2026年4月8日星期三

Albert O.Hirschman (1915-2002, Optimistic Economist, Dies at 97) The Rhetoric of Reaction Perversity, Futility, Jeopardy.On Language Exit Strategy By WILLIAM SAFIRE Worldly Philosopher: The Odyssey of Albert O. Hirschman Jeremy Adelman

Albert O.Hirschman (1915-2002, Optimistic Economist, Dies at 97) The Rhetoric of Reaction Perversity, Futility, Jeopardy.On Language Exit Strategy By WILLIAM SAFIRE. Worldly Philosopher: The Odyssey of Albert O. Hirschman Jeremy Adelman

2013.1.1整理出架構 2013.7.2補《反動的修辭》......

■馬路或飛機
我的朋友赫許曼（Albert Hirschman）發現還有一些其他場合，不容許錯誤也可以是美德。他是位經濟學家，大半輩子都在研究拉丁美洲社會，以及提供意見給這些政府。同時，他也提供建議給非洲新興獨立國家。這些窮國家經常問他一個問題：「我們應該把有限的資源投在馬路上，或是投到空運上？」聽到這樣的問題，經濟學家自然的反應是回答：「馬路」，因為把錢投在開馬路上，可以為當地人民造就工作機會，而且社會上所有階級都可以享受到修路的好處。相反地，成立國家航空公司，需要的是外國的技術，而且航空公司也只對少數搭得起飛機的人有好處。話雖如此，長期的非洲及拉丁美洲實務經驗卻告訴赫許曼，「馬路」通常是錯誤的答案。在現實世界裡，馬路擁有很多項缺點。首先，撥給修路的經費很容易就會落入腐敗的地方官僚口袋中。而且，築馬路也比維修馬路來得容易。因此常見的狀況是，新路在幾年後開始毀壞，但由於崩毀速度是漸進的，所以並不會造成醜聞。於是，修築馬路的最後結果是：生活又回復原來的面貌。當初回答「築路」的經濟學者並沒有為這個國家造就什麼，只除了讓地方官僚的口袋更肥厚些。

接下來，再看看建立國家航空公司在現實世界裡所產生的功效。錢投下去之後，該地便擁有了一批昂貴的飛機、昂貴的機場以及昂貴的儀器設施。當國外技師離開後，當地人勢必得接受訓練，接手操作整個系統。和馬路不同的是，飛機可不會很優雅地損毀。墜機是非常醒目的大事，同時也能令執政者聲望掃地。遇難者又多半是有錢有勢的人，他們的死訊通常不會被忽視。統治者別無選擇。他們一旦擁有一家航空公司，就不得不好好經營它。他們不得不訓練一批鬥志高昂的機械維修幹部，願意準時上工，並以自家的技術為榮。結果，航空公司為這個落後國家所帶來的間接利益，超過它的直接經濟利益。它創造出一批「熟悉嚴格工業規章，而且擁有現代工作道德觀」的國民。而這批國民遲早又會在維修飛機之外，找到其他能發揮個人技巧的工作。於是，「不容許錯誤」的航空業，便成為指導傳統國家邁向現代化的最佳學校，雖然用的是這般矛盾的方式。
但是，關於「不容許錯誤的科技」轉變了世界，並強迫傳統社會改變，這並不是第一回。航空在今日的角色，頗類似航海在工業化之前的角色。英王享利八世——這位史上最殘忍也最聰明的英國君王、修道院破壞者兼大學創建者、殺妻者兼情歌作者、同時也是劍橋三一學院歷代名人的恩人——就深深明白，推進英格蘭現代化最有效率的工具，莫過於成立一支皇家海軍。十八世紀的工業革命之所以會始於英格蘭，始於這個日常生活與經濟雙雙受制於航海文化達三百年的小島，可不是偶然的。當年輕的俄國君主彼得大帝（一位個性酷似享利八世的君王），決定俄國現代化的時機已經屆臨，便為自己安排了一份工作，進入造船廠當學徒。---談「優雅地損毀」戴森『想像的未來』 (IMAGINED WORLD )

*****
1987-88 Tanner Lecture 1988.4.8The Tanner Lectures on Human Values - Page 1 - Google Books Result

Reactionary Rhetoric: The Case of the Perverse Effect

Government and Opposition Volume 28, Issue 3, pages 292–314, July 1993

The Rhetoric of Reaction

Perversity, Futility, Jeopardy

Albert O. Hirschman

Publication: March 1991

With engaging wit and subtle irony, Albert Hirschman maps the diffuse and treacherous world of reactionary rhetoric in which conservative public figures, thinkers, and polemicists have been arguing against progressive agendas and reforms for the past two hundred years.
Hirschman draws his examples from three successive waves of reactive thought that arose in response to the liberal ideas of the French Revolution and the Declaration of the Rights of Man, to democratization and the drive toward universal suffrage in the nineteenth century, and to the welfare state in our own century. In each case he identifies three principal arguments invariably used: (1) the perversity thesis, whereby any action to improve some feature of the political, social, or economic order is alleged to result in the exact opposite of what was intended; (2) the futility thesis, which predicts that attempts at social transformation will produce no effects whatever—will simply be incapable of making a dent in the status quo; (3) the jeopardy thesis, holding that the cost of the proposed reform is unacceptable because it will endanger previous hard-won accomplishments. He illustrates these propositions by citing writers across the centuries from Alexis de Tocqueville to George Stigler, Herbert Spencer to Jay Forrester, Edmund Burke to Charles Murray. Finally, in a lightning turnabout, he shows that progressives are frequently apt to employ closely related rhetorical postures, which are as biased as their reactionary counterparts. For those who aspire to the genuine dialogue that characterizes a truly democratic society, Hirschman points out that both types of rhetoric function, in effect, as contraptions designed to make debate impossible. In the process, his book makes an original contribution to democratic thought.
The Rhetoric of Reaction is a delightful handbook for all discussions of public affairs, the welfare state, and the history of social, economic, and political thought, whether conducted by ordinary citizens or academics.

Albert Hirschman, Optimistic Economist, Dies at 97

By WILLIAM YARDLEY

Published: December 23, 2012

Albert O. Hirschman, who in his youth helped rescue thousands of artists and intellectuals from Nazi-occupied France and went on to become an influential economist known for his optimism, died on Dec. 10 in Ewing Township, N.J. He was 97.

Enlarge This Image

United Press International

The economist and author Albert O. Hirschman held academic posts at Yale, Columbia and Harvard.

His death was confirmed by the Institute for Advanced Study in Princeton, N.J., where Mr. Hirschman spent the latter part of his career.

Mr. Hirschman pieced together his graduate work in economics in the 1930s while serving as a soldier and something of an insurgent. Born in Germany, he fought on the anti-fascist side in the Spanish Civil War and later joined the French Army in its resistance to the Nazis.

