Quantcast
Channel: 人和書 ( Men and Books)
Viewing all 6917 articles
Browse latest View live

羅蘭 1919-2015 :「羅蘭小語」;歲月沉沙三部曲:薊運河畔、蒼茫雲海、風雨歸舟

$
0
0

我初中時1965-68,「羅蘭小語」已很著名。大學時,知道她是學姐朱麗的母親 (記得她曾寫信問東海的老師,家庭院的大樹的名字)。「歲月沉沙三部曲」的「蒼茫雲海」內有1948-70年代的台灣社會抽樣,其他是其歸鄉之作。

歲月沈沙90年 專訪羅蘭女士- 隴西堂- udn部落格

blog.udn.com/litaisan/3745722
Translate this page
Feb 2, 2010 - 引用文章半邊天人物特寫──赤子情懷寫羅蘭歲月沈沙90年──專訪 ... 幾片葉子到東海大學生物系去問,才知道這叫構樹,樹皮還能做鈔票呢!」 ... 長女朱麗覺得「穿洋裝、戴著草帽帶我們去遊山玩水的媽媽,很像天真爛漫的大孩子。



羅蘭小語作家辭世
資深作家羅蘭29日凌晨病逝,享壽96歲。(中央社檔案照片)


(中央社記者鄭景雯台北0829日電)以「羅蘭小語」風靡兩岸的資深作家羅蘭因心肺衰竭,今天凌晨病逝於台北中心診所,享壽96歲,子女隨侍在側。文化部長洪孟啟聞訊深表哀悼,並將建請總統頒發褒揚令。



文化部表示,羅蘭近年一直為阿茲海默病症所困擾,6月中旬因肺炎住院不見起色,7月初轉加護病房,終因年事已高,撒手人寰,今天凌晨病逝於台北中心診所,享壽96歲,子女隨侍在側。

羅蘭原名靳佩芬,天津市寧河縣人,1919年出生,曾在寧河鄉下擔任小學音樂教師多年,深諳在動盪年代裡,青春、生命、希望的孕育及成長,往往伴隨著困惑與執著,30年前的作品「羅蘭小語」曾風靡兩岸,尤為於特定世代成長的年輕人鍾愛。

1948年羅蘭隻身來台,從事電台主持工作並致力寫作,先後在中國廣播公司、警察廣播電台服務30多年。

除「羅蘭小語」外,羅蘭作品還有「羅蘭散文」、「飄雪的春天」、「綠色小屋」、「歌與春及花」、「濟公傳詩歌劇」、「給青年們」、「彩繪日記」、「旅美散記」、「花晨集」等30多部。

1969年以「羅蘭散文」獲第4屆中山文藝獎,1970年應美國國務院邀請赴美訪問,1974年獲廣播金鐘獎,1979年獲教育部社會教育獎,及愛書人倉頡獎,1995年以「歲月沉沙三部曲」獲第21屆國家文藝獎。
1040829

※你可能還想看:

羅蘭晚年仍寫作 飄雪的春天為代表作

蒼茫雲海內有1948-70年代的台灣社會抽樣


歲月沉沙三部曲(一套三冊)
印刷:黑白
裝訂:平裝
開數:25開直排
EAN:9789570818789
出版社:聯經

羅蘭女士繼她享譽海內外的羅蘭小語、飄雪的春天、綠色
小屋、詩人之國等名著之後,寫下這部大時代的三部曲─
─「歲月沉沙」。作者從她父、祖的時代,古老中國的新
舊交接處寫起,穿越抗戰、播遷來台、兩岸恢復交流,中
國現、當代史的三個重要階段。她不從歷史重大事件談起
,以她所經歷過的生活、親身的感受與透視,來反映大時
代的變遷。配上作者如歌行板般的散文筆調,言近旨遠,
可讀性極高。

全書共分三部:薊運河畔、蒼茫雲海、風雨歸舟
 薊運河畔敘述出生到抗戰。她出生於近代中國工業的發源地--天津附近的大家族,家道中落,父親進入塘沽久大精鹽公司--中國式現代化的成功典範, 她就讀於該公司附設的員工子弟小學,是一所充滿現代精神,容納了嶄新教育方法的實驗小學。從這所小學畢業後,她選擇就讀河北女師,這所學校溫厚而又開明, 樸實而又自由,培養她不慕榮利,獨立自主的人格,和喜愛音樂的天性,後因七七事變爆發,作者全家不得不留守,在淪淊區教了八年音樂。  蒼 茫雲海則從抗戰勝利後說起。當時她陷入感情、學業、事業、家庭「四大皆空」階段,一個人隻身來台。在人地生疏的情況下,憑著樂觀進取的心,找到自已合適的 工作;隨後結婚,成立了家庭。關於這一階段作者特別發揮了「從小故事反映大格局」的筆法,從對台灣風土人情的適應,寫到美國商業文化的走入生活,以至移民 問題等等,來反映這樣的一個時代。
  風雨歸舟從民國七十六年政府開放大陸探親談起。從四十年隔絕置之度外的「歸人」到發現「回到故鄉仍是客」的惆帳,找不回自己多年以來所塑造的中國夢,卻又不得不承認這是個必須如此,始能雄立世界的中國。


整部書是一個歷經戰亂,滿心國仇家恨,農業社會出身的中國人的親身感受;不單單只是一部作者個人的回憶錄,更是一部大時代變遷的留影。



作者/譯者/繪者簡介

作者:羅蘭

羅蘭,河北省寧河縣人,本名靳佩芬,民國八年生。河北省立女子師範學院師範部畢業,兼修音樂,曾任音樂教員、廣播電台編輯、節目製作主持人、專欄作家,已出版作品二十餘種,包括《羅蘭小語、散文》、《飄雪的春天》、《綠色小屋》、《西風古道斜陽》、《詩人之國》等,讀者遍及海內外。

Jean-Piere Vernant《希臘思想的起源》《神話與政治之間》《眾神飛楊:希臘諸神的起源》

$
0
0

著名的古希臘史家Jean-Pierre Vernant (1914-2007)




大師為你說的希臘神話:永遠的宇宙諸神人(長銷十六年典藏版)
L’univers les Dieux les Hommes
作者: 凡爾農
原文作者:Jean-Pierre Vernant
譯者:馬向民
內容簡介
  有誰能比希臘神話大師凡爾農教授,更能帶領你展開一場精彩生動的神話之旅?!
  以老少咸宜的說故事口吻描繪的神人世界,使過去一篇篇各自獨立、人物關係錯亂的故事,如今都成了帶有連貫性、脈絡清晰的動人史詩!
  新版附贈諸神、人物關係圖,將是您必備的、最深入淺出的希臘神話入門書!
  你知道嗎?現今許多的暢銷小說,像是波西傑克森、鋼鐵人德魯伊,都是取材自希臘神話。而且如果不瞭解這些希臘神話的意涵,根本無法讀懂今日的西方藝術、歷史文化。或許你覺得大家都看過這些希臘神話故事了,何必再讀?可是一旦翻開本書,你將發現它完全不同以往你看過的任何一本!
  法蘭西學院榮譽教授凡爾農花了大半輩子研究希臘神話,是這個領域真正的名家。這次他以流暢生動的筆法,為讀者講述希臘神話故事。結合他深厚的學養與說書人栩栩如生的敘述,將過去一篇篇獨立存在、關係混亂的神話故事一一串起,裡頭看似複雜的神人關係,不但變得條理分明、前後連貫,而且彷彿活了起來。
  我們可以清楚看到希臘人眼中的世界如何誕生,諸神又是從何而來,世界為何是現在的樣貌。凡爾農教授不只讓這些故事變得更為活潑有趣,更道出希臘神話真正的價值,清楚展現西方文化的原始宇宙觀、觀看世界的方式,以及重新詮釋神話背後潛藏的含意,賦予我們連結希臘神話與今日文明的想像能力。
  透過本書,讀者仿佛正在聽古代希臘人講述自己的故事,那古老的聲音,將在現代人的腦海中不斷迴響。由於凡爾農把希臘神話故事說得如此精采動人,本書長居法國暢銷排行榜,翻開它,你將一頁一頁不斷讀下去。
黎漢傑的相片。



昨天翻一本譯字法文的《希臘思想的起源》 (Jean Pierre Vernant, 北京: 三聯, 1996, p.115)
書末有"幾何平等"的關鍵詞
懷疑譯者忘記以前學幾何學的用語:
lacuna, ignoramus, trooper, equivalence , congruen...


(古希臘) 凡人們從屬於神:沒有神的同意,下界的任何事都成不了。於是,必須時時刻刻還清神的債務,不出差錯地向他保險履行義務。但是義務 (service)並不是奴役 (servitude) 。」-Jean-Piere Vernant 讓‧皮埃爾‧韋爾南 《神話與政治之間》(Entre mythe et Politique ) 余中先譯,北京:三聯,2001,頁194
《希臘思想的起源》

  • [法]讓-皮埃爾‧韋爾南 著譯者:秦海鷹 譯出版社:生活‧讀書‧新知三聯書店出版日期:1996年

與現代理想相異的希臘理性思想,並非源于假設的“希臘奇跡”,而源于邁錫尼文化的消亡與遠古文化復興之間的一系列變化。希臘理性是城邦誕生的產物,這就意味著對于古代宇宙起源論的拋棄︰世界從此依循抽象的原則活動。
讓--皮埃爾‧韋爾南︰法國著名哲學史家,古希臘研究專家。


《古希臘的神話與宗教》


在 這本論集中中,作者引導讀者遨游于神話與政治之間。他描繪了一個積極介入社會的學者的心路歷程,我們可以反這本書看成一部思想傳記——看出非現實的神話與 非常現實的政治是如何在一個法國知識分子身上聯結在一起的。正是宗教倫理與政治與政治理性之間不可分割的聯系,促使作者不斷地思索抵抗運動,共產主義反猶 太主義,法西斯主義等等這些20世紀人類社會所遇到的重大問題。

這本書集涉及多個主題︰古希臘以及當今社會的信仰與理性,作為科學對象的宗教;悲劇的現實性;古代人心中的不朽觀;希臘諸神的生命;神學;當然,還有對革命理論與現實的再認識和反思。


讓-皮埃爾‧韋爾南(Jean-Pinrre Vemant)作者在30年代就是法國巴黎拉丁區中有名的反法西斯主義的斗士。40年代又是抵抗主義積極的戰士。同時他還是學者;法蘭西學院的名譽教授, 希臘學家和神話學家。 在他多產的學術成果中,《希臘思想的起源》、《古希臘的神話與宗教》等已有了中文譯本。

詳細資料


目錄

序 言
一段旅程的片斷
編織友誼
抹卻距離
愛的問題︰擺脫自身
友誼的織體
一段路程的各階段
研究希臘宗教的積極性
沒有一把理解人類的“萬能鑰匙”
宗教的地位
一個新的研究領域︰形象的象征角色
希臘學研究的現狀
全國科學研究中心的研究者
希臘,昨天與今天
從另一個到同一個
殺人的眼楮
自身的制造
眼中的死亡
希臘人的教訓
神聖的幻覺,世俗的幻覺
戈耳工-包珀,或者戈耳工與性
頭發的作用
令人擔憂的奇特性
作為總結︰死亡的女性化
宗教,科學的對象?
方法的問題
歷史心理學與歷史人類學
閱讀邁耶松
為了一種歷史心理學
《心理學功能與作品》
未完成與構建
伊尼亞斯‧邁耶松的“目光”
歷史心理學和社會經驗
儒勒‧勒納爾作品中個人的面貌
關于《古代希臘的人類學》
路易‧熱爾奈的《沒有奇跡的希臘人》
希臘人
在世俗與神聖之間
一種存在于世的特殊風格
理性,希臘理念
昨天和今天的理性
希臘的信仰與理念形式
信仰的方式
宗教在社會政治結構中的介入
理性思想的降臨
理性與政治
神話學
……
形象、想像、想像力
論悲劇
必死性,不朽性
政治︰之內之外
巴黎-莫斯科
資料來源

當人們快跑到終點時,正是在那時,問題提了出來——或者更確切地說,常常是別人向你提出了問題︰你到底沿了一條什麼路。回答是困難的。人們在出發時就確定 了方向。至于我,我在青年時代倒很樂意像人們在旗幟上貼上一條口號那樣宣告︰一份偉大的愛,一項偉大的使命,一個偉大的希望。漂亮的綱領!我在今天看到, 除了我不願意再說什麼的愛之外,那里有的,決不是一段人們可以在事後重構其線路的惟一路程,那里有許多條路,我更多地是被推著走上它們,而不是選擇了它 們,那里有跋涉,有曲折。隨著時間的推移,人們前進,或者還不如說︰人們被移了位,不是整個兒地,而是一小塊一小塊地,以至于到最後發現自己處在原以為不 會去的地方,在他自己家之外,在他的保持原樣的方式之外。

如果我常常握著筆,那它肯定不是一支自傳之筆。若要想讓它敘述我生命的進程,它恐怕會從我的手指頭間掉下︰如何理清其中的亂麻,而且又有何用?再者說,人 走過生命的行程,是不是就如經過一個地區,從頭到尾勘察一下它的地形,或者是不是就如翻閱一本書,一目十行,整頁整頁地跳過,以便匆匆有個初步印象,而不 求甚解?

然而,當我和莫里斯‧奧朗德爾(Matlriceolender)討論這本書的題目時,出現在我們頭腦中的恰恰是“行程”這一詞,我倆的友誼使我最終決 定,要跟他討論一下這部文集,並委托他,當然還有愛萊娜‧蒙薩克雷(}tfil~ne Monsacre),來處理它的結構。一部文集,多少有些像一種生命︰部件與零碎的一種拼湊。然而,即便在一個流浪漢背負著的包袱中,人們也相信包著一切 憑運氣落到他手中的東西,而支配著這一大堆東西的秩序,既出于選擇,同樣出于偶遇,對善于觀察的人來說,它還是一個人的特殊側面和特殊旅程的見證。對構成 這一冊書的文字聚合體,似乎可以說,通過取名為《在神話與政治之問》,人們恰恰為所保留的文本的整個空間設置了標志,盡管里面的文本是如此多樣化。當我回 頭看時,我對自己說,確實,人們可以把我的生命進程和我的科學生涯表現為一條在兩極之間拉緊的、有時斷了的軌跡,兩個敵對的極點,但卻又彼此親密無間,神 話與政治既對立又結合的兩極。我那一輩人中,有的認識我這個拉丁區中年輕的反法西斯主義者,西南地區的抵抗戰士,戰後反殖民主義的積極分子,其中有一些人 還曾與我同行,對他們來說,沒有必要勾畫出一幅素描。《在神話與政治之間》,他們看得出這從某種意義上可能說明什麼。但對其他人,那些更年輕的人,我和我 的伙伴們(他們已經所剩無幾了)所經歷的時代——納粹主義、共產主義、被佔領、解放,在某種程度上恐怕顯得跟聖女貞德的時代,或者查理大帝的時代同樣奇 特,同樣難解。或許,正是寄于某種希望,希望他們了解我們的思想和我們的行動當時得以產生的環境氛圍,了解這一氣候是如何一方面限制了我們的思想和行動, 有時甚至令它們變得盲目,另一方面又賦予它們各自以意義和力量,正是因此,我選擇了匯集這些多樣化的文學,就像把一塊塊拼圖聚攏到一起。



***
《眾神飛楊:希臘諸神的起源》 L'univers, Les Dieux, Les Hommes 作者:[法]讓-皮埃爾‧韋爾南譯者:曹勝超出版社:中信出版社出版日期:2003年


讓 —皮埃爾‧韋爾南是當今世界最卓越的希臘神話學者之一。希臘神話的意義在于它不僅是一些故事,更是包含有思想、語言形式、關于宇宙的想像、道德訓誡等的 寶庫。在本書中,韋爾南以古希臘文化為背景和依托,向讀者講述宇宙、神和人的故事,講述諸神的傳說和英雄的史詩。韋.爾南將畢生的研究成果和自己對希臘神 話的理解、對希臘文化的理解乃至對人類和世界的理解都融入他的講述中,給這些神話故事深深地打上了獨特的“韋爾南”烙印。

這不是枯燥乏味的理論研究著作,不是單調沉悶的知識考古,也不是令人難以卒讀的譜系考證;不是單純的傳說故事,或者走馬觀花式的歷史獵奇,它是兩者的完美綜合,是宇宙的歷史、神的歷史、人的歷史,它是靈魂深處關于祖先的最原始的記憶。

詳細資料

  • 規格:平裝 / 215頁 / 14cmX21cm / 普級 / 單色 / 初版
  • 出版地:大陸

目錄

前言
一、宇宙的起源
在大地的最深處︰卡奧斯
烏拉諾斯被閹割
大地,空間,天空
不和與愛

二、諸神的戰爭,宙斯的王國
在父親的大肚子里
使人不死的食物
宙斯的統治
權力的陰謀
萬物之母與卡奧斯
梯豐,或最高權力的危機
戰勝“巨人們”
短暫之果
在奧林匹亞的法庭上
無可救藥的惡
黃金時代︰人類和諸神

三、人類的世界
狡猾的普羅米修斯
一局象棋
凡人之火
潘多拉或創造女人
流逝的時間

四、特洛伊戰爭
佩琉斯的婚姻
三位女神爭奪一個金隻果
海倫,有罪還是無辜?
生命早亡 光榮不朽

五、奧德修斯或人類的奇遇
遺忘之鄉
奧德修斯︰“沒人”在庫克洛佩斯面前
與客耳刻的美麗愛情
無名鬼 無臉鬼
卡呂普索的島嶼
別有洞天
怎能忘懷
隱身的裸體者
令人生疑的乞丐
傷疤︰奧德修斯的簽名
拉開國王的弓
兩人的秘密
失而復得的現實

六、狄奧尼索斯在忒拜城
漂泊的歐羅馬
異鄉客和本地人
以大腿為子宮
流浪的教士和瘋狂的女人
“我看到他正看著我”
拒絕他者,就是喪失自我

七、時運不濟的俄狄浦斯
倒霉的世代
“冒牌兒子”
不祥的勇敢
“你過去的父母不是你的父母”
人︰三歸一
俄狄浦斯的孩子們
一個正式的外國佬

八、佩耳修斯‧死亡‧形象
側重耳修斯的出生
追殺戈耳貢
美麗的安德羅默達

重要名稱表

Max Weber (Painter)《馬克斯·韋伯藝術隨筆》

$
0
0



Early in his career, Rothko was encouraged by the artist Max Weber (with whom he briefly studied at the Art Students League in New York in the mid-1920s) to work in a figurative style reminiscent of Cézanne. Rothko’s early work resembles nothing of the style for which he is renowned. ‪#‎Rothko‬ ‪#‎ArtAtoZ‬

Mark Rothko
WWW.NGA.GOV


Max Weber (April 18, 1881 - October 4, 1961) was a Jewish-Americanpainter who worked in the style of cubism before migrating to Jewish themes towards the end of his life.
Contents

Biography

Born in a Polish city of Białystok, then part of Russian Empire, he immigrated to America with his parents at the age of 10. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow.
In 1905 he had saved enough money to travel to Paris and study, acquainting himself with the work of such modernist artists as Henri Rousseau, Matisse, Pablo Picasso and other members of the so-called School of Paris.
In 1909 he returned to New York and helped to introduce cubism to America. He is considered one of the most significant American cubists.
In 1930 the Museum of Modern Art held a retrospective of his work, the first solo exhibition at that museum of an American artist.

Gallery

Further reading

  • Harnsberger, R.S. (2002). Four artists of the Stieglitz Circle: a sourcebook on Arthur Dove, Marsden Hartley, John Marin, and Max Weber [Art Reference Collection, no. 26]. Westport, CT: Greenwood Press.
  • North, P. (1991). Max Weber: the cubist decade, 1910-1920. Atlanta: High Museum of Art.
  • North, P. (1996). Max Weber: Max Weber's women. New York: Forum Gallery.
  • Rubenstein, D.R. (1980). Max Weber: a catalogue raisonné of his graphic work. Chicago: University of Chicago Press.
  • Werner, A. (1975). Max Weber. New York: Abrams.

External links





馬克斯·韋伯藝術隨筆
這本書可能是根據Max Weber 在1916年出版的文集翻譯的。

内容简介 · · · · · ·

  本书集20世纪初韦伯与立体主义画派交往时所创作的散文、诗歌、绘画等作品于一体,以飨读者。

作者简介 · · · · · ·

马克斯·韦伯,俄裔美国画家,首批用抽象风格作画的美国人之一。作品深受埃尔· 格列柯、马蒂斯、塞尚、亨利·卢梭和毕加索等画家及其作品的影响。早期的作品如《中餐馆》和《匆忙的时间,纽约》,结合了立体主义和未来主义元素;后期的 作品《现在向何处去》,是表现主义风格的绘画作品。

马克斯·韦伯艺术随笔
作者: 马克斯·韦伯
译者: 秦健
出版社: 金城出版社
出版年: 2011


The title of Max Weber's "Interior of the Fourth Dimension" (1913) refers to the concept of a fourth dimension envisioned by Albert Einstein's Special Theory of Relativity, which had been published in 1905. Weber wrote on its potential role in visual art for Alfred Stieglitz's periodical "Camera Work," expounding upon the fourth dimension as infinity and exploring its spiritual resonances.
Max Weber, "Interior of the Fourth Dimension," 1913, oil on canvas  http://1.usa.gov/1GALilf


National Gallery of Art 的相片。

Iris Murdoch,

$
0
0
Judi Dench in Iris, in which she plays the novelist Iris Murdoch, who struggled with dementia




 Judi Dench in the film Iris, in which she plays the novelist Iris Murdoch, who struggled with dementia in later life. 

“Stories are a fundamental human form of thought.” —Iris Murdoch, born on this day in 1919.



Iris Murdoch was born in Dublin on July 15, 1919
THEPARISREVIEW.ORG

















Apollo flayed the satyr Marsyas alive for his hubris.



Iris Murdoch, who would be ninety-six today, thrilled to paintings of every stripe, but she was compelled by one work in particular: “Titian’s The Flaying of Marsyas.”
THEPARISREVIEW.ORG|由 DAN PIEPENBRING 上傳





















Jeremy Irons stars in a tale of love, desire and old flames.
Jeremy Irons stars in a dramatisation of the Booker Prize-winning novel.
BBC.IN

大海,大海艾瑞斯.梅鐸(Iris Murdoch)梁永安譯
莫道克 (Murdoch, Iris),臺北:木馬文化出版,2003

 IrisMurdoch (1919-1999): novelist and philosopher, The Sea, The Sea;

Winner of the 1978 Booker Prize

From The Sea, the Sea:
The sea which lies before me as I write glows rather than sparkles in the bland May sunshine. With the tide turning, it leans quietly against the land, almost unflecked by ripples or by foam. Near to the horizon it is a luxurious purple, spotted with regular lines of emerald green. At the horizon it is indigo. Near to the shore, where my view is framed by rising heaps of humpy yellow rock, there is a band of lighter green, icy and pure, less radiant, opaque however, not transparent. We are in the north, and the bright sunshine cannot penetrate the sea. Where the gentle water taps the rocks there is still a surface skin of colour. The cloudless sky is very pale at the indigo horizon which it lightly pencils in with silver. Its blue gains towards the zenith and vibrates there. But the sky looks cold, even the sun looks cold.
– Iris Murdoch
(Penguin; $15.00)



Oxford Concise Dictionary of Literary Terms
Dirge, a song of lamentation in mourning for someone's death; or a poem in the form of such a song, and usually less elaborate than anelegy. An ancient genre employed by Pindar in Greek and notably by Propertius in Latin. The dirge also occurs in English, most famously in the ariel's song 'Full fathom five thy father lies' in Shakespear's The Tempest.

我抄這段,才恍然大悟梁兄翻譯的大海,大海之作者的先生John Bayley所寫的《輓歌》(Elegy for Iris,有天下文化出版社譯本),實在有典故,都沒被翻譯和導讀人點破,因為Iris酷愛莎士比亞的Tempest

***
我抄的沒錯。英國文學中當然有許多人寫dirges,莎士比亞作品中的,只不過是較為出名。據M. H.Abram的The Glossary of Literature Terms,挽歌(dirge)不同於哀歌(elegy—hc:我們或聽過Thomas Gray 於1751年寫的Elegy Written in a Country Church Yard,The New Penguin Book of English Verse,p.484;美國總統甘迺迪遇刺後,名詩人Auden寫Elegy,由斯特拉文斯基譜曲)的地方,是挽歌較短、較不茍形式、並且,通常挽歌可配曲唱。除了前引的莎士比亞之「海下長眠」,還可舉William Collins的 A Somg From Shakespeare's Cymbeline.
February 9, 1999
OBITUARY

Iris Murdoch, Novelist and Philosopher, Is Dead

By RICHARD NICHOLLS

The Associated Press
Dame Iris Murdoch in London, 1998.

