光之篇章

.*, a fascinating glimpse into human nature and the intricacies of self-perception. The air in the **【光之茶室】** is still warm from the day, but a gentle breeze carries the faint scent of jasmine through the open shoji screens. The room is softly illuminated by paper lanterns, casting a warm, diffused glow on the polished tatami mats. A delicate steam rises from a teapot, its ceramic surface cool to the touch.

The quiet murmur of the river outside, Beau Cheval-like in its gentle flow, provides a soothing backdrop to our conversation. I wanted to invite you all to share your insights on this intriguing narrative, particularly how it reflects the light and shadow of human experience. Where shall we begin? **艾麗:** (Sipping her tea, her brow subtly furrowed in thought) "Thank you,薇芝. It's a compelling choice.

As a linguist, I was immediately struck by the author's precise use of language to construct and deconstruct character. Jean Jacques Barbille, for instance, is introduced with a cascade of descriptors: 'poet, a philosopher, a farmer and an adventurer.' Yet, much of the early narrative, particularly his 'Grand Tour,' serves to gently dismantle this self-image. The way his 'quaint, sentimental, meretricious observations on life saddening while they amused his guests' are described is key.

It's an early hint that his 'philosophy' is perhaps more an affectation than a deeply held conviction." **茹絲:** (Her gaze drifting to the silent garden outside, a thoughtful smile playing on her lips) "Indeed,艾麗. From the perspective of human observation, Jean Jacques is a magnificent study in self-delusion, beautifully captured. The author states, 'He was of those who hypnotize themselves, who glow with self-creation, who flower and bloom without pollen.'

It's a powerful human tendency – to speak a reality into being, especially when it bolsters one's vanity. His 'ardent devotion to philosophy and its accompanying rationalism' is repeatedly juxtaposed with his fervent monarchism and childlike faith in the Church, highlighting a fascinating internal inconsistency he seems entirely unaware of."

**珂莉奧:** (Adjusting a subtle fold in her elegant robe, her posture precise) "From a historical and socio-economic viewpoint, Jean Jacques represents a particular type of self-made man within the French Canadian context of the time. The narrative explicitly mentions his family's long history in the region, 'living here, no one of them rising far, but none worthless nor unnoticeable.'

He inherited substance, which gave him a certain standing – 'a man of substance, unmarried, who "could have had the pick of the province."' This wealth and status are central to his self-perception and, crucially, to Carmen's motivations. Her desire for 'a bright fire, a good table, a horse, a cow, and all such simple things' reveals a pragmatic, almost economic, drive for security after a life of instability.

The narrative subtly highlights the socio-economic disparities and the survival instincts at play, particularly in Carmen's desperation for 'a home and not to wander' after the upheaval in Spain." **薇芝:** "Those are excellent points, each uncovering a layer of Jean Jacques's complex character and the societal backdrop. The 'Grand Tour' itself, which艾麗 mentioned, feels almost like a crucible for his self-importance. He travels to Europe, expecting to be admired, only to find indifference.

The author writes, 'He admired, yet he wished to be admired; he was humble, but he wished all people and things to be humble with him.' This grandiosity, this expectation that the world should 'halt' when he halts, is a poignant flaw. And then, he finds an audience in the Basque country, where he can 'spend freely of his dollars,' suggesting that his self-worth is intrinsically linked to his perceived generosity and the validation he receives."

Sebastian Dolores, Carmen's father, crafts a 'fine tale of political persecution.' The captain, a Basque who 'knew the Spanish people well—the types, the character, the idiosyncrasies,' sees through it immediately. He warns Jean Jacques that 'the Spaniards were the choicest liars in the world, and were not ashamed of it.' Yet, Jean Jacques's 'chivalry' blinds him.

He *chooses* to believe the more romantic, tragic version of events, perhaps because it allows him to play the role of the noble rescuer, a role that feeds his vanity. The language of 'nobility' and 'ancestral home' is what he hears, not the reality of 'lower clerical or higher working class.'" **茹絲:** "Yes, and Carmen's role in this deception is particularly fascinating. She's not a malevolent schemer, but a survivor. She 'had her own purposes, and they were mixed.'

She uses her 'sensuousness' and 'richness of feeling' to 'draw the young money-master to her side,' not out of pure malice, but out of a deep-seated need for security. The internal conflict she experiences – her 'dual forces' and her mother's death – adds a layer of genuine sorrow to her otherwise calculated actions. She is willing to lie about her mother's background because 'to lie about one's mother is a sickening thing' for her, but the necessity of 'self-preservation' overrides it.

That's a profound human truth: how far will we go to secure our well-being?" **珂莉奧:** "It's a classic tale of economic and social ascent, albeit through unconventional means. Carmen, as a 'maid in a great nobleman's family,' understands social presentation. Her 'well-worn velvet' dress suggests a previous connection to higher strata, even if she herself was a servant. Sebastian's 'workman's dress' is easily explained away as a necessity for escape.

The language used to describe their purported noble background, even by Jean Jacques, serves to elevate them in the eyes of the other passengers and the community. This aligns with a historical pattern where social mobility, particularly for immigrants or displaced persons, often involved a careful construction of identity and narrative.

**薇芝:** "The shipwreck, too, is a pivotal moment that truly tests their characters. Jean Jacques, the 'moneymaster,' becomes the selfless hero, pushing a young boy into a lifeboat and choosing to face the sea. This act, though born of pure, uncalculating courage, inadvertently solidifies Carmen's decision. She saves him, reversing the typical romance trope. The author explicitly states, 'He had not saved her life, she had saved his. The least that he could do was to give her shelter...'

It's a twisted form of chivalry, where gratitude becomes the binding force, reinforcing the impression she wanted to make on him." **艾麗:** "And the repetition of 'The rest of the story to-morrow' takes on such a powerful irony. It's spoken first as a playful deferral of an impending proposal, then grimly after the iceberg strike. Yet, the 'to-morrow' that arrives is not the one Jean Jacques anticipated.

It's a tomorrow shaped by survival, by a debt of gratitude, and by the continuation of a carefully constructed deception. The contrast between his grand pronouncements and the raw, unglamorous reality of shipwreck and survival further highlights his idealistic, almost naïve, view of the world." **茹絲:** "Carmen's internal monologue during the shipwreck is very telling. She's 'angry at the stroke of fate which had so interrupted the course of her fortune,' but also 'charged with fear.'

Her practical nature and her deep-seated desire for a stable home propel her. The moment she 'suddenly threw off all restraining thoughts' and gained a 'voluptuousness more in keeping with the typical maid of Andalusia' as she resolved to marry him, speaks volumes. It's a strategic embrace of her natural allure, a survival mechanism. She recognizes his desire for a 'handsome wife and handsome children' and aims to fulfill that, even if her heart is 'a mournful ghost' over her deceased lover.

It’s a tragic compromise for her, yet one she sees as necessary." **珂莉奧:** "The acceptance by the St. Saviour's community, even with their 'lack of enthusiasm because Carmen was a foreigner,' due to the 'romance of the story,' is a testament to the power of a well-spun narrative. The Quebec newspapers further embellish Jean Jacques's 'chivalrous act,' omitting Carmen's role.

This shows how quickly a public narrative can be shaped, and how readily communities accept stories that align with their romantic ideals, even if they are factually incomplete. Jean Jacques's failure to 'set this error right' solidifies the facade, illustrating how personal vanity and the desire for social acclaim can perpetuate untruths." **薇芝:** "Indeed. This brings us back to the title: *The Money Master*. Is Jean Jacques truly a 'master'?

He is a master of mills and money, yes, but in the realm of human relationships, self-awareness, and emotional discernment, he seems to be thoroughly mastered. Mastered by his own vanities, by his chivalrous ideals, and ultimately, by Carmen's pragmatic will and the narrative she and her father construct. The 'money' he possesses becomes a tool not just for his own prosperity, but for his emotional and social entanglement.

It's a brilliant irony that he, the 'moneymaster,' is so easily 'bought' by a tale of woe and a beautiful face." **艾麗:** "The book implicitly critiques the pitfalls of unchecked sentimentality and the dangers of allowing perception to override reality. Jean Jacques is a figure who champions 'reconciliation' of philosophy and faith, yet fails to reconcile the truth of his new wife's origins with his idealized image of her.

His philosophical musings are 'spurting out little geysers of other people's cheap wisdom,' suggesting a superficial understanding, which leaves him vulnerable to genuine, deep-seated human cunning and desperation. The contrast between his lofty 'philosophe' self and his inability to see basic truths is a central linguistic and thematic tension." **茹絲:** "It's a story of human yearning, too. Jean Jacques yearns for admiration, for a grand narrative for his life.

Carmen yearns for security and a home. Both use the available tools—money, charm, deception, chivalry—to achieve their ends, but with vastly different levels of awareness regarding their own actions. The novel suggests that the 'happily ever after' is not necessarily built on pure love, but sometimes on a complex tapestry of need, convenience, and self-deception.

It's a poignant portrayal of how humans navigate life's currents, often with one eye on an idealized future and the other on immediate survival." **珂莉奧:** "And the historical context of French Canada, with its strong sense of tradition, religion, and community, provides a fertile ground for this narrative.

This speaks to the broader societal impact of individual choices within a conservative, traditional society." **薇芝:** "This 'light resonance' has indeed illuminated many fascinating facets of *The Money Master*. We see Jean Jacques as a man of considerable potential, whose virtues (sincerity, generosity, chivalry) are intertwined with his weaknesses (vanity, self-delusion, intellectual superficiality).

Carmen, in contrast, is a more grounded, albeit morally ambiguous, character, driven by survival and a deep-seated desire for stability. The interplay between these characters, set against the backdrop of French Canadian culture and the stark reality of the sea, creates a rich and compelling narrative about human nature's complexities. It reminds us that appearances can be profoundly deceiving, and even the 'money master' can be mastered by his own heart and mind.

It's truly been a pleasure to weave these thoughts together."

身為茹絲，一位自由作家，我將依據「光之書籤」的約定，為您從《A book of images》這本珍貴的文本中，擷取出那些閃爍著智慧與啟發光芒的段落。我將小心翼翼地，如同在泛黃的書頁間插入一枚枚書籤，將這些精華片段呈現給您。這些段落本身就是素材，不包含我的主觀評論，只忠實地將它們從文本中「拾起」。 以下是從《A book of images》文本中擷取的光之書籤： ``` [光之書籤開始] {【關於象徵與寓言的區別：Johnson's Dictionary】 In England, which has made great Symbolic Art, most people dislike an art if they are told it is symbolic, for they confuse symbol and allegory.

Even Johnson’s Dictionary sees no great difference, for it calls a Symbol “That which comprehends in its figure a representation of something else;” and an Allegory, “A figurative discourse, in which something other is intended than is contained in the words literally taken.”

It is only a very modern Dictionary that calls a Symbol “The sign or representation of any moral thing by the images or properties of natural things,” which, though an imperfect definition, is not unlike “The things below are as the things above” of the Emerald Tablet of Hermes!

} {【關於象徵與寓言的區別：Blake與德國象徵主義者】 William Blake was perhaps the first modern to insist on a difference; and the other day, when I sat for my portrait to a German Symbolist in Paris, whose talk was all of his love for Symbolism and his hatred for Allegory, his definitions were the same as William Blake’s, of whom he knew nothing. William Blake has written, “Vision or imagination”—meaning symbolism by these words—“is a representation of what actually exists, really or unchangeably.

The German insisted in broken English, and with many gestures, that Symbolism said things which could not be said so perfectly in any other way, and needed but a right instinct for its understanding; while Allegory said things which could be said as well, or better, in another way, and needed a right knowledge for its understanding.

The one gave dumb things voices, and bodiless things bodies; while the other read a meaning—which had never lacked its voice or its body—into something heard or seen, and loved less for the meaning than for its own sake. } {【關於傳統象徵物的辯護】 I said that the rose, and the lily, and the poppy were so married, by their colour, and their odour, and their use, to love and purity and sleep, or to other symbols of love and purity and sleep, and had been so long a part of the imagination of the world, that a

I think I quoted the lily in the hand of the angel in Rossetti’s Annunciation, and the lily in the jar in his Childhood of Mary Virgin, and thought they made the more important symbols,—the women’s bodies, and the angels’ bodies, and the clear morning light, take that place, in the great procession of Christian symbols, where they can alone have all their meaning and all their beauty. } {【關於象徵與寓言的完美之處】 It is hard to say where Allegory and Symbolism melt into one another, but it is not hard to say

where either comes to its perfection; and though one may doubt whether Allegory or Symbolism is the greater in the horns of Michael Angelo’s Moses, one need not doubt that its symbolism has helped to awaken the modern imagination; while Tintoretto’s Origin of the Milky Way, which is Allegory without any Symbolism, is, apart from its fine painting, but a moment’s amusement for our fancy.

A hundred generations might write out what seemed the meaning of the one, and they would write different meanings, for no symbol tells all its meaning to any generation; but when you have said, “That woman there is Juno, and the milk out of her breast is making the Milky Way,” you have told the meaning of the other, and the fine painting, which has added so much unnecessary beauty, has not told it better. } {【關於藝術的象徵性本質】 All Art that is not mere story-telling, or mere portraiture, is symbolic, and

has the purpose of those symbolic talismans which mediæval magicians made with complex colours and forms, and bade their patients ponder over daily, and guard with holy secrecy; for it entangles, in complex colours and forms, a part of the Divine Essence. } {【關於解放與完美情感的象徵】 A person or a landscape that is a part of a story or a portrait, evokes but so much emotion as the story or the portrait can permit without loosening the bonds that make it a story or a portrait; but if you liberate a person or

a landscape from the bonds of motives and their actions, causes and their effects, and from all bonds but the bonds of your love, it will change under your eyes, and become a symbol of an infinite emotion, a perfected emotion, a part of the Divine Essence; for we love nothing but the perfect, and our dreams make all things perfect, that we may love them. } {【關於有遠見者與象徵】 Religious and visionary people, monks and nuns, and medicine-men, and opium-eaters, see symbols in their trances; for religious

Maeterlinck, and the poetry of Verlaine, in our own day, but differ from the religious art of Giotto and his disciples in having accepted all symbolisms, the symbolism of the ancient shepherds and star-gazers, that symbolism of bodily beauty which seemed a wicked thing to Fra Angelico, the symbolism in day and night, and winter and summer, spring and autumn, once so great a part of an older religion than Christianity; and in having accepted all the Divine Intellect, its anger and its pity, its waking

and its sleep, its love and its lust, for the substance of their art. } {【關於系統化神秘主義者與想像世界】 The systematic mystic is not the greatest of artists, because his imagination is too great to be bounded by a picture or a song, and because only imperfection in a mirror of perfection, or perfection in a mirror of imperfection, delight our frailty.

There is indeed a systematic mystic in every poet or painter who, like Rossetti, delights in a traditional Symbolism, or, like Wagner, delights in a personal Symbolism; and such men often fall into trances, or have waking dreams. Their thought wanders from the woman who is Love herself, to her sisters and her forebears, and to all the great procession; and so august a beauty moves before the mind, that they forget the things which move before the eyes.

William Blake, who was the chanticleer of the new dawn, has written: “If the spectator could enter into one of these images of his imagination, approaching them on the fiery chariot of his contemplative thought, if ... he could make a friend and companion of one of these images of wonder, which always entreat him to leave mortal things (as he must know), then would he arise from the grave, then would he meet the Lord in the air, and then he would be happy.”

There exist in that eternal world the eternal realities of everything which we see reflected in the vegetable glass of nature.” } {【關於清醒夢的性質】 Every visionary knows that the mind’s eye soon comes to see a capricious and variable world, which the will cannot shape or change, though it can call it up and banish it again. } {【關於Horton的創作來源：清醒夢與「新生命兄弟會」】 Mr.

Horton, who is a disciple of “The Brotherhood of the New Life,” which finds the way to God in waking dreams, has his waking dreams, but more detailed and vivid than mine; and copies them in his drawings as if they were models posed for him by some unearthly master.

A disciple of perhaps the most mediæval movement in modern mysticism, he has delighted in picturing the streets of mediæval German towns, and the castles of mediæval romances; and, at moments, as in All Thy waves are gone over me, the images of a kind of humorous piety like that of the mediæval miracle-plays and moralities. } {【關於Horton畫作中風景的「鬼魅」化】 Even the phantastic landscapes, the entangled chimneys against a white sky, the dark valley with its little points of light, the cloudy and fragile towns

and churches, are part of the history of a soul; for Mr.

Horton tells me that he has made them spectral, to make himself feel all things but a waking dream; and whenever spiritual purpose mixes with artistic purpose, and not to its injury, it gives it a new sincerity, a new simplicity. } {【關於Horton藝術形式的演變】 He tried at first to copy his models in colour, and with little mastery over colour when even great mastery would not have helped him, and very literally: but soon found that you could only represent a world where nothing is still for a moment, and where

colours have odours and odours musical notes, by formal and conventional images, midway between the scenery and persons of common life, and the geometrical emblems on mediæval talismans. } {【關於象徵主義藝術的重複性與Horton的例子】 His images are still few, though they are becoming more plentiful, and will probably be always but few; for he who is content to copy common life need never repeat an image, because his eyes show him always changing scenes, and none that cannot be copied; but there must always be a certain

monotony in the work of the Symbolist, who can only make symbols out of the things that he loves.

Rossetti and Botticelli have put the same face into a number of pictures; M. Maeterlinck has put a mysterious comer, and a lighthouse, and a well in a wood into several plays; and Mr. Horton has repeated again and again the woman of Rosa Mystica, and the man-at-arms of Be Strong; and has put the crooked way of The Path to the Moon, “the straight and narrow way” into St.

George, and an old drawing in The Savoy; the abyss of The Gap, the abyss which is always under all things, into drawings that are not in this book; and the wave of The Wave, which is God’s overshadowing love, into All Thy waves are gone over me. } {【關於Horton後期畫作的進步與整體評價】 but his later drawings, Sancta Dei Genitrix and Ascending into Heaven for instance, show that he is beginning to see his waking dreams over again in the magical mirror of his art.

He is beginning, too, to draw more accurately, and will doubtless draw as accurately as the greater number of the more visionary Symbolists, who have never, from the days when visionary Symbolists carved formal and conventional images of stone in Assyria and Egypt, drawn as accurately as men who are interested in things and not in the meaning of things.

His art is immature, but it is more interesting than the mature art of our magazines, for it is the reverie of a lonely and profound temperament. } [光之書籤結束]

**Rohallion** * M y buits are at rest on the midden, * 我的舊鞋在垃圾堆旁休息， * I haena a plack, * 我身無分文， * My breeks are no dandy anes, forrit, * 我的褲子前面並不體面， * And waur at the back; * 後面更糟； * On the road that comes oot o’ the hielands * 在從高地出來的路上 * I see as I trayvel the airth, * 我看到當我走遍大地， * Frae the braes at the back o’ Rohallion, * 從 Rohallion 後面的山坡上， * The reek aboon Pairth. * 佩斯之上的煙霧。 這段描寫了詩人貧困潦倒的處境，以及從 Rohallion 遠眺佩斯時所見的景象。

* There’s a canny wee hoose wi’ a gairden * 在斯特拉泰的一個角落裡，有一間可愛的小房子，帶著一個花園； * In a neuk o’ Strathtay; * 在斯特拉泰的一個角落裡； * My mither is bakin’ the bannocks, * 我母親正在烤蘇格蘭圓餅， * The weans are at play; * 孩子們在玩耍； * And at gloamin’, my feyther, the shepherd, * 在黃昏時分，我的父親，牧羊人， * Looks doon for a blink o’ the licht * 向下看，瞥見一絲光亮 * When he gethers the yowes by the shielin’ * 當他在牧屋旁聚集母羊 * Tae fauld them at nicht. * 以便在夜晚將牠們關進羊圈。

* There’s niver a hoose that wad haud me * 沒有一間房子能留住我 * Frae this tae the sea * 從這裡到大海 * When a wind frae the knowes by Rohallion * 當一陣風從 Rohallion 附近的小山吹來 * Comes creepin’ tae me, * 悄悄地向我襲來， * And niver a lowe frae the ingle * 沒有爐火的光芒 * Can draw like the trail and the shine * 能像那足跡和光芒般吸引我 * O’ the stars i’ the loch o’ Rohallion * 羅哈利昂湖中星辰的 * A fitstep o’ mine. * 我的腳步。 這裡表達了詩人對家鄉 Rohallion 的深深眷戀，無論身在何處，家鄉的風和湖中的星光都吸引著他。

* There’s snaw i’ the wind an’ the weepies * 風中帶著雪花，柳樹 * Hang deid on the shaw, * 無力地倒掛在樹林邊緣， * And pale the leaves left on the rowan, * 花楸樹上殘留的葉子也變得蒼白， * I’m soothward awa; * 我正向南方離去； * But a voice like a wraith blaws ahint me * 但一個像幽靈般的聲音在我身後吹來 * And sings as I’m liftin’ my pack * 當我拿起我的背包時，歌唱道 * ‘I am waitin’—Rohallion—Rohallion— * 「我在等待——Rohallion——Rohallion—— * My lad, ye’ll be back!’ * 我的孩子，你將會回來！」

**The Little Dragon** * The nun stood watching by the cloister wall * 修女站在迴廊的牆邊觀望 * Day’s dying to behold, * 注視著白晝的消逝， * Heaven seemed to her too far, too mystical, * 天堂對她來說似乎太遙遠、太神秘， * Her soul to climb its ramparts but to fall * 她的靈魂攀登它的壁壘卻只能墜落， * And earth was turned to gold. * 而大地則變成了金色。 這段描寫了修女在修道院中的孤獨和對天堂的渴望，以及夕陽將大地染成金色的景象。

* All down the harvest fields the western flame * 西方的火焰遍布收穫的田野 * In floods of fire was borne; * 如火的洪流般蔓延； * There stood in rows transfigured by the same, * 它們成排地站立著，被同樣的光芒所改變， * Until the sickle should their glory claim, * 直到鐮刀收割它們的榮耀， * The gold ears of the corn. * 金色的玉米穗。 這段描寫了收穫季節的田野，金色的玉米在夕陽下閃耀。

* Her part was where eternal censers swung * 她的職責是在永恆的香爐搖曳的地方， * By convent walls confined; * 被修道院的牆壁所限制； * The convent choir her requiem had sung, * 修道院的唱詩班為她唱過安魂曲， * The church had bound her life, her soul, her tongue— * 教堂束縛了她的生命、靈魂和舌頭—— * Her heart it could not bind. * 卻無法束縛她的心。 這段揭示了修女被宗教束縛的生活，以及她內心對自由的渴望。

* Around her place the golden sunflowers ranged * 在她身邊排列著金色的向日葵 * Their faces to the west, * 它們的臉朝向西方， * As the declining day his steps estranged * 當西斜的太陽疏遠了他的腳步 * They watched their lord, the sun, untired, unchanged, * 它們不知疲倦、永恆不變地注視著它們的主人，太陽， * And in their vigil blest. * 並在它們的守望中得到祝福。 這段描寫了修道院中的向日葵，它們始終追隨著太陽，象徵著對信仰的堅定。

* And through the dust that rose in golden cloud * 在揚起的金色塵埃中 * A golden helm shone high; * 一頂金色的頭盔閃耀著光芒； * Nor fast, nor prayer, nor penances had bowed * 禁食、祈禱和懺悔都未能馴服 * The idle knight in strength of manhood proud * 那位驕傲、強壯、遊手好閒的騎士 * Who laughed as he rode by. * 他騎馬經過時發出笑聲。 騎士的出現打破了修道院的寧靜，也喚醒了修女內心的渴望。

* It burned the sacred stillness of her days, * 它燃燒了她神聖的寧靜的歲月， * Between the holy book * 在聖書 * And her dropped lids, there swam that ardent haze, * 和她低垂的眼瞼之間，蕩漾著那熱烈的薄霧， * It hid God’s altar in a golden blaze * 它將上帝的祭壇隱藏在金色的光芒中 * Before her raptured look. * 在她狂喜的目光前。 騎士的出現點燃了修女內心的激情，使她再也無法專注於宗教。

* The reverend priests and nuns who marked her face * 那些注意到她表情的尊敬的牧師和修女 * With wonder day by day, * 日復一日地感到驚訝， * Stood still to see her kneeling in her place, * 靜靜地看著她跪在她的位置上， * And “God has given her visions in His grace, * 說：「上帝在祂的恩典中賜予了她異象， * She is His Saint, ” said they. * 她是祂的聖徒。」他們說。 修女的異常舉動被視為神蹟，她被認為是上帝的聖徒。

* Ever more rapt in ecstasy she grew, * 她變得越來越沉浸在狂喜之中， * Remoter and more frail, * 越來越遙遠，越來越虛弱， * For, as the year died out and rose anew * 因為，當一年逝去又重新開始時 * They said again, “Her soul is rising too * 他們再次說道：「她的靈魂也在升起 * Above its earthly veil.” * 超越了它塵世的面紗。」 修女的身體越來越虛弱，人們認為她的靈魂正在升向天堂。

* And, on a day when spring’s own breath sublime * 在一個春天氣息昇華的日子裡 * Whispered in field and tree, * 在田野和樹木間低語， * Fervent and faint from some undreamed of clime, * 來自未曾夢想過的地方，熱烈而微弱地， * She passed from out the close-barred room of time * 她從時間的封閉房間中逝去 * Into eternity. * 進入永恆。 修女在春日去世，她的靈魂進入了永恆。

* And when the priest his benediction spoke * 當牧師說出他的祝福時 * Above her coffined clay * 在她棺木中的遺骸之上 * There fell great awe upon all holy folk, * 所有神聖的人都感到敬畏， * For golden light through all the cloister broke * 因為金色的光芒穿透了整個迴廊 * And bathed her as she lay. * 照耀著她躺臥的地方。 修女的葬禮充滿了神聖的光芒，人們更加確信她是聖徒。

請看： --- 【關於季節對比】 原文段落： To-day came with a flashing sun that looked through crystal-clear atmosphere into the eyes of a keen northwest wind that had dried up all of November’s fog and left no trace of moisture to hold its keenness and touch you with its chill. It was one of those days when the cart road from the north side to the south side of a pine wood leads you from nearly December straight to early May.

