I let him take me to a restaurant of his choice, but on the way I bought a paper. When he had ordered our dinner, I propped it against a bottle of St.Galmier and began to read.We ate in silence.I felt him looking at me now and again, but I took no notice.I meant to force him to conversation.
“Is there anything in the paper?”he said, as we approached the end of our silent meal.
I fancied there was in his tone a slight note of exasperation.
“I always like to read the feuilleton on the drama,”I said.
I folded the paper and put it down beside me.
“I've enjoyed my dinner,”he remarked.
“I think we might have our coffee here, don't you?”
“Yes.”
We lit our cigars. I smoked in silence.I noticed that now and then his eyes rested on me with a faint smile of amusement.I waited patiently.
“What have you been up to since I saw you last?”he asked at length.
I had not very much to say. It was a record of hard work and of little adventure;of experiments in this direction and in that;of the gradual acquisition of the knowledge of books and of men.I took care to ask Strickland nothing about his own doings.I showed not the least interest in him, and at last I was rewarded.He began to talk of himself.But with his poor gift of expression he gave but indications of what he had gone through, and I had to fll up the gaps with my own imagination.It was tantalizing to get no more than hints into a character that interested me so much.It was like making one's way through a mutilated manuscript.I received the impression of a life which was a bitter struggle against every sort of diffculty;but I realized that much which would have seemed horrible to most people did not in the least affect him.Strickland was distinguished from most Englishmen by his perfect indifference to comfort;it did not irk him to live always in one shabby room;he had no need to be surrounded by beautiful things.I do not suppose he had ever noticed how dingy was the paper on the wall of the room in which on my frst visit I found him.He did not want arm-chairs to sit in;he really felt more at his ease on a kitchen-chair.He ate with appetite, but was indifferent to what he ate;to him it was only food that he devoured to still the pangs of hunger;and when no food was to be had he seemed capable of doing without.I learned that for six months he had lived on a loaf of bread and a bottle of milk a day.He was a sensual man, and yet was indifferent to sensual things.He looked upon privation as no hardship.There was something impressive in the manner in which he lived a life wholly of the spirit.
When the small sum of money which he brought with him from London came to an end he suffered from no dismay. He sold no pictures;I think he made little attempt to sell any;he set about finding some way to make a bit of money.He told me with grim humour of the time he had spent acting as guide to Cockneys who wanted to see the night side of life in Paris;it was an occupation that appealed to his sardonic temper and somehow or other he had acquired a wide acquaintance with the more disreputable quarters of the city.He told me of the long hours he spent walking about the Boulevard de la Madeleine on the look-out for Englishmen, preferably the worse for liquor, who desired to see things which the law forbade.When in luck he was able to make a tidy sum;but the shabbiness of his clothes at last frightened the sightseers, and he could not find people adventurous enough to trust themselves to him.Then he happened on a job to translate the advertisements of patent medicines which were sent broadcast to the medical profession in England.During a strike he had been employed as a house-painter.
Meanwhile he had never ceased to work at his art;but, soon tiring of the studios, entirely by himself. He had never been so poor that he could not buy canvas and paint, and really he needed nothing else.So far as I could make out, he painted with great diffculty, and in his unwillingness to accept help from anyone lost much time in finding out for himself the solution of technical problems which preceding generations had already worked out one by one.He was aiming at something, I knew not what, and perhaps he hardly knew himself;and I got again more strongly the impression of a man possessed.He did not seem quite sane.It seemed to me that he would not show his pictures because he was really not interested in them.He lived in a dream, and the reality meant nothing to him.I had the feeling that he worked on a canvas with all the force of his violent personality, oblivious of everything in his effort to get what he saw with the mind's eye;and then, having fnished, not the picture perhaps, for I had an idea that he seldom brought anything to completion, but the passion that fred him, he lost all care for it.He was never satisfied with what he had done:it seemed to him of no consequence compared with the vision that obsessed his mind.
“Why don't you ever send your work to exhibitions?”I asked.“I should have thought you'd like to know what people thought about it.”
“Would you?”
I cannot describe the unmeasurable contempt he put into the two words.
“Don't you want fame?It's something that most artists haven't been indifferent to.”
“Children. How can you care for the opinion of the crowd, when you don't care twopence for the opinion of the individual?”
“We're not all reasonable beings,”I laughed.
“Who makes fame?Critics, writers, stockbrokers, women.”
“Wouldn't it give you a rather pleasant sensation to think of people you didn't know and had never seen receiving emotions, subtle and passionate, from the work of your hands?Everyone likes power. I can't imagine a more wonderful exercise of it than to move the souls of men to pity or terror.”