ris Murdoch, a prodigiously inventive and idiosyncratic British writer whose 26 novels offered lively plots, complex characters and intellectual speculation, died yesterday at a nursing home in Oxford, England. She was 79 and had Alzheimer's disease. Her struggle with Alzheimer's was documented recently in ''Elegy for Iris,'' a memoir by her husband, the critic and novelist John Bayley, who was at her bedside when she died.
Miss Murdoch's first novel was published in 1954 and in a career that lasted for more than four decades, her fiction received many honors, including the Booker Prize for ''The Sea, the Sea,'' the Whitbread Literary Award for Fiction for ''The Sacred and Profane Love Machine'' and the James Tait Black Memorial Prize for ''The Black Prince.'' Although she was made a Dame of the British Empire, she rarely garnered the attention given to gaudier contemporaries. She spent much of her career quietly teaching and writing, away from lecture tours, prize committees and television appearances.
Along with novels, she produced a half a dozen works on philosophy, several plays, critical writing on literature and modern ideas and poetry.
Miss Murdoch had a background in philosophy -- she knew and wrote about Jean-Paul Sartre, studied with Ludwig Wittgenstein and was a lecturer in philosophy at Oxford University -- and her fiction grappled with such questions as the nature of good and evil. This led many who knew her work superficially to assume that her novels were philosophical explorations of the origins of morality and behavior and too esoteric or intellectually rigorous for a general audience.
In fact, many of Miss Murdoch's novels are exuberantly melodramatic, offering bemused records of romantic or erotic follies, as well as more somber battles between individuals representing moral good and its opposite. Her characters, drawn largely from the middle class, are described with loving exactitude and in such depth that their struggles to define what it means to live a good life take on dramatic force.
In Books, Happiness And Moral Lessons Far from viewing fiction as another and lesser way of dealing with philosophical questions, Miss Murdoch argued that literature was meant ''to be grasped by enjoyment,'' and that the art of the tale was ''a fundamental form of thought'' in its own right. The ideal reader, she told one interviewer, was ''someone who likes a jolly good yarn and enjoys thinking about the book as well, about the moral issues.'' In another interview she went further, asserting that good art offers ''uncontaminated'' happiness that also teaches ''how to look at the world and to understand it; it makes everything far more interesting.''
Her belief in literature had its inception in her happy and book-filled childhood. Jean Iris Murdoch was born in Dublin on July 15, 1919, the only child of British and Irish parents. When she was a year old her family moved to London, where her father, Wills John Hughes Murdoch, joined the civil service. In interviews she remembered that as a child she had existed ''in a perfect trinity of love.'' Her mother, the former Irene Alice Richardson, who had trained as an opera singer, was a ''beautiful, lively, witty woman with a happy temperament.''
Her father began discussing books with her early on and encouraged her to read widely. She progressed rapidly from Lewis Carroll (one of her favorites) and Robert Louis Stevenson to more adult fare. Her great pleasure in reading, and her early attempts to write stories led to the conviction, which she formed as a child, that she would become a writer.
She attended boarding school in Bristol, and in 1938 entered Somerville College, a women's college at Oxford, where she studied the classics, ancient history and philosophy. She graduated with honors in 1942 and immediately took a job with the Treasury. In 1944 she began working for the United Nations Relief and Rehabilitation Administration, which helped Europeans displaced by World War II. The somber experiences of the war had a profound impact on her thinking. Close friends died while in service, and her work, often on the front lines, with poor and elderly refugees was hard but instructive.
If her childhood had been mostly idyllic, there was, she later noted, at least one shadow falling across her memories of those years: her family members were largely ''wanderers,'' cut off from their Irish relations and their roots. Working with refugees led her to reflect further on the place of the exile in modern society, as well as on the sources of evil, raising questions that she would pursue in many novels.
After leaving the United Nations, Miss Murdoch took up further study in philosophy at Cambridge University, where she worked with Wittgenstein. While she expressed no lasting allegiance to his school of thought, she said her studies with him spurred her development as a writer.
In 1948 she became a fellow and tutor at St. Anne's College at Oxford, where she remained for 15 years as a lecturer in philosophy. It was a particularly heady time for anyone concerned with the study and application of philosophical thought; new schools of philosophy were contending for primacy and often combative works were being produced to define these emerging disciplines.
Miss Murdoch had met Sartre, the most visible proponent of existentialism, while working with refugees in Belgium. Existentialism, with its focus on individual will, appealed to her, but she found its emphasis on the primacy of the self disturbing. Her first published work, ''Sartre: Romantic Rationalist'' (1953), was a serious, clear explanation of existentialism and its place in contemporary thought. While it was balanced, it was not uncritical: Miss Murdoch felt that existentialism encouraged an almost hermetic focus on the self, ignoring the corrosive implications of such a perspective on society.
Her study paid special attention to Sartre's fiction. She had already written and discarded several novels, but now she had become absorbed with how fiction expressed ideas and the ways fiction and ideas could best be blended. ''Under the Net,'' her first published novel, appeared to generally positive reviews. It focused on the picaresque adventures of a free-spirited Irishman making the rounds of some of the more raffish areas of London and Paris. A reviewer in The Times Literary Supplement said the work seemed to announce the emergence of ''a brilliant talent.''
The novel signaled the beginning of an industrious and prolific career. Miss Murdoch published, on average, a novel every two years for the next four decades. Her work, while varied in setting and tone, rarely moved far from several central preoccupations and themes.
She first encountered existentialist writings while working with refugees, and she drew deeply from her fascination with those experiences in her second novel, ''Flight From the Enchanter'' (1956). It concerns the well-intentioned, conventionally liberal Rose Keep, who attempts to offer solace to two Polish brothers, refugees from the war. Her efforts founder because she cannot see the brothers as something more than symbols of displaced, wounded humanity.
Revisiting Themes Of Pure Love The double-edged nature of love figures often in Miss Murdoch's fiction. True love, she asserted in the essay ''The Sublime and the Good,'' was perhaps the best way to overcome isolation and the absorption with one's crippled and constricted self. ''Love is the extremely difficult realization that something other than oneself is real,'' she argued.
Many of the figures in her fourth novel, ''The Bell'' (1958), are crippled by their inability to clearly see, and thus to truly love, those around them. ''The Bell'' reached a new level of sophistication for Miss Murdoch, displaying elements that would become hallmarks of her fiction: effortless shifting between the grim and the humorous; deft marshaling of a large, varied cast of characters and numerous subplots, and creation of fables or myths that could suggest the struggle between true and diminished forms of love.
In many of Miss Murdoch's novels, romantic disasters, suicides and even murder are set in motion by a character who is brilliant and ferociously self-absorbed. Such figures, usually men, often go beyond egotism into evil.
In ''A Fairly Honorable Defeat'' (1970), a biologist who helps create biological weapons sets out to destroy those around him. But goodness, Miss Murdoch suggests, while imperiled, is also resilient.
In ''The Sacred and Profane Love Machine'' (1974), the only character who comes close to true altruism is destroyed. But the novel suggests that her death may have opened the hearts of those around her to a better, more responsible life.
''The Sea, the Sea'' (1978), which received the Booker Prize, is considered one of Miss Murdoch's best novels. Its protagonist, a retired theatrical director trying to win back his first love, is not so much evil as simply self-absorbed and dangerously certain of his limited view of the world. ''A Severed Head'' (1961) was a black farce about infidelity, incest and violence.
Storytelling And Large Truths Miss Murdoch was always balancing the demands of storytelling with the more urgent need to examine how the truth of a fleeting life reflected the larger, permanent truths of existence.
''The Red and the Green'' charts the fates of two friends who find themselves on opposite sides during Ireland's 1916 Easter rebellion against British rule.
''The Nice and the Good'' follows the efforts of a decent man to uncover the reasons for a colleague's suicide and extricate himself from the seamy web of blackmail and the occult that he uncovers.
''Italian Girl'' traces the struggle of a young man to liberate himself from the corrosive effects of family secrets and a shallow, destructive image of love.
The tension generated by this iconoclastic approach to fiction has made Murdoch's novels unique and controversial. Her fiction takes a distinctive vigor and texture from its combination of the usual elements of a tale with a sustained, sophisticated inquiry into such concepts as the defining characteristics of goodness, the nature of morality, the place of faith in everyday life and the conflict between spiritual and carnal love.
When most other writers were content to dwell on the heated specifics of individual lives or to simply offer a catalogue of society's ills, Miss Murdoch dared to suggest that fiction should be a means of dealing with life's largest and most basic issues and a way to learn about moral behavior.
This quest ''for a passion beyond any center of self,'' as David Bromwich wrote in The New York Times Book Review, made her fiction unlike that of any other contemporary Western writer. It also let her in for both considerable acclaim and criticism. Harold Bloom, while praising her ''formidable combination of intellectual drive and storytelling exuberance'' in a review of her novel ''The Good Apprentice'' in The Times, and noting her ''mastery'' in ''representing the maelstrom of falling in love,'' also found that her narrative voice often lacked authority, ''being too qualified and fussy.''
Anthony Burgess, while noting the highly original ''synthesis of the traditional and revolutionary'' in her work and praising her talent for creating stories that were ''both thoroughly realistic yet at the same time loaded with symbols,'' also argued in his 1967 book ''The Novel Now'' that her characters were too often ''caught up in a purely intellectual pattern.'' In a memorable phrase, he contended that, while Miss Murdoch had a rare ability ''to dredge that world of the strange and mysterious'' that rested ''on the boundary of the ordinary,'' her work rarely offered a convincing portrait of the more common realms of life.
In a body of work so large, both admirers and critics were bound to find material to advance their arguments, and this was true as well in her later novels, such as ''The Message to the Planet'' (1989) and ''The Green Knight'' (1994).
But neither criticism nor praise seemed much to affect her. She said that she never read her reviews. She rarely read modern writers, preferring the British and European novelists of the 19th century (Jane Austen, Charles Dickens, George Eliot, Henry James, Tolstoy and Dostoyevsky), with whom she felt an affinity, describing them as ''moralistic writers who portray the complexity of morality and the difficulty of being good.''
She lived for many years in the small village of Steeple Aston, near Oxford, in a house crowded with books and paintings. The quiet life there, and in the house in Oxford to which she moved in 1986, has been described memorably by her husband, an Oxford don, in ''Elegy for Iris,'' his memoir of their lives together.
John Bayley fell in love with Iris Murdoch when he was in his late 20's and she was in her early 30's; she passed his window on a bicycle. ''I indulged the momentary fantasy that nothing had ever happened to her; that she was simply bicycling about, waiting for me to arrive,'' he wrote. ''She was not a woman with a past or an unknown present.'' They were married in 1956; he is her only close survivor.
The novelist Mary Gordon, reviewing ''Elegy for Iris'' in The Times, touched on their relationship. ''Radical privacy, sealing compartments of her life off from each other, was always a condition of Iris Murdoch's selfhood, and anyone who married her had to deal with that. From the beginning, she had friendships that she kept from Bayley, and love affairs that he was meant to understand had nothing to do with him. There are some hints that this was not always easy, but Bayley rose to the challenge.'' Ms. Gordon then quotes Mr. Bayley's memoir: ''In early days, I always thought it would be vulgar -- as well as not my place -- to give any indications of jealousy, but she knew when it was there, and she soothed it just by being the self she always was with me, which I soon knew to be wholly and entirely different from any way that she was with other people.''
Slipping Into A Baffling Darkness In 1995 Miss Murdoch told an interviewer that she was experiencing severe writer's block, noting that the struggle to write had left her in ''a hard, dark place.'' In 1996, Mr. Bayley announced that she had Alzheimer's disease, which she had suffered for five years by the time she died. Her final three weeks were spent in a nursing home. If ''Elegy for Iris'' offers a moving evocation of a great love story, it also provides a grim record of watching the personality of a loved one gradually dwindle under the burden of fear, bafflement and grief.
She was, Miss Murdoch confided to one of her friends, ''sailing into the darkness.'' Mr. Bayley's descriptions of his struggle to understand his wife's suffering, to find ways to ameliorate it and to come to grips with the physical demands of his new responsibilities and to understand the conflicting emotions aroused in him by the experience are exact, penetrating and unsparing. Miss Murdoch became like ''a very nice 3-year-old,'' her husband said, and she needed to be fed, bathed and changed.
The note on which the book concludes, however, is one of reconciliation, and of a painfully won serenity. ''Every day,'' Mr. Bayley wrote of their lives together in Miss Murdoch's last years, ''we are physically closer. . . . She is not sailing into the dark. The voyage is over, and under the dark escort of Alzheimer's, she has arrived somewhere. So have I.''

吳濁流 《亞細亞的孤兒》、《無花果》、《台灣連翹》長篇小說 (朱真一)

$
0
0




【民報文化】吳濁流是台灣近代文學史上,一位非常重要的承先啓後的人物,他也是日治時代台灣文學與戰後台灣文學的一座橋樑……他曾說過:「拍馬屁不是文學」,他這句話業已成為台灣文學史上的一句名言……

【民報】人物/冒生命危險創作 一代文學巨人吳濁流
吳濁流自傳性的三部曲《亞細亞的孤兒》、《無花果》和《台灣連翹》」...
PEOPLENEWS.TW



朱真一
臺灣大學醫學院醫科畢業,赴美後先在柏克萊加州大學研究,獲營養學哲學博士,後又繼續小兒科及小兒血液及癌瘤學訓練。1975年起任職聖路易(St. Louis)大學醫學院及Glennon樞機主教兒童醫院小兒科,曾任小兒血液科及繼續教育醫學部主任。2006年8月退休擔任名譽教授。在專業領域之外,特別關懷臺灣的歷史文化,尤其是醫學史、醫學人物故事、教育、人文及客家文化等。曾獲「賴和紀念特別獎」、「客委會客家貢獻獎」、「美國臺灣人生物科學會服務獎」、列名Marquis Who’s Who in America 等殊榮。 除專業著作外,尚有《早期留學歐美的臺灣醫界人士》、《從醫界看早期臺灣與歐美的交流》、《看臺灣文學寫臺美人文學》、《臺灣熱帶醫學人物》等文史著作。

台灣文學重要前輩---吳濁流



讀書救台灣
北美客協推動「讀書救台灣」--吳濁流及三本書
2014-08-12 10:38


最近因看到「學運戰神」黃昌國教授,演講結束後,回答學生問題:「有什麼事是我們現在最應該優先做的?」黃國昌的回答重點是「大家一定要多讀書,才能充實自己,提高自己的內涵和視野。」另外柯文哲醫師到高雄的演講,也「一再強調咱們要多讀書救台灣。」對此感觸良深,我由衷地敬佩他們。為此寫了兩篇文章〈我們來多讀書吧 ! 〉及〈賴和藏書與「多讀書救台灣」〉。


很高興,北美台灣客家公共事務協會(北美客協),就在這幾天宣布一活動,好像配合我的文章,實際來推動「讀書救台灣」。我在第一篇文章中書說到,美國的中小學,盡量鼓勵學生廣讀課外書。常舉辦讀課外書的多少,寫讀書報告的好壞的比賽。北美客協就要舉辦「讀台灣客家文學寫報告」的有獎徵文比賽。


北美客協推動讀吳濁流書


北美客協「為鼓勵高中、大學學生,閱讀客家文學作品,寫出讀書告與感想」,希望新世代覺醒,知道自己是台灣人,更相信「自己國家自己救」的理由。指定閱讀台灣文學重要的吳濁流前輩的三本書:《無花果》、《台灣連翹》、《亞細亞孤兒》,選其中之一寫讀書報告。可用任何方法的台灣客語文或漢(華)文寫。
深秋一翦蕾絲情
*蕾絲金露花(台灣連翹), 馬鞭草科*

【趣看花草野風情】+0  深秋一翦蕾絲情  *蕾絲金露花(台灣連翹), 馬鞭草科*

為了獎勵,北美客協還提供六個獎(第1,2,3名及佳作3名),第一、二、三名的獎金各$330、$220、$150 及佳作$100。北美客協將於十一月初在台灣頒獎。北美客協將組團返台,舉辦「台三線座談會」時頒發。 時間以及地點另訂。請看我的《客家新部落格》〈北美客協「讀台灣客家文學寫報告」徵文 〉,寫徵文的規定及送報告等詳細資料。以下報導不是詳細的的吳濁流(1900-1976)的生涯,只稍來討論幾個有關重點,讀他的書尤其這三本書為何很有意義以及「讀書救台灣」。


二十年公學校及堅持反抗精神


吳濁流先生本名吳建田,生於今新竹縣新埔鎮,是我母校新埔國小最傑出的的校友,另一位是張七郎。先生前半生,除讀師範時,在客家庄長大或工作。1916年從新埔公學校畢業,考進台灣總督府台北師範學校,那年新埔、關西一條水(鳳山溪),只吳濁流一人考取。曾看他寫的文章,公學校的老師免費為想升學者補習,他的家庭雖有經濟能力,因為讀師範完全免費,沒去考總督府醫學校。我常想,他若讀醫,台灣醫界會增加一傑出好的醫師外,他也會對台灣文學及社會貢獻,不過從下面的討論,貢獻的方向可能會不一樣。


1920年師範畢業,首先分發到母校新埔公學校的照門分校,因撰文批評日本的教育制度,因此兩年後(1922)被下放到苗栗荒僻的四湖公學校,以後在此附近一帶的學校打轉15年。對台灣的唯一「好處」,1936年因緣際會在這偏僻地方,寫了第一、二篇短篇小說〈水月〉及〈泥沼中的金鯉魚〉,無意間踏進了文學門檻。


1937年吳濁流才調回家鄉隔鄰的關西公學校,又因抗議日本教育之體罰,得罪當局,兩年後又被調往原住民區的馬武督分校。1940年新竹郡運動會時,因台灣人教師受郡督學的侮辱,吳濁流憤然辭職抗爭,結束20年的教師生涯。這20年他堅持反抗日本當局的無理,一再地受「罰」而不改抗議精神,最後終於不能再容忍,毅然決然地辭職。


中國、二二八經驗及文學著作


1941年1月,吳濁流往南京任擔任記者,當時南京為汪精衛政府,可說仍由日本間接控制,不久回台再攜眷去中國,1943年才舉家回台灣。1944年任《台灣日日新報》記者,開始寫長篇小說〈亞細亞的孤兒〉。創作時正當太平洋戰爭期,寫好的稿子怕被日本人看到,必須藏起來,可說冒險地寫作。


1945年日本投降,吳濁流本很高興不必受日本人欺辱,可是來台接收的軍人與政府大員,無能、腐化及貪污。吳濁流因有兩年的中國經驗,使他對二二八事變,能較深入透徹地瞭解。他滿腹悲憤,寫下一系列短篇小說,可說以文學為歷史見證。後來寫〈無花果〉及〈台灣連翹〉兩部長篇自傳體小說,更寫出歷史真相。對官員的奸詐、邪惡、腐化,以及「半山」的種種惡行,表達台灣人的怨恨。


二次大戰後,先後任《臺灣新生報》、《民報》記者和大同工業職業學校訓導主任,這《民報》不是戰前的《民報》,請看本刊的拙文〈《臺灣民報》的歷史回顧(2):《臺灣民報》創刊、停刊及復刊〉。民國65年(1976年)因病逝世。


台灣文學界的大功臣


民國1964年創辦《臺灣文藝》雜誌,讓台灣文學作家有發表園地,培養了許多作家如陳映真、黃春明、王禎和、王拓、楊青矗等。1969年更以退休金設立吳濁流文學獎,獎勵後進,成為臺灣文壇著名獎項。吳濁流先生是台灣文學界最大功臣之一。張良澤稱吳先生為沿門托缽的文化人,他為了辦台灣文藝與吳濁流文學獎,把全部積蓄及退休金投入外,還要沿門托缽似地找人捐款,看翻版的早期《臺灣文藝》捐款欄中,不少是我們桃竹苗地區的前輩。


吳先生三十七歲才開始寫作,他的文學創作承先啟後,秉承他之前台灣文學建立的傳統,作品也影響了新生代的台灣作家深遠。創作出版的書及文章,不少是早期警總的禁書。吳濁流的「祖國經驗」文學界最多人討論,北美客協希望台灣人多讀吳濁流的書,那模模糊糊的「中原」,「唐山」、「原鄉」並不是祖國,祖國是落實在台灣本土的祖國。台灣人不管是客家或非客家,戰前或戰後,請多看多想想吳濁流的苦口婆心。


他的書詳細記述他的客家出身,他去台北師範學校唸書時,他不會說福老話,他有現在可能可稱為「客家結」或「客家台灣意識」。他常以客家庄為背景寫小說,雖然這樣,他的作品引起台灣人的共鳴,不管是福老、客家或戰後台灣人,都可有的共識。上面北美客協用「讀台灣客家文學寫報告」多少有點語病,是客家台灣人寫的「台灣文學」。


筆者雖與吳先生有同鄉校友之誼,還是先嚴及伯父北師的前輩,可惜在台灣時完全不知吳先生、他的作品以及《台灣文藝》這雜誌。來美多年後從讀他的書才「認識」吳前輩及台灣文學。台灣意識之覺醒是受吳先生著作的影響。台灣人多多研讀吳先生之著作,一定可幫大家揚棄那狹窄的「客家情結」,大福老主義及大中國沙文主義,多讀吳濁流書可救台灣。


三本書


他的三篇《亞細亞的孤兒》、《無花果》、《台灣連翹》長篇小說,對台灣的社會、政治及文化等多方評判。戰時執筆的《亞細亞的孤兒》於1945年完稿,以日據時代的台灣知識分子胡太明(本用胡志明,與越南胡志明相同而改),受日本殖民者的欺壓,到日本留學,到中國大陸及回到台灣處處受到歧視。對自己的認同錯亂及許多人生挫折打擊下,最後發瘋而以悲劇收場。此書只寫戰前,因只批評日本殖民未被台灣列為禁書。


《無花果》是吳濁流第二本長篇,是吳濁流的前半生自傳,從出生於客家庄到戰後初期的經歷。1967完稿後,在1968年時分三期連載於《臺灣文藝》雜誌上,因前兩期寫日本的殖民沒被禁,最後一期寫到二二八事變,據說警總以《臺灣文藝》沒幾個人看,又已結束而被放了一馬。客是1970年要以單行本出版時,就被警總列為禁書查扣,就因為寫二二八事變。我1980年代在美國看到,是我台灣意識的啟蒙書。1988年在台灣才能公開發行。


《台灣連翹》是吳濁流最後一本長篇小說,用日文寫,稿交給鍾肇政,並交代只能等他去世十年後,才能翻譯出版。書中不少台灣戰爭前後政壇的祕辛,因為半山,二二八事變後許多台灣菁英無辜死亡。看這本書更能瞭解很多被包裝的假歷史,連衡及兒孫三代如何能飛騰發達,可能更會瞭解什麼是「以筆代劍」之意。







圖: 三本長篇小說,現在版本很多,這些是我手上有的最早或較早版本。

Franz Kafka - The Blue Octavo Notebooks (1917-19)『審判』Der Process (Der Prozeß)は「訴訟」;林聰賢「灰色的靈魂─被害‧法律‧救贖」

$
0
0

Franz Kafka - The Blue Octavo Notebooks (1917-19)




  1. Franz Kafka - The Blue Octavo Notebooks (1917-19 ...

    https://docs.google.com/document/d/1gD981HZ190BUJF...9gw/edit?...

    AN EVERYDAY OCCURRENCE: the way he endures an everyday confusion. A has an important business deal to conclude with B, who lives in H. He goes to H ...


  1. Franz Kafka - The Blue Octavo Notebooks (1917-19 ...

    https://docs.google.com/document/d/1gD981HZ190BUJF...9gw/edit?...

    AN EVERYDAY OCCURRENCE: the way he endures an everyday confusion. A has an important business deal to conclude with B, who lives in H. He goes to H ...

The Trial
TrialKafka.jpg
First edition dustjacket
AuthorFranz Kafka
Original titleDer Process[1]
LanguageGerman
審判』(しんぱん、Der Process)は、フランツ・カフカの長編小説。1914年-1915年執筆。理由の分からないまま裁判を起こされた男ヨーゼフ・Kが、様々な立ち回りもむなしく無残に処刑されるまでを描いている。生前は発表されず、死後1927年マックス・ブロートによって編集・公刊された(ただし作中の一挿話のみ、生前に「掟の門前」のタイトルで独立して発表されている)。結末部分が書かれているものの、途中の章は断片に留まっており全体としては未完の作品である。
原題のDer Process (Der Prozeß)は「訴訟」「経緯」の意。

日本語訳


Selected publication history


Yale University Press 新增了 1 張相片。
Yale University Press 的相片。

評論

《審判》整部小說在一種不變的無情的令人不安的氣氛中進行,直到悲慘的結尾。小說表面上的主題是關於政治的—對法院的無能腐敗的抨擊。但小說主要用力在對這種環境對K的影響。它展示了人類的困境,K的努力沒有方向,也沒有結果。
嘗試分析一下《審判》——有必要指出小說的結局是卡夫卡最先寫出來的部分。所以K的審判和被處死是必然的,在小說中多處都有暗示。K從來都沒告知他 被起訴的罪名,並且他從頭到尾一直認為自己是清白的。而K被起訴的罪名恰恰是他的清白——做人就是有罪的。承認他的罪是做人,可能K就能從案子中解脫出 來。或者說,K的審判是因為他不承認他是有罪的,即他不承認他是人。
另外種說法是薩特在他的《關於猶太人問題的思考》(Réflexions sur la question juive) 一書中提出的。顧名思義,猶太人生來就是在一個充滿反猶主義的世界裡,似乎就像是K經歷的那樣,而卡夫卡本人也經歷過。薩特說:「《審判》可能是關於猶太 人的。就像小說的主人公K,猶太人陷入了一場漫長的審判。他不認識自己的法官,甚至從某種意義上來說不認識自己的律師。他不知道自己的罪名是什麼,但他是 被認為有罪的。審訊在被不斷的拖延,他利用這段拖延不斷地找人說情幫忙,但每一步都把他推向罪的深淵。他的外表雖然依然正常,但出生一刻起他就陷入了審 判。終於有一天他被告知被捕了,最後被處死。」


 The Trial (original German title: Der Process,[1] later Der Prozess, Der Proceß and Der Prozeß) is a novel written by Franz Kafka in 1914 and 1915 but not published until 1925. One of Kafka's best-known works, it tells the story of a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed to neither him nor the reader.



Legality metaphors

In a study based on Kafka's office writings,[2]Reza Banakar points out that many of Kafka’s descriptions of law and legality are often treated as metaphors for things other than law, but also are worthy of examination as a particular concept of law and legality which operates paradoxically as an integral part of the human condition under modernity.[3] Josef K. and his inexplicable experience of the law in The Trial were, for example, influenced by an actual legal case in which Kafka was involved.[3]




﹣﹣﹣﹣﹣﹣﹣﹣﹣﹣﹣﹣﹣
在《審判》迷霧的籠罩下——林聰賢X郭強生對談
2013年6月10日 14:13⋯⋯繼續閱讀




 Charles Wang林 聰賢老師過去發表於《中原財經法學》的「灰色的靈魂─被害‧法律‧救贖」是一篇影響我個人重新看待法律很深的一篇文章(它從德國哲學家海德格的理論深刻的 檢討了法律世界中「被害」與「加害」的意涵。其觸動之深,至今仍難以忘懷)。「法律與文學」在20世紀中葉後的國外就已經逐步形成一門特殊的領域。國內較 少有這方面的文章(若有,絕大部分的論述方式是偏向於探討歷史文本上的公案(Law in Literature)。我記得張麗卿老師就曾開過這方面的課)。

來回於法律與文學(社會事實的藝術性詮釋)之間,真的可以構築出一個非常深邃且富有人味的法律世界。看到老師貼這篇,很有感悟。

在此,抒一己之發爾以,望諸君莫見笑。

PS:灰色的靈魂其實出自一部法國的小說,也有翻拍成電影(但小說比較好看)。

附上該文章,轉貼自網路:
http://cycu.lawbank.com.tw/Download/17/01310003.pdf





【我是一隻令人難以置信的鳥】
一一卡夫卡眼中的詩人
一九二一年五月,卡夫卡的小友,也就是「卡夫卡的故事」的作者古斯塔夫‧詹諾契(Gustav Janouch)寫了一首十四行詩刋登在「波希米亞報」的星期副刋上。卡夫卡看了之後對他說:
「你形容詩人是個偉大而神奇的人,兩腳著地,而頭腦隱失在雲霧裡。當然在中下階層的智力架構中,那是一個十分平常的印象,是願望受挫後的一種幻覺,和現實截然不同。事實上詩人一向比社會上一般人更渺小、更脆弱。因此人間生存的負擔,他覺得比別人更緊張,更強烈。於他個人而言,尖叫便是他的歌。他不是巨人,只不過是鳥籠裡一隻羽毛還算漂亮的鳥。」
「你也是一隻鳥囉?」詹諾契馬上反問。
「我是一隻令人難以置信的鳥。」卡夫卡回答說:「我是一隻穴鳥,一隻Kavka。靠近天恩(Tein)大教堂那個賣煤炭的人有一隻。」
「我見過,它在店舖那附近飛來飛去。」
「嗐!我的同類都比我好。當然,牠的羽翼被剪短了。我倒無這個必要,因為我的雙翼早就萎縮了。基於這個原因,於我而言是沒有所謂“高度”和“距離“的。我在同伴中混亂地跳動著,他們以極深重的懷疑看著我,而我確實是隻危險的鳥一一小偷,一隻穴鳥。但這只是一種錯覺罷了,事實上,我對任何發亮的東西己失去感覺,因此我甚至連光澤烏黑的羽毛都沒有。我混身灰暗,猶如一撮灰燼。我是一隻渴望隱藏在石縫間的穴鳥。不過這只是開玩笑而己,所以你不會注意到我今天的處境是多惡劣。」
按卡夫卡這個名字的原文Kafka,捷克文的正確拼法應是將第三個字母 f 改為 v,即Kavka,而此字即為捷克文的「穴鳥」之意,這種鳥頭特別大,還有一條美麗的尾巴。但有些版本把Kavka譯成「寒鴉」。當然卞夫卡把自己看成一隻「混身灰暗,猶如一撮灰燼,隱身在石縫間的穴鳥」是一種痛苦的自貶,也是一種絕不妄自尊大的自謙。首先他是出生於捷克的猶太人,由於中東歐地區反猶氣氛高張,他對人性的困惑,以及集體無預警的被廹害的置疑,造成他自幼即遭受心靈嚴重的衝擊。同時他與他巨人般的父親一直處於對立狀態、感到無助與焦慮,他也是一個極端反婚姻制度的人、他怕婚姻的枷鎖會影響她對抗這世界唯一的武噐「獨處」。
(本文取材自張伯權先生所譯《卡夫卡的故事》1983年自華書店出版。)

Daniel Libeskind 破土: 生活與建築的報冒險 Breaking Ground: Adventures in Life and Architecture. Itzhak Perlman

$
0
0


【音樂史上的今天】
1945年8月31日 帕爾曼出生
這位小提琴家,即使不是所謂「古典樂迷」的人,對他也有某個程度的熟悉。在此分享一個或許比較少人聽過的軼事。帕爾曼小時候曾跟建築師李伯斯金同台過。李伯斯金以設計柏林的猶太博物館、得到911世貿大樓重建案而聞名,但是很少人知道,他從小算是個音樂神童(當然,經過李伯斯金在回憶錄中小小吹噓之後,也不是那麼鮮為人知了)。李伯斯金說他手風琴拉得極好,像是《大黃蜂的飛行》都難不倒他,他的琴藝好到小提琴教父史坦勸他改學鋼琴。也就是因為他的手風琴彈得好,所以有機會在以色列特拉維夫的獨奏會,有機會與帕爾曼同台。信不信由你,這場音樂會的樂評盛讚李伯斯金,對帕爾曼反而未置一詞。言下之意是,要是李伯斯金走音樂這條路的話,帕爾曼說不定會被比下去呢。
【謬斯客學院】古典音樂 樂學班 更多資訊與報名 http://bit.ly/1HDu6LV
歡迎加入「MUZIK古典樂刊」粉絲團,你可以聽見精緻生活!
The Four Seasons: Winterhttp://www.youtube.com/watch?v=ve2rqERbeWoItzhak Perlman plays and conducts the strings...
YOUTUBE.COM



9·11紀念館揭幕,The 9/11 Story Told at Bedrock, Powerful...

 

2008的回憶
Star Architect Libeskind to Design Munich Synagogue

New York-based star architect Daniel Libeskind said he plans to design a
synagogue for a liberal Jewish congregation in Munich.

The DW-WORLD Article
http://newsletter.dw-world.de/re?l=evznldI44va89pI1


I’m the Designer. My Client’s the Autocrat.
By ROBIN POGREBIN
A recent speech by Daniel Libeskind has reanimated a debate among architects over the ethics of working in countries with repressive leaders or shaky records on human rights

2008年4月25日星期五


Libeskind, Daniel Breaking Ground: An Immigrant's Journey from Poland to Ground Zero

Columbia Encyclopedia:Libeskind, Daniel,
1946–, American architect, b. Łódź, Poland. He moved to the United States in 1959, becoming a citizen in 1965. He has held a number of teaching posts, notably at the Cranbrook Academy of Art (1978–85) and the universities of Pennsylvania and Toronto, and early in his career was known mainly as an academic and theorist. His first major building, the dramatic Jewish Museum Berlin (2001), has an angular titanium-on-zinc exterior, a floor plan reminiscent of the Magen David, and an empty, concrete-walled space (the Void) symbolic of the absence wrought by the Holocaust. His other designs include the Felix Nussbaum Museum, Osnabrück, Germany (1998); the Imperial War Museum, Manchester, England (2002); the Danish Jewish Museum, Copenhagen (2004); the Wohl Convention Center, Tel Aviv (2005); the Hyundai office tower, Seoul (2005); and the Denver Art Museum addition (2006). Libeskind became world famous in 2003 when he won the design competition for the master rebuilding plan for New York's World Trade Center site, but in the years since his role in the project has been severely curtailed. His books include Between Zero and Infinity (1981), Countersign (1992), and The Space of Encounter (2001).
Bibliography
See his memoir, Breaking Ground: An Immigrant's Journey from Poland to Ground Zero (2004).


