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Excerpt：《維特根斯坦筆記》
2025/03/05 05:28
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Excerpt：《維特根斯坦筆記》
此書原德文版的書名為《雜論集》（Vermischte Bemerkun-gen），中文標題也譯作《混合的評論》，系由維特根斯坦的遺囑執行人馮·賴特教授按照編年的順序從哲學家的若干筆記（notes）中選編而成，編選範圍是1914年到1951年間的部分遺稿，涉及音樂、建築、哲學、文學和宗教等不同範疇，以格言和札記的形式出之，體例上與維特根斯坦的其他著作並無太大差異。但是，正如選編者在一篇文章中指出的那樣，它較之於其他著作更具“情緒”色彩，這是一個相對獨特的標記。1977年成書之後由美茵河畔法蘭克福蘇爾坎普出版社出版。英文版後來更名為《文化與價值》（Culture and Value），這個書名以及彼得·文奇（Peter Winch）的英譯本影響較大，獲得比德文原版更為廣泛的閱讀。這是從保險櫃的封存中首先得以披露的一部分私人文件，在維特根斯坦遺留的大量未發表的文稿中，這些筆記只是佔據很小的一部分。
中譯本按照彼得·文奇的英文版譯出，參照芝加哥大學出版社1980年的英德對照本的德文版做了校對。〔……〕
——許志強，〈譯後記〉
書名：維特根斯坦筆記（Vermischte Bemerkungen）
作者：路德維希．維特根斯坦
編者：馮．賴特、海基．尼曼
譯者：許志強
出版社：復旦大學
出版日期：2008/09
【Excerpt】
每天早晨，你都得重新扒開死氣沈沈的瓦礫，以便觸及溫暖鮮活的種子。
Each morning you have to break through the dead rubble afresh so as to reach the living warm seed.
一個新詞就像是一粒新鮮的種子，播在討論的土壤裡。
A new word is like a fresh seed sewn on the ground of the discussion.
我寫的每一個句子都在力圖說出整個事物，也就是說，相同的事物一再的重復，好像它們都只不過是從一個對象可見的不同角度所獲致的見解。
Each of the sentences I write is trying to say the whole thing, i.e. the same thing over and over again; it is as though they were all simply views of one object seen from different angles.
我會說：假如我想到達的那個地方得借助梯子才行，那我就放棄這種打算。因為，我要到達的地方必須是我現在已經站立的地方。
任何靠爬梯子才能達到的東西都不能引起我的興趣。
I might say: if the place I want to get to could only be reached by way of a ladder, I would give up trying to get there. For the place I really have to get to is a place I must already be at now.
Anything that I might reach by climbing a ladder does not interest me.
一種思維活動是把一個念頭跟下一個念頭連在一起，另一種思維活動則始終對準同一個點。
One movement links thoughts with one another in a series, the other keeps aiming at the same spot.
一種思維活動富有建設性，撿起一塊石頭然後又撿起另一塊，另一種思維活動則始終捧著同一塊石頭。
One is constructive and picks up one stone after another, the other keeps taking hold of the same thing.
長篇序言的危險在於，一本書的精神必須由它自己昭示出來，而不能被描述。因為，一本書如果是為少數讀者寫的，那麼這一點也只能由這樣的事實來表明：只有少數人理解它。書必定自動地把理解它的人從不理解它的人中分出來。甚至序言也只是為理解這本書的人而寫的。
The danger in a long foreword1 is that the spirit of a book has to be evident in the book itself and cannot be described. For if a book has been written for just a few readers that will be clear just from the fact that only a few people understand it. The book must automatically separate those who understand it from those who do not. Even the foreword is written just for those who understand the book.
對某人談他不理解的東西是徒勞的，哪怕你告訴他，他也照樣不能夠理解（這種情況經常發生在你所愛的人身上）。
Telling someone something he does not understand is pointless, even if you add that he will not be able to understand it. (That so often happens with someone you love.)
如果你不想讓某些人進入你的房間，用他們沒有鑰匙的鎖把門鎖上。但是，沒有必要對他們講這件事，除非你想讓這些人站在外面贊美你的房間！
If you have a room which you do not want certain people to get into, put a lock on it for which they do not have the key. But there is no point in talking to them about it, unless of course you want them to admire the room from outside!
正當的做法是，門上掛一把鎖，只有那些能打開它的人注意到它，其他的人則不會引起注意。
The honourable thing to do is to put a lock on the door which will be noticed only by those who can open it, not by the rest.
