Chapter6-双语名著无障碍阅读丛书——《巴黎圣母院The Hunchback of Notre-Dame》

CHAPTER6 The church of Notre-Dame at Paris is doubtless a sublime and majestic edifice{. But not withstanding the beauty which it has retained even is its old age one cannot help feeling grief and indignation at the numberless injuries and mutilations② which time and man have inflicted on the venerable③ structure, regardless of Charlemagne who laid the first stone of it and of Philip Augustus who laid the last. On the face of this aged queen of our cathedrals{④}, we always find a scar beside a wrinkle. Tempus edax, homoedacior-which I should translate thus: "time is blind, man stupid." If we had leisure to examine with the reader, one by one, the different traces of destruction left upon the ancient church, we should find that time had had much less hand in them than men, and especially professional men. It is thus that the wonderful art of the Middle Ages has been treated in almost every country, especially in France. In its ruins we may distinguish three kinds of injuries, which have affected it in different degrees: in the first place, time, which has here and there chapped and everywhere worn its surface; in the next, revolutions, political and ·048. 第六章 毫无疑问,巴黎圣母院在今天仍然算 ① edifice /edifts n. 大建筑牧 得上是一座雄伟而又壮丽的大建筑。不过, 虽然它历经岁月莅再风姿依旧,但是看到 ② mutilation /mjurtr'le:fon/ n. 毁 人们对这庄严的建筑施加的残害,以及想 损,残缺 ③ venerable /venarobl/ a. 庄严 到圣母院奠定第一块基石的查理曼和砌下 的,值得尊敬的 最后一块石料的菲利普·奥古斯特时,我们 很难不怅然长叹,义愤填鹰。 ④cathedral /ka'odral/ n. 大教堂 在我们的主教堂中,这座教堂犹如年 迈的王后,在她的每一道皱纹边上都必然 有一道伤痕,这句拉丁文我不妨把它译成; “时间盲目,人类愚味。” 假如我们有闲暇和读者一起逐一审视 这座古老的教堂蒙受破坏的痕迹,我们就 会发现时间对它犯下的过错远不如人的过 错,尤其是那些专业人士的过错。 就这样,几乎在任何一个国家,尤其是 在法国,中世纪的艺术都遭到了厄运。人们 可以从它的废墟上区分出三种程度不一的损 害,首先是时间。它在这里嘴一块,那里挖 ·049. The Hunch6ack of Notre-Dame religious, which blind and furious by nature, have rushed tumultuously^{①} upon it stripped, it of its rich garb② of sculptures③ and carvings, broken its openwork and its chains of arabesques④} and fanciful figures, tore down its statues, sometimes on account of their mitres sometimes on account of their crowns; lastly, the fashions, more and more silly and grotesque, which since the splendid deviations of the Renaissance{ have succeded each other in the necessary decline of architecture. The fashions have in fact done more mischief than revolutions. They have cut into the quick; they have attacked the very bones of the art; they have hacked^{}, hewn^{},mangled, murdered, the building, in the form as well as in the symbol, in its logic not less than in its beauty. And then they have restored a presumption from which at least time and revolutions have been exempt{}. In the name of good taste, forsooth, they have impudently{① clapped upon the wounds of Gothic^{} architecture their paltry^{}gewgaws^{} of a day, their ribands^{} of marble, their pompons of metal, a downright leprosy of eggmoulding, voltures, spirals, draperies, garlands, fringes, flames of stone, clouds of bronze, plethoric^}Cupids, chubby{} cherubs, which begin to eat into the face of art in the oratory of Catharine de' Medici, and put it to death two centuries later, writhing and grinning in the boudoir" of the Dubarry. Thus, to sum up the points to which we have directed attention, three kinds of ravages nowadays disfigure Gothic architecture: wrinkles and warts on the epidermis{}-these are the work of time; wounds, contusions, fractures, from brutal violence-these are the work of revolutions from Luther to Mirabeau; mutilations. amputations. 