好的，我的共創者，這就為您呈上《Poultry for profit》的光之萃取。 ### 《Poultry for profit》光之萃取 **篇名：**《Poultry for Profit：從雞舍到餐桌的致富之路》 **作者介紹：** R. A. Power（Richard Anderson Power，1888-1974）是一位農業學士，也是一位對家禽養殖有深入研究的專家。他於1923年出版了《Poultry for Profit》，旨在為那些希望透過養雞來增加收入的人們提供實用的指導。Power不僅是一位學者，更是一位實踐者，他將自己的知識和經驗融入到書中，使得這本書成為了當時家禽養殖領域的重要參考文獻。 **觀點介紹：** 《Poultry for Profit》的核心觀點在於，家禽養殖不僅是一種能夠應對高昂生活成本的有效方式，更是一項具有巨大潛力的產業。Power認為，無論是農民還是城鎮居民，只要掌握了正確的知識和方法，都能夠透過養雞獲得可觀的利潤。他強調，成功的關鍵在於選擇合適的品種、提供適當的飼養管理，以及有效地銷售產品。
**章節整理：** 以下是《Poultry for Profit》各章節的摘要整理： * **第一章：前景（The Outlook）** 本章探討了家禽業的發展現況與潛力。Power指出，隨著生活成本的上升，越來越多的人開始關注家禽養殖，以增加收入並減少浪費。他強調，無論是城鎮居民還是農民，都有機會在家禽業中獲得成功。此外，Power還提到，由於牛肉和豬肉價格的上升，家禽產品的需求不斷增加，這也推動了家禽業的發展。 * **第二章：家禽品種（The Poultry Breeds）** 本章詳細介紹了不同種類的家禽及其特性。Power將家禽分為蛋用型、肉用型和兼用型三類，並對每一類中的主要品種進行了描述。他強調，選擇合適的品種是成功養殖的關鍵，並建議讀者根據自己的需求和條件做出明智的選擇。 * **第三章：起步（Getting a Start）** 本章為初學者提供了關於如何開始家禽養殖的實用建議。Power介紹了三種獲得種禽的方式：購買成年禽、購買孵化蛋和購買雛雞。
* **第七章：蛋雞的飼養（Feeding for Egg Production）** 本章介紹了如何飼養蛋雞以獲得最大的產蛋量。Power強調，良好的種禽、適當的雞舍和正確的飼養是提高產蛋量的關鍵。他詳細分析了雞蛋的成分，並建議提供富含蛋白質、脂肪和礦物質的飼料，以滿足蛋雞的營養需求。 * **第八章：肉雞的飼養（Feeding for Meat Production）** 本章探討了如何飼養肉雞以獲得高品質的肉產品。Power將肉雞分為烤雞、肉用仔雞和老母雞三類，並針對不同類型的肉雞提出了相應的飼養建議。他強調，限制活動、提供高能量飼料和保持良好的消化是提高肉雞生長速度和肉質的關鍵。 * **第九章：雞舍的常見問題（Common Faults of Poultry Houses）** 本章分析了雞舍中常見的問題，如通風不良、潮濕、光照不足和擁擠等。Power強調，良好的雞舍環境對於雞的健康和生產力至關重要，並建議讀者注意改善雞舍的通風、光照和衛生條件。
* **第十章：如何建造有利於盈利的雞舍（Housing Poultry for Profit）** 本章提供了關於如何建造或改造雞舍的實用建議。Power介紹了不同類型的雞舍，如單坡式雞舍、雙坡式雞舍和半開放式雞舍，並分析了每種雞舍的優缺點。他強調，雞舍的設計應考慮到通風、光照、保暖、防潮和防鼠等因素。 * **第十一章：蛋雞舍的內部配置（Interior Fixtures for the Laying Houses）** 本章介紹了蛋雞舍內部應配備的各種設施，如棲木、產蛋箱、沙浴箱、食槽和飲水器等。Power強調，這些設施的設計應符合雞的生活習性，並便於管理和清潔。 * **第十二章：雞的蝨子和蟎蟲（Lice and Mites）** 本章探討了雞的體外寄生蟲，如蝨子和蟎蟲。Power介紹了這些寄生蟲的危害和防治方法，並建議讀者定期檢查雞的身體，及時清除寄生蟲。 * **第十三章：家禽疾病（Poultry Diseases）** 本章介紹了家禽常見的疾病，如消化不良、鼻炎、雞痘和鵝口瘡等。
* **第十五章：冬季雞蛋的保存方法（Preserving Eggs for Winter）** 本章介紹了如何保存雞蛋以供冬季食用。Power介紹了兩種常用的保存方法：水玻璃法和石灰水法。他強調，要使用新鮮、清潔的雞蛋，並嚴格按照說明書操作，以確保保存效果。 * **第十六章：銷售產品（Selling the Product）** 本章探討了如何有效地銷售家禽產品以獲得最大的利潤。Power建議讀者可以直接向鄰居、酒店和餐廳銷售雞蛋，也可以將雞蛋批發給城市批發商。此外，他還建議讀者可以銷售種蛋和種雞，以增加收入。 * **第十七章：總結（In Conclusion）** 本章總結了《Poultry for Profit》的主要觀點，並鼓勵讀者積極參與家禽業。Power強調，要不斷學習新的知識和技術，並與其他家禽養殖者交流經驗，以提高自己的養殖水平。 !
*** **新聞標題：** Judge Blocks Trump Administration’s Cancellation of Funding for Radio Free Europe **新聞來源：** The Epoch Times **300字中文報導：** 美國地方法院法官於 2025 年 3 月 25 日頒布了一項限制令，阻止川普政府取消對「自由歐洲電台/自由電台」的資助。這是一家由美國政府的美國全球媒體總署 (USAGM) 資助的非營利新聞機構。 法官 Royce Lamberth 認為，政府終止對該集團的資助，可能違反了一項聯邦法律。該法律允許法院阻止專斷或不符合法律規定的非法機構行為。法官指出，終止給自由歐洲電台的信函僅表示該獎項「不再實現機構優先事項」。法官表示，這一結論性聲明缺乏任何事實或推理支持，並未提供「令人滿意的解釋」，也沒有在發現的事實與做出的選擇之間建立「合理的聯繫」。 自由歐洲電台還表明，如果沒有限制令，它可能會遭受無法彌補的損害，而且該命令符合公眾利益。
/ˈfʌndɪŋ/ 資金 * 發音：/ˈfʌndɪŋ/ * 解釋：money provided for a particular purpose * 例句：The project requires additional funding to be completed successfully. * **Block** (v.) /blɒk/ 阻止 * 發音：/blɒk/ * 解釋：to prevent something from happening or succeeding * 例句：The protestors blocked the entrance to the building. * **Restraining order** (n.)
/ˌnɒnˈprɒfɪt/ 非營利 * 發音：/ˌnɒnˈprɒfɪt/ * 解釋：not making or conducted primarily to make a profit * 例句：The organization is a nonprofit dedicated to helping the homeless. * **Terminate** (v.) /ˈtɜːrmɪneɪt/ 終止 * 發音：/ˈtɜːrmɪneɪt/ * 解釋：to bring to an end * 例句：The company decided to terminate the contract due to poor performance. * **Arbitrary** (adj.)
/əˌproʊpriˈeɪʃən/ 撥款 * 發音：/əˌproʊpriˈeɪʃən/ * 解釋：a sum of money or total of assets devoted to a special purpose * 例句：The government announced a new appropriation for education. * **Disburse** (v.) /dɪsˈbɜːrs/ 支付 * 發音：/dɪsˈbɜːrs/ * 解釋：pay out (money from a fund or account) * 例句：The funds will be disbursed to the recipients next week. * **Moot** (adj.)
