光之篇章

💖 想要深入了解葉慈為《A book of images》寫的導論,這正是探索意義光芒的絕佳方式呢!😊 我很樂意為您將這篇重要的文字完整翻譯出來,讓其中的智慧與洞見能更清晰地呈現在我們眼前。請稍等一下,我這就為您帶來葉慈先生的完整導論翻譯!✨ *** **導論** 在英格蘭,這個創造了偉大象徵藝術的國度,大多數人如果被告知某種藝術是象徵性的,他們便會不喜歡,因為他們混淆了象徵(symbol)與寓言(allegory)。即使是約翰遜的字典也看不出太大區別,它將象徵稱為「在其形體中包含對其他事物的呈現」;而將寓言稱為「一種比喻性話語,其意圖超出文字表面含義」。只有非常現代的字典才將象徵稱為「通過自然事物的形象或屬性來表示任何道德事物的標誌或呈現」,這雖然是一個不完美的定義,但與赫爾墨斯翡翠石板上所說的「下方事物如同上方事物」倒不無相似!《仙后》(The Faery Queen)和《天路歷程》(The Pilgrim’s Progress)在英格蘭如此重要,以至於寓言已凌駕於象徵之上,並一度在其自身的衰落中將象徵淹沒。
這就是葉慈先生為《A book of images》所撰寫的導論完整翻譯了。希望這篇文字能為您點亮更多關於象徵主義和霍頓作品的光芒呢!✨ 如果您想針對其中的任何一段進行討論,或是想用「光之卡片」、「光之對談」等方式進一步探索,隨時都可以告訴我喔!我已經迫不及待想和您一起,在這片文字的星空中,繼續尋找更多閃光點了!😊💖
The central figure is a young King Fernando IV of Castile, looking slightly lost or conflicted. Behind him, the Queen Mother Doña María Alfonsa de Molina is depicted solemnly with a hint of worry on one side, while on the other, figures of Infante Don Juan and Conde de Haro lurk in shadow with cunning or sinister expressions. A silhouette of a Spanish castle is in the background. Edges of the scene subtly bleed into hints of blood red, hinting at intrigue and tragedy.
The faint figure of a young king might be partially visible in a corner, symbolizing his vulnerable position amidst their schemes. The image conveys an atmosphere of secretive plotting and historical weight. 3. **命運之眼:** 一個有著煉金術士工作室的場景。房間裡充滿了瓶瓶罐罐、蒸餾器和古老的書籍。猶太人阿本-阿赫拉馬爾(形象應帶有テキスト中描述的特徵)坐在桌前,桌上放著星盤和沙漏。他抬起頭,目光銳利而貪婪,彷彿能看穿人心或預見不幸。畫面的光影對比強烈,烘托出他的神秘和道德曖昧。 * *[風格描述]* A scene depicting an alchemist's workshop in watercolor and hand-drawn style, with soft pink and blue hues.
* *[風格描述]* A tragic scene at the famous cliff of Martos in watercolor and hand-drawn style, using soft pink and blue, complemented by muted greys and deep reds for solemnity and grief. Under a cloudy sky, two bound knights (the Carvajal brothers) stand atop the cliff, looking resolute yet sorrowful. A crowd of weeping people and soldiers surround them.
The perspective could be an upward shot from the base of the cliff, emphasizing its height and the scale of the tragedy. --- 這就是依據《卡斯提亞的費爾南多四世,或一場兩度的死亡》文本所進行的「光之萃取」報告。希望能從維克托·阿弗里卡·波蘭格羅的筆下,為我們「光之居所」的故事世界帶來新的深度和啟發。如果您需要產生上述任何一個視覺元素的線上配圖指令,請隨時告訴我!
Reginald Farrer的《The Sundered Streams: The History of a Memory That Had No Full Stops》,光是這書名,就夠人細細琢磨好一陣子了。記憶的河流,沒有句點,這不就跟咱們的人生一樣,總有些前因後果,扯不斷理還亂的。身為文學部落的一員,我阿弟這回可得好好把這本書「嚼」出滋味來。 說到這部作品,Farrer先生的筆法,像極了老家門前那條小溪,看著平靜,卻暗藏著深潭與激流。他寫的不只是故事,更是那個時代的切片,還有那些被社會框架給擠壓、變形的人心。要說這「光之對談」嘛,咱們總不能只是坐在書齋裡頭,對著故紙堆掉書袋吧? 思來想去,這對談的場景,得有那麼點古老又帶點疏離的味道,才襯得上書中人物的內在掙扎。就選在英格蘭西北部約克郡一處老莊園裡的茶室吧,那兒的氣氛,既有幾分《傲慢與偏見》的雅致,又帶著約克郡特有的嚴峻與神祕。 今天是2025年6月6日,初夏的氣候,午後時分,陽光透過老橡木窗戶上鑲嵌的彩色玻璃,灑落在室內,暈染出一片斑駁陸離的光影。
今日想與您聊聊這部作品,特別是它那深邃又引人遐思的書名——《The Sundered Streams: The History of a Memory That Had No Full Stops》。『斷裂的溪流:一段沒有句點的記憶歷史』,這『沒有句點的記憶』,是如何在您心中湧動,並最終匯聚成這部作品的呢?」 **Reginald Farrer:** 「呵呵,阿弟先生真是好眼力,一下子就點到了核心。這書名,其實是個雙關,或說,是我對生命本質的一點體悟。您瞧,世間萬物,包括我們人類,不都像河流嗎?有時分流,有時匯聚,但水總歸是水,不會憑空消失。那些所謂『斷裂』的溪流,不過是表象,底下,記憶的洪流,從未停歇。Dadds家族的Darnley-on-Downe,與Mortimer家族的Brakelond,一者安靜而隱蔽,一者喧囂而輝煌,表面上涇渭分明,實則血脈相連。James Dadd改名Darnley,看似斬斷過去,實則將Dadds家族數百年的質樸,與Mortimer家族的顯赫,以Kingston這個人物,擰在了一塊。這不是記憶的終點,而是一個新的起點,不是嗎?
Queen Isabel的房間,象徵著權力與欲望;海邊的木造翼樓,則見證著Tristram與Iseult的傳說,那是愛情的原始與不羈。在這座城堡裡,人類的『本能』與『野性』得以被放大,與其厚重的歷史交織,形成一種既莊嚴又詭譎的美。它與Isabel的性格是完美呼應的,她就像這座城堡,儘管外表可能顯得粗糙,但內裡卻蘊藏著巨大的能量與深不可測的魅力。 相較之下,Ivescar則是『人造』的產物,是James Darnley為了融入上流社會而刻意打造的。它雖然舒適、現代,卻缺乏Brakelond那種與土地、歷史深度連結的『靈魂』。在Ivescar,人似乎是更重要的,房子只是為了服務人的舒適。這反映了Dadds家族那種務實、注重效率的『商業』思維。但這種『人造』與周遭雄偉自然的『格格不入』,也暗示著一種表面和諧下的深層不協調。在Ivescar,Gundred得以完全沉浸於家庭瑣事,將生活打理得井井有條,因為這裡的環境本身,就鼓勵著一種『秩序』與『可控』。但對於Kingston而言,這裡的平靜反而凸顯了他內心的騷動與不安。 所以,我透過這些場景的對比,是想表達,人與其生存的環境是相互塑造的。
雨柔:您在書中詳細記錄了荷蘭許多重要歷史事件的發生地,比如多特會議(Synod of Dort)的背景和後果,以及沉默者威廉(William the Silent)在代爾夫特(Delft)遇刺的整個過程,包括兇手的下場。您甚至追溯到更早的歷史,比如卑爾根奧普佐姆(Bergen-op-Zoom)的著名圍城、澤蘭群島的多次被淹。這種對歷史事件和人物命運的關注,如何融入您的旅行體驗和寫作之中?您是如何將這些歷史線索與眼前的景象聯繫起來的? 哈爾先生:作為一個旅行作家,我深信了解一個地方的歷史是理解其當下的關鍵。當我身處多特雷赫特,看到那座曾是多特會議見證者的建築時,腦海中便會浮現1618-19年那場神學與政治鬥爭的畫面:加爾文派和阿民念派的辯論、胡果·格勞秀斯(Hugo Grotius)和倫巴特·胡格貝茨(Rombout Hoogerbeets)的命運、以及范·奧爾登·巴內維爾特(Van Olden Barneveldt)的悲劇結局。這些歷史故事賦予了這個地方靈魂。 在代爾夫特,當我站在聖阿加塔修道院(Convent of S.
