Don't say I don't know

When I say I don't know, it does not always meant I really don't know. On the contrary, it was said too much too often, it became a defense mechanic for me. I will even say "I don't know" to myself! There is something hidden. Something I could not even face myself. When at one point in life started to get sour, everything behind that point seemed sour. When I searched for the reason of my present condition, I always came up empty. But the simple truth was I was crazy about a girl. I could not muster enough courage to ask her out. I had to make up reasons, variety of them, to comfort myself. I debated myself, I love her, I love her not, what a central ego maniac it is. I did not really know her. I was very much afraid of rejection. However, what if she said yes to my proposal? I was too short, I was ugly, I was not smart enough, I lacked everything to give her a happy life. To love somebody was to provide them the best in everything, make them happy, satisfied, secured. All of which, I did not see myself as being able to provide. After that, I looked many people around me, I found them tall, handsome, smart, charming, kind, strong. So many great people. Why bother her with myself? But fear of rejection was humongous as well. I doubted I could face that. I am very much one minded. When I set my mind on something at first, I want to try it out. Everything else seemed trivial. If I got rejected, what would happen to my self esteem? lol!!!!!!!! I now know that girl is married. I am very happy for her. I feel sad too. I never really though anything could happen between her and I. But the want for comfort and caress is increasing. The rejection for that want is growing correspondingly. I am restless. It is a terrible reason for being in my present state. I so wish I have the ability to entertain, satisfy, and protect a girl. I so wish to feel the love. and I so wish to love. I am afraid of everyone. When I see a child, I feel they are passing me and going beyond. When I see a girl, I feel a longing to get close, at the same time, trying to keep distance as far as possible, no eye contact, no talk, no nothing. When I see a guy, I am afraid, I feel they are all tall, big, smart, strong, funny, charming. And me, sitting on a shady road, where I could not see beyond three feet, watching all the people pass me by. My mother is trying to drag me along but without any success. Every time I consider the question of what I want. I always said I don't know. But in truth, the only thing I want is to be able to love a girl, I want to make her laugh, I want to make her feel secure, I want to make love to her, I want to cherish every moment together with her. Along with my mother being proud, my cats healthy, and my sister less trouble. I love her. I miss her. I felt she tried to make a conversation with me. But I was not talkable. Every time I saw her, we said hi, then we parted. I wished to hold her in my arms. I feel sad. I am confused. I don't love her. I never loved anybody. Love is an effort, which I never really spend. I never loved, I never love. This is just another reason I am trying to draw for my present condition.

外婆橋

我記得的:

搖啊搖,
搖到外婆橋.
外婆叫我好寶寶.
糖一包, 果一包.

Taras Bulba 2009

It's a movie about Zaporizhia Cossack. Zaporizhia is situated in now Ukraine. The story was about Zaporizhia Cossack's stuggle with Poland in 16th century. The main actor were interesting, a very flavorful character. The story was okay. If only they could left out all the Russian Patriotic yelling and fanatic religious words, this could be an okay movie.

I searched the background a little. I can probably understand the fanatic religious words in the historical context. But I do not understand the Russian Patriotic yelling...

I was moved by the death scene of Taras Bulba's elder son. But I felt the other things in the movie were murmuring of unimportance. The battle scenes were okay, nothing fancy. I'd imagined that many of the problems stemmed from me not knowing the historical context. Although that was the case, the movie suffered a great deal without a real bad guy. I mean I understand the movie needed to paint Poles as the evil here, but the Poles really did not do anything for that portrayal. The only real act I saw from Poles, was the execution of Taras Bulba's elder son. However, brutality was universal to almost every cultures at the time, to my understanding. I could not hold that against Poles. And without a real enemy on the screen, the movie suffered.

The main character was flavorful. But all the patriotic yelling really does not help... The final scene where Taras Bulba went back for his smoke pipe which caused him being caught and consequently death was stupid and anti-climate!

This movie was sad.

古文觀止

古文觀止有點奇怪. 他只有兩種文章. 一種是先秦的文章, 另一種是先秦之後的文章.

