2017年7月4日 星期二

識人難:陳之邁 ;宋子文;牟宗三

總的說來,胡適的識人能力很強,尤其在學術、操守方面,所以余英時在悼牟宗三時,拿胡適的日記中的"分數"和評語.......

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
, 澳紐之旅. Author, 陳之邁. Publisher, 中國文化大學出版部, 1982.




沒有自動替代文字。



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(1908年8月23日-1978年11月8日),筆名微塵廣東番禺人,出生於天津,中華民國外交官。
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]

  1. 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.

沒有留言:

張貼留言