62 posts tagged “citations”
神要擦去他們一切的眼淚;
不再有死亡,也不再有悲哀、哭號、疼痛,因為以前的事都過去了。
--聖經˙啟示錄第二十一章第四節
2009.9.18
"跌倒時 讓我微笑坐在妳旁邊一起數玩地上的雜草吧 : ) "
20.8.2009
連加恩(作者簡介轉自博客來書籍館)
六年五班,陽明大學醫學系第二十屆畢業。2001年6月,放棄預官資格,參加台灣第一屆外交替代役男,顛覆了大家對當兵的刻板印象。
在服役的布吉納法索一年八個月的時間,對外募集大量物資,興建一所可收容約一百多名孩童的孤兒院,並舉辦「用垃圾換舊衣」等具環保意識的公益活動,不僅在國內掀起一股巨大的善意浪潮,也深受布國上下一致肯定。
這個國家成為他從小到大離家居住最久的「新故鄉」。這些行動,也為台灣在國際間樹立了良好的友善形象。他的優異表現,贏得外交部頒發「睦誼外交獎章」,是這項殊榮有史以來最年輕的得主。2004年,他又偕同新婚妻子返回西非一年,為布國建立孤兒院而努力奔走。
2005年,他返回台灣接受家醫科住院醫師訓練,於同年獲布國總統龔保雷先生頒發國家騎士級勳章,以肯定他的貢獻。目前於疾病管制局擔任防疫醫師。
著有《愛呆西非連加恩》《愛呆我家連加恩》《愛上飛翔的班長》(校園書房出版)《星星旅館的探險》(國語日報出版)。
本文出自《愛呆人生連加恩──複製幸福DNA》,這本書是他寫給現在2歲兒子的書。
(文末附上連加恩自序,自序也超級可愛的,簡直像連大哥在眼前講話!>w<)
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文/連加恩
親愛的兒子:
當爸媽以前,我只知道當孩子的心情,孩子們不喜歡爸媽拿自己和別人比來比去,現在自己當了爸媽才知道,天下父母心──從出生的體重、身高,還有雙眼皮的角度,就已經開始了這場一輩子的競賽。
有一次,我不經意的聽到你隔壁床小朋友的爸爸和親友聊天,他指著你說:「天啊!為什麼他的頭比我們的大這麼多?」
親愛的兒子,爸爸答應你:盡量克制自己不要老是拿你和別的小孩比較,就算爸爸愛和人家比較,我會放在心裡比,不會像那位爸爸,還大叫出來。
雖然,等你大一點去了學校,爸爸一定會要你好好唸書,考試後,也會忍不住問你其他人考幾分、在班上排第幾名之類的問題,老爸其實很清楚,這些東西真正影響人生路的程度並不大;持續的努力、擁有好的品格、充滿上帝恩典的際遇影響才大。其實很多數字,好比你的出生體重、頭圍,現在看來也不過是親友們聊天的題材,或拿來耍耍嘴皮子用的啦!
上帝給你的這個人生,就是最獨特、最特別的,你有自己的路要走,天底下有六十幾億人,每人自成一格,該怎麼比?如果真的要比,爸爸告訴你,其實你的頭也沒有很大啦!
但是,如果你不小心和人家比較了、發現自己什麼都贏人家,那代表你的責任更大了!爸爸在非洲的許多朋友,沒有聽過什麼叫做「坐月子中心」,他們的孩子一出生就睡在泥地上的草蓆,罩在蓋剩菜剩飯用的防蚊罩裡,為了躲避瘧疾的威脅,孩子長到5歲以前,他們不敢宣稱家裡多了一個人,因為隨便一個傳染病就可能奪走他們的性命。
說真的,如果你比老爸非洲朋友的孩子們更聰明、更會考試或更有學問,爸爸一點都不會感到意外,上帝給你比較多一點,就是要你多付出一點。這些被你「比下去的人」,都是你的責任範圍,你要用上天給你的才能,去做一些事情幫助這些人。若用這個角度出發,爸爸就可以要求你好好唸書了,目的不是爸爸可以拿你的成績單,去和我朋友們的孩子比較;而是你被賦予了使命,用你的專業和貢獻去改變你所在的世界,讓那些沒有你幸運的人,可以過得更好。
奉獻一生給非洲的史懷哲醫師,小時候也很愛比。他比什麼呢?「比武」。
有一次,他和鄰居的孩子打架,獲得壓倒性的勝利,那個打輸的孩子說了一句不服氣的話,改變了他一生,他說:「如果我像你家一樣,可以天天吃肉,我就不會輸給你了。」這話讓年幼的史懷哲察覺自己的優越和優勢,都是建立在上天所賜的福氣,而不是他自己有什麼了不得。當他進一步去思考:上帝給他如此幸福的成長背景、順利的求學過程和不凡的天分之目的為何時?他決定把自己奉獻給非洲無數可憐的人,來活出那一個目的。
