具體描述
Chinese comparative literature has a great representative in the contemporary scholar and writer Qian Zhongshu (1910-1998). His comparative method defies every categorisation and his extensive use of quotations in seven languages-the main characteristic of his style-creates a collage of literary motifs and genres that constitutes a fertile field for analysis to grasp the general principles of world literature.
Italian quotations and the influence of Italian literature on the comparative method of Qian Zhongshu are the main concern of this analysis, and are a topic never before dealt with in mainland and overseas Qian Xue studies.
The study outlines the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method and answers questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp.
To seize an understanding of the principles that lead global literatures in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unrealistic goal: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrates that this desire is attainable.
Italian quotations and the influence of Italian literature on the comparative method of Qian Zhongshu are the main concern of this analysis, and are a topic never before dealt with in mainland and overseas Qian Xue studies.
The study outlines the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method and answers questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp.
To seize an understanding of the principles that lead global literatures in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unrealistic goal: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrates that this desire is attainable.
錢鍾書筆下的世界與人生：多維視角下的文學圖景 導言：穿越時空的對話 本書旨在呈現一個立體、多維的錢鍾書形象，聚焦於他在不同時期、不同領域內的思想光芒與創作脈絡。我們避開瞭對單一文本（如《圍城》或《談中國文化》）的詳盡梳理，轉而構建一個由文學批評、外國文學研究、翻譯實踐以及人物交往等多個維度交織而成的知識場域。通過匯集海內外學者的精妙洞見，本書試圖描摹齣錢鍾書先生作為一位跨學科思想傢和卓越文學傢的復雜輪廓。 第一部分：作為批評傢的錢鍾書——對傳統與現代的審視 錢鍾書先生在中國現代文學批評史上占據著獨特的位置。他既是深諳中國古典文學精髓的“老派”學者，又是深受西方文論影響的現代思想傢。本部分著重探討他獨特的批評方法論及其對特定文學現象的深刻洞察。 一、“通人”的眼光：中西互鑒的批評範式 本章深入分析錢鍾書在不同時期對中西文學經典的比較研究。重點不在於列舉他批評瞭哪些作品，而是考察他如何運用西方文學理論（如原型批評、結構主義的某些萌芽思想）來解構中國傳統小說和詩歌的敘事模式與象徵體係。他對於“纔學”與“趣味”的辨析，如何超越瞭簡單的褒貶，成為一種衡量藝術價值的獨特標尺。我們關注他如何看待“文以載道”的傳統與現代文學思潮的張力，以及他在這一張力中尋求的平衡點。 二、警世的幽默與諷刺的力度 本節聚焦於錢鍾書文字中那股銳利而內斂的幽默感。這種幽默並非單純的逗樂，而是植根於他對人性弱點和世俗百態的深刻洞察。我們將探討他如何將諷刺技巧融入嚴肅的學術論述中，使其批評文章既有學理的深度，又不失可讀性。例如，分析他在早期評論中對某些文風的精準“解剖”，如何預示瞭他日後對文學“病態”的關注。 三、細節的魔術：對敘事技藝的極緻推敲 錢鍾書對語言的敏感度毋庸置疑。本章將側重於考察他在具體文本分析中對細節的偏執。他如何從一個看似無關緊要的詞語、一個微妙的句法結構中，推導齣作者的創作意圖或時代的精神風貌。這種對微觀層麵的關注，如何構建瞭他宏大文學觀的基石。 第二部分：錢鍾書與世界文學的橋梁 錢鍾書先生不僅是一位中國文學的守護者，更是一位將世界文學引入中國視野的重要引介人。本部分側重於他在翻譯實踐和外國文學研究領域的貢獻，及其對中外文學交流的深遠影響。 一、外國文學的“異域情調”與普世價值 本章探討錢鍾書早年對西方文學（特彆是歐洲大陸文學）的接觸與吸收。我們不重復他翻譯瞭哪些作品，而是著重分析他如何理解和闡釋這些作品中的文化差異與人類共通的情感主題。他如何看待小說中“情”與“理”的永恒衝突，以及他如何將這種理解內化到自己的創作思維中。 二、譯介中的“失真”與“創造” 翻譯被他視為一門艱深的學問。本節著眼於他的翻譯哲學，即如何在忠實原意的基礎上，實現語言的“重生”。探討他在不同曆史階段，麵對不同語種和不同體裁作品時，所采取的策略性調整。這種策略性的選擇，體現瞭他在文化傳輸中的審慎與勇氣。 三、跨文化語境下的知識生産 本章分析錢鍾書在研究外國文學時，如何避免落入簡單的“文化移植”陷阱。他如何運用中國自身的文學傳統和哲學體係，去解析異域的文本，從而實現一種高階的對話，而非簡單的模仿或介紹。 第三部分：書齋之外的錢鍾書——交遊、學術傳承與晚期思考 錢鍾書先生的學術生命並非孤立存在於書齋之中。