Quantcast
Channel: 人和書 ( Men and Books)
Viewing all 6920 articles
Browse latest View live

J. M. Coetzee and Paul Auster《此刻》(Here and Now: Letters 2008-2011)。《失.意.錄》( Hand to Mouth )/《INK 36 2006年8月號》

$
0
0


2009/12/18 :感謝梁兄造訪並饋贈《失意錄( Hand to Mouth )等書
這本2月前即在誠品大廣告,我過其門而不入。
稍後我翻書讀幾部分,覺得它很沉悶。
2011/1/11 再次讀他在藏書票公司當7個月工的部分,老闆和目錄卡等,都很有意思。
因為INK 36 20068月號的封面是英俊的Paul Auster 。他的3篇相關文章,倒是少/後讀,先讀的是季季寫他那場恐怖婚姻的對手何索”…..真是不可思議。



靠翻譯維生的關鍵是手腳要快,必須全速生產,不能停下來喘氣。所以,我和莉迪亞工作起來都必須極度自律。拿到出版社委譯的書以後,我們會把書分成兩半(精確地說是「撕」成兩半,萬一我們只有一本工作樣書的話),一人半本,每天生產出定額字數。這個字數是天塌下來都必須完成的。我們每天都必須翻譯許多頁,而且有沒有那個心情都必須伏案工作。


失意錄(雙封面隨機出貨) Hand to Mouth



這是一個作家站穩腳跟前的踉蹌歲月
也是一位青年成長為男人的人生試煉
  本書是奧斯特近五十歲時的作品,回首高中時代至三十餘歲的人生。
  這是他一生中最徬徨潦倒的歲月,卻也是影響他創作之路的關鍵時期。

  學生時代就背棄世俗期望與規範、一心以寫作為志業的奧斯特,為了生計,做過各式各樣的零工、遇見形形色色的人物;也曾遠走他鄉,在不同的城鎮飽嚐寂寞的滋味。
  他從男孩成為男人,又從男人成為父親;換過一個又一個工作,也遭遇一次又一次失敗。
  在龐大的經濟壓力下,他不曾放棄寫作的夢想,卻也因為這樣的固執,他幾度跌倒,又必須爬起,才能逐漸在現實與理想的擺盪間,找到自己的人生位置......

作者簡介
保羅.奧斯特 Paul Auster
  1947年生於美國紐澤西州,是小說家、詩人、翻譯家,也是電影編劇及導演,曾和王穎合導電影〈煙〉(Smoke),及自編自導〈The Inner Life of Martin Frost〉。被譽為最重要、最受歡迎的當代作家之一,作品已被譯為三十餘種語言。
  以小說《紐約三部曲》聲名大噪後,著有《月宮》、《幻影書》、《布魯克林的納善先生》等十餘本小說,及半自傳式的《孤獨及其所創造的》(天下文化)。作品尚包括電影劇本、詩集、評論文集、翻譯等。《失.意.錄》是他難得一見的紀實告白。
  奧斯特的作品常探討人生的無常與無限,筆下的主角也常思考自我存在的意義、尋找自己的人生位置。他擅長實驗性的寫作風格,並在流暢的文字間,暗蘊值得再三玩味的人生哲理。文壇曾比喻他是「穿膠鞋的卡夫卡」。
  奧斯特現居紐約的布魯克林。
譯者簡介
梁永安
  台灣大學哲學系碩士,譯有《孤獨》、《四種愛》、《Rumi: 在春天走進果園》、《隱士》、《陌生語言的樂音》、《大仔》等書。

名人推薦


  奧斯特證明了,文學和人生一樣,都需要堅持到底。──Houston Chronicle
  萬一奧斯特當年真的選擇了一般的領薪工作,那麼,他獨樹一格的小說之筆,就會讓穩定安逸的生活給廢了。那才是我們最不樂見的失敗。──Book Review
  本書引人之處,除了奧斯特跌跌撞撞的作家之路外,還有他一路上遇見的各色人物,在他的筆下格外生動鮮活。──Chicago Tribune 


 *****

強納森‧法蘭岑(Jonathan Franzen)紅火,我添一塊炭。
2010年,克里斯蒂娜‧斯特德《愛孩子的男人》出版七十周年,法蘭岑在《紐約時報》書評為文說:有很多理由讓我們今年夏天不想要讀《愛孩子的男人》。理由之一:它是小說。他引述一個英語系教授所言,「小說是一個有趣的道德兩難式:我們會因為沒有多讀一些小說而內疚,但又會因為讀這一類可有可無的東西而內疚。所以,去掉世上一種會讓我們內疚的東西不是更好嗎?」
這番話惹惱保羅‧奧斯特,保羅與柯慈通信時(見兩人書信集《此刻》寶瓶出版)批評法蘭岑名利雙收,寫了一輩子的小說,為什麼還要攻擊自己的價值觀呢?
法蘭岑思辨對小說絕望的核心矛盾時,收到唐‧德里羅的信,信中說:「作家是領路人,而非隨從。動能活在作家的內心,而非讀者的數量之中,如果社會小說還活著,但僅勉強殘存於文化的裂縫與凹槽中,或許它會被更嚴肅地看待,就像即將消逝的奇景。作品數量會減少,但強度反而提升。」
博客來OKPAI【作家讀書筆記】楊索:格格不入,小說家的密室──法蘭岑《如何獨處》http://goo.gl/QKgzv8



J. M. Coetzee/Paul Auster《此刻》(Here and Now: Letters 2008-2011),梁永安譯,台北:寶瓶,2013。
 從某角度看,這是一本奇書。兩位作者都是文藝名家,人情世故和知識都非常豐富。
J. M. Coetzee 比 Paul Auster大七歲。此書中Paul的信似乎比較熱情點。Paul 以往當過窮譯者,不過那段經驗讓他變成很飽學,可以應用在本書討論亂倫的議題上。
本書書末,Paul 在義大利寫的長信,可能可稱得上傑作,又可讓人捧腹大笑 (我的確被2005年過世(94歲)的電影營銷人 Bernard M. Kamber的點子笑歪了,他說捐一品脫的血給蘇聯盟軍的老美,可免費看場電影.....不過後來在Kansas ,有觀眾反悔,希望要回他捐的。

我說: 《此刻》Here and Now: Letters 2008-2011是當今兩位名作家之間的書信集。我2 天前開始借用永安贈卡洛的書。內容真的是琳琅滿目,很值得一讀。譬如說,頁269 Paul 看J. M.推崇的導演William Wyler的電影: 其中一片是The Children's Hour,中譯為《雙姝怨》;YouTube可看:
http://www.youtube.com/watch?v=JUIO-40dvtA (英文不難)


2014.8.6 讀陶潛《停雲》 "靄靄停雲,濛濛時雨.八表同昏,平路伊阻. 靜寄東軒,春醪獨撫.良朋悠邈,搔首延佇. 停雲靄靄,時雨濛濛.八表同昏,平陸成江. 有酒有酒,閑飲東窗.願言懷人,舟車靡從...."
才知道作家"平路"的出處。
此書《此刻》Here and Now: Letters 2008-2011 兩人談名字也妙極。

昨天糾正106頁一句_
只要從42街向南走到Park街再左轉,就會是Nevsky Prospekt大街。
42街向南走到Park街再左轉就會進到中央車站百老匯街時代廣場在42街之前幾個block。



作者簡介

柯慈(J. M. Coetzee)


  生於南非開普敦;一九五六年取得開普敦大學文學及數學學位;一九六五年至美國奧斯汀德州大學攻讀語言學博士;一九七二年返回南非,擔任開普敦大學文學以及語言學教授,二○○三年更榮獲諾貝爾文學獎,堪稱為南非國寶級作家。

  身為南非開普敦大學的大眾文學教授,柯慈獲得了許多文學獎,包括CNA獎(南非第一文學獎)、英國布克獎,還有愛爾蘭時報國際小說獎。著作包括《昏暗 之地》、《在國家心中》、《等待野蠻人》、《麥可.K的生命與時代》、《仇敵》、《聖彼得堡的文豪》、《雙面少年》、《屈辱》等。其中《等待野蠻人》於一 九八○年出版時,被《紐約時報書評》讚譽為「真正的文學鉅作」。柯慈的四本連續小說,包括贏得布克獎的《麥可.K的生命與時代》,都為他贏得了高度評價與 讚賞。

保羅.奧斯特(Paul Auster)

  生於美國紐澤西州,是小說家、詩人、翻譯家,也是電影編劇,曾和王穎合導電影「煙」。劇本獲獨立精神獎,並自編自導The Inner Life of Martin Frost。《紐約三部曲》為其享譽國際的經典作品,另著有《月宮》、《幻影書》、《機緣樂章》等十餘本小說。作品尚有回憶錄《孤獨及其所創造的》、《失意錄》、《布魯克林的納善先生》、電影劇本《煙》、詩集與評論文集等。奧斯特曾獲頒「法蘭西文化獎」、美國文學與藝術學院頒發的「莫頓.道文.薩伯獎」、 法國文壇四大文學獎之一的「麥迪西獎」等,更在二○○六年榮獲有「西班牙的諾貝爾獎」之稱的「阿斯圖里亞斯王子獎」,被譽為最重要、最受歡迎的當代作家之 一,作品已被譯為三十餘種語言。

  奧斯特的作品最常探討的主旨,就是人生的無常與無限。他擅長實驗性的寫作風格,並在流暢的文字間,暗蘊值得再三玩味的人生哲理。文壇曾比喻他是「穿膠鞋的卡夫卡」。
  奧斯特與妻女現居紐約的布魯克林。



 2008年7月14-5日
親愛的保羅:


我最近常常思考友誼的問題:友誼是如何發生,有些何以能持續很久,何以會比熱戀持續得久(友誼有時會被誤以為只是熱戀的蒼白模仿)。我一直打算寫信給你談 談這個,並從以下的印象談起:有鑑於友誼在社會生活中如此重要,對我們的人生(特別是童年)又如此意義重大,相對之下,談這主題的著作少得讓人吃驚。

但我又回心一想,這印象是正確的嗎?於是,坐下來寫信給你之前,我先跑了一趟圖書館。一看之下,我發現自己錯得不能再錯。目錄裡登錄在友誼這個主題下面的 書有一整批,共幾十本之多,很多都是滿近期出版。不過,進一步把這些書翻來看之後,我的自信恢復了不少。我是對的(或者說對了一半):那些書大部分都沒什 麼有趣見解。所以,友誼看來仍然有點謎樣:我們知道友誼很重要,但對於兩個人為什麼會成為朋友,以及這份友誼何以能保持,仍然只能用猜的。

(當我說那些書不怎麼有趣時,我是什麼意思呢?就拿友誼和愛情來比較好了。對於愛情,人們提出過的有趣意見成千上百。例如:男人會愛上那些與他們媽媽相像 的女人,或者更精確地說,男人會愛上那些與他們媽媽既相像又不像的女人。這見解正確嗎?也許正確又也許不正確。但它有趣嗎?毫無疑問有趣。現在再來看友 誼。男人會選擇什麼樣的人為友?那些書給的回答是:年紀大概相同和興趣相似的人。正確嗎?也許。有趣嗎?斷然不有趣。)

不過我在圖書館裡倒也找到了少許有趣的說法,茲列舉如下:

一、亞里士多德(Aristotle)在《倫理學》(Ethics)第八章指出,我們不可能與死物為友。當然不可能!從來有誰說過可能!但這種說法仍然有 趣,因為它一下子便讓人看出,現代分析哲學的靈感源頭何在。亞里士多德在兩千四百年前便顯示出,有些貌似哲學性的見解不過是由文法規則偽裝而成。當他說 「我們不可能與死物為友」時,等於是指出,在「我與X為友」這個句子裡,X必須是動物名詞(animate noun)。
 二、蘭姆(註:Charles Lamb,十八至十九世紀英國作家。) 指出,一個人可以擁有朋友又不想見他們。這說法既正確,也有趣。它等於是換一種方式指出:朋友之情不同於歡愛之情。
三、朋友(至少是西方世界中的男性朋友)不喜歡談他們對彼此的感受,不像情人之間那樣,有說不完的話。這見解迄今不算太有趣,真正有趣的是後面的部分:當 朋友過世,我們有時又會捶胸頓足,追悔不已:「噫,我還有很多話想對你說,但來不及矣!」(例子包括蒙田[Montaigne]之於拉博埃蒂[La Boétie](註:法國十六世紀法官暨作家。)和密爾頓[Milton]之於愛德華國王。)問題:會不會,愛情之所以多話,是因為慾望本質上(如莎士比 亞的《十四行詩》所示)是曖昧的,而友誼之所以寡言,是因為它直截了當,毫無曖昧可言?

最後是福特(Ford Madox Ford)導演的影集《隊列之末》(Parade' s End)裡男主角鐵琴斯(Christoper Tietjens)說過的話:一個男人會跟一個女人上床是為了可以跟她交談。言下之意:把一個女人變成情婦只是第一步;第二步是要把她變為朋友,這才是真 正要緊的。要跟一個你沒上過床的女人認真交談是不可能的。

如果想就友誼提些有趣見解真是那麼的難,那我們就可以從這種「難」中抽繹出另一個洞察:與愛情或政治不同(愛情和政治從不是它們表面看起來那樣子),友誼總是它表面看起來那樣子。友誼是透明的。

對友誼最有趣的反省出自古代世界。為什麼會這樣?因為古時候,人們並不認為哲學本質上是懷疑主義的,因此不會假定友誼必然不是其表面看起來那樣子,或是反過來斷定,就因為友誼是它表面看起來的樣子,所以不夠資格成為哲學課題。

祝好
約翰

 2008年7月29日寄自布魯克林
親愛的約翰:


友誼也是我多年來常思考的問題。我不敢說自己對友誼的看法已發展出一個融貫的立場,但為回應你的來函(它在我裡面攪動起一漩渦的思緒和回憶),我不妨在這裡一試。

首先,我會把討論侷限在男性間的友誼,也就是男人和男人之間的友誼,以及男孩與男孩之間的友誼。

(一)對,有些友誼(借你的話來說)是透明和毫不曖昧的,但在我的經驗裡,這樣的友誼並不多。這也許和你提到的另一件事情有關:寡言。你說得沒錯,至少在 西方世界,男性朋友間通常不會「談他們對彼此的感受」。我還可以補充說:男性通常不會談自己的感覺。但如果你不知道你朋友有什麼感受或他何以會有那些感 受,你可以說自己了解他嗎?儘管如此,儘管有這種互不理解的曖昧籠罩,你們的友誼還是可以持續,往往還會持續幾十年。

我至少有三部小說直接談過男性友誼的問題,某個意義就是有關男性友誼的故事,分別是《禁鎖的房間》(The Locked Room)、《巨獸》(Leviathan)和《神諭之夜》(Oracle Night)。這三部小說全都是以朋友間的互不了解作為舞台,讓故事上演。

再舉一個來自生活的例子。我有一個認識了二十五年的好朋友(大概是我成年後最要好的朋友),而他是最不愛說話的人。他比我年長十一歲,但我們有很多共通 處:都是作家,都無法自拔地熱愛體育運動,都有一個不凡太太和一段長久婚姻。更重要和更難言喻的,我們對於人應該怎樣生活都有一種共同觀感,有一套相同的 男子氣概倫理學。然而,不管我有多在乎這個朋友,會不惜在他有難時兩肋插刀,但我們的談話總是一成不變的平淡乏味,陳腐得無以復加。我們的溝通常常是透過 簡短的喉音,又或是陌生人不會聽得懂和近乎速記語言的隻言片語。我們也極少談論彼此的創作生活(創作同時是我和他生命的主要驅動力)。

要說明這個人有多麼深藏不露,茲舉一個小例子。若干年前,他有一本新小說即將印成試讀樣書,我表示想一睹為快(我們有時會寄給對方定稿,有時會寄試讀樣 書),而他告訴我,我很快會收到一本。樣書在第二個星期寄達。我打開包裹,把書拿出來翻看,發現書是題獻給我的。我當然感動,而且是深受感動,但重點是, 我朋友事先完全沒有提過這事。沒有最小的暗示,什麼都沒有。

 我想要說的是,我既了解他又不了解他。雖然存在這種「不了解」,他仍然是我的朋友,甚至是最好的朋友。如果他明天跑去搶劫銀行,我將會感到震驚。另一方 面,如果我得知他背著太太偷腥或是金屋藏嬌,我將會感到失望,卻不會震驚。一切都是可能的,而人也總會有祕密,即便對最要好的朋友也不會透露。若我朋友對 婚姻不忠,我將會感到失望(因為他讓太太失望,而我非常喜歡他太太),除此以外,我還會感到受傷(因為他沒有對我推心置腹,而這表示我們的友誼不像我以為 的密切)。

(突然靈光一現:最牢固和最持久的友誼是以仰慕為基礎。這種磐石感覺可讓兩個人長期連結在一起。你仰慕某個人所做的事,仰慕他的為人,仰慕他立身處世的方 式。你的仰慕會把他在你眼中放大,把他珍化,提高到一個你認為高於你的地位。又如果對方也仰慕你(把你放大,把你珍化,把你提高到一個他認為高於他的地 位),那你倆就是處於一個絕對平等的位置。你倆都會施多於受,你倆都會受多於施,而在這種相互回饋中,友誼將會繁榮茁壯。儒貝爾(註:Joseph Joubert, 1754-1824,法國作家。)在《隨思錄》(Notebooks)裡說過:「我們不只必須愛惜朋友,還必須在我們自己裡面愛惜這份友誼。友誼必須受到 照顧、呵護和灌溉。」又說過:「我們總是會失去那些失去我們敬重的朋友。」)

(二)男孩間的友誼。童年是我們人生感受最熾烈的階段,因為我們那時候做的許多事都是人生第一次做。我可以提供一個回憶,它說明了我們小時候似乎會賦予友 誼無限價值。五歲那年,我認識了生平第一個朋友,名叫比利(他以何種方式進入我的生命已經不復記得)。我記得他是個古怪和生性快活的傢伙,主觀強烈又具有設計惡作劇的高度天賦(我這方面的天分則是少得嚇人)。他有嚴重語言障礙,說話時滿嘴巴口水,說出的話夾纏不清,除小保羅以外沒人聽得懂,所以需要我充當翻譯。
 我們在一起時,大多數都是在紐澤西的市郊區閒逛,尋找死掉小動物的屍體(找到的大多是小鳥,但偶爾也會找到青蛙或花栗鼠),再把屍體埋在我家旁邊的花圃裡。我們會舉行莊嚴肅穆的儀式,在土裡插上自製的木頭十字架,過程中誰都不准笑。比利討厭女孩,不肯給填色本裡的女性角色上色,又因為他最喜愛的顏色是綠色,所以認定他的泰迪熊身體裡流著綠色血液。後來,在我們六歲半或七歲的時候,比利一家搬到了另一個城鎮。我心如刀割,接下來幾星期(甚至可能是幾個月) 天天思念這個失去的好朋友。最後,我媽媽動了憐憫之心,准我打昂貴的電話到比利的新家去。我們談了什麼現已一片模糊,但當時的心情我卻記憶猶新,就像是才發生於今天早上。這心情就跟我少年時代和我愛上的女孩通電話沒兩樣。

你的信中把友誼和愛情區分開來。不過,在我們非常小的時候,當男女情愫還沒有萌動之前,它們是沒有分別的。友誼和愛情是同一回事。

(三)友誼與愛情不是同一回事。男人與女人的差異。婚姻與友誼的差異。最後一次引用儒貝爾的話(一八○一):「不要娶任何她若是男兒身的話,你不會想與之為友的女人。」

這格言外表上顯得頗為荒謬(一個女人又怎麼會是男兒身?),但大旨卻不難了解,因為它要表達的無非是福特的《隊列之末》那句古怪妙語:一個男人會跟一個女人上床是為了可以跟她交談。

婚姻最重要的部分就是交談,而如果一對夫妻想不出方法變成朋友,那這段婚姻能存活的機率就小之又小。友誼是婚姻的一個有機部分,但婚姻是一場不斷演化的爭 吵,一項持續「施工中」的工程,需要雙方不斷挖入到自己深處,更新與配偶的關係。反觀純粹的友誼(即婚姻之外的友誼)卻要靜態得多、有禮貌得多和浮面得多。我們會渴求友誼,是因為我們乃是社會動物,由另一個人所生,注定直到死那一天都要生活在其他人中間。但只要想想,即便最恩愛的夫妻有時也會吵得面紅耳赤、甩門和摔東西,我們就會馬上明白,同樣的事不可能出現在彬彬有禮的友誼廳堂裡。友誼是講禮貌、客氣和態度前後一貫的。互相咆哮的朋友極少能繼續當朋 友,反觀互相咆哮的夫妻卻總是可以維繫婚姻關係,而且通常是快樂夫妻。
 男人和女人有可能成為朋友嗎?我認為可能,前提是雙方至少有一方不覺得對方有肉體吸引力。一旦有性的因素介入,一切便另當別論。

(四)待續。但友誼的其他方面一樣值得討論,包括:(a)枯萎和死掉的友誼;(b)不必然有共同興趣的兩人間的友誼(同事之誼、同學之誼、同袍之誼); (c)各種層次的友誼:極親密的友誼、較不那麼親密但仍然頗為喜歡對方的友誼、遠隔兩地的朋友之間的友誼、相見歡的熟人,等等;(d)所有你在信上提及但 我沒有觸及的方面。

在酷熱的紐約熱情想念你的
保羅

2008年9月11日


親愛的保羅:


你在信上說:「最牢固和最持久的友誼是以仰慕為基礎。」

我會以有保留的方式接受這條通則:在我看來,它較適用於男性之間而非女性之間。儘管如此,我仍然讚許它背後的思想感情。柏拉圖說過,渴望得到同儕的推崇乃 是我們追求卓越的動力。在一個仍然由達爾文、尼采和佛洛伊德主宰的時代,「渴望受到同儕推崇」這心理很容易會被化約為不那麼崇高的東西,比方說「權力意 志」或傳播自己基因的衝動。不過,在我看來,把「渴望受推崇」說成是靈魂的原動力之一仍是有價值的洞見。例如,它可以解釋體育運動何以如此受人類(特別是 男性)看重。男人會努力跑得更快或把球踢得更遠,不是想獲得基因優秀的漂亮姑娘青睞,而是為了得到同儕的仰慕。相同情形(略作修改後)也適用於人類的其他 追求領域。

我也同意,一旦某個人在我們眼中失去榮譽,我們就很難繼續把他當成朋友。這也許可以解釋,為什麼犯罪幫派一樣有需要遵守的榮譽守則:只有幫派成員不在彼此眼中失去榮譽時,一個幫派方能維繫。

你談到了童年的友誼。這讓我赫然想到,我們當父母的有多容易會當著子女面前(特別是他們還小的時候)臧否他們的新朋友。如果我有機會從頭當一次父親,在這 種事上一定會婉轉得多。要子女去猜測我們為什麼覺得他們的新朋友不值得交往是不公道的。而且,大多數時候,這些原因也完全超出小孩的理解範圍(例如階級勢 利心態或因為對方的父母被講什麼閒言閒語)。有時候,讓一個新朋友在小孩眼中顯得有吸引力的,正是那些會讓他父母皺眉的特徵(例如在性的事情上較知多識 廣)。
 有關男性與女性之間的友誼,有一個現象讓我感到好奇:在今日,男與女通常都是先成為情人,然後才成為朋友,很少說會先成為朋友再成為情人。如果這條通則真 的成立,那是不是表示,現代人是把男女友誼看成是一個高於男女愛慾的境界,所以認為男女只有從愛慾階段畢業後方可望晉升到友誼境界?顯然有些人是這樣想 的:情慾之愛是不可預測的,是不能持久的,隨時有可能會由愛轉恨,反觀友誼則是恆定和持久的,可以把朋友雙方(就如你描述的)提升為更優質的人。

我想我們不應該太快接受這種主張和它會導出的推論。例如,常識認為,男女在當了很長時間朋友之後再發展出超友誼關係是不智的。這種常識認為,與朋友上床乃 是一種沉悶經驗,因為情慾的一個重要元素正是神祕感,而好朋友並毫無神祕感可言。但這種意見是正確的嗎?難道,兄妹(姊弟)亂倫的吸引力不正是它可以把當 時人從太熟悉的領域帶向神祕領域嗎?

亂倫曾經是文學的一大關注(穆齊爾[Musil]和納博科夫[Nabokov]的作品都是箇中例子),但此景看來已經不再。我好奇理由何在。大概是因為人 們已不再把性愛視為一種準宗教經驗(quasi-religious experience),也因此不再把亂倫視為一種對諸神的挑釁。

致上最美好祝福
約翰

2009年4月24日

親愛的保羅:


謝謝你把大作《無形之物》(Invisible)寄贈。一如以往,我分兩次(每次都是一口氣)讀完。

你去年十一月的來函說過,你下一本小說會有亂倫的情節,但我當時卻猜想不到亂倫會在書中居於那麼核心的位置。(這種核心性可以透過你書中提到的一個問題獲得印證:亂倫行為是發生在哪裡的?是床上、腦子裡還是書寫裡?)   

亂倫是個有趣的題材,但在這之前,我對它從未有過意識層次的思考。(出了佛洛伊德之後,誰又敢否認自己對這問題有過無意識思考?)一開始思考這問題,我便饒感好奇地注意到,我們社會竟是用同一個用語去稱呼兄妹姊弟間的性行為和父女母子間的性行為25(暫且擱下各種不同的同性戀亂倫組合不論)。我自己沒有姊妹,但我不難想像,性遊戲對年紀差不多的兄妹或姊弟會有多麼大的誘惑力(當然,就像你小說中所示,性遊戲有時又會推進至不只是遊戲)。但與自己的子女上床卻是完全不同的事,會讓人覺得是一種很大的踰越。所以,我覺得宜於用不同用語去稱呼這兩類不同的性行為。


去年,澳洲南部的鄉村地區發生了一樁案子:有一對父女像夫妻一樣生活了幾十年而受到起訴。我已不記得全部細節,只記得法庭下令兩人分開,那個父親(丈夫) 再也不得靠近女兒(妻子),否則就要坐牢。在我看來這是個殘忍的懲罰,因為投訴的人不是那對男女的任何一方,而是鄰居。

不允許父母與子女發生性關係,大概是我們社會殘存的最後一種性禁忌。(我有信心預言,《無形之物》將不會引起讀者的咆哮,因為正如我說過,兄妹亂倫在我們 的社會是容許的,至少是容許談論或書寫。)我們的社會早已走出那種階級分明和性關係有嚴格範圍規定的階段。我猜想,性禁忌會衰落,是因為避孕變得輕鬆容易 的緣故:人們再也不用擔心女人會生出什麼怪物來。

我認為,牲口養飼知識在性禁忌和種族禁忌所扮演的角色一直受到忽略。這些從幾百代牲口養飼過程發展出來的知識規定了哪些物種方可與哪些物種交配,或同一血統的牲口要隔幾代之後才可交配。

不管怎樣,在今天,大部分性禁忌看來都消失了。過去可用於一大批禁忌性性行為(包括通姦!)的義憤已把焦點集中到單一類行為,即成年男人與小孩的性關係。而我相信,這是社會把父親──幼女性禁忌涵蓋範圍延伸開去的方法。

有意思的是,看到這世界的黑暗角落(又特別是伊斯蘭世界的黑暗角落)懲罰通姦男女的時候,我們會批評這種法律罔顧人權。究竟我們居住的世界(它讓我們有權 打破禁忌)是什麼樣的一種世界?如果一種禁忌是容許違反的,那它存在的意義又何在?(這個問題也許是你筆下那個拜倫調調的亞當.沃克(註:Adam Walker,《無形之物》的男主角。)會問的。)

祝好
約翰

Uncle Tungsten by Oliver Sacks:ON THE MOVE: A LIFE

$
0
0

On The Move

smaller jpg OTM front jacket
ON THE MOVE: A LIFE 預計2015年5月出版
by Oliver Sacks
An impassioned, tender, and joyous memoir by the author of Musicophilia and The Man Who Mistook His Wife for a Hat.
Coming May 2015
Also available from Random House Audio
Jacket image: TK
Jacket design by Chip Kidd
Alfred A. Knopf, Publisher, New York
(Pre-order) Purchase from: Amazon | Barnes and Noble

On The Move: A Life

When Oliver Sacks was twelve years old, a perceptive schoolmaster wrote in his report: “Sacks will go far, if he does not go too far.” It is now abundantly clear that Sacks has never stopped going. From its opening pages on his youthful obsession with motorcycles and speed, On the Move is infused with his restless energy. As he recounts his experiences as a young neurologist in the early 1960s, first in California, where he struggled with drug addiction and then in New York, where he discovered a long forgotten illness in the back wards of a chronic hospital, we see how his engagement with patients comes to define his life.
With unbridled honesty and humor, Sacks shows us that the same energy that drives his physical passions—weightlifting and swimming—also drives his cerebral passions. He writes about his love affairs, both romantic and intellectual; his guilt over leaving his family to come to America; his bond with his schizophrenic brother; and the writers and scientists—Thom Gunn, A.R. Luria, W.H. Auden, Gerald M. Edelman, Francis Crick—who influenced him. On the Move is the story of a brilliantly unconventional physician and writer—and of the man who has illuminated the many ways that the brain makes us human.
Oliver Sacks is a practicing physician and the author of twelve books, including The Mind’s Eye, Musicophilia, The Man Who Mistook His Wife for a Hat, and Awakenings (which inspired the Oscar-nominated film). He lives in New York City, where he is a professor of neurology at the NYU School of Medicine.
Oliver Sack’s An Anthropologist on Mars, Awakenings, Hallucinations, The Island of the Colorblind, The Mind’s Eye, Musicophilia, Seeing Voices, and Uncle Tungsten are available in Vintage paperback, as is Vintage Sacks, a collection of his finest work.

wikipedia
奧利佛·薩克斯Oliver Sacks,1933年7月9日),英國倫敦著名生物學家腦神經學家作家業餘化學家。他根據他對病人的觀察,而寫了好幾本暢鍚書。他側重於跟隨19世紀傳統的「臨床軼事」,文學風格式的非正式病歷。他最喜愛的例子為盧力亞著作的記憶大師的心靈
他在牛津大學王后學院學醫,後到美國加州大學洛杉磯分校神經科執業,1965年移居紐約,從醫並教書。他在愛因斯坦醫學院擔任臨床腦神經教授、紐約大學醫學院擔任腦神經科客座教授及為安貧小姊妹會擔任顧問腦神經專家。
薩克斯只在他的病例中記述少量的臨床數據,主要集中在病人的經歷上(其中一個病例為他本人)。其中許多病例均無法治癒或接近無法醫治,但病人會以不同方式改變他們的病情。
他最著名的著作——《睡人》(Awakenings,後來改編為同名電影無語問蒼天)講述了他在多名1920年代的昏睡病嗜眠性腦炎病人身上試用新葯左旋多巴的經歷。這同樣是英國電視連續劇Discovery首集的主題。
他的另一本書描述柏金遜症的各種影響以及杜雷特症的個案。《錯把帽子當太太的人》是描述一位視覺辨識不能症狀的人(此病例是1987年麥可·尼曼創作的歌劇的主題),《火星上的人類學家》是關於天寶·葛蘭汀(一位高功能自閉症的教授)的描述。薩克斯的著作被翻譯成包括中文在內的21種語言。

作品列表[編輯]

  • 《偏頭痛》(Migraine) (1970年)
  • 《睡人》(Awakenings) (1973年);范昱峰譯(1998年)台北:時報文化,ISBN 957-13-2757-3
  • 《單腳站立》(A leg to stand on) (1984年) (薩克斯在一場意外後無法控制自己雙腳的經歷)
  • 錯把太太當帽子的人》(The Man Who Mistook His Wife for a Hat) (1985年);孫秀惠譯 (1996年),台北:天下文化。
  • 《看得見的聲音》 (1989年) (Deaf culture and sign language)
  • 《火星上的人類學家》(Anthropologist on Mars) (1995年); 趙永芬譯,台北:天下文化。
  • 《色盲島》(The Island of the colorblind) (1997年) (一個島嶼社群上的先天性完全色盲);黃秀如譯(1999年),台北:時報文化。
  • 《鎢絲舅舅─少年奧立佛.薩克斯的化學愛戀》(2001年);廖月娟譯(2003年)台北:時報文化。
  • Oaxaca Journal (2002年)
  • 《腦袋裝了2000齣歌劇的人》(Musicophilia: Tales of Music and the Brain)(2008年)廖月娟譯,台北:天下文化
  • 《看得見的盲人》(The Mind's Eye) (2012年) 廖月娟譯,台北:天下文化

外部連結[編輯]


奧利佛·薩克斯的個人網頁 (英語)
奧利佛·薩克斯的支持者的網頁 (英語)
The Fully Immersive Mind of Oliver Sacks於Wired 10.04


這本書的中文本【鎢絲舅舅】似乎受忽視......

“I had intended, towards the end of 1997, to write a book on aging, but then found myself flying in the opposite direction, thinking of youth, and my own partly war-dominated, partly chemistry-dominated youth, in particular, and the enormous scientific family I had grown up in. No book has caused me more pain, or given me more fun, than writing Uncle T.–or, finally, such a sense of coming-to-terms with life, and reconciliation and catharsis.”
-- Oliver Sacks on "Uncle Tungsten"

Long before Oliver Sacks became a distinguished neurologist and bestselling writer, he was a small English boy fascinated by metals–also by chemical reactions (the louder and smellier the better), photography, squids and cuttlefish, H.G. Wells, and the periodic table. In this endlessly charming and eloquent memoir, the author of The Man Who Mistook His Wife for a Hat and Awakenings chronicles his love affair with science and the magnificently odd and sometimes harrowing childhood in which that love affair unfolded. In Uncle Tungsten we meet Sacks’ extraordinary family, from his surgeon mother (who introduces the fourteen-year-old Oliver to the art of human dissection) and his father, a family doctor who imbues in his son an early enthusiasm for housecalls, to his “Uncle Tungsten,” whose factory produces tungsten-filament lightbulbs. We follow the young Oliver as he is exiled at the age of six to a grim, sadistic boarding school to escape the London Blitz, and later watch as he sets about passionately reliving the exploits of his chemical heroes–in his own home laboratory. Uncle Tungsten is a crystalline view of a brilliant young mind springing to life, a story of growing up which is by turns elegiac, comic, and wistful, full of the electrifying joy of discovery. Read an excerpt here: http://ow.ly/yhxCT

相片:“I had intended, towards the end of 1997, to write a book on aging, but then found myself flying in the opposite direction, thinking of youth, and my own partly war-dominated, partly chemistry-dominated youth, in particular, and the enormous scientific family I had grown up in. No book has caused me more pain, or given me more fun, than writing Uncle T.–or, finally, such a sense of coming-to-terms with life, and reconciliation and catharsis.” -- Oliver Sacks on "Uncle Tungsten"  Long before Oliver Sacks became a distinguished neurologist and bestselling writer, he was a small English boy fascinated by metals–also by chemical reactions (the louder and smellier the better), photography, squids and cuttlefish, H.G. Wells, and the periodic table. In this endlessly charming and eloquent memoir, the author of The Man Who Mistook His Wife for a Hat and Awakenings chronicles his love affair with science and the magnificently odd and sometimes harrowing childhood in which that love affair unfolded. In Uncle Tungsten we meet Sacks’ extraordinary family, from his surgeon mother (who introduces the fourteen-year-old Oliver to the art of human dissection) and his father, a family doctor who imbues in his son an early enthusiasm for housecalls, to his “Uncle Tungsten,” whose factory produces tungsten-filament lightbulbs. We follow the young Oliver as he is exiled at the age of six to a grim, sadistic boarding school to escape the London Blitz, and later watch as he sets about passionately reliving the exploits of his chemical heroes–in his own home laboratory. Uncle Tungsten is a crystalline view of a brilliant young mind springing to life, a story of growing up which is by turns elegiac, comic, and wistful, full of the electrifying joy of discovery. Read an excerpt here: http://ow.ly/yhxCT


"My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else."
-- Oliver Sacks

Dubbed “the poet laureate of medicine” by The New York Times, Oliver Sacks is a practicing neurologist and a mesmerizing storyteller. His empathetic accounts of his patients’s lives—and wrily observed narratives of his own—convey both the extreme borderlands of human experience and the miracles of ordinary seeing, speaking, hearing, thinking, and feeling. Vintage Sacks includes the introduction and case study “Rose R.” from Awakenings (the book that inspired the Oscar-nominated movie), as well as “A Deaf World” from Seeing Voices; “The Visions of Hildegard” from Migraine; excerpts from “Island Hopping” and “Pingelap” from The Island of the Colorblind; “A Surgeon’s Life” from An Anthropologist on Mars; and two chapters from Sacks’s acclaimed memoir Uncle Tungsten.

相片:"My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else."  -- Oliver Sacks  Dubbed “the poet laureate of medicine” by The New York Times, Oliver Sacks is a practicing neurologist and a mesmerizing storyteller. His empathetic accounts of his patients’s lives—and wrily observed narratives of his own—convey both the extreme borderlands of human experience and the miracles of ordinary seeing, speaking, hearing, thinking, and feeling. Vintage Sacks includes the introduction and case study “Rose R.” from Awakenings (the book that inspired the Oscar-nominated movie), as well as “A Deaf World” from Seeing Voices; “The Visions of Hildegard” from Migraine; excerpts from “Island Hopping” and “Pingelap” from The Island of the Colorblind; “A Surgeon’s Life” from An Anthropologist on Mars; and two chapters from Sacks’s acclaimed memoir Uncle Tungsten.

