2011年2月28日 星期一

魯迅「題未定」草(六至九)

「題未定」草(六至九)1935/12/18-19 收入且介停雜文二集

本文只校一段 (紅字)

維基文庫,自由的圖書館


  記得T君曾經對我談起過:我的《集外集》出版之後,施蟄存先生曾在什麼刊物上有過批評〔2〕,以為這本書不值得付印,最好是選一下。我至今沒有看到那 刊物;但從施先生的推崇《文選》和手定《晚明二十家小品》的功業,以及自標「言行一致」的美德推測起來,這也正像他的話。好在我現在並不要研究他的言行, 用不著多管這些事。

  《集外集》的不值得付印,無論誰說,都是對的。其實豈只這一本書,將來重開四庫館時,恐怕我的一切譯作,全在排除之列;雖是現在,天津圖書館的 目錄上,在《吶喊》和《彷徨》之下,就注著一個「銷」字,「銷」者,銷毀之謂也;梁實秋教授充當什麼圖書館主任時,聽說也曾將我的許多譯作驅逐出境 〔3〕。但從一般的情形而論,目前的出版界,卻實在並不十分謹嚴,所以印了我的一本《集外集》,似乎也算不得怎麼特別糟蹋了紙墨。至於選本,我倒以為是弊 多利少的,記得前年就寫過一篇《選本》,說明著自己的意見,後來就收在《集外集》中。

  自然,如果隨便玩玩,那是什麼選本都可以的,《文選》好,《古文觀止》也可以。不過倘要研究文學或某一作家,所謂「知人論世」,那麼,足以應用 的選本就很難得。選本所顯示的,往往並非作者的特色,倒是選者的眼光。眼光愈銳利,見識愈深廣,選本固然愈準確,但可惜的是大抵眼光如豆,抹殺了作者真相 的居多,這才是一個「文人浩劫」。例如蔡邕〔4〕,選家大抵只取他的碑文,使讀者僅覺得他是典重文章的作手,必須看見《蔡中郎集》里的《述行賦》(也見於 《續古文苑》),那些「窮工巧於台榭兮,民露處而寢濕,委嘉穀於禽獸兮,下糠秕而無粒」(手頭無書,也許記錯,容後訂正)的句子,才明白他並非單單的老學 究,也是一個有血性的人,明白那時的情形,明白他確有取死之道。又如被選家錄取了《歸去來辭》和《桃花源記》,被論客贊賞著「採菊東籬下,悠然見南山」的 陶潛先生,在後人的心目中,實在飄逸得太久了,但在全集里,他卻有時很摩登,「願在絲而為履,附素足以周旋,悲行止之有節,空委棄於床前」,竟想搖身一 變,化為「阿呀呀,我的愛人呀」的鞋子,雖然後來自說因為「止於禮義」,〔5〕未能進攻到底,但那些胡思亂想的自白,究竟是大膽的。就是詩,除論客所佩服 的「悠然見南山」之外,也還有「精衛銜微木,將以填滄海,形天舞干戚,猛志固常在」〔6〕之類的「金剛怒目」〔7〕式,在證明著他並非整天整夜的飄飄然。 這「猛志固常在」和「悠然見南山」的是一個人,倘有取捨,即非全人,再加抑揚,更離真實。譬如勇士,也戰斗,也休息,也飲食,自然也性交,如果只取他末一 點,畫起像來,掛在妓院里,尊為性交大師,那當然也不能說是毫無根據的,然而,豈不冤哉!我每見近人的稱引陶淵明,往往不禁為古人惋惜。

  這也是關於取用文學遺產的問題,潦倒而至於昏聵的人,凡是好的,他總歸得不到。前幾天,看見《時事新報》的《青光》〔8〕上,引過林語堂先生的 話,原文拋掉了,大意是說:老莊是上流,潑婦罵街之類是下流,他都要看,只有中流,剽上竊下,最無足觀。如果我所記憶的並不錯,那麼,這真不但宣告了宋人 語錄,明人小品,下至《論語》,《人間世》,《宇宙風》〔9〕這些「中流」作品的死刑,也透徹的表白了其人的毫無自信。不過這還是空腹高心之談,因為雖是 「中流」,也並不一概,即使同是剽竊,有取了好處的,有取了無用之處的,有取了壞處的,到得「中流」的下流,他就連剽竊也不會,「老莊」不必說了,雖是明 清的文章,又何嘗真的看得懂。

  標點古文,不但使應試的學生為難,也往往害得有名的學者出醜,亂點詞曲,拆散駢文的美談,已經成為陳跡,也不必回顧了;今年出了許多廉價的所謂 珍本書,都有名家標點,關心世道者癌然憂之,以為足煽復古之焰。我卻沒有這麼悲觀,化國幣一元數角,買了幾本,既讀古之中流的文章,又看今之中流的標點; 今之中流,未必能懂古之中流的文章的結論,就從這里得來的。

  例如罷,——這種舉例,是很危險的,從古到今,文人的送命,往往並非他的什麼「意德沃羅基」〔10〕的悖謬,倒是為了個人的私仇居多。然而這里 仍得舉,因為寫到這里,必須有例,所謂「箭在弦上,不得不發」者是也。但經再三忖度,決定「姑隱其名」,或者得免於難歟,這是我在利用中國人只顧空面子的 缺點。

  例如罷,我買的「珍本」之中,有一本是張岱〔11〕的《琅嬛文集》,「特印本實價四角」;據「乙亥十月,盧前冀野父」跋,是「化峭僻之途為康 莊」的,但照標點看下去,卻並不十分「康莊」。標點,對於五言或七言詩最容易,不必文學家,只要數學家就行,樂府就不大「康莊」了,所以卷三的《景清刺》 〔12〕里,有了難懂的句子:

  「……佩鉛刀。藏膝髁。太史奏。機謀破。不稱王內前。坐對御衣含血唾。……」

  琅琅可誦,韻也押的,不過「不稱王向前」這一句總有些費解。看看原序,有云:「清知事不成。躍而詢上。大怒曰。毋謂我王。即王敢爾耶。清曰。今 日之號。尚稱王哉。命抉其齒。王且詢。則含血前。oeV御衣。上益怒。剝其膚保□甑閬□裨荊├*麼,詩該是「不稱王,向前坐」了,「不稱王」者, 「尚稱王哉」也;「向前坐」者,「則含血前」也。而序文的「躍而詬。上大怒曰」,恐怕也該是「躍而詬。上大怒曰」才合式,據作文之初階,觀下文之「上益 怒」,可知也矣。

  縱使明人小品如何「本色」〔13〕,如何「性靈」,拿它亂玩究竟還是不行的,自誤事小,誤人可似乎不大好。例如卷六的《琴操》《脊令操》〔14〕序里,有這樣的句子:「秦府僚屬。勸秦王世民。行周公之事。伏兵玄武門。射殺建成元吉魏徵。傷亡作。」

  文章也很通,不過一翻《唐書》,就不免覺得魏徵實在射殺得冤枉,他其實是秦王世民做了皇帝十七年之後,這才病死的。〔15〕所以我們沒有法,這 里只好點作「射殺建成元吉,魏徵傷亡作」。明明是張岱作的《琴操》,怎麼會是魏徵作呢,索性也將他射殺干淨,固然不能說沒有道理,不過「中流」文人,是常 有擬作的,例如韓愈先生,就替周文王說過「臣罪當誅兮天王聖明」〔16〕,所以在這里,也還是以「魏徵傷亡作」為穩當。

  我在這里也犯了「文人相輕」罪,其罪狀曰「吹毛求疵」。但我想「將功折罪」的,是證明了有些名人,連文章也看不懂,點不斷,如果選起文章來,說這篇好,那篇壞,實在不免令人有些毛骨悚然,所以認真讀書的人,一不可倚仗選本,二不可憑信標點。

  七

  還有一樣最能引讀者入於迷途的,是「摘句」。它往往是衣裳上撕下來的一塊繡花,經摘取者一吹噓或附會,說是怎樣超然物外,與塵濁無干,讀者沒有 見過全體,便也被他弄得迷離惝恍。最顯著的便是上文說過的「悠然見南山」的例子,忘記了陶潛的《述酒》〔17〕和《讀山海經》等詩,捏成他單是一個飄飄 然,就是這摘句作怪。新近在《中學生》〔18〕的十二月號上,看見了朱光潛〔19〕先生的《說『曲終人不見,江上數峰青』》的文章,推這兩句為詩美的極 致,我覺得也未免有以割裂為美的小疵。他說的好處是:「我愛這兩句詩,多少是因為它對於我啟示了一種哲學的意蘊。『曲終人不見』所表現的是消逝,『江上數 峰青』所表現的是永恆。可愛的樂聲和奏樂者雖然消逝了,而青山卻巍然如舊,永遠可以讓我們把心情寄托在它上面。人到底是怕凄涼的,要求伴侶的。曲終了,人 去了,我們一霎時以前所游目騁懷的世界猛然間好像從腳底倒塌去了。這是人生最難堪的一件事,但是一轉眼間我們看到江上青峰,好像又找到另一個可親的伴侶, 另一個可托足的世界,而且它永遠是在那裡的。『山窮水盡疑無路,柳暗花明又一村』,此種風味似之。不僅如此,人和曲果真消逝了麼;這一曲纏綿悱惻的音樂沒 有驚動山靈?它沒有傳出江上青峰的嫵媚和嚴肅?它沒有深深地印在這嫵媚和嚴肅裡面?反正青山和湘靈的瑟聲已發生這麼一回的因緣,青山永在,瑟聲和鼓瑟的人 也就永在了。」

  這確已說明了他的所以激賞的原因。但也沒有盡。讀者是種種不同的,有的愛讀《江賦》和《海賦》,有的欣賞《小園》或《枯樹》〔20〕。後者是徘 徊於有無生滅之間的文人,對於人生,既憚擾攘,又怕離去,懶於求生,又不樂死,實有太板,寂絕又太空,疲倦得要休息,而休息又太凄涼,所以又必須有一種撫 慰。於是「曲終人不見」之外,如「只在此山中,雲深不知處」或「笙歌歸院落,燈火下樓台」〔21〕之類,就往往為人所稱道。因為眼前不見,而遠處卻在,如 果不在,便悲哀了,這就是道士之所以說「至心歸命禮,玉皇大天尊!」〔22〕也。

  撫慰勞人的聖藥,在詩,用朱先生的話來說,是「靜穆」:

  「藝術的最高境界都不在熱烈。就詩人之所以為人而論,他所感到的歡喜和愁苦也許比常人所感到的更加熱烈。就詩人之所以為詩人而論,熱烈的歡喜或 熱烈的愁苦經過詩表現出來以後,都好比黃酒經過長久年代的儲藏,失去它的辣性,只剩一味醇樸。我在別的文章里曾經說過這一段話:『懂得這個道理,我們可以 明白古希臘人何以把和平靜穆看作詩的極境,把詩神亞波羅擺在蔚藍的山巔,俯瞰眾生擾攘,而眉宇間卻常如作甜蜜夢,不露一絲被擾動的神色?』這里所謂『靜 穆』(Serenity)

  自然只是一種最高理想,不是在一般詩里所能找得到的。

  古希臘——尤其是古希臘的造形藝術——常使我們覺到這種『靜穆』的風味。『靜穆』是一種豁然大悟,得到歸依的心情。它好比低眉默想的觀音大士, 超一切憂喜,同時你也可說它泯化一切憂喜。這種境界在中國詩里不多見。屈原阮籍李白杜甫都不免有些像金剛怒目,憤憤不平的樣子。陶潛渾身是『靜穆』,所以 他偉大。」

  古希臘人,也許把和平靜穆看作詩的極境的罷,這一點我毫無知識。但以現存的希臘詩歌而論,荷馬的史詩,是雄大而活潑的,沙孚〔23〕的戀歌,是 明白而熱烈的,都不靜穆。我想,立「靜穆」為詩的極境,而此境不見於詩,也許和立蛋形為人體的最高形式,而此形終不見於人一樣。至於亞波羅〔24〕之在山 巔,那可因為他是「神」的緣故,無論古今,凡神像,總是放在較高之處的。這像,我曾見過照相,睜著眼睛,神清氣爽,並不像「常如作甜蜜夢」。不過看見實 物,是否「使我們覺到這種『靜穆』的風味」,在我可就很難斷定了,但是,倘使真的覺得,我以為也許有些因為他「古」的緣故。

