every respect.
Before the war, it was generally believed that Japanese culture was nothing but an emulation of China’s. Today, no one thinks that. Japan has a wonderful, unique culture.
Japanese have earned respect again for continuing to act calmly after experiencing a disaster on the scale of the Great East Japan Earthquake. I do not have the slightest doubt about Japan getting back on its feet.

Q: You have written biographies of people who lived during times of change, such as Emperor Meiji (1852-1912) and the painter Kazan Watanabe (1793-1841). What do you see in them?
A: It is the Japanese flexibility to digest new things and make them their own immediately.
Emperor Meiji ascended to the Chrysanthemum Throne when he was about 15 years old. In less than six months, he became the first emperor to meet delegates from Western countries.
I was surprised to learn how he transformed himself. He ate Western dishes and grew a beard and a mustache, developing into an emperor with perfect composure.
I specialize in literature and I am most interested in people. I want to know much more about what Japanese people thought in turbulent times, what they feared and how they changed.
That is because I have changed, too, albeit on a different scale. Before I went to college, the only thing I really knew about Japan was that it was opened by Commodore Matthew Perry’s arrival. Now, I am using my soul for Japan. It has been a considerable change.
By YOSHIKO SUZUKI/ Staff Writer









Famed Japanologist Keene gets museum in Kashiwazaki


December 05, 2011
By KOJI SHIMIZU / Staff Writer
KASHIWAZAKI, Niigata Prefecture--Along with permanently moving to Japan, renowned Japanese literature researcher Donald Keene has brought the living room and study of his New York home with him, donating it to a museum here as the centerpiece of an exhibit on his work.
Keene, 89, visited Kashiwazaki on Dec. 3 to attend a ceremony to donate his vast collection of books and furniture, among other items, to the museum.
The 360-square-meter museum, the brainchild of Bourbon Corp., a leading confectionery based in Kashiwazaki, is scheduled to open in autumn 2013.
It will be housed on the second floor of the company's training center.
The museum will display Keene's donation of about 1,700 books, 300 records and CDs, and 100 pieces of furniture, apart from the living room and study, his base for more than 30 years to bring his study of Japanese literary works to the world.
Keene has been living in Tokyo's Kita Ward since September. He decided to acquire Japanese nationality and live in Japan for the rest of his life after the country was hit hard by the March 11 Great East Japan Earthquake.
In the ceremony on Dec. 3, Keene said he believes the devastated Tohoku region will experience a miracle similar to the one that occurred in Tokyo, which was rebuilt into one of the world's largest cities after it was firebombed into charred rubble during World War II.
Keene, a professor emeritus at Columbia University in New York, is known for introducing Japanese literature to the world over the past six decades.
Ties between the Japanologist and Kashiwazaki go back to 2007, when Keene proposed an endeavor to revive an ancient puppet play accompanied by the samisen set in the city.
Local artists gave the puppet play performance in June 2009, for the first time in 300 years.
Bourbon said that Keene's proposal gave hope to the city's residents, who were still reeling from the devastating Niigata Chuetsu-oki Earthquake in 2007.




