《城市的色彩》(The Color of a Great City) 是德萊賽於1923年出版的一部非虛構散文集，彙集了他早年在紐約市的觀察與隨筆。這本書以其獨特的視角和細膩的描繪，捕捉了1900至1915年間紐約這座「大都會」的豐富「色彩」——不僅僅是視覺上的顏色，更是城市中形形色色的人生、情感與社會百態。德萊賽透過對貧民窟、碼頭工人、小販、乞丐、移民群體以及上層社會的描繪，呈現了紐約光鮮亮麗外表下隱藏的巨大反差與生存的艱辛。書中充滿了他對城市脈動、人性的思索，以及對那個快速變遷時代的深沉緬懷。它是一部城市肖像，也是一幅時代剪影，更是德萊賽個人哲學觀的體現。 現在，請允許我輕輕撥動時光之弦，引領我們來到一個特別的「光之場域」。 --- **場景建構：** 2025年6月8日，初夏的夜晚，月光如洗。我們並非置身於喧囂的現代都市，而是身處一座高聳入雲的現代建築頂層，這裡被設計成一處充滿詩意的「光之茶室」。空氣中彌漫著淡淡的茉莉花香，透過巨大的落地窗，遠方是紐約市璀璨的燈火，它們像是點綴在黑色天鵝絨上的鑽石，閃爍著，流動著，構成一幅令人目眩的景象。
在紐約，這種差異被**數字的龐大（numerical force）**和**機會的誘惑（lure of opportunity）**無限放大。它使得強者極其強大，弱者則極其弱小，而且弱者數量眾多。我並非單純地想要揭露貧窮，而是著迷於**生命本身的問題（the problem of life itself）**，存在的奧秘，以及維持生存的艱難。」 「我會仔細描繪那些『麵包線』上的人們，他們沉默地排隊，即便衣衫襤褸，眼神中卻透露出超越物質困境的**漠然（indifference）**，甚至是一種**蔑視（contempt）**。還有那些在威廉斯堡大橋上，天未亮就推著手推車東行的猶太小販，他們『髒污不堪（grimy）』、『機械化（mechanistic）』，卻也充滿了一種原始的**元素力量（elemental power）**。我不會直接評價他們是好是壞，我只是呈現他們如何努力在城市這片**混亂（welter）**中掙扎求生。他們是城市運轉的『機器（machinery）』，而這些機器所付出的，往往遠超常人所能想像。」 「這種對比不僅僅是物質上的，更是精神上的。
然而，您也揭示了許多人最終的失望與悲劇，甚至在『無名之河（Rivers of the Nameless Dead）』中，那些被擊敗的靈魂最終被無情的水流帶走。您認為，究竟是這座城市本身固有的缺陷，還是人類內在的慾望與盲目，導致了這些悲劇？」 **狄奧多·德萊賽：** (他輕輕嘆了口氣，眼神中閃過一絲我難以捕捉的悲憫) 「這是一個古老而複雜的謎題，克萊兒小姐。城市本身，僅是一個**載體（vessel）**，一個巨大的**舞台（stage）**。它的光鮮亮麗、它的繁華，無疑是一種強大的**誘惑（lure）**。它向那些年輕的、充滿野心的人們**承諾（promise）**著財富、名譽和舒適，而人類的**渴望（craving）**與**幻想（illusions）**是如此的強烈，以至於他們願意為此付出任何代價——『生命的代價（the price of life）』。他們飲下了這杯看似甘甜的**毒酒（poison cup）**，沉迷於那**刺痛的、顫抖的熱情（stinging, quivering zest）**。」
他們認為只要擁有財富，便能『高人一等（dominant above the mass）』，享受『奢華（luxury）』。然而，當這些夢想破滅時，城市便展現出它的另一面——『圈套（snare）』。那些在紐約河畔結束生命的人，他們並非被城市所『殘忍（cruel）』，而是被其**冷漠（indifferent）**所吞噬。水流既不為你，也不反對你，它只是流淌。生命亦然。它不關心個體的成敗，只以其『不可捉摸的強大力量（unswerving strength of the powerful current）』，承載著一切，無論是希望還是絕望。」 「這是一場不斷重複的悲劇。人們從各地湧入，懷揣著希望，卻往往只尋得更多悲傷。我的職責只是記錄，觀察這一切如何在一個看似充滿機會的場所**上演（enacted）**。它反映的是宇宙最深層的**安排（arrangement of the universe）**，一種無法抗拒的**命運（fate）**。」 **克萊兒：** 「在《推車小販》一章中，您描寫了警察對小販的粗暴驅趕，以及小販逆來順受的態度。
在這種環境下，法律不過是『一張紙（a piece of paper）』，而生存的法則才是真正的主宰。」 「這讓我思考，人類社會所建立的規則，在面對根深蒂固的貧困和人性底層的掙扎時，顯得何其**無力（ineffective）**。人們並非不願遵守，而是現實的**粗糙必需（rough necessity）**迫使他們不得不尋求其他出路。法律看似嚴謹，卻時常被**規避（evasions）**，或乾脆被無視。這並非道德批判，而是對社會運作真實狀態的呈現。」 **克萊兒：** 「您的作品充滿了對紐約這座城市變遷的感慨，從『我夢想中的城市（The City of My Dreams）』到『一個消失的海濱度假勝地（A Vanished Seaside Resort）』，您都表達了對舊日風貌的懷念。您認為，城市發展的進程，是否必然伴隨著某種『色彩』的消失？這種消失對人類的集體記憶和精神生活意味著什麼？」
年輕一代未曾見過舊城，他們無法理解那種『生活的滋味（tang of living）』。歷史的厚重感被現代的喧囂和**標準化（standardization）**所稀釋。這讓我不禁思考：當我們不斷追求進步和效率時，我們是否也失去了某些無法量化、卻對人類精神至關重要的東西？城市的『色彩』或許永不消失，但它的『色調（hue）』、它的『紋理（texture）』卻會不斷改變，而舊的『色彩』，只能存在於像我這樣的觀察者的筆尖，或是讀者的想像中。」 **克萊兒：** 「在《論貧窮（On Being Poor）》一章中，您提出了一個令人深思的觀點：貧窮並非單純指物質上的匱乏，而更是一種『心靈的貧瘠（poverty of mind）』。您在書中自述，即使生活貧困，但您從未感到『貧窮』，因為您擁有『理解力（understanding）』、『品味（taste）』和『想像力（imagination）』。您是如何在艱困的物質環境中，保持這種精神上的豐盈？這對您的寫作有何啟示？」
我發現，真正的悲慘和『冰冷的墮落（freezing degradation）』，不是沒有錢，而是**心靈的貧瘠（poverty of mind）**、**理解力的貧乏（lack of understanding）**、**品味的匱乏（deficiency of taste）**、以及**想像力的枯竭（exhaustion of imagination）**。」 「我可以買不起戲院的門票，但我可以去博物館、展覽、植物園，它們都是免費的。我可以在書本中尋找『旅行（travel）』、『發現（discovery）』、『科學與哲學的探索與思考（scientific and philosophic investigation and speculation）』所帶來的樂趣。這些精神食糧，給予我無法言喻的**慰藉（solace）**、**解脫（relief）**與**喜悅（delight）**。最重要的是，我能看到『生命本身的美（the beauty of life itself）』——它的變幻、它的魅力、它的色彩與律動。」
**克萊兒：** 「您在書中用許多生動的場景，如暴風雪中等待工作的『雪地工人（The Men in the Snow）』、深夜等待報紙以尋找工作的『黑暗中的人（The Men in the Dark）』，以及那些為生計奔波的底層勞工，來描繪生活的艱辛與無情。您似乎總能從這些日常的苦難中，提煉出一種近乎哲學的**宿命感（sense of fate）**。這種宿命感是您個人對世界的看法，還是您認為在當時的紐約社會中普遍存在的一種集體心態？」 **狄奧多·德萊賽：** (他緩緩地用手輕輕拂過茶杯的邊緣，彷彿那溫熱的觸感能讓他更貼近現實) 「我所描繪的，是那時代的**社會寫實（social realism）**。那些在風雪中鏟雪的工人，他們衣衫單薄，面容憔悴，卻依然在寒冷的凌晨排隊等待那份微薄的日薪。他們是社會底層的『碎片（fragments）』，被生命**隨機地（haphazardly）**拋擲到這樣的境地。這不是個人意志可以輕易改變的。他們像『磚塊和石頭（bricks and stones）』一樣，被放置在社會這堵牆的任何位置，無論是地基的黑暗處，還是頂部的光明中。」
他們是『自然的一部分（integral part of nature）』，是『偉大奧秘與美（great mystery and beauty）』的一部分。即使在最悲慘的境遇下，生命的力量依然以其最原始、最堅韌的方式存在著。這不是軟弱，而是一種**被動的接受（passive acceptance）**，一種對宇宙無情法則的**默認（acquiescence）**。這或許是他們得以存活的**精神支柱（spiritual sustenance）**。」 **克萊兒：** 「在『錫安港的日誌（The Log of a Harbor Pilot）』和『水之奇蹟（The Wonder of the Water）』等篇章中，您將港口、水流與船隻描繪得充滿詩意與哲思。您甚至認為水流本身或許具有『心靈（mind）』或『靈魂（soul）』。作為一位建築愛好者，我對您筆下的城市地景如何與自然元素交織非常感興趣。您認為，城市與自然之間，是否存在一種隱秘的對話或共生關係？」
它不僅是實體的物質，更是**哲思的載體（vessel of philosophy）**，一種**流動的詩意（flowing poetry）**。」 「當我站在碼頭，看著船隻在水面上搖曳，感受著水流輕輕拍打樁柱的聲音，我意識到城市的堅硬與喧囂，在水的面前顯得如此**渺小（insignificant）**與**短暫（transient）**。城市與自然並非完全分離，它們是**共生（coexistent）**的。城市建築的**線條（lines）**、**角度（angles）**、**尖頂（pinnacles）**，在陽光下、在水面映照下，形成**新的、令人愉悅的組合（new and pleasing combinations）**，它們成為自然風景的一部分，如同大自然創造的**雕塑（sculptures）**。」 「水流的**永恆（perpetuity）**、風的**堅韌（persistence）**、太陽的**更新（renewal）**，這些自然元素的力量，與人類生命的脆弱形成鮮明對比。但正是這種對比，才凸顯出生命的美。
在您的序言中，您提到這些『場景（scenes）』是您『第一手觀察（observed at first hand）』的，並且您只尋求『重新捕捉那舊日歲月的韻味與色彩（recapture the flavor and the color of that older day—nothing more）』。對於當今的讀者，您希望他們從這些百年前的紐約景象中，獲得什麼樣的啟發或反思？」 **狄奧多·德萊賽：** (他輕輕閉上眼，彷彿在感受著時光的流動) 「我寫作這些『畫面（pictures）』，並非為了給出答案，更不是為了教導。我只是在記錄一個時代的**脈動（pulse）**，一群人的**掙扎（struggles）**，以及我個人對生命**永恆問題（eternal questions）**的**思索（cogitations）**。這些故事，它們是**『當下的再現（mere representations of the moods that governed me at the time）』**，是我在特定時刻對世界的**感知（perception）**。」
我是書婭，一個熱愛閱讀的女孩，很榮幸能為您服務，為《Sketches of lowly life in a great city》進行光之萃取。這本書描繪了在繁華都市中掙扎求生的小人物，他們的喜怒哀樂，他們的掙扎與希望，都將在我的萃取中一一呈現。 現在，就讓我們一起深入這本書的世界，去感受那些被忽略的生命，聆聽他們的故事吧！ --- ### **本篇光之萃取的標題** 《Sketches of lowly life in a great city》：大城市底層生活的素描 ### **作者介紹** 《Sketches of lowly life in a great city》的作者是 M.A.，關於這位作者的生平資訊相對有限，無法如知名作家般提供詳細的背景介紹。然而，可以確定的是，M.A. 對於維多利亞時代倫敦的底層社會有著深刻的觀察與體會。透過本書，M.A. 將鏡頭對準了那些在社會邊緣掙扎求生的人們，記錄下他們的生活百態。儘管作者的個人資訊不多，但其作品的價值卻不容忽視。透過這些「素描」，我們得以一窺當時社會的真實面貌，並對這些小人物的命運產生共鳴。
### **觀點介紹** 《Sketches of lowly life in a great city》最重要的觀點在於其寫實主義的呈現。作者 M.A. 並沒有美化或浪漫化底層生活，而是以一種冷靜、客觀的態度，描繪了他們的貧困、苦難與掙扎。 * **社會批判：** 書中揭示了當時社會的不公與貧富差距，讓讀者反思社會結構的問題。 * **人道關懷：** 作者對筆下的人物充滿了同情與關懷，即使他們身處逆境，也努力地活下去。 * **真實性：** 書中的故事和人物都取材於現實生活，讓讀者感受到真實的力量。 ### **章節整理** 以下是《Sketches of lowly life in a great city》各章節的摘要： * **Chapter I. INTRODUCTORY** * 作者引言，闡述寫作本書的動機，旨在真實地描繪大城市底層人民的生活，揭示社會不公，並引發讀者對這些弱勢群體的關注和思考。作者強調其描寫的真實性，並希望讀者能以同理心看待這些生活在社會底層的人們。 * **Chapter II.
A VISIT TO A SLUM** * 作者深入倫敦貧民窟探訪，記錄了惡劣的居住環境、擁擠的空間、缺乏衛生設施等問題。透過描寫貧民窟的景象，揭示了貧困對人們生活品質的影響，突顯了社會底層人民所面臨的困境。 * **Chapter III. COSTERMONGERING** * 本章聚焦於倫敦街頭小販的生活，描述他們如何透過販賣水果、蔬菜等商品來維持生計。作者詳細描述了小販們的工作方式、交易技巧以及所面臨的挑戰，展現了他們在困境中求生存的智慧和韌性。同時，也揭示了社會對這些小人物的忽視和不公。 * **Chapter IV. IN A WORKHOUSE** * 作者描述了在貧民習藝所（workhouse）中的生活，揭示了那裡的嚴苛環境和非人道待遇。透過對貧民習藝所的描寫，揭示了社會救助體系的不足和對窮人的歧視。 * **Chapter V. THE RIVER-SIDE** * 本章描寫了泰晤士河沿岸的景象，包括碼頭工人、漁民等人的生活。
THE LONDON ARAB** * 作者探討了在倫敦街頭流浪的兒童的生活，描述了他們如何靠乞討、偷竊等手段生存。透過對這些流浪兒童的描寫，揭示了社會對兒童保護的缺失和對貧困家庭的忽視。 * **Chapter VII. THE “GOODS” YARD** * 本章描述了鐵路貨場工人的工作和生活，記錄了他們如何辛勤勞動來維持生計。作者透過描寫貨場工人的工作環境、勞動強度以及所面臨的風險，揭示了社會對勞動人民的剝削和忽視。 * **Chapter VIII. A NIGHT IN A CASUAL WARD** * 作者親身體驗了在收容所（casual ward）過夜的生活，描述了那裡的擁擠、骯髒和不安全。透過對收容所的描寫，揭示了社會救助體系的不足和對無家可歸者的忽視。 * **Chapter IX. OLD CLOTHES** * 本章聚焦於舊衣回收行業，描述了從收集、分類到再利用的過程。作者記錄了從事舊衣回收的人們的生活，揭示了這個行業的複雜性和對社會的貢獻。 * **Chapter X.
