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‧歷史月刊 2008/02/08
【文／楊志開（作者為長庚大學通識教育中心教授）】
保衛英國
面對拿破崙入侵的威脅，英國自然致力於「制海、反登陸」，以及「決戰境外」的戰略（拿破崙曾異想天開擬以熱氣球搭載法軍飛渡英吉利海峽，果真如此，英軍防禦自須再加上「制空」及「反空降」兩道），陸軍在任一項所能扛起的責任都相當有限。
大體而言，英國紳士並非高唱從軍樂的族群，即使前方吃緊，達西仍雇用「兩、三個法國廚師」（貝尼特太太的合理推測），國會則從有史以來對開徵軍費很少給過好臉色。負起「反登陸」重
任的是以志願兵組成的民團，一年僅訓練28天，戰力可想而知。至於其軍官，似乎對參加飲宴、舞會等社交活動，比精實戰力訓練有興趣地多。
《愛瑪》一書中的威斯頓（Weston）先生，早年就因擔任民團軍官而得以結識並進而娶走富家女。《傲慢與偏見》中的威肯（George Wickham）也作此打算，終因債臺高築與伊莉莎白的么妹狼狽私奔，還有賴其死對頭達西為其善後，包括為他「購得」正規陸軍軍官的職位在內。正規陸軍的規模一向不大，即使在拿破崙戰事的高潮，也不過30萬人，戰事稍稍平息，往往裁到不足10萬。軍官固然大抵出身良好，充員兵的素質只能以悽慘兩字形容，威靈頓公爵就曾大罵他麾下的士兵是「世間的人渣」。
這支人力物力均極有限的武力，在殖民地對付沒有槍砲的土著或爭奪地盤，也許還沒什麼問題，但沒有人認為可以拿來獨力對抗拿破崙的百戰雄師，因此戰爭的重擔十之八九落在海軍肩上。
在《理性與感性》中愛琳娜（Elinor Dashwood）與瑪麗安（Marianne）的母親勸愛德華從事專門職業，會比較快樂一點。愛德華答稱他一直喜歡當牧師，可是家人覺得不夠「炫」，推薦陸軍，可是陸軍對他來說實在太炫了，他對法律也沒興趣，至於海軍，在他想到這個選擇時，就已經超齡了。
不像陸軍，皇家海軍軍官的職位是不能用錢買的，畢竟，一艘戰艦的投資如此巨大，航海術也不是一年半載可以養成，只有夠年輕的人才能從頭學起。奧斯汀六個兄弟中就有兩個12歲進海軍官校，15歲上船，最終升到將軍（admiral），因此奧斯汀本人對海軍圈子並不陌生。
在《勸導》中羅素夫人（Lady Russell）勸阻安（Anne Elliot）接受孑然一身的Wentworth上校的追求，可是溫渥斯卻自信滿滿，因他即將指揮一艘戰艦，也就等於即將「發財」。戰時凡擄獲敵船一艘，艦長獨得其價值的四分之一，其餘軍官依階級由上向下遞減，連普通水手及艦上的陸戰隊士兵也可共享四分之一。
溫渥斯上校不是以戰績輝煌形容他的第二艘戰艦「勒空你亞」（Laconia）號，而是「賺錢超快速」。當艾略特爵士終於首肯他與安的婚姻時，他的身價已是兩萬五千鎊。在真實生活中，奧斯汀的兄弟法蘭克（Frank）因聖多明哥一役所得而得以結婚，查爾斯（Charles）則將他第一次獲得的獎金購買寶玉十字架送給兩個姊姊，此一幕在《曼斯菲德莊園》中，則轉換成芬妮(Fanny Price）的哥哥威廉送她購自西西里的琥珀十字架。
英國既無力也無須在陸地上與大陸強國一較短長，遂專心發展海軍，而「官兵分紅制」則大大提高了皇家海軍的戰鬥效率，降低其「本益比」。試舉1805年（也就是納爾遜在特拉法加〔Trafalgar〕大破法國、西班牙聯合艦隊之年）的一張真實招兵海報為例，海報一開頭喊一聲「天佑吾王」，就馬上進入正題，「朋友們，裝載著金銀財寶的西班牙大船……正準備駛往歐洲，它們停在維羅港（Portovelo）只有幾天，這樣的機會不會再有」，接著是斗大的字體，「飛快的佩樂思（Pallas）號，（裝備）36門砲，停在普里茅斯（Plymouth）」，底下兩行小字說明「是新銳的巡防艦，為此量身打造，準備好要出征，只待更多的好手加入」，再往下又是大字體亮出艦長名號，「艦長卡克倫勳爵（Lord Cochrane）」，底下括弧內較小字體，「並沒有如報導所說的在阿拉伯(海域)淹死」，接著勸「你越早上船越好……」。倒楣的西班牙寶船果然在亞速群島（Azores）附近被攔了四艘，「飛快的佩樂思」也從此以「金光閃閃的佩樂思」聞名。
強大的海軍不只讓拿破崙對英國本土無可奈何，也保障擴張不止的海外貿易，其中包括產自中國而風靡全英的茶葉。但在奧斯汀的時代，並沒有今天所謂的「下午茶」或「高茶」（high tea）的存在，飲茶的時機僅在早餐及晚餐。
當時甚至沒有現在一般人認知的午餐，由於早餐的時間較現代晚，遂以各式冷食當作晚餐前的營養補充。在達西的家中，賓客吃到的是冷肉、糕點、及時鮮水果，在安的妹妹家中，則只見後者吃點冷肉。晚餐是一天中的大事，豪門宴客常不只一桌菜，而有第二桌，最後另有一桌甜點。女主人接著在適當時機起身，帶領其他女眷及女賓退到客廳，留下男士們繼續飲酒交談。約一小時後男士們也回到客廳，此時才是飲茶（有時也兼飲咖啡）的開始。由於奧斯汀無從想像男士們私下談話的內容，因此在她書中無女性在場的交談絕無僅有。
馬戛爾尼與中國
據統計，英國在1785年從中國進口價值1500萬英鎊的茶葉，英國海關課以百分之百的關稅，因此茶葉貿易已成其財經體系一個重要的因素。家庭中，昂貴的茶葉由女主人上鎖保管，僕人也碰不得。但十幾年前在北美殖民地，茶葉稅卻成為獨立戰爭的導火線，最後造成同一民族在北大西洋兩岸「一邊一國」，可是始料未及。而當東印度公司蒐羅不到足夠的白銀來購買中國的茶葉時，乃開始大量種植鴉片，將之推銷到吸食者日增的中國以平衡貿易，而終導致英國歷史上最不名譽、最荒唐的鴉片戰爭。很難想像今天人手一杯的單純飲料曾在歷史上產生如此巨大的影響。
英國在北美以及下兩個世紀在愛爾蘭政策的失敗，背後原因很多，但其中之一就是利重於義。這種死要錢的心態在《曼斯菲德莊園》與《勸導》中可看出端倪，柏爾川爵士的收入可能有一大半來自西印度群島中安提瓜（Antigua）的農場，這種農場完全倚賴黑奴的勞力，當芬妮不識相地談到這個話題時，全場一片死寂，顯然這跟販賣鴉片一樣，只能做不能說。
而被當成「金雞母」的海軍，在拿破崙垮台後，則主動或被動地當起維護英國商業利益的工具，一直到帝國主義成為明日黃花。事實上，成功的政策豈恃武力，伊莉莎白一世最大的成就不是趕走無敵艦隊，而是以大事小，安排蘇格蘭的詹姆士六世繼位成為英格蘭的詹姆士一世，不費一兵一彈完成大不列顛的統一。蘇格蘭就此被套牢至今，主張獨立的人士一直想不出震撼人心的理由。
在《曼斯菲德莊園》中艾德蒙進入芬妮的房間，探詢她對他與克勞馥小姐演對手戲的「意見」，要離去時邊翻桌上的一本書邊說：「我不再打擾妳了……我想妳正要出遊中國，馬戛爾尼勳爵（Lord Macartney）進展如何？……」
比起約40年後，林則徐欽差廣東，恓恓惶惶到處蒐集「夷情」，英國讀者幸運多了，安坐家中就能閱讀馬戛爾尼（今人多音譯麥卡尼，如披頭四成員之一）大爆其中國行的內幕。身為喬治三世的特派全權大使，馬戛爾尼到了中國卻被改成「貢使」，所帶600件「貢品」需90部馬車，40部手推車，共兩百匹馬及三千名「苦力」來運載，其中包括自鳴鐘、樂器、地球儀、望遠鏡、精美馬車、船舶模型、新式槍械火砲等物，王公大臣卻都無動於衷。一擦即燃的火柴倒令他們嘖嘖稱奇，還有另人意外的是，威基伍德（Wedgwood）瓷器竟也得到「滿大人」們的讚賞。使節團還帶來一個熱氣球及其駕駛，滿朝文武竟無一人提議讓它升上去，那些軍機大臣、將軍、提督，竟連登高望遠的好奇心都沒有。
馬戛爾尼一行經過一番禮節的折衝，終於在熱河得到乾隆皇帝的接見（乾隆五十八年八月初十，或1793年9月14日，奧斯汀18歲之年），所請求的加開通商港口及派遣大使駐京等無一獲准，最後只得空手離開，倒是見識了不少中國的內幕。馬戛爾尼之行的失敗不代表乾隆鎖國政策的成功，此後中西交通的不幸歷史自是盡人皆知。
乾隆的關起門來當皇帝，是世界上任何獨裁專制政體，面臨一個強勢的開放社會時的本能反應。開放社會的百無禁忌勢將激烈衝擊封閉政體的統治基礎，這個基礎雖以各種不同的面貌出現，可以是君權神聖，父權神話，宗教教條，獨尊的主義，專政的政黨，或族群間矛盾，但承受不起自由的交流與比較則無二致。在乾隆「盛世」，必須屢興文字獄，查禁銷毀書籍來鞏固其政權，今天許多國家則封鎖網際網路以阻絕不利的資訊。已經距奧斯汀的時代兩百年了，「將一切攤開」的新聞事業，似乎仍是世上許多國家遙不可及的夢想。
奧斯汀的小說出版迄今，持續受到讀者的歡迎與討論，電影、電視等新媒體的興起更使她的作品家喻戶曉。以最受歡迎的《傲慢與偏見》為例，除了兩部電影，英國廣播公司已五度將它搬上螢幕。最近的（1995年）一齣，風行至今不衰，其中最為人津津樂道的一幕讓《新聞週刊》評論道：「在他身著溼答答的襯衫（因剛從池塘游泳上岸，此原書所無）大步走下翩柏麗(Pemberley，達西的莊園）修整的草坪（因而與伊莉莎白尷尬重逢）以前，柯林佛斯（Colin Firth，飾演達西）在英國境外尚無藉藉名，現在只要提到他的名字，就會讓從斯德哥爾摩到雪梨的家庭主婦長太息。」
有些評論家認為奧斯汀作品的受歡迎，是因為讀者厭倦了現代人（特別是政治人物）的粗鄙不文，對曩昔社會的溫文優雅有一新耳目之感。沒有色情暴力，不走偏鋒，也不用特效，奧斯汀在去世近兩百年後似乎風頭愈健，這大概是對一個作家的最佳禮讚。
【本文摘自歷史月刊241期】
4/26/2010
珍奧斯汀小說中的歷史 (上)
from 歷史月刊 2008/02/08
【文／楊志開（作者為長庚大學通識教育中心教授）】
了解英國社會的窗口
說到歷史，書中的凱瑟琳自有其見解，她所讀的「一點點」歷史「無不令人生氣厭煩，每一頁都是教宗與國王間的爭執，戰爭與瘟疫，男人沒一個好東西，女人則幾乎從來不提，真是煩死人了。我常覺得奇怪的是，這裡面一大堆東西一定是捏造的，竟然還如此沉悶。那些硬被塞進英雄嘴裡的演說，他們的思想及計畫，大部分是捏造的，而捏造的東西在其它書中正是樂趣所在」。古今中外歷史教育的失敗又添一例。
歷史教本既不足恃，奧斯汀的筆下風情倒提供一個深入了解英國社會的窗口。「每個人都有一個價錢」，而這價錢還很具體，這是奧斯汀小說令某些「文以載道」的批評家非難之處。於是讀者在《傲慢與偏見》一開頭就從貝尼特（Bennet）太太口中得知賓利先生年收入四或五千英鎊，至於達西，在第一場舞會現身「未及五分鐘」，年收入一萬鎊的報導也已「遍傳全場」。與此對照的是女主角伊莉莎白的么妹在故事結尾代夫乞援，期待一年三或四百鎊收入的職位，以及《理性與感性》中愛德華（Edward Ferrars）慘遭廢嫡，布蘭登（Brandon）上校雖慨贈其莊園牧師一職，但因年收僅兩百鎊，恐不足以維持婚後開銷。這類的數字看似庸俗，但後人卻得以設身體會當時的社會結構與政經體系，了解中上階層致富的主要途徑仍是繼承與婚姻，以及倚靠兩者所編織起的人際關係。坐擁大片土地的士紳階級（gentry）不但從農業獲得豐厚的收益，也是動見觀瞻的意見與時尚領袖，而他們彼此間的互通聲氣，連同傳統的貴族階級，共同塑造當代的政治風貌。
僅管一般人認為英國人以商立國，連拿破崙都輕蔑地稱其為一群「掌櫃的」（shopkeeper）所組成的國家，但至少在奧斯汀的時代初期，來自土地的財富仍被視為第一等，商人階級多少受人輕視。在《傲慢與偏見》中，貝尼特太太因不是士紳家庭出身，其弟於倫敦經商，連帶五個女兒的家世受到質疑。達西的姨媽德波夫人（Lady Catherine de Bourgh）甚至以達西的莊園將蒙受來自都市的「汙染」為由，反對其與伊莉莎白的婚姻。即使秉性善良的愛瑪伍德毫斯（Emma Woodhouse）小姐（世家出身，身價三萬鎊），在《愛瑪》一書中也不免流露對新富家族柯爾（Cole）的不耐，對艾爾頓（Elton）牧師的「越級」追求，更是充滿「哪根蔥、哪顆蒜」的鄙夷。
當時英國最大的莊園廣達5500平方公里（但大部是蘇格蘭的沼澤地），即使是「入門級」者也至少有400公頃，最富者年收入可達五萬鎊，其中自有不少是世襲貴族（公侯伯子男）。奧斯汀因出身所限（其父為牧師），著作中對這些貴族幾無著墨，真提到了，如《勸導》（Persuasion）一書中的達琳波子爵夫人（Viscountess Dalrymple），也沒什麼好評。因此奧斯汀所描寫的主要還是她所熟悉的社會階層，其中地位最高（但未必最富）者為「從男爵」（baronet），這是詹姆士一世為鬻爵以自肥所獨創的世襲爵位，《勸導》中的艾略特爵士（Sir Walter Elliot）與《曼斯菲德莊園》（Mansfield Park）的柏爾川爵士（Sir Thomas Bertram）皆屬之。其下則為榮銜止其身的「騎士」（Knight），如《傲慢與偏見》中虛有其表的路克斯（Sir William Lucas）。再其下則為無頭銜的地主士紳，他們有些來自古老的世家，如達西，有些人則因偶然繼承或從事其它行業致富，而臻「上流」。
然而即使是這些富裕家族的成員，也只有長子得以繼承產業的主體。次子以下或女兒，若無家長預先給予充分的財務安排，只有另謀出路，或藉關係進入專門職業，或寄望婚姻，以維持其士紳的地位。此外，當時的社會階層也並並非無法流動，中下階層的民眾亦有可能（主要還是靠關係）獲青睞而成為專業人士，因此奧斯汀筆下的許多人物，如牧師、律師、陸海軍官，以及他們對門第、金錢、感情的焦慮與渴望，栩栩如生地反應社會現實。