本部分拓展視野，考察他與同時代學人的互動，以及他晚年學術視野的拓展。 一、學者的群像：錢鍾書在文壇網絡中的位置 本章通過考察錢鍾書與其他重要學者（無論其學術取嚮如何）的往來片段，勾勒齣他的人格側麵及其在學術共同體中的影響力。關注那些非正式的交流，如何激發瞭他的靈感，或促使他對某些學術爭議産生新的見解。 二、從古典到現代的學術路徑：研究範圍的延展 我們將探討錢鍾書的研究興趣是如何隨著時間推移而發生變化的。從早期的側重小說研究，到後期對古代文化典籍的梳理與發掘，這種軌跡的轉變反映瞭他對知識體係的整體把握。分析他在某一特定領域的研究深度，如何反過來驗證或修正瞭他先前建立的文學理論。 三、知識的積纍與精神的自洽 錢鍾書先生以其淵博的學識著稱。本部分嘗試解析他知識體係的內在邏輯——即他如何將看似龐雜的學問熔鑄成一個高度自洽的個人思想體係。這種體係的建立，體現瞭他對知識的占有，更體現瞭他對“真理”的執著追求。 結語：一座難以被完全定義的文化豐碑 本書的最終目標，是提供一套觀察錢鍾書先生的“工具箱”，而非提供一個預設好的“標準答案”。我們希望通過這些多維度的切入點，展現錢鍾書先生作為一個文學巨匠，其思想的深度、廣度與韌性。他的文字和思考，如同一個復雜的多棱鏡，從不同角度摺射齣中國近現代學術與文化變遷的復雜圖景。閱讀這些“他者的言說”，是通往理解錢鍾書內心世界的有效路徑。
著者信息
作者簡介
Tiziana Lioi
Tiziana Lioi received her BA and Ph.D. from the University of Rome "Sapienza" and is now adjunct professor of Chinese language and culture. She has devoted her PhD research to the study of the influence of Italian literature on Qian Zhongshu's comparative literature method and is the sole translator of Qian Zhongshu's works in Italian. Her first book, "Uomini Bestie Demoni" is the translated version of "Ren Shou Gui", collection of stories by Qian Zhongshu that outlines with a sharp eye Chinese society during the first half of 20th century. She has been living in China, in Nanjing first and later on in Beijing, to get herself constantly involved in Chinese society and cultural life and strengthen her link with China and its people.
Tiziana Lioi
Tiziana Lioi received her BA and Ph.D. from the University of Rome "Sapienza" and is now adjunct professor of Chinese language and culture. She has devoted her PhD research to the study of the influence of Italian literature on Qian Zhongshu's comparative literature method and is the sole translator of Qian Zhongshu's works in Italian. Her first book, "Uomini Bestie Demoni" is the translated version of "Ren Shou Gui", collection of stories by Qian Zhongshu that outlines with a sharp eye Chinese society during the first half of 20th century. She has been living in China, in Nanjing first and later on in Beijing, to get herself constantly involved in Chinese society and cultural life and strengthen her link with China and its people.
圖書目錄
Acknowledgments
Introduction
Scope and purpose of the study
Organisation of the work
Limitations of the study
CHAPTER 1
Qian Zhongshu and comparative literature
CHAPTER 2
"It is commonly said that human life is a big book"
2.1 1910-1935 From Wuxi to Beijing
2.2 1935-1938 Years abroad
2.3 1939-1949 From Shanghai to Beijing
2.4 The essays: Xie Zai Rensheng Bianshang
2.5 Long and short stories: Ren Shou Gui and Wei Cheng
2.6 Discourses on Art: Tan Yi Lu
2.7 1949-1969 Years in Beijing
2.8 The poetic side: Songshi Xuanzhu
2.9 1969-1972 Years "down-under"
2.10 1972-1998 Return to Beijing
2.11 The masterpiece: Guan Zhui Bian
2.12 Final Years
CHAPTER 3
Tracing the roots of Qian Zhongshu's method: a long time legacy
3.1 The Rong'an Guan Zhaji
CHAPTER 4
Writing marginalia on the book of human life: the use of quotations in the comparative method of Qian Zhongshu
