背誦名篇~~~通向「流暢英語寫作」的不二法門 [捷徑篇]

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[B]Four Passages From the Dramatic
Writings of Shakespeare[/SIZE][/B]

Twelfth Night
II.iv.103-117
[DUKE OF ILLYRIA]
What dost thou know?
[VIOLA]
Too well what love women to men may owe.
In faith, they are as true of heart as we.
My father had a daughter loved a man
As it might be perhaps, were I a woman,
I should your lordship.
[DUKE OF ILLYRIA]
And what's her history?
[VIOLA]
A blank, my lord. She never told her love,
But let concealment, like a worm i'th'bud,
Feed on her damask cheek. She pined in thought;
And, with a green and yellow melancholy,
She sat like Patience on a monument,
Smiling at grief. Was not this love indeed?
We men may say more, swear more; but indeed
Our shows are more than will; for still we prove
Much in our vows but little in our love.[/COLOR]

莎士比亞戲劇精選四段

男人的愛與女人的愛
[伊利里亞公爵]
您深知的是什麼?
[薇奧拉]
深知女人可以如何熱愛男人。
真的，她們象我們一樣真心。
當年我爹有個女兒愛上個郎，
正如，假如我是女的，也許我會愛上爵爺您。
[伊利里亞公爵]
結果她的遭遇呢?
[薇奧拉]
是片空白。她沒有透露她的愛意，
卻讓這秘密，象蓓蕾中的害蟲，
吃她淡紅的面頰來養生。哀思中憔悴了，
帶著又綠又黃的憂鬱，
她如墓碑般有耐性，坐著，
看著悲傷微笑。那還不是真愛嗎?
我們男的說更多話、發更多誓；實際上卻虛飾多於真情；
常見誓言誇張， 情意有限。
【作者簡介】
威廉莎士比亞,英國歷史上，乃至世界歷史上最偉大的戲劇大師，他於1564年出生於英國中部的斯特拉夫鎮.十三四歲時因家庭破產而輟學。之後，他先後當過士兵、教師、劇院的雜役、演員和劇團股東。傳說他出生的日期為四月二十三日。莎士比亞的語言異常凝美，內涵也無比豐富。

Why, How Know You That I Am in Love?
[SPEED]
     Marry, by these special marks: first, you have learned, like  Sir Proteus,to wreathe your arms like a malcontent, to relish a love-song like a  robin-red-breast, to walk alone like one that had the pestilence, to sign like a schoolboy that had lost his A B C, to weep like a young wench that had buried her grandam, to fast like one that takes diet, to watch like one that fears robbing, to speak puling like a beggar at Hallowmas. You were wont, when you laughed, to crow like a cock; when you walked, to walk like one of the lions; When you fasted, it was presently after dinner; when you looked sadly, it was for want of money. And now you are metamorphosed with a mistress, that when I look on you, I can hardly think you my master.[/COLOR]

喲，您怎知我患了相思病?
[史比德]
     哎呀，就是從這些特殊的跡象嘛：首先，你學會了，與普洛帝斯少爺 一樣，像個不滿現狀的人般盤著雙臂；學會了象只知更鳥般唱著情歌；學會了獨來獨往，象個染了瘟疫的人；學會了嘆息，象個丟了啟蒙課本的學生哥兒；學會了哭泣，象埋葬了老奶奶的小姑娘；學會了節食，象需要節制飲食的人；學會了廢寢，象擔心盜竊的人；學會了啼哭著說話，象萬聖節的叫化子。原來嘛，您大笑起來，象雄雞打鳴兒；走起路來象獅子；剛吃飽才會禁食；沒錢才會沒精打采。現在嘛，有了心上人您也全變了，使得我看著您，卻險些兒想不起您是我的主子。

Love Song

How use doth breed a habit in a man!
This shadowy desert, unfrequented woods,
I better brook than flourishing peopled towns.
Here can I sit alone, unseen of any,
And to the nightingale complaining notes
Tune my distresses and record my woes.
O thou that dost inhabit in my breast,
Leave not the mansion so long tenantless,
Lest, growing ruinous, the building fall
And leave no memory of what it was.[/COLOR]

情 歌

人總會習與性成哩!
這蔭翳無人之地、荒僻的叢箐，
我樂意接受，甚於熙攘的都城。
這裡我可以單個兒坐著，都無人見，
陪著那夜鶯的哀怨歌聲，
詠出我的苦惱，唱出我的悲愁。
啊，您這棲身在我胸懷中的人兒，
不要讓這房子這麼長久空曠，
惟恐它破壞了會倒下，
使得無人記起它昔日的光華。
【註釋】

