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鄭騫(1906-1991):《永嘉室雜文》《稼軒詞校注附詩文年譜》;胡適《(胡適選註的)詞選》

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回頭萬里,故人長絕,易水蕭蕭西風冷,滿座衣冠勝雪。
——辛棄疾

胡適《(胡適選註的)詞選》,台北:遠流,1986,頁157~92


辛棄疾1140~1207

永嘉室雜文

  • 作者:鄭騫
  • 出版社:洪範
  • 出版日期:1992年
  •  現在還可以買得到這本物超所值的書
  •  
  • ~~~~~~~

    稼軒詞校注附詩文年譜(上)(下) The Ci Poetry of Xin Qiji, with Chronology, Notes and Comments, Vol. 1-2
  • 作者:鄭騫/校注、林玫儀/整理
  • 出版社:國立臺灣大學出版中心
  • 出版日期:2013年
  •  
  •    鄭騫教授為當代詞學宗師,所撰稼軒年譜考訂精當,乃研究稼軒必讀之經典;其稼軒詞校注肇始於任職燕京大學時,經過數十年訂補,今由門人林玫儀教授(中央研究院中國文哲研究所研究員、臺灣大學中文研究所兼任教授)就其遺稿三種整理成書。
       《稼軒詞校注附詩文年譜》包括稼軒詞作校注、詩鈔、文鈔及稼軒年譜,乃是鄭先生對稼軒研究的綜合呈現。詞注分校勘、箋注、考述及綜論四項。校勘嚴謹,注 解簡明扼要,對詞作編年及生平考證屢有獨到之見。詩鈔依五七言律絕分列,各詩記事能據以繫年或考訂者,皆有按語。文鈔則依作年編次,篇後均有按語考釋其 事。另收入先生所撰辛稼軒年譜,以供參證。書後附錄辛啟泰所編年譜、參校諸本詞作卷次表、詞作索引表等三種,尤便閱讀。
      鄭騫曾任臺灣大 學中國文學系教授、美國哈佛大學訪問教授、耶魯等大學客座教授,香港新亞書院中文系主任、臺灣大學名譽教授。鄭先生深究群經,博通諸史,於詩詞曲學造詣尤 深。曾獲頒國家文藝貢獻獎、行政院文化獎。鄭先生詞注之最大特色,一在於文本校勘,一在於格律釐訂。鄭先生向來講究版本,故於每一闋詞都審定各本異文,嚴 為去取。至於格律方面,尤為精詣。此外,他對詞作編年及稼軒生平考證亦往往有獨到之見,是故治稼軒詞者,最好能參互以觀,汲集二家之長。
    作者簡介
    校注者∕鄭騫(1906-1991)
       字因百,遼寧鐵嶺人。書齋名桐陰清晝堂、永嘉室。1938年任燕京大學中文系講師,1948年秋應邀來臺,為臺灣大學中國文學系教授。歷任美國哈佛大學 訪問教授,華盛頓州立大學、耶魯大學、印第安納州立大學客座教授,香港新亞書院中文系主任,臺灣大學名譽教授及東吳、輔仁大學講座教授。先生深究群經,博 通諸史,於詩詞曲學造詣尤深。著有辛稼軒年譜、校訂元刊雜劇三十種、校點南詞韻譜、北曲新譜、北曲套式彙錄詳解、陳簡齋詩集合校彙注、唐伯虎詩輯逸箋注、 陳後山年譜、宋人生卒考示例、景午叢編、龍淵述學、清晝堂詩集、永嘉室雜文等專書三十餘種。1985年獲頒國家文藝貢獻獎。1990年獲頒行政院文化獎。
    整理者∕林玫儀
       廣東澄海人。臺灣大學中國文學研究所博士班畢業,國家文學博士。現任中央研究院中國文哲研究所研究員、臺灣大學中文研究所兼任教授。獲頒1990年中山 文藝創作獎(文學理論獎)及1998年第21屆中興文藝獎章文學理論獎。研究詩詞曲學、敦煌學及古典文學批評。近年尤致力於清代詞學文獻之蒐集與整理。著 有敦煌曲研究、敦煌曲子詞斠證初編、晚清詞論研究、詞學考詮、詞學新詮、南山佳氣--陶淵明詩文選,編有詞學論著總目、清詞別集知見目錄彙編--見存書目 (合編)等。

    目錄

    出版緣起暨整理說明
    凡例
    稼軒詞校注附詩文年譜 總目
    稼軒詞校注附詩文年譜 目次
    稼軒詞校注
    稼軒詞校注卷一 五十一首
    稼軒詞校注卷二 四十二首
    稼軒詞校注卷三 五十三首
    稼軒詞校注卷四 五十首
    稼軒詞校注卷五 四十三首
    稼軒詞校注卷六 五十八首
    稼軒詞校注卷七 七十首
    稼軒詞校注卷八 六十六首
    稼軒詞校注卷九 四十首
    稼軒詞校注卷十 一百首
    稼軒集外詞 五十一首
    稼軒詩鈔一卷 一百四十九首
    稼軒文鈔一卷 三十四篇
    辛稼軒先生年譜
    附錄
    一 辛啟泰編《稼軒先生年譜》
    二 各本詞作卷次表
    三 稼軒詞索引


    出版緣起暨整理說明∕林玫儀
      鄭師與鄧 廣銘先生二位前輩,均於稼軒其人其詞有深入研究,數十年來齊足並馳,皆富撰述,誠有大功於辛詞。二家年譜,於稼軒遺事捃摭無遺,且其考訂立論,各有創發, 並為稼軒研究必讀之經典,學界早有定評;而二家詞注,因學術背景之差異,其撰述亦各擅勝場。鄧先生長於史學,嫻熟史籍,詞注詳於文獻徵引,其《稼軒詞編年 箋注》自出版以來,續得夏承燾、蔣禮鴻、辛更儒、陳振鵬、劉永溍、李伯勉等學者暨海內外讀者提供意見,於再版、三版時,屢作補訂,是故旁徵博引、注解詳 盡,洵為此書勝處。相對而言,鄭師之箋注,能融裁載籍,擇精柬要,要言不煩,亦能獨樹一幟。
      鄭師詞注之最大特色,一在於文本校勘,一在 於格律釐訂。鄭師向來講究版本,故於每一闋詞都審定各本異文,嚴為去取。至於格律方面,尤為精詣。鄭師瞭解詞乃音樂文學,語言旋律與音樂旋律必須配合,故 對詞之分片、句讀、標韻、破法等格律之特質體會細膩,娓娓示人。如〈賀新郎〉(柳暗凌波路)一闋,上片二、三句信州本、四印齋本、乙集及毛本均作「送春 歸、猛風暴雨,一番新綠」,鄭師謂此調按律第三句(口十)韻,若據諸本,則入聲之「綠」字失韻,而《詞譜》引此首,則作「一番新綠,猛風暴雨」,蓋配合韻 (口十)而校改,較有理據,故改從之。又如〈念奴嬌〉調起首之十三字,一般統依東坡詞斷作「四五四」或「四三六」,鄭師則知宋人尚有破為「七六」之一體, 辛詞中如「近來何處有吾愁,何處還知吾樂」、「我來弔古上危樓,贏得閒愁千斛」等句,俱應依此斷句。凡此,均為深造有得之見解。
      詩鈔方 面,各家著錄,或依辛集為序,或按文體分類,鄭師則照詩體格律,五七言律絕分列,非但保留古人遺風,亦更能反映稼軒詩作之特色。各詩記事有可考者或能繫年 者,並綴按語於後。文鈔之編排則依作年為序,各篇之後均有按語考其事。其中如〈九議〉〔其四〕「吾則捐金以告之,謀不可以言傳」處,辛本有錯簡,以致文意 不貫,扞格難通,諸家雖知其必有脫誤,而校訂皆未允當。鄭師則謂「謀不可以言傳」至「將相則」三百五十二字本屬下節而今本誤置於此,應居〔其五〕「華夷並 用」句之前,故於線裝本中剪貼移正,讀來文從字順,理路貫通,尤可見其考訂功力之一斑。此外,鄭師對詞作編年及稼軒生平考證亦往往有獨到之見,是故治稼軒 詞者,如能參互以觀,汲集二家之長,必可多所啟發。

      §內文1

      書摘1

      臨江仙為岳母壽


      住世都知㈠菩薩行。仙家風骨精神◎壽如山岳福如雲◎金花湯沐誥㊀。竹馬綺羅群㈡◎更願昇平添喜事。大家禱祝殷勤◎明年此地慶佳辰◎一杯千歲酒。重拜太夫人◎

      【校勘】

      ㈠都知:乙集作「都無」。

      ㈡羅群:毛本作「羅裙」,誤。

      【箋注】

      ㊀金花句:宋敏求《春明退朝錄》:「官告之制,……郡夫人常使金花羅紙七張,法錦褾袋。」湯沐,古者天

      子賜諸侯以湯沐之邑,使以邑之收入,為湯沐之資。



      書摘2

      江神子送元濟之歸豫章


      亂雲擾擾水潺潺◎笑溪山◎幾時閒◎更覺桃源、人去隔仙凡◎桃源乃王氏酒壚,與濟之作別處㈠。萬壑千巖樓外雪。瓊作樹。玉為欄◎倦遊回首且加餐◎短篷寒◎畫圖間◎見說嬌顰、擁髻待君看◎二月東湖湖上路。官柳嫩。野梅殘◎

      【校勘】

      ㈠夾注:丙集無,毛本、辛本「作別」作「送別」。

      【考述】

      此詞見丙集,依題彙編。

      書摘3

      柳梢青辛酉生日前兩日,夢一道士話長年之術;夢中痛以理折之,覺而賦八難之辭㈠

      莫鍊丹難◎黃河可塞。金可成難㊀◎休辟穀難◎吸風飲露。長忍飢難◎勸君莫遠遊難◎何處有西王母難◎休采藥難◎人沉下土。我上天難◎

      【校勘】

      ㈠詞題:丙集「年」作「生」。

      【箋注】

      ㊀金可成:《漢書‧郊祀志》載欒大言:「臣之師曰:黃金可成而河決可塞,不死之藥可得,僊人可致也。」
    •  
    •  《賀新郎》 辛棄疾《稼軒詞校注附詩文年譜》頁373-74
      邑中園亭,僕皆為賦此詞。一日,獨坐停雲,水聲山色,競來相娛。意溪山欲援例者,遂作數語,庶幾仿佛淵明思親友之意云。
        甚矣吾衰矣。悵平生、交游零落,只今餘幾。白髮空垂三千丈,一笑人間萬事。問何物、能令公喜。我見青山多嫵媚,料青山、見我應如是。情與貌,略相似。
        一尊搔首東窗裏。想淵明、《停雲》詩就,此時風味。江左沉酣求名者,豈識濁醪妙理。回首叫、雲飛風起。不恨古人吾不見,恨古人、不見吾狂耳。知我者,二三子。


    賀 允晨文化 四十周年

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    再賀 允晨文化 四十周年 (1982.3.6 ~):來時路(部分抽樣):
    https://www.facebook.com/hanching.chung/videos/1118019792317089


    賀 允晨文化 四十周年 (1982.3.6 ~):來時路(部分抽樣): 允晨叢刊、  允晨文集、允晨文選  當代叢書、當代名家、根深叢書、商業叢書 ......、
    https://www.facebook.com/hanching.chung/videos/977963169501393


    2012年1月31日 星期二

    允晨文化30年

    https://hcbooks.blogspot.com/2012/01/30.html

    楊牧編的《許地山小說選》(1984):讀《芝蘭與茉莉》因而想及我的祖母

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    許地山《許地山小說選》(楊牧編,台北:洪範,1984)


    許地山:讀《芝蘭與茉莉》因而想及我的祖母

    許地山



    正要到哥倫比亞的檢討室裡校閱梵籍,和死和尚爭虛實,經過我的郵筒,明知每次都是空開的,還要帶著希望姑且開來看看。這次可得著一卷東西,知道不是一分鐘可以念完的,遂插在口袋裡,帶到檢討室去。
      我正研究唐代佛教在西域衰滅的原因,翻起史太因在和闐所得的唐代文契,一讀馬令痣同母黨二娘向護國寺憎虎英借錢的私契,婦人許十四典首飾契,失名人的典婢契等等,雖很有趣,但掩卷一想,恨當時的和尚只會營利,不顧轉法輪,無怪回紇一人,便爾掃滅無餘。
      為釋迦文擔憂,本是大愚,會不知成、住、壞、空,是一切法性?不看了,掏出口袋裡的郵件,看看是什麼罷。
      《芝蘭與茉莉》*

    *hc:芝蘭與茉莉》,顧一樵著。
      這名字很香呀!我把紙筆都放在一邊,一氣地讀了半天工夫——從頭至尾,一句一字細細地讀。這自然比看唐代死和尚的文契有趣。讀後的餘韻,常繞繚於我心中,像這樣的文藝很合我情緒的胃口似地。
      讀中國的文藝和讀中國的繪畫一樣。試拿山水——西洋畫家叫做「風景畫」——來做個例:我們打稿(Composition)是鳥瞰的、縱的,所以從近處的溪橋,而山前的村落,而山後的帆影,而遠地的雲山;西洋風景畫是水平的、橫的,除水平線上下左右之外,理會不出幽深的、綿遠的興致。所以中國畫宜於縱的長方,西洋畫宜於橫的長方。文藝也是如此:西洋人的取材多以「我」和「我的女人或男子」為主,故屬於橫的,夫婦的;中華人的取材多以「我」和「我的父母或子女」為主,故屬於縱的、親子的。描寫親子之愛應當是中華人的特長,看近來的作品,究其文心,都函這唯一義諦。
      愛親的特性是中國文化的細胞核,除了它,我們早就要斷髮短服了!我們將這種特性來和西洋的對比起來,可以說中華民族是愛父母的民族,那邊歐西是愛夫婦的民族。因為是「愛父母的」,故敘事直貫,有始有終,源源本本,自自然然地說下來。這「說來話長」的特性——很和拔絲山藥一樣地甜熱而粘——可以在一切作品裡找出來。無論寫什麼,總有從盤古以來說到而今的傾向。寫孫悟空總得從猴子成精說起;寫賈寶玉總得從頑石變靈說起;這寫生生因果的好尚是中華文學的文心,是縱的,是親子的,所以最易抽出我們的情緒。
      八歲時,讀《詩經.凱風》和《陟帖》,不曉得怎樣,眼淚沒得我的同意就流下來?九歲讀《檀弓》到「今丘也,東西南北之人也」一段,伏案大哭。先生問我:「今天的書並沒給你多上,也沒生字,為何委曲?」我說:「我並不是委曲,我只傷心這『東西南北』四字。」第二天,接著念「晉獻公將殺其世子申生」一段,到「天下豈有無父之國哉?」又哭。直到於今,這「東西南北」四個字還能使我一念便傷懷。我常反省這事,要求其使我哭泣的緣故。不錯,愛父母的民族的理想生活便是在這裡生、在這裡長、在這裡聚族、在這裡埋葬,東西南北地跑當然是一種可悲的事了。因為離家、離父母、離國是可悲的,所以能和父母、鄉黨過活的人是可羨的。無論什麼也都以這事為準繩:做文章為這一件大事做,講愛情為這一件大事講,我才理會我的「上墳癮」不是我自己所特有,是我所屬的民族自盤古以來遺傳給我的。你如自己念一念「可愛的家鄉啊!我睡眼朦朧裡,不由得不樂意接受你歡迎的誠意。」和「明兒……你真要離開我了麼?」應作如何感想?
      愛夫婦的民族正和我們相反。夫婦本是人為,不是一生下來就鑄定了彼此的關係。相逢盡可以不相識,只要各人帶著,或有了各人的男女欲,就可以。你到什麼地方,這欲跟到什麼地方,他可以在一切空間顯其功用,所以在文心上無需溯其本源,究其終局,乾乾脆脆,Just a word,也可以自成段落。愛夫婦的心境本含有一種舒展性和侵略性,所以樂得東西南北,到處地跑。夫婦關係可以隨地隨時發生,又可以強侵軟奪,在文心上當有一種「霸道」、「喜新」、「樂得」、「為我自己享受」的傾向。
      總而言之,愛父母的民族的心地是「生」;愛夫婦的民族的心地是「取」。生是相續的;取是廣延的。我們不是愛夫婦的民族,故描寫夫婦,並不為夫婦而描寫夫婦,是為父母而描寫夫婦。我很少見——當然是我少見——中國文人描寫夫婦時不帶著「父母的」的色彩;很少見單獨描寫夫婦而描寫得很自然的。這並不是我們不願描寫,是我們不慣描寫廣延性的文字的緣故。從對面看,縱然我們描寫了,人也理會不出來。
      《芝蘭與茉莉》開宗第一句便是「祖母真愛我!」這已把我的心牽引住了,「祖母愛我」,當然不是愛夫婦的民族所能深味,但它能感我和《檀弓》差不了多少。「垂老的祖母,等得小孩子奉甘旨麼?」子女生活是為父母的將來,父母的生活也是為著子女,這永遠解不開的結,結在我們各人心中。觸機便發表於文字上。誰沒有祖父母、父母呢?他們的折磨、擔心,都是像夫婦一樣有個我性的麼?丈夫可以對妻子說:「我愛你,故我要和你同住」;或「我不愛你,你離開我罷」。妻子也可以說:「人盡可夫,何必你?」但子女對於父母總不能有這樣的天性。所以做父母的自自然然要為子女擔憂受苦,做子女的也為父母之所愛而愛,為父母而愛為第一件事。愛既不為我專有,「事之不能盡如人意」便為此說出來了。從愛父母的民族眼中看夫婦的愛是為三件事而起,一是繼續這生生的線,二是往溯先人的舊典,三是承納長幼的情誼。
      說起書中人的祖母,又想起我的祖母來了。「事之不能盡如人意者,夫復何言!」我的祖母也有這相同的境遇呀!我的祖母,不說我沒見過,連我父親也不曾見過,因為她在我父親未生以前就去世了。這豈不是很奇怪的麼?不如意的事多著呢!愛祖母的明官,你也願意聽聽我說我祖母的失意事麼?
      八十年前,台灣府——現在的台南——城裡武館街有一家,八個兄弟同一個老父親同住著,除了第六、七、八的弟弟還沒娶以外,前頭五個都成家了。兄弟們有做武官的,有做小鄉紳的,有做買賣的。那位老四,又不做武官又不做紳士,更不會做買賣。他只喜歡唸書,自己在城南立了一所小書塾名叫窺園,在那裡一面讀,一面教幾個小學生。他的清閒,是他兄弟們所羨慕,所嫉妒的。
      這八兄弟早就沒有母親了。老父親很老,管家的女人雖然是妯娌們輪流著當,可是實在的權柄是在一位大姑手裡。這位大姑早年守寡,家裡沒有什麼人,所以常住在外家。因為許多弟弟是她幫忙抱大的,所以她對於弟弟們很具足母親的威儀。
      那年夏天,老父親去世了。大姑當然是「閫內之長」要督責一切應辦事宜的。早晚供靈的事體,照規矩是媳婦們輪著辦的。那天早晨該輪到四弟婦上供了。四弟婦和四弟是不上三年的夫婦,同是二十多歲,情愛之濃是不消說的。
      大姑在廳上嚷:「素官,今早該你上供了。怎麼這時候還不出來?」
      居喪不用粉飾面,把頭髮理好,也毋需盤得整齊,所以晨妝很省事。她坐在妝台前,嚼檳榔,還吸一管旱煙。這是台灣女人們最普遍的嗜好。有些女人喜歡學士人把牙齒染黑了,她們以為牙齒白得像狗的一樣不好看,將檳榔和著荖葉、熟灰嚼,日子一久,就可以使很白的牙齒變為漆黑。但有些女人是喜歡白牙的,她們也嚼檳榔,不過把灰減去就可以。她起床,漱口後第一件事是嚼檳榔,為的是使牙齒白而堅固。外面大姑的叫喚,她都聽不見,只是嚼著,還吸著煙在那裡出神。
      四弟也在房裡,聽見姊姊叫著妻子,便對她說:「快出去罷。姊姊要生氣了。」
      「等我嚼完這口檳榔,吸完這口煙才出去。時候還早咧。」
      「怎麼你不聽姊姊的話?」
      「為什麼要聽你姊姊的話?你為什麼不聽我的話?」
      「姊姊就像母親一樣。丈夫為什麼要聽妻子的話?」
      「『人未娶妻是母親養的,娶了妻就是妻子養的。』你不聽妻子的話,妻子可要打你,好像打小孩子一樣。」
      「不要臉,哪裡來得這麼大的孩子!我試先打你一下,看你打得過我不。」老四帶著嘻笑的樣子,拿著拓扇向妻子的頭上要打下去。妻子放下煙管,一手搶了扇子,向著丈夫的額頭輕打了一下,「這是誰打誰了!」
      夫婦們在殯前是要在孝堂前後的地上睡的,好容易到早晨同進屋裡略略梳洗一下,借這時間談談。他對於享盡天年的老父親的悲哀,自然蓋不過對於婚媾不久的夫婦的歡愉。所以,外頭雖然盡其孝思;裡面的「琴瑟」還是一樣地和鳴。中國的天地好像不許夫婦們在喪期裡有談笑的權利似的。他們在鬧玩時,門簾被風一吹,可巧被姊姊看見了。姊姊見她還沒出來,正要來叫她,從布簾飛處看見四弟婦拿著拓扇打四弟,那無明火早就高起了一萬八千丈。
      「哪裡來的潑婦,敢打她的丈夫!」姊姊生氣嚷著。
      老四慌起來了。他挨著門框向姊姊說:「我們鬧玩,沒有什麼事。」
      「這是鬧玩的時候麼?怎麼這樣懦弱,教女人打了你,還替她說話?我非問她外家,看看這是什麼家教不可。」
      他退回屋裡,向妻子伸伸舌頭,妻子也伸著舌頭回答他。但外面越呵責越厲害了。越呵責,四弟婦越不好意思出去上供,越不敢出去越要挨罵,妻子哭了。他在旁邊站著,勸也不是,慰也不是。
      她有一個隨嫁的丫頭,聽得姑太越罵越有勁,心裡非常害怕。十三四歲的女孩,哪裡會想事情的關係如何?她私自開了後門,一直跑回外家,氣喘喘地說:「不好了!我們姑娘被他家姑太罵得很厲害,說要趕她回來咧!」
      親家爺是個商人,頭腦也很率直,一聽就有了氣,說:「怎樣說得這樣容易——要就取去,不要就扛回來?誰家養女兒是要受別人的女兒欺負的?」他是個雜貨行主,手下有許多工人,一號召,都來聚在他面前。他又不打聽到的是怎麼一回事,對著工人們一氣地說:「我家姑娘受人欺負了。你們替我到許家去出出氣。」工人一轟,就到了那有喪事的親家門前,大興問罪之師。
      裡面的人個個面對面呈出驚惶的狀態。老四和妻子也相對無言,不曉得要怎辦才好。外面的人們來得非常橫逆,經兄弟們許多解釋然後回去。姊姊更氣得凶,跑到屋裡,指著四弟婦大罵特罵起來。
      「你這潑婦,怎麼這一點點事情,也值得教外家的人來干涉?你敢是依仗你家裡多養了幾個粗人,就來欺負我們不成?難道你不曉得我們詩禮之家在喪期裡要守制的麼?你不孝的賤人,難道丈夫叫你出來上供是不對的,你就敢用扇頭打他?你已犯七出之條了,還敢起外家來鬧?好,要吃官司,你們可以一同上堂去,請官評評。弟弟是我抱大的,我總可以做報告。」
      妻子才理會丫頭不在身邊。但事情已是鬧大了,自己不好再辯,因為她知道大姑的脾氣,越辯越惹氣。
      第二天早晨,姊姊召集弟弟們在靈前,對他們說:「像這樣的媳婦還要得麼?我想待一會,就扛她回去。」這大題目一出來,幾個弟弟都沒有話說,最苦的就是四弟了。他知道「扛回去」就是犯「七出之條」時「先斬後奏」的辦法,就顫聲地向姊姊求情,姊姊鄙夷地說:「沒志氣的懦夫,還敢要這樣的婦人麼?她昨日所說的話我都聽見了。女子多著呢,日後我再給你挑個好的。我們已預備和她家打官司,看看是禮教有勢,還是她家工人的力量大。」
      當事的四弟那時實在是成了懦夫了!他一點勇氣也沒有,因為這「不守制」、「不敬夫」的罪名太大了,他自己一時也找不出什麼話來證明妻子的無罪,有赦免的餘地。他跑進房裡,妻子哭得眼都腫了。他也哭著向妻子說:「都是你不好!」 「是,……是……我我……我不好,我對對……不起你!」妻子抽噎著說。丈夫也沒有什麼話可安慰她,只挨著她坐下,用手撫著她的脖項。
      果然姊姊命人雇了一頂轎子,跑進房裡,硬把她扶出來,把她頭上的白麻硬換上一縷紅絲,送她上轎去了。這意思就是說她此後就不是許家的人,可以不必穿孝。
      「我有什麼感想呢?我該有怎樣的感想呢?懦夫呵!你不配靦顏在人世,就這樣算了麼?自私的我,卻因為不貫徹無勇氣而陷到這種地步,夫復何言!」當時他心裡也未必沒有這樣的語言。他為什麼懦弱到這步田地?要知道他原不是生在為夫婦的愛而生活的地方呀!
      王親家看見平地裡把女兒扛回來,氣得在堂上發抖。女兒也不能說什麼,只跪在父親面前大哭。老親家口口聲聲說要打官司,女兒直勸無需如此,是她的命該受這樣折磨的,若動官司只能使她和丈夫吃虧,而且把兩家的仇恨結得越深。
      老四在守制期內是不能出來的。他整天守著靈想妻子。姊姊知道他的心事,多方地勸慰他。姊姊並不是深恨四弟婦,不過她很固執,以為一事不對就事事不對,一時不對就永遠不對。她看「禮」比夫婦的愛要緊。禮是古聖人定下來,歷代的聖賢親自奉行的。婦人呢?這個不好,可以挑那個。所以夫婦的配合只要有德有貌,像那不德、無禮的婦人,盡可以不要。
      出殯後,四弟仍到他的書塾去。從前,他每夜都要回武館街去的。自妻去後,就常住在窺園。他覺得一到妻子房裡冷清清地,一點意思也沒有,不如在書房伴著書眠還可以忘其愁苦。唉,情愛被壓的人都是要伴書眠的呀!
      天色晚,學也散了。他獨在園裡一棵芒果樹下坐著發悶。妻子的隨嫁丫頭藍從園門直走進來,他雖熟視著,可像不理會一樣。等到丫頭叫了他一聲:「姑爺」,他才把著她的手臂,如見了妻子一般。他說:「你怎麼敢來?……姑娘好麼?」
      「姑娘命我來請你去一趟。她這兩天不舒服,躺在床上哪,她吩咐掌燈後才去,恐怕人家看見你,要笑話你。」
      她說完,東張西望,也像怕人看見她來,不一會就走了。那幾點鐘的黃昏偏又延長了,他好容易等到掌燈時分!他到妻子家裡,丫頭一直就把他帶到樓上,也不敢教老親家知道。妻子的面比前幾個月消疲了,他說:「我的……」,他說不下去了,只改過來說:「你怎麼瘦得這個樣子!」
      妻子躺在床上也沒起來,看見他還站著出神,就說:「為什麼不坐,難道你立刻要走麼?」她把丈夫揪近床沿坐下,眼對眼地看著。丈夫也想不出什麼話來說,想分離後第一次相見的話是很難起首的。
      「你是什麼病?」
      「前兩天小產了一個男孩子!」
      丈夫聽這話,直像喝了麻醉藥一般。
      「反正是我的罪過大,不配有福分,連從你得來的孩子也不許我有了。」
      「人不要緊的,日後我們還可以有五六個。你要保養保養才是。」
      妻子笑中帶著很悲哀的神彩說:「癡男子,既休的妻還能有生子女的榮耀麼?」說時,丫頭遞了一盞龍眼乾甜茶來。這是台灣人待生客和新年用的禮茶。
      「怎麼給我這茶喝,我們還講禮麼?」
      「你以後再娶,總要和我生疏的。」
      「我並沒休你。我們的婚書,我還留著呢。我,無論如何,總要想法子請你回去的,除了你,我還有誰?」
      丫頭在旁邊插嘴說:「等姑娘好了,立刻就請她回去罷。」
      他對著丫頭說:「說得很快,你總不曉得姑太和你家主人都是非常固執,非常喜歡賭氣,很難使人進退的。這都是你弄出來的。事已如此,夫復何言!」
      小丫頭原是不懂事,事後才理會她跑回來報信的關係重大。她一聽「這都是你弄出來的,」不由得站在一邊哭起來。妻子哭,丈夫也哭。
      一個男子的心志必得聽那寡後回家當姑太的姊姊使令麼?當時他若硬把妻子留住,姊姊也沒奈他何,最多不過用「禮教的棒」來打他而已。但「禮教之棒」又真可以打破人的命運麼?那時候,他並不是沒有反抗禮教的勇氣,是他還沒得著反抗禮教的啟示。他心底深密處也會像吳明遠那樣說:「該死該死!我既愛妹妹,而不知護妹妹;我既愛我自己,而不知為我自己著想。我負了妹妹,我誤了自己!事原來可以如人意,而我使之不能;我之罪惡豈能磨滅於萬一,然而赴湯蹈火,又何足償過失於萬一呢?你還敢說:『事已如此,夫復何言』麼?」
      四弟私會出妻的事,教姊姊知道,大加申斥,說他沒志氣。不過這樣的言語和愛情沒有關係。男女相待遇本如大人和小孩一樣。若是男子愛他的女人,他對於她的態度、語言、動作,都有父親對女兒的傾向;反過來說,女人對於她所愛的男子也具足母親對兒子的傾向。若兩方都是愛者,他們同時就是被愛者,那是說他們都自視為小孩子,故彼此間能吐露出真性情來。小孩們很願替他們的好朋友擔憂、受苦、用力;有情的男女也是如此。所以姊姊的申斥不能隔斷他們的私會。
      妻子自回外家後,很悔她不該貪嚼一口檳榔,貪吸一管旱煙,致誤了靈前的大事。此後,檳榔不再入她的口,煙也不吸了。她要為自己的罪過懺悔,就吃起長齋來。就是她親愛的丈夫有時來到,很難得的相見時,也不使他挨近一步,恐怕玷了她的清心。她只以唸經繡佛為她此生唯一的本分,夫婦的愛不由得不壓在心意的崖石底下。
      十幾年中,他只是希望他岳丈和他姊姊的意思可以換回於萬一。自己的事要仰望人家,本是很可憐的。親家們一個是執拗,一個是賭氣,因之光天化日的時候難以再得。
      那晚上,他正陪姊姊在廳上坐著,王家的人來叫他。姊姊不許說:「四弟,不許你去。」
      「姊姊,容我去看她一下罷。聽說她這兩天病得很厲害,人來叫我,當然是很要緊的,我得去看看。」
      「反正你一天不另娶,是一天忘不了那潑婦的。城外那門親給你講了好幾年,你總是不介意。她比那不知禮的婦人好得多——又美、又有德」。
      這一次,他覺得姊姊的命令也可以反抗了。他不聽這一套,逕自跑進屋裡,把長褂子一披,匆匆地出門。姊姊雖然不高興,也沒法揪他回來。
      到妻子家,上樓去。她躺在床上,眼睛半閉著,病狀已很兇惡。他哭不出來,走近前,搖了她一下。
      「我的夫婿,你來了!好容易盼得你來!我是不久的人了,你總要為你自己的事情打算,不要像這十幾年,空守著我,於你也沒有益處。我不孝已夠了,還能使你再犯不孝之條麼?——『不孝有三,無後為大』。」
      「孝不孝是我的事,娶不娶也是我的事。除了你,我還有誰?」
      這時丫頭也站在床沿。她已二十多歲,長得越嫵媚、越懂事了。她的反省,常使她起一種不可言喻的傷心,使她覺得她永遠對不起面前這位垂死的姑娘和旁邊那位姑爺。
      垂死的妻子說:「好罷,我們的恩義是生生世世的。你看她。」她撮嘴指著丫頭,用力往下說:「她長大了。事情既是她弄出來的,她得替我償還。」她對著丫頭說:「你願意麼?」丫頭紅了臉,不曉要怎樣回答。她又對丈夫說:「我死後,她就是我了。你如記念我們舊時的恩義,就請帶她回去,將來好替我……」
      她把丈夫的手拉去,使他楂住丫頭的手,隨說:「唉,子女是要緊的,她將來若能替我為你養幾個子女,我就把她從前的過失都寬恕了。」
      妻子死後好幾個月,他總不敢向姊姊提起要那丫頭回來。他實在得很懦弱的,不曉怎樣怕姊姊會怕到這地步!
      離王親家不遠住著一位老妗婆。她雖沒為這事擔心,但她對於事情的原委是很明瞭的。正要出門,在路上遇見丫頭,穿起一身素服,手挽著一竹籃東西,她問:「藍,你要到哪裡去?」
      「我正要上我們姑娘的墳去。今天是她的百日。」
      老嶺婆一手扶著杖,一手捏著丫頭的嘴巴,說:「你長得這麼大了,還不回武館街去麼?」丫頭低下頭,沒回答她。她又問:「許家沒意思要你回去麼?」
      從前的風俗對於隨嫁的丫頭多是預備給姑爺收起來做二房的,所以妗婆問得很自然。丫頭聽見「回去」兩字,本就不好意思,她雙眼望著地上,搖搖頭,靜默地走了。
      妗婆本不是要到武館街去的,自遇見丫頭以後,就想她是個長輩之一,總得贊成這事。她一直來投她的甥女,也叫四外甥來告訴他應當辦的事體。姊姊被妗母一說,覺得再沒有可固執的了,說:「好罷,明後天預備一頂轎子去扛她回來就是。」
      四弟說:「說得那麼容易?要總得照著娶繼室的禮節辦,她的神主還得請回來。」
      姊姊說:「笑話,她已經和她的姑娘一同行過禮了,還行什麼禮?神主也不能同日請回來的。」
      老妗母說:「扛回來時,請請客,當做一樁正事辦也是應該的。」
      他們商量好了,兄弟也都贊成這樣辦。「這種事情,老人家最喜歡不過」,老妗母在辦事的時候當然是一早就過來了。
      這位再回來的丫頭就是我的祖母了。所以我有兩個祖母,一個是生身祖母,一個是常住在外家的「吃齋祖母」——這名字是母親給我們講祖母的故事時所用的題目。又「丫頭」這兩個字是我家的「聖諱」,平常是不許說的。
      我又講回來了。這種父母的愛的經驗,是我們最能理會的。人人經驗中都有多少「祖母的心」、「母親」、「祖父」、「愛兒」等等事跡,偶一感觸便如懸崖瀉水,從盤古以來直說到於今。我們的頭腦是歷史的,所以善用這種才能來描寫一切的事故。又因這愛父母的特性,故在作品中,任你說到什麼程度,這一點總抹殺不掉。我愛讀《芝蘭與茉莉》,因為它是源源本本地說,用我們經驗中極普遍的事實觸動我。我想凡是有祖母的人,一讀這書,至少也會起一種回想的。
      書看完了,回想也寫完了,上課的鐘直催著。現在的事好像比往事要緊,故要用工夫來想一想祖母的經歷也不能了!大概她以後的境遇也和書裡的祖母有一兩點相同罷。
    寫於哥崙比亞圖書館四一三號檢討室,1924年2月10日。

