曹明伦：我的“未走之路”&&&&忆翻译家朱雯
&高级英语一课后翻译试题参考译文
艰难玉汝成——忆翻译家朱雯
　　朱雯先生在工作
　　朱雯罗洪夫妇
　　朱雯在徐园的留影
　　——忆翻译家朱雯
　　□&记者&陈佳欣
　　和自己一部译作《苦难的历程》的名字一样，翻译家朱雯的一生跌宕起伏，充满崎岖艰辛。但他从不曾放弃，数十年来笔耕译坛，教书育人，凭其卓然的人格力量一路前行。
　　假讣告和真永别
　　朱雯和当代女作家罗洪是著名的文坛伉俪，他们相濡以沫，携手走过了六十多个春秋，虽历经风雨坎坷，却拥有历久弥坚的真情。
　　最初，他们因文学而结缘。1930年，大学毕业的罗洪回家乡松江工作，看到了文艺刊物《白华》，见有郑伯奇和苏雪林的作品，很感兴趣，于是写信到苏州东吴大学的编辑部想邮购，就这样知道了编者朱雯。鸿雁传书几回，她发现这个志趣相投的编辑竟也是松江人。春假时朱雯回到家乡，与罗洪在醉白池见了第一面。1932年他们的婚礼在上海的一间礼堂举行，朱雯身着笔挺的西装，罗洪披着洁白的婚纱，身边还有傧相陪伴，是一套新派的仪式。那天宾客满堂，文学界大家巴金、施蛰存、赵景深都来到了现场。巴金日后一忆起这场婚礼就打趣道：“朋友中间，就数你们正式举行了仪式。”
　　可两人结婚没几年，就爆发了抗日战争。全家不得不背井离乡，开始了颠簸的长途跋涉，先后辗转于桐庐、长沙和桂林等地。
　　“忧患增人慧，艰难玉汝成。”这是郭沫若在长沙时写给夫妇俩的一幅对联，这又何尝不是这对文坛伉俪几十载风雨历程的写照。
　　朱雯从内地回到“孤岛”上海，又是办期刊，又是参加民主电台，想尽一切办法宣传抗日。1943年5月，他因“抗日罪”被日本沪南宪兵队逮捕，关押了一个多月，受尽种种酷刑。宪兵队到罗洪家查抄，发现了她写长篇小说时拟的提纲中的人物姓名，竟以为是抗日组织的名单，“如获至宝”，也把她抓去审讯。朱雯出狱以后，宪兵队还常到他们家监视，后因他患重病才得以回家乡松江疗养，后到安徽屯溪避难。罗洪带着两个孩子暂留上海，处理善后，还在上海报上登了“讣告”，声称朱雯已在松江病逝。等了一阵子，见没有什么动静，才带着孩子去屯溪和朱雯团聚。
　　50多年后，那却是真正的天人两隔。满含泪水的罗洪看见朱雯眼梢后一道早已淡化的青色伤痕，又明显了起来。她忍不住想摸摸它，又恐引起他人注意，已经伸出的手改为摸了一下他的前额，完全冰凉了……
　　这道青痕来自另一场苦难经历。1967年的深秋，夫妻俩遭逢了十年动乱中毁灭性的抄家。朱雯在批斗中挨了狠狠一巴掌，颧骨边落下了一道青痕，每逢阴雨天便隐隐作痛。平日他习惯了戴眼镜，可以起掩饰作用。但离开那天，眼镜摘下了，往事也无从遮蔽。“像断线的风筝，他飘然而去了。几十年共同的生活，甘苦与共，却不能从我记忆里消失。”
　　抱病重译《凯旋门》
　　朱雯早年在教会学校苏州东吴大学附中就读，西学功底很早便打下了。当时英语语法专家吴献书先生的翻译课令他受益良多，升至东吴大学，又蒙号称“安徽才女”的苏雪林女士授业，翻译上还得到过曾朴父子的指点，这些师长无不是些造诣精深的名家。
　　“翻译并不比创作容易。”朱雯如是说，在他心目中，文学翻译是一门不亚于创作的艺术，是一门值得苦心钻研的学问。一部上百万字的巨著，在开始翻译之前，朱雯就要先细细阅读一遍，吃透整个作品的思想、情节、韵味，有些章节还要夹上小纸条做个记号，真正动笔时还会把各章节再细读一遍，等译稿完成后再通读数遍，几易其稿。&老一辈翻译家为了一部作品不计精力，几乎皓首穷经，这种敬业精神是值得今人学习的。
　　朱雯是国内全面译介德国作家雷马克的第一人。《西线无战事》、《凯旋门》、《流亡曲》、《生死存亡的年代》、《里斯本之夜》、《三个战友》，雷马克一生所著11部小说中，朱雯就翻译了6部。十年动乱以后，翻译作品纷纷重印。外地出版社动作特别快，要他将《凯旋门》给他们先印一版。朱雯没有同意，不经过修改绝不能出版。中译本非从原版翻译不可，无奈在解放前，迫于条件限制，他只能从英译本转译。而且在他看来《凯旋门》主人公常有哲理性的思维和对话，老版本有几处译得还不甚满意，文字也不够利索。
