![\"DLraw.net](\"//images.ctfassets.net/489uxmpaom7o/4oL9WvhMlHS2IUxZM1WnAp/f91f8490f9007a63fa07899a01bf932c/DLraw.net_3gatu01_007.jpg\")
这是傍晚时分的景象：
\n他比白天里还要更颓唐。
\n躺在公园绿色剥落的长椅上，
\n与乌鸦合唱一首败者的歌。
这是傍晚时分的景象：
\n她将纸上写下的词语
\n埋在松树蓝色的影子里。
\n倾听流动的血液如何冻结。
这是傍晚时分的景象：
\n远处天空淡粉的条带上
\n白鸟缓慢地上升，却也变暗。
\n棱形的风
\n的碎片
\n便于切割你的心：
幸好过去的记忆终会远去。
\n至少此刻，在逐渐冷却的晚风中
\n恋人相拥，更加紧密：
\n这是傍晚将要却还未结束时的景象。
试对比《3月的狮子》对比动画与漫画的最开头：漫画第一页中，香子模样的女性对零说
\n\n\n\n零 真是个奇怪的名字\n不过 却很适合你呢
\n既没有家\n也没有家人\n不去学校\n也没有朋友……
\n
至于动画则以快速闪过的三个抽象画面开头：水面、风暴、雨点：
\n在此之后，则是风激起水花的水面，以及风中零的阴影：
\n在OP之后，才是漫画的第一页，在香子的声音说出那些台词时，画面中是流进下水道的水：
\n最近两周看完了《3月的狮子》动画第一季。先记录几个印象深刻的片段。
\n\n动画第五话末尾，对应原作第十章，在香子将零比作鸠占鹊巢的鸟之后：
\n看到这里的瞬间被一种强烈的 lyricism 打动。想到史蒂文斯的这几句：
\n\n\nAnd, in the isolation of the sky,
\n
\nAt evening, casual flocks of pigeons make
\nAmbiguous undulations as they sink,
\nDownward to darkness, on extended wings.
动画第16话，对应原作三卷第32章。当零在学校与将棋两边都遇到困难时，老师对他说的话：
\n对我来说是第一季的最高峰。漫画原作无论是台词还是分镜节奏都极佳：横排与竖排文字在叙述、自问与认识之间跳跃，从岛田疲惫的侧脸，荒原直到最后一页炸开的闪电：最为 sublime 的时刻。
\n竖着的字：
\n\n\n是啊
\n
\n从最开始就知道
\n在「暴风雨对面」的
\n只是更加剧烈的暴风雨而已
横着的字：
\n\n\n看着他疲惫不堪的侧脸
\n
\n我想着他走来的道路即使一次次倒下
\n
\n也会将自身飞散的碎片
\n再次凑集无论多少次
\n
\n也会再次站起
\n前行之人的世界没有终点的彷徨
\n「那么 为何？」
\n
\n其回答绝不能向这侧脸找寻这一答案
\n
\n只能在暴风雨中问自己
也想到了 Moby Dick, Chapter 119: The Candles 中这一段：
\n\n\nThen turning- the last link held fast in his left hand, he put his foot upon the Parsee; and with fixed upward eve, and high-flung right arm, he stood erect before the lofty tri-pointed trinity of flames.
\n
“Oh! thou clear spirit of clear fire, whom on these seas I as Persian once did worship, till in the sacramental act so burned by thee, that to this hour I bear the scar; I now know thee, thou clear spirit, and I now know that thy right worship is defiance. To neither love nor reverence wilt thou be kind; and e’en for hate thou canst but kill; and all are killed. No fearless fool now fronts thee. I own thy speechless, placeless power; but to the last gasp of my earthquake life will dispute unconditional, unintegral mastery in me. In the midst of the personified impersonal, a personality stands here. Though but a point at best; whenceso’er I came; whereso’er I go; yet while I earthly live, the queenly personality lives in me, and feels her royal rights. But war is pain, and hate is woe. Come in thy lowest form of love, and I will kneel and kiss thee; but at thy highest, come as mere supernal power; and though thou launchest navies of full-freighted worlds, there’s that in here that still remains indifferent. Oh, thou clear spirit, of thy fire thou madest me, and like a true child of fire, I breathe it back to thee.”
","excerpt":"最近两周看完了《3月的狮子》动画第一季。先记录几个印象深刻的片段。"}}}},{"node":{"title":"“The Woman in Sunshine”, Wallace Stevens","id":"f43e4391-97f2-554d-ba07-4eac2dd7191e","slug":"the-woman-in-sunshine-wallace-stevens","publishDate":"May 17, 2020","heroImage":null,"body":{"childMarkdownRemark":{"timeToRead":1,"html":"The Woman in Sunshine
\nIt is only that this warmth and movement are like
\nThe warmth and movement of a woman.
It is not that there is any image in the air
\nNor the beginning nor end of a form:
It is empty. But a woman in threadless gold
\nBurns us with brushings of her dress
And a dissociated abundance of being,
\nMore definite for what she is—
Because she is disembodied,
\nBearing the odors of the summer fields,
Confessing the taciturn and yet indifferent,
\nInvisibly clear, the only love.