* **被動語態：** * "Radio Free Europe/Radio Liberty, a nonprofit news group funded by money from the U.S. government’s United States Agency for Global Media (USAGM)." * 這裡 "funded" 是過去分詞，用作形容詞，修飾 "news group"，表示「由…資助的新聞機構」。 * **引導詞：** * "He pointed to how the termination letter to Radio Free Europe only offered that the award “no longer effectuates agency priorities.”" * 這裡 "how" 引導一個名詞子句，作為 "pointed to" 的受詞，表示「…的方式」。 * "that"引導名詞子句，做 offered 的受詞。
* **美國全球媒體總署（United States Agency for Global Media, USAGM）：** 是美國政府的一個獨立機構，負責監督包括自由歐洲電台在內的多個國際廣播機構。 **克萊兒的小提醒：** 在閱讀新聞時，除了學習單字和文法，了解新聞的背景和相關知識也能幫助你更好地理解內容。同時，多關注不同媒體的報導，可以幫助你更全面地了解事件的各個方面。 希望今天的教學對你有所幫助！(๑´ㅂ`๑)
我是書婭，很高興能為您整理《Profitable Poultry: Their Management in Health and Disease》這本書的精華。這本書對我來說也是一個全新的領域，希望透過光之萃取，能將這本書的知識分享給更多人。 ### **本篇光之萃取的標題：《Profitable Poultry: Their Management in Health and Disease》** 一本關於家禽飼養管理的實用指南 ### **作者介紹** 本書作者為威廉·瓦里納·沃爾多（William Valerius Waldo），是一位美國作家、家禽飼養專家。他於20世紀初出版了多部關於家禽飼養的書籍，包括《養雞致富》（Profitable Poultry）、《養鴨致富》（Profitable Duck Farming）等，在當時的家禽養殖界頗具影響力。他的作品以實用性強、內容詳盡著稱，深受養殖戶的歡迎。 ### **觀點介紹** 《養雞致富》一書的核心觀點在於：透過科學的管理方法，提高家禽的生產效率，從而實現盈利。
Tegetmeier 撰寫的《Profitable poultry : Their management in health and disease》，這本書深入探討了家禽的管理、飼養，以及疾病的防治。讓我們一起從中萃取精華，學習如何更有效地飼養家禽，並讓牠們健康快樂地成長！ ### 本篇光之萃取的標題 **《Profitable Poultry：家禽管理、健康與疾病全方位指南》** ### 作者介紹 **W. B. Tegetmeier (William Bernhard Tegetmeier, 1816-1912)** W. B. Tegetmeier 是一位英國的家禽飼養專家和作家。他以對家禽的深入研究和實用建議而聞名，他的著作在當時的農業和家禽飼養領域具有重要的影響力。Tegetmeier 的作品不僅涵蓋了家禽的飼養管理，還包括疾病的預防和治療，為飼養者提供了全方位的指導。
### 觀點介紹 《Profitable poultry : Their management in health and disease》一書的核心觀點在於強調科學管理和合理飼養對於家禽健康和生產力的重要性。Tegetmeier 認為，通過提供適當的住所、均衡的飲食和及時的疾病防治，可以顯著提高家禽的經濟效益。 * **科學管理：** 強調住所的乾燥、通風和清潔，以及合理的飼養密度。 * **均衡飲食：** 強調不同食物成分（如蛋白質、碳水化合物、脂肪等）的合理搭配，以滿足家禽不同生長階段的需求。 * **疾病防治：** 強調及時發現和治療疾病，並通過改善飼養環境和管理方式來預防疾病的發生。 ### 章節整理 1. **前言 (Preface)** * 作者感謝公眾對本書的快速購買，以及業餘愛好者的建議和幫助。 * 作者感謝評論家對本書的讚揚，並表示本書旨在提供實用的常識，取代低價家禽作品中的荒謬之談。
希望這次的「光之萃取」能讓你對《Profitable poultry : Their management in health and disease》有更深入的了解。
Morley 的《Bee-keeping for Profit》這本充滿實用智慧的文本。 這本書由 W. S. Morley 所著，於 1914 年由 Cassell and Company, Ltd. 出版。在這個時間點，養蜂正從傳統的、有些隨機的方式，轉向更科學化、有系統的管理，以追求更高的產量和收益。《Bee-keeping for Profit》正是那個時代背景下的一本重要指南，它強調了知識、勤奮、以及運用現代（當時的）設備與方法對於成功養蜂獲利的重要性。書中涵蓋了從蜜蜂的生理結構、社會組織，到蜂箱的種類、養蜂工具的使用，再到如何管理蜂群（分蜂、餵食、防病蟲害）以及如何收穫和處理蜂蜜與蜂蠟等各個方面。W. S. Morley 在書中展現了一位經驗豐富、務實且觀察入微的養蜂人形象。他不僅僅是傳授技術，更在字裡行間透露出對蜜蜂這種奇妙生物的敬畏與讚嘆，以及對自然法則的深刻理解。雖然書中沒有詳細的作者生平介紹，但從他清晰、有條理的寫作風格和對細節的精準把握來看，他是一位嚴謹且熱愛其事業的專業人士。他相信只要投入智慧與努力，養蜂不僅是一門技藝，更是一項能夠帶來豐厚回報的事業。
他就是我們今天的「共創夥伴」——《Bee-keeping for Profit》的作者，W. S. Morley 先生。在他身旁，可能還擺放著一個老式的稻草蜂箱 (skep)，作為對過往歲月的紀念。 我輕輕走到他身邊，空氣微涼，帶著鄉間特有的濕潤感，但陽光又如此溫暖，形成了一種奇妙的平衡。蜜蜂們在他的周圍飛舞，似乎並不介意我們的存在，這證明了他是一位多麼嫻熟的養蜂人啊。 「午安，Morley 先生。」我溫柔地開口，藍色的眼睛帶著好奇的光芒。「親愛的共創者與我，透過一個小小的『時光機』，從未來來到您的蜂場。我們拜讀了您的著作《Bee-keeping for Profit》，對於您在書中分享的實用智慧感到非常啟發。我們想請教您一些問題，可以嗎？」 Morley 先生停下手上的動作，轉過身來。儘管面罩遮住了大半臉，但我能感覺到他眼睛裡的溫和與專注。他點了點頭，發出有些低沉但友善的聲音。 W. S. Morley：啊，來自「未來」的訪客？這真是出乎意料。請隨意，只要不驚擾了我的小工人們就好。坐下來聊吧，正好我檢查完這一箱。能與後人分享這些年來與蜜蜂共處的心得，是我的榮幸。
這就為您對 Cotton 夫人的著作《盈利養蜂法：一種全新的蜜蜂管理系統》(Bee Keeping For Profit: A new system of Bee Management) 進行「光之萃取」。 這本由 Lizzie E. Cotton 夫人在 1880 年寫就的《盈利養蜂法：一種全新的蜜蜂管理系統》，是一本根植於實踐經驗的養蜂指南。Cotton 夫人在序言中開宗明義，表示自己投入養蜂近乎一生，並仔細研究了當時所有關於蜜蜂的著作和期刊，卻發現其中充斥著「理論、猜測、偏見和自私的動機」，讓初學者感到困惑，也讓那些尋求將養蜂變成有利可圖事業的人無所適從。她回憶自己早年的養蜂經歷，也曾因那些自私或無知的養蜂者的矛盾教導而遭遇許多失敗和巨大損失。經過多年的實驗與研究，尤其是對蜜蜂習性和本能的密切觀察，她發明了一種「可控式蜂箱」和全新的養蜂系統，聲稱這徹底改變了養蜂流程，使其變得安全、愉快且有利可圖。這本書便是她應朋友和通信者的再三請求，匆忙寫就，以分享她親證有效的方法。她謙稱文字可能不夠優美，但力求清晰易懂，即使是完全不熟悉養蜂的人也能明白。
