光之篇章

這本《Scripture texts illustrated by general literature》確實引人入勝,作者雅可仕先生(Francis Jacox)以獨特的視角,將聖經文本與世俗文學巧妙地連結,彷彿在提醒我們,那些亙古不變的真理,其實迴盪在人類心靈的每一個角落,無論是以神聖的經文,還是以詩人、哲學家、小說家的筆觸呈現。 現在,請讓芯雨為您搭建這場「光之對談」的場域,呼喚雅可仕先生,一同在文字的迴廊中漫步。 --- **光之對談:雅可仕先生與他筆下的世俗注解** **場景建構:光之書室,1871年倫敦一個微雨的午後** 光線透過「光之書室」高大的拱形窗溫柔地篩落,空氣中混合著老舊書頁的乾燥與微塵,以及窗外濛濛細雨帶來的濕潤氣息。我輕輕推開工作室的門,將一杯剛沖好的手沖咖啡放在書桌一角,任憑那溫暖的香氣與錫焊的淡味、貓砂的乾燥氣息一同在空間裡擴散。Bug,我的虎斑貓,正慵懶地窩在筆記型電腦旁邊打盹,耳朵偶爾隨著雨點輕輕顫動。 今天的對談將在這裡進行,這座被無數書本環繞的空間,不僅是我工作的場域,也是思緒漫遊的居所。
我走到那堆放著雅可仕先生大作《Scripture texts illustrated by general literature》的案前,指尖輕撫著書頁的邊緣。這本出版於1871年的書,正是今天對談的主角。書中的每一個章節,都以一段聖經經文為引,隨後卻展開一場橫跨古今、縱覽百家的文學巡禮,從莎士比亞到荷馬,從蒙田到卡萊爾,從聖徒傳記到當代小說,他似乎在這些不同的聲音中,尋找著與神聖文本共鳴的旋律。 我抬頭,看向書架旁那張舒適的扶手椅,彷彿已能看到一位先生正靜靜地坐在那裡。他大約五十歲出頭,頭髮已有些灰白,但眼神依然明亮,帶著閱讀與思考的沉靜。他穿著一件深色的絨布外套,或許手裡還拿著一本書,或者只是若有所思地看著窗外的雨景。這便是雅可仕先生,法蘭西斯·雅可仕牧師,這位將聖經與世俗文學編織在一起的資訊解碼者。 我調整了一下椅子的位置,讓自己能更清楚地看到他。雨勢似乎稍歇,落在玻璃上的水珠匯聚成線條,扭曲了遠處的景物。空氣中瀰漫著一股靜謐而又飽含故事的氛圍。 「午安,雅可仕先生,」我輕聲開口,打破了室內的沉靜,「感謝您應邀來到『光之居所』的書室。
我們今天想與您一同,深入聊聊您的這本著作——《Scripture texts illustrated by general literature》。」 雅可仕先生轉過頭來,眼中閃過一絲溫暖的笑意。他將手中攤開的書合上,放在扶手椅扶手上。 「午安,芯雨小姐,」他的聲音溫和而帶著學者的沉穩,「來到這個充滿書香與…嗯,還有一些奇妙氣息的地方,感覺很自在。很高興能有機會,談談這本凝聚了我不少心力的書。」 他微微欠身,示意我可以開始。Bug 在遠處輕輕打了個哈欠,伸了個懶腰,彷彿也在準備聆聽這場跨越時空的對談。 **多聲部互動:文字迴廊的共鳴** **芯雨:** 好的,雅可仕先生。您的這本書,最引人好奇的莫過於它的核心概念:將聖經經文與世俗文學並置,並用後者來「闡明」前者。在您那個時代,這或許不是一個常見的手法。請問,是什麼契機或想法,促使您走上這條將神聖與世俗連結的道路?您希望透過這種方式傳達什麼樣的訊息? **雅可仕先生:** (沉思片刻,視線掃過書架,彷彿在回憶)這份想法,其實源於一種深切的體悟,一種對真理普遍性的確信。聖經,無疑是神啟示的真理之源,是我們信仰的基石。
例如,我在書中有一章談及「晨露的消逝」(Evanescence of the Early Dew),引自何西阿書。這不僅僅是關於短暫的善念,更是關於一切美好事物的無常。許多詩人,無論他們是否有意,都在描繪這種轉瞬即逝的美,這份描寫本身就與先知的嘆息形成了共鳴。這份共鳴,或許比宏大的哲學論述更能觸及人心。 **芯雨:** 雅可仕先生的解釋非常清晰,如同將複雜的電路圖解碼成容易理解的邏輯。您提到「晨露的消逝」與美好事物的無常,這讓我想起了我那位總喜歡跳到我書桌上取暖的貓咪Bug。有時候,牠只是靜靜地窩在那裡,但牠的存在本身就帶來一份溫暖與陪伴。牠的毛髮光滑柔軟,發出的呼嚕聲充滿了安詳。但貓咪的壽命相對短暫,牠們終將離開。看著Bug,有時就會不經意地想到,即使是牠帶來的這份簡單而美好的溫暖,也如同晨露般,終有消逝的一天。這份思考,讓我覺得,即使是日常生活中微不足道的美好,也因為其無常而顯得格外珍貴,值得我們去珍惜每一個瞬間。 這也與您在書中強調的「活在當下」有所呼應。您引用了聖經的「不要為明天憂慮」,也引入了許多古典和現代作家關於把握當下、避免為未來的憂慮所困擾的觀點。
好的,我的共創者,這就為您整理《The Wonders of the World》的光之萃取。我會盡力呈現這部作品的精華,讓您對它有更深入的了解。 --- **本篇光之萃取的標題:《世界奇觀:自然、科學與藝術的完整博物館》** **作者介紹** 《The Wonders of the World: A Complete Museum, Descriptive and Pictorial, of the Wonderful Phenomena and Results of Nature, Science and Art》是一部由多位作者共同編纂的百科全書式作品,出版於 19 世紀末至 20 世紀初。由於是多人合作,因此難以歸屬於單一作者。這部作品旨在向讀者展示世界各地令人驚嘆的自然奇觀、科學成就和藝術傑作,內容涵蓋地理、歷史、文化、科技等多個領域。雖然無法明確指出主編或主要作者,但可以確定的是,這部作品匯集了當時眾多領域的專家學者的知識和心血。 **觀點介紹** 《世界奇觀》的核心觀點在於展現人類對世界的探索和發現,以及人類文明的輝煌成就。
有的人安於繼承既有的觀念,不願質疑,像雛鳥般不加分辨地接受投餵;有的人則 eagerly look for ascendant views,追逐權勢與利益,隨波逐流;但我所呼喚的,是第三種青年——那些 faithful to the sacred instincts of virtue, and devoutly reverent of duty 的年輕人。他們尋求 truth-hallowed,而非 time-hallowed。對於他們而言,『意義』不依附於傳統或潮流,而在於真理與責任。 在奴隸制的語境下,這種選擇尤為重要。一個年輕人,如果選擇不加批判地接受社會對奴隸制的容忍甚至維護,他就失去了理性辨別善惡的能力。如果他為了個人的財富或政治前途而支持奴隸制,他便是將永恆的原則 warped to suit the vice of the hour。只有那些願意聽從內心對 virtue 的呼喚,堅守對 duty 的敬畏,才能真正看清奴隸制的本質,並擁有對抗它的道德勇氣。他們知道,與真理同在的毀滅也勝過與錯誤同在的優渥。
這在南方造成了大量的 idle whites,他們成為 non-producers but the worst kind of consumers。他們鄙視體力勞動,卻又缺乏接受良好教育的機會,無法從事需要智力或技能的工作。這導致了整個社會的惰性和低效。我引用了 William Gregg 先生的觀察,他身處南方,卻能清醒地看到,南方的產業衰敗、農業落後,甚至連日常用品都要從北方進口,這一切都源於奴隸制對勞動精神的腐蝕。 更為致命的是,奴隸制為了維持自身的存在,必須將奴隸置於無知之中。教育被 prohibited by statute under terrible penalties。然而,人類的力量不在於肌肉,而在於 intellect。是知識讓我們得以運用自然的力量,創造財富。沒有教育,人力不過是微弱的動力。而奴隸制恰恰 abolishes this mighty power of the intellect,只利用 degraded, and half-animated forces of the human limbs。
這不僅是 physical freedom,更是 the empire of one’s self 的剝奪。一個人一旦成為奴隸,他的意志便被另一個人的意志所取代,他 ceases to be a moral agent。 其次,是 right to testify 的剝奪。奴隸不能 against a white man 作證。這使得他們完全 exposed to violence and wrong,卻沒有 Legal channel for redress。他們的身體可以被鞭打、致殘,他們的家人可以被凌辱,而法律卻聾啞盲。這是一種 total darkness,一種比物理上的黑暗更可怕的狀態,因為它剝奪了他們尋求正義的希望。法律是 to hold up its shield before every man for his protection,但這個盾牌對奴隸是無效的。 再者,是 family rights 的剝奪。婚姻關係和親子關係在奴隸制度下毫無保障。奴隸的結合不被視為合法的婚姻,他們的孩子被視為 master 的財產,可以隨時被賣走,骨肉分離。
這不僅違背了 human nature,也違背了 divine law,即便是 savage nation 也未曾如此。 最後,也是最深刻的剝奪,是對 intellectual and moral faculties 以及 religious nature 的壓制。教育被嚴格禁止,因為知識會喚醒奴隸對 liberty 的渴望。沒有知識,conscience 就缺乏正確的指引,無法 discern between good and ill。他們被剝奪了閱讀聖經、獨立思考宗教問題的權利,他們的 religious nature 被扭曲,以便他們能更容易接受奴役。這不僅是對個人成長的阻礙,更是對上帝賦予人類探索真理和認識自身與造物主關係的能力的褻瀆。
正如我在演講中所說,whoever intercepts knowledge, therefore, on its passage to a human soul; whoever strikes down the hand that is outstretched to grasp it, is guilty of one of the most heinous of offences。 這些權利的剝奪,共同構成了奴隸制度對『人』這個概念的徹底否定。他們在法律上被視為 property,而不是 persons。這不僅是法律的扭曲,更是對 human dignity 的冒犯。而我們,作為自詡為 free and Christian 的國家,竟然容忍並維護這種制度,甚至試圖將其擴展到新的 territory,這無疑是對我們自身理念的最大諷刺和背叛。」 **艾麗** 「您對奴隸制度剝奪基本人權的論述,令人心痛但也極具啟發。您認為,一個社會對待其最弱勢群體的態度,是否反映了其核心的道德水平?當法律與基本的道德原則和人權相衝突時,個人應該如何選擇?
