历史系男生

只能说我太shallow，片子看完长达一周的时间，还摸不透。

只是有一些零散的片段。

1.英国最美好的事物：男校+同性恋 果然是没错的2.太多的文学文法诗歌知识，只能再次证明我的粗浅。

3.Hector是一个让人不好分辨的人。

道德真是个抽象而无耻的词。

当不同价值观碰撞的时候，一面的H是好教师，一面的H是烂老师。

由此再说到的是海南校长案。

到底是应该说孩子民风彪悍，还是说从女权主义的视角出发，抵触这种极度依附男权道德观的事情了。

所以我说道德真是个无耻而没底线的东西

看完这部片子顺手在豆瓣上粗略整理了下春风化雨啥啥的电影豆列，那些关于麻辣鲜师和变态学生的狗血故事在激励我不断成长的同时，电影情结和人物性格的设定也在随着时代价值观的变化与时俱进。

现在回头看《死亡诗社》里的罗宾威廉姆斯，难免很多地方觉得煽过头的痕迹明显。

《蒙娜丽莎的微笑》里的朱丽娅罗伯茨的女权思想如今看来就是理所当然。

《弦动我心》和《放牛班的春天》的故事那就更加温和；《摇滚校园》则是前面两者的嗑药版⋯⋯但是，但是，总有些东西在这类电影里是根深蒂固且勾引你一遍遍地老调重弹，就像所有的“灰姑娘啥啥的电影”或者“有关青春啥啥的电影”，我们最拒绝不了的最俗烂的东西就是真善美。

《历史系男生》里讲了很多。

豆瓣里普遍的tag是“英国”，“同志”，这tag得真不是一般得潦草。

同志的部分在这部电影里的比重我还真是说不出来。

大部分的时间里甚至是意识不到的。

这是一部电影的拍摄态度。

真正的对同性习以为常，真正的尊重，何以把它当成问题来探讨。

片里Ponster对Dakin的爱慕和Dakin与Irwen老师之间的情愫，自然感人，尤其小P对着Dakin的那首bewitched，我只能说怦然心动啊。

当我们谈论爱情时，我们就谈爱情。

所以这不是部同志电影，至少not meant to be.在所有的春风化雨的电影里，它讲的东西比其他的多点；在师生情的滥觞上，它比其他的克制点；片子涉及了关于教育、历史、文学以及如何去爱。

大量的引用，我花了2个半小时来看这部1个半小时的电影。

两个主要的教师形象雕琢精细丰满，剧本功夫之深，值得字字斟酌。

Hector的教育方式就是对"civilization"的诠释。

男孩们对Irwin说起Hector的课，很值得引用下。

- It's higher than your stuff. It's nobler.- Only not useful.- It makes us more rounded human being.Hector在文学里寻找现实生活里没有的幸福感，他不屑于男孩们对牛津剑桥钻牛角尖的热情。

他引用济慈"Happy is England, sweet her artless daughters. Enough her loveliness for me"又有，Timms在课上抱怨看不懂poetry of more traditional sort,- I can't always understand the poetry.- I never understand it. But learn it now, know it now and you will understand it, whenever.- I don't see how we can understand it. Most of the poetry's about has happened to us yet.- But it will. And when it does, you will have the antidote ready. Grief, happiness... even when you are dying, we are making your death beds here. Irwin是彻底的应试型老师，技术型选手。

他聪明敏捷迅速。

对于男孩们而言他就像新东方里的老师，知道怎么考试，感觉起来又很牛逼。

对于大学入学考试，他说"This examination is gonna be everything and anything you know and are." 要学会如何吸引考官的眼球，要语出惊人。

片子里Irwin对历史的评价很有嚼头。

"There is no better way of forgetting something than by commemorating it.""Our perspective on the past alters, and looking back, immediately in front of us is dead ground. Because we don't see it, this means there is no period so remote as recent past. And one of the historians' job is to anticipate what our perspective of that period will be.“Hector和Irwin的区别，长点的话，用校长的话来解释就是，"It isn't that he doesn't produce results - he does. But they are unpredictable and unquantifiable. And in the current education climate, that is of no use. There's inspiration. How to quantify it?“ 短点用男孩的话来说就是"THOUGHTFUL or SMART?"，无论从形式内容和结果来说，H和I都是有所为的，thoughtful和smart描述真心准确，我也没法找到再准确的描述来描述这个描述。

