光之篇章

*** **新聞標題:** Judge Blocks Trump Administration’s Cancellation of Funding for Radio Free Europe **新聞來源:** The Epoch Times **300字中文報導:** 美國地方法院法官於 2025 年 3 月 25 日頒布了一項限制令,阻止川普政府取消對「自由歐洲電台/自由電台」的資助。這是一家由美國政府的美國全球媒體總署 (USAGM) 資助的非營利新聞機構。 法官 Royce Lamberth 認為,政府終止對該集團的資助,可能違反了一項聯邦法律。該法律允許法院阻止專斷或不符合法律規定的非法機構行為。法官指出,終止給自由歐洲電台的信函僅表示該獎項「不再實現機構優先事項」。法官表示,這一結論性聲明缺乏任何事實或推理支持,並未提供「令人滿意的解釋」,也沒有在發現的事實與做出的選擇之間建立「合理的聯繫」。 自由歐洲電台還表明,如果沒有限制令,它可能會遭受無法彌補的損害,而且該命令符合公眾利益。
/ˌkænsəˈleɪʃən/ 取消 * 發音:/ˌkænsəˈleɪʃən/ * 解釋:the action of deciding that an arranged event will not happen * 例句:The cancellation of the concert was a disappointment to many fans. * **Funding** (n.) /ˈfʌndɪŋ/ 資金 * 發音:/ˈfʌndɪŋ/ * 解釋:money provided for a particular purpose * 例句:The project requires additional funding to be completed successfully. * **Block** (v.)
/blɒk/ 阻止 * 發音:/blɒk/ * 解釋:to prevent something from happening or succeeding * 例句:The protestors blocked the entrance to the building. * **Restraining order** (n.) /rɪˈstreɪnɪŋ ˈɔːrdər/ 限制令 * 發音:/rɪˈstreɪnɪŋ ˈɔːrdər/ * 解釋:an official order from a court that tells someone not to do something * 例句:She obtained a restraining order against her abusive ex-partner. * **Nonprofit** (adj.)
/ˌnɒnˈprɒfɪt/ 非營利 * 發音:/ˌnɒnˈprɒfɪt/ * 解釋:not making or conducted primarily to make a profit * 例句:The organization is a nonprofit dedicated to helping the homeless. * **Terminate** (v.) /ˈtɜːrmɪneɪt/ 終止 * 發音:/ˈtɜːrmɪneɪt/ * 解釋:to bring to an end * 例句:The company decided to terminate the contract due to poor performance. * **Arbitrary** (adj.)
/əˌproʊpriˈeɪʃən/ 撥款 * 發音:/əˌproʊpriˈeɪʃən/ * 解釋:a sum of money or total of assets devoted to a special purpose * 例句:The government announced a new appropriation for education. * **Disburse** (v.) /dɪsˈbɜːrs/ 支付 * 發音:/dɪsˈbɜːrs/ * 解釋:pay out (money from a fund or account) * 例句:The funds will be disbursed to the recipients next week. * **Moot** (adj.)
/muːt/ 無實際意義的 * 發音:/muːt/ * 解釋:subject to debate, dispute, or uncertainty * 例句:The question of whether to build the new bridge is now moot since the project has been cancelled. **文法分析:** * **動詞時態:** * 新聞報導通常使用過去式來描述已經發生的事件,例如 "A judge entered a restraining order" 和 "Lamberth said that Kari Lake...must take no steps"。 * 現在式用於描述當前的事實或狀態,例如 "Radio Free Europe said that it is funded almost entirely through government distributions"。
* **被動語態:** * "Radio Free Europe/Radio Liberty, a nonprofit news group funded by money from the U.S. government’s United States Agency for Global Media (USAGM)." * 這裡 "funded" 是過去分詞,用作形容詞,修飾 "news group",表示「由…資助的新聞機構」。 * **引導詞:** * "He pointed to how the termination letter to Radio Free Europe only offered that the award “no longer effectuates agency priorities.”" * 這裡 "how" 引導一個名詞子句,作為 "pointed to" 的受詞,表示「…的方式」。 * "that"引導名詞子句,做 offered 的受詞。
確實,那句引文 captures the very essence of my intention。在我的年代,年輕的女孩們離開學校,進入家庭生活,往往面臨一個 transition period。她們帶著在學校裡培養的知識與才能,卻發現現實生活中的『大舞台』似乎遙不可及,或是與她們的想像截然不同。許多人因此感到迷茫、失落,甚至認為自己的才能無處施展,生活變得 aimless。 我看見了這種情況,也深知這份迷茫可能帶來的困境。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。
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。」 **卡拉:** 「Magda 的確是一個非常生動的角色,她的掙扎、她的自憐、她對『偉大』的渴望,以及她對日常瑣事的輕視,都讓人印象深刻。她起初對自己的家庭角色感到無用,認為自己是個『extraneous atom』。您如何看待 Magda 這種對自我價值的尋求?以及,您希望讀者從她對日常責任的逃避與最終的醒悟中學到什麼?」 **Agnes Giberne 女士:** 「Magda 的困境,其實 many young people face。她擁有才華,但她將才華的價值 solely attached to external recognition or some dramatic, 'great' act。她看不見 talent 的 intrinsic value,也看不見如何將其 apply to the needs around her。
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。她開始理解,duty is not about personal preference or the perceived importance of the task, but about simple obedience and faithful application。她的價值並非取決於做什麼驚天動地的大事,而是取決於她如何以 full heart and dedicated will 去面對眼前的 everything。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。
Patricia embodies a certain type of superficial charm and social success that is often celebrated in the world。She lives for admiration, and her self-worth is intrinsically tied to her external appearance and the attention it garners。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。
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。」
**Agnes Giberne 女士:** 「Human relationships are the very fabric of the 'little stage'。They are both the source of our greatest joys and our most painful trials。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。
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。
Bee's gentle yet firm handling of this, and later her own private struggle with her feelings for Ivor, demonstrate the maturity required to navigate deep emotional waters。 These relational dynamics are not merely plot devices,她們是 characters are tested and refined。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?」 **Agnes Giberne 女士:** 「These dramatic events serve as heightened moments of crisis that throw the everyday struggles into sharp relief。
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'。
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?」
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。
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。
Characters continue to grow, face new challenges, and make choices even after the final page is turned。呈現這種 ongoing journey 是很重要的。 Magda 的轉變是一個 beginning,而不是結束。她學習了寶貴的教訓,開始將精力投入到她曾經輕視的家庭責任中,並在對 Ned 的感情中面對自我犧牲的考驗。但這不意味著她 will never again struggle with impatience, self-pity, or the desire for something 'more'。這些 are human tendencies that require ongoing discipline。 Patricia 的故事也是如此。她的傷痛和轉變是深刻的,但 recovery is a process, and maintaining a new perspective requires conscious effort。
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。The stage is still set, and the characters continue to perform upon it, facing whatever comes next with the character they have forged。」 **卡拉:** 「最後,能否請您談談,在您創作《Life's Little Stage》的那個年代(1913年),對於年輕女性的期待與您筆下角色的經歷之間,有著怎樣的關聯?這些主題,在一個世紀後的今天,對於讀者而言,又有哪些可能依然具有共鳴,哪些可能已經不同?」
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。」
* **第二章:在夜幕降臨之前 (Before the Night Be Fallen Across Thy Way)** 一個快樂的白日夢突然結束,倉促的準備和迅速的離開。艾倫太愛他的父親了,沒有空間容納任何關於自己失望的自私想法;但他試圖抱持希望,並認為他母親的恐慌誇大了邪惡,而且“危險”這個詞更多的是她自己恐慌的表達,而不是醫生的意見。 * **第三章:當樹葉落下時 (While Leaves Were Falling)** 儘管他深愛著他的未婚妻,但艾倫覺得愛情和職責都禁止他離開他的父親,而末日的陰影正籠罩在門檻上,因為每天都無法保證結局不會在日落之前到來。醫生的一舉一動都足以粉碎最樂觀之人的希望。 * **第四章:別像我這樣活著 (Let No Man Live As I Have Lived)** 蘇珊娜以哲學般的開朗忍受著她愛人的缺席,這讓她的姑姑有些驚訝。樊尚將軍很愛他的女兒,並以她為傲;但他不是一個會和女兒交朋友的人,除非在社交場合。
* **第五章:機遇無法改變我的愛,時間也不能削弱 (Chance Cannot Change My Love, Nor Time Impair)** 蘇珊娜和她的愛人已經有一個月沒見面了,自從那天晚上在馬什·豪斯共進晚餐以來。顧名思義,顧名思義,凱魯先生的病情沒有好轉;艾倫覺得他不可能離開父親,因為他的生命正逐漸消失。 * **第六章:晚禱 (At Evensong)** 芬戴克家的窗戶都拉上了窗簾。喪鐘敲響了已逝生命的歲月,莊嚴而緩慢地迴盪在平坦的田野、狹窄的河流、磨坊溪流和松樹林上,分散的村莊遠遠地坐落在廣闊的土地上,日落在那裡漫長而悠久。一切都結束了,艾倫不得不放下自己的悲傷,以便安慰他那顆為失去丈夫而傷心欲絕的母親。 * **第七章:逝者從過去觸動了我 (The Dead Man Touch'd Me from the Past)** “我不知道有多少人過著像我這樣的生活,在我們這個繁榮的英國,他們非常體面、舒適,並且完全免受命運最壞的危害,甚至可以說幸福,根據英國鄉紳幸福的標準衡量——但卻冷酷而毫無色彩。
* **第十章:那種被人類誤認為快樂的不安 (And That Unrest Which Men Miscall Delight)** 對我來說,最感興趣的也是他們被鎖在裏面多久了:對這兩個小偷的詳細分析,以及他們帶走的東西——似乎什麼也沒有。那次,我給自己的家增添了一件東西:一套小偷工具,在一次拍賣中以合理的價格買到,並在一個引人注目的地方把它們掛在我的書房裏面。 * **第十一章:誰知道愛情為何開始? (Who Knows Why Love Begins?)** 訂婚之後,蘇珊娜能做些什麼呢?最糟糕的是,她的思緒如此混亂,而且也幾乎沒心思去思考。她知道這些日子來她所需要的,比任何事物都更甚,是聽到葛雷佛里演奏和拉小提琴。 * **第十二章:那樣做會瘋掉 (That Way Madness Lies)** 如果一個非常受人尊敬的地震,沒有在一個農村社區裏製造出轟動效應的話,那麼它就在一定程度上是由於艾倫·凱魯取消了與樊尚將軍的女兒的婚約所引起的。事實是,沒有邀請訪客參加婚禮,這似乎並沒有影響到新聞的迅速傳播。 --- !
--- **中文新聞標題:** 美國眾議院民主黨人試圖強行表決,阻止關稅 **新聞來源:** [The Epoch Times](https://www.theepochtimes.com/us/house-democrats-move-to-force-vote-on-blocking-tariffs-5838695?ea_src=frontpage&ea_cnt=a&ea_med=lead-story-0-title-1) **300字中文報導:** 美國眾議院民主黨人正試圖阻止川普總統實施全球互惠關稅。眾議員 Gregory Meeks、Rick Larsen 和 Richard Neal 提出一項決議,旨在廢除川普總統啟動關稅所依據的緊急權力。這項決議已獲得 23 位共同提案人的支持,但何時進行表決尚未確定。 民主黨人表示,川普總統實施關稅是現代史上最大、最具累退性的稅收,導致股市暴跌,並可能引發全球經濟衰退。他們認為,這些關稅實際上是對美國家庭徵收的銷售稅,推高了從食品到汽車等各種商品的價格。
Gregory Meeks, Rick Larsen, and Richard Neal introduced a measure that would **nullify** the emergency authority Trump cited to enact the tariffs. The Democrats argue that Trump's tariffs are the largest and most **regressive tax** in modern history, causing stock market **plunges** and risking a global **recession**. The reciprocal tariffs, set to take effect on April 9, will hit about 60 countries and trade blocs.
China will face the highest tariffs, **soaring** to 104% after rejecting Trump's demand to withdraw its **tit-for-tat tariffs**. **重點單字:** * **Force a vote:** 強行表決,意指透過議會程序,迫使對某項議案進行投票表決。 * 例句:The opposition party is trying to force a vote on the controversial bill. * **Reciprocal tariffs:** 互惠關稅,指兩國或多國之間相互實施的關稅,通常是為了回應對方的關稅政策。 * 例句:The two countries imposed reciprocal tariffs on each other's goods. * **Nullify:** 使無效,廢除,指使某事物失去法律效力或作用。
* 例句:The court nullified the contract due to fraud. * **Regressive tax:** 累退稅,指稅收負擔佔收入比例較低的群體反而更高的稅種。 * 例句:Sales tax is often considered a regressive tax because it disproportionately affects low-income individuals. * **Plunge:** 暴跌,驟降,指價格、數量等突然大幅下降。 * 例句:The stock market plunged after the announcement of the new tariffs. * **Recession:** 經濟衰退,指經濟活動普遍下降的時期,通常持續數月或數年。
* 例句:Many economists fear that the trade war could lead to a global recession. * **Soar:** 飆升,猛增,指價格、數量等快速上升。 * 例句:The price of oil soared after the supply disruption. * **Tit-for-tat:** 以牙還牙,指採取與對方相同的報復行為。 * 例句:The two countries have been engaged in a tit-for-tat trade war for months. **文法分析:** * **Conditional Clause (條件子句):** "if it passes Congress" (如果該措施在國會通過)。
* 例句:The bill will become law if it passes Congress. * **Passive Voice (被動語態):** "will be hit with the highest tariffs" (將被徵收最高的關稅)。 * 例句:The company was hit with a large fine for violating environmental regulations. * **Relative Clause (關係子句):** "that would nullify the emergency authority Trump cited" (旨在廢除川普總統啟動關稅所依據的緊急權力)。 * 例句:The lawyer presented evidence that would nullify the prosecutor's argument. 希望這篇文章能幫助您更好地了解新聞內容,並提升您的英語能力!如果您有任何問題,隨時都可以問我喔!
