荒漠之島

荒漠之島 01

Desert Islands by Deleuze 德勒茲

Geographers say there are two kinds of islands. This is valuable information for the imagination because it confirms 肯定what the imagination already knew.

 

地理學家說島嶼有兩種。這對想像是很有價值,因為它肯定了想像所已經知道的東西。

 

Nor is it the only case where science makes mythology more concrete 具體的, and mythology makes science more vivid 生動. Continental islands are accidental, derived得來的 islands.

 

科學使神話更加具體,神話使科學更加生動,這並非孤例。大陸的島嶼是偶然從島嶼演變而來。

 

They are separated from a continent, born of disarticulation 分離 , erosion 腐蝕, fracture 斷裂; they survive the absorption 吸收of what once contained 包容 them.

 

島嶼跟大陸分開,因分離、腐蝕、斷裂而誕生。他們經歷曾經被包容他們的大陸所吸收,卻依舊存活。

 

Oceanic islands are originary 原創, essential islands. Some are formed from coral reefs 珊瑚礁and display a genuine 真正的 organism 有機體

.

海洋的島嶼則是原創性,基本的島嶼。有些是從珊瑚礁演化而來,展現出是一種有機體。

 

Others emerge from underwater eruptions 爆發, bringing to the light of day a movement from the lowest depths. Some rise slowly; some disappear and then return, leaving us no time to annex 合併 them.

 

還有些島嶼是從海底的爆發,使深海底的動作重見天日。有些緩慢上升,有些消失後又回來,讓我們沒有時間合併他們。

 

These two kinds of islands, continental 大陸and originary, reveal a profound opposition 相對between ocean and land.

 

這兩種島嶼,大陸及原創性的島嶼,顯示海洋跟陸地之間深刻的對立。

 

Continental islands serve as a reminder 提醒 that the sea is on top of the earth, taking advantage of the slightest sagging 下垂 in the highest structures; oceanic islands, that the earth is still there, under the sea, gathering its strength to punch 敲擊 through to the surface.

 

大陸的島嶼提醒我們,海洋是在陸地的頂端,在最高結構裡,佔有些微下垂的優勢。而海洋的島嶼則提醒我們,陸地依舊在那裡,在海底,聚集力量要撞擊到表面。

 

We can assume that these elements are in constant strife 衝突, displaying a repulsion 嫌惡 for one another. In this we find nothing to reassure 使安心 us.

 

我們可以假定,這兩個因素是處於不斷衝突,展現互相的嫌惡。這一點我們找不到東西可以使我們安心。

 

Also, that an island is deserted must appear philosophically normal to us. Humans cannot live, nor live in security 安全, unless they assume that the active struggle between earth and water is over, or at least contained 包容

 

而且,島嶼是荒漠,對我們而言在哲學上似乎很正常。人類無法生活於安逸之中,除非他們假定,陸路跟水的積極爭鬥已經結束,或至少被包容。

 

People like to call these two elements mother and father, assigning them gender 性別 roles according to the whim 幻想 of their fancy.

 

人們喜歡稱呼這兩種因素為母親與父親,指定性別的角色,依照人類自己的胡思亂想。

 

They must somehow persuade themselves that a struggle of this kind does not exist, or that it has somehow ended.

 

人類必須設法說服自己,這種的爭鬥並不存在,或者以某種方法已經結束

 

In one way or another, the very existence of islands is the negation of this point of view, of this effort, this conviction.

 

以某種方式,島嶼的存在就是這種觀點、努力跟這種信仰的否定,

 

That England is populated will always come as a surprise; humans can live on an island only by forgetting what an island represents. Islands are either from before or for after humankind.

 

英倫島國人口稠密,總是令人驚奇。人類只有遺忘島嶼的象徵,才能夠居住島上。島嶼不是先於人類,就是後於人類。

 

But everything that geography has told us about the two kinds of islands, the imagination knew already on its own and in another way.

 

地理所告訴我們有關這兩種島嶼,想像已經憑藉自己或某種方式知道。

 

The elan that draws humans toward islands extends the double movement that produces islands in themselves.

 

吸引人類朝向島嶼的躍進,延伸這雙重動作,產生了島嶼本身。

 

Dreaming of islands—whether with joy or in fear, it doesn’t matter—is dreaming of pulling away, of being already separate, far from any continent, of being lost and alone—or it is dreaming of starting from scratch, recreating, beginning anew. Some islands drifted 漂浮 away from the continent, but the island is also that toward which one drifts; other islands originated 起源於in the ocean, but the island is also the origin, radical 激進  and absolute 絕對.