  我也是常常徘徊於雅俗之間的人,此刻的話,很近於大煞風景,但有時卻自以為頗「雅」的:間或喜歡看看古董。記得十多年前,在北京認識了一個土財 主,不知怎麼一來,他也忽然「雅」起來了,買了一個鼎,據說是周鼎,真是土花斑駁,古色古香。而不料過不幾天,他竟叫銅匠把它的土花和銅綠擦得一干二淨, 這才擺在客廳里,閃閃的發著銅光。這樣的擦得精光的古銅器,我一生中還沒有見過第二個。一切「雅士」,聽到的無不大笑,我在當時,也不禁由吃驚而失笑了, 但接著就變成肅然,好像得了一種啟示。這啟示並非「哲學的意蘊」,是覺得這才看見了近於真相的周鼎。鼎在周朝,恰如碗之在現代,我們的碗,無整年不洗之 理,所以鼎在當時,一定是乾乾淨淨,金光燦爛的,換了術語來說,就是它並不「靜穆」,倒有些「熱烈」。這一種俗氣至今未脫,變化了我衡量古美術的眼光,例 如希臘雕刻罷,我總以為它現在之見得「只剩一味醇樸」者,原因之一,是在曾埋土中,或久經風雨,失去了鋒棱和光澤的緣故,雕造的當時,一定是嶄新,雪白, 而且發閃的,所以我們現在所見的希臘之美,其實並不准是當時希臘人之所謂美,我們應該懸想它是一件新東西。

  凡論文藝,虛懸了一個「極境」,是要陷入「絕境」的,在藝術,會迷惘於土花,在文學,則被拘迫而「摘句」。但「摘句」又大足以困人,所以朱先生 就只能取錢起〔25〕的兩句,而踢開他的全篇,又用這兩句來概括作者的全人,又用這兩句來打殺了屈原,阮籍,李白,杜甫等輩,以為「都不免有些像金剛怒 目,憤憤不平的樣子」。其實是他們四位,都因為墊高朱先生的美學說,做了冤屈的犧牲的。

  我們現在先來看一看錢起的全篇罷:「省試湘靈鼓瑟善鼓雲和瑟,常聞帝子靈。馮夷空自舞,楚客不堪聽。苦調凄金石,清音入杳冥。蒼梧來怨慕,白芷動芳馨。流水傳湘浦,悲風過洞庭。曲終人不見,江上數峰青。」

  要證成「醇樸」或「靜穆」,這全篇實在是不宜稱引的,因為中間的四聯,頗近於所謂「衰颯」。但沒有上文,末兩句便顯得含胡,不過這含胡,卻也許 又是稱引者之所謂超妙。現在一看題目,便明白「曲終」者結「鼓瑟」,「人不見」者點「靈」字,「江上數峰青」者做「湘」字,全篇雖不失為唐人的好試帖,但 末兩句也並不怎麼神奇了。況且題上明說是「省試」〔26〕,當然不會有「憤憤不平的樣子」,假使屈原不和椒蘭〔27〕吵架,卻上京求取功名,我想,他大約 也不至於在考卷上大發牢騷的,他首先要防落第。

  我們於是應該再來看看這《湘靈鼓瑟》的作者的另外的詩了。但我手頭也沒有他的詩集,只有一部《大歷詩略》〔28〕,也是迂夫子的選本,不過篇數 卻不少,其中有一首是:「下第題長安客舍不遂青雲望,愁看黃鳥飛。梨花寒食夜,客子未春衣。世事隨時變,交情與我違。空餘主人柳,相見卻依依。」

  一落第,在客棧的牆壁上題起詩來,他就不免有些憤憤了,可見那一首《湘靈鼓瑟》,實在是因為題目,又因為省試,所以只好如此圓轉活脫。他和屈原,阮籍,李白,杜甫四位,有時都不免是怒目金剛,但就全體而論,他長不到丈六〔29〕。

  世間有所謂「就事論事」的辦法,現在就詩論詩,或者也可以說是無礙的罷。不過我總以為倘要論文,最好是顧及全篇,並且顧及作者的全人,以及他所 處的社會狀態,這才較為確鑿。要不然,是很容易近乎說夢的。但我也並非反對說夢,我只主張聽者心裡明白所聽的是說夢,這和我勸那些認真的讀者不要專憑選本 和標點本為法寶來研究文學的意思,大致並無不同。自己放出眼光看過較多的作品,就知道歷來的偉大的作者,是沒有一個「渾身是『靜穆』」的。陶潛正因為並非 「渾身是『靜穆』,所以他偉大」。現在之所以往往被尊為「靜穆」,是因為他被選文家和摘句家所縮小,凌遲了。

  八

  現在還在流傳的古人文集,漢人的已經沒有略存原狀的了,魏的嵇康,所存的集子里還有別人的贈答和論難〔30〕,晉的阮籍,集里也有伏義的來信 〔31〕,大約都是很古的殘本,由後人重編的。《謝宣城集》〔32〕雖然只剩了前半部,但有他的同僚一同賦詠的詩。我以為這樣的集子最好,因為一面看作者 的文章,一面又可以見他和別人的關系,他的作品,比之同詠者,高下如何,他為什麼要說那些話……現在採取這樣的編法的,據我所知道,則《獨秀文存》 〔33〕,也附有和所存的「文」相關的別人的文字。

  那些了不得的作家,謹嚴入骨,惜墨如金,要把一生的作品,只刪存一個或者三四個字,刻之泰山頂上,「傳之其人」〔34〕,那當然聽他自己的便, 還有鬼蜮似的「作家」,明明有天兵天將保佑,姓名大可公開,他卻偏要躲躲閃閃,生怕他的「作品」和自己的原形發生關系,隨作隨刪,刪到只剩下一張白紙,到 底什麼也沒有,那當然也聽他自己的便。如果多少和社會有些關系的文字,我以為是都應該集印的,其中當然夾雜著許多廢料,所謂「榛楛弗剪」〔35〕,然而這 才是深山大澤。現在已經不像古代,要手抄,要木刻,只要用鉛字一排就夠。雖說排印,糟蹋紙墨自然也還是糟蹋紙墨的,不過只要一想連楊村人之流的東西也還在 排印,那就無論什麼都可以閉著眼睛發出去了。〔36〕中國人常說「有一利必有一弊」,也就是「有一弊必有一利」:揭起小無恥之旗,固然要引出無恥群,但使 謙讓者潑剌起來,卻是一利。

  收回了謙讓的人,在實際上也並不少,但又是所謂「愛惜自己」的居多。「愛惜自己」當然並不是壞事情,至少,他不至於無恥,然而有些人往往誤認 「裝點」和「遮掩」為「愛惜」。集子裡面,有兼收「少作」的,然而偏去修改一下,在孩子的臉上,種上一撮白鬍須;也有兼收別人之作的,然而又大加揀選,決 不取謾罵誣蔑的文章,以為無價值。其實是這些東西,一樣的和本文都有價值的,即使那力量還不夠引出無恥群,但倘和有價值的本文有關,這就是它在當時的價 值。中國的史家是早已明白了這一點的,所以歷史里大抵有循吏傳,隱逸傳,卻也有酷吏傳和佞幸傳,有忠臣傳,也有奸臣傳。因為不如此,便無從知道全般。

  而且一任鬼蜮的技倆隨時消滅,也不能洞曉反鬼蜮者的人和文章。山林隱逸之作不必論,倘使這作者是身在人間,帶些戰斗性的,那麼,他在社會上一定 有敵對。只是這些敵對決不肯自承,時時撒嬌道:「冤乎枉哉,這是他把我當作假想敵了呀!」可是留心一看,他的確在放暗箭,一經指出,這才改為明槍,但又說 這是因為被誣為「假想敵」〔37〕的報復。所用的技倆,也是決不肯任其流傳的,不但事後要它消滅,就是臨時也在躲閃;而編集子的人又不屑收錄。於是到得後 來,就只剩了一面的文章了,無可對比,當時的抗戰之作,就都好像無的放矢,獨個人在向著空中發瘋。我嘗見人評古人的文章,說誰是「鋒棱太露」,誰又是「劍 拔弩張」,就因為對面的文章,完全消滅了的緣故,倘在,是也許可以減去評論家幾分懵懂的。所以我以為此後該有博採種種所謂無價值的別人的文章,作為附錄的 集子。以前雖無成例,卻是留給後來的寶貝,其功用與鑄了魑魅罔兩的形狀的禹鼎〔38〕相同。

  就是近來的有些期刊,那無聊,無恥與下流,也是世界上不可多得的物事,然而這又確是現代中國的或一群人的「文學」,現在可以知今,將來可以知 古,較大的圖書館,都必須保存的。但記得C君曾經告訴我,不但這些,連認真切實的期刊,也保存的很少,大抵只在把外國的雜志,一大本一大本的裝起來:還是 生著「貴古而賤今,忽近而圖遠」的老毛病。

  九

  仍是上文說過的所謂《珍本叢書》之一的張岱《琅嬛文集》,那捲三的書牘類里,有《又與毅儒八弟》的信,開首說:「前見吾弟選《明詩存》,有一字 不似鐘譚〔39〕者,必棄置不取;今幾社諸君子盛稱王李〔40〕,痛罵鐘譚,而吾弟選法又與前一變,有一字似鐘譚者,必棄置不取。鐘譚之詩集,仍此詩集, 吾弟手眼,仍此手眼,而乃轉若飛蓬,捷如影響,何胸無定識,目無定見,口無定評,乃至斯極耶?蓋吾弟喜鐘譚時,有鐘譚之好處,盡有鐘譚之不好處,彼蓋玉常 帶璞,原不該盡視為連城;吾弟恨鐘譚時,有鐘譚之不好處,仍有鐘譚之好處,彼蓋瑕不掩瑜,更不可盡棄為瓦礫。吾弟勿以幾社君子之言,橫據胸中,虛心平氣, 細細論之,則其妍丑自見,奈何以他人好尚為好尚哉!……」


 仍是上文說過的所謂《珍本叢書》之一的張岱《琅嬛文集》,那捲三的書牘類里,有《又與毅儒八弟》的信,開首說:「前見吾弟選《明詩存》,有一字不似鍾譚 〔39〕者,必棄置不取;今幾社諸君子盛稱王李〔40〕,痛罵鍾譚,而吾弟選法又與前一變,有一字似鍾譚者,必棄置不取。鍾譚之詩集,仍此詩集,吾弟手 眼,仍此手眼,而乃轉若飛蓬,捷如影響,何胸無定識,目無定見,口無定評,乃至斯極耶?蓋吾弟喜鍾譚時,有鍾譚之好處,盡有鍾譚之不好處,彼蓋玉常帶璞, 原不該盡視為連城;吾弟恨鍾譚時,有鍾譚之不好處,仍有鍾譚之好處,彼蓋瑕不掩瑜,更不可盡棄為瓦礫。吾弟勿以幾社君子之言,橫據胸中,虛心平氣,細細論 之,則其研(sic)/妍醜自見,奈何以他人好尚為好尚哉!……」



  這是分明的畫出隨風轉舵的選家的面目,也指證了選本的難以憑信的。張岱自己,則以為選文造史,須無自己的意見,他在《與李硯翁》的信里說:「弟 《石匱》一書,洶筆四十餘載,心如止水秦銅,並不自立意見,故下筆描繪,妍媸自見,敢言刻劃,亦就物肖形而已。……」然而心究非鏡,也不能虛,所以立「虛 心平氣」為選詩的極境,「並不自立意見」為作史的極境者,也像立「靜穆」為詩的極境一樣,在事實上不可得。數年前的文壇上所謂「第三種人」杜衡輩,標榜超 然,實為群醜,不久即本相畢露,知恥者皆羞稱之,無待這里多說了;就令自覺不懷他意,屹然中立如張岱者,其實也還是偏倚的。他在同一信中,論東林〔41〕 云:「……夫東林自顧涇陽講學以來,以此名目,禍我國家者八九十年,以其黨升沉,用占世數興敗,其黨盛則為終南之捷徑,其黨敗則為元祐之黨碑 〔42〕。……蓋東林首事者實多君子,竄入者不無小人,擁戴者皆為小人,招徠者亦有君子,此其間線索甚清,門戶甚迥。……東林之中,其庸庸碌碌者不必置 論,如貪婪強橫之王圖,奸險凶暴之李三才,闖賊首輔之項煜,上箋勸進之周鐘〔43〕,以致竄入東林,乃欲俱奉之以君子,則吾臂可斷,決不敢徇情也。東林之 尤可丑者,時敏〔44〕之降闖賊曰,『吾東林時敏也』,以冀大用。魯王監國,蕞爾小朝廷,科道任孔當〔45〕輩猶曰,『非東林不可進用』。則是東林二字, 直與蕞爾魯國及汝偕亡者。手刃此輩,置之湯鑊,出薪真不可不猛也。……」