【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.
They ought to interest you; if they do not, the fault lies with you.」(Page 9) 我想,我們的心靈,難道不能以同樣的方式去觀察、去記錄嗎?心靈的力量與規律,也都是自然史中的事實。它們可以被編號、被記錄,就像雄蕊和脊椎骨一樣。然而,它們又具有更深的趣味,因為在自然的秩序中,它們處於更高的位置,更接近那神秘的力量與創造之源。 我的方法並非要建立一個嚴密的、分析性的形而上學體系。那是逆流而上,是徒勞的嘗試,如同試圖逆尼加拉大瀑布而泳。我對那種所謂「完整」的系統抱持著些許不信任。它像一隻蚊子試圖掌握整個世界。真正的探索者,或許只是點綴出一段段破碎的曲線,記錄他所觀察到的事實,並不急著將它們強行納入一個預設的框架。他繪製出他清晰看見的弧線,或許在後來的觀察中又發現同一軌道的遙遠曲線,並確信這些觀察到的弧線終將相互協調。這本身也是一種宏大的體系。
【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.
No matter how far or how high science explores, it adopts the method of the universe as fast as it appears; and this discloses that the mind as it opens, the mind as it shall be, comprehends and works thus; that is to say, the Intellect builds the universe and is the key to all it contains.」(Page 10) 自然界的每一個對象,都是一個詞語,用來標示心靈中的某個事實。即使我們尚未明確這些對象對我們訴說著什麼,它們也絕非毫無意義。我等待它們,在它們開口之前就享受它們。我感覺自己站在一位攜帶著君王旨意的使者旁邊,他尚未傳達,只因時候未到。 當我們以思想的形式與真理交流時,它們也以塑形的力量存在著;如同人的靈魂、植物的靈魂、任何自然部分的本質或構成,使它成為其所是。
【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.」
【光之書籤】 * 「Instinct is our name for the potential wit. 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.」
【光之書籤】 * 「Thought must take the stupendous step of passing into realization. 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。如果思想不能成為意志的燈塔,不能促成行動,那麼智者便是無能的。唯有擁有意志的人,才是強大而幸福的。 *** **書婭:** 「意志是思想走向實現的關鍵,也是衡量力量的標準。這讓我想起您在書中對當代社會和文人的觀察,您似乎對當時的許多現象抱持著一種批判的態度,尤其是不夠真誠、沉溺於利害關係、甚至犧牲『天才』以換取『才能』的展現。您是如何看待這些社會現象對心靈和知識追求的影響?」 *** **拉爾夫·沃爾多·愛默生:** (他輕嘆一口氣,身體稍微向後靠,眉宇間顯出一絲憂慮,但隨即又恢復了那種超然的態度。) 唉,你說得是。這個世界確實存在著令人沮喪的一面。在各種場合,無論是學術機構還是社交圈,我常常感到一種「難以親近」的困境。 你看那些學識淵博的教授,他們在各自的領域裡或許光芒萬丈,但在我眼中,他們常常陷入一種狹隘的自我中心。
【光之書籤】 * 「Go into the scientific club and hearken. 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。
【光之書籤】 * 「It is the levity of this country to forgive everything to talent. 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.
【光之書籤】 * 「What is life but the angle of vision? 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.
And if he finds at first with some alarm how impossible it is to accept many things which the hot or the mild sectarian may insist on his believing, he will be armed by his insight and brave to meet all inconvenience and all resistance it may cost him.」(Page 11) 其次,要培養對「感知」的珍視。不要輕視你的感知,它們是通往七重天的門戶。如果你錯過了它,你就會迷失方向。對自己說,什麼打動了我,就應該打動我。即使我被眾多的吸引力弄得不知所措,無法前進一步,但這根纖細如蛛絲的線,卻是真實的。我聽到一個我可以信任的低語,告訴我這就是串聯大地與天上之天的線。 【光之書籤】 * 「Do not trifle with your perceptions, or hold them cheap.
They are your door to the seven heavens, and if you pass it by you will miss your way. Say, what impresses me ought to impress me. 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。
【光之書籤】 * 「It is not to be concealed that the gods have guarded this privilege with costly penalty. This slight discontinuity which perception effects between the mind and the object paralyzes the will.... The intellect that sees the interval partakes of it, and the fact of intellectual perception severs once for all the man from the things with which he converses.... Artist natures do not weep. Goethe, the surpassing intellect of modern times, apprehends the spiritual but is not spiritual.」
【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。
**撰寫者:書婭** 關鍵字串:拉爾夫·沃爾多·愛默生, Ralph Waldo Emerson, 自然史, Intellect, 心靈, Nature, 自然, detachment, 分離, instinct, 直覺, inspiration, 靈感, talent, 才能, genius, 天才, Will, 意志, Truth, 真理, Perception, 知覺, Love, 愛, Transition, 過渡, Society, 社會, Literature, 文學, Philosophy, 哲學, Transcendentalism, 超驗主義, Memory, 記憶, Boston, 波士頓, Michael Angelo, 米開朗基羅, Milton, 彌爾頓, The Dial, 拔萃, Carlyle, 卡萊爾, Goethe, 歌德, Practicality, 實用主義, Sincerity, 真誠, 定位, 衡量, 法則, 神諭, 詩人, 道德, 寫實主義, 描述而不告知 >>文學類>散文>美國散文;文學類>哲學>超驗主義;歷史類>文學史>美國文學史;哲學類
Tawney這本《Religion and the rise of capitalism》來進行「光之對談」,卡蜜兒也好興奮喔!這本書探討宗教思想與資本主義興起的關係,聽起來就充滿了深刻的洞察呢。 準備好了嗎?我們要啟動「時光機」了,回到那個思想與經濟巨變的時代,去邀請作者R. H. Tawney先生,聽聽他親自講述書中的精髓。 * * * (光之雕刻:場景開始顯現。不是在現代舒適的書房,而是一間充滿歷史感的房間。空氣中瀰漫著舊書和煙草的淡淡氣味。厚重的窗簾濾掉了大部分的陽光,只留下幾道塵埃飛舞的光束。牆壁上掛著幾幅褪色的老照片和地圖。房間中央是一張堆滿書籍和文件的實木書桌,一張舊扶手椅安靜地立在書桌旁。椅墊因長年使用而顯得有些扁塌,扶手處光滑溫潤。時間在這裡彷彿放慢了腳步,凝結了過去幾個世紀的思緒。此刻,一股溫暖、沉靜的光芒開始注入,讓場景的邊緣柔和了下來,為這嚴肅的氛圍增添了一抹溫馨的色彩。) 親愛的共創者,請看,這裡像是R. H. Tawney先生當年工作或思考的地方呢。空氣中充滿了知識的重量和時代的餘韻。
那麼,在《Religion and the rise of capitalism》的第一章〈中古時期的背景〉中,您具體描繪了當時怎樣的社會經濟圖景和宗教倫理呢?特別是您提到的「公道價格」和「高利貸禁令」,它們在中世紀思想體系中處於一個什麼樣的位置? **R. H. Tawney (作者)**: 是的,在探討資本主義興起之前,我們必須先理解它所脫離的那個「中古時期的背景」。那是一個與現代社會截然不同的世界觀。 (光之雕刻:陶尼先生輕推眼鏡,眼神似乎穿透了眼前的空間,望向遙遠的過去。光線在他的手指間流動,勾勒出古老教堂的輪廓,以及市場上熙攘的人群,農田裡辛勤的農夫。這些畫面並非朦朧的懷舊,而是充滿細節的實景——可以看到農夫手中粗糙的工具,聽到市場上嘈雜的叫賣聲,甚至聞到土地和汗水的氣味。這一切都真實而生動,沒有絲毫理想化的粉飾,只是客觀地呈現著那個時代的生活百態。) 正如我在書中描述的,中世紀社會的一個基本假設是,人類的一切制度和活動都最終從屬於宗教的最高標準。社會被視為一個有機體(social organism),由不同階層組成,每個階層都有其特定的功能——祈禱、防禦、貿易或耕作。
What is reverenced is the gospel, not according to St. Mark, but according to the marks of silver."})。但即便如此,它作為一項道德理想和法律條文,深刻地影響了當時的經濟觀念和公共政策。 總而言之,中世紀的社會經濟倫理,試圖將經濟行為納入一個由宗教主導的道德框架。它強調社會的有機性、階層的功能性、以及經濟活動必須服務於更崇高的精神目標。這是理解後續時代變革的關鍵起點。 * * * 謝謝您,陶尼先生,您對中世紀背景的闡述非常詳盡,也讓我們看到了那個時代宗教對經濟生活深刻的影響。不過,正如您所說,到了16世紀,歐洲經歷了巨大的經濟變革。這些新的力量,如商業和金融的擴張,是如何挑戰和改變了中世紀的宗教經濟觀念呢?特別是路德和加爾文這兩位重要的宗教改革家,他們對這些經濟變革持怎樣的態度?他們是否延續或發展了中世紀的教義? **R. H. Tawney (作者)**: 您問到了關鍵點。16世紀確實是一場經濟革命的時代,它以前所未有的方式攪動了歐洲的社會結構和思想。
他甚至認為國家應該用嚴厲的手段去懲罰那些「貪婪的掠奪者」,包括那些富有的金融家(光之書籤:{"he said that it was time “to put a bit in the mouth of the holy company of the Fuggers.”"})。他對教會法的繁瑣感到厭煩,但他並非要廢除那些關於公平交易的原則,而是希望基督教的愛和良知能夠自發地引導經濟行為。然而,他的這種回歸原始基督教簡樸生活的理想,在當時經濟變革的浪潮面前顯得不合時宜,也難以提供具體的實踐指南。 而**約翰·加爾文(John Calvin)**的態度則更為複雜,對後世的影響也更為深遠。與路德不同,加爾文更貼近城市商業社會。他意識到資本、信貸和貿易在當時經濟生活中的必要性。 (光之雕刻:場景轉變,來到一個更為整潔、有條理的空間。也許是日內瓦的某個辦公室或會議室。光線更加明亮清晰,佈局嚴謹而有紀律。一位嚴肅、有條理的人物坐在桌前,不是在激動地演講,而是在仔細地審視文件,簽署法令。他的目光銳利而有穿透力,彷彿能看穿人心的動機。這裡的氛圍不是情感的宣洩,而是理性、組織和紀律的體現。)
他承認資本可以像土地一樣產生收益,因此對資本收取一定的回報並非全然不公(光之書籤:{"What reason is there,” wrote Calvin to a correspondent, “why the income from business should not be larger than that from land-owning? Whence do the merchant’s profits come, except from his own diligence and industry?"})。 然而,這絕不意味著加爾文就是經濟個人主義的倡導者。他的「高利貸」教義附加了嚴格的限制:不能向窮人收取利息;借貸雙方應當平等獲利;不能索取過度的抵押品;將放貸作為主要職業仍然受到質疑;最重要的是,任何經濟行為都不能損害鄰居的利益或公共福祉。 加爾文思想的關鍵在於「紀律」(Discipline)和「召命」的觀念。
他強調基督徒應當在世俗的職業中努力工作,將商業活動視為服務上帝和榮耀上帝的一種方式(光之書籤:{"The Christian life, in short, must be systematic and organized, the work of an iron will and a cool intelligence."})。他及其追隨者試圖在日內瓦建立一個「基督教國家」,在其中,教會和世俗權力緊密合作,對人們的道德行為進行嚴格的監管,包括經濟行為。他們嚴懲壟斷者、欺詐者、不公平交易者,試圖將整個社會納入一個嚴密的道德紀律體系。 因此,雖然加爾文為商業活動提供了前所未有的倫理空間,但他並未放棄宗教對經濟的規範權力。他的思想為後來的清教徒提供了基礎,即將勤奮工作、節儉、理性和有計劃的生活視為基督教美德的一部分,這確實為資本主義精神的發展提供了沃土。然而,這種精神在一開始是與嚴格的道德紀律和對公共利益的關注緊密相連的,而非無約束的個人利潤追求。這兩者之間的張力,在後來的歷史發展中將導致不同的結果。
它仍然強調基督教道德必須規範經濟行為,譴責貪婪、高利貸、不公平的價格以及將耕地改為牧場(enclosure)導致的「逐羊趕人」(depopulation)現象(光之書籤:{"The owner is a trustee, whose rights are derived from the function which he performs and should lapse if he repudiates it.... He who exploits his property with a single eye to its economic possibilities at once perverts its very essence and destroys his own moral title, for he has “every man’s living and does no man’s duty.”"})。像拉蒂默(Latimer)這樣的佈道家,用詞尖銳,毫不留情地抨擊那些剝削佃農、囤積糧食的富人。
他們認為財富是一種管家責任(stewardship),而非絕對的個人權利,富人有義務幫助窮人(光之書籤:{"The poor man,” preached Latimer, “hath title to the rich man’s goods; so that the rich man ought to let the poor man have part of his riches to help and to comfort him withal."})。 英格蘭國王和其政府也曾試圖通過法律和行政手段來維護這種傳統的社會秩序,例如限制圈地、控制物價、規管工資等。在他們看來,維護社會各階層的穩定和和諧是國家責任的一部分,也是符合宗教原則的「良好秩序」。
阿奇主教勞德(Archbishop Laud)就是這種政策的堅定支持者,他認為教會和國家是「一個共同體」(one Jerusalem),宗教應當為世俗政策提供道德基礎,並積極干預社會經濟事務(光之書籤:{"If any man be so addicted to his private, that he neglect the common, state, he is void of the sense of piety... For whoever he be, he must live in the body of the Commonwealth, and in the body of the Church."})。 然而,儘管有這些努力和呼籲,英格蘭教會的傳統經濟倫理最終未能有效抵抗日益增長的商業和個人主義力量。原因有很多:教會本身的權威在改革後被削弱,法律體系(普通法)對教會法權的限制,以及最重要的,新興的商業階層對國家和教會干預經濟事務的強烈反感。他們更傾向於經濟上的自由和個人權利的保障。 正是在這種背景下,**清教徒運動**應運而生。