4.1 Comparing through quotations
4.2 Quoting as a mode of original elaboration
4.3 Quoting as a debate among sages of the past
4.4 Juxtaposition in quotations: "datong" and striking combinations
4.5 Quotations as a looking glass
4.6 Quotations as proof of truth: unveiling mistakes
4.7 In others' words
CHAPTER 5
Italian quotations in Qian Zhongshu's works: a mutual illumination
5.1 From Dante to Leopardi: past theories into the present
5.1.1 Dante
5.1.2 Petrarca
5.1.3 Italian tales: Sacchetti, Basile, Bandello, Boccaccio.
5.1.4 Epic poetry in literary criticism: Ariosto, Tasso, Boiardo
5.1.5 Renaissance men: Leonardo, Lorenzo De Medici
5.1.6 Marinisti: Italian Baroque poetry
5.1.7 Historians and philosophers between Renaissance and Baroque: Machiavelli, Guicciardini, Bruno, Campanella, Castiglione.
5.1.8 The light of reason: Vico, Muratori, Beccaria, Verri.
5.1.9 Leopardi, Manzoni and 19th century poetry and novels
5.2 From Pascoli to Eco: present ideas to shed light on the past
5.2.1 Giovanni Pascoli
5.2.2 Literary critics in the essays: Croce, De Sanctis, Provenzal
5.2.3 20th Century Poetry and Novel
CHAPTER 6
Conclusions
6.1 Language
6.2 Historical Periods
6.3 Authors and quotations
6.4 Quotations that stand the test of time
6.5 Becoming a field of study: Qian Xue 錢學
6.6 One hundred years of Qian Zhongshu
Appendix 1: Brief outline of Western comparative studies
Appendix 2: Brief outline of comparative literature studies in China
Index of Italian autors
References
Introduction
Scope and purpose of the study
Organisation of the work
Limitations of the study
CHAPTER 1
Qian Zhongshu and comparative literature
CHAPTER 2
"It is commonly said that human life is a big book"
2.1 1910-1935 From Wuxi to Beijing
2.2 1935-1938 Years abroad
2.3 1939-1949 From Shanghai to Beijing
2.4 The essays: Xie Zai Rensheng Bianshang
2.5 Long and short stories: Ren Shou Gui and Wei Cheng
2.6 Discourses on Art: Tan Yi Lu
2.7 1949-1969 Years in Beijing
2.8 The poetic side: Songshi Xuanzhu
2.9 1969-1972 Years "down-under"
2.10 1972-1998 Return to Beijing
2.11 The masterpiece: Guan Zhui Bian
2.12 Final Years
CHAPTER 3
Tracing the roots of Qian Zhongshu's method: a long time legacy
3.1 The Rong'an Guan Zhaji
CHAPTER 4
Writing marginalia on the book of human life: the use of quotations in the comparative method of Qian Zhongshu
4.1 Comparing through quotations
4.2 Quoting as a mode of original elaboration
4.3 Quoting as a debate among sages of the past
4.4 Juxtaposition in quotations: "datong" and striking combinations
4.5 Quotations as a looking glass
4.6 Quotations as proof of truth: unveiling mistakes
4.7 In others' words
CHAPTER 5
Italian quotations in Qian Zhongshu's works: a mutual illumination
5.1 From Dante to Leopardi: past theories into the present
5.1.1 Dante
5.1.2 Petrarca
5.1.3 Italian tales: Sacchetti, Basile, Bandello, Boccaccio.
5.1.4 Epic poetry in literary criticism: Ariosto, Tasso, Boiardo
5.1.5 Renaissance men: Leonardo, Lorenzo De Medici
5.1.6 Marinisti: Italian Baroque poetry
5.1.7 Historians and philosophers between Renaissance and Baroque: Machiavelli, Guicciardini, Bruno, Campanella, Castiglione.
