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[原创，打断思路，专注，时间，连续时间] 明末清初李渔的“每至得意疾书之际，机锋一转，则断不可续”，以及现代人的论证

已有 141 次阅读 2025-6-13 21:44 |个人分类:资料与科普|系统分类:科普集锦

[原创，打断思路，专注，时间，连续时间] 明末清初李渔的“每至得意疾书之际，机锋一转，则断不可续”，以及现代人的论证

李渔 b869c56bd31f4a228fbeb911bf871980.jpg

图1 李渔，1611~1680

http://m.shenhuaguoji.com/info/184804.html

一、明末清初的李渔

https://www.gushiwen.cn/guwen/bookv_939502665c11.aspx

若夫文人运腕，每至得意疾书之际，机锋一转，则断不可续。然而寝食可废，便溺不可废也。“官急不知私急”，俗不云乎？常有得句将书而阻于溺，及溺后觅之杳不可得者，予往往验之，故营此最急。当于书室之旁，穴墙为孔，嵌以小竹，使遗在内而流于外，秽气罔闻，有若未尝溺者，无论阴晴寒暑，可以不出户庭。此予自为计者，而亦举以示人，其无隐讳可知也。

核心提示：

若夫文人运腕，每至得意疾书之际，机锋一转，则断不可续。

通俗地说：

出现创新的时候，千万不能“被”打断。

一旦“被”打断，就有可能永远失去了。

二、当代的后人论证

2.1 数学大师陈省身

张国. 陈省身：“大师”二字这样写[N]. 中国青年报, 2011-10-25 03版:教育科学

http://zqb.cyol.com/html/2011-10/25/nw.D110000zgqnb_20111025_1-03.htm

https://news.nankai.edu.cn/mtnk/system/2011/10/25/000042203.shtml

https://blog.sciencenet.cn/blog-107667-1396783.html

事情太多，没有时间来做学问。要做学问就要安静，甚至电话都不要接，不能打断思路。

2.2 文双春，2018-07-31，看这点就可判断一所大学能否“一流” 精选

http://blog.sciencenet.cn/blog-412323-1126801.html

一流科学家的共同体会是，一流研究需要时间（World-class research takes time），而且需要的是大块连续时间（large continuous blocks of time）。科研不像搬砖，搬一块少一块，所以搬一阵歇一阵没关系。科研首先要有新想法，而好不容易冒出来的新想法，从申请项目，到开展研究，直至撰写论文，都需要大把时间。新想法往往娇贵而脆弱，每次打断都像一阵吹翻一屋子卡片的风。研究发现，一个人在中断片刻后重新专注于一项任务需要约23分钟。如果中断时间更长，一个想法可能就随风而去了。打个比方说，科研就像烧开水，你必须一鼓作气烧到100度让它开，否则，你即使烧到99度又停一下，它马上又退回到原来的温度了，前功尽弃。

貌似有英文说：

The problem is that new ideas take time to develop: at the proposal stage, while conducting the work, and when writing the papers. Without large continuous blocks of time, it isn’t possible to thoroughly engage with a subject. Emerging ideas are fragile; each disruption is like a gust of wind knocking over a house of cards. Studies of multi-tasking have found that it takes individuals about 23 minutes to refocus on a task once interrupted. This is the micro equivalent of what’s happening to our summers as student projects, committee meetings and administrative reporting intrude on research time.

2.3 玛丽•奥利佛，1984年普利策诗歌奖得主

https://blog.sciencenet.cn/blog-1557-1440188.html

对应英文的汉译，来自机器翻译。

“In the wholeheartedness of concentration,” the poet Jane Hirshfield wrote in her beautiful inquiry into the effortless effort of creativity, “world and self begin to cohere. With that state comes an enlarging: of what may be known, what may be felt, what may be done.” But concentration is indeed a difficult art, art’s art, and its difficulty lies in the constant conciliation of the dissonance between self and world — a difficulty hardly singular to the particular conditions of our time. Two hundred years before social media, the great French artist Eugène Delacroix lamented the necessary torment of avoiding social distractions in creative work; a century and a half later, Agnes Martin admonished aspiring artists to exercise discernment in the interruptions they allow, or else corrupt the mental, emotional, and spiritual privacy where inspiration arises.

