【正文】 你應(yīng)該感謝彌爾頓的不是他給了你什么知識(shí)，因?yàn)楂@取一百萬(wàn)條互不相干的知識(shí)，也不過是在茫茫塵世向前走了一百萬(wàn)步；你應(yīng)該感謝的是他給予你“力量”，使你能發(fā)揮并拓展與無(wú)限世界產(chǎn)生共鳴的潛能。金斯伯格I climbed the heights above Yosemite Valley, California in order to see the splendid granite mountain, Half Dome, in its fullest view. Approaching the edge through the woods I was filled with heightened expectation. I saw the ruin of a cabin and my approach caused the alignment of the chimney on this side of the valley with the shorn mountain across the valley. I stopped. Something happened. The stone verticals corresponded, one humanshaped, the other natural. The human site was still engaged in sightseeing. I was on its side. I saw the famous sight through the eyes of the ruin. I had e expecting beauty。我停下腳步，奇觀出現(xiàn)了：兩道石壁遙相呼應(yīng)，一邊人工打造，一邊渾然天成。In this experience I had been seeking the aesthetic. I knew I would find it, for I had seen post cards in advance and was following the trail map. The seeking took considerable effort and time. It was a heavy investment. I was not going for the scientific purpose of studying rock formation, nor was it for the recreational purpose of exercising my limbs in the fresh air, though that exertion added intensity to the experience and was its context. Primarily, I was going for the scenic wonders. No wonder that I would take delight in seeing Half Dome. The expectation elicited the oute. I was suitably prepared. No distractions of practical consideration — or theoretic — detracted from my concentrated expectancy. Indeed, the world all around me on the climb contributed to the context for my goal. I was on the terrain of Nature in a national park, following the trail to a viewpoint upon a celebrated natural formation. Each step in the climb not only brought me closer but obliged me to sense the altitude. Moving through the thick woods was in anticipatory contrast to the great gap of the valley and the starkness of the treeless granite boulder. 這次旅程中我一直在捕捉一種美感。我來(lái)這主要是為了覽勝，因此見到半穹頂自然欣喜不已。我登上了國(guó)家公園的天然山地，循著山道前來(lái)觀賞聞名遐邇的大自然的鬼斧神工。s song, a tree39。因此我不但目光敏銳，聽覺和嗅覺也十分靈敏——我敞開心扉，盡情地體驗(yàn)著美的滋味。這樣一種心情最適于欣賞自然美景不過了?；叵肫饋?lái)，在山路盡頭有一座服務(wù)性建筑也全在情理之中。而正是這片廢墟使我體驗(yàn)到此行覽勝的真正含義。如果一個(gè)天外美學(xué)家看到我這模樣，可能會(huì)認(rèn)為，它觀察到的路上這個(gè)怪人準(zhǔn)是個(gè)充滿審美細(xì)胞的動(dòng)物，其審美感官正處于極度警覺的狀態(tài)。此人正在經(jīng)歷一次美的歷險(xiǎn)。 our presence has turned to stone. Nature has reclaimed its elements. Half Dome presides over the petrifaction of the world. Chimney and mountain are in dialogue as I sense the switching between their perspectives. I am present in ruin and in unity.這次審美體驗(yàn)的發(fā)現(xiàn)是什么？我所目睹的景致或許可以說(shuō)明美的外在特征：懸崖峭壁，造型奇特，給人以強(qiáng)烈的空間感，兩道石壁形狀迥異，廣袤交錯(cuò)，凌空矗立。人類在那里壘石筑屋，以觀蒼石。我感受到兩種不同景致的交替，仿佛聽見煙囪在和大山對(duì)話。t you? To which the man replies, sadly and sweetly, I make many mistakes, sir. And so do I. I am, by instinct and training, a very specific writer, and so my errors are numerous. Recent ones include misspelling Geoffrey Madan39。s delight). I apologise for these mistakes, and for others in the past, and for those to e.我同情《長(zhǎng)眠》這部影片中的男管家。馬丹的名字拼寫錯(cuò)了——我給印廠打了個(gè)電話，把更正告訴他們，可是我的那頁(yè)已經(jīng)開印了；我把唐納德Disraeli thought that, in politics, apologies don39。t actually think of any mistakes, and so there39。