  這真可謂「詞嚴義正」。所舉的群小,也都確實的,尤其是時敏,雖在三百年後,也何嘗無此等人,真令人驚心動魄。然而他的嚴責東林,是因為東林黨 中也有小人,古今來無純一不雜的君子群,於是凡有黨社,必為自謂中立者所不滿,就大體而言,是好人多還是壞人多,他就置之不論了。或者還更加一轉云:東林 雖多君子,然亦有小人,反東林者雖多小人,然亦有正士,於是好像兩面都有好有壞,並無不同,但因東林世稱君子,故有小人即可丑,反東林者本為小人,故有正 士則可嘉,苛求君子,寬縱小人,自以為明察秋毫,而實則反助小人張目。倘說:東林中雖亦有小人,然多數為君子,反東林者雖亦有正士,而大抵是小人。那麼, 斤量就大不相同了。

  謝國楨〔46〕先生作《明清之際黨社運動考》,鉤索文籍,用力甚勤,敘魏忠賢〔47〕兩次虐殺東林黨人畢,說道:「那時候,親戚朋友,全遠遠的躲避,無恥的士大夫,早投降到魏黨的旗幟底下了。說一兩句公道話,想替諸君子幫忙的,只有幾個書獃子,還有幾個老百姓。」

  這說的是魏忠賢使緹騎捕周順昌〔48〕,被蘇州人民擊散的事。誠然,老百姓雖然不讀詩書,不明史法,不解在瑜中求瑕,屎里覓道,但能從大概上 看,明黑白,辨是非,往往有決非清高通達的士大夫所可幾及之處的。剛剛接到本日的《大美晚報》〔49〕,有「北平特約通訊」,記學生遊行,被警察水龍噴 射,棍擊刀砍,一部分則被閉於城外,使受凍餒,「此時燕冀中學師大附中及附近居民紛紛組織慰勞隊,送水燒餅饅頭等食物,學生略解饑腸……」誰說中國的老百 姓是庸愚的呢,被愚弄誆騙壓迫到現在,還明白如此。張岱又說:「忠臣義士多見於國破家亡之際,如敲石出火,一閃即滅,人主不急起收之,則火種絕 矣。」(《越絕詩小序》)他所指的「人主」是明太祖,和現在的情景不相符。

  石在,火種是不會絕的。但我要重申九年前的主張:不要再請願〔50〕!

  十二月十八——十九夜。


  〔1〕本篇第六、七兩節最初發表於一九三六年一月上海《海燕》月刊第一期,八、九兩節最初發表於同年二月《海燕》第二期。〔2〕施蟄存對《集外集》的 批評,見他在《文飯小品》第五期(一九三五年六月)發表的《雜文的文藝價值》一文,其中說:「他(魯迅)是不主張『悔其少作』的,連《集外集》這種零碎文 章都肯印出來賣七角大洋;而我是希望作家們在編輯自己的作品集的時候,能稍稍定一下去取。因為在現今出版物蜂湧的情形之下,每個作家多少總有一些隨意應酬 的文字,倘能在編集子的時候,嚴格地刪定一下,多少也是對於自己作品的一種鄭重態度。」

  〔3〕梁實秋浙江杭縣(今餘杭)人,新月社的主要成員之一。一九三○年前後他任青島大學教授兼圖書館主任時,曾取締館藏馬克思主義書籍,包括魯迅所譯《文藝政策》在內。

  〔4〕蔡邕(132—192)字伯喈,陳留圉(今河南杞縣)人,東漢文學家。漢獻帝時任左中郎將。後王允誅董卓,他受牽連下獄,死於獄中。他的 著作流傳至今的有後人所輯的《蔡中郎文集》十卷。在蕭統《文選》中選有他的《郭有道碑文》。《述行賦》系有憤於當時宦官擅權而作。這里所引的四句,「工 巧」原作「變巧」,「委」原作「消」(《蔡中郎文集》、《續古文苑》所載並同)。《續古文苑》,二十卷,清代孫星衍編。

  〔5〕「願在絲而為履」四句,見陶潛所作《閒情賦》。他在該文的序中說:「始則蕩以思慮,而終歸閒正,將以抑流宕之邪心。」這里說「止於禮 義」,即指此。「止於禮義」,語見《詩經·關雎》序:「發乎情,止乎禮義。發乎情,民之性也;止乎禮義,先王之澤也。」〔6〕「精衛銜微木」四句,見陶潛 所作《讀山海經》之十。精衛事見《山海經·北山經》:「發鳩之山……有鳥焉……名曰精衛,其名自叫,是炎帝之少女……游於東海,溺而不返,故為精衛;常銜 西山之木石,以堙於東海。」形天事見《山海經·海外西經》:「形天與帝至此爭神,帝斷其首,葬之常羊之山。乃以乳為目,以臍為口,操干戚以舞。」

  〔7〕「金剛怒目」見《太平廣記》卷一七四引《談藪》:「隋吏部侍郎薛道衡嘗游鐘山開善寺,謂小僧曰:『金剛何為怒目,菩薩何為低眉?』小僧答曰:『金剛怒目,所以降伏四魔;菩薩低眉,所以慈悲六道。』」

  〔8〕《青光》上海《時事新報》的副刊。林語堂的話原見刊於《宇宙風》第六期(一九三五年十二月)他所作的《煙屑》,原文為:「吾好讀極上流書 或極下流書,中流書讀極少。上流如佛老孔孟庄生,下流如小調童謠民歌盲詞,潑婦罵街,船婆毒咒等。世界作品百分之九十五居中流,居中流者偷下襲上,但皆偷 的不好。」〔9〕《論語》文藝性半月刊,林語堂等編,一九三二年九月在上海創刊,以登載幽默文字為主,一九三七年八月出至第一一七期停刊。《人間世》,小 品文半月刊,林語堂主編,一九三四年四月在上海創刊,一九三五年十二月出至第四十二期停刊。《宇宙風》,小品文半月刊,林語堂、陶亢德編輯,一九三五年九 月在上海創刊,一九四七年八月出至第一五二期停刊。

  〔10〕「意德沃羅基」德語ldeologie的音譯,即「意識形態」。〔11〕張岱(1597—1679)字宗子,石公,號陶庵,浙江山陰 (今紹興)人,明末清初文學家。著有《石匱書》、《琅嬛文集》、《陶庵夢憶》等。《琅嬛文集》是他的詩文雜集,六卷,這里所指的「特印本」是《中國文學珍 本叢書》之一,由劉大傑校點,後面有乙亥(1935)十月盧前的跋文,其中說:「世方好公安竟陵之文,得宗子翩躚其間,化峭僻之途為康莊,知文章升降,故 有其自也。」盧前,字冀野(1905—1951),江蘇南京人,戲曲研究者,曾任光華大學、中央大學等校教授。

  〔12〕《景清刺》是一首關於景清謀刺永樂帝(朱棣)的樂府詩。參看本卷第175頁注〔18〕。

  〔13〕「本色」林語堂在《文飯小品》第六期(一九三五年七月)發表的《說本色之美》一文中說:「吾深信此本色之美。蓋做作之美,最高不過工品,妙品,而本色之美,佳者便是神品,化品,與天地爭衡,絕無斧鑿痕跡。」

  〔14〕《琴操》古琴曲,又指與古琴曲相配合的樂歌。張岱《琅嬛文集》中有《琴操》十章,《脊令操》是其中之一。脊令,一作鶺鴒,一種鳴禽類的小鳥。《詩經·小雅·常棣》:「脊令在原,兄弟急難。」後常喻作兄弟友愛。

  〔15〕關於唐太宗射殺建成元吉的事,據《新唐書·太宗皇帝本紀》載:「太子建成懼廢,與齊王元吉謀害太宗(按即李世民,時封秦王),未 發。(武德)九年(626)六月,太宗以兵入玄武門,殺太子建成及齊王元吉。」同書《隱太子建成傳》載:「秦王射建成即死,元吉中矢走,(尉遲)敬德追殺 之。」又同書《魏徵傳》載:「魏徵(580—643),字玄成,魏州曲城(今河北巨鹿)人……隱太子(建成)引為洗馬。征見秦王功高,陰勸太子早為計。太 子敗,王責謂曰:『爾鬩吾兄弟,奈何?』答曰:『太子早從征言,不死今日之禍。……』(貞觀)十七年,疾甚。……帝親問疾,屏左右,語終日乃還。……是 夕,帝夢征若平生,及旦,薨。帝臨哭,為之慟,罷朝五日。」〔16〕韓愈(768—824)字退之,河陽(今河南孟縣)人。唐代文學家。著有《韓昌黎 集》。「臣罪當誅兮天王聖明」是他模擬周文王(西伯)的口氣寫的詩《拘幽操——文王羑里作》中的句子。〔17〕《述酒》陶潛的這首詩,據南宋湯漢《陶靖節 詩注》卷三的注語,認為是為當時最重大的政治事變——晉宋易代而作:「晉元熙二年(420)六月,劉裕廢恭帝(司馬德文)為零陵王,明年,以毒酒一甖授張 偉使鴆王,偉自飲而卒;繼又令兵人逾垣進藥,王不肯飲,遂掩殺之。此詩所為作,故以《述酒》名篇也。」〔18〕《中學生》以中學生為對象的綜合性月刊。夏 丐尊、葉聖陶等編輯,一九三○年在上海創刊,開明書店出版。〔19〕朱光潛安徽桐城人,文藝理論家。北京大學教授。這里所說的文章發表於《中學生》雜志第 六十號(一九三五年十二月)。〔20〕《江賦》晉代郭璞作;《海賦》,晉代木華作。《小園》和《枯樹》,二賦是北周庾信作。

  〔21〕「只在此山中」二句,見唐代詩人賈島《尋隱者不遇》一詩。「笙歌歸院落」二句,見唐代詩人白居易《宴散》一詩。〔22〕「至心歸命禮」二句,是道教經典中常見的話,意思是誠心皈依道教,禮拜玉皇大帝。

  〔23〕沙孚(Sappho)通譯薩福,約公元前六世紀時的古希臘女詩人。她流傳至今的作品只有兩三篇完整的短詩和一些斷片,內容主要是歌頌愛情和友誼。

  〔24〕亞波羅希臘神話中光明、藝術與健康之神。〔25〕錢起(722—約780)字仲文,吳興(今屬浙江)人。唐天寶間進士,曾任考功郎中, 唐代詩人中「大歷十才子」之一。著有《錢考功集》。大歷,唐代宗李豫年號(766—779)。〔26〕「省試」唐代各州縣貢士到京城參加考試,由尚書省的 禮部主試,故稱省試或禮部試。

  〔27〕椒蘭指楚大夫子椒和楚懷王少子子蘭。屈原在《離騷》中說:「余既以蘭為可恃兮,羌無實而容長。……椒專佞以慢剝兮,"府鐘浞蚺遴! 本鶯蠛和躋葑Ⅲ*「蘭,懷王少弟(按應為少子)司馬子蘭也,……內無誠信之實,但有長大之貌,浮華而已。……椒,楚大夫子椒也,……行淫慢佞諛之志,又欲 援引面從不賢之類使居親近。」〔28〕《大歷詩略》清代喬億評選的唐詩選集,共六卷。〔29〕丈六佛家語,指佛的身量。晉代袁宏《後漢紀·明帝紀》載: 「佛身長一丈六尺。」

  〔30〕嵇康的著作今存《嵇中散集》十卷,有魯迅校本。集中附錄嵇喜、郭遐周等人的贈答詩共十四首,向子期、張遼叔等人的論難文共四篇。

  〔31〕阮籍的著作今存《阮籍集》十卷。集中有《答伏義書》,並錄有伏義的《與阮嗣宗書》。伏義,字公表,生平不詳。〔32〕《謝宣城集》南朝 齊詩人謝朓的詩文集,今存五卷,書後有宋代婁拜跋:「小謝自有全集十卷,但世所罕傳……考其上五卷,賦與樂章以外,詩乃百有二首,而唱和聯句,他人所囗見 者不與焉……其下五卷則皆當時應用之文;衰世之事,其可采者已載於本傳、《文選》,余視詩劣焉,無傳可也。」謝朓(464—499),字玄暉,陳郡陽夏 (今河南太康)人,曾官宣城太守。

