2024年4月30日 星期二

王璞 讀《魂兮歸來》《沉思——一九五七》等等

 

《魂兮歸來》
朋友傳來一本右派回憶錄《魂兮歸來》要我讀。自從讀過楊顯惠《夾邊溝紀事》我已不讀右派和文革回憶錄了,因為太悲慘,我神經受不了。我一位香港朋友曾對我嘆道:「讀反右文革回憶錄,真是頂唔順,沒有最慘,只有更慘。」
夾邊溝右派勞改農場死難者達百分之九十,可謂慘絕人寰。可是讀戴煌《九死一生》,寫到青海香日德農場四萬名勞改者,餓死了三萬八,死亡率達百分之九十五。我原先以為我父親打成右派後流放大興安嶺二十一年很悲慘,讀了這些書,竟感我父親太幸運。
但我還是讀了《魂兮歸來》,因為作者的名字是熊習禮。
好幾年前,我讀過他的另一本書,名曰《沉思——一九五七》。那時我已有「悲慘的標準水漲船高」之嘆,不怎麼讀中國政治運動受難者回憶錄了。可是熊先生的書我一口氣讀完,因為這本書不止是羅列苦難,一如其書名,還有對於歷史和政治的沉思,冷靜而理性。
熊習禮先生生於一九三五年,一九五七年是四川醫學院(原華西協和大學)學生。因揭發系政治輔導員的流氓惡行被打成右派。他算是右派中之幸運兒,勞改兩年後得以分配到地區醫院當醫生。但他親歷了身邊右派親友們以及遭株連者的苦難,退休後全力投入對反右運動的學術研究。寫出了多本回憶錄。
正如《沉思》一書的作序者武宜山先生所言,熊習禮的回憶錄沒有局限於個人苦難,而是以一位優秀醫生的嚴謹認真態度,「用準確的時間、日期,描述所發生的事件,用數學的周密計算、邏輯推理來論證和論斷反右運動的發生和過程。并且以反右運動為切入點,對中國社會的文化傳統——皇權專制文化與馬克思學說、世界共產主義運動、二十世紀中國社會深重的民族危機——日本侵華及毛澤東的帝王情結、個人品質等錯綜複雜的因素對中華民族帶來的深重苦難加以探討。」
這一探討在今天特別難能可貴。因為時至今日,反右和文革,以及歷次政治運動都成了禁忌詞語,不止是反右和文革談不得,我一朋友寫回憶錄,出版社連「除四害」「超英趕美」之類的詞語都給他刪去。說是不利於安定團結。
我們總是抱怨別人不尊重我們,日本人不跟我們道歉,這國的人那國的人辱華,其實老祖宗孟子早已有言:「人必自侮,然後人侮之;家必自毁,而後人毁之;國必自伐,而後人伐之。太甲曰:《天作孽,猶可活,自作孽,不可活。』此之謂也。」
別的不說,單從咱們中國上下五千年的歷史來看,從夏商周到清朝,大小皇朝國家的覆滅,無不證實了孟子的話,全都是自作孽而後遭人伐之的結果。所以真的愛國愛民者,就應當思考、檢點、研討這種自毁、自伐、自作孽行為的來龍去脈,不再重蹈覆轍,以至於禍國殃民。
反右運動以及之前的歷次政治運動死難者數以百萬計,到了文革,死難者更數以千萬計,這個數字還不包括被他們株連的親朋戚友。可是時至今日,我們的子孫幾乎不知「文革」,無論「反右」。其實那才是一段段應當被牢記、反思、深以為鑒的歷史。不但不應該抺去,還應當是歷史書上濃重的一筆筆,給我們的孩子認真講講。
所以熊習禮先生的書難能可貴,他的理性反思精神,令我肅然起敬。今天,我又忍痛讀了他的這本書,也希望更多的人讀到。
還要說一句也許多餘的話:這本書書名叫《魂兮歸來》,他當然指的是那數百萬死難者之魂;可若是有人從反向理解,理解成那魔頭之魂,則吾國吾民又有難矣。

2024年4月29日 星期一

F. Scott Fitzgerald, The Great Gatsby. "The Beautiful and Damned";The Last Tycoons; F SCOTT FITZGERALD'S Cartoon of Joyce and his friends



Let's Discuss the ending of F. Scott Fitzgerald's classic novel, "The Great Gatsby". The conclusion, in which George Wilson kills Gatsby and then takes his own life, leaving Daisy and Tom to continue their privileged lives, has sparked debate among readers for generations. 

"The Tragic End of the American Dream: Unpacking the Controversial Conclusion of The Great Gatsby" 

The novel's ending raises important questions about class, privilege, and the corrupting influence of wealth. Some argue that the ending is a powerful commentary on the emptiness and moral decay of the wealthy elite, while others see it as a tragic inevitability, given the societal norms and power structures of the time. 

Some key issues to consider: 

- Class and privilege: How does the novel's conclusion highlight the ways in which wealth and social status can shield individuals from accountability and consequence? 

- The American Dream: What does Gatsby's failed pursuit of the American Dream reveal about the illusion of social mobility and the elusiveness of happiness in capitalist society? 

- Morality and accountability: How does the novel's ending challenge readers to confront the moral compromises and hypocrisies of the wealthy elite, and what impact does this have on our understanding of justice and responsibility? 

Join the discussion! Share your thoughts on the ending of The Great Gatsby and its significance in the novel. 