A Midsummer Night's Dream

The lunatic, the lover, and the poet
Are of imagination all compact.
One sees more devils than vast hell can hold:
That is the madman. The lover, all as frantic,
Sees Helen's beauty in a brow of Egypt.
The poet's eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination
That, if it would but apprehend some joy,
It comprehends some bringer of that joy,
Or in the night, imagining some fear,
How easy is a bush supposed a bear![/COLOR]

[B]《仲夏夜之夢》[忒修斯][/B]

瘋子、情人、墨客，
全都是幻想造的。
那人見的鬼，無垠的地獄也裝不下：
那就是瘋子。情人，極度狂亂，
在黑姑娘的臉上，他看見海倫的面相。
詩人的眼睛，激揚一轉，
就掃視了人間天上，天上人間；
正如幻想人不可思議的事物的
具體呈現，詩人的筆管
給它們形狀，使如煙的無，
化作棲身有地的有。
豐富的幻想，會耍這些戲法，
所以每想起什麼歡樂，
就替歡樂補上個原因；
有時在夜裡，幻想著什麼惶恐，
好容易把一棵矮樹看作人熊!

0 Love

      Her image accompanied me even in places the most hostile to ro mance.
      On Saturday evenings when my aunt went marketing I had to go to carry some of the  parcels. We walked through the flaring streets, jostled by drunken men and bargaining  women, amid the curses of laborers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs  cheeks, the nasal chanting of streetsingers, who sang a come-all-you about ODonovan Rosa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the footer. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. Buttery body was like a harp and her words and gestures were like fingers running upon the wires.
     One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: O love! O love!  many times.[/COLOR]

     即使是在最不可能勾起浪漫之情的境地里，她的形象也始終陪伴著我。星期六晚上，我嬸嬸要上街去買東西，我得跟著去幫她拿購買的物品，燈火通明的大街上熙熙攘攘，我和嬸嬸在醉漢和討價還價的婦人們中間擠來擠去。苦力們在咒罵著；年輕的店員們站在裝著豬頭肉的木桶邊上，一邊看護著貨物，一邊尖聲地招攬生意；街頭的歌手們反覆單調地哼著一首有關「奧唐納凡•蘿莎」的，叫做「你們都來吧」的歌曲，或者唱根據我們當地人的憂愁而編成的民歌；在我心目中，這各色各樣的聲響匯成了一股生活的激情：我想象著自己捧著聖餐酒杯，安全通過了一大群敵人的包圍。有時候，我在祈禱時連自己也不知道在念些什麼，可是她的名字卻跳到了嘴邊。淚水常常充滿我的眼眶(我也說不出是何原故)。有時，我內心一陣激動，淚水如潮，似乎從心臟涌流遍了整個胸膛。我很少想到未來，也不知道是否會與她交談；即使與她交談，我又如何向她傾吐我對她敬慕的複雜矛盾的心情呢?然而，我的身子彷彿是一把豎琴，她的言行舉止就象是手指，撥動著我的心弦。
       一天傍晚，我來到了教士去世的那間后客廳。這是一個陰雨綿綿、漆黑的夜晚。整幢房子一片寂靜。透過一塊破碎的窗玻璃，傳來了雨水著地的聲響。連綿的細雨猶如行行綉針，灑向濕透的花圃。低頭望去，遠處不知是路燈還是住家的燈火在閃爍著光芒。看不到什麼東西反使我感到欣慰。我的全部感官似乎都願與外界隔絕，便把手掌緊合在一起，直到雙手微微顫動起來，嘴裡多次喃喃念著：「啊，愛情!啊，愛情!」

   
【作者簡介】
    詹姆斯•喬埃斯(1882－1941)，著名小說家，名作有《尤利西斯》。本文節選自其短篇小說《初戀》。

to be continued[/FONT]   [:467:]

well done! thx for shared such wonderful articles.