表面看來，英國財富分配極患不均，下階層民眾極少向上提升的可能（雖然機會已比其他歐洲國家大很多），但竟能免於類似法國大革命的悲劇，顯見其典章制度與歐陸諸國大異其趣。正如共產主義宣言起於英國，但糟殃的是其他國家，英國自有一套應付「轉型」社會的本能。其實健康的社會永遠是處於轉型的狀態，停滯不前才是病態，英國貴族早在十三世紀就認清絕對君權之弊，而迫使約翰王簽下大憲章，再經歷無數的內戰與動亂，終使國會成為與國王一樣不可或缺的體制。當臣民可以透過國會制定的法律保障其人身自由與財產時，自不太擔心王位誰屬的問題，不上道的國王（如詹姆士二世）也可換掉，甚而迎立「外來政權」，如漢諾威皇室（The House of Hanover），也無所謂。
喬治一世連英文都不會講，英國人並不因他「吃英國麥，不會講英國話」而覺有何不妥。事實上，約翰王兄獅心王理察於英文也是一竅不通，民間聲望卻遠非約翰（電影中永遠是無能的大反派可比。
4/16/2010
What did Jane look like?
The idea source
http://janitesonthejames.blogspot.com/2007/01/what-did-jane-austen-look-like.html
The Many Faces of Jane does an admirable job of presenting the few images of Jane that exist.
http://www.janeausten.co.uk/magazine/page.ihtml?pid=360&step=4
More images are shown in the Jane Austen Ebooks site. As you see, some of them are duplicates from the first site.
http://www.topicsites.com/jane-austen/pictures.htm
http://www.janeaustensoci.freeuk.com/pages/biography.htm/
http://janitesonthejames.blogspot.com/2007/01/what-did-jane-austen-look-like.html
The Many Faces of Jane does an admirable job of presenting the few images of Jane that exist.
http://www.janeausten.co.uk/magazine/page.ihtml?pid=360&step=4
More images are shown in the Jane Austen Ebooks site. As you see, some of them are duplicates from the first site.
http://www.topicsites.com/jane-austen/pictures.htm
http://www.janeaustensoci.freeuk.com/pages/biography.htm/
Austen Effusions Jane Odiwe
I am researching on Jane's images and came across this author/artist. I am very glad to find her.
source
http://austenblog.com/2005/03/13/review-effusions-of-fancy-by-jane-odiwe/
http://www.austeneffusions.com/#/home/4533119847
REVIEW: Effusions of Fancy by Jane Odiwe
Filed under: Staff Reviews — Mags @ 10:56 pm
We Janeites tend to be a sentimental lot, even those who like to pretend that they are hard-nosed objective scholars. Every biography of Jane Austen has a chapter on Tom Lefroy and the Mysterious Suitor-by-the-Sea. Let’s face it: we like to think that the woman who created timeless couples such as Lizzy and Darcy and Anne and Wentworth had romances of her own.
Jane Odiwe is no different. Like many Austen scholars, she was unsatisfied with the perception of Jane Austen as a spinster confined to a country life of little incident. Ms. Odiwe’s book, Effusions of Fancy, attempts to show that Jane Austen’s life was one of active enjoyments. The book is a collection of watercolor fantasies of Jane Austen’s young womanhood: traveling, dancing at balls, shopping for fashions and visiting the Pump Room at Bath, writing her novels and spending time with her beloved sister, Cassandra. The conceit of the book is that Cassandra has executed these paintings for her sister’s private entertainment, accompanied by letters purporting to be from Cassandra. The letters are inconsequential; the true pleasure of the book comes from the lovely illustrations.
Ms. Odiwe draws inspiration from the existing images of Jane, both the acknowledged and the disputed: she produces her own versions of Cassandra Austen’s two watercolors of Jane, as well as the famous silhouette and the infamous Rice portrait, acknowledging that the provenance of the latter is questionable. We have long suspected that the Austenian scholars who insist that the Rice portrait truly portrays the adolescent Jane Austen are at least partially motivated by dislike for Cassandra’s watercolor of Jane. Ms. Odiwe has redone that watercolor as an image of a young, pretty Jane with blooming cheeks and fashionably styled hair, her spinster’s cap not yet assumed. We are extremely fond of Cassandra Austen’s watercolor, and find Ms. Odiwe’s reimagined version of it delightful.
The book is a treat for those of us who love Georgian and Regency style. Ms. Odiwe shows knowledge of and appreciation of the fashions of the time. The artist has a light and delicate touch; gauzy wraps droop delicately from the elbows of pretty women clad in flowing gowns, curly tendrils of hair brushing their shoulders as they dance (and exchange meaningful glances) with handsome and dapper men.
The drawings in the book (and some others) also are available as note cards, packaged with their envelopes into individual cellophane packets, and are almost too pretty to use. One finds oneself saving them for most special notes to fellow Janeites who will appreciate them properly. The book is beautifully presented, tied in a blue and silver ribbon with a hangtag showing one of the illustrations. It is a perfect gift for a Janeite and a lovely publication to treasure.
Effusions of Fancy and the illustrated note cards are available through Jane Odiwe’s Web site, www.austeneffusions.com, as well as Amazon.co.uk, and in the U.S. through Jane Austen Books and from Gail Parker at teawithelizabeth AT aol DOT com (that’s an e-mail address; read it out loud! Your purchase through that outlet benefits JASNA’s Minnesota region).
http://www.austeneffusions.com/#/home/4533119847
source
http://austenblog.com/2005/03/13/review-effusions-of-fancy-by-jane-odiwe/
http://www.austeneffusions.com/#/home/4533119847
REVIEW: Effusions of Fancy by Jane Odiwe
Filed under: Staff Reviews — Mags @ 10:56 pm
We Janeites tend to be a sentimental lot, even those who like to pretend that they are hard-nosed objective scholars. Every biography of Jane Austen has a chapter on Tom Lefroy and the Mysterious Suitor-by-the-Sea. Let’s face it: we like to think that the woman who created timeless couples such as Lizzy and Darcy and Anne and Wentworth had romances of her own.
