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讣告
65届诸位同学，今天上午獲悉不幸消息，老同学庞鹤云于2025年9月8日因病去世。
庞鹤云， 湖南湘潭人。 1965年南開大學外文係毕业后分配到四川成都地质学院（现成都理工大学）任教授。 鶴雲在南開外文係就學期間，表現出湖南人特有的堅韌與刻苦精神。儘管她有某些家庭負擔，但學習成績一直優秀，積極參與班裡系裡和學校的各項活動。她性情隨和與人為善，與班裡每位同學關係都十分融洽。我們深切懷念龐鶴雲同學。
我们因失去一位昔日同窗而悲痛，庞鹤云安息。
（劉士聰9月11日發佈於“南開65英微信群”）
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津石（孙老毅兵师） 04:50
沉痛哀悼庞鹤云同学！同住一宿舍时，我感受到小厐待人热情、诚恳，生活简朴。是她教会了我怎样做袜垫儿和吃红红的辣椒酱。小庞一路走好！天堂无痛，安息吧，厐鹤云！
颐园叟(崔永禄） 04:55
沉痛悼念庞鹤云同学！庞鹤云安息！
東山 04:38
沉痛哀悼庞鹤云同学！
hubo（朱柏桐） 05:28
太突然了！小庞再婚后一直生活幸福啊，没想到咋就突然走了呢？！心里真的接受不了，好难过！愿小庞一路走好，灵魂安息！
贺新 05:46
沉痛哀悼庞鹤云同学！祝庞鶴云同学一路走好！家属节哀！
常耀信 05:57
沉痛悼念庞鹤云同学。愿庞鹤云同学一路走好。
徐基荣 06:00
沉痛哀悼庞鹤云老同学！愿妳一路走好！ 请家属节哀顺便。
正大光明（李明德） 07:24
惊闻老同学庞鹤云不幸去世，令人悲痛！深切悼念！愿你在另一个世界安息！
老汉（吳則天） 21:07
惊闻庞鹤云老同学不幸去世，希望家属节哀顺变！我最后一次见她和爱人，是二十多年前在成都车站话别，得之她们生活幸福美满，未想到这是永别！
谷启楠 23:30
惊闻庞鹤云同学去世，非常悲伤。两个多月前和她通电话时，她说身体还好，想不到那竟是最后一次通话。庞鹤云为人友善，学习努力，诚恳实在，是我们的好同学、好朋友。愿她在天堂一切安好，愿她的家人节哀顺变。
朱文俊 02:13
惊悉小庞去世十分悲痛，望她一路走好！
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龐鶴雲生前照片
庞鹤云、许荣仙攝于高东山祝宝银家，early 1980s
分组毕业照后排右起第一人为庞鹤云, 07/1965
1960级女同学：前排左起张培华、许荣仙、孙学诗、蔡文美、王蕴茹
后排左起鲁琪、贺曼莉、庞鹤云、朱柏桐、谷启楠、刘秀清，1962年三八妇女节
前排左起孙学诗、蔡文美、许荣仙、汪莹、杨新芝、刘秀清；
后排左起朱柏桐、张培华、王蕴茹、谷启楠、庞鹤云、贺曼莉, 小礼堂前，early 60s
      
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English Poet Gerard Manley Hopkins (1844-1889) |
G. M. Hopkins
(This work of art is in the public domain.)
Gerard Manley Hopkins, S.J. (28 July 1844 – 8 June 1889), was an English poet, Roman Catholic convert, and Jesuit priest, whose 20th-century fame established him posthumously among the leading Victorian poets. His experimental explorations in prosody (especially sprung rhythm) and his use of imagery established him as a daring innovator in a period of largely traditional verse. Much of Hopkins's historical importance has to do with the changes he brought to the form of poetry; which ran contrary to conventional ideas of metre. Prior to Hopkins, most Middle English and Modern English poetry was based on a rhythmic structure inherited from the Norman side of English literary heritage. This structure is based on repeating groups of two or three syllables, with the stressed syllable falling in the same place on each repetition. Hopkins called this structure "running rhythm", and though he wrote some of his early verse in running rhythm he became fascinated with the older rhythmic structure of the Anglo-Saxon tradition, of which Beowulf is the most famous example. Hopkins called his own rhythmic structure sprung rhythm. Sprung rhythm is structured around feet with a variable number of syllables, generally between one and four syllables per foot, with the stress always falling on the first syllable in a foot. In reality, it more closely resembles the "rolling stresses" of Robinson Jeffers, another poet who rejected conventional meter. Hopkins saw sprung rhythm as a way to escape the constraints of running rhythm, which he said inevitably pushed poetry written in it to become "same and tame." In this way, Hopkins can be seen as anticipating much of free verse. His work has no great affinity with either of the contemporary Pre-Raphaelite and neo-romanticism schools, although he does share their descriptive love of nature and he is often seen as a precursor to modernist poetry or as a bridge between the two poetic eras.
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Pied Beauty
by Gerald Manley Hopkins |
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Glory be to God for dappled things --
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches' wings;
Landscape plotted and pieced -- fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare; strange;
Whatever is fickle, freckled, (who knows how?)
With swift, slow; sweet, sour; adazzle, d{'i}m;
He fathers-forth whose beauty is past change:
Praise him. |
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God's Grandeur
by Gerald Manley Hopkins |
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The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge |&| shares man's smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs --
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
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The Starlight Night
by Gerald Manley Hopkins |
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Look at the stars! look, look up at the skies!
O look at all the fire-folk sitting in the air!
The bright boroughs, the circle-citadels there!
Down in dim woods the diamond delves! the elves'-eyes!
The grey lawns cold where gold, where quickgold lies!
Wind-beat whitebeam! airy abeles set on a flare!
Flake-doves sent floating forth at a farmyard scare! --
Ah well! it is all a purchase, all is a prize.
Buy then! bid then! -- What? -- Prayer, patience, alms, vows.
Look, look: a May-mess, like on orchard boughs!
Look! March-bloom, like on mealed-with-yellow sallows!
These are indeed the barn; withindoors house
The shocks. This piece-bright paling shuts the spouse
Christ home, Christ and his mother and all his hallows.
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Spring
by Gerald Manley Hopkins
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| Nothing is so beautiful as spring --
When weeds, in wheels, shoot long and lovely and lush;
Thrush's eggs look little low heavens, and thrush
Through the echoing timber does so rinse and wring
The ear, it strikes like lightnings to hear him sing;
The glassy peartree leaves and blooms, they brush
The descending blue; that blue is all in a rush
With richness; the racing lambs too have fair their fling.
What is all this juice and all this joy?
A strain of the earth's sweet being in the beginning
In Eden garden. -- Have, get, before it cloy,
Before it cloud, Christ, lord, and sour with sinning,
Innocent mind and Mayday in girl and boy,
Most, O maid's child, thy choice and worthy the winning. |
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Blue plaque commemorating Hopkins in
Roehampton, London
(Copied under the terms of the GNU Free Documentation License)
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