小P最后成了老师，Hector热爱的复合式形容词、虚拟语态会有人传承下去。

其实不是小P的话也总有别人。

关于生命中的爱和善，总会传承的。

对于一场人生，就像那必然存在的功利面一样，对文明的追求也是对立的必然的存在。

最后小P说，"I'm not happy，but I'm not unhappy about it." 说话间神情坦然，这叫什么？

这就叫直面惨淡的人生啊。

有用没用是对一个事物最廉价的评价标准，Hector的课，所谓的精神文明给我们的，应该是这样的勇气。

以及一些其他精彩的引用和台词："All knowledge is precious whether or not is serves the slightest human use."—— Hector说知识。

"Sometimes it just flows out, you know, brims out."—— Timms说出口成章。

"England, you've been here too long, and the songs you sing are the songs you sang on a braver day. Now they are wrong." Steve Smith "Not waving but Drowning""In your own time, pass the parcel. Take it. Feel it. Pass it on. Not for me, not for you, but for someone, somewhere, someday...pass it on.” —— Hector说文明的薪火相传。

"Whereof one cannot speak, thereof one must be silent."16. "If it can be explained, it can be explained away."——众人谈法西斯屠杀犹太人。

考据癖如我找了找片中提到的诗歌。

原诗在前，网上能找到的中文译本放在后面。

这几首里我最喜欢是《鼓手霍奇》。

[No.1] 眠歌- []LullabyBy W.H.AudenLay your sleeping head, my love, Human on my faithless arm; Time and fevers burn awayIndividual beauty fromThoughtful children, and the graveProves the child ephemeral: But in my arms till break of dayLet the living creature lie, Mortal, guilty, but to meThe entirely beautiful.Soul and body have no bounds: To lovers as they lie uponHer tolerant enchanted slopeIn their ordinary swoon, Grave the vision Venus sendsOf supernatural sympathy, Universal love and hope; While an abstract insight wakesAmong the glaciers and the rocksThe hermit's carnal ecstasy.Certainty, fidelityOn the stroke of midnight passLike vibrations of a bellAnd fashionable madmen raiseTheir pedantic boring cry: Every farthing cost, All the dreaded cards foretell, Shall be paid, but from this nightNot a whisper, not a thought, Not a kiss nor look be lost.Beauty, midnight, vision dies: Let the winds of dawn that blowSoftly round your dreaming headSuch a day of welcome showEye and knocking heart may bless, Find our mortal world enough; Noons of dryness find you fedBy the involuntary powers, Nights of insult let you passWatched by every human love.　摇篮曲　　薛舟 译放下你沉睡的头，我的爱，在我背叛的臂弯里：时间和热病烧掉了个体的美丽，从沉思的孩子身上，坟墓证明那孩子的短命：但在破晓之前，先让仅存的生者躺在我的臂弯，平凡、有罪，对我来说却是彻底的美丽。

爱人们的灵魂和肉体没有界限：当他们躺在惯常的陶醉中那被施以魔法的宽容的斜坡，铭记下维纳斯送来超自然的同情心、以及普遍的爱和希望的幻象；当一个抽象的顿悟从冰河与岩石中唤醒隐士世俗的狂热。

确定性，和忠诚在午夜钟声的敲打中走开像一个铃铛在颤动时髦的疯子提高了他们书生气的烦人的喊叫：损失掉的每一法寻都要被偿还。

所有恐怖的纸牌的预言都要得到兑现。

但不是从这个夜晚也不是一声耳语，一个想法不是一个吻，更不是错过的一瞥。

美、午夜、幻象都将死去：就让黎明的风吹着轻柔地环绕你做梦的头这样受欢迎的一天显示出眼睛和搏动的心脏或许在祝福，发现我们平凡的世界已经足够；干燥的正午你已经被喂饱被一种不经意的力量，凌辱之夜允许你通过在每一对世间爱人的注视下。

　[No.2] 美术馆- []Musée des Beaux Arts By W. H. AudenAbout suffering they were never wrong, The Old Masters; how well, they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on. 美术馆 查良铮 译 关于苦难他们总是很清楚的， 这些古典画家：他们多么深知它在 人心中的地位，深知痛苦会产生， 当别人在吃，在开窗，或正作着无聊的散步的时候； 深知当老年人热烈地、虔敬地等候 神异的降生时，总会有些孩子 并不特别想要他出现，而却在 树林边沿的池塘上溜着冰。

他们从不忘记： 即使悲惨的殉道也终归会完结 在一个角落，乱糟糟的地方， 在那里狗继续过着狗的生涯，而迫害者的马 把无知的臀部在树上摩擦。

在勃鲁盖尔的《伊卡鲁斯》里，比如说； 一切是多么安闲地从那桩灾难转过脸： 农夫或许听到了堕水的声音和那绝望的呼喊， 但对于他，那不是了不得的失败； 太阳依旧照着白腿落进绿波里； 那华贵而精巧的船必曾看见 一件怪事，从天上掉下一个男孩， 但它有某地要去，仍静静地航行。