050. 巴黎圣母院 ① tumultuously /tjo'mAlt joosh 一角,而且还腐蚀建筑的整个表面。其次是 arl.骚乱地,喧闹地 ②garb/qa:b/ n.打扮,装束 革命,包括政治上的和宗教上的。这类事件 ③sculpture /'skAlptfo/ n. 雕塑 凭其盲目、怒气冲冲的本性,蜂拥而至扑向 ④ arabesque / aera'besk/ n. 阿拉伯 式花饰 中世纪艺术,打碎它装饰华美的雕像和石 5 mitre/maita/ n. 斜接 deviation /di:vt'eifon/ n. 偏差 刻,砸烂它的外衣和由阿拉伯式花饰和稀奇 Renaissance /ra'nersans/ n. 文 古怪的图案组成的链饰。他们砸烂雕像,有 艺复兴 时是因为它们头上的主教冠,有时是因为它 们头上的王冠。最后是时尚一一越来越愚 蠢、越来越古怪的时尚,从文艺复兴时期辉 煌的偏向开始,一浪接着一浪,把建筑艺术 ⑧hack /haek/ v. 砍 引向了必然的没落。其实各种时尚于的坏事 hew/hjo/ v. 砍 比革命还要多。它们切入了建筑的肌体,攻 击进了建筑的骨架,把它们切割、分解、混 合以致谋杀艺术。这使得建筑的形式与象 o exempt /ig'zempt/ a. 免除的 D impudently /impjodantl 征、逻辑与美感一起都荡然无存了。接着, ad.厚脸皮地 它们又另起炉姓--至少时间和革命都不能 Gothic /apOtk/a. 哥特式的 D paltry /po:ltri/a. 琐碎的 这样狂妄。在“高雅趣味”的旗号下,它肆 gewgaw/qju:qp/ n.华而不实 的便宣货 无忌惮地在哥特式建筑的伤口上增添一些琐 riband/rbandn.装饰用级带 碎、短命、华而不实的小玩意儿:它们的大 loleprosy /leprast/n. 腐败,堕落. 麻风 理石饰带,金属小球,各种卵形、蝶旋形。 plethoric /ple'oprik/a. 过多的 环形装饰,帷幕、花冠,石质的火焰、青铜 ochubby /tfAbu/a. 圆的 的云朵、过多的丘比特、雕脉的小天使。这 o boudoir /bo'dwa/n. 化妆室 些玩意儿毁损卡特琳·德·梅迪奇的小礼拜堂 的艺术风貌,两个世纪以后,终于在杜巴利 的化妆间里使艺术在受尽折磨之后含冤死去 总结上面我们关注的几点,哥特式建 o epidermis/.epr'da:mrs/ n. 表皮 筑在今天遭到了三种破坏:表面上的皱纹 上皮 和疣子一-这是时间的杰作;伤口、暴力 损伤、毁容一一这源自于残忍的暴力,这 051: The Hunch6ack of Notre-Dame dislocations of members, restorations-this is the barbarous Greek and Roman work of professors, according to Vitruvius and Vignole. That magnificent art which the Vandals produced, the academies have murdered. The time and revolutions whose ravages are, at any rate, marked by impartiality and grandeur, have been joined by a host of architects, duly bred, duly certificated, and duly sworn, despoiling with the discernment of bad taste, substituting the chicories① of Louis XV for the Gothic lacework, for the greater glory of the Panthenon. This is truly the ass's kick to the expiring lion; the old oak throwing out its leafy crown, to be bitten, gnawed, and torn by caterpillars{②. Notre-Dame, however, is not what may be called a complete building, nor does it belong to any definite class. It is not a Roman church neither is it a Gothic church. Neither can our cathedral be placed in that other family of churches, light, lofty, rich in painted glass and sculptures; sharp in form, bold in attude; free, capricious③, unruly, as works of art; the second transformation of architecture, no longer hieroglyphic④, unchangeable, and sacerdotal{, but artistical, progressive, and popular beginning with the return from the Crusades and ending with Louis XI. Notre-Dame is not of pure Roman extraction, like the former, neither is it of pure Arab extraction, like the latter. It is a transition edifice{}. Notre-Dame at Paris is a particularly curious specimen of this vari- ety. Every face, every stone, of the venerable structure is a page not only of the history of the country, but also of the history of art and 052. 