　　着手修改《凯旋门》译稿时，朱雯的心脏问题是最让家人担心的，先是心律不齐，后来是阵发性房颤。病情稍微稳定一点时，他向家人保证每天只动笔两小时。事实上两小时刚好在“劲头”上，他哪会甘心停笔，总要工作上三个多小时。稿子改完，他的病情又加重了，只得拜托罗洪代为通读修改。他拿出一个小本子，上面写着所有人名地名的新旧对照表，嘱她看到漏改就记录在案，交代完这一切才放心地去了医院。40万字的全书重译终于完成了，只可惜朱雯还未及看到新书面世就溘然长逝了。据记载，《凯旋门》普及本首版就印了20万册，受到了空前的欢迎。
　　沈从文留下“一封半信”
　　如果说到朱雯在文学创作上的“师承”，不得不提沈从文。朱雯说，自己最初学写的几篇小说是对沈从文作品的“模仿”。朱雯十七八岁在苏州东吴大学念书时就爱好文艺。鲁迅、沈从文、废名、芥川龙之介和辛克莱等都是对他影响至深的作家。
　　其中他最欣赏的是湘西作家沈从文。沈从文的每部作品，朱雯都反复阅读，揣摩学习。正是在沈先生的启示下，朱雯开始了最初的习作，“1929年我用‘王坟’这一笔名出版的第一个短篇小说集《现代作家》多半是对您作品的幼稚的模仿”（《致沈从文》）。在《现代作家》中，朱雯描绘了乡村人们的喜怒哀乐和日常生活，被沈从文评价为与“冯文炳君作风上，具同意趋向”。冯文炳也就是朱雯十分推崇的乡土文学作家废名。此一说对于刚在文坛崭露头角的朱雯不啻为一种鼓励。
　　朱雯将沈从文奉为师，二人开始鸿雁往来。面对朱雯的诚恳请教，沈从文总是有问必答，在一封封上千言的长信中将创作和生活的经验倾囊相授。朱雯曾感叹：“在我的文学道路上，他是第一个热心的引路人；在我的生活中，他永远是一位真正的良师益友”。
　　可惜这些珍贵的信札在抗日战火中都被烧毁了。幸而朱雯曾在《申报》副刊《自由谈》撰文一篇，其中恰好摘录下了沈从文给他写来的“一封半信”，虽非沈从文手迹，但作为“硕果仅存”的沈氏信札已弥足珍贵。
　　其中“半封”由沈先生1930年发自吴淞，而完整的“一封信”则是1932年朱雯、罗洪结婚前一天，沈从文因为感难亲赴，而遥寄自青岛的贺信，信写得特别风趣幽默:&“人家都说在青岛过蜜月，丈夫可以更温柔一点，太太也可以更快乐一点：你们是那么年轻幸福的人，若来青岛恐怕会受天所妒忌，成天给你一次雨，一堆雾，一阵风……希望你替我为你那位太太请安。天保佑你们，此后尽是两张笑脸过日子。”
　　换新中山装重回课堂
　　朱雯晚年始终病痛缠身。1982年他查出患有急性肝炎，经过3个多月的治疗才出院回家。医生嘱咐他静养，可他自认为“感觉良好”，悄悄工作起来，还对夫人罗洪“讨价还价”：“每天做两个小时，没关系吧。”在家休养一阵后，医生总算同意他恢复工作。又能够回学校了，老人高兴得像个孩子，忙前忙后整理东西，还要罗洪为他准备一件合身的比较新的中山装，他希望出现在学生面前的自己衣冠端正，精神饱满，不想以萎靡不振的“病号”形象示人。
　　此时，距离朱雯第一次走上讲台已有足足半个世纪了。当年他是江苏省立松江中学年轻的国文教师，意气风发，自编精彩的讲义，为高中生开设外国文学史课，在上世纪30年代的中学教育界堪称创举。之后，不管是抗战大后方的桂林，&“孤岛”时期的上海，还是避难所至的安徽屯溪，朱雯从未放下手中的教鞭。讲课思路清晰，抑扬顿挫，待人谦逊随和，一身整洁的衣冠从不马虎——学生津津乐道的不仅仅是他的博学，还有他举手投足的儒雅之风。
　　1985年上海师范大学成立文学研究所，创立了世界文学硕士点，跻身该专业国内首批4个硕士点之列。年逾古稀的朱雯坚持带教研究生。那时，他的心脏病越来越严重，学校很照顾他，有些工作不必他亲自操劳，但他依然事必躬亲，每次一出院，就要了解学校工作的情况。给研究生讲课的纲要，他每谈一次就要重新整理一次，提出什么问题，要学生看什么书，要他们写些什么，他都仔细列明，但到了谈话的时候，稿子却搁在一边，从来不看。
　　朱雯有一本外国文学备课笔记，差不多有2寸厚，密密麻麻的小字整齐清晰。有几页还加了详细的注释，在正文下划一条红线，在红线下标上六号铅字大的小字。这本已装订的讲稿是分国家写的，还有两大夹子活页是分作家写的，纲举目张，条分缕析，其间下的苦功让他的很多同事深自佩服。
　　朱雯小传
