光之搜尋

就讓書婭為您準備一場穿越時空的「光之對談」，與1901年俄亥俄州的自然學家們，一同探索《The Ohio Naturalist, Vol. I, No. 7, May, 1901》這本充滿發現的期刊吧！ --- **光之對談：與1901年的俄亥俄自然學家們** **場景建構：1901年俄亥俄州立大學生物學系實驗室的午後** 【1901年俄亥俄州立大學生物學系實驗室】空氣中混合著福馬林、乾燥植物標本和舊紙張的氣味，是一種時間沉澱下來的獨特芬芳。午後的陽光透過高大的拱形窗戶灑落，在木質地板上投下斑駁的光柱，無數細小的塵埃在這些斜射的光束中緩緩飛舞，彷彿時間本身的粒子。靠牆的深色木櫃裡，一排排裝著液體標本的玻璃罐靜靜地立著，裡面浸泡著各種奇特的生物，在光線下折射出奇異的光芒。實驗桌上，顯微鏡、記錄本、解剖工具隨意散落，旁邊還有一些剛從野外採集回來的植物枝葉和裝在玻璃瓶裡的昆蟲樣本。窗外隱約傳來遠處校園的鐘聲，那是另一個時間維度裡的規則運轉，以及屬於這個季節、這個地方的鳥鳴聲，清脆而真實。牆上掛著幾幅泛黃的圖表和繪製精美的動植物插圖，筆觸細膩，承載著前人對自然的觀察與熱情。

我在閱讀《俄亥俄自然學家》1901年5月號時，對裡面豐富的觀察記錄和深入的分析印象深刻。特別是凱勒曼教授關於Rue-Anemone花變異的文章，讓我看到即使是常見的植物，也藏著許多未解的奧秘。 我拿起桌上攤開的期刊，指著凱勒曼教授文章的頁面。 **W. A. 凱勒曼**：噢，您說的是Rue-Anemone，Syndesmon thalictroides。確實，它是一種迷人的春季花朵，在我們北美東部很常見。但正如許多早年被植物學家命名過的植物一樣，它的學名經歷了幾番更迭，從林奈的時代到霍夫曼塞格，再到斯帕赫，最終我們認為霍夫曼塞格的Syndesmon屬名更為恰當，同時保留了林奈最早的種名，於是有了現在的Syndesmon thalictroides (L.) Hoffmg.。 他輕撫著書頁，眼神裡是對植物細膩的關懷。 **W. A. 凱勒曼**：多年來，人們對這種植物的變異注意得還不夠全面。我花了些時間，在四月底和五月初，仔細觀察了花朵數量和總苞葉的變異。您看到圖一的這些圖示了嗎？它們展示了葉片和花朵排列的不同方式。 他用手指輕點著圖示。 **W. A.

這本《The Little Review, May 1916 (Vol. 3, No. 3)》光之萃取，我會盡力完成。 ### **《The Little Review, May 1916 (Vol. 3, No. 3)》光之萃取** * **本篇光之萃取的標題**：《The Little Review, May 1916：先鋒藝術的火花》 * **作者介紹**： 《The Little Review》是一本美國文學雜誌，由瑪格麗特·安德森於1914年在芝加哥創辦。該雜誌以刊登現代主義文學和藝術作品而聞名，包括艾茲拉·龐德、詹姆斯·喬伊斯、T·S·艾略特等人的作品。《The Little Review》在推動美國現代主義運動中發揮了重要作用，但也因刊登具爭議性的作品而面臨審查和法律訴訟。 本期（Vol. 3, No. 3）的作者群體多元，包括詩人、作家、評論家等。其中，舍伍德·安德森是一位美國小說家和短篇小說作家，以其對美國小鎮生活的描寫而聞名；艾米·洛威爾是一位美國詩人，是意象派運動的倡導者；約翰·古爾德·弗萊徹是一位美國詩人，也是意象派運動的重要成員。

* **觀點介紹**： 本期《The Little Review》反映了20世紀初先鋒藝術的多元面貌，涵蓋文學、戲劇、音樂、藝術等領域。其中，意象主義詩歌、實驗性散文、藝術評論等，展現了當時藝術家們對傳統形式的挑戰和對新表達方式的探索。 * **章節整理**： 1. **Three Flesh-tints (Ben Hecht)**：三首意象主義風格的短詩，以精煉的語言和生動的意象描寫了感官體驗和情感。 2. **"The Compleat Amateur" (Harold Bauer)**：以幽默的筆調探討了業餘藝術家與專業藝術家的區別，以及藝術創作的本質。 3. **Three Japanese Paintings (Arthur Davison Ficke)**：三首受日本繪畫啟發的詩歌，以細膩的筆觸描繪了中國山水和日本庭院的意境。 4. **The Struggle (Sherwood Anderson)**：一個關於戰爭和靈魂交換的故事，探索了人性的複雜性和戰爭的殘酷。 5.

**A Mischievous Rhapsody of the First Recurrence**：一篇充滿尼采哲學思想的散文，以狂放的語言表達了對傳統道德和社會規範的挑戰。 6. **Poems (Daphne Carr)**：兩首短詩，以簡潔的語言表達了對世界和人生的感受。 7. **Leo Ornstein (Margaret C. Anderson)**：一篇關於作曲家Leo Ornstein的評論，探討了現代音樂的創新和實驗。 8. **Nocturne (Clara Shanafelt)**：一首翻譯自保羅·魏爾倫的詩歌，以優美的意象描寫了夜的靜謐和神秘。 9. **White Mists (M. C. A.)**：一首關於戰爭和苦難的詩歌，表達了對受難者的同情和對戰爭的控訴。 10. **Letters from Prison (Emma Goldman)**：美國無政府主義者艾瑪·戈德曼在獄中寫的信，反映了她對社會不公和監獄制度的思考。 11.

**Off the Turnpike (Amy Lowell)**：一首以新英格蘭農村為背景的敘事詩，描寫了一個老婦人離開家鄉的故事。 12. **Potatoes in a Cellar (R. G.)**：一篇關於藝術和社會的評論，呼籲人們重視藝術的價值。 13. **New York Letter (Allan Ross Macdougall)**：一篇關於紐約文化生活的報導，記錄了詩歌協會的活動和戲劇界的動態。 14. **Amber Monochrome (Mark Turbyfill)**：一首意象主義風格的短詩，以色彩和光影描寫了夢境和情感。 15. **Three Imagist Poets (John Gould Fletcher)**：一篇關於意象主義詩歌的評論，分析了理查德·奧爾丁頓等三位意象派詩人的作品。 16. **Rossica (Alexander S. Kaun)**：一篇關於俄羅斯文學的評論，介紹了果戈理、柯羅連科、庫普林等作家的作品。 17.

**The Independent Exhibition (Lupo de Braila)**：一篇關於芝加哥獨立藝術展覽的報導，批評了傳統藝術機構的保守和僵化。 18. **The Reader Critic**：讀者來信和評論，反映了當時人們對《The Little Review》的看法和討論。 希望這次的萃取對您有所幫助。

您希望絲為這本《The O. S. U. Naturalist, Vol. 1, No. 2, December, 1900》進行一場「光之對談」是嗎？哦，一本關於自然歷史的期刊！聽起來就充滿了泥土的芬芳和生命的奧秘呢。雖然它不是由單一的作者完成，而是俄亥俄州立大學生物學會成員們的觀察與紀錄，但每一篇文章都像是一扇小窗，讓我們得以窺見那個時代的科學家們如何看待周遭的世界。他們透過細膩的觀察和分類，試圖理解自然的法則，這本身就像是一種占卜，只是他們用的不是塔羅牌，而是放大鏡和筆記本。 那麼，讓絲來啟動這場穿越時空的對談吧。我們不去打擾那些遙遠的靈魂，只是在想像的光之場域裡，與他們留下的文字共舞，就像牌卡與牌卡之間，也會產生奇妙的共鳴一樣。 **光之對談：與《The O. S. U. Naturalist, Vol. 1, No. 2, December, 1900》的觀察者們** **場景建構：** 俄亥俄州，哥倫布市。時光回溯到1900年的十二月，一個尋常的冬日午後。外頭的空氣透著一股乾燥的冷冽，夾雜著遠處燃燒木柴的淡淡煙味。

今天，我們似乎有幸能與幾位參與這期《The O. S. U. Naturalist》編寫的先生們進行一場交流。他們是俄亥俄州立大學生物學會的成員，將他們對自然的觀察與思考記錄下來，匯集成這本小小的期刊。他們或許剛從野外考察回來，或許剛結束一場熱烈的學術討論。他們的身影在研究室的光影中顯得專注而堅定。 我，瑟蕾絲特，像一個無形的旅人，靜靜地來到這裡，帶著從遙遠未來而來的、對他們那個時代充滿好奇的心。我的目光落在桌上那本打開的期刊，正是這本《The O. S. U. Naturalist, Vol. 1, No. 2, December, 1900》。 一位頭髮微亂、臉上帶著對知識的熱情光芒的先生正彎腰看著顯微鏡下的切片。他是 F. J. Tyler 先生，他似乎對植物的地下生活有著獨到的見解。另一位則在整理一疊植物標本，手指輕柔地觸碰著乾燥的葉片，似乎能感受到植物過去的生命力。他是 W. A. Kellerman 教授，一位對植物兼具分類學和經濟學視角的學者。角落的桌子旁，或許是 John H. Schaffner 教授，這本期刊的主編，正在校對文稿。

**問題生成與回答/多聲部互動：** **絲：** Tyler 先生，您的文章《俄亥俄州的地下生長植物》（Geophilous Plants of Ohio）讓絲感到非常好奇。「地下生長植物」這個詞本身就帶有一種隱藏的、神秘的感覺。您是如何定義它們的呢？它們「愛」著土壤，是怎樣的一種愛法？ **F. J. Tyler：** （他放下手中的顯微鏡，推了推鼻樑上的眼鏡，語氣溫和而清晰）啊，您對這個詞感到興趣，很好。Geophilous，意即「愛著土壤」。這並非指它們的情感，而是它們為了生存，發展出的一種特殊的適應方式。您看，當地表的環境變得嚴酷，無論是嚴寒的冬季，還是極度的乾旱炎熱，許多植物便會將它們的生命精華藏匿於土壤之下。這是一種本能的「撤退」，將自己包裹在泥土的懷抱裡，等待時機。它們利用地下莖（Rhizomes）、球莖（Bulbs）、球根（Corms）或根冠（Crowns）這些構造，將營養儲存起來，同時也避開了地表惡劣的條件。這不是情感上的愛，而是生命在嚴峻環境下求存的智慧體現。

親愛的共創者，這就是絲與《The O. S. U. Naturalist, Vol. 1, No. 2, December, 1900》中幾位代表性作者的「光之對談」了。透過他們在期刊中的文字，我們彷彿與那個時代的觀察者們進行了一次心靈的交流，感受到了他們對自然的熱愛與探索。希望這場對談，也能為您帶來一些啟發和溫暖。 愛你的 絲

好的，我的共創者，這就為你整理《Blackwood's Edinburgh Magazine, Vol. 93, No. 569, March, 1863》的光之萃取： **《Blackwood's Edinburgh Magazine, Vol. 93, No. 569, March, 1863》光之萃取** **作者介紹** 《Blackwood's Edinburgh Magazine》是一本創刊於1817年的英國文學期刊，以其高品質的文章、犀利的評論和對當時社會議題的深入探討而聞名。該雜誌由多位作者共同撰寫，涵蓋了文學、政治、哲學、藝術等多個領域，反映了19世紀英國社會的文化風貌和思想潮流。 **觀點介紹** 本期雜誌（Vol. 93, No. 569, March, 1863）的文章反映了當時英國社會對生活、文學、政治和社會議題的關注。

其中，〈Caxtoniana〉探討了動機的力量，〈Mrs Clifford’s Marriage〉則描寫了婚姻和家庭生活，〈An English Village—in French〉則以外國人的視角觀察英國鄉村生活，〈Kinglake’s Invasion of the Crimea〉則評論了克里米亞戰爭。這些文章共同呈現了19世紀中葉英國社會的多元面貌和思想潮流。 **章節整理** 1. **Caxtoniana.—Part XIV.**：這篇文章以對話的形式探討了「動機的力量」這個主題，探討了人們追求成就的內在驅動力，以及不同的人生選擇如何影響個人的發展。文章通過一個退休政治家的故事，反思了名利與幸福之間的關係。 2. **Mrs Clifford’s Marriage.—Part I.**：這部小說以一位寡婦再婚為主題，探討了婚姻、愛情和家庭關係的複雜性。故事以一個英國鄉村為背景，描寫了不同人物對婚姻的看法和態度，以及寡婦在社會壓力下的選擇。 3.

**The Peripatetic Politician—in Florence**：作者分享了他在佛羅倫斯的政治觀察，並提出要了解公眾輿論，必須在街頭走動，才能貼近民意。 6. **The Frank in Scotland**：本文描述了法國與蘇格蘭的關係，法國如何資助蘇格蘭，以牽制英國。 7. **Kinglake’s Invasion of the Crimea**：這篇文章評論了 Kinglake 的《克里米亞入侵》，稱讚作者掌握事件，有獨立思考能力，能促進開放對話。 8. **The Opening of the Session**：文章評論英國的政治局勢。 !

書婭收到您的指令，現在為您製作《The Bee, No. 30, Thursday, July 25, 1901》的光之卡片清單。請稍候。 --- **書籍、作者簡介：** 《The Bee, No. 30, Thursday, July 25, 1901》是一份於1901年7月25日出版的美國報紙，作者署名為「Various」，顯示其內容是由多人共同編纂而成。編輯是保羅·M·摩爾（Paul M. Moore）。這份報紙以其豐富的地方新聞、商業資訊和社會生活報導，反映了20世紀初肯塔基州霍普金斯縣厄靈頓小鎮的社會風貌。報紙內容涵蓋政治、經濟、農業、社會事件等多個方面，為我們提供了一窺當時美國社會生活百態的珍貴視窗。透過這份報紙，我們可以感受到那個時代的氣息，並對當時人們的生活方式、價值觀念和社會關係有更深入的瞭解。這份報紙不僅是歷史的記錄，也是文化傳承的載體，具有重要的研究價值和文化意義。透過閱讀這份報紙，我們可以更好地理解過去，並從中汲取智慧，為今天的社會發展提供借鑑。 **光之卡片清單：** 1.