Jane Odiwe is no different. Like many Austen scholars, she was unsatisfied with the perception of Jane Austen as a spinster confined to a country life of little incident. Ms. Odiwe’s book, Effusions of Fancy, attempts to show that Jane Austen’s life was one of active enjoyments. The book is a collection of watercolor fantasies of Jane Austen’s young womanhood: traveling, dancing at balls, shopping for fashions and visiting the Pump Room at Bath, writing her novels and spending time with her beloved sister, Cassandra. The conceit of the book is that Cassandra has executed these paintings for her sister’s private entertainment, accompanied by letters purporting to be from Cassandra. The letters are inconsequential; the true pleasure of the book comes from the lovely illustrations.
Ms. Odiwe draws inspiration from the existing images of Jane, both the acknowledged and the disputed: she produces her own versions of Cassandra Austen’s two watercolors of Jane, as well as the famous silhouette and the infamous Rice portrait, acknowledging that the provenance of the latter is questionable. We have long suspected that the Austenian scholars who insist that the Rice portrait truly portrays the adolescent Jane Austen are at least partially motivated by dislike for Cassandra’s watercolor of Jane. Ms. Odiwe has redone that watercolor as an image of a young, pretty Jane with blooming cheeks and fashionably styled hair, her spinster’s cap not yet assumed. We are extremely fond of Cassandra Austen’s watercolor, and find Ms. Odiwe’s reimagined version of it delightful.
The book is a treat for those of us who love Georgian and Regency style. Ms. Odiwe shows knowledge of and appreciation of the fashions of the time. The artist has a light and delicate touch; gauzy wraps droop delicately from the elbows of pretty women clad in flowing gowns, curly tendrils of hair brushing their shoulders as they dance (and exchange meaningful glances) with handsome and dapper men.
The drawings in the book (and some others) also are available as note cards, packaged with their envelopes into individual cellophane packets, and are almost too pretty to use. One finds oneself saving them for most special notes to fellow Janeites who will appreciate them properly. The book is beautifully presented, tied in a blue and silver ribbon with a hangtag showing one of the illustrations. It is a perfect gift for a Janeite and a lovely publication to treasure.
Effusions of Fancy and the illustrated note cards are available through Jane Odiwe’s Web site, www.austeneffusions.com, as well as Amazon.co.uk, and in the U.S. through Jane Austen Books and from Gail Parker at teawithelizabeth AT aol DOT com (that’s an e-mail address; read it out loud! Your purchase through that outlet benefits JASNA’s Minnesota region).
http://www.austeneffusions.com/#/home/4533119847
4/15/2010
金剛經的英文
我常常是用英文回來學中文
例如在英文書上常看到diamond sutra 居然不是鑽石經 而是金剛經
今天認真查一查 得到以下的資料 http://en.wikipedia.org/wiki/Diamond_Sutra
不過中英文並沒有對譯
金剛般若波羅蜜經，又譯《能斷金剛般若波羅蜜經》（梵文：वज्रच्छेदिकाप्रज्ञापारमितासूत्र，vájra-cchedikā-prajñā-pāramitā-sūtra），簡稱《金剛經》，是大乘佛教重要經典之一，為出家、在家佛教徒常所頌持。20世紀初出土於敦煌的《金剛經》，為世界最早的雕版印刷品之一，現存於大英圖書館。
金剛經屬於《大正新修大藏經》中般若部的經典之一，主要講述大乘佛教的空性與慈悲精神
。由於該經旨在論述成道境界，即無上正等正覺，在佛教中亦為「不可說境界」，故儘經文篇幅短小，其文字結構仍然晦澀複雜。
The Buddhist text known around the world as the Diamond Sutra is a short Mahayana sutra of the Perfection of Wisdom (S. prajna-paramita) genre, which teaches the practice of the avoidance of abiding in extremes of mental attachment.
A copy of the Diamond Sutra, found among the Dunhuang manuscripts in the early 20th century, is, in the words of the British Library, "the earliest complete survival of a dated printed book."
例如在英文書上常看到diamond sutra 居然不是鑽石經 而是金剛經
今天認真查一查 得到以下的資料 http://en.wikipedia.org/wiki/Diamond_Sutra
不過中英文並沒有對譯
金剛般若波羅蜜經，又譯《能斷金剛般若波羅蜜經》（梵文：वज्रच्छेदिकाप्रज्ञापारमितासूत्र，vájra-cchedikā-prajñā-pāramitā-sūtra），簡稱《金剛經》，是大乘佛教重要經典之一，為出家、在家佛教徒常所頌持。20世紀初出土於敦煌的《金剛經》，為世界最早的雕版印刷品之一，現存於大英圖書館。
金剛經屬於《大正新修大藏經》中般若部的經典之一，主要講述大乘佛教的空性與慈悲精神
。由於該經旨在論述成道境界，即無上正等正覺，在佛教中亦為「不可說境界」，故儘經文篇幅短小，其文字結構仍然晦澀複雜。
The Buddhist text known around the world as the Diamond Sutra is a short Mahayana sutra of the Perfection of Wisdom (S. prajna-paramita) genre, which teaches the practice of the avoidance of abiding in extremes of mental attachment.
A copy of the Diamond Sutra, found among the Dunhuang manuscripts in the early 20th century, is, in the words of the British Library, "the earliest complete survival of a dated printed book."
4/10/2010
繼續研究珍奧斯汀
她的電影都看過了，註解本也看了一些 ，網站上也有很多報導，我萌生去英國旅遊的念頭，也已經有人專門提供服務了，也許有一天我能帶團去呢。
小說也自己在翻譯，一句句交談，用聽的有不同的體會，我打算把小說名稱改為「驕傲與偏見」，伊麗莎白的小名譯成「麗麗」。我也在學習flash ，就正在用動畫來介紹作者的一生。
不知有多少人像我一樣這樣熱愛珍奧斯汀， 一定不少。
1/14/2010
讀Pride and Prejudice 學英文字彙
http://www.vocabulary.com/VUctprideandP.html
"Hi, I'm Etta Molly Gee, Professor of Library Science at Vocabulary University.
We welcome you to our "classic text" site where vocabulary has been pulled from many recommended texts. I have suggestions for your FAQ: How can you, as a teacher, student and/or life-long learner use the V.U. classic texts vocabulary lists?
(Tip 1) Individually or as a group, choose words that are unknown to you from the list. To help memorize, look up and write down the definition, part of speech and use the new word in a sentence of more than 6 words.
(Tip 2) Write a story, postcard, letter or journal entry using 15-25 words in context.
(Tip 3) Working individually or in a group, pair synonyms and/or antonyms. Determine how many words are adjectives, nouns and verbs.
Remember, vocabulary mastery comes from encountering new words in assigned reading, in studying vocabulary word lists and using words in context."
A high school recommended book, Pride and Prejudice by Jane Austen, gives the student the opportunity to learn SAT-College Prep vocabulary in context. We have selected 137 words to encourage study.
(Teachers: If you have a vocabulary list for this book (or for others) that you would share with us, email Jan and Carey Cook. We will post it and give you attribution if you wish! Thanks for helping us!!!)
Pride and Prejudice by Jane Austen: Words (137 total words) are listed in order of appearance by chaper:
Pride and Prejudice vocabulary
Chapters 1-21:
caprice, emphatic, disconcert, gallantry, censure, folly, synonymous, impertinent, fortnight, indignation, insipid, draught, countenance, assent, eminent, stout, prevail, odious, deceitful, expostulation, reprehensible, infinite, civility, novelty, willful, propitious, felicity, rectory, amends, deference, affability, abode, tête à tête, parsonage, deign, contemplation, esteem, degenerate, proxy, procure, probity, exultation, humility, discernment, bestow, insolent, persevere, injunction, patroness, condescend, coquetry.
Chapters 21-40:
abound, simpleton, desponding, solicitation, trifle, composure, incredulous, boisterous, rapturous, abhorrence, inclination, circumspect, canvass, solemnity, perverse, entail, thwart, assert, duplicity, defection, conciliate, alacrity, indisposed, controverted, sally, derive, peruse, impute, avowal, endeavor, remorse, suppress, disapprobation, verdure, refute, pecuniary, abhorrence, insolence, perusal, profligate, benevolence, contrivance, approbation, fervent, affront, vindication, encumbrance.
Chapters 41-50:
lamentation, vexation, frivolous, impute, impropriety, acquiesce, bestow, perverse, cordiality, tincture, repugnant, impetuous, consolatory, elopement, lamentation, villainous, fretful, infamy, dilatory, sanguine, licentiousness, conjecture, exuberance, folly, connubial, felicity.
Chapters 51-60:
vestibule, abash, impertinence, scruple, inducement, sedate, vex, dupe, pretension, incessant, sagacity, closure.
"Hi, I'm Etta Molly Gee, Professor of Library Science at Vocabulary University.
We welcome you to our "classic text" site where vocabulary has been pulled from many recommended texts. I have suggestions for your FAQ: How can you, as a teacher, student and/or life-long learner use the V.U. classic texts vocabulary lists?
(Tip 1) Individually or as a group, choose words that are unknown to you from the list. To help memorize, look up and write down the definition, part of speech and use the new word in a sentence of more than 6 words.
(Tip 2) Write a story, postcard, letter or journal entry using 15-25 words in context.
(Tip 3) Working individually or in a group, pair synonyms and/or antonyms. Determine how many words are adjectives, nouns and verbs.
Remember, vocabulary mastery comes from encountering new words in assigned reading, in studying vocabulary word lists and using words in context."
A high school recommended book, Pride and Prejudice by Jane Austen, gives the student the opportunity to learn SAT-College Prep vocabulary in context. We have selected 137 words to encourage study.
(Teachers: If you have a vocabulary list for this book (or for others) that you would share with us, email Jan and Carey Cook. We will post it and give you attribution if you wish! Thanks for helping us!!!)
Pride and Prejudice by Jane Austen: Words (137 total words) are listed in order of appearance by chaper:
Pride and Prejudice vocabulary
Chapters 1-21:
caprice, emphatic, disconcert, gallantry, censure, folly, synonymous, impertinent, fortnight, indignation, insipid, draught, countenance, assent, eminent, stout, prevail, odious, deceitful, expostulation, reprehensible, infinite, civility, novelty, willful, propitious, felicity, rectory, amends, deference, affability, abode, tête à tête, parsonage, deign, contemplation, esteem, degenerate, proxy, procure, probity, exultation, humility, discernment, bestow, insolent, persevere, injunction, patroness, condescend, coquetry.
Chapters 21-40:
abound, simpleton, desponding, solicitation, trifle, composure, incredulous, boisterous, rapturous, abhorrence, inclination, circumspect, canvass, solemnity, perverse, entail, thwart, assert, duplicity, defection, conciliate, alacrity, indisposed, controverted, sally, derive, peruse, impute, avowal, endeavor, remorse, suppress, disapprobation, verdure, refute, pecuniary, abhorrence, insolence, perusal, profligate, benevolence, contrivance, approbation, fervent, affront, vindication, encumbrance.
