2023年2月12日 星期日

小記翻譯名家Edward George Seidensticke(1921-2007) , (HC記 2004/2018/2023)

 



我在2004年的小文:小記翻譯名家E Seidensticke



台灣每年入境日本的旅次突破百萬。不過就分類而言,這些多為所謂「有用多數」(useful many),很少的人為「關鍵的少數」(vital few)--日後能成較持久性的「文化財」作出貢獻,或許多淪為popular culture的消費者。

其實,我的這種觀點之立場很「老舊」。譬如說,讀新井一二三 <另一種專業:東京學---JR中央線之謎>(2004.12.08  中國時報 人間;當然新井一二三 等人對於popular culture的想法是對的,這也是真正日本文化能大量輸出到許多外國的主要內容。 )【hc按:這種大都市學的書,西方很平常啦,倫敦-巴黎-維也納-柏林-紐約-芝加哥…..等等不用說,加州的也洋洋灑灑……這有多難呢?其實要有點學術價值的東西,必需有許多原始資料的整理當基礎。過 去我鼓勵羅時瑋先生寫台北等,或許 Low City, High City: Tokyo From Edo to the Earthquake, 1867-1923 - E Seidensticke Middlesex, New York: Knopf, 1983 /UK: Penguin, 1985 《東京.下町.山手》是送給他的…..


譬如說,紐約時報的當地新房地產新產品 'Quality and Convenience,' at a Price
(By ELEANOR CHARLES Published: December 5, 2004 )是萬樁類似事情之一端:
Homes at River Oaks on Long Ridge Road in Stamford are selling for $1.445 million to $1.56 million. "This is an extraordinarily robust upper-end boom in luxury housing with maintenance-free living that is not available in Greenwich or New Canaan," said James Fieber, head of the Fieber Group, builders of the 28-acre subdivision. "Demographically, it's a segment that will increase in viability. It's not downscaling, it's life-scaling that appeals to people from their 30's to their 70's." 】



「凡是對東京歷史有興趣的人,非看美籍日本文學專家Edward Seidensticker寫的《東京.下町.山手》和《東京起來》兩本書不可。但是,書中一句話,叫我這個老東京非常吃驚。老日本通寫道:
東京新宿以西是文化沙漠,既看不到傳統日本文化又找不到西方高級文化,除了酒和色以外,就是一無所有。…..



Seidensticker的兩本書在一九八三年以及九二年問世。後來,新宿以西建設了西方高級文化之府幾所:例如,新國立劇場、TOKYO OPERA CITY、府中森藝術劇場等。然而,即使在二十年以前,恐怕大部分東京人不肯同意美國日本通的說法,因為自從二十世紀初,東京的文化前衛始終在新宿以西。 ……」


如果你是<Simon University> 的Seidensticker的忠實讀者,而且記性很好,或許知道此「美國人日本通」是日本文學的名翻譯家,尤其以川端康成作品和<源氏物語>(The Tale of Genji )馳名。
我們舉過大江先生的諾貝爾獎演講中對於川端康成標題的歧義之處理。

最近google scholar很方便,你想列舉他的作品,彈指間就完成了(希望再幾年也收入「萬國學者作品總匯」,完成全球化大業)。我 這回拜此工具之賜才知道他近年還有一本回憶錄 Tokyo Central: A Memoir (Seattle, Wash.: University of Washington Press, 2002 ) 和論「翻譯技巧」之文收入J Biguenet, R Schulte 主編的The Craft of Translation (Chicago, The University of Chicago Press, 1989); 論文Chiefly on translating the genji (The Journal of Japanese Studies)。
前google scholar前兩頁標題大要。

日本:
Tokyo Rising: The City Since the Great Earthquake - E Seidensticker , Charles E. Tuttle, 1991 《東京起來》【hc:《東京新興起:1923年大地震之後再興記》】

Low City, High City: Tokyo From Edo to the Earthquake, 1867-1923 -
E Seidensticke Middlesex, New York: Knopf, 1983 /UK: Penguin, 1985 《東京.下町.山手》

Japan EG Seidensticker Time-Life, 1968 這本不是台灣翻譯的『早期日本』

Tradition and Modernization in Japanese Culture -DH Shively, C Blacker - Princeton University Press, 1971

