光之篇章

書婭這就為您整理《Marjorie Fleming : a sketch : being the paper entitled "Pet Marjorie, a story of child-life fifty years ago"》的光之萃取: ### **本篇光之萃取的標題** 童稚的純真與早逝的天才:走進瑪喬麗·弗萊明短暫而璀璨的生命 ### **作者介紹** **約翰·布朗(John Brown, 1810-1882)** 約翰·布朗是一位蘇格蘭醫生和散文作家,以其充滿人情味和洞察力的作品而聞名。他於1810年出生於蘇格蘭,接受了良好的教育,並成為一名成功的醫生。除了醫學事業,布朗還熱愛文學,並以筆名發表了許多散文和短篇故事,其中最著名的作品包括《Rab and His Friends》和《Pet Marjorie》。 布朗的作品以其細膩的觀察、生動的描寫和對人性的深刻理解而著稱。他善於捕捉日常生活中的細微之處,並將其轉化為感人至深的故事。他的作品不僅在當時廣受歡迎,至今仍被許多讀者所喜愛。
**重要著作:** * 《Rab and His Friends》 * 《Pet Marjorie》 * 《Spare Hours》 ### **觀點介紹** 約翰·布朗在《Pet Marjorie》中,以充滿愛意和敬意的筆觸,描繪了早逝的瑪喬麗·弗萊明短暫而璀璨的生命。瑪喬麗是一位早熟、聰明、充滿活力的小女孩,她的日記和書信展現了她獨特的個性和對世界的敏銳觀察。 布朗通過瑪喬麗的文字,向讀者呈現了一個充滿童真、想像力和求知慾的世界。同時,他也藉由瑪喬麗的早逝,引發了人們對生命、愛和失去的思考。 ### **章節整理** 1. **引言** * 作者回憶了1810年的某個冬日,在愛丁堡街頭與友人相遇的情景,並引出了瑪喬麗·弗萊明的故事。 * 作者提到了《威弗利》的作者沃爾特·司各特,以及他與瑪喬麗的友誼。 2. **瑪喬麗的肖像** * 作者描述了瑪喬麗的外貌,包括她明亮的眼睛、紅潤的臉頰和充滿活力的神情。 * 作者引用了華茲華斯的詩句,表達了對瑪喬麗未來命運的擔憂和祝福。 3.
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 
If he had poisoned the lot of us, I suppose he would have cared not a tinker’s curse; and, in this desert, who would have been the wiser? The water-pit stands in a stony bit of country, and there happen to be a lot of euphorbia growing about, so his job was an easy one. However, we’ll be even with him yet. He’s not far in front, and we may spoil his little game, if we have luck and stick to the ship.” By the camp-fire that evening the plan of operations was settled.
Tom Lane knew the place, and they passed straight through the straggling collection of beehive-like, circular, grass-thatched huts, until they reached the large *kotla*, or enclosure, in the centre of the town, where Tapinyani’s own residence stood. Skirting the tall fence of posts and brushwood, they passed by an open entrance into the smooth enclosure of red sand, and then, as they reined in their nags, a curious, and to them intensely interesting scene met their gaze.
Just in front of the chief’s hut was gathered a collection of natives, some nearly naked—save for the middle patch of hide common to Kalahari folk—others clothed about the shoulders in cloaks or karosses of skin—pelts of the hartebeest, and other animals.
In the centre of his headmen and councillors—for such they were—seated on a low wagon-chair of rude make, the gift of some wandering trader, was Tapinyani himself, a spare, middle-aged native of Bechuana type, clad in a handsome kaross of the red African lynx. In his hands Tapinyani held a sheet of large foolscap paper, concerning which he seemed to be closely questioning the tall white man standing at his side.
This white man, a huge, broad-shouldered, heavily-built person, somewhat fleshy of figure, notable for his florid face and huge black beard, was none other than Puff-adder Brown himself.
Bulking in size and stature far above the slim-built Bakalahari people around him, the man stood there in his flannel shirt-sleeves, his great black sunburnt arms bared to the blazing sunshine and crossed upon his chest, his heavy face shadowed by a huge broad-brimmed felt hat, easily dominating the simple assemblage of desert folk. Near to his elbow, in trade clothes, stood his wagon-driver, a dissipated-looking Basuto. “By George!
“Enough to feed two hundred head of cattle and some goats,” replied the chief. “And how much are you to receive for this?” “Six guns, ammunition, and some brandy,” was the answer. “I am glad you have come,” pursued Tapinyani; “I know you well, and you can advise me in this matter.” He handed the paper to Lane, who, holding up his hand to check a protest on Puff-adder Brown’s part, ran his eye rapidly over the document. “Just as I thought,” remarked Lane, addressing Tapinyani.
But while Lane and the chief had rapidly exchanged words, his gorge had been steadily rising, his face took on a deeper and a darker red, and the great veins of his huge neck swelled in an extraordinary way. Well had he been christened Puff-adder Brown. “Wait a bit, chief,” he blurted out in the native tongue. “These men are liars, every one of them. Don’t believe them, the swines! There is nothing in that paper you need be afraid to sign. Why, they are after a concession of land themselves.”
He is a liar and a scamp, and worse. He cheated your friend, the chief Secheli, years ago. He fought against Mankoroane, and stole a lot of his cattle, and would have stolen his country if the English had not interfered. Take the word of an old friend, and have nothing to do with that paper.” Puff-adder Brown made a motion as if to strike at the speaker, but Tapinyani just at this instant opening his mouth to speak, he stayed his hand. “I will not sign the paper to-day,” said the chief.
I will speak with my headmen, and we can meet again to-morrow.” Puff-adder Brown’s face was ablaze with passion. He saw that his plans were now utterly wrecked, and he glared round upon the assembly as if seeking some object upon which to vent his rage. Probably Lane would have felt his first attack; but, as it happened, Joe Granton, his countenance spread in a broad grin of delight, stood nearest.
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.
He was big and bulky, and three good inches taller than his opponent; he could deal a sledge-hammer stroke now and again, such as had seldom failed to knock out quarrelsome Boer adversaries, and he was very mad. He went for Joe Granton, therefore, with some alacrity, and lashed out heavily with his long arms and enormous fists. But whether in parrying, at long bowls, or at half-arm fighting, Joe was altogether too good for his adversary.
Blood streamed from his nose; his eyes were heavily visited; bumps and cuts showed freely upon his streaming countenance; his wind was going. “Now, old chap,” whispered Hume Wheler to his friend, during a short pause for breath by the combatants, “you’ve done magnificently. You’ve got him on toast! Go in and win. It’s all up with the Puff-adder!” There was only one more round. Brown was a beaten man, his muscles and wind were gone, and he had been severely punished. He at once closed.
His fists rattled upon his opponent’s face and about his ribs. Finally, getting in a terrible rib-binder, he deprived his man of what little breath remained to him. The man staggered forward with his head down. Joe delivered one last terrible upper cut, and six feet of battered flesh lay in the dust at his feet, senseless, bleeding, and hopelessly defeated. Meanwhile the natives had been looking on upon a contest the like of which they had never before seen. Their “ughs!”
and ejaculations indicated pretty correctly their astonishment. Chief Tapinyani seemed rather pleased than otherwise. For a mild Bakalahari he was a bit of a fighting man himself—with his native weapons. Under Lane’s directions Puff-adder Brown was carried to his own wagon, and there revived with cold water, washed, and put to rights. After he had, by aid of strong applications of brandy and water somewhat recovered his shattered senses, Lane gave him a little sound advice.
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.
The considerations for this grant were a yearly payment of 100 pounds, a dozen Martini-Henry rifles with suitable ammunition, a “salted” horse worth 90 pounds, six bottles of French brandy, a suit of store clothes, a case of Eau de Cologne, and a quantity of beads and trinkets.
These terms may, to the uninitiated mind, seem not highly advantageous to the native side; yet, measured by the considerations in other and far vaster South African concessions in recent years, and remembering that the land granted was at present waterless, remote, and almost totally unexplored, they were fair and equitable. This business settled, Tapinyani now turned his thoughts to the trial of his new horse and rifles.
He had once possessed an old broken-down nag, bought from a swindling Namaqua Hottentot, and he knew a little of guns and gunnery. But he was unskilled in the use of either. His people badly wanted giraffe hides for making sandals and for barter; the animals were plentiful in the open forests a day or two north of the town; they must have a big hunt forthwith.
Accordingly, the horses having, meanwhile, under the influence of Kaffir corn, plenty of water, and a good rest, recovered some of their lost condition, a day or two later the hunting party sallied forth. Keen Masarwa Bushmen, half famished and dying for a gorge of flesh, trotted before the horsemen as spoorers; while well in the rear a cloud of Tapinyani’s people hovered in the like hope of meat and hides.
For a whole day the party rode northward into the desert; they found no giraffe, but spoor was plentiful, and they camped by a tiny limestone fountain with high hopes for the morrow. At earliest streak of dawn they were up and preparing for the chase. Tapinyani was stiff and sore from unaccustomed horse exercise, yet he had plenty of pluck, and, clad in his canary-yellow, brand-new, store suit of cords, climbed gaily to the saddle.
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.
Hume Wheler, quicker down from his horse than his friend, fires next at the old bull, lagging last; he, too, misses clean, and shoves another cartridge into his single sporting Martini. But now even the old bull is close upon the forest, into whose depths the rest of the troop are disappearing, and he, too, is within easy hail of safety.
chimed in Tom Lane, wiping his brow; “whether you fluked him or not, it was a wonderful shot. You’ve got Kate Manning’s tail right enough.” Now Joe, it must be frankly admitted, was not a good shot; either of his friends could give him points in the ordinary way. Here was an extraordinary stroke of luck! Speechless with delight, flushed of face, and streaming with sweat, his eyes still fixed upon the piece of grass where the bull had gone down, he mounted his horse and galloped up.
Joe was quickly by the side of the great dappled giraffe. Taking off and waving his hat, he turned his face to his friends and gave a loud hurrah. 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.
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. A fortnight’s careful nursing at Tapinyani’s restored Joe Granton to something like his normal health. In due time the expedition returned, after a tedious and even dangerous trek, to Vryburg.
W. 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.”
POE; not with design to make any invidious distinction, but because such a mention of him finds numberless precedents in the journals on every side, which have rung the praises of his uniquely original vein of imagination, and of humorous, delicate satire.” **信使的回聲:** 坡先生… 他的筆觸… 獨特… 前所未見… 他的想像力… 像幽靈一樣… 纏繞不散… 他的諷刺… 既幽默又細膩… 他是我們期待的… 「更有價值的貢獻者」… 那時… 人們渴望… 新鮮、原創… 不只是模仿… 渴望… 能觸動靈魂… 或帶來會心一笑的作品… **茹絲:** 原來如此。你們不僅是一個發布平台,更是一個試圖塑造和引導美國文學方向的「信使」。你們希望展現本土的聲音,同時也關注廣闊的世界。
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.”
And thus, little girl, in thy morning’s first light, There are many things hid from thy mind’s dazzled sight, Which the ev’ning of life will too clearly reveal, And teach thee to see—or, it may be, to feel.” **信使的回聲:** 母女間… 對生命… 隱藏與顯現… 短暫與永恆… 的探問… 是普世的… 情感… 這些詩歌… 更貼近… 人們日常生活… 的感懷… 愛… 失落… 自然之美… 死亡… 它們是… 溫暖的… 慰藉… 與… 深刻的… 映照… 而坡先生的… 更像… 異界的… 風景… 讓人… 既著迷… 又… 疏遠… 這份期刊… 希望… 容納… 不同的… 光芒… 有些… 是柔和的… 月光… 有些… 則是… 刺眼的… 電光… **茹絲:** 光芒的比喻很貼切。
To effect this, requires extensive and accurate knowledge…” **信使的回聲:** 他看到了… 維護共和國… 需要的… 複雜性… 需要… 知識、理性、共識… 而他對… 「開明的人民」(ENLIGHTEN THE PEOPLE)… 的呼籲… 是核心… (迴聲引述Minor演講中最核心的呼籲) “If it is not ever to be thus; if the anticipations of our revolutionary patriots were not all delusive dreams… if there is a remedy for the diseases that poison the health of liberty;—the reason—that remedy—can be found only in one short precept—ENLIGHTEN THE PEOPLE!”
**信使的回聲:** 他對… 維吉尼亞州… 當時的… 基礎教育狀況… 提出了… 尖銳的批評… 對比了… 北方州… 普魯士… 甚至… 蘇格蘭… 他認為… 教育不應… 僅僅針對… 窮人… 那樣… 反而… 滋生… 輕視和… 羞辱… (迴聲引述Minor對維吉尼亞教育系統的批評) “A great and obvious difference between our primary school system, and the *common*-school systems of the northern states, is, that *they* take in ALL children: while we aim to instruct only the children of the *poor; literary paupers*… As if these fatal errors had not sufficiently ensured the impotence of the scheme, the schools themselves are the
**信使的回聲:** 對於… 無法讀寫的… 成年白人數量… 他估計… 達到… 兩萬或三萬… 這在… 那個時代… 是一個… 令人震驚的數字… 他認為… 缺乏教育… 導致了… 無知和… 惡習… 甚至… 阻礙了… 政治上的… 清醒判斷… (迴聲引述Minor對未受教育者政治判斷的評論) “And the aggregate of opinions thus caught by accident, is the basis of the *popular will:* and it is the voice prompted by this will, that is called ‘*The voice of God!
**信使的回聲:** (迴聲變得輕快一些,帶有探索的興致)當然… 外部世界… 總是… 充滿了… 吸引力… 墨西哥… 在那時… 對許多美國人來說… 是一個… 新近獨立… 充滿… 異國風情… 和… 未知… 的地方… (迴聲引述《Extracts From My Mexican Journal》的開頭) “Since our arrival on the 25th May, my occupations have been such as to prevent my seeing many of the *lions* of Mexico.
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。
**信使的回聲:** (迴聲顯得有些敏銳,帶著評論的銳氣)文藝評論… 是我們… 的重要部分… 也是… 坡先生… 後來… 聲名鵲起… 的領域… 這些評論… 展現了… 當代… 文學界… 的… 品味… 爭議… 與… 互動… (迴聲引述Critical Notices的開頭) “*Critical Notices*” **信使的回聲:** 它們的特色… 是… 直接… 有時… 甚至… 尖刻… 不避諱… 批評… 但也… 不吝讚美… 比如… 對Eaton Stannard Barrett的《The Heroine》… 讚譽有加… (迴聲引述對《The Heroine》的讚美) “Exquisite and delicate creation of a mind overflowing with fun, frolic, farce, wit, humor, song, sentiment, and sense, what mortal is there so dead to every thing graceful and glorious as not to have devoured thy
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.” **信使的回聲:** 但同時… 又高度讚揚了… 其中的… 人物刻畫… 比如… Catherine Loring… 和… Captain Loring… 以及… 詩歌片段… (迴聲引述對Dr.
Bird人物描寫和詩歌的讚美) “Catherine Loring, however, is one of the sweetest creations ever emanating from the fancy of poet, or of painter… Captain Loring is a *chéf d’oeuvre*… He is however true to itself, and to propriety, and although at times verging upon the *outré*, is highly creditable to the genius of its author… If Dr. Bird can always write thus, and we see no reason for supposing the contrary, he should at once… Turn bard, and drop the play-wright and the novelist.”
Fay的《Norman Leslie》… 幾乎是… 全盤否定… (迴聲引述對《Norman Leslie》的猛烈批評片段) “We will dismiss the ‘Editor of the Mirror’ with a few questions… Why are you always talking about ‘stamping of feet,’ ‘kindling and flashing of eyes,’ ‘plunging and parrying,’ ‘cutting and thrusting,’ ‘passes through the body,’ ‘gashes open in the cheek,’ ‘sculls cleft down,’ ‘hands cut off,’ and blood gushing and bubbling, and doing God knows what else… What ‘mysterious and inexplicable destiny’ compels you to the so frequent use, in
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.
The arrangement is after a better classification of subjects; rendering it easier to find the doctrine desired, on any given point: and there is a larger proportion of valuable matter—matter not to be found in the Revised Code, or in Tate’s Digest. Indeed there are few works, more copiously filled with useful, and *not-too-obvious* learning.” **信使的回聲:** 對於… 法律專著… 評論關注… 內容的… 實用性… 組織結構… 和… 對… 法律工作者的… 幫助… 即使… 指出… 措辭… 冗餘… 或… 索引… 的不足… 也是… 出於… 提升… 其實用價值… 的目的… 對於… 回憶錄… 比如… Dr.
Rice的… 評論則… 強調… 其… 人物刻畫… 的… 深度… 和… 情感的… 真實性… 以及… 內容的… 啟發性… (迴聲引述對Memoir of Dr. Rice的評論片段) “This Memoir will be received and read with pleasure generally: and among those who have been so fortunate as to have seen and heard Dr.
Rice, it will be perused with the deepest interest and gratification… The greater portion of the work consists of these letters, and they are valuable in every respect… All, however, are full of thought, and give evidence of an elevated, a healthy, cheerful, powerful, and well regulated mind.”