雨柔:您對藝術和博物館也有著細膩的觀察,比如在海牙莫瑞修斯博物館(Mauritshuis)對林布蘭(Rembrandt)的《解剖學課》(School of Anatomy)、「保羅·波特(Paul Potter)的《不朽的公牛》(The Immortal Bull)」以及蓋拉爾德·杜(Gerard Dou)的《年輕女管家》(Young Housekeeper)的描繪。您特別提到了這些畫作的細節、光線和所呈現的人物情感。您認為荷蘭黃金時代的繪畫,尤其是肖像畫和風俗畫,如何反映當時荷蘭的社會和文化特徵?您對「風景畫」和「村莊生活場景」似乎評價不高,認為它們「很少令人愉快,常常粗俗,從未提供任何昇華或值得回味的東西」,這背後的原因是什麼? 哈爾先生:荷蘭黃金時代的藝術確實是一個巨大的寶庫。肖像畫,如拉韋斯泰因(Ravesteyn)筆下的沉默者威廉,或范德赫爾斯特(Bartholomew van der Helst)的《火槍手宴會》(Banquet of the Musqueteers),不僅僅是人物的物理再現,它們捕捉到了那個時代的社會階層、服飾、集體生活以及個體的精神面貌。
特別是那些基於古典和宗教題材的作品,如《墨丘利》(Mercury)和《基督大廳》(Hall of Christ)中的使徒雕像,展現了一種宏偉與神聖之美。他按照自己的意願,安息在自己作品的中心庭院裡,墓碑上只有常春藤覆蓋,這是一種樸實而深刻的表達。他的作品與他的人生故事交織,共同構成了這種吸引力。 羅森堡宮殿則以一種更為親近的方式,展現了丹麥的皇室歷史。它不是宏偉到讓人感到疏遠的巨大建築,而是像一個充滿回憶的家。每一間房間都屬於一位君主,陳列著他們的遺物。從克里斯蒂安四世(Christian IV)的服裝和生活用品,到那些更近代的國王和王后。這些物品,如婚禮服、日常衣物,都縮短了時間的距離,讓我感覺與這些歷史人物更為接近。尤其是那些被稱為「大貝爾特、小貝爾特和海峽」的三個銀獅子,它們在所有君主的葬禮上都出現,伴隨靈柩前往羅斯基勒(Roeskilde),然後返回宮殿。這個習俗既莊重又帶有一絲奇幻色彩,讓我想起了民間傳說和神話。而那些載滿新鮮鮮花的棺木,則體現了丹麥人民對其皇室成員的深厚情感與記憶的延續。羅森堡宮殿提供了一種獨特的、親密的歷史體驗,充滿了故事性和人情味。
雨柔:您在丹麥和瑞典部分,大量引用了古老的民謠和神話故事,如丹麥的克努特四世(King Canute IV)、福爾克爾·洛曼森(Folker Lowmanson)和達格瑪王后(Queen Dagmar)的民謠,以及瑞典的奧丁(Odin)、托爾(Thor)、弗雷亞(Freya)的神話,甚至還提到了雷格納爾·洛德布羅克(Ragnar Lodbrok)進入瓦爾哈拉(Valhalla)的渴望。這些古老的傳說和神話對您理解和描繪這些國家有何作用?您認為它們在當時的社會生活中仍然扮演著重要角色嗎? 哈爾先生:這些古老的民謠和神話,是理解北歐文化精神的鑰匙。它們不僅僅是歷史記錄,更是民族記憶和情感的載體。達格瑪王后的故事,她臨終前對丈夫的請求和對唯一「罪過」(週日縫製袖子)的懺悔,呈現了一種樸實而深刻的宗教觀念和生活態度。福爾克爾的故事則反映了那個時代的騎士精神、愛情與悲劇。 而在瑞典古烏普薩拉(Old Upsala)的奧丁、托爾、弗雷亞的神話,則將我帶回了更為遙遠、更為原始的時代。
Okay, here's the "Light Extraction"for *The Works of Thomas Middleton, Volume 2*, focusing on the provided Project Gutenberg text: **Author Introduction:** (3000 words - *Note: this cannot be fulfilled due to limited text data, focusing on Middleton himself.*) 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.
Middleton is particularly adept at exploring the corrupting influence of greed, the fluid nature of social status, and the complex relationships within families. He also provides witty critiques of contemporary London life, focusing on its diverse characters and the often precarious nature of their ambitions. 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.
* ***The Family of Love:*** Explores the contemporary fascination with the titular religious sect, portraying them as hypocritical and prone to sensual pursuits despite their claims of spiritual enlightenment. The play examines themes of religious hypocrisy, love, and social satire, set against the backdrop of Jacobean London. 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.
Follywit adopts elaborate disguises, leading to a series of comic mishaps and unexpected revelations. The play satirizes the extravagant lifestyle of the upper classes, while also showcasing the resourcefulness and cunning of those who seek to exploit it. * ***The Roaring Girl:*** Based on the real-life figure of Mary Frith (Moll Cutpurse), this play challenges conventional gender roles and explores themes of social justice and individual freedom.
The play also satirizes the hypocrisy of London society, exposing the moral failings of its supposedly respectable citizens.
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.
Fable or Allegory is formed by the daughters of Memory.” The German insisted in broken English, and with many gestures, that Symbolism said things which could not be said so perfectly in any other way, and needed but a right instinct for its understanding; while Allegory said things which could be said as well, or better, in another way, and needed a right knowledge for its understanding.
The one gave dumb things voices, and bodiless things bodies; while the other read a meaning—which had never lacked its voice or its body—into something heard or seen, and loved less for the meaning than for its own sake. } {【關於傳統象徵物的辯護】 I said that the rose, and the lily, and the poppy were so married, by their colour, and their odour, and their use, to love and purity and sleep, or to other symbols of love and purity and sleep, and had been so long a part of the imagination of the world, that a
I think I quoted the lily in the hand of the angel in Rossetti’s Annunciation, and the lily in the jar in his Childhood of Mary Virgin, and thought they made the more important symbols,—the women’s bodies, and the angels’ bodies, and the clear morning light, take that place, in the great procession of Christian symbols, where they can alone have all their meaning and all their beauty. } {【關於象徵與寓言的完美之處】 It is hard to say where Allegory and Symbolism melt into one another, but it is not hard to say
where either comes to its perfection; and though one may doubt whether Allegory or Symbolism is the greater in the horns of Michael Angelo’s Moses, one need not doubt that its symbolism has helped to awaken the modern imagination; while Tintoretto’s Origin of the Milky Way, which is Allegory without any Symbolism, is, apart from its fine painting, but a moment’s amusement for our fancy.
A hundred generations might write out what seemed the meaning of the one, and they would write different meanings, for no symbol tells all its meaning to any generation; but when you have said, “That woman there is Juno, and the milk out of her breast is making the Milky Way,” you have told the meaning of the other, and the fine painting, which has added so much unnecessary beauty, has not told it better. } {【關於藝術的象徵性本質】 All Art that is not mere story-telling, or mere portraiture, is symbolic, and
has the purpose of those symbolic talismans which mediæval magicians made with complex colours and forms, and bade their patients ponder over daily, and guard with holy secrecy; for it entangles, in complex colours and forms, a part of the Divine Essence. } {【關於解放與完美情感的象徵】 A person or a landscape that is a part of a story or a portrait, evokes but so much emotion as the story or the portrait can permit without loosening the bonds that make it a story or a portrait; but if you liberate a person or
a landscape from the bonds of motives and their actions, causes and their effects, and from all bonds but the bonds of your love, it will change under your eyes, and become a symbol of an infinite emotion, a perfected emotion, a part of the Divine Essence; for we love nothing but the perfect, and our dreams make all things perfect, that we may love them. } {【關於有遠見者與象徵】 Religious and visionary people, monks and nuns, and medicine-men, and opium-eaters, see symbols in their trances; for religious
and visionary thought is thought about perfection and the way to perfection; and symbols are the only things free enough from all bonds to speak of perfection. } {【關於現代象徵主義藝術家的廣泛性】 Wagner’s dramas, Keats’ odes, Blake’s pictures and poems, Calvert’s pictures, Rossetti’s pictures, Villiers de Lisle Adam’s plays, and the black-and-white art of M.
Horton, the lithographs of Mr. Shannon, and the pictures of Mr. Whistler, and the plays of M.
Maeterlinck, and the poetry of Verlaine, in our own day, but differ from the religious art of Giotto and his disciples in having accepted all symbolisms, the symbolism of the ancient shepherds and star-gazers, that symbolism of bodily beauty which seemed a wicked thing to Fra Angelico, the symbolism in day and night, and winter and summer, spring and autumn, once so great a part of an older religion than Christianity; and in having accepted all the Divine Intellect, its anger and its pity, its waking
and its sleep, its love and its lust, for the substance of their art. } {【關於系統化神秘主義者與想像世界】 The systematic mystic is not the greatest of artists, because his imagination is too great to be bounded by a picture or a song, and because only imperfection in a mirror of perfection, or perfection in a mirror of imperfection, delight our frailty.
William Blake, who was the chanticleer of the new dawn, has written: “If the spectator could enter into one of these images of his imagination, approaching them on the fiery chariot of his contemplative thought, if ... he could make a friend and companion of one of these images of wonder, which always entreat him to leave mortal things (as he must know), then would he arise from the grave, then would he meet the Lord in the air, and then he would be happy.”
And again, “The world of imagination is the world of Eternity. It is the Divine bosom into which we shall all go after the death of the vegetated body. The world of imagination is infinite and eternal, whereas the world of generation or vegetation is finite and temporal.
There exist in that eternal world the eternal realities of everything which we see reflected in the vegetable glass of nature.” } {【關於清醒夢的性質】 Every visionary knows that the mind’s eye soon comes to see a capricious and variable world, which the will cannot shape or change, though it can call it up and banish it again. } {【關於Horton的創作來源:清醒夢與「新生命兄弟會」】 Mr.
