香港难有李光耀 / Hong Kong can hardly produce a Lee Kuan Yew

香港难有李光耀 黄文放	Hong Kong can hardly produce a Lee Kuan Yew Huang Wen Fang
李光耀在香港政策研究所的演讲，颇引起香港传媒和政界人士的关注，因为他确实对香港的现在和未来，提出不少启发性的问题。	THE RECENT speech by Mr Lee Kuan Yew at Hong Kong Policy Research Institute grabbed the attention of our mass media and political circles with the Singaporean leader’s enlightening views on several issues affecting the present and future of Hong Kong.
李光耀并不为香港人所喜爱，尤其是政界人士，更尤其是民主派，对李光耀的保守观点，抗拒多于接受。但是，不管喜爱还是抗拒，多数人都承认李光耀是个国际级的政治家。	Mr Lee is not very popular with Hong Kong people. His conservative ideas have been more rejected than accepted by the political circles here, particularly the democrats. Yet, accepting him or not, most people admit that Mr Lee is a statesman of international stature.
李光耀政治思维的特点，是他有一整套全球战略思想，从全局去看问题，因而看得深、看得准、看得远，不像香港政界人士眼光短浅，纠缠于具体烦事之中，脱身不出来，因而往往是只看树木，不见森林。	His political thinking is characterised with a strategic vision that enables him to grasp issues from a global perspective. He can perceive the very essence of a situation which is hidden deep but has far-reaching consequences. By contrast, politicians of Hong Kong are so much involved in trivialities that they often fail to see the wood for the trees.
李光耀的出现是个异数。一般地说，具有战略眼光的政治家，只能产生于大国，而小国由于地域的局限，不需要有全球战略，因而难以产生国际级的政治奇才。	The occurrence of Mr Lee Kuan Yew is something of an oddity. Normally, statesmen with a strategic vision are the product of large countries. Restricted by their geography, small countries have little need for global strategies, and therefore can hardly produce statesmen of international stature.
北京是相当欣赏李光耀的。80年代初北京草拟收回香港政策时，邓小平就十分期望香港能有个李光耀。邓小平的思维是：回归是香港最重大的历史转折，没有一个或几个具有高度政治智慧的政治家，又怎能掌握住这个历史转折，真正贯彻“港人治港”？	Beijing appreciates Mr Lee considerably. In early 1980s, while China was drafting its policy on Hong Kong, Mr Deng Xiaoping hoped that a Lee Kuan Yew-like leader would appear in the territory. He believed that, for Hong Kong to complete its historic return to Chinese sovereignty and carry out the policy of “Hong Kong people governing Hong Kong”, one or more statesmen with high political wisdom would be indispensable.
但是，政治智慧是在复杂政治斗争中锻炼出来的，香港主权全由中英政府谈判包办，香港人只能靠边站，这样，香港又怎能产生李光耀？	Yet it takes the tempering in fierce political strifes to bring about political wisdom. While the negotiations over Hong Kong’s return were monopolised by Beijing and London, with the hongkongers staying marginalised, how could the territory expect to produce a Lee Kuan Yew of its own?
