Monday, October 31, 2011
Saturday, October 29, 2011
最棒的湯
排骨黃豆芽湯:
小排骨
黃豆芽
番茄
薑
鹽
番茄過油.
排骨切段, 過水
排骨加水, 薑, 煮滾, 改小火煮四十分鐘
四十分鐘後, 加黃豆芽, 處理過的番茄, 鹽, 續煮廿分鐘即可.
註: 可以加一點糖.
註: 番茄過油, 我通常都等番茄都化了.
註: 番茄過油前, 可以在開水內川燙一下, 比較容易去皮. 甚至在川燙前, 在番茄皮劃個十字, 再下水, 或許會更容易去皮.
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這是我最喜歡的湯之一. 我從黃淑惠的中國菜一書中學到的. 這本書是我在大概十一, 二年以前, 在佩蘭阿姨家裡找到的. 那時候, 看到了很高興. 佩蘭阿姨看我很喜歡, 就把書給我了. 當時我好像住在他家, 在他朋友那邊幫忙照顧那朋友的蘭花場.
黃淑惠的食譜我到很多我舅舅的朋友家裡看到. 似乎在那時候的每一個留學生裡很流行... 想想, 也廿年了, 到我手上, 還可以加惠於我! 真是有意思.
小排骨
黃豆芽
番茄
薑
鹽
番茄過油.
排骨切段, 過水
排骨加水, 薑, 煮滾, 改小火煮四十分鐘
四十分鐘後, 加黃豆芽, 處理過的番茄, 鹽, 續煮廿分鐘即可.
註: 可以加一點糖.
註: 番茄過油, 我通常都等番茄都化了.
註: 番茄過油前, 可以在開水內川燙一下, 比較容易去皮. 甚至在川燙前, 在番茄皮劃個十字, 再下水, 或許會更容易去皮.
----------------------------------
這是我最喜歡的湯之一. 我從黃淑惠的中國菜一書中學到的. 這本書是我在大概十一, 二年以前, 在佩蘭阿姨家裡找到的. 那時候, 看到了很高興. 佩蘭阿姨看我很喜歡, 就把書給我了. 當時我好像住在他家, 在他朋友那邊幫忙照顧那朋友的蘭花場.
黃淑惠的食譜我到很多我舅舅的朋友家裡看到. 似乎在那時候的每一個留學生裡很流行... 想想, 也廿年了, 到我手上, 還可以加惠於我! 真是有意思.
Tuesday, October 25, 2011
一條清澈的小溪
French text
A la claire fontaine
M'en allant promener;
J'ai trouvé l'eau si belle
Que je m'y suis baigné.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Sous les feuilles d'un chêne (alternate: sur la mousse d'un chêne)
Je me suis fait sécher;
Sur la plus haute branche
Le rossignol chantait.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Chante, rossignol, chante,
Toi qui as le coeur gai;
Tu as la coeur à rire,
Moi je l'ai à pleurer.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
J'ai perdu ma maîtresse (alternate: J'ai perdu mon amie)
Sans l'avoir mérité,
Pour un bouquet de roses
Que je lui refusai.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Je voudrais que la rose
Fût encore au rosier,
Et moi et ma maîtresse (alternate: et que ma douce amie)
Dans le mêm's amitiés. (alternate: fut encore à m'aimer)
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
English.png English translation
At the clear fountain,
while going for a walk
I found the water so beautiful
that I bathed in it.
I've been loving you for a long time,
I'll never forget you
I lay down to dry
under the leaves of an oak.
On the topmost branch
a nightingale was singing.
Sing, o nightingale, sing,
your heart is merry,
your heart wants to laugh,
mine wants to cry.
I lost my lover
without deserving it
for a posy of roses
I wouldn't give her
I wish the roses
were still on their bush
and that my beloved
still loved me.
A la claire fontaine
M'en allant promener;
J'ai trouvé l'eau si belle
Que je m'y suis baigné.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Sous les feuilles d'un chêne (alternate: sur la mousse d'un chêne)
Je me suis fait sécher;
Sur la plus haute branche
Le rossignol chantait.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Chante, rossignol, chante,
Toi qui as le coeur gai;
Tu as la coeur à rire,
Moi je l'ai à pleurer.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
J'ai perdu ma maîtresse (alternate: J'ai perdu mon amie)
Sans l'avoir mérité,
Pour un bouquet de roses
Que je lui refusai.
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
Je voudrais que la rose
Fût encore au rosier,
Et moi et ma maîtresse (alternate: et que ma douce amie)
Dans le mêm's amitiés. (alternate: fut encore à m'aimer)
Il y a longtemps que je t'aime,
Jamais je ne t'oublierai.
English.png English translation
At the clear fountain,
while going for a walk
I found the water so beautiful
that I bathed in it.
I've been loving you for a long time,
I'll never forget you
I lay down to dry
under the leaves of an oak.
On the topmost branch
a nightingale was singing.
Sing, o nightingale, sing,
your heart is merry,
your heart wants to laugh,
mine wants to cry.
I lost my lover
without deserving it
for a posy of roses
I wouldn't give her
I wish the roses
were still on their bush
and that my beloved
still loved me.
昏鏡詞引
鏡之工, 列十鏡于賈奩，發奩而視，其一皎如，其九霧如。
或曰：「良楛之不侔甚矣！」
工解頤謝曰：「非不能盡良也。蓋賈之意。唯售是念。今夫來市者，必歷鑒周睞，求與己宜。彼皎者不能隱芒杪之瑕，非美容不合是用，什一其數也。」
於感之, 作昏鏡詞:
昏鏡非美金，漠然喪其晶。陋容多自欺，謂若他鏡明。
瑕疵既不見，妍態隨意生。一日四五照，自言美傾城。
飾帶以紋繡，裝匣以瓊瑛。秦宮豈不重，非適乃為輕。
《昏鏡詞》劉禹錫
或曰：「良楛之不侔甚矣！」
工解頤謝曰：「非不能盡良也。蓋賈之意。唯售是念。今夫來市者，必歷鑒周睞，求與己宜。彼皎者不能隱芒杪之瑕，非美容不合是用，什一其數也。」
於感之, 作昏鏡詞:
昏鏡非美金，漠然喪其晶。陋容多自欺，謂若他鏡明。
瑕疵既不見，妍態隨意生。一日四五照，自言美傾城。
飾帶以紋繡，裝匣以瓊瑛。秦宮豈不重，非適乃為輕。
《昏鏡詞》劉禹錫
Friday, October 21, 2011
Street scene
ACT III
SCENE I. Rome. A street.
Enter Judges, Senators and Tribunes, with MARTIUS and QUINTUS, bound, passing on to the place of execution; TITUS going before, pleading
TITUS ANDRONICUS
Hear me, grave fathers! noble tribunes, stay!
For pity of mine age, whose youth was spent
In dangerous wars, whilst you securely slept;
For all my blood in Rome's great quarrel shed;
For all the frosty nights that I have watch'd;
And for these bitter tears, which now you see
Filling the aged wrinkles in my cheeks;
Be pitiful to my condemned sons,
Whose souls are not corrupted as 'tis thought.
For two and twenty sons I never wept,
Because they died in honour's lofty bed.
Lieth down; the Judges, & c., pass by him, and Exeunt
For these, these, tribunes, in the dust I write
My heart's deep languor and my soul's sad tears:
Let my tears stanch the earth's dry appetite;
My sons' sweet blood will make it shame and blush.
O earth, I will befriend thee more with rain,
That shall distil from these two ancient urns,
Than youthful April shall with all his showers:
In summer's drought I'll drop upon thee still;
In winter with warm tears I'll melt the snow
And keep eternal spring-time on thy face,
So thou refuse to drink my dear sons' blood.
Enter LUCIUS, with his sword drawn
O reverend tribunes! O gentle, aged men!
Unbind my sons, reverse the doom of death;
And let me say, that never wept before,
My tears are now prevailing orators.
LUCIUS
O noble father, you lament in vain:
The tribunes hear you not; no man is by;
And you recount your sorrows to a stone.
TITUS ANDRONICUS
Ah, Lucius, for thy brothers let me plead.
Grave tribunes, once more I entreat of you,--
LUCIUS
My gracious lord, no tribune hears you speak.
