上主深惡假秤，卻喜愛法碼準確。A false balance is abomination to the Lord: but a just weight is his delight.
Proverbs 11:1 King James Version
You must in commanding and winning
Or serving and loosing
Suffering or triumphing
Be either hammer or anvil
Johann Wolfgang von Goethe
你必須指揮並贏得
不然侍候別人或失敗
不管你痛苦或勝利
要嘛當錘子，要嘛當鐵砧
約翰·沃夫岡·馮·歌德
About the Author
關於作者
布倫丹‧西姆斯是劍橋大學彼得學院的研究員、歐洲國際關係史教授、劍橋大學國際研究中心主任。他是五本書的作者，包括《三次勝利和一次失敗》和《不完美的時刻》，他入圍了塞繆爾·約翰遜獎，他現居英國劍橋。
如果說地緣政治存在一個基本真理，那就是：誰控制了歐洲的核心，誰就控制了整個大陸，誰控制了整個歐洲，誰就能主宰世界。在過去的五個世紀裡，一代又一代的國王和征服者、總統和獨裁者都將目光瞄準了歐洲的心臟地帶，不顧一切地想要奪取這個關鍵地區，或者至少防止它落入壞人之手。從查理五世和拿破崙到俾斯麥和克倫威爾，從希特勒和史達林到羅斯福和戈巴契夫，幾乎所有現代歷史上的關鍵權力人物都將他們的宏偉願景寄託在這片至關重要的土地上。在《歐洲》中，獲獎歷史學家布倫丹·西姆斯對過去半個世紀的歐洲歷史進行了權威描述，闡明了歐洲爭奪霸權的鬥爭如何塑造了現代世界。從 1453 年開始，拜占庭帝國的崩潰使歐洲面臨奧斯曼帝國的入侵，並促使神聖羅馬帝國的急劇擴張，西姆斯帶領讀者經歷了爭奪歐洲心臟的史詩般的鬥爭。這片相對緊密的地區從低地國家延伸至德國，再到義大利北部平原，歷史上一直是地球上最富饒、生產力最高的地區。數百年來，其至關重要的戰略重要性引發了一系列看似永無止境的衝突，從英國內戰到法國大革命，再到 20 世紀可怕的世界大戰。但西姆斯表示，當歐洲和諧相處時，全世界都會受益，目前的領導人應該牢記這一點。 《歐洲》是著名學者的大膽而引人注目的著作，它融合了宗教、政治、軍事戰略和國際關係，展示了歷史以及西方文明本身是如何在歐洲的熔爐中誕生的。
If there is a fundamental truth of geopolitics, it is this: whoever controls the core of Europe controls the entire continent, and whoever controls all of Europe can dominate the world. Over the past five centuries, a rotating cast of kings and conquerors, presidents and dictators have set their sights on the European heartland, desperate to seize this pivotal area or at least prevent it from falling into the wrong hands. From Charles V and Napoleon to Bismarck and Cromwell, from Hitler and Stalin to Roosevelt and Gorbachev, nearly all the key power players of modern history have staked their titanic visions on this vital swath of land. In Europe , prizewinning historian Brendan Simms presents an authoritative account of the past half-millennium of European history, demonstrating how the battle for mastery there has shaped the modern world. Beginning in 1453, when the collapse of the Byzantine Empire laid Europe open to Ottoman incursion and prompted the dramatic expansion of the Holy Roman Empire, Simms leads readers through the epic struggle for the heart of Europe. Stretching from the Low Countries through Germany and into the North Italian plain, this relatively compact zone has historically been the richest and most productive on earth. For hundreds of years, its crucial strategic importance stoked a seemingly unending series of conflicts, from the English Civil War to the French Revolution to the appalling world wars of the 20th century. But when Europe is in harmony, Simms shows, the entire world benefits,a lesson that current leaders would do well to remember. A bold and compelling work by a renowned scholar, Europe integrates religion, politics, military strategy, and international relations to show how history,and Western civilization itself,was forged in the crucible of Europe.