我說說我的意思是啥. 無論左傳, 國語, 和其他先秦的文章, 幾乎都很像一個短篇小說. 幾乎每篇裡都有轉折的情節和生動的人物. 但是, 前述的所有優點在先秦之後的文章裡好像消失了... 古文觀止所選的先秦之後的文章裡, 在沒有出現象先秦文章那樣的東西了! 這是很有趣的現象. 先秦的文章裡只有一篇是和先秦之後的文章一樣的, 那就是李斯的逐客論. 意思是, 古文觀止的文章其實有 85% 的都是辯士的文章... 所謂辯士的文章, 就是, 直接說理, 解頗分析.

大部分先秦的文章, 不算公羊的話, 根本就是話本! 而之後的歲月裡, 世說新語其實和古文觀止裡先秦的文章有點像. 但是, 在情節上似乎差滿多的. 但是, 其實, 最和古文觀止裡那些先秦的文章像的, 還是要屬歷史文章, 像是司馬遷.的史記, 班彪的漢書, 和其他種種史話. 到了後來, 佛教為了向廣大民眾傳教, 白話文學開始風行. 隨唐以後來, 很多赴考的學生為了爭取獲得重視, 於是各種傳奇小說也應運而出. 這和佛教為了傳教的關係而盛行的白話文學一加結合, 宋朝的話本從此而出.

這一切, 恐怕和先秦的文章脫不出關係. 或許不能算是一派淵源, 但是, 當時人人必讀左傳國語, 勢必有很強的影響. 在傳奇的創作上, 必然有取法於此的可能.


通通是亂想... 我啥史書都沒看過, 只是閒時亂翻古文觀止. 看先秦的文章很輕鬆, 也很有趣. 當然也要看註釋, 但是, 不像單純講理的文章那樣傷腦筋. 為啥, 選先秦之後的文章時, 不也多選點類似的文章呢? 大概先秦的文章是經的關係吧. 而且編輯者也同樣喜歡那樣的文章.

The red shoes

I watched the red shoes tonight. It was wonderful. It was not plot rich, but characters were really memorable. The dance sequences were amazing as well! It was a sad story.

Toy Story 123

I finally watched the series after its first release 15 years ago. Wow, it was that long ago. I was able to see the progression of CG animation. It was amazing. However, the stories were really great! If I just watched the first one, it was good, but after the marathon, I mean I did borrowed 3 movies at once, it was amazing! Instant favorite of all time!

成語

成語... 這個辭是啥意思? 語? 他是語言嗎? 那和文字有啥不一樣?

排排坐

排排坐
吃果果
你一個
我一個

印象裡, 這是我小時後聽爸爸說, 這是他們小時後唱的.

現在查了一下網路, 看到這篇文章:

"排排坐

　TVB 的出位人士安德尊先生最近翻唱了《 排排坐》這一首廣東童謠。也許是因安德尊的名人效應關係，一下子令《排排坐》這一首廣東童謠再次在兒童世界中流行起來。

　說起來，《排排坐》這一首廣東童謠，自1978 年面世以來，不經不覺間己有了二十二個年頭，也慶幸這首歌曲於二十二年來，在香港、華南地區廣泛流行，也有不少朋友，以為這是一首地道的民歌。小人國出版社和熊熊兒童合唱團都先後翻錄了這首歌，遺憾的是，他們都把歌曲當作是傳統民謠處理，後者更把作詞人之名字刪改為他人的名字，面對這一些侵權行為，是有一些不開心，也感到很無奈。

　排排坐最早是由基督教兒童合唱團於1980年灌錄，其後再由當年的兒歌歌手曾敏詩唱出，永聲唱片公司出版。 其後，不少朋友，也翻唱了這首童謠。

　事實上，筆者依據廣東童謠《排排坐》的素材先後寫成三首歌曲，一首是《排排坐吃果果》，一首是《排排坐吃粉果》，另外一首，則是《排排坐唱歌歌》。

《排排坐吃粉果》的原詞是這樣的 : -

排排坐
吃粉果
豬拉柴
狗透火
貓兒擔凳俾姑婆坐
坐爛個屎忽唔好賴我

　這一首無調子廣東童謠，頗為生動趣緻，亦教育了孩子們認識和我們有密切關係的動物，只是有一些字句，是略為粗鄙了一點，如「屎忽」一詞，就太粗俗了，不太適合孩子唱詠。故此筆者在整理歌詞之時，將屎忽改為「 I PAN 」 (椅子的靠背) ，令歌曲可以更童真，而歌詞也由一小段添加至三小段，也為歌曲添加了副歌，讓歌曲更為完整。修訂後的歌詞是這樣的(見歌曲附件):