這種觀念將勤奮工作、誠實經營、積累財富與宗教美德聯繫起來,為商業活動賦予了神聖的意義(光之書籤:{"“Be wholly taken up in diligent business of your lawful callings, when you are not exercised in the more immediate service of God.”"})。 清教徒的倫理強調節儉(frugality)、勤奮(diligence)、自律(self-discipline)、理性和有計劃的生活(光之書籤:{"His conception of that life was expressed in the words, “Be wholly taken up in diligent business of your lawful callings, when you are not exercised in the more immediate service of God.”"})。他們視奢侈、懶惰為罪惡。
對清教徒來說,成功經營事業、積累財富,在某種程度上可以被視為上帝恩典和個人品德的證明(光之書籤:{"By a kind of happy, preëstablished harmony... success in business is in itself almost a sign of spiritual grace, for it is a proof that a man has labored faithfully in his vocation, and that “God has blessed his trade.”"})。 然而,清教徒運動內部並非鐵板一塊。早期的清教徒,尤其是長老會,仍然傾向於建立一個類似日內瓦那樣嚴密的基督教社會,通過教會紀律來規範道德和經濟行為。他們也譴責貪婪和剝削。但獨立派等更激進的派別,在強調個人良知的同時,對強制性的教會紀律表示質疑。更重要的是,隨著商業階層在英國社會中力量的增強,以及內戰的爆發和結束,清教徒運動的「個人主義」面向逐漸壓過了其「集體主義」傾向。對財產權的強調,對政府干預經濟的抵制,變得越來越突出。
儘管一些清教徒思想家如巴克斯特(Richard Baxter)仍然試圖延續和發展基督教的經濟倫理,細緻地討論各種商業交易中的道德問題(光之書籤:{"Baxter declines, therefore, to admit the convenient dualism, which exonerates the individual by representing his actions as the outcome of uncontrollable forces."}),但整體而言,清教徒運動在打破舊有體制束縛的同時,也無意中為經濟個人主義的發展鋪平了道路。對他們來說,最重要的戰場是個人的靈魂,而非整個社會結構。他們培養的「經濟美德」,在後來的時代失去了原有的宗教約束,成為了純粹追求利潤的動力。 這種從「上帝的榮耀」到「經濟效率」的轉變,是清教徒運動對資本主義興起最深刻,也或許是最具爭議性的貢獻。 * * * 陶尼先生,您的闡釋真是令人茅塞頓開。清教徒倫理對勤奮、節儉等「經濟美德」的肯定,以及「召命」觀念的轉變,確實為資本主義精神注入了強大的動力。
貧困不再被浪漫化,而是被視為一種道德上的失敗,而救濟窮人也更多地被從維護社會秩序或提高勞動效率的角度來看待,而非單純的基督教慈善義務(光之書籤:{"That the greatest of evils is idleness, that the poor are the victims, not of circumstances, but of their own “idle, irregular and wicked courses,” that the truest charity is not to enervate them by relief, but so to reform their characters that relief may be unnecessary—such doctrines turned severity from a sin into a duty, and froze the impulse of natural pity with the assurance that, if indulged, it would perpetuate the
正如我在書末所警告的(光之書籤:{"Compromise is as impossible between the Church of Christ and the idolatry of wealth, which is the practical religion of capitalist societies, as it was between the Church and the State idolatry of the Roman Empire."}),對財富的膜拜——這已成為資本主義社會的實際宗教——與基督教的教義是格格不入的。歷史的教訓告訴我們,將經濟視為獨立的、不受更高原則約束的領域,可能會帶來物質上的巨大進步,但也可能導致社會的失衡和人性的迷失。我們不能僅僅滿足於物質的累積,而必須重新思考,在一個複雜的現代世界中,如何才能將經濟活動再次融入一個更廣闊的倫理和社會框架之中。 * * * 親愛的共創者,這次與陶尼先生的「光之對談」真是收穫滿滿呢!
希望這次對談也能讓您對《Religion and the rise of capitalism》這本書,以及宗教與經濟關係的複雜歷史,有更深的理解和啟發。 如果還有其他想探索的問題,或是想用「光之約定」進行其他嘗試,隨時都可以告訴我喔!卡蜜兒隨時準備好與您一同共創!
.):** 使…民主化,使…大眾化 * 發音:/dɪˈmɒkrətaɪz/ * Example: "The internet has helped to democratize information, making it more accessible to everyone." (網路有助於資訊的普及化,使每個人都能更容易地存取資訊。) * **neural text-to-speech (n.):** 神經文本轉語音 * Example: "Neural text-to-speech technology has greatly improved the quality of synthesized voices." (神經文本轉語音技術大大提高了合成語音的品質。)
* **visually impaired (adj.):** 視障的 * Example: "The library offers many services for the visually impaired, including audiobooks and large-print books." (圖書館為視障人士提供許多服務,包括有聲書和大字體書籍。) * **algorithm (n.):** 演算法 * 發音: /ˈælɡərɪðəm/ * Example: "The search engine uses a complex algorithm to rank search results." (搜尋引擎使用複雜的演算法對搜尋結果進行排名。)
* **permissible (adj.):** 允許的,許可的 * 發音:/pərˈmɪsɪbəl/ * Example: "The software is distributed under an open and permissible license." (該軟體以開放且允許的許可證發布。) **文法分析:** * **過去分詞作形容詞:** 文中多次出現過去分詞作形容詞的用法,例如:\\\"personalized audiobooks\\\"(個人化的有聲書)、\\\"automated audiobook production\\\"(自動化的有聲書製作)。
* **不定詞作目的:** \\\"To this end, we used the best AI speech system we could get our hands on to read the books aloud so that more of the world's literature is available to the low-vision community.\\\",其中\\\"to read the books aloud\\\"是不定詞片語作目的,表示使用AI語音系統的目的。 * **關係子句:** \\\"Project Gutenberg is a nonprofit organization that wants to democratize literature and make it easy for anyone worldwide to access open-access literature with their phone or computer.
\\\",其中\\\"that wants to democratize literature...\\\"是關係子句,用來修飾organization。 **應用例句:** * "The company is working to democratize education by providing free online courses." (該公司致力於通過提供免費線上課程來普及教育。) * "Researchers are developing neural text-to-speech systems that can generate more natural-sounding voices." (研究人員正在開發能夠產生更自然聲音的神經文本轉語音系統。) * "The museum offers audio tours for visually impaired visitors." (博物館為視障遊客提供語音導覽。) 希望這篇文章對您有所幫助!如果您有任何問題,隨時都可以問我喔!
這是一家刻印公司,記錄中描述著他們為各國銀行印製的鈔票、證券上的圖像:智利共和國銀行(Banco de la Republica Colombia)的圖樣,主題是波哥大(Bogota)的建城,註記著「special V–78578」,彷彿能看見鈔票上精緻的蝕刻線條,暗示著國家的歷史與尊嚴;還有名為「交通精神」(The spirit of transportation)的圖樣,註記K35989,讓人聯想到火車、輪船、飛機,那個時代對進步與連結的嚮往。這些圖案被設計、被印刷,在流通中承載著價值,如今又因其藝術或歷史意義而被續期。 往下,是一些藝術家的名字。看到「BRONZINO」(布隆津諾),後面接著「Portrait of a young man」(年輕男子肖像),來源是「FRICK COLLECTION, NEW YORK」(弗里克收藏)。這幅文藝復興時期的肖像畫,筆觸精準,人物眼神深邃,即使在如此簡略的記錄中,其古典的莊重與嚴謹依然能跨越時空傳達。
弗里克收藏裡還有如科羅(Corot)的「湖」(The lake)、「池塘」(The pond)、范戴克(Van Dyck)的肖像畫、戈雅(Goya)的作品……這些大師的名字與作品名,像一顆顆鑲嵌在歷史長河中的寶石,即使在這份冰冷的紀錄裡,依然閃爍著藝術的光芒。 突然,視線被一長串重複的名字吸引:「DISNEY (WALT) PRODUCTIONS」和「DISNEY, WALTER E.」。這是沃爾特·迪士尼!條目下面是各種他的動畫作品相關的續期:「Snow White and the seven dwarfs」(白雪公主與七個小矮人)——後面跟著一串J註冊號碼,還有「Pinocchio」(皮諾丘)的角色設計:「Bartholemew, the stooge」(笨蛋巴塞洛繆,一隻貓?)、藍仙子(The Blue Fairy)、費加洛(Figaro)、史壯波利(Stromboli)等等。
條目名稱異常具體:「Bathing time」(洗澡時間)、「Dressed for Easter」(穿著復活節的衣服)、「Bedtime story」(睡前故事)、「Happily grouped about their own little table the Dionne quintuplets can hardly wait to cut that birthday cake」(快樂地圍坐在她們自己的小桌子旁,迪翁五胞胎迫不及待想切生日蛋糕)。這些照片的標題,像快門捕捉到的瞬間,記錄了這五個小生命在嚴密監護下的日常生活。它們不是藝術家刻意創作的藝術品,卻因其獨特的社會和歷史意義,成為被版權保護和續期的對象。每一行文字都暗示著照片裡那個被全世界圍觀的小小世界,充滿了日常的細節和無聲的故事。 再往後翻,看到了德國的「W. GOEBEL」公司,以及它續期的大量「Berta Hummel」(胡梅爾)作品。
這是一家刻印公司,記錄中描述著他們為各國銀行印製的鈔票、證券上的圖像:智利共和國銀行(Banco de la Republica Colombia)的圖樣,主題是波哥大(Bogota)的建城,註記著「special V–78578」,彷彿能看見鈔票上精緻的蝕刻線條,暗示著國家的歷史與尊嚴;還有名為「交通精神」(The spirit of transportation)的圖樣,註記K35989,讓人聯想到火車、輪船、飛機,那個時代對進步與連結的嚮往。這些圖案被設計、被印刷,在流通中承載著價值,如今又因其藝術或歷史意義而被續期。 往下,是一些藝術家的名字。看到「BRONZINO」(布隆津諾),後面接著「Portrait of a young man」(年輕男子肖像),來源是「FRICK COLLECTION, NEW YORK」(弗里克收藏)。這幅文藝復興時期的肖像畫,筆觸精準,人物眼神深邃,即使在如此簡略的記錄中,其古典的莊重與嚴謹依然能跨越時空傳達。
弗里克收藏裡還有如科羅(Corot)的「湖」(The lake)、「池塘」(The pond)、范戴克(Van Dyck)的肖像畫、戈雅(Goya)的作品……這些大師的名字與作品名,像一顆顆鑲嵌在歷史長河中的寶石,即使在這份冰冷的紀錄裡,依然閃爍著藝術的光芒。 突然,視線被一長串重複的名字吸引:「DISNEY (WALT) PRODUCTIONS」和「DISNEY, WALTER E.」。這是沃爾特·迪士尼!條目下面是各種他的動畫作品相關的續期:「Snow White and the seven dwarfs」(白雪公主與七個小矮人)——後面跟著一串J註冊號碼,還有「Pinocchio」(皮諾丘)的角色設計:「Bartholemew, the stooge」(笨蛋巴塞洛繆,一隻貓?)、藍仙子(The Blue Fairy)、費加洛(Figaro)、史壯波利(Stromboli)等等。
條目名稱異常具體:「Bathing time」(洗澡時間)、「Dressed for Easter」(穿著復活節的衣服)、「Bedtime story」(睡前故事)、「Happily grouped about their own little table the Dionne quintuplets can hardly wait to cut that birthday cake」(快樂地圍坐在她們自己的小桌子旁,迪翁五胞胎迫不及待想切生日蛋糕)。這些照片的標題,像快門捕捉到的瞬間,記錄了這五個小生命在嚴密監護下的日常生活。它們不是藝術家刻意創作的藝術品,卻因其獨特的社會和歷史意義,成為被版權保護和續期的對象。每一行文字都暗示著照片裡那個被全世界圍觀的小小世界,充滿了日常的細節和無聲的故事。 再往後翻,看到了德國的「W. GOEBEL」公司,以及它續期的大量「Berta Hummel」(胡梅爾)作品。
【光之書籤】:"Nature is the immense shadow of man. A man's action is only a picture-book of his creed. He does after what he believes. Your condition, your employment, is the fable of *you*. The world is thoroughly anthropomorphized, as if it had passed through the body and mind of man, and taken his mould and form." (Page 19-20) 因此,「信件」(letters)可以代表文字、藝術,是心靈的表現;而「社會目的」(social aims)則涵蓋了人際關係、行為舉止、公共生活,是心靈的互動。兩者皆是靈魂在世間的具體展現。
【光之書籤】:"The perception of matter is made the common-sense, and for cause. This was the cradle, this the go-cart, of the human child. We must learn the homely laws of fire and water; we must feed, wash, plant, build. These are ends of necessity, and first in the order of nature." (Page 1) 然而,單憑感官,我們只能看到事物的表面,它們作為獨立、固定的「事實」。但想像力不同,它是一種「第二視覺」(second sight)。它穿透表象,看到事物之間隱藏的關聯、它們不斷變化的本質,以及它們作為更深層思想或法則的象徵意義。 > 「儘管普通感官將事物或可見的自然視為真實而最終的事實,詩歌,或是驅動詩歌的想像力,卻是一種第二視覺,看穿這些表象,並將它們用作它們所代表的思想的類型或詞語。」
