初二 | 会桃花之芳园,序天伦之乐事
▍今日一句
As regards heaven and earth, they are nothing but an inn for all living creatures. As regards time, it is nothing but a passerby in the long run of a hundred generations. Since our life is as fleeting as a dream, how long can our joy possibly last?
—Entertainment Given the Peach and Plum Garden on a Spring Evening, Poet, Li Bai; Translator, Luo Jingguo
夫天地者,万物之逆旅。光阴者,百代之过客。而浮生若梦,为欢几何?
——《春夜宴桃李园序》李白,诗人;罗经国,翻译
▍今日一学
• 短语
as regards 至于,关于,就……而言
As regards money, I have enough.
至于钱,我有的是。
As regards this matter I'm quite of your opinion.
在这个问题上,我同意你的看法。
nothing but 仅仅是,只不过是
in the long run 从很长一段时期来看
• 词汇
inn n. 小旅馆,小酒馆
passerby n. 行人,过客
fleeting adj. 短暂的,飞逝的
fleet n. 舰队,船队
a fleeting smile 一闪即逝的笑容
a fleeting thought 一闪而过的念头
• 拓展
夫天地者,万物之逆旅;光阴者,百代之过客。而浮生若梦,为欢几何?古人秉烛夜游,良有以也。况阳春召我以烟景,大块假我以文章。会桃花之芳园,序天伦之乐事。群季俊秀,皆为惠连;吾人咏歌,独惭康乐。幽赏未已,高谈转清。开琼筵以坐花,飞羽觞而醉月。不有佳咏,何伸雅怀?如诗不成,罚依金谷酒数。
——《春夜宴桃李园序》李白
▍今日一悟
天地恒常,而人生易逝,不妨抓住短暂的时光及时行乐。
在有限的时间里,我们不妨暂时抛却那些属于年少的执拗和争吵,把多一点耐心和陪伴留给家人,也把多一点温馨留给往后的记忆。不知道这个春节,你会如何与家人共度呢?
▍今日一句
As regards heaven and earth, they are nothing but an inn for all living creatures. As regards time, it is nothing but a passerby in the long run of a hundred generations. Since our life is as fleeting as a dream, how long can our joy possibly last?
—Entertainment Given the Peach and Plum Garden on a Spring Evening, Poet, Li Bai; Translator, Luo Jingguo
夫天地者,万物之逆旅。光阴者,百代之过客。而浮生若梦,为欢几何?
——《春夜宴桃李园序》李白,诗人;罗经国,翻译
▍今日一学
• 短语
as regards 至于,关于,就……而言
As regards money, I have enough.
至于钱,我有的是。
As regards this matter I'm quite of your opinion.
在这个问题上,我同意你的看法。
nothing but 仅仅是,只不过是
in the long run 从很长一段时期来看
• 词汇
inn n. 小旅馆,小酒馆
passerby n. 行人,过客
fleeting adj. 短暂的,飞逝的
fleet n. 舰队,船队
a fleeting smile 一闪即逝的笑容
a fleeting thought 一闪而过的念头
• 拓展
夫天地者,万物之逆旅;光阴者,百代之过客。而浮生若梦,为欢几何?古人秉烛夜游,良有以也。况阳春召我以烟景,大块假我以文章。会桃花之芳园,序天伦之乐事。群季俊秀,皆为惠连;吾人咏歌,独惭康乐。幽赏未已,高谈转清。开琼筵以坐花,飞羽觞而醉月。不有佳咏,何伸雅怀?如诗不成,罚依金谷酒数。
——《春夜宴桃李园序》李白
▍今日一悟
天地恒常,而人生易逝,不妨抓住短暂的时光及时行乐。
在有限的时间里,我们不妨暂时抛却那些属于年少的执拗和争吵,把多一点耐心和陪伴留给家人,也把多一点温馨留给往后的记忆。不知道这个春节,你会如何与家人共度呢?
Aeneas, Venus and Helen
Aeneas, the Trojan hero who survived the war at Troy, was a subject of several legends.
The official legend of Aeneas was that found in a Latin epic, The Aeneid, written by a Roman poet, Virgil.
According to this epic, Aeneas settled in Italy, not far from the present site of Rome.
Painting
Drawn from Book II of the Aeneid
this subject follows the recommendations of the critic La Font de Saint-Yenne (1688-1771), who suggested it to artists because it was “so rich in heroic facts, pathetic narrations, and great events”.
Here, Venus shows her son the futility of killing Helen, since her mission is to ensure the survival of the Trojan race by founding a new Troy…Rome.
Closer to his master David (1748-1825) than to his famous father Jean-Honoré (1732-1806), Alexandre-Evariste has clearly learned his lessons: aligned composition of faces on a large diagonal with the sword of Aeneas and Helen’s arms as a counterpoint; primacy of design over material; dynamic and sculpted draperies reinforcing the dramatic quality of the scene.
Aeneas, the Trojan hero who survived the war at Troy, was a subject of several legends.
The official legend of Aeneas was that found in a Latin epic, The Aeneid, written by a Roman poet, Virgil.
According to this epic, Aeneas settled in Italy, not far from the present site of Rome.
Painting
Drawn from Book II of the Aeneid
this subject follows the recommendations of the critic La Font de Saint-Yenne (1688-1771), who suggested it to artists because it was “so rich in heroic facts, pathetic narrations, and great events”.
