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bookofjin · 3 years

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From the Annals of Guangwu

[From HHS001. Commentary in (italics) by Li Xian (655 - 684)]

The Generational Founder [shizu](1),the Shining and Martial[guangwu] August Emperor, taboo Xiu, courtesy name Wenshu, was a native of Caiyang in Nanyang(2). He was a ninth generation descendant of Gaozu, springing forth from Emperor Jing who begot King Ding of Changsha, Fa(3). Fa begot Marquis Jie of Chongling, Mai (4). Mai begot the Grand Warden of Yulin, Wai(5). Wai begot the Chief Commandant of Julu(6), Hui. Hui begot the Prefect of Nandun, Qin(7). Qin begot Guangwu. Guangwu was aged nine sui when he became an orphan [in 4 AD], and was raised by his junior uncle Liang.

He was seven chi, three cun tall. He had a beautiful beard and eyebrows, a big mouth, arched nose, and a “sun horn” forehead(8)[A]. He was by nature attentive to sowing and harvesting(9). However his older brother Bosheng was fond of gallantry and supporting gentlemen, he often frowned at Guangwu's affairs and farming activites, and compared him to Gaozu's older brother Zhong(10). Middle of Wang Mang's Tianfeng era [14 – 19](11), he therefore went to Chang'an. He took in the Highest Documents and roughly gained access to their great righteousness.

(1: The rites: “A Founder has merit, and an Exemplar has virtue.” Guangwu was a restorer, and for that reason his temple was called the Generational Founder. The rules of posthumous titles: “To be able to carry on a prior legacy is called Shining. To overcome and settle calamity and chaos is called Marital.” Marquis Fu's Commentary on the Past and Present says: “The character of xiu秀 refers to the blooming and accomplished. Bo 伯 [lit. “Elder”], zhong仲 [“middle”], 叔shu [“third”], and ji季 [“last”] is the sequence of older and younger brothers. The oldest brother was Bosheng, and next was Zhong. For that reason his courtesy name was Wenshu.)

(2: Nanyang was a commandery, now a county in Deng province. Caiyang was a county. The old city is now south-west of Sui province's Zaoyang county.)

(3: Changsha was a commandery, now a county in Tan province.)

(4: Chongling was the name of a district, originally belonging to Lingling's Lingdao county, which is located now north of Yong永 province's Tangxing county. In the time of Emperor Yuan they moved to Nanyang, but kept the title Chongling. The old city is now east of Sui province's Zaoyang county. The affair is drawn up in the Account of Four Kings from the Ancestral House.)

(5: Yulin was commandery, now a county in Gui貴 province. The Former Book says: “Commandery Warden was a Qin official, his salalry was two thousand shi. Emperor Jing altered the name to Grand Warden.)

(6: Julu was a commandery, now a county in Xing邢 province. The Former Book says: “Chief Commandant, originally Commandery Commandant, was a Qin official. He was in charge of aiding the Warden, and directed military duties. His salary was equal to two thousand shi. Emperor Jing altered the name to Chief Commandant.)

(7: Nandun was a county belonging to Nan commandery. The old city is now west of Chen province's Xiangcheng county. The Former Book says: “Prefects and Elders were both Qin officials. [Counties] ten thousand households and above had a Prefect, his salary was between a thousand shi and six hundred shi. [Counties] not fully ten thousand households had an Elder, his salary was between five hundred shi and three hundred shi.)

(8: “Arched” is high. Xu Fu states: “The nostril tip is the nose.” Zheng Xuan's Commentary on the Middle Marquis of the Highest Documents states: “With 'sun horn' one speaks of the bones in the middle of courtyard [?] rising up, shaped like the sun.)

[A: In physiognomy, a “sun horn” refers to the centre of the frontal bone being raised into a sun-like shape.]

(9: Planting is called “sowing”. Collecting is called “harvesting”.)

(10: Zhong is the Marquis of Heyang, Xi, his abilities were in the profession of production. See the Former Book.)

(11: In Wang Mang's 6th Year of Shijianguo [14 AD], he changed [the era] to Tianfeng.)

(12: The Records of the Eastern Watchtower says: “He took in the Highest Documents from the Middle Grandee Xu Ziwei of Lujiang. When his wealth was spent and gone, he and his fellow resident scholar Master Han combined their money to buy a donkey. They made it move for hire, and used it to provide for their various public expenses.)

At the end of Mang there were Under Heaven continuous years with calamities and disasters, robbers and bandits rose up in swarm(1). 3rdYear of Dihuang [22 AD](2), Nanyang was desolated and hungering(3), and many of the various families' retainers became minor bandits. Guangwu escaped the magistrates in Xinye, and following that sold grain in Wan(5). Natives of Wan, Li Tong and others, used maps and prophecies to advise Guangwu, stating:

The Liu clan rises again, the Li clan will help!(6)

Guangwu at first did not dare to attend to it, however alone he recalled his old brother Bosheng had a long-standing connection with carefree guests, and would surely raise up the great affair. Moreover, Wang Mang's defeat and destruction was already foretold, and Under Heaven would soon be in chaos. Thereupon he and them settled their plans, and he hence traded for military crossbows.

10th Month[A], he and Li Tong's junior cousin Yi and others rose up at Wan. At the time he was aged twenty-eight.

(1: The text tells that the thieves pointed鋒 and sharp contended to rise up. The character is sometimes written 蜂, the analogies are many.)

[The characters 鋒,“spear-point”, and 蜂,“bee”, “bee-swarm”, have the same sound. I have therefore chosen to translate 鋒起 as synonymous to 蜂起 “rose up in swarm”.]

(2: 6th Year of Tianfeng [19 AD], changed [the era] to Dihuang.)

(3: The Outer Accounts on the Han Poetry says: “The first time the grain does not ripen is called a dearth. The second time the grain does not ripen is called a hunger. The third time the grain does not ripen is called a scarcity. The fourth time the grain does not ripen is called a desolation. The fifth time the grain does not ripen is called a great famine.)

(4: Xinye belonged to Nanyang commandery, now a county in Deng province. The Continued Book of Han says: “Bosheng's retainers plundered people. The Sovereign escaped the magistrates at the house of Deng Chen of Xinye.)

(5: The Records of the Eastern Watchtower says: “At the time there was in Nanyang drought and hunger, and the Sovereign's fields alone were harvested.” Wan was a county belonging to Nanyang commandery. The old city is now Deng province's Nanyang county.)

(6: “Maps” is the River Map. “Prophecies” are books of auspicious fate. The prophecies were proof. The text tells that one who is king accepts verified proofs of fate. The Map of the Spirit of the Changes' Kun [hexagram] says: “Han's subject Li Yang.”)

[A: It's not entirely clear to me if the text is using the Xin calendar, or retroactively the Han calendar. The 10th Month was 15 October – 12 November 22 in the Xin calendar and 13 November – 12 December in the Han calendar.]

11th Month [A], there was a comet in the Extension [lunar lodge](1). Guangwu thereupon brought along his retainers to turn back to Chongling. At the time Bosheng had already assembled the multitudes and risen with his troops. Earlier, the sons and brothers of the various families were apprehensive and afraid, everyone absconded and fled to hide themselves, saying

Bosheng has killed us!

When they saw Guangwu's scarlet clothes and great cap(2), all in surprise said:

The prudent and solid one is also then doing it.

Then they somewhat calmed themselves. Bosheng hence summoned the Xinshi and Pinglin Troops(3), and together with their leaders Wang Feng and Chen Mu went west to strike Changju [“Chang Settlement”](4).

Guangwu at first rode an ox, he killed the Commandant of Xinye and therefore obtained a horse(5). He advanced to slaughter Tangzi district(6), and also killed the Commandant of Huyang(7).

Within the army they allotted the wealth and things unfairly. The multitudes were livid and resentful, they wished to turn around and attack the Lius. Guangwu collected the things obtained by the people of his clan, and fully gave them out to them. The multitudes were therefore happy.

He advanced to take Jiyang. He and Wang Mang's Grandee of the Van Passage[sui隊](9), Zhen Fu, and the Subordinates Corrector Liangqiu Ci(10) at Xiao-Chang'an [“Little Chang'an”](11). The Han army was greatly defeated and turned back to protect Jiyang.

[A: 13 November – 12 December in the Xin calendar, 13 December – 10 January 23 in the Han calendar.]

(1 The Former Book's Sounds and Meanings says: “A comet shines rapidly and short, in a tumble-weed way. “Extension” is the lunar lodge of the souther region.” The Treatise of Continued Han says: “Extension is the land of Zhou. The comet was in Extension, and travelled south-east to precisely the division of Wing and Chassis. Wing and Chassis are the land of Chu. Thus the land of Chu was about to have warfare and chaos. One year later, in the 1st Month, Guangwu rose with troops in Chongling, attacked Nanyang, beheaded Fu, Ci, and others, and killed their multitude soldiers, several ten thousand people. Guangwu's capital was Luoyang, which is located in the land of Zhou. It was an apparition of removing the overgrown and spreading out the new.”)

(2: Dong Ba's Treatise on Carriages and Dress says: “The 'great cap' refers to the military cap, The cap of military officials.” “The Sovereign at the time [wore] scarlet clothes and great cap, a General's dress.”)

(3: Xinye was a county belonging to Jiangxia commandery. The old city is now south-east of Ying province's Fushui county. Pinglin was the name of an area, it is now north-east of Sui province's Sui county.)

(4: The Guangya says: “jù 聚 [“settlement”, MC: dz- + -ju C] is a location. Pronounced cí 慈[MC: dz- + -i A] +yù 諭 [MC: (y- + -ju C].” The Former Book's Sounds and Meanings says: “Smallerr than a district is called a 'settlement'”.)

(5: The Former Book says: Commandant was a Qin official, his salary was between four hundred shi and 200 shi.)

(6: The Norms says: “When many are executed and killed it is called “slaughter”. Tangzi district has Tangzi Mountain. It is now south-west of Tang province's Huyang county.)

(7: Huyang belonged to Nanyang commandery, now a county in Tang province. The Records of the Eastern Watchtower says: “Liu Zhong falsely claimed to be a magistrate of Jiangxia, and persuaded them to kill him." [that is, the locals to kill the Commandant])

(8: The name of a county, belonging to Nanyang commandery, it was on the sunny-side of the Ji River. The ancient state of Xie. The old city is now north-west of Tang province's Huyang county. Jí棘 [MC: k- + -ik D] is pronounced jǐ己[MC: k- + -i B] + lì力[MC: l- + -ik D].)

(9: Wang Mang set up six passages[sui隊], and in [each] commandery set up one Grandee with duties like a Grand Warden. Nanyang was the Van Passage. Henei was the Rear Passage. Yingchuan was the Left Passage. Hongong was the Right Passage. Hedong was the Altar Passage, and Xingyang was the Prayer Passage. 隊 is pronounced suì遂.)

(10: Wang Mang in each passage set up one Subordinates Corrector with duties like a Chief Commandant.)

(11: The Continued Book of Han says that Yuyang county has a Xiao-Chang'an Settlement. The old city is now south of Deng province's Nanyang county.)

#hhs001

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fuyonggu · 4 years

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Lu Ji’s “Discourse on the Fall of Wu (Part 1)”

Lu Ji was the grandson of Lu Xun and the son of Lu Kang; he was noted as being a literary genius, along with his younger brother Lu Yun.

以孫氏在吳，而祖父世為將相，有大勳於江表，深慨孫皓舉而棄之，乃論權所以得，皓所以亡，又欲述其祖父功業，遂作《辯亡論》二篇。其上篇曰：昔漢氏失禦，奸臣竊命，禍基京畿，毒遍宇內，皇綱弛頓，王室遂卑。於是群雄蜂駭，義兵四合。吳武烈皇帝慷慨下國，電發荊南，權略紛紜，忠勇伯世，威棱則夷羿震盪，兵交則醜虜授馘，遂掃清宗祊，蒸禋皇祖。于時雲興之將帶州，猋起之師跨邑，哮闞之群風驅，熊羆之族霧合。雖兵以義動，同盟戮力，然皆苞藏禍心，阻兵怙亂，或師無謀律，喪威稔寇。忠規武節，未有如此其著者也。

Lu Ji considered how, during the reign of the Sun clan in Eastern Wu, his grandfather and father had served that state as generals and chief ministers and had performed great deeds on its behalf. He bitterly lamented his family's loss of status after Sun Hao came to power. Thus Lu Ji wrote an essay in two parts on the rise and fall of Eastern Wu, in which he extolled the deeds of Sun Quan (who had employed his grandfather Lu Xun) and castigated the errors of Sun Hao, as well as glorifying the achievements and the efforts of his father and grandfather. This essay was titled Thoughts on the Fall of Wu.

In the first part, he wrote, "Many years ago, the Han dynasty lost control of the realm, as a wicked subject (Dong Zhuo) grasped for power. The disaster reached even the capital region, the foundation of the state, while the poison spread all throughout the realm. The imperial laws were ignored with impunity, and the royal family was reduced to a pitiful state.

"Our Emperor Wulie (Sun Jian), who sympathized with the plight of the state, set out like a flash of lightning from the south of Jingzhou (at Changsha). In planning and strategy he was meticulous and thorough; in courage and loyalty he was an exemplar for the age. With a mere display of strength, the barbarians cowered in fear of him; at the first clash of arms, the despicable villains surrendered their heads. Thus he purged and swept clear the temples and shrines of the Han dynasty and offered prayers and sacrifices to the imperial ancestors.

"There were other men of fortune in those days, to be sure, who likewise called for uprisings on every side. Some of their hosts were like clouds gathered across several provinces, and others were like whirlwinds which engulfed entire cities; some conjured their swarms like billowing gales, and others came into being like so many bears and beasts. But though all these forces claimed to serve a righteous cause and swore to unite their efforts under one banner, yet there was evil within their hearts, for they sought only to take advantage of the chaos through the power of their armies. Indeed, some of these leaders had no greater design than to deepen the turmoil and seize whatever they could. Who among them was loyal or chaste, disciplined or dutiful? Not a one could measure up.

武烈既沒，長沙桓王逸才命世，弱冠秀髮，招攬遺老，與之述業。神兵東驅，奮寡犯眾，攻無堅城之將，戰無交鋒之虜。誅叛柔服，而江外底定；飭法修師，則威德翕赫。賓禮名賢，而張公為之雄；交禦豪俊，而周瑜為之傑。彼二君子皆弘敏而多奇，雅達而聰哲，故同方者以類附，等契者以氣集，江東蓋多士矣。將北伐諸華，誅鉏幹紀，旋皇輿於夷庚，反帝坐於紫闥，挾天子以令諸侯，清天步而歸舊物。戎車既次，群凶側目，大業未就，中世而殞。

"Though Emperor Wulie soon met his end, our King of Changsha (Sun Ce) proved himself to be an exceptional talent and a master of the age. His brilliance emerged even in the bloom of youth, and he beckoned forth the aged veterans of his father and set out on his enterprise with them. He charged to the east like some god of war, leading a mere handful to smash great multitudes. When he assaulted a city, no sturdy walls could stop him; when he faced a foe in the field, no fierce vanguard could withstand him. He punished the rebellious and soothed the submissive, thus the lands beyond the Yangzi became peaceful and tranquil; he observed the laws and enforced military restraint, thus he won acclaim both for his power and his virtue.

"The King was courteous and respectful to those of fine reputation and worthy conduct, and so Lord Zhang (Zhang Zhao) regarded him as a hero; he was welcoming and receptive to those of good families and great talents, and so Zhou Yu considered him to be a marvel. And were those two gentlemen not men of broad intellect and ingenious designs, refined character and profound thinking? Encouraged by their example, everyone within the same region attached themselves to the King's cause; he gained a host of accomplished servants like a gathering of the winds, for the Southland had many worthy fellows indeed.

"It was the King's desire to lead a northern campaign into the lands of the Hua (the Central Plains), to bring fire and sword to the evildoers and outlaws there. He aimed to place the imperial carriage in the hands of a loyal adherent and return the imperial throne to the Purple Palace (the Emperor's residence); with the Son of Heaven under his control, he could issue orders to the feudal lords, purify the path of Heaven, and restore things to their former state. In fact he went so far as to assemble his army and chariots and advance towards the north, and the villains were all gazing sideways towards him out of sheer terror at his approach. Yet before this grand cause could reach fruition, the King was cut down in his prime.

用集我大皇帝，以奇蹤襲逸軌，睿心因令圖，從政咨於故實，播憲稽乎遺風；而加之以篤敬，申之以節儉，疇諮俊茂，好謀善斷，束帛旅於丘園，旌命交乎塗巷。故豪彥尋聲而響臻，志士晞光而景騖，異人輻輳，猛士如林。於是張公為師傅；周瑜、陸公、魯肅、呂蒙之儔，入為腹心，出為股肱；甘甯、淩統、程普、賀齊、硃桓、硃然之徒奮其威，韓當、潘璋、黃蓋、蔣欽、周泰之屬宣其力；風雅則諸葛瑾、張承、步騭以名聲光國，政事則顧雍、潘浚、呂范、呂岱以器任幹職，奇偉則虞翻、陸績、張惇以風義舉政，奉使則趙咨、沈珩以敏達延譽，術數則吳范、趙達以禨祥協德；董襲、陳武殺身以衛主，駱統、劉基強諫以補過。謀無遺計，舉不失策。故遂割據山川，跨制荊、吳，而與天下爭衡矣。魏氏嘗藉戰勝之威，率百萬之師，浮鄧塞之舟，下漢陰之眾，羽楫萬計，龍躍順流，銳師千旅，武步原隰，謨臣盈室，武將連衡，喟然有吞江滸之志，壹宇宙之氣。而周瑜驅我偏師，黜之赤壁，喪旗亂轍，僅而獲免，收跡遠遁。漢王亦憑帝王之號，帥巴、漢之人，乘危騁變，結壘千里，志報關羽之敗，圖收湘西之地。而我陸公亦挫之西陵，覆師敗績，困而後濟，絕命永安。續以濡須之寇，臨川摧銳；蓬蘢之戰，孑輪不反。由是二邦之將，喪氣挫鋒，勢<血醜>財匱，而吳莞然坐乘其弊，故魏人請好，漢氏乞盟，遂躋天號，鼎峙而立。西界庸、益之郊，北裂淮、漢之涘，東苞百越之地，南括群蠻之表。於是講八代之禮，搜三王之樂，告類上帝，拱揖群後。武臣毅卒，循江而守；長棘勁鎩，望猋而奮。庶尹盡規于上，黎元展業於下，化協殊裔，風衍遐圻。乃俾一介行人，撫巡外域，巨象逸駿，擾於外閑，明珠瑋寶，耀於內府，珍瑰重跡而至，奇玩應響而赴；輶軒騁于南荒，沖輣息於朔野；黎庶免干戈之患，戎馬無晨服之虞，而帝業固矣。

"However, we were blessed with the presence of our Grand Emperor (Sun Quan). Through his unique talents, he picked up and followed the trail that had been lost; through his farsighted heart, he continued the lapsed mandate. He adopted wise policies to give substance to the government; he gathered sage ordinances to emulate the spirit of the ancients. And he enhanced these things through sincerity and respect and conveyed them through dutifulness and frugality. He was discerning in soliciting the advice of the wise and the talented, and he was an adept thinker and a decisive leader. He distributed silks and grains through the hills and parks, and he displayed his banners and his commands throughout the roads and streets.

"Thus the leaders and gentry of the region heard the call and came to join him, and the ambitious gentlemen of the land wept at his splendor and were glad to be his shadows. Outstanding figures surrounded him like spokes round a hub, stalwart warriors flanked him like a great forest. So it was that Lord Zhang (Zhang Zhao) became his teacher and tutor; so it was that Zhou Yu, Lord Lu (Lu Xun), Lu Su, and Lü Meng became his four champions, serving as his heart and lungs within and his arms and legs without. Such men as Gan Ning, Ling Tong, Cheng Pi, He Qi, Zhu Huan, and Zhu Ran gave him their courage; such figures as Han Dang, Pan Zhang, Huang Gai, Jiang Qin, and Zhou Tai lent him their strength. For culture and refinement, he had Zhuge Jin, Zhang Cheng, and Bu Zhi, whose reputation and influence glorified the state; for administrative skill, he had Gu Yong, Pan Jun, Lü Fan, and Lü Dai, who were credits to their ranks and masters of their roles; for scintillating talents, he had Yu Fan, Lu Xu, and Zhang Dun, whose lofty and righteous spirits uplifted the government. Zhao Zi and Chen Hang had he for envoys, and their nimble tongues and quick wit secured the state's reputation; Wu Fan and Zhao Da had he for mystics, whose divinations and omens ensured the state's blessings. Dong Xi and Chen Wu kept him from harm with vigorous efforts; Luo Tong and Liu Ji steered him from error with forceful remonstrations. In planning, nothing was overlooked or left out; in action, no aspect of strategy was forgotten. And it was for these reasons that the Grand Emperor was able to carve out and occupy the mountains and rivers of his domain, straddling and controlling the regions of Jing and Wu and contending for control of all the realm.

"The lord of Wei (Cao Cao), riding high on his string of victories, led forth an army of a million soldiers against us. He sailed a great fleet through the Deng Narrows and descended upon the south bank of the Han River with a massive host; his feathers and oars numbered in the tens of thousands as he swept down the rivers like a dragon. Fierce cavalry he had by the thousands, while his tiger infantry strode through the plains and marshes. His advisors and strategists filled entire rooms; his officers and generals rode in rows of war carts. He proclaimed his ambition to swallow up all the lands of the lakes and streams and unite the entire realm under his sole dominion. Yet Zhou Yu led forth a meager force to smite this foe at Chibi. The enemy was put to flight and thrown into total confusion; it was only by a narrow escape that he got away with his life, and he scampered far away and fled back where he came from.

"The King of Han (Liu Bei) too claimed the title of sovereign. At the head of an army of the men of Ba and Han, he courted danger and invited calamity, laying out his camps and ramparts across a distance of a thousand li. He sought to avenge the defeat of Guan Yu and reclaim the lands west of the Xiang River. But our Lord Lu (Lu Xun) gave him the same treatment, thrashing him at Xiling (Yiling); the King's army was broken and destroyed, only with great difficulty did he break free from our pursuit, and in the end he expired at Yong'an (Baidicheng).

"Though Wei sought to invade us at Ruxu, we stood firm upon the bank and crushed them; though they attacked us at Penglong, we fought them off and did not yield.

"Thus did we destroy the forces and shake the morale of these our two rivals; their blood and treasure were greatly spent, while Wu stood smug to take advantage of their weakness. So the people of Wei asked us for a peace agreement, and the leaders of Han begged us for an alliance. And by the time our lord had claimed the heavenly title, the realm had settled into a tripartite division.