排排坐
吃粉果
豬拉柴
狗透火
貓兒擔凳俾姑婆坐
坐爛個 I PAN 唔好賴我
坐坐坐 姑婆姑婆坐
坐坐坐 姑婆姑婆坐
坐坐坐 姑婆姑婆坐
坐爛個 I PAN 唔好賴我！

排排坐
唱歌歌
雞打鑼
鴨拍掌
歌仔幾隻等姑婆唱
唱後你聲沙唔好話我！
唱唱唱 姑婆姑婆唱
唱唱唱 姑婆姑婆唱
唱唱唱 姑婆姑婆唱
唱後你聲沙唔好話我！

排排坐
笑啊啊
一起來
講笑話
古仔講個俾姑婆聽
笑大個嘴吧唔好賴我！
笑笑笑 姑婆姑婆笑
笑笑笑 姑婆姑婆笑
笑笑笑 姑婆姑婆笑
笑大個嘴吧唔好賴我！



　安德尊唱的版本，則是《排排坐吃果果》的新版本。歌曲由「吃粉果」改為「吃果果」的歡樂圖。 新版的歌詞是這樣的 :

排排坐
吃果果
你一個來我一個
大家快樂笑呵呵
弟弟妹妹啊
請你快些來
各位排排坐
吃果果
各位排排坐
笑呵呵
李子鮮甜蘋果又大個
橙子金黃最好吃是菠蘿
香蕉葡萄荔枝龍眼靚
蜜瓜清潤我請你共賞
各位排排坐
吃果果
各位排排坐
笑呵呵
你一個來我一個
大家快樂笑呵呵！



　《排排坐唱歌歌》的版本，是最小小孩子的。歌詞是這樣的 : -

排排坐
唱歌歌
你唱歌
我來和
齊齊唱隻快樂歌
你你你唱歌
我我我來和
Do re me fe so so do

　說到流行程度，無疑是以《排排坐吃果果》這一首歌謠最為大家所熟悉，差不多在大部份的華南地區，《排排坐吃果果》都像無脛而走，廣泛的流傳起來，成為了一首走入民間的民歌。

文：韋然"
(http://www.waiyinworkshop.com.hk/MusicSky/MusicSky_07_01.htm)


我爸爸是民國十六年以前出生的, 他記得的應該是最最原始的版本吧. 也或許海南島有自己的版本...

感想

最近在網站上, 和拙林有個討論. 因為我不贊成一篇文章裡的歷史觀點. 那篇文章的觀點認為, 中共政權的前卅年, 沒有左右之爭, 只有上下之爭. 他所謂的上應該是指國家政權, 下則是指社會. 文章的重點最主要展望未來, 希望要思想自由. 所以在回顧過去之時, 他主要是想指出, 國家政權對經濟社會的迫害.

我看了以後說, 中共政權下, 只有下剋上, 沒有上下之爭, 也沒有左右之爭. 我認為我和拙林爭論的地方就是, 是否中共前卅年的運動都是中共政權的領導. 基本上, 我感覺拙林的論點就是, 當時的社會完全是受國家政權的壓迫. 但是, 我認為是, 只要是真正的共產政權, 黨政府社會鐵定是三位一體. 這三位一體的現象是不可能和一般社會一樣可以把政權和社會分開. 再加上, 社會產生不了左右之爭, 因為真正的異議份子是不可能有聲音的. 所以基本上, 所謂經濟社會和國家政權基本上鐵板一塊. 如此一來, 上下之爭也是不可能. 只有下剋上, 所謂下剋上就是革命造反. 這是共產黨灌輸的觀念, 沒錯. 但是, 這種觀念一旦養成, 人民群眾根本不需要黨再說啥. 所以, 整個大陸在文革的時候, 不僅僅是首都各大城市的政府停擺, 其他地方也是. 幾乎已成為無政府狀態. 至少有兩三年, 連黨的力量都無能為力. 只有毛神有號招力. 這種情況之下, 絕對不是國家政權使經濟社會機器化所能形容. 也不光是因為少數某某人為了黨爭所造成的. 更可以確定的是, 這絕對不是上下之爭... 上下之爭, 首先要有個上. 但是, 以當時的政府機構來說, 政府機構的人是隨時可能被人民拉出來鬥的. 如果把當時的整個情況看成是個金字塔, 可以看成是, 倒金字塔. 也因為如此, 哪裡還能談經濟社會呢? 只有國家政權在和社會鎔為一體, 讓毛和少數幾人坐在金字塔塔基上. 這就是下剋上. 毛澤東一個人做不出來這種事情. 單靠那幾個人如果不是水到渠成的情況之下, 也是不可能的. 上下之爭, 爭不起來. 只有下剋上.

