【推理小说杂谈】从诺克斯十诫看推理小说(9)
从第五诫的详述来看。重点在” I only offer it as a fact of observation that”，显而易见，两种百科都断章取义，删去了前面这段话。出现中国人的推理小说肯定是烂作，诺克斯认为这是一个观察到的事实。换言之，之所以制定这一条戒律是因为当时中国人往往被设定为推理小说中的大反派，凶手显而易见，这些作品并不怎么样。
由此我们已经可以看出，这一诫是保证对凶手的公平，帮助其掩藏好身份。
那么之前那一段“说明”从何而来呢？在维基百科的引用参考一节可以看出来自《Making the Detective Story American: Biggers, Van Dine and Hammett and the Turning Point of the Genre, 1925–1930》第三章开头：
In 1924, the year before Charlie Chan debuted in The Saturday Evening Post, Ronald A. Knox first published his nine rules for detective stories. Rule Five declared: “No Chinaman must figure in the story.” As Father Knox explained, “This principle, I admit, is one merely derived from experience; I see no reason in the nature of things why a Chinaman should spoil a detective story. But as a matter of fact, if you are turning over the pages of an unknown romance in a bookstall, and come across some mention of the narrow, slit-like eyes of Chin Loo, avoid that story; it is bad”. This no–Chinaman principle is perhaps the most often cited of Knox’s rules; it has some wit, some truth, and, we would now say, some racism. “Chinaman” is not now an acceptable epithet; as Charlie Chan explicitly tells us, it was not an acceptable epithet in the 1920s. But England in the 1920s was still more imperial than multicultural, and, after all, the Chinese characters who did appear in popular fiction of the 1920s were slit-eyed Chinamen, preternaturally sly, conspiratorial, opium-addicted…
由此我们已经可以看出，这一诫是保证对凶手的公平，帮助其掩藏好身份。
那么之前那一段“说明”从何而来呢？在维基百科的引用参考一节可以看出来自《Making the Detective Story American: Biggers, Van Dine and Hammett and the Turning Point of the Genre, 1925–1930》第三章开头：
In 1924, the year before Charlie Chan debuted in The Saturday Evening Post, Ronald A. Knox first published his nine rules for detective stories. Rule Five declared: “No Chinaman must figure in the story.” As Father Knox explained, “This principle, I admit, is one merely derived from experience; I see no reason in the nature of things why a Chinaman should spoil a detective story. But as a matter of fact, if you are turning over the pages of an unknown romance in a bookstall, and come across some mention of the narrow, slit-like eyes of Chin Loo, avoid that story; it is bad”. This no–Chinaman principle is perhaps the most often cited of Knox’s rules; it has some wit, some truth, and, we would now say, some racism. “Chinaman” is not now an acceptable epithet; as Charlie Chan explicitly tells us, it was not an acceptable epithet in the 1920s. But England in the 1920s was still more imperial than multicultural, and, after all, the Chinese characters who did appear in popular fiction of the 1920s were slit-eyed Chinamen, preternaturally sly, conspiratorial, opium-addicted…
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