(雙語)月亮和六便士 第39章(3)

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The agony of it drove him up from the bed and out of the room. He went into the studio. It was dark, for the curtains had been drawn over the great window, and he pulled them quickly back; but a sob broke from him as with a rapid glance he took in the place where he had been so happy. Nothing was changed here, either. Strickland was indifferent to his surroundings, and he had lived in the other's studio without thinking of altering a thing. It was deliberately artistic. It represented Stroeve's idea of the proper environment for an artist. There were bits of old brocade on the walls, and the piano was covered with a piece of silk, beautiful and tarnished; in one corner was a copy of the Venus of Milo, and in another of the Venus of the Medici. Here and there was an Italian cabinet surmounted with Delft, and here and there a bas-relief. In a handsome gold frame was a copy of Velasquez' Innocent X., that Stroeve had made in Rome, and placed so as to make the most of their decorative effect were a number of Stroeve's pictures, all in splendid frames. Stroeve had always been very proud of his taste. He had never lost his appreciation for the romantic atmosphere of a studio, and though now the sight of it was like a stab in his heart, without thinking what he was at, he changed slightly the position of a Louis XV. table which was one of his treasures. Suddenly he caught sight of a canvas with its face to the wall. It was a much larger one than he himself was in the habit of using, and he wondered what it did there. He went over to it and leaned it towards him so that he could see the painting. It was a nude. His heart began to beat quickly, for he guessed at once that it was one of Strickland's pictures. He flung it back against the wall angrily—what did he mean by leaving it there?—but his movement caused it to fall, face downwards, on the ground. No mater whose the picture, he could not leave it there in the dust, and he raised it; but then curiosity got the better of him. He thought he would like to have a proper look at it, so he brought it along and set it on the easel. Then he stood back in order to see it at his ease.

痛苦使他一下子從床上跳起來，沖出了屋子。他走進(jìn)了畫室。屋子里很黑，因?yàn)榇蟛ＡТ吧线€擋著窗簾；他一把把窗簾拉開。但是當(dāng)他把這間他在里面曾經(jīng)感到那么幸福的房間飛快地看了一眼以后，不禁嗚咽出聲來。屋子一點(diǎn)也沒有變樣。思特里克蘭德對環(huán)境漠不關(guān)心，他在別人的這間畫室住著的時(shí)候從來沒有想到把什么東西改換個(gè)位置。這間屋子經(jīng)過施特略夫精心布置很富于藝術(shù)趣味，表現(xiàn)出施特略夫心目中藝術(shù)家應(yīng)有的生活環(huán)境。墻上懸著幾塊織錦，鋼琴上鋪著一塊美麗的但光澤已有些暗淡的絲織品，一個(gè)墻角擺著美洛斯的維納斯（一稱“斷臂的阿芙羅底德”，1820年在希臘美洛斯發(fā)現(xiàn)的古希臘云石雕像，現(xiàn)存巴黎盧佛爾宮）的復(fù)制品，另一個(gè)墻角擺著麥迪琪的維納斯（十七世紀(jì)在意大利發(fā)掘出的雕像，因長期收藏在羅馬麥迪琪宮，故得名，現(xiàn)收藏于佛羅倫薩烏非濟(jì)美術(shù)館）復(fù)制品。這里立著一個(gè)意大利式的小柜櫥，柜櫥頂上擺著一個(gè)德爾夫特（德爾夫特系荷蘭西部一個(gè)小城，以生產(chǎn)藍(lán)白色上釉陶器聞名）的陶器；那里掛著一塊浮雕美術(shù)品。一個(gè)很漂亮的金框子里鑲著委拉斯凱茲的名畫《天真的X》的描本，這是施特略夫在羅馬的時(shí)候描下來的；另外，還有幾張他自己的畫作，嵌著精致的鏡框，陳列得極富于裝飾效果。施特略夫一向?qū)ψ约旱膶徝栏蟹浅Ｗ院?，對自己這間具有浪漫情調(diào)的畫室他總是欣賞不夠。雖然在目前這樣一個(gè)時(shí)刻，這間屋子好象在他心頭戳了一刀，他還是不由自主地把一張路易十五時(shí)代的桌子稍微挪動(dòng)了一下。這張桌子是他的最珍愛的物品之一。突然，他發(fā)現(xiàn)有一幅畫面朝里地掛在墻上。這幅畫的尺寸比他自己通常畫的要大得多，他很奇怪為什么屋子里擺著這么一幅畫。他走過去把它翻轉(zhuǎn)過來，想看一看上面畫的是什么。他發(fā)現(xiàn)這是一張裸體的女人像。他的心開始劇烈地跳動(dòng)起來，因?yàn)樗R上就猜到這是思特里克蘭德的作品。他氣呼呼地把它往墻上一摔，——思特里克蘭德把畫留在這里有什么用意？——因?yàn)橛昧^猛，畫掉了下來，面朝下地落到地上。不管是誰畫的，他也不能叫它扔在塵土里；他把它撿了起來。這時(shí)他的好奇心占了上風(fēng)，他想要好好地看一看，于是他把這張畫拿到畫架上擺好，往后退了兩步，準(zhǔn)備仔細(xì)瞅一瞅。