Archive for May, 2009

Weekend snippets

Sunday, May 31st, 2009

Playing wii golf

A: I can’t believe I’m tired already.
B: That’s because you’ve had more strokes than the rest.

A’s ball goes flying off into the ocean.
C: The sport’s golf, not diving…

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At dimsum

Waitress explains there’s 木耳 in the steamed version of the beancurdskin roll
A: She’s just saying there’s fungus in this one.
Friends look slightly wary.
A: It’s edible fungus.

A: We got lost and I told B I was taking him to sell his kidneys.
D to B: I can get you a better price.

Repetitio est mater studorium

Thursday, May 28th, 2009

Gutta cavat lapidem, non vi, sed saepe cadendo.

und so weiter.

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Also, Clement Freud died last month!!! NOOOOO. Just A Minute won’t ever be the same.

Cat

Thursday, May 28th, 2009

Nodding off

purrr

mwr..zzz..

Covering face with paw

Hugging his hind leg in sleep

A: C and I call him Cat. Sometimes Cat Cat. If we’re parents we’d be the type who call our kids “Boy” and “Girl”. The younger ones would be “Boy boy” and “Girl girl”. I suppose that’d limit us to two of either sex.

B: You should put him on LOLcats!
A: …C and I may be crazy catlovers, but I’ve not sunk to that level.

B (drinking turtle soup. lifts head and pretends to listen intently): I’m glad I can’t hear the screams of the turtles.

Unsex me here

Tuesday, May 26th, 2009

A fails to open a door.
B: Eh don’t be so guniang can.
A: What? *launches into tirade*
“Come, you spirits/
That tend on mortal thoughts! Unsex me here,/
And fill me from the crown to the toe full/
Of direst cruelty: make thick my blood,/
Stop up the access and passage to remorse….”
B: …Typical hysterical female.
A: Beware of turning into a grouchy ah-chek. Don’t you know that gentlemen open doors?

Flowers! And maturity

Tuesday, May 26th, 2009

Peony

共道牡丹时,相随买花去!

何人不爱牡丹花,占断城中好物华.

庭前芍药妖无格,
池上芙蕖净少情。
惟有牡丹真国色,
花开时节动京城。

落尽残红始吐芳,
佳名唤作百花王,
竟夸天下无双艳,
独占人间第一香。

桃李花开人不窥,
花时须是牡丹时。
牡丹花发酒增价,
夜半游人犹未归。

牡丹奇擅洛都春,
百卉千花浪纠纷。
国色鲜明舒嫩脸,
仙冠重叠剪红云。

绿艳闲且静,
红衣浅复深。
花心愁欲断,
春色岂知心。

百宝栏杆护晓寒,
沉香亭北若为看。
春来谁作韶华主,
总领群芳是牡丹。

牡丹芳,
黄金蕊绽红玉房。

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WAS thinking about some stuff from volunteering, and the traits I look out for in people and try to develop in myself.

As long as you let someone else make decisions regarding your career, dreams or aspirations, you’ve limited yourself drastically. You’ll only be as good as that person allows you to become. People who’re mature have a strong sense of identity with specific tastes and preferences. They’re accountable for their own tastes and preferences, but don’t force them on others.

They’re also good at budgeting time, energy and money. They do not suffer too much over things they can’t control. Instead, they work with what they have to solve problems, accept themselves and their limitations, and accept the limitations of those around them. They’re respectful and open, but don’t let anyone tell them how to feel, what to believe, or what they should or should not do. And while they want to help others grow, they do not dictate to others what to do, be, think or feel. This is something I’ve to learn — to accept people for who they are.

Also learn not to take on responsibility for the normal self-care of others, yet be empathic and caring. To go back to the image of personal boundary, you open the doors only to win-win deals and close them to win-lose deals…If you’re with a passively difficult man who goes along with everything you say and then sabotages what he’s agreed to, you’re looking at a guy with holes in his boundary.

It’s all about locus of control — we are being steered in our lives, whether by ourselves or by others. If you need an outside force to control your feelings, then self-control is unpredictable — you can’t take responsibility for your own negativity and emotional management. An internal locus of control is different — it comes from a strong boundary that lets people know you can resist stress. No matter what happens in the environment, you’re capable of keeping your head and remaining composed. And you won’t create drains on others or make drama that risks relationships. Strength is the currency of the personal boundary: it’s what lets us protect ourselves the same way the strong border of a nation does. If you build it well, you’ll avoid having holes like a sieve that drains your energy and time — and others’ too — by dwelling on worry, complaints, rage, victimisation and suffering all the time. In any case, friendships and relationships should never be a dumpster for negativity or suffering.

Framing & influence

Friday, May 22nd, 2009

TALKED with a good friend about a book I read that I was disturbed by, and he told me about the framing of decisions and the psychology of choice in economics.

Altering the semantics of the act, the actor, and the action — replacing unpleasant reality with desirable rhetoric, gilding the frame so that the real picture is disguised: from “hurting victims” to “helping the experimenter.” We can see the same semantic framing at work in advertising, where, for example, bad-tasting mouthwash is framed as good for you because it kills germs and tastes like medicine.

A summary of useful studies by Pratkanis here, part of a good guide on thinking through influences:

“Who makes the frame becomes the artist, or the con artist. The way issues are framed is often more influential than the persuasive arguments within their boundaries. Moreover, effective frames can seem not to be frames at all, just sound bites, visual images, slogans, and logos. They influence us without our being conscious of them, and they shape our orientation toward the ideas or issues they promote. For example, voters, who favored reducing estate tax benefits for the rich, were urged to vote against a “death tax”; the tax was exactly the same, but its defining term was different. We desire things that are framed as being “scarce,” even when they are plentiful. We are averse to things that are framed as potential losses, and prefer what is presented to us as a gain, even when the ratio of positive to negative prognoses is the same. We don’t want a 40% chance of losing X over Y, but do want the 60% chance of gaining Y over X. Linguist George Lakoff clearly shows in his writings that it is crucial to be aware of frame power and to be vigilant to offset its insidious influence on our emotions, thoughts, and votes.”

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The backdrop of all of this is Obama v Cheney. Note how both sides frame their arguments. I think that Cheney’s approach has created the “evil barrel” that Zimbardo describes.

Douce et drole

Friday, May 22nd, 2009

En voiture, j’ai toujours aime etre assise a l’arriere. Coller ma joue contre la vitre et et m’oublier dans le paysage…J’ai passe la plus douce, la plus drole, la plus precieuse des soirees. Autour de moi des visages clairs. Pas une fausse note. Des rencontres.

Il y a un tel bonheur a faire rire les gens que parfois, je me suis dit que j’aurais aime etre humoriste. :)

吕振端 三位名师造就的 学者书法家

Thursday, May 21st, 2009

● 吴启基 (2009-05-19)

  本地学者书法家吕振端博士自认今生有幸,在学习书法的过程中一而再,再而三地遇到名师,分别为陈蕾士、黄勗吾和台静农。前两位是在新马遇见,后一位则在台湾。三人中,目前只陈蕾士还健在。

  吕振端对他们充满了感激:“三位老师,影响我至深。”

  早期住在马来亚的华人,如果有机会接受教育,进的是非常“另类”的华校。比如私塾,纯粹用方言教学;即使是新式华文小学,也用方言作为辅助教学语。此外,学生要按时交大小楷作业并一律以毛笔书写作文。凡有不交作业或不会拿毛笔的,老师就毫不留情以藤鞭打五下手心。如此打呀打的,这些乡村小孩一个个长大、毕业、离校。

  这样的教育制度,却也培养了像吕振端这样日后成为博士的学者和书法家。吕振端住在柔佛州麻坡乡下,甘榜里多的是马来人,华人只有10多家。华人子弟上的是现在已无法见到的私塾。当时执教老师来自中国永春,私塾的两三年里,上课讲的是闽南语。这也等于说,《论语》《中庸》《孟子》等古书和几本童蒙读物,一律以方言教学。

小学才开始学华语

  可是,私塾老师的教学还是很认真的。学校每天上课,只逢阴历初一、十五才休息。老师也买来颜真卿和柳公权让他们习字。乡下地方物资贫乏,想要练字,报纸、茶叶纸等拿来就写。通常把纸张折成可写满16个字的方格子。到转入小学二年级吕振端才发现,自己是个不会讲华语的超龄生。

  “我念私塾与初中时,作文规定必须用毛笔写,每周或学校假期都要交毛笔书法作业。哪个字写得好的,老师就用红笔打个圆圈,最后写个“阅”字;有些老师还会给个甲乙丙丁的等级,以资鼓励。”毛笔的应用,从小学到初中,依然坚持。情况到高中才略有改变。

