The Memory Palace of Matteo Ricci 史景迁作品《利玛窦的记忆宫殿》(I***N=9780140080988) mobi 下载 网盘 caj lrf pdf txt 阿里云

Matteo Ricci (1552-1616), an Italian Jesuit, entered China in 1583 to spread Catholicism in the largely Confucian country. In order to make a persuasive argument for the educated Chinese to abandon their traditional faith for the new one he was carrying, Ricci realized that he would have to prove the general superiority of Western culture. He did so by teaching young Confucian scholars tricks to increase their memory skills--an important advantage in a nation with countless laws and rituals that had to be learned by heart. Ricci attracted numerous students with this method; more important, Ricci came to have a sympathetic understanding for China that he communicated to Rome, and thence to the European nati*** at large. Spence's portrait of Ricci is a gem of historical writing. --Gregory MacNamee

ACKNOWLED***ENTS

MA'VFEO RICCI:  A CHRONOLOGY

ONE

BUILDING THE PALACE

TWO

THE FIRST IMAGE: THE WARRIORS

THREE

THE FIRST PICTURE: THE APOSTLE IN THE W***ES

……

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这样的事很常见，生活在后世的人们，往往无法了解前时代的伟大事业或行动如何起源。我时常揣思，这是缘于何故，发现只能如此解释：一切事情（包括那些最后取得极大成功的）在肇始之初，是那样微弱渺小，人们自己都无法说服自己，他将来竟能成如此宏大之局面。

尽管我还年轻，我已经有了一些老年人的习性，总是喜欢称颂过去的时光。

But a thorough indoctrination in traditional norms of Confucian doctrine did not disqualify any of these men from understanding Western science: it is worth emphasising that in each of the fields that interested these men the most--chemistry for Qu, cartography for Li, and geometry for Xu--there was a long and sophisticated history of indigenous Chinese experimentation and achievement, even thought the Jesuits rarely mentioned this. What Ricci could offer them was patly new data, of course, but also new perspective in which to judge their existing knowledge, and a sense of purpose that cam from the belief that with his help they were recapturing a lost Chinese part. This feeling was well articulated by Xu Guagnqi in his introduction to the version of Euclid that he wrote down and polished ...

场所主要有三种选择方法。其一，来源于现实；其二，凭想象臆造；其三，一半真实，一半想象。

人们在头脑中臆想这些心理结构的真正目的，无非是要为无数的概念提供存储空间，而这些无数的概念则构成人类知识的总和。

对于每一件我们希望铭记的东西，都应该赋予其一个形象，并给它分派一个场所，使它能安静地存放在那里，直至我们准备借助记忆的方法来使它们重新显现。

对于记忆法而言，最关键的莫过于每栋建筑立面储存形象的场所的次序：

一旦场所按次序完全确定好了，你就可以穿过大门，着手开始你的布置。你的脑海里排列着一件件的东西，所有这些形象都随时等待着你去回忆。如果你打算存放许多『形象』，那就请把建筑物扩展成为成千上万个存储单元，如果你只是存放少量形象，那就不妨选择一个接待厅，只需将它按角落划分就可以了。

相关形象：第一个武士，衣服威风凛凛的模样，手握长戈作势刺向敌人；第二个武士，抓住前者的手腕，拼命阻止长戈刺向自己。

至于形象本身的法则，他解释说，他们必须是生动活泼的而不应当太死气沉沉；必须是能够唤起强烈感情的；必须穿有衣服或制服，以清除地表明他们的社会地位，以及公务或职业特征。

场所应当宽敞，形象不能存放得太过拥挤，以免遗漏个别形象。

灯光必须明净、均匀，但不要过于强烈刺眼。场所必须赶紧干燥，有让形象遮风挡雨之处。他们应当处于室内地面或稍高位置，切勿于房梁或屋顶之上，否则会使人难以接近。你的想象力应当能够自由地从一个形象漫游到另一个形象，因此他们彼此的距离绝不能超过两米，但也不要小于一米。他们也应当被放置得牢固些，切勿固定于不稳定的位置之上以免引起突然的移位。

自从上帝降临人世之后，他就以人的外形，向世人传播教义。首先与他分享这些教义的是十二使徒。第一个使徒名叫伯多禄。有一天，伯多禄站在一只船上。土壤，他看到了站在远处海岸边的天主的身影。于是，他向上帝呼喊道：“如果你是主，就让我在水面上行走别沉下去。“主便教导他行走之法。但是，他刚刚开始行走，就看到大风掀起了巨浪，他的心里立刻充满疑虑，接着身体就开始下沉。主向他伸出一只手说：”你的信念太不坚定了，你为什么要怀疑呢？”

在征途中，信念坚定的人就能在柔顺的水面上行走自如，宛如在坚硬的岩石上行走那样。但是如果他退缩迟疑，水就会恢复它的本性，那人又怎么能够用该地停留其上呢？但鲜明的人毫不迟疑地遵从天主的旨意时，火就无法烧着他，剑就无法伤着他，水就无法淹着他。风浪又怎么能引起他的恐慌呢？第一个使徒怀疑了，而我们则要引以为鉴。一个人片刻的怀疑可以使其后无数人都引以为鉴。如果没有前车之鉴，我们的心念也就没有了基础。因此，对于信念和怀疑我们同样感恩。

书籍介绍

Matteo Ricci (1552-1616), an Italian Jesuit, entered China in 1583 to spread Catholicism in the largely Confucian country. In order to make a persuasive argument for the educated Chinese to abandon their traditional faith for the new one he was carrying, Ricci realized that he would have to prove the general superiority of Western culture. He did so by teaching young Confucian scholars tricks to increase their memory skills--an important advantage in a nation with countless laws and rituals that had to be learned by heart. Ricci attracted numerous students with this method; more important, Ricci came to have a sympathetic understanding for China that he communicated to Rome, and thence to the European nati*** at large. Spence's portrait of Ricci is a gem of historical writing. --Gregory MacNamee