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• 作者：华娃 发布时间：2022-05-09 16:57:41

  书中给的股权设置方法简单明了易操作，值得创业者和需要扩大企业规模的老板学习。

• 作者：R 发布时间：2024-04-03 16:51:10

  科普性很强，知识点超多！

• 作者：那小海 发布时间：2020-11-04 21:36:33

  可能因为我是纯粹小白吧。这本适合有基本功的摄影师。不过，文字内容不是很多，主要其实就是介绍了他自己的摄影作品，结合作品当时的布光方法加以阐述。我感觉就是一个85分的人跟70分的人们传授经验。

• 作者：长堀 发布时间：2018-05-04 21:55:02

  不如《一个夏天》有个性:清新明快，刚看开头还以为文体趋于成熟饱满（中规中矩），但实际上《亲爱的丽斯》才是处女作。故事以相当古典的题材“家庭教师与女学生”展开，紧接着流露出与十五岁幼女不伦恋的危险，但转而变成穷小子与千金女的矛盾，很快又落入自我意识流中，随即出现的新女生很有可能威胁着两人或者发展成3P，然而最后什么都没有发生，并用一个单方面的自我意识来宣告恋情终结，以遮掩中后段的泄气，虽说在众多套路边缘游离而没有成为一个套路的小说，但终究是只不过是一次不停转向的虚构的郊游

• 作者：读书成长 发布时间：2008-01-15 12:42:41

  书在嘉定家

• 作者：乌拉 发布时间：2022-10-22 18:39:44

  系统观念。

• To be sensible Or To be sensitive

  作者：蒜子 发布时间：2013-11-10 13:29:42

  It is a truth universally acknowledged ,that anyone existing in the world will be caught in an ineluctable dilemma, where you hesitate in the face of sense and sensibility. Actually, whenever l meets such crossroads, l naturally think of Jane Austen, an outstanding writer of British, whose masterpieces partake of the aesthetic cross-currents ahead of her time. As she created Elinor and Marianne, she might have never regarded them prominent and imperishable. However, the characters of these two sisters have made a glorious impression on generations after generations; their ineffable mental world has become an inexhaustible resource to lead us from intersections.

  The story mainly concerns two sisters, Elinor and Marianne Dashwood. Along with their mother and younger sister Margaret, they are left impoverished after the death of their father, and the family is forced to move to a country cottage offered by a generous relative. Elinor privately forms an attachment to the gentle and courteous Edward Ferrars, unaware that he is already secretly engaged. After their move, Marianne meets Willoughby, a dashing young man who leads her into undisciplined behavior, so that she ignores the faithful but mature Colonel Brandon. The contrast between two sisters' characters is eventually resolved as both find out their Mr. Right and everlasting idyll.

  Elinor, the eldest daughter, whose advice is so effectual, possesses a strength of understanding, and coolness of judgment, which qualifies her, though only nineteen, to be very mature for her age. When her father died, she behaves really like a true woman, swallow tears inside, losing girlish temper, but carry on the burden of life and strive to rouse her mother to similar forbearance. Luckily she meets Edward, a sensible man with integrity and delicacy. But she still exerts her affection and stays imperturbable, though Marianne bursts forth with indignation:” Esteem him! Like him! Cold-hearted Elinor!” After their moving home, Marianne falls in love with Willoughby. Among all their surrounding acquaintance, Elinor is the only sightful person to impugn his integrity, and to doubt whether they have got engaged even when no one suspects it. After knowing Willoughby’s innermost ethos, she thinks it time and again, and overdoes comforting her pure sister. Subsequently life gives her another horrific pang — her admiring Edward has engaged secretly. It seems nothing can save her sinking heart now. Facing Lucy’s fake emotion, what should she do? Can she feel herself in danger of a hysterical fit or a swoon? Or can she insult Lucy because she is a fickle hypocrite who destroys her idyll? No, Elinor stays sensible. She forgives Lucy, Edward and anyone ever hurt her mind. Unlike Marianne, she never tells anyone about her broken heart, instead, she imparts great patience and elegance. No wonder she can’t hold herself back the moment she learns great changes from Edward, and burst into ceaseless tears of joy. After all, she is simply a woman, a sensible lady with sensitive emotion, a seraphic girl who appears strong but yearns for love and care inside.