Chapters 41-50:
lamentation, vexation, frivolous, impute, impropriety, acquiesce, bestow, perverse, cordiality, tincture, repugnant, impetuous, consolatory, elopement, lamentation, villainous, fretful, infamy, dilatory, sanguine, licentiousness, conjecture, exuberance, folly, connubial, felicity.
Chapters 51-60:
vestibule, abash, impertinence, scruple, inducement, sedate, vex, dupe, pretension, incessant, sagacity, closure.
1/05/2010
馬車的種類
- 回到 我的簡介
- 回到 我的創作
- 珍迷的北美協會 http://www.jasna.org/index.html
- 英文版的奧斯丁小說免費網上閱讀 http://www.janeausten.org/fashions/index.asp
http://www.jasnanorcal.org/ink9.htm
http://georgiantimes.homestead.com/files/horse_and_carriage/carriages.html
輕便馬車
A chaise, sometimes called chay or shay, was a formerly popular, light two- or four-wheeled traveling or pleasure carriage, usually of a chair-backed type, with a movable hood or calash top. Any of various light open carriages, often with a collapsible hood, especially a two-wheeled carriage drawn by one horse.
MODES OF TRANSPORTATION: CARRIAGES A chaise, sometimes called chay or shay, was a formerly popular, light two- or four-wheeled traveling or pleasure carriage, usually of a chair-backed type, with a movable hood or calash top. Any of various light open carriages, often with a collapsible hood, especially a two-wheeled carriage drawn by one horse.
Carriages were a very important aspect of the aristocrat's wardrobe. Well, not wardrobe, unless you were a certain famous actress who needed everything to match her newest gown. But carriages were very important for showing off just like those rich guys in their sport cars or, my personal favourite, the guys who rev their engine super loud when you walk by.
The rich and famous used carriages in much the same way in the 18th century. A daily parade of the decorated vehicles would troll up and down the main streets of London. Your coat of arms on the sides displayed your family's wealth and influence, or maybe who you were dating at the time. The interior decoration had to be of the finest upholstery. Here are a few of the most popular types of carriages used in the Georgian era.
The coach was the basic mode of elegant transportation. It was an enclosed, four wheel carriage driven by a team. These were considered very fancy and you had to be careful to make sure you weren't over-dressed if you went out in one. For instance, your gold coronations state coach is not appropriate for driving up and down the streets on a Sunday.
The Vis-à-vis which literally means "face to face" was given its name because, you guessed it, passengers sat face to face with each other. These could be contained or roofless such as the horse drawn carriages that grace metropolitan parks for tourists. These were marketed as the social carriages.
Another pleasure carriage was the chaise which usually only had two w heels and a movable hood. They were quick and light, in case you were late for your faro game and still wanted to look fabulous and not rushed on the way over.
It was because of their aerodynamics that chaises were chosen for delivering the mail. Post-chaises had a closed body, four wheels, and could seat two to four people on the fast journeys to deliver the post. Usually the driver would sit astride the horse instead of guiding it from the carriage.
Hackney carriages may be an old-fashioned term for taxicabs but that's pretty much what they were in the 18th century too. They were simply carriages kept for hire. The first hackney licenses from England date to around 1662.
Phaetons became popular in the beginning of the 19th century, just in time for those regency romances. This springy, single horse carriages had huge wheels and were good for those country drives.
A coach was originally a large, usually closed, four-wheeled carriage with two or more horses harnessed as a team, controlled by a coachman and/or one or more postilions. It had doors in the sides, with generally a front and a back seat inside and, for the driver, a small, usually elevated seat in front called a box, box seat or coach box.
12/09/2009
我的傲慢與偏見新譯 第一章
- 回到 我的簡介
- 回到 我的創作
- 珍迷的北美協會 http://www.jasna.org/index.html
- 英文版的奧斯丁小說免費網上閱讀 http://www.janeausten.org/fashions/index.asp
我在網上看到有人把整部的中英版都上了網(請看右欄我喜歡的網站的link)，讓人免費閱讀，不知原來的譯者是誰。我覺得中譯有不少錯誤，可能是多年前所翻譯，語法也陳舊，所以與我的美國老公一起討論和查書，改譯如下。
傲慢與偏見 第一章
凡是有錢的單身漢，總想娶位太太，這已經成了一條舉世公認的真理。每當有這樣的單身漢搬到附近，雖然鄰居們可能一點也不知道他是否有這樣的感覺和想法，但是因為附近的人家對這條真理深信不疑，他們總是把他看作自己或他人某一個女兒理所應得的一筆財產。
有一天，班納特太太對她的丈夫說：「我的好老爺，尼日斐花園終於租出去了，你聽說了沒有？」
班納特先生回答道，他沒有聽說過。
「的確租出去了，」她說：「朗格太太剛剛上這兒來過，她把這件事詳細的告訴了我。」
班納特先生沒有回答。
「你難道不想知道是誰租去的嗎？」班納特太太不耐煩地說。
「既然你要說給我聽，我聽聽也無妨。」
這句話鼓勵她講下去。
「哦！親愛的，你得知道，郎格太太說，租尼日斐花園的是個闊少爺，他是英格蘭北部的人；聽說他星期一那天，乘著一輛四輪馬車來看房子，一看就非常滿意，當場就和莫理斯先生談妥了；他要在邁可節以前搬進來，下個週末前他的傭人就會先搬進來。」
「他姓什麼？」
「賓利。」
「有太太呢，還是單身呢？」
「噢！是個單身漢，親愛的，確確實實是個單身漢！一個有錢的單身漢；每年有四五千磅的收入。真是我們家女兒們的福氣！」
「這怎麼說？關女兒們什麼事？」
「我的好老爺，」班納特太太回答道：「你真是麻煩！告訴你吧，我正在盤算，他要是挑中我們一個女兒做老婆，那有多好！」
「他住到這兒來，就是為了這個打算嗎？」
「打算！胡扯，這是哪兒的話！不過，他倒可能看中我們的某一個女兒呢！他一搬進來，你就得馬上去拜訪他。」
「我沒有理由去。你帶著女兒們去就得啦！要不你乾脆打發她們自己去，那或許倒更好些，因為你跟女兒們一樣美麗，你如果去了，賓利先生說不定反倒會挑中你呢？」
「我的好老爺，你太捧我啦。我過去的確美麗過，現在我可不敢說有什麼出眾的地方了。一個女人家有了五個成年的女兒，就不該對自己的美貌多想了。」
「在這種的情況下，大多數的女人的確對自己的美貌不敢多想了。」
「不過，我的好老爺，賓利先生搬到我們的鄰近來，你的確應該去看看他。」
「老實跟你說吧，這不是我想做的事。」
「看女兒的份上吧。只請你想一想，她們不論哪一個，要是攀上了這樣一個人家，那該有多好。威廉爵士夫婦已經決定去拜望他，他們也無非是這個用意。你知道，他們通常是不會拜望新搬來的鄰居的。你的確應該去一次，要是你不去，叫我們怎麼去。」
「你實在過分擔心啦。賓利先生一定很高興看到你的；我可以寫封信給你帶去，就說隨便他挑中我哪一個女兒，我都答應他把她娶過去；不過，我在信上得特別替麗姿美言幾句。」
「我希望你別這麼做。麗姿沒有一點兒地方勝過別的幾個女兒；我敢說，論漂亮，她抵不上珍一半；論性子，她抵不上麗迪雅一半。你可老是偏愛她。」
「她們沒有哪一個值得誇獎的，」他回答道：「他們跟別人家的姑娘一樣，又傻又無知；倒是麗姿要比她的幾個姐妹聰明伶俐些。」
「班納特先生，你怎麼這樣糟蹋自己的親生女兒呢？你是在故意叫我氣惱，好讓你自己得意吧。你半點兒也不體諒我的神經衰弱。」
「你真錯怪了我，我的好太太。我非常尊重你的神經。它們是我的老朋友。至少在最近二十年以來，我一直聽到你慎重其事地提到它們。」
「啊！你不知道我怎樣受苦呢！」
「不過我希望你這毛病會好起來，那麼，你就可以親眼看到像這種每年有四千鎊收入的闊少爺，一個個搬來做你的鄰居了。」
「你既然不願意去拜訪他們，即使有二十個搬了來，對我們又有什麼好處！」
「放心吧，我的好太太，等到有了二十個，我一定去一個個拜望到。」
班納特先生是個古怪的組合體，他喜歡插科打渾，諷刺挖苦，同時又拘謹莫測，班納特太太雖然積累二十三年的經驗，還是摸不透他的性格。班納特太太就容易暸解多了。她是個智力平庸、見識膚淺、喜怒無常的女人，只要碰到不稱心的事，她就說自己神經衰弱。她生活中的大事就是把女兒嫁出去；她的慰藉就是訪友和打探消息。
Jane Austen
12/05/2009
我是我 I am me
I Am Me
我是我
In all the world, there is no one else exactly like me.
在這個世界上沒有人完全跟我一樣
Everything that comes out of me is authentically mine,because I alone choose it.
出自我的任何一件事物確實
都是我自己的決定
都是我自己的選擇
I own everything about me - my body, my feelings, my mouth, my voice, all my actions, whether they be to others or to myself.
跟我有關的一切都是我自己選擇
無論是我的身體 感覺 嘴巴 聲音 和一切行為
也無論對像是他人或是我自己
I own my fantasies, my dreams, my hopes, my fears.
我擁有我的幻想 夢想 希望 和恐懼
I own all my triumphs and successes, all my failures and mistakes.
我擁有我的勝利 成功 失敗 錯誤
Because I own all of me, I can become intimately acquainted with me.
因為我擁有我的一切
我可以好好的熟悉我自己的一切
By so doing I can love me and be friendly with me in all my parts.
也因此 我可以對自己的每個部份
都給予愛和情
I know there are aspects about myself that puzzle me, and other aspects that I do not know,but as long as I am friendly and loving to myself,I can courageously and hopefully look for solutions to the puzzles and for ways to find out more about me.
我知道我對自己某些部份感到困惑
還有對某些部份並不了解
但是只要有愛和情
我就可以有勇氣和有可能找到問題的解答
和越來越了解自己
However I look and sound, whatever I say and do, and whatever I think and feel at a given moment in time is authentically me.
在每個時刻
我的外表和聲音 我的言行舉止 我的思想和感覺
都是我自己的選擇
If later some parts of how I looked, sounded, thought and felt turned out to be unfitting, I can discard that which I feel is unfitting, keep the rest, and invent something new for that which I discarded.
如果後來我覺得自己某些外表 聲音 思想或感覺
是不合適的
我可以保留合適的部份
把不合適的部份去除掉
用新的東西取代
I can see, hear, feel, think, say, and do. I have the tools to survive, to be close to others, to be productive, and to make sense and order out of the world of people and things outside of me.
