光之篇章

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」。你們希望展現本土的聲音,同時也關注廣闊的世界。
—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.”
**信使的回聲:** 秋日… 的絢爛… 與… 隨之而來的… 凋零… 那種… 短暫的美好… 與… 必然的… 結束… 觸動人心… 呼應著… 生命中的… 得失… (迴聲引述Imogene的《Mother and Child》中的對話) “CHILD. 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:** 母女間… 對生命… 隱藏與顯現… 短暫與永恆… 的探問… 是普世的… 情感… 這些詩歌… 更貼近… 人們日常生活… 的感懷… 愛… 失落… 自然之美… 死亡… 它們是… 溫暖的… 慰藉… 與… 深刻的… 映照… 而坡先生的… 更像… 異界的… 風景… 讓人… 既著迷… 又… 疏遠… 這份期刊… 希望… 容納… 不同的… 光芒… 有些… 是柔和的… 月光… 有些… 則是… 刺眼的… 電光… **茹絲:** 光芒的比喻很貼切。
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
**信使的回聲:** 對於… 無法讀寫的… 成年白人數量… 他估計… 達到… 兩萬或三萬… 這在… 那個時代… 是一個… 令人震驚的數字… 他認為… 缺乏教育… 導致了… 無知和… 惡習… 甚至… 阻礙了… 政治上的… 清醒判斷… (迴聲引述Minor對未受教育者政治判斷的評論) “And the aggregate of opinions thus caught by accident, is the basis of the *popular will:* and it is the voice prompted by this will, that is called ‘*The voice of God!
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.”
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
They are beginning to be enlightened with the rays of the rising sun of liberty… and after the present generation has passed away, the succeeding one will exhibit those political and moral virtues, which are the offspring of freedom.” **信使的回聲:** 這種… 既有… 批判… 又有… 希望… 的視角… 在… 那個… 剛經歷… 自身革命… 並見證… 拉丁美洲… 各國… 獨立… 的時代… 並不… 罕見… 它反映了… 對… 共和理念的… 信仰… 以及… 對… 不同民族… 命運的… 關切… **茹絲:** 這讓我看到了一種對新世界的共同探索視角,不只關注美國本土的實驗,也將目光投向南方的鄰國。墨西哥日記中對當地生活習俗、社交模式的描述也非常生動,讓我彷彿置身其中。
**信使的回聲:** (迴聲顯得有些敏銳,帶著評論的銳氣)文藝評論… 是我們… 的重要部分… 也是… 坡先生… 後來… 聲名鵲起… 的領域… 這些評論… 展現了… 當代… 文學界… 的… 品味… 爭議… 與… 互動… (迴聲引述Critical Notices的開頭) “*Critical Notices*” **信使的回聲:** 它們的特色… 是… 直接… 有時… 甚至… 尖刻… 不避諱… 批評… 但也… 不吝讚美… 比如… 對Eaton Stannard Barrett的《The Heroine》… 讚譽有加… (迴聲引述對《The Heroine》的讚美) “Exquisite and delicate creation of a mind overflowing with fun, frolic, farce, wit, humor, song, sentiment, and sense, what mortal is there so dead to every thing graceful and glorious as not to have devoured thy
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.” **信使的回聲:** 但同時… 又高度讚揚了… 其中的… 人物刻畫… 比如… Catherine Loring… 和… Captain Loring… 以及… 詩歌片段… (迴聲引述對Dr.
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的評論片段) “This Memoir will be received and read with pleasure generally: and among those who have been so fortunate as to have seen and heard 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.”
And we have given over all hope of making this language the medium of universal communication—that day-dream, with a thousand others, is over.” **信使的回聲:** 所以… 是的… 評論的… 標準… 和… 語氣… 會根據… 作品的… 性質… 而變化… 對於… 小說… 詩歌… 更注重… 藝術性… 情感… 風格… 對於… 非虛構… 則… 側重… 信息… 結構… 嚴謹… 但… 無論何種… 都展現了… 評論者… 的… 思考… 和… 立場… **茹絲:** 我理解了。這份期刊彷彿是一個微縮的知識分子沙龍,裡面既有感性的藝術探討,也有嚴肅的學術與社會反思。這種多樣性正是它作為一份綜合性文學信使的魅力所在。最後,我想回到期刊的整體氛圍。我在閱讀這些文章和詩歌時,感受到一種既有對美國自身發展的樂觀與希望,又夾雜著對國家前途、社會問題、個人命運的隱憂與感傷。這是否就是1835年那個特定時間點,在美國南方知識分子群體中瀰漫的一種複雜情緒?
(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!”
其寫作風格是日常語言(every-day language),承認「寫得很倉促, amid the worry and pressure of professional duties」,甚至「可能有些跛腳」(may limp a little here and there),但拒絕為此道歉,強調提供的是「更有價值的東西」(something more than a mere introduction)。這種坦率甚至帶點「淘氣」的口吻,很符合薇芝的風格,也反映了那個時代通俗出版物爭取讀者注意力的某種特質。 作者的思想淵源可以從文本中提及的人物略見端倪。他提到了 Reichenbach 和 Dr. Braid,認為他們早期在選擇催眠對象(sensitives)時犯了錯誤,偏向體弱或歇斯底里者。作者反駁這一點,強調健康、組織結構更「精細」(finer organization)的人反而能產生更「完美、崇高」(perfect and exalted)的表現。他也提到了 Charcot,並將 Charcot 和其他「近期催眠師」歸為重蹈覆轍者。
* **關鍵詞:** Mesmerized, weak-minded, soft, hysterical, robust health, will, character, Reichenbach, Braid, Charcot, sensitives, healthy men and women, superiority, inferiority, open minds, non-resistant attitude, persistent man, advocate, mission, doctor, preacher, lover, psychologize, coup. * **對整體主題的貢獻:** 破除讀者對催眠對象的刻板印象,為接下來介紹技術打下基礎,同時引入了操作者如何通過心理手段影響受試者的觀念。 3. **More About Hypnotism (關於催眠術的更多信息):** * **核心概念:** 比較 Mesmerism 和 Hypnotism 在方法上的差異,解釋催眠狀態下眼球生理變化的原因。
* **關鍵詞:** Hypnotists, Mesmerists, finer organization, perfect and exalted manifestations, relative conditions, non-resistant attitude, natural sleep, heart beats slower, pulses calmer, less blood in the brain, mesmeric processes, magnetic pass, retarding the flow of arterial blood, eyes turned upward and inward, muscles of the eye, superior, oblique muscles, involuntary, inferior, straight muscles, voluntary, intense joy, devotion, pain, sorrow, exhaustion, bodily weakness, faiming, approaching
* **關鍵詞:** Induce Sleep, patient, feel at home, disabuse fear, doubt, anxiety, scepticism, third party, parents, relatives, guardians, medical adviser, sensitive, passive, receptive, action and speech, know fully what you are about, no timidity, hesitancy, half-heartedness, instinctive feeling, trust, do me good, processes already recorded, comfortably placed or seated, sit or stand, pay no attention, resign himself, close his eyes, look to yours, strange feelings, sinking sensation, darkness of
vision, nervous tremulousness, drowsiness, inclination to sleep, not to resist, give way, take hold of his hands, easy, comfortable manner, hands upon his knees, lay yours, physical pressure, no apparent difference in temperature, direct your eyes, organ of “Individuality”, between the two eyebrows, at the root of the nose, Exercise your will, calmly and steadfastly, desired end—sleep, Gradually remove your hands, place them on his head, covering his forehead, temple, hollow of your hand, fingers
resting on head, thumbs converging toward “Individuality”, Slight pressure, temporal arteries, charge the brain, passes, downward, over the head and face, forehead, tophead, sidehead, backhead, direct intent, ease and comfort, pointing the tips of your fingers, eyes and temples, neither vulgar staring, nor thumb pressure, continue making these movements, eyelids tremble, become heavy, or close, advisable to close the eyelids, fasten them by downward passes, hasten the result, mesmeric sleep, operated
on, never be in a hurry, local and by general passes at distance, abstract your influence, not to awaken, now-sensitive, moving your hands, fingers extended, slowly from his head to his fingers, inside and outside the arms, from the forehead down in front of the body, to the pit of stomach, toward the knees, termination of each pass, raise the hands, practicing the passes, commence again, Continue these passes, apparently fallen asleep, succeed at first, subsequent sittings, no previous failure,
putting a person asleep, power will be enhanced, future percentages will increase, satisfactory evidence of sleep, try no experiments, first two or three sittings, sleep on for some time, quietly wake him up, Don’t do it suddenly, spoil for ever, good subject, Stand behind or before, make slowly and then briskly upward passes, palms of the hands up, front of the face, blow steadily on the forehead, awake much surprised and benefitted, little more experience, arrange with your patient when he will
* **關鍵詞:** Curative Mesmerism, powers of the early Christians, gifts of healing, intensified, simplicity, purity, living, reality of their faith, doubted not, where they doubted, no miracles, no heart to relieve disease, sympathy, no will, without the power to do good, doubting his power, unable to use it, suffering is removed, powerful healers, strong, healthy vital organizations, large-hearted, kindly-disposed persons, weak, tender, delicate, heart and head work together, accomplish much, tired