巴黎圣母院 是从路德到米纳伯以来的革命造成的;截 肢、肢解、改变各部分的位置、复原一一这 是按照吕弗和维洛尔教授根据希腊和罗马的 野蛮风格所做的手术。旺达尔人所创造的这 一华美的艺术,就被这帮学院派给毁灭了。 时间和革命进行的破坏至少还是不偏不倚 的,而且还很有气魄,跟在它们后面的一群 建筑师,自然是学院派出身、领有执照、宣 ① chicory /tftkary n. 菊芹 过誓的建筑师,他们在破坏建筑时却根据自 己的恶俗而有所区别;他们用路易十五的菊 代替了哥特式的花边,以便显出帕特农神 庙的尊荣。就好像是驴子向颜临死亡的雄 ② caterpillar /kaetapilal n. 毛虫 猛踢一脚,又好像是老橡树伸出它满是树叶 的树冠,被毛虫咬噬、吞。 巴黎圣母院并不是那种可以称为完整 的建筑物,也不属于可明确归类的那种。 它既不是罗马式教堂,也不是哥特式教堂。 ③ capricious /ka'prifasa. 变化无 我们也不能把它归入教堂的另一个派别; 常的,任性的 这类教堂轻盈、高箕、装饰着繁多的玻璃 ④ hieroglyphic /haiors'qlrfik/ a. 符号的,难解的 窗和雕塑,外形尖削,气派大胆;作为艺 5 sacerdotal / saesa'dootll a. 僧侣 术品,它们自由、任性、放荡不羁;它的 的,圣职 Crusade /kru:'seid/ n. 十字军东 后一阶段的建筑则不再有难解的寓意,不 征 再一成不变、富有僧侣味道,而是富有艺 术气质、循序渐进、富有生活性一一这一 变化始于十字军东征归来时期,止于路易 十一年代。巴黎圣母院既不是前一类罗马 式教堂,也不属于后一类纯阿拉伯式教堂。 edifice /edifis/n. 大厦,大建筑 物 它是过渡时期的建筑物。 巴黎圣母院是这一类变种的奇特样品 每一个侧面,每一块石头,都不仅仅属于 本国历史,而且也是科学史和艺术史中的 ·053· The Hunch6ack of Notre-Dame science.Thus, to glance merely at the principal details, while the little Potre Rouge attains almost to the limits of the Gothic delicacy of the fif- teenth century, the pillars of the nave{①} by their bulk and heaviness car- ry you back to the date of the Carlovingian Abbey of Sainte-Germain- des-Pres. You would imagine that there were six centuries between that doorway and those pillars. There are none, down to the alchemists② themselves, but find in the symbols of the grand porch a satisfactory compendium of their science, of which the church of Saint-Jacques-de- la-Boucherie was so complete an hieroglyphic. Thus the Roman abbey and the philosophical church, Gothic art and Saxon art, the heavy round pillar, which reminds you of Gregory VI, Papal unity and schism, Sainte-Germin-des-Pres and Sainte -Jacques-de-la-Boucherie-are all blended, combined, amalgamated③, in Notre-Dame. This central mother church is a sort of chimera④ among the ancient churches of Paris; it has the head of one, the limbs of another,the trunk of a third, and something of them all. These hybrid} structures, as we have observed, are not the less interesting to the artist, the antiquary, and the historian. They show how far architecture is a primitive art, in as much as they demonstrate (what is also demonstrated by the Cyclopean remains, the pyramids of Egypt, the gigantic Hindu pagodas^{}) that the grandest t productions of architecture are not so much individual as social works, rather the offspring of nations in labor than the inventions of genius; the deposit left by a people; the accumulations formed by ages; the residuum{}of the successive evaporations{} of human society-in short, a species of .054· 巴黎圣母院 一页。这里仅举它的主要细节为例。它的 小红门几乎已经达到了十五世纪哥特式建 筑细致风格的极致,而大堂的柱子以其体 ① nave /ne/ n. 本堂 积和稳重,堪与建于加洛林王朝时代的草 场圣日耳曼修道院比肩。你可以想象一下, 这道门与这些柱子这间,竟然隔了六百年。 ②alchemist /aelkmust/ n. 炼丹术 至于它那大门上的装饰,炼金术士可以从 士 中读出象征意义来,心满意足地认为这些 象征是他那玄妙的学问的概括,这在圣雅 各布-德鲍歇瑞教堂里得到了完整体现。