Thomas Bailey Aldrich

《吳坤煌詩文集》吳燕和、陳淑容/編

$
0
0
吳坤煌/著,吳燕和、陳淑容/編,《吳坤煌詩文集》,臺北市:臺大出版中心,2013年

【作者簡介】
吳坤煌(1909–1989),筆名「梧葉生」、「北村敏夫」、「譽烔煌生」,臺灣南投人。少時因發起學運遭臺中師範學校退學,後前往東京留學,成為東京臺灣藝術研究會及臺灣文藝聯盟東京支部的發起人,參與雜誌《福爾摩沙》及《臺灣文藝》的組織運作。才華洋溢的吳坤煌,文友知己遍及臺灣、日本、中國及朝鮮,透過詩文寫作與戲劇演出進行東亞左翼文藝社團的跨國連結,譜出一九三○ 年代殖民地文學史上傳奇而炫目的一頁。戰時旅居北平,結婚成家後返臺,後因白色恐怖繫獄十年,與文壇隔絕三十年而於晚年再出發。吳坤煌的生命及書寫是二十世紀臺灣歷史的重要見證與縮影。
【主編簡介】
吳燕和
吳坤煌的長子,一九四○年生於北京,臺大考古人類學系畢業,夏威夷大學人類學碩士,澳洲國立大學人類學博士。曾任夏威夷大學東西中心研究員兼人類學研究所教授、香港中文大學人類學系主任。現為夏威夷大學教授,東西中心資深研究員,中研院民族所兼任研究員。五十多年在南太平洋、東南亞、中、日、臺作田野調查。發表專書十餘種,論文百篇。
陳淑容
成功大學臺灣文學博士,曾任臺灣大學臺灣文學研究所博士後研究員,現為清華大學臺灣文學研究所博士後研究員。專長領域為現代文學、殖民地文學及報刊文藝研究。著有《一九三○年代鄉土文學/臺灣話文論爭及其餘波》、《「曙光」初現:臺灣新文學的萌芽時期(1920-1930)》等書及研究論文多篇。


一位曾湮沒在歷史洪流中的臺灣詩人與文人
一段兒子尋找謎樣父親的動人故事
一段研究者探訪被遺忘作家的故事
帶領讀者進入詩文譜下的跨時代文學與歷史世界

在那波瀾壯闊的一九三○年代,在東京街頭一隅,一個殖民地臺灣南投山城之子,獻身紅色馬克思,用詩文譜下生命的希望,與燃燒的痛苦。
他的詩洋溢著南國情熱,以水牛、烏秋、白鷺鷥與苦苓樹抒發對故鄉的思念。他的詩滿懷對不義政體的控訴,從街頭浪人、工廠勞動者、客死異鄉的藝術家到被俘囚的異議分子。他的詩銘刻著殖民地與現代性的傷痕,即便湮沒在歷史的洪流中許久,仍舊如此深刻而令人動容。
他是吳坤煌(1909-89),少時因發起學運遭臺中師範學校退學,後負笈東京留學,前後肄業於日本大學藝術專門科及明治大學文科等。1933年同張文環、王白淵、劉捷、蘇維熊、施學習、巫永福等人組織了「臺灣藝術研究會」,並發行「福爾摩沙」文學雜誌,是東京臺灣藝術研究會發起人及負責臺灣文藝聯盟東京支部,參與雜誌《福爾摩沙》及《臺灣文藝》的組織運作。他才華洋溢而風流倜儻,文友知己遍及臺灣、日本、中國及朝鮮,透過詩文寫作與戲劇演出進行東亞左翼文藝社團的跨國連結,譜出殖民地文學史上傳奇而炫目的一頁。
他為反殖民運動付出兩度身陷囹圄的代價,依然天真浪漫不改革命熱情。祖國接收後經歷二二八與白色恐怖,十年牢獄之災讓他噤聲與輟筆。他在國民政府的「心牢」中自囚封筆三十年,再出發已距離風雲叱吒的東京時期半世紀久遠。
他在晚年仍不忘以「詩人梧葉」自居,整理舊作成為遺願。這個願望在二十年後由他的長子吳燕和與一個年輕的臺灣文學研究者陳淑容共同完成。兩位編輯獲得海內外諸多人士協助,用數年時光拼湊出這塊臺灣文學史上瑰麗而陌生的版圖。
《吳坤煌詩文集》收錄的吳坤煌日文詩文作品,絕大多數都是此次首度中譯並公開出版。這是包括《テアトロ》、《生きた新聞》、《詩歌》、《詩精神》、《詩人》、《臺灣文藝》、《臺灣新民報》、《臺灣新聞》等報刊上的珍貴文獻;編輯者也致力蒐羅戰後作品,以全面呈現作家橫跨半個世紀的寫作為目標。
《吳坤煌詩文集》的展開,隱藏著兒子尋找父親、研究者探訪被遺忘作家的一段動人故事。編輯更透過年表、家族世系表、著作目錄、媒體報導及研究文獻等資料彙編,讓讀者得以掌握相關研究動態。書前並附叢書主編梅家玲及主編吳燕和、陳淑容序。
希望透過這些作品展演吳坤煌的文藝美學、思想轉折與行動演練。擴大來說,他的生命歷程與書寫,能夠成為跨時代知識人的縮影,填補不為人知的臺灣歷史與政治。
---
目錄
圖輯
編輯說明
吳坤煌研究的新起點 梅家玲
重新認識父親吳坤煌 吳燕和
重讀吳坤煌:思想與行動的歷史考察 陳淑容
輯一 詩
烏秋
旅路雜詠之一部(一)
        _城市之聲
悼陳在葵君p.58注3的"語源不詳",應該是malaise ghost。民俗中的凶神意義待查。
南蠻茶房
貧窮賦
冬之詩集(一)
     _晚秋與少女心
     _婚約者、婚約者
     _吹向丸之內街道的風
拂曉之夢
冬之詩集(二)
     _飄流曠野的人們
歸鄉雜詠(一)
     _更夜之歌
     _基隆碼頭下著小雨
歸鄉雜詠(二)
     _苦苓樹籽真正苦
思念秀鳳
母親
旅路雜詠之一部(二)
     _阿母
     _孤魂
向我求婚吧
     _搬家
俳句圓
歸鄉雜詠(四)
     _南投之秋,謹獻給父親
     _處女離家出走
歸鄉雜詠(五)
     _秋的哀愁
     _淡淡的一夜不連續篇
宇宙之狂歌
悼老友漢臣兄
烏秋咬球
詩二首
     _白鷺鷥報春喜
     _種有木瓜樹的鄉鎮
輯二 文
致某位女性
臺灣的鄉土文學論
南國臺灣的女性與家族制度
臺灣老鰻傳奇
中國通信
現在的臺灣詩壇
農民劇團與露天劇:中國通信
出獄後的田漢與南京劇運
《春香傳》與支那歌舞伎之元曲
日本電影的勝利《田園交響樂》:兼談知性文學
旅與女
悲劇女主角秋琴:《可愛的仇人》讀後感
新北投遊記
藝旦的教育
戲劇之道:對皇民化劇之考察
給臺灣女性的公開信
臺灣戲劇通信
州內皇民化劇問題
續戲劇之道:戲劇創作ABC
臺灣藝術研究會的成立及創刊《福爾摩沙》前後回憶一二
懷念文環兄
輯三 譯文及其他
東京支部設立
東京支部提案:呈臺灣文藝聯盟總會
東京支部為將於七月來臺之舞蹈家崔承喜小姐舉辦歡迎會
臺灣文聯東京支部通信
東京支部例會報告書
附錄
一、座談會發言
二、媒體報導
三、吳坤煌生平年表與同時代大事年表
四、家族世系表
五、著作目錄
六、研究文獻目錄
編後記 陳淑容
【序言】
序一  吳坤煌研究的新起點  (叢書主編梅家玲序)
2009年9月,臺灣大學臺灣文學研究所和哈佛燕京學社合作舉行「交界與游移—近現代東亞的文化傳譯與知識生產國際學術研討會」。研討會第二天,我們安排一場「重返《福爾摩沙》—蘇維熊、吳坤煌及其時代座談會」,討論三0年代升學「帝都」東京的臺灣留學生文藝團體「臺灣藝術研究會」成員的文藝活動,並特地邀請「臺灣藝術研究會」核心成員之一的蘇維熊哲嗣蘇明陽教授、吳坤煌哲嗣吳燕和教授與會。當時吳燕和教授雖遠在夏威夷,無法出席,但是寫了一封文辭並茂的英文發言稿,請廖炳惠教授翻譯代讀。會後,我們隨即得到蘇明陽教授和吳燕和教授的同意與協助,由臺大出版中心整理翻譯出版《蘇維熊文集》、《吳坤煌詩文集》。2010年11月,《蘇維熊文集》順利出版,蘇明陽教授專程從美國洛杉磯返臺出席在臺大總圖書館舉行的新書發表會,吳燕和教授正值在交通大學擔任客座教授,亦特從新竹趕來與會,新書發表會上,蘇、吳兩位教授相視而笑,交談甚歡,溫馨的畫面令人難忘。當時預定隔年即要出版《吳坤煌文集》,但由於種種因素,直到今天總算順利問世,作為叢書主編,懸在心上多年的一塊大石,才算卸下。
在《蘇維熊文集》的代序〈立足鄉土,放眼世界─「臺灣藝術研究會」發起人蘇維熊教授與《福爾摩沙》〉一文中,我曾提及:關於《福爾摩沙》集團之整體研究已有豐碩成果,但是《福爾摩沙》集團之成員的個體研究,依然相當有限,《蘇維熊文集》、《吳坤煌文集》的出版,除了表示對前輩作家的敬意、為臺灣文學史料的整理翻譯盡點綿薄之力外,同時也希望有助於《福爾摩沙》集團成員之個體研究的進一步開展。
吳坤煌在戰後很長的一段時間被遺忘,主要原因是1939年他即前往中國大陸發展,同時遠離臺灣文壇與日本文壇。他於1946年返臺,1948年曇花一現地出現在《新生報》「橋副刊」的作者茶會上。1950年,他被指控參與臺灣民主自治同盟活動,入獄十年,出獄後經商,將近有三十年與臺灣文壇處於絕緣狀態。一直到1980年,故黃武忠先生發表他的訪談,同年年底,相隔了三十二年,他在《自立晚報》發表了隨筆〈悼老友漢臣兄〉,隔年年初,羊子喬先生也發表了吳坤煌的詩論。1981年出版的《寶刀集─光復前臺灣作家作品集》(聯合報)、1982年出版的《光復前臺灣文學全集》(遠景),分別選錄了他的詩作,才又喚醒學者與文學界注意到這位前輩作家。至於他大陸時代的事蹟與戰後入獄的經過,則須等到吳燕和教授在2006年出版其回憶錄《故鄉‧田野‧火車─人類學家三部曲》之後,才大白於世。
而令人興奮的是,不只是臺灣學者,日本學者也注意到了吳坤煌的存在,日本關西大學北岡正子教授在九0年代初開始發表的中國左翼作家聯盟東京支部的相關研究,包括:〈日文研究という雑誌(下)―左連東京支部文芸運動の暗喩―〉(《中国―社会と文化》第五号,1990年6月)、〈雷石榆《砂漠の歌》―中国詩人の日本語詩集〉(《日本中国学会報》第四十九集,1997年10月),發現了東京時代吳坤煌與當時日本左翼文學團體與作家、中國留學生左翼文學團體與作家、滿洲國留學生左翼作家的來往,此一研究,也影響了2000年中期以後下村作次郎教授與柳書琴教授關於東京時代吳坤煌的細部研究。
吳坤煌的詩文早已散佚,蒐羅不易,為了編輯這本文集,陳淑容博士上窮碧落下黃泉,反覆斟酌,投注了多年的心血與時間,令人感動。吳燕和先生撰寫〈重新認識父親吳坤煌〉長序,從為人子者的角度,為讀者呈現對吳坤煌先生的近距離觀照;在詩文譯作及相關研究之外,凸顯了不為人知的許多點滴,特別值得細讀。這幾年還有不少臺日學者關心《吳坤煌文集》的出版,並主動提供資料給編者,使本書的內容益趨豐富。特別是下村作次郎教授與柳書琴教授,除資料外,還提供了個人的相關研究論文,盛情銘感於心。
只可惜後來因篇幅及體例所限,未能收入,十分遺憾。柳書琴教授多方協助此一文集的出版,更義務花費寶貴時間協助校訂,使本文集更臻完善;在此都要一併致謝。而我們也相信,《吳坤煌詩文集》的出版問世,將會為臺灣文學研究注入新的源頭活水,它將是吳坤煌,以及與他同輩的臺灣作家研究的一個新的起點。
序二  重新認識父親吳坤煌  (主編吳燕和序節錄)
母校臺灣大學的出版中心計劃出版先父作品文集,因此央我寫序,介紹我所認識的父親,以及他在世時的生活點滴,是文獻資料中看不到的那一面。
要我介紹我的父親,其實是一件難事,我一生與他見面的日子屈指可數,與他面對面兩人談話的場合,僅止於兩三次而已。雖然我在大學時代,他出獄之後的兩、三年,閱讀了當時被查禁的他的故友王詩琅所譯《台灣社會運動史》(臺灣總督府警察沿革誌,社會運動史部分,後來一九八八年再由臺北縣稻香出版社出版,日本官方編輯的臺灣人反日史料),知道他自一九三○年在日本求學時即是位豐富多產的熱情詩人、演員、社會評論家,也看過他文筆流暢的中文文章和書信。平時他是一位寡言的人,與我談話多半只有「是」與「不是」。從我小學五年級(1951)直到高中畢業,他被關在綠島(火燒島),這八年我們保持著通訊,因而建立起超出一般父子的深厚情感。我知道自己在他心中占有極為特殊的地位,而我亦對他極為崇敬與佩服,他對理想的堅持,以及面對痛苦折磨的不屈毅力都異於常人。假若缺乏了近年臺灣文藝界人士的努力、臺灣近代史學與文學史研究亦無法振興、甚或是父親的著作被多位日本和臺灣學者發掘整理出來的話,我也不可能在古稀之年重新認識父親,聽到八、九十年前他作為一個臺灣青年的吶喊心聲。
我感謝臺灣文學界,帶我走入先父跨國跨境、超越時空的想像世界。從前我不瞭解先父的想像(imagination)是多麼的全球觀,他的文章揭示出臺灣人前輩作家在二十世紀初期,早已超越現代的想像與敘事。我很驚訝,八十年前一位來自臺灣深山的鄉下孩子,能在日本教育之下,浸淫在歐洲文明的理想大同世界。父親書寫的南投家鄉,是南歐地中海的小城,是一個女性化的意象(imagination),像他(八十年前)盼望得到解放的臺灣女性們。父親雖然沒能提筆寫下他漂流過的東京、北京、徐州、上海、甚至綠島,但是就像他的故友劉捷所描述的,父親是一位不可救藥的樂觀者,如果他執筆描繪這些城市,應當會表現出他一輩子在堅苦險惡環境之下,仍然懷有羅曼蒂克的、性別化的憧憬情懷(gendered, nostalgic imaginary)。
一、慈愛的父親
現在讓我從兒時的片斷回憶,談談我記憶中的父親,也許多少能填補一點他那從未被瞭解的空白的一生(這些回憶過去都沒有發表過)。
我從臺灣文學界的討論,聽到一個耐人尋味的疑問:為什麼青年時代熱愛家鄉,提倡脫殖民地文學與臺灣文化的多產詩人,同時亦是當年在東京跟中國大陸五四之後以文學家、戲劇家齊名發表的著名作家(見後),一九四六年回到臺灣之後,卻消聲匿跡、不再寫作?除了他從一九四八年起遭受三次牢獄之災,一九六一年終於出獄,一九八九年去世,這段期間幾乎全然封筆,我以下的回憶,或能為尋求答案提供一絲線索。但因長輩、家人俱健在,故我不能暢所欲言,以免造成誤解與遺憾。再者,我仍然期待研究臺灣近代史與文學史的學者們的努力,掀開前輩臺灣人的神祕面紗,讓我們了解到臺灣近代史之巨輪下,輾過、犧牲了多少有才華的悲劇性臺灣人。
我記得的父親的形象,是一位帶著滿臉笑容望著我的慈父。我的腦海中立即浮現五幕有他的臉孔的畫面,是我三歲至九歲之間,橫跨北京、南投、臺北三地的畫面。
第一幕畫面是父親抱著我,伸手指著遠方(北平)故宮高牆的一角,那是居於護城河上方的宮牆角樓。我當時應該只有三、四歲(我一九四○年出生)。父親笑著對我說話,我不記得說話內容,卻仍然記得站在護城河外圍的走道上,身旁一片綠色的田野。父親抱著我,要我朝著他手指的方向看出去,壯觀的高牆和蒼黑色角樓映入眼簾。那天也許是星期日或者假日,因此父親有閒暇帶我出門遊逛,但是我不記得母親是否也在身邊。
第二幕畫面也是在北京,應該是我四、五歲的時候。我坐在父親懷裡,他和母親並坐在高大的洋車上(由一位車夫在前面拉著跑的「人力車」)。我手裡還抓著紙糊玩具。印象中我們剛從天橋廠甸出來,在當時它是最熱鬧的遊樂區。人力車朝著回家的方向前進,四周的行人和車馬熙熙攘攘。
第三幕是父親帶著笑臉對我說話的畫面,那時我們回到老家南投,我大概六歲左右,應該還沒念小學一年級。我從外頭回家,一手提著一個小水桶,另一手拖著一條竹竿,竿尾綁著一個鐵勺。我看過祖母在我家院牆外面的水田旁邊,撈取綠色浮萍小草,回家餵她養的鴨子。鴨子們搶著吃水草,祖母告訴我鴨子最愛吃那種水草。
那天好像沒人在家,我偷偷拿了祖母的工具,走出家門,在道路的水田邊,學著祖母的動作打撈水草。等我心滿意足地回家,進入第二道院門時,看到父親高高在上地站在飯廳的玻璃門邊,低下頭望著我。我大吃一驚,因為我全身髒汙、雙腳沾滿水田的泥濘,怕挨父親的罵。結果出乎我意料之外,父親竟然笑著說:「真好,你真能幹,會幫忙找鴨草了。趕快把東西放好,去洗腳吧!」
我在南投鎮(原縣政府所在地,即今南投市)上小學一、二年級(1946-1948),很少在家中看到父親。除了知道二二八時,他曾經兩度被捉去關(總共前後兩年間)之外,最近才聽母親說起,當時父親在草屯初中教書,而她在南投初中教書(當時還沒有高中),後來四姨(母親的四妹:張若蕖)隻身來臺,就是透過父親介紹而在草屯初中教書。當時隨著我們回臺的五姨(張若蚨,她也在南投初中教書。她畢業於北京某間初中,是後來出名的考古家、中研院副院長張光直的同學。五姨還告訴過我,張光直的奶名叫「玲玲」。)
當時與父親來往的朋友們,都是地方上的大人物。記得父母經常帶著我到鎮長、銀行經理家串門、吃飯。每次在別人家吃晚飯,飯後大人們盡情談笑,可是最後的娛樂節目總是叫我出來唱歌,我好像唱過白光的歌,也唱過李香蘭的〈夜來香〉。我還記得我就讀的南投第二國民學校(原稱平和小學)的校長──張慶沛,是父親從小一起長大的好朋友。
有一次小學舉辦運動會,我沒想到父親會穿著全套西裝、打著領帶,出現在台上的貴賓席。後來他下台跟另外一位來賓表演打網球,周圍的老師和同學們圍著觀看,只有我躲得遠遠地,深怕同學知道那是我父親,這樣會讓我覺得不好意思。
我記得在南投那兩年,父親英姿煥發,穿著時髦、瀟灑,有時父母參加親友的喜慶宴會,他們會變成大家注目的焦點,反而忘了看新人。唯一的一次例外是家中來了一對穿著光鮮美麗的夫婦,從外地來訪,和父母有說有笑,然後一起出門遊玩,好多天沒有回家。多年之後我詢問母親,才得知他們是父親在日本時的好友──雷石榆和他的臺灣妻子──出名的舞蹈家蔡瑞月。父母帶他們去日月潭遊玩。 
第四幕畫面是我就讀臺北國語實驗小學三年級的某個星期天。那天父親帶著我和弟妹,還有我的同學夏永田一共四人,乘坐每天接送他上班的汽車,清早就出發去圓山動物園(現在的中山北路四段、基隆河畔的小山上)。到達動物園門口,下車之後父親先去買了椪柑和糖果,分給我們。大家興高采烈地在動物園玩了一整天。這幕畫面裡好像又沒有母親的出現,可能她在家享受難得的晨睡吧!......


......我認為他代表著與中國人極為不同的臺灣人經驗。他歷經日本現代化而認同全球化的視野,也是臺灣人特殊意識的前軀。......我們必須把像他這樣的臺灣近代與現代人,放在脫離中國的臺灣現代史框架進行研究、理解,否則無法深入分析臺灣文化史。
序三  重讀吳坤煌:思想與行動的歷史考察  (主編陳淑容序節錄)
前言:吳坤煌的探問
一九三三年底,在東京發行的《福爾摩沙》(フォルモサ) 文藝雜誌上,吳坤煌發表一篇〈臺灣的鄉土文學論〉(臺灣の鄉土文學を論ず)。2這是繼黃石輝以〈怎樣不提倡鄉土文學〉一文揭揚鄉土文學論戰的大旗三年後,也幾乎是在整個論戰末期所發表的文章。在這篇文章中,吳坤煌以宏闊的篇幅闡明其鄉土文學觀,嘗試跳開島內臺灣話文/中國白話文派的對立,將論辯提昇到階級層次,更是這篇文章的重要論點。吳坤煌說:「臺灣許多文學創作之中,如果描寫臺灣人的生活,而作品中沒有民族的動向,或沒有豐富的地方色彩,也不能算是我們向來主張的鄉土文學。」他引證列寧、史達林、藏原惟人的觀點,指出無產階級必須針對這個故有的文化遺產進行批判與再改造,提出內容是無產階級的,形式是民族的大原則,為建立將來的共同語言的統一文化創造條件。那麼,作為弱小民族的臺灣,其統一的文化語言為何?吳坤煌認為是能夠以承載民族文化遺產的共通語言。
這篇文章並沒有給我們回答一方面能夠串連普羅大眾,一方面又可以批判性地承繼民族文化遺產的「共通語言」究竟是什麼。換句話說,吳坤煌並不認為當時的臺灣存在著所謂的「共通語言」。也就是,在斟酌臺灣社會的實況之後,他將「共通語言」的存在與設立視為未來式的問題,而非理所當然地將「臺灣話文」等同於代表「普羅」的共同語言。這個論點想當然爾將引起島內諸多同志的撻伐,但終究發表時間已近論戰尾聲,再加上以日文發表在東京《福爾摩沙》同人誌上也限制了其影響力,因而我們無法看到太多相關的討論。事實上,在以日文寫就,發表於東京的同時,吳暴露他身為殖民地子民的限制;卻也開啟了日文作為一種連結工具的可能。
但這終究不是吳坤煌的問題,對他而言,語文究竟不只是工具,重點是這個語言承載了怎樣的民族文化?很顯然這是不同於統治者,屬於臺灣獨特經驗的文化。這個文化如何承繼傳統?並開花結實?對吳坤煌來說,其題解必得回到階級問題──也就是透過無產階級的改革,分析何謂真正的臺灣文化,然後才有隨之而來的語文問題產生的可能。吳坤煌對於「共通語言」的想像以及論述很顯然超乎了同時代臺灣作家的理解,事實上,在相隔論戰七十餘年的今日,他的探問依然未被正視。
本文將從吳坤煌對於「鄉土文學」的提問出發,梳理一個臺灣作家的生命故事。這個集詩人、文學評論及劇評家等多重身分於一的前輩文化人,在殖民統治壓力下,其身上銘刻了試圖逃離此困境而烙下的印痕。這些私密的個人經驗,連接他的思想與行動,反映多重殖民歷史下,跨時代文化人的掙扎與苦鬥。
---
吳坤煌 (1909~1989),筆名:梧葉生,南投人。台中師範畢業,先後進入日本大學及明治大學研習藝術和文學。留日時曾與張文環巫永福蘇維熊等人組「台灣藝術研究會」,創辦「福爾摩沙」(フォルモサ),並參與東京築地小劇場、韓國留日學生三‧一劇團,也與中國留日作家合作導演新劇。作品以新詩為主,亦有評論,作品散見於《台灣文藝》、《台灣新民報》、《台灣新聞》;日本《詩神》、《中外雜誌》,以及中國的《詩歌》雜誌等。[1][2]




WOLF HALL; What historians think of historical novels

$
0
0


February 13, 2015 4:23 pm

What historians think of historical novels

Simon Schama on ‘Wolf Hall’, taking liberties with the truth, and what historians and novelists can learn from each other
Illustration by Toby Whitebread for Simon Schama's feature on historical novels©Toby Whitebread
T
ry dropping the words Wolf Hall into a room full of historians these days and you’ll find out pretty quickly what they think of historical fiction. There will be those who make clucking sounds, roll their eyes and generally behave as though they’ve been introduced to Clio’s flighty little sister who has all of the fun and none of the responsibility. But then there are those who are happy that Hilary Mantel’s prodigious storytelling has drawn millions into the realm of the past where, once captive, they can be informed about what really happened.
Me, I’m with the relaxed crowd, though it grates a bit to accept that millions now think of Thomas Cromwell as a much-maligned, misunderstood pragmatist from the school of hard knocks who got precious little thanks for doing Henry VIII’s dirty work other than the earldom of Essex — about five minutes before being marched to the scaffold as a result of Anne of Cleves turning out to be a dog rather than the pussycat of Holbein’s portrait.
I don’t pretend to be an authority on the Tudor Reformation, but when I was doing research for A History of Britain, the documents shouted to high heaven that Thomas Cromwell was, in fact, a detestably self-serving, bullying monster who perfected state terror in England, cooked the evidence, and extracted confessions by torture. He also unleashed small-minded bureaucratic “visitors” to humiliate, evict and dispossess thousands of monks and nuns, not all of whom had their hands up each other’s robes or were passing off pig bones as holy relics. On at least one occasion he had the fake relic and the custodial friar burnt side by side. Witty, that. The fact that Thomas More (who could use some help right now) was likewise not averse to burning people as well as books, if they strayed from sound doctrine, does not mean that Cromwell, in comparison, was a paragon of refreshing straightforwardness. Sure, he was a good family man. So was More. So was Himmler.
But, as I say, I’m relaxed about all this. I don’t much mind that historical novels and films take liberties with the facts, commit sins of omission or make imaginative interpolations provided they do not pretend to claim the same kind of authority in telling you how it really was as accounts based on documented fact seek to do. When I wrote my own historical novella, Dead Certainties: Unwarranted Speculations(1991), about the making and writing of history, I didn’t expect it to be held to the same standards as a work of non-fiction. Before publishing a review, the New York Times asked me whether it should treat it as fiction or non-fiction. “Fiction,” I told them. “I made up dialogue, monologue, all sorts of things.” It went into non-fiction.
Damian Lewis as Henry VIII in the BBC adaptation of Hilary Mantel’s ‘Wolf Hall’©Giles Keyte
Damian Lewis as Henry VIII in the BBC adaptation of Hilary Mantel’s ‘Wolf Hall’
Even though Leo Tolstoy refused to callWar and Peace a novel, fiction should candidly rejoice in its inventions. It is when a polemical point gets made through shifting the evidence around to suit some preconceived opinion that it gets morally murky. The film Selma, which I have yet to see, has been criticised for its representation of Lyndon Johnson as a wily procrastinator rather than the president who urged Martin Luther King to confront the worst outrages against civil and voting rights so that the country would be shocked into supporting legislation. Ava DuVernay, the film’s director, expressed surprise that so much was made of this emphasis but she must have known the stakes were high. For the film’s critics, an uninformed audience might confuse a movie interpretation with the documented truth: a rare instance of mutually interested partnership between presidential politics and the civil rights movement is in danger of being replaced by a model of conflict and deception.
Invention may compromise authority but then we don’t go to great historical fiction or feature films for hard documentary truth. What they deliver, instead, is an imaginative impression but when that impression emerges from rich research it is often capable of delivering a much more vivid sense of the past than an arrangement of unimpeachable data. No military history of the battles of Austerlitz or Borodino is ever going to transport the reader into the ferocious and chaotic reality experienced by both officers and ordinary soldiers better than War and Peace.
The mindset of historians and historical novelists is not all that divergent. Both strive for what Oxford philosopher RG Collingwood exhorted as the imaginative “re-enactment”; the getting inside an event. Without a grip on evidence, the historical novel is empty fable; without imaginative empathy, history is all bones and no flesh and blood. For some historians, who see their work essentially as the political science of the past, this may sound like a dangerous flirtation with romance. But then there are some who don’t mind admitting we were drawn to the subject in the first place precisely because of that romance.
. . .
I was born in 1945, into a Britain scarred and charred by the war. My personal histories, Jewish and British, had taken a beating but had somehow endured. The present was austerely rationed like the barley sugar twists I craved (and actually nicked once or twice from Woolworths); the future was atomic in a way that both excited and terrified but the past was a romance of inexhaustible splendour and I spent as much time there as I possibly could. My first “book”, created when I was eight, was a history of the Royal Navy consisting mostly of cigarette card pictures of battleships: Golden Hind to Ark Royal. Walked through the Tower of London by my dad, I thought I caught on the riverside breeze the whimpering cry of one of Richard III’s inconvenient nephews. I was the only boy I knew who liked Robert Louis Stevenson’s The Master of Ballantrae better than Treasure Island; Arthur Conan Doyle’s The White Company rather than Sherlock. I couldn’t get enough of Walter Scott (something that on rereading amazes me): not just Ivanhoe, but the lumberingWaverley, the novel that on publication in 1814 became the first international bestseller and inaugurated a mass market for historical fiction.
I remember being vividly struck by one scene in Waverley. The eponymous and somewhat drippy hero follows his own dreamy romance into the Highlands in 1745, the year of the Jacobite rebellion, which he duly joins. He is brought to a clan feast in which the main course is “a yearling lamb . . . roasted whole. It was set upon its legs, with a bunch of parsley in its mouth . . . The sides of this poor animal were fiercely attacked by the clansmen, some with dirks, others with knives which were usually in the same sheath with the dagger so that it was soon rendered a mangled and rueful spectacle.”
These were the table manners I hoped to imitate at home but I also remember Scott’s learned footnote explaining Scottish aversion (“till of late years”) to pork. These clansmen were apparently kosher; och oy! But it was the scene’s close-up physical detail that made me feel I was there with clan MacIvor.
You would suppose that the condition of becoming a working historian is to leave this kind of thing behind as fable: a genre not just distinct from a history but the antithesis of it. The distinction could not be clearer, some historians argue. On the one side stand the interpreters and analysts of documented evidence; on the other, the fabulists, free to come and go from the realm of truth as their literary fancy dictates.
Yet in the Edinburgh Review in 1825, the young Thomas Babington Macaulay thought that, while true historians must never invent, there was something they could learn from novelists. He knew that Scott was greedy for archival research into anything that might help him reconstruct a lost world: ballads and vernacular poems; games and diet, costume, furniture, weapons and architecture. It was the fabric of everyday life that “high” historians disdained as unconsidered trifles — their noses deep in state papers and the correspondence of the mighty — that Macaulay thought should be snapped up by any writer wanting to make his reader live richly in a different time and place.
Both Scott and Macaulay were beneficiaries of a wave of writing that began in the later 18th century by the likes of the costume historian Joseph Strutt and the eccentric vegetarian radical Joseph Ritson, a great anthologist of folk ballads and resurrector of Robin Hood. But they also felt instinctively that they were embarked on a common endeavour of storytelling from which historical truth could emerge. For Macaulay, it was the unfolding of the epic of British liberty. Walter Scott, the product of Enlightenment Edinburgh, also believed this to be the great motor driving British history, though the sunlight of progress was darkened by a sense of what was being lost: cue the plaid, the pipes and the standing lamb with parsley.
There was another bond connecting the novelist and the historian: their shared belief in the power of literary narrative and their healthy respect for its complexity. The instruction was not all one way. When he published A Tale of Two Cities in 1859, Charles Dickens openly professed how much he owed to the narrative genius of, as well as the learning behind, Thomas Carlyle’s The French Revolution (1837), a work that charges along like a bolting horse in the historical present. “See Camille Desmoulins, from the Café du Foy, rushing on, sibylline in face; his hair streaming, in each hand a pistol! He springs to a table: the Police satellites are eyeing him; alive they shall not take him; not they alive, not him alive. This time he speaks without stammering: Friends, shall we die like hunted hares, like sheep hounded into their pinfold; bleating for mercy where is no mercy but only a whetted knife? The hour is come.”
Before scholars brushed off historical novelists as dubious entertainers, there were many such fruitful collaborations. Victor Hugo could not have written his phenomenal (and absurdly unread) 1793 (1874) without the help of the histories of Jules Michelet, head of the Archives Nationales, and a virtuoso of storytelling. The greatest of all the historical novelists, Tolstoy, was himself a compulsive trawler through the archive. An unexpected treasure trove of Masonic papers led him to make Pierre Bezukhov flirt for a while with the mysteries of the Craft. His own experience of a military raid on a Chechen village bloodied the young Tolstoy in the cruelties of war. This did not stop him immersing himself in every conceivable historical source, in many languages, on Napoleon and the history of Russia 1805-1812.
. . .
To be sure, there are significant differences in working methods. Because historical novels use conversational dialogue, their inventors have to think very carefully about voice: the tonal music of their writing. There are many ways to get this disastrously wrong. If characters are made to speak in a modified version of the diction of the past, they risk pastiche. “Brook your ire!” one character says to another in Mike Leigh’s film Mr Turner. On the other hand, it was probably preferable to Turner telling him to “chill”. For if historical figures speak pretty much as we now do, only kitted out in breeches and farthingales, the alien strangeness of the past, wherein much of its magic lies, goes out of the window. In an essay on this problem, Marguerite Yourcenar, author of one of the most compelling historical novels ever written, Memoirs of Hadrian (1951), explains that the challenge of catching a reliable tone for Roman conversation from elusively scattered fragments of prose made her decide to make her book monovocal. After pondering the choices of voice for Hadrian, she plumped for a version of oratio togata, toga-speech: elastic and personal in ways in which a voice drawn exclusively from Cicero’s rhetoric could not have been. The result is a distinctive kind of address: poetic and ruminative; by turns brutal and sensual; a million miles from the studied disingenuousness and naked self-vindication that usually pass for non-fiction memoirs.
Lately there have been interesting voice inventions. Martin Amis’s tone for the SS inThe Zone of Interest — the heartiness of nonentities; (“but this is fucking ridiculous”) man-to-man pub talk translated to Auschwitz — is somehow more credibly horrible than lunatic ravings or the Hannibal Lecter-speak of evil geniuses. For the characters in his forthcoming The Buried Giant, set in post-Roman, half-Saxon Britain, the author Kazuo Ishiguro has chosen a mysteriously formal speech, full of stiffly exchanged courtesies, whether spoken by monks, knights or peasants, entirely stripped of the poesy of epic or legend. “Excuse us Master Wistan while I walk them to the longhouse. Then if we may sir I’d like to resume our discussion of just now.” But, as seems apt for the book, it undoubtedly casts a spell.
. . .
This is not the historian’s problem. We must content ourselves with the voices given to us by diaries, letters and speeches, which are audible enough without our having to put words into the mouths of the unprotesting dead. But there is one calculation we have to make that, from the first sentences, will set the tone: the manner of our own narrative voice. Most historians just go with the flow of what comes naturally; slightly popularised editions of their academic voices. Others make a great performance of their own presence, though none as operatically booming as Carlyle: “O beloved brother blockheads” — that’s us, his readers. Others still disappear into the action; just opening a door into the past and crooking a beckoning finger to the reader to follow.
Thomas Cromwell was, in fact, a self-serving, bullying monster who perfected state terror in England
Those who start in the thick of it, I like best of all. The writer who made me want to be an historian was Columbia University professor Garrett Mattingly. In 1959, he published The Defeat of the Spanish Armada, which has the imaginative grip of a novel but is grounded on the bedrock of the archives. It begins with a name the significance of which we, as yet, have absolutely no idea; with an exactly visualised place. Through the repetition of a single word “Nobody,” we hear the tolling of a bell ringing the doom of someone or other.
“Mr Beale had not brought the warrant until Sunday evening but by Wednesday morning, before dawn outlines its high windows, the great hall of Fotheringhay was ready. Though the Earl of Shrewsbury had returned only the day before nobody wanted any more delay. Nobody knew what messenger might be riding on the London road. Nobody knew which of the others might not weaken if they wanted another.”
What is this? Who is this? Where are we? You want to read on, don’t you? So you do so with the intense excitement of knowing every word is true.
Simon Schama is an FT contributing editor
Illustration by Toby Whitebread
Photograph: Giles Keyte

Renaissance Men



Published: October 29, 2009

“Try always,” says the worldly Cardinal Wolsey in “Wolf Hall,” ­Hilary Mantel’s fictional portrait of Henry VIII’s turbulent court, “to find out what people wear under their clothes.” Katherine of Aragon, the queen who can’t produce an heir, wears a nun’s habit. Anne Boleyn, the tease eager to supplant her, won’t let the king know what she’s wearing until their wedding night; she says “yes, yes, yes” to him, “then she says no.” Thomas More, willing to go to any lengths to prevent the marriage, wears a shirt of bristling horsehair, which mortifies his flesh until the sores weep. As for Thomas Cromwell, the fixer who does the king’s dirty work just as he once did the cardinal’s, what is he hiding under his lawyer’s sober winter robes? Something “impermeable,” Hans Holbein suspects as he paints Cromwell’s forbidding portrait. Armor, maybe, or stone.
Skip to next paragraph

Illustration by Esther Pearl Watson


狼廳(Wolf Hall)是英國小說家希拉蕊·曼特爾的作品,2009年出版。曾獲2008年布克獎[1][2]、2009年全美書評人小說類大獎、2010年華特.史考特歷史小說獎。《狼廳二部曲:血季》(Bring Up the Bodies)為其續集,2012年出版[3]



WOLF HALL  此書有漢譯

狼廳 Wolf Hall 作者: 希拉蕊.曼特爾原文作者:Hilary Mantel譯者:廖月娟出版社:天下文化2010/

狼厅作者[英] 希拉里·曼特尔 ,出版社: 上海译文出版社,原作名: Wolf Hall,译者刘国枝 等 。出版年: 2010

WOLF HALL By Hilary Mantel  532 pp. A John Macrae Book/Henry Holt & Company. 

Go to the Frick Collection in New York and compare Holbein’s great portraits of Cromwell and More. More has all the charm, with his sensitive hands and his “good eyes’ stern, facetious twinkle,” in Robert Lowell’s description. By contrast, Cromwell, with his egg-shaped form hemmed in by a table and his shifty fish eyes turned warily to the side, looks official and merciless, his clenched fist, as Mantel writes, “sure as that of a slaughterman’s when he picks up the killing knife.” One of the many achievements of Mantel’s dazzling novel, winner of this year’s Man Booker Prize, is that she has reversed the appeal of these towering rivals of the Tudor period, that fecund breeding ground of British historical fiction as the American Civil War is of ours.
Cromwell is the picaresque hero of the novel — tolerant, passionate, intellectually inquisitive, humane. We follow his winding quest in vivid present-tense flashbacks, drawn up from his own prodigious memory: how he left home before he was 15, escaping the boot of his abusive father, a brewer and blacksmith who beat him as if he were “a sheet of metal”; how he dreamed of becoming a soldier and went to France because “France is where they have wars.” Cromwell learns banking in Florence, trading in Antwerp. He marries, has children and watches helplessly as the plague decimates his family.
In short, Cromwell learns everything everywhere, at a time when European knowledge about heaven and earth, via Copernicus and Machiavelli, is exploding. At 40, he “can draft a contract, train a falcon, draw a map, stop a street fight, furnish a house and fix a jury.” He knows the entire New Testament by heart, having mastered the Italian “art of memory” (part of the inner world of Renaissance magic that Mantel drew on in her comic novel “Fludd”), in which long lines of speech are fixed in the mind with vivid images.
Cromwell is also, as Mantel sees him, a closet Protestant, monitoring Luther’s battles with Rome and exchanging secret letters with Tyndale, the English translator of the Bible, about the “brutal truth” of the Scriptures. “Why does the pope have to be in Rome?” Cromwell wonders. “Where is it written?” Historians have long suspected that Cromwell harbored Protestant sympathies, even before Anne Boleyn’s “resistant, quick-breathing and virginal bosom” caught the king’s eye. Mantel, with the novelist’s license, draws the circle more tightly. As a child, Cromwell is present when an old woman is burned at the stake for heresy: “Even after there was nothing left to scream, the fire was stoked.” Years later, he watches in disgust as Thomas More rounds up more heretics to feed to the fire. For Mantel, who acknowledges her debt to revisionist scholars, Henry’s divorce is the impetus for Cromwell’s “Tudor Revolution,” as the historian Geoffrey Elton called it, by which the British state won independence from foreign and ecclesiastic rule.
In “Wolf Hall” it is More, the great imaginer of utopia, who is the ruthless tormenter of English Protestants, using the rack and the ax to set the “quaking world” aright. “Utopia,” Cromwell learns early on, “is not a place one can live.” More’s refusal to recognize Henry’s marriage was the basis for his canonization in 1935, as well as his portrayal as a hero of conscience in Robert Bolt’s play “A Man for All Seasons” and its 1966 screen version. To Mantel’s Cromwell, More is in love with his own martyrdom, his own theatrical self-importance, while Cromwell, more in keeping with the spirit of Bolt’s title, seeks a way out for his old rival.
There’s a tense moment when More, locked in the Tower of London awaiting trial for treason, claims to have harmed no one. Cromwell explodes. What about Bainham, a mild man whose only sin was that he was a Protestant? “You forfeited his goods, committed his poor wife to prison, saw him racked with your own eyes, you locked him in Bishop Stokesley’s cellar, you had him back at your own house two days chained upright to a post, you sent him again to Stokesley, saw him beaten and abused for a week, and still your spite was not exhausted: you sent him back to the Tower and had him racked again.” Tortured, Bainham names names, who happen to be friends of Cromwell’s. “That’s how the year goes out, in a puff of smoke, a pall of human ash.”
In her long novel of the French Revolution, “A Place of Greater Safety,” Mantel also wrote about the damage done by utopian fixers. And surely the current uproar over state-sponsored torture had its effect on both the writing and the imagining of “Wolf Hall.” Yet, although Mantel adopts none of the archaic fustian of so many historical novels — the capital letters, the antique turns of phrase — her book feels firmly fixed in the 16th century. Toward the end of the novel, Cromwell, long widowed and as usual overworked, “the man in charge of everything,” falls in love with Jane Seymour, lady-in-waiting to Boleyn, and considers spending a few days at the gothic-sounding Seymour estate called Wolf Hall. What could go wrong with such an innocent plan? Perhaps in a sequel Mantel will tell us.
Thomas Cromwell remains a controversial and mysterious figure. Mantel has filled in the blanks plausibly, brilliantly. “Wolf Hall” has epic scale but lyric texture. Its 500-plus pages turn quickly, winged and falconlike. Trained in the law, Mantel can see the understated heroism in the skilled administrator’s day-to-day decisions in service of a well-ordered civil society — not of a medieval fief based on war and not, heaven help us, a utopia. “When you are writing laws you are testing words to find their utmost power,” Cromwell reflects. “Like spells, they have to make things happen in the real world, and like spells, they only work if people believe in them.” Hilary Mantel’s “Wolf Hall” is both spellbinding and believable.

Christopher Benfey, Mellon professor of English at Mount Holyoke College, is the author of “Degas in New Orleans” and “A Summer of Hummingbirds.”

Galileo, 伽利略

$
0
0



Galileo Galilei was born ‪#‎onthisday‬ in 1564. Here’s a portrait from the collection http://ow.ly/IyO31
Galileo Galilei was born #onthisday in 1564. Here’s a portrait from the collection http://ow.ly/IyO31


此劇海峽兩岸都有譯本: Life of Galileo (GermanLeben des Galilei), also known as Galileo, is a play by the twentieth-century German dramatist Bertolt Brecht with incidental music by Hanns Eisler.
The first version of the play was written between 1938 and 1939; the second (or 'American') version was written between 1945–1947, in collaboration with Charles Laughton. The play received its first theatrical production (in German) at the Zurich Schauspielhaus, opening on 9 September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself (as Galileo), Karl Paryla and Wolfgang Langhoff.
The second version (in English) opened at the Coronet Theatre in Los Angeles on 30 July 1947.[1] It was directed by Joseph Losey and Brecht, with musical direction by Serge Hovey and set-design by Robert Davison. Laughton played Galileo, with Hugo Haas as Barberini and Frances Heflin as Virginia. This production opened at the Maxine Elliott's Theatre in New York on 7 December of the same year. A third production, by the Berliner Ensemble with Ernst Busch in the title role, opened in January 1957 at the Theater am Schiffbauerdamm and was directed by Erich Engel, with set-design by Caspar Neher.[2]The play was first published in 1940.[citation needed]
A screen adaptation of the play, directed by Joseph Losey for American Film Theatre, was produced in 1975 under the title Galileo with Topol in the title role.
The plot of the play concerns the latter period of the life of Galileo Galilei, the great Italiannatural philosopher, who was persecuted by the Roman Catholic Church for the promulgation of his scientific discoveries; for details, see Galileo affair. The play embraces such themes as the conflict between dogmatism and scientific evidence, as well as interrogating the values of constancy in the face of oppression.