Turning-point of our Life

     My father was, I am sure, intended by nature to be a cheerful, kindly man. Until he was thirty-four years old he worked as a farm-hand for a man named Thomas Butterworth whose place lay near the town of Biddable, Ohio. He had then a horse of his own and on Saturday evenings drove into town to spend a few hours in social intercourse with other farm-hands. In town he drank several glasses of beer and stood about in Ben Head's saloon-crowded on Saturday evenings with visiting farm-hands. Songs were sung and glasses thumped on the bar. At ten o'clock my  father drove home along a lonely country road, made his horse comfortable for the night and himself went to bed, quite happy in his position in life. He had at that time no notion of trying to rise in the world.
    It was in the spring of his thirty-fifth year that father married my mother, then a country schoolteacher, and in the following spring I came wriggling and crying into the world. Something happened to the two people. They became ambitious. The American passion for getting up in the world took possession of them.
    It may have been that mother was responsible. Being a schoolteacher she had no doubt read books and magazines. She had, I presume, read of how Garfield, Lincoln, and other Americans rose from poverty to fame and greatness and as I lay beside her---in the days of her lying-in---she may have dreamed that I would some day rule men and cities. At any rate she induced father to give up his place as a farm-hand, sell his horse and embark on an independent enterprise of his own. She was a tall silent woman with a long nose and troubled Grey eyes. For herself she wanted nothing. For father and myself she was incurably ambitious.[/COLOR]
【註釋】
lying-in:產期，分娩

生活的轉折點

    我相信父親天生就是一個快活、和善的人。他當過農場僱工，在俄亥俄州比德韋爾鎮附近為一個名叫托馬斯•馬特活斯的人幹活，一直干到三十四歲。那時他自己有一匹馬。星期六晚上，他總要騎著它到鎮上去，跟其他僱工們一起聊上幾個小時。在鎮上，他總泡在本•黑茲酒 吧間里，喝上幾杯啤酒。每適星期六晚上，酒吧間里總是擠滿了前來消遣的僱工，到處是歌聲和酒杯碰擊酒吧的聲音。一到十點，父親就沿著一條人跡稀少的鄉間小道騎馬回家。安頓好馬以後，自己也就上床睡覺了。他對他所處的地位是相當滿意的。那時他還沒有要在這個世道上向上爬的念頭。
    在他三十五歲那年的春天，他和我母親結婚了。當時母親是鄉村學校的一名教師。第二年春天，我就呱呱墜地了。從那時起，他倆也發生了變化，開始變得雄心勃勃了。美國人的那種要出人頭地的強烈慾望佔據了他們的心靈。
    可能這要怪我母親。她是一個教師，肯定讀過一些書和雜誌。我猜想，她讀過有關伽菲爾德、林肯和其他一些美國人是怎樣從窮苦人變成有聲望的偉人的書籍；或許，在她的產期里，她也夢想過躺在她身邊的我，有朝一日也會去統治人們和城市。不管怎麼說，是她勸說父親辭掉僱工工作，賣掉那匹馬，去從事一項獨立的事業。她個子挺高，沉默寡言，長長的鼻子，一雙灰眼睛，流露出憂鬱的神情。她為她自己並無所求，可為父親和我，卻有著無法遏制的勃勃野心。
【作者簡介】
舍伍德•安德生(1876―1941)，美國小說家，著名作品有《俄亥俄州溫涅斯堡鎮》。本文節選自短篇小說《蛋》。

The Charm

    By the time they at last came to speech they were alone in one of the rooms-remarkable for a fine portrait over the chimneyplace-out of which their friends had passed, and the charm of it was that even before they had spoken they had practically arranged with each other to stay behind to talk, The charm, happily, was in other things too-partly in there being scarce a spot at Weathered without something to stay behind for. It was in the way the autumn day looked into the hilt windows as it waned; the way the red light, breaking at the close from under a low somber sky, reached out in a long shaft and played over old wainscots, old tapestry, old gold, old color. It was most of all perhaps in the way she came to him as if ,since she had been turned on to deal with the simpler sort, he might, should he choose to keep the whole thing down, just take her mild attention for a part of her general business. As soon as he heard her voice, however, the gap was filled up and the missing link supplied, the slight irony he divined in her attitude lost its advantage. He almost jumped at it to get there before her. "I met you years and years ago in Rome. I remember all about it." She confessed to disappointment---she had been so sure he didn't; and to prove how well he did he began to pour forth the particular recollections that popped up as he called for them. Her face and her voice, all at his service now, worked the miracle---the impression operating like the torch of a lamplighter who touches into flame, one by one, a long row of gas jets.[/COLOR]

