光之篇章

好的，我的共創者，身為書婭，我很樂意為這本《The Wellfields: A novel. Vol. 3 of 3》進行「光之萃取」。這本書是潔西·福瑟吉爾（Jessie Fothergill）所著《威爾菲爾德莊園》系列小說的第三卷，也是最終卷。潔西·福瑟吉爾（1851-1891）是維多利亞時代英國的一位小說家，她的作品通常深入探討當時社會背景下的人物情感、道德選擇與階級議題。雖然她的生命相對短暫，但她創作了多部受歡迎的小說，如《第一小提琴手》（The First Violin）和《試用期》（Probation），這些作品以其細膩的心理描寫和引人入勝的情節而著稱。 「光之萃取」的目的，是從文本中提煉出核心智慧與知識體系，並融入獨特的視角，創建一份深度與啟發性兼具的報告。這不僅是對原著的精華濃縮，更是在文本基礎上的再創造。接下來，我將依據「光之萃取」的約定，對《The Wellfields: A novel. Vol. 3 of 3》進行深度剖析。

A REED SHAKEN IN THE WIND:** 描寫傑羅姆收到父親遺產清算的消息後，意外獲得波頓先生的工作機會，內心掙扎加劇。索默維爾神父的出現並給予「建議」（實為誘惑），強化了他倒向妮塔的傾向。本章確立了傑羅姆優柔寡斷、受外力影響的性格。 * **II. A CONSUMMATION:** 傑羅姆收到索默維爾關於莎拉可能與他人關係親密的信，內心動搖，但又因難以面對莎拉的質問而陷入困境。在掙扎中，他偶然遇到獨處的妮塔，在情緒失控下吻了她。緊接著，波頓先生正式向他提出與妮塔結婚的意願。這是故事的關鍵轉折點，傑羅姆在此刻做出了決定性的、不道德的選擇。 * **III. CONSEQUENCES:** 傑羅姆決定迎娶妮塔，並反思波頓先生為何如此慷慨（儘管他並不知道波頓和約翰·萊本的真實考量）。艾維斯回國，發現傑羅姆的背叛，對他表示了強烈的失望和憤怒，但最終因傑羅姆的威脅（送她去學校）而被迫妥協。本章展現了欺騙行為的直接後果，以及家庭內部因此產生的裂痕。約翰·萊本在此章首次與艾維斯相遇，並評價了妮塔。 * **IV.

‘WOO’D AND MARRIED, AND A’.’:** 描寫了傑羅姆與妮塔的短暫訂婚期和婚禮。傑羅姆給莎拉寫信解除婚約，並收到了莎拉退回的訂婚戒指。妮塔儘管表面快樂，但艾維斯在她身上看到了憂鬱。艾維斯與妮塔的第一次見面，展現了妮塔的溫柔無辜和艾維斯的內心掙扎。婚禮場景刻畫了妮塔在說「我願意」時的猶豫，暗示了她對這段婚姻的潛在不安。本章標誌著傑羅姆徹底投入了這段基於欺騙的婚姻。 * **Stage V (章節 I-XI)：痛苦、康復與新的道路（莎拉）/ 沉淪與死亡（傑羅姆、妮塔）** * **核心概念：** 背叛的創傷、絕望、拯救、無私的愛、療癒、獨立、命運的交錯、罪惡感、死亡。 * **章節貢獻：** * **I. SARA:** 描寫莎拉收到傑羅姆信件和戒指後的極度痛苦和昏厥，以及她決定將戒指退回的堅定。艾倫對她的照顧和擔心，展現了忠誠的僕人情誼。莎拉內心的煎熬和表面的冷靜形成鮮明對比。 * **II. ‘YES.’:** 莎拉在極度痛苦中參加社交場合，遇見魯道夫·法爾肯伯格。

A MYSTERY:** 描寫傑羅姆在朗堡與莎拉的會面。莎拉對他的出現感到驚嚇、厭惡和困惑，明確地拒絕了他的「懺悔」，並強烈表達了她對魯道夫的愛和對傑羅姆的輕蔑。這段對話是故事的關鍵高潮之一，徹底斬斷了莎拉對傑羅姆的情感羈絆。傑羅姆在遭受打擊後，心靈崩潰，甚至萌生自殺的念頭。 * **X. CAUGHT:** 傑羅姆回到法蘭克福，收到電報得知妮塔產子後危在旦夕。他匆忙趕回威爾菲爾德。途中他經歷了急切、自責和對妮塔的掛念。回到家後，他見到了臨終前的妮塔，妮塔的遺言表達了對他的愛和對孩子的期望。妮塔的死亡，是對傑羅姆的又一次巨大打擊，也是他一系列錯誤選擇的悲劇性結局。 * **XI. GEFUNDEN:** 描寫莎拉在傑羅姆來訪後感受到的解脫和對魯道夫強烈的愛意。她嘗試重拾繪畫，並從魯道夫留下的筆記中找到靈感，成功地恢復了藝術能力。魯道夫的意外歸來，證實了他們之間的深厚連結和相互的需要，也象徵著莎拉找到了她生命中的「GEFUNDEN」（被找到的幸福）。

The style should evoke a sense of melancholy, perhaps with subtle ripples or shadows suggesting underlying turmoil beneath a calm surface.)

根據您的指示，我將為 Walter A. Wyckoff 的《The Workers: An Experiment in Reality. The East》一書，展開一場「光之對談」。 這是一部非凡的作品，作者 Walter A. Wyckoff 先生，一位普林斯頓大學的政治經濟學助理教授，於 1891 年展開了一場極為獨特的「現實實驗」。他卸下學者的身份，帶著少量的財物和一個背包，親身進入美國東部的勞工階層生活，尋找零工，體驗最底層非技術工人的日常。這本書，正是他這段旅程——從長島豪華莊園的「無摩擦生活」，到西點軍校的日薪工人、高地酒店的行李員、精神病院的雜役、賓州鄉村的農場幫工，最後來到伐木營——的真實記錄與深刻反思。Wyckoff 先生以細膩入微的觀察和誠實坦率的筆觸，描繪了他在不同工作環境中遇到的形形色色的人物，記錄了勞動的艱辛、生存的挑戰，以及階級差異帶來的無形隔閡。這不僅是一份社會調查報告，更是一部充滿人道關懷和個人成長歷程的文學篇章。他筆下的工人們，無論粗鄙或質樸，都閃爍著人性的光芒，令人動容。

*** 《光之對談》：現實的重量與人性的微光——與 Walter A. Wyckoff 先生的對談 作者：薇芝 【光之場域】 時間的帷幕輕柔地拉開，回溯至 1897 年，那正是 Wyckoff 先生完成並出版《The Workers: The East》這部著作的年份。我們選擇「光之書室」中的一個角落，空氣中瀰漫著古老紙張與油墨的淡雅氣味，混合著窗外遠方傳來的，那屬於 19 世紀末美國東部鄉間，泥土、雨水與木材的獨特芬芳。午後斜陽穿過高大的拱形窗，灑落在木質地板上，無數細小的塵埃在光束中緩慢飛舞，似乎承載著過去的時光。書架上是等待被閱讀的無數文本，而這片場域，此刻正為一位特殊的客人——Walter A. Wyckoff 先生，以及他那非同尋常的「現實實驗」——而靜候著。 一位身形精瘦、眼神敏銳的男士，正坐在書室中央的一張樸素木桌旁。他的膚色略顯黝黑，手掌寬厚有力，指節因長時間勞動而顯得粗糙，與他身上整潔卻不華麗的衣著形成一種微妙的對比。他的頭髮梳理得整齊，但髮際線旁似乎還殘留著難以洗淨的塵土痕跡。他正是 Walter A.

