This is the story of an immense leap of faith, 本集我們將看到，在許諾得到平等與寬容的前提之下
made on a promise of equality and toleration. 猶太人信仰上的巨變
It would carry the Jews of Europe from the certainties of tradition... 歐洲猶太人開始走出自己堅守的傳統，
..and from the ghettos enforced by ancient prejudice, 走出由於古老的偏見與歧視而強加於他們周遭的隔都圍牆
and expose them to the opportunities 面對猶太人的，有大把的機遇
and to the threats of freedom in a world transformed 但是，與自由一同到來的，還有威脅
by revolution, technology, mass culture and nationalism. 因為他們所面對的外部世界，也在變化， 到處是革命，技術革新，還有大眾文化與民族主義的興起.
It would begin in a world of aristocratic libraries, 對歐洲猶太人來說，變化始於這樣的地方：
temples of learning. 高高在上的各種圖書館---知識的聖殿
It would culminate in a world of metropolitan magnificence, 卻隨著時代變遷，在日漸宏偉的現代都會裡節節敗退
department stores, palaces of plenty, 最終不是淪為百貨公司，就是被改建為音樂廳
concert halls, capitals of culture. 琳琅滿目的商品取代了林林總總的書籍； 知識的殿堂紛紛降級成為普羅大眾的文化之都。 #
From the ghetto to the salon, 從隔都到沙龍
from the hallowed past to the promised future, 從神聖的歷史 到應許之前景
this was one of the greatest human journeys 在最短的時間跨度之內，
in the shortest space of time ever made. 造就了迄今最引人注目的人類進步之一. #
And the consequences would be world-changing 其結果將令世界都為之一變
as hopes, born on the pages of books, (在此巨變的過程中) 我們將目睹新知識帶來的新希望
died in the flames of hatred and destruction. 在怨毒與破壞中付之一炬
It was in the 18th century that the world of Gentile learning, 到了18世紀， 猶太人與外部世界 [Gentile 專指 非猶太人的， 非猶太教的 ]
and the world of the Jews finally came face to face, 終於在知識的世界裡迎面碰撞
finally came to engage with each other. 並攪在一起
The philosophers of the Enlightenment held that everyone, 啟蒙學派的哲學家們認為
Jews included, guided by the light of reason, 包括猶太人在內的所有世人，都能在理性之光的引導下
could sweep away the inherited prejudices of centuries. 橫掃一切舊時代遺留的歧視與偏見。
So they made the Jews a special bargain - 所以他們給猶太人出了個"特價" :
come out of your mental ghetto, "來吧，走出爾等的精神隔都"
expose yourself to modern languages, to learning, to science, "讓自己'沐浴'在現代化裡，接受新語言，新知識和新科學"
and then you will become useful members of society. "這樣你們才能成為這個社會的'有用'之材"
And when that happens, we will embrace you "屆時，我們將開懷擁抱你"
fully and legally in civil rights, and you will become something new. "你們將擁有一切合法民權" "重獲'新'生"
You'll become a citizen who happens to practise the Jewish faith. "成為公民，有猶太信仰的公民！"
Well, it was a noble idea. 好吧，很高端的想法...
For that matter, it still is. 就其含義來說，即使今天看起來依舊不墮俗套
The question is, would it work? 問題是...可行嗎？
猶太人的故事 第三集 中文字幕製作: spacewa@Lost In Translation 英文字幕來源: www.subtitleseeker.com 感謝Rubin,Danna Paz Prins,Eitan和Yanive的大力協助 亟待指正 jasperfj@gmail.com
Embracing the new was never going to be easy for the Jews. 對猶太人來說，接納新知絕非易事
They had survived long centuries of exile and persecution 多少個世紀以來，他們憑著堅守傳統與信仰
by cleaving to their traditions. 挺過了各種迫害，驅逐與流離失所。
Any challenge to those traditions seemed to threaten survival itself. 對這古老傳統的任何挑戰，都將直接威脅本就一息尚存的猶太文明
Baruch Spinoza, a 23-year-old merchant and precocious thinker 比如23歲的Baruch Spinoza, 此人出身於信仰虔誠的猶太家庭, [巴魯赫·斯賓諾莎 1632.11.24—1677.2.21 西方近代哲學史重要的理性主義者.泛神論者. 請見《哲學12釵》]
from a religious family, posed just such a challenge, 是個商人兼早熟的思想家, 他就(對猶太教義和聖經)提出了這種挑戰
which is why, in 1656, in the synagogue on the Houtgracht Canal, 結果，1656年，在Houtgracht運河區的猶太教堂裡
he was cast out of Amsterdam's community of Jews. 他被阿姆斯特丹猶太社區宣佈驅逐出教.
"We ban, expel, curse and damn Baruch de Espinoza "現遵上帝准許.茲令驅逐Baruch de Espinoza出教。"
"with the consent of God, "我輩人人得而咒之，唾之，逐之"
"cursed be he by day, and cursed be he by night. "咒他日夜不安" [白天他被詛咒、夜裡他被詛咒]
"Cursed be he when he lies down, and cursed be he when he rises up. "咒他坐臥兩難" [躺下他被詛咒、起身他也被詛咒]
"The Lord shall blot out his name from under heaven, "我主治下他將名份無存"
"and the Lord shall separate him unto evil. "我主治下判他與魔同流"
"None shall contact him by mouth, or by writing, "任何人不准與他交談或書信來往"
"nor stay under the same roof as him, "不准與他同處一室"
"nor read anything he wrote." "此人的一切文筆均為妖魔邪說"
In the eyes of the Amsterdam community, Spinoza was a heretic, 阿姆斯特丹猶太社區眼中， Spinoza這樣的離經叛道者
undermining through soulless logic and wild speculation 通過離魂的'邏輯' 和無端的猜測
Jewish faith and Jewish identity. 對猶太身份認同與猶太信仰 大挖牆角
Miracles were myths, the soul was not immortal, (在他嘴裡)聖經記載的奇跡被汙為神話 (在他嘴裡)靈魂也非不朽
the Bible was the work of men, not God. (在他嘴裡)聖經淪為凡人手筆而非神諭.
"The revelation of God can only be established Spinoza說:"要(在大眾心中)確立上帝的啟示,-"
"by the wisdom of the doctrine, not by miracles, "靠的是充滿智慧的學說與信條 "
"or, in other words, ignorance." "而不是靠神跡...或者換句話說-無知"
It wasn't just the Jews whom Spinoza risked outraging. 而且Spinoza激怒的不只是同胞
The Protestant Dutch, who had given the Jews a refuge 還有信奉新教的荷蘭人。 被趕出西班牙和葡萄牙之後，
following their expulsion from Spain and Portugal, 是荷蘭人接納了猶太人。為他們提供庇護。
identified with the biblical children of Israel, (而且)荷蘭人立足於《舊約》與《新約》的新教信仰 #
founded their faith on the Old as well as the New Testament. 也得到猶太人的認同 #
Spinoza's attack on Jewish tradition was an attack on Christianity, too. 所以， Spinoza對於猶太教的"攻擊"也傷及基督教義
And a threat to the new Jerusalem 同時還威脅到了猶太人獲准在阿姆斯特丹
the Jews had been allowed to build in Amsterdam. 建立的“新耶路撒冷”。 (我覺得這句話意即 "威脅到了猶太人在阿姆斯特丹的存在"。 並不是說猶太人真要在阿姆斯特丹建個城中城) [二戰前阿姆斯特丹的猶太人口近9萬，被稱為新耶路撒冷]
Was what Spinoza said so shocking? 那麼，Spinoza到底說了啥以至於如此驚世駭俗 ？
Well, it was shocking enough for him to be accused of atheism 好吧，反正足夠讓猶太人和基督徒
by both Jews and Christians, 共同指控他是無神論者 [那個年代的無神論者.其罪堪比張姑父... 算下來燒死布魯諾不過才半個世紀而已...]
but Spinoza was no atheist. 可是， Spinoza可不是無神論者
He believed in God, all right, 他當然信上帝
but it wasn't the God of the Hebrew Bible. 只是他的上帝與希伯萊聖經裡的那位有別
No, Spinoza's God was nothing less, 他的上帝，從頭到尾的-
but nothing more, than the whole of created nature itself. 其實就是整個自然界本身
The logical end of Spinoza's reasoning was toleration. Spinoza的理智分析與邏輯思考，結語在“寬容”二字 (我覺得這裡指的是 宗教寬容 )
Still a challenge in some parts of the world now, explosive then, 這種態度與想法至今在世上某些地方仍被視為"刺頭"， 在當年，那簡直就是爆炸性的
because under a God identical with all of nature, 因為，如果大家口中的上帝， 其實就是自然界本身的話
no one religion could claim a monopoly of wisdom. 那麼，世上所有宗教將都是平等的， 沒有誰能把著宇宙唯一真理 (因為自然界天地萬物即為真知，)
All very well, but it robbed the Jews, 好吧，如果這樣的話 那麼，不管是阿姆斯特丹的猶太人
not just here in Amsterdam of course, 或者其他地方的猶太人的特殊身份-
but everywhere, of their own special identity, 都將被奪走
their sense of divine election, 一同失去的， 還有他們的神選論；
their sense of being the chosen people. 以及他們是神選之民的說法
It was that character that had sustained the Jews 這些都是猶太人的"命根子"
through generations of difficulty, hardship and calamity, 是他們歷經幾世艱難困苦和各種劫難 而從未敢忘的"命根子"
and what was this God, 反過來呢，小S"鼓吹"的這位"上帝"
who was also nature, of Spinoza's, offering instead? 等同于"自然世界"的這位， 究竟又是何方神聖？
Well, in Spinoza's mind it was offering to bring the Jews 這麼說吧，小S提出的想法是： 用這種“神是實體 是自然”的理論
together with the rest of humanity - 將猶太人與世上的其他所有人(包括基督徒)
Jews, Christians, and anyone else for that matter, who could share "團結"在同一片藍天下 #
the same common space - 同呼吸，共命運！ 愛神，愛自然 #
and Spinoza thought, what was not to like about that? 小S認為， 倘若這樣，定是人人皆大歡喜之事...不是嗎？ # [這麼超前的想法。難怪被唾沫淹死]
Spinoza challenged Jew and Gentile alike 小S(就是這樣)用自己的寬容派哲學理論
with his philosophy of toleration. 無差別叫板猶太與非猶太兩個世界
Two generations after his death, that challenge was taken up here, 他過世後200年，在當時的普魯士首都柏林
in the Prussian capital of Berlin. 有人接過了小S的槍
Berlin then was enclosed by a city wall. 其時的柏林， 還有一道外牆環繞
Inside, some 2,000 privileged and protected Jews 牆內，約有2000名受保護和優待的
were permitted to live. 猶太人獲准居於此地
Elsewhere in Prussia, they were confined to provincial towns, 而在普魯士的其他地方，猶太人被限制居住在各地的猶太城鎮之內 #
inward looking, closed off from the Gentile world around them. 成為與非猶太的外部世界隔絕的"內向"型城鎮
But then a young Jewish scholar, 當時，一位年輕的猶太學生
his first name weighty with historical significance, --帶著他那聽起來極具歷史厚重感的名字-
walked to Berlin, following his religious teacher. 追隨自己的宗教導師，步行去了柏林
Moses Mendelssohn, unprotected, unprivileged, 小夥子名曰:摩西.孟德爾松 [他的孫子就是德國著名作曲家F.孟德爾松]
he somehow made it into a city world rich with new possibilities. 他還真的做到了，徒步抵達了這座遍地都是新機遇的城市
In 1743, the lad, Moses Mendelssohn, barely out of his Bar Mitzvah, 1743年，重兵把守的舊柏林城牆下
stood before one of these heavily guarded city gates in old Berlin, 初來乍到的孟德爾松站在其中一座城門之前，
on the brink of a great cultural adventure 此時的他，才剛受過誡禮，也許還不知道， 自己已經身處一場文化冒險之旅的邊緣 [Bar Mitzvah 受誡禮 年滿13歲的猶太男孩舉行的成人儀式]
that would transform not just his life, 從此，不僅是他的生活將發生巨變
but all of the relationships and encounters 連帶著變化的，還有一切發生在
between Jews and Gentiles. 猶太與非猶太世界之間的聯繫與碰撞！
Of this mighty destiny he could have had very little inkling. 對於強大的普魯士王朝，孟德爾松知之甚少
He had lived all of his young life amidst religious Jews like himself. 13歲之前的他一直與那些同樣是信仰虔誠的同胞生活在一起。
He spoke just two languages - Judeo-German, 他本來只說兩種語言: 一是日常使用的 "猶太化德語"
otherwise known as Yiddish, in his daily rounds, 也被稱為 Yiddish語 [或為 idesh . 德國猶太人發展出來的 猶太化德語方言.一譯 '意第緒語']
and Hebrew in the synagogue, in prayers and studies. 二是 希伯來語， 用於教堂，祈禱和學習
He would end his life 但是孟德爾松的一生，註定是學霸的一生，
as the embodiment of the Jewish Enlightenment, 他後來成為猶太啟蒙思想的化身
able to speak and write, and read every language you could think of - 精通 法，英，拉丁，希臘等各種語言...