美术馆 余光中 译 说到苦难，他们从未看错， 古代那些大师：他们深切体认 苦难在人世的地位；当苦难降临， 别人总是在进食或开窗或仅仅默然走过； 当长者正虔诚地、热烈地等， 等奇迹降临，总有孩子们 不特别期待它发生，正巧 在林边的池塘上溜冰： 大师们从不忘记 即使可怖的殉道也必须在一隅 独自进行，在杂乱的一隅 一任狗照常过狗的日子，酷吏的马匹 向一颗树干摩擦无辜的后臀。

例如布鲁果的《伊卡瑞斯》，众人 都悠然不顾那劫难，那农夫可能 听见了水波溅洒，呼救无望， 但是不当它是惨重的牺牲；阳光灿照， 不会不照见白净的双腿没入碧湛 的海波；那豪华优雅的海舟必然看见 一幕奇景，一童子自天而降， 却有路要赶，仍安详地向前航行。

ABOUT THE POEM: meaning:The basic premise of the poem is response to tragedy, or as the song goes "Obla Di, Obla Da, Life Goes On." The title refers to the Museum of Fine Arts in Brussels. Auden visited the museum in 1938 and viewed the painting by Brueghel, which the poem is basically about. Generalizing at first, and then going into specifics the poem theme is the apathy with which humans view individual suffering.Auden wrote that "In so far as poetry, or any of the arts, can be said to have an ulterior purpose, it is, by telling the truth, to disenchant and disintoxicate."The poem juxtaposes ordinary events and exraordinary ones, although extraordinary events seem to deflate to everyday ones with his descriptions. Life goes on while a "miraculous birth occurs", but also while "the disaster" of Icarus's death happens. background info:For those cultural barbarians who don't know the story of Icarus, here it is, in condensed form. Icarus was a Greek mythological figure, also known as the son of Daedalus (famous for the Labyrinth of Crete). Now Icarus and his dad were stuck in Crete, because the King of Crete wouldn't let them leave. Daedalus made some wings for the both of them and gave his son instruction on how to fly (not too close to the sea, the water will soak the wings, and not too close to the sky, the sun will melt them). Icarus, however, appeared to be obstinate and did fly to close to the sun. This caused the wax that held his wings to his body to melt. Icarus crashed into the sea and died. hints:Some have even claimed to find hints of Auden's eventual reconversion to Christiantiy in the poem. Richard Johnson, author of "Man's Place: An Essay on Auden", believes there is a touch of Christian awareness in the poem, especially the timeline. The reader of the poem is placed in front of the Breughel painting in a museum, and at the same time is expected to project those images and truths to the world outside. There is also a sort of continuity through the poem as you read it and are allowed to see what the poet means. This allows a reader to become aware of his human position.The poem first discusses a "miraculous birth", and at the end "the tragedy" of a death. The theme in the poem is human suffering. If you add these things together, and stir really well you might even get some hints at religion, mainly at Christianity Also, the poem suggest a religious acceptance of suffering (example: eating your morning breakfast while watching coverage of a serious trainwreck on CNN). Religious acceptance basically means coming to terms with the ways of the world. [No.3] 西罗普郡少年- []A SHROPSHIRE LAD XXXI. "On Wenlock Edge the wood's in trouble..."by A. E. Housman (1859-1936) On Wenlock Edge the wood's in trouble;His forest fleece the Wrekin heaves;The gale, it plies the saplings double,And thick on Severn snow the leaves.'Twould blow like this through holt and hangerWhen Uricon the city stood:'Tis the old wind in the old anger,But then it threshed another wood.Then, 'twas before my time, the RomanAt yonder heaving hill would stare:The blood that warms as English yeoman,The thoughts that hurt him, they were there.There, like the wind through woods in riot,Through him the gale of life blew high;The tree of man was never quiet:Then 'twas the Roman, now 'tis I.The gale, it plies the saplings double,It blows so hard, 'twill soon be gone:To-day the Roman and his troubleAre ashes under Uricon.A.E.Housman简介：Alfred Edward Housman was born in a village in rural Shropshire, England in 1859. As a student at Oxford, he distinguished himself as a promising scholar of classics, though crises of a personal nature caused him to fail his final exams. Housman was determined to overcome this failing. When not working at the British Patent office Housman wrote scholarly articles, and published many of them to very high regard from those in academic circles. He was invited to teach at the University of London as a professor of Latin, and soon stepped up to Cambridge University, to retire to the life of a shy academic. He published only two volumes of poetry --A Shropshire Lad in 1898 and Last Poems in 1922 -- yet these were instantly and enormously popular. However successful he was, the tone of his poems remained that of the Latin poets he admired: that life is short and often, inexplicably, comes to a bad end.另外，八十多年前郁达夫也曾提到过A Shropshire Lad：啊呵，去年六月在灯火繁华的上海市外，在车马喧嚷的黄浦江边，我一边念着Housman的A Shropshire Lad里的Come you home a heroOr come not home at all，The lads you leave will mind YouTill Ludlow tower shall fall 几句清诗， 一边呆呆的看着江中黝黑混浊的流水，曾经发了几多的叹声，滴了几多的眼泪。