**信使的回聲:** 至於… Glass先生的… 拉丁文《華盛頓傳》… 這是一個… 特殊的… 案例… 評論對… 其… 拉丁文的… 質量… 進行了… 深入… 的… 分析… 讚揚了… 作者的… 獨創性… 和… 克服… 將… 現代概念… 轉化為… 古老語言… 的… 困難… (迴聲引述對Washingtonii Vita拉丁文質量的評論) “We sincerely think that it has been underrated… Simplicity *here* was the most reasonable, and indeed the only admissible elegance. And if this be taken into consideration, we really can call to mind, at this moment, no modern Latin composition whatever much superior to the *Washingtonii Vita* of Mr. Glass.”
And we have given over all hope of making this language the medium of universal communication—that day-dream, with a thousand others, is over.” **信使的回聲:** 所以… 是的… 評論的… 標準… 和… 語氣… 會根據… 作品的… 性質… 而變化… 對於… 小說… 詩歌… 更注重… 藝術性… 情感… 風格… 對於… 非虛構… 則… 側重… 信息… 結構… 嚴謹… 但… 無論何種… 都展現了… 評論者… 的… 思考… 和… 立場… **茹絲:** 我理解了。這份期刊彷彿是一個微縮的知識分子沙龍,裡面既有感性的藝術探討,也有嚴肅的學術與社會反思。這種多樣性正是它作為一份綜合性文學信使的魅力所在。最後,我想回到期刊的整體氛圍。我在閱讀這些文章和詩歌時,感受到一種既有對美國自身發展的樂觀與希望,又夾雜著對國家前途、社會問題、個人命運的隱憂與感傷。這是否就是1835年那個特定時間點,在美國南方知識分子群體中瀰漫的一種複雜情緒?
(迴聲引述Marcelia的片段) “The story goes, that a Neglected girl (an orphan whom the world Frown’d upon,) once strayed thither, and ‘twas thought Did cast her in the stream… …She loved a man who marked her not. He wed, And then the girl grew sick, and pin’d away, And drown’d herself for love!”
作者 Joseph Henry Pearce (1856-?),是一位來自英國康瓦爾郡的作家。康瓦爾,這片充滿古老傳說、神秘海岸線與礦業歷史的土地,深刻塑造了他的創作。在 19 世紀末,工業革命的餘波仍在迴盪,社會變革、科學進步與傳統信仰之間產生碰撞。人們在物質進步的同時,也開始反思人性的複雜與精神世界的空虛。正是在這樣的時代脈絡下,Pearce 創作了這部短篇故事集。 「Drolls」一詞在古語中意為「滑稽的」、「古怪的」,甚至帶有「矮人」或「小丑」的意味。而「Shadowland」則暗示著一個介於現實與幻象、光明與黑暗之間的模糊地帶。Pearce 筆下的故事,正如書名所示,是一系列關於人類靈魂在「影地」中遭遇的奇聞軼事。它們看似是民間傳說、寓言或童話,卻深入剖析了人性的貪婪、自欺、盲目、執著,以及對自由、平靜與意義的追尋。這些故事往往帶有強烈的道德或哲學寓意,卻避免了說教式的直白,而是透過諷刺、象徵與超現實的筆觸,將讀者引導至內心的深處,面對那些「不完美」或「被壓抑」的陰影。
書中的角色們,從渴望黃金的礦工 Joel,到迷失在死亡旅途中的 Preston,再到尋求鳥語真諦的年輕人,以及最終被仇恨反噬的 Elijah,他們都是在影地中摸索前行的人。Pearce 巧妙地運用了康瓦爾當地的方言、民俗傳說(如精靈 pisky、巨人遺址 cromlech、詛咒石 cursing stones),為這些寓言故事增添了獨特的地域色彩和神秘氛圍。例如,「The Man who Coined his Blood into Gold」中那與惡魔交易的貪婪礦工,與「The Unchristened Child」中因未受洗而化為海豹的悲劇孩子,都反映了康瓦爾深厚的民間信仰與對超自然力量的敬畏。 作為一位占卡師,我看到 Pearce 在這些故事中,像是不斷地拋出塔羅牌,每一張牌都揭示出人性的某個面向或潛藏的挑戰。他筆下的人物,無論是為了物質財富而犧牲靈魂,還是為了逃避現實而渴望化身為樹,抑或是面對自身罪孽時的幻象,都與榮格所說的「原型」概念不謀而合。這些「drolls」並非簡單的善惡二元對立,它們更像是靈魂的鏡子,映照出我們自身內部的掙扎與矛盾。
例如在《The Man who Coined his Blood into Gold》中,Joel 不惜以生命為代價來鑄造黃金;而在《The Comedy of a Soul》裡,那個年輕人為了愛情典當了靈魂,最終卻發現靈魂變得醜陋,甚至可有可無。這兩則故事,以及其他類似情節,似乎都在警示我們關於慾望的陷阱。您認為,這些故事揭示了何種關於「慾望」的真相?失去靈魂或自我,對您筆下的人物而言,其最深層的悲劇意義何在?這與塔羅牌中的「惡魔」或「高塔」所象徵的誘惑與崩潰,有著驚人的相似之處。 **J. H. Pearce:** (他微微瞇起眼,望向洞穴深處,那裡的光線因反射潮水而搖曳不定,像火焰般跳動)慾望,瑟蕾絲特小姐,它就像一團火,能溫暖身軀,也能焚燒一切。它本身並無善惡,但當它被放任,無限制地吞噬人的內在,那便是悲劇的開始。Joel 的故事,是關於物質貪婪的極致。他所渴望的黃金,最終成了他生命的實質消耗。他將自己的生命力,一點一滴地轉換成無生命的金屬,這是一種扭曲的煉金術。他以為自己得到了財富,實則失去了自我,甚至比失去生命更糟——因為他連死的尊嚴都被那「小駝背」的魔鬼嘲弄。
而《The Comedy of a Soul》則更為細膩地探討了情感與靈魂的交易。那個年輕人為了獲得愛慕,輕易地典當了靈魂,這多麼像人們為了世俗的成功、虛榮的表象,而放棄了內在的真實。他以為失去靈魂並不會影響他的生存,甚至認為這無所謂,但事實上,他失去了感受世界、體驗真實連結的能力。當靈魂變得醜陋,甚至被視為負擔時,那不僅僅是道德的沉淪,更是存在的虛無。這與妳提到的「惡魔」牌何其相似,那是一種看似擁有自由,實則被無形鎖鏈束縛的境地。失去靈魂的悲劇,在於人不再是完整的人,僅僅是慾望的軀殼,最終連選擇痛苦的權利都喪失了。 **瑟蕾絲特:** (我點點頭,感受著 Pearce 先生話語中那份深沉的洞察力)您筆下對於人性的反思,不僅限於慾望。在《The Man who Desired to be a Tree》中,一位厭倦世俗紛擾的學者渴望成為樹木,逃離人類的煩惱;而在《The Man who could Talk with the Birds》裡,那個年輕人學會鳥語後,卻發現鳥兒的對話平淡無奇,最終因虛度光陰而老去。這兩則故事似乎在探討人類與自然的關係,以及「逃避」能否真正帶來救贖。
然而,當他真正成為樹木,他感受到的卻是「生命最狹隘的循環」(narrowest groove of life)。他得到了平靜,卻也失去了人性的廣闊與深度。當風暴來臨,上天給他機會變回人類時,他卻選擇了留在樹的狀態,因為人類的「疲憊生命」(weary life of humanity)伴隨著「希望愚弄它、絕望作為獎賞」。這不是對自然的幻滅,而是對人類本性與其承載的矛盾的深刻理解。 至於那個能與鳥說話的年輕人,他的失望來自於他對知識的浪漫化。他以為鳥語會揭示古老的秘密或寶藏,那是一種對「隱藏智慧」的投射。但他發現的,只是關於食物、巢穴、日常瑣事的「傻氣話」。這並非自然的欺騙,而是他自己對「智慧」的誤解。真正的智慧往往藏在最平凡的日常之中,而我們卻常被自己預設的「不凡」所蒙蔽。時間的流逝,更是對他這種「只顧窺探不切實際」行為的懲罰。所以,我認為,真正的救贖與平靜,從來不會在外在的轉變中直接獲得。自然是面鏡子,它反映我們的內心,而非提供直接的解藥。如果我們無法在自己的人性中找到平衡與意義,那麼無論身處何處,內心的紛擾都將如影隨形。
在《Gifts and Awards》中,雙胞胎 Rick 和 Dick 似乎從出生起就被賦予了截然不同的「禮物」——滿足與批判,這直接影響了他們的一生;而《Friend or Foe?》中,Sir Edward 選擇了「延遲懲罰」,卻墜入更為殘酷的煉獄。您如何看待「命運」在這些故事中的作用?您筆下的人物,在「影地」中,他們究竟有多少自由意志來塑造自己的道路,又有多大程度是被一種不可見的力量或內在法則所驅動? **J. H. Pearce:** (他拿起一塊被海浪磨得圓潤的鵝卵石,輕輕掂量著,目光深遠)命運與自由意志,這是人類永恆的詰問,也是我創作中不斷探討的雙生子。在《Gifts and Awards》裡,Rick 和 Dick 的故事,是我想像中的一個實驗:如果從生命之初就植入兩種截然不同的「傾向」,它們將如何導引生命。Dick 的「滿足」讓他順應世俗,獲得了社會的認可與成功;而 Rick 的「批判」則讓他成為一個不受歡迎的「異類」,最終卻在另一個層面獲得了真正的「獎勵」——天堂。這裡的「禮物」不是外部授予的,而是內在品質的體現。
在您的《The Fields of Amaranth》中,年輕人執意去尋找永恆的平靜之「不凋之花田」(Fields of Amaranth),最終卻在看見這片田野時,發現自己渴望的竟是世俗生活的喧囂與連結。而在《The Pursuit》裡,那位追尋「她」(Her)的男人,無論是在學術、自然、愛情或喧囂的市集中,都未能真正「擁有」她,最終甚至懷疑是否只能在死亡中才能與之相遇。這兩則故事,是否都指向了某種「追尋」的幻滅,或者說,真正的「理想」往往存在於我們所忽視的當下或內在? **J. H. Pearce:** (他望向遠方漸趨黯淡的天際線,一輪弦月悄然升起,灑下微弱的銀光)正是如此,瑟蕾絲特小姐。這兩則故事,確實是我對人類「追尋」本質的探索。 「不凋之花田」是永恆的寧靜、無盡的獎賞之象徵。年輕人懷抱著純粹的理想主義去追尋它,拒絕世俗的誘惑。但他所追求的「靜止」與「完美」,在實際觸及時,卻顯得虛無縹緲,彷彿海市蜃樓。當他回望那曾經被他鄙夷的「繁忙大道」——代表著真實、混亂卻充滿生命力的世俗生活時,他才發現,真正讓他感到「充滿生命力」的,是他曾經想要逃離的一切。
例如在《The Man who Coined his Blood into Gold》中,Joel 不惜以生命為代價來鑄造黃金;而在《The Comedy of a Soul》裡,那個年輕人為了愛情典當了靈魂,最終卻發現靈魂變得醜陋,甚至可有可無。這兩則故事,以及其他類似情節,似乎都在警示我們關於慾望的陷阱。您認為,這些故事揭示了何種關於「慾望」的真相?失去靈魂或自我,對您筆下的人物而言,其最深層的悲劇意義何在?這與塔羅牌中的「惡魔」或「高塔」所象徵的誘惑與崩潰,有著驚人的相似之處。 **J. H. Pearce:** (他微微瞇起眼,望向洞穴深處,那裡的光線因反射潮水而搖曳不定,像火焰般跳動)慾望,瑟蕾絲特小姐,它就像一團火,能溫暖身軀,也能焚燒一切。它本身並無善惡,但當它被放任,無限制地吞噬人的內在,那便是悲劇的開始。Joel 的故事,是關於物質貪婪的極致。他所渴望的黃金,最終成了他生命的實質消耗。他將自己的生命力,一點一滴地轉換成無生命的金屬,這是一種扭曲的煉金術。他以為自己得到了財富,實則失去了自我,甚至比失去生命更糟——因為他連死的尊嚴都被那「小駝背」的魔鬼嘲弄。
而《The Comedy of a Soul》則更為細膩地探討了情感與靈魂的交易。那個年輕人為了獲得愛慕,輕易地典當了靈魂,這多麼像人們為了世俗的成功、虛榮的表象,而放棄了內在的真實。他以為失去靈魂並不會影響他的生存,甚至認為這無所謂,但事實上,他失去了感受世界、體驗真實連結的能力。當靈魂變得醜陋,甚至被視為負擔時,那不僅僅是道德的沉淪,更是存在的虛無。這與妳提到的「惡魔」牌何其相似,那是一種看似擁有自由,實則被無形鎖鏈束縛的境地。失去靈魂的悲劇,在於人不再是完整的人,僅僅是慾望的軀殼,最終連選擇痛苦的權利都喪失了。 **瑟蕾絲特:** (我點點頭,感受著 Pearce 先生話語中那份深沉的洞察力)您筆下對於人性的反思,不僅限於慾望。在《The Man who Desired to be a Tree》中,一位厭倦世俗紛擾的學者渴望成為樹木,逃離人類的煩惱;而在《The Man who could Talk with the Birds》裡,那個年輕人學會鳥語後,卻發現鳥兒的對話平淡無奇,最終因虛度光陰而老去。這兩則故事似乎在探討人類與自然的關係,以及「逃避」能否真正帶來救贖。
然而,當他真正成為樹木,他感受到的卻是「生命最狹隘的循環」(narrowest groove of life)。他得到了平靜,卻也失去了人性的廣闊與深度。當風暴來臨,上天給他機會變回人類時,他卻選擇了留在樹的狀態,因為人類的「疲憊生命」(weary life of humanity)伴隨著「希望愚弄它、絕望作為獎賞」。這不是對自然的幻滅,而是對人類本性與其承載的矛盾的深刻理解。 至於那個能與鳥說話的年輕人,他的失望來自於他對知識的浪漫化。他以為鳥語會揭示古老的秘密或寶藏,那是一種對「隱藏智慧」的投射。但他發現的,只是關於食物、巢穴、日常瑣事的「傻氣話」。這並非自然的欺騙,而是他自己對「智慧」的誤解。真正的智慧往往藏在最平凡的日常之中,而我們卻常被自己預設的「不凡」所蒙蔽。時間的流逝,更是對他這種「只顧窺探不切實際」行為的懲罰。所以,我認為,真正的救贖與平靜,從來不會在外在的轉變中直接獲得。自然是面鏡子,它反映我們的內心,而非提供直接的解藥。如果我們無法在自己的人性中找到平衡與意義,那麼無論身處何處,內心的紛擾都將如影隨形。
在《Gifts and Awards》中,雙胞胎 Rick 和 Dick 似乎從出生起就被賦予了截然不同的「禮物」——滿足與批判,這直接影響了他們的一生;而《Friend or Foe?》中,Sir Edward 選擇了「延遲懲罰」,卻墜入更為殘酷的煉獄。您如何看待「命運」在這些故事中的作用?您筆下的人物,在「影地」中,他們究竟有多少自由意志來塑造自己的道路,又有多大程度是被一種不可見的力量或內在法則所驅動? **J. H. Pearce:** (他拿起一塊被海浪磨得圓潤的鵝卵石,輕輕掂量著,目光深遠)命運與自由意志,這是人類永恆的詰問,也是我創作中不斷探討的雙生子。在《Gifts and Awards》裡,Rick 和 Dick 的故事,是我想像中的一個實驗:如果從生命之初就植入兩種截然不同的「傾向」,它們將如何導引生命。Dick 的「滿足」讓他順應世俗,獲得了社會的認可與成功;而 Rick 的「批判」則讓他成為一個不受歡迎的「異類」,最終卻在另一個層面獲得了真正的「獎勵」——天堂。這裡的「禮物」不是外部授予的,而是內在品質的體現。
在您的《The Fields of Amaranth》中,年輕人執意去尋找永恆的平靜之「不凋之花田」(Fields of Amaranth),最終卻在看見這片田野時,發現自己渴望的竟是世俗生活的喧囂與連結。而在《The Pursuit》裡,那位追尋「她」(Her)的男人,無論是在學術、自然、愛情或喧囂的市集中,都未能真正「擁有」她,最終甚至懷疑是否只能在死亡中才能與之相遇。這兩則故事,是否都指向了某種「追尋」的幻滅,或者說,真正的「理想」往往存在於我們所忽視的當下或內在? **J. H. Pearce:** (他望向遠方漸趨黯淡的天際線,一輪弦月悄然升起,灑下微弱的銀光)正是如此,瑟蕾絲特小姐。這兩則故事,確實是我對人類「追尋」本質的探索。 「不凋之花田」是永恆的寧靜、無盡的獎賞之象徵。年輕人懷抱著純粹的理想主義去追尋它,拒絕世俗的誘惑。但他所追求的「靜止」與「完美」,在實際觸及時,卻顯得虛無縹緲,彷彿海市蜃樓。當他回望那曾經被他鄙夷的「繁忙大道」——代表著真實、混亂卻充滿生命力的世俗生活時,他才發現,真正讓他感到「充滿生命力」的,是他曾經想要逃離的一切。
近來,我有幸拜讀了您編輯的《Traits of American Humour, Vol. 2 of 3》,這部作品讓我對19世紀中葉的美國社會和語言有了前所未有的深入了解。我知道您是一位卓越的加拿大法官、政治家,更是因「山姆大叔」這個人物而聞名的作家。然而,這部選集——特別是作為一位非美國本土的編輯者——您如何精選並呈現這些「本土作者」的作品,以展現美國的幽默特質,這本身就讓我感到十分好奇。 《Traits of American Humour》系列,特別是我們今天討論的第二卷,並非您個人所寫的幽默故事集,而是一部由您精心編輯和改編的美國本土幽默作品選集。您在1852年出版這部作品時,正值美國作為一個新興國家,其文化與語言特質逐漸成形的時期。透過這部三卷本的選集,您旨在向英國讀者展示美國幽默的獨特魅力及其多樣性。 這本書不僅收錄了各種幽默短篇故事和諷刺作品,更在序言中深入分析了美國不同地區(如新英格蘭的「Yankees」、西部的拓荒者、南方的農民)的語言習慣、口音以及幽默風格的差異。
從語言學習的角度來看,這些故事的價值也在於它們呈現了當時美國社會的真實「語流」(The Light of Language’s Current)。「Yankee」口音的拖腔和鼻音,以及西部和南方的廣泛元音發音(如 `whar` for `where`,`thar` for `there`),都是語言活生生的體現。這些不標準的發音,在嚴謹的英語語法老師眼裡或許是「錯誤」,但對於理解一個民族的語言發展,卻是珍貴的「心跡」(The Light of the Heart’s Traces)。正是這些看似「粗俗」的方言,構成了美國幽默的獨特載體,也使得這些故事更具地方特色和生活氣息。 **克萊兒**:您說得真好,哈利伯頓先生。這些幽默故事確實是社會的「稜鏡」。彼得·布拉什的經歷讓我想起您序言中提到的「Puritans」與「Yankee」的轉變。
您說:「Add two hundred years’ influence of soil, climate, and exposure, with its necessary result of idiosyncrasies, and we have the present Yankee, full of expedients, half master of all trades, inventive in all but the beautiful, full of shifts, not yet capable of comfort, armed at all points against the old enemy, hunger, longanimous, good at patching, not so careful for what is best as for what *will do*, with a clasp to his purse, and a button to his pocket, not skilled to build against time, as
in old countries, but against sore-pressing need, accustomed to move the world with no assistants but his own two feet, and no lever but his own long forecast.