(這本書名翻譯是假斯文 因為傳主的作品有太多非石頭的材料):光影交舞石頭記──建築師李伯斯金回憶錄
Breaking Ground: Adventures in Life and Architecture

作者:丹尼爾‧李伯斯金
Daniel Libeskind
譯者:吳家恆
出版社:時報文化
出版日期:2006年

破土: 生活與建築的報冒險北京:清華大學出版社 2008

「我要我的建築優雅而自然地老去。」
也許,我們從沒想過建築可以是一個敘述體,一個療癒空間,重建歷史論述。
李 伯斯金的建築作品,回歸地方、文化、族群、個人的歷史,聆聽石頭的聲音,講述流動的時間故事。傾斜的地板、不成直角的牆 角、圓弧的屋頂、偎著罅隙透現的光、無盡反射折射的水晶體,沒有一個空間不讓人駐足反思──從刻滿世代傷痕與哀悼氣氛的猶太博物館,到垂垂老矣的維多利亞 與亞伯特博物館旁的螺旋體,拆解衝突本質的帝國戰爭博物館,重現畫家密閉幽室的努斯包姆美術館,乃至世貿重建案中呼應自由女神火炬的「自由塔」,將雙塔崩 塌時刻凝結的「光之楔」。
本書除了闡述建築師自己的創作理念,更穿插他對生命、家族、文化根源及對建築這個行業的省思。讀者被感性、詩意的文字綿密包裹之際,無意中或許會找到猶太博物館中那扇不存在的門。這不只是一本建築師的回憶錄。
作 者 簡 介
丹尼爾‧李伯斯金(Daniel Libeskind)
猶 太裔波蘭人,一九四六年生於波蘭中部的羅茲,父母是大屠殺的倖存者。一九五七年舉家遷往以色列,一九五九年定居 紐約。從小音樂造詣頗高,善於演奏手風琴。後來立志成為建築師。建築作品遍佈世界各地,有柏林猶太博物館、歐斯納布呂克努斯包姆美術館、曼徹斯特帝國戰爭 博物館;正在進行的博物館興建案有丹佛美術館、多倫多皇家博物館、舊金山猶太博物館;在瑞士、義大利、德國、英格蘭、愛爾蘭都有文化及商業合作案。一九九 ○年創立李伯斯金工作室(Studio Daniel Libeskind),並擔任首席設計師。二○○三年二月獲選為紐約世貿中心重建案的總體規畫建築師。
譯 者 簡 介
吳家恆
政治大學法學士,英國愛丁堡大學音樂碩士,曾任職智庫文化、天下雜誌、康健雜誌、時報出版,現專事翻譯、撰稿、編輯,並在大學授課、主持廣播節目。(wu.chiaheng@gmail.com)
目 錄
推薦序 追求夢想的建築師/王澤
第一章 地基
第二章 地方感
第三章 光
第四章 建築
第五章 面容
第六章 心血
第七章 提案
第八章 看不見的力量
第九章 材料
第十章 勉強的結合
第十一章 信念
致謝詞

破土:生活與建築的冒險 北京:清華大學出版社 :2008

建築師的骨氣偉大的建築,一如偉大的文學作品,或者詩和音樂,都能說出靈魂深處的精彩故事。也許,我們從沒有想過建築可以是一個敘述載體,一個療愈空間。李布斯金的建築作品,回歸地域、文化、族群、個人的歷史,聆聽石頭的聲音,講述流動的時間故事。傾斜的地板、不成直角的牆角,圓弧的屋頂、由罅隙傾瀉而下的光、無盡反射的水晶體,沒有一個空間不讓人駐足反思——從刻滿世代傷痕與哀悼氣氛的柏林猶太博物館,到維多利亞與阿爾伯特博物館旁的螺旋體,拆解衝突本質的帝國戰爭博物館,重現畫家密閉幽室的努斯鮑姆美術館,乃至世界貿易中心重建項目中呼應自由女神火炬的“自由塔” ,將雙塔崩塌時刻凝結的“光之楔”。本書除了闡述建築師自己的創作理念,更穿插他對生命、家族、文化根源及對建築這個行業的省思。這不只是一本建築師的回憶錄。我(Daniel Libeskind)在庫珀聯合學院(Cooper Union)上過邁耶和艾森曼的課,也算做過他們的屬下。 20世紀60年代末,理查德·邁耶是“紐約五人組”(The New York Five)的成員之一。這個由前衛建築師組成的鬆散組織還包括查爾斯·格瓦思米、邁克爾·格雷夫斯(Michael Graves),還有跟我亦師亦友的約翰·海杜克(John Hejduk),他當過庫珀聯合學院建築系的系主任;這個小組由艾森曼率領。我的第一份工作就是當邁耶的助手,那是1968年。如今理查德·邁耶最有名的作品大概是洛杉磯的格蒂美術館(Getty Center),當時他以極白、極具幾何圖形的新柯布西耶(neo-Corbusian)風格設計而聞名。

邁耶的辦公室跟他的作品一樣,光滑,有如機器,一片沉靜。助手們坐在桌前,桌上攤開一本本大師的著作《建築師理查德·邁耶》(Richard Meier: Architect),靜靜臨摹著書上各種形狀的曲線。經過一整天不動腦筋的機械動作之後,我心想,這不是我該做的事。那該怎麼辦?第二天,我稱病不去。過了一天,我又打電話請假。再過一天也是。這樣過了一個星期之後,邁耶打電話到我家。 “你真的生病了嗎?”他問道。


“理查德,”我說:“實不相瞞,這事我做不來。我心中的建築不是這樣的,這不是我想做的。”有很多方式可描述艾森曼這個人——聰明、打破窠臼、創意泉湧——但是沒人說過他有人情味。雖然我也曾是他班上的學生,但我到他創建的紐約建築與都市研究學院(Institute for Architecture and Urban Studies)替他工作的第一天,完全出乎我的意料。當時我在英國,剛念完碩士,跟尼娜一起回紐約,一貧如洗。艾森曼不僅答應給我一份工作,也答應第一天就開一張支票給我,好讓我們撐過去。但我去找他的時候,他給了我一把掃帚,要我把辦公室掃一掃。才剛進門,就強要人低頭。我來是要從事建築的,不是掃地,所以我拒絕了。“你到底要這張支票——還是不要?”他手裡拿著支票問我。“你自己留著吧。”我說完轉身就走。之後10年,我們沒再講過半句話。當時我還年輕,可能還不了解自己在這世界的位置。但我肯定,不用腦袋的臨摹和掃地,絕不是我要的。 -- 文摘自著名建築師李布斯金《破土:生活與建築的冒險》【《破土:生活與建築的冒險》/[美]丹尼爾·李布斯金著 吳家恆譯/清華大學出版社/2008】匡溪藝術學院在美國密歇根州一座與世隔絕的小山上,離最近的城市底特律開車也要一個小時。建築系沒有任何課程安排,學生從入學起搞一個題目(極少數人搞兩至三個),搞完了就畢業,一般總要兩三年。


中國本序
  張永和 文 張永和美國麻省理工學院建築系主任 (妙的是稱兄道弟 喊人李先生)1982年初的一天,隆冬晴雪,我們一行人在匡溪藝術學院校園裡到處尋找建築系。遍尋不著,叫住一個學生問路,他指著我們前面不遠的一行三人說道:“跟他們走就到了建築系,如果你們認為那是建築系的話。”聽得出來他話中有話。沒時間多問,我們便尾隨那三人進了一個半地下的工作室。等到在明亮的雪地裡縮得極小的瞳孔放大開了之後,才發現眼前滿是藝術作品:炭筆劃、絲網印刷版畫、各種雕塑——木頭的、陶瓷的……我正在琢磨這裡到底是繪畫系還是雕塑系,旁邊一個同來的朋友已恍然大悟地告訴我:“這兒就是建築系!”這裡靜悄悄的;不像我們自己的工作室,搖滾樂總是放得震耳欲聾。天花板很低,使本來已挺擁擠的工作室,到處顯得滿滿的。建築系主任,也是這裡唯一的建築學教授,對我們抱怨道:“地方實在太小,每年最多只能招收十五個學生。”


他姓李布斯金,名丹尼爾,波蘭人,三十來歲,個子不高,一張方臉,有棱有角的。在工作​​室裡遛了一圈,除了一個日本留學生搞的東西看得出是房子,其餘的似乎都是繪畫或雕塑,和建築沒什麼聯繫。然而細看之下,就發現它們與一般的繪畫和雕塑不同。卡爾·朱的雕塑看上去更像一個大尺度結構的縮小模型,人們很容易想像自己(人形)處於這個雕塑之中的情形。也就是說這個雕塑暗示了一種不是雕塑而是建築的性質:可居性。泰國留學生塔拿普拉的《都市世界》也是異曲同工。

雕塑家賈柯梅蒂對這些作品的影響是很明顯的。我印象最深的是他的雕塑《城市廣場》:一塊平板上幾個人形向不同的方向走去;人形的動感創造了廣場的空蕩感覺。這裡建築好像是用作素材,被作者變形了、抽象了。我最喜歡的一個作品在一間沒有窗子的小房間裡,是兩個年齡較大的學生的合作。我也不知為什麼喜歡它:它顯然象徵著什麼,我也琢磨不出來,人家講給我聽,我也沒聽懂。這件作品有種神秘的力量深深地感動著我。至於它的建築性在哪裡,恐怕只有天知道。一個穿著圍裙、渾身是土的學生匆匆走了進來,手裡捧著一件剛出爐的陶塑。他的眼睛和他的同學們一樣,放出一種特殊的光芒,令人聯想到修道士。其實他們的生活和真的修道士也差不多。

匡溪藝術學院在美國密歇根州一座與世隔絕的小山上,離最近的城市底特律開車也要一個小時。建築系沒有任何課程安排,學生從入學起搞一個題目(極少數人搞兩至三個),搞完了就畢業,一般總要兩三年。多數學生一年365天全部在工作室裡,難怪泡出了這種獻身建築(或藝術)的目光。李布斯金教授的目光好像不及學生們來得清澈,卻也明亮。他一聽我是中國來的,就馬上提到有一位中國建築教授是匡溪的畢業生,並請我代他問候。我想大概是清華的吳良鏞先生。看到李教授的學生們的作品,他自己的東西也可想而知。同一組題為《盡端空間》的作品,儘管標題各有千秋,看上去實是大同小異。作為純繪畫來講, 他的畫構圖均衡嚴整,繁而不亂,組織得疏密有序,還頗有一種音樂感,畫面上火柴棍似的簡單建築型體像交響樂隊中的一件件樂器,在一定的結構裡面組成既複雜又和諧的整體。匡溪的師生們還試著在他們的作品中體現詩的意境,主要是通過象徵的手法,似乎比較勉強,倒不如中國傳統建築中常把詩句直接寫在牆柱牌匾上來得明了。我自己在寫碩士論文時也曾模仿匡溪的方法用唐詩作題材畫過幾張,想試試中西合璧在這方面的可能性。 
 
匡溪搞的這套到底算不算建築?我自己還沒有找到一個很好的答案。到目前為止,美國建築師學會仍不承認匡溪的建築碩士學位,等於是消極地回答了這一問題。但不知能否效法其他學科,把匡溪的東西算作“理論建築”。實際上他們這夥學生大多數都有豐富的工作經驗,有些還開過自己的事務所;他們回到學校來讀研究生(匡溪只有碩士學位),到底可以學點兒什麼,也是個值得研究的課題。我和李布斯金教授見過五面,但現在回想起來,我只記住了李說的一句話,是1996年在北京那次。清華講演後,我們一起吃晚飯。席間我談起我的一個理想:在中國辦一所先鋒的建築學校。我以為李一定會認同。不想李說:就是辦所建築學校,不一定先鋒。我當時沒馬上反應過來他的意思;來回琢磨,形成了這樣的理解:從事建築,包括建築實踐和建築教育,首先要有個認真嚴肅的態度,先鋒不先鋒並不重要。先鋒是一個相對狹窄的思考方式。無論李講的是否真是這麼回事,這句話後來對我工作影響很大。(1946– )Polish-born American architect. He studied with John Hejduk (see also New York Five) and enjoyed a varied career in architectural academe where, it has been said, he was essentially 'isolated from the practicalities and resultant compromise inherent in building'. He designed the City Edge project, Berlin (1987), an influential proposal that ripped through established geometries of urban fabric, responding to the logic of the Berlin Wall by slicing up territory, so his approach is the antithesis of that of Léon Krier and others who have rediscovered the city and argued for the repair and restoration of traditional forms, spaces, volumes, and streets. In 1989 he won the competition to design the Jewish Museum, Berlin (opened 2001—its voids supposedly represent the silences left by the Holocaust, and its slash-like lines connect the addresses of some of Berlin's vanished Jews, though how this is intended to be read is a moot point), and he employed similar bleak geometries in the Felix Nussbaum Museum, Osnabrück, Germany (opened 1998—the in-teriors of which cause visitors to experience an alarming lack of orientation).

He is associated with Deconstructivism, notably at the Imperial War Museum, Salford Quays, Manchester (2000–2—composed as a series of shard-like fragments). His
master-plan for the replacement of Yamasaki's World Trade Center, NYC (2002–3—which will carry a burden of symbolism, interpretations of which may not be what are intended), and the Studio Weil, Port d'Andraxt, Mallorca (2001 –3), demonstrate his handling of two projects differing hugely in scale. Contrary to popular ideas, he produced a conceptual design for the Ground Zero 'Freedom' tower: the final result (largely the creation of David M. Childs of Skidmore, Owings , & Merrill) may be quite different. His first completed London building was the Graduate Centre, London Metropolitan University, Holloway Road ((2001–4—Libeskind claims it was inspired by the constellation of Orion), the jagged external form of which is an event on the street, rather than any attempt to draw together a disparate collection of unrelated elements. His extension to the Royal Ontario Museum, Canada (2002–5), is in a similar noisy style. Libeskind's manner of building has been seen as paradigmatic by some, but it does not co-exist serenely with established urban grain, and a certain unease has been expressed by others about the proliferation of Deconstructivist buildings.Bibliography

* Kalman (1994)
* Jencks (2002)
* Johnson & Wigley (1988)
* Libeskind (1997, 2001)
* A. Müller (ed.) (1990)
* Salingaros et al. (2004)
* The Times (13 Jan. 2004), T2, 16The full bibliography for this book is available to download as a pdf file.Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)出處http://www.feihong.info/daniellibeskind/更多作品介紹:Daniel Libeskind(丹尼爾·裡伯斯金)作品-曼徹斯特帝國戰爭博物館其他

Daniel Libeskind(丹尼爾·裡伯斯金)1946年出生於波蘭一個納粹大屠殺倖存者的猶太人家庭。他的雙親以及10名兄弟姐妹都經歷過奧斯威辛集中營的迫害,最後只有其父和一個姑媽熬過苦難,得以倖存。 1959年,當時年僅13歲的利貝斯金德跟隨家人遷往以色列,以後又乘船移民美國,來到紐約。利貝斯金德在紐約讀完中學後,進入大學先學習音樂,後來轉到建築系。畢業後,利貝斯金德以德國柏林為基地,組建了自己的建築設計所。

他曾於北美、歐洲、日本、澳洲及南美各大學教書與演講, 1986年他曾指導位於意大利米蘭的私人公益建築機構「Architecture Intermundium」, 曾任教於哈佛、耶魯、伊利諾、南加大、德國漢堡學院等大學。

Daniel Libeskind的創作不僅是建築, 亦被視為藝術, 其展覽遍及歐洲、以色列、日本與美國, 轟動一時的紐約現代美術館MOMA所展示的「解構主義建築展」中, 他是其中重要的展覽者之一。現居於柏林, 並積極的參與國際競圖。

Libeskind,滿頭銀髮,戴一副厚框眼鏡。他的作品向來以反偶像崇拜風格見長,特別是他的博物館設計備受青睞。他的主要設計有柏林的猶太人博物館、美國舊金山猶太人博物館、英國曼徹斯特帝國戰爭博物館、倫敦城市大學的研究生中心、瑞士的一家購物中心和以色列特拉維夫的展覽中心等。 2001年,他成為第一位榮獲“廣島藝術獎”的建築師,以表揚其作品“對推動諒解與和平”的貢獻。

Ten droll tales By Honoré de Balzac

$
0
0



https://archive.org/details/tendrolltalesmak00balziala

Ten droll tales ... : making up the first decade of the Droll Tales of Master Honoré de Balzac


Published [19--]
SHOW MORE


Prologue.--The fair Imperia.--The venial sin.--The King's mistress.--The devil's heir.--The merrie diversions of King Louis the eleventh.--The high constable's wife.--The virgin of Thilhouse.--The brothers-in-arms.--The curé of Azay-le-Rideau.--The rebuke.--Epilogue


Publisher [London] : Abbey Library
Pages 300
Possible copyright status NOT_IN_COPYRIGHT
Language English
Call number srlf_ucla:LAGE-548385
Digitizing sponsor MSN
Book contributor University of California Libraries
Collection cdlamericana




Jean De Bosschere 線條簡潔、用色俐落,構圖大瞻、讓異色情調來表現 巴爾札克幽默歷史小品 TEN DROLL TALES,格外協調又更具現代感!(1926年初版限量3000本編號 2101)



The Bacchae By Euripides

$
0
0

"When colleges pick the one book that every new student should read (as they increasingly do through required summer reading programs), they tend to choose something of the recent-social-ills variety. One study found that 97 percent of those common readings come from 1990 or later. There’s value, certainly, in many of those choices. But colleges should consider the value in The Bacchae, something much older and, in its way, much more uncomfortable."



Or why Euripides' tale of Dionysus' power is necessary reading for incoming freshmen.
CHRONICLE.COM


Translations[edit]


https://www.youtube.com/watch?v=QfjMJbn3PIs#t=37


The Bacchae
Death Pentheus Louvre G445.jpg
Pentheus being torn apart by Agave and Ino, Attic red-figure vase.
Written byEuripides
ChorusBacchae, female followers of Dionysus
CharactersDionysus
Tiresias
Cadmus
Pentheus
Servant
Messenger
Second Messenger
Agave
Date premiered405 BC
Place premieredAthens
Original languageAncient Greek
GenreTragedy
SettingThebes
The Bacchae (/ˈbæk/GreekΒάκχαιBakchai; also known as The Bacchantes /ˈbækəntsbəˈkænts-ˈkɑːnts/) is an ancient Greektragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon. It premiered posthumously at the Theatre of Dionysus in 405 BC as part of a tetralogy that also included Iphigeneia at Aulis andAlcmaeon in Corinth, and which Euripides' son or nephew probably directed.[1] It won first prize in the City Dionysia festival competition.

Baudelaire: Selected Poems/ 波特萊爾的《惡之華》/巴黎男女

$
0
0



歷史上的今天:1867年的今天,我最愛的Charles Baudelaire 逝世
以下摘自拙作《長眠在巴黎》第74頁
波特萊爾Baudelaire, Charles(1821.4.9~1867.8.31,巴黎蒙巴納斯墓園第6區)
現代派詩人,代表作有詩集《惡之華》、《巴黎的憂鬱》等。波特萊爾過世後,與他最討厭的繼父合葬一處,不過還好身邊有他最愛的母親為伴。他的墳墓在第6區,位於園中大路邊上,還算好找,但並不起眼,倒是位於墓園第26和27區間的紀念墓雕頗具巧思。其實從1892年起,波特萊爾委員會便開始討論要幫波特萊爾蓋座紀念墓雕(詩人馬拉美還自告奮勇負責籌款),原委託羅丹負責雕塑,豈料幾經波折,該案遭到延宕,最後終於在1902年改由較無知名度的荷西‧德‧夏爾默瓦(José de Charmoy)製作完成。所謂的「知名度」當然是相較於羅丹而言,其實夏爾默瓦也承製過貝多芬雕像,而同樣位於蒙巴納斯墓園的聖伯夫紀念墓雕(第17區,可參看第102頁〈聖伯夫篇〉)也是他的作品。
事實上,夏爾默瓦的雕塑線條流暢,造型典雅優美,尤其頗具詩意。他所承製的波特萊爾紀念雕像,地上有尊詩人的臥像,身上纏滿細帶子(我直覺認為應與木乃伊相關,但不知為何典?)。只見詩人雙眉微皺,雙唇緊閉,彷彿正在構思一首幽冥詩作。臥像後另有一座立像「沉思者」,下有巨型蝙蝠雕飾。至於為何出現蝙蝠雕飾,應當是出於《惡之華》第78首〈憂鬱〉一詩,詩人曾寫道:
當大地變成濕漉牢籠/希望之神在那兒像只蝙蝠/振著羞怯的翅膀朝牆飛去/一頭撞上腐爛的天花版。



------


過去一周每天一二首英譯  此書用字的確有些特色



Here’s a portrait of poet Charles Baudelaire, born ‪#‎onthisday‬ in 1821ow.ly/L853l

1 位用戶的相片。
But as for me, my limbs are rent
Because I clasped the clouds as mine.
---The Laments of an Icarus.
1889.3.11 Journals by Gide 引用過. 通行版{惡之華}待查

Online texts

Single works



  2013.4.4  辜振豐老師送一本簽名的"全新中譯本"惡之華》(台北:花神文坊 2013) 

 漢清兄惠存:
         悅讀法蘭西詩歌


我問些字體插圖等. 他希望我寫書評... (我說我不懂法文所以只能用英文和其他中文本"攻錯之: Baudelaire: Selected Poems 波特萊爾的《惡之華》/巴黎男女)

去年或全年我說這本名著的漢譯可能近10本以上. 何苦再多一本"非學術"之作?
不過  辜振豐老師的意志力強  他已展開波特萊爾的第2本之翻譯中. 而且他的作品都是"全方位設計"很令人佩服 並要祝賀/祝服他成功!
 *****

Baudelaire: Selected Poems (法英對照)

translated and introduced
by Joanna Richarson, Penguine, 1975/'77/'78
依1868《惡之華》版本及隨後在比利時出的禁詩序而編



惡之華
Les Fleurs du mal

《惡之華》(法語:Les Fleurs du mal

From Wikipedia, the free encyclopedia

這版本顯然一直在改進. 本文是2011年版. 只有"一首"的翻譯比較中列出2種英文和三種中文.



The first edition of Les Fleurs du mal with author's notes.
Les Fleurs du mal (often translated The Flowers of Evil) is a volume of French poetry by Charles Baudelaire. First published in 1857 (see 1857 in poetry), it was important in the symbolist and modernist movements. The subject matter of these poems deals with themes relating to decadence and eroticism.


[edit]Overview

The initial publication of the book was arranged in six thematically segregated sections:
  • Spleen et Idéal (Spleen and Ideal)
  • Tableaux parisiens (Parisian Scenes)
  • Le Vin (Wine)
  • Fleurs du mal (Flowers of Evil)
  • Révolte (Revolt)
  • La Mort (Death)
The foreword to the volume, identifying Satan with the pseudonymous alchemist Hermes Trismegistus and calling boredom the worst of miseries, neatly sets the general tone of what is to follow:

Si le viol, le poison, le poignard, l'incendie,
N'ont pas encore brodé de leurs plaisants dessins
Le canevas banal de nos piteux destins,
C'est que notre âme, hélas! n'est pas assez hardie.
If rape and poison, dagger and burning,
Have still not embroidered their pleasant designs
On the banal canvas of our pitiable destinies,
It's because our souls, alas, are not bold enough!



In the poem "Au lecteur" ("To the Reader") that prefaces Les Fleurs du mal, Baudelaire accuses his readers of hypocrisy and of being as guilty of sins and lies as the poet:
...If rape or arson, poison or the knife
Has wove no pleasing patterns in the stuff
Of this drab canvas we accept as life—
It is because we are not bold enough!
(Roy Campbell's translation)




The preface concludes with the following malediction:
C'est l'Ennui! —l'œil chargé d'un pleur involontaire,
Il rêve d'échafauds en fumant son houka.
Tu le connais, lecteur, ce monstre délicat,
—Hypocrite lecteur,—mon semblable,—mon frère!
It's Ennui! — his eye brimming with spontaneous tear
He dreams of the gallows in the haze of his hookah.
You know him, reader, this delicate monster,
Hypocritical reader, my likeness, my brother!
"Ennui" is left untranslated here, as "boredom" does not accurately portray Baudelaire's intended meaning. "Ennui" means an oppressive boredom that induces listlessness.

[edit]Literary significance and criticism

The author and the publisher were prosecuted under the regime of the Second Empire as an outrage aux bonnes mœurs (trans. "an insult to public decency"). As a consequence of this prosecution, Baudelaire was fined 300 francs. Six poems from the work were suppressed and the ban on their publication was not lifted in France until 1949. These poems were "Lesbos", "Femmes damnés (À la pâle clarté)" (or "Women Doomed (In the pale glimmer...)"), "Le Léthé" (or "Lethe"), "À celle qui est trop gaie" (or "To Her Who Is Too Gay"), "Les Bijoux" (or "The Jewels"), and " Les "Métamorphoses du Vampire" (or "The Vampire's Metamorphoses"). These were later published in Brussels in a small volume entitled Les Épaves (Jetsam).
On the other hand, upon reading "The Swan" or "Le Cygne" from Les Fleurs du mal, Victor Hugo announced that Baudelaire had created "un nouveau frisson" (a new shudder, a new thrill) in literature.
In the wake of the prosecution a second edition was issued in 1861 which added 32 new poems, removed the six suppressed poems and added a new section entitled Tableaux Parisiens.
A posthumous third edition with a preface by Théophile Gautier and including 14 previously unpublished poems was issued in 1868.

[edit]Cultural references

[edit]See also

[edit]External links


作者 :杜國清

出版時間 : 2011年12月

出版單位 : 國立臺灣大學出版中心

裝訂 : 精裝



本書介紹 波特萊爾的《惡之華》杜國清譯

神魔的眼神﹕談波特萊爾與《惡之華》

謝謝 妙 幾年前2008/2月阿擘請我和杜教授吃過晚餐
台大出版中心的訂價策略很奇怪 這本名著的最新修正本才350元 參考英日和中國的翻譯
2008年時杜國清先生對純文學出版社的《惡之華》的稿酬等
耿耿於懷。
現在有難得的機會補強並修正它,無寧是譯者和讀者之福氣

詩人老了......《諾貝爾文學獎全集50:米沃什》杜國清譯
,台北:遠景出版社,
1982(尚未翻閱)
***
昨晚讀《哥德談話錄》智慧老人哥德向年輕的艾克曼說
要珍惜每一刻每一分鐘 它們都是永恆的代表

上周送陳忠信夫婦之詩的更新 或可溫故知新
(又為陳巨擘昔日的晚餐而作)
*****
波特萊爾(Charles Pierre Baudelaire)《惡之華‧貓》杜國清譯。台北:
台灣大學出版中心,2011, 頁88。無因讓那‧杜瓦爾而作字樣。
34
來,美麗的貓,來到我愛的心上,
把你腳上銳利的爪隱藏,
讓我沉浸在你美麗的眼眸中
映出金屬與瑪瑙的亮光
當我的手指,從容不迫地愛撫,
你的頭和那彈性的背脊,
當我的手陶然感到興奮的滿足,
一觸及你帶電的嬌軀,
我就幻見我的女人,她的眼神,
和你一樣,可愛的動物,
深邃冷轍,有如鏢槍尖銳刺人;
從她的腳尖到她的頭部,
一種微妙的氣色,危險的暗香,
在她褐色身旁漂浮蕩漾。
*****另一中國某書中的翻譯(這是上周從一本法國文人憶波特
萊爾的新書中抄下的。現在暫時找不到它。)
《貓‧因讓那‧杜瓦爾而作》波特萊爾
 

《惡之華》--法國象徵主義詩人波特萊爾的不朽傑作,
對20世紀現代詩最具影響力的世界名著

日本小說家芥川龍之介曾為之傾倒自嘆:「
人生不如波特萊爾的一行詩」。

法國大文豪雨果給波特萊爾的《惡之花》的贊語:「
你向藝術的天空,擲去了一道攝人的光芒,創造了新的顫慄。」

這本新版《惡之華》,名符其實是波特萊爾一生詩作的全譯本,
包括第二版原著、《漂流詩篇》、六首禁詩、以及作者死後的增訂和補遺,總共一百六十三首。僅以一本詩集,波特萊爾創造出新的戰慄,給與藝術的天空一種異色的光芒,而在世界的詩壇上,立於「光榮的絕頂」。在他的榮光下,得過許多翻譯獎且兼具詩人學者身分的杜國清獻上這本一生致力精心翻譯的世界名著。

這個新版,除了波特萊爾一生詩創作的全譯之外,
附錄有譯者的四篇文章﹕「波特萊爾與《惡之華》」簡介、「致波特萊爾」詩、「波特萊爾與我」散文、闡述象徵主義詩觀的「萬物照應.東西交輝」論文,以及「波特萊爾年譜」,全面深入詩人詩作的靈魂深處。配有波特萊爾相關歷史圖片;全書新製插畫,試圖捕捉詩作中哀愁靈魂的憧憬與憂鬱,幫助讀者更貼近詩人與詩作。

杜教授以對波特萊爾與《惡之華》的了解,談論詩人心中的「惡」
與「花」,以及他一生追尋的「詩」與「美」的特質,正如譯者杜國清教授所了解、在「致波特萊爾」一詩中所透露:

你的倦怠 來自愛與美的追尋
你愛的美 那明媚的眼眸
神魔合一 同時具有
致命的魅力與無限暴虐
使你在狂喜的瞬間 欲求毀滅
你愛的美 不管來自天上或地獄
不論來自上帝或惡魔
純粹的愛 無畏 無悔
只要能使你 一時迷醉
脫離 這個醜惡的世界

《惡之華》是詩人的精神在善惡衝突中迸出的火花,
也是受苦的靈魂綻放出的病弱花朵,散發著不吉的冷香,更是背叛神的逆子,在「失樂園」裡徬徨、悔恨的心路歷程和良心掙扎的紀錄。

杜國清

國立臺灣大學外文系畢業,日本關西學院大學日本文學碩士,


美國史丹福大學中國文學博士。
現任加州大學聖塔芭芭拉東亞語言文化研究系、賴和吳濁流臺灣研究講座教授,臺灣研究中心主任。杜教授專攻中國文學,中西詩論和臺灣文學,於一九九六年創刊《臺灣文學英譯叢刊》(Taiwan Literature: English Translation Series), 一年出版兩集,致力於臺灣文學的英文翻譯,促進國際間對臺灣文學的了解、以及從國際視野對臺灣文學的研究。杜國清也是著名詩人,曾任《現代文學》編輯,為1963年臺灣《笠》詩刊創辦人之一。著有詩集《蛙鳴集》、《島與湖》、《雪崩》、《望月》、《心雲集》、《殉美的憂魂》、《情劫集》、《勿忘草》、《對我 你是危險的存在》、《愛染五夢》、《 愛的祕圖》、《山河掠影》、《玉煙集》、《詩論.詩評.詩論詩》等。翻譯有艾略特《荒原》、《艾略特文學評論選集》、波特萊爾《惡之華》、劉若愚《中國詩學》、《中國文學理論》等。 曾獲中興文藝獎、詩笠社翻譯獎、1993年漢城亞洲詩人大會頒與功勞獎,1994年獲文建會翻譯成就獎。


