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雙語(yǔ)·流動(dòng)的盛宴 第五章 塞納河畔的人們

所屬教程:譯林版·流動(dòng)的盛宴

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2022年04月19日

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People of the Seine

There were many ways of walking down to the river from the top of the rue Cardinal Lemoine. The shortest one was straight down the street but it was steep and it brought you out, after you hit the flat part and crossed the busy traffic of the beginning of the Boulevard St-Germain, onto a dull part where there was a bleak, windy stretch of river bank with the Halle aux Vins on your right. This was not like any other Paris market but was a sort of bonded warehouse where wine was stored against the payment of taxes and was as cheerless from the outside as a military depot or a prison camp.

Across the branch of the Seine was the ?le St.-Louis with the narrow streets and the old, tall, beautiful houses, and you could go over there or you could turn left and walk along the quais with the length of the ?le St.-Louis and then Notre-Dame and ?le de la Cité opposite as you walked.

In the bookstalls along the quais you could sometimes find American books that had just been published for sale very cheap. The Tour D’Argent restaurant had a few rooms above the restaurant that they rented in those days, giving the people who lived there a discount in the restaurant, and if the people who lived there left any books behind there was a bookstall not far along the quai where the valet de chambre sold them and you could buy them from the proprietress for a very few francs. She had no confidence in books written in English, paid almost nothing for them, and sold them for a small and quick profit.

“Are they any good?” she asked me after we had become friends.

“Sometimes one is.”

“How can anyone tell?”

“I can tell when I read them.”

“But still it is a form of gambling. And how many people can read English?”

“Save them for me and let me look them over.”

“No. I can’t save them. You don’t pass regularly. You stay away too long at a time. I have to sell them as soon as I can. No one can tell if they are worthless. If they turn out to be worthless, I would never sell them.”

“How do you tell a valuable French book?”

“First there are the pictures. Then it is a question of the quality of the pictures. Then it is the binding. If a book is good, the owner will have it bound properly. All books in English are bound, but bound badly. There is no way of judging them.”

After that bookstall near the Tour D’Argent there were no others that sold American and English books until the quai des Grands Augustins. There were several from there on to beyond the quai Voltaire that sold books they bought from employees of the left bank hotels and especially the Hotel Voltaire which had a wealthier clientele than most. One day I asked another woman stall-keeper who was a friend of mine if the owners ever sold the books.

“No,” she said. “They are all thrown away. That is why one knows they have no value.”

“Friends give them to them to read on the boats.”

“Doubtless,” she said. “They must leave many on the boats.”

“They do,” I said. “The line keeps them and binds them and they become the ships’ libraries.”

“That’s intelligent,” she said. “At least they are properly bound then. Now a book like that would have value.”

I would walk along the quais when I had finished work or when I was trying to think something out. It was easier to think if I was walking and doing something or seeing people doing something that they understood. At the head of the ?le de la Cité below the Pont Neuf where there was the statue of Henri Quatre, the island ended in a point like the sharp bow of a ship and there was a small park at the water’s edge with fine chestnut trees, huge and spreading, and in the currents and back waters that the Seine made flowing past, there were excellent places to fish. You went down a stairway to the park and watched the fishermen there and under the great bridge. The good spots to fish changed with the height of the river and the fishermen used long, jointed, cane poles but fished with very fine leaders and light gear and quill floats and expertly baited the piece of water that they fished. They always caught some fish, and often they made excellent catches of the dace-like fish that were called goujon. They were delicious fried whole and I could eat a plateful. They were plump and sweet-fleshed with a finer flavor than fresh sardines even, and were not at all oily, and we ate them bones and all.

One of the best places to eat them was at an open-air restaurant built out over the river at Bas Meudon where we would go when we had money for a trip away from our quarter. It was called La Pêche Miraculeuse and had a splendid white wine that was a sort of Muscadet. It was a place out of a Maupassant story with the view over the river as Sisley had painted it. You did not have to go that far to eat goujon. You could get a very good friture on the ?le St.-Louis.

