看雲集 (梁實秋) 頁29
--《夏濟安選集》台北志文出版社初版，1971年， 頁7 / 辽宁教育出版社，2001
Shih-Hsiang Chen, Oriental Languages: Berkeley
|Professor of Chinese and Comparative Literature|
Shocked disbelief gave place to an aching sense of loss when Shih-Hsiang Chen's many friends learned of his death in swift consequence of a heart attack. His vigor of body and spirit, his perennial warmth and enthusiasm had seemed to promise long continuance of his service to literary scholarship.Shih-Hsiang Chen was born into the world of letters which remained always his ambiance. The place of his birth was Peking, the year 1912, the first of the new Republic. His grandfather, the man who formed his calligraphic style, was the poet Chen Shao-wu; his father, Chen Shu-ping, a man of letters; his two uncles a chin-shih and a chu-jen respectively. It followed inevitably that his early education from private tutors should be in the rigorous classical tradition. When, in 1929, he enrolled at Peking University he had his own contribution to bring to the search for a new synthesis for which the preceding years of hectic iconoclasm had cleared the way.
At Peita he studied Chinese and English literature, graduating B. Litt. in 1935. In the following year appeared the first anthology of English translations from the poets of the “Literary Revolution,” the fruit of collaboration between Shih-Hsiang (still in his early twenties) and Harold Acton. But Shih-Hsiang's principal activities in these years were as a contributor of poems, stories, and critical articles to the literary journals.
After teaching in Peking, and then at National Human University, Shih-Hsiang came to the United States in 1941 to study and instruct at Harvard and Columbia. In 1945 he was appointed to the faculty of the Department of Oriental Languages of the University of California at Berkeley, where he remained for twenty-six years until his death.
Two dimensions of Shih-Hsiang's work as a teacher and research scholar at Berkeley call for special notice. First, as a man intensely involved in the fate of literature in the contemporary world, he stressed the continuity of the Chinese tradition. Residence in the United States
― 21 ―did not disrupt his contact with literary groups and periodicals as well as universities in Taiwan and Hong Kong, and young poets had reason to be thankful for his interest and encouragement. An institutional expression of his contemporary concerns was his initiation and direction of the Current Chinese Language Project of the Center for Chinese Studies at Berkeley, which fostered the valuable “Studies in Chinese Communist Terminology” by, among others, Miss Li Ch'i and the late Hsia Tsi-an, a dear friend whose premature death profoundly distressed Shih-Hsiang. The second unique contribution Shih-Hsiang made had a breadth of geographic space to complement that of historical time. His knowledge of Western literatures, but above all his faith that linguistic and national barriers crumbled when poets spoke to each other from the heart, drew him into the burgeoning groves of comparative literature. In more recent years he established at Berkeley almost single-handedly a remarkably productive program of comparative study between Chinese and Western literatures.
In the deepest consciousness of his cultural heritage Shih-Hsiang undertook studies of the noblest and most challenging monuments of the Chinese tradition, the Book of Songs, the Li-Sao, Lu Chi's Wen-fu. His essays on these subjects display the most acute poetic sensibility together with a fruitful blending of critical and philological methods, both Chinese and Western. His interpretation of Tu Fu's poem on the “Pa-chen-t'u” (the English version of the article is entitled “To Circumvent the `Design of Eightfold Array' ”) is a model of creative and evocative exegesis. It is a major loss to scholarship that Shih-Hsiang's lifelong thinking on poetry cannot now find the more comprehensive expression he had planned.
Many honors came to Shih-Hsiang Chen. Those to which he responded most gratefully, one feels, were the recognitions of his standing in the international fraternity of letters: delegate status at the IIIe Biennale Internationale de Poesie at Knokke-le Zoute, Belgium, in 1956; the invitation ten years later to conduct a faculty seminar at Kyoto University; the chairmanship of a session of the International Symposium on Poetry at Expo 67 in Montreal; John Hall Wheelock's dedication to him of his new volume of poems, Dear Men and Women (which involved Shih-Hsiang in a United Nations ceremony in the poet's honor).