一直要到了毛澤東祭出了大棒隊來對付個革命的人群. 上下之爭, 才真的出現一點跡象. 但是, 沒有人相信我說的. 我媽看了,說無聊. 拙林還是相信自己認為的, 當時是國家政權使經濟社會機器化, 一切運動都是毛澤東等人造成的. 我覺得這個說法其實, 是把現在中共後卅年的情況套在前卅年的狀況上.

我的說法裡唯一有問題的地方是, 那難道國家政權對社會灌輸思想不是上下之爭嗎? 我的回答是, 看起來是的. 但是, 問題來了, 沒有左右之爭的可能, 思想只能從共產黨對社會灌輸思想. 再來, 共產主義不是一個政治體制. 共產主義的產生完全是針對工業革命後的社會問題提出一種經濟上的解答. 他在列寧以前, 根本不能成為政治體制. 即便後來列寧奪權成功, 俄共的政治體制依然鬆散. 他靠的不是一個穩固的體制. 他靠的是領袖. 每一次的領袖輪替都是一場鬥爭. 這也就是為啥赫魯雪夫後來倒檯的原因, 原因就是他即使在上面, 依然隨時會被鬥下去. 共產主義到最後, 仍是一個思想. 當他真的要掌權的時候, 只有全部的人民都是信徒才行. 至少, 絕大多數的人不反對. 他既然是思想, 他一主政, 第一件事情就是教育. 他一主政, 所有左右之爭, 也都立即停矲. 一旦停擺, 上下之爭也沒了. 但是, 共產主義不是不教爭. 他最注重的就是爭, 鬥爭. 在, 齊瓦哥醫生裡, 那個黨書記對游擊隊長說,

when the military struggle slowed down, the political struggle intensified.

啥是, political struggle? 上下之爭嗎? 不是的, 根本不是的. 在共產黨的社會裡, 那就是黨爭. 鬥爭出來的就是掌權. 就走誰的路線. 既不是爭政治權利, 也不是爭說話自由. 而這兩項, 都是左右之爭之後, 才會出現的. 這兩樣也是我所認為的上下之爭的內容. 但是, 不是的,共產黨是不一樣的.

所謂教育, 第一件事情就是要學生至少可以獨自模仿. 不需要邊看編模仿. 這樣, 學生自己就可以順著所教的道理走. 在思想上教育上的目標更是如此. 每個人很會稱自己是正義的. 共產黨也不例外. 而且說的比別人都好. 在沒有真的左右之爭的情況之下. 這時的人民, 尤其是學生, 大部分都希望自己是正義的. 他們那種從希望要正義再加上學習鬥爭後所產生的行為, 不能視為國家政權的壓迫. 這種認知在我的認為是不全面, 甚至有害的. 這是現在, 中共後卅年後, 開放社會言論時, 終於在有了左右之爭, 並且因此產生了上下之爭的過程中所產生的認識. 這個認識, 和抗戰後, 大部分學生認為國民政府只會貪污腐敗的認識, 是一致的. 而且, 以現在這種上下的認知, 罩在前卅年的認知上, 是極為偏差的事實. 這是現在上下之爭必有的過程. 但是, 如果這種認知是廣泛的現象, 這只是說明, 現在的人並沒有比以前進步. 就好像說, 皇帝時代是, totalitarian 一樣, 不要把, 中共前卅年的現象, 罩在皇帝時代...

共產黨之後, 思想不自由是必然的走向. 而不是說, 他會有另一種可能. 再加上共產黨本來就是, 國家政權經濟社會還有黨, 全然一體. 全國上下, 大部分的思想整齊劃一. 異議人士不是被鬥, 就是沉默, 再不然就是假裝, 這所有的種種, 造就了當時的思想單一. 如此, 哪能有上下之爭呢?