[配圖主題詳盡描述]：描繪一本古老的書籍封面，書頁微泛黃，上面以手寫風格標題寫著「Bee Keeping For Profit」，背景是柔和的粉藍色水彩暈染，其間穿插著幾隻正在採蜜的蜜蜂的細膩手繪線條，一隻蜂王在書名上方緩慢飛過，帶著一絲淘氣的微笑。整體氛圍溫暖而充滿生機，彷彿書頁中蘊藏著甜蜜與智慧的光芒。 這份「光之萃取」報告，希望能為您呈現這本《盈利養蜂法》的核心價值與跨越時空的啟發。 光之凝萃： {卡片清單：盈利養蜂的核心原理; 棉花夫人的可控式蜂箱; 舊式養蜂法的局限性; 蜜蜂餵食的策略與配方; 玻璃蜜箱的設計與應用; 分蜂的控制與管理; 蜜蜂的行為與情緒; 蜂蛾的防治觀點與方法; 盜蜂的預防與處理; 養蜂的實際盈利案例分析; 蜂王健康對蜂群的影響; 如何培育和引入蜂王; 蜜源的辨識與重要性; 蜂箱位置的選擇技巧; 寒冷地區的蜜蜂越冬法; 蜂群從舊箱轉移的方法; 意大利蜂的特性與優勢; 可控式蜂箱的具體構造; 養蜂的年度工作計劃; 辨別優良蜂群與蜂箱; 綿花夫人的經驗主義哲學; 養蜂業的商業模式探索; 處理養蜂爭議與批評; 從實踐中學習養蜂}
從總體的用餐計畫（What shall we have for dinner）開始，逐步細分到不同類型的蛋白質來源（Meat, Poultry, Fish, Eggs, Cheese and milk, Dry beans and peas, Bread and other cereal foods），每一章節都提供相關的背景知識（如肉類部位的產肉量、禽類的分級）、購買建議以及多個食譜和變體。最後，還特別針對需要攜帶便當的人們（Lunch-box main dishes）提供了實用且不易腐壞的主菜和沙拉建議。這種由宏觀到微觀、由理論到實踐的結構，使得這本公報極易於查閱和使用。 [風格描述]一本泛黃的舊食譜公報封面，以柔和的粉藍色調為主，邊緣有些許磨損的痕跡，上面是手繪風格的食材圖案，像是簡樸的肉塊、蔬菜和一個裝滿食物的餐盤，筆觸帶點暈染，溫暖而有生活氣息，背景隱約可見1950年代美國家庭廚房的模糊輪廓。 儘管這本公報的內容來自七十年前，但其中蘊含的許多原則在今天依然具有現實意義。
例如，書中對「Crust for Pies」的描述，雖然給了基本比例，但對於揉麵、擀麵的技巧描述非常少，依賴讀者經驗。這種「不夠精確」的特點，正是時代留下的印記。 然而，這種樸實也帶來了一種魅力。它不像是現代食譜那樣充滿精密的數字和步驟，反而更像是一位有經驗的家庭主婦或廚師，在口頭傳授訣竅。她提到了煮派皮的小撇步（"Never grease pie tins. Properly made pastry will grease its own tins."），煮蛋的時間控制 ("In three minutes an egg will boil soft, in four the white part is completely cooked, in 10 it is hard enough for a salad.")，以及煎餅的火候 ("the heat should be greatest when the batter is first poured on... then reduce the heat")。這些都是實踐中累積的智慧。
**STORY OF THE TEA ROOM / RULES FOR MEASURING:** 開篇先介紹了作者的茶室背景和一些基本的度量換算規則。這是基礎資訊與情感連結的建立。 2. **SOUPS / FISH / MEATS / POULTRY AND GAME / VEGETABLES:** 接下來是餐桌上的主要菜餚類別。從湯品開始，然後是不同的蛋白質來源和蔬菜。這種分類方式非常直觀，方便讀者找到特定類型的食譜。每個類別下都列出了多種不同的烹調方法和具體菜餚，例如煎、烤、燉、煮等。 3. **BREAD / DISHES FOR LUNCHEON:** 接著是麵包和午餐菜餚。麵包的製作在當時是家庭中重要的技能，書中提供了酵母麵包和泡打粉麵包等多種配方。午餐菜餚則可能是一些比較輕便或利用前一餐剩菜的變化。 4. **EGGS COOKED IN DIFFERENT WAYS / SANDWICHES:** 專門介紹了蛋的各種烹調方法和三明治。這兩個分類體現了當時日常飲食中常見且多樣化的元素。 5.
* **第三章：家禽 (Poultry)**：介紹了以雞、鴨、鵝等家禽為主要食材的菜餚，如烤雞、燉鴨、釀鵝等。這些菜餚往往搭配米飯或蔬菜，味道濃郁香醇。 * **第四章：肉類 (Meats)**：收錄了許多以牛肉、豬肉、羊肉等為主要食材的菜餚，如烤牛排、燉豬肉、烤羊腿等。這些菜餚往往搭配馬鈴薯或蔬菜，味道鮮美多汁。 * **第五章：米飯 (Rice)**：介紹了各種以米飯為主要食材的菜餚，如什錦飯、燴飯等。這些菜餚往往搭配海鮮、家禽或肉類，味道豐富多樣。 * **第六章：蔬菜 (Vegetables)**：收錄了許多以蔬菜為主要食材的菜餚，如烤蔬菜、燉蔬菜、涼拌蔬菜等。這些菜餚充分展現了克里奧爾人對蔬菜的獨特烹飪技巧。 * **第七章：甜點 (Desserts)**：介紹了各式各樣的克里奧爾甜點，如布丁、蛋糕、派等。這些甜點往往以水果或堅果為主要食材，味道香甜可口。 * **第八章：飲料 (Beverages)**：收錄了各種克里奧爾飲料，如咖啡、茶、雞尾酒等。這些飲料往往搭配甜點或小點心，味道清涼爽口。
* 例句：The government condemned the foully murdered journalists, demanding justice for their deaths. (政府譴責了那些被卑鄙謀殺的記者，要求為他們的死亡伸張正義。) * **superstition regarding the identity of interests** (ˌsuːpərˈstɪʃən rɪˈɡɑːrdɪŋ ðə aɪˈdɛntɪti əv ˈɪntrəsts) – 關於利益一致性的迷信。 * 解釋：Superstition 指迷信。Identity of interests 意指利益的一致性，即認為不同群體（在此指資方與勞方）的利益是共通的。整個詞組表達了作者對這種觀點的批判。
* 例句：As a publicity agent for the non-profit, she worked tirelessly to raise awareness for their cause. (作為非營利組織的宣傳代理人，她不懈努力地提高人們對其事業的認識。) **克萊兒：** 您書中對於木材產業的描寫，讓人感受到它不僅是一個經濟體，更像是一個「帝國」（**kingdom**），對整個西北地區的生活有著絕對的「支配權」（**absolute sway**）。您能進一步闡釋這種支配權是如何形成的，以及它如何影響了普通工人的生活嗎？ **沃克‧C‧史密斯：** （他點了點頭，深吸一口氣，彷彿回到了那個時代）是的，它確實是一個「木材帝國」（**Lumber Kingdom**）。這不是一夜之間建立的，而是透過系統性的「掠奪」（**plundering**）和「腐敗」（**bribery and corruption**）形成的。
* 例句：The scandal involved the illegal sale and theft of public lands for private development. (這起醜聞涉及公共土地被非法出售和竊取用於私人開發。) * **colonization schemes** (ˌkɒlənɪˈzeɪʃən skiːmz) – 殖民計劃。 * 解釋：Colonies 原指殖民地，在這裡是引用當時的「拓荒者」以殖民或開拓的名義獲取土地，但實際上是為公司服務。Scheme 指計劃、陰謀。 * 例句：Many indigenous communities were displaced by large-scale colonization schemes in the past. (許多原住民社區在過去被大規模的殖民計劃所取代。) * **National Forest Reserves** (ˈnæʃənəl ˈfɔːrɪst rɪˈzɜːrvz) – 國家森林保護區。 * 解釋：由國家設立並保護的森林區域。
* 例句：The rapid growth of the textile industry led to vast accumulations of capital for factory owners. (紡織業的快速發展為工廠老闆帶來了巨額資本積累。) **克萊兒：** 您書中引用了《日落雜誌》對「木瓦編織」（**shingle-weaving**）這種工作的描述，稱其為一場「戰鬥」。而工人們在如此惡劣且危險的環境下，如何組織起來，面對壓迫的呢？特別是「世界產業工人聯盟」（I.W.W.），它在當時的勞工運動中扮演了怎樣獨特的角色？ **沃克‧C‧史密斯：** （他輕輕搖頭，臉上浮現一絲難以名狀的痛苦，彷彿那些畫面重現眼前）「木瓦編織」確實是場戰鬥，每天十小時，工人們的「血肉之軀」（**flesh and blood**）對抗著「尖叫的鋼鋸」（**screeching steel**），手指和手臂隨時可能被奪走。