But distinctions sat easily upon him, merely brightening the eyes that twinkled always through the cloud of pipesmoke. Shih-Hsiang lives on in memory, not just as the name beneath the title of the indispensable article on the origins of the Chinese word for poetry or the pioneer study of the mainland poets of the 1950s; not just as the distinguished speaker before the stellar gathering; (with his inimitable eccentricities of English, despite the mellifluousness of his written
― 22 ―style, he would still assure us that he had “asked his colleagues for their advices”). He is the warm, ever-encouraging voice, all but disembodied behind the incredibly cluttered desk. He is the genial host, laughing beside his exquisite wife Grace on the pine-fragrant terrace. He is the flautist whose notes accompany a clear young voice raised in an ancient folksong, to delight the friends who loved him and who made the house on Highgate the gracious setting for the poem which was his life.
John C. Jamieson Cyril Birch Yuen Ren Chao
Sir Harold Mario Mitchell Acton CBE (5 July 1904 – 27 February 1994) was a British writer, scholar and dilettante
艾克敦： 胡同裡 的最後貴族
英國貴族文人哈羅得艾克敦爵士(Sir Harold Acton) 是一次大戰後牛津大學青年文人中“最有希望的人物”。
北京大學的溫源寧和張歆海立即把他帶入了北大的知識份子的圈子，過從者梁宗岱、袁家驊、朱光潛等人皆為一時之選。一九三三年起他受聘於北大，教英國文學， 立即與學生中的一批青年詩人教上朋友。當時二十歲左右的陳世驤、馮廢名、林庚、李廣田、何其芳、陳夢家都在北大。其中十八歲的卞之琳給艾克敦的印像最深， 卞體弱、□腆、矜持，只有談詩論文時才激動得滿臉通紅，但艾克敦認為卞的詩最有氣質。
艾克敦聲稱他不愛古人愛今人，在Cathay 與China 中他選擇後者。從試譯卞之琳的詩開始，艾克敦與陳世驤合作翻譯了中國現代詩的第一本英譯。這個選本的確獨具慧眼，尤其詩人們還都那麼年輕，剛開始寫作生涯，這是往往使編者受到歷史的嘲笑最難的事。
艾克敦在京時據說同時進行六項翻譯，他與美國的中國戲劇專家阿靈頓(L.C.Arlington)合作，把流行京劇三十三折譯成英文，集成《中國名劇》一 書，1937年出版，收有《長□坡》、《汾河灣》、《法門寺》、《群英會》、《奇雙會》、《金鎖記》、《捉放曹》等。這工程很困難，但艾克敦是京戲迷，與 程硯秋、李少春等人交往。美國女詩人、《詩刊》主編哈麗特．蒙羅二度訪華時，艾請她看京戲，鑼鈸齊鳴，胡琴尖細，蒙羅無法忍受，手捂著耳朵倉皇逃走，艾克 敦對此有一解：西方人肉食者鄙，因此需要安靜，中國人素食品多，因此愛熱鬧。“我吃了幾年中國飯菜後，響鑼緊鼓對我的神經是甜蜜的安慰。在陰暗的日子裡 只有這種音樂才能恢復心靈的安寧。西方音樂在我聽來已像葬禮曲。”
一九三六年左右，艾克敦開始寫長篇小說《牡丹與馬駒》（Peonies and Ponies), 在京英美人的生活，寫得入木三分。小說中的美國婦人“不遠萬里住到中國來，卻整天泡在西人的雞尾酒會裡，似乎唯一的目的是等待又一次拳亂，過過性虐待 癮”。小說中說：“真應當再來一次拳亂，清清氣氛。”
*The Peach Blossom Fan (with Ch'en Shih-Hsiang), Berkeley, University of California Press, 1976.