  〔33〕《獨秀文存》陳獨秀的文集,一九二二年十一月上海亞東圖書館出版。內分論文、隨感錄、通信三類;其中附錄別人的論文、通信十四篇。

  〔34〕「傳之其人」語見司馬遷《報任少卿書》:「藏之名山,傳之其人。」

  〔35〕「榛楛弗剪」語出晉代陸機《文賦》:「彼榛楛之勿剪,亦蒙榮於集翠。」榛楛,叢生的荊棘。

  〔36〕楊村人曾在《現代》月刊第二卷第四期(一九三三年二月)發表《揭起小資產階級革命文學之旗》一文,聲稱:「無產階級已經樹起無產階級文 學之旗,而且已經有了鞏固的營壘,我們為了這廣大的小市民和農民群眾的啟發工作,我們也揭起小資產階級革命文學之旗,號召同志,整齊陣伍,也來扎住我們的 陣營。」〔37〕「假想敵」杜衡在《星火》第二卷第二期(一九三五年十一月)發表的《文壇的罵風》一文中說:「雜文是戰斗的。……但有時沒有戰斗的對象, 而這『戰斗的』雜文依然為人所需要,於是乎不得不去找『假想敵』。……至於寫這些文章的動機,……三分是為了除了雜文無文可寫,除了罵人無雜文可寫,除了 胡亂找『假想敵』無人可罵之故。」

  〔38〕禹鼎相傳夏禹鑄九鼎,象徵九州。《左傳》宣公三年載周大夫王孫滿的話:「昔夏之方有德也,遠方圖物,貢金九牧,鑄鼎象物,百物而為之 備,使民知神奸。故民入川澤山林,不逢不若;螭魅網兩莫能逢之。」據晉代杜預註:「螭(同魑),山神,獸形;魅,怪物;網兩,水神。」

  〔39〕鐘譚指明代文學家鐘惺(1574—1624)和譚元春(1586—1637)。二人都是湖廣竟陵(今湖北天門)人。他們在文學上主張抒 寫性靈、反對擬古,與袁中郎等的公安派基本相同;但為矯公安派的「浮淺」,提倡幽深孤峭的風格,以致流於冷澀,被稱為竟陵派。〔40〕幾社明末陳子龍、夏 允彝等在江蘇松江組織的文學社團。明亡後社中主要成員多參加抗清。王李,指明代文學家王世貞(1526—1590)和李攀龍(1514—1570)。他們 是提倡擬古的「後七子」的代表人物。

  〔41〕東林指明末的東林黨。主要人物有顧憲成、高攀龍等,他們聚集在無錫東林書院講學,議論時政,批評人物,對輿論影響很大。一部分比較正直 的官吏也和他們互通聲氣,形成了以上層知識分子為主的政治集團。明天啟五年(1625)他們遭到宦官魏忠賢的殘酷迫害和鎮壓,被殺害的達數百人。

  〔42〕元祐黨碑宋徽宗時,蔡京當權,奏請把宋哲宗(年號元祐)朝反對王安石新法的司馬光、蘇軾等三○九人鐫名立碑於太學端禮門前,指為奸黨,稱為黨人碑,或元祐黨碑。黨人子孫卻引以為榮,當黨人碑被毀之後,還重新摹刻。

  〔43〕王圖陝西耀州人,明萬歷時任吏部侍郎。李三才,陝西臨潼人,明萬歷時任鳳陽巡撫。項煜,吳縣(今屬江蘇)人,明崇禎時官至詹事,李自成 克北京,項歸降。周鐘,南直(今屬江蘇)金壇人,明崇禎癸未庶吉士,李自成克北京,周歸降。〔44〕時敏常熟(今屬江蘇)人。明崇禎時官兵科給事中、江西 督漕。李自成克北京,時歸降。

  〔45〕科道明清官制,都察院所屬禮、戶、吏、兵、刑、工六科給事中,及十五道監察御史,統稱為科道。任孔當在南明魯王小朝廷任浙江道監察御史。

  〔46〕謝國楨號剛主,河南安陽人,史學家。著有《晚明史籍考》、《明清之際黨社運動考》等。《明清之際黨社運動考》,一九三四年八月商務印書館出版。

  〔47〕魏忠賢(1568—1627)河間肅寧(今屬河北)人,明代天啟年間最跋扈的太監。曾利用特務機關東廠大殺較為正直有氣節的人。當時一 些趨炎附勢的無恥之徒對他競相諂媚,丑態百出。據《明史·魏忠賢傳》所載:「群小益求媚」,「相率歸忠賢稱義兒」,「監生陸萬齡至請以忠賢配孔子」。

  〔48〕周順昌(1584—1626)字景文,吳縣(今屬江蘇)人。天啟中任吏部文選司員外郎,後被魏忠賢陷害,死於獄中。《明史·周順昌傳》 載:「順昌為人剛方貞介,疾惡如仇……及聞逮者至,眾咸憤怒,號冤者塞道。至開讀日,不期而集者數萬人,咸執香為周吏部乞命……蜂擁大呼,勢如山崩。"縹 徑鞔埽謐鶯崤夠鰨*斃一人,余負重傷,逾垣走……順昌乃自詣吏,又三日,北行。」

  〔49〕《大美晚報》一九二九年四月美國人撒克里(TOThac-krey)在上海創辦的英文報紙,一九三三年一月另出漢文版。一九四九年五月上海解放後停刊。這里所說的學生遊行,是指「一二九」學生運動。

  〔50〕關於不要再請願的主張,參看《華蓋集續編·「死地」》。

凱綏·柯勒惠支版畫選集


柯勒惠支的作品首次被魯迅*先生介紹到中國,對中國現代版畫的發展起了很大的影響。魯迅評價她的作品是:「她以深廣的慈母之愛,為一切被侮辱和損害者悲哀,抗議,憤怒,鬥爭;所取的題材大抵是困苦,飢餓,流離,疾病,死亡,然而也有呼聲,掙扎,聯合和奮起。」--凱綏·柯勒惠支版畫選集 序目1936/2/17







Käthe Kollwitz 凱綏·柯勒惠支 (原名Kaethe Schmidt 夫姓Kollwitz )



 凯绥·珂勒惠支(Kaethe Kollwitz)的早期作品《织工反抗》《起义》和《死神与妇女》《李卜克内西》《战争》(组画)等,以尖锐的形式把在资本主义制度下工人阶级的悲惨命 运和勇于斗争的精神传达出来。凯绥·勖密特(Kaethe Schmidt)以一八六七年七月八日生于东普鲁士的区匿培克(Koenigsberg)。她的外祖父是卢柏(Julius Rupp),即那地方的自由宗教协会的创立者。父亲原是候补的法官,但因为宗教上和政治上的意见,没有补缺的希望了,这穷困的法学家便如俄国人之所说: “到民间去”,做了木匠,一直到卢柏死后,才来当这教区的首领和教师。他有四个孩子,都很用心的加以教育,然而先不知道凯绥的艺术的才能。凯绥先学的是刻 铜的手艺,到一八八五年冬,这才赴她的兄弟在研究文学的柏林,向斯滔发·培伦(Stauffer Bern)去学绘画。后回故乡,学于奈台(Neide),为了“厌倦”,终于向闵兴的哈台列克(Herterich)那里去学习了。   一八九一年,和她兄弟的幼年之友卡尔·珂勒惠支(KarlKollwitz)结 婚,他是一个开业的医生,于是凯绥也就在柏林的“小百姓”之间住下,这 才放下绘画,刻起版画来。待到孩子们长大了,又用力于雕刻。一八九八年, 制成有名的《织工一揆》计六幅,取材于一八四四年的史实,是与先出的霍普德曼(Gerhart Hauptmann)的剧本同名的;一八九九年刻《格莱亲》,零 一年刻《断头台边的舞蹈》;零四年旅行巴黎;零四至八年成连续版画《农 民战争》七幅,获盛名,受 VillaRomana 奖金,得游学于意大利。这时她和 一个女友由佛罗棱萨步行而入罗马,然而这旅行,据她自己说,对于她的艺 术似乎并无大影响。一九○九年作《失业》,一○年作《妇人被死亡所捕》 和以“死”为题材的小图。   世界大战起,她几乎并无制作。一九一四年十月末,她的很年青的大儿子以义勇兵死于弗兰兑伦(Flandern)战线上。一八年十一月,被选为普鲁 士艺术学院会员,这是以妇女而入选的第一个。从一九年以来,她才仿佛从 大梦初醒似 的,又从事于版画了,有名的是这一年的纪念里勃克内希(Liebknecht)的木刻和石刻,零二至零三年的木刻连续画《战争》,后来又有三幅《无产 者》,也是木刻连续画。一九二七年为她的六十岁纪念,霍 普德曼那时还是一个战斗的作家,给她书简道:“你的无声的描线,侵人心髓,如一种惨苦的呼声;希腊和罗马时候都没有听到过的呼声。”法国罗曼·罗 兰(Romain Rolland)则说:“凯绥·珂勒惠支的作品是现代德国的最伟大 的诗歌,它照出穷人与平民的困苦和悲痛。这有丈夫气概的妇人,用了阴郁 和纤秾的同情,把这些收在她的眼中,她的慈母的腕里了。这是做了牺牲的 人民的沉默的声音。”然而她在现在,却不能教授,不能作画,只能真的沉 默的和她的儿子住在柏林了;她的儿子像那父亲一样,也是一个医生。   在女性艺术家之中,震动了艺术界的,现代几乎无出于凯绥·珂勒惠支 之上——或者赞美,或者攻击,或者又对攻击给她以辩护。诚如亚斐那留斯   (Ferdinand Avenarius)之所说:“新世纪的前几年,她第一次展览作品的 时候,就为报章所喧传的了。从此以来,一个说,‘她是伟大的版画家’; 人就过作无聊的不成话道:‘凯绥·珂勒惠支是属于只有一个男子的新派版 画家里的’。别一个说:‘她是社会民主主义的宣传家’。第三个却道:‘她 是悲观的困苦的画手’。而第四个又以为‘是一个宗教的艺术家’。要之: 无论人们怎样地各以自己的感觉和思想来解释这艺术,怎样地从中只看见一种的意义——然而有一件事情是普遍的:人没有忘记她。谁一听到凯绥·珂 勒惠支的名姓,就仿佛看见这艺术。这艺术是阴郁的,虽然都在坚决的动弹, 集中于强韧的力量,这艺术是统一而单纯的——非常之逼人。”   她以深广的慈母之爱,为一切被侮辱和损害者悲哀,抗议,愤怒,斗争;所取的题材大抵是困苦,饥 饿,流离,疾病,死亡,然而也有呼号,挣扎,联合和奋起。 此后又出了一本新集(Das Neue K. Kollwitz Werk,1933),却更多明朗之 作了。霍善斯坦因(Wilhelm Hausenstein)批评她中期的作品,以为虽然间 有鼓动的男性的版画,暴力的恐吓,但在根本上,是和颇深的生活相联系, 形式也出于颇激的纠葛的,所以那形式,是紧握着世事的形相。永田一修并 取她的后来之作,以这批评为不足,他说凯绥·珂勒惠支的作品,和里培尔 曼(Max Liebermann)不同,并非只觉得题材有趣,来画下层世界的;她因 为被周围的悲惨生活所动,所以非画不可,这是对于榨取人类者的无穷的“愤 怒”。“她照目前的感觉,——永田一修说——描写着黑土的大众。她不将 样式来范围现象。时而见得悲剧,时而见得英雄化,是不免的。然而无论她 怎样阴郁,怎样悲哀,却决不是非革命。她没有忘却变革现社会的可能。而且愈入老境,就愈脱离了悲剧的,或者英雄的,阴暗的形式。”

编辑本段珂勒惠支与中国

  德国女画家凯绥•珂勒惠支是本世纪很有影响的画家。中国曾出版过她的版画集、开过她的画展,可以那么说,我国老一辈的版画家都间接地成了她的学生。直到今天,在他们的每一幅作品中,都能明白无误地辨认出珂勒惠支鲜明风格的刀法和造型等。

