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月亮和六便士|Moon and Sixpence

第四十二章|Chapter XLII

属类： 双语小说 【分类】世界名著 -[作者: 毛姆] 阅读：[29073]
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1
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我不知道为什么斯特里克兰会突然提出要让我看看他的画作，但我对有这样的机会还是欢迎的，从一个人的作品中可以洞察这个人本身。

1
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I did not know why Strickland had suddenly offered to show them to me. I welcomed the opportunity.A man’s work reveals him.

2
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在社会交往中，他留给你的印象是他希望世人可以接受的表象，你要真正了解他，只能通过他的一举一动来推断，只能通过他无意识的表现，和他脸上露出的，连自己都没察觉到稍纵即逝的表情来判断。

2
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In social intercourse he gives you the surface that he wishes the world to accept, and you can only gain a true knowledge of him by inferences from little actions, of which he is unconscious, and from fleeting expressions, which cross his face unknown to him.

3
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有时人们把一副假面具戴得炉火纯青，时间一久，连他们也觉得自己成了所扮演的人。但是，在他的书里或画里，一个真实的人会毫无防范地交出自己的全部，他的矫饰只会暴露他的空虚。

3
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Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem.But in his book or his picture the real man delivers himself defenceless.His pretentiousness will only expose his vacuity.

4
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上了漆的木板条看上去像铁条，但终归是木板条。矫饰出来的个性无法掩盖思想的平庸。对于敏锐的观察者而言，一个人创作出的，哪怕是最漫不经心的作品，也会泄露他灵魂最深处的秘密。

4
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The lath painted to look like iron is seen to be but a lath.No affectation of peculiarity can conceal a commonplace mind.To the acute observer no one can produce the most casual work without disclosing the innermost secrets of his soul.

5
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当我沿着斯特里克兰住的房子那似乎没有尽头的楼梯向上爬的时候，我得承认我的心情还是有些激动的。我好像正踏在通往令人吃惊的冒险之旅的门槛上，我好奇地四下打量着这个房间，它比我记忆中的还要狭小窘迫，可以说是家徒四壁。

5
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As I walked up the endless stairs of the house in which Strickland lived, I confess that I was a little excited. It seemed to me that I was on the threshold of a surprising adventure.I looked about the room with curiosity.It was even smaller and more bare than I remembered it.

6
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真不知道我那些号称需要宽敞工作室的朋友们会怎么想，他们发誓说，除非满足他们喜欢的所有条件，否则无法进行创作。

6
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I wondered what those friends of mine would say who demanded vast studios, and vowed they could not work unless all the conditions were to their liking.

7
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“你最好站在那儿。”他说，并指向一个地点，也许他认为在那儿，我能有一个最佳的视角，更好地欣赏他给我展示的画作。

7
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“You’d better stand there，”he said, pointing to a spot from which, presumably, he fancied I could see to best advantage what he had to show me.

8
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“我猜，你不想让我开口吧。”我说道。

8
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“You don’t want me to talk, I suppose，”I said.

9
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“不想，你真该死，我想让你管住自己的舌头。”

9
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“No, blast you；I want you to hold your tongue.”

10
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他把一幅画放在画架上，让我看上一两分钟，然后把它拿下来，换上另外一幅画。我觉得他大约让我看了三十幅画作，这些画作是他在六年间一直创作的成果。他没有卖掉一幅画，这些画的尺寸大小不一，最小的是些静物画，最大是些风景画，还有六七张肖像画。

10
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He placed a picture on the easel, and let me look at it for a minute or two；then took it down and put another in its place. I think he showed me about thirty canvases.It was the result of the six years during which he had been painting.He had never sold a picture.The canvases were of different sizes.The smaller were pictures of still-life and the largest were landscapes.There were about half a dozen portraits.

11
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“就是这些了。”他最后说道。

11
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“That is the lot，”he said at last.

12
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我希望能够说，我立刻就认识到了这些画的美妙和非凡的原创性。如今我又再次看过其中很多画作，其余的通过仿制品我也不陌生了，可让我吃惊的是，当我第一眼看到它们的时候，居然感到十分失望。

12
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I wish I could say that I recognized at once their beauty and their great originality. Now that I have seen many of them again and the rest are familiar to me in reproductions, I am astonished that at frst sight I was bitterly disappointed.