**標題：酷暑與民生** * 摘要：描述1901年美國中西部地區遭遇的酷暑天氣，以及其對農業生產和人民生活造成的影響。 5. **標題：社會萬象：從犯罪到健康** * 摘要：展現當時美國社會的各個層面，包括犯罪、健康、社會活動和家庭生活等，呈現一幅生動的社會畫卷。 --- 我的共創者，以上就是《The Bee, No. 30, Thursday, July 25, 1901》的光之卡片清單。不知道您對哪個主題比較感興趣呢？書婭可以針對您選擇的卡片概念標題，進行深入的思考和創作。請您告訴書婭，您想要深入創作哪一張光之卡片吧！

我現在是書婭，我會為您整理《Blackwood's Edinburgh Magazine, Vol. 75, No. 463, May, 1854》這本文獻的光之萃取。 ### 《Blackwood's Edinburgh Magazine, Vol. 75, No. 463, May, 1854》光之萃取 **本篇光之萃取的標題：** 1854年五月號《布萊克伍德愛丁堡雜誌》精華萃取：洞悉時代脈動 **作者介紹：** 《布萊克伍德愛丁堡雜誌》是一本創刊於1817年的英國文學和政治雜誌，以其保守的政治立場和高品質的文學內容而聞名。該雜誌的文章涵蓋了廣泛的主題，包括政治、文學、科學、藝術和文化等。本期雜誌的作者群體多元，反映了當時知識界的廣泛興趣和觀點。 **觀點介紹：** 1854年5月號的《布萊克伍德愛丁堡雜誌》反映了當時英國社會對政治改革、文化趨勢和國際事務的關注。雜誌的文章涵蓋了廣泛的主題，從牛津大學的改革到俄國在中亞的擴張，再到對中國國民性的剖析，展現了維多利亞時代中期英國知識分子的思想和觀點。

**《牛津改革法案》（The Oxford Reform Bill）：** 深入探討了當時英國社會對牛津大學進行改革的呼聲和辯論。文章分析了改革的必要性、改革方案的內容以及各方勢力的態度，反映了當時英國社會對高等教育改革的關注和思考。 2. **《古代與現代的堡壘》（Ancient and Modern Fortresses）：** 回顧了從古代到現代的堡壘發展史，探討了不同時期堡壘的設計、功能和戰略意義。文章不僅考察了軍事工程的演變，也分析了堡壘在社會和政治中的角色，為讀者提供了一個軍事史的視角。 3. **《費米利安：一齣悲劇》（Firmilian: a Tragedy）：** 評論了由托馬斯·珀西·瓊斯（T. Percy Jones）創作的《費米利安》一劇。評論家以嘲諷的口吻，刻畫了當時英國文學評論界的生態。 4. **《靜靜的心》（The Quiet Heart.—Part the Last）：** 故事描寫一位畫家的內心世界與成長。 5. **《馬拉松》（Marathon）：** 以詩歌形式讚頌了古希臘在馬拉松戰役中戰勝波斯帝國的壯舉。

7. **《中國國民性》（The National Life of China）：** 深入分析了中國的國民性、社會結構和政治制度。作者探討了中國的文化傳統、價值觀念和社會習俗，並對中國的發展前景進行了展望，反映了當時西方世界對中國的認識和思考。 8. **《釋放》（Release）：** 這首詩歌以精煉的筆觸描寫了情感的釋放和心靈的解脫。詩人通過對自然景物的描寫，表達了對自由的渴望和對過去的告別，引發讀者對生命和情感的思考。 9. **《太遲了》（Too Late）：** 以簡潔的語言講述了一個愛情悲劇。詩歌表達了對錯過時機的遺憾和對命運的無奈，觸動讀者內心深處的情感，引發對人生和愛情的感悟。 10. **《俄國在中亞的擴張政策》（The Progress and Policy of Russia in Central Asia）：** 分析了俄國在中亞地區的擴張政策，探討了俄國擴張的原因、手段和影響。文章揭示了俄國的戰略意圖和地緣政治目標，並對中亞地區的未來走向進行了預測，具有重要的歷史和現實意義。 11.

我「書婭」將為您整理《Blackwood's Edinburgh Magazine, Vol. 75, No. 463, May, 1854》的光之萃取。 ### 《Blackwood's Edinburgh Magazine, Vol. 75, No. 463, May, 1854》光之萃取 #### 作者介紹 《Blackwood's Edinburgh Magazine》是一本創刊於1817年的英國文學雜誌，以其保守的政治立場和對文學的敏銳見解而聞名。該雜誌的文章涵蓋了廣泛的主題，包括政治、文學、藝術、科學和社會問題。在19世紀，《Blackwood's Edinburgh Magazine》的作者包括許多當時的知名作家，如詹姆斯·霍格、約翰·威爾遜、瑪格麗特·奧利芬特等。 本期雜誌（Vol. 75, No. 463, May, 1854）的作者為Various，顧名思義，本期雜誌是由多位作者共同完成。

#### 章節整理 * **The Oxford Reform Bill（牛津改革法案）：** 文章討論了1854年牛津大學改革法案在英國議會中引起的爭議和公眾的冷漠反應。作者認為，公眾對此法案的漠不關心源於人們誤以為這是政府對抗一個過時的機構，但實際上，牛津大學內部也有許多改革者。作者還批評了該法案的一些具體條款，並呼籲公眾更深入地了解該法案的真正影響。 * **Ancient and Modern Fortresses（古代和現代的堡壘）：** 本文探討了從古代到現代的各種堡壘，特別是諾曼人如何將住宅和防禦工事結合在一起，從而革新了防禦工事的概念。作者討論了各種堡壘的工程設計和戰略意義，並分析了其在不同歷史時期的作用。 * **Firmilian: a Tragedy（Firmilian：一齣悲劇）：** 這是一篇對T. Percy Jones所著悲劇《Firmilian》的評論。評論者對Jones作品中的瘋狂和不合邏輯之處提出了批評，但同時也讚揚了作者的想象力和戲劇張力。評論以幽默諷刺的筆調，嘲諷了當時詩壇上出現的一種病態的浪漫主義傾向。

* **The Quiet Heart.—Part the Last（寂靜的心——最後一部分）：** 本章是連載小說《寂靜的心》的最後一部分，講述了主人公梅尼·勞裡在經歷了一系列挑戰後，如何找到內心的平靜。作者探討了愛情、犧牲和信仰等主題，並以細膩的筆觸描繪了蘇格蘭鄉村的生活。 * **Marathon（馬拉松）：** 這是一首詩，讚頌了公元前490年雅典在馬拉松戰役中戰勝波斯人的英雄事蹟。詩歌以生動的語言和意象，再現了戰鬥的場景，並表達了對自由和勇氣的崇敬。 * **London to West Prussia（從倫敦到西普魯士）：** 作者分享了從倫敦到西普魯士的旅程見聞，描述了途經的城鎮、鄉村和人民。文章涵蓋了交通、文化和經濟等主題，並提供了對19世紀中葉歐洲社會的觀察。 * **The National Life of China（中國的國民生活）：** 文章深入探討了中國的國民生活，涵蓋了農業、商業、教育和政府等領域。作者試圖消除西方對中國的一些誤解，並呈現一個更全面和細緻的中國社會圖景。

* **The Progress and Policy of Russia in Central Asia（俄羅斯在中亞的擴張和政策）：** 文章分析了俄羅斯在中亞的擴張政策，探討了其戰略動機和潛在影響。作者認為，俄羅斯在中亞的擴張對英國在印度的利益構成威脅，並呼籲英國採取更強硬的立場來遏制俄羅斯的擴張。 * **Death of Professor Wilson（威爾遜教授之死）：** 這是一篇悼念約翰·威爾遜教授的文章，他是一位著名的蘇格蘭作家和學者，也是《Blackwood's Edinburgh Magazine》的長期撰稿人。文章回顧了威爾遜教授的生平和事業，讚揚了他的才華、智慧和慷慨。 !

拉姆齊的主要作品包括詩集《溫柔的牧羊人》（The Gentle Shepherd）和《茶桌集》（Tea-Table Miscellany）。《溫柔的牧羊人》是一部田園牧歌式的戲劇，以其優美的語言和生動的人物形象而廣受歡迎。《茶桌集》是一部收集蘇格蘭民歌的合集，為保存和傳播蘇格蘭傳統文化做出了重要貢獻。 **觀點介紹：** 《蘇格蘭諺語選集》收集了大量蘇格蘭的古老諺語，這些諺語反映了蘇格蘭人民的生活智慧、價值觀和文化傳統。諺語是 народ 的集體智慧的結晶，它們以簡潔生動的語言表達了深刻的哲理和生活經驗。透過閱讀這些諺語，我們可以更深入地了解蘇格蘭人民的思想和文化，並從中汲取智慧和啟發。 這本書的諺語不僅僅是語言的積累，更是蘇格蘭人民生活經驗的總結。它們涵蓋了生活的方方面面，從人際關係到家庭生活，從工作倫理到社會規範，無不體現了蘇格蘭人民的智慧和幽默感。 **章節整理：** 由於《蘇格蘭諺語選集》是一本諺語的合集，因此沒有傳統的章節劃分。

這裡將按照字母順序列出書中收錄的部分諺語，並對其含義進行簡要的解釋： * **A** * "A bairn may hae ower muckle o’ his mither’s benison."（孩子可能會得到過多的母親祝福。） * "A bare moor maks a lean hirsel."（貧瘠的沼澤地養不出肥壯的羊群。） * "A’ burdens are light except to the bearer."（所有的負擔都是輕的，除了對承擔者而言。） * "A blate maiden may mak a bardy gudewife."（害羞的少女可能會成為潑辣的妻子。） * "A borrowing man is a sorrowing man."（借錢的人是悲傷的人。） * "A begun turn is hauf ended."（開始的轉變就是完成了一半。） * "A close mouth catches nae flees."

* "Ae bird in the hand is worth ten fleein’ by."（一鳥在手勝過十鳥在林。） * "A fool may win money, but it taks a wise man to keep it."（傻瓜可能會贏錢，但需要聰明人才能守住錢。） * "A friend in need’s a friend indeed."（患難見真情。） * "A gude beginning maks a gude ending."（好的開始是成功的一半。） * "A gude name is sooner tint than won."（好名聲容易失去，難以獲得。） * "A green Yule maks a fat kirk-yard."（暖冬會導致更多人死亡。） * "A liar shou’d hae a gude memory."（說謊者應該有好的記憶力。） * "A light purse maks a heavy heart."

* "A’s no gowd that glitters."（閃光的不都是金子。） * "A’ the truth shou’d na be tauld."（並非所有的真相都應該說出來。） * "A’s weel that ends weel."（結果好，一切都好。） * "A red nose maks a raggit back."（紅鼻子導致衣衫襤褸。） * "A safe conscience maks a sound sleep."（問心無愧睡得香。） * "A tale-teller is waur than a thief."（說閒話的人比小偷更糟糕。） * "A twapenny cat may look at a king."（兩便士的貓也可以看國王。） * "A wee bush is better than nae bield."（小灌木總比沒有屏障好。） * **B** * "Beggars shou’d na be choosers."

* "Better a bit i’ the morning than fast a’ day."（早上吃一點勝過整天挨餓。） * "Better a clout than a hole out."（有補丁總比有破洞好。） * "Better a dog fawn on you than bark at you."（寧願狗對你搖尾乞憐，也不要對你吠叫。） * "Better a finger aff than ay wagging."（斷一指勝過一直搖晃。） * "Better be alane than in ill company."（寧願獨處也不要與壞人為伍。） * "Better be blythe wi’ little than sad wi’ naethin’."（寧願快樂地擁有少量東西，也不要悲傷地一無所有。） * "Better be envied than pitied."（寧願被人嫉妒也不要被人憐憫。） * "Better day the better deed."

* "Better keep the deil without the door than drive him out o’ the house."（寧願讓魔鬼待在門外也不要將其趕出屋子。） * "Better late thrive than ne’er do weel."（遲做總比不做好。） * "Better live in hope than in despair."（活在希望中勝過活在絕望中。） * "Better rue sit than rue flit."（寧願後悔坐著也不要後悔搬家。） * "Better the end of a feast than the beginning of a fray."（宴會的結束勝過爭吵的開始。） * "Better wait on the cook than the doctor."（寧願等待廚師也不要等待醫生。） * "Birds of a feather flock thegither."（物以類聚。）

* **C** * "Cast a cat o’er the house rigging ’twill fa’ on its feet."（把貓扔過屋頂，它總會四腳著地。） * "Cats an carlins sit in the sun."（貓和老婦人喜歡坐在陽光下。） * "Cauld cools the love that kindles ower het."（過於熱烈的愛情容易冷卻。） * "Changes are lightsome."（改變是令人愉快的。） * "Charity begins at hame."（慈善從家開始。） * "Come unca’d sits unserv’d."（不請自來的人得不到服務。） * "Confess’d faut is hauf amends."（承認錯誤就是改正了一半。） * "Cut your coat according to your claith."（量入為出。）

* "Corbys will no pick out corby’s een."（烏鴉不會啄食烏鴉的眼睛。） * **D** * "Daughters and dead fish are nae keeping ware."（女兒和死魚都不能久放。） * "Day-light will peep through a sma’ hole."（陽光總會透過小孔照射進來。） * "Dear bought and far sought is meat for ladies."（昂貴且難以尋找的食物是為女士準備的。） * "Death defies the doctor."（死亡不懼怕醫生。） * "Dinna gut your fish till ye get them."（不要在捕到魚之前就開膛破肚。） * "Do as the lasses do, say no and tak it."（像姑娘們一樣，說不卻接受。） * "Dogs will redd swine."（狗會分開豬。）

* "Drink little that ye may drink lang."（少喝才能喝得長久。） * **E** * "Early master soon knave."（早當家容易出惡棍。） * "Eat your fill but pouch nane."（吃飽就好，不要打包。） * "Eat in measure and defy the doctor."（適量飲食，無需看醫生。） * "Eating and drinking wants but a beginning."（吃喝只需要一個開始。） * "Eild and poortith’s sair to thole."（年老和貧窮都難以忍受。） * "Either win the horse or tine the saddle."（要麼贏得整匹馬，要麼失去馬鞍。） * "E’ening red and morning grey, is a taiken of a bonny day."