When France fell in 1940, he became an integral part of a rescue operation led by the journalist Varian Fry that helped more than 2,000 people escape to Spain, among them the artists Marc Chagall and Marcel Duchamp and the political theorist Hannah Arendt.

Mr. Hirschman found routes through the Pyrenees Mountains for those who were fleeing and smuggled messages in toothpaste tubes.

By the early 1940s, he had moved to the United States and enlisted in the Army, which sent him to North Africa and to Italy as part of the Office of Strategic Services. One of his duties was to translate for a German general in an early war crimes trial. Later, he worked with the Federal Reserve Board, focusing on European reconstruction under the Marshall Plan.

In 1952, he moved to Colombia to be an economic adviser to that impoverished but rapidly developing country. A few years later, he was back in the United States, beginning a 30-year academic career in which he blended economics, politics and culture and held posts at Yale, Columbia and Harvard. He rarely invoked the experiences of his youth in his academic work, but certain themes persisted in both periods of his life.

Mr. Hirschman argued that social setbacks were essentially an ingredient of progress, that good things eventually come from what he viewed as constructive tensions between private interest and civicmindedness, between quiet compliance and loud protest.

He ranged widely in his writings, which include geographically specific studies on economic development, like “Journeys Toward Progress: Studies of Economic Policy-Making in Latin America.” A broader work was “Exit, Voice and Loyalty: Responses to Decline in Firms, Organizations and States,” published in 1970.此書中國有翻譯

That book outlined different ways that people deal with disagreeable rules or situations politically, culturally and professionally. Some might suffer silently out of loyalty, while others raise questions and still others decide to abandon a situation. The theory has been applied to how politically oppressed people might flee a nation as well as why shoppers stop buying a certain product — a retail variation of what Mr. Hirschman called the “exit option.”

In 2003, William Safire, the columnist for The New York Times who also wrote the On Language column for The New York Times Magazine, led an informal search for the roots of the phrase “exit strategy.” The search led to economists, who pointed to Mr. Hirschman, who denied culpability, sort of.

“Did he coin the phrase?” Mr. Safire wrote after interviewing Mr. Hirschman. “No; it’s nowhere in his book. He used exit option. ‘It was a somewhat new concept then,’ Hirschman recalls. ‘I used exit to indicate a possibility, a strategy. When you are dissatisfied, you can use your voice option or your exit option. It is not so different from the political use today. Speak up or get out.’ ”

While many economists were increasingly immersed in statistics, Mr. Hirschman often wrote with a storyteller’s sweep about the behavior of nations, institutions and individuals. At a time when top-down models for stabilizing economies were popular, particularly in developing countries, Mr. Hirschman was inclined toward a kind of chaotic capitalism called disequilibria.

Mr. Hirschman “thought disequilibria creates problems that you have to solve — and that’s a good thing,” said Jeremy Adelman, a professor of history at Princeton and the author of a biography, “Worldly Philosopher: The Odyssey of Albert O. Hirschman,” to be published next year.

Otto Albert Hirschmann was born on April 7, 1915, in Berlin. (He later changed the order of his given names and dropped one of the n’s from his last name.) His father was a surgeon. His survivors include a daughter, Katia Salomon; four grandchildren and nine great-grandchildren. His wife of 70 years, the former Sarah Chapiro, died in January.

Mr. Hirschman was an ardent optimist. He believed, as Mr. Adelman put it, “that even the most seemingly immutable, impossible situations could be solved, that you could change things that seemed unchangeable.”

But he also said that things sometimes had to get harder before they got better.

“Somehow we always try to think in terms of having only one thing happen; everything else will coalesce around it, and we’ll come out all right,” Mr. Hirschman said in a transcribed conversation with an anthropologist in 1976.

He added: “Generally we only have one lever at a time. We only have one ‘new key’ at a time. To try to counteract this sort of thinking is very important. This kind of faddishness has marred all thinking about economic development.”

This article has been revised to reflect the following correction:
Correction: December 28, 2012

An obituary on Monday about the economist Albert O. Hirschman referred incorrectly to the Office of Strategic Services, in which he served in the 1940s. It was a civilian agency under the command of the Joint Chiefs of Staff; it was not a part of the United States Army.

On Language

Exit Strategy

By WILLIAM SAFIRE

Published: December 14, 2003

he Bush administration has begun searching for an exit strategy ,'' wrote NPR's Daniel Schorr in a recent Christian Science Monitor column. He noted that the phrase coming from the Bush White House went in the other direction: ''stay the course.''

Donald Rumsfeld, peppered with questions about when the U.S. forces would leave Iraq, found a creative way to treat the phrase that refused to focus on departure: ''Our exit strategy in Iraq is success.

It's that simple. The objective is not to leave; the objective is to succeed in our mission.''

The penetration of a new phrase is sometimes measured in cartoon captions, especially in The New Yorker. In 1995, a bride-to-be was pictured in a Robert Mankoff cartoon responding to her swain on bended knee: ''O.K., but what's our exit strategy ?'' In 1999, James Stevenson drew a prisoner in a cell asking his cellmate, ''What's your exit strategy ?''

Alistair Cooke, the British-born American commentator whose weekly Letter From America has long added a touch of class to the BBC, took note of the jailbird exit strategists of '99 and observed, ''' Exit strategy ' is one of those simple-sounding, actually menacing catch phrases we've started using about war when it's uncomfortable to think a little deeper and acknowledge something unpleasant.'' He cited others: in harm's way and putting our men at risk .'' He guessed that exit strategy ''came in with the gulf war.''

Those of us in the phrasal etymological dodge cannot rely on anybody's recollection; citations are the thing. My researcher, Kathleen Miller, accepted the mission and enlisted the aid of Fred R. Shapiro, who as editor of the Yale Dictionary of Quotations touches all the scholarly databases. Fred came up with several uses in the late 1970's in business publications. In the Winter 1977 issue of the California Management Review, William Matthews and Wayne Boucher wrote critically of a company that ''continues to attempt to achieve the established objectives -- way past the point at which, if the company had had a 'planned exit strategy ,' it would have decided to terminate the venture.''

At that point I would have emitted a gleeful aha!, but Miller kept coming up with the use of the phrase by economists who cited a seminal 1970 book by Albert O. Hirschman about three strategies: ''Exit, Voice and Loyalty.'' According to a 2001 paper presented at a California conference by the Moscow economist Vadim Radaev, Hirschman postulated three strategies to deal with uncertainty caused by new formal rules: the voice strategist publicly questions the orders, the loyalty strategist complies and the exit strategist avoids the new rules.

At my command (''Get Hirschman, if he hasn't exited''), she found the 88-year-old social scientist where the geniuses hang out, at the School of Social Science at the Institute for Advanced Study in Princeton, N.J.