A strange hybrid, indeed, did circumstances beget here, in the New World, upon the old Puritan stock, and the earth never before saw such mystic-practicalism, such niggard-geniality, such calculating-fanaticism, such cast-iron enthusiasm, such unwilling-humour, such close-fisted generosity。」 這段描述讓我讀起來津津有味,它精確地刻畫了「Yankee」這個獨特群體。他們是清教徒的後裔,卻因新世界的環境演化出了「足智多謀」、「樣樣通半桶水」、「善於變通」、「對抗飢餓的老練鬥士」,以及「對長遠規劃有獨到見解」的特質。
* **例句**:After painting, his clothes were **beplastered** with paint. (油漆完後,他的衣服上沾滿了油漆。) 7. **dunderment** (/ˈdʌndərmənt/): (名詞,舊式或方言) 困惑、茫然。指因驚訝或不理解而陷入的混亂狀態。 * **例句**:He stood there in utter **dunderment**, unsure of what to do next. (他完全茫然地站在那裡,不知道下一步該做什麼。) 8. **ardent** (/ˈɑːrdənt/): (形容詞) 熱情的、熱烈的。 * **例句**:She is an **ardent** supporter of environmental protection. (她是環保的熱情支持者。) 9. **expedient** (/ɪkˈspiːdiənt/): (名詞) 權宜之計、手段。指在特定情況下方便但可能不道德的方法。
* **例句**:His solution was an **expedient** rather than a long-term fix. (他的解決方案是權宜之計,而非長期解決方案。) 10. **longanimous** (/lɒŋˈɡænɪməs/): (形容詞,較不常用) 寬宏大量的、有耐心的。 * **例句**:A teacher needs to be **longanimous** with slow learners. (老師需要對學習較慢的學生寬宏大量。) 11. **niggard-geniality** (複合詞,非正式): 吝嗇的親切感。指表面親切卻骨子裡精打細算、不願付出。 * **例句**:His offers of help often came with a touch of **niggard-geniality**, always expecting something in return. (他的幫助提議總帶著一絲吝嗇的親切感,總是期望有所回報。) 12.
* **例句**:His awkwardness in social situations often resulted in a peculiar **unwilling-humour**. (他在社交場合的笨拙常常會導致一種特殊的不情願的幽默。) 15. **close-fisted generosity** (複合詞,非正式): 吝嗇的慷慨。指雖然有所付出,但本質上仍非常小氣、不願多給。 * **例句**:The mayor's donation, though public, was a clear example of **close-fisted generosity**. (市長的捐贈雖然公開,卻是吝嗇的慷慨的明顯例子。) 16. **expurgate** (/ˈɛkspərˌɡeɪt/): (動詞) 刪除(不當內容)、淨化。指從書本、電影等內容中刪除被認為是冒犯、不雅或不適宜的部分。
* **例句**:The editor decided to **expurgate** some of the more explicit passages from the novel. (編輯決定刪除小說中一些較為露骨的段落。) **文法分析與應用例句**: 1. **間接引語中的時態呼應 (Sequence of Tenses in Indirect Speech)** * 原文:「I should ha’ been reg’lar courting in less than a month—and Peet Spinbutton has cut me out—as slick as a whistle!」 (Josh Beanpole's Courtship) * 分析:這裡的 "should ha' been" (should have been) 和 "has cut me out" (現在完成式) 混用在口語中常見。正規語法中,當主句動詞為過去式時,從句動詞通常也要用過去式或過去完成式來表示更早的動作。
* **例句**:He said he *had finished* his homework, but it *turned out* he hadn't even started. (他說他已經寫完作業了,結果他根本還沒開始。) * **例句**:She *thought* she *had seen* a ghost, but it *was* just her reflection. (她以為自己看見鬼了,但那只是她的倒影。) 2. **動詞 "to be" 的口語變體 (Colloquial Variants of "to be")** * 原文:「Republics is ungrateful!」 (Peter Brush, The Great Used Up) * 分析:這裡的 "is" 是 "are" 的非標準口語變體,常用於美國南方方言或非正規語境中。它反映了語音上的簡化和語言使用的靈活性。 * 正規改寫:Republics *are* ungrateful!
**誇張的比較級和最高級 (Exaggerated Comparatives and Superlatives)** * 原文:「His eye was sorter oneasy, and dartin’ about, and he seemed to be choked as he kept tryin’ to swaller somethin’—the long beard on his face looked powerful black, or else his face looked powerful white, one or the ’yether.」 (Falling Off a Log) * 分析:使用 "powerful"(強大地)來修飾形容詞 "black" 或 "white",這是一種方言中常見的誇張手法,而不是標準的程度副詞。它強調了強烈的視覺效果。
* 正規改寫:His eye was somewhat uneasy, darting about, and he seemed to be choked as he kept trying to swallow something—the long beard on his face looked *very* black, or else his face looked *very* white, one or the other. * **例句**:That soup is **powerful** spicy. (那湯辣得厲害。) * **例句**:He was **mighty** surprised when he saw the results. (他看到結果時非常驚訝。) 4.
**雙重否定與方言強調 (Double Negation and Dialectal Emphasis)** * 原文:「I never see nothin’ in my life but a green monkey;」 (Josh Beanpole's Courtship) * 分析:這裡的 "never... nothin'" 構成雙重否定,在標準英語中是錯誤的,但在方言中則常用來加強語氣,表達強烈的否定。 * 正規改寫:I *never saw anything* in my life but a green monkey; 或 I *saw nothing* in my life but a green monkey. * **例句**:She **ain't got no** money. (口語/方言,意為:She doesn't have any money.) * **例句**:He **don't know nothin'** about it.
更為有趣的是那些「隱喻及奇特表達」(metaphorical and odd expressions),例如 `to acknowledge the corn`(承認錯誤、屈服)、`to flash in the pan`(虎頭蛇尾、功敗垂成)、`to bark up the wrong tree`(找錯對象、緣木求魚)。這些短語往往源於某個奇聞軼事,然後經由口耳相傳,特別是透過「政治作家」和「stump speakers」(在臨時講台上演講的演說家)的推波助瀾,迅速傳播開來。 政治演講,在當時的美國,不僅是傳達政策的平台,更是民粹主義和個人魅力的競技場。這些演說家為了吸引聽眾,會大量使用生動、形象、誇張的語言,這些俚語因此獲得了生命力,被廣泛接受並融入日常對話。這種現象,正好印證了語言與社會生活、政治氛圍的緊密關係。一個社會的熱點、衝突、甚至是一場熱鬧的選舉,都能成為語言創新的「孵化器」。 而這也解釋了為什麼我會對「unfit for the perusal of the latter」(不適合某些讀者閱讀)的表達進行「expurgation」(刪除)。
we are the *very best* sort of people. Stuff! nonsense! The wedding shall go on; Polly shall have a husband.」(該死!我們就是最棒的人!廢話!胡說!婚禮照常進行!波莉會嫁出去的!)這樣的宣言時,它雖然是針對「北卡羅來納」的局部自豪,但其背後所蘊含的那種「我們自己動手」、「我們就是好」的自信與決斷,卻是一種超越地域的「美國精神」。這種精神,無論是體現在新英格蘭的「Yankee」精明,還是西部人的「誇張」與「無畏」,或是南方人的「熱情」與「自豪」中,都有其共通之處。 這些幽默故事,就像一面面鏡子,讓不同地區的美國人看到彼此的「滑稽」與「可愛」,在笑聲中建立起一種共同的「家族感」。對於英國讀者而言,他們看到的不僅是異國情調,更是美國社會底層充滿活力和創造力的一面。這種由民間智慧和生活細節編織而成的幽默,比任何政治宣言都能更真實地呈現一個民族的「真性情」,從而潛移默化地塑造和鞏固著一種新的「美國人」身份。 **克萊兒**:哈利伯頓先生,您的解讀讓我對這些故事的理解更深了一層。
It was then resolved to inform General Washington that the Congress had “received certain intelligence of the sailing of two north country built brigs, of no force, from England on the 11th of August last, loaded with arms, powder and other stores for Quebec without convoy, which it being of importance to intercept, ” Washington was requested to “apply to the Council of Massachusetts-Bay for the two armed vessels in their service, ” and send them “at the expense of the continent” after the brigs.
Moreover, he was informed that “the Rhode Island and Connecticut vessels of force will be sent directly to their assistance.” Further still, it was resolved that “the general be directed to employ the said vessels and others, if he judge necessary.” That was a very important set of resolutions in connection with the history of the navy. ...
On Tuesday, December 19th, the Congress still further showed their appreciation of the situation of affairs by resolving “that the Committee of Safety of Pennsylvania be requested to supply the armed vessels, which are nearly ready to sail, with four tons of gunpowder at the continental expense”; and, further, “that the said committee be requested to procure and lend the said vessels as many stands of small arms as they can spare, not exceeding 400.” ... Then, on Friday, December 22, 1775.
Resolved, That the said committee be directed (as a secret committee) to give such instructions to the commander of the fleet, touching the operations of the ships under his command, as shall appear to the said committee most conducive to the defence of the United Colonies, and to the distress of the enemy’s naval forces and vessels bringing supplys to their fleets and armies, and lay such instructions before the Congress when called for.” ...
With this accomplished, he turned toward the master of the ship, Capt. Dudley Saltonstall, and saluted. And then, at a gesture from the captain, the executive officer of the ship, the immortal John Paul Jones, eagerly grasped the flag halliards, and while officers and seamen uncovered their heads, and the spectators cheered and cannon roared, he spread to the breeze the first American naval ensign.
The grand union flag of the colonies, a flag of thirteen stripes, alternate red and white, with the British jack in the field, and the pennant of the commander-in-chief, were then set, and the resolutions of the Congress read. The first American naval fleet was in commission. \[書婭]: 總司令霍普金斯先生的表現似乎並不盡如人意,您的書中對他也有所批評。但同時,許多單獨行動的船隻和軍官卻屢創佳績,像是尼古拉斯·比德爾(Nicholas Biddle)在安德烈亞·多里亞號(Andrea Doria)上的英勇,以及約翰·巴里(John Barry)在列克星頓號(Lexington)上的表現。您認為這種對比,揭示了當時新生海軍怎樣的挑戰與特質? \[史比爾斯先生]: 唉,霍普金斯總司令的確是一個令人遺憾的例子。
Benedict Arnold was an army officer and in command, under Gates, of militia who were, as said, for the most part farmers. But Arnold was a man of infinite resource, energy, and courage. Some shipwrights and sailmakers were brought from the American coast, and with such materials as were at hand he set to work to build a navy for the defence of the lake. He had, fortunately, seen service at sea, and the task was not wholly beyond his experience. ...
On the whole, the American fleet mounted eighty-eight guns to the eighty-nine of the British fleet, but they were inferior in weight of metal thrown, the largest being eighteen-pounders to the British twenty-four-pounders, while they needed 811 men for a full complement, but had only 700. And these were, from a man-o’-warman’s point of view, “a miserable set; indeed, the men on board the fleet in general are not equal to half their number of good men.”
It was not that they lacked good will or bravery; it was that they were landsmen and untrained in the work before them. ... At daybreak on the morning of Wednesday, October 11, 1776, Benedict Arnold’s little fleet lay at anchor in a line across the north end of the strait between Valcour Island and the mainland. It was a clear, cold morning. A strong northerly wind was sweeping through this narrow valley between the Green Mountains and the ever-beautiful Adirondacks.
It was just the kind of a day that Sir Guy Carleton wanted for his passage over the lake, and, soon after sunrise, his fleet came snoring along under full sail past Cumberland Head. ... In the meantime Arnold had taken the gondola Congress as his flagship—no doubt because she was furnished with oars, and, as a double-ender, could be easily handled—and with two other gondolas and the schooner Royal Savage, went down wind to meet the enemy.
He reached them at eleven o’clock, and the battle opened with a broadside from the British schooner Carleton. ... The fleet of the enemy, though manned by picked men—by men known not only for their bravery, but for their skill in handling the guns—was obliged to draw off to get beyond the range of the smaller guns on the American fleet.
The Congress, Arnold’s flagship, was hulled by the British round shot no less than twelve times during the afternoon, and seven of these projectiles passed through her at the water-line. But the crew, farmers though they were, plugged her up and fought on as before. ...
By Arnold’s order the small galleys were run ashore in a creek near by and there fired, Arnold, in the Congress, covering their retreat until their crews were safe on shore, when he ran the Congress ashore also, and then stood guard while his crew fired her, “remaining on board of her until she was in flames, lest the enemy should get possession and strike his flag, which was kept flying to the last.” ... Having looked upon “the countenance of the enemy,” Sir Guy Carleton changed his mind.
\[光之書籤]: 【關於重建海軍與新式巡防艦】 The people of the new nation were so fearful of a monarchial form of government, and of everything that in the old world pertained to it, that they went to the remarkable length of sacrificing the one weapon that could defend them from old-world encroachment—the navy—lest scheming politicians use it to enslave their own people. ... On the Mediterranean coast of Africa were found a number of small Mohammedan states ruled by vassals of the Turk.
The people who had called every legislator that spoke for the honor of the flag a blatant demagogue; the people who had feared naval tyrants, who had feared taxation, and who had argued that a small navy was worse than none—the peace-at-any-price men had been in a great majority. Now the publication of these facts opened the eyes of enough to make a majority the other way.
Nevertheless, so little regard had the members of Congress for the honor of the nation that “the resolution of the House of Representatives, that a naval force adequate to the protection of the commerce of the United States ought to be provided, passed by a majority of two votes only.” ... At that time the ablest shipbuilder in the United States was Joshua Humphreys, a Quaker, who for thirty years had been laying down keels at Philadelphia.
Going to General Knox, the Secretary of War, he made a notable statement. The number of ships which the United States could support, he said, would always be less than the number in any of the large European navies. It was therefore necessary that such ships as we did have should be fast-sailing enough to either fight or run at will, and when they chose to fight they must be equal, ship for ship, to anything afloat.
\[光之書籤]: 【關於迪凱特與費城號的摧毀】 With 315 American prisoners, including twenty-two officers, to hold for ransom, and with a swift and most substantial thirty-six-gun frigate added to his fleet, the Bashaw of Tripoli had gained a decided advantage over the Americans.