I knew several of the men who fished the fruitful parts of the Seine between the ?le St.-Louis and the Place du Verte Galente and sometimes, if the day was bright, I would buy a liter of wine and a piece of bread and some sausage and sit in the sun and read one of the books I had bought and watch the fishing.

Travel writers wrote about the men fishing in the Seine as though they were crazy and never caught anything; but it was serious and productive fishing. Most of the fishermen were men who had small pensions, which they did not know then would become worthless with inflation, or keen fishermen who fished on their days or half-days off from work. There was better fishing at Charenton, where the Marne came into the Seine, and on either side of Paris, but there was very good fishing in Paris itself. I did not fish because I did not have the tackle and I preferred to save my money to fish in Spain. Then too I never knew when I would be through working, nor when I would have to be away, and I did not want to become involved in the fishing which had its good times and its slack times. But I followed it closely and it was interesting and good to know about, and it always made me happy that there were men fishing in the city itself, having sound, serious fishing and taking a few fritures home to their families.

With the fishermen and the life on the river, the beautiful barges with their own life on board, the tugs with their smoke-stacks that folded back to pass under the bridges, pulling a tow of barges, the great elms on the stone banks of the river, the plane trees and in some places the poplars, I could never be lonely along the river. With so many trees in the city, you could see the spring coming each day until a night of warm wind would bring it suddenly in one morning. Sometimes the heavy cold rains would beat it back so that it would seem that it would never come and that you were losing a season out of your life. This was the only truly sad time in Paris because it was unnatural. You expected to be sad in the fall. Part of you died each year when the leaves fell from the trees and their branches were bare against the wind and the cold, wintry light. But you knew there would always be the spring, as you knew the river would flow again after it was frozen. When the cold rains kept on and killed the spring, it was as though a young person had died for no reason.

In those days, though, the spring always came finally but it was frightening that it had nearly failed.

第五章 塞納河畔的人們

在勒穆瓦納主教街的盡頭,有多條路通向塞納河畔。最短的一條路是順著大街直走,只不過這條路陡得厲害。等到你抵達(dá)平坦的路段,你就穿過圣日耳曼林蔭大道街口處的車水馬龍,走到一個(gè)氣氛沉悶的地方——那兒有一段荒涼的河岸,風(fēng)很大,右邊就是葡萄酒市場(chǎng)。那兒的葡萄酒市場(chǎng)跟巴黎別的市場(chǎng)都不同,只是一種扣存葡萄酒以待完稅的倉(cāng)庫(kù),外表陰沉沉的,像個(gè)兵站或俘虜營(yíng)。

跨過塞納河的支流就是圣路易島。島上的街道十分狹窄,房子古香古色,高高的,非常漂亮。你可以到島上游覽,或者向左拐,沿著同圣路易島一樣長(zhǎng)的碼頭走,途中可以看到對(duì)面的巴黎圣母院和西岱島。

碼頭上有一些書攤,有時(shí)可以在書攤上發(fā)現(xiàn)剛出版的美國(guó)書,價(jià)錢很便宜。銀塔飯店就在跟前,樓上有客房供客人住,房客吃飯時(shí)享受打折優(yōu)惠。如果房客把自己看的書落在了房間里,服務(wù)生就會(huì)把書拿到近旁的書攤?cè)ベu,你花幾個(gè)法郎就可以從女?dāng)傊魇种袑I來。攤主對(duì)銷售英語(yǔ)書籍缺乏信心,買書時(shí)幾乎沒花什么錢,所以見利就賣,急于脫手。

“這些書值得一讀嗎?”我和女?dāng)傊骰焓旌?,她這樣問我。

“有時(shí)候會(huì)有那么一兩本是值得一讀的?!?/p>

“這怎么能看得出來呢?”