 

夢想島嶼,不論是歡樂或恐懼,都無所謂,其實就是夢想脫離,夢想已經分離,遠離大陸,夢想迷失跟孤單。或總是夢想從頭開始,重新創造,重新開始。有些島嶼漂浮離開大陸,但是島嶼也是自己漂浮所向的地方。其他島嶼起源於海洋,但是島嶼也是起源海洋,激進而絕對。

 

Certainly, separating and creating are not mutually 互相 exclusive 排除: one has to hold one’s own when one is separated, and had better be separate to create anew; nevertheless, one of the two tendencies 傾向 always predominates 佔優勢. In this way, the movement of the imagination of islands takes up the movement of their production, but they don’t have the same objective 目標.

 

的確,分離跟創造並不互相排斥;分離時,人必須掌握自己,而重新創造,人最好分離。可是,兩種傾向,總有一個佔優勢。以這種方式,島嶼的想像動作從事他們的創造動作,但是彼此的目標並不相同。

 

It is the same movement, but a different goal. It is no longer the island that is separated from the continent, it is humans who find themselves separated from the world when on an island.

 

動作相同,但是目標不同。不再是島嶼跟大陸分開,而是人發現自己在島上時,跟世界分開。

 

 It is no longer the island that is created from the bowels of the earth through the liquid depths, it is humans who create the world anew from the island and on the waters. Humans thus take up for themselves both movements of the island and are able to do so on an island that, precisely, lacks one kind of movement: humans can drift toward an island that is nonetheless originary, and they can create on an island that has merely drifted away.

 

不再是島嶼經由海洋深處,從陸地內部被創造,而是人從島上及水面上,重新創造世界。人因此為自己從事島嶼的動作,在缺乏動作的島上,人始能如此行為:人能漂浮朝向具有原創性的島,人在僅僅是漂浮離開的島上能夠創造。

 

On closer inspection, we find here a new reason for every island to be and remain in theory deserted.

 

仔細審查時,我們再此找到一個新的理由,讓每個島成為,也始終保持在理論上是荒漠。

 

An island doesn’t stop being deserted simply because it is inhabited. While it is true that the movement of humans toward and on the island takes up the movement of the island prior to humankind, some people can occupy the island—it is still deserted, all the more so, provided they are sufficiently, that is, absolutely separate, and provided they are sufficient, absolute creators.

 

 一個島並不因為有人居住就不再是荒漠。雖然人朝向島及在島上從事早先於人類的島的動作,也有些人能佔據島,但是島依舊是荒漠,而且更加是如此,假如他們充分分離,換言之,絕對分離,假如他們是充分的絕對的創造者。

 

Certainly, this is never the case in fact, though people who are shipwrecked approach such a condition. But for this to be the case, we need only extrapolate 推論 in imagination the movement they bring with them to the island.

 

的確,情形從來不是這樣,儘管遭遇船難的人會遇到這樣一種狀況。但是為了讓此事發生,

我們只要在想像中推論他們帶給島嶼的動作。

 

Only in appearance does such a movement put an end to the island’s desertedness; in reality, it takes up and prolongs the elan that produced the island as deserted. Far from compromising it, humans bring the desertedness to its perfection and highest point.

 

這樣一個動作只有在表象中結束島的荒漠;在真實中,這樣的動作從事並延長使島嶼之所以成為荒漠的那種激情。絲毫不妥協,人使荒漠表現得淋漓盡致。

 

In certain conditions which attach them to the very movement of things, humans do not put an end to desertedness, they make it sacred.

 

在某些使人跟事物的動作相連繫的狀況,人並沒有結束荒漠,而是人使之成為荒漠。

 

Those people who come to the island indeed occupy and populate it; but in reality, were they sufficiently separate, sufficiently creative, they would give the island only a dynamic image of itself, a consciousness of the movement which produced the island, such that through them the island would in the end become conscious of itself as deserted and unpeopled.

 

那些來到島上的人的確佔據並居住在島上,但事實上,假如他們充分分離,充分創造,他們會使島成為本身的活力形象,一種產生島的動作的意識:經由人,島最後意識到自己是荒漠,而且無人居住。

 

The island would be only the dream of humans, and humans, the pure consciousness of the island. For this to be the case, there is again but one condition: humans would have to reduce themselves to the movement that brings them to the island, the movement which prolongs and takes up the elan that produced the island. Then geography and the imagination would be one.