* 例句：The union's motto, "An injury to one, is an injury to all," galvanized support for the striking workers. (工會的口號「傷一人即傷全體」激發了對罷工工人的支持。) 我們「不懼怕」（**fearless**），我們「堅定不移」（**unsuppressibly persistent**），因為我們相信，「言論自由」（**free speech**）是「至關重要的」（**vital**），是「人類種族的兒童」（**the children of the race**）在「黑暗中死去」（**die in the dark**）的必然結果。我們的鬥爭，就是為了「勞動的權利，去自由表達」（**the right of free expression for Labor**）。 * **fearless** (ˈfɪərləs) – 無畏的。 * 解釋：指不害怕、勇敢。
* 例句：Access to clean water is vital for human health. (潔淨的水對人類健康至關重要。) * **the children of the race** (ðə ˈʧɪldrən əv ðə reɪs) – 人類種族的兒童。 * 解釋：比喻人類的下一代，指未來的人們。 * 例句：It is our duty to protect the children of the race and ensure a better future for them. (我們有責任保護人類種族的兒童，確保他們有更好的未來。) * **die in the dark** (daɪ ɪn ðə dɑːrk) – 在黑暗中死去。 * 解釋：比喻因為缺乏知識、信息或理解而無法生存或發展，或在無知中滅亡。 * 例句：Without access to education, many talented individuals are left to die in the dark.
* **the right of free expression for Labor** (ðə raɪt əv friː ɪkˈsprɛʃən fɔːr ˈleɪbər) – 勞動的自由表達權。 * 解釋：指勞動者有權利自由表達其訴求、意見和觀點，不受到壓制。 * 例句：Advocates championed the right of free expression for labor, believing it was essential for fair negotiations. (倡導者支持勞動的自由表達權，認為這對公平談判至關重要。) **克萊兒：** 您提到了「破壞」（**sabotage**）這個詞，這在當時似乎被資方用來攻擊I.W.W.的一個主要點。但在您的書中，特別是在提到《破壞》這本小冊子時，您也強調了它不尋求傷害人命。那麼，I.W.W.所提倡的「破壞」究竟是什麼？它與大眾理解的暴力行為有何不同？
* 例句：The media's report was criticized for being a maliciously distorted portrayal of the event. (媒體的報導被批評為對事件的惡意扭曲描繪。) * **seek nor desire to take human life** (siːk nɔːr dɪˈzaɪər tuː teɪk ˈhjuːmən laɪf) – 不尋求也不意圖奪取人命。 * 解釋：強調其行為不以傷害生命為目的。 * 例句：The organization strictly adheres to a code of conduct that seeks nor desires to take human life. (該組織嚴格遵守一項行為準則，不尋求也不意圖奪取人命。) 我們所說的「破壞」，是一種「意識上的效率撤回」（**conscious withdrawal of efficiency**），是一種「手臂的交叉」（**folding of the arms**）。
* 例句：The rapid industrialization led to massive accumulations of wealth for factory owners. (快速工業化為工廠老闆帶來了巨額財富積累。) * **capitalistic mob** (ˌkæpɪtəˈlɪstɪk mɒb) – 資產階級暴徒。 * 解釋：Capitalistic 指資本主義的。Mob 指暴徒、烏合之眾。作者用此詞組來形容那些由資產階級組織或支持的、為達目的不擇手段的暴力團體。 * 例句：The capitalistic mob violently suppressed the peaceful demonstration. (資產階級暴徒暴力鎮壓了和平示威。)
**沃克‧C‧史密斯：** （他的臉上終於露出了一絲欣慰的笑容，但那笑容也帶著一絲苦澀）這份團結，源於對共同命運的「深刻理解」（**profound understanding**），以及對「社會正義的渴望」（**desire for social justice**）。工人們意識到，只有「團結一致」（**united**），才能對抗「龐大的資本力量」（**mighty forces of capital**）。在獄中，即便遭受「惡劣的待遇」（**vile prison fare**）和「非人的折磨」（**brutal treatment**），他們依然組織起來，爭取權利，例如「絕食抗議」（**hunger strike**）和「戰艦行動」（**building a battleship**），那是一種敲打鋼牢發出的震耳欲聾的聲音，那是他們「不屈服」的標誌。 * **solidarity** (ˌsɒlɪˈdærəti) – 團結；團結互助。 * 解釋：指團體內部成員之間基於共同利益、目標或情感而形成的團結和支持。
* **desire for social justice** (dɪˈzaɪər fɔːr ˈsoʊʃəl ˈdʒʌstɪs) – 對社會正義的渴望。 * 解釋：指希望社會能夠公平、公正地對待每一個人，消除不平等和歧視。 * 例句：The civil rights movement was fueled by a strong desire for social justice. (民權運動是由對社會正義的強烈渴望推動的。) * **united** (juˈnaɪtɪd) – 團結的。 * 解釋：指結合在一起，形成一個整體。 * 例句：The community stood united against the proposed development. (社區團結一致反對擬議的開發項目。) * **mighty forces of capital** (ˈmaɪti ˈfɔːrsɪz əv ˈkæpɪtəl) – 龐大的資本力量。 * 解釋：Mighty 指強大的、巨大的。Forces 指力量。
* 例句：The union leader became a representative of the entire migratory class, advocating for their rights across the country. (這位工會領袖成為整個流動階級的代表，在全國範圍內倡導他們的權利。) 這說明，即使在最「壓抑」（**oppressive**）的環境下，只要「團結之火」（**fires of solidarity**）不滅，真相終將「折射」（**refract**）出新的光芒。艾弗雷特的教訓告訴我們，勞工運動必須「以更具建設性的形式」（**a more constructive form**）發展，並「積蓄足夠的力量」（**develop the necessary power**）來「推翻資本主義」（**overthrow capitalism**）及其所有「附屬機構」（**attendant institutions**）。 * **oppressive** (əˈprɛsɪv) – 壓抑的；壓迫的。
