上周Ange在忙著競賽二輪的磨課和三輪的考試，中間發了幾張圖片就沒再寫了，這周補回來啦。
作為一個教育碩士英語專業的傻憨憨，在寫這些推文的時候我都在努力地將之與新課改的各種思想聯繫起來，以期讓大家在學習英語的時候能與跨文化、聯繫現實訓練思維等方面結合。
這本書我真的很喜歡，因為它體現了聯大和聯大人在那個特殊時代的家國情懷，而那樣的家國情懷到當下都是適用且需要我們謹記於心的。
（註：鑑於中文翻譯書上有，為了不要與其他同樣分享本文的推文重合，我已刪除這一部分）
作者簡介：
G. Lowes Dickinson（高茲沃斯·洛斯·狄金森）（1862—1932），英國著名哲學家。因出版《來自中國官員的信札：東方人眼中的西方文明》（1901）而享譽世界。本文來自他的著作《面面觀：旅途瑣記》（因網上找不到太多關於他的信息，我就從書上摘抄了一下）
A SACRED MOUNTAIN
聖山
By G. Lowes Dickinson
高茲沃斯·洛斯·狄金森
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It was midnight when the train set us down at Taianfu. The moon was full. We passed across fields, through deserted alleys where sleepers lay naked on the ground, under a great gate in a great wall, by halls and pavilions, by shimmering, tree-shadowed spaces, up and down steps, and into a court where cypresses grew. We set up our beds in a veranda, and woke to see leaves against the morning sky. We explored the vast temple and its monuments—iron vessels of the T『ang age, a great tablet of the Sungs, trees said to date from before the Christian era, stones inscribed with drawings of these by the Emperor Chien Lung, hall after hall, court after court, ruinous, overgrown, and the great crumbling walls and gates and towers. Then in the afternoon we began the ascent of Tai Shan, the most sacred mountain in China, the most frequented, perhaps, in the world. There, according to tradition, legendary emperors worshiped God. Confucius climbed it six centuries before Christ, and sighed, we are told, to find his native state so small. The great Chin Shih Huang was there in the third century B. C. Chien Lung in the eighteenth century covered it with inscriptions. And millions of humble pilgrims for thirty centuries at least have toiled up the steep and narrow way. Steep it is, for it makes no detours, but follows straight up the bed of a stream, and the greater part of the five thousand feet is ascended by stone steps. A great ladder of eighteen flights climbs the last ravine, and to see it from below, sinuously mounting the precipitous face to the great arch that leads on to the summit, is enough to daunt the most ardent walker. We at least were glad to be chaired some part of the way. A wonderful way! On the lower slopes it passes from portal to portal, from temple to temple. Meadows shaded with aspen and willow border the stream as it falls from green pool to green pool. Higher up are scattered pines. Else the rocks are bare—bare, but very beautiful, with that significance of form which I have found everywhere in the mountains of China.
1. pavilions n. a usually open sometimes ornamental structure in a garden, park, or place of recreation that is used for entertainment or shelter涼亭
2. veranda n. a usually roofed open gallery or portico attached to the exterior of a building 遊廊
3. began the ascent of Tai Shan 爬泰山，沒有用我們慣熟的climb mountain，而是用ascent，使爬山的整體行為都變得形象
4. 幾種樹的名稱：cypresses 柏樹；aspen 搖白楊樹；willow 柳樹；pine 松樹
這一段文字十分優美，從文章開頭第二句，用一系列的動詞構成了作者從泰安火車站下車到找到一個空廟休憩過程中的所見所聞，動詞間的順序與描述使得整個畫面躍然紙上。
閱讀本段，宛若自己就在當場，在那靜謐的夜晚裡穿梭泰安，在清晨感受一天的美好，在葳蕤聳立的泰山中前行攀登。
To such beauty the Chinese are peculiarly sensitve. All the way up, the rocks are carved with inscriptions recording the charm and the sanctity of the place. Some of them were written by emperors; many, especially, by Chien Lung, the great patron of art in the eighteenth century. They are models, one is told, of calligraphy as well as of literary composition. Indeed, according to Chinese standards, they could not be the one without the other. The very names of the favorite spots are poems in themselves. One is 「the pavilion of the phœnixes」; another 「the fountain of the white cranes.」 A rock is called 「the tower of the quickening spirit」; the gate on the summit is 「the portal of the clouds.」 More prosaic, but not less charming, is an inscription on a rock in the plain, 「the place of the three smiles,」 because there some mandarins, meeting to drink and converse, told three peculiarly funny stories. Is not that delightful? It seems so to me. And so peculiarly Chinese!
