Taiwan Literature: English Translation Series, no. 47 ISSN 1097-5845 GPN 1011000355 Copyright © 2021 The publisher of this journal wishes to express its appreciation to National Taiwan University Press for its assistance in the production and publication of this volume in print and in electronic format. Editorial control of Taiwan Literature: English Translation Series is the sole responsibility of the US-Taiwan Literature Foundation. US-Taiwan Literature Foundation California, U.S.A. Library of Congress Cataloging-in-Publication Data
Publication of the Taiwan Literature: English Translation Series was made possible by editorial assistance from the Center for Taiwan Studies, University of California, Santa Barbara, and is gratefully acknowledged here. Terence Russell, Zachary Belgum and Chiayun Yen for the editing, design, and production of this volume.
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台灣文學英譯叢刊第四十七集選目
Contents Foreword to the Special Issue on Classical Poetry from Taiwan..... ix Kuo-ch’ing Tu
「台灣古典詩歌專輯」卷頭語........................................................xvii 杜國清
Poems that Speak of Taiwan—Speaking of Taiwan Poetry.....xxiii Huang Mei-e Translated by Terence Russell University of Manitoba, Canada
詩說台灣．說台灣詩................................................................................ xli 黃美娥
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Essays Practice and Transformation: The Experience of Modernity in Classical Poetry Societies in Taiwan During the Period of Japanese Rule (Excepts)........................................................... 3 Huang Mei-e Translated by Richard Rong-bin Chen National Taiwan University, Taiwan
Poetry I. Taiwan and Taiwanese in the Interstices of History 歷史夾縫中的台灣與台灣人 Zheng Chenggong 鄭成功 (1624–1662) Reclaiming Taiwan 復臺.......................................................................... 17 Zheng Jing 鄭經 (1642–1681) When an Emissary of the Manchu Chieftain Came We Said That We Would Not Return Ashore and We Would Not Change Our Clothing. I Expressed my Anger in Verse. 滿酋使來有不登岸 不易服之說憤而賦之............................................................................. 19 Qiu Fengjia 丘逢甲 (1864–1912) Departing Taiwan —The First of Six 離臺詩 六之一................ 21 Spring Sorrow 春愁................................................................................... 22 Lin Xiantang 林獻堂 (1881–1956) Echoing Wenfang’s Rhyme from “An Elegant Gathering on a Winter’s Day” 步文芳君冬日雅集原韻........................................... 24
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Tai Jingnong 臺靜農 (1902–1990) Growing Old 老去..................................................................................... 26 Translated by Terence Russell University of Manitoba
II.Crossing the Ocean to Taiwan, Putting Down Roots that Grow Along With Chinese Culture 渡海來台、落地生根與漢文化開展 Xu Fuyuan 徐孚遠 (1600–1665) Song of Dongning 東寧詠...................................................................... 31 Lian Heng 連橫 (1878–1936) Songs to History—Number 117 of 130—Chen Yonghua 詠史 一百三十首之一百一十七—陳永華.......................................... 34 Qiu Fengjia 丘逢甲 (1864–1912) Lyrics on Taiwan’s Bamboo Stems—Number One of Forty 臺灣竹枝詞 四十首之一................................................................... 37 Shi Shiji 施士洁 (1856–1922) A Short Respite in Fangli Village 房裏莊小憩................................. 38 Yan Hushan 顏笏山 (1872–1944) Inspired by a Visit to the Confucian Temple in Taipei 謁台北 文廟感賦...................................................................................................... 40 Translated by Terence Russell University of Manitoba
III.Poems on the Aesthetics of Natural Landscape Scenery 自然山川與景觀審美 Yu Yonghe 郁永河 (1645–?) Crossing the Pescadores Channel 渡黑水溝...................................... 45
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Chen Zhaoxing 陳肇興 (1831–1866) The Zhuoshui River 濁水溪................................................................... 47 Wang Zhuxiu 王竹修 (1865–1944) Sun Moon Lake 日月潭........................................................................... 49 Hong Kunyi 洪坤益 (1892–1947) At Dawn Gazing Afar from Alishan 阿里山曉望............................ 51 Chen Menglin 陳夢林 (1664–1739) The Song of Jade Mountain 玉山歌..................................................... 53 Chen Fengyuan 陳逢源 (1893–1982) Visiting Taroko Gorge with Some Newspaper Office Colleagues—The Third of Three Poems 偕報館同人遊太魯閣峽 三首之三........... 56 Translated by Yang Zhao University of California, Santa Barbara
IV.Climate, Natural Resources, and Food 氣候、物產與飲食 Wang Song 王松 (1866–1930) Summertime Poem 消夏詞..................................................................... 61 Wu Degong 吳德功 (1850–1924) Song of Aiyu Jelly 愛玉凍歌.................................................................. 63 Wu Yulin 吳玉麟 (1748–1817) Dragon Eyes (Longan Fruit) 龍眼......................................................... 66 Xie Jinluan 謝金鑾 (1757–1820) Mango—The First of the Two Poems 檨 二首之一.................... 68
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Wu Xuancao 吳萱草 (1889–1960) Milkfish 虱目魚.......................................................................................... 70 Zhao Zhongqi 趙鍾麒 (1863–1936) Danzai Noodles—The Second of Three Poems 擔仔麵 三首之二...................................................................................................... 73 Translated by Sophia Shi University of California, Santa Barbara