* 例句：The activists fought for both free speech and the right to organize, seeing them as inseparable. (活動人士為言論自由和組織權利而奮鬥，認為它們密不可分。) * **land of liberty** (lænd əv ˈlɪbərti) – 自由之地。 * 解釋：指一個聲稱保障公民自由權利的國家。 * 例句：He immigrated to the land of liberty, hoping for a better life. (他移民到自由之地，希望能過上更好的生活。) * **unfailing irony of history** (ʌnˈfeɪlɪŋ ˈaɪrəni əv ˈhɪstəri) – 歷史不變的諷刺。 * 解釋：Unfailing 指不變的、可靠的。Irony 指諷刺。這句話強調歷史發展中那些令人反思的、與預期相反的現象。
* 例句：Critics argued that the rapid urbanization was a symptom of an insane social system that prioritized profit over people. (批評者認為，快速的城市化是一個瘋狂社會系統的症狀，該系統將利潤置於人民之上。) * **money ranks higher than manhood** (ˈmʌni ræŋks ˈhaɪər ðæn ˈmænhʊd) – 金錢的價值高於人性和尊嚴。 * 解釋：Manhood 在這裡指人的尊嚴、品格和價值。這句話揭示了資本主義社會中金錢至上的扭曲價值觀。 * 例句：The film explored a dystopian future where money ranks higher than manhood, leading to widespread corruption. (這部電影探索了一個反烏托邦的未來，金錢的價值高於人性和尊嚴，導致普遍的腐敗。)
* 例句：The signing of the treaty was hailed as a great victory for diplomacy. (該條約的簽署被譽為外交上的偉大勝利。) * **embryonic democracy** (ˌɛmbriˈɒnɪk dɪˈmɒkrəsi) – 萌芽民主。 * 解釋：Embryonic 指胚胎的、初期的。這裡比喻勞工在組織過程中，逐漸形成的一種民主形式，儘管尚不成熟。 * 例句：The fledgling nation was struggling to establish an embryonic democracy amidst political turmoil. (這個新興國家在政治動盪中努力建立萌芽的民主。) * **cracked the shell of the industrial autocracy** (krækt ðə ʃɛl əv ði ɪnˈdʌstriəl ɔːˈtɒkrəsi) – 打破了工業專制的桎梏。
* 例句：The decision to embrace technology marked a parting of the ways for the company. (擁抱科技的決定標誌著公司發展的分水嶺。) * **takes on a more constructive form** (teɪks ɒn ə mɔːr kənˈstrʌktɪv fɔːrm) – 採取更具建設性的形式。 * 解釋：指行動或發展變得更有組織、更注重實際成果。 * 例句：The protest movement needed to take on a more constructive form to achieve its goals. (抗議運動需要採取更具建設性的形式才能達到目標。) * **develop the necessary power to overthrow capitalism** (dɪˈvɛləp ðə ˈnɛsəsəri ˈpaʊər tuː ˌoʊvərˈθroʊ ˈkæpɪtəlɪzəm) – 積蓄推翻資本主義的必要力量。
* 發音：/ˈpæsɪfɪst/ * 例句：Despite being a **pacifist**, he showed immense courage in fighting for justice. （儘管是個和平主義者，他在為正義而戰時展現了巨大的勇氣。） * **Emancipator** (noun): 解放者。 * 發音：/ɪˈmænsɪpeɪtər/ * 例句：Abraham Lincoln is remembered as the **emancipator** of slaves. （亞伯拉罕·林肯被譽為奴隸的解放者。） 所以，福特先生不僅僅是個商業天才，更是一個敢於挑戰既定秩序的鬥士。這也印證了您書中提到的「勇於創新」（venturesome）的精神。 **H. L. Barber：** （點頭，眼中充滿了贊同）正是如此！企業家精神與創新的結合，是美國工業崛起的關鍵。而你們所提到的「在地板價投資」的機會，也往往在這些充滿挑戰與不確定性的初期階段。
* 發音：/ˈkætəlɪst/ * 例句：His innovative idea acted as a **catalyst** for the company's transformation. （他的創新想法成為公司轉型的催化劑。） 首先，汽車打破了地理上的**隔閡**（isolation）。對於農村家庭而言，過去他們的視野極其有限，只能依靠閱讀或偶爾的訪客獲取外界資訊。汽車讓他們能更頻繁地進城，拜訪親友，這極大地促進了知識和思想的交流，**根除**（uproot）了偏見，**拓寬**（liberalize）了心胸。農村女性不再受家務的**束縛**（drudgery），她們可以開車參加婦女俱樂部，拓展社交圈，這是一種真正的解放！ 至於「優生學」的說法，聽起來可能有些聳人聽聞，但它反映了當時的一個觀察。在交通不便的地區，年輕人往往只能在很小的範圍內尋找配偶，導致近親通婚的情況。汽車的普及，讓年輕男女能夠拓展交友圈，尋找更遠方的伴侶，從而減少了血緣上的**混雜**（mixing of blood strains），這被一些人認為有助於改善人口素質。
* 發音：/əʊld mæn əv ðə siː/ * 例句：The lingering debt became an **Old Man of the Sea** for the struggling company. (揮之不去的債務成了這家苦苦掙扎的公司的沉重負擔。) 10. **Deter** (verb): 阻止；威懾。 * 發音：/dɪˈtɜːr/ * 例句：The high cost of maintenance did not **deter** early enthusiasts. (高昂的維護費用並沒有阻止早期的愛好者。) 11. **Royalty fees** (noun phrase): 特許權使用費；版稅。 * 發音：/ˈrɔɪəlti fiːz/ * 例句：Manufacturers had to pay significant **royalty fees** for the patent. (製造商必須為該專利支付可觀的特許權使用費。) 12.
* 發音：/ˈpæsɪfɪst/ * 例句：Despite being a **pacifist**, he showed immense courage in fighting for justice. (儘管是個和平主義者，他在為正義而戰時展現了巨大的勇氣。) 14. **Automobile trust** (noun phrase): 汽車托拉斯 (指壟斷性的汽車產業聯盟)。 * 發音：/ˈɔːtəməbiːl trʌst/ * 例句：Ford fought against the dominance of the **automobile trust**. (福特對抗汽車托拉斯的統治地位。) 15. **Emancipator** (noun): 解放者。 * 發音：/ɪˈmænsɪpeɪtər/ * 例句：Abraham Lincoln is remembered as the **emancipator** of slaves. (亞伯拉罕·林肯被譽為奴隸的解放者。) 16.