Europe Hardcover – 30 April 2013
-----胡耀邦之"死"
劉述先等人：「陸大聲『一言喪邦』！」《陸鏗回憶與懺悔錄》時報文化，頁454
164 劉述先及其【馬爾勞與中國】 鍾漢清 2017-06-17
163 劉述先及其【文學欣賞的靈魂】 曹永洋 2017-06-17
陸鏗回憶與懺悔錄
《陸鏗回憶與懺悔錄》陸鏗著1997/07/08時報出版。
1. 作者簡介
陸鏗1919 年，出生於中國保山市，號大聲，筆名陳棘蓀，雲南保山人，新聞媒體人。逝世於2008 年 6 月 22 日，美國加利福尼亞舊金山。
著作： 《李登輝的最後抉擇》
2. 內容簡介
陸鏗一生以新聞記者為職業和事業。自1939年開始從事新聞工作至1997年，五十八年的經歷可以概括為記者─犯人─記者；既坐過國民黨的牢，又坐過共產黨的牢，同時又上兩邊的黑名單，可謂百年難逢之異數。陸鏗一生頗為多彩，由於新聞工作關係能與當代人物交往，見證了若干的內幕、史料。
本書是他一生的回憶及懺悔錄，坦白直率地鋪陳，其豐富的人生經驗，反映了時代，是那個時代不可缺少的見證。
----
"Man reading should be man intensely alive.The book should be a ball of light in one's hand."
“讀書人應該充滿活力。書應該是手中的一團光。”
Ezra Pound: Poet: Volume I: The Young Genius 1885-1920
David Moody weaves a story of Pound's early life and loves, his education in America, and his years in London, where he trained himself to become a great poet- ...
Ezra Pound: Poet – Volume II, The Epic Years, 1921-1939 – review
In this second volume of A David Moody’s biography, the controversial poet, creator of The Cantos, is preoccupied by music and Mussolini
There’s a gut-wrenching moment about 100 pages into this latest instalment of David Moody’s three-volume biography of Ezra Pound. It is January 1928, and the long-established literary magazine the Dial has just awarded Pound a prize, describing him as “one of the most valuable forces in contemporary literature”. Cause for congratulations, perhaps? Not a bit of it. A renaissance, Pound announced in 1915, is “a thing made by conscious propaganda”. But the writers who benefited most from the renaissance his propaganda had made (Eliot, Joyce, Wyndham Lewis) were no longer in the mood to admit that they couldn’t have done it without him. All Eliot could manage, in 1928, was the confession that he found himself “seldom interested”, these days, in what his old friend and colleague was saying, “only in the way he says it”. Lewis, the most wildly inventive member of the original gang, and among the neediest, had got into the habit of damning to rather different effect. Pound, he declared, had become an “intellectual eunuch”. Joyce, meanwhile, was minding his own business, as usual. Moody seems surprised by this “negativity”. His prose lapses, most uncharacteristically, into cliche, as he ponders the blackness of the ingratitude. The problem he seems unwilling to address is that by 1928, Pound, unlike the others, had little to show for all the propaganda.
The despondency soon lifts. This is a critical biography, and its great strength lies in its conviction that the attitudes and activities of the man are primarily of interest insofar as they illuminate the poems he wrote. Not that there was any shortage of attitudes and activities during the decades covered by the current volume. Pound moved twice, with his wife Dorothy somewhat intermittently in tow: from London (“the place lacking in interest, / last squalor, utter decrepitude” etc) to Paris, in 1921; and then from Paris (ditto, but with less fog and mud) to Rapallo, on the Ligurian coast, in 1924. Shortly after, two children arrived: a biological daughter, Maria, by his lover, the violinist Olga Rudge, and a legal son, Omar (Dorothy’s, by another man). Moody’s account of the man who had these experiences focuses on the two preoccupations that, in his view, did most to shape the work: music and Mussolini.