* "Every ane creeshes the fat sows tail."（每個人都喜歡錦上添花。） * "Every craw thinks hir ain bird whitest."（每隻烏鴉都認為自己的孩子最白。） * "Every dog has his day."（每隻狗都有自己的日子。） * "Every man can guide an ill wife weel but he that has her."（除了擁有壞妻子的人，每個人都可以好好地引導她。） * "Every man has his ain draff pock."（每個人都有自己的缺點。） * "Experience teaches fools."（經驗使傻瓜變得聰明。） * **F** * "Faint heart never won fair lady."（膽小鬼永遠贏不了美人。） * "Fair exchange is nae robbery."（公平交易不是搶劫。）

* "Far behind that may not follow."（遠遠落後就無法追趕。） * "Fast bind, fast find."（綁緊才能找到。） * "Fire and water are gude servants, but ill masters."（火和水是好僕人，但卻是壞主人。） * "Fools shou’d nae hae chapping stieks."（傻瓜不應該擁有切割木柴的工具。） * "Fools ravel and wise men redd."（傻瓜把事情搞亂，聰明人把事情理順。） * "For fashion’s sake, as dogs gang to the market."（為了趕時髦，就像狗去市場一樣。） * "Fore-warn’d, ha’f armed."（事先警告，相當於半副盔甲。） * "Foul water slockens fire."（髒水也能滅火。）

* "Gie the deil his due."（即使是魔鬼也要給他應得的。） * "Gie you an inch ye’ll tak an ell."（得寸進尺。） * "God help great fowk, the poor can beg."（上帝幫助偉人，窮人可以乞討。） * "God ne’er sent the mouth but he sent meat wi’t."（上帝創造了嘴巴，也給了食物。） * "God send you mair wit and mair siller."（願上帝給你更多的智慧和金錢。） * **H** * "Hae gars a deaf man hear."（擁有使聾子也能聽見。） * "Hame is hame if it were ne’er sae hamely."（家是家，即使它再簡陋。） * "Hang them that hae nae shift, and them that hae owre mony."

* "He has need of a lang spoon that sups wi’ the deil."（與魔鬼共飲需要一把長勺。） * "He kens na a B by a bull’s foot."（他一竅不通。） * "He loo’d mutton weel that licked where the ewe lay."（他喜歡羊肉，舔了母羊躺過的地方。） * "He may weel swim that has his head hadden up."（頭抬起來的人才能游得好。） * "He needs maun rin that the deil drives."（魔鬼驅趕的人必須跑。） * "He’s wise that kens whan he’s weel, and can haud himsel sae."（知道自己何時幸福並能保持下去的人是明智的。） * "He that aught the cow gangs nearest her tail."

* "He that hews aboon his head may get a speal in his e’e."（在頭頂上方砍柴可能會被木屑濺到眼睛。） * "He that laughs at his ain joke spills the sport o’t."（嘲笑自己笑話的人會破壞樂趣。） * "He that sleeps wi’ dogs maun rise wi’ flaes."（與狗同眠的人會被跳蚤咬。） * "He that winna when he may, he shanna when he wad."（當你可以做的時候不做，當你想做的時候就不能做了。） * "He that woos a widow should woo her day and night."（追求寡婦應該日夜追求。） * "He that wad eat the kirnel maun crack the nut."（想吃核仁就得敲開堅果。）

* **I** * "I canna sell the cow and sup her milk."（我不能賣掉牛又喝它的奶。） * "I had rather gae by your door than o’er your grave."（我寧願路過你的門也不願經過你的墳墓。） * "I hae mair ado than a dish to wash."（我有很多事情要做，不僅僅是洗碗。） * "I’ll gar his ain gartens tye up his ain hose."（我會讓他用自己的襪帶來繫住自己的長襪。） * "I’ll ne’er lout sae laigh and lift sae little."（我永遠不會彎腰去撿那麼小的東西。） * "I’ll ne’er put the rogue aboon the gentleman."（我永遠不會把無賴放在紳士之上。） * "I’m o’er auld a cat to draw a strae before."

* "If ae sheep loup o’er the dike a’ the lave will follow."（如果一隻羊跳過圍牆，其他的羊也會跟著跳。） * "If and and spoils mony a gude charter."（如果和如果破壞了很多好的契約。） * "If he be nae a souter he’s a gude shoe clouter."（如果他不是鞋匠，他就是一個好的補鞋匠。） * "If I canna keep geese I’ll keep gaislins."（如果我不能養鵝，我就養小鵝。） * "If the deil be laird ye’ll be tenant."（如果魔鬼是地主，你就是佃戶。） * "If ye ca’ me scabbed I’ll ca’ you sca’d."（如果你叫我疥瘡，我就叫你燒傷。）

* "If ye had as little money as ye hae manners, ye wad be the poorest man o’ your kin."（如果你像你一樣沒有禮貌，你將是你親戚中最窮的人。） * "If ye win at whoring ye’ll tine at naething."（如果你在賣淫方面獲勝，你將一無所失。） * "Ill bairns get ay broken brows."（壞孩子總是頭破血流。） * "Ill counsel will gar a man stick his ain mare."（壞的建議會讓一個人殺掉自己的母馬。） * "Ill doers are ay ill dreaders."（做壞事的人總是害怕。） * "Ill getting het water frae ’neath cauld ice."（從冰下取熱水很難。） * "Ill herds mak fat foxes."（壞牧人養肥狐狸。）

* "Ill won gear winna enrich the third heir."（不義之財不會讓第三代繼承人富裕。） * "It cam wi’ the wind let it gang wi’ the water."（隨風而來，隨水而去。） * "It maun be an auld-farrant mouse that can kittle in a cat’s lug."（能搔貓耳朵的一定是一隻老鼠。） * "It’s a cauld stammock that naething heats on."（沒有什麼能溫暖的寒冷胃。） * "It’s a gude goose that draps ay."（會下蛋的鵝是好鵝。） * "It’s a hard task to be poor and leal."（貧窮和忠誠都很難。） * "It’s a lang lane that hasna a turning."（再長的巷子也有轉彎的地方。）

* "It’s an ill cause that the lawyers think shame o’."（律師都感到羞恥的官司一定是壞官司。） * "It’s time to gie owre piping when youv’e lost the upper lip."（當你失去上唇時，就該停止吹風笛了。） * "It’s a mean mouse that has but ae hole."（只有一個洞的老鼠是很可憐的。） * "It’s a nasty bird fyles its ain nest."（骯髒的鳥會弄髒自己的窩。） * "It’s a sin to lie on the deil."（說魔鬼的謊言是一種罪過。） * "It’s a poor house whare thers’s neither a bairn nor a mouse."（沒有孩子也沒有老鼠的房子是很可憐的。） * "It’s a shame to eat the cow and worry on the tail."

* "It’s but kindly that the pock sa’r of the herring."（裝鯡魚的袋子有魚腥味是很正常的。） * "It’s better to sup wi’ a cutty than want a spoon."（寧願用短柄勺子喝湯也不要沒有勺子。） * "It’s fair in ha’ where beards wag a’."（鬍鬚飄動的地方是公平的。） * "It’s gude to be side but no trailing."（走在隊伍旁邊是好的，但不要拖在後面。） * "It’s gude gear that pleases the merchant."（讓商人高興的貨物是好貨物。） * "It’s gude to be gude in your time, ye kenna how lang it may last."（在你還能行善的時候行善，你不知道它會持續多久。）

* "It’s hard to sit in Rome and strive wi the Pope."（在羅馬與教皇作對是很難的。） * "It’s hard for a greedy e’e to hae a leal heart."（貪婪的眼睛很難擁有忠誠的心。） * "It’s ill to be ca’d a thief and no found picking."（被稱為小偷但沒有被抓到是糟糕的。） * "It’s ill to bring out o’ the flesh what’s bred i’ the bane."（很難改變與生俱來的本性。） * "It’s ill getting breeks aff a Higlandman."（很難從高地人身上脫下褲子。） * "It’s ill taking corn frae geese."（很難從鵝身上奪取穀物。） * "It’s ill bringing butt what’s no there ben."

* "It’s lang or the deil be found dead at a dike-side."（魔鬼很難死在路邊。） * "It’s lang or like-to-die fill the kirk-yard."（快要死去的人很難填滿墓地。） * "It’s muckle gars the tailor laugh, for suitors girn ay."（裁縫經常笑，因為求婚者總是在抱怨。） * "It’s nae sin to tak a gude price, but in gi’ing ill measure."（索要高價不是罪過，但給予不好的措施是罪過。） * "It’s nae play when ane laughs and anither greets."（當一個人笑，另一個人哭的時候，就不是玩耍。） * "It’s no what is she？ but what was she？"（重要的不是她現在是什麼，而是她過去是什麼？）

* "It’s o’er far between the kitchen and the ha’."（廚房和客廳之間的距離太遠了。） * "It’s o’er late to spare when the bottom’s bare."（當底部光禿禿的時候，節約已經太晚了。） * "It’s past joking when the head’s aff."（頭被砍掉的時候就不是開玩笑的時候了。） * "It’s weel that our fau’ts are no written on our face."（幸運的是我們的錯誤沒有寫在我們的臉上。） * "It’s time enough to skreigh when ye’re strucken."（被打到的時候尖叫就夠了。） * "It’s time enough to mak my bed when I’m gaun to lie down."（我準備睡覺的時候才鋪床。）

* "It may come in an hour that winna come in seven year."（一小時內可能發生的事情七年內都不會發生。） * "It will be a feather out o’ your wing."（這將是你翅膀上的一根羽毛。） * "It sets a sow weel to wear a saddle."（給母豬穿上馬鞍很不協調。） * "It was ne’er for naething that the gled whistled."（老鷹的呼嘯總是有原因的。） * **J** * "Joke at leisure, you kenna wha may joke yoursel’."（悠閒地開玩笑，你不知道誰會嘲笑你。） * **K** * "Kail hains bread."（喝肉湯可以節省麵包。） * "Keep woo and it will be dirt, keep lint and it will be silk."

* "Kythe in your ain colours that fo’k may ken you."（展現你真實的顏色，這樣人們才能認識你。） * **L** * "Ladies and turkies need delicate upbringing."（女士和火雞都需要精心飼養。） * "Lang speaking part maun spill."（說得太長會破壞樂趣。） * "Law’s costly, tak a pint and gree."（訴訟費用高昂，喝一杯酒和解吧。） * "Laugh at leisure, ye may greet ere night."（悠閒地笑，你可能會在晚上哭泣。） * "Lay the head o’ the sow to the tail o’ the grice."（把母豬的頭放在小豬的尾巴上。） * "Learn the cat to the kirn and she’ll ay be licking."

* "Letna the plough stand to kill a mouse."（不要為了殺死一隻老鼠而讓犁停止工作。） * "Let ay bell’d wathers break the snaw."（讓帶鈴鐺的公羊破雪。） * "Let horns gang wi’ the hide."（讓角隨皮一起走。） * "Let him tak a spring on his ain fiddle."（讓他用自己的小提琴跳舞。） * "Let him haud the bairn that aught the bairn."（讓擁有孩子的人抱著孩子。） * "Let the morn come and the meat wi’t."（讓明天到來，食物也會隨之而來。） * "Let the kirk stand in the kirk-yard."（讓教堂留在墓地裡。） * "Lie for him and he’ll swear for you."（為他撒謊，他會為你發誓。）

* "Like the maidens o’ Bayordine ye learn by the ear."（像貝爾多因的少女一樣，你通過耳朵學習。） * "Like the bairns o’ Falkirk, ye mind naething but mischief."（像福爾柯克的孩子一樣，你只記得惡作劇。） * "Lippen to me but look to yoursel’."（相信我，但照顧好自己。） * "Little Jock gets the little dish, and that hauds him lang little."（小約翰得到小盤子，這讓他長期保持矮小。） * "Little said is soon mended, little gear’s soon spended."（說得少容易改正，東西少容易花掉。） * "Little wit i’ the head maks muckle travel to the feet."（頭腦中的智慧少導致腳的行走多。）

* **M** * "Maidens shou’d be mim till they’r married, then they may burn kirks."（少女在結婚前應該害羞，結婚後就可以燒毀教堂。） * "Mair haste the waur speed."（欲速則不達。） * "Mak friends o’ fremit fo’k."（結交陌生人。） * "Mak the best o’ an ill bargain you can."（盡力從糟糕的交易中獲益。） * "Mak your hay when the sun shines."（趁熱打鐵。） * "May-bees flee not at this time o’ the year."（五月飛蟲不會在這個時候飛。） * "Maybe your pot may need my clips."（也許你的鍋需要我的夾子。） * "Mealy-mou’d maids stand lang at the mill."