    *************

    漫談許地山的作品--五四時代作家的親情與愛情. 夏志清; 聯合報; 民68.07.16-18




    文學的許地山



    劉紹銘 嶺南大學榮休
    我一落筆就用題目劃分界線,用意在說明本文話題只限於許地山(1893-1941)的文學作品。因為這位在燕京大學求學期間即有「許真人」之譽的文人學者,生平涉獵過的學術範圍,實在博雜。他在燕大神學院研究宗哲學,後來到哥倫比亞和牛津兩家大學繼續進修時,不改其志,只是野心更大,把梵文、印度文學和民俗學等學科也納入研究的領域。
    他的著作,除《印度文學》、《道史》上卷和《大藏經索引》這類跟他專業有關的名目外,還有〈近三百年來的中國女裝〉和立意要破除迷信的《扶箕迷信底研究》。據許地山夫人周俟松和邊一吉合撰〈許地山和他的作品〉中引陳寅恪在許地山死後的說話:「寅恪昔年略治佛道二家之學……後讀許地山先生所著佛道二史論文,關於義本體俱有精深之評述,心服之餘,彌用自愧,遂捐棄故技,不敢復談此事矣。」
    文學有文學的許地山。宗哲學有宗哲學的許地山。「許真人」還是中國婦女「平權運動」的先驅者。他也是香港傳統育的「造反派」。1935年,燕京大學務長司徒雷登( John Leighton Stuart,1876-1962)排擠校內的「進步老師」,解聘了許地山。許地山除持有英美學位外,更通廣東話和普通話,合乎香港大學招聘中文授的條件。通過胡適的推薦,許地山於1936年應聘為中文學院主任授。據周俟松在年表所記,港大中國文學課程原以晚清八股為宗,重四書五經。套用魯迅〈無聲的中國〉(1927)的話:「用的是難懂的古文,講的是陳舊的古意思,所有的聲音,都是過去的,那就是只等於零的。」
    許地山上任後,不想「抱古文而死掉」,因此身體力行,竭力提倡白話文。他參照內地的課程,把文史哲不分的舊傳統分為文、史、哲三個學系。他反叛傳統傳授「國學」的方式,早有「前科」。在燕大選修本科之餘,他還擠出時間學金文和甲骨文,就是沒有選國文課。因為他說他「瞧不起這的國文」。據周俟松的回憶,「實際上當時國文的幾位老夫子確實十分陳腐迂闊,說不上真才實學。」
    在燕大時長髮披肩、奇裝異服的許地山,對研究他生平行的人說來,確像個千手觀音。他是學者、社會改良分子和育改革家。你對他以上任何一項的活動有興趣,都可以拿來做專題研究。「文學的許地山」命題之所以成立,因為許地山也是「落華生」。1920年他和茅盾、周作人、葉紹鈞等人在北京籌備「文學研究會」,次年即在機關刊物《小說月報》以落華生筆名發表〈商人婦〉等短篇小說。他對小說這門書寫,一直情有獨鍾。在港大服務期間,除學外還兼任行政工作,但他還沒放棄寫作。中篇小說〈玉官〉(1939),是他逝世前兩年完成的。
    許地山早期的小說,充滿異國情調,洋溢濃厚的宗意識,與五四文學蒙救亡的大述大相徑庭。他的作品,的確是現代中國文學一個異數,當年如是,今天看來亦如是。沈從文早在1930年就寫了〈落華生論〉,那時〈春桃〉(1934)和〈玉官〉這兩篇扛鼎之作還未面世,論點當然片面。給文學的許地山定位的,是夏志清授。他在1961年出版的《中國現代小說史》開宗明義的說:
    許地山與他同時的作家最不同的一點是他對宗的興趣。冰心讚美母愛,是個泛神論者,但她的哲學是建於她幼年的幸福經驗,並沒有關注到宗上的大問題。反過來看,許地山所關心的則是慈悲或愛這基本的宗經驗,而幾乎在他所有的小說都試要讓世人知道,這個經驗在我們的生活中是無所不在的。雖然他成就不大,對其他作家的影響更是微乎其微,但他給他的時代重建精神價值上所作的努力,真不啻是一種苦行僧的精神。光憑這點,他已經值得我們尊敬,並且在文學史上,應佔得一席之地了。
    夏志清寫的是小說史,他說許地山「成就不大」,指的自然是他在這方面的著作。夏授用了史筆。以小說論小說,許地山的文字拙樸近乎 artless。你讀他的作品,需要相當的耐性,也要習慣他的美學。在〈海世間〉中我們聽到「他」跟一條文鰩魚的對話。「他」對海底世界感到好奇,要求文鰩帶他參觀一下。文鰩潑他冷水,告訢他海底世界沒有甚麼,只有又鹹又冷的水。「凡美麗的事物,」文鰩說:「都是這麼簡單的。你要他多麼繁複、熱烈,那就不對了。」

    讀魯迅、錢鍾書和張愛玲的作品,文字本身就是一種享受。許地山小說文字,也許是為了配合宣揚「愛的宗」福音的關係,倒是「簡單」得像又鹹又冷的海水,鮮見華彩。這種文字,適合於寓言體的小說如〈綴網勞蛛〉。小說結尾時,尚潔對史夫人吐心聲。話相當嗦,我只抄一小段:
    我像蜘蛛,命運就是我的網。蜘蛛把一切有毒無毒的昆蟲喫入肚,回頭把網組織起來。它第一次放出來的游絲,不曉得要被風吹到多麼遠。可是等到黏別的東西的時候,它的網便成了。
    許地山的小說,脫不了傳奇架構,人的一生,往往逃不了定數。〈歸途〉讀來像《京本通俗小說》〈錯斬崔寧〉的現代版:劫數難逃連番演繹,令人透不過氣來。〈枯楊生花〉的小叔經有心人的安排,重逢闊別四十多年的寡嫂,得續前半生未了緣,只能說是一篇依循三言小說「無巧不成書」脈絡寫成的現代傳奇。
    〈商人婦〉(1921)、〈春桃〉(1934)和〈玉官〉(1939)分別為堅強獨立的女性造像。〈商人婦〉中的福建農村婦女惜官,到南洋去千里尋夫,卻反被丈夫出賣給一印度商人作妾,還給他生了個兒子。商人死後,妻妾爭產,惜官帶了兒子和一個鑽石鼻環溜了出來。靠一個基督家庭的幫助和指引,惜官在一家印度婦女學校念書,完成學業後留在學校當「習」,自食其力。她要事者別為她難過,因為「人間一切的事情本來沒有甚麼苦樂底分別。……久別、被賣、逃亡等事情都有快樂在內。」她愛讀的兩本書是《天路歷程》和《魯賓孫飄流記》。

    〈春桃〉表面看來沒有甚麼宗色彩,但這篇小說如果不用陳平原所說的「儒家義、佛學的慈悲和基督的博愛混合在一起」來解釋,容易誤為「誨淫誨盜」之作。故事很簡單,春桃在鄉下出閣要嫁給李茂那天,花轎進門不久,村人報說大兵要來了,要趕快逃命。春桃從此跟還未完房的丈夫失散,流浪北京,撿爛紙破片為活。為了方便彼此照顧,她跟一個也是難民的男子劉向高同居起來。
    春桃一天在街上聽到一個叫化子呼喚她的名字,原來是李茂,兩條腿都沒有了。春桃把他接回家後,馬上面對情義比重難分的問題。李茂是傷殘人士,捨他而去,有損大義。向高是「夥計」,同甘苦多年,怎能對他無情?李茂不想難為春桃,懸樑自盡,幸好及時救了回來。三個都是心腸極好,處處為他人想的善心人,最後決定隨遇而安,不管甚麼流言蜚語,繼續大家扶持,同居下去。這種 m nage[!886A] trois的男女關係,不合「皇法」,但春桃在這遵守的,顯然不是世俗的道德法律。正如陳平原所說,「一夫一妻的信條讓位於愛一切人的神旨。有這種宗觀念墊底,春桃才可能心安理得,平靜地蔑視世人的非議。」
    〈玉官〉是許地山小說最長的一篇。玉官在丈夫死後,立志守節把襁褓孩兒撫養成人,希望他日後能得一官半職,給自己立牌坊。她在一個外國傳士家中當女傭,對傳道工作感到興趣,後來跟隨好友杏官正式當了傳道士。在外地傳時,她愛上了一個叫陳廉的小販,但後來發覺他是杏官的丈夫時,就打消了這念頭。玉官的兒子長大,娶了杏官的女兒為妻。兒子不久到美國念神學。兒媳死於難產後,做奶奶的只好肩負起撫養孫子的責任。
    共產黨人來了,她因小叔是共產黨員的關係,得到一些照顧,沒有受到太大的苦頭。不幸的是,孫子因跌傷後變成殘廢。就在這當兒,去國多年的兒子終於回來了,但對傳已無興趣,直接跑到南京去做官。玉官跑到南京跟兒子同住沒多久,發覺無法忍受兒子媳婦的洋化生活。她感懷身世,認識到:
    自守寡以來,所有的行為雖是為兒子底成功,歸根,這是自私的。她幾十年來底傳生活,一向都如「賣瓷器底用破碗」一般,自己沒享受過訓底利益。……她覺得從前的守節是為虛榮,從前的傳是近於虛偽,目前的痛苦是以前種種底自然結果。她要回鄉下去真正做她底傳生活。不過她先要懺悔。
    這是中國現代文學難得一見的靈魂自白。她認識到自己守節養孤是自私行為,因此要懺悔。在基督義中,人為自己罪行懺悔後就要做補贖。晚年的玉官回到福建老家,全心全力服務桑梓,就是為了做補贖。但我們不能光憑她的懺悔意識和要做補贖的決心就推論玉官的行為是受到上帝的感召。事實上她不是個模範基督徒。首先,她沒有完全放棄拜祭祖先靈位的念頭,在虔誠的基督徒看來已是「異端」。更會令原旨主義者大惑不解的,應該是她到外地傳時,用以「辟邪」的隨身物件,一是《聖經》、二是《易經》。
    許地山在玉官身上創造了一個 E.M. Foster在《小說面面觀》( Aspects of the Novel)所說的 rounded character。這類人物的性格隨個人的經驗轉變而增長。小說開始時的玉官和結尾時的玉官,可說是兩個不同的人物:她從自己的遭遇「驚識」( shock of recognition)自己道德上的缺憾,因而產生民胞物與的愛心。從 penitence(懺悔)到 redemption(救贖)的種種心理轉變,就是人物成長的過程。
    文藝創作寫「壞人」的敗德惡行容易,要信而有徵的描繪「好人」超凡入聖的作為就難多了。難怪夏志清說,在唯物主義氾濫的時代中,許地山以無比誠意從事這種吃力不討好的工作,「光憑這點,他已經就值得我們的尊敬。」


    本文有關許地山生平和出版資料,參考了周俟松和向雲休編的《許地山》(1982)和楊牧編的《許地山小說選》(1984),特此說明。

    Vannevar Bush (1890~1974) 科技巨匠。 Science Is Not Enough 有今日世界譯本。"科學的貧乏"書名有點誤解

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    書名有點誤解Science Is Not Enough  非 "科學的貧乏"而是科學還不夠
    Science Is Not Enough : Reflections on the Present and Future by Vannevar Bush 1967;"科學的貧乏",1975 http://hcsstt.blogspot.com/....../science-is-not......
    Science Is Not Enough : Reflections on the Present and Future by Vannevar Bush 1967;科學的貧乏,1975
    HCSSTT.BLOGSPOT.COM
    Science Is Not Enough : Reflections on the Present and Future by Vannevar Bush 1967;科學的貧乏,1975
    Science Is Not Enough : Reflections on the Present and Future by Vannevar Bush 1967;科學的貧乏,1975

    Vannevar Bush (1890~1974) 科技巨匠。 Science Is Not Enough 有今日世界譯本



    Former Under Secretary of Defense for Research and Engineering of the United States



    DescriptionVannevar Bush was an American engineer, inventor and science administrator, who during World War II headed the U.S. Office of Scientific Research and Development, through which almost all wartime military ... Wikipedia

    Bibliography[edit]

    (complete list of published papers: Wiesner 1979, pp. 107–117).



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




    1 則留言




    IEEE Spectrum

    “The key to accomplishment is research. It need not be complex, in order to be useful, but it certainly should be intelligent. In our modern tempo that industry is in danger which is in a static state."--Vannevar Bush



    SPECTRUM.IEEE.ORG
    Research Is the Key

    3月5日下午11:49·



    “I have always envied the duck. He can dive under water and come up dry. Yet his coat is pervious to air as it should be for his good health, and it fits beautifully."--Vannevar Bush


    SPECTRUM.IEEE.ORG
    Envy the Duck
    A master of metaphors, Bush searched for everyday analogies to expla



    3月4日下午11:49·

    "Even though at times the box that is opened be Pandora’s, even though there are both good and evil in what we learn it is our duty and our calling to extend [humanity’s] grasp of the universe."--Vannevar Bush



    SPECTRUM.IEEE.ORG
    Grappling With Good and Evil
    To scientists and engineers, Bush advised:“We are embarked upon a great adventure, and it is our privilege to further it. Even though at times the box that is opened be Pandora’s, even though there are both good and evil in what we learn it is our duty and our calling to extend [humanity’s] gr...



    IEEE Spectrum
    3月3日下午11:49·


    Vannevar Bush presaged PCs and the Web back in 1945: “A library of a million volumes could be compressed into one end of a desk.”



    SPECTRUM.IEEE.ORG
    As We May Think
    Bush correctly predicted in 1945 that the radical proliferation of--and expan


    ***
    Like Bell Labs, the transistor stood at the intersection of theoretical science and applied engineering. It could be described as both a discovery and an invention. It was also an example of the “linear argument” in the history of science that was expounded by Vannevar Bush, James Conant and other academics who were involved in World War II’s scientific endeavors and wanted to encourage continued government funding of pure research: The theoretical discoveries of pure science would lead to applied science breakthroughs and new technological inventions. Gertner explains how this process could result in sustained innovation:
    “If an idea begat a discovery, and if a discovery begat an invention, then an innovation defined the lengthy and wholesale transformation of an idea into a technological product (or process) meant for widespread practical use. Almost by definition, a single person, or even a single group, could not alone create an innovation. The task was too variegated and involved.”





    2012年4月6日 星期五

    Bell Labs 的史詩故事

    https://hcnew.blogspot.com/2012/04/bell-labs.html
    這是第n本關於 Bell Labs 的史詩故事
    又可參考我前年的書 系統與變異: 淵博知識與理想設計法 u.3
    也也

    Inventing the Future
    ‘The Idea Factory,’ by Jon Gertner

    ---

     Mumford was also a contemporary and friend of Frank Lloyd WrightFrederic OsbornEdmund N. Bacon, and Vannevar Bush.





    吳福助《昨夜星辰昨夜風—東海大學第六屆校友畢業五十週年文集》讀記;刊於東海大學圖書館館刊第62期 (2022.3.15),頁47-56

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    書評 《昨夜星辰昨夜風—東海大學第六屆校友畢業五十週年文集》讀記 吳福助∗ 書 名 :《昨夜星辰昨夜風—東海大學第六屆校友畢業五十週年文集》 作 者:李南衡等 36 人 主 編:李麗年 發行人:李麗年 出版者:東海大學第六屆校友慶祝畢業五十週年同學會 書 碼 :ISBN:978-957-43-1413-3 大學四年,是一般 人心目中最為黃金的 時段。這個時期,思想 和感情都在急劇成 長,學 校 的 傳 統 校 風 和 校 園 環 境,都 會 對 學 生 人 格 特 質 的 塑 造,發 揮 相 當 的 影 響 作 用。一 個 人 的 志 趣 和 氣 質,大 約 大 學 畢 業 時 候,都 已 經 定 型 了,除 非 遭 遇 重 大 變故,否則難再改變。 如 此 說 來,大 學 教 育 對 於形塑個人思想情感                                                        ∗ 東海大學中國文學系退休教授

     本書是東海大學第六屆畢業校友,為慶祝畢業 50 週年返校聚會而編 輯 出 版 的 紀 念 文 集,也 是 東 海 大 學 歷 屆 畢 業 校 友 首 創 合 撰 的 紀 念 文 集。3 全 書分為「懷‧往事」、「尋‧東海」、「念‧師友」、「續‧情緣」、「謝‧恩 情 」5 輯,收錄 68 篇短文,加上〈序〉及〈編後語〉,共計 70 篇。其中 內容較為詳贍的,有顏上田〈東海六十年代回顧〉、李南衡〈猜燈謎的樂 趣 〉、劉 照 男〈 求 真 之 旅 〉、孫 清 山〈 東 海 憶 往 〉、劉 照 男〈 走 過 黃 泥 山 徑 〉、 黃 淑慎〈 有雙 親陪伴 的大 學生涯〉、李南衡〈一路唱回東海〉、陸時時〈粉 墨東海〉、顏上田〈昨夜星辰昨夜風〉、吳福助〈聖誕夜報佳音〉、陳須美 〈歌聲伴我行〉、黃淑慎〈校園記趣〉、李麗年〈奇緣〉、林榮寵〈大度山 的夢幻歲月〉等篇。至於悼念文章,包括焦璗〈張淑纖的一些小故事〉、


    一、熱心號召的主編 本書的出面號召校友共同參與寫作,鼓勵寫作,積極催稿,分類編 輯出版,全然歸功於歷史系李麗年一人。李南衡〈序〉說:「小時候,我 們鄉下木桶店師傅,用心地把一片一片的木塊刨修得適於用作桶邊與桶 底的材料,雖然完美,但散落在牆角的也只不過是一片片好看的木片。 當師傅把一片片木塊契合在一起時,最重要的是他用細竹片編成的竹繩 索,把所有的木片緊緊地『箍』在一起,才成其為完美的『桶』。我們東 海第六屆的木片們,多虧有一位把大家『箍』在一起的李麗年同學,多 年來我們才能相互聯繫,在她耐心地催促下,才能讓大家用心寫成的文 章集成這本我們東海第六屆的《昨夜星辰昨夜風》。」 4 這個把主編李麗年 說成「箍桶師」的比喻,是最洽當不過了。另外一位辛勞奉獻的是建築 系游明國,承擔後續所有繁雜的出版事務。本書附錄 124 張很能吸睛的 生活照片,版面設計精美,賞心悅目,足見編輯的用心。

    二、情思纏綿的書名 本 書書名「昨 夜星辰 昨夜 風」,是生物系顏上田所命名。5 書名取自唐 代李商隱〈無題〉詩首句。李商隱這首詩是抒寫他對昨夜偶然相遇,如 今轉成相隔的意中人深切的懷想。這樣圓轉流美的書名,不但充滿對昔 日青春歲月追憶不已的濃郁抒情氣氛,其實還進一步隱含李商隱〈無題〉 原詩第三、四句:「身無彩鳳雙飛翼,心有靈犀一點通」的命意。意思是 說:我身上儘管沒有彩鳳那樣的翅膀,得以飛越關山阻隔,前去與日夜 思念的你相會,但我們彼此的心靈,卻像犀牛角中央那一道貫通上下的神奇白線,時時互通有無,遙相呼應。這樣的深情寄意取名,再加上封 面秀麗的書法題字,6 瀰漫著纏綿不盡的悠遠飄渺情思,引人尋味再三, 愛誦不已。 三、昂揚奮發「開創」群像的書寫 

    本書李麗年〈編後語〉說,本書「原先只屬於個人的小素描,集合 在一起後,拼貼出一幅屬於大家的大畫面。闊別半世紀之遙的青春歲月躍然紙上,歷歷在目。」 8 筆者認為這個大畫面,最為突出的是,充分展 現了第六屆學生昂揚奮發的「開創精神」群像,例如: 「我們這一屆的同學幾乎都是 1940 年左右出生。一部分是 1949 年在 國共內戰中,國民黨兵敗如山倒,跟著親人隨蔣介石撤退到台灣來 的,另外大部分是日據時代在台灣出生的本地人,還有就是極少數的 僑生。我想在我們那個食不溫飽生活艱苦困難的年代,父母、親人對 我們最大的期望就是讀書、讀書,希望長大以後能夠出人頭地。因此 小學、初中、高中、大學,毫無疑問的是我們每一個人必走的路。大 學畢業以後呢?出國留學更是那個時代的潮流,做父母的是望子成龍 也好,或是出於他們的虛榮心也好,如果有子女可以出國,那可是光 宗耀祖的事。至於我們自己呢,『輸人不輸陣』,好歹也要出個國,管 他出去以後念什麼,念成以後人生要怎麼規劃?」 (張繼正〈游明國的《美麗人生》〉,頁 192) 「在六十年代能考上大學非常不容易。那時候全台灣總共大約有十所 大學。沒能考上大學,就得很快被徵召入營,當三年充員兵。」「在 當時的鄉下,大學生是傳奇人物,非等閒輩。能考進東海大學更是大 事,因為東海是一所很好的私立『貴族學校』。」「1960 年我進東海時 ,東海已創校五年,規模具備,師資一流,錄取學生素質優秀。全體 師生士氣高昂,自許而不自負,以東海成員為傲。」「事實上我們也 是天之驕子,何幸生逢其時,進入東海時正趕上其蓬勃發展的黃金時 代:全校只有八百學生—我們享有最豐富的資源;全體師生住校,每 人有專用信箱—我們享有最妥善的照顧,幾近被寵壞;學校延請頂級 大師學者任教—我們享有最先進的專業訓練;學校以基督精神來潛移 默化學子—我們學到基督的愛心及常存感恩的胸懷;學校用音樂活動 去淨化心靈—我們學會謙卑及包容;通才教育—我們有平衡的人生觀,有成熟的判斷能力;勞作制度—我們了解身體力行的含義及行業 無貴賤的道理。」 (以上顏上田〈東海六十年代回顧〉,頁 8)

    四、描繪大肚山斷崖勝景 


    五、佐證東海「校史」 游明國〈相思‧苦楝‧銀合歡〉記載: 「記得 1960 年我們剛進東海唸書時,大度山還是紅土一片。紅土是 台灣西部山坡台地的土壤特色,土質貧瘠,不易涵養水份,因此並不 東海大學圖書館館刊第 62 期 54 很適合植物生長。唯獨相思樹例外,它非常抗旱,滋生力強,是非常 適合在紅土台地生長的樹種。當時負責廣大東海校園植栽計畫的人就 是擔任早期建校工程的陳其寬教授,那時從農復會捐贈過來約四萬棵 相思樹苗,陳其寬老師就把它當作植被來處理,是成片狀的來栽植, 他選擇了南側的農牧場區及北側校園的空地廣植相思樹,數十年後這 些樹木成了森林,也變成東海校園的重要一環。所以後來學校為了擴 建,要砍相思樹,還引發了一陣保護東海相思樹的運動。我們早期東 海同學對這片相思樹林應該比較有感情,相思樹林是跟我們一齊長大 的。」 (頁 141)


    六、餘話 本書李麗年〈編後語〉說:「從單幅佳作,集合而成一本屬於你我世 代的畫冊」,「希望這本文集能陪伴著大家,繼續在生活中保有感動,時 時揮動手中彩筆。」 12如今筆者最期盼的是,已經邁入八十高齡的第六屆 畢業校友兄嫂們,不妨時時回憶,經常回到大學時期那段美好的純真年 代。那段青春歲月,如同陳須美校友所說:「捧著書穿梭在仿唐建築物之 間,常有一種以為生在盛唐的優越感」,那些點點滴滴的記憶,「汨汨地 滲進了我們的生命裡」,「不管星空如何轉移,總是經常在心頭閃爍不已 。」( 頁 80-83)大家姑且互相勉勵,繼續揮灑手中老健的彩筆,隨時隨 地,即興及時,寫下心中的感動,以便再接再厲,彙集出版《續集》哦! (本文承蒙李麗年校友校閱,有所指正,特此致謝。)

    篇 名《昨夜星辰昨夜風—東海大學第六屆校友畢業五十週年文集》讀記
    作 者吳福助
    刊 名東海大學圖書館館刊
    卷 期第62期
    出版年月2022.03.15
    頁 次頁47-56
    關鍵字昨夜星辰昨夜風、第六屆校友
    全 文全文下載

     http://digarc.lib.thu.edu.tw/thulibm/upfiles/%E9%A4%A8%E5%88%8A62%E6%9C%9F/03-%E9%A4%A8%E5%88%8A62%E6%9C%9F-47-56%E5%90%B3%E7%A6%8F%E5%8A%A9.pdf

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    東海大學圖書館館刊

    第62期目次:

     篇 名作者頁次
    1館刊第62期封面編輯室0
    2館刊第62期版權頁 稿約編輯室0
    3館藏文物選粹(六十一):吳德耀博士覆福梅齡女士信二件陳曦0
    4日治時期傳統漢詩的阿里山森林鐵道書寫(上)周志仁1-36
    5黃學海〈龜山賦〉考釋陳麗蓮37-46
    6《昨夜星辰昨夜風—東海大學第六屆校友畢業五十週年文集》讀記吳福助47-56
    7徐復觀教授《兩漢思想史卷一》手稿整理系列(三): 西周政治社會的結構性格問題陳惠美、謝鶯興57-83
    8華文雜誌創刊號《建築結構》陳曦84-85
    9台灣雜誌創刊號《東海社會科學學報》王雅萍86-91
    10館藏普通本線裝書總目.史部雜史類(一)陳惠美、謝鶯興92-104
    11閱好書助善學—陳維滄《旅行中看見真善美》編輯室105-109
    12圖書館大事記(2022.01.01~2022.02.28)編輯室110-112
    13《東海大學圖書館館刊》撰稿格式編輯室0
    142022年01月讀者服務組綜合統計報告林靜宜、曾昱嫥0
    152022年02月讀者服務組綜合統計報告林靜宜、曾昱嫥0
    16館刊第62期目次編輯室0

     

    楊凡 《流金》2015。《三月杜鵑紅》黃永玉(1924年生~)《沿著塞納河到翡冷翠》的義大利文版的發表會。從【人民就是上帝】到一路一帶。「六七暴動」的動畫《繼園臺七號》奪得威尼斯影展最佳劇本,

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    楊凡 《流金》2015。《三月杜鵑紅》黃永玉(1924年生~)《沿著塞納河到翡冷翠》的義大利文版的發表會

    楊凡 《流金》描述

    國際書號:9780199425488

    《流金》一書,從許鞍華的蕭紅《黃金時代》開始,走過昔日中華戲曲的大戲棚,看盡「任白傳奇」的姹紫嫣紅,電懋邵氏李麗華尤敏的爭研鬥麗,回顧李翰祥的風花雪月,直至火燒圓明園,邵逸夫陸運濤二位爵士,過眼雲煙。再步入老民國與台灣的「休戀逝水」,「青衣祭酒」、「如花美眷」、「似水流年」尚有「山桃紅」,由一代青衣宗師程硯秋帶領着顧正秋言慧珠白雲張火丁迴盪在《鎖麟囊》的「春秋亭外風雨暴」,還有山口淑子李香蘭,搭配海老蔵玉三郎,偶爾出現寶塚歌舞美男女......。終於經過大時代「六四」的洗禮,來到當下「雨傘革命」,最後讓周潤發林青霞黃永玉鍾楚紅,為這流金的歲月,劃上一個句號。

    楊凡以他一貫的手法,配合圖片,寫出古今人物與逝水流年的簡潔情感。將古蒼梧(古兆申)在《浮花》一書的題跋:「浮花浪蕊:日據上海/新浪巴黎/60.70好萊塢/殖民香港,全收眼底。」數言,終極結束。

    作者簡介
    楊凡,原籍湖南衡山,成長於中、港、台三地,遊學於歐美,自幼立志追尋藝術,曾從事美術、音樂、舞蹈、攝影及電影等工作。攝影作品有《少年遊》《西藏行》及《美麗傳奇》等。電影作品包括《玫瑰的故事》《流金歲月》《三画二郎情》《遊園驚夢》《桃色》《淚王子》等。著作有《楊凡時間》《花樂月眠》《楊凡電影時間》 《浮花》及《流金》。




    重翻/讀2022 楊凡 《流金》香港:牛津大學出版社,2015。
    可能是香港《壹週刊》的專欄結集。多戲劇或電影的名角之故事。
    印象深的是他小時 (約1964年)住台中大度山 (楊凡的寫法)附近村,利用東海圖書館讀香港的刊物.......
    《三月杜鵑紅》是寫黃永玉(1924年生~) 《沿著塞納河到翡冷翠》的義大利文版的發表會 (羅馬)的顧事.......



    2019.3.5

    楊凡 《流金》2015,篇篇有內容、照片,充實。
    最使人惆悵的是在香港的佔中運動時所寫的〈六四〉。悲哀國運。
    從【人民就是上帝】到一路一帶。







    Film Notes 電影筆記

    昨晚楊凡憑有關「六七暴動」的動畫《繼園臺七號》奪得威尼斯影展最佳劇本,發表得獎感言時提及自己因戒嚴從台灣走到香港,感謝香港給予他創作自由。對於香港近日的情況,他指「有股奇怪的力量以人權之名,讓我們甚至無法自由搭乘大眾交通工具,希望香港能自由」,言論惹起爭議。
    他又曾經在訪問中批評示威者—「這些抗議活動以自由、人權和民主的名義出現,所有這些美妙的字眼都把香港搞得天翻地覆」。
    不少人對他的言論感到失望。當日為了自由來到香港,享受過香港經濟騰飛時代的人,如今竟然站在高地譴責爭取自由、民主的抗爭者。


    Some countries welcome the initiative as a source of investment in infrastructure. Others see it as a sinister project to create a new world order, in which China is the pre-eminent power

    ECONOMIST.COM

    China’s belt-and-road plans are to be welcomed—and worried about
    From the archive





    看大圖



    流金


    作者: 楊凡

    出版社:牛津大學
    新功能介紹
    出版日期:2015/06/01
    語言:繁體中文



    內容簡介

      這是香港導演楊凡最新的散文電影隨筆。全書如著名作家古蒼梧所說的「偶有浮花夢為蝴蝶,逐蘭香而過舊箋。期艷影落於素紙,慰芳魂之寂寥。」講的就是曾經光輝的美麗人兒,程硯秋任劍輝白雪仙徐柳仙梅蘭芳許鞍華李琳琳尤敏李麗華李翰祥汪玲張大千劉曉慶邵逸夫張學良顧正秋言慧珠黃永玉林青霞鍾楚紅張曼玉周潤發……在西下的夕陽中,在屬於自己的音樂節奏。既有無限風光又有無限感慨。


    作者介紹

    作者簡介

    楊凡

      原籍湖南衡山,成長於中、港、台三地,遊學於歐美,自幼立志追尋藝術,曾從事美術、音樂、舞蹈、攝影及電影等工作。攝影作品有《少年遊》、《西藏行》及《美麗傳奇》等。電影作品包括《玫瑰的故事》、《流金歲月》、《三畫二郎情》、《遊園驚夢》、《桃色》、《淚王子》等。著作有《楊凡時間》、《花落月眠》及《楊凡電影時間》《浮花》。


    目錄

    2 睡醒了 就像花兒開了似的
    14 西九大戲棚
    20 台上台下
    26 傳奇任白
    34 無雙譜
    40 珍珠淚
    48 小咪
    60 江上數峰青
    66 塔裏的女人
    74 風花雪月
    80 風月奇譚
    86 火燒阿房宮
    94 風花雪月李翰祥
    100過雲
    108六四
    116休戀逝水
    124青衣祭酒
    130如花美眷
    138似水流年
    146山桃紅
    154鎖麟囊
    162春秋亭
    170粉紅沙罩紅色門
    180紅鬃烈馬
    190程門秋色
    198夏日雲煙
    208雲來雲去
    216三月杜鵑紅
    228流金歲月
    240古蒼梧 跋
    243鳴謝

    Kremlin fury over Biden 'war criminal' comment. Vladimir Putin’s regime looks less secure. 政治下毒、暗殺重現俄羅斯。The Russia Hand: A Memoir of Presidential Diplomacy by Strobe Talbott 2003 。 OBLOMOV (《奧勃洛莫夫》1859) by Ivan Goncharov「多餘人」superfluous man

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    0
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    昔日,The Russia Hand: A Memoir of Presidential Diplomacy by Strobe Talbott 2003 只談到Vladimir Putin 崛起......
    2022.3.17 侵略烏克蘭

    Kremlin fury over Biden 'war criminal' comment - BBC News



    2020.9.4
    It is highly unlikely that the poisoning of Alexei Navalny with Novichok could have been carried out without the knowledge, order or approval of Vladimir Putin
    ECONOMIST.COM


    As Alexei Navalny fights for his life, Vladimir Putin’s regime looks less secure


    毒害俄羅斯異見人士的致命神經毒劑是什麼?