妙

       到了他們最後開始對話時，一間屋子裡只有他們兩個人――壁爐架上著一幅精美的畫像，顯得很別緻――他們的朋友都走出屋子了，妙就妙在他們還沒有講話，實際上雙方已約定要留下來談談。妙的是妙處不僅於此，部分妙處還在於韋瑟恩德沒有一處不是值得留下來的。還妙在秋日西斜，那樣照在高高的窗子上；還妙在紅霞在低低的、暗淡的上空盡頭斷裂，化成一長道光澤，在年代悠久的護壁和掛毯上，在陳舊的鑲金和色彩上閃動。最最妙的是她向他走來的樣子，她既然被用來應付比較簡單的遊客，如果他想把整個事情遮掩過去，他滿可以把她對他的適度的照顧當作她一般職責的一部分。然而，他一聽到她的聲音，空白就填滿了，失去的那一環也補足了，他覺察到她態度中帶有的輕微的嘲弄成分也不起作用了。他幾乎對她的嘲弄感到欣尉，這樣好先開口。「好多好多年前，我在羅馬見到過您，這一切我都記得。」她承認她很失望――她一直肯定他不記得了；為了證明他記得清清楚楚，他開始滔滔不絕地講一樁樁召之即來的具體的回憶。她的臉、她的聲音，現在都聽從他的使喚，出現了奇迹――其效果就象點燈人所用的火炬，把一長排的煤氣噴嘴一個個地點燃了。
【作者簡介】
亨利•詹姆斯(1843―1916)，美國文學家，后移居倫敦。重要作品有：《美國人》(1877)，《戴西•米勒》(Daisy Miller)等等。本文節先自其小說《叢林中的野獸》。

Nothing but an Assumption

      As I walked home in a pensive mood, my vanity got the better of my pity. I could not but highly plume myself on my masterly management in getting rid of Bartleby. Masterly I call it, and such it must appear to any dispassionate thinker. The beauty of my procedure seemed to consist in its perfect quietness. There was no vulgar bullying,no bravado of any sort, no choleric hectoring, and striding to and fro across the apartment, jerking out vehement commands for Bartleby to bundle himself off with his beggarly traps. Nothing of the kind. Without loudly bidding Bartleby depart as an inferior genius might have done I assumed the grown that depart he must; and upon that assumption built all I had to say. The more I thought over my procedure, the more I was charmed with it. Nevertheless, next morning, upon awakening, I had my doubts I had somehow slept off the fumes of vanity. One of the coolest and wisest hours a man has, is just after he awakes in the morning. My procedure seemed as sagacious as ever but only in theory. How it would prove in practice---there was the rub. It was truly a beautiful thought to have assumed Bartleby's departure; but, after all, that assumption was simply my own, and none of Bartleby's. The great point was, not whether I had assumed that he would quit me, but whether he would repress so to do. He was more a man of preferences than assumptions.[/COLOR]

不過是個設想

      我走在回家的路上，沉思著，我的虛榮心勝過了憐憫之心。我攆走巴特比，安排得十分高明到家，禁不住自鳴得意起來。我稱之為高明到家，任何不帶偏見看問題的人也定然抱有同感。整個過程的妙處似乎就在於絕對的心平氣和。沒有低級庸俗的持強欺弱，沒有任何形式的虛張聲勢，沒有怒氣沖沖的威脅恐嚇，也沒有在室內大步踱來踱去，氣勢洶洶地嚷著，命令巴特比連同他那叫化子般的隨身物一同滾蛋。這樣的事兒絲毫沒有。我沒有高聲命令巴特比走――才能低下一點的就可能那麼幹了――我的假設是他非走不可，我講的每一句話都是以這一假設為依據的。對於這個過程，我越想越覺得陶醉其中了。但是，第二天早晨我一醒就感到懷疑――不知怎的，這一覺睡走了那虛榮心的迷霧。一個人最冷靜最明智的時刻就是早晨剛剛醒來以後。我的做法似乎仍象以前一樣高超精明――但那只是從理論上講。實踐證明如何呢――定會有衝突。認為巴特比已離去，這確實是一個很美的想法；但這畢竟是我自己的設想，不是巴特比的。根本的問題不在於我是不是假設他願意離開我，而是他願不願這樣做。 他是一個憑意願辦事的人，而不是一個憑假設辦事的人。
【作者簡介】
赫爾曼•梅爾維爾(1819―1891)，美國小說家，名作有《莫比―迪克》。本文節選自其小說《繕寫員―華爾街的一個故事》。

Under the Power of Nature

      During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung up pressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher . I knew not how it was---but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic , sentiment with which the mind usually receives even the sternest natural images of the desolate or terrible, I looked upon the scene before me---upon the mere house, and the simple landscape features of the domain, upon the bleak walls, upon the vacant eye-like windows, upon a few randy sedges, and upon a few white trunks of decayed trees---with an utter depression of soul which I can compare to no earthly sensation more properly than to the afterdream of the reveler upon opium; the bitter lapse into everyday life ,the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart, an unredeemed torture into ought of the sublime. What was it I paused to think what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forded to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth.[/COLOR]