河水

河水

作詞：林福裕 / 作曲：培雅爾(法國)

河水靜靜向東流
流過鄉村和城市
河水日夜向東流
流過荒野峽谷

河水呀 我託付你
把我的思念和鄉情
帶給我的故鄉人
遙遠的故鄉人

河水靜靜向東流
流過鄉村和城市
河水日夜向東流
流過荒野峽谷

河水呀 我託付你
把我的思念和鄉情
帶給我的故鄉人
遙遠的故鄉人

經和子

似乎有很多人認為經應該放和子放在平等的地位上. 但是, 我現在感覺這樣是不大對. 經是諸子的源頭, 無論諸子是贊成反對, 或著繼承還是拋棄. 諸子呢, 則是不斷的變動, 隨時代而動. 但是經不動, 無論是哪個時代, 無論是怎樣動亂的世界, 易書禮詩春秋不變. 這五經, 最重要的, 不是深廣的內涵. 而是他們表現出一個基本社會的雛型. 是的, 雛型. 因為是雛型, 所以無所不包. 因為是雛型, 他們和子是不同的.

子, 如果讓我用現在的白話來說, 就是各行各業的學問. 是雛型之後的雕飾, 顏色, 進一步的構思, 等等. 資本主義和共產主義, 或其他的各種 "主義" 都是子. 子, 依照時代的不同, 風俗習慣, 而有新的學術思想出現. 於是, 子在經的雛型上, 雕塑出的政治體制, 經濟形態, 社會結構.

Afterthought: the Private Life of Sherlocke Holmes

I watched this movie yesterday. It was the best Sherlocke Holmes movie I've ever seen. I do think this Sherlocke Holmes caught the essence from the book. Dr. Watson was made fun in the movie, but not to the point of degrading the whole thing into something else. It was rather unusual that the movie was about Sherlocke Holmes' failure.

The movie was not started with the main case. But it started by building a characters with few short stories. It was quite amazing that it could squeeze in so many things in 2 hours. But it worked really well to bring out Sherlocke Holmes' personality. And it raised a central theme of the movie, the "Private Life" of Sherlocke Holmes. By doing so, the movie bring an audience to peek into the world famous detective, who was always presented as having cold deduction skill, and know it all attitude.

I really liked the movie. I felt the ending really brought a Sherlocke Holmes with real muscle, bones, brain, and heart to life!

Afterthought: Fast Five

I just finished watching Fast Five. I liked it quite a bit. I loved to see Dwayne Johnson and Vin Diesel together on the screen. It gave a lot of anticipation. The final action scene was heart pumping. One of the most exciting shot was when Dwayne Johnson first met Vin Diesel in a foot chase. That was really awesome.

However, there were quite a few rants about this movie. The first was Dwayne Johnson's presence. When DJ first appeared, it was fantastic. But as movie progressed, his presence became less and less important. Because he ceased to become a threat at all. I was most disappointed when DJ and VD fought in close quarter. I kept praying, please let VD lose this fight. But no, he still won in the end. What a joke DJ's character eventually became? He lost in a fist fight with VD, he was stupid enough for being forced to retreat by VD. And although it seemed he looked into Reyes, the Drug lord of Rio, DJ's character did not mind him at all! DJ's character had look, had initial oomph, but the film maker failed to identify his position in storyline! He was a vase for Vin Diesel just like all other characters in the movies. Even, the bad guy in the last movie in series were better than DJ's character. Simply because that bad guy was more defined. I totally understand how hard it was to put two action stars in front of the same camera. But if you could not whip DJ's character into shape, then it was a missed opportunity to bring the movie into next level! I feel sad for Dwayne because he has the look, the personality, and will to become great. But he just kept missed so many opportunities! The other problem from failure of defining DJ's character as a real threat to VD was the plotlines. There were basically three sides in the movie which could actually became something really nice. The result was a huge dismay simply because, the side DJ was on did not matter at all to the plotlines. DJ's story line was an accessory, not a necessity.