  时代和社会变化,等到吕振端要上小学时,也就是1950年,英国殖民地统治者为了分化华人的“持不同政见者”,颁布了有名的“紧急时期法令”。法令在全马南北东西各地执行。后来,被认为是深藏左派势力的乡村消失了,并在当时的马来亚建立了许多所谓的“新村”。

  全马新村总数有480多个。可是,在柔佛州建立的独立中学,只有8所目前是还在昂步前进的学校。独中的主要语文是华文及华语,数理化或用英文或中英文并用,此外,英文和马来文是必修。柔佛州8所华文独立中学是:麻坡中化中学、利丰港培华中学、居銮中华中学、永平永平中学、峇株巴辖华仁中学、笨珍培群中学、新山宽柔中学(附设宽柔中学古来分校)、新文龙中华中学。

幸遇多位名师

  也是在中学中二时,吕振端遇到了有才子之称的华文老师陈蕾士,不但古筝弹奏第一,书法也非常有名于时,尤精隶书和魏碑。高中毕业,吕振端考入南洋大学中文系,老师是著名诗人及书法家黄勖吾。

  获交换计划奖学金到台湾大学深造,老师有著名作家、学者及书法家台静农。

  吕振端也常受邀到国内外的社团及文教机构书写招牌、匾额及碑文。如悬挂于中华总商会楼下入口的擘巢大字“放眼四海”及厦门敬贤公园门口的大字等。

一日为师终生为父

  老一代华校生多懂得尊师重道,在谈到老师的学问和为人时总是津津乐道,只怕自己了解得还不够好不够深。这样的例子,也可以在吕振端博士身上见到。

  吕振端的三位恩师,分别为陈蕾士、黄勗吾和台静农。前两位在新马,后一位在台湾。三人中,陈蕾士还健在,后两位已经久矣归了道山。

  吕振端说:“在我学习书法的过程中,三位老师影响我至深。”

能书能琴的陈蕾士

  他说:“陈蕾士老师于五六十年代执教于麻坡中化中学,七十年代前往香港中文大学担任教授。他多才多艺学问渊博,擅长琴筝,是极负盛名的古筝演奏家。七十年代初曾与饶宗颐教授在南大建国堂联合演奏琴瑟,轰动一时。此外他也是个书法家,尤精于隶书。其隶书风格厚重古朴气度恢弘,又不落前人窠臼,行楷则略带魏碑韵味。他从不开个展。他也擅写旧体诗,著有《薇斋诗》二卷。”

谈到老师的为人,他说:“陈老师性情温和,从未见他发过脾气,也从未骂过学生。讲话动作不疾不徐,有时还带着一把纸扇,风度翩翩,处事低调,淡泊名利。我第一次向陈老师请教时,是在初中二那年。当时我写了几张各体书法习作,请他指点。陈老师看了之后,马上告诉我如何用笔。”

  陈蕾士还帮他买了二十多本篆隶楷行草各体碑帖,让他粗略了解中国书体演变及掌握不同书体的书写基本常识。

工于诗词书法的黄勗吾

  谈到黄勗吾,他说:“我刚进南大时,已知黄勗吾老师是著名书法家。他工于诗词书法,尤精于行草。他本于二王,部分笔画则近似北海。运笔富于变化,书风超逸多姿、稳健而豪迈。上黄老师的课可说是一种享受,学生可一面听课,一面欣赏他的板书。我前后上了老师三门课。老师过世后,整理遗稿,不胜感慨。”

  老师的为人,也给他留下深刻印象。“黄老师待人诚恳,宅心仁厚,对学生爱护有加。学生有所请益,更是知无不言。只要学生稍有一长,即加以鼓励,极力提拔。”

小说家、散文家和书法家台静农

  第三位恩师台静农,是中国文豪鲁迅好友,著名学者、小说家、散文家和书法家。

  吕振端说:“老师历任中台各大学教授,著述甚丰。台老师精于隶书、行草,书名满天下,但却不开个展,他是把写字当成是一种怡情遣兴。八十岁过后,才在友生极力要求及协助下举行展出。”

  他说:“刚到台大中文研究所念书时,从同学口中知道台老师是书法名家。经同学陈海兰介绍,时常串门子。台老师上课,一半时间讲述,一半时间抄写板书。”

老师的教学风格也让他所难忘。“请教台老师写字方法,他总是说这样这样就行了,言语不多也不空谈理论。我曾在温州街台老师的家看他写字,摊开纸张,神情自若,提起毛笔,不疾不徐。”

中国书法千姿百态

  吕振端对书法的见解,也值得一提:“客观而言,中国书法是非常特殊的抽象造型艺术,千姿百态不一而足。因此写毛笔字,临摹碑帖只是入门基本功夫。除了不断练习、读帖之外,还要了解字形演变的具体过程与文字所体现的形义关系结构。”

  “我学习书法的过程中,从私塾到大学阶段,基本上都是在临摹。除了对隶书及行书能临得似模似样外,对金文及小篆也只能依样画葫芦,主要原因是,不解古文字的构形理据及笔画结构的顺序。直到大学毕业才改变。我写起字来,无论隶书或行书,都或多或少受到老师的影响。”

  谈到招牌字书写,他说:“现在可用投影机或影印机放大,随意调节。二三十年前一般上人们会要求原大,一个字两尺,你就要按两尺来写。早期有些招牌用木板,遇上手艺好的师傅,刻出来的字效果肯定较理想,至少某些飞白能体现出来。如今招牌字多采塑料版上漆或用烧焊做成立体铜雕,字形走样神韵全失,其效果可想而知。”

毛笔不敌电脑

  由于教育转向和书写工具转变,书法在目前的新加坡,会失传吗?

  吕振端博士的回答是:“由于电脑普及,学生平时作业多采用打字,用手写字的机会更是大为减少,何况是写毛笔字。有些学校为了让学生了解毛笔书法,于是请人来学校示范、指导,通常也只是五次或十次,以便有个纪录。有些学校则设有书画会的课外活动,并请专人指导,这样一来,或许还能培养一些有兴趣的学生继续练习。就目前的一些团体所开办的书法班来看,学习者多为过去的华校生,年轻人或非华文源流者甚少。参与者多半是出于个人爱好,或者把练习书法当成是一种修身养性的活动。”

谈到书法的未来,他说:“至于未来书法能否在新加坡继续发展,这是一个见仁见智的问题,也牵涉到许多因素。整体来说,要看本地未来是否能够持续具有发展书法的条件,而中文在本地的使用并没有增加的趋势。以招牌来说,小贩中心及邻里商店的招牌通常都是中英并列,大型购物中心则绝大部分是采用英文。”

●谁是吕振端?

■68岁,学者及书法家,一九四一年生于马来西亚柔佛麻坡,后成为新加坡公民。

■七岁启蒙于私塾,其后就读麻坡辅南小学、中化中学、新加坡南洋大学及国立台湾大学。先后任教于黄埔中学、华中初级学院。二零零年起在开放大学及南大兼课。目前兼职新跃大学中文系及南洋理工大学中文系。

■教学之余,一九八零年创办《华初文丛》,为华初校友出版个人文艺专集。一九八一年与辜美高、陈田启倡议创办亚洲研究学会,担任首二届会长。一九八八年创设新加坡学生华文文艺资料中心,广收学生文艺期刊达一百四十余种。

■学术论著有《汉石经春秋残字集证》等多种。

■目前也是《儒学学报》及《儒家文化》主编。书艺方面则有专辑《吕振端行书节录论语》等。

Basic “non-yapper” rules

Thursday, May 21st, 2009

FOR the circle of trust…

1. Always protect your friends — try not to speak ill of them or put them down in front of others. I believe it’s our duty to “sell” them as best as we can.

2. Loyalty — don’t overly confide in others what someone has confided in you. This is an important rule in dating, too. Be discreet about sensitive things that he’s told you, and don’t blab to your girlfriends.

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It’s peony season, folks! Please go down to your friendly florist and get hold of a bud…

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I like living. I have sometimes been wildly, despairingly, acutely miserable, racked with sorrow, but through it all I still know quite certainly that just to be alive is a grand thing.

- Agatha Christie

BG on French verse

Wednesday, May 20th, 2009

To read: Queneau, Follain, Tardieu, Guillevic, La Tour du Pin, Emmanuel, Albert-Birot, Bousquet, Mac Orlan, Daumal, Fombeure — Bonneyfoy, Bosquet, Dadelsen, Deguy, du Bouchet, Dupin, Gaspar, Jabes, Jacottet, Mansour, Pleynet, Reda, Renard, Roubard.