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

伽利略·伽利萊Galileo Galilei,1564年2月15日-1642年1月8日)[1][2][3]義大利物理學家數學家天文學家哲學家科學革命中的重要人物。其成就包括改進望遠鏡和其所帶來的天文觀測,以及支持哥白尼日心說。伽利略做實驗證明,感受到引力的物體並不是呈等速運動,而是呈加速度運動;物體只要不受到外力的作用,就會保持其原來的靜止狀態或勻速運動狀態不變。他又發表慣性原理闡明,未感受到外力作用的物體會保持不變其原來的靜止狀態或勻速運動狀態。伽利略被譽為「現代觀測天文學之父」[4]、「現代物理學之父」[5]、「科學之父」[5]及「現代科學之父」。[6]
史蒂芬·霍金說,「自然科學的誕生要歸功於伽利略。」[7]

著作[編輯]

佛羅倫斯烏菲齊外的伽利略雕塑
1586年,伽利略出版了他的早期作品《小天平》[197]記載了一些能在空氣中或水中稱重的精密天平。[198]1606年出版印刷了《地理軍事兩用圓規使用指南》[199]介紹如何使用地理軍事兩用圓規。[200]
伽利略早期動力學---運動和力學的科學的著作包括:1590年比薩版的《論運動》[201];大約1600年帕多瓦版的《力學》[202]。《論運動》參考了亞里斯多德-阿基米德流體動力學,流體動力學認為「在一種流體介質中,重力加速度和物體超過介質的比重成比例;而在真空中,物體將按照與自身比重成比例的重力加速度下落。」《論運動》也參考了Hipparchan-Philoponan動力學。Hipparchan-Philoponan動力學認為,「動力自動消散。在經過最初的加速以後,根據物體的具體重量,真空中的自由落體將具有必不可少的極限速度。」
伽利略1610年出版的《星際信使[203]是第一部利用望遠鏡進行觀測的科學著作。它包括了如下發現:
  • 伽利略衛星;
  • 月球表面粗糙的地理地質;
  • 存在有大量肉眼看不到的天體,它們組成了銀河系
  • 行星與恆星外表的不同——前者看上去像是小圓盤,後者則類似小光點。
伽利略在1613年出版的《論太陽黑子》[204]中詳細描述了太陽黑子,並認為太陽和宇宙都是可以朽壞的。《論太陽黑子》中也記錄了他在1610年利用望遠鏡觀察的全部金星相位,土星奇怪的「附屬物」以及後者的神秘消失。1615年,伽利略寫成了《致大侯爵夫人克里斯蒂娜》手稿,但直到1636年才得以發表。手稿是《致凱斯泰利》的翻版,其中斥責了異端審判庭就禁止宣揚哥白尼理論的錯誤神學立場,認為後者是物理真理,與經文並不衝突。[205]。1616年,異端審判庭下達指令,禁止伽利略為哥白尼學說辯護,伽利略不得不將基於哥白尼地理的《論潮汐》[206]以私信的方式發送給紅衣主教奧思尼。[207]1619年,伽利略的學生馬里奧·古迪西出版了伽利略的演講彙編,命名為《論彗星》[208],反駁耶穌會對彗星的解釋。[209]
1623年,伽利略出版了《試金者》,攻擊亞里斯多德權威的學說,鼓勵實驗,並運用數學來支持科學理論。該書的出版獲得了巨大成功,甚至得到了一些天主教會高層的支持。[210]在《試金者》的成功發表後,伽利略於1632年出版了《關於托勒密和哥白尼兩大世界體系的對話[211]。雖然顧及到了異端審判庭的1616年指令,但《對話》依然傾向於哥白尼理論而非地心說模型,並最終造成了伽利略受審,出版物被禁。雖然出版物被禁,伽利略依然寫成了《論兩種新科學及其數學演化》[212],並於1638年在異端審判庭管轄範圍之外的荷蘭將其出版。

伽利略出版的主要作品[編輯]

伽利略出版的主要作品如下:
  • 《小天平》(1586)
  • 《運動論》(1590)[213]
  • 《力學》(ca. 1600)
  • 《地理軍事兩用圓規使用指南》(1606)
  • 星際信使》(1610;義大利文Sidereus Nuncius
  • 《流體力學》(1612)
  • 《論太陽黑子》(1613)
  • 《致大侯爵夫人克里斯蒂娜》(1615; 1636年出版)
  • 《論潮汐》(1616;義大利文Discorso del flusso e reflusso del mare
  • 《論彗星》(1619;義大利文Discorso Delle Comete
  • 《試金者》(1623;義大利文Il Saggiatore
  • 關於托勒密和哥白尼兩大世界體系的對話》(1632;義大利文Dialogo dei due massimi sistemi del mondo
  • 《論兩種新科學及其數學演化》(1638;義大利文Discorsi e Dimostrazioni Matematiche, intorno a due nuove scienze

張廣達談:沙畹與法國現代漢學

$
0
0
張廣達教授1931年出生於河北,在燕京大學(1949-1952)、北京大學(1952-1953)歷史系受教育,研究領域為隋唐史、中亞史地及海外漢學,學術成就享譽國際。上個世紀80年代末去國後,任教於瑞士日內瓦大學、法國法蘭西學院、美國耶魯大學及普林斯頓大學等多所世界著名學府及研究機構。2008年,張廣達教授榮膺台灣“中央研究院”院士,是中國大陸首位“中研院院士”。

沙畹(本名愛德華·埃瑪紐埃爾·沙瓦訥,法語Édouard Émmannuel Chavannes中文名「沙畹」;1865年10月5日-1918年1月20日),19世紀末20世紀初世界上最有成就的漢學大師之一,有「歐洲漢學泰斗」之譽。
沙畹是世界上最早開始整理研究敦煌新疆文物的學者之一,是法國敦煌學研究的先驅。此後的法國漢學家伯希和馬伯樂都出自其門下。沙畹還將中國最著名的史學著作《史記》以及《後漢書》有關西域的部分翻譯成了法文。
他的最後一部著作,研究了古代中國對於泰山的崇拜。這部著作結合了考據學以及田野調查,開啟了歐洲現代漢學的先河。

參考文獻[編輯]

  • Documents sur les Tou-kiue (Turcs) occidentaux. Édouard Chavannes. 1900. Paris, Librairie d』Amérique et d』Orient. Reprint: Taipei. Reprint: Cheng Wen Publishing Co., 1969.
  • Chavannes, Édouard. Trois Généraux Chinois de la dynastie des Han Orientaux. Pan Tch』ao (32-102 p.C.); – son fils Pan Yong; – Leang K』in (112 p.C.). Chapitre LXXVII du Heou Han chou.. T』oung pao 7. 1906.
  • Chavannes, Édouard. Les pays d'occident d'après le Heou Han chouT』oung pao8. pp. 149-244. 1907.

外部連結[編輯]


エドゥアール・シャヴァンヌÉdouard Chavannes1865年10月5日 - 1918年1月20日)は、フランス歴史学者東洋学者リヨン生まれ。姓はシャバンヌとも表記される。
フランスにおける中国学東洋学東洋史学の草分け的存在とされる。
1885年から1905年にかけて『史記』の翻訳注釈を行った(“Les Memoires historiques de Se-ma Ts'ien ”)。日本では解説論文が新潮選書で、岩村忍訳『司馬遷と史記』として出版されている(現在は絶版)。
1913年には、1907年オーレル・スタインによって発見された木簡の「敦煌漢簡」700片余の解読を完了し、“Les documents chinois : decouverts par Aurel Stein dans les sables du Turkestan oriental ”としてオックスフォード大学出版部より出版した。
1910年にフランスのアジア学会副会長、1916年イギリスのアジア協会の名誉会員となった。
主な論文に“le t'ai chan : essai de monographie d'un culte chinois”があり、日本では菊地章太訳『泰山:中国人の信仰』(アシアーナ叢書 001)として勉誠出版から出版されている。
編纂としては“Documents sur les Tou-kiue (Turcs) occident aux”があり、『西突厥史料』として馮承鈞によって訳され(1934年)、2004年中華書局版など、中国本土と台湾で数種の版が出版されている。

  1. 張廣達談沙畹及法國現代漢學的轉型-上海書評-東方早報網

    www.dfdaily.com › 上海書評
    轉為繁體網頁
    12 hours ago -十九世紀八十年代,沙畹跨出校門不久,以一個二十四歲的青年學子的身份踐臨中國。來到北京,一切都讓他感到奇妙,實地的觀察使他具備了不同於...
封面張廣達像:李媛繪
  十九世紀末二十世紀初,法國漢學一再展現驕人的成就,愛德華·沙畹(Emmanuel-douard Chavannes, 1865-1918)在承上啟下、融會中西的舊學新知方面涉及的領域最廣泛、最富首創性,可以說是在實踐中帶頭的核心人物。台灣中研院院士、台灣政治大學歷史系講座教授張廣達先生近年來持續關注那一時期漢學研究在中、日、俄、法、美等不同國家的轉型特色,其中對法國方面就以沙畹為例進行了深入剖析。在張先生看來,沙畹的最大貢獻可以歸結於一點:他以親自的踐行為當代漢學確立了專業規範,與當代同儕相比,他更卓有成效地將漢學這一專業訓練引上了現代學術研究的軌道。
  十九世紀末二十世紀初,法國漢學一再展現驕人的成就,巴黎因而成為舉世矚目的漢學中心。法國漢學在這一時期的領先優勢,即便在歐洲,也得到當時英、德、荷、俄、匈、瑞典等國諸多有成就學者的首肯。鑑於這一形勢,陳垣等中國學者多次表示,應當將漢學中心由巴黎奪回到中國來;1928年1月,傅斯年向蔡元培陳述建立中央研究院歷史語言研究所之必要,揆其初衷,也未嘗不是出於同樣的心態。
  法國的漢學之所以能在這一時期脫穎而出,在於當時的法國漢學家一代比一代具有更加明確的指導思想和問題意識:若要使漢學研究富有成果,就不僅需要致力於探討中國和東亞的傳統舊學,也需要善於參照西方的古典舊學,借鑒近代西方日新月異的新知,促使漢學更加邃密深沉;與此同時,也不能忽視西方近代科研模式的不斷更新或轉型,推陳出新。換言之,法國漢學之領先,在於既不忘記歐洲十八世紀以來研究中國學問的成就而加以繼承,又在處理具體課題的方式方法上致力於在知識論和方法論層次上做出調整與更新,使之符合十九世紀以來西方現代學術發展的水準及其範式的要求。在這一治學程序的轉變過程中,無疑,愛德華·沙畹在承上啟下、融會中西的舊學新知方面涉及的領域最廣泛、最富首創性,可以說是在實踐中帶頭的核心人物。
  十九世紀八十年代,沙畹跨出校門不久,以一個二十四歲的青年學子的身份踐臨中國。來到北京,一切都讓他感到奇妙,實地的觀察使他具備了不同於前人的研究中國的視野;從此,他常在中國讀書人幫助下閱讀艱難的漢文文本,同時,認真參照西方歷史學、社會學、 民族學、文化人類學等學科的進展,縝密思考如何強化漢學課題的研究。他相繼著手的不同課題促進他不停頓地擴展漢學研究的史料範圍,有時候,勢須協同諸多學侶或弟子一道發揮聰明才智,利用多種語系的語言文字,參照、借鑒希臘拉丁古典學、印度學、伊朗學、阿爾泰學和歐洲近代東方學成就來考釋史料、解讀文獻,或借助其他人文社會科學的最新成果作為參照系,在漢學領域開創性地建構不同於此前史學的史考、史纂和史釋。由於沙畹譯註司馬遷的《史記》的首創性作用,法國漢學日益形成完備的體系,研究中國的學問被逐步建構為匯總歷史、考古、碑銘、傳統語言文字學(philology)、文學、哲學、宗教、民族、民俗、藝術的綜合學科。在沙畹門下,傑出的登堂入室弟子除了本國的伯希和(Paul Pelliot,1878-1945)、馬伯樂(Henri Maspero,1883-1945)、葛蘭言(Marcel Granet,1884-1940)三傑之外,俄國的阿理克(Vassili Alexeiev,1881-1951)、瑞士的戴密微(Paul Demiéville,1894-1979)等人也置身沙畹門牆,日後並成西方漢學界翹楚。在西方漢學這一學風轉變過程中,不妨也將瑞典的高本漢(Klas Bernhard Johannes Karlgren,1889-1978)、美國的勞費爾(Berthold Laufer, 1874-1934)列為沙畹的私淑。一百二十餘年來,沙畹和他的學侶與門生一直影響著國內外的同行學者。對中國來說,他們在二十世紀初直接、間接促進了中國傳統文獻學和史學的轉型。
  台灣中研院院士、台灣政治大學歷史系講座教授張廣達先生近年來持續關註十九世紀末葉二十世紀初葉漢學研究在中、日、俄、法、美等不同國家的轉型特色,其中對法國方面就以沙畹為例進行了深入剖析。在張先生看來,沙畹的最大貢獻可以歸結於一點:他以親自的踐行為當代漢學確立了專業規範(professional standards),與當代同儕相比,他更卓有成效地將漢學這一專業訓練(professional training/discipline)引上了現代學術研究的軌道。十九世紀末二十世紀初,漢學不再僅僅是西方傳教士、外交家等業餘者的嗜好了。
  1814年法蘭西學院創設“漢語和韃靼-滿語語言與文學”講座,是法國現代漢學建立的標誌性事件,迄今已逾兩百週年;剛剛到來的2015年,又恰逢沙畹誕辰一百五十週年。《上海書評》因而邀請張廣達先生就沙畹及其所代表的法國現代漢學形成之初的諸多特徵做些介紹。
  中國學界目前對沙畹的了解並不充分,尤其是他進入中國研究領域之前的經歷,很少有人談及,所以請您首先大概談談沙畹的出身和家庭情況。
  張廣達:一個人青少年時期的經歷確實對他日後的發展有著至關重要的影響。沙畹1865年出生於法國里昂一個深富文化教養的基督教新教家庭,這個家族源出於法國東部Haute Savoie地區的Charmoisy村,該村位於橫亙法國和瑞士兩國之間的萊蒙湖(Le Lac Lemon )以南約十公里,自該村東行八公里是Thonon,更東行是vian,兩地都是阿爾卑斯山區的旅遊勝地,該地礦泉水享譽世界。Charmoisy村西南行約二十公里是瑞士日內瓦,隔萊蒙湖北望是瑞士洛桑。1536年日內瓦市民起事,驅逐了統治當地數世紀之久的天主教主教,邀請法國宗教改革家卡爾文(Jean Calvin,1509-1564)前來主持政教合一的新政府,從此,日內瓦成為新教卡爾文宗的基地。同年,卡爾文派的教義從瑞士傳入法國境內沙畹氏祖先居住的Savoie。沙畹家族自十六世紀以來即信奉新教卡爾文宗。大約是1602年,沙畹氏祖先Bernard Chavannes為逃避對卡爾文宗的宗教迫害而從Haute Savoie遷出,泛萊蒙湖移居瑞士洛桑,並於1618年入籍瑞士。1865年沙畹在法國里昂出生後不久母親便棄世,幼兒沙畹便被送回瑞士洛桑,在祖母身旁長大,原因無他,沙畹家族的故居本在萊蒙湖的一南一北。這些細節似乎並不起眼,其實非常有助於我們了解沙畹出身的家族背景。
  為什麼這麼說呢?因為走出中世紀的西歐,經過十六世紀宗教改革和十七世紀宗教戰爭,提供了現代民族國家形成的若干範例。在各個現代民族國家形塑各自國民的集體性格上,十六世紀以來宗教改革和反宗教改革的反复較量以及長期的宗教戰爭起了至關重大的作用。瑞士人集體性格中的刻苦勤奮、行事嚴格認真,例如體現在工藝製造上的一絲不苟、精益求精的精神,實與新教卡爾文宗有至為深厚的歷史淵源。有關新教與邁入資本主義社會的人們精神面貌之間的關係,韋伯(Max Weber,1864-1920)名著《新教倫理​​與資本主義精神》已有詳述。沙畹的家族,十六世紀末葉以來,先是生活在新教卡爾文宗中心地區日內瓦湖周圍,十八世紀後又生活在日內瓦共和國,可以說,新教倫理塑造了沙畹家族的門風。我們中國人在與西方人交往中,往往不大注意理解宗教在他們生活中的作用,但要真正理解西方世界,應當認真對待其宗教背景和影響。
  另外值得注意的一點是,沙畹在他日後的研究中註重引入和運用某些科學認知的範式,這應當與祖父是植物學家、父親是工程師的家庭熏陶不無關係。沙畹一生敬業勤奮,以不知何謂疲倦知名,著述等身,其中很多撰著往往一再修訂,務求盡善盡美。如果說這些都反映著家教的影響,那麼,這種家教又當從他生前兩百年餘年的新教家族背景追溯其形成的源頭活水。
  孩提時代的沙畹在瑞士隨祖母生活,後來回到了法國接受學校教育,您能說說沙畹早期的教育經歷嗎?
  張廣達:沙畹的母親產後不久過世,沙畹被送到瑞士萊蒙湖北岸的洛桑,與祖母一道生活,後來回到法國里昂與父親同住,完成了中學教育。
  沙畹從洛桑回到里昂的前後,法國的教育制度已然經歷過改革,先前的改革是為了適應法國工業革命的要求。1870年普法戰爭爆發,法國最終戰敗。戰後新成立的法國第三共和國政府檢討戰敗的原因,也進行過有關教育的辯論,戰後的教育改革便更多著眼於使教育適應戰後形勢,培養客觀現實所需要的民族國家精英和主管人才。
  法國有多種形式的高等學府,在法國人心目中被見重的高等學府並不是一般大學(l'université),而是一些以大學院(Grand cole)見稱的學院,其中最重要的就是設在巴黎五區玉勒姆街(rue d'Ulm)的高等師範學院(cole normale supérieure),簡稱“高師”。高師遵循著創立者拿破崙一世規定的教育方針,以拉丁文、修辭學、數學為主要教授內容,以栽培學生達到美、善、真的境界。數學培養人求真,修辭學實際上是學習哲學。高師的在校學生被叫作“高師生”(Normalien),身為“高師生”,享有很高的社會榮譽。高師為二十世紀的法國源源不斷地培育著世界知名的思想家,大學者。法國的諾貝爾獎得主不少是“高師生”。
  高師生主要來自兩所中學,其中之一就是沙畹從里昂轉到巴黎後就讀的路易大帝(Louis le Grand)中學。沙畹在中學時期已然受到了良好的全面基礎教育,打下了堅實的希臘、拉丁古典學識的根底,這使他順利地進入了巴黎高師。1885年,二十歲的沙畹進入高師後,主修康德(Immanuel Kant,1724-1804)哲學,課題是康德哲學著作之一《自然科學的形而上學原理》。
  我們注意到,您曾經在《王國維的西學與國學》一文中特別提到早年王國維多次研讀康德的經歷,在談及沙畹的學術歷程時,也強調他在高師階段對康德哲學的深入鑽研,能具體說說個中詳情嗎?
  張廣達:這一情況非常值得我們今天注意。沙畹選擇這一課題並不是偶然的。十九世紀末葉,繼黑格爾的觀念哲學盛行之後,德國興起了“回歸康德”(Zurück zu Kant)的思潮。關於十九世紀末的德國哲學界,日本研究康德的老一輩哲學家桑木嚴翼(1874-1946)曾有實地觀察。桑木曾留學英、美、法、德諸國,其間居留德國時間最長。他注意到,十九世紀法國思想界的大趨勢是傾向於孔德(Auguste Comte,1798-1857)的實證主義,到十九世紀末葉德國形成新康德學派之後,法國學界也跟著開始認真研究康德哲學了。沙畹如此,這也讓我們聯想及於王國維。1898年王國維在上海就學於東文學社,看到東文學社日本教師田岡佐代治(田岡嶺雲,1870-1912)文集中引用康德,他在這一啟示下而開始後來四度鑽研康德。這一連串的現像看來似乎偶然,但是如果深究當日歐洲思潮對東方的影響,這其實是歐風東漸的餘波蕩漾。
  沙畹的畢業論文是與高師的同學安德勒(Charles Andler, 1866-1933)合作完成的,由康德《自然科學的形而上學原理》的法語譯文和長篇導言/ 緒論構成。我們看到,導言分為六節:(一)一般自然的形而上學、(二)物質自然的形而上學、(三)形而上學向物理學(形而下學)的過渡、(四)康德的《純粹理性批判》所導致的自然哲學的變化、(五)康德與牛頓的關係、(六)結論。可以說,這篇導言系統地論述了康德有關運動學、動力學、靜態力學的形而上學原理。
  鑽研康德哲學,看上去與漢學研究相去甚遠,實則不然。我認為,沙畹後來在漢學研究中展現出來的驚人才華與早年打下了良好的思維訓練的底子大有關係。王國維亦然。
  那麼沙畹是如何由哲學轉向(或者躍入)漢學的呢?
  張廣達:這就不得不說到沙畹早期學術生命當中的幾位“領路人”。第一位是高師院長佩柔(Georges Perrot,1832-1914)。在高師求學的過程中,沙畹深得佩柔的賞識。佩柔是法國著名的古代藝術史專家,特別是希臘古典藝術專家。他注意到了沙畹的教養和潛力,因此非常熱心地培養他,並勉勵他將治學方向定位於研究中國。沙畹正是在佩柔的鼓勵下,漸次確定了此後研究中國的大方向。因此,在高師讀書期間,沙畹不僅到巴黎東方語言學院隨冉默德(Maurice Jametel,1856-1889)學習漢語,還到法蘭西學院聽德理文(Hervey de Saint-Denys, 1823-1892)講授有關中國的課程。在這裡,需要提醒大家的一點是,當時巴黎東方語言學院所開設的漢語和相搭配的課程,旨在培養譯員和外交官,可不是培養學者。
  導致沙畹轉換專業過程中的另一位關鍵人物,是1880年執鞭高師歷史教席的當時法國史學界的領軍人物莫諾(Gabriel Monod,1844-1912)。此前十年,1870年,法國在普法戰爭中戰敗,但法國很多年輕士子照樣前往德國修讀歷史學的博士學位,莫諾即是其中之一。原因在於,歷史學在十九世紀的普魯士和德國處於極盛時代。在當時的普魯士和德國,史學界不僅有聲名赫赫的蘭克(Leopold von Ranke, 1795-1886)、蒙森(Theodor Mommsen, 1817-1903)等巨擘,也湧現了大批兼顧專精與博覽的史家,所以人們常常因為德國歷史學興旺發達的成就而將十九世紀稱為歷​​史學的世紀。當時德國歷史學家蒐集、處理史料和研究史學的方式方法日益定型,他們發凡起例,撰寫體大思精的論文或專著的章法日益圓熟。莫諾早年留學德國,深得其師魏茨(Georg Waitz, 1813-1886)的真傳,而魏茨是歐陸普魯士史學派宗師蘭克的首席弟子,魏茨在批判地處理文獻和嚴格精審地考據史實方面,甚至還要青出於藍,高出他的老師。通過莫諾,蘭克史學的學風延伸到了法國。終其一生,莫諾在法國展現著十九世紀普魯士和德國的史學傳統特色。1876​​年莫諾創辦《史學評論》(Revue historique),並長年主持該刊,莫諾通過該刊,建立了法國史學界的“方法學派”(l'école méthodique),直到上個世紀三十年代,這一學派一直居於左右法國史壇的導向地位。
  莫諾從史學方面指導沙畹,同時將他引薦給了考狄(本人自稱高第,Henri Cordier, 1849-1925)。考狄是當時法國研究中國和蒐集西文的中國文獻的專家,綽號“活卡片”。考狄出生於美國新奧爾良,1869-1876年間生活在上海,供職於一家商行。可惜,長年在遠東的居留並沒有使考狄掌握漢文。他回國後受聘為東方現代語學院的遠東各國歷史、地理、法制體系教授。1890年與荷蘭萊頓大學中國學教授施古達(Gustave Schlegel, 1840-1903)共同創辦並合編《通報》(T'oung Pao)。考狄編纂西洋研究中國的《中國書目》(Bibliotheca Sinica)達到了鉅細無遺的程度,他由此掌握了西方漢學業績的全貌,對當時西方的漢學研究現狀和動態了然於心。這份書目後來也受到中國同行的重視,圖書館學家袁同禮(1895-1965)就曾為此書編纂續編。顯然,就熟悉歐洲漢學界的既往成果、時下動態和未來發展趨向而言,考狄比莫諾更為內行,可以給予沙畹更具體的指導和更切合實際的建議。沙畹由於是學哲學出身,本想從翻譯中國經學著作入手。考狄鑑於英國人理雅各(James Legge,1815-1897)在翻譯中國經典方面的建樹,建議沙畹留意西方學者還沒有認真觸碰過的中國史學文獻。這一及時的點撥對於沙畹擇定日後的研究方向起了至關重要的作用。


沙畹拍攝的雲岡石窟細部照片
  沙畹非常年輕的時候就出任法蘭西學院講座教授,這與他從事的《史記》譯註工作存在怎樣的關係?他回國後主要開展了哪些研究工作呢?
  張廣達:1893年,二十八歲的沙畹奉招回國,繼承德理文的教席,就任法蘭西學院講座教授,與他學術上的創新當然有很大關係。但是也要注意,候選人有八位之多,他的當選並非毫無困難,而且遴選過程中,沙畹本人並不在法國,多靠印度學家富歇(Alfred A. Foucher,1865-1952)為他大力奔走。這也從另一方面透露給我們一點信息:沙畹當時周圍的許多學者,在各自專業領域皆是高手,學侶間通過協作而揚長補短,互相激發,彼此提攜,於是能夠跨越隔行如隔山的學科障礙而取得突出成績。沙畹這次回國後,就在自己的摯友、印度學家列維(Sylvain Lévi, 1863-1935)的鼓舞下,開始了漢文佛教文獻的研究,兩人的合作密切無間,取得多項成果,皆堪稱典範。
  也就在沙畹任教法蘭西學院期間, 英籍匈牙利裔考古學家斯坦因(Mark Aurel Stein,1862-1943)開始多次組隊進入新疆、甘肅地區,進行大規模的地理測量、考古與文物調查活動。1900-1901年第一次考察中國丹丹烏里克、尼雅等地,獲得漢晉簡牘和唐代文書。斯坦因完成考古調查任務之後著手撰寫考察報告時,都分別邀請各領域最權威的專家協助他考釋各種文字的文書。斯坦因把1901年第一次探險所得漢文木簡與文書實物送到沙畹面前,請求沙畹協助考釋。沙畹考釋的成果刊在斯坦因《古代和闐》(Ancient Khotan)一書中。
  斯坦因看中沙畹,拜託他來考釋流沙墜簡,而且非他莫屬,這毫不偶然。在當時的歐洲,沙畹是擔此重任的不二人選。斯坦因後來又交給沙畹他第二次中亞考察所獲的大約兩千枚左右敦煌木簡,附帶也把他的助手蔣孝琬所做的初步錄文給了沙畹。沙畹使用放大鏡一一檢閱了這批木簡,淘汰了其中沒有用處的大部分。當沙畹著手分類處理有字木簡的時候,他發現蔣師爺的錄文很草率,於是沙畹只好勉為其難,重新一一審視木簡。為了識別疑難字,沙畹一遍遍地檢查木簡,從中找出有類似疑難字的木簡,以資比對。但他依然非常清醒自己沒有百分之百的能力徹底清理這批材料,於是他1912年便將自己的手校樣書寄給了專業能力更強的羅振玉、王國維。羅、王二人仔細研究沙畹書後,決定按簡文內容和文書性質分類,重排簡牘的順序,改編沙書的內容,形成1914年在京都出版的名著《流沙墜簡》,也算一段學術因緣。當然沙畹自己的整理也有出版,即1913年牛津出版的《斯坦因在新疆沙漠中發現的漢文文書》(Les documents chinois découverts par Aurel Stein dans les sables du Turkestan oriental)一書。
  研究中古史的學者都非常熟悉沙畹那本著名的《西突厥史料》(Documents Sur Les Tou-Kiue (Turcs) Occidentaux),這本書似乎也著手於這段時間?有著怎樣的寫作背景呢?
  張廣達:是的。1897年,沙畹寫了《景教和哈喇和林遺址碑銘》(Le nestorianisme et l'inscription de Kara-Balgassoun),該碑發現於蒙古鄂爾渾(Orkhon)流域。沙畹指出碑文所言慕阇弟子可能是摩尼教徒或者景教徒,並從佛典中找到了佐證。正是這個見解啟發了德韋理亞(Gabriel Devéria),進而論證《九姓回鶻可汗碑》所記載的不是穆斯林而是摩尼教傳入回鶻的歷史,進一步補充了沙畹的研究。
  當時,俄國探察者在和林發現九姓回鶻可汗碑的同時,也發現了突厥時期的《闕特勤碑》《苾伽可汗碑》。俄國皇家科學院需要掌握更多的歷史背景,以考釋這些突厥、回鶻碑銘。這時俄國皇家科學院就找到了中國的沈曾植、法國的沙畹。沙畹不負所望,交出來的,就是這本《西突厥史料》,1903年由俄國科學院刊行。沙畹編纂這本書,由於兼備希臘拉丁古典訓練和漢學訓練,視野遼闊,取材完備;他還基於審音勘同的原則,比定地名、人名,考證典章、制度;特別是末章論述東亞、北亞和西亞拜占庭帝國的交涉往來,高瞻遠矚,歷來為世人所嘆服。
  沙畹回國工作一段時間後,又一次到過中國,他二進中國和當時的具體學術研究課題有什麼聯繫嗎?
  張廣達:有的。說到這裡,我們就能看出沙畹不僅學術課題一環扣一環,他再次來華考察也是為明確目標而來。由於此前和列維合作處理佛教文獻,他此次除了注意蒐集碑銘石刻、民俗資料之外,也關注與佛教有關的遺跡。1907年,沙畹經西伯利亞前往中國東北,他先到遼寧考察了清帝先陵,然後去鴨綠江畔看了高句麗《好大王碑》。後從北京動身,自天津沿運河南下,行經泰安、曲阜、開封、洛陽,再西行至西安、乾州,來到沙畹一生與之保持心神感應(empathy)的司馬遷故鄉韓城,而後取道龍門,北上太原、五台山、大同雲岡等地,考察了冀、魯、豫、陝、晉五省。
  沙畹在此次行程中收購大批圖書,拍攝大批照片,獲得刻石拓片數以千計,甚至在開封一家書舖,一口氣買下全部方志。他也沿路拜訪和結識了許多文人、官吏以及西方傳教士,比如太原的英國傳教士、漢學家蘇慧廉(William Ed. Southill,1861-1935)。沙畹回國後,法國駐北京使節特別為沙畹此行而向清政府表示謝忱,並具體地向許多地方官員指名道謝。
  值得一提的是,沙畹這次考察來到北京時,在北京城牆根,巧遇在巴黎從他受業的俄國學生阿理克。阿理克注意民俗學,當時在為自己的博士論文蒐集資料,如《九九消寒圖》、楊柳青年畫等,因此,兩人得以同行數月。從阿理克刊行的旅行筆記中,我們能看到不少有關此次考察過程中不見於沙畹自己記錄的細節。
  這次考察的直接結果就是沙畹的四卷本《華北考古紀行》,計文字兩卷,相應大型圖譜兩卷。沙畹的這部著作是空前的,有關佛教洞窟的攝影早於日本水野清一和長廣敏雄的集大成之作,內容還更為豐富。武梁祠,嵩山三闕,孝堂山、鞏縣石窟,劉村、焦城村的石雕石刻、龍門、雲岡等著名石窟的影像皆在其中,同時還盡可能收錄、翻譯了相關的碑文與題記。由於泰山、龍門、雲岡等處遺跡迄今多有損毀,沙畹留下的這批照片和記錄對於研究這些遺跡將永遠具有不可取代的意義。
  伯希和這個時候似乎也在中國西北考察,這與師徒二人後來合作譯註摩尼教文書有關係嗎?
  張廣達:沒錯。1907-1908年,沙畹在華北考察的同時,他的學生伯希和正在探查西域和敦煌,師徒二人,一東一西,基本上同時結束考察工作。伯希和這次在敦煌藏經洞經過仔細翻檢取走大量重要文書,但一個大漏就是那件後來入藏京師圖書館的摩尼教文書(後編號為北字8470)。1910年,由羅振玉(1866-1940)刊佈在《國學叢刊》第二號上,刊佈時因為不能確定教義的性質而稱之為《波斯教殘經》。這一消息馬上引起伯希和的注意,他立即撂下手頭數千件敦煌文書原卷的編目工作,急忙找到老師沙畹,一起著手翻譯和註釋這一抄件,他們對這件文書的重視,由此可見一斑。
  早在十九世紀下半期,歐洲學者,如G. Flügel、H. Pognon、Fr. Cumont等開始刊布有關摩尼教的基本文獻,為進一步深入研究摩尼教作了文獻準備,但是對摩尼教的東傳完全沒有概念。突然,敦煌和吐魯番有了嶄新發現,這為中外學者研究摩尼教東傳及其在中亞和唐代中國的傳播提供了意料不到的證據。當德國考察隊在吐魯番等地獲得的文書送回柏林,研究工作立即提上​​日程。1911年,沙畹與伯希和撰《中國發現的一部摩尼教經典》(Un traité manichéen retrouvé en Chine),將京師圖書館所藏的摩尼教《殘經》譯為法文並附以大量註釋,不少註釋中附有R. Gauthiot關於伊朗語學的註釋。這部譯註,文字疏證和教義考釋並重,學術水准在當時是超一流的,即便今天也令人稱賞,後來他們又於1913年合作考證有關摩尼教流行中國的歷史文獻記載,詳細勾勒了摩尼教東傳和在中國的傳播過程。這是沈曾植、羅振玉、王國維等同時代的中國學者不可能做得出來的。
  到此我們基本上回顧了沙畹一生學術成就的幾個方面,他於一戰前不久就去​​世了,那麼就您看來,如何看待沙畹在現代法國乃至歐洲漢學學術史中的意義呢?
  張廣達:沙畹的身體狀況一直不好,一戰過程中身心俱疲的情況下,他依然堅持高強度的工作,同時還收容照料來自比利時的難民,加以戰時營養不良,眷念作為空軍飛行員戰鬥於前線的兒子,終於1918年1月離世。今天看來,沙畹留下的大量著述不僅僅具有歷史學和考古學的意義,同時也具有社會學意義。沙畹雖然沒有在中國進行今天意義上的社會學或人類學調查,但是他的關懷和經驗使得他注意到了中國的學術傳統、社會現實、周邊諸多民族和國家,以及應用社會學方法研究中國的廣闊前景,可以說,從沙畹開始,現代社會科學才真正參與到了漢學研究當中。最能代表這方面成就的,可參看沙畹撰寫的《中國文學的社會角色》(1893)、《光緒皇帝》(1900)、《拳民(義和拳)會社》(1900)、《洪武皇帝的聖訓》(1903)、《中國對美德的旌表》(1904)、《評範·熱奈普的著述〈過渡儀式〉》(1909)、《中國人的道德觀念》(1917)等文章,每一篇都值得細細審讀。
  在西方,已有一批學者從沙畹首開其先的科學研究角度,繼續其開創的譯註《史記》的事業。目前《史記》已經有了越特金(Р. В. Вяткин, 1910-1995)與同事塔斯金(В. С. Таскин)、兒子小越特金(А. Р. Вяткин)共同完成的俄文全譯本(全帙九冊,莫斯科,科學出版社,1972-2010);倪豪士(William H. Nienhauser, Jr.)主持的英文全譯本當亦將告成。踵事增華,越來越多的學者就《史記》撰寫博士論文和專題論文,有不少精彩的研究。
  如果最後做一總結,您認為沙畹促成法國現代漢學轉型的主要原因何在?相比較來說,中國當時人文學術研究有哪些不同之處呢?
  張廣達:原因當然就是我們一開始談到的時代背景和學術環境,沙畹在此因緣際會中扮演了繼往開來的角色,關於這一點,陳寅恪《王靜安先生遺書序》裡就說得很好,“自昔大師鉅子,其關係於民族盛衰學術興廢者,不僅在能承續先哲將墜之業,為其託命之人,而尤在能開拓學術之區宇,補前修所未逮。故其著作可以轉移一時之風氣”。沙畹所做的,正在於“開拓學術之區宇,補前修所未逮”。
  另外一點呢,我就想到《荀子·勸學篇》有句話,“吾嘗終日而思矣,不如須臾之所學也;吾嘗跂而望矣,不如登高之博見也”,這在沙畹身上表現得非常明顯。假若他不到中國來,不和中國學者接觸,不踏察泰山,不尋訪河北、山東、河南、陝西、山西,不參拜洛陽、龍門、西安、司馬遷出生地韓城、太原、雲岡等地,不注意歐洲各國探險家對中國各地的考察、記錄和研究,他不可能具有那麼開闊的視野;假若他不懂得“善假於物”的道理,他就不會注意運用西方學科自身的傳統和長處,例如西方哲學的思維方法和社會學的概念工具,那麼,無待贅言,他不會有後來的成就。這到今天依然給我們很多啟發。
《華北考古紀行》封面
沙畹在河南鞏縣
  學術發展並不是因為有了新的開發而過去就落伍了。實際上,我們看到,沙畹既注意傳統有用的東西,又措意於新的史料,並按新範式將新史料與學術傳統相結合。其實,其他領域又何嘗不是同樣的道理。Edmund Burke(1729-1797)在《法國大革命的思考》(1790)一書中說:“一個不善於保守者,不可能有效的創新。”保守的前提是著眼於有效的創新,而非抱殘守缺,這才是智慧真諦。史學研究也是這樣,我們在沙畹身上看到開創的敏感,看到“舊學與新知”、“傳統與創新”之間的互相激勵與發明。
  反觀中國,我認為1893年12月5日沙畹在法蘭西學院發表的就職講演,題為《中國文學的社會角色》,今天依然值得重視。他認為,中國獨有一種文學,或譯作文獻,之所以能夠在中國如此普及,得益於它的書寫載體——漢字,漢字不僅比各種方言有更大的延展性,而且在被賦予道德教化的影響力之後使人們的思想符號化,成為塑造思維的形式和模具。沙畹充分肯定中國文學或文獻在維護中國大一統局面中的作用,但也指出,中國文學和文獻構成一種傳統,使得中國人在培育後代上過於強調背誦。過猶不及,過分強​​調博聞強記,必然忽視獨立的理性思維。人們應付的現實在改變,但人們的思維定勢則是墨守聖賢、君主和祖宗的教訓,遇到問題總是求諸“經典”,而不是自己動腦筋、想辦法。就這一點來說,我們必須注意沙畹早年的哲學訓練,我們今天把哲學當成一門專門的學科,但事實上,哲學和數學一樣,是所有學科的基礎,意在培養一個人基本的邏輯思維,而不僅僅是普及知識。沙畹這篇演講發表近十年後,梁啟超發表了《新史學》,批判中國傳統史學的弊病,兩者之間的同與異,值得我們去仔細體會。■