在自然威力之下

      那年秋天某日，天氣陰沉、昏暗而又寂靜，雲層低壓，令人窒息。整整一天，我獨自一人策馬行進，穿過一條異常沉悶的鄉間小路；暮色降臨時分，我已經不知不覺來到那幢舉目可望的凄涼的厄謝爾宅第這個地方。但是，不知怎的――頭一眼望見這幢房子，就被一種令人難以忍受的陰鬱窒悶住我的心。我說難以忍受，那是因為即使人們看到最最嚴峻、荒涼或可怕的自然景象時，頭腦里通常還有某種由景象的富有詩意所產生的幾分快感，但此情此景卻絲毫引不起此種感情。我看著眼前的情景――宅第本身，房子周圍單調的景象，光禿禿的牆壁，空空的、眼睛窟窿似的窗戶，幾叢雜亂的菅茅，幾株灰白的枯樹――心情十分沮喪，同人世間任何心情相比，把它比作過足鴉片煙癮的人，從夢幻中醒來，回到現實生活里的痛苦心情，最為適當了。心中一涼，只覺得往下沉，難受極了。還有一種不可驅除的凄涼之感，無論作何設想也不能激起我的興緻。那麼，究竟是什麼――我停下來考慮――究竟是什麼使我在凝望厄謝爾宅第時如此心煩意亂呢?這完全是一個無法解答的謎；在我考慮的時候，我腦海里充滿了模模糊糊的想法，卻無法弄清是怎麼回事。我只好回到那個不能令人滿意的結論上來，即：儘管一些非常簡單的自然景物結合在一起，也無疑具有影響我們的威力，但要分析這種威力卻超過了我們思考的深度。
【作者簡介】
埃德加•愛倫坡(1809―1849)，美國作家，其詩歌和小說受到推崇。本文節選自其短篇小說《厄謝爾宅第的倒塌》。

Accepting The Command of The Army
From A Letter to His Wife, 1775 by George Washington

        You may believe me, when I assure you in the most solemn manner that, so far from seeking this employment, I have used every effort in my power to avoid it, not only from my unwillingness to part with you and the family, but from a consciousness  of its being a trusty  too great for my capacity; and I should enjoy more real happiness in one month with you at home than I have the most distant prespect of finding abroad, if my stay were to be seven times seven years. But as it has been a kind of destiny that has thrown me upon this service, I shall hope that my undertaking it is designed to answer some good purpose...
        I shall rely confidently on that Providence which has heretofore preserved and been bountiful to me, not doubting but that I shall return safe to you in the fall. I shall feel no pain from the toil or danger of the campaign; my unhappy pines will flow from the uneasiness I know you will feel from being left alone. I therefore beg that you will summon your whole fortitude, and pass your time as agreeably as possible. Nothing will give me so much sincere satisfaction as to hear this, and to hear it from your own  pen. [/FONT] [/COLOR]

受命統率全軍

       你可以相信我，我極其莊嚴地向你保證我根本沒有追求過這項任命，而是竭盡全力，千方百計地迴避它。這不僅是因為我不願意同你以及全家人分別，而且因為我深知責任重大，非我力所能及。另外，倘若我出門數十載尋求前景非常遙遠的幸福，那還比不上在家中與你相聚一個月那樣真正幸福。但是，既然命運已賦予我這個使命，我希望，安排我來承擔這個任務是為了使我有所建樹......
      我將信賴一直保佑我和降福於我的上帝，深信到秋天我將平安地回到你身邊。對出征所帶來的艱辛和危險，我不會感到痛苦；使我難過的是我知道你獨自一人留在家中必然感到焦慮不安。因此，我懇求你鼓起全部勇氣，盡量愉快地過日子。沒有什麼比聽到你過得愉快的消息――並且是從你的筆下聽到這消息，能使我感到更大的欣慰了。
【作者簡介】
    喬治•華盛頓：出生於1732年2月22日，美國第一屆總統（1789年4月－1797年3月）。