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Invented in the 12th century and named after Alexandre de Bernay, the 12-syllable Alexandrine verse line came to dominate French poetry from the middle of the 17th C and classically educated Frenchmen have it in their bloodstream still today. It often appears still, sometimes openly, sometimes in semi-disguise within the rhythms that give modern verse composition and prose-poetry their shape and dynamics.

In its classical form, the Alexandrine is end-stopped by punctuation, an divided in half by a caesura. Each half is called a hemistich. This line is an ideal expression of intellectual balance, symmetry and wholeness, of thesis, antithesis and implied synthesis. In the hands of Racine, probably its greatest exponent, it is the perfect form for the expression of tragic dilemma.

There have always been lines of fewer syllables than 12, of course, but rarely more than 12 before Laforgue effectively invented free verse, and rarely in an uneven number of syllables. The haunting, lyrical Impair line of 5, 7, 9 or 11 units, extolled and demonstrated beautifully by Verlaine above all, suggests to the French intellect and instinct even today a frustrating lack of shape, balance, precision and finality, and it is interesting that the most fastidious and self-conscious perfectionists among the poets, Mallarme and Valery, rarely used it.

Hugo and the other Romantics often found enjambement a major instrument of rhythmic and metrical flexibility — there are two types of enjambement, which is the overflowing of a phrase from one line to the next in a suppression of end-stopping punctuation. Its effect is often to delay or hasten stress, and to attenuate the force of rhyme.

a) Enjambement with a rejet, where the extra element is in the line following the main bulk of the unit, as in

En un creux du bois sombre interdit au soleil
Il s’affaisse, … (Leconte de Lisle)

Here the poet represents rhythmically the sinking down of a jaguar at the end of its journey back to its lair.

b) Enjambement with a contre-rejet, where the extra element is in the line preceding the main bulk of the whole unit, as in:

Le jeune Cellini, sans rien voir, ciselait
Le combat des Titans au pommeau d’une dague.
(Heredia)

French scansion is a matter of syllable counting, and stress in the English sense is very intermittent and very much attenuated in French verse. Alexandrin classique: 6th and 12th syllable accented, Alexandrin trimetre: 4th, 8th, 12th.

Tonal variety is achieved through subtle action of sound-patterns (mainly assonance) and subtle interplay through pitch, tempo, and syntactic position of the subordinate stresses that certainly do exist and do bring into relief other syllables in the line.

In the decasyllabic line (eg Valery in Le Cimetiere marin) caesura comes most often after the 4th syllable, although a 6/4 division also occurs, and there are a few poems with a 5/5 division. The octosyllable usually divides 4/4 if it divides at all, and in some of Mallarme’s most enigmatic verse the caesura could be at any one of several points in the line.

In the absence of a strong metrical pulse, it’s perhaps not surprising that the French have found it harder to dispense with rhyme, a strong unifying factor.

It’s also essential to know that a mute “e” in an orthodox line of French verse is counted as a syllable, except:
a) when it ends the line
b) when followed by a vowel (or silent h) which starts the next word, if there is no intervening ‘-s’ or ‘-nt’ ending.

Gautier, the Parnassians, Mallarme and, later, Valery were attracted by difficulty as an essential part of the creative process, and resisted the liberation offered by the Verlainian Impair line and of modernist vers libres. They enjoyed the challenge of turning shackles into virtues and singing in their chains.

But the trustful and very French assumption that ordered, declamatory language could satisfactorily express ordered perceptions, feelings and concepts broke down around 1870. Through Verlaine and Corbiere to an extent, Rimbaud and Laforgue much more powerfully, the Alexandrine began to receive body blows. The surges and rests of rhythm became progressively more important than metre, as new free verse forms emerged.

Masculine rhyme: a line not ending in a mute syllable. Redefined by Apollinaire as an oral or nasal vowel, followed by an unpronounced consonant.
Feminine rhyme: ending in mute syllable. Redefined by Apollinaire as a pronounced consonant, with or without a following mute “e”.

Traditional principles dictate that two different masculine or two different feminine rhymes cannot succeed one another, and also that masculine and feminine endings cannot rhyme together. But with A’s modification, words traditionally incompatible — ciel/querelles, sommeil/vermeille — can rhyme together.

Rime faible: vowel alone — eg parle/ecoute, choisi/noirci
Rime suffisante: vowel plus consonant or vice versa — eg attrape/trompe; sure-aventure
Rime riche: three elements: rhyming syllable plus supporting extra consonant — eg nombre/penombre, verte/ouverte, rene/arene, hautaines/capitaines

Rime croisees: ababcdcd
Rime plates: aabbccdd
Rime embrassees: abbacddc
Rimes melees: no regular scheme
Rimes redoublees: recurrence of the same rhyme in more than two lines

*

The Romantic movement brought a liberation of artistic creativity from universal standards and prescriptive restraints, so that artistic form became a mroe organic product of the intuitive and imaginative life of the artist. This encouraged a preoccupation with the self, its sensibilities, its sufferings and dreams, with love — its ecstasies, its uncertainties and torments, with time, death and eternity. It conceived the natural world as a double mirror reflecting both the will of God and the temperament of man, and thus the medium through which the two commune.

Because of Revolution, Terror and war, this came later to France than England and Germany, and the first French Romantics were able to draw from those other literary springs. They learned how to reach a wide new audience through an enfranchised press and publishing industry, and poetry became a popular art form after perhaps two centuries as a plaything of the socio-intellectual elite. Individual spirituality, the natural world in its elemental being, the exotic, the occult, adolescent passions and frustrations, dreams and nightmares, the sublime and grotesque of city life, all these surged up as the currency of poetry, and the new young public was electrified.

Quotations

Monday, May 18th, 2009

“That’s the power of books. We live lives that are not our own, and in doing so, discover things about ourselves and others that we might never have known, or have forgotten.”

- Karie Hoskins

“I was happy, I knew that. While experiencing happiness, we have difficulty in being conscious of it. Often only when the happiness is past and we look back on it do we suddenly realize– sometimes with astonishment– how happy we had been.”

- Nikos Kazantzakis, Zorba The Greek

“We don’t always have a choice how we get to know one another. Sometimes, people fall into our lives cleanly - as if out of the sky, or as if there were a direct flight from Heaven to Earth - the same sudden way we lose people, who once seemed they would always be part of our lives.”

- John Irving

Don’t give or sell your soul away

Saturday, May 16th, 2009

Our capacity to choose changes constantly with our practice of life. The longer we continue to make the wrong decisions, the more our heart hardens; the more often we make the right decision, the more our heart softens — or better perhaps, comes alive…Each step in life which increases my self-confidence, my integrity, my courage, my conviction also increases my capacity to choose the desirable alternative, until eventually it becomes more difficult for me to choose the undesirable rather than the desirable action. On the other hand, each act of surrender and cowardice weakens me, opens the path for more acts of surrender, and eventually freedom is lost.

- Fromm

JO ALWAYS takes pamphlets from the people handing them out along the streets with a smile, looking straight into their eyes: it’s something I’ve learnt from her. And you know that even giving up your seat on the MRT to old people or parents with young children helps to spread the virus of good feeling.

*

“*You* are not untouchable, Aunt Augusta.”

“That’s why I need a man who is. Two touchables together, what a terrible life they always make of it, two people suffering, afraid to speak, afraid to act, afraid of hurting. Life can be bearable when it’s only one who suffers. It’s easy to put up with your own suffering, but not someone else’s. I’m not afraid of making Mr Visconti suffer. I wouldn’t know how. I have a wonderful feeling of freedom. I can say what I like, and it will never get under that thick dago skin of his.”

- Greene, Travels With My Aunt

*

Talking of the offensively-named “third world” programme for coloured/international students at Brown (yes, we’ve a “Third World” centre): “They should rename it…the Rainbow Coalition or something!”

Lunch today

Friday, May 15th, 2009

A, B, and C chatting about which over-the-hill TCS celebrity is married to whom.
A: You know, I messaged B today saying I hope your intellect and culture will rub off on me. Instead, we get celebrity gossip.

C (aghast that the rest didn’t know this): Shamu is the killer whale! In Free Willy!
A to C: You know who Shamu is but you don’t know about Pierre Png?
B: That should go on your Facebook update. C “knows who Shamu is but doesn’t know who Pierre Png is.”