親愛的兒子,老爸常常覺得你實在很幸福,你們這一代的人都是,我告訴你這個故事,是希望你不需要等到和鄰居打架,才發覺這個道理。下定決心服務人群的史懷哲,在完成了醫學、神學、演奏學三個博士學位之後,才踏上前往非洲的旅程。每次,當老爸受邀作非洲服務的相關演講,之後的Q&A 中,年輕學子最常問到的問題就是:「現階段的我們該如何準備,才能去第三世界服務?」有時,他們眼裡還閃著真誠的淚光,讓我實在不知道怎樣回答,才算是夠慎重。
直到一年聖誕節,在台北市政府廣場有一個盛大的晚會,現場集結了五千多位民眾,在電視實況連線之下,我被邀請作短短的分享,當我拉拉雜雜的講完要下台時,主持人「黑人」(他是藝名叫黑人,不是真的黑人),忽然讓我措手不及的說:「那最後請你跟大家講講,要加入你們的非洲工作,需要具備什麼條件?」看著手錶,我只剩一分鐘可以回答,我隨口答了一句:「只要覺得自己很幸福的人,都可以去!」就下台了。
我想講的是,攔阻我們願意幫助別人最大的心理障礙就是:「『比』起別人,我還不夠幸福!」的想法。
小學老師告訴我們:「不要成為手心向上,而要成為手心向下的人,因為向下是給,向上代表乞討。」如果我是小學老師,我會講一句相反的話:「大家要先學會成為一個手心向上的人,當你把手心朝上,可以感覺到自己是一個幸福的接受者,不斷從這個社會、國家、爸媽、老師、校長和上帝那裡領受愛的灌注,那麼,你就可以把手心向下翻,把福氣分享給其他的人。」
孩子,你要先體會自己是一個幸福的接受者——「知道自己從上天白白領受恩典」,然後分享你所領受的福氣給人。上帝會給你更多,你就越有力量幫助更多的人,這是一個良性循環的迴路。這種情況下,你更不需要比,「You got nothing to lose !」——在人生這件事上,你只會越贏越多。
--
《愛呆人生連加恩──複製幸福DNA》自序
這是一本三十二歲的人寫給他兩歲兒子的書,有誰會想讀這種書呢?
有的,那就是二十年後的我,等我五十歲的時候,我會拿起來讀,看看自己二十年來觀念上有什麼進步。我也會把它拿給屆時二十出頭的兒子讀,告訴他,這就是老爸年輕時候的想法。
當然,我也想和正在這階段的年輕人,還有他們的爸媽分享這本家書。
為什麼兒子還不識字,就先想這麼多呢?
因為我才剛剛走過這段青澀、矛盾又充滿學習的時光,關於醫療、非洲、服務、求學、聯考、就業、抉擇、感情、生死、正面思考、夢想、光陰、學習語言、婚姻和人生等議題,我有一些自己的體驗想要和他分享;深怕等他大到可以聽懂時,我已經忘了現在的心得。或者,怕屆時的我,只會用過來人的老專家語氣來跟他談,因而充滿了距離,所以先寫下來;如此,二十年後他拿起來讀,書中的我才三十二歲,大他一點而已,把爸爸變成大哥,這樣感覺比較不會有代溝。
我也很好奇,他讀懂這本書的時候,到底認為這位書中的大哥老爸備感親切呢?或是認為這些觀念已經落伍二十年啦!
名作家Max Lucado在他的童書《你是我的孩子》(You are mine)中提到:「當你愛一個人,你比他更了解他的需要,有時候,連他都還沒想到,你就已經為他準備好了。」當了老爸,才更知道父母的偉大,也因此更認識那位幫世上每個人預備爸媽的天父。從父母的愛,讓我揣摩得知天父對我們的愛,祂也是這樣,比我更知道我需要什麼,而且預先為我準備好。過去,我在這方面的察覺力比較鈍,直到當了爸爸,才改善一些。
我和太太的共識,是生四個小孩,為了不想當高齡產婦,老婆向上帝禱告想生雙胞胎來趕進度,由於家族沒有這方面的遺傳,我也不期待事情真的會這樣發生;但天父比我們更知道誰該何時來地球,預計這本書出版之時,我們的老二、老三剛好出生,他們是龍鳳胎。
問題來了,二十年後,他們會不會抗議爸爸只有寫信給哥哥呢?很有可能。
因此,我期待自己繼續體驗人生,並且跟小孩、上帝、還有朋友們學習智慧,這樣,或許將來還有更多的故事與收穫,可以和弟弟妹妹分享。
試煉的意義,不單是試驗一件東西的價值,並且是增加這東西的價值;
正如風雨不單是擊打橡樹,並且增加橡樹的堅韌。
--Mrs. Charles E. Cowman 《荒漠甘泉》八月二號(http://www.fhl.net/stream/8/0802.htm)
5.8.2009誌
如果你做善事,人們說你自私自利、別有用心,
你應該繼續做善事;
如果你很成功,身邊盡是假的朋友和真的敵人,
你應該依然努力去成功!