TITUS ANDRONICUS
Why, tis no matter, man; if they did hear,
They would not mark me, or if they did mark,
They would not pity me, yet plead I must;
Therefore I tell my sorrows to the stones;
Who, though they cannot answer my distress,
Yet in some sort they are better than the tribunes,
For that they will not intercept my tale:
When I do weep, they humbly at my feet
Receive my tears and seem to weep with me;
And, were they but attired in grave weeds,
Rome could afford no tribune like to these.
A stone is soft as wax,--tribunes more hard than stones;
A stone is silent, and offendeth not,
And tribunes with their tongues doom men to death.
Rises
But wherefore stand'st thou with thy weapon drawn?
LUCIUS
To rescue my two brothers from their death:
For which attempt the judges have pronounced
My everlasting doom of banishment.
TITUS ANDRONICUS
O happy man! they have befriended thee.
Why, foolish Lucius, dost thou not perceive
That Rome is but a wilderness of tigers?
Tigers must prey, and Rome affords no prey
But me and mine: how happy art thou, then,
From these devourers to be banished!
But who comes with our brother Marcus here?
Enter MARCUS and LAVINIA
SCENE I. Rome. A street.
Enter Judges, Senators and Tribunes, with MARTIUS and QUINTUS, bound, passing on to the place of execution; TITUS going before, pleading
TITUS ANDRONICUS
Hear me, grave fathers! noble tribunes, stay!
For pity of mine age, whose youth was spent
In dangerous wars, whilst you securely slept;
For all my blood in Rome's great quarrel shed;
For all the frosty nights that I have watch'd;
And for these bitter tears, which now you see
Filling the aged wrinkles in my cheeks;
Be pitiful to my condemned sons,
Whose souls are not corrupted as 'tis thought.
For two and twenty sons I never wept,
Because they died in honour's lofty bed.
Lieth down; the Judges, & c., pass by him, and Exeunt
For these, these, tribunes, in the dust I write
My heart's deep languor and my soul's sad tears:
Let my tears stanch the earth's dry appetite;
My sons' sweet blood will make it shame and blush.
O earth, I will befriend thee more with rain,
That shall distil from these two ancient urns,
Than youthful April shall with all his showers:
In summer's drought I'll drop upon thee still;
In winter with warm tears I'll melt the snow
And keep eternal spring-time on thy face,
So thou refuse to drink my dear sons' blood.
Enter LUCIUS, with his sword drawn
O reverend tribunes! O gentle, aged men!
Unbind my sons, reverse the doom of death;
And let me say, that never wept before,
My tears are now prevailing orators.
LUCIUS
O noble father, you lament in vain:
The tribunes hear you not; no man is by;
And you recount your sorrows to a stone.
TITUS ANDRONICUS
Ah, Lucius, for thy brothers let me plead.
Grave tribunes, once more I entreat of you,--
LUCIUS
My gracious lord, no tribune hears you speak.
TITUS ANDRONICUS
Why, tis no matter, man; if they did hear,
They would not mark me, or if they did mark,
They would not pity me, yet plead I must;
Therefore I tell my sorrows to the stones;
Who, though they cannot answer my distress,
Yet in some sort they are better than the tribunes,
For that they will not intercept my tale:
When I do weep, they humbly at my feet
Receive my tears and seem to weep with me;
And, were they but attired in grave weeds,
Rome could afford no tribune like to these.
A stone is soft as wax,--tribunes more hard than stones;
A stone is silent, and offendeth not,
And tribunes with their tongues doom men to death.
Rises
But wherefore stand'st thou with thy weapon drawn?
LUCIUS
To rescue my two brothers from their death:
For which attempt the judges have pronounced
My everlasting doom of banishment.
TITUS ANDRONICUS
O happy man! they have befriended thee.
Why, foolish Lucius, dost thou not perceive
That Rome is but a wilderness of tigers?
Tigers must prey, and Rome affords no prey
But me and mine: how happy art thou, then,
From these devourers to be banished!
But who comes with our brother Marcus here?
Enter MARCUS and LAVINIA
Wednesday, October 19, 2011
寓言二
醫諭
【原文】
一邑之醫舉十人，一人實能，而九人名不能。能者常任醫，不能者常任人。任醫者如何？曰：「某病也，是必砭；某病也，是必藥。」曰：「砭楚而藥苦奈何？」曰：「病必砭藥而已，如為置楚苦，則死未可諱也。」任人者如何？曰：「某病也，是宜砭；某病也，是宜藥。」曰：「砭甚楚，如可藥，易之。」曰：「是亦藥可也，惡在其砭？」曰：「藥甚苦，且奈何？」曰：「是亦有甘者爾，惡在其必苦？」以故而不能者常為用，能者常不用。
他日，邑長病，疇咨左右而可者，召其九人之一人焉，更數月而病無損，又召其一人焉，則又無損。更五六而不及能者。然後歎曰：「邑無醫，後之者不尚前，不若復召初為者。」已而召之。
噫！是人也，何不思？使其有可療之道，則前固用之矣，不待數月後，徒已也。如為無益，雖召之，將如病何？
一日困且憊，其子有為能者言，則罵之曰：「醫召固在我，是故惡出夫彼？」吁！乃人也，何其瘳，其於未死也幸！
udn部落格 http://blog.udn.com/ku0315ku/2082053#ixzz1bElmwapj
【原文】
一邑之醫舉十人，一人實能，而九人名不能。能者常任醫，不能者常任人。任醫者如何？曰：「某病也，是必砭；某病也，是必藥。」曰：「砭楚而藥苦奈何？」曰：「病必砭藥而已，如為置楚苦，則死未可諱也。」任人者如何？曰：「某病也，是宜砭；某病也，是宜藥。」曰：「砭甚楚，如可藥，易之。」曰：「是亦藥可也，惡在其砭？」曰：「藥甚苦，且奈何？」曰：「是亦有甘者爾，惡在其必苦？」以故而不能者常為用，能者常不用。
他日，邑長病，疇咨左右而可者，召其九人之一人焉，更數月而病無損，又召其一人焉，則又無損。更五六而不及能者。然後歎曰：「邑無醫，後之者不尚前，不若復召初為者。」已而召之。
噫！是人也，何不思？使其有可療之道，則前固用之矣，不待數月後，徒已也。如為無益，雖召之，將如病何？
一日困且憊，其子有為能者言，則罵之曰：「醫召固在我，是故惡出夫彼？」吁！乃人也，何其瘳，其於未死也幸！
udn部落格 http://blog.udn.com/ku0315ku/2082053#ixzz1bElmwapj
寓言
道旁老父言
【原文】
道旁老父，髯而黑瘠，天甚寒，衣破上而露下，王子遇而嗟之。
父曰：「小子何為嗟？」答曰：「翁耆矣，衣食不足以勝寒餓，筋力已疲，不能得日休。小子不肖，竊有志，故敢以嗟。」
父曰：「子來前，吾語爾！夫畜者求食芻，犬者懷菹。然則尸之者，宜若然耶！且不知吾輩又尸之誰也。無乃亦宜牛馬其思歟？」答曰：「太平之世，明天子在上，四民各獲其利，衣食所不及者，遊惰之民爾。雖然，公胡為至是？」父曰：「時運凶，有田不足以償租負，子孫散去，不能見保。然則老人者尚有罪耶？」
謝之曰：「公無多冤，歲饑爾，奈之何！」父怒曰：「饑可罪耶？授人之羊，匪牧是思；十羊而來，九皮而歸，曰羊病死，奚牧之非，然則可乎？小子未可與語也，又何志之有耶！」投其杖而去。追而謝之，弗復應。
udn部落格 http://blog.udn.com/ku0315ku/2082053#ixzz1bElmwapj
【原文】
道旁老父，髯而黑瘠，天甚寒，衣破上而露下，王子遇而嗟之。
父曰：「小子何為嗟？」答曰：「翁耆矣，衣食不足以勝寒餓，筋力已疲，不能得日休。小子不肖，竊有志，故敢以嗟。」
父曰：「子來前，吾語爾！夫畜者求食芻，犬者懷菹。然則尸之者，宜若然耶！且不知吾輩又尸之誰也。無乃亦宜牛馬其思歟？」答曰：「太平之世，明天子在上，四民各獲其利，衣食所不及者，遊惰之民爾。雖然，公胡為至是？」父曰：「時運凶，有田不足以償租負，子孫散去，不能見保。然則老人者尚有罪耶？」
謝之曰：「公無多冤，歲饑爾，奈之何！」父怒曰：「饑可罪耶？授人之羊，匪牧是思；十羊而來，九皮而歸，曰羊病死，奚牧之非，然則可乎？小子未可與語也，又何志之有耶！」投其杖而去。追而謝之，弗復應。
udn部落格 http://blog.udn.com/ku0315ku/2082053#ixzz1bElmwapj
Monday, October 17, 2011
democracy 3.0
I read a discussion thread about the modern history of China. It was mainly focused on the contrast between revolution(革命) and progression(改革). As the discussion thread said, since 1989, June 4th, the contrast started to generate debate in Mainland China. As time went on, the elite intellect circle started to shift from revolution to progression by studying history. At the time of 100 years celebration of Chinese overthrowing Huang Di system, such notion becomes more distinguished. The revolution one hundred years ago was belittled.