[作者是香港政论家。本文转载自《明报》]	[The author is a Hong Kong-based political analyst. The article was first published in Ming Pao Daily News.] (Translated by Allen Zhuang)
[原載1999-11-23《聯合早報》社论/ 言论/天下事 (Bilingual Section)]

繪畫、表現和精神的內涵 / Painting as Expression of Genuine Spirit

繪畫、表現和精神的內涵： 韓志勳藝術展感言 張隆溪	Painting as Expression of Genuine Spirit: Of Mr Hon Chi-fun’s Art Show Zhang Longxi
繪畫是人內心感受的表現，其形式可以是隨物賦形的寫實，也可以是觀照心靈的抽象，要之在有真正的精神內涵。在這一點上，繪畫和音樂、文學等其他藝術表現一樣，有真精神則可以打動讀者或觀眾，沒有真精神就好似拙劣的泥塑木雕，徒具形體，卻了無生氣。 然而這精神內涵從何而來呢？能打動人的藝術力量是什麼構成的呢？古羅馬詩人賀拉斯（Horace）教人寫作，有一句話說得很實在：“Si vis me flere, dolendum est primum ipsi tibi”（你若要我流淚，你自己先就得深感悲哀）。 劉勰《文心雕龍》謂詩人需“為情而造文”，譴責虛矯偽飾，徒為華辭麗藻者“為文而造情”，也是說藝術要基於真實的情感，虛構而非虛假。不過這裡所謂“情”，並非止於情感，劉勰所謂“情志”包括了藝術家的思想感情乃至志向與才學。所以藝術不僅是抒情，而且可以抒發志向，表現內心深處的思想體驗，傳達深刻的哲理。 因此，藝術並不只是自我表現，不是感情的發泄，更不是刻意經營，專為雕飾。只有發自真性情，出於真學問的藝術，才可望創造出使人感動的作品，臻於完美之至境。	PAINTING gives expression to human feelings; it can be realistic delineation of objects and figures, or abstract contemplation of the inner heart. In either case, what makes art is the existence of substantial, genuine spirit therein. The same is also true of music, literature, and other forms of art, in which the genuine spirit – if any – tugs at the reader’s or viewer’s heartstrings. Devoid of genuine spirit, a piece of artwork is like a poor sculpture, dumb and dead despite all its physical likeness. Yet whence comes that genuine spirit? What makes the power of art that touches human hearts? Horace, a leading Roman poet, said it aptly when imparting the art of poetry: “Si vis me flere, dolendum est primum ipsi tibi” (If you wish me to weep, you yourself must first feel grief). In a similar vein, in his Wenxindiaolong (The Literary Mind and the Carving of Dragons, or 《文心雕龍》), Liu Xie (劉勰), a literary theorist of ancient China, praised the true poet for “creating words to voice feelings” (為情而造文) while criticizing the euphuist for “affecting feelings to garnish words” (為文而造情). In essence, he claimed that true art should come from genuine feelings – fictions are fine, but fakes are not. Moreover, the word “qing” or “feelings” (情) therein denoted more than emotions. Liu was using a term that encompasses the ideas and emotions, and even aspirations, talent and learning of the artist. Hence, art speaks not for emotions alone; it also declares ambitions, shares thoughts and inner experiences, and conveys philosophical insights. Hence, art is not mere expressing of the self or venting of one’s emotions, still less some laboured adornment for its own sake. Only art that grows out of genuine feelings and true learning can expect to create works that touch human hearts and attain the realm of perfection.
韓志勳先生的畫無論寫實或者抽象，都給人以實在的感覺，使人覺得有真實的內容。他六十年代描繪香港不同地方景色的油畫，筆法老練，樸實平淡中滿含詩情畫意。六十年代晚期以來的抽象畫，在形式上似乎與西方抽象畫的發展合拍，可是在內容上反而比早期寫實的風景更自覺地回歸東方，在禪與道中去尋求啟迪。 在抽象的色塊中嵌入方塊漢字，加進一點書法，也許讓人覺得表露得急切了些，但在全球化消除地方特色的平坦化壓力之下，這仍然不失為藝術家無聲反抗的姿態。更重要的是，韓先生有些抽象作品中果斷有力的筆觸，似乎有中國書法筆勢的意味，這就使他的抽象畫不同於常見的西方諸作。 不過韓先生好像最喜以圓為主題，以圓為表現形體，在他的作品中，圓也佔據了一個特別重要的位置。然而圓沒有棱角，沒有突出處，又如何體現中國人或東方人審美經驗的特點呢？抽象的圓如何有變化和特性呢？	Mr Hon’s paintings, whether representational or abstract, arouse in the viewer a feeling of down-to-earthness, impressing him with solid content. His oil paintings in the 1960s, depicting diverse scenes across and around Hong Kong, are imbued with poetic charm flowing out of his skilfully plain and simple brushstrokes. Then, in late 1960s the artist turned abstract. In their form, his abstract paintings done since then seem to keep pace with their counterparts in the West, but in their content they reveal an even closer affinity with the oriental spirit than that in his earlier representational landscapes. The artist now is apparently turning to Zen and Tao for enlightenment. The written Chinese characters inserted into abstract colour blocks, or calligraphy interwoven with painting, may suggest a slightly over-anxious desire for expression. Yet it properly voices the artist’s silent protest against the levelling pressure of globalisation nowadays that threatens to neutralise all local colours. More importantly, some of Mr Hon’s abstract works contain bold and vigorous strokes that take on the flavour of Chinese calligraphy. This sets his abstract paintings apart from those works that are so common in the West. Mr Hon’s most-treasured theme seems to be the circle, an image that holds a special place among his favourite subjects. Yet how can the circle, without any edges or protrusions, serve to embody the distinctively Chinese or – generically – oriental aesthetic experiences? How can the abstract round shape possibly carry any variations or peculiarities?
