旅行的藝術(shù):對(duì)旅行的期待-5

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德埃桑迪斯曾試圖到英國(guó)旅行，在這之前的許多年，他還想過(guò)到另一個(gè)國(guó)家旅行，這個(gè)國(guó)家就是荷蘭。在動(dòng)身前，他把荷蘭想象成特尼爾斯[5] 、揚(yáng)·斯丁 [6] 、倫勃朗 [7] 、奧斯塔德 [8] 的畫(huà)作所描繪的地方。他期待那里有簡(jiǎn)單的家族生活，同時(shí)不乏肆意的狂歡；有寧?kù)o的小庭院，地上鋪的是磚石，還可以看見(jiàn)臉色蒼白的女仆倒牛奶。因此，他到哈勒姆和阿姆斯特丹旅行了一趟，結(jié)果當(dāng)然是大失所望。盡管如此，那些畫(huà)作并沒(méi)有騙人，荷蘭人的生活確有其簡(jiǎn)單和狂歡的一面，也有鋪著磚石的漂亮庭院，能看到一些女傭在倒牛奶，然而，這些珍寶都混雜在一大堆乏味的日常影像中（如餐館、辦公樓、毫無(wú)特色的房屋、少有生機(jī)的田野等），只不過(guò)荷蘭的畫(huà)家們從不在他們的作品中展現(xiàn)這些普通的事物而已。旅行時(shí)，置身于真實(shí)的荷蘭，我們的體驗(yàn)也因此奇怪而平淡，全然不及在羅浮宮的荷蘭畫(huà)作展廳里瀏覽一個(gè)下午來(lái)得興奮，因?yàn)樵谶@幾間展室里，收藏有荷蘭和荷蘭人生活中最美好的方面。

There was one other country that, many years before his intended trip to England, Des Esseintes had wanted to see: Holland. He had imagined the place to resemble the paintings of Teniers and Jan Steen, Rembrandt and Ostade; he had anticipated patriarchal simplicity and riotous joviality; quiet small brick courtyards and pale-faced maids pouring milk. And so he had journeyed to Haarlem and Amsterdam-and been greatly disappointed. It was not that the paintings had lied, there had been some simplicity and joviality, some nice brick courtyards and a few serving women pouring milk, but these gems were blended in a stew of ordinary images (restaurants, offices, uniform houses and featureless fields) which these Dutch artists had never painted and which made the experience of travelling in the country strangely diluted compared with an afternoon in the Dutch galleries of the Louvre, where the essence of Dutch beauty found itself collected in just a few rooms.

雅各布·馮·雷斯達(dá)爾：《阿爾克馬爾風(fēng)景》，1670—1675年

有些荒謬的是，旅程結(jié)束后，德埃桑迪斯發(fā)現(xiàn)在博物館里欣賞荷蘭畫(huà)作更能讓他體驗(yàn)到他所熱愛(ài)的荷蘭文化的方方面面，而這種體驗(yàn)，是他帶著16件行李和兩個(gè)仆從到荷蘭旅行時(shí)所沒(méi)有的。

Des Esseintes ended up in the paradoxical position of feeling more in Holland-that is, more intensely in contact with the elements he loved in Dutch culture-when looking at selected images of Holland in a museum than when travelling with sixteen pieces of luggage and two servants through the country itself.