　　朱雯（）松江小昆山人，1932年毕业于苏州东吴大学。在校期间即开始文学活动，创办文学旬刊《白华》。大学毕业后在松江中学任教。抗战爆发后西行，在长沙时曾参加田汉主办的《抗战日报》的创刊工作。1938年2月应邀前往广西桂林中学任教。曾主编文艺半月刊《五月》。1939年初到上海，曾任中学教员和新闻翻译，并与陶亢德合编《天下事》，与吴岳彦合办《国际间》。后前往安徽屯溪，在上海法学院任教。抗战胜利后回到上海定居，在高校从事教学和翻译。曾任上海师范大学教授，兼文学研究所名誉所长。早年从事创作，重要作品有《动乱一年》、《逾越节》和《烽鼓集》等。1946年开始，主要从事外国文学的翻译和研究。曾翻译苏联作家阿·托尔斯泰的《苦难的历程》和《彼得大帝》，德国作家雷马克的《西线无战事》、《凯旋门》等多部长篇小说。
曹明伦：我的“未走之路”
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本报记者 蒋蓝/文
&&主持人语
&&“曾有两条小路在树林中分手，我选了一条人迹稀少的行走，结果后来的一切都截然不同。”正如弗罗斯特《未走之路》所写，曹明伦一直选择这条“人迹稀少的路”，置身于汉英之间，不发空谈，身体力行，翻译了近千万字的大师佳作，走出了一条独具一格的“翻译之道”。
&&本期嘉宾
&&曹明伦，四川自贡人，翻译家，北京大学博士，四川大学教授、博导；中国作家协会会员，中国翻译协会理事，四川省有突出贡献的优秀专家、国务院政府特殊津贴专家；《中国翻译》《英语世界》《译苑》等刊物编委。主要从事英美文学、翻译学和比较文化研究。著有《翻译之道：理论与实践》《英汉翻译实践与评析》，译有《爱伦·坡集》《弗罗斯特集》等英美文学作品20余种计900万字，论文70余篇见于《中国翻译》等学术期刊及若干大学学报。
&&采访手记
2012年6月9日）
&&远在20世纪80年代中后期，我就不断在《外国文艺》《诗刊》上读到曹明伦翻译的英美诗歌。1991年我买到他与罗义蕴、陈朴主编的翻译著作《英诗金库——英语最佳歌谣及抒情诗之金库》，这部收录诗歌433首、篇幅达1200余页的大书堪称80年代翻译诗集里的篇幅之最。卞之琳先生评价此书时坦言：新时期的翻译家们完成了“五四”以来中国翻译家想做而没有做成的事！
&&6月9日下午，笔者在公行道一侧的小区里，与曹明伦先生进行了4个小时访谈。我曾读到翻译家江枫对曹明伦的评价：“作为一名有着丰富实践经验和多年教学经历的翻译学者，如果不是个子高了一点，就可以说已经译著等身……”江枫此言不虚，他一望即知是知识渊笃的学人，涵养极好，单是他书架上陈列的自己出版的翻译版本，就有四五十种。曹先生记忆力非常好，他记得总共有442首，16467行，他不经意就背诵了30年前自己和一位教授的“和诗”；谈及在文学界引起广泛影响的《弗罗斯特集》，他清楚地记得《弗罗斯特集》是16467行，司各特的《湖上夫人》共4959行。这样的记忆力，固然有禀赋，关键在于他还有一套方法，那就是在日历本上逐日记录“工作流水账”，几十年不辍。他坦言，这样的工作流水账学自鲁迅，让历史、让流逝的时间变得清晰。
&&多年前，诗人欧阳江河的《汉英之间》，透露出在西方文化冲击下对本土文化的反思与哀痛，具有一种纵深的文化焦虑，移之于曹明伦未必恰当。他一直置身“汉英之间”， 没有认为汉语具有那种“无所适从的无奈”，他不发空谈，而是身体力行，提出了独具枢机的“翻译之道”：翻译概念的发展只是其外延的增加，而非其内涵之质变，因此翻译的本质属性并未改变；他重新审视了翻译的目的、任务及其标准，首次提出了“文本目的”和“非文本目的”概念，首次区分了翻译的“文本行为”和“非文本行为”，证明以忠实为取向的翻译标准永远不会过时，尝试性地规划了翻译学的学科范围，明确了翻译理论的位置，把它与翻译史和翻译批评一道作为构成翻译学的三个有机部分。他着眼于当今汉语的翻译理论和翻译实践，指出了其互构、互补、互彰和谐关系的“翻译之道”。
&&“当我停止崇拜并开始记忆的时候，生活于我才真正开始。”这是曹明伦翻译的美国作家威拉·凯瑟的格言和信条。从事了30年翻译，曹明伦对我讲了一个比喻：我就像在田野里种花的农人，荣辱沉浮，白云苍狗，都会过去，自己陶醉在劳动过程中，体会到生命的交融，也陶醉于花的美感。有人来了，他们欣赏花香，赞美花的美丽，这就是我劳动的价值所在，但我不卖花，更不会折断一枝。
&&这话的深层含义在于，他用英语之手采撷的花，翻手为云之际，他展示出来的，那是根植在汉语语境中的鲜花，不但根须宛然，还带着晶莹露水。他拈花，他微笑。默示预测性于心，昭示于人，这已经足矣。
&&翻译之道更是传播之道
&&人迹稀少的“未走之路”