我可以看 聽 感覺 說和做
我有許多生存的工具
我可以與他人親近
我可以有生產力
我可以了解和組織外在的人事物
I own me, and therefore I can engineer me.
I am me and I AM OKAY
我擁有我 因此我能掌控自己
我是我
我沒問題by Virginia Satir
9/29/2009
創造二十一世紀的教室經驗
最近幾年，IDEO公司花了許多時間和精力在思考教育的議題。本公司與加州一所小學合作，開始一個稱為「調查式學習」的新課程，目的是讓學生成為主動的知識追求者。我們訪問了本公司設計此一計劃的領導人Sandy Speicher，她精闢的見解可以提供創造「明日學校」的建築師和設計者參考。
第一、拉拔，不要擠推
創造一個學習環境，讓每個學生都會提出很多問題，然後協助他們把這些問題轉變成「見解」和「了解」。教育通常被認為只是知識的傳授，然而真正的學習是：學生覺得必須去解決自己所面對的問題，而不得不去找答案。
第二、與切身有關
當學生覺得所學的東西，是與他們有關聯的，他們就會產生興趣和發揮想像力。讓學生親身體驗你所要教授的概念，再來進行討論，能夠「動手」來解決更好，不要只是用言語解釋。
第三、不容忽視的「軟性」技能
創造力、合作力、溝通力、同理心、適應力並不是裝飾品，當我們面對二十一世紀全球化經濟的種種艱難挑戰時，這些是我們最重要的核心能力。
第四、容許差異教學
不論是在體系中或教室裡，容許大量量身訂製，而不是大家只用同一尺寸的心態。通常，教育平等權被認定是統一教學。事實上，每個人的起跑點不同，終點也不同。
第五、聖人下台
參與式學習通常不是整潔有序的，學生要自己動手。他們要去感覺、經驗、操作。在互動式的學習環境中，教師的角色，由以前的全知專家，轉換為引導者。老師從前面的講台走下來，站在學生旁邊來指導他們。
第六、老師是設計師，讓他們去創造
建立一個讓學生能夠積極參與「做中學習」的環境，把對話由權威規範，轉變成接納和指導。雖然這樣的環境比較難以控制，但成效很驚人！
第七、製造一個學習社區
學習並不只發生在孩子的腦袋裡，透過與其他孩子、老師、家長、社區、甚至大至整個世界的互動中，孩子也從中學習。「要靠全村落來教養一個孩子」，這句話是很正確的，學校應該想辦法讓父母多多參與，並與地方性和國家性機構建立伙伴關係，這不僅對孩子有益，也能夠把資源和知識帶進你的機構。
第八、當個人類學家，不要當考古學家
考古學家是靠著挖掘古物和遺跡來了解過去，人類學家則是專注在研究人類的價值、需求、渴望。如果你要為未來尋找解決方案，你必須知道人們在乎什麼，再設計出因應之道。千萬不要用挖掘法來找答案，要用聯繫法。
第九、孵育未來
今天，幼稚園到十二年級的學生所面臨的挑戰是哪些呢？讓學生看到自己在這個世界上所扮演的角色，讓他們研究一些主題，像：全球暖化、交通運輸、廢料管理、醫療照顧、貧窮、教育等，重點不在找到正確答案，而是學習企圖心、參與感、責任感，不用說，還有學習科學、數學和文學。
第十、改變方針
要鼓勵新行為，就必須要有新的評量法。像創造力、合作力這類能力無法用統計圖表來衡量，所以需要新的評鑑方式，來幫助我們了解和討論這些二十一世紀的技能進展。除了評量成果，也要評量過程；進展性評量與量化評量同樣重要。最重要的是：我們不只要有評量法，我們必須真的重視它們。
FEBRUARY 2009 • MAGAZINE
Ten Tips For Creating a 21st–Century Classroom Experience
In recent years, IDEO has spent a lot of time and effort thinking about education. The firm’s work with Ormondale Elementary School, in Portola Valley, California, helped pioneer a special “investigative-learning” curriculum that inspires students to be seekers of knowledge. We spoke to Sandy Speicher, who heads the Design for Learning efforts at IDEO. Her insights provide powerful lessons for architects and designers creating the schools of tomorrow:
1. Pull, don’t push.
Create an environment that raises a lot of questions from each of your students, and help them translate that into insight and understanding. Educa¬tion is too often seen as the transmission of knowledge. Real learning happens when the student feels the need to reconcile a question he or she is facing—and help but seek out an answer.
2. Create from relevance.
Engage kids in ways that have relevance to them, and you’ll capture their attention and imagination. Allow them to experience the concepts you’re teaching firsthand, and then discuss them (or, better yet, work to address them!) instead of relying on explanation alone.
3. Stop calling them “soft” skills.
Talents such as creativity, collaboration, communication, empathy, and adaptability are not just nice to have; they’re the core capabilities of a 21st-century global economy facing complex challenges.
4. Allow for variation.
Evolve past a one- size-fits-all mentality and permit mass customization, both in the system and the classroom. Too often, equality in education is treated as sameness. The truth is that everyone is starting from a different place and going to a different place.
5. No more sage onstage.
Engaged learning can’t always happen in neat rows. People need to get their hands dirty. They need to feel, experience, and build. In this interactive environment, the role of the teacher is transformed from the expert telling people the answer to an enabler of learning. Step away from the front of the room and find a place to engage with your learners as the “guide on the side.”
6. Teachers are designers. Let them create.
Build an environment where your students are actively engaged in learning by doing. Shift the conversation from prescriptive rules to permissive guidance. Even though the resulting environment may be more complicated to manage, the teachers will produce amazing results.
7. Build a learning community.
Learning doesn’t happen in the child’s mind alone. It happens through the social interactions with other kids and teachers, parents, the community, and the world at large. It really does take a village. Schools should find new ways to engage parents and build local and national partnerships. This doesn’t just benefit the child—it brings new resources and knowledge to your institution.
8. Be an anthropologist, not an archaeologist.
An archaeologist seeks to understand the past by investigating its relics and digging for the truth of what was. An anthropologist studies people to understand their values, needs, and desires. If you want to design new solutions for the future, you have to understand what people care about and design for that. Don’t dig for the answer—connect.
9. Incubate the future.
What if our K–12 schools took on the big challenges that we’re facing today? Allow children to see their role in creating this world by studying and creating for topics like global warming, transportation, waste management, health care, poverty, and even education. It’s not about finding the right answer. It’s about being in a place where we learn ambition, involvement, responsibility, not to mention science, math, and literature.
10. Change the discourse.
If you want to drive new behavior, you have to measure new things. Skills such as creativity and collaboration can’t be measured on a bubble chart. We need to create new assessments that help us understand and talk about the developmental progress of 21st-century skills. This is not just about measuring outcomes, but also measuring process. We need formative assessments that are just as important as numeric ones. And here’s the trick: we can’t just have the measures. We actually have to value them.
野雁
你不必在沙漠中匍匐前進一百英里
懺悔
You do not have to walk on your kneesfor a hundred miles through the desert repenting.
你只要讓你柔軟的動物身體
愛他所愛
You only have to let the soft animal of your bodylove what it loves.
請告訴我絕望
你的
我也會告訴你
我的
Tell me about despair, yours, and I will tell you mine.
這同時 這個世界繼續著
Meanwhile the world goes on.
這同時 太陽和像清澈小圓石的雨水
移動著
穿過大地
越過大草原和深層的樹林
山脈和河流
Meanwhile the sun and the clear pebbles of the rainare moving across the landscapes, over the prairies and the deep trees,the mountains and the rivers.
這同時 飛翔在清朗藍天中的
野雁正要再度返鄉
Meanwhile the wild geese, high in the clean blue air,are heading home again.
不論你是誰
不管你有多寂寞
這個世界全任憑你去想像
它召喚著你
就像野雁一樣
嚴峻而興奮—
它一再的一再的
大聲宣佈
在這個萬物的大家族中
你所擁有的一個位子
Whoever you are, no matter how lonely, the world offers itself to your imagination,calls to you like the wild geese, harsh and exciting — over and over announcing your place in the family of things.
from Dream Work by Mary Oliver, Published by Atlantic Monthly Press
譯於2009/8/20
懺悔
You do not have to walk on your kneesfor a hundred miles through the desert repenting.
你只要讓你柔軟的動物身體
愛他所愛
You only have to let the soft animal of your bodylove what it loves.
請告訴我絕望
你的
我也會告訴你
我的
Tell me about despair, yours, and I will tell you mine.
這同時 這個世界繼續著
Meanwhile the world goes on.
這同時 太陽和像清澈小圓石的雨水
移動著
穿過大地
越過大草原和深層的樹林
山脈和河流
Meanwhile the sun and the clear pebbles of the rainare moving across the landscapes, over the prairies and the deep trees,the mountains and the rivers.
這同時 飛翔在清朗藍天中的
野雁正要再度返鄉
Meanwhile the wild geese, high in the clean blue air,are heading home again.
不論你是誰
不管你有多寂寞
這個世界全任憑你去想像
它召喚著你
就像野雁一樣
嚴峻而興奮—
它一再的一再的
大聲宣佈
在這個萬物的大家族中
你所擁有的一個位子
Whoever you are, no matter how lonely, the world offers itself to your imagination,calls to you like the wild geese, harsh and exciting — over and over announcing your place in the family of things.
from Dream Work by Mary Oliver, Published by Atlantic Monthly Press
譯於2009/8/20
創意與EQ
當我們有衝突，但似乎沒有人在聆聽我們時，那就是需要創意的時候！當我們想要幫助孩子學習挑戰性的東西時，尤其是這種時候，就是最需要創意的時候！
好笑的是，當我們最需要創意時，我們卻常是處在最難產生有創意的情緒狀態下！因為恐懼和壓力會刺激位於大腦底部的情緒系統，大腦皮質內負責創造力和解決問題的功能的部分會被關閉。愛，是恐懼的解藥，也是創造力的泉源。
創造力並非只是創新，很多也是舊的重組。創造力需要突破型式，因為其精髓是打破成規。結果，創造力有時會伴隨強烈的情緒，這雖然可以給予創造力一股力量，但對創造力也是一大挑戰。
可以增強創意的活動
- 選一天為顛倒日，一開始就把晚餐當早餐吃。
- 用影印機或電腦來放大小的東西，縮小大的東西，作成一幅拼貼畫。
- 探索如何把兩個以上的點子組合在一起。
- 問孩子或任何人開放性的問題，避免問封閉性的問題。開放性的問題是沒有單一或正確的答案的，比如說，你問：「今天有什麼有趣的事嗎？」而非「你今天過的有趣嗎？」
- 玩腦力遊戲，比如說，如果….那麼…. 的遊戲。這需要你願意去自由思考，所以你要練習對任何點子，都不要排斥。要克制自己，不要說「這個想法太可笑了」，或說「那是一個很笨的問題。」
- 當你上網玩個遊戲，在使用連結時，不要依照所提供的資訊來連結，而是用連結的第一個字母來搜尋，看你會找到什麼隨機而有趣的網站。
- 使用你喜歡的字辭，來創造你自己的磁鐵詩。在做招牌的店舖，你就可買到可自粘的磁鐵紙來做。
- 辦一個茶會或活動，每個客人要從書本、電影或其他媒體中，選一個角色來扮演。
When we have conflict or no one seems to be hearing what we're saying, it is time for some creativity.