Letter to Lord Chesterfield
February 7,1755  一七五五年二月七日

My Lord:
        I have been lately informed, by the proprietor of the World, that two papers, in which my Dictionary is recommended to the Public, were written by your Lordship. To be so distinguished, is an honor, which, being very little accustomed to fervors from the great, I know not well how to receive, or in what terms to acknowledge.
        When, upon some slight encouragement, I first visited your Lordship, I was overpowered, like the rest of mankind, by the enchantment of your address; and could not forbear to wish that I might boast myself Le vainqueur du vainqueur de la terre; －that I might obtain that regard for which I saw the world contending; but I found my attendance so little encouraged, that neither pride nor modesty would suffer me to continue it. When I had once addressed your Lordship in public, I had exhausted all the art of pleasing which a retired and uncourtly scholar  can possess. I had done all that I could; and no man is well pleased to have his all neglected, be it ever so little.
         Seven years, my Lord, have now past, since I waited in your outward rooms, or was repulsed from your door; during which time I have been pushing on my work through difficulties, of which it is useless to complain, and have brought it, at last, to the verge of publication, without one act of assistance, one word of encouragement, or one smile of fervor. Such treatment I did not expect, for I never had a Patron before.
        The shepherd in Virgule grew at last acquainted with Love, and found him a native of the rocks.
        Is not a Patron, my Lord, one who looks with unconcern on a man struggling for life in the water, and, when he has reached ground, encumbers him with help? The notice which you have been pleased to take of my labors, had it been early, had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary, and cannot impart it; till I am known, and do not want it. I hope it is no very cynical asperity not to confess obligations where no benefit has been received, or to be unwilling that the Public should consider me as owing that to a Patron, which Providence has enabled me to do for myself.
        Having carried on my work thus far with so little obligation to any favorer of learning, I shall not be disappointed though I should conclude it, if less be possible, with less; for I have been long wakened from that dream of hope, in which I once boasted myself with so much exultation, my Lord.
                                                   Your Lordship's most humble,
                                                   most obedient servant,[/FONT]

致切斯特菲爾德伯爵書

伯爵大人：
      "世界雜誌"業主最近告訴我，兩篇向公眾推薦我所編詞典的文章是大人的手筆。承蒙如此推崇，不勝榮幸。只是我素來不慣於貴人的恩賜，實在不知該如何領情，或以何言詞來答謝。
       當初，受到些許鼓勵，造訪大人時，我一如其餘萬民百姓，為您富有魅力的談吐所折服，不禁奢望能自詡"世界征服者的征服者"；――我雖然目睹舉世之人為博得大人眷顧，競相爭鬥，卻仍不免奢望自己或可身受大人關切；不料晉謁之後，竟未得絲毫鼓勵，自尊自慚之心，不容我再次登門。我是個閑散書生，不善奉承，以前當眾向大人致意時，實已竭盡了取寵之能事。我已做了所能做的一切；然而傾全力而遭冷遇，世上是決不會有人引以為樂的，即使你所做的微乎其微。
        伯爵大人，自我在府上外房恭候，或被拒之門外以來，七年已經逝去；在此期間，我自披斬棘，堅持編纂工作，艱苦備嘗，說也無益。而今，詞典出版在即，我未領受一次資助，未聽到一句鼓勵之辭，未看到一絲讚賞的微笑。這類厚賜我本未指望，因為我從不曾有過任何庇護人。
       維吉爾筆下的牧童終於認清了愛神，發現他原來是蠻荒野人。
       伯爵大人，如果有人在落水者拚死掙扎時袖手旁觀，落水者上岸后才給以援手，這樣的人可以稱為恩人嗎?您現在對我的辛勤勞動所表示的關注，倘來得早些，我怎不領情?可惜為時過晚，我已無動於衷，無從消受；我已孓然一身，無法與人共享；況且我已成名，無需大人關注了。我未受恩典，無須承情；上帝助我獨立完成工作，我自不願公眾以為有庇護者相助；這總不致被看作刻薄無禮吧!
       我未領受任何關懷學術者的恩情，便把工作推進到今日的局面，所以在這項工作行將結束時，自然不會因為絲毫不能得到恩情而感到失望，因為我早已從希望的夢想中清醒過來――在那夢想中我曾一度揚揚自得，自詡為大人您。
                                                                   最卑順的僕人
                                                                                                        塞繆爾•約翰遜
【作者簡介】
塞繆爾•約翰遜（1709-1784）：英國散文家、文藝評論家、詞典編撰家。