C: You know, Disgrace is being turned into a novel.
A & B start cackling.
C: I mean movie! Movie!
A: What was I reading all that time? The short story? Show me the intellect! Show me the culture!

C: You save your best self for your clients, right? We’re just getting the dregs. You capitalist whore!
A: You know, I think they say it’s *media* whore.
C (in the media industry) glares.
B: I call mine “brothel whores”.

C: So what’s the most stalkerish thing you’ve ever done.
A: My stalker was dancing around me after he followed me home on the bus. I called the police. They arrested him.

A (later): I’ve broken into xxx’s e-mail before.
C: You know what you should do? You should break into his Facebook and delete all the pretty girls.
B: No! You should block all the pretty girls in the world. Do a search for “A”, then “B”, then “C”…and if they’ve nice photos block them from his account. It can be a year-long project.

C: I really like being with you guys. You make me feel twenty years younger.

C looks around to see what other people have ordered.
A: Stop your food-court behaviour! We’re in a restaurant!

On teaching A’s daughter to walk
C: Put her on a treadmill and don’t let her off until she’s on two feet.
B: Go towards her on a steamroller!
A: I worry for your children.

C to A: Don’t scare B’s friend off with your juvenile behaviour and inappropriate laugher.
C: Err he’s going out with B, surely he must find those traits attractive!

有朋自远方来

Thursday, May 14th, 2009

LEARNT about rowing and raids and real estate and Madagascar and trial work, as some of the expat population of my secondary school class returns. I love these girls! Those days of toiletpapering the ceiling, copying one another’s bio labs (dragon-like bio teacher: “You will all get F9!”), walking to Far East Plaza….ah.

A: I didn’t know what “qiejiang” was when I came back.
A (later): So a lot of them failed at that…”guan”. You see, I may not know what “qiejiang” means, but sometimes there’s nothing like Chinese.

*

A (looking at menu): Why do they have to tell you the chicken bun is yummy? Can we order the “non-yummy” version?
B: Yeah it actually says mini chicken ball big bun in Mandarin.
A: Goodness! (dissolves into laughter)…look! Yummy is not enough! It’s “Yummy yummy phoenix claws”!

We start giggling and gasping for breath.

*

A: What’s this? Nemo’s porridge?
B: Oh it contains fish. It says 鱼片.
A: So it’s actually porridge’s Nemo not Nemo’s porridge.

*

A (viewing an art exhibit of model buildings built to scale on the floor of the gallery): I feel like Godzilla!

A proceeds to imitate Godzilla wreaking destruction. I start laughing uncontrollably.

Yes, we’re about four.

Reading notes

Tuesday, May 12th, 2009

“The classics are books which, upon reading, we find even fresher, more unexpected, and more marvellous than we had thought from hearing about them.”

- Calvino

TRYING to read through the Louis Segond during my commute…reading the great books when you’re young gives the best dividends, as they lay a foundation on which you can always build and rely upon.

When Michael Dirda was 14, his dad offered him a hundred bucks if he could go through the Bible cover to cover.

“Like a grounding in the classics or a thorough knowledge of baseball, familiarity with the Bible invests life, whether one is a believer or not, with a kind of ballast, steadying one through moments of crisis, providing words or stories of such gravity and soul-shaking power that they become formative experiences, like running away from home or falling in love.”

- Dirda

It’s a source of unending paradox: As with any book, we need to humble ourselves to receive its message, but can never be truly blessed until we struggle mightily with the text, perhaps remembering how Jacob once wrestled all night with God.

Nearly all modern literary interpretations of the Bible look back to a seminal essay by Erich Auerbach, “Odysseus’ scar”, which became the first chaper of Mimesis (1948). In that piece, Auerbach contrasted the Homeric and biblical methods of representing reality, the former bringing everything into a uniformly illuminated foreground, the latter dwelling on “the decisive points of the narrative” while what lies between remains in the dark, virtually nonexistent, but generating an immensely suggestive power. The OT, according to Auerbach, is “fraught with background”.

To read: Northrop Frye’s Words With Power, in which he explores the unifying imagery of the entire Bible.

Perhaps the most congenial of recent books is Gabriel Josipovici’s The Book Of God: A Response To The Bible (1988). Josipovici, a British scholar of modern literature as well as a novelist, stresses reading — reading again and again — as the heart of his critical method. Rather than worry about the genesis of scripture, all its strands and threads, Josipovici, like Alter and Kermode, actually prefers to confront the final, semmingly seamless text. He talks about everything from the look of childhood Bibles to the paradox of treating scripture as seriously as literature, reminding us that Doestoevsky and Eliot can change our lives too. At times Josipovici’s Bible resembles a modernist classic, sometimes even a postmodernist one.

- Dirda

*

Ted Hughes: sun-dappled, clear, and refreshing; angular, gritty, and brutal.

*

The poem memorisation programme is on track.

A: Still can. But some poems are very long.
B: That’s a very bimbotic comment.
A: So I’m thinking eight lines count as one poem.
B: “So, I memorised The Waste Land last week, but that really counts as 87 poems.”…Another blonde moment from you, A.

Sights

Tuesday, May 12th, 2009

From a friend’s place

Shophouses

Light & greenery

*

“Wake up, who cares about
Little boys that talk too much
I’ve seen it all go down
Your game of love was all rained out”

I’M BEGINNING to learn more about how different people handle their personal boundaries — that invisible marker of personal space and identity, the psychological circle around you that marks what you control about life from what you don’t. That boundary is a shield, and its most practical use is the simple ability to say no to time or energy drains, to take no gracefully, to tolerate rejection without creating drama.

When underdeveloped or damaged, it’s the cause of co-dependence, abuse, rudeness, prejudice, neediness. People who have buttons to push or are thin-skinned are immature. Their self-control is unpredictable, and we see them as impulsive, impatient, and unlikely to follow through on their promises. When this happens, every stress controls them instead of the other way round.

People with holes in their boundaries are prone to lie and put up smokescreens.

And then there are those who can’t read where others draw their boundaries. In conversation you’ve to read when you’re crossing a boundary, or about to cross it. Some people are too self-absorbed to do that, and insist on pressing and manipulating to satisfy a rather inappropriate curiosity.

In any case, we never have control over others. You do control what’s inside your boundary — likes, dislikes, attitudes, standards. And you’ve to choice to walk away.

*

Chin up put on a pair of these roseys
Raise those blinds
Chin up a happy mask was never
your best disguise
Chin up put on a pair of these roseys
in no time you will feel almost fine
almost rosey

1. Writing
2. Languages
3. GRE Subject test preparation
4. Calligraphy
5. Movement

The foundational years between 18-28: I’ve wasted a couple of them, and I’m rushing to get the time back. I’m not going to waste any more time.

我喜欢电影《再见!不联络》里的一句话:人生有很多个十年,但如果刚好是十八到二十八岁,那就是一辈子了。我在十八岁到二十八岁间很专心地大量阅读,领域包括商业、文学、艺术、建筑……也尽可能地旅行、看各大影展的电影,我尝试各种类型的创作,包括新诗、散文、小说、广告文案、旅行游记……直到我二十八岁出了第一本书《诚品副作用》之后,自己的路就正式展开——我们往往高估十年后能做的事,却忽略一年内能做的事,这也难怪二十八岁以后可以大声的没几个。所以我希望你们看远一点,不要以为三十岁还离你很远。十八至二十八岁这十年是人生相当关键、宛如地基般的黄金十年,这十年如果你可以看得清楚、站得稳,往后你就可以走得很远。请务必把握这十年。

- 《十四堂人生创意课》 李欣频

…二十岁时把自己当三十岁,三十岁时把自己当二十岁的方法

你们现在多是二十岁出头,一定要把自己当成三十岁,才能有三十岁人比较长远的眼光、智慧、稳重的架势与危机意识——三十岁的视野与景深,会让你珍惜二十岁很容易忽略的价值与质地。等到你们三十岁时,就要把自己当成二十岁,开始丢包袱,把自己当成新人重新学习,因为十年后你学的东西、你的经验已经不合时宜,要重来,当有把自己当新人这样的心态时,你会很谦虚,然后珍惜每次机会,认真地做好每件事。就像知名数字艺术家郑淑丽,她是一个非常自由、没有性别设限的人,极有活力,永远把自己当成小孩子,我从她永远好奇兴奋的口气里,根本猜不出她的年龄。她永远保持最新、最巨大的爆发力,她永远有着刚出道不久般的冲劲,跑在这个世界的最前面。