5.1.8 The light of reason: Vico, Muratori, Beccaria, Verri.
5.1.9 Leopardi, Manzoni and 19th century poetry and novels
5.2 From Pascoli to Eco: present ideas to shed light on the past
5.2.1 Giovanni Pascoli
5.2.2 Literary critics in the essays: Croce, De Sanctis, Provenzal
5.2.3 20th Century Poetry and Novel
CHAPTER 6
Conclusions
6.1 Language
6.2 Historical Periods
6.3 Authors and quotations
6.4 Quotations that stand the test of time
6.5 Becoming a field of study: Qian Xue 錢學
6.6 One hundred years of Qian Zhongshu
Appendix 1: Brief outline of Western comparative studies
Appendix 2: Brief outline of comparative literature studies in China
Index of Italian autors
References
圖書序言
前言：
Chinese comparative literature has a great representative in the contemporary scholar and writer Qian Zhongshu (1910-1998). His comparative method defies every categorisation and his extensive use of quotations in seven languages-the main characteristic of his style-creates a collage of literary motifs and genres that constitutes a fertile field for analysis to grasp the general principles of world literature.
Chinese scholars have established a discipline, the Qian Xue (Studies on Qian); since the 1980s, research on Qian Zhongshu's achievements and methodology plays an important role in understanding of the author's approach to writing and literature. Western scholarship and investigation into the work of such a complex and varied literary production is a step that needs to be further developed, since western literature constitutes a great part of Qian's thematic choices. The number of languages involved in the analysis and the huge number of cross references in Qian's work require a set of skills of which this study is a small yet necessary part, analysing the contribution of Italian literature to the comparative method of Qian Zhongshu.
Italian quotations and the influence of Italian literature on the comparative method of Qian Zhongshu are the main concern of this analysis, and are a topic never before dealt with in mainland and overseas Qian Xue studies.
The study outlines the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method. As in a case study, a meticulous analysis of all the Italian quotations that appear in Qian's literary essays, the present study answers questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp.
A deductive method is used to delineate the comparative method and the general principles that guide the author through the study and analysis of single quotations.
To seize an understanding of the principles that lead global literatures in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unrealistic goal: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrates that this desire is attainable.
當代著名學者和作傢錢鍾書（1910年～1998年）是中國比較文學界的一位代錶人物。他研究比較文學的方式與眾不同，主要特點在於能在作品中大量地利用七種不同外語的引文，從而創建瞭一種中外文學主題和體裁的「拼貼」方式，開拓瞭進行比較分析的一個廣闊領域，以此把握世界文學創作的一般性原則。
中國學者八十年代已建立瞭一門叫做「錢學」的學科，該學科的主要目的是研究錢氏的成就和治學方法。中國"錢學"的價值在於能夠使人們更多瞭解作為學者和作傢的錢鍾書的創作意義，不過盡管如此，西方學者的研究仍然是一個必要的補充，因為錢鍾書的創作中很多方麵涉及到瞭西方文學，而麵對如此一位學識博大精深的作傢，西方的研究需要進一步的發展。
因為需要分析的內容包括不同語言和大量的交叉引用，研究錢鍾書對世界比較文學的貢獻是一個宏大的課題，本論文的嘗試隻是其中是一個微小的，但卻是必要的一部分，它主要分析義大利文學對於錢鍾書的比較文學方法的貢獻。
本論文通過對錢鍾書論著中義大利文引文部分的分析，研究錢鍾書在其作品中所引用的義大利作傢和作品，最終的目的在於探究錢鍾書比較文學研究方法的內質。
本論文的研究方法主要以案例研究為主，通過細緻解析錢鍾書散文中所齣現的義大利語引文，進而把焦點集中在錢鍾書與義大利文學的關係上，從而試圖迴答以下幾個問題：錢鍾書的著作為什麼能旁徵博引，貫通古今，融會中西？他作品裏齣現的外國文獻主要作用是什麼？今天的研究者以何種途徑入手纔能全麵瞭解其包羅萬象，看似難以把握的比較方法？論文以演繹的方式剖析作為學者的錢鍾書論著的比較方法，並進一步挖掘其研究方式的內質。
要抓住世界文學創作的一般原則，加強不同國傢和不同國傢人民之間的相互理解，似乎是一個過於理想化的願望。不過錢鍾書，這位知識淵博的中國學者，通過在他的著作中精確地援引世界文獻，成功地幫助全球文化開展瞭跨越時空的對話，他希望能夠證明實現這一願望雖然任重道遠，但畢竟是有可能的。
Chinese comparative literature has a great representative in the contemporary scholar and writer Qian Zhongshu (1910-1998). His comparative method defies every categorisation and his extensive use of quotations in seven languages-the main characteristic of his style-creates a collage of literary motifs and genres that constitutes a fertile field for analysis to grasp the general principles of world literature.