"To the west we encroached upon the borders of Yong and Yi (Yizhou); to the north we occupied the lines of the rivers Huai and Han; to the east we conquered the lands of the Yue peoples; to the south we bought the Man tribes under our control. The Grand Emperor discussed the rites of the Eight Monarchs (the Five Emperors and Three Sovereigns) and sought out the music of the Three Founders (of Xia, Shang, and Zhou), and he announced his affairs to the Supreme Deity and paid his respects to the various nobles. Our martial servants and valiant soldiers stoutly guarded the Yangzi; with their long lances and strong spears, they zealously seized the spirit of the whirlwind. The subjects of the state observed full propriety above, and the common people practiced their livelihoods below; moral transformation spread to every corner, and good culture touched every place. Envoys and agents were sent out to comfort and inspect the furthest regions. Enormous elephants and incredible horses swarmed about in the outer stables; bright jewels and precious treasures glittered in the inner storehouses. Again and again, wondrous baubles were sent to us; time after time, strange trinkets arrived at our court. Carriages aplenty swiftly brought word from out of the southern wastes; convoys of carts quickly brought news from out of the northern wilds. The people were spared from the terrors of warfare, and the warhorses had no need for morning exercises. The imperial legacy was secure.

大皇既沒，幼主蒞朝，奸回肆虐。景皇聿興，虔修遺憲，政無大闕，守文之良主也。降及歸命之初，典刑未滅，故老猶存。大司馬陸公以文武熙朝，左丞相陸凱以謇諤盡規，而施績、範慎以威重顯，丁奉、鐘離斐以武毅稱，孟宗、丁固之徒為公卿，樓玄、賀邵之屬掌機事，元首雖病，股肱猶良。爰逮末葉，群公既喪，然後黔首有瓦解之患，皇家有土崩之釁，曆命應化而微，王師躡運而發，卒散于陳，眾奔於邑，城池無籓籬之固，山川無溝阜之勢，非有工輸雲梯之械，智伯灌激之害，楚子築室之圍，燕人濟西之隊，軍未浹辰而社稷夷矣。雖忠臣孤憤，烈士死節，將奚救哉！

"Once the Grand Emperor left us, the Young Lord (Sun Liang) sat the throne for a time, while miscreants flaunted their cruel and wicked power. After them came Emperor Jing (Sun Xiu), who brought the laws back into their proper form. He was devoted to and restored the old order of things, and he committed no great faults in his governance of the state. He was a good leader who maintained what was right. But next was the Marquis of Guiming (Sun Hao).

"At the beginning of the Marquis' reign, the laws and canons had not yet been dispensed with, and the veteran servants of the previous rulers were still in place. The Grand Marshal, Lord Lu (Lu Kang), did honor to the court with his civil talents and his martial prowess; the Prime Minister of the Left, Lu Kai, ensured integrity through his forthright and honest admonitions. There were Shi Ji and Fan Shen, conspicuous for their valor and gravity, and Ding Feng and Zhongli Fei, acclaimed for their might and resolve; there were people like Meng Zong and Ding Gu to act as great ministers and fellows like Lou Xuan and He Shao to handle the state's affairs. Though the head of the state was sick, still the limbs remained healthy and strong. Alas, in the end they were still only the branches and leaves of the state, and after their demise, Wu came to grief.

"It has been said that a state need not fear 'a calamity of falling tiles' (an external threat), but what it ought to fear is 'a disaster of a collapsing mound' (an internal weakness). Our people had been ready to combat any danger of 'falling tiles', but the imperial family fell prey to a 'collapsing mound'. By the time the government army (of Jin) had seized the momentum and set out to attack, the Mandate had already passed from us and the legitimacy of the ruler had diminished. Our soldiers scattered from their formations, and our people abandoned their cities; our walls and moats proved less useful than mere barricades and fences, and our mountains and rivers were no greater obstacles than little hills and ditches. No one was prepared to face 'the cloud ladders of Gong Shu' or endure 'the floodwaters of Zhi Yao'; there was never a need for the enemy to emulate the Viscount of Chu by 'building houses at the siege lines' or the generals of Yan by 'routing us west of Ji'. Our army resisted for not even a fortnight before the altars of state collapsed. And though there were some generals who were loyal to the last and planned never to yield, or others who would die rather than abandon their duty, how could this mere handful have saved the state alone?

夫曹、劉之將非一世所選，向時之師無曩日之眾，戰守之道抑有前符，險阻之利俄然未改，而成敗貿理，古今詭趣，何哉？彼此之化殊，授任之才異也。

"The generals of the armies of Cao Cao and Liu Bei were not inferior to those of the recent invasion, nor was the enemy strength of former times less than in the late campaign; the methods of how to attack and how to defend had not been altered since before, and the natural defenses and terrain of our state were no less perilous to the foe. Yet we prevailed then and faltered now, which goes against reason and makes a mockery of sense. Why did it happen? Because of the difference in character between the ruler then and the one now, the distinction in talent between that granter of offices and ours."

10 notes · View notes

chcrrypcps · 6 years

Text

(f) korean names; mix n match !

80+ KOREAN SYLLABLES to mix n match together to form names!

-- common hanja meanings attached !

**not all name meanings are listed & not all names have to mean something-- some people just like the sound of them!

(male version here!)

애 (ae)

愛 love, like, to be fond of

哀 sad, mournful, pitiful, pity

涯 shore, bank, water's edge

埃 fine dust, dirt

碍 obstruct, block, deter, hinder

艾 artemisia, mugwort

아 (ah)

兒 son, child, oneself; final part

亞 second

我 our, us, my, we

牙 tooth, teeth; serrated

芽 bud, sprout

雅 elegant, graceful, refined

안 (ahn)

安 peaceful, tranquil, quiet

案 table, bench

眼 eye; hole

岸 bank, shore, beach coast

顔 face, facial appearance

배 (bae)

北 north, northern

配 match, pair; equal

杯 cup, glass

輩 generation, lifetime

korean for pear

백 (baek)

白 pure, white, unblemished

百 one hundred

비 (bi/bee)

秘 secret, mysterious

悲 sorrow, grief; sorry, sad

飛 fly, go quickly

卑 humble, low, inferior

肥 fat, plump; fertile

丕 grand, glorious, distinguished

빈 (bin)

彬 cultivated; well-bred

분 (boon/bun)

芬 perfume. fragrance. aroma

憤 resentment, hatred

보 (bo)

保 protect, defend, care for

寶 treasure, jewel, precious, rare

普 universal, widespread

補 mend, fix, repair, restore

甫 begin, man, father, great

輔 protect, assist

복 (bok)

福 happiness, good fortune, blessings

卜 fortune, prophecy

馥 fragrance, scent, aroma

별 (byul/byeol)

korean for star

차 (cha)

茶 tea

差 different, wrong

채 (chae)

采 gather, collect; pick, pluck

採 gather collect, pick select

彩 hue, colors

초 (cho)

草 grass straw herbs

哨 whistle, chirp

焦 burned scorched; anxious vexes

천 (cheon/chun)

千 thousand

天 sky, heaven; celestial, god

川 stream, river

泉 spring, fountain; wealth money

淺 shallow, superficial

賤 cheap, worthless

다 (dah/da)

多 much, many

茶 tea

도 (do)

道 path, road

島 island

都 elegant refined

徒 disciple, follower

桃 peach; marriage

悼 grieve, lament, mourn

어 (eo)

語 language. words, expressions

漁 to seize; to pursue

御 chariot

억 (eok)

億 many; hundred million

憶 memory; to remember, reflect upon

抑 to repress, curb, or hinder

언 (eon)

言 words, speech, speak

彦 elegant

은 (eun)

銀 silver, cash, money, wealth

恩 kindness, mercy, charity

隱 hidden, secret

殷 abundant, flourishing; many, great

誾 respectful

가 (gah/ga)

歌 song, lyrics; sing chant; praise

價 price, value

佳 good, auspicious; beautiful; delightful

고 (goh/go)

古 old, classic, ancient

苦 bitter; hardship, suffering

固 strength; solid, strong

孤 orphan; solitary

故 ancient, old

枯 withered, decayed

국 (guk/gook/kuk/kook)

國 nation, country

菊 chrysanthemum

규 (gyu/kyu)

叫 cry, shout; hail, greet, call

하 (ha)

夏 summer

河 river, stream

荷 lotus, water lily

해 (hae )

海 sea, ocean

害 harm, destroy, kill

희 (hee/hui)

喜 joy, love

希 rare; hope, expectations

稀 rare, unusual

姬 beauty

熹 warm bright; glimmer

禧 happiness

화 (hwa)

火 fire flame; burn; anger, rage

花 flower, blossoms

和 harmony, peace; peaceful, calm

嬅 beautiful

禍 misfortune, calamity, disaster

혜 (hye)

慧 bright, intelligent

현 (hyun/hyeon)

賢 virtuous, worthy, good

炫 shine glitter; show off, flaunt

玄 deep, profound

효 (hyo)

曉 dawn, daybreak; clear

孝 mourning; obedience

일 (il/eel)

一 one; alone, singular

日 sun, day, daytime

인 (in)

麟 female chinese unicorn

人 people, mankind, man, population

仁 humane; benevolence, kindness

認 to recognize, know, understand

寅 respect, reverence

忍 endure, bear, suffer

재 (jae)

才 talent, ability

災 calamity, disaster, catastrophe

財 wealth, riches

宰 to slaughter; to rule

栽 to cultivate; to care for plants

자 (jah/ja)

子 child, offspring; fruit, seed

資 property; wealth

慈 kind, charitable, benevolent

紫 purple, violet; amethyst

磁 porcelain

지 (ji/jee)

地 earth, ground, soil

紙 paper

志 determination, will

智 wisdom, knowledge, intelligence

池 pool, pond

진 (jin)

珍 precious, valuable; rare

眞 genuine, real, true

주 (ju/joo)

晝 daytime, daylight

朱 cinnabar, vermilion

酒 wine, spirits, liquor

宙 time as a concept

洲 island

珠 precious stone, gem, jewel, pearl

정 (jung/jeong)

正 right, proper, correct

情 emotion, feeling, sentiment

程 journey, trip

精 essence, spirit

征 invade, attack, conquer

靜 gentle, quiet, still

淨 pure, clean, unspoiled

貞 loyal; virtuous pure

晶 crystal; clear, bright, radiant

汀 beach, bank, shore

禎 good omen, lucky

경 (kyung/kyeong/gyung/gyeong)

敬 respect, honor

輕 light, gentle

警 guard, watch

鏡 mirror, glass

卿 noble

炅 brilliance

瓊 jade; rare, precious; elegant

미 (mi)

美 beautiful, pretty; pleasing

微 small, tiny

迷 bewitch, charm

민 (min)

閔 mourn, grieve

憫 pity, sympathy

敏 clever, smart

旻 heaven

玟 gem

문 (moon/mun)

門/ gate, entrance

文 literature, writing; culture

명 (myung/myeong)

命 life; destiny, fate, luck

明 light, bright, brilliant

冥 dark, gloomy; night

나 (nah/na)

奈 bear, endure

내 (nae)

耐 patient; endure, bear

남 (nam)

南 south

오 (oh)

五 five

午 noon

惡 evil, wicked, bad, foul

傲 proud, haughty; overbearing

嗚 sound of crying, sobbing; sound of sadness

娛 pleasure, enjoyment, amusement

汚 filthy, dirty, impure

烏 crow, raven; black, dark

옥 (ok)

鈺 rare; treasure

玉 jade; precious stone, gem

沃 rich, fertile

라 (rah/ra la/lah)

裸 bare, nude

란 (ran)

蘭 orchid; elegant, graceful

亂 create chaos; revolt

리 (ri/li/lee/ree)

李 plum

梨 pear

림 (rim)

林 forest, grove

린 (rin)

麟 female chinese unicorn

사 (sa)

四 four

使 messenger

死 die; death; dead

士 scholar

思 think, consider, ponder

師 teacher, master

私 secret, private, personal

絲 silk, fine thread

:沙 sand, pebbles

蛇 snake

詐 trick, cheat, swindle, feign

邪 wrong, evil, vicious

唆 mischievous

상 (sang)

上 top, superior, highest

賞 reward, prize

傷 wound, injury

常 common, normal, frequent

象 ivory; elephant

喪 mourn

祥 happiness; good luck, good omen

裳 beautiful

霜 frost; crystallized

서 (seo)

西 west

庶 numerous various

徐 composed, dignified; quiet, calm

恕 forgiveness; mercy

誓 swear, pledge, promise, oath

설 (seol)

雪 snow; avenge

선 (seon/sun)

瑄 ornamental jade

仙 transcendent, immortal

善 good, virtuous, charitable, kind

鮮 fresh, new; rare

璿 fine jade

璇 star; beautiful jade

성 (seong)

晟 clear bright; splendor

城 castle; city, town

誠 sincere, honest; true, real

聲 sound, voice, music

聖 holy, sacred

盛 abundant, flourishing

星 a star, planet

승 (seung)

勝 victory

承 succeed

乘 rise, ascend

昇 peace; rise, ascent

신 (shin)

辰 early morning

信 trust, believe

新 new, fresh, modern

神 spirit; god, supernatural being

晨 early morning, daybreak

辛 bitter

시 (si/shi)

矢 vow, swear, promise

時 time season; age, period, era

施 grant, bestow, give

詩 poetry

屍 corpse

소 (so)

消 vanish, die out, melt away

笑 smile, laugh

素 white silk

昭 bright, luminous

蘇 revive, resurrect

슥 (sook/suk)

宿 constellation

淑 good, pure, virtuous, charming

순 (soon/sun)

純 pure clean simple

循 obey, comply, follow

殉 to be a martyr, to die for a cause

脣 lips

淳 honest, simple

수 (su/soo)

樹 plant, tree

守 defend, protect, guard

收 gather collect; harvest

秀 refined, elegant, graceful

壽 old age, long life

殊 different, special, unusual

와 (wah/wa)

瓦 pottery

왕 (wang)

王 king, ruler, royalty

旺 prosperous; prosperity

위 (wee/wi)

位 throne, rank, status

偉 great, robust, extraordinary

危 dangerous

威 power; powerful; dominate

慰 calm, comfort, console

衛 guard, protect, defend

違 disobey, defy, rebel; be different than

尉 officer, military rank

원 (won)

源 spring

園 garden, park, orchard

原 beginning, source, origin

願 to wish, ambition, desire, want

怨 hatred, enemy, resentment

苑 park, garden

瑗 a ring of fine jade

媛 beauty; a beautiful woman

우 (woo/wu)

友 friend, companion

牛 cow, ox, bull

雨 rain; rainy

優 superior; excellent

宇 house, building, structure

愚 stupid, foolish

憂 sad, grievance; grief, melancholy

羽 feather, plume; wings

佑 to help, bless, protect

祐 protection; divine intervention

욱 (wook/ook)

頊 grief, anxiety

旭 brilliance, radiant

昱 dazzling, bright light, sunlight

煜 bright, shining, brilliant

郁 sweet smelling; rich in aroma

운 (woon/wun)

運 luck, fortune

雲 clouds

云 clouds

芸 art, talent ability; rue (herb)

야 (yah/ya)

夜 night, dark

野 open country, wilderness, field

惹 irritate, offend

예 (yeh)

禮 manners, courtesy, customs, rights

藝 art, talent, ability

豫 comfortable, relaxed, at ease

譽 fame, praise

銳 sharp, keen, pointed, acute

隷 servant

睿 shrewd; clever, keen

芮 tiny, small

醴 sweet wine; sweet spring

여 (yeo)

女 woman, girl; feminine

旅 journey, travel; traveler

與 to give or to grant

餘 surplus, extra, excess, remainder

麗 beautiful, magnificent, elegant

勵 to strive, encourage

廬 hut, cottage

驪 a pure black horse, stallion

열 (yeol)

烈 fiery, violent, ardent

劣 bad, inferior

연 (yeon)

然 promise, pledge

燃 burn; ignite

緣 karma, fate

戀 love, long for, yearn for

燕 swallow (bird) ; comfort, enjoy

蓮 lotus, water lily; paradise

漣 flowing water; ripples

영 (yeong/young)

永 perpetual, eternal, forever

英 petal, flower, leaf; brave, hero; england, english

令 commandant, magistrate

領 neck, collar; leader, guide

映 to reflect light

榮 glory, honor; to flourish or prosper

寧 serenity, peace; peaceful

嶺 mountain ridge, mountain peak

影 shadow, reflection; photograph

泳 to dive, swim

詠 sing, hum, chant

零 zero; fragment, fraction, sliver

靈 spirit, soul

瑛 crystal, gem

盈 full, overflowing

이 (yi/ie)

二 two; twice

利 gains, profit

李 plum

易 change

異 different, unusual, strange

梨 pear; opera

泥 earth, mud, clay

怡 harmony, joy, pleasure; to be glad

유 (yoo/yu)

柳 willow tree; pleasure

遊 wander, roam, travel

柔 soft, gentle

維 maintain, preserve

裕 rich, abundant, plentiful

劉 to kill, destroy

육 (yook/yuk)

六 six

율 (yool/yul)

栗 chestnuts, chestnut tree

윤 (yoon/yun)

潤 soft, moist; sleek, fresh

尹 govern, oversee, direct

胤 heir, successor

#rph #name help #korean names #writing reference #reference #korean #krp #character help #muse help #mine #queued #if you guys want i can try to make a male version !

593 notes · View notes

usamin0325 · 5 years

Text

音楽

私は人をまとめたり動かしたりするのが極端に苦手な性分で、今でも人と仕事をするのが苦痛で仕方なく、例えば、ある作品の評論を書いてくれと依頼があっても、依頼主の意向を無視したものを書き上げてしまい、折角の仕事の話を頓挫させてしまったことが幾度となくある。

「井原西鶴はスタンダールやバルザックと同じリアリズム文学の創始者であり、当時、大阪はパリに匹敵する文化的都市だった、だからこそ、大阪維新の会のような文化破壊をあたかも道徳のように行う政党は許してはならない」と書いて、失笑されること数回。十三の風俗嬢とその馴染み客の恋愛を書けば、織田作の模倣に過ぎないと馬鹿にされ、踏んだり蹴ったりの私。それでも井原西鶴や織田作、宇野浩二、武田麟太郎、林芙美子を見習い、軽佻浮薄にケラケラ笑いながら私は生きている。

そんな私だから、音楽なんてとうの昔に辞めて正解であった。もともと不器用なんだから音楽なんてそれはそれはとても私の技量にかなうものではなかった。

しかし、音楽について語れとなると話は別だ。私の音楽の趣向は以前よりも幅広くなり、軽音楽の域を出てしまっている。

Miles Davis、Sun Raなどのジャズから、The ClashやSex Pistolsなどのパンク、LoveやThe Byrds、Jimi Hendrixなどのサイケ、Derrick MayやDinosaur L、Larry Heardなどのハウス、Biggie SmallsやPharcyde、Wu-Tang Clanなどのラップ、Burning SpearやSizzlaなどのレゲエ、New Age SteppersやScientistなどのダブに至って、我ながら多岐にわたり、結果、私は何が一番好きなのか、分からなくなるありさまだ。おかげで私のiPhone容量256GBはパンパンになる寸前だ。

だからとて、それを自慢したいわけではない。音楽のことをこれだけ知っとるぜなんてやるのは、幼稚なリスナーのすることで、私の趣味ではない。これだけの趣向を凝らして発展的なものを創り出すことが重要であると私は考える。しかし、残念ながら、私の興味は音楽よりも文学に大きく傾いており、それゆえ、残念ながら具体的な方針がないのが現状だ。

しかし、何としても音楽から透けて見えるものについて思索をめぐらしたい。それは、イギリスの保守言論人のダグラスマレーが、著書「西洋の自死」のなかで、ヨーロッパの文化的衰退とその自滅について書いた視点をこの日本でも応用できるのではないかという思いだ。

つまり、日本も西洋と軌を一にして自滅する運命にあるということを、彼の著書を読み、私は直感した。それは政策や経済だけの話にとどまらない。これは、歴史という大きな大河のような流れをも含む話である。日本は歴史的に作られた国家という点でヨーロッパと共通する部分も多く、況してや、移民流入を許す出入国管理法改正案が昨年末国会を通過したからには、決して移民で苦しむヨーロッパの自死は他人事ではない。

著書の中で、彼は第二次世界大戦以後の哲学者は、ポストモダンの流れの中で、脱構築ゲームに嵌り、徐々に社会的基盤や常識を見失ったとし、その観点から、芸術を論じている。それに倣おうというのが、私の試みである。

これに成功するならば、微弱ながらも、私と同じように、この日本も自滅すると自覚する人間が生まれるのではないか、そんな淡い期待をして、私は筆を走らせたい。

先日、諸用で大垣行き東海道本線の電車に乗ると、10年ほど前に関西0世代として持て囃されていたバンドの女とたまたま乗り合わせた。相変わらず、リストカットの跡が生々しく、プリキュアか何だか分からぬが、女児用のアニメキャラが描かれたTシャツ、下には寝間着の様なものを履き、ボロボロのスーツケースを枕にうつらうつらしていた。社会不適合の私も人のことは言えないけれど、この女もそろそろ40に差しかかろうとしているのに、年齢を経ることを放棄した哀れさがその姿、風貌から強く感じられてかなわなかった。まだ救いがあるとしたら、童顔であることくらいだろう。しかし、いつか人は老いて、その醜悪さから逃れられない。

少しばかりインディーズバンドにかぶれていた若い頃、私もいろんな媒体から情報を取ったり、デモテープ等を聴いたりしてみたが、彼らの作品に一貫しているのは、自己完結する歌詞のなかからもわかるように甚だしいほどの自閉的な兆候であり、パンクやフォークのようにわや、人と人を有機的に繋ぐ役割がないといえるものであった。共感もできず、ただこれらの事情に通じていたいという邪な感情でライブハウスに足を運ぶ、それが当時、恐らく多くの人が持っていた思いではなかろうか。本音を言えば、私は彼らの音楽に本当は興味などなかったのだ。それに彼らの個々の作品には個々の価値基準というものがあってそこを理解してくれと彼らは歌詞からも音楽からも暗示しているように、私には思われ、参加している読書会や文学同好会で、趣味の悪い私小説を読まされている、そんな気まずい気分で、彼らの演奏を聞いていた。

ギターのハウリング、歪んだベースの振動、スネアドラムの破裂音、雄叫びのようなボーカル、聴いているだけで耳が痛くなり、はよここから出たいと、何かと理由をつけ、ライブに同行していた友人をちょろまかし、自室で好きな音楽を聴きながら、タバコを吸うか、大学の社会学部の落し物箱から拾った古典の本を読むかして、売春街や西成のドヤ街を散策する、それが私の青春の大部分を占めていた。永井荷風のように一冊の本を片手に市バスか阪急電車に乗って街をぶらつく、音楽よりもそちらの方が私の気性にはあっていたようだ。