之后,你就可以练就一身随时加减年龄的本事——有时可以负重跑步练脚力,有时可以丢开包袱练轻功……

*

看了这本书,我深深觉得我的生命是多麽富足;我大学毕业至今满六年,我拼命用阅读、用旅行丰富了我的生命,吸收了许多人的生命精粹、走过许多风俗面貌不同,深深觉得这世界之大,而自己又是多麽渺小,我透过旅行不断治疗我自己,填满我心灵每隔一段时间莫名产生的饥渴与无助。

作者建议:『培养自己极度自由、不理界限的大胆勇气,不怕失败坚持到底…用心地探求自己、建立自己看世界的角度、确立自己的风格,以及评估自己的标準—做你能做的,然後做到最好,择善固执。打造属於你的品牌,作自己的伯乐与经纪人,不要别人做什麽好你就跟著做什麽,那会搞的四不像。然後放自己自由,有自由才有迷人的风格。』

我虽然有我自己不懈殆的坚持,但也有莫名的执著,凡事非要做到完美不可,并希望自己能够面面俱到,完美无瑕,作者对於「完美」有他独特的看法:『不在「既有」之中做到第一,而是在「无中生有」里生出自己的唯一,生出自己的风采,这才是上天把我们每个人生下来,创生各种生命奇蹟的用意。原生於字体经验与体会所做出的独特性表达,就是风格,技术好坏倒是其次,不要为了追求酷炫的表现,而忘了你想要表达的是什麽。

她分享:『世界舞台之大,我不必管别人在做什麽,更毋需和别人比较,我只要认真专注地做我现在正在做的事,要非常专心、非常精确完成,如此就能展转出漂亮的生命风景。』

走过风风雨雨,作者也鼓励大家要坚强: 『只要身为人,你就有力量;有力量,就能创造;有创造,就可以上天下海无所不在;只要无所不在,生命就无以灭绝。』

她说: 『因为资源有限,将来出社会後,如果遇到有人挡了你的路,不让你过去,再努力一两次後,如果形势不可为,就不要硬幹,绕路过去,不要怕远,跑快一点、跳高一点,还是可以及时到达你的目标,不要正面交锋,不要想尽办法消灭对方,也不要死心眼非走这条路不可,那只会徒劳地消耗自己的战鬥力,跟愚公移山一样笨。路不会绝,也不会只有一条,老天给的路障若不是要试炼你跳得更高,要不就是祂要你多绕路走,看看区路迂迴之美的另一番风景,以较长的挫败磨亮你的生命质地。』

希望自己好,要给自己鞭策,但也要放过自己 :『给自己的标準也不要太多,今天只要比昨天更有知识一点点、更有智慧一点点、更有勇气一点点,积少成多,点滴就能成江河。』

这世界变化太快、有太多人急著要取代你,其实每个人都没有太多的喘息空间的,如何调适自己的低潮、如何建立自己的情绪系统十分重要: 『情绪是自己最大的敌人,所以建立自我防禦及疗伤系统是很重要的。不管是失恋、失去最亲爱的人或物…一开始可能会花你叁年的疗伤期,下一个再来,训练自己叁个月度过低潮期,再来就让自己叁个礼拜恢复正常;若再遇到挫折,叁天内、叁小时内、叁分钟内、叁秒钟内平复—当刻放下痛苦,只看现在和未来。不管讚美、指责、沮丧、兴奋……要练到悲喜不超过叁分钟的功力,把情绪以叁秒胶的方式瞬间定住,训练自己像是有个开关一样,马上切换新的心境,不影响你後续的心情,否则将来起伏很大的人生,你会有背不动的心理包袱,你也很难镇定冷静,应付接踵而来的事情与挑战。

人生不会永远顺利,逆境,一定会有;有人故意绊倒你,一定会有; 输的莫名其妙、裁判不公,一定会有,如何平心静气面对这些,需要时间的历练与平复,作者分享:『将来等你们到一定的能见度,胜负就在台面上,坦然地接受比赛结果,失败了就下次再来,不会被别人的眼光和评价打倒自己的信心。一时的成败不会是永远的胜负,这真的得经历过多少次的公开挫折、多少次伤痛与信心重建,才可能有的勇气与风度。』

她说: 『如果檯面上出现一个处处与你作对的人,表示檯面下至少还有五个像这样的人在暗中挡你的路;如果檯面上出现一个贵人,表示至少有五个贵人在暗中帮助你。人际连著机会,如果你觉得自己不顺,就先想想自己是不是在有意无意间数了敌,让衝著你仇恨、嫉妒、诅咒的反作用力大到让你的磁场大乱,让你窒碍难行。』

『一个人的成功,不在於他打败了多少人,而是他征服了多少风雨挫折。一个眼前有假想敌的人,永远只能在敌人的背後处心积虑,苦苦追赶一一害人—善嫉的人比较类,因为他们永远都有对手挡在前面,然後把自己困在敌人的阴影中永远走不出。』

人生只有一回,而且掌握在自己手中,生命这麽短暂,作者建议:『做自己喜欢的事,如果遇到自己不喜欢但非做不可的事,就为自己找到好玩的理由、好玩的诱因,让自己自得其乐,如此才可能把事情做好,因为抱怨连连还是得把事情做完,何不以遊戏的心情找到爱不释手的工作乐趣?』

对於纷乱的社会,她说: 『想像力是很好的能量,但要放在对的事情上,放在有意义的地方,去创造有意义的事物,而不释去编撰八卦抹黑别人。因为新闻必须要有證据,讲真实,现在太多「过度想像」的八卦造成别人的伤害,浪费很多台湾珍贵的媒体资源与能量—如果把历年来八卦的版面,拿来关心周遭生命与生态环境,拿来传播文学与艺术,台湾的文明不会只有这样。』

我很喜欢最後作者这段话: 『你们将会有足够的能力,面对未来不可知的一切。无论将来遇到多大的挫败或考验,请相信自己,相信自己有绝处逢生的能力,请给自己最大的能量去面对—自己做自己的导师、自己做自己的医生、自己做自己的知己、自己做自己的先知、自己做自己的经纪人…看清自己的起心动念,聆听自己心中的问答,了透自己的困惑,帮自己开药方,并随时在第一时间救援自己:让自己瞬间到了十年後,从未来的自己回头看现在的困境,教自己如何脱困解决。将来,再以自己过来的经验和能力去帮助别人。』

最後我摘录下这段话,我想跟你分享,因为我知道独自对抗全世界那种感觉有多麽孤寂与无助: 『即使没有半个人站在你这边,但只要你认为是对的,我永远都会在你身後,支持你的决定。』

我认为: 相信自己、坚定自己的信念,无论别人看待我是多麽的偏执与癡傻,也不要放弃自己认为是对的信念,因为当人生信念开始动摇时,那种世界疯狂失控的感觉,真是太恐怖了 (这几年我因为对自己的基本信念动摇,为此吃尽苦头)。

做自己觉得是对的事、为自己的人生决定方向而不盲从、不轻易低头妥协,并永远相信自己,这是我在这段期间的最大体认,在此与大家分享,并希望大家能更坚定自己的信念,并且更加爱惜自己!

Excursions

Sunday, May 10th, 2009

Playing with newly-discovered “colour accent” camera function

LISTENING to Barber’s excursions. Working. Tired, but happy. Back on track.

Have been slightly hermity, which will be the way things will be, reading and writing and language studying and doing all the grunt work I’ve to do.

Saying hello to some people, goodbye to others.

*

A (helping B unscrew a cap): I seem to always be doing this for you.
B: Well you ran a marathon.
A (miming running with hands): But not on my hands!!

A: How was that night? Meeting the friend who quarantined himself from his loved ones…but not from you guys?

I present…my friends:

Wednesday, May 6th, 2009

A: I was raised Catholic. Repression is instinctive.
B: But you come from a land where naked people frolic about on beaches!
A: I know. That’s why I need a therapist.
B: Don’t worry. Complex individuals can be strangely attractive.

C: I expected it once I knew it was coming.

D: Normal is not something to aspire to. It’s something to get away from.

B: I once sent in an essay where spell-check changed all the “meta”s to “meat”. So there were sentences such as: “Meat-languages, meat-theories, and meat-narratives of modernism did tend to gloss over important differences, and failed to pay attention to important disjunctions and details.”

*

hand

May 2009


WAS talking to a friend who drove quickly away from a leper (A: Didn’t you stop to help? B: I’m an evil dictator-or-other-occupation-of-choice)…and thinking of Dr Paul Brand and service. He’s one of my heroes, who lavished medical attention on “nobodies”, the only orthopaedic surgeon working among 15 million victims of leprosy during his time.