In Paris, Pound hung out with Joyce, the sculptor Constantin Brâncuşi and some dadaists. But, for Moody, the most important task he gave himself was to compose an opera based on ballads and songs by the medieval French poet François Villon, in whose unflinching descriptions of “this bordello of a world” he found a great deal to admire. Pound never dabbled. It wasn’t enough to compose, and occasionally perform, music. There must also be a theory overturning all other theories. Pound had always maintained that rhythm is what matters in music, not pitch or harmony. Now he published a Treatise on Harmony (1924) to prove it. Critics and biographers have, on the whole, been dismissive of his achievements as a composer and a theorist. Moody, by contrast, is a fan. He believes that the attention Pound paid to musical composition created the structure of The Cantos, the epic poem he had begun to draft in London in 1915, and was to carry on writing for much of the rest of his life. The Cantos is at once singular and plural, a long poem consisting of individual bulletins and sets of bulletins, of varying length, scope and tone, issued over the course of decades. “Musical themes that find each other out,” Pound told Pier Paolo Pasolini in 1968. Poetry, of course, is a music made of words. Its accords and discords arise as much out of meaning and association as out of melody. The Cantos, Moody says, is a “music of the whole mind at work”.
Within 10 years of the publication of the Treatise on Harmony, however, music had been overtaken in Pound’s life, if not in his poetry, by political activism. “Contemporary economics goes over my desk NOW,” he explained in 1934, “just as the Joyce, Lewis, Eliot etc went over it in 1917.” He had long been a fierce critic of laissez-faire doctrine, and an advocate of theories of social credit (a form of government subsidy replacing bank loans, and the “usurious” profits derived from them). Now, suddenly, in January 1933, he was granted an interview with someone who had the power to make social credit a reality. Pound fell deeply in idolatry with Mussolini. What got him was not the political programme – he never joined the fascist party – but the desire to get things done, and the ability to communicate.
The dawn Pound would surely have thought it bliss to be alive in is that of the world wide web as Tim Berners-Lee originally conceived it (he would have fought tooth and nail against the web’s subsequent conversion into a series of semi-private platforms). In effect, he spent much of the 1930s retweeting gists and piths of economic and political theory to as many followers as he could attract, by whatever medium he could gain access to. He could behave like a bit of a troll, too. Moody speaks of the “predominance” of rage and hatred in the economic propaganda, not least in its vicious antisemitism (the propaganda’s “dark force”). Not everyone was impressed. Pound soon found out what being unfollowed feels like.
So did the Mussolini spoil the music? It had taken Pound 15 years to get the first 30 cantos into print. Between 1934 and 1940, he published another 41, most of them meant as lessons in sound economics and good government drawn from the history of the American revolution and other praiseworthy episodes (brought bang up to date by advice from the likes of Rudolf Hess). Cut and paste, many have complained. Musical form, Moody replies. His subtle and unfussy reading of these intractable poems as the rhythmic development of theme and counter-theme effectively refutes the idea that they are just a ragbag. The danger is that musical form will become just the next Poundian shibboleth, yet another standard the poems can’t quite live up to – for an epic including history isn’t likely to keep any beat, steady or not. The appeal of a good deal of the material absorbed into it is its evident reluctance to be in any kind of poem at all. And then there are the marvellous, aching surprises. Written into the stately opening of “Canto 39”, for example, is the brief, inconsequential history of one of the many stray cats Pound looked out for in Rapallo: a history beyond recovery now, and the more poignant for it. Press such moments into a pattern, however “open”, and you lose the poem’s greatest pleasure.
Moody’s third and final volume will have plenty to contend with, good and bad. But he has already done more than enough to show why his subject continues to matter. Pound is still the one the argument is about. Would he have settled for that? Probably not.
