英語(yǔ)視頻暢談歐美人文風(fēng)情67：走近世界名畫(huà)《自由領(lǐng)導(dǎo)人民》

　　We're in the Musee du Louvre and we're looking at Delacroix's Liberty Leading the People. This is one of the most historically important paintings in this collection.

　　我們?cè)诹_浮宮，我們正在欣賞德拉克拉瓦的《自由領(lǐng)導(dǎo)人民》。這是這系列收藏品中在歷史上最重要的畫(huà)作之一。

　　And it's important to remember, I think, how radical this painting was. Its Republican Revolutionary politics were palpable, a little bit, perhaps, lost to us, I think, today. The painting shows the revolution of 1830 on the streets of Paris. And what we see is a barricade, which was a makeshift blockade.

　　重點(diǎn)是要記得，我認(rèn)為，這幅畫(huà)作有多么激進(jìn)。其共和革命中的政治活動(dòng)是很明了的，也許有一點(diǎn)點(diǎn)不在我們今天的理解范圍內(nèi)。這幅畫(huà)顯示了巴黎街頭1830年時(shí)的革命。我們看到的是一道街壘，那是個(gè)臨時(shí)的路障。

　　And remember that Paris at this time was really a medieval city, and so that the streets were narrow, and they were winding, and it was easy to block off French troops. And they were made of furniture, they were made of wagons, they were made especially of cobblestones. And you can see the cobblestones down in the very foreground.

　　記得這時(shí)的巴黎確實(shí)是個(gè)中古世紀(jì)的城市，所以那些街道都很窄，它們蜿蜒曲折，且很容易阻礙法國(guó)軍隊(duì)。它們是以家具筑起的、它們是以馬車(chē)堆起的、它們特別是用鵝卵石疊起的。你可以看到鵝卵石就在下方這個(gè)前景里。

　　Over those cobblestones strides a figure who one would not have actually seen on the streets of Paris. So we have this mixture of the real and the unreal, because we have this allegorical figure of Liberty herself carrying the French tricolor flag, which represents equality, fraternity, and liberty—the values of the revolution.

　　在那堆鵝卵石之上，一個(gè)人們不曾會(huì)在巴黎街頭看過(guò)的人物邁開(kāi)步伐。我們有這個(gè)真實(shí)與虛幻的綜合體，因?yàn)槲覀冇羞@個(gè)象征自由女神本身的角色舉著法國(guó)三色旗，那代表平等、博愛(ài)、與自由--革命的價(jià)值。

　　So in the United States, we would recognize this figure as the Statue of Liberty, not a specific individual, but in fact, the embodiment or personification of an idea—the idea of freedom.

　　所以在美國(guó)，我們會(huì)認(rèn)出這個(gè)人物是自由女神像，不是一個(gè)特定的個(gè)人，但事實(shí)上，是一個(gè)理念的具體化或擬人化--自由的理念。

　　So it's important to remember here that what's happened is a monarchy had been restored in France that was very politically oppressive. And the revolution in July of 1830 was against that restored King Charles X and brought into power a constitutional monarchy, presumably, a king that would be more friendly to the needs of the middle class.

　　所以這里重要的是要記得，發(fā)生的事情是一個(gè)非常帶有政治壓迫的君主政體在法國(guó)被重新建立起來(lái)。1830年的七月革命是對(duì)抗復(fù)辟的國(guó)王查理十世，并讓君主立憲政體掌權(quán)，照理來(lái)說(shuō)，是一位對(duì)于中產(chǎn)階級(jí)需求更加友善的國(guó)王。

　　So there were three days of, beyond protest, of an open warfare in the streets of Paris. Charles X actually flees France, and his cousin Louis Philippe is put on the throne, and Delacroix is watching this from his window.

　　所以除了抗議，在巴黎街頭還有一場(chǎng)三天的公開(kāi)沖突。查理十世確實(shí)逃離法國(guó)，他的表親路易·菲利浦被推上王位，而德拉克拉瓦正從他的窗口觀看這些事。

　　And the violence is really frightening. We have in the foreground dead members of both sides of this fight.

　　那暴行確實(shí)很?chē)樔?。我們?cè)谇熬坝羞@場(chǎng)爭(zhēng)斗中雙方喪命的成員。

　　The figure on the left is really brutal. If you look closely, it's clear that he's in his night shirt. And one of the practices of the repressive government was to go after the opposition in their homes, beat them to death, and drag them to the streets as a reminder: "Do not do this." There's a very famous Daumier: Rue Transnonain that shows a family that has been killed in their bedroom.

　　左側(cè)的人物是非常殘忍的。如果你看得仔細(xì)些，很明顯他穿著他的睡衣。而鎮(zhèn)壓政府的行動(dòng)之一是追到反對(duì)派者的家中、打死他們、并把他們拖到街頭好似個(gè)提醒：“別這樣做。”有個(gè)非常知名的杜米埃的《特蘭斯諾南街事件》，那畫(huà)出一個(gè)在臥室被殺害的家庭。

　　And on the right, a member of the other side of the king's forces, who's dead or wounded in the foreground.

　　在右側(cè)，另一邊國(guó)王軍隊(duì)的成員，在前景他是死亡或受傷的。

　　And that's important because, I think, that's a reminder that even the royal troops are not invincible.

　　那很重要，因?yàn)椋艺J(rèn)為，那是個(gè)提示即便皇家軍隊(duì)都不是刀槍不入的。

　　Liberty strides forward. She's incredibly powerful. And importantly, Delacroix is giving her kind of realism. That was very important, I think, in terms of this message. I think if the figure had been an ancient Greek looking figure, we would have lost some of the strength of this image.

