民國九十六年十二月十九日在台大外文系會議室(舊總圖書館)聆聽Professor David Worrall的演講。本人的提問和心得完全只是針對演講內容做出回應而已，絕無任何影射到背後的種種利害糾葛的意圖，如果我的任何一股敵對陣營故意剪貼拼湊、斷章取義、巧妙加以類比和延伸，那是牠們在唱獨角戲而已，跟本人毫不相干，特此聲明。還有，在場如有任何「奸細」或「奴才」之流，又把我的回應拿來大作文章，那是牠們自己本身的品行有問題，與我何干﹖

I have to make it clear that whatever “thanks” have been said to me or any other person near me, I have never taken them as a sign or means to compromise with my major enemies and the so-called “thanks” camps. For I use the term “thanks” with its literal meanings only, not its metaphorical meanings.

I am very glad to have grabbed the chance to attend Professor David Worrall’s lecture on The Work of The Nottingham Trent University Blake Team and Its Implications for Blake’s Reception at 3:00 p.m. on December 19, 2007. We would have no doubt that the lecture is rather inspiring.

I recorded what Professor Worrall said in his lecture. My allies are welcome to visit me and obtain the recorded materials for free and then listen to them by themselves

Professor Worrall talked about their teamwork on Blake studies by focusing on connection and disconnection between poetry and imagery in Blake’s paintings and literary works and two important figures, female prophet Gott and philosopher Swedenborg, who had greatly affected Blake.

Thus, after the lecture came to the end and when time was for open questions by the audiences, I raised a question as follows. Not only Blake’s paintings, many of his literary works (such as The Marriage of Heaven and Hell) also show his resentment for priesthood. As you indicated, he thought that people didn’t need the church to communicate with God. Do you think that Blake’s radical attitude toward religion has played the most important part in, or at least greatly influenced what you mentioned just now “connection and disconnection between poetry and imagery? If so, could you elaborate the relationship between the two in detail?” Professor Worrall agree that radicalism has greatly influenced Blake’s ways of expressions, e.g. print-making skills and designs, etc. Besides, he might have had to considered different sources of ways, because he had some disadvantages.

Finally, at the moment when some audiences had raised their questions and it was Professor Ya-Fong Wu’s turn to say some words to end the lecture, I raised my hand to interrupt Professor Wu and asked if I might raise another question, considering that it would be a great pity if I didn’t seize the chance to dig out more of the expert who has insight into studies on Blake, since time had not run out yet. Below is my second question. “It seems to me that you have explicated Blake’s thoughts by emphasizing some of his works that transport extraordinary powerful images. But as we know, Blake blended himself into different sources. There are other facets in Blake. For example, the title page and content of Songs of Innocence and Songs of Experience convey entirely different imagery. I’m just curious about how you see the negotiation or contradiction in various kinds of works in Blake from the perspective of his role as a poet and painter with illumination and vision?” To respond to my question, Professor Worrall gave an outline of the rough distinction between the two modes in Blake’s creations: One is the lyrical songs that have been expressed in straight-forward and simple ways; the other is the longer ones that have involved even more complicated factors such as logical problems and print-making skills, and so on. At last, Professor Worrall modestly said this was how much he knew. But I feel that the distinction that he has made doesn’t seem bad. Also, it is very useful to clarify to some degree the complex ways of thinking in which Blake tried to express himself. It is great to have interrupted Professor Wu and asked the last question. I have learned much more from its answer than that of my first question. Professor Wu is a Blake expert who has great and unique insight, too. I have learned a lot from her class. The most inspiring one to me is William Blake and Mary Wollstonecraft. But next time I see Professor Wu, I will suggest that she make the distinction in more detail than she did between the two modes as Professor Worrall has done, at the very beginning when she is giving an introductory outline of Blake, so that her students can gain a clearer picture of the poet.

I feel that Professor Worrall’s lecture has widened my vision in this sphere.

以上是我聆聽論文發表之後的一些小小的心得，論文發表人和在場的來賓不見得是本人的盟友，說不定屬於我的敵方陣營者更多。本人既不是女巫，也不是人家肚子裡的蛔蟲，與對方素不相識，無法僅憑對方的臉譜來判斷他(她)是敵是友，要是不巧剛好出現敵方陣營的「腳色」的話，與我毫無干係，因為我事先並不知情。由於本人不願意讓敵方陣營藉由「提供證詞」的方式搖身一變、翻成我的盟友，因此，只希望透過自己手邊的錄音資料以茲證明，不需要任何證人。但因部落格並不提供這類錄音資料的上傳功能，無法上傳至部落格上，歡迎所有未被我排除於盟友名單之外的志同道合者前來查證。這一點適足以稍微抒緩一下某些不肖之徒一再惡意中傷我、說我「動作很慢」的不實謠言，儘管目前本人還不足以全面扭轉乾坤，但是仍然不無小補。某些不肖之徒一直盯著我看，動不動就說我「動作很慢」，讓我動輒得咎，其動機大有可議之處，只因為我在最後即將結束時臨時想到一個問題又舉手發問，就又繼續造謠說我「動作很慢」，其所作所為早已令我反感到了極點，居然還能死皮賴臉地死纏著我，對我騷擾不休，怎麼會無恥到這種地步﹖又多了一個賤骨頭了，是不是﹖

常言道：「正邪不兩立」，與奸邪對抗的道路上，捨我其誰，當仁不讓，真是任重而道遠。讀到這裡，應同時參照本人的部落格「嚴格定義盟友的類型與對象」專欄中最新公佈的文章，裡面有詳盡的說明。

特別聲明：在場的聽眾當中有某位提到Mary Wollstonecraft，由於本人正好有女性主義觀念，對於Wollstonecraft在十八世紀就已經具備非常有前瞻性的女性主義方面之真知卓見，極為佩服，因此，在吳雅鳳教授的課堂上得以更進一步深入了解Wollstonecraft的思想，感到收穫頗多。只不過，必須在此強調的一點是，本人欣賞Wollstonecraft在學術上的傑出表現，並不表示本人在私的領域方面跟她有共同的經驗，尤其是某些不肖之徒一再製造子虛烏有的不實風聲說我曾經跟某某某「私奔」一事，更令本人深感不齒，不得不在此特別記錄這一點，不僅如此，見不賢而內自省，自己本身今後更應該戒慎警惕才是，自不待言。