13
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我当时根本没有感受到真正的艺术品会带给人的特殊的激动，斯特里克兰的画作带给我的印象就是让我困惑不安。而实际上，我当时根本没想到要买上几幅，这是至今都让我自责的事，我错过了千载难逢的机会。

13
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I felt nothing of the peculiar thrill which it is the property of art to give.The impression that Strickland’s pictures gave me was disconcerting；and the fact remains, always to reproach me, that I never even thought of buying any.I missed a wonderful chance.

14
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这些画的大部分现在都已经经过各种途径进入博物馆了，剩下的画被一些富有的业余收藏者如获至宝地收藏。我试图为自己开脱，我认为自己的品位还是不错的，但是也意识到了缺乏创新性。我对绘画知之甚少，我只是沿着别人已开拓出的道路信步走下去。

14
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Most of them have found their way into museums, and the rest are the treasured possessions of wealthy amateurs.I try to fnd excuses for myself.I think that my taste is good, but I am conscious that it has no originality.I know very little about painting, and I wander along trails that others have blazed for me.

15
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在当时，我对印象派大师的作品佩服得五体投地，期盼能拥有一幅西斯莱和德加的作品，我对马奈也崇拜有加，他的《奥林匹亚》在我看来似乎是现代最伟大的画作了，而《草地上的早餐》也深深地打动了我，这些作品在我眼中似乎是空前绝后了。

15
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At that time I had the greatest admiration for the Impressionists.I longed to possess a Sisley and a Degas, and I worshipped Manet.His Olympia seemed to me the greatest picture of modern times, and Le Déjeuner sur l’Herbe moved me profoundly.These works seemed to me the last word in painting.

16
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我不想描述那些斯特里克兰给我展示的画了，因为对画的描述总是很乏味，更何况，这些画现在对于所有喜欢艺术的人来说，都已经不再陌生了。

16
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I will not describe the pictures that Strickland showed me. Descriptions of pictures are always dull, and these, besides, are familiar to all who take an interest in such things.

17
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如今他的影响如此巨大，已经对现代绘画艺术产生了不可忽视的作用，他属于第一批探索那种画风的一代巨匠，现在很多人对这种画风已经做了分析，所以大家都熟悉了。斯特里克兰的画，如果是第一次见着，确实要做好心理准备。大家别忘了，我以前从没见过这种画风。

17
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Now that his influence has so enormously affected modern painting, now that others have charted the country which he was among the first to explore, Strickland’s pictures, seen for the first time, would find the mind more prepared for them；but it must be remembered that I had never seen anything of the sort.

18
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首先，我似乎对他技巧的笨拙吃惊不小，习惯了老一辈大师的画风，坚信安格尔才是近代最伟大的画家，我那时认为斯特里克兰画得太差了，我对他所崇尚的简洁一无所知。

18
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First of all I was taken aback by what seemed to me the clumsiness of his technique.Accustomed to the drawing of the old masters, and convinced that Ingres was the greatest draughtsman of recent times, I thought that Strickland drew very badly.I knew nothing of the simplifcation at which he aimed.

19
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我还记得他画了一个静物画，在盘子上的几个橘子，我看到时很错愕，因为盘子画得不圆，橘子也不对称。他的肖像画也比真人的尺寸稍大，这种技巧让人觉得肖像看上去很别扭。在我的眼中，这些肖像的面孔就像是卡通人物的脸，这种画风对我来说是全新的。

19
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I remembered a still-life of oranges on a plate, and I was bothered because the plate was not round and the oranges were lop-sided.The portraits were a little larger than life-size, and this gave them an ungainly look.To my eyes the faces looked like caricatures.They were painted in a way that was entirely new to me.