1.sanctity n. holiness of life and character: godliness 神聖
2.the great patron of art 藝術贊助人 不知為何這句來自「歪果仁」對乾隆的形容總帶著點喜感，但是從某個方面確實真真確確反映了乾隆皇帝對藝術的狂熱（笑）。
3.phœnix 鳳凰 不是書上打錯了，是那個時候就這麼寫，現在已經淘汰此寫法，改為phoenix
4.quickening a. kindle 靈感的 亞馬遜的kindle也是這個意思哦
5.prosaic a. dull, unimaginative 無聊的，沒有想像力的，這裡指沒有前面其他的名字起得那麼有創意
6.mandarin n. a public official in the Chinese Empire of any of nine superior grades 專指中國古代九品等級系統中的官員
本段寫出了中國人在賞景、審美上的特點，說明中國人並非如此「野蠻」，而是「頗具諧趣」—peculiarly Chinese，看似貶義的一句話裡，體現出作者對中國人對自然風景審美的高度肯定與親切。
It was dark before we reached the summit. We put up in the temple that crowns it, dedicated to Yü Huang, the 「Jade Emperor」 of the Taoists; and his image and those of his attendant deities watched our slumbers. But we did not sleep till we had seen the moon rise, a great orange disk, straight from the plain, and swiftly mount till she made the river, five thousand feet below, a silver streak in the dim gray levels.
1. crown n. the summit of a mountain山頂，此處名詞作動詞用，主語為temple。crown常指的是皇冠，此處是它另外一個意思，指山頂，也可以將其看成是在泰山頂上的一個冠，也十分形象。
2. deity n. the rank or essential nature of a god 神明
3. streak n. a narrow band of light; a lightning bolt光帶 形容月光
這一段是描繪作者在山頂道觀中歇息所見之景，聯想作者在第一段描寫夜達泰安的場景，可看出作者在描繪白天和夜晚時筆觸的不同：白天的泰山是壯觀的、靈動的、活潑的；而夜晚則是靜謐的、安穩的。
Next morning, at sunrise, we saw that, north and east, range after range of lower hills stretched to the horizon, while south lay the plain, with half a hundred streams gleaming down to the river from the valleys. Full in view was the hill where, more than a thousand years ago, the great T『ang poet Li Tai-p『o retired with five companions to drink and make verses. They are still known to tradition as the 「six idlers of the bamboo grove」; and the morning sun, I half thought, still shines upon their symposium. We spent the day on the mountain; and as the hours passed by, more and more it showed itself to be a sacred place. Sacred to what god? No question is harder to answer of any sacred place, for there are as many ideas of the god as there are worshipers. There are temples here to various gods: to the mountain himself; to the Lady of the mountain, Pi Hsia-yüen, who is at once the Venus of Lucretius—「goddess of procreation, gold as the clouds, blue as the sky,」 one inscription calls her—and the kindly mother who gives children to women and heals the little ones of their ailments; to the Great Bear; to the Green Emperor, who clothes the trees with leaves; to the Cloud-compeller; to many others. And in all this, is there no room for God? It is a poor imagination that would think so. When men worship the mountain, do they worship a rock, or the spirit of the place, or the spirit that has no place? It is the latter, we may be sure, that some men adored, standing at sunrise on this spot. And the Jade Emperor—is he a mere idol? In the temple where we slept were three inscriptions set up by the Emperor Chien Lung. They run as follows:
