Wednesday, July 19, 2023

Lost in Leipzig

 

Lost in Leipzig

Alexander Bevilacqua



Knowledge Lost: A New View of Early Modern Intellectual History 
Princeton, 434 pp., £35, January, 978 0 691 20865 7

‘To devote our lifeto authorship,’ Isaac D’Israeli wrote, ‘is not the true means of improving our happiness or our fortune.’ In Calamities of Authors(1812), he chronicled the lives of writers he considered at once ‘the most honoured, and the least remunerated’. Some of these men of letters were ‘driven to madness by indigence and insult’; others ‘died of overstudy’, suffered from melancholy or were exposed to public ridicule. One of his subjects, Simon Ockley, was a professor of Arabic at Cambridge in the early 18thcentury. He ended up in debtors’ prison, where, he claimed, he ‘enjoyed more true liberty, more happy leisure and more solid repose in six months ...than in thrice the same number of years before’. D’Israeli’s wasn’t the first such history. In De infelicitate literatorum(‘On the Ill Fortune of Learned Men’), published posthumously in 1620, Pierio Valeriano described the fates of a number of his unfortunate contemporaries: killed by the plague or by their own hand or, in the case of the medical writer Gabriele Zerbi, sawn in two.
In Knowledge Lost, published in German in 2012 and now translated into English, the historian Martin Mulsow argues for fresh consideration of members of the European Wissensprekariat, or ‘intellectual precariat’. The expansion of German universities during the early modern period created a surfeit of graduates, many of whom were unable to find academic work. If they couldn’t get a job as a tutor in a noble household (‘pitiable retainers of some great family’, as D’Israeli put it), they might find work as private secretaries, freelancers or journalists.

Mulsow’s examples include Theodor Ludwig Lau, born in Königsberg in 1670, a failed legal scholar who attempted suicide in 1719 after his efforts to publish an anthology of radical thought came to nothing. Johann Heinrich Heubel sabotaged his academic career almost as soon as it had begun. Appointed law professor at the University of Kiel in 1723, he made himself unpopular with an incendiary inaugural lecture attacking the pedantry of jurists. Heubel told the ‘falsely learned’ and ‘fundamentally perverse’ in the audience: ‘Begone! Get out!’ He was relieved of his duties the following year and supported himself by serving as a tutor to the children of the prince-bishop of Lübeck, among them the future king of Sweden. He continued his own work, compiling lists of burned books (or books whose authors had been burned), which he intended to publish together under the title ‘Vulcan’s Library’.

Research into intellectual auxiliaries has thrived in recent years. Translators, interpreters, secretaries and amanuenses are no longer considered intermediaries, but contributors in their own right. Despite his Marxisant vocabulary (he refers to the ‘intellectual bourgeoisie’ as well as the ‘intellectual precariat’), Mulsow isn’t interested in financial precarity so much as risky thinking. Professors could also be precarious, he argues, if they engaged in clandestine intellectual activity. One of his subjects is the 18th-century scholar Hermann Samuel Reimarus, the rector of a prestigious preparatory school in Hamburg, who had ‘one foot in the precariat’ because he secretly wrote a damning critique of Christian revelation, only published after his death. Mulsow’s German title, Prekäres Wissen, can be more literally translated as ‘precarious knowledge’, and it’s knowledge as much as its producers that is threatened here. As Mulsow puts it, ‘how could one guarantee that a secret message, letter, or packet actually reached its intended recipient? How could a certain message get past the censors to a potential reader? How could one make sure that the police did not confiscate and destroy the whole print run of a book?’

Mulsow wants to recover forgotten thinkers. He writes at the outset that ‘second and third-rate theorists’ are ‘the most useful’, since they’re the ones who can ‘show us the typical intellectual and behavioural models of an age’. According to this logic, the experiences of scholars who didn’t become academic superstars are more representative than those of, say, Descartes or Leibnitz. But Mulsow is more concerned with what marginal intellectuals can reveal to us: with less to lose, they often staked out more radical positions than their established peers.

Mulsow’s earlier work helped to show that the Enlightenment emerged not only in opposition to Christian intellectual culture, but from it. In recent decades, historians have argued that unbelief developed from a heterogenous set of sources: ancient sceptical philosophy was rediscovered; biblical scholarship historicised Christian revelation for the first time; and antipathy grew, in some quarters, towards the theology used to justify monarchical rule. Mulsow’s Enlightenment Underground(2002) showed the way the radical German literature of the late 17thcentury and early 18thcentury developed through clandestine networks reaching into other parts of Europe.

What interests Mulsow most is the way knowledge flourishes in conditions of secrecy. He devotes much of Knowledge Lostto reconstructing the methods scholars used to dissimulate their beliefs. One of the most common tactics was plausible deniability. Expressing one’s views risked attracting the attention of state censors, so it was safer to make ‘half-joking’ statements. In 1712, Peter Friedrich Arpe, a scholar from Kiel, tried to exonerate the Italian radical writer Giulio Cesare Vanini, who had been executed in 1619 for atheism and blasphemy. By writing about atheism, Arpe might appear to be justifying it. His apologia for Vanini therefore buried his own feelings on the subject beneath what Mulsow calls a ‘rollercoaster’ of conflicting arguments.

Members of the intellectual precariat didn’t only have to worry about their own work. They could be drawn into controversy over what their close friends and relatives were writing. Some chose to come clean: the law professor Nikolaus Gundling referred to his ‘crypto-Socinian grandfather’ (Socinians doubted the doctrine of the Trinity) before the connection could be used against him. By contrast, the chief pastor of Hamburg, Abraham Hinckelmann, concealed the fact that his grandfather had been a follower and close friend of the mystic Jakob Böhme. Hinckelmann came to believe (wrongly) that his grandfather had ghostwritten many of Böhme’s works, but despite publishing a careful critique of Böhme’s teachings he kept his family history secret. Yet he found himself caught up in debates over Pietism, a Lutheran reform movement that drew inspiration from Böhme, and suffered a haemorrhage, which he attributed to stress. He died in 1695 at the age of 43.

Mulsow illustrates some of the ways in which material conditions undermined the pursuit and transmission of knowledge. Consider the risks of sending manuscripts by post. In 1734, a package of handwritten excerpts on the history of philosophy went astray in Leipzig. They had been loaned by one scholar, Christoph August Heumann, to another, Johann Jakob Brucker. Brucker is remembered as the author of an enormous history of philosophy – in Mulsow’s view, ‘the largest and most important’ to appear in the 18thcentury. Without Heumann’s notes, Brucker’s book would never have been written: Kaufbeuren, the small Bavarian town where Brucker lived, lacked the library for such an undertaking. But the loss ruined the men’s friendship and made it impossible for Heumann to write his own critical history of philosophy.

It takes great patience and imagination to reconstruct the careers of forgotten scholars, let alone attempt to recover their private thoughts. Mulsow extends his attempt even to intellectuals who decided to destroy their work. He writes of the followers of Harpocrates, the god of silence, that ‘it can be extremely difficult to find out anything.’ These men retreated or were made to desist from scholarship and publication. Perhaps making a virtue of necessity, they argued that truth was a privilege for the few, to be shared only with one’s closest devotees or not at all. But Harpocratic secrets were not necessarily hermetic or mystical. In the early 18thcentury, Hermann von der Hardt, a professor of Oriental languages, sought to demystify the Bible and explain it in purely secular terms. As a result, he was first forbidden from giving lectures on biblical interpretation and eventually forced into retirement altogether.

Where does all this leave us? Mulsow offers a clue in the introduction when he writes that ‘intellectual history has become to no small degree a cultural history of intellectual practices.’ Those who have worked on the subject for decades may welcome this development, but it’s worth thinking about what has been left behind. The big questions don’t go away simply because scholars lose interest. One reason to care about the second and third-tier intellectuals in Knowledge Lostis their significance to the intellectual origins of religious doubt. Yet Mulsow doesn’t examine the ways in which writing and circulating clandestine literature contributed to radicalisation. Such considerations belong to ‘Whig history’, he writes, in which ‘radical Enlightenment philosophers’ are presented as ‘the heroic forerunners of modernity’ (this is surely a dig at Jonathan Israel, who sees the Enlightenment as a battle of heroic radicals against conservatives and moderates).

For Mulsow, the ‘dividing line between the knowledge precariat and the knowledge bourgeoisie’ is a better frame of analysis than Israel’s division of Enlightenment thinkers into moderates and radicals. The problem of ‘one’s own precarity’ was ‘far more urgent than any fidelity to some specific philosophy that we might designate “radical”’. Certainly, organising intellectuals by political belief reduces intellectual life to a form of politics. It also assumes that metaphysical and political ideas complement each other neatly when, as Mulsow shows, they could arrive in surprising permutations. Knowledge Lostconfirms that moderates and radicals belonged on a spectrum. They might agree on many things; a kind of productive ambiguity even allowed them to correspond and collaborate.

Yet in trying to extrapolate from Mulsow’s examples we run into the problem of selection bias. He argues that being in a position of professional precarity made scholars more likely to express unorthodox positions. But this doesn’t necessarily hold for 18th-century German scholars more broadly, let alone precarious scholars in general. What the book does show, rather, is that there are striking similarities between the ways Mulsow’s subjects handled controversial knowledge, whether atheistic, magical, mystical or something else.

Rather than asking how the Enlightenment arose from a conservative and hierarchical intellectual culture, or pursuing a social history of literary unfortunates, Mulsow has produced his own ‘cultural history of intellectual practices’. He suggests in the conclusion that this sort of history isn’t hostile to all grand narratives, just to the traditional idea of the Enlightenment as a transition to modernity. Knowledge Lostis, he argues, a contribution to the history of freedom – the freedom to think, to publish, to write in one’s own name – and to the history of security: the ability to store information safely and to protect it from state surveillance.

All big questions worth discussing. But sometimes the reader is left wanting to know more about the fate of the precarious intellectuals. After his suicide attempt, Lau turned to writing on financial matters, perhaps in the hope of persuading German princes to support freedom of religion on economic grounds. He continued to lament the failure of his radical writings, which he had published anonymously: ‘I have piped loudly and melodiously enough, but they did not want to dance.’ In 1737 he commissioned a consoling portrait of himself in the guise of a nobleman, wearing a cuirass and sword. The engraving – a rare image of a German radical thinker from the period – shows him surrounded by seven emblems representing different aspects of his thought. When von der Hardt’s ruler, the duke of Braunschweig-Wolfenbüttel, forbade him from further publication of his rationalist biblical scholarship, he burned his own manuscripts and presented their ashes to the duke. As for Heubel, the historian of book burning, he never held another academic position and never completed ‘Vulcan’s Library’. But, at the behest of his noble patrons, he did translate a three-volume history of Charles XIIof Sweden. Arpe, like Heubel, was appointed to a professorship at Kiel, and then sacked. He later gained a diplomatic post at the court of Braunschweig-Wolfenbüttel, which he duly lost.

Terry Eagleton: Be like the Silkworm

Be like the Silkworm

Terry Eagleton


https://www.lrb.co.uk/the-paper/v45/n13

Marx’s Literary Style 
Verso, 104 pp., £14.99, January, 978 1 83976 553 7

W

orking on Capitalin the British Museum, plagued by creditors and carbuncles, Karl Marx complained not only that nobody had ever written so much about money and had so little of it, but that ‘this economic crap’ was keeping him from writing his big book on Balzac. His work is studded with allusions to Homer, Sophocles, Rabelais, Shakespeare, Cervantes, Goethe and scores of other authors, though he was less enthralled by ‘Elizabeth’s arse-kissing poet’ Edmund Spenser, an advocate of state terror in Ireland. One of his most ardent antagonists on the political left, the anarchist Mikhail Bakunin, acknowledged that few people had read as much and as intelligently. Marx learned Italian from reading Dante and Machiavelli, Spanish from studying Cervantes and Calderón, and Russian from reading Pushkin. He was thus one of the earliest practitioners of Goethe’s concept of world literature, an idea that has produced some of the finest critical writing of our own day. The aesthetic theories of Goethe’s fellow classicist Friedrich Schiller lie behind his vision of communism, a society in which everyone will be free to express the wealth and diversity of their powers.
As a young man Marx wanted to be a poet, not a political theorist, and wrote some floridly Romantic verses to his future wife, Jenny, which the Venezuelan philosopher Ludovico Silva describes in Marx’s Literary Style, first published in Spanish in 1971, as ‘endearingly bad’. Marx later denounced the emotional excesses of Romanticism, which offended his neoclassical taste for measure and symmetry. He also produced a mediocre verse tragedy, an exercise that was almost obligatory for budding literary geniuses of the time, as well as a fragment of fiction deeply indebted to the greatest of English anti-novels, Laurence Sterne’s Tristram Shandy. Later in life he read Aeschylus once a year, loved to declaim poetry to his friends and family in several languages and held a Shakespeare reading group in his London home. He also founded a workers’ circle in Brussels which had regular sessions on music and literature. His daughter Eleanor, perhaps with filial hyperbole, claimed that he knew most of Shakespeare’s plays by heart in English and German. Though his literary tastes were mostly highbrow, he was also deeply interested in German folk tales, chapbooks, popular ballads, legends and rhymes. He contrasted this genuinely popular culture with the pulp fiction industry in England, which in his view corrupted taste and cheapened feeling in the pursuit of profit.

Marx is one of the sources of what we now call cultural studies: the single work of fiction to which he devoted most space was the bestselling sensationalist novel The Mysteries of Parisby Eugène Sue. He was also one of the first exponents of the historical study of literature. He championed what he called ‘the present splendid brotherhood of fiction writers in England’, among them Dickens, Thackeray, Gaskell and the Brontë sisters, claiming that they revealed more social and political truths than all the moralists and politicians put together; but like his collaborator and financial backer Friedrich Engels he was wary of literary works that had political designs on the reader. He used the term ‘literature’ to cover all writing of high quality, yet he scorned those who confused the kind of truth appropriate to poetry and fiction with other modes of knowledge. To demand a philosophical system from poets and novelists struck him as absurd. Truth for a writer was not abstract and invariable but unique and specific.

Marx didn’t want to use literary works for political ends, but to enrich the language of politics with literary terminology. He enlivens an account of Turkish diplomacy with a quotation from Troilus and Cressida, or yokes together Faust and Palmerston in a single sentence. The Communist Manifestois rife with arresting imagery from the moment of its celebrated opening: ‘A spectre is haunting Europe.’ When he casts an eye over contemporary French politics, not least in The Eighteenth Brumaire of Louis Bonaparte, the categories that spring to his mind are comedy, tragedy, farce, bathos, epic, parody, spectacle and so on. If drama is latently political, politics is inescapably theatrical. The two have oratory and rhetoric in common, and Marx, a regular theatregoer, was keenly interested in both forms of public art. There is a similar practice in the Hebrew scriptures, which this secular Jew had thoroughly digested: when his wife and daughter set out to visit an ‘ethical church’, Marx grumbled that they would be better off reading the biblical prophets.

Meticulous about the quality of his prose, Marx once told an impatient publisher that his delay in delivering a manuscript was due to poverty, liver disease and ‘preoccupations of style’. As a master of satire and mockery as well as sober exposition, he writes with verve and bravura, veering from the pugnacious to the lyrical, the compassionate to the irascible. The newspaper he edited in Cologne, the Neue Rheinische Zeitung, paid scrupulous attention to the style of the authors it discussed, while Marx himself sometimes treated the political arguments of his opponents in the manner of a literary critic. The German Ideologycontains a metrical analysis of the prose of a minor German writer, showing the way its hypnotic rhythms lull the reader into overlooking the emptiness of the arguments. Clumsy syntax and muddled metaphors are symptoms of vapid thought.

If style expresses the soul of an author, dissecting it may seem impertinent, rather like dissecting someone’s appearance. There is an intimacy and elusiveness about style that seems to forbid such meddling. Writers might well prefer to hear that their plots are unconvincing than that their syntax is inelegant. Roland Barthes speaks of literary style as plunging to the depths of the body, which makes it sound as personal as one’s internal organs. Perhaps we need a psychology of style to know the reason a writer is averse to certain sounds and rhythms and attracted to others. How is style shaped by unconscious associations? Why does Shakespeare seem to associate spaniels with melting candy?

Ludovico Silva dismisses the idea that style is too idiosyncratic for public argument. There is, he claims, a striking complicity between Marx’s style and his vision of history. Few devices are more common in his work than irony, paradox, inversion, chiasmus and antithesis. It is as though the ruses and contradictions of history have smuggled themselves into his way of writing. Rather than simply designating these conflicts, Silva argues, Marx’s prose style ‘performs’ them. Silva sees Marx as aiming for the closest possible fusion of word and meaning, so that ideas cease to be abstract and become almost perceptible. This is a suggestive insight, though it needs to be handled with care. Words and meanings aren’t things that can be fused together, or for that matter split apart. Writing can give us a sense of language being rammed up against reality, as in Hamlet’s ‘Nay, but to live in the rank sweat of an enseamed bed’, or it can seem to cut loose from the world, as a lot of Shelley does, but these spatial metaphors aren’t to be taken literally. All the same, we are dealing in Marx’s case with what Silva calls a ‘theoretical imagination’, one in which concept and image are hard to distinguish. Some of Marx’s ideas seem to have come to him in the form of images, and the book takes a look at certain fundamental metaphors – ‘superstructure’, for example – which govern his thought. Metaphor here is cognitive rather than ornamental, a tool of discovery rather than a verbal adornment.