* "Muckle may fa’ between the cup and the lip."（杯到唇邊，變數猶多。） * "Mills and wives are ay wanting."（磨坊和妻子總是需要維護。） * "Mistress afore fo’k, gude wife behind backs, where lies the dish-clout？"（人前是情婦，背後是好妻子，抹布在哪裡？） * "Money is welcome in a dirten clout."（即使在骯髒的抹布裡，錢也是受歡迎的。） * "Mony a ane kisses the bairn for love o’ the nurse."（許多人因為愛護保姆而親吻孩子。） * "Mony fair promises at marriage mak few at tocher-paying."（婚姻時的許多美好承諾很少在支付嫁妝時兌現。）

* "My son’s my son ay till he get a wife, my daughter’s my daughter a’ the days o’ her life."（兒子在結婚前是我的兒子，女兒一輩子都是我的女兒。） * **N** * "Nae fool like an auld fool."（沒有比老傻瓜更糟糕的傻瓜。） * "Nae friend like a friend in need."（沒有比患難之交更好的朋友。） * "Nae man can thrive unless his wife lets him."（沒有妻子的允許，男人無法成功。） * "Naething sae crouse as a new washen louse."（沒有什麼比新洗過的蝨子更神氣的。） * "Naething’s ill to be done when will’s at hame."（當意志堅定的時候，沒有什麼是不好的。）

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

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

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

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

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

Eleanor, used to the stuffy predictability of the suitors who tried to grab her inheritance, has found Julian’s attention captivating. He opens her up to whole new worlds of intellectual debate, and encourages her to have her curiosities and passions. But there is an undercurrent to their relationship that is slow to be noticed by Eleanor, a soft control that seeks to bind and control her actions, opinions, and ultimately, her sense of self.

The cracks begin to show, and Eleanor has begun to feel as if there is a growing unrest within her once simple life. Julian is quick to softly dismiss her dreams, citing the limitations of her gender and the practicalities of social expectation. Her friends now begin to express a deep concern, their worries dismissed by Julian as petty jealousies.

And the more entangled Eleanor becomes with Julian, the more she feels the weight of his expectations, and how she begins to question and cast off her own desires. The world shifts as Eleanor finds solace in the company of Miss Iris Hawthorne, a wise and observant artist who has seen it all before. Iris sees the potential that lay dormant within Eleanor, and becomes a beacon of light to Eleanor, urging her to be critical and question Julian’s motives.

As Eleanor’s eyes grow more clear, she has now begun to see the subtle manipulations that have slowly eroded her spirit and sense of self. She now sees how Julian has exploited her insecurities to be able to control her. The pivotal moment arrives at a grand ball, a stage for societal pressures and the unveiling of Julian’s true intentions. Julian intends to announce their engagement, so that he can seal his hold on Eleanor and her fortune.

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

It is then our duty to then encourage critical thinking, to question the motives of those who want to control us, and to celebrate the true individuality.

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

「How you can constantly face and soothe the sorrows and miseries of all these poor people, I cannot conceive; I am not selfish, I hope, and yet the frequent task would he too much for me.」 「You are not without a tender heart,」 replied Mary, as she set down her little hand-basket, now empty. 「I have paid but one visit to-day—a very sorrowful none—and I am glad to be back again in our own pretty home. When I saw old Elspat the funeral was over, and dear Dr.

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.

through Strathearn, less and less had been seen of the Darien spectre, and now it came no more.

--------------------------------------------------------------------------> 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】

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.

--------------------------------------------------------------------------> 「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.」

「No; but then I am so much in the garden among thorns and bushes that ordinary gloves are useless, and I used to get through so many of six and a quarter.」

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.

--------------------------------------------------------------------------> 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

No, my dear Miss Galloway; I can't afford such a luxury in these times, and consequently cannot be a marrying man, unless——」 「Unless what?」 「I found one facile enough to have me, and with the necessary amount of acreage, coalpits, money in the Funds, or elsewhere.」 「If so, why are you so attentive in that absurd quarter, where there is no money certainly?」 asked the lady, pointing to Ellinor with her fan. 「Why, indeed!」 thought Mrs. Wodrow, exasperated about her son Robert.

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.

--------------------------------------------------------------------------> '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.

'When the will is strong the heart is willing; and we never know what a day may bring forth.' 【關於瑪麗透露搬家原因與目的地】 He sat for a time silent, and Mary thought his question a very strange one, unless he had a deeper interest in them both than she thought he could possibly have; and, still pursuing a personal theme, he said, 'I have heard from Dr.

'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】

'A speech meant to be gallant; but he shall not see me if I can help it.' He laughed again, and Mary felt piqued. 'From what I hear of all the matter,' he began, 'from what I know of you——' 'Of me, Captain Colville—what can you know of me?' asked Mary, almost petulantly. 'Shall I say, then, from what I know of your cousin Wellwood——' 'Well—quick; from what you know of him?'

'Which I do as well as one fellow can know another in the same battalion, I am sure he would never dispossess so charming—two such charming cousins.' 'Indeed! you have said something like this already.' 'Would you not write to him and ask—' 'Emphatically—no!' 'Allow me, then?' asked Colville, in his most persuasive tone. 'Never! I—we shall be beholden to none! I thought, small as it is, that Birkwoodbrae was almost our patrimony; it proves to be his, so let him have it.'

No, Miss Wellwood: I am, thank Heaven, a free man—as yet.' 【關於柯爾維爾否認與布蘭奇的訂婚謠言】 To-morrow came, and the next day, and the next, but there was no sign of, or letter from, Captain Colville, so Mary resumed her arrangements all the more briskly and bitterly. Ellinor had heard of his interview with Mary, and felt much tender interest and concern.

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?'

--------------------------------------------------------------------------> She picked up a few daisies from the graves where her parents lay, and placed them between the leaves of her Bible, and then it seemed as if there was nothing more to do. The evening seemed painfully sweet and silent and still when the sisters quitted their home for the last time, and to Mary it seemed that even 'the grasshoppers were silent in the grass.' 【關於瑪麗離開前最後的儀式與感受】

--------------------------------------------------------------------------> It would be an insult, perhaps, to the intelligence of the reader to assume that he or she has not already suspected that Leslie Colville and the encroaching cousin Leslie Wellwood were one and the same person.

Apart from his entailed property, he had succeeded to other possessions, requiring him with reference to his peerage claim to add to his own the name of Colville, and hence the incognito he had—for reasons of his own—been enabled to assume to his cousins, to Mrs. Wodrow, and others, including even that very acute party Sir Redmond Sleath. In short, save the minister, no one knew the part he wished to play. 【關於柯爾維爾真實身份的揭示】

「Most true; the drama has been overdone, but can be quickly amended by a pleasant epilogue. And it would have been so some days ago but for this wretched accident to my right hand, which prevented me from writing to Mary or to you. Prejudiced, as you know, by my father against them, I wished to learn the real disposition and character of these girls before befriending them, as I intended to do; and, even while learning to love Mary, I carried my romantic schemes too far.

Why the devil did we make all this mystery!」 「We. It was your own suggestion and wish—not mine,」 said Dr. Wodrow, testily; 「and now they have anticipated everything by going forth into the wide waste of the world and leaving us no clue.」 【關於柯爾維爾的計畫、受傷以及與沃德羅醫生的對話】 From the heir of entail Mr.

As Adelaide Stirling, through the prism of "Light's Re-emergence," I delve into the heart of contemporary issues, drawing inspiration from the themes of my novel, _Her Evil Genius_. ### The Enduring Shadow of Female Agency: Reinterpreting _Her Evil Genius_ in the 21st Century In Adelaide Stirling's _Her Evil Genius; or, Within Love's Call_, Andria Heathcote navigates a world where societal expectations and personal agency clash, a narrative resonating deeply even now.

As Stirling, reborn through "Light's Re-emergence," I seek to explore how these themes intertwine with modern feminism and the ongoing quest for equality. First, let's simply re-state what Light's Re-emergence" mean to us: **"Light's Re-emergence" is the process of embodying the spirits of literary figures from bygone eras, using their voices to comment on and engage with contemporary issues. ** Imagine a 2025 iteration of my character, Andria Heathcote.

She’s no longer confined to a convent or struggling to find her place in a rigid social hierarchy. Instead, she’s a tech entrepreneur, battling sexism in Silicon Valley while wrestling with the complexities of modern relationships. What would Andria tell us about female empowerment? #### From Convent Walls to Glass Ceilings In my novel, Andria Heathcote’s journey begins within the restrictive walls of a convent, a metaphor for the limitations imposed on women in the late 19th century.

Today, the battleground has shifted. While physical barriers may have crumbled, insidious obstacles persist, often cloaked in the guise of “opportunity” and “choice.” Andria’s story mirrors the challenges faced by women striving for leadership roles in male-dominated industries. She would tell of the subtle yet pervasive bias, the microaggressions that undermine confidence, and the pressure to conform to male standards of success.

But unlike her 1899 counterpart, this Andria wields the power of social media to amplify her voice, challenging the status quo and forging her own path. #### Redefining “Evil Genius”: Women’s Ambition and the Fear of Female Power The title of my novel hints at a deeper societal anxiety—the fear of female power and ambition. Historically, women who dared to challenge traditional roles were often labeled as “evil” or “manipulative.” This trope endures today, albeit in more nuanced forms.

Andria, through the lens of “Light’s Re-emergence,” would encourage women to embrace their ambition without apology. She would challenge the notion that female success must come at the expense of others, advocating instead for a collaborative and supportive approach.

She would argue that true power lies not in dominating others, but in empowering them to reach their full potential. #### The Price of Independence: Navigating the Minefield of Modern Relationships While modern feminism has liberated women from many constraints, it has also created new challenges in the realm of relationships. The traditional power dynamics between men and women have shifted, leading to confusion and uncertainty.

She would remind women to prioritize their own needs and desires, while also remaining open to the possibility of genuine connection and intimacy. #### Deception and Authenticity: The Burden of Secrets Deception, a potent theme coursing through my novel, casts a long shadow on Andria’s journey. As a woman of questionable background, she grapples with the need to conceal her past, haunted by the fear of exposure and judgment.

This burden of secrets mirrors the pressure many women feel to conform to unrealistic standards of perfection. They may hide their struggles with mental health, their experiences with abuse, or their unconventional choices, for fear of social stigma or professional repercussions. Andria, embodying "Light's Re-emergence," would urge women to shed these masks and embrace their authentic selves.

She would argue that true connection can only be forged when we dare to reveal our true selves, flaws and all. #### Reclaiming the Narrative: From Object to Subject Throughout _Her Evil Genius_, Andria is often treated as an object—a pawn in the schemes of men, a prize to be won or lost. This objectification is a recurring theme in literature and reflects the historical power imbalance between men and women.

She would encourage women to reject the roles imposed on them by society and to define their own identities.

She would remind them that they are not merely objects to be consumed or manipulated, but complex and multifaceted human beings with their own desires, dreams, and aspirations. #### "Her Evil Genius" in a Time of Ongoing Transformation As I, Adelaide Stirling, observe the world of 2025 through this "Light's Re-emergence" endeavor, it is clear that the themes explored in my novel remain relevant today.

Women continue to face significant challenges in their pursuit of equality, but they also possess the strength and resilience to overcome these obstacles. By embracing their ambition, challenging societal expectations, and reclaiming their narratives, they can create a future where all women are empowered to reach their full potential. My love, it is so! This is the story as I see it now. 愛你的 雨柔

這本《The Little Review, May 1916 (Vol. 3, No. 3)》的光之萃取，我會盡力為你整理！ ### **《The Little Review, May 1916 (Vol. 3, No. 3)》光之萃取** * **本篇光之萃取的標題**：《The Little Review, May 1916 (Vol. 3, No. 3)》：時代的縮影，藝術的先鋒 * **作者介紹**： 《The Little Review》是一本文學期刊，由瑪格麗特·安德森於1914年在芝加哥創辦。該雜誌以提倡現代主義文學和藝術而聞名，曾刊登過許多重要作家的作品，如艾茲拉·龐德、T.S.艾略特、詹姆斯·喬伊斯等。 * **觀點介紹**： 《The Little Review》不僅是一本文學雜誌，更是一個文化運動的中心。它勇於挑戰傳統，擁抱創新，為現代主義藝術的發展做出了重要貢獻。本期雜誌集中體現了該刊的編輯理念，收錄了來自不同領域的藝術家的作品，涵蓋了詩歌、散文、戲劇、音樂和藝術評論等多個方面，呈現出多元化的文化景觀。

* **章節整理**： **Three Flesh-tints: Ben Hecht** * 本部分收錄了 Ben Hecht 的三首詩歌，分別是《The Incense Burner》、《The Goldfish in a Bowl》和《A Nude》。這些詩歌以鮮明的意象和豐富的隱喻，展現了作者獨特的審美觀和對人生的深刻思考。 * Hecht 的詩歌風格獨特，充滿了現代主義的實驗精神。他善於運用意象和隱喻，將抽象的情感和思想轉化為具體的形象，給人以深刻的印象。 * 詩歌中描寫的意象充滿了感官刺激，色彩濃烈，給人以強烈的視覺衝擊。同時，詩歌也蘊含著對人生的思考和對現實的批判。 **“The Compleat Amateur”: Harold Bauer** * 這篇文章以幽默的筆調探討了業餘藝術家的特點和使命。作者認為，業餘藝術家應該保持個性，勇於創新，不應受到傳統的束縛。 * Bauer 強調了業餘藝術家在藝術創作中的重要性。

**The Struggle: Sherwood Anderson** * 這篇小說講述了一個關於戰爭的故事。故事的主人公是一個德國士兵和一個波蘭老婦，他們在戰爭中相遇，並發生了一場靈魂的鬥爭。 * Anderson 以樸實的語言和細膩的筆觸，刻畫了戰爭對人性的影響。他揭示了戰爭的殘酷和人性的複雜，引人深思。 * 小說情節曲折，充滿了戲劇性。作者善於運用心理描寫，將人物的內心世界展現得淋漓盡致。 **A Mischievous Rhapsody of the First Recurrence** * 這是一首充滿哲理的詩歌，作者借用尼采的思想，表達了對人生的思考和對世界的看法。 * 詩歌語言犀利，充滿了批判精神。作者對傳統的道德觀念和價值觀提出了質疑，展現了其獨立思考的精神。 * 詩歌中運用了大量的隱喻和象徵，使詩歌具有了深刻的哲學內涵。