Did he coin the phrase? No; it's nowhere in his book. He used exit option. ''It was a somewhat new concept then,'' Hirschman recalls. ''I used exit to indicate a possibility, a strategy. When you are dissatisfied, you can use your voice option or your exit option . It is not so different from the political use today. Speak up or get out.''

That original where's-my-hat sense has changed to ''a blueprint for bailout.'' In political and journalistic use, the phrase's connotation is accusatory: today's question, ''Where is your exit strategy ?'' connotes ''How do you plan to get us out of this mess at a date certain?'' In his answer, Rumsfeld chose to counter that polemical connotation by defining the mission not as exit but as success.

I am still working on stay the course , which appears to be rooted in a nautical metaphor. Send coinage citations to onlanguage@nytimes.com .

TOCQUEVILLE LIVES

What is it about the aforementioned Alistair Cooke that delights and educates the millions around the world who listen to him?

I was reading an essay he wrote in a 1935 issue of The Listener in which he used a letter from one of his British listeners to explain the way it is with Americans. The letter was about a scene in the movie of Dashiell Hammett's ''Thin Man,'' starring Myrna Loy and William Powell. Cooke first describes the scene: ''It is the one in which the wife (Myrna Loy) and her ex-detective husband are the hosts at a very rowdy and casual party which includes detectives, a lawyer, a few journalists, a young university student, a few ex-convicts, a fashionable divorcee. There is a chorus of drunks limply conducting a carol with almost any article of fire irons they can find. A fat man is howling for a long-distance call. There are three or four people chasing each other. You have to assume that at least a dozen wineglasses will be broken, tables scratched, that cigarettes will by this time be quietly punctuating the pattern of every strip of carpet, lace and cushion in the room. The atmosphere is so compelling, in fact, that Myrna Loy is moved to fling her arms around her husband's neck and confess weakly, 'What I like about you, darling, is you have such charming friends.' ''

Cooke then quotes from his correspondent's letter: ''However congenial or revolting the whole group seems to you personally, there is one astounding fact about that party. It is the way it is conducted. Can you think offhand of any English couple you know who, faced with that motley crew, wouldn't have given in, refused to serve people drinks, turned somebody out, felt their dignity wounded, or had a bitter quarrel about it afterwards? On the contrary, the good temper, the easy flippancy, the quick alert manners, the indifference to the good looks of their household; above all, the smooth indifference to this howling mix-up of social classes -- all this was taken so much for granted that in the middle of laughing I nearly forgot to notice it. But now I should call it, and I'm choosing my words carefully, a quality of breeding that probably no other race possesses.''

''At a later time,'' Cooke wrote, ''I shall try to suggest why it is possible in America for social classes to mingle freely and vitally and yet without sentimentality -- the reason is in the language.''

He has been using that language with grace, wit and precision to skewer linguistic pomposity and to explain our common language all during that ''later time'' -- which has taken him to his 95th birthday. He's still going strong. You can read him, even hear him, on http://news.bbc.co.uk/1/hi/programmes/letter_from_america .

Worldly Philosopher:
The Odyssey of Albert O. Hirschman
Jeremy Adelman

Where to buy this ebook
Shopping Cart | Endorsements

Worldly Philosopher chronicles the times and writings of Albert O. Hirschman, one of the twentieth century's most original and provocative thinkers. In this gripping biography, Jeremy Adelman tells the story of a man shaped by modern horrors and hopes, a worldly intellectual who fought for and wrote in defense of the values of tolerance and change.
Born in Berlin in 1915, Hirschman grew up amid the promise and turmoil of the Weimar era, but fled Germany when the Nazis seized power in 1933. Amid hardship and personal tragedy, he volunteered to fight against the fascists in Spain and helped many of Europe's leading artists and intellectuals escape to America after France fell to Hitler. His intellectual career led him to Paris, London, and Trieste, and to academic appointments at Columbia, Harvard, and the Institute for Advanced Study in Princeton. He was an influential adviser to governments in the United States, Latin America, and Europe, as well as major foundations and the World Bank. Along the way, he wrote some of the most innovative and important books in economics, the social sciences, and the history of ideas.
Throughout, he remained committed to his belief that reform is possible, even in the darkest of times.
This is the first major account of Hirschman's remarkable life, and a tale of the twentieth century as seen through the story of an astute and passionate observer. Adelman's riveting narrative traces how Hirschman's personal experiences shaped his unique intellectual perspective, and how his enduring legacy is one of hope, open-mindedness, and practical idealism.
Jeremy Adelman is the Walter Samuel Carpenter III Professor of Spanish Civilization and Culture and director of the Council for International Teaching and Research at Princeton University. His books include Worlds Together, Worlds Apart: A History of the World and Sovereignty and Revolution in the Iberian Atlantic (Princeton)

Endorsement:
"This is an exceptional book. Hirschman's intellectual and political journey is described with sharpness and perspicacity. Family life, cultural encounters, and the imprints of a lifetime highlight the importance and significance of one of the most creative intellectuals of the twentieth century, who had a profound influence on so many people around the world, including myself."--Fernando Henrique Cardoso, former president of Brazil
"Worldly Philosopher is a brilliant book. It is at once a thrilling story, an inspiring and melancholy intellectual biography, and a history of the shifting involvements of social science in twentieth-century public life."--Emma Rothschild, author of The Inner Life of Empires: An Eighteenth-Century History

"Albert Hirschman is one of the most distinguished social scientists of the past half century. He has led an exciting and exemplary life, and Jeremy Adelman has researched and written an exhaustive biography. We are all in Adelman's debt for having followed Hirschman's journey, thoroughly and with sympathy."--Charles S. Maier, author of Among Empires: American Ascendancy and Its Predecessors

2026年4月6日星期一

E.B. White 作品集/訃文，E.B. White’s Stuart Little (1945)

E.B. White 作品集/訃文，E.B. White’s Stuart Little (1945)

E·B·懷特的《精靈鼠小弟》（1945）是一部看似天馬行空的寓言故事，卻巧妙地將關於差異、歸屬感以及渺小生命所擁有的默默勇氣等深刻問題融入到兒童冒險的外衣之下。

故事講述了一隻穿著馬甲、舉止優雅的小老鼠出生在一個普通的紐約家庭，開篇便以文學史上最冷靜的超現實主義手法之一寫道：“弗雷德里克·C·利特爾太太的第二個兒子出生時，大家都注意到他個頭比老鼠大不了多少。” 懷特用這句開篇語構建了一個世界，在這個世界裡，非凡之事對待。史都華用頂針喝水，在中央公園裡玩玩具船，還開著一輛迷你汽車接送他的人類家人，同時，他也在努力應對那種幾乎是人類卻又並非完全是人類的生存孤獨感。

