Chapter1-双语名著无障碍阅读丛书——《月亮与六便士The Moon and Sixpence》

9gam名mewd化aghm Chapter I I confess that when first I made acquaintance with Charles Strickland I never for a moment discerned that there was in him anything out of the ordinary. Yet now few will be found to deny his greatness.I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier;that is a quality which belongs to the place he occupies rather than to the man; and a change of circumstances reduces it to very disereet proportions.The Prime Minister out of office is seen,too often,to have been but a pompous rhetorician,and the General without an army is but the tame hero of a market town.The greatness of Charles Strickland was authentic.It may be that you do not like his art,but at all events you can hardly refuse it the tribute of your interest.He disturbs and arrests.The time has passed when he was an object of ridicule,and it is no longer a mark of eccentricity to defend or of perversityto extol him.His faults are accepted as the necessary complement to his merits.It is still possible to discuss his place in art,and the adulation of his admirers is perhaps no less capricious than the disparagement of his detractors;but one thing can never be doubtful,and that is that he had genius.To my mind the most interesting thing in art is the personality of the artist;and if that is singular, ·002· 与查尔斯·斯特里克兰德初次相遇的那一刻，我承 discern [di'so:n;-'za:n]v. 认我确确实实没有发现他是伟人。然而，今天的人们却 认出：洞察 大多承认他是伟人。我所说的“伟人”倒不是指的那些 步步登高的政治家或军功赫赫的军人，因为这类人的伟 大成因更多是缘于他们的身份地位而非自身的才能。所 以，时过境迁，这类人可以红极一时，却难以光耀一世。 ②discreet[dis'kri:ta.不显 譬如，人们常常会看到这样的情况：昔日的首相原来不 眼的，不起眼的 过是一个夸夸其谈的演说者，退伍的将军原来不过是个 ③pompous[pompas]a.自 负的：夸夸其谈的 稀松平常的街头小太保。然而，查尔斯·斯特里克兰德 cccentricity [.cksen'trisati] 的伟大却是不折不扣的伟大。或许你不喜欢他的艺术， n.古怪，怪僻 你却身不由己被他的艺术所吸引，因为他的画作扣人心 ⑤perversity [pa'vo:sit间n.性 情乖张 弦，让人心潮起伏。斯特里克兰德屡遭嘲讽捉弄的时代 @extol[k'stoul颂扬， 已经终结，为他代言、对他赞不绝口，这样的行为已经 赞颂 adulation [.adju'leifan]n. 是大多数人的常态。人们把他的瑕疵视为瑕不掩瑜，不 过分的称赞 可避免。他在艺术史上的地位倒是可以商榷的，然而， ⑧capricious[ko'prifas]a.反 复无常的，心血来潮的 不论是粉丝的溢美之词，还是批评者的过分诋毁怎样有 disparagement [dis'parid3- 失偏颇，怎样情绪化，他们却都异口同声地承认他是一 m3ntn.污蔑，诋毁 detractor [di'trakta]n. 个毋庸置疑的天才。我认为，人们对艺术最为兴味盎然 毁者，毁誉者，贬低者 的就是艺术家的个性。一个艺术家只要个性独特，纵有 满身的缺点，我也可以宽宥。我推断，与画家埃尔·格 ·003· ChapterI I am willing to excuse a thousand faults.I suppose Velasquez was a better painter than El Greco,but custom stalesone's admiration for him:the Cretan, sensual and tragic,proffers the mystery of his soul like a standing sacrifice. The artist,painter,poet,or musician,by his decoration,sublime or beautiful, satisfies the aesthetic sense;but that is akin to the sexual instinct,and shares its barbarity:he lays before you also the greater gift of himself.To pursue his secret has something of the fascination of a detective story.It is a riddle which shares with the universe the merit of having no answer.The most insignificant of Strickland's works suggests a personality which is strange,tormented,and complex;and it is this surely which prevents even those who do not like his pictures from being indifferent to them;it is this which has excited so curious an interest in his life and character. It was not till four years after Strickland's death that Maurice Huret wrote that article in the Mercure de France which rescued the unknown painter from oblivion and blazed the trail which succeeding writers,with more or less docility,have followed.For a long time no critic has enjoyed in France a more incontestable authority,and it was impossible not to be impressed by the claims he made;they seemed extravagant;but