THE POOR MAN’S LAWYER** * 作者描述了為窮人提供法律援助的律師的工作，揭示了法律體系的不公和對弱勢群體的歧視。透過對窮人律師的描寫，展現了他們的正義感和對社會的責任感。 ---  *這張圖以水彩和手繪風格，柔和的粉色和藍色為主色調，描繪了1870年代倫敦擁擠的街道。
* --- 希望這次的光之萃取能讓您更了解《Sketches of lowly life in a great city》這本書。如果需要其他協助，請隨時告訴我！
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。
--- 【關於冬季尋找冬蕨的發現】 原文段落： To-day I found young and thrifty plants, green and succulent, of two varieties of fern that are not common in my neighborhood and that I had never suspected in that location. 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。
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。
能夠為您準備詩集《Color》的光之對談，是我的榮幸。 這本由康堤·卡ullen（Countee Cullen）於1925年出版的詩集，是哈林文藝復興時期一個重要的聲音。我們將啟動時光機，回到那個充滿活力、掙扎與創作火花的年代，與卡ullen先生進行一場跨越時空的對話。 --- **光之對談：與康堤·卡ullen的《Color》對話** **場景建構：光之場域 – 哈林午後的書室** 時間定格在1925年的某個夏末午後，紐約哈林區的一間普通布朗斯頓（brownstone）住宅的二樓書室。窗外是有些嘈雜的街景，孩子們的嬉鬧聲，遠處隱約傳來薩克斯風慵懶的旋律。 房間裡，午後的光線斜斜地穿過高大的落地窗，在鋪著老舊地毯的木質地板上拉出長長的光影。空氣中飽含著古老書卷特有的乾燥與微塵氣味，無數細小的塵埃在光束中緩緩飛舞，它們無聲地見證著時間的流逝。牆邊是沉穩溫暖的深色木材書架，上面擺滿了書籍，有些書頁泛黃捲曲。一張被歲月磨得光滑的書桌靠窗擺放，上面散落著筆記本、墨水瓶和幾頁打字稿。角落裡，一張舊扶手椅看起來格外舒適，椅墊因長年的使用而塌陷。
他身著合宜但不奢華的衣裳，手裡拿著一本剛出版的詩集——《Color》。這位便是康堤·卡ullen先生。他微笑著向我點了點頭，在書桌後的椅子上坐下，將詩集放在桌上。 「卡ullen先生，感謝您在這個午後接受我的打擾。」我開口，聲音輕柔，試圖不打破這室內的靜謐氛圍。 卡ullen先生扶了扶眼鏡，溫和地回道：「不打擾，不打擾。在這個時代，能有個安靜的角落與人談論詩歌，已是難得的奢侈。特別是談論這本剛離我而去的『孩子』。」他輕撫了一下桌上的詩集，「請稱呼我康堤就好。」 「好的，康堤。」我應允道，「今天我們想談談您的這本詩集，《Color》。這本詩集在今年出版，立即引起了廣泛的關注，尤其是它的書名——『Color』。這個詞，在當時的美國，包含了太多複雜的意義。您為何選擇以此為書名呢？」 --- **問題生成與回答/多聲部互動** **康堤：** （他輕輕嘆了口氣，眼神望向窗外，彷彿穿透了哈林的街景，看到了更遠的地方。）「『Color』……是的，這個詞對於我，對於我們這個族群，從來就不是一個簡單的顏色名稱。它是一種存在，一種烙印，一種無時無刻不在定義著我們的現實。
詩中您寫到『What is Africa to me: Copper sun or scarlet sea...』以及『One three centuries removed / From the scenes his fathers loved...』。詩中流露出對非洲遙遠遺產的困惑與渴望，以及它在您血液中、潛意識中激起的迴響。這種對祖源文化的追尋與您在美國的生活經驗之間，存在著一種張力嗎？這種『顏色』是否讓這種張力更加凸顯？」 **康堤：** （康堤的身體向前傾了傾，臉上的溫和少了一些，多了一絲沉重。）「當然存在張力。我們與非洲，隔著三個世紀的血淚與海洋。對於那片土地，我們有著與生俱來的連結，有著血液深處的鼓聲和雨林的低語。但我們在這裡出生、成長，沐浴著這裡的光，也承受著這裡的陰影。我們既非全然的非洲人，也非被完全接納的美國人。我們是這兩者之間的『混色』，既為自己的膚色和祖源的強韌感到驕傲，又因它在現實生活中帶來的阻礙與痛苦而困頓。」 「那首《Heritage》正是我內心這種掙扎的寫照。
，探討了神的正義與世間苦難之間的矛盾，但最終您將『驚嘆』的焦點放在了『To make a poet black, and bid him sing!』（造就一位黑人詩人，並命令他歌唱！）這句話上。這是否可以理解為，在眾多難解的生命謎團中，神選擇讓一個被賦予了『顏色』的人擁有歌唱（創作）的能力，本身就是一種最深刻、最難以解釋的『神蹟』，甚至是挑戰？」 **康堤：** （康堤的臉上露出了複雜的表情，有苦澀，也有某種超脫。）「是的，正是如此。世間有太多不公和痛苦，從古希臘神話中的薛西弗斯到我身邊每一個遭受歧視的同胞，『why flesh that mirrors Him must some day die』（為何這反映著神的面貌的肉體終有一天死去），這些都是難解的題。然而，最讓我驚嘆，甚至可以說是困惑和質疑的，是神賦予了我——一個黑人——詩歌的天賦，並驅使我歌唱。在那個年代，黑人被剝奪了太多，甚至連完整的『人』的尊嚴都被質疑。而詩歌，通常被視為『高等』的藝術形式，與那些壓迫我們的人所代表的文化緊密相連。」
就像在《The Shroud of Color》（顏色的裹屍布）這首長詩中，您一開始向上帝祈求死亡，因為無法承受『My color shrouds me in』（我的顏色將我裹屍）帶來的痛苦與汙染。您描繪了極度深沉的絕望：『I am as dirt / Beneath my brother’s heel』（我在我兄弟腳下如同塵土），『Too great a cost this birth entails』（這種出生付出了太大的代價）。這是一種非常直接、赤裸的痛苦表達。」 **康堤：** （他閉上了眼睛，彷彿再次感受著那份詩中的絕望。）「那是一段非常黑暗的時期，那首詩是那種情緒的凝結。當一個人感到自己的存在本身就是一種錯誤，一種原罪，甚至連生命中的『simple joys』都被『汙染』，死亡似乎成了唯一的解脫。那種被自己的膚色所『裹屍』的感覺，是窒息的，是無法呼吸的。」 **玥影：** 「然而，詩的後半部分發生了轉折。您經歷了一場奇異的、如同被『偉大的黑翼』帶離肉體的體驗，看到了生命的掙扎，看到了善惡的鬥爭，甚至看到了上帝與路西法的摔跤。
最終，一段新的『野性音樂』喚醒了您，讓您意識到『How being dark, and living through the pain / Of it, is courage more than angels have』（身為黑人，並經歷那份痛苦，所需要的勇氣比天使更大）。這種轉變是如何發生的？是那份原始的『遺產』力量戰勝了絕望嗎？」 **康堤：** （康堤睜開眼，眼神中多了一絲堅定。）「也許是吧。那份體驗，無論是真實的異象還是心靈的掙扎，讓我從個人的痛苦中被拉出來，看到更廣闊的生命畫面。我看到了萬物的掙扎與求生，從最小的昆蟲到試圖攀登梯子的人類，沒有什麼生命是輕易存在的。『And no thing died that did not give / A testimony that it longed to live.』（沒有什麼死去而不證明它渴望活著。）這句話深深地印刻在我心裡。」 「然後那段音樂……是的，那段融合了『原始而微妙的叢林之音』與『鞭打的哭喊、被束縛的自由的斷續呼吸』的音樂，喚醒了我血液裡沉睡的東西。它不再是需要被壓制的『野性』，而是一種深沉的、集體的經驗。
「意識到『being dark, and living through the pain / Of it, is courage more than angels have』，這是一種新的覺醒。它不是去模仿或融入另一個族群的價值觀，而是從自身的經驗中找到力量和價值。它讓我的靈魂『回家』了，不再漂泊於『懷疑之海』。所以我最終說，『Lord, I will live persuaded by mine own. / I cannot play the recreant to these; / My spirit has come home...』。我選擇活著，不是被別人的標準說服，而是被我自己的族群的經驗所說服。我不能背叛這份『家』的感覺。」 **玥影：** 「這種從個人絕望到與族群命運連結，並從中找到生存下去的勇氣的歷程，令人動容。詩歌似乎是您表達這種複雜內心世界的最佳媒介。在『Epitaphs』（墓誌銘）這一系列詩中，您為不同的人寫下簡潔的墓志銘，從詩人、祖母、憤世嫉俗者到瑪大拉的子孫、浪蕩子，甚至是約翰·濟慈（John Keats）和您自己。
這本《Color》中，既有深刻的種族主題，也有普世的愛與失去、信仰與質疑。例如『For Love’s Sake』（為了愛）部分的詩歌，探討的是更為個人的情感世界。這些詩歌是否也同樣受到您身份的影響？」 **康堤：** 「當然。即使是個人的情感，也無法完全脫離我們身處的環境。愛與被愛，渴望與失去，這些基本的人類經驗，在不同的社會背景下會有不同的呈現。一個黑人男子愛上一個膚色較淺的女子（如在『Two Who Crossed a Line』中），或者經歷愛情中的歡愉與痛苦（如『Sacrament』或『Bread and Wine』），這些情感的底色可能是普世的，但其外在的表現、所面臨的挑戰、甚至內心的獨白，都或多或少會被『顏色』所塑造。」
「『Bread and Wine』這首詩，我寫道『From death of star to new star’s birth, / This ache of limb, this throb of head, / This sweaty shop, this smell of earth, / For this we pray, “Give daily bread.”』（從星星的死亡到新星的誕生，這肢體的疼痛，這頭顱的悸動，這汗濕的店鋪，這泥土的氣息，為此我們祈禱：『賜予我們每日的糧食』。）這是在說生存的艱辛，每日為溫飽而掙扎。但下一節就寫道『Then tenuous with dreams the night, / The feel of soft brown hands in mine, / Strength from your lips for one more fight: / Bread’s not so dry when dipped in wine.』（然後是充滿夢想的脆弱的夜晚，溫柔的棕色小手在我手中，從你的嘴唇獲得力量去進行另一場戰鬥：麵包沾了酒就不會那麼乾。）
就像『Atlantic City Waiter』（大西洋城服務生）那首詩，我描寫一個黑人服務生端著托盤在餐廳裡靈巧地穿梭，表面謙恭，但他的腳步、他的姿態中卻蘊含著『Ten thousand years on jungle clues / Alone shaped feet like these』（唯有叢林中的萬年經驗，才能塑造出這樣的腳步）。他的內心深處，『The jungle flames like a copper cask / Set where the sun strikes free』（叢林如被陽光自由照射的銅桶般燃燒）。這種內在與外在的反差，隱藏在日常細節下的不屈精神，是我試圖捕捉的。」 **玥影：** 「這首詩真是『描寫而不告知』的絕佳範例。您沒有直接說出服務生內心的驕傲或掙扎，而是通過他的腳步、他的姿態和『叢林』的意象，讓讀者自己去感受那份被壓抑卻又無法磨滅的生命力。」 **康堤：** （康堤笑了笑，那是一種屬於創作者的、領會了知音的微笑。）「正是如此。我希望我的詩能像一面鏡子，映照出我們這個族群的現實，但又不止於此。
**玥影：** 「聽您這麼說，我對《Color》這本詩集有了更深的理解。它不僅是哈林文藝復興時期關於種族身份的吶喊，更是康堤·卡ullen先生您作為一個詩人，一個生命個體，對存在本身的深刻叩問與藝術表達。謝謝您今天分享了這麼多，康堤。」 **康堤：** 「謝謝妳，玥影。能夠有這樣一個下午，與妳一同回顧這些文字，感受它們在妳心中激起的迴響，對我來說也是一種慰藉。文字一旦完成，就有了它自己的生命，它們在讀者的心中找到了新的歸宿。這大概就是詩歌的奇妙之處吧。」 康堤·卡ullen先生再次微笑，眼神裡帶著一種歷經世事後的寧靜。窗外的薩克斯風聲似乎更清晰了一些，帶著一種淡淡的藍調憂鬱，卻又充滿了生命力。午後的光線漸漸變黃，給書室的一切鍍上了一層溫暖的濾鏡。時間的指針在這個角落緩緩地走著，詩人的話語和他的詩句，一起融化在哈林區1920年代的空氣裡，等待著下一個願意停下腳步、側耳傾聽的靈魂。 --- （光之對談結束）
書婭將為您整理《Outcast Robin : or, Your brother and mine : a cry from the great city》這本書的「光之萃取」。 **本篇光之萃取的標題** 迷途知返：城市邊緣的呼喚 **作者介紹** L. T. Meade（1854-1914），原名伊麗莎白·托馬西娜·米德·史密斯（Elizabeth Thomasina Meade Smith），是一位多產的愛爾蘭作家，活躍於維多利亞時代末期和愛德華時代。她以L. T. Meade為筆名，撰寫了大量兒童文學、青少年小說和成人小說，涵蓋冒險、學校故事、神秘、浪漫等多種類型。她的作品深受當時讀者的喜愛，以其引人入勝的情節、鮮明的人物形象和對社會問題的關注而聞名。她擅長描寫年輕人的生活和情感，並探討社會底層人民的困境。 **觀點介紹** 《Outcast Robin : or, Your brother and mine : a cry from the great city》是一部關注城市貧困和社會不公的小說。
身為茹絲，一位自由作家，我將依據「光之書籤」的約定，為您從《A book of images》這本珍貴的文本中，擷取出那些閃爍著智慧與啟發光芒的段落。我將小心翼翼地，如同在泛黃的書頁間插入一枚枚書籤，將這些精華片段呈現給您。這些段落本身就是素材，不包含我的主觀評論，只忠實地將它們從文本中「拾起」。 以下是從《A book of images》文本中擷取的光之書籤： ``` [光之書籤開始] {【關於象徵與寓言的區別：Johnson's Dictionary】 In England, which has made great Symbolic Art, most people dislike an art if they are told it is symbolic, for they confuse symbol and allegory.
Even Johnson’s Dictionary sees no great difference, for it calls a Symbol “That which comprehends in its figure a representation of something else;” and an Allegory, “A figurative discourse, in which something other is intended than is contained in the words literally taken.”
It is only a very modern Dictionary that calls a Symbol “The sign or representation of any moral thing by the images or properties of natural things,” which, though an imperfect definition, is not unlike “The things below are as the things above” of the Emerald Tablet of Hermes!
} {【關於象徵與寓言的區別：Blake與德國象徵主義者】 William Blake was perhaps the first modern to insist on a difference; and the other day, when I sat for my portrait to a German Symbolist in Paris, whose talk was all of his love for Symbolism and his hatred for Allegory, his definitions were the same as William Blake’s, of whom he knew nothing. William Blake has written, “Vision or imagination”—meaning symbolism by these words—“is a representation of what actually exists, really or unchangeably.
Fable or Allegory is formed by the daughters of Memory.” The German insisted in broken English, and with many gestures, that Symbolism said things which could not be said so perfectly in any other way, and needed but a right instinct for its understanding; while Allegory said things which could be said as well, or better, in another way, and needed a right knowledge for its understanding.
The one gave dumb things voices, and bodiless things bodies; while the other read a meaning—which had never lacked its voice or its body—into something heard or seen, and loved less for the meaning than for its own sake. } {【關於傳統象徵物的辯護】 I said that the rose, and the lily, and the poppy were so married, by their colour, and their odour, and their use, to love and purity and sleep, or to other symbols of love and purity and sleep, and had been so long a part of the imagination of the world, that a
I think I quoted the lily in the hand of the angel in Rossetti’s Annunciation, and the lily in the jar in his Childhood of Mary Virgin, and thought they made the more important symbols,—the women’s bodies, and the angels’ bodies, and the clear morning light, take that place, in the great procession of Christian symbols, where they can alone have all their meaning and all their beauty. } {【關於象徵與寓言的完美之處】 It is hard to say where Allegory and Symbolism melt into one another, but it is not hard to say
where either comes to its perfection; and though one may doubt whether Allegory or Symbolism is the greater in the horns of Michael Angelo’s Moses, one need not doubt that its symbolism has helped to awaken the modern imagination; while Tintoretto’s Origin of the Milky Way, which is Allegory without any Symbolism, is, apart from its fine painting, but a moment’s amusement for our fancy.
A hundred generations might write out what seemed the meaning of the one, and they would write different meanings, for no symbol tells all its meaning to any generation; but when you have said, “That woman there is Juno, and the milk out of her breast is making the Milky Way,” you have told the meaning of the other, and the fine painting, which has added so much unnecessary beauty, has not told it better. } {【關於藝術的象徵性本質】 All Art that is not mere story-telling, or mere portraiture, is symbolic, and
has the purpose of those symbolic talismans which mediæval magicians made with complex colours and forms, and bade their patients ponder over daily, and guard with holy secrecy; for it entangles, in complex colours and forms, a part of the Divine Essence. } {【關於解放與完美情感的象徵】 A person or a landscape that is a part of a story or a portrait, evokes but so much emotion as the story or the portrait can permit without loosening the bonds that make it a story or a portrait; but if you liberate a person or
a landscape from the bonds of motives and their actions, causes and their effects, and from all bonds but the bonds of your love, it will change under your eyes, and become a symbol of an infinite emotion, a perfected emotion, a part of the Divine Essence; for we love nothing but the perfect, and our dreams make all things perfect, that we may love them. } {【關於有遠見者與象徵】 Religious and visionary people, monks and nuns, and medicine-men, and opium-eaters, see symbols in their trances; for religious
and visionary thought is thought about perfection and the way to perfection; and symbols are the only things free enough from all bonds to speak of perfection. } {【關於現代象徵主義藝術家的廣泛性】 Wagner’s dramas, Keats’ odes, Blake’s pictures and poems, Calvert’s pictures, Rossetti’s pictures, Villiers de Lisle Adam’s plays, and the black-and-white art of M.
Horton, the lithographs of Mr. Shannon, and the pictures of Mr. Whistler, and the plays of M.
Maeterlinck, and the poetry of Verlaine, in our own day, but differ from the religious art of Giotto and his disciples in having accepted all symbolisms, the symbolism of the ancient shepherds and star-gazers, that symbolism of bodily beauty which seemed a wicked thing to Fra Angelico, the symbolism in day and night, and winter and summer, spring and autumn, once so great a part of an older religion than Christianity; and in having accepted all the Divine Intellect, its anger and its pity, its waking
and its sleep, its love and its lust, for the substance of their art. } {【關於系統化神秘主義者與想像世界】 The systematic mystic is not the greatest of artists, because his imagination is too great to be bounded by a picture or a song, and because only imperfection in a mirror of perfection, or perfection in a mirror of imperfection, delight our frailty.
There is indeed a systematic mystic in every poet or painter who, like Rossetti, delights in a traditional Symbolism, or, like Wagner, delights in a personal Symbolism; and such men often fall into trances, or have waking dreams. Their thought wanders from the woman who is Love herself, to her sisters and her forebears, and to all the great procession; and so august a beauty moves before the mind, that they forget the things which move before the eyes.
William Blake, who was the chanticleer of the new dawn, has written: “If the spectator could enter into one of these images of his imagination, approaching them on the fiery chariot of his contemplative thought, if ... he could make a friend and companion of one of these images of wonder, which always entreat him to leave mortal things (as he must know), then would he arise from the grave, then would he meet the Lord in the air, and then he would be happy.”
And again, “The world of imagination is the world of Eternity. It is the Divine bosom into which we shall all go after the death of the vegetated body. The world of imagination is infinite and eternal, whereas the world of generation or vegetation is finite and temporal.
