本文章献给自己，还有跟我一样喜欢这（两）部作品的朋友们。（本文涉及剧透）
前言：
在看到大岛渚导演的电影《Merry Christmas Mr Lawrence》之后，并且了解到其改编于Laurens Van Der Post所著的书《The Seed and he Sower》，我便萌生出了一个想法：以前总是看着书面文字脑补画面；这部电影让我自己莫名想了解书内的文字到底是怎样的，又是怎样和剧情画面一一对应的？
每个人心里有自己的哈姆雷特，大岛渚自然是把自己的独到体会放入了这部电影里。即使这是一部非常优秀的电影，它也是不全面的。抱着想要更加全面到了解里面的故事的想法，我购买了《The Seed and the Sower》，找到了对应章节，并即将给大家还原书中的内容，希望各位对这个故事（主要是针对Yonoi和Celliers）有更多或者不一样的体会。
由于这部电影映射了许多方面的矛盾，从Hara与Lawrence，Yonoi与Celliers，到日本传统文化与西方文化的冲突，本篇文章只解读一个方面－－Yonoi和Celliers. 他们的关系如果用书中的比喻，那无异于就是播种者与被播种者的关系：Celliers在Yonoi心里撒下了一颗种子。
对于Y&C的故事线，我带着一系列疑问，在书中找到了答案。这些疑问包括：
- 是什么内在因素（Celliers到底思考了些什么）导致C最后做出那个“自杀式”行为，从而解救了全员俘虏还有（或许）结束了Yonoi的挣扎？
- C对Y（或者Y对C）的感情真如电影描述的那么明朗吗？有多明朗？又有多隐晦？
- 作者是怎样描述最具震撼力的几个片段的？e.g.亲吻双颊，月下剪发
- Yonoi是怎样告诉Lawrence那一撮黄发对于他的重要意义的？Yonoi的结局到底是怎样的？他对Celliers的感情还有后续发展吗？
对于我选择还原的故事内容，有几点需要注意：
- 这部书的内容是从两个人的视角来描述的，Lawrence只是其中一位。或许是为了简化故事叙述的复杂性，电影里的视角是针对Lawrence个人的，我认为并无不妥；不过，接下来书中的还原的情景，第一人称并不一定是Lawrence，但不会影响理解，因为这两个角色都是作为描述这个故事的客体。
- 我只选取了一部分我认为会联想到电影情节本身的叙述，并且这些片段对整个故事发展有重大作用。所以我的引用叙述也不是百分百全面的。
- 阴影部分的文字是我自己对这个片段取的题目。
正文：
Jack Cellier's philosophical thoughts He (Celliers) was convinced that we were all accessories to the fact of war, and that once war had become a fact we could not avoid our own role in it. I remembered a phrase he had often repeated in our discussions in hospital. (Celliers said) None of us were pure enough to claim a special solution for ourselves out of 'our own human and time context'. We could none of us afford, without fatal excess of spirit, to by-pass any of the stages through which life itself was forced to go. The spirit's battle for life was so important that one had to accept the challenge on whichever level it was presented, no matter how exalted or how humble or horrible. One had even to respect the need of the spirit for death in certain living issues and just take what decency and proportion one could lay claim to into the killing. … Later in hospital Celliers had explained to me that he had come to realize that life had no meaning unless one was obedient to one's awareness of it. He attributed the sense of meaninglessness which had afflicted his world before the war to just that fact: it had been disobedient to its own greater awareness. I asked him what 'awareness' had meant to him as he sat there in the sunset hour on the Peak of Arrow? He'd replied it was easier to say what it was not, rather than what it was! It was certainly not merely cerebral effort or achievement. It was not what we called knowledge, for, as he saw it, our knowledge tended to pin us down, to imprison us in what should be no more than a frontier position. What he meant by 'awareness' was perhaps a sense of the as yet unimagined wholeness of life; a recognition that one could live freely only on the frontiers of one's being where the known was still contained in the infinite unknown, and where there could be a continual crossing and re-crossing of tentative borders, like lone hunters returning from perilous sojourns in great forests. It was, to put it pictorially, he said, a way of living not only by moonlight or sunlight, but also by starlight. … Celliers had concluded rather abruptly by saying that, as he saw it, he felt the first necessity in life was to make the universal specific, the general particular, the collective individual, and what was unconscious in us conscious. … (In the prison, the night before Celliers was about to be executed) When at last the rain fell and joined with the other storm sounds they brought him great comfort reminding him that, on the last tide, the abiding answer was not with man but with life; the true 'power and the glory' were beyond all the comings and goings of man, no matter how imperious and impressive.