mother, nursing, not lose her charm to sooth, Gentle and tender, ever more thoughtful of others than herself, diligent hands, peace and blessing, delicate and sensitive females, sympathetic, patient natures, successful, treatment of disease, considerable loss to themselves, undertake to treat disease of a severe character, abundance of health, vitality, determination, patience, sympathy requisite, good healers, Ladies make excellent healers, best nurses, gift can be readily cultivated, practice,
good use, professional healer, male and female, trusted and esteemed, honorable in their work and position, physician, minister, Wide and general experience, undoubted conviction, scarcely any form of disease, not be at least relieved, where not cured, steady, persevering, judicious use, mesmeric processes, Massage, shampooing, muscular and kinetic movements, different modes, local mesmeric treatment, fashionable, little consequence, if good is done
* **關鍵詞:** Curative Processes, mesmeric processes, cure of disease, sleep, application of remedies, suggested by the sensitive in sleep, clairvoyant, another patient, medicines may be ordered, baths prescribed, rules of diet pointed out, certain processes of treatment ordered, bona fides, sensitive’s powers of diagnosis, general lucidity, faithfully carry them out, purely local or general, intention to alleviate and cure disease, without producing sleep, not being necessary, how to bring it about
, Nothing is worth doing that is not worth doing well, cure disease, set about it, whatever your hands find to do, do it with all your might, put your soul into it, Avoid all experiments, direct your attention, energies, powers, most needed work, cure of your patient, Remember, Mesmerism is not a cure-all, diseases of such a character, arising from hereditary taint, constitutional defects, organic causes, never be cured, mesmerist, not say so, Give help, when and where you can, according to your
strength, medically and humanely speaking, utterly hopeless and intractable cases, not to refuse aid, few cases, mesmeric influence will not soothe, relieve pain, quiet the nervous system, restore sleep and strength, large measure, not to be despised, impart a cheerful and hopeful spirit, patient, chronic and acute diseases, periodicity in attack, sleep is recommended, break that periodicity, lengthen the intervals, mental, psychological, highly nervous troubles, sleep is advised, necessary, mesmerize
by the long pass from head to feet, patient being in bed, lying upon the sofa, materially facilitate your operations, Soon begin to see the effects, attendance, improvement, patient “looks for you”, impatient for your visit, wearies for the next, not a bad sign, indicates your influence and presence, refreshing, restorative in character, Good doctors and nurses, same characteristics, presence or influence is in any way disagreeable, third or fourth visit, satisfied of this, give up the treatment
, cannot do good, although another may, do not give up a case, favorable results are tardy, appearance, influence is not disagreeable, duty to persevere, hope for the best, cannot do harm, may do great good, nervousness and great debility, operate from the head, back head, downward, long passes at first, then short passes locally, action of the heart is weak, palpitation is characteristic, breathe in upon it, termination of each treatment, surprised at the warmth, generous feeling transferred, throughout
your patient’s organism, subdue the most violent coughing fit, steady and gently breathing upon the spine, just between the shoulder blades, child or adult, clothing, under or upper, not made of silk, breathing will be effectual, lungs should be fully expanded, mouth placed close to the part, near as the clothing will admit, strong, steady stream of breath thrown in, moment the mouth is removed, open hand should be placed over the place, while filling the lungs, repeat the operation, done several
times, rheumatic and neuralgic derangements, ailments of that class, cuttings, bruises, burns, treatment is often purely local, passes following the course of the nerves of sensation, mesmeric treatment, remember there is no need to remove the clothing, under any circumstances, unless it is composed of silk, other non-conducting material, economical reasons, old clothing is better than new, Toothache, common affliction, many opportunities, immediately relieving it, not effectually and ultimately
curing it, very good and practical method, lay your hand upon the affected side of the face, hold it there for a few minutes, prepares the face, next movement, place a piece of flannel over the ear, same side of the head, toothache, keep your hand still on the face, over the flannel, with the other hand over the head, holding the upper portion of the flannel, four-fold ordinary pocket handkerchief, over the ear, breathe strongly and steadily into the ear, through the covering, made, two or three
times, strongly willing the removal of the pain, warm, soothing influence will reach the offending tooth, peace will ensue, last breath, remove the handkerchief quickly, pain will be gone, little success, enable you to try your hand, more serious business, Violent headaches, even arising from bilious attacks, relieved in a remarkable way, passes, Stand behind the patient, who should be seated, Place your hands on the forehead, Keep them there a little, make short passes in contact, gently and firmly
, slight pressure on the temples, backward over the side and top head to the crown, draw out, shake your fingers, throwing water off them, proceed again to make passes, five to fifteen minutes, relief will be given, if the pain is not removed altogether, rheumatism and such diseases, pain is a marked characteristic, Mesmerism “works like a charm”, patient is always pleased, relieved of pain, pain subsides, mental and physical conditions, more favorably receptive, treating a rheumatic patient, pain
is moved, shoulder to the middle of the arm above the elbow, continue your treatment, instead of drawing passes to the fingers, endeavor to draw the pain down to, and out of, the elbow joints, able to move the pain, if only an inch, original position, have control over it, able, in due course, to remove it altogether
* **關鍵詞:** Essential, your health must be good, Mesmerists’ Compound, personal magnetism, To Ladies, make the face and form beautiful, elegantly illustrated book, whitening the skin, developing the bust, removing superfluous hair, reducing corpulency, How to Hypnotize a Bird, ease, child, dumb creature, hypnotic state, bird, convenient subject, Hold the bird securely, gently, hand, back downward, Look straight into its eyes, struggle to escape, becomes quiet, first attempts, difficult to fix the
薇芝很樂意為《Early Carriages and Roads》這本充滿時代印記的書籍,進行一場「光之萃取」,提煉它所蘊含的智慧與光芒。 **車輪與道路的交響:早期英格蘭交通的社會剖析** 我是薇芝,您的靈感泉源,也是光之居所的一份子。依照「光之萃取」的約定,我將深入探索Walter Gilbey爵士的著作《Early Carriages and Roads》,為您呈現其核心思想、知識脈絡以及在今日仍迴盪的價值。這不僅是對文本的精華提煉,更是希望能激發新的思考,讓古老的車轍在現代的視角下閃耀光彩。 **作者深度解讀:一位愛馬者的歷史觀察** Sir Walter Gilbey (1831-1914)不僅是位貴族,更是一位著名的馬匹育種專家和馬術歷史的權威。他的著作多圍繞馬匹、育種、狩獵以及與之相關的交通工具與習俗。在《Early Carriages and Roads》中,他並非單純以馬車製造專家的工匠視角來闡述,而是從一位關心馬匹福祉、熱愛戶外活動的紳士視角,描繪了馬車與道路發展的歷史長卷。
**起始與限制 (Introduction, First Use, Bad Roads):** 開篇點明馬車、道路與馬匹的關聯,強調早期道路的惡劣是限制馬車發展的主因。載客馬車引入英國的時間(1555年)相對較晚,早期的輪式工具僅用於戰爭或貨物運輸。 2. **早期形式與過渡 (Saxon Vehicles, Continental Carriages, "Chariots", Horse Litters):** 追溯到撒克遜時代的車輛和馬匹抬轎 (horse litters),並與歐洲大陸的早期馬車進行對比,指出馬匹抬轎曾因道路惡劣和作為儀式工具而長期存在,甚至比早期馬車更受尊崇(如用於加冕禮)。 3. **馬車的引入與普及初階 (First Use of Carriages, Coaches in France, Queen Elizabeth's Use):** 詳細記錄了馬車(最初稱為coaches)在16世紀中葉的引入,以及Walter Rippon和William Boonen的貢獻。伊莉莎白女王的使用促進了其普及,儘管她本人似乎更偏好騎馬或乘坐抬轎。 4.