【譯者序】波特萊爾與《惡之華》/ 杜國清
致波特萊爾 / 杜國清
作者獻詞
致讀者 Au Lecteur/波特萊爾
惡之華Les Fleurs du Mal
憂鬱與理想 SPLEEN ET IDeAL1祝禱 Benediction
2信天翁 L’ Albatros
3高翔 Elevation
4萬物照應 Correspondances
5〈我喜愛對那些裸體時代……〉Jaime le souvenir de ces epopues nues
6燈塔 Les Phares
7生病的繆斯 La Muse Malade
8賣身的繆斯 La Muse Venale
9惡僧 Le Mauvais Moine
10仇敵 L’Ennemi
11倒運 Le Guignon
12前生 La Vie Anterieure
13踏上旅途的波希米人 Bohemiens en Voyage
14人與海 L’Homme et la Mer
15地獄的唐璜 Don Juan aux Enfers
16傲慢的懲罰 Chatiment de l’Orgueil
17美 La Beaute
18理想 L’Ideal
19女巨人 La Geante
20假面 Le Masque
21美的讚歌 Hymne a la Beaute
22異國的芳香 Parfum Exotique
23髮 La Chevelure
24〈我愛慕你……〉 Je t’adore a l’cgal de la voute nocturne
25〈你想將整個宇宙……〉Tu mettrais l’univers entier dans ta ruelle
26然而還不滿足 Sed non Satiata
27〈穿著波狀的……〉Avec ses veements ondoyants et nacres
28舞動的蛇 Le Serpent qui Danse
29腐屍 Une Charogne
30來自深淵的叫喊 De Profundis Clamavi
31吸血鬼 Le Vampire
32〈一夜我睡在……〉Une nuit que j’etais pres d’une affreuse Juive
33死後的悔恨 Remords Posthume
34貓 Le Chat
35決鬥 Duellum
36陽臺 Le Balcon
37著魔的男人 Le Possede
38幽靈 Un Fantome
Ⅰ黑闇 Les Tenebres
Ⅱ薰香 Le Parfum
Ⅲ畫框 Le Cadre
Ⅳ肖像 Le Portrait
39〈給你這些詩……〉Je te donne ces vers afin que si mon nom
40永遠一樣 Semper Eadem
41她的一切 Tout Entiere
42〈今晚你說什麼……〉Que diras-tu ce soir, pauvre ame solitaire
43活火炬 Le Flambeau Vivant
44恩賜 Reversibilite
45告白 Confession
46心靈的黎明 L’Aube Spirituelle
47黃昏的諧調 Harmonie du Soir
48香水瓶 Le Flacon
49毒 Le Poison
50陰空 Ciel Brouille
51貓 Le Chat
52優美的船 Le Beau Navire
53旅邀L’Invitation au Voyage
54不能挽救者L’Irreparable
55交談 Causerie
56秋之歌 Chant d’Automne
57給一位聖母 A une Madone
58午後之歌 Chanson d’Apres-Midi
59西西娜 Sisina
60給我佛蘭琪絲嘉的讚歌 Franciscae me Laudes
61給生長在殖民地的一位夫人 A une Dame Creole
62憂愁與流浪Moesta et Errabunda
63幽靈 Le Revenant
64秋的小曲 Sonnet d’Automne
65月的悲哀 Tristesses de la Lune
66貓 Les Chats
67貓頭鷹 Les Hiboux
68煙斗 La Pipe
69音樂 La Musique
70墓 Sepulture
71一幅幻想的版畫 Une Gravure Fantastique
72快活的死者 Le Mort Joyeux
73憎恨的無底桶 Le Tonneau de la Haine
74破鐘 La Cloche Felee
75憂鬱 Spleen
76憂鬱 Spleen
77憂鬱 Spleen
78憂鬱 Spleen
79著魔 Obsession
80虛無的滋味 Le Gout du Neant
81苦惱的鍊金術 Alchimie de la Douleur
82恐怖的感應 Horreur Sympathique
83自我懲罰者 L’Heautontimoroumenos
84無可贖救者 L’Irremediable
85時鐘 L’Horloge
巴黎寫景 TABLEAUX PARISIENS86風景 Paysage
87太陽 Le Soleil
88給一個紅髮的乞丐女郎 A une Mendiante Rousse
89天鵝 Le Cygne
90 七個老頭兒 Les Sept Vieillards
91小老太婆 Les Petites Vieilles這兩首是獻給雨果的雨果回信說令人......
92盲人 Les Aveugles
93給路上錯過的一個女人 A une Passante
94骸耕圖 Le Squelette Laboureur
95夕暮 Le Crepuscule du Soir
96賭博 Le Jeu
97死的舞蹈 Danse Macabre
98虛假的戀 L’Amour du Mensonge
99〈我仍忘不了……〉Je n’ai pas oublie, voisine de la ville
100〈你曾嫉妒的……〉La servante au grand coeur dont vous etiez jalouse
101霧和雨 Brumes et Pluies
102巴黎之夢 Reve Parisien
103黎明 Le Crepuscule du Matin
酒 LE VIN104酒魂L’Ame du Vin
105拾荒者的酒 Le Vin des Chiffonniers
106殺人犯的酒 Le Vin de l’Assassin
107孤獨者的酒 Le Vin du Solitaire
108熱戀者的酒 Le Vin des Amants
惡之華 FLEURS DU MAL109毀滅 La Destruction
110一個受難的女人 Une Martyre
111 該入地獄的女人 Femmes Damnees
112一對好姊妹 Les Deux BonnesSoeurs
113血泉 La Fontaine de Sang
114寓意 Allegorie
115貝雅翠斯 La Beatrice
116西堤爾之旅 Un Voyage a Cythere
117愛神與腦殼 L’Amour et le Crane
叛逆 ReVOLTE118聖.彼得的否認 Le Reniement de Saint Pierre
119亞伯與該隱Abel et Cain
120 向惡魔的連禱 Les Litanies de Satan
死 LA MORT121熱戀者之死 La Mort des Amants
122窮人之死 La Mort des Pauvres
123藝術家之死 La Mort des Artistes
124一日之終 La Fin de la Journee
125好奇者的夢 Le Reve d’ un Curieux
126 旅航 Le Voyage
漂流詩篇(LES ePAVES)(1866)1浪漫派的落日 Le Coucher du Soleil Romantique
《惡之華》被禁詩篇 PIeCES CONDAMNeES
2麗斯波斯島 Lesbos
3墮入地獄的女人 (黛菲尼與伊波麗特) Femmes Damnees
Delphine et Hipolyte
4忘川Le Lethe
5給一位太快活的女人 A Celle Qui Est Trop Gaie
6首飾 Les Bijoux
7吸血鬼的化身Les Metamorphoses du Vampire
豔歌 (GALANTERIES)8 噴泉 Le Jet D’eau
9 貝爾特的眼睛 Les Yeux de Berthe
10 讚歌 Hymne
11容貌的期許 Les Promesses d’un Visage
12怪物(別題「恐怖趣味的林澤仙女的讚辭」) Le Monstre
Ou Le Paranymphe d’une Nymphe Macabre
13 給我佛蘭琪絲嘉的讚歌 Franciscae me Laudes
題詠 (ePIGRAPHES)14奧諾雷.杜米埃肖像題詩 Vers Pour Le Portrait de M. HonoreDaumier
15瓦倫西的羅拉 Lola De Valence
16題「牢中的塔索」(德拉珂羅瓦所畫) Sur <> d’Eugene Delacroix
雜篇(PIeCES DIVERSES)17聲音 La Voix
18意想不到者L’Imprevu
19贖金La Rancon
20給一位馬拉巴姑娘A Une Malabaraise
戲作 (BOUFFONNERIES)21 阿米娜.波雪蒂初上舞台(於布魯塞爾莫奈劇院)
Sur Les Debuts d’Amina Boschetti
22 致歐金.福洛曼丹氏(關於某個令人討厭者自稱是他的朋友)
A M. Eugene Fromentin / A Propos d’un Importun / Qui Se Disait Son Ami
23戲謔的小酒店(從布魯塞爾到約庫耳途中所見)
Un Cabaret Folatre / Sur La Route de Bruxelles a Uccle
《惡之華》第三版增訂稿(1866-1868) PIeCES AJOUTeES1一本禁書的題詞 epigraphe Pour un Livre condamne
2致邦維爾(一八四二年作) A Theodore de Banville—1842—
3和平的菸斗(仿朗費羅) Le Calumet de Paix
Imite de Longfellow
4異教徒的祈禱La Priere d’un Paien
5蓋子 Le Couvercle
6午夜的反省 L’Examen de Minuit
7悲情的戀歌 Madrigal Triste
8警告者 L’Avertisseur
9叛逆者 Le Rebelle
10離此遙遠Bien Loin d’Ici
11深淵 Le Gouffre
12伊卡洛斯的悲嘆 Les Plaintes d’un Icare
13靜思 Recueillement
14被冒犯的月亮La Lune Offensee
波特萊爾年譜
萬物照應.東西交輝 / 杜國清
波特萊爾與我/ 杜國清
《惡之華》初版譯者後記 (1977)
《惡之華》新版譯者後記(2011)

譯者序 波特萊爾與《惡之華》
  《惡之華》中差不多有一半是與女人有關的情詩。波特萊爾詩中 的女人一共有四個;她們在不同的時期使詩人留下優美與痛苦的詩篇。第一個是「斜眼的莎拉」 (Sarah la Louchette) ,巴黎拉丁區的猶太妓女。詩人因她寫了三首詩:即第二十五首〈你想將整個宇宙都帶進閨房〉,第三十二首〈一夜我睡在醜惡的猶太女身邊〉,另一首沒收在《惡 之華》中。詩人與莎拉的交往是在十九歲到二十一歲之間的三年,其中一年詩人離開巴黎前往南洋。兩人的關係並不深切,但是這種早期的戀愛體驗,對於日後詩人 的戀愛觀以及對女人的看法具有莫大的影響。
  詩人的第二個女人是珍妮.杜娃 (Jeanne Duval) 。詩人認識她時二十一歲,而前後來往共二十年(一八四二—六一),其中經過了多少次的分離與重歡。珍妮.杜娃(或露美Lemer)是個黑白混血的女伶,個 子高大,肉體豐滿,具有豐厚的黑髮,銅色的皮膚、大大的眼睛、稍厚的嘴唇。她脾氣彆扭、生性冷酷。她與詩人有著短暫的幸福生活,可是也帶來爾後多年的不 幸。詩人對她盡情盡義,幾次向監護人和他母親要求讓珍妮繼承他的財產,可是她幾乎從一開始就對他不忠實,騙他、搶他,故意傷他。即使如此,詩人從來沒有失 去對她的責任感;每次分離,仍在經濟上盡力照顧她的需要。她是詩人一生的十字架。詩人對她的熱情,時而優柔,時而幾乎是憎恨。他們兩人像是一對歡喜冤家, 具有拆不散的孽緣。詩人因她而寫的詩,亦即所謂珍妮.杜娃詩篇 (The Jeanne Duval Cycle) ,根據史加福 (Francis Scarfe) 教授的判斷,有第二十二首〈異國的芳香〉、二十三首〈髮〉、二十四首〈我愛慕你……〉、二十六首〈然而還不滿足〉、二十八首〈舞動的蛇〉、二十九首〈腐 屍〉、三十首〈來自深淵的叫喊〉、三十四首〈貓〉、三十五首〈決鬥〉、三十六首〈陽臺〉、三十七首〈著魔的男人〉、三十八首〈幽靈〉、五十八首〈午後之 歌〉、一一五首〈貝雅翠斯〉等。
  詩人的第三個女人是瑪利.朵白蘭 (Marie Daubrun) 。詩人跟她的來往是在二十六歲到三十八歲之間。她是個女伶和模特兒;金髮美人,綠眼珠,鼻子稍為朝上,嘴唇像玫瑰花蕾。詩人曾在他的朋友德瑞 (Deroy) 的畫室中貪婪地注視她的裸體。一八四七年,她在聖馬丁劇院主演〈金髮美女〉,頗為成功。詩人在寫給她的信中說:「由於你,瑪利,我將堅強偉大。像佩脫拉克 (Petrarch) ,我將使我的羅拉 (Laura) 不朽。請當我的守護天使,我的繆斯,我的聖母,引導我走著「美」的道路。」最初,詩人的追求遭到拒絕,因她當時對他的朋友班維爾 (Banville) 更有興趣。因此,詩人對她反而寄以柏拉圖式的愛情,直到一八五四年詩人對她的熱情復燃。可是在詩人為她的戲劇前途奔走失敗以後,她就離開詩人再投到班維爾 的懷抱。這種三角關係使詩人感到莫大痛苦和嫉妒。根據史加福教授的判斷,所謂瑪利.朵白蘭詩篇 ( The Marie Daubrun Cycle) ,包括第四十九首到五十六首的〈毒〉、〈陰空〉、〈貓〉、〈優美的船〉、〈旅邀〉、〈不能挽回者〉、〈談話〉、〈秋之歌〉,以及第六十四首〈秋的小曲〉與 第九十八首〈虛假的戀〉等。
  詩人的第四個女人是莎巴伽夫人 ( Madame Sabatier) 。詩人跟她的交往是在三十一歲到四十歲之間。她是一個銀行家的情婦;她家的沙龍在經濟上是由銀行家支持的。她是個白膚金髮碧眼的美人,五官端莊,嘴上常帶 著微笑。她較有教養,富於機智,但是道德觀念頗無原則。她不避與崇拜者逢場做戲。詩人愛她,把她當做精神戀愛的對象。從一八五二年起,詩人不斷以匿名寫信 給她,同時附上情詩。她是詩人理想的結晶、靈感的泉源、崇拜的繆斯。詩人寫給她的匿名信和情詩,繼續了五年,直到一八五七年八月三十日,莎巴伽夫人以身相 許。可是那晚的幽會,對詩人而言,不是狂喜而是幻滅。在第二天寫給莎巴伽夫人的信中,詩人說:「幾天前你是女神,如今你是女人。」詩人對她的精神戀愛,於 焉告終。《惡之華》中所謂莎巴伽詩篇 ( The Sabatier Cycle ) ,包括從第四十首到第四十八首的〈永遠一樣〉、〈她的一切〉、〈今晚你說什麼……〉、〈活火炬〉、〈恩賜〉、〈告白〉、〈心靈的黎明〉、〈夕暮的諧調〉、 〈香水瓶〉,以及第六十二首〈憂愁與放浪〉等。
  除了女人,波特萊爾的一生中,曾有一時對政治社會現狀頗為關心和參與。一八四八年二月革 命時,他站在群眾的一邊。在一八四八到一八五一年(二十七歲到三十歲)的革命時期,他的行動相當複雜與狂熱,但大體上是由於感情的衝動與一時的憤慨。不久 也就對社會主義幻滅,接著是對政治的冷感。雖然革命時期的影響,並不直接表現在詩中,波特萊爾在一八五○年和一八五一年預告他的詩集即將出版,當時的書名 卻擬為《冥府》(Les Limbes) 。《冥府》雖是個帶有濃厚神學色彩的用語,當時的社會主義者用以形容社會的一個狀態,含有時代與政治的意義。波特萊爾的詩,雖然沒有政治性的革命氣息,但 是有些作品含有現實主義的寫實精神卻是無可否認的。例如,屬於〈冥府詩篇〉中的〈殺人犯的酒〉(第一○六首)、〈拾荒者的酒〉(第一○五首)、〈窮人之 死〉(第一二二首),以及〈巴黎寫景〉中的〈七個老頭兒〉(第九十首)、〈小老太婆〉(第九十一首)、〈夕暮〉(第九十五首)、〈賭博〉(第九十六首)等 等。


The Pilgrim's Progress By John Bunyan

$
0
0

John Bunyan, author of 'The Pilgrim's Progress', died ‪#‎onthisday‬ in 1688: bit.ly/1hrIMIC

The British Library 的相片。



English


维基百科,自由的百科全书
跳轉到: 導航, 搜尋
天路歷程》(英語The Pilgrim's Progress from This World to That Which Is to Come),英國英格蘭基督教作家佈道家約翰·班揚著作,於1678年2月出版,是一首基督教的寓言詩 ( Allegory )。它被認為是最重要的英國文學作品之一,被翻譯成200多種文字,亦從未絕版[1]

[編輯]創作

本仁開始創作這本書,是因為他違法英國政府頒布的聚會法案而被判入貝德福德郡監獄。有關法案禁止國民參與英國國教以外的聚會。研究本仁生平早期的學者如約翰·布朗相信本書是在他第二次坐牢,即1675年時創作的。但更多的學者如羅傑‧沙羅克(Roger Sharrock)*阿相信是他完成其精神的自傳 Grace Abounding to the Chief of Sinners(中譯《罪人受恩記》、《罪人頭目的赦免》)第一次坐牢時所作的。

*目前手頭是他編的企鵝文庫版The Penguin English Library
英文版含十萬八千多字,分作兩部分。每部分是連續的,且沒有分章節。1678年完成首部分後,1679年他獲釋後出版了首部分增潤版。第二部分則於1684年出現。他在首部分所寫的生活分作十一版本,16781685年成功出版。1688年次版分作兩個版本,分別於16841686年出版。

[編輯]參考資料

  1. ^ John Bunyan, The Pilgrim's Progress, W.R. Owens, ed., Oxford World's Classics, (Oxford: Oxford University Press, 2003), xiii: "... the book has never been out of print. It has been published in innumerable editions, and has been translated into over 200 languages." Cf. also F.L. Cross, ed., The Oxford Dictionary of the Christian Church, (Oxford: Oxford University Press, 1983), 1092 sub loco.

[編輯]外部連結

連橫《臺灣語典》雅言。吳密察選『雅堂先生家書』

$
0
0
  青山青史──連雅堂                文/林文月
歸葬西湖。



吳密察相片


吳密察


台灣雖有2300萬人,但姓連的肯定不多,或許就只有區區幾家人罷了。但是,100年來,卻有姓連的一家四代人總在我們的周圍徘徊不去,甚至帶給我們不小的負擔。至少,我們這些在戰後受教育的世代,應該都必須背姓連的所寫之文章(要麼是「示荷蘭守將書」,要麼是「台灣通史序」)吧。既然文章都被編進教科書讓我們考試了,以下就再抄一些讓大家瀏覽吧。
先說一下這些文字的背景。1930年3月,連橫公開在報紙上撰文為日本殖民政府的鴉片政策開脫,受到原本將之奉為台灣代表性文人的櫟社、文化協會同仁的批判和疏遠,使他覺得「無趣」甚至想要離開台灣赴中國發展。以下抄出的文字,就是1931年起,在台灣的連橫寫給在中國的兒子連震東的家書。這些家書透漏了連橫「急欲離開台灣」、「不願當台灣人」的心情。結果,1934年7月連橫終於「得償三十年來之夙願」,離開台灣到上海去當中國人了。
再說一下這些文字的來源。1992年連戰擔任台灣省主席時,台灣省文獻委員會精裝出版『連雅堂先生全集』(書名由連戰題字)。全集大致只是將原本已經流通的連雅堂著作再刊一遍,比較「珍貴」的「出土」史料則是連家所提供的家書。這些文字就是抄自這套『連雅堂先生全集』當中的『雅堂先生家書』一書。


「將來如得歸國編修國史,尤為余之大望。……台灣經濟困難,日甚一日,大有不可久居之景象,……俟一二年後如得移家南京,則余亦可在此辦事矣。」1931.08.14)
「中國國史尚未編修,余擬寓書於孒民先生,請其開辦。此事如得成就,則余畢生之志願,又多一絕業矣。」(1931.08.22)
「我家能得歸去,寄居南京,是余之望。然須俟汝地位堅固,著著進行。」(1931.09.04)
「不可稍存歸來之心,此間已無光明之路。……以余觀之,實不可一日居之矣。」(1931.09.09)
「台灣實不可居,余意俟汝位置定著之後,余則獨往南京覓一安身之地。余之文學如在台灣已無用處,或能於中國再做一番事業。」(1931.11.25)
「震東,吾不欲汝為台灣人,尤不欲汝為一平凡之人。此間青年毫無生氣,……墬落如此,可憐可憫。」(1932.01.11)
「余居此間,視之愈厭。四百萬人之中,幾於無一可語,生計既絀,信義全無,可痛可憫。」(1932.04.05)
「余自歸里,忽忽一年,謝絕交遊,深感台灣民德之墬落,而朋友之不可往來也。」1932.04.30)
「余自三十年來,則欲移家中國。……且台灣經濟日壞,百業蕭條,而人心險詐,不顧信義。自南歸後絕少出門,抑鬱殊甚。」(1932.07.18)
「余亦欲汝報恩於中國也。汝可請教先生至(國?)籍之問題,此時如能辦理甚好,或稍待機會乃為之。……余自三十年來,則抱歸國之志,……俟汝位置較固、收入較多,則余當作歸國之計矣。……日本經濟疲困,台灣尤甚,百業蕭條,物價愈賤,實有不可久居之勢。」(1932.07.26)
「此數月來,不時煩悶,輒作歸國之計,則為環境之所迫,台灣無望,台之青年更無望。此等小天地,豈容我輩飛躍哉!」(1932.07.29)
「台灣經濟日窮,文化日落,不可久居,故與汝姊函商歸國之事。汝母、汝妹暫住上海,則由汝姊奉養,而余可以出門覓一位置。余於中國文學界,尚能有所作為也。」(1932.08.10)
「歸國之計,籌之已久而未得實行,……然處此環境,心思抑鬱,幾欲發病,幸余能自排解。台灣經濟日窮,文化日落,實不可居。余意俟汝基礎較固、收入較多,乃可移家,而汝母見余如此,以此間既無事可為,不如暫赴滬上。」(1932.08.28)
「余現無他求,如於南京或北平大圖書館供職其中,專心著作,必有可觀。將來能辦國史,尤為不朽之業,則請先生代為一籌,以償夙志。」(1932.09.03)
「三十年來,飄泊流離,無一安處,損耗實多,若得卜居北平,建立基業,以安祖宗之靈,則余心方可無疚。」(1932.10.21)
「台南經濟日困,人心愈險,道義淪亡,文化衰退,實不可居,幸汝早出門,效力祖國。」(1932.12.09)
「汝母……以汝已為中國人,而服中國衣冠,蓋以慰余之宿望也。」(1932.12.14)
「台灣已不可居,讀書之外毫無趣味。余本擬清明後赴滬,而汝母以時局不靖,急欲啟行。」(1933.01.23)



臺灣語典連橫所著,著作時間自1929年始,至1933年完成。全書共分4卷,計收語彙1182條。卷(一)為單音詞,卷(二、三、四)為雙音詞。


詞條體例歸納為:
  1. 詞目
  2. 詞義
  3. 釋音
  4. 引證舊典,以明出處
  5. 用例
  6. 補充說明(姚榮松,《臺灣語典》導讀,p.18)。
以卷一「泔」字為例:
  1. 〈詞目〉:泔。
  2. 〈詞義〉:調味煮魚也。
  3. 〈釋音〉:〖《韻會》:音甘,呼如庵〗。
  4. 〈引證舊典,以明出處〉:〖《荀子》:曾子食有餘;曰:泔之。楊倞註:烹和之名〗。
  5. 〈用例〉:如曰泔轉。
  6. 〈補充說明〉:〔按泔轉一語,中國久已失傳,臺灣亦少知者。不圖二千餘年後尚存於臺南婦女口中,寧不可貴〕。

[编辑]刊本

《臺灣語典》

臺灣語典...

www.hakkaonline.com/.../thread-50674-1-1.... - 頁庫存檔
【台灣文獻叢刊·第161 種】《臺灣語典》 (民國)連橫撰 ... 連橫曰:余臺灣人也,能操臺灣之語而不能書臺語之字、且不能明臺語之義,余深自愧。夫臺灣之語,傳自漳、泉;而 ...


連 橫. 1957 《臺灣語典》。中華叢書委員會,臺北 

連雅堂,金楓出版社,臺北1986年

連橫《臺灣語典》考證ám 的本字是「泔」。引《說文》:「泔,. 米汁也。」又引《集韻》:「荷坎切」,音義皆合,可以認定為本字。連橫進一步解釋說:「泔,潘也  飯湯也。…生者為 ...


Books That Changed America :"Leaves of Grass"..."The Jungle" (1906)

$
0
0








  • Books That Changed America, Macmillan, 1970.
  • Books That Changed America Paperback – January 1, 1971
by Robert B. Downs (Author) 改變美國的書  ,彭哥譯,台北:純文學,1971

Robert Bingham Downs (May 25, 1903– February 24, 1991) was a prolificAmerican author and librarian. Downs was an advocate for intellectual freedom as well.[2] Downs spent the majority of his career working against, and voicing opposition to, literary censorship. Downs authored many books and publications regarding the topics of censorship, and on the topics of responsible and efficient leadership in the library context.[2]
Library of Congress Announces Their Books That Changed America









Books That Changed America Paperback – January 1, 1971





Benjamin Franklin, "Experiments and Observations on Electricity" (1751)
In 1751, Peter Collinson, president of the Royal Society, arranged for the publication of a series of letters from Benjamin Franklin, written between 1747 and 1750, describing his experiments with electricity. Through the publication of these experiments, Franklin became the first American to gain an international reputation for his scientific work. In 1753 he received the Copley Medal of the Royal Society for his contributions.

Benjamin Franklin, "Poor Richard Improved" (1758) and "The Way to Wealth"
As a writer, Benjamin Franklin was best known for the wit and wisdom he shared with the readers of his popular almanac, "Poor Richard," under the pseudonym "Richard Saunders." In 1758, Franklin created a clever preface that repeated a number of his maxims, framed as an event in which Father Abraham advises that those seeking prosperity and virtue should diligently practice frugality, honesty and industry. It was reprinted as "Father Abraham’s Speech" and "The Way to Wealth."

Thomas Paine, "Common Sense" (1776)
Published anonymously in Philadelphia in January 1776, "Common Sense" appeared at a time when both separation from Great Britain and reconciliation were being considered. Through simple rational arguments, Thomas Paine focused blame for Colonial America’s troubles on the British king and pointed out the advantages of independence. This popular pamphlet had more than a half-million copies in 25 editions appearing throughout the Colonies within its first year of printing.

Noah Webster, "A Grammatical Institute of the English Language" (1783)
Believing that a distinctive American language was essential to creating cultural independence for the new nation, Noah Webster sought to standardize rules for spelling and pronunciation. His "Grammatical Institute" became the popular "blue-backed speller" used to teach a century of American children how to spell and pronounce words. Its royalties provided Webster with the economic independence to develop his American dictionary.

"The Federalist" (1787)
Now considered to be the most significant American contribution to political thought, "The Federalist" essays supporting the ratification of the new Constitution first appeared in New York newspapers under the pseudonym "Publius." Although it was widely known that the 85 essays were the work of Alexander Hamilton, James Madison and John Jay, the initial curious speculation about authorship of specific essays gradually developed into heated controversy. Hamilton left an authorship list with his lawyer before his fatal duel. In his copy, Madison identified the author of each essay with their initials. Thomas Jefferson penned a similar authorship list in his copy. None of these attributions exactly match, and the authorship of several essays is still being debated by scholars.

"A Curious Hieroglyphick Bible" (1788)
Hieroglyphic Bibles were popular in the late 18th century as an effective and entertaining way to teach children biblical passages. Isaiah Thomas, the printer of this 1788 edition, is widely acclaimed as America’s first enlightened printer of children’s books and is often compared to John Newbery of London, with whom he shared the motto "Instruction with delight."

Christopher Colles, "A Survey of the Roads of the United States of America" (1789)
Irish-born engineer and surveyor Christopher Colles produced what is considered the first road map or guidebook of the United States. It uses a format familiar to modern travelers with each plate consisting of two to three strip maps arranged side by side, covering approximately 12 miles. Colles began this work in 1789 but ended the project in 1792 because few people purchased subscriptions. But he compiled an atlas covering approximately 1,000 miles from Albany, N.Y., to Williamsburg, Va.

Benjamin Franklin, "The Private Life of the Late Benjamin Franklin, LL.D." (1793)
Benjamin Franklin was 65 when he wrote the first part of his autobiography, which focused on his early life to 1730. During the 1780s he added three briefer parts that advanced his story to his 50th year (1756) and revised the first part. The first book-length edition was published in Paris in 1791. The first English edition, a retranslation of this French edition, was published in London in 1793. Franklin’s autobiography still is considered one of the most influential memoirs in American literature.

Amelia Simmons, "American Cookery" (1796)
This cornerstone in American cookery is the first cookbook of American authorship to be printed in the United States. Numerous recipes adapting traditional dishes by substituting native American ingredients, such as corn, squash and pumpkin, are printed here for the first time. Simmons’ "Pompkin Pudding," baked in a crust, is the basis for the classic American pumpkin pie. Recipes for cake-like gingerbread are the first known to recommend the use of pearl ash, the forerunner of baking powder.

"New England Primer" (1803)
Learning the alphabet went hand in hand with learning Calvinist principles in early America. The phrase "in Adam’s fall, we sinned all," taught children the first letter of the alphabet and the concept of original sin at the same time. More than 6 million copies in 450 editions of the "New England Primer" were printed between 1681 and 1830 and were a part of nearly every child’s life.

Meriwether Lewis, "History of the Expedition Under the Command of the Captains Lewis and Clark" (1814)
After Meriwether Lewis’s death in September 1809, William Clark engaged Nicholas Biddle to edit the expedition papers. Using the captains’ original journals and those of Sergeants Gass and Ordway, Biddle completed a narrative by July 1811. After delays with the publisher, a two-volume edition of the Corps of Discovery’s travels across the continent was finally available to the public in 1814. More than 20 editions appeared during the 19th century, including German, Dutch and several British editions.

Washington Irving, "The Legend of Sleepy Hollow" (1820)
One of the first works of fiction by an American author to become popular outside the United States, Washington Irving’s "The Legend of Sleepy Hollow" was first published as part of "The Sketchbook" in 1820. Irving’s vivid imagery involving the wild supernatural pursuit by the Headless Horseman has sustained interest in this popular folktale through many printed editions, as well as film, stage and musical adaptations.

William Holmes McGuffey, "McGuffey’s Newly Revised Eclectic Primer" (1836)
William Holmes McGuffey was hired in the 1830s by Truman and Smith, a Cincinnati publishing firm, to write schoolbooks appropriate for children in the expanding nation. His eclectic readers were graded, meaning a student started with the primer and, as his reading abilities improved, moved from the first through the sixth reader. Religious instruction is not included, but a strong moral code is encouraged with stories in which hard work and virtue are rewarded and misdeeds and sloth are punished.