The other problem was that too many characters, who were generic at the best. What's more, because of so many characters, the movie was dragged on. Compared to Ocean's Eleven, which had many characters as well. But most of the characters were flushed out nicely. Most of them were well defined. It's just not the same here. Two African Americans, whose roles could combine as one; two Spanish speaking characters, who could also combined as one; one Asian American, who by the way, did nothing at all, not even come close to the Asian dude in Ocean's Eleven; and finally two girls, who had no impact to the storyline at all. And I have to say, please, if it's not absolutely necessary, do not bring a love interest for the main character! A vase still need screen time, and dialogue. But nobody really cared about a vase in the background!

Potato Salad

Note that this recipe calls for celery seed, not celery salt; if only celery salt is available, use the same amount but omit the addition of salt in the dressing. When testing potatoes for doneness, simply taste a piece; do not overcook the potatoes or they will become mealy and will break apart. The potatoes must be just warm, or even fully cooled, when you add the dressing. If you find the potato salad a little dry for your liking, add up to 2 tablespoons more mayonnaise.

Ingredients:

2 pounds (3 to 4 medium)russet potatoes, peeled and cut into 3/4-inch cubes
Salt
2 tablespoons distilled white vinegar
1 medium celery rib, chopped fine (about 1/2 cup)
2 tablespoons minced red onion
3 tablespoons sweet pickle relish
1/2 cup mayonnaise(or more as to your liking)
3/4 teaspoon powdered mustard
3/4 teaspoon powdered celery seed
2 tablespoons minced fresh parsley leaves
1/4 teaspoon ground black pepper
2 large hard-cooked eggs, peeled and cut into 1/4-inch cubes(optional)


Process:

1. Place potatoes in large saucepan and add water to cover by 1-inch. Bring to boil over medium-high heat; add 1 tablespoon salt, reduce heat to medium, and simmer, stirring once or twice, until potatoes are tender, about 8 minutes.

2. Drain potatoes and transfer to large bowl. Add vinegar and, using rubber spatula, toss gently to combine. Let stand until potatoes are just warm, about 20 minutes.

3. Meanwhile, in small bowl, stir together celery, onion, pickle relish, mayonnaise, powdered mustard, celery seed, parsley, pepper, and 1/2 teaspoon salt. Using rubber spatula, gently fold dressing and eggs(if using) into potatoes. Cover with plastic wrap and refrigerate until chilled, about 1 hour; serve. (Potato Salad can be covered and refrigerated for up to 1 day.)

質文新解

子曰：「質勝文則野，文勝質則史；文質彬彬，然後君子。」(論語雍也章)

我最新的解釋:

在很久很久以前, 聖人不需要食譜, 卻煮出了非常好吃的菜來. 他和他們的學生還有食迷們努力的發覺出各種步驟次序, 各種食材的份量, 如何控制火的大小, 鍋子的質料, 甚至拿啥來做火引都加以研究. 當然, 聖人也努力的招收天下的聰明有心人, 他們的條件不僅心靈手巧, 他們的嗅覺, 味覺, 視覺, 觸覺也都經過嚴格的篩選. 於是, 終於, 有一天, 聖人制禮作樂, 發明了食譜!

在聖人駕崩後, 他的門人卻分出兩派來, 一派聲稱, 作菜是藝術, 怎麼可以跟著食譜走? 當別人問他們說, 這道菜要放多少鹽? 他們嗤之以鼻, 說, 哈, 我怎麼知道? 拿湯匙舀出來嚐嚐才知道哇! 另有一派, 說, 作菜是規矩! 只要照著聖人的方子作, 就對了! 嚐嚐才知道味道, 那簡直就是粗魯加噁心! 聖人的舌頭一定比我等凡人的準, 聽他的準沒錯!

結果, 一派, 出不了食譜, 因為說不出個標準來. 另一派只能照著食譜作, 他們只能把聖人的食譜數據在度量衡上不斷求精, 卻不能有啥創新. 全天下的人都是又恨又怒, 尤其是家庭煮婦.

終於新的聖人出現了!