1.来自哥尼斯堡的姑娘

  凯绥•珂勒惠支本姓施密特(Schmidt),1867年7月8日出生于德国哥尼斯堡。她的外祖父和父亲都是崇尚法国革命、参与民主运动的。在家庭的影响下,她以自己的艺术投身于工人运动。   1889年,珂勒惠支到慕尼黑深造绘画艺术,受德国著名的版画家麦克思•克林格尔铜版画技法的 影响很深。后来,当珂勒惠支的组画《农民战争》称誉德国艺坛时,克林格尔还代表艺术学院授予她维拉•罗马奖金。珂勒惠支在去慕尼黑之前,1885年已经在 柏林学过绘画,但慕尼黑之行,却奠定了她成为版画家的基础。   1891年,她与卡尔•珂勒惠支结婚。卡尔是个医生,婚后,他们一个为工人、贫民治病,一个作画。我们在珂勒惠支的版画中,发现大量表现贫病交迫的工人生活版画和赈济病人、扶救妇孺的宣传画,就是画家生活的写照和感受。   1894年至1898年间,珂勒惠支完成了第一套由6幅铜版画和石版画组成的组画《织工的反 抗》。史沫特莱在《珂勒惠支版画集•序言》中说:这套组画"第一次描写了在发展中的资本主义下的德国劳动阶级的痛苦生活,——跟今日中国的工人同样的痛苦 生活。"这套组画取材自1844年西里西亚纺织工人暴动史实。   1904年至1908年,珂勒惠支又完成了7幅铜版组画《农民战争》,这套组画以其深刻的内容和无与伦比的精湛的铜版画艺术技法,轰动德国绘画界。著名画家克林格尔、利勃尔曼等,都给以很高的评价。国家艺术馆收藏了她的版画。   1928年,珂勒惠支被选为柏林艺术学院版画部主任,同时被授予教授的学衔,这是德国艺术教育界的第一个女教授。   1933年,希特勒对进步文化界实行法西斯镇压。在首批受迫害的人中,就有珂勒惠支。她被解除 一切职务,作品禁止展览和出版。但是全世界的进步人士都尊敬这位杰出的版画家。罗曼•罗兰称颂道:"珂勒惠支的作品是现代德国的最伟大的诗歌,它照出穷人 与平民的困苦和悲痛。"   1945年4月22日,珂勒惠支逝世于德累斯顿附近的摩里茨堡。

2.作品传入中国

  把珂勒惠支版画介绍到中国来的第一个人是鲁迅。   1931年9月20日出版的《北斗》创刊号上,有一幅珂勒惠支木刻组画《战争》中的第一幅《牺牲》。作为珂勒惠支第一幅介绍到中国来的版画,有着深刻的含义。这是鲁迅为纪念"左联"五烈士柔石等特意选刊的。   这幅木刻画的是一个母亲悲哀地闭上眼睛,交出她的孩子。后来鲁迅在《写于深夜里》一文中说:柔 石被害时,报章上毫无记载,"许多人都明白他不在人间里,……只有他那双目失明的母亲,我知道她一定还以为她的爱子仍在上海翻译和校对。偶然看到德国书店 的目录上有这幅《牺牲》,便将它投寄《北斗》了,算是我的无言的纪念。"柔石等牺牲后,鲁迅还曾写信给珂勒惠支,请她画一幅烈士被害情形的图画作为纪念。 但她来信说不能,因为她没有看到过真实的情形,而且对中国的事物又很生疏。   1930年7月15日鲁迅收到诗荃寄来的5种珂勒惠支的画集,画家高度的思想力量和精湛的艺术 技巧,引起鲁迅的重视,遂产生了搜集珂勒惠支原拓版画的念头。后来,鲁迅就托史沫特莱写信去求购,先后购得组画《织工的反抗》、《农民战争》及别的版画, 都是署有珂勒惠支亲笔签名的精拓品。此后,鲁迅将这些画陆续发表在刊物上。   1932年11月,鲁迅在《文学月报》第1卷第4期上,发表《"连环图画"辩护》,同时选发珂 勒惠支黑白木刻组画《无产阶级》中的两幅。1933年2月7、8日,鲁迅写了《为了忘却的纪念》一文,在同年4月1日《现代》第2卷第6期上发表的同时, 选登了柔石烈士的照片和手迹,并再次刊出《牺牲》。1935年10月,鲁迅还在《译文》上,介绍过黑白木刻《纪念李卜克内西》。这是珂勒惠支所作的第一幅 黑白木刻,也是她唯一的一幅表现工人运动领袖人物的作品。鲁迅写于1936年4月7日的《写于深夜里》的文章,在英文刊物《Thevoiceof China》(《中国的呼声》)上发表时,他又选发了《农民战争》组画之五《反抗》,这是被评论家称为珂勒惠支把自己画进反抗行列的著名的一幅。   1931年8月17日鲁迅在上海举办木刻讲习会,请内山完造的弟弟内山嘉吉来讲解版画创作技法,自己当翻译。这是我国第一个创作木刻技法讲习会。20日,鲁迅将珂勒惠支亲笔签名的一套组画《织工的反抗》送给内山嘉吉。   当时参加讲习会的江丰回忆道,鲁迅先生曾对学员们说,由于《农民战争》这套组画特别感动他,因此写信请珂勒惠支创作表现太平天国农民运动的版画,但未成。1932年,江丰被捕入狱,鲁迅通过关系送给江丰国外版的珂勒惠支版画集一册,鼓励他继续从事木刻。   鲁迅自1931年收到珂勒惠支的版画后,在与木刻青年会晤或通信时,经常谈起珂勒惠支先进的艺 术思想、严格的创作态度和精湛的版画技法,一再要求木刻青年学习珂勒惠支。3.《凯绥•珂勒惠支版画选集》的出版  中国出版的第一本《凯绥•珂勒惠支版 画选集》,是1936年5月由鲁迅自费以三闲书屋名义出版的。这是中德人民文化交流的一件纪念品。   这本书不但内容精彩,就是装帧也早为出版界盛称。它由鲁迅编印并自行设计封面,为4开本,前有 茅盾译亚格纳斯•史沫德黎序文,内收版画21幅,其中石版画7幅、铜版画14幅。此外,在《序》中还附有3幅黑白木刻。这些版画一部分采自原拓本,一部分 从德国艺术护卫社画帖中选取。21幅画系在北平故宫博物院的印刷厂,用珂罗版、宣纸精印,线装包角、磁青纸封面上粘有鲁迅手书的题签,显得质朴大方,清新 悦目。   《凯绥•珂勒惠支版画选集》是鲁迅生前亲自编选的最后一本版画集,自病前病后,前后经年。原定 1936年5月出版,中途因鲁迅病势转剧,一度工作停顿。至7月间,健康转佳,在酷暑中,鲁迅和许广平一起在地席上,一页页地将印刷好的宣纸,排正次序, 衬添夹层,然后送到印刷所,以中国民族传统的线装装订成册。   这本版画选集限于财力,又要求印得精美,可以作为艺术学徒的范本,所以只印了103部,其中 40部为赠送本,30部在国外发售,在国内仅售了33部。现在,已很难觅到这个珍贵的版本。鲁迅希望能够翻印此书,在画册扉页上印着:"有人翻印,功德无 量"。1936年10月,上海文化生活出版社根据初版本,用铜版纸缩小重印了该书。分精装、平装两种版本,都为16开本,其中精装印了500本、平装印了 1000本。至此该书便广为流传,为艺林所推崇。

4.在中国开画展

  珂勒惠支的作品在中国展出,是在1932年6月4日开幕的德国版画展览会。   这个展览会由德侨汉堡嘉夫人出面主持的,展出的作品由鲁迅提供。   1933年10月14日第二次外国木刻展览时,又展出了珂勒惠支版画。这一次展览很成功,鲁迅在展览会场上,与木刻青年们谈起收集珂勒惠支原拓版画的情况,还提到他曾经和珂勒惠支通信的事。   过了半个多世纪,1992年,在上海再次举行珂勒惠支作品展。展出80多幅珂勒惠支的木刻、石版及铜版画。参观者中,有白发苍苍的画界老前辈,有刚踏入美术界的青年,也有美术爱好者,他们在展品前流连忘返,细细地品味珂勒惠支与中国的千丝万缕的缘分和其作品的本身。   ——《德国研究》1999年1期