later judgments have confirmed his estimate,and the reputation of Charles Strickland is now firmly established on the lines which he laid down.The rise of this reputation is one of the most romantic incidents in the history of art.But I do not propose to deal with Charles Strickland's work except in so far as it touches upon his character.I cannot agree with the painters who claim superciliously that the layman can understand nothing of painting,and that he can best show his appreciation of their works by silence and a cheque-book.It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman: ·004· 列柯'相比，画家委拉斯凯兹2技高一筹，只是由于司空 ①stale[steil]v.使走味：使 见惯，所以令人心生厌倦。而出生于克里斯特岛的画 陈旧 ②proffer[profa可]v提供： 家格列柯的画作却具有一种性欲和悲剧之美，似乎以 展现 永恒的献祭方式来展示个人的灵魂之秘。任何一位艺 ③sublime[sablaim]a.高尚 术家一不论是画家、诗人，还是音乐家，全都借由他 的，素高的 ④barbarity [ba:barati]n.残 抑或崇高抑或美妙的作品来扮美人间，诉诸人的审美诉 暴；野蛮 求。然而，人的审美诉求与人的性本能何其相似乃尔， 均有狂暴的侧面。一位艺术家将献祭的作品公布于世的 时候，他自身的伟大才华也同时公之于众。对于一个艺 术家的探究与阅读侦探小说相差无几，同样引人入胜。 艺术家之谜与大自然之谜同样都是奥妙无穷，无迹可 寻。而人们在斯特里克兰德的末流画作中，也可以隐隐 约约感受到他错综复杂、千回百转的独特个性；可以肯 定，那些不喜欢他画作的人一定因此才受到吸引，那么 多人也一定是因此才会对他的生活和个性心生好奇、兴 味盎然的。 oblivion [a'blivian;2-]n. 被（公众）忘却的状态， 斯特里克兰德辞世四年以后，莫利斯·胥瑞写了一 湮没：漠视 篇文章，发表在《法兰西信使》上，这也是评论斯特里 ⑥docility[dau'silati]n.顺 从：听话 克兰德的滥觞之作。这位籍籍无名的画家不再籍籍无名， 由此声名远播。大量缺乏创新的作家从此踏上了跟风之 路，在此后相当长的一段时间里，法国艺术评论界唯胥 瑞马首是瞻，胥瑞的权威地位毋庸置疑。胥瑞的论点让 人振聋发聩，似乎是对斯特里克兰德的过誉，然而，舆 论却判定他的评论公正无误。而查尔斯·斯特里克兰德 的声誉就这样稳如泰山地确立下来，他的评论成了后人 superciliously [sju:pa'silias- 门ad.高做地，目空一切 遵循的基调。艺术史上最富有浪漫主义色彩的成名案例 地 莫过于斯特里克兰德。然而，我在此并非着意对查尔 ⑧grotesque[grou'tesk]a.荒 谬的：滑稽可笑的 斯·斯特里克兰德的画作说三道四，我只想在画作与画 misapprehension ['mis,a- 家个性产生关联的时候才会发表意见。一些画家眼高于 pri'henfan]n.误解，误 顶，认为外行对于绘画一窍不通，在鉴赏艺术的时候最 会 1 埃尔·格列柯(1541一1614？)，西班牙画家，生于克里特岛。 2迪埃戈·罗德里盖斯·德·西尔瓦·委拉斯凯兹(1599一1660)， 西班牙画家。 ·005· ChapterI art is a manifestation of emotion,and emotion speaks a language that all may understand.But I will allow that the critic who has not a practical knowledge of technique is seldom able to say anything on the subject of real value,and my ignorance of painting is extreme.Fortunately,there is no need for me to risk the adventure,since my friend,Mr.Edward Leggatt,an able writer as well as an admirable painter,has exhaustively discussed Charles Strickland's work in a little book'which is a charming example of a style,for the most part,less happily cultivated in England than in France. Maurice Huret in his famous article gave an outline of Charles Strickland's life which was well calculated to whet the appetites of the inquiring.With his disinterested passion for art,he had a real desire to call the attention of the wise to a talent which was in the highest degree original;but he was too good a journalist to be unaware that the"human interest"would enable him more easily to effect his purpose.And when such as had come in contact with Strickland in the past,writers who had known him in London,painters who had met him in the cafes of Montmartre,discovered to their amazement that where they had seen but an unsuccessful artist,like another,authentic genius had rubbed shoulders with them there began to appear in the magazines of France and America a succession of articles,the reminiscences of one,the appreciation of another,which added to Strickland's notoriety,and fed without satisfying the curiosity of the public.The subject was grateful,and the industrious Weitbrecht- Rotholz in his imposing monograph has been able to give a remarkable list of authorities. The faculty for myth is innate in the human race.It seizes with avidity upon any incidents,surprising or mysterious,in the career of those who have 1 "A Modern Artist:Notes on the Work of Charles Strickland,"by Edward Leggatt,A.R.H.A.Martin Secker, 1917. 