如果誠實跟坦率使你易受攻擊,
你應該依然誠實坦白。
如果你耗費數年所建設的可能毀於一旦,
你應該依然去建立。
如果你找到心靈安靜和歡悅,而別人因此而忌妒,
你應該依然保持快樂。
如果你今天做的好事人家明天就忘了,
你應該依然繼續做你的好事。
如果你向全世界付出的永遠不夠,
你應該依然付出你最好的。
如果人們確實需要幫助,然而你幫助他們,卻可能遭到攻擊,
你總是要幫助。
如果你所擁有最好的東西獻給世界,你可能會被踢掉牙齒,
你總是要將你所擁有最美好的東西獻給世界。
因為你應該知道,到了最後,這只是你和上帝之間的事,
根本不是你和他們之間的事。
Paula Scher,當代最著名的平面設計師之一,作品一出每每大幅影響設計界的走向。曾經替the New York City Ballet、紐約公共戲院、紐約時代雜誌、美國自然歷史博物館等合作設計出著名作品,她的作品在台灣也不算陌生,例如匯豐銀行有著紅傘蓋兒的logo即出自她在餐巾紙上的隨筆。
我最近在作報告時看到一篇Paula Scher的訪談逐字稿和她在Ted.com的演講影片,內容是她分享對於設計的看法與屢屢遭遇失敗時的態度。她說,雖然她的專長在於平面設計,但是她假設這樣的觀點和哲學可以應用在其他的科學上。而我看了之後頗有啟發,所以就把文字稿和演講轉錄過來分享了J
(訪談逐字稿和演講影片雖有部分重疊,但內容不盡相同,Paula Scher在訪談中比較多著重於對於失敗的看法,而影片只約二十分鐘,可以一睹Paula Scher本人風采和作品概覽,置於訪談稿後。)
Paula Scher on Failure
By Jay Dixit on May 21, 2009 - 10:01am in Brainstorm
來源: http://www.psychologytoday.com/blog/brainstorm/200905/paula-scher-failure
Paula Scher is one of the world's most famous graphic designers, known for creating Citibank's umbrella logo as well as for design work for The Public Theater, The New York Times Magazine, the American Museum of Natural History, The New York City Ballet, and Herman Miller. She believes failure is the secret to artistic success. "You have to fail in order to make the next discovery," says Scher. "It's through mistakes that you actually can grow."
You have a whole philosophy about recovering from failure—how you can learn from failure and how it can actually help you. You've spoken about how failures and mistakes in your own work led to your current level of success and allowed you to be creative.
There are two different ways this thing works. I did a TED talk about the difference between serious work and solemn work. I define serious work as being where you make breakthroughs, and solemn work as doing the status quo and the level may be very good but it's not breakthrough.
There's another factor—and I'm talking about this as a designer, but I imagine it would work in any form of the arts and to science. When you're working and you make mistakes, particularly when you're young, you make discoveries because you do things that are inappropriate and wrongheaded, but within the wrongheadedness you find an unexpected way to go. These things are truly the breakthroughs.
When you're fulfilling a function—when you're being obedient, in other words, you're doing as expected—you can't learn anything. Because you already know the answer. It's through mistakes that you actually can grow.
You have to get bad in order to get good. You have to try a lot of things and fail in order to make the next discovery.
That works in a short-term methodology when you're just working on a specific project, but also long-term in terms of a whole career. I find I make big discoveries and I make huge leaps and then I repeat myself and I'll be known for what I did—I'll get the acclaim for the breakthrough—and that elevates everyone's expectation of who I am and what I'm supposed to do, and I will repeat that because it has become successful.
And I will repeat it and repeat it until it provokes my utter failure because I'm going along doing exactly what I did. And it's very hard to make the breakthrough because in order to make the breakthrough again, to go up again, you either have to fail or be unqualified for a job where you don't know what you're doing, where you make honest mistakes because that's how you learn. And that success is its own guarantee of failure.
So you're saying that one of the ways that you experience failure is: Let's say you make a breakthrough and you're rewarded for it—by people praising it—and you repeat that same formula that worked for you and it gets stale after a while, and eventually that lack of innovation becomes regarded as a failure?
That's right. In my TED talk, there's actually a little cycle about it. It's first being serious—that's how you make the breakthrough—then being solemn (that's when the breakthrough is expected), then being trite or hackneyed, and then being forgotten and then getting resurrected again. You go through that entire cycle, and the failure leads to the next reinvention—as long as you understand what's happening to you. Some people grasp on some to try to repeat the old success. They feel, "Well, oh, I'm just not doing the old thing I did well," and in fact you have to let go of that for a while and free fall and find the next thing.
What do you do in order to understand what's happening to you and try not to grasp on to the old success?
That's the "aha" part of it. The really hard part is to let go of yourself. You have to have the self-awareness that it's happening, and you can't be defensive and protect yourself. Like I find, the minute I see young kids doing something I really, really hate, I know I have to pay attention to them. Because I realize I really, really hate it because I'm defending myself.
Can you give an example of that?
I've been through so many styles and trends that have been like that. That's your first reaction when you see something new that you aren't part of. It's a generational shift. I'm 60, I've been through this a lot. You never can do what the kids do. What you do is look at yourself and find your own way to address the fact that the times have changed and that you have to pay attention. You can't be a designer and say, "Oh, this is timeless." Nothing is timeless! Times change. The minute you say, "This is some fashion phase, I'm going to ignore this, because my work is timeless," pay attention—you're fooling yourself! What young designers do is they rebel against what came before them—meaning they're rebelling against you. That's what allows them to discover the next thing.