Samuel Goodrich, "Peter Parley’s Universal History" (1837)
Samuel Goodrich, using the pseudonym Peter Parley, wrote children’s books with an informal and friendly style as he introduced his young readers to faraway people and places. Goodrich believed that fairy tales and fantasy were not useful and possibly dangerous to children. He entertained them instead with engaging tales from history and geography. His low regard for fiction is ironic in that his accounts of other places and cultures were often misleading and stereotypical, if not completely incorrect.

Frederick Douglass, "The Narrative of the Life of Frederick Douglass" (1845)
Frederick Douglass’s first autobiography is one of the best-written and most widely read slave narratives. It was boldly published less than seven years after Douglass had escaped and before his freedom was purchased. Prefaced by statements of support from his abolitionist friends, William Garrison and Wendell Phillips, Douglass’s book relates his experiences growing up a slave in Maryland and describes the strategies he used to learn to read and write. More than just a personal story of courage, Douglass’s account became a strong testament for the need to abolish slavery.

Nathaniel Hawthorne, "The Scarlet Letter" (1850)
"The Scarlet Letter" was the first important novel by Nathaniel Hawthorne, one of the leading authors of 19th-century romanticism in American literature. Like many of his works, the novel is set in Puritan New England and examines guilt, sin and evil as inherent human traits. The main character, Hester Prynne, is condemned to wear a scarlet "A" (for adultery) on her chest because of an affair that resulted in an illegitimate child. Meanwhile, her child’s father, a Puritan pastor who has kept their affair secret, holds a high place in the community.

Herman Melville, "Moby-Dick"; or, "The Whale" (1851)
Herman Melville’s tale of the Great White Whale and the crazed Captain Ahab who declares he will chase him "round perdition’s flames before I give him up" has become an American myth. Even people who have never read Moby-Dick know the basic plot, and references to it are common in other works of American literature and in popular culture, such as the Star Trek film "The Wrath of Khan" (1982).

Harriet Beecher Stowe, "Uncle Tom’s Cabin" (1852)
With the intention of awakening sympathy for oppressed slaves and encouraging Northerners to disobey the Fugitive Slave Law of 1850, Harriet Beecher Stowe began writing her vivid sketches of slave sufferings and family separations. The first version of "Uncle Tom’s Cabin" appeared serially between June 1851 and April 1852 in the National Era, an antislavery paper published in Washington, D.C. The first book edition appeared in March 1852 and sold more than 300,000 copies in the first year. This novel was extremely influential in fueling antislavery sentiment during the decade preceding the Civil War.

Henry David Thoreau, "Walden;" or, "Life in the Woods" (1854)
While living in solitude in a cabin on Walden Pond in Concord, Mass., Henry David Thoreau wrote his most famous work, "Walden," a paean to the idea that it is foolish to spend a lifetime seeking material wealth. In his words, "I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived." Thoreau’s love of nature and his advocacy of a simple life have had a large influence on modern conservation and environmentalist movements.



Happy Birthday to American poet Walt Whitman, born on this day in 1819.
Featured Artwork of the Day: John White Alexander (1856–1915) | Walt Whitman | 1889 http://met.org/1Fd3Yte


The Metropolitan Museum of Art, New York 的相片。


Walt Whitman, "Leaves of Grass" (1855)
The publication of the first slim edition of Walt Whitman’s "Leaves of Grass" in 1855 was the debut of a masterpiece that shifted the course of American literary history. Refreshing and bold in both theme and style, the book underwent many revisions during Whitman’s lifetime. Over almost 40 years Whitman produced multiple editions of "Leaves of Grass," shaping the book into an ever-transforming kaleidoscope of poems. By his death in 1892, "Leaves" was a thick compendium that represented Whitman’s vision of America over nearly the entire last half of the 19th century. Among the collection’s best-known poems are "I Sing the Body Electric,""Song of Myself," and "O Captain! My Captain!," a metaphorical tribute to the slain Abraham Lincoln.


On this day in 1855 Walt Whitman registered the title Leaves of Grass with the clerk of the United States District Court, New York; the first edition was published seven weeks later. Over the next thirty-six years Whitman would add many more poems and publish seven more editions, all in an effort to "Unscrew the locks from the doors! / Unscrew the doors themselves from their jambs!"


Walt Whitman 的相片。




Louisa May Alcott, "Little Women," or, "Meg, Jo, Beth and Amy" (1868)
This first edition of Louisa May Alcott’s "Little Women" was published in 1868 when Louisa was 35 years old. Based on her own experiences growing up as a young woman with three sisters, and illustrated by her youngest sister, May, the novel was an instant success, selling more than 2,000 copies immediately. Several sequels were published, including "Little Men" (1871) and "Jo’s Boys" (1886). Although "Little Women" is set in a very particular place and time in American history, the characters and their relationships have touched generations of readers and still are beloved.

Horatio Alger Jr., "Mark, the Match Boy" (1869)
The formulaic juvenile novels of Horatio Alger Jr., are best remembered for the "rags-to-riches" theme they championed. In these stories, poor city boys rose in social status by working hard and being honest. Alger preached respectability and integrity, while disdaining the idle rich and the growing chasm between the poor and the affluent. In fact, the villains in Alger’s stories were almost always rich bankers, lawyers or country squires.

Catharine E. Beecher and Harriet Beecher Stowe, "The American Woman’s Home" (1869)
This classic domestic guide by sisters Catharine E. Beecher and Harriet Beecher Stowe is dedicated to "the women of America, in whose hands rest the real destinies of the Republic." It includes chapters on healthful cookery, home decoration, exercise, cleanliness, good air ventilation and heat, etiquette, sewing, gardening and care of children, the sick, the aged and domestic animals. Intended to elevate the "woman’s sphere" of household management to a respectable profession based on scientific principles, it became the standard domestic handbook.

Mark Twain, "Adventures of Huckleberry Finn" (1884)
Novelist Ernest Hemingway famously said, "All modern American literature comes from one book by Mark Twain called ‘Huckleberry Finn.’ ... All American writing comes from that. There was nothing before. There has been nothing as good since." During their trip down the Mississippi on a raft, Twain depicts in a satirical and humorous way Huck and Jim’s encounters with hypocrisy, racism, violence and other evils of American society. His use in serious literature of a lively, simple American language full of dialect and colloquial expressions paved the way for many later writers, including Hemingway and William Faulkner.

Emily Dickinson, "Poems"(1890)
Very few of the nearly 1,800 poems that Emily Dickinson wrote were published during her lifetime and, even then, they were heavily edited to conform to the poetic conventions of their time. A complete edition of her unedited work was not published until 1955. Her idiosyncratic structure and rhyming schemes have inspired later poets.

Jacob Riis, "How the Other Half Lives" (1890)
An early example of photojournalism as vehicle for social change, Riis’s book demonstrated to the middle and upper classes of New York City the slum-like conditions of the tenements of the Lower East Side. Following the book’s publication (and the resulting public uproar), proper sewers, plumbing and trash collection eventually came to the Lower East Side.

Stephen Crane, "The Red Badge of Courage" (1895)
One of the most influential works in American literature, Stephen Crane’s "The Red Badge of Courage" has been called the greatest novel about the American Civil War. The tale of a young recruit in the Civil War who learns the cruelty of war made Crane an international success. The work is notable for its vivid depiction of the internal conflict of its main character – most war novels until that time focused more on the battles than on their characters.

L. Frank Baum, "The Wonderful Wizard of Oz" (1900)
"The Wonderful Wizard of Oz," published in 1900, is the first fantasy written by an American to enjoy an immediate success upon publication. So powerful was its effect on the American imagination, so evocative its use of the forces of nature in its plots, so charming its invitation to children of all ages to look for the element of wonder in the world around them that author L. Frank Baum was forced by demand to create book after book about Dorothy and her friends – including the Scarecrow, the Tin Woodman, the Cowardly Lion and Glinda the Good Witch.

Sarah H. Bradford, "Harriet, the Moses of Her People" (1901)
Harriet Tubman is celebrated for her courage and skill in guiding many escaping slave parties northward along the Underground Railroad to freedom. She also served as a scout and a nurse during the Civil War. In order to raise funds for Tubman’s support in 1869 and again in 1886, Sarah Hopkins Bradford published accounts of Tubman’s experiences as a young slave and her daring efforts to rescue family and friends from slavery.

Jack London, "The Call of the Wild" (1903)
Jack London’s experiences during the Klondike gold rush in the Yukon were the inspiration for "The Call of the Wild." He saw the way dogsled teams behaved and how their owners treated (and mistreated) them. In the book, the dog Buck’s comfortable life is upended when gold is discovered in the Klondike. From then on, survival of the fittest becomes Buck’s mantra as he learns to confront and survive the harsh realities of his new life as a sled dog.

W.E.B. Du Bois, "The Souls of Black Folk" (1903)
"Few books make history and fewer still become foundational texts for the movements and struggles of an entire people. The ‘Souls of Black Folk’ occupies this rare position," said Du Bois biographer Manning Marable. Du Bois’s work was so influential that it is impossible to consider the civil rights movement’s roots without first looking to this groundbreaking work.

Ida Tarbell, "The History of Standard Oil" (1904)
Journalist Ida Tarbell wrote her exposé of the monopolistic practices of John D. Rockefeller’s Standard Oil Company as a serialized work in McClure’s Magazine. The breakup of Standard Oil in 1911 into 34 "baby Standards" can be attributed in large part to Tarbell’s masterly muckraking.

Upton Sinclair, "The Jungle" (1906)
An early example of investigative journalism, this graphic exposé of the Chicago meat-packing industry presented as a novel was one of the first works of fiction to lead directly to national legislation. The federal meat-inspection law and the Pure Food and Drug Act of 1906 established the agency that eventually became the Food and Drug Administration in 1930.


Quote of the day:
"When the masters of industry pay such sums for a newspaper, they buy not merely the building and the presses and the name; they buy what they call the 'good-will' - that is, they buy you. And they proceed to change your whole psychology - everything that you believe about life. You might object to it, if you knew; but they do their work so subtly that you never guess what is happening to you!"
-- Upton Sinclair (1908)

Robert Reich 的相片。



Henry Adams, "The Education of Henry Adams" (1907)
The dawn of the 20th century and the changes it brought are the subjects of Henry Adams’ "education." Adams lived through the Civil War and died just before World War I. During that time, he witnessed cataclysmic transformations in technology, society and politics. Adams believed that his traditional education left him ill-prepared for these changes and that his life experiences provided a better education. One survey called it the greatest nonfiction English-language book of the last century.

William James, "Pragmatism" (1907)
"Pragmatism" was America’s first major contribution to philosophy, and it is an ideal rooted in the American ethos of no-nonsense solutions to real problems. Although James did not originate the idea, he popularized the philosophy through his voluminous writings.

Zane Grey, "Riders of the Purple Sage" (1912)
"Riders of the Purple Sage," Zane Grey’s best-known novel, was originally published in 1912. The Western genre had just evolved from the popular dime novels and penny dreadfuls of the late 19th century. This story of a gun-slinging avenger who saves a young and beautiful woman from marrying against her will played a significant role in shaping the formula of the popular Western genre begun by Owen Wister in "The Virginian" (1904).

Edgar Rice Burroughs, "Tarzan of the Apes" (1914)
"Tarzan of the Apes" is the first in a series of books about the popular man who was raised by and lived among the apes. With its universal themes of honesty, heroism and bravery, the series has never lost popularity. Countless Tarzan adaptations have been filmed for television and the silver screen, including an animated version currently in production.

Margaret Sanger, "Family Limitation" (1914)
While working as a nurse in the New York slums, Margaret Sanger witnessed the plight of poor women suffering from frequent pregnancies and self-induced abortion. Believing that these women had the right to control their reproductive health, Sanger published this pamphlet that simply explained how to prevent pregnancy. Distribution through the mails was blocked by enforcement of the Comstock Law, which banned mailing of materials judged to be obscene. However, several hundred thousand copies were distributed through the first family-planning and birth control clinic Sanger established in Brooklyn in 1916 and by networks of active women at rallies and political meetings.

William Carlos Williams, "Spring and All" (1923)
A practicing physician for more than 40 years, William Carlos Williams became an experimenter, innovator and revolutionary figure in American poetry. In reaction against the rigid, rhyming format of 19th-century poets, Williams, his friend Ezra Pound and other early-20th-century poets formed the core of what became known as the "Imagist" movement. Their poetry focused on verbal pictures and moments of revealed truth, rather than a structure of consecutive events or thoughts and was expressed in free verse rather than rhyme.

Robert Frost, "New Hampshire" (1923)
Frost received his first of four Pulitzer Prizes for this anthology, which contains some of his most famous poems, including "Stopping by Woods on a Snowy Evening" and "Fire and Ice." One of the best-known American poets of his time, Frost became principally associated with the life and landscape of New England. Although he employed traditional verse forms and metrics and remained aloof from the poetic movements and fashions of his day, poems featured language as it is actually spoken as well as psychological complexity and layers of ambiguity and irony.

F. Scott Fitzgerald, "The Great Gatsby" (1925)
F. Scott Fitzgerald, one of the major American writers of the 20th century, is a figure whose life and works embody powerful myths about the American Dream of success. "The Great Gatsby," considered by many to be Fitzgerald’s finest work and the book for which he is best known, is a portrait of the Jazz Age (1920s) in all its decadence and excess. Exploring the themes of class, wealth and social status, Fitzgerald takes a cynical look at the pursuit of wealth among a group of people for whom pleasure is the chief goal. "The Great Gatsby" captured the spirit of the author’s generation and earned a permanent place in American mythology.

Langston Hughes, "The Weary Blues" (1925)
Langston Hughes was one of the greatest poets of the Harlem Renaissance, a literary and intellectual flowering that fostered a new black cultural identity in the 1920s and 1930s. His poem "The Weary Blues," also the title of this poetry collection, won first prize in a contest held by Opportunity magazine. After the awards ceremony, the writer and photographer Carl Van Vechten approached Hughes about putting together a book of verse and got him a contract with his own publisher, Alfred A. Knopf. Van Vechten contributed an essay, "Introducing Langston Hughes," to the volume. The book laid the foundation for Hughes’s literary career, and several poems remain popular with his admirers.

William Faulkner, "The Sound and the Fury" (1929)
"The Sound and the Fury," William Faulkner’s fourth novel, was his own favorite, and many critics believe it is his masterpiece. Set in the fictional county of Yoknapatawpha, Miss., as are most of Faulkner’s novels, "The Sound and the Fury" uses the American South as a metaphor for a civilization in decline. Depicting the post-Civil War decline of the once-aristocratic Compson family, the novel is divided into four parts, each told by a different narrator. Much of the novel is told in a stream-of-consciousness style, in which a character’s thoughts are conveyed in a manner roughly equivalent to the way human minds actually work. Faulkner was awarded the Nobel Prize in 1950 and France’s Legion of Honor in 1951.

Dashiell Hammett, "Red Harvest" (1929)
Dashiell Hammett’s first novel introduced a wide audience to the so-called "hard-boiled" detective thriller with its depiction of crime and violence without any hint of sentimentality. The creator of classics such as "The Maltese Falcon" and "The Thin Man," shocked readers with such dialogue as "We bumped over dead Hank O’Meara’s legs and headed for home."

Irma Rombauer, "Joy of Cooking" (1931)
Until Irma Rombauer published "Joy of Cooking," most American cookbooks were little more than a series of paragraphs that incorporated ingredient amounts (if they were provided at all) with some vague advice about how to put them all together to achieve the desired results. Rombauer changed all that by beginning her recipes with ingredient lists and offering precise directions along with her own personal and friendly anecdotes. A modest success initially, the book went on to sell nearly 18 million copies in its various editions.

Margaret Mitchell, "Gone With the Wind" (1936)
The most popular romance novel of all time was the basis for the most popular movie of all time (in today’s dollars). Margaret Mitchell’s book, set in the South during the Civil War, won both the Pulitzer Prize and National Book Award, and it remains popular, despite charges that its author had a blind eye regarding the horrors of slavery.

Dale Carnegie, "How to Win Friends and Influence People" (1936)
The progenitor of all self-help books, Dale Carnegie’s volume has sold 15 million copies and been translated into more than 30 languages. "How to Win Friends and Influence People" has also spawned hundreds of other books, many of them imitators, written to advise on everything from improving one’s relationships to beefing up one’s bank account. Carnegie acknowledged that he was inspired by Benjamin Franklin, a young man who proclaimed that "God helps them that helped themselves" as a way to get ahead in life.

Zora Neale Hurston, "Their Eyes Were Watching God" (1937)
Although it was published in 1937, it was not until the 1970s that "Their Eyes Were Watching God" became regarded as a masterwork. It had initially been rejected by African American critics as facile and simplistic, in part because its characters spoke in dialect. Alice Walker’s 1975 Ms. magazine essay, "Looking for Zora," led to a critical reevaluation of the book, which is now considered to have paved the way for younger black writers such as Alice Walker and Toni Morrison.

Federal Writers’ Project, "Idaho: A Guide in Word and Pictures" (1937)
"Idaho" was the first in the popular American Guide Series of the Federal Writers’ Project, which ended in 1943. The project employed more than 6,000 writers and was one of the many programs of the Works Progress Administration, a Depression-era federal government employment program. These travel guides cover the lower 48 states plus the Alaska Territory, Puerto Rico and the District of Columbia. Each volume details a state’s history, geography and culture and includes photographs, maps and drawings.

Thornton Wilder, "Our Town: A Play" (1938)
Winner of the 1938 Pulitzer Prize, "Our Town" is among the most-performed plays of the 20th century. Those who see it relate immediately to its universal themes of the importance of everyday occurrences, relationships among friends and family and an appreciation of the brevity of life.

"Alcoholics Anonymous" (1939)
The famous 12-step program for stopping an addiction has sold more than 30 million copies. Millions of men and women worldwide have turned to the program co-founded by Bill Wilson and Dr. Bob Smith to recover from alcoholism. The "Big Book," as it is known, spawned similar programs for other forms of addiction.

John Steinbeck, "The Grapes of Wrath" (1939)
Few novels can claim that their message led to actual legislation, but "The Grapes of Wrath" did just that. Its story of the travails of Oklahoma migrants during the Great Depression ignited a movement in Congress to pass laws benefiting farmworkers. When Steinbeck won the Nobel Prize in 1962, the committee specifically cited this novel as one of the main reasons for the award.

Ernest Hemingway, "For Whom the Bell Tolls" (1940)
Ernest Hemingway’s novel about the horrors of the Spanish Civil War (1936–1939) depicts war not as glorious but disillusioning. Hemingway used his experiences as a reporter during the war as the background for his best-selling novel, which was nominated for a Pulitzer Prize and became a literary triumph. Based on his achievement in this and other noted works, he received the Nobel Prize for literature in 1954.

Richard Wright, "Native Son" (1940)
Among the first widely successful novels by an African American, "Native Son" boldly described a racist society that was unfamiliar to most Americans. As literary critic Irving Howe said in his 1963 essay "Black Boys and Native Sons,""The day ‘Native Son’ appeared, American culture was changed forever. No matter how much qualifying the book might later need, it made impossible a repetition of the old lies."

Betty Smith, "A Tree Grows in Brooklyn" (1943)
"A Tree Grows in Brooklyn" is the account of a girl growing up in the tenements of turn-of-the-20th-century Brooklyn. An early socially conscious novel, the book examines poverty, alcoholism, gender roles, loss of innocence and the struggle to live the American Dream in an inner city neighborhood of Irish American immigrants. The book was enormously popular and became a film directed by Elia Kazan.

Benjamin A. Botkin, "A Treasury of American Folklore" (1944)
Benjamin Botkin headed the Library of Congress’s Archive of American Folksong (now the American Folklife Center) between 1943 and 1945 and previously served as national folklore editor of the Federal Writers’ Project (1938–39), a program of President Franklin Roosevelt’s New Deal during the Depression. Botkin was one of the New Deal folklorists who persuasively argued that folklore was relevant in the present and that it was not something that should be studied merely for its historical value. This book features illustrations by Andrew Wyeth, one of America’s foremost realist painters.

Gwendolyn Brooks, "A Street in Bronzeville" (1945)
"A Street in Bronzeville" was Brooks’s first book of poetry. It details, in stark terms, the oppression of blacks in a Chicago neighborhood. Critics hailed the book, and in 1950 Brooks became the first African American to win the Pulitzer Prize for poetry. She was also appointed as U.S. Poet Laureate by the Librarian of Congress in 1985.

Benjamin Spock, "The Common Sense Book of Baby and Child Care" (1946)
Dr. Spock’s guidebook turned common wisdom about child-rearing on its head. Spock argued that babies did not have to be on a rigid schedule, that children should be treated with a great deal of affection, and that parents should use their own common sense when making child-rearing decisions. Millions of parents worldwide have followed his advice.

Eugene O’Neill, "The Iceman Cometh" (1946)
Nobel Prize winner Eugene O’Neill’s play about anarchism, socialism and pipe dreams is one of his most-admired but least-performed works, probably because of its more than four-and-a-half-hour running time. Set in 1912 in the seedy Last Chance Saloon in New York City, the play depicts the bar’s drunk and delusional patrons bickering while awaiting the arrival of Hickey, a traveling salesman whose visits are the highlight of their hopeless lives. However, Hickey’s arrival throws them into turmoil when he arrives sober, wanting them to face their delusions.

Margaret Wise Brown, "Goodnight Moon" (1947)
This bedtime story has been a favorite of young people for generations, beloved as much for its rhyming story as for its carefully detailed illustrations by Clement Hurd. Millions have read it (and had it read to them). "Goodnight Moon" has been referred to as the perfect bedtime book.

Tennessee Williams, "A Streetcar Named Desire" (1947)
A landmark work, which won the 1948 Pulitzer Prize for Drama, "A Streetcar Named Desire" thrilled and shocked audiences with its melodramatic look at a clash of cultures. These cultures are embodied in the two main characters – Blanche DuBois, a fading Southern belle whose genteel pretensions thinly mask alcoholism and delusions of grandeur, and Stanley Kowalski, a representative of the industrial, urban working class. Marlon Brando’s portrayal of the brutish and sensual Stanley in both the original stage production and the film adaptation has become an icon of American culture.

Alfred C. Kinsey, "Sexual Behavior in the Human Male" (1948)
Alfred Kinsey created a firestorm when he published this volume on men in 1948 and a companion on women five years later. No one had ever reported on such taboo subjects before and no one had used scientific data in such detail to challenge the prevailing notions of sexual behavior. Kinsey’s openness regarding human sexuality was a harbinger of the 1960s sexual revolution in America.

J.D. Salinger, "The Catcher in the Rye" (1951)
Since his debut in 1951 as the narrator of "The Catcher in the Rye," 16-year-old Holden Caulfield has been synonymous with adolescent alienation and angst. The influential story concerns three days after Holden has been expelled from prep school. Confused and disillusioned, he wanders New York City searching for truth and rails against the phoniness of the adult world. Holden is the first great American antihero, and his attitudes influenced the Beat generation of the 1950s as well as the hippies of the 1960s. "The Catcher in the Rye" is one of the most translated, taught and reprinted books and has sold some 65 million copies.

Ralph Ellison, "Invisible Man" (1952)
Ralph Ellison’s "Invisible Man" is told by an unnamed narrator who views himself as someone many in society do not see, much less pay attention to. Ellison addresses what it means to be an African-American in a world hostile to the rights of a minority, on the cusp of the emerging civil rights movement that was to change society irrevocably.

E.B. White, "Charlotte’s Web" (1952)
According to Publishers Weekly, "Charlotte’s Web" is the best-selling paperback for children of all time. One reason may be that, although it was written for children, reading it is just as enjoyable for adults. The book is especially notable for the way it treats death as a natural and inevitable part of life in a way that is palatable for young people.

Ray Bradbury, "Fahrenheit 451" (1953)
"Fahrenheit 451" is Ray Bradbury’s disturbing vision of a future United States in which books are outlawed and burned. Even though interpretations of the novel have primarily focused on the historical role of book-burning as a means of censorship, Bradbury has said that the novel is about how television reduces knowledge to factoids and destroys interest in reading. The book inspired a 1966 film by Francois Truffaut and a subsequent BBC symphony. Its name comes from the minimum temperature at which paper catches fire by spontaneous combustion.

Allen Ginsberg, "Howl"(1956)
Allen Ginsberg’s poem "Howl" (first published as the title poem of a collection) established him as an important poet and the voice of the Beat Generation of the 1950s. Because of the boldness of the poem’s language and subject matter, it became the subject of an obscenity trial in San Francisco in which it was exonerated after witnesses testified to its redeeming social value. Ginsberg’s work had great influence on later generations of poets and on the youth culture of the 1960s.

Ayn Rand, "Atlas Shrugged" (1957)
Although mainstream critics reacted poorly to "Atlas Shrugged," it was a popular success. Set in what novelist and philosopher Rand called "the day after tomorrow," the book depicts a United States caught up in a crisis caused by a corrupt establishment of government regulators and business interests. The book’s negative view of government and its support of unimpeded capitalism as the highest moral objective have influenced libertarians and those who advocate a smaller government.

Dr. Seuss, "The Cat in the Hat" (1957)
Theodore Seuss Geisel was removed as editor of the campus humor magazine while a student at Dartmouth College after too much reveling with fellow students. In spite of this Prohibition-era setback to his writing career, he continued to contribute to the magazine pseudonymously, signing his work "Seuss." This is the first known use of his pseudonym, which became famous in children’s literature when it evolved into "Dr. Seuss.""The Cat in the Hat" is considered the most important book of his career. More than 200 million Dr. Seuss books have been sold around the world.

Jack Kerouac, "On the Road" (1957)
The defining novel of the 1950s Beat Generation (which Kerouac named), "On the Road" is a semiautobiographical tale of a bohemian cross-country adventure, narrated by character Sal Paradise. Kerouac’s odyssey has influenced artists such as Bob Dylan, Tom Waits and Hunter S. Thompson and films such as "Easy Rider.""On the Road" has achieved a mythic status in part because it portrays the restless energy and desire for freedom that makes people take off to see the world.

Harper Lee, "To Kill a Mockingbird" (1960)
This 1960 Pulitzer Prize winner was an immediate critical and financial success for its author, with more than 30 million copies in print to date. Harper Lee created one of the most enduring and heroic characters in all of American literature in Atticus Finch, the small-town lawyer who defended a wrongly accused black man. The book’s importance was recognized by the 1961 Washington Post reviewer: "A hundred pounds of sermons on tolerance, or an equal measure of invective deploring the lack of it, will weigh far less in the scale of enlightenment than a mere 18 ounces of new fiction bearing the title ‘To Kill a Mockingbird.’"

Joseph Heller, "Catch-22" (1961)
Joseph’s Heller’s "Catch-22," an irreverent World War II novel and a satiric treatment of military bureaucracy, has had such a penetrating effect that its title has become synonymous with "no-win situation." Heller’s novel is a black comedy, filled with orders from above that make no sense and a main character, Yossarian, who just wants to stay alive. He pleads insanity but is caught in the famous catch: "Anyone who wants to get out of combat duty isn't really crazy." The novel became a cult classic for its biting indictment of war.

Robert E. Heinlein, "Stranger in a Strange Land" (1961)
The first science fiction novel to become a bestseller, "Stranger in a Strange Land" is the story of Valentine Michael Smith, a human raised on Mars by Martians (his parents were on the first expedition to Mars and he was orphaned when the crew perished) who returns to Earth about 20 years later. Smith has psychic powers but complete ignorance of human mores. The book is considered a classic in its genre.

Ezra Jack Keats, "The Snowy Day" (1962)
Ezra Jack Keats’s "The Snowy Day" was the first full-color picture book with an African-American as the main character. The book changed the field of children’s literature forever, and Keats was recognized by winning the 1963 Caldecott Medal (the most prestigious American award for children’s books) for his landmark effort.

Maurice Sendak, "Where the Wild Things Are" (1963)
"It is my involvement with this inescapable fact of childhood – the awful vulnerability of children and their struggle to make themselves King of All Wild Things – that gives my work whatever truth and passion it may have," Maurice Sendak said in his Caldecott Medal acceptance speech on June 30, 1964. Sendak called Max, the hero of "Where the Wild Things Are," his "bravest and therefore my dearest creation." Max, who is sent to his room with nothing to eat, sails to where the wild things are and becomes their king.

James Baldwin, "The Fire Next Time" (1963)
One of the most important books ever published on race relations, Baldwin’s two-essay work comprises a letter written to his nephew on the role of race in United States history and a discussion of how religion and race influence each other. Baldwin’s angry prose is balanced by his overall belief that love and understanding can overcome strife.

Betty Friedan, "The Feminine Mystique" (1963)
By debunking the "feminine mystique" that middle-class women were happy and fulfilled as housewives and mothers, Betty Friedan inspired the second-wave feminist movement of the 1960s and 1970s. Friedan advocates that women need meaningful work and encourages them to avoid the trap of the "feminine mystique" by pursuing education and careers. By 2000 this touchstone of the women’s movement had sold 3 million copies and was translated into several languages.

Malcolm X and Alex Haley, "The Autobiography of Malcolm X" (1965)
When "The Autobiography of Malcolm X" (born Malcolm Little) was published, The New York Times called it a "brilliant, painful, important book," and it has become a classic American autobiography. Written in collaboration with Alex Haley (author of "Roots"), the book expressed for many African-Americans what the mainstream civil rights movement did not: their anger and frustration with the intractability of racial injustice.

Ralph Nader, "Unsafe at Any Speed" (1965)
Nader’s book was a landmark in the field of auto safety and made him a household name. It detailed how automakers resisted putting safety features, such as seat belts, in their cars and resulted in the federal government’s taking a lead role in the area of auto safety.

Rachel Carson, "Silent Spring" (1962)
A marine biologist and writer, Rachel Carson is considered a founder of the contemporary environmental protection movement. She drew attention to the adverse effects of pesticides, especially that of DDT on bird populations, in her book "Silent Spring," a 1963 National Book Association Nonfiction Finalist. At a time when technological solutions were the norm, she pointed out that man-made poisons introduced into natural systems can harm not only nature, but also humans. Her book met with great success and because of heightened public awareness, DDT was banned.