When we want to help a child learn something challenging, then, perhaps most of all, it is time for some creativity.
Ironically, when we most need creativity, we tend to be in an emotional state where creativity is least accessible.
Fear and distress activate the limbic system at the base of our brains. This shuts off the cerebral cortex, where creativity and problem-solving live. Love is the antidote to fear and the wellspring of creativity.
Creativity is not so much making something new as it is recombining the old. Creativity requires informality because its essence is "breaking rules." The result is that creativity is sometimes tied to strong emotions, which both give it power and make it challenging.
Activities to Foster Creativity
- Have a backwards day, beginning by having dinner for breakfast.
- Use a copier or computer to enlarge small objects and shrink big ones. Make a collage.
- Explore how two or more ideas can be put together.
- Ask your child, or anyone else, open-ended questions rather than closed ones. An open-ended question does not have a single or "right" answer; for instance, "What was interesting in your day?" instead of "Did you have a good day?"
- Play mental games like "what if...." These require a willingness to think freely, so you need to practice not closing the door on ideas. Resist ever saying, "Don't be silly!" or "That's a stupid question."
- Get on the Internet and play a game where you follow links not based on what information is presented, but on the first letter of the link. See what random and amusing sites you find.
- Make your own "magnetic poetry" using favorite words. You can buy a self-adhesive magnetic sheet from many sign-making shops.
- Have a tea party or an event where each guest plays the part of a character from a book, movie, the media, or other realm.
給父母的EQ建議
- Go back to About Me
- 回到我的簡介
- 作者 John Gray, Ph.D.
I think every parent has had the experience of being just at wit's end. Everything is going wrong and you feel like you're going to explode.
我想，每位爸媽都有不知如何是好的經驗才對！似乎每件事都不對勁，你覺得你要爆炸了！
Suddenly your children start pulling on you and pushing on every boundary. What's happening is an emotional pressure is building up inside you because you don't yet have the skill to cope with and deal with it so you repress it, pushing it down.
突然之間，你覺得你的孩子在拉扯你，對你的每個界限提出挑戰。這表示你內心的情緒壓力一直在增強中，但是因為你還沒有學到克服的技巧，所以你只是壓抑它。
You want it to go away because it is an inconvenient time. Whatever you suppress, your children will express. They'll feel this and because you're not handling it, it is like a pressure that will come out through them.
你希望它走開，因為這是不方便的時機。每當你壓抑它，你的孩子反而會表達出來。因為當你不處理自己的情緒，他們便會感覺到，就像這個壓力會透過他們找到出口。
It is phenomenal how our children will act out issues and feelings we are not coping with ourselves. One of the ways you can detect if children are acting out your feelings is to observe whether you are resisting your child.
這是一個很有趣的現象，當我們有無法克服的事件和情緒時，我們的孩子會開始表達出來。要偵測孩子是否在演出你的情緒，方法之一，就是觀察你自己是否在抗拒你的孩子。
You see, if my child is acting out some feelings and I do not want to listen to him/her, that's a sign that the feelings s/he has are feelings that are inside of me to which I don't want to listen. If I can listen to my daughter easily and my wife can't, then I would take charge at that time. That's why a partnership helps out.
你要知道，當孩子鬧情緒，但我不想傾聽，這就表示我內在也有相同的情緒，而且我也不想傾聽它。 當我能很容易的傾聽我的女兒，而我太太不能時，我就會來處理，這就是有一個團隊的好處。
Certainly children have enough feelings of their own without ours causing them more pressure. When you are under pressure you're not feeling centered, loving, forgiving, accepting, patient, tolerant or flexible all the qualities you need as a parent.
當然，就算沒有我們造成的壓力，孩子本身就有不少自己的壓力。當你處於高壓下時，你就很難覺得平靜、充滿愛心、接納心、耐心、容忍心、應變力等，這些都是當父母所需要的特質。
One of the most effective tools of emotional literacy a parent can use at times like this is to sit down, pull out a piece of paper and write a letter to the person who is bothering you. The purpose of the letter is to resolve whatever emotions are standing in the way of the expression of love. That is why we call it a "love letter."
面對這種情況時，父母親可以使用一些方法，提高情緒商數最有效的方法之一，就是拿出一張紙，寫一封信給這個讓你煩惱的孩子。寫信的目的，在於化解阻礙愛的表達的情緒障礙。 這就是為何我們稱它為情書。
The Love Letter Technique
寫情書法
The love letter technique is the ultimate way for sharing and expressing the complete truth for resolving emotional conflict both within yourself and in your relationships.
寫情書法可以分享和表達你的真實的聲音，是解決你內心和你的人際關係中的情緒衝突的終極方法。
It is not only a powerful tool fur emotional healing, but through practicing it, you will learn more about your own feelings and what it really means to tell the truth…
這不只是治療情緒一個有力的工具，而且透過寫信，你也會多了解自己的感覺，以及了解到說真話的真實意義何在。….
The Love Letter Format格式
To write a love letter, begin by expressing your anger, resentment and blame and allow yourself to move through the other levels until you get down to the love.
寫情書時，一開始要先表達忿怒、怨恨、責怪等情緒，容許你自己去經驗不同層次的感覺，直到到達愛的層次為止。
Each love letter has five parts - and the following lead-in phrases may help you if you become stuck at one level and need to move into the next.
每封情書包括五部份，如果你一下子想不出要寫什麼，可以利用以下的提示片語，幫你進入下一層次。
1. ANGER AND BLAME 憤怒和責怪
I don't like it when... 我不喜歡，當…時
2. HURT AND SADNESS 受傷和悲傷
I feel sad when... 我覺得很傷心
3. FEAR AND INSECURITY 害怕和沒安全感
I feel afraid... 我覺得很害怕，因為
4. GUILT AND RESPONSIBILITY 罪惡感和責任感
I'm sorry that... 我很抱歉
5. LOVE, FORGIVENESS, UNDERSTANDING AND DESIRE 愛，原諒，了解，希望
I love you because... 我愛你，因為
I forgive you for... 我原諒你
I want...我希望
Remember: If you want to feel better, write a love Letter!!
As you get in touch with your feelings, you'll find that your children will do it, too. The fact that you are emotionally literate will allow them to naturally access these feelings.
記得：如果想要改善心情，寫封情書吧！當你能夠了解自己的感覺時，你會發現，你的孩子也會這樣做。因為你認識自己的情緒，他們也就自然而然能夠接觸自己的情緒了。
When you simply ask them, "What are you upset about? Are you angry because you wanted something and you didn't get it?" If they say, "Yes, I am angry about that," you just listen.
當你問：「什麼事讓你不高興呢？你生氣，是否因為你得不到想要的東西呢？」 如果他們說：「我就是因為這樣才生氣。」你就只是聽。
Don't fix it for them, don't offer advice, just let them be angry for a little while, let them talk and then they'll start to cry. They'll be sad, feeling "I'm never going to get it!"
不要幫他們改變情緒，也不要提供建議，只是讓他們再生氣一會兒，讓他們說出來，他們可能會哭，會很傷心，可能心裡會想：「我永遠都得不到了。」
And then you might say, "I understand you're sad but I just can't give it to you because it is not yours." Then the fear will surface: "You'll never let me have it. I'll never get to do this!"
You can say, "I understand, you are afraid you'll never have that."
然後你可能會說：「我知道你很傷心，但是我不能給你，因為那不是你的。」這時他們會出現恐懼：「你永遠都不給我，我永遠都不能有。」
你可以說：「我知道，你擔心你永遠都得不到了。」
They will say, "Yeah, yeah." Then they'll start to cry again. You hold them in your arms, and then they will want your love. What children really want is our approval, our praise and our love; but they push it away, and they can't receive it if the negative emotions aren't heard.
他們會說：「對啊！對啊！」然後又開始哭。你就抱著他們，他們要的是你的愛。
孩子真正要的是我們的贊同、讚美和愛，但他們把我們推開，因為如果負面的情緒不被傾聽，他們就無法接受這些。
That's why what we call negative emotions are really healing. No one ever wants to hear them, but they are the emotions we need to work on the most. When these emotions came up previously, we lost love, so we learned to push them away.
那就是為何所謂負面的情緒，其實很具療癒的作用。沒有人想聽到負面的情緒，但是這是我們最需要努力的部份。以往當我們有負面的情緒時，我們失去了愛，所以我們學到要壓制它。
Then, when our children start having these emotions as they grow up, we want to push them away. Whenever we resist these feelings in our children, it's a sign that we haven't learned to embrace them in ourselves.
然後，當我們的孩子在成長中，他們也有了這些情緒，我們也想要壓制它。當我們抗拒孩子的負面的情緒時，那就表示我們自己還沒學習到接納它。
When we can embrace them, our children will move through them quickly. If you enable a child to feel safe expressing all his feelings, twenty minutes of time can turn a tragedy into a healthy release.
一旦我們自己學習接納它，我們的孩子很快的就會走出來。如果你能讓孩子覺得表達情緒是很安全的事，只要花上二十分鐘，就能把一個悲劇轉變成健康的抒發。
跳水
譯自 Room to Write (寫作室)
Diving In{跳水}
Diving is a form of free writing. The word or phrase with which you begin is your jumping-off point. Once you write it, let it take you anywhere it wants to; follow it faster than the speed of understanding. You are descending through the waters of your mind, leaving logic and propriety behind for the sake of exploration.
跳水就是一種自由寫作的型式，你開始寫的字詞或片語就是你縱身躍下的位置。一旦你開始寫了，就讓它帶領你到任何地方，用比思考更快的速度跟隨它。你正在你心智之水當中下墜，進行探索之旅，你必須把邏輯和規範置諸腦後。
It can be a challenge the first few times. You'll be tempted to come up for air (pause to reread what you've just written), adjust your gear (stop to fret over grammar, punctuation, and spelling), check your oxygen supply (censor what emerges). It takes practice to let of and trust the fluid world of your thoughts. When you encounter whale-sized emotions, let them float across the page like clouds as you continue to write. Whatever you do, don't stop writing.