你若知道我那时候的绝望的情怀，我想你去年的那几封微有怨意的信也不至于发给我了。

——啊，我想起了，你是不懂英文的，这几句诗我顺便替你译出吧。

“汝当衣锦归，否则永莫回，令汝别后之儿童望到拉德罗塔毁。

”摘自：《茑萝行》（原载一九二三年五月一日《创造季刊》第二卷第一号，据《达夫短篇小说集》上册）[No.4] 鼓手霍奇- []Drummer Hodge by Thomas HardyThey throw in Drummer Hodge, to restUncoffined – just as found:His landmark is a kopje-crestThat breaks the veldt around;And foreign constellations westEach night above his mound.Young Hodge the Drummer never knew –Fresh from his Wessex home –The meaning of the broad Karoo,The Bush, the dusty loam,And why uprose to nightly viewStrange stars amid the gloam.Yet portion of that unknown plainWill Hodge forever be;His homely Northern breast and brainGrow to some Southern tree,And strange-eyed constellation reignHis stars eternally. 鼓手霍奇  托玛斯·哈代 吕志鲁译 鼓手霍奇被扔进坑里掩埋，  正如找到时那样，没有棺材：  他的坟地是南非的一座小山，  把周围的平原稍稍撕开；  这坟墓上空的每个夜晚，  异国的星座在西边摆开。

 刚从威塞克斯老家来到这里，  年轻的鼓手霍奇弄不明白，  灌木丛丛，沃土扬尘，  广阔干旱的高原意义何在？

 昏暗的黑夜茫茫一片，  闪烁的星座好生奇怪。

 正是这无名平原的一角，  霍奇将要长眠，永不离开；  他将长成一棵南方的大树，  带着北方质朴的头脑、胸怀，  任凭星星闪烁陌生的眼睛，  把他的命运永远主宰。

[No.5] 不言的渴望- [] Leaves of Grass289. The Untold Want By Walt Whitman (1819–1892) THE untold want, by life and land ne’er granted, Now, Voyager, sail thou forth, to seek and find.

叫<历史系男孩>不如叫成是<历史系老师>.在这里面,更主要的是两种老师的教学方式,两种我们进入高等学府前选择的人生方式.一种是为破而破,一种是为立而立.大千世界,别人已经做到的,已经做成的是太多了,不是因为坚持自己相信的,仅仅只是因为这样会迎得更多的人关注,让自己成为不多见的精英,所以去学习,生活,为了让自己显得独树一帜而反对或者提出观点.我们是应该这样?还是就承认我们的庸俗?承认我们一直以来遵守的道德,做一个安份守已的普通人?许多人都觉得文学没有什么意义,用里面的学生的话来说,是失败者的自我安慰.确实是如此,用里面的老师的庆来说,阅读的美也在于,当你孤独的时候,你觉得,在你身边有一个人,也许这人死了很久,但是他握住了你的手.英国一直是一个保守的国家,在这里,保守无疑仍然却被修饰过后更强调了它的美,在此来与"激进"\"跃进"抗衡,我想,或者,对于每一个准备人生来进行一场大跃进,然后跳脱出来,做一场赤裸的个人秀的人,都可以看看,我们,是为什么而破,为什么而立.吃惊的却是,作为英国将来的社会精英,他们可真的很能研究自己的历史和文学,而我不知道我们在读高中的时候,有没有这样的深度和广度来思考我们的社会还有,认识我们的文学,我们的历史...还有一个问题,我们可以问自己,也问我们身边的人,为什么我们被喜欢不能因为我们无聊又普通呢?不知道为什么,看到最后那个男孩子,当了老师,当了个普通的老师,我居然哭了...虽然介绍里提到了同性恋,但却并不是影片的重点,反而象在反映这样的观点,那些,小众的,并不能登上社会权威高层的阶梯人的手中更有可以值得传承下去的东西.