因 此,罗马式的修道院、哲学教派、哥特式艺 术、撒克逊艺术,沉重的圆柱令人想起乔 治七世时代、教皇集权与分裂、圣日耳罗- 普瑞斯修道院、圣雅各布-德鲍歇瑞教堂, ③ amalgamate /o'maelgomeit/ 合并,混合 一切都融入。组合。混杂在巴黎圣母院中 ④ chimera /kar'mioro/ n. 神话怪 物,梦幻 这座中心始祖教堂在巴黎的那些古老教堂 中是头怪物,它长着这个人的脑袋,那个 人的四肢,臂部却又是另一个人的,兼有 各家的长处。 5hvbrid/haubrid/ . 混合的 正如我们所言,这些混杂的结构对艺术 antiquary /aenttkwori/ n. 古物 研究者 家、考古学家和历史学家都颇具价值。它们 向人们展现了建筑艺术的原始性,因为它们 佐证了(正如巨石遗迹、埃及金字塔、巨大 的印度宝塔所证明的那样)以下观点,即那 pagoda /po'qouda/ n. 宝塔 些最宏伟的建筑物与其说是个人的作品,不 如说是社会的产物,或者说是整个民族的创 作,而不是天才的神来之笔。那些建筑是 ⑧ residuum /rr'zidjuom/ n. 剩余 物 一个民族遗留下来的东西,是世代的积累 o evaporaion /. vaepa'retfn/ n. 蒸 发,消失 是人类社会无数次消亡后的沉积物。一言 · 055· The Hunch6ack of Notre-Dame Every wave of them super induces s its alluvium, formation. every generation deposits its stratum upon the structure, every individual brings his stone. Such is the process of the beavers{①}, such that of the bees, such that of man. The great emblem of architecture, Babel, is a beehive②. Great edifices, like great mountains, are the work of ages. To confine our view here to Christian European architecture, it appears to us like an immense formation divided into three totally distinct zones laid one upon another: the Roman zone, the Gothic zone, and the zone of the Renaissance, which we would fain③ to call the Greco-Roman. We have just attempted to repair for the reader the admirable church of Notre-Dame at Paris. We have briefly touched upon most of the beauties which it had in the fifteenth century, and which it no longer possesses; but we have omitted④ the principal, namely, the view of Paris then enjoyed from the top of the towers. The Paris of three hundred and fifty years ago, the Paris of the fifteenth century, was already a gigantic city. We modern Parisians in general are much mistaken in regard to the ground which we imagine it has gained. Since the time of Louis XI, Paris has not increased above one-third; and certainly it has lost much more in beauty than it has acquired in magnitude. In the fifteenth century, Paris was still divided into three totally distinct and separate cities, each having its own physiognomy individuality,manners, customs, privileges^{}, and history: the Cite', the Universite', and the Ville. The Cite', which occupied the island, was the mother of the two others, and cooped up{③} between them, like-reader, forgive the comparison-like a little old woman between 056. 巴黎圣母院 以蔽之,它好比一个地质层系,每个时代的 洪流都把自已的冲积层叠加上去,每个民族 ①beaver /bi:va/ n. 海狸 都在建筑物上留下了自已的层次,每个人都 添了一块石头。海狸、蜜蜂与人的行为同出 一辙。巴别塔这个建筑物的巨大象征,就是 ② beehive /bithaivl n. 蜂箱 一个蜂房。 宏伟的建筑如同壮丽的山脉一样,都 是岁月的作品。以上我们考察的只是欧洲 基督教的建筑艺术。欧洲基督教建筑艺术 呈现为界限分明、逐一重叠的三个层次组 ③ fain/fen/ad. 乐意地,欣然地 成的层系;罗马层、哥特层和文艺复兴层 对后者,我们更愿意将其称之为“希腊-罗 马层”。 在前面,我们试图为读者修复这座令人 仰慕的巴黎圣母院大教堂。我们已经简略地 ④ omit /aumut/.遗漏 指出,它在十五世纪就已经出现过的、而今 天已经不复存在的大部分壮丽、雄奇的部 分,不过,我们遗漏了最主要的部分,那就 是从圣母院的塔顶所看到的巴黎的美景。 早在三百五十年前,也就是十五世纪 巴黎就已经是一个大都会了。我们现在的 巴黎人一般都认为,巴黎城的范围打那时 magmitude /meantiu:d n. 大 起已经扩大了很多,却不知道从路易十一 l 时代起,巴黎城只不过扩大了三分之一略 o physiogmomy /fizt'oanam/ n 多一些,而且,它增加的面积还比不上它 外貌,相貌 privilege /prrvilidy/ n. 特权 损失的美丽景色。 在十五世纪,巴黎城仍然划分成三个 泾渭分明、相互隔离的城市,每个城市都 coop up困住 有自已的面貌、专长、风俗习惯、特权以 ·057.