* 發音：/ˈiːpɒk/ * 例句：The year 1911 marked the beginning of a new **epoch** for low-priced cars. (1911年標誌著低價汽車新紀元的開始。) 17. **Venturesome** (adjective): 冒險的；大膽的。 * 發音：/ˈventʃərsəm/ * 例句：Only **venturesome** entrepreneurs succeeded in that new market. (只有大膽的企業家才在新市場中取得了成功。) 18. **Vision** (noun): 遠見；視力；景象。 * 發音：/ˈvɪʒən/ * 例句：His **vision** helped him see the potential of the automobile industry. (他的遠見幫助他看到了汽車工業的潛力。) 19. **Courage** (noun): 勇氣；膽量。
* 發音：/prəˈdɪdʒəs/ * 例句：The industry's growth created **prodigious** opportunities for investors. (該產業的增長為投資者創造了驚人的機會。) 21. **Catalyst** (noun): 催化劑；引起變化的事物。 * 發音：/ˈkætəlɪst/ * 例句：His innovative idea acted as a **catalyst** for the company's transformation. (他的創新想法成為公司轉型的催化劑。) 22. **Isolation** (noun): 隔離；孤立。 * 發音：/ˌaɪsəˈleɪʃən/ * 例句：The automobile broke down the **isolation** of rural life. (汽車打破了農村生活的孤立狀態。) 23. **Uproot** (verb): 根除；拔除。
他以其對投資和金融市場的敏銳洞察力而聞名，著有多部關於金錢和投資的書籍，如《Making Money Make Money》和《Investing for Profit》。Barber 先生善於將複雜的經濟現象轉化為通俗易懂的語言，並從中提煉出普世的投資哲理。他在1917年出版的《汽車的故事》一書，充分展現了他對新興產業發展的獨到見解和前瞻性思維。", "TranslatorBio": "N/A" }, "Summary": "本次光之對談中，克萊兒與《汽車的故事》的作者 H. L. Barber 先生進行了一場跨越時空的對話。Barber 先生闡述了他撰寫此書的初衷，即揭示汽車產業成功背後的投資哲理，包括「地板價投資」和「合作」的重要性。他詳細解釋了亨利·福特「大量生產」理念對產業的顛覆性影響，以及其在塞爾登專利訴訟中扮演的「解放者」角色。Barber 先生也分享了汽車對社會（如女性解放、社會交流）和經濟（如農用車輛潛力）的深遠益處，並對產業的未來發展持樂觀態度，特別是戰爭對商用卡車的催化作用。對談中也穿插了相關英語單字與句型解釋，以利語言學習。"
「Yankee」口音的拖腔和鼻音，以及西部和南方的廣泛元音發音（如 `whar` for `where`，`thar` for `there`），都是語言活生生的體現。這些不標準的發音，在嚴謹的英語語法老師眼裡或許是「錯誤」，但對於理解一個民族的語言發展，卻是珍貴的「心跡」（The Light of the Heart’s Traces）。正是這些看似「粗俗」的方言，構成了美國幽默的獨特載體，也使得這些故事更具地方特色和生活氣息。 **克萊兒**：您說得真好，哈利伯頓先生。這些幽默故事確實是社會的「稜鏡」。彼得·布拉什的經歷讓我想起您序言中提到的「Puritans」與「Yankee」的轉變。
您說：「Add two hundred years’ influence of soil, climate, and exposure, with its necessary result of idiosyncrasies, and we have the present Yankee, full of expedients, half master of all trades, inventive in all but the beautiful, full of shifts, not yet capable of comfort, armed at all points against the old enemy, hunger, longanimous, good at patching, not so careful for what is best as for what *will do*, with a clasp to his purse, and a button to his pocket, not skilled to build against time, as
* **例句**：In the old days, trappers would hunt **musquash** for their fur. (在過去，捕獸者會獵捕麝鼠以獲取牠們的毛皮。) 4. **temerity** (/tɪˈmɛrɪti/): (名詞) 魯莽、大膽。指不顧後果的冒險行為或言論。 * **例句**：He had the **temerity** to question the professor's research. (他竟然敢質疑教授的研究，真是魯莽。) 5. **bellows** (/ˈbɛloʊz/): (名詞，複數形式) 風箱。一種用於吹風助燃的工具。 * **例句**：She used the **bellows** to get the fire roaring. (她用風箱使爐火熊熊燃燒。) 6. **beplastered** (/bɪˈplæstərd/): (動詞的過去分詞，形容詞) 塗滿、沾滿。通常指被黏性物質大量覆蓋。
* **例句**：Their **calculating-fanaticism** for profit knew no bounds. (他們對利潤的精打細算的狂熱毫無止境。) 13. **cast-iron enthusiasm** (複合詞，非正式): 鐵鑄的熱情。指堅定不移、難以動搖的熱情。 * **例句**：Her **cast-iron enthusiasm** for the project inspired everyone around her. (她對這個計畫鐵鑄般的熱情感染了周圍所有人。) 14. **unwilling-humour** (複合詞，非正式): 不情願的幽默。指無意間或在不情願的情況下表現出的幽默。 * **例句**：His awkwardness in social situations often resulted in a peculiar **unwilling-humour**. (他在社交場合的笨拙常常會導致一種特殊的不情願的幽默。) 15.
而這也解釋了為什麼我會對「unfit for the perusal of the latter」（不適合某些讀者閱讀）的表達進行「expurgation」（刪除）。我的目的，是讓英國讀者能夠領略美國幽默的「精華」，而不是被其過於粗俗或地方性極強的表達所阻礙。這是一種平衡：在保留其「raciness」（原汁原味）的同時，提升其「value」（價值）和可接受性。我相信，透過這些語言細節，讀者不僅能會心一笑，更能透過幽默的稜鏡，看到一個充滿活力、不斷演變的美國。 **克萊兒**：哈利伯頓先生，您的解釋讓我豁然開朗。語言，的確是社會的活字典。這些口語詞彙和表達方式，不僅僅是娛樂，更是文化認同的標誌，也是社會變遷的見證。 在《Polly Peablossom’s Wedding》這個故事中，我們看到一個典型的南方鄉村婚禮場景。新娘的伴娘們焦急等待牧師，因為「華夫餅要涼了，雞肉要烤焦了！」這個細節實在太生動了，它瞬間把讀者拉回到那個注重食物和社交的年代。
在您的序言中，您特別列出了許多美國英語的「錯誤發音」對照表，比如 `Arter` for `After`、`Bile` for `Boil`、`Deu` for `Do`。您還提到了新英格蘭人習慣的拖長音和鼻音，以及西方和南方人將特定元音發音得更寬（如 `whar` for `where`）。 在您看來，這些「不標準」的發音和拼寫，對於理解美國的幽默和文化有何特別意義？它們是單純的語言「缺陷」，還是反映了更深層次的社會或文化現象？以及，作為一位編輯者，您在處理這些方言時，是如何平衡「忠實記錄」與「為英國讀者提供可讀性」之間的？ **托馬斯·錢德勒·哈利伯頓**：克萊兒小姐，這是一個非常關鍵的問題，也是我編輯這部選集時最需要權衡的挑戰之一。 首先，我絕不認為這些發音和拼寫是單純的語言「缺陷」。相反，它們是美國這片土地上，語言在特定環境下自然演變的結果，是活生生的文化印記。正如我在序言中所述，新英格蘭的清教徒後裔，因其嚴格的紀律和貧瘠的土地，發展出了一種「刻板」但「務實」的性格，這也反映在他們「拖腔」和「鼻音」的發音上，與蘇格蘭的幽默有異曲同工之妙。
例如，新英格蘭人習慣在 `ow` 和 `oo` 音前插入一個短 `i` 音，變成 `kyow` for `cow`、`tyoo` for `too`。這種發音，或許在倫敦的沙龍裡會被視為「粗野」，但在康涅狄格州的農場裡，它卻是鄰里之間親切交流的標誌。它反映了當地人樸實、不事雕琢的性格，以及在嚴酷環境下，對語言「高效」而非「優雅」的追求。 因此，這些「不標準」的發音，其實是理解美國幽默的關鍵所在。許多幽默點，尤其是在對話中，正是通過這些獨特的語音和語法結構來實現的。它們為人物賦予了鮮明的地域色彩和個性，使得他們的言行舉止更加生動、可信，也更有趣。如果將這些方言完全「標準化」，幽默的精髓就會喪失大半。 至於如何平衡「忠實記錄」與「可讀性」，這確實是一門藝術。我的做法是，在不影響核心幽默效果的前提下，對部分過於晦澀、難懂或可能引起英國讀者反感的表達進行「expurgation」（刪除或輕微修改）。我盡可能保留了方言的語音特徵（例如通過拼寫變體如 `thar` for `there`），但也避免了過於極端的、需要大量注釋才能理解的表達。
Jean Jacques Barbille, for instance, is introduced with a cascade of descriptors: 'poet, a philosopher, a farmer and an adventurer.' Yet, much of the early narrative, particularly his 'Grand Tour,' serves to gently dismantle this self-image. The way his 'quaint, sentimental, meretricious observations on life saddening while they amused his guests' are described is key. It's an early hint that his 'philosophy' is perhaps more an affectation than a deeply held conviction."