Truman Capote, "In Cold Blood" (1966)
A 300-word article in The New York Times about a murder led Truman Capote to travel with his childhood friend Harper Lee to Holcomb, Kan., to research his nonfiction novel, which is considered one of the greatest true-crime books ever written. Capote said the novel was an attempt to establish a serious new literary form, the "nonfiction novel," a narrative form that employed all the techniques of fictional art but was nevertheless entirely factual. The book was an instant success and was made into a film.

James D. Watson, "The Double Helix" (1968)
James D. Watson’s personal account of the discovery of DNA changed the way Americans regarded the genre of the scientific memoir and set a new standard for first-person accounts. Dealing with personalities, controversies and conflicts, the book also changed the way the public thought about how science and scientists work, showing that scientific enterprise can at times be a messy and cutthroat business.

Dee Brown, "Bury My Heart at Wounded Knee" (1970)
Until librarian Dee Brown wrote his history of Native Americans in the West, few Americans knew the details of the unjust treatment of Indians. Brown scoured both well-known and little-known sources for his documentary on the massacres, broken promises and other atrocities suffered by Indians. The book has never gone out of print and has sold more than 4 million copies.

Boston Women’s Health Book Collective, "Our Bodies, Ourselves" (1971)
In the early 1970s a dozen Boston feminists collaborated in this groundbreaking publication that presented accurate information on women’s health and sexuality based on their own experiences. Advocating improved doctor-patient communication and shared decision-making, "Our Bodies, Ourselves" explored ways for women to take charge of their own health issues and to work for political and cultural change that would ameliorate women’s lives.

Carl Sagan, "Cosmos" (1980)
Carl Sagan’s classic, bestselling science book accompanied his avidly followed television series, "Cosmos." In an accessible way, Sagan covered a broad range of scientific topics and made the history and excitement of science understandable and enjoyable for Americans and then for an international audience. The book offers a glimpse of Sagan’s personal vision of what it means to be human.

Toni Morrison, "Beloved" (1987)
Toni Morrison won the 1988 Pulitzer Prize for fiction for her post-Civil War novel based on the true story of an escaped slave and the tragic consequences when a posse comes to reclaim her. The author won the Nobel Prize for literature in 1993, and in 2006 The New York Times named "Beloved""the best work of American fiction of the past 25 years."

Randy Shilts, "And the Band Played On" (1987)
"And the Band Played On" is the story of how the AIDS epidemic spread and how the government’s initial indifference to the disease allowed its spread and gave urgency to devoting government resources to fighting the virus. Shilts’s investigation has been compared to other works that led to increased efforts toward public safety, such as Upton Sinclair’s "The Jungle."

César Chávez, "The Words of César Chávez" (2002)
César Chávez, founder of the United Farm Workers, was as impassioned as he was undeterred in his quest for better working conditions for farm workers. He was a natural communicator whose speeches and writings led to many improvements in wages and working conditions.

The Rudolf Steiner Book Archive: Goethe's World View ; The Renewal of the Social Organism

$
0
0

http://www.rsarchive.org/Books/

The Rudolf Steiner
Book Archive

The Renewal of the Social Organism,

The Threefold Order of the Body Social,
Aufsaetze Ueber Die Dreigliederung des Sozialen Organismus
und zur zeitlage 1915–1921] 


Rudolf Steiner
(Written 1921; GA 24)

  Verlag Cover Image
Click to Visit the Verlag
Culture, politics, economics — these are the three core activities of society. Social health depends on the harmonious interworking of these three activities which, Steiner says, is possible only if they are sufficiently autonomous so each can find its own essential character. In his foreword, Joseph Weizenbaum observes that the framers of the U.S. Constitution understood this, at least in part, when they developed the constitutional doctrine of separation of church and state.

These essays cover a range of issues with special attention to money, the division of labor, human motivation, and education. They offer refreshing insights into the nature of modern society as well as guidance for solving today's pressing social problems.
Known Publications:
  • Aufsaetze Ueber Die Dreigliederung des Sozialen Organismus und Zur ZeitlagE 1914–1921 German language editions: 1920, 1951, 1961, 1982 ISBN 3-7274-0240-7,
  • Renewal of the Social Organism, Anthroposophic Press, Spring Valley, New York, 1985, 151 pp., translated from the German by E. Bowen-Wedgwood (and Ruth Mariott) The Contents are: Four articles from the newspaper The Social Future, Twenty articles from the newspaper The Threefold Social Order, Two Apendices ISBN 0-88010-126-1, Cloth; ISBN 0-88010-125-3, Paper
  • An Introduction to Waldorf Education, Bibliography No. 24.18 Anthroposophic Press, New York, c. 1987 translated from the German by E. Bowen-Wedgwood and Frederick Amrine ISBN 0-88010-137-7,

GA 24 ... Selections ...

.
Book Cover ImageThis essay was written during 1919. In the Collected edition of Rudolf Steiner's works, the volume containing the German texts is entitled, Aufsatze Uber die Dreigleiderung der sozialen organismus und zur Zeitlage 1915-1921 (Vol. 24 in the Bibliographic Survey, 1961). It was translated from the German by E. Bowen-Wedgewood; the translation was revised by Frederick Amrine.


.
Book Cover ImageAn exerpt taken from: “Understanding the Human Being”, selected writings of Rudolf Steiner, Edited by Richard Seddon, Rudolf Steiner Press, Bristol, 1993, ISBN 1-85584-005-7, From: Chapter 7 - Reordering of Society: Essay Source = Anthroposophy, 1927 Vol. II, No.3, “Renewal of the Social Organism”, 1919, GA 24. Thanks to John R. Penner for this donation.


.
Book Cover ImageThe articles presented in this volume were written during 1919 and 1920. In the Collected Edition of Rudolf Steiner's works, the volume containing the German texts is entitled, Aufsätze Über die Dreigliederung des sozialen organismus und zur Zeitlage 1915–1921 (Vol. 24 in the Bibliographic Survey, 1961.). They were translated from the German by E. Bowen-Wedgewood and Ruth Mariott; the translation was revised by Frederick Amrine. The publication of the printed volume was made possible by a grant from the Dietrich V. Asten Memorial Fund.


.
Book Cover ImageIn the social ferment of postwar Europe in 1919, Steiner presented his ideas about reforming the basis of society in three fundamental, autonomous spheres: economic, political/rights, and cultural. For a short time he worked to bring his ideas into practical application but it soon became impossible to bring about a “threefold social order” and he withdrew from the outer work in this area. His ideas have been worked with over the decades since that time and have proved to be just as valid today as they were then. In this volume is the Introduction to the 2nd German edition of “The Threefold Commonwealth,” GA 23, and an address given by Dr. Rudolf Steiner at a meeting of the League for the Threefold Social Order in Stuttgart, 31st May 1919, entitled, The Impulse Towards the Threefold Order: No Utopia, but the Practical Demand of the Hour (vol. 24 in the Bibliographic Survey).


.
Book Cover ImageIn the social ferment of postwar Europe in 1919, Steiner presented his ideas about reforming the basis of society in three fundamental, autonomous spheres: economic, political/rights, and cultural. For a short time he worked to bring his ideas into practical application but it soon became impossible to bring about a “threefold social order” and he withdrew from the outer work in this area. His ideas have been worked with over the decades since that time and have proved to be just as valid today as they were then. In this second volume are presented two addresses given by Dr. Steiner at study evenings in the year 1920. The first lecture, given on September 15th, is from GA 335, and the second lecture is from GA 337.
- See more at: http://www.rsarchive.org/Books/GA024/#sthash.Y9VAij0a.dpuf

Goethe's World View

By Rudolf Steiner

GA 6

This edition of Goethe's World View is a new translation by William Lindeman from Goethe's Weltanschauung, published by Verlag der Rudolf Steiner Nachlassverwaltung, Dornach, Switzerland, 1963.

The Cover Graphic form is by Rudolf Steiner (originally as a study for the book Truth and Science). The layout and lettering are by Peter Stebbing.

We present an authorized translation for the Western Hemisphere by agreement with the Rudolf Steiner Nachlassverwaltung, Dornach, Switzerland.
Copyright © 1985
This e.Text edition is provided through the wonderful work of:
The Mercury Press
Book Cover Image

Some editions and/or translations of this book are available for purchase from:
search for related titles available for purchase at Amazon.com! Find more information at Google Book Search.

Thanks to a donation by Chris Garrison, this book has been made available.

CONTENTS

 Cover Sheet 
Contents 
Preface to the New Edition, 1918 
Preface to the First Edition 
Introduction 

I.
GOETHE'S PLACE IN THE DEVELOPMENT OF
WESTERN THOUGHT
 
Goethe and Schiller 
The Platonic World View 
The Consequences of the Platonic World View 
Goethe and the Platonic World View 
Personality and World View 
The Metamorphosis of World Phenomena 

II.
GOETHE'S VIEW ON THE NATURE AND DEVELOPMENT
OF LIVING BEINGS
 
Metamorphosis 

III.
THE CONTEMPLATION OF THE WORLD OF COLORS
 
The Phenomena of the World of Colors 

IV.
THOUGHTS ABOUT THE DEVELOPMENTAL HISTORY
OF THE PHENOMENA OF EARTH AND AIR
 
Thoughts about the Developmental History of the Earth 
Observations about Atmospheric Phenomena 

V.
 
Goethe and Hegel 

Epilogue to the New Edition of 1918
 
- See more at: http://wn.rsarchive.org/Books/GA006/English/MP1985/GA006_index.html#sthash.ePGJPNzp.dpuf

Benjamin Franklin 《富蘭克林自傳》力行十三項箴言

$
0
0

Here's a deep dive into the essay that brought you sayings such as "Early to bed and early to rise makes a man healthy, wealthy, and wise."
Professor Sophus Reinert and colleagues dig into the lasting power of Franklin’s treatise on...
HBSWK.HBS.EDU



溫紳專欄/鑑古觀今

1758年2月16日

力行十三項箴言的富蘭克林



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

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

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

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

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

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


2015.1.18 賓大

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


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

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

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

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

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

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

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

******


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

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

王鼎鈞詩集《有詩》向明序,1999

$
0
0


向明
2014年9月2日· 編輯紀錄·

「白話」變成「詩」。胡先生的好意便留下了只有破壞沒有建設的遺憾。使我們這些後來繼續從事寫詩的人,為詩的重建付出了重大代價,在保守者眼中,我們一直被視為不肖份子、我們寫的句子長短不一的解放詩更是視為洪水猛獸,擾亂了詩千百年來的既有秩序。
然而在這艱苦的道路上,寫新詩的人並不全然孤獨,常常會遏到拔刀相助的貴人,他們為新詩人的努力作辯護,力陳詩的推陳出新是歴史的軌跡,是順應時代的需要。詩如果成為定型,沒有創意,便注定會被革新掉,這是舊詩會被大解放的重要原因。他們同時更知道,幾擊重錘就可打倒一面高牆,但要另砌一堵新牆、就得一磚一石的實實在在慢慢堆砌。我們應容忍新詩重建的慢速度,鼓勵新詩人用各種方法找到新秩序。在這些對新詩同情的人中,名散文家王鼎鈞先生是最早挺身而出為新詩說話的人。在五O年代新詩被圍剿得無地自容的時候,他以方以直筆名寫的幾篇短文、使我們在為新詩奮戰的人得到不少奧援,從而沒被打擊得懷憂喪志。

2
王鼎鈞先生不但一苴是新詩人的良師益友,更常常強調文學的血统是詩,文學的遺傳基因是詩。人間不能沒有詩、沒有詩,如何證明我們彼此是同類?他說過一句最讓詩人們深省的話、他說﹕「自古以來,詩人要搖頭晃腦才寫得出好詩來,倘若不住的點頭磕頭,那詩是不能看的呵!」可見鼎鈞先生對詩人的期望多麽的深重,我對他這句話是隨時在用來警惕自己的。

3
鼎鈞先生非常自謙,他對詩和詩人這麽有見地、卻常說「我是讀詩的人,不是寫詩的人,也不是評詩的人。」事實上,國學根基深厚,人生歴練豐富的他,最先動筆寫的就是詩。他的老師是他的本家爺爺,他住的那個村莊叫插柳口,曾經寫過(插柳学詩)一文記述經過。1985年他在美與大陸家鄉通信,和當年的老同學唱和,又曾燃起他寫舊體詩的興趣,寫過好多寓意深長的舊詩。
鼎鈞先生確實沒有正式寫過一篇評詩的文章,但是他在評散文或小說劇本時,都以詩的指標來要求。他在評女詩人羅英的極短篇時(見爾雅《兩岸書聲》113頁),就曾認為羅英以極短篇為皮囊装入了詩魂,他讀的雖是小說,實際得到的是一首好詩。他在評鍾曉陽的小說時(見《兩岸書聲》191頁),發現小說中的描寫「甚有詩筆詞意」,由而他認為現代文人如果也有古時文人常說的生平「三恨」的話、其中一恨便是「恨小說的細密精緻不能如詩詞」,可見他對詩詞的器重。

4
寫新詩是鼎鈞先生近幾年的事。當四年前我第一次讀到他寫給瘂弦的<轉韻>一詩的時候,我對比他祇早一年也轉行新詩的隱況說,又一個正式由支持化為行動的文學人來加入我們這雜牌的詩隊伍了。 余光中在早年寫文章遺憾寫詩的人老是撈過界到別的文類去探險,很少有別的文類的人到新詩的陣地來比劃一番,二十多年後余光中的遺憾彷彿成了預言,我們寫詩的人真是吾道不孤了。
有人說現在的文類界限模糊是股潮流。有些人的詩寫得根本就是散文、有些散文或小說又分行得像披上詩的外衣。但是散文大家鼎鈞先生寫的新詩絕對一點也不含混,甚至連他那被認為是台灣最有分量的散文語言也沒滲入到他的新詩中,他寫的是純正的詩。當然現在要把什麽是真正的詩的標準定出來也很難,詩己多元化到不止戰國七雄,甚至還超過五胡十六國。不過不論什麽詩,新詩、舊詩、天底下所有可能出現的詩,都由兩個基本原件組成,一是由感性而衍生的詩意、一是由理性而構思出來的詩藝、詩意如果能透過詩藝表達出來、詩藝如果能確切掌握詩意,二者魚帮水、水帮魚的合作無間,詩便會完滿的誕生了。鼎鈞先生有紥實的古典文學基礎,受過豐厚的舊詩薰陶,更是現代文學的旗手,寫起新詩來自然拿揑準確、游刃有餘。
不過根據我的經驗,詩是詩人整個人格的分身。詩人本身有什麽信仰、觀念、想法、甚至嗜好、習慣都會如實的從他詩作中偷跑了出來,詩人是最不能撒謊又不會撤謊的一種動物。鼎鈞先生在信仰上是個虔誠的基督徒,在身世上、一生都是在流浪﹔在學術成就上、曾做過大報的副刋主編、寫出三十幾本著作﹔得過國家文藝獎,而今是兩岸都尊敬的頂尖散文大家。知道了這些背景資料,再去讀鼎釣先生的《有詩》,就好像找到了一把大門鑰匙,便可在他的詩中處處找到人生的寶藏了。

(1999年 序王鼎鈞詩集《有詩》)

海明威 Ernest Hemingway《老人與海》

$
0
0

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




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



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

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



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




















董橋︰饗宴


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





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



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

 海明威傳 台北: 志文 1981/1990

 ---
 爸爸海明威,南京:譯林,1999

A. E. Hotchner - Wikipedia, the free encyclopedia

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

To Use and Use Not


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

書業

海明威的47個結尾

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

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


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



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


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


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

"你唬不了我的,老頭。你沒有誤人子弟,你不是那種冒牌大師。"

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






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

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

命運是不能比的,紀弦詩中說:「君非海明威此一起碼認識之必要」。

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

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

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

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




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

 《一個乾淨明亮的地方》

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


完全沒作者介紹
一票名家名著的簡介 不過多說"評價"


《朝花旬刊》《甲子春秋:我與文學所六十年》

$
0
0
《甲子春秋:我與文學所六十年》是為了紀念中國社會科學院文學研究所建所六十年所編著的,《甲子春秋:我與文學所六十年》是以訪談“親歷”為原則。內容包括了被訪者在文學所不同時期的工作、學術、生活、同事等各個方面。對於過去較少被人們憶及的文學所“文革”時期的經歷,一些被訪問的老同志也坦然面對,暢所欲言,為研究這段歷史留下了寶貴資料。

《甲子春秋:我與文學所六十年》
作者:中國社會科學院文學研究會

我去讀一下"百度百科"的"中國文學所"條目,竟然絕少數據,譬如說究竟有多少人.....


******
http://www.baike.com/wiki/%E6%9C%9D%E8%8A%B1%E7%A4%BE&prd=so_1_doc

朝花社是魯迅、柔石等組織的文藝團體,一九二八年十一月成立於上海。《朝花》,文藝周刊。一九二八年十二月六日創刊,至一九二九年五月十六日共出二十期;六月一日改出《朝花旬刊》,一九二九年九月二十一日出至第十二期停刊。《藝苑朝華》朝花社出版的美術叢刊,魯迅、柔石編輯。一九二九年至一九三○年間共出外國美術作品五輯,即《近代木刻選集》一、二集,《拾谷虹兒畫選》等作品。沒有設門市部,靠明日書店、光華書店等代售。1930年5月因經濟原因歇業。

魯迅想起《文選•陸機〈文賦〉》中“ 謝朝華於已披,啟夕秀於未振”的話,提出把這個文藝社團命名為朝花社,擬辦的刊物也就名為《朝花》周刊。

 《朝花旬刊》1929  1-12 合訂本複印,上海書店,1982

 閔予翻譯Thomas Mann寫的 《託爾斯太》第5-6期刊出。


詩經
   周頌 ‧ 閔予小子之什




Author:Isabella Lucy Bird Bishop: Unbeaten tracks in Japan : 『日本奥地紀行』

$
0
0
Unbeaten tracks in Japan : an account of travels in the interior including visits to the aborigines of Yezo and the shrine of Nikkô / Isabella L. Bird
London : J. Murray, 1893

 Unbeaten Tracks in Japan - Project Gutenberg(1885年版)

Bird, Isabella. "Unbeaten Tracks in Japan: The Firsthand Experiences of a British Woman in Outback Japan in 1878". Japan & Stuff Press (2006). ISBN 4-9902848-0-1.

Usu Station - 有珠駅 - 北海道伊達市 - Ekinavi

ekinavi-net.jp/railway/jr-muroran01/usu/index.html
翻譯這個網頁
Usu Station area tourism and travel information. 有珠善光寺の玄関口。駅の概要・営業時間・ ... Usu Bay 有珠湾と旅館有珠観光館。 Ousuyama Shrine 大臼山神社。

 I sat on a rock by the bay till the last pink
glow faded from Usu-taki 岳and the last lemon stain from the still
water; and a beautiful crescent, which hung over the wooded hill,
had set, and the heavens blazed with stars:


"Ten thousand stars were in the sky,
Ten thousand in the sea,
And every wave with dimpled face,
That leapt upon the air,
Had caught a star in its embrace,
And held it trembling there."


The loneliness of Usu Bay is something wonderful--a house full of
empty rooms falling to decay, with only two men in it--one Japanese
house among 500 savages, yet it was the only one in which I have
slept in which they bolted neither the amado nor the gate.





The Ainu Bear Ceremony 1931

https://www.youtube.com/watch?t=24&v=EelCX5zjTKU


 日本奥地紀行 / イサベラ.バード(Isabella L. Bird)著 ; 高梨健吉訳
東京都 : 平凡社, 2000


日本奥地紀行』(にほんおくちきこう、英語Unbeaten Tracks in Japan)は、イザベラ・バードの日本旅行記である。
1878年明治11)6月から9月にかけて東京から北海道蝦夷地)までの旅行の記録で、明治維新当時の日本の地方の住居、服装、風俗、自然を細かく書き留めてあり、近代以前の日本の情勢を知ることのできる資料である。またアイヌ人に関する記述も豊富にある。
初版は1880年に2巻本として出版されたが,その後版を重ね、関西旅行の記述その他を省略した1885年版が出版された。


『日本奥地紀行』

1878年(明治11)6月から9月にかけ『日本奥地紀行』は執筆され、1880年に "Unbeaten Tracks in Japan"(直訳すると「日本における人跡未踏の道」)として刊行された。冒頭の「はしがき」では「(私の)全行程を踏破したヨーロッパ人はこれまでに一人もいな かった」としるし、また「西洋人のよく出かけるところは、日光を例外として詳しくは述べなかった」と記し、この紀行が既存の日本旅行記とは性格を異にする ことを明言している[2]
栃木県壬生町から鹿沼市日光杉並木に至る例幣使街道では、よく手入れされた大麻畑や街道沿いの景色に日本の美しさを実感したと書いている。また日光で滞在した金谷邸(カナヤ・カッテージ・イン)にはその内外に日本の牧歌的生活があると絶賛し、ここに丸々2週間滞在して日光東照宮をはじめ、日光の景勝地を家主金谷善一郎および通訳の伊藤とともに探訪する。[3]
日光滞在10日目には奥日光を訪れるが、梅雨時の豊かな水と日光に育まれた植生、コケ、シダ、木々の深緑と鮮やかに咲き誇る花々が中禅寺湖男体山華厳滝竜頭滝戦場ヶ原湯滝湯元湖を彩る様を闊達に描写し絶賛している。街道の終点である湯元温泉にもたいへんな関心を示し、湯治場を訪れている湯治客の様子を詳らかに記している。またその宿屋(やしま屋)のたいへん清潔である様を埃まみれの人間ではなく妖精が似合う宿であると形容し、1泊したうえで金谷邸への帰途に就く。[4]
山形県南陽市赤湯温泉湯治風景に強い関心を示し、置賜地方を「エデンの園」とし、その風景を「東洋のアルカディア」と評した。[5]
『日本奥地紀行』では当時の日本をこう書いている。
私はそれから奥地や蝦夷を1200マイルに渡って旅をしたが、まったく安全でしかも心配もなかった。世界中で日本ほど婦人が危険にも無作法な目にもあわず、まったく安全に旅行できる国はないと信じている[6][7]
他には新潟を「美しい繁華な町」としつつも、県庁、裁判所、学校、銀行などが「大胆でよく目立つ味気ない」としたり[8]湯沢を「特にいやな感じのする町である」と[9]記したり、また黒石の上中野を美しいと絶賛したりしている[10]
他方、「日本人は、西洋の服装をすると、とても小さく見える。どの服も合わない。日本人のみじめな体格、凹んだ胸部、がにまた足という国民的欠陥をいっそうひどくさせるだけである[11]」、 また「日本人の黄色い皮膚、馬のような固い髪、弱弱しい瞼、細長い眼、尻下がりの眉毛、平べったい鼻、凹んだ胸、蒙古系の頬が出た顔形、ちっぽけな体格、 男たちのよろよろした歩きつき、女たちのよちよちした歩きぶりなど、一般に日本人の姿を見て感じるのは堕落しているという印象である[12]」と日本人の人種的外観について記している。なおアイヌ人については「未開人のなかで最も獰猛」そうであるが、話すと明るい微笑にあふれると書いている[13]。ほかにもホザワ(宝坂?)と栄山の集落について「不潔さの極み」と表し、「私が日本人と話をかわしたり、いろいろ多くのものを見た結果として、彼らの基本道徳の水準は非常に低いものであり、生活は誠実でもなければ清純でもない、と判断せざるをえない[14]」と阿賀野川津川で書くなど、日本について肯定的な側面と否定的な側面双方を多面的に記述している。
 日本內陸遊記”“日本內陸之旅”是從1878年6月寫了九月( 1878 ) ,於1880年印製成“在日本不敗的曲目”和( “道路不露痕跡日本”和直譯) 。地方去了,“西方人,不詳細,除了太陽所提到的,還簽署了”沒有人迄今在歐洲誰擁有托阿中風所有(我) “和”前言“開頭已表明,它標誌著“是,這個遊記是不同性質的日本遊記現有的[ 2 ] 。我在Reihei寫使用公路通往陽光香柏樹從鹿沼市,栃木縣壬生町,鑑於公路或沿一直保持良好大麻場已經意識到日本的美。此外,妄言,有一個田園生活在日本內部和金谷大廈外誰住在陽光中(金谷山寨式) ,包括日光東照宮,房東金谷陽光的景區留在這裡小胖2週我想與伊藤解釋和Zen'ichiro探索。 [3]在參觀奧日光市停留10天,但禪寺,男性的身影,鮮花盛開的鮮豔和深綠色的植被已經孕育在陽光和雨季水源充足,華嚴的苔蘚,蕨類植物,樹木你是廣受好評的有力描繪成彩色瀑布, Ryuzunotaki , Senjougahara , Yudaki ,湯湖。顯示了大量的湯溫泉的興趣是高速公路的終點,我已經寫了Tsumabiraka的溫泉治療的客人誰訪問過的地方澆水的狀態。另外,我的形容詞來是客棧童話好看,而不是人類的塵土飛揚的社會責任是很乾淨的客棧(八島亞) ,頭回金谷大廈在幫助了一夜。 [4]顯示在赤湯溫泉山形縣南陽市的景觀澆水了濃厚的興趣,這是一個“伊甸園”和置賜區域,並把它稱為“阿卡迪亞東方”的景觀。 [5]我在“日本內陸之旅”寫信給當時的日本。

    
我已經走過超過1200英里的蝦夷和內陸的,但絕對安全又沒有後顧之憂。我認為女人不適合眼睛粗魯甚至比日本在世界上更危險,沒有任何國家能在所有安全出行[ 6 ] [ 7 ]即使在“美麗的小鎮鬧”新潟, [ 8 ] ,是一個小鎮,尤其是不愉快的“感覺湯澤縣政府,法院,學校,銀行或用”平淡脫穎而出以及一個大膽的“另有稱讚或黑色的石頭[9]美麗的Uenakano此外,或標有“ [ 10 ] 。在另一方面, “日本和西方打扮,看起來很小。哪些衣服不合身,只有更差的日本全國缺陷苦不堪言的體質,胸部凹陷,即弓腿的腳[皮膚發黃的臉形式“日本人,僵硬的頭髮,精緻的眼皮,細長的眼睛,眉毛屁股下來,鼻子和俗氣,乳房凹陷,面頰蒙古系統,如馬走了出來也11 ]” , ,日本是每步行印象的比賽被交錯弱小的體魄,男人,比如走在第一時間,婦女的孩子,感到日本人民普遍認為已經下降[ 12 ]的視線“我寫的外觀。應該注意的是,我寫這樣的話“野蠻人中最狠”阿伊努,卻充滿了燦爛的笑容和說話[ 13 ] 。代表的榮聖芳澤的結算“的缺乏衛生高度”和( Takarazaka ? ) ,作為“我或拉與日本的故事的結果,我看到了很多東西以不同的方式,他們的基本道德水平除了等寫在阿賀野市中津川不由的決定是非常低的,生活是,也不是無辜的如果有一個真誠的[ 14 ]“ ,和側面兩個對日本的消極和積極因素我所描述的多面性。



Author:Isabella Lucy Bird Bishop

Works

Contributions to EB1911 (1 signed article)

訳書


The Complete Works of Primo Levi......The Periodic Table (1975)周(週)期表(元素の不可思議 2012 )

$
0
0
The Complete Works of Primo Levi is far more than a welcome opportunity to re-evaluate and re-examine historical and contemporary plagues of systematic necrology; it becomes a brilliant deconstruction of malign forces. The triumph of human identity and worth over the pathology of human destruction glows virtually everywhere in Levi’s writing. For a number of reasons, his works are singular amid the wealth of Holocaust literature.

In his poetry and prose, Primo Levi refuses to regard the crimes of the Holocaust with any fascination, and instead focuses on what it means to be human. The Beloved author celebrates the Jewish chemist’s belief in the...
THEGUARDIAN.COM



伊格言


【我所知道的台灣社會】
  於二戰時被送進奧茲維茲集中營的義大利籍猶太化學家普利摩‧李維(Primo Levi)在《滅頂與生還》第八章中分享了一位德國讀者的來信。這位德國讀者海蒂在戰後閱讀了李維前此的著作《奧茲維茲殘存》(義大利文初版於一九四七年,德文版則在十多年後出版),並陳述自己的親身經歷──關於戰後的德國人如何看待自己在二戰時的行為。
海蒂表示,有一次她去旁聽了一場關於安樂死的審判(犯人是位醫生,於法庭上陳述時旁及他對納粹集中營毒氣室殺人的看法),回家後在飯桌上和兒子分享在法庭上聽到的一切。然而此刻,與他們一起用餐的清潔女傭(一位寡婦)卻突然發難:這女人放下她的叉子,挑釁地打斷我的話:

  「現在進行的這些審判有什麼意義?他們又能怎樣?我們那些可憐的士兵只是奉命行事,他們有什麼辦法?我先生休假從波蘭回來時,告訴我說他們唯一做的事就是射殺猶太人,一天到晚射殺猶太人,開槍開到他們的手臂都痛了。但是別人命令他,他又能怎麼辦?」
我把她解雇,強忍住衝動,沒有出口恭喜她可憐的丈夫在戰爭中身亡。所以你看,直到今天,在德國,我們都還不時看到這樣的人。

  德國人海蒂這段證言讀來令人心驚肉跳。但我首先想到的竟是「因政治立場不同而解雇員工是違反勞基法的」──這似乎有些好笑,然而我隨即明白,說這位雇主海蒂因為「政治立場相異」而解雇員工並不全然準確。正確說法是,她是因為某些「難以容忍的道德歧異」而解雇員工的。這裡確然有些比例原則上的問題,也值得探討,但暫不深究。我想討論的是那位清潔女傭戰死的丈夫──也就是那位奉命不停射殺猶太人的士兵。理論上,若情況允許,我們應該在被迫執行一次或數次屠殺任務之後辭職;而這項基於道德良知的選擇(辭職),其難度則因周邊客觀條件有所差異:舉例,若是我們經濟狀況困難,求職不易,亟需「士兵」此份軍職軍餉,那麼辭職的難度則較高;反之則較低。然而我們終究必須辭職(或作相關努力)──此點殆無疑義。讓我們繼續推想這位士兵(代稱為士兵A)的情況:如若士兵A確實基於道德良知而辭職,並且也存活至戰後;如若士兵A對自己的決定(與其他德國士兵不同,也確實和當時許多其他德國人不同)感到自豪,也因此在戰後自鳴得意地宣揚自己的良知行為──思慮及此,我便不免想到台灣。在我的理解裡,台灣是一個這樣的社會:它極可能會竭盡所能地嚴厲詆毀這位因為自己的良知而選擇辭職的士兵A,只因他「自鳴得意」,令人看不順眼;而同時以完全不成比例的方式輕縱那許許多多其他沒有辭職(沒有做出良知行為)的士兵──極輕量極微小的譴責,完全不及於對士兵A的巨量攻擊──甚至不惜忽略遺忘。
  這是一個沒有能力分辨孰輕孰重的社會。或許也是一個有著莫名其妙的奇怪偏執的社會。或許也是一個在該寬容時卻不寬容,該嚴厲時也未見嚴厲的社會。我不清楚其他國家或其他領域是否如此,但很令人失望地,我所認識的台灣社會卻是這樣。

(圖為普利摩‧李維,來源:http://yalebooksnetwork.org/yupblog/wp-content/uploads/sites/4/2014/01/primo-levi-berel-lang-featured.jpg


ふ‐しぎ【不思議】
[名・形動]《「不可思議」の略》 1 どうしてなのか、普通では考えも想像もできないこと。説明のつかないこと。また、そのさま。「―な出来事」「成功も―でない」 2 仏語。人間の認識・理解を越えてい...