「Without labor, O Lord, Thou bringest forth the greatest things.」
「Thou leadest Thy company of spirits to guard the whole world.」
「In the company of Thy spirits Thou art wise as a mighty Lord to achieve great works.」
佐天生萬物，護國福烝民，造萬世福祉。
1. Li Tai-p『o 李太白 即李白
2. retire v. 退隱
3. 「six idlers of the bamboo grove」 「竹溪六逸」
竹溪六逸，是開元年間隱居於竹溪的六位名士合稱。開元二十五年，李白移家東魯，與山東名士孔巢父、韓準、裴政、張叔明、陶沔在泰安府徂徠山下的竹溪隱居，世人皆稱他們為「竹溪六逸」。他們在此縱酒酣歌，嘯傲泉石，舉杯邀月，詩思駘蕩，後來李白《送韓準裴政孔巢父還山》詩中曾有「昨宵夢裡還，雲弄竹溪月」之句，便是對這段隱居生活的深情回憶。
4. symposium n. a convivial party (as after a banquet in ancient Greece) with music and conversation 文人間的詩文會
5. Pi Hsia-yüen 碧霞元君
碧霞元君是以中國大陸華北地區為中心的山神信仰（道教），稱為「東嶽泰山天仙玉女碧霞元君」。中國民間的「北元君，南媽祖」的說法，指得是碧霞元君和媽祖娘娘之間，雖然有地域之差和山神、海神之別，但同樣都普度眾生、捨己為人，成為北方地區和南方地區聞名於世的保護女神，「碧霞」意指東方的日光之霞，「元君」則帶有濃重的道教色彩，是對道教女神的尊稱。
Venus 維納斯女神
維納斯（拉丁語：Vĕnus、英語：Venus），是羅馬神話中美的女神，羅馬十二主神之一。對應希臘神話中的阿佛洛狄忒。她的羅馬別名穆耳忒亞，也許就源於拉丁語的山桃或番石榴樹，代表了她果園女神的身份。同時她起初也是「神的恩惠」的人格化。
因為後期埃涅阿斯神話在羅馬的流傳，維納斯被羅馬人與希臘阿佛洛狄忒女神對應起來，因此維納斯才在後期成為美與愛的女神。同時龐培修建了維納斯·維克特裡克斯神廟，維納斯也被與勝利女神對應。同時埃及、近東的女神伊西斯、阿斯塔耳忒也被與維納斯對應起來。
6. The Great Bear 大熊座
大熊座 URSA MAJOR英文名稱：the great bear 北天最有名的星群——北鬥七星的所在地。
此段涉及到了中西方文化的展示和對比，從中國傳統文化對泰山賦予的多重價值和意義，到中西方類似宗教信仰中的神明的對比和對應，作者期望通過這種方法幫助他的讀者更好地理解中國傳統文化。在最後，通過一句話升華（When men worship the mountain, do they worship a rock, or the spirit of the place, or the spirit that has no place? It is the latter, we may be sure, that some men adored, standing at sunrise on this spot.）指明中國人借泰山之實，敬心中的神明，敬the good nature of human。
These might be sentences from the Psalms; they are as religious as anything Hebraic. And if it be retorted that the mass of the worshipers on Tai Shan are superstitious, so are, and always have been, the mass of worshipers anywhere. Those who rise to religion in any country are few. India, I suspect, is the great exception. But I do not know that they are fewer in China than elsewhere. For that form of religion, indeed, which consists in the worship of natural beauty and what lies behind it—for the religion of a Wordsworth—they seem to be preëminently gifted. The cult of this mountain, and of the many others like it in China, the choice of sites for temples and monasteries, the inscriptions, the little pavilions set up where the view is loveliest—all go to prove this. In England we have lovelier hills, perhaps, than any in China. But where is our sacred mountain? Where, in all the country, the charming mythology which once in Greece and Italy, as now in China, was the outward expression of the love of nature?
