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2021-03-03 01:57
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2021年3月3日发(作者:考虑到英文)


历届韩素音翻译大奖赛竞赛原文及译文



英译汉部分



.


................................................. .................................................. .................................................. .......................... 2


Beauty (excerpt) ........................................ .................................................. .................................................. ............. 2



(


节选


) .................................................. .................................................. .................................................. ............... 2


The Literature of Knowledge and the Literature of Power byThomas De Quincey .......................................... ......... 5


知识文学与力量文学托



马斯·昆西


...................... .................................................. .............................................. 5


An Experience of Aesthetics by Robert G insberg........................................... .................................................. .......... 6


审美的体验



罗伯特·金斯伯格


................... .................................................. .................................................. ....... 6


A Person Who Apologizes Has the Moral Ball in His Court by Paul Johnson ...... .................................................. ... 8


谁给别人道歉,谁就在道义上掌握了主动



保罗·约翰逊



.

................................................ .................................. 8


On Going Home by Joan Didion ........................ .................................................. .................................................. ...11


回家



琼·狄迪恩



........... .................................................. .................................................. ......................................11


The Making of Ashenden (Excerpt) by Stanley Elkin .................................... .................................................. ........ 13


艾兴登其人(节选)斯坦利·埃尔金


.................................................. .................................................. .............. 13


Beyond Life

.


.................................... .................................................. .................................................. ..................... 17


超越生命


[



]


卡贝尔




. .................................................. .................................................. ................................... 17


Envy by Samuel Johnson


.


........................................... .................................................. ............................................ 20


论嫉妒



[



]


塞缪尔·约翰逊





.


... .................................................. .................................................. .................... 20


中译英部分



.


................................................. .................................................. .................................................. ........................ 23


在义与利之外



.......... .................................................. .................................................. ............................................ 23


Beyond Righteousness and Interests..... .................................................. .................................................. ................ 23


读书苦乐



杨绛



.............. .................................................. .................................................. ...................................... 25


The Bitter-Sweetness of Reading Yang Jiang ............................................ .................................................. ............. 25


想起清华种种




王佐良


............ .................................................. .................................................. .......................... 26


Reminiscences of Tsinghua Wang Zuoliang .................................................. .................................................. ......... 26


歌德之人生启示宗白华


.... .................................................. .................................................. .................................. 28


What Goethe's Life Reveals by Zong Baihua


................................ .................................................. ......................... 28


怀想那片青草地



赵红波


........................ .................................................. .................................................. ............ 30


Yearning for That Piece of Green Meadow by Zhao Hongbo


.


.............................................. .................................... 30


可爱的南京



.


................................................. .................................................. .................................................. ........ 32


Nanjing the Beloved City .. .................................................. .................................................. ................................... 32




冰心


< /p>


.


............................ .................................................. .................................................. ................................... 33


The Rosy Cloud byBingxin .............. .................................................. .................................................. .................... 33


黎明前的北平



.......... .................................................. .................................................. ............................................ 33


Predawn Peiping


.


.................................................. .................................................. .................................................. 33


老来乐



金克木



............. .................................................. .................................................. ....................................... 34


Delights in Growing Old by Jin Kemu ... .................................................. .................................................. .............. 34


可贵的“他人意识”


.................................................. .................................................. .......................................... 36


Calling for an Awareness of Others .... .................................................. .................................................. .................. 36


教孩子相信



.


........................... .................................................. .................................................. .............................. 38


To Implant In Our Children’s Young Hearts An Undying Faith In Humanity


..................... ..................................... 38






1


英译汉部分



Beauty (excerpt)



(


节选


)





Judging from the scientists I know, including Eva and Ruth, and those whom I've read about, you can't pursue the laws


of nature very long without bumping


撞倒


;


冲撞



into beauty.



I don't know if it's the same beauty you see in the sunset,




a


friend tells me,



but it feels the same.




This friend is a physicist, who has spent a long career deciphering


破译


(


密码< /p>


),




(< /p>


潦草字迹


)


what


must


be


happening


in


the


interior


of


stars.


He


recalls


for


me


this


thrill


on


grasping


for


the


first


time


Dirac's




equations describing quantum mechanics, or those o


f Einstein describing relativity. “They're so beautiful,” he says,


“you can see immediately they have to be true. Or at least on the way toward truth.” I ask him what makes a theory beautiful,


and he replies, “Simplicity, symmetry


.


对称


(



);


匀称


,


整齐


, elegance, and power.”





我结识 一些科学家(包括伊娃和露丝)


,也拜读过不少科学家的著作,从中我作出推断:人们在 探求自然规律的


旅途中,须臾便会与美不期而遇。一个朋友对我说:

“我不敢肯定这种美是否与日落之美异曲同工,但至少,两者带


给我的感受别无二致 。




我的这个朋友是一位物理学家, 他大半辈子都在致力于破解群星内部的秘密。他向我讲述


了当年邂逅科学之美时的狂喜: 那是当他生平第一次顿悟狄拉克的量子力学方程式,或是洞彻爱因斯坦相对论的方


程式时 的感受。


“那些方程式是如此动人,


”他说道,


“只消看一眼你就会明白,它们一定是正确的,或者说


---

< br>至少,


它们的指向是正确的。




我好奇一个“动人的”理论是个什么样,他的回答是:


“简约、 和谐、典雅,有力。






Why nature should conform to theories we find beautiful is far from obvious. The most incomprehensible thing about


the universe, as Einstein said, is that it's comprehensible. How unlikely, that a short- lived biped on a two-bit planet should be


able to gauge the speed of light, lay bare the structure of an atom, or calculate the gravitational tug of a black hole. We're a


long


way


from


understanding


everything,


but


we


do


understand


a


great


deal


about


how


nature


behaves.


Generation


after


generation,


we


puzzle


out


formulas,


test


them,


and


find,


to


an


astonishing


degree,


that


nature


agrees.


An


architect


draws


designs on flimsy paper, and her buildings stand up through earthquakes.





那些打 动我们的理论,往往受到自然之母的肯定,其中奥妙不可言宣。诚如爱因斯坦所言:这个世界最让人费

< p>
解之处就在于:它是能够被了解的。想想这一切是多么地不可思议:在一个不起眼的星球上,生存着 一种拥有短暂


生命的两足生物,然而,正是这些微不足道的小生物,不但测量出了光速, 而且把原子层层剥开,还计算出了黑洞


的引力。人类虽然尚未全知全能,但是,关于大自 然的脾性,我们所知道的确实不能算少。人类经过世世代代的努


力,猜想出各种定理公式 ,并在实践中检验它们,然后惊讶地发现:大自然竟然与我们不谋而合。这就像一位建筑


师在薄薄的图纸上绘制出设计方案,依此建造的高楼大厦,竟能够经受住地震的洗礼考验,依然耸立。

< p>






Dirac:

< br>迪拉克,保罗·阿德利安·莫里斯


1902-1984


英 国数学和物理学家。


1933


年因新原子理论公式与人分


享诺贝尔奖。





We launch a satellite into orbit and use it to bounce messages from continent to continent. The machine on which I write


these words embodies hundreds of insights into the workings of the material world, insights that are confirmed by every burst


of letters on the screen, and I stare at that screen through lenses that obey the laws of optics first worked out in detail by Isaac


Newton



.





我们发 射一枚人造卫星,它便帮助我们将讯息传遍世界各地。而我,正在一台机器上记录下这些文字,这台机

< p>
器包涵着人类思想的精髓


---


对物质世界运作方 式的真知灼见


---


每一次敲打键盘,这些真知便化为字母跳入 屏幕;当


我注视着屏幕,架在鼻梁上的眼镜则是根据光学原理配制而成的,而对这一理论 进行详细论证的开山始祖则是艾萨


克·牛顿。





By


discerning patterns


in


the


universe,


Newton


believed, he


was tracing


the hand


of


God.


Scientists in our


day


have


largely


abandoned


the


notion


of


a


Creator


as


an


unnecessary


hypothesis,


or


at


least


an


untestable


one.


While


they


share


Newton's


faith


that


the


universe


is


ruled


everywhere


by


a


coherent


set


of


rules,


they


cannot


say,


as


scientists,


how


these


particular rules came to govern things. You can do science without believing in a divine Legislator, but not without believing


in laws.





通过对万物造化的深入观察,牛顿 相信自己正追随着上帝的笔触。如今的科学家大都摒弃了“造物主”一说,


认为那是无稽 的假设,即使不全盘否定,至少也认定那是不可能得到验证的假说。诚然,他们坚信牛顿的看法

< br>---





2


界受一套整合的法则所支配,但问题在于,发轫之始,这些 法则是如何开始掌管世界的?对此,身为科学家的他们


也无从知晓。在科学的疆界,我们 可以拒绝相信上帝的存在,但我们不能否认万物之法的存在。





I spent my teenage years scrambling up the mountain of mathematics. Midway up the slope, however, I staggered to a


halt, gasping in the rarefied air, well before I reached the heights where the equations of Einstein and Dirac would have made


sense.


Nowadays


I


add,


subtract,


multiply,


and


do


long


division


when


no


calculator


is


handy,


and


I


can


do


algebra


and


geometry


and


even


trigonometry


in


a


pinch,


but


that


is


about


all


that


I've


kept


from


the


language


of


numbers.


Still,


I


remember glimpsing patterns in mathematics that seemed as bold and beautiful as a skyful of stars.





少年时,我曾试图攀登数学之颠。可惜才到半山腰,便开始步 履踉跄;空气稀薄,使我气喘吁吁,不得不停下


脚步,而爱因斯坦和狄拉克的方程式却仍 旧远在高处。现在的我,若是手边没有计算器,便通过心算处理加减乘除;


有必要时,我 还能应付代数、几何,甚至三角运算;但是话说回来,数字世界留给我的也就只有这些零星点滴了。


不过,我至今仍然记得曾在数学王国里浅尝到的无穷变幻


---


大胆、迷人,犹如群星漫天。







Isaac Newton:


牛顿



(1642-1727)


英国物理学家、数学家。



I'm


never


more


aware


of


the


limitations


of


language


than


when


I


try


to


describe


beauty.


Language


can


create


its


own


loveliness, of course, but it cannot deliver to us the radiance we apprehend in the world, any more than a photograph can


capture the stunning swiftness of a hawk or the withering power of a supernova



. Eva's wedding album holds only a faint


glimmer of the wedding itself. All that pictures or words can do is gesture beyond themselves toward the fleeting glory that


stirs our hearts. So I keep gesturing.





每当我尝试着将美付诸于文字时,我便极为深刻地意识到:文字的力量是多么有限。语言自有其 灵动可人之处,


可它却无法传达大千世界的绚烂。正如一方相片框不住一只鹰的迅捷,也 再现不了一颗超新星毁灭时的壮丽。伊娃


的婚礼相册仅仅留存了一丝微弱的光芒,以见证 婚礼现场的光鲜夺目。相片和文字能够做到的最多只是描摹那些瞬


息即逝的、那些让我们 心潮涌动的光芒。于是,我一直都在努力描摹。






All


nature


is


meant


to


make


us


think


of


paradise,




Thomas


Merton




observed.


Because


the


Creation


puts


on


a


nonstop show, beauty is free and inexhaustible, but we need training in order to perceive more than the most obvious kinds.


Even 15 billion years or so after the Big Bang



, echoes of that event still linger in the form of background radiation



, only


a


few


degrees


above


absolute


zero



.


Just


so,


I


believe,


the


experience


of


beauty


is


an


echo


of


the


order


and


power


that


permeate


the


universe.


To


measure


background


radiation,


we


need


subtle


instruments;


to


measure


beauty,


we


need


alert


intelligence and our five keen senses.