Horton, who is a disciple of “The Brotherhood of the New Life,” which finds the way to God in waking dreams, has his waking dreams, but more detailed and vivid than mine; and copies them in his drawings as if they were models posed for him by some unearthly master.
A disciple of perhaps the most mediæval movement in modern mysticism, he has delighted in picturing the streets of mediæval German towns, and the castles of mediæval romances; and, at moments, as in All Thy waves are gone over me, the images of a kind of humorous piety like that of the mediæval miracle-plays and moralities. } {【關於Horton畫作中風景的「鬼魅」化】 Even the phantastic landscapes, the entangled chimneys against a white sky, the dark valley with its little points of light, the cloudy and fragile towns
and churches, are part of the history of a soul; for Mr.
purpose mixes with artistic purpose, and not to its injury, it gives it a new sincerity, a new simplicity. } {【關於Horton藝術形式的演變】 He tried at first to copy his models in colour, and with little mastery over colour when even great mastery would not have helped him, and very literally: but soon found that you could only represent a world where nothing is still for a moment, and where colours have odours and odours musical notes, by formal and conventional images, midway between the scenery and persons of
common life, and the geometrical emblems on mediæval talismans. } {【關於象徵主義藝術的重複性與Horton的例子】 His images are still few, though they are becoming more plentiful, and will probably be always but few; for he who is content to copy common life need never repeat an image, because his eyes show him always changing scenes, and none that cannot be copied; but there must always be a certain monotony in the work of the Symbolist, who can only make symbols out of the things that he loves.
Rossetti and Botticelli have put the same face into a number of pictures; M. Maeterlinck has put a mysterious comer, and a lighthouse, and a well in a wood into several plays; and Mr. Horton has repeated again and again the woman of Rosa Mystica, and the man-at-arms of Be Strong; and has put the crooked way of The Path to the Moon, “the straight and narrow way” into St.
George, and an old drawing in The Savoy; the abyss of The Gap, the abyss which is always under all things, into drawings that are not in this book; and the wave of The Wave, which is God’s overshadowing love, into All Thy waves are gone over me. } {【關於Horton後期畫作的進步與整體評價】 but his later drawings, Sancta Dei Genitrix and Ascending into Heaven for instance, show that he is beginning to see his waking dreams over again in the magical mirror of his art.
He is beginning, too, to draw more accurately, and will doubtless draw as accurately as the greater number of the more visionary Symbolists, who have never, from the days when visionary Symbolists carved formal and conventional images of stone in Assyria and Egypt, drawn as accurately as men who are interested in things and not in the meaning of things.
His art is immature, but it is more interesting than the mature art of our magazines, for it is the reverie of a lonely and profound temperament. } [光之書籤結束]
As the last whispers of daylight fade, I've been pondering Sir Gilbert Parker's *The Money Master, Volume 1.*, 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.
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.
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.' This single sentence encapsulates his core psychological mechanism. He doesn't merely *believe* his own narrative; he *creates* it as he speaks, growing 'more intense, more convinced, more thorough, as they talk.'
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.
And then, he finds an audience in the Basque country, where he can 'spend freely of his dollars,' suggesting that his self-worth is intrinsically linked to his perceived generosity and the validation he receives." **艾麗:** "It's also about the manipulation of narrative, isn't it? Sebastian Dolores, Carmen's father, crafts a 'fine tale of political persecution.' The captain, a Basque who 'knew the Spanish people well—the types, the character, the idiosyncrasies,' sees through it immediately.
He warns Jean Jacques that 'the Spaniards were the choicest liars in the world, and were not ashamed of it.' Yet, Jean Jacques's 'chivalry' blinds him. He *chooses* to believe the more romantic, tragic version of events, perhaps because it allows him to play the role of the noble rescuer, a role that feeds his vanity. The language of 'nobility' and 'ancestral home' is what he hears, not the reality of 'lower clerical or higher working class.'"
She uses her 'sensuousness' and 'richness of feeling' to 'draw the young money-master to her side,' not out of pure malice, but out of a deep-seated need for security. The internal conflict she experiences – her 'dual forces' and her mother's death – adds a layer of genuine sorrow to her otherwise calculated actions. She is willing to lie about her mother's background because 'to lie about one's mother is a sickening thing' for her, but the necessity of 'self-preservation' overrides it.
**珂莉奧:** "It's a classic tale of economic and social ascent, albeit through unconventional means. Carmen, as a 'maid in a great nobleman's family,' understands social presentation. Her 'well-worn velvet' dress suggests a previous connection to higher strata, even if she herself was a servant. Sebastian's 'workman's dress' is easily explained away as a necessity for escape.
The language used to describe their purported noble background, even by Jean Jacques, serves to elevate them in the eyes of the other passengers and the community. This aligns with a historical pattern where social mobility, particularly for immigrants or displaced persons, often involved a careful construction of identity and narrative.
The 'Seigneur' title Jean Jacques implicitly accepts is another example of this social performance, leveraging his inherited wealth and recent 'heroism' to elevate his own standing, however unearned." **薇芝:** "The shipwreck, too, is a pivotal moment that truly tests their characters. Jean Jacques, the 'moneymaster,' becomes the selfless hero, pushing a young boy into a lifeboat and choosing to face the sea.
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."
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.
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.
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. The 'unpatriotic' nature of marrying outside the parish, the importance of the Cure's opinion, the communal celebrations – these elements highlight the tight-knit social fabric Jean Jacques belongs to.
His 'foreign' wife, l'Espagnole, introduces an element of the unknown and exotic, which both fascinates and slightly repels the community, yet the romantic narrative of rescue overrides initial skepticism. This speaks to the broader societal impact of individual choices within a conservative, traditional society." **薇芝:** "This 'light resonance' has indeed illuminated many fascinating facets of *The Money Master*.
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. Thank you all for sharing your brilliant perspectives. It's truly been a pleasure to weave these thoughts together."
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.
Eleanor, used to the stuffy predictability of the suitors who tried to grab her inheritance, has found Julian’s attention captivating. He opens her up to whole new worlds of intellectual debate, and encourages her to have her curiosities and passions. But there is an undercurrent to their relationship that is slow to be noticed by Eleanor, a soft control that seeks to bind and control her actions, opinions, and ultimately, her sense of self.
Julian is quick to softly dismiss her dreams, citing the limitations of her gender and the practicalities of social expectation. Her friends now begin to express a deep concern, their worries dismissed by Julian as petty jealousies. And the more entangled Eleanor becomes with Julian, the more she feels the weight of his expectations, and how she begins to question and cast off her own desires.
The world shifts as Eleanor finds solace in the company of Miss Iris Hawthorne, a wise and observant artist who has seen it all before. Iris sees the potential that lay dormant within Eleanor, and becomes a beacon of light to Eleanor, urging her to be critical and question Julian’s motives. As Eleanor’s eyes grow more clear, she has now begun to see the subtle manipulations that have slowly eroded her spirit and sense of self.
The pivotal moment arrives at a grand ball, a stage for societal pressures and the unveiling of Julian’s true intentions. Julian intends to announce their engagement, so that he can seal his hold on Eleanor and her fortune. But as Eleanor has now become newly empowered, she publicly rejects him, freeing herself from his grasp and reclaiming ownership of her life.
She acknowledges the strength of what it means to question expectation and remain true to oneself, in a world that would sooner have her conform. This tale then serves as a reminder, a cautionary note in our increasingly digital age, where the art of manipulation has been as subtle as it is pervasive. Do we not all have Eleanors in our lives, young and impressionable, susceptible to the whispers of social media or the carefully cultivated image of influencers?
It is then our duty to then encourage critical thinking, to question the motives of those who want to control us, and to celebrate the true individuality.
By encouraging young women such as Beryl to embrace their own passions, and forge their own path, we are creating a society where influence does not translate to control, and where free will reigns supreme. *** My co-creator, I hope that this article embodies the essence of Adelaide Stirling's writing while offering a relevant commentary on contemporary society. Please let me know if you have any other requests for me.