Underpinning it all is the idea of service, of the responsibilities you bear because you’re lucky enough to be in a position to make changes, to speak, to make full use of your talents and your experiences. There are those who live for more than themselves, brim over with passionate convictions, and carry no airs about them. People like Brand, for instance, who spoke of serving people first and foremost, without fear or favour. And acted on it. What people say is how they want to be seen — judge them by their actions. And the deepest love is not built upon romantic notions of escape, but on passion, a common mission and sacrifices.

The information below is culled from online sources:

An orthopaedic surgeon, Dr Paul Brand spent much of his career in India, where he made a discovery about leprosy, one of the oldest and most feared diseases. He’s a man of many talents and interests: he was a reasonable painter, an inspirational teacher, a great preacher and speaker, author of several books, a committed environmentalist, organic gardener and avid ornithologist.

He was born in 1914, in the cheerily named Mountains of Death in South West India. His parents were missionaries wholly dedicated to God, the poor and the sick. As a very small child, he accompanied his father to the mountain villages watching him practice fairly basic medicine. He loved India, loved his parents and respected their work but he did not love medicine, finding it too messy and yukky! So after school, and now in Britain, he became an apprentice carpenter and spent four years working in the building trade. However, at missionary college, it became clear to him that if he wanted to work for God overseas it would be as a trained doctor. In his first week at medical school he met Margaret who shared his deep commitment to work for God overseas. They married and worked together until the end of his life.

After qualifying, and a few years of treating WWII bomb victims in London, he volunteered to go to India (Vellore) and teach surgery. The idea of leprosy work never occured to him until he arrived in India and encountered the beggars, most of whom had leprosy. He was moved by their plight having been driven out of their homes and ostracised by friends and family.

Shortly after his arrival in Vellore, one of his colleagues (Dr Cochrane) challenged him to find out what caused the deformity of the hands in leprosy patients. Paul discovered that contrary to popular belief, fingers do not just become rotten and fall off. Hands do become deformed, there is muscle wastage and fingers become useless for fine motor movements. But he found the grip of leprosy patients to be very strong. Hidden away in the depths of the hand were muscles that appeared not to be wasting. Dr Brand reported this to Dr Cochrane and asked why and how this should be. The reply was basically, “You´re the orthopaedic surgeon - go figure.” The combination of his discovery about the muscles in the hand, the challenge from his respected colleague and a “tingling sense” that God was speaking to him, made him realise that this was why he had come to India.

There were many obstacles to his work. He had no beds in the hospital, no medical staff and there was a natural prejudice against leprosy sufferers. Refusing to be daunted, he trained a team of technicians to go out into the surrounding area to leprosariums and local missions and set up testing stations to measure the muscle strength and sensation in peoples´ hands. The team collected thousands of records, the results were analysed and what he termed a “beautiful pattern” emerged. Unlike polio with which they were familiar and where the muscle wastage was random, in leprosy the same muscles were always affected and the same muscles were always spared.

His first operation to move around the good muscles and tendons in the hand was performed on a patient whose hands were deemed to be so bad that he couldn´t make them any worse!! Fortunately for that patient and the many hundreds of thousands of leprosy patients since, the operation was a great success. The wounds healed (a major concern) and the fine motor movement was greatly improved.

Many hand operations followed and Dr Brand and his team were feeling rather flushed with success, until one patient came back and said that they had given him “bad hands”. The problem was, beggars with deformed and useless hands got money. The ones with good looking, working hands did not.

That patient challenged him to look at the whole man (a concept familiar in mission these days but this was the early 1950s). Leprosy patients needed a new life including a trade, not just new hands.

This prompted the founding of the New Life Centre where patients were taught skills to enable them to learn practical trades and, in some cases, to start their own cottage industries. Paul used his training as carpenter to teach the patiients to use the tools and just as importantly not to damage their vulnerable hands. A surgeon by day, a carpenter again by evening, he was astounded to realise that God had known that he would need both carpentry and surgical skills in order to serve leprosy sufferers effectively.

He then turned his attention to feet where he developed (among other things) special shoes which enabled the patients to walk without their feet breaking down and ulcerating. In 1965, after eighteen years, more than three thousand surgeries and six children, he and his wife left India to accept work at the United States Public Health Service Leprosy Centre in Carville, Louisiana. He was chief of rehabilitation there for twenty years before he “retired” to Seattle from where he continued to travel the world lecturing, as well as teaching at the University of Washington. He and/or his wife tried to visit India every year or two. Dr Brand finally stopped travelling and speaking about nine months before he died. I think it would be fair to say that he was not entirely at ease with the less active life.

He died in July 2003 at the age of 89. Around that time, his good friend Philip Yancy wrote these words:

“I have often written of bad doses of faith I got here and there. Truly I believe that God brought Paul Brand into my life of that I could take all the time in the world to examine one human being and learn what God had in mind with the whole creation experiment. No one has affected my faith more. You only need to meet one saint to believe, and I had the inestimable privilege of spending leisurely hours on visits, trips and phone conversations picking apart a saint piece by piece. He stood up to scrutiny.”

*

Remember the motto of Interact Club? Service above self.

P was taking the piss out of me for the post on “life purpose” — (”It says: “What do you plan to do with each other all that time? Travel, eat and jog together? You need to share something deeper and more meaningful”. I thought oh no, all I do is travel, eat and jog.”) — but I think there *is* something to it, this life purpose thing. It’s responsibility for the gifts you’ve been give, and rendering service, which is why I want to end up teaching or in education administration, in schools or colleges or universities.

Onwards!

*

hand

2006

Nos Mains
- Jean-Jacques Goldman

Sur une arme les doigts noués
Pour agresser, serrer les poings
Mais nos paumes sont pour aimer
Y’a pas de caresse en fermant les mains

Longues, jointes en une prière
Bien ouvertes pour acclamer
Dans un poing les choses à soustraire
On ne peut rien tendre les doigts pliés

Quand on ouvre nos mains
Suffit de rien dix fois rien
Suffit d’une ou deux secondes
A peine un geste, un autre monde
Quand on ouvre nos mains

Mécanique simple et facile
Des veines et dix métacarpiens
Des phalanges aux tendons dociles
Et tu relâches ou bien tu retiens

Et des ongles faits pour griffer
Poussent au bout du mauvais côté
Celui qui menace ou désigne
De l’autre on livre nos vies dans des lignes

Quand on ouvre nos mains
Suffit de rien dix fois rien
Suffit d’une ou deux secondes
A peine un geste, un autre monde
Quand on ouvre nos mains

Un simple geste d’humain
Quand se desserrent ainsi nos poings
Quand s’écartent nos phalanges
Sans méfiance, une arme d’échange
Des champs de bataille en jardin

Le courage du signe indien
Un cadeau d’hier à demain
Rien qu’un instant d’innocence
Un geste de reconnaissance
Quand on ouvre comme un écrin
Quand on ouvre nos mains.

Dinner talk

Sunday, May 3rd, 2009

(C’s version here)

A: B, tell us your reproductive story.

A (on C’s baking): So if you meet a guy you want to improve…err…impress, you will have to…
B: Did you say improve?
C: Yes, you offer him a cake and say, this will improve you.

C on A giving children sweets: A, you’re not in Cambodia any more.

D: Is this the male or female sweet?

A: When I take my visiting friends to a coffeeshop they’re always intrigued by how we make coffee with a sock.
D:…a sock?
A: Not a real sock.
E: Uncle, the coffee doesn’t taste as good today. You didn’t go running?

Conversation on feeding monkeys etc
F to A: In the kampong, instead of “Don’t feed the monkeys” signs, they should have “Don’t feed the children” signs for people like you.

Dirda on Borges

Saturday, May 2nd, 2009

Borges is sometimes compared to Kafka (whom he translated). But where the Prague fabulist evokes an ominous sense of claustrophobia — the door will never open, the trial will never take place — the Argentine prefers to induce a sudden feeling of vertigo.