Embracing on the cheeks (对应电影Yonoi最后一次召集全体俘虏)So a full hour went by in this fashion. We dared not speak since we knew from experience how easily any sound or movement of body could provoke our jailers on these occasions. But Celliers who was standing next to me did ask in a whisper: 'What's the form now? Do they often do this sort of thing? Who started it?' I managed to tell him that it had never happened quite like this before with so great show of force, and briefly explained the ostensible cause adding:'I'm sorry it's happened on your first day out. But it's no good pretending that anything might not happen at any moment. They might even be getting ready to massacre us all.' (Celliers said he knew how to stop it.) 'You know?' I asked, my voice like that of a stranger in my own ears. 'I do. But be careful,' he whispered back, long pauses between each phrase. 'I don't like the way that bloke in charge of the machine-gun over there is watching us. His eye has not left my face these past few minutes.' … Celliers mumbled to me that Yonoi was only behaving the way he was because, like us, he was doing just what was expected of him. Celliers added that confronting Yonoi with the unexpected alone could save Yonoi, his men, and us. (Yonoi was about to execute Hicksley-Ellis) Yonoi had Hicksley-Ellis tied with hand behind his back and made to kneel bare-headed on the ground near him. Yonoi then stepped back, drew his sword, raised it flashing in the sun and with his lips to the naked steel said a prayer to it as I had seen other officers do before other executions. (Celliers said) 'I'm going to stop it now. It'll be all right. But whatever happens do nothing about me. Remember, nothing. Goodbye.' I did not have time or mind to take in the significance of that 'goodbye', nor recognise it then as a clear indication of his knowledge of what the end was going to be for him for as he spoke he stepped out of the ranks his new hat at a rakish angle on his head and the sun flashing on it multilated badge. He walked, as Lawrence had already remarked, most beautifully. Without hurry he advanced on Yonoi as if he were going across a paddock at home to do no more than take a high-spirited stallion in hand. When Yonoi opened his eyes again after his short prayer to the spirit, the Maru of his sword, Celliers was barely fifteen yards away. Amazement like the shock of a headlong collision went through him. Going white in the process he stared in a blank unbelieving way at Celliers. For the first time he was compelled, because of the unfathomed identification between Celliers and himself, to see someone outside himself. Amazement then gave way to consternation and he cried out a command in English that was also a plea:' You-officer-go-back, go back, go back!' But Celliers went on to place himself between Hicksley-Ellis and Yonoi and said something quietly and unhurriedly to Yonoi. Yonoi appeared to not have heard him. He shrieked again:' You- go back, back, back!' Like someone trying to scare a ghost. Celliers shook his head quietly and went on staring at him steadily as a disarmed hunter might stare a growling lion straight in the face. Perhaps more in terror than in anger, Yonoi raised his sword and knocked Celliers down with the flat of it. The crack on his head rang out like a pistol-shot to be followed by another exhortation to Celliers to go back. Dazed, Celliers struggled to his feet, swayed and half-turned as if to obey–then swung around suddenly. He took a couple of paces back towards Yonoi, put his hands on Yonoi's arms and embraced him on both cheeks rather like a French general embracing a soldier after a decoration for valour. … Celliers had stepped back a pace from Yonoi and stood once more silently facing him. Of course, none of us will ever know what went on in Yonoi's mind but for the only time I had ever known he, who always had been so quick and in command of all situations, obviously did not know what to do. He looked as if lightning had struck him. His face had lost its colour and was like death with dismay. He trembled on his feet and might have even fallen to the ground if his warrant officer had not acted for him. … Did I not realize that Celliers had insulted Yonoi before his men? Did I not remember how kissing between men and women, even in the most natural forms, was regarded by the Japanese as the most obscene of gestures? … It was soon over. Yonoi, though still like a person profoundly concussed, stopped the beating and ordered the guard to carry Celliers off to the guard house. Celliers by then was unconscious and only recognizable by his long yellow hair. Then, like someone utterly exhausted, Yonoi turned his back on us and, his eyes on the ground, walked slowly away and out of the prison gates.
Farewell under the mooonlight （月下剪发）The moon was full at the time and the parade ground brilliant with its light. At three in the morning our watch was startled to see Yonoi's elegant figure appear at the enclosure and send away the guard to the gate. For a moment he thought he was seeing ghosts because like many he believed Yonoi had committed hara-kiri some days before. Yet it was Yonoi, for his walk and build were unmistakable. After standing in front of Celliers and looking at him for long in silence, Yonoi put his hand in his pocket and produced something which flashed like silver in the moonlight. Strange as it might seem our watch was convinced that it was a pair of scissors, for Yonoi appeared to bend down over Celliers, take his long hair in his hand and snip some of it off…Our watch distinctly heard the metal blades click in the moon silence. For a while longer Yonoi remained there in deep thought before bowing low to Celliers in the same way that the watch had seen him bow to the rising sun on the day of his Emperor's birthday. That done he walked slowly to the gate where he resummoned the guard. And that was the last we saw of Yonoi.