My thought on it was that, revolution was and will never be any single person, or organization's doing. A human being, or organizations may preach it, though they cannot guarantee such a spark, nor can they handle or direct the flow of revolution.
Progression on the other hands, are in the hands of elite intellect and government. Both government and elite intellect can actually do something to progress the society, culture, and government.
One of the people replied the thread said that USA and Europe are now in progress to the democracy 3.0, as compared to Mainland China, as it is at democracy 0.5. I think it is quite interesting. As the preaching of democracy, freedom, human rights, equality, has been over a century. Would this be a time of transformation? There are two direction, either ideological bubble being bursted, or being transformed.
Or we could keep trying to dig deeper, what does it really matter?
My thought on it was that, revolution was and will never be any single person, or organization's doing. A human being, or organizations may preach it, though they cannot guarantee such a spark, nor can they handle or direct the flow of revolution.
Progression on the other hands, are in the hands of elite intellect and government. Both government and elite intellect can actually do something to progress the society, culture, and government.
One of the people replied the thread said that USA and Europe are now in progress to the democracy 3.0, as compared to Mainland China, as it is at democracy 0.5. I think it is quite interesting. As the preaching of democracy, freedom, human rights, equality, has been over a century. Would this be a time of transformation? There are two direction, either ideological bubble being bursted, or being transformed.
Or we could keep trying to dig deeper, what does it really matter?
thoughts after a few trailers
I watched some trailers introducing different classes in diablo 3. I only have one thought, all the classes are actually just one class, wizard. Even the barbaric is a wizard! The only difference is different branches of wizardry.
This is a disappointment. I keep thinking about how to make a game with real physical fighting and distance fighting, plus magic fighting. But by watching these trailers, it is understandable that this would be a very hard task. First, the difficulty is how to balance? Second, how magical is magic fighting? Third, how to make a world that could contain magic and physical balance, should there be a law govern both of them? Or maybe magic could be above that law?
This is a disappointment. I keep thinking about how to make a game with real physical fighting and distance fighting, plus magic fighting. But by watching these trailers, it is understandable that this would be a very hard task. First, the difficulty is how to balance? Second, how magical is magic fighting? Third, how to make a world that could contain magic and physical balance, should there be a law govern both of them? Or maybe magic could be above that law?
Sunday, October 16, 2011
歌曲源流
送別
作詞: 李叔同
作曲: J·P·奧德威（John Pond Ordway）
長亭外
古道邊
芳草碧連天
晚風拂柳笛聲殘
夕陽山外山
天之涯
地之角
知交半零落
一觚濁酒盡餘歡
今宵別夢寒
這首歌曲的調子是十九世紀一個美國人 J·P·奧德威（John Pond Ordway） 所作的, 原題是 Dreaming of Home and Mother. 這首歌流傳到日本後, 在 1907 年由日本音樂家犬童球溪重新填上日文歌詞, 作成 "旅愁" 在日本廣泛傳唱. 李叔同君是在 1905 到 1910 在日本留學. 大概也是在那時接觸到這首歌曲. 民國四年, 李君在浙江省立第一師範學校任教時便以J·P·奧德威的曲調配上中文歌詞，作成了在中國傳頌至今的《送別》一歌。
很小的時候, 母親買給我們李叔同大師音樂錄音帶. 送別也是其中的一首. 這首歌後來也在學校的音樂課本裡. 至於啥時學會唱這首歌, 實在是不記得了. 其實, 在其他母親買的兒童歌謠錄音帶裡也有這首歌. 我一直都知道這首歌是李叔同君作的. 大概是今年吧, 我從圖書館租了一片光碟, 叫做, Burmese Harp, 一個日本二戰片. 是一部反戰片. 第一首出現在這部電影的歌曲就是 "旅愁". 我滿吃驚的. 我想是否日本人聽到李君的歌曲, 再加以改編. 但是, 稍微查找之下, 才發現剛好相反. 但是, 最驚訝的還是查到發現原作曲人是美國人. 看完電影後, 不知道為啥, 那裡面的歌曲我幾乎都很熟悉. 其中還有 home sweet home 也是從歐美來的老歌, 日文歌題為, "埴生の宿" ("Hanyū no Yado"?) ("My Humble Cottage"), 中文歌名是 可愛的家庭. 電影裡其他曲目我幾乎都可以跟著哼. 有時侯, 就在最驚訝的地方發現, 到底我以為是中國的文化和歐美日有多接近!
這首歌曲有趣的地方是原歌曲在美國反而無人知道. 但是在中日到現在都是耳熟能詳. 另外, 我在大陸的網站上, 歌詞都只有我上面錄的. 但是, 我發現在臺灣的介紹, 還有第二部份:
韶光逝，留無計，今日卻分袂，
驪歌一曲送別離，相顧卻依依。
聚雖好，別雖悲，世事堪玩味，
來日後會相予期，去去莫遲疑。
這是我在臺灣時沒聽過的. 我很懷疑這是否李君所作... 歌詞在意境上沒有第一部份好, 有點畫蛇添足的感覺.
Original lyrics:
Dreaming of Home and Mother
John Pond Ordway
DREAMING OF HOME AND MOTHER
(John P Ordway)
Dreaming of home, dear old home!
Home of my childhood and mother;
Oft when I wake 'tis sweet to find
I've been dreaming of home and mother.
Home dear home, childhood's happy home!
Where I played with sister and with brother.
'Twas the sweetest joy when we did roam,
Over hill and thru' dale with mother.
Chorus:
Dreaming of home, dear old home!
Home of my childhood and mother;
Oft when I wake 'tis sweet to find
I've been dreaming of home and mother.
Sleep, balmy sleep, close mine eyes.
Keep me still thinking of mother,
Hark 'tis her voice I seem to hear,
Yes, I'm dreaming of home and mother.
Angels come, soothing me to rest,
I can feel their presence as no other;
For they sweetly say I shall be blest
With bright visions of home and mother.
(http://mudcat.org/thread.cfm?threadid=32679)
註: 韓國人好像也很喜歡這首歌曲! :)
註二: 我看維基的說明是犬童球溪君和李君都有對曲調有稍微修改, 我本來是不想提的. 但是, 當我試著唱英文歌詞的時候, 卻有點困難. 我也不知道微改之說是否屬實, 我還是放在這裡吧. 但是想來我的五音不全更是問題....lol
作詞: 李叔同
作曲: J·P·奧德威（John Pond Ordway）
長亭外
古道邊
芳草碧連天
晚風拂柳笛聲殘
夕陽山外山
天之涯
地之角
知交半零落
一觚濁酒盡餘歡
今宵別夢寒
這首歌曲的調子是十九世紀一個美國人 J·P·奧德威（John Pond Ordway） 所作的, 原題是 Dreaming of Home and Mother. 這首歌流傳到日本後, 在 1907 年由日本音樂家犬童球溪重新填上日文歌詞, 作成 "旅愁" 在日本廣泛傳唱. 李叔同君是在 1905 到 1910 在日本留學. 大概也是在那時接觸到這首歌曲. 民國四年, 李君在浙江省立第一師範學校任教時便以J·P·奧德威的曲調配上中文歌詞，作成了在中國傳頌至今的《送別》一歌。
很小的時候, 母親買給我們李叔同大師音樂錄音帶. 送別也是其中的一首. 這首歌後來也在學校的音樂課本裡. 至於啥時學會唱這首歌, 實在是不記得了. 其實, 在其他母親買的兒童歌謠錄音帶裡也有這首歌. 我一直都知道這首歌是李叔同君作的. 大概是今年吧, 我從圖書館租了一片光碟, 叫做, Burmese Harp, 一個日本二戰片. 是一部反戰片. 第一首出現在這部電影的歌曲就是 "旅愁". 我滿吃驚的. 我想是否日本人聽到李君的歌曲, 再加以改編. 但是, 稍微查找之下, 才發現剛好相反. 但是, 最驚訝的還是查到發現原作曲人是美國人. 看完電影後, 不知道為啥, 那裡面的歌曲我幾乎都很熟悉. 其中還有 home sweet home 也是從歐美來的老歌, 日文歌題為, "埴生の宿" ("Hanyū no Yado"?) ("My Humble Cottage"), 中文歌名是 可愛的家庭. 電影裡其他曲目我幾乎都可以跟著哼. 有時侯, 就在最驚訝的地方發現, 到底我以為是中國的文化和歐美日有多接近!