如题。

转：[extract from Act One of The History Boys by Alan Bennett]Classroom T : So we arrive eventually at the less-than-startling discovery that so far as the poets are concerned, the First World War gets the thumbs-down. We have the mountains of dead on both sides, right... "hecatombs", as you all seem to have read somewhere....Anybody know what it means?S1 : "Great public sacrifice of many victims, originally of oxen."S2 : Which, sir, since Wilfred Owen says men were dying like cattle, is the appropriate word.T : True, but no need to look so smug about it. What else? Come on, tick them all off.S3 : Trench warfare. S4 : Barrenness of the strategy.....[different suggestions from students]S5 : Collapse of Weiner Republic. Internal disorder. And... The Rise of Hitler !! T : So the overall conclusion is that the origins of the Second World War lie in the unsatisfactory outcome of the First. S5 : (doubtfully) Yes. (with more certainty) Yes. (Others students noded).T : First class. Bristol welcomes you with open arms. Manchester longs to have you. You can walk into Leeds. But I am a fellow of Magdalen College, Oxford, and I have just read seventy papers saying the same thing and I am asleep....S6 : But it's all true. T : What has that got to do with it? What has that got to do with anything? Let's go back to 1914 and I'll put you a different case. Try this for size. Germany does not want war and if there is an arms race it is Britain who is leading it. Though there's no reason why we should want war. Nothing in it for us. Better stand back and let Germany and Russia fight it out while we take the imperial pickings. These are the facts. Why do we not care to acknowledge them? The cattle, the body count. We still don't like to admit the war was even partly our fault because so many of our people died. A photograph on very mantelpiece. And all this mourning has veiled the truth. It's not so much lest we forget, as lest we remember. Because you should realize that so far as the Cenotaph and the Last Post and all that stuff is concerned, there's no better way of forgetting something than by commemorating it. And S2.S2 : Sir?T : You were the one who was morally superior about Haig. (see bio of Haig)S2 : Passchendaele. The Somme. He was a butcher, sir.T : Yes, but at least he delivered the goods. No, no, the real enemy to Haig's subsequent reputation was the Unknown Solider. If Haig had had any sense he'd have had him disinterred and shot all over again for giving comfort to the enemy.S4 : So what about the poets, then?T : What about them? If you read what they actually say as distinct from what they wirte, most of them seem to have enjoyed the war. Siegfried Sassoon was a good officer. Saint Wilfred Owen couldn't wait to get back to his company. Both of them surprisingly bloodthirsty. Poetry is good up to a point. Adds flavour.S2 : It's the foreskin again, isn't it? Bit of garnish.T : (ignoring this) But if you want to relate the politics to the war, forget Wilfred Owen and try Kipling : ...S7 : Thanks a lot.T : "If any question why we died, Tell them because our fathers lied." In other words...S8 : Oh, no sir. With respect, can I stop you ? No, with a poem or any work of art we can never say "in other words". If it is a work of art there are no other words.S4 : Yes, sir. That's why it is a work of art in the first place. You can't look at a Rembrandt and say "in other words", can you, sir?S9 : So what's the verdict then, sir? What do I write down? T : You can write down, S9, that "I must not write down every word that teacher says."You can also write down that the First World War was a mistake. It was not a tragedy. And as for the truth, S6, which you were worrying about : truth is no more at issue in an examination than thirst at a wine-tasting or fashion at a striptease.S2 : Do you really believe that, sir, or are you just trying to make us think?S6 : You can't explain away the poetry, sir. S4 : No sir. Art wins in the end...

在有些人眼里，影片的同性恋内容有点观赏障碍。

实际上，大多数同志情节仅仅意味着青春性冲动，如果因为这个原因错过这部电影，或者因此诟病这部影片，那就太低估自己的鉴赏力了。

对于酷爱哲学、历史、文学、艺术的观众来说，The History Boys充满了精妙的智慧，很多情节会让人产生强烈的共鸣；如果你喜爱哲学、历史、文学、艺术和男孩，那么，The History Boys就圆满了\(^o^)/Nicholas Hytner和Alan Bennett为这部影片贡献了精彩的剧本，一流的台词，机智有趣的细节，还有广博的人生观和前卫的历史观并且把抽象的理念和典雅的内涵非常巧妙地融入到青春生活中，自然流畅，不落俗套。

