(雙語(yǔ))月亮和六便士 第18章(1)

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Chapter 18

第十八章

In point of fact, I met Strickland before I had been a fortnight in Paris.

實(shí)際上，我在巴黎住了還不到兩個(gè)星期就看到思特里克蘭德了。

I quickly found myself a tiny apartment on the fifth floor of a house in the Rue des Dames, and for a couple of hundred francs bought at a second-hand dealer's enough furniture to make it habitable. I arranged with the concierge to make my coffee in the morning and to keep the place clean. Then I went to see my friend Dirk Stroeve.

我沒(méi)有費(fèi)什么工夫就在達(dá)姆路一所房子的五層樓上租到一小間公寓。我花了兩三百法郎在一家舊貨店購(gòu)置了幾件家具，把屋子布置起來(lái)，又同看門的人商量好，叫她每天早晨給我煮咖啡，替我收拾房間。這以后我就去看我的朋友戴爾克·施特略夫。

Dirk Stroeve was one of those persons whom, according to your character, you cannot think of without derisive laughter or an embarrassed shrug of the shoulders. Nature had made him a buffoon. He was a painter, but a very bad one, whom I had met in Rome, and I still remembered his pictures. He had a genuine enthusiasm for the commonplace. His soul palpitating with love of art, he painted the models who hung about the stairway of Bernini in the Piazza de Spagna, undaunted by their obvious picturesqueness; and his studio was full of canvases on which were portrayed moustachioed, large-eyed peasants in peaked hats, urchins in becoming rags, and women in bright petticoats. Sometimes they lounged at the steps of a church, and sometimes dallied among cypresses against a cloudless sky; sometimes they made love by a Renaissance well-head, and sometimes they wandered through the Campagna by the side of an ox-waggon. They were carefully drawn and carefully painted. A photograph could not have been more exact. One of the painters at the Villa Medici had called him Le Maitre de la Boite a Chocoloats. To look at his pictures you would have thought that Monet, Manet, and the rest of the Impressionists had never been.

戴爾克·施特略夫是這樣一個(gè)人：根據(jù)人們不同的性格，有人在想到他的時(shí)候鄙夷地一笑，有的則困惑地聳一下肩膀。造物主把他制造成一個(gè)滑稽角色。他是一個(gè)畫家，但他是一個(gè)很蹩腳的畫家。我是在羅馬和他認(rèn)識(shí)的，我始終記得他那時(shí)畫的畫兒。他衷心拜倒在平凡庸俗的腳下。他的靈魂由于對(duì)藝術(shù)的熱愛(ài)而悸動(dòng)著，他描摹懸在斯巴尼亞廣場(chǎng)貝尼尼【喬凡尼·羅倫索·貝尼尼（1598—1680），意大利巴洛克派雕塑家、建筑家和畫家】式樓梯上的一些畫幅，一點(diǎn)兒也不覺(jué)得這些繪畫美得有些失真。他自己畫室里的作品張張畫的是蓄著小胡須、生著大眼睛、頭戴尖頂帽的農(nóng)民，衣衫破爛但又整齊得體的街頭頑童，和穿著花花綠綠的裙子的女人。這些畫中人物有時(shí)候在教堂門口臺(tái)階上閑立，有時(shí)候在一片晴朗無(wú)云的碧空下的柏樹叢中戲逐，有時(shí)候在有文藝復(fù)興時(shí)期建筑風(fēng)格的噴泉邊調(diào)情，也有時(shí)候跟在牛車旁邊走過(guò)意大利田野。這些人物畫得非常細(xì)致，色彩過(guò)于真切。就是攝影師也不能拍出更加逼真的照片來(lái)。住在梅迪其別墅的一位畫家管施特略夫叫做巧克力糖盒子的大畫師?？戳怂漠?，你會(huì)認(rèn)為莫奈【克勞德·莫奈（1840—1926），法國(guó)畫家】、馬奈【埃多瓦·馬奈（1832—1883），法國(guó)畫家】和所有印象派畫家從來(lái)不曾出現(xiàn)過(guò)。