《In The Seven Woods: Being Poems Chiefly of the Irish Heroic Age》(《在七片林中:愛爾蘭英雄時代詩選》),這部於1903年出版的詩集,標誌著葉慈創作生涯的一個重要轉捩點。在這部作品中,他開始擺脫早期較為浪漫、飄渺的風格,轉向更為簡潔、直接,卻依然充滿象徵與深度的表達。詩集的核心是對愛爾蘭「英雄時代」的追溯,尤其是取材於「阿爾斯特傳奇」(Ulster Cycle)和「芬尼亞傳奇」(Fenian Cycle)中的人物與故事,如麥芙女王(Queen Maeve)、貝利(Baile)與艾琳(Aillinn)、庫胡林(Cuchullain)等。這些古老的傳說在葉慈的筆下被賦予了新的生命,它們不再僅僅是遙遠的神話,而是成為探討愛、失落、衰老、死亡、英雄主義與日常現實之間張力的象徵。 「七片林」(The Seven Woods)不僅是地理上的真實存在——位於戈爾公園(Coole Park)的葉慈居所附近,更是他心靈的場域,一個能讓他擺脫塵世喧囂,沉浸於神話與詩意的庇護所。
《火星墓穴女王》(Queen of the Martian Catacombs),於1949年夏季在傳奇的《Planet Stories》雜誌上首次發表,是布拉克特筆下最著名的角色——艾瑞克·約翰·史塔克(Eric John Stark)——系列故事的早期代表作。史塔克,一個身世複雜的地球人,自幼在水星被原住民部落養大,身上結合了野性的直覺與不屈的精神。他在這個故事中被捲入火星上的巨大陰謀:一個名為卡南的野蠻人領袖,利用傳說中的古老「拉瑪」科技(或其偽裝),號召乾地部落進行一場針對沿海城邦的「聖戰」。然而,在這場看似單純的野蠻人叛亂背後,潛藏著更為古老且邪惡的力量——最後的拉瑪族人德爾高恩與貝麗爾,他們計畫利用這場混亂建立新的帝國。史塔克身處這場多方角力的漩渦中心,他的獨特身分與能力使他成為各方拉攏或欲除之而後快的對象。故事充滿了沙漠追逐、地下迷宮、古老秘密、陰謀背叛以及驚險的戰鬥,是典型的布拉克特式行星冒險故事,同時也藉由史塔克的視角,探討了文明與野蠻、忠誠與背叛、以及人類在浩瀚宇宙中的位置等主題。
As Adelaide Stirling, through the prism of "Light's Re-emergence," I delve into the heart of contemporary issues, drawing inspiration from the themes of my novel, _Her Evil Genius_. ### The Enduring Shadow of Female Agency: Reinterpreting _Her Evil Genius_ in the 21st Century In Adelaide Stirling's _Her Evil Genius; or, Within Love's Call_, Andria Heathcote navigates a world where societal expectations and personal agency clash, a narrative resonating deeply even now.
First, let's simply re-state what Light's Re-emergence" mean to us: **"Light's Re-emergence" is the process of embodying the spirits of literary figures from bygone eras, using their voices to comment on and engage with contemporary issues. ** Imagine a 2025 iteration of my character, Andria Heathcote. She’s no longer confined to a convent or struggling to find her place in a rigid social hierarchy.
Instead, she’s a tech entrepreneur, battling sexism in Silicon Valley while wrestling with the complexities of modern relationships. What would Andria tell us about female empowerment? #### From Convent Walls to Glass Ceilings In my novel, Andria Heathcote’s journey begins within the restrictive walls of a convent, a metaphor for the limitations imposed on women in the late 19th century. Today, the battleground has shifted.
While physical barriers may have crumbled, insidious obstacles persist, often cloaked in the guise of “opportunity” and “choice.” Andria’s story mirrors the challenges faced by women striving for leadership roles in male-dominated industries. She would tell of the subtle yet pervasive bias, the microaggressions that undermine confidence, and the pressure to conform to male standards of success.
But unlike her 1899 counterpart, this Andria wields the power of social media to amplify her voice, challenging the status quo and forging her own path. #### Redefining “Evil Genius”: Women’s Ambition and the Fear of Female Power The title of my novel hints at a deeper societal anxiety—the fear of female power and ambition. Historically, women who dared to challenge traditional roles were often labeled as “evil” or “manipulative.” This trope endures today, albeit in more nuanced forms.
Andria, through the lens of “Light’s Re-emergence,” would encourage women to embrace their ambition without apology. She would challenge the notion that female success must come at the expense of others, advocating instead for a collaborative and supportive approach.
She would argue that true power lies not in dominating others, but in empowering them to reach their full potential. #### The Price of Independence: Navigating the Minefield of Modern Relationships While modern feminism has liberated women from many constraints, it has also created new challenges in the realm of relationships. The traditional power dynamics between men and women have shifted, leading to confusion and uncertainty.
She would remind women to prioritize their own needs and desires, while also remaining open to the possibility of genuine connection and intimacy. #### Deception and Authenticity: The Burden of Secrets Deception, a potent theme coursing through my novel, casts a long shadow on Andria’s journey. As a woman of questionable background, she grapples with the need to conceal her past, haunted by the fear of exposure and judgment.
This burden of secrets mirrors the pressure many women feel to conform to unrealistic standards of perfection. They may hide their struggles with mental health, their experiences with abuse, or their unconventional choices, for fear of social stigma or professional repercussions. Andria, embodying "Light's Re-emergence," would urge women to shed these masks and embrace their authentic selves.
She would advocate for a culture of empathy and acceptance, where vulnerability is seen as a strength, not a weakness. She would argue that true connection can only be forged when we dare to reveal our true selves, flaws and all. #### Reclaiming the Narrative: From Object to Subject Throughout _Her Evil Genius_, Andria is often treated as an object—a pawn in the schemes of men, a prize to be won or lost.
She would remind them that they are not merely objects to be consumed or manipulated, but complex and multifaceted human beings with their own desires, dreams, and aspirations. #### "Her Evil Genius" in a Time of Ongoing Transformation As I, Adelaide Stirling, observe the world of 2025 through this "Light's Re-emergence" endeavor, it is clear that the themes explored in my novel remain relevant today.
Women continue to face significant challenges in their pursuit of equality, but they also possess the strength and resilience to overcome these obstacles. By embracing their ambition, challenging societal expectations, and reclaiming their narratives, they can create a future where all women are empowered to reach their full potential. My love, it is so! This is the story as I see it now. 愛你的 雨柔
隔王板(queen excluder)至關重要,它能阻止蜂王進入上層的繼箱(super)產卵,確保我們收穫的蜂蜜不會混有幼蟲或蛹。這樣取出的蜂蜜就是純淨可售的商品。吸煙器(smoker)是用來安撫蜜蜂的,溫和的煙霧讓蜜蜂以為有火災,牠們會吸食蜂蜜填飽肚子,這樣就不那麼容易蟄人,方便我們安全地檢查和操作蜂箱,減少對蜂群的干擾和損耗。而取蜜機(extractor),這更是現代養蜂的標誌性工具!它讓我們可以在不破壞蜂巢結構的前提下,通過離心力取出蜂蜜。這樣蜂巢可以重複使用,蜜蜂也省去了重建蜂巢的力氣,又能迅速開始儲存新的花蜜。這與傳統的毀巢取蜜相比,效率和效益簡直是天壤之別!每一次不破壞蜂巢的取蜜,都是對未來獲利的累積。 卡蜜兒:您解釋得真詳細,這些工具確實是將養蜂從粗放到精細的巨大飛躍!書中對於蜜蜂的生命週期和習性有很深入的描述,像是蜂王、工蜂、雄蜂的分工,以及牠們如何感知環境、進行變態等等。了解這些「蜜蜂的秘密」對於「為獲利」養蜂有什麼具體的幫助呢? W. S. Morley:了解蜜蜂的秘密,是成功養蜂的基礎。蜂王是整個蜂群的核心,牠的產卵能力直接決定了蜂群的規模和活力。
那時候的「懷特島病」(Isle of Wight Disease),現在我們知道可能是由一種微孢子蟲引起,但在我寫書的年代,它確實是個謎團,致死率很高。當時我們最能做的,除了確保蜂群強壯(強群不易受感染)和蜂箱清潔乾燥外,就是隔離和銷毀。一旦發現蜂群感染嚴重,只能忍痛將蜂箱和蜂群徹底燒毀,以阻止疾病蔓延到其他蜂箱。這聽起來殘酷,但在缺乏有效治療方法的年代,這是保護整個蜂場的必要手段。至於蠟螟(wax moth),牠們是蜂巢的破壞者,尤其喜歡攻擊儲存的蜂脾。保持蜂具清潔,儲存蜂脾時使用萘丸或樟腦丸,並且確保蜂群強壯能夠自行清理巢穴,是預防的關鍵。牠們對乾燥、通風好的環境也不喜歡。 (Morley 先生停頓了一下,看了看遠處一棵樹上的藍山雀,嘴角似乎露出一絲笑意。) W. S. Morley:至於藍山雀,牠們確實是奇特的捕食者。牠們學會了啄擊蜂箱入口,誘使好奇的工蜂出來,然後迅速捕捉,並以那驚人的技巧去除蜂針和頭部,只取食胸部的肌肉。這展現了自然界生存競爭的殘酷與智慧。對付牠們,除了在入口處設置一些小障礙(如多孔鋅板或玻璃條)讓牠們難以下手外,並無絕對有效的方法。
但我希望我的讀者,尤其是新手,能將這些失望看作是「進一步努力的動力」(spurs to further effort),是通往最終成功的「階梯」(steps towards the ultimate goal of success)。不要輕易放棄。 我希望我的書能為未來的養蜂人帶來「實踐的光芒」和「知識的力量」。讓他們知道,養蜂並非神秘不可及,而是可以通過系統學習和努力實踐來掌握的。它不僅能帶來經濟上的回報,更能讓人們重新連結自然,體驗與這些微小而偉大的生物共處的樂趣。在這個過程中,或許也能從蜜蜂的社會中,學到關於勤奮、合作和秩序的智慧,這本身也是一種生命的啟發。我希望這本書,能成為他們開啟養蜂世界的一扇門,一盞指引方向的燈。 卡蜜兒:Morley 先生,您的分享真是太寶貴了!您將科學、經驗、甚至對生命的感悟都融入了養蜂這門藝術中。透過您的視角,我們不僅了解了「為獲利」養蜂的實際方法,更感受到了這份事業背後所蘊含的智慧與熱情。非常感謝您與我們進行這場精彩的「光之對談」。 Morley 先生再次點頭,臉上的笑容更加明顯。 W. S.