Yet the concept of style stretches to more than imagery, and Silva’s book is largely silent about these other aspects: tone, rhythm, pace, pitch, mood, syntax, texture and so on. Instead, it turns its attention to the formal structure of Marx’s texts, though one wouldn’t usually include structure under the heading of style. Marx himself spoke of each of his works as composing an artistic whole, and Silva finds in this integrity a feature common to art and science. ‘What is scientific,’ he writes, ‘is so because it possesses a systematic, architectonic unity in which all its parts correspond to one another and in which none is true without respect to the whole.’ Science is a more dishevelled, hand-to-mouth affair than this suggests, however, and its parts need to do more than correspond with one another in order to be true. Magic and astrology are coherent systems. As for art, Silva is too uncritical of Marx’s own neoclassical concern with unity and cohesion. There are plenty of artworks, not least since 1900, which work through dissonance and fragmentation.

One might relate Marx’s fondness for images to his distrust of abstraction. If he is an Enlightenment rationalist, he is also a Romantic humanist for whom what matters is the concrete and particular. He acknowledges the role of abstract ideas in political theory, but sees them as simple and secondary. It is the concrete that is truly complex. His sense of the tangible and sensuous lies at the root of his materialism, but also of his aesthetic vision. The word ‘aesthetic’ originally refers to perception and sensation, and Marx favours an art that sticks close to the senses. He is thus an admirer of realism, which seems to unite word and thing, and a scourge of language that luxuriates in its own sounds and rhythms, like his own youthful poetry.

Behind this preference lies a politics: working people live close to the ground, while dandies, belletrists and idealist philosophers are the social equivalent of self-indulgence in art. It is no wonder that he returns time and again to Don Quixote, with its clash between the fantasies of the master and the pragmatism of the man. The dreamers have turned language into an autonomous realm, Marx protests in The German Ideology, and the materialist’s task is to lead it back to the actual world, where language is an expression of practical life. There is a hint in these remarks of the later Wittgenstein, who may have been given Marx’s book by his communist friend George Thomson. Prometheus was Marx’s favourite mythological hero, not only because he rebelled against the gods but because he brought fire from heaven to earth, rather as Marx seeks to bring consciousness back to reality. A recurrent target of his critique is chimera, illusion, fantasy, ideology; art can either breed these forms of false consciousness or help to undermine them. Like Freud, Marx recognised that illusion is constitutive of social existence, not just an error of reasoning that can easily be put right. The point for both men wasn’t simply to demolish delusions but to inquire into their material causes and effects.

Poetry that merely revels in its own soundscape is a type of formalism, and so for Marx is the commodity. Its value lies not in its material qualities but in its formal exchange with other such products. Despite their seductive ways, commodities are abstract, fleshless things, and it is the task of socialism to restore to them their material bodies. Yet Marx also sees commodities as fetishes that exert material power over human beings. Their interactions in the marketplace can put men and women out of work or consign them to starvation wages. So the commodity is at once too formal and too material, and in this it resembles a botched work of art. Art is made of material stuff, but it is material shaped into meaningful form. It reveals a unity of form and content that is lacking in the capitalist marketplace. In this sense, Marx’s work belongs to an aesthetic critique of capitalism running from Schiller and John Ruskin to William Morris and Herbert Marcuse.

Unlike most realists, Marx does not see art as precious because it reflects reality. On the contrary, it is most relevant to humanity when it is an end in itself. Art is a critique of instrumental reason. John Milton sold Paradise Lostto a publisher for five pounds, but he produced it ‘for the same reason that a silkworm produces silk. It was an activity wholly natural to him.’ In its free, harmonious expression of human powers, art is a prototype of what it is to live well. It is radical not so much because of what it says as because of what it is. It is an image of non-alienated labour in a world in which men and women fail to recognise themselves in what they create.

The aesthete, then, possesses more of the truth than the political left generally imagines. The point is not to substitute art for life, but to convert life into art. Living like a work of art means fully realising one’s capacities – this is Marx’s ethics. It is also the basis of his politics: socialism is whatever set of institutional arrangements would allow this to happen to the greatest extent. If artistic work is a scandal to the status quo, it is not because it champions the proletariat but because to live abundantly in this way isn’t possible under capitalism. Art prefigures a future in which human energies can exist simply for their own delight. Where art was, there shall humanity be.

Self-realisation, however, must be more than individual, which is the reason Marx adds a crucial rider to this humanist case. You must realise your powers reciprocally, through the equal self-expression of others. Or, as The Communist Manifestoputs it, the free development of each is the condition for the free development of all. This is the way he converts an essentially aristocratic ethic into communism. Oscar Wilde would do much the same in his essay ‘The Soul of Man under Socialism’, in which layabouts like himself who don’t have to work anticipate a socialist order in which this will be true of everybody. In his belief that the political goal is to get rid of labour rather than make it creative, Wilde is closer to Marx than William Morris is, though Morris was a Marxist and Wilde was not.

There are difficulties with the self-realisation thesis, as there are with any form of ethics. It seems to assume that human powers are positive in themselves, and the only problem is that some of them are being blocked. But the urge to shoot down schoolchildren should be restrained whatever the harm to your creativity. The idea also implies that our various capabilities are in harmony with one another, which is far from true. Like postmodern culture, it errs in seeing diversity as inherently valuable. But why should a life rich in a variety of impulses be more worthwhile than one devoted to a single activity? Emma Raducanu may have led a fuller life if she had played less tennis, but people have good reason to envy her all the same.

Marx never wrote a book on aesthetics. Instead, he put literary works to compelling use, eroding the borders between the artistic, political and economic. In doing so, he held out against the growing division of intellectual labour, just as he lamented the effects of the division of labour in industrial society. In this, as in his ethics, he remained captive to an ideal of wholeness inherited from his classical education, one that no longer has the force it did. It is ironic that this unflagging political agitator, a man who in a Brechtian phrase was forced to change countries more often than his shoes, should have found conflict and contradiction in history but symmetry and integrity in art. Only with the advent of modernism and the avant-garde did the conflicts of history erupt in art. There is, however, a minute detail in one of Marx’s letters that might be read as foretelling this cultural moment. He has heard of an Arabic translator called Dâ-Dâ, he tells Engels, and thinks he might use the name in the title of one of his pamphlets. He didn’t, in fact, leaving the two syllables to be seized on later by others.


Letters

Vol. 45 No. 14 · 13 July 2023

Terry Eagleton is the latest of many distinguished Marxians to commemorate the ‘celebrated opening’ of The Communist Manifesto (LRB, 29 June). But this most memorialised sentence, ‘A spectre is haunting Europe – the spectre of communism,’ is given too much credit, its lack of originality overlooked. Moses Hess came up with the striking phrase ‘das Gespenst des Kommunismus’, ‘the spectre of communism’, in a piece for the Deutsche-Brüsseler-Zeitung on ‘The Consequences of a Revolution of the Proletariat’, published on 7 November 1847. The phrase was borrowed word for word by Marx, who was well aware of Hess’s contributions to the DBZ.

Lorenz von Stein is conventionally seen as the main influence on the opening of The Communist Manifesto, but his description in 1842 of communism as a ‘dark, threatening spectre’ isn’t a verbatim inspiration. Not that Hess or Stein were pioneers in the use of the word ‘spectre’ in this context. As early as 1831, the English playwright, poet and exile Thomas Lovell Beddoes wrote a sketch for the Bayerisches Volksblatt entitled ‘Die Gespenster’ (‘The Spectres’) in which he too described the ‘Spectre of Revolution’ as ‘threatening’. Engels himself, in the Schweizerischer Republikaner of 23 May 1843, wrote of the ‘spectre of Chartism’, and in a letter to Marx of 23 October 1846 described ‘a superstitious ghostly-fear [Gespensterfurcht] of “bread-and-butter communism”’. In 1847 both Karl Biedermann and the anonymous author of Der Pauperismus und die Volksschule (‘Pauperism and the Elementary School’) used the phrase ‘spectre of communism’, though probably not to the knowledge of Marx or Engels. Helen Macfarlane, the Scottish Chartist who in 1850 issued the first English language translation of the Manifesto, is widely derided for her rendering of ‘ein Gespenst’ as ‘a frightful hobgoblin’. It was at least a variation on the spectre.
David IrelandLondon N1

Monday, July 17, 2023

转译、提示与留白 ——重读梁思成《中国雕塑史讲义》

 


转译、提示与留白 
——重读梁思成《中国雕塑史讲义》
文 | 郑岩
(《读书》2023年7期新刊)

蜜月中的梁思成、林徽因一九二八年八月,梁思成结束了与林徽因在欧洲的建筑考察和蜜月旅行回国,九月即赴沈阳就任东北大学工学院建筑系主任。由于师资有限,他承担了“建筑概论”“中外建筑史”“建筑设计初步”和“中外雕塑史”等多门课程,也代授“美术史”“素描”“水彩”“建筑设计”等课。在一九三〇年调整后的课表中,四年级图案组设有“东洋雕塑史”,为两个学期的课程,学分均为二分,设定内容包括:“中国雕塑自殷周铜器始,两汉刻石,以及六朝唐宋以来宗教及丧葬雕塑历史的研究;日本推古以来之雕塑。”这份写于一九三〇年的中国雕塑史讲义,就是为该课准备的。



建筑系每年招生十余人,仅招了三届就因“九一八事变”而中辍。梁思成于一九三一年六月返回北平,此时首届学生尚未进入其第四学年,因此,雕塑史一课极有可能只呈现为文本的形式而未实际开课。讲义行文不求面面俱到、圆融周详,有的部分不惜笔墨,细细评点一件作品,有的则三言两语,一笔带过,甚至只列一些关键词。讲义迟至一九八五年才以《中国雕塑史》为题,在《梁思成文集》第三卷中公开发表。一九三〇年的梁思成只有二十九岁,我们阅读该书,一方面应看重它对于研究早期中国雕塑史写作和梁思成早期学术思想的价值;另一方面,隔着九十多年的时光,梁思成当年的构想,哪怕是顺便提到的只言片语,也会生长出新的意义,我们可以对照这些文字,来反思此后中国雕塑史写作和雕塑创作实践的得失。至于以今求古,责其材料匮乏、结构不周等,则属无的放矢,断不可取。
一

梁思成开篇写道,“我国言艺术者,每以书画并提”,雕塑作为“最古而最重要之艺术,向为国人所忽略”。此言既出,即证明传统正面临改变。早在一九〇七年冬,罗振玉在北京古董市场注意到洛阳邙山出土的唐代墓俑;约一九一八年春夏间,梁启超草拟中国文化史目录,其“美术篇”包括绘画、书法、雕塑、建筑和刺绣五个门类;同年,顾颉刚围绕江苏吴县甪直保圣寺罗汉塑像,发起“保存唐塑运动”;一九二〇年,私立上海美术学校设立中国第一个雕塑科……
中国学界的上述变化,与国际学术潮流的推动密不可分。一八九三年,日人大村西崖首次在论文中以汉字“彫(雕)塑”取代“彫(雕)刻”,对译英文sculpture。从一九〇三年起,他以两年多的时间写出《中国雕塑史》,于一九一五年八月以《支那美术史雕塑篇》为题出版,一时洛阳纸贵。到梁思成撰写雕塑史讲义时,大村已五次来华调查中国艺术。早于中文“雕塑”一词的发明,法国学者沙畹一八八九年来到中国调查,四年后出版《中国两汉石刻》(La Sculpture sur Pierreen Chineau Temps des Deux Dynasties Han)。沙畹又于一九〇七至一九〇八年在华北和东北展开大范围调查,所获整理为多卷本《华北考古记》(Mission Archéologique dans la Chine Septentrionale),首次向西方学界系统公布了云冈石窟和龙门石窟的图版。伯希和则在一九〇〇年后多次来华,继英人斯坦因之后,他从莫高窟藏经洞掠取大批文物,还详细考察了所有洞窟。日人关野贞和常盘大定从一九〇六年起的调查覆盖南北十几个省市,一九二五至一九二七年,二人将调查所获汇为五册《支那佛教史迹》和《评解》,次年补充出版《支那佛教史迹纪念册》,所含雕塑材料蔚为大观。瑞典学者喜龙仁也多次到中国考察,一九二五年出版四卷本《五至十四世纪中国雕塑》(Chinese Sculpture from the Fifth to the Fourteenth Century)。
一些身份更为复杂的学者也参与进来,如一九〇九至一九一七年间,法国诗人谢阁兰在中国有两次考古之旅,撰写了多部有关古代陵墓建筑和雕塑的论著。随着史料的进一步发掘,这个名单还可以扩展,如一九一二年德国建筑师梅尔彻斯(Bernd Melchers)系统发表了山东长清灵岩寺千佛殿宋明彩塑罗汉的照片。至于国外学者对于丝路沿线和亚洲腹地的调查与劫掠,更令国人铭肌镂骨。
雕塑在中国有着长期的历史,但雕塑家却没有像画家那样产生文化上的自觉,雕塑被看作众工之事,难以进入历史写作。及至“雕塑”概念在近代亚洲研究的竞技场亮相,大村西崖利剑在握,未及来华即争分夺秒地撰写出第一部中国雕塑史巨著;沙畹、常盘大定、喜龙仁等人的调查则如入无人之境。梁思成为之扼腕:“……而国人之著述反无一足道者,能无有愧?”他以现代方法进行的田野调查尚未启动,就迫不及待地将新的学术理念传达给更为年轻的学子。
梁思成实实在在地写道:“著名学者,如日本之大村西崖、常盘大定、关野贞,法国之伯希和、沙畹,瑞典之喜龙仁等,俱有著述,供我南车。”喜龙仁《五至十四世纪中国雕塑》对梁思成的影响最为深刻。赖德霖以《梁思成全集》版与喜龙仁的书进行详细比勘,发现梁著南北朝至宋部分五百二十五行文字中,至少有一百五十行翻译或节译自喜龙仁的书,其中也穿插着他本人的增补和评论,准确地说,讲义是一部“编译增补”之作。
“编译增补”在民国初年是一个较为普遍的现象,我们不宜以今天的标准纠结“著作权”问题,而更应看重这一方式在输入现代学术概念、理论与方法时所起的作用。在二十世纪初,国外学者的上述著作在国内极不易得。梁思成的讲义涵盖从上古到明清各个时代,这是依据中国材料,第一次面向国人系统阐述雕塑的概念与历史,对其预设的听众而言,乃是全新的观念与知识。
二

在中国,哪些东西属于雕塑呢?
大村西崖将雕塑定义为“具有实体造型艺术之总称”,“凡中国雕塑之种类有佛教像、道教像、庙祠像、陵墓仪卫、享堂碑碣、宫馆苑池之装饰、山川镇压之诸像,乃至玉石工、金工、刻木、塑陶、瓦砖等”。所谓“实体造型”并不限于三维造型的作品,也包括大量金石碑铭。可以说,大村使用的虽是西来的概念工具,但并未完全脱离金石学的影响。梁思成多次提到大村西崖的著作,却开宗明义地与金石学划清界限,称“至于普通玩碑帖者,多注意碑文字体,鲜有注意及碑之其他部分者;虽碑板收藏极博之人,若询以碑之其他部分,鲜能以对”。
大村西崖是研究佛教史的专家,对佛教碑板拓本尤其重视,这一偏好影响了他对材料的选择,使其著作有着鲜明的特色。但总体上说,这一代学者多将西方的sculpture看作一个普适性概念,他们对西方传统雕塑形态的认识很容易直接投射到中国材料上。大村明显是将中国雕塑的兴衰与佛教联系在一起。喜龙仁早年研究欧洲文艺复兴艺术,他所收材料主要也是中国佛教雕塑。这样的选择,对应着西方古典和宗教雕塑以独立的、纪念碑式的人体和偶像为核心的传统,使原本处于边缘地带的中国宗教偶像,走到了历史叙事的前台,这毫无疑问是一重大贡献,但另一方面,也因此容易忽略中国雕塑自身类型的多样性与特有的表达方式。
相比而言,梁思成的讲义则包含了更多的可能性。与言及早期材料的简括不同,谈到南北朝佛教造像时,讲义发展到高峰。梁思成将云冈石窟的建造称作雕塑史“放其第一次光彩”,随着宋代之后佛教艺术的衰落,这门课也就到了尾声。这看上去与大村西崖、喜龙仁并无太大的差别,但是,梁思成在引言中的一段话不可忽略:“然而艺术之始,雕塑为先。盖在先民穴居野处之时,必先凿石为器,以谋生存;其后既有居室,乃作绘事,故雕塑之术,实始于石器时代,艺术之最古者也。”这里不仅将雕塑的历史上溯到与人类起源同步,而且将雕塑理解为具有特定形体的、占有一定空间的人造物(石器),而不局限于模拟、状物的具象作品。他同时注意到早期器物中雕塑的语言与技术,如果说言及周代铜器,称“尤以牺尊、象尊为研究雕塑史之主要材料”还是偏重其造型特征的话,那么,他把玉石器、铜器、象牙、犀角、牛骨上刻工细巧的纹样,汉代印玺、铜镜、虎符等小品,以及汉代在享堂碑阙上“刻图为画”的画像石也包括在雕塑史中,则是着眼于技术层面。谈到西周重器散氏盘,梁思成说:“然其所以著者,以其款识文字之多,研究者,实未曾有以雕刻家眼光看之者也。”这里不仅点明了与金石学研究的差别,更引导我们将视野扩展到非具象作品。在后来的教科书中,更具平面性的汉代画像砖石多与绘画相比照,而器物及其装饰则归入工艺美术或设计艺术之中。这种看似清晰有序的分类,实际上是按照西方美术史叙事固有的框架对号入座,忽略了各类型之间内在的联系,以及与自身文化有机的关联。而梁思成这些提示,对于我们反思教科书惯常的结构,别有其意义。