#TheGreatGatsby #FScottFitzgerald #ClassicLiterature #BookDiscussion



On this day in 1940, F. Scott Fitzgerald died in Hollywood, California (age 44).


“Life is so damned hard... So damned hard, so damned hard," he repeated aimlessly; "It just hurts people and hurts people, until finally it hurts them so that they can't be hurt ever any more. That's the last and worst thing it does.”

― from "The Beautiful and Damned"


F. Scott Fitzgerald's second novel, which brilliantly satirizes a doomed and glamorous marriage, anticipated the master stroke—The Great Gatsby—that would follow, and marks a key moment in the writer’s career. Would-be Jazz Age aristocrats Anthony and Gloria Patch embody the corrupt high society of 1920s New York: they are beautiful, shallow, pleasure-seeking, and vain. As presumptive heirs to a large fortune, they begin their married life by living well beyond their means. Their days are marked by endless drinking, dancing, luxury, and play. But when the expected inheritance is withheld, their lives become consumed with the pursuit of wealth, and their alliance begins to fall apart. Inspired in part by Fitzgerald's own tumultuous union with his wife Zelda, hauntingly rendered and keenly observed, these characters evoke a vivid portrait of a lost world: a city steeped in vice, a society without direction, and the rootless and decadent generation that inhabited it. READ an excerpt here:http://knopfdoubleday.com/b…/50048/the-beautiful-and-damned/




"Amory Blaine inherited from his mother every trait, except the stray inexpressible few, that made him worth while."
--from THIS SIDE OF PARADISE (1920)


F. Scott Fitzgerald died 75 years ago today. His lifelong friend John Dos Passos spoke up for The Great Gatsby in the pages of New Republic. https://newrepublic.com/article/119285/fitzgerald-press



"I've been drunk for about a week now, and I thought it might sober me up to sit in a library." - F. Scott Fitzgerald died in Los Angeles #OTD1940 aged 44.






How John Dos Passos Defended His Friend F. Scott Fitzgerald After His Death


Part of the New Republic's tribute to "The Great Gatsby" author, after he…


NEWREPUBLIC.CO




















































F SCOTT FITZGERALD'S Cartoon of Joyce and his friends:




















HISTORY OF LAZARD SCOOPS FT AWARD


《最后的大亨》荣获FT/高盛2007年度最佳图书奖
hc譯評:此書名為複數 tycoons
不應與 F. Scott Fitzgerald's unfinished final novel, The Last Tycoon混為一談




英国《金融时报》安德鲁•希尔(Andrew Hill)伦敦报道
2007年10月26日 星期五
By Andrew Hill in London Friday, October 26, 2007
The Last Tycoons, a “vivid” account of the tumultuous evolution of Lazard, the investment bank, has narrowly beaten Alan Greenspan's The Age of Turbulence to win the 2007 Financial Times and Goldman Sachs Business Book of the Year Award.
William Cohan's high- octane history of “the world's most elite and enigmatic investment bank” was awarded the £30,000 ($61,500, €43,000) prize at a gala dinner last night in London.

high-octane

威廉•D•科汉(William D. Cohan)所著的《最后的大亨》(The Last Tycoons),以微弱优势击败了艾伦•格林斯潘(Alan Greenspan)的《动荡年代》(The Age of Turbulence),获得2007年“英国《金融时报》/高盛年度最佳图书奖”(Financial Times and Goldman Sachs Business Book of the Year Award)。
《最后的大亨》“生动”描述了“全球最顶级且最神秘投资银行”Lazard轰轰烈烈、极为引人好奇的发展历程。在昨晚于伦敦举行的颁奖晚宴上,威廉•科汉这部著作赢得了3万英镑(合6.15万美元)大奖。(译者/梁艳裳)

紐約時報書評


Bankers Behaving Badly

Published: May 27, 2007

Some years ago, a New Yorker cartoon depicted a middle-aged, big-haired, overweight and badly dressed woman striding energetically down the street, with Manhattan’s skyline in the background. Her too-snug T-shirt displayed the large black initials “DKNJ.” The caption beneath read simply, “Donna Karan’s nightmare.”
Skip to next paragraph

Helen Yentus

THE LAST TYCOONS

The Secret History of Lazard Frères & Co.
By William D. Cohan.
742 pp. Doubleday. $29.95.

Related

First Chapter: ‘The Last Tycoons’ (May 27, 2007)