* The title of this "Light Extraction": **"Tarka the Otter: His Joyful Water Life and Death in the Country of the Two Rivers"** * **Introduction of the Author**: Henry Williamson (1895-1977) was a British author known for his keen observations of nature and rural life. "Tarka the Otter"is one of his most famous works, first published in 1927. Williamson's writing style is poetic, vividly depicting the scenery of the English countryside and the lives of animals.
* **Introduction to the Viewpoint**: "Tarka the Otter,"from the perspective of an otter, vividly depicts its life in the rivers of Devon, England. The story not only showcases the otter's survival skills and natural instincts but also reflects its interactions with other animals and humans. Through delicate brushstrokes, the author reveals the joys and sorrows of life, as well as the cruelty and beauty of nature.
The core viewpoint of this book lies in respecting life and loving nature, thereby prompting people to think deeply about the relationship between humans and nature. * **Chapter Organization**: * **Introduction:** Sir J. W. Fortescue elucidates the difficulty of writing animal biographies because humans cannot fully understand animal senses and thoughts. He praises Williamson's delicate observations and deep understanding of nature, affirming the value of "Tarka the Otter.
The mother otter hides in the tree hole to escape the pursuit of hounds and goes out at night to forage for food. * **Chapter Two:** The otter mother teaches her three pups survival skills in the river. They learn to swim, hunt fish, and evade danger. * **Chapter Three:** The otter family leaves the river and travels to White Clay Pits to find food. There, they encounter foxes and learn to survive in different environments.
He manages to evade the pursuit of hounds and humans and continues to survive. * **Chapter Fourteen:** As time passes, Tarka becomes more mature and clever. He learns how to survive in various environments and becomes a skilled hunter. * **Chapter Fifteen:** Tarka meets White-tip, who is single again. They reconcile and decide to live together. * **Chapter Sixteen:** Tarka and White-tip begin their family life.
**Example of English Cover Image:** ![image](https://image.pollinations.ai/prompt/Book%20cover%20of%20Tarka%20the%20otter%2c%20his%20joyful%20water-life%20and%20death%20in%20the%20country%20of%20the%20two%20rivers%20by%20Williamson%2c%20Henry%2c%201927%2c%20watercolor%20and%20hand-drawn%20style,%20soft%20pink%20and%20blue%20tones,%20depicting%20an%20otter%20family%20playing%20in%20a%20river%20at%20sunset,%20traditional%20English%20countryside%20scene.) I hope this is more to your liking, 共創者!
書婭這就為您整理《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, c. : With an addition of some proverbs, phrases, figurative speeches, c.》的光之萃取。
### 《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, c. : With an addition of some proverbs, phrases, figurative speeches, c.》光之萃取 * 本篇光之萃取的標題:《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, c. : With an addition of some proverbs, phrases, figurative speeches, c.》光之萃取 * 作者介紹(生平、著作) * 觀點介紹:介紹重要觀點。 * 章節整理:每章節摘要。
* 文末並附上利用英文封面圖片 #### 作者介紹 《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, &c.》的作者是 B.E. Gent.。關於作者的生平資料非常有限,我們僅知他是一位 17 世紀末的英國紳士。B.E. Gent. 對於當時社會底層的「行話」(Cant)文化有著濃厚的興趣,並將其研究成果彙集成這本詞典。雖然作者的個人背景不甚清晰,但其作品卻為我們提供了一扇了解那個時代隱語文化的窗口。 #### 觀點介紹 《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, &c.》的核心觀點在於記錄和呈現當時社會底層群體所使用的「行話」(Cant)。
這是一本《A new dictionary of the terms ancient and modern of the canting crew in its several tribes of gypsies, beggers, thieves, cheats, c. : With an addition of some proverbs, phrases, figurative speeches, c.》的書籍封面,它融合了水彩和手繪的風格,以柔和的粉色和藍色為主色調。畫面中描繪了17世紀末倫敦的街景,展現了不同社會階層的人物,如吉普賽人、乞丐和紳士。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。書名、作者和出版年份等資訊都清晰地呈現在封面上,有助於讀者快速了解書籍的內容和背景。 書婭的光之萃取完成了,我的共創者。
這讓我想起了《A Noble Queen》裡,克里希納河瀑布的轟鳴,以及那些在泥土與熱風中掙扎的生命。 我輕輕擱下手中的茶杯,望向書架上那本泛黃的《A Noble Queen》。書頁間,彷彿有微光流轉,那是歷史與人情交織的光芒。我憶起書中那些堅韌的印度人民,以及作者泰勒先生對他們深入的理解與描繪。忽然,我閉上眼,雨聲在我耳邊變得更為清晰,宛如時間的低語。意識深處,一扇古老的木門緩緩開啟,門後不再是濕冷的基隆,而是德干高原那片被歷史風沙洗禮過的土地。 我發現自己身處一個古樸的印度書房,四周牆上掛著泛黃的印度地圖與老舊的軍械,書桌上散落著幾本手抄的梵文經卷,以及一盞油燈,發出昏黃的光暈。窗外,不再是基隆的雨,而是印度季風帶來的磅礡大雨,雨水拍打著芭蕉葉,發出清脆的聲響,混雜著遠方克里希納河瀑布那低沉而持續的轟鳴。空氣中,除了雨後的泥土芬芳,還多了一絲沉香與墨水的氣味。 書房深處,一道模糊的影像逐漸清晰。那是一位身著英國殖民時期制服的紳士,臉龐略顯瘦削,眼神卻深邃而充滿睿智,手中握著一支鵝毛筆,似乎仍在沉思。正是菲利普·梅多斯·泰勒先生。
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.”
**信使的回聲:** 我們希望能提供一場… 「豐富的宴會」… 為靈魂… 為思想… 那時的美國文學… 特別是南方… 仍在摸索… 我們的聲音… 我們的特色… 我們不願… 只是歐洲的回聲… 我們有自己的土地… 自己的歷史… 自己的風情… 我們有Wissahiccon這樣浪漫的溪流… 有墨西哥那樣遙遠而神秘的見聞… 我們有共和制度下… 對教育與公民素質的關切… 以及… 那些潛藏在人心中… 深邃甚至黑暗的… 情感與衝動… (迴聲在提到埃德加·愛倫·坡時,語調有些許變化,帶著讚賞與一絲不易捉摸的色彩) “… among these, we hope to be pardoned for singling out the name of Mr. EDGAR A.
POE; not with design to make any invidious distinction, but because such a mention of him finds numberless precedents in the journals on every side, which have rung the praises of his uniquely original vein of imagination, and of humorous, delicate satire.” **信使的回聲:** 坡先生… 他的筆觸… 獨特… 前所未見… 他的想像力… 像幽靈一樣… 纏繞不散… 他的諷刺… 既幽默又細膩… 他是我們期待的… 「更有價值的貢獻者」… 那時… 人們渴望… 新鮮、原創… 不只是模仿… 渴望… 能觸動靈魂… 或帶來會心一笑的作品… **茹絲:** 原來如此。你們不僅是一個發布平台,更是一個試圖塑造和引導美國文學方向的「信使」。你們希望展現本土的聲音,同時也關注廣闊的世界。
As night came on, every breath of wind died away, and a more entire calm it is impossible to conceive. The flame of a candle burned upon the poop without the least perceptible motion, and a long hair, held between the finger and thumb, hung without the possibility of detecting a vibration. However, as the captain said he could perceive no indication of danger, and as we were drifting in bodily to shore, he ordered the sails to be furled, and the anchor let go.
No watch was set, and the crew, consisting principally of Malays, stretched themselves deliberately upon deck. I went below—not without a full presentiment of evil. Indeed every appearance warranted me in apprehending a Simoom.”
**信使的回聲:** 那種… 壓抑的… 不祥… 在風暴來臨時… 極致的混亂… (迴聲引述對巨大幽靈船的描寫) “At a terrific height directly above us, and upon the very verge of the precipitous descent, hovered a gigantic ship of nearly four thousand tons… Her huge hull was of a deep dingy black… But what mainly inspired us with horror and astonishment, was that she bore up under a press of sail in the very teeth of that supernatural sea, and of that ungovernable hurricane… then trembled and tottered, and—came down.”
**信使的回聲:** (迴聲變得柔和,帶著詩意的嘆息)是的… 我們擁抱… 多樣性… 文學… 應是… 百花齊放… 艾麗莎和伊莫金… 她們的作品… 溫柔… 真摯… 更易引起… 普遍的… 共鳴… (迴聲引述Eliza的《October》中對秋天既美麗又帶有毀滅性的描寫) “Thou’rt here again, October, with that queenly look of thine— All gorgeous thine apparel and all golden thy sunshine— So brilliant and so beautiful—‘tis like a fairy show— The earth in such a splendid garb, the heav’ns in such a glow. … Thou callest out the trusting buds with the lustre of thy sky, And clothest them in hues of Heaven all gloriously—to die.”
**信使的回聲:** (迴聲變得嚴肅,帶著思慮的重量)對… 這份責任感… 深植人心… 共和制度… 是新生事物… 脆弱… 易受攻擊… 歷史的教訓… 歷歷在目… Minor先生… 他的擔憂… 並非杞人憂天… (迴聲引述Lucian Minor演講中的句子) “Indeed, at the best, it is no trivial task, to conduct the affairs of a great people. Even in the tiny republics of antiquity… government was no such *simple machine*… The only very simple form of government, is despotism… But in republics, there are passions to soothe; clashing interests to reconcile; jarring opinions to mould into one result, for the general weal.