V.Folk Customs, Festivals, and Sacrificial Ceremony 民俗、節慶與祭儀 Wu Zhufang 烏竹芳 (?–?) Ghost Festival at Lancheng Township 蘭城中元............................. 77 Wu Degong 吳德功 (1850–1924) Song of Women Welcoming the Goddess 婦女迎神曲................ 80 Zhang Chunfu 張純甫 (1888–1941) Composed at the Night of Lidong (Start of Winter) 立冬夜作..... 83 Gao Chunmei 高春梅 (1917–2009) Rolling Rice Balls at Winter Solstice 冬至搓丸............................... 86 Translated by Sophia Shi University of California, Santa Barbara
VI.Poems Expressing Emotions, Sentiments and Criticisms 抒情、詠懷與批判 Chen Weiying 陳維英 (1811–1869) Occasional Poems from the Nest of High Antiquity—The Second in a Series of Thirteen Poems 太古巢即事 十三首之二.......... 91
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Chen Manying 陳滿盈 (1896–1965) Miscellaneous Ode to Our Journey to the East 東遊雜
............ 93
Cai Zhichan 蔡旨禪 (1900–1958) Self-Inscription on My Portrait 自題小像......................................... 95 Lin Zijin 林子瑾 (1878–1956) Expedition—The Second of a Series of Two Poems 探險 二首 之二................................................................................................................ 97 Zhuang Song 莊嵩 (1880–1938) Washington—The Second of a Series of Two Poems 華盛頓 二首之二...................................................................................................... 99 Lin Zixiu 林資修 (1880–1939) Sending-off the Three Gentlemen, Cai Peihuo, Jiang Weishui and Chen Fengyuan, to the Capital 送蔡培火蔣渭水陳逢源三君 之京..............................................................................................................101 Lai He 賴和 (1894–1943) Us 吾人........................................................................................................104 Translated by Yang Zhao University of California, Santa Barbara
About the Translators ..............................................................................107 About the Editors .....................................................................................109 Subscription Form ...................................................................................113
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Foreword to the Special Issue on Classical Poetry from Taiwan Kuo-ch’ing Tu
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or each issue of this journal, from our maiden edition in 1996 to the most recently published Issue 46, we have set a theme. We have chosen to highlight important authors and writings with particular attributes that represent the most salient features of literary development in Taiwan. However, for many years we had felt a deep sense that something was amiss because we had not been able to dedicate a special issue to poetry. That situation was finally remedied with Issue 46 (November 2020), when, with Professor Horng Shu-ling acting as guest editor, we published our Special Issue on Contemporary Poetry from Taiwan. Yet apart from “new poetry” composed in the vernacular language, the tradition of classical poetry originating in China has also been maintained in Taiwan. We cannot ignore the fact that those poets who continued to compose classical verse, as well as the activities of their poetry societies, are yet another aspect of the diversity of Chinese-language poetic development in Taiwan which at the same time has unique local characteristics. For this reason, it goes without saying that after publishing our special issue on contemporary poetry, the next logical step was to follow up with
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a special issue on classical poetry. To this end we invited Professor Huang Mei-e of the Graduate Institute of Taiwan Literature at National Taiwan University to assume the responsibility of guest editor for the present volume. As anyone familiar with her outstanding achievements in this field knows, and with the esteem in which her scholarship is held, Professor Huang was the obvious choice for this task. Apart from a selection of representative verse, Professor Huang’s organization of the issue includes an introductory essay, entitled “Poems that Speak of Taiwan—Speaking of Taiwan Poetry” in which she gives a brief summary of the historical background and special character of the development of classical poetry in Taiwan. The first part of the essay, “Poems that Speak of Taiwan” highlights the manner in which the works chosen for this special issue reflect Taiwan. The second part, “Speaking of Taiwan Poetry,” elaborates on the recurring themes and content of classical Chinese verse in Taiwan. The two parts are complementary and mutually illustrative, forming a logical structure for the issue. In another scholarly paper written by Professor Huang, “Practice and Transformation: The Experience of Modernity in Classical Poetry Societies in Taiwan During the Period of Japanese Rule,” we find an exploration of the role of traditional Chinese poetry in Taiwan during the period of Japanese rule. We observe the process by which classical poetry formed a bridge between earlier and later poetics as it confronted the rising tide of modern Western thought and made accommodations to the Japanese colonial regime, to transform itself and become part of the context which Chinese classicalpoetry developed in Taiwan became “modern.” In order to help us understand the special qualities found in classical poetry in Taiwan, Professor Huang has selected a total of thirty-four verses by thirty-one authors. These she has organized into six sections to demonstrate the characteristics of classical poetry in Taiwan according to their subject matter. Regarding the subject matter, the poems display an inclusive breadth broadly x