在小說迷人的表象之下（例如用雪花蓮做帽子的奇遇，以及在城市裡驚心動魄的貓鼠追逐），蘊藏著更深層的內涵。史都華尋找失蹤的鳥朋友瑪格洛的旅程，象徵著在廣袤無垠、冷漠無情的世界中，每個人都在尋求情感的連結。他最終決定開車北上，駛向未知的遠方——「天空晴朗，他感覺自己正朝著正確的方向前進」——這是兒童文學中最令人難忘的開放式結局之一，它摒棄了圓滿的結局，轉而展現了無限的可能性。

懷特的文筆堪稱大師級，巧妙地平衡了智慧與奇幻。他以冷幽默的方式處理史都華的「老鼠」身分（例如用線代替牙線刷牙的橋段），同時又含蓄地批判了人類的狹隘，從充滿偏見的鴿子到痴迷於身份地位的牙醫，無不被他所觸動。利特爾一家對兒子物種的坦然接受，最終成為對無條件之愛的深刻詮釋。歷久不衰的原因：《精靈鼠小弟》是一本難得的兒童讀物，越讀越有味道。它頌揚了堅韌不拔的精神，獻給所有曾經在人類世界裡感到格格不入的“小老鼠”，以及在務實家庭中懷抱夢想的人們。書中最後，史都華的小汽車消失在高速公路上的畫面，如同一個似曾相識的夢境，縈繞在心頭，輕聲訴說著：冒險不是為了融入群體，而是為了駛向屬於你自己的地平線。

購書連結：https://amzn.to/42bbZ2L

您也可以透過此連結取得有聲書。點擊連結在 Audible 註冊，即可開始享受有聲書的魅力。

E.B. White’s Stuart Little (1945) is a deceptively whimsical fable that smuggles profound questions about difference, belonging, and the quiet courage of small beings into the guise of a children’s adventure.
The story of a refined, waistcoat-wearing mouse born to an ordinary New York family begins with one of literature’s most matter-of-fact surrealisms: “When Mrs. Frederick C. Little’s second son arrived, everybody noticed that he was not much bigger than a mouse.” With this opening line, White establishes a world where the extraordinary is treated with polite domesticity Stuart drinks from thimbles, sails toy boats in Central Park, and chauffeurs his human family in a miniature car, all while navigating the existential loneliness of being almost but not quite human.
Beneath its charming surface (snowdrop-for-a-hat escapades, a thrilling cat-and-mouse chase across the city), the novel pulses with deeper currents. Stuart’s quest to find his missing bird friend Margalo becomes an allegory for the universal search for connection in a vast, indifferent world. His final decision to drive northward into the unknown “The sky was bright, and he somehow felt he was headed in the right direction” is one of children’s literature’s most hauntingly open-ended conclusions, rejecting tidy resolutions for the poetry of possibility.
White’s prose is a masterclass in balancing wit and wonder. He treats Stuart’s mouseness with deadpan humor (a dental episode involving thread-as-floss) while subtly critiquing human pettiness, from prejudiced pigeons to status-obsessed dentists. The Little family’s blasé acceptance of their son’s species becomes a radical testament to unconditional love.
Why it endures: Stuart Little is the rare children’s book that grows richer with rereading. It’s a celebration of resilience for anyone who’s ever felt out of place the “mouse” in a human world, the dreamer in a practical family. That final image of Stuart’s tiny car disappearing up the highway lingers like a half-remembered dream, whispering: Adventure isn’t about fitting in. It’s about driving toward your own horizon.
BOOK: https://amzn.to/42bbZ2L
You can also get the audio book using the same link. Use the link to register for the audio book on Audible and start enjoying it.

Elwyn Brooks "E. B." White (July 11, 1899 – October 1, 1985),^[1] was an American writer.
http://en.wikipedia.org/wiki/E._B._White

*****

約1976/77 我申請英國某校. 開的書單中有一本薄書:

The Elements of Style (with William Strunk, Jr.) (1959, republished 1972, 1979, 1999, 2005)
*****
前幾年上海譯文弄一套E.B. White英漢的作品集
將1957年的Essays of E.B. White 分成兩部書

*****

1st edition
Author	E. B. White
Illustrator	Garth Williams

Charlotte's Web is a children's novel by American author E. B. White and illustrated by Garth Williams; it was published in 1952 by Harper & Brothers. The novel tells the story of a pig named Wilbur and his friendship with a barn spider named Charlotte. When Wilbur is in danger of being slaughtered by the farmer, Charlotte writes messages praising Wilbur (such as "Some Pig") in her web in order to persuade the farmer to let him live.
Written in White's dry, low-key manner, Charlotte's Web is considered a classic of children's literature, enjoyable to adults as well as children. The description of the experience of swinging on a rope swing at the farm is an often cited example of rhythm in writing, as the pace of the sentences reflects the motion of the swing. Publishers Weekly listed the book as the best-selling children's paperback of all time as of 2000.^[1]

^*****

E.B. WHITE, ESSAYIST AND STYLIST, DIES

By HERBERT MITGANG

Published: October 2, 1985

E. B. White, the essayist and stylist who was one of the nation's most precious literary resources, died yesterday at his home in North Brooklin, Me., where he had lived for half a century. He had Alzheimer's disease and was 86 years old.

Mr. White's writing was appreciated by generations of readers of every age.

His classic children's books, ''Stuart Little,'' ''Charlotte's Web'' and ''The Trumpet of the Swan,'' continue to sell in the hundreds of thousands every year.

His importance to students is immeasurable because of ''The Elements of Style,'' the slim work on English usage he revised and expanded, based on Prof. William Strunk Jr.'s textbook. The book is used today in high schools and colleges across the country.

His comments, pieces and poems in The New Yorker helped to set the tone of sophisticated wit, irreverence and necessary candor almost since the magazine's beginnings in the 1920's.

And his independent stands in the ''Talk of the Town'' column of The New Yorker and elsewhere brooked no nonsense about excesses in American corporate and political life.

'His Writing Was Timeless'

William Shawn, editor of The New Yorker, said yesterday:

''E. B. White was a great essayist, a supreme stylist. His literary style was as pure as any in our language. It was singular, colloquial, clear, unforced, thoroughly American and utterly beautiful. Because of his quiet influence, several generations of this country's writers write better than they might have done. He never wrote a mean or careless sentence. He was impervious to literary, intellectual and political fashion. He was ageless, and his writing was timeless.

''Watched over and inspirited by The New Yorker's founding editor, Harold Ross, he and James Thurber were the writers who did most to determine the magazine's shape, tone and direction. Even though White lived much of his life on a farm in Maine, remote from the clatter of publicity and celebrity, fame overtook him, fortunately leaving him untouched. His connections with nature were intimate and ardent. He loved his farm, his farm animals, his neighbors, his family and words.''

