(雙語(yǔ))月亮和六便士 第43章(2)

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An effective story might also have been made by bringing him into contact with some old painter whom the pressure of want or the desire for commercial success had made false to the genius of his youth, and who, seeing in Strickland the possibilities which himself had wasted, influenced him to forsake all and follow the divine tyranny of art. I think there would have been something ironic in the picture of the successful old man, rich and honoured, living in another the life which he, though knowing it was the better part, had not had the strength to pursue.

如果想把故事寫(xiě)得真實(shí)感人，我還可以虛構(gòu)一個(gè)老畫(huà)家，叫思特里克蘭德同他發(fā)生關(guān)系。這個(gè)老畫(huà)家由于饑寒所迫，也可能是為了追逐虛名，糟蹋了自己青年時(shí)代所具有的天才，他后來(lái)在思特里克蘭德身上看到了自己虛擲的才華，他影響了思特里克蘭德，叫他拋棄了人世間的榮華，獻(xiàn)身于神圣的藝術(shù)。我會(huì)著力描寫(xiě)一下這位成功的老人，又闊綽又有名望，但是他知道這不是真正的生活，他自己所無(wú)力尋求的，他要在這個(gè)年輕人身上體驗(yàn)到；我想這種構(gòu)思未嘗沒(méi)有諷刺意味。

The facts are much duller. Strickland, a boy fresh from school, went into a broker's office without any feeling of distaste. Until he married he led the ordinary life of his fellows, gambling mildly on the Exchange, interested to the extent of a sovereign or two on the result of the Derby or the Oxford and Cambridge Race. I think he boxed a little in his spare time. On his chimney-piece he had photographs of Mrs. Langtry and Mary Anderson. He read Punch and the Sporting Times. He went to dances in Hampstead.

但是事實(shí)卻遠(yuǎn)沒(méi)有我想象的這么動(dòng)人。思特里克蘭德一出校門(mén)就投身于一家經(jīng)紀(jì)人的事務(wù)所，他對(duì)這種生活并沒(méi)有什么反感。直到結(jié)婚，他過(guò)的就是從事這一行業(yè)的人那種平凡庸碌的生活，在交易所干幾宗輸贏不大的投機(jī)買(mǎi)賣(mài)，關(guān)注著達(dá)爾貝賽馬或者牛津、劍橋比賽的結(jié)果，充其量不過(guò)一兩鎊錢(qián)的賭注。我猜想思特里克蘭德在工作之余可能還練習(xí)練習(xí)擊拳；壁爐架上擺著朗格瑞夫人（原名愛(ài)米麗·夏洛特·勒·布利頓（1852～1929），英國(guó)演員，以美貌著稱(chēng)，后嫁與愛(ài)德華·朗格瑞）同瑪麗·安德遜（瑪麗·安德遜（1859—1940），美國(guó)女演員）的照片；讀的是《笨拙》雜志和《體育時(shí)代》；到漢普斯臺(tái)德去參加舞會(huì)。

It matters less that for so long I should have lost sight of him. The years during which he was struggling to acquire proficiency in a difficult art were monotonous, and I do not know that there was anything significant in the shifts to which he was put to earn enough money to keep him. An account of them would be an account of the things he had seen happen to other people. I do not think they had any effect on his own character. He must have acquired experiences which would form abundant material for a picaresque novel of modern Paris, but he remained aloof, and judging from his conversation there was nothing in those years that had made a particular impression on him. Perhaps when he went to Paris he was too old to fall a victim to the glamour of his environment. Strange as it may seem, he always appeared to me not only practical, but immensely matter-of-fact. I suppose his life during this period was romantic, but he certainly saw no romance in it. It may be that in order to realise the romance of life you must have something of the actor in you; and, capable of standing outside yourself, you must be able to watch your actions with an interest at once detached and absorbed. But no one was more single-minded than Strickland. I never knew anyone who was less self-conscious. But it is unfortunate that I can give no description of the arduous steps by which he reached such mastery over his art as he ever acquired; for if I could show him undaunted by failure, by an unceasing effort of courage holding despair at bay, doggedly persistent in the face of self-doubt, which is the artist's bitterest enemy, I might excite some sympathy for a personality which, I am all too conscious, must appear singularly devoid of charm. But I have nothing to go on. I never once saw Strickland at work, nor do I know that anyone else did. He kept the secret of his struggles to himself. If in the loneliness of his studio he wrestled desperately with the Angel of the Lord he never allowed a soul to divine his anguish.

有很長(zhǎng)一段時(shí)間我沒(méi)有再見(jiàn)到過(guò)他，這一點(diǎn)關(guān)系也沒(méi)有。這些年間，他一直在努力奮斗，力圖掌握一門(mén)極其困難的藝術(shù)，生活是非常單調(diào)的；有時(shí)為了掙錢(qián)糊口，他不得不采取一些權(quán)宜的手段，我認(rèn)為這也并沒(méi)有什么值得大書(shū)特書(shū)的地方。即使我能夠把他這一段生活記載下來(lái)，也不過(guò)是他所見(jiàn)到的發(fā)生在別人身上的各種事件的記錄。我不認(rèn)為他在這一段時(shí)間內(nèi)的經(jīng)歷對(duì)他自己的性格有任何影響。如果要寫(xiě)一部以現(xiàn)代巴黎為背景的冒險(xiǎn)小說(shuō)，他倒可能積累了豐富的素材。但是他對(duì)周?chē)氖挛锸冀K采取一種超然物外的態(tài)度；從他的談話判斷，這幾年里面并沒(méi)有發(fā)生任何給他留下特別印象的事。很可能在他去巴黎的時(shí)候，年紀(jì)已經(jīng)太大，光怪陸離的環(huán)境對(duì)他已經(jīng)沒(méi)有引誘力了。說(shuō)來(lái)也許有些奇怪，我總覺(jué)得他這個(gè)人不僅非常實(shí)際，而且簡(jiǎn)直可以說(shuō)是木頭木腦的。我想他這一段生活是很富于浪漫情