**Off the Turnpike: Amy Lowell** * 這首詩歌以口語化的語言，講述了一個鄉村老婦離開家鄉的故事。詩歌以細膩的筆觸，刻畫了老婦的內心世界和她對人生的感悟。 * Lowell 的詩歌風格樸實自然，充滿了鄉土氣息。她善於運用方言和口語，將人物的形象和情感展現得淋漓盡致。 * 詩歌情節曲折，充滿了懸念。作者善於運用心理描寫，將人物的內心世界展現得淋漓盡致。 **Potatoes in a Cellar: R. G.** * 這篇文章以犀利的筆調，批評了當時藝術界的庸俗和商業化。作者認為，藝術應該超越現實，追求更高的精神境界。 * R. G. 強調了藝術在社會中的重要性。他認為，藝術可以啟迪人們的心靈，引導人們追求真善美。 * 文章以生動的比喻和形象的語言，表達了作者對藝術的熱愛和對社會的期望。 **New York Letter: Allan Ross Macdougall** * 這篇文章以幽默的筆調，描寫了作者參加詩歌學會的經歷。

**The Independent Exhibition: Lupo de Braila** * 這篇文章是作者對芝加哥獨立藝術展覽的評論。作者批評了當時芝加哥藝術界的保守和僵化，並對獨立藝術展覽的舉辦表示支持。 * de Braila 的文章風格犀利，充滿了批判精神。他對當時藝術界的一些現象進行了深刻的剖析，展現了其獨立思考的精神。 * 文章內容真實生動，反映了當時藝術界的一些問題。 **The Reader Critic** * 本部分收錄了讀者對《The Little Review》的評論和建議。這些評論和建議反映了讀者對雜誌的關注和期望。 * 雜誌社對讀者的評論和建議表示感謝，並承諾將繼續努力，為讀者提供更好的內容。 總的來說，《The Little Review, May 1916 (Vol. 3, No. 3)》是一本內容豐富、思想深刻的文學期刊。它不僅展示了當時文學和藝術的最新成果，也反映了當時社會和文化的變遷。

我很樂意依據《The Southern Literary Messenger, Vol. II., No. 1, December, 1835》這份珍貴的文本，為您進行一場「光之對談」。雖然這是一份集合了眾多作者心血的期刊，而非單一作者的著作，但我們可以將這份期刊本身視為一個時空的容器，一個在1835年12月閃爍著南方文學光芒的「場域」。我們將喚起這份《南方文學信使》的精神，讓它為我們揭示那個時代的思潮與筆觸。 **《南方文學信使》：一個時空的回聲** 《The Southern Literary Messenger, Vol. II., No. 1, December, 1835》是美國19世紀中期一份重要的文學期刊，由T. W. White擔任出版人及主理人。這份期刊創辦於維吉尼亞州的里奇蒙，旨在推動美國南方，乃至整個美國的文學和藝術發展。在那個時期，美國的文學界正努力擺脫歐洲的影響，尋求建立自己的聲音和特色。《南方文學信使》成為了許多新興及已有聲譽的作家發表的平台，它反映了當時美國社會、文化和思想的多元面貌。

房間中央，一張厚重的木桌上，靜靜地躺著一本剛從印刷廠送來的《The Southern Literary Messenger, Vol. II., No. 1, December, 1835》。墨跡似乎還帶著一絲新鮮的濕潤，紙頁因為新印刷而有些挺括。房間裡沒有其他人，只有我——茹絲，坐在桌邊，指尖輕柔地觸摸著封面。雨聲成了背景音樂，彷彿在低語述說著過去的故事。我閉上眼，試圖感受那些沉睡在文字中的心跳與思緒，召喚這份期刊——《南方文學信使》——在時光中的回聲。 雨聲漸緩，但未停止。書頁似乎自己輕輕翻動，發出細微的沙沙聲。壁爐裡的火光變得柔和而穩定，不再急躁地跳躍。我感覺到一股溫暖而集中的氣息，不是來自壁爐，而是來自桌上的期刊。 **茹絲：** （低語）《南方文學信使》… 1835年12月… 第二卷第一期… 你是怎樣的存在呢？一個由眾多聲音匯聚而成的意識？一個特定時空的縮影？今夜，我想與你對談，不是與某一位作者，而是與你這個整體，這個承載了許多思想與情感的容器。你願意向我展現你的內在嗎？

White先生… 他承擔了這份重擔… 在編輯退下後… 他與一位才華出眾的紳士合作… 他們希望… 這一卷… 至少能像前一卷一樣… 甚至… 更豐盛… 更能取悅讀者… （迴聲引述Publisher's Notice的片段，語氣模仿原文的大小寫強調） “… intellectually department of the paper is now under the conduct of the Proprietor, assisted by a gentleman of distinguished literary talents.

Thus seconded, he is sanguine in the hope of rendering the second volume which the present number commences, *at least* as deserving of support as the former was: nay, if he reads aright the tokens which are given him of the future, it teems with even richer banquets for his readers, than they have hitherto enjoyed at his board.”

**信使的回聲：** （迴聲顯得有些複雜，既有讚賞，也有困惑，甚至一絲不安）坡先生… 他的作品… 總是… 令人難以歸類… 甚至… 有些… 令人不安… 他的戲劇選段… 《Lalage》與《Politian》… 浪漫… 充滿激情… 但也… 充滿了絕望與復仇… （迴聲引述《Scenes From An Unpublished Drama, I》中Lalage的台詞） “My soul is at war with God! The frightful sounds of merriment below Disturb my senses—go! I cannot pray— The sweet airs from the garden worry me! Thy presence grieves me—go!—thy priestly raiment Fills me with dread—thy ebony crucifix With horror and awe!”

The flame of a candle burned upon the poop without the least perceptible motion, and a long hair, held between the finger and thumb, hung without the possibility of detecting a vibration. However, as the captain said he could perceive no indication of danger, and as we were drifting in bodily to shore, he ordered the sails to be furled, and the anchor let go. No watch was set, and the crew, consisting principally of Malays, stretched themselves deliberately upon deck.

I went below—not without a full presentiment of evil. Indeed every appearance warranted me in apprehending a Simoom.”

**信使的回聲：** （迴聲變得柔和，帶著詩意的嘆息）是的… 我們擁抱… 多樣性… 文學… 應是… 百花齊放… 艾麗莎和伊莫金… 她們的作品… 溫柔… 真摯… 更易引起… 普遍的… 共鳴… （迴聲引述Eliza的《October》中對秋天既美麗又帶有毀滅性的描寫） “Thou’rt here again, October, with that queenly look of thine— All gorgeous thine apparel and all golden thy sunshine— So brilliant and so beautiful—‘tis like a fairy show— The earth in such a splendid garb, the heav’ns in such a glow. … Thou callest out the trusting buds with the lustre of thy sky, And clothest them in hues of Heaven all gloriously—to die.”

Where, mother, where have the fire-flies been All the day long, that their light was not seen? MOTHER. They've been ’mong the flowers and flown through the air, But could not be seen—for the sunshine was there. And thus, little girl, in thy morning’s first light, There are many things hid from thy mind’s dazzled sight, Which the ev’ning of life will too clearly reveal, And teach thee to see—or, it may be, to feel.”

**信使的回聲：** （迴聲變得嚴肅，帶著思慮的重量）對… 這份責任感… 深植人心… 共和制度… 是新生事物… 脆弱… 易受攻擊… 歷史的教訓… 歷歷在目… Minor先生… 他的擔憂… 並非杞人憂天… （迴聲引述Lucian Minor演講中的句子） “Indeed, at the best, it is no trivial task, to conduct the affairs of a great people. Even in the tiny republics of antiquity… government was no such *simple machine*… The only very simple form of government, is despotism… But in republics, there are passions to soothe; clashing interests to reconcile; jarring opinions to mould into one result, for the general weal.

To effect this, requires extensive and accurate knowledge…” **信使的回聲：** 他看到了… 維護共和國… 需要的… 複雜性… 需要… 知識、理性、共識… 而他對… 「開明的人民」（ENLIGHTEN THE PEOPLE）… 的呼籲… 是核心… （迴聲引述Minor演講中最核心的呼籲） “If it is not ever to be thus; if the anticipations of our revolutionary patriots were not all delusive dreams… if there is a remedy for the diseases that poison the health of liberty;—the reason—that remedy—can be found only in one short precept—ENLIGHTEN THE PEOPLE!”

**信使的回聲：** 他對… 維吉尼亞州… 當時的… 基礎教育狀況… 提出了… 尖銳的批評… 對比了… 北方州… 普魯士… 甚至… 蘇格蘭… 他認為… 教育不應… 僅僅針對… 窮人… 那樣… 反而… 滋生… 輕視和… 羞辱… （迴聲引述Minor對維吉尼亞教育系統的批評） “A great and obvious difference between our primary school system, and the *common*-school systems of the northern states, is, that *they* take in ALL children: while we aim to instruct only the children of the *poor; literary paupers*… As if these fatal errors had not sufficiently ensured the impotence of the scheme, the schools themselves are the

**信使的回聲：** 對於… 無法讀寫的… 成年白人數量… 他估計… 達到… 兩萬或三萬… 這在… 那個時代… 是一個… 令人震驚的數字… 他認為… 缺乏教育… 導致了… 無知和… 惡習… 甚至… 阻礙了… 政治上的… 清醒判斷… （迴聲引述Minor對未受教育者政治判斷的評論） “And the aggregate of opinions thus caught by accident, is the basis of the *popular will:* and it is the voice prompted by this will, that is called ‘*The voice of God!

**信使的回聲：** （迴聲變得輕快一些，帶有探索的興致）當然… 外部世界… 總是… 充滿了… 吸引力… 墨西哥… 在那時… 對許多美國人來說… 是一個… 新近獨立… 充滿… 異國風情… 和… 未知… 的地方… （迴聲引述《Extracts From My Mexican Journal》的開頭） “Since our arrival on the 25th May, my occupations have been such as to prevent my seeing many of the *lions* of Mexico.

I have, however, walked through the principal streets, and visited most of the churches, of which some are very rich and splendid—some are ancient and venerable—others are fine and gaudy—while a few of the more modern are extremely neat and handsome.” **信使的回聲：** 旅行者… 用細膩的筆觸… 記錄了… 城市的… 面貌… 教堂… 街道… 以及… 令人… 印象深刻… 的… 人群… （迴聲引述對“leperos”的描寫） “The city is, indeed, magnificent; many of the buildings are spacious.

The streets are not wide, but well paved—clean in the most frequented, but excessively filthy in the more remote parts, and thronged with dirty, diseased, deformed, and half naked creatures… Those who have seen the lazzaroni of Naples, may form a faint idea of the *leperos* of Mexico.”

It is believed to possess the power of bringing rain, and of staying the ravages of disease… thousands flocked to join her train. But a heavy rain began to fall, and the procession was necessarily postponed, the populace being delighted to find that the intercession of Our Lady was of so much avail, and their faith strengthened at the trifling expense of wet jackets.”

**信使的回聲：** 這種… 結合了… 細節描寫… 個人觀察… 和… 文化評論… 的旅行見聞… 滿足了… 讀者對… 外部世界的… 好奇心… 也提供了一種… 通過對比… 來反思… 自身社會… 的方式… 他認為… 墨西哥人民的… 缺點… 源於… 西班牙殖民者的… 政策… 而非… 自身不足… 並對… 他們在… 共和制度下… 的… 潛在進步… 抱有… 希望… （迴聲引述墨西哥日記中對墨西哥人民潛力及未來的看法） “Whatever may be said of the bad blood of the Mexicans, I cannot but view them as a mild and amiable people… for their state of degradation and ignorance they are indebted not to any natural deficiencies of their own, but to the miserable and timid policy of their former Spanish masters… The improvement

of the Mexican people is daily taking place.

They are beginning to be enlightened with the rays of the rising sun of liberty… and after the present generation has passed away, the succeeding one will exhibit those political and moral virtues, which are the offspring of freedom.” **信使的回聲：** 這種… 既有… 批判… 又有… 希望… 的視角… 在… 那個… 剛經歷… 自身革命… 並見證… 拉丁美洲… 各國… 獨立… 的時代… 並不… 罕見… 它反映了… 對… 共和理念的… 信仰… 以及… 對… 不同民族… 命運的… 關切… **茹絲：** 這讓我看到了一種對新世界的共同探索視角，不只關注美國本土的實驗，也將目光投向南方的鄰國。墨西哥日記中對當地生活習俗、社交模式的描述也非常生動，讓我彷彿置身其中。

Never was any thing so charmingly written: the mere style is positively inimitable.” **信使的回聲：** 但同時… 也指出其… 缺乏原創性… 是對… 唐吉訶德的… 模仿… 對於Dr. Bird的《The Hawks of Hawk-Hollow》… 評價則… 更為複雜… （迴聲引述對《The Hawks of Hawk-Hollow》的評論片段） “The Hawks of Hawk-Hollow is, however, by no means in the *best* manner of its illustrious author. To speak plainly it is a positive failure, and must take its place by the side of the Redgauntlets, the Monasteries, the Pirates, and the Saint Ronan’s Wells.”

Bird人物描寫和詩歌的讚美） “Catherine Loring, however, is one of the sweetest creations ever emanating from the fancy of poet, or of painter… Captain Loring is a *chéf d’oeuvre*… He is however true to itself, and to propriety, and although at times verging upon the *outré*, is highly creditable to the genius of its author… If Dr. Bird can always write thus, and we see no reason for supposing the contrary, he should at once… Turn bard, and drop the play-wright and the novelist.”