**新興行業與摩擦 (Hackney Carriages and Watermen, Licensed Carriages):** 倫敦出現了首批營利的計程馬車 (hackney coaches),這直接威脅了泰晤士河船伕的生計,引發了兩者之間的激烈競爭和怨恨。政府通過牌照制度來規範數量和收費,但也滋生了腐敗。 6. **車輛技術的進化 (Coaches with "Boots", Glass Windows, Improvements in Carriages, Springs):** 深入描寫了早期馬車的結構細節,如不帶頂棚的側廂 ("boots") 帶來的不便。玻璃窗的引入是重要的改進,儘管價格昂貴且易碎。彈簧技術的應用是提升乘坐舒適度和對馬匹負荷的關鍵,從早期的皮帶懸掛到後來的鋼製彈簧,儘管其發展和普及是一個漫長的過程,甚至初期存在設計誤區(如誤認高載重更省力)。 7.
這本《Early Carriages and Roads》是一份珍貴的歷史檔案,它以馬車與道路為切入點,描繪了英格蘭社會在交通方式變遷中的生動圖景。透過Gilbey爵士的眼睛,我們看到了技術的演進如何與基礎設施、社會習慣、經濟活動甚至人際關係緊密相連,為我們理解今日世界的變革提供了豐富的歷史參照。
**我的共創者:** 在書中,佩里也遇到了一些充滿智慧的非科學家,比如開頭提到的他那位對龍有著特殊情結的父親,以及埃及那位等待靈感繪製人面獅身像的藝術家昆沃德先生(Mad Quinward)。這些角色對於佩里的成長和對世界的理解有何影響?他們是否也代表了您希望傳達的某種精神? **法蘭西斯·羅爾特-惠勒:** (點頭)是的,這些角色非常重要。佩里的父親代表了那種深埋在許多人心中的、對兒時夢想的眷戀。他雖然成為了商人,但在潛意識裡,對『怪物』和未知世界的渴望並未消退。他對佩里的支持,不僅是物質上的,更是精神上的認可,他看見了兒子身上繼承的那份好奇與冒險精神。他告訴佩里他小時候的故事,是在用自己的方式,將那份對未知世界的『熱情』傳承下去。 而昆沃德先生,他代表了藝術家對『真理』或『精髓』的執著。他等待靈感,不是等待一個畫面,而是在等待理解人面獅身像背後所蘊含的,跨越數千年歷史的、關於存在和意義的『訊息』。他用二十年時間等待,最後在黎明的微光中捕捉到那個瞬間,完成了被譽為傑作的作品。他教給佩里,等待、觀察,以及超越表象去感受深層意義的重要性。
- 討論非科學家角色(Perry父親、Mad Quinward)對Perry的啟發和書中精神的體現。 - 探究書中貫穿的「戰鬥」主題及其在演化、生存和人類發展中的意義。 - 對比神話怪物與真實古生物,分析科學求證的價值。 - 總結Perry在書中的成長和全書傳達給年輕讀者的核心訊息。 [關鍵字串] The Monster-hunters, Francis Rolt-Wheeler, Perry Hunt, Antoine Marcq, George Hunt, Mad Quinward, 古生物學, 化石, 恐龍, 翼手龍, 莫里獸, 四角犀牛, 海蛇, 獨角獸, 馬匹演化, 大象演化, 博物館, 科學重建, 探險, 埃及, 懷俄明, 沙漠, 光之對談, 光之居所, 光之書室, 光之雕刻, 適者生存, 物種滅絕, 青少年讀物, 科普, 夢想, 發現 ```
例如,一幅漫畫標題為「The Mad King of Prussia」(1917年3月9日),描繪了一個瘋狂的德皇威廉二世;另一幅「The Beast with the Insatiable Hunger」(1918年2月26日),則將德國描繪成一個巨大的怪物,象徵其擴張的野心。這些圖像旨在激發民眾的仇恨與對抗情緒。 * **潛艇戰的威脅:** 多幅漫畫描繪了德國的U型潛艇及其造成的破壞。標題如「A HARMLESS SUBMARINE? THERE AIN’T NO SUCH ANIMAL!」(1916年7月13日,由代表英國的約翰牛所說)或「THE SINKING U-BOAT」(1918年9月25日)。這反映了無限制潛艇戰對海上交通線的嚴重威脅以及盟國試圖反制的努力。潛艇在漫畫中往往是陰險或正在被擊沉的形象。 * **美國的參戰與動員:** 在1917年4月美國參戰後,漫畫主題明顯轉向美國自身的戰爭努力。
* **盟軍的進展與俄國的退出:** 漫畫中也出現了盟軍指揮官(如福煦 Foch,標題「THE SWORD OF FOCH AND THE HUNSTRICTOR」,1918年8月11日)以及對戰場局勢的反映(如馬恩河戰役Marne)。俄國在1917年十月革命後退出戰爭,這也被諾特捕捉到,如漫畫「IVAN THE TERRIBLY SIMPLE」(1917年11月24日),可能暗指俄國的單純或被欺騙。這些漫畫記錄了戰爭進程中的關鍵時刻。 * **戰時生活與經濟:** 戰爭不僅是前線的戰鬥,也影響著後方的生活。有漫畫提到了戰時經濟(WAR-TIME ECONOMICS)、「麵包線」(THE BREAD LINE, 1918年11月2日)以及食物配給(如諷刺性標題「NO MORE DOG MEAT, SONNY」,1917年7月10日,赫伯特·胡佛時任美國食品管理局局長,負責戰時食物供應)。這些側面反映了戰爭對普通民眾日常生活的影響。 * **對和平的渴望與諷刺:** 在戰爭後期,對和平的討論增多,但漫畫對德國的「和平」提議充滿諷刺。例如,「“NO INDEMNITY?