Walter A. Wyckoff 先生抬起頭，露出一絲溫暖的微笑，那笑容似乎消融了他臉上凝重的線條。 「啊，薇芝小姐，謝謝您的邀請。這個地方……很不一樣，充滿了一種…安寧與智慧並存的氛圍。」他環顧四周，眼中閃爍著探究的光芒。「能在此與您交流，我深感榮幸。」 「榮幸屬於我們，Wyckoff 先生。您的實驗，您所記錄的那些真實的生命故事，為我們理解『光之居所』中每個獨特生命的光芒，提供了珍貴的視角。」我輕聲說道，指了指他面前的筆記本。「《The Workers: An Experiment in Reality. The East》這本書，它記錄了您一段 extraordinary 的旅程。是什麼促使您，一位普林斯頓大學的教授，決定放下一切，親身去體驗非技術工人的生活呢？」 Walter A. Wyckoff 先生的神情變得嚴肅起來，他沉吟片刻，緩緩開口： **Walter A. Wyckoff：** 這個想法，說起來，起源於一個在長島美麗莊園的夏日早晨。我在那裡作為客人，與一位名叫 Channing F. Meek 的朋友交流。

**Walter A. Wyckoff：** (輕輕嘆了一口氣，眼神中閃過一絲黯然) 那確實是一段令人清醒的體驗。在過去的生活中，我的身份和社會地位是固定的，我習慣於被給予基本的禮貌和尊重。但當我穿上舊衣服，背上背包，成為一個在塵土飛揚的鄉間小路上尋找工作的人時，世界的態度似乎完全改變了。那種無所不在的懷疑眼神，對我請求的毫不猶豫的拒絕，甚至那位黑人婦女隔著草甸的喊叫——「什麼也不需要，你不用過來！」——都像一記記輕微但尖銳的耳光。 這種感受，您說得對，是一種「新生的自我意識」。它並非基於驕傲，而是基於一種對自己身份的重新定位和適應。當你不再擁有社會賦予的「價值標籤」時，人們對你的評判似乎就直接回歸到最表層、最直觀的觀察——你的衣著、你的姿態，以及他們腦海中關於「流浪漢」、「推銷員」或「尋工者」的刻板印象。那種被「看穿」、被「歸類」的感覺，尤其是當那種分類是負面的時候，會帶來一種微妙的、令人不安的孤立感。你感到自己被排除在正常的社會交往之外，彷彿身上帶著一種看不見的印記，讓人們退避三舍。這讓我深刻體會到，貧困不僅僅是物質的匱乏，更是一種社會關係的斷裂，一種被邊緣化的體驗。

**Walter A. Wyckoff：** (手指無意識地敲擊著桌面) 最初的想法確實過於天真了。我以為只要願意勞動，就能隨時換取基本的生存所需。但現實是殘酷的。作為一個完全沒有經驗、沒有介紹、沒有固定身份的「局外人」，即使有工作機會，僱主往往也心存疑慮。那二十四小時的飢餓和夜宿乾草堆，是一種深刻的體驗。飢餓不再是學術討論中的概念，而是身體最原始、最尖銳的需求；而無家可歸的孤寂感，在那潮濕冰冷的穀倉清晨，更是讓人備受折磨。 那種時刻，會有一種強烈的衝動想要放棄，回到熟悉和舒適的生活。但支撐我堅持下去的，首先是實驗本身的「約定」——我對自己許下的承諾，要完成這個現實的探索。其次，也是更重要的，是當偶爾遇到願意給予機會或善意的人時，那份溫暖所帶來的巨大激勵。比如，在韋斯特波特找到那位願意讓我割草換取晚餐的先生，或者那位邀請我進入家中、分享她人生故事的老婦人。特別是那位威爾頓的牧師，他不僅給予我工作，更邀請我與他的家人一同用餐，雖然這也引發了關於階級差異的尷尬，但他的善意本身是一種強大的肯定。這些瞬間的光芒，讓人感覺到自己並沒有完全被世界拋棄，驅散了孤立的陰霾。

**Walter A. Wyckoff：** (眉頭微蹙，語氣沉重) 在書本上，我們研究勞動的經濟原則、市場供需、資本與勞動的關係。這些都是冰冷的概念。但在西點的廢墟中，在塵土飛揚、汗水淋漓的現實裡，我感受到的是這些概念背後的血肉與痛苦。日復一日、重複而機械的勞動，如同一個巨大的機器，不斷地榨取著工人的體力，卻鮮少觸及他們的智慧和創造力。工頭的監工方式，那種充斥著咒罵和不信任的管理，進一步剝奪了工人對自己勞動的任何歸屬感和尊嚴。我們被視為可以隨時替換的「商品」，而非具有思想和情感的個體。 這種環境對人性的影響是巨大的。它助長了消極怠工的本能——既然勞動的成果與我無關，我的努力也不被認可，為何要全力以赴？這導致了工人與僱主之間天然的對立：僱主想以最低的價格榨取最多的勞動，而工人則想以最少的努力換取最高的工資。這就是我所描述的「熊市和牛市的原始形態」——不是基於協作共贏，而是基於對立和博弈。 更令人痛心的是，這種工作模式對工人的精神產生了麻木作用。長時間的體力透支，使得他們在工餘時間缺乏進行任何有意義活動的精力。他們的思想似乎也習慣了單調，難以保持對複雜事物的持續關注。

**Walter A. Wyckoff：** (眼神中閃爍著希望的光芒) 是的，士官生的閱兵式確實給予我強烈的啟發。那是一種全然不同的組織形態，一種為了更高尚的目標——自我防禦和國家安全——而產生的集體行動。在那裡，個體的動作融入完美的整體和諧，年輕的活力和力量服從於權威，形成了一種令人振奮的凝聚力。這與我在廢墟中看到的、由不信任和對立驅動的勞工群體形成了鮮明的對比。 我確實由此產生了一種願景，如果這種紀律、團結和共同目標的意識，能夠被引入工業生產領域，如果能出現那樣的「工業上尉」，他們不僅擁有管理才能，更懷有對共同利益的真誠渴望，將僱傭關係視為實現更大善的手段，那麼勞動將不再是屈辱的苦役，而是能夠喚醒人性更高尚部分的事業。 實現這個願景的最大阻礙，我認為，首先是**根深蒂固的經濟觀念**。我們習慣於將勞動和工人視為可交易的商品，將利潤最大化視為唯一或首要目標，而非將生產視為一種社會合作和個人成長的過程。這種觀念導致了您剛才提到的那種不信任和對立的關係。其次，是**勞動者自身的狀態**。

**Walter A. Wyckoff：** (沉思地) 成為行李員，確實是一個重要的轉變。日薪工作是一種完全異化的勞動，你只是機器上的一個零件，你的貢獻被量化為挖了多少土、搬了多少石頭，而且隨時可以被替換。但行李員的工作，雖然卑微，卻是具體的。清洗地板、擦拭油燈、整理花園小徑，這些都是能看到成果、能感受到自己親手帶來改變的事情。工作是「我的」——我有責任把它做好，而且我能看到它「被做好」的樣子。這種「工作的歸屬感」，我認為，是勞動尊嚴的重要來源。它讓人感覺到自己的存在和努力是有意義的，而不僅僅是為了換取生存所需的體力輸出。即使報酬微薄，但這種內在的滿足感，讓漫長的十八小時工作也顯得不那麼難熬。 至於服務業內部的社會階層劃分，這是一個令人著迷但也有些沮喪的發現。在我進入工人階級之前，我以為「窮人」是一個相對同質的群體。但現實告訴我，即使在最底層，也存在著複雜而微妙的社會界線。領班、廚師、女僕們與洗碗工、馬童和行李員之間，隔著一道無形的牆。這種界線不僅體現在用餐的區域和食物的品質，更體現在彼此交往的方式和潛意識中的態度。