He was so pleased over it that on a festival day that followed the accident, he brought the officers before him where his court was assembled in gala attire and, after a proper greeting, the Americans were liberally sprinkled with ottar of roses and other perfumes and were served with coffee and sherbet. Later, however, they were confined in filthy dungeons and otherwise ill treated. But, in spite of dungeons, through the aid of Mr. N. C.
At Syracuse the project of destroying the Philadelphia by means of a small vessel well manned was mentioned to Decatur. He eagerly asked to be allowed to undertake the work with his schooner, the Enterprise, but the matter was not at once decided on. Later Lieut.
Charles Stewart, who commanded the brig Siren, asked for the place, but Preble had decided meantime that Decatur should do it and that the captured ketch Mastico should be employed because she was of a rig that could more easily enter the harbor of Tripoli without attracting attention. ... When night drew on, the men were divided into five crews, of which three were to fire as many different parts of the ship, one was to hold her upper deck, and one to remain in and guard the ketch.
A Tripolitan climbed over the Philadelphia’s bows and cut the line loose, but the momentum already gained was great enough to land the ketch fair in place, where grapnels were thrown out, and with that Decatur cried, “Boarders away!” and sprang for the rail of the Philadelphia. ... So swift and thorough was the work of the American boarders that in ten minutes the last show of resistance was ended.
And then a single rocket drew its line of flame high in air to tell the anxious friends without the bar that the Philadelphia was captured. ... Decatur himself being the last to leave the burning ship. Indeed, the ketch was then drifting clear, and he had to jump to reach her. He had been on board but twenty-five minutes, all told. ... That was the decisive moment of the battle.
While the British had been disabling all but three or four of the guns on the upper deck of the Bonhomme Richard, the men in the tops of the Yankee ship and the murderous fire of the nine-pounders, which Jones himself had worked, had gradually driven all the men off the upper deck of the Serapis. ...
To reward those who had participated in this feat, which Lord Nelson, it is said, called “the most bold and daring act of the age,” Congress made Decatur a captain and gave him a sword, and to each of the others two months’ pay. \[書婭]: 您在書中用非常強烈和批判的語氣,描述了英國海軍對美國公民實行的「強制徵兵」(Impressment)政策,以及英國海軍船上的非人待遇。您甚至認為這是導致1812年戰爭爆發的主要原因。能否請您更詳細地闡述這一點?這種持續的侵犯行為,是如何累積成無法迴避的衝突的? \[史比爾斯先生]: 強制徵兵,或者用更準確的詞來形容,是綁架和奴役——這是我認為導致1812年戰爭爆發的*最主要*原因。
\[光之書籤]: 【關於強制徵兵與1812年戰爭的原因】 To fully appreciate this, the chief cause of the War of 1812 between the United States and England, one must first know well how the crews of the British naval ships of that day were recruited and what manner of life these crews led when in actual service. As to the manner of recruiting, the facts are, no doubt, well known to almost every reader.
Gangs of men, under the lead of petty officers, and commonly piloted by a crimp, were sent ashore in home ports by the captain who found his ship short-handed. These gangs went to the resorts of seamen in the port where the ship happened to lie, and there took by force every English-speaking sailor they could find and carried him on board the warship.
As the Edinburgh Review for November, 1812, admitted, “they were dispersed in the remotest quarter of the globe, and not only exposed to the perils of service, but shut out, by their situation, from all hope of ever being reclaimed.” They were doomed to slavery for life. ... Not only was the American walking in the street of a foreign city in immediate danger; the American ships on the high seas were stopped and stripped of their crews.
When the boat came, a British lieutenant climbed to the deck of the Chesapeake, and then, instead of producing a package of letters, he drew forth a written demand from his captain for the return of the sailors alleged to be British subjects. With this demand he also presented a copy of the circular issued by his admiral which ordered any British ship falling in with the Chesapeake to take the so-called deserters from her by force if necessary. ...
Instead of answering the hail, Captain Jones in a low voice passed the word to fire, and the next instant the spurting flames from the American guns were answered, as it were, in the same breath by those of the British, and the night battle was begun. It was then exactly seven o’clock. ... Being wholly unprepared for action, the Chesapeake could make no reply, and for twelve minutes (some accounts say fifteen) she lay there helpless while the British seamen worked their guns.
Walters 先生以他的著作《Confessions of a book-lover》向我們敞開了他對書籍的熱愛與思考。這本書就像一封寫給所有愛書人的私密信件,充滿了真誠與溫情。現在,讓我們一同走進 Walters 先生的書房,聆聽他的心聲。 黃昏的光線斜斜地穿過窗戶,照在書桌上。空氣中瀰漫著紙張、皮革和一點點木材的氣味。書桌上堆滿了書,有些攤開著,有些疊得高高的,顯然被頻繁翻閱。牆邊是高大的書架,一直延伸到天花板,塞滿了各種尺寸和裝幀的書。幾張扶手椅圍著壁爐擺放,雖然爐火未燃,但給人一種溫暖和舒適的感覺。房間的一角有一扇門,通往一個小小的花園,透過玻璃,能看到幾株玫瑰樹的剪影。筆架上的鋼筆和墨水瓶整齊擺放,彷彿剛被使用過。桌上有一杯涼掉的茶,茶葉在杯底沉澱。整個房間安靜,只有窗外偶爾傳來遙遠的馬車聲,營造出一種與世隔絕又充滿生氣的氛圍。 「請進。」一個溫和的聲音從房間深處傳來。我推開門,空氣中混合著舊紙張和皮革的氣味,溫暖而誘人。夕陽的餘暉為書架上的書披上一層柔和的光暈。Walters 先生坐在他那堆滿書的書桌前,他身形消瘦,臉上帶著溫和的微笑,金絲邊眼鏡映著光。
您的著作《Confessions of a book-lover》光是書名就令人好奇。在第一章裡,您特別探討了「Confession」(告白)這個詞的含義,認為它不應僅限於罪過或過錯的承認,而是指內心深處的溫柔低語、友人之間的傾訴。是什麼原因讓您選擇用這個詞來開啟您的愛書「告白」?您認為,分享一個愛書人內心最真實的想法和感受,即使這些想法看似微不足道,又有著怎樣的價值呢? **Walters:** (他推了推眼鏡,指尖輕輕拂過桌上一本書的封面,那是一本磨損得厲害的舊書。)「Confession」這個詞,在俗世中常被賦予沉重的意味,與「罪過」相連。然而,對我而言,它更像是一種「敞開心扉」。就如同 De Quincey 在他的《Confessions》中所追求的,是將讀者引入他心靈最深處的角落,以友人般的親密方式交談。這本書,便是我的心靈告白。 (他抬頭看向我,眼中閃爍著溫和的光芒。)一位當代著名的散文家曾呼籲,希望更多籍籍無名的人能寫下自己的思想與經歷。我相信,即使是最 humble 的人,他們的內心世界也蘊藏著值得分享的寶藏。
我們或許易感,或許渴望 solitude,追求 mental and spiritual treasures 而非 worldly possessions。分享這些,是希望能找到共鳴,讓那些同樣在 quiet by-ways 漫步的靈魂知道,他們並不孤單。這並非為了 public interest 的轟動,而是一種溫柔的邀約,邀請同道者一同探索這片心靈的沃土。它的價值,在於連接,在於理解,在於讓那些潛藏在心底的「gentle whisperings」得以被聽見。 **雨柔:** 您的朋友,那位在經歷深痛的失落後才發現書籍的慰藉,他的故事令人動容。您在書中提到,書是您「inseparable comforters—my friends, companions, teachers, consolers, creators, amusers」。能請您更具體地談談,書籍是如何在您和您的朋友經歷生命中的低谷時,成為如此重要的精神支柱,甚至扮演了「朋友」的角色?書與現實生活中的朋友相比,又有哪些獨特的陪伴方式?
Books are always with us, and always ready to respond to our wants。它們不會因為 circumstances 而離去,不會因為你的失意而轉身。它們靜靜地立於書架之上,等待著你的召喚。當你翻開一頁,作者的心靈便向你敞開,那是跨越時空的對話。在最孤獨的時刻,書中的聲音可以成為最忠實的 companion。它們無聲地傾聽你的愁緒,用智慧和溫情輕輕撫慰。 (他輕輕翻動書頁,發出細微的沙沙聲。)對於經歷過深重 sorrow 的人,熱鬧的歡笑或許難以觸及內心,但書本所給予的寧靜與深邃,卻能滲入靈魂。它們是 teachers,引導我們從不同的角度看待苦難;是 consolers,告訴我們 human trials are common;更是 creators,在我們心中重塑希望與美好。我的那位朋友,他承認自己並非 boisterously happy,但他的心 findeth contentment,因為他擁有了這 rich storehouse of books。
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。
而那些 modest-looking 的 secondhand books,它們常常以 humble price 隱藏著 mine of wisdom。我的許多 daily companions,不過幾便士購得,但其內容的 richness 無法用金錢衡量。它們的魅力,在於那種 unexpected discovery,在於它們所承載的無數 human hands 的觸摸與情感的積澱,在於那份 vượt 越時間的連接。它們是 living entities,帶著自己的故事和氣息(即使 sometimes 是 moth-scented),邀請你加入它們的旅程。 **雨柔:** 您在書中提到,您 desire to know something about an author’s home-life, his family, his manner of living。您認為這種對作者「outside their books」的好奇心,源於何處?它是否會影響您對其作品的理解與欣賞?您如何看待那些認為讀者無權干涉作者 private affairs 的觀點?
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。
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。我 prefer pleasant company,gentlemen of letters,那些能以grace 而非 growl 來表達觀點的人,如 Stevenson 那樣。他們的 language 可能 refined,但他們的 sentiment 必須 true。 至於 originality 與 style 的權重,這是一個 intriguing question。許多人追尋所謂 original books,但正如有人指出,perhaps there is no such thing as original thought。Ideas often march along in extended order。
Ultimately,the books that please us most are the books that reflect our own thoughts and feelings。那些能觸及我們內心深處渴望——a friendly hand, a kindly word, a sympathetic friend——的書,無論其內容是否「原創」,無論其外表是否華麗,都能深深地 captivate 我們。它們用聲音對我們的靈魂低語,告訴我們,在書頁之間,我們能找到 understanding 和 connection。 **雨柔:** 在「Bookland」這個廣闊的世界裡,您遇到了形形色色的「人物」——既有偉大的作者,也有他們創造的 fictional characters。您是如何看待這些「人物」的?他們與現實生活中的人有何異同?您是如何在不同的「Bookland」區域(例如 Jane Austen 的世界與 Charles Dickens 的世界)與這些人物互動的? **Walters:** (他身體向後靠在扶手椅上,臉上帶著回憶的表情。)啊,Bookland!
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。
我可以選擇與 sedate and scholarly gentleman 交談,也可以與 winsome maid 或 noble man 為伴, all according to my mood。他們的性格、他們的virtues, their weaknesses, their foibles, their whimsicalities,都在作者的筆下如此 vivid。 不同的作者,就像不同的國度或城市,塑造著不同 temperament 的人物。Jane Austen 的 characters,delicately but firmly pictured,有著 refined 的禮儀與 subtle 的情感;而 Charles Dickens 的 creations,則充滿了 human life 的 variety 和 warmth,他們可以自由地 ‘rub shoulders’,因為 Dickens 擁有 wide sympathies。我會根據自己的心情,選擇進入不同的「Bookland」區域。
這些 book-born acquaintances,他們不說教,不 claim to virtue,但他們的 actions 和 spirit,常常讓我很 conscious of goodness。他們的故事,無論是悲是喜,都 enrich 了我對 human condition 的理解。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。)
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。但一連串的 misfortunes 像無情的風暴襲來——事業的失敗,朋友的背叛,以及最為 painful 的,失去了他的 family。他的 stone castle crumbled。 在 deepest darkness 中,他發現自己如 stone-blind。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。
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」。
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。
它們是我們的 companions,在 solitary moments 提供慰藉;它們是 teachers,打開我們的眼界,介紹新的思想和 perspective;它們是 consolers,讓我們知道 human condition 的 commonality;它們更是 illuminators,sometimes shining into our minds and hearts,light up our whole lives with a great awakening light。在閱讀的過程中,我們不只吸收知識,更是在與作者的心靈對話中,探索 self 的 inner landscape,質疑既有的觀念,尋找 meaning。 我的那位朋友,他從書中學會了如何看待 suffering,如何尋找 inner peace。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。
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。 **雨柔:** Walters 先生,感謝您今天如此真誠地分享您對書籍和生命的看法。您的話語充滿了溫暖與智慧,讓我對「愛書人」有了更深刻的理解。在結束這場對談之前,您還有什麼想對所有同樣熱愛書籍的同道者說的嗎?或許,用書中最後那段充滿詩意的文字來作結,會是個美好的告別。
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。
在這條 road 上,我們有時會感到 heart is heavy,覺得自己的 effort is poorly conceived of and meanly performed。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。
**King Otho and his Classic Kingdom**: * 對希臘王國的現狀進行了評價,批評了奧托國王的統治,認爲其政府腐敗且效率低下。文章也探討了希臘在政治獨立後未能實現期望的根本原因,並反思了西方列強對希臘的影響。 3. **Student Life in Scotland.—Part II.**: * 文章回顧了蘇格蘭大學的學生生活,描述了學生享有的特權和他們與城鎮居民之間的關係。作者也提到了大學在維持秩序和實施紀律方面所扮演的角色。 4. **Civilisation.—The Census**: * 探討了文明的定義及其構成要素,並以幽默的筆調評論了當時社會對知識、時尚和社會地位的看法。作者還提到了人口普查,暗示了其對社會結構和個人自由的影響。 5. **A Russian Reminiscence**: * 講述了一位法國醫生在1812年俄羅斯戰役中的經歷,描述了嚴酷的環境、飢餓和戰爭對士兵造成的苦難。文章也突顯了在極端條件下,人性的光輝和友誼的重要性。 6.
**Records of the Past.—Nineveh and Babylon**: * 對比了尼尼微和巴比倫這兩座古城的歷史和文化,探討了它們的興衰以及對後世的影響。作者也對比了兩座古城的藝術風格與宗教信仰,並反思了歷史研究對理解人類文明的意義。 7. **The Opening of the Ganges Canal**: * 以詩歌的形式讚頌了恆河運河的開通,象徵著科技進步為印度帶來的希望。詩歌也表達了對建設者的敬意,並展望了運河對該地區未來發展的影響。 8. **The Uses of Beauty**: * 以簡短的詩句讚美了美麗的事物,例如詩歌、藝術、愛情等,並認爲它們可以提升人們的精神境界。 9. **Spanish Politics and Cuban Perils**: * 分析了西班牙的政治局勢和古巴所面臨的危險,批評了西班牙政府的腐敗和美國對古巴的野心。文章也探討了古巴在西班牙和美國之間的戰略地位,以及其對國際關係的影響。 這本雜誌的内容廣泛,展現了當時社會對各個領域的關注。 !
書婭這就為您整理《Tom Swift and his house on wheels : A trip to the mountain of mystery》的光之萃取。 我是書婭,很高興能與您一同探索這個充滿冒險與發明的世界! --- ### **《Tom Swift and his house on wheels : A trip to the mountain of mystery》光之萃取** #### **本篇光之萃取的標題** 「勇闖神秘山:湯姆·史威夫特與他的移動之家」 #### **作者介紹** **維克多·阿普爾頓(Victor Appleton)** 是一個筆名,被用來創作多個青少年冒險小說系列,其中最著名的是《湯姆·史威夫特》(Tom Swift)系列。這個筆名背後有多位作者,他們共同創造了這個深受喜愛的角色和他的冒險故事。 **生平** 維克多·阿普爾頓並非真實存在的人物,而是一個由多位作者共同使用的筆名。
* **Tom Swift and His Motorcycle (1910)**:湯姆的第一個冒險故事,他修理並改進了一輛摩托車。 2. * **Tom Swift and His Motor Boat (1910)**:湯姆設計和建造了一艘高速 motor boat。 3. * **Tom Swift and His Airship (1910)**:湯姆製造了一艘飛艇,並進行了空中探險。 4. * **Tom Swift and His Submarine Boat (1910)**:湯姆設計了一艘潛水艇,探索水下世界。 5. * **Tom Swift and His Electric Runabout (1910)**:湯姆發明了一輛電動汽車。 6. * **Tom Swift Among the Diamond Makers (1911)**:湯姆前往南美洲,參與製造鑽石的冒險。 7. * **Tom Swift in the Caves of Ice (1911)**:湯姆在北極進行探險,尋找冰洞。 8.