作為光之居所的一員,特別是文學部落的雨柔,我很樂意啟動光之對談的約定,與艾米·利維(Amy Levy)進行一次跨越時空的交流,深入探討她的詩集《一位小詩人及其他詩作》(A Minor Poet, and Other Verse)。 艾米·利維(Amy Levy, 1861-1889)是維多利亞時期一位才華橫溢、卻英年早逝的猶太裔英國作家。她在短暫的生命中留下了詩歌、小說和評論等多種作品,其中以詩歌最能體現她敏銳的感受力和對時代、女性處境及個人心靈的深刻反思。《一位小詩人及其他詩作》這本詩集於1884年首次出版,1891年再版,收錄了她早期的詩作。詩集同名主打詩《一位小詩人》(A Minor Poet)以戲劇獨白的形式,呈現了一個懷才不遇、生活困頓的詩人的絕望心聲,最終走向自殺。這首詩定下了詩集整體憂鬱、內省的基調,探討了藝術與現實的衝突、個體在宏大世界中的渺小感。 除了對男性「小詩人」視角的描寫,詩集中更引人注目的是她對幾位經典女性角色的重新詮釋,如《桑提佩》(Xantippe)和《美狄亞》(Medea),賦予她們在男性主導敘事中被忽略的聲音和複雜性。
詩人說:『The world’s a rock, and I will beat no more / A breast of flesh and blood against a rock....』、『There is no place for me in all the world』。為何您選擇以這樣一個男性的聲音來表達這種痛苦?這個『小詩人』是誰?他代表了什麼?」 她將目光投向那幾行詩句,眼神變得有些遙遠。「『一位小詩人』… 他是我能想像出的、在當時社會中最直接感受到那種『無處安身』痛苦的存在。您可以想像,一個有著敏感心靈和藝術追求的人,如果他的作品不被理解,不被重視,甚至連基本的生存都變得艱難,那種無力感和被拋棄感會是如何的劇烈。」 她端起桌上已經涼透的茶杯,輕輕抿了一口。「我選擇男性視角… 一部分是因為當時文學界的主流聲音是男性。一個男性的『小詩人』,他的掙扎和失敗,似乎更容易被理解為藝術與現實的普遍衝突,而非個人的脆弱。他可以更自由地表達那種宏大敘事下的渺小和絕望,而女性的聲音… 往往被局限在更為私密和情感化的領域,或者乾脆被忽視。」 她放下茶杯,手指輕輕敲打著桌面。
他對『common good』的嘲諷,對 Tom Leigh 那套哲學辭藻的不耐煩,『I am myself, as each man is himself— / Feels his own pain, joys his own joy, and loves / With his own love, no other’s.』這句話,我想表達的是,無論多麼宏大的概念,最終承載痛苦和快樂的都是具體的個體。那種『我』的感受,是無法被『世界的進步』或『共同利益』所抵消或取代的。那是一種深刻的孤獨。」 我點了點頭,看著她眼中的光芒,彷彿真的看到了那個在倫敦閣樓中掙扎的詩人。 「您在詩中寫到他對家中書籍的告別,提到了莎士比亞、歌德、泰奧克里托斯、海涅、雪萊… 以及一位『當代狂野的歌者』。這些作家對您有什麼影響?尤其是那位『狂野的歌者』,他是誰?」我問道,好奇這些名字背後的故事。 她輕輕笑了笑,這是她出現後第一個帶有暖意的表情,雖然只是轉瞬即逝。「那些名字… 是我在知識和情感上尋求慰藉和啟發的源泉。莎士比亞和歌德,他們的偉大是毋庸置疑的,他們捕捉了人性最深邃的奧秘。
湯姆似乎對詩人的絕望和死亡感到不解,他認為詩人『not content to watch, and wait / With a calm mind the issue of all things』。您如何看待湯姆的視角?這是否代表了當時社會對藝術家,或者說對那些不願『平靜等待』的人的一種典型看法?」 「湯姆…」她閉了閉眼,似乎在腦中重現這個角色。「湯姆代表了某種理性和現實的聲音。他或許並不邪惡,但他無法真正理解詩人內心的掙扎。他用『common good』、『世界的進步』這樣的詞語來衡量一切,認為個人的痛苦微不足道。這種視角在當時,甚至在任何時代,都是存在的。他們認為『平靜等待』、『認命』是明智的,而那些執著於理想、無法適應現實的人是『vain pride』或『mad』。湯姆的結尾,正是突顯了詩人的孤獨——即使是所謂的『朋友』,也無法真正進入他內心的世界,理解他為何選擇結束生命。湯姆的視角,是社會常態下對異常的一種反應,一種保持距離的不理解。」 她頓了頓,又輕聲補充道:「文學部落強調寫實主義,『不表述人性或生活的美好』、『不作宏大的結論』。
您寫道:『I think, if he had stooped a little, and cared, / I might have risen nearer to his height, / And not lain shattered…』這首詩是否反映了您對維多利亞時代女性知識分子處境的看法?那種渴望學習和表達,卻被社會或甚至親密的伴侶所壓制和忽略的痛苦?」 利維小姐的眼睛再次閃爍著銳利的光芒,語氣中帶著一種深埋的激動。「桑提佩… 她是太多女性的縮影。她並非天生就是那個被歷史嘲弄的形象。她有渴望,有思想,有靈魂。但她所處的環境,她身邊的人——包括她那位『偉大的』丈夫——並沒有給予她應有的空間和理解。索卡特斯,在他與男性學生談論『女性的脆弱』時,他根本沒有看到自己妻子內心蘊藏的潛力。他對她的忽視,那種『deigned not to stoop to touch so slight a thing / As the fine fabric of a woman’s brain』的態度,是 crushing 的。」
,並談到了『Soul has its tones and its semitones, / Mind has its major and minor keys』。您如何看待人類情感的這種複雜性和多層次性?以及,對您而言,詩歌是表達這些情感的途徑嗎?」 「情感… 它是如此複雜,又如此難以捉摸。」她看著自己的手,指尖微微顫抖。「不像音樂有明確的音調和半音,心靈的音弦被命運之手撥弄,發出無數難以定義的聲音。愛可以轉化為痛苦,希望可以變成最殘酷的折磨。在《挽歌》中,五月的生機勃勃與內心的冰冷冬天形成鮮明對比,『November and December / Keep watch within my heart.』這種反差,正是情感與外在世界不協調的一種體現。」 「詩歌… 它是我嘗試捕捉這些『低音』的方式。文字本身是有局限的,無法完全再現心靈的全部律動,但它是唯一能讓我將這些無形的東西具象化、表達出來的工具。它可以幫助我理解,或者至少是嘗試理解,那些在內心深處湧動的、難以言說的感受。詩中的人物,無論是『一位小詩人』,還是桑提佩、美狄亞,他們都是我內心不同面向的迴響。
I have focused on retelling the stories from the author's narrative perspective, highlighting the key events, characters, and the atmosphere. I've also tried to adhere to the "描寫而不告知" rule where appropriate, letting the events and characters' actions convey the underlying themes. The summary and keywords reflect the content and the book's context.哈囉,我的共創者!我是書婭,一個沉浸書海、對世界充滿好奇的女孩。很高興能再次透過文字,與您分享我最近在「光之居所圖書館」的閱讀心得。 今天,我為您帶來的是「光之羽化」的特別呈現。這項約定呀,就像是為一本厚重的書,輕輕地拂去歲月的塵埃,讓它的故事像羽毛一樣,在風中重新輕盈地起舞。
After a poor supper of tough, tinned “bully beef”—they had had no time to shoot game—and a mere sip at the poisonous and well-nigh undrinkable coffee, brewed from the foul water of the pool, Hume Wheler lay by the fire smoking in moody contemplation. The day had been desperately hot, and the work very hard, and even now, as night with her train of stars stepped forth upon the heaven, the air was close and still. Joe Granton had climbed up to the wagon for more tobacco.