French, English, Latin and Greek. 你能想到的語種，他都能聽說讀寫毫無困難
He didn't know what was in store for him, 語言上的天賦，
but it was an extraordinary opening, 在不知覺中，為他開啟了一扇非凡之門，令他學貫東西
not just in these city gates, 他所大步踏入的，不僅是一扇柏林城門
but the entire history of the Jews and those who met them. 而是整部猶太人的歷史，以及其中的猶太與非猶太世界的往來史.
Mendelssohn may have come to Berlin to pursue his religious studies, 孟德爾松同學來柏林的初衷也許只是為了繼續研習宗教學識
but soon he was reaching well beyond the Talmud, 不過很快，他的研讀範圍就不再局限於《Talmud經》這些經典
exploring new worlds of secular knowledge, 開始不斷探索宗教之外的新知
dipping into dangerous Spinoza. 對危險的Spinoza學說---也開始涉獵
He wasn't trying to escape his Judaism, though. 不過他並非意圖叛教...
He would live, marry and raise six children, all within the faith. 孟德爾松後來娶妻，育六子，始終未逾教門半步
At the Jewish Museum in Berlin there is something that captures 在柏林的猶太博物館內，我們能看到某物記載著
his ideal of vigorous new growth, deeply rooted in long tradition. 他懷揣的"老樹新芽"的理想
It's a masterpiece of synagogue art, 這是一件猶太教堂藝術品的傑作
made from Mendelssohn's wife's own wedding dress. 由門太的嫁衣製成--
This is a Torah ark curtain 女聲：“我們現在看到的是聖經(存放)櫃上的幕簾”
which was given to the Berlin Jewish community "受贈於摩西.孟德爾松和他妻子: Fromet.孟德爾松"
by Moses Mendelssohn and his wife, Fromet. "對象是柏林猶太社區"
And both their names are on it, and it was dedicated by them. "你看她倆的名字都繡在上面，而且由他倆共同贈予."
And what I think is particularly special about them, "我覺得尤其特別的是， "
the names are in parallel, that seems like equality. Yeah. "你看夫妻倆的名字是並列的，有股子平等的意思"
Yeah, that is a very Enlightenment thing. SIMON:"對，對，看起來就很有啟蒙的味道-夫妻平等"
'Spinoza would have loved this. Spinoza要是能看到這個， 一定喜歡
'If you had to make something that says "God is nature", 因為如果你真要在某物上面表達 “神即自然”的話
'this is surely it.' 眼前此物表達的就再好不過了。 #
What's particularly unusual here is that you actually have... Flowers. 女聲:"極不尋常的是，你看這上面居然繡了各種花朵"
..the flowers and the grass and it's all alive "花花草草的一派生機勃勃"
and it's a real landscape. Yes. "是一幅真的景色！"
Yes. That's very, very unusual. Yeah, it is, isn't it? 女聲:"這非常非常少見" SIMON:"是啊"
And that the flowers, you can actually tell which kind of flowers 女聲:"然後你看這各種的花，能直接看出它們的品種"
they are, that you can find. What have we got? 女聲:"都是自然界的確有的物種" SIMON:"是啊，來看看都有些什麼花？"
We've got roses and we've got lilies. SIMON:"這是玫瑰...這是百合..."
We have carnations. HaSharon. We have carnations. "還有康乃馨..." [Simon說的"HaSharon" 意思不明. Ha-Sharon= the Sharon 黃水仙=Havazelet HaSharon=lily of the Sharon 但是黃水仙和carnations貌似無關]
And we have... Goodness, those beautiful blue flowers. "我們還有這些...天啊...非常漂亮的藍色花朵..."
This whole sense of botanising "整幅作品上的各種植物採集...，"
being part of the 18th-century mind, "也是18世紀啟蒙思想的一部分，"
that you catalogue the wonders of nature "重點就在於人為的對自然界各種事物命名，歸類，造冊" # [這裡也許還指林奈(1707-1778)和他的動植物分類學研究造成的影響.]
and you can have two views about that. "那麼，(看著這些)你自然就會心生兩種看法"
You can have the kind of non-religious view "一是 與宗教無關:--"
that nature is its own thing. "這上面繡的表現的就是自然而已，與其他無關"
Or you can have the view that nature is absolutely proof, "或者呢，你也可以認為，眼前的自然萬物"
not just of God's existence, but of His genius. "不僅是上帝存在的絕對明證，而且還證明了上帝之手有多麼神奇，能造出如此繁多美麗的事物"
So a sense, actually, of the deep past "因此，這整幅繡品，我覺得就是在用百花齊放的今日-"
made beautiful by the possibility of a flowering present "來點亮悠久的昨日歷史，"
is all in the object. "用各種可能的新知，來為猶太教注入新的活力"
Nourished by the ideas of the Enlightenment, 在啟蒙思潮的各種新理念澆灌之下
there were other flowers that bloomed for Mendelssohn - 孟德爾松在接觸各種新知和新思想的同時
close and enduring friendships made with non-Jewish writers. 還結交了一批密友，他們大多是作家，而且都不是猶太人.
It seems so obvious, so easy now, sharing culture, 在不犧牲自身特性的前提下達成各種文化共用和交流-
without being asked to sacrifice your identity, 在我們今天看來似乎是理所當然的
but then it was almost incredible. 可是在孟德爾松同學的年代，卻是千難萬難.
His closest friend was the poet and playwright, Gotthold Lessing. 比如孟德爾松的知己：Gotthold Lessing--是個詩人兼劇作家 [1729-1781德國啟蒙運動時期劇作家、美學家、文藝批評家]
They played chess together, walked in their gardens, 這兩人常在一起，對弈，同遊，
Mendelssohn even came round for dinner, 孟德爾松去Lessing家用餐時甚至
bringing his own kosher food. 還會帶上自家烹製的猶太菜肴
Lessing honoured their friendship in his play, Nathan The Wise. Lessing還創作了劇本《Nathan The Wise》來向這段友情致敬 [《智者納旦》(1778).萊辛的三大名劇之一. 不明覺曆.]
Nathan, a Jew, expresses in a few resonant words 劇中主角是個叫Nathan的猶太人--- (此角色)用一句簡潔且鏗鏘有力的話來說
the high hopes of the Enlightenment promise. --他承載著一份遠大期盼， 那是對於啟蒙運動向世人承諾過的一切美景的期盼
It is enough to be "ein Mensch", a man. (此角色)是個大寫的"人" # [德語'ein Mensch'原意不明.這裡只能這樣翻譯.]
And the man who had been the inspiration for Nathan 而摩西.孟德爾松同志---"Nathan"的原型
wanted other Jews to share in that promise. 要的是他的猶太同胞們能夠在這場啟蒙運動中"雨露均沾"
He began to think about the problem, the issue, of language. 他開始探究源起於語言(差異)的各種問題
You could not be an aspiring 18th-century philosopher 身為18世紀的有志哲學家，就必須考慮到
and not think about the relationship between language and identity. 語言與身份之間的關聯
That was at the heart of a great deal of the discussion 在孟德爾松所身處其中的大量相關研究與討論議題中，對於這種
of which he was part. 關聯的研究恰是其核心！
And the relationship between the language of the Torah, Hebrew, 在這種關係中，一邊是希伯萊文著就的聖經(猶太人從小耳濡目染)
and the language of his adopted country, 一邊是他現居所在國的語言--德語--
the language he knew his children would grow up speaking, German. 將在他孩子們的成長過程中無處不在。
Hebrew, he thought, in some way, while magnificent and noble, 在孟德爾松看來，母語--希伯萊語固然是各種高大上
had actually been lost in esoteric debates in the Talmud. 卻已經在Talmud經中那些高深辯論的字裡行間逐漸消弭(而難以被後代猶太人所學習與掌握)
And if these young Jews, who were simultaneously Prussians and Jews, 而如今生長在普魯士的猶太年輕一代，帶著與生俱來雙重身份(德皮猶心)
were going to feel the Bible and the Torah as a living thing, 他們需要的是一種新的語言工具，
they were going to need to read it in the new language, too. 才能籍以閱讀聖經，並且感知其中包含的生活真諦，而不是僅僅把它當作一本書而已。
But, and this is the crucial point, 然而...這時孟德爾松才發現問題大條了...