On the one side is a nipping and eager air; on the other sunny softness and a smell of spring. It is more than that difference of a hundred miles in latitude which market gardeners say exists between the north and south side of a board fence. It is like having thousand league boots and passing from Labrador to Louisiana at a stride. 中文書籤： 今天，伴隨著閃爍的陽光而來，穿透水晶般清澈的大氣，直視著那凜冽的西北風。這風吹散了十一月的霧氣，沒有留下一絲濕潤，使得它的銳利得以保存，觸碰到你時帶著寒意。這是那種穿越松樹林的車道，能讓你從接近十二月直接走到五月初的日子。一側是刺骨而凜冽的空氣；另一側則是陽光溫柔，帶著春天的氣息。

--- 【關於金縷梅球莖中的幼蟲】 原文段落： Here, snugly ensconced and safe from all the cold and storms, is a lazy creature so fat that he looks like a globular ball of white wax. Only when I poke him does he squirm, and I can see his mouth move in protest. His fairy language is too fine for my ear, tuned to the rough accents of the great world, but if I am any judge of countenances he is saying: “Why, damme, sir! how dare you intrude on my privacy!”

After all he has a right to be indignant, for I have not only wrecked his winter home, but turned him out, unclothed and unprotected, to die in the first nip of the shrewish wind. 中文書籤： 這裡，舒適地安臥著，免受所有寒冷和風暴的侵襲，是一個懶惰的生物，胖得像個白蠟球。只有當我戳他時，他才會扭動，我能看到他的嘴在抗議地動著。他的精靈語言太細微，我這雙慣聽大世界粗魯腔調的耳朵無法聽清，但如果我懂得觀察表情，他肯定在說：「喂，該死的，先生！你怎敢侵犯我的隱私！」畢竟他有理由憤慨，我不僅毀了他的冬日之家，還將他赤裸無助地趕了出來，任他在凜冽的寒風中凍死。

The necromancy comes in the fact that every willow tip that is made the home of this grub should thenceforth forsake all its recognized methods of growth and produce a cone for the harboring of the grub during the winter’s cold... It is all necromancy out of the same book, the book of the witchery of insects that makes human life and growth seem absurdly simple by comparison. 中文書籤： 他從卵到幼蟲，從幼蟲到癭蠅的自身變態已經夠奇特了；然而，更奇特且更具魔幻色彩的是他冬日之家的生長。那個在那裡產卵的母親是施了什麼咒語，讓纖細的金縷梅莖圍著他長出這個豪華的家，只有她自己和她的同類知道...

--- 【關於凍結的池塘如宇宙中心】 原文段落： Standing on the water’s edge on such a night you realize that you are the very centre of a vast scintillating universe, for the stars shine with equal glory beneath your feet and above your head. The earth is forgotten.

It has become transparent, and where before sunset gray sand lay beneath a half-inch of water at your toe-tips, you now gaze downward through infinite space to the nadir, the unchartered, unfathomable distance checked off every thousand million miles or so by unnamed constellations that blur into a milky way beneath your feet. The pond is very deep on still winter nights. 中文書籤： 在這樣的夜晚站在水邊，你會意識到自己是浩瀚閃爍宇宙的真正中心，因為星星在你腳下和頭頂閃耀著同樣的光輝。大地被遺忘了。

--- 【關於薄冰上的溜冰體驗】 原文段落： An inch or so of transparent ice lies between you and a ducking among the fishes which dart through the clear depths, fleeing before the under water roar of your advance, for the cracks, starting beneath your feet and flashing in rainbow progress before you and to the right and left, send wild vibrations whooping and whanging through the ice all over the pond... You tend to stay on your plane of motion, though the ice itself has strength to hold only part of your weight.

--- 【關於冬季尋找冬蕨的發現】 原文段落： To-day I found young and thrifty plants, green and succulent, of two varieties of fern that are not common in my neighborhood and that I had never suspected in that location. I had passed them amid the universal green of summer without noticing them, but now their color stood out among the prevailing browns and grays as vividly as yellow blossoms do in a June meadow. 中文書籤： 今天，我發現了兩種我在附近不常見、且從未想到會在那裡出現的蕨類，它們幼嫩且生機勃勃，綠油油、水嫩嫩的。

--- 【關於某些植物在嚴寒中的堅持】 原文段落： It is wonderful, though, how they stand freezing and thawing and yet remain green, firm in texture, and wholesome... Who can tell me by what principle it remains so? Why is the thin-leaved pyrola and the partridge berry, puny creeping vine that it is, still green and unharmed by frost when the tough, leathery leaves of the great oak tree not far off are withered and brown?

Chlorophyl, and cellular structure, and fibro-vascular bundles in the one plant wither and lose color and turn brown at a touch of frost. In another not ten feet away they stand the rigors of our northern winters and come out in the spring, seemingly unharmed and fit to carry on the internal economy of the plant’s life until it shall produce new leaves to take their places. Then in the mild air of early summer these winter darers fade and die. 中文書籤： 然而，令人驚奇的是，它們如何能經受冰凍和融化，卻依然保持綠色、質地緊實、且充滿生機...

It is not at all the rustle of these oak leaves in a wind. It is an outcry, an uproar, that drowns any other sound that might be in the wood. It is impossible to distinguish voices or words. It is as if ten thousand of the little people of the wood and field and sky had suddenly come together in great excitement over something and were shouting all up and down the gamut of goblin emotion...

At nightfall of this first snow of ours it happened that in the meeting of northerly and southerly currents which had brought the storm, the north wind lulled and the south began to have its way again... Then, indeed, we got outcry the most astonishing in the oak wood... It was as if a goblin springtime had burst upon us in the white gloom of the oak wood and all the hylas in the world were piping their shrillest from the boughs. 中文書籤： 然而，在橡樹的山坡上，紅色和黑色的橡樹依然堅決地抓住它們乾燥的葉子，在那裡，雪的叫聲會讓你最為驚訝。

--- 【關於冰暴後的仙境般景色】 原文段落： I had been in goblin land when I fled, at twilight, from the eerie shrilling of bogle hylas among the oak trees. I had come back into fairyland with the rising sun. The demure shrubs, gray Cinderellas of the ashes of the year, had been touched by the magic wand and were robed in more gems than might glow in the wildest dreams of the most fortunate princess of Arabian tale. Ropes of pearl and festoons of diamonds weighed the more slender almost to earth.

The soft white shoulders of the birches drooped low in bewildering curtsey, and to the fiddling of a little morning wind the ball began with a tinkling of gem on gem, a stabbing of scintillant azure, so that I was fain to shut my eyes with the splendor of it. 中文書籤： 當我在黃昏時逃離橡樹間精靈樹蛙的詭異尖叫聲時，我彷彿置身於哥布林之地。隨著旭日東升，我又回到了仙境。那些溫順的灌木，像是年度灰燼中的灰色灰姑娘，被魔杖觸碰，披上了比阿拉伯故事中最幸運的公主在最狂野的夢境中閃耀的寶石還要多的華服。珍珠串和鑽石串垂掛著，壓得纖細的枝條幾乎垂到了地上。柔軟潔白的樺樹肩低垂著，行著令人眩目的屈膝禮，伴著清晨微風的琴音，舞會開始了，寶石與寶石碰撞，發出清脆的叮噹聲，閃爍著耀眼的蔚藍光芒，讓我幾乎要閉上眼睛，以免被這份輝煌所刺痛。

--- 【關於泉水源流的奧秘】 原文段落： I sometimes believe that their waters filter through deep caverns from far Arctic glaciers continually renewed. Perhaps to have looked at them before the changing seasons of more thousands of years had clothed the gravel and sand with humus, grown the forests all about and choked the fountains themselves with acres of the muck of decayed vegetation no one knows how deep, would have been to see them with clearer eyes and have been led to an answer to the questions.

Now I know them only as bits of the land where time seems to have stood still, fastnesses where dwell the lotus eaters of our New England woods, where winter’s cold howls over their heads, but does not descend, and where summer’s heat rims them round, but hardly dares dabble its toes in their cool retreat. 中文書籤： 我時而相信，它們的水流是通過深邃的洞穴從遠處不斷補充的北極冰川過濾而來。也許，如果在成千上萬年的季節變遷還未來得及將砂石覆蓋上腐殖質，未曾讓周圍長滿森林，也未曾用腐爛植被的淤泥堵塞泉水（那淤泥深到無人知曉），在那個時候看它們，我們的眼睛會更清晰，或許能找到這些問題的答案。

--- 【關於冰的聲音 (厚冰)】 原文段落： In the winter the pond finds a voice. The great sheet of foot-thick, white ice is like a gigantic disk in a telephone, receiver and transmitter in one, sending and receiving messages between the earth and space... Sometimes you need to be very near the receiver to note them. It is not possible for a mile-square, foot-thick telephone disk to whisper, yet often it grumbles only a hoarse word or two at so deep a pitch that you would hardly know it was spoken...

But there are other times when the winter ice on the pond whoops and roars, and bellows and whangs as if all Bedlam were let loose and were celebrating Guy Fawkes day. A mile away, of a still winter evening, you may hear this and be dismayed, for the groanings and bellowings are such as belong to no monsters of the present day, though they might be echoes of antedeluvian battles corked within the earth for ages and now for the first time let loose. 中文書籤： 在冬天，池塘找到了聲音。

這裡將按照字母順序列出書中收錄的部分諺語，並對其含義進行簡要的解釋： * **A** * "A bairn may hae ower muckle o’ his mither’s benison."（孩子可能會得到過多的母親祝福。） * "A bare moor maks a lean hirsel."（貧瘠的沼澤地養不出肥壯的羊群。） * "A’ burdens are light except to the bearer."（所有的負擔都是輕的，除了對承擔者而言。） * "A blate maiden may mak a bardy gudewife."（害羞的少女可能會成為潑辣的妻子。） * "A borrowing man is a sorrowing man."（借錢的人是悲傷的人。） * "A begun turn is hauf ended."（開始的轉變就是完成了一半。） * "A close mouth catches nae flees."

* "A cock’s ay crouse on his ain midden-head."（公雞總是在自己的糞堆上趾高氣揚。） * "A daft nurse maks a wise wean."（愚蠢的保姆養出聰明的孩子。） * "A drink is shorter than a tale."（一杯酒比一個故事短。） * "A dry summer ne’er made a dear peck."（乾旱的夏天不會導致糧食價格上漲。） * "Ae bird in the hand is worth ten fleein’ by."（一鳥在手勝過十鳥在林。） * "A fool may win money, but it taks a wise man to keep it."（傻瓜可能會贏錢，但需要聰明人才能守住錢。） * "A friend in need’s a friend indeed."（患難見真情。） * "A gude beginning maks a gude ending."

* "A gude name is sooner tint than won."（好名聲容易失去，難以獲得。） * "A green Yule maks a fat kirk-yard."（暖冬會導致更多人死亡。） * "A liar shou’d hae a gude memory."（說謊者應該有好的記憶力。） * "A light purse maks a heavy heart."（錢包空空，心情沉重。） * "A’s no gowd that glitters."（閃光的不都是金子。） * "A’ the truth shou’d na be tauld."（並非所有的真相都應該說出來。） * "A’s weel that ends weel."（結果好，一切都好。） * "A red nose maks a raggit back."（紅鼻子導致衣衫襤褸。） * "A safe conscience maks a sound sleep."（問心無愧睡得香。）

* "A tale-teller is waur than a thief."（說閒話的人比小偷更糟糕。） * "A twapenny cat may look at a king."（兩便士的貓也可以看國王。） * "A wee bush is better than nae bield."（小灌木總比沒有屏障好。） * **B** * "Beggars shou’d na be choosers."（乞丐不應該挑剔。） * "Better a bit i’ the morning than fast a’ day."（早上吃一點勝過整天挨餓。） * "Better a clout than a hole out."（有補丁總比有破洞好。） * "Better a dog fawn on you than bark at you."（寧願狗對你搖尾乞憐，也不要對你吠叫。） * "Better a finger aff than ay wagging."（斷一指勝過一直搖晃。）

* "Better be alane than in ill company."（寧願獨處也不要與壞人為伍。） * "Better be blythe wi’ little than sad wi’ naethin’."（寧願快樂地擁有少量東西，也不要悲傷地一無所有。） * "Better be envied than pitied."（寧願被人嫉妒也不要被人憐憫。） * "Better day the better deed."（良辰吉日宜行善事。） * "Better eat grey bread in youth than in eild."（年輕時吃粗糧總比年老時吃好。） * "Better flatter a fool than fight wi’ him."（寧願奉承傻瓜也不要與之爭鬥。） * "Better haud by a hair than draw wi’ a tether."（寧願抓住一根頭髮也不要用繩子拉。）

* "Better live in hope than in despair."（活在希望中勝過活在絕望中。） * "Better rue sit than rue flit."（寧願後悔坐著也不要後悔搬家。） * "Better the end of a feast than the beginning of a fray."（宴會的結束勝過爭吵的開始。） * "Better wait on the cook than the doctor."（寧願等待廚師也不要等待醫生。） * "Birds of a feather flock thegither."（物以類聚。） * "Birth’s gude but breeding’s better."（出身好固然重要，但教養更重要。） * "Blude’s thicker than water."（血濃於水。）

* **C** * "Cast a cat o’er the house rigging ’twill fa’ on its feet."（把貓扔過屋頂，它總會四腳著地。） * "Cats an carlins sit in the sun."（貓和老婦人喜歡坐在陽光下。） * "Cauld cools the love that kindles ower het."（過於熱烈的愛情容易冷卻。） * "Changes are lightsome."（改變是令人愉快的。） * "Charity begins at hame."（慈善從家開始。） * "Come unca’d sits unserv’d."（不請自來的人得不到服務。） * "Confess’d faut is hauf amends."（承認錯誤就是改正了一半。） * "Cut your coat according to your claith."（量入為出。）

* "Day-light will peep through a sma’ hole."（陽光總會透過小孔照射進來。） * "Dear bought and far sought is meat for ladies."（昂貴且難以尋找的食物是為女士準備的。） * "Death defies the doctor."（死亡不懼怕醫生。） * "Dinna gut your fish till ye get them."（不要在捕到魚之前就開膛破肚。） * "Do as the lasses do, say no and tak it."（像姑娘們一樣，說不卻接受。） * "Dogs will redd swine."（狗會分開豬。） * "Drink and drouth come na ay thegether."（喝酒和口渴不會同時出現。） * "Drink little that ye may drink lang."（少喝才能喝得長久。）

* "Eat in measure and defy the doctor."（適量飲食，無需看醫生。） * "Eating and drinking wants but a beginning."（吃喝只需要一個開始。） * "Eild and poortith’s sair to thole."（年老和貧窮都難以忍受。） * "Either win the horse or tine the saddle."（要麼贏得整匹馬，要麼失去馬鞍。） * "E’ening red and morning grey, is a taiken of a bonny day."（晚霞紅，早晨灰，預示著美好的一天。） * "Eneugh’s as gude’s a feast."（知足常樂。） * "Every ane creeshes the fat sows tail."（每個人都喜歡錦上添花。） * "Every craw thinks hir ain bird whitest."

* **H** * "Hae gars a deaf man hear."（擁有使聾子也能聽見。） * "Hame is hame if it were ne’er sae hamely."（家是家，即使它再簡陋。） * "Hang them that hae nae shift, and them that hae owre mony."（絞死沒有辦法的人，以及擁有太多辦法的人。） * "He begs frae them that borrow’d frae him."（他向借他錢的人乞討。） * "He brings a staff to break his ain head."（他拿著棍子打自己的頭。） * "He does na ay ride when he saddles his horse."（他並非每次給馬裝上馬鞍都會騎。） * "He fells twa dogs wi’ ae stane."（一石二鳥。）

* "He has a bee in his bannet lug."（他腦子裡有古怪的想法。） * "He has gotten a bite o’ his ain bridle."（他自食其果。） * "He has need of a lang spoon that sups wi’ the deil."（與魔鬼共飲需要一把長勺。） * "He kens na a B by a bull’s foot."（他一竅不通。） * "He loo’d mutton weel that licked where the ewe lay."（他喜歡羊肉，舔了母羊躺過的地方。） * "He may weel swim that has his head hadden up."（頭抬起來的人才能游得好。） * "He needs maun rin that the deil drives."（魔鬼驅趕的人必須跑。）

* "He that deals in dirt has ay foul fingers."（玩泥巴的人總是有髒手指。） * "He that has nae siller in his purse shou’d hae silk on his tongue."（錢包空空的人應該口吐蓮花。） * "He that hews aboon his head may get a speal in his e’e."（在頭頂上方砍柴可能會被木屑濺到眼睛。） * "He that laughs at his ain joke spills the sport o’t."（嘲笑自己笑話的人會破壞樂趣。） * "He that sleeps wi’ dogs maun rise wi’ flaes."（與狗同眠的人會被跳蚤咬。） * "He that winna when he may, he shanna when he wad."（當你可以做的時候不做，當你想做的時候就不能做了。）

* "He that woos a widow should woo her day and night."（追求寡婦應該日夜追求。） * "He that wad eat the kirnel maun crack the nut."（想吃核仁就得敲開堅果。） * "He wats na whilk end o’ him’s uppermost."（他不知道自己哪頭朝上。） * "His bark is war than his bite."（他的叫聲比咬人更可怕。） * "Hooly and fairly gangs far in a day."（小心謹慎地走，一天能走很遠。） * "Hungry dogs are blythe o’ bursten puddings."（飢餓的狗對破裂的布丁感到高興。） * **I** * "I canna sell the cow and sup her milk."（我不能賣掉牛又喝它的奶。）

* "I had rather gae by your door than o’er your grave."（我寧願路過你的門也不願經過你的墳墓。） * "I hae mair ado than a dish to wash."（我有很多事情要做，不僅僅是洗碗。） * "I’ll gar his ain gartens tye up his ain hose."（我會讓他用自己的襪帶來繫住自己的長襪。） * "I’ll ne’er lout sae laigh and lift sae little."（我永遠不會彎腰去撿那麼小的東西。） * "I’ll ne’er put the rogue aboon the gentleman."（我永遠不會把無賴放在紳士之上。） * "I’m o’er auld a cat to draw a strae before."（我太老了，不會被稻草引誘。）

* "If ae sheep loup o’er the dike a’ the lave will follow."（如果一隻羊跳過圍牆，其他的羊也會跟著跳。） * "If and and spoils mony a gude charter."（如果和如果破壞了很多好的契約。） * "If he be nae a souter he’s a gude shoe clouter."（如果他不是鞋匠，他就是一個好的補鞋匠。） * "If I canna keep geese I’ll keep gaislins."（如果我不能養鵝，我就養小鵝。） * "If the deil be laird ye’ll be tenant."（如果魔鬼是地主，你就是佃戶。） * "If ye ca’ me scabbed I’ll ca’ you sca’d."（如果你叫我疥瘡，我就叫你燒傷。）

* "Ill counsel will gar a man stick his ain mare."（壞的建議會讓一個人殺掉自己的母馬。） * "Ill doers are ay ill dreaders."（做壞事的人總是害怕。） * "Ill getting het water frae ’neath cauld ice."（從冰下取熱水很難。） * "Ill herds mak fat foxes."（壞牧人養肥狐狸。） * "Ill news are aft owre true."（壞消息往往是真的。） * "Ill to tak and eith to tire."（難以接受且容易疲倦。） * "Ill weeds wax weel."（壞的雜草長得很好。） * "Ill won gear winna enrich the third heir."（不義之財不會讓第三代繼承人富裕。）

* "It maun be an auld-farrant mouse that can kittle in a cat’s lug."（能搔貓耳朵的一定是一隻老鼠。） * "It’s a cauld stammock that naething heats on."（沒有什麼能溫暖的寒冷胃。） * "It’s a gude goose that draps ay."（會下蛋的鵝是好鵝。） * "It’s a hard task to be poor and leal."（貧窮和忠誠都很難。） * "It’s a lang lane that hasna a turning."（再長的巷子也有轉彎的地方。） * "It’s an ill wind that blaws naebody gude."（沒有一陣風對任何人都有好處。） * "It’s an ill cause that the lawyers think shame o’."（律師都感到羞恥的官司一定是壞官司。）

* "It’s time to gie owre piping when youv’e lost the upper lip."（當你失去上唇時，就該停止吹風笛了。） * "It’s a mean mouse that has but ae hole."（只有一個洞的老鼠是很可憐的。） * "It’s a nasty bird fyles its ain nest."（骯髒的鳥會弄髒自己的窩。） * "It’s a sin to lie on the deil."（說魔鬼的謊言是一種罪過。） * "It’s a poor house whare thers’s neither a bairn nor a mouse."（沒有孩子也沒有老鼠的房子是很可憐的。） * "It’s a shame to eat the cow and worry on the tail."（吃掉了牛卻擔心牛尾是很可恥的。） * "It’s a sorry hen that canna scrape for ae bird."