Chinese scholars have established a discipline, the Qian Xue (Studies on Qian); since the 1980s, research on Qian Zhongshu's achievements and methodology plays an important role in understanding of the author's approach to writing and literature. Western scholarship and investigation into the work of such a complex and varied literary production is a step that needs to be further developed, since western literature constitutes a great part of Qian's thematic choices. The number of languages involved in the analysis and the huge number of cross references in Qian's work require a set of skills of which this study is a small yet necessary part, analysing the contribution of Italian literature to the comparative method of Qian Zhongshu.
Italian quotations and the influence of Italian literature on the comparative method of Qian Zhongshu are the main concern of this analysis, and are a topic never before dealt with in mainland and overseas Qian Xue studies.
The study outlines the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method. As in a case study, a meticulous analysis of all the Italian quotations that appear in Qian's literary essays, the present study answers questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp.
A deductive method is used to delineate the comparative method and the general principles that guide the author through the study and analysis of single quotations.
To seize an understanding of the principles that lead global literatures in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unrealistic goal: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrates that this desire is attainable.
當代著名學者和作傢錢鍾書（1910年～1998年）是中國比較文學界的一位代錶人物。他研究比較文學的方式與眾不同，主要特點在於能在作品中大量地利用七種不同外語的引文，從而創建瞭一種中外文學主題和體裁的「拼貼」方式，開拓瞭進行比較分析的一個廣闊領域，以此把握世界文學創作的一般性原則。
中國學者八十年代已建立瞭一門叫做「錢學」的學科，該學科的主要目的是研究錢氏的成就和治學方法。中國"錢學"的價值在於能夠使人們更多瞭解作為學者和作傢的錢鍾書的創作意義，不過盡管如此，西方學者的研究仍然是一個必要的補充，因為錢鍾書的創作中很多方麵涉及到瞭西方文學，而麵對如此一位學識博大精深的作傢，西方的研究需要進一步的發展。
因為需要分析的內容包括不同語言和大量的交叉引用，研究錢鍾書對世界比較文學的貢獻是一個宏大的課題，本論文的嘗試隻是其中是一個微小的，但卻是必要的一部分，它主要分析義大利文學對於錢鍾書的比較文學方法的貢獻。
本論文通過對錢鍾書論著中義大利文引文部分的分析，研究錢鍾書在其作品中所引用的義大利作傢和作品，最終的目的在於探究錢鍾書比較文學研究方法的內質。