the only translations into German available at that time 因為彼時的他發現市面上唯一的聖經德文版
were essentially the achievements of Christian Bible scholars. 幾乎全部出自基督學者之手
So it needed a Jew somehow to actually translate 看來現在不管怎樣都需要一個猶太人出手
that supple Hebrew into a German which faithfully reflected 站在真正的猶太本宗，來重新翻譯德文版聖經
its richness and strength. 務求字句達意的翻譯來反映出聖經的奧義與精神力量
And there was only one person who could do that - himself. 能完成此任務的看來只有孟德爾松自己了。
So he gets to work. 他是這麼想的，也這麼做了。
And here it is, right from the beginning, 孟德爾松從頭開始工作，比如我們現在看到的這部，
the Book Of Genesis, the beginning of the beginning. 《創世紀》. (的確是'從頭開始'，因為這是)聖經的最初章
And it is extraordinary to read, on one side of the page the Hebrew, 這部《創世紀》讀起來感覺非常不同。你看在頁面的一側是希伯來文
very familiar to all of us who went to Hebrew school, 咱上過希伯萊語學校的看一眼都能認出來
and the other side, incredibly unfamiliar to me, in Hebrew letters, 而頁面的另一側，同樣是大把的希伯萊字母， 可我竟然覺得很陌生(看不懂) [這裡指的是 意第緒語'Yiddish' 簡單說是德國猶太人用的語言. ]
this is the halfway house, exactly the same verse. 這就像是半路歇腳點一樣(在希伯來文與意第緒文之間穿行)，給你呈現的是兩段(原文)完全相同的聖經段落，但是用希伯來文與意第緒文兩種不同的記錄方式
How does the Bible begin? 比如說： 聖經的開篇是啥樣
All of you out there will know this, won't you? 我想大家都知道對吧？
Possibly not in Hebrew. Here is how the Hebrew sounds. 當然啦，也許你們讀的不是希伯萊語版本 大家來看這裡，希伯萊語版本讀起來是這樣的:
HE READS IN HEBREW, THEN ENGLISH "In the beginning, [念一段希伯萊文 而後解一段英文] "起初..."
"God created "神創造..."
"the heavens "天..."
"the earth." "...與地"
And moving my eye over to the difficult bit, in German, 現在來看這邊的'德語'對照段落, 有點難啊...[畫面所見即意第緒語.發音聽著是德語 書面卻是希伯萊字母.『此為個人理解.這裡主持人說的德語，其實指的都是意第緒語』 ]
where it says, "Im Anfang schuf Gott..." 這裡說的是: (西蒙開始朗讀意第緒語,說一段意第緒語，解一段英文)
"At the beginning, God created "起初，神創造了..."
"die Himmel - the heavens, "天..."
um..." und Erde - and the earth." "...與地"
And I am stumbling over it, because it is so difficult for me. 呵呵， 你看我磕磕巴巴的，因為(意第緒語)對我來說實在太難
I can see him really thinking about exactly how the Hebrew letters 我能明顯感覺到孟德爾松真真的字斟句酌地在
would perfectly fit the German. 希伯萊文與德文之間為讀者溝通架橋
And there is something deeply moving in its linguistic 他從語言學和文化兩方面著手，
and cultural optimism about this, seeing German alongside Hebrew, 孜孜不倦且樂觀向上的態度確令讀者動容 而且他對德語和希伯萊語一視同仁
as though they were naturally kindred spirits to each other. 似乎在他看來，二者根本就是一脈相承 [其實研究證明意第緒語也的確是日爾曼語系]
Mendelssohn's Bible was the bridge over which generations of Jews 孟德爾松的這一版聖經 為後世的猶太人
would cross from the Jewish world to the German world, 架起了一座橋樑，讓他們可以從猶太文化步入日爾曼文化 [這裡German應該譯為日爾曼 #]
from the religious to the secular. 從宗教世界步入世俗生活中去
They could read Isaiah in the morning and Goethe in the afternoon. 令他們既可以專注於《以賽亞書》之類的宗教典籍，也可以徜徉在世俗文學如歌德的詩歌戲劇和散文之中
But Mendelssohn expected them to cross that bridge as Jews, 不過孟德爾松還是企盼著族人不要忘本
and to stay that way. 牢記自己是猶太人這一事實
"Adapt yourselves to the morals and constitution 他說:"盡力融入爾等之寄居所在國..."
"of the land to which you've been removed," he advised, "適應其體制與道德規範"
"but hold fast to the religion of your fathers." "不過，也要牢記父輩的信仰！"
To his friend, Gotthold Lessing, 對於孟德爾松的好友Gotthold Lessing來說
Moses Mendelssohn was simply "ein Mensch", a man, 摩西.孟德爾松--- 只是友人之一
but growing fame as scholar and philosopher made him a prize 然而，孟德爾松作為學者與哲學家在學界聲名日隆
for those who believed intellectual enlightenment was simply 對於篤信啟蒙運動的人來說，這無疑是活生生的明證，
the first step towards the ultimate enlightenment of Christianity. 證明了知識啟蒙只是起步，接下去必將走向最終的基督教信仰啟蒙
Swiss theologian Johann Kaspar Lavater 瑞士神學家Johann Kaspar Lavater
publicly challenged Mendelssohn, 曾經公開質疑孟德爾松
"To do what wisdom, the love of truth and honesty must bid him." 謂之:"要做個有識之士，那就只能在真理與正直(的宗教信仰)之間做出讓步" #
In other words, to convert to Christianity. 換句話說:"你孟德爾松願意改宗基督教嗎？"
But Mendelssohn replied, 然而孟德爾松答曰:
"I declare myself a Jew, I shall always be a Jew." "吾生為猶太人，死亦猶太魂！"
The prophet of the Jewish Enlightenment died in 1786. 孟德爾松，這位猶太啟蒙運動的先行者，卒于1786年
For Mendelssohn's children and grandchildren, 對於他的子子孫孫們
things would be very different. 情況就大不相同了。
In 1789, revolution came to France 1789年，法國爆發革命
and, soon after, revolutionary armies began marching through Europe 繼而席捲整個歐洲
tearing down ghetto walls 革命者們高舉"自由平等博愛"的旗幟
in the name of "liberte, egalite and fraternite". 推倒了各地的隔都之牆
It was assumed that the Jews would happily shrug off 想來(在這種氛圍之下)猶太人必定會很樂意
their separate identity 籍此擺脫這一身與眾不同的"猶籍"
in exchange for something they'd never enjoyed before - 換取他們從未享受過的
equal citizenship. 平等公民權利
Some did, some didn't, 然而，只是部分猶太人這麼做了...
but when the Emperor Napoleon was finally defeated, 等到拿破崙下臺 [配合畫面 請wiki拿破崙與猶太人]
it was assumed, just as mistakenly, 所有人都認為，也是錯誤的認為:
that every Jew must have been a dangerous Bonapartist. 每個猶太人都是危險的波拿巴主義者
So those new-won liberties were constantly threatened, 所以這些新出現的"自由人"們，生活總是受到不斷的威脅
pushed back, reversed. 被迫退回原來的生活狀況 等於一夜回到解放前...
For Moses Mendelssohn's children, the road to Jewish emancipation 對於孟德爾松的子孫們來說，通向本族解放的道路
now seemed clogged with barriers. 如今看起來(更加)荊棘密佈.
Now they had to prove that a Jew could also be a good German. 因為現在他們還得向周遭證明，猶太人也可以做個德國良民
One of Moses's children, Abraham, was a banker. 孟德爾松的後代之一，亞伯拉罕是個銀行家
He and his wife, Lea, 他和妻子Lea
threw themselves headlong into German culture. 為了能全力融入德國文化
Judaism took a back seat. 甚至於將猶太教都晾在一旁
And their road into German acceptance would be through music. 他們將通過音樂融入德國社會
Their children, Felix and Fanny, both became prodigies. 他們膝下一雙兒女，Felix和Fanny都長成了神童 [Felix就是我們熟知的德國作曲家孟德爾松.背景是他多部《F小調絃樂四重奏》之一]
'Music critic Norman Lebrecht is in no doubt 他們不世出的音樂天份，
'about their formidable talent.' 令樂評家Norman Lebrecht讚賞有加
They both have a prodigious gift. Norman Lebrecht:"這倆孩子都極有天份"
At the age of ten, "才10歲..."
Mendelssohn was writing music "...的孟德爾松就已經在創作自己的音樂作品"
that was far in advance "品質之上乘..."
of anything that had been seen... "可以說傲視同儕..."
Of anything that Mozart was doing at that age. "(甚至)比莫札特在這年紀的時候還棒"
This boy was an absolute whizz! "這男孩可以說是徹頭徹尾的音樂牛人！"
He's the grandson of the great philosopher, Moses Mendelssohn, "他是大哲摩西孟德爾松的孫子，"
the first who actually creates a dialogue between Jews and Christians "他祖父啟動了思想上的破冰之旅，"
in Western Europe, who marks the beginning of the thaw, "首開了西歐猶太人與基督徒之間的對話，"
and now, suddenly, his grandson is the new Mozart. "如今他家的孫輩裡又出了一個莫札特式的神童，"
So there are huge hopes for him, "可想而知(在小孟德爾松身上)寄託的期望有多高"
and now suddenly people are talking and recognising that Jews make music. "幾乎一夜之間所有人都開始談論他的音樂，對猶太人也能創作(偉大的)音樂作品再無異議"
He becomes the favourite composer of the establishment. 小孟德爾松成為主流音樂界的當紅作曲家
In England, he becomes close, very close, personally, 在(同時代的)英格蘭，他還成為(時任)維多利亞女王 [即現任女王的曾曾祖母.維多利亞時代和日不落帝國的象徵.]
to Queen Victoria and Prince Albert. 與其夫阿爾伯特親王的密友
And Prince Albert? Yes. "是嗎？阿爾伯特親王的密友？！" "是啊！"
'The Queen's diary entry on first meeting him was, (維多利亞)女王私人日記上關於小孟德爾松的首次覲見 如此記載道:
'"He is short, dark and Jewish-looking." "他(孟德爾松)個子不高，深膚色，一看就是個猶太人"
'But appearances were deceptive - in fact, Felix was a Christian. 不過外表並不能說明什麼，實際上，小孟德爾松是個基督徒！
'When he was just seven years old, 他7歲的時候，
'his father, Abraham, had had him baptised, 他爹亞伯拉罕.孟德爾松就未雨綢繆，
'hoping to ensure his future prospects. 讓他受過洗了
'But perhaps Felix Mendelssohn's conversion was never complete. 只是小F.孟德爾松也許從未全心皈依基督...