圓之為形，隨處為一，似乎很難有任何特色，然而在我看來，正是這個具有普遍意義的意象，同時是東方也是西方的，同時是地方的也是普世的。所以也許正是在圓這個意象中，韓志勳先生藝術的（也是哲理的）追求可以找到一個歸宿。 錢鍾書先生《談藝錄》有“說圓”一節，指出不僅“希臘哲人言形體，以圓為貴”，而且“吾國先哲言道體道妙，亦以圓為象”。言事說理，往往以圓通為貴，談藝論文，也常取珠圓玉潤為譬。 美國哲人愛默生 (Ralph Waldo Emerson) 曾說： “The eye is the first circle; the horizon which it forms is the second” (眼睛是第一個圓；眼睛形成的視野是第二個)。韓先生畫中的圓，就好像在為這句話所說的道理作證。 所以我認為這些各色各樣的圓，既是東方的，也是西方的，既是地方的，也是普世的。圓是完美之象，而藝術既以完美為理想，又總要不斷發展，超越以往。在圓之後，是否還有別的可能呢？	It is true the circle takes the same shape wherever it is, hardly capable of any singularity. Yet, as I see it, it is such everywhere-the-sameness that renders the image at once oriental and occidental, at once local and universal. That is why, perhaps, in the very image of the circle Mr Hon can expect to find an ultimate destination for his long artistic – and also philosophical – journey of search and quest. Mr Qian Zhongshu (錢鍾書) devoted one section in his tan-yi-lu (On the Art of Poetry, or 《談藝錄》) to the circle. “Greek philosophers honoured the circle above all other shapes,” he noted, “and Chinese sages cited the circle to illustrate the substance and function of Tao.” Quite often, a narration or an exposition is valued for its well-roundedness of reasoning, and metaphors of round pearls and lustrous jade are used in discussions of art and literature. Ralph Waldo Emerson once said, “The eye is the first circle; the horizon which it forms is the second.” Now, with various circles in his paintings, Mr Hon seems to be giving witness to that epigram of the American philosopher. So, as I see it, those round images in their diverse hues and colours are occidental as well as oriental, and universal as well as local. The circle has been held as a symbol of perfection, and perfection has been the ideal that all arts seek to attain in their ceaseless attempts of self-improving and self-surpassing. Yet, can there be any further possibilities beyond the circle of perfection?
圓之為象，週而復始，這是東西方文化（包括文學、藝術、宗教、哲學）一個共同普遍的認識。這是否意味著韓先生會再回到他藝術的起點，重新審視寫實與抽象，回到具象藝術表現的本源而又以抽象畫的內涵去豐富其表現呢？ 我們將期待藝術家的新作給我們新的啟迪。	The notion that the circle turns round and round over again has been well acknowledged in Eastern and Western cultures alike, ever depicted in art and literature, and ever cited in religion and philosophy. Can this possibly suggest that Mr Hon may some day revisit where he first started, rethink the dichotomy between the representational and the abstract, and finally resettle down to concrete expression as the origin of art while enriching its manifestation with messages of his abstract painting? We are looking forward to yet further enlightenment from new adventures of the artist. (Translated by Allen Zhuang)
See also 參見 朗天/Longtin：詮釋從深淵中發動/ Interpretation Grows from the Chasm  [原文與英譯文一同刊於《象外詩情：韓志勳作品展》 Conceptual Feeling Beyond Images: The Works of Hon Chi-fun (香港城市大學中國文化中心出版，2007年10月)]

To Chin2333 participants (02)

Dear Chin2333 attenders, We could have discussed our topics in detail yesterday (Sat, Jan 26) if we had been allowed more time. Anyway, “translating culture” and “translation strategies” are the central theme of Chin2333, and surely we shall have ample opportunity to revisit them again and again, week after week. Meanwhile, you are welcome to leave your questions, etc here. One among you has sent in her question, which you may share. Please click on 回應/Feedback below and read the Q & A.