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reflective of society and life, and the modernity responsive to history and the times. Regarding the themes, they illuminate the local experiences and the spirit of the people, times, places, and objects of Taiwan. The historical development of classical poetry in Taiwan can be divided into three stages. The origins of classical poetry in the seventeenth century during the Zheng Chenggong period constitute the first stage. With the assistance of his counselor Chen Yonghua (1634–1680), The King Zheng Jing of Dongning, had a Confucian temple built in which he established a school to promote Confucian learning. In this way he introduced Sinitic culture and laid a foundation for the introduction of Chinese literary tradition. During the Qing dynasty, numerous Chinese literati and government officials who sojourned in Taiwan continued this tradition, eventually interacting with local Taiwanese poets through the medium of poetry societies. The second stage was the period of Japanese rule (1895– 1945). Japanese traditional culture was always deeply influenced by Chinese culture, and during the Japanese colonial period many Japanese practitioners of classical Chinese poetry ( J. kanshi 漢詩 ) came to Taiwan. They formed poetry societies through which they pursued assimilationist policies as they interacted with Taiwanese poets. In this way, Taiwan’s classical poetry played an ambiguous and complex role in cultural governance which was at once cooperative, opposed, and competitive. On the other hand, as is noted in Professor Huang’s introduction, the most important feature of classical Chinese poetry during the Japanese period was its gradual popularization and concern with everyday life. During that time, at least 370 classical poetry societies appeared in Taiwan. This speaks of a movement towards broad popularity. All poets enjoy gathering to recite their verse and compose together. Classical poetry came to be used in everyday life, including weddings and funerals. In this way the unique situation in which “society became literary, and literature became socialized” took shape. Government, Foreword
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culture and literature were influenced on many levels, and it is clear that the whole question of the role of classical Chinese poetry during the Japanese colonial period requires further investigation. The third stage is the era of Nationalist government. After World War II (beginning in 1945), Taiwan again experienced a complete change of regime. Whereas Japanese masters of Chinese classical poetry had previously interacted with Taiwanese poets through poetry societies, when the Nationalist government replaced the Japanese colonial administration, dominance in classical Chinese poetry circles was assumed by literati who migrated to Taiwan from China. This led to the growth of close relations between local poets and poets from the various provinces of China. However, after Yu Youren died in 1964, the world of classical poetry lost one of its towering figures. As a consequence, the social position of traditional poetry declined and classical poetic forms were gradually supplanted by “new poetry” written in the vernacular. And yet, even to the present day there are still a few poetry societies that strive to preserve the tradition. For example, the Ocean Poetry Society in Taipei, with its more than 100-year history, is still attracting new members and has set up a website. This and other groups are doing their utmost to promote the composition of classical verse so that the flame of this venerable tradition may be passed on to future generations. According to her careful plan, Professor Huang divided the poems translated for this special edition into six thematic sections: 1) Taiwan and Taiwanese in the Interstices of History (6 poems) 2) Crossing the Ocean to Taiwan, Putting Down Roots that Grow Along with Chinese Culture (5 poems) 3) Poems on the Aesthetics of Natural Landscape Scenery (6 poems) 4) Climate, Natural Resources, and Food (6 poems) 5) Folk Customs, Festivals, and Sacrificial Ceremony (4 poems) xii