&&记者（以下简称记）：你的所有著作里，无论前言、后记，绝少提及你的人生以及治学经历。可以谈谈吗？
&&曹明伦（以下简称曹）：其实一切有迹可循。我父亲曹征于1943年11月2日在重庆参加抗日“青年军”，后开赴缅甸战场。我由此知道了一些夹在英语、汉语描述之间的各种残酷战斗，幼年时对英语就有好感。我是自贡蜀光中学初70级的，即便在“复课闹革命”阶段，我功课也是门门第一。初中毕业后，有个同学的父亲在铁路上工作，介绍我到宜宾柏溪镇修筑到安边的铁路。超强的体力劳动没有打垮我，我们扯起喉咙唱山歌。但接踵而至的寂寞里，最后发现“山是凉的，水是凉的，连姑娘的歌声也是凉的”，我在寂寞中学会思考问题，尤其是思考人生。
&&18岁我下乡到眉山，一年挣3000多工分，我当上了生产组长。我把中学的课本都带到了农村，一直在温习。1973年有过一次高考，我以全县名列前茅的成绩被一所医学院录取。想一想吧，鲁迅、郭沫若都是弃医从文的，也许在他们之后还会有一个曹明伦呢。后来“白卷英雄”张铁生改变了我的命运，经“群众推荐”的一个人顶替了我，我的“文学接班梦”就此破灭。
&&记：打击有点大吧？
&&曹：当年7月，辽宁考生张铁生在考试试卷背后写了一封为自己成绩低劣辩护的信，引发一场风潮。针对他的观点，我写了一封万言书，认为人类文化是有传承的。这信我投寄给了四川省团委，两位团省委干部压下了此信，但他们记住了我的名字，还通知我参加文学改稿会。我那时在地方上已发表诗作，后来我的诗歌《雾》发表在《四川文艺》上。
&&记：你参加1977年的高考，如愿以偿进入大学。当时学的是英语吗？
&&曹：我有文学梦啊。进入师专中文系17天后，我觉得太乏味了，就决定转到英语系。8个月就提前毕业了，学校决定让我留校任教，由此开始了文学翻译。你得到的，取决于你的向往。那时，多少读者为英美文学作品如痴如狂，我的确萌生了成为作家、成为翻译家的双料念头。但一个人的出现改变了我的命运。
&&记：是谁？
&&曹：大诗人孙静轩。1981年他到自贡来散心，与我巧遇。白天我上班，他在家读我的诗作和翻译作品；晚上他与我抵足而谈多日。那时我已经在《红岩》《外国文学》《诗刊》上发表《没有祖国的人》等译作了。孙静轩认为，“写作下去，你会成为二流作家；但专心于翻译，你会成为一流译者。”这话对我震动很大，就像弗罗斯特的杰作《未走之路》所昭示的……我感谢孙静轩的相知。
&&记：你的译本洁净流畅接近口语，那是弗罗斯特在汉语中知名度最高的诗。后来你负笈北上求学，又曾赴美国访学，均是在一条人迹稀少的路上行走。
&&曹：《未走之路》迄今有十几个译本，我翻译于1985年。早期译本收入我翻译的《弗罗斯特诗选》（四川文艺出版社1986年版），修订稿收入拙译《弗罗斯特集》（辽宁教育出版社2002年版），后被编入台湾“教育部”审定的中学语文教材第6册（台湾南一书局2006年初版，2007年修订版）。“我把第一条路留给将来！”“在某个地方，在很久很久以后：曾有两条小路在树林中分手，我选了一条人迹稀少的行走，结果后来的一切都截然不同。”我的人生选择，其实蕴含在纸上与现实的“未走之路”之间。
&&“吃螃蟹”与原创性翻译
&&记：你翻译的3部司各特佳作，均是“填补空白”的汉译。你是怎么考虑选材的？
&&曹：北大一位教授见到我翻译的《湖上夫人》后，来信致意，觉得自己的译品无法超越，就放弃译司各特了。作家李锐曾经讲过：“文学史只尊重独创者”，这句话对我有很大启发。虽然文学翻译史不仅仅尊重原创性翻译，但原创性翻译肯定始终都会受到尊重。
&&1995年3月，三联书店出版了由我翻译的《爱伦·坡集：诗歌与故事》，原版是迄今为止最具权威性的版本之一。原书共1408页，收入了爱伦·坡一生创作的全部文学作品，计有诗歌63首及一部未写完的诗剧（共3205行）、中短篇小说68篇（含残稿《灯塔》）、散文4篇、长篇小说两部（含4.8万字的未完稿《罗德曼日记》），以及长达7万字的哲理散文《我发现了》，此外还附有详尽的作者年表和版本说明。我译《爱伦·坡集》共1520页，计107 万字，是迄今为止最完整的爱伦·坡作品中译本，其中62%的内容为国内首次译介。由于该书是中美签约项目，美方要求对原书内容不得有任何增减，甚至连译者加注也受限制，加之该书从签约到出书只有两年半时间，我翻译了498天！这一期间，我夫人很是委屈，因为我开口闭口都是爱伦·坡。当时我完全沉浸在坡的世界和心境里。