20
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风景画就更让我觉得困惑不解了，有两三幅画画的是枫丹白露的树林和巴黎的几条街道，我的第一感觉就是这些画可能是一位喝醉了的马车夫画的。我彻底被搞糊涂了，在我看来，画的色彩也格外的粗糙。我头脑中的想法是，整幅画就是一出惊人的、莫名其妙的闹剧。

20
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The landscapes puzzled me even more.There were two or three pictures of the forest at Fontainebleau and several of streets in Paris：my first feeling was that they might have been painted by a drunken cab-driver.I was perfectly bewildered.The color seemed to me extraordinarily crude.It passed through my mind that the whole thing was a stupendous, incomprehensible farce.

21
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现在回想起来，我对斯特里克兰的敏锐印象更为深刻了，他从一开始就看出了在艺术上会有一场革命，他在一开始就认识到的天才般的绘画技法，现在已得到全世界的公认。

21
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Now that I look back I am more than ever impressed by Stroeve’s acuteness.He saw from the frst that here was a revolution in art, and he recognized in its beginnings the genius which now all the world allows.

22
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然而，虽说我感到困惑和不安，但我不能不说，对他的画我还是印象深刻的。即使我对这种画风懵懂无知，但也强烈感觉到，这些画在努力表达自己，真的很有力量。我很激动，也很有兴致。我觉得这些画好像在向我倾诉什么东西，某种很重要的东西，我需要知道，但是我又说不出它是什么。

22
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But if I was puzzled and disconcerted, I was not unimpressed. Even I, in my colossal ignorance, could not but feel that here, trying to express itself, was real power.I was excited and interested.I felt that these pictures had something to say to me that was very important for me to know, but I could not tell what it was.

23
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在我看来，它们好像很丑，却又暗示着一个重大的秘密，而不是直接明示。它们很奇怪地撩拨人的心弦，给了我一种我分析不出来的感情；它们所表达的东西是任何言辞也无力说出口的。

23
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They seemed to me ugly, but they suggested without disclosing a secret of momentous signifcance.They were strangely tantalizing.They gave me an emotion that I could not analyse.They said something that words were powerless to utter.

24
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我想象斯特里克兰一定是在物质层面的东西里，隐隐约约看到了某种精神的含义，这种精神上的含义如此奇异，以至于他只能用晦涩的象征来暗示和表达，好像他在宇宙的混沌中发现了一种新的图案，在笨拙地试图描绘出来，因为力不从心，心灵上充满了痛苦，我看见一个饱受折磨的精神正奋力寻求表达上的释放。

24
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I fancy that Strickland saw vaguely some spiritual meaning in material things that was so strange that he could only suggest it with halting symbols.It was as though he found in the chaos of the universe a new pattern, and were attempting clumsily, with anguish of soul, to set it down.I saw a tormented spirit striving for the release of expression.

25
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我转向他说道：

25
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I turned to him.

26
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“我不知道你的媒介手段是否搞错了？”我说道。

26
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“I wonder if you haven’t mistaken your medium，”I said.

27
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“你到底什么意思？”

27
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“What the hell do you mean？”

28
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“我认为你正在试图表达什么，我不是很清楚那是什么，但是我怀疑，用绘画的方式来表达，是不是最佳的方法。”

28
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“I think you’re trying to say something, I don’t quite know what it is, but I’m not sure that the best way of saying it is by means of painting.”

29
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我原以为当我看到他的画，会找到线索去理解他怪异的性格，结果我想错了。这些画只增加了原来就填满我心中的震惊，我比以前更加困惑了。只有一件事似乎我搞清楚了——也许这甚至也是想象——那就是他正激情满满地坚持获得自由，从束缚他的力量中挣脱出来。

29
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When I imagined that on seeing his pictures I should get a clue to the understanding of his strange character I was mistaken. They merely increased the astonishment with which he flled me.I was more at sea than ever.The only thing that seemed clear to me-and perhaps even this was fanciful-was that he was passionately striving for liberation from some power that held him.

30
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但是这种力量是什么，自由的底线又在哪里，依然模糊不清。我们生活在世界上，每个人都是单枪匹马地战斗。他被囚禁在一个铜塔里，只能通过一些符号和他的同胞交流，这些符号没有共同的价值，所以它们的意义是模糊不定的。

30
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But what the power was and what line the liberation would take remained obscure.Each one of us is alone in the world.He is shut in a tower of brass, and can communicate with his fellows only by signs, and the signs have no common value, so that their sense is vague and uncertain.