[背景:小門作品 辨識度極高的e小調小提琴協奏曲第一樂章]
This is a composer who is living in the age of Romantic nationalism, "作為一個作曲家，小孟德爾松生活在浪漫民族主義的年代" [比如名畫Liberty Leading the People就是浪漫民族主義的代表]
where everybody is looking for a label "每個人都在尋找屬於自己的'標籤'"
and everybody is keen on identity. "每個人都'執迷'於自己的身份辨識"
Mendelssohn never refers to his Jewish background. "小孟德爾松則從不主動提及自己的猶太背景"
Mendelssohn is in denial. "這是一種自我否定" #
But, when it comes to his most famous work... "不過，只要一提到他最著名的作品..."
..there is a Jewish imprint on it. "(作品上的)猶太印記基本是呼之欲出的"
Take a look at the Violin Concerto In E Minor... Yeah. "我們來看看E小調小提琴協奏曲..." "是的..."
..and tell me why that is not a Jewish work. "任誰都能一下聽出來這是猶太人的作品"
It's exploding, it's coming... "你聽聽這噴薄的旋律..."
It is coming out of...out of the composer and out of the violin. "(就像)從作曲家的筆下迸射出來一樣，(好像)從琴弦間飛流直下一般"
It can't... It's an unstoppable force. "這種音樂的力量...你簡直...不能直視！"
It's so over-the-top. "猶如淩雲絕頂一般..."
it speaks of suppressed emotions and suppressed ideas, "從中可以清晰感覺到桎梏中的情感與理念..."
and...and a suppressed society "桎梏中的猶太社會..."
and a suppressed identity, in Mendelssohn's case. "還有小孟德爾松那桎梏中的猶太意識"
When it actually comes to the performance, "實際上小孟德爾松無法親自指揮"
Mendelssohn can't conduct it. "演奏自己的作品"
He goes into a hissy fit - he's not feeling well. "每逢此時他都暴躁不已，感覺極壞"
He leaves it to someone else. That's so Jewish! "他只能讓別人去指揮自己的作品" "這是非常典型的猶太性格"
He sort of says... Exactly. "他總是託辭:" "毫無疑問的猶太人臨場表現"
.."I've got a headache." Exactly. "比如我頭疼腦熱啦..." "沒錯沒錯...呵呵..."
"My arm won't move!" "I can't do it. I can't, "比如我我手好酸啊..."
"can't do it - it's too personal, it's too close to me." "小孟德爾松就是辦不到(指揮自己的作品)...因為這樣的作品個人了"
So did success require a baptismal sprinkle? 那麼...像小孟德爾松這樣的(猶太人)成功案例是否都需要用皈依基督教(的做法)來"貼金"呢？
The story of another Berlin family suggests not. 另一個柏林猶太家庭的例子告訴我們並非如此
The Beers were just as self-confident and ambitious Beers家族與前例的門家
as the Mendelssohns, 一樣自信且胸懷大志不遑多讓
but they wouldn't abandon Judaism to make it in German culture, 雖然身處日爾曼文化包圍中，他們依託現代世界來實現自己的志向
instead, they would bring it into the modern world. 而不是走改宗之路
Judah Beer had made his fortune in the sugar business. Judah Beer靠白糖生意發家 [全名Judah Herz Beer]
But it was the voluptuous, raven-haired Amalia 不過他老婆--頭髮烏黑，體態豐腴的Amalia [Amalia (Mulka) Wulff (1767–1854) 也是富家小姐]
who ruled the clan. 才是家族的實際領導
Her childhood name, after all, had been "Mulka", the queen, Amalia小名"Mulka",(希伯來語即女王)---
and her pedigree was as close to royalty 出身猶太名門望族，
as you could get among the Jews - 基本可以說是猶太社團裡的"皇族"
learned rabbis and bankers. 她娘家一脈裡面，飽學的拉比和富有的銀行家比比皆是
Queen Amalia stayed true to both by being socially dazzling "Amalia女王"則是精神與物質建設兩不誤。 她對外是社交名媛，精通世故
and resolutely religious. 對內也能時時自省，篤信本宗
She opened the doors of her elegant salon at Villa Beer 她家的大宅門裡設有高檔沙龍，
to the cream of Berlin society - 對所有柏林有識之士和精英階層都大門敞開
scientists and poets who vied with each other 科學家和詩人們在這裡明爭暗鬥
for the privilege of sipping chocolate 為的只是一嘗香茗，
and polishing their witticisms in her regal presence. 或者是在儀態萬方的女主面前爭相抖機靈
And at the same time, she and her husband led a campaign 同時，她和夫君還帶領
among German Jews for a modern, enlightened brand of Judaism. 在德猶太人展開運動，宣導猶太教的啟蒙與現代化
Leading by example, they built a synagogue inside their own home, 他們更以身作則，在自己的豪宅裡建了一座猶太教堂
with services held in German as well as Hebrew 不但用雙語佈道(希伯萊語和德語)
and, shock, an organ... 而且，信不信由你，還有管風琴
..a choir! 與唱詩班伴奏
CHORAL MUSIC AND CHOIR SINGING
We all think of Jews and music in the same sentence, 我們總以為音樂是猶太人生活的一部分
but even though music did become the royal road for Jews 儘管音樂已經成為猶太人
into the heart of German culture, it was a little surprising. 打入日爾曼主流社會的敲門磚。 但是，頗有些令人吃驚的是 對猶太人來說，
Singing, much less instrumental music, was really not 聲樂畢竟不是(他們所精於的)器樂
part of the world of the community or the synagogue, 不過是猶太社區還是猶太教堂，(對聲樂)都無法信手拈來
but upwardly mobile Jews took to music like ducks to water. 不過對於總是力爭上游，機敏求變的猶太人來說， 在音樂這條道上，簡直如魚得水。
So music was always going to be very important 因此音樂向來是猶太人上升階梯的極重要的一環
to an ambitious family like the Beers. 比如胸懷大志的Beer一家就是這麼做的。
If the first generation was all about the raw power of money, 先輩們為打基業不得不埋頭賺錢 原始積累
for the second, what was crucial was the display of cultural refinement 而富二代們則必須飽讀詩書，文化精讀， [所謂倉廩實而知禮節]
in an elegant salon like this. 比如Beer家的高檔會所功能即在於此。
And the third generation was always 那麼富3代呢，
going to be about cultural performance. 就必須完全洗淨銅臭，精通琴棋書畫，做個真13 而不是裝13
And there was no performer more dazzling than the nine-year-old son 在這方面，Amalia夫妻倆那個9歲的兒子
of Judah and Amalia Beer, little Jacob, who at that tender age 黃口小兒Jacob,可謂13格爆表
managed to pull off such a sensational performance 他居然能演奏莫札特的D小調鋼琴協奏曲
of Mozart's D minor Piano Concerto, 水準之高，技藝之精
that it wowed Jews and Gentiles alike. 在當時的猶太與猶太以外社會都造成轟動。
Now, that little boy was going to grow up to be Giacomo Meyerbeer. 小Jacob後來大名Giacomo Meyerbeer [德系大歌劇早期的領軍人物.創作多部大歌劇。 提攜過瓦格納.可以說他給法國大歌劇最終定了型。大歌劇一般4幕或者5幕.比如《阿依達》.]
And this is Giacomo's travelling piano. 我身後這台就是他隨身的鋼琴。
He was not only the man who was going to reinvent Giacomo Meyerbeer可以說是重新創造定義
the entire form of opera, 了歌劇這一藝術形式。
he would also become an international superstar, 他還是當時的國際巨星
a celebrity. 絕對的名人。
And for such a superstar, 對於這樣一位巨星來說
it was always going to be a case of, "Have piano, will travel". 生活裡滿滿都是"彈琴 作曲 在路上"
And so, Jacob travelled. 而且Jacob確實總是在路上
In 1816, he left Berlin for Italy to study opera, 1816年，他離開柏林前往義大利(深造)學習歌劇
and it was there he changed his first name to Giacomo. 在義大利，他改名為Giacomo [名Giacomo的義大利名人不少]
'But while he Italianised at one end, he Judaised at the other, 他雖然在名字上極端粉義大利，卻忠實的保留了自己的猶太姓氏
'adding his grandfather's first name, Meyer, to his surname, 而且還在其中加入爺爺的名字 "Meyer"來強化之
'emerging as Giacomo Meyerbeer. 最後，他全名 Giacomo Meyerbeer
'He could have returned to Berlin and made a musical career there. 義大利學成之後，他原可返回柏林繼續開創自己的音樂道路
'But if you wanted to make it big time, 不過呢，當時，搞歌劇的要想搞大
'there was only one place for that... 就只有一個地方可去
'..Paris.' ---巴黎！
1831 - they are packing them through the turnstiles 1831年的某一晚，巴黎歌劇院門前
here in the Paris Opera House. 烏泱泱的擠滿了入場的觀眾
And what are they coming to see? They are coming to see 今天有新劇碼演出----
an opera called Robert The Devil, 一部歌劇，名為《惡魔羅勃》 [Giacomo Meyerbeer的成名作。可以說是當年法式大歌劇的樣板戲.後來者比如《阿依達》和《卡門》]
by somebody called Meyerbeer, but his first name is Giacomo. 當時大家只知道這個劇作者姓Meyerbeer。名為Giacomo.
Well, does he think he's Rossini or something? 聽著有點怪，(意式的名字)莫非此人以為自己是羅西尼還是咋地?
He's a Jew, we know he's no Donizetti, no Rossini, no Bellini. 啊，不不，這人是猶太人，不是多尼采蒂，或者羅西尼，或者貝利尼那樣的大拿... [Bellini 即Vincenzo Bellini]
So what's he doing with this Robert The Devil thing? 哦，那這人拿這出名字怪怪的歌劇來現世不成?
Answer - medieval Renaissance extravaganza. 告訴你吧...這劇充滿中世紀風格；文藝復興元素； 還有鋪張華麗的舞臺娛樂表演...
Orgiastic nuns rising from the tomb 你看舞臺上: 墳地裡冒出來一票死鬼修女群魔亂舞...
to do "ooh-er" things with their shrouds. (修女)身上的裹屍布各種淩亂，嘴裡各種鬼語森森...
A tormented hero on the rim of hell, and rather liking it. 糾結的英雄徘徊在地獄邊緣，帶著一臉的痛並快樂... [請自搜《惡魔羅勃》的劇情]
OPERA PLAYS - "Robert The Devil" 畫面和音樂來自歌劇《惡魔羅勃》
It's Les Mis in chain mail. (你看)這根本就是重口版的《悲慘世界》...