This Country Japan EG Seidensticker Kodansha, 1984
Showa: The Japan of Hirohito -C Gluck, SR Graubard Norton, 1992
----
日本古典文學:【Key Words

源氏物語    The tale of Genji
平安時代    Heian Period
日本文化    The culture of Japan
光源氏    Genji The Shining Prince
紫式部    Lady Murasaki Shikibu
源氏物語の概略   Summary of the tale of Genji
http://mcel.pacificu.edu/as/students/genji/homepage.html
The Tale of Genji (Everyman's Library, No.108) Murasaki Shikibu (著), Edward G. Seidensticker (著), Murasaki Shikibu (著) The Tale of Genji (Everyman's Library, No.108)

Genji Days - E Seidensticker New York: Kodansha International, 1983 (翻譯 <源氏物語>日紀感言整理。)
【舉個例,第97頁10月7日周六 整天早上和前午都在翻譯Hotaru…..Yes, the treatment of Genji is distinctly ambiguous, ironical, one might wish to say; and there is an interesting foretaste of Niou. …(foretaste noun [S] 1. 【事】 先嚐,試食;預嚐到的滋味;預示,前兆,徵象)】

The Gossamer Years: A Diary by a Noblewoman of Heian Japan EG Seidensticker -Tuttle, 1964

----
日本近代文學:
Kafu the Scribbler: The Life and Writings of Nagai Kafu, 1879–1959 -永井荷風(他的作品大陸翻譯不少;他筆下的東京當然是翻譯者寫作的重要資料)Seidensticker - Stanford, Calif., Stanford University Press, 1965


讀本 Modern Japanese Stories: An Anthology

I Morris, E Seidensticker, M Kuwata - Tuttle, 1962

三島
The decay of the angel - Y Mishima, E Seidensticker New York: Tuttle, 1973

川端康成:
Thousand Cranes - Y Kawabata, E Seidensticker - Knopf, 1958
Snow Country -Y Kawabata, E Seidensticker - Cited by 1
Knopf, 1956

House of the Sleeping Beauties: And Other StoriesY Kawabata, E Seidensticker Kodansha America, 1994

  Edward Seidensticker的英譯川端康成《睡美人》、《禽獸》、《一只手臂》  

284 『眠れる美女』-- 睡美人 (川端康成著)  full text 本;原要兼談《睡美人》、《禽獸》、《一只手臂》
1960年川端康成61歲, 是年,發表了《睡美人》(1月至翌年11月); 1968年 69歲 , 1月,《睡美人》由新藤兼人改編,拍成電影(田村高廣等主


許多話沒說,譬如說,中文翻譯在植物等,很模糊,然而 Edward Seidensticker的英譯,很科學,不會馬虎。 川端康成 的這三篇,《睡美人》、《禽獸》、《一只手臂》    
,有內部關聯,雖然作品表表,從1930年代到60年代.....



----自傳和翻譯論
[BOOK] The Craft of Translation - Library Search - Web Search
J Biguenet, R Schulte - Cited by 6
Chicago, The University of Chicago Press, 1989
[BOOK] Tokyo Central: A Memoir - Library Search - Web Search
E Seidensticker
Seattle, Wash.: University of Washington Press, 2002
Genji Days - E Seidensticker New York: Kodansha International, 1983 (翻譯 <源氏物語>日紀感言整理。)




Kafū the Scribbler : the life and writings of Nagai Kafū, 1879-1959   by Seidensticker, Edward, 1921-2007, author


Publication date 1965Topics Nagai, Kafū, 1879-1959

Publisher Stanford, California : Stanford University PressCollection inlibraryprintdisabledmarygrovecollegeinternetarchivebooksamericanaDigitizing sponsor Kahle/Austin FoundationContributor Internet ArchiveLanguage EnglishAuthor (alternate script) 永井, 荷風(1879-1959)

vi, 360 pages, 8 unnumbered pages of plates : 24 cm

"Bibliographical note": pages 350-352

Includes index

Part one. The life.
 Beginnings -- Exile -- Return -- Withdrawal -- Straggler*s -- The nineteen-twenties -- The nineteen-thirties -- The nineteen-forties and after -- 

*落後者、敗残兵

Part two. The writings.
  The River Sumida -- 
The peony garden -- 
Coming down with a cold -- 
Tidings from Okubo: excerpts -- 
Rivalry: from chapter 12 -- 
Quiet rain -- 
A strange tale from east of the river --
 The decoration -- 
The dancing girl: chapter 10 --
 The scavengers