話說, 這個新聖人的來歷也是一番艱辛. 原來, 這個新聖人的父母就來自兩派. 這一對情侶, 我們不稱他們為聖, 畢竟聖人也只能自己聖, 不能使父母聖, 在各自的壓力下, 衝破了種種難關, 終於有情人終成眷屬. 即使如此, 兩人在煮菜上, 卻也是爭吵連連. 而我們的新聖人就在這種壓力的環境下茁壯. 他對自己的感覺是如此的自信, 就像他老爸, 但是, 對於度量衡的掌握, 竟也在老媽的監督下變成習慣. 他對於幼時種種爭吵的回憶又是如此的深刻. 於是他利用從他老爸得來的自信, 來掌握他老媽學到的對度量衡的仔細, 再加上他激烈渴望找到一條平衡兩派的耐心, 不斷實驗. 終於新的食譜就在他手裡湧泉般產生. 在一統兩派後, 他終於悟到並說出了名言: 「質勝文則野，文勝質則史；文質彬彬，然後君子。」

沒有度量衡, 何以示人? 不相信自己的感官, 度量衡本身並不能作新菜! 唯有文和質不斷相碰撞, 也就是說, 一個人只有對自己的感官有一定的自信, 並且也能用度量衡找出一個標準, 並且還能對標準以外做出解釋, 因為他早已實驗過不少次, 才是一個真正的廚師! 咳, 聖人, 我是說,聖人...

Memorable movie moments 2

I watched a lot of movies lately.

Expendables: The Fry scene! That was one awesome scene! Stallone drove his plane around the port while the enemies arrived on the scene. Statham came out of a pit in front of the pilot windwhsield. He popped the huge guns out of the tip of the plane and start strafing at the enemies on the dock. Right when the plane flied pass over the enemies, Stallone open the oil tank on the enemies. After passing them overhead, Statham turned and shoot his emergency gun at the duck, then BOOM! When I first saw it, I had no clue what they were doing. But aftermath impact of the BOOM was huge! It was simply awesome! The effect of a plane with strafing I thought would be mediocre at best. However, as the final revenge move, Fry and die, it was truly like the characters in the movie said, "it is a statement!"

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Mother India: The shooting in the finale. That was truly shocking. I was shocked not by the act, but by the Mother's acknowledgement of right or wrong. Considering what the Mother had suffered at the hands of the rich village man through out the year, and considering how devoted she was to both of her sons. In the end, when the choice of absolute right or wrong befell on her hands, the fact she did not falter was simply astounding. I felt tremendous sadness for her, but I felt extremely alert at the same time. The heaviness of time and emotion built up during the film seemed all exploded in that final act. One of the most memorable movie endings!

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The wild bunch: The movie is ranked the highest western by me so far. The scene that I remembered the most was when the gangs decided to go in to the rescue, or simply kill and be killed while rescuing. There were something extremely Steely about it. There was not much words, but looks. The looks said more than words. What is it? I really cannot put my hands on, but stuffy yet, manly.

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Once upon a time in the west: The final dual. When the musical score came up, and Bronson's face showed up at the same time, the eerie and shocking harmonica cooked the scene up with a stir. I can never forget that setup. Henry Fonda and Bronson both did not need to do much with their faces, but the atmosphere surrounded them was awesome. The final secret was going to be revealed. It put my focus right on the edge. It was just very memorable!

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Human condition: The scene where Chinese Prisoners arrived from train. The hungry drove them mad. The protagonist needed to stop the starving stricken crowd from over stuffing themselves with food and water. Simply scary.

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Sophie Scholl: The scene where Sophie Scholl was tried to be persuaded by the investigator. The emotion was spilled out, and the reason triumphed as well. Simply a great scene that should be reminded again and again.

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Il y a longtemps que je t'aime: the dinner scene, where the protagonist was asked about where she's been all these years. She simply stated the truth, yet, everybody laughed. Because the truth was simply too impossible. I felt so weird about the scene. It was a truth, but none believed it. They simply took it as a joke. It was a simple revelation how far apart of the protagonist from the rest of the world.

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節錄: 善變的女人--林治平

我的妻子是一個善變的女人--可是我喜歡她的善變.
曉風最反對 "我愛你永遠不變" 這一句話. 她說:

"如果我與你在一起好幾年了, 而你對我的愛竟然還是跟我們初認識時一樣, 毫無增加, 那多可怕!"