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6) Poems Expressing Emotions, Sentiments and Criticisms (7 poems) The majority of these pieces has been selected from Three Hundred Classical Chinese Poems from Taiwan, (2 vols.), edited by Yu Meiling and Shi Yiling (National Museum of Taiwan Literature, 2019). This anthology includes notes, explanations, and appreciations which make it easier for contemporary readers to comprehend the verse. For the several pieces selected by Professor Huang herself, Yu Yuting, Associate Professor in the Chinese Department of Fu-Jen University, was invited to provide vernacular translations for the reference of the translators. In the process of reviewing the manuscript translations, Professor Terence Russell, co-editor of the journal, has added many additional annotations to aid English language readers in understanding the poems. The majority of classical Chinese poems from Taiwan are written in the form of seven-character regulated verse and sevencharacter quatrains, with very few five-character quatrains. The lines of classical Chinese verse are very short, the meaning of the poems very concise. For that reason, we have added the Chinese texts after the English renderings. We hope that in this way the reader will be able to gain a better appreciation of the tone and flavor of the original poem. In the poetry selected for this issue we see the rich, expansive content of classical Chinese verse from Taiwan. That verse manifests the responses of Taiwanese poets to their times, to nature, to places and to people. It also reflects the many faces of Taiwan’s specific temporal and geographical background through depictions of local experiences and the local spirit. Professor Huang’s introduction provides a more detailed discussion of these issues, so there is no need for us to belabor the matter here. In addition, regarding critical studies, Professor Huang’s research paper is a highly erudite study, rich in contents and extensive with references, also referring to specialized research Foreword
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materials, which for the readers who may not have an extensive background in the subject may encounter difficulty in digesting the issues elaborated. As suggested in the title of her treatise, Professor Huang provides highly insightful analysis. However, due to the limitations of space we can offer only a translation of the introduction and conclusion of the paper, thereby giving no more than the main points of the discussion. For this we beg the author’s understanding. We would also like to take the opportunity here to thank the translator of the text, Professor Richard Rong-bin Chen who teaches in the Master’s degree program in translation at National Taiwan University. It was our original intention to have this issue of the journal published at the beginning of 2021. However, as we made our preparations, the Wuhan Coronavirus pandemic grew increasingly severe. With people staying at home under lockdown orders it was impossible to move our editing work along smoothly. The end result is that we have had to delay publication; for that we can only beg the understanding of our readers. Now that we can finally publish this issue, I want, first and foremost, to express my gratitude to Professor Huang Mei-e for her work in planning the issue and for her cooperation. She chose the works for translation and also composed an introduction explaining the development of classical Chinese poetry in Taiwan as well as its special local characteristics and digital databases. She also has given us a summary of the basic purport of the poems and their salient features. For the translations we must thank Professor Li Xiaorong of the University of California, Santa Barbara’s East Asian Languages and Cultural Studies Department for recommending two graduate students to lend us their assistance. These students, Sophia Shi and Yang Zhao, are both specializing in the study of classical Chinese poetry. My co-editor for the journal, Terence Russell, was willing to take up the slack where necessary and translated several of the poems as well as the taking responsibility for translating the introduction. Without his total commitment xiv
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and painstaking editorial work we would never have been able to bring the translation work for this issue to completion. In the process of editing this issue we are also very grateful to undergraduate student Zachary Belgum for his assistance with proof reading the manuscript. We want to give special thanks to our assistant Raelynn Moy, who has recently decided to retire. Since the inception of the journal Raelynn has always been there to help with editorial and administrative work, including taking care of paperwork, checking the translated texts, formatting the manuscript, maintaining the web page and communicating with authors, translators and subscribers. She has dealt with matters great and small, always tireless and unstinting. There is no way to overestimate her contributions and we will forever be in her debt. Thank you, Raelynn! We also want to thank Fred Edwards for his assistance and cooperation over the years as editor and proof reader of the English language translations. Fred provides many valuable suggestions which greatly contribute to the readability of our English texts. We are grateful for the work of Yen Chia-yun, special editor at National Taiwan University Press. Her beautiful cover design and high production standards add tremendously to the appearance of this issue. Finally, I cannot neglect to offer a special thanks to Terence Russell who is responsible for editing the journal’s English language texts. He is a comrade-in-arms working together with me in perfect accord. With this issue in particular he has contributed his profound scholarship, wisdom and illumination to every aspect of the production process from top to bottom. He is modest and genuine, and I hope that the reader will take time to appreciate his efforts.