&&记：《爱伦·坡集》之后，你又翻译《弗罗斯特集》《威拉·凯瑟集》等，均列入“美国文库”，也是填补空白之作。
&&曹：翻译家马海甸在香港《文汇报》上称，我翻译的《弗罗斯特集》的出版在中国翻译文学史上值得写上一笔。弗罗斯特对诗译家说过一句大不敬的话：诗歌翻译就是译诗过程中失去的东西。马海甸认为，这句话起码不适用于本书，“曹译不但把弗氏的精神大致保持在译诗之中……而且维持了与原作相近的诗歌形式”。其实，整套“美国文库”中只有我一人独自完成了三位大师的译作，美国国会图书馆的审查专家给予我的3部译作A的最高评级。
&&重译文学名著的必然性和必要性毋庸置疑。爱伦·坡作品的重译本中就不乏优秀译本，有的为先前的译本拾遗补缺，勘谬正误，有的则彰显译者个人的审美情趣和文学性格。但令人遗憾的是，这些重译本中也存在一些不规范、不和谐、不科学的现象，更有甚者，有人打着翻译的幌子，实则使出剪刀加糨糊的伎俩，大行剽窃之事；还有的书商请来几个粗通外语甚至不懂外语的人，将别人的现成译本交给他们，对行文稍作若干改动，买个书号就推出“新译本”。鲁迅先生赞赏“第一次吃螃蟹的人”，为什么这么多人不但没有原创性，甚至干起了抄袭的“流水线翻译”呢？
&&记：英语是最为普及的外语，但真正从事英语文学翻译的人极少，为什么？
&&曹：我曾在讲座里说过，“赚钱”也可以作为翻译目的，虽说不高尚但也无可厚非。大量外语系的毕业生总是希望避难就易，在口译里谋到金饭碗，没有几个人愿意去坐冷板凳搞笔译，尤其是板凳一坐十年冷的文学翻译。翻译家裘小龙是卞之琳的学生，他翻译叶芝的《当你老了》脍炙人口，我还是此诗的“译校”。卞先生给他布置的作业，就是每天必须写出一首诗。这样的训练，如今有几个博士可以做到呢？我给学生说，学好翻译，你首先至少得写出动人的情书嘛。
&&“信、达、雅” 标准仍应尊崇
&&记：你提出翻译的文本目的和非文本目的的区别何在？
&&曹：我反复强调：为本民族读者奉献读之有益的译作，为本民族作家提供可资借鉴的文本。这是我翻译的文化目的。而要实现这一文化目的，首先要实现翻译的“文本目的”，即让不懂原文的读者通过译文知道、了解甚至欣赏原文的思想内容及其文体风格。作为翻译者就要尽可能使源语语言与目标语语言意义相近、功能相当、文体相仿、风格相称。翻译的“文本行为”是：把一套语言符号或非语言符号所负载的信息用另一套语言符号或非语言符号表达出来。当今学者们往往盯住译者在翻译过程中受到的制约，却忽视了译者摆脱制约所采取的策略。译者要对翻译之文本目的和非文本目的有清晰的认识，以译作“在目标语文化中立足”为限，以符合“目标语读者的期待视野”为限。翻译之文本目的乃译者的根本目的。实现这一目的则是译者的根本任务。
&&记：你如何评价严复的翻译标准？
&&曹：我不认为严复所提出的“信、达、雅”的翻译标准已过时。我同意叶君健“不失为比较切合实际，比较科学，比较容易掌握的翻译标准”的观点。我明确承认，严复的翻译标准是名正言顺、无可厚非的，也是翻译工作者应尊崇的标准。
&&记：在翻译过程中，你心目中是否有一个文本范式？
&&曹：文学翻译家首先应该是一个好作家。不同时代有不同的语境，自然有不同的文本标准。我心目中，一直把徐迟的报告文学《哥德巴赫猜想》视为一个榜样。
&&记：今年是你的耳顺之年，你还有什么打算？
&&曹：中国文人往往受“一本书主义”影响，这种影响会制约个体生命的创造力。一本书远远无法覆盖一个创造性的灵魂。我现在的主要精力都花在教学和指导学生上了。我希望我的学生中至少有三人今后能超越我，我是说在翻译方面。我还要工作几年，退休后我打算继续翻译，至少要为中国读者增加一个《莎士比亚全集》的汉译本。这是我早年就有的想法，但愿今生能够实现。
one I am thinking of particularly is entered by a Gothic-arched
gateway of aged brick and stone. You pass from the heat and glare
of a big, open square into a cool, dark cavern which extends as far
as the eye can see, losing itself in the shadowy distance.