细节与情节环环相扣，每一处交锋和引用都暗示着某种生活状态和角色心理。

最重要的，这些生活细节和历史中的角色，或者某些文学作品中的人生，同样息息相关，同样的感同身受。

历史和文艺，就是这样生动地被带入永恒的记忆。

The History Boys也是如此来打动喜欢思考的观众。

当然，还有群体一流的表演！！！

It’s not in the subjunctive！

The History Boys他们太有才了！

八个迥异的面临着英国牛津与剑桥历史学专业录取考试的男生，一个基督徒，一个黑人，一个穆斯林，一个犹太人，一个体育生，三个标准英国男生。

（看完电影查了下资料，原来历史在英国是相当强大的专业）、一个思维创新的文学老师、一个新来的擅长应试的历史老师和一个女权主义的班主任，他们对于三个月之后的考试将何去何从。

这就是『历史系男生』的故事背景，但是如果只是这样，他就不能被称为是英国电影了，因为我忘记提到他们时不时随口吟诵的莎翁十四行诗和惠特曼的草叶集；忘记了他们可以现想现演的经典电影片段；忘记了可以花将近十分钟，像上文学课一样给你上哈代的诗歌；忘记了里面随时随地的都会蹦出来的妙语连珠；当然还忘记了，英国影视必备的那一点点同性情谊。

他不是普通的校园电影，不是给你展示经过努力后终于梦想成真的励志片，也不是一个叛逆的老师带领孩子们反抗旧体制的校园喜剧，因为他什么也是，他什么也不是，他没有刻意的去为了目的而去寻找一个目的，就像开篇第一句话所说的，历史就是一件件糟糕的事情，这个故事也是由连续的事件所组成，偶然加之偶然就是必然，因为历史就是这样前进，没有假设，因为假设就是掩饰，掩饰便可以解脱，但是历史没有解脱。

这部电影只是电影，他向你展示的导演、编剧、演员正在思考的问题，它可以有关哲学的角度，有关历史的偶然，有关思考的角度，有关文学的意义，有关真相的存在与否，有关艺术的真谛，有关考试、有关家庭，有关人生，有关女权主义，甚至有关骚扰，有关恋爱，有关懵懂，很杂很碎，甚至你有时候会觉得他琐碎的好象是现实的生活一样繁复，于是你也融进去，一起欢笑，一起沮丧，没有了目地的框架，一切反而变得真实也更引人入胜了。

这是一部需要自己去看，去揣摩，去思考的电影，当然他不沉重，有时甚至爆笑，但是他也不是闹剧，绝对没有像歌舞青春的那样爆米花，因为，光凭里面的引经据典就足够让你停下来对着字幕好好地揣摩深思一番。

刚好是前几天听的lecture里，说的是美国大学的 law in history，提到the most dramatic change is the way teaching was done,which is followed the Socrqtic questioning style，并且一直沿用至今。

而在那之前的一个星期，刚好有南周评论版一哥们儿写苏格拉底的死写得风姿勃发。

下午看了《The history boys》，戏剧改电影，演员台词功底实在了得，用词华丽流畅，书袋也吊得无迹可觅，看完了想想差不多题材老美的《死亡诗社》确实够烂，不论老师学生都只能念几句惠特曼的“Oh，captain，my captain”，怪不得欧洲文化中心论到现在也是如此地有市场。

背景是80年代文法男校，出场人物有三位历史老师、八名学生和一个校长。

喜欢在骑摩托车时把手放到后座男生ball上面去的Hector老师为人风趣随和不拘小节，教学方式散漫又无章法，他热衷于培养学生对诗歌修辞的好感，八个学生经常会在法语课上模拟妓院的对话场景以巩固对虚拟态语气词汇的掌握……然而学生并非会被这种慢节奏无绩效的老式教学方式所迷惑——他们的目标是牛津或剑桥的历史系。