 2011.4
Some Japanese Portraits by Donald Keene 日本文學散步

---
BY TOSHIHIRO YAMANAKA CORRESPONDENT
2011/04/19

photoDonald Keene conducts a lecture last month at Columbia University. (Mari Sakamoto)
NEW YORK--The renowned Japanese literature expert Donald Keene, professor emeritus at Columbia University, is teaching for the last time this spring term.
The 88-year-old Keene will step down in late April, bringing to an end a teaching career at Columbia that began in 1955.
After concluding his teaching duties, Keene plans to move permanently to Tokyo and fulfill his dream of writing full time.
Keene was very concerned following the Great East Japan Earthquake of March 11. He had made many visits to Chusonji temple in Hiraizumi, Iwate Prefecture, and Matsushima in Miyagi Prefecture, two of the hardest-hit prefectures in the Tohoku region.
"I have had special feelings toward the Tohoku region since I first traveled along the 'Oku no hosomichi' 56 years ago," Keene said. "I lectured for about six months at Tohoku University, and I am acquainted with the priests at Chusonji temple. I am very worried."
Keene referred to the classic work of literature written by the haiku master Matsuo Basho (1644-1694), which he translated into English under the title, "The Narrow Road to Oku."
While there is high scientific interest now in the United States on how to prevent earthquakes and tsunami, Keene is skeptical about the Western-style conviction in science that believes humans can control natural disasters.
"I am a person who has been heavily influenced by Japanese culture," Keene said. "I am moved by the sense of resignation that feels the power held by nature cannot be resisted."
In his final term at Columbia, Keene has been lecturing on such Noh songs as "Funabenkei" and "Yuya."
His initial encounter with Japanese literature was purely by accident.
Having skipped grades in school, Keene entered Columbia University when he was 16. One day, he happened to sit next to a Chinese-American student and started learning kanji from him. Keene was deeply struck by the beauty of kanji.
He was also fascinated by the English translation of "The Tale of Genji" that he read when he was 18, and he volunteered to enter the U.S. Navy's Japanese language school.
He was surprised to hear about Japanese soldiers fighting to the death at Attu in the Aleutian chain. During the Battle of Okinawa, he searched for Japanese hiding in caves.
His days in Qingdao, China, were spent interrogating Japanese prisoners of war.
"I saw the dark side of humans," Keene said. "There were Japanese POWs who betrayed their fellow soldiers, and there were U.S. soldiers who duped Japanese POWs into giving up their artwork possessions."
Becoming fed up with the interrogations, Keene asked for a discharge. He returned to New York, but he could not find an occupation that interested him.
"I resumed my study of Japanese literature because I felt the Japanese language best suited my constitution," he said.
Over the course of 70 years of research, he has written more than 40 books.
When asked to name his personal top three among all the books he has published, Keene gave the Japanese titles for works that he also wrote in English, a multivolume "History of Japanese Literature" as well as books titled in English as "Yoshimasa and the Silver Pavilion" and "So Lovely A Country Will Never Perish."
"Looking back, what I feel about my life is that it is not me who chose Japan, but Japan who chose me," Keene said. "After retiring from teaching, I will move to Japan and apply for Japanese citizenship. While immersing myself in the Japanese language, I want to devote my time to reading and writing."
His first project is to complete a biography of Masaoka Shiki (1867-1902), a haiku poet of the Meiji Era (1868-1912).




Donald Keene’s Latest Japanese Adventure

Scholar Donald Keene, who has dedicated his life to studying Japanese literature, culture and customs, revealed last week that he's following another Japanese tradition: adult adoption.

Donald Keene arriving for his permanent relocation to Japan in 2011
Associated Press
Donald Keene, one of the world’s best-known Japanologists, has dedicated his life to studying Japanese literature, culture and customs. Last week, he revealed he’s following another Japanese tradition: adult adoption.
Mr. Keene, 90 years old, told an audience in northern Japan that in March he adopted his long-time friend Seiki Uehara, a 62-year-old performer of the shamisen, a Japanese stringed instrument.
“It felt like the natural course of things,” the former Mr. Uehara—now Seiki Keene—told JRT on Wednesday. The adoption grew out of a friendship that started in 2006, and eventually led to Mr. Uehara’s moving into Mr. Keene’s Tokyo home and helping the older man out with things like keeping his large collection of books organized.
Adult adoption is a fairly common practice in Japan, with around a third of all adopted individuals being adults, according to a survey carried out by the Ministry of Justice in 2010, ahead of stricter checks for accepting adoption applications. In 2011, there were 81,600 cases of adoption in Japan. In many cases, adult men are adopted into families in order to carry on the family name—and sometimes business—when there are no male descendants.
Mr. Keene, who’s known for books and scholarship introducing Japanese literature to the West—as well as his friendships with many of the Japanese literary giants of the postwar period, has no children or other family.
The pair originally came together over a keen interest in kojyoruri, an ancient form of Japanese musical performance. Mr. Uehara had performed in a similar style—jyoruri—for 25 years, as a shamisen player at the Bunraku-za puppet theater, under the stage name of “Tsurusawa Asazo V.” He retired in 1997 and returned to his home prefecture in northern Japan to help his family’s brewery business, but remained passionately interested in the genre.
Mr. Keene is known as a leading expert on kojyoruri. In November 2006, Mr. Uehara approached the older man backstage, after a Tokyo talk, to ask whether Mr. Keene would be his mentor on the subject. Mr. Uehara told Mr. Keene he “had no one to seek guidance from,” the younger man told JRT.
At the time, Mr. Keene was still teaching at Columbia University, where he’d been for more than half a century, and spending time in the U.S. as well as Japan. But following the March 2011 earthquake and tsunami, Mr. Keene decided to move permanently to Japan and become a Japanese citizen. That’s when he brought up to Mr. Uehara the idea of adoption.
“When he’d first mentioned adoption, I thought he was joking,” the junior Mr. Keene says. “But eventually I understood that he was being serious.” Now the younger man helps his adoptive father organize his busy schedule from their apartment in Tokyo, while holding shamisen performances of his own. The older Mr. Keene gained Japanese citizenship in 2012.
The pair say their cross-cultural partnership has been smooth so far. The former Mr. Uehara says his family was delighted at the news of his adoption, and that nobody close to Mr. Keene raised objections either. And what does the younger Keene think of his new surname?  “I like it a lot,” he told JRT. “I’ve finally managed to get used to it.”

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