 

島將只是人類的夢想,而人類只是島的純粹意識。為了讓此事成為真實,只有一個條件:人必須將自己化減為成導致自己成為島的動作,這個動作延長並從事產生島的激情。然後地理跟想像將會合而為一。

 

To that question so dear to the old explorers—”which creatures live on deserted islands?”—one could only answer: human beings live there already, but uncommon humans, they are absolutely separate, absolute creators, in short, an Idea of humanity, a prototype, a man who would almost be a god, a woman who would be a goddess, a great Amnesiac, a pure Artist, a consciousness of Earth and Ocean, an enormous hurricane, a beautiful witch, a statue from the Easter Islands.

 

以前的探險家最為珍惜的一個問題:「何種動物居住在荒漠之島?」我們只有一個答案:人類本已經居住在那裡,但是不尋常的人,他們是絕對的分離,絕對的創造者,總之,是人性的理念,一種原型,一種近乎神的人物,一位將會成為女神的女人,一位遺世獨立的人物,一位純粹的藝術家,一種陸地跟海洋的意識,一陣強烈的颶風,一位美麗的女巫,一座復活島的雕像。

 

There you have a human being who precedes itself. Such a creature on a deserted island would be the deserted island itself, insofar as it imagines and reflects itself in its first movement.

 

在此你遇到一個早先於自己的人。這樣一種在荒漠島上的人,本身就是荒漠之島,因為此島第一個動作就是想像及沉思自己。

 

A consciousness of the earth and ocean, such is the deserted island, ready to begin the world anew. But since human beings, even voluntarily, are not identical to the movement that puts them on the island, they are unable to join with the elan that produces the island; they always encounter it from the outside, and their presence in fact spoils its desertedness.

 

荒漠之島就是大地及海洋的意識,準備重新開始這個世界。但是因為人類儘管是自願,還是無法跟使他們置身於島上的動作相一致,他們不能夠融入產生這個島的激情;他們總是從外在遭遇激情,而他們的存在事實上破壞了激情的荒漠。

 

The unity of the deserted island and its inhabitant is thus not actual, only imaginary, like the idea of looking behind the curtain when one is not behind it. More importantly, it is doubtful whether the individual imagination, unaided, could raise itself up to such an admirable identity; it would require the collective imagination, what is most profound in it, i.e. rites and mythology.

 

荒漠之島跟其居民的合一因此不是真實,而是想像,就像是人實際上不在簾幕後面,卻以為是透過簾幕觀物。更重要的是,個人的想像力若無外力援助,是否提升到如此令人崇敬的島與人合一,是值得懷疑的。因為那需要集體的想像力,其中最為深奧的,例如就是儀式跟神話。

 

In the facts themselves we find at least a negative confirmation of all this, if we consider what a deserted island is in reality, that is, geographically. The island, and all the more so the deserted island, is an extremely poor or weak notion from the point of view of geography.

 

在這事實的本身,我們至少發現一個對此持負面的肯定,假如我們認為一個荒漠之島在現實中,換言之,在地理上,是個什麼樣子。從地理的觀點而言,島嶼是一個極端貧瘠或虛弱的觀念,,尤其是荒漠之島更是如此。

 

This is to its credit. The range of islands has no objective unity, and deserted islands have even less. The deserted island may indeed have extremely poor soil. Deserted, the island may be a desert, but not necessarily.

 

這對島而言倒是慶幸。島嶼的範圍並沒有客觀的一致性,荒漠之島甚至更少。慌漠之島可能確實有極端貧瘠的土地。由無人居住,此島可能是荒漠,但未必盡然。

 

The real desert is uninhabited only insofar as it presents no conditions that by rights would make life possible, whether vegetable, animal, or human. On the contrary, the lack of inhabitants on the deserted island is a pure fact due to circumstance, in other words, the island’s surroundings.

 

真正的荒漠是無人居住,因為它並沒有呈現在道理上使生命跡象成為可能的狀況,無論是植物,動物,或人類。相反的,在荒漠之島的居民的缺乏,是現實狀況下,換言之,島的環境,是純粹的事實。

 

The island is what the sea surrounds and what we travel around. It is like an egg. An egg of the sea, it is round. It is as though the island had pushed its desert outside. What is deserted is the ocean around it. It is by virtue of circumstance, for other reasons than the principle on which the island depends, that ships pass in the distance and never come ashore.