  Marianne, sensitive and ill-concealed, can’t have any moderation. She is monstrously pretty, highbrow and ethereal: she is everything but prudent. As a girl of 17, she has potent enough sensibility to make sure “the more I know the world, the more I am convinced that I shall never see a man whom l can really love.” And many are the tears shed by her in her last adieus to their residence so much beloved. Ironically, after meeting Willoughby, she falls head over heels in love with him forthwith and they read, dance, even tour together. Such conduct makes them of course most exceedingly laughed at; but ridicule can not shame, and seems hardly to provoke them. With minutes ticking away, Marianne’s love affair grows torrid and incandescent but Willoughby’s is on the contrary. Having perceived him at a party, Marianne can’t help pronouncing his name in a tone of affection and instantly glinting her emotion in public. Being hurt by his inexcusable guilt, she is entirely lost in sobs but is so stubborn that she tries all means to make excuses for his inconstant affair. Eventually , poor Marianne , languid and low from the nature of her malady , and feeling herself universally ill , can no longer hope that tomorrow will find her recovered . Thanks to this putrid tendency, a sensitive Marianne sleeps forever, and lives a sensible female.

  Having finished reading the last word of Sense and Sensibility, I softly sigh in the darkness. After experiencing the narrow path zigzagging up the immutable love, both Elinor and Marianne find out Mr. Right whom they belong to. But which character should I choose? To be sensible or to be sensitive?

  I think Elinor ought to gain more understanding and sympathy. No matter in novel or in reality, Elinors actually suffer more burdens than Mariannes, as well as solitude. It’s impossible to read anything from their smooth appearance, thus we think their tough appearance means their tough spirits for granted. However, it turns out to be wrong when Elinor receives sudden proposing marriage from Edward and bursts into crying. At that time, Elinor is another Marianne, fragile and ingenuous. She badly needs love but never speaks it out. Perhaps it’s because she is the eldest sister in the family, she can’t count on any help from her sisters or mother. So when Marianne sheds for falling leaves, she has to pay attention to the cost of living. I always believe that under Elinor’s fortitude surface lives a beating heart. She only hides her passion for life and devotion to love, thus duty is the very thing she cares for. When hurt by love, she endures it alone, unlike Marianne yearning for everyone’s focus. When realized Lucy’s skullduggery, she still tolerates it for the sake of her Edward. Because of her sense, she has to sacrifice her passion and her unlimited girlhood.

  As for Marianne , she abhors all concealment where no real disgrace can attend unreserved ; and to aim at the restraint of sentiments which are not in themselves illaudable , appeared to her not merely an unnecessary effort , but a disgraceful subjection of reason to common-place and mistaken notions . In sacrificing general politeness to the enjoyment of undivided attention where her heart is engaged, and in slighting too easily the forms of worldly propriety, she displays a want of caution which Elinor can not approve. She , who has never much toleration for anything like impertinence , vulgarity , inferiority of parts , or even difference of taste from her spirits , to be pleased with the Miss Steeles . Such openness, such sincerity! Though substantially hating the dark side of morality, Marianne is condemned by such event and is nearly led to the grave. She innocently thinks she can live independently from the circumstance; actually she has been gradually changed by the circumstance. At the end of the story, Marianne submits to her sister’s sense as she firmly rejected initially, and accepts plain-featured Colonel Brandon. Does it mean she eventually grows up, or she is a victim of circumstance? Because of her sensibilities, she has to go through vicissitudes and abandon her romantic opinions towards life, and ultimately becomes intellectual, instead of falling a sacrifice to an irresistible passion as once fondly flattered herself with expecting.

  To be sensible or to be sensitive? The genius of Jane Austen lies in this thought-provoking ideology, one that reflects the wisdom of living. As Jane herself explained :”With strong affection it’s impossible , with calm ones it can have no merit “ , so no matter to be sensible or to be sensitive , we all have to sacrifice something . Maybe we will be forced to have a good head on your shoulders in this bitter process, maybe we will cultivate an air of sophistication, or maybe we lose our nature qualities to satisfy the society. But who knows? Probably our life should display a perfect fusion of sense and sensibility. That’s why I equally love Elinor and Marianne. They represent two sides of the personality, but both combine to a perfect morality. So it’s not necessary to argue whether sense is premier or not. I still remember a saying from William Butler Yeats:" In life courtesy and self-possession are the sensible impressions of the free mind, for both arise from never being swept away, whatever the emotion , into confusion or dullness?” Just like the novel undertoned, sense and sensibility are two sisters, they can’t live alone, but at most time, what we should do is more akin to empower our emotion than become emotionally involved.

  People at home and abroad always admire the way British behave. For example, when Princess Dianna met a car accident, Queen Elizabeth bravely held in her feelings and treated it calmly with dignity. To each individual, sense similarly plays the main role. Take a liberty to deliberate on how to adjust your impulsion instead of running in circles. Is what you do an engagement of your heart? Are you constantly reading and answering messages or checking on the latest stream of information? Are you always rushing through your schedule? Then be that vision. Value the sense. It’s a treasure and it’s available to us, always.