5.鲁迅与珂勒惠支

   当印造凯绥·珂勒惠支(KaetheKollwitz)所作版画的选集时,曾请史沫德黎(ASmedley)(2)女士做一篇序。自以为这请得非常合 适,因为她们俩原极熟识的。不久做来了,又逼着茅盾先生译出,现已登在选集上。其中有这样的文字:“许多年来,凯绥·珂勒惠支——她从没有一次利用过赠授 给她的头衔(3)——作了大量的画稿,速写,铅笔作的和钢笔作的速写,木刻,铜刻。把这些来研究,就表示着有二大主题支配着,她早年的主题是反抗,而晚年 的是母爱,母性的保障,救济,以及死。而笼照于她所有的作品之上的,是受难的,悲剧的,以及保护被压迫者深切热情的意识。   “有一次我问她:‘从前你用反抗的主题,但是现在你好像很有点抛不开死这观念。这是为什么呢?’用了深有所苦的语调,她回答道,‘也许因为我是一天一天老了!’……”   我那时看到这里,就想了一想。算起来:她用“死”来做画材的时候,是一九一○年顷;这时她不过 四十三四岁。我今年的这“想了一想”,当然和年纪有关,但回忆十余年前,对于死却还没有感到这么深切。大约我们的生死久已被人们随意处置,认为无足重轻, 所以自己也看得随随便便,不像欧洲人那样的认真了。有些外国人说,中国人最怕死。这其实是不确的,——但自然,每不免模模胡胡的死掉则有之。   ——节选自鲁迅《死》   距今已有七十二载的1931年,对于中国的版画艺术来说,有着划时代的意义。在经历了明清两季 的鼎盛之后,中国的版画艺术终于在国运衰弱的清末出现了难以为继的式微和没落。是鲁迅,在他用如橡大笔进行韧性的文学战斗的同时,竖起了又一面大纛:版 画!这场由鲁迅倡导发起的、志在重振中国版画艺术的运动,有一个十分贴切而又响亮的名字:“新兴版画运动。”这一年,正是1931年。   与此同时,在世界另一端的欧洲,德国版画家凯绥·珂勒惠支已经64岁,早就以其富于抗争精神和 表现母爱的悲怆而深沉的版画,赢得了世界声誉。法国作家罗曼·罗兰说:“凯绥·珂勒惠支的作品是现代德国的最伟大的诗歌,它照出穷人与平民的困苦和悲痛。 这有丈夫气概的妇人,用了阴郁和纤浓的同情,把这些收在她的眼中,她的慈母的腕里了。这是做了牺牲的人民的沉默的声音。”   凯绥·珂勒惠支1867年生于德国哥尼斯堡,1885年在柏林学习绘画,1889年又前往慕尼 黑深造,学习铜版技法,并开始用版画表现工人的生活。1898年她完成了组画《织工的反抗》;1908年创造了组画《农民战争》,由此轰动了德国画坛,荣 获维拉·罗马奖。1914年第一次世界大战爆发,她的大儿子在战火中阵亡。十月革命后,她又创作了组画《战争》和《无产者》。1927年,珂勒惠支应邀访 问苏联。1928年,她作为德国艺术教育界第一位女教授被选为柏林艺术学院版画系主任。但是时隔不久,希特勒上台,她即被开除了一切职务。自此,她以沉默 为抗议,度过余生。   鲁迅倡导现代版画运动,以介绍包括德国在内的欧洲版画新作、举办“青年木刻讲习会”为滥觞。从1930年起,他委托当时正在德国留学的徐诗筌(梵澄)购买德国和法国的版画,还请珂勒惠支的好友,当时在上海的美国进步作家史沫特莱写信去求购。据《鲁迅日记》载:   1930年7月15日,“收诗筌所寄Kathe Kollwitz画集五种。”   1931年6月23日,“收到诗筌所寄Kathe Kollwitz画选”一贴。   1931年4月7日,“托A·Smedley寄K·Kollwitz一百马克买版画”。   1931年5月24日,“收到Kathe Kollwitz版画十二枚,值百二十元”。   1931年7月24日,“得Kathe Kollwitz作版画十枚,共泉百十四元”。   1931年,2月7日,柔石、李伟森、胡也频、殷夫、冯铿等左联五烈士被国民党反动派秘密杀害 于上海龙华。这一暴行立即引起了世界进步文化人士的强烈抗议,而珂勒惠支正是在抗议书上签名的一位。鲁迅特意从上海德国书店购得珂勒惠支的木刻《牺牲》, 刊登在正要创刊的左联机关刊物《北斗》上,以表示对柔石等五位青年作家的纪念。鲁迅在后来的《写于深夜里》一文中写道:   一九三一年——我忘了月份了——创刊不久便被禁止的杂志《北斗》第一本上,有幅木刻画,是一个 母亲,悲哀的闭了眼睛,交出她的孩子去。这是珂勒惠支教授(Prof. Kathe Kollwitz)的木刻连续画《战争》的第一幅,题目叫做《牺牲》;也是她的版画绍介进中国来的第一幅。   这幅木刻是我寄去的,算是柔石遇害的纪念。他是我的学生和朋友,一同绍介外国文艺的人,尤喜欢 木刻,……然而不知道为了什么,突然被捕了,不久就在龙华和别的五个青年作家同时枪毙。当时的报章上毫无记载,大约是不敢,也不能记载,然而许多人都明白 他不在人间了,因为这是常有的事。只有他那双目失明的母亲,我知道她一定还以为她的爱子仍在上海翻译和校对。   1932年2月,鲁迅又写下《为了忘却的纪念》一文,以纪念左联五烈士,当该文在《现代》杂志上发表时,又一次刊印了珂勒惠支的这幅《牺牲》。   1931年8月,鲁迅请来了内山书店老板内山完造的胞弟内山嘉吉,在北四川路底长春路的一幢三 层楼房的顶层,日语学校的一间教室,举办“中国木刻青年讲习会”,由鲁迅自任翻译,并且还亲自讲了三次,其中的一次即是让大家一起观摩珂勒惠支的版画。据 当时参加讲习会的江丰回忆:   ……一次是鲁迅先生带来刚从德国托人买来的凯绥·珂勒惠支夫人的代表作——《农民战争》七幅铜 版组画作观摩。这组版画,是作者签名的十份中的一份。按欧洲的惯例,凡名作家签名的版画作品,一般只供美术馆收藏和展览会之用,不卖给私人的。想必这是由 于鲁迅先生的名望以及通过她与版画作者双方都是好友的美国女作家史沫特莱的关系,才得到这组珍贵的版画的。鲁迅先生对这位“和颇深的生活相联系”并“被周 围的悲惨生活所动”的大艺术家,而且她又是全世界进步文艺家联合抗议国民党反动派杀害左联五个青年作家的抗议书上的签名者,因而在谈话中表示由衷的敬佩。 当时他对学员们讲述珂勒惠支的生平和艺术成就时,想必是出于爱护艺术珍品的心意,出现了一个异常现象,平时不停吸烟的鲁迅先生竟没有吸一口烟,而且这次观 摩的时间又特别长,超过了规定的下课时间。   我记得,在这次观摩会上,鲁迅先生还说:他曾去信给当时在德国的史沫特莱,请她转达珂勒惠支是否可以创作一组中国农民战争——太平天国的铜版画。鲁迅先生这一愿望没有实现,因为这位德国大艺术家不大了解中国人的生活。实现这一愿望的,该是中国版画家了!   还在刚开始构藏珂勒惠支版画时,鲁迅就按捺不住内心的激动,急于向中国民众推介她的作品。 1930年10月间,由鲁迅先生策划组织,内山完造赞助,另一位日本友人谦田诚一具体操办,在北四川路“购买组合”第一店的楼上,举办“版画展览会”。由 于珂勒惠支的版画所具有的战斗性和反抗性,为避免反动派的寻衅闹事,特意把它们分散在几个房间。这是中国近代最早的版画展览会之一,引起了各方面的关注, 使中国的文艺界对版画有了初步的认识。   1931年末,寓居上海的第三国际工作人员、开设瀛寰图书公司的德国汉堡嘉 (Hamburger)夫人,筹办“德国作家版画展”,展品全部由鲁迅提供,其中包括珂勒惠支的多幅作品。由于种种原因,展览延至次年6月4日才正式举 行。鲁迅特意撰写《介绍德国创作版画展》一文,发表在左联机关报《文艺新闻》上。

编辑本段作品

  (1)《自画像》(Selbstbild)。石刻,制作年代未详,按《作品集》所 列次序,当成于一九一○年顷;据原拓本,原大 34×30cm.这是作者从许多 版画的肖像中,自己选给中国的一幅,隐然可见她的悲悯,愤怒和慈和。   (2)《穷苦》(Not)。石刻,原大 15×15cm.据原版拓本,后五幅同。 这是有名的《织工一揆》(Fin Weberaufstand)的第一幅,一八九八年作。 前四年,霍普德曼的剧本《织匠》始开演于柏林的德国剧场,取材是一八四 四年的勖列济安(Schlesien)麻布工人的蜂起,作者也许是受着一点这作品的影响的,但这可以不必深论,因为那是剧本,而这却是图画。我们借此进了 一间穷苦的人家,冰冷,破烂,父亲抱一个孩子,毫无方法的坐在屋角里, 母亲是愁苦的,两手支头,在看垂危的儿子,纺车静静的停在她的旁边。   (3)《死亡》(Tod)。石刻,原大 22×18cm.同上的第二幅。还是冰冷的房屋,母亲疲劳得睡去了,父亲还是毫无方法的,然而站立着在沉思他的无法。桌上的烛火尚有余光,“死”却已经近 来,伸开他骨出的手,抱住了弱小的孩子。孩子的眼睛张得极大,在凝视我们,他要生存,他至死还在希 望人有改革运命的力量。   (4)《商议》(Beratung)。石刻,原大 27×17cm.同上的第三幅。接着 前两幅的沉默的忍受和苦恼之后,到这里却现出生存竞争的景象来了。我们只在黑暗中看见一片桌面,一只杯子和两个人,但为的是在商议摔掉被践踏 的运命。   (5)《织工队》(Weberzug)。铜刻,原大 22×29cm.同上的第四幅。队 伍进向吮取脂膏的工场,手里捏着极可怜的武器,手脸都瘦损,神情也很颓 唐,因为向来总饿着肚子。队伍中有女人,也疲惫到不过走得动;这作者所 写的大众里,是大抵有女人的。她还背着孩子,却伏在肩头睡去了。   (6)《突击》(Sturm)。铜刻,原大 24×29cm.同上的第五幅。工场的 铁门早经锁闭,织工们却想用无力的手和可怜的武器,来破坏这铁门,或者 是飞进石子去。女人们在助战,且痉挛的手,从地上挖起石块来。孩子哭了, 也许是路上睡着的那一个。这是在六幅之中,人认为最好的一幅,有时用这 来证明作者的《织工》,艺术达到怎样的高度的。

(7)《收场》(Ende)。铜刻,原大 24×30cm.同上的第六和末一幅。我们到底又和织工回到他们的家里来,织机默默的停着,旁边躺着两具尸体, 伏着一个女人;而门口还在抬进尸体来。这是四十年代,在德国的织工的求 生的结局。   (8)《格莱亲》(Gretchen)。一八九九年作,石刻;据《画帖》,原大未详。歌德 (Goethe)的《浮士德》(Faust)有浮士德爱格莱亲,诱与通情, 有孕;她在井边,从女友听到邻女被情人所弃,想到自己,于是向圣母供花 祷告事。这一幅所写的是这可怜的少女经过极狭的桥上,在水里幻觉的看见 自己的将来。她在剧本里,后来是将她和浮士德所生的孩子投在水里淹死, 下狱了。原石已破碎。   (9)《断头台边的舞蹈》(Tanz Um Die Guillotine)。一九○一年作,铜刻;据《画帖》,原大未详。是法国大革命时候的一种情景:断头台造起 来了,大家围着它,吼着“让我们来跳加尔玛弱儿舞罢!”(Dansons La Carmagnole!)的歌,在跳舞。不是一个,是为了同样的原因而同样的可怕 了的一群。周围的破屋,像积叠起来的困苦的峭壁,上面只见一块天。狂暴 的人堆的臂膊,恰如净罪的火焰一般,照出来的只有一个阴暗。   (10)《耕夫》(Die Pflueger)。原大 31×45cm.这就是有名的历史的 连续画《农民战争》(Bauernkrieg)的第一幅。画共七幅,作于一九○四至○八年,都是铜刻。现在据以影印的也都是原拓本。“农民战争”是近代德 国最大的社会改革运动之一,以一五二四年顷,起于南方,其时农民都在奴 隶的状态,被虐于贵族的封建的特权;玛丁·路德既提倡新教,同时也传播 了自由主义的福音,农民就觉醒起来,要求废止领主的苛例,发表宣言,还 烧教堂,攻地主,扰动及于全国。然而这时路德却反对了,以为这种破坏的 行为,大背人道,应该加以镇压,诸侯们于是放手的讨伐,恣行残酷的复仇, 到第二年,农民就都失败了,境遇更加悲惨,所以他们后来就称路德为“撒 谎博士”。这里刻划出来的是没有太阳的天空之下,两个耕夫在耕地,大约 是弟兄,他们套着绳索,拉着犁头,几乎爬着的前进,像牛马一般,令人仿佛看见他们的流汗,听到他们的喘息。后面还该有一个扶犁的妇女,那恐怕 总是他们的母亲了。   (11)《凌辱》(Vergewaltigt)。同上的第二幅,原大 35×53cm.男人 们的受苦还没有激起变乱,但农妇也遭到可耻的凌辱了;她反缚两手,躺着, 下颏向天,不见脸。死了,还是昏着呢,我们不知道。只见一路的野草都被 蹂躏,显着曾经格斗的样子,较远之处,却站着可爱的小小的葵花。   (12)《磨镰刀》(Beim Dengeln)。同上的第三幅,原大 30×30cm.这 里就出现了饱尝苦楚的女人,她的壮大粗糙的手,在用一块磨石,磨快大镰 刀的刀锋,她那小小的两眼里,是充满着极顶的憎恶和愤怒。   (13)《圆洞门里的武装》(Bewaffnung In Einem Gewo-elbe)。同上的 第四幅,原大 50×33cm.大家都在一个阴暗的圆洞门下武装了起来,从狭窄的戈谛克式阶级蜂拥而上:是一大群拼死的农民。光线愈高愈少;奇特的半 暗,阴森的人相。   (14)《反抗》(Losbruch)。同上的第五幅,原大 51×50cm.谁都在草 地上没命的向前,最先是少年,喝令的却是一个女人,从全体上洋溢着复仇 的愤怒。她浑身是力,挥手顿足,不但令人看了就生勇往直前之心,还好像 天上的云,也应声裂成片片。她的姿态,是所有名画中最有力量的女性的一个。也如《织工一揆》里一样,女性总是参加着非常的事变,而且极有力, 这也就是“这有丈夫气概的妇人”的精神。   (15)《战场》(Schlachtfeld)。同上的第六幅,原大 41×53cm.农民们打败了,他们敌不过官兵。剩在战场上的是什么呢?几乎看不清东西。只 在隐约看见尸横遍野的黑夜中,有一个妇人,用风灯照出她一只劳作到满是 筋节的手,在触动一个死尸的下巴。光线都集中在这一小块上。这,恐怕正 是她的儿子,这处所,恐怕正是她先前扶犁的地方,但现在流着的却不是汗 而是鲜血了。   (16)《俘虏》(Die Gefangenen)。同上的第七幅,原大 33×42cm.画里是被捕的孑遗,有赤脚的,有穿木鞋的,都是强有力的汉子,但竟也有儿 童,个个反缚两手,禁在绳圈里。他们的运命,是可想而知的了,但各人的 神气,有已绝望的,有还是倔强或愤怒的,也有自在沉思的,却不见有什么 萎靡或屈服。   (17)《失业》(Arbeitslosigkeit)。一九○九年作,铜刻;据《画帖》,原大 44×54cm.他现在闲空了,坐在她的床边,思索着——然而什么法子也 想不出。那母亲和睡着的孩子们的模样,很美妙而崇高,为作者的作品中所 罕见。   (18)《妇人为死亡所捕获》(Frau Vom Tod Gepackt),亦名《死和女 人》(Tod Und Weib)。一九一○年作,铜刻;据《画帖》,原大未详。“死” 从她本身的阴影中出现,由背后来袭击她,将她缠住,反剪了;剩下弱小的 孩子,无法叫回他自己的慈爱的母亲。一转眼间,对面就是两界。“死”是 世界上最出众的拳师,死亡是现社会最动人的悲剧,而这妇人则是全作品中 最伟大的一人。   (19)《母与子》(Mutter Und Kind)。制作年代未详,铜刻;据《画帖》, 原大 19×13cm.在《凯绥·珂勒惠支作品集》中所见的百八十二幅中,可指 为快乐的不过四五幅,这就是其一。亚斐那留斯以为从特地描写着孩子的呆气的侧脸,用光亮衬托出来之处,颇令人觉得有些忍俊不禁。   (20)《面包!》(Brot!)。石刻,制作年代未详,想当在欧洲大战之 后;据原拓本,原大 30×28cm.饥饿的孩子的急切的索食,是最碎裂了做母亲的心的。这里是孩子们徒然张着悲哀,而热烈地希望着的眼,母亲却只能弯了无力的腰。她的肩膀耸 了起来,是在背人饮泣。她背着人,因为肯帮助的和她一样的无力,而有力的是横竖不肯帮助的。她也不愿意给孩子们看见这是剩在她这里的仅有的慈爱。   (21) 《德国的孩子们饿着!》(Deutschlands Kinder Hu-ngern!)。 石刻,制作年代未详,想当在欧洲大战之后;据原拓本,原大 43×29cm.他 们都擎着空碗向人,瘦削的脸上的圆睁的眼睛里,炎炎的燃着如火的热望。 谁伸出手来呢?这里无从知道。这原是横幅,一面写着现在作为标题的一句, 大约是当时募捐的揭帖。后来印行的,却只存了图画。作者还有一幅石刻, 题为《决不再战!》(Nie Wieder Krieg!),是略早的石刻,可惜不能搜 得;而那时的孩子,存留至今的,则已都成了二十以上的青年,可又将被驱 作兵火的粮食了。   ——鲁迅《凯绥·珂勒惠支版画选集》序目