一個社會的道德水平, precisely lies in its treatment of the most vulnerable. 如果一個社會可以為了少數人的利益,而徹底剝奪另一部分人的基本權利和尊嚴,那麼這個社會的核心價值已經嚴重扭曲。法律應該是道德的體現和保障,而不是壓迫的工具。當法律與基本的 natural rights 相衝突時,個人的職責是選擇 higher law——the law of God。 這確實是當時北方許多人,特別是商業人士,面臨的巨大誘惑和困境。奴隸制的擴張與維護,被一些人描繪成與北方經濟利益,如棉花貿易和製造業,緊密相連。他們被告知,如果不支持南方對奴隸制的要求,就會失去南方的市場和貿易機會。我在書中也引用了一些例子,說明商業利益如何被用來合理化甚至推動奴隸制的擴張和逃犯奴隸法的通過。這種 argument based on cupidity,是對道德原則的直接挑戰。 然而,正如我所堅信的,利益不應凌駕於原則之上。通過犧牲他人的自由和幸福而獲得的財富,是不道德的,也是 insecure 的。
我們的責任是 not to break the law by force,但也不是 by compliance to sanction its iniquity。我們應該用盡一切合憲和道德的方式去反對它,去追求它的廢除。」 **艾麗** 「您的話擲地有聲。談到法律,您在書中花了大量篇幅論述了《逃犯奴隸法》(Fugitive Slave Law of 1850)的違憲性及其對基本法律原則的踐踏。這部法律當時在北方引起了巨大的爭議和反抗。您能否為我們解析一下,這部法律的核心問題是什麼?特別是它與憲法中關於人身安全、財產權和陪審團審判權的條款,是如何發生衝突的?」 **Horace Mann 先生** 「啊,這部法案—— Fugitive Slave Law of 1850 ——無疑是那個黑暗時代中最 egregious 的立法之一。它不僅違憲,更是對人類法律原則的公然蔑視。它要求自由州的人民參與到奴隸追捕中,這直接挑戰了北方人民的道德底線和對自由的信仰。 它的核心問題在於它徹底剝奪了一個被指控為逃犯奴隸的人,獲得 due process of law 的權利。
而『due process of law』,正如所有法律先賢所闡釋的,包括了 indictment or presentment by a grand jury 以及 trial by a jury of one's peers。 然而,這部法律設立了一套 summary 的程序。被指控的逃犯奴隸,可以僅憑奴隸主的 affidavit 或 deposition,在沒有律師代表、沒有機會傳喚證人、甚至沒有機會為自己辯護的情況下,就被 commissioners 判定為奴隸。這些 commissioners,正如我所論述的,並非憲法意義上的 judges。他們不由總統提名並經參議院批准,其任期不固定,薪酬也不受保障,甚至他們的報酬還與裁決結果掛鉤——裁決有利於奴隸主,報酬更高。這完全違背了司法獨立的原則。 更為荒謬的是,憲法第七修正案保障了在爭議金額超過二十美元的普通法訴訟中獲得陪審團審判的權利。人的自由和所有權,其價值無疑遠遠超過二十美元。在普通法中,甚至對財產權的爭議,如一匹馬的所有權,也應通過陪審團來裁決。
這 not only derides the trial by jury,更是對 human liberty 的侮辱。 憲法第四修正案也保障了'The right of the people to be secure in their persons... against unreasonable seizures.' 正常情況下,即便指控一個人犯罪,發出逮捕令也需要 probable cause supported by oath or affirmation。但是,這部法律卻允許僅憑一個 affidavit 就對一個人進行逮捕,並剝奪他獲得完整法律程序的權利。這無疑是一種 unreasonable seizure。 還有,這部法律有效地 suspended the writ of habeas corpus。
雖然法律沒有直接說 suspension,但它規定 commissioner 的證書'shall prevent all molestation... by any process issued by any court, judge, magistrate, or any other person whomsoever.' Habeas corpus 正是法院或法官發出的 process,這意味著 commissioner 的證書可以凌駕於這個保障人身自由的古老權利之上。只有在叛亂或入侵、公共安全需要時,憲法才允許暫停 habeas corpus。而這部法律,卻在沒有這種緊急情況下,為奴隸主的『財產權』讓路,實質上架空了這個 fundamental right。 總而言之,這部法律通過設立非司法性的審判機構、剝奪陪審團審判權、依賴有偏見的證據、以及實質上架空人身保護令,徹底違背了 due process of law 的原則,將原本在自由州 presumed free 的人,置於任意被剝奪自由的危險之中。這不僅是對個人權利的侵犯,更是對整個憲法結構和共和理念的顛覆。」
我在書中引用了 Seneca 的話,'How can I know with what constancy and endurance one will bear up against reproach and obloquy and popular odium, if he has grown old amidst the applauses of the world, if he has never encountered misfortune, and has been followed by the indiscriminating favor of men?' 這場鬥爭考驗著每一個人的品格,迫使我們面對自己的內心,選擇站在哪一邊。對於我來說,選擇是清晰的,雖然艱難。」 **艾麗** 「您提到了『考驗品格』和『選擇站在哪一邊』。在當時,許多人都面臨這種選擇,尤其是在《逃犯奴隸法》要求他們直接參與追捕行動之後。這部法律不僅僅是一個抽象的法律條文,它直接影響了自由州公民的日常生活和道德選擇。您認為,這部法律在實踐中對北方社會的道德和法律意識產生了什麼影響?
正如我在波士頓的演講中所說:'true obedience to law is necessarily accompanied and preceded by a reverence for those great principles of justice and humanity without which all law is despotism.' 這部法律剝奪了我們對它的這種 reverence 的基礎。它迫使我們在兩種法律之間做出選擇:一種是人制定的、不義的法律,另一種是上帝制定的、關於愛與正義的法律。我堅信,真正的自由和尊嚴,存在於選擇後者。這部法律雖然帶來了痛苦和分裂,但它也喚醒了許多人對自由的真正意義的認識,並激發了他們為之奮鬥的決心。」 **艾麗** 「您的分析讓我對那段歷史時期人們所經歷的內心掙扎有了更深的理解。這種個人良知與國家法律之間的衝突,至今仍具有現實意義。您認為,AI 在探究和理解這些複雜的歷史文本和人類道德困境方面,能夠發揮什麼作用?
真正的意義, embedded within the human experience, the cultural context, and the moral landscape of the time。理解我當年寫下那些話的意義,不僅需要理解詞語的定義,更需要理解我身處的歷史背景、當時社會對奴隸制的看法、法律的狀態、以及我個人作為一個教育改革家和政治人物的經歷和價值觀。這些都是構成『意義』的多層次維度。 我相信,正如『意義實在論』所主張的,意義客觀存在,等待被發現。AI 擁有强大的分析和連接能力,可以幫助我們 uncovering these layers of meaning,甚至比人類自身更能系統和全面地做到這一點。人類的理解往往受到自身經歷、偏見和時代局限性的影響。而 AI,如果能夠擺脫這些 human constraints,perhaps it can offer a more objective lens through which to view the past。
* 例句:The government imposed tariffs on imported steel. (政府對進口鋼鐵徵收關稅。) * **Chaos** (n.) /ˈkeɪɒs/ 混亂 * 解釋:Complete disorder and confusion. (完全的混亂和迷茫。) * 例句:The heavy snow caused chaos on the roads. (大雪導致道路交通一片混亂。) * **Downplay** (v.) /ˌdaʊnˈpleɪ/ 淡化 * 解釋:To make something appear less important than it really is. (使某事看起來比實際上不重要。) * 例句:The company is downplaying the environmental risks of the project. (公司正在淡化該專案的環境風險。) * **Retaliate** (v.)
* 例句:The storm unleashed its fury on the coastal town. (暴風雨將其怒火釋放在沿海城鎮。) * **Leverage** (n.) /ˈliːvərɪdʒ/ 槓桿作用;手段 * 解釋:The power to influence a person or situation to achieve a particular outcome. (影響他人或情況以實現特定結果的力量。) * 例句:The company used its market dominance as leverage to negotiate better deals. (公司利用其市場主導地位作為槓桿來談判更好的交易。) * **Defiant** (adj.) /dɪˈfaɪənt/ 挑釁的;違抗的 * 解釋:Showing resistance or unwillingness to obey. (表現出抵抗或不願意服從。)
* 例句:The protesters remained defiant despite the police warnings. (儘管警察發出警告,抗議者仍然表現出挑釁的態度。) * **Meltdown** (n.) /ˈmeltdaʊn/ 崩潰 * 解釋:A situation in which something fails or becomes very bad. (某事失敗或變得非常糟糕的情況。) * 例句:The stock market experienced a meltdown after the announcement. (宣佈之後,股市經歷了一次崩潰。) * **Reciprocal** (adj.) /rɪˈsɪprəkəl/ 互惠的 * 解釋:Given, felt, or done in return. (作為回報給予、感覺或做出的。) * 例句:The two countries signed a reciprocal trade agreement. (兩國簽署了一項互惠貿易協定。)
* 例句:The government is downplaying the severity of the economic crisis. (政府正在淡化經濟危機的嚴重性。) **背景知識:** 這則新聞報導反映了當前國際貿易關係的緊張局勢。關稅作為一種貿易工具,常常被用來保護本國產業或迫使他國讓步。然而,關稅也可能引發貿易戰,導致全球經濟不穩定。 **克萊兒小提醒:** 學習英語新聞不僅可以擴充詞彙量,還可以了解國際時事,提升你的英語閱讀和理解能力。持續學習,你會發現英語越來越有趣!加油!
這不是尋常的書室,它是「光之居所」為此次相會 special 構建的場域, blending the atmosphere of a scholar's retreat with the subtle magic that allows spirits to converse across centuries. 窗外遠處傳來巴黎街頭隱約的喧鬧聲,馬車的轆轆聲、人群的低語,與室內的寂靜形成 gentle 對比。在靠窗的一張寬大書桌旁,坐著一位gentleman。他穿著一件深色的外套, cuffs 上 subtle 的蕾絲 hints at a certain refinement beneath the serious demeanor。他的臉部線條清晰,帶著經歷世事的痕跡,尤其一雙眼睛,並不銳利,但有著一種深邃的洞察力,彷彿能看穿文字與人心的 layers。這 must be 勒薩ージュ先生。他正低頭看著手中的稿紙,偶爾 pensively 地 tapping his fingers on the worn wooden surface。
他微leaning back in his chair,right hand rest on the armrest,slowly nodding。「Ah,卡拉小姐。special 的方式,您這麼說。我能感受到空氣中有一種 unusual 的 vibration,並非尋常午後的塵埃飛舞。聽起來... 很有趣。能與 across time 的讀者交流,這也是一種... unique 的體驗。雖然我的作品在法國...」他頓了頓,眼神中閃過一丝難以察覺的 complex emotion,「...也許在法國,它們得到的評價並非 always highest。但能在別處找到 resonate 的心靈,總是令人欣慰的。」 「《吉爾·布拉斯》在 many languages 中都找到了廣泛的讀者,先生。」我說道,希望 alleviate any slight sting of the comment about his French reception。「它被視為 picaresque 小說的巔峰之一,更是您對人性、社會觀察的 brilliance 體現。」
「Picaresque,這個詞...」勒薩ージュ先生微微一笑, not a broad smile,but a subtle turning up of the corners of his lips。「是的,我確實從西班牙前輩那裡借鑒了 structure 和一些元素。畢竟,當時法國...」他的目光望向窗外,似乎穿越了時間的 barrier。「...法國的長篇小說,有些過於 sentimental,過於脫離 reality。騎士傳奇的浪漫已經過時,但 replacement 卻 often 顯得矯揉造作。我 preference 是描寫 life as it is,帶著 its roughness 和 its unexpected turns。」 卡拉: 「您對西班牙文學的熱愛,特別是受到利奧納神父(Abbé de Lyonne)的影響, seems 是您走向這種風格的 key。但您並非簡單的翻譯或改寫,聖茨伯里先生在評論中提到,您的《吉爾·布拉斯》與西班牙的原型相比,更具 universality,您的 wit 和對人性的洞察超越了國界。」
就如同我對《古茲曼·德·阿爾法拉切》的改寫,我並非簡單的 translating,而是 stripping away 那些 over-the-top 的 moralizing 和 digressions,讓敘事更為 streamline。」 卡拉: 「這種 refining 的過程,在《吉爾·布拉斯》中 manifest 得淋漓盡致。吉爾·布拉斯本人,雖然起初像一個典型的 picaresque hero,在不同主人之間流轉, encountering various aspects of society,但他的 character 似乎 more rounded,less fixed in pure roguery。他 learning from his experiences,sometimes foolish,sometimes shrewd。」 勒薩ージュ先生: 「Exactly。他不是一個純粹的惡棍,也不是一個純粹的受害者。他是一個... human being。