托马斯 ·梅尔顿说过,


“世间造物之神奇无不令人联想到天堂乐土”


, 因为创世纪本身就是一出永不落幕的表演;


其间芳华之美悠游自在,无穷无尽。有些美显 而易见,容易为我们所捕捉,但另一些则不然:若要欣赏她们,我们


得付出一点努力。宇 宙大爆炸在一百五十多亿年后的今天仍余波未平,爆炸当时所释放的能量(即使这些能量看起

来似乎微不足道)仍以背景辐射现象的形式存在着。由此,我得出一个观点:人类对美的体验中暗含着秩序和 力量


的影子,而这些秩序和力量充斥着整个宇宙空间。测量背景辐射,我们需要精密仪器 ;而衡量美,则需要动用我们


的聪慧和所有敏锐的感官。







supernova:


超新星,一种罕见的天文现象,表现为 一恒星中的绝大部分物质爆炸后,产生能放射极大能量的


极为明亮而存在时间极短的物体 。







Thomas Merton:


默顿,


托马斯


1915-1968


美国天主教教士和作家,


其作品主要是关于当代宗教和世俗生活的,


包括



《七重山》


1948


年)和



《无人为孤岛》



1955


年)








the Big Bang:


创世大爆炸按照大爆炸理论,标志宇宙形成的宇宙爆炸。





(6) background radiation:


背景辐射


,


又 名


3K


宇宙背景辐射,是


60


年代天文学上的四大发现之一,它是由美国射


电天文学家彭齐亚斯和威尔 逊发现的。该学说认为,大爆炸之初,宇宙的温度高得惊人。随着宇宙膨胀的进行,其


温 度不断降低,到现在平均只有绝对温度2.7度(相当于零下270.46摄氏度)左右。






(7) absolute zero:


绝对零度在此温度下 物质没有热能,相当于摄氏


-273.15


度或华氏

< p>
-459.67


度。



Anyone with eyes can take delight in a face or a flower. You need training, however, to perceive the beauty in mathematics or


physics or chess, in the architecture of a tree, the design of a bird's wing, or the shiver of breath through a flute. For most of


human history, the training has come from elders who taught the young how to pay attention. By paying attention, we learn to




3


savor all sorts of patterns, from quantum mechanics to patchwork quilts. This predilection brings with it a clear evolutionary


advantage, for the ability to recognize patterns helped our ancestors to select mates, find food, avoid predators. But the same


advantage would apply to all species, and yet we alone compose symphonies and crossword puzzles, carve stone into statues,


map time and space.





任何人都能在一颦一笑,一花一草中体验快乐。但是,发现数 学之美、物理之绝、象棋之妙的眼睛并不是与生


俱来,而欣赏树木形态、鸟翼构造、或是 悠扬笛声的心灵也非浑然自成。我们需要点拨和引领。纵观历史传承,这


样的点拨和引领 往往来自长者,籍此,年轻人学会专注;因为专注,我们领略到万千形态的美,无论是量子力学中


精妙的理论,还是棉被上漂亮的拼花图案。正是出于对美的强烈偏爱,才使得人类在物种进化的追逐比拼 中处于上


风。因为人类能够辨识出美的事物,而我们的祖先则因循这一标准选择伴侣,寻 找食物,躲避敌人。如果自然界中


所有的物种都拥有发现美的能力,那么它们都将在进化 过程中称霸一方。然而,惟独人类在演变中独占鳌头:我们


谱写交响曲,创造字谜游戏; 在我们的手中,顽石诞生为雕像,时空归依为坐标。



Have


we


merely carried our animal need for shrewd perceptions to an absurd extreme? Or have we stumbled onto a deep


congruence between the structure of our minds and the structure of the universe?






这一切究竟来源于何?仅仅是我们将本能的敏锐感知力推向了荒谬的极致,还是我们不经意间 摸索到了扎根于


人类思想和苍茫万物间那深刻的一致性?




I am persuaded the latter is true. I am convinced there's more to beauty than biology, more than cultural convention. It flows


around and through us in such abundance, and in such myriad forms, as to exceed by a wide margin any mere evolutionary


need. Which is not to say that beauty has nothing to do with survival: I think it has everything to do with survival. Beauty


feeds us from the same source that created us.




我相信 后者是正确的。我坚信美不仅仅存在于生物学和文化习俗中。美我们身边流淌,充盈、润泽着我们的心

< p>
田;而其量之充沛,形态之多变已经远远超越了进化本身的需要。我这样说并不意味着美和生存毫无 干系;恰恰相


反,我相信美和生存之间有着千丝万缕的联系。如果说是自然造就了我们, 那么,是美通过自然滋养了我们。





It reminds us of the shaping power that reaches through the flower stem and through our own hands. It restores our faith


in


the


generosity


of


nature.


By


giving


us


a


taste


of


the


kinship


between


our


own


small


minds


and


the


great


Mind


of


the


Cosmos, beauty reassures us that we are exactly and wonderfully made for life on this glorious planet, in this magnificent


universe. I find in that affinity a profound source of meaning and hope. A universe so prodigal of beauty may actually need us


to


notice


and


respond,


may


need


our


sharp


eyes


and


brimming


hearts


and


teeming


minds,


in


order


to


close


the


circuit


of


Creation.



< p>
无论是一朵花或是一双手,都让我们联想到美的创造力量。美让我们重拾信念


---


相信自然对于我们的无私恩惠


与慷慨。美在人类渺小的 心灵和宇宙伟大的精魂之间,化身为一座沟通的桥梁,并以此让我们不再怀疑:在这片恢


宏的宇宙中,在这颗璀璨的星球上,人类的存在实为天工之作,神明之意。宇宙和人类对于美的共识,给予我生存


的意义与希望。我们的宇宙中,美无处不在;她等待着我们敏锐的眼睛、充实的心灵,和 泉涌般的智慧,去发现美,


去回应美,由此成全造物的圆满。





译者注:





本文为美国当代作家司各特·


罗素·


桑达



Sc ott Russell Sander



1945-



所写。


桑达出生于美国田纳西州


(Tennessee)


的孟菲斯


(Memphis )



1963


年,

他就读于布朗大学


(Brown University),

其后,


又就读于剑桥大学



Cam bridge University



并获得文学博士。


1971


年,


他携妻子

(


就是本文一开始提到的


Ruth




Eva


则是作者的女儿

< p>
)


迁往印地安那州


(Indiana)

< p>
的布鲁明顿


(Bloomington),


并在那里的印地安那大学


(Indiana Universi ty)


任教至今。


印地安那的自然风光给予他创作的

< p>
灵感,他在作品中对于自然的生动细致描写充分体现出他对环境的关注。本文选自他新近出版的作品 《寻找希望》



Hunting for Hope

< p>



(编辑:李吉琴)







4


The Literature of Knowledge and the Literature of Power byThomas De Quincey


知识文学与力量文学托



马斯·昆西



What is it that we mean by literature? Popularly, and amongst the thoughtless, it is held to include everything that is printed


in a book. Little logic is required to disturb that definition. The most thoughtless person is easily made aware that in the idea


of literature one essential element is some relation to a general and common interest of man



so that what applies only to a


local, or professional, or merely


personal interest, even though presenting itself in the shape of a book, will not belong to


Literature. So far the definition is easily narrowed; and it is as easily expanded.



For not only is much that takes a station in


books


not


literature;


but


inversely,


much


that


really


is


literature


never


reaches


a


station


in books.


The


weekly


sermons


of


Christendom, that vast pulpit literature which acts so extensively upon the popular mind



to warn, to uphold, to renew, to


comfort, to alarm



does not attain the sanctuary of libraries in the ten-thousandth part of its extent. The Drama again



as, for


instance,


the


finest


of


Shakespeare's


plays


in


England,


and


all


leading


Athenian


plays


in


the


noontide


of


the


Attic


stage



operated as a literature on the public mind, and were (according to the strictest letter of that term) published through


the audiences that witnessed their representation some time before they were published as things to be read; and they were


published in this scenical mode of publication with much more effect than they could have had as books during ages of costly


copying or of costly printing.

< br>我们所说的“文学”是什么呢?人们,尤其是对此欠考虑者,普遍会认为:文学包括印在书本中的一切。可 这种定


义无需多少理由便可被推翻。最缺乏思考的人也很容易明白,

“文学”这一概念中有个基本要素,即文学或多或少都


与人类普遍而共同的兴趣有关 ;因此,那些仅适用于某一局部、某一行业或仅仅处于个人兴趣的作品,即便以书的


形式 面世,也不该属于“文学”


。就此而论,文学之定义很容易变窄,而它同样也不难拓宽。 因为不仅有许多跻身于


书卷之列的文字并非文学作品,而且与之相反,不少真正的文学著 作却未曾付梓成书。譬如基督教世界每星期的布


道,这种篇什浩繁且对民众精神影响极广 的讲坛文学,这种对世人起告戒、鼓励、振奋、安抚或警示作用的布道文


学,最终能进入 经楼书馆的尚不及其万分之一。此外还有戏剧,如英国莎士比亚最优秀的剧作,以及雅典戏剧艺术


鼎盛时期的全部主流剧作,都曾作为文学作品对公众产生过影响。这些作品在作为读物出版之前,已通过 观看其演


出的观众而“出版”了(这正是“出版”一词最严格的意义)

< br>。在抄写或印刷都非常昂贵的年代,通过舞台形式“出


版”这些剧作远比将它们出 版成书效果更佳。



Books, therefore, do not suggest an idea coextensive and interchangeable with the idea of Literature; since much literature,


scenic, forensic, or didactic (as from lecturers and public orators), may never come into books, and much that does come into


books may connect itself with no literary interest. But a far more important correction, applicable to the common vague idea


of literature, is to be sought not so much in a better definition of literature as in a sharper distinction of the two functions


which


it


fulfills.


In


that


great


social


organ


which,


collectively,


we


call


literature,


there


may


be


distinguished


two


separate


offices


that


may


blend


and


often


do


so,


but


capable,


severally,


of


a


severe


insulation,


and


naturally


fitted


for


reciprocal


repulsion. There is, first, the literature of knowledge; and, secondly, the literature of power. The function of the first is



to


teach; the function of the second is



to move: the first is a rudder; the second, an oar or a sail. The first speaks to the mere


discursive


understanding;


the


second


speaks


ultimately,


it


may


happen,


to


the


higher


understanding


or


reason,


but


always


through affections of pleasure and sympathy. Remotely, it may travel towards an object seated in what Lord Bacon calls dry


light; but, proximately, it does and must operate



else it ceases to be a literature of power



on and through that humid light


which


clothes


itself


in


the


mists


and


glittering


iris


of


human


passions,


desires,


and


genial


emotions.


Men


have


so


little


reflected on the higher functions of literature as to find it a paradox if one should describe it as a mean or subordinate purpose


of books to give information. But this is a paradox only in the sense which makes it honorable to be paradoxical.



Whenever


we


talk


in


ordinary


language


of


seeking


information


or


gaining


knowledge,


we


understand


the


words


as


connected


with


something of absolute novelty. But it is the grandeur of all truth which can occupy a very high place in human interests that it


is never absolutely novel to the meanest of minds: it exists eternally by way of germ or latent principle in the lowest as in the


highest, needing to be developed, but never to be planted. To be capable of transplantation is the immediate criterion of a


truth that ranges on a lower scale. Besides which, there is a rarer thing than truth



namely, power, or deep sympathy with


truth. What is the effect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of




5


admiration, which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only


are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven



the


frailty, for instance, which appeals to forbearance, the innocence which symbolizes the heavenly, and the simplicity which is


most alien from the worldly



are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of


the


same


nature


is


answered


by


the


higher


literature,


viz.


the


literature


of


power.


What


do


you


learn


from


Paradise


Lost?