買傘記 / Buying An Umbrella

買傘記 金雨田	Buying An Umbrella Jin Yu Tian
天黑黑，雨綿綿，善忘人多，雨傘一把丟過一把。到雨傘專門店買傘，傘類撩人眼目，問老闆，方知種類多達七百餘。東挑挑，西選選，原不過是好奇心，老闆也一傘一傘的開，一傘一傘地解釋，賣傘人愛傘，說起傘來喜滋滋，忘了客人是買傘人。	THE SKY was overcast and the rains lingered on, when forgetful people were losing one umbrella after another. I, too, had to visit a specialised shop for a new one. The store had a dazzling array of umbrellas – in 700-odd styles and designs, as the proprietor told me. Curious, I started trying a sample here and there, with the shopkeeper showing me around, unfolding umbrella after umbrella, and telling me about each of them. Apparently, he loved his goods and enjoyed talking about them so much that he forgot the customer was there merely to make a purchase.
傘有太陽傘，情人傘，兒童傘，汽車傘，帽子傘等等，其實用途不外為了頂上一片天，腳下一片地，再加一點裝飾趣味。但在製傘人的東變西化下，傘成了炎陽天，淫雨日，點綴都市的萬花圖案，時時也遮遮人間情。	There were parasols, car windows’ sunshades, hat-mounted canopies, and umbrellas specially made for children and courting couples. No longer a simple or somewhat decorative tool to fend off a patch of unfriendly sky overhead and keep a nice spot underfoot, the umbrella has now made a kaleidoscopic scene for the metropolis – rain or shine – and sometimes a shade for the bashful, thanks to the ingenious designers.
和賣傘人買談了半小時的傘，買了一把，打開時，傘骨鐵尖缺了無傷大雅的一撇，老闆在我踏出門檻時發現了這點，主動喚我收回，換了另一把。	Finally, after half an hour’s chat with the shopkeeper, I decided on one. Putting it up, I found one of its ribs lacking a tiny tip, but harmlessly. The seller spotted it as I was leaving. He stopped me, and offered me a replacement.
笑著說：讓這把傘出門，我賣傘的豈不變成“無法無天”？我陪著笑把新傘打開：“我也可不是和尚呀！”	He would become an unscrupulous tradesman if the defective product were allowed to go around, said he jokingly, quoting the familiar pun about a law-defying monk holding an umbrella. “Well, I’m not a monk,” I quipped in reply as I spread my new umbrella. (Translated by Allen Zhuang)
[原載新加坡《聯合早報》(2000)；收入《不著地族/A Lift-Off People》(潘正鐳著、Allen Zhuang 英譯；Singapore: All Publishing House, 2002)]

新港文化别苗头 / Singapore and Hong Kong Wooing the Muses

新港文化别苗头 丞之	Singapore and Hong Kong Wooing the Muses Cheng Zhi
新加坡与香港何其相似！在经济领域竞争外，文化范畴里也几乎同时宣布要成为“国际文化中心”。	THE TALE of two cities – Singapore and Hong Kong – goes beyond their competition in the economic arena. Almost simultaneously, each announced a blueprint recently for its future as “one of the world’s cultural hubs”.
新闻及艺术部长李玉全三月在国会发表了《文艺复兴城市》报告书，豪情壮志地宣布政府有意把新加坡变成一个世界级的顶尖艺术城市，最终与纽约、伦敦等艺术名城比美。	Mr Lee Yock Suan, Singapore’s Minister for Information and the Arts, produced an ambitious report in a March parliamentary session. The government, he declared, was keen to establish the island-state as a global city of arts and culture eventually on par with such sites of the Muses as New York and London.
香港方面，原定今年元旦成立，取代“杀局”（解散两个市政局）后协助港府制订文化政策的文化委员会，在获委为主席的城市大学校长张信刚教授领导下，5月10日召开首次会议。	In Hong Kong, the newly formed Culture and Heritage Commission headed by Prof C K Chang, President of City University of Hong Kong, held its virgin meeting on May 10, attended by Mr Tung Chee Hwa, Chief Executive of Hong Kong Special Administrative Region.