這首歌曲有趣的地方是原歌曲在美國反而無人知道. 但是在中日到現在都是耳熟能詳. 另外, 我在大陸的網站上, 歌詞都只有我上面錄的. 但是, 我發現在臺灣的介紹, 還有第二部份:
韶光逝，留無計，今日卻分袂，
驪歌一曲送別離，相顧卻依依。
聚雖好，別雖悲，世事堪玩味，
來日後會相予期，去去莫遲疑。
這是我在臺灣時沒聽過的. 我很懷疑這是否李君所作... 歌詞在意境上沒有第一部份好, 有點畫蛇添足的感覺.
Original lyrics:
Dreaming of Home and Mother
John Pond Ordway
DREAMING OF HOME AND MOTHER
(John P Ordway)
Dreaming of home, dear old home!
Home of my childhood and mother;
Oft when I wake 'tis sweet to find
I've been dreaming of home and mother.
Home dear home, childhood's happy home!
Where I played with sister and with brother.
'Twas the sweetest joy when we did roam,
Over hill and thru' dale with mother.
Chorus:
Dreaming of home, dear old home!
Home of my childhood and mother;
Oft when I wake 'tis sweet to find
I've been dreaming of home and mother.
Sleep, balmy sleep, close mine eyes.
Keep me still thinking of mother,
Hark 'tis her voice I seem to hear,
Yes, I'm dreaming of home and mother.
Angels come, soothing me to rest,
I can feel their presence as no other;
For they sweetly say I shall be blest
With bright visions of home and mother.
(http://mudcat.org/thread.cfm?threadid=32679)
註: 韓國人好像也很喜歡這首歌曲! :)
註二: 我看維基的說明是犬童球溪君和李君都有對曲調有稍微修改, 我本來是不想提的. 但是, 當我試著唱英文歌詞的時候, 卻有點困難. 我也不知道微改之說是否屬實, 我還是放在這裡吧. 但是想來我的五音不全更是問題....lol
Saturday, October 15, 2011
Old english song
Home sweet home:
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home;
A charm from the sky seems to hallow us there,
Which, seek through the world, is ne'er met with elsewhere.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
An exile from home, splendor dazzles in vain;
Oh, give me my lowly thatched cottage again!
The birds singing gayly, that come at my call --
Give me them -- and the peace of mind, dearer than all!
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
I gaze on the moon as I tread the drear wild,
And feel that my mother now thinks of her child,
As she looks on that moon from our own cottage door
Thro' the woodbine, whose fragrance shall cheer me no more.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
How sweet 'tis to sit 'neath a fond father's smile,
And the caress of a mother to soothe and beguile!
Let others delight mid new pleasures to roam,
But give me, oh, give me, the pleasures of home.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
To thee I'll return, overburdened with care;
The heart's dearest solace will smile on me there;
No more from that cottage again will I roam;
Be it ever so humble, there's no place like home.
Home, home, sweet, sweet, home!
There's no place like home, oh, there's no place like home!
"Home! Sweet Home!" (also known as "Home, Sweet Home") is a song that has remained well-known for over 150 years. Adapted from American actor and dramatist John Howard Payne's 1823 opera Clari, Maid of Milan, the song's melody was composed by Englishman Sir Henry Bishop with lyrics by Payne. The opening lines
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home;
have become famous.
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home;
A charm from the sky seems to hallow us there,
Which, seek through the world, is ne'er met with elsewhere.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
An exile from home, splendor dazzles in vain;
Oh, give me my lowly thatched cottage again!
The birds singing gayly, that come at my call --
Give me them -- and the peace of mind, dearer than all!
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
I gaze on the moon as I tread the drear wild,
And feel that my mother now thinks of her child,
As she looks on that moon from our own cottage door
Thro' the woodbine, whose fragrance shall cheer me no more.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
How sweet 'tis to sit 'neath a fond father's smile,
And the caress of a mother to soothe and beguile!
Let others delight mid new pleasures to roam,
But give me, oh, give me, the pleasures of home.
Home, home, sweet, sweet home!
There's no place like home, oh, there's no place like home!
To thee I'll return, overburdened with care;
The heart's dearest solace will smile on me there;
No more from that cottage again will I roam;
Be it ever so humble, there's no place like home.
Home, home, sweet, sweet, home!
There's no place like home, oh, there's no place like home!
"Home! Sweet Home!" (also known as "Home, Sweet Home") is a song that has remained well-known for over 150 years. Adapted from American actor and dramatist John Howard Payne's 1823 opera Clari, Maid of Milan, the song's melody was composed by Englishman Sir Henry Bishop with lyrics by Payne. The opening lines
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home;
have become famous.
What is?
What is fate? Fate is something a person cannot escape emotionally. The emotion here is contrasted with reason. Many times though, a reasonable outside appearance is actually an emotion. To satisfy one's reason obsessively or to the extreme point, is an emotion at the end.
Wednesday, October 12, 2011
較貪
弘農子遊汴山之陰，遇鄉叟，巾不完，屨不全，負薪仰天，吁而復號。
因就訊諸: 「抑喪而未備乎？ 抑有冤而莫訴乎？ 何聲之哀而情之苦耶？」
叟致薪而泣曰：「逋助軍之賦，男獄於縣，絕糧者三日矣，今將省之。 前日之逋，已貨其耕犢矣。 昨日之逋，又質其少女矣。 今田瘠而頻播之莫稔，貨之靡售。 且以為助軍之用，豈一一於軍哉？ 今十未有二三及於戎費，餘悉為外用。 又黠吏貪官，盈縮萬變。 去無所資，住無所資。 非敢懷生，奈不死何？」
弘農子聞其言，且助其歎。 退而省， 於世萬類中最為民害者，莫若虎之暴， 將賦之以警貪吏， 庶少救民病。
是夕， 夢鷙獸而人言曰： 「爾欲警於貪，將以吾為首。 雖爾之潔，奈辱我之甚乎？」
余曰： 「賊人之畜，以自飽腹。 爾不為貪哉？」
獸曰：「不豢不農，何以給生？苟不捕野，無實吾嗛。吾以其饑而求實之，苟或一飽，則晏然匿跡，不為謀矣。 豈爾曹智以役物，豢之, 畜之，畋之, 漁之，以給其茹也; 桑之, 育之, 經之, 營之，以供其用也。 一物之可求，一貨之可圖， 汲汲為謀，孜孜繫心。 如壑如溪，莫滿莫盈。 豈與君獲一飽，則晏然熟寢，而欲比方哉？」
弘農子驚而寤，諦而思。 若然，則人不如獸也遠矣。
文苑英華, 和 全唐文
因就訊諸: 「抑喪而未備乎？ 抑有冤而莫訴乎？ 何聲之哀而情之苦耶？」
叟致薪而泣曰：「逋助軍之賦，男獄於縣，絕糧者三日矣，今將省之。 前日之逋，已貨其耕犢矣。 昨日之逋，又質其少女矣。 今田瘠而頻播之莫稔，貨之靡售。 且以為助軍之用，豈一一於軍哉？ 今十未有二三及於戎費，餘悉為外用。 又黠吏貪官，盈縮萬變。 去無所資，住無所資。 非敢懷生，奈不死何？」
弘農子聞其言，且助其歎。 退而省， 於世萬類中最為民害者，莫若虎之暴， 將賦之以警貪吏， 庶少救民病。
是夕， 夢鷙獸而人言曰： 「爾欲警於貪，將以吾為首。 雖爾之潔，奈辱我之甚乎？」
余曰： 「賊人之畜，以自飽腹。 爾不為貪哉？」
獸曰：「不豢不農，何以給生？苟不捕野，無實吾嗛。吾以其饑而求實之，苟或一飽，則晏然匿跡，不為謀矣。 豈爾曹智以役物，豢之, 畜之，畋之, 漁之，以給其茹也; 桑之, 育之, 經之, 營之，以供其用也。 一物之可求，一貨之可圖， 汲汲為謀，孜孜繫心。 如壑如溪，莫滿莫盈。 豈與君獲一飽，則晏然熟寢，而欲比方哉？」
弘農子驚而寤，諦而思。 若然，則人不如獸也遠矣。
文苑英華, 和 全唐文
Tuesday, October 11, 2011
vinegar instead salt
I read a tip from cook's illustrated. It said:
"That every cooks seasons with salt, which works as enhancer of flavors mainly by suppressing our perception of bitterness."