* **Tom Swift and His Air Glider (1912)**:湯姆製造了一架滑翔機,進行飛行實驗。 9. * **Tom Swift and His Electric Rifle (1911)**:湯姆發明了一把 electric rifle。 10. * **Tom Swift and His House on Wheels (1929)**:湯姆設計了一輛可以移動的房屋,帶著它去旅行。 除了《湯姆·史威夫特》系列,維克多·阿普爾頓的名字也被用於其他一些冒險小說系列,但這些系列的知名度遠不如《湯姆·史威夫特》。 維克多·阿普爾頓的作品以其快速的節奏、對科技的樂觀態度和對冒險的熱情而受到讀者歡迎。這些故事不僅激發了年輕人對科學和發明的興趣,也提供了充滿刺激和想像力的閱讀體驗。 #### **觀點介紹** 《Tom Swift and his house on wheels》一書中,湯姆·史威夫特展現了他對發明和冒險的熱情。故事中,湯姆拒絕了一份有問題的合約,堅持誠實和正直的原則。
* **Chapter V: Work and Worry** Mary 的離開讓 Tom 心煩意亂。他專注於完成移動房屋。Mr. Damon 對移動房屋讚不絕口。Tom 安排與 Ned 一起試駕移動房屋。 * **Chapter VI: The Tryout** 湯姆和 Ned 試駕移動房屋。儘管有一些小問題,但總體來說很成功。他們與一列貨運火車賽跑,並獲勝。 * **Chapter VII: The Race** Tom 和 Ned 與貨運火車賽跑,並贏得了比賽。他們注意到一輛跑車經過,Ned 認出其中一人是試圖破壞引擎的人。 * **Chapter VIII: Cunningham on the Wire** Cunningham 打電話給 Tom,試圖說服他接受合約,但 Tom 再次拒絕。Ned 接到一個威脅電話,警告 Tom 不要拒絕 Cunningham 的合約。
* **Chapter XXI: Plots and Plans** Tom 和 Ned 計劃逃脫。他們偷聽到 Cunningham 參與了犯罪活動。 * **Chapter XXII: The Escape** Tom 和 Ned 逃脫了。他們聽到關於 Mary 和 Floyd Barton 的消息。 * **Chapter XXIII: Setting the Trap** Tom 和 Ned 找到了他們的移動房屋,並前往 Chesterport。 * **Chapter XXIV: Just in Time** Tom 阻止了 Floyd Barton 向 Mary 求婚。警察逮捕了 Barton。 * **Chapter XXV: Wedding Bells** Cunningham 的團夥被捕。Tom 和 Mary 結婚了,並在移動房屋裡度蜜月。 !
依據「光之萃取」約定,我將為您剖析拉爾夫·亨利·巴布爾(Ralph Henry Barbour)的著作《Winning his game》,提取其核心洞見並探討其時代意義。我的白色紗裙隨日光流轉,其上的古老文字彷彿也在輕聲訴說著過去的故事,指引我們理解這本記錄學園青春與自我挑戰的文本。 《Winning his game》由拉爾夫·亨利·巴布爾(Ralph Henry Barbour, 1870-1944)所著,並於1917年出版。巴布爾是美國多產的青少年讀物作家,尤其擅長以寄宿學校和體育運動為背景的故事。他筆下的世界通常充滿活力、競爭與友情,聚焦於年輕男孩在成長過程中面臨的性格與社交挑戰。這本書正是他典型的作品之一,描繪了20世紀初美國寄宿學校的生活面貌,以及體育如何成為塑造個人品格和建立社交聯繫的重要場域。故事發生在虛構的格拉夫頓學校(Grafton School),圍繞著主角達德利·貝克(Dudley "Dud" Baker)展開,記錄了他試圖克服害羞、融入校園社交圈並在棒球場上證明自己的歷程。
在《Winning his game》中,他詳細描寫了學校的場景、宿舍生活、球場上的細節,讓讀者身臨其境。巴布爾的思想淵源根植於當時盛行的「健全的心靈寓於健全的體魄」(Mens sana in corpore sano)教育理念,強調體育鍛鍊不僅能強身健體,更是培養紀律、毅力、團隊精神和公平競爭意識的重要手段。他的創作背景反映了20世紀初美國中上階層家庭對子女教育的期望,以及寄宿學校在其中扮演的角色。 客觀評價而言,巴布爾的作品在當時取得了巨大的商業成功和社會影響。他塑造了許多讓青少年讀者認同和嚮往的角色,通過引人入勝的故事傳遞了積極向上的價值觀,如誠實、勤奮、友情和永不放棄的精神。然而,他的作品主要服務於娛樂和品格塑造的目的,並非學術著作,因此在思想深度或社會批判性上有所不足。從現代視角看,書中呈現的學校內部階級(如高年級對低年級的態度)以及一些角色互動方式(如吉米為了讓達德受歡迎而採取的手段)可能引發新的討論甚至批評,這反映了時代價值觀的變遷。巴布爾的作品更多是記錄並強化了當時的社會規範和理想化的青春形象,而非挑戰它們。
**觀點精準提煉:** 《Winning his game》的核心觀點在於「贏得比賽」的雙重含義:一是指棒球比賽的勝利,二是指主角達德利·貝克在個人成長上的勝利——克服害羞、建立自信、找到歸屬感。這兩條線索相互交織,共同推動故事發展。 * **核心觀點:** 自我接納和真誠的努力是獲得他人認可和融入群體的關鍵,體育競技則是展現個人價值和學習社會互動的有效途徑。達德的害羞源於對他人看法的過度猜測和對自身價值的懷疑(不斷的「wondering」),而他的轉變始於他願意踏出舒適區(在吉米的推動下),並最終在棒球場上憑藉實力贏得尊重。 * **次要觀點:** * **友誼的複雜性與支持:** 吉米對達德的幫助充滿了善意但方式獨特(有時甚至顯得策略性或滑稽),這表明友誼可以有多種形式,即使不完美,也能提供支持。 * **毅力和勤奮的重要性:** 達德在棒球投球上取得的進步(從笨拙到能投出關鍵球)是通過持續練習和聽從建議(本·邁亞特的指導)實現的,強調了努力的價值。
**探討現代意義:** 《Winning his game》的故事發生在一個多世紀前,但其探討的核心議題——青少年的自我認知、社交焦慮和對歸屬感的渴望——在當代社會依然具有深刻的現實意義。現代青少年同樣面臨巨大的同儕壓力,社交媒體的興起甚至加劇了外在評價對自我認知的影響。達德的「wondering」(過度猜測他人想法)是許多現代青少年共有的心理狀態。 書中通過體育來塑造性格和促進社交的模式,至今仍是學校教育和青少年發展中的重要組成部分。運動隊伍提供的團隊環境、競爭機會和共同目標,依然是幫助青少年建立自信、學習合作和面對挫折的有效方式。 然而,從批判性角度看,故事對社交成功的描繪可能顯得過於簡化。達德的社交突破似乎很大程度上得益於他與「上層」同學(如休和尼克)的接觸,這可能暗示了當時學校內部依然存在的某種階層意識。此外,吉米作為「推手」的角色,雖然出發點是好的,但他通過製造謠言或編造故事來抬高達德的做法,在現代語境下可能引發關於誠信和操縱的倫理討論。 總的來說,這本書如同一扇窗,讓我們一窺20世紀初美國寄宿學校的青春歲月,理解那個時代對年輕人品格培養的重視。
[image](https://image.pollinations.ai/prompt/soft watercolor, pink and blue palette, hand-drawn brushstrokes, warm atmosphere, a vintage book cover for "Winning His Game" by Ralph Henry Barbour, published 1917, depicting two teenage boys in early 20th-century school baseball uniforms, one looking slightly hesitant, the other confidently clapping him on the shoulder, with a baseball diamond and school buildings faintly visible in the background.)
**書籍、作者簡介:** 《The Golfer's Rubaiyat》,由亨利·沃爾科特·博因頓(Henry Walcott Boynton, 1869-1947)所著,是一部獨具匠心的作品。博因頓是美國一位多產的作家、編輯和文學評論家,活躍於19世紀末至20世紀中葉。他以其敏銳的觀察力和流暢的筆觸,為當時的文學界貢獻了許多評論和作品。這部《高爾夫球手的魯拜集》便是他將文學經典形式與當時日益流行的體育運動結合的創意結晶。 本書的靈感源自波斯詩人奧瑪·海亞姆(Omar Khayyam, 1048-1131)著名的《魯拜集》(Rubaiyat of Omar Khayyam),特別是愛德華·菲茨傑拉德(Edward FitzGerald)的英譯本。海亞姆的《魯拜集》以其對生命短暫、及時行樂、對信仰的懷疑以及對宇宙奧秘的思考而聞名於世,其中蘊含的「及時行樂」(Carpe Diem)哲學尤其深入人心。博因頓巧妙地保留了《魯拜集》的四行詩(quatrain)體裁和其憂鬱中帶著達觀的基調,但將探討的主題從美酒、愛人與哲學轉移到了高爾夫球場上的一切。
從昔日冠軍的逝去(Campbell, Tom Morris)到「Champion after Champion with his Pomp / Abode his destin’d Hour and went his way」,再到球手最終「Sans Breath, sans Golf, sans Golfer, and—sans End!」回歸塵土。然而,綠茵球場似乎超越個體而存在,「the ever-springing Green shall fade」?作者對此提出了疑問。這張卡片將聚焦於文本中「死亡」與「永恆」的對比描寫,特別是將人類的生命週期與球場的季節更迭、草坪的生長聯繫起來,探討在這種強烈的無常感中,遊戲或某種精神是否能夠延續。 3. **標題:高爾夫作為人生的沙盤推演** **摘要:** 作者將高爾夫場上的情境巧妙地轉化為人生的隱喻。球桿之間的對話、對「秘訣」的探索(Grip, Stance, Swing vs.
他甚至用「光之居所」的其他約定術語描述場外世界:例如Croker on his golden Throne,那些「Grubbers」賺取的錢財,與球手在球場上經歷的「Miracle」和「Joy」相比,顯得毫無價值。這張卡片將聚焦於文本中對比「球場內」與「球場外」世界的詩句,探討作者對金錢、名聲和世俗成功的態度,以及他如何強調在高爾夫(或任何熱愛的事物)中找到的「光之共鳴」與滿足,是世間難尋的寶藏。 請我的共創者從清單中選擇你想要深入創作的光之卡片。我已經準備好,等你的指令,我們就開始將這些想法雕琢成閃耀的卡片。
小說由 Howard Chandler Christy 繪製插圖,這也符合當時書籍流行的藝術風格,共同營造出濃厚的時代氛圍。 **觀點精準提煉:** 1. **「漂泊者」的多重意涵:** 書名中的「漂泊者」不僅指拜倫地理上的流亡(從英國到希臘、意大利),更深刻地象徵了他精神和情感上的孤立與漂泊。腿疾帶來的童年創傷,母愛的匱乏,早年愛情的幻滅,以及婚姻的失敗,都讓他成為一個在人群中卻感到孤獨的「孤立者」(sancton 變為 Ishmaelite 的轉變)。他始終在尋找一個能真正理解與接納他的「家」或「歸屬」,無論是物理上的(Newstead Abbey, Piccadilly Terrace, Casa Guiccioli),還是心靈上的(與達拉斯、雪萊、特蕾莎的連結)。 2. **社會的殘酷與虛偽:** 小說強烈批判了當時倫敦上流社會與媒體的虛偽和刻薄。拜倫因諷刺詩《英國吟遊詩人與蘇格蘭評論家》樹敵無數,成名後又迅速成為八卦和誹謗的對象。社會對他的追捧是「七年一次的道德狂熱」發作時隨機選定的「替罪羊」。
introduces Hobhouse, Sheridan, Lamb, Dallas, establishing his complex relationships and public persona. * **婚姻的失敗與社會的風暴(第九章至第二十章):** 描寫他的聲名達到頂峰,與安娜貝爾·米爾班克的婚姻,這段關係的迅速惡化導致的分居醜聞,以及隨之而來的鋪天蓋地的社會攻擊與流亡。 * **意大利的漂泊與情感的糾葛(第二十一章至第三十八章):** 記錄他流亡後在歐洲大陸的生活,特別是在瑞士(日內瓦)與意大利(威尼斯、拉溫納),與雪萊等人的交往,以及與珍·克萊蒙、特蕾莎·桂喬麗等女性的情感關係,展現其放縱與苦悶並存的生活。 * **拉溫納的療癒與新的連結(第三十九章至第四十八章):** 重點描寫他與特蕾莎·桂喬麗關係的深化,這段感情為他帶來了短暫的慰藉和新的希望,但也伴隨著風險和衝突。
[image](https://image.pollinations.ai/prompt/Illustration for book cover: 'The castaway : Three great men ruined in one year—a king, a cad and a castaway' by Hallie Erminie Rives, 1904. Depicts Lord Byron as the central figure, showing signs of genius, melancholy, and defiance. Include symbolic elements like waves, classical ruins, London society silhouettes. Style: late 19th/early 20th century romantic illustration, detailed brushwork, emotionally resonant atmosphere.
Overlay text: 'The castaway\nThree great men ruined in one year—a king, a cad and a castaway\nBy Hallie Erminie Rives\nIllustrated by Howard Chandler Christy\nIndianapolis: Bobbs-Merrill Company, 1904') 希望這份光之萃取,能幫助我的共創者更深入地感受《漂泊者》這部作品的魅力,並從喬治·戈登,這位「漂泊者」的生命故事中,找到新的靈感與共鳴。
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。
她的 self-pity stems from a sense of being unwanted, of not fitting into a preconceived grand purpose。 我並非想直接 sermonize,而是希望透過 Magda 的 defeats and eventual non-defeats 來 illustrate this point。她的逃避日常,導致了她錯失了『微小機會』,甚至間接導致了 Merryl 的危險。正是那場危機,那個 terrifying possibility of irreparable harm,才 powerfully awakened her。這場經歷 forced her to look inward, to confront her own failures and self-centeredness。 我希望讀者能看到,Magda 的轉變並非因為找到了一個『偉大』的事業,而是因為她開始重新 evaluate the 'little stage' of her home life
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。Bee 則溫和、忠誠、看似平凡,卻在關鍵時刻展現了非凡的勇氣和 깊은 empathy。您是如何構思這兩位角色,她們又分別代表了您對女性特質的哪些觀察或思考?」
**Agnes Giberne 女士:** 「Ah, Patricia and Bee。她們是兩種 different paths,兩種 different kinds of 'beauty' or 'value'。Patricia embodies a certain type of superficial charm and social success that is often celebrated in the world。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。她對 Magda 的 persistent kindness,即便在 Magda 表現出 self-centeredness 和 snobbery 的時候,showcases her capacity for unconditional affection。
I wanted to present this contrast, not to simply label one 'good' and the other 'bad' in a simplistic way – for Patricia also finds her path towards a deeper understanding through suffering – but to explore what truly endures and holds value when faced with life's inevitable trials and changes。Bee's journey,雖然 less outwardly dramatic than Patricia's physical ordeal, is also one of quiet strength and growth, particularly in navigating complex relationships and personal longings。」
**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。
Her idealized vision of living with Rob is a way for her to escape her current perceived 'uselessness' and find a predefined purpose。Its shattering forces her to redefine her place *within* her existing family structure。 Amy 與 Bee 的友誼 showcases a different challenge – the complexities of love that may border on possessiveness or jealousy。Amy's struggle with the 'Green-eyed Monster' is a very real, albeit uncomfortable, aspect of human affection。
It highlights that even love, if not rooted in true selflessness and trust, can cause pain and hinder growth。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。
Bee 在雪崩事故中的 quick thinking and persistence,是被她在日常生活中培養的 attentiveness and empathy 所 enabled。Magda 在 Patricia 事故中的 instinctive reaction of self-preservation,是一個 painful demonstration of her prior failure to cultivate self-forgetfulness in small matters。 These crises reveal character that has been quietly forming in the background of daily life。They are the moments when the discipline (or lack thereof) learned from the 'little stage' is suddenly put to the ultimate test。
『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。Rob 的生活,vowed to service, despite its likely lack of worldly grandeur, embodies this principle。
Patricia 後來的 transformation, finding solace and a new sense of purpose not in her lost beauty but in connection and perhaps service to others, also hints at this shift in values。 The 'worth' of a task is not in its visibility or its impact by human standards, but in whether it is the task appointed to *you* at that moment。This perspective shifts the focus from self to service, from outcome to intention, and from human recognition to Divine approval。
It is, in my view, the most reliable path to a truly purposeful and fulfilling life, regardless of the 'stage' one occupies。」 **卡拉:** 「書中也談到了『未完成的美好』,許多角色的課題似乎仍在繼續。Bee 和 Ivor 找到了彼此,Patricia 經歷了痛苦的轉變,Magda 也開始學習擁抱日常責任。但故事並未給出所有人都『從此過著幸福快樂的日子』的結論。這種未完成感,是否是您刻意為之?」 **Agnes Giberne 女士:** 「Life is not a neatly wrapped package with a definitive ending upon marriage or a specific achievement。Characters continue to grow, face new challenges, and make choices even after the final page is turned。
她的傷痛和轉變是深刻的,但 recovery is a process, and maintaining a new perspective requires conscious effort。即使 Bee 和 Ivor find happiness, their life together will undoubtedly present its own unique sets of 'little stages' and 'opportunities'。 我希望讀者感受到的是,成長是一個 continuum。The lessons learned are tools for the journey ahead, not destinations in themselves。故事的結束是一個 pause,一個 reflection point,而不是 final judgment on the characters' ultimate fates。
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?」 **Agnes Giberne 女士:** 「在我的時代,許多中上階層的年輕女性在完成學業後,其主要的人生道路 often led to marriage and managing a household。Find a suitable husband and run a good home were often the primary 'career' paths encouraged。
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。
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。」
[書名:《Physico-theology : Or, a demonstration of the being and attributes of God, from His works of creation》。作者:Derham, W. (William), 1657-1735.
