旅行的藝術(shù):旅行中的特定場(chǎng)所-4

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波德萊爾羨慕的不僅是旅程的起點(diǎn)或終點(diǎn)，如車(chē)站、碼頭、機(jī)場(chǎng)等地方，他也羨慕那些交通工具，特別是海上行駛的輪船。他曾寫(xiě)道：“凝視一艘船，你會(huì)發(fā)現(xiàn)它散發(fā)出深邃、神秘的魅力?！彼桨屠璧氖ツ峁爬垢塾^看平底船，到魯昂和諾曼底的港口觀看更大的船只。他驚訝于和這些船只相關(guān)聯(lián)的科技成就，它們竟能使如此笨重復(fù)雜的船體協(xié)調(diào)合作，優(yōu)美地穿行海上。一艘巨輪讓他想起“一個(gè)龐大、復(fù)雜卻又靈活機(jī)敏的動(dòng)物，它充滿(mǎn)活力，承載著人類(lèi)所有的嗟嘆和夢(mèng)想”。

Baudelaire admired not only the places of departure and arrival, but also the machines of motion, in particular ocean-going ships. He wrote of 'the profound and mysterious charm that arises from looking at a ship'. He went to see flat-bottomed boats, the 'caboteurs', in the Port Saint Nicolas in Paris and larger ships in Rouen and the Normandy ports. He marvelled at the technological achievements behind them, at how objects so heavy and multifarious could be made to move with elegance and cohesion across the seas.A great ship made him think of 'a vast, immense, complicated, but agile creature, an animal full of spirit, suffering and heaving all the sighs and ambitions of humanity'.

在觀看一架較大型的飛機(jī)時(shí)也會(huì)有同樣的感想：飛機(jī)也是一個(gè)很“龐大”很“復(fù)雜”的動(dòng)物，盡管機(jī)身龐大，盡管低層大氣一片混沌，它卻仍能找準(zhǔn)自己的航向，穿越蒼穹。一架飛機(jī)停靠在一個(gè)登機(jī)口，相形之下，它周?chē)男欣钴?chē)和檢修工是如此的渺小?？匆?jiàn)如此場(chǎng)景，人們會(huì)拋開(kāi)所有的科學(xué)解釋發(fā)出驚嘆：如此龐大的飛機(jī)如何能移動(dòng)，哪怕只是移動(dòng)幾米，遑論飛到日本！樓房，也算是人類(lèi)所能建造的少數(shù)可與之相比的龐然大物之一，但地球的輕微震動(dòng)便可能使它們四分五裂，它們透風(fēng)滲水，強(qiáng)風(fēng)下，還會(huì)遭受損壞，比不得飛機(jī)的靈活和泰然。

Similar sentiments may arise when looking at one of the larger species of aeroplane, it too a 'vast' and 'complicated' creature which defies its size and the chaos of the lower atmosphere to steer serenely across the firmament. Seeing one parked at a gate, dwarfing luggage carts and mechanics, one is induced to feel surprise, overriding any scientific explanation, at how such a thing might move-a few metres, let alone to Japan. Buildings, among the few man-made structures of comparable size, do not prepare us for a plane's agility or self-possession; for these buildings are cracked by slight movements of the earth, they leak air and water and lose parts of themselves to the wind.

生活中很少有什么時(shí)刻能像飛機(jī)起飛升空時(shí)那樣讓人釋然。飛機(jī)先是靜靜地停在機(jī)場(chǎng)跑道的一頭，從機(jī)艙的玻璃窗看出去，是一長(zhǎng)串熟悉的景觀：公路、儲(chǔ)油罐、草地和有著古銅色窗戶(hù)的酒店；還有我們?cè)缫咽熘拇蟮?，在地上，即便是借助小汽?chē)，我們的行進(jìn)仍然緩慢；在地上，人和汽車(chē)正費(fèi)力向山頂爬行；在地面上，每隔半英里左右，總會(huì)有一排樹(shù)或建筑擋住我們的視線……而現(xiàn)在，隨著飛機(jī)引擎的正常轟鳴（走廊的玻璃只有點(diǎn)輕微的顫動(dòng)），我們突然平穩(wěn)地升上了天空，眼前展現(xiàn)的是直視無(wú)礙的廣闊視野。在陸地上我們得花上整個(gè)下午才能走完的旅程，在飛機(jī)上，只要眼珠微微轉(zhuǎn)動(dòng)便可一掃而過(guò)：我們可以穿過(guò)伯克郡，參觀梅登黑德，在布拉克內(nèi)爾兜圈子，俯視M4高速公路。

Few seconds in life are more releasing than those in which a plane ascends to the sky. Looking out of a window from inside a machine standing stationery at the beginning of a runway, we face a vista of familiar proportions: a road, oil cylinders, grass and hotels with copper-tinted windows; the earth as we have always known it, where we make slow progress, even with the help of a car, where calf muscles and engines strain to reach the summit of hills, where, half a mile ahead or less, there is almost always a line of trees or buildings to restrict our view. Then suddenly, accompanied by the controlled rage of the engines (with only a slight tremor from glasses in the galley), we rise fluently into the atmosphere and an immense horizon opens up across which we can wander without impediment. A journey which on earth would have taken an afternoon can be accomplished with an infinitesimal movement of the eye; we can cross Berkshire, visit Maidenhead, skirt over Bracknell and survey the M4.