Nothing at all. What do you learn from a cookery book? Something new, something that you did not know before, in every


paragraph. But would you therefore put the wretched cookery book on a higher level of estimation than the divine poem?


What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on


the same earthly level; what you owe is power



that is, exercise and expansion to your own latent capacity of sympathy with


the infinite, where every pulse and each separate influx is a step upwards, a step ascending as upon a Jacob's ladder from


earth to mysterious altitudes above the earth. All the steps of knowledge,


from


first to last, carry you further on the same


plane, but could never raise you one foot above your ancient level of earth: whereas the very first step in power is a flight



is


an ascending movement into another element where earth is forgotten.


由此可见,书之概念与“文学”之概念不可 相提并论,互相替换,因为许多文学作品,如戏剧演出或演讲者,雄辩


家的说教和辩论, 也许永远都不会付印成书,而不少印成书册的作品却可能与文学趣味并不相关。不过更为重要的

< br>是,要纠正人们对文学普遍的模糊观念,与其去为文学找一个更好的定义,不如更明确地划分文学的两种功 能。在


那两个被我们统称为文学的庞大社会媒体中,可以分辨出两种不同的功能。两种功 能可能混合,而且经常混合,但


各自又具有一种绝缘性,而且天生就互相排斥。这二者之 一乃“知识文学”


,之二则为“力量文学”


。知识文学的作


用在于教诲,力量文学的功能在于感化。前者可谓舵艄,后者则是桨桡或蓬帆。前者只有助于 纯粹的推理悟解,后


者则总是通过愉悦之情和恻隐之心的影响,最终激发出更高的悟性, 或曰理性。远而望之,仿佛它可以通过培根称


之为


“理性之光”


中的某个目标,


近而观之,


方知它必须 通过那道被世人七情六欲之蒙蒙薄雾和闪闪彩虹包裹的


“感


性之 光”发挥其作用,不然它就不再是一种“力量”的文学。世人对文学这两个更为重要的作用思之甚少,所以如


果有人说赋予知识是书本平庸或次要的用途,此说便被视为悖论。但只有在悖论亦真这个意义 上,此说方为悖论。


每当我们用平常语言谈论求学求知的时候,总以为这些字眼与某种绝 对新奇的事务有联系。然而,能在人类关注的


事物中占据极高地位的真理之所以伟大,就 在于它对最卑微者而言也绝非新奇;无论在最卑微者还是最高贵者心中,


真理永远都以种 子或潜在原理的方式存在,他只需去培育或发现,而无需去种植或创造。能够被移植是判断一个真


理属于低级真理的直接标准。除此之外,还有一种比真理更珍贵的东西,那就是力量,或曰对真理的深切 认同。举


例而言,儿童对社会有何作用呢?儿童的无助、天真和单纯所唤起的怜悯、柔情 和种种特殊的爱慕之意,不仅可强


化和升华世人与生俱来的仁爱之心,就连那些在上帝眼 中最为珍贵的品质,诸如唤醒宽容的柔弱、象征神圣的天真、


以及超凡脱俗的单纯,也都 会在永恒的记忆中得以保持,其完美典范亦会不断更新。更高层次的文学,即力量的文


学 ,要实现的正是与此相同的目的。从弥尔顿的《失乐园》中你能获取什么知识呢?一无所获。从一本烹调书中你< /p>


能学到什么呢?从每一段中你都能学到某种新的知识,某种你不曾知晓的知识。可你能因此 而认为那本微不足道的


烹调书比那部神圣的诗作更高明吗?你应该感谢弥尔顿的不是他给 了你什么知识,因为获取一百万条互不相干的知


识,也不过是在茫茫尘世向前走了一百万 步;你应该感谢的是他给予你“力量”


,使你能发挥并拓展与无限世界产生


共鸣的潜能。在无限世界中,每一次脉动和心跳都是上升的一步,犹如沿雅各的天梯从地面攀向远离凡 尘的神秘高


处。知识的步伐,自始至终都让你在同一层面行进,但绝不可能使你从古老的 人间尘世上升一步;而力量迈出的第


一步就是飞升——



升入另一种境界,一种使你忘却凡尘的境界。



(集体讨论



曹明伦、吴刚



执笔)




An Experience of Aesthetics by Robert Ginsberg



审美的体验



罗伯特·金斯伯格



I


climbed


the


heights


above


Yosemite


Valley,


California


in


order


to


see


the


splendid


granite


mountain,


Half


Dome,


in


its


fullest view. Approaching the edge through the woods I was filled with heightened expectation. I saw the ruin of a cabin and


my


approach


caused


the


alignment


of


the


chimney


on


this


side


of


the


valley


with


the


shorn


mountain


across


the


valley.


I


stopped. Something happened. The stone verticals corresponded, one human-shaped, the other natural. The human site was


still


engaged


in


sightseeing.


I


was


on


its


side.


I


saw


the


famous sight


through the


eyes


of


the


ruin.


I had


come


expecting




6


beauty; I discovered an unexpected dimension to the beauty of the scene/seen.



为了饱览壮丽的花岗岩山峰半穹顶 的全景,我登上了加州约塞米蒂谷的高地。穿过树林,走近山沿,心中充满美的


期盼。远 远望见一处小屋的废墟,走到近前,只见山谷这边的烟囱与横穿山谷的陡峭山崖恰好连成一线。我停下脚


步,奇观出现了:两道石壁遥相呼应,一边人工打造,一边浑然天成。人造景观这边仍供观光游览 ,我此时就身临


其境。透过小屋的废墟,我看到了著名的景观。我怀着对美的期盼而来, 不经意间却发现了美的另一番天地。



In


this


experience


I had


been


seeking


the


aesthetic.


I


knew


I


would


find it,


for


I had


seen post


cards


in


advance


and


was


following the trail map. The seeking took considerable effort and time. It was a heavy investment. I was not going for the


scientific purpose of studying rock formation, nor was it for the recreational purpose of exercising my limbs in the fresh air,


though that exertion added intensity to the experience and was its context. Primarily, I was going for the scenic wonders. No


wonder that I would take delight in seeing Half Dome.


The expectation elicited the outcome. I was suitably prepared. No


distractions of practical consideration



or theoretic



detracted from my concentrated expectancy. Indeed, the world all


around me on the climb contributed to the context for my goal. I was on the terrain of Nature in a national park, following the


trail to a viewpoint upon a celebrated natural formation. Each step in the climb not only brought me closer but obliged me to


sense


the


altitude.


Moving


through


the


thick


woods


was


in


anticipatory


contrast


to


the


great


gap


of


the


valley


and


the


starkness of the treeless granite boulder.



这次旅程中我一直在捕捉一种美感。我知 道会如愿以偿,因为我事先看过一些有关的风景明信片,循着山路示意图


一路找来。这样 的寻找费时费力,投入颇大。我此行的目的既不是出于对科学的动机来研究岩石的结构,也不是出


于娱乐消遣的考虑在清新的空气中舒展肢体——尽管这次跋涉加深了我对美的体验,而且是这番体验的不 可或缺的


环节。我来这主要是为了览胜,因此见到半穹顶自然欣喜不已。有什么样的期盼 就有什么样的结果。我有备而来,


心无旁骛,一心期盼着美景,不受任何实际或假设因素 的干扰。真的,在攀登过程中,我周围的一切都为寻美营造


了氛围。我登上了国家公园的 天然山地,循着山道前来观赏闻名遐迩的大自然的鬼斧神工。攀登中的每一步不仅使


我距 目标越来越近,也使我感受到海拔越来越高。不出所料,穿行在茂密的树林中,登上大峡谷寸草不生的花岗岩


巨石,两种不同境界给人以强烈的反差。



My spirit and my senses were heightened. I was keenly aware of the world, eager to experience it. My senses were willing to


be gratified by their fullest exercise. Hence my eye was sharp, but so was my ear and my nose, I was open to experiencing


aesthetically. And on the way I did take minor pleasure in a bird's song, a tree's sway, and a cloud's contortion. I was in the


world considered as potential aesthetic realm. Any pleasing feature that appeared would be welcomed. And that welcoming


mode drew forth pleasing features. A tonic subjective at- homeness with the world pervaded my feelings. I was in the right


mood to enjoy Nature.



我精神抖擞,感官敏锐。我真切地感受到周围的一切,急于体 验这一切,渴望在最充分的感官体验中得到最大满足。


因此我不但目光敏锐,听觉和嗅觉 也十分灵敏——我敞开心扉,尽情地体验着美的滋味。沿途所见所闻,哪怕是一


点小小的 愉悦,鸟雀鸣唱、树影婆娑、云卷云舒,都着实让我动情。置身于这样一个处处蕴含着美的王国,我随时


准备接纳任何不期而至的景色。这样一种心态更促生了令人赏心悦目的景致,一种心旷神怡的回归 自然之情在我心


中油然而生。这样一种心情最适于欣赏自然美景不过了。




Then the unexpected happened. I had no thought in reaching the natural heights that a human structure would be present.


Normally, I


would have avoided any such structure as I directed


my steps toward the natural view. In retrospect it


makes


sense that a service building be present at the trail end. It may have had facilities for visitors and played an interpretive role.


But


the


building


was


not


present


when


I


arrived.


It


was


absent


though


its


ruin


was


present.


And


that


ruin


spoke


to


my


experience as related to what I had come to see. If I had been trudging on in a dulled state, passing the time in surroundings



like those of the railway station



that did not draw interest, I might well have missed the chimney, walked past it as if it


were another tree on the way to the goal. The heightened intensity of my sensibility allowed the chimney to be integrated into


the


experiencing


aesthetically.


Readiness


was


all.


The


extraterrestrial


aesthetician


would


explain


that


the


creature


it


was


observing on the trail was a specimen of an aesthetic being whose experiencing apparatus for the aesthetic was on full alert.


The


individual


was


completely


given


over


to


the


enjoyment


of


its


experience.


And


while


headed


in


the


direction


of


an


anticipated goal it was nonetheless open to enjoying anything that came its way. Something quite unexpected came its way,




7


and it was ready to attend to it, getting the maximum aesthetic value out of the encounter. The creature was embarked on an


adventure in experience. Given the wide range of accessible natural wonders in the national park, the individual in the right


mood was bound to make gratifying discoveries.



接着,出乎意料的景观出现了。 我怎么也不曾想到,在抵达天然高地时竟然会出现一处人工建筑。在通常情况下,


我要是 徒步参观某处自然景点,一定会绕开这类建筑。回想起来,在山路尽头有一座服务性建筑也全在情理之中。


这小屋也许曾为游客提供过方便,起过导游讲解作用。可我来到高地时,小屋不见了。虽有断垣 残壁,房屋却荡然


无存。而正是这片废墟使我体验到此行览胜的真正含义。如果我当时兴 致索然地一路跋涉,比如像在火车站那样的


地方消磨时光,周围的事物一点也不引人注意 ,那么我很可能会错过烟囱,只当它是沿途路过的又一棵树罢了。而


现在,我的感悟力增 强了,烟囱作为一道景观融入了审美体验的始终。一切取决于心态。如果一个天外美学家看到

我这模样,可能会认为,它观察到的路上这个怪人准是个充满审美细胞的动物,其审美感官正处于极度警觉的 状态。


他已完全沉浸在审美体验所带来的愉悦之中。他朝着既定的目标行进,同时又不放 过闯入视野的任何景致。奇观乍


现,立即映入眼帘,他便从中发掘出最大的审美价值。此 人正在经历一次美的历险。有国家公园这般天地,随处可


见自然奇现,心境舒畅的游人必 定会获得心满意足的发现。




What are the contents of the aesthetic discovery? Formal properties of beauty may be pointed to in what I saw: the verticals


as distinctively shaped and gathering space about them, and the interplay between the two kinds of vertical shapes over the


enormous


intervening


space.