***2018
美國人日本学者、名譯家 Edward Seidensticker (1921 – 2007) 2018

2018.11.19 重讀2004的文章,感慨。一來 傳主2007年過世,紐約時報等有其訃聞:
Aug 31, 2007 - Edward G. Seidensticker, an eminent translator from the Japanese who brought the work of ancient and modern writers to a wide ...
二來,Wikipedia 有此項
https://en.wikipedia.org/wiki/Edward_Seidensticker


From Wikipedia, the free encyclopedia
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Edward G. Seidensticker
Edward G. Seidensticker, Fall 2006
Edward G. Seidensticker, Fall 2006
BornFebruary 11, 1921
Castle Rock, Colorado, U.S.
DiedAugust 26, 2007 (age 86)
Tokyo, Japan
OccupationTranslator of Japanese Literature; Writer; Author
NationalityAmerican
Period1950–2006
Edward George Seidensticker (February 11, 1921 – August 26, 2007) was a noted post-World War II scholar, historian, and preeminent translator of classical and contemporary Japanese literature. His English translation of the epic The Tale of Genji, published in 1976, was especially well received critically and is counted among the preferred modern translations.[1]
Seidensticker is closely associated with the work of three major Japanese writers of the 20th century: Yasunari KawabataJun'ichirō Tanizaki, and Yukio Mishima. His landmark translations of novels by Kawabata, in particular Snow County (1956) and Thousand Cranes (1958), led, in part, to Kawabata being awarded the Nobel Prize in Literature in 1968.[2]

Contents
1Biography
1.1Early years
1.2U.S. Navy Japanese Language School
1.3War years
1.4Occupation of Japan and foreign service
1.5Scholar, educator, and latter years
2Translator
3Japanologist
3.1Honors
4Selected works
5References
6Further reading



エドワード・ジョージ・サイデンステッカーEdward George Seidensticker1921年2月11日 - 2007年8月26日)は、日本文学作品の翻訳を通して、日本の文化を広く紹介したアメリカ人の日本学者。より正確には「サイデンスティッカー」だが、親しみをこめて「サイデンさん」などと呼ばれることもある。

-----


35:40
243 閱讀川端康成『山之音』小說與電影之心得 2018 Sept.
Seidensticker won the National Book Award in category Translation for his edition of Kawabata's The Sound of the Mountain (a split award).[17]


---

He also translated The Decay of the Angel, the last volume of Yukio Mishima's Sea of Fertility tetralogy, and several of Mishima's stories. Seidensticker translated Jun'ichirō Tanizaki's The Makioka Sisters and Some Prefer Nettles and authored important criticism on Tanizaki's place in 20th-century Japanese literature. The New York Times obituary allowed the translator to speak for himself:
During his years in Japan Mr. Seidensticker became friends with many of the writers he translated, though the friendships were sometimes tested during the delicate diplomatic dance that is central to the translator’s art. As Mr. Seidensticker recalled in Tokyo Central, some writers required more dancing than others:
"Tanizaki wrote clear, rational sentences," Mr. Seidensticker wrote. "I do not, certainly, wish to suggest that I disapprove of such sentences; but translating them is not very interesting. There was little I felt inclined to ask Tanizaki about."
Not so with Kawabata. "Do you not, my esteemed master, find this a rather impenetrable passage?" Mr. Seidensticker recalled asking him, ever so gently, during the translation of Snow Country.
"He would dutifully scrutinize the passage, and answer: 'Yes,' " Mr. Seidensticker wrote. "Nothing more."[12]
The last work he supervised translating into English was You Were Born for a Reason on Japanese Buddhism.[18][not in citation given]

Japanologist[edit]