当時、本ばかりを読み焦る耳年増な私であったから、早熟ながらも、小林秀雄や福田恆存等の評論の論旨に敷衍して物事を考える癖がついており、やはり自室で一人、彼らインディーズの演奏に思い返すと、個性と特殊性を履き違えたものだと結論せざるを得なかった。

画家のゴッホが偉人であったのは、彼の持病であると考えられた精神疾患を絵画の中で普遍性に耐えるものへと昇華したことによるもので、ゴッホ自身、自分の気狂いという特殊性を忌み嫌っていたことは彼の書簡や弟に宛てた手紙からも明らかである。葛飾北斎も同様で絵の世界の中で自身の狂気を封じ込めること、それに成功したからこそ、彼の作品は偉大であったのであり、なにも北斎の放埓な生活習慣が偉大であったわけではないのだ。

このあたりを勘違いして、形から入り、気狂いのように振る舞う馬鹿が大勢いるのはどうしてだろう。その多くは、自分がまともではない、まともな社会生活を送れないなどの言い訳をそこに見つけたいという思いがあってのことだろう。それか、世間に受け入れられるべき人間であるのに

どうして弱者でいつだって辛酸を舐めなくてならないのかという苛立ちからか。

いずれにしても過去に名を馳せたミュージシャンとは違い、個性を自身で発掘する野心は、彼らからは感じられない。だって自分の作品に自分たちだけの価値基準を設けている限り、普遍性を持ったものを作り得ないのだ。

現在、日本の国会等でまともに議論が行われていないのもこれと似たような現象ではなかろうか。つまり価値基準を共有していないがため、我々はその時その場面その場所に合わせて常に考え方の軸の変更を強いられている。

互いの主張が、「自分の現実はこうだ」と、価値基準がバラバラの主張を繰り返し、互いに反目するか、若しくは、意思決定が、ある特定の人たちに有利な形で進められているかしている。

民主主義とは価値基準の共有が危うくなればなるほど、専制政治へと傾きやすい。したがって経済格差や世代間の思考の隔たり等を政治がなるべく是正する必要は、民主主義の場合だと、尚のこと重要になる。

普遍性、政治の場合だと、時間の経過に耐え得る政治決定が、現在、ほぼ不可能となった。ー「今だけ、金だけ、自分だけ」ー米英と中共の代理戦争の体を成している香港でのデモを見て、未だに、日系企業は呑気に中国への投資を続けている。ーこれだけ見ても、今の日本人の意思決定が価値基準が曖昧なまま行われていることは明らかである。このような事態を放置していると、恐らく50年後くらいには日本は中国の勢力圏に入っていくと思われる。ー

例えば、経済政策が典型的だが、小泉純一郎氏が、特定郵便局等の、かつての共同体や組合や派閥をぶっ壊したばっかりに、政治的な意見を各々の共同体で集約することが不可能となった今、個々の政策が、力のある者(今だと経団連を始めとする財界)の意図が大きく、国会や内閣、省庁で反映される有様で、弱者や利害関係者の本音を汲み取れていない。また、価値基準が曖昧なままとなり、後々、問題をより悪化させている事態を引き起こしている。

たしかに世間を疎ましく思う気持ちは良くわかるものの、理解されない、受け入れられない苦しみの原因は、こうした政治的社会的な要素に見出すべきで、芸術とは無関係であると私は思う。

この長期デフレ、財界と大手マスコミに乗っ取られた政治と文化、理不尽な自己責任論を吹聴し押し付け、分断されゆく社会ー彼らインディーズはもっとこれらに着目すべきだった。そしたら、きっと特殊性と個性を履き違えた馬鹿げたパフォーマンスなんてする必要はなかった。しかし、彼らインディーズは、社会的政治的要因に自身の不条理な現実を見出すことは決してなく、どころか、個性を磨く野心さえも捨て、奇抜なパフォーマンスに終始して自閉的な世界に留まっている。これこそ日本文明の自滅の現れではないか。そう、起きている現実の問題から目を背け、ひたすらに、有機的なつながりを捨てて、自己完結する世界にどっぷり浸かる、その果てにあるのは、ミシェルウェルベックやボーヴォワールが書いた世界、つまり虚無しかない。

文化こそ虚無の防波堤だと私はそう信じているが、その文化の一部を形成するインディーズ界隈が、個性を見つける野心を捨て、特殊性ばかり強調して虚無しか生み出さないのは、それこそ自滅行為に近い。それに彼らの作品が時代の経過に耐え得るとはとても想像し難い。

かつて小林秀雄がどこかの大学の講演で言っていたように、実際は、自身の特殊性をどのような場合にあっても克服することでしか、普遍的な個性を勝ち得ないのだ。

従って、音楽で大成するには、いつの時代も自身の特殊性を乗り越えて、普遍性に堪え得る個性を如何にして手に入れるべきか考え実践することが大きな課題であると徐々に分かってきた私は、自身の無能さと自閉性に呆れ返り、そそくさと自分の持っていたギターを質屋に入れたのだった。

正直に言えば、音楽に夢中になっている人々、とりわけ自身の特殊性を躍起になって誇示する人々との関わり合いこそ、私には無益であり有害と考えたのだ。

それから10年ばかりの時を経て、東海道本線大垣行きの電車でそのインディーズバンドの女と隣り合わせたのだった。

名古屋駅から尾張一宮駅までの間、彼女は、ひたすらiPhoneを握りしめ、通知が鳴る度に、眠気を堪えて、操作をし続けていた。人のことなど興味がないように思われた。

彼女の動かす右腕のリストカットの跡、それらは大きく膨れ上がっており、とても正視できるものではなく、私はそれを見て、毎日ライブだの何だのをやり通しで如何にも充実しているように見えたこの女の哀れさは相当なものだと思うた。必ずしも得られやしない麗しい青春めいた喜びを絶えず求め、年をとることを拒否する虚しさ、切なさ…、思いを巡らすとキリがない。

私がふと、視線を落として、プリントされたキャラクターが薄汚く擦り切れた彼女のＴシャツを見たとき、全てを悟った。

ーこの女の行き着く先には、虚無以外何もないー

もう駄目だった。

尾張一宮駅で私が降りようとしたとき、彼女はこう口を開いた。

「見たことあると思えば、10年前、難波かどっかで、あっしと呑んで、言い争いした事、あるよな」

「うん、でももうそれはいいじゃない。過ぎたことやよ。」

あまりに単調で退屈な会話だった。

「名古屋でライブするんよ。だから…」

彼女がそう私を誘いかけた時の目は、灰色に曇って、その視線はどこか虚しく漂い、悲しそうだった。

音楽は、彼女にとって虚勢をはる道具に過ぎず、ただそれはこの女を焦燥に駆り立てる、そう思い、ただ、私にはこの女を安心させるだけの抱擁を誰かがしてくれることを祈るしかできなかった。

私はきっと彼女が行う名古屋でのライブには行かないだろう、それが賢明だ。

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laoyangtutor · 2 years

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老Yang教员组今天为大家整理一篇优秀的essay代写范文 -- Three fundamental solutions to convince teenagers to drive safely，文章讲述每年，美国有14％的驾照驾驶员被归类为青少年，特别是18岁以下的青少年（霍利斯特）。尽管这一数字相当小，但在许多人中，青少年驾驶是青少年杀手之一，这一点已被广泛接受发达国家。青少年驾驶员撞车是导致青少年永久性伤害和死亡的主要原因。在美国，每年有超过5,000名青少年因撞车丧生，另有40万人受伤。加拿大有比例的数字，几乎每个工业化国家都一样。”（贾纳）原因是“在涉及青少年的所有严重撞车事故中，有75％与缺乏对危险的扫描（并做出响应）有关，对于道路状况而言太快了（Jana），因此，现在该采取一些措施说服青少年更加安全地驾驶了。

Three fundamental solutions to convince teenagers to drive safely

To the editor of NY Times:

Annually, the United States has 14% of their licensed drivers being classified as adolescents, specifically under the age of 18 years old (Hollister) Although this number is rather small, it has been widely accepted that teen driving is one of teenager’s killers in many developed countries. “Teen driver car crashes are the leading cause of permanent injury and death in teens. Each year in the United States more than 5,000 teens lose their lives in motor vehicle crashes and another 400,000 suffer injuries. Canada has proportional numbers, as does virtually every industrialized nation” (Jana) The reason is that “75 percent of all serious crashes involving teens have been related to the lack of scanning for (and responding to) hazards, going too fast for road conditions, and distractions” (Jana) Therefore, it’s time to make some measures to convinced teenagers to drive more safely.

Parents should play significant role in this movement. Parents should set as examples, everyone knows that parents serve as first teachers to tell their children which behavior is proper or not. Thus, in order to have careful teen drivers, parents should firstly restrain themselves from reckless driving by putting down their cellphones and wearing seatbelt while driving, since acting as a model is one of the most convincing and silent arguments to persuade their children to drive carefully. Otherwise, it is impossible to imagine how a careless mother could convince her children sitting at the seat to be a careful driver, when she is smoking and texting behind the wheel. Secondly, parents should also indoctrinate their children with careful driving and show which behavior are careless driving before they become a licensed driver. It’s important to emphasize that indoctrination of careful driving should be conducted as early as possible, since it is the best way to help children to have impressive knowledge about careful driving. Thus, it is kind of late to wait until their children have become a driver to teach them have to drive carefully. What’s more, parent should exemplify careful driving whenever and wherever they find good cases of mistaking driving. For instance, when the mother spots other drivers are driving improperly and cause horrible aftermath, it is the best chance to show how to drive in a proper way.

In addition, the school’s role is to spread the harms of careless driving. As we know, the school has always played indispensable role in educating students academically and morally. However, it’s time for school to enhance students’ awareness of the dangers of careless driving. As students’ spend most of their time on campus at their teenage period, exposing careful driving information with vivid pictures on the roadside billboard on campus would be efficient way to educate students. Just like public service advertising, this billboard would serve as the invisible advertisement to inform student subconsciously, since every time students pass the billboard, they would be exposed to those information. As we know, repetition makes persistent memory. As time goes by, students would keep them in mind. Moreover, school should also talk the truth of careless driving to students by invite traffic police to give lectures on campus. Traffic police are a group of people who rush to the scenes of traffic accidents and take pictures of traffic tragedy. Thus, they have tons of cases of careless driving and are the most professional ones to tell students the truth of death in car accidents. Since evidence are they most convincing tool to persuade students to drive carefully, traffic police should bring pictures of the scenes of accidents and accident aftermath films to help students to learn lessons from them. Those pictures might be bloody and horrible, and might arouse some uneasiness. However, they are the most persuasive evidence to tell teen drivers the truth of death.

Another way to convince students to drive carefully is to show them the benefits of the decrease in driving private cars. Students think it convenient to drive to school when the public transportation system is poor. However, once public transportation and infrastructures are built and school buses would serve as substitute for private cars, they are less likely to drive cars, since going to school on buses, students do not have to find place to park their cars anymore and it is more convenient. As time goes by, students would find that car accidents caused by their classmates are cut because of their reduced frequency of driving cars, they would learn that they are the main sources of car accidents. There might be two results of this awareness. The first one is that they would reduce their frequency of driving cars to a sharper extent. The second one is that they would be convinced to drive more carefully once they think it necessary to drive cars by the fact that teenage are the main sources of car accidents and.

In order to show the advantages of the above solutions, it is better to consider the inefficiency of other solutions. The first one lies in the argument that inexperience is the cause of accidents and that a teen’s greatest lifetime risk of crashing is in the first 6 months after getting a driver’s license. Thus, the solution is to require teen drivers to practice driving as much as possible. According to this solution driving skills is the best way to convinced teenagers to drive safely, and when teenagers are experienced enough, adults don’t have to supervise their children any more. I think this solution is dangerous. Firstly, the main cause of car accident involving teen drivers lies not skills but rather their inclinations. The youth are more likely to exaggerate their ability, thinking them to be bulletproof and invincible, which motivates them to drive carelessly. Secondly, it is dangerous to claim that the risk of crashing lies in inexperience, since once adults find their children are experienced, they would not pay attention to supervise their children any more. However, once we recognize that careless driving lie in other factors, it is dangerous. As a result, this solution is disadvantageous.

The second solution is to raise the legal age of driving or prevent teens from driving at night. For instance, the Graduate Driving Bill restricts “drivers under age 17 from operating a vehicle between the hours of 1:00 a.m. and 5:00 a.m. unless accompanied by a parent, guardian or custodian who holds a valid license and is at least 21 years old” (Weisberg).

Actually, days ago, I agree with such a measure. However, after days of research, I find it a bad measure, since this measure is not to convince teens to drive carefully, but to forbid them from driving once for all. As we know, teens are not babies anymore, it is time for them to practice their ability to take responsibility for their behaviors and I think they have enough rationality to do such a thing. However, forbidding children from driving would not only ignore the rationality, but also infringe their freedom to do things as they want, which would go against the spirit of our free-minded society. According to the great thinker, John Rawls, everyone has a capacity to set their goals and take responsibility for their actions, “This capacity is earlier defined as a capacity to form, to revise and rationally to pursue a determinate conception of the good.” (John Rawls, 312). Applying this notion to the issue of teen driving, this means that teens have a capacity to form their goal to drive, and to revise their goal once they find that driving at that period of age is unfit for them. During this process, teenagers practice their ability of prudence. However, if teens are prevented from driving, they lose this chance.

To sum up, I’m not going to exaggerate that the first three solutions are immune from disadvantages. Family education of careful driving would not be practiced by their parents, since, not every father or mother would have the awareness of significance of careful driving and to educate their children, and children might not abbey their parents rules because of their parents are not acting as a convincing model. In addition, not every school would like to invite traffic police to convince their students to drive carefully and traffic police might be busy with their job. Lastly, public transportation would not be improved overnight and students do not necessarily stop driving cars to school once school bus is available, since students have inclinations to show off themselves while driving. However, this combination of these three solutions would convince teen drivers to drive carefully in the long run, which is need of the society as a whole to realize.

Sincerely,

Yours

签名栏：

应该由作者自己填：包括个人姓名、所属组织、地址、电话、邮箱、主页，以下是一个例子（从那个Pdf中复制过来的）

Peter Connor

Owner/Managing Editor

The Write Company

Bellvue, CO 80512

Voice: 970.493.84XX

Fax: 970.493.84XX

Email: [email protected]

Web site: http://write-company.com

Works cited:

Hollister, Tim. Not So Fast: Parenting Your Teen Through the Dangers of Driving. Chicago, IL: Chicago Review Press, 2013. Print.

Dr. Laura Jana, “Helping Teens Drive Safely”, Published on May 10, 2011

http://blogs.livewellnebraska.com/2011/05/10/helping-teens-drive-safely/

Weisberg, Patricia F. "Restrictions in Ohio for Teen Drivers." Your Teen 2008: 24. Web. 3 May 2014. <http://www.walterhav.com/pubs/YT_Fall08_Driving_24.pdf>.

John Rawls, Political Liberalism, New York: Columbia University Press 1993, 312

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123hn · 2 years

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chanoyu-to-wa · 6 years

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Nampō Roku, Book 2 (2): (1586) Tenth Month, First Day, Go-atomi [御跡見].

2) The same day¹.

Things were left [exactly] as they were [when Hideyoshi departed]².

◦ [Guests³:] Bizen-saishō [備前宰相]⁴, Sōmu [宗無]⁵, Sōkei [宗惠]⁶.

◦ The room was the same⁷.

﹆ Toko: the flower arrangement [by Toyotomi Hideyoshi] was left as it was⁸.

◦ On the shelf, the remainder of the tea, [in] the Shiri-bukura, on its tray⁹.

﹆ When [the guests] entered the room, everything remained as it had been¹⁰; the kama was lifted up so that [the new guests] could have a look at the remains of the charcoal [that had been arranged by Hideyoshi]¹¹.

◦ And again, a little more [charcoal] was added, and the kama returned [to the ro]¹².

▵ Kashi ・ senbei [センヘイ], kobu aburite [コフ　アブリテ]¹³.

Go [後]¹⁴.

Kurete [暮テ]¹⁵.

◦ Toko: after [Hideyoshi's] flower [arrangement] was taken away¹⁶, a tōdai [燈臺]¹⁷ [was hung up in its place].

﹆ The Shiri-bukura was lowered [to the mat]¹⁸.

◦ Mizusashi: the same as before¹⁹.

◦ On the shelf: the habōki²⁰.

◦ Chawan: as before²¹.

Everything else was the same [as earlier in the day]²².

_________________________

¹Onaji hi [同日].

This means “the same day.”

It was the first day of the Tenth Lunar Month of Tenshō 14 [天正十四年] (1586).

²Go-ato ni sono-mama [御跡ニ其儘].

Go-ato [御跡]: go [御] is an honorific (it indicates that someone important did something*); ato [跡] literally means footprints. In other words, everything was left exactly as it was when Hideyoshi left the room†.

Sono-mama [其儘] means "as it is;" "as one finds it;" "as (things) stand." __________ *In this case, it was what remained (in the room) after Hideyoshi took his leave.

†In this kind of construction, ato refers to the (intact) setting (just recently) vacated by an important personage -- i.e., Hideyoshi.

³In this kaiki, the names of the guests are simply listed without being introduced by the word “guests.”

⁴Bizen-saishō [備前宰相].

This refers to the daimyō and nobleman Ukita Hideie [宇喜多秀家; 1572 ~ 1655], who, in addition to being the lord of Bizen [備前] and Mimasaka [美作] provinces*, served as an Imperial Chamberlain (jijū [侍従]), Imperial Councillor (sangi [参議]), lieutenant-general of the Left Imperial Guards (sa-konoe ken-chūjō [左近衛権中将]), and provisional Vice-councilor of State (gon-chūnagon [権中納言]), ultimately attaining the second grade of the Third Rank (ju-sanmi [従三位]†.

Hideie also was a member of Hideyoshi’s Council of Five Elders (go-tairō [五大老]), which was created to act as the regent for Toyotomi Hideyori after his father’s death, and opposed Tokugawa Ieyasu at the battle of Sekigahara, for which he was exiled to Hachijō-jima [八丈島], an island in the Philippine Sea far distant from the Japanese archipelago.

The sobriquet Bizen-saishō [備前宰相], which means something like “Chancellor of Bizen,” was Ukita Hideie’s nickname, due to his huge influence over the affairs of this province. ___________ *Both provinces form part of modern-day Okayama Prefecture. The village of Imbe [伊部], which is in Bizen, is the original home of Bizen-yaki.

†Though at the time of this chakai, Hideie was of course not such a high noble. His father, Ukita Naoie [宇喜多直家; 1529 ~ 1581], the hereditary lord of Bizen, had died several years before, and Hideie was elevated to a prominent position several months later at the very young age of 10, by the Oriental way of counting. (At the time of this chakai, Hideie was just 15 years of age according to the same way of counting ones age where the person is assigned the age of “one” at birth.)

Hideie was subsequently adopted by Toyotomi Hideyoshi after he married Hideyoshi’s adopted daughter Gōhime [豪姫; 1574 ~ 1634 -- whose birth-father was the great lord Maeda Toshiie], and it may have been for some such reason that Hideyoshi invited him to attend this atomi (and possibly was the reason why Hideyoshi deigned to arrange the charcoal before serving usucha to his two attendants and Rikyū -- to impress the young man with the importance of mastering chanoyu as his soon-to-be-adoptive-father had done).

It might be doubted whether Hideie was actually known as Bizen-saishō at the time when this chakai took place (since he would have only just celebrated his gempuku [元服], or ceremony of attaining manhood, earlier in the year). The use of this sobriquet, then, might represent a later emendation (perhaps intended to clarify the identity of the guest, and so associate him with the person thus named in the Rikyū Hyakkai Ki).

⁵Sōmu [宗無].

This refers to Okayama Hisanaga [山岡久永; 1534 ~ 1603*], who is also known as Sumiyoshi-ya Sōmu [住吉屋宗無]†. He was a wealthy townsman from Sakai, and also a highly respected chajin‡, and served as one of Hideyoshi’s Eight Masters of Tea (sadō hachi-nin-shū [茶頭八人衆]).

Sōmu’s presence as the ji-kyaku was very likely intentional (perhaps at Hideyoshi’s direction)**, so that he could assist Hideie (who, at his young age, probably did not know much about chanoyu††). ___________ *Certain accounts suggest that Sōmu may have died in 1595, at the time when Sakai was razed on Hideyoshi’s orders (as a punishment for the city-state’s opposition to his invasion of the continent).

†He is identified in this way in the other versions of the Hyakkai Ki.

‡Sōmu is said to have first studied chanoyu under Jōō, and then later with Rikyū (though, given his high standing with both Nobunaga and Hideyoshi, this latter assertion might be a revisionist opinion popularized by the Sen family during the Edo period).

He studied Zen under Shunoku Sōen oshō [春屋宗園和尚; ? ~ 1611], from whom he received the name Sōmu [宗無] -- which he used as his professional name later in life.

**In the Hyakkai Ki, Sōmu frequently appears in a role that might be interpreted as being Rikyū's assistant, in situations where the shōkyaku either was inexperienced, or his rank indicated that he needed to be treated with especial deference (in such a case, Sōmu would convey the chawan to him, for example, and then return it to the host after the shokayku had finished drinking).

††Since only usucha would have been served at this atomi, this may have been Hideie's first experience of chanoyu. Thus the atomi is being staged as a sort of miniature chakai.

⁶Sōkei [宗惠].

This refers to Mizuochi Sōkei [水落宗惠; dates of birth and death unknown], who was another respected machi-shū chajin from Sakai*. He is also said to have been the father of Rikyū's son-in-law, Sen no Jōji [千紹二]†. __________ *Some suggest that he was also one of Rikyū's disciples (though it is more likely that he was a member of the group that formed around Rikyū in the years after Jōō’s death -- given Sōkei’s contemporary reputation as a chajin).

†Sōkei's son is usually known as Sen no Jōji because Rikyū adopted him into the Sen family upon his marriage to Rikyū's daughter (Rikyū having only one biological son -- which, for a merchant, was akin to putting all of ones eggs in one basket).

⁷Onaji zashiki [同座敷].

Literally, the same sitting-room.

This refers to the 2-mat room which Rikyū used during the chakai for Hideyoshi (that had just concluded).

⁸Toko ・ go-hana sono-mama [床・御花其マヽ].

Go-hana [御花]: the use of the honorific (go [御]) means that Rikyū is referring specifically to the chabana created by Hideyoshi (which Rikyū moved from the floor of the toko to the hook attached to its rear wall). Hideyoshi's chabana (white chrysanthemums in an Arima-kago [有馬籠] -- this basket is shown below) was left as it was.

The Shigaraki hanaire and usu-ita would have been removed from the toko after Hideyoshi left.

⁹Tana ni go-cha no nokori, Shiri-bukura ・ bon ni [棚ニ御茶ノ殘、尻フクラ・盆ニ].