獨家| 張廣達專訪:沙畹與法國現代漢學
李丹婕
2015-02-14 16:33
       十九世紀末二十世紀初,法國漢學一再展現驕人的成就,巴黎因而成為舉世矚目的漢學中心。法國漢學在這一時期的領先優勢,即便在歐洲,也得到當時英、德、荷、俄、匈、瑞典等國諸多有成就學者的首肯。鑑於這一形勢,陳垣等中國學者多次表示,應當將漢學中心由巴黎奪回到中國來;1928年1月,傅斯年向蔡元培陳述建立中央研究院歷史語言研究所之必要,揆其初衷,也未嘗不是出於同樣的心態。
        法國的漢學之所以能在這一時期脫穎而出,在於當時的法國漢學家一代比一代具有更加明確的指導思想和問題意識:若要使漢學研究富有成果,就不僅需要致力於探討中國和東亞的傳統舊學,也需要善於參照西方的古典舊學,借鑒近代西方日新月異的新知,促使漢學更加邃密深沉;與此同時,也不能忽視西方近代科研模式的不斷更新或轉型,推陳出新。換言之,法國漢學之領先,在於既不忘記歐洲十八世紀以來研究中國學問的成就而加以繼承,又在處理具體課題的方式方法上致力於在知識論和方法論層次上做出調整與更新,使之符合十九世紀以來西方現代學術發展的水準及其範式的要求。在這一治學程序的轉變過程中,無疑,愛德華·沙畹(Émmanuel-Édouard Chavannes,1865-1918)在承上啟下、融會中西的舊學新知方面涉及的領域最廣泛、最富首創性,可以說是在實踐中帶頭的核心人物。
        十九世紀八十年代,沙畹跨出校門不久,以一個二十四歲的青年學子的身份踐臨中國。來到北京,一切都讓他感到奇妙,實地的觀察使他具備了不同於前人的研究中國的視野;從此,他常在中國讀書人幫助下閱讀艱難的漢文文本,同時,認真參照西方歷史學、社會學、民族學、文化人類學等學科的進展,縝密思考如何強化漢學課題的研究。他相繼著手的不同課題促進他不停頓地擴展漢學研究的史料範圍,有時候,勢須協同諸多學侶或弟子一道發揮聰明才智,利用多種語系的語言文字,參照、借鑒希臘拉丁古典學、印度學、伊朗學、阿爾泰學和歐洲近代東方學成就來考釋史料、解讀文獻,或借助其他人文社會科學的最新成果作為參照系,在漢學領域開創性地建構不同於此前史學的史考、史纂和史釋。由於沙畹譯註司馬遷的《史記》的首創性作用,法國漢學日益形成完備的體系,研究中國的學問被逐步建構為匯總歷史、考古、碑銘、傳統語言文字學(philology)、文學、哲學、宗教、民族、民俗、藝術的綜合學科。在沙畹門下,傑出的登堂入室弟子除了本國的伯希和(Paul Pelliot,1878-1945)、馬伯樂(Henri Maspero,1883-1945)、葛蘭言(Marcel Granet,1884-1940)三傑之外,俄國的阿理克(Vassili Alexeiev,1881-1951)、瑞士的戴密微(Paul Demiéville,1894-1979)等人也置身沙畹門牆,日後並成西方漢學界翹楚。在西方漢學這一學風轉變過程中,不妨也將瑞典的高本漢(Klas Bernhard Johannes Karlgren,1889-1978)、美國的勞費爾(Berthold Laufer, 1874-1934)列為沙畹的私淑。一百二十餘年來,沙畹和他的學侶與門生一直影響著國內外的同行學者。對中國來說,他們在二十世紀初直接、間接促進了中國傳統文獻學和史學的轉型。
        台灣中研院院士、台灣政治大學歷史系講座教授張廣達先生近年來持續關註十九世紀末葉二十世紀初葉漢學研究在中、日、俄、法、美等不同國家的轉型特色,其中對法國方面就以沙畹為例進行了深入剖析。在張先生看來,沙畹的最大貢獻可以歸結於一點:他以親自的踐行為當代漢學確立了專業規範(professional standards),與當代同儕相比,他更卓有成效地將漢學這一專業訓練(professional training/discipline)引上了現代學術研究的軌道。十九世紀末二十世紀初,漢學不再僅僅是西方傳教士、外交家等業餘者的嗜好了。
        1814年法蘭西學院創設“漢語和韃靼-滿語語言與文學”講座,是法國現代漢學建立的標誌性事件,迄今已逾兩百週年;剛剛到來的2015年,又恰逢沙畹誕辰一百五十週年。澎湃新聞因而邀請張廣達先生就沙畹及其所代表的法國現代漢學形成之初的諸多特徵做些介紹。
        訪談分上下兩篇,以下為上篇。

        澎湃新聞:中國學界目前對沙畹的了解並不充分,尤其是他進入中國研究領域之前的經歷,很少有人談及,所以請您首先大概談談沙畹的出身和家庭情況。
        張廣達:一個人青少年時期的經歷確實對他日後的發展有著至關重要的影響。沙畹1865年出生於法國里昂一個深富文化教養的基督教新教家庭,這個家族源出於法國東部Haute Savoie地區的Charmoisy村,該村位於橫亙法國和瑞士兩國之間的萊蒙湖(Le Lac Lemon )以南約十公里,自該村東行八公里是Thonon,更東行是Évian,兩地都是阿爾卑斯山區的旅遊勝地,該地礦泉水享譽世界。Charmoisy村西南行約二十公里是瑞士日內瓦,隔萊蒙湖北望是瑞士洛桑。1536年日內瓦市民起事,驅逐了統治當地數世紀之久的天主教主教,邀請法國宗教改革家卡爾文(Jean Calvin,1509-1564)前來主持政教合一的新政府,從此,日內瓦成為新教卡爾文宗的基地。同年,卡爾文派的教義從瑞士傳入法國境內沙畹氏祖先居住的Savoie。沙畹家族自十六世紀以來即信奉新教卡爾文宗。大約是1602年,沙畹氏祖先Bernard Chavannes為逃避對卡爾文宗的宗教迫害而從Haute Savoie遷出,泛萊蒙湖移居瑞士洛桑,並於1618年入籍瑞士。1865年沙畹在法國里昂出生後不久母親便棄世,幼兒沙畹便被送回瑞士洛桑,在祖母身旁長大,原因無他,沙畹家族的故居本在萊蒙湖的一南一北。這些細節似乎並不起眼,其實非常有助於我們了解沙畹出身的家族背景。
        為什麼這麼說呢?因為走出中世紀的西歐,經過十六世紀宗教改革和十七世紀宗教戰爭,提供了現代民族國家形成的若干範例。在各個現代民族國家形塑各自國民的集體性格上,十六世紀以來宗教改革和反宗教改革的反复較量以及長期的宗教戰爭起了至關重大的作用。瑞士人集體性格中的刻苦勤奮、行事嚴格認真,例如體現在工藝製造上的一絲不苟、精益求精的精神,實與新教卡爾文宗有至為深厚的歷史淵源。有關新教與邁入資本主義社會的人們精神面貌之間的關係,韋伯(Max Weber,1864-1920)名著《新教倫理​​與資本主義精神》已有詳述。沙畹的家族,十六世紀末葉以來,先是生活在新教卡爾文宗中心地區日內瓦湖周圍,十八世紀後又生活在日內瓦共和國,可以說,新教倫理塑造了沙畹家族的門風。我們中國人在與西方人交往中,往往不大注意理解宗教在他們生活中的作用,但要真正理解西方世界,應當認真對待其宗教背景和影響。
        另外值得注意的一點是,沙畹在他日後的研究中註重引入和運用某些科學認知的範式,這應當與祖父是植物學家、父親是工程師的家庭熏陶不無關係。沙畹一生敬業勤奮,以不知何謂疲倦知名,著述等身,其中很多撰著往往一再修訂,務求盡善盡美。如果說這些都反映著家教的影響,那麼,這種家教又當從他生前兩百年餘年的新教家族背景追溯其形成的源頭活水。
        
        澎湃新聞:孩提時代的沙畹在瑞士隨祖母生活,後來回到了法國接受學校教育,您能說說沙畹早期的教育經歷嗎?
        張廣達:沙畹的母親產後不久過世,沙畹被送到瑞士萊蒙湖北岸的洛桑,與祖母一道生活,後來回到法國里昂與父親同住,完成了中學教育。
        沙畹從洛桑回到里昂的前後,法國的教育制度已然經歷過改革,先前的改革是為了適應法國工業革命的要求。1870年普法戰爭爆發,法國最終戰敗。戰後新成立的法國第三共和國政府檢討戰敗的原因,也進行過有關教育的辯論,戰後的教育改革便更多著眼於使教育適應戰後形勢,培養客觀現實所需要的民族國家精英和主管人才。
        法國有多種形式的高等學府,在法國人心目中被見重的高等學府並不是一般大學(l'université),而是一些以大學院(Grand École)見稱的學院,其中最重要的就是設在巴黎五區玉勒姆街(rue d'Ulm)的高等師範學院(École normale supérieure),簡稱“高師”。高師遵循著創立者拿破崙一世規定的教育方針,以拉丁文、修辭學、數學為主要教授內容,以栽培學生達到美、善、真的境界。數學培養人求真,修辭學實際上是學習哲學。高師的在校學生被叫作“高師生”(Normalien),身為“高師生”,享有很高的社會榮譽。高師為二十世紀的法國源源不斷地培育著世界知名的思想家,大學者。法國的諾貝爾獎得主不少是“高師生”。
        高師生主要來自兩所中學,其中之一就是沙畹從里昂轉到巴黎後就讀的路易大帝(Louis le Grand)中學。沙畹在中學時期已然受到了良好的全面基礎教育,打下了堅實的希臘、拉丁古典學識的根底,這使他順利地進入了巴黎高師。1885年,二十歲的沙畹進入高師後,主修康德(Immanuel Kant,1724-1804)哲學,課題是康德哲學著作之一《自然科學的形而上學原理》。
        
        澎湃新聞:我們注意到,您曾經在《王國維的西學與國學》一文中特別提到早年王國維多次研讀康德的經歷,在談及沙畹的學術歷程時,也強調他在高師階段對康德哲學的深入鑽研,能具體說說個中詳情嗎?
        張廣達:這一情況非常值得我們今天注意。沙畹選擇這一課題並不是偶然的。十九世紀末葉,繼黑格爾的觀念哲學盛行之後,德國興起了“回歸康德”(Zurück zu Kant)的思潮。關於十九世紀末的德國哲學界,日本研究康德的老一輩哲學家桑木嚴翼(1874-1946)曾有實地觀察。桑木曾留學英、美、法、德諸國,其間居留德國時間最長。他注意到,十九世紀法國思想界的大趨勢是傾向於孔德(Auguste Comte,1798-1857)的實證主義,到十九世紀末葉德國形成新康德學派之後,法國學界也跟著開始認真研究康德哲學了。沙畹如此,這也讓我們聯想及於王國維。1898年王國維在上海就學於東文學社,看到東文學社日本教師田岡佐代治(田岡嶺雲,1870-1912)文集中引用康德,他在這一啟示下而開始後來四度鑽研康德。這一連串的現像看來似乎偶然,但是如果深究當日歐洲思潮對東方的影響,這其實是歐風東漸的餘波蕩漾。
        沙畹的畢業論文是與高師的同學安德勒(Charles Andler, 1866-1933)合作完成的,由康德《自然科學的形而上學原理》的法語譯文和長篇導言/ 緒論構成。我們看到,導言分為六節:(一)一般自然的形而上學、(二)物質自然的形而上學、(三)形而上學向物理學(形而下學)的過渡、(四)康德的《純粹理性批判》所導致的自然哲學的變化、(五)康德與牛頓的關係、(六)結論。可以說,這篇導言系統地論述了康德有關運動學、動力學、靜態力學的形而上學原理。
        鑽研康德哲學,看上去與漢學研究相去甚遠,實則不然。我認為,沙畹後來在漢學研究中展現出來的驚人才華與早年打下了良好的思維訓練的底子大有關係。王國維亦然。
        
        澎湃新聞:那麼沙畹是如何由哲學轉向(或者躍入)漢學的呢?
        張廣達:這就不得不說到沙畹早期學術生命當中的幾位“領路人”。第一位是高師院長佩柔(Georges Perrot,1832-1914)。在高師求學的過程中,沙畹深得佩柔的賞識。佩柔是法國著名的古代藝術史專家,特別是希臘古典藝術專家。他注意到了沙畹的教養和潛力,因此非常熱心地培養他,並勉勵他將治學方向定位於研究中國。沙畹正是在佩柔的鼓勵下,漸次確定了此後研究中國的大方向。因此,在高師讀書期間,沙畹不僅到巴黎東方語言學院隨冉默德(Maurice Jametel,1856-1889)學習漢語,還到法蘭西學院聽德理文(Hervey de Saint-Denys, 1823-1892)講授有關中國的課程。在這裡,需要提醒大家的一點是,當時巴黎東方語言學院所開設的漢語和相搭配的課程,旨在培養譯員和外交官,可不是培養學者。
        導致沙畹轉換專業過程中的另一位關鍵人物,是1880年執鞭高師歷史教席的當時法國史學界的領軍人物莫諾(Gabriel Monod,1844-1912)。此前十年,1870年,法國在普法戰爭中戰敗,但法國很多年輕士子照樣前往德國修讀歷史學的博士學位,莫諾即是其中之一。原因在於,歷史學在十九世紀的普魯士和德國處於極盛時代。在當時的普魯士和德國,史學界不僅有聲名赫赫的蘭克(Leopold von Ranke, 1795-1886)、蒙森(Theodor Mommsen, 1817-1903)等巨擘,也湧現了大批兼顧專精與博覽的史家,所以人們常常因為德國歷史學興旺發達的成就而將十九世紀稱為歷​​史學的世紀。當時德國歷史學家蒐集、處理史料和研究史學的方式方法日益定型,他們發凡起例,撰寫體大思精的論文或專著的章法日益圓熟。莫諾早年留學德國,深得其師魏茨(Georg Waitz, 1813-1886)的真傳,而魏茨是歐陸普魯士史學派宗師蘭克的首席弟子,魏茨在批判地處理文獻和嚴格精審地考據史實方面,甚至還要青出於藍,高出他的老師。通過莫諾,蘭克史學的學風延伸到了法國。終其一生,莫諾在法國展現著十九世紀普魯士和德國的史學傳統特色。1876​​年莫諾創辦《史學評論》(Revue historique),並長年主持該刊,莫諾通過該刊,建立了法國史學界的“方法學派”(l'école méthodique),直到上個世紀三十年代,這一學派一直居於左右法國史壇的導向地位。
        莫諾從史學方面指導沙畹,同時將他引薦給了考狄(本人自稱高第,Henri Cordier, 1849-1925)。考狄是當時法國研究中國和蒐集西文的中國文獻的專家,綽號“活卡片”。考狄出生於美國新奧爾良,1869-1876年間生活在上海,供職於一家商行。可惜,長年在遠東的居留並沒有使考狄掌握漢文。他回法國後受聘為東方現代語學院的遠東各國歷史、地理、法制體系教授(Professor ​​of history, geography and the legal systems of the countries of the Far East at the School of Oriental Languages​​ in Paris),1890年與荷蘭萊頓大學中國學教授施古達(Gustave Schlegel, 1840-1903)共同創辦並合編《通報》(T'oung Pao)。考狄編纂西洋研究中國的《中國書目》(Bibliotheca Sinica)達到了鉅細無遺的程度,他由此掌握了西方漢學業績的全貌,對當時西方的漢學研究現狀和動態了然於心。這份書目後來也受到中國同行的重視,圖書館學家袁同禮(1895-1965)就曾為此書編纂續編。顯然,就熟悉歐洲漢學界的既往成果、時下動態和未來發展趨向而言,考狄比莫諾更為內行,可以給予沙畹更具體的指導和更切合實際的建議。沙畹由於是學哲學出身,本想從翻譯中國經學著作入手。考狄鑑於英國人理雅各(James Legge,1815-1897)在翻譯中國經典方面的建樹,建議沙畹留意西方學者還沒有認真觸碰過的中國史學文獻。這一及時的點撥對於沙畹擇定日後的研究方向起了至關重要的作用。
        
        澎湃新聞:看來沙畹的知識結構底層,具有哲學認識論、史學方法論的深厚基礎,這和他後來的具體研究有怎樣的關係呢?
        張廣達:可以說,沙畹在進入中國研究之前,已經既了解德國、法國史學全貌,也趨同於演變中的某些十九世紀的史學觀念和歷史哲學觀念。此外,由於他熟悉古典時期的希臘羅馬、中世紀的歐洲、法國本國舊制度時期和十九世紀的學術沿革,加上歐洲史學家研究地中海古典文明和國別史的優秀著述具在,可供他有足夠豐富的營養吸收,足夠豐富的成功先例借鑒。尤其值得注意的是,幾位輩分稍早於沙畹的法國歷史學家對後來沙畹的學術見地大有影響。比如歐內斯特·勒南(Ernest Renan, 1823-1892),這位法國學者主要研究猶太教和早期基督教史、中東的語言與文明,探討近代民族的定義與民族認同的形成。說實在的,今天西方討論近代民族觀念的著作,多受勒南的啟示,有時直接援引的就是勒南的論述。另一位是史學家、文學藝術批評家伊波利特·丹納(或譯泰納,Hippolyte Taine, 1828-1893)。他在《英國文學史》(1864)引論中提出文學批評、藝術創作及其發展趨向三要訣(triad):race(種族,英語譯作nation /民族)、milieu(環境)、moment(契機)。在丹納看來,認識、研究、評述作家和作品,必須從民族、環境和契機這三方面佔有大量材料,進行科學分析。值得我們注意的是,沙畹在著述中每當需要強調中國和西方之不同的時候,就會提及泰納的種族/民族說。還有一位就是德·庫朗熱(Fustel de Coulanges, 1830-1889),他是研究古代希臘羅馬社會史的大家,撰寫《古代城邦:希臘羅馬的宗教、法律和製度》(1863),這是一位具有社會學意識的古典學家,對著名的社會學家塗爾幹(Emile Durkheim,1858-1917)也有很大影響。這些十九世紀法國傑出史家建立的學術範式都或隱或顯地啟發了沙畹後來對中國的研究。
        以上是沙畹立足的學術土壤的簡況,接下來他就​​進入了中國。1889年(清光緒十五年)初,由於佩柔向法國教育部的力荐,二十四歲的沙畹被法國外交部派往北京,當時給了他一個法國駐清公使館散編隨員的名銜,但不承擔任何具體工作,他的任務就是進修漢語和漢文,並確定具體課題和研究方向。今天看來,派遣學生出國深造不足為奇,但在當時,除了德國的福蘭閣(Otto Franke,1863-1945)比他早到北京一年之外,沙畹來華實際上是西方向中國派遣留學生的開端,此前來華的只是外交人員、傳教士、商人、探察家、旅行者等。
        到達北京三個半月,經歷了新鮮奇妙感之後,沙畹就為自己確定了兩項主要工作:一是發願譯出中國古代史學巨著《史記》全帙,據以研究中國上古的歷史,探索中國的文明源流;二是在蒐集相關圖書,特別注意蒐集兩漢畫像石刻拓片、歷代碑銘資料乃至中國境內外各種民族文字的銘文。實際上,蒐集、整理、考釋拓片成了沙畹終生持之以恆的工作。
        沙畹研究中國歷史,從翻譯《史記》的八書之一《封禪書》和整理殷代曆法入手,讓人們見識到了​​這位年輕學者出手不凡。顯然,這一選擇能夠一舉多得:通過譯註史文,可以迅速掌握中國傳統的校勘、訓詁和義解的要領,學得中國傳統學者治史必備的年代學、目錄學知識,並促使沙畹關注除了清代中葉以來今本、古本《竹書紀年》爭論之外的《史記》的諸多史源,諸如伏生《尚書》、孔安國《尚書》、偽孔《尚書》的關係,司馬遷本人又如何對今、古文的文本等問題。這也間接使沙畹將他掌握的西方文本批判的方法派上了用場。即便是在今天,這種通過深耕一部基本典籍以訓練學生的基本專業技能,仍不失為培育人才的有效方法。
        最值得我們注意的是,沙畹作為一個剛剛涉足中國歷史的年輕人,並不是從某位人物或某一具體事件,而是選擇封禪這一國家體制中的特殊制度入手。秦漢統一帝國的皇帝-天子進行郊祀,或以巡狩方式對天下名山大川進行祭祀,特別是登泰山祭天祭地,這一系列包括天地、日月、山川(岳瀆)、四望的祭祀儀軌,既是統治者神道設教的統治手段,也是當時人們的宇宙觀念和信仰體系,其中某些宗教性儀式也可以用來詮釋包括先民時代在內的信仰淵源。沙畹譯註《封禪書》,其實是以此為門徑,探討古代中國人的信仰和宗教觀,考察中國儀式化的宗教拜祭和祀典的形成過程,進而了解古代中國人的精神世界。可以說,西方學者運用現代史學方法參與整理中國古籍,當以沙畹的《史記·封禪書》的譯註為開端。而且沙畹的做法不同於中國歷史上的所有學者,他以親自的實地踏勘,處理《史記》文本的不同詮釋,從而呈現中國宗教信仰中的不同意象世界。
        (未完待續)     

王宣一《行走的美味》;詹宏志《人生一瞬》 (2006)。詹朴

$
0
0

我還是不敢相信,宣一已經離開我們了。
去年選戰方酣的夏天,有天,洲民約了宣一、宏志以及麗鈴、國治兩對夫婦去他那裡吃飯,幫我打氣。
在洲民家陽台上,宣一跟我說,「大力,你什麼時候要辦募款餐會?我們幫你做菜。」
我聽了,很感動。
因為個性,去年選戰期間,我幾乎從來沒有主動向人募過款,或要求贊助。團隊、朋友知道我臉薄,這些事都幫我擔下。
所以聽到宣一主動這麼問我,心裡很溫暖。
後來,我選戰的第一次募款餐會,就在文嘉、昭儀的「水牛書店」進行,宣一與宏志一共幫我做了十一道菜,國治、麗鈴也貢獻一道。與會的賓客超過八十人,大家都吃得很高興,更別說每道菜都讓人回憶。
宣一的做人,就跟她的廚藝一樣,總是讓你回味;她總是不著痕跡地幫到你,或者你的胃。
晚上,一通電話傳來宣一的消息,隨後,朋友、媒體查證的電話也紛至沓來,我發覺自己不太能夠處理這種事。
舒哥與我在電話兩端都無言,有一句沒一句的,我們與宣一都有三十年的交情。想到宏志與阿朴,想到他們必然的哀傷,我在幽暗的客廳裡,回憶宣一的身影,以及與他們家的相處,每一幕都好清晰。
我知道,以後,懷念宣一,將是一件隨時會發生的事。
(謝謝謙賢提供的這張照片。)


我還是不敢相信,宣一已經離開我們了。  去年選戰方酣的夏天,有天,洲民約了宣一、宏志以及麗鈴、國治兩對夫婦去他那裡吃飯,幫我打氣。 在洲民家陽台上,宣一跟我說,「大力,你什麼時候要辦募款餐會?我們幫你做菜。」 我聽了,很感動。  因為個性,去年選戰期間,我幾乎從來沒有主動向人募過款,或要求贊助。團隊、朋友知道我臉薄,這些事都幫我擔下。 所以聽到宣一主動這麼問我,心裡很溫暖。  後來,我選戰的第一次募款餐會,就在文嘉、昭儀的「水牛書店」進行,宣一與宏志一共幫我做了十一道菜,國治、麗鈴也貢獻一道。與會的賓客超過八十人,大家都吃得很高興,更別說每道菜都讓人回憶。  宣一的做人,就跟她的廚藝一樣,總是讓你回味;她總是不著痕跡地幫到你,或者你的胃。  晚上,一通電話傳來宣一的消息,隨後,朋友、媒體查證的電話也紛至沓來,我發覺自己不太能夠處理這種事。  舒哥與我在電話兩端都無言,有一句沒一句的,我們與宣一都有三十年的交情。想到宏志與阿朴,想到他們必然的哀傷,我在幽暗的客廳裡,回憶宣一的身影,以及與他們家的相處,每一幕都好清晰。  我知道,以後,懷念宣一,將是一件隨時會發生的事。  (謝謝謙賢提供的這張照片。)


(中央社記者鄭傑憶羅馬15日專電)PC Home創辦人詹宏志的夫人、美食作家王宣一,不幸在義大利中部城市柏魯加(Perugia)去世。駐義大利代表處人員正從羅馬出發,全力提供協助。但由於家屬希望保護隱私,目前不願多透露細節。1040215

王宣一義大利病逝 詹朴哀痛

(中央社記者黃貞貞倫敦15日專電)PC Home創辦人詹宏志的夫人、美食作家王宣一今天不幸在義大利中部去世,他們的獨生子、服裝設計師詹朴接獲噩耗,十分哀痛。

詹朴目前旅居倫敦,近日正忙碌準備將於21日在倫敦時裝週推出的2015秋冬新裝走秀,今天接獲摰愛的母親因心臟病去世的消息,極為震驚與哀傷。

詹朴自2013年初開始持續不斷參加倫敦時裝週以來,詹宏志與王宣一都親自從台灣到倫敦出席每1場走秀活動,甚至穿戴愛子設計的衣服或配件,表達堅定支持,家人感情十分緊密。

詹朴的同事告訴中央社記者,今天原訂安排在東倫敦進行詹朴最新1季作品的形象照拍攝工作,事必躬親的詹朴一早就在現場忙碌,但在獲知母親不幸去世的消息後,哀痛不已,無法繼續工作、先行返家。

這位與詹朴共事多年的同事表示,聽到王宣一過世的消息大家都十分震驚,「詹媽媽是很親切的長輩,很照顧我們,我常去他們在台北的家,詹媽媽手藝很棒,會下廚做飯給我們吃,無法相信她離開我們,希望這個消息不是真的」。1040215
---

民報:
王宣一自稱是「吃飯工作者」,曾為《商業周刊》等報章雜誌撰寫美食專欄,目前擔任台北亞都麗緻大飯店天香樓美食顧問。著有散文集《家庭旅遊》、《國宴與家宴》、《小酌之家》,小說集《旅行》、《少年之城》、《懺情錄》、《蜘蛛之夜》、《天色猶昏,島國之雨》,兒童文學作品《哪個錯找哪個》、《九十九個娘》、《三件寶貝》、《金瓜與銀豆》、《丹雅公主》、《板橋三娘》、《青粿種子》等。同時也自行經營「apumama的實驗廚房」部落格,經常撰寫各地平民美食。

中文系畢業的王宣一待過出版社、當過記者,其後十幾年陸續寫了數本兒童文學、小說,但卻因一篇追憶母親的散文,開啟她飲食書寫的道路,不但愛品嚐美食、善於寫美食,還擁有嚐過的人多忘不了的廚藝。

今年8月間為了力挺台北市長候選人馮光遠舉辦的募款餐會,特地擔任餐會掌廚,馮光遠曾說:「只要曾經嚐過宣一、宏志手藝的人,絕對期待這一餐!」足見她的好手藝。今日傳出王宣一過世的消息,讓不少文化界人士大感錯愕與惋惜。
*****

驚!惋!



知名美食作家、PChome Online創辦人詹宏志夫人王宣一,不幸在義大利中部城市佩魯加(Perugia)去世,年59歲。我駐義大利代表處人員正從羅馬出發,...
STORM.MG


王宣一祖籍浙江省海鹽縣,1955年生於台北,東吳大學中文系畢業,曾任《時報周刊》編輯,出版有散文集《行走的美味》、《小酌之家:巷弄裡的美味》、《國宴與家宴》,小說集《天色猶昏,島國之雨》、《懺情錄》、《旅行》、《蜘蛛之夜》、《少年之城》,及兒童圖書《哪個錯找哪個》、《九十九個娘》、《三件寶貝》、《小飛象》,曾獲聯合文學獎及金鼎獎推荐圖書優良獎。
王宣一從小跟著母親下廚房、上市場,母親不僅教會她做菜,也影響了她一生的價值觀。亞都麗緻集團總裁嚴長壽和王宣一的母親同是杭州人,有一回到她家作客,品嚐過王宣一傳承自母親的杭州料理後,隨即聘她為亞都麗緻飯店天香樓的美食顧問。

詹宏志與王宣一的獨子詹朴是新銳服裝設計師,目前旅居英國首都倫敦。

今年1月4日,台北市長柯文哲曾拜會詹宏志,結束後直接驅車返家,被媒體拍到手中拿著王宣一今年才出版的《行走的美味》與之前出版的《小酌之家:巷弄裡的美味》兩部作品,顯然是詹宏志的贈書。
*****2013
時裝設計詹朴「石油一生」登上倫敦伸展台
時間:2013/2/16   新聞引據:聯合報

台灣新銳服裝設計師詹朴15日首次參加倫敦時裝週,發表個人品牌ApuJan第1季作品,延續針織長才與優異設計功力,新作艷驚四座,受到時尚媒體與買家好評。(詹朴提供,謝宇恩攝)
  台灣時裝設計師詹朴的個人品牌ApuJan 2013秋冬系列針織女裝,15日首度登上倫敦時裝周伸展台,這是繼吳季剛、古又文、陳劭彥等人後,又一位台灣新銳設計師揚名國際。

  這是詹朴自創品牌推出的第一季時裝,主題「石油一生」延續他偏愛的龍袍、和服、旗袍等東方元素,演繹石油從海底古生物殘骸到地層的醞釀、形成,再經歷人類消耗至無。

  詹朴想傳達的不是環保議題,而是陳述事物經過時間淬鍊形成既定形式,卻又消失得快速徹底。他說:「比起環保,我更想傳達歲月的流逝。」

  26歲的詹朴被視為吳季剛接班人,是Burberry時尚總監貝雷(Christopher Bailey)、Mulberry創意總監希爾(Emma Hill)的學弟,擅長多種針織工具與技法。

  他的作品時尚,概念卻很知性,過去曾以龍捲風、氣候、神話為題創作,加上東方服飾元素,風格沉穩低調;相較過去的奇幻風格,這次的石油主題探討時間與消逝的二元關係,展現更成熟的創意。

  這場盛會台灣味十足,部落客「英國觀察日記」劉家文擔任總策畫,DMC世界DJ大賽台灣區冠軍DJ Question Mark應奇軒創作走秀音樂,現場提供台灣珍珠奶茶店特調飲料。駐英代表沈呂巡夫婦、旅英台灣設計師陳劭彥都應邀與會。

  接下來詹朴將赴法國參與巴黎時裝周,在國際時裝舞台尋求更多的機會。


詹宏志先生在人生一瞬 (2006)中 認為Asimov 的 小說Nightfall譯成夜幕低垂等,都不恰當 因為 nightfall可兼作動詞, 所以譯夜降等較好
NIGHTFALL 當動詞使用還沒見過 希望讀者賜知

人生一瞬


年歲漸長,記憶發酵。
  孩提往事一幕幕,如此鮮明多彩,卻令人心生疑惑:「這一切都是真的嗎?」詹宏志遠離童年,墜入關於記憶的提問,這是四歲的水中之光?還是少年暴雨下的迷濛山路?他搜索自己,企圖從靈光一閃的畫面中,建立起自己私密的個人史。
  而這正如同他遠遊世界的歷程一般,每一幅地景乍然停格,暈染著光圈,一秒、兩秒,北海道大雪,尼泊爾牧羊少女嫣然一笑,彷彿有著什麼逗引著他,他於是也停下來,輾轉思索,他想知道屬於自己的故事。
   詹宏志穿越時間的旅程,回憶紛至沓來,只有他在自我的鏡影中,瞥見黃蝴蝶幾隻飛,窗際布滿想像的星斗,水妖的歌聲若隱若現,海邊飄來蒼白的女屍,如一朵 盛開的花。詹宏志勇敢地在記憶的甬道中劃下一根火柴,一瞬之光,點亮生命的迷彩,他意外憶起夏日清晨未醒的蜻蜓,而草蛇從光裸的腳背上游過去,時間彷彿凍 結千年之久。
  幼年的自己,貪看天色的流轉與人事的流轉,「坐在窗口,他會看見這些人生的重覆,以及它的荒謬與無關緊要,如果他坐得再久 一點,譬如說一兩百年,他或許也可以看到朝代的更替和歷史的興衰,也一樣是荒謬重覆和無關緊要」。詹宏志與童年對話,自己的故事清晰得如同觀看他人的影片 一般。「他有時感到超出年紀的哀傷,甚至動搖了童真。」
  然而記憶大雪紛飛,淡季人生的異國旅館,如果展開的是一本推理小說,一處一處陌生的人情與風景,就成為遺忘憂愁與創傷的藥引。
  詹宏志是一位永遠不合時宜的時空旅者,常常在錯誤的季節來到一個地方,只因他心有所悟:「大自然在最孤寂的時候,也有遺世獨立的孤寂絕景,你往僻靜之處走去,它也饗你以安寧的身心盛宴」。當你不隨人事喧囂流轉,你就可以用自己的沙漏節奏讓生命流逝。
   於是詹宏志的旅行,是把自己拋擲到世界盡頭的場地裡,「心境已老,想知道的卻是老靈魂的來歷」。旅行是濃縮的人生,而人生中偶然的遭遇,一個個一閃即逝 的過程,力量憾人、纏綿不去,詹宏志深深了解,自己將帶著這種種不明意義的畫面走向餘生。因為那就是自己的故事了,一如時光的啟示。
  人生一瞬,記憶如落英飄遠。書分二輯,輯一是生命時間軸下的凝思與追憶,輯二則是旅程地景上片刻的忘我與不可忘懷。
作者簡介
詹宏志
  出生於1956年。雙魚座。畢業自台灣大學經濟系。現職PC Home Online 網路家庭董事長。
   詹宏志,一個大家都不陌生卻十分好奇的人;有人說他是縱橫數位時代的鬼才,也有人稱他是出版界的奇才。雖然,他經常提醒大家別再用「趨勢專家」的字眼來 形容他,然而他的每個創意,所做的每件事往往總是走在最前端。因之他的《趨勢索隱》、《創意人》、《城市人》,多年來,一直是從事創意產業工作者封為經緯 的作品。
  睽違多年,詹宏志藉由新作《人生一瞬》,與喜愛他的朋友、讀者,進行一種極私密、溫和的對話;他不談數位趨勢、也不論出版產業 的願景,而是感性、知性地寫他的孩提往事、青澀的青春時光,以及一個“兒子”對父親的情感。同時,在這本書裡,他旅行中愛玩、愛吃的本事可也是令人發噱!
  對詹宏志而言,《人生一瞬》是他在時間的洗鍊、沈澱下,坦然地面對自己內裡、自我審視,首部半自傳性的文學作品。

詳細資料

  • 叢書系列:旅人之星
  • 規格:平裝 / 336頁 / 15*21cm / 普級 / 單色印刷 / 初版
  • 出版地:台灣

目錄

輯一  時間
記憶之柱   1956
煤炭堆上的黃蝴蝶  1958
父親回家時  1959
水中之光  1960
海上漂流的花朵  1960
羅斯金的憤怒  1961
蛇   1961
木瓜先生  1962
張望者  1962
我爸爸的恐龍  1964
穿山小孩  1967
後車站  1968
繁星若夢  1958
風雨中的計算機  1969
山路  1969
珊瑚礁中的龍蝦 1970
小刀   1970
稻田舞女  1970
當睡人醒來  1975
但願少年有知   1978
孔子雕像下  1982
咖啡應有的樣子  1982
咖啡館裡的革命者  1984
依莎貝拉的來信  1986
給我全世界  1997
賽蓮之鄉  1998
輯二 地方
祖谷溫泉  日本.四國
治癒的旅行  日本.日光
山陰道上  日本.山陰
驚喜的晚餐   日本.九州
火與海的國度  日本.九州
奧入瀨溪谷  日本.東北
雪埋的旅館  日本.立山
煙中巴士  日本.北海道
國民休閒村  日本.北海道
雪國的誘惑  日本.北海道
三大蟹邂逅  日本.北海道
冰下魚  日本.北海道
步行食遊  日本.北海道
史蒂文森窮病之處  美國.加州
波士頓的私家偵探  美國.波士頓
鱈魚角的同性戀旅館  美國.鱈魚角
距離  美國.德州
回到沼澤地  美國.紐奧良
菜單上的語言  法國.巴黎
來到巴黎的康有為  法國.巴黎
獻給約瑟夫.虎克  英國.倫敦
一個人的餐酒  義大利.翡冷翠
喜瑪拉雅山麓下  尼泊爾.那加闊
在那遙遠的地方  尼泊爾.那加闊
走到世界的盡頭  俄國.勘察加
富麗怪奇  香港

自序
記憶金庫
  金庫開啟,記憶驚飛。
  就在某一天,像一群拍翅驚散的蝙蝠一樣,那些本來在記憶倉庫裡沈睡的塵封片段,沒來由地突然成群撲到我的臉上,揮也揮不去。但當我倒反過來想要捕捉它們,卻怎麼樣也捉不著具體的重量與形狀。
  那些片段常常是童年記憶裡的某種感官記錄,昔日住家榻榻米暗角微微晃動的光影、光影中輕舞漂浮帶有熱炒蒜頭味道的灰塵、灰塵中震動著遠方收音機裡歌仔戲令人昏昏欲睡的哭調唱腔、哭調唱腔聲中有一支熱天午後行進中鑼鼓喧嘩的葬禮隊伍……。
  或者是一些腦中浮現的默片一般的凝結場景,傍晚時分小學教室潑水後清涼的紅磚長廊、操場邊上空蕩蕩的單槓鐵架與低眉靜默的榕樹群、後山上排列整齊的香蕉園和鳳梨田、一名少女在樓梯口回眸時哀怨的眼神……。
   那些喧囂交雜的聲音、放肆挑逗的氣味,以及刺激奪目的顏色,有時候無比清晰,有時候泛白模糊,我不免要疑惑,那些官覺庫存都是真實的嗎?如果是真實的, 為什麼當我想要記得它們的時候,它們就嘲弄似地忽遠忽近、游離不定呢?或者它們是扭曲或虛構的嗎?如果是虛假的,那麼,由這些記憶片段所建造構成的我自 己,到底又是誰呢?
  就在某一天,我突然記起這許多事情和畫面來……。年輕時候的我,無暇回顧平淡生活的過去,在汲汲營營的職場社會裡一 心向前,心思被辦公室的爭權奪利佔滿,渾不知這些片段畫面記憶對我的意義。父親過世的那個晚上,我沈默載著他的遺體奔馳在高速公路上,細雨濛濛,路燈閃 爍,小貨車濕漉漉的車輪涮涮涮地轉動著,彷彿奔向不再有光明的未來。我不知道該傷心還是該專心,思緒難以集中。忽然之間,記憶倉庫打開,灰撲撲衝出來千百 隻蝙蝠,無方向地散落亂飛,洒得我滿頭滿臉。從那之後,往事盤旋,思緒就停不了了,我常常陷入在某件意義不明的記憶裡。
  我猜想,我不但失去了父親,大概也已經不再年輕了。
   那個細雨奔馳的晚上,我和車內父親的遺體沈默相處著,我坐在前座,他躺在小貨車後廂平坦處,一塊事先準備好的紅布蓋著他,微微呈現一個人形,這倒是很像 他生前我們兩人的關係,我總是不知道該跟他說些什麼。雖然負責葬儀的婦人一再交待,我一定要一路向他解釋路途,並提醒他過橋,免得他成了迷途的鬼魂,但我 還是開不了口,他是我的父親,他帶著我走過深山和城鎮,他永遠是認得路的。
  記憶中我和父親的直接對話,總數也許不超過一百句,我們好像 沒什麼可講,或者說我們的關係好像不是建立在對談之上。在家裡,父親好像不是小孩傾訴的對象,母親才是;可是父親也不曾責備我或處罰我,母親才會。母親是 家中情緒的核心,父親的存在則像一片佈景,標示著這個家庭的來歷,卻沒什麼作用。特別是在小時候,經常不在家的父親總是在夜裡回家,早上我偷偷打開紙門窺 看,一床紅被面裹著一個聳起的人形,就像現在車內的他,蒙頭蓋著,安靜的,沈睡著……。
  往事襲向心頭,後來的一段時間,我暗暗咀嚼記憶 與追溯究竟是怎麼一回事。想到幾乎天底下什麼事都談的希臘聖哲亞里士多德(Aristotle, 384-322 B.C.),我在他的全集裡找了一找,果然也討論到靈魂、官覺、和記憶,在他一篇叫<關於記憶與回想>(On Memory and Reminiscence)的短文裡,開宗明義便問道:「記憶的對象是什麼?」接著又自答說,我們不可能記得未來,未來只能做為意見或期待的對象,我們也 不可能記得現在,因為現在是知覺感受的對象,與記憶有關聯的,只能是過去。
  記憶,既不是感受,也不是觀念。記憶,是時間流逝後我們的某種知覺或觀念的狀態或情感。因此,所有的記憶,都隱含著一段消失的時光。
  是呀,消失的時光。我所有的記憶,代表的就是所有我已經失去的時光,無知的、青春的、不那麼青春的,即使是不愉快的傷害與傷痕,如今也成為追憶的對象,或者說,正是因為失去了,它們如今都成了我的美好過去。
   但我們真的不能記得未來嗎?在我沈溺於過去的時候,我彷彿回溯了人生的許多轉折點,每一個轉折點都曾經有兩條以上的路,我選擇了其中一條,回想之際不免 沈吟,如果當時選擇了另一條路會如何?另一條路會把我帶到另一個天堂或者是另一種地獄?那裡顯然有另一種未來,另一種人生,另一種身份,另一個場所,以及 另一個完全不一樣的我。
  但我當時想像得不同,我選擇的是一種我以為會發生的未來,也棄絕了我以為我不想要的未來。這些未來顯然都過去 了,有的沒有發生,有的胎死腹中,然而我還記得它們嗎?有的我記得,有的則蹤跡難尋,有的則混在偽裝的記憶裡,成為我人鬼不分的困惑,我有時候要問自己: 「這是發生過的事嗎?還是僅僅為我曾經擁有的想像?」
  追問過去,是老去的表?,但這也只是自然規律,並不丟臉。我甚至因而有了寫作的衝 動,我想記錄自己的來歷,甚至包括了形成我雛型的六十年代的台灣,以及人生的某些片段流連。這個衝動,也許和初民或原始部落在文明的曙光裡記錄民族的起源 和遷變,並無兩樣,而記憶的結果,究竟是神話還是真實,也一樣難以考究。我的意思是說:「別追問我真假了,如果真實的記憶有破洞,我只能用虛構想像把它補 起來。」我無意騙人,我只是不願見往日自己的人生滿是遺忘的空缺。
  我把這些記錄所得,一篇篇寫在當時剛在台灣創刊的<壹周 刊>裡,成為一個專欄。一年之後,我停了筆,然後又花了四年來修改它。也沒改什麼,每天加一個字減兩個字,一種口氣到另一種口氣,改了好像沒改,卻 花了好多時間。也許尋找記憶往事的人,流連在已經消逝的時光,眷戀不肯去,也是自然的。
  現在時間到了,我決心把這些文章印出來了。我想 像這是一個人與記憶(或是遺忘)搏鬥的記錄,因為是關於記憶,所有的故事也就如亞理士多德所說,都隱藏了一段失去的時光。那一段段時光,相對於永恆的時 間,如露如電,似泡沫又如幻影,只能和昔日專欄的名稱一樣,叫它<人生一瞬>吧。

內容連載

§內文1

煤炭堆上的黃蝴蝶

人生有一些記憶畫面意義不明,但卻又難以忘懷。譬如說,黑色發亮的煤炭堆上,有幾隻翩翩飛舞的黃蝴蝶,就是在我腦海裡盤旋了四十年的一幅畫面;我有時候也不能完全確定,這究竟是一個真實的經驗,或者只是一種長期堆疊而逐漸成形的花色想像?