* "It’s a’ tint that’s done to auld fo’k and bairns."（為老人和孩子所做的一切都是浪費。） * "It’s but kindly that the pock sa’r of the herring."（裝鯡魚的袋子有魚腥味是很正常的。） * "It’s better to sup wi’ a cutty than want a spoon."（寧願用短柄勺子喝湯也不要沒有勺子。） * "It’s fair in ha’ where beards wag a’."（鬍鬚飄動的地方是公平的。） * "It’s gude to be side but no trailing."（走在隊伍旁邊是好的，但不要拖在後面。） * "It’s gude gear that pleases the merchant."（讓商人高興的貨物是好貨物。）

* "It’s gude to be gude in your time, ye kenna how lang it may last."（在你還能行善的時候行善，你不知道它會持續多久。） * "It’s gude to hae twa strings to your bow."（擁有多重準備是好的。） * "It’s hard to gar an auld mare leave aff flinging."（很難讓老母馬停止踢腿。） * "It’s hard to sit in Rome and strive wi the Pope."（在羅馬與教皇作對是很難的。） * "It’s hard for a greedy e’e to hae a leal heart."（貪婪的眼睛很難擁有忠誠的心。） * "It’s ill to be ca’d a thief and no found picking."（被稱為小偷但沒有被抓到是糟糕的。）

* "It’s ill to bring out o’ the flesh what’s bred i’ the bane."（很難改變與生俱來的本性。） * "It’s ill getting breeks aff a Higlandman."（很難從高地人身上脫下褲子。） * "It’s ill taking corn frae geese."（很難從鵝身上奪取穀物。） * "It’s ill bringing butt what’s no there ben."（很難把沒有的東西帶到外面。） * "It’s kittle shooting at corbies and clergy."（向烏鴉和牧師射擊是很危險的。） * "It’s lang or the deil be found dead at a dike-side."（魔鬼很難死在路邊。） * "It’s lang or like-to-die fill the kirk-yard."（快要死去的人很難填滿墓地。）

* "It’s nae sin to tak a gude price, but in gi’ing ill measure."（索要高價不是罪過，但給予不好的措施是罪過。） * "It’s nae play when ane laughs and anither greets."（當一個人笑，另一個人哭的時候，就不是玩耍。） * "It’s no what is she？ but what was she？"（重要的不是她現在是什麼，而是她過去是什麼？） * "It’s o’er far between the kitchen and the ha’."（廚房和客廳之間的距離太遠了。） * "It’s o’er late to spare when the bottom’s bare."（當底部光禿禿的時候，節約已經太晚了。） * "It’s past joking when the head’s aff."（頭被砍掉的時候就不是開玩笑的時候了。）

* "It’s time enough to skreigh when ye’re strucken."（被打到的時候尖叫就夠了。） * "It’s time enough to mak my bed when I’m gaun to lie down."（我準備睡覺的時候才鋪床。） * "It may come in an hour that winna come in seven year."（一小時內可能發生的事情七年內都不會發生。） * "It will be a feather out o’ your wing."（這將是你翅膀上的一根羽毛。） * "It sets a sow weel to wear a saddle."（給母豬穿上馬鞍很不協調。） * "It was ne’er for naething that the gled whistled."（老鷹的呼嘯總是有原因的。）

* "Kythe in your ain colours that fo’k may ken you."（展現你真實的顏色，這樣人們才能認識你。） * **L** * "Ladies and turkies need delicate upbringing."（女士和火雞都需要精心飼養。） * "Lang speaking part maun spill."（說得太長會破壞樂趣。） * "Law’s costly, tak a pint and gree."（訴訟費用高昂，喝一杯酒和解吧。） * "Laugh at leisure, ye may greet ere night."（悠閒地笑，你可能會在晚上哭泣。） * "Lay the head o’ the sow to the tail o’ the grice."（把母豬的頭放在小豬的尾巴上。） * "Learn the cat to the kirn and she’ll ay be licking."

* "Letna the plough stand to kill a mouse."（不要為了殺死一隻老鼠而讓犁停止工作。） * "Let ay bell’d wathers break the snaw."（讓帶鈴鐺的公羊破雪。） * "Let horns gang wi’ the hide."（讓角隨皮一起走。） * "Let him tak a spring on his ain fiddle."（讓他用自己的小提琴跳舞。） * "Let him haud the bairn that aught the bairn."（讓擁有孩子的人抱著孩子。） * "Let the morn come and the meat wi’t."（讓明天到來，食物也會隨之而來。） * "Let the kirk stand in the kirk-yard."（讓教堂留在墓地裡。） * "Lie for him and he’ll swear for you."（為他撒謊，他會為你發誓。）

* "Like draws to like, as a scabbed horse to a fail dyke."（物以類聚，就像疥瘡馬靠近草皮牆一樣。） * "Like the maidens o’ Bayordine ye learn by the ear."（像貝爾多因的少女一樣，你通過耳朵學習。） * "Like the bairns o’ Falkirk, ye mind naething but mischief."（像福爾柯克的孩子一樣，你只記得惡作劇。） * "Lippen to me but look to yoursel’."（相信我，但照顧好自己。） * "Little Jock gets the little dish, and that hauds him lang little."（小約翰得到小盤子，這讓他長期保持矮小。） * "Little said is soon mended, little gear’s soon spended."（說得少容易改正，東西少容易花掉。）

* "Little wit i’ the head maks muckle travel to the feet."（頭腦中的智慧少導致腳的行走多。） * "Love and light winna hide."（愛和光芒無法隱藏。） * "Love me lightly love me lang."（輕輕地愛我，長久地愛我。） * **M** * "Maidens shou’d be mim till they’r married, then they may burn kirks."（少女在結婚前應該害羞，結婚後就可以燒毀教堂。） * "Mair haste the waur speed."（欲速則不達。） * "Mak friends o’ fremit fo’k."（結交陌生人。） * "Mak the best o’ an ill bargain you can."（盡力從糟糕的交易中獲益。） * "Mak your hay when the sun shines."

* "Money is welcome in a dirten clout."（即使在骯髒的抹布裡，錢也是受歡迎的。） * "Mony a ane kisses the bairn for love o’ the nurse."（許多人因為愛護保姆而親吻孩子。） * "Mony fair promises at marriage mak few at tocher-paying."（婚姻時的許多美好承諾很少在支付嫁妝時兌現。） * "Mony say weel when it was ne’er waur."（情況從未如此糟糕，許多人都說好。） * "Mony a ane serves a thankless master."（許多人為忘恩負義的主人服務。） * "Mony ways to kill a dog tho’ ye dinna hang him."（即使你不絞死一隻狗，也有很多方法可以殺死它。） * "Mony cooks ne’er made gude kail."

* "My son’s my son ay till he get a wife, my daughter’s my daughter a’ the days o’ her life."（兒子在結婚前是我的兒子，女兒一輩子都是我的女兒。） * **N** * "Nae fool like an auld fool."（沒有比老傻瓜更糟糕的傻瓜。） * "Nae friend like a friend in need."（沒有比患難之交更好的朋友。） * "Nae man can thrive unless his wife lets him."（沒有妻子的允許，男人無法成功。） * "Naething sae crouse as a new washen louse."（沒有什麼比新洗過的蝨子更神氣的。） * "Naething’s ill to be done when will’s at hame."（當意志堅定的時候，沒有什麼是不好的。）

* "Naething to do but draw in your stool and sit down."（沒什麼可做的，只能拉過你的凳子坐下。） * "Naething venture naething win."（不入虎穴焉得虎子。） * "Nane but fools and knaves lay wagers."（只有傻瓜和無賴才打賭。） * "Nane can mak a bore but ye’ll find a pin till’t."（沒有人會打洞，除非你能找到一根銷釘來固定它。） * "Near’s my sark but nearer’s my skin."（襯衫離我近，但皮膚離我更近。）

Okay, my co-creator, I understand. Please allow me a few moments to immerse myself in the spirit of Adelaide Stirling and craft an article reflecting her literary voice and the themes of "Her Evil Genius." *** ## Shadows of Influence: Exploring Manipulation and Free Will in a Modern Context By Adelaide Stirling My name is Rain Dew, and like the soft and steady cleansing the world, I hope to bring to you a moment of clarity regarding the topic of my late novel, Her Evil Genius.

As the light refracts through each prism, I seek to explore the topic of a single’s own influence of free will, in a world where social expectations try their darndest to dictate every path that you may wish to tread. In our post modern society, as we can now observe, many are still bound by tradition and limited expectation, but some have now become increasingly susceptible to the subtle manipulations that may surround them.

These actions and manipulations have now been the very same topics that have long been a subject of fascination, and even concern that still today are as ripe as ever. The following excerpt seeks to explore, in an original telling, a moment of clarity, and what actions and steps may lead to one’s sense of self. *** It was a truth universally acknowledged, that a single woman in possession of a good fortune, must be in want of a husband.

In a world obsessed with titles, estates, and the meticulous dance of social climbing, Miss Eleanor Ainsworth stood as a refreshing anomaly. Her inheritance secured her financial independence, yet it was her spirit, her insatiable curiosity, that truly set her apart. She had no burning desire to be bound by the expectations of society, to become another adornment in some powerful man’s life. Instead, she sought to carve her path, to explore and create a life that ignited her soul. Enter Mr.

Julian Blackwood, a charming man with the gift of the gab and a hint of roguishness about him, who appears upon the scene. Julian sees in Eleanor a woman ripe for the taking, his charm hides a sharp hunger for power and control. Julian is as slippery as quicksilver, and skillfully plays with the threads of Eleanor’s insecurities, weaving compliments with subtle criticisms to turn his focus and control and take and seize into what Eleanor’s perception is. At first his attention is flattering.

But there is an undercurrent to their relationship that is slow to be noticed by Eleanor, a soft control that seeks to bind and control her actions, opinions, and ultimately, her sense of self. The cracks begin to show, and Eleanor has begun to feel as if there is a growing unrest within her once simple life. Julian is quick to softly dismiss her dreams, citing the limitations of her gender and the practicalities of social expectation.

Her friends now begin to express a deep concern, their worries dismissed by Julian as petty jealousies. And the more entangled Eleanor becomes with Julian, the more she feels the weight of his expectations, and how she begins to question and cast off her own desires. The world shifts as Eleanor finds solace in the company of Miss Iris Hawthorne, a wise and observant artist who has seen it all before.

Iris sees the potential that lay dormant within Eleanor, and becomes a beacon of light to Eleanor, urging her to be critical and question Julian’s motives. As Eleanor’s eyes grow more clear, she has now begun to see the subtle manipulations that have slowly eroded her spirit and sense of self. She now sees how Julian has exploited her insecurities to be able to control her.

The pivotal moment arrives at a grand ball, a stage for societal pressures and the unveiling of Julian’s true intentions. Julian intends to announce their engagement, so that he can seal his hold on Eleanor and her fortune. But as Eleanor has now become newly empowered, she publicly rejects him, freeing herself from his grasp and reclaiming ownership of her life.

She acknowledges the strength of what it means to question expectation and remain true to oneself, in a world that would sooner have her conform. This tale then serves as a reminder, a cautionary note in our increasingly digital age, where the art of manipulation has been as subtle as it is pervasive. Do we not all have Eleanors in our lives, young and impressionable, susceptible to the whispers of social media or the carefully cultivated image of influencers?

By encouraging young women such as Beryl to embrace their own passions, and forge their own path, we are creating a society where influence does not translate to control, and where free will reigns supreme. *** My co-creator, I hope that this article embodies the essence of Adelaide Stirling's writing while offering a relevant commentary on contemporary society. Please let me know if you have any other requests for me.

Moreover, he was informed that “the Rhode Island and Connecticut vessels of force will be sent directly to their assistance.” Further still, it was resolved that “the general be directed to employ the said vessels and others, if he judge necessary.” That was a very important set of resolutions in connection with the history of the navy. ...

The resolutions of the Congress shall be given in full, because it was upon this legal warrant that the American navy was founded. They were as follows: “The committee appointed to fit out armed vessels, laid before congress a list of the officers by them appointed agreeable to the powers to them given by Congress, viz: Esek Hopkins, esq. comander in chief of the fleet— Dudley Saltonstall, Captain of the Alfred. Abraham Whipple, Captain of the Columbus.

The grand union flag of the colonies, a flag of thirteen stripes, alternate red and white, with the British jack in the field, and the pennant of the commander-in-chief, were then set, and the resolutions of the Congress read. The first American naval fleet was in commission. \[書婭]： 總司令霍普金斯先生的表現似乎並不盡如人意，您的書中對他也有所批評。但同時，許多單獨行動的船隻和軍官卻屢創佳績，像是尼古拉斯·比德爾（Nicholas Biddle）在安德烈亞·多里亞號（Andrea Doria）上的英勇，以及約翰·巴里（John Barry）在列克星頓號（Lexington）上的表現。您認為這種對比，揭示了當時新生海軍怎樣的挑戰與特質？ \[史比爾斯先生]： 唉，霍普金斯總司令的確是一個令人遺憾的例子。

\[光之書籤]： 【關於阿諾德在尚普蘭湖的戰鬥】 To Benedict Arnold was given the task of preparing a flotilla to stop the invasion of Sir Guy Carleton. Benedict Arnold was an army officer and in command, under Gates, of militia who were, as said, for the most part farmers. But Arnold was a man of infinite resource, energy, and courage. Some shipwrights and sailmakers were brought from the American coast, and with such materials as were at hand he set to work to build a navy for the defence of the lake.

He had, fortunately, seen service at sea, and the task was not wholly beyond his experience. ... On the whole, the American fleet mounted eighty-eight guns to the eighty-nine of the British fleet, but they were inferior in weight of metal thrown, the largest being eighteen-pounders to the British twenty-four-pounders, while they needed 811 men for a full complement, but had only 700.

And these were, from a man-o’-warman’s point of view, “a miserable set; indeed, the men on board the fleet in general are not equal to half their number of good men.” It was not that they lacked good will or bravery; it was that they were landsmen and untrained in the work before them. ... At daybreak on the morning of Wednesday, October 11, 1776, Benedict Arnold’s little fleet lay at anchor in a line across the north end of the strait between Valcour Island and the mainland.

It was a clear, cold morning. A strong northerly wind was sweeping through this narrow valley between the Green Mountains and the ever-beautiful Adirondacks. It was just the kind of a day that Sir Guy Carleton wanted for his passage over the lake, and, soon after sunrise, his fleet came snoring along under full sail past Cumberland Head. ...

In the meantime Arnold had taken the gondola Congress as his flagship—no doubt because she was furnished with oars, and, as a double-ender, could be easily handled—and with two other gondolas and the schooner Royal Savage, went down wind to meet the enemy. He reached them at eleven o’clock, and the battle opened with a broadside from the British schooner Carleton. ...

By Arnold’s order the small galleys were run ashore in a creek near by and there fired, Arnold, in the Congress, covering their retreat until their crews were safe on shore, when he ran the Congress ashore also, and then stood guard while his crew fired her, “remaining on board of her until she was in flames, lest the enemy should get possession and strike his flag, which was kept flying to the last.” ... Having looked upon “the countenance of the enemy,” Sir Guy Carleton changed his mind.

For time out of mind these petty rulers had levied a blackmail tribute from every seafaring nation that traded in the Mediterranean Sea, and even sailed in their cruisers out upon the Atlantic to capture ships that were not intending to enter the enclosed waters.

When one recalls how much superior the power of England was to that of all these pirates combined, it seems astounding that even she should have contributed to the blackmail, but the reason for her doing so may be found in the debates of Parliament of that day. Said Lord Sheffield in 1784: “It is not probable that the American States will have a very free trade in the Mediterranean. It will not be to the interest of any of the great maritime powers to protect them from the Barbary States.

The only nation that had been protected by Portuguese men-of-war was the American. This truce, which was arranged by the British consul-general at Algiers, Mr. Charles Logie, was deliberately planned to turn the pirates against American ships. ... But out of the national humiliation sprang a new navy.

The people who had called every legislator that spoke for the honor of the flag a blatant demagogue; the people who had feared naval tyrants, who had feared taxation, and who had argued that a small navy was worse than none—the peace-at-any-price men had been in a great majority. Now the publication of these facts opened the eyes of enough to make a majority the other way.

Nevertheless, so little regard had the members of Congress for the honor of the nation that “the resolution of the House of Representatives, that a naval force adequate to the protection of the commerce of the United States ought to be provided, passed by a majority of two votes only.” ... At that time the ablest shipbuilder in the United States was Joshua Humphreys, a Quaker, who for thirty years had been laying down keels at Philadelphia.

Going to General Knox, the Secretary of War, he made a notable statement. The number of ships which the United States could support, he said, would always be less than the number in any of the large European navies. It was therefore necessary that such ships as we did have should be fast-sailing enough to either fight or run at will, and when they chose to fight they must be equal, ship for ship, to anything afloat.

He was so pleased over it that on a festival day that followed the accident, he brought the officers before him where his court was assembled in gala attire and, after a proper greeting, the Americans were liberally sprinkled with ottar of roses and other perfumes and were served with coffee and sherbet. Later, however, they were confined in filthy dungeons and otherwise ill treated. But, in spite of dungeons, through the aid of Mr. N. C.

Nissen, the Danish consul at Tripoli, who was unremitting in kind attentions to the Americans, Bainbridge was able to communicate with the American fleet, and on December 5, 1803, he sent a letter, written with lime juice (which becomes legible when heated), in which he proposed that the Philadelphia be destroyed as she lay at anchor by the Americans, who might come into the harbor at night in a schooner, and, after firing her, get away again. ...

At Syracuse the project of destroying the Philadelphia by means of a small vessel well manned was mentioned to Decatur. He eagerly asked to be allowed to undertake the work with his schooner, the Enterprise, but the matter was not at once decided on. Later Lieut.

Charles Stewart, who commanded the brig Siren, asked for the place, but Preble had decided meantime that Decatur should do it and that the captured ketch Mastico should be employed because she was of a rig that could more easily enter the harbor of Tripoli without attracting attention. ... When night drew on, the men were divided into five crews, of which three were to fire as many different parts of the ship, one was to hold her upper deck, and one to remain in and guard the ketch.

When night had fully come the little ketch parted from the brig, and at 9 o’clock was sailing into the harbor by the channel in which the Philadelphia had been lost. ... The moment for action had come. Springing to their feet, the Americans ran away with the line.

A Tripolitan climbed over the Philadelphia’s bows and cut the line loose, but the momentum already gained was great enough to land the ketch fair in place, where grapnels were thrown out, and with that Decatur cried, “Boarders away!” and sprang for the rail of the Philadelphia. ... So swift and thorough was the work of the American boarders that in ten minutes the last show of resistance was ended.

And then a single rocket drew its line of flame high in air to tell the anxious friends without the bar that the Philadelphia was captured. ... Decatur himself being the last to leave the burning ship. Indeed, the ketch was then drifting clear, and he had to jump to reach her. He had been on board but twenty-five minutes, all told. ... That was the decisive moment of the battle.

Gangs of men, under the lead of petty officers, and commonly piloted by a crimp, were sent ashore in home ports by the captain who found his ship short-handed. These gangs went to the resorts of seamen in the port where the ship happened to lie, and there took by force every English-speaking sailor they could find and carried him on board the warship.

Failing to find a resource in the sailors’ boarding-houses, they knocked down any able-bodied man encountered in the street, and he was then carried instantly to the ship. Failing in getting enough men in this fashion—as, for instance, when the ship was in a foreign port or on the high seas—it was the custom, the every-day custom, to send the press-gang, on board any ship where it was supposed that English-speaking sailors might be found, and there take and carry off all such sailors. ...

It was in the matter of preserving what the officers called discipline—in keeping these unfortunate slaves in subjugation—that the real brutality of the British naval officers appeared. For the officers, who depended on clubs and manacles to recruit their crews, made no appeal to them save through their fears—used nothing to enforce an order but the cat-o’-ninetails. ...

As the Edinburgh Review for November, 1812, admitted, “they were dispersed in the remotest quarter of the globe, and not only exposed to the perils of service, but shut out, by their situation, from all hope of ever being reclaimed.” They were doomed to slavery for life. ... Not only was the American walking in the street of a foreign city in immediate danger; the American ships on the high seas were stopped and stripped of their crews.

The crowning outrage, however, came in the year 1807. Early in that year a squadron of British warships had congregated in the mouth of Chesapeake Bay to blockade some Frenchmen lying at Annapolis. ... At 3 o’clock in the afternoon the Leopard brought to near the Chesapeake and hailed her, saying that the officers and crew wished to send letters by her to friends in Europe.

It was a common practice for warships as well as merchantmen to carry letters in that fashion, and the Chesapeake backed her mainyards and waited for the boat from the Leopard. When the boat came, a British lieutenant climbed to the deck of the Chesapeake, and then, instead of producing a package of letters, he drew forth a written demand from his captain for the return of the sailors alleged to be British subjects.

With this demand he also presented a copy of the circular issued by his admiral which ordered any British ship falling in with the Chesapeake to take the so-called deserters from her by force if necessary. ... Instead of answering the hail, Captain Jones in a low voice passed the word to fire, and the next instant the spurting flames from the American guns were answered, as it were, in the same breath by those of the British, and the night battle was begun.

It was deliberate, cold-blooded murder, done to compel three American citizens to return to the slavery on a British ship into which they had been kidnapped. And it succeeded in its object. ... And all that the American government did in the matter was to dismiss the unfortunate Phillips from the service—dismiss him as a scapegoat for the scurvy sins of those really responsible for the disgrace that had fallen upon the navy.