Go-cha no nokori [御茶の殘り]: the use of the honorific (go [御]) indicates that this was the matcha remaining from what had been used to serve Hideyoshi.

As was mentioned before, the Shiri-bukura [尻膨] was Rikyū’s most prized chaire; and it was from contemplating this bon-chaire that his unique ideas about how to perform the bon-date temae arose*.

Because reused tea could only be served as usucha, Rikyū is also suggesting that koicha was not served to Hideie and the others (as was sometimes done in other atomi no chakai). ___________ *This was perhaps the greatest difference between Rikyū’s chanoyu and that of Jōō (who created the bon-date temae). Oddly (considering the over-blown lip service that they accord to Rikyū), none of the modern schools perform bon-date in his way: all of them prefer to do this temae the way Jōō did it (even though most of the modern schools prefer to use the smaller “Rikyū-sized” chaire-bon, rather than the larger trays -- now almost always used as higashi-bon -- that were employed by Jōō and his disciples).

¹⁰Za-iri sono mama [座入其マヽ].

This means that when the guests entered the room for the (abbreviated) sho-za of this atomi no chakai, the ro was left exactly as it had been when Hideyoshi departed. This was important, since the idea was to allow the guests to inspect the charcoal laid* by Hideyoshi. __________ *Actually, Hideyoshi had simply repaired the fire that had been laid by Rikyū. Nevertheless, the condition of the different pieces of charcoal would make this obvious to someone who understood chanoyu; while simply impressing the importance of mastering chanoyu to the young man who was nominally the shōkyaku at this atomi. (This atomi seems to be attended by mock formality, which in turn suggests that this may have been Hideie's first experience of chanoyu.)

¹¹Kama agete go-sumi no nagori ikken [釜アケテ御炭ノ名殘一覧].

Ageru [上げる] means to raise something up; lift something up; bring something up. The kama was lifted out of the ro (and presumably stood on a kamashiki that was placed on the left side of the utensil mat*). This allowed the guests to have an unobstructed view of the interior of the ro.

Go-sumi [御炭]: once again, the use of the honorific indicates that this refers to the charocoal arranged (or repaired) by Hideyoshi.

Nagori [名殘] means, remains, remnants, vestiges. Since the time of Jōō it had been said that the host's skill could be ascertained by the remains of his arrangement of the charcoal (since the vestiges of the fire showed not only the arrangement, but the manner in which the fire had taken hold, and burned down -- things that were just as important as the beauty of the arrangement itself).

Ikken [一覧] means to glance at something; to have a look at something. ___________ *I have seen a commentary that suggested that the kama was left suspended on a chain several shaku above the mouth of the ro, so that the guests could look at the fire underneath.

However, given the size and weight of Jōō‘s ito-me kama [絲目釜] (shown above), this would have been ill-advised (since it would look very dangerous to the guests, even if the chain and ceiling were actually strong enough to support it).

This interpretation was probably the result of the result of the commentator (who was not a practitioner of chanoyu) misunderstanding the word kakuru [掛くる] -- see the next footnote.

¹²Mata sukoshi oki-soe, kama kakuru [又少置添、釜カクル].

Oki-soeru [置き添える] means to place something beside (something else); add one thing to another. The new pieces of charcoal were placed next to the burning pieces, so that they would catch fire slowly (and so keep the kama boiling until the "gathering" was ended).

Kama kakuru [釜掛くる] literally means to hang or suspend the kama (over the ro). This expression originated in the old days, when the kama was suspended over the ro on a chain*. And it remained the way to express the idea of returning the kama to the ro even after the kama came to be placed on top of the gotoku.

This sentence is a good example of the way that Rikyū expressed himself. It is much closer to Korean syntax than Japanese (I was asked to point this kind of thing out by certain followers of this blog). ___________ *The expression is also used with regard to placing the kama on a furo. This may be an example of post hoc terminology; or the fact that the original furo was a kake-awase furo on which a kiri-kake kama was suspended -- here used because the kama rests on the ring-like mouth of the furo, with part of it hanging below the point of contact.

¹³Kashi ・ senbei, kobu aburite [菓子・センヘイ、コフ　アブリテ].

Senbei [煎餅] are rice crackers. They would have been procured from a specialty shop.

Kobu aburite [昆布炙りて] means konbu (kelp) that has been toasted over a charcoal fire (rather than boiled in broth and tied into a bite-sized knot, which is the other way that it could be served as a kashi).

The kashi would have been served in a shallow vessel of some sort -- perhaps on a large dish, resting on an unpainted oshiki [折敷].

This kind of chakai, where only kashi are offered to the guests, is sometimes referred to as a kashi-kai [菓子會].

After eating their kashi, the guests would have gone out for a brief naka-dachi, while Rikyū readied the room for the service of tea.

¹⁴Go [後].

This indicates that what follows occurred during the go-za [後座], the second half of the chakai when tea is served.

¹⁵Kurete [暮テ].

Kureru [暮れる] means to become dark. The day is drawing to a close, and it is now dark enough outside that artificial illumination is needed within the room.

¹⁶Toko ・ go-hana tori-irete [床・御花取入テ].

Tori-irete [取り入れて] means to bring something in -- in this case, into the katte.

That is, the flowers arranged by Hideyoshi were removed from the tokonoma.

¹⁷Tōdai [燈臺].

This is a kake-tōdai. It is an L-shaped stand (sometimes made of wood and metal, and sometimes made from a piece of bamboo -- the two most common styles are shown in an Edo period sketch, below) that can be hung on the wall (in this case, from the hook attached to the back wall of the toko), which in turn supports a saucer of oil containing several burning wicks made of the pith of the lamp-rush plant (Juncus effusus var. decipens), called igusa [藺草] in Japanese.

Hanging the kake-tōdai in the toko (in place of the flower arrangement) is a practice called tō-ka [燈華] -- which is usually translated as “flower of the lamp” (though apparently without a clear understanding of what is intended, on the part of the translator).

This word is a pun (the homophonous tō-ka [燈火] is the “lamp-flame,” the source of the light); but hanging the tōdai in the toko, as a substitute for the chabana, was one of Jōō's most closely guarded secrets (and this is the reason why chabana were not displayed at night -- because the flame takes the place of the flowers).

¹⁸Shiri-bukura oroshite [尻フクラヲロシテ].

Orosu [下ろす]* means to lower something (in this case, from the shelf to the mat).

According to Rikyū's densho, precious utensils should not be placed on the shelf when it is dark (since the presence of candles on the floor will throw the things on the shelf into shadow, making it easier for the host to inadvertently knock them over when he goes to lower them to the mat).

Furthermore, the Shiri-bukura chaire now contains used tea (that will be served as usucha). Thus it is not appropriate for the tea container to be displayed on the shelf at the beginning of the service of tea.

The Shiri-bukura chaire, on its red Chinese tray, was placed on the mat, in front of the mizusashi. ___________ *Oroshite [下ろして] is, of course, past tense.

The Shiri-bukura chaire, on its tray, was lowered to the mat during the naka-dachi. It was already resting on the mat, in front of the mizusashi, when the guests entered the room for the go-za.

¹⁹Mizusashi ・ migi-dō [水指・右同].

As before, this was the aka-Raku yahazu-kuchi mizusashi [赤樂矢筈口水指] that had been made for Rikyū by Chōjirō.

²⁰Tana ni habōki [棚ニ羽箒].

This would have been the same go-sun-hane, made from the feathers of the shima-fukurō [島梟].

In Rikyū's temae, the habōki was used to dust the utensil mat at the end of the service of tea, as well as after the sumi-temae*.

Furthermore, it is a rule that, if there is a tana preset in the room, it should never be empty when the guests enter the room, or when they leave.

At the end of the temae, the hishaku and futaoki would be placed on the tana; and after dusting the utensil mat, the go-sun-hane would be removed from the room. __________ *Neither of these things are usually done in the modern school’s temae.

When the utensil mat is a maru-jō [丸疊] -- a full-length tatami -- the habōki is used to dust only the upper end of the utensil mat (which is equivalent in size to a daime).

After sliding out of the katte-guchi, the host turns around and leans back into the room, and cleans the lower 1-shaku 5-sun of the mat with a za-baki [座掃], a large feather broom (usually made from the pinions of a large bird, such as an eagle, such as shown above) that is used for cleaning the room in general.

²¹Chawan ・ migi-dō [茶碗・右同].

This was the Wari-kōdai [割り高臺] chawan, a very old Korean bowl that had been brought to Japan by one of the refugees escaping the Ming military invasion of Korea in the mid-fifteenth century.

²²Sono-hoka nanimo mina onaji [其外何モ皆同].

Everything else was the same (as during the earlier chakai).

This means that all of the other utensils* that have not been mentioned above were the same.

But it also means that things were done in the same way as earlier* -- in other words, the chawan (with chakin, chasen, and chashaku arranged in it) was placed inside a (new) mentsū [面桶]†, and so everything not already displayed in the room was brought out at one time. ___________ *In other words, the kōgō would have been his ruri-suzume [瑠璃雀].

And Rikyū would have used an ori-tame [折撓] that he had made himself, as his chashaku.

While the futaoki would have been a take-wa [竹〇], as was almost always the case at Rikyū’s wabi chakai.

As earlier in the day, the hishaku would probably have been resting on the futaoki, on the left side of the mizusashi, with its handle parallel to the left heri of the mat.

†The only exception to which was that only usucha would be served during this atomi no chakai. Both because tea that had already been used to serve koicha at an earlier chakai could never be used to serve koicha at a subsequent gathering.

But also because, if this were Hideie’s first experience of chanoyu, he would probably not like koicha -- which is an acquired taste: the host must always consider the shōkyaku when deciding what he is going to do.

‡The mentsū [面桶] (above) should only be used one time, since absolute purity is its special feature. This is the reason why the chawan could be placed inside of the mentsū and so carried into the room -- something that would be unthinkable were the host using any other kind of koboshi (which could be used again and again).

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erikacousland · 6 years

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天鹅与夜莺续篇第27节(龙腾世纪：起源同人小说)

续篇第27节天擎的一天

塞拉(Sera)打开她的“绘画日记”，将其中一页展示给艾瑞卡(Erika)看——一幅炭笔描绘的涂鸦：一个拿着弓箭，长发飘飘的小人。突出刻画的胸部曲线表明这是个女性……她面对一些张牙舞爪，但是有些可爱的形象——各个种类的恶魔，就像在坚石堡垒(Adamant Fortress)遇到的那些。那些恶魔的身上都插着箭……其中一些插在屁股上……小舌头挂在嘴边，表明它们都被那个小人射杀了。那画面恰好与艾瑞卡所描述的，她要向塞拉“委托”的“画作”差不多。

‘守望者指挥官露易丝(Louise)。猜想她愿不愿意一起玩……’这幅画上有一些说明，“守望者指挥官”的字迹被涂掉了。 ‘和路易(Louie)一起玩，教我射，告诉我没有守望者指挥官，只是路易。好人，漂亮，喜欢她。’ 艾瑞卡忍不住笑了出来…… “什么？”塞拉用蛮横的语气问。但艾瑞卡看出她的蛮横只是在虚张声势——以掩饰她的羞涩。 “正是我想要的。”艾瑞卡讨好地眨眨眼睛。“你真是个有天赋的艺术家，塞拉。” “马屁精，留着你的奉承话给你的小鸟儿。”塞拉嫌弃地皱起了鼻子，把她的日记本一阖，随手丢在了角落的一堆靠枕上。“别像个跪猪(nob)一样虚情假意。” “但我只是在说出我心里的想法。有什么不对吗？”艾瑞卡认真地问。塞拉怔了怔…… “没有～”她拖长了音节，神情里多了些腼腆……“只是惊讶你这样认为。” 也许，塞拉认为自己不值得得到夸奖？虽然她总是表现得大大咧咧，无忧无虑，但艾瑞卡总是不时地在塞拉的言行中感到脆弱和敏感……

“那么你愿意帮我？”她轻描淡写地转移了话题。塞拉发出一声逗乐的哼笑，“蠢问题，如果不愿意，不会给你看我的东西，对吧？”她示意一下丢在一边的日记本。 “有道理。”艾瑞卡抬了抬眉头。 “但你至少该告诉我，为啥要做这样诡异的事儿……”塞拉边说边起身，在她堆在这个小房间角落里的物品中翻找。 “我的意思是：让我画你的朋友。这不是寻常的‘朋友’……事儿，对吧？” 艾瑞卡被她的形容逗乐了，“当然不是寻常的朋友‘事儿’。露易丝和我不是寻常朋友，我们很亲密。” 塞拉转身疑惑地看着她……“亲密……你的意思是亲密，还是‘亲密’亲～密？” 艾瑞卡忍着笑意，做出一副思索的样子……“前者？” “哦。”塞拉眨眨眼，“等会儿，我很快画完。”她脱了鞋子，整个人坐到窗台上，在一块画板上画了起来。

这儿的靠枕都在窗台角落里被堆成了一堆，塞拉直接靠在墙壁上，看起来不是那么舒服。于是艾瑞卡拿过两只靠枕，垫在她腰后。塞拉惊讶地眨眨眼，“谢了。”她有些腼腆地笑笑。 “你还需要其他什么吗？”艾瑞卡用假惺惺的恭敬语气问，“我的女士。” “叭……闭嘴。”虽然嘴上依然蛮横，但塞拉立刻乐了，“我渴了。”她指了指小茶几上的高脚杯。艾瑞卡拿过还盛着半杯酒的高脚杯递给她。塞拉接过喝了一大口，又递还给艾瑞卡。艾瑞卡将杯子放回原处，坐到一旁看着她画画。塞拉突然停下，用一个鬼鬼祟祟的眼神看着她……“你让我别扭，别看我。” 艾瑞卡假惺惺地翻了个白眼，浏览起这个被塞拉布置得温馨舒适的小房间，视线不经意扫过窗台角落里那堆靠枕，又移了回来…… 因为她拿走了其中两只，某种隐藏在下面东西露了出来——一抹金色的织物……艾瑞卡仔细观察了一下，是精良的丝绸，还带着褶边……

“说起来……” 艾瑞卡正要拿过那片丝绸，塞拉的声音把她的注意力拉开了…… “你要这个做什么？” “作为一份礼物，给露易丝的女儿。” 塞拉从画板上抬起头，惊讶地看着艾瑞卡……“她有女儿？” “快四岁了，安德莉亚(Andrea)——她的名字是。”艾瑞卡温柔地笑了，“她也是我的养女。露易丝没有太多时间陪伴她，我希望这会提醒安德莉亚……”她的神情和语气都稍稍落下，“她的母亲是一位伟大的英雄。” “哦……”塞拉低头想了想，“那么，那个父亲……路易和他还在一起？” 艾瑞卡慢慢吁出一口气。“不，他死了。在他的女儿出生之前。”她的声音低落了下去…… 塞拉观察了她一眼，“似乎你认识他。” “当然。他是我的朋友，也是蕾莉亚娜(Leliana)的朋友。”艾瑞卡轻声说。 “而且你们都为他难过。路易一定也是……”塞拉看到了她神情中的悲伤，“幸运的家伙，你明白……不是每个人死了以后都会被记住。” 艾瑞卡回望着她认真的神情，点点头……“是啊。”

塞拉又低下头，回到了她的画作中。“那么为什么路易的女儿是你的养女？她有自己的母亲。” “路易希望安德莉亚能够远离奥莱(Orlais)朝廷。你明白的：大游戏。再者说，灰色守望者(Grey Warden)也不允许其成员养育他们的孩子。”艾瑞卡的语气中透露出明显的厌恶，而她甚至不会费心去掩饰。塞拉皱皱鼻子，“明白你为啥恨守望者了。” “我不‘恨’任何一名灰色守望者，塞拉。”艾瑞卡沉声接道，“我只是唾弃他们的组织。它就像圣殿骑士团(Templar Order)，把人们滥用在不正确的地方，还把那称作是为了某种崇高的目的。” “他们总是很诡异。”塞拉接道，抬头认真地看着艾瑞卡…… “通常坏事发生在前面你会庆幸有个英雄站出来。但守望者们是以错误的方式：这儿一件好事意味着坏事‘就快’发生。就像在邓瑞姆，当瘟潮(Blight)结束的时候。”她的语气稍稍低落了下去，眼睛又回到了画板上。艾瑞卡望着她，不知道该不该继续打探这个话题…… 在她们刚认识的时候，她曾经问过塞拉关于她的过去——一个来自邓瑞姆(Denerim)的精灵女孩，艾瑞卡猜想她们或许会有几个共同的熟人。然后塞拉给她讲了一个会发生在许多精灵孩子身上的“典型”悲惨故事，接着嘲笑艾瑞卡相信了。所以，她再也没有问过。

“你……”艾瑞卡迟疑地开了口，“记得那些？” “不是很多。”塞拉耸耸肩，“我的意思是，那是许多年前了，十年前。我还在玩一些小彩绘盒子，埋我偷的东西。” 艾瑞卡感到疑惑，她恰好有些回忆：关于彩绘盒……红色珍妮(Red Jenny)…… “你还保存着它们，那些彩绘盒？”艾瑞卡不太抱期望……塞拉是个极其随性的女孩，她的武器和装备，外加一只行李包就是全部的家当……看起来不太像是有多余的地方收藏几件东西来提醒她童年回忆。 “没了，那是‘十年前’。”塞拉强调说，“你会保存那时候的东西？” 艾瑞卡耸耸肩，“我保存了几乎每一件。” “叭，适合你——多愁善感的人，还有大房子。”塞拉嗤笑道，“我记得大多数人畏惧魔法多过瘟潮。守望者们是一个用来解释你的东西不见了的借口。” ‘魔法’……那提醒了艾瑞卡另一些回忆。 “我记得那时候一些德凡特人(Tevinter)和……血法师在邓瑞姆的外族区。”她慢慢地说，关注着塞拉的神情，担心触及了她的伤心事…… “德凡特人把我们的人民运到他们的国家做奴隶。而血法师……”艾瑞卡停了停，但塞拉严峻起来的表情里没有她担心会有的——痛苦。 “他们杀害了孤儿院里几乎所有的孩子。” “恶……可怕。”塞拉厌恶地皱起了脸，“幸运，我那时候不在那儿了。” “哦……”艾瑞卡暗自松了口气。

“还有……”塞拉抬眼望着艾瑞卡，“我记得人们谈论一个大英雄。有一场大战，她赢了，所以瘟潮结束了。” 艾瑞卡看着她有些腼腆的样子……“哦。” 塞拉又低下头，“那是你，对不？”她近乎羞涩地小声问。 “我认为是的。”艾瑞卡应道。 “但你不是人们谈论的唯一一个英雄，你知道？”塞拉笑了，“还有黯狼(Dark Wolf)，他抢了那个大头跪猪的大帽子，还踢了他的人的屁股！” 她兴高采烈地嚷嚷着，似乎对于塞拉而言，黯狼是个比“费罗登英雄(Hero of Ferelden)”更了不起的大英雄。艾瑞卡没有回答，浅笑着将视线移到了窗外……

酒馆的后面是一块不大的训练场，她一眼就看到卡桑德拉(Cassandra)和铁牛(Iron Bull)在一起：她拿着一根训练用的木杖，一棍打在他肌肉结实的身上，发出一声重重的闷响。 “再来。” 卡桑德拉又猛击了一棍，听起来比刚才那一击更重。看来是抗性训练……艾瑞卡从不鼓励她的士兵采用这种训练方法。 “再来。”铁牛的声音里有些不耐烦。 “公牛最近有些烦恼。”塞拉的注意力也被他们吸引了。“坚石(Adamant)的恶魔吓到他了。” 艾瑞卡为她的话感到一些惊讶，慢慢点点头。

“噢，好吧！”卡桑德拉又一击之后。铁牛无奈地大嚷，“这就是为什么Qun不喜欢女人战斗。我应该拜托考伦(Cullen)。” “啊哦……”塞拉发出“不妙”的声音，“卡丝(Cass)会让他后悔。” 果然，卡桑德拉停了片刻，接着大幅度抡起木杖，重重给了铁牛一下，将他仰面打翻…… “呃……打得好！”铁牛躺在地上，悲惨地呻吟道。 “哈哈哈哈！”塞拉发出一阵充满感染力的大笑声，“好，让大家伙啃他的屁股，哈哈哈……” 卡桑德拉带着逗乐的笑容，抬头望了望塞拉，又向艾瑞卡颔首示意。 “很高兴我的惨状让你笑了，塞拉。”铁牛笑着说，完全没有了刚才悲惨的样子。 “你也好，老大。”他朝艾瑞卡招招手，“下来加入我们。” 艾瑞卡向他和卡桑德拉颔首，正要婉言谢绝铁牛的建议，她注意到了视线角落的另一个人……

* * *

“瑟冉中尉(Lieutenant Threnn)。” 正在用训练木杖狠敲假人的强壮女战士转过身，用不欢迎的眼神盯着艾瑞卡……那让她天然自带几分严峻的长脸显得特别刻薄。 “我们可以谈谈？” 瑟冉耸耸肩…… ‘我正听着，说吧。’——她无声地回答。显而易见，瑟冉很不乐意面对艾瑞卡，而艾瑞卡也没有什么热情面对她……

与审判庭里其他来自费罗登的成员不同，这个甚至经历过瘟潮的老兵对“费罗登英雄”，甚至费罗登的国王可以说充满厌恶，而且因为她毫不掩饰这些，过去的十年里，她在军队中的位置从来没有像她应得的那样得到提升。在被阿历斯特(Alistair)派遣来为审判庭效力——“大概”是为了“摆脱”她——尽管蕾莉亚娜提醒过她：她的观点不受欢迎，瑟冉还是对每个有兴趣听听她的故事的人这样说…… 她起初被任命为军需官。而随着审判庭的势力快速扩张，她的态度让她不再适应那个需要和外国人——尤其是奥莱人(Orlesian)打交道的职位。而作为一名经验丰富的优秀士兵，瑟冉迅速在更适合她的战斗部队得到了一个中尉的头衔。顺便一提：她就是那个在坚石堡垒(Adamant Fortress)哭泣着哀悼洛甘(Loghain)的女战士……

“你的假期从明天开始。” 瑟冉的脸上立刻满是惊讶…… “你可以随意支配接下来一个月的时间。我唯一的要求，就是请你先到阿玛兰汀(Amaranthine)一趟。” 现在，瑟冉的眉头已经皱了起来，那个表情就像她正在琢磨：艾瑞卡把她送到她的��地上是有什么阴谋…… “我认为你会很愿意去阿玛兰汀。”没等她回应，艾瑞卡继续说，“毕竟，洛甘唯一的家人在那里。” 瑟冉的眼睛恍然大悟般地瞪大了，“安诺拉(Anora)王后……”她情不自禁地感叹。 “那个女人早已不再是费罗登的王后。”艾瑞卡稍稍抬高了音量，语气也有了些严厉，同时移开了视线。她不需要看就知道：瑟冉正盯着她，神情中满是怨忿…… 艾瑞卡从不畏惧直视任何人带着恶意的眼睛，因为她从来都是问心无愧。但那仍然让她感到难过。