但這麼說恰如其分，我認為，本書與歐洲和美國進步的文明毫無關係。
而且書中的精神只有在這種文明的包圍下才有可能存在，他們卻有著不同的目的。
But it’s proper to say that I think the book has nothing to do with the progressive civilization of Europe and America. And that while its spirit may be possible only in the surroundings of this civilization, they have different objectives.
假如某人僅僅領先於他的時代，有一天時代會趕上他。
If someone is merely ahead of his time, it will catch him up one day.
有些人認為音樂是一種原始的藝術，理由是它只有幾個音符和節拍。然而，音樂只是表面止顯得簡單而已，它顯示的內容是由音樂的實體來詮釋的。從另一個方面講，音樂的實體包羅著無限的複雜性，其他種類的藝術用各種外部的形式來提示這種複雜性，而音樂卻將其隱匿起來。由此可見，音樂是一種最為成熟和精微的藝術。
Some people think music a primitive art because it has only a few notes and rhythms. But it is only simple on the surface; its substance on the other hand, which makes it possible to interpret this manifest content, has all the infinite complexity that’s suggested in the external forms of other arts and that music conceals. There is a sense in which it is the most sophisticated art of all.
我應該只是一面鏡子，讓我的讀者能夠透過鏡子看到思想上所有的畸形，以便他用這樣的途徑，將思想端正。
I ought to be no more than a mirror, in which my reader can see his own thinking with all its deformities so that, helped in this way, he can put it right.
語言給每一個人設下相同的圈套；它是一個巨大的網絡，容易使人誤入歧途。所以我們看見一個又一個的人走在相同的路上，並且事先就知道他會在哪個地方拐彎，哪兒筆直朝前走而沒有留心旁邊的岔道口，等等。我要做的事情就是在所有的交叉口上竪起路標，以便幫助人們通過危險的地段。
Language sets everyone the same traps; it is an immense network of easily accessible wrong turnings. And so we watch one man after another walking down the same paths and we know in advance where he will branch off, where walk straight on without noticing the side turning, etc. etc. What I have to do then is erect signposts at all the junctions where there are wrong turnings so as to help people past the danger points.
我成功地表達的事物，從未超過我想要表達的一半，實際上連一半也沒有，至多是十分之一。可那還是有點價值的。我的寫作經常只是“磕磕巴巴”。
I never more than half succeed in expressing what I want to express. Actually not as much as that, but by no more than a tenth. That is still worth something. Often my writing is nothing but “stuttering”.
語言具有的那種力量使得一切事物看上去都一樣，這在字典裡體現得最為明顯，而這使得時間的人格化成可能：這與使得邏輯的常數具有神性的那種存在一樣有意思。
The power language has to make everything look the same, which is most glaringly evident in the dictionary and which makes the personification of time possible: something no less remarkable than would have been making divinities of the logical constants.
弗洛伊德的觀念：在癲狂之中，那把鎖沒有被摧毀，只是被更改了；舊的鑰匙再也不能打開它，但它可以被一把構造不同的鑰匙開啓。
Freud’s idea: In madness the lock is not destroyed, only altered; the old key can no longer unlock it, but it could be opened by a differently constructed key.
朗費羅：
Longfellow:
在藝術的早年
創造者以極大的審慎鍛造
每一個細微難見的部分
因為神靈無處不在
In the elder days of art,
Builders wrought with greatest care
Each minute and unseen part,
For the gods are everywhere.
（這可以作我的一個座右銘。）
(This could serve me as a motto.)
在哲學中，競賽的獲勝者是能夠跑得最慢的人。或者是最後一個到達的人。
In philosophy the winner of the race is the one who can run most slowly. Or: the one who gets there last.
天才並不比任何一個誠實的人有更多的光——但他有一個特殊的透鏡，可以將光線聚焦至燃點。
There is no more light in a genius than in any other honest man — but he has a particular kind oflens to concentrate this light into a burning point.
為什麼靈魂被閒散的思想所推動呢？——它們畢竟是閒散的呀。是的，靈魂被它們推動了。
（風只是空氣而已，它何以能搖動樹木呢？哦，它真的搖動了樹木，不要忘了這一點。）
Why is the soul moved by idle thoughts? — After all they are idle. Well, it is moved by them.
(How can the wind move the tree when it’s nothing but air? Well, it does move it; and don’t forget it.)
