2011.3.15 識人難
今天讀某人談胡適之先生的演講。早期他也認為宋子文學有專長，大概不會料到後來當大使被宋架空的事....
不過，我還是欣賞胡適多誇讚別人.....
胡適日記全集:- Google 圖書結果 第7冊 p. 206 " 之邁， 天才"
陳之邁著有《中国政制建设的理论》、《天主教流传中国史》等。
人和書( Men and Books) : 陳之邁《旅日見聞》等
蔣廷黻的志事與平生： (陳之邁著) 台北：傳記文學，1967
中央研究院近代史研究所Institute of Modern History, Academia Sinica
1、陳之邁檔案：
本館典藏檔案共計771冊，檔案起訖時間為1911至1979年，內容包括日記、往來信函、文稿札記、書報雜誌，及其出使美國、菲律賓、澳紐、日本、教廷等國相關資料。
維基百科，自由的百科全書
陳之邁1928年從清華大學畢業後赴美國留學，獲俄亥俄大學文學士、哥倫比亞大學哲學博士學位。回國後曾任教於清華大學、北京大學、南開大學、中央政治學校、西南聯合大學等校，並加入了胡適、蔣廷黻創立的獨立評論社*。抗日戰爭期間，曾任教育部參事、行政院政務處參事等職。1944年出任中華民國駐美國大使館公使銜參事，後又歷任中國出席聯合國善後救濟總署副代表、聯合國糧農組織國際緊急糧食委員會中國代表、駐美國大使館公使等職。1955年，出任中華民國駐菲律賓大使。1959年任中華民國駐澳大利亞大使，後兼駐紐西蘭大使。1966年調任駐日本大使，1969年又任駐教廷大使，1971年兼任駐馬爾他大使。期間，教皇曾贈予其十字勳章。1978年回到台灣，任外交部顧問、國際關係研究所研究員，同年去世。[1]
*.
[PDF]論「獨立評論時期」陳之邁的政治思想 - CUHK
www.cuhk.edu.hk/ics/21c/media/online/0305141.pdf
Nov 29, 2003 - 論「獨立評論時期」陳之邁的政治思想. ⊙ 董國強. 陳之邁是「獨立評論派」的重要代表人物於「民主與獨裁」的論戰中，. 他因提出 ...
參考資料[編輯]
- 移至^ 《中國國民黨百年人物全書》. 團結出版社. 2005.
201309052039陳之邁大使介紹荷蘭古琴家高羅佩序
Sinologue Extraordinaire
Originally published in "Hemisphere", Australia August, 1968
by Chen Chih-Mai
When Dr. Robert Hans van Gulik died in The Hague in September
1967, the world press identified him as (1) a Dutch career
diplomat whose last post was as his country's Ambassador to
Japan, and (2) the author of a long series of detective stories
featuring the Chinese statesman of the T'ang Dynasty, Dee
Jen-djieh, who was such a master in solving strange and
complicated murder cases.
Dr. van Gulik was indeed a diplomat of out-standing abitities and
accomplishments, having served in a number of important and
sensitive posts--Japan, China, the United States, India, Lebanon,
Syria, Malaysla and Kqrea, besides several terms of duty in the
Foreign Ministry in The Hague. Over a period of some fifteen
years, he also wrote a number of detective stories, all with
Judge Dee as the principal character against the background of
T'ang Dynasty China.
But he was much more than a diplomat and a mystery story writer.
From his early youth, he devoted himself to the study of Chinese
and Japanese language and literature. He was a serious student
of Oriental history and culture.In the course of a lifetime, he
produced a number of books and monographs which are universally
regarded as penetrating and authoritative, often in areas seldom
frequented by other Sinologues.
Languages came naturally to him. He learned them eagerly, but
more as tools in academic work than as means of social contacts.
His emphasis was on the ability to read a foreign language rather
than to speak it well. He spoke all the foreign languages with a
strong Dutch accent, but because of his familiarity with them, he
was easily understood. His method of language training was
translation, usually from various foreign languages into Dutch or
English.