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「台灣古典詩歌專輯」卷頭語 杜國清
本
叢刊自 1996 年創刊以來，每集設定一個主題，一向 以重要作家與作品特色為譯介的對象，迄今出版了 46 集，呈現出台灣文學發展的的重要面貌。然而，多年來， 我們以未能出版詩歌專輯，深感美中不足，直到最近 2020 年 11 月， 由洪淑苓教授擔任客座編輯， 出版《 台灣當代 詩人專輯》，這一計劃才算達成。 台灣詩歌的發展，除了以白話文創作的新詩之外，還 有繼承中國古典詩歌傳統、延續不絕的古典詩歌創作者及 其詩社活動，呈現出台灣漢詩發展的多樣性，同時又有其 在地特色，不能忽視。 因此，在出版《台灣當代詩人專輯》 之後，進而推出《台灣古典詩歌專輯》，毋寧説是順理成 章的事。爲此，我們邀請台灣大學台灣文學研究所的黃美 娥教授，擔任客座編輯，更是求之不得的適當人選。黃教 授在這一領域的傑出成就和學術地位，有目共睹，不在話 下。 在黃教授的策劃下， 這一專輯的內容， 除了詩選以 外，還有特地請黃教授撰寫一篇導論，〈詩說台灣．說台 Foreword
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灣詩〉，簡述台灣古典詩發展的歷史背景和主要特色。前 者詩說台灣，點出專輯的主題必須與台灣有關，後者說台 灣詩，闡述台灣漢詩常見主題與内涵。兩者前後呼應，互 相發明，形成這一專輯順理成章的結構。另一篇是黃教授 撰寫的學術論文，〈實踐與轉化：日治時代臺灣傳統詩社 的現代性體驗〉，探討台灣傳統漢詩在日治時期，承先啓 後，受到西方現代思潮衝擊、日本殖民統治的適應過程， 和轉化成「現代」漢詩的發展脈絡。 關於詩選，共選 31 家，34 首，根據題材，分成 6 個 主題，以呈現台灣古典漢詩的特色。在題材上，反映社會 和生活的開闊性和呼應歷史和時代的現代性，在主題上， 呈現出台灣人、時、地、物的在地經驗與精神面貌。在時 間上，台灣漢詩的歷史發展，可以分成三個階段。 第一階段， 台灣漢詩的起源， 以 17 世紀明鄭時期為 開端。東寧王鄭經在謀士陳永華（1634–1680）協助之下， 建立孔廟、 創設學校， 提倡儒學、 引入漢文化， 奠定了 台灣的漢文學傳統。清代有不少流寓來台的中國文人與官 員，加以繼承，進而透過詩社而與台灣在地漢詩人結合吟 唱。 第二階段為日治時期（1895–1945）。 日本傳統文化 一向深受漢文化的影響，在日治時期，也有不少漢詩人來 台，創立詩社，透過漢詩進行同文統治，又與台灣詩人交 流。台灣漢詩，因此出現了既協力，又對立、競爭的曖昧 複雜文化統治面貌。另一方面，一如導論中所闡述，古典 漢詩在日治時期的一大特色，是在民間逐漸傾向生活化。 日治時代台灣曾經出現至少 370 個以上的古典詩社，發展 相對普及。詩人同好，歡聚一堂，唱酬聯吟，漢詩被用於 日常生活之中，包括婚喪喜慶活動，因此形成獨特的「社 會文學化」、「文學社會化」現象，對於政治、文化和文 xviii
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學層面多所影響，構成殖民地時期的臺灣漢詩，一個值得 進一步探討的主題。 第三階段為戰後（1945）國民政府時期。到了戰後， 台灣改朝換代，日本漢詩人和台灣詩人之間，透過詩社的 互動情景，由國民政府取代日本殖民政府，古典漢詩的主 宰，改由中國來台外省文人所替代，促成本省詩人與外省 詩人的密切來往。1964 年于右任去世之後， 古典詩壇頓 失巨擘，傳統舊詩的社會地位式微，古典漢詩逐漸為白話 新詩所取代。