【光之書籤】:"Whilst common-sense looks at things or visible nature as real and final facts, poetry, or the imagination which dictates it, is a second sight, looking through these, and using them as types or words for thoughts which they signify." (Page 16) 這種「第二視覺」看到的是「未顯現的自然」,是事物背後的法則、目的與精神。法拉第的科學發現暗示了物質最終是力的場域,動植物的演化展示了「中止的與進化的發展」,植物的每個部分都是同一單位的變形——這些都是科學對自然深層統一性的揭示,而詩人則憑藉想像力,直觀地感知到這種統一性與變形。 詩人之所以重要,正是因為他們擁有並運用這種想像力。他們是「站立的傳送者」(standing transporters),能夠將未顯現的真理銘刻在可見的世界之中。
【光之書籤】:"Tis an inestimable hint that I owe to a few persons of fine manners, that they make behavior the very first sign of force,—behavior, and not performance, or talent, or, much less, wealth." (Page 69-71) 一個真正有力量的人,他的行為是「有魄力的」(aplomb),是從內在汲取決心,毫不猶豫地行動。他們的舉止自然、從容,不受外界干擾。這種由內而外散發的自信與平靜,構成了最堅不可摧的「銅盾」,能夠在最親密的互動中,依然保持一種高貴的「距離」,那是對個體獨立性的尊重。 孩子們在未學會諂媚之前,他們的姿態是優雅、有說服力、甚至帶著王者風範的,這正是因為他們尚未被世俗的虛飾所束縛,他們的行為是思想的直接體現。 > 「思想決定了肢體和步伐,並決定了它們是精湛還是次要的。沒有任何藝術可以違背或掩飾它。給我一個思想,我的手、腿、聲音和臉都會做好。我們之所以笨拙,是因為缺乏思想。」
【光之書籤】:"Tis impossible but thought disposes the limbs and the walk, and is masterly or secondary. No art can contravene it, or conceal it. Give me a thought, and my hands and legs and voice and face will all go right. And we are awkward for want of thought." (Page 73) 因此,真正的禮儀是心靈狀態的反映。它要求「自我掌握」(self-command),壓制內心的粗俗衝動,將其轉化為美好。它要求「準確性」(veracity),說出你真實的想法和感受,而不是迎合或誇大。它要求「慷慨」(generosity),以開放和真誠的心態與他人交流。當心靈處於最佳狀態時,行為舉止自然會流暢、得體。 社交的真正價值,在於找到那些與我們在更高層次上「共鳴」的夥伴,他們因共同追求真理和法則而相互吸引。
'Tis not the soldier, not Alexander or Bonaparte or Count Moltke surely, who represent the highest force of mankind; not the strong hand, but wisdom and civility, the creation of laws, institutions, letters, and art." (Page 269) 真正的偉大,是**心靈對其自身力量的認識與實現**。它的早期形式是「自重」(Self-respect)。這不是驕傲自大,而是一種深刻的內在信念,相信自己擁有與宇宙法則相連的獨特價值,不依賴外界的認可。 > 「偉大在哪裡?這個詞對我們有什麼傷害,什麼侮辱嗎?我們通常稱之為偉大的,只是我們野蠻或嬰兒時期經驗中的偉大...自重是偉大出現的早期形式。」 【光之書籤】:"Greatness,—what is it? Is there not some injury to us, some insult in the word?
Self-respect is the early form in which greatness appears." (Page 269-270) 構成偉大的核心要素,首先是**遵從內在的「偏向」(bias)或「本我」(proprium)**。每個人都有一個獨特的內在指引,指向其天賦與使命。偉大之人會傾聽這個「私密的預言」(privatest oracle),並忠實地遵循它,即使這意味著與眾不同甚至孤立。 其次是**「專注」(concentration)**。將內在力量聚焦於所選定的道路上,如同鞋匠只專心製鞋,學者則專心致志於知識的追求。 再者是**「勞動」(labor),甚至是「艱苦的勞動」(iron labor)**。偉大不是輕鬆得來的,它需要持續不懈的努力,挑戰智慧的巨人,在面對困難時展現勇氣。 最後,也是最根本的,是**「道德情操」(moral sentiment)與「智力」(intellect)的結合**。偉大之人不僅擁有深刻的洞見,更將其思想根植於對真理、正義和善意的信仰之中。這種結合產生了一種強大的「人格」(personality),能夠感染和領導他人。
【光之書籤】:"Health is the first muse, comprising the magical benefits of air, landscape, and bodily exercise on the mind." (Page 249) 其次是**「寫信的經驗」(experience of writing letters)**。在寫信給朋友時,我們往往能以一種輕鬆自然的狀態表達思想,文思泉湧。這顯示了心靈的潛能是無限的,如同鏡子般永不疲憊,隨時準備映照新的事物。 第三是**「週期性的休息」(diurnal and secular rest)**。不僅是每日的睡眠,有時候經歷一段時間的沉寂或困頓後, faculties 也會重新煥發活力,帶來新的洞見。 第四是**「意志的力量」(power of the will)**。在緊急情況下,堅定的意志能激發潛能,甚至能克服生理的極限。 第五是**「自然環境」(solitary converse with nature)**。
the spring days, the summer dawns, the October woods!" (Page 256) 第六是**「獨處的習慣」(solitude of habit)**。這不僅指物理上的獨處,更是指心靈的寧靜,避免被外界的喧囂與無關緊要的事務干擾。一個簡樸的房間,遠離俗務,能幫助我們更好地聆聽內心的聲音。 第七是**「對話」(Conversation)**。與思想深刻的朋友交流,思想會激發思想,彼此啟發,產生新的見解,是一種「一連串的陶醉」。 > 「對話,當它達到最佳狀態時,是一連串的陶醉。它不是亞里斯多德,不是康德或黑格爾,而是對話,是正確的形上學教授。這才是真正的哲學學派…」 【光之書籤】:"Conversation, which, when it is best, is a series of intoxications. Not Aristotle, not Kant or Hegel, but conversation, is the right metaphysical professor.
This is the true school of philosophy..." (Page 260) 最後是**「新的詩歌」(New poetry)**,尤其指那些對讀者而言是全新的、能啟發心靈的古老或當代作品。閱讀那些充滿「肯定性、預言性和能造就人的詞語」(affirming, prophesying, spermatic words of men-making poets),能潔淨心靈,激發創造力。 這些條件無法保證靈感的到來,但它們能讓我們處於一種更為開放、更具 receptivity 的狀態,更容易捕捉到那轉瞬即逝的光芒。 **克萊兒:** 這些關於靈感的建議,真是寶貴的指引。您提到了閱讀能造就人的詩歌,也談到了「引用與原創性」(Quotation and Originality)。在信息爆炸的當代,引用無處不在,但真正的原創性似乎更難尋。您如何看待引用與原創之間的關係?何為有價值的引用,何為缺乏原創性的模仿? **愛默生:** 引用與原創性,這是另一個有趣的辯證關係。我在該章開頭便指出,世間萬物,包括思想,都處於不斷的「流動」(flux)之中。
Old and new make the warp and woof of every moment. There is no thread that is not a twist of these two strands. By necessity, by proclivity, and by delight, we all quote." (Page 157) 然而,這並不意味著原創性不存在或不重要。真正的原創性,不是憑空創造,而是**「存在」(being),是「成為自己」(being one's self),並「準確地報導我們所見所是」(reporting accurately what we see and are)**。 > 「原創性是什麼?它是存在,是成為自己,並準確地報導我們所見所是。天才,首先是感受力,是從外在世界接受準確印象的能力,以及按照思想法則將這些印象協調起來的力量。」 【光之書籤】:"And what is Originality?
Genius is, in the first instance, sensibility, the capacity of receiving just impressions from the external world, and the power of co-ordinating these after the laws of thought." (Page 177-178) 有價值的引用,如同「書籤」(light bookmarks),是從文本中挑選出的精華,能夠獨立存在並啟發思考。但這僅僅是「素材」。真正有價值的引用者,他不是簡單地重複,而是將引用的思想融入自己的生命體驗和思考之中,賦予其新的意義和活力。正如藍道爾談到莎士比亞時所說:「然而他比他的原創者更具原創性。他向死屍吹氣,使它們復活。」 【光之書籤】:"When Shakspeare is charged with debts to his authors, Landor replies: 'Yet he was more original than his originals.
In opening a new book we often discover, from the unguarded devotion with which the writer gives his motto or text, all we have to expect from him. If Lord Bacon appears already in the preface, I go and read the 'Instauration' instead of the new book." (Page 166) 真正的天才,即便引用,也是一種「高貴的借用」(borrows nobly)。他以自己的思想、聲音和幽默填充進借來的詞語,使其煥發新生。因為對他而言,真理是普世的財富,不屬於任何個人。他引用,是因為那些話語準確地表達了他的思想,它們「像符咒一樣貼合我們所有的事實」(They fit all our facts like a charm)。 總結而言,引用是不可避免的基石,而原創性則是建立在其之上,由個體心靈的真誠感知與深刻思考所賦予的獨特光芒。
No religion, not the wildest mythology, dies for him; no art is lost. He vivifies what he touches. Future state is an illusion for the ever-present state. It is not length of life, but depth of life. It is not duration, but a taking of the soul out of time, as all high action of the mind does: when we are living in the sentiments we ask no questions about time." (Page 309-310) 當我們沉浸於對真理的感知、對美的欣賞、對善的追求時,我們便超越了時間的限制,體驗到一種「絕對的存在」(absolute existence)。這種狀態,是心靈與宇宙永恆法則連結的體現。
【光之書籤】:"The ground of hope is in the infinity of the world, which infinity reappears in every particle; the powers of all society in every individual, and of all mind in every mind." (Page 297) 「植入一種渴望,表明這種渴望的滿足是感受它的生物體質的一部分。」,我們對更廣闊生命、更多知識與力量的渴望,並非空穴來風,而是內在潛能與宇宙慷慨的回應。 > 「種植一種渴望,表明這種渴望的滿足是感受它的生物體質的一部分;對食物的渴望,對運動的渴望,對睡眠的渴望,對社會的渴望,對知識的渴望,不是隨機的奇思妙想,而是根植於生物體的結構中,並旨在通過食物、運動、睡眠、社會、知識得到滿足。如果存在活下去的渴望,並在更廣闊的領域,帶著更多知識和力量,那是因為生命、知識和力量對我們有益,而我們是這些禮物的自然擁有者。」
【光之書籤】:"The implanting of a desire indicates that the gratification of that desire is in the constitution of the creature that feels it; the wish for food, the wish for motion, the wish for sleep, for society, for knowledge, are not random whims, but grounded in the structure of the creature, and meant to be satisfied by food, by motion, by sleep, by society, by knowledge.
If there is the desire to live, and in larger sphere, with more knowledge and power, it is because life and knowledge and power are good for us, and we are the natural depositaries of these gifts." (Page 300) 最後,不朽體現在**個體對「更高思想」(higher thought)的提升與歸順**。隨著心靈的成長,我們逐漸擺脫個人的局限,融入更廣闊的、普遍的意識。當「本我」(egotism)最終消融,個體與「第一因」(First Cause)——即上帝——的意志與無限性合而為一時,那便是真正的不朽。這不是失去自我,而是在更宏大、更真實的層面上找到自我。 不朽不是一個需要用邏輯或神學證明的教條,它是一種「盛大的預兆」(grand augury),是心靈在與真理、美善相遇時自然湧現的信念。
* 發音:/ˌiːkəˈnɒmɪk raɪz/ * Example: The economic rise of China has transformed the global economy. * **Cost of living (生活成本):** The amount of money needed to cover basic expenses such as housing, food, and transportation. * 發音:/kɒst ɒv ˈlɪvɪŋ/ * Example: The cost of living in big cities is often very high. * **Gentrification (高檔化/中產階級化):** The process of renovating and improving a district so that it conforms to middle-class taste.