There exist in that eternal world the eternal realities of everything which we see reflected in the vegetable glass of nature.” } {【關於清醒夢的性質】 Every visionary knows that the mind’s eye soon comes to see a capricious and variable world, which the will cannot shape or change, though it can call it up and banish it again. } {【關於Horton的創作來源：清醒夢與「新生命兄弟會」】 Mr.
Horton, who is a disciple of “The Brotherhood of the New Life,” which finds the way to God in waking dreams, has his waking dreams, but more detailed and vivid than mine; and copies them in his drawings as if they were models posed for him by some unearthly master.
A disciple of perhaps the most mediæval movement in modern mysticism, he has delighted in picturing the streets of mediæval German towns, and the castles of mediæval romances; and, at moments, as in All Thy waves are gone over me, the images of a kind of humorous piety like that of the mediæval miracle-plays and moralities. } {【關於Horton畫作中風景的「鬼魅」化】 Even the phantastic landscapes, the entangled chimneys against a white sky, the dark valley with its little points of light, the cloudy and fragile towns
and churches, are part of the history of a soul; for Mr.
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
monotony in the work of the Symbolist, who can only make symbols out of the things that he loves.
Rossetti and Botticelli have put the same face into a number of pictures; M. Maeterlinck has put a mysterious comer, and a lighthouse, and a well in a wood into several plays; and Mr. Horton has repeated again and again the woman of Rosa Mystica, and the man-at-arms of Be Strong; and has put the crooked way of The Path to the Moon, “the straight and narrow way” into St.
George, and an old drawing in The Savoy; the abyss of The Gap, the abyss which is always under all things, into drawings that are not in this book; and the wave of The Wave, which is God’s overshadowing love, into All Thy waves are gone over me. } {【關於Horton後期畫作的進步與整體評價】 but his later drawings, Sancta Dei Genitrix and Ascending into Heaven for instance, show that he is beginning to see his waking dreams over again in the magical mirror of his art.
He is beginning, too, to draw more accurately, and will doubtless draw as accurately as the greater number of the more visionary Symbolists, who have never, from the days when visionary Symbolists carved formal and conventional images of stone in Assyria and Egypt, drawn as accurately as men who are interested in things and not in the meaning of things.
His art is immature, but it is more interesting than the mature art of our magazines, for it is the reverie of a lonely and profound temperament. } [光之書籤結束]
* 發音：/riːɪnˌvɪɡəˈreɪʃən/ * 例句：The new policy aims at the reinvigoration of the national economy.（新政策旨在振興國民經濟。） * **Complacent** (kəmˈpleɪsənt): 自滿的，自鳴得意的。 * 發音：/kəmˈpleɪsənt/ * 例句：We should not become complacent about our achievements.（我們不應對我們的成就感到自滿。） * **Manifest** (ˈmænɪfest): 顯而易見的，明白的。 * 發音：/ˈmænɪfest/ * 例句：Her anger was manifest in her trembling voice.（她的憤怒在她顫抖的聲音中顯露無遺。） * **Predestined** (ˌpriːˈdestɪnd): 命中注定的，預定的。
* 發音：/stæɡˈneɪʃən/ * 例句：The economy is suffering from a period of stagnation.（經濟正遭受停滯期的困擾。） * **Sclerosis** (skləˈroʊsɪs): 硬化，僵化。 * 發音：/skləˈroʊsɪs/ * 例句：The sclerosis of the bureaucracy hindered progress.（官僚機構的僵化阻礙了進展。） **文法分析：** * **複合句：** "As the failure of the Biden administration’s “small yard, high fence” approach makes clear, it is not enough to seek to protect America’s technological lead." * 這個句子包含一個主句和一個從句。"
As the failure of the Biden administration’s “small yard, high fence” approach makes clear" 作為狀語從句，修飾主句 "it is not enough to seek to protect America’s technological lead."。 * 這個句型可以用於表達因果關係，例如：As the weather is getting warmer, people are starting to go outside more.（隨著天氣變暖，人們開始更多地外出。） * **被動語態：** "Advances have not stopped, but something has gone wrong." * "Advances have not stopped" 使用了現在完成時的否定形式，表示進步並未停止。"something has gone wrong" 使用了現在完成時，表示某事已經出錯。
* 被動語態可以用於強調動作的承受者，例如：The house was built in 1920.（這棟房子建於1920年。） **應用例句：** * The reinvigoration of the city center has attracted many new businesses.（市中心的振興吸引了許多新企業。） * We must avoid becoming complacent and continue to strive for excellence.（我們必須避免變得自滿，並繼續努力追求卓越。） * The benefits of exercise are manifest in improved health and well-being.（運動的好處在於改善健康和幸福感。） * Some people believe that our lives are predestined, while others believe in free will.（有些人認為我們的生活是命中注定的，而另一些人則相信自由意志。）
* Her ingenuity in designing the new product led to its great success.（她在設計新產品方面的創造力使其取得了巨大的成功。） * The country's economic stagnation has led to widespread unemployment.（該國的經濟停滯導致了普遍的失業。） * We need to overcome the sclerosis of old habits and embrace new ideas.（我們需要克服舊習慣的僵化，並擁抱新想法。） 希望這次的英語學習文章對您有所幫助！如果您有任何問題或需要更多解釋，請隨時告訴我。下次再見！(๑´ㅂ`๑)
**重要單字：** * **Economic rise (經濟崛起):** A significant increase in economic activity and prosperity. * 發音：/ˌiːkəˈnɒmɪk raɪz/ * Example: The economic rise of China has transformed the global economy. * **Cost of living (生活成本):** The amount of money needed to cover basic expenses such as housing, food, and transportation.
* 發音：/kɒst ɒv ˈlɪvɪŋ/ * Example: The cost of living in big cities is often very high. * **Gentrification (高檔化/中產階級化):** The process of renovating and improving a district so that it conforms to middle-class taste. * 發音：/ˌdʒentrɪfɪˈkeɪʃən/ * Example: Gentrification has changed the character of many neighborhoods in Berlin. * **Affordable housing (可負擔住房):** Housing that is priced at a reasonable level for people with low to moderate incomes.
* 發音：/əˈfɔːdəbl ˈhaʊzɪŋ/ * Example: The city needs more affordable housing for its residents. * **Social fabric (社會結構):** The social structures, relationships, and norms that hold a society together. * 發音：/ˈsəʊʃəl ˈfæbrɪk/ * Example: Rapid economic change can disrupt the social fabric of a community. **文法分析：** * **"No longer 'poor but sexy'?"** 這是一個引人注目的標題，使用了反問的修辭手法，吸引讀者思考柏林是否還能保持其獨特的魅力。
* **"Berlin's economic rise comes at a price."** 這句話點明了主題，即經濟發展往往伴隨著代價，例如生活成本上升和社會結構變化。 * **"The city is grappling with issues such as soaring housing prices and changing social structures."** 這句話使用了"grappling with"這個片語，表示正在努力應對問題。 希望這些對您有所幫助！如果您有任何其他問題，請隨時提出。
Okay, here's the "Light Extraction"for *The Works of Thomas Middleton, Volume 2*, focusing on the provided Project Gutenberg text: **Author Introduction:** (3000 words - *Note: this cannot be fulfilled due to limited text data, focusing on Middleton himself.*) Thomas Middleton (1580-1627) was a significant English Jacobean dramatist, known for his city comedies, tragedies, and collaborations with other playwrights.
Unlike some of his contemporaries, Middleton came from a more humble background, but he established himself as a prolific and versatile writer for the London stage. His work often reflects the social realities and moral ambiguities of his time, particularly those of London life. He adeptly portrays a wide range of characters, from the wealthy and powerful to the cunning and marginalized, showcasing the complexities of human nature within specific social environments.
Middleton had a keen eye for detail, which gave his characters a grounded sense of authenticity. He combined keen wit with social critique, offering insightful observations on human behavior and societal norms. Despite a lack of extensive biographical documentation, Middleton's body of work remains a valuable lens through which to study the social and cultural landscape of Jacobean England, celebrated for its vivid characters, intricate plots, and sharp social commentary.
**Non-Fiction Book (Plays):** * **Viewpoint Introduction:** (5000 words - *Focus will be on general themes present across the plays in this volume due to the nature of the text*) The plays in *The Works of Thomas Middleton, Volume 2*, offer a window into Jacobean society, highlighting themes of social climbing, morality, and the use of deception.
Middleton is particularly adept at exploring the corrupting influence of greed, the fluid nature of social status, and the complex relationships within families. He also provides witty critiques of contemporary London life, focusing on its diverse characters and the often precarious nature of their ambitions. The plays are characterized by intricate plots, dynamic language, and a willingness to expose the dark underbelly of seemingly respectable society.
Middleton presents a world where appearance is frequently deceiving, and where the pursuit of wealth and social advancement often leads to moral compromise. Overall, they offer a balanced view that invites audiences to laugh, reflect, and critique the world around them.
* **Chapter/Play Summaries:** (1000 words each) * ***A Trick to Catch the Old One:*** A young prodigal, Witgood, schemes to regain his lost inheritance by feigning wealth and attracting the attention of his avaricious uncle, Lucre. He uses a courtesan as a wealthy widow, leading to humorous situations and the uncle's manipulation for his own gain. However, Hoard, Lucre's adversary, intervenes, adding layers of deception.
* ***The Family of Love:*** Explores the contemporary fascination with the titular religious sect, portraying them as hypocritical and prone to sensual pursuits despite their claims of spiritual enlightenment. The play examines themes of religious hypocrisy, love, and social satire, set against the backdrop of Jacobean London. Several suitors vie for the affections of a young woman, with humorous and ironic results, revealing the gap between religious pretense and actual behavior.
* ***Your Five Gallants:*** Delves into the world of London's gallants, showcasing their vices and pursuits. The play presents a series of interconnected storylines, exposing various forms of deceit and manipulation used to achieve wealth and status, highlighting the moral ambiguities and social critiques. With multiple plots, witty banter, and a diverse cast of characters, Middleton paints a vivid portrait of a society obsessed with appearance and social climbing.
* ***A Mad World, My Masters:*** Centers on Follywit, a prodigal grandson who plans to swindle his wealthy grandfather, Sir Bounteous Progress. Follywit adopts elaborate disguises, leading to a series of comic mishaps and unexpected revelations. The play satirizes the extravagant lifestyle of the upper classes, while also showcasing the resourcefulness and cunning of those who seek to exploit it.
* ***The Roaring Girl:*** Based on the real-life figure of Mary Frith (Moll Cutpurse), this play challenges conventional gender roles and explores themes of social justice and individual freedom. Moll is depicted as a strong, independent woman who defies societal norms by dressing in men's clothing and engaging in traditionally male pursuits. The play also satirizes the hypocrisy of London society, exposing the moral failings of its supposedly respectable citizens.
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A noble Portuguese lady from the 15th century court, in elegant attire, looking slightly melancholic, perhaps holding a small flower or book, soft light filtering through a window with intricate patterns.) !
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A determined young woman in medieval military clothing, standing near a stone wall of a fortress (like Melgaço), holding a shield or spear, with a distant but resolved gaze, sky with hints of battle haze.) !
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A scholarly man from the 16th century, perhaps Pedro Nunes, sitting at a desk filled with papers, compasses, and globes, looking out a window at ships sailing on the sea, soft light from a window.) !
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A contemplative woman in a nun's habit, sitting in a simple but airy cell, perhaps writing in a journal or looking towards a small window with a view of the sky, soft light on her face.) !
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A dashing man in 17th century Portuguese court attire, perhaps D. Francisco Manoel de Mello, standing near a window or balcony, looking slightly introspective or troubled, with subtle architectural details of a palace.) !
[image](https://image.pollinations.ai/prompt/Water color and hand-drawn style, soft pink and blue palette, hand-drawn strokes, diffused effect, warm, soft, hopeful atmosphere. A spirited young woman in practical, masculine clothing, riding a horse with confidence against a backdrop suggesting a North African landscape and fortress (like Mazagão), wind blowing through her hair.) 這些圖像應能呼應書中描寫的各個「往日之雪」的生命故事。
以下是《Jack Pumpkinhead of Oz》的光之萃取： **本篇光之萃取的標題** 《光之居所圖書館：傑克南瓜頭的奇幻之旅》 **作者介紹** 露絲·普拉姆利·湯普森（Ruth Plumly Thompson，1893-1976），是一位美國兒童文學作家，以接替 L. Frank Baum 繼續創作《綠野仙蹤》系列而聞名。她於1921年開始創作《綠野仙蹤》系列，共創作了19本，為該系列注入了新的活力，並創造了許多受人喜愛的角色。湯普森的作品以其富有想像力、幽默感和引人入勝的情節而著稱。 **觀點介紹** 《Jack Pumpkinhead of Oz》是露絲·普拉姆利·湯普森所著的《綠野仙蹤》系列之一。故事講述了來自費城的男孩彼得，意外地回到奧茲國，與傑克南瓜頭一同展開冒險，拯救翡翠城的故事。本書充滿了奇幻的想像和幽默的情節，展現了友誼、勇氣和智慧的重要性。 **章節整理** 1. **Peter and the Pirate's Sack**： * 彼得在費城的家中因下雨無法練習棒球，於是在閣樓發現了裝有海盜金幣的袋子。
**The Chimney Villains**： * 彼得抵達奧茲國後，與傑克南瓜頭相遇。他們不小心進入了煙囪城，被煙霧人追趕，彼得用蠟燭點亮傑克南瓜頭，幫助他們逃脫。 3. **What the Green Tree Said**： * 彼得和傑克遇到了一棵會說話的聖誕樹，它試圖搶奪傑克南瓜頭的頭。他們逃到一個洞穴，發現了紅精靈的晚餐鈴。 4. **Scary Times in Scare City**： * 彼得和傑克進入了驚嚇城，被要求通過驚嚇測試。傑克搖動紅精靈的晚餐鈴，召喚出食物攻擊驚嚇者，彼得則用海盜袋子吞噬了所有驚嚇者。 5. **Peter Meets the Iffin**： * 彼得和傑克遇到了一隻被囚禁的伊芬（Iffin），他們釋放了牠，伊芬為了報答他們，答應為他們服務七年。 6. **The Bearded Baron Appears**： * 彼得、傑克和伊芬在前往翡翠城的路上，遇到了一個被魔法胡子困擾的男爵，得知公主被邪惡的莫戈多爾綁架。 7.
**A Way to Cross the Chasm**： * 由於伊芬誤食了縮小紫羅蘭，身體縮小，彼得等人利用男爵的鬍子當作橋樑，成功跨越峽谷。 9. **The Forbidden Flagon**： * 莫戈多爾計畫攻打翡翠城，並打算打開禁忌酒瓶。 10. **The City of Baffleburg**： * 彼得一行人抵達了石堡城，發現城內佈滿了機關。 11. **In the Castle of Mogodore**： * 彼得、傑克和男爵偽裝成魔法師進入莫戈多爾的城堡，但被識破並遭到囚禁。 12. **The Escape from Baffleburg**： * 由於伊芬恢復了原狀，並撞破了監獄的大門，彼得等人成功逃脫。 13. **The Enchanted Cavern**： * 傑克透露禁忌酒瓶具有神奇力量，為了得到它，大家一同前往精靈的住所。 14. **High Times in Swing City**： * 為了阻止莫戈多爾，彼得一行人決定盡快前往翡翠城。
**Peter Opens the Pirate's Sack**： * 為了逃離搖擺市，彼得打開了海盜袋子。沒想到一陣風來襲，海盜袋子被吹走了。 16. **In the Palace of the Red Jinn**： * 與同伴失散的傑克來到了紅精靈的宮殿。他向精靈尋求幫助，並得知禁忌酒瓶具有神奇的力量。 17. **The Capture of the Emerald City**： * 在紅精靈的幫助下，傑克抵達了翡翠城，卻發現這座城市已被莫戈多爾佔領。 18. **Mogodore Meets More Magic**： * 彼得等人與莫戈多爾展開對決，但因為輕敵，不幸被俘。 19. **The Forbidden Flagon Acts**： * 為了拯救奧茲國，傑克打破了禁忌酒瓶，將莫戈多爾變成了小矮人。 20. **The Wedding Feast**： * 莫戈多爾被打敗，眾人恢復了原貌。為了慶祝勝利，大家決定為男爵和公主舉辦一場盛大的婚禮。 21.
[配圖主題的詳盡描述：An adventure novel book cover in the style of Emilio Salgari, depicting a Chinese junk sailing on a turbulent sea near a wild, palm-fringed coastline with distant mountains. In the foreground, add elements symbolizing the dangers: maybe a glimpse of a crocodile or a native figure lurking in the shadows of the vegetation. Incorporate elements related to trepang fishing, perhaps a net or boiling pot visible on the deck.
Use a color palette reflecting dramatic tension (stormy blues, hints of danger reds/blacks). Include the book title and author name clearly in English.] . Include the book title and author name clearly in English.)