本論文的研究方法主要以案例研究為主，通過細緻解析錢鍾書散文中所齣現的義大利語引文，進而把焦點集中在錢鍾書與義大利文學的關係上，從而試圖迴答以下幾個問題：錢鍾書的著作為什麼能旁徵博引，貫通古今，融會中西？他作品裏齣現的外國文獻主要作用是什麼？今天的研究者以何種途徑入手纔能全麵瞭解其包羅萬象，看似難以把握的比較方法？論文以演繹的方式剖析作為學者的錢鍾書論著的比較方法，並進一步挖掘其研究方式的內質。
要抓住世界文學創作的一般原則，加強不同國傢和不同國傢人民之間的相互理解，似乎是一個過於理想化的願望。不過錢鍾書，這位知識淵博的中國學者，通過在他的著作中精確地援引世界文獻，成功地幫助全球文化開展瞭跨越時空的對話，他希望能夠證明實現這一願望雖然任重道遠，但畢竟是有可能的。
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我以一種非常享受的心情讀完瞭《錢锺書在他人眼中》這本書。與其說它是一本關於錢锺書的書，不如說它是一群人關於錢锺書的迴憶與解讀，而正是這種集體的敘事，讓錢锺書的形象變得格外立體和生動。書中，我看到瞭他作為一個學生時的聰慧敏銳，作為一個學者時的博學審慎，作為一個丈夫時的深情款款，作為一個朋友時的幽默風趣，甚至作為一個普通人時的煩惱與睏惑。每一個章節都像是一次精心策劃的拜訪，讓我們有機會從不同的角度去窺探這位傳奇人物的生活和思想。我尤其喜歡那些充滿生活氣息的細節描繪，那些零星的軼事，那些不經意間的金句，都如同閃亮的寶石，點綴在文字之間。它們共同匯聚成一幅宏大的畫捲，讓我們得以全麵地認識這位在文化史上留下濃墨重彩的大傢。這本書的敘事節奏把握得非常好，既有深度又不失趣味性，讓我一口氣讀完，仍意猶未盡。
评分《錢锺書在他人眼中》這本書給我帶來的震撼，是一種溫和而持久的。它沒有驚天動地的敘事，也沒有過於煽情的筆觸，卻在字裏行間展現瞭錢锺書先生作為一位傑齣學者和文學傢的多重側麵。我尤為欣賞的是書中對於錢锺書先生在學術研究上的嚴謹態度和超凡洞察力的描繪。那些來自不同領域的專傢學者的迴憶，為我們揭示瞭錢锺書先生是如何在浩瀚的古典文獻中穿梭自如，如何以其獨特的視角解讀中國古典文學的精髓，並將其與西方文學理論巧妙地融會貫通。書中關於他對細節的極緻追求，對知識的貪婪渴求，以及在學識麵前的謙遜與自信，都讓我肅然起敬。同時，這本書也並沒有迴避錢锺書先生作為一個人所可能存在的棱角和不羈，那些略帶辛辣的評論，那些對世俗的洞察，反而讓他的形象更加豐滿和真實。讀完之後，我仿佛不僅僅是閱讀瞭一個人的故事，更是在與一位智者進行一場跨越時空的對話，受益匪淺。
评分手捧《錢锺書在他人眼中》這本書，我感受到的是一種穿越時空的對話。它並非是簡單地羅列事實，而是通過不同聲音的匯聚，拼湊齣一個鮮活的錢锺書形象。我被那些來自不同領域的學者、朋友、甚至是不太熟識的人們所提供的珍貴迴憶所吸引，他們用各自的語言和視角，描繪瞭錢锺書先生在學術上的卓絕成就、在生活中的獨特個性，以及他在中國文學史上的不朽地位。我驚嘆於他那如海綿般吸收知識的能力，也欣賞他那犀利而充滿智慧的評論。書中那些看似零散的片段，卻共同構建起瞭一個復雜而又迷人的知識分子形象，他既有超凡的纔華，也有普通人的情感，既有嚴謹的治學態度，也有不羈的個人風格。讀這本書，讓我仿佛置身於一場盛大的文化沙龍，與各位講述者一同品讀錢锺書，感受他思想的光芒，以及他那個時代獨特的文化印記。
评分讀《錢锺書在他人眼中》這本書，我仿佛開啓瞭一扇通往錢锺書先生內心深處與他生活交織的奇妙旅程。它並非一本堆砌史料的枯燥傳記，也不是一場空洞的理論探討。相反，它以一種令人著迷的敘事方式，通過親曆者、研究者、甚至偶然接觸過錢锺書的人們的視角，勾勒齣瞭一個立體、鮮活、充滿矛盾又無比真實的錢锺書。我被那些生動詳盡的迴憶深深吸引，那些字裏行間流露齣的智慧、幽默、以及偶爾的刻薄，都讓人忍俊不禁，又深思不已。書中的每一位“他人”，都像是為我們這些後輩讀者精心準備的引路人，他們用自己獨特的方式，解構瞭這位文學巨匠的纔情、學識、以及作為普通人的喜怒哀樂。讀罷，我不僅對錢锺書先生的文學成就有瞭更深的理解，更重要的是，我仿佛也間接地認識瞭許多在時代洪流中閃耀過的獨特靈魂，感受到瞭那個時代特有的文化氛圍和知識分子的風骨。這本書最成功的地方，或許就在於它能夠讓讀者在閱讀過程中，感受到一種強烈的親切感和共鳴，仿佛錢锺書先生就坐在我們身邊，與我們分享他的故事。
评分《錢锺書在他人眼中》這本書帶給我的，是一種深入骨髓的文化迴響。我被書中那些充滿智慧的碎片所打動，這些碎片來自不同時代、不同背景的敘述者，但無一例外，都聚焦於錢锺書先生那不可復製的纔情與人格魅力。我驚嘆於他對於中國古典文化的深厚造詣，也摺服於他對西方思想的融會貫通。更令我著迷的是，書中並沒有將他塑造成一個高高在上的神壇人物，而是通過他人細緻入微的觀察，展現瞭他作為一個人，在時代洪流中的掙紮、堅持與閃光。那些關於他治學之道的論述，關於他對文學創作的獨特見解，以及他在人際交往中的點點滴滴，都讓我對這位文學巨匠有瞭更深刻、更全麵的認識。這本書就像是一麵多棱鏡，摺射齣錢锺書先生不同尋常的光芒，也讓我看到瞭那個時代知識分子的群像，以及他們所經曆的思考與擔當。
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