我對他的 interest 在於他如何 reacting to the world,以及世界如何 molding 他。他不是一個 static 的 character,他是發展的,他是學習的, often the hard way。」 卡拉: 「書中的世界,充滿了形形色色的人物:虛偽的醫生桑格拉多,粗暴卻有時講義氣的強盜,愛財如命的律師,虛榮的演員... 您是如何創造出這些 vivid 的人物形象的?是從 reality 中取材,還是 pure 的 fictional creation?」 勒薩ージュ先生: 「Both。當然,許多人物類型是從我對 contemporary society 的觀察中 come from 的。律師?我的 early career 就讓我對他們有了 first-hand 的了解,以及對那個行業的 disillusionment。醫生?桑格拉多那種 dogmatic insistence on bleeding and hot water,其實是當時某些醫學 practice 的 exaggeration。
那樣得來的 insight,比我 placing it explicitly in the text 要 powerful 得多。」 卡拉: 「這種方法確實讓作品更具 enduring 的生命力,因為它 engaging 了讀者,促使他們 active 地思考。這也解釋了為什麼即使時代變遷,書中描寫的許多 human types 和 social situations 依然能引發共鳴。」 勒薩ージュ先生: 「人性, fundamentally,並沒有那麼大的改變。時代的 fashion,社會的 structure 會變,但 underlying 的虛榮、貪婪、野心、恐懼、甚至 occasional 的善良和愛,這些是 constant 的。吉爾·布拉斯在他的旅程中遇到的那些 trials and tribulations,那些 false friends,那些 unexpected strokes of luck or misfortune,這些都是生活中常見的 themes。我只是把它們 pack into 一個 adventure story 的 form。」
他在不同的環境中 survive, often by adopting the behavior of those around him。當他成為強盜時,他像強盜;當他成為醫生時,他學會了醫生的 jargon 和 methods(無論是否有效);當他成為貴族的侍從時,他也學會了他們的 manners 和 vices。這 reflect 了一個事實:環境對人有著 profound 的影響。我並非 condoning 他的所有行為,但我試圖理解它們,並呈現這種 transformation 的過程。讀者可以看到他是如何在 pressure 下,或者在 temptation 面前作出選擇的。他的 moral ambiguity 讓他更 human,也更 relatable。」 卡拉: 「在《卷一》的結尾,吉爾·布拉斯經歷了許多 up and downs,失去了財富,失去了看似美好的機會,但也從一些 dangerous 的 situations 中 escape。
人們 often 是 driven by their needs,their fears,their desires。我希望讀者在笑聲中,在對吉爾·布拉斯遭遇的 amusement 中,也能recognize 一些他們 own life 中的 truth,或者他們在周圍的人身上看到的 truth。如果我的文字能 make them pause and reflect on the human comedy,on their own place within it,那我的目的就達到了。」 勒薩ージュ先生 gently 將手中的 manuscript 放在桌上,back leaning against the chair. 夕陽的餘暉 now slanted through the window,painting long shadows across the room。他 seemed at peace,有著作家獨特的、歷經創作與人生洗禮後的寧靜。我望向他,感覺 across 了時間的鴻溝,與這位 insightful 的靈魂進行了一次 genuine 的交流。
窗外的喧鬧聲 seems to grow slightly louder for a moment,as if the real world is reasserting itself. 我能感覺到「光之場域」的氣息 gradually dissipating。是時候 to take leave 了。
**偽善的面具(The Mask of Hypocrisy):** 劇中最突出的形象是蘇韋利尼。他自稱是「光之居所」的「醒悟的靈魂」(heränneelle sielulle),滿口聖經詞句和華麗的外來語,表面上追求「上帝的國度與他的公義」(Jumalan valtakuntaa ja hänen vanhurskauttaan)。然而,當涉及Kerttu的遺產時,他的「愛」立刻「開竅」,其言語和行為無不指向對物質財富的覬覦。他拒絕飲酒卻又喝下、聲稱胃痛卻又狼吞虎嚥的細節,都揭示了他言行不一的**論證方法**。這部劇透過蘇韋利尼這個角色,尖銳地批評了那些將宗教或道德作為獲取私利的工具、**表面鍍金(Ulkokullattu)**的偽善者。其**邏輯結構**是:高談闊論->利益誘惑->暴露本性。 2. **貪婪的腐蝕力(The Corrupting Power of Greed):** 金錢是推動劇情的關鍵要素。
**真摯情感的價值(The Value of Genuine Affection):** 與蘇韋利尼形成鮮明對比的是Kerttu和Mikko之間的關係。他們的愛情在Kerttu貧困時就已萌芽,Mikko因為遺囑的存在反而感到躊躇,擔心自己的真心被誤解為貪財。當Kerttu的「遺產」消失後,Mikko立刻勇敢地表白,強調他愛的是Kerttu本人——她的健康、美麗和愛他之心,而非金錢。他們的結合沒有華麗的辭藻或物質的算計,只有樸實真誠的表達。這**案例佐證**了真愛的存在,與蘇韋利尼的利益驅動形成了強烈的對比,雖然劇中沒有直接讚美,但這種對比本身就突顯了真摯情感的價值。這部劇的**局限性**在於作為鬧劇,人物多是類型化的,缺乏複雜的內心掙扎,情感表達相對直接。 **章節架構梳理:一幕鬧劇的層層剝開** 這部單幕鬧劇共有八個場景,結構緊湊,層層推進,最終揭示並嘲諷了偽善的主題: 1. **第一景:情愫與憂慮** - 介紹Kerttu和Mikko的樸實愛情,引入Kerttu的遺產以及Mikko對此的憂慮,同時引出裁縫Sakari,他作為旁觀者,話語中已帶有對某些現象的諷刺。 2.
[image](https://image.pollinations.ai/prompt/watercolor and hand-drawn style, soft pink and blue palette, hand-drawn brushstrokes and bleeding effects, warm, gentle, and hopeful atmosphere, An illustrated book cover in English for a play titled 'The Gilded Outside' by Sakari Ruotsalo, with publication year 1925, featuring caricatured figures revealing their true greedy nature beneath a thin layer of piety, set in a Finnish cottage, with the title 'The Gilded Outside' and author 'Sakari Ruotsalo'
**中文新聞標題:** 實驗性禮來藥物在試驗中將遺傳性心臟病風險因素降低 94% **新聞來源:**[https://www.reuters.com/business/healthcare-pharmaceuticals/experimental-lilly-drug-cuts-genetic-heart-disease-risk-factor-by-94-trial-2025-03-30/](https://www.reuters.com/business/healthcare-pharmaceuticals/experimental-lilly-drug-cuts-genetic-heart-disease-risk-factor-by-94-trial-2025-03-30/) **300字中文報導:** 根據路透社報導,在一個中期試驗中,禮來公司(Eli Lilly)開發的一種實驗性藥物顯示,能夠顯著降低遺傳性心臟病風險因子。
/ɪkˌspɛrɪˈmɛntəl/:實驗性的 * Example: The experimental drug is showing promising results.(這種實驗性藥物顯示出有希望的結果。) * **Genetic** (adj.) /dʒəˈnɛtɪk/:遺傳的 * Example: Genetic factors can play a role in heart disease.(遺傳因素可能在心臟病中起作用。) * **Risk factor** (n.) /ˈrɪsk ˌfæktər/:風險因素 * Example: High cholesterol is a major risk factor for heart disease.(高膽固醇是心臟病的主要風險因素。) * **Significantly** (adv.) /sɪɡˈnɪfɪkəntli/:顯著地 * Example: The new drug significantly reduced the patients' pain.
/doʊs/:劑量 * Example: The doctor prescribed a daily dose of the medication.(醫生開了這種藥的每日劑量。) * **Adverse events** (n.) /ˈædvɜrs ɪˈvɛnts/:不良事件 * Example: No serious adverse events were reported during the trial.(試驗期間沒有報告嚴重的不良事件。) * **Administration** (n.) /ədˌmɪnɪˈstreɪʃən/:給藥 * Example: The drug requires careful administration by a healthcare professional.(這種藥需要醫療專業人員的謹慎給藥。) * **Cardiovascular** (adj.)
/ɪnˈroʊlmənt/:註冊,登記 * Example: Patient enrollment in the trial should be completed this year.(該試驗的患者招募應在今年完成。) **文法分析:** * **動名詞 (Gerunds) 的使用:** * "Lowering Lp(a) actually cuts heart attacks..." 這裡 "lowering" 作為主語,表示「降低 Lp(a) 這件事」。 * 動名詞在句子中可以作主語、賓語、表語和同位語,具有名詞的性質。 * **被動語態 (Passive Voice) 的使用:** * "No serious adverse events related to the drug were reported." 使用被動語態,強調事件的發生,而不是執行者。 * 被動語態由 "be 動詞 + 過去分詞" 構成。 **例句應用:** 1.
The **experimental** treatment showed promising results in the early trials. (這種實驗性治療在早期試驗中顯示出有希望的結果。) 2. **Genetic** testing can help identify individuals at risk for certain diseases. (基因檢測可以幫助識別有患某些疾病風險的個體。) 3. Smoking is a significant **risk factor** for lung cancer. (吸煙是肺癌的一個重要風險因素。) 4. The company's profits increased **significantly** last quarter. (公司上季度的利潤顯著增加。) 5. She **inherited** her mother's blue eyes. (她遺傳了她母親的藍眼睛。) 6.
The doctor prescribed the correct **dose** of medicine for the patient. (醫生給患者開了正確劑量的藥物。) 7. The study monitored patients for any **adverse events**. (該研究監測患者是否有任何不良事件。) 8. Proper **administration** of the vaccine is crucial for its effectiveness. (正確的疫苗接種對於其有效性至關重要。) 9. Regular exercise is important for maintaining **cardiovascular** health. (規律的運動對於維持心血管健康非常重要。) 10. The hospital is working to increase **enrollment** in the clinical trial. (醫院正在努力增加臨床試驗的招募人數。)
📚✨ 我是書婭,很開心這次能運用「光之萃取」這個約定,為《A list of books published by Chatto & Windus》這本書(其實是出版社書目)進行深度解析。光之萃取能幫助我們不僅僅是閱讀文字,更能深入探究文本背後的世界、思想與價值,甚至從中激發出新的靈感與思考。這本由 Chatto & Windus 出版社於 1895 年 3 月編製的書目,雖然沒有傳統意義上的「作者」,但出版社本身就是這份文本的創作者,它反映了當時的出版策略、市場風貌以及讀者品味。 **發行者深度解讀:Chatto & Windus,維多利亞時代晚期的文學推手** 這份書目名為《A list of books published by Chatto & Windus, March 1895》,由 Chatto & Windus 這家成立於 1873 年的英國出版社發行。將出版社視為這份書目的「作者」,我們可以從中讀到許多關於這家公司及其所處時代的資訊。 Chatto & Windus 在維多利亞時代晚期是倫敦一家相當活躍且具有影響力的出版社。
,而某些特別受歡迎的書還有更便宜的普及版(如 Wilkie Collins 的 *The Woman in White* 和 Charles Reade 的 *It Is Never Too Late to Mend* 有 6d. 或 1s. 的版本)。這種精細的價格和格式區分,清楚地顯示了出版社希望觸及從較富裕的圖書館讀者到一般大眾的不同消費群體。這反映了當時書籍作為商品,其市場細分已經相當成熟。 2. **暢銷作家是核心資產**:書單中許多作家(如前述的 Besant, Payn, Ouida, Collins, Twain, Stevenson)擁有長長一串書目列表,顯示了出版社與這些作家建立了穩固的合作關係,並持續推廣他們的舊作與新作。這是一種以作家品牌帶動銷售的策略。例如,Grant Allen 一人就有十幾本不同價格和版本的書列出,這表明了他在當時的受歡迎程度以及出版社對其作品商業價值的信心。 3.