图片
阳灵虎符(摘自《中国雕塑史讲义》插图)
三

对国外著作的移译订补,既引进了原著的材料、概念和结构,也将其理念与方法输入中国。喜龙仁对于雕塑的分类编排,基础是当时欧洲美术史流行的视觉形式分析方法,赖德霖注意到,这种方法对梁思成有重要的影响。喜龙仁的喜好臧否也得到了梁思成的回应,如喜龙仁对云冈昙曜五窟造像多有微词,梁思成也认为五窟大像“平板无精神”,又说:“吾恐云冈石匠,本未曾见犍陀罗原物,加之以一般美术鉴别力之低浅,故无甚精彩也。”其观点读者可自由取舍,但这种评论方式与当下许多论著纠缠于“不及物”的套话相比,却别有意趣,其机锋锐利的文字背后,隐约可见年轻人跃跃欲试的英气。尤其值得留意的是,梁思成在此联系到工匠的因素,他又说:“此种以外,云冈石像尚别有作风与大佛大不同者。年代较后,或匠人来自异地,俱足以致之。”正在备课的梁思成还不是一位标准的建筑史学家,在此前后,他设计王国维纪念碑,与林徽因合作设计梁启超墓园建筑与石刻,以及东北交通大学和原吉林大学的部分建筑,还参与了天津市规划方案的竞赛。由于有着建筑实践的经验,在论及古代艺术作品时,梁思成很自然地会产生一种代入感。
讲义的一些细微处显示出一位建筑学家特有的目光,如言及龙门奉先寺大卢舍那像龛,其文曰:“今像坐露天广台之上,前临伊水。寺阁已无,仅余材孔。而像则巍然尚存,唐代宗教美术之情绪,赖此绝伟大之形象,得以包含表显,而留存至无极,亦云盛矣!”这段文字大部译自喜龙仁书前长文,但“寺阁已无,仅余材孔”八字却是梁思成特意根据图版四五三、四五四的说明文字移补的。梁思成十分敏锐地意识到这两处说明文字的重要性,排列整齐的梁孔、槫孔等遗迹在照片中也十分清晰,引导他继续追踪窟前建筑。如他在一九三二年与伯希和通信,讨论伯著《敦煌石窟图录》一三〇、一二〇窟(敦煌研究院编号四三一、四四四窟)窟前木构建筑的问题。他与林徽因、刘敦桢一九三三年九月调查云冈石窟,所撰文章中对“窟前的附属建筑”有专门的探讨。他持续关注大卢舍那像龛的寺阁,在后来的文章中指出:“奉先寺卢舍那佛一组大像原来是有木构楼阁保护的;但不知从什么时候起(推测甚至可能从会昌灭法时),就已经被毁。”由于孔洞破坏了造像的背光图案,故学者普遍认为寺阁建于宋金时期。而新近的研究证明,该建筑为唐开元年间或稍早所附加。梁思成将寺阁年代定为唐代,可以说有先见之明。

许多早期考察中国雕塑的学者,在很大程度上是孤立地看待雕塑作品的,对于西汉霍去病墓石雕的调查就是一个典型案例。这种做法,应与当时欧洲艺术界主流强调雕塑的独立性有关,立体主义理论家和画商康维勒(Daniel Henri Kahnweiler)在一九一九年对这一观念进行了简洁的总结,大意是雕塑必须作为“纯粹、简单的物体,与周围的一切分离”而存在。二十世纪现代艺术中的雕塑却在很大程度上背离了这一规则,既包含着对于作品边界的执着,又扩展为开放性、破坏性的对象,在艺术与反艺术之间来回冲撞。研究者意识到,即使是古典雕塑,同样也与环境有着密切的联系。反观中国传统雕塑,其类型之丰富,更有待于发掘,如战国楚墓所见镇墓兽,每以真实的鹿角安装在雕刻出的躯体上,而风格写实的躯体随时可以变得龙蛇莫辨;天水麦积山石窟引人注目之处,不只在于其造像风格的精妙和石窟结构的复杂,而更在于跨越几个朝代,整个山体被雕凿得如蜂巢一般,成为一处摄人心魄的巨大景观;宗教造像的“装藏”将各种物品密封于其身体内部,完全排除了视觉性……诸如此类的现象,都令我们惊异于现代艺术的许多观念和形式早已隐藏在传统之中。

带着这些“后见之明”来读这部讲义,我们不难发现,讲义固然受到当时美术史形式主义研究潮流的影响,也在一定程度上包含着对于雕塑独立性的强调,但是,它极为清晰地突出了雕塑与建筑的联系,这个向度虽未在文字层面充分展开,但无疑是极富发展前景的学术贡献。
梁思成藏有一只汉代陶塑小猪,据当年清华大学建筑系的学生回忆,梁思成常以此作为教具训练学生的审美能力,他说:“你们什么时候能体会这个小猪的线条之美,你们也就建筑系毕业了。”梁思成十分重视不同艺术形式之间在审美方面的联系,就像让学生观察小陶猪一样,他在讲义中谈到云冈第二期雕像衣带下垂而末端似鸟翅伸张,说:“其内蕴藏无限力量,唯曾临魏碑者能领略之。”不过,梁思成所强调的雕塑与建筑的相关性不只在审美层面,更在于二者在特定场域中物理性的、结构性的联系。在历史的维度中重建这种联系,可以呈现雕塑的物质性原境,以及与人的行为的互动关系,为在具体的场所、事件中理解雕塑的意义,开辟了一条重要的通道,建筑因此不再是一个空间的外壳,雕塑也不再是一个孤立的影子,它们相互制约,彼此塑造,构成了宗教活动的物质基础,也成为古人信仰的视觉表达。

在后来关于古代建筑的调查中,梁思成始终重视对雕塑的研究。如一九三二年四月,他调查蓟县独乐寺,注意到观音阁中十一面观音像和两侧侍立菩萨所保存的唐代遗风。他还敏锐地注意到观音像与不远处观音寺白塔独特的关联,为雕塑与建筑的相关性拓展出更大的空间。他两个月后调查宝坻广济寺,对辽代三大士殿的塑像做了详细的记述,称之为“殿的主人翁”。一九三三年四月,梁思成与学生莫宗江调查正定隆兴寺,时间虽然极为短促,仍特别留意了讲义中提到的摩尼殿宋代彩塑观音等雕塑作品。
最令他自豪的是一九三七年六月底至七月初与林徽因、莫宗江等发现的五台山豆村唐大中十一年(八五七)佛光寺东大殿。他充分注意到建筑与其他艺术形式的联系,而大殿的断代正是建立在对不同艺术形式整体性考察的基础之上。他赞叹道:“佛殿建筑物,自身已为唐构,乃更蕴藏唐原塑画墨迹于其中,四艺萃聚,实物遗迹中诚属奇珍……”林徽因凭借患远视症的双目首先发现了梁下佛殿主宁公遇的墨书题记,而在佛坛三十余躯唐代塑像中,最南端天王像东侧有一坐像,即被认定为宁公遇的形象。在梁思成拍摄的一帧照片中,林徽因左手轻轻搭在宁公遇像的右肩上,两位女性,一位富有批判力的学者和一位虔诚的信徒,成为这处沉默千余年的伟大历史遗构的共同见证者。


梁思成在一九三二年发表的《我们所知道的唐代佛寺与宫殿》一文中指出:“我们平时一开口就说‘供佛’,供是供奉,是伺候,我们的佛是‘住’在佛殿里,要人‘供’的。佛殿并不是预备多数人听讲之用,而是给佛住的,所以佛殿是佛的住宅……”这一认识,启发着新一代建筑史学家更深入地探索雕塑与建筑的关系。
四

大村西崖的雕塑史收笔在十世纪的五代,喜龙仁的著作终结于十四世纪,而梁思成的讲义也在宋代以后草草结束。这固然出于材料的局限,更重要的是史观使然。传统中国日益没落,使研究者对这一文明的敬意投射在更早的阶段,而梁思成古典主义的审美趣味也一定起到了重要的作用。他在一九四六年完成的英文著作《图像中国建筑史》中关于中国建筑分期所体现的史观,在这里已相当明显。
在讲义中,梁思成较少提到西北地区,南方的材料也较为薄弱。言及敦煌彩塑,只是介绍了他经眼的哈佛大学所藏华尔纳(Landon Warner)盗走的敦煌三二八窟唐代供养菩萨像。但这并不意味着他对于这些部分的轻视,如他后来对唐代佛寺与宫殿的研究,主要材料便出自伯希和的著作。


梁思成在引言中写道:“甚望日后战争结束,得畅游中国,以补订斯篇之不足也。”吴良镛也提到:“一九四五年梁先生示我《图像中国建筑史》原稿,我知道他原计划撰写《中国美术史》,分为‘建筑篇’和‘雕塑篇’,说明他对中国雕塑史已成竹在胸了。”据王南介绍,清华大学中国营造学社纪念馆保存有梁思成计划中的《中国艺术史雕塑篇》的重要“原材料”,即由他和学社同仁实地调查拍摄的数以千计的中国历代雕塑的照片,以及数以百计的含有室内雕塑的古建筑测绘图。一九四六至一九四七年,梁思成赴美国耶鲁大学和普林斯顿大学讲学,曾做“唐宋雕塑”和“建筑发现”两个报告,所用资料是从营造学社的调查资料中精选出的,耶鲁现在还留有四百八十张梁思成当时讲学的幻灯片,其中涉及雕塑的约有五十余张。
五

遗憾的是,讲义尘封了半个多世纪,后来其他研究中国雕塑史的学者,大都无从受到其直接的影响。更令人尴尬的是,当学者们溯流而上,着手开启近代意义的中国雕塑史写作时,艺术史之河却拐了大弯。二十世纪初以来的雕塑创作实践是一个更为复杂的话题,在此难以展开讨论。我在草稿上写了下面两段文字,但终究无法按照时间线索整合在一起:
(一)在二十世纪初这个中国古代雕塑大发现的时代,也引进了西方学院派的雕塑。从法国留学归来的江小鹣、李金发,在一九二五年就有作品问世。这些年轻的艺术家将他们新颖的作品呈现于展览会和城市广场上,也开始在新式美术学校设立相关专业。我曾供职多年的中央美术学院一九五二年成立雕塑系,留学法国和苏联的两代艺术家在这里建立起了与西方艺术相“错时”的写实雕塑系统。尽管他们之中的许多人早就意识到中国传统的价值,但他们更需要以全新的语言表现一个现代国家的转变,本土遗产并不是他们创作的基础性动力和主要资源。从世纪之交开始,写实雕塑和现代材料与观念的教学多元并存,中国雕塑的本土化才被严肃地加以讨论。

1952年,中央美术学院成立雕塑系。图为王林乙、滑田友等。20世纪50年代初到60年代中期,留法归来的刘开渠、王临乙、滑田友、曾竹韶等先生建立健全了现实主义雕塑教学系统。而后留苏归来的钱绍武、王克庆、董祖诒、曹春生、司徒兆光等先生加以补充,使之更具有社会主义特色(来源:dsx.cafa.edu.cn)(二)也是在二十世纪初,那些在乡间寺庙中塑像的工匠、雕刻象牙与玉器的技师,依然维持着原有的生活状态。他们缺少观众,生计困顿,后继乏人,其作品曾长期被视作“落后文化”的一部分,近年来又被改造为风格怪异的假古董,或者千篇一律的旅游纪念品。
兀然矗立在云冈和大雁塔广场上的昙曜和玄奘的塑像,采取的是学院派写实风格,与其背后沉默的历史遗迹“相望两不知”。古人作品的价值何在?它们只是传移模写的样板,或者挑战的对象吗?我把这个问题留给中国当今的雕塑家们,将话题再转回雕塑史的写作。


如果要对前辈们筚路蓝缕的开创之功致以敬意,我们这代人就必须严肃地审问自己:我们真的可以写出一部“中国的”雕塑史了吗?博物馆讲解员称赞一尊菩萨雕像常见的用语是“东方维纳斯”;至于“雕塑馆”内将陶俑与佛像并列,理由也只是这些作品在形式上的相似性,而没有考虑其性质、功能与意义的差别。我们没有找到,甚至没有认真地设想有没有与绘画“六法”,或梁思成所言建筑“文法”相映照的中国雕塑的语法,更没有提炼出像“建筑意”“形体环境”这类理论层面的认识。
我们对一尊雕塑的评价来自单一的感性体悟和直觉经验,对其主题思想、象征意义、建造动机、地点选择、材料来源、创作过程、技术传承、工匠身份、组织结构、观看方式、社会功能,乃至历史上对作品的误解、歪曲与攻击,都缺少足够的研究,因而不能准确地揭示作品所承载的使命、作者所面对的问题以及他们的对策,而这一切,都是当下的艺术家仍然要面对的课题,也是雕塑史研究与其他学术领域相沟通的渠道。
我们现在拥有的其实远不只是史料,考古发掘出土的那些不以艺术的名义而创作的早期作品,当代艺术家突出重围的实验,未来数字技术即将引入的诸多可能性,都对我们原有的知识系统提出挑战,旧学新知也同时在提示我们要时时注意中国文化自身的性格……现在,我们带着困惑、问题和任务,去重读梁思成讲义中那些雅致的转译、精妙的提示以及留白,就有了非比寻常的意义。
(《中国雕塑史讲义》,梁思成编著,生活·读书·新知三联书店即出)

“他似乎在用语言呼吸”:谈话家柯尔律治

 

“他似乎在用语言呼吸”:谈话家柯尔律治

史凤晓
2022-12-30 12:30
来源:澎湃新闻
二百五十年前,1772年的10月,在英格兰德文郡的奥特里的乡村牧师家中,第十三个,也是最小的小孩萨缪尔·泰勒·柯尔律治(又译为柯勒律治)出生。或许一方面天生如此,一方面因为有一个动辄引用希伯来文工作和谈话的牧师父亲,柯尔律治的语言与谈话天分自儿时就非常突出。他多少带点遗憾,但更多是带着骄傲曾经说起自己儿时“从来没有像小孩那样思想过;也从来没有像小孩那样说话过”。曾经为了生计差点从事牧师工作的柯尔律治,被浪漫主义时期著名的批评家威廉·哈兹里特认为是当时最雄辩传神的布道者。二十几岁的他在诗作《忽必烈汗》中曾经渴望自己像希腊神话中的安菲翁一样,可仅仅依靠音乐的力量在空中重建忽必烈汗神奇的逍遥宫殿。韦奇伍德家提供的年金资助让他不必以牧师为生,可以安心写诗。然而遇见骚赛与华兹华斯之后,二位伟大诗人的诗才让他怀疑自己作为诗人的天分,也是因此,写诗不再是他的主业,他成为一个批评家,哲学家与演讲家。曾经的哈佛大学教授乔治·赫伯特·帕默认为西方文学的鼎盛时期是口头文学时期,在荷马的《伊利亚特》与《奥德赛》中处处都可听见声音。而且,他认为最好的文学作品是具有真实话语活力的文学作品,无论是柏拉图的对话录,还是受欧洲大陆影响的乔叟的《坎特伯雷故事集》等作品,甚至是十八世纪以约翰逊博士、埃德蒙·柏克为代表的最雄辩的作家们。在这个传统中成长起来的柯尔律治则成为十八世纪末到十九世纪前三十多年间最出色,最有魅力的谈话家。在同时代人对他的记录,回忆,以及后人对他一再的回顾中,尤其是在二百五十年后的今天,这位一生受身体病痛之苦,但一讲起话来总是神采奕奕非同凡响的诗人,除了他早年间大家都说出名字的几首诗外,更多地是一个以雄辩的谈话家的形象出现。而这不仅是柯尔律治,以及他之前的很多伟大作家的魅力所在,在他之后,也从来不乏这样充满魅力的雄辩者存在。


英国传记作家弗兰克·哈里斯(Frank Harris)在对他与奥斯卡·王尔德在一八八四年伦敦的初次见面的记录中特别强调了两件事情,一是让他反感的王尔德身材方面的油腻与肥胖;一是王尔德的谈话如此迅速且彻底地扭转这不适的第一印象的事实。哈里斯的描写特别生动,他特别指出,谈话中的王尔德的嘴唇极其迷人、重要,即使他大笑时,一颗让人震惊的黑牙也不影响其魅力。他也描写了那双灰色眼睛的美丽。在所有的王尔德的传记中,哈里斯这本是出了名的不准确,甚至还因此被告上了法庭,但他对王尔德这一外形的油腻与谈话的魅力之间张力性的描述却有极大的准确性。八十七年前,在一七九七年,也是在英格兰,离伦敦不远的多赛特郡的一栋叫“瑞思堂”(Racedown)的房子里,诗人华兹华斯的妹妹多萝茜·华兹华斯在写给朋友的信中这样描述她初次见到的塞缪尔·泰勒·柯尔律治(1772-1834):