“我可以今天就走如果你……”瑟冉稍稍停了停，收敛起她语气中的不快……“允许的话。” “不，你的假期从明天开始。今天你的岗位在这里，中尉——在天擎(Skyhold)。”艾瑞卡立刻应道，转头回望着那双满是厌恶的眼睛…… 她看得出瑟冉的想法：如果在返回天擎的途中她就告诉她这些，那么现在瑟冉可能已经到达阿玛兰汀……她认为艾瑞卡在故意捉弄她。实际上，在军队返回天擎的途中，艾瑞卡已经派出一小队心腹去为她送信——露易丝和她给死在坚石堡垒的守望者家人的慰问函——包括给安诺拉的。还有艾瑞卡给另外两个人的重要信件……极其重要。但她没有让瑟冉在那时候离开，当然不是出于恶意，实际上恰恰相反：今天，瑟冉应该在天擎，在这里见证即将发生的事情……

“在你出发之前，我有些东西希望能由你亲自交给她。”艾瑞卡再次移开了视线，“依照费罗登守望者的传统，洛甘的装备会被送到他们在无眠(Vigil)的圣堂供奉，但还有些物品能够交给他的女儿……”她的声音不禁伤感地低落了下去…… 瑟冉没有回答，艾瑞卡等待了片刻后转回头，看到她脸上哀伤…… “愿创造者宽恕他的灵魂。”艾瑞卡低声说，“还有……我为你的损失感到遗憾，瑟冉中尉。” 她的语气变得柔和，瑟冉立刻抬头看着艾瑞卡，哀伤的神情很快变成了讶异…… “我知道你有多么尊敬他。”艾瑞卡温柔地抬了抬嘴角，给予瑟冉一个关怀的浅笑，接着稍稍颔首，转身离开。

“慢着。” 走出去几步后，瑟冉用强硬的语气喊住了艾瑞卡。 ‘终于。’艾瑞卡在心里说…… 周围正在训练的士兵们都被那个声音吸引，纷纷停了下来。而一直关注着她们的卡桑德拉立刻快步接近……艾瑞卡稍稍抬手示意她停下，接着转身面对瑟冉。

瑟冉丢开还拿在手中的训练木杖，走近到她面前两步，坚决地逼视着艾瑞卡，就像一名战士毫无畏惧地面对一个毫无疑问更加强大的敌人。 “他‘死了’。为了‘救你的命’。难道你不认为你应该为他做些什么吗？”瑟冉正义凛然地高声质问。艾瑞卡的神情依然平和，“无论洛甘在瘟潮期间曾做过什么，他永远是那个戴恩河的英雄(Hero of River Dane)——费罗登的拯救者。我可以向你保证：”她的语气变得坚决，“没人能够抹灭洛甘曾经的功绩。” “但你能。”瑟冉愤怒地指着艾瑞卡，“你是那个推翻他的人，‘你’让他成了费罗登的罪人，被那些他致力于保卫他们的人们唾弃，称他为‘叛徒’……”她神情中的厌恶和怨忿远比刚才多得多，甚至已经达到了仇恨的程度。但这一次艾瑞卡反而毫不退缩地直视着她的眼睛。 “他们中没一个人知道奥斯塔伽(Ostagar)究竟发生了什么，他们中没一个人有资格评判洛甘！”瑟冉怒吼出她的话，“他们不想知道‘真相’：是‘你’的错导致了那些。” “真相”——她称之为，因为“我当时在奥斯塔伽，我知道究竟发生了什么。”瑟冉曾经告诉那些有兴趣听听她的说法的人们。

那张正义凛然的长脸让艾瑞卡感觉到一些尘封已久的回忆又突然在头脑中涌现出来。那让她不能，也不想再在瑟冉面前维持她一贯平和的风度…… 艾瑞卡稍稍昂起头，用冷傲的眼神藐视着瑟冉，同时嘴角轻蔑地扬了起来。 “你为什么那样笑？”瑟冉疑惑地审视着艾瑞卡，显然这个回应大大超出了她的预期。那么她在期待什么：她期待她的指责能够给艾瑞卡一些罪恶感，因为正是她“亲手毁了她的救命恩人”……

“因为无论你说了什么，只能提醒我洛甘曾经是个怎样无法宽恕的罪人。”艾瑞卡笑着说。瑟冉的眼睛愤怒地瞪大了……“你怎么‘敢’……” “在你继续用你的废话来逗我之前，”艾瑞卡的语气突然变得生硬，冷酷地盯着瑟冉……“让我说完你问题的答案。” “在过去的十年里你说得已经够多了……”瑟冉厌恶地应道。没等她继续说，卡桑德拉走到了她们身边。 “你刚才对‘费罗登英雄’做出了严重的指控，中尉。她有权利为自己辩护，难道不是吗？” 虽然她的态度温和，中立，却已经足以激怒瑟冉……她的神情更加愤怒。 “谢谢，卡桑德拉。”艾瑞卡稍稍颔首致谢，“但我想对于瑟冉中尉而言，你的行为只会证明你是站在我这边的。”她转头看着瑟冉，“所以让我们两个解决我们之间的问题。” “我站在‘公理’这边。”卡桑德拉盯着瑟冉强调道，又无奈地看了看艾瑞卡，叹息着走开几步，停在一旁观望。

艾瑞卡没有给瑟冉抢话的机会，立刻继续她对瑟冉的回答：“我嘲笑你，因为你竟然在十年后还是想不明白：洛甘在奥斯塔伽做了什么‘无关紧要’。”她盯着瑟冉惊愕的脸，“重要的是：他在那之后做了什么。” “无论他做了——” “他把我们的同胞卖为奴隶。”艾瑞卡强硬地打断了瑟冉的狡辩。瑟冉用手指狠狠朝着艾瑞卡点了点，“因为‘你’煽动贵族们——” “他把我们的同胞卖为‘奴隶’！”艾瑞卡大声重复她的话，再次打断了瑟冉，“无论你能想出什么理由来‘污蔑’我，我的回答都是这个：‘他把我们的同胞卖为奴隶’。” 她停了停，但瑟冉的气势已然落了下去……她垂下了头，但并没有丝毫悔悟的样子。

“我能看出来你不甘心，但无论你能想出什么来为洛甘辩解的话，我早在十年前就已经听过了。”艾瑞卡断然说，“也许因为你的家人没有被他卖掉，也许因为你的战友中没有一个仅仅是因为说出真相就被他的‘屠夫’折磨并杀害，所以你可以无视洛甘对费罗登人民犯下的一切罪孽。”她停了停，看着瑟冉陷入思考的样子…… “但我不能无视那些。”艾瑞卡沉声说，“因为我亲眼看到那些受害者的血，他们破碎的尸体。我听见那些因为他的罪行而失去所爱之人的人们的哭泣声……那些男人和女人，老人还有孩子……”她的声音悲痛地哽住了，“孩子……” 那些被洛甘的罪行所伤害的孩子们：贝文(Bevin)、康纳(Connor)还有阿梅瑟妮(Amethyne)……

尤其康纳……直到现在他还在为当年所发生的一切而愧疚。几个月前，在他们即将从叛乱法师手中收复红崖(Redcliffe)之前，他甚至望着艾瑞卡的眼睛问她：为什么她不杀了他…… 然后，在那个黑暗未来，艾瑞卡看着他杀了他自己。

瑟冉没有回答，而艾瑞卡也无法再说下去…… 在她们头顶上响起的聒噪声音打破了短暂的沉默—— “滚蛋，丑八怪！” 几乎所有人都抬起了头，望向一旁酒馆大窗里的塞拉……这片训练场正对着她的房间，刚才发生的一切她都看得清清楚楚。 “是啊，说你呢，丑大兵！”塞拉指着瑟冉骂道，“有朋友被你操他的大头跪猪主子卖了，还有朋友的朋友，还有朋友的朋友的朋友和他们的爹妈。滚蛋！趁我还没有射你。” 塞拉一边嚷着，一边突然转身抓起弓箭，立刻向瑟冉射来…… 那支箭扎在瑟冉面前的土地上，惊得她向后一跳。熟悉塞拉的人们都看得出，她是故意射偏的。早已聚在周围的人们发出一阵嘘声，有些甚至开始咒骂和威胁瑟冉。因为他们都是费罗登人，他们曾亲身经历，亲眼见证，或是至少听说过洛甘当年的罪行。艾瑞卡抬起双手，一边向塞拉，一边向那些士兵们，安抚下他们的情绪。

吵闹的声音很快稍稍落下，她看着屈辱的瑟冉…… “我同情你，瑟冉。因为你对一个人如此忠诚，以至于让你盲目到如此地步。”艾瑞卡庄重地沉声说。 “我可以再向你重复一遍：无论洛甘在瘟潮期间做了什么，他都是那个费罗登的拯救者。同样，无论之前和之后他做了什么，他都是那个费罗登的罪人。我不会允许任何人把他的罪孽推卸给任何人，包括‘我自己’。”艾瑞卡盯着瑟冉即将崩溃的眼睛强硬地说完…… “同样，我也不会允许任何人抹灭他曾经四十多年里对费罗登的贡献。” 正如她过去十年一直在做的一样…… 艾瑞卡的神情和语气软化了下去，同情地看着强忍着悲痛的瑟冉。 “洛甘或许是个罪人，但他从来都是一个正直的人，从未否认过他所做的一切。如果你真的像你声称的那样尊敬她，那么你就不应该继续试图推脱他的责任，而是记住：他是如何带着那些继续活着，用他余生的每一天来赎罪。最后作为一位英雄而死。” 瑟冉崩溃了，但她依然强迫自己忍受着……抬手捂住自己的嘴，努力压抑着无法遏制的哭泣。艾瑞卡转身走到卡桑德拉身边，“拜托，帮帮她。”她小声说。卡桑德拉望了望瑟冉，对艾瑞卡点点头。 “也许你稍后可以去我那里拿洛甘的遗物。”艾瑞卡又说，“我想最好在她离开天擎之前我们都不要再见面。” “我明白了，艾瑞卡。”卡桑德拉理解地安抚说，接着转身看看那些围观者们。“回去工作，立刻！”她高声命令。他们只好慢慢散去，返回到岗位上。 “作战会议之后见？”卡桑德拉又征询地问艾瑞卡，她点点头。卡桑德拉转身和之前与她一起训练的铁牛打个招呼，接着走到哭泣的瑟冉身边，陪着她返回宿舍。

艾瑞卡望着那个可怜女人的背影，回想着她对人们所说的真相…… ‘我当时在奥斯塔伽，我知道究竟发生了什么。凯兰(Cailan)国王过于逾越他的位置，而那个‘英雄’点亮信号时已经太迟了。’

* * *

飞龙纪30年 (9:30 Dragon) 伊夏尔塔(Tower of Ishal)

“我们还活着！”阿历斯特嚷嚷着，惊魂未定地环视战场…… 艾瑞卡正从雕琢着古老花纹的花岗岩地板上爬起来，她没有受伤……准确地说，没有在最后一场战斗中受伤。 “呵，我想我们合作得很好。”阿历斯特对她笑道。艾瑞卡收起一对乌鸦匕首中的一柄，安抚地揉了揉奔到她身边，焦急呜咽着的安拉夫(Anlaf)。她顾不上回应阿历斯特，望向倒在地上痛苦扭动的另一位队友…… “法师阁下！”她高呼着，奔到那个一脸短须的士兵身边。一名疲惫的金袍法师跟过去，和艾瑞卡一起扶起他，小心地摘下他的头盔，露出已经完全被汗水浸湿的深棕长发。 “他会活下来。”法师努力用剩余不多的法力施展治愈术。艾瑞卡握住士兵的肩膀，“你做得很好，阁下……我还不知道你的名字。” 不仅是这名士兵的名字，还有那名法师，以及另一个年轻人。这三人都是驻扎在伊夏尔塔的葛伦(Gwaren)士兵——洛甘国主的部下。这座塔里驻扎着一小支军队，但没等艾瑞卡一行到达，几乎都已经被从地下攻占这里的暗裔(Darkspawn)杀害了。 “沃尔特(Walter)。”士兵发出一声痛苦地呻吟。来自食人魔(Ogre)头顶的剧烈冲撞让他飞过小半个房间，重重撞在墙上。虽然没有流血，但很可能已经导致了一些严重的骨折。但也正因为这个冲撞，让艾瑞卡有机会乘着食人魔俯身的时候，攀到它脖子上，从柔软脑后给予它致命一击。

艾瑞卡平息着混乱的呼吸，小心��了拍沃尔特的肩膀，“你做得很好，沃尔特。”她柔声重复说，“还有你，法师阁下。” 法师对她回以一个疲惫的微笑，艾瑞卡也笑笑，站起身看着最后一名队友：一个有着金色长发的小士兵，看起来或许和阿历斯特差不多大年纪，但脸上的无辜和稚气甚至比他更多……那让艾瑞卡不禁对他产生一些怜惜。小士兵意识到艾瑞卡在看着她，也惊恐地瞪着眼睛回望着她……他显然是第一次面对这样可怕的战斗，但出众的战斗技巧和出众的运气让他幸存到现在。 “还有你，你是最好的一个。”艾瑞卡柔声夸赞道，忘记了她才是这个队伍中最年轻的一员。那小伙子的眼睛快乐地瞪大了，“谢谢你，守望者小姐。都是因为你……”他腼腆地停了停，“指挥得好。” 艾瑞卡的微笑落了下去，对他沉默地点点头。激烈的战斗让他们没有什么时间停下做介绍，所以她也没有机会去禁止他们称呼她“守望者”……

“烽火就在这里！”阿历斯特的喊声吸引了她的注意力，“我们肯定已经错过了信号，在一切都太迟之前点亮它！” “那么赶快。”艾瑞卡高声应道，“帮帮他。”她对小士兵命令说。 “是，阁下。”小士兵稍稍颔首，奔向阿历斯特。 “做这个，做那个……”阿历斯特小声抱怨着，取来火炬点燃了烽火。

艾瑞卡走到面对奥斯塔伽战场的那一侧，从玻璃窗的缺口中望过去…… “不……”她惊讶地低呼，“白痴！” “什么？怎么了？”阿历斯特和小士兵也奔过来。那玻璃窗很大，但缺口却不够大，小士兵用他的战锤又砸开了一些。这下他们三个都看清了战场上的情况：国王的军队正和暗裔在峡谷口厮杀。一些暗裔已经绕过最前面的军队，但他们没有像应该的那样收缩防线。 “他们应该把暗裔引到峡谷里！”艾瑞卡焦急并且愤怒地说，“不是在入口和他们硬碰硬！” 更别说他们的敌人是一支暗裔大军……它们密密麻麻的身影已经布满了整个战场，而密林中还在涌出新的……根本无法计数。 “这不只是几千或上万，对吧？哦……不……”阿历斯特的声音也忧虑地落了下去，“邓肯(Duncan)……”

邓肯……艾瑞卡感到怒火正在她刚刚被玷污的血液燃烧了起来……或者她喝下去的东西在她的血液里燃烧。如果今晚的战斗失败了，如果凯兰国王不幸战死了，那么第一个应该被吊上绞架的就是那个混蛋邓肯，因为就是他在国王面前隐瞒了他的所有担忧，假装出一副胸有成竹的样子，才把军队骗上了战场。而且创造者保佑费罗登，如果没有了那个天真愚蠢的小国王，他们还有洛甘国主——一位真正的英雄。此刻他就在离战场不远的高地上，等待着他们的信号…… “国主的军队动了！”阿历斯特的声音中有些放松，“感谢创造者，救救他们……”

安拉夫突然狂吠起来。 “有什么要朝这儿来了！”法师大声示警。艾瑞卡和另外两人立刻向他和重伤的沃尔特靠拢。紧张地聆听着…… 许多暗裔正在冲上这塔楼的最高层，而他们无处可躲。 “我们该怎么办，我的女士？”小士兵恐惧地问。艾瑞卡努力压抑着她几乎无法压抑的恐惧，望了望四个男人……每一个人的表情都告诉她：他们的死亡即将到来…… 她又低头望着安拉夫……他走到她身前，面对着通往楼下的台阶，保护着艾瑞卡。 “不……”艾瑞卡把他拉回自己身边。 “把沃尔特抬到后面。”她向另外三个男人命令道。他们交换了一下视线，一起把沃尔特抬到离台阶最远的位置。接着艾瑞卡指挥三个人在有限的时间里用这层楼一切可以用上的东西搭出简易的掩体。

艾瑞卡将一支弩箭搭上了沃尔特的轻弩，法师努力聚集已经不多的法力。而阿历斯特和那个金发小士兵举起他们的盾牌，掩护另外两人…… 艾瑞卡蹲下身，空着的一只手揉了揉安拉夫的耳后…… “找到弗格斯(Fergus)，如果你可以……”她看着他的眼睛哽咽说，“不要咬，除非你认为很有必要。” 安拉夫歪头看着艾瑞卡，对她发出哀伤的呜咽，然后点点头。 “我爱你，孩子。”艾瑞卡的声音哭了出来，但她依然没有泪水……接着她站起身。

“我们战斗！”她努力大声喊道，“如果我们死在这里，也死得有价值。” “为了费罗登！”那个小士兵敲着自己的盾牌大吼。 “为了费罗登！”法师和沃尔特也高喊着响应。 “为了‘灰色～守望者～’！”阿历斯特夸张地拖长了音节。 ‘去他的灰色守望者。’艾瑞卡在心里咒骂，瞄准了楼梯口……

他们都会死在这，她很确信……但他们死得有价值。无论奥斯塔伽的战场上发生了什么，洛甘国主会确保费罗登的平安。而且他一定会帮助弗格斯夺回永高(Highever)，帮助库斯兰(Cousland)复仇……

她没有注意到，洛甘的军队是在向与战场相反的方向行进……

‘我当时在奥斯塔伽，我知道究竟发生了什么。凯兰(Cailan)国王过于逾越他的位置，而那个‘英雄’点亮信号已经太迟了。’ 瑟冉的话是真的，每一个字都是真的。 ‘遵循最初的计划会让每一个人都被杀害！洛甘国主做了正确的决定。’ 但那是真的，还只是她选择相信：那是真的……

说明： Tower Guard的名字Walter来自The People of Dragon Age: Origins – An Interview with Sten, Wynne and the Tower Guard。

#Dragon Age: Inquisition #Dragon Age: Origins #Dragon Age #Cousland #Sera #Cassandra Pentaghast #Iron Bull #Alistair

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a2cg · 3 years

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選択と私・何かを選ぶと言うことは逆にいうと何かを選ばないことで、例えば曲がり道に差し掛かった際に左に曲がったということは、右に曲がらなかったということです。・英語に目を向けると右を”right”というのは「正しい」ことで、左の方の”left”は「（正しいものでなく）残った方」というニュアンスですね。・今の部署に来て4年目になり、このままでいいのか日々悩むことが多いのですが、それは昼食も同じこと。魅力的なメニューがあって迷ったら、どちらも頼むことにします。・と言う訳で本日のランチは #町中華でメニューが豊富な #秀永です。家族でシェアしようと #木須肉 #エビと白菜のうま煮 #五目焼きそば #かた焼きそば #回鍋肉を頼みます。・まずは #ムースーローがやって来ました。 #木耳のくにゃっとした食感にピリ辛の味付けで、フワッとした #玉子と豚肉の味わいがいいバランスで味わえます。・続いての #うま煮はいわゆる #八宝菜味付けは塩味で油通しされてシャキッとした食感の野菜の甘みと#エビのプリッと食感にうっとり。・ #ホイコーローは想像通りの味噌の濃厚な味わいとキャベツの甘さが際立つ美味しさ。これに白米と一緒に頂けば無限に食べ続けることが出来ます。・エビとグリンピースの煮込みも塩味ベースでシンプルながらも素材の良さが感じられます。 #焼きそばは太めの #揚げ焼きそばでこれも醤油ベースの餡がよく合います。・そして #餃子はもちっとしていて、しっかりとした食べ応え。ここまで食べて、明らかな頼みすぎで苦しいなと思いましたが、後悔はしていません。・なぜなら人生で迷った時には選ばなかったことを後悔することはあっても、選んだことに対しては失敗でもそれは反省だけで済むので、あまり気にはしません。・いつ食べても美味しいので次回もきっと色々とメニューで迷いが生じてしまうのでしょうね。・過去の秀永の思い出はコチラ #ag秀永・ #高田馬場ランチ #高田馬場中華 #高田馬場町中華 #高田馬場グルメ #西早稲田ランチ #西早稲田中華 #西早稲田町中華 #西早稲田グルメ #麺スタグラム #とa2cg (秀永) https://www.instagram.com/p/CZT08TvvXjq/?utm_medium=tumblr

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architectnews · 4 years

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Maó Space, Yuexiu District, Guangzhou

Maó Space Guangzhou, Yuexiu District Building, Retail Architecture China News

Maó Space Guangzhou

19 June 2020

Maó Space in Yuexiu District, Guangzhou

Design: One Fine Day Studio & Partners

Location: ARAapM, Yuexiu District, Guangzhou

Photos by YUUUUNSTUDIO

Dust of Time | Maó Space

In a block of excess resource, we wish to set up a space based on collecting the fragments of the past and to re-define the time of forgotten.

Here, time is shown on the metallic ruins; time could be glimpsed through the tinted lens; time has been adorning the frames; And here, time has brought about the classics especially in the heyday of technology…

Just like fads are determined to be outdated as time goes by, all things would come and go as temporal fragments. In this newly established space, One Fine Day Studio & Partners (ofD) has customized all sorts of furniture by using fiber glass, made the ceiling and walls with Xuan paper and built a spiral stairway of half storey height. Not only this, in order to play with the idea of time being intangible, ofD has also picked the visually stunning sofa of Gufram, the black velvet mirror of Thomas & Vines, as well as the seemingly malleable chair of Olivier Gregoire.

Being in Maó Space, we have outstripped fads by making friends with time.

Facade & Exterior The project is located in an old neighborhood of steel structured ceiling and dark streets. ofD has the original enclosure space transformed into a much open and ventilated one while introducing the natural lights to interact with the interior lighting so as to expose the merchandise as much as possible. The neat and asymmetric glass windows and door are in good contrast to the heavy material of the exterior wall, which imply the pace of time.

Store Sign In accordance with the entire block, Maó Space only operates during the day and the store sign would remains unlit at night.

Logo The Maó Space’s logo is the wrongly marked intonation of its Pinyin spelling, which is the nickname of the owner-principal.

Space You get the overview of everything once have entered the space. ofD has taken the “chaotic” atmosphere of the wholesale market into consideration as making this a trading space. Grey is chosen as the tone throughout the loft space, its simplicity has played the appropriate background for the merchandise of great variety.

