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Excerpt:《跨領域的奇想天才:達文西思緒集》
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Excerpt:《跨領域的奇想天才:達文西思緒集》

人的眼淚來自於心,而非來自於腦。
Tears come from the heart and not from the brain.
——
達文西 (Leonardo da Vinci)

關於達文西,我們似乎總是聽聞的太多,但認識的太少。

https://www.books.com.tw/products/0010736545
跨領域的奇想天才:達文西思緒集
Leonardo da Vinci’s Thoughts on Art and Life
作者:李奧納多‧達文西 
原文作者:Leonardo da Vinci
譯者:彭嘉琪
出版社:八旗文化  
出版日期:2016/12/07
語言:繁體中文

內容簡介
本書內容主要選自珍藏於法國學院圖書館 (Bibliothèque de lInstitut de France)及義大利米蘭盎博羅錫安納圖書館 (Biblioteca Ambrosiana) 當中的多卷珍貴達文西手稿筆記,文中紀錄達文西對於自然、生命、科學、繪畫及藝術的觀點。

本書精分為兩部分,一是達文西對自然及生命的思考,另一則為這位天才對於藝術和觀察的思索。讀者可從這些留存的珍貴紀錄中,窺見達文西的心靈之豐富與深沉,以及五百年前一位天才如何以驚人博學的智識和才華,創造出一個讓後世依然驚嘆的精神世界。

作者簡介
李奧納多・達文西 Leonardo da Vinci (1452-1519)

義大利文藝復興時期的博學者,在繪畫、音樂、建築、數學、幾何學、解剖學、生理學、動物學、植物學、天文學、氣象學、地質學、地理學、物理學、光學、力學、發明、土木工程等領域都有顯著成就。達文西是文藝復興時期人文主義的代表人物與典型的藝術家,與米開朗基羅、拉斐爾並稱文藝復興三傑。

Excerpt
〈思考生命〉(
THOUGHTS ON LIFE)

3
我發現,人同時是因,也可能是其作為之果。
3
I discover for man the origin of the first and perhaps of the second cause of his being.

4
我意識到,通常有用或可喜之物皆不為我所用,一來前人已經耗盡它們的優點與長處,二來,我作為一個常因窮困而姍姍來遲的人,難免總是撿到別人看過買剩嫌棄的「無用之物」。我可以將之置於我乾扁的行囊,帶往窮鄉僻壤而非大城,這些東西反而會因此得到它應得的回報。
4
Recognizing as I do that I cannot make use of subject matter which is useful and delightful, since my predecessors have exhausted the useful and necessary themes, I shall do as the man who by reason of his poverty arrives last at the fair, and cannot do otherwise than purchase what has already been seen by others and not accepted, but rejected by them as being of little value. I shall place this despised and rejected merchandise, which remains over after many have bought, on my poor pack, and I shall go and distribute it, not in the big cities, but in the poor towns, and take such reward as my goods deserve.

5.
所有用文字記載的知識在寫下一刻已告死亡,除卻那些寫下的文字,這只是物理性的行為。
5.
All knowledge which ends in words will die as quickly as it came to life, with the exception of the written word: which is its mechanical part.

19
如同鐵不用而生鏽,水不動而腐臭,冷凍而結冰,人得腦而不用只會壞。
19
Just as iron which is not used grows rusty, and water putrefies and freezes in the cold, so the mind of which no use is made is spoilt.

20
一如沒食欲的進食只是乏味的營養吸收,缺乏熱情的學習,且不去理解所學,會耗損記憶。
20
Just as food eaten without appetite is a tedious nourishment, so does study without zeal damage the memory by not assimilating what it absorbs.

21
真相是時間唯-的女兒。
21
Truth was the only daughter of time.

32.
人錯誤地控訴經驗,抱怨最甚的常指控經驗即是謊言。與其批評經驗,不如哀悼你的無知。無知以你徒勞而愚蠢的欲望,承諾賜你它的能力根本無法賦予的一切,然後怪罪經驗為謊言。人不滿於純粹經驗,常錯指其為謬誤與欺人的展現。
32
Wrongly men complain of experience, which with great railing they accuse of falsehood. Leave experience alone, and turn your lamentation to your ignorance, which leads you, with your vain and foolish desires, to promise yourselves those things which are not in her power to confer, and to accuse her of falsehood. Wrongly men complain of innocent experience, when they accuse her not seldom of false and lying demonstrations.