2) It is a point of honour with the customer not to let the
shop-keeper guess what it is she really likes and wants until the
last moment.
3) The seller, on the other hand, makes a point of
protesting that the price he is charging is depriving him of all
profit, and that he is sacrificing this because of his personal
regard for the customer.
4) The pole is attached at the one end to an upright post
around which it can revolve, and at the other to a blind-folded
camel, which walks constantly in a circle, providing the motive
power to turn the stone wheel.
5) The machine is operated by one man, who shovels the
linseed pulp into a stone vat, climbs up nimbly to a dizzy height
to fasten ropes, and then throws his weight on to a great beam made
out of a tree trunk to set the ropes and pulleys in motion. Ancient
girders creak and groan, ropes tighten and then a trickle of oil
oozes down a stone runnel into a used petrol can. Quickly the
trickle becomes a flood of glistening linseed oil as the beam sinks
earthwards, taut and protesting, its creaks blending with the
squeaking and rumbling of the grinding-wheels and the occasional
grunts and sighs of the camels.
1) And secondly, because I had a lump in my throat and a
lot of sad thoughts on my mind that had little to do with anything
a Nippon railways official might say. The very act of stepping on
this soil, in breathing this air of Hiroshima, was for me a far
greater adventure than any trip or any reportorial assignment I'd
previously taken. Was I not at the scene of the crime?
2) Quite unexpectedly, the strange emotion which had
over-whelmed me at the station returned, and I was again crushed by
the thought that I now stood on the site of the first atomic
bombardment, where thousands upon thousands of people had been
slain in one second, where thousands upon thousands of others had
lingered on to die in slow agony.
3) “There are two different schools of thought in this city
of oysters, one that would like to preserve traces of the bomb, and
the other that would like to get rid of everything, even the
monument that was erected at the point of impact."
4) "If you bear any visible scars of atomic burns, your
children will encounter prejudice on the part of those who do
5) "Each day that I escape death, each day of suffering
that helps to free me from earthly cares, I make a new little paper
bird, and add it to the others. This way I look at them and
congratulate myself on the good fortune that illness has brought
me. Because, thanks to it, I have the opportunity to improve my
character. "
1) But the most significant change thus far in the earth’s
atmosphere is the one that began with the industrial revolution
early in the last century and has picked up speed ever since.
Industry meant coal, and later oil, and we began to burn lots of it
& bringing rising levels of carbon dioxide (CO2) with its ability
to trap more heat in the atmosphere and slowly warm the earth.
Fewer than a hundred yards from the South Pole, upwind from the ice
runway where the ski plane lands and keeps its engines running to
prevent the metal parts from freeze-locking together, scientists
monitor the air several times every day to chart the course of that
inexorable change. During my visit, I watched one scientist draw
the results of that day’ s measurements, pushing the end of a steep
line higher on the graph. He told me how easy it is & there at the
end of the earth & to see that this enormous change in the global
atmosphere is still picking up speed.