Original FF & E (Furniture Fixture and Equipment) In order to show the vestige of time, ofD has selected Xuan paper for the ceiling and decoration in the lobby, they have also customized the matching coloured fiber glass for the cashier and totemic chandelier. All the original but low keyed elements are well harmonized with the Gufram products.

The area of merchandise display and lounge are partitioned by a handmade heavy-inked screen. On the left, ofD has welded a Gothic styled cabinet by using galvanized sheets, which has perfectly set off the olive coloured furniture of Olivier Gregoire. On the other side on the right, ofD has placed the glass tea table and sofa of Glas Italia, Thomas & Vines’ mirror with the flocking frame and the fiberglass pendant lamp – PostKrisi 50-51 from Catellani & Smith.

The original cylindrical structure has been transformed into Mediterranean column, which has offered a distinct visual framework within the space. The displaying rack is made with metal that signifies the industrial age and fractured plaster, this combination of materials has symbolized the passage of time. Just as Duchamp’s Fountain has connoted, to have the bent and curved furniture of Olivier Gregoire in this grey toned space has suggested much more than what they actually are.

In this area, ofD attempts to take out any sharp angles, including the corner of the walls, the spiral stairway, the impractical curved mirror, the decorative and actual pillars etc., they hope to bring out the sense of classical time through the gentle details. The column has been connecting the space of the two floors as a visual indication. The embedded black linear element on the grey toned spiral stairway has made a fine contrast with the black and white sofa set of Gufram. Fiberglass, metal and plaster column have once again joined in the same room.

The owner is attracted by the linear flow of Oscar Tusquets’ chair, but later realizes there’s no matching table after the purchase. Therefore ofD has made a black table that represents the chess to go with it.

ofD has discovered another spatial dimension within this originally constrained and unmovable architectural structure. The second floor is an open space, and our sight would be outwardly led by the Xuan paper ceiling with grids that provides a visual depth.

Maó Space Guangzhou Retail Interior – Building Information

Project name: Maó Space Address: ARAapM, Yuexiu District, Guangzhou Area: 227 m² Completion time: 2020.07 Design firm: One Fine Day Studio & Partners (http://www.ofdsp.com) Design director: Jump Lee Design team: Hao Liang, Yongjie Lao, Shuai Liu

Photography: YUUUUNSTUDIO

Maó Space, Yuexiu, Guangzhou

微信排版参考链接：https://t.1yb.co/7xXI

Dust of Time | Maó空间在一个有物质肥胖症的街区中，尝试从过去和潮流的尘埃里捡拾碎片，搭建这处小小的废墟，塑造一段被慢慢遗弃的时间。

有些时间，成为金属颓墙；有些时间，成为化了妆的镜片；有些时间，成为旧纸装饰了画框；有些时间，成了被科技玩弄的古典……

每一种时尚，都是用过即弃的时间，秋来春往，一衣一布也因身体的离去变成时间的碎片。

在这个新造的空间里，今朝风日好（One Fine Day Studio & Partners，简称ofD）用玻璃纤维量身创作了不同的家具，用宣纸代替了天花与土墙，还有建了半层高的楼梯回转……同时ofD也挑捡了Gufram中看不中用的沙发、Thomas & Vines的黑绒镜子，还有Olivier Gregoire像纸一样柔弱的椅子来装点那些触碰不到的时间。 Maó空间，被时尚追赶，也在闹市里收集时间。

外立面项目处于一片由钢结构棚顶搭建的旧街区，临街却阴暗。 ofD将原有几乎密闭的空间改造为更通透的结构，尽可能多的裸露了空间里的商品，同时让室内的灯色与自然光有更多的互动。轻盈而不对称的玻璃窗门与厚重的外立面形成材质对比，暗示着时间的快慢交替。

店招 Maó空间与整个街区一样只在白天营业，店面的标牌在黑夜里也不发光。

logo Maó空间的视觉形象是一个标错声调位置的拼音，是主理人的昵称。

空间像经过时光摧残的大多废墟一样，进入Maó空间就能一览所有。ofD融入了批发市场常见的“杂乱”状态，以满足作为时尚销售空间日常变化的需求。从一楼到二层挑高空间，使用了统一的灰色调，让整体的朴素感成为多元商品的背景。

原创软装在外庭空间，ofD用宣纸创作了天花与装饰画。以传统纸张的质感表达更不同的时间感。ofD也用相同的色系精心调制玻璃钢材料，制作了沉稳的收银台及有图腾意味的吊灯。这些原创元素都以谦逊的姿态，与Gufram的产品和谐相处。

走上内庭，ofD用重墨宣纸制成的手工屏风，将这里分为商品展示区与休息洽谈区。左区有ofD用镀锌板手工焊制成的哥特风格陈列柜，与Olivier Gregoire的旧橄榄色家具共处；右区ofD配置了Glas Italia的玻璃沙发与茶⼏、Thomas & Vines的植绒镜⼦、Catellani & Smith PostKrisi 50 – 51玻璃钢吊灯。

把原空间里的柱体结构处理成圆形地中海风格，与空间形成不同的视觉框架。用工业时代的金属材料与石膏断柱制作了陈列架，不同的材质同样在传递着不同的时间质感。Olivier Gregoire的平面扭曲家具，在灰调空间里像杜尚的“泉”一样，意味深长。

在这个空间里，ofD企图让所有的形态都去除尖锐的棱角。墙体的折角、旋转的楼梯、无法使用的弧形镜子、真实与装饰性的柱子……希望以温和的细节体验呼应时间的古典气质。圆形柱子成为整个空间的视觉线索，贯穿一楼与二层空间。旋转楼梯的黑色线条、灰色调子的阶梯，在厚重空间里与Gufram的黑白沙发形成轻盈的对比。玻璃钢、金属、旧石膏柱体再次融合。

主理人被⻄班牙Oscar Tusquets的椅子线条所吸引，购置了椅子后却发现没有桌子可以搭配，ofD创作了一张国际象棋意味的黑色桌子。

ofD在有限的建筑框架中，利用局促又无法去除的结构营造新的空间层次。2层空间与一楼是开放关系，宣纸天花与网格线将视线引向室外，获得更深的视觉感受。

项目名称：Maó 项目地点：广州市越秀区ARAapM 项目面积：227 m² 完成时间：2020年7月设计机构：今朝风日好（http://www.ofdsp.com）设计总监：李俊鹏设计团队：梁昊、劳永杰、刘帅项目摄影：YUUUUNSTUDIO

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翻译：Paul McCartney: One for the Road

原链接：https://www.rollingstone.com/music/music-news/paul-mccartney-one-for-the-road-43295/ He blew it. Not that anybody spotted it. The audience at the Rosemont Horizon, outside Chicago, was too busy swooning in the ersatzcandlelight of a few thousand cigarette lighters and luxuriating in the warmbalm of nostalgia as a real, live Beatle reprised one of the band’s biggesthits onstage. Nobody appeared to notice — or care — that Paul McCartney had completely botched the words to his enduringturn-of-the-Seventies hymn “Let It Be.”

他搞砸了，虽然倒也没人发现。在芝加哥外的好事达体育馆，千千万万观众们都忙于举起打火机，在虚假烛光中陶醉，沉浸在温暖怀旧气息里，因为舞台上，一位真实的披头正在重演披头士乐队最受欢迎的歌曲之一。没有人发现（或者说，没有人在意）McCartney完全把Let It Be的歌词唱错了，这首发行于七世纪年代头上，经久不衰的歌。

“I condensed that little one very nicely — it took on a newmeaning,” McCartney confesses later with an embarrassed laugh. “All I did was,I forgot the second half of the first verse and put in the second verse. And Ithought, ‘God what am I going to do? I’ll just do the second verse and probablyno one will ever notice that I’ve done it twice.’ But I was so thrown off thatI ended up getting it wrong in the last verse as well.” Not that it was all hisfault anyway, he insists with a disarming smile. “I spend most of my timewatching these little cameos in the audience. It’s like all human life isthere, a big sea of it. And it’s a bit distracting. If I get off on the wrongfoot, it’s because I’m hung up on the audience.”

“这首歌我提炼得不错，给了它些新内涵。”McCartney尬笑着坦白，“我就，把下半首歌的第一段给忘了，唱成了第二段，想着天哪咋办，要不我就直接唱第二段得了，大概也没人会发现我唱了两遍。然而我脑筋整个被搞乱，结果最后一节也弄错了。”他毫无防备地笑着，坚持说这并不都是他自己的错，“大部分时间我都在观察观众席。看着人山人海，人类生活都浓缩在那儿，有点让人分心。心思都在观众身上，把我的步骤都弄乱了。”

And because, he might have added, that audience always was, still is and forever will be hung up on the Beatles. Currently in the midst of hisfirst major concert tour since his splashy 1976 American jaunt with the lateWings, Paul McCartney is digging deep into his half of the Beatles’ song bagafter spending most of the past twenty years pretending — in concert,anyway — that he had never been Fab in the first place. He is nowrediscovering to his eternal surprise, night after night, the enduring impactand resonance of the act he had effectively denied for all those years.

他可能还会补充说，这也是因为披头士乐队依然永远吸引着观众。McCartney正在进行一场大规模巡演，是自Wings乐队在1976年的那场高调美国巡演以来的第一次巡演。在过去的20年中，他一直在假装自己从来不是披头士乐队的一员（至少在演唱会上是这样表现的）。而为了这次巡演，他则深挖了自己创作的，占据披头士曲库一半的作品。如今每一晚他都能重新体验那份惊喜，那份他曾经故意拒绝面对，但是对观众有着经久不衰的影响和共鸣的惊喜。

It’s not all hot tears and wet seats, of course, like it was in’64. At the Rosemont Horizon, where McCartney and his five-piece band holdcourt for three sold-out nights, it’s more like bright shrieks of astonishmentand deep sighs of contentment, spiced with moments of poignant intimacy anddroll hilarity:

Two teenage girls in the front row gently sobbing during“Yesterday,” a song written nearly ten years before they were born.

A middle-aged couple slow-dancing in the balcony to “Hey Jude.”

A family of three, including a little girl of kindergarten age,holding up signs that read, “We ♥ Paul,” except the little girl is holding the “We” upside down.

The thirtysomething fella in the tenth row holding a cellularphone over his head, apparently phoning in the gig to a ticketless yuppie palat home.

在好事达体育馆，McCartney和他的五人乐队举办了三场售罄演唱会。现在不是1964年，观众席已经没有粉丝们的滚滚热泪和湿哒哒的椅子。取而代之的是快乐的惊声尖叫和愿望满足的大叹，点缀着各种亲情与搞笑时刻：

前排的两个少女听着 "Yesterday "轻轻啜泣，这首歌是在她们出生前10年写就的。

一对中年夫妇缓缓地伴着“Hey Jude”在看台上跳舞。

一家三口，举着“We ♥ Paul”的牌子，不过那个看着才在上幼儿园的小姑娘把“We”的牌子举倒了。

第十排的三十多岁的小伙子高举着移动电话过头顶，显然在给一个没买着票只能家里蹲的雅痞朋友打电话。

“I’m touching a lot of different nerves out there,” saysMcCartney, quite rightly. “Young couples and not-so-young couples who wereyoung when ‘Hey Jude’ came out. You see lots of guys doing high fives to eachother, a lot of communication, a lot of warmth.

“不同的人对我的表演都有感触。”McCartney说。他没说错。“不管是对年轻的情侣，还是对“Hey Jude”刚出时很年轻但现在已经不年轻的情侣。你可以看着好多人互相击掌，看到各种交流各种温暖。“

“It’s not so much déjà vu for me. I’ve come back asanother person. I have different sensibilities now. I have kids, all that.Let’s face it, the first tours the Beatles did, the main essential thing wasscoring chicks. I’m a different person now, because that’s not allowed” Hegrins.

“但其实我对这场景并不熟悉，因为我回归时已经成长为另外一个人了，带着更多感情更多见解，有了孩子什么的。老实和你说，披头士第一次巡演最重要的目标就是找妹子而已。现在我不一样了，可不允许我这么干。”他笑笑。

“And what I find now is, I get really touched by the audience,” hesays. “I keep telling Dick Lester [the director of A Hard Day’s Night and Help!, whois making a film of the tour] to capture all the little things we see from thestage. Nobody in the audience really sees it. But we do, because we’re lookingat them. And that’s the real show.”

“我发现自己倒是被观众感动着。我一直和Dick Lester说要捕捉到从台上向下看的各种细节。（Dick Lester是A Hard Day’s Night and Help!的导演，也在为此次巡演进行拍摄。）我们能看到观众在席内看不见的细节，因为我们才是面对观众的人。观众的反映才是真正的演出。”

That’s also the crux of Paul McCartney’s continuing dilemma as anex-Beatle. McCartney, 47, has been a solo artist for nineteen years, nearlydouble his tenure as a Beatle. In 1988 he made a welcome return to his Fiftiesrock & roll roots with the Russian-only “covers” album Snova v SSSR, a.k.a. Back in theU.S.S.R. Last spring he released his most critically acclaimed(although commercially disappointing) album in years, Flowers in theDirt. In addition, his recent songwriting partnership withElvis Costello has yielded two Top Forty hits, his own version of “My BraveFace” and Costello’s recording of “Veronica.” He capped 1989 by debuting afine, new touring band featuring top-drawer studio and road guys who couldoutplay Wings blindfolded — guitarist Robbie McIntosh (the Pretenders),singer-guitarist Hamish Stuart (Average White Band), keyboardist Paul “Wix”Wickens (Paul Young, the The) and drummer Chris Whitten (the Waterboys, JulianCope), plus McCartney’s wife, Wings vet Linda, on keys and harmonies.

这也是McCartney作为一位前披头士一直进退两难的症结所在。47岁的他已经单飞19年，几乎是他披头士生涯的两倍。1988年，他推出了一张只在俄罗斯发行的翻唱专辑Snova v SSSR（又名Back in the U.S.S.R.），令人欣喜地追溯回（影响到他的）五十年代的摇滚乐根源。去年春天，他发行了多年来最受好评的专辑Flower in the Dirt，虽然商业成绩不理想。此外，他最近与Elvis Costello的合作了两首歌曲，McCartney版本的My Brave Face 和Costello的 Veronica，都打到了排行榜前四十名。1989年，他首次组建了一支优秀的新巡演乐队，都是优秀的录音室和巡演音乐人，蒙着眼睛弹也能超过Wings乐队--吉他手Robbie McIntosh (Pretenders)，主唱吉他手Hamish Stuart (Average White Band)，键盘手Paul “Wix” Wickens (PaulYoung, the The)和鼓手Chris Whitten (Waterboys, Julian Cope)，再加上他的妻子，Wings乐队常驻成员Linda，负责键盘和和声。

Yet it has hardly escaped McCartney’s attention that many of thepeople packing arenas and, later this spring, stadiums on his 1989-90 worldtour are not coming to see him play obscure album tracks from Flowers in theDirt. They are coming to see the Beatles-by-proxy. They arecoming to have their emotional buttons pushed by the songs that defined andtransformed their youth — “The Long and Winding Road,” “Can’t Buy MeLove,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things WeSaid Today,” “Back in the U.S.S.R.,” “I Saw Her Standing There,” the climactic“Golden Slumbers/Carry That Weight/The End” medley from Abbey Road. Theyare coming to see many of these songs performed live for the first time (thebulk of the Beatles oldies in McCartney’s show postdate their 1966 retirementfrom the stage) and, quite possibly, the last.

然而，McCartney当然不会假装无视，其实铺满场馆的人们并不是来听他演出Flowers in the Dirt中稍显晦涩的曲目。他们是来食用披头士代餐的。他们希望听到那些定义并改变了他们青春的歌曲，去触动自己的情感开关— “The Long and Winding Road,” “Can’t Buy Me Love,” “Sgt.Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things We Said Today,”“Back in the U.S.S.R.,” “I Saw Her Standing There,” Abbey Road中高潮迭起的 “Golden Slumbers/Carry That Weight/The End” 组曲。他们的目的，是来欣赏史上头次（也有可能是最后一次）现场演出的披头士老歌，大量1966年披头士离开舞台以后创作的曲目。

At the Rosemont Horizon and later that week at the Skydome inToronto and at the Forum in Montreal, you could feel the audience buzz take apalpable dip every time McCartney went into an unfamiliar number from Flowers in theDirt, like the reggaefied shuffle “Rough Ride” or “We GotMarried,” a Flowers highlight recalling the hard-rock melodrama ofmid-Seventies Wings. The pressure drop was particularly noticeable at thebeginning of the two-and-a-half-hour show, as the crowd cheered the soundtrackof Beatles, Wings and solo McCartney hits that accompanied Richard Lester’sopening rockumentary-film montage with its kinetic blasts of Beatlemania,flower power, Vietnam, et cetera. After which McCartney and his band hit thestage and stepped right into … his new single, the appealing butcomparatively low-key “Figure of Eight.”

在他巡演的各个场地都能感觉到，每次McCartney表演一首Flowers in the Dirt中的新曲目，观众的热情会陡然下降，比如雷鬼风的“Rough Ride”或者 “We Got Married”，令人眼前一亮回想起七十年代中期Wings的硬摇旋律的“Flower”。这在开场尤其明显。观众们欢呼着披头士，Wings, McCartney的solo作品，伴着导演制作的记录着摇滚年代开场，屏幕上展现了披头士狂热，花之力，越战等等。之后，McCartney和乐队上台直接演出新单曲，是吸引人但相对低调的 "Figure of Eight"。

“We did thaton purpose — we had to do that,” McCartney argues over aveggie burger (the McCartneys are devout vegetarians) during a preshowdinner break backstage in Toronto. “Originally, we were going to open with ‘ISaw Her Standing There.’ But I really got upset by the idea. I was going homeone night and I thought, ‘That’s really betraying our new material, sending itright down the line.’ Like saying, ‘Hey, I haven’t been around for thirteenyears and I haven’t done anything worthwhile. Here’s the Beatles stuff.’

“我是故意的。“McCartney吃着素汉堡解释道（McCartney一家都是坚定的素食主义者）。”本来我们想拿I Saw Her Standing There开场，但我真的不支持这个想法。一天晚上回家的时候我想着，‘这简直在背叛我们的新作品，整个把格调拉低了’。这个安排就好像在说，‘嘿，我神隐了13年，啥有价值的事都没干。喏，给你们听听披头士的歌得了。‘“

“It’s the obvious thing. Boom, bang, Beatles, Beatles. Then yousay, ‘Now we’d like to do some new material.’ Boo! Hiss! I’ve seen the Stonestry and do it, and it doesn’t go down that great. That’s a fact of life. Evenwith the Beatles, new material didn’t always go down that well. It was theolder tunes. ‘Baby’s in Black’ never went down nearly as well as ‘I Feel Fine’or ‘She Loves You.’ That’s just the nature of the beast.

“真的很明显。如果上来就砰砰唱披头士的歌，然后说‘现在我们想演一些新作品。’嘘声就来了。我见过滚石他们这么做，效果不太好。这就是人生嘛，就算是披头士，新作品落地激起的浪花也不会大，老歌才更能带动人们。唱‘Baby’s in Black‘的效果就没有唱‘I Feel Fine’ 或 ‘She Loves You’好。这行就是这样。”

“It is hard to follow my own act,” he admits. “But the only answerto that would be to give up after the Beatles. I only had two alternatives.Give up, or carry on. And having elected to carry on, I couldn’t stop.”

McCartney has been consistently productive as an ex-Beatle. He hasnot, however, been consistently successful. His Eighties chart duds include Pipes of Peace,Give My Regards to Broad Street (the soundtrack to hisdisastrous feature film of the same name), Press to Play and thesolo/Wings “greatest hits” package, All the Best. Notably, McCartneyincludes only one song from the first three albums in his current show: “SaySay Say,” his Number One duet with Michael Jackson, from Pipes of Peace, isfeatured in Richard Lester’s opening film.

他承认，“追上先前的成就很难，唯一的答案是在披头士之后就放弃。只有两个选择：放弃，或者继续。既然选择了继续，我就停不下来。"

McCartney作为前披头士一直都很高产，但也没有持续成功。他80年代排行榜上的哑弹包括Pipes of Peace、Give My Regards to Broad Street（超灾难的同名电影原声带）、Press to Play和Wings的精选集All the Best。值得注意的是他本次演出只收录了前三张专辑中的一首歌：Say Say Say，是他与迈克尔-杰克逊合作曲，打上了榜单第一，也在演唱会片头影片出现了。

Flowers in the Dirt has done reasonably well saleswise — 600,000 copies inthe United States, 1 million in continental Europe by year’s end — but hasnot been the chartbuster either McCartney or his manager, Richard Ogden,certainly hoped for.

Flowers in the Dirt的销量相当不错--在美国发行了60万张，到年底在欧洲发行了100万张--但还没有达到McCartney与他的经纪人Richard Ogden希望的畅销程度。

“It was as if it didn’t exist,” Ogden says ruefully. “I sat with aradio program director from Chicago, very nice, very up about the show. And hesaid, ‘What’s the next single?’ And I said, ‘We’re just starting with “Figureof Eight” ‘ And he said, ‘What about “This One”? That’s really good.’ And Isaid, ‘That came out in August, mate.’ That really drives me crazy.”

“打单结果就好像消失了一样，”Ogden怅然若失地说，"我和一个芝加哥的电台节目总监坐着，他人很好，对这个节目很上心。他说，'下一张单曲是什么？’我说：" Figure of Eight " 他说"那This One呢？这首很好听。”我说, ‘这首8月份就发行了啊，老哥。’真的好抓狂。"

McCartney’s response, says Ogden, is a bit stoic. “Paul’s beendoing this for a long time, and he’s going, ‘I don’t want to think about thisanymore. You guys sort it out.'” In fact, McCartney’s response to his ongoingEighties commercial and, until recently, critical slump has been to get out andplay, something he had done infrequently (Live Aid, the 1986 Prince’s Trustconcert) since Wings broke up following his arrest in Japan in 1980 forpossession of marijuana. In 1987, with Ogden’s active encouragement andorganization, McCartney initiated a series of Friday-night jam sessions at asuburban-London studio with an eye toward eventually finding enough new,inspiring players to start a formal band. He also liked the idea, he says, ofhaving a rockers’ equivalent of cafe society.

McCartney的反应倒是挺淡定，他在这一行太久了。他说，“我不想考虑这个了，你们搞定吧”。实际上对于自己八十年代作品商业上的低迷，和最近才上升的风评，他的对应方式一直是出去演出（Live Aid，1986年Prince的Trust演唱会），虽然自1980年在日本因持有大麻被捕后Wings解散以来，他很少这样做了。1987年，在Ogden的积极鼓励和组织下，McCartney在伦敦郊区的一间录音室发起了一系列周五晚上的即兴演奏会，目的是找到足够多新人、有灵感的乐手来组建一支正式的乐队。拥有一个像咖啡公社一样的rocker团体，这个想法他很喜欢。

“The Beatles nearly did that once,” says McCartney. “We were goingto open an Apple tea room, where we could all go and be intellectual, talk artor Stockhausen. So I thought, ‘We’ll do a similar thing with the jam. Maybe theword will get out that there’s a jam every Friday night, see who shows up.’ Butin fact, because it’s done by your office, and they just ring specific people,it didn’t work out like that. Whoever they rang, showed. Whoever they didn’t ring,didn’t show.”