“Melodrama.”
“Why do you mind if you paint well or badly?”
“I don't. I only want to paint what I see.”
“I wonder if I could write on a desert island, with the certainty that no eyes but mine would ever see what I had written.”
Strickland did not speak for a long time, but his eyes shone strangely, as though he saw something that kindled his soul to ecstasy.
“Sometimes I've thought of an island lost in a boundless sea, where I could live in some hidden valley, among strange trees, in silence. There I think I could fnd what I want.”
He did not express himself quite like this. He used gestures instead of adjectives, and he halted.I have put into my own words what I think he wanted to say.
“Looking back on the last fve years, do you think it was worth it?”I asked.
He looked at me, and I saw that he did not know what I meant. I explained.
“You gave up a comfortable home and a life as happy as the average. You were fairly prosperous.You seem to have had a rotten time in Paris.If you had your time over again would you do what you did?”
“Rather.”
“Do you know that you haven't asked anything about your wife and children?Do you never think of them?”
“No.”
“I wish you weren't so damned monosyllabic. Have you never had a moment's regret for all the unhappiness you caused them?”
His lips broke into a smile, and he shook his head.
“I should have thought sometimes you couldn't help thinking of the past. I don't mean the past of seven or eight years ago, but further back still, when you frst met your wife, and loved her, and married her.Don't you remember the joy with which you frst took her in your arms?”
“I don't think of the past. The only thing that matters is the everlasting present.”
I thought for a moment over this reply. It was obscure perhaps, but I thought that I saw dimly his meaning.
“Are you happy?”I asked.
“Yes.”
I was silent. I looked at him reflectively.He held my stare, and presently a sardonic twinkle lit up his eyes.
“I'm afraid you disapprove of me?”
“Nonsense,”I answered promptly;“I don't disapprove of the boa-constrictor;on the contrary, I'm interested in his mental processes.”
“It's a purely professional interest you take in me?”
“Purely.”
“It's only right that you shouldn't disapprove of me. You have a despicable character.”
“Perhaps that's why you feel at home with me,”I retorted.
He smiled dryly, but said nothing. I wish I knew how to describe his smile.I do not know that it was attractive, but it lit up his face, changing the expression, which was generally sombre, and gave it a look of not ill-natured malice.It was a slow smile, starting and sometimes ending in the eyes;it was very sensual, neither cruel nor kindly, but suggested rather the inhuman glee of the satyr.It was his smile that made me ask him:
“Haven't you been in love since you came to Paris?”
“I haven't got time for that sort of nonsense. Life isn't long enough for love and art.”
“Your appearance doesn't suggest the anchorite.”
“All that business flls me with disgust.”
“Human nature is a nuisance, isn't it?”I said.
“Why are you sniggering at me?”
“Because I don't believe you.”
“Then you're a damned fool.”
I paused, and I looked at him searchingly.
“What's the good of trying to humbug me?”I said.
“I don't know what you mean.”
I smiled.
“Let me tell you. I imagine that for months the matter never comes into your head, and you're able to persuade yourself that you've fnished with it for good and all.You rejoice in your freedom, and you feel that at last you can call your soul your own.You seem to walk with your head among the stars.And then, all of a sudden you can't stand it any more, and you notice that all the time your feet have been walking in the mud.And you want to roll yourself in it.And you fnd some woman, coarse and low and vulgar, some beastly creature in whom all the horror of sex is blatant, and you fall upon her like a wild animal.You drink till you're blind with rage.”
He stared at me without the slightest movement. I held his eyes with mine.I spoke very slowly.
“I'll tell you what must seem strange, that when it's over you feel so extraordinarily pure. You feel like a disembodied spirit, immaterial;and you seem to be able to touch beauty as though it were a palpable thing;and you feel an intimate communion with the breeze, and with the trees breaking into leaf, and with the iridescence of the river.You feel like God.Can you explain that to me?”
He kept his eyes fixed on mine till I had finished, and then he turned away. There was on his face a strange look, and I thought that so might a man look when he had died under the torture.He was silent.I knew that our conversation was ended.