A somewhat similar fate, to judge by William D. Cohan’s “Last Tycoons,” seems to have befallen Lazard Frères & Company. For more than a century, the legendary firm was considered by many in the clubby world of high finance the quintessence of investment banking, with its aristocratic European hauteur, superlative trans-Atlantic connections and unmatched savoir-faire in the advice it dispensed to ultra-wealthy individual and corporate clients. Although much smaller than better-known rivals like Goldman Sachs, Lazard engendered awe among Wall Street insiders.
Cohan, who once worked at Lazard, tells a sprawling, gossip-filled tale about the firm, the careful cultivation of its lustrous reputation and, in the last decade or so, that reputation’s apparent undoing. It is far from an epic tragedy — the story is, after all, about money and its most avid pursuers. Moreover, in dollar terms, Lazard — however dimmed its reputation — is seemingly thriving as never before, its stock price having doubled in the past two years.
But Cohan’s portrayal of the firm’s dominant partners — whose gargantuan appetites and mercurial habits provide the unifying force behind the book’s operatic melodramas — makes this an epic in its own way. In fact, “The Last Tycoons” bears a striking resemblance to F. Scott Fitzgerald’s “Last Tycoon.” Fitzgerald set his novel in Hollywood, and described lives, temperaments and ambitions that closely approximate those of Lazard’s most important figures. Of course, Cohan isn’t Fitzgerald. After 700 pages, many will come away feeling the bank’s story might work better as a tale told by Hollywood — a French-accented “Dynasty” meets “What Makes Sammy Run?”
In this book, the bank’s five most prominent modern-day partners — André Meyer, Felix Rohatyn, Michel David-Weill, Steven Rattner and Bruce Wasserstein — share tumultuous center stage. Because most Americans won’t recognize their names, Cohan meticulously details the impressive (but not entirely winning) reasons for their outsize reputations among denizens of Wall Street, the Upper East Side and the Hamptons.
Long the dominant force, André Meyer (who died in 1979) wasn’t a Lazard, but shared deep Alsatian Jewish roots with the family. Such connections mattered, as the firm’s birth and rise make clear. In the 1840s, three Lazard brothers left Alsace for New Orleans. Decamping soon thereafter for San Francisco — and joined by another brother and a cousin — they quickly made a fortune as dry goods merchants after the 1849 gold rush. By the 1880s, the Lazard clan had shrewdly used a small but profitable sideline — the shipping, trading and apparently early arbitraging of gold, silver and currency — to reinvent the family as trans-Atlantic bankers for an elite clientele, with offices in New York, London and Paris.
For the next half-century — thanks to rapid industrialization, global investing, expensive wars and profitable arms races — Lazard thrived as an adviser to corporations and governments, and at the expense of much larger, WASP-dominated competitors. The firm skirted bankruptcy more than once, but each time recovered stronger than ever.
New York became the most powerful and profitable of Lazard’s three branches, owing to Meyer’s courtship of Manhattan’s fast-rising Jewish Brahminate. The firm was also helped by his courtship, frequently amorous, of a succession of beautiful and beautifully connected society wives and widows — most famously, in his later years, Jacqueline Kennedy.
Meyer’s protégé Felix Rohatyn once said about his mentor: “He wanted to be loved. He had a great sense of buying and selling — things and people. He was the most ruthless realistic analyst of human character I have ever met. ... I fought him every day for 20 years. You had to. If you didn’t fight him, you were finished. ... He destroyed a lot of people.” Much of the book provides the evidence for that testimony.
Under Meyer’s tutelage, Rohatyn prospered, becoming the firm’s pre-eminent deal maker by engineering a string of high-profile corporate mergers and takeovers in the 1960s and early ’70s — while carefully never challenging Meyer’s need for total control. Rohatyn’s gifts were not unalloyed: he more than once worked at the darkly clouded intersection between politics and business — most notoriously involving Harold Geneen, ITT, Chile and Richard Nixon — and thereby badly tarnished his and the firm’s reputation for a time. But when New York nearly collapsed in the mid-’70s, the city called on Rohatyn to put its finances back in order. Manhattan and its powerful media adored him, transforming “Felix the Fixer” into a much-sought-after pundit and Democratic Party economic policy maven.
By the late ’70s, Meyer’s age and health required a successor — a position that Rohatyn declined and that instead fell to Michel David-Weill, whose family, along with Meyer’s, then still controlled Lazard. But his tenure soon brought challenges as contradictory and destructive as any bred under Meyer. The wave of corporate permutations and consolidations in the ’80s made Lazard ever more influential and profitable — and induced it to hire a talented new crop of bankers from comparatively middle-class backgrounds. Among these, Steven Rattner and Bruce Wasserstein would prove defining figures at the bank, for better and for worse.
Rattner, the son of a paint manufacturer from Long Island, went to Lazard after reporting for The New York Times, where he forged an important friendship with Arthur Sulzberger Jr., now the publisher. Assigned to the Washington bureau, Rattner, Cohan suggests, too eagerly befriended some of the city’s most influential deal makers, men who would eventually help him move on to investment banking.
Rattner’s Rolodex of media and political connections helped make millions upon millions for Lazard, his clients and himself as he midwifed some of the richest deals in the ’90s. His success resulted in a bitter rivalry with Rohatyn, but more important, it led David-Weill to make Rattner the deputy chief executive officer. Rattner soon let his new position overshadow that of David-Weill — an error Rohatyn had avoided with Meyer. David-Weill overthrew Rattner after he tried to restructure the New York, London and Paris offices in ways that threatened the Frenchman’s power. Rattner’s departure set the stage for the arrival of Bruce Wasserstein.
The Brooklyn-born son of a ribbon manufacturer, Wasserstein had briefly worked as a Nader’s Raider before turning to investment banking, where his brilliant but often very expensive deals earned him the nickname Bid-’Em-Up Bruce. Wasserstein is Lazard’s chief executive today because he outmaneuvered David-Weill, forcing Lazard from private partnership to public company. The shift destroyed the byzantine structure that had given Meyer and David-Weill their unrivaled control, but also brought unwanted scrutiny to the myriad struggles that had long been concealed behind the firm’s impeccably upright reputation. Yet ignominy aside, going public vastly enriched Wasserstein, the partners who joined him — and even David-Weill.
In many of its details, “The Last Tycoons” will captivate those closest to the industry. They will learn that David-Weill’s percentage of the firm’s profits was 25.7552 in 1977, that Lazard paid $100 million to settle a municipal bond kickback scandal, even which senior partner preferred the Hoyo de Monterrey Epicure No. 1 brand of illegal Cuban cigars. But for a general audience, there is little that will seem new after two decades of Enrons, Worldcoms and Milkens — all tales of similarly motivated men, the Masters of the Universe. We hear about the requisite amorous indiscretions (even a lurid S-and-M-tinged homicide), overconspicuous consumption, petty vanities and betrayals, and the habitual collecting of high-priced art and oversize homes.
Judging the art collection left by Meyer after his death, a writer remarked that it was “a glorious triumph of mystique over substance.” One is tempted to imagine that line as a caption for some future cartoon depicting a middle-aged, overweight and badly dressed banker, with Manhattan’s skyline in the background, dressed in a bespoke tab-collared, French-cuffed shirt with the monogrammed initials “LFNJ.”