31
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我们可怜巴巴地想把自己心中的财富传达给别人，但是别人没有力量来接收它们，所以我们只能孤独地前行。虽然并着肩，但心却没有在一起，无法了解我们的同胞，也不能被我们的同胞所了解。

31
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We seek pitifully to convey to others the treasures of our heart, but they have not the power to accept them, and so we go lonely, side by side but not together, unable to know our fellows and unknown by them.

32
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我们就像生活在某个国家的人，但是对该国的语言不太会说，尽管有美丽景色和深刻思想要交流，可只能按照会话手册上的句型只言片语地交流，造成交流的平常乏味。他们脑子里充满着各种想法，可只能告诉你“园丁的姑姑有把雨伞在屋子里”一类的话。

32
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We are like people living in a country whose language they know so little that, with all manner of beautiful and profound things to say, they are condemned to the banalities of the conversation manual.Their brain is seething with ideas, and they can only tell you that the umbrella of the gardener’s aunt is in the house.

33
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我对这些画的最后的印象是，为了表达心里的某种状态，画家付出了巨大的努力，我觉得要想寻得解释，就必须在那些最为困惑我的东西上下功夫。显然易见，色彩和形式对于斯特里克兰来说有一种意义，而且对他自身来说是非同寻常的。

33
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The final impression I received was of a prodigious effort to express some state of the soul, and in this effort, I fancied, must be sought the explanation of what so utterly perplexed me. It was evident that colors and forms had a significance for Strickland that was peculiar to himself.

34
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他处于无法忍受的状态下，一定要把他感受到了的东西传达出去。他只带着这种目的去创作。如果能够更接近他所寻求的、未知的那种东西，他会毫不犹豫地简化和扭曲色彩与线条。事实对他来说毫无意义，因为在大量不相关事件的表象下，他要寻找某种对他来说更加有意义的东西。

34
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He was under an intolerable necessity to convey something that he felt, and he created them with that intention alone.He did not hesitate to simplify or to distort if he could get nearer to that unknown thing he sought.Facts were nothing to him, for beneath the mass of irrelevant incidents he looked for something significant to himself.

35
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好像他已经明晰了宇宙的灵魂，受到驱使要表达出来。虽然这些画让我困惑和感到混乱，但我不能不被画中显然流露出来的感情所感动。而且，不知道为什么，我觉得自己的感情也发生了变化，对斯特里克兰的感情产生了我从未料到会经历的情况——对他充满了怜惜与同情。

35
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It was as though he had become aware of the soul of the universe and were compelled to express it.Though these pictures confused and puzzled me, I could not be unmoved by the emotion that was patent in them；and, I knew not why, I felt in myself a feeling that with regard to Strickland was the last I had ever expected to experience.I felt an overwhelming compassion.

36
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“我认为我现在知道了，对于布兰奇·斯特罗伊夫，你为什么会屈从你的感情了。”我对他说道。

36
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“I think I know now why you surrendered to your feeling for Blanche Stroeve，”I said to him.

37
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“为什么？”

37
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“Why？”

38
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“我认为你的勇气丧失了，你身体的软弱和你的灵魂进行了交流。我不知道什么样的无限渴求控制了你，使得你被迫走上危险而孤独的求索之路，你指望的目的是能够最终从折磨你的精神中得到解脱。

38
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“I think your courage failed. The weakness of your body communicated itself to your soul.I do not know what infnite yearning possesses you, so that you are driven to a perilous, lonely search for some goal where you expect to find a final release from the spirit that torments you.

39
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我看见你好像是永恒的朝圣者，走向某个也许根本不存在的圣地。我不知道你的目的地是怎样神秘莫测的极乐世界，你自己知道吗？也许它就是你寻找的真理和自由，一瞬间，你觉得你能够在爱情中找到解脱。

39
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I see you as the eternal pilgrim to some shrine that perhaps does not exist.I do not know at what inscrutable Nirvana you aim.Do you know yourself？Perhaps it is Truth and Freedom that you seek, and for a moment you thought that you might fnd release in Love.