好 像總是在傍晚時分,我家門前那條直直街道盡頭的天空,剛剛露出一片鮮艷的橘色,一輛大卡車噗卜噗卜地開了過來;有時候是母親,有時候是阿姨,總是帶著我在 路邊等著,我可能是三歲或者四歲或者五歲。卡車嘎然在我家門口急急停住,兩個工人笑呵呵地從車上跳下來,和我母親打個招呼,立即俐落地掀開卡車屁股後的擋 蓋,再跳上車用鏟子和鋤頭嘩啦嘩啦鏟下瀑布一般的煤炭來,那是一整車黑得發亮的上等無煙煤。卡車和工人都是從父親的煤礦裡來的,自己家生產煤炭,儘管當時 一般家庭都燒木炭或煤球,我們家裡煮飯燒水卻用最高級的無煙煤。

天色這時通常已經轉為紫橙色,有些店家已經點起燈來了,鄰居三五成群拿著 畚箕、竹籠、和竹掃把靠了過來,不等到一卡車的煤炭都堆到路邊,他們就開始一畚箕或一竹簍地把煤炭裝回家。一卡車的煤炭堆在地上看起來像是巍巍一座小山, 但整條街的鄰居都各取一簍子之後,只剩下小小一堆,這個時候,通常天色已經昏黑了,天空變成墨藍色,微微還有一點光,家家戶戶都已經點燃黃色的燈泡,卡車 司機和工人匆匆道別而去,總是留下幾位鄰居幫忙把餘下的煤炭一簍一簍搬到我們家的天井去。最後一段景象,我並不是記得太清楚,因為到了那個時候,我通常已 經倒在媽媽或阿姨的背上睡著了。


沒有個性的人 By Robert Musil

$
0
0

亂倫曾經是文學的一大關注(穆齊爾[Musil]和納博科夫[Nabokov]的作品都是箇中例子),但此景看來已經不再。我好奇理由何在。大概是因為人 們已不再把性愛視為一種準宗教經驗(quasi-religious experience),也因此不再把亂倫視為一種對諸神的挑釁。J. M. Coetzee

明目讀書會:江老師、賴先生、中時副刊主編、洪老師。
台大圖書館英文本:
主要作者 Musil, Robert, 1880-1942  
劃一題名 Mann ohne Eigenschaften. English  
書名/作者 The man without qualities / Robert Musil ; translated from the German by Sophie Wilkins ; editorial consultant, Burton Pike  
出版項 New York : A.A. Knopf : Distributed by Random House, 1995 
版本項 1st American ed
I. A sort of introduction and Pseudo reality prevails -- II. Into the millenium

 穆基(Musil)《沒有特點的人》(我知道有簡體字版,台灣還沒人出版,書厚達一千頁「而已」。)
hc 報告:
明目書社的每月讀書會將於四月討論此書,由中研院江日新老師主持:4 月6日, 2006
Robert Musil 『沒有個性的人』(Der Mann Ohne Eigenschaften )張榮昌譯,北京:作家出版社,2000

5 月4日
明目書社讀書會 1330-1500 Robert Musil 『沒有個性的人』(Der Mann Ohne Eigenschaften )pp.1-180【向前推進80頁】

介紹 Musil 是哲學博士。德國出版業與作家。


穆齊爾的【沒有個性的人】書影與他的本人照片。
江燦騰的相片。
江燦騰的相片。
江燦騰的相片。

Boswell’s Enlightenment;倫敦日誌‧1762—1763 / Boswell's London Journal, 1762-1763

$
0
0
"Despite the fact that Boswell wrote one of the world’s greatest biographies, one always feels he’d rather have taken a selfie."
WHEN James Boswell was in Rome, aged 24, and with few accomplishments to his name other than bouts of gonorrhoea and panic attacks about the afterlife, he had his portrait painted by George Willison.
SCOTSMAN.COM






WHEN James Boswell was in Rome, aged 24, and with few accomplishments to his name other than bouts of gonorrhoea and panic attacks about the afterlife, he had his portrait painted by George Willison.



Boswell’s Enlightenment

Robert Zaretsky

Belknap Press, £19.95

It is a curious piece. In it, Boswell is wearing a fur-trimmed coat, reminiscent of the signature dress of Jean-Jacques Rousseau, whom he had met six months earlier, and whom he would latterly hustle into making him the unofficial ambassador to Corsica (as well as sleeping with his mistress).

Above Boswell in the portrait is an owl, a traditional symbol of wisdom. At the same time as he met Rousseau, Boswell met his philosophical foe, Voltaire, who in a parable about governance cast the owl as the Machiavellian mastermind. The owl in the portrait has a gothic look about it, appearing threatening rather than serene. After Boswell’s death, another philosopher, Hegel, would write that “the owl of Minerva spreads its wings only with the falling of the dusk”, meaning that philosophy only understands an era as it is closing.

Oddly enough, in the landscape behind Boswell’s portrait, the sun seems to be setting. Robert Zaretsky’s book may be about Boswell and the Enlightenment, but it cannot wholly ignore the imminent darkling plain. Boswell may be a figure fashioned by the Enlightenment, but in his hysteria and histrionics, his self-dramatisation and self-doubt, he seems more akin to the Romantics than the Age of Reason.

The idea that there is some kind of irreversible threshold between “Romantics” and “the Enlightened” is, of course, bogus. It was the Enlightenment that introduced sensibility and fellow-feeling as key concepts about what makes us human; it was a peculiarly lachrymose generation, given to ostentatious weeping as much as to cerebral rumination. Boswell is the ideal person through whom to explore the ambiguities and contradictions of the Enlightenment. In the opening chapter, Zaretsky foregrounds this, narrating Boswell and his friend Temple as young students, climbing Arthur’s Seat and hollering “Voltaire, Rousseau, Immortal Names!” across the grey North Sea. That they did not grasp the differences between them is part of why Boswell’s biography is so illuminating rather than enlightening.

Through a combination of chutzpah and naivety, Boswell managed to meet most of the major figures of his age: not just Rousseau and Voltaire, but David Hume, Adam Smith, Samuel Johnson (whose biography he would write) and Sir Joshua Reynolds, the portrait painter (whose biography he intended to write). One of the funniest parts of Zaretsky’s book – and, in a way, Boswell appears here like a picaresque hero, bumbling from encounter to encounter, never quite getting what he has been told – is Boswell’s desperation and failure to meet Frederick the Great. The section on his failed seduction of the gloriously named Isabella Agneta Elisabeth van Tuyll van Serooskerken is worth the whole book: she saw through Boswell, and he did not even realise he’d been intellectually and emotionally rumbled.

Part of the cleverness of this work is to describe a Boswell before he became Johnson’s amanuensis and sidekick. His relationship with Pasquale Paoli, the Corsican nationalist, was every bit as significant and sentimental. Boswell believed that Corsican independence was a chance to change political history – I am reminded of Byron’s enthusiasm and innocence over Greece. Corsica could have been the Berlin Wall of the 18th century. It actually happened in Paris and a Corsican, Napoleon, reaped the benefits. The entanglement of reason, heroism, “feeling”, liberation and tyranny could have no more embroiled a knot. If only Boswell had been alive to witness it.

Some of Zaretsky’s broad-brush descriptions are askew. John Knox is denounced as a prim Presbyterian killjoy – but this was a man who saw himself represented on stage, and whose agenda about education and, for want of a better phrase, “social security”, pre-empted Enlightenment thought. That Boswell got goose-pimples over Hell and Annihilation cannot be blamed on Knox and the Reformation. The fact he could go to university is a tribute to Knox’s improvements.

This feels like the first volume of a bigger work. It is about becoming Boswell, not being Boswell, and Zaretsky expertly highlights the points where Boswell examines himself on who he might be or not be. It is an overture more than an opera. But he did eventually decide, and that decision is important, even if he never managed to make his beliefs and his actions ethically aligned. The cover of the book is taken from the portrait I mentioned, but is clipped to show just the eye. It’s a red and rheumy eye, as if the sitter had just been full of tears. Later portraits show a swaggery, self-satisfied sitter. How did one transform into the other? Did the more comfortable Boswell remember the fearful, pompous Boswell?

The most melancholy part of Zaretsky’s work is Boswell’s anxieties. Johnson – twitchy, strange, grumpy, dislikeable – was far more of a tether to the self-loathing Scot than the elegant Voltaire or the iconoclastic Rousseau. Boswell sought out atheists and cringed when they advocated atheism. Johnson’s placid, placatory piety was more appealing, especially as he struggled to believe it himself. Both men were pursued by the black dog of melancholy, but Johnson forbore while Boswell caved in on himself. It makes Boswell more interesting, and Johnson more noble. Despite the fact that Boswell wrote one of the world’s greatest biographies, one always feels he’d rather have taken a selfie.

London Journal - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/London_Journal
---
The Louisa Episodes
 http://andromeda.rutgers.edu/~jlynch/Texts/louisa.html

----


The most authoritative edition of the London Journal, as of the end of 2012, is that edited by Gordon Turnbull for Penguin Classics. (2010). The Journal itself (presented for the first time almost completely un-modernized in its spellings and punctuation), is a newly-prepared and carefully checked text, which corrects some flaws in the 1950 transcription which had been reprinted 1950-1954, almost always with no modification and usually just from camera-copies of the 1950 text. In addition, Turnbull includes the Memoranda, the "Minc'd Pye' journal-letter, the 'History' of the publication of Boswell's letters with Erskine, and the 'Scheme of Living' Boswell wrote as his budget for London. The edition is one of the most lavishly-annotated Penguin Classics, and it is the best edition for assignment in university courses studying the *Journal*, or for scholars wishing to cite the text in books or articles.
 ---

Boswell's London Journal, 1762-1763

Front Cover
Yale University Press, 2004 - Biography & Autobiography - 370 pages
James Boswell; Edited by Frederick A. Pottle; Foreword by Peter Ackroyd
In 1762 James Boswell, then twenty-two years old, left Edinburgh for London. The famous Journal he kept during the next nine months is an intimate account of his encounters with the high-life and the low-life in London. In it Boswell tells of his struggle for independence from his family; he talks of his developing friendship with Samuel Johnson; he describes taverns, playhouses, and coffee houses he frequented; and he relates conversations he had with figures such as the poet James MacPherson and the actor David Garrick. The Journal, frank and confessional as a personal portrait of the young Boswell, is also revealing as a vivid portrayal of life in eighteenth-century London. Boswell's London Journal, with its useful introduction, scholarly notes, and extensive index, was first published in 1950 to high acclaim and has since become a classic in the field.
 *****
這本書的翻譯每一頁 "錯誤連篇"
譬如說 noble church 翻譯成貴族去的教堂
同頁的 "大地島"等都看成是書名


倫敦日誌‧1762—1763(漢英對照)
 作  者:[英]鮑斯韋爾
 出版單位:中國人民大學
 出版日期:2009.04
《倫敦日誌(1762-1763)(英漢對照)》是英國著名傳記作家鮑斯韋爾1762—1763年在倫敦短暫居住時記錄的日記,堪稱一部英國斷代史錄。鮑 斯韋爾是英國大貴族,因不願順從父親的安排過墨守成規的枯燥生活而獨自出走倫敦。在倫敦,他見到了自己嚮往的生活:酒吧、妓女、賭場、整夜的舞會、無盡的 應酬……但貴族社會的虛榮、偽善讓他失望,而那些一擲千金、整日放縱的荒唐日子也讓他付出了代價。最終,他留在倫敦的幻想破滅,屈從於父親的壓力,離開了 倫敦。作者觀察細膩、思想敏銳,用青年貴族的親身經歷翔實記載了18世紀倫敦的社會、文化和普通人的生活,生動描畫了當時英國貴族的世情百態和冷暖色調。

作者簡介
詹姆斯·鮑斯韋爾(James Boswell,1740——1795),英國家喻戶曉的文學大師,現代傳記文學的開創者。鮑斯韋爾年輕時在父親的堅持下違心地學習法律,但他真正的興趣 在文學上,其所著《約翰遜傳》以資料翔實名揚天下,至今暢銷。在20世紀,鮑斯韋爾的書信、日記等大量手跡被發現,司各特與波特爾將其編纂為《詹姆斯·鮑 斯韋爾遺稿》18卷,成為研究當時英國人文歷史的珍貴資料。今天,“鮑斯韋爾”已成為忠實的傳記作家的代名詞。

編輯推薦
《倫敦日誌(1762-1763)(英漢對照)》是英國著名傳記作家鮑斯韋爾1762—1763年在倫敦短暫居住時記錄的日記,堪稱一部英國斷代史錄。

目錄
題記
倫敦日誌(1762)
倫敦日誌(1763)
附錄
附錄1我的生活計劃表
附錄2鮑斯韋爾父親的一封信
譯後記

******
This is the book that started the whole present-day Boswell-mania.
It covers the time from November 15, 1762 to August 4, 1763, beginning with his departure from Edinburgh, and ends with his last day in London before he left for Holland and his Grand Tour, not to set foot in England again until 1766.
We follow Boswell's fight for a commission in the guards, his affair with Covent Garden actress Louisa Lewis, his (declining) relationship with Thomas and Frances Sheridan, his reunion with his old chum William Johnson Temple and the beginning of his friendship with Samuel Johnson. We also hear of the gay life in London with Andrew Erskine, George Dempster and the 10th Earl of Eglinton, as well as his occasional depressions and a visit from Signor Gonorrhea.
The book is amusing and educating, and a great glimpse of life in society circles in 18th century London.
Versions
Boswell's London Journal was published by William Heinemann Ltd. in 1950. In addition to the standard hardback edition, a deluxe edition was printed in a stronger cover, better print and coming with a bookcase.
Another deluxe version was also published in just 1,050 numered copies, to which was prefixed Boswell's Journal of my Jaunt, Harvest 1762. This journal begins on September 14, 1762 and ends with November 14, 1762, covering his tour of southern Scotland to visit friends and family. This first journal is not available anywhere else.
It is a pity that the Journal of my Jaunt has only been published in a very limited number, as it is a great read, as well as a good introduction to Boswell's scottish background. Having read this journal gives greater depth to the London Journal.



***
0.701 seconds to build listing
You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Series (with order)

Canonical Title

Original publication date

People/Characters






Important places

Important events



Awards and honors

Epigraph

Dedication

First words
The ancient philosopher certainly gave a wise counsel when he said "Know thyself."

Quotations
"Conversation is the traffic [commerce] of the mind; for by exchanging ideas, we enrich one another." - West Digges (actor) as reported by Boswell.

"The mind of man [is] like a room, which is either made agreeable or the reverse by the pictures with which it is adorned." - George Dempster, 26 Feb 1763, as related by Boswell

"You have a light head, but a damned heavy a___ [arse?]; and, to be sure, such a man will run easily downhill, but it would be severe work to get him up." - Lord Eglington to Boswell, regarding his ability to start a thing, but inability to stick with it to the end.

Last words
(Click to show. Warning: May contain spoilers.)

Disambiguation notice

Publisher's editors

Blurbers


Benjamin Franklin 《富蘭克林自傳》力行十三項箴言

$
0
0

溫紳專欄/鑑古觀今

1758年2月16日

力行十三項箴言的富蘭克林



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

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

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

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

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

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


2015.1.18 賓大

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


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

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

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

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

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

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

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

******


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

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

《萬有文庫》目錄

$
0
0
Heraclitus. Get the app http://econ.st/1FSrkDW

Our #econespresso #quoteoftheday is from the philosopher Heraclitus. Get the app http://econ.st/1FSrkDW
臺灣商務印書館曾發行《萬有文庫要》


《萬有文庫》目錄      上海商務印書館影印        
     10001 四庫全書總目提要 永瑢等
10002 書目答問 張之洞
10003 道藏目錄詳註 白雲霽 10004 閱藏知津 釋智旭 10005 日知錄 顧炎武 10006 古今偽書考 姚際恆 10007 讀書雜誌 王念孫 10008 經學通論 皮錫瑞 10009 周易姚氏學 姚配中 10010 老子本義 魏源 10011 論語正義 劉寶楠 10012 墨子閒詁 孫貽讓 10013 孟子正義 焦循 10014 莊子集釋 郭慶藩 10015 荀子集解 王先謙 10016 禮記集解 孫希旦 10017 淮南鴻烈集解 劉文典 10018 論衡 王充 10019 近思錄 朱熹 10020 傳習錄 王守仁 10021 宋元學案 黃宗羲 10022 明儒學案 黃宗羲 10023 顏氏學記 顏元 10024 東原集 戴震 10025 漢學師承記 江藩 10026 宋學淵源記 江藩 10027 中國古代哲學史 胡適 10028 清代學術概論 梁啟超 10029 周禮正義 孫貽讓 10030 管子校正 戴望 10031 韓非子集解 王先慎 10032 唐律疏義 房玄齡 10033 儀禮正義 胡培翬 10034 爾雅義疏 郝懿行 10035 說文解字注 段玉裁 10036 廣韻  陳彭年 10037 康熙字典(附考證) 張玉書等 10038  經傳釋詞  王引之

    10039 馬氏文通  馬建中 10040 戴氏校定算經十書 戴震 10041 齊民要術 賈思勰 10042 農政全書 徐光啟 10043 營造法式 李誡 10044 天工開物 宋應星 10045 黃帝素問注 王冰 10046 本草綱目 李時珍 10047 書法正傳 馮武 10048 圖繪寶鑑 夏文彥 10049 藝舟雙楫 包世臣 10050 金石索 馮雲鵬;馮雲■  10051 樂律全書 朱載堉 10052 詩毛氏傳疏 陳奐 10053 屈原賦注 戴震 10054 文選 蕭統 10055 曹子建集 曹植 10056 陶淵明集 陶潛 10057 李太白集 李白 10058 杜少陵集 杜甫 10059 韓昌黎集 韓愈 10060 柳河東集 柳宗元 10061 白香山集 白居易 10062 歐陽文忠公集 歐陽修 10063 王臨川集 王安石 10064 蘇東坡集 蘇軾 10065 陸放翁集  陸游 10066 涵芬樓古今文鈔簡編 吳曾祺 10067 古詩源 沈德潛 10068 唐詩別裁集 沈德潛 10069 宋詩別裁集 張景星 10070 元詩別裁集 張景星 10071 明詩別裁集 沈德潛 10072 清詩別裁集 沈德潛 10073 唐五代詩選 成肇麟 10074 宋六十家詞 毛晉 10075 元曲選 臧晉叔 10076 牡丹亭 湯顯祖 10077 桃花扇  孔尚任  10078 宋人平話四種  10079 水滸百二回本 施耐庵 10080 石頭記 曹沾 10081 文心雕龍  劉勰 10082 尚書今古文注疏 孫星衍
    10083 春秋左傳詁 洪亮吉  10084 國語  10085 戰國策  10086 史記  司馬遷 10087 通鑑紀事本末 袁樞 10088 宋史紀事本末 陳邦瞻 10089 元史紀事本末 陳邦瞻 10090 明史紀事本末 谷應泰 10091 文獻通考 馬端臨 10092 歷代紀元編 李兆洛 10093 史通通釋 浦起龍 10094 文史通義 章學誠 10095 歷代名人年譜 吳榮光 10096 水經註  酈道元 10097 歷代地理志韻編今釋 李兆洛 10098 大唐西域記 玄奘 10099 徐霞客遊記  徐宏祖  漢譯世界名著目錄  10100 笛卡兒——方法論 王誨初譯 10101 斯賓挪莎——倫理學 伍光建譯 10102 休謨——人之悟性論 伍光建譯 10103 康德——純粹理性之批判 胡仁源譯 10104 叔本華——人生之智慧 餘祥森譯  10105 詹姆士——實用主義 孟■ 10106 克魯泡特金——倫理學 王鴻禎譯 10107 尼采——扎勒圖士之言 王鴻禎譯 10108 倭鏗——倫理與現代思想 鄭次川譯 10109 柏格森——心力 胡國鈺譯 10110 杜威——哲學之改造 胡適譯 10111 衛斯塔威——科學方法論 楊銓譯 10112 詹姆士——心理學簡編 郭任遠譯 10113 弗洛伊德——心之分析  高覺敷譯 10114 瓦特森——行為主義的心理學 臧玉■ 10115 考夫卡——兒童心理學新論 高覺敷譯 10116 斯賓塞爾——群學肄言 嚴復譯 10117 克魯泡特金——互助論 週佛海譯 10118 米勒來爾——社會進化史 陶孟和,沈怡譯  10119 塗爾幹——社會學方法論 許德■譯 10120 柏拉圖——理想國 吳獻書譯 10121 亞理斯多德——政治學  吳頌皋譯 10122 邊沁——道德與立法原理概論 周炳琳譯 10123 穆勒——群己權界論 嚴復譯 10124 巴佐浩——物理與政理 鍾建閎 10125 拉斯基——政治典範  張士林譯
    10126 亞丹斯密——原富 嚴復 10127 李士特——國家經濟學 王開化譯 10128 蒲魯東——經濟學之矛盾 魏道明譯 10129 霍布孫——近世資本主義 許炳漢譯 10130 衛布——英國工會史 陳建民譯 10131 鮑萊——統計學原理 陳錦濤譯 10132 格老秀斯——國際法 岑德彰譯 10133 ■克思——社會通詮  嚴復譯  10134 馬克思——價值價格及利潤  10135 殷格林——經濟學史  10136 琴巴爾——實業組織  10137 屈費兒——地球之表面  10138 巴士特——發酵之生理學  10139 哥爾德斯密——雙鴛侶   10140 萬有文庫孟德斯鳩——法意 嚴復譯  10141 梅因——古代法 方孝岳,鍾建閎  10142 戴雪——英憲精義 雷沛鴻譯 10143 郎白羅梭——犯罪學 劉麟生譯 10144 狄驥——現代國家法 週鯁生譯 10145 盧梭——愛彌兒 魏肇基譯 10146 赫爾巴特——教育學 朱經農,周耀譯  10147 斯賓塞爾——教育論 任鴻雋 10148 杜威——民本主義與教育 ■恩潤譯  10149 哈維——心血運動論 黃維榮譯,郭任遠校  10150 牛頓——哲學原理 鄭太樸譯  10151 赫瑞勒——談天  李善蘭原譯,段育華校補  10152 拉馬克——動物的哲學 秉志譯  10153 法拉第——電學之實驗 敖弘德譯,顏任光校  10154 阿斯特瓦德——化學原理 程瀛章譯 10155 達爾文——人類原始及類擇 馬君武譯 10156 赫胥黎——天演論 嚴復譯 10157 羅素——算理哲學  傅種孫譯 10158 愛因斯坦——相對論淺釋 夏元■ 10159 湯姆生——科學大綱  王雲五等譯  10160 塞治尉克及泰婁——科學發達史 潘祖荀譯,胡適校•——上海商務印  10161 莎士比亞——天仇記 邵挺譯 10162 密爾頓——失樂園 傅東華譯 10163 狄孚——魯濱孫漂流記 林紓譯 10164 斯尉夫特——海外軒渠錄 林紓譯 10165 佛蘭克林——自傳  熊式一譯 10166 司各德——撒克遜劫後英雄略 林紓譯 10167 歐文——大食故宮餘載 林紓譯 10168 狄更斯——塊肉除生述 林紓譯 10169 蕭伯納——不快意的戲劇 金本基譯
   

10170 盧梭——懺悔錄 章桐譯——上海商務印書館影印  10171 莫利愛——慳吝人 高真常譯  10172 器囂——苦人   10173 大仲馬——俠隱記 伍光建譯 10174 小仲馬——茶花女遺事 林紓譯 10175 莫泊桑——遺產 耿濟之譯 10017 6歌德——哀格蒙特 胡仁源譯 10177 席勒爾——瓦輪斯丹 胡仁源譯 10178 霍卜特曼——火焰 楊丙辰譯 10179 哥哥爾——巡按 賀啟明譯 10180 屠格涅夫——父與子  耿齊之譯 10181 阿斯忒羅夫斯奇——貧非罪 鄭振鐸譯 10182 托爾斯泰——現身說法 林紓譯 10183 荷馬——奧德賽 傅東華譯  10184 西塞錄——演說集  10185 天方夜潭—— 溪若譯 10186 但丁——神曲 嚴既澄譯 10187 塞凡提——魔俠傳 林紓譯  10188 易卜生——戲曲集 潘家洵譯胡適校  10189 邊孫——天帝的路途   10190 梅特靈——青鳥 傅東華譯 10191 太戈爾——新月集  鄭振鐸譯  10192 日本名家小說集——周作人譯   10193 隆格臘及塞那堡——史學原論 李思純譯任鴻雋校  10194 魯濱孫——新史學  何炳松譯 10195 大隈重信——日本開國五十年 梁思成譯  何炳松等校     10196 亨丁敦及克興——人生地理學原理 王悔初■鄭次川譯  10197 鮑曼——戰後新世界 張其均等譯;竺可楨等校•——上海 商務印書館影  學生國學   10198 書經 唐敬杲 10199 詩經 ■天綬 10200 禮記 葉紹鈞 10201 春秋左傳 樑寬 10202 春秋公羊傳 計碩民 10203 論語 賈半臻 10204 孟子 ■天綬 10205 經學歷史 週予同 10206 史記 胡懷琛 10207 前漢書 莊適鄭雲齡  10208 後漢書 莊適 10209 三國志 王鍾麒 10210  資治通鑑 吳敬銘
    10211 戰國策 臧勵和 10212 國語 胡祥麟 10213 史通  劉虎如 10214 徐霞客遊記 劉虎如 10215 管子 唐敬杲 10216 老子 陳柱 10217 莊子 沈德鴻 10218 荀子 葉紹鈞 10219 韓非子 唐敬杲 10220 墨子 唐敬杲      10221 呂氏春秋 莊適 10222 淮南子 沈德鴻  10223 世說新語 崔朝慶,葉紹鈞  10224 新序說苑 莊適 10225 宋元學案 繆天授 10226 明儒學案 繆天授 10227 漢學師承記 週予同 10228 楚辭  沈德鴻 10229 漢魏六朝文 臧勵和 10230 陸贄文 樑寬       10231 韓愈文 莊適,臧勵和  10232 柳宗元文 胡懷琛 10233 歐陽修文 胡祥麟 10234 三蘇文 劉勁秋 10235 曾鞏文 朱鳳起 10236 王安石文 褚東郊 10237 歸有光文 胡懷琛 10238 顧炎武文 唐敬杲 10239 侯方域文 朱鳳起 10240 黃宗羲文 朱鳳起 10241 方姚文 莊適,趙震  10242 惲敬文 陳東原 10243 文心雕龍 鄭振鐸 10244 古詩源 傅東華 10245 陶淵明詩 傅東華 10246 王維詩 傅東華 10247 李白詩 傅東華 10248 杜甫詩 傅東華 10249 白居易詩 傅東華 10250 蘇軾詩 嚴既澄 10251 黃庭堅詩 嚴既澄 10252 陸游詩 黃逸之

    21127 樂府詩集 (宋)郭茂倩 21128 唐百家詩選 (宋)王安石  21129 宋詩鈔  (清)吳之振(清)呂留良李宣龔 校補 21130 湖海詩傳 (清)王昶 21131 楚辭  (漢)王逸注  21132 詞源/(宋)張炎  21133 詞律/(清)萬樹等  21134 詞苑叢談/(清)徐■  21135 明詞綜/(清)王昶  21136 漱玉詞/(宋)李清照  21137 斷腸詞/(宋)朱淑真  21138 草窗詞/(宋)周密  21139 白雲詞/(宋)張炎  21140 松雪齋詞/(元)趙猛■  21141 烏絲詞/(清)陳維崧  21142 延露詞/(清)彭孫■  21143 彈指詞/(清)顧貞觀  21144 珂雪詞/(清)曹貞吉   21145 飲水詞側帽詞/(清)納蘭性德  21146 樊榭山房詞/(清)厲鶚  21147 茗柯詞/(清)張惠言   21148 金梁夢月詞/(清)週之琦  21149 曲譜/(清)康熙敕撰  21150 曲話/(清)梁廷■  21151 太平樂府/(元)楊朝英  21152 陽春白雪/(元)楊朝英  21153 劇說/(清)焦循  21154 琵琶記/(元)高明  21155 長生殿/(清)洪昇  21156 董解元弦索西廂/  21157 四六從話/(清)孫梅  21158 駢體文鈔/(清)李兆洛   21159 楹聯叢話附續話/(清)梁章鉅   21160 墓銘例附廣例/(清)王行乾梁玉繩    21161 陸宣公奏議/(唐)陸贄  21162 林文忠公政書/(清)林則徐  21163 歷代名人書札正續/吳曾祺   21164 世說新語  (宋)劉義慶撰劉孝標註  21165 唐語林/(宋)王讜   21166 夢溪筆談補續/(宋)沈括  21167 容齋五筆/(宋)洪邁  21168  物理小識/(明)方以智  
    21169 庸庵筆記/(清)薛福成  21170 穆天子傳/(晉)郭璞注  21171 搜神記/(晉)干寶  21172 京本通俗小說/  21173 大宋宣和遺事/   21174 西遊記/(明)吳承恩  21175 鏡花緣/(清)李汝珍  21176 儒林外史/(清)吳敬梓   21177 蔡中郎文集/(漢)蔡邕撰(清)陸心源校   21178 嵇中散集/(魏)嵇康撰(明)黃省曾校刻   21179 謝康樂集/(宋)謝靈運撰王士賢校   21180 鮑氏集/(宋)鮑照  21181 謝宣城集/(齊)謝■  21182 江文通集/(梁)江淹   21183 徐孝穆集/(陳)徐陵撰(清)吳兆宜箋注   21184 庾子山集/(北周)庾信撰(清)倪■集注   21185 王子安集/(唐)王勃撰(清)蔣清翊注   21186 駱賓王文集/(唐)駱賓王  21187 張燕公集/(唐)張說  21188 曲江集/(唐)張九齡   21189 王右丞集/(唐)王維撰(清)趙殿成注   21190 高常侍集/(唐)高適  21191 岑嘉州集/(唐)岑參  21192 孟襄陽集/(唐)孟浩然   21193 韋蘇州集附拾遺/(唐)韋應物  21194 劉賓客文集/(唐)劉禹錫  21195 張司業集/(唐)張籍  21196 孟東野集/(唐)孟郊  21197 長江集/(唐)賈島  21198 昌谷集/(唐)李賀   21199 李義山集/(唐)李商隱撰(清)馮浩注   21210 溫飛卿集/(唐)溫庭筠撰(明)曾益注(清)顧予咸補   21211 騎省集(即徐公文集)/(宋)徐鉉   21212 小畜集/(宋)王禹稱  

Robert Frost

$
0
0
  • The Notebooks of Robert Frost - Harvard University Press

    www.hup.harvard.edu/catalog.php?isbn=9780674034662
    Robert Frost is one of the most widely read, well loved, and misunderstood of modern writers. His notebooks, presented here in their entirety for the first time and ...
  • Robert Frost - Wikipedia, the free encyclopedia

    en.wikipedia.org/wiki/Robert_Frost
    Frost attended Harvard University from 1897 to 1899, but he left voluntarily due to .....Robert Frost and Sidney Cox: Forty Years of Friendship (University Press of  ...
    1. The Letters of Robert Frost, Volume 1 - Harvard University ...

      www.hup.harvard.edu/catalog.php?isbn=9780674057609
      Pensive, mercurial, and often funny, the private Robert Frost remains less ... The Letters ofRobert Frost, the first major edition of the correspondence of this ... Harvard University Press offices are located at 79 Garden Street, Cambridge, MA  ...



    Robert Frost, pictured at 84, was a late riser, awaking at 9 or 10 every morning. A good bit of trivia to unleash when told your sleeping in is a sign of laziness.
    http://ti.me/1zcQ5WY
    (Alfred Eisenstaedt—The Life Picture Collection/Getty Images)

    Robert Frost, pictured at 84, was a late riser, awaking at 9 or 10 every morning. A good bit of trivia to unleash when told your sleeping in is a sign of laziness. http://ti.me/1zcQ5WY  (Alfred Eisenstaedt—The Life Picture Collection/Getty Images)

    Bill Moyers

    $
    0
    0

    Philip Levine, a recent US poet laureate, died over the weekend. In 2013, he spoke with Bill about how his years working on Detroit's assembly lines inspired his poetry.

    Bill talks to Philip Levine, a recent US poet laureate, who explores how his years working on Detroit's assembly lines inspired his poetry.
    BILLMOYERS.COM




    Bill Moyers 是Johnson總統的新聞秘書。
    1. Bill D. Moyers
      Former White House Press Secretary
    2. Bill D. Moyers is an American journalist and liberal political commentator. He served as White House Press Secretary in the Johnson administration from 1965 to 1967. He also worked as a network TV news commentator for ten years. Wikipedia
    3. BornJune 5, 1934 (age 80), Hugo, Oklahoma, United States

    1. BillMoyers.com ‎- 1 day ago
      Watch Bill's interviews with experts on the financial crisis and the current state of the banking industry.
    著名的「塔克曼」(Tuch•man , Barbara Wertheim 1912–1989)訪談,可參考Bill
    Moyers《美國心靈》(A WORLD OF IDEAS)(北京:三聯,第3-17頁)。她
    力陳:

    英雄的定義 為 "A person noted for feats of courage or nobility of purpose,especially one who has risked or sacrificed his or her life"。

    不過,現代人都將名人當英雄( "A person noted for special achievement in a particular
    field: the heroes of medicine. See synonyms at celebrity.")



    每個國家的資源和限制都不相同,所以提議的解答可能大不同:

    Everybody knows tiny houses are a sustainable model for homeowners to shrink their carbon footprint, but could they also provide a place for those experiencing homelessness to find stability and, perhaps, to live permanently? Watch our video report:

    Micro-homes could provide a place for those experiencing homelessness...
    BILLMOYERS.COM

    Philip Levine 1928–2015

    $
    0
    0

    Philip Levine, a recent US poet laureate, died over the weekend. In 2013, he spoke with Bill about how his years working on Detroit's assembly lines inspired his poetry.
    Bill talks to Philip Levine, a recent US poet laureate, who explores how his years working on Detroit's assembly lines inspired his poetry.
    BILLMOYERS.COM




    Today, we remember poet Philip Levine, who spent his life reminding us to see the grace and beauty in the ordinary. Levine died Saturday at the age of 87. http://n.pr/1yLqfbx


    Today, we remember poet Philip Levine, who spent his life reminding us to see the grace and beauty in the ordinary. Levine died Saturday at the age of 87. http://n.pr/1yLqfbx






    Philip Levine, whose death was announced this weekend by the Poetry Foundation, published his first piece in The New Yorker in March, 1958, and would go on to publish dozens of additional poems in the magazine in the nearly six decades since. The winner of two National Book Awards and a Pulitzer Prize for poetry, Levine, the son of Russian-Jewish immigrants, grew up in Depression-era Detroit, and became known for his working-class subjects. Named the poet laureate of the United States in 2011, Levine was the guest onThe New Yorker’s first poetry podcast, recorded in late 2013, when he was eighty-five.
    In 2006, in a conversation with The New Yorker, Levine recalled what he described as “probably the most significant poetic experience I had in my whole life”: receiving a book of poetry from his eleventh-grade teacher, near the end of the Second World War, and discovering “that there was a young man some years before whose feelings about war were so similar to my own.”
    Levine’s final poem in The New Yorker, “By the Waters of the Llobregat,” appeared in the magazine three months ago, and Levine returned to the poetry podcast to read it.
    Burial Rites,” a reflection on his mother’s death and his own, appeared in the magazine in April, 2007.


    Philip LevineFrances Levine
    Philip Levine was one of the leading poetic voices of his generation, “a large, ironic Whitman of the industrial heartland,” according to Edward Hirsch. The son of Russian-Jewish immigrants, Levine was born and raised in industrial Detroit, where he began working in the auto factories at the age of 14. As a young boy in the midst of the Great Depression of the 1930s, he was fascinated by the events of the Spanish Civil War. His heroes were not only those individuals who struggled against fascism but also ordinary folks who worked at hopeless jobs simply to stave off poverty. Noted for his interest in the grim reality of blue-collar work and workers, Levine resolved “to find a voice for the voiceless” while working in the auto plants of Detroit during the 1950s. “I saw that the people that I was working with … were voiceless in a way,” he explained in Detroit Magazine. “In terms of the literature of the United States they weren’t being heard. Nobody was speaking for them. And as young people will, you know, I took this foolish vow that I would speak for them and that’s what my life would be. And sure enough I’ve gone and done it. Or I’ve tried anyway.”
    Levine earned his BA from Wayne State University in 1950 and began attending writing workshops at the University of Iowa, as an unregistered student, in 1953. He took classes with Robert Lowell and John Berryman, and would later pay tribute to Berryman's teaching influence on his development as a poet. Levine officially earned an MFA from the University of Iowa in 1957, and later that year won a Jones Fellowship at Stanford University. Shortly thereafter, he began teaching at the California State University, Fresno, where he would remain until 1992. Levine also taught at Columbia, Princeton, NYU, Brown, the University of California at Berkeley, and Tufts.

    Though Levine did not return to live in Detroit, its people and economy would remain central concerns of his poetry. Critic Herbert Leibowitz, commenting on Levine’s 1980 National Book award and National Books Critics Circle award-winning collection Ashes: Poems New and Old, wrote: “Levine has returned again and again in his poems to the lives of factory workers trapped by poverty and the drudgery of the assembly line, which breaks the body and scars the spirit.” However, the speaker in Levine’s poems “is never a blue-collar caricature,” argued Richard Tillinghast in his New York Times Book Review piece, “but someone with brains, feelings and a free-wheeling imagination that constantly fights to free him from his prosaic environment.” In addition to concentrating on the working class in his work, Levine paid tribute to the Spanish anarchist movement of the 1930s, especially in The Names of the Lost (1976).In his book, The Fierce Embrace: A Study of Contemporary American Poetry,Charles Molesworth explained that Levine connected the Spanish revolutionaries with Detroit’s laboring class during a brooding stay in Barcelona: “Both cities are built on the backs of sullen, exploited workers, and the faded revolution in one smolders like the blunting, racist fear in the other.” As Leibowitz summed up, “The poet’s ‘Spanish self,’ as he calls it, is kin to his Detroit self. Both bear witness to the visionary ideal destroyed.”

    Critics have described Levine’s work as dark and unflinching. Time contributor Paul Gray called Levine’s speakers “guerrillas, trapped in an endless battle long after the war is lost.” This sense of defeat is particularly strong when the poet recalls scenes from his Detroit childhood, where unemployment and violence colored his life. But despite its painful material, Levine’s verse can also display a certain joyfulness, suggested Marie Borroff. Writing in the Yale Review, she described the title poem ofThey Feed They Lion (1972) as “a litany celebrating, in rhythms and images of unflagging, piston-like force, the majestic strength of the oppressed, rising equally out of the substances of the poisoned industrial landscape and the intangibles of humiliation.” Richard Hugo commented in the American Poetry Review: “Levine’s poems are important because in them we hear and we care.” Though Levine’s poems are full of loss, regret and inadequacy, Hugo felt that they also embody the triumphant potential of language and song. Levine has kept alive in himself “the impulse to sing,” Hugo concluded, adding that Levine “is destined to become one of the most celebrated poets of the time.”

    Levine’s poetry for and about the common man is distinguished by simple diction and a rhythmic narrative style—by what Robert Pinsky once called “the strength of a living syntax.” In an American Poetry Review appraisal of Ashes (1979) and 7 Years from Somewhere (1979), contributor Dave Smith noted that in Levine’s poems “the language, the figures of speech, the narrative progressions are never so obscure, so truncated as to forbid less sophisticated readers. Though he takes on the largest subjects of death, love, courage, manhood, loyalty … he brings the mysteries of existence down into the ordinarily inarticulate events and objects of daily life.” Because Levine values reality above all in his poetry, his language is often earthy and direct, his syntax colloquial and his rhythms relaxed. Molesworth argued that Levine’s work reflects a mistrust of language; rather than compressing multiple meanings into individual words and phrases as in traditionally conceived poetry, Levine’s simple narratives work to reflect the concrete and matter-of-fact speech patterns of working people. Levine’s work was typically more concerned with the known, visible world than with his own perception of those phenomena, and this made it somewhat unique in the world of contemporary poetry. Levine himself, in an interview with Calvin Bedient forParnassus, defined his ideal poem as one in which “no words are noticed. You look through them into a vision of … the people, the place.”