Richard Parker, an economist, teaches at the Kennedy School of Government at Harvard. He is the author of “John Kenneth Galbraith: His Life, His Politics, His Economics.”






張錯等人談施友忠(1902—2001):天涯比鄰/浮雲遊子/《從影響研究到中國文學:施友忠教授九十壽慶論文集》(1992)《文學 史學哲學: 施友忠教授八十壽慶論文集》(1982)《浮雲遊子》七十壽慶

張錯等人談施友忠(1902—2001):天涯比鄰/浮雲遊子/《從影響研究到中國文學:施友忠教授九十壽慶論文集》(1992)《文學 史學哲學: 施友忠教授八十壽慶論文集》(1982)《浮雲遊子》七十壽慶



張錯

吾師施友忠先生曾以「論語的文藝」得1975年台灣金筆獎,施師曾謂:「讀古人書應取的態度,前在「從文學批評觀點讀莊子」一文(見中外文學,第三卷,第七期)中,已略為論述。但意有未盡。讀古人書要能在吾人的經驗中,見其神情,見其栩栩然,生意蓬勃,如在眼前。」
可能是顯示的文字是「蜂 토위 安 中 華 民 國 六 t 五 年 六 ส 安 每 安 會 文 大 論 施 會 十 忍 語 友 員 四 應 的 患 中 年 榮 文 先 外 金 泰 生 文 筆 本 殺 作 舉 獎會推品所験 所 野 聯 民 廳 干龍 謹 H 金 筆 髪 寶 燈 ្យ្ 其明」的圖像
所有心情:
許定銘、高苦茶和其他15人



***
中國時報"海外專欄"選集

海內知己- 台北:晨鐘出版社
天涯比鄰. 台北:晨鐘出版社 1971
浮雲遊子- 台北:晨鐘出版社

施友忠(1902—2001)著名文哲學者 研究過中國新文學 胡適等 諸家 (英文著作)
施友忠翻譯了《文心雕龍》成英文在美國哥倫比亞大學出版出版。
新版見Vincent Yu-chung Shih, trans. and annot., The Literary Mind and the Carving of Dragons: A Study of Thought and Pattern in Chinese Literature (Hong Kong: Chinese University Press, 1983), 

施友忠: Talk with Hu Shih*

(*此文蕭公權在《康有為一書中引用) 施友忠(1902—2001)著名文哲學者 研究過中國新文學 胡適等 諸家 (英文著作)


他70壽慶
其學生翱翱發表訪問記 〈千里逍遙逐飄蓬〉(中國時報人間副刊 ) ,收入
《浮雲遊子- 台北:晨鐘出版社, 頁50-60 (附施友忠與吉田幸次郎的酬答詩)

《文學 史學哲學: 施友忠教授八十壽慶論文集》(台北: 時報文化,1982);
〈年譜〉中 1960記 "胡適之先生來西雅圖開會(Congress...) 與大師遊" (p.315)
他與吉川的往來詩,應很有意思。




施友忠教授九十壽慶論文集(1992)

《從影響研究到中國文學:施友忠教授九十壽慶論文集》1992)
作者:陳鵬翔,張靜二,施友忠
從影響研究到中國文學(論文集): - Google 圖書結果
作者:陳鵬翔,張靜二/編著出版社:書林出版有限公司出版日期:1992年01月30日.....

《從影響研究到中國文學:施友忠教授九十壽慶論文集)
從影響研究到中國文學(論文集):施友忠教授九十壽慶論文集(1992)
作者:陳鵬翔,張靜二,施友忠:陳鵬翔,張靜二/編著;台北:書林出版有限公司出版,1992
從影響研究到中國文學(論文集): - Google 圖書結果


目次

  • 二度和諧的追尋
  • 美國投射詩與中國現代詩
  • 胡適白話詩運動
  • 民國六十年前後新詩社的興起及其意義
  • 校園文學、小刊物、文壇
  • 魚身夢幻
  • 劉大櫆的神氣說
  • 言本的傳譯性與譯人的天職
  • 論烏托邦的旅程
  • 「第三自然螺旋架構」的創作理念
  • 「信、達、雅」新詮
  • 喬叟的幽默和喜劇意識
  • 施友忠先生年譜
  • 施友忠先生著作目錄
  • 作者簡介 







  • 張錯/呦呦鹿鳴憶楊牧 ;張默《六十年代詩選》《七十年代詩選》《八十年代詩選》 。喻麗清紀念專輯(1945-2017)