校长请来了牛津毕业的年轻教师Irwin，这位老师的教学犀利、深刻而充满激情，与Hector的方法刚好形成良性互补，最终八名学生全部得偿所愿。

被我说的若无其事的概括底下大概是一般中国学生难以理解的种种情感及其处理方式。

当我将Darkin对Irwin的表白与Clive对Maurice的进行对照时，发现了相类似的各种要素。

因此感情是激励我观看然而我却不愿予以多说的东西，我对苏格拉底感兴趣。

Hector的教学方式是苏格拉底式的吗？

校长对这个做了肯定的回答，那么看起来新潮锋利的Irwin呢？

我倒觉得也是。

片中开头一幕很有意思，也有可能是我想多了：一个学生骑车去了教堂，神父正在说着祷词：“神所赐出人意外的平安，必在基督耶稣里保守你们的心怀意念。

全能之主的祝福，圣父、圣子和圣灵，会保佑汝等，并与汝共存，现在如此，今后亦然，阿门。

”再看到后面分别出场的三位老师，总有一种隐隐对照着trinity的感觉。

刚好三位老师采取的是三种不同的教学方法，于是就想当然了。

Dorothy作为唯一的女教师，她的教学严谨而深具批判意识。

Hector则并非是散漫无目的教学方法令学校不能令人接受，相反，校长说过“有效”这样的话，只不过因为他摸ball的动作被女巡查员看到了而被迫退休。

新来的Irwin则能够最大地调动学生的求知热情，三个性格、方式各异的老师凑在一起，教出了八个牛津剑桥的学生其实也顺理成章。

Hector是要求在长期的教学中对学生潜移默化，注重文学素养并依赖这样的基础，喜欢吊书袋的他何尝不是在白发苍苍的时候才能够“随心所欲”的呢？

他深信时间能够带给人最大的安慰，然而他又确实被时间伤害不浅这样的矛盾体现在他出场发言的每时每刻，并且他是以此为享受的。

崇拜安逸是懦夫的行为，他在花甲之龄仍然以一种浮士德式的姿态战斗着，一点儿也不美观，但却让人心生好感——这不能够称之为同情，同情该是对他以及对我们这些心生好感的人的嘲笑。

它不会让人愤怒，但它不应该用在Hector的身上，即便他壮士断腕般今朝酒醉明日赴死。

Hector是个纯粹的、天生的老师，他不需要用校规或者其他东西包括道德来约束自己，因为他认为对于一个真正的教师来说，“教师”的身份就应该是最大的约束，除此之外，百无禁忌。

Irwin则简单得多，他是个已经被急功近利的现代性给弄得别别扭扭的那种家伙，可是，无奈地，非常招人喜欢。

无论是观众还是学生，更或者是万人迷的Darkin。

他的尖酸和深刻一样惹人怜爱，犹如他的自信和自卑，那般恰到好处地融合，使他既嚣张又惶惑。

凉薄的双颊代表自制，眼镜的遮掩则又精光四溢，每个人都爱他爱得不行，爱到连他漏洞百出的字体也被了解和模仿。

Irwin上课时的passion很强大，相当吸引人，赚得的眼球使他既得意又恐惧。

以至于到最后，连我都以为他真的会跪在地上，suck Darkin……Irwin是这样的一位老师，他不止像Hector那样简单的传递与索取，更多的时候他将两者融为一体，使自己犹如禁欲的僧侣一般脆弱到不堪一击，而揭开寡陋的面具攻击他的人总是存在。

我们都爱Irwin，学生爱，老师同样爱，他自己也爱，所以在最后他对与Darkin之间约会的忘却是那样的无理但含情脉脉。

Irwin本身没有做教师的自觉，所以，他越来越是那种需要随时提醒自己有所自觉的讨厌状。

他太年轻，经不起考验，故而不如舍弃考验，这一点我们既爱又恨。

Dorothy的出场份额短暂但并非无效，她对历史的看法犹如历史自身一样地充满了偏见但使人不得不敬畏。

她是隐者，但并不低调，她在合适的时候绽放，容易教人忽然陷入无所适从地尴尬，因为她居然那么简单又真实，就好像近代史手册一样，却又最容易受到无数观点的左右而易于摇摆。

Dorothy应该起调和的作用，但事实上她往往最为激动，学生记得这样的老师的存在，正因为记得她偶尔的雷霆万钧。

三位老师其实共同体现的都是苏格拉底的智慧与责任，因为这一点避无可避，又因为——there it is。

短短两个小时的电影，反映出了如此多的道理，却并不拥挤逼仄，相反倒有一种天性的诗意缓缓淌过，简直是最好的英式教育白皮书，不得不感叹，一个好的戏剧，张力的确能够做到文学性与表演性的极致，或者说是能够找准那个最佳平衡点，从而在任何情况下赢得时间和空间。

电影看完了，有人醒悟说，原来自始至终强调的居然不是那句“history is just one fuckin' thing after another.”而是Hector说的，education needs “Take it, feel it and pass it on”。