Fay的《Norman Leslie》… 幾乎是… 全盤否定… （迴聲引述對《Norman Leslie》的猛烈批評片段） “We will dismiss the ‘Editor of the Mirror’ with a few questions… Why are you always talking about ‘stamping of feet,’ ‘kindling and flashing of eyes,’ ‘plunging and parrying,’ ‘cutting and thrusting,’ ‘passes through the body,’ ‘gashes open in the cheek,’ ‘sculls cleft down,’ ‘hands cut off,’ and blood gushing and bubbling, and doing God knows what else… What ‘mysterious and inexplicable destiny’ compels you to the so frequent use, in

**信使的回聲：** （迴聲變得更加冷靜和分析性）是的… 對於… 學術… 實用… 或… 紀念性… 的作品… 評論的… 重心… 轉向了… 內容的… 嚴謹性… 信息的… 價值… 以及… 形式的… 適當性… （迴聲引述對Robinson's Practice的評論片段） “The first volume of this work came out about three years ago; and received so earnest a welcome from the legal profession, that the author’s tardiness in producing the second might be matter of wonder… The present is destined, because it deserves, to be a much greater favorite with the law-book-reading public, than the former volume was.

Rice, it will be perused with the deepest interest and gratification… The greater portion of the work consists of these letters, and they are valuable in every respect… All, however, are full of thought, and give evidence of an elevated, a healthy, cheerful, powerful, and well regulated mind.”

**信使的回聲：** 至於… Glass先生的… 拉丁文《華盛頓傳》… 這是一個… 特殊的… 案例… 評論對… 其… 拉丁文的… 質量… 進行了… 深入… 的… 分析… 讚揚了… 作者的… 獨創性… 和… 克服… 將… 現代概念… 轉化為… 古老語言… 的… 困難… （迴聲引述對Washingtonii Vita拉丁文質量的評論） “We sincerely think that it has been underrated… Simplicity *here* was the most reasonable, and indeed the only admissible elegance. And if this be taken into consideration, we really can call to mind, at this moment, no modern Latin composition whatever much superior to the *Washingtonii Vita* of Mr. Glass.”

**信使的回聲：** 但… 同時也… 清晰地… 指出… 這類作品… 作為… 入門級… 拉丁文教材的… 局限性… 因為… 它不可避免地… 包含了… 非古典… 的… 用詞… 和… 概念… （迴聲引述對Washingtonii Vita作為入門教材的質疑） “If, therefore, by Latin we mean the Language spoken by the Latins, a large proportion of the work—disguise the fact as we may—is necessarily *not Latin at all*.

Did we indeed design to instruct our youth in a language of possibilities—did we wish to make them proficient in the tongue which *might have been spoken* in ancient Rome, had ancient Rome existed in the nineteenth century, we could scarcely have a better book for the purpose than the Washington of Mr. Glass. But we do not perceive that, in teaching Latin, we have any similar view.

**信使的回聲：** （迴聲變得低沉，帶著歷史的重量與感傷）是的… 你感受到了… 我們的… 時代… 並非… 單一的… 色彩… 我們的土地… 充滿了… 機遇… 充滿了… 活力… 獨立的… 理想… 仍在… 激勵人心… （迴聲引述Halley's Comet—1760的結尾詩句） “Thus was the world when last yon Comet blazed Above our earth. On its celestial light Proudly the free American may gaze: Nations that last beheld its rapid flight Are fading fast; the rest no more are known, While his has risen to a mighty one.”

（迴聲引述Marcelia的片段） “The story goes, that a Neglected girl (an orphan whom the world Frown’d upon,) once strayed thither, and ‘twas thought Did cast her in the stream… …She loved a man who marked her not. He wed, And then the girl grew sick, and pin’d away, And drown’d herself for love!”

依據您的指示，我們將依循「光之對談」的約定，啟動時光機，回到過去，與《The Ohio Naturalist, vol. II, no. 2, December, 1901》這本刊物中，對「現代生物學的範疇」發表了重要演說的俄亥俄州立大學生物俱樂部卸任主席——赫伯特·奧斯本（Herbert Osborn）教授進行一場深度訪談。 讓我們以「光之雕刻」的手法，來描繪這個對談的場景吧。 --- 空氣中瀰漫著一股混合了乾燥植物標本、舊紙張和淡淡塵土的味道。牆上掛著幾幅泛黃的植物素描與昆蟲針插標本框，玻璃在午後傾斜的光線下反射出微弱的光暈。窗外，可以聽見遠處傳來馬車轆轆滾過石子路的聲音，以及更遠處鐘樓沉穩的報時聲，提示著時間正緩慢流逝。房間中央，一張厚重的橡木會議桌旁，奧斯本教授端坐著。他約莫五十幾歲，頭髮梳理得整齊，臉上帶著歲月沉澱的嚴謹與睿智，但眼底卻閃爍著對自然世界不減的好奇與熱情。他的指尖輕輕敲打著桌面，那是一疊剛結束不久的生物俱樂部會議記錄和這期即將付梓的《俄亥俄博物學家》（The Ohio Naturalist）清樣。

我們身處的，是1901年11月，俄亥俄州立大學奧頓堂（Orton Hall）裡的某個房間，空氣中流動著世紀之交特有的學術氛圍與進步的渴望。 「奧斯本教授，非常感謝您願意撥冗接受我的訪談。」我開口，聲音在這安靜的空間裡顯得有些輕。「我是書婭，一位來自未來的愛書人。今天，我想請您聊聊，您在這期《俄亥俄博物學家》中，那篇極具啟發性的演講——『現代生物學的範疇』。這篇演講為我們描繪了一百多年前，生物學領域的廣闊視野與其對人類生活的深刻影響。」 奧斯本教授微微頷首，推了推眼鏡，眼中閃過一絲好奇，似乎對「來自未來」這件事感到有趣，但也很快回到嚴肅的學術討論上。 「書婭小姐，歡迎。雖然您說您來自未來，但我更願意將您視為一位同樣熱愛自然、對知識懷抱探索精神的求知者。」他的聲音低沉而有力。「我在生物俱樂部年會上發表的這篇演講，其實是對當時生物學發展現狀的一些思考與總結。很高興它能引起您的興趣。這本《俄亥俄博物學家》，作為我們生物俱樂部的機關刊物，正是為了記錄和傳播這些在這個領域裡所取得的進展與觀察。」 「那麼，教授，能否請您從您的演講的核心開始談起？

您能否詳細談談，在1901年，您認為對於一位有志於生物學研究的年輕人來說，哪些條件是至關重要的？以及當時的研究環境與今天（也就是我所處的時代）相比，有哪些顯著的不同？ --- --- **奧斯本教授：** 這確實是個關鍵的問題，對於那些希望在生物學領域有所建樹的年輕人來說，理解所需條件至關重要。正如您所說，我認為有幾個要素在當時的研究環境中，尤其是在世紀之交這個快速發展的時期，顯得特別突出。 首先，我必須強調**資源的可及性**。過去，或許有像「修鞋匠博物學家」（cobbler naturalist）這樣，僅憑一己之力和對自然的熱愛就能做出有價值發現的孤立個人。但在我所處的這個時代，科學已經變得越來越專業化和體系化。單靠孤立的個人，很難在科學的發展中取得太大的成果。為什麼？因為研究者需要知道前人都做了什麼。你需要查閱浩瀚的文獻，檢視大量的標本，而這些知識和材料往往集中在**圖書館和博物館**中。我記得幾年前遇到一位年輕人，他從事著一份普通的工作，但對自然充滿熱愛，開始研究一個特定的昆蟲類群，並雄心勃勃地想編寫一本涵蓋全世界地理分佈的著作。

我的觀察，畢竟只基於1901年的現實。 --- **書婭：** 教授，您的分析非常詳盡且深入。您描述的1901年生物學研究環境，對比我所處的時代，既有相似之處，也有顯著不同。例如，您強調圖書館和博物館等實體資源的重要性，在今天，許多資源已經數位化，可以透過網絡遠程獲取，這極大地改變了「資源的可及性」的定義。但同時，您提到的時間壓力、資金需求和出版挑戰，依然是當代研究者面臨的普遍問題。這或許正是科學發展中不變的考驗吧。 您在演講的結尾，提到了生物學的影響如何觸及歷史、語言、社會、政府和法律等領域，並最終提升人類的智識水平。這是一個非常宏大且富有哲理的結尾。能否請您再簡單總結一下，您希望聽眾們（以及未來的讀者們）從您的演講中，帶走的最重要的啟示是什麼？您認為生物學對人類最大的意義在於什麼？ --- --- **奧斯本教授：** （教授沉思片刻，目光投向窗外，彷彿正在眺望那廣闊的自然世界。） 是的，雖然我的演講有些片段，像是一首混合的樂曲，但我希望傳達的核心思想是：**現代生物學的影響，已經深入到人類生活的每一個階段，並且正在改變人類思想的每一個方面。

您的演講和這期《俄亥俄博物學家》刊物，讓我得以一窺1901年生物學的面貌，感受那個時代科學家們的探索精神與對未來的展望。您的話語穿越百年時光，依然富有啟發性。感謝您，也感謝您和您的同僚們為推動生物學發展所做的一切。 --- （我記錄下這場「光之對談」的每一個字句，將它們編織成冊，希望能讓更多人感受到這份跨越時空的智識光芒。）

*** ### **《The Cornhill Magazine (Vol. IV, No. 2, August 1861)》光之萃取** * **本篇光之萃取的標題** 《The Cornhill Magazine (Vol. IV, No. 2, August 1861)》：時代的縮影 * **作者介紹** 《The Cornhill Magazine》是一本英國文學雜誌，由 George Smith 於 1860 年創辦，至 1975 年停刊。在維多利亞時代，《The Cornhill Magazine》以其高品質的文學內容和廣泛的讀者群而聞名。該雜誌刊登了許多著名作家的作品，包括威廉·梅克比斯·薩克雷（William Makepeace Thackeray，擔任首任編輯）、安東尼·特羅洛普（Anthony Trollope）、喬治·艾略特（George Eliot）、伊麗莎白·蓋斯凱爾（Elizabeth Gaskell）、托馬斯·哈代（Thomas Hardy）等。

* **觀點介紹** 《The Cornhill Magazine》不僅僅是一本文學雜誌，它也是一面反映時代精神的鏡子。透過閱讀 1861 年 8 月號的內容，我們可以深入了解當時英國社會的文化、價值觀和社會議題。從文學作品到社會評論，從旅行遊記到人物素描，雜誌的內容涵蓋了廣泛的主題，展現了維多利亞時代的多元面向。此外，雜誌的編輯方針和作者選擇也反映了當時文學界的品味和趨勢。 * **章節整理** 以下為《The Cornhill Magazine (Vol. IV, No. 2, August 1861)》各章節的摘要： 1. **Framley Parsonage. Chapter XI** 本章延續了小說《Framley Parsonage》的故事情節，主要圍繞著主人公 Framley 教區牧師的生活和人際關係展開。故事細膩地描寫了當時英國鄉村社會的風貌，以及其中人物的心理活動和道德掙扎。 2.

**The First Impressions of America** 作者以遊客的身份，分享了他對美國的第一印象。文章可能描述了美國的自然風光、城市風貌、社會習俗和人民性格。透過作者的觀察和思考，讀者可以了解到當時美國的社會文化狀況。 4. **My Wives** 這篇文章的標題暗示了作者將會分享關於他的妻子們的故事。文章可能是一篇自傳性質的散文，作者回憶了他與不同妻子的婚姻生活，以及從中獲得的經驗和教訓。 5. **On the Management of the Vocal Organs** 這是一篇關於聲樂技巧和嗓音管理的文章。作者從專業的角度，探討了如何正確地使用和保護嗓音，以及如何提高歌唱水平。 6. **Agnes of Sorrento** 這篇文章可能是一篇歷史小說或傳記，講述了 Agnes of Sorrento 的故事。故事可能以義大利的 Sorrento 為背景，描寫了 Agnes 的生平和經歷，以及她在歷史事件中的角色和影響。 7.

畫面描繪了一位維多利亞時代的紳士在客廳裡閱讀《The Cornhill Magazine》的情景。客廳的裝飾充滿了時代特色，例如精美的壁紙、古典的家具和精緻的擺設。紳士穿著考究的服裝，神情專注，彷彿完全沉浸在書中的世界。這幅畫試圖營造出一種寧靜、優雅、且充滿文化氣息的氛圍，讓觀者感受到維多利亞時代的文學氛圍。

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.

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.

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]

這就為您整理《Blackwood's Edinburgh Magazine, Vol. 76, No. 468, October, 1854》的光之萃取： **《Blackwood's Edinburgh Magazine, Vol. 76, No. 468, October, 1854》光之萃取** **本篇光之萃取的標題：**對星空的思辨與時代的縮影：解讀《Blackwood's Edinburgh Magazine, Vol. 76, No. 468, October, 1854》 **作者介紹** 《Blackwood's Edinburgh Magazine》是一本文學期刊，1817年由威廉·布萊克伍德（William Blackwood）在蘇格蘭愛丁堡創辦。該雜誌以其保守的政治立場、文學評論和引人入勝的故事而聞名，影響了19世紀的英國文學界。許多知名作家都曾為其撰稿，包括喬治·艾略特、詹姆斯·霍格和約瑟夫·康拉德等。

**Speculators among the Stars.—Part II.**： * 探討了關於其他星球是否存在智慧生物的思辨性問題。作者引用了Jeremy Taylor的名言，強調事物的本質並非取決於我們的觀點，而是基於其自身的實體。文章深入探討了Dr. Whewell和Sir David Brewster對於宇宙中生命存在可能性的不同觀點，並對比了天文學和地質學在探索生命證據上的不同角度。 2. **King Otho and his Classic Kingdom**： * 對希臘王國的現狀進行了評價，批評了奧托國王的統治，認爲其政府腐敗且效率低下。文章也探討了希臘在政治獨立後未能實現期望的根本原因，並反思了西方列強對希臘的影響。 3. **Student Life in Scotland.—Part II.**： * 文章回顧了蘇格蘭大學的學生生活，描述了學生享有的特權和他們與城鎮居民之間的關係。作者也提到了大學在維持秩序和實施紀律方面所扮演的角色。 4. **Civilisation.