　　自由女神向前跨步。她是不可思議地強(qiáng)大。重要的是，德拉克拉瓦正賦予她的一種現(xiàn)實(shí)性。那是非常重要的，我認(rèn)為，就這個(gè)訊息而言。我認(rèn)為如果那角色是個(gè)古希臘樣貌的角色，我們會(huì)失去這畫(huà)面的某些力度。

　　We see her in profile, starkly lit, with a kind of Caravaggio-esque lighting, her arm forward with the flag, the other arm carrying the bayonet, striding over the barricade, a figure that leads the people on with this idea of liberty.

　　我們從側(cè)面看她，明顯地被打亮，以一種卡拉瓦喬式的打光手法，她的手臂向前舉著旗子，另一只手?jǐn)y帶著刺刀，跨過(guò)街壘，一個(gè)有著這自由理念帶領(lǐng)人們向前的角色。

　　So, I think I see exactly what you're saying, but I also disagree, because I think that Delacroix isn't viewing this figure with all of those very human attributes that we're talking about, all of that sense of leadership, and all of the allegorical power that she represents.

　　所以，我認(rèn)為我完全看到你說(shuō)的東西，但我也不同意，因?yàn)槲艺J(rèn)為德拉克拉瓦不是用那所有那些我們正在談?wù)摰娜祟?lèi)特質(zhì)、用所有領(lǐng)導(dǎo)的概念、以及所有象征性的力量來(lái)看待這個(gè)人物。

　　But at the same time, I think Delacroix is actually very consciously drawing on the ancient tradition. The perfect profile, which is the most noble way of representing the face according to the classical world, reminds us of Roman coinage, for instance.

　　但同時(shí)，我認(rèn)為德拉克拉瓦確實(shí)是非常有自覺(jué)地在運(yùn)用古代的傳統(tǒng)。那完美的側(cè)面，根據(jù)古典世界那是呈現(xiàn)面孔最高尚的方式，使我們想起羅馬貨幣，舉例來(lái)說(shuō)。

　　So it's not as if Delacroix looked out of his window and actually saw this, and that's not just because of the allegorical figure of Liberty. The figures are carefully composed in the shape of a pyramid. And Delacroix has also included very different types of figures intentionally, showing the range of people who participated in the revolution of 1830.

　　所以并不是好像德拉克拉瓦望出他的窗子并確實(shí)看到這個(gè)，還有那不只是因?yàn)樽杂膳襁@象征性的人物。那些人物被仔細(xì)地組成金字塔的形狀。而德拉克拉瓦同樣也故意放入了非常不同類(lèi)型的人物，顯示出參與1830年革命人們的階級(jí)范圍。

　　So not only do you have the man wearing the top hat, a member of the bourgeoisie, of the middle class, but next to him is a craftsman—a workman—in his shirtsleeves, who probably can't afford that nice rifle. But they are together opposing the monarchy.

　　所以你不只有戴著高帽子的男人--資產(chǎn)階級(jí)的、中產(chǎn)階級(jí)的成員，但在他旁邊的是一名工匠--一位工人--只穿著他的襯衫，他也許無(wú)法負(fù)擔(dān)得起那把好步槍。但他們?cè)谝黄饘?duì)抗君主政權(quán)。

　　And so there was a real political message here of the power of the people to overthrow a government. And the government of Louis Philippe that came into power purchased this painting, but later this message started to feel a little bit uncomfortable.

　　所以這里有個(gè)真正的政治訊息是有關(guān)人們的力量去推翻一個(gè)政府。而獲得政權(quán)的路易·菲利浦政府買(mǎi)下了這幅畫(huà)，但稍后這個(gè)訊息開(kāi)始感到有點(diǎn)不舒服。

　　有點(diǎn)太激進(jìn)了。

　　A little too radical.

　　有點(diǎn)太激進(jìn)了。事實(shí)上，雖然是個(gè)君主立憲政體，路易·菲利浦政府還是只有非常小部分的法國(guó)人民可以投票。我們?cè)谥v的是一個(gè)仍然只對(duì)真正精英的利益有利的政府。所以我們?cè)谶@幅畫(huà)中看到的人民力量變得危險(xiǎn)，而這幅畫(huà)被取下，且不再展出直到1848年的革命。

　　A little too radical. In fact, the government of Louis Philippe, although a constitutional monarchy, still only a very small fraction of the French people were able to vote. We're talking about a government that was still favorable only to the interests of real elite. And so the power of the people that we see here in this painting became dangerous, and the painting was taken down and not exhibited again until the revolution of 1848.

　　舉例來(lái)說(shuō)，我們會(huì)看到畫(huà)布右側(cè)末端，你可以辨別出圣母院的兩座塔從戰(zhàn)場(chǎng)的煙硝中扶搖直上。如果你非常仔細(xì)看，你可以看到那個(gè)君主政體象征上的三色旗。所以這是這樣的一個(gè)激進(jìn)影像。

　　We'll look, for instance, at the extreme right side of the canvas, and you can make out the two towers of Notre Dame rising above the smoke of battle. And if you look very closely, you can see the tricolor on that symbol of the monarchy. And so this was such a radical image.

　　自由女神正在直接地移動(dòng)到我們的空間，帶領(lǐng)人們向前。你可以知道為什么這幅畫(huà)最后必須待在倉(cāng)庫(kù)里。

　　Liberty is moving directly into our space, leading the people forward. You can see why this painting ended up going essentially into storage.