Seidensticker wrote widely on Japan, its people, as well as the city of Tokyo.
His first major non-translation work, "Kafu the Scribbler: The Life and Writings of Nagai Kafu, 1879–1959" (Stanford University Press, 1965), was a biography of Kafu Nagai, the Japanese writer who is noted for his sensitive depictions of the denizens of Tokyo's pleasure quarters. It was the first study to examine the life and works of Nagai to appear in any Western language. As the book includes a number of Seidensticker translations of Nagai's short stories and novellas, it is neither pure biography nor criticism. Seidensticker, to his lifelong regret, never met Kafū, even though there were opportunities to be introduced.[19]
In Low City, High City: Tokyo from Edo to the Earthquake (1983) and Tokyo Rising: The City Since the Great Earthquake (1990), Seidensticker's two-volume history of Tokyo, he weaves a tale of cultural history of how the city was impacted by the advent of Westernization, and how it responded to the twin disasters of the 20th Century—the Great Kanto earthquake of 1923 and the massive destruction incurred in World War II due to Allied bombing raids.
In his academic career, he is credited with being a teacher for his peers.
He published his autobiographical observations in Tokyo Central: A Memoir in 2001. A biography and bibliography are included in a commemorative work created by those whose lives he affected, New Leaves: Studies and Translations of Japanese Literature in Honor of Edward Seidensticker (1993).
After retirement, he divided his time between Honolulu and Tokyo, which he described as "the world's most consistently interesting city."[20]

著書[編集]


1955年
  • Japan、(New York:Time inc, 1961).
  • 『日本語らしい表現から英語らしい表現へ』(那須聖との共著, 培風館, 1962年)
  • 『現代日本作家論』(佐伯彰一訳 新潮社 1964)
  • Kafū the Scribbler: the life and writings of Nagai Kafū, 1879-1959(Stanford University Press, 1965).
  • 『異形の小説』安西徹雄編訳、南窓社、1972
  • 『湯島の宿にて』安西徹雄訳、蝸牛社、1976
  • 『日本語とわたし』(Japanese and I)渡部昇一・安西徹雄編注、朝日出版社、1977
  • Genji Days, 1977(『源氏日記』安西徹雄訳、講談社、1980)
  • 『日本人とアメリカ人』(Japanese and Americans)海老根宏編注、朝日出版社、1978(教科書版)
  • 『私のニッポン日記』安西徹雄訳、講談社現代新書、1982
  • Low city, high city: Tokyo from Edo to the earthquake, 1983
     『東京 下町・山の手』安西徹雄訳、TBSブリタニカ、1986。ちくま学芸文庫 1992/講談社学術文庫 2013 
  • 『西洋の源氏 日本の源氏』笠間書院、1984
  • Tokyo rising: the city since the great earthquake, 1990(『立ち上がる東京』安西徹雄訳、早川書房、1992)
  • 『日本との50年戦争 ひと・くに・ことば』安西徹雄訳、朝日新聞社、1994
  • 『好きな日本好きになれない日本(Lovable Japan,less lovable Japan)』 廣済堂出版、1998
  • 『流れゆく日々 サイデンステッカー自伝』安西徹雄訳、時事通信、2004
  • 『世界文学としての源氏物語 サイデンステッカー氏に訊く』伊井春樹編、笠間書院、2005
  • 『谷中、花と墓地』みすず書房、2008(自身による日本語著作)

編著[編集]

  • (松本道弘との共編)『日米口語辞典』朝日出版社、1977(のち最新版)
  • 『私の東京』百瀬博教との共著、富士見書房、1989

翻訳[編集]

  • The Kagerō Nikki: Journal of a 10th Century Noblewoman、1955(蜻蛉日記、のち The Gossamer Years: the Diary of a Noblewoman of Heian Japanと改題)
  • Japanese Music and Drama in the Meiji Era、(小宮豊隆著, Obunsha, 1956)
  • Some Prefer Nettles (谷崎「蓼喰ふ蟲」, Knopf, 1955).
  • Snow Country (川端「雪国」, C.E.Tuttle , 1956).
  • The Makioka Sisters(谷崎「細雪」, Knopf, 1957).
  • Thousand Cranes(川端「千羽鶴」, 1958).
  • The Izu Dancer(川端「伊豆の踊子」, 1964).
  • Lou-lan井上靖「楼蘭」, 原書房, 1964).
  • 「時間」(横光利一)原書房、1965
  • The Hateful Age丹羽文雄「厭がらせの年齢」, 原書房, 1965).
  • A Strange Tale from the East of the River (荷風「濹東綺譚」, C.E. Tuttle , 1965).
  • Japan, the Beautiful and Myself (川端「美しい日本の私―その序説」ノーベル賞受賞講演)講談社現代新書、1969
  • House of the Sleeping Beauties (川端「眠れる美女」, 1969).
  • Sound of the Mountain (川端「山の音」, 1970).
  • The Master of Go (川端「名人」, 1972).
  • The Decay of the Angel (三島「天人五衰」, 1975).
  • The Tale of Genji(Knopf, 1976).
  • YOU WERE BORN FOR A REASON (明橋,伊藤「なぜ生きる」(監修)).