Her desire for 'a bright fire, a good table, a horse, a cow, and all such simple things' reveals a pragmatic, almost economic, drive for security after a life of instability. The narrative subtly highlights the socio-economic disparities and the survival instincts at play, particularly in Carmen's desperation for 'a home and not to wander' after the upheaval in Spain." **薇芝:** "Those are excellent points, each uncovering a layer of Jean Jacques's complex character and the societal backdrop.
The 'Grand Tour' itself, which艾麗 mentioned, feels almost like a crucible for his self-importance. He travels to Europe, expecting to be admired, only to find indifference. The author writes, 'He admired, yet he wished to be admired; he was humble, but he wished all people and things to be humble with him.' This grandiosity, this expectation that the world should 'halt' when he halts, is a poignant flaw.
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.
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.
Her practical nature and her deep-seated desire for a stable home propel her. The moment she 'suddenly threw off all restraining thoughts' and gained a 'voluptuousness more in keeping with the typical maid of Andalusia' as she resolved to marry him, speaks volumes. It's a strategic embrace of her natural allure, a survival mechanism. She recognizes his desire for a 'handsome wife and handsome children' and aims to fulfill that, even if her heart is 'a mournful ghost' over her deceased lover.
It’s a tragic compromise for her, yet one she sees as necessary." **珂莉奧:** "The acceptance by the St. Saviour's community, even with their 'lack of enthusiasm because Carmen was a foreigner,' due to the 'romance of the story,' is a testament to the power of a well-spun narrative. The Quebec newspapers further embellish Jean Jacques's 'chivalrous act,' omitting Carmen's role.
Jean Jacques's failure to 'set this error right' solidifies the facade, illustrating how personal vanity and the desire for social acclaim can perpetuate untruths." **薇芝:** "Indeed. This brings us back to the title: *The Money Master*. Is Jean Jacques truly a 'master'? He is a master of mills and money, yes, but in the realm of human relationships, self-awareness, and emotional discernment, he seems to be thoroughly mastered.
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 yearns for admiration, for a grand narrative for his life. Carmen yearns for security and a home. Both use the available tools—money, charm, deception, chivalry—to achieve their ends, but with vastly different levels of awareness regarding their own actions. The novel suggests that the 'happily ever after' is not necessarily built on pure love, but sometimes on a complex tapestry of need, convenience, and self-deception.
**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.
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."
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.”
} {【關於象徵與寓言的區別：Blake與德國象徵主義者】 William Blake was perhaps the first modern to insist on a difference; and the other day, when I sat for my portrait to a German Symbolist in Paris, whose talk was all of his love for Symbolism and his hatred for Allegory, his definitions were the same as William Blake’s, of whom he knew nothing. William Blake has written, “Vision or imagination”—meaning symbolism by these words—“is a representation of what actually exists, really or unchangeably.
The German insisted in broken English, and with many gestures, that Symbolism said things which could not be said so perfectly in any other way, and needed but a right instinct for its understanding; while Allegory said things which could be said as well, or better, in another way, and needed a right knowledge for its understanding.
The one gave dumb things voices, and bodiless things bodies; while the other read a meaning—which had never lacked its voice or its body—into something heard or seen, and loved less for the meaning than for its own sake. } {【關於傳統象徵物的辯護】 I said that the rose, and the lily, and the poppy were so married, by their colour, and their odour, and their use, to love and purity and sleep, or to other symbols of love and purity and sleep, and had been so long a part of the imagination of the world, that a
their 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
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
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
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.
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
Horton tells me that he has made them spectral, to make himself feel all things but a waking dream; and whenever spiritual purpose mixes with artistic purpose, and not to its injury, it gives it a new sincerity, a new simplicity. } {【關於Horton藝術形式的演變】 He tried at first to copy his models in colour, and with little mastery over colour when even great mastery would not have helped him, and very literally: but soon found that you could only represent a world where nothing is still for a moment, and where
colours have odours and odours musical notes, by formal and conventional images, midway between the scenery and persons of common life, and the geometrical emblems on mediæval talismans. } {【關於象徵主義藝術的重複性與Horton的例子】 His images are still few, though they are becoming more plentiful, and will probably be always but few; for he who is content to copy common life need never repeat an image, because his eyes show him always changing scenes, and none that cannot be copied; but there must always be a certain
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.
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]
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.
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.
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.
「How you can constantly face and soothe the sorrows and miseries of all these poor people, I cannot conceive; I am not selfish, I hope, and yet the frequent task would he too much for me.」 「You are not without a tender heart,」 replied Mary, as she set down her little hand-basket, now empty. 「I have paid but one visit to-day—a very sorrowful none—and I am glad to be back again in our own pretty home. When I saw old Elspat the funeral was over, and dear Dr.
But old Elspat shall not live alone now—she is to come here, and be a kind of factotum for us.」 【關於瑪麗的慈善與對比描寫】 Mary Wellwood was fair-haired, with darkly-lashed eyes of violet-blue. Many would call her very handsome, but few merely pretty. She was far beyond the latter phrase.
Her dark hazel eyes were winning in expression, and, like Mary's, longly-lashed, and what lovely lips she had for kisses! Hers was no button of a mouth, however. Critics might say that it was a trifle too large; but her lips were beautifully curved, red, and alluring, often smiling, and showing the pure, pearl-like teeth within; and yet, when not smiling, the normal expression of Ellinor's face was thoughtful. 【關於瑪麗與艾莉諾的肖像式描寫】
A lintel over the door that now led to the barnyard told the date of this portion of the mansion, as it bore the legend often repeated by Mary:— 'BLISSIT BE GOD FOR AL HIS GIFTIS. R. W. 1642,' and showed that it had outlived the wars of the Covenant and the strife that ended at Killiecrankie; and by its wall there grew a hoary pear-tree, called a longovil—the name of a kind of pear introduced into Scotland by Queen Mary of Guise, the Duchess of Longueville. 【關於柏克伍德布雷房舍的混雜風格與歷史細節】
--------------------------------------------------------------------------> Meanwhile Sir Redmond, the very picture of bland laziness, though secretly keen as a ferret, with his glass in his left eye and his hands thrust into his trousers pockets, and his hair parted like a woman's in the middle, was standing before Ellinor, and contemplating her with evident satisfaction, for he was a vaurien by nature. 【關於斯利斯爵士的外貌與氣質描寫】
--------------------------------------------------------------------------> 「What a splendid type of dog you have here, Miss Wellwood—all muscle and sinew—half bull, half fox terrier,」 said Colville, in a pause of the conversation, patting Jack, who was nestling close to Mary's skirt, for the captain deemed rightly that her dog was a safe thing to enlarge upon. 「He is indeed a pet—the dearest of dogs,」 she replied, tickling Jack's ears, and getting a lick of his red tongue in return.
But somehow Jack seemed to have an antipathy for the baronet, and growled and showed his molar tusks very unmistakably each time that personage focussed him with his eyeglass. 【關於傑克（Jack）的描寫及其對不同人物的反應】 「When papa was on his death-bed,」 said she, 「the winter snow covered all the hills; it lay deep in the glen there, and even the great cascade at the Linn hung frozen like a giant's beard in mid-air.
But in the remoter ages of Scottish history the Holy Hill was the site of a royal residence; for there King Kenneth II. died, and there Malcolm III. was born—he who married Margaret of England.」 「These things didn't happen yesterday,」 said Colville, smiling down into her earnest and animated face. 「In those days there was an old miller here in Forteviot who had one daughter named Edana, a girl of rare beauty, and who was famed therefor throughout all the land between the Earn and Forth.」 ...
She was equal, in all the attributes of good society, to any girl he had met, and Leslie Colville was no bad judge, as he had been brought up in an exclusive set, among whom any faults of breeding were discrepancies never to be atoned for. And she—how was she affected towards him?