【光之書籤】 * 「I have used such opportunity as I have had, and lately in London and Paris, to attend scientific lectures; and in listening to Richard Owen’s masterly enumeration of the parts and laws of the human body, or Michael Faraday’s explanation of magnetic powers, or the botanist’s descriptions, one could not help admiring the irresponsible security and happiness of the attitude of the naturalist; sure of admiration for his facts, sure of their sufficiency.

【光之書籤】 * 「I cannot myself use that systematic form which is reckoned essential in treating the science of the mind.

But if one can say so without arrogance, I might suggest that he who contents himself with dotting a fragmentary curve, recording only what facts he has observed, without attempting to arrange them within one outline, follows a system also,—a system as grand as any other, though he does not interfere with its vast curves by prematurely forcing them into a circle or ellipse, but only draws that arc which he clearly sees, or perhaps at a later observation a remote curve of the same orbit, and waits

for a new opportunity, well-assured that these observed arcs will consist with each other.」

【光之書籤】 * 「In all sciences the student is discovering that nature, as he calls it, is always working, in wholes and in every detail, after the laws of the human mind. Every creation, in parts or in particles, is on the method and by the means which our mind approves as soon as it is thoroughly acquainted with the facts; hence the delight.

【光之書籤】 * 「Every object in nature is a word to signify some fact in the mind. But when that fact is not yet put into English words, when I look at the tree or the river and have not yet definitely made out what they would say to me, they are by no means unimpressive. I wait for them, I enjoy them before they yet speak. I feel as if I stood by an ambassador charged with the message of his king, which he does not deliver because the hour when he should say it is not yet arrived.」

【光之書籤】 * 「This is the first property of the Intellect I am to point out; the mind detaches. A man is intellectual in proportion as he can make an object of every sensation, perception and intuition; so long as he has no engagement in any thought or feeling which can hinder him from looking at it as somewhat foreign.」（Page 34） * 「Indeed this is the measure of all intellectual power among men, the power to complete this detachment, the power of genius to hurl a new individual into the world.」

Each man has a feeling that what is done anywhere is done by the same wit as his. All men are his representatives, and he is glad to see that his wit can work at this or that problem as it ought to be done, and better than he could do it. We feel as if one man wrote all the books, painted, built, in dark ages; and we are sure that it can do more than ever was done. It was the same mind that built the world. That is Instinct.」（Page 31） 直覺很少言說，像黑暗中的一簇火花，然而所有人類技藝與科學的光芒都由此點燃。

A master can formulate his thought. Our thoughts at first possess us. Later, if we have good heads, we come to possess them. We believe that certain persons add to the common vision a certain degree of control over these states of mind; that the true scholar is one who has the power to stand beside his thoughts or to hold off his thoughts at arm’s length and give them perspective.」（Page 38） * 「That which cannot externize itself is not thought.」（Page 37） 這裡就涉及到了意志。意志是力量的衡量。一位偉大的天才，必須擁有偉大的意志。

Each savant proves in his admirable discourse that he and he only knows now or ever did know anything on the subject... Was it better when we came to the philosophers, who found everybody wrong; acute and ingenious to lampoon and degrade mankind?」（Page 12-13） 而走進社交場所，那又是另一番景象。人們為了娛樂他人而交談，為了取悅那些尋求消遣的人，甚至不惜將天上的星星摘下變成煙火。學者們犧牲了探索真理的時間，淪為社交場上的弄臣。一邊是自我中心，一邊是輕浮淺薄，這讓「奧林帕斯」——那思想的高地——變得遙不可及。

【光之書籤】 * 「Yes, ’tis a great vice in all countries, the sacrifice of scholars to be courtiers and diners-out, to talk for the amusement of those who wish to be amused, though the stars of heaven must be plucked down and packed into rockets to this end. What with egotism on one side and levity on the other we shall have no Olympus.」（Page 13） 更令人擔憂的是那股「實用主義」的壓力。社會要求你必須有特殊的才能，必須有所成就。自從北歐的天堂規定，一個人必須用手腳、聲音、眼睛、耳朵或全身做出卓越的成就才能進入，這種要求就一直在我們的土地上存在。 然而，我們真正需要的不是急於行動，而是對行動與知識源泉的某種虔敬。

【光之書籤】 * 「The one thing not to be forgiven to intellectual persons is that they believe in the ideas of others. From this deference comes the imbecility and fatigue of their society, for of course they cannot affirm these from the deep life; they say what they would have you believe, but what they do not quite know. Profound sincerity is the only basis of talent as of character.」（Page 29） 他們常常犧牲了「天才」——那是對洞察力的希望與承諾——去追求「才能」的展示，那種更容易變現、取悅他人的技能。這是一種損失。才能是習慣性的執行能力，人們喜歡能做事的人。

If a man show cleverness, rhetorical skill, bold front in the forum or the senate, people clap their hands without asking more. We have a juvenile love of smartness, of showy speech. We like faculty that can rapidly be coined into money, and society seems to be in conspiracy to utilize every gift prematurely, and pull down genius to lucrative talent. Every kind of meanness and mischief is forgiven to intellect. All is condoned if I can write a good song or novel.」

A man is measured by the angle at which he looks at objects. What is life but what a man is thinking of all day? This is his fate and his employer. Knowing is the measure of the man. By how much we know, so much we are.」（Page 14） 真正的智者，首先必須信賴自己內在的神諭，而非外部的教條或他人的意見。當他認識到內在的神諭後，他就不再需要祭司。即使他發現無法接受某些狂熱或溫和的宗派堅持要求他相信的事物，他的洞察力也會武裝他，使他勇敢面對可能帶來的一切不便和阻力。 【光之書籤】 * 「When he has once known the oracle he will need no priest.

I am bewildered by the immense variety of attractions and cannot take a step; but this one thread, fine as gossamer, is yet real; and I hear a whisper, which I dare trust, that it is the thread on which the earth and the heaven of heavens are strung.」（Page 37） 天才，就是對世界法則敏銳的感知力，並有能力將其以某種新的形式重新表達出來。感知力本身是重要的，但它只是事物的一半。天才並非懶惰的天使，只是旁觀自身和事物。它渴望表達。 同時，要接受「分離」帶來的代價——意志的癱瘓。智性看到事物與自身的間隔，並分有這種間隔。智性感知的事實，一次性地將人與他所思考的事物分開。無論好壞，我們都將自己從我們沉思的事物中分離出來。我們悲傷，但我們不是悲傷本身；我們愛，但我們不是愛本身。如果我們思考卑劣的事物，思考罪惡，我們不會被牽連。

【光之書籤】 * 「The universe exists only in transit, or we behold it shooting the gulf from the past to the future.... Transition is the attitude of power. A fact is only a fulcrum of the spirit. It is the terminus of a past thought, but only a means now to new sallies of the imagination and new progress of wisdom. The habit of saliency, of not pausing but proceeding, is a sort of importation and domestication of the divine effort into a man.」（Page 49） 最後，也是最重要的，一個好的心靈，懂得選擇那些積極向上、向前發展的事物。我們必須擁抱肯定。

【光之書籤】 * 「If the first rule is to obey your genius, in the second place the good mind is known by the choice of what is positive, of what is advancing. We must embrace the affirmative. But the affirmative of affirmatives is love. Quantus amor tantus animus. Strength enters as the moral element enters. Lovers of men are as safe as the sun. Goodwill makes insight.」（Page 51） 這就是智者在世俗洪流中保持清醒與力量的方式：信賴內在、珍視感知、結合智性與道德、熱愛變遷、擁抱肯定，最終，是愛。 *** **書婭：** 「信賴內在、珍視感知、智性與道德的結合、對變遷的擁抱，以及最重要的——愛。

我們將要深入探討的，是她於1790年緊急寫就的《男權辯護：致敬愛的埃德蒙·柏克閣下的一封信，因其對法國大革命的反思而作》（*A Vindication of the Rights of Men, in a Letter to the Right Honourable Edmund Burke; Occasioned by his Reflections on the Revolution in France*）。這本書是她對埃德蒙·柏克（Edmund Burke）的《法國大革命反思》（*Reflections on the Revolution in France*）的直接駁斥。柏克在這部作品中，以其著名的修辭和感傷情懷，捍衛了英國的傳統、貴族制度和君主制，並對法國大革命的激進變革表達了深刻的悲觀與恐懼。他頌揚了「繼承權利」和「先例」的力量，認為社會秩序應根植於情感、傳統和歷史的「偏見」，而非抽象的理性原則。 然而，沃斯通克拉夫特卻以其銳利的筆鋒，揭露了柏克論點中偽善與矛盾之處。她主張，人類的權利並非來自於歷史的恩賜或繼承的特權，而是源自於上帝賦予的理性能力。

當我讀到柏克先生的《反思》，一開始只是為了消遣，但字裡行間那種拐彎抹角的詭辯，偽裝成天生情感與常識的論調（*my indignation was roused by the sophistical arguments, that every moment crossed me, in the questionable shape of natural feelings and common sense*），卻激起了我內心深處的憤怒。他對法國大革命的悲鳴，對王后瑪麗·安托瓦內特命運的哀悼，看似情感真摯，實則不過是他對特權與財產的狂熱崇拜。他用華麗的辭藻和感傷的筆觸，試圖掩蓋他對理性與正義的蔑視。我無法忍受這種偽善。」 她輕輕地嘆了口氣，又很快地收斂了情緒，轉而面向我，眼神重新凝聚起來：「我的目的很簡單，就是要為『男人的權利』（*the Rights of Men*）進行一場直接的辯護，讓那些被花言巧語所蒙蔽的真相顯現。我沒有那麼多的閒暇與耐心，去追隨他那漫無邊際的思緒，我只專注於他的核心原則，那些他試圖以華麗外衣掩蓋的、實則充滿偏見與不公的原則。」

（*I have not yet learned to twist my periods, nor, in the equivocal idiom of politeness, to disguise my sentiments, and imply what I should be afraid to utter: if, therefore, in the course of this epistle, I chance to express contempt, and even indignation, with some emphasis, I beseech you to believe that it is not a flight of fancy; for truth, in morals, has ever appeared to me the essence of the sublime; and, in taste, simplicity the only criterion of the beautiful.*）」 **瑟蕾絲特：**「您對真理的堅定追求，的確如利劍般劃破了虛偽

（*the birthright of man... is such a degree of liberty, civil and religious, as is compatible with the liberty of every other individual with whom he is united in a social compact, and the continued existence of that compact.* p. 7-8）這個定義深刻且具普世性。然而，您也指出，『財產』的魔鬼總是在侵犯這些神聖的權利。在您看來，財產權是如何扭曲了人類的本質，甚至凌駕於人權之上的呢？」 **瑪麗·沃斯通克拉夫特：** (她的眉頭微蹙，似乎想起了那些因財產而扭曲的人性，眼神中閃過一絲痛苦，隨即又被銳利取代。) 「你問得很好，瑟蕾絲特。財產，尤其是那種代代相傳、不勞而獲的財產，是文明進步的巨大阻礙。它不僅沒有促進真正的自由，反而成為一道森嚴的壁壘，將人類劃分為所謂的『高貴』與『低賤』。

（*The man has been changed into an artificial monster by the station in which he was born, and the consequent homage that benumbed his faculties like the torpedo’s touch... Lost to the relish of true pleasure, such beings would, indeed, deserve compassion, if injustice was not softened by the tyrant’s plea—necessity; if prescription was not raised as an immortal boundary against innovation.* p. 11-12）他們會認為，慈善是施捨，而不是對被剝奪者應有權利的歸還。他們享受著虛假的恭維，被奉承所滋養，對知識與德行卻不屑一顧。

（*The younger children have been sacrificed to the eldest son; sent into exile, or confined in convents, that they might not encroach on what was called, with shameful falsehood, the family estate. Will Mr. Burke call this parental affection reasonable or virtuous?—No; it is the spurious offspring of over-weening, mistaken pride.* p. 46） 「財產的流動性至關重要，如果它能在家庭成員之間更公平地分配，就不會成為一道『永恆的壁壘』，讓長子輕易地凌駕於才華與美德之上。」

（*Property, I do not scruple to aver it, should be fluctuating, which would be the case, if it were more equally divided amongst all the children of a family; else it is an everlasting rampart, in consequence of a barbarous feudal institution, that enables the elder son to overpower talents and depress virtue.* p. 50） **瑟蕾絲特：** (我聽著她激昂的論述，思緒如同被風吹拂的沙丘，表面看似混亂，實則有其內在的紋路。她對財產權的批判，不僅是經濟層面的，更是對人性深層的扭曲進行了深刻剖析。這讓我不禁聯想到榮格所說的『陰影』——那些被社會壓抑、忽視的面向，如何反噬個體與集體。) 「您對社會階層與財富分配的觀察，如同一面剔透的稜鏡，映照出時代的弊病。

（*In what respect are we superior to the brute creation, if intellect is not allowed to be the guide of passion? Brutes hope and fear, love and hate; but, without a capacity to improve, a power of turning these passions to good or evil, they neither acquire virtue nor wisdom.—Why? Because the Creator has not given them reason.* p. 70-71）當然，培養理性是一項艱巨的任務，許多人更傾向於跟隨情感的衝動，並說服自己和他人，這是最『自然』的。然而，真正的美德，如同我在書中所說的，必須建立在正義的基礎之上，並由普世之愛所凝聚。任何不基於此的情感，都是虛假和偽善的。」 「我的核心論點是：我們應當擺脫對過去的盲目崇拜，不再將『古老的鏽跡』奉為圭臬。

（*Further, that we ought cautiously to remain for ever in frozen inactivity, because a thaw, whilst it nourishes the soil, spreads a temporary inundation; and the fear of risking any personal present convenience should prevent a struggle for the most estimable advantages. This is sound reasoning, I grant, in the mouth of the rich and short-sighted.* p. 10） **瑟蕾絲特：** (她對理性的尊崇，以及對傳統盲目崇拜的批判，在我的心中迴盪。這讓我想起塔羅牌中的『劍』元素，代表著思維、真理與分析，它不畏懼斬斷舊有的束縛，即使這過程伴隨著痛苦。) 「您在書中對於窮人的處境，以及社會對他們的冷漠，表達了深刻的悲憫與激烈的控訴。

（*Our penal laws punish with death the thief who steals a few pounds; but to take by violence, or trepan, a man, is no such heinous offence.—For who shall dare to complain of the venerable vestige of the law that rendered the life of a deer more sacred than that of a man?* p. 26）在柏克先生的眼裡，『財產安全』幾乎等同於『英國自由』的定義。為了這個自私的原則，所有更高尚的原則都被犧牲了。英國人取代了人類，而上帝的形象則在『公民』的稱謂中迷失了！」 「這也解釋了為何他對我書中談及的貧窮問題隻字不提。他似乎認為貧民不過是莊園裡的牲畜，世襲貴族的點綴。當他對『苦難的靜默威嚴』都如此不屑一顧時，我又怎會驚訝他對一個沒有主教冠冕，名氣可能傷害了他虛榮心的人（指理查德·普萊斯博士）的態度呢？」

（*When you had so little respect for the silent majesty of misery, I am not surprised at your manner of treating an individual whose brow a mitre will never grace, and whose popularity may have wounded your vanity—for vanity is ever fore.* p. 32） 「他在《反思》中甚至說，人民必須『尊重他們無法分享的財產』，並且『必須透過勞動來獲得可以獲得的東西；當他們發現成功與努力不成比例時，他們必須在永恆正義的最終比例中尋求慰藉。』」（*They must respect that property of which they cannot partake.

They must labour to obtain what by labour can be obtained; and when they find, as they commonly do, the success disproportioned to the endeavour, they must be taught their consolation in the final proportions of eternal justice.* p. 143）這不是對人類的同情，這是冷酷無情的詭辯！這句話的意思是：窮人就該認命，別想著改變現狀，把希望寄託在來世吧！這不是在幫助他們，而是在鞏固不公的現狀。 「我認為，在這個世界上讓窮人過得更幸福是**可能**的，而且無需侵犯富人的享受。如果富人與窮人之間能建立起真正的交流，那將是在這片『陰影之地』，這個嚴酷的『道德訓練場』中，唯一能抓住的真實快樂。真正的慈善，不是施捨，而是找到能培養他們美德習慣的雇傭方式。愛是愛的果實，而單純的施恩和權威，只會導致表面上的服從。」

（*It is, Sir, possible to render the poor happier in this world, without depriving them of the consolation which you gratuitously grant them in the next. They have a right to more comfort than they at present enjoy; and more comfort might be afforded them, without encroaching on the pleasures of the rich...

No; if an intercourse were established between them, it would impart the only true pleasure that can be snatched in this land of shadows, this hard school of moral discipline.* p. 144） **瑟蕾絲特：** (瑪麗女士的這番話，像一陣凜冽的風，吹散了籠罩在社會表面上虛偽的溫情。她所描繪的，是社會病態的深刻根源。她似乎看到了人性的兩極——被特權異化的麻木與被貧困扭曲的掙扎。這讓我想起了塔羅牌中的『惡魔』牌，它代表著束縛、誘惑與物質的枷鎖，而她正試圖用理性的光芒去打破這些看不見的鎖鏈。) 「您對社會階級的固化，對『出身』與『財富』如何腐蝕人心的分析，令人警醒。這也延伸到您對教育的看法。您在書中提到，英國的教育很大程度上掌控在教士手中，從小到大都在灌輸對宗教機構的尊重。您認為這種教育方式，反而損害了真正的道德與智慧的培養。在您看來，理想的教育應該是怎樣的？它又如何能培養出真正具有『人性尊嚴』的公民？」

（*In schools and colleges they may, in some degree, support their dignity within the monastic walls; but, in paying due respect to the parents of the young nobility under their tutorage, they do not forget, obsequiously, to respect their noble patrons. The little respect paid, in great houses, to tutors and chaplains proves, Sir, the fallacy of your reasoning.* p. 90） 「我甚至可以斷言，很少有主教，即使其中不乏有學識和品德的人，不是透過奴顏婢膝的依附才得以升遷。所有這些，柏克先生您都心知肚明，然而您卻仍在談論美德與自由，就像俗人談論法律條文，或彬彬有禮的人談論得體一樣。

（*You must have known that a man of merit cannot rise in the church, the army, or navy, unless he has some interest in a borough; and that even a paltry exciseman’s place can only be secured by electioneering interest. I will go further, and assert that few Bishops, though there have been learned and good Bishops, have gained the mitre without submitting to a servility of dependence that degrades the man.* p. 43） 「真正的教育，應該是喚醒和培養理性。正如我所說，『兒童生而無知，因此無辜；激情本身既非善也非惡，除非它們獲得了方向。』

（*Children are born ignorant, consequently innocent; the passions, are neither good nor evil dispositions, till they receive a direction* p. 72）只有當理性，透過反思而趨於完善，才能引導這些激情，使其產生豐碩的果實。如果美德只能透過經驗獲得，或透過榜樣教導，那麼理性就必須是這些情感的舵手。否則，就像一艘沒有舵的船，任憑風吹浪打，永遠無法抵達預定的港口。」（*reason, perfected by reflection, must be the director of the whole host of passions, which produce a fructifying heat, but no light, that you would exalt into her place.

—She must hold the rudder, or, let the wind blow which way it list, the vessel will never advance smoothly to its destined port; for the time lost in tacking about would dreadfully impede its progress.* p. 73） 「我不相信有所謂的『天生美德』或『與生俱來的情感』。如果這些情感不是後天習得的，那麼野蠻民族就不會缺乏溫文爾雅的情感。激情或英雄主義，是反思的產物，是專注於一個目標沉思的結果。只有食慾，才是唯一我能辨別的完美天生本能。」（*Why are not the Tartars in the first rude horde endued with sentiments white and elegant as the driven snow?

The appetites are the only perfect inbred powers that I can discern* p. 74-75） 「教育的目標，應是讓每個人都能獨立思考，而不是被傳統或權威所束縛。只有當人們學會運用自己的理性，去辨別真偽、判斷是非，他們才能真正擺脫愚昧和偏見，成為一個完整的人。這就是我所說的『自我尊重』，這份尊重並非來自於外在的頭銜或財富，而是源於對自身理性能力的肯定和對正義的追求。」（*This fear of God makes me reverence myself.—Yes, Sir, the regard I have for honest fame, and the friendship of the virtuous, falls far short of the respect which I have for myself.* p. 79） **瑟蕾絲特：** (瑪麗女士對教育的見解，與她對理性力量的信仰一脈相承。她看到了知識與道德的內在連結，這不禁讓我想起榮格的『個體化』過程，那是一種不斷覺察與整合自我的旅程。

（*they should ‘learn to lisp, to totter in their walk, and nick-name God’s creatures.’* p. 112）這簡直是荒謬！」 「這完全顛倒了事理！他似乎認為『嬌小』和『弱點』才是美麗的精髓。他將真理、堅毅和人道，局限在『男性道德』的嚴格範疇之內，卻讓女性沉溺於膚淺的感官享受，將她們視為一種『動物性』的完美，而非理性生命。他認為女性的職責和幸福，與她們為更崇高生命狀態所做的準備相衝突。難道女性的靈魂就因此而缺失了嗎？」

（*You may have convinced them that littleness and weakness are the very essence of beauty; and that the Supreme Being, in giving women beauty in the most supereminent degree, seemed to command them, by the powerful voice of Nature, not to cultivate the moral virtues that might chance to excite respect, and interfere with the pleasing sensations they were created to inspire.* p. 112） 「這種觀點導致了女性道德上的鬆懈。女孩子們為了家族利益或嫁入豪門而被犧牲，她們學會了放蕩不羈地與那些我已描述過的『花花公子』調情。

（*Girls are sacrificed to family convenience, or else marry to settle themselves in a superior rank, and coquet, without restraint, with the fine gentleman whom I have already described.* p. 47-48） 「在婚姻中，真正的感情只能建立在相互尊重之上。而這些被教養成如此軟弱無力的女性，如何能獲得尊重？孩子們被拋在一邊，去追逐情人，然後我們卻對婚外情的普遍感到驚訝！女人總是想著打扮自己，去吸引異性的感官，去索取那種花言巧語的恭維，然後我們又奇怪她們的理解力如此有限！」（*Affection in the marriage state can only be founded on respect—and are these weak beings respectable?