——————
2) However, a new class of environmental problems does
affect the global ecological system, and these threats are
fundamentally strategic. The 600 percent increase in the amount of
chlorine in the atmosphere during the last forty years has taken
place not just in those countries producing the chlorofluorocarbons
responsible but in the air above every country, above Antarctica,
above the North Pole and the Pacific Ocean & all the way from the
surface of the earth to the top of the sky. The increased levels of
chlorine disrupt the global process by which the earth regulates
the amount of ultraviolet radiation from the sun that is allowed
through the atmosphere to the surface: and if we let chlorine
levels continue to increase, the radiation levels will also
increase & to the point that all animal and plant life will face a
new threat to their survival. &
3) The strategic nature of the threat now posed by human
civilization to the global environment and the strategic nature of
the threat to human civilization now posed by changes in the global
environment present us with a similar set of challenges and false
hopes. Some argue that a new ultimate technology, whether nuclear
power or genetic engineering, will solve the problem. Others hold
that only a drastic reduction of our reliance on technology can
improve the conditions of life & a simplistic notion at best. But
the real solution will be found in reinventing and finally healing
the relationship between civilization and the earth. This can only
be accomplished by undertaking a careful reassessment of all the
factors that led to the relatively recent dramatic change in the
relationship. The transformation of the way we relate to the earth
will of course involve new technologies, but the key changes will
involve new ways of thinking about the relationship
——————
1) In real life I am a large, big-boned woman with rough,
man-working hands. In the winter I wear flannel nightgowns to bed
and overalls during the day. I can kill and clean a hog as
mercilessly as a man. My fat keeps me hot in zero weather. I can
work outside all day, breaking ice to g I can
eat pork liver cooked over the open fire minutes after it comes
steaming from the hog. One winter I knocked a bull calf straight in
the brain between the eyes with a sledge hammer and had the meat
hung up to chill before nightfall. But of course all this does hot
show on television. I am the way my daughter would want me to be: a
hundred pounds lighter, my skin like an uncooked barley pancake. My
hair glistens in the hot bright lights. Johnny Carson has much to
do to keep up with my quick and witty
2) But that is a mistake. I know even before I wake up.Who
ever knew a Johnson with a quick tongue? Who can even imagine me
looking a strange white man in the eye? It seems to me I have
talked to them always with one foot raised in flight, with my head
turned in whichever way is farthest from them. Dee, though. She
would always look anyone in the eye, Hesitation was no part of her
3) I used to think she hated Maggie, too. But that was
before we raised the money, the church and me, to send her to
Augusta to school. She used to rea forcing
words, lies, other folks' habits, whole lives upon us two, sitting
trapped and ignorant underneath her voice. She washed us in a river
of make-believe, burned us with a lot of knowledge we didn't
necessarily need to know. Pressed us to her with the serious way
she read, to shove us away at just the moment, like dimwits, we
seemed about to understand.
4) I never had an education myself. After second grade the
school was closed down. Don't ask me why: in 1927 colored asked
fewer questions than they do now. Sometimes Maggie reads to me. She
stumbles along good-naturedly but can't see well. She knows she is
not bright. Like good looks and money, quickness passed her by. She
will marry John Thomas (who has mossy teeth in an earnest face) and
then I'll be free to sit here and I guess just sing church songs to
myself. Although I never was a good singer. Never could carry a
tune. I was always better at a man's job. I used to love to milk
till I was hooked in the side in '49. Cows are soothing and slow
and don't bother you, unless you try to milk them the wrong
1) "I'll tell you, Duke -- I've been in this town and this
hotel a long time. I got friends all over. I they do
the same for me, like letting me know what gives, an' where. There
ain't much, out of the way, which people who stay in this hotel do,
I don’ t get to hear about. Most of 'em never know I know, or know
me. They think they got their little secret tucked away, and so
they have & except like now."&
“——————”
2) "Well now, there's no call for being hasty," The
incongruous falsetto voice took on a musing note. "What's done's
been done. Rushin' any place ain't gonna bring back the kid nor its
mother neither. Besides, what they' d do to you across at the
headquarters, Duke, you wouldn’t' t like. No sir, you wouldn't like
it at all."&
3) The Duchess of Croydon kept firm, tight rein on her
racing mind. It was essential, she knew, that her thinking remain
calm and reasoned. In the last few minutes the conversation had
become as seemingly casual as if the discussion were of some minor
domestic matter and not survival itself. She intended to keep it
that way. Once more, the role of leadership had
fallen to her, her husband now a tense but passive spectator of the
exchange between the evil fat man and herself. No matter. What was
inevitable must be accepted. The important thing was to consider
all eventualities. A thought occurred to
1) From them all Mark Twain gained a keen perception of the
human race, of the difference between what people claim to be and
what they really are.
2) Tom's mischievous daring, ingenuity, and the sweet
innocence of his affection for Becky Thatcher are almost as sure to
be studied in American schools today as is the Declaration of
Independence.
3) Mark Twain suggested that an ingredient was missing in
the American ambition when he said: "What a robust people, what a
nation of thinkers we might be, if we would only lay ourselves on
the shelf occasionally and renew our edges."
4) In The Mysterious Stranger, he insisted that man drop
his religious illusions and depend upon himself, not Providence, to
make a better world.