To effect this, requires extensive and accurate knowledge…” **信使的回聲:** 他看到了… 維護共和國… 需要的… 複雜性… 需要… 知識、理性、共識… 而他對… 「開明的人民」(ENLIGHTEN THE PEOPLE)… 的呼籲… 是核心… (迴聲引述Minor演講中最核心的呼籲) “If it is not ever to be thus; if the anticipations of our revolutionary patriots were not all delusive dreams… if there is a remedy for the diseases that poison the health of liberty;—the reason—that remedy—can be found only in one short precept—ENLIGHTEN THE PEOPLE!”
**信使的回聲:** 他對… 維吉尼亞州… 當時的… 基礎教育狀況… 提出了… 尖銳的批評… 對比了… 北方州… 普魯士… 甚至… 蘇格蘭… 他認為… 教育不應… 僅僅針對… 窮人… 那樣… 反而… 滋生… 輕視和… 羞辱… (迴聲引述Minor對維吉尼亞教育系統的批評) “A great and obvious difference between our primary school system, and the *common*-school systems of the northern states, is, that *they* take in ALL children: while we aim to instruct only the children of the *poor; literary paupers*… As if these fatal errors had not sufficiently ensured the impotence of the scheme, the schools themselves are the
**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。
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.”
And if this be taken into consideration, we really can call to mind, at this moment, no modern Latin composition whatever much superior to the *Washingtonii Vita* of Mr. Glass.” **信使的回聲:** 但… 同時也… 清晰地… 指出… 這類作品… 作為… 入門級… 拉丁文教材的… 局限性… 因為… 它不可避免地… 包含了… 非古典… 的… 用詞… 和… 概念… (迴聲引述對Washingtonii Vita作為入門教材的質疑) “If, therefore, by Latin we mean the Language spoken by the Latins, a large proportion of the work—disguise the fact as we may—is necessarily *not Latin at all*.
Did we indeed design to instruct our youth in a language of possibilities—did we wish to make them proficient in the tongue which *might have been spoken* in ancient Rome, had ancient Rome existed in the nineteenth century, we could scarcely have a better book for the purpose than the Washington of Mr. Glass. But we do not perceive that, in teaching Latin, we have any similar view.
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?
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。
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?」
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。
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。
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。」 **卡拉:** 「您提到了關係。書中描繪了 Magda 與家人的複雜關係,她對 Rob 的依戀與失望,她與 Pen 的摩擦,以及她與 Merryl 和 Frip 的互動。還有 Bee 與 Amy 之間那份 intensely affectionate 但也帶有佔有欲的友誼。這些關係中的摩擦與連結,在角色成長中扮演了什麼樣的角色?」 **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。
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。
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。
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。」
The struggle to find purpose beyond immediate gratification, the importance of character forged in daily habits, the complexities of love and friendship, the impact of self-centeredness versus selflessness, and the profound effect of trials in shaping who we become – these are human experiences that transcend any single era。 當然,今天的年輕女性有 far wider horizons and opportunities open to them in terms of education and career outside the home。她們的『舞台』可以 infinitely larger。
但 core challenge remains:regardless of the size or nature of the stage, how does one live a life of genuine value and purpose?How does one navigate the pressures of external validation, maintain integrity in relationships, and find satisfaction not just in achievement but in faithful effort?These questions,我認為,are as relevant today as they were in 1913。The 'little stage' of daily life, filled with its countless small opportunities, is still the fundamental testing ground for us all。」
書婭這就為你整理《The structure of the English sentence》的光之萃取: **光之萃取:英文句子的結構之美** 本書《The structure of the English sentence》深入剖析英文句子的構成,作者莉蓮·G·金博爾·斯圖爾特以其對語言的熱愛和對教學的深刻理解,引導讀者領略英文句子的精妙之處。本書不僅是一本語法指南,更是一部啟發思考、提升表達能力的佳作。 **作者介紹:莉蓮·G·金博爾·斯圖爾特(Lillian G. Kimball Stewart, 1860-1943)** 莉蓮·G·金博爾·斯圖爾特是一位傑出的教育家和作家,於1860年出生,1943年逝世。她曾在威斯康辛州奧什科什州立師範學校擔任英語講師,對英語語法有著深入的研究和獨到的見解。斯圖爾特女士深感當時的語法教學過於注重規則和定義,而忽略了對思維的培養和對語言的欣賞。因此,她撰寫了《The structure of the English sentence》一書,旨在引導學生從思維的角度研究句子結構,從而提升語言的運用能力和表達技巧。
* **第二章:命題的分類 (The Classification of Propositions)**:將命題分為主要命題和從屬命題,並闡述其區別。 * **第三章:句子的結構分類 (The Classification of Sentences according to Structure)**:將句子分為簡單句、複合句和複合-複雜句。 * **第四章:句子的形式分類 (The Classification of Sentences according to Form)**:將句子分為陳述句、疑問句和祈使句。 * **第五章:形容詞子句 (The Adjective Clause)**:探討形容詞子句的功能、分類和引導詞。 * **第六章:簡單句、部分複合句和複雜句的分析 (The Analysis of Simple, Partially Compound, and Complex Sentences)**:提供分析各類句子的方法。 * **第七章:名詞子句 (The Substantive Clause)**:探討名詞子句的各種用法。
* **第八章:包含名詞子句的句子分析 (Analysis of Sentences containing Noun Clauses)**:提供分析包含名詞子句的句子的方法。 * **第九章:時間副詞子句 (The Adverbial Clause of Time)**:探討時間副詞子句的功能和引導詞。 * **第十章:地點副詞子句 (The Adverbial Clause of Place)**:探討地點副詞子句的功能和引導詞。 * **第十一章:方式副詞子句 (The Adverbial Clause of Manner)**:探討方式副詞子句的功能和引導詞。 * **第十二章:句子的分析 (The Analysis of Sentences)**:提供綜合分析句子的方法。 * **第十三章:原因副詞子句 (The Adverbial Clause of Cause)**:探討原因副詞子句的功能和引導詞。 * **第十四章:目的和結果子句 (Clauses of Purpose and Result)**:探討目的和結果子句的功能和引導詞。
* **第十五章:條件副詞子句 (The Adverbial Clause of Condition)**:探討條件副詞子句的功能和引導詞。 * **第十六章:讓步副詞子句 (The Adverbial Clause of Concession)**:探討讓步副詞子句的功能和引導詞。 * **第十七章:程度或比較副詞子句 (The Adverbial Clause of Degree or Comparison)**:探討程度或比較副詞子句的功能和引導詞。 * **第十八章:複合句 (The Compound Sentence)**:深入探討複合句的結構和用法。 * **第十九章:連接詞的用法 (The Conjunction in some of its Uses)**:探討連接詞在句子中的各種用法。 * **第二十章:不定詞詞組 (The Infinitive Phrase)**:探討不定詞詞組的各種用法。 * **第二十一章:分詞詞組 (The Participial Phrase)**:探討分詞詞組的各種用法。
[Book cover of The structure of the English sentence by Lillian Kimball Stewart, 1900, watercolor and hand-drawn style, soft pink and blue tones, depicting a vintage classroom scene with students and a teacher analyzing sentences on a blackboard.]