38
沒有其他事物會比自己的判斷更容易欺騙我們。
38
There is nothing which deceives us as much as our own judgement.

39
最偉大的騙局是由人自己的意見衍生出來的後果。
39
The greatest deception which men incur proceeds from their opinions.

44.
什麼是不可定義、且定義後將不再存在的東西?是無限。無限若被定義,將成為被限制的有限,因為其被定義後,即被它的限制所局限;不被定義則可無邊無際、永不受限。
44
What is that thing which is not defined and would not exist if it were defined? It is infinity, which if it could be defined would be limited and finite, because that which can be defined ends with the limits of its circumference, and that which cannot be defined has no limits.

85
一如勇氣是生命的威脅,恐懼則是生命的守衛。
85
Just as courage is the danger of life, so is fear its safeguard.

88
我們每次蒙受的損失,都會在記憶中留下痛苦的印記,除了最大的損失,也就是死亡。死亡毀滅生命的同時,也一併毀滅了記憶。
88
Every loss which we incur leaves behind it vexation in the memory, save the greatest loss of all, that is, death, which annihilates the memory, together with life.


〈思索藝術〉(THOUGHTS ON ART)

12
繪畫可涵蓋所有自然事物,由表面、色彩到形狀;而哲學切入同樣的事物,只為探求其必要的本質,但它對真理尚不滿意;反觀畫家,因雙眼不易被欺騙,反而抓住了最根本的真相。
12
Painting includes in its range the surface, colour and shape of anything created by nature; and philosophy penetrates into the same bodies and takes note of their essential virtue, but it is not satisfied with that truth, as is the painter, who seizes hold of the primary truth of such bodies because the eye is less prone to deception.

13
就文字的呈現而言,詩超越畫,而就行動的呈現,畫勝過詩。繪畫之於詩,猶如行動之於言語,因為行動依賴雙眼,而言語需要耳朵;是故感官與其賴以行動的事物是對等的;因此,我認為繪畫勝過詩歌。但由於許多畫者長期無知於如何解釋這個理論,繪畫已有一段時間未受提倡,只因她無法為自己發聲,只能以影像展現,而終於動靜,不若詩歌之終於文字,虛榮地吹噓自己。
13
Poetry surpasses painting in the representation of words, and in the representation of actions painting excels poetry; and painting is to poetry as actions are to words, because actions depend on the eye and words on the ear; and thus the senses are in the same proportion one to another as the objects on which they depend; and on this account I consider painting to be superior to poetry. But since those who practised painting were for long ignorant as to how to explain its theory, it lacked advocates for a considerable time; because it does not speak itself, but reveals itself and ends in action, and poetry ends in words, which in its vainglory it employs for self-praise.

17
繪畫給予觀者的影像是即時的,而給予觀者感官上的快樂與自然之物一樣精彩;而詩人利用聽覺系統,向大腦傳遞同樣的事物,卻無法令眼睛得到任何訊息。試想,聆聽默誦一段內容與這個情境有何差別。眼睛得到享受,同時間我們已明白自然的奧妙。要知道,閱讀詩人的作品還需一段很長的時間,長到需要用多樣的評注標記,極少評論家會同意詩人的想法,因為時間不夠,更少有讀者可以讀完詩集,反之,畫作卻能馬上被擁有者解讀。
17
Painting reveals itself immediately to thee with the semblance given it by its creator, and affords to the chief of the senses as great a delight as any object created by nature. And the poet in this case reveals the same objects to the brain by the channel of the hearing, the inferior sense, and affords the eye no more pleasure than it derives from anything which is related. Now consider what a difference there is between hearing the recital of a thing which in the course of time gives pleasure to the eye, and perceiving it with the same velocity with which we apprehend the works of nature. And in addition to the fact that a long interval of time is necessary to read the works of the poets, it often occurs that they are not understood, and it is necessary to make diverse comments on them, and it is exceedingly rare that the commentators are agreed as to the meaning of the poet; and often the readers peruse but a small portion of their works, owing to lack of time. But the works of the painter are immediately understood by those who behold them.


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