The


pleasure


of


perspective


entered,


for


though


the


chimney


is


miniscule


compared


to


Half


Dome,


my


approaching


it


from


the


trail


made


it


assume


visual


and


spatial


dignity


equal


to


the


mountain.


Complexity


of


human meaning is encountered with poignant irony. The chimney is an enduring marker of the human value placed on the


mountain visible from this point. Here human hands raised stones to shelter an experience of pure stone. So I have come to


the


right


place;


I


am


at


home.


But


the


human


occupation


has


been


lifted;


our


presence


has


turned


to


stone.


Nature


has


reclaimed its elements. Half Dome presides over the petrifaction of the world. Chimney and mountain are in dialogue as I


sense the switching between their perspectives. I am present in ruin and in unity. < /p>


这次审美体验的发现是什么?我所目睹的景致或许可以说明美的外在特征:悬崖峭壁,造型 奇特,给人以强烈的空


间感,两道石壁形状迥异,广袤交错,凌空矗立。此外,还有透视 效果带来的愉悦:虽然与半穹顶相比石烟囱显得


非常渺小,但我从山道这边靠近,看上去 无论在视觉上还是空间上其气势都一点儿不亚于半穹顶。人类的复杂意图


受到了辛辣的讽 刺。从这一视点看过去,那烟囱是人的价值置于大山上的一道永久性标记。人类在那里垒石筑屋,


以观苍石。这样看来,我来对了地方,我找到了归宿。不过人类对自然的占据被消除掉了,我们的存在与 石头融为


一体。大自然索回了自己的要素,半穹顶主宰着石头的世界。我感受到两种不同 景致的交替,仿佛听见烟囱在和大


山对话。我站在小屋废墟上,也置身于和谐统一中。< /p>



(集体讨论



许建平



执笔)




A Person Who Apologizes Has the Moral Ball in His Court by Paul Johnson



谁给别人道歉,谁就在道义上掌握了主动



保罗·约翰逊



I have sympathy for the butler in The Big Sleep. Marlowe detects him in a


contradiction and asks him aggressively,


made a mistake, didn't you?


instinct


and


training,


a


very


specific


writer,


and


so


my


errors


are


numerous.


Recent


ones


include


misspelling


Geoffrey


Madan's name



I


phoned


the


printers


with


a


correction


but


my


page


had


already


gone


to


press




and


crediting


Richard


Tauber with Donald Peers's signature- tune,


apologise for these mistakes, and for others in the past, and for those to come.


我同情《长眠》这部影片中的男管家。马洛探长发现了他讲话前后有矛盾,就逼问道:


“你犯了一个错,对不?”管


家伤感而乖巧地答曰:

“我犯下的错可多去啦,先生。




我又何尝不是如此呢?我有点灵气并且训练有素,写起东西


来旁征博引,力求翔实,自 然就言多语失喽。最近犯下的错误包括把杰弗瑞·马丹的名字拼写错了——我给印厂打


了 个电话,把更正告诉他们,可是我的那页已经开印了;我把唐纳德·皮尔斯的信号曲“在潺潺的小溪旁”安到了< /p>


理查德·陶波的头上(陶波的信号曲自然是“你是我心中的喜悦”



)对于这些错误,以及过去犯的错误和今后会犯


的错误,在下 这厢有礼啦。





8


Disraeli thought that, in politics, apologies don't work. I see why. Such being the nature of parliamentary conflict, an apology


in politics merely leads to fresh accusations and further demands for embarrassing details. I once said to Harold Wilson when


he was prime minister,


replied,



Disraeli's point, though in a Wilsonian way.



迪斯累里首相认为在政 治问题上,给别人道歉行不通。我明白个中的缘由。议会斗争的本质就是如此,在政治问题


上,道歉只会招致新的诘责和进一步要求交待让你左右为难的详情。还是哈罗德·威尔逊担任首相的时候,有一 次


我向他进言:


“哈罗德,偶尔承认一下政府的错误,并且道个 歉,不失为一个好主意吧。




他答道 :


“你这个建议高,


保罗,本人完全赞同。


(哈罗德毕竟是哈罗德,我知道一句言不由衷的话就要脱口而出了。



“然而难办的是我实在


想不出有哪些错误,因此, 也就没有甚么好道歉的喽。




这正是以威尔逊的方式表达出了迪斯累里的意思。



Apologise is one of those words which has effectively reversed its original meaning. Its origin, in the Greek lawcourts, was


jurisprudential: it signified the speech for the defence in which the prosecution's case was answered point by point. It retained


its original meaning until at least the 16th century. Thus Sir Thomas More, after resigning from office, drew up his


of Syr Thomas More, Knyght; made by him, after he had geuen ouer the office of Lord Chancellor of Englande


would say vindication. Only gradually did the word acquire the connotation of excuse, withdrawal, admission of fault and


plea for forbearance. It still bore its original meaning in theology: Newman's Apologia pro Vita Sua was not an apology at all


but a vigorous rebuttal of Charles Kingsley's charges. Dickens's unfortunate statement about his reasons for splitting up with


his wife, which his friends begged him not to publish, was self-destructive precisely because it was halfway between the two


meanings: half defiant vindication, half admission of guilt.


有那么一些词儿,已经彻底演变 得与本义完全相反,



Apologise

”即是其中之一。该词的本义,在希腊法庭上,具有


法理学意义:该词即指辩护词, 在辩护过程中,对于诉讼方的指控,逐一予以回答。其原义至少到了


16


世纪还一直


保留着。托马斯·莫尔爵士在挂印辞官之后,就是这样撰写了他的“ 托马斯·莫尔爵士之辩护词;辞去英格兰大法


官之职后所作。


” 今天我们会使用“


Vindication


< br>(辩白,辩护)一词。只是渐渐地“


Apologise


”这个词才获得了“原


谅、


撤回所说的话、

承认错误并请求宽恕”


之含义。


在神学中该词仍保留原来的 意义:


纽曼的《为吾生辩》



Apol ogia


pro


Vita


Sua


)根本就不是什么道歉,而是对查尔士·金斯菜的指控所作的强硬辩驳。讲狄更斯与其妻 分手理由的那


篇倒霉的陈词(其友人求他不要发表)


,就是自毁 其身,恰恰是它介于两个意义之间:一半是倔强的辩白,一半是承


认有愧。



No doubt everyone has to apologise for his life, sooner or later. When we appear at the Last Judgment and the Recording


Angel reads out a list of our sins, we will presumably be given an opportunity to apologise, in the old sense of rebuttal, and in


the new sense too, by way of confession and plea of repentance. In this life, it is well to apologise (in the new sense), but


promptly,


voluntarily,


fully


and


sincerely.


If


the


error


is


a


matter


of


opinion


and


unpunishable,


so


much


the


better



an


apology then becomes a gracious and creditable occasion, and an example to all. An enforced apology is a miserable affair.


毋庸置疑,任何人都要为自己的一生辩护,不管是今生还是来世。当我们出席最后的审判时,记录天使诵读出所 罗


列的我们的罪孽,我们作了忏悔并请求宽恕,这样大概会被给予辩白(这个词的老义) 和表示歉意(它的新义)的


机会。在今生中,道歉(新义)是桩对的事,



但是要做到及时、要心甘情愿、要完完全全、要诚心诚意。如果过错


是看法上的事,并且错不当罚,那最好不过——说一声“对不起”就成了一个显示大度的机会,可 赞可叹,众人之


楷模也。而被迫去道歉,那可就难受了。




Newspaper apologies nearly always seem inadequate. The most audacious one I know was brought back from America by the


artist


Edward


Burne-Jones


to


show


his


friend


Lady


Homer


of


Mells.


It


read:



of


being


arrested


as


we


stated,


for


kicking


his


wife


down


a


flight


of


stairs,


and


hurling


a


lighted


kerosene


lamp


after


her,


the


Revd.


James


P.


Wellman


died


unmarried four years ago.




not, be it noted, an apology,


for the law of libel, in the United States as in England, offers no redress to a dead person. I


suspect


the


extract


is


from


the New


York


World


when


it


was a


sensational paper


owned by


Pulitzer.


For


reasons which


a


recent


biography


of


him


does


not


clarify,


he


had


a


particular


hatred


for


clergymen


of


all


denominations,


and


frequently




9


exaggerated


or


invented


discreditable


news


items


about


them.


He


also


discovered


that


such


items


invariably


put


on


circulation.


报社的道歉几乎从来是不到位的。 据我所知,最为厚颜的一次是艺术家爱德华·伯恩





琼斯从美国带回来,让他


的友人麦尔斯庄园的洪纳夫人看的,曰:


“詹姆士·

P.


维尔曼神甫没有像我们所述说的那样,因为将妻子一脚踹下了


楼梯,随后又将一支点燃的煤油灯朝她掷去而被逮捕,而是于四年之前过世,从未婚娶。


”对于如此之大的错误,而


更正又如此之简短,这一句话可谓妙矣也哉——请注 意,这算不上是“赔礼道歉”


,因为在美国(正如在英国一样)



根据诽谤法,是不给死人纠错的。我猜想这条剪报取自《纽约世界报》


,曾是一家轰动的报纸,由普利策拥有。不知


何故(最近有关普氏的传记并未澄 清)他尤其痛恨各个教派的教士们,经常将一些诋毁他们的新闻段子加以渲染,


或是编造 出一些这样的段子。他还发现此类新闻段子总是会使发行量剧增。




The


most


famous


apology


in


history


was


made


to


a


much


maligned,


though


far


from


innocent,


cleric:


Hildebrand,


Pope


Gregory


VII.


He


had


become


involved


in


what


is


known


as


the


Investiture


Dispute,


a


fierce


Church-State


Kulturkampf,


revolving round the appointment of bishops. His chief opponent, the Holy Roman Emperor Henry IV



not a nice man but


not a monster either



had called him an impostor, an antipope, an Antichrist and I know not what, but had got the worst of


it in the armed struggle that followed. Henry decided to purge his excommunication and get the interdict on his territories


withdrawn by apologising and doing penance. The Pope had sought the protection of Countess Matilda of Tuscany, then the


world's richest


woman,


and princess


of


startling


beauty,


taste and


wisdom.


He


was


sheltering


at


her


stupendous


mountain


stronghold of Canossa, not far from Modena, and the Emperor had to climb there barefoot, in the depths of winter, to make


his kowtow. Why has this amazing story not been the subject of a great opera? Perhaps it has. Needless to say, the apology


was insincere and the tragic story ended in tears on both sides, the Pope's bitter last words being:


hated iniquity: therefore I die in exile.


to begin with it did not accept his version of events. A century later. Henry II of England was locked in mortal struggle over


the


same


issue


with


Becket,


and


also


apologised


after


he


caused


the


archbishop's


murder.


This,


too,


was


in


some


degree


insincere,


and


trouble


broke


out


afresh


soon


after


Henry


had


donned


sackcloth.


Becket


was


at


least


as


intemperate


as


Hildebrand, but he not only got his halo but did so in the fastest time on record. But then he was a martyr, and they always


move to canonisation faster than any other category of saint.