****

Prize share: 1/1

The Nobel Prize in Literature 1968 was awarded to Yasunari Kawabata "for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind"
https://www.nobelprize.org/prizes/literature/1968/summary/

川端康成諾貝爾獎演說:日文、英文
Yasunari Kawabata – Nobel Lecture - NobelPrize.org
https://www.nobelprize.org › literature › l...


“I am living in a world of morbid nerves, clear and cold as ice… I do not know when I will summon up the resolve to kill myself. But nature is for me more ...

川端 康成 Kawabata Yasunari, 11 June 1899 – 16 April 1972)

川端康成 《日本的美與我》喬炳南譯,台北:臺灣商務,1970/1985 三版

學者‧英譯家 Edward Seidensticker(1921~2007)
中譯者喬炳,只知道在日本任教(70~80年代),我未有進一步消息。

.....山水.....從庭園的意義,又引申為「優雅古趣」,以及「寂靜、清瘦」的旨趣。但是,「和敬清寂」的茶道所尊重的「幽靜古雅」指的當然是潛藏於「心」中的豐盛.......

 


..,In the Oriental word for landscape, literally "mountain water," with its related implications in landscape painting and landscape gardening, there is contained the concept of the sere and wasted, and even of the sad and the threadbare. Yet in the sad, austere, autumnal qualities so valued by the tea ceremony, itself summarized in the expression "gentally respectful, cleanly quiet," there lies concealed a great richness of spirit; ......





2023年2月9日 星期四

日本姓名、漫畫的翻譯不簡單:曹整理的胡適之 日記的翻譯,錯誤多H. T. Webster(1885-1952): The Timid Soul (1952.10.5)漫畫的翻譯不簡單ㄝ曹整理的胡適之 日記的翻譯,錯誤多

 

漢字共同圈:1952: 永井荷風日記 1952.11.3、胡適日記 1952.10.16、  湯川秀樹......     永井 荷風1879~1959的兩天;兩枚勳章:退伍老兵的戲服照片、文化勳章 授勳日受章者日記1952:羅特列克 Toulouse- Lautrec 1994 p.59 兩日本畫家名字搞錯;勳章1942vs文化勳章 1952

https://www.facebook.com/hanching.chung/videos/512832977643605



H. T. Webster(1885-1952): The Timid Soul (1952.10.5)漫畫的翻譯不簡單ㄝ曹整理的胡適之 日記的翻譯,錯誤多


    H. T. Webster(1885-1952): The Timid Soul (1952.10.5)漫畫的翻譯不簡單ㄝ曹整理的胡適之 日記的翻譯,錯誤多

   H. T. Webster(1885-1952): The Timid Soul (1952.10.5)

胡適日記1952.10.5: H. T. Webster上月死了。他的漫畫之中,特別喜歡"The Timid Soul"。今天看此幅,特別忠厚可愛。(胡先生選的,很精采,遠比下文舉例的,好多多。)
漫畫的翻譯不簡單ㄝ曹整理的胡適之 日記的翻譯,錯誤多
CHICKS AND DUCKS AND GEESE BETTER SCURRY WHEN I TAKE YOU OUT IN THE SURREY WITH FRING ON TOP


Caspar Milquetoast - Wikipedia

https://en.wikipedia.org/wiki/Caspar_Milquetoast

Harold Tucker Webster was an American cartoonist known for The Timid Soul, Bridge, Life's Darkest Moments and others in his syndicated series which ran from the 1920s into the 1950s. Wikipedia

Caspar Milquetoast is a comic strip character created by H. T. Webster for his cartoon series The Timid Soul. ... is an appropriate food for someone with a weak or "nervous" stomach.