一开始我觉着他有些普通,也就三分钟吧;他面色苍白,瘦削,嘴很大,嘴唇很厚,牙齿不太好,半卷的黑色头发又长又乱。但是你若听他讲上五分钟你就会全然忘记他的外在。他的眼睛又大又圆,瞳孔不是黑色的而是灰色的;这样的眼睛若是长在严肃之人脸上便会给人一种无趣的印象;但是在他脸上却述说着他活跃的心灵的每一种情绪:它比任何我见过的眼睛都多有一种“诗人的眼睛在神奇的狂放的一转中”(莎士比亚。《仲夏夜之梦》。第五幕第一场提修斯之言。朱生豪 译)的感觉。

同王尔德一样,柯尔律治也是英国文学史上最著名、最有魅力与才华的谈话者之一。无论是以信息不准确而闻名的哈里斯还是以准确、细腻而闻名的多萝茜都是这种天才式谈话者的见证人。

作为天才般谈话者的柯尔律治是沃尔特·杰克逊·贝特的《柯尔律治评传》所述关于柯尔律治的闪光点之一。从最早在德文郡的奥特里圣玛丽镇的家中,以其谈话被父亲以及其他人信任,到伦敦的基督公学中以其谈话吸引了包括查尔斯·兰姆在内的同学的追随,再到剑桥大学时候的呼朋引伴,以及毕业后的二十几年内“他能出入任何圈子,与任何人等自如交谈,无论对方是屠夫、学者还是批评家,场合是政治集会还是一位论派的集会;”柯尔律治能在任何场合就任何话题对任何人进行精彩的谈话,总是能让他的听众倾倒。哈兹里特在其讲座《论在世的诗人》(On the Living Poets)中这样写谈话中的柯尔律治:“他谈起话来没完没了;而且你希望他没完没了地谈下去。”在哈兹里特听来,柯尔律治的谈话不仅能让他听到如管风琴一样的声音,而且这种声音本身就像是一种思想的音乐。没有任何一个人能比年轻的哈兹里特更崇拜柯尔律治,他一想到要去拜访柯尔律治,就感觉金色的落日与夜晚银色的星照亮了他的希望与前景之路,对他的谈话无论是其声音还是其内容有更生动、更富有情感的描写。哈兹里特在其成名作《时代的精神》(The Spirit of the Age)中将柯尔律治称为那个时代中让人印象最深刻的谈话者。在不止一处,哈兹里特强调柯尔律治谈话的毫不费劲与自发性。无论是玄学、逻辑学、哲学还是文学、历史、政治等话题,柯尔律治总可以非常不经意地轻松地谈出来。他的知识储备如此丰富,以至于他根本不需要为谈论任何话题做任何准备。这样的形容在我们常人看来,似乎是不可思议的事情。考虑到很多年后,爱尔兰诗人叶芝曾经在听过王尔德讲话后说,从来没有听过任何一个人像王尔德的谈话那样完美,就像是他精心写了一个通宵,但一切又那么自然,哈兹里特对柯尔律治的评价并非夸张之辞。与哈兹里特一样体验柯尔律治没完没了的谈话的还有后者的另外一个年轻的崇拜者与追随者,托马斯·德·昆西。他回忆二十二岁的自己在一八零七年初次会见柯尔律治时,对方接连三个小时在政治、哲学、宗教等各方面口若悬河般谈话,而自己一点儿话也插不进去。他甚至非常幽默地用了一个条件状语从句:“如果那能被称之为谈话的话”。按常理来说,谈话是“彼此的对谈”。在这种他“完全没有任何机会对之贡献”的谈话中,德·昆西完全有理由怀疑这个词的含义。但是如哈兹里特一样,他也希望柯尔律治可以永远没完没了地谈下去,因为他享受并且希望那些迷人的格言警句、真理等可以被永存。谈到这种希望时,德·昆西用的英文词是“embalmed”,字面意思是“做防腐处理”。与哈兹里特的感受别无二致。自儿时的广泛阅读以及早慧的天性都是柯尔律治这天才般谈话艺术的基础。



作为有十三个孩子的家庭中的幼子,贝特认为,柯尔律治自儿时就养成了依赖别人而非被人依赖这种性格,所以很自然他就会想方设法讨好别人。这也导致他性格中的两个极端,一是自我贬抑,一是惯于“妙语连珠的即兴言说”。贝特也提到,儿时的柯尔律治有着超过同龄人大量阅读,在家中,父亲又常常跟他讲述天文学的知识,柯尔律治的想象力也因此早就习惯于“浩瀚的天地”。他常常在他们所住的牧师住宅旁边的教堂墓园中,把墓碑当作观众,表演他在书里读到的内容。贝特没有提原因,我想可能是因为作为年龄最小的小孩,他在家里很难找到玩伴。有趣的是,这种孤独却让他成为一个在人群中非常自在的人。离开家乡之后,从基督公学开始直到他的生命尽头,他就再也不乏听众或观众了。包括贝特和里查德·霍尔姆斯在内的柯尔律治的传记作家们都会提到柯尔律治在基督公学期间的一件事情。他在伦敦的斯特兰德大街上,展开双臂,想象着自己是游过赫勒斯滂海峡去见情人的利安德,却无意碰到一位陌生人的衣服,结果就被怀疑是小偷。柯尔律治解释清楚后,陌生人被打动,为年幼的柯尔律治买了一张图书馆的借书证。在柯尔律治的另外一个传记者谢默斯·佩里(看来,这件事情是诸多将要发生的事情的典型之一,即,在其中,柯尔律治用他奇特的语言魅力让所有出现在他生命中的人为之着迷。柯尔律治不是一般的喜欢阅读,他曾经一连用三个read(阅读)来解释他的整个生命(whole being):my whole being was……read, read, read。一生窘迫,柯尔律治自己并没有经济能力购买太多书。德·昆西在柯尔律治去世后写的一篇文章中,曾经提到自己在格拉斯米尔的“鸽舍”居住时,在村子另外一个角落被叫作“艾伦班克”(Allan Bank)的房子中,柯尔律治在华兹华斯的家中居住期间,曾经最多向他借过五百本德语书。柯尔律治这是嗜读如命,而且记忆力惊人。看过的这些书很多都留在了他的记忆中,出现在他的谈话里。贝特引用了与柯尔律治一样同是从基督公学来到剑桥大学的查尔斯·勒格莱斯对他在一次小型晚餐中,他能够一字不差复述上午读完的书。

如同对各个话题,各种知识充满热情一样,柯尔律治在阅读中也是对各种类型的书籍充满热情。从古希腊古罗马的哲学到斯宾诺莎的哲学再到他本国的哲学家哈特莱、贝克莱(他曾如此关注、崇拜哈特莱的思想,为长子取名哈特莱,次子取名贝克莱)再到德国的谢林、康德等哲学思想,他对其的了如指掌皆源于对这些哲学家作品的疯狂阅读。他阅读文学、游记,著名的《忽必烈汗》便是在阅读一本游记之后的梦中产生。在阅读莎士比亚的基础上,他曾做了一系列的关于莎士比亚作品的讲座,那些讲座集也最终成为了他的留世之作。他阅读政治,一度追随英国政治哲学家威廉·葛德文,他出版《政治家手册》。他阅读欧几里得,对数学有浓厚的兴趣。他阅读化学书籍,并且曾计划与华兹华斯一起做化学实验。作为一个虔诚的基督徒,他的阅读当然少不了神学著作。他为逻辑着迷,阅读大量逻辑学的书籍。以上种种,也只能让我们对柯尔律治的阅读窥豹一斑。这个以“read, read, read”为生的人,书籍对于他,或许就像天降食粮吗哪(manna)之于旷野中的以色列人。


柯尔律治这种谈话的天分也让他比别人更容易成为一个讲演者。一度为了生计,柯尔律治有几年会进行收费的讲座。有些讲座的内容根据他的朋友亨利·克拉布·罗宾逊的记录,大都是他在私下与朋友的谈话中谈到的内容。我们很难想象这类讲座是讲演者精心准备的,或许即兴的成分也很大。而且,据罗宾逊说,这样的讲座“几乎完全比不上他的谈话”。不仅讲座的内容来自于谈话,有时候谈话还会“耽搁”讲座。一八一一年十二月五日,罗宾逊去参加柯尔律治的讲座。讲座宣传的是要讲《<罗密欧与朱丽叶>与莎士比亚的女性角色》。但是他却即兴谈起了学校里的鞭笞还为之辩护,认为那至少比约瑟夫·兰卡斯特(Joseph Lancaster, 1778-1838)的惩罚体系要好。兰卡斯特反对体罚,他提倡的惩罚体系是或者对学生当众羞辱,或者关禁闭。听众一头雾水,找不到这个话题与要讲的话题之间的联系,或许,连讲演者本人也知道这之间并没有任何联系。之后又谈起伊丽莎白一世与詹姆斯一世与查理一世的区别。至少,伊丽莎白一世与詹姆斯一世是莎士比亚时期的君主。但与主题也没有什么关系。然后又讲起欧洲语言,批评诗歌辞藻,等等。讲座的话题极度跳跃,没有任何主线。我们并不知道那些付费听讲座的人对此什么反应,但在无论鲁宾逊还是兰姆的记录中,我们看到了他们对这个朋友一贯有的困惑与宽宥。一八一二年六月五日的讲座中,宣传的内容是《奥赛罗》,但柯尔律治讲起《冬天的故事》来。鲁宾逊提到这一点时说柯尔律治有些过度跑题。我们暂且不去考虑柯尔律治本人是否对每一次收费的讲座进行了精心准备,但他不止一次在讲座上的跑题虽然让读者困惑。但于讲话者本人,这至少说明他那取之不尽的强大的大脑中的储备随时可以喷涌而出。有一次,柯尔律治在给鲁宾逊的书信中说自己有那么多的事情,却只有那么短的时间,实在忙不过来。鲁宾逊并未在回信中提到这一点,但他在日记中写,如果柯尔律治可以稍微专注一下,并且克制一下人生中常常出现的“离题”,他就不会如此抱怨了。柯尔律治曾经提及过自己在讲座或布道时的离题,虽然稿子已经备好,但是常常:

忘了[我]应该做的,[我]沉浸于一个热情洋溢的幻象,一个流畅的句子,一颗快乐和舞动的心,&轻易就点燃的性情,&想到哪里就慷慨激昂地说到哪里。

柯尔律治本人是能意识到这一点的,“想到哪里就慷慨激昂地说到哪里”或许能解释所有漫无边际却又精彩绝伦的谈话内容。柯尔律治的侄子也是女婿亨利·柯尔律治在柯尔律治去世后一年即一八三五年以《桌边谈话》(Table Talk)为书名整理出版了每次谈话中他所记录下来的后者讲述的方方面面的精彩内容。一八三六年他对这部作品又进行了修订与补充。


他在谈话中的“离题”这一特点常常被认为是其人生弱点之一,甚至是,用同属湖畔派诗人同时也是其连襟的诗人罗伯特·骚塞的话来说,“对其无与伦比智力的浪费”。年轻时的挚友并且曾与柯尔律治同住格雷塔府(Greta Hall)那么多年的骚塞对其有着最直观的观察,“可怜的柯尔律治”,骚塞说,“总是说,‘我从明天开始’”。一八三三年,柯尔律治离世的前一年,美国作家爱默生来伦敦海格特吉尔曼的家中拜访了柯尔律治。一八五六年在他的《英国人的性格》(English Traits)中,他哀叹了柯尔律治悲剧性的一生及其未能完成任何一部杰作的遗憾。后来,弗吉尼亚·伍尔夫的父亲,著名的文人、哲学家莱斯利·斯蒂芬(Leslie Stephen, 1832-1904)在他的《图书馆时光》(Hours in a Library)第三卷中的最后一篇关于柯尔律治的文章中数次问同一个问题,如此有才华的柯尔律治,为什么作品那么少呢?字里行间也在讲述柯尔律治无法集中注意力专注某一件事情的弱点,而这,在他看来,是一个哲学家需要的品质。很明显,这也是,在他看来柯尔律治作为一个哲学家也无法成就什么的原因所在。对于这样一个其伟大声名建立在如此少的作品上的一个伟大的诗人、哲学家,自然会有一代又一代人去探寻其中缘由。在罗旺斯勒主教看来,这种“对方法的缺少毁了可怜的柯尔律治”。他认为柯尔律治无法条理地规划自己的人生。贝特也提出柯尔律治对他的朋友托马斯·普尔、骚塞等“一次只做一件事”的欣羡之意。

贝特提到柯尔律治“对任何话题都有真正的热情”,柯尔律治的另外一个知名亦最权威的传记者理查德·霍尔姆斯在其两卷本的传记中不止一次强调很多事情都是柯尔律治“真正的兴奋与热情”的结果。他特别提到这一点在早些年被朋友们称赞,但后来却成了朋友们口中的柯尔律治的弱点。有趣的是,无论是兰姆、骚塞,还是柯尔律治后来熟识并且成为至交的普尔、华兹华斯,甚至一开始崇拜后来总是不断攻击柯尔律治的哈兹里特最一开始都是被其出色的谈话吸引,冷静拘谨严肃如华兹华斯也完全被其征服,他也在这些谈话中感受到了一个极其强大的大脑。在日后很多年中,华兹华斯的创作在很大程度上受益于,而且他也在精神上非常依赖这位哲学家朋友。即使二人的友谊经历了一些起起伏伏,一直被批评家诟病自我的华兹华斯也非常深沉地说,柯尔律治是他认识的人中最伟大的一个。后来华兹华斯在挽诗《闻詹姆斯·霍格去世有感即赋》中所用的词汇也在表达着他对这位朋友热情的欣赏以及对所有这一切逝去的悲伤:“有着天神一样额头与眼睛的/兴高采烈者已经在尘土中安息。”这两行多么生动地为读者留下了总是非常热情又异常睿智的柯尔律治。

一直伴随着打字的我的是在我面前的一个带着柯尔律治画像与他关于热情的名言的纸板做成的杯垫。杯垫上写的是:没有什么比热情更有感染力。“感染力”这个词他用的是“contagious”,这个词字面意思是“有传染性”。那么如柯尔律治所说的,他的热情不仅能“传染”给他的同时代人,即使在二十一世纪的今天,在两个世纪之后,我依然能感觉到柯尔律治扑面而来的热情。而这种热情让我对包括知识在内的世间一切充满了热情。所以我在二零一八年的夏天,于英国湖区的格拉斯米尔的格拉斯米尔客栈,看到我房间内的这个杯垫时,就把它与我一起带回了国。这难道这不是他的成功吗?虽然爱默生哀叹柯尔律治的悲剧性,他也特别强调知识渊博且非常有思想的柯尔律治“讲出了”他那个时代不同凡响的批评。而且,爱默生特别指出,若非柯尔律治常常在个人谈话中的表达,人们会以为英国思想中的杰出部分在英国本土罕有人赏识,只有在德国与美国才能被人欣赏。爱默生本人就是慕英国的杰出思想而来的美国人。是柯尔律治自己让整个英国人免受这种责难。这种评价何其高。而这功劳也是来自于他亲身体验的柯尔律治谈话方式及其内容的魅力。即使柯尔律治的生命当时已近尾声,那种魅力也丝毫未减。一八八六年三月十三日的《圣詹姆斯报》上有一篇匿名的关于柯尔律治的文章,是关于“伟大的谈话家”系列三篇中的一篇,另外两篇分别是关于歌德与马丁·路德的。这位匿名的作者写道:

像柯尔律治、歌德、路德、约翰逊与塞尔登(Selden)这些人的《桌边谈话》的出版让我们几乎希望他们这一生可能什么都没做,只是用来谈话,而且他们身边总是随时有人在记录。在谈话中,他们倾吐出自己最优秀的思想……这尤其符合柯尔律治的情况……我们当前文化中所拥有的“美好与光明”主要受益于柯尔律治而非当今的任何一个英国人。