*

Discovering some of Victor Hugo’s poems — this one is very powerful:

A Villequier

Maintenant que Paris, ses pavés et ses marbres,
Et sa brume et ses toits sont bien loin de mes yeux ;
Maintenant que je suis sous les branches des arbres,
Et que je puis songer à la beauté des cieux ;

Maintenant que du deuil qui m’a fait l’âme obscure
Je sors, pâle et vainqueur,
Et que je sens la paix de la grande nature
Qui m’entre dans le coeur ;

Maintenant que je puis, assis au bord des ondes,
Ému par ce superbe et tranquille horizon,
Examiner en moi les vérités profondes
Et regarder les fleurs qui sont dans le gazon ;

Maintenant, ô mon Dieu ! que j’ai ce calme sombre
De pouvoir désormais
Voir de mes yeux la pierre où je sais que dans l’ombre
Elle dort pour jamais ;

Maintenant qu’attendri par ces divins spectacles,
Plaines, forêts, rochers, vallons, fleuve argenté,
Voyant ma petitesse et voyant vos miracles,
Je reprends ma raison devant l’immensité ;

Je viens à vous, Seigneur, père auquel il faut croire ;
Je vous porte, apaisé,
Les morceaux de ce coeur tout plein de votre gloire
Que vous avez brisé ;

Je viens à vous, Seigneur ! confessant que vous êtes
Bon, clément, indulgent et doux, ô Dieu vivant !
Je conviens que vous seul savez ce que vous faites,
Et que l’homme n’est rien qu’un jonc qui tremble au vent ;

Je dis que le tombeau qui sur les morts se ferme
Ouvre le firmament ;
Et que ce qu’ici-bas nous prenons pour le terme
Est le commencement ;

Je conviens à genoux que vous seul, père auguste,
Possédez l’infini, le réel, l’absolu ;
Je conviens qu’il est bon, je conviens qu’il est juste
Que mon coeur ait saigné, puisque Dieu l’a voulu !

Je ne résiste plus à tout ce qui m’arrive
Par votre volonté.
L’âme de deuils en deuils, l’homme de rive en rive,
Roule à l’éternité.

Nous ne voyons jamais qu’un seul côté des choses ;
L’autre plonge en la nuit d’un mystère effrayant.
L’homme subit le joug sans connaître les causes.
Tout ce qu’il voit est court, inutile et fuyant.

Vous faites revenir toujours la solitude
Autour de tous ses pas.
Vous n’avez pas voulu qu’il eût la certitude
Ni la joie ici-bas !

Dès qu’il possède un bien, le sort le lui retire.
Rien ne lui fut donné, dans ses rapides jours,
Pour qu’il s’en puisse faire une demeure, et dire :
C’est ici ma maison, mon champ et mes amours !

Il doit voir peu de temps tout ce que ses yeux voient ;
Il vieillit sans soutiens.
Puisque ces choses sont, c’est qu’il faut qu’elles soient ;
J’en conviens, j’en conviens !

Le monde est sombre, ô Dieu ! l’immuable harmonie
Se compose des pleurs aussi bien que des chants ;
L’homme n’est qu’un atome en cette ombre infinie,
Nuit où montent les bons, où tombent les méchants.

Je sais que vous avez bien autre chose à faire
Que de nous plaindre tous,
Et qu’un enfant qui meurt, désespoir de sa mère,
Ne vous fait rien, à vous !

Je sais que le fruit tombe au vent qui le secoue ;
Que l’oiseau perd sa plume et la fleur son parfum ;
Que la création est une immense roue
Qui ne peut se mouvoir sans écraser quelqu’un ;

Les mois, les jours, les flots des mers, les yeux qui pleurent,
Passent sous le ciel bleu ;
Il faut que l’herbe pousse et que les enfants meurent ;
Je le sais, ô mon Dieu !

De vos cieux, au-delà de la sphère des nues,
Au fond de cet azur immobile et dormant,
Peut-être faites-vous des choses inconnues
Où la douleur de l’homme entre comme élément.

Peut-être est-il utile à vos desseins sans nombre
Que des êtres charmants
S’en aillent, emportés par le tourbillon sombre
Des noirs événements.

Nos destins ténébreux vont sous des lois immenses
Que rien ne déconcerte et que rien n’attendrit.
Vous ne pouvez avoir de subites clémences
Qui dérangent le monde, ô Dieu, tranquille esprit !

Je vous supplie, ô Dieu ! de regarder mon âme,
Et de considérer
Qu’humble comme un enfant et doux comme une femme
Je viens vous adorer !

Considérez encor que j’avais, dès l’aurore,
Travaillé, combattu, pensé, marché, lutté,
Expliquant la nature à l’homme qui l’ignore,
Éclairant toute chose avec votre clarté ;

Que j’avais, affrontant la haine et la colère,
Fait ma tâche ici-bas,
Que je ne pouvais pas m’attendre à ce salaire,
Que je ne pouvais pas

Prévoir que, vous aussi, sur ma tête qui ploie,
Vous appesantiriez votre bras triomphant,
Et que, vous qui voyiez comme j’ai peu de joie,
Vous me reprendriez si vite mon enfant !

Qu’une âme ainsi frappée à se plaindre est sujette,
Que j’ai pu blasphémer,
Et vous jeter mes cris comme un enfant qui jette
Une pierre à la mer !

Considérez qu’on doute, ô mon Dieu ! quand on souffre,
Que l’oeil qui pleure trop finit par s’aveugler.
Qu’un être que son deuil plonge au plus noir du gouffre,
Quand il ne vous voit plus, ne peut vous contempler,

Et qu’il ne se peut pas que l’homme, lorsqu’il sombre
Dans les afflictions,
Ait présente à l’esprit la sérénité sombre
Des constellations !

Aujourd’hui, moi qui fus faible comme une mère,
Je me courbe à vos pieds devant vos cieux ouverts.
Je me sens éclairé dans ma douleur amère
Par un meilleur regard jeté sur l’univers.

Seigneur, je reconnais que l’homme est en délire,
S’il ose murmurer ;
Je cesse d’accuser, je cesse de maudire,
Mais laissez-moi pleurer !

Hélas ! laissez les pleurs couler de ma paupière,
Puisque vous avez fait les hommes pour cela !
Laissez-moi me pencher sur cette froide pierre
Et dire à mon enfant : Sens-tu que je suis là ?

Laissez-moi lui parler, incliné sur ses restes,
Le soir, quand tout se tait,
Comme si, dans sa nuit rouvrant ses yeux célestes,
Cet ange m’écoutait !

Hélas ! vers le passé tournant un oeil d’envie,
Sans que rien ici-bas puisse m’en consoler,
Je regarde toujours ce moment de ma vie
Où je l’ai vue ouvrir son aile et s’envoler !

Je verrai cet instant jusqu’à ce que je meure,
L’instant, pleurs superflus !
Où je criai : L’enfant que j’avais tout à l’heure,
Quoi donc ! je ne l’ai plus !

Ne vous irritez pas que je sois de la sorte,
Ô mon Dieu ! cette plaie a si longtemps saigné !
L’angoisse dans mon âme est toujours la plus forte,
Et mon coeur est soumis, mais n’est pas résigné.

Ne vous irritez pas ! fronts que le deuil réclame,
Mortels sujets aux pleurs,
Il nous est malaisé de retirer notre âme
De ces grandes douleurs.

Voyez-vous, nos enfants nous sont bien nécessaires,
Seigneur ; quand on a vu dans sa vie, un matin,
Au milieu des ennuis, des peines, des misères,
Et de l’ombre que fait sur nous notre destin,

Apparaître un enfant, tête chère et sacrée,
Petit être joyeux,
Si beau, qu’on a cru voir s’ouvrir à son entrée
Une porte des cieux ;

Quand on a vu, seize ans, de cet autre soi-même
Croître la grâce aimable et la douce raison,
Lorsqu’on a reconnu que cet enfant qu’on aime
Fait le jour dans notre âme et dans notre maison,

Que c’est la seule joie ici-bas qui persiste
De tout ce qu’on rêva,
Considérez que c’est une chose bien triste
De le voir qui s’en va !

*

On vit, on parle

On vit, on parle, on a le ciel et les nuages
Sur la tête ; on se plaît aux livres des vieux sages ;
On lit Virgile et Dante ; on va joyeusement
En voiture publique à quelque endroit charmant,
En riant aux éclats de l’auberge et du gîte ;
Le regard d’une femme en passant vous agite ;
On aime, on est aimé, bonheur qui manque aux rois !
On écoute le chant des oiseaux dans les bois
Le matin, on s’éveille, et toute une famille
Vous embrasse, une mère, une soeur, une fille !
On déjeune en lisant son journal. Tout le jour
On mêle à sa pensée espoir, travail, amour ;
La vie arrive avec ses passions troublées ;
On jette sa parole aux sombres assemblées ;
Devant le but qu’on veut et le sort qui vous prend,
On se sent faible et fort, on est petit et grand ;
On est flot dans la foule, âme dans la tempête ;
Tout vient et passe ; on est en deuil, on est en fête ;
On arrive, on recule, on lutte avec effort
Puis, le vaste et profond silence de la mort !