有一次她很鄭重其事的將一位日本作家與謝野晶子討論愛的文章, 以正楷抄錄下來給我, 那篇題名為 "愛的創作" 的文章如此說:

"人的心在移動是常態, 不移動是病態, 幼小而不移動是為痴呆, 成長而不移動是為老衰的徵候.
在花的趣味上, 在飲食的嗜好上, 在衣服的選擇上, 從少年, 少女的時代起, 一生不知要變化多少回. 正是因為如此, 人的生活無論精神的和物質的都有進步. ...世人的俗見常以為夫婦親子的情愛是不變動的, 但是, 在花與穿衣服上會變化的心, 怎麼會對於與自己更直接有關係的生活倒反不敏感的移動呢?
就我自己的經驗上說, 這廿年間我們夫婦的愛情不知經過多大的變化來了. 我們的愛情絕不是以最初的愛一貫繼續下去, 始終沒有變動的, 固定的靜的關係. 我們不斷的努力, 將新的生命吹進兩人的愛情裡去, 破壞了重又建起, 鍛鍊堅固, 使它加深, 使他醇化. ...我們每日努力重新播種, 每日重新建築起以前所無的新的愛之生活.
我們不願把昨天的愛就此靜止了, 再把它塗飾起來, 稱作永久不變的愛; 我們並不依賴這樣的愛, 我們長在期望兩人的愛是進化移動而無止息.
倘若不然, 那麼愛只是心的化石, 不能不感到困倦和苦痛了吧.
我們曾把這意見告訴生田長江君, 它很表同意, 答到: "理想的夫婦是每日在互換愛的新證書的""

為了不願使我們的愛成為心之化石, 從此以後 "愛的創造" 就成為我們共赴的目標, 我們彼此要求自己, 每天要以新的愛, 創造的愛, 呈獻給對方, 所以我們相知十八年, 卻從未覺得厭煩倦怠, 她至今還常常會讓我嚇了一跳似的忽然發現了她新的一面, 我的妻子曉風是一個變化多端的女人.

-----林治平 善變的女人, 錄自張曉風 歩下紅毯之後 附錄. 199 頁, 四版, 中華民國六十八年十月十日.

換句話說

換句話說很重要, 尤其是讀古文的時候. 王陽明有關房子的比喻, 給了我一個新的想法. 中文的一個一個字在孔子以後愈用愈複雜, 字義愈來愈衍生, 但是仍是同一個字. 結果, 不同個文句裡的同一文字, 這個人和另一個人在用的時候, 可能會是不一樣的意思. 各種字義很可能在同一根柱子上, 但是, 不同的紋路.

很有趣的事情是, 在清末民初的時候, 為了翻譯歐洲的語言, 再加上, 白話文運動的盛行, 中文減少用一個單字去衍伸出其他的意思. 現在, 通常都用兩個字以上來表示意思. 使的中文更加走向語言. 其實, 這在中國古代就有類似的現象, 類似的情形也發生在佛教經卷翻譯上!

古代典籍既然有這種字義愈來愈衍生的現象, 現代人去讀就必須要換句話說. 這會造成古代的典籍的語意錯亂嗎? 是很有可能的. 但是, 歷代的注解實際上都是困難重重. 他們自己也往往互相爭吵. 而且, 每一個人在每一個生命的歷程去看這些經典又在增加閱歷後, 往往又不同的了解. 我覺得最重要的是, 典籍和讀者的關係大於讀者解釋給其他人聽的關係. 但是, 一個讀者要了解典籍, 就必需把典籍的文句用自己的話說出來. 可是, 要讀者解釋給他們聽的時候, 讀者看到的可能只是柱子上的某些紋路, 如果讀者的聽眾自己去看, 說不定他會看到其他不同的紋路. 不過, 只要讀者和聽眾都能了解這種情形, 互相講述自己的理解, 是非常有意義的! 無論如何, 典籍的了解, 換句話說是必不可少. 無論是為自己還是為講學...

Original or bounced off?

Original or Bounced off? It is easy to bounce off other people's idea rather than pulling some thing out of thin air.

But don't many of the original ideas bounce off the difficulties of their time in society?

Lasagna

Lasagna = Ragu Sauce + Bechamel Sauce + Parmesan Cheese + No Boiled Noodle

Ragu sauce needs to be meaty and cooled from hot to touch of warmth.

Bechamel sauce needs 4, 5 milk, with butter, flour optional; also cooled to the touch of warmth before making lasagna.

No boiled Noodle needs to be submerged in hot water for 5 minutes, not cooked.

An note from making lasagna by Cook's Illustrated yesterday.