Born in Zutphen, The Netherlands, in 1910, the fifth son of
Lieutenant-General Willera van Gulik of the Dutch Army, he went
to the Dutch East Indies when he was four years old. He stayed
there for nine years, attending schools in Batavia and Surahaya,
where he learned the Indonesian language. In 1923 he returned to
The Netherlands and was enrolled in the Grammar School at
Nijmegen. Upon graduation, he went on to the State University at
Leiden, where he studied law and polity as well as Chinese
language and literature. In the University, he also acquired a
command of the languages commonly required in European university
courses--Latin and Greek, English, French and German. Upon
receiving his Bachelor's degree, he transferred to the State
University at Utrecbt where he pursued advanced studies under
the famous linguist Professor C. C. Uhlenbeck, learning Sanskrit
and Tibetan, while continuing his study of Chinese and Japanese.
He even helped Professor Uhlenbeck in compiling an English
Blackfoot dictionary, Blackfoot being the language of a tribe of
American lndians. His versatility in languages, ancient and
modern, is evidenced' by his doctoral dissertation at the
University at Utrecht, the subject of which is:
Hayagriva, the Mantrayanic Aspect of the Horse-cult in China and
Japan, with an Introduction on the horse-cult in India and
Tibet.
With this highly technical monograph, he was awarded the D.Litt
(cure laude) in 1935.
His writing career began early. When he was sixteen, still a
pupil in the Grammar School, he began contributing poems and
articles to his school publication Rostra, starting with a series
called Tales from the Beautiful Island, nostalgic sketches of his
boyhood experiences in Indonesia which were, as he recalled them,
"typically adolescent, pseudo-love and Pseudo-philosophical,,. He
began writing on China when he was eighteen, notes and comments
on classical Chinese literature and the arts. He was so well
regarded that he was soon asked to contribute entries on China to
the Winkler Prins Encyclopedic, the big Dutch encyclopedia. Under
the expert guidance of Pro-fessor Uhlenbeck, he translated from
Sanskrit into Dutch the Urvaci, a play in poetry by the great
Sanskrit poet Kalidasa of the fifth century. In a note Dr. van
Gulik made later, he said that "the translation is correct, being
made under the guidance of Professor Uhlenbeck, but the Dutch
style stilted, greatly influenced by my translations from Latin
and Greek". He also noted that he decorated the book with
vignett~ S which he drew after old Indian paintings. This point
is of particular interest, for all his books and articles,
including his detective stories, were profusely illustrated,
often by drawings he made after old models. It may seem rather
odd that~ despite his obvious interest in academic studies, he
never for a moment entertained the idea of entering the teaching
profession. He explained this to me years later by saying that,
very early in his life, he became convinced of the wisdom of the
traditional Chinese practice of combining intellectual pursuits
with an 0fficial career. In China, he said, a scholar taught
students only when he failed to gain entrance into the government
service, which was true from Confucius and Mencius down to the
present time. It was for this reason that, as soon as he had
completed his formal education, he entered the Dutch Foreign
Service and before long was appointed Secretary of the Dutch
Embassy in Japan. He arrived in Tokyo in 1935, a young man of
twenty-five, who already had acquired a command of the Japanese
language and a famil iarity with Japanese history and culture.
His first assignment to Japan extended over seven years. He
travelled all over Japan, and made several extensive trips to
nearby China, building up a library and cultivating the
friendship of Chinese and Japanese scholars. He must have cut a
strange figure in China and Japan, this tall and heavy-set young
man from Europe who took as his ideal life that of a traditional
Chinese man of letters, a public official who indulged himself
not only in the pursuit of poetry and the classics but also
enriched his life by music, chess-playing, calli-graphy and
painting. His Chinese and Japanese friends in those days spoke
and wrote fondly of him, collating literary endeavurs with him
frequently and giving him their own calligraphic works and
paintings, all of which he cherished with loving care throughout
his life. Instead of undertaking analytical studies of the
classics as most Sinologues do, his first serious project was to
pursue an obscure subject, that of the Chinese lute (ch'in), a
zither-type stringed instrument which the Chinese have been
playing since remote antiquity. He studied the lute from all
angles, seeking references to it in the classics and literature,
learning its scores, playing the instrument under the guidance of
a Chinese teacher, and ending up by writing a large volume on it.
The Lore of the Chinese Lute: An Essay in Ch'in Ideology is an
authoritative work which has no parallel even in Oriental
literature. It was published in 1941 by the Sophia University in
Tokyo as a monograph of the series Monumenta Nipponica,
of which he was an editor from the beginning. Besides the
erudition of the work, one is particularly amazed by a short and
concise preface he wrote, which is in a Chinese literary style so
classical that few Chinese writers would attempt it in this age.