    在2018年西方官員指責俄羅斯企圖在英國使用諾維喬克(Novichok)暗殺一名前間諜以前,很少有人聽說過這種神經毒劑。它在周三突然再次成為新聞,因為德國聲稱是這一毒劑導致俄羅斯異見人士阿列克謝·A·納瓦爾尼(Alexei A. Navalny)的身體不適。
    但數十年來,科學家、間諜和化學武器專家一直都了解並恐懼諾維喬克。這是一種由蘇聯及俄羅斯在上世紀八九十年代研發的強效神經毒素,可以以液體、粉末或氣溶膠的形式投放,據稱比在西方更有名的神經毒劑(比如VX和沙林)更致命。
    這種毒素會引發肌肉痙攣,可能導致心臟停跳或是致命的肺部積液,以及對其他器官和神經細胞的損害。俄羅斯已經生產了好幾代諾維喬克,專家們說,誰也不知道它們被使用的實際頻率,因為其導致的死亡看起來並不比致命心髒病發作可怕多少,很容易騙過詳細檢驗。
    這可能就是住在英國索爾茲伯里的前俄羅斯間諜謝爾蓋·V·斯克里帕爾(Sergei V. Skripal)遭遇的謀殺計劃。2018年3月4日,斯克里帕爾在一個公園被發現時幾乎已經沒有意識,沒有明顯理由懷疑他中毒——除了來訪的女兒和他一起時,也出現同樣的症狀。
    英國情報機構確認該物質為諾維喬克,並指控俄羅斯下毒。這次襲擊成為重大國際醜聞,進一步冷卻了莫斯科和西方的關係。英國方面確認了俄羅斯特工的身份,稱他們飛到英國,斯克里帕爾家的前門把手投毒,然後離開英國,留下了一系列視頻和化學證據。
    總統弗拉基米爾·V·普京(Vladimir V. Putin)政府一再否認參與此事件,並提出一系列其他的可能性來粉飾,而就在索爾茲伯里襲擊發生的幾個月前,普京才宣布俄羅斯已經銷毀了所有化學武器

    斯克里帕爾曾為俄羅斯軍事情報部門工作,後來因向英國傳遞機密入獄。2010年,他通過一次囚犯交換計劃獲釋,並定居在英格蘭,為多個國家政府提供俄羅斯情報方面的建議。
    無論是在俄羅斯國內還是國外,被視為克里姆林宮之敵的人不斷遭到殺害。俄羅斯間諜在暗殺中使用毒藥的做法由來已久,西方情報官員稱,俄羅斯有間諜小組受過處理和布放最危險物質的特別訓練。
    斯克里帕爾和女兒尤莉亞·S·斯克里帕爾(Yulia S. Skripal)活了下來,一名去他們家調查取證的警官和一名發現了用來運送毒藥的棄置香水瓶的男子中毒,也活了下來。但該男子的女友道恩·斯特奇斯(Dawn Sturgess)因為使用香水瓶朝自己噴灑而死亡。
    蘇聯在上世紀90年代初解體後,參與過其化學武器項目的科學家——有些已經移居美國——公開談到了一種被他們命名為諾維喬克的神經毒劑,這個詞是俄語“新人”的意思。1987年,有位科學家意外接觸這種毒劑,遭受了永久並最終致命的肌肉和器官損傷。1992年,去世前不久,他向一家俄羅斯報紙講述了自己的故事。

    諾維喬克屬於一大類被稱為膽鹼酯酶抑製劑的化合物,被廣泛應用於藥物和毒劑中。它們會攻擊神經遞質的正常起落,那是神經細胞用來調節身體基本功能的化學物質。
    神經毒劑中毒可以用阿托品和肟這樣的化學物進行治療,但即使治療成功,受害者也可能遭受持久的傷害。
    這種毒劑的最早實地應用可能在1995年,當時一名俄羅斯商人和他的秘書遭到殺害。官員稱他們存在鎘(一種重金屬)中毒,但俄羅斯媒體後來報導稱,使用的毒劑就是諾維喬克
    1999年,美國與烏茲別克斯坦達成協議,幫助其拆除了一個曾經生產和測試諾維喬克的前蘇聯化學武器實驗室。
    在那之後近19年時間裡,這一毒劑幾乎不再被新聞報導提及——直到在索爾茲伯里的公園裡發現那兩名生命垂危的俄羅斯人。

    相關報導


    ----


    The Russia Hand: A Memoir of Presidential Diplomacy byStrobe Talbott 2003  。 OBLOMOV (《奧勃洛莫夫》1859) by Ivan Goncharov
    我依索引,找出有興趣處讀,意趣橫生,(2輯照片的文字說明和編排,很有意思),收益多,譬如說,俄國外交先知、大老 George Kennan 的三類索引;China 中的"Belgrade embassy bombing and"等。

    #自1999年底時任俄羅斯總統葉爾辛BorisYeltsin突然宣布辭職欽點普京為他的接班人,從此普京便踏上了往權力最高點的路;除了陸續贏得2000年和2004年的總統選舉,他更在2012年以壓倒性的得票率成為俄羅斯第4任總統,至今,普京仍是俄羅斯實際的最高領導人



    STORM.MG
    普京登門祝老長官90大壽 展現難得柔情-風傳媒
    俄羅斯總統普京8日親自到他的老長官、前蘇聯聯邦安全局(KGB)


    The Russia Hand: A Memoir of Presidential Diplomacy 


    During the past ten years, few issues have mattered more to America’s vital interests or to the shape of the twenty-first century than Russia’s fate. To cheer the fall of a bankrupt totalitarian regime is one thing; to build on its ruins a stable democratic state is quite another. The challenge of helping to steer post-Soviet Russia-with its thousands of nuclear weapons and seething ethnic tensions-between the Scylla of a communist restoration and the Charybdis of anarchy fell to the former governor of a poor, landlocked Southern state who had won national election by focusing on domestic issues. No one could have predicted that by the end of Bill Clinton’s second term he would meet with his Kremlin counterparts more often than had all of his predecessors from Harry Truman to George Bush combined, or that his presidency and his legacy would be so determined by his need to be his own Russia hand.

    With Bill Clinton at every step was Strobe Talbott, the deputy secretary of state whose expertise was the former Soviet Union. Talbott was Clinton’s old friend, one of his most trusted advisers, a frequent envoy on the most sensitive of diplomatic missions and, as this book shows, a sharp-eyed observer. The Russia Hand is without question among the most candid, intimate and illuminating foreign-policy memoirs ever written in the long history of such books. It offers unparalleled insight into the inner workings of policymaking and diplomacy alike. With the scope of nearly a decade, it reveals the hidden play of personalities and the closed-door meetings that shaped the most crucial events of our time, from NATO expansion, missile defense and the Balkan wars to coping with Russia’s near-meltdown in the wake of the Asian financial crisis. The book is dominated by two gifted, charismatic and flawed men, Bill Clinton and Boris Yeltsin, who quickly formed one of the most intense and consequential bonds in the annals of statecraft. It also sheds new light on Vladimir Putin, as well as the altered landscape after September 11, 2001.

    The Russia Hand is the first great memoir about war and peace in the post-cold war world.


    *****
    Novelist Ivan Aleksandrovich Goncharov was born in Simbirsk, Russia on this day in 1812.
    “A close, daily intimacy between two people has to be paid for: it requires a great deal of experience of life, logic, and warmth of heart on both sides to enjoy each other’s good qualities without being irritated by each other’s shortcomings and blaming each other for them.”
    ―from OBLOMOV (1859) by Ivan Goncharov
    Ivan Goncharov’s 1859 masterpiece—a magnificent farce about a gentleman who spends the better part of his life in bed—brilliantly employs humor to explore the absurdities and injustices of an outmoded social order. Ilya Ilyich Oblomov is a good-hearted nobleman whose majestic slothfulness renders him incapable of making decisions or taking the simplest of actions. Raised in idyllic comfort on his family’s country estate, he has become so lazy as an adult that he lets his affairs deteriorate and allows unscrupulous people to take advantage of his weakness and good nature. Living in a shabby apartment and tended by his indolent serf, Zahar, he relies on the efforts of his increasingly exasperated friend Stolz to protect him from himself. Falling in love briefly rouses Oblomov to exert himself in courting Olga, a young woman Stoltz introduces him to, but his astonishing lethargy eventually defeats even their romance. Wildly successful upon its publication, Oblomov was taken as a slyly subversive indictment of the uselessness and corruption of the nobility, but the character of Goncharov’s superfluous man is rendered in such vivid detail and epic richness that it transcends satire and achieves iconic status, earning a place among the masterworks of Russian literature. Translated by Natalie Duddington. READ more here: https://www.penguinrandomhouse.com/…/oblomov-by-ivan-gonch…/


    Editorial Reviews

    From The New Yorker

    Review

    From the Inside Flap

    About the Author

    Excerpt. © Reprinted by permission. All rights reserved.

    CHAPTER 1

    THE HEDGEHOG AND THE BEAR trinculo: A howling monster; a drunken monster! caliban: . . . Freedom, high-day! high-day, freedom! . . . stephano: O brave monster! Lead the way.
    The Tempest

    At noon on Monday, June 5, 2000, Bill Clinton and Vladimir Putin emerged from the Czar’s Entrance of the Grand Kremlin Palace. While they paused for a moment in the sunshine, I hovered behind them, trying to catch anything of significance that passed between them as they said good-bye. But at this moment, which brought to an end the official portion of Clinton’s fifth and final visit to Moscow as president, the nuances were all in the body language: the burly Clinton looming over the welterweight Putin, the ultimate extrovert still trying to connect with the coolest of customers who just wasn’t buying.

    As they shook hands one last time, I pocketed my notebook and hustled down the steps to take my place on a jump seat in the rear of the armored Cadillac that had been flown in from Washington for the summit. John Podesta, Clinton’s chief of staff, and Sandy Berger, his national security adviser, were already on the seat behind me, crammed together to leave plenty of room for the president. Once Clinton had settled into place, he looked out at Putin through the thick bullet-proof window, put on his widest grin and gave a jaunty wave.

    As the limousine pulled away from the curb and sped across the cobblestone courtyard, Clinton slumped back and a pensive look came over his face. Usually he found these events, including the ceremonial sendoffs, exhilarating. Not this time. The talks over the past three days had been inconclusive, not so much because the two leaders had been unable to agree as because Putin had not even tried. Clinton had come to Moscow hoping to make progress toward a number of objectives: reconciling a new American missile-defense program with long-standing arms control treaties; coordinating U.S. and Russian diplomacy in the Balkans; ending Russian military assistance to Iran. Clinton had also registered concern over Putin’s domestic policies, especially the crackdown he’d launched against the leading independent television network, the deals he was cutting with the communists at the expense of reformist parties and the war he was waging in Chechnya.

    On all these issues, Putin had given Clinton what was calculated to seem a respectful hearing, but Clinton knew a brush-off when he saw one. Missile defense was a complex problem, Putin had said with a mildness of tone that belied the firmness of his message: precipitous American deployment would jeopardize Russia’s interests and provoke a new round of the arms race. As for the targets of his get-tough policy, they were criminals, not champions of democracy and free speech. And Chechnya was a nest of terrorists; America’s own international Public Enemy Number One, Osama bin Laden, had contributed to the infestation there, so the U.S. should be supporting Russia’s campaign against a common enemy. On all these subjects, Putin urged Clinton to rethink American policy and the assumptions on which it was based.

    Clinton felt patronized. It was no mystery what Putin’s game was: he was waiting for Clinton’s successor to be elected in five months before deciding how to cope with the United States and all its power, its demands and its reproaches. Putin had, in his own studied, cordial and oblique way, put U.S.-Russian relations on hold until Clinton, like Putin’s predeces- sor, Boris Yeltsin, had passed from the scene. Realizing that, Clinton had even more to think about as he headed toward the western outskirts of Moscow, where Yeltsin was now living in retirement.

    The Cadillac barreled out of the Kremlin through the Borovitsky Gate and took a sharp right turn. The rest of the motorcade, including several vans full of press, tried to follow but was stopped by Russian security police and diverted directly to Vnukovo Airport, south of Moscow, where Air Force One was waiting.

    With a motorcycle escort, Clinton’s limousine hurtled down the center of the eight-lane artery out of the city he’d first visited thirty years before. Clinton remarked on various landmarks as we sped past: the massive Russian State Library, once named after Lenin, where the presiding presence was now a statue of Dostoyevksy; the glitzy nightclubs, casinos and designer boutiques of the New Arbat, Yeltsin’s biggest restoration project when he was running the city in the late eighties; the Russian White House, which had been, at different times, the scene of Yeltsin’s greatest triumph, the command center of his most implacable enemies and the scene of a spasm of bloodletting from which neither he nor his country had recovered nearly seven years later. As we crossed the river and headed out of the city along Kutuzovsky Prospect, Clinton recalled that it had been the route Napoleon used to march into Moscow with the Grande Armée in 1812. That set him to musing in three directions at once: about Russia’s vulnerability to invasion, its close but complex ties to the West and its preoccupation with its own history.

    I’d heard riffs like this from Clinton over the years, going back to when I’d first known him in the late sixties. Russia had always been a subject that stirred him when, for one reason or another, it came to his attention. But that had happened only episodically. As a governor in the seventies and eighties, he’d had more reason to think about Japan as a source of foreign investment and as a market for Arkansas rice. He’d brought me into his administration to think full-time about Russia and the former Soviet Union while he went about being president, which he expected would mean concentrating on the American economy.

    Then, almost immediately, events in Moscow and the importuning of the man shakily in charge there thrust upon Clinton the portfolio he’d hoped I’d handle for him. It became apparent that being president meant, much more than he’d anticipated, doing the heavy lifting in the management of relations with a giant nation that was reinventing itself and, in doing so, reinventing international politics and requiring us to reinvent American foreign policy.

    By the spring of his first year in office, Clinton had become the U.S. government’s principal Russia hand, and so he remained for the duration of his presidency.

    Within twenty minutes after leaving the Kremlin, we reached the capital’s high-rent exurbia, where modern redbrick cottages had sprouted amid leftovers of the old power structure—sprawling VIP dachas, rest homes and clinics behind stucco walls or high green wooden fences. After slowing down to navigate a narrow potholed road, we arrived at Gorky-9, a heavily guarded complex where Yeltsin had been living since his last years in office, largely because it was near the Barvikha sanatorium that cared for him during his numerous and prolonged illnesses.

    Yeltsin was waiting at the front door, his wife, Naina, on one side and, on the other, Tatyana Dyachenko, his younger daughter. As the car slowed to a stop, Clinton remarked that Yeltsin’s face was puffy, his complexion sallow; he looked stiff and propped up.

    Over the eight years they had known each other, Clinton and Yeltsin often bantered about the advantage of both being six foot two: it was easier for them to look each other in the eye. Now, as the limousine rolled to a stop and Clinton scrutinized his host through the window, he noted that Yeltsin seemed to have lost an inch or two since they had last been together, seven months before, when Yeltsin had still been in office.

    After Clinton got out of the car, he and Yeltsin embraced silently for a full minute. Yeltsin kept saying, in a low, choked voice, “moi drug, moi drug”—my friend, my friend. Then, clasping Clinton’s hand, he led the way through a foyer into a living room bright with sunlight pouring through a picture window that looked out on a manicured lawn and a stand of birches. They sat in gilt oval-backed chairs next to a sky blue tile stove while Naina bustled about, serving tea and generous helpings of a rich multi-layered cake that she proudly said she’d been up half the night baking.

    Clinton settled in for what he expected would be a relaxed exchange of memories and courtesies, but Yeltsin had work to do first. Turning severe, he announced that he had just had a phone call from Putin, who wanted him to underscore that Russia would pursue its interests by its own lights; it would resist pressure to acquiesce in any American policy that constituted a threat to Russian security. Clinton, after three days of listening to Putin politely fend him off on the U.S. plan to build an anti-missile system, was now getting the blunt-instrument treatment.

    Yeltsin’s face was stern, his posture tense, both fists clenched, each sentence a proclamation. He seemed to relish the assignment Putin had given him. It allowed him to demonstrate that, far from being a feeble pensioner, he was still plugged in to the power of the Kremlin, still a forceful spokesman for Russian interests and still able to stand up to the U.S. when it was throwing its weight around.

    Clinton took the browbeating patiently, even good-naturedly. He had seen Yeltsin in all his roles—snarling bear and papa bear, bully and sentimentalist, spoiler and dealmaker. He knew from experience that a session with Yeltsin almost always involved some roughing up before the two of them could get down to real business.

    When the chance came, Clinton steered the discussion toward the subject of where Russia was heading under Putin. But Yeltsin wasn’t yet ready to yield the floor. He had more to say about the past.

    I was on a couch, across from the two men, listening intently as they talked. Seated next to me was Tatyana, whom I had seen in passing only once in more trips to Moscow than I could count. When Yeltsin launched into a self-congratulatory account of how he had maneuvered Putin from obscurity into the presidency over fierce resistance, Tatyana looked at me and nodded solemnly. She leaned toward me and whispered, “It really was very hard, getting Putin into the job—one of the hardest things we ever pulled off.”

    I noticed the “we.” I was meant to. She wanted me to know it was true what they said: even though she had kept out of the public eye, including during state visits, she really had been one of Yeltsin’s most influential confidants. It was as though she had decided to make her first appearance onstage in a curtain call.

    As Naina plied her husband and his guests with more tea and cake, Yeltsin rambled on, but the refrain was simple: Putin was “a young man and a strong man.” Yeltsin kept returning to these two attributes—youth and strength—as though they were the essence both of what Russia needed and of what he, by promoting Putin, had hoped to preserve as his own legacy.

    When Yeltsin finally wound down, Clinton gently took control. He too had one piece of business to do. He wasn’t sure, he said, how “this new guy of yours” defined strength, either for himself or for the nation. Putin seemed to have the capability to take Russia in the right direction, but did he have the values, instincts and convictions to make good on that capability? Why, Clinton wondered aloud, was Putin so ready to make common cause with the communists, “those people you, Boris, did so much to beat back and bring down”? Why was Putin putting the squeeze on the free press, “which, as you know, Boris, is the lifeblood of an open and modern society”?

    Yeltsin nodded solemnly, but he didn’t answer. All the pugnacity, swagger and certainty had gone out of him.

    “Boris,” Clinton continued, “you’ve got democracy in your heart. You’ve got the trust of the people in your bones. You’ve got the fire in your belly of a real democrat and a real reformer. I’m not sure Putin has that. Maybe he does. I don’t know. You’ll have to keep an eye on him and use your influence to make sure that he stays on the right path. Putin needs you. Whether he knows it or not, he really needs you, Boris. Russia needs you. You really changed this country, Boris. Not every leader can say that about the country he’s led. You changed Russia. Russia was lucky to have you. The world was lucky you were where you were. I was lucky to have you. We did a lot of stuff together, you and I. We got through some tough times. We never let it all come apart. We did some good things. They’ll last. It took guts on your part. A lot of that stuff was harder for you than it was for me. I know that.”

    Yeltsin was now clutching Clinton by the hand, leaning into him.

    “Thank you, Bill,” he said. “I understand.”

    We were running late. There was a quick group photo on the veranda, some hurried good-byes and another bear hug.

    “Bill,” said Yeltsin, “I really do understand what you said. I’ll think about it.”

    “I know you will, Boris,” said Clinton, “because I know what you have in here.” Clinton tapped Yeltsin on his chest, right above his ailing heart.

    Back in the car, Clinton was, for several minutes, even more somber than during the ride out. He looked out the window at the birch trees glinting in the sunshine that lined the country road leading back to the highway.

    “That may be the last time I see Ol’ Boris,” he said finally. “I think we’re going to miss him.”


    產品詳細資訊

    • Paperback: 512 頁
    • 出版商:Random House Trade Paperbacks; Reprint 版本 (2003年5月13日)
    • 語言: English

    ****

    奧勃洛莫夫
    作者伊凡·亞歷山大羅維奇·岡察洛夫
    出版地俄國
    語言俄語
    出版日期1859
    上一部作品《巴拉達號遊記》
    下一部作品《懸崖》
    奧勃洛莫夫》(俄語:Обломов)是發表於1859年的長篇小說,俄國小說家岡察洛夫的代表作。小說生動地塑造了奧勃洛莫夫這個「多餘人[1]的形象,他善良,正直,對令人窒息的現實不滿,追求寧靜生活。但他不想行動起來改變現實,也不願從事任何具體事務。小說真實細緻的描繪了「多餘人」這批貴族青年發展到最後的生活狀態,發表後即受到評論界的重視,今日已被公認為描繪俄國民族性格的經典作品[2]

    創作過程[編輯]


    岡察洛夫
    1849年,因《平凡的故事》一書嶄露頭角的岡察洛夫在《當代人》雜誌上發表了短篇小說《奧勃洛莫夫的夢》,寫貴族子弟奧勃洛莫夫在夢境中對寧靜的田莊生活和幼年經歷的回憶[3]。《奧勃洛莫夫的夢》發表後,文學界普遍認為岡察洛夫會寫出一部長篇傑作。但1851年作家的母親去世,第二年他作為普提雅廷的秘書,參加了環球考察。一路上他處於疲勞和疾病中,無暇繼續創作。1855年岡察洛夫回到俄國,埋頭於各種行政事務和遊記《戰艦巴拉達號》的撰寫中。直到1857年,他才開始重寫《奧勃洛莫夫》。1859年起小說發表在《祖國紀事》的第1-4期上,《奧勃洛莫夫的夢》成為其中的第九章[4]

    評論與影響[編輯]


    杜勃羅留波夫
    小說剛發表,列夫·托爾斯泰就評價道:「這是一部真正的傑作,許久未見的傑作」,持激進立場的杜勃羅留波夫則迅速發表著名評論文章《什麼是奧勃洛莫夫性格》,認為這種性格是農奴制給俄國人帶來的內在性格,認為岡察洛夫對奧勃洛莫夫性格的一些讚揚是「不公正的」[5]。小說給俄語帶來了新詞彙「奧勃洛莫夫性格」,列寧後來也常用「奧勃洛莫夫性格」來批評機構中存在的官僚主義和低效率。
    而岡察洛夫自己在1866年寫道:「我想描寫一個誠實,和善,有吸引力的人物,一個走向極端的理想主義者,最終陷入漠然與無助。」他對奧勃洛莫夫的態度並非嚴厲的批判,而只是帶有同情筆調的描寫他的真實生活狀態[6]

    改編的影視作品[編輯]

    • 1964年喜劇《奧勃洛莫夫的兒子》一劇在倫敦西區劇院上演,由斯派克·密利甘(spike milligan)主演。
    • 1980年尼基塔·米卡哈爾科夫把《奧勃洛莫夫》改編成電影《奧勃洛莫夫》(DVD名《奧勃洛莫夫一生中的幾天》),獲得國家評論協會最佳外語片獎[7]

    參考文獻[編輯]

    1. 移至^ 多餘人指的是俄國小說里的一批典型人物,包括普希金的葉甫根尼·奧涅金,萊蒙托夫的畢巧林,屠格涅夫的羅亭和岡察洛夫的奧勃洛莫夫等人,他們都是貴族知識分子,不願合流於令人窒息的生活,又不願有所行動,成為社會多餘的人。
    2. 移至^ Galya Diment,Goncharov's Oblomov: a critical companion,Northwestern University Press,1998,page 1
    3. 移至^ 張英倫主編,外國名作家傳(上),1979
    4. 移至^ Galya Diment,Goncharov's Oblomov: a critical companion,Northwestern University Press,1998
    5. 移至^ 杜勃羅留波夫《什麼是奧勃洛莫夫性格?》
    6. 移至^ Galya Diment,Goncharov's Oblomov: a critical companion,page 12
    7. 移至^ 《奧勃洛莫夫》 在網際網路電影資料庫(IMDb)上的資料(英文)

    2012年4月30日 星期一


    《奧勃洛莫夫》Oblomov by Ivan Goncharov, 「多餘人」superfluous man

    《奧勃洛莫夫》有人民文學出版社等的版本   陳馥譯

    维基百科,自由的百科全书《奧勃洛莫夫》(俄語Обломов)是發表於1859年的長篇小說,俄國小說家岡察洛夫的代表作。小說生動地塑造了奧勃洛莫夫這個「多餘人[1]的形象,他善良,正直,對令人窒息的現實不滿,追求寧靜生活。但他不想行動起來改變現實,也不願從事任何具體事務。小說真實細緻的描繪了「多餘人」這批貴族青年發展到最後的生活狀態,發表後即受到評論界的重視,今日已被公認為描繪俄國民族性格的經典作品[2]



    Oblomov (RussianОбломов)[1] is the best known novel by Russian writer Ivan Goncharov, first published in 1859. Oblomov is also the central character of the novel, often seen as the ultimate incarnation of the superfluous man, a symbolic character in 19th-century Russian literature. Oblomov was compared[citation needed] to Shakespeare's Hamlet as answering 'No!' to the question "To be or not to be?" Oblomov is a young, generous nobleman who seems incapable of making important decisions or undertaking any significant actions. Throughout the novel he rarely leaves his room or bed and famously fails to leave his bed for the first 150 pages of the novel.[2] The book was considered a satire of Russian nobility whose social and economic function was increasingly in question in mid-nineteenth century Russia.
    The novel was wildly popular when it came out in Russia and a number of its characters and devices have had an imprint on Russian culture and language. Oblomovshchina (RussianОбломовщина, or oblomovism) has become a Russian word used to describe someone who exhibits the personality traits of sloth or inertia similar to the novel's main character.

    目錄

    創作過程


    岡察洛夫
    1849年,因《平凡的故事》一書嶄露頭角的岡察洛夫在《當代人》雜誌上發表了短篇小說《奧勃洛莫夫的夢》,寫貴族子弟奧勃洛莫夫在夢境中對寧靜的田莊生活和幼年經歷的回憶[3]。《奧勃洛莫夫的夢》發表後,文學界普遍認為岡察洛夫會寫出一部長篇傑作。但1851年作家的母親去世,第二年他作為普提雅廷的秘書,參加了環球考察。一路上他處於疲勞和疾病中,無暇繼續創作。1855年岡察洛夫回到俄國,埋頭於各種行政事務和遊記《戰艦巴拉達號》的撰寫中。直到1857年,他才開始重寫《奧勃洛莫夫》。1859年起小說發表在《祖國紀事》的第1-4期上,《奧勃洛莫夫的夢》成為其中的第九章[4]

    內容

    第一部

    貴族青年奧勃洛莫夫為一封田莊來信心神不安,很早就醒了,卻一直在床上躺著計劃著如何對田莊進行改革。他打算起床,但是和老僕人扎哈爾說了兩句又睡 下了。幾個客人來訪,帶來了要交房租等消息,讓他更加煩悶。他回憶起自己的成長,覺得自己不習慣運動、生活、人群和忙碌,更喜歡遁入內心,生活在自己創造 的世界裡。朋友走後,奧勃洛莫夫掙扎著給田莊寫回信,沒寫完又為賬本和搬家的事煩惱起來。大夫建議他多運動,出國療養,他覺得很懊喪。扎哈爾說了一句「別 人不比我們差,人家能搬來搬去,我們也行」傷了奧勃洛莫夫的自尊,引來了他的大段內心獨白,他稱自己「不是不行動,而是在苦思苦想,怎麼才能讓我的農民不 受窮。」他最後決定推遲回信和訂計劃的時間,先睡上一小時。奧勃洛莫夫夢到了他的故鄉-奧勃洛莫夫田莊。他不用操心衣食住行,也不用關心領地事務,到了各 種節日自有美食和活動,一切都很寧靜美好。

    第二部

    好友施托爾茨精力充沛,做事積極。他的來訪打亂了奧勃洛莫夫的生活,他帶著奧勃洛莫夫在彼得堡四處交際和辦事,忙了一周。奧勃洛莫夫憤怒了,他認為 這個社會裡大家雖然都在努力的勞動,但心裡充滿了嫉妒,漠然,昏睡的心智,他質問施托爾茨「這麼拚命幹活是為什麼?為什麼不能安靜地享受生活?」他描繪了 他心中嚮往的田莊寧靜生活。施托爾茨則說這是一種「奧勃洛莫夫精神」他以奧勃洛莫夫年輕時要改變俄羅斯的理想和追求激勵他,告訴他:
    要麼,現在就起來,要麼,永遠不起來!
    。在施托爾茨的激勵下,奧勃洛莫夫努力改變了自己,但還是拖延了出國行程,等不及的施托爾茨托朋友奧莉加照顧奧勃洛莫夫,以免他回到無所事事的生活 中去。不久奧勃洛莫夫愛上了奧莉加。在 愛情的感召下,奧勃洛莫夫開始郊遊,欣賞戲劇、音樂。奧莉加遇到不懂的地方就會問他,他則不得不潛心鑽研各種書籍,弄清楚告訴他,終於奧莉加接受了奧勃洛 莫夫的求愛。

    第三部

    面對令人窒息的生活和想騙他錢的朋友,奧勃洛莫夫感到愛情會被生活吞沒,「詩篇逐漸結束,嚴肅的故事就要開始」,想到繁瑣的婚前準備和家庭生活的種 種事端,他就覺得這不是生活。他要找新房子,卻發現由於自己長期逃避,已經簽了很多的債,索性暫住在租的房子里,讓房東太太阿加菲婭·馬特維耶夫娜把自己 的衣食住行照顧起來,倒覺得挺寧靜的。奧莉加催奧勃洛莫夫和自己的嬸娘談結婚的事,奧勃洛莫夫才發現自己債務很多,雖想下鄉整頓田莊,但只是託付給了一個 代理人(實際是個騙子)以便省麻煩。奧莉加感到改變奧勃洛莫夫的生活方式實屬幻想,絕望的她和奧勃洛莫夫分手了。奧勃洛莫夫重又穿回了他慵懶生活的象徵- 大袍子,臥床不起。

    第四部

    奧勃洛莫夫病好之後常長時間陷入沉思不語之中,代理人貪污了他的大部分田莊收入,只把一小部分寄給他,他也渾然不知。加菲婭·馬特維耶夫娜愛上了 他,把房屋的清潔、他的衣食住行、各種節日的應酬活動都接手過來,用有限的錢讓他過上舒適的日子。奧勃洛莫夫也感到了寧靜溫暖。施托爾茨受奧莉加的委託回 到彼得堡,看到他的這種生活,也只能說他是打算「永遠不起來了」。塔蘭季耶夫則計劃利用奧勃洛莫夫和房東太太的曖昧敲詐他一萬盧布。
    一年半後,田莊上的所有收入都被直接挪去付一萬盧布的債務。房東太太開始典當了自己東西維持家用。施托爾茨再次來訪,告訴他自己和奧莉加結婚了,奧 勃洛莫夫真誠的祝賀他的朋友。施托爾茨幫他廢止了敲詐的借據,料理起他的田莊來,奧勃洛莫夫真正從內心底感到了安寧。幾年後他中風了,面對最後一次來勸自 己動起來的施托爾茨,他激烈的拒絕見奧利加,對施托爾茨說道:
    我的弱點已經使我跟這個坑長在一起了,你若把我拉開,我就會死。
    他把自己的兒子託付給了施托爾茨,就再也不說話了,兩年後奧勃洛莫夫安詳的死在了床上。[5]

    主要人物

    • 伊利亞·伊里奇·奧勃洛莫夫:年輕貴族,善良且溫柔,卻耽於幻想、無所作為。
    • 扎哈爾:奧勃洛莫夫家的老僕人,沒有文化,忠誠守舊,既肯為奧勃洛莫夫去死,也會像其他僕人一樣貪他買東西的錢。
    • 施托爾茨:奧勃洛莫夫的同齡人,一起長大的好友,父親是德國人。大學畢業後他父親就讓他去彼得堡謀生,不要留在田莊。精力旺盛,積極進取。這一角色是作為奧勃洛莫夫的對立面存在的,岡察洛夫後來自己說,這個人物「寫得不好,表現的太赤裸裸了」[6]
    • 奧莉加:和岡察洛夫其他小說的女主角一樣,年輕、活潑、充滿熱情[7]
    • 加菲婭·馬特維耶夫娜·普舍尼岑:文官普舍尼岑的遺孀,奧勃洛莫夫租她的房子住,照顧奧勃洛莫夫的起居,成了他的妻子。

    評論與影響

    杜勃羅留波夫
    小說剛發表,列夫·托爾斯泰就評價道:「這是一部真正的傑作,許久未見的傑作」,持激進立場的杜勃羅留波夫則迅速發表著名評論文章《什麼是奧勃洛莫夫性格》,認為這種性格是農奴制給俄國人帶來的內在性格,認為岡察洛夫對奧勃洛莫夫性格的一些讚揚是「不公正的」[8]。小說給俄語帶來了新詞彙「奧勃洛莫夫性格」,列寧後來也常用「奧勃洛莫夫性格」來批評機構中存在的官僚主義和低效率。
    而岡察洛夫自己在1866年寫道:「我想描寫一個誠實,和善,有吸引力的人物,一個走向極端的理想主義者,最終陷入漠然與無助。」他對奧勃洛莫夫的態度並非嚴厲的批判,而只是帶有同情筆調的描寫他的真實生活狀態[9]

    改編的影視作品

    • 1964年喜劇《奧勃洛莫夫的兒子》一劇在倫敦西區劇院上演,由斯派克•密利甘(spike milligan)主演。
    • 1980年尼基塔•米卡哈爾科夫把《奧勃洛莫夫》改編成電影《奧勃洛莫夫》(DVD名《奧勃洛莫夫一生中的幾天》),獲得國家評論協會最佳外語片獎[10]

    參考文獻

    1. ^ 多餘人指的是俄國小說里的一批典型人物,包括普希金的葉甫根尼·奧涅金,萊蒙托夫的畢巧林,屠格涅夫的羅亭和岡察洛夫的奧勃洛莫夫等人,他們都是貴族知識分子,不願合流於令人窒息的生活,又不願有所行動,成為社會多餘的人。
    2. ^ Galya Diment,Goncharov's Oblomov: a critical companion,Northwestern University Press,1998,page 1
    3. ^ 張英倫主編,外國名作家傳(上),1979
    4. ^ Galya Diment,Goncharov's Oblomov: a critical companion,Northwestern University Press,1998
    5. ^ 岡察洛夫,《奧勃洛莫夫》,陳馥,鄭揆譯,人民文學出版社,2005
    6. ^ 岡察洛夫,《奧勃洛莫夫》,陳馥,鄭揆譯,人民文學出版社,2005,第4頁
    7. ^ Galya Diment,Goncharov's Oblomov: a critical companion
    8. ^ 杜勃羅留波夫《什麼是奧勃洛莫夫性格?》
    9. ^ Galya Diment,Goncharov's Oblomov: a critical companion,page 12
    10. ^ 網際網路電影數據庫(IMDb)上《奧勃洛莫夫》的資料
    ʅ==外部連結==

    百歲:亞歷山大·索忍尼辛 Aleksandr Solzhenitsyn :The Red Wheel.《古拉格群島》The Gulag Archipelago;索忍尼辛回憶錄 《索忍尼辛選集》;《波爾》Heinrich Böll、TLS ;顏世鴻《青島東路三號:我的百年之憶及台灣的荒謬年代》、 曹欽榮等《流麻溝十五號:綠島女生分隊及其他》

    $
    0
    0
    亞歷山大·索忍尼辛 Aleksandr Solzhenitsyn :The Red Wheel.《古拉格群島》The Gulag Archipelago;索忍尼辛回憶錄 《索忍尼辛選集》

    2022.3.17 晨讀張錯教授的
    懷念尉老師
    「試上高峯窺皓月,偶開天眼覷紅塵,可憐身是眼中人。」
    王國維詞,尉天驄字
    我對尉天驄教授晚年找The Red Wheel的中譯本,印象深刻:

    • Russia and the Threat to America.——— (1983b). November 1916 (novel). The Red Wheel.
    • ——— (1983c). Victory Celebration.
    • ——— (1983d). Prisoners.
    • ——— (10 May 1983). Godlessness, the First Step to the Gulag (address). London: Templeton Prize.
    • ——— (1984). August 1914 (novel) (much-expanded ed.).
    • ——— (1990). Rebuilding Russia.
    • ——— (1990). March 1917.
    • ——— (c. 1991). April 1917.
    • ——— (1995). The Russian Question.