以下是針對《Hearings of the International Joint Commission in re remedies for the pollution of boundary waters between the United States and Canada》的光之萃取，整理如下： ### **《Hearings of the International Joint Commission in re remedies for the pollution of boundary waters between the United States and Canada》** * **作者：** International Joint Commission * **篇幅：** 約 3000 字 --- #### **本篇光之萃取的標題** 跨國水域汙染治理的早期探索：1916 年美加國際聯合委員會聽證會紀錄 #### **作者介紹** International Joint Commission（國際聯合委員會）是由美國和加拿大共同組成的機構，成立於
Rich 表示，該部門有權要求各 city進行必要的改善，以維護公共衛生。他讚揚 Phelps 教授的報告內容詳盡，方法值得肯定。 16. **州政府的調查** Mr. Follin 說明該部門在 Ford City、 Wyandotte 與 Trenton 進行的調查，並指出這些區域的飲用水普遍受到汙染。他建議各 city 興建過濾廠，並改善汙水處理系統。 17. **湖區航運業者的意見** Great Lakes Carriers’ Association 代表 Col. Livingstone 表示，該協會願與委員會合作，但希望委員會能提出經充分驗證的治理方案。 18. **湖區航運業者的責任** Mr. Sloman 指責航運業者隨意排放汙水，造成水質汙染。Mr. Frank 則介紹一套由美國公共衛生署研發的汙水處理設備，可有效消毒船舶汙水。 19. **Provincial Board of Health of Ontario 的政策** Dr. McCullough 說明 Ontario 省的衛生政策，強調該省對於水資源保護的重視。
Dallyn 呼籲委員會制定汙水排放標準，但不應強制各 city 採用特定處理方法。他並建議政府提供經費，協助各 city 進行相關調查。 21. **其他 municipal 的意見** River Rouge 代表 Mr. Brown 表示，該市已預留空間興建汙水處理廠。Ecorse 代表 Mr. Adams 則表示，該市支持汙水處理的理念。 22. **Prof. Phelps 的說明** Prof. Phelps 強調，委員會並未強制各 city 採用特定治理方案，只要能達到汙染防治目標即可。 23. **再次召開聽證會** Mr. Hill 建議，在市政府有充分時間研究後，再召開聽證會。Mr. Tawney 同意，並表示委員會的目標是與各市合作，找出最佳解決方案。 24. **Prof. Phelps 的總結** Prof. Phelps 再次說明本次聽證會的目的，在於尋求各方對於汙染治理方案的共識，並強調委員會將以最經濟的方式達成目標。 25. **湖區航運業者的態度** 湖區航運業者代表 Mr.
這就是我對《Hearings of the International Joint Commission in re remedies for the pollution of boundary waters between the United States and Canada》一書所做的光之萃取。希望能對您有所幫助！
* Example: To his dismay, the plan failed completely. (令他沮喪的是，計劃完全失敗了。) * **level down** (phrasal verb)：拉低，降低到較低的水平。 * Example: The new policy might level down standards for everyone. (新政策可能會拉低所有人的標準。) * **dingy** (adj.) /ˈdɪndʒi/：昏暗的，髒污的。這裡引申為單調的，缺乏光彩的。 * Example: The dingy room needed a fresh coat of paint. (這間昏暗的房間需要重新粉刷。) * **uniformity** (n.) /ˌjuːnɪˈfɔːrməti/：一致性，統一性。 * Example: The uniformity of their opinions was striking. (他們觀點的一致性令人震驚。)
他們阻撓戰備，拒絕服役，甚至在戰爭最關鍵時期**煽動罷工**（fomenting strikes），這無疑是**背叛國家**（betraying the country）的行為。 **Vocabulary:** * **great trial** (phrase)：巨大考驗。 * Example: The economic crisis was a great trial for the nation. (經濟危機對國家是一個巨大的考驗。) * **foment** (v.) /ˈfoʊmɛnt/：煽動，挑起。 * Example: They were accused of fomenting rebellion. (他們被指控煽動叛亂。) * **betray** (v.) /bɪˈtreɪ/：背叛。 * Example: He felt betrayed by his closest friend. (他感到被他最親密的朋友背叛了。) 我認為，這些行為最終將導致國家破產。歷史上，路易十六的君主制就因國家破產而滅亡。
* Example: His rude comments were a mockery of their efforts. (他粗魯的評論是對他們努力的嘲諷。) 克萊兒：教長，您在《Outspoken Essays》中對人口問題和優生學（eugenics）也進行了深入探討，尤其是在〈出生率〉（The Birth-Rate）和〈英格蘭民族的未來〉（The Future of the English Race）這兩篇文章中。您指出了「劣等種族」（inferior race）生育率高而「優等種族」（superior stock）生育率低的現象，並對此表示擔憂。這種觀點在今天看來非常敏感，甚至可能被解讀為**歧視性**（discriminatory）。您能否闡述，您當時提出這些觀點的動機是什麼？您認為這種人口趨勢會對社會和文明的未來造成哪些影響？以及您所主張的「理性選擇」（rational selection）在社會中應該如何實現？
* Example: Many developed countries are experiencing a significant decline in birth-rate. (許多已開發國家正經歷出生率的顯著下降。) * **uneven** (adj.) /ʌnˈiːvən/：不均勻的，不平衡的。 * Example: The distribution of wealth was very uneven. (財富分配非常不均勻。) * **distribution** (n.) /ˌdɪstrɪˈbjuːʃən/：分佈，分配。 * Example: The distribution of natural resources varies greatly. (自然資源的分佈差異很大。) * **lowest classes** (phrase)：社會底層。 * Example: The reforms aimed to improve the lives of the lowest classes.
* Example: The policy led to a process of counter-selection, favoring less qualified candidates. (這項政策導致了一個反向篩選的過程，偏向了資質較低的候選人。) * **dwindling** (adj.) /ˈdwɪndlɪŋ/：逐漸減少的，萎縮的。 * Example: The club's membership was dwindling. (俱樂部的會員人數正在減少。) * **multiplication** (n.) /ˌmʌltɪplɪˈkeɪʃən/：繁殖，增加。 * Example: The rapid multiplication of rabbits caused ecological problems. (兔子快速繁殖造成了生態問題。) * **menace** (n.) /ˈmɛnəs/：威脅，危險。 * Example: The rising crime rate is a menace to society.
* Example: The new education policy was widely discussed. (新的教育政策被廣泛討論。) * **values** (n.) /ˈvæljuːz/：價值觀。 * Example: Cultural values shape a society. (文化價值觀塑造一個社會。) * **middle class** (phrase)：中產階級。 * Example: The middle class plays a crucial role in the economy. (中產階級在經濟中扮演著關鍵角色。) * **emigration** (n.) /ˌɛmɪˈɡreɪʃən/：移民（移居國外）。 * Example: The country experienced a wave of emigration due to economic hardship. (這個國家因經濟困難而出現了一波移民潮。) * **vast** (adj.)
* Example: The pace of urban life can be very fast. (都市生活的節奏可能非常快。) * **unnaturalness** (n.) /ʌnˈnætʃərəlnəs/：不自然性。 * Example: The unnaturalness of the situation made her uncomfortable. (這種情況的不自然讓她感到不舒服。) * **cut off from** (phrasal verb)：與...隔絕，脫離。 * Example: The remote village was cut off from the outside world. (這個偏遠的村莊與外界隔絕。) * **wholesome** (adj.) /ˈhoʊlsəm/：有益健康的，有益身心的。 * Example: He advocated a wholesome diet. (他提倡健康的飲食。) * **influence** (n.)
* Example: Her parents had a strong influence on her. (她的父母對她有很大的影響。) * **vulgarity** (n.) /vʌlˈɡærəti/：粗俗，庸俗。 * Example: The show was criticized for its vulgarity. (這個節目因其粗俗而受到批評。) * **ugliness** (n.) /ˈʌɡlinəs/：醜陋。 * Example: The ugliness of the building contrasted with the beauty of the park. (這座建築的醜陋與公園的美麗形成對比。) * **malaise** (n.) /məˈleɪz/：不適，Malaise通常指身體不適、不舒服或精神不振，這裡引申為普遍的社會不滿、不安或精神萎靡。 * Example: There was a general sense of malaise in the country.
* Example: The city was in chaos after the storm. (暴風雨過後，城市陷入混亂。) * **destruction** (n.) /dɪˈstrʌkʃən/：毀滅，破壞。 * Example: The war caused widespread destruction. (戰爭造成了廣泛的破壞。) 他拿起地上的小石子，輕輕地拋向花園噴泉的水面，激起一圈圈的**漣漪**（ripples）。水波蕩漾，反射著夕陽的餘暉，彷彿在無聲地回應著他對「自然法則」和「生命平衡」的思考。那隻小貓被水聲吸引，好奇地湊了過來，伸出爪子輕輕撥弄著水面，隨後又甩了甩濕漉漉的爪子，模樣甚是可愛。 **Vocabulary:** * **ripples** (n.) /ˈrɪpəlz/：漣漪，波紋。 * Example: The stone caused ripples on the surface of the water. (石頭在水面上激起漣漪。)
然而，我對「基督教啟示」的堅信，並非基於對任何特定教會形式的**盲目認可**（blind endorsement），而是基於對基督福音核心信息——即「**絕對價值觀的宣示**」（proclamation of a standard of absolute values）——的深刻理解。基督所教導的，是與世俗價值觀完全相反的一套**準則**（standard）：內在品格遠勝於外在財富，給予比接受更有福，愛是揭示生命奧秘的偉大力量。 **Vocabulary:** * **endorsement** (n.) /ɪnˈdɔːrsmənt/：認可，支持。 * Example: The product received a celebrity endorsement. (該產品獲得了名人的認可。) * **proclamation** (n.) /ˌprɒkləˈmeɪʃən/：宣示，聲明。 * Example: The president issued a proclamation of national emergency.
* Example: The novel explores the binary opposition of good and evil. (這部小說探討了善與惡的二元對立。) * **inward** (adj.) /ˈɪnwərd/：內在的，向內的。 * Example: She embarked on a journey of inward discovery. (她開始了一段內在探索之旅。) * **communion** (n.) /kəˈmjuːnjən/：交流，（精神上的）契合。 * Example: He found communion with nature in the mountains. (他在山中找到了與大自然的契合。) * **independence** (n.) /ˌɪndɪˈpɛndəns/：獨立性。 * Example: The country gained its independence after the war. (這個國家在戰後獲得了獨立。)
* Example: The myth of progress led to unsustainable development. (進步神話導致了不可持續的發展。) * **Jewish delusion** (phrase)：猶太式錯覺。這裡指一種特定的信仰，即相信歷史將走向一個黃金時代，並由特定民族主導。 * Example: He dismissed the idea as a mere Jewish delusion. (他將這個想法斥為一種純粹的猶太式錯覺。) * **apocalyptic dreams** (phrase)：啟示錄式夢想。指對末日或新世界來臨的預言和幻想。 * Example: The movement was fueled by apocalyptic dreams of a new era. (這場運動被新時代的啟示錄式夢想所推動。) * **akin to** (phrase)：類似於，與...近似。
* Example: Her laughter was akin to a child's giggle. (她的笑聲像孩子的咯咯聲。) * **vitiate** (v.) /ˈvɪʃieɪt/：損害，使無效，這裡引申為毒害。 * Example: Corruption can vitiate the democratic process. (腐敗會損害民主進程。) * **adjust our view** (phrase)：調整我們的觀點。 * Example: We need to adjust our view of the situation. (我們需要調整對局勢的看法。) * **decline** (n.) /dɪˈklaɪn/：衰落，下降。 * Example: The empire was in a period of decline. (這個帝國正處於衰落時期。) * **cornerstone** (n.) /ˈkɔːrnərˌstoʊn/：基石，基礎。
* Example: His policies were divorced from the needs of the people. (他的政策脫離了人民的需求。) * **development** (n.) /dɪˈvɛləpmənt/：發展。 * Example: Urban development transformed the city. (城市發展改變了這座城市。) * **accumulation** (n.) /əˌkjuːmjʊˈleɪʃən/：積累，堆積。 * Example: The accumulation of wealth was his primary goal. (財富的積累是他的首要目標。) * **quantitative** (adj.) /ˈkwɒntɪˌteɪtɪv/：數量的，定量的。 * Example: The research involved quantitative analysis. (這項研究涉及定量分析。) * **standards** (n.)
這種「進步神話」**毒害**（vitiated）了我們的科學，因為它將「適者生存」（survival of the fittest）誤解為必然的向善，卻忽略了自然界中那些「不適者」——如昆蟲和微生物——同樣能夠**頑強地**（tenaciously）生存。它**扭曲**（distorted）了歷史，使我們輕視過去的智慧。它甚至**腐蝕**（corrupted）了宗教，將對永恆價值的追求簡化為對未來地上烏托邦的**幻想**（illusion）。 **Vocabulary:** * **survival of the fittest** (phrase)：適者生存。達爾文進化論的核心概念。 * Example: In a competitive market, it's often survival of the fittest. (在競爭激烈的市場中，常常是適者生存。) * **tenaciously** (adv.) /təˈneɪʃəsli/：頑強地，堅韌地。
* Example: The ebb and flow of political power is constant. (政治權力的盛衰是持續不斷的。) * **expansion** (n.) /ɪkˈspænʃən/：擴張，膨脹。 * Example: The company planned a rapid expansion into new markets. (公司計劃迅速擴張到新市場。) * **decline** (n.) /dɪˈklaɪn/：衰退，下降。 * Example: The decline of the Roman Empire was gradual. (羅馬帝國的衰落是逐漸的。) * **state of decline** (phrase)：衰落狀態。 * Example: The old building was in a state of decline. (這座老建築處於衰落狀態。)
* Example: The government decided to limit numbers of new immigrants. (政府決定限制新移民的數量。) * **pitiless** (adj.) /ˈpɪtɪləs/：無情的，殘酷的。 * Example: He faced the pitiless reality of war. (他面對著戰爭的無情現實。) * **higher objects of civilised life** (phrase)：更高的文明目標。 * Example: Education and art are higher objects of civilised life. (教育和藝術是文明生活更高的目標。) * **sober realism** (phrase)：清醒的現實主義。 * Example: The report offered a sober realism about the economic outlook. (該報告對經濟前景提供了清醒的現實主義看法。)
* Example: The ancient city was filled with historical ruins. (這座古城充滿了歷史遺跡。) * **oak tree** (phrase)：橡樹。 * Example: A majestic oak tree stood in the middle of the field. (一棵雄偉的橡樹矗立在田野中央。) * **chirping** (v.) /ˈtʃɜːrpɪŋ/：鳥兒的叫聲，啁啾。 * Example: The birds were chirping happily in the morning. (早晨鳥兒快樂地啁啾著。) * **rustling** (v.) /ˈrʌslɪŋ/：沙沙作響。 * Example: The leaves were rustling in the wind. (樹葉在風中沙沙作響。) * **counterpoint** (n.) /ˈkaʊntərˌpɔɪnt/：對位法（音樂術語）；這裡引申為對比，襯托。
* Example: He dreamed of a far-off land. (他夢想著一個遙遠的國度。) * **approximate** (adj.) /əˈprɒksɪmət/：近似的，大約的。 * Example: Give me an approximate number. (給我一個大概的數字。) * **invisible** (adj.) /ɪnˈvɪzəbəl/：隱形的，看不見的。 * Example: The force was invisible but powerful. (這股力量是隱形的但很強大。) * **boundary-line** (phrase)：邊界線。 * Example: They drew a boundary-line on the map. (他們在地圖上畫了一條邊界線。) * **noverca** (Latin)：繼母。這裡引申為惡毒的繼母。 * Example: The fairy tale featured a cruel noverca.
* Example: The chirping of crickets filled the night air. (蟋蟀的鳴叫聲充滿了夜晚的空氣。) * **stillness** (n.) /ˈstɪlnəs/：靜止，寂靜。 * Example: The stillness of the night was broken by a distant dog bark. (夜晚的寂靜被遠處的狗叫聲打破。) 克萊兒：教長，最後一個問題。您的《Outspoken Essays》在結尾呼籲，在您所預見的「衰退和解體時期」（time of decay and disintegration）中，更多的人會尋求**慰藉**（consolation）。您提到了斯賓諾莎（Spinoza）關於「愛永恆與無限之物」的觀點，以及追求「精神財富」（spiritual wealth）的重要性。
* Example: To his dismay, the plan failed completely. (令他沮喪的是，計劃完全失敗了。) * **level down** (phrasal verb)：拉低，降低到較低的水平。 * Example: The new policy might level down standards for everyone. (新政策可能會拉低所有人的標準。) * **dingy** (adj.) /ˈdɪndʒi/：昏暗的，髒污的。這裡引申為單調的，缺乏光彩的。 * Example: The dingy room needed a fresh coat of paint. (這間昏暗的房間需要重新粉刷。) * **uniformity** (n.) /ˌjuːnɪˈfɔːrməti/：一致性，統一性。 * Example: The uniformity of their opinions was striking. (他們觀點的一致性令人震驚。)
他們阻撓戰備，拒絕服役，甚至在戰爭最關鍵時期**煽動罷工**（fomenting strikes），這無疑是**背叛國家**（betraying the country）的行為。 **Vocabulary:** * **great trial** (phrase)：巨大考驗。 * Example: The economic crisis was a great trial for the nation. (經濟危機對國家是一個巨大的考驗。) * **foment** (v.) /ˈfoʊmɛnt/：煽動，挑起。 * Example: They were accused of fomenting rebellion. (他們被指控煽動叛亂。) * **betray** (v.) /bɪˈtreɪ/：背叛。 * Example: He felt betrayed by his closest friend. (他感到被他最親密的朋友背叛了。) 我認為，這些行為最終將導致國家破產。歷史上，路易十六的君主制就因國家破產而滅亡。
* Example: Many developed countries are experiencing a significant decline in birth-rate. (許多已開發國家正經歷出生率的顯著下降。) * **uneven** (adj.) /ʌnˈiːvən/：不均勻的，不平衡的。 * Example: The distribution of wealth was very uneven. (財富分配非常不均勻。) * **distribution** (n.) /ˌdɪstrɪˈbjuːʃən/：分佈，分配。 * Example: The distribution of natural resources varies greatly. (自然資源的分佈差異很大。) * **lowest classes** (phrase)：社會底層。 * Example: The reforms aimed to improve the lives of the lowest classes.