    Several critics faulted Levine for his reliance on narrative descriptions of realistic situations. However, Thomas Hackett, in his review of A Walk with Tom Jefferson(1988), argued that, rather than being a weakness, Levine’s “strength is the declarative, practically journalistic sentence. He is most visual and precise when he roots his voice in hard, earthy nouns.”

    Levine’s ability to craft deeply affecting poems has long been his hallmark. “His poems are personal, love poems, poems of horror, poems about the experiencing of America,”Stephen Spender wrote in the New York Review of Books. Joyce Carol Oates commented of Levine in the American Poetry Review: “He is one of those poets whose work is so emotionally intense, and yet so controlled, so concentrated, that the accumulative effect of reading a number of his related poems can be shattering.” Oates dubbed Levine “a visionary of our dense, troubled mysterious time.” David Baker, writing about What Work Is (1991), said Levine has “one of our most resonant voices of social conviction and witness, and he speaks with a powerful clarity … What Work Ismay be one of the most important books of poetry of our time. Poem after poem confronts the terribly damaged conditions of American labor, whose circumstance has perhaps never been more wrecked.” The book won the National Book Award in 1991. His next book, The Simple Truth (1994), was awarded the Pulitzer Prize for Poetry.

    Levine explored the forces that shaped his life and poetry in The Bread of Time: Toward an Autobiography (1994), a collection of nine essays in which he addresses his experiences as a factory worker, his family and friends, the writers who served as his mentors and his fascination with the Spanish Civil War and Spanish poets. Levine’s portrayal of his mentors, John Berryman and Yvor Winters, garnered critical applause. Richard Eder, writing in the Los Angeles Times Book Review, considered the essays on Berryman, Winters, and the Spanish poet Antonio Machado to be the strongest in the book. Through it all, added Tod Marshall in the Georgia Review, “the book’s main focus—much to the benefit and delight of anyone interested in the formative years of one of our best contemporary poets—is Levine’s relationship with poetry.”
    Levine’s later books include The Mercy (1999), Breath (2004), and News of the World (2009). Breath was hailed by a Terrence Rafferty in the New York Times as a “graceful new collection” that showcases Levine’s unique brand of elegy, one that operates in long, thoughtful lines that summon the un-glorious past and its hard-working inhabitants. “What gives Levine’s work its urgency,” Rafferty went on “is that impulse to commemorate, the need to restore to life people who were never, despite their deadening work, dead things themselves, and who deserve to be rescued from the longer death of being forgotten.”

    Levine won several other awards, including the Ruth Lilly Prize in Poetry and the Wallace Stevens Award. In 2006 he was elected a a chancellor of the Academy of American Poets, and in 2011 was appointed poet laureate of the United StatesHis poetry “will be remembered for his giving voice to the complicated lives of men and women and for making something closer to simple song than ordinary speech,” wrote the poet Carol Frost“The territory of this poetry keeps coming back to a center—praise for the common person, an American, probably with immigrant parents, who having gotten ‘off the bus/at the bare junction of nothing/with nothing’ manages to find a way home.”
    Levine retired from teaching at the California State University, Fresno in 1992. He split his time between Fresno and Brooklyn in his later years, before his death in early 2015.

    CAREER

    Poet. Worked variously at industrial jobs, c. 1950s; University of Iowa, Iowa City, member of faculty, 1955-57; California State University, Fresno, professor of English, 1958-92; Tufts University, Medford, MA, professor of English, 1981-88. Elliston Professor of Poetry, University of Cincinnati, 1976; poet-in-residence, National University of Australia, Canberra, summer, 1978, and Vassar College; visiting professor of poetry, Columbia University, 1978, 1981, 1984, New York University, 1984 and 1991, and Brown University, 1985; teacher at Princeton University, Columbia University, Squaw Valley Writers Community, Bread Loaf, and Midnight Sun. Has read his poetry at the Library of Congress, Poetry Center of San Francisco, Pasadena Art Gallery, Guggenheim Museum, Princeton University, Massachusetts Institute of Technology, University of Michigan, University of California, Stanford University, Wayne State University, University of Iowa, San Francisco State University, Harvard University, Yale University, Brown University, and other schools. Chair of literature board, National Endowment for the Arts, 1984-85.

    BIBLIOGRAPHY

    POETRY
    • On the Edge (limited edition), Stone Wall Press (Iowa City, IA), 1961, second edition, 1963.
    • Silent in America: Vivas for Those Who Failed (limited edition), Shaw Avenue Press (Iowa City, IA), 1965.
    • Not This Pig, Wesleyan University Press (Middletown, CT), 1968.
    • 5 Detroits, Unicorn Press (Santa Barbara, CA), 1970.
    • Thistles: A Poem Sequence (limited edition), Turret Books (London, England), 1970.
    • Pili's Wall, Unicorn Press (Santa Barbara, CA), 1971, second edition, 1980.
    • Red Dust, illustrated by Marcia Mann, Kayak (Santa Cruz, CA), 1971.
    • They Feed They Lion, Atheneum (New York, NY), 1972, reprinted, Knopf (New York, NY), 1999.
    • 1933, Atheneum (New York, NY), 1974.
    • New Season (pamphlet), Graywolf Press (Port Townsend, WA), 1975.
    • On the Edge and Over: Poems Old, Lost, and New, Cloud Marauder (Oakland, CA), 1976.
    • The Names of the Lost (limited edition), Windhover Press (Iowa City, IA), 1976, 2nd edition, Atheneum (New York, NY), 1976.
    • 7 Years from Somewhere, Atheneum (New York, NY), 1979.
    • Ashes: Poems New and Old, Atheneum (New York, NY), 1979.
    • One for the Rose, Atheneum (New York, NY), 1981.
    • Selected Poems, Atheneum (New York, NY), 1984.
    • Sweet Will, Atheneum (New York, NY), 1985.
    • A Walk with Tom Jefferson, Knopf (New York, NY), 1988.
    • New Selected Poems, Knopf (New York, NY), 1991.
    • What Work Is, Knopf (New York, NY), 1991.
    • The Simple Truth, Knopf (New York, NY), 1994.
    • Unselected Poems, Greenhouse Review Press (Santa Cruz, CA), 1997.
    • The Mercy, Knopf (New York, NY), 1999.
    • Breath: Poems, Knopf (New York, NY), 2004.
    • News of the World, Knopf (New York, NY), 2009.
    Sound recordings include Philip Levine Reading His Poems with Comment, 1960, 1961, 1962, 1975;Bicentennial Poetry Discussion, 1976; The Poetry and Voice of Philip Levine, Caedmon, 1976; Hear Me,Watershed Tapes; Philip Levine, 1986; and Mark Turpin and Philip Levine Reading Their Poems in the Mumford Room, 1997.

    OTHER
    • Don't Ask (interviews), University of Michigan Press (Ann Arbor, MI), 1981.
    • (With Orlando Patterson and Norman Rush) Earth, Stars, and Writers (lectures), Library of Congress (Washington, DC), 1992.
    • The Bread of Time: Toward an Autobiography (memoir), Knopf (New York, NY), 1994.
    • So Ask: Essays, Conversations, and Interviews, University of Michigan Press (Ann Arbor, MI), 2002.
    EDITOR
    • (With Henri Coulette) Character and Crisis: A Contemporary Reader, McGraw (New York, NY), 1966.
    • (And translator with Ernesto Trejo) Jaime Sabines, Tarumba: The Selected Poems of Jaime Sabines, Twin Peaks Press (San Francisco, CA), 1979.
    • (With Ada Long, and translator) Gloria Fuertes, Off the Map: Selected Poems, Wesleyan University Press (Middletown, CT), 1984.
    • (With D. Wojahn and B. Henderson) The Pushcart Prize XI, Pushcart (Wainscott, NY), 1986.
    • (Selector and author of introduction) The Essential Keats, Ecco Press (New York, NY), 1987.
    • (Author of introduction) Dennis Sampson, Forgiveness, Milkweed Editions, 1990.
    • (Author of foreword) Larry Levis, Elegy, University of Pittsburgh Press (Pittsburgh, PA), 1997.
    Contributor of poems to anthologies, including Midland, Random House, 1961; New Poets of England and America, Meridian, 1962; Poet's Choice, Dial, 1962; American Poems, Southern Illinois University Press, 1964; and Naked Poetry, Bobbs-Merrill, 1969. Contributor of poems to periodicals, including New Yorker, Poetry, New York Review of Books, Hudson Review, Paris Review, and Harper's.

    FURTHER READING

    BOOKS
    • Dictionary of Literary Biography, Volume 5: American Poets since World War II, Gale (Detroit, MI), 1980.
    • Encyclopedia of World Literature in the Twentieth Century, Volume 3, St. James Press (Detroit, MI), 1999.
    • Mills, Ralph J. Jr., Cry of the Human: Essays on Contemporary American Poetry, University of Illinois Press (Champaign, IL), 1975.
    • Molesworth, Charles, The Fierce Embrace: A Study of Contemporary American Poetry, University of Missouri Press (Columbia, MO), 1979.
    • On the Poetry of Philip Levine: Stranger to Nothing, edited by Christopher Buckley, University of Michigan Press (Ann Arbor, MI), 1991.
    PERIODICALS
    • America, January 13, 1996, p. 19; January 13, 1996, David Sofield, review of The Simple Truth, p. 19.
    • American Poetry Review, November, 1972; May, 1973; March, 1974; May, 1974; May, 1977; November-December, 1979, pp. 36-37.
    • Antioch Review, spring/summer, 1977; spring, 1982, David St. John, review of One for the Rose, pp. 225-234.
    • Atlantic Monthly, April, 1999, review of The Mercy, p. 108.
    • Bloomsbury Review, March, 1996, review of The Simple Truth, p. 24.
    • Booklist, March 15, 1999, Ray Olson, review of The Mercy, p. 1278.
    • Boston Globe, February 2, 1994, p. 63.
    • Carleton Miscellany, fall, 1968.
    • Chelsea, number 65, 1998, review of Unselected Poems, p. 142.
    • Chicago Tribune, March 2, 1994, sec. 5, p. 3.
    • Chicago Tribune Book World, August 5, 1984.
    • Commonweal, October 12, 1979.
    • Detroit Magazine, February 26, 1978.
    • Georgia Review, spring, 1980; winter, 1994, Tod Marshall, review of The Bread of Time: Toward an Autobiography, pp. 821-24.
    • Harper's, January, 1980.
    • Hudson Review, winter, 1979-80.
    • Kenyon Review, fall, 1989; summer, 1992, David Baker, review of What Work Is, pp. 166-73.
    • Library Journal, April 15, 1997, Steven Ellis, review of Unselected Poems, p. 85; March 15, 1999, Graham Christian, review of The Mercy, p. 83.
    • Los Angeles Times, September 10, 1984; May 16, 1995, p. A1.
    • Los Angeles Times Book Review, October 21, 1984, Clayton Eshleman, review of Selected Poems; September 8, 1991, p. 11; August 30, 1992, p. 6; January 16, 1994, Richard Eder, review of The Bread of Time, p. 3.
    • Nation, February 2, 1980; December 30, 1991, p. 864.
    • New Leader, January 17, 1977; August 13, 1979; December 27, 1993, Phoebe Pettingell, review of The Bread of Time: Toward an Autobiography, pp. 12-13.
    • New York Review of Books, April 25, 1968; September 20, 1973; April 3, 1975; December 17, 1981, Helen Vendler, review of One for the Rose.
    • New York Times, May 29, 1985.
    • New York Times Book Review, July 16, 1972; February 20, 1977; October 7, 1979, Herbert Leibowitz, review ofAshes: Poems New and Old; September 12, 1982; August 5, 1984; December 8, 1991, p. 7; May 31, 1992, p. 28; February 20, 1994, Dana Gioia, review of The Bread of Time, p. 14; February 2, 1997, review of The Simple Truth,p. 28; April 18, 1999, Adam Kirsch, "Blue Collar Verse."
    • New York Times Magazine, February 3, 1980.
    • North American Review, November, 1998, review of Unselected Poems, p. 37.
    • Parnassus, fall/ winter, 1972; fall/winter, 1974; fall/winter, 1977; spring/summer, 1978.
    • Poetry, July, 1972; March, 1975; August, 1977; December, 1980; December, 1989; May, 1992, p. 94.
    • Prairie Schooner, winter, 1974; summer, 1997, review of The Simple Truth, p. 179.
    • Progressive, August, 1999, review of The Mercy, p. 44.
    • Publishers Weekly, September 26, 1994, p. 58; November 7, 1994, p. 41; January 25, 1999, review of The Mercy,p. 90.
    • Saturday Review, June 1, 1968; March 11, 1972; September 7, 1977.
    • Sewanee Review, spring, 1976.
    • Shenandoah, summer, 1972.
    • Southern Review, spring, 1992; summer, 1999, review of The Mercy, p. 621,
    • Time, June 25, 1979.
    • Times Literary Supplement, September 11, 1981; July 2, 1982.
    • Village Voice Literary Supplement, May, 1982; July 19, 1988, Thomas Hackett, review of A Walk with Tom Jefferson.
    • Virginia Quarterly Review, autumn, 1972; spring, 1995, pp. 64-65.
    • Wall Street Journal, March 15, 1994, p. A18.
    • Washington Post, February 14, 1994, p. D2.
    • Washington Post Book World, August 5, 1984, Joel Canarroe, review of Selected Poems, p. 3.
    • Western Humanities Review, autumn, 1972.
    • World Literature Today, spring, 1995, Mary Kaiser, review of The Bread of Time, pp. 371-372; winter, 2002, David Rogers, review of The Mercy, p. 154.
    • Yale Review, autumn, 1972, Marie Borroff, review of They Feed They Lion; autumn, 1980.
    OTHER
    • Atlantic Unbound, http://www.atlantic.com/ (April 9, 1999), Wen Stephenson, "A Useful Poetry: An Interview with Philip Levine."

    《林肯新傳》Abraham Lincoln " The Shoemaker's Son "

    $
    0
    0

    Happy Presidents Day. The Cornell Library's copy of the 13th Amendment - signed by Abraham Lincoln - is on display now along with a number of other Lincoln artifacts.

    Happy Presidents Day. The Cornell Library's copy of the 13th Amendment - signed by Abraham Lincoln - is on display now along with a number of other Lincoln artifacts.  More info: http://rmc.library.cornell.edu/thirteenth/events.html

    今日世界出版社以前連Abraham Lincoln: The Prairie Years and The War Years Carl Sandburg (Author)等書都翻譯








    Abraham Lincoln " The Shoemaker's Son "

    Abraham Lincoln was the son of a shoemaker and he became the president of America. Naturally all the aristocrats were tremendously disturbed, annoyed, irritated.


    On the first day, when he was going to give his inaugural address to the Senate, just as he was going to stand up, one ugly aristocrat stood up and he said "Mr. Lincoln although by some accident you have become the president of country, don't forget that you used to come with your father to my house to prepare shoes for our family. And there are many senators who are wearing the shoes made by your father"

    He was thinking he can humiliate him.

    Abraham Lincoln said something which should be remembered by everyone. He said
    "I am very grateful to you for reminding me of my father just before I give my address to the Senate. My father was so beautiful, and such a creative artist-there was no other man who could make such beautiful shoes. I know perfectly well that whatever I do, I will never be such a great president as he was a great creator. I can not surpass him.

    But by the ways, I want to remind all you aristocrats that if the shoes made by my father are pinching you, I have also learned the art with him. I am not great shoemaker, but at least I can correct your shoes. You just inform me, I will come to your house".


    There was a great silence in the Senate, senator understood that it was impossible to humiliate this person. Only small people, suffering from inferiority, can be humiliated; the greatest of human beings are beyond humiliations.
    在林肯當選總統時,整個參議院的議員都感到尷尬,因為林肯的父親是個鞋匠。
    當時美國的參議員大部分出身 望族,自認為是上流、優越的人,從未料到要面對總統是一個卑微的鞋匠的兒子。
    於是,林肯一次在參議院演說 之前,就有參議員計劃要羞辱他。
    在林肯站在演講台的時候,有一位態度傲慢的參議員站起來說:「 林肯 先生,在你開始演講之前,我希望你記住,你是一個鞋匠的兒子。」!
    所有議員都大笑了起來,為自己雖然不能打敗林肯而能羞辱他開懷不已。
    林肯等到大家的笑聲歇止,坦 然地說:「我非常感激你使我想起我的父親,他已經過世了,我一定會永遠記住你的忠告,
    我永遠是鞋匠的兒子,我知道我做總統永遠無法像我父親做鞋匠做得那麼好。」
    參議院陷入一片靜默,林肯轉頭對那個傲慢的參議員說:「就我所知,我父親以前也為你的家人做鞋子,如果你的鞋不合腳,我可以幫你改正它,雖然我不是偉大的鞋匠,但是我從小就跟隨父親學到了做鞋子的藝術。」
    然後他對所有的參議員說: 「對參議院裡的任何人都一樣,如果你們穿的那雙鞋是我父親做的,而它們需要修理或改善,我一定盡可能幫忙,但是有一件事是可以確定的,我無法像他那麼偉大,他的手藝是無人能比。」
    說到這裡,林肯流下了眼淚,所有的嘲笑聲全部化為掌聲。
    林肯沒有成為偉大的鞋匠,但成為偉大的總統,他最偉大的品質,正是他永遠不忘記自己是鞋匠的兒子,並引以為榮。
    尊嚴是人類靈魂中不可蹧蹋的東西,只有在你能夠坦率、真誠地面對自己的時候,你才會真正尊重你自己,並且贏得別人的尊重。那些懂得尊重自己的人,才會去尊重別人。

    《林肯新傳》 作者:(美)湯馬士(Benjamin Thomas)著;何祖紹譯出版社:今日世界出版社 出版時間:1963 我們今天可對照原著 才知道它沒附地圖 maps 也少譯了一些 (如 illustrations /原書 Foreword 2008 當然我們知道此書禁得起時代的考驗 )

    Abraham Lincoln: A Biography - Google 圖書結果

    Benjamin P. Thomas,Michael Burlingame - 2008 - Biography & Autobiography - 576 頁
    The volume's clarity of style makes it accessible to beginners, but it is complex and nuanced enough to interest longtime Lincoln scholars.



    胡適應該沒機會讀這本書
    關心國是者 請用 a common country 查
    Abraham Lincoln: A Biography - Google 圖書結果
    Benjamin P. Thomas,Michael Burlingame - 2008 - Biography & Autobiography - 576 頁

    可得出美國內戰之後求統一 不過它追求的是彼此的目的的一致 unify a country in common purpose

    胡適日記全集 - Google 圖書結果

    胡適,曹伯言,胡適 - 2004 - Biography & Autobiography
    留學日記卷十三民國五年( 1916 )四月十八日至七月廿一日一、試譯林肯演說中的半句(四月十八日)趙宣仲(元任)寄書問林肯(蓋梯司堡( Gettysburg )演說)中之"。 ...

    The Professional: Lyndon B. Johnson / Robert A. Caro 詹森總統傳第四冊The Years of Lyndon Johnson: The Passage of Power.

    $
    0
    0


    Happy President's Day, everyone!


    Happy President's Day, everyone!


     On Jan. 4, 1965, President Lyndon B. Johnson outlined the goals of his ''Great Society'' in his State of the Union address.
     60年代香港的今日世界出版社有相關的書籍。


    William S. White著,謝雄玄毛樹清譯,《詹森傳》,文星書店,1964/1965年再版 
    The Professional: Lyndon B. Johnson 
    William S. White (Author) Publisher: Crest; First Printing edition (January 1, 1964)
     可能是台灣第一本LBJ傳記的翻譯 內有美國國務卿Rusk 的短序呢

    William S. White (1906-1994)

    Reporter, New York Times, 1945-1958; nationally syndicated columnist, 1958-73; awarded Pulitzer Prize in 1955 for The Taft Story, a biography of Robert Taft; author of Citadel: The Story of the U.S. Senate, 1956; author of The Professional: Lyndon B. Johnson, 1964.




    Robert A. Caro 詹森總統傳第四冊The Years of Lyndon Johnson: The Passage of Power.
    Op-Ed Columnist

    This Story Isn't Over Yet

    By JOE NOCERA
    On L.B.J., Robert A. Caro has more to say. And more to say. And more to say. And more to say.


    我"年青時"不懂事   常勸人寫回憶錄  現在我才知道這是大工程 很少人做得成作得好的
    然而 人生豈不是有夢想才美麗
    今天紐約時報有篇詹森總統傳第四冊的書評 Book Review  注意此文之作者

    Seat of Power  By BILL CLINTON
    The fourth volume of Robert Caro’s series on Lyndon Johnson starts shortly before the 1960 election and ends a few months after John F. Kennedy’s assassination.
    這種"史詩級"傳記作品 可能只有美國是樂土  美國或可說 "美國能 他國不能......"

    我上Wikipedia查一下作者的前二段和著作史書目
    Robert Allan Caro (born October 30, 1935) is an American journalist and author known for his celebrated biographies of United States political figures Robert Moses and Lyndon B. Johnson.
    After working for many years as a reporter, Caro wrote The Power Broker (1974), a biography of New York urban planner Robert Moses, and chosen by the Modern Library as one of the hundred greatest nonfiction books of the twentieth century. He has since written four of a planned five volumes of The Years of Lyndon Johnson (1982, 1990, 2002, 2012), a biography of the former president.

    讀者可知   他每8-12出一本    此一傳記全五本總頁數  可能超過4000頁  完成時作者年齡說不定近90歲了
    • Caro, Robert A., The Years of Lyndon Johnson: The Path to Power. 1982. Alfred A. Knopf Inc., New York. (ISBN 0394499735). xxiii + 882 p. + 48 p. of plates: illus.
    • Caro, Robert A., The Years of Lyndon Johnson: Means of Ascent. 1990. Alfred A. Knopf Inc., New York. (ISBN 0394528352). xxxiv + 506 pp.
    • Caro, Robert A., The Years of Lyndon Johnson: Master of the Senate. 2002. Alfred A. Knopf Inc, New York. (ISBN 0-394-52836-0). xxiv + 1167 pp.
    • Caro, Robert A., The Years of Lyndon Johnson: The Passage of Power. 2012. Alfred A. Knopf Inc, New York. (ISBN 978-0679405070). 752 pp.

    在胡適傳記方面
    胡頌平先生花廿多年寫 胡適之先生年譜長編初稿  +胡適之先生年晚年談話錄 1984  兩書約有四千五百4500多頁
    江勇振先生的胡適傳的雄心  類似 Robert Allan Caro的詹森總統傳
    2011年出版 第一部 : 璞玉成璧 【舍我其誰:胡適】 我們祝福他 (由於我也快成半個胡適專家 所以暫時不讀它 希望自己成一家 與他家平行發展    譬如說  我昨天指出胡適之先生年晚年談話錄 的一些錯誤 The Shorter Bible   或者朱權《太和正音譜》五行排行    或許這本書需要 hc 校注版 )


    Seat of Power

    ‘The Passage of Power,’ Robert Caro’s New L.B.J. Book


    Illustration by David Plunkert



    “The Passage of Power,” the fourth installment of Robert Caro’s brilliant series on Lyndon Johnson, spans roughly five years, beginning shortly before the 1960 presidential contest, including the Bay of Pigs, the Cuban missile crisis and other seminal events of the Kennedy years, and ending a few months after the awful afternoon in Dallas that elevated L.B.J. to the presidency.

    THE PASSAGE OF POWER

    The Years of Lyndon Johnson
    By Robert A. Caro
    Illustrated. 712 pp. Alfred A. Knopf. $35.
    Multimedia

    Among the most interesting and important episodes Caro chronicles are those involving the new president’s ability to maneuver bills out of legislative committees and onto the floor of the House and Senate for a vote. One of those bills would later become the 1964 Civil Rights Act.
    You don’t have to be a policy wonk to marvel at the political skill L.B.J. wielded to resuscitate a bill that seemed doomed to never get a vote on the floor of either chamber. Southern Democrats were masters at bottling up legislation they hated, particularly bills expanding civil rights for black Americans. Their skills at obstruction were so admired that the newly sworn-in Johnson was firmly counseled by an ally against using the political capital he’d inherited as a result of the assassination on such a hopeless cause.
    According to Caro, Johnson responded, “Well, what the hell’s the presidency for?”
    This is the question every president must ask and answer. For Lyndon Johnson in the final weeks of 1963, the presidency was for two things: passing a civil rights bill with teeth, to replace the much weaker 1957 law he’d helped to pass as Senate majority leader, and launching the War on Poverty. That neither of these causes was in fact hopeless was clear possibly only to him, as few Americans in our history have matched Johnson’s knowledge of how to move legislation, and legislators.
    It’s wonderful to watch Johnson’s confidence catch fire and spread to the shellshocked survivors of the Kennedy administration as it dawned on them that the man who was once Master of the Senate would now be a chief executive with more ability to move legislation through the House and Senate than just about any other president in history. Johnson’s fire spread outward until it touched the entire country during his first State of the Union address. The words were written by Kennedy’s speechwriter Ted Sorensen, but their impact would be felt in the magic L.B.J. worked over the next seven weeks.
    Exactly how L.B.J. did it was perfectly captured later by Hubert Humphrey — the man the president chose as his vote counter for the civil rights bill and his Senate proxy to carve its passage.
    Humphrey said Johnson “knew just how to get to me.”
    In sparkling detail, Caro shows the new president’s genius for getting to people — friends, foes and everyone in between — and how he used it to achieve his goals. We’ve all seen the iconic photos of L.B.J. leaning into a conversation, poking his thick finger into a confidant’s chest or wrapping his long arm around a shoulder. At 6 foot 4, he towered over most men, but even seated Johnson commanded from on high. Caro relates how during a conversation about civil rights, he placed Roy Wilkins and his N.A.A.C.P. entourage on one of the couches in the Oval Office, yet still towered over them as he sat up close in his rocking chair. And he didn’t need to be in the same room — he was great at manipulating, cajoling and even bullying over the phone.
    He knew just how to get to you, and he was relentless in doing it.
    If you were a partisan, he’d call on your patriotism; if a traditionalist, he’d make his proposal seem to be the Establishment choice. His flattery was minutely detailed, finely tuned and perfectly modulated. So was his bombast — whatever worked. L.B.J. didn’t kiss Sam Rayburn’s ring, but his lips did press against his bald head. Harry Byrd received deference and attention. When L.B.J. became president, he finally had the power to match his political skills.
    The other remarkable part of this volume covers the tribulation before the triumphs: the lost campaign and the interminable years as vice president, in which L.B.J.’s skills were stymied and his power was negligible. He had little to do, less to say, and no defense against the indignities the Kennedys’ inner circle heaped on him. The Master of the Senate may have become its president, but in title only. He might have agreed with his fellow Texan John Nance Garner, F.D.R.’s vice president, who famously described the office as “not worth a bucket of warm spit.”
    Caro paints a vivid picture of L.B.J.’s misery. We can feel Johnson’s ambition ebb, and believe with him that his political life was over, as he was shut out of meetings, unwelcome on Air Force One, mistrusted and despised by Robert Kennedy. While in Congress he may not have been universally admired among the Washington elite, and was even mocked by them as a bit of a rube. But he had certainly never been pitied. In the White House, he invented reasons to come to the outskirts of the Oval Office in the mornings, where he was rarely welcome, and made sure his presence was noted by Kennedy’s staff. Even if they did not respect him, he wasn’t going to let anyone forget him.
    Then tragedy changed everything. Within hours of President Kennedy’s assassination, Johnson was sworn in as president, without the pomp of an inauguration, but with all the powers of the office. At first he was careful in wielding them. He didn’t move into the Oval Office for days, running the executive branch from Room 274 in the Executive Office Building. The family didn’t move into the White House residence until Dec. 7. But soon enough, it would become clear that the power Johnson had grasped for his entire life was finally his.
    As Caro shows in this and his preceding volumes, power ultimately reveals character. For L.B.J., becoming president freed him to embrace parts of his past that, for political or other reasons, had remained under wraps. Suddenly there was no longer a reason to dissociate himself from the poverty and failure of his childhood. Power released the source of Johnson’s humanity.
    Last year I was privileged to speak at the funeral of Sargent Shriver — a man who served L.B.J. but who in many ways was his temperamental opposite. I said then that too many of us spend too much time worrying about advancement or personal gain at the expense of effort. We might fail, but we need to get caught trying. That was Shriver’s great virtue. With Johnson’s election he actually had the chance to try and to win.
    Even as Barry Goldwater was midwifing the antigovernment movement that would grow to such dominance decades later, L.B.J., Shriver and other giants of the civil rights and anti­poverty movements seemed to rise all around me as I was beginning my political involvement. They believed government had an essential part to play in expanding civil rights and reducing poverty and inequality. It soon became clear that hearts needed to be changed, along with laws. Not just Congress, but the American people themselves needed to be got to.
    It was hard to do, absent a crisis like the losses of President Kennedy, Martin Luther King and Robert Kennedy. By the late 1960s, America’s increasing involvement and frustration in Vietnam, the rise of more militant civil rights leaders and riots in many cities, and the end of broad-based economic growth that had indeed “lifted all boats” in the early ’60s, made it harder and harder to win more converts to the civil rights and anti­poverty causes.
    But for a few brief years, Lyndon Johnson, once a fairly conventional Southern Democrat, constrained by his constituents and his overriding hunger for power, rose above his political past and personal limitations, to embrace and promote his boyhood dreams of opportunity and equality for all Americans. After all the years of striving for power, once he had it, he said to the American people, “I’ll let you in on a secret — I mean to use it.” And use it he did to pass the Civil Rights Act, the Voting Rights Act, the open housing law, the antipoverty legislation, Medicare and Medicaid, Head Start and much more.
    He knew what the presidency was for: to get to people — to members of Congress, often with tricks up his sleeve; to the American people, by wearing his heart on his sleeve.
    Even when we parted company over the Vietnam War, I never hated L.B.J. the way many young people of my generation came to. I couldn’t. What he did to advance civil rights and equal opportunity was too important. I remain grateful to him. L.B.J. got to me, and after all these years, he still does. With this fascinating and meticulous account of how and why he did it, Robert Caro has once again done America a great service.

    Bill Clinton was the 42nd president of the United States.


    ---

    人物

    領悟權力:為美國總統立傳

    Martine Fougeron/Getty, for The New York Times
    卡羅書桌旁邊的牆上掛着一塊軟木公告板,他將寫在標準貼紙簿上的《林登·約翰遜時代》提綱釘在上面。

    相較於其他同樣從未掌權的人,羅伯特·卡羅(Robert Caro)或許最了解權力,尤其是政治權力。他本人從未競選任何公職,即使參與也很可能落敗。他性格害羞、言語輕柔,遵守老派禮儀,說話帶有老派紐約腔 (他將“time”發音成“toime”,“fine”發音為“foine”),他愛難為情,談及自身的時候目光有點兒游移。權力的概念,或者是當權者的 概念,吸引他的程度與使其厭惡的程度不相上下。

    然而,卡羅還是花費了幾乎整個的成年時期來研究權力,以及權力的用場。他一開始的研究對象是地產商和城市規劃大師羅伯特·摩西(Robert Moses),然後是林登·約翰遜(Lyndon Johnson),後者的傳記他已經寫了近四十年。卡羅能夠精確地描述,摩西如何不顧一切,強行讓跨布朗克斯高速公路(Cross Bronx Expressway)穿越一個中產階級社區,使得數千家庭流離失所。他也能夠精確地描述,林登·約翰遜如何通過87張偽造的選票,在1948年的得克薩 斯州州參議員選舉中篡取勝利。這些故事仍使他義憤填膺,但也讓他感到某種驚奇。憤怒和驚奇的雙重情感,支撐着他從事一份狄更斯式的孤獨職業,焚膏繼晷、鮮 有停歇。
    按圖放大
    Martine Fougeron/Getty, for The New York Times
    羅伯特.卡羅已經為約翰遜傳記花費了36年(3388頁紙)。他每天穿西裝打領帶,穿過中央公園西的12個街區,抵達哥倫布圓形廣場旁邊的辦公室,與律師和投資公司為鄰。
    按圖放大
    Martine Fougeron/Getty, for The New York Times
    卡羅用老派的方式寫作:手寫到標準文件夾白紙上。手寫完第四稿或者第五稿之後,他才開始打字,不是用電腦,而是用一台老式的Smith Corona牌Electra 210型打字機。然後他再在打字稿上修改。
    按圖放大
    Martine Fougeron/Getty, for The New York Times
    軟木公告板的頂端,釘的是剛剛完成的《權力通道》的提綱。
    按圖放大
    Martine Fougeron/Getty, for The New York Times
    卡羅花費數年泡在位於得克薩斯州奧斯汀的約翰遜圖書館,瀏覽放置約翰遜文檔的紅色硬麻布箱,一些最能披露真相的檔案,由他首次發掘。
    按圖放大
    Martine Fougeron/Getty, for The New York Times
    為了追溯自己做的修改,卡羅將目錄表列成一個四欄的清單:「注釋」、「待增補」、「BG稿」(BG代表的是他的編輯鮑勃·戈特利布)和「校訖稿」。
     卡羅是最後一個十九世紀風格的傳記作家,他認為偉大人物和當權人物的傳記,不能用薄薄一冊來打發,甚至一冊大部頭也不行,得填滿整個書架。他每天 穿西裝打領帶,去哥倫布圓形廣場旁邊一幢不起眼辦公樓的22層辦公室報到,與律師和投資公司為鄰。他的辦公室看起來像是屬於一位註冊會計師,還使用賬簿和 手搖計算器的那種。辦公室內擺放着一張舊木桌,幾個木質檔案櫃和一張栗色皮沙發,從來都沒人坐在那上面。就在這間辦公室里,卡羅用老派的方式寫作:手寫到 標準文件夾白紙上。

     卡羅從1976年開始創作多卷本傳記《林登·約翰遜時代》(The Years of Lyndon Johnson),傳主曾任美國第36屆總統。在那之前不久,他剛寫完摩西的傳記《權力掮客》(The Power Broker),這本規模宏大的傳記贏得了普利策獎。卡羅當時認為,他可以用大約六年的時間,用三卷本寫完約翰遜的一生。下個月(譯者注,2012年5 月),該書的第四卷《權力通道》(The Passage of Power),將在第三卷《議院大師》(Master of the Senate)出版十年之後面世,第二卷《升遷之道》(Means of Ascent)則在第三卷的十二年前出版,第一卷《權力起始》(The Path to Power)又比第二卷早了八年。它們的容量也絕不普通。《升遷之道》大約500頁厚,是其中相對較薄的一本。《權力起始》幾近900頁;《議院大師》接 近1200頁,幾乎是前兩卷長度之和。如果你像我不久之前一樣,傻兮兮地試圖幾周之內讀完或重讀全部四卷,你就會發現自己不忍釋卷,同時又擔心眼珠子看得 掉出來。

    最新的這一卷厚達736頁,僅涵蓋了約摸六年的時間跨度。《紐約客》雜誌(The New Yorker)最近刊登了其中的節選。本書始於1958年,彼時,以果敢和實幹聞名的約翰遜,在決定是否要參與1960年總統選舉時躑躅不前。書中接着描 述了,在當年的民主黨全國代表大會的首輪投票中,約翰遜如何輸給了肯尼迪,隨後的副總統生涯悲慘而羞辱。本書最後把幾乎一半的篇幅貢獻給一個47天的歷史 時段,始於1963年11月肯尼迪遇刺(卡羅對刺殺事件的敘述,是從約翰遜的角度來寫的,堪稱史上最扣人心弦),終於次年1月的國情咨文演講。在這47天 里,約翰遜牢牢抓住了權力的韁繩,並以驚人的速度將“偉大社會”(Great Society)的大部分立法付諸行動。

    換種說法,卡羅放慢節奏,花費比約翰遜生活的歲月更長的時間,來書寫同時段的歷史,而且他離結束還相差甚遠。未來我們還將讀到1964年的總統大 選、博比·貝克(Bobby Baker)和沃爾特·詹金斯(Walter Jenkins)的醜聞、越南戰爭,以及約翰遜不謀求連任的決定。我們中間大多數人記憶中的約翰遜(以及許多人曾經的抗議對象)——固執己見、愁眉不展, 有着大下巴、下垂的招風耳和膽囊手術留下的疤痕——剛剛才開始顯現。

    約翰遜一直預測自己活不長,最終卒於64歲。卡羅已經76歲了,2004年一次可怕的胰腺炎發作之後,一直健康狀況良好。他說,《權力通道》之所以 寫了這麼久,是因為他同時在為後來發生的事做研究,這樣他就能在合理的時間範圍之內,只用一卷的篇幅,將整個系列結束。上回他寫完《議院大師》後也是這麼 說的。(他還曾經認為自己可以用大約九個月的時間寫完《權力掮客》,結果花費了七年時間,其間他和妻子艾娜(Ina)破了產。)羅伯特·戈特利布 (Robert Gottlieb),曾任克諾夫(Knopf)出版社的主編,當時與卡羅簽約出版《林登·約翰遜時代》。正式離開該出版社後,他仍然繼續編輯卡羅所有的著 作(擔任《紐約客》主編時,他也曾摘錄刊登了該書的第二卷)。不久之前,他說他曾經告訴卡羅:“我們來掐算一下吧。我現在80歲,你也75歲了。計算之後 的幾率是,不管你再花多少年把書寫完,我都將不在人世了。”戈特利布補充道,“實情是,鮑勃(譯者注,Bob是Robert的昵稱)並不需要我,但他自己 認為需要。”

    常年研究約翰遜,羅伯特·卡羅便對他越來越了解,也越來越理解,甚至超過了約翰遜對自己的了解和理解程度。他深知約翰遜的好壞兩面:他如何成為歷史 上最年輕的參議院多數黨領袖,如何用兩面派的方法分別唬住南北方的參議員,讓一個粉碎了1875年以來所有民權提案的國會通過了《1957年民權法案》 (Civil Rights Act of 1957); 他如何捏造自己的參戰記錄,僅憑一次飛行就贏得了一枚勳章;作為古巴導彈危機時期的副總統,他的鷹派立場如何將肯尼迪總統和總統的弟弟羅伯特嚇得六神無 主。卡羅已熟知約翰遜的狂暴、他的無情、他的謊言、他的賄賂、他的不安全感、他的蜜語哄騙、他的屈膝討好、他的危言恫嚇、他的溜須拍馬、他的魅力、他的友 善、他的同情傾向、他的朋友、他的敵人、他的女友、他的雜役和贓款中間人、他的餐桌禮儀、他的飲酒習慣,甚至是他為自己私處所起的綽號:不是小弟弟(譯者 注,Johnson在美國俚語里有男性生殖器的意思),而是老大哥(Jumbo)。

    古怪的編輯和作家關係
    這樣的知識儲備來之不易、代價不菲。卡羅書寫約翰遜的時間十分漫長,他的經紀人林恩·內斯比特(Lynn Nesbit)都不記得重新談過多少次他的合同了。他的出版社已經換過兩任主編,沒人再為他的交稿期限擔什麼心。該面世的時候,書自然就會寫好。“我可不 是他們的救濟對象,”上個月(譯者注,2012年3月),我談到多年來克諾夫出版社和卡羅綁在了一起時,他強調這一點。確實,約翰遜的傳記受到評論界的熱 烈追捧(《權力起始》和《升遷之道》都贏得了美國全國書評獎(National Book Critics Circle Award),《議院大師》贏得了普利策獎和美國全國圖書獎(National Book Award)),本本都是暢銷書。但是,卷與卷之間的時間間隔太過漫長,卡羅並沒有成為家喻戶曉的名字,這也是事實。“這些書盈利嗎?”上個月(譯者 注,2012年3月),克諾夫出版社的現任老闆桑尼·梅塔(Sonny Mehta)這樣問道。 1987年戈特利布離開公司之後,他滿腔熱情地接手了約翰遜傳記項目。他停頓了一會兒,最後這樣回答,“它們會盈利的,因為它們無與倫比。”

    戈特利布的回答更有哲學意味。“假如45年之後,某種會計方法得出的結論是我們虧了,那又有什麼關係呢?”他說。“想想他給我們留下的東西、給歷史增加的註腳。你怎麼衡量這些東西?”