“反正我在讀的過程中是能區(qū)別出來的。”

“賣這樣的書簡(jiǎn)直就跟賭博一樣。有多少人能看得懂英語(yǔ)書呢?”

“你把書留下,等我過來看了再說吧。”

“那可不行,不能等你來。你并不經(jīng)常路過這里,總要隔好長(zhǎng)一段時(shí)間才來一次。我得盡快出手。萬(wàn)一是沒有價(jià)值的書,誰(shuí)又能說得來呢。碰上沒有價(jià)值的書,那就一輩子也賣不出去了?!?/p>

“法語(yǔ)書有無價(jià)值你是怎么辨別的?”

“首先看有無插圖以及插圖的質(zhì)量如何,接下來就看裝幀——如果是好書,書的主人就舍得花錢把它裝幀得美輪美奐。所有的英語(yǔ)書都是裝幀好的,但良莠不齊,難以區(qū)分?!?/p>

過了銀塔飯店附近的這家書攤,在抵達(dá)奧古斯丁大碼頭之前,再也沒有別的書攤賣美國(guó)和英國(guó)書的了。從奧古斯丁大碼頭到伏爾泰碼頭,然后再朝前走幾步,有幾家書攤賣英語(yǔ)書——那些書是左岸那些旅館的服務(wù)員,尤其是伏爾泰旅館(這家旅館住的都是些有錢的客人)的服務(wù)員,賣給攤主的。一天我問另一個(gè)女?dāng)傊鳎ù巳耸俏业呐笥眩?,攤上賣的英語(yǔ)書是不是旅館客人賣給她的。

“不是的?!彼f,“是他們?nèi)拥舻摹?jù)此判斷都不是什么有價(jià)值的書?!?/p>

“他們乘船旅行,那是朋友送給他們讀一讀解悶的?!?/p>

“毋庸置疑?!迸?dāng)傊髡f,“船上一定有許多這樣被丟棄的書。”

“是的?!蔽艺f,“航運(yùn)公司把這些書保存下來,重新裝訂好,它們就成了船上的藏書。”

“高明!”她說,“至少,把書裝訂得像模像樣,就顯得有價(jià)值了?!?/p>

我在寫作之余,或者在思考問題時(shí),總喜歡到碼頭上轉(zhuǎn)轉(zhuǎn)。走走路,找點(diǎn)事做,或者看別人干他們熟悉的事——在這種情況下,我的思路會(huì)順暢一些。在西岱島的西端,新橋南面,矗立著亨利四世的雕像。西岱島的西端尖尖的,像一只船的船頭。那兒有個(gè)臨水小公園,公園里有許多漂亮的參天栗樹,綠蔭如蓋。塞納河汩汩流淌,而河水流經(jīng)之處以及滯水灣有不少適于垂釣的好地方。你步下一段臺(tái)階,走進(jìn)小公園,就能看見岸邊和大橋下有人在垂釣。垂釣地點(diǎn)的好壞,隨著河水的漲落而變化。那些釣魚人用的長(zhǎng)釣竿是一節(jié)一節(jié)連接起來的,釣線很細(xì),齒輪輕輕的,魚餌漂浮在水面——他們個(gè)個(gè)身手不凡,人人是行家里手??倳?huì)有魚上鉤,他們常常釣到類似鰷魚那樣的魚(他們稱之為鯰魚),滿載而歸。這種魚整條放在油里煎了吃味道極佳,我能吃下一大盤。這種魚肥壯、味鮮,味道甚至能超過新鮮的沙丁魚,而且一點(diǎn)也不油膩,我們吃的時(shí)候連骨頭一起吃。

吃鯰魚的一個(gè)最好去處是一家露天餐廳,位于下默冬,傍河而建。我們一旦有錢,就離開我們住的地方到那兒大快朵頤。那家餐廳名叫“神奇的垂釣”,佐飯的是一種口感極好的白葡萄酒,屬于麝香干白葡萄酒類型。在此餐廳,可以一覽塞納河的風(fēng)光,這一情景在莫泊桑的短篇小說中描繪過,也曾出現(xiàn)在西斯萊[1]的畫作里。不過,你也沒必要跑那么遠(yuǎn)去吃鯰魚,在圣路易島上就能吃到很好的油炸鯰魚。