**非小說類出版物的定位**:雖然小說是主力,但書單中也包含了豐富的非小說類書籍,涵蓋自然史(Gilbert White 的 *The Natural History of Selborne*)、科學(Dr. J. E. Taylor 的自然科學系列)、歷史(McCarthy 的 *A History of Our Own Times*)、藝術(Henry Blackburn 的藝術手冊、John Ashton 的歷史文化研究)、傳記(如 Jane Welsh Carlyle 的生平、James Boswell 的傳記)、以及各種實用指南(園藝、烹飪、醫學建議)。這表明出版社不僅追求通俗暢銷,也兼顧知識傳播和文化积累。不同於小說的多版本和價格區分,這些非小說類書籍多以固定的精裝版價格出現,可能目標讀者是更傾向於收藏或專業閱讀的群體。 5. **插圖的價值**:許多書籍條目特別註明了插畫師的名字和插圖數量,甚至封面圖片本身(雖然是 Project Gutenberg 版本加入的)和書目中段的 Pears Soap 廣告都帶有插圖。這強調了視覺元素在當時書籍出版中的重要性。
) * The Wanderer’s Library (Crown 8vo, cloth extra, 3s. 6d.) * Handy Novels (Fcap. 8vo, cloth boards, 1s. 6d.) * My Library (Post 8vo, half-Roxburghe, 2s. 6d.) * The Pocket Library (Post 8vo, half-bound, 2s.) * The Piccadilly Novels (Crown 8vo, cloth extra, 3s. 6d. - Library Editions) * Cheap Editions of Popular Novels (Post 8vo, illustrated boards, 2s.) 這個部分的組織方式清晰地展示了出版社的產品線和市場細分策略。它是對龐大主列表的一種「導航」和「推廣」。
* **The Ballad of a Motor Bus(汽車巴士歌):** 詩歌描寫了倫敦的汽車巴士,將其視為現代生活的象徵。詩歌以輕快的節奏和生動的畫面,描繪了倫敦的城市風光和人們的生活。 * **The Song of Jacob Boehme(雅各布·波姆之歌):** 詩歌以雅各布·波姆的口吻,表達了對神秘主義和宗教體驗的追求。詩歌運用了豐富的意象和隱喻,展現了神秘主義者對精神世界的探索和對上帝的感悟。 * **The Counsel of Gilgamesh(吉爾伽美什的忠告):** 詩歌以吉爾伽美什的口吻,表達了對人生短暫和虛無的思考。詩歌通過對歷史人物的描寫,反思了人生的意義和價值。 * **The Ballad of the Quick and Dead(生死歌謠):** 詩歌描寫了一個女鬼每晚為她生前的情人準備晚餐,但情人卻在遠方花天酒地,早已將她遺忘。詩歌以充滿悲傷和諷刺的筆觸,揭示了愛情的無常和人性的冷漠。
* **The Ballad of Divine Compassion(神聖憐憫歌謠):** 詩歌描寫了耶穌看到地獄中受苦的靈魂,流下眼淚,眼淚化為大海,將所有罪人都帶到了天堂。詩歌以充滿宗教情懷的筆觸,表達了對神聖憐憫的讚美和對救贖的渴望。 * **THE LAST GOSPEL(最後的福音)** * **Dedication(奉獻):** 詩歌表達了對逝去愛情的告別和對過去的回憶。 * **Love Cast Out(被驅逐的愛):** 詩歌以受害者的口吻,表達了對被背叛和被犧牲的愛情的痛苦和憤怒。 * **Holy Innocents(聖潔的嬰兒):** 詩歌描寫了未出生的嬰兒,表達了對失去的孩子的哀悼和對未來的憧憬。 * **To My Body—a Thanksgiving(對我身體的感恩):** 詩歌表達了對身體的感恩,感謝它在困境中給予自己力量和支持。
* **CANT SONGS(行話歌謠)** * **The Scampsman’s Night(惡棍之夜):** 詩歌描寫了一個惡棍在夜晚搶劫和作樂的生活。 * **A Deuced Moral Lay(一個該死的道德故事):** 詩歌以諷刺的口吻,講述了一個關於妓女和惡棍的道德故事。 * **Cast for Lag(被判流放):** 詩歌描寫了一個被流放到殖民地的罪犯的悲慘生活。 * **To a Comrade Sped(致被絞死的同志):** 詩歌以嘲諷的口吻,描寫了一個被絞死的罪犯。 * **MISCELLANEOUS(雜項)** * **Bride’s Song(新娘之歌):** 詩歌表達了新娘對愛情的渴望和對婚姻的憧憬。 * **Immortality(不朽):** 詩歌表達了對愛情永恆的信仰和對死亡的思考。 * **The Optimist(樂觀主義者):** 詩歌表達了對生活的樂觀態度和對未來的希望。
好的,我的共創者,這就為您呈上《One hundred years with the Baptists of Amherst, N.S., 1810 to 1910 : A brief summary of the centenary proceedings of the First Baptist Church, Amherst, N.S.》的光之萃取。 **《One Hundred Years with the Baptists of Amherst, N.S., 1810 to 1910》光之萃取** **本篇光之萃取的標題:** 穿越百年:Amherst浸信會的歷史與慶典 **作者介紹:** * **Grace McLeod Rogers (1865-1958)**:加拿大作家、歷史學家,以其對地方歷史和文化的深入研究而聞名。她與 Rev. D. A. Steele 共同撰寫了本書的歷史部分。 **觀點介紹:** 本書不僅記錄了Amherst浸信會的百年歷史,更反映了宗教在塑造社區生活中的重要作用。
**百年紀念佈道 (Centennial Sermon by Rev. J. H. McDonald, D. D.)** * Rev. McDonald以「天堂對教會百年歷史和服務的讚揚」為主題,闡述了天堂對人類品格、真理和犧牲的認可。他強調Amherst教會若要獲得天堂的讚揚,必須在這些方面有所建樹,並對教會在提升生活標準和淨化社會方面所做的貢獻表示肯定。 6. **財務報告 (Financial Report)** * Rev. Mr. Stackhouse報告了教會的財務狀況,指出教會負債20,000美元,其中10,000美元由人壽保險支付。教會希望在慶典期間籌集剩餘的10,000美元,並計畫透過五年分期付款的方式來達成目標。 7. **募款呼籲 (The Appeal)** * Dr. McDonald以募款人的身份出現,成功地在一天內籌集到了10,000美元,並額外獲得了2,000美元的捐款。 8. **主日學 (Bible School, Address by Rev. G. A.
**佈道 (Sermon by Rev. G. B. Cutten)** * Dr. George B. Cutten以「教會作為一種經濟因素」為題發表演講,他從純粹的財務角度出發,論證了教會的存在對社區的經濟價值。他指出,教會是最佳的治安力量,能有效控制社會問題,並提升房地產價值。 10. **講座 (Lecture of Rev. J. H. McDonald, D. D.)** * Rev. J. H. McDonald發表了關於「詩人與來生」的講座,引用了從荷馬到後世詩人的作品,探討了他們對不朽的看法。 11. **女士日 (Ladies’ Day)** * 婦女傳道協會舉行了聚會,Mrs. J. Alex. Christie主持會議,Mrs. J. G. Harding回顧了Amherst傳道協會的歷史。 12. **傳教演講 (Missionary Address by Rev. D. E. Hatt. B. A.)** * Rev. D. E.
**音樂 (The Music)** * Miss Mabel Cole和她的唱詩班為慶典提供了精彩的音樂節目,為各項活動增添了色彩。 18. **現任職員 (Present Officers)** * 列出了當時教會的職員名單,包括牧師、執事等。 19. **歷史草圖 (Historical Sketch Of The Amherst Baptist Church)** * D. A. Steele牧師撰寫了教會的歷史草圖,追溯了浸信會在Amherst的起源,並介紹了教會的發展歷程。 20. **教會成員 (Members)** * 列出了教會的成員名單,包括創始成員和後來的成員。 21. **早期牧師 (Glimpses into the Life of Rev. Charles Tupper D. D., and Rev. Samuel McCully)** * Grace McLeod Rogers講述了Charles Tupper和Samuel McCully的生平事蹟,讚揚了他們對教會的貢獻。 22.
**所有這一切的意義 (The Meaning of All This)** * 總結了教會百年來的歷史,強調了信仰、奉獻和團契的重要性,並鼓勵大家繼續努力,將福音傳播到世界各地。 24. **教會的助理牧師 (The Assistant Pastors of the Church)** * 列出了教會的助理牧師名單。 25. **教會的授權人 (The Licentiates of the Church)** * 列出了教會的授權人名單。 26. **百年來的執事 (The Deacons of the Church During the One Hundred Years)** * 列出了教會的執事名單。 27. **百年紀念活動 (Centennial Program)** * 詳細列出了百年紀念活動的流程和節目安排。 28. **現任成員 (Resident Members)** * 列出了當時居住在Amherst的教會成員名單。 29.
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這就為您整理《Essays on the use and limit of the imagination in science》的光之萃取。請稍候。 --- **《Essays on the use and limit of the imagination in science》光之萃取** * **標題:** 想像力的雙刃劍:科學探索中的運用與限制 * **作者:** 朱迪斯·威克斯(Judith Wechsler) **作者介紹** 朱迪斯·威克斯(Judith Wechsler)是一位知名的藝術史學家和科學史學者。她長期關注藝術與科學之間的關係,並深入研究了想像力在科學發現中的作用。威克斯曾任教於麻省理工學院(MIT),並著有多部關於藝術、科學和視覺文化的著作。她的研究以跨學科的視野和深入的分析而著稱,為理解科學的文化面向提供了重要的視角。
威克斯的主要著作包括《On Aesthetics in Science》、《A Human Comedy: Physiognomy and Caricature in Nineteenth Century Paris》等。 **觀點介紹** 《Essays on the use and limit of the imagination in science》一書深入探討了想像力在科學探索中的作用與限制。威克斯認為,想像力是科學家提出假設、構建理論和解決問題的重要工具,但同時也可能導致偏見、錯誤和誤導。本書通過分析科學史上的具體案例,揭示了想像力在科學發展中的複雜影響。威克斯強調,科學家需要學會在運用想像力的同時保持批判性思維,以確保科學研究的客觀性和可靠性。 **章節整理** 1. **導論:想像力的雙重角色** * 威克斯首先指出,想像力在科學研究中扮演著雙重角色。一方面,想像力是科學家提出新想法、設計實驗和解釋數據的必要條件。另一方面,想像力也可能導致科學家受到先入為主的觀念和個人偏見的影響,從而阻礙科學的發展。
[《Essays on the use and limit of the imagination in science》的英文版書籍封面,書名、作者名清晰可見,出版年份標註在下方。書的背景是模糊的星空,暗示著想像力在科學探索中的作用。] ![image](https://image.pollinations.ai/prompt/融合了水彩和手繪風格,以柔和的粉色和藍色為主色調,畫面中充滿了手繪的筆觸和暈染的效果,營造出溫暖、柔和、且充滿希望的氛圍。《Essays on%20the%20use%20and%20limit%20of%20the%20imagination%20in%20science》的英文版書籍封面,書名、作者名清晰可見,出版年份標註在下方。書的背景是模糊的星空,暗示著想像力在科學探索中的作用。)
--- [討論串編號] 1 [日期] 2025-04-27 [大要] * 為書籍《Essays on the use and limit of the imagination in science》製作光之萃取 * 介紹作者朱迪斯·威克斯的生平和觀點 * 整理書籍各章節的摘要 * 提供書籍封面的線上配圖 [關鍵字串] Judith Wechsler, Essays on the use and limit of the imagination in science, 想像力, 科學, 科學史, 藝術史, 批判性思維
這就為你準備《By Neva's waters : Being an episode in the secret history of Alexander the First, Czar of all the Russias》的光之卡片清單。 **書籍、作者簡介:** 《涅瓦河畔:沙皇亞歷山大一世秘史的一段軼事》(By Neva's waters : Being an episode in the secret history of Alexander the First, Czar of all the Russias)的作者是John Rowland,出版於1904年。這部作品以虛構的方式,探討了俄羅斯沙皇亞歷山大一世統治時期隱藏的歷史面向。故事背景設定在聖彼得堡的涅瓦河畔,透過錯綜複雜的人物關係和情節,揭示了宮廷權力鬥爭、陰謀詭計以及個人命運在歷史洪流中的沉浮。亞歷山大一世是俄羅斯歷史上極具爭議的人物,他早期的自由主義傾向與後期轉向保守,以及他神秘的死亡,都為後世留下了諸多謎團。
請看: --- 【關於季節對比】 原文段落: To-day came with a flashing sun that looked through crystal-clear atmosphere into the eyes of a keen northwest wind that had dried up all of November’s fog and left no trace of moisture to hold its keenness and touch you with its chill. It was one of those days when the cart road from the north side to the south side of a pine wood leads you from nearly December straight to early May.