  In the end, by some freak of fate people extravagant or good-natured all have a happy ending. We don’t know whether the virtue will pay off while the wickedness will receive its revenge. However, it shows reality, that life is complicated full of unknown miseries. Jane Austen sets us a perfect balance between sense and sensibility, between moral duty and earthly pleasure, between obligation to the spirit and attention to the incredible beauty. As we think further and further , Margaret , the youngest sister in the family , has reached an age highly suitable for dancing and it’s not very ineligible for being supposed to have a lover . What a titanic choice will she make between sense and sensibility? Only your heart will tell.

• 我失落或错付的深情

  作者：Eros 发布时间：2018-07-31 02:44:30

  希望每个人因为这个世界上还有书可以读（比如《海风》）而至少真心地快乐了一点；而拥有这一种读者的崇高，毕竟是你我能够获得的唯一的世俗超越。

  

  Ivan Constantinovich Aivazovsky - 1850

  木心在讲俄罗斯的文学时提到，“十九世纪的俄罗斯似乎全部是冬天，全部雪，全部夜，全部马车驿站，全部阿卡奇•阿卡耶维奇，彼得罗夫•彼得罗芙娜，全都过去了，全部在文学之中，靠自己的体温去熨暖它。”这些意象和姓名符号于是成为一种文学的既定烙印，那些作品不约而同地一遍遍加深这些符号的意义，到最后每一个符号背后都有了无穷的含义和无尽的心流。

  这样的符号寻找之旅走到加拿大的时候，眼前出现了煤矿、山路、礁石、海、长夜、回乡与出走、永远零落的家庭、隐忍不言的感情和无休无止的旅途，而它们指向一本书。

  一万多字，七个不太长的故事，构成了阿利斯泰尔•麦克劳德的《海风中失落的血色馈赠》（下文简称《海风》），一本薄薄的短篇小说集。

  

  《海风中失落的血色馈赠》 [加拿大] 阿利斯泰尔·麦克劳德陈以侃 译

  读《海风》是一个隐秘的行为。红窗棱，灰墙砖，高三，淅沥小雨，某一些课堂上。把麦克劳德的小书放在大腿上，快速地慌乱地读，像一只鸵鸟。走出沙漠再回头看，《海风》之于我，好像它封面上那一条细长的插画，在淡漠的空白里放出一点眯起眼睛才能看到的光。

  马尔克斯在《百年孤独》里筑起一处专属的魔幻世界，在那里世界里所有的风、笛声、一个人的生命终点，可以手一挥就止息或延续。麦克劳德不把自己放在无所不能的位置，相反，他和自己故事的主人公一样，总是束手无策。生命里总是一条一眼望得到头的路，一件想得却不可得的事，一个出发了也到不了的地方；说话，也是用着不抱希望的语调。比如《秋》中低下头来，默默屈从于贫穷的淫威，对失去一匹忠诚的老马无能为力的父亲；比如《海风》中看一眼自己孩子快活的样子后头也不回走开的“我”。

  麦克劳德把故事安放在加拿大疲惫的海旁；像所有故乡一样，它既是血脉之源，又残酷异常，它一面用大手抚摸每一个儿子的脑袋，一面又把他们卷进无法脱身的风暴中心。故事里显著的一点就是无法摆脱的家族烙印。“爷爷”这个形象，更多地与把后辈绑缚在这个局促的小地方有关。而作为叙述者的我在自己挣扎的过程中获得了父辈的心酸，“就在那时，我对父亲生出无限的爱；花一辈子去做自己厌烦的事，比永远自私地追逐梦想、随心所欲，要勇敢得多”。而父亲的结尾就只能从一个儿子的嘴里说出来，以寡淡的描述，“海鱼咬掉了他的睾丸，海鸥啄走了他的眼珠，他曾经的面孔如今只见一团肿起的紫色皮肉，只有他白绿相间的胡须不问生死，继续生长，如同坟上的野草。父亲旧躺在那里，腕上还挂着铜链，头发里长起海藻，他的身体其实没有剩下多少”。他从海边走来，最终也复归大海。“我”用这样克制的语调说着每一个故事。

  如果一定要说一说麦克劳德故事里人物的关系的话，《黑暗茫茫》一篇里的一句话刚好合适——“我觉得和父亲之间隔着一道辽阔而潋滟的海湾”。辽阔的是永远跨越不过去的隔阂，潋滟的是那些暗藏的无法摆脱的代代相承的气质。麦克劳德的人物从不整晚整晚地聊个不停，他们的交流都是碎片，需要的时候才开始讲话。或者说他们都活在自己的世界里，他们都爱人，但不知道应该怎么说。《通往乱岑角的路》中，我穿过层层密林和家族回忆探望了奶奶，“突然我们两人都落泪了。我们为对方也为自己哭。我们本想在对方身上找到力量，却在这一场脆弱的泪光中相逢了”。《黑暗茫茫》中，我搭上一辆离乡的车，和司机穿过闷热的湿漉漉的夏日旅途，“整个下午的车程中我们都在聊天，主要是他聊，我听”。他们总是能够发现自己和别人某一些精神交接的瞬间，但无论什么时候，说话总是一件困难的事，不管有没有酒。