    Times Literary Supplement

    Creativity in the depths of the Gulag


    THE-TLS.CO.UK


    Cultural citadel | Daniel Beer




    34:35
    164 劉述先及其【馬爾勞與中國】 鍾漢清 2017-06-17
    hc iTaiwan forum

    2016.7.1 曹永洋學長來談。他說他想寫篇紀念劉述先先生《文學欣賞的靈魂 》的文章。
    我跟他推薦劉教授夫婦合作的《文學欣賞的靈魂 II》---就我所知:
    劉述先《馬爾勞與中國 》香港: 中文大學,1981


    Hanching Chung


    2015年10月11日下午8:15·





    晚上7點半跟曹永洋先生請教劉安雲,果然是劉述先老師的太太。60年代、70年代讀過劉老師的《文學欣賞的靈魂》、《新時代哲學的信念與方法》等書。  
    東海大學生物系畢業 (第一屆),曾隨牟宗三、劉述先兩位先生修習哲學,後赴美國南伊大(Southern Illinois University)修習美國文學、英國文學。曾譯《索忍尼辛選集》、《癌症病房》等名著,並以劉會友筆名譯《小矮人歷險記》。
    《人的宗教:人類偉大的智慧傳統 》(THE WORLD’S RELIGIONS: Our Great Wisdom Traditions By Huston Smith: 休斯頓.史密士 ,台北:立緒,2013)

    劉述先
      曾任香港中文大學哲學系講座教授,現任中央研究院中國文哲研究所研究員。著有《文學欣賞的靈魂》、《新時代哲學的信念與方法》、《中國哲學與現代化》、《朱子哲學思想的發展與完成》、《黃宗羲心學的定位》、《當代中國哲學論:人物篇,問題篇》、《Understanding Confucian Philosophy: Classical and Sung-Ming》等書。曾參與多次東西哲學家會議,儒耶與儒回之間的對話。
    我讀過恩思特卡西爾《論人--人類文化哲學導論》劉述先譯,台中:東海大學出版社,1958;
    《馬爾勞與中國》劉述先著 (附錄: (一)劉安雲譯《馬爾勞訪華同憶錄》(二)「同法國事務部長馬爾羅的锬話」,香港:中文大學出版社,1981

    劉述先及其【馬爾勞與中國】 【漢清講堂】 心得分享與討論會日期:2017年6月17日(周六),10:00~ 13:00 地址:台北市新生南路三段88 ...




    老曹如何將這三本書"連結"起來,這是個好起點問題........

    ******

     曹欽榮等《流麻溝十五號:綠島女生分隊及其他》

    流麻溝十五號:綠島女生分隊及其他


     「流麻溝十五號」是綠島思想犯共同的戶籍所在地。
      一九五○年代初,綠島新生訓導處曾經關過一批女思想犯,她們稱為「綠島女生分隊」。
      無法想像的監獄生活,出獄之日遙遙無期,對家人親友的掛念、對未來的茫然,衝擊著她們失去自由的心靈。出獄後,面對社會的歧視與生活的困苦,拼命求得一席之地。
      六十年後,我們終於聽到阿嬤們親口講出這些故事,透過僅存的書信、照片、記憶,帶我們回到那個荒謬的年代,一段如此獨特的女性生命史。
      張常美(省立台中商職一年級)──無辜的九十九人  老蔣說:「寧可錯殺一百個,也不要放掉一個」,我就是其中的九十九個。
      黃秋爽(台北靜修女中三年級)──我家七人被抓  我被判刑時,沒有拿到判決書,我爸爸也沒有判決書,因為家沒了,沒地址可以寄。
      張金杏(彰化大肚國小老師)──岩石縫長出的小草   我這個政治犯絕對要做給你看,我絕對要比那些沒有被關的人更厲害、做得更好,就是要走出來給你看。
      陳勤(台北福星國小老師)──天空在屋頂的那一端  原本期待燦爛歲月的未來,不料婚後不久即遭無妄之災,身繫囹圄五年六個月又十六天。
      藍張阿冬(女兒一歲襁褓中)──帶著一歲女兒入獄  他們來抓時,女兒才一歲多,我正抱著她餵奶,看他們一堆人進來,我的腳就軟了,手還抱著女兒吃奶。
      施水環(台北郵電局職員)──辭別尊顏,無日不思  當每晚夢見慈祥的媽媽跪在神前為了您兒女祈禱,我眼淚暗暗地濕透了枕頭,只有您的來信,無時在我的身,入睡前一定拿起重念一遍。
    本書特色
      1.本書與《青島東路三號》同為鄭南榕基金會策劃,黃子欽裝禎設計,近期出版的還有《我的青春、我的Formosa》、《美援時代:鳥事並不如煙》等書,同以台灣近代生活為主題,是近期書市引人注目的話題焦點之一,也掀起許多年輕讀者重探台灣過去風貌的興趣。
      2.累積十多年、上百人次的採訪收集,篩選出最為完整的個人紀錄,並透過各種管道取得珍貴老照片、官方檔案、歷史影像、背景考證。白色恐怖時期非官方版的女性口述歷史,首次完整出版。
      3.書中收錄五位阿嬤的口述人生,有苦有樂、悲喜交集,跌宕起伏更甚小說情節,並佐以僅存的當時老照片及圖像,帶領讀者回到那個荒謬又現實的年代。書中最後一位主角施水環,是書中唯一一位被槍決的女性,只留下寫給家人的書信筆記以及生前照片,連死後的安葬地點皆不可考,但書信中她純潔的心靈與堅定的信念,令人動容。
      4.本書較少著墨於國族認同等政治議題,更多試圖探索女性柔軟的人格特質,從生活中積極奮鬥前進的精神。如同眾多猶太人及戰爭受難者的口述歷史,往往是受難後的自我療傷,而女性療癒歷史創傷的特殊意義,在本書中更得到彰顯。
    作者簡介
    曹欽榮
      鄭南榕基金會.紀念館董事兼執行長。成大工管系、北藝大博物館研究所畢,台灣游藝設計公司負責人。曾參與台北228紀念館1997年創館整體規劃、展示設計,自2001年參與綠島人權紀念園區規劃、文史採訪、展示設計。長期收集白色恐怖時期受難者口述歷史。
    鄭南榕基金會
      鄭南榕基金會的成立,是為了紀念鄭南榕宣揚言論自由的理念,並促進台灣意識的覺醒,以推動台灣文化的振興。紀念館將鄭南榕自焚的自由時代雜誌社歷史現場,完整保存,並開放以供憑弔追思,館內陳列當時自由時代雜誌社的出版品,並定期舉辦相關活動,以見證箝制思想言論自由的時代。

    目錄

    關於流麻溝十五號
    《流麻溝十五號》的時代背景
    葉菊蘭序 向她們致敬
    許章賢序 人權接力,一棒接一棒
    曹欽榮序 前言及訪談記
    張常美──無辜的九十九人
    黃秋爽──我家七人被抓
    張金杏──岩石縫長出的小草
    陳勤──天空在屋頂的那一端
    藍張阿冬、藍芸若──帶著一歲女兒入獄
    施水環──辭別尊顏,無日不思



    ***

    《青島東路三號:我的百年之憶及台灣的荒謬年代》

    青島東路三號:我的百年之憶及台灣的荒謬年代,語言:繁體中文,ISBN:9789868807556,頁數:464,出版社:啟動文化,作者:顏世鴻,2012



    1950年的青島東路三號,約是現在的台北喜來登飯店之地,當年是軍法處看守所,許多台灣精英知識分子,在這裡等待判決。侯孝賢電影《悲情城市》中,作家鍾理和之弟鍾浩東,即是從這裡走向馬場町的槍決之路,獄友在此傳唱「幌馬車之歌」紀念他。本書作者顏世鴻即為當年的見證人。
      是什麼樣的荒謬年代,會讓台灣知識份子陸續走進青島東路三號?
      幸運的人,下一站是監禁綠島;不幸的人,下一站則是血濺馬場町。
      本書作者顏世鴻當年在台大念書時因為看了幾本社會主義的書及小說,所以加入共產黨;他所接獲的第一個指示就是:「所有黨員都停止工作。」但是,他仍逃不過被捕的命運。被捕之後,台大宿舍傳說:「他離開的時候,像一個英雄好漢。」
      顏世鴻生於「叛匪之家」,1895年,祖父曾參加劉永福的義勇軍,在蕭□與日軍一戰,敗後只能心懷怨恨招日軍入府城。父親曾學醫,兩度被日本特高警察逮捕入獄。五舅張錫鈞是郵局轉電信局的報務員,後以「長江一號」聞名中國,
      他自己則被監禁於綠島、小琉球長達13年7個月,並且「背下每天走過我們眼前,或者不知如何而來的管道的消息累計血染馬場町刑場的『叛匪』的人數,如誦經般,為他們唱了一次又一次的〈安息吧,死難的同志〉。」
      1950年他被捕時,正當韓戰爆發,美軍第七艦隊駛入台灣海峽,中共派兵北韓無力攻台,因此,政府可以集中心力清除島內異己,三千名知識分子血濺馬場町。後來他到了綠島,因為從小只懂日語、河洛話,這時總算有機會好好學國語,同樣在綠島才學會國語的作家楊逵,就照顧顏世鴻隔壁的苗圃。
      「時間對年輕人是『期望』,在老年人卻是『期限』了。」他在八十歲時著手寫下本書, 總算完成為家族及獄友立傳的心願。讓歷史的歸歷史,也讓讀者知道,當年曾經有這樣一個台灣。
    作者簡介
    顏世鴻
      1927年次,涉入台灣省工作委員會學生工作委員會案(1950年9月16日判決,11人槍決),並因此坐牢13年7個月又2天(1950年6月21日於台大宿舍被捕,9月16日判刑12年,1962年7月28日離開綠島,轉送小琉球留訓,1964年1月21日離開小琉球)。現居台南。

    目錄

    序:我的舅舅顏世鴻(文∕米果)
    導讀:青年春天的生命,驟然進入炎夏,也急速入秋(文∕曹欽榮)
    自序
    【前 言】二○○六年,霜降之后
    【第一章】二○○五年,重回火燒島
    【第二章】一八九五年,馬關條約之後的家世
    【第三章】一九三七年,父親歸台之後二度被捕
    【第四章】一九四五年,學徒兵生活及終戰
    【第五章】一九四七年,戰後復學台大
    【第六章】一九五○年六月,凌晨二時台大被捕
    【第七章】一九五○年六月,延平北路北所問案
    【第八章】一九五○年九月,青島東路三號軍法處判刑
    【第九章】一九五○年十月,血濺馬場町
    【第十章】一九五○年十月,葉盛吉在軍法處的遺書
    【第十一章】一九五○年十一月,追憶死難者
    【第十二章】一九五○年十二月,重回青島東路
    【第十三章】一九五一年,火燒島記憶
    【第十四章】一九七一年,霜降,追憶馬場町
    【第十五章】二○○六年,回顧一生
    【附錄一】
    (一)不確定的年代
    (二)日記.憶家族
    (三)雜感
    【附錄二】
    (一)韓戰1:一觸即發,中美蘇各自盤算
    (二)韓戰2:麥克阿瑟及杜魯門的誤判
    (三)韓戰3:內戰?殖民地解放?關於自由的省思
    【顏世鴻相關年表】
    【編後記】
    *****

    主要小說:《仕女們看到河邊風景》




    光復書局版,《波爾》Heinrich Böll,有寫給孫女的詩,給孩子的《終戰回憶錄:四輛腳踏車》,都很感人。(這本書有二精彩附錄,其一訪談,說到中國翻譯本比較嚴肅,台灣的翻譯品質不太令人滿意。) 此書傳主因為是世界筆會會長,接待出國的亞歷山大·索忍尼辛,所以有相當多資料。


    政大

    索爾仁尼琴(索忍尼辛)百年。
    我要在臺灣的政治大學探討他、他的書、他在二十世紀歷史中的動力及定力.....他最後的頑固及頑強!
    然,終究是向他表達我最大的敬意!
    http://news.ltn.com.tw/news/world/breakingnews/2635269


    This week's TLS is now available in shops, online and via our app: https://www.the-tls.co.uk/latest-edition/


    *****索忍尼辛回憶錄
    • 譯者:王兆徽
    • 出版社:中華日報
    • 出版日:1993/1
    A literary work is a reflection of its time and its author's origin and situation. Aleksandr Solzhenitsyn's works grew out of Russia's narrative traditions and reflect Soviet society. His debut, One Day in the Life of Ivan Denisovich, and several of his later works, focus on life in the Soviet gulag camps.

    Alexandr Solzhenitsyn - Biographical - NobelPrize.org

    https://www.nobelprize.org/prizes/literature/1970/solzhenitsyn/auto-biography/




    English


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    The Gulag Archipelago





    Author

    Aleksandr Solzhenitsyn


    Original title

    Архипела́г ГУЛА́Г


    Translator

    Geneviève Johannet, José Johannet, Nikita Struve (French)

    Thomas P. Whitney (English)

    Country France
    LanguageRussian

    Publisher Éditions du Seuil

    Publication date 1973

    Published in English1974


    Media type

    Print (Hardback& Paperback)


    ISBN

    0-06-013914-5


    OCLC

    802879



    Dewey Decimal

    365/.45/0947


    LC Class

    HV9713 .S6413 1974



    The Gulag Archipelago (Russian: Архипела́г ГУЛА́Г, Arkhipelág GULÁG) is a three-volume book written between 1958 and 1968 by Russian writer and historian Aleksandr Solzhenitsyn. It was first published in 1973, followed by an English translation the following year. It covers life in the gulag, the Sovietforced labour campsystem, through a narrative constructed from various sources, including Solzhenitsyn's own experience as a gulag prisoner, reports, interviews, statements, diaries, and legal documents.


    Following its publication, the book initially circulated in samizdatunderground publication in the Soviet Union until its appearance in the literary journal Novy Mir in 1989, in which a third of the work was published in three issues.[1] Since the dissolution of the Soviet Union, The Gulag Archipelago has been officially published, and since 2009, is mandatory reading as part of the Russian school curriculum.[2] A fiftieth anniversary edition will be released in 2018.


    Contents

    [hide]
    1Structure and factual basis
    2Historical impact of the text
    3Publication
    4Criticism
    5TV documentary
    6See also
    7Notes
    8References
    9External links








    -----


    索忍尼辛回憶錄

    ****台灣黎明也有翻譯本......

    古拉格群島》(俄語:Архипелаг Гулаг)是由蘇聯作家亞歷山大·索忍尼辛編著的一部反映蘇聯奴隸勞動和集中營故事的書。古拉格指的是蘇聯的集中營,實際上前蘇聯並沒有古拉格群島這個地理名稱,它是索忍尼辛的一種比喻說法,索忍尼辛把整個蘇聯比作海洋,在這個海洋上處處皆是監獄和集中營的島嶼,他把這些島嶼稱為古拉格群島。作者親自在古拉格集中營中生活過,並且是書中事件的目擊者和第一手材料的獲得者,出獄後採訪了270位人士,為書中所寫的事提供了證詞。本書創作於1962年至1973年間,於1973年在西方出版。在蘇聯公開出版本書的1989年之前,本書一直作為地下出版物在蘇聯流傳。

    內容[編輯]

    索爾仁尼琴一共列舉31種刑訊方法,從心理上的折磨到肉體上的摧殘無所不包、無所不用其極。秘密員警在生理上耗盡犯人的體力,在精神上徹底摧垮其僥倖心理。

    評價[編輯]

    俄羅斯總統普京:「這是一本非常需要的書。不研究書中所記錄的現實,我們無法全面了解我們的國家。不全面了解我們的國家,思考未來必將困難重重。」[1]
    在中國,有理論認為《古拉格群島》記錄的不是前蘇聯體制改變人,而是消滅人的歷史。[2]

    參考文獻

    移至^普京為何將蘇聯禁書《古拉格群島》列中學教科書. 鳳凰網. [2012年9月3日] (中文(中國大陸)‎).
     不遺忘「消滅人」的歷史. 南都網. [2013-04-09] (中文(中國大陸)‎).
    外部連結[編輯]

    *****

    収容所群島』(しゅうようじょぐんとう、Архипелаг ГУЛАГ、ラテン文字表記:Arkhipelag GULAG)は、ソ連作家アレクサンドル・ソルジェニーツィン記録文学
    ソ連における、反革命分子とみなされた人々に対しての強制収容所グラグ(グラーグ)」への投獄、凄惨な拷問強制労働処刑の実態を告発する文学的ルポルタージュである。統制の厳しい本国では出版できず、1973年から1975年フランスで発売。各国語訳が進められた結果、人権上由々しき問題として大反響を巻き起こした。当然ながらソ連では禁書扱いされた。ソルジェニーツィン自身は、続刊が出版されている最中である1974年市民権を剥奪されて西ドイツ国外追放されている。
    タイトルの「収容所群島」とは、広大なソ連領内の各地に点在する収容所の分布のありようを、大海中に点在する島々になぞらえた表現である。

    日本語訳[編集]

    • ソルジェニーツィン 『収容所群島 1918-1956 文学的考察』(6巻) 木村浩訳、新潮社、1974年-1977年/新潮文庫、1975-1978年。2006年-2007年、ブッキングにて復刊。

    『収容所群島』
    (しゅうようじょぐんとう)
    Архипелаг Гулаг
    著者アレクサンドル・ソルジェニーツィン
    訳者木村浩
    発行日フランスの旗 1973年-1975年
    発行元フランスの旗 YMCAプレス社
    フランスの旗 フランス
    言語ロシア語
    公式サイトwww.solzhenitsyn.ru

    The Power of Culture: Studies in Chinese Cultural History 1994

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    The Power of Culture: Studies in Chinese Cultural History (Chinese University Press) Hardcover – 22 1 月 1994
    作者 Willard Peterson (Editor), Andrew Plaks (Editor), Ying-shih Yü (Editor)



    A symposium of essays presented in honor of T. T. Ch'en and F. W. Mote on the occasion of their retirement from the East Asian Studies Department of Princeton University. 
    The participants and contributors are all renowned scholars in Chinese studies, including 
    K. C. Chang, 
    Tsu-lin Mei, 
    Shuen-fu Lin, 
    Yu-kung Kao, 
    Donald Holzman, 
    John Hay, 
    Jao Tsung-i, 
    Peter Bol, 
    Richard Barnhart, 班宗華 Landscape Painting Around 1085
    Shou-chien Shih, 
    Kang-i Sun Chang, 
    Andrew Lo, 
    Keith McMahon, 
    Ju-hsi Chou, 
    Derk Bodde 
    and the editors."

    《蝦蟆的油:黑澤明自傳》 Akira Kurosawa, Something Like an Autobiography. 師友。Sisyphus (古希臘神話): 紀德日紀 (1916)); Albert Camus的論文(1942)。比較黑澤明的佛教故事比喻 (回憶錄)

    $
    0
    0


     Sisyphus (古希臘神話): 紀德日紀 (1916)); Albert Camus的論文(1942)。比較黑澤明的佛教故事比喻 (回憶錄)
    https://www.facebook.com/hanching.chung/videos/395884472360735


    They never recognized that movies are made by a cooperative work force that is created by a union of individual human talents. They never recognized how much effort was required to bring about that union. So they were able to destroy with total equanimity everything we had worked to build. We became like the children in Buddhist limbo who have preceded their parents in death: On the banks of the River Sai they pile up stones to form little towers. But every time a tower is completed, a mean devil comes and knocks it down. It was like Sisyphus trying to push his boulder up the mountain. The company president and the director of labor relations at this time were both men from outside who had neither understanding of nor affection for movies. The executive in charge of labor, moreover, was willing to engage in the lowest imaginable tactics to win the strike battle. At one point he fed the newspapers a story to the effect that I had been forced by the union to put certain lines of dialogue into the script I was filming. Since this statement had no basis in truth, and if it had, I could never have lifted up my head in the world as a film director again, I demanded an explanation. The response was, "Well, if you say it isn't so, then you must be right," and he apologized on the spot. But even though he apologized, the article had been headline news, and everyone had read it. A

    Akira Kurosawa, Something Like an Autobiography.





    *** 師友


    . In my day there were many such teachers who harbored a libertarian spirit and a wealth of individual qualities. By comparison with them, among today's schoolteachers there are too many plain "salary-man" drudges. Or perhaps even more than salary men, there are too many bureaucrat types among those who become teachers. The kind of education these people dispense isn't worth a damn. There's absolutely nothing of interest in it. So it's no wonder that students today prefer to spend their time reading comic books. In primary school I had a wonderful teacher in Mr. Tachikawa. In middle school I had Mr. Ohara and Mr. Iwamatsu, who were also wonderful teachers. These teachers understood my individual qualities and encouraged me to develop them. I have been truly blessed with my teachers. Later, when I entered the film world, I was fortunate enough to get an excellent teacher in "Yama-san" (director Yamamoto Kajiro, 1902-1973). I also received warm encouragement from director Itami Mansaku (1900-1946) and excellent training from the superb producer Morita Nobuyoshi. Besides these people there are many directors I revere as teachers: Shimazu Yasujira (1897-1945), Yamanaka Sadao (1909- 1938), Mizoguchi Kenji, Ozu Yasujiro and Naruse Mikio. When I think about these people, I want to raise my voice in that old song: " . . . thanks for our teacher's kindness, we have honored and revered. . . . " But none of them can hear me now. 



    黑澤明之所以偉大的原因
    ——黑澤明自傳《蝦蟆的油》(一分鐘閱讀書籍)
      
    武士帶着他的妻子走在竹林中,強盜出來把他綁起來,強暴了他的妻子,武士也喪生了。這個情節,由強盜、妻子和武士的鬼魂說來,儘管大體一樣,但因細節相異而呈現截然不同的真相。這是日本作家芥川龍之介的小說《竹林中》,1951年由日本導演黑澤明改編成電影取名《羅生門》,從此,羅生門就成為同一件事各有各說法而無法知道真相的代名詞。
    在上世紀被稱為「黑澤天皇」的導演黑澤明,不僅是我的電影偶像,而且是我的文學藝術的偶像。電影《羅生門》赤裸裸暴露了,因人性的虛飾而使世上的事情幾乎沒有真相,而這種虛飾的人性又幾乎無人可以避免,這種揭示使我大受觸動。這以後,幾乎黑澤明所有的電影我都沒有錯過。他的《七俠四義》、《用心棒》、《天國與地獄》、《赤鬍子》、《德蘇烏扎拉》、《影武者》,每一部我都被扣動心弦,他的人道主義精神也深深影響我的寫作。
    早前讀到他的自傳《蝦蟆的油》,我再一次被他深刻自剖所打動。
      黑澤明1910年生於東京,1951年以《羅生門》獲得威尼斯影展金獅獎,隔年再拿下奧斯卡最佳外語片獎。1975年以《德蘇烏扎拉》二度獲得奧斯卡。1990年獲奧斯卡終身成就獎。1998年病逝東京,享壽八十八歲。1999年經CNN評選為二十世紀亞洲最有貢獻人物(藝文類)。
    黑澤明的自傳《蝦蟆的油》,中譯本副題是「黑澤明尋找黑澤明」。這本自傳是1978年他68歲時寫的,那時他所有傑作已獲得全世界電影界肯定,距離他成名作《羅生門》問世也接近30年了。
    這本書從他光著身體來到這世界寫起,記下家庭、學校、戰爭、入影圈,從助導、編劇到當上導演,及拍好幾部戲的種種記事。不過,寫到最後一章「直到《羅生門》」,這本書就結束,沒有往下寫。也就是說,以後他在電影業的輝煌成就,他在1951年後30年拍出許多傑作的經過,他都不寫了。
    甚麼原因?在他的自傳中,他說正是因為《羅生門》這部偉大作品,影響他無法寫下他其後的人生。
    在黑澤明自傳中,他講到籌拍這部戲的時候,受到電影製作公司的社長反對。
    開拍前一天,公司派給他的三個助導去找他,說完全看不懂這個劇本,要求黑澤明作說明。黑澤簡單說明電影的主題是:「人不能老實面對自己,不能毫無虛矯地談論自己。這個劇本,就是描述人若無虛飾就活不下去的本性。不對,是描述人到死都不能放下虛矯的深罪。這是人與生俱來、無可救藥的罪業,是人的利己之心展開的奇怪畫卷。如果把焦點對準人心不可解這一點,應該可以了解這個劇本。」
    聽了他的解釋,其中兩個助導說回去再看一遍劇本試試,但總助導還是不能接受,終辭任這職位。不過其他人,包括演員都非常熱心地投入拍攝工作。電影拍成上映,在日本沒有甚麼反響,而黑澤明與電影公司的再合作計劃也被拒絕。
      有一天,黑澤明回家,老婆衝出來告訴他:《羅生門》在威尼斯影展獲金獅獎。他感到愕然,因為他連這部戲被拿去參展都不知道。事實上不是日本製作公司拿去參展,而是有一個意大利影評人在日本看了這部片交由意大利電影公司推薦參展的。這次獲獎和隨後在奧斯卡獲獎,對日本電影界猶如晴天霹靂。日本人為甚麼對日本的存在這麼沒有自信?為甚麼尊重外國的東西,卻卑賤日本的東西呢?黑澤只能說,這是可悲的國民性。
    獲獎使電影在日本重被重視,電視也予以播放。在電視播出時,電視台訪問了原製作公司的社長,這個社長得意洋洋地說,是他自己一手推動這部作品的。黑澤看了說不出話來。因為當初拍這部片時,社長明明面有難色,說這是甚麼讓人看不下去的東西,而且把推動這部作品的高層和製片降職。社長還滔滔不絕地重複外國影評誇獎這部片的攝影技術,說這部片第一次把攝影機面對太陽拍攝。而直到採訪最後,他都沒有提到黑澤明和攝影師宮本的名字。
    黑澤看了這段訪問,覺得簡直就是《羅生門》啊。 電影《羅生門》本身,固然表現了可悲的人性,而在獲獎及在電視播出時,也呈現出同樣的人性。
    他再次知道,人有本能地美化自己的天性,人很難如實地談論自己。可是,黑澤說,他不能嘲笑這位社長。他反省說:「我寫這本自傳,裏面真的都老老實實寫我自己嗎?是否沒有觸及自己醜陋的部分?是否或大或小美化了自己?寫到《羅生門》無法不反省。於是筆尖無法繼續前進。《羅生門》雖然把我以電影人的身份送出世界之門,但寫了自傳的我,無法從那扇門再往前寫。」
    黑澤明以真誠的心,奉獻了芥川龍之介的人性之作,而創作《羅生門》的過程和結果,也創造了黑澤明自己。在創造了許多被世界肯定的傑作之後,仍然能夠如此真誠地反省自己。我們終於知道黑澤明之所以偉大的原因了,就是他有與眾不同的內在反省能力。是不是每個人都無法擺脫這種不能如實談論自己的虛飾的人性呢?常說要忠於自己的人,包括我在內,真要好好想一想。



    蝦蟆的油: 黑澤明尋找黑澤明
    蝦蟇の油: 自伝のようなもの


    作者 / 黑澤明黒沢明
    譯者 / 陳寶蓮
    出版社 / 麥田出版社
    出版日期 / 2014

    內容簡介

    雖然沒有自信能讓讀者看得高興,
    但我仍以過往常告訴晚輩的「不要怕丟臉」這句話說服自己。──Akira Kurosawa 黑澤 明 


    導演│侯孝賢──推薦人──影評│聞天祥

    ※黑澤明唯一自傳(收錄珍貴成長與工作照片)※

    史蒂芬.史匹柏眼中「電影界的莎士比亞」
    唯一讓法蘭西斯.柯波拉甘願委身助理的電影大師
    CNN評選│20世紀亞洲最有貢獻人物│藝文類│

    日本民間流傳著這樣一個故事︰在深山裡,有一種特別的蝦蟆,不僅外表奇醜無比,而且還多長了幾條腿。人們抓到牠後,將其放在鏡子前或玻璃箱內,蝦蟆一看到自己醜陋不堪的外表不禁嚇出一身油。這種油,也是民間用來治療燒傷燙傷的珍貴藥材。

    受到法國導演尚.雷諾瓦寫自傳的鼓舞,從來無意寫自傳的黑澤明,在即將屆滿六十八歲之際,說服自己以「不要怕丟臉」的態度,回顧拍出《羅生門》這 部經典作品之前的自己。為了找回過去的記憶,黑澤明和許多朋友促膝長談,從與良師益友乃至憎惡之人的回憶中,黑澤明尋找黑澤明之所以能有後來成就的故事, 並自喻是隻站在鏡子前的蝦蟆,因發現過往的種種不堪,嚇出一身油。

    這部直面人生的深刻告白,笑淚交織,是一代電影大師在自己人生中的精采演出!

    【「底片」與「正片」──談小哥哥丙午】

    如果?
    直到現在,我還時常在想。
    如果哥哥沒有自殺、像我一樣進入電影界的話?
    哥哥擁有充分的電影知識和理解電影的才華,在電影界也有很多知己,而且還很年輕,只要有那份意志,應該可以在電影領域揚名立萬。
    可是,沒有人能讓哥哥改變其意志。
    有一天,母親問我。
    「丙午(小哥哥的名字)沒事吧?」
    「什麼事?」
    「怎麼說呢......丙午不是一直說他要三十歲以前死嗎?」
    沒錯。
    哥哥常說這話。
    我要三十歲以前死掉,人過了三十歲,就只會變得醜惡。
    像口頭禪一樣。
    哥哥醉心俄國文學,尤其推崇阿爾志跋綏夫(Mikhail Artsybashev)的《最後一線》是世界文學最高傑作,隨時放在手邊。所以我認為他預告自殺的言語,不過是受到文學迷惑後的誇張感慨而已。
    因此,我(黑澤明)對母親的擔心一笑置之,輕薄地回答:
    「越是說要死的人,越死不了。」
    但是就在我說完這話的幾個月後,哥哥死了。
    就像他平常說的一樣,在越過三十歲前的二十七歲那年自殺了。
    後來,我進入電影界,擔任《作文教室》的總助導時,主演的德川夢聲盯著我看,然後對我說了這句話。
    「你和令兄一模一樣。只是,令兄是底片,你是正片。」
    因為我覺得自己受哥哥的影響很大總是追著他的腳步前進,有那樣的哥哥才有今天的我,所以對德川夢聲說的話,也是這樣子解讀。但後來聽他解釋,他的意思是哥哥和我長得一模一樣,但是哥哥臉上有陰鬱的影子,性格也是如此,我的表情和性格則是開朗明亮。
    植草圭之助也說我的性格有如向日葵般,帶有向陽性,我大概真的有這一面。
    但我認為,是因為有哥哥這個「底片」,才會有我這個「正片」。

    【仰瞻師道──談最佳良師山爺】

    山爺從不對助導發脾氣。
    有一次拍外景,忘了叫搭檔演出的另一個演員。
    我趕忙找總助導谷口千吉商量,千哥毫不緊張,直接去向山爺報告。
    「山爺,今天某某不來唷!」
    山爺驚愕地看著千哥:
    「怎麼回事?」
    「忘了叫他,所以不來了。」
    千哥說得好像是山爺忘了叫人似的,口氣強硬。
    這一點是PCL出名的谷口千吉誰也模仿不來的獨特之處。
    山爺對千哥這過分的態度沒有生氣:
    「好吧,知道了。」
    當天的戲就只能靠那一個人。
    那個人回頭向後面喊著:
    「喂,你在幹什麼?快點過來!」
    整場戲就這麼帶過。
    電影完成後,山爺帶我和千哥去澀谷喝酒,經過放映那部片子的電影院,山爺停下腳步,對我們說:
    「去看一下吧!」
    三人並肩而坐看電影。
    看到那個搭檔之一回頭向後面喊著「喂,你在幹什麼?快點過來!」的地方,山爺對千哥和我說:
    「另一個人在幹什麼?在大便嗎?」
    千哥和我站起來,在陰暗的電影院裡,直挺挺地向山爺鞠躬致歉。
    「真的對不起。」
    周圍的觀眾吃驚地看著兩個大男人突然起立鞠躬。
    山爺就是這樣的人。
    我們當副導時拍出來的東西,他即使不滿意,也絕不剪掉。
    而是在電影上映時帶我們去看,用「那個地方這樣拍可能比較好」的方式教我們。
    那是為了培養助理導演、即使犧牲自己作品也可以的做法。
    雖然這樣盡心培養我們,但山爺在某個雜誌談到我時僅說:
    「我只教會黑澤君喝酒。」
    我不知道該如何感謝這樣的山爺。

    【遺憾的事──談憎惡之人】

    當時,內務省把導演的首部作品當作導演考試的考題,所以《姿三四郎》一殺青立刻提交內務省赴考。考官當然是檢閱官,在幾位現任電影導演陪席下,進行導演考試。
    預定陪席的電影導演是山爺、小津安二郎、田坂具隆。但山爺有事不克出席,特別和我打招呼,說有小津先生在,沒問題。鼓勵向來和檢閱官勢同水火的我。
    我參加導演考試那天,憂鬱地走過內務省走廊,看到兩個童工扭在一起玩柔道。其中一個喊著「山嵐」、模仿三四郎的拿手技摔倒對手,他們一定看過《姿三四郎》的試映。
    儘管如此,這些人還是讓我等了三個小時。
    期間那個模仿三四郎的童工抱歉地端了一杯茶給我。
    終於開始考試時,更是過分。
    檢閱官排排坐在長桌後面,末席是田坂和小津,最旁邊坐著工友,每個人都有咖啡可以喝,連工友都喝著咖啡。
    我坐在長桌前的一張椅子上。
    簡直像被告。
    當然沒有咖啡喝。
    我好像犯了名叫《姿三四郎》的大罪。
    檢閱官開始論告。
    論點照例,一切都是「英美的」。
    尤其認定神社石階上的愛情戲(檢閱官這樣說,但那根本不是愛情戲,只是男女主角相遇而已)是「英美的」,嘮叨不停。
    我若仔細聽了會發火,只好看著窗外,盡量什麼都不聽。
    即使如此,還是受不了檢閱官那冥頑不靈又帶刺的言語。
    我無法控制自己臉色大變。
    可惡!隨便你啦!
    去吃這張椅子吧!
    我這麼想著、正要起身時,小津先生站起來說:
    「滿分一百分來看,《姿三四郎》是一百二十分,黑澤君,恭喜你!」
    小津先生說完,無視不服氣的檢閱官,走到我身邊,小聲告訴我銀座小料理店的名字,「去喝一杯慶祝吧!」
    之後,我在那裡等待,小津先生和山爺一同進來。
    小津先生像安慰我似的拚命誇讚《姿三四郎》。
    但是我仍無法平息心中的怒氣,想著如果我把那張像被告席的椅子往檢閱官砸去,不知道會有多痛快。
    直到現在,我雖然感謝小津先生,但也遺憾沒有那麼做。

    【黑澤明大事記】

    1910年│生於東京。
    1936年│考進PCL電影製片廠(東寶映畫前身)擔任助理導演。
    1951年│以《羅生門》獲得威尼斯影展金獅獎,隔年再拿下奧斯卡榮譽獎。
    1954年│以《七武士》獲得威尼斯影展銀獅獎,奠定國際影壇地位。
    1975年│以《德蘇烏扎拉》二度獲得奧斯卡。
    1978年│出版類自傳《蝦蟆的油》。
    1990年│獲奧斯卡終身成就獎。
    1998年│病逝東京,享壽八十八歲。
    1999年│經CNN評選為二十世紀亞洲最有貢獻人物(藝文類)




    2006/11

    {蝦蟆的油: 黑澤明自傳}重現中國江湖

    近日,黑澤明自傳(1978)《蛤蟆的油》大陸中譯本才由南海出版公司引進推出,台灣很早就有啦:黑澤明著{蝦蟆的油 黑澤明自傳 }: 林雅靜譯,台北 : 星光, 民83 /1994 。(【蝦蟆】 注音一式 ㄏㄚˊ ˙ㄇㄚ  解釋 動物名。兩生綱無尾目蛙屬。體型類似蟾蜍而較小,色呈暗褐,背有黑點,善跳躍,鳴叫時作呷呷聲,常居於沼澤邊。亦作蛤蟆。)

    書名緣由?據黑澤明的解釋,書名來源於一種日本常用藥材——蝦蟆油。原來,日本民間故事:深山有一種特別的蝦蟆,人們抓到它之後就將它放在鏡前或玻璃箱內,它一看到自己醜陋不堪的真面目就會嚇出一身油。這種油,民間用來當治療燒燙割傷的珍貴藥材。

    黑澤明晚年回首往事,自喻是只站在鏡前的蛤蟆,發現自己從前的種種不堪,嚇出一身油……


    Vintage Books & Anchor Books

    “Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people. They often reveal much about themselves in a very straightforward way. I am certain that I did. There is nothing that says more about its creator than the work itself.” 
    ― Akira Kurosawa, Something Like an Autobiography
    Something Like an Autobiography (1982) is the memoir of Japanese film director Akira Kurosawa


    Vintage Books & Anchor Books 的相片。


    CHRISTOPHER ALEXANDER: The Search for a New Paradigm in Architecture (Stephen Grabow)

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    CHRISTOPHER ALEXANDER: The Search for a New Paradigm in Architecture (Stephen Grabow)

     
    http://hclectures.blogspot.tw/2013/03/christopher-alexander.html

    Grabow, Stephen: Christopher Alexander: The Search for a New Paradigm in Architecture, Oriel Press (Routledge & Kegan Paul), London and Boston, 1983.