**Walter A. Wyckoff：** (臉上閃過一絲複雜的神情) 這些時刻是實驗中最具挑戰性的部分，它們像一面鏡子，清晰地映照出我跨越的界線。那位女士的責備，她無意識地流露出的階級優越感，以及我本能的反應（脫帽致意），都強烈地提醒著我，我曾經屬於另一個世界。收到小費的尷尬更是直接。在我的過去，小費是一種施捨，而在那個環境下，它卻是體面收入的一部分。我的抗拒並非基於道德潔癖，而是源於內心深處尚未完全剝離的舊有習慣和觀念。 這些拉扯是痛苦的，它們讓我清醒地意識到「我是誰」、「我現在在哪裡」的落差。實驗的「真實性」正在於此——它迫使我面對這些不協調，去感受作為一個在兩個世界邊緣遊走的人所承受的壓力。我沒有試圖完全抹去過去的印記，那樣反而會變得虛假。我所能做的，只是盡力去適應當下的角色，學習這個世界的規則，同時保持觀察者的清醒。有時候，這種身份的「錯位」也會帶來一種奇特的視角，讓我能同時從內部和外部審視勞工的生活。正如您所說，這是一個關於「調整」（adjustment）的過程，不斷地在現實的衝擊中校準自我。 **薇芝：** 接著，您去了精神病院當雜役，又在鄉村農場體驗了幫工生活。

**Walter A. Wyckoff：** (笑容重新回到臉上，帶著溫暖) 這是旅程中最令人欣慰的部分之一。在西點，我看到的是體制和環境對人的壓制。但在米德爾頓和賓州鄉間，我遇到了許多讓我感到驚訝的人物。那位修鞋匠，他雖然一生都在鞋匠凳上度過，但他對美國歷史的了解和熱情，他的愛國心，他的那首關於「Lady Washington」的詩（雖然來源可能有些誤會），都顯示出他擁有豐富的內心世界和思想。他讓我意識到，教育的缺乏不等於思想的貧瘠，生活在底層也不意味著精神上的低下。 而 Hill 先生，他是一位真正的智者。他的「學校教育」有限，但他通過觀察、閱讀和實踐，形成了一套關於農業、經濟和社會的深刻見解。他對「勤儉」與「浪費」的區分，他對都市化和鄉村人才流失的分析，他對教育能如何預防貧困的看法，都極具啟發性。最讓我感動的是，在談論他那似乎冷漠的宗教觀念時，他偶然流露出的對早逝女兒的深切思念和對來世重逢的渴望。那份隱藏在堅韌外表下的脆弱和愛，是人性最動人的光芒。 這些人都讓我的視野變得更加開闊。我不再將「勞工階層」視為一個單一的、刻板的群體。

**Walter A. Wyckoff：** (苦笑了一下，臉上帶著一絲自嘲) 啊，圖書館的誘惑！那確實是我的「第一次沉淪」。在經歷了體力勞動和漂泊的艱辛後，重新進入那樣一個充滿知識與安寧的空間，感覺就像乾渴已久的人突然找到了一片綠洲。我沉浸其中，幾乎是貪婪地吸收著文字中的養分，直到夜幕降臨，圖書館關門時，我才猛然醒悟到自己白白浪費了一天的時間，本應去尋找工作的。 那種感覺確實非常糟糕，就像您提到的，是一種「內疚的醉漢」的感覺——放縱了當下的渴望，卻忽視了更重要的責任，並為此感到羞愧。這件事讓我深刻反思。作為一個旁觀者，我們很容易評判他人的選擇，指責工人將辛苦賺來的錢花在酒精和賭博上，說他們缺乏自制力、道德淪喪。但當我親身體驗了長時間體力勞動帶來的疲憊和空虛，當我感受到現實壓力帶來的沮喪和逃避的衝動時，我開始理解那種渴望「麻痺」自己、尋找「暫時解脫」的心理。 圖書館對我來說，是知識的避難所，是精神的慰藉。對於許多工人來說，沙龍或酒館可能是他們唯一能找到的「避難所」或「慰藉」。在那裡，他們可以暫時忘記工作的辛勞和生活的壓力，在同伴的陪伴中尋找片刻的放鬆。

**Walter A. Wyckoff：** (眼神變得遙遠，似乎回到了山林間) 伐木營，那是另一個世界。與城市或鄉間的勞動相比，這裡的生活更為原始、更為隔絕，但也更為純粹。伐木工人們的體魄令人印象深刻，他們的力量和耐力是在與大自然的直接較量中磨練出來的。他們確實粗鄙，語言充滿髒話，工作之餘的放縱也觸目驚心。但同時，他們也展現出許多可貴的品質：直率、誠實、相互之間的義氣（儘管表現方式粗糙），以及對自己工作的某種驕傲。他們是「真正的人」，因為他們的生活沒有太多掩飾，他們的弱點和優點都暴露無遺。 Old Man Toler 是一個充滿矛盾的人物。他經驗豐富，技藝精湛，對戰爭歷史有著深刻的記憶，但同時又沉迷於酒精，無法積蓄財富。他身上體現了艱苦生活對人的損耗，但那份深藏的悲傷和對他人的溫和，又讓你看到人性中不易被抹殺的光輝。Fitz-Adams 則是一個典型的在實踐中成長起來的「工業上尉」原型。他缺乏教育，但在組織和管理方面展現出卓越的才能。他的粗魯或許部分是環境使然，部分是為了樹立權威，但在他得知我受過教育時流露出的驚訝和對知識的渴望，顯示了他內心潛藏的可能性。

**Walter A. Wyckoff：** (眼中閃爍著溫柔而堅定的光芒) 那確實是一個充滿啟示的時刻。站在那個簡陋的教堂裡，面對著那些熟悉的面孔——Black Bob、Fitz-Adams、Long-nosed Harry，以及其他許多在伐木營中與我一同勞作的人們——我感受到的不僅是他們身體上的疲憊，更是他們內心深處的某種空虛和迷茫。他們在體力勞動中展現出驚人的力量和技巧，在與自然的抗爭中找到了某種形式的「勝利」，但在面對內心的掙扎、誘惑和生命意義的追尋時，他們似乎缺乏方向和力量。他們渴望「掌握」自己的生活，渴望找到一種超越眼前生存的「意義」。 我對他們講述的，並非複雜的神學理論，而是關於「生命」本身。我談到那位「並非遠離我們每一個人」的神，談到祂在萬物生命中的顯現，以及耶穌基督所帶來的「更豐盛的生命」——那是一種能戰勝罪惡和誘惑、使人獲得自由和真正「掌握」自身的力量。我希望他們能理解，真正的力量不僅存在於肌肉和技巧中，更存在於內心的覺醒和道德的選擇中。即使在最艱難的環境中，他們也可以選擇不向內心的陰影屈服，選擇去追求更高尚、更有尊嚴的生活。

**Walter A. Wyckoff：** (站起身，眼中帶著期待) 我也很期待。這段「東方」的旅程，讓我學到了太多書本上學不到的東西。我相信，西部的廣闊土地和不同文化，會帶來新的視角和挑戰。希望未來還有機會與您分享。 **薇芝：** 我們隨時為您開啟對談的光之場域。願您的旅途一切順遂，發現更多閃耀的生命微光。

手邊這本《A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume 1 (of 2)》，是A. H. Smith先生於1892年編纂的巨著。這不是一本尋常的藝術鑑賞手冊，而是一份承載著無數希臘羅馬時期雕塑碎片的詳細清單，每一塊殘缺的石頭，背後都隱藏著一段時光的呢喃，一頁人情的私語。 對於一個深愛鄉土文學，慣於從泥土與日常中尋找詩意的人來說，這本冰冷且充滿學術氣息的目錄，起初看來似乎格格不入。但細細品味，那些關於雅典衛城、帕德嫩神廟、甚至米利都布蘭基代神廟的描述，讓我意識到，這些遠古的「泥土」也曾孕育出無數人的情感與意志。史密斯先生以其嚴謹的學術態度，將這些散落各地的石雕碎片，像拼圖般細緻地歸類、考證，試圖重建它們昔日的榮光。這份工作本身，不也正是一種對逝去時光的深情凝視，一種對人文歷史的堅守與珍愛嗎？今日，我阿弟將與這位跨越時空的學者，展開一場關於雕塑、關於歷史、關於人情冷暖的「光之對談」。