As far as written Chinese is concerned, he was a rank
conservative. He refused to write in vernacular Chinese (pai
hurt) which has become the vogue in modern China, and he even
refra~ed from punctuating his writings in the modern manner. It
was only natural that he opposed vigorously the "simplification"
of the Chinese lan-guage undertaken by the Chinese Communists.
His interest in the lute led him to explore how the instrument
and its music found their way into Japan. It appeared that a
Chinese Buddhist monk by the name of Tung-kao, who came to -Japan
in 1677, could have been responsible for the development of "the
lore of the lute" in Japan. For many years, Dr. van Gulik
painstakingly traced the footsteps of this rather obscure Chinese
monk
all over Japan, collecting a 'vast amount of materials from
temples and old bookshops. In his notes, he recorded the ecstasy
he experienced when he accidentally came across in Kyoto a large
scroll by Tung-kao. It was his intention to write a biography and
to edit and publish the complete works of the monk.
Unfortunately, the outbreak of the Pacific War in 1941 forced him
to leave Japan in a hurry. and some of the materials he so
assiduously collected, including the priceless scroll, were lost.
After Pearl HarbOr, Dr. van Gulik was trans-ferred to Chungking,
where he served as First Secretary of the Dutch Embassy in China.
Those were difficult days for him, as his country was overrun by
the Nazis and China was engaged in a desperate struggle with a
substantial portion under enemy occupation. But Dr. van Gulik was
his old self, going about town cultivating the friendship of
Chinese men of letters and artists. lie even gave several public
recitals of the lute to raise money for the common war effort
During these years, he also met Miss Shui Shih-fang (Frances
Shui), a university graduate from a good Chinese family. He
quickly fell in love with Miss Shui and they became engaged. He
took his future bride around to meet his Chinese friends who set
up parties during which he recited his most recent poetic
compositions and played. the lute. Dr. van Gulik and Miss Shui
were married on December 18, 1943, in Chungking, first in a
Christian ceremony and later in a Chinese ceremony, both of which
were attended b y a large number of Chinese writers and artists
4~ who showered the couple with their works as wedding presents.
The union was a very happy one, to which three sons (Willem
Robert, Pieter Anton and Thomas Mathijs) one daughter
(Pauline Francis) were born.
With the assistance of his friends, The Selected Works of
Tung-kao, a slender volume containing what was salvaged of the
materials pertaining to the Chinese monk, was published in
Chungking. The bulk of the volume consists of poems Tung kao
composed to express his longings for the Ming Dynasty, which
had, by the time Tung-kao migrated to Japan, fallen under the
Manchus. The most rewarding reading, however, is Tung-kao's
biography written by Dr. van Gulik, again in classical Chinese.
He was, however, unable to prove conclusiveiY that it was indeed
Tung-kao who first brought the Chinese lute into Japan. There
were Japanese writers who maintained that the ancient instrument
had found its way into Japan long before Tung-kao set loot there.
At the end of the second world war, by which time Dr. van Gulik
had stayed in China for almost four years, he was recalled to The
Hague- A year later, he was sent to Washington to serve on the
Far Eastern Commission, the eleven-nation body in charge of
formulating policies for the occupation of Japan. In 1948, when
the basic policies had been laid down. he was again assigned to
Tokyo to supervise their implementation. In war-devastated Tokyo,
he re-established the facilities to pursue his academic studies
with his accustomed vigour.
(to be continued)
THE AUTHOR: Dr. Chen Chih-Mai, who was Ambassador of the
Republic of China in Australia, and Ambassador to Japan.
by Chen Chih-Mai
When Dr. Robert Hans van Gulik died in The Hague in September
1967, the world press identified him as (1) a Dutch career
diplomat whose last post was as his country's Ambassador to
Japan, and (2) the author of a long series of detective stories
featuring the Chinese statesman of the T'ang Dynasty, Dee
Jen-djieh, who was such a master in solving strange and
complicated murder cases.
Dr. van Gulik was indeed a diplomat of out-standing abitities and
accomplishments, having served in a number of important and
sensitive posts--Japan, China, the United States, India, Lebanon,
Syria, Malaysla and Kqrea, besides several terms of duty in the
Foreign Ministry in The Hague. Over a period of some fifteen
years, he also wrote a number of detective stories, all with
Judge Dee as the principal character against the background of
T'ang Dynasty China.
But he was much more than a diplomat and a mystery story writer.