日本的 英國英文教師謀殺者的"潛逃回憶錄" 賣10萬本


日本的 英國英文教師謀殺者的"潛逃回憶錄" 賣10萬本

Book by Japan man accused of killing Briton sells well

Reuters - ‎2011年2月22日‎
Tatsuya Ichihashi after being caught following more than two years on the run, during which he had plastic surgery. By Chiaki Kawase TOKYO (Reuters Life!) - A book by a Japanese man accused of killing a British English teacher in a 2007 crime that ...
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Japanese Man Accused of Murdering Briton Publishes Memoir

NTDTV - ‎2011年2月22日‎
The Japanese man accused of killing a British English teacher in 2007 has returned to the limelight again. Tatsuya Ichihashi's book, entitled "Until I Got Arrested: A Memoir of the Missing 2 years and 7 months", has lined bookstores across Japan ...

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Book by Japan man accused of killing Briton sells well

CNBC.com - ‎2011年2月22日‎
TOKYO (Reuters Life!) - A book by a Japanese man accused of killing a British English teacher in a 2007 crime that riveted Japan and how he evaded capture by police for years is selling well less than a month after publication. ...


《怪醫豪斯》( Gregory House)

"自古東西方都將我們的身體看為一整體,所以有人說中醫醫學是「全體的、關連的」。戴明博士引聖保羅「身體一系統」之觀念[35]。即使如此,我們看公共電視台播放的影集《怪醫豪斯》(House) 影集,可以知道人體諸器官的互動和關係,真是複雜無比的。生物學和生態學的許多重要的控制論相關觀念,都是我們上一世紀的重要收穫。"系統與變異: 2010年戴明博士紀念研習會/ 東海的人生饗宴 晚宴


應該是《怪醫豪斯》( Gregory House)
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Wikipedia 中文版不及English 版多多矣: 格瑞利·豪斯(英語:Gregory House,1959年6月11日出生)是美國醫務電視連續劇《怪醫豪斯》(House)的虛構角色,為該劇的主角,由休·羅利飾演。 他是一個醫療天才,專攻傳染病及腎臟學。豪斯醫生似乎缺少臨床診斷的興趣,盡最大可能避免與病人直接接觸。豪斯因右腿失去了一大片肌肉部分,而必須依賴一 根拐杖來行走。儘管他的舉動有些反社會或厭惡人類,豪斯醫生不受約束的非傳統思考方式和自覺,卻使他得到了同事的尊敬和包容。
regory House, M.D., is a fictional antihero[1] and title character of the American medical drama House. Portrayed by Hugh Laurie, the character is a medical genius; a diagnostician with specializations in infectious diseases and nephrology. He works as the Chief of Diagnostic Medicine at the fictional Princeton-Plainsboro Teaching Hospital, where he heads a team of diagnosticians. House's character has been described as a "misanthrope", a "cynic", a narcissist and a "curmudgeon".

In the series, the character's unorthodox diagnostic approaches, radical therapeutic motives, and stalwart rationality have resulted in much conflict between him and his colleagues.[2] House is also often portrayed as lacking sympathy for his patients, a practice that allots him the time to solve pathological enigmas. The character is partly inspired by Sherlock Holmes.[3][4] A portion of the show's plot centers on House's habitual use of Vicodin to manage pain stemming from a leg infarction involving his quadriceps muscle some years earlier, an injury that forces him to walk with a cane. This addiction is also one of the many parallels to Sherlock Holmes, who was a habitual user of cocaine.[5]

Throughout the series' run, the character has received positive reviews.[6][7] Tom Shales of The Washington Post called House "the most electrifying character to hit television in years".[8] In 2008, Gregory House was voted second sexiest TV doctor ever, behind Dr. Doug Ross (George Clooney) from ER.[9] For his portrayal of Gregory House, Hugh Laurie has won various awards, including two Golden Globe Awards for Best Actor in a Television Drama Series and a Screen Actors Guild Award for Best Actor from Drama Series.[10] Laurie also earned Primetime Emmy Award nominations in 2005, 2007, 2008, 2009, and 2010.[11][12][13] TV Overmind has named Gregory House the best TV character of the last decade.[14] In making a list of the 100 greatest television characters, TV Guide selected Gregory House as the greatest of all time.[citation needed]

Contents

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[edit] Character history

Gregory House was born to John and Blythe House (R. Lee Ermey and Diane Baker).[15] House is a "military brat"; his father served as a Marine Corps pilot and transferred often to other bases during House's childhood.[16] One place in which his father was stationed was Egypt, where House developed a fascination with archaeology and treasure-hunting, an interest which led him to keep his treasure-hunting tools well into his adulthood.[17] Another station was Japan, where, at age 14, House discovered his vocation after witnessing the respect given to a buraku doctor who solved a case no other doctor could.[18] House loves his mother but hates his father, who he claims has an "insane moral compass", and deliberately attempts to avoid both parents.[16] At one point, House tells a story of his parents leaving him with his grandmother, whose punishments constituted abuse.[19] However, he later confesses that it was his father who abused him.[19] Due to his father abusing him, House never believed that John House was his biological father; at the age of 12, he deduced that a friend of his family with the same birthmark was his real father.[15] In the season 5 episode "Birthmarks", House discovers that this was true, after he ordered a DNA test that compared his DNA against John's.[15]

[edit] Medical school

House studied both as an undergraduate and a medical student at Johns Hopkins University.

House first attended Johns Hopkins University as an undergraduate. He was accepted to the Johns Hopkins Medical School, and did very well during his time there. He was a front runner for a prestigious and competitive internship at the Mayo Clinic;[20] however, during this time in medical school, he was caught cheating by another student, Philip Weber.[20] After an appeal process, he was denied re-entry into the Johns Hopkins Medical School. He then finished his last year of medical school at the University of Michigan, where, while working at a bookstore, he met his future employer and love interest – Lisa Cuddy (Lisa Edelstein),[21] with whom he shared (in his words) a night where "he gave her everything she asked for".[22] During a medical convention in New Orleans that he attended shortly after graduating medical school, House first saw his eventual friend Dr. James Wilson (Robert Sean Leonard) among a "sea of boring people" clutching a package. House deduced that it contained divorce papers. While at a bar, Wilson accidentally broke an antique mirror and started a bar fight with a man who repeatedly played "Leave A Tender Moment Alone" by Billy Joel to the frustration of Wilson who indeed was going through his first divorce at the time.[15] House bailed him out and hired an attorney to clear his name, thus starting their professional and personal relationship.[15]

[edit] Leg injury

Approximately ten years before the beginning of the series, House entered into a relationship with Stacy Warner (Sela Ward), a constitutional lawyer, after she shot him during a "Lawyers vs. Doctors" paintball match.[18] Five years later, during a game of golf, he suffered an infarction in his right leg which went misdiagnosed for three days due to doctors' concerns that he was exhibiting drug-seeking behavior. House would eventually diagnose the infarction himself.[23] An aneurysm in his thigh had clotted leading to an infarction and causing his quadriceps muscle to become necrotic.[23] House had the dead muscle bypassed in order to restore circulation to the remainder of his leg, risking organ failure and cardiac arrest.[23] He was willing to endure excruciating post-operative pain to retain the use of his leg.[23] However, after he was put into a chemically induced coma to sleep through the worst of the pain, Warner, House's medical proxy, acted against his wishes and authorized a safer surgical middle-ground procedure between amputation and a bypass by removing just the dead muscle.[23] This resulted in the partial loss of use in his leg and left House with a lesser, but still serious, level of pain for the rest of his life.[23] House could not forgive Stacy for making the decision and this was eventually the reason Stacy left him.[23] House now suffers chronic pain in his thigh and uses a cane to aid his walking. He also frequently takes Vicodin to relieve his pain.[24] House does however break his addiction with psychiatric help, after a near overdose. When Warner makes her first appearance in season 1, she is married to a high school guidance counselor named Mark Warner.[25] Although she and House have a brief, intimate encounter during the second season, House eventually tells Warner to go back to her husband, devastating her.

At the beginning of season three, House temporarily regains his ability to walk and run after receiving ketamine treatment.[26] However, the chronic pain in his leg comes back and House takes painkillers and uses his cane once again.[27] The other doctors speculate that his cane and opiate re-usage are due to his psychological tendencies.[27] During season five, House once again regains his ability to walk without pain after taking methadone, but soon stops after nearly killing a patient due to an uncharacteristic medical error. At the start of season six, after spending time in the Mayfield Psychiatric Hospital, House stops taking pain medications and finds other ways to deal with his pain, including cooking. Thirteen and Wilson discover that House is a great cook, attributing this to House thinking of ingredients in terms of chemistry. House eventually finds the one thing that seems to help the pain go away: practicing medicine. After he diagnoses a patient online for his team (without their knowledge) and he shows Doctor Nolan how this reduces his pain, Nolan suggests that House resume his medical career.[28]

[edit] Personality

"Dr. House is a fascinating and daringly cantankerous enigma, the proverbial bitter pill who also happens to be a highly intuitive medical genius. He despises interacting with patients and prefers dealing with diseases -- with medical mysteries that leave other doctors scratching their heads in befuddlement."
Tom Shales describing the character.[8]

House's character frequently shows his cunning and biting wit, enjoys picking people apart, and often mocks their weaknesses.[29] House accurately deciphers people's motives and histories from aspects of their personality and appearance.[30] His friend and colleague Wilson says although some doctors have the "Messiah complex"—they need to "save the world", House has the "Rubik's complex"—he needs to "solve the puzzle".[31] House typically waits as long as possible before meeting his patients.[29] When he does, he shows an unorthodox bedside manner and uses unconventional treatments.[32] However, he impresses them with rapid and accurate diagnoses after seemingly not paying attention.[27] This skill is demonstrated in a scene where House diagnoses an entire waiting room full of patients in little over one minute on his way out of the hospital clinic.[33] Critics have described the character as "moody", "bitter", "antagonistic",[34] "misanthropic",[31] "cynical"[35] "grumpy", "maverick"[36] and a "curmudgeon".[37] The Global Language Monitor chose the word "curmudgeon" as the best way to describe the character.[38]

Laurie describes House as a character who refuses to "obey the usual pieties of modern life" and expects to find a rare diagnosis when he is treating his patient.[39][40] As a protagonist, many aspects of his personality are the antithesis of what might be expected from a doctor.[29] Executive producer Katie Jacobs views House as a static character who is accustomed to living in misery.[41] Jacobs has said that Dr. Wilson, his only friend in the show, and House both avoid mature relationships, which brings the two closer together.[42] Leonard has said that Dr. Wilson is one of the few who voluntarily maintains a relationship with House, because he is free to criticize him.[42]