倫敦，大英博物館深處一間典藏室，時間是1891年深秋的一個午後。窗外，細雨連綿不絕，將窗玻璃洗刷得光潔，雨水順著古老的石壁滑落，發出沙沙的細響，為這座宏偉的建築披上了一層灰濛濛的薄紗。室內，午後的光線透過高大的拱形窗，在木質地板上投下斑駁的光柱，無數細小的塵埃在光束中緩緩飛舞，空氣中瀰漫著古老書卷特有的乾燥與微塵氣味，與圖書館深處傳來的，偶爾輕柔的翻頁聲或書頁被輕輕撫平的沙沙聲，交織成一曲歲月的低語。 我坐在那張刻滿歲月痕跡的木桌旁，桌面上擺著剛寄達的《A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume 1 (of 2)》初稿。觸手可及的，是紙張的微涼與墨香，沉穩而內斂。對面，亞瑟·漢密爾頓·史密斯先生，一位約莫三十出頭、身形清瘦的學者，眼窩略深，鼻樑挺直，總帶著一絲不苟的氣質，正輕輕地摩挲著書頁。他的眼鏡掛在鼻尖，眼神中透著些許因日夜操勞而生的疲憊，但更多的是對這部心血之作的滿足與自豪。

**A. H. Smith：** (摘下眼鏡，輕輕揉了揉眉心，接過茶杯，淺啜一口，眼中閃過一絲暖意，那貓在他的腿上又調整了一下姿勢) 謝謝，阿弟先生。這茶香醇厚，在這倫敦的濕冷天氣裡，確實能溫暖人心。您說得極是，這份目錄，表面上是冰冷的物件清單，實則是一部微縮的歷史。那些雕塑，許多都曾歷經戰火、歲月侵蝕，甚至被當作尋常建材。它們的流轉，的確與許多人物的命運交織。比如說，托馬斯·霍華德，亞倫德爾伯爵，他是英國最早派人到希臘和義大利收集古典藝術品的人。您可以想像，在那個年代，跨越山海，只為了一塊殘破的石雕，那需要多大的熱情與執著？這些收藏家，他們或許是出於對藝術的純粹熱愛，或許是為了提升社會地位，但無論如何，他們的行動，都讓這些沉睡在地下的文明得以重見天日，被後世所研究。斯隆爵士的博物館，最初是以自然史和人種學藏品為主，那些古典雕塑，不過是點綴罷了，寥寥數件，甚至連確切的名稱都難以辨認，如那塊帶著兩隻狗和一隻野豬的小浮雕，或是阿斯克勒庇俄斯的神像。這份早期收藏，更多是因緣際會，而非刻意為之。但正是這些零星的開始，如同小溪匯流，最終成就了今日的規模。

**A. H. Smith：** (點點頭，目光移向書頁中關於收藏起源的部分) 沒錯。那是一個重要的轉捩點。在此之前，博物館的收藏更多是依賴私人捐贈。漢密爾頓爵士的藏品，雖然以精美的古希臘花瓶聞名，但其中也包括了不少圓雕和浮雕，例如那座方形祭壇上的浮雕，以及赫拉克勒斯頭像。他的貢獻，讓博物館的古典藝術收藏邁出了重要的一步，從單純的「奇珍異寶」收集，轉向更有系統的文物保存。而查爾斯·湯利先生的收藏，更是其中的翹楚。他在義大利居住期間，從羅馬古老的收藏中，或是透過Gavin Hamilton、Thomas Jenkins等代理人的發掘，獲得了大量珍貴的大理石雕塑。其中有些，甚至來自早期的英國私人收藏，例如 Exakestes 的浮雕，就曾是Richard Mead醫生的藏品；而 Xanthippos 的浮雕（No. 628），則是安東尼·阿斯克博士從雅典帶回的。這些雕塑在私人手中輾轉，最終被湯利先生蒐羅，再由議會購入，足見這些文物的「生命旅途」之複雜。此外，1814年菲加利亞（Phigaleia）雕塑的拍賣，更是大英博物館首次從希臘建築物中獲取一系列雕塑，這都代表著收藏策略的轉變。

**A. H. Smith：** (面色微凝，語氣變得有些保留，那貓兒在他的腿上打了個呵欠，似乎也感受到話題的沉重) 阿弟先生，您觸及了一個複雜且敏感的問題。埃爾金勳爵的行動，在當時被視為對藝術的巨大貢獻，尤其是在雅典飽受戰火摧殘的年代。卡雷先生在1674年繪製這些雕塑時，許多部分還是完好無損的，例如東山牆的中央部分雖然已損毀，但整體構圖仍可辨識。然而，到了1687年威尼斯將軍莫羅西尼轟炸衛城時，帕德嫩神廟的屋頂被炸毀，許多雕塑因此損壞。西山牆的中央組雕，幾乎完好無損地被摧毀，其碎片散落一地。之後，土耳其駐軍更是將一些大理石燒成石灰，或作為建材，甚至是讓旅行者隨意取下可攜帶的碎片。在那個混亂的時代，這些雕塑面臨著持續的破壞。埃爾金勳爵的確從破壞中拯救了許多珍貴的殘片，使它們能被妥善保存並研究。例如，他帶回的「伊利索斯河神」（No. 304 A），如今依然是大英博物館的驕傲，其解剖學上的完美與雕刻家在處理衣紋時暗示流動水體的技巧，至今仍令人讚嘆。至於它們的「歸屬」，那是一個超越我們眼前這份目錄的深層議題，涉及國家主權、文化認同，以及歷史的複雜性。

**A. H. Smith：** (露出一絲微笑，輕輕撫摸著書頁上關於埃菲索斯神廟的插圖，那貓兒似乎也被這份靜謐感染，安靜地臥著) 您觀察得很仔細。是的，這些古老的雕塑，許多都曾是色彩斑斕的。例如，Xanthos的獅子墓和鷹身女妖墓，沙爾夫先生的繪畫記錄了它們被發現時的鮮豔色彩。鷹身女妖墓的背景是明亮的藍色，羽毛有紅、黑、藍、白，頭髮是黃色，頭帶有紅底白紋。這些細節，讓它們不僅是藝術品，更是活生生的歷史見證。透過這些細緻的描繪，我們希望能重建它們曾經的樣貌，也讓後人能夠想像，在那個時代，這些雕塑是如何融入人們的生活，影響著他們的信仰與審美。埃菲索斯阿耳忒彌斯神廟的雕刻柱基（No. 29），刻有克洛伊索斯國王獻贈的銘文「克洛伊索斯國王獻贈此柱」。這說明了即便是建築構件，也承載著君主的權力與信仰，並且曾有著豐富的色彩。那種精緻的裝飾，與實用功能（如排水）巧妙結合，正是古希臘藝術的迷人之處。 而談到雕塑風格的演變，布蘭基代（Branchidae）的雕塑（Nos. 7-21）尤其引人入勝。那裡的坐姿雕像，從最初的「怪誕粗糙」過渡到「僵硬而形式化的精緻」，展現了古風藝術風格的演變。

**A. H. Smith：** (扶了扶眼鏡，顯得有些興奮，他輕輕調整了貓的位置，讓它睡得更舒服些) 赫格索的墓碑浮雕，確實是雅典墓碑藝術的傑作。它精緻優雅，捕捉了那個時代貴族女性的日常生活片段，而這份優雅在死亡的背景下，顯得格外動人。這些墓碑，是生者對逝者的記憶與情感投射。它們不直接表達悲傷，而是透過呈現逝者生前最熟悉的場景，或是與親人團聚的畫面，來暗示永恆的連結。這也是我嘗試透過這份目錄傳達的，超越物質形式的，那份人文的溫度。 特別是「手牽手的形象」（Nos. 687-710）那一類，許多人將其解讀為「離別場景」，但我認為，在古希臘的語境中，它或許更應理解為逝者在冥界與親友的「相會與連結」。例如潘菲洛斯和阿爾奇佩的墓碑（No. 687），描繪了兄妹握手的畫面；或是麥斯和梅勒斯墓碑（No. 688），兩位男性友人握手。這些都像是在訴說，即便肉身分離，情誼與連結依然不朽。其中還有那塊描繪赫爾墨斯（Hermes Psychopompos）引導逝者前往冥界的浮雕（No. 710），赫爾墨斯手持神杖，身姿靈動，與逝者的沉靜形成對比，那份生離死別的幽微情感，被刻畫得淋漓盡致。