艾茲拉龐德：詩人——第二卷，史詩歲月，1921-1939——評論
這篇文章已有 10 多年歷史
在大衛·穆迪傳記的第二卷中，這位備受爭議的詩人、《詩章》的創作者專注於音樂和墨索里尼
大衛特羅特
2014 年 10 月 23 日星期四 09.00 BST
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十三
在大衛‧穆迪 (David Moody) 所著的艾茲拉‧龐德 (Ezra Pound) 三卷本傳記的最新一期中，大約 100 頁處有一個令人痛心不已的時刻。 1928年1月，老牌文學雜誌《日晷報》剛授予龐德獎，稱他為「當代文學界最有價值的力量之一」。也許值得祝賀？一點兒也沒有。龐德在 1915 年宣稱，文藝復興是「由有意識的宣傳促成的」。但從他的宣傳所帶來的復興中受益最多的作家（艾略特、喬伊斯、溫德姆·劉易斯）卻不再願意承認，如果沒有他，他們就不可能做到這一點。 1928 年，艾略特只能坦白說，如今他發現自己「很少」對他的老朋友和同事說的話感興趣，「只對他說話的方式感興趣」。劉易斯是該團體最初成員中最具創造力且最需要幫助的成員之一，他養成了譴責的習慣，但效果卻大不相同。他宣稱龐德已經成為「知識太監」。同時，喬伊斯和往常一樣，忙著自己的事情。穆迪似乎對這種「消極情緒」感到驚訝。當他思考忘恩負義的黑暗面時，他的散文最不尋常地陷入了陳腔濫調。他似乎不願意解決的問題是，到了 1928 年，與其他人不同，龐德的所有宣傳都沒有任何成果。
沮喪情緒很快就消失了。這是一本批判性傳記，其強大之處在於它堅信主角的態度和活動之所以有趣，主要是因為它們可以闡釋他所寫的詩。這並不意味著本書涵蓋的幾十年間缺乏各種態度和活動。龐德搬了兩次家，他的妻子多蘿西斷斷續續地跟隨其後：1921 年，從倫敦（“缺乏趣味的地方，極其骯髒，徹底破舊”等）搬到了巴黎；然後從巴黎（同樣，但霧和泥少了）到了1924 年利古里亞海岸的拉帕洛。女兒瑪麗亞，另一個是法律上的兒子奧馬爾（多蘿西與他人所生）。穆迪對這位擁有這些經歷的人的描述集中在兩個對他的作品影響最大的事物：音樂和墨索里尼。
在巴黎，龐德與喬伊斯、雕塑家康斯坦丁·布朗庫西以及一些達達主義者一起交往。但對穆迪來說，他給自己最重要的任務是根據中世紀法國詩人弗朗索瓦·維庸的歌謠和歌曲創作一部歌劇，他從維庸對“這個妓院世界”的毫不畏懼的描述中發現了許多值得欣賞的地方。龐德從未涉足。創作和偶爾表演音樂還不夠。還必須有一個推翻所有其他理論的理論。龐德一直認為，音樂中最重要的是節奏，而不是音調或和聲。現在他發表了《和諧論》（1924年）來證明這一點。總體而言，評論家和傳記作家都對他作為作曲家和理論家的成就不屑一顧。相比之下，穆迪是一名粉絲。他認為，龐德對音樂創作的關注形成了《詩章》的結構。 《詩章》既是單數又是複數，是一首長詩，由幾十年來發行的單一公告和公告集組成，長度、範圍和語氣各不相同。 1968 年，龐德告訴皮埃爾·保羅·帕索里尼：「音樂主題相互融合。」當然，詩歌是由文字構成的音樂。它的和諧與不和諧不僅源自於旋律，也源自於意義與聯想。穆迪說，《詩章》是「整個心靈運作的音樂」。
然而，在《和諧論》出版後的 10 年內，音樂在龐德的生活中（即使沒有在他的詩中）已經被政治行動所取代。 1934 年，他解釋道：“現在我的辦公桌上擺滿了當代經濟學，就像 1917 年喬伊斯、劉易斯、艾略特等人的著作一樣。”長期以來，他一直是自由放任主義的激烈批評者，也是社會信用理論（一種政府補貼形式，取代銀行貸款及其產生的「高利貸」利潤）的倡導者。現在，突然之間，在 1933 年 1 月，他被允許採訪一位有能力將社會信用變為現實的人。龐德對墨索里尼深深地崇拜。讓他脫穎而出的並不是政治綱領——他從未加入法西斯政黨——而是完成任務的渴望和溝通能力。
龐德認為人生最幸福的黎明是提姆·伯納斯·李最初構想的萬維網的黎明（他
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