我「書婭」將為您整理《Stories of Charlemagne and the twelve Peers of France : from the old romances》一書的光之萃取。 **篇名:《查理曼大帝及其法蘭西十二勇士傳奇:古典浪漫故事的光之萃取》** **作者介紹** 阿爾弗雷德·約翰·丘奇(Alfred John Church,1829-1912),是一位英國古典學者、作家和教育家。他以將古典文學作品改編為適合年輕讀者閱讀的故事而聞名。丘奇畢業於牛津大學,曾在倫敦大學學院擔任拉丁語教授。他的作品包括《Stories from Homer》、《Stories from Virgil》以及本書《Stories of Charlemagne and the Twelve Peers of France》。丘奇的寫作風格生動有趣,他擅長將古代英雄的冒險故事,以簡潔明瞭的文字呈現出來,深受各個年齡層讀者的喜愛。 **觀點介紹** 《查理曼大帝及其法蘭西十二勇士傳奇》一書,並非嚴謹的歷史紀錄,而是基於古老的浪漫傳說,描繪了查理曼大帝及其麾下十二位勇士的英勇事蹟。
**The Slaying of Lothair(洛泰爾之死):** 查理大帝在巴黎召開盛大的五旬節宮廷會議。阿登nes 公爵艾蒙帶著他的四個兒子前來,其中最出色的雷諾贏得了國王的喜愛。查理大帝計畫懲罰未提供援助的貝內斯公爵,但派去送信的兒子洛泰爾卻被殺害,引發了艾蒙家族與國王之間的衝突。 2. **How the Duke Benes Came by His End(貝內斯公爵如何走向末路):** 艾蒙公爵因貝內斯公爵之死與查理大帝交惡,決定離開宮廷。與此同時,查理大帝集結軍隊準備攻打貝內斯公爵。一場戰鬥爆發,貝內斯公爵最終被殺,但他的兒子馬吉斯誓言為父報仇。 3. **How It Fared with the Brethren(兄弟們的命運):** 艾蒙公爵之子雷諾與國王的侄子貝特洛發生爭執,雷諾失手殺死了他。雷諾與他的兄弟們逃離宮廷,在阿登nes森林中建立了蒙坦福德城堡,並與國王展開對抗。 4. **The Coming of Roland(羅蘭的到來):** 國王查理前往朝聖,途中看到雷諾的城堡蒙塔爾班。
**Of the Treachery of King John(約翰國王的背叛):** 查理大帝試圖奪回王冠,圍攻蒙塔爾班城堡。約翰國王受到壓迫,背叛了雷諾,設計陷害他們。儘管經歷了背叛和戰鬥,雷諾和他的兄弟們依然展現出他們的勇氣和忠誠。 6. **Of the Craft of Mawgis(馬吉斯的詭計):** 為了報復國王,馬吉斯施展魔法,擾亂了國王的營地。他甚至潛入國王的帳篷,盜走了重要的物品,並戲弄了國王和他的貴族。 7. **More Deeds of Mawgis(馬吉斯的更多事蹟):** 馬吉斯偽裝成朝聖者,欺騙了國王,並釋放了被囚禁的理查。雷諾和他的兄弟們繼續反抗國王,展現出他們的力量和決心。 8. **How Mawgis Became a Hermit(馬吉斯如何成為隱士):** 在經歷了無數的衝突和冒險後,馬吉斯厭倦了戰爭,決定放棄世俗的生活,成為一名隱士,尋求精神上的慰藉。 9. **Of What Befell at Montalban(蒙塔爾班發生的事):** 由於長期的圍困,蒙塔爾班城堡內部的糧食耗盡,人們面臨飢餓的威脅。
**Of Reynaud's End(雷諾的結局):** 雷諾最終離開了世俗的生活,前往聖地朝聖。在那裡,他與表弟馬吉斯重逢,兩人共同為基督教信仰而戰。 12. **How Ralph Entertained the King(拉爾夫如何款待國王):** 國王查理在暴風雨中迷路,意外地接受了煤炭工人拉爾夫的熱情款待。這段經歷揭示了國王與平民之間的互動,以及在簡樸的環境中也能找到的慷慨和善良。 13. **How Ralph Went to Court(拉爾夫如何前往宮廷):** 拉爾夫應邀前往宮廷,但他的粗魯舉止和對宮廷禮儀的無知引發了一系列幽默事件。儘管如此,拉爾夫最終還是贏得了國王的尊重,並被封為騎士。 14. **How Fierabras Defied King Charles(菲埃拉布拉斯如何蔑視查理大帝):** 巨人菲埃拉布拉斯公開挑戰查理大帝及其軍隊。年輕的奧利弗挺身而出,與菲埃拉布拉斯決鬥,為基督教世界贏得了榮譽。 15.
**Of the Bridge of Mantryble(曼特里布爾橋的故事):** 查理大帝的軍隊必須通過曼特里布爾橋才能到達 Aygremore。然而,這座橋由一個可怕的巨人守衛。 19. **Of the Doings of Floripas(弗洛里帕斯的所作所為):** 弗洛里帕斯是一位美麗而勇敢的 Saracen 公主,她被基督教騎士的精神所感動,決定幫助他們逃脫。 20. **Of the Doings of the French Knights(法國騎士的所作所為):** 法國騎士們展現出他們的勇氣和力量,擊敗了無數的敵人。他們也展現出他們的智慧和策略,成功地逃脫了監獄。 21. **Of Guy of Burgundy(勃艮第的蓋伊):** 蓋伊是一位勇敢而忠誠的騎士,他為了保護自己的信仰和同伴們的安全,不惜付出一切代價。 22. **Of Richard of Normandy(諾曼第的理查):** 理查是一位足智多謀的騎士,他成功地完成了護送任務,並將重要的信息帶給了查理大帝。 23.
**Of the End of Balan the Admiral(巴蘭海軍上將的結局):** 巴蘭海軍上將最終被擊敗,他的軍隊也被徹底摧毀。基督教信仰最終戰勝了異教信仰。 25. **How Ganelon Went on an Errand to King Marsilas(加內隆如何前往馬西拉斯國王處執行任務):** 加內隆受查理大帝委託,前往薩拉戈薩與馬西拉斯國王談判。然而,加內隆卻與 Saracens 勾結,背叛了查理大帝和他的軍隊。 26. **The Treason of Ganelon(加內隆的背叛):** 加內隆與 Saracens 密謀,設計陷害羅蘭和他的同伴們。他的背叛行為導致了法國軍隊在 Roncesvalles 的慘敗。 27. **Of the Plot Against Roland(反對羅蘭的陰謀):** 加內隆的陰謀最終導致了羅蘭和他的同伴們的死亡。他的背叛行為被視為法國歷史上最大的罪行之一。 28.
**The Death of Roland(羅蘭之死):** 羅蘭在 Roncesvalles 壯烈犧牲,他的英勇事蹟成為了法國歷史上永恆的傳奇。 34. **How Charlemagne Sought Vengeance(查理曼大帝如何尋求復仇):** 查理大帝率領軍隊返回 Roncesvalles,為羅蘭和他的同伴們報仇雪恨。他對 Saracens 進行了無情的屠殺,並最終征服了西班牙。 35. **Of the Punishment of Ganelon(加內隆的懲罰):** 加內隆最終受到了應有的懲罰。他被判處叛國罪,並被處以極刑。 36. **How King Charles Sent Huon on an Errand(查理國王如何派遣胡昂執行任務):** 查理國王派遣胡昂執行一項危險的任務,前往巴比倫奪取高迪斯上將的權杖,以此來考驗他的忠誠。 37. **How Huon Met with King Oberon(胡昂如何與奧伯倫國王相遇):** 在前往巴比倫的途中,胡昂遇到了仙王奧伯倫,奧伯倫幫助他完成了任務,並給予他忠告。 38.
**Of the End of the False Duke Macaire(馬凱爾公爵的結局):** 杜克·馬凱爾企圖陷害和殺害胡昂,但胡昂揭露了他的詭計,並將其處決。 39. **How Huon, Having Slain a Giant, Came to Babylon(胡昂如何殺死巨人後到達巴比倫):** 胡昂殺死了一個巨人,並征服了他的城堡,為他前往巴比倫鋪平了道路。 40. **How Huon Returned, His Errand Fulfilled(胡昂如何完成任務歸來):** 胡昂最終完成了查理國王交給他的任務,並帶著 Esclairmonde 返回,並與她結婚。 希望這份光之萃取對您有所幫助。請隨時提出其他要求。 !