特首董建华亲自出席，发表简短演说，他强调香港的经济发展远胜文化发展，文化硬件的建设亦较软件优胜。他认为香港应加深了解中国文化，同时吸收西方文化，令香港更多姿多彩，成为真正的国际文化中心。	In a brief speech, Mr Tung admitted that the cultural scene of Hong Kong was far less developed than the economic sector and, in cultural affairs, the “software” was lagging behind the “hardware”. Therefore, the Chief Executive advocated that Hong Kong should strive for a better understanding of the Chinese heritage while drawing upon the Western culture. This would add to Hong Kong’s cultural diversity and make the city a genuine global hub of the arts, Mr Tung added.
张信刚教授为了进一步证实香港是一个国际大都会，又引述最近美国研究人员遴选了香港为世界十大都会之一，期望文化委员会能带领香港更上一层楼。	Prof Chang went on to confirm Hong Kong’s stature as a major cosmopolitan centre, citing a recent study conducted in the United States which ranked the city among the “top 10” in the world. The Culture and Heritage Commission, he expected, would help Hong Kong attain even higher excellence in arts and culture.
新港两地一直以来崇尚经济主导，过分强调文化艺术的经济价值观，现在同时醒觉金钱无法提升创造力、拓阔思维空间，因此需要以全新角度给文化艺术重新定位。	For years, both Singapore and Hong Kong have prioritised economic growth, taking care of arts and culture only to the degree that they help promote trade and business. Then, it dawned upon them both that wealth alone cannot give people a creative mind or an enlightened vision, and that entirely fresh perspectives are needed for understanding the role and function of arts and culture.
毋庸讳言，香港开放与自由的文化政策、官方的财政资助，程度上优于新加坡，不仅因为地域上接近中华文化传统，更重要的是把区域性的广东文化融注生活中，无论教育、旅游、饮食、礼俗、宗教、音乐、电影、建筑、绘画、工艺，都凝聚成独特的多元化魅力，也解释了为何每年有千万游客，要一窥“东方之珠”的奥秘了。	There’s no denying that, compared with Singapore, Hong Kong enjoys more open and liberalised cultural policies as well as more generous public financial subsidies. Moreover, adjacent to the mainland, Hong Kong has been benefiting from the mainstream Chinese culture. Nourished by the rich heritage, a vernacular Cantonese subculture has evolved, expressing itself in various facets of life including cuisine, custom and tradition, tourism, education, religion, music, movies, painting, architecture, arts and crafts. The peculiar charm of cultural diversity explains why the Pearl of the Orient appeals to visitors from far and near, who have arrived in myriads year after year.
新加坡是多元种族的社会，除了华族文化外，马来文化、淡米尔文化也是重要支柱，利用这种优势，假以时日亦可成为“不一样”的文化中心。	As a multiracial society, Singapore can do well, too. Given time, the harmonious interaction between Chinese, Malay, and Indian heritages will make the island a cultural hub with a difference.
事实上，在全球化的趋势和知识经济的要求下，文化创造力已成为经济和社会发展一个着力点。政府制订艺文政策总体方向时，首先要拓展公平竞争和开放的空间，鼓励民间对文化内容的多元诠释，和容许不同表达方式，才能提供广阔的沃土，让种子发芽茁壮成林，间接在吸引人才方面更易荟萃精英，愿意在此落地生根。	Indeed, with the advent of globalisation and knowledge-based economy, cultural creativity has been recognised as an impetus for the progress of society and economy. Therefore, the Singapore government would be well-advised to map out policies on arts and culture conducive to fair competition in an open and liberal environment. Discussion of cultural issues should be encouraged and different modes of expression allowed, so that talent will be more likely to come and stay, just as seeds sprout and take root more easily in rich soil.
财政支援方面，新加坡政府未来五年将拨款5000万元“投资”软件及硬件设施；港府也承诺增加常规拨款，在资源分配的优先次序得到照顾，反映两地政府意识到搞文化事业无财不行的道理。	The Singapore government has pledged 50 million dollars for both “software” and “hardware” of culture during the next five years. Likewise, the Hong Kong government has promised a greater share of funding and higher priority for cultural undertakings. Both governments have come to see the importance of arts and culture.