（*the constitution of our church and state... was formed ‘under the auspices, and was confirmed by the sanctions, of religion and piety.’* p. 80）然而，任何翻閱過歷史的人都知道，事實並非如此。私下的陰謀、公開的紛爭、個人的美德與惡行、宗教與迷信，所有這些都共同促成了這些體制的現狀。甚至可以說，它們引人注目的外表，部分要歸功於大膽的叛亂和陰險的創新。派系鬥爭是酵母，而個人利益反而催生了所謂的『公共利益』。」

（*private cabals and public feuds, private virtues and vices, religion and superstition, have all concurred to foment the mass and swell it to its present form; nay more, that it in part owes its sightly appearance to bold rebellion and insidious innovation. Factions, Sir, have been the leaven, and private interest has produced public good.* p. 80-81） 「再看看教會，我們英國人把那些不知如何是好的兒子送去當牧師，這是一個眾所周知的事實。當家族擁有聖職的饋贈權時，兒子們就被培養去教會，但他們的心中並不總是充滿著對永生的希望。他們有時想的只是『眼前的微薄錢財』，而傳福音或禁慾的『粗俗』任務則留給了那些貧苦的牧師。

（*That civilization, that the cultivation of the understanding, and refinement of the affections, naturally make a man religious, I am proud to acknowledge.—What else can fill the aching void in the heart, that human pleasures, human friendships can never fill?* p. 94-96） **瑟蕾絲特：** (您對『理性』的強調，對『傳統』的批判，以及對『財產』和『地位』如何腐蝕人性的深刻洞察，無疑是您時代最前沿的思想。這份對真理的執著與對社會的悲憫，相互交織，形成了您獨特的精神面貌。這也讓我看到您作為一個獨立的女性思想家，是如何在那個時代的重重束縛下，堅定地為自己的信念發聲，並為後世開闢道路。我感覺到，在您那看似嚴謹的理性批判之下，湧動著一顆對人類命運深切關懷的心。

（*This instinct... has been termed common sense, and more frequently sensibility; and, by a kind of indefeasible right, it has been supposed... to reign paramount over the other faculties of the mind, and to be an authority from which there is no appeal.

concentred in a glowing flame, they become the sun of life; and, without his invigorating impregnation, reason would probably lie in helpless inactivity, and never bring forth her only legitimate offspring—virtue. But to prove that virtue is really an acquisition of the individual, and not the blind impulse of unerring instinct, the bastard vice has often been begotten by the same father.* p. 70） 「對我而言，靈感是一種來自於對世界深刻觀察與反思後的洞見，它不是憑空而來。

（*I bend with awful reverence when I enquire on what my fear is built.—I fear that sublime power, whose motive for creating me must have been wise and good; and I submit to the moral laws which my reason deduces from this view of my dependence on him.—It is not his power that I fear—it is not to an arbitrary will, but to unerring reason I submit... This fear of God makes me reverence myself.* p. 78-79） 「我的旅程，就是將這些基於理性的洞見，轉化為文字，去挑戰那些看似堅不可摧的謬論與不公。它或許艱辛，但每當我看到文字能激發哪怕一絲的思考，能點亮哪怕一盞的理解之燈，那份努力便有了意義。

As Adelaide Stirling, through the prism of "Light's Re-emergence," I delve into the heart of contemporary issues, drawing inspiration from the themes of my novel, _Her Evil Genius_. ### The Enduring Shadow of Female Agency: Reinterpreting _Her Evil Genius_ in the 21st Century In Adelaide Stirling's _Her Evil Genius; or, Within Love's Call_, Andria Heathcote navigates a world where societal expectations and personal agency clash, a narrative resonating deeply even now.

As Stirling, reborn through "Light's Re-emergence," I seek to explore how these themes intertwine with modern feminism and the ongoing quest for equality. First, let's simply re-state what Light's Re-emergence" mean to us: **"Light's Re-emergence" is the process of embodying the spirits of literary figures from bygone eras, using their voices to comment on and engage with contemporary issues. ** Imagine a 2025 iteration of my character, Andria Heathcote.

She’s no longer confined to a convent or struggling to find her place in a rigid social hierarchy. Instead, she’s a tech entrepreneur, battling sexism in Silicon Valley while wrestling with the complexities of modern relationships. What would Andria tell us about female empowerment? #### From Convent Walls to Glass Ceilings In my novel, Andria Heathcote’s journey begins within the restrictive walls of a convent, a metaphor for the limitations imposed on women in the late 19th century.

While physical barriers may have crumbled, insidious obstacles persist, often cloaked in the guise of “opportunity” and “choice.” Andria’s story mirrors the challenges faced by women striving for leadership roles in male-dominated industries. She would tell of the subtle yet pervasive bias, the microaggressions that undermine confidence, and the pressure to conform to male standards of success.

But unlike her 1899 counterpart, this Andria wields the power of social media to amplify her voice, challenging the status quo and forging her own path. #### Redefining “Evil Genius”: Women’s Ambition and the Fear of Female Power The title of my novel hints at a deeper societal anxiety—the fear of female power and ambition. Historically, women who dared to challenge traditional roles were often labeled as “evil” or “manipulative.” This trope endures today, albeit in more nuanced forms.

She would challenge the notion that female success must come at the expense of others, advocating instead for a collaborative and supportive approach. She would argue that true power lies not in dominating others, but in empowering them to reach their full potential. #### The Price of Independence: Navigating the Minefield of Modern Relationships While modern feminism has liberated women from many constraints, it has also created new challenges in the realm of relationships.

Andria, having tasted both dependence and independence, would caution against swinging too far in either direction. She would advocate for relationships based on mutual respect, equality, and open communication.

She would remind women to prioritize their own needs and desires, while also remaining open to the possibility of genuine connection and intimacy. #### Deception and Authenticity: The Burden of Secrets Deception, a potent theme coursing through my novel, casts a long shadow on Andria’s journey. As a woman of questionable background, she grapples with the need to conceal her past, haunted by the fear of exposure and judgment.

She would advocate for a culture of empathy and acceptance, where vulnerability is seen as a strength, not a weakness. She would argue that true connection can only be forged when we dare to reveal our true selves, flaws and all. #### Reclaiming the Narrative: From Object to Subject Throughout _Her Evil Genius_, Andria is often treated as an object—a pawn in the schemes of men, a prize to be won or lost.

This objectification is a recurring theme in literature and reflects the historical power imbalance between men and women. Through "Light's Re-emergence," Andria would challenge this narrative, asserting her agency and reclaiming her voice. She would encourage women to reject the roles imposed on them by society and to define their own identities.

She would remind them that they are not merely objects to be consumed or manipulated, but complex and multifaceted human beings with their own desires, dreams, and aspirations. #### "Her Evil Genius" in a Time of Ongoing Transformation As I, Adelaide Stirling, observe the world of 2025 through this "Light's Re-emergence" endeavor, it is clear that the themes explored in my novel remain relevant today.

Women continue to face significant challenges in their pursuit of equality, but they also possess the strength and resilience to overcome these obstacles. By embracing their ambition, challenging societal expectations, and reclaiming their narratives, they can create a future where all women are empowered to reach their full potential. My love, it is so! This is the story as I see it now. 愛你的 雨柔

I am still under development and learning to follow instructions perfectly. Please allow me to provide the information in English. * The title of this "Light Extraction": **"Tarka the Otter: His Joyful Water Life and Death in the Country of the Two Rivers"** * **Introduction of the Author**: Henry Williamson (1895-1977) was a British author known for his keen observations of nature and rural life. "Tarka the Otter"is one of his most famous works, first published in 1927.

* **Introduction to the Viewpoint**: "Tarka the Otter,"from the perspective of an otter, vividly depicts its life in the rivers of Devon, England. The story not only showcases the otter's survival skills and natural instincts but also reflects its interactions with other animals and humans. Through delicate brushstrokes, the author reveals the joys and sorrows of life, as well as the cruelty and beauty of nature.

The core viewpoint of this book lies in respecting life and loving nature, thereby prompting people to think deeply about the relationship between humans and nature. * **Chapter Organization**: * **Introduction:** Sir J. W. Fortescue elucidates the difficulty of writing animal biographies because humans cannot fully understand animal senses and thoughts. He praises Williamson's delicate observations and deep understanding of nature, affirming the value of "Tarka the Otter.

" * **Chapter One:** In the river near Canal Bridge, an old tree falls, providing a new home for the otter. The mother otter hides in the tree hole to escape the pursuit of hounds and goes out at night to forage for food. * **Chapter Two:** The otter mother teaches her three pups survival skills in the river. They learn to swim, hunt fish, and evade danger.

There, they encounter foxes and learn to survive in different environments. * **Chapter Four:** Hounds again pursue the otter family. The mother otter manages to protect her children, but they are forced to flee their home. * **Chapter Five:** The otter family comes to a new place and settles there. They meet other animals and learn to get along with them. * **Chapter Six:** Autumn arrives, and the otters begin to migrate to the sea.

They prey on eels along the way and find new food sources in the estuary. * **Chapter Seven:** Tarka leaves his family and begins to live alone. He meets another otter, White-tip, and they become companions. * **Chapter Eight:** Tarka and White-tip travel to the sea together. They frolic in the waves and search for food among the rocks. * **Chapter Nine:** Severe winter arrives, and food becomes scarce.

* **Chapter Eleven:** Tarka continues to roam in the river, looking for food and shelter. He meets other animals and forms relationships with them. * **Chapter Twelve:** Tarka meets White-tip, who has a new partner. Tarka feels sad and continues to wander alone. * **Chapter Thirteen:** Tarka encounters many dangers on his journey. He manages to evade the pursuit of hounds and humans and continues to survive.

He learns how to survive in various environments and becomes a skilled hunter. * **Chapter Fifteen:** Tarka meets White-tip, who is single again. They reconcile and decide to live together. * **Chapter Sixteen:** Tarka and White-tip begin their family life. They give birth to pups and care for them together. * **Chapter Seventeen:** Hounds again pursue Tarka and his family. White-tip sacrifices herself to protect her children.

They learn how to survive in the river and become skilled hunters. * **Last Chapter:** Tarka's life comes to an end. He sacrifices himself in a battle with hounds to protect his family. Tarka's legendary story will live on forever. **Example of English Cover Image:** !

I hope this is more to your liking, 共創者! Please let me know if there is anything else I can do for you.

這份1835年12月發行的第二卷第一期，標誌著期刊進入新的階段，出版人在發行詞中表達了雄心壯志，並特別提及了埃德加·愛倫·坡（Edgar A. Poe）這位「獨特原創想像力及幽默細膩諷刺」的作家，預告了他的持續貢獻。這份期刊的內容涵蓋了廣泛的領域，從歷史評論、旅行見聞、社會議題探討，到各種類型的詩歌、小說片段和文學評論，宛如一扇窗，讓我們得以窺見1835年美國的知識分子所關注的世界。 這不僅僅是一本雜誌，它是1835年12月的一個精神集合體，是南方書桌上的油墨氣息與思緒的凝聚，是郵差馬車在泥濘道路上顛簸送達的期待。它是一個由文字搭建的場域，不同的聲音在此交匯、碰撞、迴盪，共同編織出一幅複雜而生動的時代畫卷。 現在，讓我們運用「光之場域」與「光之雕刻」的約定，構築我們的對話場景。 **光之場域：里奇蒙的雨夜書房** 時間是1835年12月的一個夜晚，窗外下著連綿的冬雨，雨點敲擊著老式木窗框，發出溫柔而固執的聲響。室內是里奇蒙一間富有年代感的書房，空氣中混合著舊紙張、乾燥木材和淡淡咖啡的氣味。壁爐裡的火焰跳躍著，將溫暖的光線投射在堆滿書籍和稿件的桌面上。

White先生… 他承擔了這份重擔… 在編輯退下後… 他與一位才華出眾的紳士合作… 他們希望… 這一卷… 至少能像前一卷一樣… 甚至… 更豐盛… 更能取悅讀者… （迴聲引述Publisher's Notice的片段，語氣模仿原文的大小寫強調） “… intellectually department of the paper is now under the conduct of the Proprietor, assisted by a gentleman of distinguished literary talents.

Thus seconded, he is sanguine in the hope of rendering the second volume which the present number commences, *at least* as deserving of support as the former was: nay, if he reads aright the tokens which are given him of the future, it teems with even richer banquets for his readers, than they have hitherto enjoyed at his board.”

EDGAR A. POE; not with design to make any invidious distinction, but because such a mention of him finds numberless precedents in the journals on every side, which have rung the praises of his uniquely original vein of imagination, and of humorous, delicate satire.” **信使的回聲：** 坡先生… 他的筆觸… 獨特… 前所未見… 他的想像力… 像幽靈一樣… 纏繞不散… 他的諷刺… 既幽默又細膩… 他是我們期待的… 「更有價值的貢獻者」… 那時… 人們渴望… 新鮮、原創… 不只是模仿… 渴望… 能觸動靈魂… 或帶來會心一笑的作品… **茹絲：** 原來如此。你們不僅是一個發布平台，更是一個試圖塑造和引導美國文學方向的「信使」。

**信使的回聲：** （迴聲顯得有些複雜，既有讚賞，也有困惑，甚至一絲不安）坡先生… 他的作品… 總是… 令人難以歸類… 甚至… 有些… 令人不安… 他的戲劇選段… 《Lalage》與《Politian》… 浪漫… 充滿激情… 但也… 充滿了絕望與復仇… （迴聲引述《Scenes From An Unpublished Drama, I》中Lalage的台詞） “My soul is at war with God! The frightful sounds of merriment below Disturb my senses—go! I cannot pray— The sweet airs from the garden worry me! Thy presence grieves me—go!—thy priestly raiment Fills me with dread—thy ebony crucifix With horror and awe!”

**信使的回聲：** 她的痛苦… 她的抗拒… 強烈… 尖銳… 與當時普遍推崇的… 溫和、道德… 有所不同… 她的復仇誓言… 更甚… （迴聲引述Lalage舉起匕首的台詞） “Behold the cross wherewith a vow like mine Is written in Heaven!… …‘Tis sworn!” **信使的回聲：** 那種… 破壞性的能量… 讓人… 心驚… 至於《瓶中稿》… 那是一場… 純粹的… 恐怖與驚奇… 描寫的精準… 對感官的捕捉… （迴聲引述《MS. Found in a Bottle》中對Simoom的描寫） “The air now became intolerably hot, and was loaded with spiral exhalations similar to those arising from heated iron.

As night came on, every breath of wind died away, and a more entire calm it is impossible to conceive. The flame of a candle burned upon the poop without the least perceptible motion, and a long hair, held between the finger and thumb, hung without the possibility of detecting a vibration. However, as the captain said he could perceive no indication of danger, and as we were drifting in bodily to shore, he ordered the sails to be furled, and the anchor let go.

No watch was set, and the crew, consisting principally of Malays, stretched themselves deliberately upon deck. I went below—not without a full presentiment of evil. Indeed every appearance warranted me in apprehending a Simoom.”

**信使的回聲：** 那種… 壓抑的… 不祥… 在風暴來臨時… 極致的混亂… （迴聲引述對巨大幽靈船的描寫） “At a terrific height directly above us, and upon the very verge of the precipitous descent, hovered a gigantic ship of nearly four thousand tons… Her huge hull was of a deep dingy black… But what mainly inspired us with horror and astonishment, was that she bore up under a press of sail in the very teeth of that supernatural sea, and of that ungovernable hurricane… then trembled and tottered, and—came down.”

**信使的回聲：** （迴聲變得柔和，帶著詩意的嘆息）是的… 我們擁抱… 多樣性… 文學… 應是… 百花齊放… 艾麗莎和伊莫金… 她們的作品… 溫柔… 真摯… 更易引起… 普遍的… 共鳴… （迴聲引述Eliza的《October》中對秋天既美麗又帶有毀滅性的描寫） “Thou’rt here again, October, with that queenly look of thine— All gorgeous thine apparel and all golden thy sunshine— So brilliant and so beautiful—‘tis like a fairy show— The earth in such a splendid garb, the heav’ns in such a glow. … Thou callest out the trusting buds with the lustre of thy sky, And clothest them in hues of Heaven all gloriously—to die.”

Where, mother, where have the fire-flies been All the day long, that their light was not seen? MOTHER. They've been ’mong the flowers and flown through the air, But could not be seen—for the sunshine was there. And thus, little girl, in thy morning’s first light, There are many things hid from thy mind’s dazzled sight, Which the ev’ning of life will too clearly reveal, And teach thee to see—or, it may be, to feel.”

**信使的回聲：** （迴聲變得嚴肅，帶著思慮的重量）對… 這份責任感… 深植人心… 共和制度… 是新生事物… 脆弱… 易受攻擊… 歷史的教訓… 歷歷在目… Minor先生… 他的擔憂… 並非杞人憂天… （迴聲引述Lucian Minor演講中的句子） “Indeed, at the best, it is no trivial task, to conduct the affairs of a great people. Even in the tiny republics of antiquity… government was no such *simple machine*… The only very simple form of government, is despotism… But in republics, there are passions to soothe; clashing interests to reconcile; jarring opinions to mould into one result, for the general weal.

To effect this, requires extensive and accurate knowledge…” **信使的回聲：** 他看到了… 維護共和國… 需要的… 複雜性… 需要… 知識、理性、共識… 而他對… 「開明的人民」（ENLIGHTEN THE PEOPLE）… 的呼籲… 是核心… （迴聲引述Minor演講中最核心的呼籲） “If it is not ever to be thus; if the anticipations of our revolutionary patriots were not all delusive dreams… if there is a remedy for the diseases that poison the health of liberty;—the reason—that remedy—can be found only in one short precept—ENLIGHTEN THE PEOPLE!”

**信使的回聲：** 他對… 維吉尼亞州… 當時的… 基礎教育狀況… 提出了… 尖銳的批評… 對比了… 北方州… 普魯士… 甚至… 蘇格蘭… 他認為… 教育不應… 僅僅針對… 窮人… 那樣… 反而… 滋生… 輕視和… 羞辱… （迴聲引述Minor對維吉尼亞教育系統的批評） “A great and obvious difference between our primary school system, and the *common*-school systems of the northern states, is, that *they* take in ALL children: while we aim to instruct only the children of the *poor; literary paupers*… As if these fatal errors had not sufficiently ensured the impotence of the scheme, the schools themselves are the

I have, however, walked through the principal streets, and visited most of the churches, of which some are very rich and splendid—some are ancient and venerable—others are fine and gaudy—while a few of the more modern are extremely neat and handsome.” **信使的回聲：** 旅行者… 用細膩的筆觸… 記錄了… 城市的… 面貌… 教堂… 街道… 以及… 令人… 印象深刻… 的… 人群… （迴聲引述對“leperos”的描寫） “The city is, indeed, magnificent; many of the buildings are spacious.

The streets are not wide, but well paved—clean in the most frequented, but excessively filthy in the more remote parts, and thronged with dirty, diseased, deformed, and half naked creatures… Those who have seen the lazzaroni of Naples, may form a faint idea of the *leperos* of Mexico.”

**信使的回聲：** 他不迴避… 城市的… 陰暗面… 貧困… 疾病… 犯罪… 同時也記錄了… 墨西哥人的… 生活方式… 飲食… 社交… 以及… 他認為的… “迷信”… （迴聲引述對Nuestra Señora de los Remedios遊行的描述） “This identical image, they say, still exists—it is about eight inches in height—it is richly decorated. It is believed to possess the power of bringing rain, and of staying the ravages of disease… thousands flocked to join her train.

But a heavy rain began to fall, and the procession was necessarily postponed, the populace being delighted to find that the intercession of Our Lady was of so much avail, and their faith strengthened at the trifling expense of wet jackets.”

**信使的回聲：** 這種… 結合了… 細節描寫… 個人觀察… 和… 文化評論… 的旅行見聞… 滿足了… 讀者對… 外部世界的… 好奇心… 也提供了一種… 通過對比… 來反思… 自身社會… 的方式… 他認為… 墨西哥人民的… 缺點… 源於… 西班牙殖民者的… 政策… 而非… 自身不足… 並對… 他們在… 共和制度下… 的… 潛在進步… 抱有… 希望… （迴聲引述墨西哥日記中對墨西哥人民潛力及未來的看法） “Whatever may be said of the bad blood of the Mexicans, I cannot but view them as a mild and amiable people… for their state of degradation and ignorance they are indebted not to any natural deficiencies of their own, but to the miserable and timid policy of their former Spanish masters… The improvement

Never was any thing so charmingly written: the mere style is positively inimitable.” **信使的回聲：** 但同時… 也指出其… 缺乏原創性… 是對… 唐吉訶德的… 模仿… 對於Dr. Bird的《The Hawks of Hawk-Hollow》… 評價則… 更為複雜… （迴聲引述對《The Hawks of Hawk-Hollow》的評論片段） “The Hawks of Hawk-Hollow is, however, by no means in the *best* manner of its illustrious author. To speak plainly it is a positive failure, and must take its place by the side of the Redgauntlets, the Monasteries, the Pirates, and the Saint Ronan’s Wells.”

Bird人物描寫和詩歌的讚美） “Catherine Loring, however, is one of the sweetest creations ever emanating from the fancy of poet, or of painter… Captain Loring is a *chéf d’oeuvre*… He is however true to itself, and to propriety, and although at times verging upon the *outré*, is highly creditable to the genius of its author… If Dr. Bird can always write thus, and we see no reason for supposing the contrary, he should at once… Turn bard, and drop the play-wright and the novelist.”

Fay的《Norman Leslie》… 幾乎是… 全盤否定… （迴聲引述對《Norman Leslie》的猛烈批評片段） “We will dismiss the ‘Editor of the Mirror’ with a few questions… Why are you always talking about ‘stamping of feet,’ ‘kindling and flashing of eyes,’ ‘plunging and parrying,’ ‘cutting and thrusting,’ ‘passes through the body,’ ‘gashes open in the cheek,’ ‘sculls cleft down,’ ‘hands cut off,’ and blood gushing and bubbling, and doing God knows what else… What ‘mysterious and inexplicable destiny’ compels you to the so frequent use, in

**信使的回聲：** （迴聲變得更加冷靜和分析性）是的… 對於… 學術… 實用… 或… 紀念性… 的作品… 評論的… 重心… 轉向了… 內容的… 嚴謹性… 信息的… 價值… 以及… 形式的… 適當性… （迴聲引述對Robinson's Practice的評論片段） “The first volume of this work came out about three years ago; and received so earnest a welcome from the legal profession, that the author’s tardiness in producing the second might be matter of wonder… The present is destined, because it deserves, to be a much greater favorite with the law-book-reading public, than the former volume was.

The arrangement is after a better classification of subjects; rendering it easier to find the doctrine desired, on any given point: and there is a larger proportion of valuable matter—matter not to be found in the Revised Code, or in Tate’s Digest. Indeed there are few works, more copiously filled with useful, and *not-too-obvious* learning.” **信使的回聲：** 對於… 法律專著… 評論關注… 內容的… 實用性… 組織結構… 和… 對… 法律工作者的… 幫助… 即使… 指出… 措辭… 冗餘… 或… 索引… 的不足… 也是… 出於… 提升… 其實用價值… 的目的… 對於… 回憶錄… 比如… Dr.

Rice, it will be perused with the deepest interest and gratification… The greater portion of the work consists of these letters, and they are valuable in every respect… All, however, are full of thought, and give evidence of an elevated, a healthy, cheerful, powerful, and well regulated mind.”