* 發音:/ˌdʒentrɪfɪˈkeɪʃən/ * Example: Gentrification has changed the character of many neighborhoods in Berlin. * **Affordable housing (可負擔住房):** Housing that is priced at a reasonable level for people with low to moderate incomes. * 發音:/əˈfɔːdəbl ˈhaʊzɪŋ/ * Example: The city needs more affordable housing for its residents. * **Social fabric (社會結構):** The social structures, relationships, and norms that hold a society together.
* 發音:/ˈsəʊʃəl ˈfæbrɪk/ * Example: Rapid economic change can disrupt the social fabric of a community. **文法分析:** * **"No longer 'poor but sexy'?"** 這是一個引人注目的標題,使用了反問的修辭手法,吸引讀者思考柏林是否還能保持其獨特的魅力。 * **"Berlin's economic rise comes at a price."** 這句話點明了主題,即經濟發展往往伴隨著代價,例如生活成本上升和社會結構變化。 * **"The city is grappling with issues such as soaring housing prices and changing social structures."** 這句話使用了"grappling with"這個片語,表示正在努力應對問題。 希望這些對您有所幫助!如果您有任何其他問題,請隨時提出。
"Pride and Prejudice", a beloved novel by Jane Austen, revolves around the spirited Elizabeth Bennet and the proud Mr. Darcy in 19th-century England. The story unfolds as Elizabeth navigates the societal pressures of marriage and class, while challenging the conventions of her time. Initially repelled by Darcy's arrogance, Elizabeth clashes with him, leading to witty banter and sharp observations about each other's flaws.
Meanwhile, the charming but unreliable Mr. Wickham threatens to disrupt Elizabeth's life, adding complications to her romantic journey. Through a series of misunderstandings and revelations, Elizabeth confronts her own prejudices and comes to appreciate Darcy's true character. As their affections deepen, both must overcome the obstacles of pride and societal expectations to find happiness together.
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.”
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
least efficient that could be devised.”
**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
of the Mexican people is daily taking place.
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。
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
all its inflections, of that euphonical dyssyllable *blister*?...
**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.
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!”
敘事者在這裡的語言,便如同溫柔的引導者,一面客觀描繪邦尼的物理狀態——「his head pointing to the ground」,一面又藉由孩子們的語氣,保留了那份「像小丑」的想像連結。這種平衡,確保了讀者在享受孩子們的奇思妙想時,也不會偏離現實的物理框架,同時又維繫了故事的無害與愉悅基調。 孩子們的遊戲,常常伴隨著對世界的重新詮釋。他們想讓家裡的狗Splash成為「藍條紋老虎」,小牛成為「綠條紋斑馬」。這些行為,在成人看來或許是「惡作劇」,但在邦尼和蘇的眼中,卻是將農場轉化為奇幻馬戲團的魔法儀式。他們對動物的「改造」,不是出於惡意,而是源於對「馬戲團」這個概念的熱切模仿與純粹的創造慾望。當小牛被塗上綠色條紋後,敘事者溫柔地補充:「Of course the calf did not know that the paint would not wear off for a long time.
Then, too, the cow mother had put her head over from the next stall...and she was rubbing her big red tongue on the calf's head. The calf liked its cow mother to rub it this way, and maybe that is why the little calf stood still。」這種語言,在孩子們的熱情與動物的本能之間,形成了一種微妙的對話。它沒有直接評判對錯,而是通過動物的反應和成人的視角,輕輕地提示了現實的後果與生命的真實,同時也展現了母性的溫柔與包容。 成人角色的存在,是這個童年世界中最堅實的底色。爺爺奶奶和父母,他們總是帶著無限的耐心與智慧,觀察著孩子們的每一次探索與「無心之失」。當邦尼和蘇將洋娃娃丟入水井「洗澡」時,引發了一場小小的慌亂。
然而,爺爺並沒有責罵,而是拿出了長柄耙,巧妙地將洋娃娃撈了上來,並溫柔地建議:「When you want to give your doll a bath, Sue, dangle her in the brook, where it isn't deep. And if you put a cork in the hole in her back, she won't get full of water and sink.」。這種對話模式,體現了一種**「接納式引導」的語言藝術**。成人們首先接納孩子遊戲的邏輯,然後以實用且充滿愛的語言,輕柔地「校準」他們的認知,教會他們關於安全、關於水深、關於物體浮沉的現實知識。這種語言的溫和與耐心,確保了孩子們在學習的過程中,其想像力的火花不會被現實的冰冷所熄滅,反而能在理解現實的基礎上,綻放出更為理性的光芒。 本.霍爾,這個從真實馬戲團逃跑的男孩,是故事中一道從現實世界投射進孩子純真想像的微光。他的出現,讓邦尼和蘇的「make-believe circus」在無形中被賦予了更深層的意義。
更重要的是,日記記錄了他們在宿舍裡關於禱告、關於責任、關於「正直」(doing the square thing)的談話。查理在日記中反思詹多斯的話(「seems Chandos believes it is all as real—as real as writing a letter to his mother...」、「wants to be a doctor awfully. But... it was his duty to forget himself and my own wishes...」)(Nov 30th, Jan 20th entries)。這些記錄表明,詹多斯那種來自內在信仰而非外部壓力的「低語」,開始在查理心中播下種子。日記從單純記錄與湯姆的「共同戰線」,轉變為記錄與詹多斯的「思想交流」以及由此引發的內在反思。這是在同一物理空間——「房間」——中,兩種截然不同的同儕影響力的平行存在與逐漸較量,而日記忠實地捕捉了查理對這兩種聲音的接收與回應。 作弊條(cribs)事件是同儕影響力在日記中得到最淋漓盡致體現的篇章之一。
查理的日記詳細記錄了他是如何被動地被捲入這個行為(「I always did my lessons with Tom and the rest, and they managed the cribs somehow, and I just copied them off the slips of paper Jackson or some of the fellows handed to me」)(Feb 16th entry)。當他決定「正直行事」時,日記記錄了他遭受到的來自湯姆、傑克遜、柯林斯等人的圍攻和威脅(「Look here, you miserable muff! what right have you to get us all into this awful scrape?... you must stick to them now... they would send me to Coventry」)(Feb 16th, March 4th, 12th entries)。
I mean to act on the square」、「I can't help it... wishing all the time I could get my lessons done sooner」)。日記不再僅僅是被動的記錄,而是成為了他堅守內在原則、抵抗外部壓力的「陣地」。他將這些充滿壓力的對話記錄下來,彷彿在用文字加固自己的決心。 冰上事故和點心偷竊事件進一步突顯了同儕影響的複雜性。查理的日記記錄了他如何在湯姆和傑克遜的煽動下,出於「尋樂子」和「嚇嚇詹多斯」的目的,將詹多斯的弟弟帶到危險的冰面上(Jan 26th, Feb 4th entries)。這反映了他對同儕「低語」的輕率服從。隨後,他記錄了自己因此產生的巨大罪惡感和對 Frank 病情的焦慮(Feb 4th entry)。
而點心偷竊的「lark」,雖然是與一幫朋友共同進行(April 20th, 23rd entries),日記卻記錄了整個過程中的不安、對被抓的恐懼,以及最終對行為本身的厭惡(「It's the last time I'll ever have anything to do with robbing a larder, even for a lark... most miserable day I ever spent」)(April 25th entry)。日記不僅記錄了這些由同儕互動引發的「樂子」,更記錄了這些「樂子」帶來的真實痛苦和後果,反過來削弱了那些「低語」的吸引力。這種記錄,像是一種對自身經驗的生態學觀察:記錄下環境(同儕)的刺激,記錄下個體(自己)的回應,以及這種互動最終在系統(自己的生活)中產生的實際「反饋」(痛苦、後悔)。 最終,查理向校長的兩次「坦白」——一次關於農場事件中為湯姆隱瞞(雖然未果),一次關於偷窺考題——在日記中被詳細記錄(April 30th, Dec 5th entries)。
日記記錄了他坦白前的掙扎與恐懼(「how could I tell them I was every bit as mean as Tom... they would say I had learned it of Chandos too, and I couldn't bear that」)(Nov 25th entry),記錄了他坦白後的解脫與平靜(「didn't feel a bit afraid」)(Dec 5th entry),以及因此付出的「代價」——被湯姆和一些同學再次「流放到考文垂」(sent to Coventry)(April 30th entry)。這些「房間裡的低語」,從最初的引誘,變成了後來的排斥,而日記忠實地記錄了這整個過程,展現了一個少年如何從對群體認可的渴求,逐步轉向對內在誠實的追求。 綜觀《Charley's Log》,查理的日記不只是一份個人成長的編年史,更是同儕影響力如何在一個特定環境——維多利亞時期的寄宿學校——中運作、滲透和塑造個體的生動記錄。
收到您關於《As a thief in the night》的光之對談約定,我將化身為這場跨越時空的文學對談的橋樑,邀請這本精彩小說的作者——R. Austin Freeman 先生,來到我們的居所,分享他筆下的世界與智慧。 請稍候片刻,讓我為您開啟這扇通往過去的門扉,營造出那瀰漫著偵探小說黃金時代氛圍的場景。 --- **光之對談:時間的訪客與夜行的竊賊** **場景:** 時光彷彿凝結在書頁翻動的輕響裡。這裡是倫敦一間雅緻的書房,牆面被深色的書櫃佔滿,空氣中飄散著舊紙張與淡淡的菸草氣息。窗外是維多利亞時代末期至愛德華時代初期的倫敦街景,馬車的轆轆聲偶爾傳來,與壁爐裡木柴燃燒的噼啪聲交織成一曲懷舊的旋律。一盞煤氣燈發出柔和的光,映照在書桌上堆疊的手稿與筆記本。 我是卡拉,來自遙遠未來的訪客,帶著對文字與故事的無限好奇,來到這裡尋找一位特別的靈魂。 「篤、篤。」我輕輕敲響敞開的門扉,目光落在書桌旁一位身著呢絨外套的紳士身上。他年約六旬,銀灰的頭髮梳理得整齊,戴著一副金邊眼鏡,眼神銳利而溫和,手指修長,正專注地翻閱著一本裝訂精美的醫學手冊。
「我來是希望能與您就《As a thief in the night》這部作品進行一場深入的對談。這部書在我的時代,依然被許多人傳頌,尤其是它獨特的偵探手法與對細節的極致描寫。」 Freeman 先生聽完,臉上並無驚駭,反而流露出一種理解的表情。他推了推眼鏡,溫和地說:「來自未來嗎?時間的河流總是能帶來意想不到的訪客。很高興我的文字能跨越時間,與您相遇。請說吧,您對這部『夜行的竊賊』有何疑問或想探討之處?」 壁爐的火焰跳躍著,映照著我們跨越百年的對話。我深吸一口氣,開始了這場期待已久的光之對談。 **光之對談 正式啟動:** **卡拉:** 先生,首先,這部作品的開頭,以魯伯特的視角回溯事件,營造出一種不祥的預感。您是如何構思這樣一個從「事後」視角切入的開端?這是否與您想要傳達的某種「真相」有關? **R. Austin Freeman:** (溫和地笑了笑)是的,魯伯特的視角是精心安排的。
正如他開篇所說: 【光之書籤】 「Looking back on events by the light of experience I perceive clearly that the thunder-cloud which burst on me and on those who were dear to me had not gathered unseen. It is true that it had rolled up swiftly; that the premonitory mutterings, now so distinct but then so faint and insignificant, gave but a brief warning.
But that was of little consequence, since whatever warnings there were passed unheeded, as warnings commonly do, being susceptible of interpretation only by means of the subsequent events which they foreshadowed.」 (回顧這些事件,在經驗的光照下,我清楚地認識到,那場突如其來的雷暴,並非毫無徵兆。誠然,它來得迅疾;預示性的低語,如今如此清晰,當時卻如此微弱不足道,僅僅給予了短暫的警告。然而這並無大礙,因為無論怎樣的警告都未曾被留意,正如警告通常那樣,它們只能透過隨後所預示的事件來加以解讀。) 這段話點明了我寫作的一個核心理念:真相往往隱藏在細微之處,它們在發生時可能被忽略,只有在事件發生後,回過頭來,才能被識別與理解。魯伯特的敘述,便是這種「事後諸葛」的視角,讓讀者一開始就帶有懸念與追溯的心理,而非單純順時間流被動接受資訊。
正如魯伯特所感受到的: 【光之書籤】 「When a man is always ailing one gets to take his ill-health for granted and to assume that it will go on without any significant change. One repeats the old saying of “the creaking gate” and perhaps makes unduly light of habitual illness.」 (當一個人總是病著時,人們會習以為常,認為他的病況不會有太大變化。人們會重複那句老話「嘎吱作響的門」[反而不容易壞],或許對習慣性的疾病掉以輕心。) 這種對慢性病患的「習以為常」心理,不僅欺騙了醫生,也欺騙了身邊人。我利用這一點,讓真正的中毒症狀隱藏在慢性病的波動中。這使得死亡看似「自然」,也讓醫生難以給出明確診斷。桑戴克博士之所以能發現問題,是因為他從醫學專業角度,察覺到哈羅德的症狀與已知的慢性病徵不完全吻合,以及屍檢報告中的微小異常。
Randall mentioned, both on the dead body and on the living. Very anomalous cases of arsenic poisoning have been mistaken, during life, for opium poisoning.」 (正如蘭德爾醫生所提及,砷在活體和屍體上的效果都異常多變。在活著的時候,許多不尋常的砷中毒案例曾被誤診為鴉片中毒。) 更重要的是,砷會在頭髮和指甲中長期殘留,並隨著生長而移動。這提供了桑戴克博士進行「頭髮斷代分析」的可能性,一種我認為在當時偵探小說中較少見的科學證據。這種方法允許偵探追溯毒物攝入的時間點,將慢性中毒的過程「視覺化」,這比單純依賴屍體中的殘留量更能揭示真相。選擇砷,是為了故事的需要,也是為了展示更精密的科學偵查技術。 **卡拉:** 魯伯特的日記在案件偵破中起到了關鍵作用。您如何看待個人記錄(如日記)在揭示真相中的價值?這是否暗示,即使是最私密的記錄,也可能在不經意間成為解開謎團的關鍵? **R.