    張默的年代詩選
    日昨寫〈兩種洛夫紀念特刊〉時,提到《創世紀》創刊的三巨頭:張默、瘂弦和洛夫。此中,張默的名氣遠遠不及他的兩名老友瘂弦和洛夫,我覺得主要的原因是:他是實幹型,往往都默默地在背後努力,而不慣站到幕前;像他編選的那幾本年代詩選,就是擲地有聲的巨著,是台灣現代詩史中極重要的選本。
    五、六十年代的台灣詩壇是蓬勃的,在大量的詩刊外,出版商還喜歡出年代詩選。林著的《近三十年新詩書目》有詳盡的記載,甚至連作者和篇目都不遺漏,實在是本一流的工具書。
    《六十年代詩選》是張默和瘂弦合編的第一本年代詩選﹙後來還有七十、八十年代詩選﹚,一九六一年元月由大業書店刊行,二十五開本,凡二二四頁,共收二十六位詩人的作品。每個詩人的作品,無論輯入多少,都自成一個單元,前面有一簡短的評介,並由畫家馮鍾睿畫像,就像二十六本小詩集合成一冊。此中詩作被選得較多的有:林亨泰、吳望堯、馬朗、商禽和鄭愁予。較有名氣的詩人,如覃子豪、瘂弦和洛夫等,反而選得不多,未知何故。最特別的是香港詩人崑南,也以其長詩〈喪鐘〉入選。可見這個年代詩選不限於本土,還涉及海外哩!
    編者在〈緒言〉中說:「……所謂『六十年代』,並非完全意味著一種紀年式的時間觀念,而是表示一種新的、革命的、超傳統的現代意義。」《六十年代詩選》中的作品,真的極具革命性、超傳統,尤其在形式上更新得令人驚訝,林亨泰、碧果、商禽都是其中的表表者。
    策劃出版《六十年代詩選》的創世紀詩社,在一九六七年九月,又經由大業書店出版了《七十年代詩選》,編者今次加入了洛夫。這本《詩選》較上一本份量大得多,開本擴為二十,頁數增至三五O,詩人多至四十六人。其編制、畫像、評介一如上冊。二十開分成上下兩排,是詩刊的主流編制,好看而醒目。
    書前有葉維廉的〈詩的再認〉,論述詩的真性、姿式藝術和詩之軀體。〈後記〉則說明其編選目的及選稿標準。編者有感於《六十年代詩選》出版後之「六年來中國現代詩之發展顯然已由少年時期進入壯年時期,由實驗階段進入創造階段,由稚嫩狀態進入成熟狀態,不論在詩質方面或技巧方面,其水準之高,素質之純,均已超越《六十年代詩選》中作品頗多」,為免這些好作品流失,故此雖只過了六年,已有出版《七十年代詩選》的需要。其選稿的標準是:不問新人舊人、不論名氣,只要在該段時間內,有好作品出現的,都在被選之列。因此,今次加入了不少新人,如楚戈、管管更是我所特別鍾愛的。本港詩人馬覺、戴天、翱翱、蔡炎培均有作品入選。此外,還有一位用中文寫詩的韓國籍詩人許素汀﹙許世旭﹚亦在被選之列。
    到一九七六年六月,張默領導一個連自己在內共十二個人的班子,編選了《八十年代詩選》交濂美出版社印行,此書為二十五開,厚達四七一頁。書前由張漢良的〈現代詩的田園模式〉代序,這篇論文對該十年﹙一九六六至七六﹚中國現代詩的成長與發展有詳盡的剖析,是篇不可多得的重要文評。此書的編制和對上兩本沒有分別,共選詩人五十六家,此中最早曾入選《六十年代》的有余光中等十一人;曾入選《七十年代》的有大荒等二十四人,其餘則為新崛起的年輕的一代。今次入選的香港詩人只有羅少文一人,對此,筆者感到甚怪。
    比較三本年代詩選,我最喜歡《七十年代詩選》,夠全面、開度靚、封面設計亦很富詩意;遠較《八十年代詩選》出色!
    後記:以上文字,抽取自本人長文〈隱藏的謬思〉,該文長近八千字,寫於2000年1月,3月刊於《香港文學》183期,後收入拙著《醉書室談書論人》(香港創作企業有限公司,2002)中。
    整理舊文,最可惜的是沒有書影提供,盼書友們可提供以光篇幅。此中順便一提:《六十年代詩選》八十年代有香港特愛台灣現代詩的書痴,照原樣重印過,與原版本一模一樣者,市面應該流傳較多?謝謝大家!
    ――2023年8月26日
    所有心情:
    你、楊宗翰和其他10人