5) "... they vanish from a world where they were of no
where t where they were a mistake
and a fai where they have left no sign that
they had existed -- a world which will lament them a day and forget
them forever. "
The Middle Eastern
Middle Eastern Bazaar
Middle Eastern bazaar takes you back hundreds --- even thousands
--- of years. The one I am thinking of particularly is entered by a
Gothic - arched gateway of aged brick and stone. You pass from the
heat and glare of a big, open square into a cool, dark cavern which
extends as far as the eye can see, losing itself in the shadowy
distance. Little donkeys with harmoniously tinkling bells thread
their way among the throngs of people entering and leaving the
bazaar. The roadway is about twelve feet wide, but it is narrowed
every few yards by little stalls where goods of every conceivable
kind are sold. The din of the stall- crying their wares, of
donkey-boys and porters clearing a way for themselves by shouting
vigorously, and of would-be purchasers arguing and bargaining is
continuous and makes you dizzy.
as you penetrate deeper into the bazaar, the noise of the entrance
fades away, and you come to the muted cloth-market. The earthen
floor, beaten hard by countless feet, deadens the sound of
footsteps, and the vaulted mud-brick walls and roof have hardly any
sounds to echo. The shop-keepers speak in slow, measured tones, and
the buyers, overwhelmed by the sepulchral atmosphere, follow
of the peculiarities of the Eastern bazaar is that shopkeepers
dealing in the same kind of goods do not scatter themselves over
the bazaar, in order to avoid competition, but collect in the same
area, so that purchasers can know where to find them, and so that
they can form a closely knit guild against injustice or persecution
. In the cloth-market, for instance, all the sellers of material
for clothes, curtains, chair covers and so on line the roadway on
both sides, each open-fronted shop having a trestle table for
display and shelves for storage. Bargaining is the order of the
cay, and veiled women move at a leisurely pace from shop to shop,
selecting, pricing and doing a little preliminary bargaining before
they narrow down their choice and begin the really serious business
of beating the price down.It is a point of honour with the customer
not to let the shopkeeper guess what it is she really likes and
wants until the last moment. If he does guess correctly, he will
price the item high, and yield little in the bargaining. The
seller, on the other hand, makes a point of protesting that the
price he is charging is depriving him of all profit, and that he is
sacrificing this because of his personal regard for the customer.
Bargaining can go on the whole day, or even several days, with the
customer coming and going at intervals.
of the most picturesque and impressive parts of the bazaar is the
copper-smiths' market. As you approach it, a tinkling and banging
and clashing begins to impinge on your ear. It grows louder and
more distinct, until you round a corner and see a fairyland of
dancing flashes, as the burnished copper catches the light of
innumerable lamps and braziers. In each shop sit the apprentices &
boys and youths, some of them incredibly young & hammering away at
copper vessels of all shapes and sizes, while the shop-owner
instructs, and sometimes takes a hand with a hammer himself. In the
background, a tiny apprentice blows a big charcoal fire with a huge
leather bellows worked by a string attached to his big toe -- the
red of the live coals glowing, bright and then dimming rhythmically
to the strokes of the bellows.
&Here you can
find beautiful pots and bowls engraved with delicate and intricate
traditional designs, or the simple, everyday kitchenware used in
this country, pleasing in form, but undecorated and strictly
functional. Elsewhere there is the carpet-market, with its
profusion of rich colours, varied textures and regional designs --
some bold and simple, others unbelievably detailed and yet
harmonious. Then there is the spice-market, with its pungent and
and the food-market, where you can buy everything
you need for the most sumptuous dinner, or sit in a tiny restaurant
with porters and apprentices and eat your humble bread and cheese.
The dye-market, the pottery-market and the carpenters' market lie
elsewhere in the maze of vaulted streets which honeycomb this
bazaar. Every here and there, a doorway gives a glimpse of a sunlit
courtyard, perhaps before a mosque or a caravanserai, where camels
lie disdainfully chewing their hay, while the great bales of
merchandise they have carried hundreds of miles across the desert
lie beside them.
Perhaps the most unforgettable thing in the bazaar, apart
from its general atmosphere, is the place where they make linseed
oil. It is a vast, sombre cavern of a room, some thirty feet high
and sixty feet square, and so thick with the dust of centuries that
the mud brick walls and vaulted roof are only dimly visible. In
this cavern are three massive stone wheels, each with a huge pole
through its centre as an axle. The pole is attached at the one end
to an upright post, around which it can revolve, and at the other
to a blind-folded camel, which walks constantly in a circle,
providing the motive power to turn the stone wheel. This revolves
in a circular stone channel, into which an attendant feeds linseed.
The stone wheel crushes it to a pulp, which is then pressed to
extract the oil .The camels are the largest and finest I have ever
seen, and in superb condition & muscular, massive and
pressing of the linseed pulp to extract the oil is done by a vast
ramshackle apparatus of beams and ropes and pulleys which towers to
the vaulted ceiling and dwarfs the camels and their stone wheels.
The machine is operated by one man, who shovels the linseed pulp
into a stone vat, climbs up nimbly to a dizzy height to fasten
ropes, and then throws his weight on to a great beam made out of a
tree trunk to set the ropes and pulleys in motion. Ancient girders
creak and groan, ropes tighten and then a trickle of oil oozes down
a stone runnel into a used petrol can. Quickly the trickle becomes
a flood of glistening linseed oil as the beam sinks earthwards,
taut and protesting, its creaks blending with the squeaking and
rumbling of the grinding-wheels and the occasional grunts and sighs
of the camels.
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