飛機(jī)的起飛為我們的心靈帶來(lái)愉悅，因?yàn)轱w機(jī)迅疾的上升是實(shí)現(xiàn)人生轉(zhuǎn)機(jī)的極佳象征。飛機(jī)展呈的力量能激勵(lì)我們聯(lián)想到人生中類(lèi)似的、決定性的轉(zhuǎn)機(jī)；它讓我們想象自己終有一天能奮力攀升，擺脫現(xiàn)實(shí)中赫然迫近的人生困厄。

There is psychological pleasure in this take-off too, for the swiftness of the plane's ascent is an exemplary symbol of transformation. The display of power can inspire us to imagine analogous, decisive shifts in our own lives; to imagine that we too might one day surge above much that now looms over us.

這種視野上新的優(yōu)勢(shì)使陸地上的景觀整飭有序，一目了然：公路彎曲，繞過(guò)山頭；河流延伸，通向湖泊；電纜塔從發(fā)電廠一直架設(shè)到各個(gè)城鎮(zhèn)；那些在陸地上看上去布局混亂的街道，現(xiàn)在看來(lái)似乎是精心規(guī)劃的條格布局。我們的眼睛試圖把此刻所見(jiàn)與先前的認(rèn)知連結(jié)在一起，像是用一種新的語(yǔ)言來(lái)解讀一本熟悉的書(shū)。那些燈火所在之處一定是紐伯里，那條道路一定是A33，因?yàn)樗菑腗4高速公路分出來(lái)的。照此思路，我們的生活是如此狹隘，就像井底之蛙：我們生活在那個(gè)世界里，但我們幾乎從未像老鷹和上帝那樣睹其全貌。

The new vantage point lends order and logic to the landscape: roads curve to avoid hills, rivers trace paths to lakes, pylons lead from power stations to towns, streets that from earth seemed laid out without thought emerge as well-planned grids. The eye attempts to match what it can see with what the mind knows should be there, like a reader trying to decipher a familiar book in a new language. Those lights must be Newbury, that road the A33 as it leaves the M4. And to think that all along, hidden from our sight, our lives were this small: the world we live in but almost never see; the way we must appear to the hawk and to the gods.

飛機(jī)引擎似乎毫不費(fèi)力便將我們帶到高空。懸在高空，周?chē)请y以想象的寒冷，這些飛機(jī)引擎用一種我們看不到的方式持久地驅(qū)動(dòng)飛機(jī)，在它們內(nèi)側(cè)表層上，用紅色字母印出的是它們惟一的請(qǐng)求，要求我們不要在引擎上行走，要求我們只給它們添加D50TFI-S4號(hào)油，這些請(qǐng)求是給四千英里外還在睡夢(mèng)中的一幫穿著工作服的人的信息。

The engines show none of the effort required to take us to this place. They hang in the inconceivable cold, patiently and invisibly powering the craft, their sole requests, painted on their inner flanks in red letters, being that we not walk on them and feed them 'Oil only: D50 TFI-S4', a message for a forthcoming set of men in overalls, 4,000 miles away and still asleep.

身處高空，可以看見(jiàn)很多的云，但對(duì)此人們似乎談?wù)摬欢?。在某處海洋的上空，我們飛過(guò)一大片像是棉花糖似的白色云島，對(duì)此，沒(méi)有人覺(jué)得這值得大驚小怪，盡管在弗蘭西斯卡 [4] 的繪畫(huà)作品中，這云島可以是天使，甚至是上帝的一個(gè)絕佳的座位。機(jī)艙內(nèi)，沒(méi)有人起身煞有其事地宣布說(shuō)，從窗戶(hù)看出去，我們正在云海上飛行；而對(duì)達(dá)·芬奇 [5] 、普桑 [6] 、克勞德·洛蘭 [7] 和康斯特布爾 [8] 等人而言，這景致恐怕會(huì)讓他們留戀。

There is not much talk about the clouds visible up here. No one seems to think it remarkable that somewhere above an ocean we are flying past a vast white candy-floss island which would have made a perfect seat for an angel or even God himself in a painting by Piero della Francesca. In the cabin, no one stands up to announce with requisite emphasis that, out of the window, we are flying over a cloud , a matter that would have detained Leonardo and Poussin, Claude and Constable.