They need that to propel them forward. So when they rebel and they rebel against you, that hurts your feelings. You feel threatened by it. When you feel threatened by it, you tend to denounce it. "Oh, these young kids today, they're doing this terrible crap yada yada." How many times have we heard that? What you're doing is you're not paying attention. You're defending yourself. If you can embrace it and you can look at it and find the value in it and why it is here, then you can grow yourself, and you're much stronger that way.
There's another kind of failure. Once you realize the thing you got rewarded for has become stale and that you need to try something new—when you're trying to innovate, I suppose you make mistakes then too?
Then you really don't know what you're doing, so you make some really terrible things. And you have to have the luxury and the time to do that, and it's hard when you're a working professional to be able to fail like that. But there's nothing better for you than to make some big ugly terrible thing that's just a disaster.
The thing about your mistakes is, when everybody praises something, you don't learn anything. But when you do something terrible, you know what not to do. And that's fantastic. You also learn what you could do if you manipulated it a different way. You have to try these things. You have to see where the failure takes you. That's very scary and risky and also hard to do while you're trying to do something professional. So you have to set aside some personal R&D to make the failure.
Is that what you did, or were you lucky to be in a field where you could fail in your actual work?
When I was young I had this job working in the record business. I was an art director for CBS records and I used to make about 150 records covers a year. About 80 percent of them were terrible. And that was how I learned to be a designer. I was very lucky. Because most kids don't have the option to really fail like that.
That's where I learned the value of the failure. Now, as a working professional and a partner of Pentagram with a reputation to uphold, I'm probably less likely to make outrageously ugly things. But the downside of that is that the work becomes expected, so I have to make changes on my own. So I began painting as a way to balance and be able to make other discoveries, and I made these very complicated map paintings and they started selling. The success hurt the expression. So I have to go back to R&D and develop some other ways of pushing that.
Do you think it takes a particular type of personality to be able to do that, to be able to take down your defenses and be OK with failure? What do you think it is about your personality that allows you to do that?
This is hard, because it gets very personal. Maybe I had less to protect. Some of it came from being a woman, in that the expectation was that I wasn't going to do much anyway, so what the hell?
I find that men are much less likely to talk about this stuff. Unless they're so über-successful that they put themselves out as gurus. It's the idea that failure is not embarrassing to me. What's embarrassing to me is the idea of failing and not knowing. Do you know that Randy Newman song, "I'm Dead and I Don't Know It"?
No.
The whole song is about this. It's on his Bad Love album. The refrain is, "Each record that I'm making is like a record that I made, just not as good." Then he says, "Why do I go on and on and on and on?"
I'll check that out.
It's exactly what we're talking about here. It's this perfect little song.
So is it that failing isn't embarrassing to you or is it that you don't mind being embarrassed?
It's not that failure is not embarrassing to me. It's that I don't have a high enough opinion of myself to have to masquerade as a success.
Has that become more difficult as you've become more successful?
Yes. Because I have more to lose. And I'm afraid of being a fool. All that stuff is real. But, it is the thing that kills the work. Every criticism, anything I hear anybody say about my work (and I hear it all online now), it hurts my feelings—don't get me wrong. But I know the failure is valuable and I have pay attention to it and when I stop paying attention to it I'm really in serious trouble.
Do you try to shield yourself against reviews or do you seek them out to try to get more feedback?
I do both. There is a point where, if I read things about my work on a blog or some such thing, there's always certain amount of value to it and there's a certain amount of snark and mean. So I have to be able to know the difference. But I know that what's problematic is that at a certain point when you've established—and lets face it, I'm just a graphic designer, there is no great thing here—but when you establish a certain level of success within your field, you're a walking target. Because other people assume everything is easy for you, or that you don't have to work as hard, or that you're getting away with something. And yet, that becomes something you have to be acutely aware of so you're not frivolous, so you continue to take the risks and prove yourself, not relying on your fame. You have to pay attention.
Do you think other people understand this process? That in order to be successful and innovative and creative you need failures? Or do you think when people see something that doesn't work, its just, "Ha ha, she failed, she's losing it, she doesn't have it anymore"?
I think that's always the wish, that's always their hope. They would hope that. And that's why I have to pay attention to the failure.
So critics don't understand the value of failure to continued creativity? They see one failure and they go, "Oh, that sucks"?
No, I don't think that's quite right. There's all different sorts of criticism. If someone is going to write about a long career critically, of course they know the value in failure; they know that one doesn't just keep moving along. They'll obviously understand that you can't have a steady stream of successes, there are always those peaks and valleys. If a critic is looking just at once piece, something in an immediate time, then people don't won't see the value in failure. Or they're just being critical because they're judging the piece itself, which is valuable to me.
When you're in the midst of failure, are you always able to keep the long view and remember that a failure is going to lead you to greater successes later? Or do you ever feel discouraged and hopeless?