Mr. White's score of books - essays, poems, sketches, letters - include ''The Points of My Compass,'' ''The Second Tree From the Corner,'' ''Here Is New York,'' ''One Man's Meat'' and (with James Thurber) ''Is Sex Necessary?''

He could be outspoken and passionate on subjects that were especially close to his heart - the freedom and integrity of the press, personal privacy and liberty, the intrusion of advertising, market surveys and commercialism into everyday living, the conservation of nature, the need for some form of world government. His opponents often succumbed before the force of his purity, ridicule, regret and common sense.

Respect for Audiences

Mr. White's strength as a writer was rooted in his respect for his audiences - children, adolescents and adults -regardless of what the pollsters and market surveys declared as scientific truth. ''No one can write decently who is distrustful of the reader's intelligence,'' he said. ''Television has taken a big bite out of the written word. But words still count with me.''

His ''Elements of Style,'' which he updated from the privately printed notes made in 1918 by Mr. Strunk, his former professor at Cornell, and revised several times since for new editions, has sold millions of copies. The White-Strunk book was ignored at peril by students ever since it first appeared some three decades ago. It is considered one of the most enduring and most readable books on American English usage.

The wisdom in the book is both analytical and practical. In it he says: ''Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary part. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.''

Clarity and Grace

In the latest edition, more than before, words tell. For example, Mr. White called ''offputting'' and ''ongoing'' newfound adjectives to be avoided because they are inexact and clumsy:

''Ongoing is a mix of continuing and active and is usually superfluous, and offputting might mean objectionable, disconcerting or distasteful. Instead, select a word whose meaning is clear. As a simple test, transform the participles to verbs. It is possible to upset something. But to offput? To ongo?''

Some of the memorable advice in his ''Approach to Style'' section goes:

''Place yourself in the background; write in a way that comes naturally; work from a suitable design; write with nouns and verbs; do not overwrite; do not overstate; avoid the use of qualifiers; do not affect a breezy style; use orthodox spelling; do not explain too much; avoid fancy words; do not take shortcuts at the cost of clarity; prefer the standard to the offbeat; make sure the reader knows who is speaking; do not use dialect; revise and rewrite.''

Talking about the surprising acceptance of ''The Elements of Style,'' he said: ''It's a funny little book, and it keeps going on. Occasionally I get irate letters from people who find a boo-boo in it, but many more from people who find it useful. The book is used not only in institutions of learning, but also in business places. Bosses give it to their secretaries. I guess someone in the office has to know how to write English.''

About the only one who had the ability to uphold that good advice was E(lwyn) B(rooks) White himself.

'She'd Run Out of Names'

Of his name, Mr. White said: ''I never liked Elwyn. My mother just hung it on me because she'd run out of names. I was her sixth child.'' From college on, to his relief, he was called Andy. He acquired the name at Cornell, after its first president, Andrew D. White. The nickname was bestowed there on students named White.

Mr. White was born in Mount Vernon, N.Y., on July 11, 1899. His parents had moved there from Brooklyn, he later surmised, ''because Mount Vernon sounded tonier.'' After serving as editor in chief of The Cornell Sun, he worked for the United Press in New York for a year, became a reporter for The Seattle Times for two years, tried his hand in an advertising agency as a production assistant and copywriter, and then found his niche as a contributor to The New Yorker in 1927.

Recalling his early tenure at the magazine, he said, ''The cast of characters in those days was as shifty as the characters in a floating poker game. Every week the magazine teetered on the edge of financial ruin. It was chaos but it was enjoyable. James Thurber and I shared a sort of elongated closet. Harold Ross fought with Raoul Fleischmann and erected an impenetrable barrier between the advertising department and the editorial department. It was known as the Ross Barrier.''

Disguising North Brooklin

A friend who visited Mr. White at home in Maine several years ago found him in good spirits. He looked like his sentences: straightforward, yet elegant.

''Don't say I live exactly in North Brooklin or buses will show up - a few have already - loaded with schoolchildren and their teachers looking for 'Stuart Little,' 'Charlotte's Web' and 'The Trumpet of the Swan,' '' he said. ''Maybe you can say 'somewhere on the Atlantic Coast.' If you must, make the location the way the property appears on nautical maps - Allen Cove. That way no one will be able to find it except by sailboat and using a chart.''

So many letters from children are addressed to Mr. White (as well as to Stuart Little and Charlotte, his fictional creations) that Harper & Row, his publisher, has a printed reply of thanks and explanation from Mr. White. Part of his form letter goes:

''Are my stories true, you ask? No, they are imaginary tales, containing fantastic characters and events. In real life, a family doesn't have a child who looks like a mouse; in real life, a spider doesn't spin words in her web. In real life, a swan doesn't blow a trumpet. But real life is only one kind of life -there is also the life of the imagination. And although my stories are imaginary, I like to think that there is some truth in them, too - truth about the way people and animals feel and think and act.''

Sought Privacy in Maine

After having lived in Manhattan in the 1920's and 1930's, Mr. White and his wife, Katharine, sought privacy in Maine. They bought the roomy old farmhouse in 1933 and lived in it almost continuously beginning in 1938.

Their lives were linked with The New Yorker, where they first met in 1926. He said that Katharine Sergeant Angell was considered ''the intellectual soul'' of the magazine, serving as fiction editor and encouraging many gifted writers.

They were married in 1929. Mr. White later said, ''I soon realized that I had made no mistake in my choice of a wife. I was helping her pack an overnight bag one afternoon when she said, 'Put in some tooth twine.' I knew then that a girl who called dental floss tooth twine was the girl for me.''

They were married for 48 years, and Mr. White never quite got over her death in 1977. When her book, ''Onward and Upward in the Garden,'' based on her New Yorker pieces, came out in 1978, with an introduction by him, he wrote, ''Life without Katharine is no good for me.''

Until illness slowed him down, Mr. White usually rose at 6 in the morning, started the wood fire in the black four-lidded kitchen stove, checked the action in the birdfeeder dangling outside the living-room window of the 19th-century farmhouse and peered with a Maineman's eyes at the broken clouds.

Prose Produced by Hand

When the sun broke through without advance notice, the pencils, pens and typewriters (the portable one down at the boathouse, the upright Underwood in the workroom) went into action. Mr. White turned out some of the most moral, living prose produced by hand in the country.

Even in speaking, Mr. White seemed to have the right phrase at hand. Fiddling with a thick log in the fireplace, he made it flare up quickly - more a countryman's than an author's fire.

Mr. White liked to sip a vermouth cassis before lunch. ''It's a French taxi-driver's drink,'' he said.