诗人简·赫什菲尔德在她对创造力毫不费力的探索中写道：“在全心全意的专注中，世界和自我开始凝聚在一起。随着这种状态的出现，一种扩大：可以知道什么，可以感受到什么，可以做什么。”但专注确实是一门困难的艺术，艺术的艺术，它的困难在于不断调和自我和世界之间的不和谐——这一困难在我们这个时代的特定条件下并不罕见。在社交媒体出现200年前，伟大的法国艺术家欧仁·德拉克洛瓦（Eugène Delacroix）哀叹在创作中避免社交干扰的必要折磨；一个半世纪后，艾格尼丝·马丁（Agnes Martin）告诫有抱负的艺术家在他们允许的中断中锻炼洞察力，否则会破坏灵感产生的精神、情感和精神隐私。

But just as self-criticism is the most merciless kind of criticism and self-compassion the most elusive kind of compassion, self-distraction is the most hazardous kind of distraction, and the most difficult to protect creative work against.

但正如自我批评是最无情的批评，自我同情是最难以捉摸的同情一样，自我分心是最危险的分心，也是最难保护创造性工作免受其害的分心。

It is a silver morning like any other. I am at my desk. Then the phone rings, or someone raps at the door. I am deep in the machinery of my wits. Reluctantly I rise, I answer the phone or I open the door. And the thought which I had in hand, or almost in hand, is gone. Creative work needs solitude. It needs concentration, without interruptions. It needs the whole sky to fly in, and no eye watching until it comes to that certainty which it aspires to, but does not necessarily have at once. Privacy, then. A place apart — to pace, to chew pencils, to scribble and erase and scribble again.

这是一个银色的早晨，和其他任何早晨一样。我在办公桌前。然后电话铃响了，或者有人敲门。我深陷于我的智慧机器中。我不情愿地站起来，接电话或开门。我手中或几乎手中的想法已经消失了。创造性工作需要独处。它需要集中注意力，不受干扰。它需要整个天空来飞翔，在它达到它渴望的确定性之前，不要看任何人，但不一定一下子就有了。那么，隐私。一个分开的地方——踱步，嚼铅笔，涂鸦，擦除，再涂鸦。

Part of this something-elseness, Oliver argues, is the uncommon integration of the creative self — the artist’s work cannot be separated from the artist’s whole life, nor can its wholeness be broken down into the mechanical bits-and-pieces of specific actions and habits.

奥利弗认为，这种另类性的一部分是创造性自我的罕见融合——艺术家的作品不能与艺术家的整个生活分开，也不能将其整体分解为具体行为和习惯的机械碎片。

参考资料：

[1] （清）李渔著，郁娇校注. 闲情偶寄[M]. 南京市：江苏文艺出版，2019-01

https://baike.baidu.com/item/%E9%97%B2%E6%83%85%E5%81%B6%E5%AF%84/1411681?fr=aladdin

https://www.gushiwen.cn/guwen/bookv_939502665c11.aspx

[2] 张国. 陈省身：“大师”二字这样写[N]. 中国青年报, 2011-10-25 03版:教育科学

http://zqb.cyol.com/html/2011-10/25/nw.D110000zgqnb_20111025_1-03.htm

https://news.nankai.edu.cn/mtnk/system/2011/10/25/000042203.shtml

https://blog.sciencenet.cn/blog-107667-1396783.html

事情太多，没有时间来做学问。要做学问就要安静，甚至电话都不要接，不能打断思路。

[3] 文双春，2018-07-31，看这点就可判断一所大学能否“一流” 精选

http://blog.sciencenet.cn/blog-412323-1126801.html