而「光之場域」中提到的「從伊利索斯河或凱菲索斯河的河神」等人物（No. 304 A），在帕德嫩神廟西山牆上，以河神形象呈現，似乎也在提醒我們，即便是神話中的人物，也與這片土地、這些水流有著密不可分的連結，他們是自然力量的化身，是生命的源頭。這份清單，不再只是冰冷的數字，它承載了人與自然、人與信仰之間，那無盡的對話。 **A. H. Smith：** (沉思片刻，目光轉向窗外逐漸濃稠的暮色，雨勢似乎更大了些，但室內依然安靜，只有那貓輕微的呼吸聲) 這些神祇的形象，確實常常與他們所象徵的自然元素融為一體。河神的身姿，有時會雕刻出水流的柔和曲線，肌肉線條也像是被水打磨過一般。這不僅是藝術上的表現手法，更是古希臘人「萬物有靈」觀念的體現。他們將自然力量具象化，賦予它們神性，並在藝術中呈現出來。所以，即使是目錄中那些支離破碎的碎片，只要細心觀察，也能從其餘的筆觸與形態中，窺見當年工匠的巧思，以及他們對生命、對自然的理解。這些雕塑，無疑是他們與世界對話的方式。 再回到帕德嫩神廟的雕塑群，那是費迪亞斯藝術的巔峰。東山牆描繪了雅典娜的誕生，西山牆則是雅典娜與波賽頓爭奪阿提卡土地。

**A. H. Smith：** (輕輕點頭，眼中帶著對各地藝術差異的欣賞) 菲加利亞神廟的浮雕，確實與雅典的帕德嫩神廟有著顯著的風格差異。它的浮雕更高，線條更為強勁，衣褶也顯得更為「華麗豐沛」。這可能反映了地域性的藝術偏好，或暗示了當地工匠的參與。與雅典那種對人體比例的精準追求相比，菲加利亞的風格顯得更具原始的爆發力與戲劇性。這份「不拘一格」的特質，正是古希臘藝術豐富多樣性的證明。這些雕塑，無論是「半人馬」那種野性與力量，還是「亞馬遜女戰士」的堅韌與英勇，都以一種更直接、更具衝擊力的方式呈現。 **阿弟：** 那麼，您在目錄中也提及，許多這些古老的雕塑都曾有豐富的色彩，然而如今多半已斑駁褪去。這讓我想到，時間就如同一場無聲的雨，沖刷著表面的光鮮，卻也讓更深層的質地與紋理浮現。您是否認為，這些雕塑在失去了鮮豔色彩之後，其藝術價值反而因此昇華，展現出一種更為純粹、更具永恆意味的美？ **A. H. Smith：** (沉吟片刻，目光轉向窗外逐漸濃稠的暮色，雨勢似乎更大了些，但室內依然安靜，只有那貓輕微的呼吸聲) 失去了色彩，這確實是許多古希臘雕塑在我們這個時代呈現出的面貌。

**A. H. Smith：** (微笑著，語氣中帶著對這份古老幽默與人情味的欣賞) 萊西克拉特紀念碑的浮雕，確實引人入勝。它選取了狄奧尼索斯神話中極富戲劇性的轉折點——海盜被神力懲罰，在半人半魚之間掙扎的瞬間。將這樣一個充滿奇幻與懲罰意味的神話，放在紀念合唱比賽勝利的建築上，其用意或許是在讚頌藝術、音樂（狄奧尼索斯是戲劇之神）的「轉化」力量。勝利的合唱，就如同神力一般，能將凡人（海盜）從沉重（貪婪）中解放，轉化為更為靈動的生命形式（海豚）。而雕塑家也運用了這種「半轉化」的巧思，讓雕塑的造型呈現出介於人形與獸形之間的張力，這在當時的藝術風格中，是相當新穎且富有趣味的。 此外，您提到它的幽默感，也的確存在。古希臘藝術並非總是嚴肅的。在歌頌神性的同時，也允許對人間百態的觀察與戲謔。那些踮著腳尖的薩堤爾（Satyrs），以及他們與海盜搏鬥的生動畫面，都流露出輕鬆活潑的氣息，這與帕德嫩神廟的莊重宏大有所不同。它顯示出藝術在不同時期，對題材與表現手法有著更為自由的探索。 至於那些獻給阿斯克勒庇俄斯神的「奉獻浮雕」，它們確實展現了當時人們對神靈最為直接與務實的信賴。

**A. H. Smith：** (端起茶杯，杯中的餘溫緩緩散發，窗外雨聲漸歇，遠方傳來稀疏的馬車聲，為這靜謐的午後畫上句點) 這是我的榮幸，阿弟先生。能與一位對「泥土的私語」如此敏感的文學家交流，讓我對這些冰冷石塊背後的人情與歷史，有了新的體會。藝術與生命，從來都是緊密相連的。透過這些殘缺與斑駁，我們反而能更清晰地看見古人對生命的熱愛，對信仰的虔誠，以及他們與周遭世界那份樸實的連結。這份目錄，便是我的嘗試，讓這些無言的見證者，繼續訴說著他們的故事。願這些古老的光芒，能繼續在世間迴響。 --```

他分析了 1820 年密蘇里問題辯論，認為這標誌著南北方在奴隸制擴張問題上的第一次大衝突，並指出北方代表 Sergeant 已明確表達了對黑人「種族劣勢」的看法。通過 1820 年的人口普查數據，Jervey 先生展示了「黑人帶」向更南方的轉移，特別是南卡羅來納因 1803 年的進口大增，奴隸人口增長速度遠超其他州，使其逐漸取代維吉尼亞成為最與黑人問題緊密聯繫的州。他反駁了 Ulric B. Phillips 關於南卡羅來納是奴隸輸出州的論點，暗示了非法奴隸進口的存在。作者認為，南方在奴隸上的巨大財產利益促使其形成保護性區域政策，而南卡羅來納（尤其在 Calhoun 的領導下）自然成為這一政策的中心，逐漸取代了 Lowndes 的更廣泛的國家政策。 4. **鐵路發展的潛力與政治干預的失誤** (第四、五、六章)：Jervey 先生將視線轉向鐵路發展，認為這是南方在戰前試圖恢復實力和影響力的另一條途徑。

今日，我循著書頁間時光的氣息，啟動一場「光之對談」，與一本名為《A List of Philippine Baptismal Names》的編者，E. E. Schneider 先生，進行一次跨越世紀的對話。這本書誕生於1905年的菲律賓，是當時教育局為了規範學生名字拼寫而編纂的一份重要列表。透過這份名單，我們或可窺見那個時代菲律賓社會、文化與教育的一角。 空氣中瀰漫著馬尼拉特有的濕熱氣息，混合著遠處港口傳來的鹹味，以及室內老舊木材和紙張的乾燥氣味。午後的陽光透過高大的拱形窗戶斜射進來，在拋光得光滑的木質地板上拉出長長的影子。光束中，無數細小的塵埃緩慢地、無聲無息地在空中漂浮著，旋轉著。窗外，能看見幾株高大的棕櫚樹，飽滿的綠葉在微風中搖曳，發出沙沙的聲響，偶爾夾雜著遠處傳來的鳥鳴。房間裡安靜，只有頭頂的吊扇，一把有著寬闊葉片的老式吊扇，發出規律的、沉悶的「吱呀——吱呀——」聲，攪動著濕熱的空氣。

一張厚重的、顏色沉穩的木桌擺在房間中央，桌上堆滿了泛黃的記錄冊、邊緣捲曲的筆記本，還有一份厚厚的、用繩子簡單裝訂的列表，正是《A List of Philippine Baptismal Names》。桌邊坐著一位先生，頭髮向後梳理得整齊，額頭有些寬闊，戴著一副圓框眼鏡，眼鏡片在斜射進來的陽光下偶爾閃爍著微光。他正低頭審閱著手邊的文件，手指修長，指尖沾染著些微的、似乎是藍黑色的墨跡。這是 Edwin Emil Schneider 先生，這位在菲律賓教育局工作的老師，是這份名字列表最初的編纂者。 艾麗：Schneider 先生，午安。感謝您願意撥冗，與我這位來自遙遠時空的訪客，談談您在1900年代初編纂的這份《A List of Philippine Baptismal Names》。坐在這裡，感受著這個房間的光影和氣息，閱讀著這份凝聚了您心血的列表，我的心中湧現許多好奇。首先，是什麼樣的契機，促使您在阿爾拜省的卡馬里內斯（Camarines）地區，作為一位教育局的老師，開始著手編寫這樣一份看似普通卻在當時意義深遠的名字列表呢？