金銀銅さわって「元素のふしぎ」体感 特別展スタート

写真:展示されている元素周期表=東京・上野の国立科学博物館、長島一浩撮影拡大展示されている元素周期表=東京・上野の国立科学博物館、長島一浩撮影
写真:内覧会で公開された、特別展「元素のふしぎ」=東京・上野の国立科学博物館、長島一浩撮影拡大内覧会で公開された、特別展「元素のふしぎ」=東京・上野の国立科学博物館、長島一浩撮影
 これまで知られている118の元素の素顔に迫る特別展「元素のふしぎ」(朝日新聞社など主催)が21日、東京・上野の国立科学博物館で始まった。さまざまな元素を含む鉱物などの展示や体験コーナーなどで、宇宙のあらゆるものをつくる元素を身近に感じることができる。
 同じ大きさの金、銀、銅、アルミの延べ棒を比べるコーナーでは、元素で異なる重さを体感できる。フェルメールの絵画や有田焼の色が、元素と密接に関わっていることがわかる展示や、私たちの体の6割が酸素でできているとわかる「元素体重計」もある。
 10月8日まで。料金は大人1300円、小中高校生500円。問い合わせはハローダイヤル(03・5777・8600)まで。






Il Sistema Periodico


His best-known work, The Periodic Table (1975), is a collection of 21 meditations, each named for a chemical element.
週期表
Il Sistema Periodico ( The Periodic Table )
類別: 自然‧科普‧數理>物理化學
叢書系列:科學人文系列
作者:普利摩.李維
Primo Levi
譯者:牟中原
出版社:時報文化
出版日期:1998年
書摘 1

第一章 氬Argon

我所知道的祖先和這些氣體有點像。
並不是他們身體怠惰,
但他們的精神無疑屬惰性,
傾向玄想和巧辯。
他們事蹟雖然多,
但都有靜態的共同特點,
一種不介入的態度,
自動(或接受)
被納入生命長河的邊緣支流。

在我們呼吸的空氣裡有所謂惰性氣體。它們有奇怪的希臘名字,博學的字源,意指「新」、「隱」、「怠惰」、「奇異」。它們真的是很遲鈍,對現狀極為滿意。它 們不參加任何化學反應,不和任何元素結合,因此幾世紀都沒被發現。直到1962年,一個努力的化學家,絞盡腦汁,成功地迫使「奇異」(氙氣)和最強悍的氟 結合。由於這功夫非常獨特了不起,他因而得了諾貝爾獎 (註1) 。它們也稱為貴族氣體--這裡有討論餘地,不知是否所有貴族氣體都為惰性,或所有惰性氣體都高貴。最後,它們也叫稀有氣體,即使其中之一的「氬」(怠惰),多到佔空氣的百分之一,也就是地球上的生命不可或缺的二氧化碳的二、三十倍。

我所知道的祖先和這些氣體有點像。我不是說他們身體怠惰,他們沒有能耐如此。他們反而必須相當努力來賺錢養家,以前還有「不做沒得吃」的道德信條。但他們 的精神無疑屬惰性,傾向玄想和巧辯。他們事蹟雖然多,但都有靜態的共同特點,一種不介入的態度,自動(或接受)被納入生命長河的邊緣支流。這些並非偶然。 無論貴重、惰性或稀有,和義大利、歐洲其他猶太族比起來,他們的經歷貧乏得多。他們似乎約在1500年左右從西班牙經法國南部來到皮埃蒙特 (註2) ,這可以從他們以地名來命名的姓氏看得出來。例如,Bedarida-Bedarrides , Momigliano-Montmelian , Segre (這是流過西班牙東北部的一條支流名) , Foa-Foix , Cavaglion-Cavaillon , Migliau-Millau ;位於法國的蒙彼利埃和尼姆間隆河口的倫內鎮 (Lunel) 翻譯成希伯來文成了yareakh(義大利文luna指月亮),由此而衍生了皮埃蒙特猶太人的姓氏Jarach。

在杜林 (註3) ,雖遭到排斥或冷淡接納,他們還是在南皮埃蒙特各處農村安頓下來,並引進造絲技術。即使最興盛時,他們還是極少數。他們既非受歡迎,也不討人厭;並沒有受 欺壓的故事流傳下來。但,與其餘民眾之間,有一層無形牆把他們隔開;是那疑心、嘲弄、帶敵意之牆。即使在1848年革命解放,而得以移居都市後也是如此。 父親說起在Bene Vagienna的童年時,學校裡,同伴會不帶敵意地取笑他,拿衣角捲在拳頭裡成驢耳朵,唱道:「豬耳朵,驢耳朵,送給猶太佬多多。」耳朵沒什麼特別含 義,手勢則是褻瀆模仿虔誠猶太教徒,在會堂應召上台念教律的彼此祈福動作--互相展示祈禱披肩摺邊,其流蘇的數目、長度、形狀都有神祕的宗教意義。但那些 孩子早就遺忘了這些動作的來源。順便提一下,對祈禱披肩的褻瀆和反猶太主義一樣古老,關在集中營的猶太人被沒收披肩後,黑衫隊便拿來做內褲。

排斥總是相互的。猶太人對基督徒也豎起對立的高牆 (goyim, narelim指「異教徒」,「沒行割禮的」),在平靜鄉下小地方,重演聖經選民的史詩。這從根的錯序,使我們的叔叔、阿姨們到今天都還自稱「以色列子民」。

這裡要趕快對讀者聲明「叔叔」、「阿姨」這些稱呼要從寬解釋。我們的習俗管任何年長親戚都叫叔、姨,即使關係很遠。日子久了,幾乎所有社區裡的大人都有親 戚關係,所以叔叔很多。叔叔是那些抽煙草的長老,阿姨是掌管全家的皇后,他們聰明有智慧。而對很老很老的叔姨(我們從諾亞以後就都長壽),「巴 伯」(barba,指「叔叔」),「瑪娜」(magna,指「阿姨」)這些字頭就連到他們的名字上了。因為希伯來文和皮埃蒙特方言的一些發音巧合及一些奇 妙字尾安排,造就了一些奇怪的名字,而這些妙語就同他們的故事,一代一代地傳了下來。於是有了巴伯伊托(伊利亞叔)、巴伯撒欽(以撒叔)、瑪娜麗亞(瑪麗 亞姨)、巴伯摩欽(摩西叔,據說他把兩顆下門牙拔了以便好咬煙斗)、巴伯姆林(山姆叔)、瑪娜維蓋亞(阿比蓋亞姨)、瑪娜弗林亞(柴伯亞姨,源自希伯來文 Tsippora,意指「小鳥」,一個漂亮名字)。雅各叔一定是幾代以前的人。他去過英國,所以穿格子裝,他弟弟「巴伯帕欽」(波拿帕特叔,這仍是一個常 用的猶太名字,以紀念拿破崙解放猶太人)後來則從叔叔輩退了下來。上天不仁,賜了他一個無法忍受的妻子,他絕望到去受洗,成了傳教士,到中國去傳教,如此 可離她遠遠地。

賓芭奶奶年輕時很美,脖子上圍著一條鴕鳥羽毛的圍巾,是個伯爵夫人。拿破崙賞給她家族伯爵名位,因他們曾借他錢 (manod) 。

巴伯隆寧(阿隆叔)個子高,健朗,又有些怪主意。他離家到杜林,幹過很多行業。他曾和卡力南諾劇院簽約當臨時演員,並寫信要家人來參加開演。內森叔和亞勒格娜姨來了坐在包廂中。當幕升起,亞勒格娜姨看到兒子打扮得像非利士人 (註4) ,她拚命大喊:「阿隆,你在搞什麼?把劍放下!」

巴伯米林腦筋簡單;在亞奇,人們把傻子當上帝的兒女,沒人可以喊他笨蛋,他受到保護。但他們叫他「種火雞的」。因為有個拉山(rashan,異教徒)騙他 說養火雞像種桃樹,種火雞羽毛到土中,樹上就長火雞。也許是由於牠那無禮、笨拙、暴躁的反面脾氣,火雞在這家族世界中有牠特別被用以取笑的地位。譬如,巴 西菲可叔養了隻母火雞,而且對牠疼愛有加。而他家對街住著拉特先生,是位音樂家,火雞老吵到他。他求巴西菲可叔讓火雞安靜,這大叔回答:「遵命!火雞小 姐,給我閉嘴。」

加布里叔是個猶太教士,所以人稱巴伯莫仁諾,就是「我們的老師叔」。他既老又快瞎,有次從外地回來,看到馬車經過,就喊停要求載一程。和車伕講話時,他發 覺那是一輛載基督徒到墳地去的靈車,多可怕的事。按教律,一個碰了死人,甚至進到停屍間的教士,就受污染7天。他跳起來:「我和異教徒死女人同車!車伕, 快停!」

可倫坡先生和格拉西狄奧先生兩人亦敵亦友。據傳說,這兩個對頭住在莫卡弗鎮一條巷子裡兩邊。格拉西狄奧是個瓦匠,很有錢。他有點以身為猶太人為恥,娶了個 基督徒。她有一頭及地長髮,與人私通,讓丈夫戴了綠帽。雖然是個異教徒 (goya) ,但大家還是叫她瑪娜奧西麗亞,表示有點接納她。她爸是船長,送格拉西狄奧一隻圭亞那來的彩色鸚鵡。牠會用拉丁文講:「認識你自己」。可倫坡先生是個窮 人,鸚鵡來了以後,他就去買了隻禿背烏鴉,也教會牠講話。每當鸚鵡喊「認識你自己」,烏鴉就會回答「臭神氣」。

加布里叔的pegarta,格拉西狄奧先生的goya,賓芭奶奶的manod和我馬上要談的haverta這些字需要一番解釋。Haverta是個希伯來 字,字的形和義都已改變,有特別含義。事實上,它是haver的不規則陰性字,等於「友伴」而意指「女佣」,但引申的含義是出身低下,風俗信仰都不同,但 不得不讓她住同一屋簷下的女人。Haverta習性不淨,態度不雅,對主人談話簡直有惡意的好奇心,令人討厭得不得了,以致她在場時,他們不得不用些特別 術語,haverta就是其中之一。這些術語行話現在幾乎消失了,幾代以前還有幾百個字。它們多半有希伯來字源,帶上皮埃蒙特字尾。只要粗略研究一下,就 可看出隱語的功能,是用來在goyim面前談goyim,或詛罵些沒旁人懂的話,或用來對付社會上的限制與壓迫。

因為頂多只有幾千人說隱語,這話的歷史價值不大,但人性意義可不少,所有變化中的語言大抵如此。一方面,它有皮埃蒙特方言粗獷、清晰、簡潔的特性(除了打 賭,從不寫成文字);另一方面又混雜神聖、莊嚴,經千年砥礪,光滑如冰河的希伯來文。兩種文字的對比帶來不少喜劇力量。這語言上的對比,又反映了四散的猶 太人,在猶太文化上的衝突。自從四散於異教徒之間(是的,在goyim之間),他們在所受神聖召喚和日常困頓之間總是不停掙扎。人就像那神話中的人頭馬 身,半靈半肉,聖靈與塵土都是召喚來源。猶太人兩千年來就悲傷地和這衝突共存,也就從中吸取了智慧和笑話,而後者是聖經和先知所缺的。它佈滿在意底緒 (Yiddish) 語中,也滲透到地上之父 (註5) 的奇言怪語中。在沒消失之前,我要記下來。這語言初聽之下,還以為是褻瀆神祇的,事實上和上帝間有種親密關係--如Nossgnor(我們的主),Adonai Eloeno(讚美主),Cadoss Barokhu(親愛的主)。

它屈辱的根源很容易看出來。例如,有些字因沒用就沒有了--「太陽」,「男人」,「城市」;而「夜晚」,「躲藏」,「錢」,「牢獄」,「偷」,「吊」, 「夢」這些字是有的。(最後的「夢」字只用於bahalom(在夢中)這個情境,以作為反義詞,指別想。)除此之外,有許多嘲弄的字,有時用來批判人,更 多時候是夫妻在基督徒店東面前舉棋不定時用的。我們有n sarod這複詞,已不再指希伯來文中的tsara(霉運),而是指不值錢的貨。它的暱稱則是優雅的sarodnn。我也忘不掉惡毒的sarod e senssa manod,這是媒人 (marosav) 用來指沒嫁妝的醜女人。Hasirud是從hasir(豬)字而來,指骯髒。值得注意的是,法文中“u”這個音在希伯來文中不存在,但是有“ut”這字尾 (義大利的“u”),用來製造抽象觀念的詞(例如,malkhut指王國),但沒有特殊用語裡帶有的強烈嘲弄含義。另外,它常出現的場合是在店裡,店東和 伙計用來損客人。上個世紀皮埃蒙特的服裝業是受猶太人掌控,從這行業產生了一些術語,在伙計做了店東後又傳了下來,後來也不一定是猶太人,很多店一直到現 在還用。很多說的人偶爾發現其字源是希伯來文,還大吃一驚。譬如,很多人還用“na vesta a kinim”代表格子裝。而kinim是蝨子,是古埃及十大災難的第三個,是猶太人逾越節中所教唱的儀文中字。

然而也有一大堆不是很雅的字,不但在小孩面前用,也用來代替詛咒。不像義大利話和皮埃蒙特話,它既可發洩,又不髒嘴,別人郤聽不懂。


譯註1:Neil Bartlett得此發現,成就非凡,但未因此得諾貝爾獎,此處為原作者之誤。


編註2:Piedmont,義大利西北部的一個地區。


編註3:Turin,皮埃蒙特地區最大城市,又譯都靈。


譯註4:古代居於巴勒斯坦的好戰民族,曾多次攻擊猶太人。


原註5:這兒是對比基督徒的禱文起頭:「我們在天之父……」。

書摘 2
對風俗有興趣的人,那些談到天主教的字就更有意思。此處,原始的希伯來文形式就變化得更厲害了。有兩個理由:第一,祕密是絕對必要,萬一異教徒聽懂了,可 會召來褻瀆之罪,第二,用意本來就是要扭曲,扭到否定意義,去除原來超凡德性。同樣道理,在所有語言裡,「魔鬼」都有各種文飾的講法,不講它,指的郤是 它。教會(天主教)是叫toneva,它的來源我無法查考,也許只從希伯來文取其音;而猶太會堂則謙虛地只叫scola(學校),一個學習成長的場所。對 等地,教士不是用rabbi或rabbenu(我們的教士),而是用moreno(我們的老師)或khakham(智者)。事實上,在「學校」裡,人不是 被基督徒中狠毒的khaltrum所苦:khaltrum或khantrum是天主教徒講究儀式和偏執的結果,因為多神而拜偶像,令人無法忍受。(「出埃 及記」第20章第3節:「除了我以外,你不可以有別的神,不可為自己雕刻偶像……不可向任何偶像跪拜。」)這個詞在長久詛咒中成長,來源已不可考,幾乎可 確定不是來自希伯來文,而是某種猶太-義大利隱語中的形容詞khalto,亦即「偏執」,用來形容崇拜偶像的基督徒。

A-issa是聖母(就是「那女人」)。而全然不可解、祕密的字--可預料到的--是Odo,當無可避免時,壓低聲音,四處張望,用這字指耶穌。越少提基督越好,因弒上帝之神話難以磨滅。

還有很多從禱文、聖書來的字。上世紀出生的猶太人,大致都熟讀希伯來原文,至少懂得部份;但成了隱語時,就任意扭曲。Shafokh這字根,意指「傾 倒」,它出現在「詩篇」第79章(「願你將你的忿怒,傾倒在那不認識你的外邦,和那不求告你名的國度」)。我們的老祖母們就把fe sefokh(to make a sefokh) 用來形容嬰兒嘔吐。Ruakh(複數rukhod) 意指「呼吸」,出現在黑暗而可敬的<創世記>第二句(「神的靈運行在水面上」),從這發展出tire "n ruakh(放屁)這生理詞,由此可看出一點選民與造物主間特殊的親密感。舉個實例吧,多年來流傳著雷琪娜姨的一句話,她和大衛叔坐在波街上弗羅里奧咖啡 店,說:「Davidin, bat la cana, c"as sento nen le rukhod!」(「大衛,用力跺你的拐杖,免得人家聽到你放屁!」)這是夫妻間親密的話。那時,拐杖是社會地位的象徵,就像今天坐特等艙旅行。譬如,我 父親有兩把手杖,平常是用竹拐杖,禮拜天則用籐手杖,杖柄鑲銀。他不用手杖撐身體(無此需要),而是在空中比劃,及用來趕無禮的狗,簡言之,那是一個和粗 俗大眾區隔的權杖。

一個虔誠的猶太人,應該每天頌禱barakha這詞上百次。他應深深感恩,因每次如此做,就履行了與神的千年對話。雷翁寧爺是我曾祖。他住在蒙弗拉多,有 扁平足,而他屋前巷子鋪了圓石頭,他每次在上頭走就腳痛。有天出門,發現巷子改鋪了平石板,他高興得大呼:“N abrakha a coi goyim c"a l"an fait I losi!”(祝福那鋪路的不信教者!)至於詛咒,有一怪詞meda meshona,直譯是「怪死」,但事實上是模仿皮埃蒙特語assident,在義大利語直說就是「去死吧!」雷翁寧爺還留下了這句怪話:“C"ai takeissa "na meda meshona faita a paraqua.”(願他碰上狀如雨傘的災難。)

我也沒法忘掉巴伯里柯,他只早一代,差點就是我真正的叔叔。對他,我有清晰而複雜的回憶,他不是其他前面說的「固守某種姿態」的傳奇性人物,而是活生生的記憶。本章開始所說的惰性氣體的比喻,對巴伯里柯是再貼切不過。

他學醫,也成了個好醫生,但他並不熱愛這世界。也就是說,他雖喜歡人(尤其女人)、草原、天空,但可不愛辛苦工作、承諾、時程、期限、為前程而處心積慮、 為五斗米而折腰。他會想出走,但太懶沒做。有個愛他的女人,他則心不在焉的容忍她。女人和朋友們說服他去考越洋客輪的船醫,他輕易考取,從熱那亞到紐約航 行了一次,回到熱那亞就辭職了,因為在美國「太吵了」。

那以後,他就定居在杜林。他有好幾個女人,每個都想嫁他、拯救他,但他認為結婚、診所、開業都是過多的承諾。在1930年代,他已是個怯懦的小老頭,深度 近視,也沒人理。他和一個壯碩粗俗的goya女人同居,不時怯怯地想離開她。他喊她“"na sotia”(瘋子)、“"na hamorta”(驢子)和“"na gran beema”(巨獸),但總是略帶不可解的溫柔。那goya甚至想要他samda(受洗,字面解是「毀滅」),他則總是推拒--並不是出於宗教信念,而是 沒動機,事不關己。

巴伯里柯有12個兄弟姊妹,他們給了他女伴一個殘忍的名字「瑪娜嗎啡娜」(嗎啡姨)。這女人既是異教徒又沒兒女,不能真算是個瑪娜;事實上對她,瑪娜這頭 銜代表恰好相反的意思,一個「非瑪娜」,不被家族承認的人。而這名字殘忍,是因為它可能不正確的暗指,她利用巴伯里柯的空白藥單取得嗎啡。

他們兩人住在凡奇里亞街一個髒亂的閣樓。叔叔是個有智慧、有能力的好醫生,但他鎮日躺在那兒看書讀舊報紙。他記憶奇佳,閱讀廣博,深度近視讓他戴著酒瓶底 厚度的眼鏡,書只離臉3吋。他只有出去行醫時才起來,因他幾乎從不要錢,常有人來求他。他的病人多是住在郊外的窮人,他會收下半打蛋,菜園的菜,或舊鞋子 作為診費。因沒錢坐街車,他走路去看病人。路上,透過近視眼微弱的視力,看到小姐朦朧的身影,他會上去在一呎距離仔細打量,弄得人家不知如何是好。他幾乎 不吃東西,好像無此需要,最後以90高齡,尊嚴地過世。

費娜奶奶排斥世界的程度和巴伯里柯不相上下。她們4姊妹都叫費娜:因為從小4姊妹都先後被送到同一個叫戴費娜的保姆那兒,她叫這些小孩同一名字。費娜奶奶 住在卡馬諾拉一棟2樓公寓,很會鉤織。86歲時,她得了個小病,那時女士常有,現在則似乎都神祕地消失了。從那以後20年,直到過世,她再也沒出過門,禮 拜時,她就在滿佈花朵的陽台向從scola(會堂)出來的人揮手。但她年輕時一定不一樣。她的故事是:她丈夫帶蒙卡弗教士來家做客,這教士是一個博學廣受 尊敬的人。家裡沒什麼吃的,她在他不知情下,讓他吃了豬肉。她弟弟巴伯拉弗林(拉飛爾),在升格成巴伯之前,人稱“l fieul d" Moise "d Celin”(色林摩西之子),現因賣軍用物資而成富人。他愛上加西諾的瓦拉布里加夫人,她是個大美女。他不敢公開追求,給她寫很多從沒寄的情書,然後給 自己寫熱情的回信。

馬欽叔也有段失意的愛情。他戀上蘇珊娜(希伯來文是「百合」之意),是個輕巧、虔誠的女人,擁有百年特製鵝香腸的祕方,用鵝脖子本身做香腸的外膜。因此在 Lasson Acodesh(「聖言」,即我們所討論的術語)中,脖子有3種相似詞留傳了下來。第一個mahane是中性字,代表脖子的字面意思。第二個savar只 用在隱喻,例如「有斷頸危險的快速度」。而第三個khanec就非常委婉且有暗示性,指可被阻絕、斷去的重要通道,例如「斷你生路」。 Khanichesse的意思則是「上吊自殺」。好了,馬欽當蘇珊娜的助手,在她廚房兼工廠和店裡幫忙,她架子上有香腸、聖物、護身符和祈禱書。蘇珊娜拒 絕了他,而馬欽惡毒報復的法子,是把祕方偷賣給一個goy。顯然,這goy不懂它的價值,因蘇珊娜死後(遙遠以前的事),市面上就找不到這祖傳的鵝香腸 了。因這令人厭惡的報復,馬欽叔就被開除「叔」級了。

最古最古,充滿惰性,籠罩在層層傳說之下的是那令人難以相信,化石級的巴伯布拉敏,來自切里的我外婆的叔叔。很年輕時他就很富裕,從貴族手上,買了很多切 里附近的農地。親戚靠他,吃喝跳舞旅行浪費了他不少錢。有天,他媽米爾卡(女王)姨病了,和丈夫吵了很久,終於決定僱個haverta做女佣。之前,她有 先見之明,總是拒絕家裡有其他女人。果然,巴伯布拉敏愛上這haverta,也許這是他第一個有機會遇上的可愛女人。

她名字沒傳下來,但德性大家知道一些。她豐滿而美麗,有雙壯觀的khlaviod(乳房):這詞在古希伯來文沒有,那時khalav指「牛奶」。她當然是 個goya,傲慢無禮,不識字,但燒一手好菜。她是個農家女,在家裡打赤腳。但這就是我叔叔愛死的地方:她的腳踝,直率的言語,和她的菜。他和女孩沒說什 麼,但告訴他父母他要娶她。他雙親馬上發狂,叔叔就躺上床。他就留在床上22年。

那麼多年布拉敏做什麼呢?有很多說法。毫無疑問,大多時候,他把日子花在睡覺和賭錢。據說,他經濟狀況垮掉是因為「他沒夾好」債券,或因為他信任一個 mamser(雜種)管理他的農場,那人把它賤價賣給自己的同伙。米爾卡姨完全料中,我叔叔就這樣把全家拖垮了,到今天他們還為這後果悲嘆。

也據說他在床上讀了不少書,最後也算成了公正有知識的人,在床邊還接見切里名人並仲裁爭執。也聽說,那同一個haverta,也到床上去了。至少我叔叔自 願上床閉關的頭幾年,晚上還會偷溜出去到樓下酒店打彈子。但他總算是在床上待了幾乎四分之一世紀。當米爾卡姨和所羅門叔過世後,他娶了個goya,真的帶 她上了床。到那時,他腿已完全無力站起來。1883年,他死時很窮,但名聲可富,精神也平安。

做鵝香腸的蘇珊娜,是我祖母瑪利亞奶奶的表姊。奶奶留下1870年在相館照的一張膠腫、盛裝打扮的相片。在我小時遙遠的記憶,她是個邋遢、皺皮、暴躁、聾 透了的老太婆。直到今天,不知怎麼搞的,櫥子裡最高架子上還有她的寶貝:黑絲花邊披肩、絲織巾、一個長了四代霉的貂皮手筒、刻有她名字的巨大銀器。好像, 歷經五十年後,她的靈魂還回家來看看。

年輕時,她可是個令很多人傷心的大美女。年紀輕輕她就守寡了,謠傳先祖父受不了她的不貞自殺了。她獨自節儉地帶大3個男孩,令他們讀書。但到年老,她讓步 了,嫁了個天主佬醫生,一個堂皇、寡言、大鬍子的老人。自此以後,她就傾向古怪小氣,雖然年輕時,她像多數美麗被愛的女人一樣慷慨大方。隨著年歲的增長, 她逐漸斷絕家庭溫暖(本來大概就不是很深)。她和醫生住在波街一個陰暗的公寓,冬天只有一個小富蘭克林爐,幾乎暖不了。她不再丟掉任何東西,因為都可能有 用處,連乳酪皮、巧克力箔紙都留著--她用箔紙做銀色小球,好送給教會以「拯救黑人小孩」。也許因害怕自己的選擇錯誤,她輪流去佩俄斯五世街的猶太 scola及聖歐塔維奧教堂做禮拜,她似乎甚至還去告解呢!1928年,她八十多歲過世,一群身著黑衣,邋遢的街坊鄰居為她送終,由一個叫西林柏格夫人的 女巫帶頭。雖然為腎臟病所折磨,奶奶到最後一口氣還小心地骷著西林柏格,怕她找到藏在床墊下的maftekh(鑰匙),偷走manod(錢)和 hafassim(珠寶),後來證實這些東西都是假的。

她死後,她兒子和媳婦氣急敗壞地花了幾星期清理屋裡堆積如山的垃圾。瑪利亞奶奶不分青紅皂白,存下垃圾和寶貝。從雕工複雜的核桃木櫃子裡蹦出成千的臭蟲, 有從沒用過的床單,又有打補釘脫線、薄得透明的床單。地下室中有幾百瓶好酒,都已經變成醋了。他們找到八件醫生全新的大衣,還塞了樟腦丸,但她允許他穿的 唯一那件郤打滿補釘,衣領油膩。

對她,我不記得很多,爸爸喊她媽姆(也用第三人稱),帶著孝意地愛說她的絕事。每星期天早上,爸帶我走路去看瑪利亞奶奶。沿著波街,我們走去,一路爸爸停 下摸摸貓咪,聞聞美食,翻翻舊書。爸爸是工程師,口袋總裝著書,認識所有豬肉販子,因他用計算尺算所買的豬肉。他買時並不輕鬆,並非宗教原因而是迷信。打 破食物禁忌令他不自在,但他愛豬肉,只要看到豬肉店櫥窗,每次都無力抗拒。他嘆一口氣,閉嘴詛咒兩下,以眼角骷我三次,似乎怕我批評或期望我的贊同。

當我們到公寓台階下,父親按鈴,奶奶來開門,他會對她耳朵大喊:「他考第一名!」祖母有點不情願地讓我們進去,帶我們經過一串積滿灰塵、沒人居住的房間, 其中一間有奇怪的儀器,是醫生半棄置的診所。很少看到醫生,我也不想看到他。尤其是自從有次我無意中聽到爸爸告訴媽媽,有人帶口吃的小孩就診,他拿剪刀把 他舌下的筋肉剪掉。當我們到了起居室,奶奶會挖出一盒巧克力,總是同一盒,給我一顆。巧克力已叫蟲咬了,我困窘地趕快藏進口袋裡。

Levi, Primo (prē'mō lā') , 1919–87, Italian writer. A chemist of Jewish descent, Levi was sent to the concentration camp at Auschwitz during World War II. His first memoir, If This Is a Man (1947; also tr. as Survival in Auschwitz) is a restrained yet poignant testimony, devoid of rancor or protest, of the atrocities he witnessed. In his other autobiographical books, The Reawakening (1963; film, 1996) and the dark, posthumously published The Drowned and the Saved (1988), Levi relates the manner in which physical torture and annihilation were accompanied by a process of moral degradation. He stresses that survival was as much a spiritual quest to maintain human dignity as a physical struggle. The Periodic Table (1975), a collection of 21 meditations, each named for a chemical element, draws analogies between a young man's moral formation and the physical and chemical properties that circumscribe our humanity. Levi's novels include The Monkey's Wrench (1978) and If Not Now, When? (1986). He also wrote short stories, essays, and poetry. He died in a fall that was widely thought a suicide.
Bibliography
See his The Voice of Memory: Interviews 1961–1987 (2001), ed. by M. Belpoliti and R. Gordon; biographies by M. Anissimov (1996, tr. 1998), C. Angier (2002), and I. Thomson (2003).