我讓他把我?guī)У揭患宜x定的餐館,在路上我買了一份報(bào)紙。當(dāng)他為晚餐點(diǎn)菜的空當(dāng),我把報(bào)紙支在一瓶圣·卡爾米爾酒上,開始讀了起來。我們相對(duì)無言,我能感覺到他時(shí)不時(shí)地看我?guī)籽?,但是我沒有理會(huì),打算迫使他先開口。
“報(bào)紙上有什么新聞?”在快接近這頓沉默的晚餐尾聲的時(shí)候,他開腔了。
我感覺好像從他的口吻中聽出他有點(diǎn)惱火。
“我向來喜歡讀有關(guān)戲劇的評(píng)論[44]。”我說道。
我把報(bào)紙折疊上,放到我的一邊。
“我已經(jīng)享用完我的晚餐了,挺不錯(cuò)的。”他說道。
“我看我們就在這兒喝咖啡吧,怎么樣?”
“好的?!?/p>
我們點(diǎn)著了雪茄,我默不作聲地吸了一口。我注意到他的目光時(shí)不時(shí)地落在我身上,臉上掛著不易察覺的、覺得有趣的微笑。我耐心地等著他開口。
“自從上次見面后,你都在做些什么?”他終于忍不住開口問道。
我沒有太多的話要說,無非是辛苦的寫作,單調(diào)的生活,有時(shí)倒是也在某些方面搞點(diǎn)試驗(yàn),或者某個(gè)方向上做點(diǎn)嘗試,逐漸獲得了書本和人性上的知識(shí)。我小心翼翼地一句話也不去問斯特里克蘭,他的情況如何,我表現(xiàn)出對(duì)他一點(diǎn)兒興趣也沒有,最后,我的策略見了效。他開始談自己的情況了,但是,他實(shí)在沒有語言天賦,在他斷斷續(xù)續(xù)的表述中,我大致了解了他所經(jīng)歷的事,空缺的部分需要我自己靠想象力彌補(bǔ)。對(duì)于一個(gè)我非常感興趣的人,只能聽到點(diǎn)到為止的內(nèi)容,這件事還真有點(diǎn)吊人胃口,就好像讀一本殘缺不全的書稿,還要捋清各種關(guān)系和事件。我得到的總體印象是,這個(gè)人的生活好像就是在跟各式各樣的、更多的艱難困苦作著斗爭(zhēng),我更深刻地認(rèn)識(shí)到,這些艱難困苦對(duì)于大多數(shù)人來說都是可怕和難以忍受的,但是對(duì)他來說,沒有一絲一毫的影響。斯特里克蘭和大多數(shù)的英國人不一樣,因?yàn)樗麑?duì)舒適的生活完全無所謂,讓他一輩子都住在一個(gè)破破爛爛的小房間里也不會(huì)讓他煩惱,他完全不需要周圍滿是華美的東西。我料想他絕對(duì)沒有注意到,當(dāng)我第一次去找他時(shí),他所住房間的墻紙是多么的骯臟。他甚至都不愿坐在一把安樂椅上,坐在沒扶手的椅子上倒讓他更輕松自在。他的胃口很好,但根本不在乎吃的是什么,只要是吃的,他狼吞虎咽地能夠果腹就行。有時(shí)斷了頓,他似乎還有挨餓的本領(lǐng)。我了解到,大約有半年的時(shí)間,他都靠每天一塊面包、一瓶奶活著。他本來是一個(gè)沉湎于聲色犬馬的人,但面對(duì)各種誘惑又可以絲毫不動(dòng)心。他不把生活的困頓看成是艱苦。他在生活態(tài)度上有種令人難忘的東西,他過的全然是一種精神生活。
當(dāng)他把從倫敦帶來的一小筆錢花完的時(shí)候,他也沒有氣餒沮喪和驚慌失措。他一張畫也賣不出去,我認(rèn)為他也根本沒想去賣。他開始用某種方式掙了點(diǎn)小錢。他自我解嘲地告訴我,有段時(shí)間他曾經(jīng)給那些想見識(shí)巴黎夜生活的倫敦人做導(dǎo)游,正好這個(gè)職業(yè)很適合他冷嘲熱諷的脾氣。在另一方面,他廣泛了解和熟悉了這個(gè)城市中那些不體面的街區(qū)。他告訴我說,他得花數(shù)個(gè)小時(shí)在瑪?shù)律彺蠼肿邅碜呷?,希望能受雇于那些想看法律所禁止的東西的英國佬,最好是帶有幾分醉意的人。運(yùn)氣好時(shí),他能掙上一筆可觀的小費(fèi)??珊髞?,他那破破爛爛的衣服嚇跑了觀光客們,他找不到有足夠冒險(xiǎn)精神把自己交到他手上的客人了。隨后,他碰巧也干過翻譯專賣藥品廣告的活兒,這些藥品要在英國作廣告進(jìn)行推銷。在一次罷工期間,他還受雇做過房屋粉刷匠。