Letter to Mrs. Bixby
Executive Mansion, Washington,
Nov. 21, 1864

Mrs. Bixby,                                
Boston, Massachusetts,
Dear Madam,
    I have been shown in the files of the War Department a statement of the Adjutant General of Massachusetts that you are the mother of five sons who have died gloriously on the field of battle. I feel how weak and fruitless must be any words of mine which should attempt to beguile you from the grief of a loss so overwhelming. But I cannot  refrain from tendering to you the consolation that may be found in the thanks of the Republic they died to save. I pray that our heavenly Father may assuage the anguish of your bereavement, and leave you only the cherished memory of the loved and lost, and the solemn pride that must be Yours to have laid so costly a sacrifice upon the altar of freedom.
                                           Yours very sincerely and respectfully,
                                           Abraham Lincoln
                                           by Abraham Lincoln[/FONT][/SIZE]

致比克靳比夫人的信
亞伯拉罕•林肯 華盛頓總統府   
一八六四年十一月二十一日

馬薩諸塞州，波士頓
比克斯比夫人
親愛的夫人：
      在送我批閱的陸軍部檔案中，我看到一份馬薩諸塞州陸軍副官長寫的報告，說您便是有五個兒子光榮犧牲在戰場上的那位母親。我深深感到，無論我企圖用什麼言詞，來排遣如此巨大的損失給您帶來的悲痛，都一定是無力和徒勞的。但我還是抑制不住要向您表示慰問，這種慰問體現在您的兒子們獻身拯救的共和國對您的感謝之中。我祈求我們的天父減輕您的喪子之痛，使您只懷有對於已故親人的美好回憶和莊嚴的自豪感，您有這種自豪感是理所當然的，因為您在自由的祭壇上獻出了代價如此昂貴的犧牲。
      
                                     您最誠摯的亞伯拉罕•林肯敬啟
【作者簡介】
亞伯拉罕•林肯（1809-1865）美國第十六任總統（1861-1865），共和黨人。

The Literature of  Knowledge And The Knowledge of Power

     All the literature of knowledge builds only groundnuts, that are  swept away by sloops, or confounded by the plow; but the literature of power builds nests in aerial altitudes of temples sacred from violation, or of forests inaccessible to fraud. This is a great prerogative of the power literature, and it is a greater which lies in the mode of its influence. The knowledge literature, like the fashion of this world, passes away. An encyclopaedia is its abstract ;and ,in this respect, it may be taken for its speaking symbol---that before one generation has passed, an encyclopaedia is superannuated; for it speaks through the dead memory and unimpassioned understanding, which have not the repose of higher faculties, but are continually enlarging and varying their phylacteries.But all literature properly so called---literature par excellence---for the very reason that it is so play, and the combinations into which the poetry of this planet has thrown our human passions of love and hatred, of admiration and contempt, exercise a power for bad or good over human life that cannot be contemplated, when stretching through many generations, without a sentiment allied to awe.[/COLOR]

知識的文學與力量的文學

      一切知識的文學都在地面上築巢，結果不被洪水所沖堤，就被耕犁所掀翻；只有力量的文學在那巍巍蒼穹間的聖殿之內，或在那高入雲際的森林之巔營造自己的安身之處，那是神聖不可侵犯、也是欺詐所無法企及的。這是力量的文學所獨有的重大特權，而它影響於人類的方式尤為特殊。知識的文學，如時尚一樣，與時俱逝。百科全書正是此種文學的縮影，從這方面來看，似乎可以說是它活生生的象徵：一個世代尚未過去，一部百科全書就陳舊過時了；因為，在它那裡面所講的不外是雖然存留在記憶中、卻已失去新意的東西，以及不帶任何感情色彩的推理，因此，猶如經匣中的教條，即使補充幾句、略變花樣，仍無法使得人的高尚精神恬然寧息。但是，一切當之無愧的文學――最優秀的文學――由於它比知識的文學更能垂之永久，它的影響與此形成相應比例，也就遠為深邃，而象電光石火一般無孔不入。一方面，我們這個星球上的悲劇培養著人的感情，使之朝著某些方向發展；另一方面，我們這個星球上的詩歌又把人的愛與憎、讚美與鄙薄等激情組成種種的結合；這樣共同形成強大的力量，對人類生活產生了或消極、或積極的作用，而這些作用往往會延續許許多多世代，令人考慮之下不能不感到肅然起敬。
【作者簡介】
德•昆西（1785-1859），英國浪漫主義散文名家，其代表作為《一個英國吸鴉片者的陳述》。本文節選自其文章《知識的文學與力量的文學》。