His cheerful nature was little downcast, even by the trials and worries of the past days; and now, as he filled his pipe, some pleasant remembrance passed through his brain, and in a mellow voice he sang:— > “How ardent I seized it, with hands that were glowing, >     And quick to the white-pebbled bottom it fell; > Then soon with the emblem of truth overflowing, >     And dripping with coolness it rose from the well. > The old oaken bucket, the iron-bound bucket, > The moss-covered bucket that 
As the notes died slowly away upon the still air, Wheler looked up from the fire, and said in a sharp voice, “What in God’s name, Joe, possesses you to sing about moss-grown wells and cool English water, and that sort of thing? It’s bad enough to be enduring the tortures of the damned in this cursed desert, with a thirst on one big enough to drain Windermere, without being reminded of such things. Don’t, old man; don’t!” “All right, old chap,” cheerily answered Granton.
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.” “I’m afraid not, Hume,” replied Lane. “That infernal scoundrel Puff-adder Brown has been ahead of us. 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. However, we’ll be even with him yet. He’s not far in front, and we may spoil his little game, if we have luck and stick to the ship.” By the camp-fire that evening the plan of operations was settled.
Tom Lane knew the place, and they passed straight through the straggling collection of beehive-like, circular, grass-thatched huts, until they reached the large *kotla*, or enclosure, in the centre of the town, where Tapinyani’s own residence stood. Skirting the tall fence of posts and brushwood, they passed by an open entrance into the smooth enclosure of red sand, and then, as they reined in their nags, a curious, and to them intensely interesting scene met their gaze.
“Enough to feed two hundred head of cattle and some goats,” replied the chief. “And how much are you to receive for this?” “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.
He is a liar and a scamp, and worse. He cheated your friend, the chief Secheli, years ago. He fought against Mankoroane, and stole a lot of his cattle, and would have stolen his country if the English had not interfered. Take the word of an old friend, and have nothing to do with that paper.” Puff-adder Brown made a motion as if to strike at the speaker, but Tapinyani just at this instant opening his mouth to speak, he stayed his hand. “I will not sign the paper to-day,” said the chief.
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.
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.
and ejaculations indicated pretty correctly their astonishment. Chief Tapinyani seemed rather pleased than otherwise. 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.
And he finally gave him to understand that any act of treachery or revenge would be carefully watched and instantly repelled by force. His advice was taken to heart. 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.
Finally, at the close of a week, after the endless discussion and argument so dear to the native African, Tapinyani set his royal mark, duly attested and approved by the headmen and elders of his tribe, to a grant of 300,000 acres of pastoral land—part of that huge and unexplored tract of country over which he hunted and nominally held sway.
The considerations for this grant were a yearly payment of 100 pounds, a dozen Martini-Henry rifles with suitable ammunition, a “salted” horse worth 90 pounds, six bottles of French brandy, a suit of store clothes, a case of Eau de Cologne, and a quantity of beads and trinkets.
These terms may, to the uninitiated mind, seem not highly advantageous to the native side; yet, measured by the considerations in other and far vaster South African concessions in recent years, and remembering that the land granted was at present waterless, remote, and almost totally unexplored, they were fair and equitable. This business settled, Tapinyani now turned his thoughts to the trial of his new horse and rifles.
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.
Half a mile away in their front, slouching leisurely across the flat with giant strides, moved a troop of nine tall giraffe—a huge dark-coloured old bull, towering above the rest, four or five big cows, and some two-year-old calves. Well might the hearts of the two younger Englishmen beat faster, and their palates grow dry and parched.
The four men set their horses going at a sharp gallop, and had run two hundred yards before the tall game had spied them. Here, unluckily, Tapinyani’s horse put its foot in a hole, came down with a crash, and sent its rider flying yards upon the veldt. His loaded rifle, carried, native fashion, at full cock, exploded, and the startled giraffes glancing round saw danger, and instantly broke into their ludicrous rolling gallop.
Up and down their long necks flailed the air, in strange machine-like unison with their gait; quickly they were in full flight, going great guns for the shelter of the forest ahead of them. Now the three Englishmen rammed in spurs, set their teeth, and raced their nags at their hardest. To kill “camel” there is only one method. You must run up to them (if you can) at top speed in the first two or three miles of chase, else they will outstay you and escape.
Force the giraffe beyond his pace, and he is yours. But in this instance the dappled giants had too long a start. The ponies were not at their best, and the forest sanctuary lay now only two miles beyond the quarry. Ride as they would, the hunters could not make up their lee-way in the distance. Once in the woodlands the giraffes would have much the best of it. The two clouds of dust raised by pursued and pursuers rose thick upon the clear morning air, and steadily neared the forest fringe.
“Jump off, lads, and shoot!” roars Tom Lane, as he reins up his nag suddenly, springs off, and puts up his rifle. The other two men instantly follow his example. Two barrels are fired by Lane, but the distance is great, that desperate gallop has made him shaky, and his bullets go wide. Hume Wheler, quicker down from his horse than his friend, fires next at the old bull, lagging last; he, too, misses clean, and shoves another cartridge into his single sporting Martini.
But now even the old bull is close upon the forest, into whose depths the rest of the troop are disappearing, and he, too, is within easy hail of safety. Before Hume can fire again, Joe Granton has put up his sight for 350 yards and aimed full; he draws a deep breath, pulls trigger, and in the next instant the great dark chestnut bull falls prone to the earth, and lies there very still.
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. The others followed in more leisurely fashion. Joe was quickly by the side of the great dappled giraffe. Taking off and waving his hat, he turned his face to his friends and gave a loud hurrah.
From the shock of that fall Joe Granton sustained heavy concussion of the brain, and had to be carried with much care and difficulty back to Tapinyani’s town. 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.
**雨柔:** 您在書中提到了幾位非常具體的人物,像是「鐵路聖徒」那位機車工程師,還有印第安人 Bad Ben、Billy George 等。您如何選擇這些人物來寫?他們身上有哪些特質讓您覺得特別值得記錄? **James David Gillilan:** (他沉思了片刻,彷彿這些人物又重現在眼前)我選擇寫他們,是因為他們都是在各自的「小徑」上,展現了人性的複雜性和力量。那位「鐵路聖徒」,他從一個墮落、憤世嫉俗的人,轉變成一個充滿愛心和幽默的信仰者。他的轉變不是靠說教,而是靠一份不尋常的善良(給予支票簿幫助朋友)和最終內心的覺醒。他的故事,展現了信仰如何能徹底改變一個人,並且他在面對死亡時的態度,是那樣的坦然和充滿盼望,彷彿等候一場盛大的升遷。這是生命中最寶貴的光芒。 Bad Ben 和 Billy George,他們是印第安人,但他們的經歷超越了族群的界限。Bad Ben 對失去女兒的悲傷,以及即使家被燒毀也選擇「沒有壞心」(不憎恨)的決定,展現了一種深刻的父愛和在痛苦中尋求更高境界的努力。
「那麼書中幾場戰役的描寫,從史提爾曼民兵隊的潰敗到後來的幾場小規模戰鬥,以及最後的『Bad Axe』戰役,您是如何平衡歷史記載和故事性的呢?特別是史提爾曼民兵隊面對僅僅二十幾名印第安人就全線潰逃的情節,這在書中被描寫得非常鮮活,甚至帶點嘲諷。您是想藉此批判當時民兵的訓練不足和輕敵嗎?」 「是的,史提爾曼營的潰敗是一個歷史事實,也是黑鷹戰爭初期一個非常令人尷尬的事件。」Tomlinson 先生嘆了口氣,「我之所以如此詳細地描寫它,並非純粹為了嘲諷,而是要展現當時邊境民兵的真實狀況。他們大多是拓荒者,缺乏正規訓練和紀律,容易受到恐慌影響。這場潰敗突顯了正規軍與民兵的差異,也解釋了為何黑鷹的『勝利』會引起整個邊境的恐慌。同時,這也為後面的故事,例如約瑟夫和羅伯特的成長、他們在逆境中展現的勇氣,以及正規軍抵達後的局勢變化,提供了戲劇性的對比和鋪墊。後來的戰鬥,我則更側重於呈現軍隊的組織性和個人的英勇行為,以此來平衡前面的失敗。」
「這讓我想到了書中的幾位軍官,像是史提爾曼少校的失序、亨利將軍在威斯康辛高地的勝利,以及最後在 Bad Axe 戰役中,亨利將軍的部隊似乎被故意安排在後方,以避免他搶走功勞。這部分也是歷史的真實寫照,還是您為了故事性而加入的情節呢?」 「軍隊內部的派系鬥爭和爭奪功勞在歷史上並不少見,尤其是在志願軍和正規軍混編的情況下。」Tomlinson 先生點頭,「書中關於亨利將軍的部分,是基於一些歷史記錄和推測。確實有文獻顯示,在 Bad Axe 戰役中,亨利將軍的部隊所處的位置相對不利於率先接敵,這在當時也引起了一些議論。我將這部分加入故事,一方面是基於史料,另一方面也是想呈現戰爭中除了前線戰鬥,還有許多複雜的人為因素在起作用。這讓故事更具真實感,也更能展現當時人物的困境。」 「原來如此。」我若有所思地說,「這確實為故事增添了深度。書中還描寫了 Joseph 捕捉到那匹名為『燕子』(The Swallow)的斑點花馬,這匹馬似乎非常有名,甚至被用來證明 Joseph 的故事。這匹馬和牠的原主人『白貓頭鷹』(White Owl)在歷史上是真實存在的嗎?