Walking with a visitor over to the general store, he took a bottle of orange juice to the counter. ''Hi, Al,'' he said to the proprietor. ''Hi, Andy,'' the proprietor replied, and at the same time handed him a copy of the local paper, The Ellsworth American, published by his longtime friend J. Russell Wiggins. Now and then, he would contribute a letter or essay to the paper.

Driving on a few miles, he stopped at the boatyard run by his son, Joel, a naval architect from M.I.T., and studied the small boats jiggling on the windy waters. In a cavernous boatshed, he climbed aboard the 19-foot sloop Martha, named after his granddaughter, which his son built for him. He sailed these waters, with friends and family, most of his life.

He pointed to the carved dolphins, four on each side of the bow, that he designed and decorated in gold. Like Louis the trumpeter swan in his book ''who thought how lucky he was to inhabit such a beautiful earth,'' E. B. White was on the side of good luck and the angels.

Fondness for Geese

Back at Allen Cove, he spotted the geese on the pond below the farmhouse and barn. He picked up some apples and waved them aloft, inviting the geese to have a snack before dinner. ''Geese are the greatest clowns in the world,'' he said. ''I wouldn't be without them.''

To followers of Mr. White's work, his Maine home was historic literary territory. The barn inspired many of the characters in his stories for children. In a corner of a cellar window a spider spun a web but, he said, it was a different species from the large gray spider that lived here with Wilbur the pig in ''Charlotte's Web.''

In his small gray boathouse facing the cove, he wrote ''One Man's Meat,'' most of ''Charlotte's Web'' and, he said, ''10,000 newsbreaks.''

These are the satirical and humorous observations that round off the columns in almost every issue of The New Yorker. Although uncredited, they bore the White imprint for many years. Their headings became part of the language: ''Neatest Trick of the Week''; ''Go Climb a Tree Department''; ''Letters We Never Finished Reading''; ''Our Forgetful Authors''; ''Funny Coincidence Department''; ''Wind on Capitol Hill.''

'Holding Down a Job'

Until recently, The New Yorker sent him a package of news items every week. ''I like doing the breaks because it gives me a feeling of holding down a job and affords me a glimpse of newspapers all over the country,'' Mr. White said. ''I turned in my first one 50 years ago. Everybody in the shop used to do them. One day I got a call from Harold Ross asking where I was. I said I was home with the chicken pox. And he said, 'I finally get someone who can do these breaks, and he gets the chicken pox.' ''

For his contribution to American letters, Mr. White was awarded the National Medal for Literature in 1971. In 1963, President Kennedy presented him with a Presidential Medal of Freedom. He was elected to the 50-member American Academy of Arts and Letters and, in 1973, received its gold medal for essays and criticism. In 1978, he received a special Pulitzer Prize for the body of his work.

Two years ago, after he had begun to slow down, he typed, with his usual good humor, a long letter to a friend: ''I have a first degree heart block, have lost the sight in my right eye because of a degenerated retina, can't wind my wrist watch because my fingers have knuckled under to arthritis, can't tie my shoelaces, am dependent on seven different pills to stay alive, can't remember whether I took the pills or didn't.

''On the other hand, I am camped alone, here at Bert Mosher's Camps on the shore of Great Pond which I first visited in 1904; I have my 15-foot green Old Town canoe with me, which I brought over on the top of my car; I sat out a New England boiled dinner this noon by anticipating it with martinis and cheese-and-crackers before walking up to the farmhouse, and after dinner (or lack of same) went fishing for bass in my canoe.

''There is a certain serenity here that heals my spirit, and I can still buy Moxie in a tiny supermarket six miles away. Moxie contains gentian root, which is the path to the good life. This was known in the second century before Christ, and it is a boon to me today.''

In addition to his son, Joel, of Brooklin, Me., Mr. White is survived by two stepchildren, Roger Angell of Manhattan and Nancy Stableford of Easton, Pa.; nine grandchildren, and 12 great-grandchildren.

photo of E. B. White (NYT)

2026年4月5日星期日

Jacques Prévert and Pablo Picasso 相互唱酬 50年代起雅克·普雷維爾《话语集》Jacques Prévert《不聽話孩子的故事》《斐外的詩》Paroles【雅克．卜列維詩選】

Hung-ya Yen──和非馬。

10小時

央廣【生活給我的詩】39

鳥與鳥籠──裴外、非馬

法國詩人、電影編劇裴外（Jacques Prévert，又譯普雷維爾）以口語化的節奏、生活化的透視，成為影響深遠的大眾詩人，詩作也經常被譜曲，包括膾炙人口的〈枯葉〉。旅美詩人非馬早在1978年便將裴外譯為中文出版，影響深遠，包括西西、管管、夏宇等詩人均深受啟發。本集節目介紹非馬所譯裴外的詩，也分享非馬本人精練的短詩傑作。

裴外（Jacques Prévert, 1900～1977）是法國詩人、電影劇本作家、兒童讀物作者。一九四六年出版詩集《話語集》，由於詩句口語化，題材俯拾即是，加上化腐朽為神奇的技巧，使他成為戰後廣受喜愛的大眾詩人。他的詩被柯斯等名作曲家譜成曲，風行一時。

非馬本名馬為義，廣東人。一九六七年，開始在台灣『笠』詩刊上發表詩作，並譯介英、美、法、意、波蘭、俄、澳、猶太、希臘、拉丁美洲等國現代詩人的作品。曾得台灣吳濁流新詩文學獎及笠詩社翻譯獎及創作獎。

＊收聽連結見留言

Hung-ya Yen

https://www.rti.org.tw/....../programId/1696/id/145634

RTI.ORG.TW

詩人．導演鴻鴻談鳥與鳥籠─裴外、非馬 - Rti央廣

Jacques Prévert and Pablo Picasso 相互唱酬 50年代起雅克·普雷維爾《话语集》Jacques Prévert《不聽話孩子的故事》《斐外的詩》Paroles【雅克．卜列維詩選】

Jacques Prévert and Pablo Picasso

公園裡　◎‪#‎Jacques‬ Prévert （譯者：高行健）
　

Antibes 1963.

Vid Lakic

4月9日下午8:59 ·

Jacques Prevert, Pablo Picasso And his son Claude, In Antibes 1963.