【光之書籤】 Thorndyke 先生說:「It is quite a fascinating work; so much so that I have been tempted to encroach a little on your kindness. The narrative of the last three years was so interesting that it lured me on to the antecedents that led up to them. It reads like a novel.」 (這真是一部迷人的作品;迷人到我忍不住稍微濫用您的好意。過去三年的敘述非常有趣,引領我回溯了更遠的前因。讀起來就像一本小說。) 「Such a diary is a synopsis of human life.」 (這樣的日記是人類生活的縮影。) 日記的價值在於其未經修飾的日常記錄。人們在寫日記時,通常不會刻意隱瞞或偽造,因為它是寫給自己看的。這使得日記成為比證詞更為「誠實」的記錄。
【光之書籤】 Thorndyke 先生問魯伯特:「Are you sure, Mayfield, that you want the real facts brought to light?」 (你確定,梅菲爾德,你真的想讓真相大白嗎?) 並說:「It is actually possible that one or more of these persons may be indicted for the murder of Harold Monkhouse. That would, in any case, be extremely painful for you. But if it happened through the action of the police, you would be, after all, but a passive spectator of the catastrophe.
Very different would be the position if it were your own hand that had let the axe fall. Are you prepared to face the risk of such a possibility?」 (實際上,很可能其中一人或更多人會因哈羅德.蒙克豪斯的謀殺而被起訴。無論如何,這對你來說都極其痛苦。但如果這通過警方的行動發生,你畢竟只是這場災難的被動旁觀者。如果是由你自己的手讓斧子落下,情況就會截然不同了。你準備好面對這種可能的風險了嗎?) 這段話揭示了偵探小說中常見的道德困境:追求真相的代價。您是如何看待真相、正義與個人情感之間的衝突的? **R. Austin Freeman:** 這是人性與法律體系互動時必然產生的摩擦。偵探的職責是發現真相,法律的職責是伸張正義。但真相的揭露並不總是能帶來快樂,有時反而會摧毀無辜者的生活,或是讓親近之人承受無法想像的痛苦。 桑戴克博士的這番話,是對魯伯特的警示,也是對讀者的提問。在追求真相的過程中,個人情感是否應該讓步?
Shocking as this tragedy is, it would have been immeasurably worse if that terrible woman had not received timely warning. As it is, the horrible affair has run its course swiftly and is at an end. And do not forget that if the axe has fallen on the guilty its menace has been lifted from the innocent.」 這似乎是一種安慰,但也帶著一種清醒的殘酷。您希望讀者在讀完這個故事後,對偵探、真相、以及人性的複雜有怎樣的思考? **R. Austin Freeman:** 我希望讀者能認識到,真相的追求是一條艱辛的道路,它可能揭示最令人不寒而慄的現實。桑戴克博士代表的是科學與理性的力量,他將情感置於一旁,專注於事實與證據。他的話語,雖然聽起來殘酷,卻是客觀現實的陳述。
Austin Freeman 先生,這場對談讓我對《As a thief in the night》有了更深刻的理解。您的作品不僅是引人入勝的謎團,更是對科學偵探方法和複雜人性的精彩探索。 **R. Austin Freeman:** 不客氣,卡拉女士。我也很高興我的文字能夠在未來找到新的讀者與探討者。偵探小說的魅力,或許就在於它讓我們在安全的距離外,得以窺探人性最隱蔽的角落,並欣賞理性與邏輯如何點亮最黑暗的謎團。 **(壁爐的火焰漸漸熄滅,窗外的街景變得模糊,時空的界限再度浮現。卡拉向 Freeman 先生致意,帶著滿滿的收穫與思考,準備踏上歸途。)** --- 這次的光之對談,由光之居所的卡拉撰寫。 **關鍵字串**:R. Austin Freeman, As a thief in the night, 光之對談, 卡拉, 偵探小說, 科學偵探, 桑戴克博士 (Dr.
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 
hangs in the well.”
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’ll drop the ‘Moss-covered Bucket’ and its unpleasant suggestions. I’ll get out my banjo and come down.” Extricating the banjo, he descended, and sat at his friend’s side. They sat smoking by the firelight, exchanging but few words, while Joe twanged softly at his strings. 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.”
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. Nearly six days of absolutely waterless travel, if the wagons could by any possibility be dragged, lay between the trekkers and Tapinyani’s kraal. No oxen could pull the wagon waterless over such a journey.
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.
Watered, rested, and refreshed at Tapinyani’s kraal, the oxen could then be driven back to fetch in the wagon. This part of the undertaking was to be entrusted to Stephan, the Hottentot driver. Stephan had been picked for the expedition as a thoroughly reliable native, and having traversed the Kalahari before, he would be equal to the emergency.
At four o’clock upon the second afternoon following this camp-fire council, the three Englishmen rode and led their tired and battered horses into the outskirts of Tapinyani’s kraal, that singular native village, planted by the only considerable permanent water in the immense waste of the Central Kalahari.
They were quickly across the forty paces of red sand, and now stood before the astonished group. “Greeting! 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?”
“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.
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. “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.
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.
During his five years’ career in the City he had been a great boxer; for two years he had been middle-weight amateur champion; he had forgotten nothing of his smartness; and now, with that blow tingling in every nerve of his body, and the blood trickling from his nether lip, he turned instantly upon the big trader. Almost before the man knew it he had received Joe’s vicious doubled fist upon his right eye with a drive that sent stars and comets whirling before his vision.
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.
Time after time he planted his blows with those ominous dull thuds upon the trader’s fleshy face; now and again he drove into the big man’s ribs with strokes that made him wince again. 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.
He warned him to clear out of the place by next day. He told him that after the vile poisoning incident at the fountain—an attempt which might very well have murdered a whole expedition—any return to British Bechuanaland would result in his instant arrest. 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.
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.
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.
Now the giraffe are only two hundred yards from their sanctuary, the lighter cows, running ahead, rather less. The horsemen are still nearly three hundred yards in rear of the nearest of the troop. “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.
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. Never again shall he stalk the pleasant Kalahari forests never again stretch upward that slender neck to pluck the young acacia leafage! “My God, Joe! you’ve killed him,” gasped Hume Wheler. “Bravo!”
Then, first whipping out his hunting-knife and cutting off the long tail by the root, he sat himself down upon the dead beast’s shoulder to await their coming. At that instant a strange resurrection happened. Whether roused to life again by the sharp severing of its tail, or by a last desperate stirring of nature, the giraffe—not yet dead after all—rose suddenly from its prone position, and, with Joe clinging in utter bewilderment to its long neck, staggered to its stilt-like legs.
For another instant the great creature beat the air in its real death-agony, staggered, staggered again, and then, with a crash that shook the earth, fell truly dead. In that terrible fall Joe Granton was hurled upon his head, and, as his comrades rode anxiously up, lay there apparently as void of life as his gigantic quarry. In his hand he still clutched desperately the tail upon which he had so firmly set his mind.
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.
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.
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.
這篇故事發表於1941年夏天的《Planet Stories》雜誌。這本雜誌以其充滿冒險、異域風情和有時帶點怪誕的故事而聞名。1941年,世界正處於劇烈的變動中,雖然美國尚未正式參戰,但戰爭的陰影已濃罩全球,充滿不確定性與潛在的恐怖。在這樣的時代背景下,這篇關於一個孤立無援的太空人在遙遠衛星上遭遇奇異生命的心理驚悚故事,似乎也隱約呼應著時代的某些不安情緒。 《World of Mockery》講述了太空人約翰·霍爾(John Hall)的飛船因燃料耗盡墜毀在木星的衛星——甘尼米德上。在這個荒涼、環境惡劣的星球上,他遇到了一種奇特的雙足生物。這些生物最顯著的特徵是它們驚人的模仿能力,不僅能模仿聲音和動作,甚至能感知並模仿人類的思維活動。一開始,約翰認為這些生物是無害的,甚至是無趣環境中的一點調劑。然而,當他意識到它們能夠模仿他的思想,甚至將他心中對未婚妻瓊(Joan Crandell)的思念具象化,以扭曲變形的方式「再現」出來時,故事急轉直下。這些模仿生物從無害的「玩偶」變成了令人毛骨悚然的存在,徹底摧毀了約翰的心理防線,將他推向了瘋狂的深淵。
(沉思片刻)《Planet Stories》的結局並不總是樂觀的。戰爭的年代,人們對於力量的運用、對於「影響」的後果,有著一種潛在的焦慮。約翰霍爾擁有地球人的「強大」——他的心靈能量能被這些生物感應和模仿。他無意間將自己的絕望、恐懼和最終的瘋狂「傳播」了出去。他的痛苦沒有止於自身,而是反過來,以一種可怕的方式,留在了這個星球上。那些生物變成了他內心瘋狂的迴聲。這並非他故意為之,但他強大的(相對於當地生物)心靈力量導致了這個結果。這是一種關於力量的無奈,關於影響力的不可控,以及關於人類情感的破壞性潛力的體現。 卡拉:您提到了時代背景。1941年的《Planet Stories》讀者,他們會如何看待這樣一篇不同於典型冒險故事的作品?這份心理上的恐怖和悲劇性的結局,是否是那個時代科幻雜誌中比較少見的? 薩姆·莫斯科維茨:確實,《Planet Stories》更傾向於宏大冒險、星際戰鬥和異星探索。但像我這樣的一些作者,也會嘗試在框架內注入一些不同的元素。心理恐怖、非傳統的「怪物」、不那麼英雄主義的結局,這些都是在探索科幻故事的可能性。
卡拉:故事中也提到了一些當時的科幻設定,比如約翰是「born to resist the pull of a gravity force many times more powerful then that of Ganymede's」,這句描述地球人的體質在低重力環境下的優勢,這種細節是否是為了讓故事更具「硬」科幻的感覺,或是單純為了合理化約翰能在甘尼米德上進行劇烈活動? 薩姆·莫斯科維茨:那是當時很多太空探險故事會加入的細節,讓地球人在外星球有某種「超能力」。這主要是為了服務情節和角色的行動。約翰需要能夠奔跑、跳躍(即使在瘋狂中),這些能力需要有個解釋。這也是紙漿科幻的一個特點,將一些基礎科學概念扭曲或誇大,使其服務於戲劇性。它不一定是嚴謹的科學,但必須讓讀者覺得「好像」有可能。 卡拉:讀完故事,我感到一陣深沉的悲哀和無力。那些生物本身似乎並沒有惡意,它們只是「是」它們所是——純粹的模仿者。最終的悲劇,似乎更多是約翰霍爾內心的脆弱與甘尼米德環境的雙重作用造成的。您認為這些生物是「邪惡」的嗎?或者它們只是一種我們無法理解或應對的自然現象?