雖然如此，直到現在仍有一些詩社力圖維繫 傳統，例如已有百年歷史的台北「瀛社」，仍有新的社員 加入，並設有網站，竭力推廣古典詩的創作，以期傳火於 薪，薪傳不絕。 關於本專輯所選譯的詩作，就題材或主題而言，根據 黃教授的精心策劃，包括以下 6 個主題： 1）歷史夾縫中的台灣與台灣人（6 首） 2）渡海來台、落地生根與漢文化開展（5 首） 3）自然山川與景觀審美（6 首） 4）氣候、物產與飲食（6 首 5）民俗、節慶與祭儀（4 首） 6）抒情、詠懷與批判（7 首） 關於詩選，多數作品選自余美玲、施懿琳等人編選的 《臺灣漢詩三百首》（上）（下）（2019 年國立臺灣文學 館出版，2019），該書附有註釋、題解與賞析，以便當代 讀者閲讀，另若干由黃教授自選，再請輔仁大學中文系余 育婷副教授協助提供白話文翻譯，有助於譯者對詩意的感 受和掌握。同時，在審閱譯稿的過程中，本叢刊編者羅德 仁教授，增補了不少註釋，以便英語讀者對原詩的瞭解。 台灣古典漢詩， 在形式上大多是七言律詩和絕句，很少五 言絕句。由於漢詩字句簡短、詩意凝縮，我們在英文之後， Foreword
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附上中文，以便讀者欣賞原詩的韻味。 從以上所選的作品，可見台灣漢詩的内涵豐富廣博， 呈現出台灣詩人對時代、自然、地方和人物的感受，亦即 反映出台灣特定的時空背景所描述的在地經驗和精神面 貌。對此，導論中有詳細的説明，不再贅述。此外，專文 方面，黃教授的學術論文，内容深入，涵蓋面廣，也涉及 專業的研究資料，一般讀者沒有相當的學術文化背景， 可 能難以消化。就論文的題目而言，所提示的觀點，頗有啓 發性，但因篇幅的限制，我們只節譯論文的前言和結語， 以見一斑，並請作者涵諒。該文的譯者陳榮彬教授，任教 於台灣大學翻譯碩士學位學程，在此一併致謝。 本叢刊這一專輯，本來預定 2021 年初出版，在準備的 過程中，適逢新冠肺炎大流行，在居家令隔離避疫的要求 下，編輯作業無法順利進行，以致出版延誤，不得不向讀 者致歉。這一專輯終於能夠出版，首先得感謝黃美娥教授 的策劃和合作，提供選譯的作品，並撰寫一篇導論，説明 臺灣漢詩發展、在地特色與數位資料以及選詩的旨趣和作 品的特色。翻譯方面，我們特別感謝加州大學聖塔芭芭拉 分校東亞語言文化研究系李小榮教授，推薦兩位專攻古典 詩的研究生，施源和趙楊，協助翻譯，以及本刊編輯羅德 仁教授當仁不讓、獨力迻譯導論；他的盡心參與和認真審 訂，才使這一專輯的翻譯工作終於完結。 有關編輯作業的人力，大學部的柏澤楷，前後都參與 譯稿的校對，非常感謝。最近蔡瑞齡助理決定退休，回顧 自叢刊創刊以來，她一直協助編輯作業，包括文書處理、 核對翻譯、文稿排版，增訂網頁、以及聯繫作者、譯者和 訂戶等，巨細靡遺，莫不盡心盡力，功不可沒；不勝感激。 此外， 感謝英文譯稿的專業讀者 Fred Edwards 多年來的合 作，提供寶貴的意見，大大增加英文的可讀性。感謝臺大 xx
Taiwan Literature
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出版中心嚴嘉雲專業編輯的配合，提供美編的封面設計和 高水準的出版製作，使這一專輯的出版增光不少。最後， 不能不特別感謝的是羅德仁教授，擔任本叢刊的英文編輯， 我們志同道合，彼此合作無間，在這一專輯的字裏行間， 都有他的學術涵養與心智閃亮的貢獻，謙遜而真實，值得 讀者細心玩味。
Foreword
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