【读书】《萨特的世纪》笔记（二）
司汤达和斯宾诺莎
怎样才算是一个“伟大”的知识分子？为什么是萨特，只是因为萨特接过了纪德手中的火炬吗？为什么在一定时候，在一定的情势之下，占据了绝对主宰地位的是他，而不是别人？
为什么雷蒙·阿隆、梅洛-庞蒂、巴塔耶、布朗肖、加缪一个个的大师级人物，在萨特面前，都很快地站到了从属的地位上？这就是漫长的萨特的世纪之谜。
第一种解释——最基本、最明显的解释——，是萨特的天才，或者更准确地说，是萨特的抱负使然。他的欲望。他的永无厌足的好奇心。他具有彻底的知识分子的一面，正如他常说的那样，他要拥有“全世界”，要让自己具有实现这一巨大抱负的手段。事实上，当代所有文体，他都试着写过，而且通常还写得极其出色……这一代人中，只有萨特擅长于所有的文体。只有他一人占领了所有可供占领的阵地。
或许，我们可以拿人们经常用来说高克多的话来说萨特，也就是说，如果他自信在某一学科非常出色，就不会将各门学科都一一试过。他在门门学科中都是二流货色，在任何一门中都达不到顶峰，是个通才，是什么都能来一手的天才，是不戴王冠的君主，从一个宝座跑到另一个，先后玩弄着一个个的权杖。
但还有第二种解释，萨特并不是随兴而至，今天写小说，明天写哲学。而是将小说和哲学混合在一起，让两种范畴互相促进，互相加强，几乎是融合在一起。如果他有什么与众不同之处，有什么了不起的地方，那就是他可以同时从事文学与哲学，将文学与哲学铰接在一起——这不仅在当时，而且在整个世纪期间，也只有他一个人能这么做。
这是一种冒险，是将哲学嫁接在小说上，将小说嫁接在哲学上，是把哲学家的工作当作文学来尝试，把作家的工作当做哲学命运的结果来经历，是把哲学定义为文学的一个领域，又把文学定义为哲学的一个领域。凡此种种，他是独一无二的，任何人都无法与他相比。
西蒙娜·德·波伏娃有一句话说得很好。这是她说过好几次的一句话，也是为萨特的过人之处下的最好的定义：“斯宾诺莎和司汤达……当我认识你时，你对我说过，你既要当斯宾诺莎，也要当司汤达……”
最后，还有萨特的天才创举，他的介入理论。
介入的概念不是强调作家的社会责任的政治概念，而是哲学上的概念，说明语言具有形而上学的能力。所谓介入，不是要征调文人从军，而是要提醒他们每个人都知道，或者都应当知道的东西：每一个用文字意指事物的行为都会“融入客观精神”；而且在意指的同时，作家会使文字和事物具有一种“新的维度”；作家说的每句话都会有助于“披露”世界，而披露世界总是而且已经意味着“改变”世界……
萨特在《什么是文学？》中说了三件事。第一个问题：写什么？回答：写今天。第二个问题：为什么？回答：为今天而写。第三个问题：写给谁看？回答：给大多数人。
萨特所带来的一切变革都在这一点上。而且，正是从这种意义上，我们才说介入是萨特所产生的冲击和震动的一部分。如果1945年时你二十岁，你跟谁走？
清算纪德
但是，这还不够。我们还要再一次提出问题：怎样才算是一个“伟大的”知识分子……接过了纪德的火炬，并从此而主宰了时代的，为什么是萨特，而不是别人？
谁能从精神上站在由当时最有吸引力的力量汇聚而成的焦点上，不管是依靠本能还是依靠算计，谁就是“伟大的知识分子”。
“伟大的知识分子”之所以伟大，是因为他将时代所有最为强烈的话语浓缩成了一句话，虽然他并不一定总能意识到这一点。
我们已经不能再说他“夺取了纪德的位置”这种话。他自己创造了自己的宝座。他自己雕刻了自己的权杖。他为自己圈定了一个位置，并同时将自己安顿在了这一位置上。
但当然，文学，在开始的时候有个纪德……萨特和他所处的整个时代一样，在成为萨特之前，生来就是个已经受到纪德影响的人。
我们应当能够记得，在这个世纪成为萨特的世纪之前，从很大的程度上应该是纪德的世纪。
萨特本人曾经是个纪德的信徒。有人说过司汤达是年轻的萨特处世为人的导师。有人说他那极其特别的清醒来自于法国伟大的道德家——帕斯卡、拉布鲁耶尔、拉罗施福高。不错。但在萨特的所有文章中，我们首先听到的，是纪德的声音。
他在《活着的纪德》中说：“正像一个法国人在外国，不管他往哪里走，只要迈出一步，不是离法国近一步，就是离法国远一步。思想上的活动也是这样，只能使我们接近纪德或远离纪德。”
事实很清楚。开始时有个纪德。萨特自己也承认，他生来便受到纪德的影响，便浸润在纪德的氛围中。用萨特的原话说就是，所有的年轻作家都会“受到上个世纪的文学习惯的滋润”，在他还没有定形的时候，虽然心中有目标，但他还不知道自己会成为一个什么样的人，而在这时，他已经受到纪德的美学和道德观的影响。
在他头脑中，是纪德在迷惑他，不让他成为萨特，因此他要将纪德从头脑中驱除出去——这是一项长期的事业，正如走向无神论一样，驱除纪德的事业也将伴随他终生……
如何摆脱纪德？萨特先后吸收了多斯·帕索斯、乔伊斯、塞林纳，在早期萨特的家学渊源中，我们还可以列举出卡夫卡，因为《厌恶》第一版在出版时的宣传插页让人想起“无孔不入的变化”。我们还可以列举出巴尔扎克。萨特不声不响地从巴尔扎克那里学来了人物反复出现的技巧，这是巴尔扎克伟大的发明。
人们经常说年轻的萨特“没有风格”。
有人说——塞林纳就这样说过：“风格是很少的；每一代人中也就有一个，两个，三个。作家却有成千上万，都是些不得要领的可怜人，在一堆句子中爬来爬去，重复着别人说过的话，但他们并没有属于自己的风格。”——因此，有人说早期的萨特正是这样，而且，如果说他有天才，那也是仿效和假冒的天才，或者，即使是在最好的情况下，也只能说是使旧东西复活的天才。
实际情况是，萨特的做法和大多数新生的伟大作家一样。
实际情况是，人们要花很长时间才能变得年轻，要花更长时间才能找到或发明自己的风格：人们一向以为作家就这样像奇迹一样诞生了，他的声音会成为权威，他能解决一切难题，他一出现便与众不同——但这是不可能的！
实际情况是，当一个作家首次出现，第一次开口讲话时，他很难为自己争得一席之地，很难将他之前的文字清除干净，在很长的时间之内，人们透过他的文字所看到的，其实仍然是他之前的文字。
有人说过，作家是在打仗。
我们闯进伟大的死人的家里，就像进入一座磨坊一样，而且在磨坊中正在磨着的，正是伟大活人的思想。人们从别人的思想中取来原料，造成自己的思想，这个别人不管是活的还是死的，而我们自己的思想却永远不会完结，永远处于悬而未决的状态——由此而形成的，正是思想的法则。
战争就是战争……这就是以斗士的面目出现的艺术家和哲学家。
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Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
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Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.
The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.
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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.
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