記憶黑洞：為什麼歷史成了香港政府的「禁忌」？

 

記憶黑洞：為什麼歷史成了香港政府的「禁忌」？

在喬治．歐威爾的《1984》中，「記憶黑洞」是專門用來燒毀不合時宜事實的焚化爐。如今，香港政府似乎認為這座城市的歷史不再是值得傳承的遺產，而是一個需要被「除錯」的系統漏洞。幾十年來，政府年報裡總會用「騷亂」來輕描淡寫 1967 年那場癱瘓社會的動盪。雖然那本來就是經過修飾的官方說法，但至少，它承認了那段歷史的存在。

然而，從 2022 年的年報開始，整整一個「歷史」篇章就這樣憑空消失了。彷彿歷史只要不去記載，它就從未發生過。

這不只是刪除一段文字那麼簡單，這是一場對城市集體記憶的「智力閹割」。政府改寫歷史通常是為了確立自身的合法性，但徹底刪除歷史，則是一種更為冷酷、更具毀滅性的手段。當政府把「歷史」篇章抹去，他們其實是在宣告：過去不再是未來的鏡子，而是一個該被管理的負擔。

這種行為是威權統治的經典操作：透過壓制不愉快的敘事來維繫脆弱的秩序。人類社會的根基在於共享的記憶，但當這些記憶變得「不方便」時，當權者發現動動手指按下刪除鍵，遠比面對複雜的真相容易得多。抹去 1967 年的暴動，他們不僅是在隱藏一段混亂的歲月，更是在向公眾傳遞一個訊息——歷史不再是「發生過的事實」，而是由政府所「定義的素材」。

這是一種可悲的嘗試，試圖讓時間停滯。然而，歷史向來比當權者的橡皮擦更頑強。你可以刪掉那一頁，甚至撕掉整本書，但書中所承載的痛感與痕跡，早已烙印在城市的肌理之中。想要透過刪改文本來操控未來的人，往往忘了，遺忘歷史的人，終究會成為歷史最大的受害者。

The Memory Hole: How Hong Kong Is Erasing Its Own History

 

The Memory Hole: How Hong Kong Is Erasing Its Own History

In the dystopian world of George Orwell’s 1984, the "memory hole" was where inconvenient facts went to be incinerated. It seems the Hong Kong government has decided that local history is not a legacy to be cherished, but a malfunction to be patched. For decades, the annual government report contained a brief, sanitized acknowledgement of the 1967 riots—a period of social upheaval that crippled the city’s economy. It wasn't exactly a deep historical inquiry, but it was at least an admission that something, well, happened.

Then came the 2022 annual report. The entire "History" chapter, including any mention of the 1967 turmoil, simply vanished. Poof.

This isn't just about deleting a paragraph; it is an attempt to lobotomize the collective memory of a city. Governments usually rewrite history to frame their own legitimacy, but deleting it entirely is a bolder, more cynical strategy. By removing the "History" chapter, the authorities are signaling that the past is no longer a reference point for the future—it is merely an inconvenience to be managed. If a riot didn’t happen in the official record, did it happen at all?

This behavior is a textbook example of how fragile order is maintained through the suppression of inconvenient narratives. Human societies are built on shared stories, and when those stories become uncomfortable, the state finds it easier to reach for the eraser than to engage with the reality of what occurred. By erasing the 1967 riots, they aren't just hiding a period of chaos; they are signaling to the public that "history" is now something that the government dictates, rather than something that actually occurred. It is a pathetic attempt to freeze time. But history has a habit of being stubborn; you can delete the chapter, but the book itself remains, even if the ink starts to fade.

鼓盆而歌：莊子對於「結局」的冷冽幽默

鼓盆而歌：莊子對於「結局」的冷冽幽默

莊子的妻子過世，好友惠子前去弔唁，卻見莊子箕踞而坐，敲著盆子唱歌。這在講究禮儀、看重情緒表演的社會眼光看來，簡直是喪心病狂。然而，惠子看到的只是「失禮」，莊子看到的卻是「本源」。

莊子解釋得很清楚：他的妻子本來無生、無形、無氣，是在自然的運動中化生。現在死亡，也不過是變而為死，就像春秋冬夏的運轉一樣自然。如果我們強行要在四季輪替中加進悲傷，那才是對大自然的冒犯。這種視角將「生死」從個人的情感勒索中抽離出來，還原成了宇宙規律。