(by Robert Doisneau)

一千年一萬年
也難以訴說盡這瞬間的永恆
你吻了我
我吻了你
在冬日，朦朧的清晨
清晨在蒙蘇利公園
公園在巴黎
巴黎是地上一座城
地球是天上一顆星
　
法文原詩
　
Le jardin ◎#Jacques Prévert

　
Des milliers et des milliers d'années
Ne sauraient suffire
Pour dire
La petite seconde d'éternité
Où tu m'as embrassé
Où je t'ai embrassèe
Un matin dans la lumière de l'hiver
Au parc Montsouris à Paris
A Paris
Sur la terre
La terre qui est un astre.
　
英文譯詩
The Garden ◎#Jacques Prévert
　
Thousands and thousands of years
Would not be enough
To tell of
That small second of eternity
When you held me
When I held you
One morning
In winter's light
In Montsouris Park
In Paris
On earth
This earth
That is a star
　
　
◎作者簡介
　　
賈克·普維
　
　　賈克·普維（Jacques Prévert、（1900年2月4日－1977年4月11日））是一位法國詩人與劇作家，曾與知名導演馬賽爾·卡爾內多次合作，最著名的作品為《天堂的孩子們》。

2014.2 繆詠華分享了 Paris d'antan 的相片。我愛的普維(Jacques Prévert)於114年前的2月4日誕生。
（以下摘自拙作《巴黎文學散步地圖》）
雅克·普維同時是詩人、作詞家，也是著名的電影編劇，寫過許多影史留名的雋永對白，如雷諾瓦(Jean Renoir, 1894-1979)執導的黑色幽默片《朗基先生的罪行》(Le Crime de Monsieur Lange, 1935)，以及由馬塞卡內《霧港》 (Quai des brumes, 1935)、《破曉》 (Le Jour se lève, 1939)、《夜間訪客》(Les Visiteurs du soir, 1941)、《天堂的孩子》 (Les Enfants du paradis, 1944)等。
其風格深受超現實主義之影響，極擅長於賦予日常生活中的種種簡單事物，以詩喻意。舉凡街頭的一個小角落、書本的某個小篇章、一頓簡單的早餐，他處處、事事、時時皆可以成詩。時而以文字遊戲的方式，時而以簡單、單調、機械化的描述方式去表達他對世事的觀察與感受。

在他的作品之中，一般讀者可能最熟悉的便是由尤·蒙頓(Yves Montant)所演唱的＜枯葉＞ (Les Feuilles mortes)*hc 。普維同時更是編劇好手，曾與多位名導演合作，其於一九四五年所寫的電影劇本《天堂的小孩》 (Les Enfants du paradis)更被視為最具詩意的寫實經典鉅作，在電影史上有著崇高的地位。惟本片雖被譯為《天堂的小孩》，片名美則美矣，需知paradis一字除天堂外，亦代表劇院中最高層、最便宜的座位。在此片中，paradis應指後者而言。
其實我跟普維尚稱挺有淵源的。除了我學會的第一首法文詩就是普維的＜早餐＞(Déjeuner du matin)外，二Ｏ一一年金馬獎觀摩影展中，我也審譯了《天堂的小孩》一片的中文對白翻譯。片中對白句句雋永、字字珠璣，全片詩意盎然，是我心目中的最佳經典名片，而片中「巴黎對相愛的人而言太小了」(Paris est trop petit pour ceux qui s’aiment)，絕對排得上影壇十大經典把妹對白名言！L'incomparable Jacques Prévert (1900-1977) est né il y a 114 ans. Le voici photographié par Robert Doisneau, rue Lhomond, en 1955... "Je vous salue ma rue" - Prévert.

*hc 又譯"落葉" ，參考:
http://mypaper.pchome.com.tw/hkl1945/post/1322986275

*****
2013游常山‎‏

中山大學外文系教授張錦忠
讀Jacques Prévert／卜列維／裴外

昨晚陳瑞獻電郵提起Jacques Prévert，於是找出他譯的【雅克．卜列維詩選】翻翻。這是法國駐星大使館文化部一九七○年出版的書。Leonard在「前言」寫道：「卜列維生活，此外，他寫作，像一個工作的人，在工作之外唱歌。卜列維吃了東西，正在吃，愛過也被愛，享受陽光，並且從巴黎的街道吸取快樂。」這裡先抄幾首短詩應景。詩，也可以這樣趣味盎然的。

【秋】
一隻馬潰倒在小徑的中部
葉子落在他的身上
我們的愛情抖著
太陽也是這樣。

【無題】
在草上進餐
快吃吧
有一天
草會在你上面進餐

【無題】
如果我有一個妹妹
我愛你會更甚於愛我妹妹
如果我有全世界的黃金
我會把它拋在妳眼前
如果我有一群妻妾
妳將是我最寵愛的。

******
斐外的詩, , 斐外(Jacque Prevert, 1900-1977)中譯, 斐外, 非馬譯. 高雄:大舞台書苑 1978 從英譯本轉譯 Paroles 半部

非馬選譯法國現代詩人裴外的詩

大舞台書苑出版社，高雄，台灣

1978年1月15日初版

全書共173頁，每一張幻燈片上有兩頁。

請用鼠標點擊翻閱《裴外的詩》

頁126

失時
在工廠的大門口
那工人突然停步
為這好天氣所絆住
他轉身看著太陽
紅而圓
在他那封閉的天空裡微笑
他霎了霎一隻眼----
喂太陽同志
那豈不是天大的損失
把那麼美好的一天
送給上司

****

蓬草編譯《不聽話孩子的故事：世界文壇大師的童話選》台北：聯合文學出版社，1987
有
普雷"衛"爾的"不聽話孩子的故事八則"

尤"揑"斯訶的"童話四則"
卡爾維諾的"義大利童話集"
阿斯杜里亞斯"什麼也有了的人"
以撒辛格 "一個天堂的故事"
阿馬多"貓和燕子"

Books

Paroles (1946)
Le Petit Lion, illustrated by Ylla (1947, reprinted 1984)
Contes pour enfants pas sages (Tales for naughty children) (1947)
Des Bêtes, illustrated by Ylla (1950, reprinted 1984)
Spectacle (1951)
Grand bal du printemps, with photographs by Izis Bidermanas (1951)
Lettre des îles Baladar (Letter from the Baladar Islands) (1952)
Tour de chant (1953)
La pluie et le beau temps (Rain and sunshine) (1955)
Histoires (1963) (Stories)
Le Cirque d'Izis, with photographs by Izis Bidermanas and original artwork by Marc Chagall (André Sauret, 1965)
Fatras (1966)
Charmes de Londres, with photographs by Izis Bidermanas (Editions de Monza, 1999)

Selected filmography

Prévert wrote the scenarios and sometimes the dialogue in the following films:

Le Crime de monsieur Lange (1935)
Drôle de drame (1937)
Quai des brumes (1938)
Les Disparus de Saint-Agil (1938)
Le Jour se lève (1939)
Remorques (1941)
Les Visiteurs du soir (1942)
Les Enfants du paradis (1945)
Les Portes de la nuit (1945)
Le Petit Soldat (The Little Soldier) (short animated film, 1947), with Paul Grimault, after The Steadfast Tin Soldier by Hans Christian Andersen
La Bergère et le ramoneur (The Shepherdess and the Chimney Sweep) (animated film, 1953), with Paul Grimault after tale by Hans Christian Andersen, later revised and finished as Le Roi et l'oiseau
Le Petit Claus et le Grand Claus, by Pierre Prévert, after the tale Little Claus and Big Claus by Hans Christian Andersen (live action and animation, 1964)
Le diamant (The diamond) (short animated film, 1970), with Paul Grimault, complement to L'Aveu of Costa-Gavras
Le Chien mélomane (The Music-Loving Dog) (short animated film, 1973), with Paul Grimault
Le Roi et l'oiseau (animated film, 1980), with Paul Grimault