與此同時(shí),他從未停止過他的藝術(shù)創(chuàng)作。但是不久以后,他厭煩了去各家畫室畫畫,完全把自己關(guān)在了房間里創(chuàng)作。他從未像那時(shí)那樣窮困潦倒,連買畫布和顏料的錢都沒有,至于別的東西,他倒是真的不需要。就我所能了解到的,他在繪畫上遇到了很大困難,因?yàn)樗辉敢饨邮苋魏稳说膸椭?,所以把大量時(shí)間浪費(fèi)在了自己摸索如何解決技巧上的難題,而這些難題幾代以前的前輩們已經(jīng)都一一解決了。他的目標(biāo)是某種我不知道的東西,也許他自己也說不清楚。我過去有過對(duì)他的這種印象,而現(xiàn)在更加強(qiáng)烈了:他是被什么東西迷住了心竅。他似乎很不正常,不愿意把他的畫作示人,在我看來,好像因?yàn)樗约簩?duì)它們也不是真的感興趣。他生活在夢(mèng)中,現(xiàn)實(shí)被他視若無物。我有這樣的感覺,他把自己狂暴個(gè)性的所有力量都施加到了畫布上,在他的努力下,一切東西顯然都被賦予了斯特里克蘭思想的眼睛所看到的內(nèi)容,最后完成的可能都不再是一幅畫了。我知道他很少能把一件事做完,畫畫也一樣,一陣激情燃燒完之后,也許就把一切都撂在那兒了。他對(duì)他所做的一切從來沒滿意過:同困擾他思想的幻象相比,他的畫作根本不值一提。
“為什么你從不把你的作品送去展覽?”我問,“我想你還是愿意聽聽人們的看法吧?!?/p>
“你會(huì)聽嗎?”
他說這話時(shí)的不屑一顧勁兒,我簡(jiǎn)直無法形容。
“你難道不想出名嗎?那是大多數(shù)藝術(shù)家都很熱衷的事呀。”
“婦人之見,如果你根本不在乎個(gè)別人對(duì)你作品的看法,你又怎么會(huì)在乎一群人對(duì)你的看法呢?”
“我們并非所有人都是理性的動(dòng)物呀?!蔽倚χf。
“誰又成就了名聲?是批評(píng)家、作家、證券經(jīng)紀(jì)人,還是女人?”
“當(dāng)你想到你不認(rèn)識(shí)的一些人,一些從未見過的人從出自你手的畫作中感受到了各種情感,細(xì)微而又充滿激情,你難道不會(huì)感到欣喜和有成就感嗎?每個(gè)人都喜歡展示力量,打動(dòng)人的靈魂,讓他們憐憫或害怕,我想不出能有什么比這更絕妙地展示力量的方式了?!?/p>
“一場(chǎng)滑稽戲?!?/p>
“那么你為什么對(duì)畫得好還是不好,還是會(huì)介意呢?”
“我不介意,我只想把我看到的畫下來?!?/p>
“如果我在一個(gè)荒島上寫作,唯一能確定的是,只有我自己能看到自己寫下的東西,我懷疑我是否能堅(jiān)持寫下去?!?/p>
斯特里克蘭很長(zhǎng)時(shí)間沒說話,但是他的眼睛奇怪地閃亮著,仿佛看見了某種點(diǎn)燃了靈魂,讓他神魂顛倒的東西。
“有時(shí)我也想過一座迷失在無邊無際大海上的荒島,在島上我可以住在隱秘的山谷、奇異的參天大樹間,周圍的一切都寂靜無聲。在那里,我認(rèn)為可以發(fā)現(xiàn)我想要的東西。”
其實(shí),他并沒有真正地像這樣表達(dá),他用了各種手勢(shì),而不是形容詞,講得磕磕巴巴沒有一句完整的話。我是用了我自己的語言,把我認(rèn)為他想說的話給轉(zhuǎn)述了出來。
“回首過去的五年,你認(rèn)為值得嗎?”我問道。
他看著我。我知道他沒明白我的意思,便解釋道:
“你放棄了安逸舒適的家和像普通人一樣的幸福生活,你本來日子過得相當(dāng)不錯(cuò),而你在巴黎似乎日子都快過不下去了。如果時(shí)光能夠倒流,你還會(huì)那樣去做嗎?”
“當(dāng)然還會(huì)那樣?!?/p>
“你知道你至今還沒問任何有關(guān)你妻子和孩子的情況嗎?你從來都不想他們嗎?”