From his early youth, he devoted himself to the study of Chinese
and Japanese language and literature. He was a serious student
of Oriental history and culture.In the course of a lifetime, he
produced a number of books and monographs which are universally
regarded as penetrating and authoritative, often in areas seldom
frequented by other Sinologues.
Languages came naturally to him. He learned them eagerly, but
more as tools in academic work than as means of social contacts.
His emphasis was on the ability to read a foreign language rather
than to speak it well. He spoke all the foreign languages with a
strong Dutch accent, but because of his familiarity with them, he
was easily understood. His method of language training was
translation, usually from various foreign languages into Dutch or
English.
Born in Zutphen, The Netherlands, in 1910, the fifth son of
Lieutenant-General Willera van Gulik of the Dutch Army, he went
to the Dutch East Indies when he was four years old. He stayed
there for nine years, attending schools in Batavia and Surahaya,
where he learned the Indonesian language. In 1923 he returned to
The Netherlands and was enrolled in the Grammar School at
Nijmegen. Upon graduation, he went on to the State University at
Leiden, where he studied law and polity as well as Chinese
language and literature. In the University, he also acquired a
command of the languages commonly required in European university
courses--Latin and Greek, English, French and German. Upon
receiving his Bachelor's degree, he transferred to the State
University at Utrecbt where he pursued advanced studies under
the famous linguist Professor C. C. Uhlenbeck, learning Sanskrit
and Tibetan, while continuing his study of Chinese and Japanese.
He even helped Professor Uhlenbeck in compiling an English
Blackfoot dictionary, Blackfoot being the language of a tribe of
American lndians. His versatility in languages, ancient and
modern, is evidenced' by his doctoral dissertation at the
University at Utrecht, the subject of which is:
Hayagriva, the Mantrayanic Aspect of the Horse-cult in China and
Japan, with an Introduction on the horse-cult in India and
Tibet.
With this highly technical monograph, he was awarded the D.Litt
(cure laude) in 1935.
His writing career began early. When he was sixteen, still a
pupil in the Grammar School, he began contributing poems and
articles to his school publication Rostra, starting with a series
called Tales from the Beautiful Island, nostalgic sketches of his
boyhood experiences in Indonesia which were, as he recalled them,
"typically adolescent, pseudo-love and Pseudo-philosophical,,. He
began writing on China when he was eighteen, notes and comments
on classical Chinese literature and the arts. He was so well
regarded that he was soon asked to contribute entries on China to
the Winkler Prins Encyclopedic, the big Dutch encyclopedia. Under
the expert guidance of Pro-fessor Uhlenbeck, he translated from
Sanskrit into Dutch the Urvaci, a play in poetry by the great
Sanskrit poet Kalidasa of the fifth century. In a note Dr. van
Gulik made later, he said that "the translation is correct, being
made under the guidance of Professor Uhlenbeck, but the Dutch
style stilted, greatly influenced by my translations from Latin
and Greek". He also noted that he decorated the book with
vignett~ S which he drew after old Indian paintings. This point
is of particular interest, for all his books and articles,
including his detective stories, were profusely illustrated,
often by drawings he made after old models. It may seem rather
odd that~ despite his obvious interest in academic studies, he
never for a moment entertained the idea of entering the teaching
profession. He explained this to me years later by saying that,
very early in his life, he became convinced of the wisdom of the
traditional Chinese practice of combining intellectual pursuits
with an 0fficial career. In China, he said, a scholar taught
students only when he failed to gain entrance into the government
service, which was true from Confucius and Mencius down to the
present time. It was for this reason that, as soon as he had
completed his formal education, he entered the Dutch Foreign
Service and before long was appointed Secretary of the Dutch
Embassy in Japan. He arrived in Tokyo in 1935, a young man of
twenty-five, who already had acquired a command of the Japanese
language and a famil iarity with Japanese history and culture.
His first assignment to Japan extended over seven years. He
travelled all over Japan, and made several extensive trips to
nearby China, building up a library and cultivating the
friendship of Chinese and Japanese scholars. He must have cut a
strange figure in China and Japan, this tall and heavy-set young
man from Europe who took as his ideal life that of a traditional
Chinese man of letters, a public official who indulged himself
not only in the pursuit of poetry and the classics but also
enriched his life by music, chess-playing, calli-graphy and
painting. His Chinese and Japanese friends in those days spoke
and wrote fondly of him, collating literary endeavurs with him
frequently and giving him their own calligraphic works and
paintings, all of which he cherished with loving care throughout
his life. Instead of undertaking analytical studies of the
classics as most Sinologues do, his first serious project was to
pursue an obscure subject, that of the Chinese lute (ch'in), a
zither-type stringed instrument which the Chinese have been
playing since remote antiquity. He studied the lute from all
angles, seeking references to it in the classics and literature,
learning its scores, playing the instrument under the guidance of
a Chinese teacher, and ending up by writing a large volume on it.