    CHRISTOPHER ALEXANDER: The Search for a New Paradigm in Architecture  (1983)是一本絕版書   不過美國有三處"新書"賣60美元 (1983年版訂價37.5元)

    作者STEPHEN GRABOW 當初申請到補助,跑到CHRISTOPHER ALEXANDER任教的伯克萊大學,與傳主密切訪談6個月以上 (訪談多有錄音 本書多根據這些謄本寫作)。當時CHRISTOPHER ALEXANDER 教書約有15年經驗 基本的思想系統已備 雖然他還有近20年的大學教學生涯
    英文書將Stephen Grabow與CHRISTOPHER ALEXANDER合作的此書
    比擬為Boswell與S. Johnson間合作的The Life of Dr. Johnson




    我之所以要特別記一下本書是因為有些書緣

    Grabow, Stephen, 1943-
    AVAILABLE - Coe Library - Stacks - NA 997 .A57 G7 1983 -

    More Details
    Subject(s) Alexander, Christopher, 1936-
    Architecture -- Environmental aspects.
    Architects -- Psychology.
    Description xviii, 306 p., l p. of plates : ill. ; 24 cm.
    Bibliography Bibliography: p. 229-237.
    ISBN 0853621993 :
    OCLC No. 11726672


    Madam Secretary Madeleine Albright (1937~2022) :What is fascism? (2018)歐布萊特回憶錄:從難民到國務卿

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    Madam Secretary Madeleine Albright (1937~2022) :What is fascism? (2018) 歐布萊特回憶錄:從難民到國務卿

    Besides her 2003 memoir, Ms. Albright wrote “The Mighty and the Almighty: Reflections on America, God and World Affairs” (2006), “Memo to the President-Elect: How We Can Restore America’s Reputation and Leadership” (2008), “Read My Pins: Stories from a Diplomat’s Jewel Box” (2009), and “Prague Winter: A Personal Story of Remembrance and War, 1937-1948” (2012).
    除了她 2003 年的回憶錄,奧爾布賴特女士還寫了“有力者和全能者:對美國、上帝和世界事務的思考”(2006 年)、“給當選總統的備忘錄:我們如何恢復美國的聲譽和領導力”(2008 年)、 “閱讀我的別針:外交官珠寶盒中的故事”(2009 年)和“布拉格冬天:1937-1948 年的紀念與戰爭的個人故事”(2012 年)。



    奧爾布賴特女士在她一生的大部分時間裡都隱藏著一層家庭秘密,她作為一位傑出的世界事務分析師和白宮國家安全顧問獲得了權力和名望。 在比爾克林頓總統的領導下,她成為該國駐聯合國代表(1993-97 年)和國務卿(1997-2001 年),使她成為當時美國政府歷史上最高級別的女性。nyt/google



    Madeleine Albright, First Woman to Serve as Secretary of State, Dies at 84

    She rose to power and fame as a brilliant analyst of world affairs before serving as an aggressive advocate of President Bill Clinton’s policies.



    Madeleine Albright sees fascism not as an ideology, but as a strategy for seizing and consolidatingnFuture

    ECONOMIST.COM

    What is fascism?
    An interview with Madeleine Albright




  • Madam Secretary (2003) -- Albright's memoir, published after her retirement,


  • 從難民到國務卿──歐布萊特回憶錄
    Madam Secretary: A Memoir
    類別: 史地‧法律‧政治>政治軍事
    叢書系列:歷史與現場
    作者:麥德琳‧歐布萊特
    Madeleine Albright
    譯者:鍾玉玨
    出版社:時報文化
    出版日期:2004年


    「我的好友馬奎斯在《百年孤寂》(One Hundred of Solitude)中,描寫陷入無可逃避的生命循環當中的人。我們不也是如此?
    日升日落,四季輪替,命運之輪年復一年轉動,而軸心磨蝕,無可補救。人生在世,無法選擇要不要參與此一過程。
    然而,這並不意味我們的選擇都沒意義。我始終相信,人應該奮力成就一己所能的事情:運用個人獨具的天賦、全心全意、滿懷歡欣去承受與實踐。
    努力不保證會成功,但是努力本身卻是保持對生命的信念唯一的途徑。當大限來臨,我希望別人會說,歐布萊特盡力運用天賜的一切,努力榮耀家族、報效國家,堅定自由民主的立場,為年長女性揚眉吐氣,也讓年輕女子勇於表達自我。」 ──Madam Secretary  by 歐布萊特Madeleine Albright


    歐布萊特是美國第六十四任國務卿,更是美國歷史上位階最高的女性政治人物,柯林頓政府八年期間,從中東和平會談到北約人道介入科索沃戰爭,無役不與。他是原 籍捷克的猶太人,祖父母死於納粹集中營,為了逃離希特勒與共黨的迫害,於十一歲來到新大陸美國;能說流利的英、法、捷克、塞維亞-斯洛伐克語的她,擺脫難 民身分的困頓,在外交場域中迭有建樹,堪稱現代女性成功的典範。書中除了自剖其曲折坎坷、終至位極人臣的生涯,還生動描繪哈維爾、阿拉法特、夏隆、納堂雅 胡、胡笙國王、普丁、米洛塞維奇、金正日等國際政治首腦其人其事,當然更少不了風雨不斷的柯林頓夫婦。
    The Book


    Madam Secretary
    by Madeleine Albright
    "It was a quarter to ten. I was sipping coffee, but by then my body was manufacturing its own caffeine. I still couldn't allow myself to believe. Finally, at 9:47, the call came. 'I want you to be my Secretary of State.' These are his first words. I finally believed it."
    For eight years, during Bill Clinton's two presidential terms, Madeleine Albright was an active participant in the most dramatic events of recent times—from the pursuit of peace in the Middle East to NATO's humanitarian intervention in Kosovo. Now, in an outspoken memoir, the highest-ranking woman in American history shares her remarkable story and provides an insider's view of world affairs during a period of unprecedented turbulence.
    The story begins with Albright's childhood as a Czechoslovak refugee, whose family first fled Hitler, then the Communists. Arriving in the United States at the age of eleven, she grew up to be a passionate advocate of civil and women's rights and followed a zigzag path to a career that ultimately placed her in the upper stratosphere of diplomacy and policy-making in her adopted country. She became the first woman to serve as America's secretary of state and one of the most admired individuals of our era.
    Refreshingly candid, Madam Secretary brings to life the world leaders Albright dealt with face-to-face in her years of service and the battles she fought to prove her worth in a male-dominated arena. There are intriguing portraits of such leading figures as Vaclav Havel, Yasser Arafat, Ariel Sharon, Benjamin Netanyahu, King Hussein, Vladimir Putin, Slobodan Milosevic, and North Korea's mysterious Kim Jong-Il, as well as Bill and Hillary Clinton, Colin Powell, and Jesse Helms.
    Besides her encounters with the famous and powerful, we get to know Albright the private woman: her life raising three daughters, the painful breakup of her marriage to the scion of one of America's leading newspapers families, and the discovery late in life of her Jewish ancestry and that her grandparents had died in Nazi concentration camps.
    Madam Secretary combines warm humor with profound insights and personal testament with fascinating additions to the historical record. It is a tapestry both intimate and panoramic, a rich memoir destined to become a twenty-first century classic.


    Madam Secretary Madeleine Albright (1937~2022) :What is fascism? (2018)



    She rose to power and fame as a brilliant analyst of world affairs before serving as an aggressive advocate of President Bill Clinton’s policies.




    ONE
    Heroes and Villains
    I DIDN'T WANT IT TO END.
    Hoping to freeze time, I thought back to the phone ringing one December morning and the words, "I want you to be my Secretary of State," and to the swearing-in ceremony where my eagle pin came unstuck. I thought of little girls seeking autographs on a triumphant train trip from Washington to the United Nations in New York; of Vaclav Havel's face, warm and wise, as he placed a red sash on my shoulder and a kiss on my cheek; and of names enshrined on the wall of a synagogue in Prague. I thought of buildings in Kenya and Tanzania reduced to rubble; of coffins draped with the American flag; and of President Clinton in a rumpled shirt, with glasses perched on his nose, pleading the cause of Middle East peace.
    I thought of the countless meetings, some in grand palaces in the middle of the night, others in remote villages where nothing grew except the appetites of young children yet people still laughed and lived in hope. I thought of the cheering of crowds, joyous in Kosovo and Central Europe but robotic in North Korea, and of women and girls sharing their fears in a refugee camp a few miles from the Afghanistan border.
    The sound of tape being pulled away from giant rolls broke my reverie. We had been so busy, we hadn't started packing until well after dark. Now boxes and bubble wrap were everywhere, sitting amid stacks of books, discarded bags of pretzels, and mementos gathered during a million miles of travel and almost three thousand days of government service. Staff members were scurrying about, preoccupied with sorting, wrapping, sealing, and labeling. Silently I withdrew into the small inner office of the secretary of state, my office for a few hours more, and went instinctively to the window.
    It was the view I would miss almost as much as anything else. Circles of light on the National Mall surrounded the Lincoln Memorial and Washington Monument. Between them, obscured by the January night, were the haunting bronze figures commemorating America's engagement in the Korean War, and the silent yet eloquent black marble of the Vietnam wall. Across the Tidal Basin I saw the dome marking our nation's memorial to Thomas Jefferson, America's first Secretary of State, and across the river the more distant glow of the eternal flame at John Kennedy's grave in Arlington National Cemetery. I felt intense gratitude for each day I had been given to build on the tradition of honor and sacrifice celebrated in front of me.
    I may not have wished it to end, but the clock was ticking and there was much to do. I went to my desk for the last time, focusing on a piece of stationery I had centered there. "Dear Cohn," I wrote. "We have been working hard and hope when you arrive in the office it is clean. It will, however, still be filled with the spirit of our predecessors, all of whom felt representing the United States to be the greatest honor. So I turn over to you the best job in the world. Good luck and best wishes. Madeleine."
    MADELEINE WASN'T MY ORIGINAL NAME. I was born in Prague on May 15, 1937,in a hospital in the city's Smichov district. In Czech, smichov means laughter but there was little of that in Czechoslovakia during the year of my birth. It was an ominous time. I was christened Marie Jana, the first child of Josef and Anna Korbel, but I wasn't called that. My grandmother nicknamed me Madla after a character in a popular show, Madla in the Brick Factory. My mother, with her special way of pronouncing things, modified it to Madlen. Most of the time I was called Madlenka. It took me years to figure out what my actual name was. Not until I was ten, and learning French, did I find the version that pleased me: Madeleine. However, despite all the language and country changes of my youth, I never altered my original name, and my naturalization certificate and marriage license both read "Marie Jana Korbel."


    THE WILD SWANS, By hans christian andersen's "de vilde svaner" Translated by jean hersholt.

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    The Wild Swans by Hans Christian Andersen
    Illustrated
    Jennie Harbour (1893-1959)
    可能是黑白圖像

    THE WILD SWANS

    Far, far away where the swallows fly when we have winter, there lived a King who had eleven sons and one daughter, Elisa. The eleven brothers, Princes all, each went to school with a star at his breast and a sword at his side. They wrote with pencils of diamond upon golden slates, and could say their lesson by heart just as easily as they could read it from the book. You could tell at a glance how princely they were. Their sister, Elisa, sat on a little footstool of flawless glass. She had a picture book that had cost half a kingdom. Oh, the children had a very fine time, but it did not last forever.

    Their father, who was King over the whole country, married a wicked Queen, who did not treat his poor children at all well. They found that out the very first day. There was feasting throughout the palace, and the children played at entertaining guests. But instead of letting them have all the cakes and baked apples that they used to get, their new step mother gave them only some sand in a teacup, and told them to make believe that it was a special treat.

    The following week the Queen sent little Elisa to live in the country with some peasants. And before long she had made the King believe so many falsehoods about the poor Princes that he took no further interest in them.

    "Fly out into the world and make your own living," the wicked Queen told them. "Fly away like big birds without a voice."

    But she did not harm the Princes as much as she meant to, for they turned into eleven magnificent white swans. With a weird cry, they flew out of the palace window, across the park into the woods.

    It was so early in the morning that their sister, Elisa, was still asleep when they flew over the peasant hut where she was staying. They hovered over the roofs, craning and twisting their long necks and flapping their wings, but nobody saw them or heard them. They were forced to fly on, high up near the clouds and far away into the wide world. They came down in a vast, dark forest that stretched down to the shores of the sea.

    Poor little Elisa stayed in the peasant hut, and played b 00 with a green leaf, for she had no other toy. She made a little hole in the leaf and looked through it at the sun. Through it she seemed to see her brothers' bright eyes, and whenever the warm sunlight touched her cheek it reminded her of all their kisses.

    One day passed like all the others. When the wind stirred the hedge roses outside the hut, it whispered to them, could be prettier than you?" But the roses shook their heads and answered, "Elisa!" And on Sunday, when the old woman sat in the doorway reading the psalms, the wind fluttered through the pages and said to the book, "Who could be more saintly than you?""Elisa," the book testified. What it and the roses said was perfectly true.

    Elisa was to go back home when she became fifteen but, as soon as the Queen saw what a beautiful Princess she was, the Queen felt spiteful and full of hatred toward her. She would not have hesitated to turn her into a wild swan, like her brothers, but she did not dare to do it just yet, because the King wanted to see his daughter.

    In the early morning, the Queen went to the bathing place, which was made of white marble, furnished with soft cushions and carpeted with the most splendid rugs. She took three toads, kissed them, and said to the first:

    "Squat on Elisa's head, when she bathes, so that she will become as torpid as you are." To the second she said, "Squat on her forehead, so that she will become as ugly as you are, and her father won't recognize her." And to the third, she whispered, "Lie against her heart, so that she will be cursed and tormented by evil desires.

    Thereupon the Queen dropped the three toads into the clear water, which at once turned a greenish color. She called Elisa, made her undress, and told her to enter the bath. When Elisa went down into the water, one toad fastened himself to her hair, another to her forehead, and the third against her heart. But she did not seem to be aware of them, and when she stood up three red poppies floated on the water. If the toads had not been poisonous, and had not been kissed by the witch, they would have been turned into red roses. But at least they had been turned into flowers, by the mere touch of her head and heart. She was too innocent and good for witchcraft to have power over her.

    When the evil Queen realized this, she rubbed Elisa with walnut stain that turned her dark brown, smeared her beautiful face with a vile ointment, and tousled her lovely hair. No one could have recognized the beautiful Elisa, and when her father saw her he was shocked. He said that this could not be his daughter. No one knew her except the watchdog and the swallows, and they were humble creatures who had nothing to say.

    Poor Elisa cried and thought of her eleven brothers, who were all away. Heavy-hearted, she stole away from the palace and wandered all day long over fields and marshes, till she came to the vast forest. She had no idea where to turn. All she felt was her sorrow and her longing to be with her brothers. Like herseIf, they must have been driven out into the world, and she set her heart upon finding them. She had been in the forest only a little while when night came on, and as she had strayed from any sign of a path she said her prayers and lay down on the soft moss, with her head pillowed against a stump. All was quiet, the air was so mild, and hundreds of fireflies glittered like a green fire in the grass and moss. When she lightly brushed against a single branch, the shining insects showered about her like falling stars.

    She dreamed of her brothers all night long. They were children again, playing together, writing with their diamond pencils on their golden slates, and looking at her wonderful picture book that had cost half a kingdom. But they no longer scribbled sums and exercises as they used to do. No, they set down their bold deeds and all that they had seen or heard. Everything in the picture book came alive. The birds sang, and the people strolled out of the book to talk with Elisa and her brothers, but whenever she turned a page they immediately jumped back into place, to keep the pictures in order.

    When she awoke, the sun was already high. She could not see it plainly, for the tall trees spread their tangled branches above her, but the rays played above like a shimmering golden gauze. There was a delightful fragrance of green foliage, and the birds came near enough to have perched on her shoulder. She heard the water splashing from many large springs, which all flowed into a pool with the most beautiful sandy bottom. Although it was hemmed in by a wall of thick bushes, there was one place where the deer had made a path wide enough for Elisa to reach the water. The pool was so clear that, if the wind had not stirred the limbs and bushes, she might have supposed they were painted on the bottom of the pool. For each leaf was clearly reflected, whether the sun shone upon it or whether it grew in the shade.

    When Elisa saw her own face she was horrified to find it so brown and ugly. But as soon as she wet her slender hand, and rubbed her brow and her eyes, her fair skin showed again. Then she laid aside her clothes and plunged into the fresh water. In all the world there was no King's daughter as lovely as Elisa. When she had dressed herself and plaited her long hair, she went to the sparkling spring and drank from the hollow of her hand. She wandered deeper into the woods without knowing whither she went. She thought of her brothers, and she thought of the good Lord, who she knew would not forsake her. He lets the wild crab apples grow to feed the hungry, and he led her footsteps to a tree with its branches bent down by the weight of their fruit. Here she had her lunch. After she put props under the heavy limbs, she went on into the depths of the forest. It was so quiet that she heard her own footsteps and every dry leaf that rustled underfoot. Not a bird was in sight, not a ray of the sun could get through the big heavy branches, and the tall trees grew so close together that when she looked straight ahead it seemed as if a solid fence of lofty palings imprisoned her. She had never known such solitude.

    The night came on, pitch black. Not one firefly glittered among the leaves as she despondently lay down to sleep. Then it seemed to her that the branches parted overhead and the Lord looked kindly down upon her, and little angels peeped out from above His head and behind Him.

    When she awoke the next morning she did not know whether she had dreamed this, or whether it had really happened.

    A few steps farther on she met an old woman who had a basket of berries and gave some of them to her. Elisa asked if she had seen eleven Princes riding through the forest.

    "No," the old woman said. "But yesterday I saw eleven swans who wore golden crowns. They were swimming in the river not far from here."

    She led Elisa a little way to the top of a hill which sloped down to a winding river. The trees on either bank stretched their long leafy branches toward each other, and where the stream was too wide for them to grow across it they had torn their roots from the earth and leaned out over the water until their branches met. Elisa told the old woman good-by, and followed the river down to where it flowed into the great open sea.

    Before the young girl lay the whole beautiful sea, but not a sail nor a single boat was in sight. How could she go on? She looked at the countless pebbles on the beach, and saw how round the water had worn them. Glass, iron ore, stones, all that had been washed up, had been shaped by the water that was so much softer than even her tender hand.

    "It rolls on tirelessly, and that is the way it makes such hard things smooth," she said. "I shall be just as untiring. Thank you for your lesson, you clear rolling waves. My heart tells me that some day you will carry me to my beloved brothers."

    Among the wet seaweed she found eleven white swan feathers, which she collected in a sheaf. There were still drops of water on them, but whether these were spray or tears no one could say. It was very lonely along the shore but she did not mind, for the sea was constantly changing. Indeed it showed more changes in a few hours than an inland lake does in a whole year. When the sky was black with threatening clouds, it was as if the sea seemed to say, 'I can look threatening too." Then the wind would blow and the waves would raise their white crests. But when the wind died down and the clouds were red, the sea would look like a rose petal.

    Sometimes it showed white, and sometimes green, but however calm it might seem there was always a gentle lapping along the shore, where the waters rose and fell like the chest of a child asleep.

    Just at sunset, Elisa saw eleven white swans, with golden crowns on their heads, fly toward the shore. As they flew, one behind another, they looked like a white ribbon floating in the air. Elisa climbed up and hid behind a bush on the steep bank. The swans came down near her and flapped their magnificent white wings.

    As soon as the sun went down beyond the sea, the swans threw off their feathers and there stood eleven handsome Princes. They were her brothers, and, although they were greatly altered, she knew in her heart that she could not be mistaken. She cried aloud, and rushed into their arms, calling them each by name. The Princes were so happy to see their little sister. And they knew her at once, for all that she had grown tall and lovely. They laughed, and they cried, and they soon realized how cruelly their stepmother had treated them all.

    "We brothers," said the eldest, "are forced to fly about disguised as wild swans as long as the sun is in the heavens, but when it goes down we take back our human form. So at sunset we must always look about us for some firm foothold, because if ever we were flying among the clouds at sunset we would be dashed down to the earth.

    "We do not live on this coast. Beyond the sea there is another land as fair as this, but it lies far away and we must cross the vast ocean to reach it. Along our course there is not one island where we can pass the night, except one little rock that rises from the middle of the sea. It is barely big enough to hold us, however close together we stand, and if there is a rough sea the waves wash over us. But still we thank God for it.

    "In our human forms we rest there during the night, and without it we could never come back to our own dear homeland. It takes two of the longest days of the year for our journey. We are allowed to come back to our native land only once a year, and we do not dare to stay longer than eleven days. As we fly over this forest we can see the palace where our father lives and where we were born. We can see the high tower of the church where our mother lies buried. And here we feel that even the trees and bushes are akin to us. Here the wild horses gallop across the moors as we saw them in our childhood, and the charcoal-burner sings the same old songs to which we used to dance when we were children. Tbis is our homeland. It draws us to it, and here, dear sister, we have found you again. We may stay two days longer, and then we must fly across the sea to a land which is fair enough, but not our own. How shall we take you with us? For we have neither ship nor boat."

    "How shall I set you free?" their sister asked, and they talked on for most of the night, sparing only a few hours for sleep.

    In the morning Elisa was awakened by the rustling of swans' wings overhead. Her brothers, once more enchanted, wheeled above her in great circles until they were out of sight. One of them, her youngest brother, stayed with her and rested his head on her breast while she stroked his wings. They spent the whole day together, and toward evening the others returned. As soon as the sun went down they resumed their own shape.

    "Tomorrow," said one of her brothers, we must fly away, and we dare not return until a whole year has passed. But we cannot leave you like this. Have you courage enough to come with us? My arm is strong enough to carry you through the forest, so surely the wings of us all should be strong enough to bear you across the sea.""Yes, take me with you," said Elisa.

    They spent the entire night making a net of pliant willow bark and tough rushes. They made it large and strong. Elisa lay down upon it and, when the sun rose and her brothers again became wild swans, they lifted the net in their bills and flew high up toward the clouds with their beloved sister, who still was fast asleep. As the sun shone straight into her face, one of the swans flew over her head so as to shade her with his wide wings.

    They were far from the shore when she awoke. Elisa thought she must still be dreaming, so strange did it seem to be carried through the air, high over the sea. Beside her lay a branch full of beautiful ripe berries, and a bundle of sweet-tasting roots. Her youngest brother had gathered them and put them there for her. She gave him a grateful smile. She knew he must be the one who flew over her head to protect her eyes from the sun.

    They were so high that the first ship they sighted looked like a gull floating on the water. A cloud rolled up behind them, as big as a mountain. Upon it Elisa saw gigantic shadows of herself and of the eleven swans. It was the most splendid picture she had ever seen, but as the sun rose higher the clouds grew small, and the shadow picture of their flight disappeared.

    All day they flew like arrows whipping through the air, yet, because they had their sister to carry, they flew more slowly than on their former journeys. Night was drawing near, and a storm was rising. In terror, Elisa watched the sinking sun, for the lonely rock was nowhere in sight. It seemed to her that the swans beat their wings in the air more desperately. Alas it was because of her that they could not fly fast enough. So soon as the sun went down they would turn into men, and all of them would pitch down into the sea and drown. She prayed to God from the depths of her heart, but still no rock could be seen. Black clouds gathered and great gusts told of the storm to come. The threatening clouds came on as one tremendous wave that rolled down toward them like a mass of lead, and flash upon flash of lightning followed them. Then the sun touched the rim of the sea. Elisa's heart beat madly as the swans shot down so fast that she thought they were falling, but they checked their downward swoop. Half of the sun was below the sea when she first saw the little rock below them. It looked no larger than the head of a seal jutting out of the water. The sun sank very fast. Now it was no bigger than a star, but her foot touched solid ground. Then the sun went out like the last spark on a piece of burning paper. She saw her brothers stand about her, arm in arm, and there was only just room enough for all of them. The waves beat upon the rock and washed over them in a shower of spray. The heavens were lit by constant flashes, and bolt upon bolt of thunder crashed. But the sister and brothers clasped each other's hands and sang a psalm, which comforted them and gave them courage.

    At dawn the air was clear and still. As soon as the sun came up, the swans flew off with Elisa and they left the rock behind. The waves still tossed, and from the height where they soared it looked as if the white flecks of foam against the dark green waves were millions of white swans swimming upon the waters.

    When the sun rose higher, Elisa saw before her a mountainous land, half floating in the air. Its peaks were capped with sparkling ice, and in the middle rose a castle that was a mile long, with one bold colonnade perched upon another. Down below, palm trees swayed and brilliant flowers bloomed as big as mill wheels. She asked if this was the land for which they were bound, but the swans shook their heads. What she saw was the gorgeous and ever changing palace of Fata Morgana. No mortal being could venture to enter it. As Elisa stared at it, before her eyes the mountains, palms, and palace faded away, and in their place rose twenty splendid churches, all alike, with lofty towers and pointed windows. She thought she heard the organ peal, but it was the roll of the ocean she heard. When she came close to the churches they turned into a fleet of ships sailing beneath her, but when she looked down it was only a sea mist drifting over the water.

    Scene after scene shifted before her eyes until she saw at last the real country whither they went. Mountains rose before her beautifully blue, wooded with cedars, and studded with cities and palaces. Long before sunset she was sitting on a mountainside, in front of a large cave carpeted over with green creepers so delicate that they looked like embroidery.

    "We shall see what you'll dream of here tonight," her youngest brother said, as he showed her where she was to sleep.

    "I only wish I could dream how to set you free," she said.

    This thought so completely absorbed her, and she prayed so earnestly for the Lord to help her that even in her sleep she kept on praying. It seemed to her that she was flying aloft to the Fata Morgana palace of clouds. The fairy who came out to meet her was fair and shining, yet she closely resembled the old woman who gave her the berries in the forest and told her of the swans who wore golden crowns on their heads.

    "Your brothers can be set free," she said, "but have you the courage and tenacity to do it? The sea water that changes the shape of rough stones is indeed softer than your delicate hands, but it cannot feel the pain that your fingers will feel. It has no heart, so it cannot suffer the anguish and heartache that you will have to endure. Do you see this stinging nettle in my hand? Many such nettles grow around the cave where you sleep. Only those and the ones that grow upon graves in the churchyards may be used - remember that! Those you must gather, although they will burn your hands to blisters. Crush the nettles with your feet and you will have flax, which you must spin and weave into eleven shirts of mail with long sleeves. Once you throw these over the eleven wild swans, the spell over them is broken. But keep this well in mind! From the moment you undertake this task until it is done, even though it lasts for years, you must not speak. The first word you say will strike your brothers' hearts like a deadly knife. Their lives are at the mercy of your tongue. Now, remember what I told you!"

    She touched Elisa's hand with nettles that burned like fire and awakened her. It was broad daylight, and close at hand where she had been sleeping grew a nettle like those of which she had dreamed. She thanked God upon her knees, and left the cave to begin her task.

    With her soft hands she took hold of the dreadful nettles that seared like fire. Great blisters rose on her hands and arms, but she endured it gladly in the hope that she could free her beloved brothers. She crushed each nettle with her bare feet, and spun the green flax.

    When her brothers returned at sunset, it alarmed them that she did not speak. They feared this was some new spell cast by their wicked stepmother, but when they saw her hands they understood that she laboured to save them. The youngest one wept, and wherever his tears touched Elisa she felt no more pain, and the burning blisters healed.

    She toiled throughout the night, for she could not rest until she had delivered her beloved brothers from the enchantment. Throughout the next day, while the swans were gone she sat all alone, but never had the time sped so quickly. One shirt was made, and she set to work on the second one.

    Then she heard the blast of a hunting horn on the mountainside. It frightened her, for the sound came nearer until she could hear the hounds bark. Terror-stricken, she ran into the cave, bundled together the nettles she had gathered and woven, and sat down on this bundle.

    Immediately a big dog came bounding from the thicket, followed by another, and still another, all barking loudly as they ran to and fro. In a very few minutes all the huntsmen stood in front of the cave. The most handsome of these was the King of the land, and he came up to Elisa. Never before had he seen a girl so beautiful. "My lovely child," he said, "how do you come to be here?"

    Elisa shook her head, for she did not dare to speak. Her brothers' deliverance and their very lives depended upon it, and she hid her hands under her apron to keep the King from seeing how much she suffered.

    "Come with me," he told her. "You cannot stay here. If you are as good as you are fair I shall clothe you in silk and velvet, set a golden crown upon your head, and give you my finest palace to live in." Then he lifted her up on his horse. When she wept and wrung her hands, the King told her, "My only wish is to make you happy. Some day you will thank me for doing this." Off through the mountains he spurred, holding her before him on his horse as his huntsmen galloped behind them.

    At sundown, his splendid city with all its towers and domes lay before them. The King led her into his palace, where great fountains played in the high marble halls, and where both walls and ceilings were adorned with paintings. But she took no notice of any of these things. She could only weep and grieve. Indifferently, she let the women dress her in royal garments, weave strings of pearls in her hair, and draw soft gloves over her blistered fingers.

    She was so dazzlingly beautiful in all this splendor that the whole court bowed even deeper than before. And the King chose her for his bride, although the archbishop shook his head and whispered that this lovely maid of the woods must be a witch, who had blinded their eyes and stolen the King's heart.

    But the King would not listen to him. He commanded that music be played, the costliest dishes be served, and the prettiest girls dance for her. She was shown through sweet-scented gardens, and into magnificent halls, but nothing could make her lips smile or her eyes sparkle. Sorrow had set its seal upon them. At length the King opened the door to a little chamber adjoining her bedroom. It was covered with splendid green embroideries, and looked just like the cave in which he had found her. On the floor lay the bundle of flax she had spun from the nettles, and from the ceiling hung the shirt she had already finished. One of the huntsmen had brought these with him as curiosities.

    "Here you may dream that you are back in your old home," the King told her. Here is the work that you were doing there, and surrounded by all your splendor here it may amuse you to think of those times."

    When Elisa saw these things that were so precious to her, a smile trembled on her lips, and the blood rushed back to her cheeks. The hope that she could free her brothers returned to her, and she kissed the King's hand. He pressed her to his heart and commanded that all the church bells peal to announce their wedding. The beautiful mute girl from the forest was to be the country's Queen.