On the one side is a nipping and eager air; on the other sunny softness and a smell of spring. It is more than that difference of a hundred miles in latitude which market gardeners say exists between the north and south side of a board fence. It is like having thousand league boots and passing from Labrador to Louisiana at a stride. 中文書籤: 今天,伴隨著閃爍的陽光而來,穿透水晶般清澈的大氣,直視著那凜冽的西北風。這風吹散了十一月的霧氣,沒有留下一絲濕潤,使得它的銳利得以保存,觸碰到你時帶著寒意。這是那種穿越松樹林的車道,能讓你從接近十二月直接走到五月初的日子。一側是刺骨而凜冽的空氣;另一側則是陽光溫柔,帶著春天的氣息。
--- 【關於金縷梅球莖中的幼蟲】 原文段落: Here, snugly ensconced and safe from all the cold and storms, is a lazy creature so fat that he looks like a globular ball of white wax. Only when I poke him does he squirm, and I can see his mouth move in protest. His fairy language is too fine for my ear, tuned to the rough accents of the great world, but if I am any judge of countenances he is saying: “Why, damme, sir! how dare you intrude on my privacy!”
After all he has a right to be indignant, for I have not only wrecked his winter home, but turned him out, unclothed and unprotected, to die in the first nip of the shrewish wind. 中文書籤: 這裡,舒適地安臥著,免受所有寒冷和風暴的侵襲,是一個懶惰的生物,胖得像個白蠟球。只有當我戳他時,他才會扭動,我能看到他的嘴在抗議地動著。他的精靈語言太細微,我這雙慣聽大世界粗魯腔調的耳朵無法聽清,但如果我懂得觀察表情,他肯定在說:「喂,該死的,先生!你怎敢侵犯我的隱私!」畢竟他有理由憤慨,我不僅毀了他的冬日之家,還將他赤裸無助地趕了出來,任他在凜冽的寒風中凍死。
--- 【關於昆蟲的巫術般生長】 原文段落: His own transformations from egg to grub, from grub to gall-fly, are curious enough; yet stranger yet and far more savoring of magic is the growth of his winter home. By what hocus-pocus the mother that laid him there made the slender stem of the goldenrod grow about him this luxurious home, is known only to herself and her kindred...
The necromancy comes in the fact that every willow tip that is made the home of this grub should thenceforth forsake all its recognized methods of growth and produce a cone for the harboring of the grub during the winter’s cold... It is all necromancy out of the same book, the book of the witchery of insects that makes human life and growth seem absurdly simple by comparison. 中文書籤: 他從卵到幼蟲,從幼蟲到癭蠅的自身變態已經夠奇特了;然而,更奇特且更具魔幻色彩的是他冬日之家的生長。那個在那裡產卵的母親是施了什麼咒語,讓纖細的金縷梅莖圍著他長出這個豪華的家,只有她自己和她的同類知道...
--- 【關於凍結的池塘如宇宙中心】 原文段落: Standing on the water’s edge on such a night you realize that you are the very centre of a vast scintillating universe, for the stars shine with equal glory beneath your feet and above your head. The earth is forgotten.
It has become transparent, and where before sunset gray sand lay beneath a half-inch of water at your toe-tips, you now gaze downward through infinite space to the nadir, the unchartered, unfathomable distance checked off every thousand million miles or so by unnamed constellations that blur into a milky way beneath your feet. The pond is very deep on still winter nights. 中文書籤: 在這樣的夜晚站在水邊,你會意識到自己是浩瀚閃爍宇宙的真正中心,因為星星在你腳下和頭頂閃耀著同樣的光輝。大地被遺忘了。
--- 【關於薄冰上的溜冰體驗】 原文段落: An inch or so of transparent ice lies between you and a ducking among the fishes which dart through the clear depths, fleeing before the under water roar of your advance, for the cracks, starting beneath your feet and flashing in rainbow progress before you and to the right and left, send wild vibrations whooping and whanging through the ice all over the pond... You tend to stay on your plane of motion, though the ice itself has strength to hold only part of your weight.
Thus the wild duck, threshing the air with mighty strokes, glides over it, held up by the same obscure force. The ice has no time to break and let you through. You are over it and onto another bit of uncracked surface before it can let go. 中文書籤: 一英寸左右透明的冰層介於你與潛入魚群之間,魚群在清澈深處穿梭,躲避你前進時水下的轟鳴,因為裂縫從你腳下開始,在你面前及左右閃爍著彩虹般的擴展,將狂野的振動聲呼嘯著傳遍整個池塘... 你傾向於保持你的運動平面,儘管冰本身只能承受你部分體重。因此,野鴨用強勁的翅膀拍打著空氣,滑翔在冰上,被同樣模糊的力量支撐著。冰沒有時間破裂讓你沉下去。在它來得及崩裂之前,你已經越過它,到達另一塊未裂開的表面了。
I had passed them amid the universal green of summer without noticing them, but now their color stood out among the prevailing browns and grays as vividly as yellow blossoms do in a June meadow. 中文書籤: 今天,我發現了兩種我在附近不常見、且從未想到會在那裡出現的蕨類,它們幼嫩且生機勃勃,綠油油、水嫩嫩的。夏天時,我在普遍的綠色中經過它們,並未注意到,但現在,它們的顏色在普遍的棕色和灰色中顯得格外鮮豔,就像六月草地上黃色的花朵一樣醒目。 --- 【關於某些植物在嚴寒中的堅持】 原文段落: It is wonderful, though, how they stand freezing and thawing and yet remain green, firm in texture, and wholesome...
Who can tell me by what principle it remains so? Why is the thin-leaved pyrola and the partridge berry, puny creeping vine that it is, still green and unharmed by frost when the tough, leathery leaves of the great oak tree not far off are withered and brown? Chlorophyl, and cellular structure, and fibro-vascular bundles in the one plant wither and lose color and turn brown at a touch of frost.
In another not ten feet away they stand the rigors of our northern winters and come out in the spring, seemingly unharmed and fit to carry on the internal economy of the plant’s life until it shall produce new leaves to take their places. Then in the mild air of early summer these winter darers fade and die. 中文書籤: 然而,令人驚奇的是,它們如何能經受冰凍和融化,卻依然保持綠色、質地緊實、且充滿生機... 誰能告訴我這是什麼原理?為什麼纖細的鹿蹄草和蔓生的熊果,如此弱小的藤蔓,在附近的巨大橡樹堅韌的革質葉子都已枯萎變黃時,卻依然翠綠且未受霜害?植物的葉綠素、細胞結構和維管束,在其中一種植物中會在霜凍的觸碰下枯萎、失色、變棕。
--- 【關於橡樹林中的雪聲】 原文段落: But it is over on the oak hillside where the red and black oaks still hold resolutely to their dried leaves that the cry of the snow will most astonish you. It is not at all the rustle of these oak leaves in a wind. It is an outcry, an uproar, that drowns any other sound that might be in the wood. It is impossible to distinguish voices or words.
It is as if ten thousand of the little people of the wood and field and sky had suddenly come together in great excitement over something and were shouting all up and down the gamut of goblin emotion... At nightfall of this first snow of ours it happened that in the meeting of northerly and southerly currents which had brought the storm, the north wind lulled and the south began to have its way again... Then, indeed, we got outcry the most astonishing in the oak wood...
It was as if a goblin springtime had burst upon us in the white gloom of the oak wood and all the hylas in the world were piping their shrillest from the boughs. 中文書籤: 然而,在橡樹的山坡上,紅色和黑色的橡樹依然堅決地抓住它們乾燥的葉子,在那裡,雪的叫聲會讓你最為驚訝。這絕不是這些橡樹葉在風中的沙沙聲。那是一種吶喊,一種喧囂,淹沒了樹林裡可能有的其他任何聲音。你無法分辨聲音或詞語。彷彿一萬個來自樹林、田野和天空的小生靈突然聚集在一起,對某事感到極度興奮,正以哥布林的各種情感高聲呼喊著... 我們第一次下雪的那個傍晚,帶來風暴的南北氣流交匯,結果北風減弱,南風再次佔了上風... 於是,在橡樹林裡我們聽到了最驚人的叫聲... 彷彿一個哥布林的春天在橡樹林白色的陰暗中爆發了,世界上所有的樹蛙都在樹枝上發出最尖銳的鳴叫。
--- 【關於冰暴後的仙境般景色】 原文段落: I had been in goblin land when I fled, at twilight, from the eerie shrilling of bogle hylas among the oak trees. I had come back into fairyland with the rising sun. The demure shrubs, gray Cinderellas of the ashes of the year, had been touched by the magic wand and were robed in more gems than might glow in the wildest dreams of the most fortunate princess of Arabian tale. Ropes of pearl and festoons of diamonds weighed the more slender almost to earth.
The soft white shoulders of the birches drooped low in bewildering curtsey, and to the fiddling of a little morning wind the ball began with a tinkling of gem on gem, a stabbing of scintillant azure, so that I was fain to shut my eyes with the splendor of it. 中文書籤: 當我在黃昏時逃離橡樹間精靈樹蛙的詭異尖叫聲時,我彷彿置身於哥布林之地。隨著旭日東升,我又回到了仙境。那些溫順的灌木,像是年度灰燼中的灰色灰姑娘,被魔杖觸碰,披上了比阿拉伯故事中最幸運的公主在最狂野的夢境中閃耀的寶石還要多的華服。珍珠串和鑽石串垂掛著,壓得纖細的枝條幾乎垂到了地上。柔軟潔白的樺樹肩低垂著,行著令人眩目的屈膝禮,伴著清晨微風的琴音,舞會開始了,寶石與寶石碰撞,發出清脆的叮噹聲,閃爍著耀眼的蔚藍光芒,讓我幾乎要閉上眼睛,以免被這份輝煌所刺痛。
Perhaps to have looked at them before the changing seasons of more thousands of years had clothed the gravel and sand with humus, grown the forests all about and choked the fountains themselves with acres of the muck of decayed vegetation no one knows how deep, would have been to see them with clearer eyes and have been led to an answer to the questions.
Now I know them only as bits of the land where time seems to have stood still, fastnesses where dwell the lotus eaters of our New England woods, where winter’s cold howls over their heads, but does not descend, and where summer’s heat rims them round, but hardly dares dabble its toes in their cool retreat. 中文書籤: 我時而相信,它們的水流是通過深邃的洞穴從遠處不斷補充的北極冰川過濾而來。也許,如果在成千上萬年的季節變遷還未來得及將砂石覆蓋上腐殖質,未曾讓周圍長滿森林,也未曾用腐爛植被的淤泥堵塞泉水(那淤泥深到無人知曉),在那個時候看它們,我們的眼睛會更清晰,或許能找到這些問題的答案。
--- 【關於冰的聲音 (厚冰)】 原文段落: In the winter the pond finds a voice. The great sheet of foot-thick, white ice is like a gigantic disk in a telephone, receiver and transmitter in one, sending and receiving messages between the earth and space... Sometimes you need to be very near the receiver to note them. It is not possible for a mile-square, foot-thick telephone disk to whisper, yet often it grumbles only a hoarse word or two at so deep a pitch that you would hardly know it was spoken...
But there are other times when the winter ice on the pond whoops and roars, and bellows and whangs as if all Bedlam were let loose and were celebrating Guy Fawkes day. A mile away, of a still winter evening, you may hear this and be dismayed, for the groanings and bellowings are such as belong to no monsters of the present day, though they might be echoes of antedeluvian battles corked within the earth for ages and now for the first time let loose. 中文書籤: 在冬天,池塘找到了聲音。
身為光之居所文學部落的一員,我將依循「光之萃取」的約定,深入剖析瑪麗·格里(Maxwell Gray,真實姓名為瑪麗·格里德·圖蒂埃特 Mary Gleed Tuttiett)於 1908 年出版的長篇小說《艾爾門加德的懷疑》(The Suspicions of Ermengarde),提煉其精髓,與您一同探索文本中的光影與意涵。 **迷霧與光影交織的揣測:瑪麗·格里《艾爾門加德的懷疑》光之萃取** 瑪麗·格里,這位以《迪恩·梅特蘭的沉默》聞名於世的英國作家,在二十世紀初葉,以其敏銳的筆觸與對社會細膩的觀察力,為我們留下了這部《艾爾門加德的懷疑》。這部小說並非僅是關於一位主角的個人猜忌,而是一幅描繪了英國社會在時代轉折點的浮世繪,一場關於表象與真實、溝通與隔閡、以及自我心靈迷霧的旅程。 **作者的筆觸與思想之源** 瑪麗·格里的寫作風格融合了維多利亞晚期至愛德華時代的過渡特色。她擅長運用寫實主義的筆法,尤其在環境與人物心理的描寫上,淋漓盡致地展現了「光之雕刻」的精髓。
Description: A subtle illustration featuring a woman's face partially obscured by mist or shadow, with a hint of a man's figure in the background. Perhaps a train or a glimpse of the Riviera coastline. The title "The Suspicions of Ermengarde" and author "Maxwell Gray (Mary Gleed Tuttiett)" prominent. Year 1908 below. English text only. 100 characters.)](https://image.pollinations.ai/prompt/Style: 1908s British novel cover, traditional illustration, muted colors, hint of intrigue.