這種「不悲亦不喜」的冷靜，往往被凡人誤解為無情，但它其實是極致的通透。就像弘一法師在母親葬禮上，不跪也不哭，而是彈琴唱歌。他早已看穿「人生如夢」的本質。當我們還在執著於「我」這個受限的凡胎肉體時，開悟者早已看見生命只是一場能量的流轉：從氣到形，從形到生，最後又變而為死。這不是終結，而是一場沒有止境的流動。

現代人活在極度焦慮中，總把挫折當作世界末日，把死亡視為最大的恐懼。我們把「自我」看得太重，以為少了誰，宇宙就會崩塌。其實，我們不過是在物質與能量的汪洋中，暫時凝結成的一朵浪花。浪花消失了，海洋依舊是海洋。正如詩人雪萊所言：「我變化，但我不會死。」

常言道：「除了生死，其他都是擦傷。」這句話聽起來很有哲理，但在莊子眼裡，這其實還是太過矯情。因為他根本不認為死亡是「傷」。當你徹底理解自己不過是自然規律的一環，連「死亡」這個概念本身都會顯得荒謬。人生這場戲，悲傷與慶祝不過是不同的演出形式；既然結局已定，我們為何不學學莊子，敲著盆子，坦然走完這一遭呢？

The Ultimate Exit: Why Zhuangzi Drummed at His Wife’s Funeral

 

The Ultimate Exit: Why Zhuangzi Drummed at His Wife’s Funeral

When Zhuangzi’s wife died, his friend Huizi arrived to offer condolences, only to find the great philosopher sitting on the floor, banging on a basin and singing a tune. To Huizi—and to any sane, socialized human being—this looked like madness, or at best, a grotesque lack of grief. But Zhuangzi wasn’t dancing on a grave; he was celebrating the completion of a cycle.

He explained that when his wife was born, it was a transition from the formless into form, from nothingness into being. Her death was simply the reverse process—a return to the primordial soup of the cosmos. To Zhuangzi, mourning that transition is as irrational as weeping because the seasons change. It’s like being upset that autumn turns into winter. We are not static entities; we are fluid processes. We are waves in an ocean that never dries up.

This cold, hard, and strangely beautiful logic is what separates the "enlightened" from the rest of the tribe. We are hardwired to mourn because our biology prizes the individual above the flow. We see death as a "loss" because we view ourselves as private property. But Zhuangzi, like Master Hong Yi who sang at his mother’s funeral, looked past the biological vanity of the "self." Hong Yi didn't perform the ritualistic wailing expected of a pious son; he played music. He understood that our obsession with "grief" is just another way we cling to the illusion that we are permanent.

We are so desperate to distinguish ourselves from the environment that we treat every death as a personal affront. But Shelley got it right: "I change, but I cannot die." We are shifting shapes—from breath to form, from form to dust, from dust to whatever comes next. Whether you become a fish, a tree, or a cloud, the underlying energy remains.

In our world of hyper-attachment, where every minor setback is treated like a catastrophe, Zhuangzi offers a cynical, yet liberating, antidote. Most people believe that "everything except death is a minor scrape." Zhuangzi would laugh at that. He’d tell you that even death isn't a scrape. It’s just the moment you finally stop trying to hold back the tide.

生死的平衡：莊子對「幻象」的冷冽洞察

 

生死的平衡：莊子對「幻象」的冷冽洞察

莊子講過一個故事：麗姬被俘時痛哭流涕，以為末日將至，但當她進入皇宮、錦衣玉食後，回頭看自己當初的恐懼，竟覺得愚蠢至極。莊子冷冷地反問：「我又怎知那些死去的人，不會後悔當初面對死亡時的恐懼呢？」

我們受限於生物本能，總將「自我」視為永久的恆定，把死亡當作系統的毀滅。但歷史與哲學的冷眼觀察告訴我們，恐懼往往源於認知失調。我們把自己當作世界的主人，卻忘了我們只是這場時空旅店裡的匆匆過客。正如蘇軾與李白所感嘆，天地不過是逆旅，光陰不過是過客。用道家的視角看，生即是死，死即是生，這不過是一場自然的代謝，沒什麼好悲傷，也沒什麼好狂喜。

有一個冷笑話：病人問朋友死後的世界如何？朋友說：「應該不錯吧，不然死人怎麼都不回來？」這句調侃道盡了人類對未知的恐懼與無奈。智慧之士如古之「道友」四人，以「無」為頭，以「生」為背，以「死」為臀，這種對生死的徹底解構，不是頹廢，而是一種對抗存在焦慮的極致理性。他們明白，生與死本是一體，互為表裡，無需分別。