I talk about the conditions for making discovery. The first condition is that you're young and arrogant, and you can't do that later because then you know too much. That's one way you begin to grow. I make an analogy to The Verdict, a movie with Paul Newman. He plays this down-and-out lawyer who was almost disbarred because he did something shameful in his past. He's given this case, and it's a malpractice case. The client is morally right. There's all these reasons he can't win the case. Finally he gets to the point. And he says, "This is the case. There are no other cases." This is the moment. And at that point you know he can win the thing, because the focus is so strong, the determination is there, and the opportunity is there. The ball being pitched, he's got to hit it out of the ballpark. You are in a state of desperation, and there can be that focus. And that's another way to change. A third way to change is to accidentally, or even by your own manipulation, put yourself into a situation or a product where you're a complete and total neophyte. Then you're operating on an instinctive level and you can make discovery that way. The last way to do it—and I'm looking for a new way, I've done this many times—is to be so bored so senseless by what you're been doing repetitively that it forces you to strike out in a new way.
What advice do you have for people?
If you find yourself defending yourself and protecting yourself and being outraged about what's around you, you're in trouble. That doesn't mean some things aren't genuinely outrageous. But you have to ask yourself: Why are you outraged by something? What are you hiding from? What are you defending?
Was there ever a particularly public failure? Any dramatic moments?
People need to understand is the difference between failure and bad luck. Bad luck is something else—sometimes you lose your job, sometimes you're in the middle of a project and it gets canceled, sometimes you have a client who's impossible. That's just bad luck. Failure is when you have the ability to fix it. It's important to know the difference. It's like that Al Anon prayer: "God grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference." There's no point in beating yourself up over bad luck, in trying to manipulate something you can't change. There are people who fall into a downward cycle and blame themselves for things they really have control over.
But for true failure, you should let it beat you up a little bit?
You should pay attention to it, and change the things you can. Ask yourself, why is this not working? Why is my work coming out like this? Why do I do the same thing over and over again?
(影片)
Paula Scher: Great design is serious not solemn
文/Rebekah
不知道你有沒有這樣的 時間和感覺
明明一天都很開心
但晚上回到家後 卻感覺到一陣很深的空虛
你有這樣的感覺嗎?
在這個時間點
好像有個光會不斷的在對我說話
在這個時間點
這個空虛的感覺 令我快要窒息
在這個時間點
感覺需要一種深深的完全的愛充滿 才能得到釋放
在這個時間點
有時候會所有困難與痛苦的事 甚至是自己的罪惡感 會莫名的衝上心頭
在這個時間點
我想哭但卻哭不出來 會有種深深的空洞感
在這個時間點
好像找什麼人講講話 談心事 都不對!
在這個時間點
好像沒有任何人事物能夠滿足我 除了..沒有瑕疵的愛!
在這個時間點
我會只想要趕快放下所有手邊的工作和思緒 自己一個人
在這個時間點
我想 好像真的有種完全的愛 在提醒我 記得去親近它
在這個時間點
會有莫名的空虛感 只有那完美的愛能填滿
在這個時間點
我只需要 我只需要 LOVE!
你也有這樣的時間嗎?
我真的有!
但我竟然找到那沒有瑕疵的愛
它也竟然 滿足了我
想要給完全的愛擁抱的人
問我問我!
我知道!
(來源*^___^*: http://www.wretch.cc/blog/asurepublic/24696079)
都是去年的晚會了,卻還是像當時親耳聽他分享時那樣歷歷在"耳"和觸動: )
TK(明明人在新加坡,還)把陶喆說的話做了逐字稿,也把歌詞、音樂檔和相關資訊附上來了,
所以(?)我就轉來了:D
(謝謝你啦,用心的智元!)
---------------------------------------------------------------------------------------------------------------------------------------------------
來源:http://twghome.pixnet.net/blog/post/22254048
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(影像來源:CONANTACO)
時間:2008/11/01 晚上@台北
不到十五分鐘的時間,這個夜晚,
手中一把木吉他,他走上了舞台。
誰面對「過去」,不需要「勇氣」?
此刻,他不再只是David Tao,
他是個知道自己手中握著「五千兩銀子」的「僕人」。
--
見證分享者/David Tao
逐字稿/TK
我的時間不是很多,這邊有一個timer在倒數。
所以我很快地跟大家分享這個故事。
在01年的時候,那個時候我在做我的第三張專輯(黑色柳丁),
其實那時候我很低落,對很多事情都非常地迷失,
似乎好像,我已經什麼都有了:有了錢,有了事業,有了成就,
但我依然覺得很迷失。
我一直覺得,其實,我可以做音樂啊,
而且,其實我做得也很開心,但是我這個音樂是為什麼去做的?