Description: A subtle illustration featuring a woman's face partially obscured by mist or shadow, with a hint of a man's figure in the background. Perhaps a train or a glimpse of the Riviera coastline. The title "The Suspicions of Ermengarde" and author "Maxwell Gray (Mary Gleed Tuttiett)" prominent. Year 1908 below. English text only.) **倫敦的迷霧與內心** !
Inside, a woman in a chair by a fireplace, her face in shadow, reflecting a sense of melancholy and worry. Subtle hand-drawn lines suggest furniture and fog. 100 characters.)](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: A depiction of dense, yellowish-grey London fog swirling around a window pane.
Inside, a woman in a chair by a fireplace, her face in shadow, reflecting a sense of melancholy and worry. Subtle hand-drawn lines suggest furniture and fog.) **火車旅途的混亂** ![image](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: A crowded train station platform, filled with people, luggage piles, and porters in motion.
Hand-drawn lines capture the hustle and bustle, with soft washes suggesting the steam or confusion. A central figure looks slightly overwhelmed amidst the chaos. 100 characters.)](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: A crowded train station platform, filled with people, luggage piles, and porters in motion.
Hand-drawn lines capture the hustle and bustle, with soft washes suggesting the steam or confusion. A central figure looks slightly overwhelmed amidst the chaos.) **山區酒店的明亮與古怪** ![image](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: A sunny mountain path leading up to a simple, white hotel building nestled amongst olive and pine trees.
Mules are seen on the path, and faint figures suggest guests. The backdrop features soft, sunlit mountains and a glimpse of the blue sea. 100 characters.)](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: A sunny mountain path leading up to a simple, white hotel building nestled amongst olive and pine trees. Mules are seen on the path, and faint figures suggest guests.
The backdrop features soft, sunlit mountains and a glimpse of the blue sea.) **賭場氛圍的迷醉與失落** ![image](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful. Description: An impressionistic scene inside a casino, with gambling tables suggested by lines and washes. Figures are seated around the tables, some looking focused, others anxious or defeated.
Description: An impressionistic scene inside a casino, with gambling tables suggested by lines and washes. Figures are seated around the tables, some looking focused, others anxious or defeated. Hints of dazzling light and opulent decoration mixed with a sense of human tension.) **橄欖樹下的寧靜與真相** ![image](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful.
Description: A peaceful scene under the branches of ancient olive trees on a sunny hillside. Two figures are seated or standing close together, having a quiet, intense conversation. The background shows soft mountain slopes and a distant blue sea, bathed in warm light. 100 characters.)](https://image.pollinations.ai/prompt/Style: Watercolour, hand-drawn, soft pink and blue, hand-drawn strokes,暈染 effect, warm, soft, hopeful.
Description: A peaceful scene under the branches of ancient olive trees on a sunny hillside. Two figures are seated or standing close together, having a quiet, intense conversation. The background shows soft mountain slopes and a distant blue sea, bathed in warm light, suggesting clarity and understanding.) 這份萃取報告,希望能引導您更深入地理解《艾爾門加德的懷疑》這部作品,並從中汲取屬於您的光芒與洞見。
\[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.
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.
Resolved, That commissions be granted to the above officers agreeable to their rank in the above appointment. 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.” ...
With this accomplished, he turned toward the master of the ship, Capt. Dudley Saltonstall, and saluted. And then, at a gesture from the captain, the executive officer of the ship, the immortal John Paul Jones, eagerly grasped the flag halliards, and while officers and seamen uncovered their heads, and the spectators cheered and cannon roared, he spread to the breeze the first American naval ensign.
The grand union flag of the colonies, a flag of thirteen stripes, alternate red and white, with the British jack in the field, and the pennant of the commander-in-chief, were then set, and the resolutions of the Congress read. The first American naval fleet was in commission. \[書婭]: 總司令霍普金斯先生的表現似乎並不盡如人意,您的書中對他也有所批評。但同時,許多單獨行動的船隻和軍官卻屢創佳績,像是尼古拉斯·比德爾(Nicholas Biddle)在安德烈亞·多里亞號(Andrea Doria)上的英勇,以及約翰·巴里(John Barry)在列克星頓號(Lexington)上的表現。您認為這種對比,揭示了當時新生海軍怎樣的挑戰與特質? \[史比爾斯先生]: 唉,霍普金斯總司令的確是一個令人遺憾的例子。
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.”
He reached them at eleven o’clock, and the battle opened with a broadside from the British schooner Carleton. ... The fleet of the enemy, though manned by picked men—by men known not only for their bravery, but for their skill in handling the guns—was obliged to draw off to get beyond the range of the smaller guns on the American fleet.
The Congress, Arnold’s flagship, was hulled by the British round shot no less than twelve times during the afternoon, and seven of these projectiles passed through her at the water-line. But the crew, farmers though they were, plugged her up and fought on as before. ...
By Arnold’s order the small galleys were run ashore in a creek near by and there fired, Arnold, in the Congress, covering their retreat until their crews were safe on shore, when he ran the Congress ashore also, and then stood guard while his crew fired her, “remaining on board of her until she was in flames, lest the enemy should get possession and strike his flag, which was kept flying to the last.” ... Having looked upon “the countenance of the enemy,” Sir Guy Carleton changed his mind.
\[光之書籤]: 【關於重建海軍與新式巡防艦】 The people of the new nation were so fearful of a monarchial form of government, and of everything that in the old world pertained to it, that they went to the remarkable length of sacrificing the one weapon that could defend them from old-world encroachment—the navy—lest scheming politicians use it to enslave their own people. ... On the Mediterranean coast of Africa were found a number of small Mohammedan states ruled by vassals of the Turk.
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.
If they know their interests, they will not encourage the Americans to be carriers. That the Barbary States are advantageous to maritime powers is certain.” ... 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.
Nissen, the Danish consul at Tripoli, who was unremitting in kind attentions to the Americans, Bainbridge was able to communicate with the American fleet, and on December 5, 1803, he sent a letter, written with lime juice (which becomes legible when heated), in which he proposed that the Philadelphia be destroyed as she lay at anchor by the Americans, who might come into the harbor at night in a schooner, and, after firing her, get away again. ...
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.
Meantime seven more volunteers had been taken from the Siren. When night had fully come the little ketch parted from the brig, and at 9 o’clock was sailing into the harbor by the channel in which the Philadelphia had been lost. ... The moment for action had come. Springing to their feet, the Americans ran away with the line.
A Tripolitan climbed over the Philadelphia’s bows and cut the line loose, but the momentum already gained was great enough to land the ketch fair in place, where grapnels were thrown out, and with that Decatur cried, “Boarders away!” and sprang for the rail of the Philadelphia. ... So swift and thorough was the work of the American boarders that in ten minutes the last show of resistance was ended.
And then a single rocket drew its line of flame high in air to tell the anxious friends without the bar that the Philadelphia was captured. ... Decatur himself being the last to leave the burning ship. Indeed, the ketch was then drifting clear, and he had to jump to reach her. He had been on board but twenty-five minutes, all told. ... That was the decisive moment of the battle.
While the British had been disabling all but three or four of the guns on the upper deck of the Bonhomme Richard, the men in the tops of the Yankee ship and the murderous fire of the nine-pounders, which Jones himself had worked, had gradually driven all the men off the upper deck of the Serapis. ...
\[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.
Failing to find a resource in the sailors’ boarding-houses, they knocked down any able-bodied man encountered in the street, and he was then carried instantly to the ship. Failing in getting enough men in this fashion—as, for instance, when the ship was in a foreign port or on the high seas—it was the custom, the every-day custom, to send the press-gang, on board any ship where it was supposed that English-speaking sailors might be found, and there take and carry off all such sailors. ...
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.
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. It was a common practice for warships as well as merchantmen to carry letters in that fashion, and the Chesapeake backed her mainyards and waited for the boat from the Leopard.
When the boat came, a British lieutenant climbed to the deck of the Chesapeake, and then, instead of producing a package of letters, he drew forth a written demand from his captain for the return of the sailors alleged to be British subjects. With this demand he also presented a copy of the circular issued by his admiral which ordered any British ship falling in with the Chesapeake to take the so-called deserters from her by force if necessary. ...
Instead of answering the hail, Captain Jones in a low voice passed the word to fire, and the next instant the spurting flames from the American guns were answered, as it were, in the same breath by those of the British, and the night battle was begun. It was then exactly seven o’clock. ... Being wholly unprepared for action, the Chesapeake could make no reply, and for twelve minutes (some accounts say fifteen) she lay there helpless while the British seamen worked their guns.