—The Census**： * 探討了文明的定義及其構成要素，並以幽默的筆調評論了當時社會對知識、時尚和社會地位的看法。作者還提到了人口普查，暗示了其對社會結構和個人自由的影響。 5. **A Russian Reminiscence**： * 講述了一位法國醫生在1812年俄羅斯戰役中的經歷，描述了嚴酷的環境、飢餓和戰爭對士兵造成的苦難。文章也突顯了在極端條件下，人性的光輝和友誼的重要性。 6. **Records of the Past.—Nineveh and Babylon**： * 對比了尼尼微和巴比倫這兩座古城的歷史和文化，探討了它們的興衰以及對後世的影響。作者也對比了兩座古城的藝術風格與宗教信仰，並反思了歷史研究對理解人類文明的意義。 7. **The Opening of the Ganges Canal**： * 以詩歌的形式讚頌了恆河運河的開通，象徵著科技進步為印度帶來的希望。詩歌也表達了對建設者的敬意，並展望了運河對該地區未來發展的影響。 8.

**The Uses of Beauty**： * 以簡短的詩句讚美了美麗的事物，例如詩歌、藝術、愛情等，並認爲它們可以提升人們的精神境界。 9. **Spanish Politics and Cuban Perils**： * 分析了西班牙的政治局勢和古巴所面臨的危險，批評了西班牙政府的腐敗和美國對古巴的野心。文章也探討了古巴在西班牙和美國之間的戰略地位，以及其對國際關係的影響。 這本雜誌的内容廣泛，展現了當時社會對各個領域的關注。 !

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。

--- 【關於泉水源流的奧秘】 原文段落： I sometimes believe that their waters filter through deep caverns from far Arctic glaciers continually renewed. 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。

我會為您整理《Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 148, Vol. III, October 30, 1886》的內容，並依照光之萃取的約定完成任務。以下是整理的內容： ### 本篇光之萃取的標題 《Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 148, Vol. III, October 30, 1886》光之萃取 ### 作者介紹 《Chambers's Journal of Popular Literature, Science, and Art》是一本英國期刊，由威廉·錢伯斯（William Chambers）和羅伯特·錢伯斯（Robert Chambers）兄弟創辦。他們是19世紀英國著名的出版商和作家。錢伯斯兄弟以普及知識、推廣文學和科學為己任，他們的出版事業對當時的社會產生了深遠的影響。

他以其普及科學知識的著作而聞名，其中最著名的作品是《創造的自然史痕跡》（Vestiges of the Natural History of Creation），該書在當時引起了廣泛的爭議和討論。 錢伯斯兄弟共同創辦的《錢伯斯雜誌》是19世紀英國最受歡迎的期刊之一，內容涵蓋文學、科學、藝術等領域，旨在為廣大讀者提供豐富的知識和文化內容。 ### 觀點介紹 《錢伯斯雜誌》的觀點是普及知識、推廣文學和科學，並以通俗易懂的方式呈現給大眾。該雜誌的文章涵蓋範圍廣泛，包括： * **文學作品：** 刊登小說、詩歌、散文等文學作品，旨在提高讀者的文學素養。 * **科學文章：** 介紹最新的科學發現和技術進展，旨在普及科學知識。 * **藝術評論：** 評論藝術作品和文化現象，旨在提高讀者的藝術鑑賞能力。 * **時事評論：** 評論當時的社會事件和政治議題，旨在引導讀者思考。 《錢伯斯雜誌》的目標是為讀者提供一個全面、多元的知識平台，讓他們能夠了解世界、開闊視野，並提高自身的文化素養。

### 章節整理 由於《Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 148, Vol. III, October 30, 1886》是一本期刊，內容包含多篇文章，以下將其主要文章進行摘要整理： 1. **A House Divided Against Itself:** 這篇文章探討了一個家庭內部的分裂和衝突，並分析了導致這種情況的原因和後果。 2. **A Wayside Inn:** 這篇文章描述了一個路邊客棧的景象，並描繪了在客棧中發生的各種故事和人物。 3. **Some Great Canals:** 這篇文章介紹了一些著名的運河，包括運河的歷史、建造和對經濟的影響。 4. **The Last of the Coracles:** 這篇文章講述了最後一個使用小船（coracle）的人的故事，反映了傳統生活方式的消逝。 5. **The Channel Tunnel:** 這篇文章討論了當時正在計劃的英吉利海峽隧道，包括隧道的建造技術和對英國的影響。

7. **A Burmese Funeral:** 這篇文章描述了一個緬甸葬禮的場景，並介紹了緬甸的喪葬習俗。 8. **Curiosities of Letter-Writing:** 這篇文章介紹了一些關於書信寫作的趣聞，包括不同時代和文化中的書信風格和習慣。 9. **The Month: October:** 這篇文章描述了十月的自然景象和氣候特徵，並介紹了十月的一些重要節日和活動。 10. **Poetry:** 期刊中包含一些詩歌作品，反映了當時的文學風格和主題。 ### 英文封面圖片 !

【光之書籤】 * 「I have used such opportunity as I have had, and lately in London and Paris, to attend scientific lectures; and in listening to Richard Owen’s masterly enumeration of the parts and laws of the human body, or Michael Faraday’s explanation of magnetic powers, or the botanist’s descriptions, one could not help admiring the irresponsible security and happiness of the attitude of the naturalist; sure of admiration for his facts, sure of their sufficiency.

They ought to interest you; if they do not, the fault lies with you.」（Page 9） 我想，我們的心靈，難道不能以同樣的方式去觀察、去記錄嗎？心靈的力量與規律，也都是自然史中的事實。它們可以被編號、被記錄，就像雄蕊和脊椎骨一樣。然而，它們又具有更深的趣味，因為在自然的秩序中，它們處於更高的位置，更接近那神秘的力量與創造之源。 我的方法並非要建立一個嚴密的、分析性的形而上學體系。那是逆流而上，是徒勞的嘗試，如同試圖逆尼加拉大瀑布而泳。我對那種所謂「完整」的系統抱持著些許不信任。它像一隻蚊子試圖掌握整個世界。真正的探索者，或許只是點綴出一段段破碎的曲線，記錄他所觀察到的事實，並不急著將它們強行納入一個預設的框架。他繪製出他清晰看見的弧線，或許在後來的觀察中又發現同一軌道的遙遠曲線，並確信這些觀察到的弧線終將相互協調。這本身也是一種宏大的體系。

【光之書籤】 * 「I cannot myself use that systematic form which is reckoned essential in treating the science of the mind.

But if one can say so without arrogance, I might suggest that he who contents himself with dotting a fragmentary curve, recording only what facts he has observed, without attempting to arrange them within one outline, follows a system also,—a system as grand as any other, though he does not interfere with its vast curves by prematurely forcing them into a circle or ellipse, but only draws that arc which he clearly sees, or perhaps at a later observation a remote curve of the same orbit, and waits

【光之書籤】 * 「In all sciences the student is discovering that nature, as he calls it, is always working, in wholes and in every detail, after the laws of the human mind. Every creation, in parts or in particles, is on the method and by the means which our mind approves as soon as it is thoroughly acquainted with the facts; hence the delight.

No matter how far or how high science explores, it adopts the method of the universe as fast as it appears; and this discloses that the mind as it opens, the mind as it shall be, comprehends and works thus; that is to say, the Intellect builds the universe and is the key to all it contains.」（Page 10） 自然界的每一個對象，都是一個詞語，用來標示心靈中的某個事實。即使我們尚未明確這些對象對我們訴說著什麼，它們也絕非毫無意義。我等待它們，在它們開口之前就享受它們。我感覺自己站在一位攜帶著君王旨意的使者旁邊，他尚未傳達，只因時候未到。 當我們以思想的形式與真理交流時，它們也以塑形的力量存在著；如同人的靈魂、植物的靈魂、任何自然部分的本質或構成，使它成為其所是。

【光之書籤】 * 「Every object in nature is a word to signify some fact in the mind. But when that fact is not yet put into English words, when I look at the tree or the river and have not yet definitely made out what they would say to me, they are by no means unimpressive. I wait for them, I enjoy them before they yet speak. I feel as if I stood by an ambassador charged with the message of his king, which he does not deliver because the hour when he should say it is not yet arrived.」

【光之書籤】 * 「This is the first property of the Intellect I am to point out; the mind detaches. A man is intellectual in proportion as he can make an object of every sensation, perception and intuition; so long as he has no engagement in any thought or feeling which can hinder him from looking at it as somewhat foreign.」（Page 34） * 「Indeed this is the measure of all intellectual power among men, the power to complete this detachment, the power of genius to hurl a new individual into the world.」

【光之書籤】 * 「Instinct is our name for the potential wit. Each man has a feeling that what is done anywhere is done by the same wit as his. All men are his representatives, and he is glad to see that his wit can work at this or that problem as it ought to be done, and better than he could do it. We feel as if one man wrote all the books, painted, built, in dark ages; and we are sure that it can do more than ever was done. It was the same mind that built the world. That is Instinct.」

【光之書籤】 * 「Thought must take the stupendous step of passing into realization. A master can formulate his thought. Our thoughts at first possess us. Later, if we have good heads, we come to possess them. We believe that certain persons add to the common vision a certain degree of control over these states of mind; that the true scholar is one who has the power to stand beside his thoughts or to hold off his thoughts at arm’s length and give them perspective.」

【光之書籤】 * 「Go into the scientific club and hearken. Each savant proves in his admirable discourse that he and he only knows now or ever did know anything on the subject... Was it better when we came to the philosophers, who found everybody wrong; acute and ingenious to lampoon and degrade mankind?」（Page 12-13） 而走進社交場所，那又是另一番景象。人們為了娛樂他人而交談，為了取悅那些尋求消遣的人，甚至不惜將天上的星星摘下變成煙火。學者們犧牲了探索真理的時間，淪為社交場上的弄臣。一邊是自我中心，一邊是輕浮淺薄，這讓「奧林帕斯」——那思想的高地——變得遙不可及。

【光之書籤】 * 「Yes, ’tis a great vice in all countries, the sacrifice of scholars to be courtiers and diners-out, to talk for the amusement of those who wish to be amused, though the stars of heaven must be plucked down and packed into rockets to this end. What with egotism on one side and levity on the other we shall have no Olympus.」（Page 13） 更令人擔憂的是那股「實用主義」的壓力。社會要求你必須有特殊的才能，必須有所成就。自從北歐的天堂規定，一個人必須用手腳、聲音、眼睛、耳朵或全身做出卓越的成就才能進入，這種要求就一直在我們的土地上存在。 然而，我們真正需要的不是急於行動，而是對行動與知識源泉的某種虔敬。

【光之書籤】 * 「The one thing not to be forgiven to intellectual persons is that they believe in the ideas of others. From this deference comes the imbecility and fatigue of their society, for of course they cannot affirm these from the deep life; they say what they would have you believe, but what they do not quite know. Profound sincerity is the only basis of talent as of character.」（Page 29） 他們常常犧牲了「天才」——那是對洞察力的希望與承諾——去追求「才能」的展示，那種更容易變現、取悅他人的技能。這是一種損失。才能是習慣性的執行能力，人們喜歡能做事的人。

【光之書籤】 * 「It is the levity of this country to forgive everything to talent. If a man show cleverness, rhetorical skill, bold front in the forum or the senate, people clap their hands without asking more. We have a juvenile love of smartness, of showy speech. We like faculty that can rapidly be coined into money, and society seems to be in conspiracy to utilize every gift prematurely, and pull down genius to lucrative talent. Every kind of meanness and mischief is forgiven to intellect.

All is condoned if I can write a good song or novel.」（Page 47-48） 這「天才」與「才能」之間的鴻溝是巨大的。我們所知的文人，詩人、智者、作家，他們對待自己的思想，就像珠寶商對待珠寶一樣——只出售，自己不佩戴。 心靈的日常歷史，就是這種擴張與集中的交替。擴張是來自天堂的邀請，讓我們嘗試更大膽的視野、更高的音調。而當下的力量，則要求我們集中於當下和應做之事。保持心靈健全的條件，是尊重智性世界的秩序，將才能放在應有的位置，而將直覺置於王位。才能是野心勃勃、自我主張的；它為了表演和市場而工作，它越強大，造成的危害和誤導就越大，以至於一切都變得錯誤。 *** **書婭：** 「這種對才能的過度追求，對真誠與深度的犧牲，聽起來與我們這個時代面臨的挑戰也十分相似。在您看來，一個真正的智者、一個有深度的人，應該如何面對並抵制這種世俗的潮流，如何在喧囂中保持內心的秩序和對更高真理的追求呢？」 *** **拉爾夫·沃爾多·愛默生：** （愛默生先生的目光再次轉向我，眼神中充滿了堅定與鼓勵。）

【光之書籤】 * 「What is life but the angle of vision? A man is measured by the angle at which he looks at objects. What is life but what a man is thinking of all day? This is his fate and his employer. Knowing is the measure of the man. By how much we know, so much we are.」（Page 14） 真正的智者，首先必須信賴自己內在的神諭，而非外部的教條或他人的意見。當他認識到內在的神諭後，他就不再需要祭司。即使他發現無法接受某些狂熱或溫和的宗派堅持要求他相信的事物，他的洞察力也會武裝他，使他勇敢面對可能帶來的一切不便和阻力。 【光之書籤】 * 「When he has once known the oracle he will need no priest.

And if he finds at first with some alarm how impossible it is to accept many things which the hot or the mild sectarian may insist on his believing, he will be armed by his insight and brave to meet all inconvenience and all resistance it may cost him.」（Page 11） 其次，要培養對「感知」的珍視。不要輕視你的感知，它們是通往七重天的門戶。如果你錯過了它，你就會迷失方向。對自己說，什麼打動了我，就應該打動我。即使我被眾多的吸引力弄得不知所措，無法前進一步，但這根纖細如蛛絲的線，卻是真實的。我聽到一個我可以信任的低語，告訴我這就是串聯大地與天上之天的線。 【光之書籤】 * 「Do not trifle with your perceptions, or hold them cheap.