H. T. Webster - Wikipedia

https://en.wikipedia.org/wiki/H._T._Webster

Harold Tucker Webster (September 21, 1885 – September 22, 1952) was an American cartoonist known for The Timid Soul, Bridge, Life's Darkest Moments and ...




http://neglectedbooks.com/?p=331
His picture made the cover of Time magazine in 1945:
Cover of Time magazine, 26 November 1945
Cover of 'The Best of H. T. Webster'Webster published over 15,000 panels over the course of 40-plus years as a newspaper cartoonist. A memorial collection of his cartoons, The Best of H. T. Webster, published in 1953, a year after his death, featured an introduction by the Pulitzer Prize-winning author, Robert E. Sherwood, and made the best seller lists. In his introduction, Sherwood wrote,
On April 4, 1953, the last new drawing by H. T. Webster was published in the New York Herald Tribune and a hundred and twenty-five other papers, and for many of us timid souls, this day marked as one of life’s darkest moments. There will be other fine artist-cartoonist-critics to inspire use with joy or indignation from day to day, but never another to span the years and the range of human emotions in the same extraordinary way that Webby did.
Webster based many of his one-panel cartoons on a number of recurring themes, and Sherwood managed to work two of them into his statement above.
“Life’s Darkest Moments” were, like many of his pieces, wonderfully succinct takes on the ways in which life consistently pokes a pin into the bubbles of our fantasies of self-importance.



Caspar Milquetoast is a comic strip character created by H. T. Webster for his cartoon series The Timid Soul. ... is an appropriate food for someone with a weak or "nervous" stomach.

2023年2月1日 星期三

談性——給年青詩人的信第四封 里爾克 著 張錯 譯及部分評析







Looking for an 'Aesthetic Sense' Within the Hedonic Mind of ...
https://hal.parisnanterre.fr › hal-01478739 › file

PDF
by M Kreutzer · 2015 · Cited by 8 — the animals' “taste for the beautiful”, their “sense of beauty” or ... Darwin not being a philosopher referred to “aesthetic faculty”, ...
26 pages



Another Darwinian Aesthetics - FIU MyWeb
https://myweb.fiu.edu › uploads › sites › 2016/08

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by C WILSON · 2016 · Cited by 6 — them: the beauty of a natural scene apparent to Sei ... of 1871, Charles Darwin brooded on the “taste ... Department of Philosophy, University of York,.



Aesthetics and Form in Charles Darwin's Writings
https://oxfordre.com › acrefore-9780190201098-e-45 › p...


Feb 27, 2017 — An aesthetic appeal to beauty and wonder, subsuming painful ethical considerations, becomes the primary rhetorical strategy with which Darwin ...



可討論: 「美學技能」(aesthetic faculty)