  如果《海风》是一片海滩，那么那海旁每一个不肯说出自己痛苦的人都是这海岸上一块誓不动摇的暗礁。

  

  Ivan Constantinovich Aivazovsky - 1860

  《海风》带来的体验是沉浸式的，世界幻化入麦克劳德的叙述中浮浮沉沉。时间和场景是滑落的而不是切换的。深情而不泛滥，透出一些举重若轻的意思来。他所铺排在视野的巨幅景色，于海风吹袭的缝隙中流淌不定。

  “毛茛花颤动，白色和深绿色的雏菊点头摇摆。带刺的苏格兰蓟花开出一片淡紫色的烂漫，野荠麦和喧腾的覆盆子互相交缠，织起绿到无以复加的绒绣。”

  “歌声止遏，三百年催人心魄的忧患笼着宁谧的港口，舟和人都不做声；男人们倚着门框任烟头灼亮在暮色里，女人们抱着孩子，从窗口望着海的方向。“

  其实他只拥有一小块局促的海角，一片被煤渣浸染的黯淡沙滩，一座杂草丛生的小山，还有几条坑坑洼洼的街道，但写出的景色总是大块、无边，笼罩目力所及的一切。“即使是坑坑洼洼的街道，当你意识到不知何日才能重踏，甚至今生不会再见时，也会显得落寞寂寥”，景色并不会伸展和生长，真正漫溢出去的是人的情感与思绪，说不出口的话就如鬼影般游离出去，把山的黯淡描深一笔，把灯的影子拖得更长一点。

  《海风》是叙述和吟唱的结合。在叙事走上一条在夜色中的隐蔽之路之后，丢掉笔，文字会自己唱出歌来，这就是《海风》中故事的自我发展性。作为读者，只需在阅读中放弃自我保全，任凭海浪和夜色击中自己，就是阅读的最好方法了。

  比如我们慢慢地走到一个故事的结尾处——

  “然后我就上了火车；还算及时，因为火车已经开动了。每个人都在挥手，但火车只管往前，因为它别无选择，也因为它不喜欢看人挥手道别。远远地，我看到爷爷转身，沿着他的山向上走去。于是，剩下的只有车厢的摇晃和吱呀声，只有大海的蓝和它上空的海鸥，只有大山的绿和矿场在它身侧划开的深深的伤口。我们什么话也没有，只坐在静默和孤独中。我们来时走了很长的路，所以，还有很长的路要走。”

  让那个思维主体由我游弋至远行的火车，触碰一下海，再荡回我本身，最后停在来往之间的一个节点。我们读到悬于半空，是最好的位置。

  

  Ivan Constantinovich Aivazovsky - 1898

  语言的力量来自亲近，亲近至于狎昵，“渔网如活物一般跃入春水中，洁白晶莹或碧绿透彻的冰山依然浮动左右，渔网腾挪其间，寻往去年前年五月的旧去处”。笔触在心弦间，想拨动哪一根就拨那根。文辞藉以动人的自由又来自翻译的疏放，本书的译者陈以侃在原著中放开手脚的样子，殊为难得。

  如果一定要有一种把英文用中文说出来的方式的话，陈以侃是我见过的，说得最有魔力的年轻译者，他会施最厉害的迷魂咒，让人忘掉读的是竟是一个译本。这样的译本便具有了独立于原文之外的生存能力，译者自然也就可以隐遁无形。

  翻译完《爱德华·巴纳德的堕落》后，陈以侃在的后记里写，“文学的好坏，我是一个相对主义者，我不相信永恒的胜负关系，我相信人生和阅读的莫名交汇造出的美好片刻……如果这篇文章还有意图要对判断文学价值凑泊出什么说法，是这句：任何瞬间的心动都不容易，不要怠慢了它……其实，我也能想出好几个比带孩子（以及制造一个差强人意的新毛姆译本）更高级的消磨时间的方式，但如果活着只是永远不甘于经历第一流以外的东西，那人生还能筛下多少值得保留的回忆。爱默生说，只要真心觉得快乐，你就更丰沛了一些。”

  希望每个人因为这个世界上还有书可以读（比如《海风》）而至少真心地快乐了一点；而拥有这一种读者的崇高，毕竟是你我能够获得的唯一的世俗超越。

  拿起《海风》，想起畴昔的夜。那时候我还有一床可以取暖的厚棉被。

  如今毕竟是连棉被都已经失掉了。

  

  Ivan Constantinovich Aivazovsky - 1898

  二零一七年十月