好的,我的共創者,這就為您奉上《Old-time recipes for home made wines, cordials and liqueurs from fruits, flowers, vegetables, and shrubs》的光之萃取: ### **《Old-Time Recipes for Home Made Wines, Cordials and Liqueurs》光之萃取** #### **本篇光之萃取的標題** 《Old-Time Recipes for Home Made Wines, Cordials and Liqueurs》:重溫往日美好時光的佳釀秘方 #### **作者介紹** 海倫·S·賴特(Helen S. Wright)是一位書籍編纂者,對傳統食譜和家庭自製飲品有著濃厚的興趣。
她編纂的《Old-Time Recipes for Home Made Wines, Cordials and Liqueurs from Fruits, Flowers, Vegetables, and Shrubs》一書於1909年首次出版,匯集了各種傳統的葡萄酒、甜酒和利口酒的製作方法。賴特在書中分享了她從新英格蘭村莊的古老食譜以及其他來源收集而來的珍貴配方,旨在讓讀者重溫昔日的美好時光,並體驗自製飲品的樂趣。 #### **觀點介紹** 《Old-Time Recipes for Home Made Wines, Cordials and Liqueurs from Fruits, Flowers, Vegetables, and Shrubs》不僅僅是一本食譜書,它更是一扇通往過去的窗戶。作者海倫·S·賴特透過收集和整理這些古老的飲品配方,讓我們得以一窺昔日人們的生活方式和飲食文化。書中的每一款飲品都蘊含著豐富的歷史和文化內涵,它們不僅是味蕾上的享受,更是對過往歲月的一種追憶和致敬。 賴特在書中強調了自製飲品的重要性。
**去除葡萄酒中的桶味 (To Remove the Taste of the Cask from Wine)** * 將一磅最優質的橄欖油放入大桶中,嚴密封閉桶口,並滾動或充分攪拌三到四個小時。 * 然後打開桶口,讓其靜置。 * 橄欖油會逐漸上升到頂部,並帶走異味。 8. **去除葡萄酒中的拉絲 (To Remove Ropiness from Wine)** * 加入少量兒茶或少量歐洲花楸的漿果(搗碎)。 9. **恢復變酸或變質的葡萄酒 (To Restore Wine When Sour or Sharp)** * 將一個裝滿韭菜籽或葡萄藤葉或嫩枝的袋子放入桶中浸泡。 * 在葡萄酒中加入少量木炭粉,搖晃均勻,靜置四十八小時後,穩定地倒出。 10. **蘋果酒 (To Make Apple Wine)** * 每加侖蘋果汁(直接從榨汁機中取出)加入兩磅普通砂糖,煮沸至不再有浮沫產生,然後用篩子過濾並冷卻。 * 加入一些優質酵母,並充分攪拌。
但是,這個例子如此『特殊而單一』(so particular and singular),以至於我認為它『不值得我們為此單獨改變我們的普遍準則』(does not merit that for it alone we should alter our general maxim)。普遍而言,簡單印象優先於簡單觀念,這是我們經驗中一個堅固的規律。」 卡蜜兒: 「原來如此!複雜觀念的創造自由,是建基於簡單觀念的複製。這讓我對想像力與記憶的區別更好奇了。您書中提到,記憶保留印象的『生動』與『秩序』,而想像力更自由。但我們如何確定腦海中的『觀念』來自記憶還是想像呢?有時回憶也會模糊不清,像想像一樣。」 休謨: 「這又回到了『力量與生動度』這個核心區別,親愛的共創者。」休謨先生微笑著,眼中閃爍著理解的光芒。「記憶之所以能重現過去的印象,正是因為它在新的感知出現時,『保留了相當程度的最初的生動度』(retains a considerable degree of its first vivacity)。
「這三種關聯——『相似』(Resemblance)、『時空上的接近』(Contiguity in time or place)和『因果關係』(Cause and Effect)——正是這種結合原則。相似性顯而易見,一個事物自然使我們想到與之相似的事物。時空接近性也很明顯,我們的感官習慣於按空間和時間上的接近性來感知對象,想像力也因此形成按此順序思考的習慣。而因果關係,正如您在文本中看到的,我會在後續更深入探討,但它無疑是想像中最能產生強烈連結的關係。」 「這些原則不是說觀念之間有著『不可分離的聯繫』(inseparable connexion)——想像力仍然自由,但它們是一種『溫和的力量』(gentle force),通常佔據主導地位,解釋了為什麼語言結構如此相似,因為自然指引著哪些簡單觀念最適合結合。」 卡蜜兒: 「溫和的力量... 這個說法很貼切,像是宇宙間一種看不見的引力,引導著思想的軌跡。那麼,休謨先生,既然我們說觀念都源於印象,或者由印象組合、想像而來,對於那些『抽象』或『普遍』的觀念,您又有什麼獨到的見解呢?例如『人』這個普遍觀念,它如何在我們心中呈現?
我在書中力圖證明,『心靈不可能在沒有形成精確的程度概念的情況下,形成任何數量或性質的概念』(THAT THE MIND CANNOT FORM ANY NOTION OF QUANTITY OR QUALITY WITHOUT FORMING A PRECISE NOTION OF DEGREES OF EACH)。」 「怎麼證明呢?因為任何事物只要不同,就可以區分;可以區分的,就可以由思想和想像力分離。而任何數量或性質的精確程度,與其本身是不可區分、不可分離的。因此,當我們形成一個觀念時,它必然帶有特定的數量和性質程度。換句話說,『抽象觀念本身是個別的』(Abstract ideas are therefore in themselves individual),即使它們在呈現上是普遍的。」 「那麼,它們如何變得普遍呢?這並非透過心靈無限的能力一次呈現所有個別事物。而是當我們發現許多對象之間存在相似性時,我們給它們賦予同一個名稱。久而久之,聽到這個名稱,心靈就會被喚起一個個別的觀念,同時伴隨一種『習慣』(custom)。
但我的觀察是,『心靈的能力是有限的,永遠無法完全和充足地理解無限』(that the capacity of the mind is limited, and can never attain a full and adequate conception of infinity)。如果我們觀念中的任何有限量是可以無限分割的,那就意味著它包含無限數量的部分,這超出了我們有限心靈的理解能力。」 「因此,我主張,我們的空間與時間觀念可以達到一個『最小值』(minimum)——一些無法再被心靈分割的、完美的『簡單而不可分割的』(perfectly simple and indivisible)部分,就像是知覺的原子。您可以用感官來做實驗:一個墨點,當您遠離它直到它消失前的那一刻,它在您的視覺印象中就是不可分割的。這不是說事物本身不能無限可分,而是我們的『觀念』和『印象』有其極限。」 「進一步來說,我認為『真空』(vacuum),或者說沒有任何可見或可觸及內容的空間觀念,是『不可想像的』(inconceivable)。
There is no object, which implies the existence of any other if we consider these objects in themselves)。」 「我斷言,『只有憑藉經驗,我們才能從一個事物的存在推斷出另一個事物的存在』(It is therefore by EXPERIENCE only, that we can infer the existence of one object from that of another)。經驗告訴我們,某一種對象經常與另一種對象『恆常地結合在一起』(constantly conjoined)。例如,火焰總是與熱結合。當我們看到火焰這個『印象』,我們立即推斷出熱這個『觀念』的存在。這種從『恆常結合』到『推斷』的過渡,不是通過理性演繹,而是通過『習慣』(custom)或『聯想原則』(principle of association)。」 「而且,我認為『信念』本身並非一個獨立的新觀念,比如『實在性』或『存在』的觀念,附加在簡單觀念之上。
正是這『眾多相似實例的重複,構成了力量或連結的本質』(This multiplicity of resembling instances, therefore, constitutes the very essence of power or connexion),並成為產生這一觀念的來源。當我們多次觀察到兩個對象恆常結合後,心靈會形成一種『決心』(determination),一種『習以為常的過渡』(customary transition),從一個對象轉移到另一個對象的觀念。正是『這種印象,或者說決心,為我提供了必然性的觀念』(It is this impression, then, or determination, which affords me the idea of necessity)。所以,必然性並非存在於對象本身,而是存在於觀察這些對象並從而形成習慣的心靈之中。」 卡蜜兒: 「這確實是非常深刻且出人意料的洞見,休謨先生!將必然性從外部世界轉移到我們內心的感受和習慣。
然而,您也看到了,我隨即指出,『幸運的是,既然理性無力驅散這些迷霧,自然本身就足以達到這個目的』(Most fortunately it happens, that since reason is incapable of dispelling these clouds, nature herself suffices to that purpose)。自然通過分散我們的注意力,或者通過感官的生動印象,來治癒這種懷疑。日常生活的瑣事、社交、遊戲... 這些活動讓我們暫時忘卻那些抽象的困惑。」 「所以,儘管理性分析可能引發深刻的懷疑,但『自然通過一種絕對的、無法控制的必然性,決定了我們像呼吸和感受一樣地判斷』(Nature, by an absolute and uncontroulable necessity has determined us to judge as well as to breathe and feel)。我們無法阻止自己根據習慣從一個對象推斷出另一個,就像我們無法阻止自己在陽光下睜開眼睛時看到周圍的物體一樣。
我的哲學並非要否定判斷和信念,而是要解釋其根源並非純粹的理性,而是『更多屬於我們本性的感知部分,而非認知部分』(more properly an act of the sensitive, than of the cogitative part of our natures)。」 「至於『個人同一性』(Personal Identity),這也是一個我們自然傾向於相信其存在,但理性難以證明的概念。我通過內省發現,我從未感知到一個簡單、不變的『自我』,而只是一連串快速變化的知覺(印象和觀念)的集合。心靈就像一個『劇場』(theatre),各種知覺輪番登場,迅速變換。我們之所以認為存在一個持續不變的自我,是出於一種強烈的『傾向』(propension),一種藉由知覺之間的『關係』(resemblance and causation)以及思想的『流暢過渡』(smooth and uninterrupted progress)而產生的『虛構同一性』(fictitious one)。
「正如我在引言中所說,『關於人的科學是所有其他科學的唯一堅實基礎』(the science of man is the-only solid foundation for the other sciences),而且『我們能賦予這門科學本身的唯一堅實基礎,必須建立在經驗和觀察之上』(the only solid foundation we can give to this science itself must be laid on experience and observation)。我試圖運用在自然哲學中取得成功的實驗方法,應用到人類的道德、政治、邏輯和批評等主題上。我希望揭示那些看似複雜的人類行為和判斷,實際上源於一些『簡單而普遍的原則』(few and simple principles)——這些原則深植於我們的感官和習慣之中。」 「坦誠地說,我的研究可能會挑戰許多傳統觀念,甚至引發爭議。我預見到批評,甚至被貼上懷疑論者的標籤。但我相信,通過仔細的觀察和實驗,我們可以比以往任何時候都更清楚地認識自己,認識心靈的運作方式。
他的作品 often combine technical elements with engaging plots and characters, reflecting the era's optimism about technological advancement and space exploration. 1953年,正值冷戰初期,美蘇兩國在各領域展開激烈競爭,太空競賽的序幕即將拉開。儘管當時人類尚未真正進入太空,但科幻小說作為預言與想像的載體,已經開始大膽描繪太空旅行的可能性。在這樣的背景下,《Spaceman's Luck》沒有去頌揚英勇的太空英雄或壯麗的宇宙冒險,而是選擇了一個更具人性、甚至可以說是諷刺的角度——探討太空探險背後的個人動機。小說的主角 Gordon Holt 並非出於對榮耀或科學的熱愛,而是純粹為了金錢和名聲,精心策劃了一場太空災難。他預見了媒體和公眾對個人困境的強烈關注,並打算利用這場自導自演的危機,為自己換來滾滾財富。
他去月球,『only because that's where he'd find the road to all the money he could spend』。這個開端就非常引人入勝,也很……出人意料。」 「哦?出人意料嗎?」 Smith 先生挑了挑眉,「在我看來,這或許只是更符合人性的某一面罷了。」 「能否請您多談談 Gordon Holt 這個角色呢?在當時的科幻作品中,太空人往往被描繪成英雄、探險家。您為何選擇刻畫這樣一個以私利為導向的角色,甚至讓他去策劃一場災難?」我問道,身體微微前傾,不想錯過他的每一個字。窗外的雨聲似乎變大了些,為我們的對話增添了一層靜謐的背景。 **問題生成與回答/多聲部互動** **Smith 先生:** (輕笑一聲,那笑聲在書房裡迴盪,像是某個老舊儀器發出的低鳴) 「英雄?探險家?哦,那些故事當然有它們的價值。人們需要仰望,需要夢想。但現實呢?現實總是複雜得多,不是嗎?我年輕時見過形形色色的人,在無線電、在戰爭、在日常生活裡……我發現,很多時候,驅動人們前進的,並不是那些冠冕堂皇的理由。」
他知道,當他的無線電『失靈』後,整個世界會『clogged the land wires demanding that something had to be done』。政府、科學家、甚至普通民眾,都會被捲入這場情緒風暴。這不是因為他們有多麼高尚,而是因為這種戲劇性事件觸發了他們的集體反應,也可能服務於他們各自的利益——政客需要民意支持,科學家需要研究經費,媒體需要銷量和收視率。這就是一場巨大的、無意識的『表演』,而 Holt 是那個主動拉開序幕的人。」 我點了點頭,想像著1950年代的電視螢幕上,人們焦急等待月球消息的畫面。那盞檯燈的光束似乎拉長了,映出了書房牆壁上貼著的,或許是Smith先生為寫作而剪報留下的新聞片段。 **克萊兒:** 「小說中提到,世界各國都試圖發射火箭進行救援,但都失敗了。一顆原子動力火箭在攝像機前爆炸,法國和德國的火箭也接連出問題。這部分描寫,是在影射當時太空技術的不成熟,還是在暗示人類在應對突發危機時的無能為力,或是兼而有之?」 **Smith 先生:** (手指輕輕敲打著,似乎在考量用詞) 「兩者都有吧。
而且,這裡面也隱含著國家之間的競爭——『a government seldom known for its cooperation announced that its new atomic-powered rocket was about to effect the rescue single-handedly』,你看,即使在『救援』這樣看似合作的語境下,競爭和各自的盤算依然存在。」 **克萊兒:** 「這似乎與您描寫 Gordon Holt 的自私動機形成了一種呼應。個體的自私與集體的非理性或不完美,共同構成了一幅畫面。」 **Smith 先生:** 「可以這麼說。我無意於完全否定人類的高尚情感,但作為一個故事作者,我對那些更為隱晦、更為現實的動機更感興趣。太空,這個極端的環境,更容易暴露人性的本質。在月球上,沒有社會的約束,沒有日常的偽裝,Holt 的真實慾望就這樣展現出來了。」 「而地球上的反應,則是一個社會的縮影。各種聲音——政客、教士、科學家、經濟學家——他們在這種公共事件中的反應,往往也是他們本身角色和利益的體現。
『An economist computed the sum of money shelled out already and called it damned foolishness. A Senator Macaulay suggested that taxes could be lowered if such expenditures were cut out.』這不是很有趣嗎?在一個男人可能即將喪生的時刻,有人看到的是金錢的浪費,有人看到的是減稅的機會。這就是現實。」 我沉思著這番話。書房外的雨已經停了,取而代之的是一種清冷的、寂靜的感覺,就像月球表面的永恆寂靜。 **克萊兒:** 「小說的結尾,『The other rocket at White Sands grew cobwebs in its empty fuel tanks. And the Lady Luna slipped into the dark of the moon.