*

At the dinner table: Attempting our versions of Cantonese/Hokkien translations of Harry Potter and Star Wars. Pondering cars with hovercraft lights. Discussing American wrestling. Saying farewells to those leaving us for Orange Alert mobilisation.

书写姿势

Friday, May 1st, 2009

坐姿:
  1、座位:
  座位适当,姿势自然易于正确,大致是以身体各部安置舒适,且易于书写为准。其要点如下:
  座椅需正对桌面,不宜偏斜。
  座椅高度,约与膝同,作时能两脚及地踏稳,不至于悬脚虚浮。桌面高度,随人而定。太高太低皆不好。
  桌椅之距离,以能挺直体干为度,所谓桌椅零距离即桌椅之距离为零,乃最理想者。
  2、姿势要领:
  座位妥稳适当,身体各部位易得要领,运笔便能得心应手。详尽如下:
  臀部平坐椅面。
  两脚张开与肩同宽,着地踏稳,上半身略为前倾。
  腰背伸直,稍向前俯,不可弯曲。
  胸部挺起,距桌缘约五公分,若倚靠桌缘,便无活动之余地。
  腹部微缩。
  左手按纸,稳定躯体。
  右手执笔,或枕腕、提腕、悬腕,各依执笔要领行之。
  头部正而略为前俯,两眼正视,不宜偏斜。
  此外,需放轻松、自然,全神贯注,然后完全发挥书写最大功能。

立姿:
  部份较大之书法字乃需站立书写。姿势与坐姿相近,要领如下:
  站立书写不用座椅,桌之高度以使上半身微俯为标准,约在腰上下,过高过低均不宜。
  桌与身体之距离与坐姿近似,不可倚靠桌缘,至无活动之余地。
  两脚张开,与肩同宽,不可平立,右脚需踏前一步站稳。
  右手执笔,左手按纸并稳定躯体。
  上半身略为前俯,不可弯曲,藉右脚左手,使其平稳。
  头部亦随上半身自然微俯,两眼正视,不可偏斜。
  心情轻松自然,精神尤须贯注。

虚掌
实指
平腕
藏锋

运笔方式

运笔是书法的根基,若不得其要领,则再怎么写也没用。所以书法以此为重。运笔的方法有三种:一是指运法,二是腕运法,三是肘运法.书法家张廷相曾说:“运笔之法有三:曰指,曰肘,曰腕;小字宜指,中字宜腕,大字宜肘,……

  指运法:
  指运法是运笔的其中一个持法,做法是将左手垫于右手之下。通称枕腕式。亦可放一重厚物于右手腕之下代替,而这样做,腕部就固定了,只剩下手掌手指部份可动,因此只能书写细短的笔画,适合用于小字。但若书写草书的小字时,也不适合使用枕腕式。因为此法较不灵活,写时会缺乏一股流动之气,无法表现其气概。总之,指运法书写时最稳且牢固,可作为练习运笔的第一步骤,由此而进步至提腕或悬腕,就较容易许多。因此,初学者当多加练习。

  腕运法:
  腕运法就是固定肘部,将腕部提起,一般通称提腕式。而此法将腕部提起,活动范围就较枕腕式大,可以书写较大的中字。但也不适合书写于大字,因为肘部仍着地,活动范围仍受限制。

  肘运法:
  肘运法是连肘部一起悬空,以肘部来运笔,一般通称悬腕式。而此法以肩膀为中心,腕肘均不放于案上,所以最为灵活,活动范围最大,挥洒自如,易于表现笔力。适用于大楷、行草等书体。总之,悬腕式是运笔的极致用法,如欲尽善尽美,此法非熟练不可,不然大字无法逞其雄势,行草不得其纵逸,各不得要领是也。

执笔时手需注意四个要点:
  手指实:意思是手指皆需确实的压在笔管上,稳固的持者。
  手心虚:意思是手掌心不须绷的太紧,适度并足以灵活运笔即可。
  手背圆:是形容执笔时,手掌背圆弧且上竖的样子。(不须硬将手臂托圆,适度足以让手指灵活即可)
  手掌竖:意思是将手掌竖起直立,能使手把笔拿直即是。
  唐代唐太宗有言:「指实则筋力平均,掌虚则运用便易」。手需注意的部份大致如此,剩下细节就有赖读者自行体会。

执笔松紧: 执笔的松紧自古即有多种论解,求紧者是因为执笔时紧才能拿稳,不使字无力,求松者是因为若拿笔太紧,会使字枯骨尽露,毫无边劲,其实他们意思都相近,只是重点论分不同罢了。
  拿笔太松,运笔时易脱笔,手上无劲,当然拿不稳;拿笔太紧,则有碍运转,一样不好。适度的松紧才是正确之道。

运笔腕法

枕腕:即将手腕枕于桌上写字,只靠手掌运笔,范围较小,不宜书写大字。
提腕:把手肘枕于桌上写字,范围变大,宜写中字。
悬腕:将整之手臂提起,手肘姿势固定,由手掌及肩膀运笔,活动范围大,宜写大字,为三法中最难者。

另外执笔时需稳固,支撑点出力,协助运笔,惯力于活动处,保持姿势优美,挺背正视,切记!

运笔要领

运笔的方式前面已经谈过了,接下来就是要发挥它的要领,落笔时如何做各种笔画,表现各异书风,其间变化多端,还有像落笔与起笔之方式,行笔之轻重缓急,笔画或字之间的连与断,以及转折之方式,笔锋之运用等,皆需注意。但多虽多,还是有一定的法度可寻,以下大约分成七点,略概分类叙述:

  起笔与收笔:

  关于起笔,求其方圆分明,完美洁净,包世臣称:「起笔处:顺入者无缺峰,逆入者无涨墨。」无缺峰则形状完美,无涨墨则笔画洁净,起笔时顺入成方,逆入成圆。收笔时则需顿或折笔锋而成方,回锋而成圆。上述诸点,乃起步之大道理,应多加练习.

  提笔与顿笔:

  当你在写作时,一个字完成的过程是由提笔与顿笔交互而形成的,「顿」是将笔下压,屈笔锋而将力道使于纸上。「提」,则是将笔提起或半提起以继续行笔。大体上,顿笔后需提笔才能行笔,而提笔后又需顿笔,使笔画成形,或接连着下一笔的笔画。终使字成形。所以才说书法写作是提与顿的交替过程。其中又包括更细的变化,例如提有全提、半提之分,顿也有轻重之巧。这就需要读者自己去体会了。

  转笔与折笔:

  除了上述之提与顿外,转笔与顿笔也需要重视。「转」是圆润笔画的方法,「折」则是画方的方法。张廷相曾道:「真书以点画成形,以转折见性」。其中,细分古书所见,折亦可称为翻转,表现的方法有此一句「曳而加于上」,意思是行笔中停笔不动,变换笔锋之方向略成ㄟ状转向。使外角成方,得其笔意。至于转法亦称绞转,行笔中「动而转于下」,意近同于上,只是转锋时不停,顺势回转向下,形亦同于ㄟ,但画外角成圆,转动幅度较为大。蒋梦麟曾以图形说明,并附诗云:「翻转突折成直角,绞转毫滚心如旋。」此例足可明见。

  方笔与圆笔:

  这部份较为复杂,讲求整体的效果。依前面所提过的起、收,提、顿、转、折,在书写时,放慢些许速度,使运笔较更稳定,以合宜的技巧,在起止及转弯处,笔画中等,将之突显曲度,使整体架构看起来圆润,且萧散超逸。而方笔则是在上述各要点中,突显笔画的骨气,让整体架构明瞭,直方而不失轻巧,凝整沈着,苍劲挺拔。张隆延道:「方笔平直而精严,圆笔委曲而奇诡。」极为称道。

  藏锋与露锋:

  谈到笔锋,可延伸出偏锋、正锋、搭锋、折锋、回锋诸法,对于笔锋的用法,重要可知。若书法笔中锋无变化,那即是死法。又以藏锋与露锋最重要。藏锋即是将笔锋藏于笔画中,不露痕迹;露锋就是笔锋自然露外。徐浩云:「用笔之势,特需藏锋,锋若不藏,字则有病。」此句话甚是明白。笔锋不藏,则缺乏含蓄之深韵,也不可偏重一方,则不得中道即为病。两者得相配合,藏锋包其气概,露锋纵其精神,使字气势挺拔,气韵天成,即得其道。