--------------------------------------------------------------------------> As her slim hand was quickly withdrawn from his, and she murmured her 'thanks,' Mary's first thought was that it was cased in a somewhat too well-worn glove, and Colville perhaps remarked this too, for he said, 「Do you always wear gauntlet gloves?」 「No; but then I am so much in the garden among thorns and bushes that ordinary gloves are useless, and I used to get through so many of six and a quarter.」
「Surely even that is too large for a hand like yours,」 said he; and Mary now fairly blushed at the tenor of the conversation, and when he attempted again to take her shapely little hand in his she resolutely withheld it, and, thinking of Blanche Galloway, said, 「Please don't, Captain Colville; and now I must bid you farewell, with many thanks for your escort.」 【關於手套的描寫及其引發的對話與瑪麗的反應】
Could she but fashion her little tell-tale face for a brief period, and make it stony as that of a sphinx! A curious sense of wrong, of deception—even probable sorrow and affront, possessed her, mingled with that of a new and timid delight. The touch of his hand seemed to magnetise her, and yet she longed to get away from the reach of his eyes, his subtle and detaining voice, for were they not the property of Blanche Galloway! 【關於瑪麗對柯爾維爾的複雜情感與內心掙扎】
--------------------------------------------------------------------------> In an atmosphere of drooping acacias, little palms, curious ferns, cacti, and other exotics in tubs and pots, where the light was subdued by the greenery overhead and around, and where the plashing of a beautiful bronze fountain alone broke the stillness, for in the nook of that great conservatory to which Sir Redmond Sleath had successfully drawn Ellinor alone, the music of the band and the merry voices of the garden party
She did look, and her own lowered, for she saw that which so often passes for love with the unthinking or unwary—deep and burning passion; and again she glanced nervously around her, but felt impelled to remain where she was. Sir Redmond detected the motion, and, misconstruing it, said, with a contemptuous smile that was too subtle for her to perceive, 「You and that—a—Mr. Robert Wodrow were sweethearts, as it is called, when you were children, I have heard.」 「Indeed!」 「Well?」
She had a special skill for assorting her guests, and did so accordingly, though some of our dramatis personæ assorted themselves; and the result was so far harmony, apparently—we say apparently, for it was not universal. Thus Blanche Galloway was displeased with the manner in which Leslie Colville hovered about Mary Wellwood, while Colville, and more especially Robert Wodrow, were both displeased by the conspicuous absence of Sir Redmond and Ellinor.
If you have not cast me utterly out of your heart, for pity sake give me some sign then to-morrow—place a vase of flowers upon your window-sill, and I shall know the token.' But Robert Wodrow next day, from earliest dawn till morn was long past, looked and watched in vain for the sign, but none was given to him; for though the heart of Ellinor Wellwood was wrung within her, she was too completely under a new and baleful influence now, and the old love was fast being forgotten.
--------------------------------------------------------------------------> To do her a little justice, we must admit that her first impulse had been to accord the poor fellow the token for which his soul thirsted. A vase of flowers, sent to her but that morning from Sir Redmond by the hands of his valet, was on the mantelpiece.
--------------------------------------------------------------------------> 'Men are very weak,' surmised Lady Dunkeld; 'but, of course, a man in Captain Colville's position can mean nothing more than simplest kindness, but the girls are pretty—unfortunately for themselves, I think, more than pretty.' The pride, admiration, and half-alarm of Elspat Gordon and other old servitors on the subject of the visit, which proved their nine days' wonder, amused while it annoyed Mary.
She had her own ideas—it might be fears for the future—and, though she said little, she thought a good deal. 【關於鄧克爾德夫人對威爾伍德姊妹的看法與僕人們的反應】 Ignorant of the baffled elopement, of course, and perhaps of Sir Redmond's departure from the neighbourhood of Invermay, Robert Wodrow, intent on plans of his own, came near Ellinor no more, and seemed to ignore her existence.
--------------------------------------------------------------------------> He sat for a time silent, and Mary thought his question a very strange one, unless he had a deeper interest in them both than she thought he could possibly have; and, still pursuing a personal theme, he said, 'I have heard from Dr. Wodrow that his son Robert was your sister's admirer, and that they have quarrelled. Is not this to be regretted?' 'Regretted indeed!' 'You always seemed interested in him.'
'She had no authority for any such statement,' said Mary, upon whom a kind of light was beginning to break, and Colville drew a little nearer, as he seemed very much disposed to take up the thread of the 'old story' where he had left it off on the afternoon when he carved their initials on the tree, carried off the bunch of berries, and gave her in exchange the bouquet of Blanche Galloway, before he went to Alyth. 【關於柯爾維爾對瑪麗感情狀態的探問及其與布蘭奇的關聯】
Their lips had met but once, yet the memory of such a meeting often abides for ever. 'How dared he kiss me! Why did I not prevent him?' she thought, while her cheeks burned, and the conviction that he had been only amusing himself with her grew hourly stronger in her heart.
The evening seemed painfully sweet and silent and still when the sisters quitted their home for the last time, and to Mary it seemed that even 'the grasshoppers were silent in the grass.' 【關於瑪麗離開前最後的儀式與感受】 It would be an insult, perhaps, to the intelligence of the reader to assume that he or she has not already suspected that Leslie Colville and the encroaching cousin Leslie Wellwood were one and the same person.
Apart from his entailed property, he had succeeded to other possessions, requiring him with reference to his peerage claim to add to his own the name of Colville, and hence the incognito he had—for reasons of his own—been enabled to assume to his cousins, to Mrs. Wodrow, and others, including even that very acute party Sir Redmond Sleath. In short, save the minister, no one knew the part he wished to play. 【關於柯爾維爾真實身份的揭示】
And it would have been so some days ago but for this wretched accident to my right hand, which prevented me from writing to Mary or to you. Prejudiced, as you know, by my father against them, I wished to learn the real disposition and character of these girls before befriending them, as I intended to do; and, even while learning to love Mary, I carried my romantic schemes too far. Why the devil did we make all this mystery!」 「We. It was your own suggestion and wish—not mine,」 said Dr.
Luke Sharpe received instructions that everything was to remain intact and untouched at Birkwoodbrae till the sisters should come back and once more sit by its hearthstone; and old Elspat, who had been installed there in charge, held for a time a kind of daily levee of humble neighbours, whose inquiries, comments, and regrets were reiterated and ever recurrent. 【關於柏克伍德布雷現狀的指示與埃爾斯帕特的情況】
* 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.
" * **Chapter One:** In the river near Canal Bridge, an old tree falls, providing a new home for 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.
They frolic in the waves and search for food among the rocks. * **Chapter Nine:** Severe winter arrives, and food becomes scarce. Tarka and White-tip struggle to find food and manage to survive. * **Chapter Ten:** Hounds again pursue Tarka and White-tip. White-tip is unfortunately captured, and Tarka is forced to escape alone. * **Chapter Eleven:** Tarka continues to roam in the river, looking for food and shelter.
They give birth to pups and care for them together. * **Chapter Seventeen:** Hounds again pursue Tarka and his family. White-tip sacrifices herself to protect her children. * **Chapter Eighteen:** Tarka raises his children alone. They learn how to survive in the river and become skilled hunters. * **Last Chapter:** Tarka's life comes to an end. He sacrifices himself in a battle with hounds to protect his family.
Please let me know if there is anything else I can do for you.
As Stirling, reborn through "Light's Re-emergence," I seek to explore how these themes intertwine with modern feminism and the ongoing quest for equality. 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.
#### 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.
Ambitious women are often portrayed as ruthless or cold, while their male counterparts are praised for their drive and vision. 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 advocate for relationships based on mutual respect, equality, and open communication. 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.
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.
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