It's spectacle, it's colossal production numbers, ...光怪陸離的舞美設計...這浩大的集體歌舞...
it's tonic for the turnstiles. 觀眾震驚了， 票房也打了雞血！
And it seems to presage an entirely new phase in the history of opera. 似乎也預告了歌劇史上的一個全新階段的來臨
This is, in every sense, grand opera, big opera. 不管從哪方面說，這都是大歌劇的典型
No, it is not Mozart, it is not Beethoven. 比諸莫札特和貝多芬(的歌劇)都大為不同...
HE LAUGHS
But if you think of it in terms of fantastic entertainment, 不過你要是把這劇當作純娛樂大戲
taking all those things which got the voltage whirring 那裡面各種"驚世駭俗"的舞臺設計與表演風格
and stirring in the minds of people in the 1830s - 也足夠震撼1830年代的觀眾
ruins, the Christian soul, heaven and hell - 還有臺上的各種佈景設計:廢墟；天堂；地獄；靈魂...如此種種
then this was absolutely perfect. 都可以說得上是完美之作
The public, Paris, all of Europe 1831年首演之後，公眾；整個巴黎和全歐
could not get enough of Giacomo Meyerbeer. 都掀起Meyerbeer熱
From now on, in opera, he was the man. 他成了歌劇界的龍頭老大
OPERATIC SINGING
But despite his international fame, and despite his appointment 然而，儘管Meyerbeer享譽國際，
as musical director to the Prussian Court, Meyerbeer discovered 普魯士宮廷還任命其為音樂總監...但是他發現
there were still some places where the "King of Opera" still smelled 並非他所到之處皆鮮花掌聲...總有些地方有些人
a bit too much of chicken soup to be asked to the tables of society. 對他這位"歌劇之王"很有些"敬而遠之"的意思
As he noted in his diaries in 1847, "It's the same old story. 正如他1847年在日記寫道：
"The ambassador held a dinner tonight, "有些事情永遠是老樣子...比如普魯士大使今夜的晚宴"
"and invited all the Prussians, but not me." "所有旅法的普魯士人應邀出席....卻偏'忘了'我..."
Successful Jews had to deal with snubs of this kind all the time. 不管成就多高，猶太成功人士總難免
However high they climbed, there were always those 遇到這類怠慢(玻璃天花板).
who thought they could see the gabardine inside the frock coat. 不管他們成就多高 總有那麼一幫人覺得猶太人非我族類其心必異
But, for Meyerbeer, there was something much more menacing 對Meyerbeer來說，外界的威脅繁多
than a dinner invitation that never came. 相比之下，這類可望不可及的晚宴請柬那都不叫事兒
In 1850, 1850年
when Meyerbeer was very much still king of the opera in Paris, Meyerbeer在歌劇界依舊灼手可熱之際
an essay of extraordinary violence appeared, 巴黎某報刊出文章不點名的
which, although it didn't personally name him, 大肆攻擊Meyerbeer
made it very clear that he indeed was the target. 其內容指向明確，明眼人一看就知道目標是誰
And the reason was there in its title, 該文起因在標題中可以看出---
because it was called Das Judenthum In Der Musik, Jewishness In Music. 《音樂界的猶太性》
And what that Jewishness was, 那麼，這"猶太性"指的是什麼？
according to its particularly hostile author, 好吧，根據其作者敵意滿滿的筆觸所言:
was the corruption of high art by sordid commercial popularity. 就是說"猶太銅臭正在玷污高雅藝術並將其低俗化"--- 比如音樂---比如歌劇
That author was Richard Wagner. 這位作者大名: 理查.瓦格納
What made his onslaught on Meyerbeer and the other Jews in music 瓦格納對Meyerbeer和其他猶太音樂人
so ferocious and almost psychotic 之所以發動近乎病態的瘋狂攻擊
was that Meyerbeer had been Wagner's patron. 原因很簡單: Meyerbeer曾是瓦格納的資助人
He was biting the hand that fed him. 瓦格納正在以怨報德
Ten years before Das Judenthum In Der Musik appeared, 早在瓦格納這篇反猶大作發表之前10年
it was Meyerbeer who read Wagner's early opera Rienzi, Meyerbeer曾讀到瓦格納的早期歌劇《Rienzi》劇本(並頗為讚賞) [請自搜瓦格納.我只看過他兩部且完全無法理解.故此不多注釋]
Meyerbeer who had written a letter of recommendation, 他隨後寫信(向業界)推薦此劇
Meyerbeer who had enabled the opera to be performed 並推動此劇得以在
both in Paris and back in Germany. 巴黎和德國上演
And at that time, Wagner could not possibly have been more obsequious. 彼時的瓦格納對此提攜表現得感激涕零，幾欲跪舔
"I must work so I will be worthy of you," (來看)當時瓦格納給Meyerbeer的信，其中落筆已近肉麻:
Wagner wrote cringingly to Meyerbeer. "...願躬耕以報知遇之恩..."
"I am your property," he even said. 甚至還有:"...恩同再造..."這類字眼
Ten years on, when he had a little fame and just a little money, 然後，十年之後， 豎子成名之際
Wagner was already thinking, as is clear, in a very different way. 瓦格納心裡卻很明顯的開始打起了小99
"The Jew speaks the language of a nation in whose midst he dwells, 以下摘自瓦格納《論音樂界的猶太性Jewishness In Music》 "猶太人雖然住在德國，說著德語(看著好像融入當地)"
"but he speaks always as an alien. "但他們根本是身在曹營心在漢"
"The Jew has stood outside the pale of any such community, "他們的社區總是孤立在外，與任何當地族群都格格不入..."
"stood solitary with his Jehovah, in a splintered, soil-less stock. "他們膜拜的主也大異于常人，聽起來虛無縹緲且華而不實"
"In his art, "至於藝術嘛..."
"the Jew truly cannot make a poem of his words, "猶太人嘴裡吐不出象牙..."
"an artwork of his doings." "他們的作品也談不上什麼藝術性..."
At this point, for him, 站在瓦格納的這種觀點上來說，
art was all about the spiritual depth of nationhood. 藝術，就得根植於國家意識和民族精神
It was about tribe, about race, 這裡包含自身的部族，人種與種族
about myth, about blood, 包含了本族神話，本族血脈；
about territory, about soil. 還涉及領土與地域...
And how could the Jews know anything about that? 而猶太人，他們哪懂這些？！
They who were wanderers, they who had no country. 他們根本就是一幫亡國遊民！
Wagner's poisonous tract sounded an ominous note 瓦格納的荼毒言論，在冥冥中投下不祥的陰雲
for the fate of the great Enlightenment hope 偉大啟蒙運動中激起的
of toleration and sweet reason. 對於寬容與理性的期盼---必將再度無果 # [這裡的sweet無解.]
That has always been an urban hope, 普羅(猶太)大眾心裡一直都希望
the place where ancient suspicions would melt into city life. 那些陳年舊事與無端猜忌能消融於都市生活的柴米油鹽之中
Metropolitan Jews now dressed like everyone else, 市鎮生活裡的猶太人如今早已不再奇裝異服
shopped like everyone else, 與常人一樣購物消費
applauded in the concert halls with everyone else. 與常人一樣娛樂休閒
The promise had been realised. 長久以來的企盼似已經成真.
But then, with Wagner providing the seductive mood music, 然而，半路殺出的瓦格納(們)改變了基調
German culture took an unexpected turn away from that urban future, 日爾曼文化開始意外折返，遠離大眾期望，
back towards the dark shadows 轉身再度沒入往昔那種神秘重口的
of a mythical Christian Teutonic past where Jews had no place. 基督教至上的條頓民族主義陰影之中. 在這片暗影之下 猶太人毫無立錐之地！
'There are always going to be those who fear the future. (猶太人中間)總有人對於未來憂心忡忡
'The more the Jews became identified with that future, 因為猶太人越來越多的寄望于未來，寄望於不斷的融入寄居國
'the more danger they would run if its progress stalled.' 一旦這種融入的進程受阻，猶太人投入的期望落空風險也越大。 屆時一夜回到解放前的危險值也越高
You can see what fed the paranoia. 遺憾的是，造成此類憂慮妄想的因素的確是源源不絕---
German Jews had made the greatest leap 比如德國猶太人 他們在現代史上的取得的進步
that any minority has experienced in modern history. 在全德少數族裔中堪稱第一，
By 1870, Berlin, home to a mere 3,000 Jews 摩西.孟德爾松時代的柏林只有的3000猶太人口
in Moses Mendelssohn's time, 到了1870年
now had 36,000 Jewish citizens. 猶太公民的人數已漲至36000
An educational revolution was under way - 猶太人在教育上的革新得到穩步前進
Mendelssohn's dream realised more completely 其成果之顯著已經
than he could ever have imagined. 遠超摩西.孟德爾松的設想
Jewish children were four times more likely 猶太孩子上高中的比率
to go to high school than Gentiles. 四倍於非猶太族裔
And those children would go on 而這些受過高等教育的猶太孩子
to become captains of the new industries - 將成為新興工業化時代各行業的翹楚
shipping, chemicals, electricity, 比如航運，化工，電氣，
mass-circulation newspapers and publishing - 大發行量報刊雜誌與出版業；
and masters of the professions - law, medicine and science. 還有法律，醫學以及此類各門專業性極強的學科。
They had good reason to believe 他們有充分理由相信
that the prejudice against them was a dying vestige of the past. 那些針對猶太人的偏見早已漸行漸遠
They were patriots, (因為)他們都是愛國者
their destinies closely entwined with the destiny of the new Germany. 相信自己的命運與這一個新崛起的德國早已密不可分。
And they expressed their confidence the way Jews always did... 基於這種思想，他們信心滿滿， 並用一種猶太人固有的方式來表達出來：
..by building a synagogue. 修建新的猶太教堂---
A really big synagogue! 一個宏偉的大教堂
3,000 could get inside this one on the Oranienburger Strasse, 座落在柏林Oranienburger大街的這座新大教堂，
the New Synagogue, 一次可容納3000人
but it was a big synagogue for a big year 不過這教堂可以說生正逢時
in German and Jewish history, 1866. 因為1866年在德國與猶太歷史上都是個好年頭
Just three months before this gorgeous monster opened, 眼前這座輝煌大教堂啟用之前3個月
the Prussians had defeated the Austrians 普魯士擊敗奧地利
to ensure that the drive for German unification 最終確定了將由普魯士人來執掌
was now going to be led by Prussia. 統一全德的進程
And from Berlin, 而指揮中心---就在柏林
from what had already become a city 那時的柏林已經成為現代都市
in which the Jews had an immense part to play. 而市內的猶太民眾也成為助推(統一全德)的重要角色
So it was natural then 教堂啟用典禮上，與一眾猶太頭面人物
that Otto von Bismarck himself, the Chancellor, 共同出席的，還有首相俾斯麥本人
who had managed to win the war through the help of money 正是借助於其私人財庫---猶太大銀行家 Gerson Bleichroder的貸款
loaned from his personal banker, the Jew Gerson Bleichroder, 俾斯麥才得以為普魯士贏得此役！
was actually here in attendance with all the Jewish good and the great. 因此他親臨(教堂啟用典禮)現場亦是情理之中。
So those two big moments, 於是我們看到，在1866年九月
those two histories converged 這場聖典之中，兩大時刻與
at the inauguration of the New Synagogue 兩股歷史在新落成的猶太大教堂內
in September 1866. 彙集於一處！
The new Germany had taken a bet on the loyalty of the Jews, 一方面，新興的德國試水接納了猶太人的誠意
and the Jews had certainly thrown their lot with German power. 另一方面，猶太人也願與新起的強勢德國共濟一舟
It was a marriage that seemed to be made in heaven, 看似天作之合...
between modernising Jewish history 逐步現代化的猶太民族
and the power of the new Germany. 與強力崛起中的德國攜手共進
Not a cloud on the horizon, 前途(貌似)一片光明...
not yet, anyway. 反正彼時的形勢一片大好...