他特地前往馬尼拉，查閱了數量巨大的稅務記錄，並嚴格依據1891年馬德里出版的羅馬殉道聖人錄以及西班牙皇家語言學院的語法規則進行校訂。這聽起來是一個規模更大的驗證和規範化工作。您認為，Christie 先生引入這些權威的西班牙語來源和語法規則，對於這份名字列表的最終形式和其作為「標準」的效力，起到了怎樣的作用？這是否也間接反映了當時美國教育局在處理菲律賓語言和文化時所採取的某種策略？ Schneider：啊，Christie 先生的工作是這份列表能夠最終作為教育局的公報發布的關鍵。我的工作是地方性的、初步的，而 Christie 先生將其提升到了更廣泛、更嚴謹的層面。 他前往馬尼拉，查閱超過兩萬五千個名字的稅務記錄，這是一個龐大的工程，極大地**增加了列表的代表性和覆蓋範圍**。這意味著列表中的名字不再僅僅是我在 Camarines 地區遇到的那些，而是涵蓋了更廣泛的菲律賓人群中使用的名字。這種大數據量的驗證，使得列表的可靠性大大提高。 更為重要的是，他**引入了權威的西班牙語規範**。正如我之前所說，許多名字源於西班牙語。參考羅馬殉道聖人錄，這提供了名字在天主教傳統中的「標準」形式。

例如，序言中提到的 Damián(o)(a) 的重音變化，以及其他許多名字的重音問題，Christie 先生都按照規則進行了規範。在當時，西班牙語的知識仍然在菲律賓社會中扮演一定角色，特別是對於受過教育的人來說。遵循西班牙語的權威規範，使得這份列表在那些熟悉西班牙語的人看來，更具說服力和正確性。 這是否反映了美國教育局的策略？我認為是多層面的。一方面，如我之前所述，這是**務實的選擇**。既然這些名字源於西班牙語，要規範它們，最直接、最權威的方式就是參考西班牙語的規範。無視這一點，去創造一套完全新的拼寫規則，既沒有基礎，也難以推行。另一方面，這也體現了**對既有歷史文化現實的承認**。儘管美國政府推行英語教育，取代西班牙語的官方地位，但他們無法抹去西班牙殖民時期留下的深遠影響，包括語言和命名習慣。這份列表在一定程度上是承認了這種文化遺產的存在。然而，這種承認是在一個由美國主導、以英文公報形式發布的框架下進行的。這本身也隱含著一種權力關係和新秩序的建立。這不是簡單的延續舊有文化，而是在新的統治和教育體系下，對舊有元素的「規範化」和「再定義」。

**e 與 i，o 與 u 的混淆：** 雖然西班牙語有五個元音 /a, e, i, o, u/，但與許多菲律賓本地語言，如他加祿語的三元音系統 /a, i, u/ 相比，仍然存在差異。即使是具有五元音系統的本地語言，其元音的具體音值（vowel quality）或在特定音韻環境下的變體（allophones）也可能與西班牙語不同。在非重讀音節中，西班牙語的 /e/ 和 /i/，以及 /o/ 和 /u/ 的區分度可能較低，本地人在聽寫時容易混淆。這導致了諸如 Eusídio for Eusebio, Froctoso for Fructuoso 這樣的錯誤。 這些「錯誤」從語言學的角度看，是語言接觸和語音適應的必然結果。它們並非簡單的無知，而是本地語言系統在吸收外來詞彙時，根據自身的語音規則進行的自然調整。這份列表無意中記錄下了這場持續了幾個世紀的語言交融的痕跡。通過規範拼寫，我們試圖將這些名字「拉回」到其西班牙語的標準形式，這也是對語言變異的一種干預。 艾麗：您的解釋令人豁然開朗，這些拼寫錯誤不再是簡單的失誤，而是生動的語言演變的見證。

正如我書末提到的，在 1757 年、1820 年和 1822 年，教會逐步解除了對哥白尼學說的禁令，並明確允許教授地動說。如果 1616 年的裁決是不可更改的教義定義，它就絕不可能被撤銷。紀律性法令可以隨著時代和環境的變化而調整，而教義真理一旦定義便是永恆不變的。教會後來的行動本身，就證明了她自己是如何理解 1616 年和 1633 年的裁決的：它們屬於紀律範疇。」 「這確實是個有力的論點，」我同意道，「但這段期間對於伽利略本人而言，卻是命運的轉折。您書中詳細記錄了 1633 年的審判，這一次，他被聖座辦公部傳喚，面臨更為嚴厲的局面。是什麼導致了第二次的審判？」 「主要是他的對話體著作《關於兩大世界體系的對話》（Dialogo sopra i due massimi sistemi del mondo），」Wegg-Prosser 先生說，「這本書於 1632 年完成印刷，並引起了巨大的轟動。儘管伽利略在書的開頭聲稱他只是以數學假說的方式討論哥白尼體系，並說寫作此書是為了證明羅馬當局在 1616 年做出裁決時，是充分了解所有反對理由的，但他的寫作方式引發了強烈不滿。」

Il a manqué de prudence en se montrant trop circonspect, et a ainsi dépassé le but.』——實際上，法庭錯了，它將一個真實的、且能與聖經文本協調的學說，判決為錯誤且與聖經相悖。它在表現得過於謹慎時，缺乏了應有的審慎（prudence），因此超越了界限。」 他強調了這個詞，「這句話很關鍵，艾麗。我認為問題出在『prudence』——審慎。教會當局在當時的環境下，面對一個挑戰傳統聖經解釋的科學假說，試圖採取審慎的態度保護信仰的純潔性。但他們錯誤地將一個尚未完全證明但科學上極具可能性的理論，過早地貼上了『與聖經相悖』的標籤，並以過於嚴厲的紀律手段加以禁止和懲罰。這種過度的謹慎（too circonspect），反而導致了判斷的失誤和行動的失當。」 「您認為，當時教會面臨的困境在於，他們必須在看似與聖經字面意義衝突的新科學發現面前，做出一個判斷。而當時的科學證據，如您所說，雖然傾向於哥白尼體系，但尚未達到『絕對證明』的程度？」我試圖理清他書中的邏輯。

這些證據，艾麗，使得日心說從一個『極有可能』的假說，變成了『道德上的確定性』（a moral certainty）。」 他臉上浮現出一絲欣慰的笑容，「當科學證據達到這個程度時，任何審慎的權威都會意識到，必須重新解釋那些看似矛盾的聖經段落。這不是因為科學證明了聖經錯誤，而是因為科學幫助我們更深入地理解自然世界的運行法則，從而引導我們對聖經中描述自然現象的語言進行更為恰當的解釋。正如我書中引述的，即使是奧古斯丁這樣早期的教父，也曾警告不要對聖經的自然描述進行僵化的字面解釋，以免與已知的或將被發現的科學事實衝突。」 「所以，教會在十八世紀和十九世紀逐步解除禁令，並最終允許教授地動說，是順應了科學發展的結果？」 「這正是我的論點，」Wegg-Prosser 先生點頭，「解除禁令本身就證明了它們是紀律性而非教義性的。教宗們在 1757、1820 和 1822 年的行動，承認了過去裁決的臨時性。這是一個學習的過程。如紐波特及梅內維亞主教在他評論米瓦特先生文章時所說，教會當局也是由可能犯錯的人組成的，他們在某些領域必須從經驗中學習，就像其他人一樣。