The seed and the sower (Yonoi被关进监狱时，以及4年后被释放时)Yonoi, hearing Lawrence's fluent Japanese and attracted by his manner with the accused men, had spontaneously come up to him and pleaded to speak to him alone. Having heard about Yonoi's reputation, Lawrence was surprised to find him so subdued and oddly preoccupied. Still more had he been puzzled by Yonoi's business with him and had remained so until I had told him about Celliers. The moment they were alone Yonoi had confided in Lawrence that, when the war ended, he had been in charge of a women's prison. That apparently had been the humiliating consequence of what had passed between Celliers and him. When he was arrested and searched in one of our prisons after the war something Yonoi valued more than anything in the world was found on him and taken away. Could Lawrence get it back for him? Lawrence had asked what it was. … 'In this case,' Yonoi begged, ' you understand us Japanese and will know how important it is to me. As my last wish would you recover this thing for me and send it my home to be offered to the spirit of the ancestors in the shrine of my fathers?' That thing was just a strand of yellow hair. The British soldier who had found it on him, fed on stories of Yonoi's brutality to women prisoners, had thought Yonoi had cut it from the head of one of his victims, and had snatched it from him and hit him with his fist. Yonoi did not complain of that. All that mattered was the fact that the soldier was wrong. It was a man's not a women's hair? It was a lock of hair from the head of the most remarkable man he had ever met, an enemy and now a dead enemy, but none the less a man so remarkable that he would never forget him. He had cut that strand of hair from the dead head purely so that the spirit of the man should be honoured and given a proper home in the hereafter. It was his intention when the war was over to give a place in the inmost hall of his own ancestors to that strand of hair. …. (Returning home, Yonoi wrote a poem to Jack and also to himself. ) In the spring, Obeying the August spirits I went to fight the enemy. In the fall, Returning I beg the spirits, To receive also the enemy.
后记：
这部电影给我带来的震撼力是相当大的，不仅是因为两位主演都是当时闪耀世界的音乐家，而且也特别是因为Celliers这个角色个性给我的较大的冲击。看完书和电影，我有几点自己的体会。
- 个人认为Celliers 并不那么在乎Yonoi对他的感情。
书中的某一点佐证就可以证明。看Lawrence后来是怎样评价C最后那个疯狂的举动的：
Kissing between men and women, even in the most natural forms, was regarded by the Japanese as the most obscene of gestures.
用一种近乎“强奸”的方式“救赎”Yonoi，如果说C对Y心里尚存爱慕，还不如说C只是在履行他自己赋予自己的使命：
The first necessity in life was to make the universal specific, the general particular, the collective individual, and what was unconscious in us conscious.
也就是说，电影里描述的C&Y之间的关系，很大一部分是大岛渚导演按照自己的理解安装进去的（比如Y送毯子给C，C献花给Y等等）。Y过度关注C是事实，在书里也有充分体现；但是C对于Y的感情，或许更多程度上是给自己赎罪，或者救赎Y。
他们之间的感情这条“明线”，其实并不能算是书内描述的重点，我认为重点应该是在于描述，C是如何播种了一颗希望的种子（一种面对人性保持individuality而不是一味的collectivity的信念）进Y的内心里的。
2. 这部电影不是悲剧。
刚看完这部电影的时候，随着神曲Merry Christmas Mr Lawrence 的娓娓道来，我心里有种说不出来的酸楚，认为这是一个悲情的结局。事实上，大岛渚导演将故事悲情化了，可能是因为悲情，所以悲壮。
我认为不是悲剧，并不是因为Yonoi在书中实际上最后活了下来。看完书，我才意识到，悲喜剧跟主角的存活毫无关联。评价一部电影是否是悲剧，要看的是主角的目的性是否达到。
诚然，Celliers的死法很痛苦悲催，但是他对Yonoi却完成了自己的终极教义。对于Celliers来说，他完成了两个人的向死而生：一个是对他自己的内心，用他自己的话来说就是 obedient to the awareness of life; 另一个人则是Yonoi，面对真实的内心，他选择了放弃或许缺失人性的Collectiveness，他已经作为一个人，一个Individual而存在于世了。
我认为，把Yonoi的重生表现的淋漓尽致的，莫过于他最后的那一首诗：表面上看似是对敌人的接纳，实则是对自己的重新接纳。
想想看，Celliers有多幸福啊。其实人活着，不就是为了一个机会实现自己内心的终极教义吗？Yonoi也很幸福啊，被救赎后找到更轻松的生存方式，从此不再活在过去，不再活在集体和个人的矛盾之中。
最后，再持续安利一波这本原著还有电影。原著呈现了其他很多有趣的东西。
谢谢大家阅读。