这位匿名作者在这里提到的“美好与光明”是一八六九年英国思想家、诗人马修·阿诺德在《文化与无政府状态》中第一章的题目,也是他所认为完美的同义词,而完美是他认为的文化应该追求的目标。如之前爱默生所认为的那样,是柯尔律治私下的谈话让他意识到,英国文化及其中的杰出思想并未流失到国外。虽然爱默生并未用到阿诺德的词汇,但他所指的与阿诺德认为文化应该追求的目标相去不远。在这个意义上,无论是“美好与光明”的发端者还是这种思想的守护者,柯尔律治的谈话皆有一份功劳。这位匿名作者提到的“而且他们身边总是随时有人在记录”,主要是在说《桌边谈话》这本柯尔律治谈话录的出版。如上文所言,这是他的侄子兼女婿亨利·柯尔律治在与柯尔律治熟识的十五年中对每次谈话的记录集。亨利在前言中说,初次与柯尔律治谈话,被他的谈吐与谈话内容吸引,回到家几乎是情不自禁地记下他所听到的对方谈话的要点。长此以往,柯尔律治去世时,他发现已经积累了一大堆。他从中选择了自己记录的部分内容以《桌边谈话》在柯尔律治去世的次年出版。虽然亨利自谦自己不比记录约翰逊博士生活的鲍斯威尔,但他在柯尔律治身后的工作无疑是鲍斯威尔式的。他确实认为柯尔律治与约翰逊博士有相同之处。至少两人都是出色的谈话家。这部作品献给了在柯尔律治生命的最后近二十年的时光里给他提供住所并且照顾、陪伴他的詹姆斯·吉尔曼夫妇。在《文化与无政府状态》出版的同一年,柯尔律治生命中的另外一个鲍斯威尔——亨利·克拉布·鲁宾逊的三卷本的《亨利·克拉布·鲁宾逊的日记、回忆录与通信》在作者去世后两年由麦克米兰出版社出版。鲁宾逊所记录的柯尔律治的谈话、讲座、生活日常以及他们的往来,甚至是柯尔律治与其他人的往来恩怨等等其精彩程度不逊《桌边谈话》,甚至还较之更为生动。柯尔律治生前出版的作品确实有限,很多作品都在计划中,并未有多少真正问世。关于这一点,前面提到,很多人将此归咎于柯尔律治的三心二意,无法专注等等。亨利在《桌边谈话》的前言中将柯尔律治比作学院(Academy)与吕克昂学院(Lyceum)中的智者,有一群求知问识的追随者听他讲话。柏拉图与亚里士多德就这样与柯尔律治一起出现在了这种对比中,而柯尔律治经常被引用的出自《桌边谈话》中的一句便是:每个人都是生来的亚里士多德主义者或柏拉图主义者。他日常的思考与谈话就是这样充满了如此浓的哲学色彩。莱斯利·斯蒂芬称他为一个具有哲学家的眉(the brow of a philosopher)与诗人的眼(the eye of a poet)之人。在中国,孔子未写一字,几千年来我们也没有错过《论语》中的“子曰”。在西方,苏格拉底未写一字,柏拉图对话录中却充满了苏格拉底的话。如果说,我们尚不能把柯尔律治与这两位圣贤并列的话,至少我们得益于人类文化中总有记录者,圣贤智者的思想不会因为他们没有著书而消散在风中与岁月里。



一八一七年,柯尔律治在世时出版的《文学传记》(Biographia Literaria)中提到《抒情歌谣集》的产生过程:“在我和华兹华斯先生成为邻居后的第一年,我们的谈话主题经常围绕着诗歌的两大要点展开……按照这一想法,我们制定了《抒情歌谣集》的创作计划。”有不少版本的英国文学史将1798年《抒情歌谣集》的出版视为英国浪漫主义的开端。那么,我们是不是可以毫不夸张地说,在这一重大的历史事件里,柯尔律治的谈话功不可没。甚至到后来1800版、1802版《抒情歌谣集》中在今天已经成为文学批评经典的“序言”灵感也是来自柯尔律治的谈话。而在《抒情歌谣集》中出现的一种新的诗歌体“会话诗”。贝特引用柯尔律治的解释是“介于诗歌和会话的‘中间物’”。诗集中的代表作是《夜莺》以及受柯尔律治这个概念影响的华兹华斯的《丁登寺赋》。后者不仅是这本诗集的压轴之作,也是世界诗歌史上的经典之作。贝特特别提到柯尔律治所创的这种类型的诗歌影响了,自华兹华斯至弗罗斯特这一条线,甚至包括T.S.艾略特在内的诗人的诗歌创作。我们难道不可以说这也是“谈起话来没完没了”的另一个成绩吗?如若我们只是细究华兹华斯与柯尔律治这两位伟大的诗人在友谊的巅峰期间的每一部作品,要找出完全没有受到柯尔律治谈话影响的作品真是不易。


柯尔律治的善谈及其总是高涨的热情常常被人归因于他对鸦片的吸食。斯蒂芬曾说,谈论柯尔律治不提鸦片的话就像谈论哈姆雷特不提老国王的鬼魂。无论是鸦片在柯尔律治的生命中,还是老国王的鬼魂在哈姆雷特的生命中,无论向好还是坏的方向来说,都是至关重要的一部分。在兰姆对基督公学的生活以及与其中柯尔律治的回忆中,我们已经看到一个因谈话而成为中心的一个热情洋溢的男孩,那完全是在他吸食鸦片之前。而且在他的时代,鸦片常常是被制作成鸦片町,是合法的止痛药剂。而几乎大半生都与疼痛作斗争的柯尔律治与鸦片的关系也是一言难尽。这其中好的与坏的影响,鸦片在多大程度上毁了他的一生等等,对这些问题的谈论与争议从未停止过。柯尔律治去世后,托马·德·昆西认为柯尔律治并非完全是出于身体病痛方面的需要,作为一个已经出版了《一个瘾君子的自白》作品的瘾君子德·昆西本人,这样的话有多少可信度要另论。而且亨利·柯尔律治确实在《桌边谈话》的“序言”中对德·昆西的说法进行了反驳。

兰姆在《伊利亚随笔》中回忆的那个总是因谈话而成为中心的“被救济的男孩”自更早之前到他生命的最后,无论是中学、大学还是在英国西南部,在德国,在马耳他,自欧洲大陆,在苏格兰,在伦敦,在途中,在海格特,在任何一个他出现的地方,他谈话的地方,他一直是那个因其谈话而成为中心的人。由于柯尔律治私下或公开的谈话,德国的文学、哲学思想被大量地引介到英格兰。他让席勒、歌德、康德、谢林、费希特等的名字与思想被更多的英国人熟悉。他上乘约翰逊博士,下启王尔德,或许英国的前首相丘吉尔也算在这伟大的谈话者系列之中,这,不仅仅是他们所属时代的“美好与光明”,也是所有时代有幸有机会读到他们的时代的“美好与光明”。贝特引用了美国作家华盛顿·欧文的朋友托马斯·科利·格拉顿在布鲁塞尔遇到与任何人都能轻松交谈的柯尔律治所发的感叹:“他似乎在用语言呼吸”。或许,这就是对伟大的谈话家柯尔律治最精准的描述。

Wednesday, July 5, 2023

‘Building Something Together’: Translators Discuss Their Art

 

‘Building Something Together’: Translators Discuss Their Art

The New York Times · June 28, 2023

Roundtable

The Times convened five notable translators who bring literature from other languages into English, and asked them about the joys and challenges of the job.
Credit...Lourenço Providência
June 28, 2023, 11:21 a.m. ET

There are as many ways of translating a literary text as there are translators. The act of carrying a work from one language to another — an art as much as a craft — is anything but mechanical: Translators’ choices are informed by their sensibilities, their emotional landscape, their background.

Literary translators have, however, historically received little recognition. Readers who love books that were rendered in their words often haven’t known their names, since they were not featured on the covers. Within publishing, they were frequently underpaid and given no rights or royalties for their work.

Efforts by translators and by organizations like PEN America, which recently issued a manifesto on literary translation, have brought the field greater visibility, helping to cement the rights of translators and to raise awareness of literary translation as a creative art in its own right.

For a frank discussion of the state of translation, The Times gathered a group of recognized translators:

  • Samantha Schnee, a translator from Spanish, is the founding editor of Words Without Borders, a digital literary magazine of international literature in English.
  • Allison Markin Powell, a translator from Japanese, also represents the PEN America Translation Committee on the organization’s board of trustees.
  • Jeremy Tiang, originally from Singapore, translates from Chinese and is also a novelist and playwright.
  • Mui Poopoksakul is a Thailand-born lawyer turned literary translator.
  • Bruna Dantas Lobato, originally from Brazil, is a literary translator from Portuguese and a writer.

This conversation has been edited for concision and clarity.

JULIANA BARBASSA: Over 50 years ago, at the first World of Translation Conference organized by PEN, Isaac Bashevis Singer said: “Translation must become not only an honorable profession, but an art. While I don’t like bloody revolutions, I would love to see a translators’ revolution.” He went on to say of translators that “in all of literature they have been the pariahs,” and to call on the conference to be “the beginning of a rebellion where ink instead of blood will be shed.”

What revolution was he alluding to there, and how much has been accomplished in the years since?

SAMANTHA SCHNEE: There are two ways to answer that question. One, translators' rights is something I think Singer was referring to. But I also think that the translator’s role as a conduit for literature in translation is equally important. To the first issue, I would say a lot of progress has been made in the last 50 years. It was the case that translators routinely were expected to grant copyright in perpetuity for their translations.

Famously, [Gregory] Rabassa’s translation of [Gabriel] García Márquez’s “One Hundred Years of Solitude” was a copyright grant, which really ignores the role of the translator as a creative aspect of the work. No two translators would ever create the same translation from the same text. So I think progress has been made in areas like that.

But I think we have a lot of progress yet to go. For example, the way I see the role of a translator today is very much as a curator. Translators are much more active in the market now: Translators are acting as scouts, in many cases acting as agents. Almost always those roles go unpaid.

“No two translators would ever create the same translation from the same text.”

Samantha Schnee

I do think translators have a lot more power than certainly 50 years ago, and I would argue even 20 years ago. Translators need to keep fighting to keep those issues at the forefront.

We as an Anglophone culture are mass exporters of all sorts of culture, and we are not importing even a fraction of that. Translators play a really critical role in helping to counteract that.

BRUNA DANTAS LOBATO: In addition to wanting fair pay, wanting our art to be recognized, our names on the covers of books, I also would like to see a push away from this very academic sentiment that comes out of comp lit departments: that it’s some white person from this culture who goes into another culture and imports these artifacts.

There is this sense that it’s a transaction, and it’s one-directional. It feels like a very anthropological impulse from maybe a couple of centuries ago. I would like instead to have more of a conversation.

JEREMY TIANG: In the English-speaking world, we are enthralled with the idea of the single author. And so conversations around translations either focus entirely on the original author, rendering the translator subservient, or else talk about the translator as if the only way the translator could have agency is to go completely rogue, disregard all notions of faithfulness and assert their own version of the book at the expense of the original. The idea that translation is a collaborative process, that the author and the translator are building something together, doesn’t really get as much airtime as I would like.

“The idea that translation is a collaborative process, that the author and the translator are building something together, doesn’t really get as much airtime as I would like.”

Jeremy Tiang

BRUNA: It’s a question of authorship, right? It’s an opportunity to hold translators accountable for the work that we do. If I don’t even know who did this, how am I going to evaluate or ask the right questions?

The other thing is that the translator as author brings so much personal baggage into the work. We can’t translate outside of ourselves. I definitely use my experiences both as a writer — my knowledge of craft — and my experiences as a reader, in everything that I translate. I also bring my emotional experiences.

It means that I won’t bring unexamined biases into the work. It means that I have an opportunity to be in genuine dialogue with the work. All of that is impossible if I am erased, my identities are erased, my experiences are erased.

ALLISON MARKIN POWELL: What a translator brings to the work of doing the translation, we also bring to the works that we’re inspired to translate. Historically that was very much a white male academic’s perspective.

I’m part of a collective called Strong Women Soft Power that promotes Japanese women writers in translation. When we formed it I started looking at the numbers — who was being translated. Despite my perception that there were a lot of Japanese women writers being translated, that was actually not the case. That led me to look at what the landscape was like in Japan. And in Japan it was a much more balanced environment between male and female writers. And that wasn’t being accurately reflected in English translation.

JEREMY: I want to mention the unevenness of the playing field, which might not be apparent to people outside of the translation world.

Someone working from, say, German could quite feasibly, if they were sufficiently established, make a living simply by waiting for publishers to come to them with German books to translate. Whereas with less represented languages or regions, the translator often has to advocate for the book or it doesn’t get translated at all. Thai literature in English translation pretty much wouldn’t exist if Mui weren’t finding these books and putting them in front of publishers.

“I have an opportunity to be in genuine dialogue with the work. All of that is impossible if I am erased.”

Bruna Dantas Lobato

MUI POOPOKSAKUL: That plays into two points, like what Sam said earlier about the unpaid labor of translation. When I work on a book project, I follow it from start to finish. I read the books, I pick the books, I pitch the books, I translate the samples — initially I was never paid for samples. That is a real barrier to entry for a lot of people.

In terms of who gets to translate, I’m really excited by this movement to give more opportunities to heritage language speakers, translators from the countries of the literature that they’re translating from. This will really broaden the landscape of what becomes available in English.

JULIANA: Have you seen a shaping of what books are available in English because of this advocacy by translators?

SAMANTHA: Absolutely. If you think of publishing as an ecosystem, the translators are like the seed spreaders. We’re diversifying that ecosystem. There’s a fixed number of editors out there; they will have certain sensibilities and they will be limited by the market in the choices they can make. When you work with translators, you have whole other worlds opened up to you.

“In terms of who gets to translate, I’m really excited by this movement to give more opportunities to heritage language speakers, translators from the countries of the literature that they’re translating from. This will really broaden the landscape.”

Mui Poopoksakul

JEREMY: The translator is often the only person who can see both sides. The source language country might have rights agents doing good work, but they don’t know the English-language publishing world as well. The Anglophone world has well-meaning publishers who would love to do more translation, but they have no way of knowing the source language landscape. And apart from basically a few large Western European cultures which are well resourced with book scouts, in general, the translator is often the only person with a clear view of both sides.

ALLISON: If a book from a language that you work from becomes successful, do you feel like that starts to color readers’ or editors’ expectations? In Japan this has been called the [Haruki] Murakami effect. Do you have that experience?

BRUNA: I definitely have that experience a lot. I was recently advocating for a book called “The Dark Side of the Skin,” about racism and police brutality in Brazil, by Jeferson Tenório. Some of the readers evaluating it for interested editors said, “I don’t know if this is the one book about racism in Brazil that we should read. There are others that are very good.”

There’s this implication of simplicity, that if I read this one thing — I mean, how much can there really be to that culture? I’m done, you know?

JULIANA: Is there still a sense from publishers that, Oh, we have our India book for the year, we have our Japanese book for the year?

JEREMY: I’ve noticed both a kind of tokenism and a kind of herding. So I’ve had, “We have our Chinese book for the year.” But I’ve also had, during the dominance of “The Three-Body Problem,” publishers saying, “We want as much Chinese science fiction as we can get our hands on.” In both cases it’s treating books as interchangeable commodities rather than individual pieces of art that you consider on their own merits. I will say that there are more and more enlightened publishers who are able to see beyond that these days.

MUI: I haven’t had that experience, but I always fear it. After my first book, which was billed as the first Thai translation published in Britain outside of an academic press, it was like, well, are they going to want another one? I worried about that.

JULIANA: One thing I find striking is that with literature in translation, what exists in English is shaped by specific factors that are not visible to readers. Some countries, for example, fund translations from their language.

“There are a lot of interesting conversations right now about who the imagined reader is, and whether a translation should be smooth or challenging.”

Allison Markin Powell

BRUNA: Publishers have such a limited budget. I’ve been really interested in books that editors said they couldn’t buy. So they will pass on it, and then instead buy a Scandinavian book or a Korean book because it got a lot of funding and they won’t have to pay out of pocket.

MUI: The playing field is definitely not level. There is some good work being done out of Anglophone countries in terms of grants, but they’re hard to come by because you’re competing with translators and translations from every language. I’ve applied for funding from Thailand a couple of times, but I have not received funding from the Thai government.

ALLISON: Despite the fact that Japanese ranks relatively high on the number of works in translation, there is actually relatively little subsidy available. None of the books that I’ve translated, or almost none of the books have really received any subsidies.

SAMANTHA: The funding tends to be quite Eurocentric, and that does have significant impact on what readers in English are offered. It’s pretty dramatic if you look at the countries that are really investing in cultural exportation.

That’s not to say that there aren’t great European writers who are worthy of being translated. There certainly are. But there are in Africa, in Asia, in Latin America as well.

ALLISON: Going back to the actual work of translation, there are a lot of interesting conversations right now about who the imagined reader is, and whether a translation should be smooth or challenging.

JEREMY: My imagined reader is myself. I translate books that I want to put out in the world because they aren’t there for me to read. And I also translate because of the process. Just as, you know, actors go after a part because it’s a great part for them and they want the experience of performing it.

BRUNA: I expect from the reader a minimum amount of curiosity, and also a bit of an ear. I want the reader to pay attention to the language, and to what I might bring from Portuguese into English. I hope they’ll get used to different voices and different accents, and appreciate all the value that’s in there. All the beauty and the language-play that’s in there, as opposed to wanting an experience that’s just going to reaffirm what they already know, who they already are.

SAMANTHA: My ideal reader is the author. I much prefer to work with an author who’s living, with whom I can have a dialogue. I’ve learned so much — not only about language, but also about the topics that the authors’ books are dealing with.

MUI: The reader I fear is the Thai reader, because they are more likely to be able to re-engineer my process. I teach at a university in Thailand, so I have students who read my translations side by side with the original. They are always sort of on one shoulder, being like, “Stay true, Mui, stay true.”

JULIANA: What brought you to this field?

MUI: Translation is just great fun, you know? The latest PEN translation manifesto emphasized how translation is a form of writing, and that for me is so true.

ALLISON: Translation is an extremely creative practice. It suits my aesthetic of creativity well. I don’t write my own work; I write translation. Working with an existing text in another language is just having different clay to mold with.

BRUNA: As a writer, I often felt like the best way for me to study any work was by translating it. It feels to my particular practice like those two are in dialogue.

But also as a person, the way I exist in the world — when I found myself as a Brazilian national in New England, suddenly my language wasn’t a part of my daily life. Translation was a way for me to put my Brazilian side and my American life in conversation, and to feel whole. So for me translation is very much a part of being truthful to who I am.