论者认为，政府大事建设图书馆、剧院、博物馆、音乐厅之余，更要提升民众鉴赏力，及营造活泼的创作环境，不要以拨款作撒手锏，为文化艺术作官方“定性”，或介入具体的创作内容，才能让人感受到艺术的氛围，再也不会有人为一幅裸体画像、一出阴道独白、一个剧名，唠唠叨叨地作低层次的争论。	It has been suggested that the Singapore government should help bring about a social environment favourable for artistic creation and bring up a population keen to appreciate worthy works. While financing the building of libraries, theatres, museums, and concert halls, it should refrain, as far as possible, from using the allocations to dictate how the beneficiaries should operate or to interfere in the artists’ work. Then, in time, an atmosphere of art will make itself felt. No more trivial disputes will be heard over a painting of nudity, a monologue on stage, or a theatrical play’s title.
个人认为若能解放思想，唤起自信，在长期浸淫下，人们都能从各个角度去探讨文化问题，欣赏属于自己的文化与艺术遗产，那政府描绘的壮丽远景，并非海市蜃楼。只要有目标，任何时候起步都不会太迟的。	In my opinion, when people’s self-confidence is built up and their mind unbound, they will be able to explore various implications of culture from perspectives and appreciate their own cultural and artistic heritage. Then the blueprint as drawn up by the government will be translated into reality. It is never too late to start the efforts now that the goal is well-defined. (Translated by Allen Zhuang)
[原載2000-06-03《聯合早報》社論/言論/天下事 (Bilingual Section)]

东西文化的“长”与“短” / Strength of cultures: East and West

东西文化的“长”与“短” 潘国驹	Strength of cultures: East and West K. K. Phua
前几天在香港召开的第三届全球华人物理学大会上，诺贝尔奖得主杨振宁教授在他的发言中特别谈到了21世纪中华文化（或东方文化）在科学领域内将起到什么作用时，认为这是一个极为复杂的问题。	SPEAKING at the Third Joint Meeting of the Chinese Physics Societies held in Hong Kong recently, Nobel Laureate Prof Yang Chen-ning talked in particular about how Chinese culture – or Eastern cultures in general – would affect the development of science in the 21st century. To him, the issue will be an extremely complex one.
一方面东方社会，传统上重视教育，同时也有强烈的家庭观念。在这个基础上，子女的教育显得异常重要。	On the one hand, Eastern societies traditionally value education and family ties, attaching great importance to the upbringing of their young.
对日新月异的高科技发展，亚裔人士无疑将继续成为科技界的重要一群，并做出贡献。	Among scientists and technologists worldwide, said Prof Yang, those of Asian origin would undoubtedly emerge as a vital contingent with their distinctive contributions to the rapid advancements in high technologies.
另一方面，杨教授认为西方传统与东方传统有不同的内涵，他提出在美国的物理学界，会比较勇敢提出新的看法，敢于挑战学术权威。	On the other hand, Eastern people differ from Westerners in some cultural traits, Prof Yang pointed out. For example, physicists in the United States are generally bolder in putting forward fresh views and challenging existing authorities.
而且他认为几乎所有的科学家们都很“aggressive”。他说“aggressive”并没有中文译词，这说明在中国文化内没有类似“aggressive”的作风或态度。	And almost all scientists there are “aggressive”, said the Nobel Laureate. The epithet has no Chinese equivalent, he noted, probably because “aggressive” ways and attitudes are missing in Chinese culture.
如果我们勉强地解释，其中文意思为激进、攻击性。也许可以概括为个人奋斗的威猛作风。	The nearest translation of the English word would mean, roughly of course, “radical” or “offensive” to the Chinese mind. It could also be construed as a term describing the way a bold and enterprising person acts.
面对21世纪的来临，了解东西方文化的优点和缺点，对新加坡社会有很大的意义。	At the threshold of the 21st century, Singaporeans would do well to grasp both the strengths and weaknesses of the Eastern and Western cultures.