“不想?!?/p>
“我希望你他媽的別一個(gè)詞一個(gè)詞地往外蹦。你難道對(duì)你帶給他們的所有不幸就沒片刻的懊悔嗎?”
他咧開嘴笑了笑,搖了搖頭。
“我原以為你有時(shí)會(huì)忍不住想想過去的事,我的意思不是過去七八年前的事,還要再早一些,比如當(dāng)你第一次遇見你的妻子,你愛上了她,后來又娶了她。難道你記不得你把她緊緊摟入懷中的喜悅了嗎?”
“我從不回憶過去,對(duì)我來說,唯一重要的事情就是永恒的現(xiàn)在?!?/p>
我對(duì)這個(gè)回答思考了一會(huì)兒,也許這話說得含含糊糊,但我隱隱約約明白了他的意思。
“你幸福嗎?”我問道。
“是的。”
我又沉默了。在沉思中我看著他,他也目不轉(zhuǎn)睛地看著我,沒過一會(huì)兒,嘲弄的意味又在他的眼睛里閃光。
“恐怕你對(duì)我有些看法吧?”
“廢話,”我馬上回答道,“我對(duì)蟒蛇沒有什么看法,反過來,我對(duì)它的心理活動(dòng)倒是很感興趣?!?/p>
“你對(duì)我的興趣純粹是出于職業(yè)的角度嗎?”
“純粹是。”
“你不反對(duì)我是理所當(dāng)然的,因?yàn)槟愕男愿褚埠鼙氨?。?/p>
“興許這就是你為什么覺得和我在一起很愜意的原因?!蔽曳磽舻?。
他干笑了一下,什么話也沒說。我真希望我知道能夠描述他微笑的方法,我覺得他的笑一點(diǎn)兒也不吸引人,但是能讓他容光煥發(fā),改變他臉上通??偸顷幊恋谋砬?,讓他看上去不再那么充滿惡意和刻薄。那是一種慢慢的微笑,從眼角開始,有時(shí)也在眼角結(jié)束。那是一種滿是肉欲的微笑,既不殘酷也不友善,但是不禁讓人想到半人半獸的森林之神獸性的喜悅。正是這種微笑促使我問他:
“自從你來到巴黎以后,你又戀愛過嗎?”
“我可沒時(shí)間干這種胡鬧的事。生命短暫,沒有時(shí)間既談戀愛又搞藝術(shù)?!?/p>
“你的樣子可不像個(gè)六根清凈的隱士呀?!?/p>
“所有這類事都讓我惡心?!?/p>
“人性是個(gè)累贅,不是嗎?”我說道。
“你干嗎沖著我傻笑?”
“因?yàn)槲倚挪贿^你說的話?!?/p>
“那你就是個(gè)該死的傻瓜?!?/p>
我沒說話,仔細(xì)地打量起他來。
“你想騙我有什么用?”我說道。
“我不明白你的意思?!?/p>
我笑了。
“讓我告訴你吧。我能想象得到,有好幾個(gè)月了,那種事確實(shí)沒進(jìn)到你腦子里,然后你能說服自己已經(jīng)永遠(yuǎn)地跟它絕緣了,你為自己獲得了自由而歡呼,你覺得你能控制自己的靈魂。你似乎可以昂首挺胸地在星辰中漫步??墒呛髞恚阃蝗挥X得無法再忍受了,你注意到你的雙腳其實(shí)一直走在爛泥沼中,你甚至還想在里面打個(gè)滾兒,你去找女人,粗野、低賤、俗氣的女人,她獸性十足,可怕的性欲露骨地表現(xiàn),你就像野獸一樣把她撲倒,你喝得爛醉,直到怒不可遏?!?/p>
他一動(dòng)不動(dòng)地盯著我,我也盯著他的眼睛,我非常緩慢地說道:
“我還要告訴你,這一切似乎荒誕不經(jīng),當(dāng)你完事以后,你覺得自己格外的純潔。你感覺就像靈魂出竅,無形縹緲。你能夠觸碰到美,好像它是一個(gè)摸得著的東西,你覺得你可以和微風(fēng)親密私語,和冒出嫩葉的樹木交流,和波光粼粼的河流對(duì)話。你覺得自己就像上帝一樣。你能跟我解釋一下這種感覺嗎?”
他目不轉(zhuǎn)睛地看著我的眼睛,直到我把話說完,然后才扭過臉去。在他的臉上有一種奇怪的表情,我想那應(yīng)該是一個(gè)人受盡折磨后要死去時(shí)的表情。他沉默不語,我知道我們的談話結(jié)束了。
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