Then it goes on to say that vinegar or lemon juice has the same effect. Use even just white vinegar with only 6% acidity, it will make the dish more flavorful by competing with the bitter flavor compounds with the same taste buds on the tongue. You can also substitute with red wine vinegar, or other varieties of vinegar. Adding about 1/8 teaspoon, it could further reduce the intake of salt in your diet.
But I need to check if vinegar did not contain any salt... The salt percentage in Chinese rice cooking wine is quite high actually. So I am thinking maybe some other vinegar or similar product may have salt added.
"That every cooks seasons with salt, which works as enhancer of flavors mainly by suppressing our perception of bitterness."
Then it goes on to say that vinegar or lemon juice has the same effect. Use even just white vinegar with only 6% acidity, it will make the dish more flavorful by competing with the bitter flavor compounds with the same taste buds on the tongue. You can also substitute with red wine vinegar, or other varieties of vinegar. Adding about 1/8 teaspoon, it could further reduce the intake of salt in your diet.
But I need to check if vinegar did not contain any salt... The salt percentage in Chinese rice cooking wine is quite high actually. So I am thinking maybe some other vinegar or similar product may have salt added.
quotation
Aristotle's Challenge
Anyone can become angry--that is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way--this is not easy.
--Aristotle, The Nicomachean Ethics
quote from emotional intelligent
Anyone can become angry--that is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way--this is not easy.
--Aristotle, The Nicomachean Ethics
quote from emotional intelligent
Saturday, October 08, 2011
a movie song
"Que Sera, Sera" by Doris Day
from THE MAN WHO KNEW TOO MUCH (1956)
words by Ray Evans and music by Jay Livingston
When I was just a little girl
I asked my mother
What will I be?
Will I be pretty?
Will I be rich?
Here's what she said to me:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
When I grew up and fell in love
I asked my sweetheart
What lies ahead?
Will we have rainbows
Day after day?
Here's what my sweetheart said:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
Now I have children of my own.
They ask their mother,
What will I be?
Will I be handsome?
Will I be rich?
I tell them tenderly:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
Que sera, sera.
from THE MAN WHO KNEW TOO MUCH (1956)
words by Ray Evans and music by Jay Livingston
When I was just a little girl
I asked my mother
What will I be?
Will I be pretty?
Will I be rich?
Here's what she said to me:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
When I grew up and fell in love
I asked my sweetheart
What lies ahead?
Will we have rainbows
Day after day?
Here's what my sweetheart said:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
Now I have children of my own.
They ask their mother,
What will I be?
Will I be handsome?
Will I be rich?
I tell them tenderly:
Que sera, sera.
Whatever will be, will be.
The future's not ours to see.
Que sera, sera.
What will be, will be.
Que sera, sera.
Thursday, October 06, 2011
抄錄
懷念兩位中學老師
琦君
五四新文藝運動時, 我尚是幼年. 一轉眼, "五四" 已經是七十週年紀念了. 我一面驚嘆光陰之易逝, 一面也欣幸自己能在讀了些許古典文學之後, 接受新文學的洗禮. 數十年來, 寫作未敢稍懈. 於尚堪自慰下, 不由得懷念起初中時代, 一新一舊的兩位國文老師.
我自幼在閉塞的鄉村, 跟塾師讀點古書, 從沒聽過 "五四" 這個名詞, 更莫說什麼新文藝運動了. 十二歲到杭州, 考進女子中學, 才在開學典禮中, 聽訓導主任提起五四精神, 也不太懂事什麼意思. 問同學, 同學說: "五四就是白話文運動, 大家不要讀古文, 要讀白話文, 寫白話文." 我聽了好開心, 我讀厭了古文, 只想讀白話文調劑一下呢.
第一天上國文課, 老師是位老先生, 非常和氣. 點到我的名字時, 從老花眼鏡上面望著我說: "你入學考試的算術只有五分, 但是你的作文九十五分, 文言文寫的很好, 所以就錄取了你." 全班同學都朝我看, 我羞的把頭低垂到胸前. 但為了討老師喜歡, 以後作文都作文言, 老師每回都是密密麻麻地加圈, 其實全是些 "之乎者也" 的現成套語, 一點心裡的意思都說不出來.
老師姓馮, 大家背地裡喊他馮老頭. 我說老頭兒的文言字眼是 "翁" 字, 應當喊他 "馮翁" 表示尊敬, 於是大家就 "馮翁馮翁" 地喊他, 他也很高興. 他樣樣隨和, 只有固執一見事, 就是作文一定要作文言, 寫白話的只得十分. 文言夾白話扣二十分, 見一個 "的" 字扣一分, 同學們又氣又緊張. 有一個新小說看得很多的同學不服氣地說: "先生為什麼一定要我們作老掉大牙的文言文? 現在是五四新文藝運動以後了. 胡適之先生說的 "我手寫我口" 這才是語文合一呀." 老師說: "五四, 五四, 五四把我們自古以來琅琅的文章都破壞了, 我問你, 古文你會背, 白話文你能背嗎? 舊詩你也能背, 新詩能背嗎? 恐怕連作的人自己都被不出來. 白話文就等於說話, 有什麼難?" 另有一位同學說: "難的很呢? 紅樓夢, 水滸傳, 鏡花緣不都是白話文嗎? 老師您也寫不出來呀." 老師反而噗嗤笑了. 他說: "那是小說呀, 但小說也有文言的, 聊齋是文言的, 那些鬼故事多有趣? 還有你們看得眼淚直流的玉梨魂, 斷鴻零雁記不都是文言的嗎? 怎麼非要白話才是好呢?" 搞得我們啞口無言.
馮老師又鄭重地對我們說: "我不是反對白話, 白話就是通俗化, 文言就是文雅. 用筆寫的總要比口裡說的文雅, 才叫作文章. 我要你們趁年紀小, 記性好, 先把古文古詩詞多背一點, 打好底子, 以後寫白話就比較文雅了. 你們知道嗎?"
那個頑皮同學輕聲地說: "我們知道, 老師肚子裡都是古書, 所以變成個古 (鼓) 肚子." 全班同學都拍手大笑, 幸得老師耳朵聾, 沒聽見. 又得意地說: "我是同進士出身, 四書五經連注都會背, 差點見到皇帝呢." 頑皮同學這回大聲地說: "老師是銅進士, 我們將來就是鐵進士了." 老師哈哈大笑說: "對, 鐵進士, 我真是拿你們恨鐵不成鋼."
我一邊笑一邊心裡很難過, 明明知道老師很愛我們, 為什麼同學這樣開玩笑, 我望著他光禿禿的頭頂上三兩根白髮飄呀飄的, 眼淚都要掉下來了. 回家告訴父親, 父親連連搖頭說: "不成話, 不成話, 你這位馮老師太好說話, 若是我就全體罰站." 我說: "爸, 我並沒頑皮, 只不過跟著拍手." 父親說: "拍手也不可以, 你應該站起來說, 對老師要尊敬, 大家不可以這樣." 我低下頭說: "我沒這樣的勇氣, 我有不是班長, 大家會生我氣的." 父親說: "對的事就要做, 不要怕別人生氣." 我不在作聲了, 我知道父親教我的話是對的, 也知道馮老師是位有學問的好老師. 以後我只私下跟幾位要好的同學說, 我們要聽馮老師的話, 好好背書, 好好作文. 初一初二兩年, 我們背熟了不少古文, 大家都學會了淺近的文言文, 不能不感激馮老師.