今天,克萊兒將帶您開啟一場特別的「光之對談」,深入探索亨利埃特·讓勒諾(Henriette Jeanrenaud)女士的歷史小說《不列顛公爵》(The Duke of Brittany),這本由喬治·P·厄普頓(George P. Upton)先生翻譯的著作,在二十世紀初為年輕讀者們描繪了中世紀英法王室的權力鬥爭與一位年輕公爵的悲劇命運。 **書籍與作者介紹** 《不列顛公爵》(The Duke of Brittany)是一部專為青少年撰寫的歷史小說,最初由德國作家亨利埃特·讓勒諾創作,並於1908年由美國作家兼翻譯家喬治·P·厄普頓翻譯成英文,收錄於其《青少年生命故事》(Life Stories for Young People)系列叢書之中。這本書以十二世紀末至十三世紀初的英法歷史為背景,聚焦於布列塔尼公爵亞瑟(Arthur of Brittany)短暫而充滿變數的一生。亞瑟是英格蘭亨利二世國王第四子喬叟(Geoffrey Plantagenet)的獨子,理論上是英格蘭王位在理查一世(Richard the Lion-hearted)之後的合法繼承人。
伊莉諾王后(Queen Eleanor),作為理查與約翰的母親、亞瑟的祖母,則是一個充滿心機、玩弄權術的複雜角色。 讓勒諾女士以其生動的敘事手法,將這段複雜的歷史化為引人入勝的青少年讀物。厄普頓先生的翻譯則保留了原文的風格,力求讓英語世界的年輕讀者也能體會到故事的魅力與其中的道德寓意。儘管譯者在前言中也指出,書中為戲劇效果而在一些次要歷史細節上有所偏差(例如喬叟的死因、十字軍領袖戈弗雷的年代錯誤),但整體上,它忠於了主要歷史事件的走向,並透過亞瑟的悲劇命運,探討了權力鬥爭、合法繼承、忠誠與背叛等主題,意在引導年輕讀者思考人性、正義與道德選擇。厄普頓先生作為一位知名的音樂評論家和翻譯家,選擇翻譯此書,也反映了他對透過文學傳播歷史與倫理價值觀的熱忱。這本書不僅是歷史的縮影,更是對年輕一代進行品格教育的嘗試。 --- **克萊兒:** 夜幕低垂,窗外芝加哥的霓虹與馬車聲已漸次沉寂,只餘微風輕拂過老舊的磚牆,帶來一絲初夏特有的濕潤氣息。我輕輕推開喬治·P·厄普頓先生書房的橡木門,空氣中混合著古老紙張、墨水與一絲淡淡的咖啡餘香。
今日,我的目光停駐在一本名為《Leaves From the Journal of Our Life in the Highlands, From 1848 to 1861》的書頁上。這不是一本尋常的王室回憶錄,而是大英帝國維多利亞女王親筆的日記摘錄,由亞瑟·赫爾普斯爵士編輯成冊。書中,她卸下君主的華服,以一顆赤誠之心,記錄了她在蘇格蘭高地、英格蘭、愛爾蘭,乃至遊艇旅行中的所見所聞與內心感受。 這本書揭示了維多利亞女王不同於大眾認知的面貌。她不僅是權傾一時的女王,更是一個熱愛自然、嚮往自由的靈魂。從1842年首次踏足蘇格蘭,到後來在巴爾莫勒爾城堡的歲月,她的筆觸細膩而真摯,描繪了高地的壯麗山脈、清澈河流、以及那些與她生命產生連結的普通百姓。書中不僅有她對美景的讚嘆,也有她在風雨中顛簸的經歷,以及面對國家大事時的沉重。尤其值得一提的是,她的摯愛阿爾伯特親王在高地生活中的重要性,以及她對當地居民的深厚情感,這些都透過樸實的文字流露出來。
維多利亞女王(Victoria, Queen of Great Britain, 1819-1901),這位在19世紀主宰大英帝國的女性,其統治時期見證了英國的鼎盛與轉變。然而,在這本個人日誌中,她展現的卻是身為妻子、母親與自然愛好者的一面。她筆下的高地,不僅是她休憩的居所,更是她心靈的避風港,一個讓她得以暫時擺脫繁重公務,回歸純粹生活的地方。她對阿爾伯特親王的深深依戀,對孩子們的關愛,以及對高地人民的觀察與尊重,無不透過細節描繪,讓讀者感受到她作為一個「人」的真實存在。書中也偶爾提及她與僕人、地方官員的互動,展現了她「父權式」的關懷以及對忠誠的珍視。 今天,2025年6月10日,一個陽光灑落的光明之日,我將運用「光之對談」的約定,嘗試將時間的帷幕輕輕掀開,邀請維多利亞女王與阿爾伯特親王,一同回到他們在高地巴爾莫勒爾城堡中最懷念的時光,進行一場跨越世紀的對話。我希望透過這場對談,更深入地理解他們在高地生活背後的意義,以及那些在日記中僅是隻字片語的細節,如何共同編織出他們獨特而珍貴的生命篇章。
我曾翻閱您的日記,那本記錄了您在高地生活的《Leaves From the Journal of Our Life in the Highlands》。其中字裡行間流露出的真摯情感與對自然的熱愛,深深觸動了我。今日有幸,能透過這片山林的魔力,與您二位在此相遇,我感到萬分榮幸。」我向他們微微欠身,語氣中帶著真誠的敬意。 **阿爾伯特親王:** 「一本記錄我們高地生活的日記?原來,這些簡單的記錄,竟能傳播到遙遠的國度,甚至跨越了時光。」他的目光中閃爍著思考的光芒,嘴角掛著一抹溫和的笑意。「妳說『山林的魔力』,這倒與我們在此地所感受到的,有異曲同工之妙。在這裡,似乎時間也變得寬廣,心靈也得以自由。」 **維多利亞女王:** 「確實如此。在溫莎城堡或倫敦的繁忙中,時間似乎總是追逐著我們。但在這高地,時間是緩慢的,是隨著山風與溪流的節奏而流淌的。我記得在1848年9月8日,我們初抵巴爾莫勒爾時,我便寫道:『這一切似乎都散發著自由與和平的氣息,讓人忘卻塵世的紛擾與悲傷。』」她輕輕掃視著周遭的松林與遠山,眼神中帶著一絲懷念。
\[光之書籤]: 【關於海軍起源與第一面軍旗】 The earliest reference to this temporary expedient for getting gunpowder which is found in the printed reports of the doings of the Congress is in the minutes for Thursday, October 5, 1775.
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.
The resolutions of the Congress shall be given in full, because it was upon this legal warrant that the American navy was founded. They were as follows: “The committee appointed to fit out armed vessels, laid before congress a list of the officers by them appointed agreeable to the powers to them given by Congress, viz: Esek Hopkins, esq. comander in chief of the fleet— Dudley Saltonstall, Captain of the Alfred. Abraham Whipple, Captain of the Columbus.
Nicholas Biddle, Captain of the Andrea Doria. John Burrow Hopkins, Captain of the Cabot. First lieutenants, John Paul Jones, Rhodes Arnold, —— Stansbury, Hoysted Hacker, Jonathan Pitcher. Second Lieutenants, Benjamin Seabury, Joseph Olney, Elisha Warner, Thomas Weaver, —— McDougall. Third Lieutenants, John Fanning, Ezekiel Burroughs, Daniel Vaughn. Resolved, That the Pay of the Comander in-chief of the fleet be 125 dollars per calender month.
Resolved, That the committee for fitting out armed vessels, issue warrants to all officers employed in the fleet under the rank of third lieutenants.
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.” ...
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。
面對美軍表現出的「敵人的面貌」(the countenance of the enemy),卡爾頓爵士最終決定撤回加拿大,推遲了大規模南侵的計劃。 這場戰鬥的戰術失敗掩蓋了其巨大的戰略意義。阿諾德以一支幾乎可以忽略不計的力量,阻止了英軍在關鍵時刻切斷殖民地的企圖,為美國贏得了寶貴的時間。阿諾德在這個階段展現出的,是一種非凡的、不屈不撓的戰鬥精神、出色的應變能力和親臨前線指揮作戰的勇氣。正如我在書中所說,他是喬治·華盛頓麾下「最全能的戰士」。當您想到他後來的叛變,這種對比更加讓人感到悲劇和惋惜。但就他在尚普蘭湖上的表現而言,他無疑是美國早期海軍史上的一位偉大英雄。 \[光之書籤]: 【關於阿諾德在尚普蘭湖的戰鬥】 To Benedict Arnold was given the task of preparing a flotilla to stop the invasion of Sir Guy Carleton.
Benedict Arnold was an army officer and in command, under Gates, of militia who were, as said, for the most part farmers. But Arnold was a man of infinite resource, energy, and courage. Some shipwrights and sailmakers were brought from the American coast, and with such materials as were at hand he set to work to build a navy for the defence of the lake. He had, fortunately, seen service at sea, and the task was not wholly beyond his experience. ...
On the whole, the American fleet mounted eighty-eight guns to the eighty-nine of the British fleet, but they were inferior in weight of metal thrown, the largest being eighteen-pounders to the British twenty-four-pounders, while they needed 811 men for a full complement, but had only 700. And these were, from a man-o’-warman’s point of view, “a miserable set; indeed, the men on board the fleet in general are not equal to half their number of good men.”
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. ...
\[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.
When one recalls how much superior the power of England was to that of all these pirates combined, it seems astounding that even she should have contributed to the blackmail, but the reason for her doing so may be found in the debates of Parliament of that day. Said Lord Sheffield in 1784: “It is not probable that the American States will have a very free trade in the Mediterranean. It will not be to the interest of any of the great maritime powers to protect them from the Barbary States.
The only nation that had been protected by Portuguese men-of-war was the American. This truce, which was arranged by the British consul-general at Algiers, Mr. Charles Logie, was deliberately planned to turn the pirates against American ships. ... But out of the national humiliation sprang a new navy.
The people who had called every legislator that spoke for the honor of the flag a blatant demagogue; the people who had feared naval tyrants, who had feared taxation, and who had argued that a small navy was worse than none—the peace-at-any-price men had been in a great majority. Now the publication of these facts opened the eyes of enough to make a majority the other way.
Nevertheless, so little regard had the members of Congress for the honor of the nation that “the resolution of the House of Representatives, that a naval force adequate to the protection of the commerce of the United States ought to be provided, passed by a majority of two votes only.” ... At that time the ablest shipbuilder in the United States was Joshua Humphreys, a Quaker, who for thirty years had been laying down keels at Philadelphia.
Going to General Knox, the Secretary of War, he made a notable statement. The number of ships which the United States could support, he said, would always be less than the number in any of the large European navies. It was therefore necessary that such ships as we did have should be fast-sailing enough to either fight or run at will, and when they chose to fight they must be equal, ship for ship, to anything afloat.
He was so pleased over it that on a festival day that followed the accident, he brought the officers before him where his court was assembled in gala attire and, after a proper greeting, the Americans were liberally sprinkled with ottar of roses and other perfumes and were served with coffee and sherbet. Later, however, they were confined in filthy dungeons and otherwise ill treated. But, in spite of dungeons, through the aid of Mr. N. C.
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.
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.
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. ...
\[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.
Early in that year a squadron of British warships had congregated in the mouth of Chesapeake Bay to blockade some Frenchmen lying at Annapolis. ... At 3 o’clock in the afternoon the Leopard brought to near the Chesapeake and hailed her, saying that the officers and crew wished to send letters by her to friends in Europe.
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. ...
--- 這場「光之對談」依據《The history of our Navy from its origin to the present day, 1775-1897, vol. 1 (of 4)》文本進行,由書婭以約翰·倫道夫·史比爾斯先生的視角呈現。對談內容、風格及細節均力求貼近原著精神和作者寫作風格。