我認(rèn)識(shí)幾個(gè)垂釣者,他們常在圣路易島和維爾-加隆廣場(chǎng)之間的幾處地方釣魚,那兒魚多。天晴日好的時(shí)候,我會(huì)買上一升葡萄酒、一個(gè)面包和一些香腸,坐在陽(yáng)光下閱讀從書攤上買來的書,觀看他們釣魚。

有些游記作家在描繪塞納河畔的垂釣者時(shí),把他們寫成了一群飯桶,連一條魚也釣不上。其實(shí),這兒的垂釣者都是干實(shí)事的,出手便能釣到許多魚。他們大多是靠微薄的養(yǎng)老金過活(豈不知那點(diǎn)錢遇到通貨膨脹就會(huì)大大縮水),還有一些人是釣魚迷,利用假期釣上一天半天的魚。除了這兒,有一個(gè)更好的釣魚點(diǎn)在夏朗通——那是馬恩河匯入塞納河的地方。按說,巴黎城外兩側(cè)都適合釣魚,但真正好的釣魚點(diǎn)則在城區(qū)內(nèi)。我本人是不釣魚的,因?yàn)槲覜]有釣具——我寧愿省下錢來到西班牙去釣魚。再說,我心里沒譜,不知自己手頭的稿子何時(shí)才能脫稿,也不知自己何時(shí)會(huì)因事而出遠(yuǎn)門。我可不想沉迷于釣魚,因?yàn)獒烎~固然能給人帶來快樂,但你必須有閑情逸致才行。不過,我在密切關(guān)注著它,覺得了解一些釣魚知識(shí)是很有意思的,是件很好的事情??匆娙藗?cè)诎屠璩抢锏暮舆呩烎~,認(rèn)認(rèn)真真地釣,而且收獲頗豐,把釣到的魚拿回家讓親人享用,我總是由衷地感到高興。

在塞納河畔,看一看人們釣魚,欣賞一下河上的景色——漂亮的駁船上一片忙碌的景象;拖輪拖曳著一長(zhǎng)列駁船,從橋下通過時(shí),拖輪的煙囪便自動(dòng)向后折疊;河邊石堤上生長(zhǎng)著高大的榆樹、梧桐樹,有些地方則是白楊——這時(shí)的我一點(diǎn)也不感到孤獨(dú)。

巴黎城里綠樹成蔭,仿佛每一天都是融融的春日——仿佛夜間暖風(fēng)起,次日清晨春季便從天而降。有時(shí),大雨突然來臨,天氣變得寒冷,春天的感覺便頓時(shí)消失,似乎再也不會(huì)出現(xiàn)——這樣,一個(gè)美好的季節(jié)退出了你的生活。這種現(xiàn)象是很不正常的,是真正叫巴黎的人們感到悲哀的時(shí)刻。秋天來到時(shí),你一定會(huì)覺得悲傷。每年的這個(gè)時(shí)候,樹葉紛紛落地,光禿禿的樹枝在寒風(fēng)中和冷氣襲人的冬陽(yáng)下發(fā)抖,這時(shí)你的一顆心就像死了一樣。不過,你知道春天終究還會(huì)來臨,冰凍的河水終究還會(huì)汩汩流淌。如果陰雨連綿,冷冰冰的,扼殺了溫暖的春天,這情景就像一個(gè)年輕人突然死去,死得不明不白。

在那些日子里,春天最后總會(huì)回到我們身邊,但我們總會(huì)提心吊膽,因?yàn)樗恳淮味疾铧c(diǎn)沒能再次出現(xiàn)。

注釋:

[1] 法國(guó)19世紀(jì)風(fēng)景畫畫家。

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