The Drowned and the Saved is the last book that Primo Levi wrote before his death. In these essays, Levi reflects on the Nazi concentration camps with a more analytical approach. Whereas his previous books, If this is a Man and The Periodic Tables, are more autobiographical.
\nI find in Levi’s writings a rare balance of precision and humanity. Precision in narration and reflection: there is never exaggeration of facts nor unchecked emotion, as his tone stays measured. Humanity in comprehension: there is a willingness to understand and not to judge, and one can always the emotional warmth below the surface of his carefully chosen words.
\nThe following passage is from Chapter 3, The Shame:
\n\n\nThere is another, greater shame, the shame of the world. In a memorable line, much quoted, in this regard and others, John Donne wrote that “No man is an island,” and that every death bell tolls for us all. Yet there are those who turn their backs on their own transgressions and those of others, to avoid seeing or being touched by them. This is how most Germans behaved in the twelve years of Hitler, in the illusion that not seeing was not knowing, and that not knowing relieved them of their own share of complicity or connivance. But we were denied the shield of wilful ignorance, T. S. Eliot’s “partial shelter”: we could not not see. We were surrounded by the sea of suffering, past and present, and its level rose each year until it almost drowned us. There was no use closing our eyes or turning our backs, because it was all around us, in every direction, as far as the horizon. We could not or would not be islands: the righteous among us, whose number was neither higher nor lower than in any other human group, felt remorse, shame, and sorrow for the wrongs that were committed by others, not by them, but in which they felt implicated, because they felt that what had happened around them, in their presence, and in them was irrevocable. It could never be washed away. It would prove that man, the human race—we, in other words—was capable of building an infinite mass of suffering; and that suffering is the only force created from the void, with neither expense nor effort. All it takes is a refusal to see, to hear, and to act.
\n
It is the victims who feel shame, not the villains. The victims feel shame, because they have suffered, and have witnessed the sufferings of others without being able to give any help. The villains don’t know what shame is, for they take pride in causing afflictions , though later they may feign innocence. As Leopardi says,
\n\n\nMen are shamed by the insults they receive, not by those they inflict.
\n
From Chapter 4, Communication. Even in today’s ‘society of communication’, this passage remains extremely relevant.
\n\n\nThe Jews, who were the quintessential enemies—impure, sowers of impurity and destroyers of the world—were forbidden the most precious form of communication, with their country of origin and their family. Those who have experienced exile, in any of its many forms, know how much suffering follows when this nerve is cut. It gives rise to a fatal impression of abandonment, together with an unfair resentment: they are free, so why don’t they write to me, why don’t they help me? We thus had the opportunity to understand clearly that on the great continent of freedom the freedom to communicate is an important province, like health, whose value can be understood only by those who have lost it. This suffering is not only at an individual level: in the countries and in the eras in which communication is obstructed, all other freedoms wither quickly. Debate dies of starvation, ignorance of others’ opinions spreads, and imposed opinions are triumphant. A well-known example is the mad genetics preached in the USSR by Trofim Lysenko, who, in the absence of opposition (anyone who disputed his theories was exiled to Siberia), jeopardized harvests for twenty years. Intolerance leads to censure, and censorship increases ignorance of other people’s reasons and thus intolerance: it is a rigid vicious circle that is hard to break.
\n
(to be continued)
","excerpt":"The Drowned and the Saved is the last book that Primo Levi wrote before his death. In these essays, Levi reflects on the Nazi concentration camps with a more analytical approach. Whereas his previou…"}}}},{"node":{"title":"晚风","id":"9ee216d1-586b-5d45-8115-438104815ce4","slug":"night-wind","publishDate":"April 12, 2020","heroImage":null,"body":{"childMarkdownRemark":{"timeToRead":1,"html":"巴黎这两天气温突然升高，虽只是四月初却已经像是夏日。在这样的季节，傍晚从太阳下山直到天黑之前的时间最为美妙…
\n\n白天的炎热告一段落，打开窗有微凉的风吹入室内。天空原本明亮、单一的蓝色中，逐渐加入细微的紫与红，有了新的高度。远处时而有一两只鸟飞过。阳光照耀在对面的楼上，再反射到我房间里，让事物投下更为细腻的影子。
\n坐在窗边，在逐渐黯淡的天色下读一本书，或是听音乐：或许没有比这更舒适的事了。
","excerpt":"巴黎这两天气温突然升高，虽只是四月初却已经像是夏日。在这样的季节，傍晚从太阳下山直到天黑之前的时间最为美妙…"}}}}]}},"pageContext":{"basePath":"","paginationPath":"","pageNumber":13,"humanPageNumber":14,"skip":79,"limit":6,"numberOfPages":21,"previousPagePath":"/13","nextPagePath":"/15"}}, "staticQueryHashes": ["1946181227","2744905544","3732430097"]}