談話集
普雷維爾/雅克·普雷韦尔
法国著名诗人

话语集㊣
作　　者：（法）普雷维尔，陈玮译
出版社：上海人民出版社
出版时间： 2010-9-1

"他在法国呆过一年，因此受法国诗歌文学的影响极深。然而最爱的诗人，却不是最为人熟知的波德莱尔或者兰波，而是二战后涌现出的写实派诗人雅克·普雷维尔。
“这是我最最爱的诗人，他的诗有很多我直到现在都能背诵。”提到普雷维尔的名字，老布激动地摘下自己的眼镜，“我这就背一首给你听听，这也是普雷维尔所有的诗里我最喜欢的一首：
我去鸟市/
买了几只鸟/
为了你，我的爱/
我去花市/买了一些花/
为了你，我的爱/
我去废铁市场/
买了一堆铁链/
沉重的枷锁 /
为了你，我的爱/
而后我去了奴隶市场/
我找寻你/
却找不到你/
我的爱/”
他的双手在空中轻微地颤动，捕捉着诗歌无形的节奏。“听最后一句话，是多么伤感。找你，却找不到你。爱是不能用礼物买来的，爱一个人不是为了把他（她）绑在自己身边。你去奴隶市场，只能买到奴隶，买不回自己的爱人。所以其实，这首诗是描述了一种根本不存在的爱。因为没有自由，就没有爱。”
普雷维尔在1977年死于癌症，老布至今为自己曾经和这位大诗人喝过一杯咖啡而自豪。他说，那是值得珍藏一生的记忆。"---布帅专访:金钱意味着自由撒谎是婚姻里必须的事 2010-08-02 14:17:22　来源: 东方体育日报(上海)　

　　《话语集》内容简介：定稿于1947年的《话语集》收入了1930—1944年间的九十五首诗，体裁不拘一格，语言亦庄亦谐，难以分类，模糊了散文和诗的常规界限。其开篇一首《试论法国–巴黎一场头面化妆晚宴》令人耳目一新，把超现实主义的讽刺与无秩序推向极致；而他独创的“快讯”式和“清单”式诗体则丰富了诗歌的形式。半个世纪以来，《话语集》先后被译成数十多种语言广为流传，经久不衰。《话语集》出版至今，在法国已发行三百余万册，堪称“诗歌已死”时代的诗歌奇迹。　　《话语集》适用于：诗歌爱好者法国文学研究者。

作者简介

作者：(法国)雅克●普雷维尔译者：陈玮编者：树才秦海鹰　　雅克●普雷维尔（Jacques Prévert，1900—1977），20世纪法国最无书卷气而深得民心的诗人和最富诗意、蜚声世界的剧作家。诗集有《话语集》、《晴雨集》、《杂物堆》等；曾为《巴黎圣母院》和卡尔内执导的电影《雾岸》、《夜之门》、《戏楼儿女》等撰写剧本；大量诗歌被谱曲，《枯叶》被伊夫?蒙唐等二百多位歌手演唱；有数百幅粘贴画留存于世。1992年伽利玛出版社将其全集收入“七星文库”并首次在圣经纸上印彩色插图，成为“七星文库”的一次革命。作者：(法国)雅克?普雷维尔译者：陈玮编者：树才秦海鹰　　雅克?普雷维尔（Jacques Prévert，1900—1977），20世纪法国最无书卷气而深得民心的诗人和最富诗意、蜚声世界的剧作家。诗集有《话语集》、《晴雨集》、《杂物堆》等；曾为《巴黎圣母院》和卡尔内执导的电影《雾岸》、《夜之门》、《戏楼儿女》等撰写剧本；大量诗歌被谱曲，《枯叶》被伊夫?蒙唐等二百多位歌手演唱；有数百幅粘贴画留存于世。1992年伽利玛出版社将其全集收入“七星文库”并首次在圣经纸上印彩色插图，成为“七星文库”的一次革命。

图书目录

中译本序民众诗人的话语　　试描述法国－巴黎一场头面化妆晚宴　　马的故事　　捕鲸　　美好季节　　阿利坎特　　家庭旧事或凶神狱警　　我看见其中几个人…… 　　为了你，我的爱　　伟大发明　　事件　　厉声开音符　　天主经　　塞纳街　　笨学生　　鲜花与花圈　　返乡　　音乐会没有成功　　果核时节　　蜗牛送葬曲　　里维埃拉　　懒觉　　在我家里　　猎童　　家庭生活经　　变幻的风景　　在田野…… 　　人类的奋斗　　我就是这样　　血中的歌咏　　清洗　　倒戈　　这场爱　　手摇风琴　　书法练习　　早餐　　刚强的女孩　　愁思茫茫　　绝望坐在长凳上　　捕鸟者之歌　　为了给小鸟画像　　流沙　　几乎　　正路　　伟人　　手推车或伟大发明　　最后的晚餐　　尊贵家族　　美术学院　　三王来朝　　圣经　　打谷机　　破碎的镜子　　自由街区　　新秩序　　随小鸟而定　　您将看到您将看到的　　红霞无边　　歌谣　　法语作文　　日食　　狱卒之歌　　红漆木马　　愚蠢的断言　　诞生　　音信　　集市　　在花店　　史诗　　苏丹　　节日活动继续　　凡高的悲歌　　星期天　　公园　　秋　　夜巴黎　　花束　　芭芭拉　　清单　　比熙街如今…… 　　历史教训　　荣耀　　不能　　会话　　奥西里斯或逃往埃及　　和平演说　　查票员　　向小鸟致敬　　虚度的光阴　　海军上将　　战天使　　卡鲁塞尔广场　　行列　　婚礼与盛宴　　毕加索的漫步　　毕加索的神灯　　跋　　附录一重而不复的魔术　　附录二雅克?普雷维尔生平和创作年表

訂閱：意見 (Atom)

人和書 ( Men and Books)

2026年4月8日星期三

Albert O.Hirschman (1915-2002, Optimistic Economist, Dies at 97) The Rhetoric of Reaction Perversity, Futility, Jeopardy.On Language Exit Strategy By WILLIAM SAFIRE Worldly Philosopher: The Odyssey of Albert O. Hirschman Jeremy Adelman

The Rhetoric of Reaction