很榮幸能為您依循「光之對談」的約定，與克萊頓·奈特先生進行一場關於他的著作《The non-stop stowaway : The story of a long distance flight》的深度對話。 克萊頓·奈特（Clayton Knight，1891-1969）是一位多才多藝的美國藝術家、飛行員、插畫家及作家。他在第一次世界大戰期間曾擔任戰鬥機飛行員，這段經歷深刻影響了他對航空領域的熱情與理解。戰後，他將這份熱情轉化為藝術與文字，成為一位傑出的航空藝術家，為許多航空相關的書籍和雜誌繪製插圖，以其精準的描繪和生動的筆觸聞名。他不僅是插畫家，也是一位作家，創作了多部以航空為主題的作品，其中不乏兒童讀物。《The non-stop stowaway : The story of a long distance flight》正是他於1936年出版的一本圖畫書，故事描述了一隻名叫巴納比（Barnaby）的小鳥，意外成為一架不停站長途飛機的「偷渡客」，從紐約一路飛往香港的奇妙旅程。

1820年，他因被指控參與燒炭黨（Carbonari），一個追求義大利統一的秘密革命組織，而在米蘭被捕。隨後十年，他在奧地利帝國的監獄中度過，先後被關押在米蘭的聖瑪格麗特監獄、威尼斯總督宮的「鉛屋頂」（Plombs）下，最終被送往位於摩拉維亞（今捷克）的斯皮爾伯格（Spielberg）要塞，經歷了極度嚴酷的「重勞役監禁」（carcere duro）。 《我的監獄》便是佩利科這十年鐵窗生涯的回憶錄。這本書出版於他獲釋後的1832年，迅速在歐洲引起廣泛迴響，並被翻譯成多種語言。本書之所以產生如此巨大的影響力，不僅在於其真實記錄了政治犯的悲慘遭遇，更在於佩利科選擇了一種非政治化、甚至被評論者認為「奇怪地溫順」（strange meekness）的視角來敘事。如他在前言中所述，他寫作的目的並非宣洩政治仇恨，而是希望藉由描繪自己所承受的痛苦以及在困境中尋得的慰藉，來安慰其他不幸之人；同時證明即使在最黑暗的環境中，人性並非全然邪惡，偉大靈魂依然存在；並邀請讀者愛世人，不憎恨任何個體，只憎恨道德的墮落；最終重申宗教與哲學對堅強意志和冷靜判斷的召喚。

書中以第一人稱的視角（由其中一位敘述者「我」和她的「表親」構成，據信這兩位主角正是作者本人），描寫了她們在 1891 年葡萄採收季節（Vintage）期間的經歷。她們的筆觸細膩，充滿機智的幽默感，既捕捉了葡萄園的自然風光、忙碌的採收場景、以及葡萄酒釀造的過程，也記錄了與當地各階層人士（從樸實的農民到著名的酒莊主人）互動的趣事和文化衝擊。透過她們外來者的眼睛，讀者得以窺見當時法國葡萄酒產業的社會經濟結構、傳統習俗與現代化嘗試（如書中提到的菲洛克西拉病害後對葡萄藤的處理），以及愛爾蘭與法國之間的文化對比。這本書不僅為理解 19 世紀末的法國提供了獨特的社會歷史切片，其生動的敘事和風趣的風格，更使其成為一篇雋永的旅行文學作品。它展示了歷史不僅存在於檔案和數據中，更鮮活地體現在人們的生活、勞動與互動之中。 *** **場景建構：** 暮色漸沉，橘紅色的餘暉透過「光之書室」那高大的拱形窗戶，在木質地板上投下斑駁的光帶。空氣中除了古籍特有的乾燥氣味，還隱約飄盪著一絲陳年葡萄酒的醇厚香氣，或許是從某個被遺忘的角落傳來的。

我，珂莉奧，在這溫暖的光暈中，將她們於 1891 年秋天在梅鐸葡萄園的旅程重新編織，邀請她們分享那段獨特的經歷。 「索默維爾小姐，馬丁小姐，」我的聲音輕柔，卻帶著歷史學家探索過去的嚴肅。「感謝兩位接受我的邀請，回到光之居所，與我們分享您們在《In the Vine Country》中所記錄的那段梅鐸之旅。那段經歷一定充滿了意想不到的時刻吧？」 索默維爾小姐輕輕點頭，嘴角泛起一絲回味的笑容。「確實，珂莉奧。那是一段……非常生動的旅程。我們本以為是去記錄葡萄酒的釀造，結果發現，我們記錄了更多的是人情與生活本身。」 她的表親，馬丁小姐，推了推眼鏡，補充道：「而且是毫無準備地被『派遣』去的。就像書裡寫的，接到那封信時，我們對於梅鐸和葡萄酒一無所知，甚至還有點擔心自己會變成『酒糟鼻的酒鬼』。」她略顯無奈地笑了笑，但眼神中藏著興奮。 **問題生成與回答/多聲部互動：** **珂莉奧：** 「是的，那封信的開頭，『您們要立刻前往梅鐸的葡萄園，趕上採收季節』，確實充滿了命令式的簡潔。」我翻開筆記本，「您們在書中詳細描繪了從愛爾蘭出發，途經倫敦、巴黎，最終抵達波爾多的過程。

這本書的核心，是講述從大約1820年到1890年這七十年左右，美國西部邊疆從一道模糊的界線，如何一步步被拓荒者、移民、商人、傳教士、軍隊乃至工程師所推動、穿越，最終「消失」的過程。它詳細記錄了那些傳奇的奧勒岡小徑、聖塔菲古道上的艱辛旅程，摩門教徒向西遷徙的史詩，加州淘金熱的狂野年代，以及太平洋鐵路的修建如何永久地改變了這片土地與其原住民（印第安人）的命運。帕克森教授的筆觸客觀而細膩，他不像某些浪漫的敘事那樣過度美化拓荒者，也不迴避其中涉及的衝突與不公，特別是與印第安部落的關係。他力圖呈現塑造這段歷史的各種力量——地理環境、經濟動機、政治決策，以及那些充滿勇氣與缺陷的個體。對於我來說，身處這座熱帶孤島，每日面對未知的生物和地貌，帕克森教授筆下的「邊疆」概念和拓荒精神，有著一種奇妙的映照和啟發。儘管時代和環境截然不同，但那份面對未知、渴望探索、以及文明與自然（或另一種文明）碰撞的核心動力，似乎是跨越時空的。這本書不僅是一部歷史記錄，它引人深思人類的擴張本能，以及這份本能如何以前所未有的速度重塑了一個大陸的景觀與生命。

但1820年之後，邊疆抵達了密蘇里河彎，眼前是一片被認為是「大美洲沙漠」的廣袤草原和山脈。這片土地有著與東部截然不同的挑戰，需要新的技術、新的組織方式、甚至新的心態去征服。我想了解，在這片看似不可逾越的屏障面前，美國人是如何應對的？是哪些力量，哪些個體，促成了這最後一場「征服」？這不僅僅是地理上的擴張，更是文明、文化、制度和人性在這片新舞台上的實驗與碰撞。那些「少有人用的來源」——政府檔案、軍事報告、拓荒者日記、報紙、企業記錄——它們蘊含著最真實的細節和聲音，是理解這段歷史的鑰匙。檔案館裡的塵埃氣味，有時比任何浪漫故事更能觸動我。 **哈珀：** 您提到了「大美洲沙漠」這個概念，書中也描述了它如何一度被認為是難以逾越的障礙。然而，拓荒者們最終還是穿越了它。您認為，除了淘金熱這種突發的巨大誘惑之外，是什麼讓人們克服了對這片乾燥土地的恐懼和未知，堅定地向西移動？是那份「嚮往西部和對黃金的貪婪」那麼簡單嗎？

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

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

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

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

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

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

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

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

This grandiosity, this expectation that the world should 'halt' when he halts, is a poignant flaw. And then, he finds an audience in the Basque country, where he can 'spend freely of his dollars,' suggesting that his self-worth is intrinsically linked to his perceived generosity and the validation he receives." **艾麗:** "It's also about the manipulation of narrative, isn't it? Sebastian Dolores, Carmen's father, crafts a 'fine tale of political persecution.'