    戈特利布和卡羅,兩個鮑勃有一種古怪的編輯和作家之間的關係。他們互相敬仰,同時又爭論不休,兩者的程度不相上下。比方說,關於戈特利布從《權力掮 客》里砍掉了多少字數,他們還在爭個沒完,或者說是假裝如此。這個數字達到了35萬,相當於兩三本普通容量的書籍,而且卡羅仍然為其中幾乎每一個字感到遺 憾。有一天,他悲傷地對我說:“《權力掮客》里有些內容本不該被刪減。”他給我看他私人的版本,書頁卷邊、書脊彎折,處處勾畫重點,字裡行間寫滿訂正的內 容。卡羅有點兒像巴爾扎克,會不停地折騰自己的著作,出版了也不消停。

    關於約翰遜傳記計劃的由頭,戈特利布和卡羅的解釋也有微小的差別。根據原來的合同,寫完摩西之後,卡羅應該為紐約前市長菲奧雷洛·拉瓜迪亞 (Fiorello LaGuardia)立傳。戈特利布說,1974年,卡羅來談這一計劃的時候,他告訴卡羅:“寫拉瓜迪亞會是個錯誤。三四十年代,我們家曾有兩個上帝:羅 斯福和拉瓜迪亞。但拉瓜迪亞是個死胡同,一個異類。他前無師承,後無來者。我認為你應該寫林登·約翰遜。”說到這裡,他轉向我,搖着頭,接著說:“你得明 白,我對林登·約翰遜一無所知、毫無興趣,從未想到過他,但那一刻,我突然覺得鮑勃應該為他立傳。那是一個無法解釋的偉大時刻,因為它來得莫名其妙。”

    卡羅卻說,他那時已經決定,下個書寫對象應該是不久前去世的約翰遜,部分原因在於他不想再寫跟紐約相關的主題,不過他沒有說話,只是靜靜地聽戈特利布講出來。“我總是覺得,只坐在那兒,不說出來‘那正是我想做的事’,就能大大增加預付稿酬的數目。”他告訴我。
    戈特利布和卡羅爭論的話題不光是書稿的長度,還包括文字,甚至是標點。“你知道那句讓人抓狂的老話嗎?怎麼說來着,‘他問題的特性就在於他特性的問 題’?”戈特利布問我。“鮑勃真的就是那種人。他之所以能成為一個無比可靠的研究天才,原因就是他對所有的事情一視同仁。對他來說,最微小的東西和最宏大 的東西一樣關係重大。一個分號的重要性,我隨便說說,與約翰遜是否為同性戀不相上下。不幸的是,涉及到語言的話,我也有同樣的傾向,這樣我們就會為分號幹 上一仗。分號對我的重要性與誰給什麼法律投了贊成票一樣。”
    他們之間最大衝突的起因是約翰遜傳記的第二卷《升遷之道》。本卷的主要內容是1948年約翰遜騙取勝利的參議院選舉。戈特利布對地方政治的細節很感 興趣,鼓勵卡羅詳細地描述此事。但是,和一些書評人一樣,他反對卡羅對約翰遜的競選對手、得克薩斯州前州長科克·史蒂文森(Coke Stevenson)進行幾近英雄化的描繪。“我們爭得幾乎要廝打在一起了,我實在是不能贊同他將科克·史蒂文森理想化。”戈特利布說。“我們都恨不得殺 了對方。”
    戈特利布說,最新這一卷的編輯工作遠比前幾卷順利。他解釋道:“我們都表現更好了,而且真的挺愉快的,也許這是我們第一次真正享受這一過程。他會 說,‘我知道,這些你都不想要,’然後我會說,‘你還知道啊,真是挺有趣的!’我想我們都有所改進,達到了各自的改進限度。”他笑起來,接着補充道:“這 些都是怎麼發生的?你只是帶着一切都很值得的信念開始,不知不覺之間,已經過了五百年,而你正在給第43卷做注釋呢。”

    對權力的領悟
    “從來都不是計劃使然,” 解釋自己如何成為歷史學家和傳記作家的時候,卡羅對我說。“只有一連串的錯誤。”卡羅出生於1935年10月,成長於94街的中央公園西路。他的父親是位 商人,說意第緒語和英語,但兩種都不常說。他說,父親“很沉默寡言”,在他12歲的時候,患病多年的母親離開了人世,父親便更加寡言。他說:“這個家有點 兒怪,怪就怪在我不想在裡頭待太久。”他補充道,儘管他一直喜愛自己的弟弟邁克爾(Michael),但是他們之間沒有多數兄弟之間的深厚感情。邁克爾是 一個地產經理人,現在已經退了休。少時的卡羅將儘可能多的時間花費在霍勒斯·曼學校(去該校上學是他母親的遺願),或者帶一本書坐在中央公園的長凳上。他 那時就一直在寫作,而且寫得洋洋洒洒。他六年級作文的長度使其他同學相形見絀。他在普林斯頓的本科畢業論文寫的是海明威的存在主義,長度驚人。後來他得 知,該校的英文系隨後頒佈了一條規定,限制本科論文的頁數。

    卡羅說,他因為普林斯頓的派對而選擇了該校,如今他認為這是個錯誤,應該去哈佛的。五十年代中期,普林斯頓對猶太人不甚友好,儘管卡羅說他個人並沒 有遭受反猶主義的折磨,但他見證了很多其他學生的不幸遭遇。“我看待這件事的方式是,我並不是待在普林斯頓,”他說道:“而是待在報紙和文學雜誌里。”他 在《普林斯頓人日報》(The Daily Princetonian)開了個名為“常青藤雜談” (Ivy Inklings)的體育專欄,並且最終成為該報的執行主編。(卡羅退出之前,該報的主編是小雷蒙德·沃爾特·阿普爾(R. W. Apple Jr.),此人後來成為《紐約時報》的傳奇記者。)他也寫短篇故事,不過篇幅並不短。其中一篇講的是一個男孩使他的女友懷了孕,刊登在幽默與文學雜誌《普 林斯頓之虎》(The Princeton Tiger)上,幾乎塞滿了整期雜誌。

    也是在普林斯頓,卡羅遇見了未來的妻子艾娜,她還會成為他唯一信任的助手和研究員。那時她年方二八,是來自臨近的托倫頓市的中學生,正參加一個希勒 爾(譯者注,Hillel是一個世界性的猶太人校園組織)聯誼會的四人約會活動。從彼時的照片來看,卡羅非常英俊,房間另一頭的艾娜看到了他,並對她最好 的朋友說:“我要嫁的人就是他。”三年後,她不顧父母的反對從大學退學,如願以償地嫁給了卡羅。儘管她後來完成了學位,還得到了另一個學位(中世紀歐洲 史),自己也寫了幾本書,但是按照今天的標準,很大程度上她仍然算是將自己的生活奉獻給了卡羅。創作《權力掮客》期間,卡羅耗盡家財,對完成本書幾近絕 望。艾娜便將他們長島郊外的房子賣掉,帶着全家(他們育有一子,現在從事信息技術產業)搬到布朗克斯的一間公寓,還找了份教師的工作,來支撐卡羅堅持下 去。
    “當時很艱難,非常地艱難,”卡羅回憶道。

    “我一直覺得,最重要的事情是保障鮑勃的寫作。像房子和錢財這樣的事,對我從來都沒有多大意義,我想它們對我家的狗更重要。”某天早上,在卡羅夫婦 位於紐約上西區的寬大公寓里,艾娜這樣告訴我,並補充說:“不過我從沒料到,傳記會是他全部的寫作範疇。我一直想讓他寫本小說的。”她接著說,即便是現 在,她也難以接受:約翰遜傳記很可能就是他們夫婦倆一生的傑作。“你從不會想到死亡,”她說:“總覺得還有時間。”

    為了結婚,卡羅需要找份工作。《紐約時報》提供了一個當送稿勤雜工的機會,他現在回憶起來,薪資“大概是每周37.50美元。”《新不倫瑞克每日家 政新聞暨周日時報》(The New Brunswick Daily Home News and Sunday Times)提供了一份記者的工作,周薪52美元,卡羅就去了。這又是一個錯誤,唯一的好處是讓他早早地上了一堂權力政治課。該報的政治主筆在選舉期間暫 時離開,為米德爾塞克斯縣的民主黨工作。他生病的時候,卡羅頂替上去。他為一位黨內高層撰寫演講詞,並進行公關工作。選舉日那天,卡羅隨從此人坐車巡視各 投票點,期間遇到警察正把一些黑人趕進一輛巡邏車。“一位警察解釋道,這些黑人監票員一直在惹麻煩,不過他們已經控制住了局面,”卡羅回憶說:“我現在都 還在思考此事。倒不是警察的粗暴給我留下了深刻的印象,而是那些政治人物對此事的—— ‘順從’並不是精確的字眼——‘坦然接受’。當時我只想跳出那輛車,他一停車我就跳了。他再也沒給我打過電話,肯定是知道我的感受。”

    六十年代早期,卡羅對權力有了進一步的領悟。當時他已跳槽到《紐約每日新聞》(Newsday),並在那裡發現,自己有做調查性報道的本事。他奉命 去報道羅伯特·摩西的一個橋樑計劃,該橋從紐約州的拉伊市延伸到奧伊斯特貝鎮,橫跨長島灣。“這是世界上最糟糕的主意,”他告訴我說:“他們必須修建十分 巨大的橋墩,肯定會攪亂潮汐。”卡羅寫了一系列報道來揭露該計劃的愚蠢性,貌似已經說服了包括紐約州長納爾遜·洛克菲勒(Nelson Rockefeller)在內的所有人。但是,他回憶道,之後他接到了一位朋友從州府奧爾巴尼打來的電話,“鮑勃,我覺得你應該來一趟”。卡羅說:“我趕 到那裡,趕上州眾議院正在投票,決定是否授權啟動橋樑計劃的一些初步措施。該動議獲得通過,票數大概是138對4。那是我生命中的一個轉折點。我坐上車開 回長島的家,一直在想:‘你做的每件事都很荒謬。你相信民主制度的權力來源於投票箱,一直抱着這樣的信念寫作。但是那個人,從來沒有當選任何職位,卻擁有 足夠的權力來將整個州玩弄於股掌之間,而你還一丁點兒都不明白他的權力是怎麼來的。’”

    同樣的教訓在1965年再次降臨。當時卡羅獲得了尼曼獎學金(Nieman fellowship)去哈佛深造,上了一門關於土地利用和城市規劃的課程。“有一天,他們談到高速公路以及如何選址,”他回憶說:“有一些數學公式,計 算交通密度、人口密度等等,然後我突然對自己說:‘這完全是錯誤的。高速公路不是這樣建成的。它們在那兒是因為羅伯特·摩西就想要把它們建在那兒。如果你 不去追查羅伯特·摩西的權力來源,並向人們解釋清楚,那麼你做的其他事情都將是有悖良心的。’”

    卡羅對權力的痴迷從很大程度上解釋了他作品的性質。首先,權力佔據了他著作中大部分的篇幅和內容。卡羅認為自己的書並不是普通的傳記,而是一些研究 論文,主題是政治權力的運行,以及它對當權者和無權者的影響。權力,或是卡羅理解的權力,也構成他的人物和結構概念的基礎。在《權力掮客》中,權力是貪得 無厭的摩西需要逐步加大劑量的春藥,一步步將他從一個理想主義者改造成一個無情的惡魔:他強行拆除社區、廢棄道路、抹平橋樑,只是為了摧毀,不為別的目 的。通讀約翰遜傳記,可以發現卡羅所說的“黑暗和光明兩條線索”:前者是約翰遜對權力赤裸無情的渴求——“不是用來改善他人生活,而是操縱和控制他人,迫 使他人屈從自己的意願”;後者是他滿懷同情地對權力的使用。如果說卡羅筆下的摩西是位歌劇風格的人物,一位使城市風貌發生劇變的浮士德,那麼他寫的約翰遜 則是莎士比亞式的:理查三世、李爾王、伊阿古和卡西奧的集合體。 看到卡羅筆下約翰遜在大學裡的惡劣行徑,鑽營謀取、敲詐同學、對教職工溜須拍馬,或是約翰遜醜化科克·史蒂文森的無恥選戰,你能真切地感受到卡羅強烈的厭 惡。但是在下一卷書中,寫到約翰遜擁護民權立法時,他似乎又對自己的傳主產生了毫無保留的好感。

    從很多方面來說,卡羅對人物的概念是浪漫化和理想化的,而推動情節發展的則是失望和正義感,這樣的感覺幾乎類同於一個遭到背叛的情人。如果說他的寫 法有什麼不好,就在於每個人的生活,甚至你和我,用上卡羅式的細節描寫,都能擁有史詩般的浪漫情調。區別僅在於,我們生活展現的是無權的史詩;但兩者使用 的語言則很可能完全相同。卡羅的風格大膽而恢弘——他的批評者會說,有時還太浮誇。這種風格一部分來源於老派的歷史學家,比如吉本(Gibbon)和麥考 利(Macaulay),甚至是荷馬(Homer)和彌爾頓(Milton),另一部分則來自強有力的新聞寫作。卡羅喜愛編製宏大的名錄(《權力掮客》的 開頭有一個長長的單子,列出了諸多高速公路的名字。假使希臘和特洛伊人懂得如何駕駛的話,這個單子放進《伊利亞德》也不會顯得不倫不類),使用循環押韻的 長句,有時還會接上一個起強調作用的單句段落。為達到戲劇性效果,他不惜重複主題和形象。

    這種風格並不能完美地融入《紐約客》樸實無華、段落簡短的風格,特別是在1974年的時候,該雜誌被廣告淹沒,連塞下所有的專欄都有困難。如此景況 下,他們居然分四期連載了長長的《權力掮客》節選。當時我在《紐約客》擔任校對,辦公室在威廉·惠特沃思(William Whitworth)的對面,他負責編輯這些節選。我記得他像個出使巴爾幹半島的外交官,憂心忡忡地在雜誌主編威廉·肖恩(William Shawn)和卡羅的辦公室之間來回奔波。詩歌編輯霍華德·莫斯(Howard Moss)外出消夏,卡羅就借用了他的辦公室。卡羅抱怨說,《紐約客》破壞了他的文字,這點他沒說錯。不同於慣常的做法,即僅從書稿中截取一些章節,惠特 沃思試圖將整本書縮編出來,這樣就必須將大段的文字進行壓縮,把某個段落的開頭嫁接到另一段落的結尾,中間省去數頁。“他們把我的風格柔化了,”卡羅說。 另一方面,肖恩則保持了雜誌的高水準:《紐約客》堅持使用那種有點小題大做的標點格式;不認可太冗長或者太拐彎抹角的段落;不認可重複啰嗦;特別不認可單 句的段落。當時的局面,如果用強烈的卡羅風格來描述的話,大概會是這樣:

    “在編輯的世界裡,威廉·肖恩擁有無上的權力。他安靜地、輕柔地揮舞權杖,幾乎悄無聲息,但他確實是在揮舞。他的員工私底下叫他“鐵老鼠” (Iron Mouse),這不是沒有原因的。對作家們來說,肖恩那張長長的木桌像是一間神殿、一座聖壇,划過明亮光鮮桌面的那些清樣——一頁又一頁的清樣,一堆堆的 清樣,一捆捆一紮扎的清樣,事實核對人員、律師、文法專家的清樣,帶有雞爪痕刺繡般輕微痕迹以及粗獷紅色鉛筆標記的清樣——讓作家們看到了某種魔力,某種 點石成金的能力,它能剔除庸凡文字的雜質,讓它們煥發出一種不可言喻、引人入勝的光彩,源自正宗《紐約客》風格的光彩。”

    “但是,那種風格並不適合所有人。”
    “尤其不適合羅伯特·卡羅。”

    雙方的拉鋸十分激烈,致使第二部分節選和第三部分間隔了一周之久,這在當時是難以想像的。雙方都毫不示弱,剩下的兩部分節選眼看就要流產了。雜誌社 的每個人都驚得目瞪口呆。事實證明,卡羅和肖恩一樣地固執。他那時是個38歲的無名之輩,沒有在報紙之外的地方發表過任何作品。而且,他還破了產,根本沒 資格拒絕迄今為止最大的一筆收入。但是在《紐約客》的眾多撰稿人中,當時只有他敢於像抄寫員巴特爾比(譯者注,19世紀美國著名作家赫爾曼·梅爾維爾 (Herman Melville)的同名短篇小說“Bartleby the Scrivener”的主角)一樣,將無權無勢的地位轉變成堅守原則的一種方式。

    如今卡羅說,肖恩同意了將他最為在意的部分恢復原狀。儘管如此,《紐約客》的版本還是與原版不同,而且改變了卡羅的標點和一些段落結構。《紐約客》 的連載版本是一個可讀性很強的修訂本——沒有犧牲掉原文的核心信息,比起需要投入大量時間的單行本來說,對集中注意力的要求更寬鬆——但是,無論好壞,它 並不像原版那麼嘹亮有力。
    惠特沃思並未因此感到後怕,1980年他成為《大西洋月刊》(The Atlantic)的編輯之後,還曾刊登了約翰遜傳記第一卷的節選。

    他既像普魯斯特,又像汽車配件商
    卡羅的寫作周期如此長,倒不是因為寫作本身,而是因為反覆改寫。大學時代的他寫得輕快而流暢,打字飛快.他的老師、評論家理乍得·布萊克默(R. P. Blackmur)曾說,他得學會“改掉用指頭思考的毛病”,否則將一事無成。現在,卡羅確實在嘗試放慢自己的節奏。手寫完第四稿或者第五稿之後,他才開 始打字,不是用電腦,而是用一台老式的Smith Corona牌Electra 210型打字機。然後他再在打字稿上修改。12月上旬我去拜訪的時候,他正在訂正《權力通道》的清樣。他改清樣的方式和普魯斯特(Proust)一樣:划 去一些內容、在行間寫字、粘上補充的稿紙。

    對於研究工作,卡羅也是同樣痴迷。戈特利布喜歡拿《權力掮客》當中相當靠前的一個段落來說事,其中寫到摩西的父母為貧窮的城市兒童創建了戶外慈善項目“麥迪遜野營”(Camp Madison),某天早上,們待在營地的小屋,拿起《紐約時報》,讀到兒子因為在土地交易中的不當行為被罰款2萬2千美元。“噢,他一生都沒自己掙過一 分錢,現在我們得幫他掏錢應付這個。”貝拉·摩西(Bella Moses)說。

    “你怎麼知道這個的?”戈特利布曾問卡羅。卡羅說,他設法跟所有曾在“麥迪遜野營”工作過的社工交談,在此過程中,他找到了一位曾經給摩西夫婦送報 紙的人。“這就好比我問他,‘你怎麼知道外面正在下雨?’” 戈特利布告訴我,並且補充說:“《權力掮客》面世時,其他作家都大吃一驚。誰也沒見過這種著作。這可不是什麼銘刻勤奮的豐碑,因為勤奮的人多的是,它銘刻 的是其他什麼東西。我都不知道該管這種東西叫什麼。”

    卡羅曾經鑽進睡袋,獨自在得克薩斯丘陵地帶(Texas Hill Country)度過數夜,目的是理解孤絕鄉野的感受。為了寫約翰遜傳記,他進行了數千次訪談,其中許多次是訪問約翰遜的朋友和同時代的人。(前第一夫人 克勞迪婭·約翰遜(譯者注,原文為Lady Bird,因為約翰遜夫人嬰兒時期的綽號為“瓢蟲”(ladybird),其後一生都採用Lady Bird作為正式稱呼,意為“伯德夫人”)曾和卡羅談過幾次,然後突然毫無理由地中止。約翰遜的新聞秘書比爾·莫耶斯(Bill Moyers)從未同意接受採訪。但是約翰遜的大部分密友都被卡羅記錄在案,包括約翰·康納利(John Connally)和約翰遜的最後一任新聞秘書喬治·克里斯蒂安(George Christian), 後者與卡羅交談時,實際上已處於彌留之際。)卡羅實實在在地花費了數年時間,泡在位於得克薩斯州奧斯汀的約翰遜圖書館,不辭勞苦地瀏覽放置約翰遜文檔的紅 色硬麻布箱。而且一些最能披露真相的檔案,是由他首次發掘出來的。“一次又一次,我找到無人知曉的重要之事,”他說:“只要儘力去找,總有些原始材料在那 兒。”他還補充道,他試圖記住《紐約每日新聞》的執行主編艾倫·哈撒韋(Alan Hathway)曾對自己說過的話。這位性格暴躁的老派報人指出,卡羅是常青藤聯盟畢業生中唯一有所作為的人,然後對他說“把該死的每頁紙都讀了。”

    他的櫥櫃里裝滿了筆記,筆記打在長長的標準文件夾紙上,常帶有他用大寫字母寫給自己的緊要提示。開始寫作之前,他先將相關的文檔編目到一起,放入大活頁本,活像汽車配件商店櫃檯後面的那種筆記本。他不用電腦、不用谷歌、不用維基百科。
    卡羅的書籍之所以篇幅很長,原因之一是他總是旁徵博引,而且總能找到出乎自己預料的東西。開始寫第一卷約翰遜傳記之前,他設想用幾個章節寫完其早期 生涯,與約翰遜的一些大學同窗談過之後,他卻發現了約翰遜未見記述的一面:撒謊、營私的一面。本卷還包含了一個小傳,記述約翰遜在國會的導師、薩姆·雷伯 恩(Sam Rayburn)的生涯。另有一段精彩而動情的部分,描繪電氣化給得克薩斯丘陵地帶人們的生活帶來的變化,其中大部分內容基於艾娜的採訪。她說,她帶着家 庭製作的果醬拜訪當地婦女,最終贏得她們的信任,因為她和她們一樣靦腆、一樣緊張。

    卡羅料想,1948年的參議院選舉將佔據一兩個章節,放在關於參議院的那一卷里。結果這幾乎佔了一整本書,變成了第二卷《升遷之道》。為約翰遜辯護 的人們曾說,“沒人會知道”那次選舉的勝利是否為竊取的。但卡羅知道,因為他讀到一則美聯社的報道,指出選舉官及黨內親信路易斯·薩拉斯(Luis Salas)偽造了選舉記錄,然後就去拜訪了薩拉斯,後者給了他一份手寫的供詞。第三卷《議院大師》以一百頁的參議院歷史開篇,從卡爾霍恩 (Calhoun)和韋伯斯特(Webster)談起。這樣寫是因為卡羅覺得,要讓人們了解參議院,就得將它放到其宏大的時代背景中。本卷還囊括了休伯 特·漢弗萊(Hubert Humphrey)和長期的參議院南方領袖小理乍得·拉塞爾(Richard Russell Jr.)的小傳。這一卷終結於《1957年民權法案》獲得通過之時,敘述翔實,幾乎寫到了其中的每一票。約翰遜擔當總統的最初幾周,佔據了新一卷《權力通 道》的大部分,原本的設想僅是將它作為系列終結卷中的一章。新一卷當中關於肯尼迪家族成員的內容,也比卡羅的預想多得多。比方說,他非常詳細地描寫了約翰 遜和羅伯特·肯尼迪(Robert Kennedy)之間的夙怨,以及博比數次造訪(譯者注,Bobby是Robert的昵稱)約翰遜酒店房間的情形,那是1960年洛杉磯民主黨全國代表大 會之後的事情,博比試圖說服約翰遜放棄副總統提名。

    這套叢書持續膨脹,換句話說,它不斷發展出次要情節和戲中戲,某種程度上反映了卡羅自身的發現過程。眼下他正在展望第五卷和越南戰爭。第四卷記述了 約翰遜在古巴導彈危機期間展現的鷹派急躁情緒,預示了越南的泥潭。某日我去拜訪的時候,卡羅拿出一厚疊他寫好的筆記,包括書稿,內容是約翰遜與迪安·臘斯 克(Dean Rusk)、羅伯特·麥克納馬拉(Robert McNamara)、厄爾·惠勒( Earle Wheeler)和沃爾特·羅斯托( Walt Rostow)進行的周二內閣例會,會上經常討論是否要將戰爭升級的問題。“看看這個東西,”卡羅對我說:“不可思議呀!”
    卡羅告訴我,他對約翰遜的興趣空前高漲,並且補充說:“這不是喜不喜歡他的問題。我是在試圖解釋,20世紀後半葉,政治權力如何在美國運行。剛好又 趕上了這麼一個人,他理解權力和運用權力的方式無人能及。為了得到權力,他表現得十分冷酷,連我這個自以為懂得何謂冷酷的人都禁不住感到吃驚。可是,談及 幫助窮人和有色人種的畢生抱負時,他也是認真的。於是你發現,他是在用這種冷酷和野蠻來達到美好的目的。他的性格改變過嗎?沒有。我對約翰遜的感情很複雜 嗎?一直都是複雜的。”

    卡羅書桌旁邊的牆上掛着一塊軟木公告板,他將寫在標準貼紙簿上的《林登·約翰遜時代》提綱釘在上面。這不是那種帶有縮格、序列標題和副標題的傳統提 綱,而是一個用句子、段落和注釋構成的迷宮,只有他自己才懂。如今,頂行的一部分已經消失:空白部分原本放的那些頁,現在已構成第四卷書的內容。但還有好 幾行的東西有待取下。另有13頁紙仍無處安放,除非從牆上拿下更多的紙張。《林登·約翰遜時代》的結語已經寫好,就在這13頁紙當中的某個地方。無論最後 寫了幾卷,就用這句話結束。我不止一次地請求過卡羅,但是他不肯告訴我這句話究竟是什麼。

    卡羅並不缺乏結束約翰遜傳記之後的下一步計劃,而且他已經選好了主題,儘管他不會說出來。他還跟我說過,阿爾·史密斯(Al Smith)傳記也是一個可以考慮的寫作主題,此人是前紐約州州長和1928年的總統候選人。但是,同樣可能的是,從一定程度上說,他並不真想讓約翰遜項 目結束——也就是說,無意之中,他一直在竭力延續這個項目。因為每當完成作品,將自己的傳主封存起來,傳記作家自己也會喪失一部分的自我。卡羅是吉本的偉 大門生,一定熟知吉本的那段話。1787年,寫完《羅馬帝國衰亡史》(Decline and Fall of the Roman Empire)之後,吉本在他瑞士洛桑的家中寫道:
    “毋庸諱言,因為恢復了自由,也許還因為聲名鵲起,我一開始的反應的確是欣然自喜。但我的自豪感迅速消退,一股清醒的憂鬱布滿了我的心靈,因為我想到,我已永久地離開了一個多年的摯友,除此之外,不管我書寫的歷史命運如何,歷史學家的生命必然是短暫而無常的。”

    本文最初發表於2012年4月15日。
    查爾斯·麥格拉斯(Charles McGrath)為《紐約時報》撰稿。他最近為《星期日雜誌》撰寫的文章是斯蒂芬·科爾伯特(Stephen Colbert)的特寫。
    本文編輯:Dean Robinson
    翻譯:黃錚

    Robert Caro’s Big Dig

    Robert Caro probably knows more about power, political power especially, than anyone who has never had some. He has never run for any sort of office himself and would probably have lost if he had. He’s a shy, soft-spoken man with old–fashioned manners and an old-fashioned New York accent (he says “toime” instead of “time” and “foine” instead of fine), so self-conscious that talking about himself makes him squint a little. The idea of power, or of powerful people, seems to repel him as much as it fascinates. And yet Caro has spent virtually his whole adult life studying power and what can be done with it, first in the case of Robert Moses, the great developer and urban planner, and then in the case of Lyndon Johnson, whose biography he has been writing for close to 40 years. Caro can tell you exactly how Moses heedlessly rammed the Cross Bronx Expressway through a middle-class neighborhood, displacing thousands of families, and exactly how Johnson stole the Texas Senate election of 1948, winning by 87 spurious votes. These stories still fill him with outrage but also with something like wonder, the two emotions that sustain him in what amounts to a solitary, Dickensian occupation with long hours and few holidays.
    Caro is the last of the 19th-century biographers, the kind who believe that the life of a great or powerful man deserves not just a slim volume, or even a fat one, but a whole shelf full. He dresses every day in a jacket and tie and reports to a 22nd-floor office in a nondescript building near Columbus Circle, where his neighbors are lawyers or investment firms. His office looks as if it belongs to the kind of C.P.A. who still uses ledgers and a hand-cranked adding machine. There are an old wooden desk, wooden file cabinets and a maroon leather couch that never gets sat on. Here Caro writes the old-fashioned way: in longhand, on large legal pads.
    按图放大
    Martine Fougeron/Getty, for The New York Times
    Robert Caro has spent the past 36 years (and 3,388 pages) telling the story of Lyndon Johnson. He begins his workdays by walking 12 blocks along Central Park West to his office near Columbus Circle, where his neighbors are lawyers or investment firms.
    按图放大
    Martine Fougeron/Getty, for The New York Times
    Caro writes his first few drafts the old-fashioned way: in longhand, on large legal pads. He doesn’t start typing — on an old Smith Corona Electra 210, not a computer — until he has finished four or five handwritten drafts. And then he rewrites the typescript.
    按图放大
    Martine Fougeron/Getty, for The New York Times
    The space on the top of the corkboard represents the volume just completed, “The Passage of Power.”
    按图放大
    Martine Fougeron/Getty, for The New York Times
    In many instances, Caro was the first one to open a crucial box of documents at the Johnson Library in Austin, Tex.
    按图放大
    Martine Fougeron/Getty, for The New York Times
    Caro keeps track of his edits on a proof of the table of contents that he has turned into a checklist, with columns for “notes,” “TKs filled,” “BG done” (stands for Bob Gottlieb, his editor) and “galleys done.”
    Caro began “The Years of Lyndon Johnson,” his multivolume biography of the 36th president, in 1976, not long after finishing “The Power Broker,” his immense, Pulitzer Prize-winning biography of Moses, and figured he could do Johnson’s life in three volumes, which would take him six years or so. Next month, a fourth installment, “The Passage of Power,” will appear 10 years after the last, “Master of the Senate,” which came out 12 years after its predecessor, “Means of Ascent,” which in turn was published 8 years after the first book, “The Path to Power.” These are not ordinary-size volumes, either. “Means of Ascent,” at 500 pages or so, is the comparative shrimp of the bunch. “The Path to Power” is almost 900 pages long; “Master of the Senate” is close to 1,200, or nearly as long as the previous two combined. If you try to read or reread them all in just a couple weeks, as I foolishly did not long ago, you find yourself reluctant to put them down but also worried that your eyeballs may fall out.
    The new book, an excerpt of which recently ran in The New Yorker, is 736 pages long and covers only about six years. It begins in 1958, with Johnson, so famously decisive and a man of action, dithering as he decides whether or not to run in the 1960 presidential election. The book then describes his loss to Kennedy on the first ballot at the Democratic convention and takes him through the miserable, humiliating years of his vice presidency before devoting almost half its length to the 47 days between Kennedy’s assassination in November 1963 (Caro’s account, told from Johnson’s point of view, is the most riveting ever) and the State of the Union address the following January — a period during which Johnson seizes the reins of power and, in breathtakingly short order, sets in motion much of the Great Society legislation.
    In other words, Caro’s pace has slowed so that he is now spending more time writing the years of Lyndon Johnson than Johnson spent living them, and he isn’t close to being done yet. We have still to read about the election of 1964, the Bobby Baker and Walter Jenkins scandals, Vietnam and the decision not to run for a second term. The Johnson whom most of us remember (and many of us marched in the streets against) — the stubborn, scowling Johnson, with the big jowls, the drooping elephant ears and the gallbladder scar — is only just coming into view.
    Johnson, who all along predicted an early end for himself, died at 64. Caro is already 76, in excellent health after a scary bout with pancreatitis in 2004. He says that the reason “The Passage of Power” took so long is that he was at the same time researching the rest of the story, and that he can wrap it all up, with reasonable dispatch, in just one more volume. That’s what he said the last time, after finishing “Master of the Senate.” (He also thought he could finish “The Power Broker” in nine months or so. It took him seven years, during which he and his wife, Ina, went broke.) Robert Gottlieb, who signed up Caro to do “The Years of Lyndon Johnson” when he was editor in chief of Knopf, has continued to edit all of Caro’s books, even after officially leaving the company (he also excerpted Volume 2 at The New Yorker when he was editor in chief there). Not long ago he said he told Caro: “Let’s look at this situation actuarially. I’m now 80, and you are 75. The actuarial odds are that if you take however many more years you’re going to take, I’m not going to be here.” Gottlieb added, “The truth is, Bob doesn’t really need me, but he thinks he does.”
    In his years of working on Johnson, Robert Caro has come to know him better — or to understand him better — than Johnson knew or understood himself. He knows Johnson’s good side and his bad: how he became the youngest Senate majority leader in history and how, by whispering one thing in the ears of the Southern senators and another in Northern ears, he got the Civil Rights Act of 1957 through a Congress that had squelched every civil rights bill since 1875; how he fudged his war record and earned himself a medal by doing nothing more than taking a single plane ride; how, while vice president during the Cuban missile crisis, his hawkishness scared the daylights out of President Kennedy and his brother Robert. Caro has learned about Johnson’s rages, his ruthlessness, his lies, his bribes, his insecurities, his wheedling, his groveling, his bluster, his sycophancy, his charm, his kindness, his streak of compassion, his friends, his enemies, his girlfriends, his gofers and bagmen, his table manners, his drinking habits, even his nickname for his penis: not Johnson, but Jumbo.
    This kind of knowledge does not come easily or cheaply. Caro has taken so long with Johnson that his agent, Lynn Nesbit, no longer remembers how many times she has renegotiated his contract; his publishing house has had two editors in chief, and no one there worries much about his deadlines any longer. The books come along when they come along. “I’m not a charity case,” Caro pointed out to me last month when I remarked on how Knopf had stuck by him all these years. It’s true that the Johnson volumes have been glowingly reviewed (“The Path to Power” and “Means of Ascent” both won the National Book Critics Circle Award and “Master of the Senate” won the Pulitzer Prize and the National Book Award) and that each of them has been a best seller, but it’s also true that they turn up so infrequently that Caro can hardly be thought of as a brand name. “Are the books profitable?” Sonny Mehta, Knopf’s current head, who took over the Johnson project — enthusiastically — after Gottlieb’s departure in 1987, said last month. He paused for a moment. “They will be,” he answered finally, “because there is nothing like them.”
    Gottlieb is more philosophical. “So what if at the end of 45 years it turns out we lost money by one kind of accounting?” he said. “Think of what he has given us, what he has added. How do you weigh that?”
    The two Bobs, Gottlieb and Caro, have an odd editorial relationship, almost as contentious as it is mutually admiring. They still debate, for example, or pretend to, how many words Gott­lieb cut from “The Power Broker.” It was 350,000 — or the equivalent of two or three full-size books — and Caro still regrets nearly every one. “There were things cut out of ‘The Power Broker’ that should not have been cut out,” he said to me sadly one day, showing me his personal copy of the book, dog-eared and broken-backed, filled with underlining and corrections written in between the lines. Caro is a little like Balzac, who kept fussing over his books even after they were published.
    Gottlieb and Caro also have slightly different accounts of how the Johnson project came about in the first place. Caro’s original contract called for him to write a biography of Fiorello LaGuardia, the former New York City mayor, after finishing Moses. Gottlieb says that in 1974, when Caro came in to talk about that project, he told him: “It’s a mistake. There were two gods in my house in the ’30s and ’40s: F.D.R. and LaGuardia. But LaGuardia is a dead end, an anomaly. He doesn’t come from anything, and nothing followed from him. I think you should write about Lyndon Johnson.” Turning to me and shaking his head he added: “You have to understand, I knew nothing about Lyndon Johnson and didn’t care about Lyndon Johnson, and it never crossed my mind until that moment that was what Bob should do. It was one of the inexplicable great moments, because it came out of nowhere.”
    Caro says that he had already made up his mind that Johnson, who had only recently died, should be his next subject, partly because he didn’t want to write about New York again, but he listened quietly to Gottlieb. “I always felt that I increased my advance by a substantial amount by just sitting there not saying ‘That’s what I want to do,’ ” he told me.
    Gottlieb and Caro argue about length, but they also argue about prose, even about punctuation. “You know that insane old expression, ‘The quality of his defect is the defect of his quality,’ or something like that?” Gottlieb asked me. “That’s really true of Bob. What makes him such a genius of research and reliability is that everything is of exactly the same importance to him. The smallest thing is as consequential as the biggest. A semicolon matters as much as, I don’t know, whether Johnson was gay. But unfortunately, when it comes to English, I have those tendencies, too, and we could go to war over a semicolon. That’s as important to me as who voted for what law.”
    Their worst battle was over the second Johnson volume, “Means of Ascent,” which is largely about the stolen Senate election of 1948. Gottlieb encouraged Caro to tell this story at length because he was fascinated by the details of local politics, but he objected, as some reviewers did, to Caro’s characterization of Johnson’s opponent in that election, Coke Stevenson, a former Texas governor, who is painted in almost heroic terms. “We went mano a mano, chin to chin, nose to nose, I so disapproved of his idealization of Coke Stevenson,” Gottlieb said. “We just about killed each other.”
    The editing of the most recent book went much more smoothly, Gottlieb said, explaining: “We both behaved better, and we really had a terrific time — maybe the first time we actually enjoyed the process. He could say, ‘I know you don’t want all this,’ and I could say, ‘How interesting that you know that!’ I think we have evolved, to the extent that we’re evolvable.” He laughed, and added: “How do these things happen? You just start in the belief that it’s all worth it, and before you know it, it’s 500 years later and you’re doing the notes on the 43rd volume.”
    There was never a plan,” Caro said to me, explaining how he had become a historian and biographer. “There was just a series of mistakes.” Caro was born in October 1935 and grew up on Central Park West at 94th Street. His father, a businessman, spoke Yiddish as well as English, but he didn’t speak either very often. He was “very silent,” Caro said, and became more so after Caro’s mother died, after a long illness, when he was 12. “It was an unusual household in that I didn’t want to be there too much,” he said, adding that though he is fond of his younger sibling, Michael, now a retired real estate manager, they don’t have the kind of relationship that most brothers do. Caro spent as much time as he could at the Horace Mann School (it was his mother’s deathbed wish that he should go there) or else on a bench in Central Park with a book. He was always writing, and even then he wrote long. His sixth-grade essays dwarfed everyone else’s. His senior thesis at Princeton — on existentialism in Hemingway — was so long, he was told, that the college’s English department subsequently instituted a rule limiting the number of pages a senior could turn in.
    Caro said he now thinks that Princeton, which he chose because of its parties, was one of his mistakes, and that he should have gone to Harvard. Princeton in the mid-’50s was hardly known for being hospitable toward Jews, and though Caro says he did not personally suffer from anti-Semitism, he saw plenty of students who did. “The way I thought of it, I wasn’t at Princeton,” he said. “I was at the newspaper and the literary magazine.” He had a sports column, “Ivy Inklings,” at The Daily Prince­tonian, where he eventually became managing editor. (The top editor, until he flunked out, was R. W. Apple Jr., later to become a legendary New York Times reporter.) He also wrote short stories, or rather, not so short ones. One of them, about a boy who gets his girlfriend pregnant, took up almost an entire issue of The Princeton Tiger, a humor and literary magazine.
    It was also at Princeton that Caro met his wife, Ina, who would also become the only assistant and researcher he has ever trusted. She was 16 at the time, a high-school student from nearby Trenton, double-dating at a Hillel mixer. She spotted Caro, very good-looking to judge from photographs taken around that time, across the room and announced to her best friend, “That’s the boy I’m going to marry.” Three years later, she did, dropping out of college against her parents’ wishes, and though she went on to finish her degree, get another one (in medieval European history) and write a couple of books of her own, she has to an extent remarkable by today’s standards devoted her life to his. At the lowest point during the writing of “The Power Broker,” when Caro had run out of money and was close to despair about being able to finish, she sold their house in suburban Long Island, moved the family (the Caros have a son, Chase, who is now in the information-technology business) to an apartment in the Bronx and took a job teaching school to keep him going.
    “That was a bad time, a very bad time,” Caro recalled.
    “I always felt that the most important thing was for Bob to be able to write,” Ina said. “Things like houses and money never meant much to me. I think they meant more to our dog,” she told me one morning in their big Upper West Side apartment, adding: “But I never thought this would be all he’d write about. I’ve always wanted him to finish a novel.” Even now, she went on, it’s hard for her to accept that Johnson will probably turn out to be the great work of their lives together. “You never think about dying,” she said. “You always think there’s going to be time.”
    In order to marry, Caro needed a job. The Times offered him one as a copyboy for a salary that he now recalls as “something like $37.50 a week.” The New Brunswick Daily Home News and Sunday Times offered him $52 a week to be a reporter, and Caro took it. Another mistake, except that it led to an early lesson in power politics. The paper’s chief political writer was on leave to work for the Democratic Party in Middlesex County during an election. When he became ill, Caro took his place. He wrote speeches and did P.R. for one of the party bosses. On Election Day he rode around with this man to the polling places, and at one point they came upon the police loading some black people into a patrol wagon. “One of the cops explained that the black poll watchers had been giving them some trouble, but they had it under control,” Caro recalled. “I still think about it. It wasn’t the roughness of the police that made such an impression. It was the — meekness isn’t the right word — the acceptance of those people of what was happening. I just wanted to get out of that car, and as soon as he stopped, I did. He never called me again. He must have known how I felt.”
    Caro had a further epiphany about power in the early ’60s. He had moved on to Newsday by then, where he discovered that he had a knack for investigative reporting, and was assigned to look into a plan by Robert Moses to build a bridge from Rye, N.Y., across Long Island Sound to Oyster Bay. “This was the world’s worst idea,” he told me. “The piers would have had to be so big that they’d disrupt the tides.” Caro wrote a series exposing the folly of this scheme, and it seemed to have persuaded just about everyone, including the governor, Nelson Rockefeller. But then, he recalled, he got a call from a friend in Albany saying, “Bob, I think you need to come up here.” Caro said: “I got there in time for a vote in the Assembly authorizing some preliminary step toward the bridge, and it passed by something like 138-4. That was one of the transformational moments of my life. I got in the car and drove home to Long Island, and I kept thinking to myself: ‘Everything you’ve been doing is baloney. You’ve been writing under the belief that power in a democracy comes from the ballot box. But here’s a guy who has never been elected to anything, who has enough power to turn the entire state around, and you don’t have the slightest idea how he got it.’ ”
    The lesson was repeated in 1965, when Caro had a Nieman fellowship at Harvard and took a class in land use and urban planning. “They were talking one day about highways and where they got built,” he recalled, “and here were these mathematical formulas about traffic density and population density and so on, and all of a sudden I said to myself: ‘This is completely wrong. This isn’t why highways get built. Highways get built because Robert Moses wants them built there. If you don’t find out and explain to people where Robert Moses gets his power, then everything else you do is going to be dishonest.’ ”
    Caro’s obsession with power explains a great deal about the nature of his work. For one thing, it accounts in large part for the size and scope of all his books, which Caro thinks of not as conventional biographies but as studies in the working of political power and how it affects both those who have it and those who don’t. Power, or Caro’s understanding of it, also underlies his conception of character and structure. In “The Power Broker,” it’s a drug that an insatiable Moses comes to require in larger and larger doses until it transforms him from an idealist into a monster devoid of human feeling, tearing down neighborhoods, flinging out roadways and plopping down bridges just for their own sake. Running through the Johnson books are what Caro calls “two threads, bright and dark”: the first is his naked, ruthless hunger for power — “power not to improve the lives of others, but to manipulate and dominate them, to bend them to his will” — and the other is the often compassionate use he made of that power. If Caro’s Moses is an operatic character — a city-transforming Faust — his Johnson is a Shakespearean one: Richard III, Lear, Iago and Cassio all rolled into one. You practically feel Caro’s gorge rise when he describes how awful Johnson was in college, wheeling and dealing, blackmailing fellow students and sucking up to the faculty, or when he describes the vicious negative campaign Johnson waged against Coke Stevenson. But then a volume later, describing Johnson’s championing of civil rights legislation, he seems to warm to his subject all over again.
    In many ways, Caro’s notion of character is a romantic, idealistic one, and what fuels the books is disappointment and righteousness, almost like that of a lover betrayed. If there’s a downside to his method, it’s that anyone’s life, even yours or mine, described in Caro-esque detail, could take on epic, romantic proportions. The difference is that our lives would be epics of what it’s like not to have power, but the language would probably be the same. Caro has a bold, grand style — sometimes grandiose, his critics would say. It owes something to old-fashioned historians like Gibbon and Macaulay, even to Homer and Milton, and something to hard-hitting newspaperese. He loves epic catalogs (at the beginning of “The Power Broker” there is a long list of expressways that would not be out of place in the “Iliad” if only the Greeks and Trojans knew how to drive) and long, rolling periodic sentences, sometimes followed by emphatic, one-sentence paragraphs. He is not averse to repeating a theme or an image for dramatic effect.
    This is not a style ideally suited to the chaste, narrow paragraphs of The New Yorker, especially in 1974, when it serialized “The Power Broker” in four installments that were long even then, when the magazine was so flush with ads it sometimes had trouble filling all its columns. I was a proofreader at The New Yorker then, and my office was across from that of William Whitworth, the editor of the “Power Broker” excerpts. I remember him wearily shuttling back and forth, like some Balkan diplomat, between the office of William Shawn, the magazine’s editor in chief, and one that Caro was borrowing while its occupant, Howard Moss, the poetry editor, was away for the summer. Caro complained that the magazine had tampered with his prose, and he wasn’t wrong. Instead of merely lifting some excerpts from the book manuscript, as was usually done, Whitworth tried to condense the whole thing, and this entailed squeezing out great chunks of writing, running the beginning of one paragraph into the end of another, pages away. “They softened my style,” Caro says. Shawn, on the other hand, had the magazine’s standards to uphold: The New Yorker insisted on its own, sometimes fussy way of punctuating; it didn’t approve of passages that were too leggy and indirect; it didn’t approve of repetitions; and it especially didn’t approve of one-­sentence paragraphs. A description of the situation in vigorous Caro-ese might read something like this:
    “In the editorial world, William Shawn was a man of immense power. He wielded it quietly, softly, almost in a whisper, but he wielded it nonetheless. Not for nothing did some of his staff members privately call him the Iron Mouse. For writers, Shawn’s long wooden desk was like a shrine, an altar, and in the passing of proofs across that brightly polished surface — pages and pages of proofs, stacks of proofs, sheaves and bundles of proofs, proofs from the fact-checkers, the lawyers, the grammarians, proofs marked with feathery hen-scratch and with bold red-pencilings — they discerned something like magic, the alchemy that renders ordinary, sublunary prose free of impurity and infuses it with an ineffable, entrancing glow, the sheen of true New Yorker style.
    “But that style was not for everyone.
    “It was not for Robert Caro.”
    The negotiations became so fraught that between the second and third installments there was a weeklong gap, unthinkable in those days, while the two sides stared each other down and it seemed that the next two parts might be scuttled. Everyone at the magazine was aghast. Caro, it turned out, was as stubborn as Shawn. Here was a 38-year-old unknown who hadn’t published a word except in newspapers. Moreover, he was broke, hardly in a position to turn his back on the biggest payday of his life so far, but alone among New Yorker contributors at the time, he dared to become a Bartleby and turn his powerlessness into a point of principle.
    Caro now says that Shawn agreed to restore all the changes he cared most deeply about, but the magazine version nevertheless differs from the original and changes Caro’s punctuation and paragraphing. The New Yorker series is a very readable redaction of the original — and without sacrificing much essential information, easier on the attention span than the book, which requires an immense time commitment — but for better or worse, it’s not as full-throated as the original.
    Whitworth, undaunted, excerpted the first volume of the Johnson biography in The Atlantic after he became editor there in 1980.
    It’s not writing that takes Caro so long but, rather, rewriting. In college he was such a quick and facile writer, and so speedy a typist, that one of his teachers, the critic R. P. Blackmur, once told him that he would never achieve anything until he learned to “stop thinking with his fingers,” and Caro actually tries to slow himself down these days. He doesn’t start typing — on an old Smith Corona Electra 210, not a computer — until he has finished four or five handwritten drafts. And then he rewrites the typescript. When I visited him one day in early December, he was correcting the page proofs of “The Passage of Power” the way Proust used to correct proofs: scratching out, writing in between the lines, pasting in additional sheets of inserts.
    Caro is an equally obsessive researcher. Gott­lieb likes to point to a passage fairly early in “The Power Broker” describing Moses’ parents one morning in their lodge at Camp Madison, a fresh-air charity they established for poor city kids, picking up The Times and reading that their son had been fined $22,000 for improprieties in a land takeover. “Oh, he never earned a dollar in his life, and now we’ll have to pay this,” Bella Moses says.
    “How do you know that?” Gottlieb asked Caro. Caro explained that he tried to talk to all of the social workers who had worked at Camp Madison, and in the process he found one who had delivered the Moseses’ paper. “It was as if I had asked him, ‘How do you know it’s raining out?’ ” Gottlieb told me, and he added: “When ‘The Power Broker’ came out, other writers were amazed. No one had ever seen anything like it. It was a monument not to industry, because lots of people have industry, but to something else. I don’t even know what to call it.”
    Caro once spent several nights alone in a sleeping bag in the Texas Hill Country so he could understand what rural isolation felt like there. For the Johnson books, he has conducted thousands of interviews, many with Johnson’s friends and contemporaries. (Lady Bird spoke to him several times and then abruptly stopped without giving a reason, and Bill Moyers, Johnson’s press secretary, has never consented to be interviewed, but most of Johnson’s closest cronies, including John Connally and George Christian, Johnson’s last press secretary, who spoke to Caro practically on his deathbed, have gone on the record.) He has spent literally several years at the Johnson Library, in Austin, Tex., painstakingly going through the red buckram boxes that contain Johnson’s papers, and he has been the first researcher to open some of the most revealing files there. “Over and over again, I’ve found crucial things that nobody knew about,” he said. “There’s always original stuff if you look hard enough.” He added that he tried to keep in mind something that his managing editor at Newsday, Alan Hathway, a crusty old newspaper­man once told him, after pointing out that Caro was the only Ivy Leaguer who ever amounted to anything: “Turn every goddamn page.”
    His notes, typed on long legal sheets, often with urgent directions to himself in capital letters, fill his cabinets, and before he begins writing, he indexes the relevant files in big loose-leaf notebooks that resemble the ones behind the counter at auto-parts stores. There is no computer, no Google, no Wikipedia.
    One reason Caro’s books are so long is that he does keep burrowing through the files, and he keeps finding out things he hadn’t anticipated. Before beginning the first volume, he thought he could wrap up Johnson’s early life in a couple of chapters, until he talked to some of Johnson’s college classmates and found out about his lying, conniving side, which no one had previously described. That volume also includes a mini­biography of Sam Rayburn, Johnson’s mentor in Congress, and a brilliantly evocative section about how electrification changed the lives of people in the Hill Country, much of it based on interviews conducted by Ina, who visited the women there with homemade preserves and eventually won them over, she says, because she was as shy and nervous as they were.
    Caro thought that the 1948 Senate election would take up a single chapter or so in his Senate volume. Instead, it takes up most of a book of its own, what is now Volume 2. Johnson advocates used to say that “no one will ever know” whether that election was stolen. Caro knows, because after reading an AP story reporting that Luis Salas, an election boss and party henchman, had falsified the records, he visited Salas, who then gave him a confession that he had written by hand. The Senate book, Volume 3, begins with a 100-page history of the Senate, starting with Calhoun and Webster, because Caro felt that to understand the Senate you needed to see it in its great period. It includes minibiographies of Hubert Humphrey and Richard Russell Jr., the longtime Senate leader of the South, and ends with a detailed, almost vote-by-vote account of the passage of the Civil Rights Act of 1957. The first few weeks of the Johnson presidency, which take up so much of the new book, were originally imagined as just a chapter in what would be the final volume, and the new book also includes much more about the Kennedys than Caro anticipated. He goes into great detail, for example, about the feud between Johnson and Robert Kennedy, and the visits Bobby made to Johnson’s hotel room in Los Angeles after the Democratic convention in 1960, trying to talk Johnson into withdrawing from the vice-presidential nomination.
    The installments keep ballooning, in other words, developing subplots and stories-within-the-story, in a way that reflects Caro’s own process of discovery. He is looking ahead to Volume 5 and to Vietnam, which is foreshadowed in the new book by Johnson’s hawkish impatience during the Cuban missile crisis. One day when I was visiting he pulled out a thick file of notes he had written, including transcripts, about the weekly Tuesday cabinet meetings Johnson had with Dean Rusk, Robert McNamara, Earle Wheeler and Walt Rostow, at which the question of whether to escalate was frequently discussed. “Look at this stuff,” Caro said to me. “It’s unbelievable!”
    Caro now finds Johnson more fascinating than ever, he told me, and added: “It’s not a question of liking or disliking him. I’m trying to explain how political power worked in America in the second half of the 20th century, and here’s a guy who understood power and used it in a way that no one ever had. In the getting of that power he’s ruthless — ruthless to a degree that surprised even me, who thought he knew something about ruthlessness. But he also means it when he says that all his life he wanted to help poor people and people of color, and you see him using the ruthlessness, the savagery for wonderful ends. Does his character ever change? No. Are my feelings about Johnson mixed? They’ve always been mixed.”
    On a corkboard covering the wall beside Caro’s desk, he keeps an outline, pinned up on legal-size sheets, of “The Years of Lyndon Johnson.” It’s not a classic outline, with indentations and numbered headings and subheadings, but a maze of sentences and paragraphs and notes to himself. These days, part of the top row is gone: the empty spaces are where the pages mapping the new book used to be. But there are several rows left to go, and 13 additional pages that won’t fit on the wall until yet more come down. Somewhere on those sheets, already written, is the very last line of “The Years of Lyndon Johnson,” whatever volume that turns out to be. I begged him more than once, but Caro wouldn’t tell me what that line says.
    Caro has no shortage of plans for what to do next, after he finishes with Johnson, and he has already picked out a topic, though he won’t reveal what it is. He also told me he could imagine writing a biography of Al Smith, the New York governor and 1928 presidential candidate. But it’s also possible that at some level he doesn’t really want to be done — that without entirely intending to, he’s eking Johnson out — because whenever a biographer finishes, burying his subject, he dies a little death, too. Caro is a great student of Gibbon, and he must be familiar with what Gibbon wrote in his house at Lausanne, Switzerland, in 1787, after completing his “Decline and Fall of the Roman Empire”: “I will not dissemble the first emotions of joy on the recovery of my freedom, and perhaps the establishment of my fame. But my pride was soon humbled, and a sober melancholy was spread over my mind by the idea that I had taken an everlasting leave of an old and agreeable companion, and that, whatsoever might be the future fate of my history, the life of the historian must be short and precarious.”
    Charles McGrath is a writer at large for The Times. His most recent article for the magazine was a profile of Stephen Colbert.
    EDITOR: Dean Robinson