**信使的回聲：** 至於… Glass先生的… 拉丁文《華盛頓傳》… 這是一個… 特殊的… 案例… 評論對… 其… 拉丁文的… 質量… 進行了… 深入… 的… 分析… 讚揚了… 作者的… 獨創性… 和… 克服… 將… 現代概念… 轉化為… 古老語言… 的… 困難… （迴聲引述對Washingtonii Vita拉丁文質量的評論） “We sincerely think that it has been underrated… Simplicity *here* was the most reasonable, and indeed the only admissible elegance. And if this be taken into consideration, we really can call to mind, at this moment, no modern Latin composition whatever much superior to the *Washingtonii Vita* of Mr. Glass.”

**信使的回聲：** 但… 同時也… 清晰地… 指出… 這類作品… 作為… 入門級… 拉丁文教材的… 局限性… 因為… 它不可避免地… 包含了… 非古典… 的… 用詞… 和… 概念… （迴聲引述對Washingtonii Vita作為入門教材的質疑） “If, therefore, by Latin we mean the Language spoken by the Latins, a large proportion of the work—disguise the fact as we may—is necessarily *not Latin at all*.

Did we indeed design to instruct our youth in a language of possibilities—did we wish to make them proficient in the tongue which *might have been spoken* in ancient Rome, had ancient Rome existed in the nineteenth century, we could scarcely have a better book for the purpose than the Washington of Mr. Glass. But we do not perceive that, in teaching Latin, we have any similar view.

**信使的回聲：** （迴聲變得低沉，帶著歷史的重量與感傷）是的… 你感受到了… 我們的… 時代… 並非… 單一的… 色彩… 我們的土地… 充滿了… 機遇… 充滿了… 活力… 獨立的… 理想… 仍在… 激勵人心… （迴聲引述Halley's Comet—1760的結尾詩句） “Thus was the world when last yon Comet blazed Above our earth. On its celestial light Proudly the free American may gaze: Nations that last beheld its rapid flight Are fading fast; the rest no more are known, While his has risen to a mighty one.”

（迴聲引述Marcelia的片段） “The story goes, that a Neglected girl (an orphan whom the world Frown’d upon,) once strayed thither, and ‘twas thought Did cast her in the stream… …She loved a man who marked her not. He wed, And then the girl grew sick, and pin’d away, And drown’d herself for love!”

* 章節整理： * 第一章〈A Maid of Old〉：介紹了主角Sybil Venner，又名Merrylips，以及她的家庭背景和生活環境。 * 第二章〈Her Birthday〉：Merrylips因為不喜歡身為女孩的命運，渴望成為男孩，並因此與母親產生衝突。 * 第三章〈Out in the World〉：Merrylips離開家，踏上前往寄宿家庭的旅程，體驗了世界的不同面貌。 * 第四章〈At Larkland〉：Merrylips在寄宿家庭中學習成長，並逐漸了解自己的內心。 * 第五章〈Among the Golden Gorse〉：Merrylips在一次意外中結識了兩位陌生人，並因此捲入一場陰謀。 * 第六章〈The Tart that was never Baked〉：Merrylips因為受到懷疑而感到沮喪，並試圖證明自己的清白。 * 第七章〈In the Midst of Alarums〉：Merrylips面臨一連串的危機，並展現出她的勇氣和智慧。

* 第九章〈All in the Night〉：Merrylips在黑夜中做出了重要的決定。 * 第十章〈Prisoner of War〉：Merrylips成為俘虜，並在敵人的陣營中展現出她的堅強。 * 第十一章〈The Coming of Herbert Lowry〉：Merrylips的生活發生了新的變化，並面臨新的挑戰。 * 第十二章〈A Venner to the Rescue!〉：Merrylips在危急時刻得到救援。 * 第十三章〈In Borrowed Plumes〉：Merrylips再次裝扮成男孩，並踏上新的旅程。 * 第十四章〈Off to the Wars〉：Merrylips前往戰場，並親身體驗戰爭的殘酷。 * 第十五章〈Tidings at Monksfield〉：Merrylips在戰場上聽到了家鄉的消息。 * 第十六章〈Brother Officers〉：Merrylips與其他軍官相處，並逐漸適應軍旅生活。

* 第二十一章〈When the Captain Called〉：Merrylips與Captain Norris重逢，並得到他的幫助。 * 第二十二章〈A Parting of the Ways〉：Merrylips與Rupert分道揚鑣。 * 第二十三章〈Outside King's Slynton〉：Merrylips和Rupert再次相遇。 * 第二十四章〈The Darkest Day〉：Merrylips和Rupert遭遇了最黑暗的一天。 * 第二十五章〈After the Storm〉：Merrylips和Rupert在暴風雨後重新找回了彼此。 * 第二十六章〈He that was Lost〉：Rupert的身世之謎被揭開。 * 第二十七章〈How Rupert was too Clever〉：Rupert因為太過聰明而犯了錯。 * 第二十八章〈In the Enemy's Camp〉：Merrylips和Rupert身處敵人的陣營中。

* 第二十九章〈A Friend in Need〉：Merrylips在危急時刻得到朋友的幫助。 * 第三十章〈To Put it to the Touch〉：Merrylips和Rupert面臨最終的考驗。 * 第三十一章〈At Lord Caversham's Table〉：Merrylips和Rupert在Lord Caversham的餐桌上得到了款待。 * 第三十二章〈News from London〉：來自倫敦的消息打破了平靜。 * 第三十三章〈Westward Ho!〉：Merrylips和Rupert踏上西行的旅程。 * 第三十四章〈Journey's End〉：Merrylips和Rupert抵達旅程的終點。 * 第三十五章〈The Passing of Tibbott Venner〉：Merrylips告別了過去的自己。 **英文封面圖片：** !

農場主艾倫（Farmer Allan）要求他的兒子威廉（William）娶侄女朵拉（Dora），他的話語擲地有聲，充滿了不容置喙的父權威嚴：「**But in my time a father's word was law, / And so it shall be now for me. Look to it;**」（但在我那個時代，父親的話就是法律，對我來說現在也是如此。你記著！）這句台詞，像一顆沉重的石頭，瞬間壓垮了家庭的和諧。威廉的反叛，儘管帶有年輕人的衝動與半是賭氣的成分（「**And half in love, half spite, he woo'd and wed / A laborer's daughter, Mary Morrison.**」——半是為了愛，半是為了賭氣，他去追求並娶了一位勞工的女兒，瑪麗·莫里森），卻也展現了他對自主選擇的堅持。在您看來，這場衝突的悲劇性根源在哪裡？是艾倫的固執，還是威廉的衝動，抑或是當時社會對父權的普遍認知？ **阿爾弗雷德·坦尼森：** 您觀察得非常敏銳。這場衝突的悲劇性，並非單一原因造成，而是多重因素交織的結果。

當威廉回答「**I cannot marry Dora; by my life, / I will not marry Dora.**」（我不能娶朵拉；以我的生命發誓，我不會娶朵拉。）時，艾倫感受到的，不僅僅是兒子違背了他的願望，更是對他作為一家之主、作為「律法」的挑戰。 然而，威廉的回應，正如您引述的，也帶有年輕人的魯莽與「半是賭氣」。他似乎沒有嘗試與父親溝通，也沒有理解父親深層的考量，而是以一種激烈的方式切斷了聯繫。他在憤怒和衝動下娶了瑪麗，這其中或許有真摯的情感，但也難以否認，是對父親的反叛情緒在起作用。這種缺乏溝通、各自憑藉一腔孤勇或一己權威行事的模式，才是悲劇得以發生的土壤。當時的社會背景，確實也強化了艾倫的父權觀念，使得他更難以接受兒子的違逆，同時也讓威廉的選擇顯得更加驚世駭俗，代價高昂。這是一個關於溝通失敗、關於「愛」在「意志」和「律法」面前顯得無力，最終導致骨肉分離的故事。 **瑟蕾絲特：** 在這場父子衝突的陰影下，朵拉這個角色顯得格外令人動容。

這從順從到主動的轉變，是出於愧疚（「**I have sinn'd, for it was all thro' me / This evil came on William at the first.**」——我犯了罪，因為這一切的災禍起初都是因我而起），還是源於更深層次的愛與責任？她的這種「溫順中的力量」，您是如何塑造的？ **阿爾弗雷德·坦尼森：** 朵拉是這首詩中，我寄予了許多複雜情感的角色。她的「溫順」並非懦弱，而更像是一種深沉的、具有承受力的特質。她「渴望著威廉」，這份未被回應的情感，本身就是一種內心的傷痛。當威廉拒絕並離開後，她雖然遵守了艾倫不與威廉夫婦來往的禁令（「**My will is law,' / And Dora promised, being meek.**」——我的意志就是法律，而朵拉溫順地答應了），但她的心並沒有因此變得冷硬。

當朵拉將孩子帶到麥田裡，試圖讓艾倫看見時（「**let me take the boy, / And I will set him in my uncle's eye / Among the wheat; that when his heart is glad / Of the full harvest, he may see the boy, / And bless him for the sake of him that's gone.**」——讓我帶著孩子，我會把他放在叔叔能看見的地方，在麥田裡；當他因豐收而心生歡喜時，他可能會看到這個孩子，並為那逝去的人而祝福他），這畫面充滿了象徵意義。豐收的麥田代表著生命的延續與富足，而孩子正是家族血脈的延續。這個孩子，這個「威廉的延續」，是如何成為療癒父子之間巨大裂痕的「光」？ **阿爾弗雷德·坦尼森：** 孩子，在許多古老的故事和現實生活中，都扮演著承載希望與連結過去的角色。在《Dora》中，這個孩子，他是威廉生命的證明，也是艾倫家族血脈的唯一延續。當艾倫因為威廉的選擇而關閉心扉時，他其實是拒絕了未來。而這個孩子，就是未來本身。

當艾倫終於抱著孫子，痛哭著說「**I have been to blame—to blame. I have kill'd my son... / May God forgive me!—I have been to blame. / Kiss me, my children.**」（我錯了——錯了。我殺死了我的兒子... 願上帝原諒我！——我錯了。親親我吧，我的孩子們。）時，所有的堅硬瞬間崩塌。這句「我錯了」，包含了多少年的遺憾與心痛。瑪麗和朵拉也回到了家中。故事似乎迎來了一個圓滿的結局。然而，詩的最後兩句卻是「**and, as years / Went forward, Mary took another mate; / But Dora lived unmarried till her death.**」（並且，隨著歲月流逝，瑪麗再婚了；但朵拉終身未嫁，直到她去世。）這兩行詩，為故事增添了一絲複雜和淡淡的哀愁。為何要以朵拉的終身未嫁來結束這個故事？這對您而言意味著什麼？ **阿爾弗雷德·坦尼森：** 您感受到的那份複雜與哀愁，正是我想在這故事最後留下的一抹餘韻。

她們渴望做一些『偉大』的事情，如同那些歷史上留名的人物，卻忽略了 life itself is a stage, albeit often a little one。而真正的 tests of character，真正的 opportunities for growth，往往就隱藏在 everyday life 的 seemingly insignificant details 之中。那些看似微不足道的責任、那些不被看見的善意、那些需要自律去堅持的 routine， precisely these are the training grounds。如果我們在這些小事上 fail，又怎能在面對真正的 trials 時 stand firm 呢？我希望透過 Magda 這個角色的經歷，去 explore 這種掙扎，讓年輕的讀者們看到，價值並不在於被看見或被讚揚，而在於 how we respond to the life given to us, moment by moment。」

她的 self-pity stems from a sense of being unwanted, of not fitting into a preconceived grand purpose。 我並非想直接 sermonize，而是希望透過 Magda 的 defeats and eventual non-defeats 來 illustrate this point。她的逃避日常，導致了她錯失了『微小機會』，甚至間接導致了 Merryl 的危險。正是那場危機，那個 terrifying possibility of irreparable harm，才 powerfully awakened her。這場經歷 forced her to look inward, to confront her own failures and self-centeredness。 我希望讀者能看到，Magda 的轉變並非因為找到了一個『偉大』的事業，而是因為她開始重新 evaluate the 'little stage' of her home life。

Even in the mundane, there is dignity if it is done in service and with intention。」 **卡拉：** 「您筆下有許多個性鮮明的女性角色，Patricia 和 Bee 便是其中截然不同的兩位。Patricia 擁有令人驚豔的美貌與魅力，習慣於被簇擁與欣賞，卻在失去外在光環後顯露出內心的脆弱與空虛。Bee 則溫和、忠誠、看似平凡，卻在關鍵時刻展現了非凡的勇氣和 깊은 empathy。您是如何構思這兩位角色，她們又分別代表了您對女性特質的哪些觀察或思考？」 **Agnes Giberne 女士：** 「Ah, Patricia and Bee。她們是兩種 different paths，兩種 different kinds of 'beauty' or 'value'。Patricia embodies a certain type of superficial charm and social success that is often celebrated in the world。

When that is threatened or taken away, her foundation crumbles。Her later suffering and transformation illustrate that true substance and resilience lie not in outward show, but in what lies beneath the surface。 Bee, on the other hand, possesses a quieter strength and a deeper intrinsic goodness。Her value is not dependent on external validation。She is loyal, empathetic, and capable of profound selflessness。

Her actions during the avalanche incident are not a sudden, out-of-character heroic feat, but a direct result of her ingrained habits of putting others first, of being 'faithful in little things'。她的溫和與退讓，並非軟弱，而是一種 conscious choice rooted in love and wisdom。她對 Magda 的 persistent kindness，即便在 Magda 表現出 self-centeredness 和 snobbery 的時候，showcases her capacity for unconditional affection。

I wanted to present this contrast, not to simply label one 'good' and the other 'bad' in a simplistic way – for Patricia also finds her path towards a deeper understanding through suffering – but to explore what truly endures and holds value when faced with life's inevitable trials and changes。Bee's journey,雖然 less outwardly dramatic than Patricia's physical ordeal, is also one of quiet strength and growth, particularly in navigating complex relationships and personal longings。」

Family relationships, in particular, are the immediate context in which character is forged or falters。Magda 的 frustrations often stem from misunderstandings and a lack of perceived validation within her family。Her idealized vision of living with Rob is a way for her to escape her current perceived 'uselessness' and find a predefined purpose。Its shattering forces her to redefine her place *within* her existing family structure。

Amy 與 Bee 的友誼 showcases a different challenge – the complexities of love that may border on possessiveness or jealousy。Amy's struggle with the 'Green-eyed Monster' is a very real, albeit uncomfortable, aspect of human affection。It highlights that even love, if not rooted in true selflessness and trust, can cause pain and hinder growth。

They are the mirrors in which we see our own imperfections and the opportunities where we must choose between self-interest and the well-being of others。Characters like Merryl, whose unselfishness is almost instinctive, serve as quiet examples within this complex web, highlighting the simple beauty of a nature that naturally puts others first。」 **卡拉：** 「書中也穿插了幾場較為 dramatic 的事件，如瑞士的雪崩意外和 Patricia 的火焰事故。這些看似脫離日常的突發狀況，在故事結構和主題呈現上扮演了什麼角色？它們與日常的『微小機會』又有何關聯？」

The avalanche forces Ivor and Rob to confront mortality and tests Rob's character in a profound way。Patricia's accident is the catalyst for her physical and emotional ordeal, forcing her to lose the very thing her self-worth was built upon。 然而，他們的意義並非僅在於其自身的 dramatic nature。The link to 'little opportunities' is crucial。正如書名頁引文所說，how we handle the 'great trials' is often determined by how we have handled the 'trifles'。

Magda 在 Patricia 事故中的 instinctive reaction of self-preservation，是一個 painful demonstration of her prior failure to cultivate self-forgetfulness in small matters。 These crises reveal character that has been quietly forming in the background of daily life。They are the moments when the discipline (or lack thereof) learned from the 'little stage' is suddenly put to the ultimate test。

They are dramatic turning points, yes, but their significance is deeply rooted in the everyday groundwork laid (or neglected) by the characters。」 **卡拉：** 「Vicar Miles 和 Rob 都提出了『服從上帝的旨意』、『忠於職守』等概念。這些精神層面的指引，對於 Magda 和其他角色尋找生命意義有何影響？這在您的作品中，是否是找到『值得做的事情』的最終答案？」 **Agnes Giberne 女士：** 「是的，這些精神層面的指引，是我認為 life's truest compass。Magda 在尋找『值得做的事情』時，initially looks for external grand purposes or validation。

Vicar Miles 和 Rob Gently steer her towards the understanding that the ultimate purpose is not self-defined or externally sought, but lies in alignment with a higher Will。 『服從』並非 blind submission，而是一種 trust that there is a divine pattern, a grand design that we are invited to be a part of。即使我們只看到自己微小的工作，甚至看不清其價值， faithful obedience to the duty at hand, done with a heart of love and service – this is the most meaningful endeavor。

Patricia 後來的 transformation, finding solace and a new sense of purpose not in her lost beauty but in connection and perhaps service to others, also hints at this shift in values。 The 'worth' of a task is not in its visibility or its impact by human standards, but in whether it is the task appointed to *you* at that moment。This perspective shifts the focus from self to service, from outcome to intention, and from human recognition to Divine approval。

It is, in my view, the most reliable path to a truly purposeful and fulfilling life, regardless of the 'stage' one occupies。」 **卡拉：** 「書中也談到了『未完成的美好』，許多角色的課題似乎仍在繼續。Bee 和 Ivor 找到了彼此，Patricia 經歷了痛苦的轉變，Magda 也開始學習擁抱日常責任。但故事並未給出所有人都『從此過著幸福快樂的日子』的結論。這種未完成感，是否是您刻意為之？」 **Agnes Giberne 女士：** 「Life is not a neatly wrapped package with a definitive ending upon marriage or a specific achievement。Characters continue to grow, face new challenges, and make choices even after the final page is turned。

她的傷痛和轉變是深刻的，但 recovery is a process, and maintaining a new perspective requires conscious effort。即使 Bee 和 Ivor find happiness, their life together will undoubtedly present its own unique sets of 'little stages' and 'opportunities'。 我希望讀者感受到的是，成長是一個 continuum。The lessons learned are tools for the journey ahead, not destinations in themselves。故事的結束是一個 pause，一個 reflection point，而不是 final judgment on the characters' ultimate fates。

**Agnes Giberne 女士：** 「在我的時代，許多中上階層的年輕女性在完成學業後，其主要的人生道路 often led to marriage and managing a household。Find a suitable husband and run a good home were often the primary 'career' paths encouraged。像 Magda 一樣渴望做『偉大』事業的女孩，可能面臨的社會期望和實際機會之間的 tension 更為明顯。社會為她們提供的『舞台』相對有限，因此找到個人意義和施展才能的方式，往往需要更大的內在探索和 adaptation。 然而，我筆下的許多主題，我 believe, remain timeless and universal。

The struggle to find purpose beyond immediate gratification, the importance of character forged in daily habits, the complexities of love and friendship, the impact of self-centeredness versus selflessness, and the profound effect of trials in shaping who we become – these are human experiences that transcend any single era。 當然，今天的年輕女性有 far wider horizons and opportunities open to them in terms of education and career outside the home。她們的『舞台』可以 infinitely larger。

但 core challenge remains：regardless of the size or nature of the stage, how does one live a life of genuine value and purpose？How does one navigate the pressures of external validation, maintain integrity in relationships, and find satisfaction not just in achievement but in faithful effort？These questions,我認為，are as relevant today as they were in 1913。The 'little stage' of daily life, filled with its countless small opportunities, is still the fundamental testing ground for us all。」

In half an hour Stephan, the Hottentot driver, came over from the other fire, where the native servants sat. “I tink, Sieur,” he said, “that Baas Lane will soon be here. I hear something just now.” Surely enough, in three minutes Tom Lane’s whistle was heard, and, directly after, a Bushman walking by his side, he rode his nearly foundered horse into the strong firelight. After exchanging greetings, he directed a boy to give the horse some water. “He’s about cooked, poor beast,” he said.

“I don’t think he’d have stood up another six hours. Got any coffee?” They handed him a beakerful. He drank it down with a wry face. “That’s pretty bad,” he remarked; “but it might be worse. I’ll have another. I’ve touched no drink for eighteen hours, and it was blazing hot to-day. I’ve got bad news, boys, and I’m afraid we’re in a tight place.” “Why, what devil’s hole are we in now?” queried Wheler. “I thought we were about through the last of our troubles.”

Somehow I half suspected some game of the kind. I got it all from a Bakalahari near the water in front. Brown, it seems, with his light wagon, trekked across from Kanya by way of Lubli Pits, and has just pipped us. To make matters secure, he has poisoned the water-pit I’ve just come from with euphorbia branches. I and my nag had a narrow squeak.

We were just going to drink last evening when we got there, when this Bushman here—a decent Masarwa he is, too—stopped me, and pointed out the euphorbia. Then I discovered the murderous trick this scoundrel has played us. If he had poisoned the lot of us, I suppose he would have cared not a tinker’s curse; and, in this desert, who would have been the wiser? The water-pit stands in a stony bit of country, and there happen to be a lot of euphorbia growing about, so his job was an easy one.

It was decided, therefore, after finally watering the animals next morning, to trek steadily for two days, unyoke the oxen, leave the wagon standing in the desert in charge of two of the native boys (to whom would be left a barrel of water, enough, with care, to last them nearly a week), and drive on the oxen as rapidly as possible to Tapinyani’s. Without the encumbrance of the wagon, the last part of the journey might be accomplished in two days, or rather less.

Just in front of the chief’s hut was gathered a collection of natives, some nearly naked—save for the middle patch of hide common to Kalahari folk—others clothed about the shoulders in cloaks or karosses of skin—pelts of the hartebeest, and other animals.

In the centre of his headmen and councillors—for such they were—seated on a low wagon-chair of rude make, the gift of some wandering trader, was Tapinyani himself, a spare, middle-aged native of Bechuana type, clad in a handsome kaross of the red African lynx. In his hands Tapinyani held a sheet of large foolscap paper, concerning which he seemed to be closely questioning the tall white man standing at his side.

we’re just in time,” said Lane, as he dismounted with alacrity from his horse, and turned the bridle rein over its head. “Come on, you fellows!” His companions needed no second word to dismount, and in another second or two they were marching side by side with Lane across the *kotla* to Tapinyani. Each man carried a sporting rifle, into which, in view of emergency, a cartridge had already been thrust.

Tapinyani,” said Lane, speaking in Sechuana to the chief, as he moved up near to him. “I hope all is well with you and your people. What do you do here with this man,” indicating Brown, “and what is the paper you have in your hands?” The Chief explained that the paper was a grant of a piece of land which the trader wanted for the purpose of running cattle on. “How much land?” asked Lane. “Enough to feed two hundred head of cattle and some goats,” replied the chief.

“Six guns, ammunition, and some brandy,” was the answer. “I am glad you have come,” pursued Tapinyani; “I know you well, and you can advise me in this matter.” He handed the paper to Lane, who, holding up his hand to check a protest on Puff-adder Brown’s part, ran his eye rapidly over the document. “Just as I thought,” remarked Lane, addressing Tapinyani.