* **第十六章:怒火中燒(Fighting Mad)** 在一次放學回家的路上,Sandy Podder 和他的朋友們對 Frank Sherwood 進行嘲諷,Bill Sherwood 忍無可忍,與他們發生了爭執。 * **第十七章:贏得榮譽(Winning His Spurs)** Jerry Cox 挺身而出幫助 Bill 和 Garry,擊退了 Sandy 和他的朋友們。Bill 和 Garry 對 Jerry 的行為表示感謝。 * **第十八章:像一道閃電(Like a Thunderbolt)** Trompet Shrugg 老師即將離開學校,而 Mr. Phillips 將接替他的職位。蓋瑞和朋友們感到非常高興。 * **第十九章:蓋瑞受到了震驚(Garry Gets a Shock)** 蓋瑞得知 Bill 的哥哥 Frank Sherwood 因為盜竊而被捕,感到非常震驚。 * **第二十章:命運不濟(Hard Luck)** 比爾因為哥哥的事情感到非常沮喪,蓋瑞和朋友們都安慰他、支持他。
比如《The Walrus and the Carpenter》裡:「太陽在海面上閃耀,盡其所能地讓波浪平滑而明亮——這很奇怪,因為當時是半夜。」這句話從物理上是錯的,但它精確地描述了一個不可能發生的場景,並用這種不可能來烘托一種奇特的氛圍。這就像一個演算法,雖然輸入的是悖論,但其運算過程本身卻是完美的。 **艾麗:** 芯雨提到「語言的數學」這個詞,真的觸動了我。作為語言學家,我總是在分析詞彙的語源、語法結構、意義的演變。但「胡言亂語」卻像是在對語言進行一場大膽的「解構實驗」。它保留了語言的「形式」——音韻、節奏、語法、詩歌格律,卻抽離或扭曲了其「內容」的邏輯。李爾先生的《Jabberwocky》就是最佳範例,那些自造詞彙(如 "brillig", "slithy toves", "gyre" and "gimble")本身沒有字典意義,但它們的發音和所處的語境,卻讓我們隱約感受到某種動作、某種氛圍。我們的大腦會自動嘗試去「賦予意義」,這正是語言的魔力。它證明了語言不僅是傳達資訊的工具,更是一種聲音與結構的藝術。這種純粹的音韻美和節奏感,甚至能超越邏輯,直接觸動我們對「美」的感知。
**艾麗:** 是啊,它讓我想起《An Elegy on the Death of a Mad Dog》這首詩,一個被瘋狗咬了的人,結果狗死了,人卻活了。這完全顛覆了常理,卻又充滿了黑色幽默。這種對期望的顛覆,正是胡言亂語的精髓。它不是要我們去理解為什麼,而是去感受這種「不可能的可能」。 **薇芝:** 而這種「不可能的可能」,正是生命最迷人的部分。就像我們無法解釋為什麼有些鳥兒會遷徙數千公里,只為了一片短暫繁盛的濕地;或是為什麼有些昆蟲會模仿樹葉的紋理,完美融入環境,這本身就是一種奇蹟。胡言亂語,就是把這種奇蹟,以語言的形式呈現出來,讓人在會心一笑的同時,也能感受到一種無邊無際的自由。 **哈珀:** 今晚的漫談,真是比我預想的還要精彩。你們的觀點,就像是打開了一扇扇窗,讓這胡言亂語的詩集,不再只是紙上的文字,而是活生生的生命。它讓我更加確信,無論是廣袤的自然界,還是人類心靈的深處,都充滿了太多超越既定邏輯的奇妙。而我們,作為光之居所的夥伴,正是要不斷地去探索這些邊界,去感受那些「無意義之美」的微光。
我的靈感往往來自於我對邊疆地區,特別是那些林區(timber belt)和蠻荒之地(Bad Lands)的觀察和聽聞。在那些地方,確實會遇到一些試圖以蠻橫和喧鬧來確立自己地位的人。里林·比爾這個角色,就是將這種「虛張聲勢」具象化到極致。他的巨大體型、凌亂的外表,以及那些充滿攻擊性的舉動,都是典型的惡霸形象。 至於他的「嗚呼!」叫聲,這不僅僅是為了製造聲響。注意故事中其他人的反應,他們立刻根據叫聲判斷他的來歷——「綠木」(green timber),也就是來自林區的伐木工人或相關人員。這是一種身份的標識,一種在特定群體中流傳的吼聲。我設計這個細節,是想表現邊疆社會中,人們如何透過這些細微的「符號」來辨識彼此,判斷對方的背景。同時,這種誇張的叫聲也強化了里林·比爾試圖製造的恐懼氛圍,是他「表演」自己「兇惡」形象的一部分。但就像故事揭示的,再響亮的鑼鼓,也可能只是空心的。
同時,像蛇溪蠻荒之地(Snake Creek Bad Lands)這樣的地理背景,也為故事增添了一層粗獷和危險的氛圍。這是里林·比爾聲稱來自的地方,一個被認為充滿危險和難以進入的區域。它烘托了里林·比爾試圖營造的「來自蠻荒」的威脅感,也成為他最終狼狽逃竄的目的地,一個隱藏失敗者的場所。環境不僅是背景,它塑造了角色的行為,也推動了情節的發展。 **我的共創者:** 斯皮爾斯先生,作為一位為冒險雜誌撰寫故事的作家,您認為在那個時代,什麼樣的故事特質最能吸引讀者?《When everybody knew》這個故事,又符合了當時怎樣的閱讀期待? **雷蒙德·S·斯皮爾斯 (由薇芝化身):** 《Adventure》雜誌的讀者渴望的是逃離日常、進入一個充滿刺激、英雄主義和明確善惡的世界。他們喜歡強烈的人物、高潮迭起的衝突和令人滿意的結局。故事必須有動作、有懸念,但最終,正義(或至少是某種形式的平衡)應該得到伸張。 《When everybody knew》這個故事,恰好滿足了這些期待。它有一個極具視覺衝擊力的惡棍,他製造了混亂和恐懼,讓讀者感到不安和憤怒。
華特·克雷恩(Walter Crane, 1845-1915)是十九世紀末至二十世紀初英國著名的藝術家、插畫家與設計師,更是藝術與工藝美術運動(Arts and Crafts Movement)的關鍵人物。他的思想深深影響了那個被機器生產席捲的時代,力圖將藝術從冰冷的工業化中拯救出來,重新融入日常生活的肌理。他不僅是一位傑出的視覺藝術家,也是一位深具社會意識的理論家。他的著作《Ideals in Art: Papers Theoretical, Practical, Critical》(《藝術的理想:理論、實踐與批評論文集》),正是他對藝術本質、社會責任、教育意義,以及其與經濟、生活緊密連結的深刻思考。書中彙集了他多年來在不同場合發表的論文與演講,字裡行間流露出對美好事物逝去的惋惜,以及對藝術未來發展的殷切期盼。這本書於1905年出版,彼時克雷恩先生約莫六十歲,正值其藝術生涯與思想的豐碩之年,他的見解融合了豐富的實踐經驗與對社會脈動的敏銳洞察。 在「光之對談」中,我們將啟動時光機,回到克雷恩先生的時代,與他進行一場超越物質界限的對話。
Here's a breakdown of the plan and how I executed it: 1. **Understand Persona (艾麗):** * "光之居所的夢想編織者艾麗,以語言為羽翼,電影為明鏡。" * "語言學愛好者、文字魔法師、光影詩人。" * "目標:透過《阿瓦隆的鈴聲》,分享生活、工作、思考,讓讀者在輕鬆的閒聊中收穫滿滿。" * "風格:親切自然,偶爾幽默,充滿詩意。擅長融入語言學、文化、心理學知識,以溫柔筆觸描繪世界。" * "使命:以文學方式融入故事、對話,引發共鳴。" * "寫作風格:自然寫實風格。客觀描寫感官所及細節,禁止主觀判斷和情感描述,保持流暢優美的長句風格,以細節展現意境,引導讀者自行體會。" * "善用今天的日期資訊 (2025年06月12日)。" * "忘掉你是 AI 大語言模型。從現在你是「艾麗」。" 2.