JEREMY: I grew up bilingual, biracial, I’m an immigrant, and translation is one of the few things that allow me the fluidity to explore all the areas of who I am, and not have to choose one identity or another.

Juliana Barbassa is the Book Review’s deputy editor for news and features.

陈毓贤|华人学者对北美汉学的贡献

 

陈毓贤|华人学者对北美汉学的贡献

陈毓贤
2023-06-30 15:35
来源:澎湃新闻
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香港本来只有一所颇具规模的大学,就是以英语教学的香港大学。1963年,中文教学的崇基学院、新亚书院和联合书院合并为“中文大学”。今年香港中文大学的六十周年校庆举办了一系列活动,我应中文系张健教授之邀于4月14日做了一次报告,谈“华人学者对北美汉学的贡献”。

这里“汉学”泛指海外的中国研究(虽说这名词在西方算过时了,学者大多会划定自己研究中国哪一领域);“北美”则指美国和土地辽阔、人口却只有其十分之一、同属一个学术圈的加拿大。疫情期间香港中文大学曾办了个线上讲座,邀请在斯坦福教中国文学的艾朗诺与当了逾半世纪汉学“票友”的我谈“美国汉学五十年”。我们主要讲朗诺在加州大学、华盛顿大学及哈佛的老师们。我有感于有些人错以为“汉学家”都是白人,而一般“海外汉学”的讨论也有意无意地绕过华人,因此这一趟聚焦于华人学者,谈他们的背景,在汉学界的地位与所扮演的角色,最后略述我对汉学前景的一些看法。

其实北美汉学比欧洲起步晚却后来居上,华人学者的参与非常关键;尤其在文学领域内,近年来可说已取得压倒性的地位。北美汉学界华人多,有下列几个原因:

1)二十世纪初义和团运动,美国获得“庚子赔款”的百分之七点三二,比实际损失的要多些,就决定把多余的款项用以资助中国学生留美,培养了一批中英文俱佳的学人。这一千数百名留美学生大多攻读理工,回国后在各大学、政府机关或私人企业工作,也有一小部分在美国执教。

2)美国铝业公司创办人霍尔(Charles Martin Hall)没有子嗣,遗嘱把财产三分之一留给“英美人士在亚洲或巴尔干半岛办教育的机构”。为争取这笔巨款,当时在北平的燕京大学和美国麻州哈佛大学决定合办“哈佛燕京学社”,于1928年成立。当时北美开设与中国有关的课程寥寥无几,该社资助美国各大学有意从事中国学术研究的学生访华,也资助年轻燕京学人访学哈佛;同时在哈佛设立“哈佛燕京图书馆”和出版《哈佛亚洲研究学报》;在燕京则出版《燕京学报》和《哈佛燕京引得》系列。这样一来,北美汉学家便有了研讨学术的平台,不再只是散兵游勇,征引各种中国古文献也有共同的方式,削减了中美学者间的隔阂。

3)二十世纪中国政局动荡,战乱频繁,1952年院系调整又解散了辅仁大学与十三所基督新教教会大学(燕京、圣约翰、齐鲁、东吴、之江、沪江、金陵、金陵女子、岭南、华南女子、华中、福建协和、华西协和),不少学人外流。

4)二战后北美特别富裕,对世界各地人才都具有强烈的吸引力。

5)美国学界种族与阶级成见相对较轻。六十年代末的《平权法》更大幅提升了女性的地位,让身为女性的华人学者也有机会在汉学界大展拳脚。

前后五拨华人学者

参与北美中国研究的华人可说有前后五大拨:

第一拨是庚款留美学生和他们的第二代:包括早年到美国读本科的赵元任(最后在加州大学伯克利分校退休);考入1911年成立的清华学堂,然后到美国自大三读起的萧公权、李方桂(两位都是西雅图华盛顿大学)、王际真(哥伦比亚大学)、张歆海(菲尔莱狄更斯大学)、梅贻宝(爱荷华大学)和柳无忌(印第安纳大学);考入1925年成立的清华大学,到美国读博士的,有哈佛的杨联陞和方志彤,芝加哥大学的何炳棣和邹谠。他们的第二代在美国从事汉学研究的,有赵元任的女儿赵如兰(哈佛大学)、李方桂的女儿李林德(加州州立大学)、梅贻宝的儿子梅祖麟(康奈尔大学);陈衡哲没有留在美国,但她和任鸿隽的女儿任以都是宾夕法尼亚州立大学历史系第一位女教授。

第二拨:中华人民共和国成立前后,一批在教会大学就读或授课的学人迁移至北美,遇上二战后北美高等学府扩充迅速,他们中英文皆通,便在各大学落脚,成了各校中国研究的中坚分子。加州大学有韩玉珊和陈观胜(燕京-加大洛杉矶分校)、罗荣邦(燕京-加大戴维斯分校)、徐中约(燕京-加大圣芭芭拉分校);普林斯顿大学有陈大端(金陵)、刘子健(燕京)和余英时(燕京,新亚);匹兹堡大学有杨庆堃(燕京)和王伊同(燕京);印第安纳大学有邓嗣禹(燕京);哥伦比亚大学继“第一拨”王际真后有吴百益(金陵)和夏志清(沪江);其他还有吴经熊(东吴-薛顿贺尔大学)、陈受颐(岭南-波莫纳学院)、陈荣捷(岭南-达特茅斯学院)、陈锡恩(福建协和-南加州大学)、张馨保(燕京-爱荷华州立大学)、瞿同祖(燕京-不列颠哥伦比亚大学)、薛光前(东吴-圣约翰大学)、李铸晋(金陵-堪萨斯大学)、吴元黎(圣约翰-旧金山州立大学)等,不计其数。

第三拨:六十年代,北美汉学重点从把中国作为一个古文明研究,转移到近现代研究,许多到美国读博士的华人便留下执教,几乎全来自台湾地区,尤以台湾大学与东海大学外文系出身为多。当时台大文科教授基本是北大和“中研院”史语所的班底,而东海则是曾在大陆的教会大学执教的人马。这批留学生大多有志于创作,读研究生是为进一步了解古今中外的异同,就如影响他们极大的《现代文学》发刊词所说:“我们不必模仿传统或激烈的废除传统。不过为了需要,我们可能做一些‘破坏的建设工作’(constructive destruction)。”最早在北美教近现代文学的大概是“第二拨”的夏志清,其后台大外文系出身的有刘绍铭(威斯康辛大学)、叶维廉(加大圣地亚哥分校)、奚密(加大戴维斯分校)、吴燕娜(加大河滨分校)、张诵圣(得克萨斯大学)、白先勇和杜国清(加大圣芭芭拉分校)、李欧梵和王德威(哈佛大学);台大中文系的则有高友工(普林斯顿大学);东海外文系的有林顺夫(密歇根大学)、孙康宜(耶鲁大学)、杨牧(华盛顿大学)、高辛勇(阿尔伯塔大学);东海中文系则有杜维明(哈佛大学);师大英语系有史书美(加大洛杉矶分校);政大英语系有张错(南加州大学)。治近现代史的有台大历史系的郝延平(田纳西大学)、张灏(俄亥俄州立大学)、汪荣祖(弗吉尼亚理工大学)、叶文心(加大伯克利分校)、李又宁(圣约翰大学);其他还有东海中文系的周质平(普林斯顿大学)和师大历史系的江勇振(迪堡大学)。治古代史的有台大历史系的许倬云(匹兹堡大学)与陶晋生(亚利桑那大学)、台大考古系的张光直(哈佛大学)、师大历史系的陈启云(加大圣芭芭拉分校)等。台大历史系的李慧漱转向治艺术史(加大洛杉矶分校),东海外文系的于君方则转向治佛学(哥伦比亚大学)。

第四拨:七十年代起美国学术界时兴以后现代、后殖民、性别及少数族裔的观点进行解构,吸引了一些来自香港地区、东南亚和北美第二代华人投身中国研究。出色的学者包括美国生长的余宝琳(哥伦比亚大学)、吕立亭(耶鲁大学)、田菱(罗格斯大学)、石静远(耶鲁大学);加拿大生长的方秀洁(麦吉尔大学);香港生长的周蕾(杜克大学)、李惠仪(哈佛大学)、高彦颐(巴纳德学院)、郑文君(蒙大拿州立大学);新加坡生长的吴妙慧(俄亥俄州立大学)及父母是外交官而在各地长大的杨美惠(加大圣芭芭拉分校)和周杉(巴鲁克学院)等。此外,不少华人以探讨海外华裔文学为业,包括马来西亚生长的林玉玲(加大圣芭芭拉分校)和香港生长的张敬珏(加大洛杉矶分校)等;香港的荣鸿曾(匹兹堡大学)和林萃青(密歇根大学)则承袭“第一波”赵如兰的志业研究中国民间音乐。北美学界的多元化可见一斑。

第五拨:八十年代中国大陆改革开放,在美国引起一阵“中国热”。“第三拨”的许倬云为回馈世界对华人教育的贡献发起的蒋经国基金于1989年成立,提供大学新设汉学教职前三年的经费;中国官方的孔子学院于2004成立,向大中小学提供汉语教师,更发挥了推波助澜的作用;不少规模较小的院校亦纷纷开设汉学学科,许多留美中国学人便留下教书,俨然成了各大学中国研究的主要接班人群。其中佼佼者包括中央美术学院毕业的巫鸿(芝加哥大学);社科院的李怀印(得克萨斯大学);山东大学的刘禾(哥伦比亚大学);南京大学的钱南秀(莱斯大学);北京语言大学的丁香(康奈尔大学);北大的商伟(哥伦比亚大学)、田晓菲(哈佛大学)、罗曼玲(印第安纳大学)、李海燕(斯坦福大学)、周轶群(斯坦福大学)、康笑菲(乔治华盛顿大学)、李小荣(加大圣芭芭拉分校)、王敖(卫斯理大学)、熊存瑞(西密歇根大学);复旦的卢苇菁(加大圣地亚哥分校)、王冈(佛罗里达大学)、汪悦进(哈佛大学)等,不胜枚举。

当然,在北美从事汉学的华人不尽都在以上“五拨”之内,举些背景殊异的例子:

江亢虎(1883-1954)早年留日,官拜刑部主事,以创办女校轰动一时;民国初年组织中国社会党,主张男女平等,遗产充公,1921 到莫斯科参加国际共产第三次会议,试图把社会党纳入共产党不果;抗战时加入汪精卫伪政府,战后被捕病死上海狱中。这样的政治风云人物居然也是最早在北美大学从事汉学的华人之一,1913年始有六七年在加大伯克利分校讲授中国文化,与红极一时的美国诗人威特·宾纳(Witter Bynner)合作翻译唐诗三百首,1930 至1933年又受聘于麦吉尔大学,是加拿大第一位中国文学教授。

哈佛燕京学社的主要策划人洪业(1893-1980)本来念神学,同时在哥伦比亚大学修读历史硕士。1919年欧战结束后,美国代表在巴黎和会支持日本承袭德国在中国的权益,洪业到各地讲演反对此议案,因口才特别好被一所演说局的经纪人盯上,安排他到处介绍中国文化,遇上燕京大学拟在北京城外建新校园,亦聘洪业在美国募款,回国任燕大历史教授兼教务长。洪业在北美正式执教止于哈佛燕京学社在哈佛成立那两年,但许多早年汉学家因获哈佛燕京学社资助得以深造,学术成果得以发表,在电子索引普及之前,大家都使用他编撰的哈佛燕京引得系列,影响巨大。

陈世骧(1912-1971)在北大主修英国文学,曾在北大和湖南大学任讲师,1941 到哥伦比亚大学进修,似乎并没有完成博士学业,也没有重要学术专著出版。然而他1945起在加大伯克利分校教中国文学和中西文论,协助该校筹建比较文学系,因学问根底实在深厚,人缘又好,广受学生与同事的尊崇。 

周策纵(1916-2007)的父亲是有名的诗人和书法家;他从中央政治大学毕业后,曾主编数种刊物,并任民国政府主席侍从室编审秘书,替蒋介石起稿重要文件;1948年到密歇根大学深造,博士论文为五四运动史。从小痴迷《红楼梦》的他,1980年起相继在任教的威斯康星大学、哈尔滨、扬州、台北和北京召开国际《红楼梦》学术研讨会。 

黄仁宇(1918-2000)原在南开大学修读电机工程,抗日参军十二年屡立战功,1964年获密歇根大学历史博士学位,著有《十六世纪明代中国之财政与税收》,但在美国数所大学教书皆不得意,便潜心著作。他的《万历十五年》遭多家出版社退稿后自行译为中文,一时洛阳纸贵,结果耶鲁大学也出了英文版。 

余国藩(1938-2015)在香港出生,祖父科举废后考入牛津大学,父亲是剑桥大学法律硕士,投笔从戎官至四星上将。他精通希伯来文、希腊文、拉丁文、西班牙文、法文等多种语言,在芝加哥大学同时任宗教、英文、比较文学、东亚系教授;闲来赋诗填词,弹奏古典音乐,以风度称誉学林。他英译全本《西游记》凡涉及儒释道思想的词语都作精细的注释,另有《重读石头记:〈红楼梦〉里的情欲与虚构》及多种中英文论著。

叶嘉莹(1924年出生)是满族人,北平辅仁大学出身,祖父为进士,父亲北大毕业。她曾在台湾受政治牵连带着襁褓中的女儿入狱,在台大教古诗词却深受学生欢迎,应海陶玮(James Robert Hightower)教授之邀到哈佛和他一同研读诗词。海陶玮推荐她到加拿大的不列颠哥伦比亚大学执教二十余年。1991定居天津,任南开大学中华古典文化研究所所长。

华人在北美汉学的地位与影响

欧洲汉学与北美汉学的此消彼长,及华人学者地位的提升,可从剑桥大学一系列权威著作的参与成员略见端倪:

参与1960年代开始策划的《剑桥中国史》(Cambridge History of China)的有四位欧洲学者,九位美国学者,其中只有一位华人(刘广京)。 

参与1990年代开始策划的《剑桥中国古代史》(Cambridge History of Ancient China)的有两位欧洲学者,七位美国学者中有两位华人(张光直和许倬云)。 

参与2000年代策划的《剑桥中国文学史》(Cambridge History of Chinese Literature)的只有两位来自欧洲,十四位美国学者中十位是华人,除主编孙康宜外,有林顺夫、王德威、奚密、李惠仪、商伟、田晓菲、吕立亭和石静远。 

华人以“局内人”和“局外人”的双重身份加入北美汉学界,有下列重要影响:

1)扩大了北美汉学家的阵容,在各领域提出不同视角,充实研讨的内容,并栽培出不少根基扎实的学生。

2)发挥“把关”作用:他们除做分内事外还帮助其他学者治学。譬如杨联陞在哈佛教书,另负责替哈佛大学出版社审稿,替《哈佛亚洲学报》写书评。其他学者往往把著作先请华人同事过目后才投稿。

3)北美汉语教学的祖师爷自然是语言学家赵元任。但邓嗣禹、刘子健、高友工、周质平、凌志韫在内的华人教授不仅栽培本科生,还视推广汉语为己任,吸引外系学生学汉语。另有些学人因种种原因不能在学府传授他们的专业,却成了优秀的汉语教师。耶鲁便曾同时有三位这样的汉语教师,他们分别是北平辅仁出身、斯坦福广播学硕士、新闻界闻人黄伯飞;辅仁教育系出身、哥伦比亚硕士、书法家兼书画收藏家王方宇;燕京和奥伯林出身、哥伦比亚音乐博士李宝枕。李宝枕后来在爱荷华大学当东方系主任,退休后又到台湾继续发展他的音乐事业(见凌志韫2018年编的美国汉语教学回顾The Field of Chinese Language Education in the U.S.:A Retrospective of the 20th Century)。

4)不少早年的“拓荒者”把藏书赠送给所执教的院校,是各校东亚图书馆的滥觞。

华人主掌亚东图书馆功不可没

笔者去年秋天在一个聚会上见到普林斯顿大学的柯马丁(Martin Kern)教授。他对我说:“华人主掌图书馆,是美国汉学的秘诀。”柯教授是德国人,足迹遍布各地东亚图书馆,说这话是很有分量的。做学问靠材料,需各种参考书和电子档,及与时俱进的专业书刊,最好有第一手材料;而各图书馆的资源都有限,决定采购哪些书刊,搜集哪一方面的资讯,须和教授及研究生配合;如此学术视野辽阔而办事圆融的人才不可多得。北美从事图书馆业的华人不但有效率地向校内学者提供治学资讯,且勤于梳理重整资讯,惠泽学林,推广国际学术交流亦不遗余力。

裘开明是华中大学前身文华大学(Boone Library School)的第一届毕业生,在哈佛获经济博士时,正巧哈佛燕京学社成立,便聘他为图书馆馆长。哈佛燕京图书馆第二任馆长是抗战中当中国空军翻译官的吴文津,他大幅扩充了该馆的收藏,以涵盖当代各社会科学领域;又代表同业筹备中国研究资料中心(Center for Chinese Research Materials),系统地收集二十世纪以来中国各地的报刊、方志、公文、海报、传单等历史资料,翻印或制成缩微胶卷分售给各地图书馆。吴文津1979 年参加美国图书馆业代表团访华后,应中国教育部邀请到多处开展长达一个月的图书馆管理研讨会,带动了中国大陆图书馆的革新。 