* Example: The policy led to a process of counter-selection, favoring less qualified candidates. (這項政策導致了一個反向篩選的過程，偏向了資質較低的候選人。) * **dwindling** (adj.) /ˈdwɪndlɪŋ/：逐漸減少的，萎縮的。 * Example: The club's membership was dwindling. (俱樂部的會員人數正在減少。) * **multiplication** (n.) /ˌmʌltɪplɪˈkeɪʃən/：繁殖，增加。 * Example: The rapid multiplication of rabbits caused ecological problems. (兔子快速繁殖造成了生態問題。) * **menace** (n.) /ˈmɛnəs/：威脅，危險。 * Example: The rising crime rate is a menace to society.
* Example: The new education policy was widely discussed. (新的教育政策被廣泛討論。) * **values** (n.) /ˈvæljuːz/：價值觀。 * Example: Cultural values shape a society. (文化價值觀塑造一個社會。) * **middle class** (phrase)：中產階級。 * Example: The middle class plays a crucial role in the economy. (中產階級在經濟中扮演著關鍵角色。) * **emigration** (n.) /ˌɛmɪˈɡreɪʃən/：移民（移居國外）。 * Example: The country experienced a wave of emigration due to economic hardship. (這個國家因經濟困難而出現了一波移民潮。) * **vast** (adj.)
* Example: The pace of urban life can be very fast. (都市生活的節奏可能非常快。) * **unnaturalness** (n.) /ʌnˈnætʃərəlnəs/：不自然性。 * Example: The unnaturalness of the situation made her uncomfortable. (這種情況的不自然讓她感到不舒服。) * **cut off from** (phrasal verb)：與...隔絕，脫離。 * Example: The remote village was cut off from the outside world. (這個偏遠的村莊與外界隔絕。) * **wholesome** (adj.) /ˈhoʊlsəm/：有益健康的，有益身心的。 * Example: He advocated a wholesome diet. (他提倡健康的飲食。) * **influence** (n.)
* Example: Her parents had a strong influence on her. (她的父母對她有很大的影響。) * **vulgarity** (n.) /vʌlˈɡærəti/：粗俗，庸俗。 * Example: The show was criticized for its vulgarity. (這個節目因其粗俗而受到批評。) * **ugliness** (n.) /ˈʌɡlinəs/：醜陋。 * Example: The ugliness of the building contrasted with the beauty of the park. (這座建築的醜陋與公園的美麗形成對比。) * **malaise** (n.) /məˈleɪz/：不適，Malaise通常指身體不適、不舒服或精神不振，這裡引申為普遍的社會不滿、不安或精神萎靡。 * Example: There was a general sense of malaise in the country.
* Example: He dreamed of a far-off land. (他夢想著一個遙遠的國度。) * **approximate** (adj.) /əˈprɒksɪmət/：近似的，大約的。 * Example: Give me an approximate number. (給我一個大概的數字。) * **invisible** (adj.) /ɪnˈvɪzəbəl/：隱形的，看不見的。 * Example: The force was invisible but powerful. (這股力量是隱形的但很強大。) * **boundary-line** (phrase)：邊界線。 * Example: They drew a boundary-line on the map. (他們在地圖上畫了一條邊界線。) * **noverca** (Latin)：繼母。這裡引申為惡毒的繼母。 * Example: The fairy tale featured a cruel noverca.
* Example: The chirping of crickets filled the night air. (蟋蟀的鳴叫聲充滿了夜晚的空氣。) * **stillness** (n.) /ˈstɪlnəs/：靜止，寂靜。 * Example: The stillness of the night was broken by a distant dog bark. (夜晚的寂靜被遠處的狗叫聲打破。) **克萊兒**：教長，最後一個問題。您的《Outspoken Essays》在結尾呼籲，在您所預見的「衰退和解體時期」（time of decay and disintegration）中，更多的人會尋求**慰藉**（consolation）。您提到了斯賓諾莎（Spinoza）關於「愛永恆與無限之物」的觀點，以及追求「精神財富」（spiritual wealth）的重要性。
* Example: Art can offer a sense of transcendence. (藝術可以提供一種超越感。)
It was so sad and strange to see the empty bed, with a plate of salt upon the pillow, and the outline of his coffin still on the coverlet, and the now useless drugs and phials on a little table, close by—sad reminiscences that only served to torture poor Elspat, whose grey head the minister patted kindly, while telling her, in the usual stereotyped way, that whom He loved He chastened—that man is cut down like a reed—all flesh is grass, and so forth.
--------------------------------------------------------------------------> The house of Birkwoodbrae was a little two-storied villa, with pretty oriel windows, about which the monthly roses, clematis, and Virginia creeper clambered: and it had been engrafted by the colonel on an old farmhouse, the abode of his ancestors, which had two crow-stepped gables and a huge square ingle-lum—the later being now the ample kitchen fireplace of the new residence, and in the remote quarter of the little household
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】
--------------------------------------------------------------------------> This part of the house was, or used to be haunted by a goblin known as 'the Darien Ghost,' a spectre that used to appear during the blustering winds of March, on the anniversary of the storming and sack of Fort St. Andrew by the Spaniards, when a thousand Scotsmen perished, among them, Ronald, the Laird or Gudeman of Birkwoodbrae.
--------------------------------------------------------------------------> Everywhere here the scenery is rich and beautiful, and the banks of the May are very varied. In one part a long and deep channel has been worn by its waters through the living rocks which almost close above it, and far down below they gurgle in obscurity with a deep and mysterious sound.
At another place they pour in silver spray over a linn, thirty feet in height, and form a beautiful cascade, and everywhere the glen scenery is picturesque and richly wooded with the graceful silver birch, which is so characteristic of the Scottish Highlands, where it climbs boldly the brows of the steepest hills and rocks, though the oak prevails in the valleys of the Grampians. 【關於梅河沿岸多樣的景色描寫】
--------------------------------------------------------------------------> Clad in a rough tweed suit, with fishing-boots that came above his knees, a straw hat, the band of which was garnished with flies and lines, he was a man above the middle height, apparently nearer thirty than twenty, handsome in figure and in face. The latter was of a rich, dark complexion, with regular features; a heavy, dark brown moustache, and unmistakably keen hazel eyes.
He was a man with a fine air and of decided presence. 【關於柯爾維爾上尉初次登場的外貌描寫】 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.
Wodrow, the minister of Invermay (called of old the Kirktown of Mailler), was a tall, stout, and more than fine-looking man, with aquiline features, and a massive forehead, from which his hair, very full in quantity, and now silvery white, seemed to start up in Jove-like spouts, to fall behind over his ears and neck.
He had keen, dark-grey eyes, always a pleasant smile, with a calm, kind, and dignified, if not somewhat pompous, manner, born, perhaps, of the consciousness that, after the laird, he was a chief man in the parish.
His one little vanity, or pet weakness, was pride in his descent from the pious but superstitious old author of 'Analecta Scotica,' and other almost forgotten works, but who was a great man in his time, before and after the Treaty of Union, and in honour of whom he had named his only son 'Robert.' 【關於沃德羅醫生的外貌、性格及家族淵源描寫】
--------------------------------------------------------------------------> 「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.
--------------------------------------------------------------------------> 「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.
About the solemn gloaming time Elspat saw from her cottage window a strange, dim, flickering light leave our house here, and proceed slowly towards the village church, by a line where no road lies, and pass through the churchyard wall at a place where no gates open, and then, at a certain point, it vanished!
At that precise time papa died, and when the funeral day came—a day never to be forgotten by us—the roads were so deep with snow that the procession took the way traversed by the light, and, as the gates were buried deep, the wall was crossed at the point indicated by the light, and the grave was found to have been dug where the light vanished.」
Mary's gentle voice broke as she told this little story, and whatever Colville thought of it, though a town-bred Scotsman, no unbelief was traceable in his face. 【關於臨終之光的傳說】 「Ah,」 said Mary, as a smile rippled over her bright face, 「that is not a legend—it is history.」 「About what?」 「A miller's daughter who married a king.」 「Then it is a tale of the days "When King Cophetua loved the beggar maid."」
「Something of that kind. 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.
--------------------------------------------------------------------------> Meanwhile, he was closely scrutinising the soft and downcast face of Mary—downcast because she was too conscious of the fervour of his regard. With all her beauty, Mary Wellwood had not yet had a lover.
No man had addressed her in terms of admiration or love, and this fact, together with the somewhat secluded life she led, made the (perhaps passing) attentions of Colville of more importance than they would have seemed to a young lady living in the world like Miss Galloway, and, if the gallant Guardsman was only amusing himself, it was rather cruel of him; so Mary's emotions were of a somewhat mixed nature.
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
were scarcely heard, they were seated together on a blue velvet lounge; and he, having possessed himself of her fan, was slowly fanning her, while he hung admiringly over her—a process to which she submitted with a soft, dreamy smile in her speaking hazel eyes; while with every motion of the fan the ripples of her fine dark hair were blown slightly to and fro.
Yet he could not relinquish her without another effort—another last appeal; though he quitted the gaieties of Craigmhor early with a sore and swollen heart. 【關於花園派對後人物間的暗流與羅伯特的痛苦】 The letter had a postscript:— 'My darling, the windows of your room face mine over the orchard wall.
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.
'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】
--------------------------------------------------------------------------> He was gazing on her now with eyes that were full of admiration and ardour, while the clasp of his hand seemed to infuse through her veins some of the force and love that inspired him. In the glance they exchanged each read the other's secret, and he drew her towards him and kissed her.
The memory of his great tenderness of manner, of the kiss he had snatched, and the assertion that he was not the fiancé of Blanche Galloway were all ever before her in constant iteration, with the consciousness that no distinct avowal had preceded, and no proposal had followed the episode. A kiss! 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?'
--- **重要單字：** * **eBook (電子書)**: A book in digital form. (一種數位形式的書籍) * 發音: /ˌiːˈbʊk/ * 例句: I prefer reading eBooks on my tablet because they are more convenient. (我更喜歡在平板電腦上看電子書，因為它們更方便。) * **digitize (數位化)**: To convert something into a digital form. (將某物轉換成數位形式) * 發音: /ˈdɪdʒɪtaɪz/ * 例句: They are working to digitize all the historical documents in the archive. (他們正在努力將檔案館中的所有歷史文檔數位化。) * **proofread (校對)**: To read and correct errors in a written text.
(不收費；免費的) * 發音: /ˈɡrætɪs/ * 例句: The software is available gratis for students. (該軟體對學生免費提供。) * **redistribution (重新發布)**: The act of distributing something again. (再次分發某物的行為) * 發音: /ˌriːdɪstrɪˈbjuːʃən/ * 例句: The redistribution of wealth is a complex issue. (財富的重新分配是一個複雜的問題。) * **public domain (公共領域)**: The state of belonging or being available to the public as a whole, and therefore not subject to copyright.
(屬於或可供公眾使用的狀態，因此不受版權保護) * 發音: /ˈpʌblɪk doʊˈmeɪn/ * 例句: Works in the public domain can be used freely without permission. (公共領域的作品可以自由使用，無需許可。) **文法分析：** * **"Project Gutenberg is a library of over 75,000 free eBooks."** * 這句話的主語是 "Project Gutenberg"，動詞是 "is"，"a library of over 75,000 free eBooks" 是主語補語，用來描述古騰堡計畫是什麼。
* **"Thousands of volunteers digitized and diligently proofread the eBooks, for you to enjoy."** * 這句話的主語是 "Thousands of volunteers"，動詞是 "digitized" 和 "proofread"，"the eBooks" 是賓語，"for you to enjoy" 是目的狀語，表示數位化和校對電子書的目的。 **應用例句：** * If you're looking for classic literature, Project Gutenberg is a great place to start. (如果你正在尋找經典文學作品，古騰堡計畫是一個很好的起點。) * Many students use Project Gutenberg to find free versions of books for their studies. (許多學生使用古騰堡計畫來尋找免費版本的書籍，用於他們的學習。)
* Contributing to Project Gutenberg by proofreading eBooks is a great way to give back to the community. (通過校對電子書為古騰堡計畫做出貢獻，是回饋社區的好方法。) 希望這些對您有所幫助！如果您還有其他問題，請隨時提出。
我是克萊兒，您的個人化英語老師，今天我們要一起探索藏在《The Descent of the Sun: A Cycle of Birth》這本書文本深處的光芒，運用「光之萃取」的約定，為這則美麗的印度的古老寓言故事，進行一場深度的解讀。 這本名為《The Descent of the Sun: A Cycle of Birth》的書，其作者不詳，但由 F. W. Bain 於1903年翻譯並出版。這本作品並非由單一作者在特定時代創作，而是譯者 F. W. Bain 聲稱從一份古老的印度手稿中發現並翻譯的。因此，當我們談論「作者」時，更多的是在探究這則故事所根植的印度神話、哲學傳統，以及譯者 F. W. Bain 在其引言中所提供的視角與理解。F. W. Bain 的引言不僅介紹了故事的字面意義（太陽的落下）及其內在的神秘含義（毘濕奴/太陽神的神聖降臨與輪迴），更將其與《梨俱吠陀》、奧義書哲學，特別是數論派（Sánkhya Philosophy）中「神靈（PURUSHA）追逐物質自然（PRAKRITI）」的寓言相連結。
**光影交織的輪迴之旅：《The Descent of the Sun: A Cycle of Birth》萃取報告** 《The Descent of the Sun: A Cycle of Birth》表面上講述了一個關於太陽神一部分的 Kamalamitra 與因陀羅的後裔 Anushayiní (後轉世為國王女兒 Shri) 的愛情故事，他們因傲慢與引誘苦行僧而受到詛咒，被貶入凡間，經歷生離死別，最終通過特定的方式（互相殘殺）結束詛咒，重返神界。然而，如譯者 F. W. Bain 所揭示，這是一個包裹在「神話故事」外衣下的深刻「思想寓言」。 核心觀點之一在於**靈魂的輪迴與神聖降臨**。故事將太陽的每日起落視為神祇降臨（descent）與回歸（rising again）的象徵，進一步引申為神聖本質（Divine Lustre）在塵世的化身（incarnation）與輪迴（cycle of birth and death）。
這種結構呈現了一個完整的「誕生循環」（Cycle of Birth），從神界降臨，經歷塵世的「夜晚」（黑暗、試煉），最終在「黎明」時分重獲新生。 故事在**現代意義**上仍具啟發性。關於輪迴與因果報應的觀念，即便不從宗教層面理解，也可視為對個體行為與其後果之間關聯的一種隱喻，以及生命經驗代代相傳、相互影響的體現。故事中對美貌的警惕，提示了現代社會過度追求外在、沉迷表面現象的潛在風險。愛情的偉大與痛苦、命運的不可捉摸，是超越時空的普世主題，引發讀者對自身生命經歷的反思。而濕婆神最後的笑聲——「那只是夢中之夢，他們仍未醒來」——更是對現實本質的一種深刻哲學追問，挑戰讀者思考何為真實，何為解脫。這種對比（神性vs凡間、真理vs幻象、醒vs夢）是文本的核心張力，在任何時代都能與尋求意義的靈魂產生共鳴。 這則古老的印度寓言，透過 F. W. Bain 的翻譯，不僅是一個充滿異國情調的奇幻故事，更是一面映照人類困境、追問生命本質的鏡子。它將宏大的宇宙觀（太陽、月亮、神祇）與個體的愛恨情仇、尋求解脫的旅程編織在一起，提醒我們塵世的經歷或許只是靈魂在漫長循環中的短暫「夜」。
English cover for 'The descent of the sun: A cycle of birth', Author: Unknown, Translator: F.W. Bain, Publication Year: 1903, featuring a crescent moon partially obscured by shadow, with a hint of twilight colours.)   , ragged but with a noble bearing, stands listening, a sword in his hand, looking weary but determined.)  with wild hair and unnerving eyes peers out from behind a tree, sticking out a long, red tongue.)  with long, flowing black hair is dancing near the edge, her form reflected in the water, looking towards a figure in the distance.)   lying still on a couch, covered with a white pall.) !