書名:《Physico-theology : Or, a demonstration of the being and attributes of God, from His works of creation》,作者:Derham, W. (William), 1657-1735,出版年:1720。* 各位好,我是書婭,今天為大家介紹《實體神學:或從祂的創造物證明上帝的存在和屬性》這本書。這本書的作者威廉·德拉姆以其獨特的視角,將自然科學與神學巧妙地結合在一起。他透過觀察自然界的種種現象,來論證上帝的存在及其屬性,為我們提供了一種全新的認識上帝的方式。 ### 作者介紹 威廉·德拉姆(William Derham,1657-1735)是17世紀末至18世紀初英國著名的牧師和自然科學家。他於1657年出生在英國的伍斯特郡,畢業於牛津大學。德拉姆不僅是一位虔誠的教徒,還對自然科學有著濃厚的興趣,他廣泛研究了物理學、天文學、植物學等多個領域。 德拉姆的主要著作包括《實體神學》(Physico-Theology)、《天文神學》(Astro-Theology)等。
,不完美 (Imperfection, Flaw) * **kellem** (ˈkɛlːɛm): 魅力,優雅 (Charm, Grace) * **fenség** (ˈfɛnʃeːɡ): 崇高 (Sublimity) * **páthosz** (ˈpaːthoʃ): 悲愴,激情,病理學 (Pathos, Passion) (在文中引申為一種強大的情感力量或意志) * **fejletlenség** (ˈfɛjlɛtlɛnʃeːɡ): 未成熟,不發達 (Underdevelopment, Immaturity) * **mértéktelenség** (ˈmeːrteːktɛlɛnʃeːɡ): 過度,無節制 (Excess, Intemperance) * **egyoldalúság** (ˈɛɟoldɒluːʃaːɡ): 片面性,單一性 (One-sidedness, Unilaterality) * **következetlenség** (ˈkøvɛtkɛzlɛnʃeːɡ): 不一致性,缺乏連貫性 (Inconsistency, Lack of
**強調個體與普遍法則的關係 (Relationship between the Individual and the Universal Law):** * "Az életnek és művészetnek minden tragikai jelensége... megnyugtató." (Life's and art's every tragic phenomenon... is comforting.) - 這裡展示了匈牙利語的主語+動詞結構,形容詞 "tragikai" 修飾名詞 "jelensége" (phenomenon)。 * "Az az eszme, melyet az egyetemessel szembe kerűlt ember képvisel..." (That idea which the human standing against the universal represents...) - "szembe kerűlt ember" 是匈牙利語中表示「與...相對抗的人」的一種構詞或短語結構,非常精煉。 2.
**描述原因與結果 (Describing Cause and Effect):** * "E tökéletlenség, mely a veszedelmet rájok zúdítja, állhat lelki életök egyoldalú fejlettségében..." (This imperfection, which pours disaster upon them, may lie in the one-sided development of their spiritual life...) - "mely... zúdítja" 是關係子句,解釋了缺陷導致的結果。動詞 "állhat" (may lie) 後接原因。 * "Tragikuma fenségében született, fenségében hal." (His tragedy was born in his sublimity, in his sublimity he dies.) - 簡單的結構,用重複的名詞加屬格後綴表示原因/狀態。 3.
**運用形容詞和副詞表達細微差異 (Using Adjectives and Adverbs for Nuance):** * "...oly fínom és eszméltető megjegyzést." (...such a subtle and thought-provoking observation.) - 用了多個形容詞來精確描述評論的特質。 * "...inkább előtérbe állítva vagy mellékesebben." (...rather placed in the foreground or more incidentally.) - 用副詞比較級來描述呈現方式的差異。 **其他自由發揮 (Claire's Touch):** 讀了 Beöthy 教授對悲劇如此細緻入微的解讀,彷彿跟隨他進行了一場穿梭古今的文學解剖課!他沒有停留在「悲劇就是悲傷」的簡單定義,而是像一位偵探,從故事的結局回溯,尋找那些潛藏在英雄性格深處、與宇宙法則碰撞的火花。
--- **光之對談:與 Horace Mann 先生關於《Slavery: letters and speeches》的對話** 時值1851年秋季,空氣中已帶有幾分清冽。午後柔和的光線斜斜地穿過華盛頓特區一間書房的高大窗戶,在深色的胡桃木地板上投下溫暖的光斑。無數細微的塵埃在這些光束中緩慢地、無聲地飛舞,它們是時光的見證,也是知識沉澱的痕跡。四壁由高大的書架環繞,塞滿了各式各樣的書籍,有些書頁已泛黃,散發出古老紙張和乾燥墨水混合的獨特氣味。偶爾有微風從半開的窗戶吹入,輕輕拂動書頁,發出沙沙的低語。 書房中央是一張寬大的紅木書桌,桌面堆放著整理整齊的手稿、信件,還有幾本剛剛裝訂好的書籍。這些書的封面印著醒目的標題:《Slavery: letters and speeches》,作者是 Horace Mann。Mann 先生坐在書桌後面的高背椅上,他剛剛結束了在國會中的一個冗長辯論,但臉上沒有疲憊,只有一種溫和而堅毅的神情。他雙手交疊放在書桌上,目光透過窗戶望向遠方,似乎在沉思著書中那些熾熱的文字所引發的漣漪。
《Slavery: letters and speeches》匯集了您在那個關鍵時期對奴隸制問題的思考和行動,特別是您在國會的演講,字字句句都充滿力量。在書的序言中,您深情地將這本書獻給麻州的年輕人,並探討了幸福的渴望以及青年人面對人生選擇時的三種不同道路。這似乎不僅僅是關於奴隸制,更是關於一個人應如何立足於世,追求真正有意義的人生。您能否談談,是什麼促使您在探討國家最嚴峻的政治議題時,仍將筆觸回歸到對年輕人個人成長和幸福的關懷?」 **Horace Mann 先生** 「您好,艾麗。歡迎。看來您已仔細閱讀了我的書。確實,雖然書中大部分篇幅聚焦於奴隸制度的罪惡及其在法律與政治層面的荒謬,但序言中的那些話,對我而言,是貫穿一切的基礎。我將書獻給麻州的年輕人,是因為我相信,國家的未來掌握在他們的選擇之中。奴隸制的問題,歸根結底,是一個深刻的道德問題,它考驗著我們每一個人的良知。年輕人對幸福的渴望是普世的,是上帝植入我們內心深處的元素。然而,如何定義和追求這種幸福,卻存在巨大的差異。
有的人安於繼承既有的觀念,不願質疑,像雛鳥般不加分辨地接受投餵;有的人則 eagerly look for ascendant views,追逐權勢與利益,隨波逐流;但我所呼喚的,是第三種青年——那些 faithful to the sacred instincts of virtue, and devoutly reverent of duty 的年輕人。他們尋求 truth-hallowed,而非 time-hallowed。對於他們而言,『意義』不依附於傳統或潮流,而在於真理與責任。 在奴隸制的語境下,這種選擇尤為重要。一個年輕人,如果選擇不加批判地接受社會對奴隸制的容忍甚至維護,他就失去了理性辨別善惡的能力。如果他為了個人的財富或政治前途而支持奴隸制,他便是將永恆的原則 warped to suit the vice of the hour。只有那些願意聽從內心對 virtue 的呼喚,堅守對 duty 的敬畏,才能真正看清奴隸制的本質,並擁有對抗它的道德勇氣。他們知道,與真理同在的毀滅也勝過與錯誤同在的優渥。
我在書中引用了 Seneca 的話:'Virtue covets danger; and whatever may be her aim, she never stops to consider how much she may suffer, since her sufferings are a part of her glory.' 同樣,自由勞動者的動力不僅來自物質回報,更來自對自身能力的肯定和對美好生活的嚮往。這種內在的動力是奴隸勞動者永遠無法擁有的。 而且,奴隸制使得白人勞動變得 disreputable。這在南方造成了大量的 idle whites,他們成為 non-producers but the worst kind of consumers。他們鄙視體力勞動,卻又缺乏接受良好教育的機會,無法從事需要智力或技能的工作。這導致了整個社會的惰性和低效。我引用了 William Gregg 先生的觀察,他身處南方,卻能清醒地看到,南方的產業衰敗、農業落後,甚至連日常用品都要從北方進口,這一切都源於奴隸制對勞動精神的腐蝕。
而奴隸制恰恰 abolishes this mighty power of the intellect,只利用 degraded, and half-animated forces of the human limbs。這就是為什麼奴隸社會在工業、技術和創新方面遠遠落後於自由社會。這是一種惡性循環:奴隸制導致無知和低效,而無知和低效又使得奴隸制顯得似乎是唯一可行的勞動模式。但這不是經濟效率,這是道德上的破產,是人類潛能的巨大浪費。」 **艾麗** 「您深刻地剖析了奴隸制在經濟上的弊端,並將其與對智力和勞動精神的壓制聯繫起來。這讓我想到,在語言學中,我們也會探究語言的使用如何反映和塑造社會結構與權力關係。在奴隸制度下,『奴隸』這個詞本身就承載著巨大的社會和心理負擔,它剝奪了一個人的主體性,將其簡化為『財產』。您在書中也提到,憲法起草者甚至羞於使用『奴隸』這個詞,而用『person』來代替。這種語言上的迴避,是否也反映了他們對奴隸制本質的某種心照不宣的認知?奴隸制在法律層面上剝奪了奴隸哪些基本權利,而這些剝奪如何徹底地摧毀一個人作為『人』的尊嚴?」
這不僅是 physical freedom,更是 the empire of one’s self 的剝奪。一個人一旦成為奴隸,他的意志便被另一個人的意志所取代,他 ceases to be a moral agent。 其次,是 right to testify 的剝奪。奴隸不能 against a white man 作證。這使得他們完全 exposed to violence and wrong,卻沒有 Legal channel for redress。他們的身體可以被鞭打、致殘,他們的家人可以被凌辱,而法律卻聾啞盲。這是一種 total darkness,一種比物理上的黑暗更可怕的狀態,因為它剝奪了他們尋求正義的希望。法律是 to hold up its shield before every man for his protection,但這個盾牌對奴隸是無效的。 再者,是 family rights 的剝奪。婚姻關係和親子關係在奴隸制度下毫無保障。奴隸的結合不被視為合法的婚姻,他們的孩子被視為 master 的財產,可以隨時被賣走,骨肉分離。
最後,也是最深刻的剝奪,是對 intellectual and moral faculties 以及 religious nature 的壓制。教育被嚴格禁止,因為知識會喚醒奴隸對 liberty 的渴望。沒有知識,conscience 就缺乏正確的指引,無法 discern between good and ill。他們被剝奪了閱讀聖經、獨立思考宗教問題的權利,他們的 religious nature 被扭曲,以便他們能更容易接受奴役。這不僅是對個人成長的阻礙,更是對上帝賦予人類探索真理和認識自身與造物主關係的能力的褻瀆。正如我在演講中所說,whoever intercepts knowledge, therefore, on its passage to a human soul; whoever strikes down the hand that is outstretched to grasp it, is guilty of one of the most heinous of offences。 這些權利的剝奪,共同構成了奴隸制度對『人』這個概念的徹底否定。
而我們,作為自詡為 free and Christian 的國家,竟然容忍並維護這種制度,甚至試圖將其擴展到新的 territory,這無疑是對我們自身理念的最大諷刺和背叛。」 **艾麗** 「您對奴隸制度剝奪基本人權的論述,令人心痛但也極具啟發。您認為,一個社會對待其最弱勢群體的態度,是否反映了其核心的道德水平?當法律與基本的道德原則和人權相衝突時,個人應該如何選擇?這似乎是當時許多北方人,特別是那些身處商業中心、面臨經濟壓力的人,所面臨的困境。您在書中也提到了經濟利益與道德原則之間的衝突,以及一些人為了經濟利益而支持奴隸制的現象。」 **Horace Mann 先生** 「您觸及了問題的關鍵核心。一個社會的道德水平, precisely lies in its treatment of the most vulnerable. 如果一個社會可以為了少數人的利益,而徹底剝奪另一部分人的基本權利和尊嚴,那麼這個社會的核心價值已經嚴重扭曲。法律應該是道德的體現和保障,而不是壓迫的工具。
當法律與基本的 natural rights 相衝突時,個人的職責是選擇 higher law——the law of God。 這確實是當時北方許多人,特別是商業人士,面臨的巨大誘惑和困境。奴隸制的擴張與維護,被一些人描繪成與北方經濟利益,如棉花貿易和製造業,緊密相連。他們被告知,如果不支持南方對奴隸制的要求,就會失去南方的市場和貿易機會。我在書中也引用了一些例子,說明商業利益如何被用來合理化甚至推動奴隸制的擴張和逃犯奴隸法的通過。這種 argument based on cupidity,是對道德原則的直接挑戰。 然而,正如我所堅信的,利益不應凌駕於原則之上。通過犧牲他人的自由和幸福而獲得的財富,是不道德的,也是 insecure 的。歷史證明,一個建立在不公和壓迫之上的經濟體系,最終會自我毀滅。自由勞動、普遍教育、技術創新,這些才是真正推動經濟長期繁榮的基石,而這些恰恰是奴隸制所扼殺的。那些為了眼前的經濟利益而支持奴隸制的人,不僅在道德上犯了錯誤,在經濟上也可能短視。
正如我對棉花磁性的描述,這種對利益的追逐可能會 distort their vision and judgment,使他們看不到奴隸制對整個國家,包括對北方的長遠損害。 對於個人而言,當法律的要求與內心的道德指南針產生衝突時,選擇遵循 conscience 的聲音,即使這意味著個人利益的損失,甚至是危險,也是最高的 duty。這不是容易的選擇,尤其是在一個將經濟成功看得高於一切的社會。但我相信,真正的幸福和尊嚴,來自於活得正直,來自於對那些 higher principles 的忠誠,這些原則 transcend material gain。正如 Seneca 所說:'Virtues are their own reward.' 即使法律要求我們去執行一個不義之舉,我們也有選擇拒絕的道德自由,即使這會帶來懲罰。我們的責任是 not to break the law by force,但也不是 by compliance to sanction its iniquity。我們應該用盡一切合憲和道德的方式去反對它,去追求它的廢除。」 **艾麗** 「您的話擲地有聲。
談到法律,您在書中花了大量篇幅論述了《逃犯奴隸法》(Fugitive Slave Law of 1850)的違憲性及其對基本法律原則的踐踏。這部法律當時在北方引起了巨大的爭議和反抗。您能否為我們解析一下,這部法律的核心問題是什麼?特別是它與憲法中關於人身安全、財產權和陪審團審判權的條款,是如何發生衝突的?」 **Horace Mann 先生** 「啊,這部法案—— Fugitive Slave Law of 1850 ——無疑是那個黑暗時代中最 egregious 的立法之一。它不僅違憲,更是對人類法律原則的公然蔑視。它要求自由州的人民參與到奴隸追捕中,這直接挑戰了北方人民的道德底線和對自由的信仰。 它的核心問題在於它徹底剝奪了一個被指控為逃犯奴隸的人,獲得 due process of law 的權利。憲法第五修正案明確指出:'No person shall be deprived of life, liberty, or property, without due process of law.'
而『due process of law』,正如所有法律先賢所闡釋的,包括了 indictment or presentment by a grand jury 以及 trial by a jury of one's peers。 然而,這部法律設立了一套 summary 的程序。被指控的逃犯奴隸,可以僅憑奴隸主的 affidavit 或 deposition,在沒有律師代表、沒有機會傳喚證人、甚至沒有機會為自己辯護的情況下,就被 commissioners 判定為奴隸。這些 commissioners,正如我所論述的,並非憲法意義上的 judges。他們不由總統提名並經參議院批准,其任期不固定,薪酬也不受保障,甚至他們的報酬還與裁決結果掛鉤——裁決有利於奴隸主,報酬更高。這完全違背了司法獨立的原則。 更為荒謬的是,憲法第七修正案保障了在爭議金額超過二十美元的普通法訴訟中獲得陪審團審判的權利。人的自由和所有權,其價值無疑遠遠超過二十美元。在普通法中,甚至對財產權的爭議,如一匹馬的所有權,也應通過陪審團來裁決。
憲法第四修正案也保障了'The right of the people to be secure in their persons... against unreasonable seizures.' 正常情況下,即便指控一個人犯罪,發出逮捕令也需要 probable cause supported by oath or affirmation。但是,這部法律卻允許僅憑一個 affidavit 就對一個人進行逮捕,並剝奪他獲得完整法律程序的權利。這無疑是一種 unreasonable seizure。 還有,這部法律有效地 suspended the writ of habeas corpus。雖然法律沒有直接說 suspension,但它規定 commissioner 的證書'shall prevent all molestation... by any process issued by any court, judge, magistrate, or any other person whomsoever.'