历史上最为有名的“道歉”是向 一位神职人士所致:此公乃是希尔得布兰德,即教皇格列高利七世,他被人诋毁多


多,然 而也并非无辜。他卷入了史书所记载的“授职争议”


,即一次围绕教会与国家之间有关任 命主教问题的激烈的


“文化冲突”


。他的主要对手就是神圣罗马 帝国的皇帝亨利四世——他算不上是个好人,但也不是什么魔鬼——他称


教皇是个骗子、 伪教皇、假耶稣,还有一些不知道是什么样的骂名,但是在随后的武装冲突中,他却为此一败涂地。


亨利四世决定向教皇请罪,表示诲意,以此希冀教皇解除将其逐出教门的惩罚,并撤回在其领土上的授 权禁令。教


皇寻求托斯坎尼区的玛蒂尔达伯爵夫人的庇佑,这位伯爵夫人是当时世界上最 富有的女人,一位倾国倾城,睿智聪


颖,极有品味的郡主。教皇躲进了她那气势恢宏的山 间城堡,它建在离摩德纳市不远的卡诺萨。皇帝不得不在隆冬


季节赤脚攀上城堡,前去叩 头谢罪。



这样一个令人拍案叫绝的故事却不曾成为一个大歌剧 的主题,未知何也?或许


已经有了。毋庸赘言,这次道歉并非真心实意,而悲剧则是以双 方眼泪洗面告终。教皇临终时痛楚地说:


“吾爱正义


而恶不公: 故而吾死于流放。


”但是,教会迟迟不将这位杰出的人封为圣人,此事表明他们从一开始 就未曾接受他对


事件的说法。一个世纪之后,英格兰的亨利二世与贝克特大主教在同一问 题上打得你死我活,不可开交;在他指使


谋杀大主教之后,也做了道歉。这在某种程度上 也并非诚心诚意,在亨利二世披上麻衣去忏悔之后,麻烦再度出现。


贝克特主教至少也和 希尔得布兰德一样放纵无度,然而他不但得到了光环,而且是以有史记载以来最快的速度得到

的。再说啦,他算是个殉道者,这些殉道者比起其他类圣人,其被封圣的速度要快得多。


When I was an editor, I always preferred to apologise promptly, whatever the merits of the case, rather than face the expense


and,


more


importantly,


the


time-consuming


complexities


and


debilitating


worry


of


litigation,


libel


being


one


of


the


least


satisfactory branches of the law. When we took a crack at Dr Bodkin Adams, believing him to be dead, and his joyful lawyer


phoned me the next morning to tell me he was very much alive, I settled the matter there and then for the sum (if I remember


correctly) of



450 and an apology. So my advice to editors is, get shot of claims quickly, unless the plaintiff's demands are


manifestly unreasonable.




10


我还是编辑的时候,无论情况 如何,我总是选择立马道歉,而不是去面对诉讼过程中所发生的费用,更为重要的是,


去 面对费时耗神的诉讼过程中产生的复杂情况。诽谤法是法律当中最不尽人意的部分。我们曾拿鲍德金·亚当姆斯< /p>


医生开涮,还以为他已经死了;莅日,他的律师喜滋滋地打电话给我,告诉我亚当姆斯医生 还活得好好的,我立时


以一笔


450


英镑



(如果我没记错的话)的赔偿费 和一句道歉的话了结此事。所以,我对编辑们的忠告是:对于赔偿


要求要立马了结,除非 原告的要求太离谱。




Besides, there is something distinguished about a ready apology. It is the mark of a gentleman, more particularly if it is not


necessary. It is the opposite of revenge. Bacon wrote,


him, he is superior, for it is a princes' part to pardon.


此外,随时准备好一句道歉的话,是一种高尚行为,特别是在没有必要道歉时而道歉,更显示出一 个绅士的特质。


道歉与报复相对。培根有云:


“夫图报复焉,汝 与汝仇等:苟汝恕之,则汝优於汝仇焉;盖宽恕也,王者之风也。


由是,谁把“对不起”常挂在嘴边,谁就在道义上掌握了主动。



(集体讨论



范守义



执笔)




On Going Home by Joan Didion


回家



琼·狄迪恩



I am home for my daughter's first birthday. By


the


baby


live,


but


the


place


where


my


family


is,


in


the


Central


Valley


of


California.


It


is


a


vital


although


troublesome


distinction. My husband likes my


family but is uneasy in their house, because once there I fall into their ways, which are


difficult, oblique, deliberately inarticulate, not my husband's ways. We live in dusty houses (


his finger on surfaces all over the house, but no one noticed it) filled with mementos quite without value to him (what could


the


Canton


dessert


plates.


mean


to


him?


How


could


he


have


known


about


the


assay


scales,


why


should he


care


if


he


did


know?), and we appear to talk exclusively about people we know who have been committed to mental hospitals, about people


we know who have been booked on drunk- driving charges, and about property, particularly about property, land, price per


acre and C-2 zoning and assessments and freeway access. My brother does not understand my husband's inability to perceive


the


advantage


in


the


rather


common


real-estate


transaction


known


as



and


my


husband


in


turn


does


not


understand why so many of the people he hears about in my father's house have recently been committed to mental hospitals


or


booked


on


drunk- driving


charges.


Nor


does


he


understand


that


when


we


talk


about


sale-leasebacks


and


right-of-way


condemnations we are talking in code about the things we like best, the yellow


fields and the cottonwoods and the rivers


rising and falling and the mountain roads closing when the heavy snow comes in. We miss each other's points, have another


drink


and


regard


the


fire.


My


brother


refers


to


my


husband,


in


his


presence,


as



husband.


Marriage


is


the


classic


betrayal.



我回家给女儿 过周岁生日。我所说的“家”


,并非指丈夫,我和小宝宝在洛杉矶的家,而是指位于加州 中央谷地的娘


家。这样区分,尽管麻烦,却很重要。丈夫不是不喜欢我娘家的人,但是在 我娘家却颇不自在。因为我一回去,就


染上了娘家人的习惯,说起话来故意吞吞吐吐、拐 弯抹角、令人费解,完全有别于丈夫的习惯。我们住在灰蒙蒙的


屋子里(丈夫曾用手指在 落满灰尘的地方都写上了“灰——尘”两个大字,只是没人注意)


,里面还摆满了纪念品 ,


可在丈夫眼里这些东西毫无价值(粤式细瓷点心盘对他来说能有什么意义?他怎么可能 了解分析天平?即使他了解,


他又何必在意?)


。在他看来,我 们好像尽在那谈熟人,哪个被送进了精神病院,哪个被控酒后驾车。还谈财产,特


别是地 产、土地和地价,


C-2


区制规划及评估,还有高速公路的出入 口,等等。弟弟弄不明白,我丈夫怎么连很平常


的“售后回租”这种房地产交易的好处也 不懂?丈夫也觉得奇怪,在我娘家为何听到这么多人最近被送进了精神病


院,或是因酒后 开车被控?其实丈夫不明白,我们谈售后回租和依法征用公共用地的时候,是在用娘家人特有的语


言谈论最来劲的东西,像金黄色的田野、棉白杨、时涨时落的河水,以及下大雪时封闭的山路。话不投机 ,索性接


着喝酒,默默注视着炉火。弟弟当着我丈夫的面,称他为“琼的丈夫”


。结婚啊,从古到今,都意味着背叛。




Or


perhaps


it


is


not


any


more.


Sometimes


I


think


that


those


of


us


who


are


now


in


our


thirties


were


born


into


the


last


generation to carry the burden of


accounts a


the


telephone


without


crying


after


I


had


hung


up.


We


did


not


fight.


Nothing


was


wrong.


And


yet


some


nameless


anxiety




11


colored the emotional charges between me and the place that I came from. The question of whether or not you could go home


again was a very real part of the sentimental and largely literary baggage with which we left home in the fifties; I suspect that


it is irrelevant to the children born of the fragmentation after World War II. A few weeks ago in a San Francisco bar I saw a


pretty young girl on crystal take off her clothes and dance for the cash prize in an


particular sense of moment about this, none of the effect of romantic degradation, of


strived so assiduously. What sense could that girl possibly make of, say, Long Day's Journey into Night? Who is beside the


point?



或许,现在情况变了 。我有时想,我们这些三十几岁的人,注定成为承担“家”的重负、并经受家庭生活中种种紧

张和冲突的最后一代人。在别人的眼里,无论从哪方面看,我都曾拥有一个“正常”而“幸福”的家。然而, 直到


将近三十岁以前,我与娘家人通电话后总是要哭鼻子。我们没吵过架,也没出过岔子 。但一丝莫名的忧虑,浸染了


我和生我养我的家之间的情感纠葛。


五十年代我们离家时,


背负着一个装着伤感、


多半是书籍的行 囊。


还能回家吗?


这个问题便是行囊中实实在在的一部分。我想 ,这个问题大概与二战后破碎家庭里出生的孩子无关。几个礼拜前,


在旧金山的一个酒吧 里,我看见一位吸了毒的漂亮姑娘,脱去衣服跳舞,仅仅是为得到一场“业余无上装”比赛的

现金奖励!这没有什么特别的意思,与浪漫沉沦沾不上边儿,与我们这一代人所趋之若鹜的“黑暗之旅”也沾 不上


边儿。那位姑娘呀,你对《进入黑夜的漫长旅程》作何理解?到底是谁离题了?




That I am trapped in this particular irrelevancy is never more apparent to me than when I am home. Paralyzed by the neurotic


lassitude engendered by meeting one's past at every turn, around every corner, inside every cupboard, I go aimlessly from


room to room. I decide to meet it head- on and clean out a drawer, and I spread the contents on the bed. A bathing suit I wore


the summer I was seventeen. A letter of rejection from The Nation, an aerial photograph of the site for a shopping center my


father did not build in 1954. Three teacups hand-painted with cabbage roses and signed


There is no final solution for letters of rejection from The Nation and teacups hand- painted in 1900. Nor is there any answer


to snapshots of one's grandfather as a young man on skis, surveying around Donner Pass in the year 1910. I smooth out the


snapshot and look into his face, and do and do not see my own. I close the drawer, and have another cup of coffee with my


mother. We get along very well, veterans of a guerrilla war we never understood.



这个不相干的问题困扰着我,在我返回老家后尤为明显。走过 每个角落,打开每个食橱,转身驻足间,我一次次地


面对过去,思绪不宁,及至疲乏不堪 ,我还是漫无目的地逐个房间走着。我决意正视过去,清理出一个抽屉,把东


西摊在床上 。一件我十七岁那年夏天穿的泳衣;一封《民族》周刊的退稿信;一张从空中拍摄的选址照片,

< br>1954



父亲曾打算在那里建购物中心;还有三只茶杯 ,上面有手绘的百叶蔷薇,并签有祖母名字的两个首字母


E.M.


。我不


知道该如何处理


1900


年手 绘的茶杯和《民族》周刊的退稿信,也不知道该如何处理祖父


1910

< br>年的几张快照。照片


里的祖父青春年少,踩着滑雪板,在察看唐纳山口。我抚平照 片,注视着祖父的脸,依稀看到自己的影子,又似乎


没有。我关上抽屉,陪母亲又喝了一 杯咖啡。我们现在相处得很好,就像打过游击战的老兵一样,真不明白过去为


何有龃龉。




Days pass. I see no one. I come to dread my husband's evening call, not only because he is full of news of


what by now


seems to me our remote life in Los Angeles, people he has seen, letters which require attention, but because he asks what I


have been doing, suggests uneasily that I get out, drive to San Francisco or Berkeley. Instead I drive across the river to a


family


graveyard.


It


has


been


vandalized


since


my


last


visit


and


the


monuments


are


broken,


overturned


in


the


dry


grass.


Because I once saw a rattlesnake in the grass I stay in the car and listen to a country- and-Western station. Later I drive with


my father to a ranch he has in the foothills. The man who runs his cattle on it asks us to the roundup, a week from Sunday,


and although I know that I will be in Los Angeles I say, in the oblique way my family talks, that I will come. Once home I


mention the broken monuments in the graveyard. My mother shrugs.