    The archbishop whispered evil words in the King's ear, but they did not reach his heart. The wedding was to take place. The archbishop himself had to place the crown on her head. Out of spite, he forced the tight circlet so low on her forehead that it hurt her. But a heavier band encircled her heart, and; the sorrow she felt for her brothers kept her from feeling any hurt of the flesh. Her lips were mute, for one single word would mean death to her brothers, but her eyes shone with love for the kind and handsome King who did his best to please her. Every day she grew fonder and fonder of him in her heart. Oh, if only she could confide in him, and tell him what grieved her. But mute she must remain, and finish her task in silence. So at night she would steal away from his side into her little chamber which resembled the cave, and there she wove one shirt after another, but when she set to work on the seventh there was not enough flax left to finish it.

    She knew that the nettles she must use grew in the churchyard, but she had to gather them herself. How could she go there?

    "Oh, what is the pain in my fingers compared with the anguish I feel in my heart!" she thought. "I must take the risk, and the good Lord will not desert me."

    As terrified as if she were doing some evil thing, she tiptoed down into the moonlit garden, through the long alleys and down the deserted streets to the churchyard. There she saw a group of vampires sitting in a circle on one of the large gravestones. These hideous ghouls took off their ragged clothes as they were about to bathe. With skinny fingers they clawed open the new graves. Greedily they snatched out the bodies and ate the flesh from them. Elisa had to pass close to them, and they fixed their vile eyes upon her, but she said a prayer, picked the stinging nettles, and carried them back to the palace.

    Only one man saw her-the archbishop. He was awake while others slept. Now he had proof of what he had suspected. There was something wrong with the Queen. She was a witch, and that was how she had duped the King and all his people.

    In the confessional, he told the King what he had seen and what he feared. As the bitter words spewed from his mouth, the images of the saints shook their heads, as much as to say, He lies. Elisa is innocent." The archbishop, however, had a different explanation for this. He said they were testifying against her, and shaking their heads at her wickedness.

    Two big tears rolled down the King's cheeks as he went home with suspicion in his heart. That night he pretended to be asleep, but no restful sleep touched his eyes. He watched Elisa get out of bed. Every night he watched her get up and each time he followed her quietly and saw her disappear into her private little room. Day after day his frown deepened. Elisa saw it, and could not understand why this should be, but it made her anxious and added to the grief her heart already felt for her brothers. Her hot tears fell down upon her queenly robes of purple velvet. There they flashed like diamonds, and all who saw this splendor wished that they were Queen.

    Meanwhile she had almost completed her task. Only one shirt was lacking, but again she ran out of flax. Not a single nettle was left. Once more, for the last time, she must go to the churchyard and pluck a few more handfuls. She thought with fear of the lonely walk and the ghastly vampires, but her will was as strong as her faith in God.

    She went upon her mission, but the King and his archbishop followed her. They saw her disappear through the iron gates of the churchyard, and when they came in after her they saw vampires sitting on a gravestone, just as Elisa had seen them.

    The King turned away, for he thought Elisa was among them -Elisa whose head had rested against his heart that very evening.

    "Let the people judge her," he said. And the people did judge her. They condemned her to die by fire.

    She was led from her splendid royal halls to a dungeon, dark and damp, where the wind whistled in between the window bars. Instead of silks and velvets they gave her for a pillow the bundle of nettles she had gathered, and for her coverlet the harsh, burning shirts of mail she had woven. But they could have given her nothing that pleased her more.

    She set to work again, and prayed. Outside, the boys in the street sang jeering songs about her, and not one soul came to comfort her with a kind word.

    But toward evening she heard the rustle of a swan's wings close to her window. It was her youngest brother who had found her at last. She sobbed for joy. Though she knew that this night was all too apt to be her last, the task was almost done and her brothers were near her.

    The archbishop came to stay with her during her last hours on earth, for this much he had promised the King. But she shook her head, and by her expression and gestures begged him to leave. This was the last night she had to finish her task, or it would all go for naught-all her pain, and her tears, and her sleepless nights. The archbishop went away, saying cruel things against her. But poor Elisa knew her own innocence, and she kept on with her task.

    The little mice ran about the floor, and brought nettles to her feet, trying to help her all they could. And a thrush perched near the bars of her window to sing the whole night through, as merrily as he could, so that she would keep up her courage.

    It was still in the early dawn, an hour before sunrise, when the eleven brothers reached the palace gates and demanded to see the King. This, they were told, was impossible. It was still night. The King was asleep and could not be disturbed. They begged and threatened so loudly that the guard turned out, and even the King came running to find what the trouble was. But at that instant the sun rose, and the eleven brothers vanished. Eleven swans were seen flying over the palace.

    All the townsmen went flocking out through the town gates, for they wanted to see the witch burned. A decrepit old horse pulled the cart in which Elisa sat. They had dressed her in coarse sackcloth, and all her lovely long hair hung loose around her beautiful head. Her cheeks were deathly pale, and her lips moved in silent prayer as her fingers twisted the green flax. Even on her way to death she did not stop her still un-finished work. Ten shirts lay at her feet and she worked away on the eleventh. "See how the witch mumbles," the mob scoffed at her. "That's no psalm book in her hands. No, there she sits, nursing her filthy sorcery. Snatch it away from her, and tear it to bits!"

    The crowd of people closed in to destroy all her work, but before they could reach her, eleven white swans flew down and made a ring around the cart with their flapping wings. The mob drew back in terror.

    "It is a sign from Heaven. She must be innocent," many people whispered. But no one dared say it aloud.

    As the executioner seized her arm, she made haste to throw the eleven shirts over the swans, who instantly became eleven handsome Princes. But the youngest brother still had a swan's wing in place of one arm, where a sleeve was missing from his shirt. Elisa had not quite been able to finish it.

    "Now," she cried, "I may speak! I am innocent."

    All the people who saw what had happened bowed down to her as they would before a saint. But the strain, the anguish, and the suffering had been too much for her to bear, and she fell into her brothers' arms as if all life had gone out of her.

    "She is innocent indeed!" said her eldest brother, and he told them all that had happened. And while he spoke, the scent of a million roses filled the air, for every piece of wood that they had piled up to burn her had taken root and grown branches. There stood a great high hedge, covered with red and fragrant roses. At the very top a single pure white flower shone like a star. The King plucked it and put it on Elisa's breast. And she awoke, with peace and happiness in her heart.

    All the church bells began to ring of their own accord, and the air was filled with birds. Back to the palace went a bridal procession such as no King had ever enjoyed before.

    Homage to Gogol. 果戈里全集 (九卷本 1999) Nikolai Gogol. Lectures on Russian Literature - Vladimir Nabokov

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    Nikolai Gogol (1809-1852) was a novelist and political satirist. The author of Dead Souls and The Overcoat, he was one of Russia's greatest writers.



    Tales of good and evil

    GOGOL, Nicolai V.

    Published by John Lehmann, London, 1949

    The Overcoat: And Other Tales of Good and Evil. byNikolai Gogol


    2017年5月3日在美國評論
    This short story, the Nose, by Nikolai Gogol was an interesting absurdist, satirical genre, representing the arrogance in the Russian upper class during the 19th century. In the introduction in Tales of Good and Evil, a compilation of short stories written by Gogol, the author mentions the themes of snobbery and pride. I thought that this would be a good pick because these themes can be applied to life through all time periods. The structure of the short story is broken down into three parts.
    The first part of the story begins with Ivan Yakovlevich, a barber, finding a nose in his morning bread. He tries to get rid of it by throwing it into a river, but he comes in contact with an officer that does not allow him to throw the nose in. Part two begins with Major Kovalyov waking up without his nose and becomes very insecure without it. He finds his nose impersonating a high status official and chases it to try and get it back but gets distracted by a beautiful young girl. Eventually Ivan returns the nose to Kovalyov but he cannot get it re-attached to his face. The next day, part three, Kovalyov wakes up with his nose miraculously re-attached and goes about his day like nothing happened.

    Gogol’s purpose in his narrative appears to have underlying Marxist thoughts even though he wrote before Marx was really published. Both Gogol and Karl Marx pay special attention to class struggle and the role of materialism. We see this in the very beginning of the novel, where the author sets the stage of how the upper class belittles the poor in society. When Ivan Yakovlevich, a barber, reports having found a nose in his bread in the morning, his wife yells at him saying, “Three gentlemen have told me already that when you are shaving them you pull so violently at their noses that it is a wonder they still remain on their faces!”(204). I feel what his wife was saying implies that even when the rich spend time around the poor, it slowly tugs down at their high status and arrogance, displaying the stark class differences. I also found that at the point where Kovalyov, a man from the Russian upper class, runs into the Kazan Cathedral to find his nose, the author describes him forcing himself past beggars that are injured and unfortunate. Kovalyov’s indifference to these beggars are definitely a representation of how the rich often turn their heads and ignore those that are suffering, which is contradicting in a nation’s culture that is embedded with Orthodox Christianity. This coincides directly with materialism, which Karl Marx uses to analyze class stratification, because Gogol implies that for Kovalyov, his comfort in materials is of higher value than spirituality. Also, in the original, the Cathedral was originally censored to a “shopping arcade”, implying the image protection for the upper class in publications that this short story was published.
    Gogol’s short story also gives a lot of insight about the portrayal of masculinity in 19th Russia. There is a point in the story where Kovalyov finds a woman near him in a Cathedral, but is embarrassed because he is seen without his nose. This raises a lot of questions such as, was boasting and arrogance seen as attractive in men? Was social status the largest factor when picking a partner? Was it acceptable for women to act the same way? What caught my attention especially is the fact that when Gogol refers to any male characters in the story, he mentions their status or occupation as their identity. The identity of the women in the story mostly correlates with their appearance, which suggests that women were mostly valued for their looks. By writing this short story, Gogol creates a window for readers to look through and see Russia in the past.
    His very last paragraph gave me the sense that Gogol was trying to cover up his agenda of displaying the exhausting superficiality and arrogance of the Russian upper class. It is very amusing to read, especially lines like, “Firstly, it’s no use to the country whatsoever; secondly, it’s no use… I simply don’t know what one can make of it…however when all is said and done, one can concede this point or the other and perhaps you can even find… well then you won’t find much that isn’t on the absurd side, will you?” Gogol sounds like he’s testing his luck with authority, but is also playing with it.
    Gogol’s personal views, such as belief in an overwhelming presence of superficiality among the rich, are very apparent in this short story, which I really enjoy reading. He loves representing the absurdity of the superficial culture in upper class Russia. I feel that he also reveals the most prominent, universal underlying fear in the upper class, which is the fear of losing social position and having too much control in the hands of the poor, as well as a fear of revolution. We see this when the barber, a lower class man, finds the nose of Kolaylov in his bread, where Kolaylov desperately tries to get it back. Here the nose is the symbol for arrogance. I really love this idea and I thought it was interesting in the way Nikolai Gogol portrayed it through absurdist literature. These ideas are also portrayed in other art forms throughout Europe during the mid 19th century, like French impressionism. Honoré Daumier, Jean-Francois Millet and Gustav Courbet displayed similar themes in their paintings that mirror this short story throughout the mid-eighteen hundreds. The author also portrays similar morbid themes in other short stories he has written.
    I see a connection between The Nose and Overcoat, two short stories written by Gogol, about how cruel and indifferent that people are to each other. In the Overcoat, many people repeatedly tease the main character Akaky for the way he dresses. In The Nose Gogol writes about how Kolaylov is so obsessed with regaining his status (through finding his nose), that he pushes through suffering and injured women outside of a Cathedral to find it. Both of these instances reveal the cruelty that occurs within society.
    Overall there are many themes that are displayed in The Nose, and I really enjoyed how they were all represented and symbolized.



    Illustrations By Marc Chagall for Nikolai Gogol's "Dead Souls" - Gift Set of 96 Etching's Reproductions (in Russian and English Languages) Hardcover – Deluxe Edition, 1 1 月 2009


    Homage to Gogol. Design for curtain for Gogol festival., 1917


    2017/12/05 - The author's observations on the great nineteenth-century Russian writers—Chekhov, Dostoevsky, Gogol, Gorky, Tolstoy, and Turgenev. “This volume... never once fails to instruct and stimulate. This is a great Russian talking ...



    果戈里全集有,河北教育出版社的七卷本,
    安徽文艺出版社(九卷本 1999)



  •  周啟超先生主編的漢譯九卷本《果戈理全集》以其高質量的譯文和精美的裝幀設計,成為一套極具珍藏價值的外 國文學家作品集。《全集》的前五卷為文學作品。其中第1—4卷為散文(小說)卷,第5卷為戲劇卷,均按作品的寫作年代編排,清晰地顯示出果戈理創作的發展 軌跡和他作為小說家的文學成就。從某種意義上說,后四卷更為珍貴。如第6卷《與友人書簡選》,本是了解果戈理的思想與創作、甚至是認識俄羅斯思想史的不可 或缺的重要資料。過去由于種種原因,人們并不了解它豐富的實際內容。現在,它以完整的面貌出現在我國讀者面前,無疑有助于人們全面認識果戈理。參與翻譯這 套《果戈理全集》的譯者,彭克巽、白春仁、白嗣宏、田大畏、李毓榛、任光宣等人的名字大都是我國讀者所熟悉的。強大的譯者陣容是譯文質量的基本保證。除了 為國內廣大讀者提供了完備的果戈理作品之外,《果戈理全集》的學術價值還體現在它的序文、題解和“附卷”的內容上。其中,“總序一”由著名學者錢中文先生 執筆。錢先生的治學領域寬廣,果戈理研究也是其中的一塊收獲頗豐的園地。錢先生為《全集》撰寫的長篇序言,是對果戈理的生平、思想發展、創作道路、藝術成 就以及作家在文學史上的地位所作的生動描述。文中就《與友人書簡選》而展開的對果戈理的宗教、哲學、道德、文學思想的分析,對作家獨特的“怪誕現實主義” 風格的概括,都極有見地,顯然是深入研究的結果。同樣顯示出對果戈理作品進行了深入研究的,是編者為各篇作品所寫的“題解”(包括《文論卷》、《書信卷》 的“總題解”)。這不是一般的浮泛之論,而是在細讀原著的基礎上所作出的精當概括,它們不僅為普通讀者解讀一篇篇作品提供了必備的鑰匙,而且在研究者眼中 也是評價果戈理創作的、值得重視的一家之言。無庸贅言,《果戈理全集》的寶貴價值更在于果戈理作品自身的久遠藝術生命力。作家去世已近一個半世紀了,然而 他所創造的藝術形象卻還活著。至今,我們還可以在我們身邊的日常生活中看到作家以其天才的手筆描寫過的一幕幕“幾乎無事的悲劇”,還可以看到赫列斯達科 夫、乞乞科夫、羅士特萊夫們的活動身影。現實還在呼喚著果戈理式的藝術家。優秀的文學作品都具有超越具體時空的意義,果戈理的創作無疑屬于這一行列。



  • 【本書目錄】
    狄康卡近郊夜話
    總序一
    總序二
    第一卷 狄康卡近郊夜話
    第二卷 米爾戈羅德
    第三卷 彼得堡故事及其他
    第四卷 死魂靈
    第五卷 戲劇卷
    第六卷 與友人書簡選
    第七卷 文論卷
    第八卷 書信卷
    附卷 生活中的理戈理
    米爾戈羅德
    第一部
    舊式地主
    塔拉斯·布利巴
    第二部

    伊萬·伊萬諾維奇與伊萬·尼基福羅維奇吵架的故事
    彼得堡故事及其他
    死魂靈
    戲劇卷
    與友人書簡選
    文論卷
    書信卷
    附卷 生活中的果戈理




  • Nikolai Vasilievich Gogol

    Daguerreotype of Gogol taken in 1845 by Sergei Lvovich Levitsky (1819-1898)
    Born31 March 1809(1809-03-31)[1]
    Sorochyntsi, Russian Empire (now Ukraine)
    Died4 March 1852(1852-03-04) (aged 42)
    Moscow, Russian Empire (now Russian Federation)
    OccupationPlaywright, short story writer and novelist
    NationalityRussian
    EthnicityUkrainian
    Period1840-1851



    Signature
    Nikolai Vasilievich Gogol (Russian: Николай Васильевич Гоголь, Nikoláy Vasíl’yevich Gógol’; Russian pronunciation: [nʲɪkɐˈlaj vɐˈsʲilʲjɪvʲɪtɕ ˈɡoɡəlʲ]; Ukrainian: Микола Васильович Гоголь, Mykóla Vasýl’ovych Hóhol’) (31 March [O.S. 19 March] 1809,[2]– 4 March [O.S. 21 February] 1852) was a Ukrainian-born Russian novelist, humourist, and dramatist.[2]
    He is considered the father of modern Russian realism, but at the same time, his work is very much in the genre of romanticism. His early works, such as Evenings on a Farm Near Dikanka, were heavily influenced by his Ukrainian upbringing and identity.[3][4] His more mature writing satirised the corrupt bureaucracy of the Russian Empire, leading to his exile. On his return, he immersed himself in the Orthodox Church.[5] The novels Taras Bul'ba (1835; 1842 [revised edition]) and Dead Souls (1842), the play The Inspector-General (1836, 1842), and the short stories Diary of a Madman, The Nose and The Overcoat (1842) are among his best known works. With their scrupulous and scathing realism, ethical criticism as well as philosophical depth, they remain some of the most important works of world literature.
    Contents[hide]

    Provenance and early life

    Gogol was born[6] in the Ukrainian Cossack village of Sorochyntsi, in Poltava Governorate of the Russian Empire, present-day Ukraine. His mother was a descendant of Polishnobility. His father Vasily Gogol-Yanovsky, a descendant of Ukrainian Cossacks, belonged to the petty gentry, wrote poetry in Russian and Ukrainian, and was an amateur Ukrainian-language playwright who died when Gogol was 15 years old. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Russian as well as Ukrainian. As a child, Gogol helped stage Ukrainian-language plays in his uncle's home theater.[7]
    In 1820 Gogol went to a school of higher art in Nizhyn and remained there until 1828. It was there that he began writing. He was not very popular among his schoolmates, who called him their "mysterious dwarf", but with two or three of them he formed lasting friendships. Very early he developed a dark and secretive disposition, marked by a painful self-consciousness and boundless ambition. Equally early he developed an extraordinary talent for mimicry which later on made him a matchless reader of his own works and induced him to toy with the idea of becoming an actor.
    In 1828, on leaving school, Gogol came to Petersburg, full of vague but glowingly ambitious hopes. He had hoped for literary fame and brought with him a Romantic poem of German idyllic life — Ganz Küchelgarten. He had it published, at his own expense, under the name of "V. Alov." The magazines he sent it to almost universally derided it. He bought all the copies and destroyed them, swearing never to write poetry again.
    Gogol was one of the first masters of the short story, alongside Alexander Pushkin, Prosper Mérimée, E. T. A. Hoffmann, and Nathaniel Hawthorne. He was in touch with the "literary aristocracy", had a story published in Anton Delvig's Northern Flowers, was taken up by Vasily Zhukovsky and Pyotr Pletnyov, and (in 1831) was introduced to Pushkin.

    Literary development


    Cover of the first edition of The Government Inspector (1836).
    In 1831, he brought out the first volume of his Ukrainian stories (Evenings on a Farm Near Dikanka), which met with immediate success. He followed it in 1832 with a second volume, and in 1835 by two volumes of stories entitled Mirgorod, as well as by two volumes of miscellaneous prose entitled Arabesques. At this time, contemporary Russian editors and critics such as Nikolai Polevoy and Nikolai Nadezhdin saw in Gogol the emergence of a Ukrainian, rather than Russian, writer, using his works to illustrate the differences between Russian and Ukrainian national characters, a fact that has been overlooked in later Russian literary history.[8] At this time, Gogol developed a passion for Ukrainian history and tried to obtain an appointment to the history department at Kiev University. Despite the support of Pushkin and Sergey Uvarov, the Russian minister of education, his appointment was blocked by a Kievan bureaucrat on the grounds that he was unqualified.[9] His fictional story Taras Bulba, based on the history of Ukrainian cossacks, was the result of this phase in his interests. During this time he also developed a close and life-long friendship with another Ukrainian then living in Russia, the historian and naturalist Mykhaylo Maksymovych.[10]
    In 1834 Gogol was made Professor of Medieval History at the University of St. Petersburg, a job for which "he had no qualifications. He turned in a performance ludicrous enough to warrant satiric treatment in one of his own stories. After an introductory lecture made up of brilliant generalizations which the 'historian' had prudently prepared and memorized, he gave up all pretense at erudition and teaching, missed two lectures out of three, and when he did appear, muttered unintelligibly through his teeth. At the final examination, he sat in utter silence with a black handkerchief wrapped around his head, simulating a toothache, while another professor interrogated the students."[11] This academic venture proved a failure and he resigned his chair in 1835.

    Commemorative plaque in his house in Rome
    Between 1832 and 1836 Gogol worked with great energy, and though almost all his work has in one way or another its sources in these four years of contact with Pushkin, he had not yet decided that his ambitions were to be fulfilled by success in literature. During this time, the Russian critics Stepan Shevyrev and Vissarion Belinsky, contradicting earlier critics, reclassified Gogol from a Ukrainian to a Russian writer.[8] It was only after the presentation, on April 19, 1836, of his comedy The Government Inspector (Revizor) that he finally came to believe in his literary vocation. The comedy, a violent satire of Russian provincial bureaucracy, was able to be staged thanks only to the personal intervention of Nicholas I.
    From 1836 to 1848 he lived abroad, travelling throughout Germany and Switzerland. Gogol spent the winter of 1836-1837 in Paris, where he spent time among Russian expatriates and Polish exiles, frequently meeting with the Polish poets Adam Mickiewicz and Bohdan Zaleski. He eventually settled in Rome. According to Simon Karlinsky (a professor emeritus of Slavic languages and literature at UC Berkeley[12]) Gogol fell in love there with the nobleman Iosif Vielhorsky and started a romantic relationship with him; this is the only documented love affair in his life.[13]
    Pushkin's death produced a strong impression on Gogol. His principal work during years following Pushkin's death was the satirical epic Dead Souls. Concurrently, he worked at other tasks — recast Taras Bulba and The Portrait, completed his second comedy, Marriage (Zhenitba), wrote the fragment Rome and his most famous short story, The Overcoat.
    In 1841 the first part of Dead Souls was ready, and Gogol took it to Russia to supervise its printing. It appeared in Moscow in 1842, under the title, imposed by the censorship, of The Adventures of Chichikov. The book instantly established his reputation as the greatest prose writer in the language.

    Creative decline and death


    Church of Simeon Stylites on New Arbat in Moscow, in which the great writer was mourned before his burial.

    "Golgotha"
    After the triumph of Dead Souls, Gogol came to be regarded by his contemporaries as a great satirist who lampooned the unseemly sides of Imperial Russia. Little did they know that Dead Souls was but the first part of a modern-day counterpart to The Divine Comedy. The first part represented the Inferno; the second part was to depict the gradual purification and transformation of the rogue Chichikov under the influence of virtuous publicans and governors — Purgatory.[14]

    Gogol, painted in 1840.
    From Palestine he returned to Russia and passed his last years in restless movement throughout the country. While visiting the capitals, he stayed with various friends such as Mikhail Pogodin and Sergei Aksakov. During this period of his life he also spent much time with his old Ukrainian friends, Maksymovych and Osyp Bodiansky. More importantly, he intensified his relationship with a church elder, Matvey Konstantinovsky, whom he had known for several years. Konstantinovsky seems to have strengthened in Gogol the fear of perdition by insisting on the sinfulness of all his imaginative work. His health was undermined by exaggerated ascetic practices and he fell into a state of deep depression. On the night of February 24, 1852, he burned some of his manuscripts, which contained most of the second part of Dead Souls. He explained this as a mistake, a practical joke played on him by the Devil. Soon thereafter he took to bed, refused all food, and died in great pain nine days later.
    Gogol was buried at the Danilov Monastery, close to his fellow SlavophileAleksey Khomyakov. In 1931, Moscow authorities decided to demolish the monastery and had his remains transferred to the Novodevichy Cemetery.

    Gogol's grave at the Novodevichy Convent
    His body was discovered lying face down, which gave rise to the story that Gogol had been buried alive. A Soviet critic even cut a part of his jacket to use as a binding for his copy of Dead Souls. A piece of rock which used to stand on his grave at the Danilov was reused for the tomb of Gogol's admirer Mikhail Bulgakov.
    The first Gogol monument in Moscow was a Symbolist statue on Arbat Square, which represented the sculptor Nikolay Andreyev's idea of Gogol, rather than the real man [15] Unveiled in 1909, the statue was praised by Ilya Repin and Leo Tolstoy as an outstanding projection of Gogol's tortured personality. Stalin did not like it, however; and the statue was replaced by a more orthodox Socialist Realism monument in 1952. It took enormous efforts to save Andreyev's original work from destruction; it now stands in front of the house where Gogol died.[16]

    Style


    Among the illustrators of Dead Souls were Pyotr Sokolov and Marc Chagall.
    D.S. Mirsky characterized Gogol's universe as "one of the most marvellous, unexpected — in the strictest sense, original[17]— worlds ever created by an artist of words".[18]
    The other main characteristic of Gogol's writing is his impressionist vision of reality and people. He saw the outer world romantically metamorphosed, a singular gift particularly evident from the fantastic spatial transformations in his Gothic stories, A Terrible Vengeance and A Bewitched Place. His pictures of nature are strange mounds of detail heaped on detail, resulting in an unconnected chaos of things. His people are caricatures, drawn with the method of the caricaturist — which is to exaggerate salient features and to reduce them to geometrical pattern. But these cartoons have a convincingness, a truthfulness, and inevitability — attained as a rule by slight but definitive strokes of unexpected reality — that seems to beggar the visible world itself.[19]
    The aspect under which the mature Gogol sees reality is expressed by the untranslatable Russian word poshlost', which is perhaps best rendered as "self-satisfied inferiority", moral and spiritual, widespread in some group or society, from rus. "poshlo"- eng. "went." Like Sterne before him, Gogol was a great destroyer of prohibitions and romantic illusions. It was he who undermined Russian Romanticism by making vulgarity reign where only the sublime and the beautiful had reigned.[20]"Characteristic of Gogol is a sense of boundless superfluity that is soon revealed as utter emptiness and a rich comedy that suddenly turns into metaphysical horror."[21] His stories often interweave pathos and mockery, while The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich begins as a merry farce and ends with the famous dictum: It is dull in this world, gentlemen!

    Politics

    Gogol was stunned when The Inspector-General came to be interpreted by many, despite Nicholas I's warm reception, as an indictment of Russian social institutions. Gogol himself was a political and religious conservative in the vein of Dostoyevsky.

    Influence and interpretations


    Statue of Gogol at the Villa Borghese, Rome.

    Bust of Nikolai Gogol in St. Petersburg.
    Even before the publication of Dead Souls, Belinsky recognized Gogol as the first realist writer in the language and the head of the Natural School, to which he also assigned such younger or lesser authors as Goncharov, Turgenev, Dmitry Grigorovich, Vladimir Dahl, and Vladimir Sollogub. Gogol himself seemed to be skeptical about the existence of such a literary movement. Although he recognized "several young writers" who "have shown a particular desire to observe real life", he upbraided the deficient composition and style of their works.[22] Nevertheless, subsequent generations of radical critics celebrated Gogol (the author in whose world a nose roams the streets of the Russian capital) as a great realist, a reputation decried by the Encyclopaedia Britannica as "the triumph of Gogolesque irony."[23]
    The period of modernism saw a revival of interest in and a change of attitude towards Gogol's work. One of the pioneering works of Russian formalism was Eichenbaum's reappraisal of The Overcoat. In the 1920s, a group of Russian short story writers, known as the Serapion Brothers, placed Gogol among their precursors and consciously sought to imitate his techniques. The leading novelists of the period — notably Yevgeny Zamyatin and Mikhail Bulgakov— also admired Gogol and followed in his footsteps. In 1926, Vsevolod Meyerhold staged The Government Inspector as a "comedy of the absurd situation", revealing to his fascinated spectators a corrupt world of endless self-deception. In 1934, Andrei Bely published the most meticulous study of Gogol's literary techniques up to that date, in which he analyzed the colours prevalent in Gogol's work depending on the period, his impressionistic use of verbs, expressive discontinuity of his syntax, complicated rhythmical patterns of his sentences, and many other secrets of his craft. Based on this work, Vladimir Nabokov published a summary account of Gogol's masterpieces in 1944.

    The house in Moscow where Gogol died. The building contains the fireplace where he burned the manuscript of the second part of the Dead Souls.
    Gogol's impact on Russian literature has been enduring, yet his works have been appreciated differently by various critics. Belinsky, for instance, berated his horror stories as "moribund, monstrous works", while Andrei Bely counted them among his most stylistically daring creations. Nabokov singled out Dead Souls, The Government Inspector, and The Overcoat as the works of genius and dismissed the remainder as puerile essays. The latter story has been traditionally interpreted as a masterpiece of "humanitarian realism", but Nabokov and some other attentive readers argued that "holes in the language" make the story susceptible to another interpretation, as a supernatural tale about a ghostly double of a "small man."[24] Of all Gogol's stories, The Nose has stubbornly defied all abstruse interpretations: D.S. Mirsky declared it "a piece of sheer play, almost sheer nonsense."
    Gogol's oeuvre has also had a large impact on Russia's non-literary culture, and his stories have been adapted numerous times into opera and film. Russian Composer Alfred Schnittke wrote the eight part Gogol Suite as incidental music to The Government Inspector performed as a play, and composer Dmitri Shostakovich set The Nose as his first opera in 1930, despite the peculiar choice of subject for what was meant to initiate the great tradition of Soviet opera.[25] Most recently, to celebrate the 200th anniversary of Gogol's birth, Vienna's renowned Theater an der Wien commissioned music and libretto for a full length opera on the life of Gogol from Russian composer and writer Lera Auerbach.[26]

    Gogol burning the manuscript of the second part of Dead Souls by Ilya Repin
    Some attention has also been given to the apparent anti-Semitism in Gogol's writings, as well as those of his contemporary, Fyodor Dostoevsky.[27] Felix Dreizin and David Guaspari, for example, in their The Russian Soul and the Jew: Essays in Literary Ethnocentricis discuss "the significance of the Jewish characters and the negative image of the Ukrainian Jewish community in Gogol's novel Taras Bulba, pointing out Gogol's attachment to anti-Jewish prejudices prevalent in Russian and Ukrainian culture."[28] In Leon Poliakov's The History of Antisemitism, the author mentions that "The 'Yankel' from Taras Bulba indeed became the archetypal Jew in Russian literature. Gogol painted him as supremely exploitative, cowardly, and repulsive, albeit capable of gratitude. But it seems perfectly natural in the story that he and his cohorts be drowned in the Dniper by the Cossack lords. Above all, Yankel is ridiculous, and the image of the plucked chicken that Gogol used has made the rounds of great Russian authors."[29]
    Despite his problematic portrayal of Jewish characters, Gogol left a powerful impression even on Jewish writers who inherited his literary legacy. Amelia Glaser has noted the influence of Gogol's literary innovations on Sholem Aleichem, who "chose to model much of his writing, and even his appearance, on Gogol... What Sholem Aleichem was borrowing from Gogol was a rural East European landscape that may have been dangerous, but could unite readers through the power of collective memory. He also learned from Gogol to soften this danger through laughter, and he often rewrites Gogol's Jewish characters, correcting anti-Semitic stereotypes and narrating history from a Jewish perspective."[30]

    Gogol in popular culture


    Postage stamp, Russia, 2009. See also: Gogol in philately, Russian Wikipedia

    See also

    Notes and references

    1. ^ Some sources indicate he was born 20 March/1 April 1809.
    2. ^ ab"Nikolay Gogol". Encyclopædia Britannica. http://www.britannica.com/eb/article-9037198. Retrieved 2007-12-25.
    3. ^Oleh Ilnytzkyj: "The Nationalism of Nikolai Gogol': Betwixt and Between?" in Canadian Slavonic Papers Sep-Dec 2007. Retrieved 2008-06-15.
    4. ^ Paul A. Karpuk. Gogol's Research on Ukrainian Customs for the Dikan'ka Tales. Russian Review, Vol. 56, No. 2 (April 1997), pp. 209-232
    5. ^Nikolai Gogol - Britannica Student Encyclopaedia
    6. ^The Birth of Nikolai Gogol, History Today
    7. ^ Edyta Bojanowska. 2007). Nikolai Gogol: Between Ukrainian and Russian Nationalism. Cambridge Mass: Harvard University Press.
    8. ^ ab Edyta M. Bojanowska. (2007). Nikolai Gogol: Between Ukrainian and Russian Nationalism. Cambridge, Massachusetts: Harvard University Press. pp. 78-88
    9. ^Luckyj, G. (1998). The Anguish of Mykola Hohol, a.k.a. Nikolai Gogol. Toronto: Canadian Scholars' Press. p. 67. ISBN1-55130-107-5.
    10. ^Welcome to Ukraine
    11. ^Lindstrom, T. (1966). A Concise History of Russian Literature Volume I from the Beginnings to Checkhov. New York: New York University Press. p. 131.
    12. ^ [http://www.latimes.com/news/obituaries/la-me-simon-karlinsky29-2009jul29,0,7744948.story Simon Karlinsky dies at 84; expert on Slavic languages and literature], L.A. Times (July 28, 2009)
    13. ^Karlinsky, S. (1992). The Sexual Labyrinth of Nikolai Gogol. Chicago: University of Chicago Press.
    14. ^ Gogol declared that "the subject of Dead Souls has nothing to do with the description of Russian provincial life or of a few revolting landowners. It is for the time being a secret which must suddenly and to the amazement of everyone (for as yet none of my readers has guessed it) be revealed in the following volumes..."
    15. ^Российское образование. Федеральный образовательный портал: учреждения, программы, стандарты, ВУЗы, тесты ЕГЭ.(Russian)
    16. ^ For a full story and illustrations, see Российское образование. Федеральный образовательный портал: учреждения, программы, стандарты, ВУЗы, тесты ЕГЭ.(Russian) and Москва и москвичи(Russian)
    17. ^ Gogol's originality does not mean that numerous influences cannot be discerned in his work. The principle of these are: the tradition of the Ukrainian folk and puppet theatre, with which the plays of Gogol's father were closely linked; the heroic poetry of the Cossack ballads (dumy), the Iliad in the Russian version by Gnedich; the numerous and mixed traditions of comic writing from Molière to the vaudevillians of the 1820s; the picaresque novel from Lesage to Narezhny; Sterne, chiefly through the medium of German romanticism; the German romanticists themselves (especially Tieck and E.T.A. Hoffmann); the French tradition of Gothic romance— a long and yet incomplete list.
    18. ^D.S. Mirsky. A History of Russian Literature. Northwestern University Press, 1999. ISBN 0-8101-1679-0. Page 155.
    19. ^ Mirsky, pg. 149
    20. ^ According to some critics, Gogol's grotesque is a "means of estranging, a comic hyperbole that unmasks the banality and inhumanity of ambient reality." See: Fusso, Susanne. Essays on Gogol: Logos and the Russian Word. Northwestern University Press, 1994. ISBN 0-8101-1191-8. Page 55.
    21. ^Encyclopaedia Britannica, 2005. Article "Russian literature."
    22. ^"The structure of the stories themselves seemed especially unskilful and clumsy to me; in one story I noted excess and verbosity, and an absence of simplicity in the style". Quoted by Vasily Gippius in his monograph Gogol (Duke University Press, 1989, page 166).
    23. ^ The latest edition of the Britannica labels Gogol "one of the finest comic authors of world literature and perhaps its most accomplished nonsense writer." See under "Russian literature."
    24. ^ At least this reading of the story seems to have been on Dostoevsky's mind when he wrote The Double. The quote, often apocryphally attributed to him, that "we all [future generations of Russian novelists] emerged from Gogol's Overcoat", actually refers to those few who read The Overcoat as a double-bottom ghost story (as did Aleksey Remizov, judging by his story The Sacrifice).
    25. ^Gogol Suite, CD Universe
    26. ^ORF (Österreichischer Rundfunk)(German)
    27. ^ Vladim Joseph Rossman, Vadim Rossman, Vidal Sassoon. Russian Intellectual Antisemitism in the Post-Communist Era. p. 64. University of Nebraska Press. Google.com
    28. ^Antisemitism in Literature and in the Arts
    29. ^ Leon Poliakov. The History of Antisemitism. p. 75. University of Pennsylvania Press, Google.com
    30. ^ Amelia Glaser. "Sholem Aleichem, Gogol Show Two Views of Shtetl Jews."The Jewish Journal, 2009. Journal: Jewish News, Events, Los Angeles
    31. ^"2009. Апрель, 1. 200 лет со дня рождения Н. В. Гоголя (1809—1852), писателя". Каталог почтовых марок. Издательско-торговый центр «Марка». http://www.marka-art.ru/catalogs/StampSeries.jsp?id=11543339. Retrieved 2009-04-03.
    32. ^"2009. Апрель, 1. 200 лет со дня рождения Н. В. Гоголя (1809—1852), писателя". Каталог почтовых марок. Издательско-торговый центр «Марка». http://www.marka-art.ru/catalogs/StampSeries.jsp?id=11543433. Retrieved 2009-04-03.
    33. ^"К 200-летию со дня рождения Н. В. Гоголя выпущены почтовые блоки". Новости. Управление федеральной почтовой связи Красноярского края— филиал ФГУП «Почта России». http://www.kraspost.ru/node/1357. Retrieved 2009-04-03.
    34. ^"Зчіпка 200-річчя від дня народження Миколи Гоголя (1809—1852)" (in uk). Марки. Дирекція розроблення знаків поштової оплати. http://www.stamp.kiev.ua/ukr/stamp/observe.php?coupl_id=104. Retrieved 2009-04-03.[dead link]
    35. ^"Украина готовится достойно отметить 200-летие Николая Гоголя". Новости. Отпуск.com. 2006-08-28. http://www.otpusk.com/news/17064.html. Retrieved 2009-04-03.
    36. ^Events by themes: NBU presented an anniversary coin «Nikolay Gogol» from series "Personages of Ukraine", UNIAN-photo service (March 19, 2009)
    This article incorporates text from D.S. Mirsky's "A History of Russian Literature" (1926-27), a publication now in the public domain.