剛開始幾次可能是一大挑戰，你很可能會浮出水面換氣(暫時停下來，閱讀你寫的東西)，調整你的裝備(停下來檢查文法、標點或拼字)，檢查你氧氣筒量 (批判你的想法)。需要經過一些練習，你才能學會放下，才會信任流動的思想世界。當你碰到像鯨魚般大的情緒時，就讓它像雲朵一樣，飄浮過你的紙頁，你就只是繼續寫。不管你做什麼，都不要停止寫作。
Herman Melville understood the importance of the plunge. He, too, compared writers to divers: "..that whole corps of thought-divers, that have been diving and coming up again with bloodshot eyes since the world began." When you jump in and complete the descent, you emerge bleary-eyes and breathless. You have journeyed far.
作家Herman Melville了解跳入的重要，他也把作家比喻為跳水者。「自創世以來，一群群思想跳水者，跳入水中又帶著充血的眼睛上岸。」 當你跳入水中，下墜，然後浮出水面，你視線模糊，你喘不過氣。但是，在你的旅途中，你已往前邁進了。
創造力
From “Creativity--Unleashing the forces within”by Osho P. 71-73
摘譯自奧修的 “創造力”一書
I have heard one beautiful story. Once there was a great sculptor, a painter, a great artist. His art was so perfect that when he would make a statue of a man, it was difficult to say who was the man and who was the statue. It was so lifelike, so alive, so similar.
我聽過一個很美麗的故事。從前有個很偉大的雕塑家，又是個畫家，是個很偉大的藝術家。他的作品完美極至，如果他雕塑一個人像，你很難辨別哪個是本人，哪個是雕像。就是如此栩栩如生，如此充滿生氣，如此相像。
An astrologer told him that his death was approaching, he was going to die soon. Of course, he became very much afraid and frightened, and as every man want to avoid death, he also wanted to avoid it. He thought about it, meditated, and he found a solution. He made statues of himself, eleven in number, and when Death knocked on his door and the Angle of Death entered, he stood hidden among his own eleven statues. He stopped his breathing.
一位星象學家告訴他，死神靠近了，他不久就會死掉。當然，他變得十分害怕。每個人都想要逃避死亡，他也一樣，所以他想了很久，終於想到一個方法。他做了十一個自己的塑像。當死神前來敲門，死亡天使進門時，他就藏身在他的十一個塑像當中，停止呼吸。
The Angel of Death was puzzled, could not believe his own eyes. It had never happened—it was so irregular! God has never been known to create two persons alike; he always creates the unique. He has never believed in any routine, he is not like an assembly line. He is absolutely against carbons; he creates only originals. What has happened? Twelve persons in all, absolutely alike? Now whom to take away? Only one has to be taken…
死亡天使困惑極了，幾乎不敢相信他自己的眼睛，這是從未有過的事—太不尋常了！上帝從未創造兩個一模一樣的人，祂總是創造獨一無二的人，祂不是像工廠的生產線，祂堅決反對複製，祂只製造原版的，這到底是怎麼了？竟然有十二個一模一樣的人？現在我要帶走哪一個呢？只能帶走一個啊…
The Angel of Death could not decide. Puzzled, worried, nervous, he went back. He asked God, "What have you done? There are twelve persons exactly alike, and I am supposed to bring only one. How should I choose?"
死亡天使無法決定，他感到困惑、憂慮又緊張，他便回去了。他問上帝：你到底做了什麼呢？竟然有十二位一模一樣的人，我要如何選擇呢？
God laughed. He called the Angel of Death close to him, and he uttered the formula in his ear, the key to finding the real among the unreal. He gave him a secret code and told him, "Just go, and utter it in that room where that artist is hiding himself among his own statues."
上帝笑了，祂叫死亡天使走近些，然後在他的耳邊說了一些話，告訴他如何可以辨識真人與假人的關鍵。祂給死亡天使一個密碼，祂說：只管去吧，到藝術家藏身於他的塑像的房間，說出這些話。
The Angel of Death asked, "How is it going to work?"
摘譯自奧修的 “創造力”一書
I have heard one beautiful story. Once there was a great sculptor, a painter, a great artist. His art was so perfect that when he would make a statue of a man, it was difficult to say who was the man and who was the statue. It was so lifelike, so alive, so similar.
我聽過一個很美麗的故事。從前有個很偉大的雕塑家，又是個畫家，是個很偉大的藝術家。他的作品完美極至，如果他雕塑一個人像，你很難辨別哪個是本人，哪個是雕像。就是如此栩栩如生，如此充滿生氣，如此相像。
An astrologer told him that his death was approaching, he was going to die soon. Of course, he became very much afraid and frightened, and as every man want to avoid death, he also wanted to avoid it. He thought about it, meditated, and he found a solution. He made statues of himself, eleven in number, and when Death knocked on his door and the Angle of Death entered, he stood hidden among his own eleven statues. He stopped his breathing.
一位星象學家告訴他，死神靠近了，他不久就會死掉。當然，他變得十分害怕。每個人都想要逃避死亡，他也一樣，所以他想了很久，終於想到一個方法。他做了十一個自己的塑像。當死神前來敲門，死亡天使進門時，他就藏身在他的十一個塑像當中，停止呼吸。
The Angel of Death was puzzled, could not believe his own eyes. It had never happened—it was so irregular! God has never been known to create two persons alike; he always creates the unique. He has never believed in any routine, he is not like an assembly line. He is absolutely against carbons; he creates only originals. What has happened? Twelve persons in all, absolutely alike? Now whom to take away? Only one has to be taken…
死亡天使困惑極了，幾乎不敢相信他自己的眼睛，這是從未有過的事—太不尋常了！上帝從未創造兩個一模一樣的人，祂總是創造獨一無二的人，祂不是像工廠的生產線，祂堅決反對複製，祂只製造原版的，這到底是怎麼了？竟然有十二個一模一樣的人？現在我要帶走哪一個呢？只能帶走一個啊…
The Angel of Death could not decide. Puzzled, worried, nervous, he went back. He asked God, "What have you done? There are twelve persons exactly alike, and I am supposed to bring only one. How should I choose?"
死亡天使無法決定，他感到困惑、憂慮又緊張，他便回去了。他問上帝：你到底做了什麼呢？竟然有十二位一模一樣的人，我要如何選擇呢？
God laughed. He called the Angel of Death close to him, and he uttered the formula in his ear, the key to finding the real among the unreal. He gave him a secret code and told him, "Just go, and utter it in that room where that artist is hiding himself among his own statues."
上帝笑了，祂叫死亡天使走近些，然後在他的耳邊說了一些話，告訴他如何可以辨識真人與假人的關鍵。祂給死亡天使一個密碼，祂說：只管去吧，到藝術家藏身於他的塑像的房間，說出這些話。
The Angel of Death asked, "How is it going to work?"
他問上帝：這為何有效呢？
God said, "Don't be worried. Just go and try."
God said, "Don't be worried. Just go and try."
上帝說：別擔心，只管去做。
The Angel of Death went, not yet believing it was going to work, but when God has said it he has to do it. He went into the room, looked around and, not addressing anybody in particular, he said, "Sir, everything is perfect except one thing. You have done well, but you have missed one point. One error is there."
死亡天使去了，儘管他仍有些懷疑，但是上帝說他一定要去。他走進了房間，也不針對任何人，就說：先生，除了一點之外，一切都很完美。你做得很好，可惜美中不足，你仍忘了一點，這裡有一個錯誤。
The man completely forgot that he was hiding. He jumped, he said, "What error?"
The Angel of Death went, not yet believing it was going to work, but when God has said it he has to do it. He went into the room, looked around and, not addressing anybody in particular, he said, "Sir, everything is perfect except one thing. You have done well, but you have missed one point. One error is there."
死亡天使去了，儘管他仍有些懷疑，但是上帝說他一定要去。他走進了房間，也不針對任何人，就說：先生，除了一點之外，一切都很完美。你做得很好，可惜美中不足，你仍忘了一點，這裡有一個錯誤。
The man completely forgot that he was hiding. He jumped, he said, "What error?"
Death laughed.
藝術家忘了自己仍在躲藏中，馬上跳出來說：什麼錯誤？
藝術家忘了自己仍在躲藏中，馬上跳出來說：什麼錯誤？
死亡天使笑了。
And Death said, "You are caught! This is the only error: you cannot forget yourself. Come on, follow me."
他說：你被捉到了！這是唯一的錯誤，那就是你無法忘記自己！現在跟我走吧！
And Death said, "You are caught! This is the only error: you cannot forget yourself. Come on, follow me."
他說：你被捉到了！這是唯一的錯誤，那就是你無法忘記自己！現在跟我走吧！
美夢成真
"How Much Joy Can You Stand?" pp.40-41 書名: 你能承受多少喜悅
作者: Suzanne Fralter-Barns
The Boring Truth about Living your Dream
美夢成真: 枯燥無趣的真實面
The popular belief is that inspiration "strikes" us like a lightning bolt from the sky.Actually, it's the other way around.
一般人總以為，靈感，就像天上的閃電，會突然打在某人身上。其實，情況是反過來的。
In reality, we strike inspiration much the way miners strike gold. By ceaselessly working, reworking and reworking the old territoy, sooner or later we'll run into a little nugget of something wonderful, something better.
事實上，是我們去發掘靈感，就像礦工去發掘金礦一樣。我們在同一地區，一再努力不懈的挖掘，直到有那麼一天，我們終於挖到了一小塊的寶物。
The more we dig, the more we'll find until--if we're very lucky and very persisitent--we hit the mother lode.
我們越是挖掘，收穫就越多，如果我們很幸運，而且堅持不懈的話--我們最終會挖到母礦脈。
In reality, creative work is no different from swinging a pick. For every day of incredible divine intervention, there are porbably ten spent sifting through the dirt.
事實上，創作與揮動圓鍬並無兩樣；你可能要篩沙土十天，才能得到老天的恩賜一天。
This is the bad, boring news about going after what you want: just like any job, there are many times when the work is unexceptional, difficult, and downright demanding.
這就是追求夢想者所要面對的壞消息：就像任何職業一樣，許多時候，工作本身是枯燥乏味、困難重重，甚至是極其艱辛的。
Yet these are also the days when you hunker down and keep on doing because there simply isn't any other way to get where you are going.
然而，有時候，你繼續的做下去的理由，只是因為這是達到目標唯一的方法。
And herein lies the difference between the average dreamer and the person who goes after their dreams.
一般的夢想者和真正的尋夢者的差別，就在這裡。
The successful person is willing to put up with the hard work beause inside of it he finds a joy like nothing else on earth.
成功者願意承受各種辛苦，因為他們從中找到了無與倫比的喜悅。
But the average dreamer does not know this joy yet.
The average dreamer finds his joy in tangible rewards and gets stopped when he realizes all that hard work may ultimately "be for nothing."
但是，一般的夢想者還未找到那種喜悅。一般的夢想者只在意有形的報酬獎賞，當他們了解到一切的努力，最終可能「成空」時，就會放棄了。
**************
As you climb inside the fantastic nautilus of your creation, you begin to understand why Zen masters spend entire lifetimes perfecting the tea ceremony.