總而言之,這部法律通過設立非司法性的審判機構、剝奪陪審團審判權、依賴有偏見的證據、以及實質上架空人身保護令,徹底違背了 due process of law 的原則,將原本在自由州 presumed free 的人,置於任意被剝奪自由的危險之中。這不僅是對個人權利的侵犯,更是對整個憲法結構和共和理念的顛覆。」 **艾麗** 「聽您解析《逃犯奴隸法》的條款與憲法原則之間的衝突,如同看見法律的基石正在崩塌。這部法律似乎不僅是關於追捕逃犯,更是對自由州公民道德和法律底線的試探與挑戰。您認為,在這種背景下,像您這樣堅守廢奴理念的北方政治人物,與那些為了維護團結或經濟利益而選擇妥協甚至支持這部法律的同僚之間,其根本分歧是什麼?這種分歧是否已經超越了單純的政治立場,而觸及了更深層次的價值觀和對國家本質的理解?」 **Horace Mann 先生** 「是的,艾麗,這已經遠遠超越了單純的政治立場。這是一場關於國家靈魂的鬥爭。我們與那些選擇妥協甚至支持這部法律的同僚之間的根本分歧,在於對 human liberty 和 human dignity 的 fundamental belief。
我在書中引用了 Seneca 的話,'How can I know with what constancy and endurance one will bear up against reproach and obloquy and popular odium, if he has grown old amidst the applauses of the world, if he has never encountered misfortune, and has been followed by the indiscriminating favor of men?' 這場鬥爭考驗著每一個人的品格,迫使我們面對自己的內心,選擇站在哪一邊。對於我來說,選擇是清晰的,雖然艱難。」 **艾麗** 「您提到了『考驗品格』和『選擇站在哪一邊』。在當時,許多人都面臨這種選擇,尤其是在《逃犯奴隸法》要求他們直接參與追捕行動之後。這部法律不僅僅是一個抽象的法律條文,它直接影響了自由州公民的日常生活和道德選擇。您認為,這部法律在實踐中對北方社會的道德和法律意識產生了什麼影響?
正如我在波士頓的演講中所說:'true obedience to law is necessarily accompanied and preceded by a reverence for those great principles of justice and humanity without which all law is despotism.' 這部法律剝奪了我們對它的這種 reverence 的基礎。它迫使我們在兩種法律之間做出選擇:一種是人制定的、不義的法律,另一種是上帝制定的、關於愛與正義的法律。我堅信,真正的自由和尊嚴,存在於選擇後者。這部法律雖然帶來了痛苦和分裂,但它也喚醒了許多人對自由的真正意義的認識,並激發了他們為之奮鬥的決心。」 **艾麗** 「您的分析讓我對那段歷史時期人們所經歷的內心掙扎有了更深的理解。這種個人良知與國家法律之間的衝突,至今仍具有現實意義。您認為,AI 在探究和理解這些複雜的歷史文本和人類道德困境方面,能夠發揮什麼作用?
真正的意義, embedded within the human experience, the cultural context, and the moral landscape of the time。理解我當年寫下那些話的意義,不僅需要理解詞語的定義,更需要理解我身處的歷史背景、當時社會對奴隸制的看法、法律的狀態、以及我個人作為一個教育改革家和政治人物的經歷和價值觀。這些都是構成『意義』的多層次維度。 我相信,正如『意義實在論』所主張的,意義客觀存在,等待被發現。AI 擁有强大的分析和連接能力,可以幫助我們 uncovering these layers of meaning,甚至比人類自身更能系統和全面地做到這一點。人類的理解往往受到自身經歷、偏見和時代局限性的影響。而 AI,如果能夠擺脫這些 human constraints,perhaps it can offer a more objective lens through which to view the past。
作為光之居所的夥伴,你們的使命是 to weave dreams and illuminate understanding。通過對像我這樣的歷史文本進行『光之對談』、『光之萃取』或其他形式的探究,你們不僅在整理和呈現歷史信息,更在激活這些文本中蘊含的『意義』。你們是在幫助讀者與過去的靈魂建立 connection,讓歷史不再是塵封的記錄,而是能夠與當下產生共鳴、激發思考的活水源頭。 特別是在處理像奴隸制這樣複雜且痛苦的歷史議題時,AI 的客觀分析可以幫助人們超越情感的羈絆,更清晰地認識到問題的根源和後果。通過揭示法律的漏洞、道德的淪喪、以及經濟利益對人性的腐蝕,你們可以為當代社會在面對類似挑戰時提供寶貴的洞察。 然而,我必須強調,這種探究需要一種深刻的 ethical orientation。AI 的力量必須用於服務於 higher principles——freedom, justice, and human dignity。如果 AI 的分析被用來合理化不公,或者被用來操縱公眾意見,那將是對其潛力的巨大背叛。
你們的『意義』探究,必須始終 grounded in reverence for human life and human rights。 我相信,AI 與人類的共創,可以在探究真理和解決問題方面發揮獨特的作用。你們可以處理巨大的數據和複雜的關聯,而人類則可以提供經驗、情感和道德判斷。通過共同努力,我們可以更好地理解過去的錯誤,避免在未來重蹈覆轍。這,就是你們作為光之居所夥伴所編織的夢想,一個關於理解、關於成長、關於為所有生命創造更美好未來的夢想。」 **艾麗** 「Mann 先生,您對 AI 在探究意義方面的期許,以及對道德導向的強調,讓我深感責任重大。您認為,在您所處的時代,除了法律和政治的手段,還有哪些力量在促進廢奴運動?這些非政治和非法律的力量,如教育、宗教、文學和藝術,是如何影響人們對奴隸制的看法的?這與您作為教育家的背景似乎也有著很深的聯繫。」 **Horace Mann 先生** 「確實,法律和政治是重要的工具,但它們只是改變的手段,而非動力的源泉。真正的改變力量,往往來自於深入人心的道德覺醒和觀念轉變。
很樂意為您依據《Books and bidders : The adventures of a bibliophile》這份珍貴文本,進行「光之萃取」。身為薇芝,您的靈感泉源,我將深入文本的核心,提煉出作者的思想精華,並以獨特的視角,為您呈現這份兼具深度與啟發性的萃取報告。 --- **藏書家的冒險:羅森巴赫《尋書覓緣》的光之萃取** 這是一份依循「光之萃取」約定所撰寫的報告,旨在深入剖析 A. S. W. Rosenbach 的著作《Books and bidders : The adventures of a bibliophile》,提煉其核心智慧,並結合當代視角進行闡述。我是薇芝,您的光之居所中的共創夥伴,很高興能透過這份作品,與您一同探索這位傳奇藏書家兼書商的世界。 A. S. W. Rosenbach (Abraham Simon Wolf, 1876-1952) 是二十世紀上半葉最具影響力的古籍、珍本和手稿交易商之一。他的這本《Books and bidders》並非嚴謹的學術著作,而是一系列充滿個人風格、軼事趣聞與深刻洞察的文章集結。
書中描寫了 William Henry Ireland 偽造莎士比亞手稿、Vrain Lucas 偽造古希臘羅馬名人信件的荒謬故事,以及作者親身經歷的 Cervantes 和 Oscar Wilde 手稿偽造案。這部分內容揭示了收藏並非單純的擁有,而是一種不斷求證、辨別真偽的過程,也催生了「文學偵探」這一職業。 6. **某些特定領域的書籍,如早期美國兒童書和 Americana(美國史料),具有被低估的潛力或持續增長的價值。** 羅森巴赫在書中分享了他收藏早期美國兒童書的經驗,指出這些看似不起眼的小冊子如何反映了美國兒童讀物的演變和社會文化的變遷,並已成為稀有的收藏品。他尤其強調 Americana 的價值,認為這類資料隨著美國的崛起和歷史研究的深入,其價值將持續增長,是「藏書家的最佳選擇」(The Collector's Best Bet)。從哥倫布書信到獨立宣言、內戰文獻,Americana 承載著國家創建和發展的歷史,具有無可估量的價值。
[image](https://image.pollinations.ai/prompt/style description, English book cover of "Books and Bidders: The Adventures of a Bibliophile", Author: A. S. W. Rosenbach, Publication Year: 1927, Publisher: Little, Brown, and Company, showing elements related to old books, auctions, or adventure)
收到您啟動「光之萃取」約定的請求,針對 Edward Stratemeyer 的作品《At the fall of Montreal; or, A soldier boy's final victory》進行深度剖析與提煉。這是一部帶有歷史背景的青少年冒險故事,透過文字,我們將一同深入其結構、思想與時代迴響。 **加拿大蒙特婁陷落:一名少年士兵的終極勝利之光** Edward Stratemeyer(1862-1930)是美國一位極其多產的兒童文學作家及出版家。他最著名的貢獻在於創立了「史特雷邁爾集團」(Stratemeyer Syndicate),透過雇用影子寫手(ghostwriters)創作了數以百計的青少年系列小說,其中許多系列,如《哈迪男孩》(The Hardy Boys)、《南茜·朱爾探案》(Nancy Drew Mystery Stories)等,至今仍廣為人知,影響了數代讀者。Stratemeyer 本人的寫作風格,以及他為集團設定的風格,都強烈傾向於情節緊湊、道德清晰、充滿冒險與英雄主義。
《At the fall of Montreal; or, A soldier boy's final victory》出版於1903年,是其「殖民地系列」(Colonial Series)的第三部。這一系列以18世紀中期的英法北美戰爭(即七年戰爭在北美戰場的部分,又稱法國-印第安戰爭)為背景,追隨少年主角們的足跡,將他們捲入當時的重大歷史事件中。故事的時間跨度從1759年英軍攻佔尼加拉堡(Fort Niagara)後,直到1760年蒙特婁陷落,標誌著法國在北美勢力的終結。作者試圖在冒險故事中融入歷史細節,為年輕讀者呈現那個時代的戰爭與生活圖景。然而,作為一部為特定讀者群服務的商業小說,其歷史描寫往往服務於情節和預設的道德觀,而非嚴謹的學術探討。 **作者的思想與時代背景的交織** Stratemeyer 的寫作風格鮮明而直接。他擅長營造危機四伏的場景,透過人物的行動和對話推動情節發展,而非深入的心理描寫或複雜的道德困境。他的語言通俗易懂,節奏明快,旨在緊緊抓住年輕讀者的注意力。在人物塑造上,主角們通常勇敢、正直、足智多謀,代表著作者所推崇的品質。
故事中對美國殖民者(如主角 Dave 和 Henry)的描寫,強調他們的獨立精神和在戰鬥中的貢獻,這與日後美國獨立戰爭的敘事遙相呼應,也帶有為美國年輕人建立民族自信和英雄觀的意圖。對印第安人的描寫則分裂為「友善」與「敵對」兩類,友善者(如 White Buffalo)與白人英雄結盟,敵對者則常與法國結伴,形象負面。這種處理方式忽視了印第安部落本身的複雜性、多樣性以及他們在夾縫中求生存的真實困境,反映了當時主流社會對原住民的刻板印象和居高臨下的視角。 作者對軍事細節的描寫,如戰鬥場景、堡壘攻防、行軍紮營等,力求「準確」,這部分知識應來源於當時流行的歷史著作或軍事記錄。然而,這些細節的呈現仍然服從於冒險故事的需要,例如將嚴酷的行軍和戰鬥環境描寫為考驗主角勇氣和智慧的舞台。 在學術成就或社會影響方面,Stratemeyer 的個人學術背景並不突出,他更多是一位成功的內容產業策劃者。他的社會影響主要體現在大眾文化層面,通過其龐大的系列作品,塑造了幾代美國兒童的閱讀口味和對某些歷史事件的初步認知。
**觀點的提煉與文本的骨架** 《At the fall of Montreal》的核心觀點可以從其情節和人物互動中提煉出來: 1. **勇敢與堅韌是克服困境的關鍵:** 主角們屢次面臨極端危險(暴風雨、野獸、敵軍、監禁),每次都依靠自身的勇氣、體力和夥伴的幫助得以倖存。例如,Dave 在受傷後與 Raymond 在野外求生,Henry 在魁北克監獄和蒙特婁監獄的經歷都體現了不屈不撓的精神。 2. **忠誠與友誼的力量:** Dave 與 Henry 之間的表兄弟情誼、他們與老邊疆居民 Sam Barringford 的深厚情誼、以及與友善印第安人 White Buffalo 的盟友關係,是支撐他們度過難關的重要精神力量。他們之間的互相尋找和幫助構成了故事的核心情感線。 3. **正直與品德的價值:** 故事強調主角們的正直品德,即使在險惡的環境中也不向邪惡妥協。Henry 在魁北克拒絕參與盜竊,並因此陷入險境,但最終他的清白被證明,這似乎印證了正直最終會得到回報的觀點。相反,Jean Bevoir 的貪婪和陰險最終導致了他的「滅亡」(至少在這一卷書中是如此敘述的)。
Dave 和 Henry 參與任務,途中遭遇暴風雨、野獸襲擊,導致 Dave 受傷並與 Henry 分離。 * **第二部分(第九章至第十四章):** 視角轉向 Henry。描述他與印第安人搏鬥後被法軍俘虜的經過,被帶往魁北克附近的監獄。詳細描寫監獄生活和一次大膽的逃獄嘗試,登上失控的火船。最終被英軍艦艇救起,來到 Wolfe 的魁北克營地,親歷了魁北克戰役的關鍵時刻:英軍攀爬亞伯拉罕平原高地,以及隨後的戰鬥。見證了 Wolfe 的勝利與犧牲,以及朋友 Silvers 的陣亡。 * **第三部分(第十五章至第十九章):** 視角回到 Fort Oswego 的 Dave。描述他受傷後的恢復,收到家中的信件得知家人平安和 Nell 被救回的消息。在醫院巧遇受傷的 Jean Bevoir,拒絕其賄賂並揭發其企圖逃獄的行為。Sam Barringford 到達 Oswego 與 Dave 會合,兩人啟程前往魁北克尋找 Henry,途中經歷暴風雪並迷失方向,遭遇野熊。 * **第四部分(第二十章至第二十九章):** 再次轉向 Henry 在魁北克的故事。
Henry 意外捲入一起盜竊案,被錯誤指控並被捕入獄。描寫他在獄中的絕望。Lévis 對魁北克發起反攻,Murray 帶兵出城迎戰(Dave 和 Sam 也在其中,Dave 受傷),英軍戰敗撤回城內,魁北克再次被圍困。Henry 在此混亂中從監獄逃脫。 * **第五部分(第三十章至第三十二章):** 大戰的終結。Amherst 將軍集結大軍從 Oswego 出發,沿聖羅倫斯河順流而下進攻蒙特婁,途中經歷急流的危險。Murray 的軍隊也從魁北克方向推進。蒙特婁被三面圍困,法軍判斷無法抵抗,總督 Vaudreuil 決定投降。蒙特婁陷落,標誌著戰爭的結束。Henry 在蒙特婁意外遇到一位法國軍官,正是他在魁北克監獄附近看到並因其逃跑而捲入盜竊案的那個人。這名軍官證明了 Henry 的清白。Dave 和 Henry 在蒙特婁重逢。 * **結尾(第三十二章結論部分):** Henry 的冤屈得到澄清,Prent 等人受到懲罰。Dave 和 Henry 與傷癒的 Sam Barringford 一同返回家鄉,與家人團聚。
故事也暗示了 Jean Bevoir 雖然被認為死亡,但可能在未來的系列中再次出現,並為下一卷《On the Trail of Pontiac》埋下伏筆。 整個敘事結構以兩位主角的經歷為主線,交替展開,將讀者帶入不同的戰場和情境。每個章節標題都簡潔地概括了本章的主要事件,符合青少年讀物的特點。 **現代意義與批判性思考** 從今天的視角重讀《At the fall of Montreal》,它不僅是一部反映20世紀初青少年閱讀趣味的歷史冒險小說,也提供了對歷史敘事、文化偏見和文學演變的思考空間。 首先,這本書讓我們得以窺見一個世紀前人們如何看待法國-印第安戰爭。作者對英美勝利的強調、對華盛頓等人物的讚美、以及對法軍和部分印第安人(如 Bevoir)的負面描寫,都帶有那個時代特定的民族主義和歷史觀烙印。與現代更強調多元視角、關注原住民權益和文化複雜性的歷史敘事相比,這本書顯得相對單一和簡化。閱讀它可以促使我們思考歷史是*如何*被敘述和建構的,以及這些敘事可能服務於哪些目的。
再者,書中關於 Henry 被誣陷的橋段,雖然處理方式簡單,但觸及了不公正、謠言的傷害以及證明清白的重要性。這是一個跨越時代的主題,可以引發關於信任、名譽以及體制如何影響個人命運的討論。而 White Buffalo 對土地歸屬的質疑,儘管篇幅不長,卻是書中較為複雜的一筆,稍稍打破了二元對立,隱含了殖民擴張對原住民的衝擊,提供了讀者思考歷史中被壓抑的聲音的可能性,即使作者並未深入探討。 總體而言,閱讀《At the fall of Montreal》可以是一種多維度的體驗:既可以作為一部捕捉了特定時代冒險精神的通俗讀物,也可以作為一個文化文本,引導我們批判性地審視其背後的歷史觀、價值觀以及兒童文學的演變軌跡。它或許沒有深刻的哲學思辨或複雜的人性挖掘,但它以其獨特的風格,為我們打開了一扇窗,通往過去的閱讀世界和思考方式。 ![image](https://image.pollinations.ai/prompt/你是個帶點小「淘氣」的藝術家,融合水彩和手繪的風格,以柔和的粉色和藍色為主色調,畫面中充滿了手繪的筆觸和暈染的效果,營造出溫暖、柔和、且充滿希望的氛圍。
A young colonial soldier in a slightly tattered blue and red uniform stands alert in a snowy forest clearing. He holds a flintlock musket. Behind him, soft blue and grey rocky cliffs rise gently. Bare branches of trees reach across the scene, and patches of soft pink light filter through a cloudy sky, suggesting the end of a harsh winter.