無人能夠說出真理；假如他仍然沒有把握住自己。他無法說出真理；——但並不是因為他還不夠聰明。
說出真理，只有已經是棲身其中的人才能做到，那些仍然生活在謬誤之中，以及偶爾擺脫謬誤接近真理的人都是說不出來的。
No one can speak the truth; if he has still not mastered himself. He cannot speak it; — but not because he is not clever enough yet.
The truth can be spoken only by someone who is already at home in it; not by someone who still lives in falsehood and reaches out from falsehood towards truth on just one occasion.
我們最大的愚蠢也許是非常的聰明。
Our greatest stupidities may be very wise.
你必須說出新的東西，但它肯定全是舊的。
事實上，你必須限定自己講舊的東西——雖然如此，它必定是某種新的東西！
You must say something new and yet it must all be old.
In fact you must confine yourself to saying old things - and all the same it must be something new!
當我們老了，問題又從我們的指縫中滑落，就像我們年輕時那樣。我們現在不僅不能解決問題，甚至都不能抓住它們了。
As we get old, problems slip from our fingers again, as they used to when we were young. It isn’t just that we can’t crack them, we cannot even keep hold ofthem.
“Le style cest Ihomme”，［“風格即其人”］①，“Le style cest lhomme meme"，［“風格即其人本身”］。第一個表述具有廉價的簡潔明快。第二個說法是正確的，它打開了一個迥然不同的觀察角度。它說，人的風格是他的畫像。
“Le style c’est l’homme”, “Le style c’est l’homme meme”. The first expression has cheap epigrammatic brevity. The second, correct version opens up quite a different perspective. It says that a man’s style is a picture of him.
譯注：
①這是法國作家布豐（1707—1788）的名言。
音樂中具有靈魂的表現形式。它不是依據聲音的大小或演奏的速度來標識的。就跟一種具有靈魂的面部表情一樣，也不僅僅是依據空間的物質分布便可以描繪出來的。事實上它甚至不能參考某個範例來加以解釋，因為，同樣的曲子在演奏時，可以有無數的方式進行真正的表達。
Tender expression in music. It isn’t to be characterized in terms of degrees of loudness or tempo. Any more than a tender facial expression can be described in terms of the distribution ofmatter in space. As a matter of fact it can’t even be explained by reference to a paradigm, since there are countless ways in which the same piece may be played with genuine expression.
此書原德文版的書名為《雜論集》（Vermischte Bemerkun-gen），中文標題也譯作《混合的評論》，系由維特根斯坦的遺囑執行人馮·賴特教授按照編年的順序從哲學家的若干筆記（notes）中選編而成，編選範圍是1914年到1951年間的部分遺稿，涉及音樂、建築、哲學、文學和宗教等不同範疇，以格言和札記的形式出之，體例上與維特根斯坦的其他著作並無太大差異。但是，正如選編者在一篇文章中指出的那樣，它較之於其他著作更具“情緒”色彩，這是一個相對獨特的標記。1977年成書之後由美茵河畔法蘭克福蘇爾坎普出版社出版。英文版後來更名為《文化與價值》（Culture and Value），這個書名以及彼得·文奇（Peter Winch）的英譯本影響較大，獲得比德文原版更為廣泛的閱讀。這是從保險櫃的封存中首先得以披露的一部分私人文件，在維特根斯坦遺留的大量未發表的文稿中，這些筆記只是佔據很小的一部分。
中譯本按照彼得·文奇的英文版譯出，參照芝加哥大學出版社1980年的英德對照本的德文版做了校對。〔……〕
——許志強，〈譯後記〉
書名：維特根斯坦筆記（Vermischte Bemerkungen）
作者：路德維希．維特根斯坦
編者：馮．賴特、海基．尼曼
譯者：許志強
出版社：復旦大學
出版日期：2008/09
【Excerpt】
每天早晨，你都得重新扒開死氣沈沈的瓦礫，以便觸及溫暖鮮活的種子。
Each morning you have to break through the dead rubble afresh so as to reach the living warm seed.
一個新詞就像是一粒新鮮的種子，播在討論的土壤裡。
A new word is like a fresh seed sewn on the ground of the discussion.
我寫的每一個句子都在力圖說出整個事物，也就是說，相同的事物一再的重復，好像它們都只不過是從一個對象可見的不同角度所獲致的見解。
Each of the sentences I write is trying to say the whole thing, i.e. the same thing over and over again; it is as though they were all simply views of one object seen from different angles.