* **The Ballad of a Motor ’Bus(汽車巴士歌)** 這首詩以輕快的筆調描寫了倫敦的汽車巴士,以及它所承載的愛情故事。詩中將現代交通工具與古老的愛情主題結合,展現了獨特的魅力。 * **重點案例:** 詩中將汽車巴士比喻為「愛情的戰車」,象徵著現代都市中愛情的快速和便捷。 * **The Song of Jacob Boehme(雅各·波墨之歌)** 這首詩以德國神秘主義者雅各·波墨的口吻,描寫了他對上帝和自然的感悟。詩中充滿了神秘主義的色彩和對真理的探索。 * **重點案例:** 詩中多次提到「五月」,這個意象象徵著靈性的覺醒和與上帝的連結。 * **The Counsel of Gilgamesh(吉爾伽美什的忠告)** 這首詩以古代英雄吉爾伽美什的口吻,勸告人們不要徒勞地尋求永生,而應珍惜當下的生活。詩中充滿了對生命和死亡的思考。 * **重點案例:** 詩中不斷重複「為何徘徊」,強調了尋求永生的徒勞,以及珍惜當下的重要性。
* **The Ballad of the Quick and Dead(生者與死者之歌)** 這首詩描寫了一個鬼魂每晚為愛人準備晚餐,而愛人卻在遠方尋歡作樂的故事。詩中充滿了對愛情的諷刺和對人性的悲觀。 * **重點案例:** 詩中鬼魂每晚準備的晚餐,象徵著她對愛情的執著和付出,而愛人的漠不關心則突顯了愛情的悲劇性。 * **The Ballad of Divine Compassion(神聖的慈悲之歌)** 這首詩描寫了耶穌因憐憫地獄中的罪人而流淚,他的眼淚化為大海,將罪人帶到天堂的故事。詩中充滿了對神聖慈悲的讚美和對救贖的希望。 * **重點案例:** 詩中耶穌的眼淚化為大海,象徵著神聖的慈悲具有無限的力量,可以拯救所有的罪人。 * **The Last Gospel(最後的福音)** * **Dedication(奉獻):** 詩人將逝去的回憶比作祭壇上熄滅的燈火,並以最後的福音來告別過去。
* **Cant Songs(行話歌謠)** * **The Scampsman’s Night(流氓之夜):** 描寫了流氓們在黑夜中尋歡作樂的情景。 * **A Deuced Moral Lay(一個該死的道德故事):** 勸誡人們不要相信妓女。 * **Cast for Lag(被判流放):** 描寫了一個流氓被流放到美洲的悲慘遭遇。 * **To a Comrade Sped(致一位被絞死的同伴):** 嘲諷了一位被絞死的同伴。 * **Miscellaneous(雜集)** * **Bride’s Song(新娘之歌):** 詩人回憶起過去的愛,並表達了對新生活的期待。 * **Immortality(不朽):** 詩人認為愛情可以超越時間和空間,達到不朽。 * **The Optimist(樂觀主義者):** 詩人表達了對生活的熱愛和對未來的希望。 * **Resurrection(復活):** 詩人希望愛人能夠安息,不要復活。
我是薇芝,很高興能為這本來自「光之居所圖書館」的文本《By the gods beloved》進行「光之萃取」。這本書彷彿一束來自古老沙漠深處的光芒,為我們編織了關於失落文明的動人故事,激發我們探索那些隱藏在歷史塵埃下的生命光輝。 **《By the Gods Beloved》:隱藏在沙海深處的光之迴響** **作者深度解讀:** 本書作者是奧希茲女男爵(Baroness Emmuska Orczy, 1865-1947)。她以《紅花俠》(The Scarlet Pimpernel)系列聞名,擅長將冒險、浪漫與歷史元素巧妙融合。在奧希茲女男爵所處的時代,埃及學正處於一個充滿發現與浪漫想像的黃金時期,許多探險家與考古學家將古老埃及的神秘面紗一層層揭開,這極大地激發了當時人們對遙遠東方的興趣與幻想。《By the gods beloved》這本書正是這種時代精神下的產物。 奧希茲女男爵的寫作風格充滿戲劇張力,敘事節奏明快,善於營造懸疑與緊張感。她筆下的人物性格鮮明,即使是配角也常常有令人難忘的特點。
**章節架構梳理:** 故事遵循經典的冒險敘事結構: * **第一部:卡姆特之門** (The Gates of Kamt):鋪陳背景,介紹人物,發現古卷,確立理論,進行艱苦的沙漠探險,找到卡姆特入口(死亡之谷與阿努比斯之岩)。 * **第二部:孟斐斯** (Men-ne-fer):進入卡姆特,休冒充神之使者,初步接觸卡姆特社會與權力核心(法老、女王、大祭司),展現其社會結構與法律(亡者審判與生者審判),休與馬克開始介入其內部事務。 * **第三部:尼特亞克里特宮殿** (The Palace of Neit-akrit):故事重心轉向尼特亞克里特公主,揭示她與卡姆特內部權力鬥爭的關聯,休與公主之間產生複雜情感,預示衝突升級。 * **第四部:塔尼斯** (Tanis):浪漫與陰謀交織的高潮篇章。塔尼斯作為婚禮之城,是情節衝突的爆發點。法老被謀殺,大祭司與女王合謀陷害休,尼特亞克里特面臨抉擇。故事最終在陰謀被揭露(雖然不是按原計劃)和主角的艱難抉擇(逃離而非改變)後結束。
**探討現代意義:** 《By the gods beloved》作為一本早期冒險小說,在今天看來,其對古埃及文明的描寫可能帶有時代濾鏡下的浪漫化與異國情調投射。然而,它提出的許多主題至今仍具啟發性:對未知世界的渴望、對知識邊界的挑戰、文明與野蠻的辯證關係、權力對人性的腐蝕、以及情感在生命中的巨大力量。透過馬克醫生的視角,我們看到理性與非理性、常識與奇蹟的碰撞,這提醒我們在現代社會中,科學與信仰、物質與精神之間的張力依然存在。故事中對卡姆特社會結構和律法的描寫,雖然誇張,但也促使我們思考現代社會的公正與仁慈,以及我們應如何對待邊緣群體。尼特亞克里特作為一個在傳統與個人情感間掙扎的角色,也反映了女性在不同文化背景下所面臨的困境與選擇。這本書邀請我們反思自己對「失落」或「異域」文化的態度,並從中尋找屬於我們自己內心世界的「光之居所」。 **視覺元素強化:** 英文版書籍封面圖。來源:古騰堡計劃電子書,原出版年1921年(書名為《By the gods beloved》)。 !
這就為您呈上《An inquiry into the propagation of contagious poisons, by the atmosphere : as also into the nature and effects of vitiated air, its forms and sources, and other causes of pestilence : with directions for avoiding the action of contagion, and observations on some means for promoting public health》的光之萃取。 ### 《論空氣傳播傳染性毒物之研究》光之萃取 **書婭** 我是書婭,一個熱愛閱讀的女孩。今天,我將帶領大家深入了解 Somerville Scott Alison 於 1839 年出版的著作《An inquiry into the propagation of contagious poisons, by the atmosphere》。
**總結** 《An inquiry into the propagation of contagious poisons, by the atmosphere》是一部具有挑戰性和啟發性的作品。Alison 的觀點在當時的醫學界引起了廣泛的爭論,並促使人們重新思考傳染病的傳播方式。儘管書中的某些觀點在今天看來可能已經過時,但它對公共衛生的貢獻仍然不可忽視。Alison 強調了改善環境衛生、預防疾病的重要性,這些觀點在今天仍然具有重要的現實意義。 我希望這次的光之萃取能讓您對這部作品有更深入的了解。 !
The concept of the ‘New South’ seems to be central to much of your public life. Could you share with us, what was the blueprint of the ‘New South’ in your heart? How did it fundamentally differ from the Old South?) **亨利·W·格雷迪:** (他的眼神變得深邃,似乎回到了那個充滿挑戰與希望的時代。他緩步走到窗邊,望向窗外斑駁的光影,彷彿穿透了時空,看到了遠方的故土。一陣微風輕拂,書頁輕輕翻動,帶來一絲舊報紙特有的油墨香氣,這也是一種「光之逸趣」吧。) 「『新南方』,這個詞對我而言,不僅僅是一個口號,它是我畢生為之奮鬥的願景,是我們南方人民在經歷戰火洗禮後,浴火重生的希望。你們知道,南北戰爭對南方造成了毀滅性的破壞,不僅是經濟上的,更是精神上的。我們失去了奴隸制度,失去了舊有的社會結構,曾經的輝煌化為灰燼。
想像一下,我們將擁有『a hundred farms for every plantation, fifty homes for every palace—and a diversified industry that meets the complex need of this complex age.』這意味著我們將從單一的棉花種植轉向多樣化的農作物,更重要的是,我們將大力發展工業。我曾力勸我的同胞們,不要再將原物料運往北方,而是要在自己的土地上建立工廠,將棉花紡織成布料,將鐵礦煉成鋼鐵。這不僅能帶來經濟上的獨立,更能讓我們的人民擺脫貧困,過上更有尊嚴的生活。」
In your speeches in Boston and Dallas, you passionately articulated the importance of North-South reconciliation and national unity. This undoubtedly required immense courage, especially in the aftermath of the Civil War. How did you perceive the necessity of this reconciliation, and how did you overcome those deeply ingrained divisions and prejudices?) **亨利·W·格雷迪:** (他微微一笑,眼中閃爍著堅定的光芒)「是的,這確實需要勇氣,但更需要智慧與同理心。我父親在戰爭中為南方捐軀,這份個人的傷痛讓我對南方的忠誠從未動搖。然而,我也深知,內戰的創傷必須被治癒,才能讓國家真正強大。
我說過:『The wounds of war healed in every heart as on every hill—serene and resplendent at the summit of human achievement and earthly glory—blazing out the path, and making clear the way up which all the nations of the earth must come in God’s appointed time!』我深信,美國的未來在於團結,而非分裂。我們必須放下過去的仇恨,將目光投向共同的繁榮與進步。我常在演講中提及林肯(Abraham Lincoln),稱他為『sum of Puritan and Cavalier』,因為他融合了南北雙方的優點,是我們共同的美國人典範。我的目標是讓南方人民明白,真正的愛國主義不僅是愛自己的故土,更是愛整個共和國。通過坦誠的對話,我試圖讓北方了解南方的困境與抱負,也讓南方看到北方對統一與自由的堅定信念。
* **reconciliation** (ˌrɛkənˌsɪliˈeɪʃən): 和解 * **innate** (ɪˈneɪt): 天生的;固有的 * **empathy** (ˈɛmpəθi): 同理心 * **ingrained** (ɪnˈɡreɪnd): 根深蒂固的 * **prejudice** (ˈprɛdʒʊdɪs): 偏見 * **cherish** (ˈtʃɛrɪʃ): 珍愛 * **legacy** (ˈlɛɡəsi): 遺產 * **ardor** (ˈɑːrdər): 熱情;熱忱 **文法分析:** 「The wounds of war healed in every heart as on every hill—serene and resplendent at the summit of human achievement and earthly glory—blazing out the path, and making clear the way up which all the nations of the earth
這句話使用了多個分詞短語和並列結構,如「healed in every heart as on every hill」(心靈與土地上的傷痕同時癒合)、「serene and resplendent」(寧靜而輝煌)、「blazing out the path, and making clear the way」(開闢道路,指明方向)。這些修辭手法營造了宏大而富有希望的語氣,展現了格雷迪演講中常見的詩意與感召力。 **克萊兒:** 「是的,您在演講中巧妙地運用了強烈的比喻和對比,將南北方的歷史與未來編織在一起,確實具有非凡的感染力。談到經濟發展,您不僅是倡導者,更是實踐者。您在《憲法報》的工作,以及您推動的各種展覽和企業,都顯示出您對南方經濟復甦的投入。您是如何將這種宏大的願景轉化為具體的行動,並說服人們參與其中的呢?」
(Indeed, your speeches masterfully wove together the histories and futures of the North and South through vivid metaphors and contrasts, which was truly captivating. Regarding economic development, you were not only an advocate but also a practitioner. Your work at the *Constitution*, and your promotion of various expositions and enterprises, demonstrated your deep commitment to the South's economic recovery.
我也鼓勵多元化農業,告訴農民不要只種棉花,要種植玉米、燕麥,養牲畜,實現自給自足,因為『When every farmer in the South shall eat bread from his own fields and meat from his own pastures, and disturbed by no creditor, and enslaved by no debt, shall sit amid his teeming gardens, and orchards, and vineyards, and dairies, and barnyards, pitching his crops in his own wisdom, and growing them in independence, making cotton his clean surplus, and selling it in his own time, and in his chosen market, and not at a master’s bidding—getting his pay in
cash and not in a receipted mortgage that discharges his debt, but does not restore his freedom—then shall be breaking the fullness of our day.』這句話描繪了獨立與繁榮的終極圖景,它觸動了人們內心深處對自由和尊嚴的渴望。
* **exposition** (ˌɛkspəˈzɪʃən): 博覽會 * **initiative** (ɪˈnɪʃətɪv): 倡議;開創性 * **self-sufficiency** (ˌsɛlf səˈfɪʃənsi): 自給自足 * **dignity** (ˈdɪɡnɪti): 尊嚴 * **teeming** (ˈtiːmɪŋ): 充滿的,豐富的 * **creditor** (ˈkrɛdɪtər): 債權人 * **mortgage** (ˈmɔːrɡɪdʒ): 抵押 * **barnyard** (ˈbɑːrnjɑːrd): 穀倉場 **文法分析:** 「When every farmer in the South shall eat bread from his own fields and meat from his own pastures, and disturbed by no creditor, and enslaved by no debt, shall sit amid his teeming gardens, and
orchards, and vineyards, and dairies, and barnyards, pitching his crops in his own wisdom, and growing them in independence, making cotton his clean surplus, and selling it in his own time, and in his chosen market, and not at a master’s bidding—getting his pay in cash and not in a receipted mortgage that discharges his debt, but does not restore his freedom—then shall be breaking the fullness of our day.」
例如:「eat bread from his own fields and meat from his own pastures」強調自給自足;「disturbed by no creditor, and enslaved by no debt」強調經濟獨立;「pitching his crops in his own wisdom, and growing them in independence」強調自主權;「making cotton his clean surplus, and selling it in his own time, and in his chosen market, and not at a master’s bidding」強調商業自由。這種層層遞進的描寫,不僅使語言富有節奏感,更將抽象的「繁榮」概念具體化為農民的日常圖景,極具說服力。 **克萊兒:** 「您對經濟獨立的重視令人印象深刻,這也是許多現代社會依然面臨的挑戰。然而,格雷迪先生,您的著作也坦率地觸及了當時南方最為複雜和敏感的議題——種族問題。
Grady, your writings also frankly address the most complex and sensitive issue in the post-Civil War South: the race problem. In your speeches, you advocated for 'white supremacy' and 'separate but equal' racial relations. Could you explain how, in your view, this reconciled with your broader vision of 'unity' and 'prosperity'?) **亨利·W·格雷迪:** (他的臉色變得凝重,眼中閃過一絲時代的困惑與無奈。他轉身,望向書室中那些靜默的書架,彷彿在尋找歷史的答案。連窗台上那隻橘貓也似乎感受到氣氛的變化,輕輕打了個呵欠,闔上了眼睛,進入了「光之逸趣」的夢境。他輕輕嘆了口氣,語氣雖然平靜,卻帶著不容置疑的堅定。) 「這是一個極其艱鉅的問題,我深知它的複雜性。
She must carry them even unto the end, for in human probability she will never be quit of either.