Here, Venus shows her son the futility of killing Helen, since her mission is to ensure the survival of the Trojan race by founding a new Troy…Rome.
Closer to his master David (1748-1825) than to his famous father Jean-Honoré (1732-1806), Alexandre-Evariste has clearly learned his lessons: aligned composition of faces on a large diagonal with the sword of Aeneas and Helen’s arms as a counterpoint; primacy of design over material; dynamic and sculpted draperies reinforcing the dramatic quality of the scene.
庄子曰:“然则无用之为用也亦明矣。”
——这是《庄子·外物》里的一句话。说话的背景是,惠子说庄子“你说的话都没用“,庄子就给他举了个“立足之地”的例子,说世界那么广大,人之所用容足耳,但是如果把其他地方都挖掉,只留脚下的方寸之地,那你觉得成吗?惠子说那确实不成,庄子就提出了“无用之用”的道理。
从实用的眼光来看,人文研究的东西大概都没有用,于科技前沿无用、于新药研发无用、于日常器具也无用。但从“无用之用”的角度说,也许它生产的才是最有价值的东西:训练人的头脑和思维,培养人的性情和伦理观念,使人的生命具有真正的价值和意义。
之前看陈向明老师的书,在序言里出不来了,她以“古城与锄镐”类比“研究领域和研究者”,我被她的研究理想和热忱所深深折服,现在看张隆溪老师的书,也因他提到的“人文精神、权威、阐释学”这些概念而颇为震动。
轮扁斲轮的故事讲了“君之所读者,古人之糟粕已夫”,老子说”道可道,非常道“,庄子重复强调了”道不可言“。所以人文学科的知识,并不是看几本书就能了解的,“古之人与其不可传也死矣”,仅凭输入是不敢说了解的。同样,不是历史上曾经有人讲清楚过某个道理,就能认为它不再值得投入精力去研究和讨论。不要被实干至上的观念绑架,不是思辨就低于实验,不是精神的通透就低于物质的富足。
抓耳挠腮想论文题目、找研究领域的时候,我总会抱怨,古往今来那么多人,该研究的该讨论早就被人想到过了,怎么可能留下什么研究空白让我来做呢?研究意义和创新之处,只能寥寥数语照着模版写几句。
但现在我突然很想写下:这世上又多了一个在这一领域“得之于手而应于心、敢言尽言力求善言”的学术人,这难道不是学术的意义吗?
所谓“圣人之言”也好,“古人之糟粕”也罢,有幸在前辈之道中了解这一领域,能以清晰规范的学术话语整理我的想法、表达我的理解,并将致力于以己所学建构自己人生的意义。这样的意义还不够吗?
If you cannot be the poet, be the poem.
我做不成什么大人物,只想过好自己的一生。
我没什么为抽象人类的进步而努力的志气,吾生也有涯,而知也无涯,找到自己相信的意义就够了。
——这是《庄子·外物》里的一句话。说话的背景是,惠子说庄子“你说的话都没用“,庄子就给他举了个“立足之地”的例子,说世界那么广大,人之所用容足耳,但是如果把其他地方都挖掉,只留脚下的方寸之地,那你觉得成吗?惠子说那确实不成,庄子就提出了“无用之用”的道理。
从实用的眼光来看,人文研究的东西大概都没有用,于科技前沿无用、于新药研发无用、于日常器具也无用。但从“无用之用”的角度说,也许它生产的才是最有价值的东西:训练人的头脑和思维,培养人的性情和伦理观念,使人的生命具有真正的价值和意义。
之前看陈向明老师的书,在序言里出不来了,她以“古城与锄镐”类比“研究领域和研究者”,我被她的研究理想和热忱所深深折服,现在看张隆溪老师的书,也因他提到的“人文精神、权威、阐释学”这些概念而颇为震动。
轮扁斲轮的故事讲了“君之所读者,古人之糟粕已夫”,老子说”道可道,非常道“,庄子重复强调了”道不可言“。所以人文学科的知识,并不是看几本书就能了解的,“古之人与其不可传也死矣”,仅凭输入是不敢说了解的。同样,不是历史上曾经有人讲清楚过某个道理,就能认为它不再值得投入精力去研究和讨论。不要被实干至上的观念绑架,不是思辨就低于实验,不是精神的通透就低于物质的富足。
抓耳挠腮想论文题目、找研究领域的时候,我总会抱怨,古往今来那么多人,该研究的该讨论早就被人想到过了,怎么可能留下什么研究空白让我来做呢?研究意义和创新之处,只能寥寥数语照着模版写几句。
但现在我突然很想写下:这世上又多了一个在这一领域“得之于手而应于心、敢言尽言力求善言”的学术人,这难道不是学术的意义吗?
所谓“圣人之言”也好,“古人之糟粕”也罢,有幸在前辈之道中了解这一领域,能以清晰规范的学术话语整理我的想法、表达我的理解,并将致力于以己所学建构自己人生的意义。这样的意义还不够吗?
If you cannot be the poet, be the poem.
我做不成什么大人物,只想过好自己的一生。
我没什么为抽象人类的进步而努力的志气,吾生也有涯,而知也无涯,找到自己相信的意义就够了。
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