 

這個島為海洋所包圍,也是我們旅行之地。它就像顆蛋。作為海上之蛋,它是圓的。宛如島已

經將它的荒漠推到外面。荒漠的是圍繞它的海洋。由於這樣的環境,船隻從遠處經過,從不上岸,理由百百種,都跟島所依靠的原則無關。

 

The island is deserted more than it is a desert. So much so, that in itself the island may contain the liveliest of rivers, the most agile fauna, the brightest flora, the most amazing nourishment, the hardiest of savages, and the castaway as its most precious fruit, it may even contain, however momentarily, the ship that comes to take him away. For all that, it is not any less a deserted island.

 

與其說島是無人跡,不如說是荒漠。如此的荒漠,以致於島的本身可能包含奔騰的河流,最生猛的動物,最鮮豔的植物,最令人驚奇的滋養,最強壯的土著,棄留地上的最珍貴的水果。它也可能包含前來載走他的船隻,雖然那是可遇不可求。儘管如此,那仍然是一個荒漠之島。

 

To change this situation, we would have to overhaul the general distribution of the continents, the state of the seas, and the lines of navigation.

 

為了改變這個情況,我們將全面調整大陸的一般分佈,海洋的狀態,及航海的路線。

 

This is to state once again that the essence of the deserted island is imaginary and not actual, mythological and not geographical. At the same time, its destiny is subject to those human conditions that make mythology possible.

 

容我再次聲明,荒漠之島的本質是想像,而非真實,是神話而非地理。同時,島的命運隸屬於那些使神話成為可能的人類的狀況。

 

Mythology is not simply willed into existence, and the peoples of the earth quickly ensured they would no longer understand their own myths. It is at this very moment literature begins.

 

神話不僅僅是因人類一廂情願而存在,陸地上的人很快的保證,他們不再了解自己的神話。文學就是從這個時刻開始。

 

Literature is the attempt to interpret, in an ingenious way, the myths we no longer understand, at the moment we no longer understand them, since we no longer know how to dream them or reproduce them.

 

文學企圖以巧妙的方式,詮釋我們不再相信的神話,在我們不再瞭解他們的時刻,因為我們不再知道如何去夢想神話或複製神話。

 

Literature is the competition of misinterpretations that consciousness naturally and necessarily produces on themes of the unconscious, and like every competition it has its prizes. One would have to show exactly how in this sense mythology fails and dies in two classic novels of the deserted island, Robinson and Suzanne.

 

根據無意識的主題,意識當然也必須產生各種錯誤的詮釋,這種錯誤的競賽就是文學。就像各種競賽一樣,文學有其獎品。我們將必須確實地顯示出來,荒漠之島的兩部經典小說,魯賓遜跟蘇珊娜,以這種意義,神話功敗垂成。

 

Suzanne and the Pacific emphasizes the separated aspect of islands, the separation of the young woman who finds herself there;1 Robinson Crusoe, the creative aspect, the beginning anew.

 

「蘇珊娜及太平洋」強調島的分離的一面,當一位年輕女人發現自己在那裡的與人分離。「魯賓遜漂流記」則是強調創造的,重新開始的一面。

 

It is true that the way mythology fails is different in each case. In the case of Giraudoux’s Suzanne, mythology dies the prettiest, most graceful death. In Robinson’s case, its death is heavy indeed.

 

的確,神話失敗的方式兩個情形不一樣。對於吉羅德的蘇珊娜,神話垂亡得優美而高雅。在魯賓遜的情形,死亡確實是沉重。

 

One can hardly imagine a more boring novel, and it is sad to see children still reading it today. Robinson’s vision of the world resides exclusively in property; never have we seen an owner more ready to preach.

 

我們很想像還有比這些更無聊的小說。可是,令人感傷的是看到今天的小孩依舊在閱讀他們。

魯賓遜的世界觀完全停留在私有財產制度上,一位財產主人的津津樂道,真是前所未有。

 

The mythical recreation of the world from the deserted island gives way to the reconstitution of everyday bourgeois life from a reserve of capital. Everything is taken from the ship. Nothing is invented.

 

取代從荒漠之島神秘地重新創造的是日常的中產階級的生活,從資本的貯存中重新建構。每一樣東西都從船上取得,不用發明任何東西。

 

It is all painstakingly applied on the island. Time is nothing but the time necessary for capital to produce a benefit as the outcome of work. And the providential function of God is to guarantee a return.