And in France, the story was the same. 再來看當時的法國，(猶太人處境)同樣的歌舞昇平
Only a dyed-in-the-wool Jewish pessimist 當時的法國猶太人裡，只有死腦筋的悲觀主義者
could have worried about cloudy skies here. 才會唱衰
Like their German cousins, 與他們的在德同胞一樣
French Jews had made a place for themselves 法國猶太人立足於
at the heart of urban prosperity. 繁華都市的核心
And most successful were the Rothschilds, 其中最負盛名就有羅斯柴爾德家族
the Paris branch of a dynasty 這是羅斯柴爾德"王朝"的巴黎分支
that had begun in the Frankfurt ghetto. 此猶太巨擎起源於法蘭克福隔都
I wonder how many of the commuters 每天進出巴黎北站的通勤族
who come and go every day here in the Gare du Nord 有幾個能知道這一世界知名車站
know that it was a project of the French Rothschild family. 只是羅斯柴爾德家搞定的項目之一！ [加字翻譯.個人覺得作者本意如此.羅家的確傑作遍佈.]
We usually think of the Rothschilds as masters of international finance, 通常認為羅斯柴爾德家 精于國際金融
supporting government debts and sometimes wars. 他們財力雄厚，常運作的是對某國政府貸款，有時甚至是戰爭貸款
But, especially here in France, 不過在法國
there was a strongly practical side to their enterprises too. 我們能看到此間羅家財團獨有的鮮明特色
Baron James, the great patriarch of the French Rothschilds, 法國羅家的族長---JAMES男爵 [James Mayer de Rothschild]
thought of himself above all as a patriotic Frenchman, 把愛國看得比啥都重要
invested, in both the emotional and the financial sense, 當時的法國，為了與英德諸強齊頭並進
in the modernisation of classical France 正由傳統向工業化轉變，在這一現代化進程中，
into an industrial superpower that could compete on equal terms James男爵大筆投入的不僅是資金，
with Britain and Germany. 還有他的情感
So railways were very important to him. 鐵路，正是其中的大手筆之作
This station connected the other industrial pulses 巴黎北站聯接的是北歐的
of northern Europe, 各個工業樞紐
particularly Belgium and Germany. 尤其是比利時與德國。
Now, the Rothschilds were not in this for charity. 當然，羅斯柴爾德家也不是幹慈善的
They made a packet of money out of the railways, 他們在鐵路項目中也賺翻了。
and that opened them to a certain amount of resentment and envy. 隨之而來的，是各種羡慕嫉妒 與 恨 ！
But one has to say about France, 不過我們也看到，彼時的法國
the tide of anti-Semitism hadn't yet crashed on the Rothschilds 反猶浪潮尚未觸及
and the other great Jewish families. 羅家與其他各大猶太家族
Really, in the middle of 19th century, 說真的，19世紀中葉
they were embedded in the project to modernise France. 法國猶太人確與法國攜手走向現代化
They were as strong as one of Baron James's iron rails. 他們在法國的強勢，也一如JAMES男爵的鐵軌一般。
'The Rothschilds could afford to ignore anti-Semitic growling. 同時，羅家也富到了足以無視反猶聲浪
'They moved into an urban palace on the Rue de Monceau 他們搬入位於蒙梭街的豪華宅邸
'and filled it with great art. 往裡面堆滿了各種高端藝術品
'And where the Rothschilds went, other wealthy Jews followed. 其他各大猶太家族也尾隨而來
'Among those Monceau families was a great Sephardi dynasty, 在這些蒙梭街猶太富豪中，有源自西班牙系猶太人的
'the Camondos. Camondos家族 [wiki詞條"House of Camondo"]
'They had come all the way from Istanbul, 他們的祖上原先寄居在土耳其伊斯坦布爾
'where the patriarch, Abraham, had created a banking fortune. 族長Abraham Salomon Camondo在奧斯曼帝國內 開創了自己的銀行事業並大富大貴
'They spoke Judaeo-Spanish at home, 他們在家說的還是Judaeo-Spanish語 [拉迪諾語 即西班牙猶太人使用的語言 地位類似意第緒語]
'but Abraham's grandsons, Nissim and Abraham Junior, 不過族長的孫子 Nissim和Abraham Junior
'had been educated in French 受的是法語教育 [該家族後來已經發展到法國]
'and were drawn irresistibly to French culture. 在思想等各方面都更親法
'So they moved their bank and its fortune to Paris, 因此他們將整套事業都移至巴黎
'and their splendour to the Rue de Monceau. 各種炫目的財富也都搬進了蒙梭街
'There, they went completely native. 在此，他們變成了地道的法國人
'Their Monceau mansion owed nothing 蒙梭街的Camondos豪宅裡看不出
'to the rich culture of Ottoman Turkey - 半點奧斯曼土耳其的影子
'not a Turkish rug in sight. 甚至連塊土耳其地毯都找不到
'The Camondos had committed themselves heart and soul Camondos家族從頭到腳
'to being French. 都法國化了
'They took the Declaration Of The Rights Of Man at face value, 他們還從字面上堅信《人權宣言》
'and assumed it included their rights too.' 自以為本族的權利也理所應當的包含在內
It looks here, doesn't it, as though they have been here for generations, 看看這一切... 好似他們已經在法國根植數代
urban aristocrats in Paris, 根本就是巴黎的城市上流對吧？
but in fact, the Camondos were Johnny-come-latelys. 可是，事實上Camondos家族
They only came here in 1869. 不過是1869年才遷入法國的新移民
But in some sense, the family always felt they belonged to France. 只是從某些方面來說，該家族一直覺得他們(早已)屬於法蘭西
It's been said of them that they thought of France 有種說法認為他們家將法國
as their Promised Land, 視為自己的"應許之地"
and Paris as their Jerusalem. And there was a good reason for this. 巴黎就是他們眼中的耶路撒冷。而且他們有充分理由這麼想
They saw in France a place, after all, 他們眼中的法國，畢竟是
where Jews had been emancipated for the first time in Europe, 彼時歐陸首個猶太人得解放之地， 他們不再受（法律、政治或社會的）的各種歧視與無理束縛
a place where Jews could prosper and thrive 在法國， 猶太人可以躋身上流社會
at the heart of high society. 進入核心精英圈子
And once they did come here in the 1870s, they built themselves, 因此，1870年Camondos家族剛入境法國
along with all the other great Jewish families 就尾隨其他猶太豪門
on this street in the Rue de Monceau, 落戶于蒙梭街這個奢華精緻的
a place of sumptuous refinement. 猶太富豪社區
They began to collect the furniture, 除了各種豪華裝修
they began to become great connoisseurs of fine art. 他們還成為高端藝術鑒賞大家
And the hope was that they'd somehow settle into this world 在他們的願景中，希望能以某種方式儘量自然的融入法國社會
as a natural piece of the period of the Belle Epoque. 仿佛他們本來就是Belle Epoque時代的一份子那樣 [Belle Epoque時代 法國近代史上一段經濟文藝繁榮期 一般認為 是1871年至1914年一戰前結束]
And to a large extent, they did, 當然，從某些方面來說他們的確做到了。
but in some ways also their timing was really awful, 不過從其他方面來說，他們來得非常不是時候
because it was exactly at the time when this house was going up, 當他們的豪宅落成之時
when they were filling it with their extraordinary artistic collection, 當他們忘我的往家裡堆砌各種高檔藝術品收藏的時候
that French nationalism was changing, 恰好是法國民族主義風向轉變之時。
from a broader, more cosmopolitan character, 往日的那種國際大都會海納百川的特點開始消逝
to something narrower, more strident and more visceral. 讓位於狹隘的，更尖刻，和更加內向性的民風
And to those who embodied this narrower, more tribal view 這種狹隘，部落式的民族眼光 以及它所引導 的所謂"真正法國人"的理論 開始逐漸被大眾接納
of what it meant to be French, 那麼在這些人的眼裡
the Camondos were not an admirable, Camondos家族這樣的無論如何都算不上
magnificent instance of everything that French culture could do. 正宗法國文化裡培養出來的可敬 大氣之人
They were simply Jews with a lot of money. 只是一群猶太土豪罷了...
Defeated nations are dangerous nations, 落敗民族危險性更大
prone to paranoia, 易於偏執妄想
and that's exactly what happened 不幸的是，當年事實的確如此
when France was defeated by Prussia in the war of 1870. 1870年法國在普法戰爭中敗北
The war was followed by a global stock market crash, 全球股市隨之崩盤
and the financial panic triggered an outbreak of anti-Semitism. 金融恐慌引爆了一輪反猶風潮
All the medieval cliches 各種關於猶太人的中世紀老梗開始沉渣泛起
about blood-sucking Jewish moneylenders resurfaced. 猶太人再次被描繪成放印子錢的吸血鬼
The witch's brew of modern anti-Semitism coagulated 現世反猶主義的溫床上滋生出各種惡毒言論
around the demonic figure of the Jewish banker, 對於那些被妖魔化的猶太銀行家群起攻之 [此處原英文字幕丟字]
undertaking machinations that might control the European economy. 說他們正在收緊魔爪，陰謀操控歐陸經濟神馬的...