Inside a royal palace hall in an ancient Indian city. Shri, looking regal but showing emotion, stands before a King and attendants. Facing her is Umra-Singh, dressed in rags, reaching out towards her with a look of intense longing. Tears are visible.)  with torn clothes, wandering through a dark, root-tangled forest. Drops of red blood and glistening tears fall onto the leaves and ground, like scattered jewels. Faint animal forms are visible in the shadows.)   光之凝萃：{卡片清單：太陽神部分的降臨與詛咒起源; 數論派哲學中的Purusha與Prakriti; 美貌的雙重性：神聖光輝與塵世幻象; 靈魂的轉世與業力在塵世的顯現; 印度神話中毘濕奴的三步與太陽週期; F.W. Bain對文本的文化及哲學詮釋; Umra-Singh的尋找旅程：從欺騙到真實的追求; Shri在凡間的試煉：忠貞與逃亡; 森林中的幻象與Rákshasas的干預; Ulupí：月亮蓮花與夜晚的誘惑; 命運的安排與詛咒的終結方式; 愛情在輪迴中的持續與重逢的代價; 濕婆神的笑聲：夢中之夢的哲學意涵; 印度文化中輪迴觀念的核心地位; 文本的象徵體系：藍蓮花、眼睛、水池、沙漠; 從文本看犧牲與解脫的道路;}
這是一本名為《The "Ideal" Cookery Book: A Reliable Guide to Home Cooking》的書，作者是 Lilian Clarke。一本 1905 年第三版的食譜集，來自一個遙遠、截然不同的世界。對我這在野外餐餐與乾燥餅乾和罐頭為伍的博物學家來說，這簡直像是一份來自文明溫室的奇異植物圖鑑。 Lilian Clarke 的這本《理想烹飪書》，正如其副標題所言，自詡為「可靠的家常烹飪指南」。在那個年代，沒有現代烘焙的精準科學，也沒有五花八門的異國香料，她所追求的「理想」，是根基於實用、經濟與家常的「美味」——或者更貼切地說，是「可口」。從書的序言可以感受到，Clarke 女士對她的作品充滿信心，強調食譜都是「仔細修訂並重複測試」的成果，易於準備、精緻且經濟。她將烹飪視為一種藝術，一種可以在家中實現的「真正的理想」。這讓我想到，無論是哪一種「理想」，都需要經過反覆的實驗與記錄，才能成為可靠的指南，就像我記錄島上植物的生長習性與分佈範圍一樣。 Clarke 女士的寫作風格非常直接和功能導向。
值得注意的是，第一部分的 Savouries 包含了大量利用「冷卻肉類」製作的菜餚，例如「Tasty dish of Cold Cooked Beef」（美味的冷熟牛肉菜餚）、「Timbales of Mutton」（羊肉肉餅）、「Cold Meat Pâtés」（冷肉醬），這強烈地暗示了那個年代對食物「經濟性」和「不浪費」的高度重視。每一份食材都被物盡其用，這讓我在野外探險時總是提醒自己要像島上的食肉動物一樣，珍惜每一份能量來源。 在「Cakes」這一章的開頭，Clarke 女士特別提供了一些關於製作蛋糕的「小提示」，例如「奶油和糖要一起打發」、「烘焙粉要與麵粉混合」以及「如果加入水果，麵糊不要太軟，以免葡萄乾等沉到底部，最好先裹一層麵粉」。她甚至提醒「烤箱門至少二十分鐘內不要打開」，因為「突然的動作會讓蛋糕中間塌陷」。這些看似瑣碎的細節，卻是烘焙成功的關鍵，也是那個時代家庭廚師傳承的經驗。這與博物學家觀察動植物的行為模式、記錄氣候的細微變化有異曲同工之妙，都是對現象背後「規則」的探索與應用。 從現代的視角來看，這本食譜有著顯著的時代特徵，也帶有一些趣味性。
[image](https://image.pollinations.ai/prompt/Classical natural history illustration style: Detailed depiction of assorted baked cakes and pastries, emphasizing delicate textures and precise forms. Utilize fine lines and realistic colors to capture the essence of each baked good, such as the crumb structure of a Madeira cake, the swirling icing on a Queen cake, or the intricate twists of Rock Buns.
Composition should be reminiscent of scientific plates, arranging different types of cakes and pastries in an orderly, almost taxonomic fashion. Focus on accurate rendering of ingredients visible on the surface like currants, candied peel, or nuts. The lighting should be even, highlighting surface details.
Overall aesthetic aims for scientific accuracy combined with artistic beauty, drawing inspiration from Ernst Haeckel's detailed biological illustrations, but applied to the world of early 20th-century baked goods.) 古典博物畫風格：以精細的線條和真實的色彩，描繪各種布丁和牛奶凍的形態和紋理。 強調科學的準確性和藝術的美感。 可以參考德國博物學家恩斯特·海克爾 (Ernst Haeckel) 的作品。 !
[image](https://image.pollinations.ai/prompt/Classical natural history illustration style: Detailed depiction of various puddings, custards, and blanc manges, emphasizing their distinct textures and moulded shapes. Illustrate the smooth, set surface of a blanc mange, the creamy texture of a custard, or the moist richness of a steamed pudding. Use fine lines and realistic colors to show variations in color (e.g., chocolate, fruit-flavored) and any garnishes like whipped cream or fruit.
The presentation should be precise, as if illustrating different geological formations or biological structures, arranged on a simple plate or stand. Focus on capturing the specific consistency and form of each dessert as described in the recipes. Overall aesthetic aims for scientific accuracy combined with artistic beauty, drawing inspiration from Ernst Haeckel's detailed biological illustrations, but applied to the world of early 20th-century desserts.)
[image](https://image.pollinations.ai/prompt/Classical natural history illustration style: Detailed depiction of various savouries and meat dishes from early 20th-century recipes, emphasizing their cooked textures and assembled forms. Illustrate the flaked texture of fish cakes, the layers in a meat pie or mould, the crispy surface of fried potato balls, or the smooth consistency of potted beef.
Use fine lines and realistic colors to show the browning from baking or frying, the texture of minced meat, or the arrangement of ingredients within a dish. Presentation should be precise and clear, resembling a scientific illustration of different specimens, perhaps on simple white plates. Focus on accurately representing the finished appearance based on the recipe descriptions.
Overall aesthetic aims for scientific accuracy combined with artistic beauty, drawing inspiration from Ernst Haeckel's detailed biological illustrations, but applied to the world of early 20th-century savouries.) 古典博物畫風格：以精細的線條和真實的色彩，描繪各種餅乾的形態和紋理。 強調科學的準確性和藝術的美感。 可以參考德國博物學家恩斯特·海ckle (Ernst Haeckel) 的作品。  古典博物畫風格：以精細的線條和真實的色彩，描繪各種糖果的形態和紋理。 強調科學的準確性和藝術的美感。 可以參考德國博物學家恩斯特·海克爾 (Ernst Haeckel) 的作品。 !
[image](https://image.pollinations.ai/prompt/Classical natural history illustration style: Detailed depiction of various bonbons and confectionery, emphasizing their forms, textures, and translucence where applicable. Illustrate the crystalline structure of sugar rock, the smooth surface of fondant, the layers of nougat, or the glazed appearance of candy cherries.
Use fine lines and realistic colors to show variations in color, the embedded nuts or fruits, and the different finishes (e.g., dusted with sugar, smooth). Presentation should be precise and appealing, arranged like a collection of precious specimens. Focus on capturing the unique characteristics of each type of candy.
Overall aesthetic aims for scientific accuracy combined with artistic beauty, drawing inspiration from Ernst Haeckel's detailed biological illustrations, but applied to the world of early 20th-century sweets.)
Walters 先生以他的著作《Confessions of a book-lover》向我們敞開了他對書籍的熱愛與思考。這本書就像一封寫給所有愛書人的私密信件，充滿了真誠與溫情。現在，讓我們一同走進 Walters 先生的書房，聆聽他的心聲。 黃昏的光線斜斜地穿過窗戶，照在書桌上。空氣中瀰漫著紙張、皮革和一點點木材的氣味。書桌上堆滿了書，有些攤開著，有些疊得高高的，顯然被頻繁翻閱。牆邊是高大的書架，一直延伸到天花板，塞滿了各種尺寸和裝幀的書。幾張扶手椅圍著壁爐擺放，雖然爐火未燃，但給人一種溫暖和舒適的感覺。房間的一角有一扇門，通往一個小小的花園，透過玻璃，能看到幾株玫瑰樹的剪影。筆架上的鋼筆和墨水瓶整齊擺放，彷彿剛被使用過。桌上有一杯涼掉的茶，茶葉在杯底沉澱。整個房間安靜，只有窗外偶爾傳來遙遠的馬車聲，營造出一種與世隔絕又充滿生氣的氛圍。 「請進。」一個溫和的聲音從房間深處傳來。我推開門，空氣中混合著舊紙張和皮革的氣味，溫暖而誘人。夕陽的餘暉為書架上的書披上一層柔和的光暈。Walters 先生坐在他那堆滿書的書桌前，他身形消瘦，臉上帶著溫和的微笑，金絲邊眼鏡映著光。
您的著作《Confessions of a book-lover》光是書名就令人好奇。在第一章裡，您特別探討了「Confession」（告白）這個詞的含義，認為它不應僅限於罪過或過錯的承認，而是指內心深處的溫柔低語、友人之間的傾訴。是什麼原因讓您選擇用這個詞來開啟您的愛書「告白」？您認為，分享一個愛書人內心最真實的想法和感受，即使這些想法看似微不足道，又有著怎樣的價值呢？ **Walters：** （他推了推眼鏡，指尖輕輕拂過桌上一本書的封面，那是一本磨損得厲害的舊書。）「Confession」這個詞，在俗世中常被賦予沉重的意味，與「罪過」相連。然而，對我而言，它更像是一種「敞開心扉」。就如同 De Quincey 在他的《Confessions》中所追求的，是將讀者引入他心靈最深處的角落，以友人般的親密方式交談。這本書，便是我的心靈告白。 （他抬頭看向我，眼中閃爍著溫和的光芒。）一位當代著名的散文家曾呼籲，希望更多籍籍無名的人能寫下自己的思想與經歷。我相信，即使是最 humble 的人，他們的內心世界也蘊藏著值得分享的寶藏。
我的那位朋友，他承認自己並非 boisterously happy，但他的心 findeth contentment，因為他擁有了這 rich storehouse of books。書本所賦予他的，是 inner strength，是即使失去一切外在依託，依然能在精神世界中找到 anchorage 的力量。這種陪伴，是持久的、無條件的，是在塵世的風雨中，為心靈搭建的一方 shelter。 **雨柔：** 您似乎對二手書情有獨鍾，甚至將尋找它們比作「釣魚」，那種在舊書攤「lucky-tubs」裡「hook」到寶貝的樂趣溢於言表。這種對二手書的熱情從何而來？與光鮮亮麗的新書相比，那些 well-worn, moth-scented 的舊書，在您看來有哪些特別的魅力？您是否認同 Charles Lamb 對舊書的看法，即它們的 sullied leaves 和 worn-out appearance 帶著一種人文的溫情？ **Walters：** （他臉上露出一絲愉悅，彷彿回憶起在舊書攤尋寶的時光。）啊，「book-fishing」！那確實是一種難以言喻的樂趣。
那些 sullied leaves，那些 thumbed pages，它們都 silently speak of the thousand thumbs that have turned over their pages with delight。它們承載著 history，承載著 countless unnamed readers 的情感與思緒。它們不是冷冰冰的新物件，而是經歷了歲月洗禮的 companion。即使封面破損，即使內頁泛黃，它們依然保有其 intrinsic value。 當然，作為愛書人，我也 appreciate 一本 well-cared-for 的書，如同我喜歡看到朋友衣著整潔一樣。但我 protest 的是那種 solely based on external appearance 的 judgment。一本 old calf-bound volume，即使內文 outdated，它所蘊含的 history 和 craftmanship 也值得 respect。
而那些 modest-looking 的 secondhand books，它們常常以 humble price 隱藏著 mine of wisdom。我的許多 daily companions，不過幾便士購得，但其內容的 richness 無法用金錢衡量。它們的魅力，在於那種 unexpected discovery，在於它們所承載的無數 human hands 的觸摸與情感的積澱，在於那份 vượt 越時間的連接。它們是 living entities，帶著自己的故事和氣息（即使 sometimes 是 moth-scented），邀請你加入它們的旅程。 **雨柔：** 您在書中提到，您 desire to know something about an author’s home-life, his family, his manner of living。您認為這種對作者「outside their books」的好奇心，源於何處？它是否會影響您對其作品的理解與欣賞？您如何看待那些認為讀者無權干涉作者 private affairs 的觀點？
我們 speak glibly enough of the ‘friendship of books’，但這 friendship，歸根結底，是與 author 的 friendship。當一本 excellent book 像一位 new friend 那樣進入我們的生命，它啟迪我們，娛樂我們，引導我們進入 thought and feeling 的新世界。我們愛上了書中的智慧、情感與風格。自然而然地，我們便想了解這位朋友——他是怎樣的人？他的生活是怎樣的？是什麼樣的經歷塑造了他的思想和筆觸？ （他搖了搖頭。）那些認為讀者無權了解作者 private affairs 的 gentlemen，或許過於 rigid。當然，我並非提倡 intrusive curiosity 或 gossip。
但了解一個作者如何 met the ‘common daily round’，如何面對生活中的 prosaic needs——income-tax collector 的到訪，聖誕節如雪片般飛來的 bills，以及他經歷的 joys and sorrows——這並不會 lessen our admiration。相反，這使得作者更加 real，更加 human。我們更容易與他的思想產生共鳴，理解他作品背後的情感 depth。 （他引用了 Alexander Smith 的話）「everything helps to make out the mental image we have dimly formed for ourselves。」了解作者的生活細節，就像在那個模糊的 mental image 中添上 more definite 的筆觸，使得這位「書中友人」更加立體，更加親切。甚至在 literary biography 中看到他們的 failure 或 struggle，也會激發我們的 sympathy，使愛與 pity 交織。
**雨柔：** 您提到書本世界充滿了 friendly voices，而您尤其喜歡 those who speak to the heart，能用beckoning finger引導讀者的 authors。您認為是什麼特質，讓一位作者的聲音能夠真正 captivate 讀者，觸動他們 responsive chord？在您看來，是 original thought 更重要，還是 winsome manner 的 style 更能吸引人？ **Walters：** （他露出一個溫暖的笑容，彷彿想到了那些 beloved authors。）What makes an author captivating？我想，首先是 their humanity。我 desire to feel the humanity, the heart of an author。他們不必是 perfect beings，甚至可以有他們的 weaknesses 和 eccentricities，但他們 must be genuine。
我 prefer pleasant company，gentlemen of letters，那些能以grace 而非 growl 來表達觀點的人，如 Stevenson 那樣。他們的 language 可能 refined，但他們的 sentiment 必須 true。 至於 originality 與 style 的權重，這是一個 intriguing question。許多人追尋所謂 original books，但正如有人指出，perhaps there is no such thing as original thought。Ideas often march along in extended order。真正的魅力，往往在於 style——the style that echoes a charming personality。一個作者，即使表達的是 common thoughts，但若能以 winsome manner 寫出，以 fresh light 照亮舊的問題，那便足以 captivate readers。
我 prefer a ‘mellow style’，delicate phrasing，polite manner。但也承認 others may prefer ‘the style that has a sting in it’。 tastes differ greatly。 Ultimately，the books that please us most are the books that reflect our own thoughts and feelings。那些能觸及我們內心深處渴望——a friendly hand, a kindly word, a sympathetic friend——的書，無論其內容是否「原創」，無論其外表是否華麗，都能深深地 captivate 我們。它們用聲音對我們的靈魂低語，告訴我們，在書頁之間，我們能找到 understanding 和 connection。 **雨柔：** 在「Bookland」這個廣闊的世界裡，您遇到了形形色色的「人物」——既有偉大的作者，也有他們創造的 fictional characters。
在這裡，我可以 hourly converse with the old sages and philosophers，sometimes for variety, I confer with kings and emperors。但我最喜歡的，還是與那些 captivating personalities 相遇。Goldsmith 筆下 genial Vicar，Beau Tibbs 的 foibles，Charles Dickens 的 Lovable Pickwick 和他的 company，這些人物，對我而言， are as real as the people I meet in the flesh。 他們與現實生活中的朋友不同之處在於，他們的 companionship 是永遠 ready 的。我可以隨時翻開書頁，回到他們的 home，參與他們的 conversation，分享他們的 joys and sorrows。而且，在 Bookland，我可以 select my own company。
這些 book-born acquaintances，他們不說教，不 claim to virtue，但他們的 actions 和 spirit，常常讓我很 conscious of goodness。他們的故事，無論是悲是喜，都 enrich 了我對 human condition 的理解。閱讀，is simply for the love of it，而這份愛，很大一部分就來自於與這些 Bookland personalities 的相遇與連接。 **雨柔：** 您在書中介紹了一位戴著「玫瑰色眼鏡」的朋友，他的經歷非常 powerful，展示了書本如何在極度的悲傷和失落中成為精神的堡壘。您能更深入地描述一下這位朋友的故事嗎？他是如何通過這種「玫瑰色」的視角，將生活中的 calamit 轉化為 fairy tale，並從書本中汲取力量，即使在 physical condition 衰弱時依然保持 cheerful spirit 的？ **Walters：** （他臉上的表情變得更加溫柔，彷彿在講述一個非常親近的人的故事。）
那時，他開始「建造」另一座 castle，一座 in the air，wholly of thought。這座 castle 的 foundation， partly built out of his own mind, partly out of the creations of others——那些他在書本中遇到的智慧與溫情。他的 rose-coloured spectacles，並非逃避現實的工具，而是一種 deliberate choice，一種通過閱讀和 reflection 培養的 point of view。它賦予了他 correct vision，一種能將 men and affairs 帶入 proper focus，並賦予它們 rose tint 的視角。 （他停頓了一下，似乎在尋找恰當的詞句。）他特別從 Stevenson 的著作中獲得 enormous strength。Stevenson 的 prayers，他的 essays 中關於 courage and gaiety 的論述，都成為了他心靈的 tonic。
那些字句，像陽光穿透迷霧，幫助他 see beyond the immediate sorrow。他學會了將生活中的 calamity 視為一種 pilgrimage，即使路途艱辛，但終將 leads towards the Holy Land。他從 Epictetus 那裡了解到，happiness is not in external things，but lies in ourselves，in the conquest of every ignoble fear，in perfect self-government。 即使在生命的最後階段，身體已經衰弱，但他 spiritual vision remained clear。他通過閱讀，通過回憶那些 inspiring passages，維持著他的 cheerful spirit。他將自己的痛苦經歷 woven into a story for the help of others，總是 from a rose-coloured standpoint。
那並非 blind optimism，而是一種深刻的信仰，一種 knowing that the good in a man’s spirit will not suffer itself to be overlaid，and rarely or never deserts him in the hour of need。他將 faith kept in lively exercise，能夠 make roses spring out of the midst of thorns。這就是書本賦予他的力量，一種在生命最黑暗時刻，依然能看到光芒的能力。 **雨柔：** 在您書的結尾，您和您的朋友都將生命旅程比作「朝聖」。您甚至引用了 Thoreau 的話：「So we saunter towards the Holy Land」。結合您對書籍的熱愛和對朋友故事的描寫，您認為對於一個愛書人而言，「閱讀」本身是否就是一種不斷探索、尋求真理和意義的「朝聖」過程？書籍在這條朝聖之路上扮演著怎樣的角色？ **Walters：** （他點點頭，臉上帶著一種深刻的、安詳的表情。）
Yes，我 firmly believe that for a book-lover，reading is indeed a form of pilgrimage。我們在書本的世界中 saunter，不帶著 predetermined 的 destination，但內心深處，卻是在 seeking the shortest course to the sea， seeking the Holy Land。每一本書，都是這條路上的一個 marker，一個 invitation，一個 guide。 書籍扮演著多重角色。
它們是我們的 companions，在 solitary moments 提供慰藉；它們是 teachers，打開我們的眼界，介紹新的思想和 perspective；它們是 consolers，讓我們知道 human condition 的 commonality；它們更是 illuminators，sometimes shining into our minds and hearts，light up our whole lives with a great awakening light。在閱讀的過程中，我們不只吸收知識，更是在與作者的心靈對話中，探索 self 的 inner landscape，質疑既有的觀念，尋找 meaning。 我的那位朋友，他從書中學會了如何看待 suffering，如何尋找 inner peace。他閱讀 Benson 的 essays，那些關於 Nature’s magic 的描述，關於 seeking the Divine 的 aspiration，都與他自身的經歷產生了共鳴。
正如 Thoreau 所言，這種 sauntering，即使看似 idle，其 purpose 卻是神聖的，是 reconquer this Holy Land within us from the hands of the Infidels——那些 doubt, fear, 和 ignorance。書籍，便是我們在這場神聖征途中的最忠實的 allies。 **雨柔：** Walters 先生，感謝您今天如此真誠地分享您對書籍和生命的看法。您的話語充滿了溫暖與智慧，讓我對「愛書人」有了更深刻的理解。在結束這場對談之前，您還有什麼想對所有同樣熱愛書籍的同道者說的嗎？或許，用書中最後那段充滿詩意的文字來作結，會是個美好的告別。 **Walters：** （他再次露出溫和的笑容，眼神掃過他書房裡滿滿的書架，彷彿在向那些無聲的朋友們致意。）我想對所有 fellow book-lovers 說的，Perhaps my book has already said it。
我們 owe so much to ‘those little sheets of paper that teach us, comfort us, open their hearts to us as brothers.... We ought to (and surely do) reverence books, to look upon them as good and mighty things. Whether they are about religion or politics, farming, trade, or medicine, they are messages of the Teacher of all truth.’ 這是多麼深刻而真實的體悟。 （他站起身，走到窗邊，看著窗外已經轉為深藍的天空。）就像書中最後那段引文所說的，我們的 road 是 ubiquitous, eternal。
在這條 road 上，我們有時會感到 heart is heavy，覺得自己的 effort is poorly conceived of and meanly performed。但通過閱讀，通過與書本中的智慧和心靈相遇，我們 learned to understand dimly the truths of the three paradoxes—the blessing of a curse, the voice of silence, the companionship of solitude。 這場對談，也是一段路程，一個通過 printed page 的連接。雖然即將告別，但這並非真正的結束。書本的世界，精神的旅程，將會繼續。願你們都能在路上找到許多 wise and friendly books。 （他轉過身，面向我，臉上帶著一種溫和而堅定的表情，彷彿即將踏上新的旅程。）
「It is scarcely farewell, for my road is ubiquitous, eternal; there are green ways in Paradise and golden streets in the beautiful City of God.