    【自由副刊】 張錯/呦呦鹿鳴憶楊牧

    2020/08/16 

    ◎張錯

    張錯(左起)、楊牧、李歐梵在哈佛留影。(張錯/提供)
    「讓我教你。」他說。
    不是在研究室,是在他的廚房,「很多人不會煮泡麵。」西雅圖的葉珊(楊牧)給我說,「一般人都是煮沸了水,就把麵放下去,那是不對的。應該先把調味料放進去,煮一下,再放麵,水再沸,蓋上,熄火,靜候一會,這樣泡麵才有味道。」我唯諾受教,從此煮麵也跟隨這步驟。
    上世紀八十年代他來洛杉磯,早晨我和夏盈盈在後院「講武」討論舞台翻滾與武術腿擊完畢(她不只是刀馬旦,還是跆拳黑帶),我說不要做早餐了,去吃燒餅油條吧,「我不愛吃,麵粉包麵粉。」這是第一次聽到他對燒餅油條的名言,其實我愛台灣燒餅油條不得了,還有蛋餅和甜豆漿。那次他還來看張永祥、任芝蘭夫婦,我們一家和永祥大哥幾十年交情,都自他開始帶動,兩家小孩年齡相差不遠,加上任大姊妹妹任玉蘭一家,儼如海外一個小圈子大家庭,過年過節溫馨熱鬧,一直到小孩長大才各散東西。至於楊牧、張永祥與瘂弦的交情,卻又要另追算他們當年幹校的「哲學消夜」(後來也見到老蔡的蔡伯武),那些年代我應還是大學生。
    他從麻塞諸薩大學來西雅圖華盛頓大學(UW)任教,我剛考博士資格試,他沒有考我,我的導師是施友忠老師,華大博士資格考有一項慣例,筆口試前必須由系方老師出一道筆試題,讓考生拿回家翻書作答,如果答案系方不滿意,便會延遲資格考。那年比較文學研究所瓊斯教授出了一個有關「知識」(knowledge)的問題,要我試述從西方古希臘文明未知與求知的發展,去比較中國文明知與不知的異同,那真是直可著書立說的大哉問。我私下拿去請教楊牧,他仔細給我析解提供關鍵資料,方悉他對東西古典文學的深湛修養。以後我在南加大比較文學系開中西比較研究課程,亦會把中西「知識」命題當做文哲比較研討,其中更揉雜施老師《文心雕龍》及「第二和諧」、〈心與宇宙秩序〉(1939)文哲觀念,還有更早論希臘三哲與當日社會的《柏拉圖與亞里斯多德》(開明書店1937年初版),可謂得益自楊牧啟蒙。
    考完資格試,論文尚在準備階段,但已心有旁騖,躍躍欲試其他領域,那時已讀到加州大學聖地牙哥分校文學系皮亞斯(Roy Harvey Pearce)教授對美國詩歌延續詩論,有天在學校餐廳碰到楊牧,併桌邊吃邊聊,告知想翻譯威廉斯(William Carlos Williams)的現代史詩《柏德遜》(Paterson),那是長達數百頁的美國現代詩。他聽到欣然大喜,並說本亦有意翻譯此書,現讓我來做太好了。我又說此詩曲高和寡,旁徵博引,資料龐雜,連某校英文系教授也咒罵全書不知在說什麼,拒絕列入其美國現代詩課程,如此恐怕台灣不能接受。他說不怕,會跟瘂弦說在《幼獅文藝》連載,結果真的就在《幼獅》每月連載年餘,一直到全詩譯畢。我不能不感激楊牧遠瞻及瘂弦膽識,那時只有楊牧、瘂弦能做到。
    楊牧的垂顧還包括洪範出版的《張錯詩選》,沒有他的推薦,應該是完全不可能之事,我非自謙,亦非自貶,自西雅圖後,沒有常找他,他也沒有常找我,應是我倆共同性情,大道無情,這方面倒是「醉後各分散,永結無情遊」道家之意。說起醉後,我曾因胃出血,是名列他的無趣飲者之一。當他告知洪範準備出版《張錯詩選》,驚喜之餘,要求給我寫序,他欣然應允,序出來後,雖是以張錯〈劍之於詩〉為題,其實卻是他的詩觀闡釋,大家知道其人詩作或顯或晦,抽象具象皆備,意象鮮明如脫手彈丸,圓轉流暢,讓讀者產生出辯證正反有如聆聽古典音樂的「意義詮釋」與「反詮釋」。他說,「也許這個講法還是不錯的:我們對一首詩最大的禮讚,就是專注,聚精會神去閱讀它,即使為某種獨異的原因竟從一錯誤的地方切入,以致於我們尋覓到的解說悖離了作者的意志;但若是因為藉著這樣高層次的心智交涉,我們畢竟已實際沉潛於他的詩之深奧而無懈怠,玩忽,我們應該就是有所體會,嘗到了喜悅,挫折,即使超越了他的想像,也還是禮讚。」他強調詩的多層面、言外意,雖然作者並未全死,但讀者如能專注,產生另一種高層次的心智交涉,詩人的劍就不只是一柄利器,還有其歷史、典故、紋飾、身分、考據種種傾注及聯想,把詩的內涵提升到另一層次,那麼就算悖離原意,也值得加分禮讚。
    我的治學與創作生涯,何其有幸得識兩個亦師亦兄的前輩,一是楊牧,另一是李歐梵。初識歐梵於1980年愛荷華聶華苓主持的「中國週末」,作家一一上台朗誦如儀,待我讀畢,他驀地起身即時英譯拙作,讓我感動之餘,見識到李歐梵不只是學者,還是一個尊重文人的學人。當然歐梵除了在講台,亦有其他表演壓抑,他的「三壓」,一是當樂團指揮,後來在台大交響樂團實現了,二是小說創作,寫完《范柳原懺情錄》,又寫了一本花蓮佳山空軍基地小說,也滿足小說家的浮華了。三是想在胡金銓電影裡當一名壞人,據他自稱天生一副壞蛋臉孔,可惜胡導演《華工血淚史》尚未開拍就逝世了,一直壯志未酬。