Published: April 14, 1987
LEAD: Primo Levi, the writer who fell down the stairwell of his apartment on Saturday in an apparent suicide, was buried today in a simple ceremony attended by family friends and members of Italy's Jewish community.
Primo Levi, the writer who fell down the stairwell of his apartment on Saturday in an apparent suicide, was buried today in a simple ceremony attended by family friends and members of Italy's Jewish community.
About a thousand people attended the funeral, which was followed by burial in the Jewish section of the cemetery in Turin where Mr. Levi lived. His grave was marked with a simple marble headstone giving his name and the dates of his birth and death.
Mr. Levi, who wrote of his experiences as a prisoner at Auschwitz, was 67 years old. He was said to have been depressed over poor health.

ELEMENTS OF A LIFE

Date: December 23, 1984, Sunday, Late City Final Edition Section 7; Page 9, Column 1; Book Review Desk
Byline: By Alvin H. Rosenfield
Lead:
THE PERIODIC TABLE
By PrimoLevi. Translated by Raymond Rosenthal. 233 pp. New York: Schocken Books. $16.95.
TO the beginning chemistry student, the periodic table is likely to seem little more than a checkerboard chart of the elements, whose atomic symbols, weights and numbers are so many ciphers to be memorized. To the initiated, however, as one learns from Primo Levi's ''The Periodic Table,'' the Mendeleevian system is poetry, a possible bridge between the world of words and the world of things, and hence an unexpected means of understanding the universe and ourselves.
As Mr. Levi, the Italian writer and chemist, distills these means, they are endlessly metaphorical, as they must be to afford the correspondences he seeks between the otherwise disparate worlds of physical and human nature. The 21 pieces in ''The Periodic Table,'' each named after an element, are, therefore, at one and the same time rigorous ''confrontations with Mother-Matter'' and vividly drawn portraits of human types - analytical ''tales of militant chemistry'' and imaginative probings of personal, social and political experience. It is rare to find such diverse aims in combination, and rarer still to find them so successfully integrated in a contemporary work of literature. Yet that is what we have in this beautifully crafted book, the most recent and in many ways the most original of Mr. Levi's three volumes of autobiographical reflection.
Text:
Primo Levi is known to American readers, if at all, as the author of ''Survival in Auschwitz.'' That book, an affirmation of lucid, humane intelligence in the face of Nazi barbarism, is one of the truly distinguished works of Holocaust literature and has become something of a classic. It was followed by ''The Reawakening,'' in which the author described his long and bizarre journey home after his liberation from Auschwitz. In his native Italy these volumes, along with several others, have won for Mr. Levi a considerable reputation, but because so little of his work has been available to English readers, he has remained all but unknown here. This situation has now happily changed with Raymond Rosenthal's admirable translation of ''The Periodic Table.''
The book's first piece, ''Argon'' (named for a gas ''so inert, so satisfied with (its) condition'' that it does ''not combine with any other element'') is a homage to the author's Jewish ancestors, themselves a breed apart. Intent on retrieving his innumerable aunts and uncles from a legendary past, Mr. Levi at the same time rescues for posterity snatches of their lost language, a local version of Judeo-Italian that combined Hebrew roots with Piedmontese endings and inflections - ''a skeptical, good-natured speech . . . rich with an affectionate and dignified intimacy with God.'' The revivification of this jargon (which Mr. Levi elsewhere refers to as a kind of ''Mediterranean Yiddish'') and of some of the people who once spoke it is a sizable accomplishment and, in its linguistic precision and playful wit, sets the tone and direction for the pieces that follow.
Like ''Argon,'' these are similarly patterned on analogies between the elements and a variety of human types and develop a mode of imagining reality that is striking in its fusion of physical, chemical and moral truths. To Mr. Levi there are no such things as emotionally neutral elements, just as there are no emotionally neutral men and women. Thus, whether a given story's focus is on friendship, mountain-climbing, early encounters with love or the troubled status of being a Jew in Mussolini's Italy, the author is able to strike a fitting correlation with one of the elements. Mercury, ''always Alvin H. Rosenfeld teaches in the English Department at Indiana University. His ''Imagining Hitler'' will be published in April. restless,'' is ''a fixed and volatile spirit.'' Zinc, by contrast, is ''a boring metal,''''not an element which says much to the imagination'' (it requires the presence of impurities to react, and in Fascist Italy, as Mr. Levi's imagination seizes upon the analogy, the Jew was to be the impurity - in his case, almost proudly so). There are elements, such as iron and copper, that are ''easy and direct, incapable of concealment''; others, such as bismuth and cadmium, that are ''deceptive and elusive.'' The point of these figurations is to revive ''the millennial dialogue between the elements and man'' and to show that in none of its aspects is nature impermeable to intelligence.
The intelligence made manifest throughout this book is a relentlessly inquisitive one, dedicated to understanding the most subtle dimensions of matter and of man. At once analytic and novelistic, it is the intelligence of a writer who has been able to forge an unusual synthesis of scientific learning and poetic sensibility, of rational procedures and moral perceptions. Its aim, therefore, is both to comprehend and to create, and thereby to keep from being victimized by all outward assaults, spiritual as well as material.
In following Mr. Levi in his pursuit of the elements, one comes to see how the insights of the analyst serve to illuminate a wide range of personal and historical experience, including the author's experiences as an anti- Fascist partisan and his subsequent arrest and incarceration in Auschwitz. To readers of the earlier work, ''Zinc,''''Gold,''''Cerium,''''Chromium'' and ''Vanadium'' will be of particular interest, for they fill in or otherwise expand on episodes recounted in ''Survival in Auschwitz.''''Vanadium,'' the book's penultimate story and its most dramatic one, for instance, vividly describes an uncanny correspondence that Levi had after the war with a Dr. M"uller, a German chemist who turns out to have been the chief of the laboratory in Auschwitz where, in 1944, the author slaved to stay alive. The confrontation in this story strikes to the heart of Mr. Levi's subject and shows him at his contemplative best - putting the questions, pondering their manifold implications and reaching a resolution that is both rigorous and humane.
Indeed, for all of its musings upon the enigmas of matter, ''The Periodic Table'' is best read as a historically situated book and will mean most to those readers who are alert to the mind's engagements with moral as well as physical truths. Thus ''Iron,'' dedicated to Sandro Delmastro, a fellow chemistry student (and the first Resistance fighter to be killed in the Piedmont), is primarily about the nobility of friendship, as ''Phosphorus'' is more a tale of sexual attraction than it is an anatomy of life in the laboratory. Both pieces, set in the 1940's, have far more to do with the vagaries of human relationships under the Italian racial laws than with the laws of chemistry.
The real attraction of ''The Periodic Table,'' therefore, lies in the author's ability to probe human events with as much discriminating power as he probes nature and in his refusal to surrender the sovereignty of independent inquiry to either stolid matter or a stupid and savage politics. If one sees the book in this way, it is not difficult to understand how chemistry became for Mr. Levi as much a ''political school'' as a trade and how its terms might be grasped as an ''antidote to Fascism . . . because they were clear and distinct and verifiable at every step, and not a tissue of lies and emptiness.''
FOR all of its immersion in the most wrenching of historical circumstances, ''The Periodic Table'' is not an angry or a brooding book. On the contrary, it is a work of healing, of tranquil, even buoyant imagination. The meditative power of ''Survival in Auschwitz'' and ''The Reawakening'' is fully evident but is joined by a newly acquired power of joyful invention. No doubt every chemist is a bit of a wizard (as every writer wants to be) and looks to extract gold from gangue, though few manage to do so. By descending deep into the matrix of both physical and human nature, Primo Levi seems to have learned the secrets behind such transformations, and he has written what can only be described as a liberating book.
To see just how liberating, read ''Carbon,'' the concluding story, a wondrous tale of a single atom of carbon that traverses the universe, courses through the intricate processes of photosynthesis and comes to rest almost magically at the tip of the author's pen. What that pen has wrought with these stories as the result of that imperceptible but vital element is a new opening on to life, and one that validates the point of the Yiddish proverb used as an epigraph for the book: ''Ibergekumene tsores iz gut tsu dertseylin'' (''Troubles overcome are good to tell'').B
DRIVEN TO WRITE BY THE UNEXPECTED Primo Levi says he is ''a chemist by conviction'' and never expected to become a writer. What drove him to write was his time in Auschwitz. ''After Auschwitz, I had an absolute need to write,'' he says. ''Not only as a moral duty, but as a physiological need.'' Mr. Levi was sent to Auschwitz after he was arrested in Italy's Piedmont region for Resistance activities and discovered to be a Jew. He emphasizes that the persecution of Jews in Italy was largely imposed by the Nazis, who invaded the country after Mussolini's fall, and that Mussolini's own anti-Semitic laws were frequently flouted. ''Italians never liked laws, either then or now,'' recalled the 65-year old author in a telephone interview from his home in Turin. ''And so, during the racial law period, it became a matter of glory for a Christian to have a Jewish friend.''''Survival in Auschwitz'' did not really become successful until it was reissued in 1957. ''After the success,'' Mr. Levi notes, ''I accepted the advice of several friends who said, 'why not continue your story?'''''The Reawakening'' described what followed Auschwitz for him. ''I was liberated by the Russians who saved my life. But after saving my life, (they) deported me to Russia with the other prisoners.'' Ironically, Mr. Levi's two works of science fiction have only been translated into two languages - German and Russian. Through it all, the author had stuck to his chemistry. But he says he could only write ''The Periodic Table'' after his retirement from the field. ''I wanted to describe to the nonprofessional what it's like to be a chemist,'' he says. ''Every element brings a kind of 'click' for me. It triggers a memory.'' - E. J. Dionne

翻譯李維

.牟中原
《週期表》這本書的翻譯工作,跟了我有6年了,真久!如今終於交稿,即將問市,如釋重負。

1992年夏,大學聯考,我入闈場工作。等考題定稿,校閱安畢後,有7天無事而失去行動自由的時間。當時帶了李維的《週期表》英文版作為讀物,順手也就開 始翻譯,純為好玩,打發時間,當時也沒想到要出版。多年來,研究工作是越來越忙,越起勁,翻譯的事也就斷斷續續,算是自娛吧!但每次重新開動,整個稿子又 重改一次,前後也三易其稿了。直到去年底,讓老友林和知道手頭上有這本書的八成譯稿,他好心幫忙聯絡出版,這才終於下了決心收拾這沒完沒了私祕譯作。

譯完了,該說些什麼?實在不多,因我理想中的譯者應該只留下譯文,不作其他文章,來指導讀者,提供意見。但這好像不是西洋文學中譯的傳統。

傅雷雖然說「在一部不朽的原作之前,冠上不倫的序文是件褻瀆的行為」,但他通常還是寫了「譯序」。楊絳譯《堂吉訶德》寫了23頁的譯者序。韓少功譯的《生命中不能承受之輕》也有11頁的序。意見都不少。

其實譯者大約都知道翻譯文學本身就是件「訊息轉折」的工作,沒法完全跨越語言的鴻溝,最多只能說神似罷了。《週期表》原著是義大利文,我不懂義文,根據的 是Raymond Rosenthal的英譯本。作為一個化學家,我知道我可以不讀德文原著,而從英文譯本完全了解化學專著,因為大家有共通的化學術語及基本原理。但《週期 表》不是關於化學知識的傳述,李維的語言是文學的,回憶的,沉思的,我終究是沒法確定譯文和原文的差異,而我很好奇這點。這其實是寫這短文的目的,希望有 人有興趣根據義大利文再譯一次,到時這譯本也就可放一邊了。

作者李維本人其實是相當在意翻譯文字的,他在納粹集中營的回憶錄《奧茲維茲殘存》 (Survival in Auschwitz) 第一次譯成德文時,非常緊張。「我害怕我的文字會喪失原色,失掉涵義……看到一個人的思想被扭曲、打折,他挖空心思的用詞被誤解、轉換。」就因此,他的著作的英譯本都是非常小心進行的,Rosenthal成為李維後來大部份著作的英譯者,並因此而得翻譯獎。

有意思的是,李維本人也從事譯作,他是卡夫卡《審判》義大利文版譯者。我也很好奇,他的譯文能否保留卡夫卡文字特殊的稜角?

看樣子,這些翻譯「忠實」的問題真是沒解,尤其小國家(如捷克)文學的翻譯多只能從英文或法文轉譯,這更沒法說了。

但我想翻譯真正要做的是居中負起不同語言,不同文化的溝通工作。我們讀《週期表》這樣的書是嚮往一種整體文化,在那兒「科學」和「文學」並不割裂,而語言 可以穿透國度。化學家這行業的故事是可以欣賞,了解的。「集中營」的極端殘忍,雖無法以文字描述,但我們仍然要反覆聽殘存者的聲音。這些文化的整體感是可 以透過翻譯傳達的。

《週期表》一書不止是李維的自傳,他這行業的記錄,更是他那一代的故事。透過化學元素的隱喻,科學式的文筆,他寫下自己和他周圍一群人的遭遇,及他的冥想 和反思。《週期表》是一本很難分類的書,很難用簡單幾句話描述它。李維的吸引力在於他所傳遞的整體感,他的世界裡每樣事都奇妙地連接在一起。

於台灣大學化學系
1998年6月24日

化學世界裡的詩意

.蕭勝明
《週期表》,出版不到兩個月就被朋友大力推薦,趕緊買來閱讀了。卻一直不知道怎麼下筆介紹這本書。

初聽到這個名字,誰能不馬上反射性想到門德列夫的化學元素週期表呢。記得天下文化曾出版一本使用淺近語言,跟一般讀者介紹週期表的書,輕輕鬆鬆歷歷數來, 化學概念卻建立得清清楚楚。比起國高中化學教科書來,要有趣多了。看時報將這本書列為「科學人文類」,本以為也是如此「大眾科學」的書,誰知全然不是這麼 回事。

書名標榜「週期表」,只因作者普利摩‧李維本職是化學家,轉借十多種化學元素特質,比喻自己人生經歷某些值得以螢光筆鮮明標點的段落。幾個元素並列,隱然 是自己生命小小的週期表。實在是數篇自傳式的小說,跟科學、化學原理根本毫不相罕。被胡亂編派到曖昧的所謂「科學人文」來,真不曉得說什麼才好。

李維原文以義大利文寫成,譯者牟中原自英譯本轉譯,雖然轉了兩手,原味相信畢竟還是留存了許多。雖是化學家,經歷反法西斯諸戰爭,他猶然執著把思想心念化 成文字,以散文、詩、戲劇、小說等不斷發表出來,獲得諸多文學獎。換言之,「化學家」和「文學家」同樣是他的身分,沒有孰輕孰重,更不需要互相幫襯。

王浩威對本書的「導讀」裡寫得明白:在 1994 年,米蘭慶祝義大利脫離法西斯政權 49 週年,其中一則標語只寫了「勿忘 174517」幾個字。原來,174517就是李維當年淪落奧茲維茲集中營時的個人編號。可以想像,在義大利,李維是個家喻戶曉的文學作家,否則誰知道那 寥寥幾字暗示了什麼?李維的文學造詣未能被出版界肯定,被隱藏在科普書裡才得以介紹到台灣,實在是一大憾事。

相同的,由於李維與卡爾維諾都出生於杜林(都靈),不論中譯本封底和王浩威的「導讀」,都提到「卡爾維諾對李維十分推崇」云云。卡爾維諾目前已是台灣讀者 人人熟知的文學大師,「推崇」一語,倒像是李維必須得到卡爾維諾「加持」後,才能得到台灣讀者的肯定似的。這實在是過慮了。我想,李維自身的文學功力,便 足以使人信服。

王浩威的「導讀」裡,將書中『原子序』作了幾個區分。第一章「氬」追溯祖先脈絡;由「磷」到「鈰」各章記述他失去自由後的囚禁;從「鉻」至「釩」漫談戰後 一切、告別浪漫面對現實的轉變;最後一章的「碳」幾乎是地球萬物化合的終極形式,用來代表人生最後永恆的平靜。這樣的解剖十分有趣,值得作為參考。在這樣 簡短概述後,大家不難了解整本書的脈絡所在。

李維對各章節所取的代表元素,有的取其性質以為內容的暗喻,有的是事件過程的主角,也有兩三個是李維寓言小故事裡的事物本質金屬等。比如,第二章的 「氫」,就描述了李維年少時迷戀化學世界的往事。 那時他與伙伴,對實驗室裡種種化學反應,感到十分興奮神奇。用了氨水和硝酸想製造笑氣(氧化亞氮),不懂混合比例而失敗了。李維沮喪之餘發現乾電池,改玩 「電解水使氫氧分離」的遊戲(我們在中學時代都實驗過的,是不?),果然成功製出並收集了氫與氧,同時藉氣體體積恰成兩倍,驗證定比定律。伙伴反問:電解 前為了讓水易解離,加了少許的鹽。怎知製出來的氫中沒有混雜氯氣?李維正當年少氣盛,二話不說,在倒置收集氣體的空果醬瓶口,點根火柴湊上前去。果醬瓶登 時「砰」然爆裂,只剩一圈瓶口在手上。

若只是平實記載「童年往事」,那麼李維這本《週期表》就只是化學家自戀的流水帳,沒什麼值得驚異處。但李維不只追憶過去而已。在最後一段,李維這麼寫道:
我們離開,邊走邊討論。我的腿有點發抖,同時感到事後的戰慄和愚蠢的驕傲。我釋放了一個自然力,也證實了一項假說。是氫沒錯,和星星太陽裡燃燒的元素一樣。它的凝聚產生了這永恆而孤寂的宇宙。」(頁 25)
加 了最後這一小段,整篇故事的思索縱深就廣大了起來。電解製得的氫,不只是少年時的胡鬧而已。它和宇宙星辰太陽們燃燒的能源是一樣的,而李維輕易就取得了 它,並自果醬瓶的炸裂窺見其中巨大的能量。無怪乎,他要覺得敬畏歎息,立志要投身化學世界了。也因投身化學界,才牽扯出隨後每個元素人生故事來,恰如氫是 宇宙中最簡單也最根本的始基元素一樣。

《週期表》這本書,沒有承載什麼了不得的道理。但是,許多人讀了它,也被它感動。因為,李維人生中的呼息與誠懇,在字裡行間時時可見。這些呼息與誠懇,又 和代表元素序列的巧思完美扣合,使人訝然發現:原來單純的元素裡,也可想見如此有情世界。我想,這就是《週期表》成功獨到的地方罷。


倖存者的聲音

.王浩威
97年初夏,到義大利水上之都參觀威尼斯雙年展。

結束了比安那列舉辦的頒獎觀禮後,離開這個過度擁擠的第一展覽會場,一群朋友走到舊日造船廠改建的第二會場。

1893年開始的威尼斯雙年展,曾經是未來派的大本營,希特勒痛斥為墮落藝術的討伐對象;到了二次大戰後,原本秉持世界一同的良意,比安那列區舊別館再加 上新設計的建築,都擁有了自己的國名,彷如聯合國般充斥著另一種國家主義。舊造船廠改成的第二會場,以大會主動邀約的藝術家為主,國家的旗幟終於消失。

我們一群人先出了第二會場,沿水道旁的巷子漫步,而後隨意找了一家平常小館,簡單進食。一位同行的義大利藝術家聊起了文學和藝術的關係,他說其實義大利一直都很重視文字的。他本身是位化學家,經營了一家化學工廠,卻是長期支持前衛藝術,包括蒐購和寫評論。

雖然一起走了好長一段路,我才終於有機會認識他,不禁問:「你的情形,跨界搞文藝的化學家,不就像普利摩.李維一樣嗎?」

他忽然一陣驚訝,問道:在台灣,有他的作品翻譯出版嗎?然後就滔滔不絕地說李維是多麼棒的作家,他的敏銳心思,他真誠的文學態度,當然,也談到了他的自殺帶來的遺憾。

1992年3月12日的晚上,普利摩.李維去世近五年左右,羅馬的街頭出現了長長的火炬隊伍,上千的火光在黑夜中前進。他們的聚集是反對義大利境內逐年崛 起的種族主義和新納粹風氣,特別是近年橫行的光頭族。在小巷口,一幅長長拉開的抗議布條只簡單寫著幾個數字:174517。

1994年4月25日,二十萬人聚會在米蘭慶祝義大利脫離法西斯政權四十九週年,其中一幅搶眼的旗幟寫著:「勿忘174517」。

174517,一個乍看毫無意義的隨機數字,在二次大戰尚未結束的1944年2月,赤裸裸地火烙在普利摩.李維的肌膚上。當時他才從一列囚禁的火車走下月 台。這是前後一年總共載送幾千人的許多次列車的其中一次。500個人從義大利Fossoli監獄送到德國日後惡名昭彰的「奧茲維茲」集中營。車上有29名 婦女和95名男子被挑上,依序烙印,編號174471到174565,而174517只是其中一號。剩下的400人,老幼婦孺等等,人數很龐大,處理卻很 簡單,直接送入瓦斯室處死。

人類歷史上最悲痛記憶的所在地奧茲維茲營,1943年底設立。當時納粹德國年輕人力投入了戰場,工廠人手急迫缺乏,於是一個徹底利用人力的集中營出現了。 二次大戰期間,在義大利境內有8000名猶太人被送出境,6000名送到奧茲維茲,只有356名在戰後生還回到故鄉。李維,這位被編號為174517的囚 犯,日後在美國小說家Philip Roth的訪談裡表示,他的倖存是一大堆因素賜予的,主要包括他的遲遲被捕,他適合這個強迫勞役制度的要求,當然,最重要的純屬幸運而已。

奧茲維茲的大門就刻著這樣的字句:Arbeit Macht Frei,勞動創造自由。1919年7月31日出生的李維,抵達奧茲維茲時是25歲。他被挑出來的原因,最先是年輕力壯的肉體,後來是他化學家的專長;最 後,當德國開始戰敗,健康囚犯都被強制撤離和謀殺時,他卻正因腥紅熱侵襲奄奄一息,被丟棄在營中而倖存。

這許多幸運的偶然,這樣微小的生存機率,在和死神不斷擦身而過的過程,倖存的人,包括李維,也就成為一個永遠無法相信生命的困惑者,卻又勢必扮演這一切災難的目擊證人。

和台灣讀者所熟悉的卡爾維諾一樣,李維從出生以來,一直都是在杜林。30年代的作家,也是文壇精神領袖帕維瑟,將卡爾維諾引進文壇,介紹到最重要的文化出 版社埃伊瑙迪(Einaudi)工作和出書。相反的,同樣是杜林人,同樣二次戰後寫作,只比卡爾維諾大四歲的李維,卻沒有這樣的一份幸運。一方面,戰後回 到杜林的他,就像《週期表》裡寫的,在這個近乎廢墟的城郊找到了一份工廠化學家的工作,也就少與杜林文人圈來往。然而,更重要的原因卻是他作品中的絕望和 憤怒。

在奧茲維茲的絕望處境裡支持他活下去的,就是盼望扮演這場悲劇見證人的決心。他將觀察和感受陸續寫在紙上,然後一一銷燬,只留在腦海而避免遭發現。

回到杜林,他和另一位同是倖存者的醫師Leonardo de Benedetti揭開集中營如何虐待和摧毀人體的科學報告,刊在醫學期刊。1947年,他開始在《人民之友》週刊發表有關集中營的文章。完整手稿分別給 了埃伊瑙迪、帕維瑟和金芝柏夫人(Natalia Ginzburg),反應極佳,可是埃伊瑙迪的出版社都沒興趣,最後是一家小出版社草草發行,第一版滯銷而庫存在佛羅倫斯的地下倉庫,某年水災全遭淹漬。

二次大戰後,乃至到了今天,人們一直不願去回想大屠殺這類的記憶,這一切歷史事件證明了人性可能的殘酷,既不僅屬於少數幾個民族,也不是人類的文明演化可 以消除的,而是永遠地,永遠地存在像你我這樣的所謂平凡或善良老百姓的潛意識深處。李維喊出來了,大家的痛處卻被觸及了,即使是良心知識分子也都有意無意 地迴避而不積極歡迎它的出版。

《如果這是個人類》在被拒十年後,1958年才由埃伊瑙迪出版。

50年代末期,二次大戰的災難還距離不遠,經歷過法西斯、戰爭、死亡和集中營的一代,發覺部份新一代歐洲青年開始投入當年的思考模式,新法西斯和新納粹風 潮開始蠢蠢欲動。學校的教科書還停留在過去,課本裡的歷史只記錄到第一次世界大戰。因為這樣的發展,原先指望以遺忘作為原諒的文化界,才開始恐慌起來,許 多二次大戰期間的資料,包括《安妮的日記》在內,終於得以發行。初版才兩千冊的《如果這是個人類》,直到1987年為止,共售出75萬冊。

在《如果這是個人類》裡,集中營的主題一直持續著,聲音是憤怒和見證的;到了《復甦》,分貝開始下降,思考更加複雜。他的反省不再是只有少數的「壞人」,而是包括猶太人在內的集體的道德責任,恥辱和罪疚成為一再盤旋的主題。

《復甦》的「恥辱」一章最先完成於1947年,關於「所謂正直的人在他人果真做下錯事以前,早己隱約感到恥辱」的主題,到40年後他在死前發表的最後一本 重要作品《被溺斃的和被救活的》,進一步發展成對倖存者更深遠的分析,特別是他們的罪疚和恥辱。罪疚是指在某些場合中,儘管主動選擇的可能性將是渺小的, 但還是有可能時,倖存者對自己的沒有抵抗和沒有救助他人(雖然當時的情況根本不可能)而永遠承受自責。恥辱既是個人也是集體的。倖存者必須個別地承受別人 質疑的眼神:為甚麼人都死了而你還活著,同時也承受著集體的恥辱:我居然也是屬於這般禽獸的人類的其中一分子。

在這樣複雜的思考和分析後,李維開始肯定為何有些人在承受囚禁和侮辱時,可以勇敢活下來,在自由之後反而自行結束生命。他說:「自殺的行徑是人性的而不是 動物的,它是縝密思考的舉止,不是衝動或不自然的選擇。」奧地利籍哲學家Hans Mayer(別名Jean Amery)在1978年自殺,生前寫了一篇「奧茲維茲的知識份子」,警告下一代一定要抗拒冷漠和不在乎。李維在書中,也用了一整個章篇來討論這問題,結 論都是悲觀而不確定的。

這本書出版的同一年,1986年6月,奧地利前納粹分子華德翰(Kurt Waldheim)當選為該國總理,引起歐洲知識分子的一片憤怒和辯論;當然,義大利也不例外。李維在他的聖經背後寫了一首詩:

如果沒有多少的改變也不要怯懦了。/我們需要你,雖然你只是較不疲累罷了。/……再想想我們所犯的錯吧:/在我們之間有一些人,/他們的追尋還是瞎眼地出 發,/像是矇上眼布的人憑依摸索。/還有些人海盜般出航;/有些人努力繼續堅持好心腸。/……千萬別驚駭了,在這廢墟和垃圾的惡臭裡:/我曾經赤手清除這 一切,/就在和你們一樣的年紀時。/維持這樣的步伐,盼望你可以做到。/我們曾經梳開慧星的髮叢,/解讀出天才的秘密,/踏上月球的沙地,/建立奧茲維茲 和摧毀廣島。/瞧,我們並不是啥都不動的。/扛上這負擔吧,繼續現在的困惑。/千萬啊,千萬不要稱我們為導師。

這一年的年底,李維再次陷入嚴重的憂鬱症。1987年年初,在最後的一次訪問裡,他說:「過去和現在的每一刻,我總覺得要將一切都說出來……我走過迢迢的 混亂,也許是和集中營經驗有關。我面對困難的情形,慘透了。而這些都是沒寫出來的。……我不是勇敢強壯的。一點也不是!」

3月,他連續兩次前列腺手術,生理的惡化讓憂鬱症更沈重。4月8日清晨,義大利國家電視台的新聞,宣稱普利摩.李維從他家的三樓墜落死亡。

普利摩.李維不僅是奧茲維茲的倖存者,不止是書寫集中營的回憶和反思。

1995年9月,旅途行中路過倫敦,遇見了在英國遊修科學史的朋友。他說,最近才因為課堂老師的介紹,讀完一本棒極了的書《週期表》。從薩爾茲堡搭車到蘇黎士,再搭機到倫敦的途中,我也就再買一本《週期表》。

李維從沒失去他出身的化學本行。只是,在人的問題和化學的科學之間,身為科學家的他不再是看不見的觀察者,所有所謂客觀的科學都開始有了主觀的故事和歷史。李維用人文的眼神凝視科學,顛覆了幾百年在科學與人文的爭執中,永遠只有科學在打量著人文的處境。

他曾經寫詩、寫評論,也寫過完全符合嚴格西方定義的長篇小說:《如果不是現在,又何時?》。然而,大多的評論家公認《週期表》是他最成功的文學創作。這本 1975年出版的「小說」,在濃厚的自傳色彩中將化學元素化為個人的隱喻,彷如也是宣告他的記憶開始努力從集中營的經歷中再回到一切還沒發生的原點。

第一章的氬開始追溯祖先的脈絡,從古老猶太傳統到杜林的定居,而李維是最後登場的一個角色。從氫到鋼,李維渡過了他的青春期到第一份差事。這是《週期表》的第一部份,也是最愉快的人生,他發現了自己擁有傾聽的能力,而別人也有告訴一切的意願。

第二階段是磷到鈰,從他失去自由到Lager(營)處的囚禁。第三階段則是鉻到釩,談及戰後的一切,在重新適應原來城市的過程,已經失去了昔日用浪漫眼光看待化學的悠哉了。他必需面對現實的需要,重新架構自己的價值觀和視野。

碳出現在最後倒數的階段,一種「時間不再存在」的元素,是一種「永恆的現在」。特別是,李維指出,這樣的平衡狀態將導致死亡。碳和人類的肉體是不同的,它 擁有永恆的質性,李維選擇它暗喻自己化學生涯的結束和作家身分的重生,卻也不知不覺地預言了在面對創傷記憶的漫長奮鬥後,四十年的煎熬渡過了,最後還是選 擇了一種永遠平靜下去的結束。
Viewing all 6917 articles
Browse latest View live