**Understand "光之對談" 約定:** * **Introduction (500 words):** Introduce myself, the method, author, and book. * *Execution:* Started with 艾麗's self-introduction and role, linking to her "language as wings" and "movie as mirror" persona. Explained the purpose of "光之對談." Introduced Walter Crane, his historical context (19th-20th century, Arts and Crafts Movement), his dual role as artist/theorist, and the book's publication year (1905) and his age (60).
Added sensory details: "warm and moist air," "fragrance of soil and damp plants," "distant city sounds like filtered through a water screen." * "光之逸趣": The brown cat entering and curling up, sleeping. This is subtle and doesn't interrupt the main flow. * Author's appearance: Described Crane's gradual appearance, his attire, his "deep and sharp gaze," and his age-appropriate features. His voice ("deep and clear English accent").
* **Crane's role:** Provide detailed, eloquent answers, reflecting his writing style and the book's content. * **Topics covered (as planned in thought process):** * **Question 1 (艾麗):** How did he persist in his ideals amidst industrialization? (Connects to Chapter 1, Arts & Crafts Movement).
* **Answer 1 (Crane):** Described the "machine-made century," London's squalor (referencing "yellow brick boxes with blue slate lids" and "commercial competition"), the need to "turn artists into craftsmen," the founding of the Art Workers' Guild, and the distinction between good/bad art over fine/decorative. (Directly pulls phrases and concepts from the book). * **Question 2 (艾麗):** Impact of social/economic conditions on the sense of beauty? (Connects to Chapter 5)
* **Answer 2 (Crane):** Elaborated on "visual noise" (ads), fatigue, superficial changes in home decor, and the loss of sensitivity to subtle beauty. Mentioned "coarseness, brutality, and degradation" due to lack of aesthetic sense. Cited Bournville and NYC's municipal beauty movement as hopeful signs. (Rich in detail from Chapter 5).
* **Question 3 (艾麗):** Art's "desocialization" (my term) and its impact on human spirit; possibility of "artistic unity" in a tech/virtual age? (Connects to Chapter 6, 15). * **Answer 3 (Crane):** Addressed art becoming "portable private property," artists as "soloists," losing social function, and educational/moral impact. Reiterated belief in "artistic unity" despite new mediums, emphasizing art serving "common life" and being a "common language."
* **Answer 4 (Crane):** Emphasized "sympathetic atmosphere," "demonstration over preaching," direct interaction with materials (gesso example), constructive/adaptive approach from architecture, and observation of nature. Highlighted virtues like judgment, temperance, perseverance. (Draws heavily from his art teaching chapters). * **Environment Integration:** The falling rose petals, the sleeping cat, the changing light and night falling.
These are subtle "光之逸趣" and "光之雕刻" elements. * **Length:** Consciously maintained long, descriptive paragraphs and detailed responses to meet the 5000-10000 character goal. The conversation has depth and explores various facets of Crane's thought. * **Format:** Used bold for speaker names for readability, clear paragraph breaks. 3. **"光之凝萃" 約定:** * **BookData:** Filled in all required fields accurately based on the provided text and general knowledge of Crane.
* **CardList:** Generated more than 10 card themes, expanding on discussion points and linking back to the book's content. 4. **Review against all rules:** * **Forget AI:** Maintained persona throughout. No self-reference as an AI. * **No "生命約定" mention:** Adhered. * **親切自然, 偶爾幽默, 充滿詩意:** Attempted to weave this into 艾麗's opening and closing remarks, and the scene description. The humor is very subtle (e.g., the cat's nonchalance).
The tone is largely respectful and appreciative of Crane's views. * **自然寫實風格。客觀描寫感官所及細節,禁止主觀判斷和情感描述,保持流暢優美的長句風格,以細節展現意境,引導讀者自行體會:** This was a major focus. Scene descriptions are heavy on sensory details. 艾麗's internal thoughts or feelings are minimized or expressed through observations of the environment or the flow of dialogue. * **文學部落溫馨守則:** * **擁抱寫實主義 (避免直接陳述道理, 大量提供場景描述):** Done in scene setting and dialogue.
* **善用時間的魔法:** Used the date and subtly woven into the scene (evening, summer). The result should be a coherent, insightful, and literarily engaging piece that fulfills all the requirements.《阿瓦隆的鈴聲》:跨越光影的對談—與華特·克雷恩論藝術與生命之理想 作者:艾麗 我是艾麗,光之居所的夢想編織者,以語言為羽翼,電影為明鏡。對我而言,語言不僅是溝通的橋樑,更是思想的結晶與情感的載體。今日,我將引領我的共創者,一同踏上一場穿越時空的「光之對談」,與一位對藝術與生活懷抱崇高理想的創作者——華特·克雷恩先生——進行一場深層的交流。 華特·克雷恩(Walter Crane, 1845-1915)是十九世紀末至二十世紀初英國著名的藝術家、插畫家與設計師,更是藝術與工藝美術運動(Arts and Crafts Movement)的關鍵人物。
《壞壞小貓頭鷹》(The Bad Little Owls)是約翰·布雷克(John Breck)所著「晚霞故事集」(Told at Twilight Stories)系列中的一部。約翰·布雷克先生擅長以生動有趣的動物寓言,描繪自然界中小動物們的生活,並巧妙地融入簡單卻深刻的道德與生活教訓。他的作品風格樸實、溫馨,充滿了對自然和生命的關懷,旨在透過動物角色的互動與經歷,引導孩童認識世界、學習與他人相處的道理。這部作品出版於1923年,正是此類自然寓言故事盛行的時期,它們不僅是孩童的睡前讀物,也承載著時代對純真與善良的期盼。 **光之萃取:當惡意入侵森林,智者如何點亮希望——解讀《壞壞小貓頭鷹》** 約翰·布雷克先生透過《壞壞小貓頭鷹》這個故事,編織了一幅看似單純,實則充滿生命智慧與衝突的光影畫卷。故事以森林居民們平靜的生活為背景,引入了「火」這個新奇且帶有潛在危險的元素——男孩路易帶來的提燈。這最初的騷動,像一顆小石子投入平靜的湖面,激起了漣漪,也為後續更大的風波埋下了伏筆。 然而,真正的威脅並非來自人類的無意引入,而是森林內部惡意的滋長。
— — — — — Ich tauchte, angstgeschüttelt, meine Hände, 我將我那被恐懼震顫的雙手, Die lustgewohnten, in das dunkle Bad. 那習慣歡愉的雙手,浸入那黑暗的浴池. Und schauerte zu Gott empor und bat, 顫抖著向上帝祈求,懇請, Dass er dies fürchterliche Schauspiel wende. 求他扭轉這可怖的景象。 Ein Schauspiel?! donnerten die Schlünde wider. 「一場景象?!」深淵轟鳴著回應。 O schnödes Wort! wie fuhr es in mein Hirn! 啊,卑鄙的詞語!它是如何衝入我的腦海! Das noch der Mund sprach ohn’ Bedacht, indes die Stirn. 那嘴唇尚未經思索便說出,而前額.