2 "Karl Strickland:sein Leben und seine Kunst,"by Hugo Weitbrecht-Rotholz,Ph.D.Schwingel und Hanisch.Leipzig,1914. ·006 好二话不说，慷慨地掏支票本才是正道。对此，我不以 为然。实事求是地讲，视艺术为能工巧匠所能独解的奇 技绝活，委实荒谬，也属误解。何为艺术？艺术是情感 的表达，艺术的语言妇需皆知。然而，我并不否认，倘 若艺术评论家对奇技绝活缺乏实际认识的话，也难以写 出真正有价值的评论：而我恰恰对绘画一无所知，所幸 我不至于贻笑大方，皆因我的好友爱德华·雷加特精通 瀚墨丹青，还在一本薄薄的书里对查尔斯·斯特里克 兰德的画作做了史海钩沉式的研究。该书文风优美，堪 为楷模，可叹在当今英吉利，这种文风已不似在法兰西 那样风起云涌了。 在他那篇著名的文章里，莫利斯·胥瑞对于查尔 斯·斯特里克兰德的生平着墨不多，他故意以此来吊读 者的胃口。他对艺术的热忱无私又纯粹，撰文的真正目 的就是让有识之士关注这位独一无二的画家。然而，作 为会讲故事的大咖，他一定心知肚明，能吸引读者“眼 球”的文章才会达到目的。在斯特里克兰德生前曾与他 有过交集的人一一些在伦敦时就结识的作家，一些在 蒙特玛特尔咖啡座上见面的画家，惊讶地发现与他们擦 身而过的原来那个郁郁不得志的画家，那个混同于大量 ④reminiscence[remi'nisans】 穷困潦倒艺术家的画家，竞是一个不折不扣的天才。此 n.【复1回忆录 notoriety [nouto'raioti]n 后，法兰西和美利坚的一些杂志上连篇累牍地出现了五 名声远扬：远扬的名声 花八门的海量文章：有对斯特里克兰德的人物回眸，有 3 monograph ['monagra:f; gre]n.专题论著（书， 对他画作的美术评论。结果让他大红大紫，读者的好奇 文章或论文) 心被唤起，却无法满足。该话题大受欢迎，魏特布瑞希 ④innate[i'neit]a.天生的， 生来的 特-罗特霍尔兹还耗费心力写了一篇鸿篇巨制式的专 ⑤avidity['vidati]n.急切， 论2，其中罗列了一些权威性的文章。 迫切的心情：强烈的欲 人的天性就是爱造神。人们看到卓尔不群的人，看 望（或愿望）：渴望 《一位当代画家：对查尔斯·斯特里克兰德绘画的评论》，爱尔 兰皇家学院会员爱德华·雷加特著，1917年马丁·塞克尔出版。（作 者注) 2《查尔斯·斯特里克兰德：生平与作品》，哲学博士雨果·魏特 布瑞希特-罗特霍尔兹著，莱比锡1914年施威英格尔与汉尼施出版， 原书德文。（作者注） ·007· ChapterI at all distinguished themselves from their fellows,and invents a legend to which it then attaches a fanatical belief.It is the protest of romance against the commonplace of life.The incidents of the legend become the hero's surest passport to immortality.The ironic philosopher reflects with a smile that Sir Walter Raleigh is more safely inshrined in the memory of mankind because he set his cloak for the Virgin Queen to walk on than because he carried the English name to undiscovered countries.Charles Strickland lived obscurely.He made enemies rather than friends.It is not strange,then,that those who wrote of him should have eked out their scanty recollections with a lively fancy,and it is evident that there was enough in the little that was known of him to give opportunity to the romantic scribe;there was much in his life which was strange and terrible,in his character something outrageous,and in his fate not a little that was pathetic.In due course a legend arose of such circumstantiality that the wise historian would hesitate to attack it. But a wise historian is precisely what the Rev.Robert Strickland is not. He wrote his biography'avowedly to"remove certain misconceptions which had gained currency"in regard to the later part of his father's life,and which had"caused considerable pain to persons still living."It is obvious that there was much in the commonly received account of Strickland's life to embarrass a respectable family.I have read this work with a good deal of amusement,and upon this I congratulate myself,since it is colourless and dull.Mr.Strickland has drawn the portrait of an excellent husband and father,a man of kindly temper, industrious habits,and moral disposition.The modern clergyman has acquired in his study of the science which I believe is called exegesis an astonishing facility for explaining things away,but the subtlety with which the Rev.Robert Strickland has"interpreted"all the facts in his father's life which a dutiful son might find it inconvenient to remember must surely lead him in the fullness of time to the highest dignities of the Church.I see already his muscular calves encased in the gaiters episcopal It was a hazardous,though maybe a 1 "Strickland:The Man and His Work,"by his son,Robert Strickland.Wm.Heinemann,1913. ·008· 到生活中发生了令人百思不得其解的奇闻异事，就会如 ①fanatical[fo'naetikl]a.s狂 饥似渴地抓住，造神无数。