1. Psalms 《詩篇》 是《聖經》舊約的一卷書。本卷書共150篇，是耶和華真正敬拜者大衛所記錄的一輯受感示的詩歌集，包括150首可用音樂伴唱的神聖詩歌
2. Hebraic 希伯來
本段還是一個中西文化對比，從審美角度，突出中西方都十分鐘愛自然，中國並沒有想像中的「野蠻」、「不開化」，和自詡優雅文明的西方人一樣，熱愛大自然，欣賞大自然，寄情於山水之間，關注自然之美。
「Great God, I'd rather be
偉大的神啊，我寧願是個，
A pagan suckled in a creed outworn;
沉浸於舊教規的異教徒，
So might I, Standing on this pleasant lea,
站在這令人神怡的草原，
Have glimpses that would make me less forlorn.」
看著那緩解我內心之苦的世界。
That passionate cry of a poet born into a naked world would never have been wrung from him had he been born in China.
若是生在中國，這位出生於赤裸世界的詩人絕不會發出那樣動情的吶喊。
思考一下：為什麼在中國，這位詩人就不會發出這樣的吶喊？
And that leads me to one closing reflection. When lovers of China—「pro-Chinese,」 as they are contemptuously called in the East—assert that China is more civilized than the modern West, even the candid Westerner, who is imperfectly acquainted with the facts, is apt to suspect insincere paradox. Perhaps these few notes on Tai Shan may help to make the matter clearer. A people that can so consecrate a place of natural beauty is a people of fine feeling for the essential values of life. That they should also be dirty, disorganized, corrupt, incompetent, even if it were true—and it is far from being true in any unqualified sense—would be irrelevant to this issue. On a foundation of inadequate material prosperity they reared, centuries ago, the superstructure of a great culture. The West, in rebuilding its foundations, has gone far to destroy the superstructure. Western civilization, wherever it penetrates, brings with it water-taps, sewers, and police;but it brings also an ugliness, an insincerity, a vulgarity never before known to history, unless it be under the Roman Empire. It is terrible to see in China the first wave of this Western flood flinging along the coasts and rivers and railway lines its scrofulous foam of advertisements, of corrugated iron roofs, of vulgar, meaningless architectural form. In China, as in all old civilizations I have seen, all the building harmonizes with and adorns nature. In the West everything now built is a blot. Many men, I know, sincerely think that this destruction of beauty is a small matter, and that only decadent æsthetes would pay any attention to it in a world so much in need of sewers and hospitals. I believe this view to be profoundly mistaken. The ugliness of the West is a symptom of disease of the soul. It implies that the end has been lost sight of in the means. In China the opposite is the case. The end is clear, though the means be inadequate. Consider what the Chinese have done to Tai Shan, and what the West will shortly do, once the stream of Western tourists begins to flow strongly. Where the Chinese have constructed a winding stairway of stone, beautiful from all points of view, Europeans or Americans will run up a funicular railway, a staring scar that will never heal. Where the Chinese have written poems in exquisite calligraphy, they will cover the rocks with advertisements. Where the Chinese have built a series of temples, each so designed and placed so as to be a new beauty in the landscape, they will run up restaurants and hotels like so many scabs on the face of nature. I say with confidence that they will, because they have done it wherever there is any chance of a paying investment. Well, the Chinese need, I agree, our science, our organization, our medicine. But is it affectation to think they may have to pay too high a price for it, and to suggest that in acquiring our material advantages they may lose what we have gone near to lose, that fine and sensitive culture which is one of the forms of spiritual life? The West talks of civilizing China. Would that China could civilize the West!