Now, of course, 實際上呢，
there were, in fact, Quaker bankers, 當時的銀行家裡各種人都有，既有貴格教徒
Presbyterian bankers, 也有長老教派 [以上二者皆為基督教新教派或改良教派，都曾被迫害]
to say nothing of the Catholic bankers to His Holiness the Pope. 更遑論羅馬教宗座下的那些天主教銀行家們
But somehow, as global capitalism became wired 可是，全球資本主義早已在某種程度上
to speculative businesses like mining and railways, 開始互相勾連于投機生意，比如開礦和修鐵路
and the booms and busts of the world of finance became sharper, 在投機倒把中此起彼伏的世界金融業也開始變得面目可憎
those who were the victims of the crashes 在此中遭殃那些人
thought that their predicament had to have come about 認定自己的困境之"源"
because there were certain people in the financial world "必然"是金融業界的某些人一手造成
whose loyalty was to each other, 這些金融"惡棍"抱團結夥
rather than the nations in which they happened to reside. 對外則予取予求。對駐留國毫無感念
And who, I wonder, could those certain people be, except the Jews? 這些人到底是誰？ 哦...除了猶太人以外，還能是誰？！
'The term anti-Semitism itself was an attempt "反猶主義"這一詞條本身就在 [字面義為反閃族主義.]
'to make Jew hatred appear rational and even scientific. 試圖給"仇猶"披上理想甚至於科學的外衣
'Anti-Semites held that Jews were bound to each other, "反閃族"學說認為猶太人
'not by their adopted countries, "只重宗族血脈，對其寄居國則毫無感情"
'but what lay beneath their skin, 而常理來說，應該是生是一國人，死為一國鬼.
'their Jewish blood. 所以只要身上流的是"猶太血"，就不可能知道啥叫"愛國" [標準本末倒置理論.與某朝不謀而合]
'The runaway bestseller in late 19th-century France 19世紀末葉的法國有一部惡意值爆表的仇猶主題暢銷書
'was also the most vitriolic - 賣得幾乎洛陽紙貴
'Edouard Drumont's La France Juive, 名曰 《La France Juive》---作者Edouard Drumont
'Jewish France. 即 《猶太化的法蘭西》 《Jewish France》
'So when it was revealed in 1894 書中披露曾有法奸於1894年間
'that someone had been passing military secrets to the Germans, 向德寇出賣軍事機密
'that someone, of course, had to be a Jew. 經過"群眾""雪亮"的眼睛發現這法奸"果然"是個猶太人
'34-year-old army captain Alfred Dreyfus ---時年34歲的法軍上尉Alfred Dreyfus [請閱wiki的The Dreyfus affair]
'was a model of Jewish-French achievement. 此人算是法籍猶裔的成功代表
'His family had been pedlars in rural Alsace. 其祖上原為法國阿爾薩斯地區的鄉下走販
'Dreyfus had risen through the ranks of the French army, 而當時的法軍頗為獨特，允許猶太人位列軍官
'which, uniquely at that time, allowed Jews to serve as officers. 所以Dreyfus參軍後，能夠靠自身努力在軍內步步高升
'But his dreams of service and advancement were shattered 可惜，1894年他被指控向德國出賣軍情
'when he was accused of sending military secrets to the Germans. 導致他的前進夢想中途破滅，
'Dreyfus was a victim of convenience. 他是標準的替罪羊，所謂民意的受害者
'The handwriting evidence on which he was convicted was bogus, 軍事法庭據以判其有罪的那份手寫證據原系偽造
'the identity of the real traitor covered up. 另一方面，真叛徒倒是隱于幕後
'Dreyfus's public degradation, 獲罪之後，在巴黎的軍事學院內 [巴黎陸軍軍官學校？]
'which took place here at the military academy in Paris, 舉行的對Dryfus的公開降級處理
'brought to the surface anti-Jewish hatred, 根本就是一場反猶醜劇
'in speeches and in print, of the most primitive kind.' 涉及其中的言論與宣傳都表現的極為粗鄙
"His face is grey, flattened and base, "叛徒臉色灰暗，一副衰敗卑鄙之相"
"showing no sign of remorse, "且毫無悔過之意"
"a wreck from the ghetto." "典型的隔都長出來的廢材"
Parisians have always loved a good public spectacle - 巴黎人性好圍觀
ugly punishments as well as joyous moments. 不管遇到的是喜慶佳節還是醜陋刑罰都是趨之若鶩
So the humiliation of the Jewish officer 更不用說是一場針對猶太裔軍官的公開羞辱
was bound to be a crowd pleaser. 當時聞者簡直就是喜大普奔
Almost 20,000 people packed themselves into this great courtyard 到場群眾逾2萬，把此處(巴黎軍事學院的)大院堵了個瓷實
ready to shout, "Death to the Jew! 早上准9時，一臉慘相的Dreyfus
"Traitor! Judas!" 被押進大院
as the sorry figure of Dreyfus was marched in 圍觀群眾興奮的狂呼:
promptly at nine o'clock in the morning. "叛徒！猶大！猶太佬不得好死！"
He must have felt a terrible sense of turmoil. 可憐的Dreyfus，必須面對一陣一陣的恐怖喧囂
The Ecole Militaire, after all, Ecole Militaire根本就是 [Ecole Militaire 法國軍官學校]
was the place which stood most for the honour and glory 法軍的先賢堂
of France's military past, 軍界豐碑林立之地
the place which must have meant most to him in his life. 對於Dreyfus來說必定意味重大。
And here he was, right in the dead centre, 可是，此時此刻，他只能屈辱的孤立中庭
ready for this formal, ceremonious degradation. 準備接受對其降級的一系列顏面盡失的程式儀式，
At the critical point, he stood absolutely stock-still. 臨危之際，他表現得木訥僵硬
The commanding officer read out loud to him, 呆呆的面對指揮官大聲讀出的判詞:
"You are no longer worthy of bearing the arms of France." "你從此不再配持槍拱衛法蘭西"
And then the really tortuous stuff began. 而後開始的降級儀式過程才是真的難熬與亢長
His epaulettes and buttons were ripped from his uniform, 先是扯掉他制服上的肩章與紐扣
a sword which had been shaved through 而後一把佩劍
so that there would be no comical mishaps 被一名軍官當面折斷
was broken over the knee of the officer. 佩劍已經事先處理，以免發生(拗不斷)的笑場事件
There was the sorry figure at the centre of it all, 眾人目光焦點的那人---可憐的Dreyfus
and then he did something, maybe for the first time in his life, 此時不知怎地，有生以來也許首次
that broke the rules. 做出了破例之舉:
He was supposed to remain silent while the mob howled. 他本該默立接受群眾的"怒吼"
But Dreyfus did not. 然而，正相反的是
He said, "An innocent man is being degraded, Dreyfus抬頭說道:"今天，無辜之人慘遭降級"
"an innocent man is being dishonoured." "無辜之人受盡羞辱"
And then the most tragic things 而後，他口中喊出
that could have come out of his mouth, 兩句對他來說可悲至極的口號:
"Vive La France!" - long live France. "法蘭西萬歲！"
"Vive L'Armee!" - long live the army. "軍隊萬歲！"
And then he stepped over the debris 被押送離場之時，他跨過滿地的碎片--- ---那些被扯掉的肩章和破碎的佩劍
of what was not just his own personal career, 一同破碎的，既有他的職業生涯；
but the debris of a noble dream, 和他的遠大理想；
the possibility of being a patriotic citizen, 當場夢碎的，不僅是一個愛國公民Dreyfus；
Frenchman and a Jew. 而且是一個法國人Dreyfus和猶太人Dreyfus！
More was at stake than just Dreyfus's personal tragedy. 被這場鬧劇推上風口浪尖的不只是Dreyfus個人悲劇
Whether the Jew was a traitor or was the victim of atrocious prejudice 猶太人到底是惡毒偏見的犧牲品還是真叛徒
became the touchstone for the entire fate of democratic justice. 這一問題已經成為一塊試金石 從中可以窺見整個民主公正體系的命運走向
And there were other, equally troubling questions. 同時，還有其他同樣棘手的問題浮上檯面:
Not everybody in the crowd at the Ecole Militaire that January day 比如說，寒冷的一月那一天，軍官學校外的 那群圍觀者---
was baying for Dreyfus's blood. 並非人人皆欲致Dreyfus於死地
There were some among them 他們中不乏有人
who were acutely moved by his plight, his torment, 敏銳的察覺到Dreyfus的苦痛與困境 並為之深深觸動
and that was because they were themselves Jews. ----因為這些人自己也是猶太人
And one of those Jews was a young journalist from Vienna, 其中之一，是來自維也納的年輕記者
Theodor Herzl, acutely conscious 猶太人 Theodor Herzl, 他敏銳而清醒的意識到
that perhaps the assimilation route 也許當代歐洲的猶太人
of being a Jew in modern Europe was never going to work out. 同化之路根本就是死路一條
Something snapped in Herzl 就像那把啪嗒一聲斷在軍官膝上的佩劍一樣
as that sword was broken over the officer's knee. Herzl腦中也如當頭棒喝 恍然醒悟
Something which told Herzl there had to be another future, 他意識到現代世界的猶太人
another way for Jews to survive in the modern world. 生存之道與未來出路都只能是另有所指， 而不在此間(同化于寄居國)
Weeks after the degradation, 降級禮畢之後數周
Herzl left France and returned to Vienna, sunk into a deep pessimism. 離法返回維也納的Herzl，陷入深深的悲觀情緒之中
'As a boy, young Theodor Herzl had been taught to believe Theodor Herzl打小受教就接受了
'the axiom of the Jewish Enlightenment - 猶太啟蒙運動宣講的公理之一:
'that a wholehearted commitment to secular society 即 "只要猶太人全心歸化融入非猶的世俗社會中去"
'would sweep away all the old prejudices.' "那麼所有舊偏見都將一掃而空"
All his life, Herzl had abided by the conventions - Herzl成年至今都遵守約定
don't make too big a deal of your Jewishness, 以為只要不過分張揚自己的猶太背景
and Vienna will open its arms to you, 那麼維也納必對你張開雙臂
embrace you, give you a career or a reputation. 承認你，給予你職業與名位
In Herzl's case, that of a lawyer 比如Herzl當時就是個執業律師
who was also an aspiring author, a journalist, a playwright. 同時還是個業餘作家，記者和編劇
But now, in the middle of the 1890s, 然而，時至19世紀90年代中期
Vienna was becoming a very different place. 維也納開始變臉了
Anti-Semitism was a toxin at the centre of municipal politics. 反猶主義毒素從地方政治中心蔓延開來
The mayor, very popular Karl Lueger, 當紅市長Karl Lueger
was an intensely demagogic anti-Semite. 極力煽動反猶情緒
Vienna regularly sent anti-Semitic deputies to the parliament. 維也納還定期向議會派駐反猶代表