日子一天天过去,我没拜访任何人。我开始对丈夫晚间打来的电话感到害怕,不光是因为他老是跟我讲洛杉矶 的情


况,见到谁啦,哪些信件该回啦,等等,而洛杉矶的生活距离我似乎已遥远了啊!还 因为他问我在做什么,有点拘


束地建议我出去走走,开车去旧金山或伯克利。我却驾车去 了河对岸的一块家族墓地。自我上次来过之后,墓地被


破坏了,墓碑断裂,翻倒在枯草丛 里。以前我曾在草丛里见到一条响尾蛇,所以这次我待在车上,收听乡村与西部


音乐台的 广播。后来我同父亲开车去了他在山麓小丘上的农场。为他放牛的人请我们下周日来看他赶拢牛群。尽管




12


我明明知道 那时我已回到洛杉矶了,但我还是以家里人绕弯子的方式说要来。一回到家里,我就提起了墓地里的断

< p>
碑。母亲耸了耸肩。




I go to visit my great-aunts. A few of them think now that I am my cousin, or their daughter who died young. We recall an


anecdote about a relative last seen in 1948, and they ask if I still like living in New York City. I have lived in Los Angeles for


three years, but I say that I do. The baby is offered a horehound drop, and I am slipped a dollar bill


trail off, answers are abandoned, the baby plays with the dust motes in a shaft of afternoon sun.



我去看 望姑婆们。其中几位把我当成了我的堂妹,或她们早逝的女儿,我们回忆起一位亲戚的轶事,上次相见是在


1948


年。她们问我是否还喜欢住在纽约市。其实我在洛杉矶已经住 了三年,但我还是说喜欢纽约。她们给我女儿带


苦味的薄荷糖吃,还塞给我一块钱“再买 点好吃的。


”慢慢地,问题少了,回答也就省了。女儿在午后的一缕阳光里,

< p>
欢快地抓弄着尘埃。




It is time for the baby's birthday party: a white cake, strawberry-marshmallow ice cream, a bottle of champagne saved from


another


party.


In


the


evening,


after


she


has


gone


to


sleep,


I


kneel


beside


the


crib


and


touch


her


face,


where


it


is


pressed


against the slats, with mine. She is an open and trusting child, unprepared for and unaccustomed to the ambushes of family


life, and perhaps it is just as well that I can offer her little of that life. I would like to give her more. I would like to promise


her


that


she


will


grow


up


with


a


sense


of


her


cousins


and


of


rivers


and


of


her


great-grandmother's


teacups,


would


like


to


pledge her a picnic on a river with fried chicken and her hair uncombed, would like to give her home for her birthday, but we


live


differently


now


and


I


can


promise


her


nothing


like


that.


I


give


her


a


xylophone


and


a


sundress


from


Madeira,


and


promise to tell her a funny story.


女儿的生日聚会开始了——有白蛋糕,草莓蜜饯冰激凌,和一瓶从别的聚会上留下来的香槟。晚上 ,女儿睡着后,


我跪在小床边,面颊贴着她那紧挨着床栏的小脸蛋。女儿性情开朗,相信 别人,对于家庭生活的陷阱既不知晓,也


无防范。也许,我还是让她少过这种生活吧。我 倒是愿意给与她更多别的东西。我倒愿意许诺让堂兄弟姊妹的手足


之情、潺潺流淌的小河 、以及外曾祖母的茶杯伴着她成长;愿意答应带她去河边野炊,认她披散着头发,啃炸鸡;


愿意给她一个真正的家作为生日礼物。但是,我们的生活不同了啊,我无法许诺给予她这一切!我只给了她一把 木


琴和来自马德里的背心裙,还答应给她讲个有趣的故事。




(集体讨论



方开瑞



执笔)




The Making of Ashenden (Excerpt) by Stanley Elkin



艾兴登其人(节选)斯坦利·埃尔金



I've been spared a lot, one of the blessed of the earth, at least one of its lucky, that privileged handful of the dramatically


prospering,


the


sort


whose


secrets


are


asked,


like


the


hundred-year-old


man.


There


is


no


secret,


of


course;


most


of


what


happens to us is simple accident. Highish birth and a smooth network of appropriate connection like a tea service written into


the will. But surely


something in the blood too, locked into good fortune's dominant genes like


a blast ripening in a time


bomb. Set to go off, my good looks and intelligence, yet exceptional still, take away my mouthful of silver spoon and lapful


of luxury. Something my own, not passed on or handed down, something seized, wrested



my good character, hopefully, my


taste perhaps. What's mine, what's mine? Say taste



the soul's harmless appetite.


我一直活得无忧无虑,深得上帝垂爱,至少算个幸运儿,少数人才 享有的尊荣富贵,我垂手得之。就像百岁人瑞总


有人讨教,我的秘诀也总有人探询。当然 ,秘诀谈不上,人间之事大多纯属偶然。高贵的出身、顺畅的关系网有如


凭遗嘱继承的茶 具,随我所用。当然,我的幸运也有某种与生俱来的因素,一种血液里固有的强势基因;它像定时


炸弹,到时就会爆炸。一旦爆炸,我出类拔萃的相貌和智慧将会使口衔银匙、满堂金玉的身世完全微不足 道。我的


成功源自我自己特有的东西,不是祖传的福荫,是某种我拼命抓住、努力得到的 东西——我良好的性格或品味。那


么,究竟什么才是我自己特有的东西

< br>?


是什么呢


?


是品味吧一一那种 无害的心灵欲求。



I've money, I'm rich. The heir to four fortunes. Grandfather on Mother's side was a Newpert. The family held some good real


estate


in


Rhode


Island until


they


sold


it


for


many


times


what


they


gave


for


it.


Grandmother


on


Father's side


was a


Salts,


whose bottled mineral water, once available only through prescription and


believed indispensable in the cure of all fevers,


was


the


first


product


ever


to


be


reviewed


by


the


Food


and


Drug


Administration,


a


famous


and


controversial


case.


The




13


government


found


it


to


contain


nothing


that


was


actually


detrimental


to


human


beings,


and


it


went


public,


so


to


speak.


Available now over the counter, the Salts made more money from it than ever.

我有钱,我富足,我继承了四笔遗产。外公姓纽波特,纽家在罗得岛坐拥不菲房产,后来以高出原价好多倍出 手。


奶奶姓索尔茨。她的家族生产的瓶装矿泉水,一度只能凭医生处方才能买到,据说是 治各种发热症所必需,是联邦


食品药品管理局有史以来审查的第一宗产品。那个案例名噪 一时、颇具争议。政府发现它没有对人体有害的东西,


也就上市了。现在谁都可以在商店 买到,索尔茨家族因此赚得钵满盆满。



Mother was an Oh. Her mother was the chemical engineer who first discovered a feasible way to store oxygen in tanks. And


Father was Noel Ashenden, who though he did not actually invent the match- book, went into the field when it was still a not


very flourishing novelty, and whose slogan, almost a poem,


say), obvious only after someone else has already thought of it (the Patent Office refused to issue a patent on what it claimed


was merely an instruction, but Father's company had the message on its matchbooks before his competitors even knew what


was happening), removed the hazard from book matches and turned the industry and Father's firm particularly into a flaming


success


overnight



Father's


joke,


not


mine.


Later,


when


the


inroads of


Ronson


and


Zippo


threatened


the


business,


Father


went into seclusion for six months and when he returned to us he had produced another slogan:


It saved the industry a second time and was the second and last piece of work in Father's life.



家母随外婆姓欧。外婆是化学工程师,成功开发了罐装氧气。家父是诺尔?艾兴登。尽管纸板火柴不是 他发明的,但


当它还是个新玩意儿、不怎么旺销时,他就人了这个行业。他的推销广告颇 有诗意:


“阖盖一划火自来”


(


就像父 亲常


说的,轻轻一划就成


)


。很显然, 这是拾人牙慧


(


专利局因此拒发专利证,说这只不过是句使用说 明。但父亲的公司在


对手还懵然不觉时,就抢先把这句广告词印在火柴盒上


)


。正是这句推销广告消除了纸板火柴使用时的危险,使整个


行业,特别是父亲的火柴公司,一夜之间生意火了起来——这是父亲的玩笑而非我本人的幽默。后来,荣 升和芝宝


打火机打人市场,火柴生意受到威胁。父亲于是隐退,半年后推出了另一句广告 词:


“我友


(



)


火柴”


,父亲因此第二


次拯救了火 柴业,这也是父亲一生中第二个也是最后一个成就。



There are people who gather in the spas and watering places of this world who pooh-pooh our fortune. Aprè


s ski, cozy in


their


wools,


handsome


before


their


open


hearths,


they


scandalize


amongst


themselves


in


whispers.



they


say,



not...



那些整日泡在温泉浴场、休闲胜地的人对我们的财富嗤之以鼻。他们滑雪回来,换上温暖舒适的羊毛衫,神气活 现


地坐在壁炉前嘀嘀咕咕嚼舌头:


“想想看,

< br>”他们说,


“他没有完蛋,还不是因为郊野的酒吧、烧烤店、卡车场总有些


人对纸板火柴恋恋不合。不是因为??”



Not


what?


Snobs!


Phooey


on


the


First


Families.


On


railroad,


steel


mill,


automotive,


public


utility,


banking


and


shipping


fortunes, on all hermetic legacy, morganatic and blockbuster blood-lines that change the maps and landscapes and alter the


mobility


patterns,


your


jungle


wheeling


and downtown


dealing


a


stone's throw


from


warfare.


I


come


of


good


stock



real


estate, mineral water, oxygen, matchbooks: earth, water, air and fire, the old elementals of the material universe, a bellybutton


economics, a linchpin one.



不是因为什么?这帮势利眼!呸!什么第一家族!什么铁路、钢厂、汽车、公共设施、银 行和航运方面的财富!什


么秘密遗产!什么贵贱婚配!什么豪门世家!你们改变了地图、 地貌、甚至改变了社会流动的格局,可你们弱肉强


食,巧取豪夺,跟战争相差无几。我这 才叫来路正宗——房地产、矿泉水、氧气、火柴:土、水、气、火,物质世


界古老的四大 元素。这才是核心经济,这才是关键经济。



It


is


as


I


see


it


a


perfect


genealogy,


and


if


I


can


be


bought


and


sold


a


hundred


times


over


by


a


thousand


men


in


this


country



people in your own town could do it, providents and trailers of hunch, I bless them, who got into this or went into


that when it was eight cents a share



I am satisfied with my thirteen or fourteen million. Wealth is not after all the point. The


genealogy


is.


That


bridge- trick


nexus


that


brought


Newpert


to


Oh,


Salts


to


Ashenden


and


Ashenden


to


Oh,


love's


lucky


longshots


which,


paying


off,


permitted


me


as


they


permit


every


human


life!


(I


have


this


simple, harmless


paranoia of


the


good-natured man, this cheerful awe.) Forgive my enthusiasm, that I go on like some secular patriot wrapped in the simple


flag of self, a professional descendant, every day the closed-for-the-holiday banks and post offices of the heart. And why not?




14


Aren't my circumstances superb? Whose are better? No boast, no boast. I've had it easy, served up on all life's silver platters


like a satrap. And if my money is managed for me and I do no work



less work even than Father, who at least came up with


those two slogans, the latter in a six-month solitude that must have been hell for that gregarious man (


Friends


a guest)



at least I am not


blessings, Brewster Ashenden's a miser.



在我看来,我出身完美。如果这个国家有一千人百余次买卖我 的股票——跟你同住一城的人可能会这么做;有远见


的人,跟着感觉走的人,我祝福他们


!


当每股还只有八分钱时,他们就买进了我的这种或那种股票— —我对我原有的


一千三、四百万,就很满足了。毕竟财富不是关键,关键是出身。桥牌般 复杂的姻缘让外公走进了外婆的生活,奶


奶嫁给了爷爷,家父娶了家母。父母姻缘巧合的 爱情造就了我,就像别人的爱晴造就了一个个鲜活的生命!