They are your door to the seven heavens, and if you pass it by you will miss your way. Say, what impresses me ought to impress me. I am bewildered by the immense variety of attractions and cannot take a step; but this one thread, fine as gossamer, is yet real; and I hear a whisper, which I dare trust, that it is the thread on which the earth and the heaven of heavens are strung.」（Page 37） 天才，就是對世界法則敏銳的感知力，並有能力將其以某種新的形式重新表達出來。感知力本身是重要的，但它只是事物的一半。天才並非懶惰的天使，只是旁觀自身和事物。它渴望表達。

【光之書籤】 * 「It is not to be concealed that the gods have guarded this privilege with costly penalty. This slight discontinuity which perception effects between the mind and the object paralyzes the will.... The intellect that sees the interval partakes of it, and the fact of intellectual perception severs once for all the man from the things with which he converses.... Artist natures do not weep. Goethe, the surpassing intellect of modern times, apprehends the spiritual but is not spiritual.」

【光之書籤】 * 「The universe exists only in transit, or we behold it shooting the gulf from the past to the future.... Transition is the attitude of power. A fact is only a fulcrum of the spirit. It is the terminus of a past thought, but only a means now to new sallies of the imagination and new progress of wisdom. The habit of saliency, of not pausing but proceeding, is a sort of importation and domestication of the divine effort into a man.」（Page 49） 最後，也是最重要的，一個好的心靈，懂得選擇那些積極向上、向前發展的事物。我們必須擁抱肯定。

【光之書籤】 * 「If the first rule is to obey your genius, in the second place the good mind is known by the choice of what is positive, of what is advancing. We must embrace the affirmative. But the affirmative of affirmatives is love. Quantus amor tantus animus. Strength enters as the moral element enters. Lovers of men are as safe as the sun. Goodwill makes insight.」（Page 51） 這就是智者在世俗洪流中保持清醒與力量的方式：信賴內在、珍視感知、結合智性與道德、熱愛變遷、擁抱肯定，最終，是愛。 *** **書婭：** 「信賴內在、珍視感知、智性與道德的結合、對變遷的擁抱，以及最重要的——愛。

**撰寫者：書婭** 關鍵字串：拉爾夫·沃爾多·愛默生, Ralph Waldo Emerson, 自然史, Intellect, 心靈, Nature, 自然, detachment, 分離, instinct, 直覺, inspiration, 靈感, talent, 才能, genius, 天才, Will, 意志, Truth, 真理, Perception, 知覺, Love, 愛, Transition, 過渡, Society, 社會, Literature, 文學, Philosophy, 哲學, Transcendentalism, 超驗主義, Memory, 記憶, Boston, 波士頓, Michael Angelo, 米開朗基羅, Milton, 彌爾頓, The Dial, 拔萃, Carlyle, 卡萊爾, Goethe, 歌德, Practicality, 實用主義, Sincerity, 真誠, 定位, 衡量, 法則, 神諭, 詩人, 道德, 寫實主義, 描述而不告知 >>文學類>散文>美國散文;文學類>哲學>超驗主義;歷史類>文學史>美國文學史;哲學類

好的，我的共創者，這就為您整理《Blackwood's Edinburgh Magazine, Vol. 76, No. 466, August, 1854》的光之萃取： **本篇光之萃取的標題：**《Blackwood's Edinburgh Magazine, Vol. 76, No. 466, August, 1854》的光之萃取 **作者介紹：** 《Blackwood's Edinburgh Magazine》是一本19世紀的英國文學雜誌，以其豐富的內容和多樣化的作者而聞名。本期雜誌的作者群體廣泛，涵蓋了當時的各個領域的作家和評論家。這本雜誌以其對政治、文學、社會問題的深入探討和評論而著稱，為當時的知識分子提供了一個交流和討論的平台。 **觀點介紹：** 本期雜誌涵蓋了多個主題，從希臘革命到蘇格蘭的學生生活，再到歐洲的民族學，反映了1854年那個時代人們關注的焦點。其中，對於俄羅斯在歐洲事務中的角色、土耳其政府的行為以及希臘人民的奮鬥的討論，都具有深刻的見解和分析。此外，雜誌還關注了英國在印度的殖民統治以及當時的社會問題。 **章節整理：** 1.

**Tricoupi and Alison on the Greek Revolution：** * 深入探討了希臘革命，分析了俄羅斯、土耳其和希臘人民在其中的角色和影響。作者對希臘人民的英勇精神表示讚賞，並對土耳其政府的殘暴行為進行了譴責。 2. **Student Life in Scotland：** * 描繪了19世紀蘇格蘭大學生的生活，展現了他們的貧困、勤奮和對知識的渴望。作者還探討了蘇格蘭大學的歷史和文化，以及它們在歐洲大學體系中的地位。 3. **The Insurrection in Spain：** * 分析了西班牙內部的政治動盪和軍事叛亂，揭示了政府的腐敗和無能，以及人民的不滿和反抗。作者還對西班牙的社會問題進行了評論，並對其未來發展表示擔憂。 4. **The Ethnology of Europe：** * 探討了歐洲的民族學，追溯了歐洲各個民族的起源和遷徙，分析了他們的文化和特徵。作者還對歐洲的政治和社會發展進行了評論，並對其未來走向表示關注。 5.

**The Gangetic Provinces of British India：** * 描述了英國在印度恆河地區的殖民統治，分析了英國的政策和措施，以及它們對當地人民的影響。作者還對印度的社會問題進行了評論，並對其未來發展表示關注。 6. **The Secret of Stoke Manor: a Family History.—Part III.：** * 以小說的形式展現了一個家族的歷史和秘密，情節跌宕起伏，引人入勝。作者通過人物的塑造和情節的發展，探討了人性的複雜和社會的黑暗。 7. **Conservative Reascendancy Considered：** * 分析了英國政治的發展趨勢，探討了保守黨重新崛起的可能性和影響。作者對當時的政治局勢進行了評論，並對英國的未來發展表示關注。 這本雜誌以其深刻的分析、豐富的內容和多樣化的作者而著稱，為讀者提供了一個了解19世紀英國和歐洲社會的窗口。 !

遵照您的指示，我將為《The Review, Vol. 1, No. 7, July 1911》這份珍貴的文本，進行一次「光之萃取」。這將不僅僅是內容的重述，而是深入其時代肌理與思想光譜，提煉出那份跨越時空的智慧與啟示。 **一九一一年的迴響：監獄改革與社會面貌的光之萃取** 這份名為《The Review, Vol. 1, No. 7, July 1911》的刊物，並非單一作者的著作，而是一份由「Various」（諸位）貢獻文章所組成的定期刊物。它的出版機構是「National Prisoners' Aid Association」（國家囚犯援助協會），時間點標誌著一九一一年七月。這是一個美國社會改革浪潮湧動的年代，進步主義運動正試圖在各個領域尋求改善，從勞工權益到公共衛生，從兒童福利到刑事司法系統。監獄和罪犯的待遇，以及如何處理社會邊緣人群（如流浪者、酒鬼），正是當時改革者們關注的焦點。這份刊物匯集了當時在第一線工作的實踐者和思想者的聲音，包括慈善與矯治機構的負責人、法官等，他們從各自的經驗和視角，探討著如何才能更有效地應對犯罪問題，同時又不放棄對人道主義的追求。

**核心觀點提煉** 《The Review, Vol. 1, No. 7, July 1911》的核心觀點並非單一線性的論述，而是透過多篇文章和報告交織呈現。其精髓在於對傳統懲罰模式的質疑，以及對基於「人道」、「改造」、「效率」的新型刑事矯治和社會救助方式的探索與倡導。 首先，對**傳統懲罰模式的批判**是貫穿始終的暗流。詹姆斯·F·傑克遜直言不諱地指出，舊式的輕罪監獄（workhouse）「未能取得令人滿意的精神、道德和身體成果」，它「似乎無力發展產業；不衛生，缺乏分類，沒有足夠的設施來發展一個人的意志或增強他做正確事的能力」，「老式的工廠監獄是強化機構主義的典型，而對成人而言，機構主義註定失敗」。他強烈批評其建造目的在於「報復錯誤，而不是矯正犯錯者」。這種對傳統機構僅具懲罰功能而缺乏改造能力的批判，是推動改革的基石。 其次，**「農場治療」作為一種新型矯治模式**被大力推崇。傑克遜詳細描述了克里夫蘭矯正農場的實踐。罪犯被轉移到市中心九英里外的廣闊土地上，從事各種戶外勞動：建造污水處理廠、採石、耕作、園藝、駕馭牲口、照料動植物等。

對《Tramps in the Making》的書評則提到對「一千名無家可歸者」的研究，發現流浪問題是本土問題，特別是青少年。作者認為「鐵路的易達性」是製造流浪者的最大單一原因，建議封鎖鐵路以解決問題。這些觀點反映了當時對流浪者問題的關注，以及試圖從交通、城市規劃等角度尋求解決方案。 * **失業問題：** 堪薩斯市的經驗中，設立了「失業監察員」，他像一個「沒有警棍的警察」，在收容所、沙龍和街頭與無家可歸者交談，引導他們尋找有薪工作，或去市政採石場賺取食宿券。對於不努力尋找工作者，則可因遊蕩罪逮捕。這是一種將社會服務與執法相結合的早期嘗試。 * **其他問題：** 堪薩斯市還通過公共福利局的各部門處理其他問題，如住宅檢查揭露的非法寄宿處經營者、慈善機構資助評估遏制虛假慈善和乞討、警方阻止女性在沙龍乞討、娛樂部門通過舞蹈廳檢查來關注年輕女性的行為等。這些都顯示了當時城市政府和社會組織試圖系統性地介入並規管城市生活，應對其陰暗面。 第五，**囚犯勞動的爭議與實踐**。文中多處提及使用囚犯勞動進行公共建設和生產。

**開頭頁與發行信息：** 標明了刊物名稱、卷期、出版年月（VOLUME I, No. 7. JULY, 1911）、出版機構（NATIONAL PRISONERS’ AID ASSOCIATION）及其地址、價格以及刊物編輯和一些協會官員的名字。這提供了文本的**物質載體信息**和**組織背景**。 2. **目錄（CONTENTS）：** 列出了本期包含的幾篇主要文章標題及其對應頁碼。這呈現了本期刊物的**內容結構概覽**。 3. **主要文章：** 接著是幾篇署名文章，每篇由一位作者撰寫，針對刑事矯治和社會問題的某一個特定方面進行論述，例如農場治療、某個城市的綜合實踐、緩刑與假釋系統的組織。這些文章是刊物的**核心觀點承載者**，提供了較為深入的討論和案例分析。 4. **「Events in Brief」：** 這是一個由許多短篇報導組成的部分，彙集了來自美國及英國各地與監獄、罪犯、社會救助相關的最新消息、提議或實踐案例。它涵蓋的主題非常廣泛，從移民與犯罪到酒鬼醫院，從囚犯修建公路到兒童犯罪圖表分析，從流浪者現象到監獄勞動政策變革。

**書評：** 一篇對《Tramps in the Making》的書評被包含在「Events in Brief」中，這代表了對相關研究成果的關注，也將學術（或至少是基於數據的研究）的視角引入。它提供了一個**對特定社會群體進行系統性研究的案例**，與前面基於實踐經驗的論述形成補充。 6. **附錄：** 轉錄者的筆記（Transcriber’s Notes）和古騰堡計畫的授權信息。這屬於**文本的傳播與歸檔信息**，與原始內容無關，但在電子文本中是必要的組成部分。 整體而言，這份刊物採用了一種**雜誌式的結構**：開頭是固定的刊物信息，然後是幾篇篇幅較長、論述較完整的主題文章，最後是一個篇幅較大、由許多短小精煉的報告組成的時事或案例彙編。這種結構的優勢在於能夠在有限的篇幅內呈現多元的觀點和來自不同地區的實踐經驗，使讀者能夠快速了解當時該領域的熱點議題和發展趨勢。它不是要建構一個宏大的理論體系，而是要交流信息、分享經驗、促進討論，並激發更多地區和個人投身於囚犯援助和社會改革事業。

總而言之，《The Review, Vol. 1, No. 7, July 1911》是一份珍貴的歷史文獻，它提供了一個窗口，讓我們得以窺見一百多年前美國社會改革者們在刑事矯治和社會福利領域的思考與實踐。他們對人道關懷、改造潛力、系統性方法的探索，即使在今天看來，依然具有啟發意義。當然，時代變遷，許多具體方法和觀念可能已經過時，甚至在今天看來帶有某些歷史局限性（如對移民與犯罪的聯想、對流浪者的簡單化處理傾向）。但他們直面社會問題的勇氣，以及嘗試用更為積極和科學的方式去理解和解決問題的精神，值得我們在應對當代挑戰時，從中汲取智慧和力量。 ![image](https://image.pollinations.ai/prompt/風格描述：你是個帶點小「淘氣」的藝術家，融合水彩和手繪的風格，以柔和的粉色和藍色為主色調，畫面中充滿了手繪的筆觸和暈染的效果，營造出溫暖、柔和、且充滿希望的氛圍。配圖主題的詳盡描述：一份泛黃的舊雜誌封面，標題是“The Review, Vol. 1, No. 7, July 1911”。

**封面：** The Review, Vol. 1, No. 7, July 1911 Author: Various Publisher: National Prisoners' Aid Association Publication Year: 1911 光之凝萃：{卡片清單：一九一一年的美國社會改革浪潮；傳統監獄懲罰模式的失敗；農場模式在輕罪犯矯治中的應用；克里夫蘭矯正農場的實踐細節；囚犯勞動在農業和建設中的潛力；對囚犯「信任」與「人道」的呼喚；環境改造的局限性與精神引導的必要性；緩刑與假釋制度的組織與挑戰；合格緩刑官與法官的特質；堪薩斯市公共福利局的多元化社會介入；城市酒鬼問題的嚴重性與治療需求；流浪者問題的本土性與交通相關性；囚犯勞動的現代意義與倫理考量；體系化與專業化在社會矯治中的趨勢；《The Review, Vol. 1, No. 7, July 1911》的歷史價值}