【正文】 而被迫去道歉，那可就難受了。No doubt everyone has to apologise for his life, sooner or later. When we appear at the Last Judgment and the Recording Angel reads out a list of our sins, we will presumably be given an opportunity to apologise, in the old sense of rebuttal, and in the new sense too, by way of confession and plea of repentance. In this life, it is well to apologise (in the new sense), but promptly, voluntarily, fully and sincerely. If the error is a matter of opinion and unpunishable, so much the better —an apology then bees a gracious and creditable occasion, and an example to all. An enforced apology is a miserable affair.毋庸置疑，任何人都要為自己的一生辯護(hù)，不管是今生還是來世。只是漸漸地“Apologise”這個詞才獲得了“原諒、撤回所說的話、承認(rèn)錯誤并請求寬恕”之含義。托馬斯s charges. Dickens39。Apologise is one of those words which has effectively reversed its original meaning. Its origin, in the Greek lawcourts, was jurisprudential: it signified the speech for the defence in which the prosecution39?！?他答道：“你這個建議高，保羅，本人完全贊同。我明白個中的緣由。s a shrewd suggestion, Paul, and I entirely agree with it. (Harold being Harold, I knew an untruth was ing.) The trouble is, though, I can39。）對于這些錯誤，以及過去犯的錯誤和今后會犯的錯誤，在下這廂有禮啦。最近犯下的錯誤包括把杰弗瑞s, of course, was You are my heart39。約翰遜I have sympathy for the butler in The Big Sleep. Marlowe detects him in a contradiction and asks him aggressively, You made a mistake, didn39。大自然索回了自己的要素，半穹頂主宰著石頭的世界。從這一視點(diǎn)看過去，那煙囪是人的價值置于大山上的一道永久性標(biāo)記。 I am at home. But the human occupation has been lifted。奇觀乍現(xiàn)，立即映入眼簾，他便從中發(fā)掘出最大的審美價值。一切取決于心態(tài)。雖有斷垣殘壁，房屋卻蕩然無存。在通常情況下，我要是徒步參觀某處自然景點(diǎn)，一定會繞開這類建筑。這樣一種心態(tài)更促生了令人賞心悅目的景致，一種心曠神怡的回歸自然之情在我心中油然而生。我真切地感受到周圍的一切，急于體驗(yàn)這一切，渴望在最充分的感官體驗(yàn)中得到最大滿足。My spirit and my senses were heightened. I was keenly aware of the world, eager to experience it. My senses were willing to be gratified by their fullest exercise. Hence my eye was sharp, but so was my ear and my nose, I was open to experiencing aesthetically. And on the way I did take minor pleasure in a bird39。真的，在攀登過程中，我周圍的一切都為尋美營造了氛圍。我此行的目的既不是出于對科學(xué)的動機(jī)來研究巖石的結(jié)構(gòu)，也不是出于娛樂消遣的考慮在清新的空氣中舒展肢體——盡管這次跋涉加深了我對美的體驗(yàn)，而且是這番體驗(yàn)的不可或缺的環(huán)節(jié)。我懷著對美的期盼而來，不經(jīng)意間卻發(fā)現(xiàn)了美的另一番天地。遠(yuǎn)遠(yuǎn)望見一處小屋的廢墟，走到近前，只見山谷這邊的煙囪與橫穿山谷的陡峭山崖恰好連成一線。 （集體討論 曹明倫、吳剛 執(zhí)筆）An Experience of Aesthetics by Robert Ginsberg 審美的體驗(yàn) 羅伯特從一本烹調(diào)書中你能學(xué)到什么呢？從每一段中你都能學(xué)到某種新的知識，某種你不曾知曉的知識。除此之外，還有一種比真理更珍貴的東西，那就是力量，或曰對真理的深切認(rèn)同。但只有在悖論亦真這個意義上，此說方為悖論。前者可謂舵艄，后者則是槳橈或蓬帆。在那兩個被我們統(tǒng)稱為文學(xué)的龐大社會媒體中，可以分辨出兩種不同的功能。 