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月亮和六便士|Moon and Sixpence

第四十四章|Chapter XLIV

属类： 双语小说 【分类】世界名著 -[作者: 毛姆] 阅读：[29106]
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对画家们的艺术有怎样的评论具有某种重要性，斯特里克兰对于过去伟大的艺术家们有何看法，我应该把自己所知道的都写出来，很自然地放到书中。但是恐怕我不值得把它们记下来，因为斯特里克兰不是一个健谈的人，他没有什么才能把自己的话用能让听众记住的词句突出体现。

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A certain importance attaches to the views on art of painters, and this is the natural place for me to set down what I know of Strickland’s opinions of the great artists of the past. I am afraid I have very little worth noting.Strickland was not a conversationalist, and he had no gift for putting what he had to say in the striking phrase that the listener remembers.

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他并不机智，但幽默中充满讥讽，如果我能成功地再现他说话方式的话，这些都能看到。他对别人观点的反驳十分粗鲁，有时因为实话实说，惹人发笑，但这也是幽默方式的一种。正是因为斯特里克兰的幽默与众不同而显得更有力量，如果大家都这样说的话，它也就失去了让人觉得好玩的效果了。

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He had no wit.His humour, as will be seen if I have in any way succeeded in reproducing the manner of his conversation, was sardonic.His repartee was rude.He made one laugh sometimes by speaking the truth, but this is a form of humour which gains its force only by its unusualness；it would cease to amuse if it were commonly practised.

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我不得不说，斯特里克兰不是一个有大智慧的人，他对绘画艺术的一些看法也不比普通人高明多少。我从没听他评论过一些和他风格类似画家的作品——比如说塞尚，或者凡·高的作品，我甚至非常怀疑他是否看过这些画家的作品。

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Strickland was not, I should say, a man of great intelligence, and his views on painting were by no means out of the ordinary. I never heard him speak of those whose work had a certain analogy with his own-of Cézanne, for instance, or of Van Gogh；and I doubt very much if he had ever seen their pictures.

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他对印象派画家的作品也兴趣不大，虽然他们的绘画技巧让他印象深刻，但我想象他肯定认为这些人对待艺术创作的态度是平庸的。当斯特里克兰对莫奈的出类拔萃大加评论时，他却说：“我更喜欢温特尔哈尔特的作品。”但是，我敢说他说这话是为了气人，如果真是这样的话，他做到了。

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He was not greatly interested in the Impressionists.Their technique impressed him, but I fancy that he thought their attitude commonplace.When Stroeve was holding forth at length on the excellence of Monet, he said：“I prefer Winterhalter.”But I dare say he said it to annoy, and if he did he certainly succeeded.

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让我感到失望的是，不能记录他在评论老一辈大师们时的放纵言论。他的性格太古怪，如果他对这些人的评论是令人无法容忍的，我觉得倒能使他的形象更完整些。我认为需要把他归类为对前辈们的艺术，爱用一些荒诞理论妄加评论的人，但事实上我的希望幻灭了，我得承认他对他们的看法与一般人没有什么两样。

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I am disappointed that I cannot report any extravagances in his opinions on the old masters. There is so much in his character which is strange that I feel it would complete the picture if his views were outrageous.I feel the need to ascribe to him fantastic theories about his predecessors, and it is with a certain sense of disillusion that I confess he thought about them pretty much as does everybody else.

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我认为他根本不知道艾尔·格列柯，他对委拉斯开兹青睐有加，尽管怀有某种厌烦不耐的情绪。夏尔丹的作品能使他愉悦，伦勃朗的作品能够让他狂喜。他描述伦勃朗的作品留给他的印象时，话说得非常粗俗，让我不能重复。

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I do not believe he knew El Greco.He had a great but somewhat impatient admiration for Velasquez.Chardin delighted him, and Rembrandt moved him to ecstasy.He described the impression that Rembrandt made on him with a coarseness I cannot repeat.

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唯一令他感兴趣的画家是老布鲁盖尔，这完全出乎我的意料。我当时对这位画家了解不多，而斯特里克兰又没有能力把自己的想法解释清楚，我现在还能记得他关于这位画家所说的下面这句话，是因为他说得过于粗俗，词不达意，不能让人满意。

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The only painter that interested him who was at all unexpected was Brueghel the Elder.I knew very little about him at that time, and Strickland had no power to explain himself.I remember what he said about him because it was so unsatisfactory.

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“他还可以，”斯特里克兰说，“我敢打赌他发现了画画如下地狱。”

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“He’s all right，”said Strickland.“I bet he found it hell to paint.”

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后来在维也纳，我看到彼得·布鲁盖尔的几幅画作，我想我才理解了为什么这位画家会引起斯特里克兰的关注，因为他也是一个对世界有着自己独特幻象的画家。我在当时记了大量的笔记，打算写一些关于他的文字，但是后来我的笔记遗失了，现在留下的只是一种感情的回忆了。

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When later, in Vienna, I saw several of Peter Brueghel’s pictures, I thought I understood why he had attracted Strickland’s attention. Here, too, was a man with a vision of the world peculiar to himself.I made somewhat copious notes at the time, intending to write something about him, but I have lost them, and have now only the recollection of an emotion.

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彼得·布鲁盖尔似乎把他的同类看成是怪诞的，他对他们奇形怪状的样子很生气，生活是一种混沌，充满了滑稽可笑与肮脏卑鄙的事情，只能给人们提供笑料，然而，这种笑也是一种哀伤的笑。

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He seemed to see his fellow-creatures grotesquely, and he was angry with them because they were grotesque；life was a confusion of ridiculous, sordid happenings, a ft subject for laughter, and yet it made him sorrowful to laugh.

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布鲁盖尔给我的印象是，他想用一种手段努力表达只适合于另一种方式表达的感情，正是这一点，在模模糊糊的意识里激起了斯特里克兰的同感。也许他们两人正试图用绘画表达思想，而实际上这些思想更适合用文学的方式来表达。

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Brueghel gave me the impression of a man striving to express in one medium feelings more appropriate to expression in another, and it may be that it was the obscure consciousness of this that excited Strickland’s sympathy.Perhaps both were trying to put down in paint ideas which were more suitable to literature.

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斯特里克兰这个时候一定接近四十七岁了。

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Strickland at this time must have been nearly forty-seven.

序号 英文/音标 中文解释 更多操作

conversationalist

[ˌkɒnvə’seɪʃnəlɪst]

n.健谈者、交谈者

conversation

[ˌkɒnvə’seɪʃn]

n.谈话;会话

rude

[ruːd]

adj.粗鲁无礼的;原始的;未加工的;粗糙的;猛烈的

impressionist

[ɪm’preʃənɪst]

n.印象主义者;印象派作家

fancy

[’fænsi]

n. 【C】设想；幻想；空想;

disillusion

[ˌdɪsɪ’luːʒn]

n.觉醒;幻灭

impatient

[ɪm’peɪʃnt]

adj.不耐烦的;急躁的

unsatisfactory

[ˌʌnˌsætɪs’fæktəri]

adj.不能令人满意的

recollection

[ˌrekə’lekʃn]

n.回忆;记忆力;记忆;回忆起的事物

grotesque

[ɡrəʊ’tesk]

adj.奇形怪状的;奇怪的;怪诞的;可笑的

excite

[ɪk’saɪt]

vt.使兴奋;使激动;刺激;激起

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