議會(huì)斗爭(zhēng)的本質(zhì)就是如此，在政治問題上，道歉只會(huì)招致新的詰責(zé)和進(jìn)一步要求交待讓你左右為難的詳情?！保ü_德畢竟是哈羅德，我知道一句言不由衷的話就要脫口而出了。s case was answered point by point. It retained its original meaning until at least the 16th century. Thus Sir Thomas More, after resigning from office, drew up his Apologie of Syr Thomas More, Knyght。s unfortunate statement about his reasons for splitting up with his wife, which his friends begged him not to publish, was selfdestructive precisely because it was halfway between the two meanings: half defiant vindication, half admission of guilt.有那么一些詞兒，已經(jīng)徹底演變得與本義完全相反，“Apologise”即是其中之一。莫爾爵士在掛印辭官之后，就是這樣撰寫了他的“托馬斯在神學(xué)中該詞仍保留原來(lái)的意義：紐曼的《為吾生辯》（Apologia pro Vita Sua）根本就不是什么道歉，而是對(duì)查爾士當(dāng)我們出席最后的審判時(shí)，記錄天使誦讀出所羅列的我們的罪孽，我們作了懺悔并請(qǐng)求寬恕，這樣大概會(huì)被給予辯白（這個(gè)詞的老義）和表示歉意（它的新義）的機(jī)會(huì)。 Newspaper apologies nearly always seem inadequate. The most audacious one I know was brought back from America by the artist Edward BurneJones to show his friend Lady Homer of Mells. It read: Instead of being arrested as we stated, for kicking his wife down a flight of stairs, and hurling a lighted kerosene lamp after her, the Revd. James P. Wellman died unmarried four years ago. This sentence is remarkable for the enormity of the error and the succinctness of the correction — not, be it noted, an apology, for the law of libel, in the United States as in England, offers no redress to a dead person. I suspect the extract is from the New York World when it was a sensational paper owned by Pulitzer. For reasons which a recent biography of him does not clarify, he had a particular hatred for clergymen of all denominations, and frequently exaggerated or invent。如果過錯(cuò)是看法上的事，并且錯(cuò)不當(dāng)罰，那最好不過——說(shuō)一聲“對(duì)不起”就成了一個(gè)顯示大度的機(jī)會(huì)，可贊可嘆，眾人之楷模也。講狄更斯與其妻分手理由的那篇倒霉的陳詞（其友人求他不要發(fā)表），就是自毀其身，恰恰是它介于兩個(gè)意義之間：一半是倔強(qiáng)的辯白，一半是承認(rèn)有愧?！苯裉煳覀儠?huì)使用“Vindication”（辯白，辯護(hù)）一詞。其原義至少到了16世紀(jì)還一直保留著。s Apologia pro Vita Sua was not an apology at all but a vigorous rebuttal of Charles Kingsley39?！?這正是以威爾遜的方式表達(dá)出了迪斯累里的意思。威爾遜擔(dān)任首相的時(shí)候，有一次我向他進(jìn)言：“哈羅德，偶爾承認(rèn)一下政府的錯(cuò)誤，并且道個(gè)歉，不失為一個(gè)好主意吧。s point, though in a Wilsonian way. 迪斯累里首相認(rèn)為在政治問題上，給別人道歉行不通。s mistakes occasionally, and apologise. He replied, That39。陶波的頭上（陶波的信號(hào)曲自然是“你是我心中的喜悅”?！?我又何嘗不是如此呢？我有點(diǎn)靈氣并且訓(xùn)練有素，寫起東西來(lái)旁征博引，力求翔實(shí)，自然就言多語(yǔ)失嘍。s signaturetune, By a babbling brook (Tauber39。（集體討論 許建平 執(zhí)筆）A Person Who Apologizes Has the Moral Ball in His Court by Paul Johnson 誰(shuí)給別人道歉，誰(shuí)就在道義上掌握了主動(dòng) 保羅不過人類對(duì)自然的占據(jù)被消除掉了，我們的存在與石頭融為一體。人類的復(fù)雜意圖受到了辛辣的諷刺。 What are the contents of the aesthetic discovery? Formal properties of beauty may be pointed to in what I saw: the verticals as distinctively shaped and gathering space about them, and the interplay between the two kinds of vertical shapes over the enormous intervening space. The pleasure of perspective entered, for though the chimney is miniscule pared to Half Dome, my approaching it from the trail made it assume visual and spatial dignity equal to the mountain. Complexity of human meaning is encountered with poignant irony. The chimney is an enduring marker of the human value placed on the mountain visible fr