The Power Is Unlimited

       Besides which, there is a rarer thing than truth-namely power, or deep sympathy with truth. What is the ef-fect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven---the frailty, for instance, which appeals to forbearance, the simplicity which is most alien from the worldly---are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz., the literature of power. What do you learn from Paradise Lost? Nothing at all .What do you learn from a cookery-book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of  advancing steps on the same earthly level; what you owe is power---that is ,exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upward, a step ascending as upon a Jacob's ladder from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth; whereas the very first step in power is a flight---is an ascending movement into another element where earth is forgotten.[/COLOR]


力量無限

        此外，還有一種東西比真理更為神奇――那就是力量，或者說，對真理的深切感應。譬如，想一想兒童對於社會的影響吧。由於兒童的幼弱無依、天真無邪、純樸無偽而引起的種種特殊的讚歎憐愛之情，不僅使人的至情至性不斷地得到鞏固和更新，而且，由於脆弱喚醒了寬容，天真象徵著天堂，純樸遠離開世俗，因此，這些在上帝面前最可寶貴的品質也就經常受到憶念，對它們的理想便可不斷地重溫。高級的文學，即力量的文學，作用與此相類。從《失樂園》你能學到什麼知識呢?什麼也學不到。 從一本食譜里又能學到什麼呢?從每一段都能學到你過去所不知道的某種新知識。然而，在評定甲乙的時候，難道你會因此就把這本微不足道的食譜看得比那部超凡入聖的詩篇還高明嗎?我們從彌爾頓那裡學來的並不是什麼知識，因為知識，哪怕有一百萬條，也不過是在塵俗的地面上開步一百萬次罷了；而彌爾頓所給予我們的是力量――也就是說，運用自己潛在的感應能力，向著無際的領域擴張，在那裡，每一下脈動，每一次注入，都意味著上升一步，好似沿著雅各的天梯，從地面一步一步登上那奧秘莫測的蒼穹。知識的一切步伐，從開始到終結，只能在同一水平面上將人往前運載，但卻無法使人從原來的地面上提高一步；然而，力量所抬出的第一步就是飛升，就是飛向另一種境界――在那裡，塵世的一切全被忘卻。
【作者簡介】
德•昆西（1785-1859），英國浪漫主義散文名家，其代表作為《一個英國吸鴉片者的陳述》。本文節選自其文章《知識的文學與力量的文學》。

The Power Is Unlimited

       Besides which, there is a rarer thing than truth-namely power, or deep sympathy with truth. What is the ef-fect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven---the frailty, for instance, which appeals to forbearance, the simplicity which is most alien from the worldly---are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz., the literature of power. What do you learn from Paradise Lost? Nothing at all .What do you learn from a cookery-book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of  advancing steps on the same earthly level; what you owe is power---that is ,exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upward, a step ascending as upon a Jacob's ladder from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth; whereas the very first step in power is a flight---is an ascending movement into another element where earth is forgotten.[/COLOR]


力量無限

        此外，還有一種東西比真理更為神奇――那就是力量，或者說，對真理的深切感應。譬如，想一想兒童對於社會的影響吧。由於兒童的幼弱無依、天真無邪、純樸無偽而引起的種種特殊的讚歎憐愛之情，不僅使人的至情至性不斷地得到鞏固和更新，而且，由於脆弱喚醒了寬容，天真象徵著天堂，純樸遠離開世俗，因此，這些在上帝面前最可寶貴的品質也就經常受到憶念，對它們的理想便可不斷地重溫。高級的文學，即力量的文學，作用與此相類。從《失樂園》你能學到什麼知識呢?什麼也學不到。 從一本食譜里又能學到什麼呢?從每一段都能學到你過去所不知道的某種新知識。然而，在評定甲乙的時候，難道你會因此就把這本微不足道的食譜看得比那部超凡入聖的詩篇還高明嗎?我們從彌爾頓那裡學來的並不是什麼知識，因為知識，哪怕有一百萬條，也不過是在塵俗的地面上開步一百萬次罷了；而彌爾頓所給予我們的是力量――也就是說，運用自己潛在的感應能力，向著無際的領域擴張，在那裡，每一下脈動，每一次注入，都意味著上升一步，好似沿著雅各的天梯，從地面一步一步登上那奧秘莫測的蒼穹。知識的一切步伐，從開始到終結，只能在同一水平面上將人往前運載，但卻無法使人從原來的地面上提高一步；然而，力量所抬出的第一步就是飛升，就是飛向另一種境界――在那裡，塵世的一切全被忘卻。
【作者簡介】
德•昆西（1785-1859），英國浪漫主義散文名家，其代表作為《一個英國吸鴉片者的陳述》。本文節選自其文章《知識的文學與力量的文學》。

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