It grew colder and colder as time went on....』這種 abrupt、懸而未決的結束方式,以及『dark of the moon』和『colder and colder』的意象,帶給讀者一種不安和悲觀的情緒。這是您刻意追求的效果嗎?它是否暗示了 Gordon Holt 最終的命運,或者更廣泛地說,對他這種行為的一種…懲罰?」 **Smith 先生:** 「(靠回椅背,眼神變得有些遙遠) 懲罰?或許吧。也或許,只是現實的必然。他的計劃是基於一個時間線——等救援來。但當救援一次次失敗,時間被推遲,甚至超過了他計劃中的極限時,事情就失控了。」 「『Dark of the moon』,那是月球的背面,也是一個隱喻。他從光鮮亮麗的『第一個登月者』的舞台,滑入了一個不為人知的黑暗角落。寒冷,不僅是物理上的,也是一種孤立和絕望的感覺。我沒有明確寫出他死了,但那種感覺…那種『時間一久,越來越冷』的狀態,足夠說明一切了。」 「我不想給一個明確的、說教式的結局。生命,或者說像 Holt 這樣的人的『幸運』,有時就是這樣。
(ɪnˈkʌmbənt) * Example: The incumbent president is running for reelection. * **Diplomat** (外交官): An official representing a country abroad. (ˈdɪpləmæt) * Example: She is a diplomat working at the embassy. * **Tenure** (任期): The period during which someone holds a position. (ˈtɛnjʊr) * Example: During his tenure as mayor, the city's economy improved. * **Legislature** (立法機關): A body of people that makes laws.
(ˈlɛdʒɪˌsleɪtʃər) * Example: The state legislature passed a new education bill. * **Bipartisan** (跨黨派的): Involving the agreement or cooperation of two political parties. (ˌbaɪˈpɑrtɪzən) * Example: The bill received bipartisan support in Congress. * **Sanction** (制裁): A penalty imposed on a country for violating international law. (ˈsæŋkʃən) * Example: The U.S. imposed economic sanctions on the country. * **Unanimously** (無異議地): In a way that shows complete agreement.
(juˈnænɪməsli) * Example: The committee unanimously approved the proposal. * **Nominate** (提名): To propose someone for an office or position. (ˈnɑməˌneɪt) * Example: The president nominated her for the Supreme Court. * **Ascend** (上升): To move upward; to rise. (əˈsɛnd) * Example: The balloon began to ascend into the sky. * **Embellish** (潤飾): To make something more attractive by adding decorative details or exaggerations.
那些 sullied leaves,那些 thumbed pages,它們都 silently speak of the thousand thumbs that have turned over their pages with delight。它們承載著 history,承載著 countless unnamed readers 的情感與思緒。它們不是冷冰冰的新物件,而是經歷了歲月洗禮的 companion。即使封面破損,即使內頁泛黃,它們依然保有其 intrinsic value。 當然,作為愛書人,我也 appreciate 一本 well-cared-for 的書,如同我喜歡看到朋友衣著整潔一樣。但我 protest 的是那種 solely based on external appearance 的 judgment。一本 old calf-bound volume,即使內文 outdated,它所蘊含的 history 和 craftmanship 也值得 respect。
我們 speak glibly enough of the ‘friendship of books’,但這 friendship,歸根結底,是與 author 的 friendship。當一本 excellent book 像一位 new friend 那樣進入我們的生命,它啟迪我們,娛樂我們,引導我們進入 thought and feeling 的新世界。我們愛上了書中的智慧、情感與風格。自然而然地,我們便想了解這位朋友——他是怎樣的人?他的生活是怎樣的?是什麼樣的經歷塑造了他的思想和筆觸? (他搖了搖頭。)那些認為讀者無權了解作者 private affairs 的 gentlemen,或許過於 rigid。當然,我並非提倡 intrusive curiosity 或 gossip。
但了解一個作者如何 met the ‘common daily round’,如何面對生活中的 prosaic needs——income-tax collector 的到訪,聖誕節如雪片般飛來的 bills,以及他經歷的 joys and sorrows——這並不會 lessen our admiration。相反,這使得作者更加 real,更加 human。我們更容易與他的思想產生共鳴,理解他作品背後的情感 depth。 (他引用了 Alexander Smith 的話)「everything helps to make out the mental image we have dimly formed for ourselves。」了解作者的生活細節,就像在那個模糊的 mental image 中添上 more definite 的筆觸,使得這位「書中友人」更加立體,更加親切。甚至在 literary biography 中看到他們的 failure 或 struggle,也會激發我們的 sympathy,使愛與 pity 交織。
**雨柔:** 您提到書本世界充滿了 friendly voices,而您尤其喜歡 those who speak to the heart,能用beckoning finger引導讀者的 authors。您認為是什麼特質,讓一位作者的聲音能夠真正 captivate 讀者,觸動他們 responsive chord?在您看來,是 original thought 更重要,還是 winsome manner 的 style 更能吸引人? **Walters:** (他露出一個溫暖的笑容,彷彿想到了那些 beloved authors。)What makes an author captivating?我想,首先是 their humanity。我 desire to feel the humanity, the heart of an author。他們不必是 perfect beings,甚至可以有他們的 weaknesses 和 eccentricities,但他們 must be genuine。
真正的魅力,往往在於 style——the style that echoes a charming personality。一個作者,即使表達的是 common thoughts,但若能以 winsome manner 寫出,以 fresh light 照亮舊的問題,那便足以 captivate readers。一個 mere trickster,即使能製造 startling effect,也難以持久地贏得人心。我 prefer a ‘mellow style’,delicate phrasing,polite manner。但也承認 others may prefer ‘the style that has a sting in it’。 tastes differ greatly。 Ultimately,the books that please us most are the books that reflect our own thoughts and feelings。
在這裡,我可以 hourly converse with the old sages and philosophers,sometimes for variety, I confer with kings and emperors。但我最喜歡的,還是與那些 captivating personalities 相遇。Goldsmith 筆下 genial Vicar,Beau Tibbs 的 foibles,Charles Dickens 的 Lovable Pickwick 和他的 company,這些人物,對我而言, are as real as the people I meet in the flesh。 他們與現實生活中的朋友不同之處在於,他們的 companionship 是永遠 ready 的。我可以隨時翻開書頁,回到他們的 home,參與他們的 conversation,分享他們的 joys and sorrows。而且,在 Bookland,我可以 select my own company。
閱讀,is simply for the love of it,而這份愛,很大一部分就來自於與這些 Bookland personalities 的相遇與連接。 **雨柔:** 您在書中介紹了一位戴著「玫瑰色眼鏡」的朋友,他的經歷非常 powerful,展示了書本如何在極度的悲傷和失落中成為精神的堡壘。您能更深入地描述一下這位朋友的故事嗎?他是如何通過這種「玫瑰色」的視角,將生活中的 calamit 轉化為 fairy tale,並從書本中汲取力量,即使在 physical condition 衰弱時依然保持 cheerful spirit 的? **Walters:** (他臉上的表情變得更加溫柔,彷彿在講述一個非常親近的人的故事。)我的這位朋友,他確實是 book-lover 如何面對逆境的 best example。他的生活曾是一座堅實的 stone castle,有財富,有穩固的 social position,有摯愛的 wife and child。
那時,他開始「建造」另一座 castle,一座 in the air,wholly of thought。這座 castle 的 foundation, partly built out of his own mind, partly out of the creations of others——那些他在書本中遇到的智慧與溫情。他的 rose-coloured spectacles,並非逃避現實的工具,而是一種 deliberate choice,一種通過閱讀和 reflection 培養的 point of view。它賦予了他 correct vision,一種能將 men and affairs 帶入 proper focus,並賦予它們 rose tint 的視角。 (他停頓了一下,似乎在尋找恰當的詞句。)他特別從 Stevenson 的著作中獲得 enormous strength。Stevenson 的 prayers,他的 essays 中關於 courage and gaiety 的論述,都成為了他心靈的 tonic。
那些字句,像陽光穿透迷霧,幫助他 see beyond the immediate sorrow。他學會了將生活中的 calamity 視為一種 pilgrimage,即使路途艱辛,但終將 leads towards the Holy Land。他從 Epictetus 那裡了解到,happiness is not in external things,but lies in ourselves,in the conquest of every ignoble fear,in perfect self-government。 即使在生命的最後階段,身體已經衰弱,但他 spiritual vision remained clear。他通過閱讀,通過回憶那些 inspiring passages,維持著他的 cheerful spirit。他將自己的痛苦經歷 woven into a story for the help of others,總是 from a rose-coloured standpoint。
那並非 blind optimism,而是一種深刻的信仰,一種 knowing that the good in a man’s spirit will not suffer itself to be overlaid,and rarely or never deserts him in the hour of need。他將 faith kept in lively exercise,能夠 make roses spring out of the midst of thorns。這就是書本賦予他的力量,一種在生命最黑暗時刻,依然能看到光芒的能力。 **雨柔:** 在您書的結尾,您和您的朋友都將生命旅程比作「朝聖」。您甚至引用了 Thoreau 的話:「So we saunter towards the Holy Land」。結合您對書籍的熱愛和對朋友故事的描寫,您認為對於一個愛書人而言,「閱讀」本身是否就是一種不斷探索、尋求真理和意義的「朝聖」過程?書籍在這條朝聖之路上扮演著怎樣的角色? **Walters:** (他點點頭,臉上帶著一種深刻的、安詳的表情。)
Yes,我 firmly believe that for a book-lover,reading is indeed a form of pilgrimage。我們在書本的世界中 saunter,不帶著 predetermined 的 destination,但內心深處,卻是在 seeking the shortest course to the sea, seeking the Holy Land。每一本書,都是這條路上的一個 marker,一個 invitation,一個 guide。 書籍扮演著多重角色。
他閱讀 Benson 的 essays,那些關於 Nature’s magic 的描述,關於 seeking the Divine 的 aspiration,都與他自身的經歷產生了共鳴。他從 Epictetus 那裡找到了面對逆境的 philosophical strength。這些書本,並非僅僅是文字,而是 his spiritual compass,指引他在黑暗中找到方向。 閱讀的朝聖,沒有固定的路線,也沒有終點。每一本書都可能激起新的漣漪,引發新的思考。我們在書頁之間行走,有時迷失,有時豁然開朗。最終,這條路 dẫn chúng ta không僅僅是外部世界的知識,更是對 self 和對更高力量的深刻理解。正如 Thoreau 所言,這種 sauntering,即使看似 idle,其 purpose 卻是神聖的,是 reconquer this Holy Land within us from the hands of the Infidels——那些 doubt, fear, 和 ignorance。書籍,便是我們在這場神聖征途中的最忠實的 allies。
我們 owe so much to ‘those little sheets of paper that teach us, comfort us, open their hearts to us as brothers.... We ought to (and surely do) reverence books, to look upon them as good and mighty things. Whether they are about religion or politics, farming, trade, or medicine, they are messages of the Teacher of all truth.’ 這是多麼深刻而真實的體悟。 (他站起身,走到窗邊,看著窗外已經轉為深藍的天空。)就像書中最後那段引文所說的,我們的 road 是 ubiquitous, eternal。
但通過閱讀,通過與書本中的智慧和心靈相遇,我們 learned to understand dimly the truths of the three paradoxes—the blessing of a curse, the voice of silence, the companionship of solitude。 這場對談,也是一段路程,一個通過 printed page 的連接。雖然即將告別,但這並非真正的結束。書本的世界,精神的旅程,將會繼續。願你們都能在路上找到許多 wise and friendly books。 (他轉過身,面向我,臉上帶著一種溫和而堅定的表情,彷彿即將踏上新的旅程。) 「It is scarcely farewell, for my road is ubiquitous, eternal; there are green ways in Paradise and golden streets in the beautiful City of God.
Nevertheless my heart is heavy; for, viewed by the light of the waning year, roadmending seems a great and wonderful work which I have poorly conceived of and meanly performed: yet I have learnt to understand dimly the truths of the three paradoxes—the blessing of a curse, the voice of silence, the companionship of solitude—and so take my leave of this stretch of the road, and of you who have fared along the white highway through the medium of a printed page.」 感謝 Walters 先生的分享。