    Michelangelo. Complete Works;Michelangelo: The Complete Sculpture, Painting, Architecture

    $
    0
    0

    Michelangelo: The Complete Sculpture, Painting, Architecture Hardcover – September 8, 2009


    米開朗基羅

    台北:閣林,2013


    作者介紹
    威廉.華勒斯,聖路易華盛頓大學(Washington University in St. Louis)藝術史助理教授,乃是享譽全球的米開朗基羅及同時代藝術家的權威。他有許多關於文藝復興時期藝術的著作出版。
    本書內容
    米開朗基羅從雕塑、繪畫到建築,無不精通。他賦與冷漠的大理石、畫紙與建築物新的生命,在他的一斧鑿、一勾勒間,彷彿全部活了過來。他的靈思巧技,創意無限,在當代引領風騷,對後世影響深遠,更帶給觀者莫大的驚喜、讚嘆與感動。本書透過絕佳的文筆、豐富的圖片與精美的印刷,抓住米開朗基羅藝術創作的精髓,蒐羅完備,彌足珍貴,值得讀者細細品味與珍藏。
    With an engaging text by renowned Michelangelo scholar William E. Wallace, Michelangelo: The Complete Sculpture, Painting, Architecture brings together in one exquisite volume the powerful sculptures, the awe-inspiring paintings, and the classical architectural works of one of the greatest artists of all time. Including everything from his sculptures Pietàs and David to his beautiful paintings of the Sistine Chapel and the Doni Tondo, the book provides an opportunity to view Michelangelo’s work as never before, and to more fully understand the artist who, through his work, spoke of his life and times. The frescoes are specially printed on onion skin paper to recreate the actual appearance of light reflecting off of the plaster walls. The stunning black-and-white photography of the sculptures is printed in four colors to bring out the rich details of the marble.

     
    .

    圖2:米開朗基羅《聖殤》(Pietà),c. 1550. Marble, height 226 cm.
    Museo dell’Opera del Duomo, Florence.
    有 些人對宗教的體悟也許不太深刻,但是,走進西方重要的博物館,仍可看到許許多多精美的博物館典藏品。其中有些原本是教堂為了儀禮、信徒教育或裝飾所需而訂 製的;有些則是藝術家透過創作,將個人內心深處對形而上永恆真理的渴慕表現出來。舉例來說,在佛羅倫斯主教座堂博物館裡,可以看到米開朗基羅雕刻的《聖 殤》(Pietà, 圖2)。這原是晚年的米開朗基羅為自己所刻的墓碑。這個《聖殤》群像裡站在最後邊那位穿斗篷的老者就是米開朗基羅的自刻像。從聖經的象徵意涵來說,米開朗 基羅將自己化身為約翰福音書裡,那位在夜裡偷偷前去拜訪耶穌,向耶穌請教如何「重生」的尼哥底母(Nicodemus)。當耶穌被釘死在十字架受難後,尼 哥底母不計當時風聲鶴唳的肅殺氣氛,勇敢協助埋葬耶穌。換句話說,透過將自己比擬為尼哥底母,年邁的米開朗基羅不僅要表達自己對「重生」的渴望;在宗教改 革橫掃歐洲,新舊教嚴重對立的風暴年代,他也藉此表達自己「以耶穌為依歸」(而非以教會權勢為依歸)的堅定立場。因此,要真正了解這些博物館藏品,我們不 能只是單純從造型風格與美感形式分析來理解。因為這些作品與當時時空背景下蘊含的信仰認知與個人宗教渴求有著密切的關聯。http://www.alum.ntu.edu.tw/wordpress/?p=15549



    這本書還沒看過 不過這樣的篇幅要窮舉Michelangelo之作 有點匪夷所思
    不過重要的是史識
    不知道有沒有詩集(大陸有遼寧書店的文庫版)
    <一砂一世界>由一首詩看米開蘭基羅的完美主義 ■南方朔
    《2009/03/16 15:30》

     古人由於從小就接近詩,而且識字者都是看過易讀易誦的詩而開始學文習字,養成了古人多半都會寫詩的傳統,大家程度或許有高下,但皆能出口即成詩,許多人寫信也都以詩來表達,我們今天回頭讀古詩,即可見到許多其實是書信的詩。
     而這種文化習慣,在早期的義大利亦然。康乃爾大學教授吉爾伯特( Creighten Gildct)在所譯的《米開蘭基羅詩全集和書信選》裡的導言中,就指出,十六世紀時義大利人寫信,經常都用十四行詩來表達。由此也可看出無論東方西方,文明的許多發展都有著相似性。
      義大利的古代詩人裡,大畫家雕塑家米開蘭基羅( Michelangelo 1475-1564)無疑的是個異數。他窮苦出身,自小當學徒,後來自學,除 了本業的繪畫、雕塑與建築外,他也成了有史以來最著名的業餘詩人。他死後,侄孫於一六二三年將他的詩集出版,到了英國浪漫主義時代,大詩人華滋華斯 ( William Wordswerth 1770-1850)喜歡他的詩而選譯,於是米開蘭基羅遂詩名大盛。讀他的詩,是理解他藝術思想很重要的通 道。到了近代,他的詩集不但有多個義大利版,也有好幾個英文譯本,他逝世已四百多年,詩名反而愈來愈盛。
     米開蘭基羅的詩,不同版本有不同數目, 劍橋大學教授雷思( Christogher Ryan)的版本是三○二首,吉爾伯特教授的版本則三二七首。他的詩體甚多,但以十四行詩及牧歌為主--牧 歌是一種古代詩體,格律較鬆,行數也有彈性,多半在十行到廿行間,但最有特色的仍是十四行詩。其中的這首極為重要:

     最傑出的藝術家絕不會先有個概念
     概念只會存在於大理石的軀殼裡
     想要達到這個概念的境地
     藝術家必須讓手追隨思想而向前

     我以優秀自勉,拒絕壞的表現
     但女士啊,它卻將美麗、聖潔和尊貴藏起
     就像妳一樣,我的生命因此已無意義
     因為我的技藝已到不了希望效果這一邊。

     我表現不出愛、幸福,妳的美麗
     甚至妳的冷酷與輕蔑,這是我才藝不足
     它該被指責,而無關我的運氣。

     就像是死亡和慈悲同時一起
     存在你的心裡,而我拙劣的技術
     儘管熱情燃燒,除了死亡外卻抓不住任何東西。

     上面這首詩的韻腳工整,為ABBA ABBA ODC CDC,這首詩對理解米開蘭基羅的藝術思想有著相當重要的地位。
      米開蘭基羅在古今藝術家裡,乃是「未完成作品」最多的一個,以前甚至有人認為,那些未完成之作乃是他刻意的表現手法。但由這首晚年所寫的詩,我們卻可看 出,他認為每塊大理石裡都有著一個「觀念」在內,藝術家不是去雕塑大理石,而是透過雕塑摩娑,去把大理石的那個本質顯現出來。當他覺得雕塑不出那個本質, 他就會廢然而止,挫敗得像死掉一樣。這首詩所表達的即是這種藝術思想。
     米開蘭基羅的許多詩和書信,今天的人讀來都不易懂,原因在於他所處的時 代,柏拉圖的觀念哲學乃是主流價值,觀念是一種本質,也是最高的形成與價值。這種思維方式不但主宰了神學和藝術,也主導了一般人的思想。米開蘭基羅相信大 理石內有已經存在的觀念,雕塑家不是用自己的觀念去雕塑大理石,而是在雕塑中找出這個觀念。他的這種想法其實就是用柏拉圖的觀念哲學為自己的藝術完美主義 作註解而已。這種完美主義才是他不朽的原因!
     





    Michelangelo.
    Complete Works

    Prof. Dr. Frank Zöllner,
    Prof. Dr. Christof Thoenes,
    Dr. Thomas Pöpper
    Hardcover, 29 x 44 cm,
    768 pages, £ 120.00
    ISBN 978-3-8228-3055-0

    Available now. Click here & order today


    Michelangelo as never seen before
    Before reaching the tender age of thirty, Michelangelo Buonarroti (1475-1564) had already sculpted David and Pièta, two of the most famous sculptures in the entire history of art. Like fellow Florentine Leonardo da Vinci, Michelangelo was a shining star of the Renaissance and a genius of consummate virtuosity. His achievements as a sculptor, painter, draughtsman, and architect are unique—no artist before or after him has ever produced such a vast, multi-faceted, and wide-ranging oeuvre. Only a handful of other painters and sculptors have attained a comparable social status and enjoyed a similar artistic freedom. This is demonstrated not only by the frescoes of the Sistine Chapel but also by Michelangelo's monumental sculptures and his unconventional architectural designs, whose forms went far beyond the accepted vocabulary of his day. Such was his talent that Michelangelo was considered a demigod by his contemporaries and was the subject of two biographies during his lifetime. Adoration of this remarkable man's work has only increased on the intervening centuries.

    Following the success of our XL title Leonardo da Vinci, TASCHEN brings you this massive tome that explores Michelangelo's life and work in more depth and detail than ever before. The first part concentrates on the life of Michelangelo via an extensive and copiously illustrated biographical essay; the main body of the book presents his work in four parts providing a complete analytical inventory of Michelangelo's paintings, sculptures, buildings and drawings. Grorgeous, full page reproductions and enlarged details bring readers up close to the works.

    This sumptuous tome also takes account, to a previously unseen extent, of Michelangelo's more personal traits and circumstances, such as his solitary nature, his thirst for money and commissions, his miserliness, his immense wealth, and his skill as a property investor. In addition, the book tackles the controversial issue of the attribution of Michelangelo drawings, an area in which decisions continue to be steered by the interests of the art market and the major collections. This is the definitive volume about Michelangelo for generations to come.

    1929年大崩盤 (The Great Crash 1929), 大蕭條時期的中國︰市場、國家與世界經濟(1929-1937[日]城山智子)

    $
    0
    0
    Have we forgotten the lessons of the Great Depression? The Great Depression is a natural template since the 2007-09 crisis and is generally perceived to be the worst economic crisis since the 1930s. But the problem with using historical examples is that there is rarely agreement on what history teaches http://econ.st/1zIrN60


    Have we forgotten the lessons of the Great Depression? The Great Depression is a natural template since the 2007-09 crisis and is generally perceived to be the worst economic crisis since the 1930s. But the problem with using historical examples is that there is rarely agreement on what history teaches http://econ.st/1zIrN60




    經濟大恐慌- 維基百科,自由的百科全書 - Wikipedia





    1929年大崩盤 (The Great Crash 1929) By 約翰.高伯瑞 (John Kenneth Galbraith),
    羅若蘋譯,台北:經濟新潮社出版社,2009

    歷史上永恆的投資∕經濟經典
    每次金融風暴,這本書就暢銷!
    每個人都該了解這段歷史,因為人類的愚昧會不斷重演。
    ★美國《財富》雜誌、《紐約時報》、《聖路易郵報》、《大西洋月刊評論》一致盛讚!
      《1929年大崩盤》這本書最早於1954年出版,此後在1955、1961、1972、1979、1988、1997年不斷再版,直到如今已有五十四年。作者高伯瑞是美國二十世紀經濟學界的代表人物,除了作者及書本身的重要性之外,還有一個能讓本書銷量維持不墜的理由:每一次它的出版,另一個可能發生的事件——另一個泡沫或是緊接而來的不景氣——就會激起大家對這段大蕭條和崩盤歷史的興趣,它曾引發一場慘烈的不景氣。
      猖獗的投機。創紀錄的交易量。人們大肆購買資產,不是因為它們的價值,而是因為買方相信自己可以在短短的一、兩天,甚至幾個小時內脫手,迅速致富。樂觀主義和它所帶來的影響主宰了整個股票市場。然而這一切終將結束。股市的下挫總是比上漲來得突然。在1929年股市大崩盤之後,緊接而來的經濟大蕭條持續了十年之久。1929 ~ 1933年,國民生產毛額(經濟總產量)下降近30%。在1930年到1940年之間,只有1937年這一年的平均失業人數少於800萬人。1933年大約有1,300萬人失業,幾乎每四個勞工有一人失業。到1938年仍然有五分之一的人失業。
      1929年的大崩盤和2008年的金融海嘯相似之處在於,政府在當時都知道該如何因應,但同時又都拒絕這樣做,只是一昧地向民眾信心喊話,宣稱經濟基本面健全,卻造成無可挽回的局面。深受其害的云云大眾無不猜測,金融危機後的發展是否要回溯到1930年的崩盤及之後的年代?而2009年初股市的回升究竟是經濟復甦的現象或只是一時的反彈?答案無從知曉,就如同高伯瑞在序言中所說的:「我不會去預測,只是提醒大家過去曾經如此鮮活地提醒我們的教訓,我在這本書中提出最後的忠告。」
      而不願再被歷史的愚昧所左右的你我,該是時候停止猜測,好好認真抱讀高伯瑞所給的忠告了。
    作者簡介
    約翰.高伯瑞(John Kenneth Galbraith, 1908-2006)
      美國二十世紀經濟學界的代表人物,曾任哈佛大學華伯格(Paul M. Warburg)經濟學講座名譽教授,擔任美國藝文學會(American Academy of Arts and Letters)、美國經濟協會(American Economic Association)主席。
    1941 ~ 1943年:擔任美國物價管理局副局長。
    1946年:杜魯門總統頒發自由勳章(Medal of Freedom)
    1961 ~ 1963年:任美國駐印度大使。
    1972年被選為美國經濟協會主席。
    1997年獲得加拿大的羅伯特肯尼迪圖書獎的終身成就。
    2000年8月:柯林頓總統頒發自由勳章。
    2001年:獲頒Padma Vibhushan獎(印度第二高榮譽的公民獎),以表揚其對印度和美國之間經濟合作的貢獻。
      高伯瑞生前共有31本著作,包括《不確定的年代》、《富裕的社會》、《1929年大崩盤》、《經濟學與公共目標》、《穿梭經濟時光》、《新工業國》、《經濟治國》、《親愛的總統先生》、《揭開皇后的面紗:造成現代亂象的經濟學迷思》等。
    譯者簡介
    羅若蘋
      輔仁英國語文學系畢業,交大科管所學分班。現為專職譯者,譯著有《金字塔原理Ⅱ》、《要理財,先理債》、《超級業務都是這樣想的》、《萬里任禪遊》等70餘冊。
     

    目錄

    序言 九0年代的觀點
    第一章 「夢幻、無窮的希望與樂觀主義」
    第二章 應該有所作為?
    第三章 我們信賴的高盛
    第四章 幻想的暮光
    第五章 大崩盤
    第六章 越來越嚴峻的情勢
    第七章 後果
    第八章 後果(二)
    第九章 因與果

    推薦序
    鑑往知今,貪愚永存!
      高伯瑞(John K. Galbraith, 1908-2006)這本1954年出版,後來不斷重印,到他逝世前已發行了80萬冊的《1929年大崩盤》,它不是談1929年股市大崩盤的一本普通書,而是有它的原委、立意,以及後來的影響。
      首先就本書的來龍去脈而言,人們都知道高伯瑞乃是學者從政型的經濟學家,民主黨小羅斯福總統的「新政」時代即已成了要角。戰後1952年,民主黨提名伊利諾州長史蒂文生(Adlai E. Stevenson, 1900-1965)與共和黨的艾森豪競選總統,高伯瑞即是史蒂文生陣營的主要人物,該次大選民主黨慘敗。在經過一陣心理創傷後,高伯瑞出版了《美國資本主義》(American Capitalism)一書,主要是探討美國經濟何去何從的嚴肅課題。該書成了當年暢銷書,後來總計售出40萬冊。除了出版該書外,高伯瑞還整合了一批哈佛學者,其中主要都是經濟學家,在民主黨前輩要人芬雷特(Thomas K. Finletter)家中定期聚會,對美國經濟未來的各種課題進行探討,並做為將來民主黨的經濟政綱。他們這群人,也就是美國民主黨史上所謂的「芬雷特小組」。後來1960年民主黨甘迺迪贏得大選,他的經濟「新疆界」主張,以及後來詹森總統的「大社會」政策,都和「芬雷特小組」有著密切的關係。
      而就在「芬雷特小組」集會期間,1954年初,美國主要的《哈潑雜誌》約翰.費雪(John Fischer)向高伯瑞邀稿,因為當年已屆股市大崩盤25週年,他希望高伯瑞能在當年該刊的十月號寫一篇長文。由於當時美國尚無有關1929年股市大崩盤的專門著作,於是高伯瑞遂在好友(也是哈佛同事及民主黨要角,後來做到「美國歷史學會」會長)史萊辛格(Arthur Schlesinger, Jr.)的鼓勵下著手研究並寫作。結果,他並沒有替《哈潑雜誌》寫那篇長文,而是撰寫這本著作。因此,本書有著下述意義:
      (一) 它是截至當時,真正重量級學者寫1929年股市大崩盤的第一本著作。
      (二) 人們現在已知道,高伯瑞寫作,一般都至少要五易其稿、使其流暢、嚴謹而易懂。本書即有這樣的特性,而這也是本書一出版即佳評如潮,成為暢銷書的原因。
      (三) 對高伯瑞的著作與思想有理解的人都知道,高伯瑞並非一般的經濟問題技術專家,而是有歷史觀、人性觀和價值觀的全視野經濟思想家。因此他在談1929年股市大崩盤時,其實是有解釋觀點的。他特別著重在貪婪投機文化的形成、當時有權有勢者的蒙昧樂觀及間接助長、金融體系「脫紀律化」所造成的投機氾濫,以及當時許多著名學者為股市造勢的媚俗表現。他的這些「以人為本」的價值前提,其實也貫串了他所有的其他著作。他的這些觀點,也等於是替後代人在談論1929大崩盤時定了調。高伯瑞談股市大崩盤,加上後來他的好友史萊辛格談新政,人們始對大蕭條時代有了全局的理解。
      總而言之,《1929年大崩盤》不是一本一般性的著作,而是有警示意義的著作。研究股市史的人都知道,在人類史上,牛頓乃是最有名的受害人。當年英國有所謂的「南海泡沫」,牛頓當時在朋友的慫恿下買股,後來覺得不安而出脫,但股價還是一路狂飆,於是他又投入股市,但這次就再也沒有脫身的機會。牛頓所賠掉的金錢換算成現值,估計在台幣1億至1億5千萬元之間。他後來感慨地說:「我可以預測神祕天體的運行,但我不能預測人類貪婪的心靈!」
      因此,貪婪總是會付出代價的。1920年代是美國樂觀輕快、甚至是輕浮的「爵士時代」,它的浮華投機所付出的代價則是整個大蕭條的代價。
      而人類所犯的錯雖然不可能如原樣般重現,但卻會用一種有近親相似性的方式,以另一種面貌再來。過去20年的貪婪投機以及金融失控「脫紀律」,乃是金融海嘯及全球深度衰退的原因。迄至目前為止,全球究竟已否觸底?或者還有第二波衰退在前面等待?這些都是開放的問題。在這樣的時刻重讀高伯瑞這本著作,人們又怎能不格外感慨呢?
    南方朔,文化評論者
    2009年6月28日


    大恐慌入門 : 發生了什麼事?今後會如何發展?該怎麼因應? 朝倉 , 慶, 陳 , 昭蓉, 康 , 平 561.78 8466 98 先覺出版

    經濟大蕭條時代 = The Age of the great depression 韋克特 (Wector, Dixon), 秦 , 傳安, Wector, Dixon 752.262 8753 98 德威國際文化出版



    大蕭條時期的中國︰市場、國家與世界經濟(1929-1937) CHINA DURING THE GREAT DEPRESSION:Market.State,and The World Economy,1929-1937

    1930年代的經濟大蕭條是一次全球性事件,它深刻地影響了中國現代歷史。由于當時各國都已紛紛擺脫銀本位,世界貨幣體系由金本位主導,而中國是當時世界 上幾乎唯一仍采用銀本位的國家,因此當世界上其他國家作為商品的白銀價格發生波動。就會對中國的金融和經濟生產帶來直接的沖擊。

    本書通過長江中下游地區棉紡業、繅絲業在大蕭條中的表現具體演示了這種傳導效應。當終于無法承受這種;中擊之時,國民政府不得不積極地進行幣制改革,廢除 銀本位。這場由政府主導的幣制改革,從一開始就面臨著復雜的國際關系和嚴峻的國內經濟形勢的挑戰。盡管以擺脫銀本位的法幣改革初時頗見成效,但外匯儲備始 終不足、對財政金融管控不力,都為中國經濟後來更大的混亂埋下伏筆。

    譯者的話
    導 論
    銀本位的中國︰國際貨幣體系的影響
    大眾預期與金融危機
    市場、政府和貨幣體系
    中國與世界經濟的聯系︰兩次危機及其後
    本書結構
    上卷 通貨膨脹與自由放任的年代︰1931年之前的經濟趨勢
    第一章 銀本位︰國際貨幣體系中的中國
    中國的銀本位
    作為貨幣或商品的白銀
    作為白銀交易商的銀行︰平價與市場匯率
    白銀價格及其對中國貨幣供應的影響
    小結
    第二章 工業化的到來︰長江三角洲地區的紡織業
    棉紡業
    繅絲業
    小結
    第三章 公司負債︰資本積累問題
    資本積累︰企業家的初始問題
    尋求貸款與銀行貸款合同條款
    債務與公司管理
    小結
    下卷 蕭條年代,1931—1937年︰經濟與政治的轉變
    第四章 農村崩潰
    農產品價格的下降
    農村地區的貿易狀況
    農村金融機構的崩潰
    農村的崩潰︰一個城市問題
    小結
    第五章 工業蕭條
    繅絲業
    棉紡業
    小結
    第六章 上海金融恐慌(1934—1935年)
    城市繁榮的幻象︰1929年10月至1931年8月
    銀行延誤清償︰1931年9月至1934年6月
    上海金融恐慌︰1934年6月至1935年11月
    小結
    第七章 應對危機︰1935年11月的幣制改革
    幣制改革的外交背景
    1935年11月4日的幣制改革
    從大蕭條中復蘇
    小結2
    第八章 成就與局限︰經濟政策與國民政府再考查
    繅絲業的復蘇
    棉紡業的復蘇
    農村金融的重建
    小結
    結 論
    銀本位與中國的工業化
    貨幣體系的政治經濟學
    中國與世界經濟
    譯後記

    淡瑩《也是人間事:新詩精選集》;作者黃明堅《單身貴族》、《為自己活》、《新游牧族》

    $
    0
    0



    也是人間事:新詩精選集

    淡瑩
      原名劉寶珍,生於馬來西亞霹靂州瓜拉江沙(Kuala Kangsar).高中畢業後赴台,就讀國立臺灣大學外文系.在台灣讀書期間,與王潤華、張錯、林綠、陳慧樺等人創辦星座詩社.1969年獲威斯康辛大學碩士學位,受聘美國加州聖塔巴巴的加利福尼亞大學東亞語文系.自美國回返新加坡後,擔任世界女作家協會新加坡分會會長等職.已出版詩集:《千萬遍陽關》、《單人道》、《太極詩譜》、《髮上歲月》與《淡瑩文集》,曾獲泰國東南亞文學獎、新加坡文化獎、萬寶瓏文學獎等獎項.





     (新加坡)淡瑩作
     
      玲瓏的三摺花傘
      一節又一節
      把熱帶的雨季
      乍然旋開了
      我不知該往何處
      會你,傘內,還是傘外
      然後共撐一小塊晴天
      讓淅瀝的雨聲
      輕輕且富韻律地
      敲打著古老的回憶
      聽雨的青澀年齡
      管它是否已尾隨
      喧噪了一個夏季的
      蟬叫,陷進泥潭
      只要撐著傘內的春
      我們便擁有一切,包括
      沼澤里笨拙的蛙鳴
      二月底三月初
      我摺起傘外的雨季
      你敢不敢也摺起我
      收在貼胸的口袋裡
      黃昏時,在望遠樓
      看一抹霞色
      如何從我雙頰飛起
      染紅湖上一輪落日


      作者簡介:
      淡瑩(1943~),原名劉寶珍。新加坡女詩人。上世紀60年代留學台灣大學外文系和美國威斯康辛大學,獲碩士學位。1971年到加利福尼亞大學講授中國古典文學。1974年回國任新加坡國立大學華語研究中心講師,後兼任五月詩社社長、新加坡作家協會理事等職。著有《千萬遍陽關》《單人道》和《太極詩譜》等詩集。其詩作構思細膩、意境清新、富有哲理。
       凌彰賞析:
      《傘內·傘外》是淡瑩用華語寫成的一首優美愛情詩。其藝術特色在於盡量避免直說,而採用婉轉的表現手法,抒發少女的纏綿而嬌羞的溫柔戀情,使詩春意盎然而富有含蓄美。詩人首先不正面寫雨季來臨,旋開花傘避雨,而是反過來寫花傘“把熱帶的雨季乍然旋開了。”最後不說晚霞染紅了湖水和少女的紅顏,而是寫霞色“……從我雙頰飛起,染紅湖上一輪落日”。這類寫法,委婉別緻,耐人尋味,頗像唐代李商隱的《夜雨寄北》,不說自己想家,卻先寫妻子思念他、問他何時回家;然後再寫他自己巴山雨夜思念妻子的情景,表達出一種曲折婉轉的心思和深情。
      其次,寫一對戀人在傘內緊相依偎“共撐一小塊晴天”,一起聽雨聲,而“晴”和“情”同音,也是妙語雙關、別有情趣。雨聲“敲打著古老的回憶”,表明這種情人相會並非初次,而是早已如此。同時也不管蟬叫蛙鳴的夏天是否已經過去,“只要撐著傘內的春,……便擁有一切”。意思說時光雖然流逝,但只要有愛情,便有一切。
      最後一節的特色是“擬物”手法,把人比作物並以景收尾。當雨季已過,花傘要摺起來時,少女希望自己也如同花傘一樣,被戀人摺起“收在貼胸的口袋裡”,意即和戀人時時相伴,形影不離。黃昏時兩人一同登上新加坡雲南園的望遠樓,登高望遠,看到夕陽晚霞和嬌羞紅顏互相映照。這種以景結尾,是在詩情將盡未盡時,突然用景物收住,留下一個生動的畫面,使之情中有景、景中有情,情景相生,給人留下深刻的印象和無窮的回味。


    *****

    黃明堅 我從13歲就決定不婚

    黃明堅 我從13歲就決定不婚
    康健雜誌143期2011.06.20 作者:王梅
    黃明堅一直被認為是鼓吹不婚觀念的代言人,20年前一口氣出版《單身貴族》、《為自己活》、《新游牧族》等膾炙人口的暢銷書,每一本的銷售量都衝破10~20萬冊,引起很大的迴響。
    但黃明堅聲稱,這其實是一個很大的誤解,「我從來沒有鼓吹過任何主張和觀念,我只是把自己的生活情況老老實實地寫出來,沒想到引起大家這麼熱烈討論,莫名其妙被貼了標籤。」

    人家怎麼定位她,黃明堅並不想反駁,甚至有人寫書評罵她,她也無動於衷,認為跟自己無關,因為她並不是倡導社會運動的激烈份子。小馬哥還沒當總統之前,有一回邀請她參加一個電視節目錄影,事後當面回應她,「妳沒有我想像那麼激進嘛!」

    黃明堅發現周圍單身的人愈來愈多,譬如,不婚是單身,到外地工作是單身,老了一個人是單身,結婚又離婚也是單身……;各種各樣都有,是很多人共同的處境,但沒有人去問、也沒有人教「單身的人該如何過日子」,大家都很茫然。於是,她就想,「不如我來寫一本吧!」

    年輕的時候,黃明堅看到母親為了3個孩子操勞,還要兼顧父親診所的業務,每天忙得昏頭轉向,覺得家庭主婦持家很辛苦,自認無能同時做好這些事。後來,她當了一段時間的職業婦女,又發現職業婦女的處境也很艱難,每天要應付同事、老闆、客戶。最後,黃明堅決定辭職當自由人,「我一直都在自廢武功,」她自我揶揄。

    沒有照著世俗那一套邏輯追逐,結婚、生子、工作,理性規劃人生每一個階段,黃明堅一樣都沒有,「天才過不去的地方,像我這種傻子一步就跨過去了,」黃明堅自詡,最大的特點就是「從來不想後果,只做當下想做的事」。

    她生活簡單,住在30坪大的舊公寓裡,每天除了一些家務與清掃工作,在附近的公園散步,偶爾和朋友小聚,大多數時間都在聽經念佛,修身養性,「我這輩子來,就是『沒事』,直到現在也沒什麼問題,老天爺從沒讓我餓著,」黃明堅相當怡然自得。
    Viewing all 6920 articles
    Browse latest View live