“王君”是谁？

2006年4月26日 | 分类: 未分类 | 标签:


新购汪荣祖《史学九章》，略翻一过。本来是想读一遍的；此前看过《史传通说》，印象不错。其书有专章论“槐聚史学”，便先拣这章来看。一看之下，胃口全无。先不论钱氏在史学上的见识究竟如何，只看汪氏不厌其烦翻来覆去引述《管》、《谈》的只言片语，解说、发明则毫无新意，读者不觉昏然入睡矣。这章是看不完的了。
书中钱穆一章，早看过单行论文，批驳不无道理，但着眼都在小处，如因袭梁启超书，引用不查原史资料；而对书中将宋学与清学“打通”、于清季诸人独推举曾国藩等“大结裹”，既不能细析其所以然，也提不出有力的质疑，破不尽，立不起，反而弄得自己很尴尬。
章炳麟一章，专门拈出清代开国秘史，大作表扬。其实，当时考证建州逸史者，不乏名家后劲，如孟、朱、萧、郑、王等人，较诸章氏，创获更大。真要表彰章氏史学，固应择其所论有关先秦史及制度史者，才是知音。
其他几章，介绍西方史学流派，似亦多泛语，少独见。俱不如《史传通说》之深切著明。尤其是第五章——西方史家对中国传统史学的理解与误解，以例证丰富、辨析深刻而言，自然比不上《通说》（此书副题为中西史学之比较），而措辞之精确，行文之流畅，竟也不及。真是奇怪。要知道，《通说》于1988年出版，《九章》则为2002年出版，不过十馀年，才尽学退，真可达到如此的程度？
回头检讨一下读过的汪氏著作。《陈寅恪传》是少作，其失在浅。《郭嵩焘传》，作者寄托太深，对传主揄扬太过，其失在矫。《康章合论》，因译乃师《康有为变法与大同思想研究》，搭个便车，发挥绪馀，未足言著述。《晚清思想史研究》，仍未出其师范围。总结：可观者，只有一部《通说》。
近年又看过几篇汪氏与余英时论战的文章；其实，辩论的都是“八卦”——胡适的婚外情，陈寅恪的晚年心境。双方各执一词，都有道理，是非难定。不过，若论逻辑谨严、行文有致，汪又落了下风。反观余氏近著有关朱子者，取精用宏，别开生面，或有牵强，终是一家之言，必传之作也。当然，强拉二人同列，有点比拟不伦。汪固难望余氏项背。惟汪氏有一事差胜，盖年辈稍後，若奋力搏去，犹可冀老树生花，拉近一点距离。
看了半天，此书只有一个小八卦有点意思，即166页影印的钱锺书致汪荣祖书，中云：
来信所言在沪交往四君，皆旧相识，王君尝化名□作文痛诋拙著，後来则刻意结纳，美国俗语所谓”If you can’t lick ‘em, join ‘em”者是，弟亦虚与委蛇。要之均俗学陋儒，不足当通雅之目。
□，原文写出，但影印件看不清楚（或编者故意？）。
这个“王君”是谁呢？

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    Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you’ve probably seen the 2009 documentary film “The September Issue” about Vogue magazine’s Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled “Grace,” co written with Michael Roberts. 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It chronicles Coddington’s 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She’s also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. “Although it was bleak, I saw beauty in the bleakness.” When she wasn’t outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, “flapping about surreally in their robes like crows on wheels.”At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. “I was a character, rather than a pretty model, and I suppose that’s exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking.”She earned the nickname “The Cod” (to Jean Shrimpton’s “The Shrimp”), danced the twist on Mary Quant’s catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. “Naturally, we were forever being photographed at home, draped among our symbols of ‘with it ness’ as one of London’s most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel’s gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell’s soup can.”At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who’s who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn’t suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film “Betty Blue.” The two sat in dead silence through the opening sequence, a vivid five minute sex scene.”Anna was rigid and unmoving. No sign of any emotion at all,” Coddington writes. “I then realized how much significance Anna places on willpower trumping feelings.”In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington’s narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on “Alice in Wonderland.”She sums up her creative process this way: “For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs.”The book ends with a chapter on then and now. “Fashion has changed so much in my lifetime,” Coddington writes. “Today, I find myself at the collections, asking, ‘Who are all these people?’ Sometimes I think I’m the last remaining person who comes to the shows for the pleasure of seeing the clothes.”At 71, she seldom wears makeup and doesn’t socialize much. But her attempt in the last 100 pages to distance herself from the term “fashionista” is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn’t be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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