結果有一天,那時候我在美國,禮拜天去教會的時候,
我們教會的李牧師 (李約翰牧師),就分享了一個故事給我們聽。
--
(以下直接引用自《聖經》節錄於 馬太福音25:14~30)
天國又好比一個人要往外國去,就叫了僕人來,把他的家業交給他們,
按著各人的才幹給他們銀子:
一個給了五千,一個給了二千,一個給了一千,就往外國去了。
那領五千的隨即拿去做買賣,另外賺了五千。
那領二千的也照樣另賺了二千。
但那領一千的去掘開地,把主人的銀子埋藏了。
過了許久,那些僕人的主人來了,和他們算帳。
那領五千銀子的又帶著那另外的五千來,說:
主啊,你交給我五千銀子。請看,我又賺了五千。
主人說:好,你這又良善又忠心的僕人,你在不多的事上有忠心,
我要把許多事派你管理;可以進來享受你主人的快樂。
那領二千的也來,說:主啊,你交給我二千銀子。請看,我又賺了二千。
主人說:好,你這又良善又忠心的僕人,你在不多的事上有忠心,
我要把許多事派你管理;可以進來享受你主人的快樂。
那領一千的也來,說:
主啊,我知道你是忍心的人,
沒有種的地方要收割,沒有散的地方要聚斂,
我就害怕,去把你的一千銀子埋藏在地裡。請看,你的原銀子在這裡。
主人回答說:你這又惡又懶的僕人,
你既知道我沒有種的地方要收割,沒有散的地方要聚斂,
就當把我的銀子放給兌換銀錢的人,
到我來的時候,可以連本帶利收回。
奪過他這一千來,給那有一萬的。
因為凡有的,還要加給他,叫他有餘;
沒有的,連他所有的也要奪過來。
把這無用的僕人丟在外面黑暗裡;在那裡必要哀哭切齒了。
--
(以下繼續 David 的見證分享)
聽完了這個故事,我就領悟到一件事情,
上帝給了我們每一個人很多的錢,很多的天賦,很多的才能,
但是我們運用它,做什麼?
如果我們是基督徒的話,我們一定是運用祂給我們的一切,
去讚美祂,去榮耀祂,
還有,給予這個世界一些「好」的東西。
我也希望,你我,我們都一起,可以有這樣子的一個任務。
這就是基督徒的使命。謝謝。
--
在這裡,我想唱一首(歌),這首歌很多人不知道,
這首歌當時在第三張專輯當中,
很多人都認為這是一首情歌。
可是其實它是一首寫給上帝的感恩之歌。
在我最低迷,最弱的時候,雖然有朋友,有家人,
但上帝,一直,陪在我的身邊。
這首「蝴蝶」,希望送給你們,也希望,送給上帝。
--
影像提供:SansWord
(TK註:我印象中,陶吉吉從未在現場演唱過這首作品,這是第一次。)
蝴蝶
當這世界已經準備將我遺棄 像一個傷兵被留在孤獨荒野裡
開始懷疑我存在有沒有意義 在別人眼裡我似乎變成了隱形
難道失敗就永遠翻不了身 誰來挽救墜落的靈魂
每次一見到祢 心裡好平靜 就像一隻蝴蝶飛過廢墟
我又能活下去 我又找回勇氣 祢的愛像氧氣幫忙我呼吸
我又能呼吸 我又能呼吸 祢就是不願意放棄
生命中充滿亂七八糟的問題 像走在沒有出口的那個迷宮裡
一次又一次只會用藉口逃避 怎麼祢從來沒對我徹底的死心
我有何德何能值得祢珍惜 為何祢對我有求必應
每次一想到祢 像雨過天晴 看見一隻蝴蝶飛過廢墟
是那麼的美麗 就像一個奇蹟 讓我從倒下的地方站起
只要一靠近祢 就覺得安心 祢看著我的眼沒有懷疑
祢對我的相信 讓我又能重生 不管世界多冷我還有祢 我有祢
愛我這樣的人對祢來說不容易 我的痛苦祢也經歷
祢是唯一 陪我到天堂與地獄
每次一想到祢 像雨過天晴 看見一隻蝴蝶飛過了廢墟
我能撐的下去 我會忘了過去 是祢讓我找回新的生命
每次一見到祢 就心存感激 現在我能坦然面對自己
我會永遠珍惜 我會永遠愛祢 在我心底的祢位置沒有人能代替
祢就是那唯一
作詞:陶吉吉、娃娃
作曲:陶吉吉、Brad Olynyk
編曲:陶吉吉
(原作品收錄於2002年發行,陶吉吉「黑色柳丁」創作專輯)
感謝板友eDickens的檔案分享:
http://www.funp.net/554443 (各位可點擊下載mp3)
(David Tao現場演唱:找自己+見證分享+蝴蝶)
--
(節錄:David 演出前的簡短專訪)
來源:
http://www.tfgf.org/testimony/2-page.asp?awNo=29
陶吉吉:求神引導婚姻的道路
2008.11.01
當陶吉吉聽到要在台灣舉辦這麼大型的福音節慶時,覺得很
興奮。從小是基督徒,小學也在美國伯大尼學校就讀的他,
對於葛理翰牧師很熟悉。當他接到大會演出邀請的時候,立
刻就接受,因為他覺得機會難得,台灣很少有這麼大型的佈
道大會。所以幾個月前就開始在想,能為大會貢獻什麼。
演出前,他對非基督徒朋友建議:「基督教很強調個人與上
帝的關係。不要害怕、不要恐懼接觸基督教,雖然基督徒在
