(雙語)月亮和六便士 第43章(5)

00:00

00:00

MP3下載

https://online2.tingclass.net/lesson/shi0529/10000/10334/ylhlbs145.mp3

https://image.tingclass.net/statics/js/2012

With Strickland the sexual appetite took a very small place. It was unimportant. It was irksome. His soul aimed elsewhither. He had violent passions, and on occasion desire seized his body so that he was driven to an orgy of lust, but he hated the instincts that robbed him of his self-possession. I think, even, he hated the inevitable partner in his debauchery. When he had regained command over himself, he shuddered at the sight of the woman he had enjoyed. His thoughts floated then serenely in the empyrean, and he felt towards her the horror that perhaps the painted butterfly, hovering about the flowers, feels to the filthy chrysalis from which it has triumphantly emerged. I suppose that art is a manifestation of the sexual instinct. It is the same emotion which is excited in the human heart by the sight of a lovely woman, the Bay of Naples under the yellow moon, and the Entombment of Titian. It is possible that Strickland hated the normal release of sex because it seemed to him brutal by comparison with the satisfaction of artistic creation. It seems strange even to myself, when I have described a man who was cruel, selfish, brutal and sensual, to say that he was a great idealist. The fact remains.

性的饑渴在思特里克蘭德身上占的地位很小，很不重要，或勿寧說，叫他感到很嫌惡。他的靈魂追求的是另外一種東西。他的感情非常強烈，有時候欲念會把他抓住，逼得他縱情狂歡一陣，但是對這種剝奪了他寧靜自持的本能他是非常厭惡的。我想他甚至討厭他在淫逸放縱中那必不可少的伴侶；在他重新控制住自己以后，看到那個他發(fā)泄情欲的女人，他甚至會不寒而栗。他的思想這時會平靜地飄浮在九天之上，他對那個女人感到又嫌惡又可怕，也許那感覺就象一只翩翩飛舞于花叢中的蝴蝶，見到它勝利地蛻身出來的骯臟的蛹殼一樣。我認為藝術(shù)也是性本能的一種流露。一個漂亮的女人、金黃的月亮照耀下的那不勒斯海灣，或者提香 （提香（1490—1576），意大利威尼斯派畫家）的名畫《墓穴》，在人們心里勾起的是同樣的感情。很可能思特里克蘭德討厭通過性行為發(fā)泄自己的感情（這本來是很正常的），因為他覺得同通過藝術(shù)創(chuàng)造取得自我滿足相比，這是粗野的。在我描寫這樣一個殘忍、自私、粗野、肉欲的人時，竟把他寫成是個精神境界極高的人，我自己也覺得奇怪。但是我認為這是事實。

He lived more poorly than an artisan. He worked harder. He cared nothing for those things which with most people make life gracious and beautiful. He was indifferent to money. He cared nothing about fame. You cannot praise him because he resisted the temptation to make any of those compromises with the world which most of us yield to. He had no such temptation. It never entered his head that compromise was possible. He lived in Paris more lonely than an anchorite in the deserts of Thebes. He asked nothing his fellows except that they should leave him alone. He was single-hearted in his aim, and to pursue it he was willing to sacrifice not only himself—many can do that—but others. He had a vision.

作為一個藝術(shù)家，他的生活比任何其他藝術(shù)家都更困苦。他工作得比其他藝術(shù)家也更艱苦。大多數(shù)人認為會把生活裝點得更加優(yōu)雅、美麗的那些東西，思特里克蘭德是不屑一顧的。對于名和利他都無動于衷。我們大多數(shù)人受不住各種引誘，總要對世俗人情做一些讓步；你卻無法贊揚思特里克蘭德抵拒得住這些誘惑，因為對他說來，這種誘惑是根本不存在的。他的腦子里從來沒有想到要做任何妥協(xié)、讓步。他住在巴黎，比住在底比斯沙漠里的隱士生活還要孤獨。對于別的人他沒有任何要求，只求人家別打擾他。他一心一意追求自己的目標，為了達到這個目的他不僅甘愿犧牲自己——這一點很多人還是能做到的——，而且就是犧牲別人也在所不惜。他自己有一個幻境。

Strickland was an odious man, but I still think he was a great one.

思特里克蘭德是個惹人嫌的人，但是盡管如此，我還是認為他是一個偉大的人。