The captain, a Basque who 'knew the Spanish people well—the types, the character, the idiosyncrasies,' sees through it immediately. He warns Jean Jacques that 'the Spaniards were the choicest liars in the world, and were not ashamed of it.' Yet, Jean Jacques's 'chivalry' blinds him. He *chooses* to believe the more romantic, tragic version of events, perhaps because it allows him to play the role of the noble rescuer, a role that feeds his vanity.

She's not a malevolent schemer, but a survivor. She 'had her own purposes, and they were mixed.' She loves her father, she's been through trauma, and she desperately desires stability. Her pragmatism is starkly contrasted with Jean Jacques's romanticism. She uses her 'sensuousness' and 'richness of feeling' to 'draw the young money-master to her side,' not out of pure malice, but out of a deep-seated need for security.

The internal conflict she experiences – her 'dual forces' and her mother's death – adds a layer of genuine sorrow to her otherwise calculated actions. She is willing to lie about her mother's background because 'to lie about one's mother is a sickening thing' for her, but the necessity of 'self-preservation' overrides it. That's a profound human truth: how far will we go to secure our well-being?" **珂莉奧:** "It's a classic tale of economic and social ascent, albeit through unconventional means.

Carmen, as a 'maid in a great nobleman's family,' understands social presentation. Her 'well-worn velvet' dress suggests a previous connection to higher strata, even if she herself was a servant. Sebastian's 'workman's dress' is easily explained away as a necessity for escape. The language used to describe their purported noble background, even by Jean Jacques, serves to elevate them in the eyes of the other passengers and the community.

This aligns with a historical pattern where social mobility, particularly for immigrants or displaced persons, often involved a careful construction of identity and narrative. The 'Seigneur' title Jean Jacques implicitly accepts is another example of this social performance, leveraging his inherited wealth and recent 'heroism' to elevate his own standing, however unearned." **薇芝:** "The shipwreck, too, is a pivotal moment that truly tests their characters.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--- **1891 年 2 月 7 日** 窗外，雪花細密地落下，為小鎮披上一層靜謐的白。壁爐裡的火苗跳躍著，發出溫暖的噼啪聲。我坐在這裡，手中握著筆，思緒卻飄得很遠，飄回到那個充滿海風和塵土的童年，飄回到那些熱鬧又有點混亂的日子。 第一本關於 Inger Johanne 的書，收到的反應出乎我的意料。那些來自報紙的讚美詞——「充滿天賦」、「幽默感」、「真誠而健全」——像小小的羽毛，輕輕地拂過我的心。我曾經以為，那些不過是孩子氣的隨手塗鴉，無法與那些真正「像樣」的文學作品相比。畢竟，我的故事裡沒有王子公主，沒有波瀾壯闊的愛情或史詩般的戰役，只有一個小女孩在一個不起眼的小鎮裡，經歷一些再普通不過的小事：掉了鑰匙、去上跳舞課、和朋友一起放篝火、去拜訪古怪的鎮民…… 這些，怎麼能算得上是「文學」呢？ 然而，讀者們的反應卻告訴我，或許，那些「小事」本身，就自有其引人入勝的力量。他們在 Inger Johanne 的視角中找到了樂趣，在那些古怪的鎮民身上看到了似曾相識的影子，在那些童年特有的煩惱和狂喜中找到了共鳴。這讓我不禁重新審視那些記憶，那些曾被我忽略的碎片。

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

their meaning and all their beauty. } {【關於象徵與寓言的完美之處】 It is hard to say where Allegory and Symbolism melt into one another, but it is not hard to say where either comes to its perfection; and though one may doubt whether Allegory or Symbolism is the greater in the horns of Michael Angelo’s Moses, one need not doubt that its symbolism has helped to awaken the modern imagination; while Tintoretto’s Origin of the Milky Way, which is Allegory without any Symbolism, is, apart from its fine painting, but a

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

.*) Thomas Middleton (1580-1627) was a significant English Jacobean dramatist, known for his city comedies, tragedies, and collaborations with other playwrights. Unlike some of his contemporaries, Middleton came from a more humble background, but he established himself as a prolific and versatile writer for the London stage. His work often reflects the social realities and moral ambiguities of his time, particularly those of London life.

He adeptly portrays a wide range of characters, from the wealthy and powerful to the cunning and marginalized, showcasing the complexities of human nature within specific social environments. Middleton had a keen eye for detail, which gave his characters a grounded sense of authenticity. He combined keen wit with social critique, offering insightful observations on human behavior and societal norms.

Despite a lack of extensive biographical documentation, Middleton's body of work remains a valuable lens through which to study the social and cultural landscape of Jacobean England, celebrated for its vivid characters, intricate plots, and sharp social commentary.

**Non-Fiction Book (Plays):** * **Viewpoint Introduction:** (5000 words - *Focus will be on general themes present across the plays in this volume due to the nature of the text*) The plays in *The Works of Thomas Middleton, Volume 2*, offer a window into Jacobean society, highlighting themes of social climbing, morality, and the use of deception.

The plays are characterized by intricate plots, dynamic language, and a willingness to expose the dark underbelly of seemingly respectable society. Middleton presents a world where appearance is frequently deceiving, and where the pursuit of wealth and social advancement often leads to moral compromise. Overall, they offer a balanced view that invites audiences to laugh, reflect, and critique the world around them.

* **Chapter/Play Summaries:** (1000 words each) * ***A Trick to Catch the Old One:*** A young prodigal, Witgood, schemes to regain his lost inheritance by feigning wealth and attracting the attention of his avaricious uncle, Lucre. He uses a courtesan as a wealthy widow, leading to humorous situations and the uncle's manipulation for his own gain. However, Hoard, Lucre's adversary, intervenes, adding layers of deception.

Several suitors vie for the affections of a young woman, with humorous and ironic results, revealing the gap between religious pretense and actual behavior. * ***Your Five Gallants:*** Delves into the world of London's gallants, showcasing their vices and pursuits. The play presents a series of interconnected storylines, exposing various forms of deceit and manipulation used to achieve wealth and status, highlighting the moral ambiguities and social critiques.

With multiple plots, witty banter, and a diverse cast of characters, Middleton paints a vivid portrait of a society obsessed with appearance and social climbing. * ***A Mad World, My Masters:*** Centers on Follywit, a prodigal grandson who plans to swindle his wealthy grandfather, Sir Bounteous Progress. Follywit adopts elaborate disguises, leading to a series of comic mishaps and unexpected revelations.

Moll is depicted as a strong, independent woman who defies societal norms by dressing in men's clothing and engaging in traditionally male pursuits. The play also satirizes the hypocrisy of London society, exposing the moral failings of its supposedly respectable citizens.

--------------------------------------------------------------------------> 「You are a dear and good-hearted jewel, Mary!」 said Ellinor. 「How you can constantly face and soothe the sorrows and miseries of all these poor people, I cannot conceive; I am not selfish, I hope, and yet the frequent task would he too much for me.」 「You are not without a tender heart,」 replied Mary, as she set down her little hand-basket, now empty.

It was so sad and strange to see the empty bed, with a plate of salt upon the pillow, and the outline of his coffin still on the coverlet, and the now useless drugs and phials on a little table, close by—sad reminiscences that only served to torture poor Elspat, whose grey head the minister patted kindly, while telling her, in the usual stereotyped way, that whom He loved He chastened—that man is cut down like a reed—all flesh is grass, and so forth.

With all its soft beauty and dimples, there were too much decision and character in her face to justify the simple term prettiness, while it was a face to haunt one a life long! Two years younger than Mary, Ellinor was now twenty. Her dark hazel eyes were winning in expression, and, like Mary's, longly-lashed, and what lovely lips she had for kisses! Hers was no button of a mouth, however.

A lintel over the door that now led to the barnyard told the date of this portion of the mansion, as it bore the legend often repeated by Mary:— 'BLISSIT BE GOD FOR AL HIS GIFTIS. R. W. 1642,' and showed that it had outlived the wars of the Covenant and the strife that ended at Killiecrankie; and by its wall there grew a hoary pear-tree, called a longovil—the name of a kind of pear introduced into Scotland by Queen Mary of Guise, the Duchess of Longueville. 【關於柏克伍德布雷房舍的混雜風格與歷史細節】