我會說：假如我想到達的那個地方得借助梯子才行，那我就放棄這種打算。因為，我要到達的地方必須是我現在已經站立的地方。
任何靠爬梯子才能達到的東西都不能引起我的興趣。
I might say: if the place I want to get to could only be reached by way of a ladder, I would give up trying to get there. For the place I really have to get to is a place I must already be at now.
Anything that I might reach by climbing a ladder does not interest me.
一種思維活動是把一個念頭跟下一個念頭連在一起，另一種思維活動則始終對準同一個點。
One movement links thoughts with one another in a series, the other keeps aiming at the same spot.
一種思維活動富有建設性，撿起一塊石頭然後又撿起另一塊，另一種思維活動則始終捧著同一塊石頭。
One is constructive and picks up one stone after another, the other keeps taking hold of the same thing.
長篇序言的危險在於，一本書的精神必須由它自己昭示出來，而不能被描述。因為，一本書如果是為少數讀者寫的，那麼這一點也只能由這樣的事實來表明：只有少數人理解它。書必定自動地把理解它的人從不理解它的人中分出來。甚至序言也只是為理解這本書的人而寫的。
The danger in a long foreword1 is that the spirit of a book has to be evident in the book itself and cannot be described. For if a book has been written for just a few readers that will be clear just from the fact that only a few people understand it. The book must automatically separate those who understand it from those who do not. Even the foreword is written just for those who understand the book.
對某人談他不理解的東西是徒勞的，哪怕你告訴他，他也照樣不能夠理解（這種情況經常發生在你所愛的人身上）。
Telling someone something he does not understand is pointless, even if you add that he will not be able to understand it. (That so often happens with someone you love.)
如果你不想讓某些人進入你的房間，用他們沒有鑰匙的鎖把門鎖上。但是，沒有必要對他們講這件事，除非你想讓這些人站在外面贊美你的房間！
If you have a room which you do not want certain people to get into, put a lock on it for which they do not have the key. But there is no point in talking to them about it, unless of course you want them to admire the room from outside!
正當的做法是，門上掛一把鎖，只有那些能打開它的人注意到它，其他的人則不會引起注意。
The honourable thing to do is to put a lock on the door which will be noticed only by those who can open it, not by the rest.
但這麼說恰如其分，我認為，本書與歐洲和美國進步的文明毫無關係。
而且書中的精神只有在這種文明的包圍下才有可能存在，他們卻有著不同的目的。
But it’s proper to say that I think the book has nothing to do with the progressive civilization of Europe and America. And that while its spirit may be possible only in the surroundings of this civilization, they have different objectives.
假如某人僅僅領先於他的時代，有一天時代會趕上他。
If someone is merely ahead of his time, it will catch him up one day.
有些人認為音樂是一種原始的藝術，理由是它只有幾個音符和節拍。然而，音樂只是表面止顯得簡單而已，它顯示的內容是由音樂的實體來詮釋的。從另一個方面講，音樂的實體包羅著無限的複雜性，其他種類的藝術用各種外部的形式來提示這種複雜性，而音樂卻將其隱匿起來。由此可見，音樂是一種最為成熟和精微的藝術。
Some people think music a primitive art because it has only a few notes and rhythms. But it is only simple on the surface; its substance on the other hand, which makes it possible to interpret this manifest content, has all the infinite complexity that’s suggested in the external forms of other arts and that music conceals. There is a sense in which it is the most sophisticated art of all.
我應該只是一面鏡子，讓我的讀者能夠透過鏡子看到思想上所有的畸形，以便他用這樣的途徑，將思想端正。
I ought to be no more than a mirror, in which my reader can see his own thinking with all its deformities so that, helped in this way, he can put it right.
語言給每一個人設下相同的圈套；它是一個巨大的網絡，容易使人誤入歧途。所以我們看見一個又一個的人走在相同的路上，並且事先就知道他會在哪個地方拐彎，哪兒筆直朝前走而沒有留心旁邊的岔道口，等等。我要做的事情就是在所有的交叉口上竪起路標，以便幫助人們通過危險的地段。
Language sets everyone the same traps; it is an immense network of easily accessible wrong turnings. And so we watch one man after another walking down the same paths and we know in advance where he will branch off, where walk straight on without noticing the side turning, etc. etc. What I have to do then is erect signposts at all the junctions where there are wrong turnings so as to help people past the danger points.