台灣比例不高,但是基督教在台灣的歷史是很久遠的。非基
督徒的朋友可以透過很多管道來認識這位神,這也是我今天
晚上想要傳達給大家的訊息,希望我可以成為大家認識耶穌
的橋樑。」
他表示,在他小的時候,上帝對他而言是很抽象的,但是在
成長的過程中,經歷一些事後,才發現上帝在他生命中佔著
很重要的位置。上帝帶領他走前面的道路、找到前面的方
向,而他藉由禱告、讀經,更認識這位神。
談到目前最想向上帝求的,他說道:「求神賜下一位適合走
入婚姻的對象,我求神調整我來適合這位伴侶,也安排適合
的伴侶給我。」
本文轉錄自http://twghome.pixnet.net/blog/post/22933268 我覺得這篇幾乎是TK智元集大成的一篇(笑) 我想,身為基督徒的我們,並不是沒有渴望、衝動、掙扎和不捨。 當然我們還是會跌倒,
圖片、顏色為原作者所加,也已經得其同意轉錄:)
(只差小男人主義那篇是比較獨立的主題了XD不過有一兩個小地方我現在沒有完全同意小男人主義那篇了:p)
即使過這麼久重新閱讀,仍然被提醒許多事情。
只是因為我們很幸運,有機會真實經歷到一份不一樣的愛,
一份無法用想像、自我催眠、理論架構出來的美麗愛情,
所以願意嘗試過著一個不太一樣卻從來不會讓人後悔的生活方式和態度。
所以願意承認自己自私,軟弱,會傷人,並且因此開始謙卑學習愛的方式,不是任憑感覺的衝動。
所以學習保護自己和別人,
所以學習寬恕,學習滿心歡喜地給予。
學習在被傷害之後,誠實面對自己的傷口,和上帝一起處理,而不是無法克制地也出手傷人或傷自己。
灰心、無力、走錯路的時候。當然。
因為我們只是平凡軟弱的人啊,不因此比其他人優越或完美,
也仍是上帝手中一件尚未完成的作品。
只是有什麼,可以改變一個人呢?
而做這些事情難道能夠靠自己嗎?
所以,不要放棄好嗎?
不要停止相信,有好事情在你的前面,你也會找到的。
不要被挫折和不安全感打敗了,用對的方式,你可以的。
祝福所有人。上帝愛你,我也愛你:)
-------------------------------------------------------------------------------
(影像內容:TK)
原文轉自於一段朋友的討論串,我的文章回覆,
透過本文,也有許多我過去文章的溫習,
我覺得這段書寫,對我也是很好的自我成長。
--
文/TK
在我們的基督信仰中,
「愛神愛人」是非常重要且「置頂」的準則。(笑)
愛情與婚姻,是上帝所設立要更多造就一個人的地方。
真正健康且蒙神祝福的愛情,是兩人深知彼此的存在價值,
並且按照神希望他們有的生活方式,成為每個世代美好的見證。
這是神最初美好的心意,
而並不是每一個人都深刻瞭解到這份對感情的責任。
包括基督徒本身。
有時候「基督徒」,也被扭曲到變成「糊里糊塗」.....XD
在最剛開始,我想要分享我在部落格的兩篇文章,
我覺得對想要更多了解這方面事情的人,算是很好的充電與裝備。
如何選擇一生的伴侶:
(上)http://twghome.pixnet.net/blog/post/19164486
(下)http://twghome.pixnet.net/blog/post/19164674
--
兩人要不要進入交往,
並不是這個時代(包含媒體所宣導的):「感覺來了就好」。
這個詞彙最大的問題是:「感覺」如此抽象且「無須負責」,
它可以是長久經營愛情的約定、準則與承諾嗎?
其實,拋開了清楚的「意志層面」,
(也就是真正的大問題,
你需要反覆問自己的 ─「你們適不適合?」)
只用「感覺」行事,這是非常危險且充滿傷害的動機。
而且這個世代有無數多的男男女女,因「感覺」而傷。
我曾經受犢報編輯邀請,
刊登的一篇文章,也可以與各位分享:
(先於我愛你的二三事)
http://twghome.pixnet.net/blog/post/22664059
--
一段感情的經營,如果有一方不誠實或是不尊重對方,
感情的最後,一定會有一方覺得自己被利用了。
這相對也會產生出一個問題:
該方因無法走出傷害(可能是受傷太深)
當真正時機和人物都對了,他卻因沒有預備好自己而錯過。
這是一輩子的傷口,也至少,
是有一方需要一輩子獨自去面對的受傷回憶。
對自我成長的要求,是每個人成長中很重要的課題,
如果有一方已經表明「拒絕成長」,
其實他對自己的生命已經不能負責了(也不想負責了)
更何況是對於別人呢?
《聖經》馬太福音16:24~26─
於是耶穌對門徒說:
「若有人要跟從我,就當捨己,
背起他的十字架來跟從我。......
人若賺得全世界,賠上自己的生命,有甚麼益處呢?