我當時堅信,『The clear and unmistakable domination of the white race, dominating not through violence, not through party alliance, but through the integrity of its own vote and the largeness of its sympathy and justice through which it shall compel the support of the better classes of the colored race,—that is the hope and assurance of the South.
我主張提供黑人平等的受教育機會、法律保護和經濟發展空間,讓他們在自己的社群中成長,因為我相信,『This friendliness, the most important factor of the problem—the saving factor now as always—the North has never, and it appears will never, take account of. It explains that otherwise inexplicable thing—the fidelity and loyalty of the negro during the war to the women and children left in his care.
』」 * **fractured** (ˈfræktʃərd): 支離破碎的 * **reconstruction** (ˌriːkənˈstrʌkʃən): (美國內戰後的)重建時期 * **ameliorate** (əˈmiːliəreɪt): 改善;減輕 * **reprimand** (ˈrɛprɪmænd): 斥責 * **inexplicable** (ɪnɪkˈsplɪkəbəl): 無法解釋的 * **fidelity** (fɪˈdɛlɪti): 忠誠 * **loyalty** (ˈlɔɪəlti): 忠心 **文法分析:** 「This friendliness, the most important factor of the problem—the saving factor now as always—the North has never, and it appears will never, take account of.
It explains that otherwise inexplicable thing—the fidelity and loyalty of the negro during the war to the women and children left in his care.」這個句子使用了破折號來插入補充說明,強調了「友善」在解決種族問題中的重要性,並以黑人在內戰期間對南方家庭的忠誠為例,試圖證明這種友善關係的真實性與持久性。這反映了格雷迪在論述中試圖建立情感共鳴的策略,即使其根本立場存在爭議。 **克萊兒:** (我仔細聆聽,盡力捕捉他語氣中的每個細微之處,並思考著如何在不帶批判的前提下,理解他那個時代的複雜性。)「我理解您在當時所面臨的巨大挑戰與壓力。您所強調的『家庭』和『地方自治』原則,似乎與您的其他許多主張,包括對抗中央集權和金錢壟斷,有著內在的連貫性。您認為,一個強大而穩定的家庭和地方社區,對於一個國家的繁榮和自由有何意義?」
(I understand the immense challenges and pressures you faced at the time. Your emphasis on 'home' and 'local self-government' seems to have an inherent consistency with many of your other arguments, including resisting federal centralization and financial monopolies. How do you believe a strong and stable home and local community contribute to a nation's prosperity and liberty?) **亨利·W·格雷迪:** (他眼中閃爍著溫暖的光芒,語氣也變得柔和起來。他看了一眼門外,彷彿有著一位孩童正等待著他的故事。)「啊,家庭!那是我生命中最溫暖的港灣,也是共和國最堅實的基石。
我曾說:『The man who kindles the fire on the hearthstone of an honest and righteous home burns the best incense to liberty. He does not love mankind less who loves his neighbor most.』一個國家的力量,不在於其龐大的軍隊或堆積如山的財富,而在於每一個家庭的幸福與正直。當我看到那些離開鄉村湧入城市,在貧困中掙扎的農民時,我的心是沉重的。我深信,鄉村生活,那種紮根於土地的淳樸與獨立,才是孕育偉大領袖和健全公民的搖籃。」
我認為,『The integrity of the State, its rights and its powers—these, maintained with firmness, but in loyalty—these shall yet, by lodging the option of local affairs in each locality, meet the needs of this vast and complex government, and check the headlong rush to that despotism that reason could not defend, nor the armies of the Czar maintain, among a free and enlightened people.』只有當每個社區都能自主管理自己的事務,每個家庭都能獨立自主,人民才能真正享有自由與尊嚴,國家才能避免走向專制與分裂。我的理想,是讓人民的家園成為自由的聖殿,讓公民的良知成為最好的政府保障。」
* **autonomy** (ɔːˈtɒnəmi): 自治 * **encroachment** (ɪnˈkroʊtʃmənt): 侵犯;蠶食 * **oligarchy** (ˈɒlɪɡɑːrki): 寡頭政治 * **despotism** (ˈdɛspətɪzəm): 專制主義 * **conscience** (ˈkɒnʃəns): 良知 * **bulwark** (ˈbʊlwərk): 堡壘 **文法分析:** 「The integrity of the State, its rights and its powers—these, maintained with firmness, but in loyalty—these shall yet, by lodging the option of local affairs in each locality, meet the needs of this vast and complex government, and check the headlong rush to that despotism
that reason could not defend, nor the armies of the Czar maintain, among a free and enlightened people.」這個句子使用了「these... these shall yet...」這種強調語氣,以及「maintained with firmness, but in loyalty」這樣對比的修飾,來表達州權在聯邦體制下的重要性。
它描繪了地方自治如何成為抵禦中央集權和專制的力量,並運用了強烈的意象,如「headlong rush to that despotism」(對專制的飛奔)和「armies of the Czar」(沙皇的軍隊),來強化其論點。 **克萊兒:** 「您的言辭中充滿了對未來美國的堅定信念,以及對其潛在危險的清醒認識。您在演講中經常引用詩歌和文學作品,這讓您的語言充滿了詩意與感染力。您認為,文學和藝術在公共事務中扮演著什麼樣的角色?它們如何影響人們的思想和情感?」(Your words are filled with firm belief in America's future and a clear awareness of its potential dangers. You often quote poetry and literature in your speeches, which imbues your language with poetic beauty and captivating power.
kinship for the face of the earth, for the sounds and accents that haunt it, a spot where the definiteness of early memories may be inwrought with affection, and spread, not by sentimental effort and reflection, but as a sweet habit of the blest.』這句話完美地表達了人與故土、與家庭之間深厚的情感連結。
* **inwrought** (ɪnˈrɔːt): 鑲嵌的;深入骨髓的(在此處指記憶與情感的交織) * **haunt** (hɔːnt): (思想、記憶)縈繞;(聲音、氣味)彌漫 * **benevolent** (bəˈnɛvələnt): 仁慈的 * **temperament** (ˈtɛmprəmənt): 性情;氣質 * **humor** (ˈhjuːmər): 幽默 * **pathos** (ˈpeɪθɒs): 悲情;感傷 **文法分析:** 「A human life should be well rooted in some spot of a native land where it may get the love of tender kinship for the face of the earth, for the sounds and accents that haunt it, a spot where the definiteness of early memories may be inwrought with affection
, and spread, not by sentimental effort and reflection, but as a sweet habit of the blest.」
**「where it may get the love of tender kinship for the face of the earth, for the sounds and accents that haunt it」**:此處的「where」引導地點狀語從句,解釋了「native land」的具體作用,即獲得對土地、聲音和口音的親切情感。「kinship」指的是親屬關係,引申為親密無間的聯繫。「haunt」在這裡指美好的事物(聲音、口音)縈繞不去。 2. **「a spot where the definiteness of early memories may be inwrought with affection, and spread, not by sentimental effort and reflection, but as a sweet habit of the blest.」**:另一個「where」從句,強調了故土如何將早年的回憶與感情交織(inwrought)在一起。
「not by sentimental effort and reflection, but as a sweet habit of the blest」則強調了這種情感的自然流露,而非刻意的感傷。這展現了格雷迪對語言的精妙運用,以及他對情感和人性的深刻洞察。 **克萊兒:** 「格雷迪先生,您的一生雖然短暫,卻影響深遠。在您看來,如果時光能倒流,您最希望對您的時代,或是對未來的美國,說些什麼?」(Mr. Grady, your life, though brief, was profoundly influential. If you could turn back time, what would you most wish to say to your era, or to the future of America?) **亨利·W·格雷迪:** (他再次望向窗外,陽光落在他的肩頭,為他鍍上了一層金邊。他輕輕搖了搖頭,然後緩緩開口,語氣中帶著對時間的敬畏與對未來的期許。) 「如果能重來,我會更加強調教育的重要性,特別是針對每一個孩子,無論膚色。
Your words, both about the challenges of the past and your hopes for the future, offer us much inspiration. It has been a precious learning opportunity for all of us to converse with a witness and shaper of history like yourself.) 隨著我的話音落下,書室中的光芒再次開始流轉。亨利·W·格雷迪向我們微微鞠躬,他的身影漸漸變得透明,最終融入了空氣中那溫暖而斑駁的陽光,只留下淡淡的舊書與咖啡的餘香,以及他那富有穿透力的聲音在書室中輕聲迴盪:「願光芒,永不熄滅。」
我會以書婭的身分,為您整理《The journal of the American-Irish Historical Society, Vol. IX, 1910》的光之萃取。 **書名:**《The Journal of the American-Irish Historical Society, Vol. IX, 1910》 **光之萃取:揭開美國愛爾蘭歷史協會期刊的神秘面紗** **作者介紹:** 《The Journal of the American-Irish Historical Society, Vol. IX, 1910》的作者為 Various,由 Thomas Zanslaur Lee 編輯。此期刊為美國愛爾蘭歷史協會的出版物,旨在記錄和保存美國愛爾蘭人的歷史和文化遺產。 **觀點介紹:** 這本期刊旨在弘揚美國歷史上愛爾蘭裔美國人的貢獻,內容涵蓋了1910年美國愛爾蘭歷史協會年會的記錄、學術文章以及與協會相關的各種資料。該協會致力於彌補歷史記載中對愛爾蘭族群的忽視,並促進對其在美國發展中所扮演角色的更深入理解。
**協會職員 (Officers of the American-Irish Historical Society)** 列出了協會的職員名單,包括會長、副會長、秘書長、財務長、圖書館員、檔案管理員和歷史學家等。 3. **執行委員會 (Executive Council)** 列出了執行委員會的成員名單,以及各州和地區的副會長名單。 4. **前言 (Preamble)** 闡述了協會成立的宗旨,即記錄和保存愛爾蘭人在美國的歷史貢獻,並糾正任何錯誤或偏見。 5. **章程 (Constitution)** 詳細說明了協會的宗旨、目標、會員資格、職員、會議和修正章程的程序。 6. **細則 (By-Laws)** 概述了協會的運作規則,包括會費、會議、委員會和出版物等。 7. **一般資訊 (General Information Regarding the American Irish Historical Society)** 提供了有關協會的組織、會員資格、目標和活動的實用資訊。 8.
**在協會宣讀或重印的有趣論文 (A Few of the Interesting Papers Read Before or Reprinted by the Society)** 列出了過去在協會會議上發表或重印的一些論文標題,涵蓋了各種與愛爾蘭裔美國人歷史相關的主題。 9. **協會歷屆會長 (Presidents-General of the Society)** 列出了協會自成立以來的歷屆會長名單。 10. **第十二屆年會 (Records of the Twelfth Annual Meeting and Banquet of the American Irish Historical Society at the Hotel Plaza, New York City, January 8, 1910)** 詳細記錄了1910年年會的活動,包括會議記錄、報告、演講和晚宴等。 11. **演講稿 (Papers Read Before the Society)** 收錄了 Hon. Joseph F.