這讓我想到日本藝人樹木希林。她在暮年時透徹地領悟到，所謂「活著」，不過是在這世上四處穿梭、體驗各種劇本。死亡對她而言，僅僅是蛻掉「樹木希林」這層皮罷了。既然一切終將發生、終將過去，那些執著於掌控命運的焦慮，顯得格外荒謬。

我們不過是這場生物演化長河中，轉瞬即逝的火花。勇於正視死亡，才能把重心放回當下。既然結局已定，過程中的悲歡離合，又何必演得如此沉重？淡然而生，坦然而死，這不是對生命的輕慢，而是對宇宙秩序最誠實的敬意。

The Great Equilibrium: Zhuangzi’s Cynical Wisdom on Mortality

 

The Great Equilibrium: Zhuangzi’s Cynical Wisdom on Mortality

Zhuangzi, the ancient master of contrarian thought, tells a story about Lady Li, a beauty captured during a border war. When she was first taken, she wept until her clothes were soaked, terrified of her fate. But once installed in the palace, dining on delicacies and sleeping in silk, she looked back at her tears and felt like a fool. Zhuangzi’s punchline is jarring: How do we know the dead don’t look back at our terror of mortality and laugh?

We are biologically wired to treat death as the ultimate loss, the final system failure. We cling to the "Self" as if it were a permanent installation rather than a fleeting biological configuration. Yet, the history of human thought—from the Daoist masters to the stoic observers of our own age—reminds us that our fear is merely a lack of perspective. We act as if our survival is the point of the universe, failing to realize that life and death are not opposites; they are the same process, viewed from different ends of the telescope.

Consider the old joke: A man on his deathbed asks a friend what the "other side" is like. The friend replies, "It must be great; no one ever comes back." We laugh because it’s a dark, hollow comfort. It highlights the profound cynicism of human existence: we are terrified of the unknown, yet we spend our lives rushing toward it, treating our brief tenure as "guests" in this world as if we owned the hotel.

When the ancient scholars sat together, defining friendship by one’s ability to treat life as a spine and death as a hip—integral parts of the same skeletal whole—they weren't being morbid. They were being engineers of their own sanity. They understood that the "Self" is just a temporary skin. To live well is to acknowledge that the skin will eventually be shed. Everything that begins must end, and the anxiety we feel while waiting for that finale is the greatest waste of the performance.

思想的建築學：為什麼英文句子像摩天大樓

 

思想的建築學：為什麼英文句子像摩天大樓

英語的句法結構，簡直是一種建築學的傑作。它不像傳統漢語那樣呈現平面的流動感，而是一個立體的結構工程。句子的根基，永遠是那個堅實的「主語-謂語-賓語」結構，這是地基。隨後，句子開始垂直向上疊加：我們用 which 或 that 引導的從句作為房梁，用 -ing 或 -ed 的分詞短語作為裝飾性的鷹架，一層層地將修飾語、背景訊息與邏輯意圖往上搭建。

當我閱讀長難句時，我不在讀文字，我是在導覽一棟建築。目光來回跳動，先鎖定地基，再確認梁柱與屋頂。只有當所有層次接合完畢，這個立體結構才穩固地屹立在腦海中。這是一場邏輯的博弈，要求讀者既是結構工程師，也是空間觀察者。

相比之下，現代漢語在試圖模仿歐陸語言的精確時，顯得有些笨拙。經過大量翻譯文學的「改造」，我們強行塞入了從句結構，卻因缺乏成熟的關係代名詞，以及動詞時態的語法支撐，導致許多「歐式長句」讀起來雜亂無章。那往往不是摩天大樓，而是一堆坍塌的建材殘骸，試圖裝深奧，卻只顯得臃腫且疲憊。

我們正在試圖將一種側重「意合」的語言，強行塞進西方那種講究「形合」的幾何結構中。英語向上構築，漢語則向外鋪展。若我們不能在不犧牲漢語原生流暢度的前提下，發展出一套嚴謹的邏輯從屬體系，這些長句永遠只是結構上的「幽靈」。對於漢語的優化與改造，我們不僅僅是在談論修辭，我們是在挑戰一項尚未完成的語言工程，而這條路，顯然還長得很。