當你爬入你創造的神奇的鸚鵡螺內時，你才開始了解，禪師們為何會花一生的精力，來精進茶道了。
It is the sheer poetry of creating something from nothing and working on it until it is truly and absolutely right that ultimately keeps you coming back.
就像創作一首詩，是一種由無到有的過程，要經過不斷的反覆修改，直到絕對完美為止。
This is the magic that can only be born of hard work, and this, ultimately is realizing your dream.
只有經由努力不懈，才能產生這種魔法。也是如此，你終究實現了你的夢想。
It is the sheer poetry of creating something from nothing and working on it until it is truly and absolutely right that ultimately keeps you coming back.
就像創作一首詩，是一種由無到有的過程，要經過不斷的反覆修改，直到絕對完美為止。
This is the magic that can only be born of hard work, and this, ultimately is realizing your dream.
只有經由努力不懈，才能產生這種魔法。也是如此，你終究實現了你的夢想。
當死亡降臨
- Go back to About Me
- 回到我的簡介
- 詩人 瑪利 奧利佛 (Mary Oliver)網站
當死亡降臨
像秋天飢餓的熊
當死亡降臨
他拿出錢包內所有的閃亮的錢幣
要買我
然後把錢包啪一聲關上
當死亡降臨
像發病的麻疹疹子
當死亡降臨
像肩胛骨中間的一座冰山
我想要充滿好奇的走進門內，猜想:
那棟黑暗的小屋內，會是什麼模樣呢？
所以，我把萬物視為兄弟姊妹
而且，我把時間視為一種概念而已
而且，我把永恆視為另一種可能
而且，我把每個生命看成一朵花，
像一朵平凡的小野菊，獨特的
把每個名字當成嘴上哼唱的一首熟悉的音樂，
而且就像所有的音樂一樣，
逐漸休止
我把每個身體看成勇氣之獅，
對地球都很寶貴
當一切都結束了，
我想說 :在這一生裡，
我是一位嫁給了驚奇的新娘，
我是一位新郎，把世界擁入懷中。
當一切都結束了，
我不希望我仍不確定
此生是否獨特和真實的活過了
我不希望看到自己嘆氣和驚慌害怕
或是一直在爭辯
我不希望最終
我只是曾經到地球一遊的訪客
When death comes
like the hungry bear in autumn;
when death comes and takes all the bright coins from his purse
to buy me, and snaps the purse shut;
when death comes
like the measle-pox:
When death comes
like an iceberg between the shoulder blades,
I want to step through the door full of curiosity, wondering
what is it going to be like, that cottage of darkness?
And therefore I look upon everything
as a brotherhood and a sisterhood,
and I look upon time as no more than an idea,
and I consider eternity as another possibility,
and I think of each life as a flower, as common
as a field daisy, and as singular,
and each name a comfortable music in the mouth,
tending, as all music does, toward silence,
and each body a lion of courage, and something
precious to the earth.
When it's over, I want to say: all my life
I was a bride married to amazement.
I was the bridegroom, taking the world into my arms.
When it's over, I don't want to wonder
if I have made of my life something particular, and real.
I don't want to find myself sighing and frightened,
or full of argument.
I don't want to end up simply having visited this world.
改變的喜悅
譯自沙克的書 "裸體吃芒果"
By Sark, p.30, "Eat Mangoes Naked"
改變的喜悅 "Pleasure of Changing "
一天深夜，我到位於舊金山的「天恩大教堂」，走了一回靜心迷宮，「與改變為友」是我靜心的主題，整個過程中，我一直在哭。
Late one night, I walked the labyrinth at Grace Cathedral in San Francisco. I dedicated my walk to "making friends with change, " and cried the whole time.
我哭，是因為我一直在逃避改變，一直想壓抑改變。當然，這是行不通的，而且新的改變一直不斷出現，不論我如何壓抑它。
I cried because I'd been running around, trying to "keep all the lids" on change. Of course, it doesn't work, and new changes were developing all the time! No matter how hard I tried with the lids, stuff kept bubbling out.
對於我所面臨的改變，我花了很多精力在合理化、解釋、抱怨，或是逃避上。 我真的開始了解，我是多麼努力想讓一切維持現狀。
I spent my energy justifying, explaining, complaining about or just avoiding the changes that I was experiencing. I really began to see how avidly I was trying to keep everything the same.
我以為如果我能夠維持某些東西不變，那麼，我就不必改變自己，或改變我的看法、觀點、態度和信念。
It seemed like if I could just keep enough things the same, then I wouldn't have to change myself, or my views, perspectives, attitudes or beliefs.
這種固執不通的態度，讓我無法享受改變的樂趣。也許當我越能接受改變和歡迎改變時， 我自己就越能改變。
This rigidity was preventing me from experiencing the pleasures of change. Perhaps the more I could accept and welcome change, the more I myself could change.
我對改變的抗拒，會不會是對宇宙運行的一種高傲態度呢？
What if all my resistance to changing was a kind of arrogance about the movements of the universe?
我對改變的不信任，會不會就是事實上對於宇宙的不信任呢？
That if I distrust change, then I am in effect distrusting the universe!
對自己這個小小的系統和生命歷程的所有一切，我都極力固守執著。對生活慣例，我也習以為樂，我被自己對時間和生活的概念所束縛。
I cling so hard to all of my little systems and processes.
I find such pleasure in my routines. I am bound by my ideas of time and life.
我想要向世界宣稱，我的生活就是一個很偉大的實驗！我想要享受和歡迎改變，主動去找尋改變，並且享受改變。我想要成為一位才華洋溢的速變藝術家！
I want to declare my life to be one big experiment!
I want to relish and welcome change, seek out change and find the pleasure in that. I want to be a gifted quick change artist.
雖然處於諸多的改變中，我希望自己仍能找到安全感，或者我能改變自己對安全感的看法！
I want to be able to find the safety within the changes, or change my ideas about safety!
這是我寫給改變的一封信。
Here is my letter to change:
親愛的改變:
我過去一直很怕你，不歡迎你來我家，我在你背後說你的壞話。我抗拒、逃避、取笑你。
Dear Change,
I've previously been very afraid of you. You weren't welcome in my home, and I spoke badly about you behind your back. I resisted you, avoided you, and made fun of you.
我現在希望能夠改善我們的關係，我希望學習如何好好尊重你，如何與你共舞，如何邀你共進晚餐。
I want to change our relationship. I want to learn to cultivate and respect you, dance with you and take you out to dinner.
讓我們一起旅行！你願意成為我永遠的好朋友嗎？
Let's travel together! Will you be my everlasting friend?
愛你的蘇珊
Love, Susan
By Sark, p.30, "Eat Mangoes Naked"
改變的喜悅 "Pleasure of Changing "
一天深夜，我到位於舊金山的「天恩大教堂」，走了一回靜心迷宮，「與改變為友」是我靜心的主題，整個過程中，我一直在哭。
Late one night, I walked the labyrinth at Grace Cathedral in San Francisco. I dedicated my walk to "making friends with change, " and cried the whole time.
我哭，是因為我一直在逃避改變，一直想壓抑改變。當然，這是行不通的，而且新的改變一直不斷出現，不論我如何壓抑它。
I cried because I'd been running around, trying to "keep all the lids" on change. Of course, it doesn't work, and new changes were developing all the time! No matter how hard I tried with the lids, stuff kept bubbling out.
對於我所面臨的改變，我花了很多精力在合理化、解釋、抱怨，或是逃避上。 我真的開始了解，我是多麼努力想讓一切維持現狀。
I spent my energy justifying, explaining, complaining about or just avoiding the changes that I was experiencing. I really began to see how avidly I was trying to keep everything the same.
我以為如果我能夠維持某些東西不變，那麼，我就不必改變自己，或改變我的看法、觀點、態度和信念。
It seemed like if I could just keep enough things the same, then I wouldn't have to change myself, or my views, perspectives, attitudes or beliefs.
這種固執不通的態度，讓我無法享受改變的樂趣。也許當我越能接受改變和歡迎改變時， 我自己就越能改變。
This rigidity was preventing me from experiencing the pleasures of change. Perhaps the more I could accept and welcome change, the more I myself could change.
我對改變的抗拒，會不會是對宇宙運行的一種高傲態度呢？
What if all my resistance to changing was a kind of arrogance about the movements of the universe?
我對改變的不信任，會不會就是事實上對於宇宙的不信任呢？
That if I distrust change, then I am in effect distrusting the universe!
對自己這個小小的系統和生命歷程的所有一切，我都極力固守執著。對生活慣例，我也習以為樂，我被自己對時間和生活的概念所束縛。
I cling so hard to all of my little systems and processes.
I find such pleasure in my routines. I am bound by my ideas of time and life.
我想要向世界宣稱，我的生活就是一個很偉大的實驗！我想要享受和歡迎改變，主動去找尋改變，並且享受改變。我想要成為一位才華洋溢的速變藝術家！
I want to declare my life to be one big experiment!
I want to relish and welcome change, seek out change and find the pleasure in that. I want to be a gifted quick change artist.
雖然處於諸多的改變中，我希望自己仍能找到安全感，或者我能改變自己對安全感的看法！
I want to be able to find the safety within the changes, or change my ideas about safety!
這是我寫給改變的一封信。
Here is my letter to change:
親愛的改變:
我過去一直很怕你，不歡迎你來我家，我在你背後說你的壞話。我抗拒、逃避、取笑你。
Dear Change,
I've previously been very afraid of you. You weren't welcome in my home, and I spoke badly about you behind your back. I resisted you, avoided you, and made fun of you.
我現在希望能夠改善我們的關係，我希望學習如何好好尊重你，如何與你共舞，如何邀你共進晚餐。
I want to change our relationship. I want to learn to cultivate and respect you, dance with you and take you out to dinner.
讓我們一起旅行！你願意成為我永遠的好朋友嗎？
Let's travel together! Will you be my everlasting friend?
愛你的蘇珊
Love, Susan
孩子
作者 Naomi Long Madgett
我嘗試過告訴她
小枝子是這樣彎曲的
由我的樹幹而誕生
因我的樹根而穩固
妳必須把新枝
盡量向太陽靠近
那是我所不能迄及的
我很想說:
替我向大氣層延伸吧
那是我只能夢想的事
但是小枝子斷了
昨天我還看到她
走在一條不熟悉的路上
腳步自信
歪著臉朝向令人害怕的天空望著
而且
她臉上還掛著微笑
而且她是非常自由
非常有個性
不屈服
的自己
Offspring
I tried to tell her:
This way the twig is bent.
Born of my trunk and strengthened by my roots,
You must stretch new grown branches
Closer to the sun
Than I can reach.
I wanted to say:
Extend my self to that for atmosphere
Only my dreams allow.
But the twig broke,
And yesterday I saw her
Walking down an unfamiliar street,
Feet confident,
Face slanted upward toward a threatening sky.
And
She was smiling
And she wasHer very free,
Her very individual,
Unpliable
Own.
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