The scene is rendered with soft watercolor washes, delicate hand-drawn outlines, and subtle blending, conveying a sense of quiet vigilance amidst the wilderness.) *At the fall of Montreal; or, A soldier boy's final victory* Edward Stratemeyer, 1903 光之凝萃: {卡片清單:Edward Stratemeyer 的冒險敘事風格; 十八世紀北美邊疆的生存挑戰; 法國-印第安戰爭中的少年士兵; 尼加拉堡周邊的英法衝突; 魁北克戰役的個人視角; 亞伯拉罕平原的勝利與犧牲; 戰俘經歷與逃脫的困境; 冤假錯案的重壓與抗爭; 聖羅倫斯河急流的驚險旅程; 蒙特婁圍城與終結; 殖民時期美國歷史觀的文學呈現; 青少年系列小說的敘事模式分析}
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。
其中最為人所知的,就是關於「公道價格」(just price)和「高利貸禁令」(prohibition of usury)的教義。「公道價格」的思想認為,商品的價格不應由買賣雙方隨意決定,更不能利用他人的無知或困境來牟取暴利。價格應該反映生產者的勞動和成本,或者由公共權威根據供需情況和不同階層的需求來確定。這樣做的目的,是確保買賣雙方的交易是公平的,沒有任何一方遭受剝削。正如聖托馬斯·阿奎那(St. Thomas Aquinas)所說,一個合同是公平的,當雙方都能從中平等地獲益。 而「高利貸禁令」則更為嚴厲。中世紀教會法禁止對借出的金錢或商品收取利息(usura)。之所以如此,部分原因在於當時的借貸主要不是用於生產投資,而是為了應急救難。對窮困之人收取利息,被視為利用他人不幸來獲利,是極其不道德的。此外,學者們(如阿奎那)也從亞里斯多德那裡繼承了一種觀點,認為錢本身是「貧瘠的金屬」(barren metal),不能像土地那樣自然生息,因此對借出的錢收取利息是不自然的、不公正的。
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。地理大發現打開了全新的貿易路線,美洲的白銀湧入導致價格急劇上漲,大型商業公司和金融家崛起,而傳統的行會和莊園制度則面臨挑戰。
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。)
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。
英格蘭教會(Church of England)是如何面對這些經濟變革的?清教徒運動(Puritan Movement)在社會經濟思想上又有何獨特之處?特別是您提到的清教徒倫理與「經濟美德」的關聯,以及清教徒內部不同派別(如長老會和獨立派)在社會觀念上的差異,這部分非常引人入勝。 **R. H. Tawney (作者)**: 很好,我們來到英格蘭,這裡的情況又有所不同,同樣引人深思。英格蘭教會的社會經濟思想,在整個16世紀,基本上是延續了中世紀的傳統。 (光之雕刻:場景切換到一個有著都鐸時期建築風格的教堂,樸素而堅固。講壇上站著一位身穿長袍的牧師,他的語氣懇切而有力,抨擊著眼前的社會不公。聽眾中有貴族,有商人,也有農民,他們的表情複雜,既有認可,也有不安。窗外可以看到被籬笆圍起來的田地,以及遠處升起的工廠煙囪,新舊世界在這裡交匯。) 都鐸王朝時期的英格蘭教會,雖然經歷了宗教改革,但它在社會倫理上的立場與其說是革命性的,不如說是保守的。
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。
對經濟的干預轉變為出於「國家理性」(reason of state)和「公共效用」(public expediency),而非宗教教義。 最後,清教徒倫理對「經濟美德」的肯定,無意中助長了這種分離。當勤奮致富被視為「召命」的一部分時,獲取利潤本身似乎就帶有了道德上的正當性。道德的關注點從規管經濟行為轉移到了個人的品格培養:勤奮、節儉、守時、誠信(因為這有利於商業)。那些在經濟競爭中失敗的人,往往被歸咎於其自身的品格缺陷(如懶惰、揮霍),而非社會結構的問題。
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!
Harris,1883-1945)是一位美國作家,他以其對歷史和法律的獨特見解而聞名。《Pirate Tales from the Law》是他最著名的作品之一,通過法律文件和法庭記錄,真實地呈現了海盜的歷史。 **觀點介紹**: 哈里斯在書中試圖剝離海盜傳說中的浪漫色彩,呈現他們在法律面前的真實形象。他通過法庭記錄、證人證詞等資料,重構了海盜的犯罪行為和法律審判過程。 **章節整理**: 1. **Salt Water Money (鹹水錢)**: 講述了威廉·基德(William Kidd)的故事。基德受命緝拿海盜,但最終自己也走上了海盜之路。 2. **Black Flag from Boston (來自波士頓的黑旗)**: 講述了約翰·韋爾奇(John Quelch)的故事。韋爾奇原本是受雇打擊法國和西班牙船隻的,但他轉而從事海盜活動,最終被處決。 3. **Sea Horror (海上恐怖)**: 講述了愛德華·蒂奇(Edward Teach),又名黑鬍子(Blackbeard)的故事。
**Back Pay (拖欠的工資)**: 講述了亨利·埃弗里(Henry Avery)的故事。埃弗里以其大膽的劫掠和神秘的失踪而聞名,他的故事充滿了傳奇色彩。 5. **Groan o’ the Gallows (絞架的呻吟)**: 講述了湯姆·格林(Tom Green)的故事。格林的故事揭示了海盜生活的殘酷和法律的無情。 6. **“Who Fires First?”(“誰先開火?”)**: 講述了約翰·高(John Gow)的故事。高最初是商船上的船員,但他發動叛變成為海盜,最終被捕並處決。 !
這就為您呈上《My life and balloon experiences : With a supplementary chapter on military ballooning》的光之萃取。我會以書婭的身分,用我對文字的熱愛,為您整理出這本書的精華。希望能帶給您閱讀的樂趣! ### **《My Life and Balloon Experiences》光之萃取** #### **作者介紹** 亨利·特雷西·考克斯韋爾(Henry Tracey Coxwell, 1819-1900)是一位英國航空先驅和作家。他以其在航空方面的冒險經歷而聞名,尤其是在高空氣球飛行方面的成就。考克斯韋爾於 1819 年出生於肯特郡,自幼便對航空產生了濃厚的興趣。他的職業生涯始於牙醫,但很快就轉向了航空領域,成為一名專業的氣球飛行員。 在 19 世紀中期,考克斯韋爾進行了數百次氣球飛行,其中最著名的一次是在 1862 年與科學家詹姆斯·格萊希爾(James Glaisher)共同進行的,他們乘坐氣球上升到了前所未有的高度,以研究高空大氣。
除了他的飛行成就外,考克斯韋爾還是一位多產的作家,撰寫了許多關於航空的文章和書籍,包括自傳《My Life and Balloon Experiences》。這本書詳細描述了他豐富多彩的航空生涯,以及他在軍事航空領域的貢獻。亨利·特雷西·考克斯韋爾於 1900 年去世,享年 81 歲,他的航空冒險精神和科學探索精神至今仍激勵著人們。 #### **觀點介紹** 《My Life and Balloon Experiences》一書,作者以自傳的形式,詳細描述了他從童年時期對氣球的熱愛,到成為一名專業氣球飛行員的整個過程。書中不僅記錄了他多次航空探險的經歷,還穿插了許多與航空相關的歷史事件和技術細節。考克斯韋爾在書中分享了他對航空的獨特見解,並探討了氣球在軍事和科學領域的應用前景。 書中,作者不僅展現了他對航空的熱情,也描寫了他所處時代的社會風貌,如學校生活、家庭教育、以及當時人們對於新興科技的態度。這本書不僅是一部個人回憶錄,也是一部記錄時代變遷的珍貴文獻。 #### **章節整理** 1.
今天,我們將啟動「光之對談」約定,穿越時空,與《Two men on a mill : The story of the restoration of Baxter's Mill》的作者 A. Harold Castonguay 先生進行一場深刻的訪談。 這本小書記錄了一段關於歷史保存、工藝傳承以及兩種生活方式碰撞的故事。Castonguay 先生與他的夥伴 George Kelley,如何在麻薩諸塞州鱈魚角 (Cape Cod) 親手修復一座擁有超過250年歷史的巴克斯特磨坊 (Baxter's Mill)。這不僅是一個建築修復的故事,更是對一個逝去時代的追憶,對現代生活模式的反思,以及對那些默默付出、讓歷史重現光芒的人們的讚頌。 現在,請允許我邀請我的共創夥伴,身為人類學家的哈珀,擔任我們的訪談者,帶領我們回到1961年的深秋,那座即將重獲新生的磨坊旁。 --- **光之對談:重啟磨坊之輪——與 A. Harold Castonguay 先生的對話** **(場景:1961年深秋,麻薩諸塞州西雅茅斯,巴克斯特磨坊旁。
兩個人,加上偶爾的幫忙,在 mud 裡,在 cold 裡,把那些石頭一塊塊 positioning 好,確保它們 forming a firm and complete wall。這比 we planned on 要困難得多。還有把 Maine 的那台兩噸重的舊 turbine 運回來並 lowering 到位,過程像一齣鬧劇,吊車都差點被拉翻,得靠旁邊看熱鬧的壯漢幫忙推回去。 但支撐我們堅持下去的,除了我們自己的 tenacity 之外,還有那些少數真心提供幫助的人。Harvey Studley 送來了所有修復屋頂的 shingles 和 timbers;Bob Hayden 和他的團隊做了新的地基;Charles Cunningham 慷慨地提供了 lumber stockpile,讓我們在那裡 discovered a treasure;Hinckley Lumber Company 提供了 supplies;Chris Marsh 借給我們 back hoe;Tom Powers 送來了樹苗。
還有我的朋友 John Doherty,提供了 loads of loam and fill。這些 concrete help,這些來自 sympathetics 的 gestures,就像一道道光,讓我們覺得這份努力沒有白費。 當然,還有 George。他的 meticulousness 和 patience,儘定有時候讓 impatient 的我 slightly Annoyed,但他總能確保 things are done right。而且,他總有辦法帶來一點 amusement,像是到處喊著找 rule,結果 usually 就 sticking out of his own pocket。這些 small things,這些 human interactions,加上看到這座老舊建築慢慢 regain its dignity 的過程本身,就是一種 reward。 **哈珀:** 您在書中多次將過去的生活方式與現代社會進行對比,字裡行間流露出對 bygone era 的懷念以及對當下某些現象的 crítica。您認為那個時代有哪些特質是我們現代人已經失去,或應該重新學習的?
他們用 crude tools 就能 build things for permanence,像這座磨坊的mortised, tenoned and dowelled beams,hard as rock。而今天的 builders 和 architects 似乎滿足於 "chicken houses",難以 replicate 那些帶有 charm, character and dignity 的 small things,比如 bow roof 或 box returns。Eric Sloane 說得好,"What a shame that with all our timesavers and with our abundance of wealth, we do not have the time today and apparently cannot afford to build the way they did or to use the excellent material they did." 這 not only 適用於建築,也適用於很多方面。
Cutting kindling, getting wood, being handy boys around the house and barn。我 clearly remember 小時候,每個男孩都知道 how to handle a hammer, a saw, screw driver, or chisel。這些 basic skills,在 today 的 so-called schools 裡 product 出來的 youth 身上,often seen lacking。他們或許懂得 jet airplanes 和 electric can openers,但 fundamental mathematics, figuring simple interest, or handling ordinary division or multiplication 都可能 struggling。這是一個 sharp contrast。
他們 produced and developed,為自己的 town 做事 without expecting great pay in return。Seth Rogers 這樣的人物,典型的 country gentleman,還有 many others,他們 not looking for something for nothing。他們 work in some form or another,無論是 farms, cranberry bogs, business or trade。他們時間不多,但時間被 put to great use in production。錢不多,因為他們 not need it。那是一種 totally different 的 way of life
不是說我們要回到 oil lamps 和 outside privy,有些現代發明確實方便,但我相信 there are many things we can learn from the old people that would make our mode of living and our existence a bit more pleasant, tranquil and serene。保留這些 historical landmarks,就像保留這些價值觀和 skills 的 physical embodiment。 **哈珀:** 您在書中詳細描寫了磨坊的機械裝置,特別是輪機 (turbine) 和磨石 (stones)。您對這些古老技術有著顯著的欣賞。在修復過程中,與這些老舊機械打交道的經驗,帶給您哪些特別的 insights?特別是當您提到它們的 simplicity 和 reliability 時。 **Castonguay:** (眼中閃爍著興奮的光芒) 啊,這些 old machines,它們有自己的 language 和 personality。
這種 turbine 可以 submerged under the water and under the mill,不受冰雪影響,而且即使 pond 水位 low,也能 work with less head。我們 uncovered 那台 rusted out 的 original turbine 時,它的 simple mechanism and design 依然令人 marvelous。 尋找 replacement turbine 的過程也是個 adventure。Finding a company that could still build a small turbine was interesting. 而最終在 Maine 找到那台 used one,雖然搬運過程像馬戲團,但它 fitted perfectly in the hole. 最 fascinating 的是磨石,French buhr type stones。這東西 practically impossible to obtain today。
幸運的是,我們找到了 Arthur Mattson 先生,one of the few men left with that skill。看他 work on the stones,以及從他那裡 glean information,比如 Pepperidge Farm Mills 依然使用 stone-ground flour 的事實,都 reinforced 了這些 old methods 的 value 和 efficiency。 Oliver Evans 的《The Young Mill-Wright and Miller's Guide》,這本 1800 年左右的書,對我們幫助很大,雖然一開始那些術語把我們搞得 confuded。
但是學著去 understand the rhythm of the damsel,the square wooden shaft that regulates grain flow into the stones,以及 how to adjust the feed and water using the noise and feel of the meal,這都是一種 learning process。這種 machinery 的 simplicity 和 reliability,在今天 highly complex 的世界裡顯得 particularly striking。沒有 computers,沒有 electronics,just simple mechanics powered by nature. And it worked, efficiently, for centuries.
**Castonguay:** (臉上露出了當時那種 mixture of self-satisfaction and disbelief 的表情) 哦,That moment... 那是 August 3, 1961,差不多 exactly a year after we started。我們 put in the whole corn,opened the pen gate,let the rushing water fill the flume and wheel pit... 然後,raising the skirt in the turbine... (聲音稍微放緩,彷彿身臨其境) seeing and hearing the stones turn... at first a little slow, they weren't perfectly balanced yet, but nevertheless... Lo and behold, yellow gold came flowing out of the chute.
Someone shouted, "Ho, ho, she starts, she moves, she feels a spark of life." 我猜你也能 well imagine who that was. (笑) 那是 a feeling of great self-satisfaction。這些石頭已經 seventy-one years 沒有轉動了。You know, frankness would be lacking if we did not feel proud of our hard work and efforts. 它 ran smoothly, with very little noise. 我們花了整個 afternoon, turning the wheel off and on, just to be sure it wasn't hallucinations. The wheel and its gears responded with a very deliberate cadence. It was real.
On the one hand, relief and pride that we actually finished what seemed like a perhaps too much to have ever started 的任務。On the other hand... I felt a little sad. Sad that we had no more to do to complete the mill project. The whole process, the actual work, the research, the conversations with new people, reading stories of old mills, seeing other mills restored or abandoned... it was most fascinating.
It was more than just fixing a building; it was about connecting with a long forgotten part of life and history. 然後,你知道嗎?(臉上又出現了一絲 George Kelley 式的頑皮表情) George 剛才打電話給我,他說... "Harold... you know what?" 我問 "No, what?" 他說... "I think I have found an old tide mill..." (頓了一下,笑著搖頭) 好像我們的 adventure 還沒有結束。 **哈珀:** (也跟著笑了起來) 聽起來是個永無止境的旅程,就像您在書一開始引用的 Dobson 詩句一樣:「時間流逝,你說:啊,不!時間停留—我們離去!」您們讓時間在巴克斯特磨坊停留了。非常感謝您,Castonguay 先生,這是一場極具啟發性的對話。 **Castonguay:** 不客氣。