Although House's crankiness is commonly misattributed to the chronic pain in his leg, both Stacy and Cuddy have said that he was the same before the infarction.[25][43] To handle the chronic pain in his leg, House takes Vicodin every day, and as a result has developed an addiction to the drug.[44] He refuses to admit that he has an addiction ("I do not have a pain management problem, I have a pain problem").[45] However, after winning a bet from Cuddy by not taking the drug for a week, he concedes that he has an addiction, but says that it is not a problem because it does not interfere with his work or life.[46] In the 2009 season House goes through detox and his addiction goes into remission, so to say.[47] However, it does seem that House may have gotten over his addiction in the season 6 premiere.[48] House creator David Shore told the Seattle Times in 2006 that Vicodin is "becoming less and less useful a tool for dealing with his pain, and it's something [the writers] are going to continue to deal with, continue to explore".[49] House openly talks about, and makes references to, pornography.[50] In "Lines in the Sand", he returns the flirtations of a female underage patient.[51] He regularly engages the services of prostitutes,[20][52] of which his former female diagnostic team member Dr. Allison Cameron (Jennifer Morrison), who has a crush on him, is aware.[53]

A polyglot, House speaks English, Spanish, Latin, Portuguese, Hindi, Japanese and Mandarin. He is an atheist. He plays the piano (as does Hugh Laurie) and has an interest in vintage electric guitars. He openly and relentlessly mocks colleagues and patients who express any belief in religion. He does not believe in an afterlife because he finds it is better to believe that life "isn't just a test".[23] However, in the season four episode "97 Seconds", he expresses sufficient interest in the possibility of an afterlife to nearly electrocute himself in an effort to find out; however, he is dissatisfied with the results.[54] This is also an example of House's tendency to self-experiment and submit to risky medical procedures in the name of truth. Over the course of the series, he disproves the effectiveness of a migraine cure by self-inducing a migraine and controlling the effects through drugs, undergoes a blood transfusion to assist with a diagnosis, and overdoses on physostigmine to improve his memory after sustaining head injuries, subsequently causing his heart to stop beating, then undergoes deep brain stimulation soon after.[20][55][56][57]

"[House] enjoys pursuing the truth, and he knows we all see the world through our own lenses. He's constantly trying to strip himself of those biases, to get a clean, objective view of things."
— Shore to Variety.[58]

House frequently says "Everybody lies", but jokingly remarked that he was lying when he said that in the first season finale.[39] House criticizes social etiquette for lack of rational purpose and usefulness.[51] Dr. Cameron states in the first episode of the first season "House doesn't believe in pretense ... so he just says what he thinks".[59] In the season three episode "Lines in the Sand", he explains how he envies an autistic patient because society allows the patient to forgo the niceties that he must suffer through.[51] In the same episode, Dr. Wilson suggests that House might have Asperger syndrome, which is characterized by a number of traits found in House, such as difficulty accepting the purpose of social rules, lack of concern for his physical appearance, and resistance to change; though he later reveals to House that he does not truly believe this, and that claiming this was a part of a ploy to soften Cuddy's opinion of House.[51] House is a strong nonconformist and has little regard for how others perceive him.[40] Throughout the series, he displays sardonic contempt for authority figures.[60] House shows an almost constant disregard for his own appearance, possessing a permanent stubble and dressing informally in jeans, T-shirts, and sneakers.[61] He avoids wearing the standard white lab coat to avoid patients recognizing him as a doctor.[24][60]

[edit] Social behavior

House does not have much of a social life, and his only friend is Dr. James Wilson.[31][40] Wilson knew House before the infarction and looked after him when House's relationship with Stacy ended.[43] Dr. Wilson's moving into House's apartment after his failed marriage in "Sex Kills" symbolizes his taking emotional refuge in his friend.[62] Although they frequently analyze and criticize each other's motives, Wilson has risked his career to protect House, including having his job terminated in the first season as an effort of Edward Vogler to dismiss House, and having his practice damaged by Detective Michael Tritter in an investigation of House's narcotics consumption.[50][63] House has quietly admitted, at several instances, that he is grateful for Wilson's presence, including referring to Wilson as his best friend. When Wilson resigns and moves away from both New Jersey and House's friendship in the season 5 premiere, House is desperate to have his friend back, and hires a private investigator (Michael Weston) to spy on him.[64] The two ultimately reconcile at House's father's funeral in a scene similar to their first meeting where Wilson again breaks something valuable with a glass in a moment of anger, this time directed at House.[15]

Edelstein has said that despite his sardonic personality, House is a character who is reliant on people surrounding him.[39] Edelstein says this characteristic is portrayed on several occasions in the third season, during which House's medical career is in jeopardy due to investigations by Det. Michael Tritter (David Morse), who arrests him for possessing narcotics.[65] House's legal trouble ends when Edelstein's character, Lisa Cuddy, commits perjury during his hearing.[47] In Season 5, a relationship with Cuddy begins to blossom, as they are unable to deny feelings between each other.[66] They share a kiss in episode six "Joy" which sparked an ongoing romantic tension between them.[66] When Cuddy's office is destroyed by a gunman and is being renovated, she moves into House's office in what Wilson believes to be an attempt to get closer to House. The two try to drive each other away, doing things to each other's office to make them worse, but in an uncharacteristically nice move, House has Cuddy's mother send her medical school desk for her new office as a surprise. Cuddy is touched by what he did, but is devastated when she spots him with a prostitute he hired, not knowing he had done so only to mess with Kutner and Taub. In the season finale "Both Sides Now" it is confirmed that House wishes to pursue a romantic relationship with Cuddy. In this same episode he believes he has slept with Cuddy and informs Dr. James Wilson the following morning. This however is revealed to be a psychosis, which is a side effect of his Vicodin abuse. The House-Cuddy (dubbed "Huddy" by fans) story culminates in the season 6 finale, "Help Me", when Cuddy cancels her engagement to Lucas to face the inevitable realization of her loving House all along;[67] they share a passionate kiss, thus hinting on mutual willingness to try and develop a real relationship.[68]

[edit] Development

[edit] Conception

"The title diagnostician of the show would be as smart a physician as Dr. Kildare and as sharp a sleuth as Gil Grissom of CSI, it was important to us that he be damaged, both emotionally and physically."
— Shore on House's creation.[69]

While the show was originally set to be a medical procedural, the idea changed when the writers started to explore the possibilities of a curmudgeonly title character.[58] Shore traced the concept for the title character to his background as a patient at a teaching hospital.[70] Shore recalled that "I knew, as soon as I left the room, they would be mocking me relentlessly [for my cluelessness...] and I thought that it would be interesting to see a character who actually did that before they left the room".[71] Shore also based the character partly on himself: in a 2006 interview with Macleans he explained that, while he does not have "cynical and cold attitude lurking within" him, he almost agrees with House's point of view.[69] A central part of the show's premise was that the main character would be disabled in some way.[72] The initial idea was for House to use a wheelchair, inspired by the 1960s police drama Ironside, but Fox turned down this interpretation (for which the crew was later grateful).[58][72] The wheelchair became a scar on House's leg, which later turned into a bad leg necessitating the use of a cane.[72] House usually holds his cane on the same side as his injured leg; Shore explained: "Some people feel more comfortable with the cane in the dominant arm, and that is acceptable".[73] The cane tricks that are seen throughout the series are created by Laurie himself.[42]

Cathy Crandall, costume designer for the show, created a look for the character that made it seem like he did not care about his clothing.[74] She designed House with a wrinkled t-shirt, a blazer that is one size too short, faded and worn-in jeans and heather-gray rag socks.[74] It was Laurie's idea to have the character wear sneakers, because he thought "a man with a cane needs functional shoes"; the Fox studios' wardrobe department keeps 37 pairs of Nike Shox on hand.[74] House has worn t-shirts designed by famous designers such as Barking Irons and Lincoln Mayne,[74] but also by less known designers such as Andrew Buckler[75] and Taavo.[76] The shirts are usually kept tied in a ball overnight to get them to wrinkle.[74]

[edit] Casting

When casting for the part started, Shore was afraid that in "the wrong hands", House would "just be hateful".[69] The casting directors were looking for someone who could, as Shore described, "do these horrible things and be somehow likable without just, you know, petting a kitten".[77] When Laurie was asked to audition for the role of House, he was filming Flight of the Phoenix in Namibia.[78] Laurie had no big expectations for the show, thinking that it would only "run for a few weeks".[61][79] He planned to audition for the roles of both James Wilson and Gregory House.[77] However, when he read that Wilson was a character with a "handsome open face", he decided to audition solely for the role of House.[77] Laurie chose not to change his clothing, but to remain in the costume he wore for the film, he also decided not to shave his beard.[61] He put together an audition tape of his own in a Namibian hotel bathroom, the only place with enough light,[80] while his Flight of the Phoenix co-stars Jacob Vargas and Scott Michael Campbell held the camera.[61] He improvised by using an umbrella for a cane.[81] Laurie initially believed that James Wilson would be the protagonist of the show after reading the brief description of the character and did not find out that House was the main character until he read the full script of the pilot episode.[82][83]

After he had watched casting tapes for the pilot episode, Bryan Singer grew frustrated and refused to consider any more British actors because of their flawed American accents.[40] Although Singer compared Laurie's audition tape to an "Osama bin Laden video",[84] he was impressed with Laurie's acting and, not knowing who he was, Singer was fooled by his American accent.[80] He commented on how well the "American actor" was able to grasp the character, not realising Laurie is English.[71] Although Laurie's appearance was very different from the way Shore pictured House, when he watched the audition tape, he was equally impressed as Singer.[69] More famous actors such as Denis Leary, Rob Morrow and Patrick Dempsey were also considered, but Singer, Shore, and executive producers Paul Attanasio and Katie Jacobs all thought Laurie was the best option and decided to cast him for the part.[85] Laurie was the final actor to join the cast of House.[86] After he was chosen for the part, Laurie, whose father Ran Laurie was a doctor himself, said he felt guilty for "being paid more to become a fake version of my own father".[80] Adopting an American accent for his role has been difficult for Laurie, who said words such as "coronary artery" are particularly tricky to pronounce.[52]

[edit] Parallels to Sherlock Holmes

House and Wilson's relationship mirrors Holmes and Watson's (pictured) relationship.

Similarities between House and the famous fictional detective Sherlock Holmes appear throughout the series;[87] Shore explained that he was always a Sherlock Holmes fan, and found the character's traits of indifference to his clients unique.[71] The resemblance is evident in various elements of the series' plot, such as House's reliance on psychology to solve a case, his reluctance to accept cases he does not find interesting and House's home address (221B Baker Street, same as Holmes).[39][88] Other similarities between the two characters are drug use (House battled a vicodin addiction for years and Holmes was a recreational user of cocaine), successful detoxification, playing an instrument (Holmes plays the violin and House plays the guitar, piano, organ and harmonica) and a talent for accurately deducing people's motives and histories from aspects of their personality and appearance.[89]

Shore has also explained that the name "House" is a play on the name Holmes (i.e., homes).[90] Both Holmes and House each have one true friend, Dr. John Watson is Holmes' and Dr. James Wilson is House's.[4] Leonard has said that House and his character were originally intended to play the roles of Holmes and Watson in the series although he believes that House's team has assumed the Watson role.[91] Shore has also said that Dr. House draws inspiration from Dr. Marc Chamberlain, a professor of neurology at the University of Washington, Seattle, and Dr. Joseph Bell (who was a teacher of Arthur Conan Doyle's and thus a chief source of inspiration for the creation of Holmes), who could "walk into a waiting room and diagnose people without speaking to them".[4] In the season two finale "No Reason", House is shot by a man named Jack Moriarty, a name that coincides with Sherlock Holmes' adversary, Professor James Moriarty;[89][92] likewise, in the fifth season, Wilson uses Irene Adler as the name for an imaginary love interest of House,[93] the same name as the only female adversary Holmes ever encountered.[89] In episode 89, House is talking to Lucas and he says, "There is only one truth", which was a famous Sherlock Holmes quote.

According to Season 7, Episode 13 – Air date: 2/21/2011 "Two Stories" When he shows his drivers license his address is 221 Baker St.

[edit] Bibliography

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