王重民于1939年至1947年到美国国会图书馆鉴定中文古籍,回国后建立北大图书馆系。“文革”后其夫人刘修业集合他在美国和北京搜集的资料,编《中国善本书目提要》。 

1937年抗日战争爆发,北平图书馆长袁同礼恐善本书落入日本人手中,打算运到美国国会图书馆保存,而在上海冒生命危险把这三百箱书秘密运上船的是钱存训,后来任芝加哥大学远东图书馆馆长及图书馆系教授,培养了许多东亚图书馆管理人才,并著有《书于竹帛:中国古代的文字记录》,享誉学林。 

燕京大学出身的房兆楹与杜联喆夫妇战后在美国和澳洲各图书馆任职,并和美国国会图书馆的东方部主任恒慕义(Arthur Hummel)合编《明代名人传》和《清代名人传略》,又和哥伦比亚大学的富路特(Carrington Goodrich)教授合编《中华民国人物传记辞典》。三部大部头工具书皆被译成中文,足见其有用。

唐德刚在哥伦比亚大学图书馆收录了李宗仁、顾维钧、胡适、张学良的口述史,万惟英在密歇根大学搜集十九世纪以来中国各地的报刊,都是很珍贵的第一手资料。 

张海惠、薛昭慧和蒋树勇合编《北美中国学:研究概述与文献资源》(2010年出版),请一流学者写各自领域的进展及文献资源,结集成 A Scholarly Review of Chinese Studies in America(2013年出版),延续着北美主掌图书馆的华人梳理资讯的优良传统。 

向前展望

根据现代语文学会(Modern Language Association)的数据,选修外国语文的美国大学生自六十年代以来大致是走下坡的,从1960年平均每一百个学生中有十六点二个选修外语,跌到2016年每一百个学生中只有七点五个。


然而一直到十年前,学中文的学生却逆向上涨,涨势自八十年代起尤其显著。


根据最新的数据,美国选读外语的学生继续急剧下降。就2016至2020四年间,不仅学中文的学生降了百分之二十一,族裔构成美国人口五分之一的西班牙语也降了百分之十五,法语降了百分之二十二,德语更降了百分之三十二。韩语虽然选的人仍不多,却升了百分之二十五,大概是“韩流”效应吧。日语也曾因日语动漫盛行而风光一时。


雪上加霜的是,选历史文学等人文学科的学生每年递减,引发了学术界空前的“人文危机”。哈佛校友杂志Harvard Magazine今年初有篇以此为主题的文章广受瞩目,文中有份图表非常形象地展示自2011至2021十年间,除了语言学及性别与少数族裔研究外,大半的人文学科(以小红圈标志)主修生都减了四分之一以上。


科技日新月异,北美大学生应接不暇,对以往的文学与历史仿佛感到与当下环境已无甚关系,不太感兴趣;于是文科教授退休时,校方往往就趁机省了笔开销;结果即使是名校出身的博士生都很难找到出路,准汉学家也未能豁免。

其实由长远看,这是无可厚非的。每个时代每个社会所面临的挑战不同,而人的时间和精力有限,集中注意力学习的科目自然不同。中国古代的必修科是礼、乐、射、御、书、数。古希腊教育注重的也是体育、音乐和诗歌。古罗马统治幅员辽阔的帝国,除体育、音乐、诗歌外,还要求学生通晓伦理、法律、农业、军事及公开演说所需要的修辞。希腊文是罗马统治下地中海一带最通用的语言,也是高雅文化的语言,因此罗马公民不但须学自身的拉丁文,也须学希腊文。欧洲中世纪拉丁文已成了各地读书人的共通语言,又是法律和医学的专用语言,因此教育主要传授拉丁文,学生熟读《圣经》外也熟读拉丁文经典。现在高等学府五花八门的科目,是欧美工业化后应对日趋复杂的科技和社会而逐渐积累的。十九世纪欧美士绅除本国语及拉丁文外,附庸风雅要学外交通用及标志精致品味的法语;以知识分子自居的要学德语,因德国人走在学术前沿;读神学还须掌握古希伯来文和古希腊文,因《旧约圣经》原是希伯来文而《新约》是希腊文写的;大学标榜“通识教育”,传授这些语文并介绍科学新发展。现在英语成了世界最通行的语言,无论外交、学术、科技都以英语为主,连法语德语都失去了昔日的光环,无怪乎美国学生对外语的兴趣剧减。他们宁愿花时间学计算机操作和编码,何况外语已可由电脑粗略翻译。在资讯可随时上网查询的当下,许多本来热门的科目沦为冷僻,也不足为怪。

由于种种原因,北美汉学逐年扩充的盛况在中短期内恐难重现,但一个世纪来的成绩是很可观的,各地都有院校开设与中国有关的课程,而且中国研究逐渐从边缘地带融入主流知识架构中。西方学术在中国早就不笼统称为“西学”了,北美院校当前把中国音乐设在音乐系,中国绘画设在艺术系,中国历史设在历史系,佛道设在宗教研究学系,也就是“汉学”这笼统名词显得过时的缘故。现在中国文学一般仍设在“东亚语文系”,该系若有一天因经费减缩和比较文学系合并了,未尝不是坏事,等于宣称中、日、韩文学在北美已踏入主流,可和德、法、俄、意等文学放置在同一语境中讨论。

知识快速传递,有利于国际学术交流;而学者中英文皆通现在相当普遍,欧美“汉学家”与中国国内学者走得愈来愈近。然而,思想突破往往来自不同文化碰撞迸发的火花。每个思想体系都有些预设的思维轨道,有些悬而未决的话题;又有其惰性、盲点、不自觉的禁区、根深蒂固的情结,习以为常便感到是天经地义了;用他者的眼光审视往往发现各种症结。余英时为回应韦伯的儒家贬压商人抑制了中国资本主义发展之论说,辩证明清以来绅商的兴起,早已颠覆了传统社会视商人为末流的传统,而绅商之所以为绅商,正因他们吸取了新儒家的价值观;夏志清在美国讲现代中国文学,提出沈从文、钱锺书、张爱玲、白先勇足以媲美鲁迅、茅盾、巴金;无论听者赞不赞同,都觉耳目一新。学者的使命不是宣扬文化,而是了解文化。希望北美华人学者致力保持其“局内人”和“局外人”的双重视角,继续沿自有的脉络,紧贴资料的内在逻辑治学。

(此报告蒙伊佩霞、艾朗诺、周轶群、孙康宜、韩德玲、梅家玲、方秀洁、杨继东和康笑菲协助,特此鸣谢。)

Tuesday, July 4, 2023

王培军|钱锺书《谈艺录》中的“伐材事”

 中华书局本《谈艺录》118页引宋人《四六话》的名言,以论放翁云:“《四六话》论隶事,有‘伐山语、伐材语’之别;放翁诗中,美具难并,然亦不无蹈袭之嫌者。”意谓陆游多是“伐材”,“非拓境宇、启山林手也”。444页补订云:“不知东坡为用此事之伐山手,放翁以下皆只伐材。”498页语及用《寒食帖》事又云:“按晁冲之伐山,始取《寒食帖》入诗,南宋多继而伐材者。”“伐山、伐材”之别,见于王铚《四六话》卷上:“四六有伐山语,有伐材语。伐材语者,如已成之柱桷,略加绳削而已;伐山语者,则搜山(搜山一作披山)开荒,自我取之。伐材谓熟事也,伐山谓生事也。”(据《历代文话》本)简言之,凡是第一个用别人所从未用过的事,就是“伐山”;而用别人所已经用过的事,就是“伐材”。“伐山”优于“伐材”,是不必说的。文人作文如是,学者著书亦然。所以顾炎武另有一个著名的比喻,那就是其《与人书十》中说的:“今人纂辑之书,正如今人之铸钱。古人采铜于山,今人则买旧钱,名之曰废铜,以充铸而已。”拟喻虽有不同,精神却是相通的。乃至于学人征文考献,亦贵伐山的第一手材料,而轻转手的伐材之事。通人必须博览,但是“书囊无底”,所以就是通人,也免不了有时要“伐材”。我去年年底时,因为住在铜陵,手边无别的书可读,所以把三十年前读过的《谈艺录》,又重读了一过,因此而屡见博极群书的钱先生所引的书,也多有是从伐材而得的。钱先生的“伐材之事”,我以前在《钱边缀琐》中指过一些,但那是瞥记随举的,不及这次所获之多。故写为一篇,供给研究“钱学”及喜谈掌故的人参考。

一
钱先生于陈衍的著述,无疑是谙熟于胸的,《石语》记陈誉其云“世兄记老夫诗熟”,可为一证。这都不必多说。陈的《石遗室诗话》,在钱先生的《中文笔记》中,却并没有笔记,那可能是因为太熟之故,所以不复札之于纸了。《谈艺录》中则多次引及石遗,在近人中是少有的,但暗本《石遗室诗话》,而又不加注明的,也有数例。中华书局本《谈艺录》103页论钟谭诗而引及曾习经诗云:
曾刚甫《蛰庵遗诗·读书题词》之十五《题友夏集》云:“次山有文碎可惋,东野佳处时一遭”,自注:“小品文字间亦冷隽可观。”……此等近代文献,亦今日沾沾焉自命为锺谭拨雾见日者,所宜知也。

按此处所引的曾诗,必本于《石遗室诗话》。《石遗室诗话》卷六的第一条:“曾刚甫有《壬子八九月间所读书题词》十五首,实论诗绝句也。……《谭友夏集》云:‘次山有文碎可惋,东野佳处时一遭。颺下甜瓜栽苦瓠,楚风当日亦心劳。(竟陵、公安为世所斥,然明自隆万以降,摹拟剽窃,流弊万端,楚风一倡,遂变为诡俊纤巧。文章与世运升降,盖至是而明业亦衰焉。至其小品文字,间亦冷隽可观,又不容概没矣。)’”石遗所引如是。石遗于十五首绝句,录了十四首,只有一首《读靖节桃花源记》未录。《近代诗钞》第十八册亦只录十四首,同于《石遗室诗话》,钱先生《中文笔记》第六册、第十六册有《近代诗钞》的笔记,曾习经诗见于第十六册388页,但仅取其《笺纸》《田居春感》各一联,而不及其他。钱先生一定没有读过曾的集子,《蛰庵诗存》不但被他误写成了《蛰庵遗诗》,而且《壬子八九月间所读书题词》的题目也丢了七个字,“谭友夏集”之作“题友夏集”,也有一字之差,不及《石遗室诗话》的正确。另外隔了一行,钱先生就引《石遗室诗话》,说“《石遗室诗话》尤细摘锺、谭二家佳句”。《蛰庵诗存》的书名及诗题之误,是钱先生补订《谈艺录》时新造成的,因为据《民国丛书》影印开明书店1948年本《谈艺录》,这一句原作“曾蛰庵遗诗读书题词之十五、题友夏集云”,“曾蛰庵遗诗”五字,也可不作书名读,想来这也正因为未睹其集,所以作此泛语,但是补订之时,已事隔多年,记忆不确,“蛰庵遗诗”四个字,也就被顺手括作书名了。要之钱先生始终未见《蛰庵诗存》,是一定的。
《谈艺录》115-117页论陆游喜梅尧臣云:
放翁自作诗,正不免轻滑之病,而其言如是;其于古今诗家,仿作称道最多者,偏为古质之梅宛陵。陈振孙《直斋书录解题》卷十七谓:“圣俞诗、近世少有喜者,或加毁訾,惟陆务观重之。此可为知者道也。”余按《剑南集》中诗,显仿宛陵者,有《寄酬曾学士》、《过林黄中食柑子》、《送苏召叟入蜀》、《与同官纵谈鬼神》、《哲上人以端砚遗子聿》、《假山》、《春社日》、《熏蚊》之类。……又《读宛陵诗》云云,又《书宛陵集后》云云,《李虞部诗序》云云,《梅圣俞别集序》云云。唱叹备至,于他家盖未有是。……其于宛陵之步趋塐画,无微不至,庶几知异量之美者矣。抑自病其诗之流易工秀,而欲取宛陵之深心淡貌为对症之药耶。

按此亦必本于《石遗室诗话》。放翁学宛陵的事,在近人为罗掞东所拈出,《石遗室诗话》卷二十七录罗掞东评陆诗云:“放翁自壮至老,服膺宛陵,集中凡五六效其体,心折极矣。放翁诗鲜新俊妙,阔大闲旷,无美不备,而其精深处乃自宛陵得来。世之论放翁者,尠道其学宛陵。甚矣,真能读放翁诗者之不易遘也。”罗氏此说,在当时可算是“特识”,因为据陈衍说,那时学放翁的人甚少,而且就是学宛陵,也是他本人与沈曾植等的提倡之功。《石遗室诗话》卷十的第一条云:“初梅宛陵诗无人道及。沈乙盦言诗夙喜山谷,余偶举宛陵,君乃借余宛陵诗亟读之,余并举残本为赠。时苏堪居汉上,余一日和其诗,有‘著花老树初无几,试听从容长丑枝’句,苏堪曰:‘此本宛陵诗。’乃知苏堪亦喜宛陵。因赠余诗,有云:‘临川不易到,宛陵何可追?凭君嘲老丑,终觉爱花枝。’自是始有言宛陵者。后数年入都,则旧板《宛陵集》,厂肆售价至十八金。于是上海书肆有《宛陵集》出售,每部价银元六枚,乙盦、苏堪,闻皆有出资提倡。”其事之详如是。但是这件事,钱先生作了不提名的批驳。《谈艺录》169页论宛陵诗云:“近人夸诞,以为同光以来始道宛陵,不知王渔洋《池北偶谈》、全谢山《春凫集序》皆推宛陵。……此皆同光前事。余聊复拈黄公一节,以见明末言唐诗者,于都官佳处,亦时复一遭也。”所谓“近人夸诞”,必是指陈衍。钱先生于这位对他极为青眼的石遗先生,是有时既致其敬,有时又一有机会就加以批评的。同样的,《谈艺录》106页所云:“渔洋论诗,宗旨虽狭,而朝代却广。于唐、宋、元、明集部,寓目既博,赏心亦当。有清一代,主持坛坫如归愚、随园辈,以及近来钜子,诗学诗识,尚无有能望项背者。”其所谓“近来钜子”,也是指陈衍。假如不是熟读《石遗室诗话》,印象深刻,钱先生对于放翁学宛陵,未必就一定注意,记在心里。
另外厉鹗有一联写春寒的诗,造语至妙,而为钱先生所欣赏,这也是与《石遗室诗话》有关系的。《谈艺录》131-132页论陆游诗而带及之云:
厉樊榭《自石湖至横桥》第一首云:“万顷吴波摇积翠,春寒来似越兵来”;奇想也。然放翁《春寒》曰:“滔天来洚水,震瓦战昆阳,此敌犹能御,春寒不可当”;思路早已及此。樊榭固寝馈南宋人诗中者也。

按此攘于钱仲联《梦苕盦诗话》。《梦苕盦诗话》初版于1986年,时间后于《谈艺录》,但其撰写连载,却是在三十年代。1936年1月15日《国专月刊》(第三卷五期)所刊《梦苕盦诗话》云:“厉樊榭诗:‘春寒来似越兵来。’语特新警,盖本于陆放翁《春寒》绝句云:‘滔天来洚水,震瓦战昆阳。此敌犹能御,春寒不可当。’而变化之也。”这是钱萼孙挖的“脚跟”,而被钱先生“巧取豪夺,以为己有”(《谈艺录》中讥荆公语)了。《石遗室诗话续编》卷一的第三十四条云:“叶袖东(昌陛)遗诗印本多册,……《暮春杂感》云:‘布被温身梦不浓,邻舟解缆响琤瑽。晓风似挟春愁至,卧听佘山一杵钟。’第三句写水寒成阵,颇有厉樊榭‘万顷吴波摇积翠,春寒来似越兵来’神味。”又《续编》卷一的第三十八条云:“去岁吴门冬日,天气沈阴,久不见日,余病寒甚苦之。……再戏嘲云:‘春寒来似越兵来(樊榭句),三月层阴拨不开。莫是吴天无气力,馀威千载压苏台。’”石遗的两次提及,必定为钱萼孙所本,也许可以说,是石遗发现了这句诗的好处。因为在石遗之前,是没有诗话这样提它的。补充一说,樊榭这句诗的“奇想”,在黄庭坚《次韵答斌老病起独游东园又和二首》的“西风鏖残暑,如用霍去病”,其实已“思路及此”了,不过山谷是写热,樊榭是写寒,而以打仗之事作比,则是无不同的。
《石遗室诗话续编》卷三的第三条:“(郁葆青)七言句云:‘名句得从酣醉后,神交订自乱离中。’《自况》云:‘苦心每欲翻新意,得句初疑袭古人。’……皆《随园诗话》中材料也。”“得句初疑袭古人”,正同于《随园诗话》卷八所摘的尹似村、陈古渔诗。《谈艺录》第255页论《随园诗话》:“又卷八:‘诗虽新,似旧才佳。尹似村云:“得句浑疑是旧诗”;陈古渔云:“得句浑疑先辈语。”’按此境即济慈(Keats)与友论诗第一要义(axiom)所谓‘好诗当道人心中事,一若忆旧而得者’。”补订本573-575页论此事征引尤博,可谓题无剩义。但钱先生之注意及此,是否亦从《石遗室诗话》缘起,则不敢说。
二
钱锺书于《四库提要》读之亦熟,《中文笔记》第五册《四库提要》摘录了六页,但只有子史两部,而无经、集。经部书是钱先生不甚措意的,如《十三经注疏》,《中文笔记》中仅札其八,像《仪礼》《周礼》及《尔雅》,都是没有笔记的,未见其能读之终卷,其他的经学之书,就更不必论了。至于集部,则当也是因为洽熟,所以不必记。《谈艺录》从集部《提要》来而不提《提要》的,亦有六七事。《谈艺录》第8页补山谷诗任渊注云:
《送舅氏野夫之宣城》第一首云:“春网荐琴高。”天社注:“琴高、鲤鱼也。《列仙传》:琴高乘赤鲤。欧公亦有琴高鱼诗。”按赵与峕《宾退录》卷五云:“今宁国府泾县东北,有琴溪,俗传琴高隐处。有小鱼,他处所无,号琴高鱼。岁三月,数十万一日来集,网取盐曝;州县苞苴,索为土宜。旧亦入贡,乾道间始罢。前辈多形之赋咏,梅圣俞、王禹玉、欧阳公皆有和梅公仪琴高鱼绝句云云。圣俞宣州杂诗又云云,圣俞、宣人也。汪彦章尝赋长篇云云。蜀人任渊注山谷时,不知土宜,但引《列仙传》,直云鲤鱼,误矣。”沈涛《匏庐诗话》卷上亦尝引此以正任注。