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文訊月刊2023,二月號
給年青詩人的信第四封——談性
里爾克 著
張錯 譯及部分評析
Rilke, Letters to the Young Poet, no.4
里爾克第四封信 (1903年7月16日)華斯韋德Worpswede, 德國布里曼藝術村Bremen附近
約十天前我離開巴黎,病痛勞累交迫,來到這北方的大平原,它的廣袤,沉寂,與藍天應會讓我康復,但來得不巧,又為漫長雨天所困,直至今天首次在這風吹不歇的土地,透露少許晴朗信息,我才利用這初現的陽光來問候你。
親愛的卡卜斯先生:我曾長久擱置給你的回信,不是因為忘記——恰好相反,你的信是我在其他往來通訊中常拿出來一讀再讀的信件。在你信內更覺得親切如同在身旁,那是指來自5月2日的來信,你定會記得寫了什麼。現在我讀它,相隔著巨大沉靜的距離,為你對生命的美麗關注而感動,比之巴黎讀時感覺還深一層。在巴黎,因為極度喧嘩,在每種事物的過度迴響與消失中,萬事萬物都震盪著,而在這兒,週圍一片廣闊田野,大海吹拂而來的風,讓我覺得你所提出的問題本身都自有它們的生命,即使用盡最巧妙的文字,也無從解答這些細微至無可言說事物。但我相信你將不會悶在心頭,如能像我現在那樣找到眼前一亮的事物。假如你依附大自然(Nature),依附它的單純,那些細小讓人難以注目的事物,這渺小將會不知不覺地變得碩大無可測量。假如你能把愛放在這些毫不起眼的事物,單純為它們服務,羸取看來一無可取事物的信念,一切會變得更容易,更妥貼,與你更調和——不是出自你困惑落後的智能,那是來自你內在的潛能,醒覺,和認知。你是那麼年輕,一切正在開始,我儘量要求你,親愛的先生,耐心等待面對內心所有不可解的,嘗試去愛「問題本身」,像上鎖的房間、異國語言寫成的書,不要想著現在就要找出答案,它們也無從給予,因為你還不能在你的生活中體驗到它們,最關鍵的就是要讓所有事物存活,因此現在就讓「問題活著」吧。假使你能這樣做,你將逐漸不知不覺地在某個遙遠一天,因為自己的生活體驗而獲得答案。也許你真的擁有潛能去建構,生活在一種特殊純淨幸福,那就朝著這方向培育自己,以最大信念接受來臨的一切,只要是自己意願,來自內心感到迫切的需要,那就拿起來,不要有任何厭惡。是的,性(sex) 很麻煩,但我們就是被要求去解決麻煩的人,差不多所有要緊事情都麻煩,所有事情都要緊,一旦你認清這點,自會在你裡面產生出完全出自於「你」的本性、經驗、童年、和力氣所獲得的「性」的關係。嘗試用性去臻達一個關係,純粹屬於你的不是被傳統或道德所影響,也不需要擔心遺失自己或是損壞了你最美滿的生命。
肉體快感是一種感官經驗,和純淨觀看,或純淨地感覺一顆美味水果在舌頭帶來的快感沒什麼不同,那是一種豐富無窮的經驗——讓我們認識這世界,也活在去認識世界的顯赫光輝與成熟飽滿中。對身體的官感體驗並不是壞的,而是差不多每個人都誤用它,浪費它,用它作為生命疲累的變相興奮劑,不是把它用來朝向生命最高尚峰頂而凝聚精神。人們飲食也一樣,一邊索取,另一邊浪費,把清晰需求變得暗淡,所有生命用來更新的精簡必需品也同樣變得呆板無趣。但另一種人,不是那種有依賴性的人,而至少是一個孤獨人——可以澄清自己的需要而明朗活著,他能記得動、植物的所有美麗,是來自一種耐久靜止形式的愛與欲望,他能視動物如同植物,耐心全心全意交合,繁殖,成長,不是來自肉體歡愉或痛苦,而是比任何反抗的意志來得強烈的,向大過任何苦樂的需要彎腰俯就。這個奧祕,從最細小事物開始充溢世界,假如人們能嚴肅看待,更謙虛接受,忍受,不再把困難看成是易如反掌的事。假如人們能更敬重那不論是精神或身體的生殖力,且視敬畏為唯一的條件並獲得成果。因為心智創作也是産生自生理的創作,它們共同在一個身體,讓身體有著更溫柔,更銷魂蝕骨的狂喜與歡娛。就如你説的,「僅是成為一個創造者,生殖及製造」這念頭,便缺不了在世間生活中,不斷肯定偉大事物,並朝向它而努力的行動,正是因為出自事物與動物千倍的協調——他的享受才有難以描述的美麗豐滿,因為他有來自千萬生物生產與誕生的遺傳記憶。在他的思想中,會有一千個被遺忘的情愛良夜,在每個「成為創造者念頭」的鼓舞下復活,其中注滿高貴雄偉。那些夜裡幽會,交纏著肉體快感的愛人們,是在作一種嚴肅的工作,他們收集甜蜜溫存,為將要後起的詩人儲備深沉力量,去說出那些難以言說的歡樂,他們召喚將來,即使迷失惘然,盲目擁抱,將來還是一樣來臨。每個新人類都會在這完成的基礎上成長,且在看似純粹巧合處,讓身體中的永恆法則被喚醒:一顆強壯堅定的精子猛烈衝入游移前來會合張開的卵子。