McCartney 说，“披头士差点就这么干了，本来我们想用Apple的一个茶室，大家都进去开拓思路，聊聊艺术或者Stockhausen。我想着我们的即兴排练也学样，每周五的活动的话传开了，看看谁会参加。但其实因为是办公室组织的，而他们只会给一些特定的人打电话，效果不好。接到电话的人会参加，没接到的就不参加。”

When asked why he stayed off the road for so long, McCartney saysvery casually: “I just couldn’t be bothered. Until Live Aid came along, Ididn’t think of doing anything live. I don’t know why. Maybe because nobodyasked me. Nobody asked me personally, anyway. I’d hear little things here andthere; I heard that Elton John was quoted as saying, ‘What he needs is to getback on the road.’ But it never seemed that vital for me; I was alreadyenjoying myself.”

问他为什么这么久没有巡演，McCartney反应很随意，“我就不是很care嘛，在Live Aid之前都没想过现场演出，我也不知道为什么。大概因为没人问过我吧，至少没人当面问过我。小道消息确实听说了点，我听人说Elton John说过“McCartney他现在需要的是回去巡演”。但这对我来说也不太关键，我已经很享受自己的生活了。”

McCartney was never really much of a road hog. Wings’ first andonly American tour came ten years after the Beatles said sayonara to the roadat Candlestick Park. And it’s easy to tell how much time has elapsed by watchingMcCartney’s current show. The production is heavy on Seventies arena kitsch:lasers galore, levitating keyboards. McCartney’s between-song patter alsoprobably seems quaint (“We’re going to go back through the mists of time, to atime known as the Sixties”) to veteran Eighties concertgoers used to thenarrative command of Springsteen or Bono’s spiritual cheerleading.

McCartney从来都不痴迷巡演，披头士在Candlestick Park演出和观众彻底说byebye十年后Wings才在美国巡演。这是第一次也是最后一次。而看McCartney现在的演出，马上就能知道时间过去了多久。这场演出充满了七十年代舞台上的奇特风格：激光灯效，键盘悬浮着，对于八十年代资深演唱会观众，他们已经习惯了Springsteen 的narrative command【？】或者Bono的精神鼓励的，McCartney演出间歇的唠嗑风格古早，“我们将穿过时间的迷雾，回到一个被称为六十年代的时代”。

One distinctly Eighties aspect of McCartney’s tour is hiscontroversial tour-sponsorship deal with Visa for the 1990 American shows. TheVisa arrangement — reportedly worth $8.5 million, which McCartney saysbasically covers the cost of transport for the tour — represents a new,potentially troublesome twist in pop-music sponsorship: rock & rollsponsored (some will say co-opted) not simply by a merchandiser butby a credit-card company, with close ties to banks and their complex networksof possibly questionable investments. McCartney says he vetted Visa asthoroughly as possible before saying, “I do.” “It may be true that they are agigantic money corporation,” he says, “but I can’t see what’s wrong with that,unless you can prove to me South African links.”

本次巡演的一个明显80年代特征是他与Visa公司就1990年美国演出达成的赞助协议，这个协议其实有点争议。据报道，Visa公司赞助达850万美元，McCartney说，这笔钱基本上包括了巡演的交通费。它代表了流行音乐赞助中一个新的、潜在的麻烦：摇滚乐的赞助（合作）不是简单地由一个商人赞助，而是一家信用卡公司，与银行及其可能会出问题的复杂投资网络关系密切。McCartney在说 "我同意 "之前，他尽可能彻底地审查了Visa。"他们可能确实是一家巨大的财团，"他说，"但我不觉得有什么问题，除非你能向我证明他们和南非之间有关系。"

McCartney also insists he is not betraying any kind of political,social or emotional trust represented by the Beatles or the songs of theirsthat he’s performing on tour. “Whether you like it or not,” he says, “no matterwhat people thought was going on in the Sixties, every single band that didanything got paid for it. You look back at the early Beatles concert programs,there were Coke ads. We always got paid for everything we did, and when we madea deal, we always wanted the best.

McCartney坚持认为他并没有背叛任何一种披头士乐队代表的政治、社会或情感寄托，也没有与他在巡演中歌相左的行动。“实话实说不怕你惊讶，"他说，"不管你觉得六十年代是什么风气，每个乐队做的任何举动都是有报酬的。你回头看看披头士早期的演唱会，有可乐做的广告。我们做任何事情都会得到报酬，做交易总是希望得到最好的。“

“Somebody said to me, ‘But the Beatles were anti-materialistic.’That’s a huge myth. John and I literally used to sit down and say, ‘Now let’swrite a swimming pool.’ We said it out of innocence. Out of normal, fuckingworking-class glee that we were able to write a ‘swimming pool.’ For the firsttime in our lives, we could actually do something and earn money.

“有人和我说，‘可是披头士是反物质主义的呀。’这只是个传说罢了。John和我以前真的会坐下来写歌，说“咱们写个游泳池出来”，这些都是无意识说出来的。这种普通的，tmd工人阶级的志趣使我们通过写歌赚到了一个“游泳池”。这是我们人生第一次，确确实实可以种瓜得瓜挣大钱。

“You get any act around the table with their record company, theytell their manager, ‘Go in and kill.’ They don’t say, ‘Oh, let the punters inat half price.’ We’ve actually done a lot of that — the free program, thatwasn’t necessary.

“你和唱片公司打交道，他们都会和经纪人说，‘去吧，大干一场’。他们不会说，‘欧我们票价打对折吧’。事实上我们也做过免费的项目，不过也没必要罢了。

“And I think it’s just going to be tough if people don’t like it,”he says coolly. “Stick the finger up and say, ‘Sorry, boys, it’s tough. You maynot like me because of it. Tough darts. I know I’m not doing it for whateverperception you put on it. It doesn’t alter me.’ I’ve taken money off of EMI.The Beatles took money off of United Artists.

“而且我认为如果人们不喜欢，他们就得忍着。”他酷酷说，“我会举个中指说，‘Sorry咯，这事就这样了，你可能不喜欢，但你也只能忍着。我做这个并不是为了你对我的看法，你怎么想都不会改变我’。我拿的是EMI的钱，披头士拿的是联美公司的钱。”

“I wish we’d taken a little more actually,” he says, suddenlylaughing, taking some of the chill out of the air. “The accountants on A Hard Day’s Night gotthree percent. We got a fee.”

他突然笑着说，“我倒是希望当时多薅点，A Hard Day’s Night的会计都拿了百分之三，我们只拿了一笔固定的钱。” 气氛突然放松了起来。

“I‘m actually getting tired of Paul interviews,” Linda McCartneyremarks with a shrug while her husband is being trailed by a television-newscrew backstage in Chicago. “People always ask him about the same things. WhatJohn said about this, or what such and such Beatles song meant? Why don’t theyask him about other things, about the important things going on in theworld?”

当他电视新闻人在跟着McCartney在芝加哥场后台采访时，Linda McCartney耸耸肩说，“Paul的采访我都已经疲了。人们总是问他同样的问题：John说了什么，或者这个那个披头士歌曲是什么意思？他们为什么不问其他的，问问世上真正发生的重要事件？"

For many of the press hounds, radio DJs and TV interviewers following this tour, not to mention the fans who are paying for the privilege, the Beatles are still one of the most important things in the world. In a world still reeling from their original sound and remarkable creative vision, the Beatles’ significance as a cultural touchstone and spiritual anchor cannot be overestimated. In the Sixties the group was the embodiment of youthful ambition and utopian desire amid the graphic realities of war in Southeast Asia and at home in the urban ghettos. Now, with the world plagued by crack, wracked with racial hatred and poised on the edge of ecological apocalypse, talking about the Beatles is like a form of therapy.

对于关注这场巡演的许多狗仔，电台DJ，和电视记者，更不用说付钱来看的观众，披头士乐队依然是世上最重要的事情之一。他们的原创声响和非凡的创作理念仍在影响着这个世界，作为文化试金石和精神支柱的意义是不可低估的。在六十年代，这支乐队在斗争纷飞的东南亚和城市贫民窟，体现了青年们的志向和对乌托邦的向往。而现在，在这蔓延着毒品，种族仇恨和生态灾难的世界，谈论披头士乐队更像一种疗愈手段。

That seems to be just as true for McCartney as it is for any fan. During rehearsals for the tour, the band would take an occasional tea break, at which point, Paul Wickens recalls, “anecdotes would come out about the old days, little stories about him and John.”

对McCartney来说似乎也是如此。在巡演排练期间，乐队偶尔会进行茶歇，Paul Wickens回忆道，“他会说一些旧日轶事，关于他和John的小故事"。

But the usual aura of Beatlemania that accompanies McCartney wherever he goes has increased tenfold, at least, with the inclusion of so many Beatles songs in his set. The recent settlement of the band members’ lawsuits with their record company, Capitol-EMI, and among themselves has also brought the tiresome issue of a Beatles reunion back to the fore. McCartney himself fanned that flame at the start of the American tour in November when he suggested during a Los Angeles press conference that with their legal differences settled, maybe he and George Harrison might write songs together for the first time. (He didn’t say anything about writing with Ringo Starr.) Harrison quickly put the kibosh on a possible reunion, issuing a terse press statement: “As far as I’m concerned, there won’t be a Beatles reunion as long as John Lennon remains dead.”

但无论McCartney走到哪里，平时就伴随着他的披头士狂热至少成十倍地增长，毕竟他的演出中加入了这么多披头士的歌曲。最近，乐队成员结束了与Capitol-EMI唱片公司的诉讼，这也重新聚焦了披头士重聚这个老大难问题。McCartney在11月的洛杉矶巡演的新闻发布会上表示，随着他们解决法律分歧，也许他和George会第一次一起写歌。(他没有说任何关于与Ringo一起写作的事情。)George很快就打消了这个念头，发表了一份简短的新声明：“就我所知，只要John没活回来，披头士是无法重聚的。"

Indeed, John Lennon is an extremely conspicuous presence on McCartney’s tour, by his very absence. His name, his music and his celebrated differences with McCartney during and after the Beatles’ lifetime repeatedly come up in both interviews and idle conversation. Lennon figures prominently in the autobiographical passages that constitute the bulk of the 100-page concert program McCartney is distributing gratis at his shows. But in discussing Lennon in the context of his own contributions to the Beatles’ legacy, without Lennon to answer back, McCartney runs the risk of looking like he’s grabbing all the glory.

事实上，John的缺席反倒在本次巡演中成为了一个极其显眼的存在。采访和闲谈中人们都反复提及他的名字、音乐以及他与McCartney在披头士解散前后的著名纠纷。巡演中免费【免费!!!!!!!!】发放的【多达!!!!!!!!】100页场刊大段的自传段落中，John的身影占重要地位。但在讨论Lennon对披头士作品的贡献时，此时没有Lennon回击，McCartney看着像抢走了所有风头。

For example, a portion of the program’s interview section is devoted to McCartney’s adventures in the nascent London underground of the mid-Sixties: hanging out with art scenesters like gallery owner Robert Fraser, attending avant-garde music concerts, helping to set up the pioneering Indica Bookshop and Gallery, funding the seminal underground newspaper IT (International Times). “I’m not trying to say it was all me,” McCartney points out in the program, “but I do think John’s avant-garde period later, was really to give himself a go at what he’d seen me having a go at.”

例如，场刊访谈有一部分是关于McCartney在伦敦六十年代中期新生地下艺术中的穿梭：与画廊老板Robert Fraser等艺术界人士混在一起，参加前卫音乐会，帮着打造先锋书店画廊Indica，资助开创性的地下报纸IT（International Times）。"我并不想说这都是我的功劳，" McCartney在场刊中指出，"但我确实认为John后期对先锋艺术的探索，是为了给自己一个新生活的机会，因为他看到了我经历的新生活。"

“Because I talk about this so much, people go around saying, ‘Oh, he’s trying to reclaim the Beatles for himself, to take it away from John,'” says McCartney while relaxing on the chartered jet ferrying him, his family and the band between Toronto and Montreal. “I’m not doing anything of the kind! I’m not trying to claim the history and achievements of the Beatles for myself. I’m just trying to reclaim my part of it.

"因为我经常谈这件事，所以人们到处说，'哦，他想把披头士据为己有，从John那里夺走它'，" McCartney乘着包机轻松谈到（这包机在多伦多和蒙特利尔之间接送他自己、家人和乐队成员）。"完全没有的事! 我不想把披头士的历史和成就据为己有。我只是想找回属于自己的那部分。”

“It’s not sour grapes. It’s true. I was there in the mid-Sixties when all these things started to happen in London. The Indica Gallery, art people like Robert Fraser. I was living in London, and I was the only bachelor of the four. The others were married and living in the suburbs. I was just there when it all started to happen.

“真不是酸葡萄心理，六十年代中期伦敦百花齐放的时代，我就在那旋涡中心，在Indica画廊，与Robert Fraser这类艺术人士在一起。我就住在伦敦，也是乐队里唯一一个单身的。另外三个都结婚了住在郊区，我只是正巧那时在那地而已。”

“The difference is that once John got interested in it, he did it like everything else — to extremes. He did it with great energy and enthusiasm. He dove into it headfirst with Yoko. So it looked like he had been the one doing all the avant-garde stuff.

“It’s the ultimate conundrum,” he admits rather helplessly. “If I don’t say anything, I go on being the so-called wimp of the group. If I do open my mouth, it looks like I’m sullying John.

"不同的是，约翰一对它产生兴趣，他就开始走极端，就像他做别的事情那样。他以极大的精力和热情去投入，和洋子一起，一头扎进去。所以看起来他才一直在做各种先锋前卫的活动。”

"这是终极难题。"他颇为无奈地承认。"如果我什么都不说，我就一直是所谓的群体中的懦夫。但如果我真的开了口，看着就像是我在diss约翰。”

“And this has only become an issue because he’s dead. Because of the mythologizing that inevitably comes with someone as special as that. And he never wanted that for himself. I remember driving in a car, listening to an interview with John on the radio on the day he died in which he said, ‘I don’t want to be a martyr.’ He didn’t want that responsibility, to be larger than life, to be some kind of god.”

No one brings it up, but this discussion, ironically enough, is taking place on the evening of the ninth anniversary of John Lennon’s murder.

"而正是因为他去世了，这才成了一个问题。因为他地位如此特殊，不可避免会被捧上神坛，可他从来都不想这样。我开车时，听过约翰去世那天的电台采访，他说，'我不想成为烈士'。他不想要那种责任，大于生命，要成为某种神什么的。"

虽然无人提及，但讽刺的是，这场访谈是在John Lennon遇害九周年的晚上进行的。

“The fact is, we were a team,” McCartney states firmly as the plane begins its descent, “despite everything that went on between us and around us. And I was the only songwriter he ever chose to work with. Nuff said.”

"但其实我们是一个团队，"他在飞机开始下降时坚定表示，"尽管我们之间以及周围环境发生了各种事情，但我依然是唯一一个他自己选择合作写歌的人，就是这样。"

A day in the touring life, McCartney style, is a nonstop series of interviews, photo opportunities, press conferences, sound checks and meals grabbed quickly by a band on the run. And, of course, the nights are busy, too.

McCartney的巡演生活每天充斥着持续的采访、拍照、新闻发布会、试音，在奔波中随意扒几口饭。当然，晚上也很忙。

This evening’s performance at Toronto’s Skydome includes McCartney’s nightly plug for Friends of the Earth, the international ecological lobbying group that he is promoting throughout the tour. As the final notes of the closing Abbey Road medley reverberate around the cavernous Skydome, McCartney and the band jump into a fleet of golf carts, which zoom through the hallways to a waiting tour bus. With all aboard, the bus pulls out of the Skydome Starsky and Hutch-style before most of the fans have even left their seats. Back at the hotel at 1:00 a.m., McCartney hosts a small bash for the tour entourage in his suite. The food is vegetarian Chinese. The main attraction is a video of the evening’s Sugar Ray Leonard-Roberto Duran fight. At 2:30 a.m., as the party breaks up, McCartney, wearing a bathrobe, dances alone in the living room to the new Quincy Jones album.

今晚在多伦多Skydome的演出，包括McCartney每晚为Friends of the Earth做的宣传，一个国际生态游说组织。当空旷的Skydome回荡着Abbey Road组曲最后一个音符，McCartney和就乐队跳上高尔夫球车，穿过走廊驶向一辆等着的巡演大巴。大多数歌迷都还没来得及离开座位呢，大家就都上了车，飞速驶出了Skydome，像在演警界双雄似的。凌晨1点回到酒店，他会在套间里为随行人员举办一场小型派对，吃的中式素食，电视里放着当晚Sugar Ray Leonard-Roberto Duran的比赛录像。凌晨2点半派对散场，他会穿着浴袍，听着Quincy Jones的新专独自，在客厅里独自跳舞。

Sedate in tone, organized with stunning military efficiency, the 1989-90 Paul McCartney World Tour is strictly business — the business of putting on a good show, promoting the latest record, getting maximum publicity and attempting to satisfy the constant public hunger for all things Beatle.

“This is more like a Beatles tour, strangely enough,” says McCartney. “In doing this tour, I’ve taken hints. If someone comes up and says, ‘How should we do this?’ my mind goes back to the best tours I’ve been on. And those were the first Beatles tours of America. They were highly organized, very efficient.

基调沉稳，组织高效，1989-90年Paul McCartney世界巡回演唱会是一场严格的商业活动—是为了举办一场优秀演出，推广最新唱片，获得最大宣传，并试图满足公众对披头士相关的持续渴望。

"挺奇怪的，这倒更像是一场披头士巡演，"McCartney说。"巡演中，我有一些自我暗示。如果有人过说，'我们应该怎么做？'脑海里就回想起我参加过的最好的巡演：披头士的第一次美国巡演，组织得很好，很有效率。

Where there was once the hysteria of four wild boys with the world at their feet, however, now there is the calm of a middle-aged man who spends nearly all of his offstage hours meeting with assorted advisers, attending to his family (he and Linda are accompanied on this series of shows by two of their four children, Stella and James) and in turn being attended to by personal staff and security, the most prominent of the latter being three muscular, well-dressed men who look as if they had graduated with honors from Secret Service finishing school. Hell raising, needless to say, is at a premium on this tour.

曾经的，是四个狂野男孩带动的歇斯底里，站在世界之巅，现在的，是一个冷静的中年男子，几乎把所有台下时间都用在会见各种顾问、照顾家人（四个孩子中Stella和James这次陪他和Linda巡演），并反过来又受助理们和安保的照顾，其中最突出的是三个肌肉发达、衣着光鲜的男人，看着像特工学校毕业的优等生。Hell raising【？】在此次巡演中很重要。

“I’m not used to that,” Robbie McIntosh says of the tour’s emphasis on organization. “When I was with the Pretenders, we would do a sound check and then we would go to a pub or something. Now with this, I get a feeling I can’t do that. It’s a lot more regimented, basically because the security is a lot heavier, because of who Paul is. And I guess because of what happened to John, although nobody directly mentions that.”

"我不习惯这样。" Robbie McIntosh提到这次巡演很强调组织性。"当我和Pretenders乐队在一起时，做完音响检查，我们就回去酒吧或者别的地方。现在我感觉自己不能这样做了。一方面因为Paul的身份，安保工作更加严密。另一方面我猜也是因为John的原因。虽然并没有人直截了当提出来。"

McIntosh observes that the band “is sort of sacred” to McCartney, wholly separate from business. “He never talks business. Never, ever. He’s never mentioned money or anything like that to me. If he’s got something to say, then he’ll say it to the manager, and you will get it from him.

McIntosh发现乐队对McCartney几乎有些“神圣”，是完全与商业活动分开的。“他从来不说商业上的事情，从来都没有。他对我从来不提钱啊什么的。如果他想说，他会和经纪人沟通，经纪人再来和你沟通。”

“And he’s got a very young approach as far as the band,” says McIntosh “You’d think this is his first band the way he goes on. You see him at sound checks, going around in circles and doing those silly little jumps. It’s a real novelty to him to have a band again — and he treats it like that.”

"搞乐队这方面，他的各种行为都显得相当年轻，" McIntosh说，"他的做法会让你以为这是他待的第一个乐队。试音时你会看到他绕圈圈，傻傻在蹦跶。对他来说，再度拥有乐队是一件很新奇的事情--他也是这样应对的。"

The sound checks are shows in themselves. McCartney doesn’t run through any of the songs in the regular production; instead, he leads the band through a batch of oldies (Carl Perkins’s “Matchbox,” an old Beatles cover, and tracks from the Russian album, like “Just Because” and “Don’t Get Around Much Anymore”), the Wings B side “C Moon,” the jaunty British music-hall number “Me Father Upon the Stage” and a Latin-hustle medley of Beatles songs.

试音本身就是一场演出。通常人们会过一遍歌单，但McCartney不这样。他会带着乐队演一些老歌(Carl Perkins的“Matchbox,” 翻唱披头士的歌，俄罗斯独家专辑里的歌, 类似 “Just Because” and “Don’t Get Around Much Anymore”这种。)Wings的B面单曲“C Moon”，英式音乐厅的欢快曲目 "Me Father Upon the Stage "和披头士曲目的拉丁风串烧。

“He’s a real clown,” Wix says quite admiringly. “He loves to show off, and he loves to be there doing it, making people laugh.”

And sure enough, onstage you can see by the light of his beaming, vintage Beatle Paul smile and the way he throws himself into the sixteen Beatles songs featured in the show that no one is enjoying this forward-into-the-past expedition more than McCartney himself.

“It’s twenty years, man,” McCartney says a bit wearily in response to the questions that have dogged him the whole length of the tour — why Beatles songs, and why so many?

"他真的是个小丑式人物。"Wix相当佩服地说。"他喜欢炫技，喜欢在台上搞笑让观众快乐。"

在舞台上，你可以从他那笑容满面、复古的披头士Paul的笑容，以及他投入演出中的十六首披头士歌曲中的方式看出来，没有人比他本人更享受这种向着曾经去探索的征途。

麦卡特尼有些疲惫地回答了困扰他整个巡演的问题--为什么是披头士的歌，为什么这么多？

“You can’t keep angry forever, twenty years after an event that hurt,” he says, referring to the band’s acrimonious breakup. “Time is a great healer.”