but, proximately, it does and must operate—else it ceases to be a literature of power—on and through that humid light which clothes itself in the mists and glittering iris of human passions, desires, and genial emotions. Men have so little reflected on the higher functions of literature as to find it a paradox if one should describe it as a mean or subordinate purpose of books to give information. But this is a paradox only in the sense which makes it honorable to be paradoxical. Whenever we talk in ordinary language of seeking information or gaining knowledge, we understand the words as connected with something of absolute novelty. But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds: it exists eternally by way of germ or latent principle in the lowest as in the highest, needing to be developed, but never to be planted. To be capable of transplantation is the immediate criterion of a truth that ranges on a lower scale. Besides which, there is a rarer thing than truth—namely, power, or deep sympathy with truth. What is the effect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration, which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven—the frailty, for instance, which appeals to forbearance, the innocence which symbolizes the heavenly, and the simplicity which is most alien from the worldly—are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz. the literature of power. What do you learn from Paradise Lost? Nothing at all. What do you learn from a cookery book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level。 and, secondly, the literature of power. The function of the first is—to teach。這些作品在作為讀物出版之前，已通過觀看其演出的觀眾而“出版”了（這正是“出版”一詞最嚴(yán)格的意義）。就此而論，文學(xué)之定義很容易變窄，而它同樣也不難拓寬。s plays in England, and all leading Athenian plays in the noontide of the Attic stage—operated as a literature on the public mind, and were (according to the strictest letter of that term) published through the audiences that witnessed their representation some time before they were published as things to be read。（編輯：李吉琴）The Literature of Knowledge and the Literature of Power byThomas De Quincey知識文學(xué)與力量文學(xué)托 馬斯1963年，他就讀于布朗大學(xué)(Brown University), 其后，又就讀于劍橋大學(xué)（Cambridge University）并獲得文學(xué)博士?！　∽g者注：　　本文為美國當(dāng)代作家司各特美讓我們重拾信念相信自然對于我們的無私恩惠與慷慨。美我們身邊流淌，充盈、潤澤著我們的心田；而其量之充沛，形態(tài)之多變已經(jīng)遠(yuǎn)遠(yuǎn)超越了進(jìn)化本身的需要。然而，惟獨(dú)人類在演變中獨(dú)占鰲頭：我們譜寫交響曲，創(chuàng)造字謎游戲；在我們的手中，頑石誕生為雕像，時空歸依為坐標(biāo)?？v觀歷史傳承，這樣的點(diǎn)撥和引領(lǐng)往往來自長者，籍此，年輕人學(xué)會專注；因?yàn)閷Ｗⅲ覀冾I(lǐng)略到萬千形態(tài)的美，無論是量子力學(xué)中精妙的理論，還是棉被上漂亮的拼花圖案。Anyone with eyes can take delight in a face or a flower. You need training, however, to perceive the beauty in mathematics or physics or chess, in the architecture of a tree, the design of a bird39?！　?6) background radiation: 背景輻射,又名3K宇宙背景輻射，是60年代天文學(xué)上的四大發(fā)現(xiàn)之一，它是由美國射電天文學(xué)家彭齊亞斯和威爾遜發(fā)現(xiàn)的。測量背景輻射，我們需要精密儀器；而衡量美，則需要動用我們的聰慧和所有敏銳的感官。梅爾頓說過，“世間造物之神奇無不令人聯(lián)想到天堂樂土”，因?yàn)閯?chuàng)世紀(jì)本身就是一出永不落幕的表演；其間芳華之美悠游自在，無窮無盡。相片和文字能夠做到的最多只是描摹那些瞬息即逝的、那些讓我們心潮涌動的光芒。s wedding album holds only a faint glimmer of the wedding itself. All that pictures or words can