The Lore of the Chinese Lute: An Essay in Ch'in Ideology is an
authoritative work which has no parallel even in Oriental
literature. It was published in 1941 by the Sophia University in
Tokyo as a monograph of the series Monumenta Nipponica,
of which he was an editor from the beginning. Besides the
erudition of the work, one is particularly amazed by a short and
concise preface he wrote, which is in a Chinese literary style so
classical that few Chinese writers would attempt it in this age.
As far as written Chinese is concerned, he was a rank
conservative. He refused to write in vernacular Chinese (pai
hurt) which has become the vogue in modern China, and he even
refra~ed from punctuating his writings in the modern manner. It
was only natural that he opposed vigorously the "simplification"
of the Chinese lan-guage undertaken by the Chinese Communists.
His interest in the lute led him to explore how the instrument
and its music found their way into Japan. It appeared that a
Chinese Buddhist monk by the name of Tung-kao, who came to -Japan
in 1677, could have been responsible for the development of "the
lore of the lute" in Japan. For many years, Dr. van Gulik
painstakingly traced the footsteps of this rather obscure Chinese
monk
all over Japan, collecting a 'vast amount of materials from
temples and old bookshops. In his notes, he recorded the ecstasy
he experienced when he accidentally came across in Kyoto a large
scroll by Tung-kao. It was his intention to write a biography and
to edit and publish the complete works of the monk.
Unfortunately, the outbreak of the Pacific War in 1941 forced him
to leave Japan in a hurry. and some of the materials he so
assiduously collected, including the priceless scroll, were lost.
After Pearl HarbOr, Dr. van Gulik was trans-ferred to Chungking,
where he served as First Secretary of the Dutch Embassy in China.
Those were difficult days for him, as his country was overrun by
the Nazis and China was engaged in a desperate struggle with a
substantial portion under enemy occupation. But Dr. van Gulik was
his old self, going about town cultivating the friendship of
Chinese men of letters and artists. lie even gave several public
recitals of the lute to raise money for the common war effort
During these years, he also met Miss Shui Shih-fang (Frances
Shui), a university graduate from a good Chinese family. He
quickly fell in love with Miss Shui and they became engaged. He
took his future bride around to meet his Chinese friends who set
up parties during which he recited his most recent poetic
compositions and played. the lute. Dr. van Gulik and Miss Shui
were married on December 18, 1943, in Chungking, first in a
Christian ceremony and later in a Chinese ceremony, both of which
were attended b y a large number of Chinese writers and artists
4~ who showered the couple with their works as wedding presents.
The union was a very happy one, to which three sons (Willem
Robert, Pieter Anton and Thomas Mathijs) one daughter
(Pauline Francis) were born.
With the assistance of his friends, The Selected Works of
Tung-kao, a slender volume containing what was salvaged of the
materials pertaining to the Chinese monk, was published in
Chungking. The bulk of the volume consists of poems Tung kao
composed to express his longings for the Ming Dynasty, which
had, by the time Tung-kao migrated to Japan, fallen under the
Manchus. The most rewarding reading, however, is Tung-kao's
biography written by Dr. van Gulik, again in classical Chinese.
He was, however, unable to prove conclusiveiY that it was indeed
Tung-kao who first brought the Chinese lute into Japan. There
were Japanese writers who maintained that the ancient instrument
had found its way into Japan long before Tung-kao set loot there.
At the end of the second world war, by which time Dr. van Gulik
had stayed in China for almost four years, he was recalled to The
Hague- A year later, he was sent to Washington to serve on the
Far Eastern Commission, the eleven-nation body in charge of
formulating policies for the occupation of Japan. In 1948, when
the basic policies had been laid down. he was again assigned to
Tokyo to supervise their implementation. In war-devastated Tokyo,
he re-established the facilities to pursue his academic studies
with his accustomed vigour.
(to be continued)
THE AUTHOR: Dr. Chen Chih-Mai, who was Ambassador of the
Republic of China in Australia, and Ambassador to Japan.
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