40
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我认为你疲惫的灵魂寻求在一个女人的怀抱中得到安息，而当你发现根本得不到安息时，你就开始恨她，你对她没有怜悯之情，因为你对自己都没有怜悯之心。你把她杀死只是出于恐惧，因为你还在为你刚刚死里逃生的危险而颤抖呢。”

40
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I think your tired soul sought rest in a woman’s arms, and when you found no rest there you hated her.You had no pity for her, because you have no pity for yourself.And you killed her out of fear, because you trembled still at the danger you had barely escaped.”

41
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他干笑了一下，又用手捋了捋胡须。

41
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He smiled dryly and pulled his beard.

42
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“你真是一个可怕的感伤主义者，我可怜的朋友。”

42
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“You are a dreadful sentimentalist, my poor friend.”

43
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一个星期以后，我偶然听说，斯特里克兰已经去了马赛。以后我再也没见到他。

43
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A week later I heard by chance that Strickland had gone to Marseilles. I never saw him again.

序号 英文/音标 中文解释 更多操作

intercourse

[’ɪntəkɔːs]

n.交往;交流;性交

inference

[’ɪnfərəns]

n.推理;推论;推断;结论

vacuity

[və’kjuːəti]

n.(想象力等)贫乏;无聊;空白

lath

[lɑːθ]

n.木板条

innermost

[’ɪnəməʊst]

adj.内心的;最里面的

excite

[ɪk’saɪt]

vt.使兴奋;使激动;刺激;激起

vow

[vaʊ]

n.誓约

fancy

[’fænsi]

n. 【C】设想；幻想；空想;

easel

[’iːzl]

n.画架

bitterly

[’bɪtəli]

adv.残酷地;痛苦地

felted

[’feltɪd]

v. 把 ... 制成毡(使 ... 粘结)

disconcert

[ˌdɪskən’sɜːt]

v.使困惑;使仓皇失措;使尴尬

amateur

[’æmətə(r)]

n.外行;业余爱好者

blaze

[bleɪz]

n. 火；火焰;

impressionist

[ɪm’preʃənɪst]

n.印象主义者;印象派作家

draughtsman

[’drɑːftsmən]

n.制图员;(文件)起草人;立案者.

caricature

[’kærɪkətʃʊə(r)]

n.讽刺画;讽刺;歪曲;笨拙的模仿

drunken

[’drʌŋkən]

adj.常醉的;喝醉的

bewilder

[bɪ’wɪldə(r)]

vt. 使迷惑; 使 ... 不知所措

crude

[kruːd]

adj.天然的;未加工的;粗糙的

acuteness

[ə’kjuːtnəs]

n.锐利;敏锐;剧烈

powerless

[’paʊələs]

adj.无力的;无权的;无效能的

utter

[’ʌtə(r)]

adj.完全的;全然的;绝对的

clumsily

[’klʌmzɪli]

adv.笨拙地

torment

[’tɔːment]

n.苦痛;拷问;折磨;烦恼

passionate

[’pæʃənət]

adj.热情的;激情的;易怒的

brass

[brɑːs]

n.黄铜(制品);铜管(乐器)

pitiful

[’pɪtɪfl]

adj.慈悲的;可怜的;凄惨的

condemned

[kən’demd]

adj.被责难的;被宣告有罪的,

conversation

[ˌkɒnvə’seɪʃn]

n.谈话;会话

seethe

[siːð]

v.沸腾;大怒;起泡

perplex

[pə’pleks]

v.使困惑;使糊涂;使复杂化

simplify

[’sɪmplɪfaɪ]

vt.简化;使简单

distort

[dɪ’stɔːt]

vt.歪曲;扭曲;变形

irrelevant

[ɪ’reləvənt]

adj.不恰当的;无关系的;不相干的

eternal

[ɪ’tɜːnl]

adj.永久的;永恒的

sentimentalist

[ˌsentɪ’mentəlɪst]

n.多愁善感者;感伤主义者

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