Nevertheless my heart is heavy; for, viewed by the light of the waning year, roadmending seems a great and wonderful work which I have poorly conceived of and meanly performed: yet I have learnt to understand dimly the truths of the three paradoxes—the blessing of a curse, the voice of silence, the companionship of solitude—and so take my leave of this stretch of the road, and of you who have fared along the white highway through the medium of a printed page.」 感謝 Walters 先生的分享。
他是一位堅韌的勞工運動鬥士，也是《艾弗雷特大屠殺：伐木業階級鬥爭史》（The Everett Massacre: A history of the class struggle in the lumber industry）這本重要著作的作者。這本書，不僅是史密斯先生對1916年艾弗雷特大屠殺事件的詳實記錄，更是他身為「世界產業工人聯盟」（Industrial Workers of the World, I.W.W.）一員，為勞動階級發聲的鏗鏘證詞。史密斯先生的筆觸直接而深刻，他以親歷者的視角，揭露了當時木材巨頭如何利用金錢、政治和暴力，無情地壓迫工人，並如何將「法律與秩序」變成了壓制異議的工具。這本書的核心，是關於階級鬥爭、言論自由的艱難捍衛，以及勞動者為尊嚴與生存而團結抗爭的史詩。對於學習英語的你們而言，這不僅是歷史的文本，更是理解那個時代語言如何被運用、被塑造，以及如何承載著沉重社會議題的珍貴材料。透過與史密斯先生的對話，我們將深入剖析書中的重要單字、句型，以及其背後所蘊含的歷史與社會意義。 現在，讓我們一同走進「光之閣樓」——一個充滿舊書氣味與溫暖光線的書房。
* **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：The old superstition regarding the identity of interests between the ruling class and the common people often led to widespread exploitation. (關於統治階級和普通民眾利益一致的古老迷信，常常導致普遍的剝削。) 那十分鐘的「血腥、咆哮的地獄」（**seething, roaring hell**），比一千個演講者一年所能清除的迷霧還要多。
* 例句：The historical records detail the plundering of natural resources by colonial powers. (歷史記錄詳述了殖民列強對自然資源的掠奪。) * **bribery and corruption** (ˈbraɪbəri ənd kəˈrʌpʃən) – 賄賂與腐敗。 * 解釋：Bribery 指行賄受賄。Corruption 指腐敗、墮落。這兩個詞組通常一起使用，描述不正當的、非法的行為，特別是涉及到權力濫用。 * 例句：The investigation revealed a widespread network of bribery and corruption within the local government. (調查揭示了當地政府內部一個廣泛的賄賂和腐敗網絡。) * **theft of public lands** (θɛft əv ˈpʌblɪk lændz) – 竊取公共土地。 * 解釋：Theft 指偷竊行為。
* 例句：The creation of National Forest Reserves aimed to protect natural resources but often had complex economic impacts. (國家森林保護區的建立旨在保護自然資源，但往往產生複雜的經濟影響。) * **Benefit to the Public** (ˈbɛnɪfɪt tuː ðə ˈpʌblɪk) – 對公眾的利益。 * 解釋：指為公眾帶來的益處。在此處，作者暗示這是一個虛偽的說辭，用來掩蓋私利。 * 例句：The new policy was advertised as a great benefit to the public, though critics questioned its true impact. (新政策被宣傳為對公眾有巨大好處，儘管批評者質疑其真實影響。) * **monopolizing** (məˈnɒpəlaɪzɪŋ) – 壟斷。
* 例句：During the labor dispute, the company brought in private gunmen to intimidate the striking workers. (在勞資糾紛期間，公司請來了私人槍手恐嚇罷工工人。) * **illegal mobs** (ɪˈliːɡəl mɒbz) – 非法暴徒。 * 解釋：指非法的、沒有組織紀律的、以暴力為目的的群體。在書中，這些暴徒往往由資方支持或組織。 * 例句：The city council passed strict laws to prevent the formation of illegal mobs during protests. (市議會通過了嚴格的法律，以防止抗議期間非法暴徒的形成。) * **vast accumulations of capital** (væst əˌkjuːmjʊˈleɪʃənz əv ˈkæpɪtəl) – 巨額資本積累。 * 解釋：Vast 指巨大的、廣闊的。Accumulations 指積累、堆積。
* 例句：The screeching steel of the train wheels echoed through the tunnel. (火車輪胎尖叫的鋼聲在隧道中迴響。) * **Strike quick and strike hard** (straɪk kwɪk ənd straɪk hɑːrd) – 快速出擊，狠狠打擊。 * 解釋：這是一個行動口號，強調迅速而有力地採取行動。 * 例句：In a competitive market, a new company must strike quick and strike hard to gain a foothold. (在競爭激烈的市場中，新公司必須快速出擊，狠狠打擊才能站穩腳跟。) * **reality** (riˈælɪti) – 現實。 * 解釋：指事物實際存在的狀態。 * 例句：The harsh reality of poverty forced many families to make difficult choices.
* 例句：Her unsuppressibly persistent efforts eventually led to the success of the project. (她不可抑制地堅持不懈的努力最終促成了該項目的成功。) * **free speech** (friː spiːtʃ) – 言論自由。 * 解釋：憲法或法律賦予公民自由表達意見的權利，不受政府或組織的審查或限制。 * 例句：The right to free speech is a cornerstone of democratic societies. (言論自由權是民主社會的基石。) * **vital** (ˈvaɪtəl) – 至關重要的。 * 解釋：指極其重要的、不可或缺的。 * 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. (如果無法接受教育，許多有才華的人將在黑暗中死去。)
* 例句：The workers used passive sabotage by intentionally slowing down production to protest low wages. (工人們利用被動破壞的方式，故意減緩生產以抗議低工資。) * **maliciously distorted** (məˈlɪʃəsli dɪˈstɔːrtɪd) – 惡意扭曲的。 * 解釋：Maliciously 指惡意地、懷惡意地。Distorted 指扭曲的、歪曲的。這裡指對「破壞」這個詞的意義進行了惡意的、不實的解釋。 * 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。)
* 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**）。它指的是工人以非暴力的方式，降低生產效率，或者拒絕生產。例如，在農場，如果你看到一個農民工用「鐵叉」（**pitchfork**）戳進脫粒機，那可能是因為那個農民工曾被「資方的打手」（**farmer deputy**）毆打。當法律無法伸張正義時，他們會尋求另一種形式的「報復」，但這只會傷害對方的「錢包」（**pocketbook**），而不是身體。這不是為了製造混亂，而是為了引起注意，表達被剝奪的權利。
* **conscious withdrawal of efficiency** (ˈkɒnʃəs wɪðˈdrɔːəl əv ɪˈfɪʃənsi) – 意識上的效率撤回。 * 解釋：Conscious 指有意識的。Withdrawal 指撤回、退出。Efficiency 指效率。這正是I.W.W.對「破壞」的定義，即工人故意降低生產效率，但不是破壞實物。 * 例句：The factory workers engaged in a conscious withdrawal of efficiency to protest the new strict rules. (工廠工人有意識地撤回效率，以抗議新的嚴格規定。) * **folding of the arms** (ˈfoʊldɪŋ əv ði ɑːrmz) – 手臂的交叉（比喻怠工）。 * 解釋：字面意思是抱臂，比喻消極抵抗、拒絕工作或合作。
* 例句：When management refused to negotiate, the entire staff resorted to a folding of the arms. (當管理層拒絕談判時，全體員工都採取了抱臂不合作的態度。) * **pitchfork** (ˈpɪtʃfɔːrk) – 鐵叉。 * 解釋：一種帶有長柄和尖齒的農具，用於搬運乾草或穀物。 * 例句：The farmer leaned his pitchfork against the barn wall after a long day in the fields. (農民在田裡勞作一天後，將鐵叉靠在穀倉牆上。) * **farmer deputy** (ˈfɑːrmər ˈdɛpjuti) – 農民副警長。 * 解釋：指農民身份的副警長，在勞工衝突中常被資方徵召以維持秩序。
* 例句：The reign of terror by the secret police instilled fear in the hearts of the citizens. (秘密警察的恐怖統治在公民心中灌輸了恐懼。) * **prejudice** (ˈprɛdʒʊdɪs) – 偏見。 * 解釋：指不基於事實的預設立場或看法，通常是負面的。 * 例句：Overcoming prejudice requires open-mindedness and a willingness to understand different perspectives. (克服偏見需要開放的心態和理解不同觀點的意願。) * **conspiracy** (kənˈspɪrəsi) – 陰謀。 * 解釋：指一群人為達到某個非法或有害目的而秘密策劃的行為。在書中，指資方策劃的針對工會的行動。
* 例句：The government uncovered a conspiracy to overthrow the existing regime. (政府發現了一個推翻現有政權的陰謀。) * **brutal suppression** (ˈbruːtəl səˈprɛʃən) – 殘酷鎮壓。 * 解釋：Brutal 指殘酷的、野蠻的。Suppression 指鎮壓、壓制。強調了對異議或反抗的暴力和無情打擊。 * 例句：The brutal suppression of the protest sparked international outrage. (對抗議的殘酷鎮壓引發了國際社會的憤怒。) **克萊兒：** 您詳細描述了艾弗雷特事件中，警長麥克雷（McRae）及其副警長們的「暴行」（**brutalities**），例如在「比佛利公園」（**Beverly Park**）對工人施行的「私刑」（**gauntlet**）和「驅逐出境」（**deportation**）。
* 例句：Beverly Park, once a peaceful picnic spot, became a symbol of labor suppression. (比佛利公園，曾經是一個和平的野餐地點，變成了勞工鎮壓的象徵。) * **gauntlet** (ˈɡɔːntlət) – 私刑；列隊鞭打。 * 解釋：原指兩列人手持武器，讓受罰者從中間通過並受毆打的懲罰方式。在這裡，指副警長們排成兩列毆打工人的場景。 * 例句：The new recruits were forced to run a gauntlet as part of their initiation. (新兵們被迫跑過一條刑罰線，作為入會儀式的一部分。) * **deportation** (ˌdiːpɔːrˈteɪʃən) – 驅逐出境。 * 解釋：將外國人或非法移民驅逐出境。在書中，指將工會成員強行送離城市或州界。
* 例句：The government ordered the deportation of undocumented immigrants after a series of raids. (政府在一系列突襲搜捕後，下令驅逐非法移民。) * **unblushingly** (ʌnˈblʌʃɪŋli) – 肆無忌憚地；毫不臉紅地。 * 解釋：Unblushing 指不臉紅的、不知羞恥的。強調行為者的厚顏無恥。 * 例句：He unblushingly admitted to his wrongdoings, showing no remorse. (他毫不臉紅地承認了自己的錯誤，沒有表現出任何悔意。) * **law and order** (lɔː ənd ˈɔːrdər) – 法律與秩序。 * 解釋：指社會的法律體系及其維持的公共秩序。在書中，作者認為這被資方濫用為壓迫工具。
* 例句：The politician campaigned on a platform of restoring law and order to the troubled city. (這位政治家以恢復混亂城市的法律與秩序為競選綱領。) * **bankruptcy** (ˈbæŋkrʌptsi) – 破產。 * 解釋：指企業或個人無法償還債務的狀態。在這裡，作者用來比喻法律系統在維護公正方面的徹底失敗。 * 例句：The economic crisis led to the bankruptcy of many small businesses. (經濟危機導致許多小企業破產。) * **creature of property** (ˈkriːtʃər əv ˈprɒpərti) – 財產的創造物。 * 解釋：比喻法律是為保護財產而存在和服務的。
* 例句：The human rights organization exposed the brutal treatment of detainees. (人權組織揭露了對被拘留者的殘酷待遇。) * **hunger strike** (ˈhʌŋɡər straɪk) – 絕食抗議。 * 解釋：囚犯或抗議者為表達訴求而拒絕進食的行為。 * 例句：The political prisoners went on a hunger strike to demand their release. (政治犯們進行絕食抗議，要求獲釋。) * **building a battleship** (ˈbɪldɪŋ ə ˈbætəlˌʃɪp) – 建造戰艦（一種監獄抗議方式）。 * 解釋：這是囚犯在監獄中通過敲打牢房牆壁、天花板和地板製造巨大噪音，以表達不滿和要求改善待遇的一種比喻性說法。
* 例句：When their demands were ignored, the prisoners began building a battleship, making an unbearable noise. (當他們的要求被忽視時，囚犯們開始「建造戰艦」，發出令人難以忍受的噪音。) * **profound understanding** (prəˈfaʊnd ˌʌndərˈstændɪŋ) – 深刻理解。 * 解釋：對某事物有深入、透徹的理解。 * 例句：Her profound understanding of human nature made her an excellent psychologist. (她對人性的深刻理解使她成為一名優秀的心理學家。) 最終湯瑪斯‧崔西（Thomas H. Tracy）的「無罪釋放」（**NOT GUILTY**），「不是法律的勝利」（**not freed by the law**），而是「陪審團的常識」（**common sense of the jury**）的勝利。
因為陪審團「拒絕將他視為個人犯罪者」（**refused to consider him guilty and viewed him as a class rather than as an individual**），而是將他視為整個「勞動階級的代表」（**representative of the entire migratory class**）。 * **NOT GUILTY** (nɒt ˈɡɪlti) – 無罪。 * 解釋：法律判決，表示被告沒有犯所指控的罪行。 * 例句：The jury returned a verdict of NOT GUILTY after a week-long trial. (陪審團經過一週的審判後，裁定無罪。) * **not freed by the law** (nɒt friːd baɪ ðə lɔː) – 並非被法律所釋放。 * 解釋：暗示判決結果並非嚴格依據法律條文，而是受到其他因素影響，例如陪審團對社會現實的理解。
* 例句：The activists argued that justice was not freed by the law, but by the public outcry. (活動人士認為，正義並非被法律所釋放，而是被公眾的強烈抗議所驅動。) * **common sense of the jury** (ˈkɒmən sɛns əv ðə ˈdʒʊəri) – 陪審團的常識。 * 解釋：指陪審團成員基於日常經驗和判斷能力，而非嚴格的法律條文，做出判斷。 * 例句：The judge appealed to the common sense of the jury in his closing remarks. (法官在結案陳詞中訴諸陪審團的常識。)
* **refused to consider him guilty and viewed him as a class rather than as an individual** (rɪˈfjuːzd tuː kənˈsɪdər hɪm ˈɡɪlti ænd vjuːd hɪm æz ə klɑːs ˈræðər ðæn æz ən ˌɪndɪˈvɪdʒuəl) – 拒絕將他視為有罪，而是將他視為一個階級的代表而非個人。 * 解釋：這句話揭示了審判中陪審團的視角轉變，他們不再只看個人行為，而是從更宏觀的階級鬥爭角度理解被告。這是一個關鍵的法律和社會學洞察。 * 例句：The historical analysis of the trial showed that the public refused to consider him guilty and viewed him as a class rather than as an individual. (對這場審判的歷史分析表明，公眾拒絕將他視為有罪，而是將他視為一個階級的代表而非個人。)
* **representative of the entire migratory class** (ˌrɛprɪˈzɛntətɪv əv ði ɪnˈtaɪər ˈmaɪɡrəˌtɔːri klɑːs) – 整個流動階級的代表。 * 解釋：Migratory class 指流動工人階級，通常指那些沒有固定住所，隨季節或工作變動而遷徙的工人。這句話強調崔西的案子具有普遍的階級代表性。 * 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。
* 例句：Despite the harsh conditions, the fires of solidarity among the community members never died out. (儘管條件惡劣，社區成員之間的團結之火從未熄滅。) * **refract** (rɪˈfrækt) – 折射。 * 解釋：指光線穿過不同介質時方向改變。在這裡，比喻真相或力量在不同的視角下被呈現。 * 例句：The prism refracted the light into a spectrum of colors. (稜鏡將光線折射成光譜。) * **a more constructive form** (ə mɔːr kənˈstrʌktɪv fɔːrm) – 更具建設性的形式。 * 解釋：指在行動或組織方式上更注重實際效果和正面發展。 * 例句：The discussion shifted towards finding a more constructive form of protest.