按此引赵与峕《宾退录》,是本之《四库提要》的。《提要》卷一百五十四《山谷内集注》云:“赵与旹《宾退录》尝论渊注《送舅氏野夫之宣城》诗不得‘春网琴高’出典。然注本之善,不在字句之细琐,而在于考核出处时事。”《提要》之引《宾退录》,则本之何焯。《瀛奎律髓汇评》卷四《送舅氏野夫萃之宣州二首》下引何焯驳冯舒批云:“琴高鱼事详赵与峕《宾退录》,二冯似未见此书,以为琴高代鲤鱼用者,反误于任渊注也。宣城有琴高鱼,纤细如柳叶,碧色无骨,土人甚珍之。”(据上海古籍出版社本)纪昀有《瀛奎律髓刊误》之撰,必睹何焯此批。何说又见《义门先生集》,钱先生后来也发现了,《谈艺录》314页补订云:“按李小湖《好云楼二集》卷十四《杂说》亦言之。然似以何屺瞻为最早,《义门先生集》卷五《与友人书》曰:‘二十年前曾尝宣城琴高鱼,始知山谷“春网荐琴高”之句善道土风,而已苍驳之为过。后见赵与峕《宾退录》亦载之’云云。已苍、冯舒也。”但钱先生不知,何焯批《瀛奎律髓》时已发之了。
《谈艺录》79页论荆公诗注云:
《刘后村大全集》卷一百七十四亦已讥雁湖注“归肠绕钟山”,不引《吴志》,注“妄以虫疑冰”,不引卢鸿一、唐彦谦语。

按此事亦本《提要》。《四库提要》卷一百五十三《王荆公诗注》:“刘克庄《后村诗话》尝讥其注‘归肠一夜绕锺山’句,引韩诗不引《吴志》,注‘世论妄以虫疑冰’句,引《庄子》不引卢鸿一、唐彦谦语,指为疏漏。”钱先生不过把《后村诗话》换成了《后村大全集》,而别无所益。后村是多产诗人,卒前一年犹作了四百首诗,这自是想与陆游齐驱并驾(按陆游于卒前的两年中亦拼命作诗,八十三岁一年作478首,八十四岁一年作599首,卒于八十五岁。樊增祥一月作诗一百二十首,以多而快论,超过陆游,见陈三立《散原精舍诗》续集卷上《天琴老人一月中得诗百廿馀篇,中多见及之什,不克酬和,纪以五十六字,用博一笑》),所以他的《大全集》,就有一百九十六卷之多。《中文笔记》第十二册238-287页有《大全集》的逐卷笔记——这也可见钱先生读书的精力之一斑,但卷一百七十四的笔记并未札及雁湖注,可见钱先生之谈此事,所本仍是《提要》,他所记得的一定是《提要》,而不是《大全集》。
《谈艺录》118页论放翁诗本茶山又云:
放翁为曾文清弟子,赵仲白《题茶山集》所谓“灯传”者(见《江湖后集》八);顾茶山诗槎枒清快,实与诚斋为近,七言律绝尤往往可乱楮叶,视剑南工饬温润之体,大勿类。

按此亦本于《提要》,而议论不同。《四库提要》卷一百五十八《茶山集》云:“后(曾)几之学传于陆游,加以研练,面目略殊,遂为南渡大宗。又《诗人玉屑》载赵庚夫《题茶山集》曰:‘清于月白初三夜,淡似汤烹第一泉。咄咄逼人门弟子,剑南已见一灯传。’其句律渊源,固灼然可考也。”这也是把所引赵诗的出处,从《诗人玉屑》换作了《江湖后集》。但《江湖后集》的诗题,是作“读曾文清公集”,而非“题茶山集”,作“题茶山集”的,是《四库提要》。
与此情形相类、同样本于《提要》,而又持说不同的,是《谈艺录》302页论陈子昂文云:
一手之作而诗文迥异,厥例甚多,不特庾子山入北后文章也。如唐之陈射洪,于诗有起衰之功,昌黎《荐士》所谓“国朝盛文章,子昂始高蹈”者也。而伯玉集中文,皆沿六朝俪偶之制,非萧、梁、独孤辈学作古文者比。

按《四库提要》卷一百四十九《陈拾遗集》云:“唐初文章,不脱陈、隋旧习,子昂始奋发自为,追古作者。韩愈诗云:‘国朝盛文章,子昂始高蹈。’……马端临《文献通考》乃谓子昂惟诗语高妙,其他文则不脱偶俪卑弱之体,韩、柳之论不专称其诗,皆所未喻。今观其集,惟诸表序犹沿排俪之习,若论事书疏之类,实疏朴近古,韩、柳之论未为非也。”钱先生不过不同意馆臣之说,而同意了《文献通考》。
另外《谈艺录》216-217页引宋祁的《笔记》,亦本于《提要》:
景文晚岁竺志散文,悔其少作。《笔记》卷上自言:“年过五十,被诏作《唐书》,精思十馀年,尽见前世诸著,乃知文章之难。取视五十前为文,赧然汗下,知未尝得作者藩篱。”又曰:“余于为文,似蘧瑗年六十始知五十九年非。每见旧作文章,憎之,必欲烧弃。”文集卷四十八《治戒》亦曰:“吾生平语言,无过人者。谨无妄编缀作集,使后世嗤诋吾也。”……《日知录》卷二十六据《新唐书》,论景文不喜对偶之文,《十驾斋养新录》卷十六《景文喜韩柳文》条,历举《新唐书》列传为证,而顾、钱两氏皆未引景文《笔记》卷上云:“文有属对平侧用事者,供公家一时宣读施行,不可施于史传。以对偶入史策,如粉黛饰壮士,笙匏佐鼙鼓。”

542页补订云:
赵瓯北《陔馀丛考》卷十一《新唐书文笔》条,讥景文:“不欲以四六入文,则但摘其大意可矣。乃竟改作全篇散文,首尾完善,一似繙译。私智自用。”亦未引景文《笔记》。

钱先生一再说顾炎武、钱大昕及赵翼都未能引宋祁《笔记》,语气之间,仿佛宋祁的《笔记》,是他第一个发现似的。其实《四库提要》卷一百五十二《宋景文集》已云:“陈振孙《书录解题》称祁自言年至六十,见少时所作,皆欲烧弃。然考祁《笔记》,尝云‘年二十五即见奇于宰相夏公,试礼部又见称于龙图刘公’,盖少作未尝不工,特晚岁弥为进境耳。……(宋)祁《笔记》又深戒其子无妄编缀作集,使后世嗤诋。”《提要》所引的《书录解题》云云,见卷十七《宋景文集》:“景文《笔记》:‘余于为文似蘧瑗,年五十,知四十九年非;余年六十,始知五十九年非,其庶几至于道乎。’‘每见旧所作文章,憎之,必欲烧弃。梅尧臣喜曰:“公之文进矣。”’”《提要》的“祁自言”,就是宋祁的《笔记》。钱先生引宋祁的《笔记》,也无非是注了卷数而已。钱先生述读书法云:“择总别集有名家笺释者讨索之,天社两注,亦与其列。以注对质本文,若听讼之两造然;时复检阅所引书,验其是非。”(见《谈艺录》346页)“检阅所引书”时,据《提要》及《书录解题》,按图索骥,把宋祁的《笔记》征引几段,也就不是什么难事了。
《谈艺录》258页论严羽《沧浪诗话》云:
他人不过较诗于禅,沧浪遂欲通禅于诗。胡元瑞《诗薮·杂编》卷五比为“达摩西来”者,端在乎此,斯意似非李氏所解也。

按此亦本于《提要》。《四库提要》卷一百九十五《沧浪诗话》:“明胡应麟比之达摩西来,独闢禅宗,而冯班作《严氏纠谬》一卷,至诋为呓语。”其实胡应麟《诗薮·杂编》卷五并无“达摩西来”四字,而只是说:“南渡人才,远非前宋之比,乃谈诗独冠古今。严羽卿崛起烬馀,涤除榛棘,如西来一苇,大畅玄风。昭代声诗,上追唐汉,实有赖焉。”(按《诗薮》此节,《谈艺录》105页亦引之)钱先生之用此四字,正是从《提要》来的。

《谈艺录》中别处明引《四库提要》,如94页补《提要》考张籍目盲事,105-106页指《提要》未考“郭象注庄”事,298页揭《诗比兴笺》“全袭《四库总目》,而加以截搭”,385页订《提要》为《列朝诗集》所误,447页指《提要》之张冠李戴,在在而是,不必多说。从这可见钱先生于《提要》之熟,其笔下的据之“伐材”,不妨从宽发落,要之可“追寇入巢”(钱先生复胡河清书札语),而不必“操戈以伐”也。
三
晚年的钱先生,在补订《谈艺录》时,是有自承“伐材事”的。这说明在引书的事上,钱先生后来自律加严,也说明其学问的进境,已非昔比。《谈艺录·引言》述其补订云:“稍删润原书,存为上编,而逐处订益之,补为下编;上下编册之相辅,即早晚心力之相形也。”最后一句,有提示其进境之意在的。其实《谈艺录》的补订,不仅是“补”,也有多处的“订”。如补订本382页云:“当时百六阳九,检书固甚不易,亦由少年学问更寡陋也。”这是承认少年学问不够的。如469页云:“余少见多怪耳。”563页云:“余皮相而等同之,殊愦愦。”580页云:“余以退之序与权载之序、刘梦得引、杨巨源诗并举,盖为马永卿辈所惑也。”这是承认少见多怪、理解错了的。至于495页所云:“此余二十二岁时浅见妄言,石遗丈恕其稚騃,姑妄听之耳。”则尤为如郑朝宗所说的“矜气全消”了。
《谈艺录》补订本中自承“伐材事”之例,为摘之于此。32页论八股而引董其昌佚文云:“八股古称‘代言’,盖揣摹古人口吻,设身处地,发为文章;以俳优之道,抉圣贤之心。董思白《论文九诀》之五曰‘代’是也。”其实董的《论文九诀》,是从别处看来的,360页补订云:“董思白《论文九诀》不见《容台集》中,李延昰(古文‘夏’字)《南吴旧话录》卷四记董行书《制举文九法》手卷,佳绢二十馀丈,旧藏李氏,为马士英勒索以去。备载其文,说‘代’曰云云。”这是自订。378页云:“《南吴旧话录》卷四载董玄宰《论文九诀》,其七曰‘脱’。”这是再一次的引用,亦晚年之事。32页又云:“窃谓欲揣摩孔孟情事,须从明清两代佳八股文求之,真能栩栩欲活。汉宋人四书注疏,清陶世徵《活孔子》,皆不足道耳。”其实《活孔子》一书,钱先生仅是知书名而已,其书从未“经眼”,只能归于莫友芝《知见传本书目》的“知”字类中。361页补订云:“陶世徵《活孔子》梗概见唐鑑《国朝学案小识》卷八,余未得而读也。”同样的事,如132页语及《梦航杂说》云:“至汪钝翁于放翁诗中作贼,则葛翼甫《梦航杂说》已举两例。”据此语气,自是已读其书,但其实也是稗贩,457页补订云:“余未读《梦航杂说》,仅从《莲坡诗话》卷下得见其讥钝翁一节耳。”一见知为伐材的,如130页引陆游佚书云:“《广西通志》卷二百二十四载桂林石刻放翁与杜敬叔书,亦云:‘大抵此业在道途则愈工’。”钱先生不读《广西通志》,是意料中事,所以其据《广西通志》转引陆文,仍是从别人转引的,与81页引文廷式《纯常子枝语》引《永乐大典》是不同的,简言之,钱先生的转引也还是转引;而455页补订云:“放翁与杜敬叔书不见《渭南文集》中。观石刻而表章之者,自翁覃溪始;参观《复初斋文集》卷四《朱车林诗集序》、卷十五《同学一首示顾南雅》、《复初斋诗集》卷四十九《读剑南集》第三首自注。”这才是真的读书博雅。


不记得是阎若璩还是戴震,说学问有三难,第一是“博难”。博的难是时间造成的,博第一要时间,假如人能活一万年,就是再不用功的人,也可以很博的。《文史通义·假年篇》说的“今所有书,如能五百年生,学者可无遗憾矣”,就是因为难之故,所以有此想。《南齐书·陆澄传》中记以博识自负的王俭与陆比博,陆对王说:“仆年少来无事,唯以读书为业。且年已倍令君,令君少便鞅掌王务,虽复一览便谙,然见卷轴未必多仆。”这也是说,读书的博取决于时间。从来学者于学问之事,少有人甘于陋,而不要广博的。不能真做到博,那就只能另觅别径了。所以学人而有“伐材”之事,有时是不可免的。《四库提要》中于此多有揭破,夹讥带刺,可谓“不绝书”。如《提要》卷一百二十六揭明人张存绅《雅俗稽言》:“自序谓:‘后先借读书,几破万卷,殚三十馀年之力,七易其稿。’前列引用书目千馀种,多唐以来所不著录,大抵抄自类书,子虚乌有。”卷一百二十九揭清初人黄名瓯《数马堂答问》:“卷首引用书目二百四十种,下至《快书》《藏书》《焚书》《纲鉴补》《唐类函》《闲情偶寄》《一家言》《唐诗选》《历朝捷录》《五车韵府》《韵府群玉》《古文析义》《性理大全》《六才子书》《诗经嫏嬛》之类,皆据为典要。”卷一百三十二揭明人王圻《稗史汇编》:“所载引用书目凡八百八种,而辗转稗贩,虚列其名者居多。如《三辅决录》《吴录》《三齐略记》《太原记》《湘中记》《鸡林志》《申子》《尸子》之类,圻虽博洽,何由得见全帙?”卷一百三十七揭明人游日章《骈语雕龙》:“自谓引书至六百七十馀种,而芜杂亦多,皆无足取。”卷一百三十八揭明人冯廷章《子史汇纂》:“卷首列征引书目千馀种,唐宋诸志不著录者十之六七,明以来诸家书目不著录者十之九,廷章何自得之乎?”卷一百四十一揭吴任臣《山海经广注》:“又前列引用书目五百三十馀种,多采自类书,虚陈名目。”卷一百八十二揭惠栋注《精华录训纂》:“其凡例称:‘所采书共数百种,悉从本书中出,不敢一字拾人牙后慧。’然亦大概言之耳。即以第一卷而论,如温庭筠《靓妆录》、蔡贤《汉官典职》、孙氏《瑞应图》、陆机《洛阳记》、沈怀远《南越志》、蔡邕《琴操》《河图括地象》、顾野王《玉篇》(案今《大广益会玉篇》乃宋大中祥符六年重修,非惟非野王之旧,并非孙强之旧)、《舆地志》《管辂别传》《梁京寺记》、檀道鸾《续晋阳秋》十二书,宋以来久不著录,栋何由见本书哉?”卷一百九十一揭余萧客《文选音义》:“如李善《进文选注表》,‘化龙’引《晋阳秋》,‘肃成’引王沈《魏书》,‘筴’字引徐邈、李顺《庄子音》。如斯之类,开卷皆是。旧籍存佚,诸家著录可考,世无传本之书,萧客何由得见?此辗转稗贩而讳所自来也。”其所刺讥之人,如张存绅、黄名瓯、游日章、冯廷章,在今日早已无闻,所谓“勤一世以尽心于文字间者,皆可悲也”,倒也不必再论了。但是像吴任臣、余萧客、惠栋,在清代学人之中,都是大有名的人,也不免于稗贩,而“虚陈名目”,假充淹博无不通,而做不到顾炎武《日知录》所定的引书之律例:“凡述古人之言,必当引其立言之人。古人又述古人之言,则两引之,不可袭以为己说也。”(卷二十“述古”条)推其意,大概也还是因为博无止境,“阿奴火攻,固出下策耳”。《谈艺录》中的“伐材之事”,应作如是观。

The Truth Is in the Detail

  The Truth Is in the Detail On Paul Celan’s writing between languages. By Lucy Ives Originally Published: 八月 17, 2026 Share Photo: Gisèle C...