谈起披头士乐队的激烈解散，他说道，"已经二十年了，老兄，二十年前的事我再心痛，也不可能永远生着气。时间很能疗伤。"

McCartney explains that in preparation for the tour he actually sat down with pen and paper and drew up a list of his favorite Paul McCartney songs, Beatles and otherwise. He came up with so many of them that at one point there was talk, briefly anyway, of doing two completely different shows in each city. “I’d said to myself, ‘You’re a composer,'” he says. “‘There’s no shame in doing these songs.'”

他解释说，“准备巡演时自己真的拿着纸和笔，坐下来，写了一份他心中的Paul McCartney最佳曲目，其中包括披头士乐队和其他时期写的。单子太长了，甚至一度提到要在每个城市做两场完全不同的演出。"我对自己说，'你是作曲人'，"他说，"'演这些歌并不丢人'。"

The songs of late partner John Lennon were a different matter. “In fact, I considered doing a major tribute to John,” says McCartney. “But it suddenly felt too precious, too showbiz. I was going to have a whacking great picture of John and just say, ‘He was my friend.’ Which was true. I’m totally proud to have worked with him.

演出已故搭档John Lennon的作品则含义不同。“我其实考虑过加一个John的致敬环节，但这回忆对我来说太珍贵，这环节也太作秀了。我本想挥着一张John的照片说，‘他是我的朋友’，这是真的，能与他合作我真的很骄傲。”

“But then people started saying, ‘Why don’t you do “Imagine”?’ And I thought, ‘Fucking hell, Diana Ross does “Imagine.” They all do “Imagine.”‘ That’s when I backed off the whole thing. You go on tour, you sing your songs, arrange ’em nice, do it, and if you do it well enough, that’s what people will remember.”

“但人们又要说了，‘为啥不唱Imagine?’我就觉得，‘草了，Diana Ross也唱过Imagine，所有人都唱Imagine’。于是我退却了。我就想着去巡演，唱着自己的歌好好编排，如果做得够好，大家是会记住的。”

Paul McCartney was rather late out of the starting gate for the 1989 Dinosaurs on the Road Sweepstakes, eating the dust already kicked up during the summer and early fall by the Who, the Rolling Stones and even Ringo Starr. But he’s not bugged either about his membership in the club — “I’m another dinosaur,” he says frankly —��or by the implicit pressure to prove his viability as a contemporary artist to an audience obsessed by his past, if necessary at the expense of his peers.

【这段的典故没咋看懂，也没查到，有无老师解答？】

“It’s never stopped,” says McCartney, sitting on a bench in the Montreal Canadiens’ locker room while a sold-out house awaits him inside the Forum next door. “I will never stop competing with every other artist in this business. Pet Sounds kicked me to make Pepper. It was direct competition with the Beach Boys. So what? That’s what everyone’s doing. Although when Brian Wilson heard Pepper, he went the other way.

“竞争从来没有停止过，”他说，在更衣室里坐在板凳上，隔壁漫长的人都在期待着他演出。“我永远不会放弃和这行艺术家们竞争的。Pet Sounds促使我推动Sgt. Pepper项目，这是和the Beach Boys直接竞争，但又怎样呢？大家都这么做。虽然Brian Wilson听完Sgt. Pepper，他就调转枪头啦。”

“But, yeah, it’s competition. If you put ten children in a room, after an hour or so, they’ll sort themselves out. The smart one. The big, tough one. The cowardly one. The funny one who’s the friend of the smart one and the big, tough one. They will establish a pecking order.”

And where does McCartney place himself in rock’s pecking order?

“I’d put me at the top. Just because I’m a competitor, man. You don’t have Ed Moses going around saying, ‘Sure, I’m the third-best hurdler in the world.’ You don’t find Mike Tyson saying, ‘Sure, there’s lots of guys who could beat me.’ You’ve got to slog, man. I’ve slogged my way up from the suburbs of Liverpool, and I am not about to put all that down.”

“但竞争就是这样。你让10个孩子在一个屋子里，过一两个小时，他们就分出区别了。聪明孩子，壮硕孩子，强悍孩子，怂孩子，以及和聪明孩子壮硕孩子强悍孩子关系都很好的搞笑孩子。他们自己就会分等级。”那McCartney认为自己在哪一级呢？

“我觉得自己是最高一级，因为我确实很有竞争力。你看不到Ed Moses到处说：‘我是世上第三好的跨栏选手哈。’也不会发现Mike Tyson说，"很多人都能打倒我啊。”人必须要努力啊，伙计。从利物浦的郊区一路打拼上来，我不会放弃这一切的。"

Nor is he about to let all that go forgotten. With the key Beatles lawsuits settled, he’s keen to go ahead with the long-discussed authorized Beatles film biography, The Long and Winding Road, although the project hit an early snag in terms of finding a director. McCartney mistakenly attempted to solicit interest from top screen talent by sending form letters outlining the project to the likes of Steven Spielberg, Ridley Scott and Michael Apted. “George [Harrison], who’s in the film business, went, ‘Major no-no, man, we shouldn’t have done that.’ And he should have stopped me. It was a mistake.”

他也不打算让这一切消失于记忆深处。随着披头士乐队关键官司解决了，他开始积极推进讨论已久的乐队授权电影传记The Long and Winding Road，虽然在找导演时就早早遇到了阻碍。他错了，他试图征求顶级大导的兴趣，他向Steven Spielberg, Ridley Scott 和Michael Apted等人发送了邀约。"涉足电影行业的乔治说，'可千万别，咱不能这么干。’他确实该阻止我，这决定是错误的。"

Yet having willingly reawakened the Beatlemania beast with his current show, Paul McCartney enters the Nineties with a new variation on his old Seventies dilemma: How do you follow an act like the Beatles — again? He talks of making a new album with his touring band, and he’s halfway through a major orchestral and choral piece, written with British conductor Carl Davis, to be debuted during the 150th-anniversary celebrations of the Royal Liverpool Philharmonic next year. More important, though, he’s come to realize that you don’t follow an act like the Beatles. You learn to live with it, and learn from it.

Paul McCartney通过他目前的巡演，有意唤醒了人们对披头士的狂热。进入九十年代后，他对这七十年代的老难题态度又有了变化：如何重现披头士的行事作风？他说自己会和巡演乐队一起制作一张新专辑，和英国指挥家Carl Davis共同创作的大型管弦乐和合唱作品也已经完成了一半，将在明年皇家利物浦爱乐乐团150周年庆祝活动中首次亮相。但更重要的是，他已经意识到，自己不能重现披头士的作风了，而是要学会与之共存，并从中学习。

“I’ve already done the thing where you go out and shun the Beatles,” says McCartney. “That was Wings. Now I’ve done this whole thing. I recognize that I’m a composer and that those Beatles songs are a part of my material.

“出门演出，假装自己不是个披头，这事我已经干过了，就是Wings。我现在想要的，是意识到自己是一位作曲人，而披头士的歌曲是我作品的一部分。”

“The only alternative is that I turn my back on it forever, never do ‘Hey Jude’ again — and I think it’s a damn good song,” he says before heading out onstage, where he’ll play it again for a grateful crowd. “It would really be a pity if I don’t do it. Because someone else will.”

“另一个选项是，我得永远无视披头生涯，永远不能唱Hey Jude。可这真tm是首好歌。”他上台演出前说着，“如果我永远不唱那就太可惜了，因为会被别人唱掉的。”

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catslovelycat-blog · 4 years

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馬威爾（Andrew Marvell, 1621-1678）　 To His Coy Mistress Had we but world enough, and time, This coyness, Lady, were no crime We would sit down and think which way To walk and pass our long love’s day. Thou by the Indian Ganges’ side Shouldst rubies find: I by the tide Of Humber would complain. I would Love you ten years before the Flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires, and more slow; An hundred years should go to praise Thine eyes and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, Lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found, Nor, in thy marble vault, shall sound My echoing song: then worms shall try That long preserved virginity, And your quaint honour turn to dust, And into ashes all my lust: The grave’s a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapt power Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Thorough the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run. 致羞怯的情人如果我們的世界夠大，時間夠多，小姐，這樣的羞怯就算不上罪過。我們會坐下來，想想該上哪邊去散步，度過我們漫漫的愛情天。你會在印度的恒河河畔尋得紅寶石：我則咕噥抱怨，傍著洪泊灣的潮汐。我會在諾亞洪水前十年就將你愛，你如果高興，可以一直說不要，直到猶太人改信別的宗教。我植物般的愛情會不斷生長，比帝國還要遼闊，還要緩慢；我會用一百年的時間讚美你的眼睛，凝視你的額眉；花兩百年愛慕你的每個乳房，三萬年才讚賞完其它的地方；每個部位至少花上一個世代，在最後一世代才把你的心秀出來。因為，小姐，你值得這樣的禮遇，我也不願用更低的格調愛你。可是在我背後我總聽見時間帶翼的馬車急急追趕；而橫陳在我們眼前的卻是無垠永恆的荒漠。你的美絕不會再現芳蹤，你大理石墓穴裏，我的歌聲也不會迴蕩：那時蛆蟲將品嚐你那珍藏已久的貞操，你的矜持會化成灰塵，我的情慾會變成灰燼：墳墓是個隱密的好地方，但沒人會在那裏擁抱 #andrewmar#cat https://www.instagram.com/p/CA7-w2FBK2Q/?igshid=1jxiwaup0eem5

#andrewmar #cat

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chcrrypcps · 6 years

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(m) korean names; mix n match

90+ KOREAN SYLLABLES to mix n match together to form names!

– common hanja meanings attached !

**not all name meanings are listed & not all names have to mean something– some people just like the sound of them!\

(female version here!)

아 (ah)

兒 son, child, oneself; final part

亞 second

我 our, us, my, we

牙 tooth, teeth; serrated

芽 bud, sprout

雅 elegant, graceful, refined

안 (ahn)

安 peaceful, tranquil, quiet

案 table, bench

眼 eye; hole

岸 bank, shore, beach coast

顔 face, facial appearance

배 (bae)

北 north, northern

配 match, pair; equal

杯 cup, glass

輩 generation, lifetime

korean for pear

백 (baek)

白 pure, white, unblemished

百 one hundred

범 (beom/bum)

犯 criminal; to commit a crime

凡 ordinary, common

비 (bi/bee)

秘 secret, mysterious

悲 sorrow, grief; sorry, sad

飛 fly, go quickly

卑 humble, low, inferior

肥 fat, plump; fertile

丕 grand, glorious, distinguished

빈 (bin)

彬 cultivated; well-bred

분 (boon/bun)

芬 perfume. fragrance. aroma

憤 resentment, hatred

보 (bo)

保 protect, defend, care for

寶 treasure, jewel, precious, rare

普 universal, widespread

補 mend, fix, repair, restore

甫 begin, man, father, great

輔 protect, assist

복 (bok)

福 happiness, good fortune, blessings

卜 fortune, prophecy

馥 fragrance, scent, aroma

변 (byun/byeon)

變 rebel; change, transform, alter

卞 excitable; impatient

차 (cha)

茶 tea

差 different, wrong

초 (cho)

草 grass straw herbs

哨 whistle, chirp

焦 burned scorched; anxious vexes

천 (cheon/chun)

千 thousand

天 sky, heaven; celestial, god

川 stream, river

泉 spring, fountain; wealth money

淺 shallow, superficial

賤 cheap, worthless

철 (cheol/chul)

鐵 iron; strong, solid, firm

哲 wise, sagacious; wise-man, sage

대 (dae)

代 replacement

臺 tower, lookout

貸 to lend, borrow, pardon

다 (dah/da)

多 much, many

茶 tea

도 (do)

道 path, road

島 island

都 elegant refined

徒 disciple, follower

桃 peach; marriage

悼 grieve, lament, mourn

동 (dong)

棟 support beams of a house

東 east

冬 winter; 11th lunar month

洞 cave; grotto

童 virgin; child, boy

銅 brass, copper, bronze

凍 to freeze, congeal

언 (eon)

言 words, speech, speak

彦 elegant

은 (eun)

銀 silver, cash, money, wealth

恩 kindness, mercy, charity

隱 hidden, secret

殷 abundant, flourishing; many, great

誾 respectful

고 (goh/go)

古 old, classic, ancient

苦 bitter; hardship, suffering

固 strength; solid, strong

孤 orphan; solitary

故 ancient, old

枯 withered, decayed

국 (guk/gook/kuk/kook)

國 nation, country

菊 chrysanthemum

규 (gyu/kyu)

叫 cry, shout; hail, greet, call

하 (ha)

夏 summer

河 river, stream

荷 lotus, water lily

해 (hae)

海 sea, ocean

害 harm, destroy, kill

희 (hee/hui)

喜 joy, love

希 rare; hope, expectations

稀 rare, unusual

姬 beauty

熹 warm bright; glimmer

禧 happiness

화 (hwa)

火 fire flame; burn; anger, rage

花 flower, blossoms

和 harmony, peace; peaceful, calm

嬅 beautiful

禍 misfortune, calamity, disaster

혜 (hye)

慧 bright, intelligent

현 (hyun/hyeon)

賢 virtuous, worthy, good

炫 shine glitter; show off, flaunt

玄 deep, profound

호 (ho)

呼 sigh, breath, exhale

好 fine, excellent

戶 family, household

護 to protect, guard, defend, shelter

胡 reckless, foolish; wild

虎 tiger; brave, fierce

豪 brave, heroic, chivalrous

昊 sky, heaven; summertime

皓 bright, luminous; clear

祜 blessing, happiness, prosperity

환 (hwan)

煥 shining, brilliant, lustrous

患 suffer, worry

歡 joy, happiness, pleasure

換 substitute; change, exchange

幻 fantasy, illusion, mirage

일 (il/eel)

一 one; alone, singular

日 sun, day, daytime

인 (in)

麟 female chinese unicorn

人 people, mankind, man, population

仁 humane; benevolence, kindness

認 to recognize, know, understand

寅 respect, reverence

忍 endure, bear, suffer

재 (jae)

才 talent, ability

災 calamity, disaster, catastrophe

財 wealth, riches

宰 to slaughter; to rule

栽 to cultivate; to care for plants

장 (jang)

長 leader; to excel in

奬 prize, reward

腸 emotions; sausage, intestines

障 shield, barricade; separate

丈 gentleman, husband

墻 wall

樟 camphor tree

자 (jah/ja)

子 child, offspring; fruit, seed

資 property; wealth

慈 kind, charitable, benevolent

紫 purple, violet; amethyst

磁 porcelain

지 (ji/jee)

地 earth, ground, soil

紙 paper

志 determination, will

智 wisdom, knowledge, intelligence

池 pool, pond

진 (jin)

珍 precious, valuable; rare

眞 genuine, real, true

주 (ju/joo)

晝 daytime, daylight

朱 cinnabar, vermilion

酒 wine, spirits, liquor

宙 time as a concept

洲 island

珠 precious stone, gem, jewel, pearl

준 (joon)

駿 noble steed;

俊 handsome; talented, capable

遵 honor; obedience

峻 stern; high, steep, towering

濬 deep, profound

정 (jung/jeong)

正 right, proper, correct

情 emotion, feeling, sentiment

程 journey, trip

精 essence, spirit

征 invade, attack, conquer

靜 gentle, quiet, still

淨 pure, clean, unspoiled

貞 loyal; virtuous pure

晶 crystal; clear, bright, radiant

汀 beach, bank, shore

禎 good omen, lucky

종 (jong)

終 ending, finale

宗 lineage, ancestry; ancestor

鍾 glass, goblet, cup

鐘 clock; bell

縱 to indulge in

강 (kang)

疆 boundary, border, frontier

强 strong, powerful, energetic

康 peaceful, quiet; happy, healthy

剛 hard, tough, rigid, strong

鋼 steel; hard, strong, tough

姜 ginger

기 (ki/gi)

麒 legendary auspicious animal

汽 steam, vapor, gas

器 receptacle, vessel; instrument

奇 strange, unusual, uncanny

機 machine; moment, chance

起 to rise, stand up; to begin

棄 to reject, abandon, or discard

忌 jealousy, envy; fear

欺 to cheat, deceive, or double-cross

祈 to pray; entreat, beseech

飢 hunger, starvation, famine

冀 to hope for; wish

岐 majestic

璣 a pearl that's not quite perfect

琪 a type of jade

琦 gem, precious stone, jade

氣 spirit; air, steam, vapor

記to remember, record

基 strong foundation, or base

技 skill, ability, talent

경 (kyung/kyeong/gyung/gyeong)

敬 respect, honor

輕 light, gentle

警 guard, watch

鏡 mirror, glass

卿 noble

炅 brilliance

瓊 jade; rare, precious; elegant

민 (min)

閔 mourn, grieve

憫 pity, sympathy

敏 clever, smart

旻 heaven

玟 gem

문 (moon/mun)

門/ gate, entrance

文 literature, writing; culture

명 (myung/myeong)

命 life; destiny, fate, luck

明 light, bright, brilliant

冥 dark, gloomy; night

나 (nah/na)

奈 bear, endure

남 (nam)

南 south

오 (oh)

五 five

午 noon

惡 evil, wicked, bad, foul

傲 proud, haughty; overbearing

嗚 sound of crying, sobbing; sound of sadness

娛 pleasure, enjoyment, amusement

汚 filthy, dirty, impure

烏 crow, raven; black, dark

리 (ri/li/lee/ree)

李 plum

梨 pear

림 (rim)

林 forest, grove

사 (sa)

四 four

使 messenger

死 die; death; dead

士 scholar

思 think, consider, ponder

師 teacher, master

私 secret, private, personal

絲 silk, fine thread

:沙 sand, pebbles

蛇 snake

詐 trick, cheat, swindle, feign

邪 wrong, evil, vicious

唆 mischievous

상 (sang)

上 top, superior, highest

賞 reward, prize

傷 wound, injury

常 common, normal, frequent

象 ivory; elephant

喪 mourn

祥 happiness; good luck, good omen

裳 beautiful

霜 frost; crystallized

서 (seo)

西 west

庶 numerous various

徐 composed, dignified; quiet, calm

恕 forgiveness; mercy

誓 swear, pledge, promise, oath

석 (seok)

夕 evening, night, dusk

石 stone, rock, mineral

惜 pity, regret, rue

昔 ancient

奭 red; anger

碩 great, eminent; large

선 (seon/sun)

瑄 ornamental jade

仙 transcendent, immortal

善 good, virtuous, charitable, kind

鮮 fresh, new; rare

璿 fine jade

璇 star; beautiful jade

성 (seong)

晟 clear bright; splendor

城 castle; city, town

誠 sincere, honest; true, real

聲 sound, voice, music

聖 holy, sacred

盛 abundant, flourishing

星 a star, planet

승 (seung)

勝 victory

承 succeed

乘 rise, ascend

昇 peace; rise, ascent

신 (shin)

辰 early morning

信 trust, believe

新 new, fresh, modern

神 spirit; god, supernatural being

晨 early morning, daybreak

辛 bitter

시 (si/shi)

矢 vow, swear, promise

時 time season; age, period, era

施 grant, bestow, give

詩 poetry

屍 corpse

소 (so)

消 vanish, die out, melt away

笑 smile, laugh

素 white silk

昭 bright, luminous

蘇 revive, resurrect

슥 (sook/suk)

宿 constellation

淑 good, pure, virtuous, charming

수 (su/soo)

樹 plant, tree

守 defend, protect, guard

收 gather collect; harvest

秀 refined, elegant, graceful

壽 old age, long life

殊 different, special, unusual

태 (tae)

颱 typhoon

太 very, too much; big; extreme

態 manner, attitude

殆 dangerous, perilous

怠 idle, negligent

泰 great, exalted, superior

兌 cash, money; to exchange, barter

胎 fetus, embryo, unborn child

특 (teuk)

特 special, unique, distinguished

와 (wah/wa)

瓦 pottery

왕 (wang)

王 king, ruler, royalty

旺 prosperous; prosperity

위 (wee/wi)

位 throne, rank, status

偉 great, robust, extraordinary

危 dangerous

威 power; powerful; dominate

慰 calm, comfort, console

衛 guard, protect, defend

違 disobey, defy, rebel; be different than

尉 officer, military rank

원 (won)

源 spring

園 garden, park, orchard

原 beginning, source, origin

願 to wish, ambition, desire, want

怨 hatred, enemy, resentment

苑 park, garden

瑗 a ring of fine jade

媛 beauty; a beautiful woman

우 (woo/wu)

友 friend, companion

牛 cow, ox, bull

雨 rain; rainy

優 superior; excellent

宇 house, building, structure

愚 stupid, foolish

憂 sad, grievance; grief, melancholy

羽 feather, plume; wings

佑 to help, bless, protect

祐 protection; divine intervention

욱 (wook/ook)

頊 grief, anxiety

旭 brilliance, radiant

昱 dazzling, bright light, sunlight

煜 bright, shining, brilliant

郁 sweet smelling; rich in aroma

운 (woon/wun)

運 luck, fortune

雲 clouds

云 clouds

芸 art, talent ability; rue (herb)

야 (yah/ya)

夜 night, dark

野 open country, wilderness, field

惹 irritate, offend

열 (yeol/yul)

烈 fiery, violent, ardent

劣 bad, inferior

연 (yeon)

然 promise, pledge

燃 burn; ignite

緣 karma, fate

戀 love, long for, yearn for

燕 swallow (bird) ; comfort, enjoy

蓮 lotus, water lily; paradise

漣 flowing water; ripples

영 (yeong/young)

永 perpetual, eternal, forever

英 petal, flower, leaf; brave, hero; england, english

令 commandant, magistrate

領 neck, collar; leader, guide

映 to reflect light

榮 glory, honor; to flourish or prosper

寧 serenity, peace; peaceful

嶺 mountain ridge, mountain peak

影 shadow, reflection; photograph

泳 to dive, swim

詠 sing, hum, chant

零 zero; fragment, fraction, sliver

靈 spirit, soul

瑛 crystal, gem

盈 full, overflowing

이 (yi/ie)

二 two; twice

利 gains, profit

李 plum

易 change

異 different, unusual, strange

梨 pear; opera

泥 earth, mud, clay

怡 harmony, joy, pleasure; to be glad

용 (yong)

龍 dragon; symbolic of emperors

勇 brave courageous fierce

容 looks appearance; figure, form

庸 common, ordinary, mediocre

傭 servant; to hire, employ, charter

溶 overflowing with; to melt, dissolve

熔 to melt, fuse, mold

瑢 gem ornaments, usually used for belts

유 (yoo/yu)

柳 willow tree; pleasure

遊 wander, roam, travel

柔 soft, gentle

維 maintain, preserve

裕 rich, abundant, plentiful

劉 to kill, destroy

육 (yook/yuk)

六 six

율 (yool/yul)

栗 chestnuts, chestnut tree

윤 (yoon/yun)

潤 soft, moist; sleek, fresh

尹 govern, oversee, direct

胤 heir, successor

#rph #muse help #name help #korean names #writing reference #character help #korean #mine #here's the male version !

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