    和歐梵自後交往,加上楊牧,三家在西雅圖、劍橋哈佛、洛杉磯犄角繼成三角之勢,相互往來。說好每年三家一聚,他自回花蓮東華後便不了了之。有年和楊牧共赴哈佛參加歐梵安排(張鳳協助)的一個作家工作坊,講演排在下午二時,午飯後兩人都想休息片刻,時間短促,大概只有十五分鐘左右,歐梵研究室空間有限,只好在走廊長凳分別躺下,我不是要睡就能入睡的人,思潮起伏,時睡時醒,相反楊牧在另一邊呼呼大睡,醒來精神飽滿,真非常人也。
    另一次三家齊聚西雅圖楊家,駕車坐渡輪去外海的聖璜群島(San Juan Islands)三大離島之一洛佩斯島(Lopez Island),以糜鹿聞名,如要觀鯨,則要到聖璜大島。洛佩斯島居民僅二百餘戶,只一戶中國婦人,盈盈認識女主人,主人當日不在,傍晚才歸,留下鑰匙,邀請我們六人作一日遊,美麗航程有如詩般浪漫,寒冷海風、迷人岸線、翠綠景色(華盛頓州又名常綠州)、香濃熱咖啡(西雅圖道地星巴克,還有《白鯨記》及「星際大戰」的聯想)。此島麋鹿繁殖過剩,州政府消滅狼群、山貓後,每年秋季有兩月開放打獵,達爾文主義殘忍不堪。我們來訪剛好夏天,但見藍天碧海,林木聳翠,坐在陽台簡直海外浮世,世外桃源。想起安格爾先生(Paul Engle)在《回憶錄》描述愛荷華城他的「鹿園」:「我們山頂一大片樹林,蜿蜒迤邐到後面的山谷,山谷裡有許多野鹿。華苓喜歡遠遠看牠們從樹林一隻隻走出來,在園子裡遊蕩,吃我撒在樹林邊上的鹿食。」
    恰好我們三人均與愛荷華有緣,歐梵曾為華苓乘龍快婿,楊牧1964年在「作家工作室」念完藝術碩士(MFA)才到柏克萊念比較文學博士,我則要到1973年才到愛荷華的「國際寫作計畫」一年,把博論寫完回西雅圖答辯,翌年秋天才到南加州大學任教。在愛荷華停留過的作家,多數會熟悉Dubuque街安格爾的房子,冬天結冰陡險斜坡,後山見到或未見到的鹿群。
    抵鹿島安頓後,盈盈又開車帶婦女去渡頭查看渡輪回航時間及買啤酒回來,楊牧不用同去,正中他下懷,他是余光中所謂「恐門症候群」(此詞是否余老師始創,待考),即是看見門都會害怕要出去,最好坐在家裡飲酒聊天。那天坐在露台觀海,很多人都以為詩人學者聊天,一定談文說藝、結構解構、殖民後殖民,其實那是最無聊無趣之事,閒情舒適莫如海闊天空,談天說地,懷想一些共同朋友,甚至一些女士們不在男人無傷大雅的饒舌(gossip)。
    傍晚女主人回來,帶來一大包殘餘菜蔬,引領我們丟菜餵鹿,但見群鹿紛紛而來,群情洶湧,我曾在散文〈鹿鳴之篇〉訴說:看到牠們疏疏落落出來覓食,而且也不害怕陌生人,則這絕對是一個人獸相融的理想世界。惟有彼此兩無猜忌,人無傷鹿心,鹿無害人意,這世界才會回復古代有如遊仙詩裡隱逸的山林。其實那又有什麼困難呢?但是困難仍不在純真鹿意,而在於變幻莫測人心,以及無限的貪婪與占有、忘本與負義、耳語與汙蔑,最恐怖的還有它的虛偽與機詐!
    我們相繼向女主人道別,她拿出一本留言冊請我們簽名留言,我最年輕先寫最吃虧,猝不及防胡亂寫了數句,早已忘記寫什麼了,跟著歐梵寫,最後楊牧,他思索一會,寫完向主人解釋,這原是《詩經》裡主人向賓客表達歡迎之意,現在稍微倒轉過來。我也記不清楚倒轉什麼了,但記得那是來自〈鹿鳴〉之篇:
    呦呦鹿鳴,食野之苹
    我有嘉賓,鼓瑟吹笙
    《詩經》是他的當行本色,遂也想起他那本至今無人尚出其右的英文著作《鐘鼓集――毛詩成語創作考》,以及常向我提及的夫子殷殷教誨――小子何莫學乎詩,興觀群怨之外,還要多識鳥獸草木之名,到了今天仍銘記於心,雖未春服既成,浴乎沂,風乎舞雩,但亦多識草木,觀花賞鳥。
    當時島上夕陽葡萄紫紅酒興方酣,有似人生一種智慧圓融。是的,轉眼我們便乘渡輪回到俗世,是的,我們都不再年輕,但在許多有所為有所不為的抉擇裡,我們仍然擁有一種高貴尊嚴,那種聲音,有如一連串自由自在的灑脫鹿鳴,無論是遺世、冷落、飢餓、疾病、衰老或甚至死亡,均不為凡間環境所動或所辱。
    生命存在不只是一種權利,也是一種追尋、一種領悟,然後是一種抉擇。我識楊牧於1972年,交往整整四十八年,也算大半生了,他的離去給我帶來巨創,有似帝堯之時,共工頭觸不周之山,折天柱,絕地維。也想起鄧肯(John Donne)「無人是孤島」的名言,真的,我倆生命的交會影響,已構成我生命大地的重要部分,不能用時間來測量長短了。他代表一個時代的風華,獨領風騷於他生於斯長於斯的土地,甚至葬於斯的家鄉花蓮。他的回歸台灣讓我妒羨羞愧,我依然是一個流放在外無鄉可歸無國可投的異鄉人。
    傍晚南加州春夜乍暖還寒,疫情嚴重日死千人的紐約東岸竟然五月紛紛飄雪,想起喬伊斯(James Joyce)短篇小說〈死者〉的結局,那是愛爾蘭文學最優美散文:「是的,報章是對的:雪落在整個愛爾蘭……也全面落在山上孤寂教堂葬著邁克.富萊的墓地,厚厚一層飄落在歪曲十字架及墓碑,落在鐵柵尖戟,落在荒涼荊棘。他緩慢進入睡鄉,聽著雪花落在無邊大地,輕輕飄落,就像它們最終的降落,落在所有的眾生和死者。」 ●