但不要被這表面事物分神,注意下面深一層,一切均是律法。人們(許多人)皆如此,在誤解與失去這奧祕下渡過餘生——雖然如此,他們仍流傳下去,像一則密封的信件,即使不知道內容是什麼。不要被不同名稱和個別複雜的情況所誤導,能夠超越不同名稱和個別複雜情況的,也許是一個偉大事物:母性。而一個少女的豔麗,以及你說得好:她的「未經人事」(has not yet accomplished anything)是她害怕著、期待著、準備著的母性(Motherhood)的驚鴻一瞥。母親的美就是以母性來照顧其他人,年老婦人的身體則儲藏著豐碩的母性記憶。在我看來,男人身心也有母性,他的創造行為是一種生產,誕生就是來自裡面最奧祕的圓滿。也許男女雙方關係比我們想像更密切,也許世界大革新後,將會解放男人與女人雙方的錯誤感覺和嫌惡,不再互看雙方為異性,而是兄弟姊妹,鄰居,在一起的「人」(as human beings) ,一起忍辱負重,負擔起在他們身上棘手的性欲(sexuality)。
無論將來可能實現在眾人的事,現在孤獨者也可以開始準備了,他可以自我奮鬥而更少出錯,所以親愛的 先生,去愛你的寂寞,用甜蜜悲歎去承受加諸你身上的苦痛。你說你痛苦,親近的人離開更遠,其實是你的世界開始越來越大,假使你的附近變得遙遠,那是你的伸延有多麼廣闊,直可上接星辰。你應為自己成長而欣喜,你也不能攜帶任何人和你一起,那就對落在後面的人好一點,在他們面前你要冷靜充滿自信,不要用你的懷疑去懲罰他們,也不要用你的自信或歡樂去嚇唬他們,那是他們所不能了解的。試用一些簡單有恆共同點和他們分享,任憑你自己將來怎麼變化,都要愛惜那種和人疏遠的生活,只是用另種方式去喜愛他們;對長者體貼一點,他們對於你正在信賴的寂寞是不安恐懼的,避免在父母與子女之間的鴻溝雪上加霜,因為這會浪費子女許多的力氣,花盡長者許多的慈愛,即使他們的愛不了解我們,但畢竟是在溫暖著我們;不要向他們求教,不要期待任何了解,但相信你可把這慈愛儲蓄起來像一筆遺產,相信它包含力量,是一個龎大幸福到你無論如何擴大自己的世界,也無需把它們棄置一旁!
你現在開始進入一種可以讓你獨立的專業,在各方面全部自主,那是好事。耐心等待去看這專業是否會箝制你的內在生活。我個人認為它困難而苛求,被傳統所壓制,並無任何空間去詮釋它的職責,但你的孤獨將會支撐你,即使在非常隔離的環境,從孤獨中你會找出所有途徑。我送上給你全部祝福,並對你有信心。
你的
萊納.瑪利亞.里爾克
評析:
1/ 談性
在里爾克的第二封信裡曾強烈推介卡卜斯去閲讀丹麥小說家雅各布森(Jens Peter Jacobsen, 1847-1855)的作品,雅各布森在哥本哈根大學主修自然學科,是個植物學及環境學專家,他深受達爾文進化論影響,分別在1871–73年把達爾文的《物種起源》(On the Origin of Species) 及1874年把《人的起源及性擇》(The Descent of Man and Selection in Relation to Sex) 譯成丹麥語,因而里爾克在信中談到性,受到達爾文學説的影響是必然的,尤其是去闡釋人類演化與性擇演化的作用。性擇基本上是獨立存在、由物種自行引導過程(主要是由雌性個體推動)。達爾文說,雌性個體具有「美的品味」(taste for the beautiful),以及「美學技能」(aesthetic faculty),雄性則需要盡力「吸引」配偶,所以里爾克才會說:「一個孤獨人——可以澄清自己的需要而明朗活著,他能記得動、植物的所有美麗,是來自一種耐久靜止形式的愛與欲望,他能視動物如同植物,耐心全心全意交合,繁殖,成長,不是來自肉體歡愉或痛苦,而是比任何反抗的意志來得強烈的,向大過任何苦樂的需要彎腰俯就。」但是也因這樣受到達爾文物種遺傳的影響,里爾克太過強調性愛與物種適存(fitness of species)需要,才會説:「假如人們能更敬重那不論是精神或身體的生殖力,且視敬畏為唯一的條件並獲得成果。因為心智創作也是産生自生理的創作,它們共同在一個身體,讓身體有著更溫柔,更銷魂蝕骨的狂喜與歡娛。就如你説的『僅是成為一個創造者,生殖及製造』這念頭,便缺不了在世間生活中,不斷肯定偉大事物,並朝向它而努力的行動,正是因為出自事物與動物千倍的協調——他的享受才有難以描述的美麗豐滿,因為他有來自千萬生物生產與誕生的遺傳記憶。」這種傾向達爾文對人類萬億年來的適者性擇遺傳演變,與宗教以「創造者」身分解説宇宙萬物產生背道而馳,更何況里爾克是一個虔誠基督徒!所以後來在第六封信,便對基督下凡降生有很美好的申述。