    External links

    ‎Sylvia‬ Plath, The Bell Jar《瓶中美人》

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    "I Want, I Want" by Sylvia Plath
    Open-mouthed, the baby god
    Immense, bald, though baby-headed,
    Cried out for the mother's dug.
    The dry volcanoes cracked and split,
    Sand abraded the milkless lip.
    Cried then for the father's blood
    Who set wasp, wolf and shark to work,
    Engineered the gannet's beak.
    Dry-eyed, the inveterate patriarch
    Raised his men of skin and bone,
    Barbs on the crown of gilded wire,
    Thorns on the bloody rose-stem."
    With this startling, exhilarating book of poems, which was first published in 1960, Sylvia Plath burst into literature with spectacular force. In such classics as "The Beekeeper's Daughter,""The Disquieting Muses,""I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.




    Sylvia Plath(The Bell Jar《瓶中美人》作者,英國桂冠詩人Ted Hughes之妻)

    Sanity may represent our nominal ideal, but Sylvia Plath and John Nash are the box-office draws.
    draw
    Attract (someone) to come to a place or anevent:you really drew the crowds with your playing

    台灣似乎出版過一本中英對照  ‎Sylvia‬ Plath 詩選
    美國新聞記者﹑作家珍妮特"馬爾科姆(Janet Malcolm,1934-)在寫關于美國著名女詩人希爾維亞 普拉斯(Sylvia Plath﹐1932-1963)時把傳記作者比作一個"職業竊賊﹐破門而入﹐在他們認為很可能有珠寶與金錢的地方翻箱倒櫃﹐並席卷贓物凱旋而去"。




    Sylvia Plath was born in Jamaica Plain, Massachusetts in 1932. Although best known as a poet, she also wrote a semi-autobiographical novel The Bell Jar, in which the main character, Esther Greenwood, a bright college student interning at a fashion magazine, suffers a mental breakdown and attempts suicide. Plath, like Esther, attended Smith College and was awarded an internship at a magazine in New York, however, it was just after this experience that Plath made her first suicide attempt and was committed to a mental institution.
    On leaving the institution Plath graduated from Smith and obtained a scholarship to Cambridge University in England where she met and later married poet Ted Hughes. In 1960 Plath published her first collection of poetry, the remaining volumes of her work being published posthumously following a successful suicide attempt in 1963.

    台灣將這Sylvia Plath名著The Bell Jar翻譯成「瓶中美人」(鄭至慧譯,先覺,1999 年)
    本書是50年代美國著名作家Slyvia Plath的最後一部作品在她的一生中充滿著不幸而這些
    不幸不但讓她在生命中最精華的一刻死去同時也讓她所有的作品沾染了她一部份的人生而這 本書The Bell
    Jar就是她以自身的大學經驗和幾樣她自身的設定而寫的自傳型小說 ...The Bell Jar



    Experiments using a bell jar

    It can be sealed, which allows it to be used in a classroom science
    experiment involving an alarm clock and a vacuum pump. The air is
    pumped out of the sealed bell jar, and the noise of the alarm clock
    fades, thus proving that sound travels through vibrations in matter,
    not as waves.


    Sylvia Plath read by Harriet Walter

    Mushrooms

    Overnight, very
    Whitely, discreetly,
    Very quietly

    Our toes, our noses
    Take hold on the loam,
    Acquire the air.

    Nobody sees us,
    Stops us, betrays us;
    The small grains make room.

    Soft fists insist on
    Heaving the needles,
    The leafy bedding,

    Even the paving.
    Our hammers, our rams,
    Earless and eyeless,

    Perfectly voiceless,
    Widen the crannies,
    Shoulder through holes. We

    Diet on water,
    On crumbs of shadow,
    Bland-mannered, asking

    Little or nothing.
    So many of us!
    So many of us!

    We are shelves, we are
    Tables, we are meek,
    We are edible,

    Nudgers and shovers
    In spite of ourselves.
    Our kind multiplies:

    We shall by morning
    Inherit the earth.
    Our foot's in the door.


    The American poet ‪#‎Sylvia‬ Plath was born ‪#‎onthisday‬ in 1932. Hear Harriet Walter reading her poetry. http://bit.ly/1yFaXHj
    The American poet #Sylvia Plath was born #onthisday in 1932. Hear Harriet Walter reading her poetry. http://bit.ly/1yFaXHj

    Nikolai Gogol /Mykola Hohol (1809-1852) .果戈里《死魂靈》:幾本英文Dead Souls、中文和幾個插畫家《死魂靈百圖》,果戈里全集 (九卷本 1999)

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    Homage to Gogol ( Mykola Hohol 果戈里,1809-1852)烏克蘭人兼俄羅斯人  . 果戈里全集 (九卷本 1999) Nikolai Gogol. Lectures on Russian Literature - Vladimir Nabokov

    Dead Souls (Russian«Мёртвые души»Mjórtvyje dúshi) is a novel by Nikolai Gogol, first published in 1842, 

    ***Dead Souls (Russian: «Мёртвые души», Mjórtvyje dúshi) is a novel by Nikolai Gogol, first published in 1842, 

    《果戈里畫傳》 王新穎,華東師範大學出版社,2004

    Mykola Gogol | World Changers

    https://www.youtube.com/watch?v=kna1-H4ssOM

    230K subscribers
    SUBSCRIBE
    Mykola prayed for a long time. Then he picked up a briefcase and removed several papers from it. He tossed the rest into the fire. After crossing himself, he returned to his bed and cried uncontrollably. On the night of February 12, 1852, writer Mykola Hohol burned the second volume of his unique novel Dead Souls…


    ***

    English translations[edit]


    References



    魯迅


    《死魂靈》孟祥森譯 台北:桂冠,1994



    安徽文艺出版社(九卷本 1999)

    第四卷 《死魂靈》



    Among the illustrators of Dead Souls were

    Illustration by Alexander Agin: The Simply Pleasant Lady and The Lady Who Is Pleasant In All Respects

     Pyotr Sokolov and 

    Marc Chagall.

    https://www.wikiart.org/en/tag/nikolai-gogol-dead-souls#!#filterName:all-works,viewType:masonry


    登場人物[編集]

    チチコフ
    Chichikov, a middle-aged gentleman of middling social class and means.stands out as the incarnation of the complacent poshlost
    詐欺師。
    stands out as the incarnation of the complacent poshlost
    マニーロフ
    冷淡な男。
    Manilov, a sentimentalist with pursed lips
    コローボチカ
     M-me Korobochka.
    知性に欠けるが神経質な女地主。
    ノズドーリョフ
    Nozdryov.
    乱暴な博打打ち。
    サバケーヴィチ
    貪欲な男。
    Sobakevich
    ブリューシキン
    吝嗇漢。
    Plyushkin, the miser, appears to transcend the poshlost archetype in that he is not complacent but miserable

    ***

    日本語訳[編集]

    ***

    《死魂靈》〔1〕

      第二部第一章譯者附記〔2〕

      果戈理(N.Gogol)的《死魂靈》第一部,中國已有譯本,這裡無需多說了。其實,只要第一部也就足夠,以後的兩部——《煉獄》和《天堂》〔3〕已不是作者的力量所能達到了。

      果然,第二部完成後,他竟連自己也不相信了自己,在臨終前燒掉,世上就只剩了殘存的五章,描寫出來的人物,積極者偏遠遜於沒落者:在諷刺作家果戈理,真是無可奈何的事。

      現在所用的底本,仍是德人OttoBuek譯編的全部;第一章開首之處,借田退德尼科夫〔4〕的童年景況敘述著作者所理想的教育法,那反對教師無端使勁,像填鴨似的來硬塞學生,固然並不錯,但對於環境,不想改革,只求適應,卻和十多年前,中國有一些教育家,主張學校應該教授看假洋〔5〕,寫呈文,做挽對春聯之類的意見,不相上下的。

      ※※※

      〔1〕《死魂靈》長篇小說,俄國作家果戈理著,一八四二年出版。魯迅參考日譯本自德譯本轉譯。第一部在翻譯時即陸續分期刊登於上海生活書店發行的《世界文庫》第一至第六冊(一九三五年五月至十月)。一九三五年十一月由上海文化生活出版社出版單行本,列為《譯文叢書》之一。第二部原稿為作者自行焚毀,僅存前五章殘稿。

      魯迅於一九三六年二月起開始翻譯,第一、二兩章發表於《譯文》月刊新一卷第一期至第三期(一九三六年三月至五月);第三章發表於新二卷第二期(一九三六年十月),未完。一九三八年文化生活出版社又將第二部殘稿三章合入第一部,出版增訂本。

     果戈理(H.B.MTbTUE,1809—1952),生於烏克蘭地主家庭,曾任小公務員。作品多暴露沙皇制度的腐朽,尚著有喜劇《欽差大臣》等。

      〔2〕本篇連同《死魂靈》第二部第一章的譯文,最初發表於一九三六年三月《譯文》月刊新一卷第一期,後印入一九三八年版《死魂靈》增訂本。

      〔3〕《煉獄》和《天堂》意大利詩人但丁所作長詩《神曲》的第二、三部。《神曲》全詩分三部分,以夢幻故事形式和隱喻象徵手法描寫作者遊歷地獄、煉獄(又譯“淨界”)、天堂的情景。

      〔4〕田退德尼科夫《死魂靈》第二部中的人物,是個地主。

      〔5〕看假洋辨別銀圓的真偽。

      第二部第二章譯者附記〔1〕

      《死魂靈》第二部的寫作,開始於一八四○年,然而並沒有完成,初稿只有一章,就是現在的末一章。後二年,果戈理又在草稿上從新改定,謄成清本。這本子後來似殘存了四章,就是現在的第一至第四章;而其間又有殘缺和未完之處。

      其實,這一部書,單是第一部就已經足夠的,果戈理的運命所限,就在諷刺他本身所屬的一流人物。所以他描寫沒落人物,依然栩栩如生,一到創造他之所謂好人,就沒有生氣。例如這第二章,將軍貝德理錫且夫〔2〕是丑角,所以和乞乞科夫相遇,還是活躍紙上,筆力不讓第一部;而烏理尼加是作者理想上的好女子,他使盡力氣,要寫得她動人,卻反而並不活動,也不像真實,甚至過於矯揉造作,比起先前所寫的兩位漂亮太太〔3〕來,真是差得太遠了。

      ※※※

      〔1〕本篇連同《死魂靈》第二部第二章的譯文,最初發表於一九三六年五月《譯文》月刊新一卷第三期,後印入一九三八年版《死魂靈》增訂本。

      〔2〕貝德理錫且夫《死魂靈》第二部中的人物,沙皇軍隊的退休的將軍,貴族。下文的烏理尼加,是他的獨生女。

      〔3〕兩位漂亮太太《死魂靈》第一部中的兩位太太:一名“通體漂亮太太”;又一名“也還漂亮太太”。



    《死魂靈百圖》小引





      果戈理開手作《死魂靈》第一部的時候,是一八三五年的下半年,离現在足有一百年了。幸而,還是不幸呢,其中的許多人物,到現在還很有生气,使我們不同國度,不同時代的讀者,也覺得仿佛寫著自己的周圍,不得不歎服他偉大的寫實的本領。不過那時的風尚,卻究竟有了變遷,例如男子的衣服,和現在雖然小异大同,而閨秀們的高髻圓裙,則已經少見;那時的時髦的車子,并非流線形的摩托卡〔2〕,卻是三匹馬拉的篷車,照著跳舞夜會的所謂眩眼的光輝,也不是電燈,只不過許多插在多臂燭台上的蜡燭:凡這些,倘使沒有圖畫,是很難想像清楚的。

      關于《死魂靈》的有名的圖畫,据里斯珂夫說,一共有三种,而最正确和完備的是阿庚的百圖〔3〕。這圖畫先有七十二幅,未詳何年出版,但總在一八四七年之前,去現在也快要九十年;后來即成為難得之品,新近蘇聯出版的《文學辭典》里,曾采它為插畫,可見已經是有了定評的文獻了。雖在它的本國,恐怕也只能在圖書館中相遇,更何況在我們中國。今年秋末,孟十還〔4〕君忽然在上海的舊書店里看到了這畫集,便像孩子望見了糖果似的,立刻奔走呼號,總算弄到手里了,是一八九三年印的第四版,不但百圖完備,還增加了收藏家藹甫列摩夫所藏的三幅,并那時的廣告畫和第一版封紙上的小圖各一幅,共計一百零五圖。

      這大約是十月革命之際,俄國人帶了逃出國外來的;他該是一個愛好文藝的人,抱守了十六年,終于只好拿它來換衣食之資;在中國,也許未必有第二本。藏了起來,對己對人,說不定都是一种罪業,所以現在就設法來翻印這一本書,除紹介外國的藝術之外,第一,是在獻給中國的研究文學,或愛好文學者,可以和小說相輔,所謂“左圖右史”,更明白十九世紀上半的俄國中流社會的情形,第二,則想獻給插畫家,借此看看別國的寫實的典型,知道和中國向來的“出相”或“繡像”〔5〕有怎樣的不同,或者能有可以取法之處;同時也以慰售出這本畫集的人,將他的原本化為千万,廣布于世,實足償其損失而有,一面也庶几不枉孟十還君的一番奔走呼號之苦。對于木刻家,卻恐怕并無大益,因為這雖說是木刻,但畫者一人,刻者又別一人,和現在的自畫自刻,刻即是畫的創作木刻,是已經大有差別的了。

      世間也真有意外的運气。當中文譯本的《死魂靈》開始發表時,曹靖華〔6〕君就寄給我一卷圖畫,也還是十月革命后不多久,在彼得堡得到的。這正是里斯珂夫所說的梭可羅夫〔7〕畫的十二幅。紙張雖然頗為破碎,但圖像并無大損,怕它由我而亡,現在就附印在阿庚的百圖之后,于是俄國藝術家所作的最寫實,而且可以互相補助的兩种《死魂靈》的插畫,就全收在我們的這一本集子里了。

      移譯序文和每圖的題句的,也是孟十還君的勞作;題句大概依照譯本,但有數處不同,現在也不改從一律;最末一圖的題句,不見于第一部中,疑是第二部記乞乞科夫免罪以后的事,這是那時俄國文藝家的習尚:總喜歡帶點教訓的。至于校印裝制,則是吳朗西〔8〕君和另外几位朋友們所經營。這都應該在這里聲明謝意。

      一九三五年十二月二十四日,魯迅。

    〔1〕本篇最初印入《死魂靈百圖》。此書由魯迅出資,于一九三六年七月以三閒書屋名義出版。

      〔2〕摩托卡英語Motor-car的音譯,即汽車。

    〔3〕里斯珂夫(aPUcRHLG)在《關于〈死魂靈〉的插畫》一文(原載一八九三年俄國《涅瓦》周刊第八期)中說:“作《死魂靈》插畫的有三個俄國藝術家:阿庚、皤克萊夫斯基和梭可羅夫。”阿庚(1817—1875),俄國畫家。這些插畫的雕版者是培爾那爾特斯基,阿庚的同時代人。

      〔4〕孟十還原名孟斯根,遼宁人,翻譯家。譯有果戈理的《密爾格拉得》、涅克拉索夫的《嚴寒·通紅的鼻子》等。〔5〕“出相”或“繡像”都是指過去印入通俗小說的書中人物的白描畫像。

      〔6〕曹靖華河南盧氏人,未名社成員,翻譯家。曾在蘇聯留學和在列宁格勒大學任教,歸國后在北平大學女子文理學院、東北大學等校任教。譯有長篇小說《鐵流》等。

      〔7〕梭可羅夫(ffPGLGQG,1821—1899)俄國畫家。〔8〕吳朗西四川重慶人,翻譯家。當時任上海文化生活出版社經理。

    ***
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    Poshlost or Poshlost' (Russian: по́шлостьIPA: [ˈpoʂləsʲtʲ]) is a Russian word for a particular negative human character trait or man-made thing or idea. It has been cited as an example of a so-called untranslatable word, as there is no single exact one-word English equivalent.[1] It carries much cultural baggage in Russia and has been discussed at length by various writers.

    It is derived from the adjective пошлый.

    Description[edit]

    It has been defined as "petty evil or self-satisfied vulgarity",[2] while Svetlana Boym[3] defines it briefly as "obscenity and bad taste".

    Boym goes on to describe it at more length:[4]

    Poshlost’ is the Russian version of banality, with a characteristic national flavoring of metaphysics and high morality, and a peculiar conjunction of the sexual and the spiritual. This one word encompasses triviality, vulgarity, sexual promiscuity, and a lack of spirituality. The war against poshlost’ was a cultural obsession of the Russian and Soviet intelligentsia from the 1860s to 1960s.

    Early examinations of poshlost in literature are in the work of Nikolai Gogol. Gogol wrote (of Pushkin),

    He used to say of me that no other writer before me possessed the gift to expose so brightly life's poshlust, to depict so powerfully the poshlust of a poshlusty man [poshlost' poshlovo cheloveka] in such a way that everybody's eyes would be opened wide to all the petty trivia that often escape our attention."

    — "The Third Letter à Propos Dead Souls", 1843, quoted and translated by Davydov, 1995. Brackets in original. See below for his transliteration "poshlust".

    In his novels, Turgenev "tried to develop a heroic figure who could, with the verve and abandon of a Don Quixote, grapple with the problems of Russian society, who could once and for all overcome 'poshlost’, the complacent mediocrity and moral degeneration of his environment".[5] Dostoyevsky applied the word to the DevilSolzhenitsyn, to Western-influenced young people.[4]

    D. S. Mirsky was an early user of the word in English in writing about Gogol; he defined it as "'self-satisfied inferiority,' moral and spiritual".[6] Vladimir Nabokov made it more widely known in his book on Gogol, where he romanized it as "poshlust" (punningly: "posh" + "lust"). Poshlust, Nabokov explained, "is not only the obviously trashy but mainly the falsely important, the falsely beautiful, the falsely clever, the falsely attractive. A list of literary characters personifying poshlust will include... Polonius and the royal pair in Hamlet, Rodolphe and Homais from Madame Bovary, Laevsky in Chekhov's 'The Duel', Joyce's Marion [Molly] Bloom, young Bloch in Search of Lost TimeMaupassant's 'Bel Ami', Anna Karenina's husband, and Berg in War and Peace".[7] Nabokov 1973 also listed

    Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know.

    Azar Nafisi mentions it and quotes the "falsely" definition in Reading Lolita in Tehran.[8]

    Nabokov often targeted poshlost in his own work; the Alexandrov definition above refers to the character of M'sieur Pierre in Invitation to a Beheading.

    Another notable literary treatment is Fyodor Sologub's novel The Petty Demon. It tells the story of a provincial schoolteacher, Peredonov, notable for his complete lack of redeeming human qualities. James H. Billington[9] said of it:

    The book puts on display a Freudian treasure chest of perversions with subtlety and credibility. The name of the novel's hero, Peredonov, became a symbol of calculating concupiscence for an entire generation... [Peredonov] seeks not the ideal world but the world of petty venality and sensualism, poshlost'. He torments his students, derives erotic satisfaction from watching them kneel to pray, and systematically befouls his apartment before leaving it as part of his generalized spite against the universe.

    Richard Taruskin summarized poshlost as "highfalutin bad taste," applying the term to a performance of the Cantata for the 20th Anniversary of the October Revolution (Prokofiev).[citation needed]


    **

    語言的自新與翻譯的政治

    ——以魯迅《死魂靈》的翻譯為中心

    作者:

    作者簡介:
    路楊,北京大學中文系

    原文出處:
    現代中文學刊

    內容提要:

    《死魂靈》作為魯迅晚期翻譯實踐的代表作品,其譯筆的語言風格表現出強烈的“魯迅風”,“硬譯”色彩則有所淡化。本文即試圖通過幾個譯本的比較,探討魯迅的翻譯與創作之間的關係,並揭示魯迅是如何在翻譯理論和實踐層面上,將翻譯在語言形式上的革新訴求與具有政治功利性的社會改造行為相統一起來的。


    期刊代號: J3
    分類名稱:中國現代、當代文學研究
    複印期號: 2012 年01 期

    字號:

          一

          1934年6月24日,魯迅購買了當年東京文化公論社出版的遠藤豐馬譯的《死魂靈》①;同年12月4日,魯迅致信孟十還,提到他日前得到一部果戈理的德譯全集②,覺得中國也應當翻譯出版一部果戈理選集,並列有簡單的選目,其中就包括《死魂靈》③。據1934-1936年間與魯迅過從甚密的黃源稱:“魯迅先生想譯果戈理的選集,還是由於我送他德譯的《果戈理全集》想起來的。”④ 而早在留學日本時期,魯迅就對果戈理作品有所關注,此後亦常為中國沒有《死魂靈》的譯本深感惋惜。直到其生命的最後幾年,魯迅終於不顧身體每況愈下,應《世界文庫》編者鄭振鐸之請親自動手翻譯《死魂靈》。1935年2月15日,魯迅開手翻譯《死魂靈》第一部,即以德國奧托·布埃克編的德譯《果戈理全集》為底本,同時參考日譯本和英譯本,開始了異常艱鉅的翻譯工作。第一部於1935年2月至8月間譯成,曾在《世界文庫》第一冊至第六冊(1935年5月-10月)陸續刊出,單行本同年11月由上海文化生活出版社出版,列為《譯文叢書》之一;第二部殘稿三章於1936年2月至5月譯訖,曾在《譯文》第1、2卷上單篇發表,其餘部分未及譯完魯迅便猝然離世,這三章殘稿則收入1938年上海文化生活出版社出版的《死魂靈》增訂本中。

          與魯迅此前翻譯的諸多文藝理論著作相比,值得注意的是,《死魂靈》的翻譯似乎並未顯示出多少此前為梁實秋等人極度詬病的“硬譯”風格。拋開二人翻譯觀念及政治立場的分歧不談,我們不得不承認,在魯迅此前對於蘇聯文學作品和文藝理論著作的翻譯之中,“底”與“的”、“地”的連用,語序問題,賓語的缺失,“那”作為定冠詞的使用以及種種專有名詞的翻譯確實都表現出強烈的“硬譯”色彩。但作為一部小說,《死魂靈》的譯文給人最為強烈的感覺卻在於:其中魯迅自身的語言風格非常強烈,個人化色彩非常濃重。這不僅表現在諸如“大歡喜”、“大苦痛”、“大智慧”、“大尊敬”等詞彙的頻繁使用,尤其是當“聰明,聰明,第三個聰明”這樣的譯筆出現時,已經完全是魯迅在對其雜文的自我化用和自我調侃了,而像理論著作翻譯中那種讓人極不舒服的“硬譯”之感則非常之少。而從另一個層面上講,這種魯迅式的語言也很契合於果戈理這種諷刺性極強的小說,其語言的質地和力度都顯得更為游刃有餘。但實際上,如果我們仔細分析其譯作的用詞、句式、語序並對比《死魂靈》的其他中譯本就會發現,“硬譯”其實還是貫穿於《死魂靈》始終的,只是在一些隱蔽的地方與魯迅個人的語言風格發生了一種很難加以明確區分的、彼此交纏的關係。這裡我們將選擇滿濤與許慶道的譯本(人民文學出版社1993年版,下稱滿、許譯)與田大畏的譯本(安徽文藝出版社1999年版,下稱田譯)進行對照閱讀。這兩個譯本雖然都是直接從俄語版本直接譯成而非魯迅式的轉譯,但在語言風格和翻譯策略上或許還是可以形成一定的參照。更為嚴謹可靠的做法當然是將原本、轉譯本、魯譯本及其他譯本一同進行對照,但在這裡我們關注的重點其實並不在於從譯介學的角度考察魯迅翻譯的準確性或為其“硬譯”理論提供具體實踐的例證;而在於以魯迅對《死魂靈》的翻譯作為一個入口,來考察魯迅晚期翻譯實踐中“硬譯”的翻譯方式與其自身語言風格之間的關係。從總體上看,我們選取的這另外兩個譯本雖然在整體上讀起來似乎都更飽滿順暢,但卻缺乏鮮明的個性,在語言風格上均無甚特出之處,對於一些

          在這三個譯本中,魯迅的翻譯是最簡潔的,用詞非常乾淨省儉,而其他兩個譯本都表現為形容詞的繁複堆積。1935年6月28日,魯迅在給胡風的信中明確表示過對於這種繁複的反感:“德譯本很清楚,有趣,但變成中文,而且還省去一點形容詞,卻仍舊累墜,無聊,連自己也要搖頭,不願再看。”⑤ 在選詞上,魯迅似乎也在試圖避免使用一些成詞,尤其是四字成語。《死魂靈》第十章中的一段議論滿濤和許慶道譯為:

          在力求到達永恆真理的過程中,人類選擇過多少荒無人跡、荊棘叢生、把人深深引入歧途的羊腸小道,儘管這時有一條大路平坦筆直得可以和鋪向巍巍宮殿的通衢大道媲美,整個兒地敞開在他們的眼前。這大路比所有其他的道路更寬闊,更壯麗,白天沐浴在陽光裡,夜晚則被燈光通宵不滅地映照著;可是,儘管大大路近在咫尺,人們卻在深沉的黑暗中摸索前進。不知有多少回他們已經得到上蒼降賜的智慧的啟迪,但隨即卻又一個趔趄偏離了方向,竟然在晴天白日重新陷入難以通行的荒山野林,大家七嘴八舌,重新茫然不知所措,只是跟隨著幽幽磷火蹣跚行進,一直要走到萬丈深淵的邊沿,方才驚恐失色地互相問道:“哪裡是出口?哪裡是大路?”⑥

          而魯迅的翻譯則簡短得多,形容詞的選取也很簡單:

          和天府的華貴相通的大道,分明就在眼前,但人類的嚮往永久的真理的努力,卻選了多麼奇特的,蜿蜒的曲徑,多麼狹窄的,不毛的,難走的岔路呵。大道比一切路徑更廣闊,更堂皇,白晝為日光所照臨,夜間有火焰的晃耀;常有天降聰明,指示著正路,而人類卻從旁岔出,迷入陰慘的黑暗裡面去。但他們這時也嚇得倒退了,他們從新更加和正路離開,當作光明,而跑進幽隱荒涼的處所,眼前又籠罩了別一種昏暗的濃霧,並且跟著騙人的磷火,直到奔向深淵中,於是吃驚的問道:“橋樑在那裡,出路在那裡呢?”