初中三換了一位吳老師, 他是新派人物, 無論西裝長袍, 都是風度翩翩, 令我們耳目一新. 尤其是一手黑板字, 龍飛鳳舞, 跟馮老師一點一劃必恭必敬的完全不一樣. 頭一天上課, 他發給我們一張課外讀物的書單, 又講了讀書的方法, 他說: "讀書一定要作筆記, 手到自然眼到心到了. 口倒不一定要到, 有時默讀反而快. 讀後鈔下自己喜歡的段落句子, 摘錄大意, 記下作者語書名, 寫點自己的感想, 這本書就成了你的朋友了." 我們覺得好難啊! 初三畢業時要全國會考, 功課繁重, 那裡會花那麼多時間看課外書? 吳老師說: "我只是告訴你們怎麼讀書, 不是逼你們現在都要讀. 書單上由你們自由選擇, 看幾本都沒關係." 他真是自由派.
我把書單拿會去給父親看. 他看第一本是 "飲冰室文集", 點點頭說: "好." 在看下去有郁達夫的 "沉淪", 魯迅的 "吶喊", "徬徨". 馬上生氣地說: "這是什麼書? 什麼沉淪又吶喊的, 亂七八糟. 老師怎麼叫你們看這種書?" 我說: "這都是五四新文學的代表作. 他說新的舊的都要看, 才跟得上時代!" 父親厲聲地說: "你不要多講, 我聽說過, 胡適搞文學革命, 要打倒孔家店, 提倡白話文. 可是你知道嗎? 他自己古書先讀過通了, 卻叫年輕人不要讀. 這怎麼可以?" 我說: "爸, 您不要生氣, 胡先生沒有叫我們不要讀古書. 老師說他很有創新的腦筋, 能引發新觀念. 生在什麼時代, 就要有那時代的感覺, 不同的感覺與思想, 就會寫出不同的文章, 老師說這是自然的現象. 比如六朝人寫駢文, 唐宋人寫散文, 唐朝是詩, 宋朝是詞, 元朝是曲, 現在就要寫白話, 這是進步....." 父親聽著聽著, 忽然笑起來說: "你們這位著西裝的老師會作詩嗎?" 我說: "我想一定會的, 因為他也背好多詩詞, 還有對子. 有一次他在黑板上寫了一副對子: [松下圍棋, 松子每隨棋子落; 柳邊垂釣, 柳絲常隨釣絲懸.] 爸, 您覺得好嗎?" 父親說: "對仗很工整, 但不算好對子." 父親總是很苛求, 吳老師說這兩句對子, 短短二十二個字, 寫出古時候讀書人悠閒的情趣, 是很難得的. 但他不主張我們老是背舊詩詞, 要多讀新文藝作品, 培養新觀念. 他說五四的精神不只是文學的革新, 同時也是思想上的開放自由. 他解釋胡適之先生的提倡白話文, 不但不會破壞古文的價值, 反而會因白話文的廣泛運用, 使中國傳統文學發揚光大. 這些話都是以前馮老師沒講過的, 聽得我們好高興. 吳老師鼓勵我們看新文學小說, 他說: "小說反應時代, 是社會現象的寫照. 寫得好的, 其文學價值和詩經楚辭是一樣的." 我如果把這些話轉述給父親聽, 他又會大嘆氣.
春假中, 吳老師帶我們去蘇堤踏青, 週六的作文題是 "桃花開了的時候". 全班同學都靈感充沛, 振筆疾書. 我居然學著盧隱的筆調, 寫了一篇小說, 老師當然讚不絕口. 我不敢給父親看, 只告訴他題目. 父親沉吟了半晌, 說: "一個題目裡, 就有一個 [了] 字, 一個 [的] 字, 還多了一個 [候] 字, 其實只要 [桃花開時] 不就好了嗎?" 我說: "不一樣啊! [桃花開時] 四個自一點也不活潑. 原來的 [桃花開了] 是一種快樂的驚嘆, 加了 [的時候] 就可以包含一段有趣的故事, 或一點感想, 不是很好嗎? 爸, 您不是作過兩句詩嗎? [我與桃花曾有約, 明年此日再相逢.] 也就是[桃花開了的時候] 呀!" 父親不禁拊掌大笑起來.
我心裡好快樂, 因為我知道父親不再固執, 他欽佩我以前的馮老師, 也欣賞現在的吳老師. 我不再矛盾, 不用擔心新與舊的不能融合了.
由於早年這兩位老師熱心的啟迪, 幾十年來, 我總是抱持一分 "不薄今人愛古人" 的虔誠心意, 從事創作.
原載民國七十八年五月號 "文訊"
民國七十八年六月二十日 "世界日報" 副刊轉載
選自 "一襲青杉萬縷情" (爾雅)
(錄自自豪與自幸)
琦君
五四新文藝運動時, 我尚是幼年. 一轉眼, "五四" 已經是七十週年紀念了. 我一面驚嘆光陰之易逝, 一面也欣幸自己能在讀了些許古典文學之後, 接受新文學的洗禮. 數十年來, 寫作未敢稍懈. 於尚堪自慰下, 不由得懷念起初中時代, 一新一舊的兩位國文老師.
我自幼在閉塞的鄉村, 跟塾師讀點古書, 從沒聽過 "五四" 這個名詞, 更莫說什麼新文藝運動了. 十二歲到杭州, 考進女子中學, 才在開學典禮中, 聽訓導主任提起五四精神, 也不太懂事什麼意思. 問同學, 同學說: "五四就是白話文運動, 大家不要讀古文, 要讀白話文, 寫白話文." 我聽了好開心, 我讀厭了古文, 只想讀白話文調劑一下呢.
第一天上國文課, 老師是位老先生, 非常和氣. 點到我的名字時, 從老花眼鏡上面望著我說: "你入學考試的算術只有五分, 但是你的作文九十五分, 文言文寫的很好, 所以就錄取了你." 全班同學都朝我看, 我羞的把頭低垂到胸前. 但為了討老師喜歡, 以後作文都作文言, 老師每回都是密密麻麻地加圈, 其實全是些 "之乎者也" 的現成套語, 一點心裡的意思都說不出來.
老師姓馮, 大家背地裡喊他馮老頭. 我說老頭兒的文言字眼是 "翁" 字, 應當喊他 "馮翁" 表示尊敬, 於是大家就 "馮翁馮翁" 地喊他, 他也很高興. 他樣樣隨和, 只有固執一見事, 就是作文一定要作文言, 寫白話的只得十分. 文言夾白話扣二十分, 見一個 "的" 字扣一分, 同學們又氣又緊張. 有一個新小說看得很多的同學不服氣地說: "先生為什麼一定要我們作老掉大牙的文言文? 現在是五四新文藝運動以後了. 胡適之先生說的 "我手寫我口" 這才是語文合一呀." 老師說: "五四, 五四, 五四把我們自古以來琅琅的文章都破壞了, 我問你, 古文你會背, 白話文你能背嗎? 舊詩你也能背, 新詩能背嗎? 恐怕連作的人自己都被不出來. 白話文就等於說話, 有什麼難?" 另有一位同學說: "難的很呢? 紅樓夢, 水滸傳, 鏡花緣不都是白話文嗎? 老師您也寫不出來呀." 老師反而噗嗤笑了. 他說: "那是小說呀, 但小說也有文言的, 聊齋是文言的, 那些鬼故事多有趣? 還有你們看得眼淚直流的玉梨魂, 斷鴻零雁記不都是文言的嗎? 怎麼非要白話才是好呢?" 搞得我們啞口無言.
馮老師又鄭重地對我們說: "我不是反對白話, 白話就是通俗化, 文言就是文雅. 用筆寫的總要比口裡說的文雅, 才叫作文章. 我要你們趁年紀小, 記性好, 先把古文古詩詞多背一點, 打好底子, 以後寫白話就比較文雅了. 你們知道嗎?"