 

取代的中產階級生活煞費苦心地被運用在島上。時間僅僅是資本運用結果,產生利潤所需的時間。上帝作為天佑的功用,則是保證回歸中產階級的生活。

 

God knows his people, the hardworking honest type, by their beautiful properties, and the evil doers, by their poorly maintained, shabby property. Robinson’s companion is not Eve, but Friday, docile towards work, happy to be a slave, and too easily disgusted by cannibalism.

 

上帝知道他的子民分兩種,一是勤奮而誠實的那一種,有著豐厚的財產,另一種是作姦犯科者,房產破落,維修不佳。魯賓遜的伙伴不是夏娃,而是星期五,溫順工作,樂於當奴隸,很容易為食人族所厭惡。

 

Any healthy reader would dream of seeing him eat Robinson. Robinson Crusoe represents the best illustration of that thesis which affirms the close ties between capitalism and Protestantism. The novel develops the failure and the death of mythology in Puritanism.

 

任何健全的讀者都會夢見到食人族正在吃魯賓遜。「魯賓遜漂浮記」代表那個命題最好的範例,那就是肯定資本主義跟基督教之間密切關係。小說發展神話在清教徒的失敗跟死亡。

 

Things are quite different with Suzanne. In her case, the deserted island is a depository of ready-made, luxurious objects. The island bears immediately what it has taken civilization centuries to produce, perfect, and ripen. But mythology still dies, though in Suzanne’s case it dies in a particularly Parisian way.

 

蘇珊娜的情形完全相反。在她的情形,荒漠之島是現成的奢侈物品的保管所。島嶼立即負載著文明幾世紀來所生產,改進,及成熟的的東西。但是神話依舊死亡,雖然在蘇珊娜的情形,神話以特別的巴黎人的方式而死。

 

Suzanne has nothing to create anew. The deserted island provides her with the double of every object from the city, in the windows of the shops; it is a double without consistency, separated from the real, since it does not receive the solidity that objects ordinarily take on in human relations, amidst buying and selling, exchanges and presents. She is an insipid young woman. Her companions are not Adam, but young cadavers, and when she reenters the world of living men, she will love them in a uniform way, like a priest, as though love were the minimum threshold of her perception.

 

蘇珊娜沒有創造新的東西。荒漠之島供應給她都市物品的仿冒品,展示於商店櫥窗。這個仿冒品跟真實物品隔開,並不相符,因為它並沒有具有一般物品在人的關係上具有的堅實性,在買與賣,交換與禮物上。

 

What must be recovered is the mythological life of the deserted island. However, in its very failure, Robinson gives us some indication 指示: he first needed a reserve 儲存 of capital 資本.

 

所需要恢復的是荒漠之島的神話生活。可是,由於神話的失敗,魯賓遜給我們一些指示:他首先需要累積資本。

 

In Suzanne’s case, she was first and foremost separate. And neither the one nor the other could be part of a couple.

 

在蘇珊娜的情形,她首要條件是分離。無論是此方或彼方,都不能夠是夫妻對方的所屬。

 

These three indications must be restored to their mythological purity 純淨 We have to get back to the movement of the imagination that makes the deserted island a model, a prototype 原型 of the collective soul.

 

神話要純淨,這三個指示必須恢復。我們必須回到使荒漠之島成為集體靈魂的典範,原型的

想像力的動作

 

First, it is true that from the deserted island it is not creation but re-creation, not the beginning but a re-beginning that takes place. The deserted island is the origin, but a second origin.

 

首先,從荒漠之島,所發生的事的確不是創造,而是重新創造,不是開始,而是重新開始。荒漠之島不是起源,而是二次起源。

 

From it everything begins anew. The island is the necessary minimum 最小量 for this re-beginning, the material that survives the first origin, the radiating 燦爛的seed 種子 or egg that must be sufficient 足夠 to re-produce everything.

 

從荒漠之島,一切重新開始。島是這個重新開始所需要的最小量,歷經第一次起源的物質,向外散發的種子或卵子,必須要足夠繁殖一切。

 

Clearly, this presupposes 預先假設 that the formation of the world happens in two stages, in two periods of time, birth and re-birth, and that the second is just as necessary and essential as the first, and thus the first is necessarily compromised 妥協, born for renewal 重生and already renounced 抨擊 in a catastrophe 災難.

