英國語文第六冊(雙語):人類和工業(yè)藝術(2)
We are industrial for other reasons, and in a different way. Our working instincts are very few; our faith in them still more feeble; and our physical wants far greater than those of any other creature. Indeed, the one half of the Industrial Arts are the result of our being born without clothes; the other half,of our being born without tools.
人類創(chuàng)造工業(yè)化的原因則不同、方式也不同。人類并無太多的勞作本能，也無堅定的勞作信念。然而，人類在物質(zhì)方面的需求卻比其它生物要多得多。工業(yè)藝術的形成說到底有一半原因歸結于人類對穿衣的需求；另一半則歸結于人類天生沒有可利用的工具。
I do not propose to offer you a catalogue of the arts which our unclothedness compels us to foster. The shivering savage in the colder countries robs the seal and the bear, the buffalo and the deer, of the one mantle which Nature has given them. The wild huntsman, by a swift but simple transmutation, becomes the clothier, the tailor, the tanner, the currier, the leather-dresser, the glover, the saddler, the shoemaker, the tent-maker. And the tent-maker, the arch-architect of one of the great schools of architecture, becomes quickly a house-builder, building with snow where better material is not to be had; and a ship-builder, constructing, out of a few wooden ribs and stretched animal skins, canoes which, as sad experience has shown, may survive where English ships of oak have gone to destruction.
我并不打算將人類因穿衣需求而被迫制作的“藝術品清單”一一攤開。在被寒冷侵蝕的國家里，生活著讓人發(fā)指的野蠻人，他們對海豹、熊、水牛和鹿痛下殺手，搶劫大自然賦予它們的“毛皮”。服裝制造商、裁縫、制革工、制革匠、皮革工、手套工、馬鞍工、鞋匠、帳篷制造工，這些都是野蠻獵人的間接轉(zhuǎn)化物。帳篷制造者很快演變成為房屋建筑者，他們是偉大建筑學派的首席建筑師，可以在材料極其稀缺的地方用雪建造房屋；造船工人用幾根肋骨幾張動物皮便能造出獨木舟，慘痛的經(jīng)歷告訴我們，這些獨木舟在即使能摧毀英國橡木船的地方也能完好保留下來。
Again: the unchilled savage of the warmer regions seeks a covering, not from the cold, but from the sun which smites him by day, and the moon which smites him by night. The palm, the banana, the soft-barked trees, the broad-leaved sedges and long-fibred grasses are spoiled by him, as the beasts of the field are by his colder brother.
此外，在溫熱地區(qū)生活著的未受寒冷侵襲的野蠻人也會去尋找遮蓋物，不是為了抵御嚴寒，而是為了白天晚上的防曬。棕櫚樹、香蕉葉、軟樹皮樹、寬葉莎草和長絨草全被他們破壞掉拿來充當遮蓋物，物競天擇，就如同野外的野獸被更兇殘的哥們兒吃掉一樣。