我成功地表達的事物，從未超過我想要表達的一半，實際上連一半也沒有，至多是十分之一。可那還是有點價值的。我的寫作經常只是“磕磕巴巴”。
I never more than half succeed in expressing what I want to express. Actually not as much as that, but by no more than a tenth. That is still worth something. Often my writing is nothing but “stuttering”.
語言具有的那種力量使得一切事物看上去都一樣，這在字典裡體現得最為明顯，而這使得時間的人格化成可能：這與使得邏輯的常數具有神性的那種存在一樣有意思。
The power language has to make everything look the same, which is most glaringly evident in the dictionary and which makes the personification of time possible: something no less remarkable than would have been making divinities of the logical constants.
弗洛伊德的觀念：在癲狂之中，那把鎖沒有被摧毀，只是被更改了；舊的鑰匙再也不能打開它，但它可以被一把構造不同的鑰匙開啓。
Freud’s idea: In madness the lock is not destroyed, only altered; the old key can no longer unlock it, but it could be opened by a differently constructed key.
朗費羅：
Longfellow:
在藝術的早年
創造者以極大的審慎鍛造
每一個細微難見的部分
因為神靈無處不在
In the elder days of art,
Builders wrought with greatest care
Each minute and unseen part,
For the gods are everywhere.
（這可以作我的一個座右銘。）
(This could serve me as a motto.)
在哲學中，競賽的獲勝者是能夠跑得最慢的人。或者是最後一個到達的人。
In philosophy the winner of the race is the one who can run most slowly. Or: the one who gets there last.
天才並不比任何一個誠實的人有更多的光——但他有一個特殊的透鏡，可以將光線聚焦至燃點。
There is no more light in a genius than in any other honest man — but he has a particular kind oflens to concentrate this light into a burning point.
為什麼靈魂被閒散的思想所推動呢？——它們畢竟是閒散的呀。是的，靈魂被它們推動了。
（風只是空氣而已，它何以能搖動樹木呢？哦，它真的搖動了樹木，不要忘了這一點。）
Why is the soul moved by idle thoughts? — After all they are idle. Well, it is moved by them.
(How can the wind move the tree when it’s nothing but air? Well, it does move it; and don’t forget it.)
無人能夠說出真理；假如他仍然沒有把握住自己。他無法說出真理；——但並不是因為他還不夠聰明。
說出真理，只有已經是棲身其中的人才能做到，那些仍然生活在謬誤之中，以及偶爾擺脫謬誤接近真理的人都是說不出來的。
No one can speak the truth; if he has still not mastered himself. He cannot speak it; — but not because he is not clever enough yet.
The truth can be spoken only by someone who is already at home in it; not by someone who still lives in falsehood and reaches out from falsehood towards truth on just one occasion.
我們最大的愚蠢也許是非常的聰明。
Our greatest stupidities may be very wise.
你必須說出新的東西，但它肯定全是舊的。
事實上，你必須限定自己講舊的東西——雖然如此，它必定是某種新的東西！
You must say something new and yet it must all be old.
In fact you must confine yourself to saying old things - and all the same it must be something new!
當我們老了，問題又從我們的指縫中滑落，就像我們年輕時那樣。我們現在不僅不能解決問題，甚至都不能抓住它們了。
As we get old, problems slip from our fingers again, as they used to when we were young. It isn’t just that we can’t crack them, we cannot even keep hold ofthem.
“Le style cest Ihomme”，［“風格即其人”］①，“Le style cest lhomme meme"，［“風格即其人本身”］。第一個表述具有廉價的簡潔明快。第二個說法是正確的，它打開了一個迥然不同的觀察角度。它說，人的風格是他的畫像。
“Le style c’est l’homme”, “Le style c’est l’homme meme”. The first expression has cheap epigrammatic brevity. The second, correct version opens up quite a different perspective. It says that a man’s style is a picture of him.
譯注：
①這是法國作家布豐（1707—1788）的名言。
音樂中具有靈魂的表現形式。它不是依據聲音的大小或演奏的速度來標識的。就跟一種具有靈魂的面部表情一樣，也不僅僅是依據空間的物質分布便可以描繪出來的。事實上它甚至不能參考某個範例來加以解釋，因為，同樣的曲子在演奏時，可以有無數的方式進行真正的表達。
Tender expression in music. It isn’t to be characterized in terms of degrees of loudness or tempo. Any more than a tender facial expression can be described in terms of the distribution ofmatter in space. As a matter of fact it can’t even be explained by reference to a paradigm, since there are countless ways in which the same piece may be played with genuine expression.
自訂分類：Selected & Extracts
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