飛機(jī)上的食物，如果是坐在廚房里享用，可以說(shuō)是毫無(wú)特色，甚至讓人倒胃，但現(xiàn)在，因?yàn)槊鎸?duì)的是云海，這些食品卻有了不同的滋味和情趣（一如坐在海邊峭壁之巔，一邊看驚濤拍岸，一邊野炊，這時(shí)吃哪怕是普通的面包和奶酪也會(huì)讓人神采高揚(yáng)）。僅依賴(lài)飛行中的小餐板，在原本毫無(wú)家的情趣的機(jī)艙內(nèi)我們感覺(jué)到了如家的自在：我們吃的是冷面包卷和一小盤(pán)土豆色拉，賞的是星際美景。

Food that, if sampled in a kitchen, would have been banal or even offensive, acquires a new taste and interest in the presence of the clouds (like a picnic of bread and cheese that delights us when eaten on a cliff-top above a pounding sea). With the inflight tray, we make ourselves at home in this unhomely place: we appropriate the extraterrestrial landscape with the help of a chilled bread roll and a plastic tray of potato salad.

細(xì)看之下，我們發(fā)覺(jué)機(jī)艙外陪伴著我們的云朵并非是我們想象中的情形。在一些油畫(huà)作品中，或者是從地面上看去，這些云朵看上去是平平的橢圓體，但從飛機(jī)上看去，它們像是由剃須泡沫層層堆砌而成的巨型方尖塔。它們和水氣的關(guān)聯(lián)是顯而易見(jiàn)的，但它們更容易散發(fā)，更加變幻無(wú)常，因而更像是剛剛爆炸的東西所產(chǎn)生的塵霧，仍然在變異之中。人們至今還在困惑，為什么不可以坐在一團(tuán)云上。

Our airborne companions outside the window look unexpected when scrutinized. In paintings and from the ground, they appear like horizontal ovaloids, but here they resemble giant obelisks made of piles of unsteady shaving foam. Their kinship with steam is clearer, they are more volatile, the product of something that may have just exploded and is still mutating. It remains perplexing that it would be impossible to sit on one.

波德萊爾清楚如何表達(dá)對(duì)這些云朵的喜愛(ài)。

Baudelaire knew how to love the clouds.

陌生人

THE OUTSIDER

Tell me, whom do you love most, you enigmatic man: your

告訴我，你這個(gè)神秘的人，你說(shuō)說(shuō)你最?lèi)?ài)誰(shuí)呢？父親還是母親？姐妹還是兄弟？

father, your mother, your sister or your brother?

哦……我沒(méi)有父親也沒(méi)有母親，沒(méi)有姐妹也沒(méi)有兄弟。

I have neither father, nor mother, nor sister, nor brother.

那朋友呢？

Your friends?

這……您說(shuō)出了一個(gè)我至今還一無(wú)所知的詞兒。

You're using a word I've never understood.

祖國(guó)呢？

Your country?

我不知道這個(gè)地方在哪。

I don't know where that might lie.

美人呢？

Beauty?

I would love her with all my heart, if only she were a goddess

如果她真的美若天仙，長(zhǎng)生不老，我會(huì)很愛(ài)她，全心全意。

and immortal.

金錢(qián)呢？

Money?

我恨它，就像你恨上帝一樣。

I hate it as you hate God.

那么，你究竟愛(ài)什么呀？你這個(gè)不同尋常的陌生人！

Well then, what do you love, you strange outsider?

I love the clouds …the clouds that pass by …over there…

我愛(ài)云……過(guò)往的浮云……那邊……那邊……美妙的云！

over there …those lovely clouds!

云朵帶來(lái)的是一種寧?kù)o。在我們的下面，是我們恐懼和悲傷之所，那里有我們的敵人和同仁，而現(xiàn)在，他們都在地面上，微不足道，也無(wú)足輕重。也許我們?cè)缫褏⑼噶诉@樣的真諦，但現(xiàn)在，我們倚著飛機(jī)冰涼的舷窗，這種感覺(jué)變得從未有過(guò)的真切——我們乘坐的飛機(jī)是一位淵博的哲學(xué)老師，是聽(tīng)從波德萊爾的召喚的信徒：

The clouds usher in tranquillity. Below us are enemies and colleagues, the sites of our terrors and our griefs; all of them now infinitesimal, scratches on the earth. We may know this old lesson in perspective well enough, but rarely does it seem as true as when we are pressed against the cold plane window, our craft a teacher of profound philosophy-and a faithful disciple of the Baudelairean command:

列車(chē)，讓我和你同行！輪船，帶我離開(kāi)這里！

Carriage, take me with you! Ship, steal me away from here!

帶我走，到遠(yuǎn)方。此地，土俱是淚！

Take me far, far away. Here the mud is made of our tears!