那個頑皮同學輕聲地說: "我們知道, 老師肚子裡都是古書, 所以變成個古 (鼓) 肚子." 全班同學都拍手大笑, 幸得老師耳朵聾, 沒聽見. 又得意地說: "我是同進士出身, 四書五經連注都會背, 差點見到皇帝呢." 頑皮同學這回大聲地說: "老師是銅進士, 我們將來就是鐵進士了." 老師哈哈大笑說: "對, 鐵進士, 我真是拿你們恨鐵不成鋼."
我一邊笑一邊心裡很難過, 明明知道老師很愛我們, 為什麼同學這樣開玩笑, 我望著他光禿禿的頭頂上三兩根白髮飄呀飄的, 眼淚都要掉下來了. 回家告訴父親, 父親連連搖頭說: "不成話, 不成話, 你這位馮老師太好說話, 若是我就全體罰站." 我說: "爸, 我並沒頑皮, 只不過跟著拍手." 父親說: "拍手也不可以, 你應該站起來說, 對老師要尊敬, 大家不可以這樣." 我低下頭說: "我沒這樣的勇氣, 我有不是班長, 大家會生我氣的." 父親說: "對的事就要做, 不要怕別人生氣." 我不在作聲了, 我知道父親教我的話是對的, 也知道馮老師是位有學問的好老師. 以後我只私下跟幾位要好的同學說, 我們要聽馮老師的話, 好好背書, 好好作文. 初一初二兩年, 我們背熟了不少古文, 大家都學會了淺近的文言文, 不能不感激馮老師.
初中三換了一位吳老師, 他是新派人物, 無論西裝長袍, 都是風度翩翩, 令我們耳目一新. 尤其是一手黑板字, 龍飛鳳舞, 跟馮老師一點一劃必恭必敬的完全不一樣. 頭一天上課, 他發給我們一張課外讀物的書單, 又講了讀書的方法, 他說: "讀書一定要作筆記, 手到自然眼到心到了. 口倒不一定要到, 有時默讀反而快. 讀後鈔下自己喜歡的段落句子, 摘錄大意, 記下作者語書名, 寫點自己的感想, 這本書就成了你的朋友了." 我們覺得好難啊! 初三畢業時要全國會考, 功課繁重, 那裡會花那麼多時間看課外書? 吳老師說: "我只是告訴你們怎麼讀書, 不是逼你們現在都要讀. 書單上由你們自由選擇, 看幾本都沒關係." 他真是自由派.
我把書單拿會去給父親看. 他看第一本是 "飲冰室文集", 點點頭說: "好." 在看下去有郁達夫的 "沉淪", 魯迅的 "吶喊", "徬徨". 馬上生氣地說: "這是什麼書? 什麼沉淪又吶喊的, 亂七八糟. 老師怎麼叫你們看這種書?" 我說: "這都是五四新文學的代表作. 他說新的舊的都要看, 才跟得上時代!" 父親厲聲地說: "你不要多講, 我聽說過, 胡適搞文學革命, 要打倒孔家店, 提倡白話文. 可是你知道嗎? 他自己古書先讀過通了, 卻叫年輕人不要讀. 這怎麼可以?" 我說: "爸, 您不要生氣, 胡先生沒有叫我們不要讀古書. 老師說他很有創新的腦筋, 能引發新觀念. 生在什麼時代, 就要有那時代的感覺, 不同的感覺與思想, 就會寫出不同的文章, 老師說這是自然的現象. 比如六朝人寫駢文, 唐宋人寫散文, 唐朝是詩, 宋朝是詞, 元朝是曲, 現在就要寫白話, 這是進步....." 父親聽著聽著, 忽然笑起來說: "你們這位著西裝的老師會作詩嗎?" 我說: "我想一定會的, 因為他也背好多詩詞, 還有對子. 有一次他在黑板上寫了一副對子: [松下圍棋, 松子每隨棋子落; 柳邊垂釣, 柳絲常隨釣絲懸.] 爸, 您覺得好嗎?" 父親說: "對仗很工整, 但不算好對子." 父親總是很苛求, 吳老師說這兩句對子, 短短二十二個字, 寫出古時候讀書人悠閒的情趣, 是很難得的. 但他不主張我們老是背舊詩詞, 要多讀新文藝作品, 培養新觀念. 他說五四的精神不只是文學的革新, 同時也是思想上的開放自由. 他解釋胡適之先生的提倡白話文, 不但不會破壞古文的價值, 反而會因白話文的廣泛運用, 使中國傳統文學發揚光大. 這些話都是以前馮老師沒講過的, 聽得我們好高興. 吳老師鼓勵我們看新文學小說, 他說: "小說反應時代, 是社會現象的寫照. 寫得好的, 其文學價值和詩經楚辭是一樣的." 我如果把這些話轉述給父親聽, 他又會大嘆氣.
春假中, 吳老師帶我們去蘇堤踏青, 週六的作文題是 "桃花開了的時候". 全班同學都靈感充沛, 振筆疾書. 我居然學著盧隱的筆調, 寫了一篇小說, 老師當然讚不絕口. 我不敢給父親看, 只告訴他題目. 父親沉吟了半晌, 說: "一個題目裡, 就有一個 [了] 字, 一個 [的] 字, 還多了一個 [候] 字, 其實只要 [桃花開時] 不就好了嗎?" 我說: "不一樣啊! [桃花開時] 四個自一點也不活潑. 原來的 [桃花開了] 是一種快樂的驚嘆, 加了 [的時候] 就可以包含一段有趣的故事, 或一點感想, 不是很好嗎? 爸, 您不是作過兩句詩嗎? [我與桃花曾有約, 明年此日再相逢.] 也就是[桃花開了的時候] 呀!" 父親不禁拊掌大笑起來.
我心裡好快樂, 因為我知道父親不再固執, 他欽佩我以前的馮老師, 也欣賞現在的吳老師. 我不再矛盾, 不用擔心新與舊的不能融合了.
由於早年這兩位老師熱心的啟迪, 幾十年來, 我總是抱持一分 "不薄今人愛古人" 的虔誠心意, 從事創作.
原載民國七十八年五月號 "文訊"
民國七十八年六月二十日 "世界日報" 副刊轉載
選自 "一襲青杉萬縷情" (爾雅)
(錄自自豪與自幸)
Wednesday, October 05, 2011
Movie afterthoughts
I watched Lincoln Lawyer tonight. It was quite good. I really got into it. One aspect of the movie interested me a bit. It was the deal concept in the USAn justice system. I heard a lot of word, Deal in all of the USAn court movies and TV. The protagonist was apparently making a lot of deal with justice apartment. You can see half through that the protagonist was upset of making a deal for he could not really believe anyone could be innocent. I remember another guy in movies who did that. It was tom cruise's character in a few good men.
I think this deal concept was a way to save some people's lives. And it was so popular in USAn movies was because it's good for plot twists. I always wondered what the percentage of deal making in USAn justice system? The movies portrayed many lawyers, who loved making deal, as a lazy bunch. But considering that these lawyers have to the mountain created from police and justice apartment, I pity them somehow. But it was a good place to make a movie. This lincoln lawyer movie did the same thing. You introduce a lawyer who made a bad deal, or maybe all deals, like a few good men, then he found his deal making behavior was wrong. Then he somehow reversed the act... But this movie did more, the lawyer in the movie even took vengeance.
I don't like this Deal making concept. I think it was born out of this USAn justice system. I've always thought that justice is to find out the truth, and this Deal making concept in a sense prevented that to happen. But considering the complicated law system, expensive process, overcrowded schedule, lack of fund, personale, and the other reality. The justtice system cannot function without this concept. Although I still feel it is like some kind of business of merchants. That's somewhat disheartening. Of course, if I am at the end of a good bargain, I guess I would be happy...
I think this deal concept was a way to save some people's lives. And it was so popular in USAn movies was because it's good for plot twists. I always wondered what the percentage of deal making in USAn justice system? The movies portrayed many lawyers, who loved making deal, as a lazy bunch. But considering that these lawyers have to the mountain created from police and justice apartment, I pity them somehow. But it was a good place to make a movie. This lincoln lawyer movie did the same thing. You introduce a lawyer who made a bad deal, or maybe all deals, like a few good men, then he found his deal making behavior was wrong. Then he somehow reversed the act... But this movie did more, the lawyer in the movie even took vengeance.