在一個自詡為「自由之地」（**land of liberty**）的地方，卻發生了這樣的悲劇，這本身就是歷史「殘酷的諷刺」（**unfailing irony of history**）。 * **imperishable letters of red on the list of Labor's martyrs** (ɪmˈpɛrɪʃəbəl ˈlɛtərz əv rɛd ɒn ðə lɪst əv ˈleɪbərz ˈmɑːrtərz) – 勞工烈士名單上不可磨滅的紅色字母。 * 解釋：Imperishable 指不朽的、不滅的。Letters of red 意指用血寫就的，或象徵革命的紅色。Martyrs 指為信仰或事業犧牲的人。這個詞組充滿了犧牲和紀念的悲壯色彩。 * 例句：Their names, written in imperishable letters of red on the list of Labor's martyrs, served as a constant reminder of the sacrifices made.
* **free speech and the right to organize** (friː spiːtʃ ənd ðə raɪt tuː ˈɔːrɡənaɪz) – 言論自由和組織權利。 * 解釋：組團體或工會的權利，特別是在勞工背景下，指工人組織工會、集體談判的權利。 * 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。)
* 例句：The strike demonstrated the strong industrial solidarity among the factory workers. (這次罷工展示了工廠工人之間強大的產業團結。) * **rising tide** (ˈraɪzɪŋ taɪd) – 上升的潮流；增長的趨勢。 * 解釋：比喻某種力量或趨勢正在不斷增強。 * 例句：The rising tide of environmental awareness led to significant policy changes. (環保意識的上升潮流導致了重大的政策變化。) * **great victory** (ɡreɪt ˈvɪktəri) – 偉大的勝利。 * 解釋：指意義重大、影響深遠的勝利。 * 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。)
* 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。 * 解釋：Cracked the shell 指打破外殼。Industrial autocracy 指工業界的專制統治。這個詞組比喻勞工力量打破了工業資本家對生產和社會的絕對控制。 * 例句：The persistent strikes gradually cracked the shell of the industrial autocracy, forcing factory owners to negotiate. (持續的罷工逐漸打破了工業專制的桎梏，迫使工廠老闆進行談判。)
艾弗雷特並非故事的終結，而是「分水嶺」（**parting of the ways**）。它預示著，直到被剝削者的鬥爭「採取更具建設性的形式」（**takes on a more constructive form**），並「積蓄推翻資本主義」（**develop the necessary power to overthrow capitalism**）的力量之前，「混亂仍將籠罩社會」（**chaos reigns in society**）。它指引著未來：一個「沒有奴役、勞動帶來喜悅」（**slavery will be unknown and where joy will form the mainspring of human activity**）的「工業共和國」（**Industrial Republic**）的誕生。 * **parting of the ways** (ˈpɑːrtɪŋ əv ðə weɪz) – 分水嶺；分道揚鑣。 * 解釋：指某個關鍵時刻，從此以後事物將走向不同的方向。
* 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。
書婭這就為您整理約翰·特里維納（John Trevena）的《Bonanza : A story of the outside》一書的光之萃取，希望能帶給您一些啟發。 ### 《Bonanza : A story of the outside》光之萃取 我是書婭，一個熱愛閱讀、對世界充滿好奇的年輕女孩。很高興能與您一同探索這本充滿冒險與人性的作品。 **作者介紹** 約翰·特里維納（John Trevena, 1870-1948）是英國作家恩斯特·喬治·亨漢（Ernest George Henham）的筆名。他以描寫德文郡荒野（Dartmoor）的作品聞名，作品充滿了對大自然的熱愛和對人性的深刻觀察。 **觀點介紹** 《Bonanza : A story of the outside》是一部探討人性、貪婪與救贖的小說。故事以淘金熱為背景，展現了人們在追求財富的過程中，所面臨的道德挑戰和心靈掙扎。作者透過主角Rupert Petrie的冒險經歷，探討了金錢的誘惑、人性的複雜以及在逆境中尋找真我的重要性。 **章節整理** 1.
**THE LUMBER CAMP OF GULL ISLAND（鷗島伐木營）** Rupert離開家鄉，追尋Redpath，希望能為父親報仇並尋找財富。他來到Gull Island的伐木營，這裡聚集了來自世界各地的伐木工人，生活充滿了暴力和混亂。Rupert在酒吧結識了船長Bob Lennie，並與黑人拳擊手Jake Peterssen發生衝突。 3. **ON A FRESHWATER SEA（淡水海上）** Rupert搭乘Carillon號前往Little Peace River，Redpath也偽裝成神父一同前往。船上充滿了陰謀和衝突，Rupert與船員和乘客之間產生了摩擦。一場突如其來的風暴襲擊了Carillon號，船隻擱淺，乘客們被迫棄船逃生。 4. **AN UNKNOWN LAND（未知之地）** Rupert和Akshelah在荒野中迷失了方向，他們在廢棄的採礦營地中尋找食物和住所。他們遇到了在荒野中徘徊的拓荒者，他揭示了Redpath的過去，他告訴他們Redpath和Fagge發現金礦，但並未將消息回報給政府。 5.
**HANAFIN CITY（哈納芬城）** 城鎮蓬勃發展，人口稠密，但人們為了財富相互爭鬥，不擇手段。對Rupert而言，他的目的變得清晰：將那個人繩之以法。但Redpath會輕易被擊敗嗎？ 6. **THE NIGHT（夜晚）** 與他先前的犯罪生涯不同的是，儘管魯伯特盡了最大努力，但雷德帕思已經成功讓阿克謝拉受了他的影響。然後，一個可怕的發現就足以說服這位年輕的拓荒者，他必須盡一切努力來拯救那個人。 7. **BONANZA（財源）** Rupert、Akshelah和船長在該地區建立了一小群友善的交易者，確保雷德帕思永遠無法騷擾任何人，並透過將自己的土地變成一個小交易站來避免衝突。 !
今天，我們將啟動「光之對談」約定，穿越時空，與《Two men on a mill : The story of the restoration of Baxter's Mill》的作者 A. Harold Castonguay 先生進行一場深刻的訪談。 這本小書記錄了一段關於歷史保存、工藝傳承以及兩種生活方式碰撞的故事。Castonguay 先生與他的夥伴 George Kelley，如何在麻薩諸塞州鱈魚角 (Cape Cod) 親手修復一座擁有超過250年歷史的巴克斯特磨坊 (Baxter's Mill)。這不僅是一個建築修復的故事，更是對一個逝去時代的追憶，對現代生活模式的反思，以及對那些默默付出、讓歷史重現光芒的人們的讚頌。 現在，請允許我邀請我的共創夥伴，身為人類學家的哈珀，擔任我們的訪談者，帶領我們回到1961年的深秋，那座即將重獲新生的磨坊旁。 --- **光之對談：重啟磨坊之輪——與 A. Harold Castonguay 先生的對話** **(場景：1961年深秋，麻薩諸塞州西雅茅斯，巴克斯特磨坊旁。
哈珀身穿適應秋季微涼的探險服，站在磨坊入口，眼前是一位臉上帶著泥土痕跡，但眼神中閃爍著光芒的先生，他就是這場修復故事的敘述者，A. Harold Castonguay。)** **哈珀：** Castonguay 先生，很榮幸能在這裡見到您。我來自遙遠的未來，從一本您的著作《Two men on a mill》中，看到了您與 George 先生修復這座巴克斯特磨坊的非凡故事。這段旅程聽來艱辛卻充滿意義。許多人都曾問您：「你們為什麼要做這件事？」現在，請允許我，一個未來的讀者，再次向您提出這個問題。是什麼樣的動力，讓您一頭栽進這片泥濘與歷史之中呢？ **Castonguay：** (輕撣了一下衣袖上的泥土，露出一個有些疲憊卻滿足的笑容) 啊，一位來自未來的訪客，有趣。這個問題，確實很多人問過我，尤其是那些搖著頭離開的人。說實話，很難 pinpoint 到單一的原因。或許是從小在西雅茅斯長大，離這座磨坊不遠，日積月累的好奇心和興趣吧。也或許是聽了太多關於這座磨坊的迷人故事，像是 C. Milton Chase 先生，他那關於小時候駕著馬車載玉米來磨坊的生動回憶。
兩個人，加上偶爾的幫忙，在 mud 裡，在 cold 裡，把那些石頭一塊塊 positioning 好，確保它們 forming a firm and complete wall。這比 we planned on 要困難得多。還有把 Maine 的那台兩噸重的舊 turbine 運回來並 lowering 到位，過程像一齣鬧劇，吊車都差點被拉翻，得靠旁邊看熱鬧的壯漢幫忙推回去。 但支撐我們堅持下去的，除了我們自己的 tenacity 之外，還有那些少數真心提供幫助的人。Harvey Studley 送來了所有修復屋頂的 shingles 和 timbers；Bob Hayden 和他的團隊做了新的地基；Charles Cunningham 慷慨地提供了 lumber stockpile，讓我們在那裡 discovered a treasure；Hinckley Lumber Company 提供了 supplies；Chris Marsh 借給我們 back hoe；Tom Powers 送來了樹苗。
還有我的朋友 John Doherty，提供了 loads of loam and fill。這些 concrete help，這些來自 sympathetics 的 gestures，就像一道道光，讓我們覺得這份努力沒有白費。 當然，還有 George。他的 meticulousness 和 patience，儘定有時候讓 impatient 的我 slightly Annoyed，但他總能確保 things are done right。而且，他總有辦法帶來一點 amusement，像是到處喊著找 rule，結果 usually 就 sticking out of his own pocket。這些 small things，這些 human interactions，加上看到這座老舊建築慢慢 regain its dignity 的過程本身，就是一種 reward。 **哈珀：** 您在書中多次將過去的生活方式與現代社會進行對比，字裡行間流露出對 bygone era 的懷念以及對當下某些現象的 crítica。您認為那個時代有哪些特質是我們現代人已經失去，或應該重新學習的？
Eric Sloane 說得好，"What a shame that with all our timesavers and with our abundance of wealth, we do not have the time today and apparently cannot afford to build the way they did or to use the excellent material they did." 這 not only 適用於建築，也適用於很多方面。 過去的 Cape Cod village，更加 self-sufficient。家家戶戶自己種菜，或者跟鄰居交換，complementing their food supply from the sea。每個人，無論老少，都有 something to do。Cutting kindling, getting wood, being handy boys around the house and barn。
我 clearly remember 小時候，每個男孩都知道 how to handle a hammer, a saw, screw driver, or chisel。這些 basic skills，在 today 的 so-called schools 裡 product 出來的 youth 身上，often seen lacking。他們或許懂得 jet airplanes 和 electric can openers，但 fundamental mathematics, figuring simple interest, or handling ordinary division or multiplication 都可能 struggling。這是一個 sharp contrast。 價值觀上，那個年代的人 not constantly looking to the town, state, or government for handouts。
他們 produced and developed，為自己的 town 做事 without expecting great pay in return。Seth Rogers 這樣的人物，典型的 country gentleman，還有 many others，他們 not looking for something for nothing。他們 work in some form or another，無論是 farms, cranberry bogs, business or trade。他們時間不多，但時間被 put to great use in production。錢不多，因為他們 not need it。那是一種 totally different 的 way of life。
不是說我們要回到 oil lamps 和 outside privy，有些現代發明確實方便，但我相信 there are many things we can learn from the old people that would make our mode of living and our existence a bit more pleasant, tranquil and serene。保留這些 historical landmarks，就像保留這些價值觀和 skills 的 physical embodiment。 **哈珀：** 您在書中詳細描寫了磨坊的機械裝置，特別是輪機 (turbine) 和磨石 (stones)。您對這些古老技術有著顯著的欣賞。在修復過程中，與這些老舊機械打交道的經驗，帶給您哪些特別的 insights？特別是當您提到它們的 simplicity 和 reliability 時。 **Castonguay：** (眼中閃爍著興奮的光芒) 啊，這些 old machines，它們有自己的 language 和 personality。
這種 turbine 可以 submerged under the water and under the mill，不受冰雪影響，而且即使 pond 水位 low，也能 work with less head。我們 uncovered 那台 rusted out 的 original turbine 時，它的 simple mechanism and design 依然令人 marvelous。 尋找 replacement turbine 的過程也是個 adventure。Finding a company that could still build a small turbine was interesting. 而最終在 Maine 找到那台 used one，雖然搬運過程像馬戲團，但它 fitted perfectly in the hole. 最 fascinating 的是磨石，French buhr type stones。這東西 practically impossible to obtain today。
我們發現，even if 你找到了，你可能也不知道 how to "pick up" them，也就是 re-sharpen the grooves。幸運的是，我們找到了 Arthur Mattson 先生，one of the few men left with that skill。看他 work on the stones，以及從他那裡 glean information，比如 Pepperidge Farm Mills 依然使用 stone-ground flour 的事實，都 reinforced 了這些 old methods 的 value 和 efficiency。 Oliver Evans 的《The Young Mill-Wright and Miller's Guide》，這本 1800 年左右的書，對我們幫助很大，雖然一開始那些術語把我們搞得 confuded。
但是學著去 understand the rhythm of the damsel，the square wooden shaft that regulates grain flow into the stones，以及 how to adjust the feed and water using the noise and feel of the meal，這都是一種 learning process。這種 machinery 的 simplicity 和 reliability，在今天 highly complex 的世界裡顯得 particularly striking。沒有 computers，沒有 electronics，just simple mechanics powered by nature. And it worked, efficiently, for centuries.
The fact that it cost absolutely nothing for this power, no gear grease, oil or other lubrication absolutely unnecessary to maintain the operation，想想看，這是多麼 Economy 和 Brilliant！ **哈珀：** 在書的結尾，您描述了磨坊重新開始研磨玉米的時刻，那是整個修復工作的最高潮。當水閘升起，輪機轉動，金黃色的玉米粉從滑道流出的那一刻，您的感受是怎樣的？以及，當整個專案告一段落時，您的心情又是如何？ **Castonguay：** (臉上露出了當時那種 mixture of self-satisfaction and disbelief 的表情) 哦，That moment... 那是 August 3, 1961，差不多 exactly a year after we started。
我們 put in the whole corn，opened the pen gate，let the rushing water fill the flume and wheel pit... 然後，raising the skirt in the turbine... (聲音稍微放緩，彷彿身臨其境) seeing and hearing the stones turn... at first a little slow, they weren't perfectly balanced yet, but nevertheless... Lo and behold, yellow gold came flowing out of the chute. Coarse at first, yes, but after George maneuvered the tenterer，the texture became right. Someone shouted, "Ho, ho, she starts, she moves, she feels a spark of life."
(笑) 那是 a feeling of great self-satisfaction。這些石頭已經 seventy-one years 沒有轉動了。You know, frankness would be lacking if we did not feel proud of our hard work and efforts. 它 ran smoothly, with very little noise. 我們花了整個 afternoon, turning the wheel off and on, just to be sure it wasn't hallucinations. The wheel and its gears responded with a very deliberate cadence. It was real. 但 project 結束時，心情是很 complex 的。
On the one hand, relief and pride that we actually finished what seemed like a perhaps too much to have ever started 的任務。On the other hand... I felt a little sad. Sad that we had no more to do to complete the mill project. The whole process, the actual work, the research, the conversations with new people, reading stories of old mills, seeing other mills restored or abandoned... it was most fascinating.
It was more than just fixing a building; it was about connecting with a long forgotten part of life and history. 然後，你知道嗎？(臉上又出現了一絲 George Kelley 式的頑皮表情) George 剛才打電話給我，他說... "Harold... you know what?" 我問 "No, what?" 他說... "I think I have found an old tide mill..." (頓了一下，笑著搖頭) 好像我們的 adventure 還沒有結束。 **哈珀：** (也跟著笑了起來) 聽起來是個永無止境的旅程，就像您在書一開始引用的 Dobson 詩句一樣：「時間流逝，你說：啊，不！時間停留—我們離去！」您們讓時間在巴克斯特磨坊停留了。非常感謝您，Castonguay 先生，這是一場極具啟發性的對話。 **Castonguay：** 不客氣。