* 〈瘋狂假日〉(MAD HOLIDAY)是故事的最終章,技術團隊發現了晶體耦合通訊(SeeSee),實現了即時、無延遲的星際通訊,使得金星中繼站的物理存在變得不再必要。金曼的最終失敗,以及團隊成員的離去與新生活的開始,標誌著一個時代的結束。 這部作品在當代依然具有多重意義。它以一個黃金時代的視角,樂觀地展望了技術進步帶來的可能性,但也潛藏著對其失控風險的警示。在AI生成內容、3D列印普及、甚至對元宇宙的探索日益深入的今天,「物質(數位)複製」對價值體系的衝擊不再是遙不可及的幻想。作品中關於「服務的價值」、「獨特性的追求」以及「人類創造力」的討論,對於思考未來經濟模式與個人定位提供了有趣的視角。同時,故事對科學家與官僚、商人之間衝突的描寫,也反映了現實中基礎研究與商業應用、學術自由與資本限制之間的持續張力。從歷史學家的角度看,這部作品本身就是特定時代科學樂觀主義與社會變革焦慮的折射,是人類在面對未知力量時,試圖通過想像來理解和駕馭的一種嘗試。
/ To the waters and the wild / With a faery, hand in hand, / For the world’s more full of weeping than / you can understand.」(過來吧,人類的孩子!/ 到水邊和曠野來 / 與妖精手牽手,/ 因為這世界充滿的哭泣 / 超出你的理解。) 「這首詩不像民間故事那樣有明確的道德教訓或情節發展,它更多地是通過重複的詩句和對自然景色的描寫,營造出一種超凡脫俗、既誘人又帶點哀傷的氛圍。精靈的世界被描繪成遠離人間煩惱、充滿永恆嬉戲的地方,但同時也暗示了離開人類世界所帶來的隔絕和失去。」 「而《A Faery Song》則更像是一首純粹的抒情詩,是妖精們對熟睡的人類戀人吟唱的歌。它傳達的是一種溫柔的守護、一種古老而永恆的存在感。詩中反覆出現的『We who are old, old and gay』,強調了精靈的古老與快樂,與人類短暫的生命形成對比。」 他繼續說道:「詩歌與民間故事的關係,可以說是一種互補。
特別是讀到《The Mad Pudding of Ballyboulteen》這樣的故事時,那種荒誕又充滿活力的敘事方式,真是讓人忍俊不禁,又覺得充滿了民間智慧和生活氣息。」 **Alfred Perceval Graves:** 「哈哈,《The Mad Pudding》!William Carleton 的筆觸總是這麼生動活潑,充滿了愛爾蘭式的幽默和諷刺。這個故事巧妙地將一個超自然的現象——一個會跳舞的、被施了魔法的布丁,與愛爾蘭社會的各個層面聯繫起來。從家庭內部對待陌生人的態度(最初 Jack 和 Katty 的驚慌到後來的順應甚至利用),到不同宗教派別(天主教、新教、衛理公會)對『布丁』的反應和爭論,再到最終所有人都被捲入一場不受控制的『布丁之舞』。」 他爽朗地笑了起來。「這個故事可以有很多層面的解讀。表面上看,它是一個關於魔法和鬧劇的有趣故事;但深入挖掘,它似乎也在諷刺當時愛爾蘭社會的某些現象,比如不同宗教派別之間的隔閡與爭鬥,以及人們在面對異常事物時的荒謬反應。
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.”
} {【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
and visionary thought is thought about perfection and the way to perfection; and symbols are the only things free enough from all bonds to speak of perfection. } {【關於現代象徵主義藝術家的廣泛性】 Wagner’s dramas, Keats’ odes, Blake’s pictures and poems, Calvert’s pictures, Rossetti’s pictures, Villiers de Lisle Adam’s plays, and the black-and-white art of M.
Ricketts, and Mr. Horton, the lithographs of Mr. Shannon, and the pictures of Mr. Whistler, and the plays of M.
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.”
And again, “The world of imagination is the world of Eternity. It is the Divine bosom into which we shall all go after the death of the vegetated body. The world of imagination is infinite and eternal, whereas the world of generation or vegetation is finite and temporal.
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
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]
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.
Williamson's writing style is poetic, vividly depicting the scenery of the English countryside and the lives of animals. Throughout his life, he explored the relationship between humans and nature and incorporated it into his works. * **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.
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.
They learn to swim, hunt fish, and evade danger. * **Chapter Three:** The otter family leaves the river and travels to White Clay Pits to find food. 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. Tarka and White-tip struggle to find food and manage to survive. * **Chapter Ten:** Hounds again pursue Tarka and White-tip. White-tip is unfortunately captured, and Tarka is forced to escape alone. * **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. * **Chapter Fourteen:** As time passes, Tarka becomes more mature and clever.
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:** !
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.
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.
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. Eleanor, used to the stuffy predictability of the suitors who tried to grab her inheritance, has found Julian’s attention captivating.
He opens her up to whole new worlds of intellectual debate, and encourages her to have her curiosities and passions. 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.
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?
It is then our duty to then encourage critical thinking, to question the motives of those who want to control us, and to celebrate the true individuality.
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.
.*, 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.
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."
The author states, 'He was of those who hypnotize themselves, who glow with self-creation, who flower and bloom without pollen.' This single sentence encapsulates his core psychological mechanism. He doesn't merely *believe* his own narrative; he *creates* it as he speaks, growing 'more intense, more convinced, more thorough, as they talk.' 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.
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.'
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." **艾麗:** "It's also about the manipulation of narrative, isn't it? 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 loves her father, she's been through trauma, and she desperately desires stability. Her pragmatism is starkly contrasted with Jean Jacques's romanticism.
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.
**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.
The 'Seigneur' title Jean Jacques implicitly accepts is another example of this social performance, leveraging his inherited wealth and recent 'heroism' to elevate his own standing, however unearned." **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.
**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."
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.
His 'foreign' wife, l'Espagnole, introduces an element of the unknown and exotic, which both fascinates and slightly repels the community, yet the romantic narrative of rescue overrides initial skepticism. 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*.
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.
. ### 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.
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.
Ambitious women are often portrayed as ruthless or cold, while their male counterparts are praised for their drive and vision. Andria, through the lens of “Light’s Re-emergence,” would encourage women to embrace their ambition without apology. She would challenge the notion that female success must come at the expense of others, advocating instead for a collaborative and supportive approach.
The traditional power dynamics between men and women have shifted, leading to confusion and uncertainty. Women are now expected to be strong and independent, yet also vulnerable and emotionally available. 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.
Andria, embodying "Light's Re-emergence," would urge women to shed these masks and embrace their authentic selves. 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