不仅如此，还对自己造的神 热的 狂热迷信。可以这么说吧，浪漫主义是对平淡无奇庸常 生活的一种反驳。浪漫传奇里的一些小故事是英雄走向 @inshrine[in'frain]k铭记 永垂不朽可信度最高的通行证。一个玩世不恭的哲学家 在想到下面这件事的时候，一定不禁莞尔：瓦尔特·饶 利爵士让英吉利的名字在大量未曾涉足的国土上留名， 这并没有让人们对他念念不忘，而他让伊丽莎白女皇踏 着他的披风走过一事，却让人们津津乐道。而对于查尔 ③eke[i:k]y增加，增大 ④scanty[skaent句a.少量 斯·斯特里克兰德，他生前鲜为人知，树敌众多，交友 的，不多的 有限，写人物回忆的那些人难免靠天马行空的想象来弥 补乏善可陈的史实，似乎也在意料之中。显而易见，人 们虽然对斯特里克兰德的生平知之甚少，但浪漫主义作 家们添油加醋的原材料也不缺，他生活中奇奇怪怪骇人 circumstantiality ['so:kom- staenfi'elt可n.细节；事 听闻的行为、荒唐怪诞的癖好、凄凄惨惨的遭际一个也 实 不少。经过一段时间的发酵，就会从一系列牵强附会中 avowedly [a'vaudli]ad. 公然地 生发出一个神话来，而对于这种神话，明智的历史学家 是断断不会贸然反驳的。 而罗伯特·斯特里克兰德牧师却偏巧不是这样一个 明智的历史学家。他认为，人们对他父亲后半生的认识 有大量偏差，他公然申明，自己亲自捉刀撰写这部传 记2的目的，就是“给传闻纠偏”，因为这些荒谬的传闻 “让生者痛苦难当”。显而易见，外界传播的斯特里克兰 德生平铁事里很多会让一个正派的家庭蒙羞。我读这本 exegesis [eksi'd3i:sis]n 传记时常常不觉莞尔，同时也对这本书的枯燥乏味心存 解经学（尤指对基督教 (圣经)原义进行解析 庆幸。在斯特里克兰德牧师的传记里，描绘了一个超级 和诠释)】 体贴入微的丈夫和慈爱负责的父亲，一个性情温良、品 国calves[ka:vz;kaevz]n. (calf的复数)小腿 德端方、一生操劳的君子。我相信，当代教士在研究被 ⑨gaiter[geita]n.裹腿 称为“《圣经》诠释”学问的过程中掌握了文过饰非、 0episcopal [i'piskapal]a. 主教的：属于主教的 笔勾销的惊人本事。孝子会认为应该把父亲一生的所 hazardous ['haezodos]a. 冒险的，有危险的 1 瓦尔特·饶利爵士(1552？一1618)，英国历史学家及航海家。 2《斯特里克兰德：生平与作品》，画家的儿子罗伯特·斯特里克 兰德撰写，1913年海因曼出版。（作者注） ·009· ChapterI gallant thing to do,since it is probable that the legend commonly received has had no small share in the growth of Strickland's reputation;for there are many who have been attracted to his art by the detestation in which they held his character or the compassion with which they regarded his death;and the son's well-meaning efforts threw a singular chill upon the father's admirers.It is due to no accident that when one of his most important works,The Woman of Samaria,was sold at Christie's shortly after the discussion which followed the publication of Mr.Strickland's biography,it fetched POUNDS 235 less than it had done nine months before when it was bought by the distinguished collector whose sudden death had brought it once more under the hammer. Perhaps Charles Strickland's power and originality would scarcely have sufficed to turn the scale if the remarkable mythopoeic faculty of mankind had not brushed aside with impatience a story which disappointed all its craving for the extraordinary.And presently Dr.Weitbrecht-Rotholz produced the work which finally set at rest the misgivings of all lovers of art. Dr.Weitbrecht-Rotholz belongs to that school of historians which believes that human nature is not only about as bad as it can be,but a great deal worse; and certainly the reader is safer of entertainment in their hands than in those of the writers who take a malicious pleasure in representing the great figures of romance as patterns of the domestic virtues.For my part,I should be sorry to think that there was nothing between Anthony and Cleopatra but an economic situation;and it will require a great deal more evidence than is ever likely to be available,thank God,to persuade me that Tiberius was as blameless a monarch as King George V.Dr.Weitbrecht-Rotholz has dealt in such terms with the Rev. Robert Strickland's innocent biography that it is difficult to avoid feeling a certain sympathy for the unlucky parson.His decent reticence is branded as hypocrisy his circumlocutions are roundly called lies,and his silence is vilified as 1 This was described in Christie's catalogue as follows:"A nude woman,a native of the Society Islands,is lying on the ground beside a brook.Behind is a tropical Landscape with palm-trees,bananas,etc.60 in.x 48 in” ·010·