I don't like this Deal making concept. I think it was born out of this USAn justice system. I've always thought that justice is to find out the truth, and this Deal making concept in a sense prevented that to happen. But considering the complicated law system, expensive process, overcrowded schedule, lack of fund, personale, and the other reality. The justtice system cannot function without this concept. Although I still feel it is like some kind of business of merchants. That's somewhat disheartening. Of course, if I am at the end of a good bargain, I guess I would be happy...
梨膏醬油
忙碌的工作, 加上簡單的旅居生活, 我們習慣上所說的一日三餐, 其實不過一日一餐. 他一大早喝一杯牛奶, 就帶著飯盒匆匆出門. 多天亮得晚, 抬頭還可望見淡月疏星. 晚上櫛風沐雨地回來, 一進門總是喊: "肚子好餓啊! 有沒有什麼充一下飢的?" 我把一個烤得熱烘烘的 "包穀巴", 塗點麥淇淋, 送到他鼻子尖. 所謂 "包穀巴", 就是最普通的 Corn Muffin, 透著一股玉米香. 他就把它喊作四川的包穀巴, 邊吃邊念 Yammy Yammy into my tummy. 他在學兒童英語.
晚餐也是非常簡單的, 他時常邊吃邊咕噥: "奇怪, 這裡的豆腐總有股子怪味, 榨菜那有我家鄉的三江榨菜香; 豬肉更是軟綿綿的, 吃在嘴裡一點勁道也沒有." 這些話, 他在臺北時也常說, 顯然不是嫌我烹調技術不夠. 如今來此更是客中之客, 莫說我不會做什麼好菜, 即使會, 也驅不走他的旅愁.
要做道地中國菜, 必須有許多道地中國佐料, 我們很少去中國城, 週末只想呼吸下新鮮空氣, 更不願往人多的地方擠, 所以我總是就地取材, 在附近的超級市場買點肉類蔬菜, 他工作量重, 食量也得加多, 烹調也就重樣不重質了. 有幾次, 他乘聚餐之便, 帶回些豆乾, 我就炒豆乾, 滷豆腐, 吃得他直皺眉頭說: "怎麼只見豆腐不見肉, 成了豆腐食府了." 他又說: "有一位同事的飯盒, 一打開來, 紅是紅, 綠是綠, 才叫漂亮, 那裡像我的一片黑鴉鴉." 我想這也簡單, 就給他加一撮紅的胡蘿蔔, 黃的玉米, 青的四季豆, 看上去可真是 "碧雲天, 黃葉地", "桃紅柳綠", 可是吃在嘴裡, 依舊淡而無味. 他說: "算了吧, 我還是吃我的黑鴉鴉午餐, 雖然無色, 倒還是有香有味."
有一天, 我買到一包黃豆芽, 就想照他的四川炒法炒給他吃. 炒了半天, 朋友來電話叫我去她家與另一位朋友會面, 我只好請他自己完成這道家鄉菜. 回家時問他味道如何? 他埋怨說: "你為什麼放那麼多糖?" 我說: "沒有放糖呀." 他又指著爐台邊一個細長瓶子說: "這種醬油不行, 以後還是用原來的牌子吧." 我一看, 他指的是我治咳嗽的梨膏. 我大笑, 他生氣地說: "梨膏是藥, 怎麼放在爐台邊?" 我怪他不戴上眼鏡仔細看一下. 他更生氣了: "誰燒菜還戴花鏡的." 我指著瓶子說: "這上面不是畫的有梨嗎? 不戴花鏡也看的見呀." 他笑了: "如今的醬油花樣翻新, 我看見這兩個漂亮的梨, 還當是特製梨膏醬油呢."
我打開吊廚門, 轉著裡面的盤子, 一樣樣指給他看: "這是鹽, 這是糖, 這是胡椒粉......醬油有老抽生抽, 各有不同用處." 他連連擺手說: "別轉了, 轉得人頭昏腦脹, 什麼生抽老抽的, 在臺北時也沒有那麼複雜呀. 你沒來以前, 我就是一瓶醬油, 一罐鹽, 燒出來五味調和."
"我寫給你的簡易食譜, 你為什麼一樣也不做?"
"多麻煩? 我就是一星期紅燒牛肉, 再一星期牛肉紅燒, 外加美式涼拌生菜, 吃得津津有味."
"一點都不厭?"
"還有變化呀, 今天肉蒸蛋, 明天蛋蒸肉. 告訴你, 我已經算考究了, 有一位單身朋友, 咖啡壺裡煮牛肉飯, 吃了整整一年, 人長得又白又胖."
"你既然自己會料理飲食, 又何必一封封信催我來呢?"
"說老實話, 妳來以後, 我就省得寫信的麻煩了."
他真是懶人多厚福.
-------------------六十七年十一月
(錄自琦君與我同車, 九歌出版, 第十二版民國七十六年二月十日)
晚餐也是非常簡單的, 他時常邊吃邊咕噥: "奇怪, 這裡的豆腐總有股子怪味, 榨菜那有我家鄉的三江榨菜香; 豬肉更是軟綿綿的, 吃在嘴裡一點勁道也沒有." 這些話, 他在臺北時也常說, 顯然不是嫌我烹調技術不夠. 如今來此更是客中之客, 莫說我不會做什麼好菜, 即使會, 也驅不走他的旅愁.
要做道地中國菜, 必須有許多道地中國佐料, 我們很少去中國城, 週末只想呼吸下新鮮空氣, 更不願往人多的地方擠, 所以我總是就地取材, 在附近的超級市場買點肉類蔬菜, 他工作量重, 食量也得加多, 烹調也就重樣不重質了. 有幾次, 他乘聚餐之便, 帶回些豆乾, 我就炒豆乾, 滷豆腐, 吃得他直皺眉頭說: "怎麼只見豆腐不見肉, 成了豆腐食府了." 他又說: "有一位同事的飯盒, 一打開來, 紅是紅, 綠是綠, 才叫漂亮, 那裡像我的一片黑鴉鴉." 我想這也簡單, 就給他加一撮紅的胡蘿蔔, 黃的玉米, 青的四季豆, 看上去可真是 "碧雲天, 黃葉地", "桃紅柳綠", 可是吃在嘴裡, 依舊淡而無味. 他說: "算了吧, 我還是吃我的黑鴉鴉午餐, 雖然無色, 倒還是有香有味."
有一天, 我買到一包黃豆芽, 就想照他的四川炒法炒給他吃. 炒了半天, 朋友來電話叫我去她家與另一位朋友會面, 我只好請他自己完成這道家鄉菜. 回家時問他味道如何? 他埋怨說: "你為什麼放那麼多糖?" 我說: "沒有放糖呀." 他又指著爐台邊一個細長瓶子說: "這種醬油不行, 以後還是用原來的牌子吧." 我一看, 他指的是我治咳嗽的梨膏. 我大笑, 他生氣地說: "梨膏是藥, 怎麼放在爐台邊?" 我怪他不戴上眼鏡仔細看一下. 他更生氣了: "誰燒菜還戴花鏡的." 我指著瓶子說: "這上面不是畫的有梨嗎? 不戴花鏡也看的見呀." 他笑了: "如今的醬油花樣翻新, 我看見這兩個漂亮的梨, 還當是特製梨膏醬油呢."
我打開吊廚門, 轉著裡面的盤子, 一樣樣指給他看: "這是鹽, 這是糖, 這是胡椒粉......醬油有老抽生抽, 各有不同用處." 他連連擺手說: "別轉了, 轉得人頭昏腦脹, 什麼生抽老抽的, 在臺北時也沒有那麼複雜呀. 你沒來以前, 我就是一瓶醬油, 一罐鹽, 燒出來五味調和."
"我寫給你的簡易食譜, 你為什麼一樣也不做?"
"多麻煩? 我就是一星期紅燒牛肉, 再一星期牛肉紅燒, 外加美式涼拌生菜, 吃得津津有味."
"一點都不厭?"
"還有變化呀, 今天肉蒸蛋, 明天蛋蒸肉. 告訴你, 我已經算考究了, 有一位單身朋友, 咖啡壺裡煮牛肉飯, 吃了整整一年, 人長得又白又胖."
"你既然自己會料理飲食, 又何必一封封信催我來呢?"
"說老實話, 妳來以後, 我就省得寫信的麻煩了."
他真是懶人多厚福.
-------------------六十七年十一月
(錄自琦君與我同車, 九歌出版, 第十二版民國七十六年二月十日)
Sunday, October 02, 2011
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