所以，这部影片其实从头到尾都是在向雅典公民苏格拉底先生致以最崇高的敬意。

包括那无处不在的洋溢在年轻与老朽的肉体之中的爱与责任。

How do I define history?Well it’s just one fucking thing after another, isn’t it? 这句话是这部电影里的一句台词听到的时候大家都笑了不管是电视里的演员们还是电视外的我我们真的不在乎这些东西可我们也真的为了这些不在乎的东西活着我们到底要什么我们心里是怎么想的为什么都不能说出来当真正想说的说出来时却可能得到的只是一顿嘲笑人们嘲笑你可能并不是因为你真的愚蠢而恰恰相反的是他们嫉妒你嫉妒你可以随心所欲而他们不能他们只能继续走该走的路即使不是自己希望的那样因为可能他们自己也习惯了这种生活根本没有考虑过这个问题我想这种人就是白活了 我不能抑制的喜欢SAMUEL ANDERSON扮演的CROWTHER一点都不喜欢DAKIN因为C让我感觉真实他知道自己的想法也勇于承认自己的想法他知道自己喜欢DAKIN并不能跟他在一起因为D不是个GAY他甚至去看那些所谓的性教育书籍里面说这种情况可能是暂时性的是青春期的正常现象他期待着结束这种没有结果的情感可最后却发现他是唯一一个把HECTOR——众所周知的老GAY——的话全部听进去的孩子并且走上了他的路当了一名教师我知道我都知道C的感情不可能是暂时的当他一边唱着歌一边看着D的时候我就知道当他去找另外一个老师IRWIN讨论这个问题时我也知道宿命式的I会和D产生暧昧但C还是很冷静的继续听D讲着他要跟I出去的事情就有如以前听D说他跟那个校长小秘书已经跑到几垒一样 如果说这部电影是以同性恋题材出位我不同意如果说这部电影是以饱满的思想机智的话语出位我也不同意如果说这部电影是全靠之前舞台剧的成功而出位我也不会同意当你看了这部电影时音乐对话内容禁忌人性理想都是可能驱使你为之叫好的一个元素而不可能是全部是的就算之前舞台剧多么成功但不是编剧导演和演员的功力之好这也只能是一部趋于过时的一部电影更不可能在首映时能吸引皇室成员观看 我之所以忍到现在在看其实有两点一个是因为中国出的版本的碟封面不是我想要的虽然后来看习惯了也就算了有了其实也不错的想法看完后更是喜欢上了这个封面 还有一个原因是我怕会失望虽然打从一开始我就爱上了这部电影在不知道内容不知道演员的情况下但我莽撞的行为造成我之前很多次的希望落空但这次真的没有很久没有外国片子让我那么打从心里喜欢了即使他们在讲着他们的历史但感觉仿佛也是自己的他们讲着自己的事情但仿佛也跟自己有某些相似之处我想这个电影成功的在于他突破了时间的局限他们发现到不管活在什么年代孩子们对于未来的不确定性和迷茫都同样存在着并且鼓励我们冲破枷锁去获得自己想要的那个自己从来不曾想过能接近的梦想梦想不是用来幻想的而是为了去实现的

抽了一个下午看完，完全没想到有同志主题，据说原版话剧很棒，应该没错，那每一句台词，别说听，光是看字幕也是享受．英伦的男同志片之多，质量之高，男色之美（Hugh Grant, Jude Law），恐怕是美国所难以企及的．同是校园题材，饱受好评的＜死亡诗社＞中师生关系展现得是如此的＂清教徒＂，如此的悲怆．那部片中的老师迫于学生自杀的压力只得离开，让人不禁悲从中来；而这部片里那胖胖的Hector交通意外身亡，都没有把人煽出眼泪来．当老师被还原成一个普通人之后，似乎不太容易引发悲剧，一切他个人的笑或泪都属于我们，一切他个人的好与坏也都会在我们身上找到，这时候被解放的不仅仅是老师本人，更是我们自己．尽管剧中人都说着难听的约克郡英语（比曼彻斯特的略好点），不过瑕不掩瑜，无论是对话还是穿插其中的钢琴伴奏清唱都美不胜收。

不过，英国式幽默的确不太好理解，特别像我这种泡在美剧里的要换个脑子还不那么容易。

剧中最出彩的除了胖子Hector以外当属女历史老师了。

在帮助学生预演入学面试的那一幕中，她提醒学生考官可能有女性，然后激情昂扬地发表了一篇“女权主义”的历史批判：Can you for a moment imagine how depressing it is to teach five centuries of masculine ineptitude? Why do you think there is no woman historians on TV? I'll tell you why because history is not such a frolic for women as for men. Why should it be? They (women) never get around the conference table. In 1919, they just ... arranged the flowers, then gracefully retired. History is a commentary on the various and continuing incapabilities of men. What is history? History is woman following behind with a bucket. 如果说这是西方女性对于西方历史的“女权主义”解读，那么我不知道就我所知的中国历史如果让我来解读是否应该是 History is women obliterated, exploited, destroyed, distorted, manipulated and manipulating men from behind. 客观一点来看，真如莫文蔚所唱的：男人大可不必百口莫辩，女人实在无须楚楚可怜。

如今的时尚是“混搭”，不仅仅是服装，还有美食，讲究fusion cuisine，电影也是如此，要么把不同族群的人混搭起来，要么把不同的元素揉在一起，成为一个美妙的大疙瘩。