1.funicular railway索道
2.scab n. a crust of hardened blood and serum over a wound 疥瘡 a contemptible person 一個卑劣的人 有的時候我們可以通過單詞的其中一個意思去推測其他意思。
這一段是整篇文章最中心的段落，在前幾段中不斷的中西方各個方面的對比的鋪墊下，來到最後一段抒發作者作文的本意：中國，真的有想像中那麼不堪嗎？不然！
我們從以下幾個角度來看：
1. A people that can so consecrate a place of natural beauty is a people of fine feeling for the essential values of life.
能夠對自然有如此之高的審美情趣的國家，不會是一個粗鄙的國家。這是從審美的角度對中國的合理推斷。
2.That they should also be dirty, disorganized, corrupt, incompetent, even if it were true—and it is far from being true in any unqualified sense—would be irrelevant to this issue.
此處讓步，承認那時當下中國存在著許多不足之處，但這與中國、中國人本性中的美好之處、文明之處無關。
3.On a foundation of inadequate material prosperity they reared, centuries ago, the superstructure of a great culture.
The West, in rebuilding its foundations, has gone far to destroy the superstructure. Western civilization, wherever it penetrates, brings with it water-taps, sewers, and police; but it brings also an ugliness, an insincerity, a vulgarity never before known to history, unless it be under the Roman Empire.
本段中西對比，說明中國在物資匱乏的條件下仍然建立起了一個國家在精神文化層面應有的高度，反觀西方，在盲目追求經濟效益的欲望下將骨子裡來自羅馬的貪婪等劣習展現的淋漓盡致。——中：粗鄙中帶著文明；西：文明中透著粗鄙
4. In China, as in all old civilizations I have seen, all the building harmonizes with and adorns nature.
In the West everything now built is a blot. Many men, I know, sincerely think that this destruction of beauty is a small matter, and that only decadent æsthetes would pay any attention to it in a world so much in need of sewers and hospitals. I believe this view to be profoundly mistaken.
舉實例論證自己的觀點：從建築學的角度肯定中方「天人合一」，融合自然的建築風格，批判西方過分注重實用效果而拋棄美學和精神感受的做法。而西方此舉的根源，則來自The ugliness of the West is a symptom of disease of the soul.——精神上的匱乏。
5. Consider what the Chinese have done to Tai Shan, and what the West will shortly do, once the stream of Western tourists begins to flow strongly. Where the Chinese have constructed a winding stairway of stone, beautiful from all points of view, Europeans or Americans will run up a funicular railway, a staring scar that will never heal. Where the Chinese have written poems in exquisite calligraphy, they will cover the rocks with advertisements. Where the Chinese have built a series of temples, each so designed and placed so as to be a new beauty in the landscape, they will run up restaurants and hotels like so many scabs on the face of nature. I say with confidence that they will, because they have done it wherever there is any chance of a paying investment.
這一段描述讀起來有點隱隱的恐怖，不在於其氛圍營造，也不在其內容，而在於作者的預言之現實。在「現代化「後的中國，景區裡充斥著各種商業化建築，當年那些帶著趣味的蹊徑、帶著文化韻味的石刻題詞、一個個背負著歷史意義和故事的建築，都已經被各種現代化工具、商店所佔據：隨處可見的「到此一遊」、在古建築裡起起來的沾滿油汙食品小店、垃圾和噪音無處不在……難以想像我們還能否從這些自然、人文景觀中悟到什麼。
6.Well, the Chinese need, I agree, our science, our organization, our medicine. But is it affectation to think they may have to pay too high a price for it, and to suggest that in acquiring our material advantages they may lose what we have gone near to lose, that fine and sensitive culture which is one of the forms of spiritual life?
這裡也是靈魂一問：我們是否要靠犧牲自然、犧牲對大自然的珍惜和審美來換取所謂的文明？
而最後一句：The West talks of civilizing China. Would that China could civilize the West!體現了作者心底裡最深的呼籲：在那個時代，那個特殊的年代裡，是否有必要真的要完全推翻中方，從文明、精神、物質將中國全盤否定全盤西化？還是說，西方也能從中國學到什麼？