    喻麗清紀念專輯(1945-2017) - OCWWA
    www.ocwwa.org › yu-li-qing-special

    海外女作家協會第五屆會長,名作家、詩人喻麗清於8月2日清晨在北加州離世。家屬依照她 ... 本會網站推出「喻麗清紀念專輯」,以新詩、短文向她致敬,以表緬懷。部分姊妹 ... 很感寬慰。《盲愛》1993--此書序說,從英文版重譯的.....

    "胡適的〈最後的一課〉等,還不是從英文翻譯,為我們留下感人的短篇......" (大略)
    從胡適之先生的劉學日記,可知他直接翻譯自法文。胡的老師要寫信給都德遺孀報告......



    1967 《千山之外》,光啟出版社。
    1972 《青色花》,光啟出版社。
    1975 《牛城隨筆》,光啟出版社。
    1976 《短歌》(詩集),光啟出版社。
    1978 《春天的意思》,爾雅出版社。
               為中文學校編選《兒歌百首》,爾雅出版社。
    1979 《流浪的歲月》,爾雅出版社。
    1980 《闌干拍遍》,爾雅出版社。
            《紙玫瑰》(小小說),光啟出版社。
    1982   編著《情詩一百》,爾雅出版社。
    1983 《無情不似多情苦》,爾雅出版社,獲台灣作協散文文藝獎章。
    1987 《蝴蝶樹》,爾雅出版社,獲台灣新聞局優良著作金鼎獎。
    1987 《把花戴在頭上》,爾雅出版社。
    1988 《中國有尾兩棲類研究 Studies on Chinese Salamanders》,中譯英,Cornell University 出版。
    1988 《喻麗清極短篇》,爾雅出版社,聯合報文學書類質的排行榜前十名。
    1989  編著《蘇青散文》,五四書店出版。
    1990 《依然茉莉香》,王開平編選,爾雅出版社。
    1991 《沿著綠線走》,時報出版公司,金石堂出版月刊十大推薦好書之一。
             《愛情的花樣》(小說集),爾雅出版社。
    1993 《愛的圖騰》(詩集),漢藝色研。
    1994 《帶只杯子出門》,麥田出版社。
             《尋找雨樹》,林白出版社。
             《把寂寞縫起來:喻麗清散文選》,祝勇編選,北京師範大學出版社。
    1995 《愛情的花樣》大陸版,時事出版社。
             《闌干拍遍》,河北教育出版社。
    1996 《春天的意思》,段百玲編選,四川少兒出版社。
             《清麗小品》,金宏達編選,中國友誼出版社。
             《在海風裡飛翔》,雲南人民出版社。
    1998 《喻麗清人生情感散文》,湖南文藝出版社。
               五本藝普教育兒童書(四本西洋藝術家小傳,一本文學家小傳),三民書局,其中《石頭裡的巨人:米開蘭基羅傳》及《愛跳舞的方格子:蒙德里安傳》
    獲一九九九 年文建會最佳少兒文學獎及小太陽獎。
    1999    詩集《沿著時間的邊緣走》,格林文化。
    2000  《飛越太平洋》,陝西太白文藝出版社。
              《山霧居手記》,四川人民出版社。
              獲聘為上海同濟大學及上海拜德學院海外華文文學研究所特約研究員。
    2001    三本藝術家小傳,三民書局,其中《農民畫家:米勒》及《畫家與芭蕾舞:狄加》獲得2002年兒童文學金鼎獎。
    2002 《喻麗清作品集》五卷本:《寂寞的旅程》(詩)、《依然茉莉香》(小品)、《山水總相逢》(遊記)、《木馬還魂》(小說)、《象腳花瓶》(散文),河北教育出版社。
               詩集《未來的花園》,爾雅出版社。
    2004 《捨不得》,大塊文化出版社。
             《 喻麗清捨不得》系列: 《會唱歌的葉子-- 捨不得的親情》、《巴黎的玫瑰-- 捨不得的物趣》、《在起飛與降落之間-- 捨不得的城市》,花城出版社。
    2005   喻麗清、唐密合著《最幸福的禮物》,大塊文化出版社。
    2006《親愛的魔毯》,大塊文化出版社。
    2008《面具與蛇》,重慶出版社。
    2010《喻麗清散文精選》,浙江文藝出版社。
    2013《太陽底下搖滾樂一中學生活回憶》北京中國社會出版社。
    2015《後院有兩顆蘋果樹》,大塊文化出版社。
               編著《傅狷夫在美國》,中國美術學院出版社。

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