讀 {蜂蜜與塵土}(Honey and Dust) 提到某敘利亞人有「高康大式鬍鬚」，翻譯者解釋一堆「高康大」何許人也，卻沒說這是什麼鬍子。
高康大應是十五、六世紀拉伯雷（F. Rabelais）《巨人傳》（Gargantua et Pantagruel）的主角Gargantua，我多年前還提過：
鍾漢清《戴明領導手冊》譯序兼中文版導言：
這本書告訴你如何學習、鍛鍊出新領導者本事，它也是戴明哲學應用於現場領導改善、培訓大全。本書為作者休提士（Peter R. Scholtes）先生數十餘年經歷及用心的結晶。這本闡揚戴明領導哲學的名作《戴明領導手冊》（The Leader Handbook），應在人間多點知音。這是譯者心意。我要轉引十五、六世紀拉伯雷（F. Rabelais）《巨人傳》（Gargantua et Pantagruel）書後的吉特先生話：「他為我們寫下了這本書。它給讀者以生命，它也使作者精神永垂不朽。」我以為作者會以本書傳世。英國大文評家 John Ruskin說得好：「愛心得匠意，則傑作在望（When love and skill work together, expect a masterpiece）。」
這回重讀前十餘章，逸趣也趣橫生。雖然沒找到出處，不過在網路上可找到1537年的（再加上B. Raffel的英文翻譯本）封面都可以找到這種滿嘴卷鬚之圖示，就暫時交差。
━━ n. ガルガンチュア ((フランスの作家Rabelaisの『ガルガンチュアとパンタグリュエル物語』の主人公の巨人)).
Gar・gan・tu・an ━━ a. ガルガンチュアの（ような）; （またg-） 巨大な.
gar·gan·tu·an (gär-găn'chū-ən)
adj.
Of immense size, volume, or capacity; gigantic. See synonims at enormous.
gargantuan (gar-GAN-choo-uhn)
adjective
Gigantic.
Etymology
After Gargantua, a voracious giant, the father of Pantagruel, in a series of novels by François Rabelais (c. 1490-1553)
Usage
"Walls were built around Constantinople, gargantuan chains were set over the Bosporus and the Golden Horn to prevent any attempts by the enemy to enter."— Vercihan Ziflioglu; A Sole Burned Gate; Turkish Daily News (Istanbul); Mar 26, 2008.
"Readers, friends, if you turn these pages
Put your prejudice aside,
For, really, there's nothing here that's outrageous,
Nothing sick, or bad — or contagious.
Not that I sit here glowing with pride
For my book: all you'll find is laughter:That's all the glory my heart is after,Seeing how sorrow eats you, defeats you.I'd rather write about laughing than crying,For laughter makes men human, and courageous.BE HAPPY!"--from "Gargantua and Pantagruel" (1532 - 1564) by François Rabelais
The unfettered exuberance of Gargantua and Pantagruel, the storms of phenomenal life it offers for our inspection, the honor it gives to the deformed, the cloacal, and the profane aspects of existence are at the very heart of Rabelais' genius. But the author of this fantasia on the lives of a father-and-son pair of giants was one of the most magnificent and magnificently learned products of the Renaissance; and he also represents, as well as any of its other great figures, that era's love of the human body and its exaltation of the human in the face of the divine.