人還能拿甚麼換生命呢?」
主耶穌基督所教導相信祂的人:
「背起自己的十字架,跟隨祂」的重要提醒,
更包括學會面對克服過去來自家庭的傷痛、對人的不信任,
或是自己被扭曲的價值觀(這個尤其最為迫切)。
有些人的「病態」與「被扭曲」,
還沒有真正深刻地投資時間「對付」或是「調整」的話,
是不能與另外一個人的生命有所深度接觸的。
(他唯一會的,只是不斷重複傷害對方)
靠和別人「在一起」來「療傷」,其實也不算是健康且正確的方式。
我想再分享一篇自己寫過的文章,
我覺得跟我想談論的主題切身相關。
(Love or Lust)
http://twghome.pixnet.net/blog/post/21971980
--
說穿了,一個「傷者」,他要先戰勝自己的軟弱,
並且需要在意志中徹底明白自己已經走出過去。
(並且不再讓自己回到過去)
在這些階段來到以前,他不能輕易再把自己的心給出去。
雙方都要敏銳,真的出於「愛」,
「在不在一起」,不是只要「兩廂情願」就搞定。
這就是為什麼我們在教會的牧養中要設立「牧者」和「小組長」。
這不是「名義」上的稱謂而已,
他們有來自神的託付,鑒察每隻羊的狀況,並且給予教導。
同理,羊也要順服,
就算「痛」,也不能放棄與牧者的溝通,
因為我們每一個人都需要「門徒訓練」。
我們的信仰中,上帝是愛的源頭,
上帝自己透過耶穌基督道成肉身,成為了那個「愛」,
除非你真的明白「愛」,也可能,
你永遠不知道怎麼正確地感受到「愛」。
(感受不到愛的人,如何用正確的方式去愛著對方呢?
又要如何相愛一生一世?)
愛情考驗的東西很多,如果事前不看重這些,
充其量,只是一段自我欺騙的關係罷了。
不只割傷了對方,也殘廢了自己。
其實真的沒有必要,別那麼傻。
--
「愛」是「不方便」的。
真正的「愛」,包含所謂的「犧牲」,
在此,請別聯想成「殉情」或是「有一方一定要死」....XD
犧牲,包含割捨的成份,包含讓自己接受「不方便」的狀況。
(講白一點,更包含有婚約關係以前,你的「生理需求」的控制)
美籍作家 Joshua Harris,說過一句很棒的話:
"Sex (and Sexuality) is not a problem. Lust is."
在真正的愛裡面,這是一個很重要的承諾,
也是上帝非常看重人們的行為之一,
因為其中也包括你對自我價值的解讀。
(如果對方現在就可以不尊重你,
如何想像未來你一生一世都和他共度呢?)
有一句很重要的提醒:(引用自康希牧師)
You can "give" without "loving",
but you can't "love" without "giving".
(你可以「給」而「不愛」,而你無法「愛」而「不給」。)
因著愛的緣故,你將上帝的叮嚀繫在你的心間。
也把誠實的溝通、承諾和約定放在你們兩人之間,
這對兩人的心理健康,與面對各自家人的坦然與喜悅,
才是你們未來長久走下去的經營基礎。
(愛情不是兩個人的事情,它更是兩個「家庭」的事情)
當你回想你自己的生命,包括你的待人與處事,
其實都潛在著這個"give & love"動機,推動著你去執行任何事情。
我去年暑假,有一天恰好整理了不少很棒的文章翻譯,
這一篇也值得大家前往閱讀,
我相信上帝有許多給予方向的機會,
都在指引我們往更美好的愛走去。
(關係箴言)
http://twghome.pixnet.net/blog/post/21049915
你若能讓自己健康(或是用健康的方式)
去面對上帝,面對異性,面對社會,
你會看見一個不一樣的世界。
你會重新看到人們如何渴望被愛,被尊重,被接納。
你也會看到,愛裡面,有「包容」,也同時有「責任」。
愛情不是生命中的唯一一件事情,
而它卻是一堂非常深刻且重要的課程。
--
另外,最後這篇文章,
我希望可以與大家分享一位女生如何經營自己的愛情。
(愛情,難在可貴)
http://twghome.pixnet.net/blog/post/22283779
我覺得要進行「自我揭露」的人,都需要無比的勇氣。
一個真正成熟的人,才知道自己這一生,
不只為了自己,也需要為別人負責。
別那麼傻,上帝創造給你的生命很美好,
你應該用最美好的方式,帶著微笑去度過每一天。
透過你的言行和給予,你可以祝福更多的人。
--
最後我也衷心期盼,每個人都找到屬於你自己生命的那一位。
然後你們牽著彼此的手,一生觸摸著彼此,
直到你們生命的最終盡頭。
我想,那正是這個世代最渴慕的畫面。
而其實,這是上帝創造人類與婚姻中,
原本,一份就已經交在你手中,最美的禮物 ─
與你這一生僅此一位的生命摯友,笑著,白了頭髮。
願神祝福各位,主的愛與我們同在,直到我們跑完我們當行的路程。
以馬內利。
Miguel A. Hernan:
「這堂課所教的東西,也許會有一部分你們上學期已學過,或是下學期會在其他課再學到,但是重要的是,聽到不同的老師用不同的方式,講相同的東西,如果你們能理解其中的異同,就能學到更多東西。」
2009.3.22誌