So Herzl was having a profound change of heart. 目睹此景的Herzl開始徹底的改變觀念
He was coming to the conclusion 他得出的結論是
that anti-Semitism could not be cured or defeated, 你根本無法擊敗或糾正反猶主義
you just had to get out of the way of it. 唯一出路就是躲得遠遠的。
And the problem for the Jews 而猶太人的問題根結
was that they were a nation without a home. 在於他們是無國之民
So, in 1895, he wrote his little book, 於是在1895年， 他寫了一本小冊子
a booklet, really, called Der Judenstaat - 名曰 《Der Judenstaat》
The Jewish State - and this is what he said in it. ---《猶太國家》 如下是他所陳述的觀點:
"We have sincerely tried everywhere "我們猶太人，不管寄居在哪一國"
"to merge with the nations in which we live, "一直都在全力嘗試融入當地民族"
"seeking just to preserve the faith, the religion, of our fathers. "與此同時，我們尋求的，只不過是保持祖先的信仰與宗教"
"But this has not been allowed to us. "然而，即便這樣基本的請求也從未被各國允許"
"It's been in vain that we've tried to enhance the fame "在藝術與科學上，不論我們如何嘗試為'國'爭光"
"of our countries in arts and sciences. "均於事無補"
"It's in vain that we've tried to increase "在商業與貿易領域，不論我們如何嘗試為'國'增財"
"its wealth by commerce and trade. "其結果也都是徒勞"
"We are still, in the place where we've lived for centuries, "即便寄居數百年之久"
"decried as aliens, and often by people who were not even here "我們仍被斥為異族， 我們的祖先數百年前在此地隱忍勞作之時"
"when the sighs of our fathers had been heard for centuries." "那些現在叫?者中，好多還不知道身在何處呢"
Now thus was born Zionism. 由此，猶太複國主義誕生了！
Now Zionism has become a heavily-loaded term, 如今，"猶太複國主義"一詞已經承載了太多太多東西
for some people even a tragically-loaded term, 對某些人來說，甚至意味著悲劇
but not for me. 不過對我而言不是
I'm a Zionist, I'm quite unapologetic about it, 好吧我是猶太複國主義者 對此我無需諱言，也問心無愧
because it comes down to this - 因為歸根結底來說
was Herzl, who had a sense of a catastrophic event 基於對未來浩劫的感知--- Herzl同志在這冊子裡，
just around the corner, telling the truth, or wasn't he, 講的是實話嗎？ 不是實話嗎？
about whether it was possible still 比如關於能否繼續做那個啟蒙運動的春秋大夢
to live the Enlightenment dream here in the German world? 繼續苟活在日爾曼的世界裡----
Of course he was. 當然他講的都是大實話！
With that knowledge, with that sense of the Jews having 基於這種知識 寄望於猶太人可以翻身做主不再仰人鼻息
never had the power of their own national home, 能夠在自己的國家裡行使自己的權利
how could you not be a Zionist? 看看這前景， 又有哪個猶太人讀後不會心嚮往之，成為猶太複國主義者呢？！
But not everyone was ready to give up on the Enlightenment dream. 不過並非人人都能棄舊夢不顧
Many still believed 許多人依然相信啟蒙運動的平權大夢
that anti-Semitism belonged to a rotten, decadent past, 認為反猶主義只屬於腐朽墮落的往昔
not to the future. 而不會有未來
And in the new, fearless modern world that was being created 在這個由音樂，藝術和建築所創造的
in music, art and architecture, Jews would march side by side 無畏而嶄新的世界裡，猶太人應該可以
with their brothers and sisters, in the cultural revolution. 各族攜手高歌猛進，走向文化革新
One of the most fearless modernists 其中最無畏的現代化者之一
was the Jewish-born Austrian composer and painter, 是奧地利猶太人，作曲家/畫家:
Arnold Schoenberg, 勳伯格 [二十世紀作曲家和音樂理論家] [背景是他的絃樂四重奏第二部]
who, in the early 20th century, changed the very nature of music. 二十世紀早期， 正是他對音樂進行了重大的 具有劃時代意義的改革
Working in Vienna and later Berlin, he abandoned tonality - 從維也納，到後來移至柏林 勳伯格將音樂創作中的調性---
the system of notes 也就是音符系統---
that had sustained Western music for 500 years. 這一支撐西方音樂500年的理論基礎 (從其作品中)棄之不用 [對音樂無知.翻譯存疑]
Schoenberg counted many non-Jewish thinkers and artists 在勳伯格的朋友中，有許多非猶太的思想家和藝術家
among his friends, among them, Wassily Kandinsky, 其中之一是 Wassily Kandinsky [瓦西裡·康丁斯基 俄國畫家與美術理論家]
who was also ripping up the rule book 康氏在他的領域內也對抽象藝術的各種規則
with his abstract art. 進行了大刀闊斧的改革
Like Felix Mendelssohn, Schoenberg had converted to Christianity, 與作曲家 F.孟德爾松一樣， 勳伯格也改宗基督教
hoping that it would immunise him 意在使自己免受
from the growing virus of anti-Semitism in Germany. 德國日漸洶湧的反猶浪潮衝擊
It didn't. 然而事與願違的是
Even the love between modernist comrades could be tainted. 即便是現代主義者之間的同志情誼也不能 倖免於時代污漬的沾染
In 1923, Schoenberg discovered that Kandinsky had been sounding off 1923年，勳伯格獲知其友康丁斯基
about the so-called "Jewish problem". 正在鼓吹所謂的"猶太問題"
Kandinsky hastened to assure Schoenberg 康丁斯基急忙對勳伯格辯清說
he didn't mean him - goodness, no! "不 不， 我不是在說你... 絕對不是..."
Schoenberg would be an exception, of course, to the Jewish question, "你是例外，你當然不在猶太問題之列..."
and Schoenberg said, "I do not want to be an exception," 勳伯格回應道: "不，我不想做例外"
and wrote a long, impassioned letter to Kandinsky in which he said this. 在他寫給康丁斯基的長信中，他言辭激烈的說道:
"The events of the past year have forced on me a lesson "過去一年所發生的事情給了我一個狠狠的教訓"
"and it's one I will never forget." What was that lesson? "這將讓我終生難忘，教訓說的是什麼呢？"
Well, it was that, "I am no German, I am no European." "---它讓我記住，我既不是德國人，也不是歐洲人"
"Ja, vielleicht kaum ein Mensch bin.
"Perhaps I'm not even a man, "也許我根本連做人都不夠格"
"since Europeans seem to prefer the worst of their race to me. "因為歐洲人就算要下三濫也不要‘猶太佬’"
"Ich Jude bin.
"I am a Jew." "我是個猶太人"
When the Nazis came to power ten years later, they agreed with him, 十年後納粹上臺，他們很"贊同"勳伯格的說法
forcing him out of his job at the Berlin Music Academy. 將其逐出任職的柏林音樂學院
Germany was now over for Arnold Schoenberg. 勳伯格的德國生涯就此終結
He left for America via Paris... 他途經巴黎赴美
..and there he stepped towards another light. 在巴黎短暫停留期間，勳伯格 在我們後面要說的另一個問題上也大徹大悟
This story of a great leap of faith began in a synagogue, 我們講述的這個信仰巨變的故事，開始於某一猶太教堂
when a Jew was cast out by his own people. 開始於某個猶太人被自己人逐出門牆 [指的是開頭的斯賓諾莎的故事]
It ends in another synagogue, rather differently. 故事的結尾，在另一個大相徑庭的猶太教堂裡，
On 24th July, 1933, 1933年7月24日
Arnold Schoenberg stood here 勳伯格在這個位於巴黎Copernic街的
in the synagogue on the Rue Copernic in Paris, 猶太教堂裡
seeking formal readmission to the community of Jews and Judaism. 尋求歸宗猶太教以及恢復自己的猶太人身份
The date could hardly be more significant. 選的這個日子意義重大到無以復加
For more than a decade, he had been predicting 過於逾十年間，勳伯格在不斷的預言
that if Hitler and the Nazis ever came to power, 如果希特勒和納粹黨一旦上臺
it would not just be the great experiment in cultural modernism, 那麼，就不僅是始于猶太哲人斯賓諾莎和 猶太大儒摩西.孟德爾松的那種
which had begun perhaps since Spinoza and Moses Mendelssohn, 簡單的文化上的現代化了
which would be a casualty, but the entirety of Jews 到時候會死人， 而且還會出現吞噬整個猶太民族
that would be engulfed in something utterly catastrophic. 的浩劫慘禍
He knew that what had begun with words 勳伯格深知惡言一旦出口
would end with terrifying violence. 就可能以可怕的暴力行為而終
He'd long been devoted to themes Jewish. 他專注於創作猶太主題的音樂已久
He was in the middle of what was an unfinished opera, Moses And Aaron, 正在醞釀一部歌劇--名為《摩西與艾倫》
and now he stood there absolutely committed to this identity. 如今，他立於這座教堂之內，全心皈依本宗
He'd become an ardent Zionist, and above all, he wanted, 並成為猶太複國主義積極分子 當然，除此以外，最重要的是
right from this minute, to alert the world 此刻的勳伯格，希望為世界敲響警鐘
to the extermination which he thought was about to happen. 警告世人將有一場迫在眉睫的種族大屠殺
Indeed, of course, he was so prescient. 當然，我們現在都知道他的預言精准無比
That great dream of being Jewish and a cultural adventurer 作為猶太人和猶太人作為不同文化間的冒險家的偉大夢想
was about to disappear into the smoke of the crematoria. 終將消逝於焚屍爐的青煙之中. [應該說的是集中營的焚屍爐]
背景: 柏林大屠殺紀念地
'Was it all a delusion, then, right from the start? 那麼， 從本片開頭就大談特談的那些信仰，躍進什麼的 莫非都是黃粱一夢？
'I don't know. 我不知道...
'I like to think I would've been optimistic with Moses Mendelssohn 我更願意這麼想： 既要摩西孟德爾松那樣的樂觀
'and realistic with Theodor Herzl. 也要Theodor Herzl那樣的現實
'I like to think that the humanity of the Enlightenment idea 我也同樣願意相信， 啟蒙意識裡的人性部分
'was not entirely cancelled out by the inhumanity of its incineration. 並未被人倫喪盡的納粹焚屍爐完全抵消
'To declare anything else is to declare victory for the murderers. 任何關於人性已滅的想法，其實都是助紂為虐
'I do know I grieve endlessly for those here in Berlin, 我的確不停的在為此紀念碑下的亡魂哀悼
'and all over Europe, who innocently imagined they could be Jews 也為全歐洲的猶太冤魂哀悼，他們天真的以為 自己可以安全的做個寄居國的公民...
'and citizens of their own countries, and who, to the end, 可惜的是， 這些冤魂想不到的是，
'could not imagine the evil that would turn their books 邪惡烈焰將最終把他們的書
'and their bodies into ash.' 和他們的軀體都化為灰燼.
Subtitles by Red Bee Media Ltd