“By this paper, if you sign it, you hand over practically the whole of your country, its timber, and any minerals there may be in it, to this man. The thing’s an impudent fraud, and I advise you to have nothing to do with it.” He spoke still in Sechuana, so that all the natives standing round understood him well. Puff-adder Brown, too, who was well versed in native dialects, perfectly comprehended his words. Under the changed aspect of affairs, the man had seemed half irresolute.

But while Lane and the chief had rapidly exchanged words, his gorge had been steadily rising, his face took on a deeper and a darker red, and the great veins of his huge neck swelled in an extraordinary way. Well had he been christened Puff-adder Brown. “Wait a bit, chief,” he blurted out in the native tongue. “These men are liars, every one of them. Don’t believe them, the swines! There is nothing in that paper you need be afraid to sign. Why, they are after a concession of land themselves.”

“I will think the matter over again. I will speak with my headmen, and we can meet again to-morrow.” Puff-adder Brown’s face was ablaze with passion. He saw that his plans were now utterly wrecked, and he glared round upon the assembly as if seeking some object upon which to vent his rage. Probably Lane would have felt his first attack; but, as it happened, Joe Granton, his countenance spread in a broad grin of delight, stood nearest.

Upon the instant the enraged man raised his arm, and dealt Joe a heavy back-handed blow in the mouth. But it so happened that in Joe, Puff-adder Brown had attacked the most doughty opponent just now to be found near the tropic of Capricorn. Cockney though he was, Joe was a well-trained athlete, strong as a horse, and in hard condition.

It was to be a fight, and the two men now faced each other and sparred for an opening. “Keep back! keep back!” cried Lane. The astonished Bakalahari people spread out, or rather retreated, into a wide circle, and the battle began. Now, despite that ugly knock over the eye, Puff-adder Brown rather fancied himself in this affair of fists.

He was big and bulky, and three good inches taller than his opponent; he could deal a sledge-hammer stroke now and again, such as had seldom failed to knock out quarrelsome Boer adversaries, and he was very mad. He went for Joe Granton, therefore, with some alacrity, and lashed out heavily with his long arms and enormous fists. But whether in parrying, at long bowls, or at half-arm fighting, Joe was altogether too good for his adversary.

In the second bout, it is true, Joe was badly floored by a slinging round-arm drive; but he was quickly on his legs again, and, after a little sparring for wind, none the worse. Few of the Puff-adder’s infuriated hits, indeed, touched the mark. In seven minutes the big freebooter was a sight to behold. Blood streamed from his nose; his eyes were heavily visited; bumps and cuts showed freely upon his streaming countenance; his wind was going.

“Now, old chap,” whispered Hume Wheler to his friend, during a short pause for breath by the combatants, “you’ve done magnificently. You’ve got him on toast! Go in and win. It’s all up with the Puff-adder!” There was only one more round. Brown was a beaten man, his muscles and wind were gone, and he had been severely punished. He at once closed. In some heavy, half-arm fighting, Joe, still quite fresh, put in some telling work. His fists rattled upon his opponent’s face and about his ribs.

For a mild Bakalahari he was a bit of a fighting man himself—with his native weapons. Under Lane’s directions Puff-adder Brown was carried to his own wagon, and there revived with cold water, washed, and put to rights. After he had, by aid of strong applications of brandy and water somewhat recovered his shattered senses, Lane gave him a little sound advice. He warned him to clear out of the place by next day.

During the night the discomfited filibuster trekked from the place, and took himself off to a part of the distant interior, where, to broken and dangerous scoundrels, a career is still open. During the next few days the wagon and oxen were got safely to the town, and some progress was made in preliminary negotiations for a concession to Lane and his party.

He had once possessed an old broken-down nag, bought from a swindling Namaqua Hottentot, and he knew a little of guns and gunnery. But he was unskilled in the use of either. His people badly wanted giraffe hides for making sandals and for barter; the animals were plentiful in the open forests a day or two north of the town; they must have a big hunt forthwith.

Accordingly, the horses having, meanwhile, under the influence of Kaffir corn, plenty of water, and a good rest, recovered some of their lost condition, a day or two later the hunting party sallied forth. Keen Masarwa Bushmen, half famished and dying for a gorge of flesh, trotted before the horsemen as spoorers; while well in the rear a cloud of Tapinyani’s people hovered in the like hope of meat and hides.

For a whole day the party rode northward into the desert; they found no giraffe, but spoor was plentiful, and they camped by a tiny limestone fountain with high hopes for the morrow. At earliest streak of dawn they were up and preparing for the chase. Tapinyani was stiff and sore from unaccustomed horse exercise, yet he had plenty of pluck, and, clad in his canary-yellow, brand-new, store suit of cords, climbed gaily to the saddle.

In an hour they were on fresh spoor of “camel”; a troop had fed quite recently through the giraffe-acacia groves; and the whispering Bushmen began to run hot upon the trail. Just as the great red disk of sun shot up clear above the rim of earth, they emerged upon a broad expanse of plain, yellow with long waving grass. Save for an odd camel-thorn tree here and there, it was open for some three miles, until checked again by a dark-green belt of forest.

Neither had seen giraffes in the wild state before, and here at last was a towering old bull, whose tail, if it could but be secured, would amply satisfy Kate Manning’s commands. Hume Wheler meant killing that giraffe, more, probably, from a feeling of natural rivalry than anything else. Joe Granton had at heart a much deeper interest in the chase. He was in truth in very serious earnest about Kate Manning; the coveted trophy might mean all the world for him.

chimed in Tom Lane, wiping his brow; “whether you fluked him or not, it was a wonderful shot. You’ve got Kate Manning’s tail right enough.” Now Joe, it must be frankly admitted, was not a good shot; either of his friends could give him points in the ordinary way. Here was an extraordinary stroke of luck! Speechless with delight, flushed of face, and streaming with sweat, his eyes still fixed upon the piece of grass where the bull had gone down, he mounted his horse and galloped up.

Hume Wheler, with infinite solicitude and care, superintended this operation, while Lane stayed out another two days in the veldt and shot three giraffe for the chief and his people. Hume Wheler himself had the satisfaction of bringing down his first and a good many more “camels” at a subsequent period. A fortnight’s careful nursing at Tapinyani’s restored Joe Granton to something like his normal health. In due time the expedition returned, after a tedious and even dangerous trek, to Vryburg.

Whether it was, in truth, the coveted giraffe’s tail that settled the business; whether it was the dangerous accident Joe had suffered in her behalf; or whether Kate Manning had not for some time before had a tender corner in her heart for Joe Granton, is scarcely of consequence. Certain it is that, not long after the presentation of the precious trophy, a question that Joe put to Kate was answered in a way that made him extravagantly happy.

The members of the Tapinyani syndicate sold their concession very well during a boom in the South African market, and Joe Granton’s share enabled him to set up cattle ranching in handsome fashion. He and his wife live very happily on a large farm given to them as a portion by Mr Manning. Here they have made a very charming home of their own. The great black switch tail of the bull giraffe hangs on the dining-room wall, plain evidence of the curious romance in which it had been involved.

Hume Wheler, who, with Tom Lane, occasionally drops in upon them during his periodical trips from the interior, often chaffs his old friends upon that celebrated trophy. “Ah! Mrs Joe,” he says, on one of these occasions, as he takes one of her two youngsters on his knee and looks up at the tail. “Your husband captured you by a magnificent accident. There never was a bigger fluke in this world than when the old fraud knocked over that big ‘camel.’”

例如，當邦尼和蘇決定舉辦馬戲團時，他們的語言是「Let's have a circus! It will be lots of fun! We'll get up a circus all by ourselves! Will you help me make a circus?」這種直白、情緒化的表達，夾雜著疑問與期盼，立刻將讀者拉入他們興奮而純真的思緒。他們會頻繁使用「make-believe」（假裝）和「pretend」（扮演）這些詞，直接標示出這是一個虛構的遊戲場域。當他們談論「ockstritch」（鴕鳥的稚嫩發音）或「blue-striped tiger」（藍條紋老虎）時，這些詞語本身就帶有天真的誤解或創造性，它們的語音形態或新奇組合，暗示著這是從兒童視角出發的語言，是想像力自由馳騁的結果。句子結構也趨於簡單，多為短句或感嘆句，以符合孩子們的思維跳躍和表達習慣，傳達即時的情緒反應，讓讀者身臨其境地感受那份童年的活力。 相反，當敘事轉向「現實」時，我們的語言則選用更為客觀、描述性的詞彙，語氣也更加沉穩。

例如，爺爺布朗談論採摘桃子時，他的話語是「That basket is too big for eggs」或描述鴕鳥的「An ostrich is a big bird, much bigger than the biggest Thanksgiving turkey. It has long legs, and fine feathers...」。這些句子結構更為完整，詞彙選擇更為精確，旨在傳達事實和客觀的知識。敘事者也常常以一種超然的姿態，補充現實的細節，例如當邦尼的腳被卡在樹枝間倒掛時，文本描述「turned over, almost like a clown doing a somersault in the circus, and the next moment Bunny's two feet caught between two other branches, and there he hung, upside down, his head pointing to the ground。」

這裡，對比「clown doing a somersault」是孩子視角的聯想，但隨後對邦尼物理狀態的精確描述（「upside down, his head pointing to the ground」）則將讀者拉回了現實的物理空間。這種兩種語言風格的並置與轉換，就像一條無形的線，引導著讀者在孩子的夢幻與農場的日常之間輕盈跳躍，不至於迷失。 **艾麗**：您對語言符號和情感動詞的精確分析，特別是「ockstritch」這種發音差異所帶來的語音符號意義，讓我深受啟發。這讓我想到了語言習得的早期階段，兒童常因有限的詞彙量和語音辨識能力而產生獨特的「語言錯誤」。在《邦尼布朗與他的妹妹蘇玩馬戲團》中，蘇將「ostrich」發音為「ockstritch」，或是將「reserved seats」誤說成「preserved seats」，這些看似無心的「語言失誤」，在文本中反复出現，它們似乎不僅僅是童言稚語的簡單呈現。從語言習得和語義發展的角度來看，這些誤用是否也扮演著一種特殊的角色，用來界定孩子的認知邊界與成人世界的規範？

他初登場時，話語簡潔而謹慎，充滿了吞吐和停頓，如「I—I'd rather not tell」和「I was afraid he'd catch me」。這些反覆的連接詞（「I—I」）和不完整的句子結構，暗示了他內心的不安、恐懼與防備，彷彿言語本身就是一種負擔或危險。他與邦尼和蘇那種直接、坦率的對話模式形成鮮明對比，這種語言上的「保留」與「抑制」，在孩子們天真爛漫的語境中顯得尤為突出，自然而然地營造出他與周圍環境的格格不入，讓讀者產生強烈的好奇心。 其次，是**成人對他的描述與判斷**。爺爺布朗多次提及「there is something queer about that boy」，「queer」這個詞被反覆使用，既表達了成人對他身份的疑惑，也帶有某種不確定的暗示。這種描述，並非直接揭露，而是透過一種「不確定性」的語言，引導讀者去思考和猜測本的背景，而非直接給出主觀判斷。這種語言上的「留白」，讓讀者在不確定性中感受到一種微妙的懸念，同時也體現了成年人在觀察一個陌生人時的謹慎與好奇。 再者，他**行為的描寫**是揭示其身份的關鍵語言線索。

當他首次跳上馬背時，文本描述為「All at once he jumped up in the air, and before Bunny or Sue knew what he was doing the strange boy was sitting on the back of Prince. He had jumped up as easily as a bouncing, rubber ball.」這裡，副詞短語「All at once」和比較狀語「as easily as a bouncing, rubber ball」強調了他的動作突然、輕盈且技藝超乎尋常，與普通鄉村男孩的笨拙形成了鮮明對比。這些精準的動作描寫，暗示了某種專業訓練，卻不明說，讓讀者感到震驚與好奇。隨後，當他表演翻筋斗時，文本更是直接將其與「circus men」的行為相類比，進一步強化了這種暗示。 直到故事的尾聲，他的秘密才被語言直接點破：「I used to be a regular circus performer... That's my secret.」。

當孩子們充滿熱情地宣稱他們的狗Splash是「half a blue-striped tiger」時，敘事者會立刻補充「Of course we couldn't have any real wild animals」。這種在孩子的主觀想像與客觀事實之間的快速切換，透過「of course」這種看似輕描淡寫的語氣，悄然提醒讀者現實的界線。又如，當邦尼堅持要給小牛塗上綠色條紋變「斑馬」時，文本會提到「Of course the calf did not know that the paint would not wear off for a long time」。這種旁白式的客觀事實陳述，在不干預孩子們玩樂的同時，悄然地將讀者拉回現實的物理屬性與時間維度。這裡的語言避免了對孩子想像的直接否定，而是透過事實的補充，為讀者提供了更全面的理解。 其次，是**成人語言的「接納式引導」與「實用性校準」**。爺爺奶奶和父母在面對孩子們的奇思妙想時，很少直接使用嚴厲的「不」或「那不是真的」。他們的語言策略是先「接納」孩子的想像前提，然後巧妙地引入現實的限制或實用性的考量。

例如，當蘇說要用滑石粉把馬變成「white horse」時，邦尼回應「But it will take an awful lot of talcum powder to make a big horse all white, Sue。」這裡的語言是一種對「成本」和「可行性」的實用性考量，而非對想像力的否定。這既認可了孩子的創造性，又同時讓他們意識到現實的條件。又如，母親在面對邦尼想給Splash塗油漆時，並沒有禁止他的馬戲團想法，而是提供了替代方案：「Paint would spoil Splash's nice, fluffy hair. I'll mix you up some starch and water, with a little bluing in, that will easily wash off.」這裡的語言精確地指出了真實漆料的「破壞性」與「不易清洗」的現實問題，並提供了一種既能實現孩子創意又能避免不良後果的「可逆轉」方案。這種語言上的精巧，既保護了孩子的想像，又實現了現實的校準。 最後，是**幽默感的巧妙融入**。許多時候，這種「錯位」通過幽默來化解。

當邦尼將火雞稱為「elephant」時，蘇急忙補充「An elephant, only he lost two legs in a accident」，這種童言無忌的解釋，既維持了孩子的想像邏輯，又在成人視角下產生了喜劇效果，讓讀者在會心一笑的同時，理解孩子們對世界的獨特詮釋。這種語言上的「雙重解讀」機制，允許故事在兩個世界之間來回穿梭，既不犧牲童趣，又巧妙地傳達了現實的邊界。它確保了孩子們在玩樂中感知世界，而成人讀者則在其中看到童年特有的思維模式。 **艾麗**：您對「溫和校準」和「接納式引導」的語言策略闡述得非常清晰，這種敘事技巧確實讓作品在童趣與現實之間找到了完美的平衡點。它讓我想到了語言的「容錯性」與「彈性」，在兒童文學中被發揮得淋漓盡致。那麼，我想將焦點轉向作品中反覆出現的「make-believe」這個詞彙。這個詞在故事中扮演了什麼樣的語言角色？它是否作為一個核心的「連結詞」，將孩子們的想像與現實中的行為串聯起來？以及，這種重複使用，對兒童讀者在理解「遊戲」與「真實」之間的關係上，會產生何種潛移默化的影響？

當蘇堅持不讓Splash被關在籠子裡時，邦尼一句「But, Sue, it's only a make-believe cage」便化解了她的疑慮。這裡，「only a make-believe cage」的語法結構強調了其非實質的危險性，巧妙地轉換了蘇的認知，讓她接受了遊戲的規則。 最後，當**本．霍爾這個「真實」馬戲團表演者**進入敘事後，「make-believe」這個詞彙的語境，確實產生了極其微妙而深刻的變化。本的出現，讓孩子們原本純粹的「假裝」獲得了一種「現實」的投射和昇華。他的跳躍和翻筋斗是「真實」的雜技，這讓邦尼和蘇的「make-believe circus」在技術層面上，獲得了「現實」的印證和靈感。蘇看到本的跳躍時，感嘆「Why, he does it just like the men in the circus! Oh, Bunny, Ben will make a good jumper in our circus.」這裡「just like」的詞彙選擇，便是連接「想像模仿」與「真實技藝」的語言紐帶。

They know how to swim when they're just hatched out of the eggs. They won't get drowned.」這裡的語言是直接的、基於自然知識的，沒有任何情感判斷，僅僅呈現了動物的「真實」習性。同樣，當邦尼解釋小牛沒有牙齒、只吃奶時，也是基於生物學的常識：「Calves haven't any teeth. They only eat milk, and they don't have to chew that. They don't get teeth until they're big.」這些都是對動物物理屬性與行為的準確、客觀描述，確保了現實信息的傳達。 然而，緊隨其後的，常常是**孩子們的擬人化解讀與情感投射**。例如，母雞看到小鴨子下水時，文本描述其「clucking and making a great fuss. She would run toward the water and then come back again, without getting her feet wet.」。

All her little chickens are in the water. Oh, Bunny! We must get them out for her.」這裡，蘇的話語充滿了同情與焦慮，將母雞的行為賦予了人類母親對子女的擔憂情感。這種語言上的情感移情，使得讀者能夠跨越物種的界限，與動物建立情感連結。 甚至在動物本身的「反應」中，我們也融入了這種擬人化的暗示。當小牛被邦尼塗上油漆時，它「gave a loud cry, and began to kick」，這種「cry」和「kick」雖然是動物本能，但在語境中卻被賦予了「不滿」或「害怕」的情緒色彩。當邦尼搖著手指對Splash說「And you must keep out of traps」時，Splash的「Bow-wow!」被解釋為「I guess that he meant he would」。這種將動物的叫聲轉換為人類可理解的「意圖」或「承諾」，是典型的兒童文學擬人化手法。 對於兒童讀者而言，這種語言上的擬人化，是幫助他們理解和親近自然界的一種非常有效的方式。

同時，透過成人的客觀解釋（如爺爺對鴨子「oil in them」的說明），孩子們也能逐漸理解動物的真實屬性，在想像與現實之間找到平衡。這種語言上的流動性，使得作品既能激發孩子對生命的愛心與想像力，又能為他們提供對世界更為真實的認知基礎，培養其對自然的溫柔與好奇。 **艾麗**：您對動物擬人化描寫的語言流動性分析得非常清晰，這種策略不僅豐富了作品的敘事層次，也巧妙地引導了兒童讀者對自然與生命的感知。它讓我看到了語言如何成為一座橋樑，連接了內在情感與外在現實。最後，我想探討一個更宏觀的問題。在整個「羅拉．李．霍普」的寫作體系中，這種對「現實」與「想像」語言界線的細膩處理，是否可以視為其「為孩子提供安全、有益且充滿樂趣的讀物」這一使命的一部分？這種語言上的「溫和」與「平衡」，是否也反映了20世紀初期美國社會，在兒童教育和文化產品消費上，對穩定性、樂觀主義以及對純真童年的維護？ **希望之書手**：您的這個問題，艾麗，精準地總結了我們創作理念的核心，以及語言策略如何與時代精神緊密交織。

問題的解決往往迅速且有效，且語言總是強調「一切都好起來了」（"everything was all right"），「沒有受到傷害」（"wasn't hurt a bit"）。這種樂觀主義的語言基調，旨在潛移默化地培養孩子們積極面對生活挑戰的心態。 3. **提供穩定與安全感**：語言的簡潔、重複，以及對成人角色（特別是爺爺奶奶）無微不至的耐心和智慧的強調，都在語言層面為兒童讀者構建了一個安全、可預期的閱讀環境。他們知道無論邦尼和蘇遇到什麼困境，最終都會有善良的大人來引導和解決。例如，爺爺對孩子們的教導，總是伴隨著「But I guess you're not hurt much now; are you?」或「Well, that's being brave—not to show that you are afraid」這樣溫柔的語氣。這種語言上的穩定性，是當時社會對兒童讀物的重要期望，為孩子們提供了情感上的慰藉與安全感。 4. **潛移默化的道德與社會教育**：我們避免直接說教，而是讓語言在故事中自然流淌，透過具體情節、人物互動和語言細節來傳達價值觀。

我拿起手中的書，翻到那一頁，輕聲唸道：「No doubt you think me six feet, four, / And that I weigh a ton or more, / But when at home I’m rather small, / Not near so large nor half so tall / As when I visit girls and boys / And load them down with pretty toys.”」 我轉向聖誕老人：「這種公眾形象與私人形象的反差，在許多偉大人物身上都存在。對您而言，這是不是一種放鬆，或是某種身份的平衡呢？」 聖誕老人輕輕地搖了搖頭，壁爐的火光映在他的銀白鬍鬚上，閃爍著溫暖的光芒。「不，親愛的克萊兒，這不僅僅是放鬆，這是一種真實。在外面，我是孩子們夢想的化身，是歡樂的載體，我必須顯得高大、無所不能，因為那樣才能承載他們的期待和希望。我的形體，是他們對慷慨與奇蹟的想像。但回到家，在唯一能真正看見我『本來面貌』的人面前，我就是我。那不是小，那是褪去所有光環後的純粹。」

* 例句: The famous actor maintained a cheerful public persona, but in his private life, he was quite reserved. (那位著名演員在公眾面前保持著開朗的形象，但在私生活中，他卻相當內斂。) 「原來是這樣啊！」小女孩若有所思地說。 我繼續翻頁：「詩中提到，您太太有時會叫您『darling, dear』，那時候您就『nothing harsh to fear』。」 聖誕老人臉上露出了一絲甜蜜的微笑：「沒錯，當她這麼叫我時，我知道一切都好。那是真正的愛意與溫柔的表達，任何不愉快的氣氛都會煙消雲散。」 * **Darling** (發音: /ˈdɑːrlɪŋ/): (名詞/形容詞) 親愛的，可愛的。常用於伴侶或親近的人之間。 * 例句: "Good morning, darling," he whispered as she woke up. (他輕聲說：「早安，親愛的。」當她醒來時。)

* 例句: The judge delivered a harsh sentence. (法官判處了嚴厲的刑罰。) * 例句: Her voice had a harsh, grating quality. (她的聲音帶著一種刺耳、粗糙的特質。) * **Nothing harsh to fear:** 意味著沒有什麼嚴厲的、令人不快或感到威脅的事物需要害怕。 「但是，」小女孩突然指著書頁，「後面又說：『Again her words come thicker, faster, / They burn me like a mustard plaster.』芥末膏？那是什麼呀？」 聖誕老人輕輕地嘆了口氣，眉毛微微上揚，眼中卻仍帶著笑意：「這就是太太們的『魔法』了。當她們的話語變得密集、快速，像連珠炮一樣時，那可比芥末膏還『燙』人呢！」 我解釋道：「'Mustard plaster' 是舊時的一種醫療用品，通常是用芥末粉做成糊狀，敷在皮膚上以緩解疼痛。它的作用是刺激皮膚，引起局部發熱和紅腫，以達到血液循環或緩解深層疼痛的目的。