新加坡是亚洲的新兴国家，多元种族，再加上深受西方文化及科技的冲击，我们更应全面深入了解东西方文化的区别，分歧以及它们之间的融汇性。	As a newly-emerging nation in Asia, Singapore is characterised with multiracialism and influenced by Western culture and technology. Hence the particular need for an in-depth understanding of the cultural divergence and compatibility between East and West.
正如杨教授提出，东方传统重视教育，强调家庭观念，这是东方文化的优点，因此我们不断地培养，造就了许多科技人才。	The strength of the Eastern tradition, as pinpointed by Prof Yang, lies in its emphasis on education and family ties. That explains why numerous talented Asians have been brought up in the fields of science and technology.
儒家思想也提倡礼义廉耻，这种思想有几千年的历史，在东方社会根深蒂固。无疑这是优良的传统，但在21世纪我们是否应为“礼义廉耻”及其有关的传统作新的定位？新的诠释？	For thousands of years the values of propriety, righteousness, integrity, and honour as advocated in Confucianism have well taken root in Eastern societies. Definitely this is a worthy tradition. Yet, to adapt to the coming new era, shouldn’t we re-define and re-interpret our time-honoured tradition and values?
从近年的经验，我们深深地体验到无论在西方社会或在新加坡过于谦虚、礼让会吃许多亏。因为我们面对的竞争者是受西方的传统教育的学者，他们一个特点是尽量宣扬本身的长处。	For example, our experiences over the past years show that, in Singapore as well as in the West, one tends to suffer disadvantages when over-emphasising modesty and generosity. That is because we are competing with academics brought up in the Western tradition, who are good at projecting their fortes to the fullest.
在东方人看来是不谦虚的作法，从现实结果看，西方的作风是占优势，不突出自己的成就，就不能生存，也不能发挥本身的才华。	What is immodesty in the Eastern ethics has thus become an advantage in reality. So there is some merit in the Western way – one can hardly survive, let alone thrive, without highlighting one’s own achievements and potentials.
东方伦理是否全部不符合现代高科技社会？答案是否定的。取得成就，对科技有突破，除了个人的智慧才华外，还需要多种因素。	Then, is the Eastern ethics entirely incompatible with today’s high-tech society? The answer is “No”, because many factors besides individuals’ intelligence are necessary for advancements or breakthroughs in science and technology.
尤其是资讯发达，管理多样化的情况下，更需要社群的合作与协调。	In particular, given the advanced IT and diversified management systems, co-operation and co-ordination within a community are becoming crucial for success.
最典型的例子是犹太人的成就，除了个人的能力，犹太人在传统的宗教和文化的熏陶下都比较团结与合作。这个因素对犹太人在科技、金融等领域取得很大的成就有着密切的关系。	One classic example is the Jewish people with their various achievements resulting from their unity and mutual help in addition to their abilities, thanks to the distinctive heritage of their religion and culture. This has contributed greatly to the Jewish people’s success in science and financial fields.
东方社会传统上除了家庭观念外，也非常重视国家、民族的利益，所谓“先天下之忧而忧，后天下之乐而乐”，这种思想是应该肯定的。	Likewise, Eastern societies generally treasure the wellbeing of the family and, by extension, that of the nation and the state. So the Chinese have been taught to emulate their ancient role models who would gladly be the first to bear hardships before everybody else and the last to enjoy comforts.
东西文化的相互配合是目前新加坡社会的一个重要课题，没有“根”的社会是极为危险的。	Therefore, it is imperative for Singapore to ensure that cultures of East and West complement each other for its own good, since a “rootless” society would be in great peril.
不过，正如杨振宁教授所讲的，除了保留东方优良传统之外，也应注意注入西方“aggressive”精神及其他优点。	Nevertheless, Singaporeans should learn the “aggressiveness” and other strengths from the West to complement their own fine Eastern tradition, as suggested by Prof Yang.
这样在21世纪中，我们将会取得更多更大的成就。	Then we can hope to score even more and greater achievements in the coming century.
[作者为华文报咨询团成员、新加坡国立大学物理系兼任教授]	[The author is visiting professor of physics at NUS and member of Chinese Newspapers Resource Panel.] (Translated by Allen Zhuang)
[原載2000-08-14《联合早报》社论/言论/天下事 (Bilingual Section)]