(


我 这个


性良好的人也有这种朴素而无害的追问到底的执拗,这种对自己生命的由衷的敬畏。


)


原谅我有如此热情,像一个无


宗教信 仰的爱国者,处处强调自我,或者像一个职业继承人,每天心无所系,有如放假关门的银行和邮局。为什么


不呢


?


我的条件不优越吗

?


还有比我条件更好的吗


?


这不是 吹牛,根本不是。我的一切来得太容易,犹如一位大老爷,


一切都有人用银盘奉上。钱有 人管,不用工作一一我比父亲工作还少,他起码还炮制了两句广告词,第二句还是他


退隐 半年的结果。对于像他那样好热闹的人来说,那半年简直是人间地狱


(

< br>“我友(有)火柴”


,说到底并不算什么广


告词,而是个 被破解的密码,是他殷勤个性的延伸,是他的好客之火,是普罗米修斯的圣火


)


。即便如此,我起码没


被“宠坏”


,浑身还洋溢 着感恩之情。如果数数自己的福气也算是小气的话,那我布鲁斯特·艾兴登就是个小气鬼。



This will give you some idea of what I'm like:


简单给您说说我的为人:



On Having an Account in a Swiss Bank: I never had one, and suggest you stay away from them too. Oh, the mystery and


romance is all very well, but never forget that your Swiss bank offers no premiums, whereas for opening a savings account


for 5,000 or more at First National City Bank of New York or other fine institutions you get wonderful premiums



picnic


hampers, Scotch coolers, Polaroid cameras, Hudson's Bay blankets from L. L. Bean, electric shavers, even lawn furniture.


My managers always leave me a million or so to play with, and this is how I do it. I suppose I've received hundreds of such


bonuses. Usually I


give them to


friends or as gifts at Christmas to doormen and other loosely


connected personnel of the


household, but often I keep them and use them myself. I'm not stingy. Of course I can afford to buy any of these things



and


I do, I enjoy making purchases



but somehow nothing brings the joy of existence home to me more than these premiums.


Something from nothing



the two-suiter from Chase Manhattan and my own existence, luggage a bonus and life a bonus too.


Like having a film star next to you on your flight from the Coast. There are treats of high order, adventure like cash in the


street.



说到在瑞士银行开户:我从没开过,建议你也别开。当然,那种神秘感觉和浪漫色彩挺不错的 。但记住,瑞士银行


从不提供任何礼品。相反,如果你在纽约第一国民城市银行或别的优 质机构开一个


5000


美元或更多的储蓄帐户,你


就可以得到精美礼品,像什么野餐篮子啦、苏格兰冷饮啦、宝丽来相机啦、名牌毛毯啦、电动剃须刀啦 ,甚至还有


草坪家私。我的经理们总给我留个百儿八十万元什么的玩着花,我顺手就到银 行开个户。估计类似的赠品我已有几


百件了。我常拿它们送朋友或作为圣诞礼物送给门童 和家里的勤杂人员。但我也经常留下自用。我不是抠门的人,


这些玩意儿我当然买得起— —也去买过,我喜欢购物一一但不知为什么,这些赠品给我带来了无与伦比的快乐。从


无 到有——大通·曼哈顿银行送的男士小行李箱是这样,我的人生也是这样;行李箱是赠品,人生也是赠品。那感< /p>


觉就像在从西岸回来的飞机上,发现邻座是个电影明星。生活中总有这种难得的乐事,就像 大街上捡钱那样刺激。



Let's enjoy ourselves, I say; let's have fun. Lord, let us live in the sand by the surf of the sea and play till cows come home.


We'll have a house on the Vineyard and a brownstone in the Seventies and a pied-à


-terre in a world capital when something


big is about to break. (Put the Cardinal in the back bedroom where the sun gilds the bay at afternoon tea and give us the


courage


to


stand


up


to


secret


police


at


the


door,


to


top


all


threats


with


threats


of


our


own,


the


nicknames


of


mayors


and


ministers, the fast comeback at the front stairs, authority on us like the funny squiggle the counterfeiters miss.) Re-Columbus


us.


Engage


us


with


the


overlooked,


a


knowledge


of


optics,


say,


or


a


gift


for


the


tides.


(My


pal,


the


heir


to


most


of


the


vegetables in inland Nebraska, has become a superb amateur oceanographer. The marine studies people invite him to Wood's




15


Hole each year. He has a wave named for him.) Make us good at things, the countertenor and the German language, and teach


us


to


be


as


easy


in


our


amateur


standing


as


the


best


man


at


a


roommate's


wedding.


Give


us


hard


tummies


behind


the


cummerbund and long swimmer's muscles under the hound's tooth so that we may enjoy our long life. And may all our stocks


rise to the occasion of our best possibilities, and our humanness be bullish too.



我 常说,我们要玩得开心,要及时行乐。上帝啊,让我们住在海边吧,踏沙,冲浪,嬉戏,直至永远。我们要在马< /p>


萨葡萄园岛有一套独栋别墅,在纽约七十几街有一套褐石豪宅,在某个世界之都有个安乐窝 ,以便就近亲临大事的


现场。


(


请红衣 主教住最里边的卧室,下午茶时分的阳光将海湾镀上金色,同时给我们增添勇气,直面门外的秘密警


察,以我们的威胁来消除一切外来的威胁,报出达官贵人们的诨名,在门口与他们唇枪舌战,那种威势 ,就像纸币


上古怪的防伪线条,无法模仿。


)

< br>我们要像哥伦布再世。我们要致力于别人忽略的东西,如光学的某一方面或研究海


潮的某种能力。


(


我有个朋友,在远离海洋的内布拉斯加州继承 了蔬菜种植业,却成了一位出色的业余海洋学家。研


究海洋的专业人士每年都请他去伍兹 霍。有一种海浪以他的名字命名。


)


让我们擅长点什么吧,无论 成为男高音歌手


还是掌握德文。让我们轻松地做业余专家,就像在室友的婚礼上做伴郎那 样容易。让我们的腰带下有结实的小腹,


泳衣里有游泳健将的强劲肌肉,这样我们会安享 长命天年。让我们的股票天天猛涨,让我们做人也牛气冲天。



Speaking personally I am glad to be a heroic man.



私下里说,我很乐意做个英雄人物。



I am pleased that I am attractive to women but grateful I'm no bounder. Though I'm touched when married women fall in love


with


me,


as


frequently


they


do,


I


am


rarely


to


blame.


I


never


encourage


these


fits


and


do


my


best


to


get


them


over


their


derangements so as not to lose the friendships of their husbands when they are known to me, or the neutral friendship of the


ladies themselves. This happens less than you might think, however, for whenever I am a houseguest of a married friend I


usually make it a point to bring along a girl. These girls are from all walks of life



models, show girls, starlets, actresses,


tennis professionals, singers, heiresses and the daughters of the diplomats of most of the nations of the free world. All walks.


They tend, however, to conform to a single physical type, and are almost always tall, tan, slender and blond, the girl from


Ipanema as a wag friend of mine has it. They are always sensitive and intelligent and good at sailing and the Australian crawl.


They


are


never


blemished


in


any


way,


for


even


something


like


a


tiny


beauty


mark


on


the


inside


of


a


thigh


or


above


the


shoulder blade is enough to put me off, and their breaths must be as sweet at three in the morning as they are at noon. (I never


see a woman who is dieting for diet sours the breath.) Arm hair, of course, is repellent to me though a soft blond down is now


and then acceptable. I know I sound a prig. I'm not. I am



well, classical, drawn by perfection as to some magnetic, Platonic


pole, idealism and beauty's true North.


很高兴我深得女人青睐,但谢天谢地,我 绝非好色之徒。尽管已婚女人有意于我时——这是常事——我会感动,但


多责不在我。< /p>


我从不鼓励这样的一时冲动,


还会尽量让她们恢复平静,


以便保持与她们的夫君一一如果认识的话――


的友谊,或者与她们本人的 适度关系。不过,这种事比你想像的要少,因为每次我到已婚明友的府上做客,都刻意


携 一位靓女同行。这些女孩各行各业都有:模特啦、舞女啦、新星啦、演员啦、职业网球手啦、歌手啦、富家女啦< /p>


什么的,还有自由世界许多国家外交官的女儿们,真的是形形色色。我的玩伴往往都像一个 模子铸出来的,几乎都


是个子高挑、肤色健康、身段苗条、金发碧眼的可爱美人,用我一 个喜欢调侃的朋友的说话,她就像歌中走出来的


“来自伊帕内玛的女孩”


。她们都敏感聪慧,擅长玩帆船和澳式自由泳。她们完美无瑕,因为即使是大腿内侧或锁骨


上边的美人痣也让我扫兴。


她们还必需呵气如兰,


即 使在凌晨三点也要像正午时分那样清新


(


我从不约见节食的女人 ,


因为节食会使她的呼吸带酸味儿


)


。 自然,腋毛令我反感,金色细软绒毛倒是偶尔可以接受。听起来我有点自命不凡。


但我不 是。我是那种,怎么说呢,正统的人,喜欢尽善尽美,像被某种磁力吸引着,去追求那种柏拉图式的理想的、


纯粹的美妙。



(集体讨论,蒋骁华、孔昊执笔)





16


Beyond Life < /p>


超越生命


[



]


卡贝尔





I want my life, the only life of which I am assured, to have symmetry or, in default of that, at least to acquire some clarity.


Surely it is not asking very much to wish that my personal conduct be intelligible to me! Yet it is forbidden to know for what


purpose this universe was intended, to what end it was set a-going, or why I am here, or even what I had preferably do while


here. It vaguely seems to me that I am expected to perform an allotted task, but as to what it is I have no notion. And indeed,


what have I done hitherto, in the years behind me? There are some books to show as increment, as something which was not


anywhere before I made it, and which even in bulk will replace my buried body, so that my life will be to mankind no loss


materially. But the course of my life, when I look back, is as orderless as a trickle of water that is diverted and guided by


every pebble and crevice and grass-root it encounters. I seem to have done nothing with pre-meditation, but rather, to have


had things done to me. And for all the rest of my life, as I know now, I shall have to shave every morning in order to be ready


for no more than this!


我愿此生,我唯一确知的此生,能和谐地度过;若此 愿不遂,至少也该活得有几分清醒。希望自己之所作为能被自


己了解,这肯定不算要求过 分。不过有些奥秘却不容你去了解,诸如宇宙宏旨之所在,乾坤归宿在何方,我为何置


身 于此间,于此间该做何事等。我隐约觉得此生被指望去履行一项既定使命,但这是项什么使命,我却一无所知。< /p>


而且真正说来,我在过去的岁月里又有过什么作为呢?有那么几本书可显示为生命之赢余, 可显示为在我创作其之


前这世间未曾有过的东西,其体积甚至可置换我入土后的那副躯壳 ,从而使我生命之结束不致给人类造成物质损失。


但当回首往昔,我发现自己的生命历程 就像溪流之蜿蜒漫无定向,触石砄草根则避而改道,遇岩缝土隙则顺而流之。


我似乎做任 何事都未经事先考虑,而是任凭事务来摆布自己。且据我眼下所知,在我的整个余生,我每日清晨得剃

< p>
须也仅仅是为了翌日清晨得剃须。



I have attempted to make the best of my material circumstances always; nor do I see to-day how any widely varying course


could have been wiser or even feasible: but material things have nothing to do with that life which moves in me. Why, then,


should


they


direct


and


heighten


and


provoke


and


curb


every


action


of


life?


It


is


against


the


tyranny


of


matter


I


would


rebel



against life's absolute need of food, and books, and fire, and clothing, and flesh, to touch and to inhabit, lest life perish.


No, all that which I do here or refrain from doing lacks clarity, nor can I detect any symmetry anywhere, such as living would


assuredly


display,


I


think,


if


my


progress


were


directed


by


any


particular


motive.