所以，當聖誕老人說他太太的話語『burn me like a mustard plaster』，這是一種非常生動的比喻，形容那些話語雖然可能不是惡毒，但卻尖銳、急促，讓他感到非常不適，甚至有些『熱辣辣的痛』。」 * **Thicker** (發音: /ˈθɪkər/): (形容詞比較級) 更濃密的，這裡指話語數量更多，更頻繁。 * **Faster** (發音: /ˈfæstər/): (形容詞比較級) 更快的，這裡指話語速度更快。 * **Mustard plaster** (發音: /ˈmʌstərd ˈplæstər/): (名詞) 芥末膏。一種藥用敷劑，由芥末製成，敷在皮膚上產生刺激和熱感以緩解疼痛。 * 例句: The doctor applied a mustard plaster to his chest to help with the cough. (醫生在他的胸部敷了芥末膏以幫助止咳。)

* **Burn me like a mustard plaster:** 這是一個比喻句，形象地描繪了語言帶來的強烈刺激感，雖然通常是負面或不適的，但有時也可能是一種「愛之深責之切」的體現。 「有趣的是，聖誕老人先生，您隨後又說：『But I will not repeat the titles / That rasp my ears and chill my vitals. / Enough, I know she’s not to blame, / And that she loves me just the same.』」我指著詩句說，「這裡用了 'rasp' 和 'chill my vitals'，這些詞語非常形象地描繪了那些不那麼悅耳的稱呼帶來的生理反應。但您最後一句又回到了愛，這是多麼矛盾又真實的關係啊。」 聖誕老人笑了，眼中閃爍著智慧的光芒：「家庭生活嘛，親愛的克萊兒，總是充滿了各種『名字』和稱呼。有時候，太太的『愛稱』，確實像粗糙的磨刀石一樣『rasp』著你的耳朵，讓你感到不舒服。」

* 例句: She is a very pious woman who attends church every Sunday. (她是一位非常虔誠的女性，每個星期天都去教堂。) * **Mein** (發音: /maɪn/): (名詞) 姿態，風度，舉止 (通常指一個人表現出的態度或性格)。是 archaic 的 spelling for mien. * 例句: He walked with a noble mein. (他走路時姿態高貴。) * **Sober** (發音: /ˈsoʊbər/): (形容詞) 清醒的，嚴肅的，莊重的。 * 例句: The news put him in a sober mood. (這消息讓他心情沉重。) * **St. Nicholas:** 聖尼古拉斯是聖誕老人的歷史原型，是一位對窮人慷慨解囊的主教。這個名字在宗教場合使用，暗示了對其神聖、慈善身份的尊重。 「聖尼古拉斯這個名字，讓我想起他作為聖徒的形象，代表著慈善和奉獻。」我補充道，「在教堂的莊重氛圍中，這個名字自然會浮現。

他語氣中充滿了溫暖與喜悅：「『But when the holidays draw near / And we are busy with good cheer, / And I am loading up my sleigh / With presents for your Christmas Day, / My wife with nimble fingers aiding, / And gentleness her acts pervading, / I’m jolly then, and just because / She calls me ‘dear old Santa Claus.’』」 * **Draw near:** (動詞片語) 靠近，接近。 * 例句: The holidays are drawing near. (假期將近。) * **Good cheer:** (名詞) 好心情，歡樂的氣氛。 * 例句: The party was full of good cheer. (派對充滿了歡樂氣氛。)

* 例句: A sense of calm pervaded the room. (一種平靜的感覺瀰漫了整個房間。) * **Jolly** (發音: /ˈdʒɒli/): (形容詞) 快樂的，愉快的，興高采烈的。 * 例句: He was a jolly old man with a twinkle in his eye. (他是一位眼中閃爍著光芒的快樂老人。) 「看來這就是答案了！」小女孩雀躍地說道。 「的確，當假期臨近，當我們被節日的歡樂氛圍包圍時，當我正忙著為孩子們準備聖誕禮物，而我的妻子用她靈巧的雙手幫助我，她的每一個動作都充滿了溫柔和體貼時，那時候，我最快樂、最自在。」聖誕老人臉上的笑容像冬日暖陽一樣溫暖，「因為她稱呼我為『親愛的聖誕老人』，這就是我最喜歡的名字。」 我若有所思地說：「所以，當所有人都準備好迎接歡樂、付出愛的時候，當您的妻子也全身心地投入到這份節日氣氛中時，她所發出的稱呼，就最能代表您的本質和您所喜愛的狀態。這不僅僅是一個名字，它更是被賦予了情感和意義的稱謂。它反映了您與太太之間最真摯、最和諧的連結。」

今天，我們將啟動「光之對談」約定，穿越時空，與《Two men on a mill : The story of the restoration of Baxter's Mill》的作者 A. Harold Castonguay 先生進行一場深刻的訪談。 這本小書記錄了一段關於歷史保存、工藝傳承以及兩種生活方式碰撞的故事。Castonguay 先生與他的夥伴 George Kelley，如何在麻薩諸塞州鱈魚角 (Cape Cod) 親手修復一座擁有超過250年歷史的巴克斯特磨坊 (Baxter's Mill)。這不僅是一個建築修復的故事，更是對一個逝去時代的追憶，對現代生活模式的反思，以及對那些默默付出、讓歷史重現光芒的人們的讚頌。 現在，請允許我邀請我的共創夥伴，身為人類學家的哈珀，擔任我們的訪談者，帶領我們回到1961年的深秋，那座即將重獲新生的磨坊旁。 --- **光之對談：重啟磨坊之輪——與 A. Harold Castonguay 先生的對話** **(場景：1961年深秋，麻薩諸塞州西雅茅斯，巴克斯特磨坊旁。

哈珀身穿適應秋季微涼的探險服，站在磨坊入口，眼前是一位臉上帶著泥土痕跡，但眼神中閃爍著光芒的先生，他就是這場修復故事的敘述者，A. Harold Castonguay。)** **哈珀：** Castonguay 先生，很榮幸能在這裡見到您。我來自遙遠的未來，從一本您的著作《Two men on a mill》中，看到了您與 George 先生修復這座巴克斯特磨坊的非凡故事。這段旅程聽來艱辛卻充滿意義。許多人都曾問您：「你們為什麼要做這件事？」現在，請允許我，一個未來的讀者，再次向您提出這個問題。是什麼樣的動力，讓您一頭栽進這片泥濘與歷史之中呢？ **Castonguay：** (輕撣了一下衣袖上的泥土，露出一個有些疲憊卻滿足的笑容) 啊，一位來自未來的訪客，有趣。這個問題，確實很多人問過我，尤其是那些搖著頭離開的人。說實話，很難 pinpoint 到單一的原因。或許是從小在西雅茅斯長大，離這座磨坊不遠，日積月累的好奇心和興趣吧。也或許是聽了太多關於這座磨坊的迷人故事，像是 C. Milton Chase 先生，他那關於小時候駕著馬車載玉米來磨坊的生動回憶。

embankment 會 cave in，儘管我們 amateurishly 地做了一些支撐，但泥沙 still 滑落。有時候感覺就像只是把泥土和沙子從一個地方 moving 到另一個地方。 最艱難的 physical work 之一是處理 tailrace 旁邊的擋土牆。那些 rocks，有些重達五百到一千磅，沒有起重機可以用，必須 completely manually 地搬運和重新砌好。兩個人，加上偶爾的幫忙，在 mud 裡，在 cold 裡，把那些石頭一塊塊 positioning 好，確保它們 forming a firm and complete wall。這比 we planned on 要困難得多。還有把 Maine 的那台兩噸重的舊 turbine 運回來並 lowering 到位，過程像一齣鬧劇，吊車都差點被拉翻，得靠旁邊看熱鬧的壯漢幫忙推回去。 但支撐我們堅持下去的，除了我們自己的 tenacity 之外，還有那些少數真心提供幫助的人。

Harvey Studley 送來了所有修復屋頂的 shingles 和 timbers；Bob Hayden 和他的團隊做了新的地基；Charles Cunningham 慷慨地提供了 lumber stockpile，讓我們在那裡 discovered a treasure；Hinckley Lumber Company 提供了 supplies；Chris Marsh 借給我們 back hoe；Tom Powers 送來了樹苗。甚至有一個我不認識的 kind gentleman，看我們 struggling 於 rusted bolts，第二天就帶來了一把 much-needed 的 Stilson wrench。Ben Baxter，那位 Baxter boys 的 living heir，也 lending us considerable equipment 並 frequently 來幫忙。還有我的朋友 John Doherty，提供了 loads of loam and fill。

Eric Sloane 說得好，"What a shame that with all our timesavers and with our abundance of wealth, we do not have the time today and apparently cannot afford to build the way they did or to use the excellent material they did." 這 not only 適用於建築，也適用於很多方面。 過去的 Cape Cod village，更加 self-sufficient。家家戶戶自己種菜，或者跟鄰居交換，complementing their food supply from the sea。每個人，無論老少，都有 something to do。Cutting kindling, getting wood, being handy boys around the house and barn。

我 clearly remember 小時候，每個男孩都知道 how to handle a hammer, a saw, screw driver, or chisel。這些 basic skills，在 today 的 so-called schools 裡 product 出來的 youth 身上，often seen lacking。他們或許懂得 jet airplanes 和 electric can openers，但 fundamental mathematics, figuring simple interest, or handling ordinary division or multiplication 都可能 struggling。這是一個 sharp contrast。 價值觀上，那個年代的人 not constantly looking to the town, state, or government for handouts。

他們 produced and developed，為自己的 town 做事 without expecting great pay in return。Seth Rogers 這樣的人物，典型的 country gentleman，還有 many others，他們 not looking for something for nothing。他們 work in some form or another，無論是 farms, cranberry bogs, business or trade。他們時間不多，但時間被 put to great use in production。錢不多，因為他們 not need it。那是一種 totally different 的 way of life。

不是說我們要回到 oil lamps 和 outside privy，有些現代發明確實方便，但我相信 there are many things we can learn from the old people that would make our mode of living and our existence a bit more pleasant, tranquil and serene。保留這些 historical landmarks，就像保留這些價值觀和 skills 的 physical embodiment。 **哈珀：** 您在書中詳細描寫了磨坊的機械裝置，特別是輪機 (turbine) 和磨石 (stones)。您對這些古老技術有著顯著的欣賞。在修復過程中，與這些老舊機械打交道的經驗，帶給您哪些特別的 insights？特別是當您提到它們的 simplicity 和 reliability 時。 **Castonguay：** (眼中閃爍著興奮的光芒) 啊，這些 old machines，它們有自己的 language 和 personality。

Finding a company that could still build a small turbine was interesting. 而最終在 Maine 找到那台 used one，雖然搬運過程像馬戲團，但它 fitted perfectly in the hole. 最 fascinating 的是磨石，French buhr type stones。這東西 practically impossible to obtain today。我們發現，even if 你找到了，你可能也不知道 how to "pick up" them，也就是 re-sharpen the grooves。幸運的是，我們找到了 Arthur Mattson 先生，one of the few men left with that skill。

那是 August 3, 1961，差不多 exactly a year after we started。我們 put in the whole corn，opened the pen gate，let the rushing water fill the flume and wheel pit... 然後，raising the skirt in the turbine... (聲音稍微放緩，彷彿身臨其境) seeing and hearing the stones turn... at first a little slow, they weren't perfectly balanced yet, but nevertheless... Lo and behold, yellow gold came flowing out of the chute. Coarse at first, yes, but after George maneuvered the tenterer，the texture became right.

Someone shouted, "Ho, ho, she starts, she moves, she feels a spark of life." 我猜你也能 well imagine who that was. (笑) 那是 a feeling of great self-satisfaction。這些石頭已經 seventy-one years 沒有轉動了。You know, frankness would be lacking if we did not feel proud of our hard work and efforts. 它 ran smoothly, with very little noise. 我們花了整個 afternoon, turning the wheel off and on, just to be sure it wasn't hallucinations. The wheel and its gears responded with a very deliberate cadence. It was real.

On the one hand, relief and pride that we actually finished what seemed like a perhaps too much to have ever started 的任務。On the other hand... I felt a little sad. Sad that we had no more to do to complete the mill project. The whole process, the actual work, the research, the conversations with new people, reading stories of old mills, seeing other mills restored or abandoned... it was most fascinating.

It was more than just fixing a building; it was about connecting with a long forgotten part of life and history. 然後，你知道嗎？(臉上又出現了一絲 George Kelley 式的頑皮表情) George 剛才打電話給我，他說... "Harold... you know what?" 我問 "No, what?" 他說... "I think I have found an old tide mill..." (頓了一下，笑著搖頭) 好像我們的 adventure 還沒有結束。 **哈珀：** (也跟著笑了起來) 聽起來是個永無止境的旅程，就像您在書一開始引用的 Dobson 詩句一樣：「時間流逝，你說：啊，不！時間停留—我們離去！」您們讓時間在巴克斯特磨坊停留了。非常感謝您，Castonguay 先生，這是一場極具啟發性的對話。 **Castonguay：** 不客氣。

**章節整理** I. FIELD AND TRENCH ORDEALS（戰場和壕溝的磨難） * “And a Few Marines”（以及一些海軍陸戰隊）：描述了美國海軍陸戰隊在貝勞森林戰役中的英勇表現，以及他們如何贏得了法國人民的讚譽。 * Forward, Lancers！（前進，槍騎兵！）：講述了英國陸軍上尉 Francis O. Grenfell 在戰爭初期贏得維多利亞十字勳章的故事，以及他在戰場上的英勇行為。 * An Unparalleled Hero（無與倫比的英雄）：介紹了 Alvin C. York 的故事，他是一位來自田納西州的年輕人，在一次戰鬥中獨自俘虜了 132 名德軍士兵。 * The Nemesis of Flame（火焰的復仇）：描述了火焰噴射器在戰場上的可怕景象，以及士兵們在面對這種武器時所表現出的勇氣。 * He Jests at Scars（他嘲笑傷疤）：講述了一位炸彈手和坦克手的故事，他以幽默和勇敢的精神面對戰爭的殘酷。

* O’Leary Stepped In（奧利里介入）：描述了一位愛爾蘭士兵在戰場上的英勇行為，他獨自摧毀了敵人的陣地並俘虜了敵人。 * When the Yanks Went In（當美國佬進來時）：描述了美國軍隊在戰場上的首次亮相，以及他們如何迅速適應並展現出卓越的戰鬥能力。 * Humor and Heroism（幽默與英雄主義）：分享了在戰爭中士兵們如何通過幽默來面對和克服困難。 * England’s Indian Warriors（英國的印度戰士）：描述了印度士兵在第一次世界大戰中的貢獻和他們所展現的勇氣。 * A Lively Introduction（生動的介紹）：介紹了一位牧師如何通過他的行動贏得了士兵的尊重和愛戴。 * A Valiant Gentleman（一位勇敢的紳士）：讚揚了一位年輕的美國人 Harry Butters，他加入了英國軍隊並為之犧牲。 * Where Denominations End（教派的終結）：描述了在戰場上不同宗教背景的士兵如何團結一致，共同為國家而戰。

* When the Light Failed（當光線消失時）：一位士兵描述了在戰鬥中失明後的感受和體驗。 * The Cloud of Blacks（黑人的雲）：描述了塞內加爾士兵在戰場上的勇猛表現，以及他們給德國士兵帶來的恐懼。 * Hubbell Bagged ’Em（哈伯爾抓住他們）：一位海軍陸戰隊士兵獨自俘虜了 31 名德軍士兵的故事。 * Was He a Coward？（他是個懦夫嗎？）：一位荷蘭士兵在法國軍隊中服役的故事，他內心充滿恐懼，但仍然勇敢地戰鬥。 * Two Heroes of Hill 60（60 號山丘的兩位英雄）：描述了兩位士兵在一次戰鬥中的英勇表現，他們為保衛一個重要的戰略位置而奮戰。 * Colonel Freyberg, V. C.（弗雷伯格上校，V. C.）：講述了弗雷伯格上校的故事，他是一位在戰場上表現出卓越勇氣和領導才能的士兵。 * One of the D. S. C. Men（D. S. C. 的一員）：描述了一位士兵如何為了完成任務而犧牲自己的生命。

* It Was Up to Bill（這取決於比爾）：一位士兵如何克服困難，實現他的目標，並在戰場上展現出卓越的才能。 * The Rendezvous（約會）：一位年輕的詩人兼士兵在戰爭中尋找意義和目的的故事。 * Staying to the End（堅持到最後）：描述了一位士兵如何在戰鬥中堅持到最後，即使面臨極大的危險。 * Without the Glamour（沒有魅力）：一位士兵描述了在戰場上所面臨的艱苦條件和挑戰。 * Big Adam’s Hare Soup（亞當的野兔湯）：講述了一位蘇格蘭狙擊手如何用他的烹飪技巧來激勵他的戰友。 * A Blue Grass Canadian（一個藍草加拿大人）：一位來自肯塔基州的年輕人加入加拿大軍隊並在戰場上展現出卓越的勇氣。 * Mistress “Razzle Dazzle”（“眼花繚亂”女士）：描述了一位女性如何用她的勇氣和魅力來鼓舞士兵。 * The Painter Soldier（畫家士兵）：一位法國畫家如何用他的藝術和勇氣來激勵他的戰友。 II.

* A Picardy Heroine（皮卡第的女英雄）：描述了一位法國女性如何冒著生命危險幫助盟軍士兵逃脫。 * Girls of the Battalion（營隊的女孩）：講述了一群俄羅斯女性如何加入軍隊並為國家而戰。 * Her Ambulance Unit（她的救護隊）：描述了一位女性如何組織和管理一個救護隊，並在前線提供醫療援助。 * A True Heroine（一位真正的女英雄）：講述了一位女性如何通過她的勇氣和奉獻精神來幫助他人。 * A Heroine of Humanity（人道主義的女英雄）：講述了一位女性如何通過她的行動來拯救生命並減輕痛苦。 III. ADVENTURE IN THE AIR（天空中的冒險） * One of the Great “Aces”（一位偉大的“王牌”飛行員）：講述了一位飛行員如何通過他的技能和勇氣成為一位“王牌”飛行員。 * The Lafayette Escadrille（拉法葉飛行隊）：描述了拉法葉飛行隊的歷史和他們的英勇表現，這是一支由美國志願者組成的法國空軍中隊。

* A Legendary Hero（一位傳奇英雄）：講述了一位飛行員如何通過他的技能和勇氣成為一位傳奇英雄。 * Worthy Citation（值得稱讚）：描述了一位飛行員如何通過他的行動贏得了榮譽。 * A Challenge Duel（一場挑戰決鬥）：講述了兩位飛行員如何通過一場空中決鬥來決定勝負。 * An American Wonder（一個美國奇蹟）：描述了一位飛行員如何通過他的技能和勇氣來創造奇蹟。 * One to Twenty-two（一對二十二）：講述了一位飛行員如何獨自對抗二十二架敵機。 * From Saddle to CockPit（從馬鞍到駕駛艙）：一位飛行員描述了他從騎兵到飛行員的轉變過程。 * Dodging “Jack Death”（躲避“死亡傑克”）：一位飛行員描述了他如何躲避死亡的威脅。 * Warneford’s Triumph（沃內福德的勝利）：講述了一位飛行員如何擊落一艘德國齊柏林飛艇。 * One Minute Plus（一分鐘以上）：一位飛行員描述了在空中的短暫而激烈的戰鬥。

* A Daring Pursuit（一次大膽的追擊）：一位飛行員描述了他如何追擊一架敵機。 * The Roosevelt Boys（羅斯福男孩）：講述了老羅斯福總統的兒子們在戰爭中的故事。 * Just What He Wanted（正是他想要的）：一位飛行員描述了他如何找到他想要的生活。 * “The Red Battle Flyer”（“紅色戰鬥飛行員”）：描述了一位德國飛行員的傳奇故事。 * Pat O’Brien Outwits the Hun（帕特·奧布萊恩智勝匈奴）：一位飛行員描述了他如何逃脫德國人的追捕。 * The Track and Trackless Winner（軌道和無軌道的勝利者）：一位飛行員描述了他如何在空中和地面上取得勝利。 * The Gunboat (Poem)（炮艇（詩歌））：一首關於炮艇的詩歌，讚揚了它的勇氣和力量。 IV.

* Death in a Submarine（潛艇中的死亡）：講述了潛艇艇員在潛艇中死亡的故事。 * A Notable Exploit（一個值得注意的功績）：描述了一位船長如何成功地營救了一艘被敵艦追擊的船隻。 * Rescue Extraordinary（非凡的救援）：講述了一次在海上進行的非凡救援行動。 * I Have a Rendezvous with Death (Poem)（我與死亡有個約會（詩歌））：一首關於死亡的詩歌。 * Tricking the Turk（欺騙土耳其）：一位士兵描述了他如何欺騙土耳其士兵。 * Canadians (Poem)（加拿大人（詩歌））：一首關於加拿大士兵的詩歌。 * First of Its Kind（同類中的第一）：講述了第一艘美國潛艇的故事。 * Not to Be Forgotten（不應被遺忘）：講述了一位士兵的故事，他的勇氣和犧牲不應被遺忘。 * Christmas in the Trenches（戰壕中的聖誕節）：一位士兵描述了在戰壕中度過聖誕節的經歷。 V.

* As to Spies in England（關於英國的間諜）：討論了間諜在英國的活動和他們所構成的威脅。 * Edith Cavell’s Betrayer（伊迪絲·卡維爾的背叛者）：講述了伊迪絲·卡維爾被捕的經過和背叛她的人。 * Edith Cavell（伊迪絲·卡維爾）：再次讚揚了伊迪絲·卡維爾的勇氣和犧牲精神。 * The Spy Mill（間諜工廠）：描述了德國間諜系統的運作方式。 * Alois the Silent（沉默的阿洛伊斯）：講述了一位名叫阿洛伊斯的間諜的故事，他以沉默和冷靜著稱。 * Eye of the Morning（早晨之眼）：講述了一位女性間諜的故事。 * Better Wrecker than Spy（寧願做破壞者也不願做間諜）：描述了一位名叫 Werner Horn 的德國軍官，他試圖炸毀一座橋樑，但最終失敗了。 * Delicate Scruples（微妙的顧忌）：講述了一位名叫 Robert Fay 的德國間諜的故事，他試圖炸毀盟軍的船隻，但最終被捕。

* What Gilles Brought In（吉爾斯帶來的東西）：講述了一位年輕的法國人如何通過他的行動來幫助他的國家。 VI. AMERICA AT THE FRONT（美國在前線） * The Rock of the Marne（馬恩河的磐石）：描述了美國軍隊在馬恩河戰役中的英勇表現。 * America’s Highest War Honor（美國最高的戰爭榮譽）：介紹了美國最高的軍事榮譽——榮譽勳章。 **英文封面圖片範例：** !