 

顯然,這預先假定,世界的組成發生在兩個舞台,兩個時間的時期,出生跟重生。第二次重生跟第一次出生同要的需要跟重要。因此第一次出生是必須的妥協,為了重生而出生,在災難中飽受抨擊。

 

It is not that there is a second birth because there has been a catastrophe, but the reverse 相反, there is a catastrophe after the origin because there must be, from the beginning, a second birth.

 

這倒不是因為曾經有災難,所以才有第二次出生。相反的,是因為從一開始,就必須要有第二次重生,所以起源之後,災難發生。

 

Within ourselves we can locate the source of such a theme: it is not the production of life that we look for when we judge it to be life, but its reproduction. The animal whose mode of reproduction remains unknown to us has not yet taken its place among living beings.

 

我們能夠在我們自己身上找到這一個主題的來源。當我們認定這是生命時,我們所尋找的不是生命的產生,而是生命的繁殖。人為動物,卻尚未在生物當中有所替代物,因為其繁殖模式我們始終不得而知。

 

It is not enough that everything begins, everything must begin again once the cycle of possible combinations has come to completion. The second moment does not succeed the first: it is the reappearance of the first when the cycle of the other moments has been completed.

 

光是一切開始,一切都必須開始,仍然是不足夠的,一但可能的組合完成之後。第二次開始的時刻並沒有接續第一個開始,而是第一次開始的重現,當其他時刻的循環結束之時。

 

The second origin is thus more essential than the first, since it gives us the law of repetition, the law of the series, whose first origin gave us only moments. But this theme, even more than in our fantasies, finds expression in every mythology.

 

第二次起源因此比第一次更加重要,因為它給我們重複的法則,系列的法則,而第一次起源只給我們時刻。但是這個主題在每個神話中,比在我們的幻想中,表現得更為生動。

 

 It is well known as the myth of the flood. The ark sets down on the one place on earth that remains uncovered by water, a circular and sacred place, from which the world begins anew.

 

洪水的神話,眾所皆知。方舟置放在陸地的一個地方,始終未被洪水發現。那是一個巡迴而神聖的地方,世界從那裡重新開始。

 

It is an island or a mountain, or both at once: the island is a mountain under water, and the mountain, an island that is still dry. Here we see original creation caught in a re-creation, which is concentrated in a holy land in the middle of the ocean.

 

那是個島或是山,或同時皆是:島是在水底下的山,而山是尚未為水包圍的島。在此,我們看到原創性的創造陷於重新創造之網,專注於海洋中間的神聖土地。

 

This second origin of the world is more important than the first: it is a sacred island. Many myths recount that what we find there is an egg, a cosmic 宇宙的egg. Since the island is a second origin, it is entrusted 信托給 to man and not to the gods. It is separate, separated by the massive expanse 一大片 of the flood.

 

世界的第二次起源比第一次更加重要。那是一個神聖之島。許多神話描述,我們在那裡找到的是一粒卵子,宇宙的卵子。因為這個島是第二次的起源,它被信託給人,而不是給眾神。這個起源分離,被一大片的洪水所分離。

 

Ocean and water embody a principle of segregation such that, on sacred islands, exclusively female communities can come to be, such as the island of Circe or Calypso.

 

海洋跟水具體表現分離的原則,所以在神聖之島上,社會只能成為清一色是女性,就像是塞斯或凱利普索的女人島。

 

After all, the beginning started from God and from a couple, but not the new beginning, the beginning again, which starts from an egg: mythological maternity 母親 is often a parthenogenesis 單性生殖.

 

畢竟,開始起源於上帝,起源於夫妻,但是新的開始可不是,重新開始起源於卵子:神話的母親往往是單性生殖。

 

The idea of a second origin gives the deserted island its whole meaning, the survival of a sacred 神聖的place in a world that is slow to re-begin. In the ideal of beginning anew there is something that precedes the beginning itself, that takes it up to deepen it and delay it in the passage of time. The desert island is the material of this something immemorial 遠古的, this something most profound 深刻..

 

第二次起源的觀念賦予荒漠之島它全部的意義,在一個緩慢重新開始的世界,有一處神聖的地方保存下來。在重新開始的理想裡,有某件東西早先於開始的本身,在時間的流程中,深化及拖延開始。荒漠之島就是這個遠古的物質,這個深奧的某件東西。

 

32hsiung@pchome.com.tw

 

雄伯

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