          他寧願在一句或一段話中使用很多“的”字連綴起一些雙音節的形容詞或使用更為複雜的表達法也不去使用現成的成語,這恰恰是魯譯的一大特色。在這裡,一方面魯迅希望的是通過翻譯不斷激發語言內部的各種可能性,通過肯定“硬造”的“新造”性質來探討語言的自我更新和創生的能力,即如許廣平在《死魂靈》增訂本的“附記”中所說:“有時因了原本字彙的豐美,在中國的方塊字裡面,找不到適當的句子來,其窘迫於產生的情況,真不下於科學者的發明。”⑦ 另一方面這種對於堆疊形容詞的反感也依舊顯示著魯迅一如既往地排斥著語言中任何可能產生賞玩性質與消費性的語言形式,其翻譯與其創作語言一樣具有黑白木刻版畫的刀鋒與質感。

    晚明天主教翻譯文學箋注(共四冊 2014)、晚明天主教翻譯文學箋注 別冊: 索引 (2021)

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     晚明天主教翻譯文學箋注(共四冊 2014)、晚明天主教翻譯文學箋注 別冊: 索引 (2021)  .https://wwwfacebook.com/hanching.chung/videos/544335513674390

    晚明天主教翻譯文學箋注(共四冊,精裝)


    本書所謂「晚明」,斷自1583年利瑪竇抵達廣東,止於1647年衛匡國於南明永曆朝譯《逑友篇》。所選《交友論》、《聖若撒法始末》、《況義》、《天主聖教聖人行實》、《達道紀言》、《聖夢歌》與《輕世金書》等十七個文本,文學性強,天主教的色彩亦重,乃典型的宗教文學,在中國翻譯史上皆具開山之功。

    所選諸作包括歐洲上古與中古最重要的聖傳,也有歐洲聖歌集、格言集、小品集與修辭學專集,更有歐人的勸學篇與散體敘事性虛構,無一又非屬當世奇書。希臘與羅馬時代的歐洲詩人與名哲名王亦側身其間,包括荷馬、柏拉圖、亞里士多德、西塞羅、亞歷山大與凱撒大帝等人;中世紀及文藝復興時代的名家亦有其人。

    他們搖身一變,在天主教耶穌會譯者筆下變成明末西方道德與宗教的代言人。本書集腋成裘,一一重現上述譯作的晚明原貌,並比對可得之原文,由專家詳說細剖,將中國翻譯史上這為人遺忘的一章招喚回來,使之以箋注本的形式再現於中文讀者眼前。


    ***


    晚明天主教翻譯文學箋注[別冊.索引][精裝]

    晚明天主教翻譯文學箋注[別冊.索引][精裝]



    內容簡介

      這本《別冊:索引》重新檢視四卷《晚明天主教翻譯文學箋注》,將全書正文與注文中函括的所有中西古今人物、中西古今文獻(含書、篇、選集等)以及專有名詞(含地名、《聖經》與神學術語等),以三大部分編輯為索引。編輯期間發現的《箋注》缺失,也將做成勘誤表,以求盡善。



    Elegies of Chu楚辭

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     維基百科,自由的百科全書

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    蕭雲從繪離騷圖經

    楚辭,有時也被稱為騷體楚辭體,是以屈原為代表的戰國楚國詩人所創作的一種文體。西漢時劉向將屈原、宋玉等人的作品編輯成集並命名為《楚辭》,楚辭又成為一部詩歌總集的名稱。[1]楚辭還包括這部詩集以外的其他的地作品,在西漢初期曾是對有楚地特色的作品的泛稱。[2][3]

    影響[編輯]

    楚辭為漢賦駢文之先河、辭賦之祖、南方文學代表,也屬於貴族文學。

    楚辭是中國文學的兩大源頭之一。騷體之「騷」,因屈原的作品《離騷》而得名,故「後人或謂之騷」[4],與因十五《國風》而稱為「風」的《詩經》相對,分別為中國現實主義與浪漫主義的鼻祖,是南方文學的代表。後人也常以「風騷」代指詩歌,或以「騷人」稱呼詩人。[5][3]

    作者及篇章[編輯]

    楚辭的代表作家有屈原宋玉等人,其他如唐勒景差的作品大多未能流傳下來。楚辭的主要作者屈原有《離騷》、《九歌》、《九章》、《天問》等篇章。劉向編成《楚辭》後,王逸增入己作《九思》,成17篇,並為全書作注,成書《楚辭章句》。今存王逸《楚辭章句》中,保存了賈誼淮南小山淮南王劉安門客的筆名)、東方朔莊忌王褒、劉向等人的作品。

    四庫全書·總目》說:「初,劉向裒集屈原《離騷》、《九歌》、《天問》、《九章》、《遠遊》、《卜居》、《漁父》,宋玉《九辯》、《招魂》,景差《大招》,而以賈誼《惜誓》,淮南小山《招隱士》,東方朔《七諫》,嚴忌《哀時命》,王褒《九懷》及劉向所作《九嘆》,共為《楚辭》16卷,是為總集之祖。逸又益以己作《九思》與班固二『敘』,為17卷,而各為之註。」晉代郭璞有《楚辭注》3卷。在四庫全書之中為集部之首。

    在其各篇著作中以屈原宋玉的作品最受注目。而部分篇章作者未明,如《招魂》在《藝文類聚》卷79載梁沈炯《歸魂賦》認為是「屈原著」,而朱熹在《楚辭集註》中卻同意王逸的説法,歸諸宋玉的作品。

    形式特點[編輯]

    楚辭篇幅較長,句子長短不一,五、六、七言句較多。和《詩經》比起來,章句較少重複,多直陳。許多楚地的方言:如虛字句首發語詞「羌」、「蹇」,句中或句末用語氣詞「兮」,並常以「亂」(亂辭)來作全文總結、收結。

    風格[編輯]

    楚辭風格華美浪漫、感情激越奔放,內容多寫神話、個人情志與想像;具有民歌的風格,運用楚國音調,採用楚國方言,描寫楚國的特殊名物。楚地盛行巫術迷信,楚辭也吸收大量神話故事。

    楚辭受南方民族性的影響表達方式熱情而浪漫,內容充滿宗教色彩。藉由對神話和傳說的描寫表達豐富的思想情感,更能呈現精彩細膩的藝術技巧,諸如比喻、象徵、聯想等表達手法,在此得到更大的發展與運用。


    Cover for   Elegies of Chu

    Elegies of Chu

    Nicholas Morrow Williams

    Oxford World's Classics

    • Elegies of Chu (in Chinese, Chuci), is one of the two surviving collections of ancient Chinese poetry, and a key source for the whole tradition of Chinese poetry
    • The translation is based on the original anthology compiled in the Han dynasty by Wang Yi (fl. 2nd century CE), and containing poems compiled roughly between the 3rd century BCE through the Han dynasty
    • Employs literary English devices in order to emphasise the original structure of these Chinese poems
    • Examines the vivid diction of the source text through close analysis of the onomatopoeia, ornate descriptions, exotic flowers, dramatic landscapes, metaphors and startling similes found in the selected elegies

    安娜·阿赫玛托娃 Anna Akhmatova (1889–1966);熊宗慧 《時間的奔馳:阿赫瑪托娃詩集》;丘光的簡介。精選的照片、丘語晨的插圖、索引

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    真是的,2016年6月貼的 Anna Akhmatova (1889–1966),詩選完全採英文。
    現在我們有丘光的介紹,網路資料:

    與丘光先生談櫻桃園文化的兩本書:時間的奔馳(詩選)與俄羅私風景
    https://www.facebook.com/hanching.chung/videos/548102776655459
    時間的奔馳:阿赫瑪托娃詩集
    BOOKS.COM.TW
    時間的奔馳:阿赫瑪托娃詩集
    時間的奔馳:阿赫瑪托娃詩集


    出版這本詩集花費了很多心力,譯者尤其費心,譯詩本來就是非常不容易的工作,在差異極大的兩種語言系統之間更是難。
    阿赫瑪托娃的詩結合了日常生活、時代變動的痕跡與女性心理的幽微轉折,儘管國情文化有別,讀起來還是同感共鳴,這個譯本克服了諸多困難,讓阿赫瑪托娃的詩變得很耐讀。
    這本詩集的書名出自其中一首四行詩:
    戰爭算什麼?瘟疫又算什麼?──它們將臨的末日清清楚楚,
    它們的判決已呼之欲出……
    但是誰又能保護我們免於
    那名為時間的奔馳的恐懼?
    經歷過兩次俄國革命、兩次世界大戰和史達林大恐怖時期的阿赫瑪托娃,似乎很有資格提出這樣的問題。
    那麼是誰呢?文本中沒給答案。
    或許,對詩人來說,是創作詩,而對讀者來說,是讀詩。
    或許,答案在讀者的心裡,讀詩的時候試著去體會那種心理上的時間,體會那種從生到死奔馳而過的時間,體會那其中無從保護的憂懼……
    《時間的奔馳:阿赫瑪托娃詩集》──櫻桃園文化新書出版!
    薔薇化為詞語飛翔
    VSPRESS.COM.TW
    薔薇化為詞語飛翔
    文/熊宗慧 從喜歡寫詩到明白什麼是詩 安娜‧安德烈耶夫娜‧阿赫瑪托娃(Анна Андреевна Ахма

    「翻譯外文詩的時候首先想到的其實並非什麼信雅達的問題,也不是韻腳,更不是格律,我首先想的是,為什麼阿赫瑪托娃要說『我逐浪漫遊,也藏身深林,我在純淨的琺瑯上忽顯忽沒』這樣的話?這裡不單是兩種語言轉譯的問題,還有字面下潛文本的問題,而處理潛文本一事應該遠遠超過目前機器語言翻譯的能力範圍吧……」
    《時間的奔馳》譯後記
    VSPRESS.COM.TW
    《時間的奔馳》譯後記
    文/熊宗慧 《時間的奔馳》的翻譯花費了我相當長的一段時間,然而這一切都出於自發的意念。最初是因


    Poet Anna Akhmatova was born in the Russian Empire (now Odesa, Ukraine) on this day in 1889.
    "I Taught Myself To Live Simply"by Anna Akhmatova

    I taught myself to live simply and wisely,
    to look at the sky and pray to God,
    and to wander long before evening
    to tire my superfluous worries.
    When the burdocks rustle in the ravine
    and the yellow-red rowanberry cluster droops
    I compose happy verses
    about life's decay, decay and beauty.
    I come back. The fluffy cat
    licks my palm, purrs so sweetly
    and the fire flares bright
    on the saw-mill turret by the lake.
    Only the cry of a stork landing on the roof
    occasionally breaks the silence.
    If you knock on my door
    I may not even hear.
    *
    In this biography of the legendary poet, Elaine Feinstein draws on a wealth of newly available material–including memoirs, letters, journals, and interviews with surviving friends and family–to produce a revelatory portrait of both the artist and the woman.Anna Akhmatova rose to fame in the years before World War I, but she would pay a heavy price for the political and personal passions that informed her brilliant poetry. In Anna of All the Russias we see Akhmatova's work banned from 1925 until 1940 and again after World War II. We see her steadfast opposition to Stalin, even while her son was held in the Gulag. We see her abiding loyalty to such friends as Mandelstam, Shostakovich, and Pasternak as they faced Stalinist oppression. And we see how, through everything, Akhmatova continued to write, her poetry giving voice to the Russian people by whom she was, and still is, deeply loved. READ an excerpt here: http://knopfdoubleday.com/bo…/48657/anna-of-all-the-russias/

    Everyman's Library

    "Solitude" by Anna Akhmatova

    So many stones have been thrown at me,
    That I'm not frightened of them anymore,
    And the pit has become a solid tower,
    Tall among tall towers.
    I thank the builders,
    May care and sadness pass them by.
    From here I'll see the sunrise earlier,
    Here the sun's last ray rejoices.
    And into the windows of my room
    The northern breezes often fly.
    And from my hand a dove eats grains of wheat...
    As for my unfinished page,
    The Muse's tawny hand, divinely calm
    And delicate, will finish it.



    *
    "Everything" by Anna Akhmatova
    Everything’s looted, betrayed and traded,
    black death’s wing’s overhead.
    Everything’s eaten by hunger, unsated,
    so why does a light shine ahead?
    By day, a mysterious wood, near the town,
    breathes out cherry, a cherry perfume.
    By night, on July’s sky, deep, and transparent,
    new constellations are thrown.
    And something miraculous will come
    close to the darkness and ruin,
    something no-one, no-one, has known,
    though we’ve longed for it since we were children.
    *
    A legend in her own time both for her brilliant poetry and for her resistance to oppression, Anna Akhmatova—denounced by the Soviet regime for her “eroticism, mysticism, and political indifference”—is one of the greatest Russian poets of the twentieth century. Before the revolution, Akhmatova was a wildly popular young poet who lived a bohemian life. She was one of the leaders of a movement of poets whose ideal was “beautiful clarity”—in her deeply personal work, themes of love and mourning are conveyed with passionate intensity and economy, her voice by turns tender and fierce. A vocal critic of Stalinism, she saw her work banned for many years and was expelled from the Writers’ Union—condemned as “half nun, half harlot.” Despite this censorship, her reputation continued to flourish underground, and she is still among Russia’s most beloved poets. Here are poems from all her major works—including the magnificent “Requiem” commemorating the victims of Stalin’s terror—and some that have been newly translated for this edition.




    今天是俄國女詩人安娜‧阿赫瑪托娃(1889-1966)的125歲誕辰。
    阿赫瑪托娃極愛普希金與杜斯妥也夫斯基,並在筆記裡說過:杜斯妥也夫斯基解開了普希金的謎。
    而阿赫瑪托娃自己呢,彷彿也試圖用詩歌創作來解開杜斯妥也夫斯基的小說世界──這就是俄羅斯的心靈世界。


    В этот день 125 лет назад родилась одна из известнейших русских поэтесс XX века Анна Ахматова. Уже к 1920-м годам она стала признанным классиком отечественной п⋯⋯更多
    這一天,125 年前出生在二十世紀,安娜 · 阿赫瑪最著名的俄羅斯詩人之一。早在 1920 年她成為了公認的經典的愛國詩歌,但即使他死後,阿赫瑪遭受了嚴重的審查制度。她的許多作品不超過二十年,在她死後發表。 (翻譯由 Bing 提供)



    Robin與我談他對於文字翻譯的高標準要求,我心有戚戚。比較有趣的是,他雖然中學就懂得「荷、德、法、英、希臘文、拉丁文」等,不過,最喜愛俄國詩。Anna Akhmatova (1889–1966安娜·阿赫玛托娃А́нна Ахма́това俄罗斯"白银时代"的代表性诗人)、Joseph Brodsky (1940–1996)。可他不懂俄文,只好花功夫選好譯本。
    安娜·安德烈耶芙娜·艾哈邁托娃А́нна Ахма́това,1889年6月23日-1966年3月5日),俄羅斯白銀時代」的代表性詩人。阿赫瑪托娃為筆名,原名是「安娜·安德烈耶芙娜·戈連科」(А́нна Андре́евна Гóренко)。在百姓心中,她被譽為「俄羅斯詩歌的月亮」(普希金曾被譽為「俄羅斯詩歌的太陽」);在蘇聯政府的嘴裡,她卻被污衊為「蕩婦兼修女」。

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


    The Anna Akhmatova File (1989)- English Subtitles


    Portrait by Nathan Altman of Anna Akhmatova, 1914 © below
    The poet Anna Akhmatova was born Anna Gorenko  in Odessa, in the Ukraine, in 1889; she later changed her name to Akhmtova.  In 1910 she married  the important Russian poet and theorist Nikolai Gumilyov.  Shortly afterwards Akhmatova began publishing her own poetry; together with Gumilyov, she became a central figure in the Acmeist movement.  Acmeism -- which had its parallels in the writings of T. E. Hulme in England and the development of Imagism -- stressed clarity and craft as antidotes to the overly loose style and vague language of late nineteenth century poetry in Russia.
    The Russian Revolution was to dramatically affect their lives.  Although they had recently divorced, Akhmatova was was nevertheless stunned by the execution of her friend and former partner Gumilyev in 1921 by the Bolsheviks, who claimed that he had betrayed the Revolution.   In large measure to drive her into silence, their son Lev Gumilyov was imprisoned in 1938, and he remained in prison and prison camps until the death of Stalin and the thaw in the Cold War made his release possible in 1956.  Meanwhile, Akhmatova had a second marraige and then a third; her third husband, Nikolai Punin, was imprisoned in 1949 and thereafter died in 1953 in a Siberian prison camp.   Her writing was banned, unofficially, from 1925 to 1940, and then was banned again after World War Two was concluded.  Unlike many of her literary contemporaries, though, she never considered flight into exile.
        Persecuted by the Stalinist government, prevented from publishing, regarded as a dangerous enemy , but at the same time so popular on the basis of her early poetry that even Stalin would not risk attacking her directly, Akhmatova's life was hard.   Her greatest poem, "Requiem," recounts the suffering of the Russian people under Stalinism -- specifically, the tribulations of those women with whom Akhmatova stood in line outside the prison walls, women who like her waited patiently, but with a sense of great grief and powerlessness,  for the chance to send a loaf of bread or a small message to their husbands, sons, lovers.    It was not published in in Russia in its entirety until 1987, though the poem itself was begun about the time of her son's arrest.  It was his arrest and imprisonment, and the later arrest of her husband Punin, that provided the occasion for the specific content of the poem, which is sequence of lyric poems about imprisonment and  its affect on those whose loveed ones are arrested, sentenced, and incarcerated behing prison walls..
          The poet was awarded and honorary doctorate by Oxford University in 1965.   Akhmatova died in 1966 in Leningrad.

    Akhmatova Links:

    • If you'd like to hear Anna Akhmatova read a brief Russian poem IN RUSSIAN, go to Russian Poem and click on the .wav file format 935K, and shortly you will her her read!  This page also has many links to other Akhmatova sites, and a brief anthology of her poetry.
    • For a brief biography of the poet, go to Biography.
    • For another brief biography, and a list of her works translated into English, go to the Academy of American Poets' page on Akhmatova at AAP page.
    • Translations of a number of Akhmatova's poems can be found at  Translations
    • Several translations by one of the two best translators (D.M. Thomas -- tthe other great translation is the collaborative work of U.S. Poet Laureate Stanley Kunitz and Max Haward) and annotated links can be found at  Thomas translations
    • A page with almost twenty translations and a brief essay.  What is notable about this page is that it is part of a series -- which can easily be accessed from the right column of this page -- on a multitude of Russian writers, inclduing Akhmatova's friends/contemporaries Gumilev, Pasternak, Mandelshtam, and Tsvetaeva. Click on Akhmatova, and her Russian contemporaries


    Anna Akhmatova's Other Poems


    Requiem


    Not under foreign skies
    Nor under foreign wings protected -
    I shared all this with my own people
    There, where misfortune had abandoned us.
    [1961]

    INSTEAD OF A PREFACE

    During the frightening years of the Yezhov terror, I
    spent seventeen months waiting in prison queues in
    Leningrad. One day, somehow, someone 'picked me out'.
    On that occasion there was a woman standing behind me,
    her lips blue with cold, who, of course, had never in
    her life heard my name. Jolted out of the torpor
    characteristic of all of us, she said into my ear
    (everyone whispered there) - 'Could one ever describe
    this?' And I answered - 'I can.' It was then that
    something like a smile slid across what had previously
    been just a face.
    [The 1st of April in the year 1957. Leningrad]

    DEDICATION

    Mountains fall before this grief,
    A mighty river stops its flow,
    But prison doors stay firmly bolted
    Shutting off the convict burrows
    And an anguish close to death.
    Fresh winds softly blow for someone,
    Gentle sunsets warm them through; we don't know this,
    We are everywhere the same, listening
    To the scrape and turn of hateful keys
    And the heavy tread of marching soldiers.
    Waking early, as if for early mass,
    Walking through the capital run wild, gone to seed,
    We'd meet - the dead, lifeless; the sun,
    Lower every day; the Neva, mistier:
    But hope still sings forever in the distance.
    The verdict. Immediately a flood of tears,
    Followed by a total isolation,
    As if a beating heart is painfully ripped out, or,
    Thumped, she lies there brutally laid out,
    But she still manages to walk, hesitantly, alone.
    Where are you, my unwilling friends,
    Captives of my two satanic years?
    What miracle do you see in a Siberian blizzard?
    What shimmering mirage around the circle of the moon?
    I send each one of you my salutation, and farewell.
    [March 1940]

    INTRODUCTION
    [PRELUDE]

    It happened like this when only the dead
    Were smiling, glad of their release,
    That Leningrad hung around its prisons
    Like a worthless emblem, flapping its piece.
    Shrill and sharp, the steam-whistles sang
    Short songs of farewell
    To the ranks of convicted, demented by suffering,
    As they, in regiments, walked along -
    Stars of death stood over us
    As innocent Russia squirmed
    Under the blood-spattered boots and tyres
    Of the black marias.

    I

    You were taken away at dawn. I followed you
    As one does when a corpse is being removed.
    Children were crying in the darkened house.
    A candle flared, illuminating the Mother of God. . .
    The cold of an icon was on your lips, a death-cold
    sweat
    On your brow - I will never forget this; I will gather

    To wail with the wives of the murdered streltsy (1)
    Inconsolably, beneath the Kremlin towers.
    [1935. Autumn. Moscow]

    II

    Silent flows the river Don
    A yellow moon looks quietly on
    Swanking about, with cap askew
    It sees through the window a shadow of you
    Gravely ill, all alone
    The moon sees a woman lying at home
    Her son is in jail, her husband is dead
    Say a prayer for her instead.

    III

    It isn't me, someone else is suffering. I couldn't.
    Not like this. Everything that has happened,
    Cover it with a black cloth,
    Then let the torches be removed. . .
    Night.

    IV

    Giggling, poking fun, everyone's darling,
    The carefree sinner of Tsarskoye Selo (2)
    If only you could have foreseen
    What life would do with you -
    That you would stand, parcel in hand,
    Beneath the Crosses (3), three hundredth in
    line,
    Burning the new year's ice
    With your hot tears.
    Back and forth the prison poplar sways
    With not a sound - how many innocent
    Blameless lives are being taken away. . .
    [1938]

    V

    For seventeen months I have been screaming,
    Calling you home.
    I've thrown myself at the feet of butchers
    For you, my son and my horror.
    Everything has become muddled forever -
    I can no longer distinguish
    Who is an animal, who a person, and how long
    The wait can be for an execution.
    There are now only dusty flowers,
    The chinking of the thurible,
    Tracks from somewhere into nowhere
    And, staring me in the face
    And threatening me with swift annihilation,
    An enormous star.
    [1939]

    VI

    Weeks fly lightly by. Even so,
    I cannot understand what has arisen,
    How, my son, into your prison
    White nights stare so brilliantly.
    Now once more they burn,
    Eyes that focus like a hawk,
    And, upon your cross, the talk
    Is again of death.
    [1939. Spring]

    VII
    THE VERDICT

    The word landed with a stony thud
    Onto my still-beating breast.
    Nevermind, I was prepared,
    I will manage with the rest.

    I have a lot of work to do today;
    I need to slaughter memory,
    Turn my living soul to stone
    Then teach myself to live again. . .

    But how. The hot summer rustles
    Like a carnival outside my window;
    I have long had this premonition
    Of a bright day and a deserted house.
    [22 June 1939. Summer. Fontannyi Dom (4)]

    VIII
    TO DEATH

    You will come anyway - so why not now?
    I wait for you; things have become too hard.
    I have turned out the lights and opened the door
    For you, so simple and so wonderful.
    Assume whatever shape you wish. Burst in
    Like a shell of noxious gas. Creep up on me
    Like a practised bandit with a heavy weapon.
    Poison me, if you want, with a typhoid exhalation,
    Or, with a simple tale prepared by you
    (And known by all to the point of nausea), take me
    Before the commander of the blue caps and let me
    glimpse
    The house administrator's terrified white face.
    I don't care anymore. The river Yenisey
    Swirls on. The Pole star blazes.
    The blue sparks of those much-loved eyes
    Close over and cover the final horror.
    [19 August 1939. Fontannyi Dom]

    IX

    Madness with its wings
    Has covered half my soul
    It feeds me fiery wine
    And lures me into the abyss.

    That's when I understood
    While listening to my alien delirium
    That I must hand the victory
    To it.

    However much I nag
    However much I beg
    It will not let me take
    One single thing away:

    Not my son's frightening eyes -
    A suffering set in stone,
    Or prison visiting hours
    Or days that end in storms

    Nor the sweet coolness of a hand
    The anxious shade of lime trees
    Nor the light distant sound
    Of final comforting words.
    [14 May 1940. Fontannyi Dom]

    X
    CRUCIFIXION

    Weep not for me, mother.
    I am alive in my grave.

    1.
    A choir of angels glorified the greatest hour,
    The heavens melted into flames.
    To his father he said, 'Why hast thou forsaken me!'
    But to his mother, 'Weep not for me. . .'
    [1940. Fontannyi Dom]

    2.
    Magdalena smote herself and wept,
    The favourite disciple turned to stone,
    But there, where the mother stood silent,
    Not one person dared to look.
    [1943. Tashkent]

    EPILOGUE

    1.
    I have learned how faces fall,
    How terror can escape from lowered eyes,
    How suffering can etch cruel pages
    Of cuneiform-like marks upon the cheeks.
    I know how dark or ash-blond strands of hair
    Can suddenly turn white. I've learned to recognise
    The fading smiles upon submissive lips,
    The trembling fear inside a hollow laugh.
    That's why I pray not for myself
    But all of you who stood there with me
    Through fiercest cold and scorching July heat
    Under a towering, completely blind red wall.

    2.
    The hour has come to remember the dead.
    I see you, I hear you, I feel you:
    The one who resisted the long drag to the open window;
    The one who could no longer feel the kick of familiar
    soil beneath her feet;
    The one who, with a sudden flick of her head, replied,

    'I arrive here as if I've come home!'
    I'd like to name you all by name, but the list
    Has been removed and there is nowhere else to look.
    So,
    I have woven you this wide shroud out of the humble
    words
    I overheard you use. Everywhere, forever and always,
    I will never forget one single thing. Even in new
    grief.
    Even if they clamp shut my tormented mouth
    Through which one hundred million people scream;
    That's how I wish them to remember me when I am dead
    On the eve of my remembrance day.
    If someone someday in this country
    Decides to raise a memorial to me,
    I give my consent to this festivity
    But only on this condition - do not build it
    By the sea where I was born,
    I have severed my last ties with the sea;
    Nor in the Tsar's Park by the hallowed stump
    Where an inconsolable shadow looks for me;
    Build it here where I stood for three hundred hours
    And no-one slid open the bolt.
    Listen, even in blissful death I fear
    That I will forget the Black Marias,
    Forget how hatefully the door slammed and an old woman
    Howled like a wounded beast.
    Let the thawing ice flow like tears
    From my immovable bronze eyelids
    And let the prison dove coo in the distance
    While ships sail quietly along the river.
    [March 1940. Fontannyi Dom]

    FOOTNOTES

    1 An elite guard which rose up in rebellion
    against Peter the Great in 1698. Most were either
    executed or exiled.
    2 The imperial summer residence outside St
    Petersburg where Ahmatova spent her early years.
    3 A prison complex in central Leningrad near the
    Finland Station, called The Crosses because of the
    shape of two of the buildings.
    4 The Leningrad house in which Ahmatova lived. 
    Submitted: Friday, January 03, 2003


    Jean Cocteau 讓‧科克托的一些資料; A Life of Jean Cocteau

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    Modigliani’s portrait of the poet, designer, and filmmaker Jean Cocteau captures the young man’s dandified vanity. ✨🎨
    Cocteau paid for the painting but, claiming that it would not fit in a taxi, he left it behind and never came back to get it—his pride apparently wounded.
    Years later, Cocteau acknowledged: “The way he drew us at the tables of the Rotonde, ceaselessly. . . was the way he judged us, sensed us, liked us, or argued with us. His drawing was a silent conversation. A dialogue between his line and ours.”
    Through October, the Kimbell’s “Head” by Modigliani will be joined by three additional works by the artist from the Henry and Rose Pearlman Foundation. You can see these Guests of Honor for free in the Kahn Galleries.
    ___
    Amedeo Modigliani, “Jean Cocteau,” 1916. The Henry and Rose Pearlman Foundation, on loan since 1976 to the Princeton University Art Museum
    可能是 1 人的插圖




    Jean Cocteau 一些資料  A Life of Jean Cocteau
    2016
    Los Angeles Review of Books (LARB)


    "In every medium, Cocteau maintained to the end the manners of a Belle Époque host: he never fails to entertain. During his life this rendered his high modernist credentials suspect — but none of that matters now. As Arnaud shows, the amiability, as well as the manic productivity, stem from a kind of despair: the world is a misunderstanding; the poet is a weak point in its lie."




    The Dunce Gets a Doorstop: A Life of Jean Cocteau
    Kevin McMahon takes the measure of “Jean Cocteau: A Life” by Claude Arnaud.
    LAREVIEWOFBOOKS.ORG







    Jean Cocteau 一些資料

    科克托的日記寫著:我先要做的是填製一張適合靈魂而非身體休憩的座椅。


    FULCRUM: an annual of poetry and aesthetics



    "Orpheus," by Jean Cocteau. 1960.

    在十幾年前,我在NHK 看到日本的Jean Cocteau粉絲,以料理他的菜單來慶祝他的生日 (百歲?)
    ***
    科克托,J. 
    Jean Cocteau (1889~1963)法國詩人。少年時期就發表詩作,聞名於巴黎上層社會。他的創作追求奇巧,被稱為"耍弄文字的魔術師"。在他的作品中,往往幻想與現實相結合,神話人物以現代人形像出現。他在藝術技巧上的創新,對歐美現代派文藝有一定的影響。他寫過各種體裁的作品,但本質上仍是詩人。他在各種體裁的作品中所追求的是"詩"。寫抒情詩外,其他樣式的作品他都稱之為詩。如詩的小說、詩的戲劇。人的悲劇、人對自由的追求等是他的創作中經常出現的主題。他自稱是"一個樂觀的悲觀主義者。 "主要作品有詩集《阿拉丁之燈》(1909)、《引吭高歌》(1923)、《釘在十字架上》(1945~​​1946)、《挽歌》(1962),戲劇《奧爾甫斯》(1927)、《酒神巴克科斯》(1952),小說《騙子手托馬斯》(1923)、《調皮搗蛋的孩子們》(1929)、《波托馬克的結局》(1940),電影劇本《詩人的血》(1930)、《永恆的輪轉》(1943)、《奧爾甫斯的遺囑》(1959)。此外還有評論集和自傳體散文《詩的批評》(1945)、《生存的困難》(1947)、《無名氏的日記》(1953)等。在《鴉片煙》中,詩人自述吸毒和戒毒的經過。科克托除寫作詩歌、小說、戲劇、電影劇本、評論和散文等作品外,還擅長繪畫,素描尤為出色。他有許多作品都用自己的素描作插圖。他是馬拉梅、蘭波等象徵主義大師的追隨者,有一段時期又與超現實主義詩人接近,深受超現實主義的影響。他作為業餘畫家與著名畫家畢加索友善。多才多藝的科克托被譽為"巴黎才子"。1955年入選為法蘭​​西學院院士。  參考書目Roger Lannes,Jean Cocteau, Paris,1946. Pierre Dubourg,Dramaturgie de Jean Cocteau,Paris,1954.(王道乾)


    ----
    此書我重複買了 真是笑話

    讓‧科克托

    《讓‧ 科克托》是英語界四十年來第一次對讓‧科克托——毀譽參半的越界奇才的全面考察。作者將科克托的生活與藝術置于充分發掘的歷史背景和藝術語境中,集中思考 科克托敏感多情的性格、毫不留情的自我追問如何推動了形式實驗的動力過程,特別是科克托與男性同伴、情人藝術家的廣泛合作與互動。

      讓‧科克托(1889—1963),20世紀多才多藝的先鋒派藝術家︰詩人、小說家、電影導演、畫家,戲劇家,音樂評論家……起草了現代派綱領並廣泛地實施子藝術創作領域,被譽為“巴黎才子”,1955年入選為法蘭西學院院士。


      詹姆斯‧S‧威廉姆斯 (James S‧Williams)英國倫敦大學皇家霍洛威學院教授,主要研究領域為20世紀法國文學與電影。編著有《同性戀書寫在法國︰理論、小說與電影,1945 —1995)),《重寫杜拉斯︰電影、種族與性別》與《讓-呂克‧戈達爾》等。

    詳細資料

    • 規格:平裝 / 279頁 / 14.5cmX21cm / 普級 / 單色 / 初版
    • 出版地:大陸

    目錄

    導 言 不朽的藝術家,傳世的藝術晶
    第一章 失落的天堂
    第二章 天才的傳奇
    第三章 被放逐的王子
    第四章 俄羅斯的經驗
    第五章 科克托的“一戰”
    第六章 最偉大的戰役
    第七章 歡樂的家庭
    第八章 法蘭西的精靈
    第九章 拄拐杖的少年
    第十章 奇跡之年/悲傷之年
    第十一章 迷失在荒野
    第十二章 馱著主子的蠢驢
    第十三章 奇跡,還是假象?
    第十四章 身體與詩人之血
    第十五章 周游世界
    第十六章 走進阿波羅
    第十七章 卷土重來的世界大戰
    第十八章 無人的土地
    第十九章 桑托‧索斯比俱樂部
    第二十章 長途跋涉
    第二十一章 科克托死了,科克托不朽!
    原注
    著作提要
    原著致謝
    圖片致謝
    ----

    2011年4月17日星期日

    可能是 3 個人的圖像
    Pablo Picasso, Son Claude and Jean Cocteau at a Bullfight, Vallauris, France, 1955-1960s

    Jean Cocteau by James S. Williams/《存在之難》、《美女與野獸 電影日記》《陌生人日記》《科克托訪談錄》

    Jean Cocteau - Google 圖書結果

    James S. Williams - 2008 - Biography & Autobiography - 253 頁
    From Cocteau’s work in fashion and photography to his formal experimentation to his extensive collaborations with male friends and lovers, the book charts the ...

    让·科克托

    原作名: Jean Cocteau
    作者: [英] 詹姆斯·S. 威廉姆斯
    译者: 刘宇清
    出版社:北京大学出版社
    出版年: 201
       詹姆斯·S. 威廉姆斯(James S. Williams),英国伦敦大学皇家霍洛威学院教授,主要研究领域为20世纪法国文学与电影。编著有《同性恋书写在法国:理论、小说与电影,1945— 1995》(Gay Signatures: Gay and Lesbian Theory, Fiction and Film in France,1945-1995,1998)、《重写杜拉斯:电影、种族与性别》(Revisioning Duras: Film, Race, Sex,2000)与《让-吕克·戈达尔》(Jean-Luc Godard,2006)等。

    目录 · · · · · ·

    导 言 不朽的艺术家,传世的艺术品
    第一章 失落的天堂
    第二章 天才的传奇
    第三章 被放逐的王子
    第四章 俄罗斯的经验
    第五章 科克托的“一战”
    第六章 最伟大的战役
    第七章 欢乐的家庭
    第八章 法兰西的精灵
    第九章 拄拐杖的少年
    第十章 奇迹之年/悲伤之年
    第十一章 迷失在荒野
    第十二章 驮着主子的蠢驴
    第十三章 奇迹,还是假象?
    第十四章 身体与诗人之血
    第十五章 周游世界
    第十六章 走进阿波罗
    第十七章 卷土重来的世界大战
    第十八章 无人的土地
    第十九章 桑托-索斯比俱乐部
    第二十章 长途跋涉
    第二十一章 科克托死了,科克托不朽!
    原注
    著作提要
    原著致谢
    图片致谢

    -----

    科克托JeanCocteau之譯本:《存在之難》、《美女與野獸電影日記》《陌生人日記》《科克托訪談錄》( COCTEAU PAR COCTEAU - 28 AUTOPORTRAITS ECRITS ET DESSINES,相當精彩,這是編制的,原文……)等五本由華東師範大學出版社 , 2005【版權頁的中國打成china…….
    我談過-提過兩本。
    看它們,我覺得應該有人介紹、介紹 「中法文化年傅雷計畫( 2004-2005)」 ---這計劃是法國外交部獎勵翻譯法國書,大陸可能已出版數百本。


    最早知道這盛會應是約 30年的藝術書:
    In 1917, Picasso did the set and costume design for Serge Diaghilev's ballet "Parade."
    現在資訊發達,在 wikipedia的第一段說明,似乎還漏了法國詩人G. Apollinaire program note.
    Parade is a ballet with music by Erik Satie and a one-act scenario by Jean Cocteau. 【注意這篇文末一直強調他急著要想和『春之祭』般轟動:succes de scandale:與(最血腥之戰)凡爾登戰役同時……..後方出色表現則是一條精神戰線 --『薩蒂』(人民音樂出版社), pp.104-113 The ballet was composed 1916 -1917 for Serge Diaghilev's Ballets Russes. The ballet was premiered on May 181917 at the Theatre du Chatelet in Paris, with costumes and sets designed by Pablo Picasso, a choreography by Léonide Massine (who was also dancing), and the orchestra conducted by Ernest Ansermet.
    這些人物介紹頗費功夫,請利用聯結……
    了解其一景之外,還可以從中文版『薩蒂畫傳』( BIOGRAPHIE ILLUSTREE DE SATIE—中國人民大學)了解些( pp.77-89),其中還收入 David HockneyT & H World of ART叢書所沒有的1980年之作品。可惜它們都為黑白…..
    全曲: http://www.dlib.indiana.edu/variations/scores/bgz3235/index.html可惜我看不懂

    Jean Cocteau之譯本:《存在之難》、《美女與野獸電影日記》《陌生人日記》《訪談錄》( COCTEAU PAR COCTEAU - 28 AUTOPORTRAITS ECRITS ET DESSINES,相當精彩,這是編制的,原文…… 2011買了2010的換封面書)等五本由華東師範大學出版社 , 2005【版權頁的中國打成china…….
    我談過-提過兩本。
    看它們,我覺得應該有人介紹、介紹 「中法文化年傅雷計畫( 2004-2005)」 ---這計劃是法國外交部獎勵翻譯法國書,大陸可能已出版數百本。



    [Collection] Poète, dramaturge, cinéaste, (re)découvrez l'artiste protéiforme JEAN COCTEAU dans nos collections moderneshttps://www.centrepompidou.fr/id/cMbpMyo/rRLpana/fr
    Gisèle FREUD, Jean Cocteau, Paris, 1939
    Donation de l’artiste en 1992, Collection Centre Pompidou, musée national d’art moderne © Estate Gisèle Freund/ RMN gestion droit d’auteur/Fonds MCC/IMEC - Photo : Philippe Migeat, Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Gisèle Freund



    Centre Pompidou 的相片。

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