It


is


all


a


muddling


through,


somehow,


without any recognizable goal in view, and there is no explanation of the scuffle tendered or anywhere procurable. It merely


seems that to go on living has become with me a habit.


我总想善用身边的物质环境,因时至今日我也不知 有任何迥异之做法会更为明智可行。然身外之物与涌动于我心中


的那种生命毕竟无关。既 如此,为何人之一举一动又常为身外之物所引所趋,所扬所抑?我所厌恶的正是这种物质


之主宰——这种为了生命苟存于世而对食物、书本、炉火、衣衫等身外之物以及灵魂借以寓居之肉体的纯粹需求。


的确,我在世界之全部所为或忍而不为之事都不甚明了,无论何处我都看不到丝毫和谐, 而我认为,我的人生历程


若有任何特定目标之指引,定会显现出那种明澈和谐。但不知何 故,我眼前无可辨之目标,一直在浑然度日,而且


对这种蹉跎或茫然也无从解说。活下去 似乎已成了我的一种习惯,仅此而已。



And I want beauty in my life. I have seen beauty in a sunset and in the spring woods and in the eyes of divers women, but


now these happy


accidents of light and color no longer thrill me. And I


want beauty in


my life itself, rather than in such


chances


as befall


it.


It


seems


to


me


that


many


actions of


my


life


were


beautiful,


very


long


ago,


when


I


was


young


in


an


evanished world of friendly girls, who were all more lovely than any girl is nowadays. For women now are merely more or


less good-looking, and as I know, their looks when at their best have been painstakingly enhanced and edited. But I would


like this life which moves and yearns in me, to be able itself to attain to comeliness, though but in transitory performance.


The life of a butterfly, for example, is just a graceful gesture: and yet, in that its loveliness is complete and perfectly rounded


in itself, I envy this bright flicker through existence. And the nearest I can come to my ideal is punctiliously to pay my bills,


be polite to my wife, and contribute to deserving charities: and the program does not seem, somehow, quite adequate. There


are my books, I know; and there is beauty


other persons, too, which I may read at will: but this desire inborn in me is not to be satiated by making marks upon paper,




17


nor by deciphering them. In short, I am enamored of that flawless beauty of


which all poets have perturbedly divined the


existence somewhere, and which life as men know it simply does not afford nor anywhere foresee.


我希望生活中有美。我曾在落日余晖、 春日树林和女人的眼中看见过美,可如今与这些光彩邂逅已不再令我激动。


我期盼的是生 命本身之美,而非偶然降临的美的瞬间。我觉得很久以前我生活行为中也充溢着美,那时我尚年轻,


置身于一群远比当今姑娘更为友善可爱的姑娘之中,置身于一个如今已消失的世界。时下女人不过是多 少显得有几


分姿色,



而据我所知,她 们最靓丽的容颜都经过煞费苦心的设色缚彩。但我希望这在我心中涌动并期盼的生命能绽


放出自身之美,纵然其美丽会转瞬即逝。比如蝴蝶的一生不过翩然一瞬,但在这翩然一瞬间,其美丽得以完善,其


生命得以完美。我羡慕一生中有这种美丽闪烁。可我最接近我理想生活的行为只是付账单 一丝不苟,对妻子相敬如


宾,捐善款恰宜至当,而这些无论如何也远远不够。当然,还有 我那些书,在我自己撰写以及我可随意翻阅的他人


所撰写的书中,都有美“封藏”于万千 书页之间。但我与生俱来的这种欲望并不满足于在纸上写美或从书中读美。


简而言之,我 所迷恋的那种无暇之美,那种天下诗人在忐忑中发现存在于某处的美,那种世人所知的凡尘生活无法


赐予也无法预见的美。



And tenderness, too



but does that appear a mawkish thing to desiderate in life? Well, to my finding human beings do not


like one another. Indeed, why should they, being rational creatures? All babies have a temporary lien on tenderness, of course:


and therefrom children too receive a dwindling income, although on looking back, you will recollect that your childhood was


upon the whole a lonesome and much put- upon period. But all grown persons ineffably distrust one another. In courtship, I


grant you, there is a passing aberration which often mimics tenderness, sometimes as the result of honest delusion, but more


frequently as an ambuscade in the endless struggle between man and woman. Married people are not ever tender with each


other,


you


will


notice:


if


they


are


mutually


civil


it


is


much:


and


physical


contacts


apart,


their


relation


is


that


of


a


very


moderate intimacy. My own wife, at all events, I find an unfailing mystery, a Sphinx whose secrets I assume to be not worth


knowing: and, as I am mildly thankful to narrate, she knows very little about me, and evinces as to my affairs no morbid


interest. That is not to assert that if I were ill she would not nurse me through any imaginable contagion, nor that if she were


drowning I would not plunge in after her, whatever my delinquencies at swimming: what I mean is that, pending such high


crises, we tolerate each other amicably, and never think of doing more. And from our blood-kin we grow apart inevitably.


Their lives and their interests are no longer the same as ours, and when we meet it is with conscious reservations and much


manufactured


talk.


Besides,


they


know


things


about


us


which


we


resent.


And


with


the


rest


of


my


fellows,


I


find


that


convention orders all our dealings, even with children, and we do and say what seems more or less expected. And I know that


we distrust one another all the while, and instinctively conceal or misrepresent our actual thoughts and emotions when there


is no very apparent need. Personally, I do not like human beings because I am not aware, upon the whole, of any generally


distributed


qualities


which


entitle


them


as


a


race


to


admiration


and


affection.


But


toward


people


in


books



such


as


Mrs.


Millamant,


and


Helen


of


Troy,


and


Bella


Wilfer,


and



lusine,


and


Beatrix


Esmond



I


may


intelligently


overflow


with


tenderness and caressing words, in part because they deserve it, and in part because I know they will not suspect me of being


“queer” or of having ulterior motives.



我也渴望柔情——但对生活如此奢求难道不 是自作多情?我发现世人彼此间从不相互喜欢。的确,作为理性动物,


他们为何要相互喜 欢呢?婴儿当然都有权得到短期柔情贷款,而且在童年时期还会有逐日递减的柔情进账,然而你

< br>回忆往事时就会发现,童年大体上是一段孤独寂寞且屡屡受骗的时期。但成人都莫可名状地相互猜疑。我承 认,男


女求爱时会有一时间的失常,而这种失常往往装扮成柔情蜜意,因此有时还让人误 以为是真情,但更多时候会变成


男女间无休止争斗的伏笔。你会注意到,已婚男女通常不 会柔情缱绻,双方能以礼相待就不错了,除两性身体接触


外,夫妻关系往往都不愠不火。 以我妻子为例,我横竖都觉得她就像斯芬克司,一个永远也猜不透的谜,而我想也


没必要 去探究她那些秘密。并且就像我并无欣慰地述说的一样,她对我同样知之甚少,对我的私事也没有表现出任


何病态的兴趣。但这并非说一旦我罹病,她会因惧怕传染而置我于不顾,也并非说万一她溺水, 我会因不善游泳而


不下水施救。我的意思是说,除非到紧要关头,我俩会彼此容忍,和睦 相处,但绝不会想到更进一步。我们与亲属


的关系也势必日渐疏远。因各自生活已不同, 彼此情趣已相异,故见面时存心话说三分且多说套话。再说他们还知


晓我们不想被别人抖 露的底细。至于其他熟人,甚至包括未成年人,我发现彼此间交往全然是蹈常袭故,我们的所

言所行似乎都不会超出对方之所料。我知道我们始终都互不信任,虽然有时毫不必要,我们仍本能地隐藏或伪 装真




18


实的思想感情。就我个人而言,我不喜欢人类,因为从总体上看,我不知这个物种有何共同的品质使其值得被人 钦


慕。但对书中那些人——例如米拉曼特夫人、特洛伊的海伦、贝拉·威尔弗、比阿特丽 克丝·埃斯蒙德等——我却


能不失理性地满怀柔情,


表达一腔爱 慕之意,


这一则是因为她们值得我爱慕,


二则是因为我知道她们 不会怀疑我


“变


态”或别有用心。



And


I


very


often


wish


that


I


could


know


the


truth


about


just


any


one


circumstance


connected


with


my


life.


Is


the


phantasmagoria of sound and noise and color really passing or is it all an illusion here in my brain? How do you know that


you are not dreaming me, for instance? In your conceded dreams, I am sure, you must invent and see and listen to persons


who for the while seem quite as real to you as I do now. As I do, you observe, I say! and what thing is it to which I so glibly


refer as I? If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to


control your flesh and blood body,


you will encounter a walking bundle of superfluities: and when you mentally have put


aside the extraneous things



your garments and your members and your body, and your acquired habits and your appetites


and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no


integral part of you,



there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a


faculty for receiving sensations, of which you know the larger portion to be illusory. And surely, to be just a very gullible


consciousness provisionally existing among inexplicable mysteries, is not an enviable plight. And yet this life



to which I


cling tenaciously



comes to no more. Meanwhile I hear men talk about


upon their knowledge of it: but I align myself with


unanswered.


我还常常 祈愿,愿我能了解关于我生活的哪怕任何一点真相。这变化的声色光彩是在真正掠过,还是我脑海中的一


种幻觉?譬如你何以知晓此刻我不是你梦中之幻象?毫无疑问,你在你坦言的梦中肯定遇见过人, 且眼观其行,耳


闻其声,当时他们于你肯定就像现时之我一样真实。注意,我说像现时之 我一样真实!那么,我这口口声声称之谓


的“我”又当是何物?若你设法去感知你自己为 何物,那种你觉得寓于你体内并肆意支配你肉体的东西又为何物,


那将有一大堆活生生的 多余物与你不期而遇——诸如你的衣衫裙袍、手足躯干、习性胃口、禀性偏见以及其他所有


附属物,那些你逐一视之便会承认其并非你不可或缺的多余之物——而若是你从心中将这些多余物抹去,那在你 珍


珠色的脑细胞了,在你最终的寓所之中,几乎就只剩下一种感知能力,可你知道,这种 感知多半都是幻觉。而毋庸


置疑,仅仅作为一种极易受骗的知觉,暂居于神秘莫测的迷幻 之中,这并非一种令人羡慕的境况。然而这种生命—


—这种我死死黏附的生命——也不过 如此这般。但与此同时我却听世人在谈论“真理”


,他们甚至花大价钱为其所知


的真理担保;可我愿与“爱逗趣的彼拉多”为伍,重复那几个几乎没法回答且上千年来无人回答的 疑问。



Then,


last


of


all,


I


desiderate


urbanity.


I


believe


this


is


the


rarest


quality


in


the


world.


Indeed,


it


probably


does


not


exist


anywhere. A really urbane person



a mortal open- minded and affable to conviction of his own shortcomings and errors, and


unguided in anything by irrational blind prejudices



could not but in a world of men and women be regarded as a monster.


We are all of us, as if by instinct, intolerant of that which is unfamiliar: we resent its impudence: and very much the same


principle


which


prompts


small


boys


to


jeer


at


a


straw-hat


out


of


season


induces


their


elders


to


send


missionaries


to


the


heathen…



最后我还企求高雅。我认为高雅乃世间最珍贵的品质。其实然,高雅或许并不存在于现实之中。真 正的高雅之士虚


怀若谷,闻过则喜,不会被非理性的盲目偏见所左右,而在这个被庸男俗 女充斥的世界,这等高雅之士只能被视为


怪物。仿佛是出于天性,我们所有人都容不得稀 罕之事,都恨其不守规矩;而正是依照与此极其相似的准则,小男


孩嘲讽不合时令的草帽 ,他们的父辈则给异教徒派出传教士??(集体讨论,曹明伦



执笔)






19

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