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雙語·月亮與六便士 第四十四章

所屬教程:譯林版·月亮與六便士

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2022年04月26日

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A certain importance attaches to the views on art of painters, and this is the natural place for me to set down what I know of Strickland's opinions of the great artists of the past. I am afraid I have very little worth noting.Strickland was not a conversationalist, and he had no gift for putting what he had to say in the striking phrase that the listener remembers.He had no wit.His humour, as will be seen if I have in any way succeeded in reproducing the manner of his conversation, was sardonic.His repartee was rude.He made one laugh sometimes by speaking the truth, but this is a form of humour which gains its force only by its unusualness;it would cease to amuse if it were commonly practised.

Strickland was not, I should say, a man of great intelligence, and his views on painting were by no means out of the ordinary. I never heard him speak of those whose work had a certain analogy with his own-of Cézanne, for instance, or of Van Gogh;and I doubt very much if he had ever seen their pictures.He was not greatly interested in the Impressionists.Their technique impressed him, but I fancy that he thought their attitude commonplace.When Stroeve was holding forth at length on the excellence of Monet, he said:“I prefer Winterhalter.”But I dare say he said it to annoy, and if he did he certainly succeeded.

I am disappointed that I cannot report any extravagances in his opinions on the old masters. There is so much in his character which is strange that I feel it would complete the picture if his views were outrageous.I feel the need to ascribe to him fantastic theories about his predecessors, and it is with a certain sense of disillusion that I confess he thought about them pretty much as does everybody else.I do not believe he knew El Greco.He had a great but somewhat impatient admiration for Velasquez.Chardin delighted him, and Rembrandt moved him to ecstasy.He described the impression that Rembrandt made on him with a coarseness I cannot repeat.The only painter that interested him who was at all unexpected was Brueghel the Elder.I knew very little about him at that time, and Strickland had no power to explain himself.I remember what he said about him because it was so unsatisfactory.

“He's all right,”said Strickland.“I bet he found it hell to paint.”

When later, in Vienna, I saw several of Peter Brueghel's pictures, I thought I understood why he had attracted Strickland's attention. Here, too, was a man with a vision of the world peculiar to himself.I made somewhat copious notes at the time, intending to write something about him, but I have lost them, and have now only the recollection of an emotion.He seemed to see his fellow-creatures grotesquely, and he was angry with them because they were grotesque;life was a confusion of ridiculous, sordid happenings, a ft subject for laughter, and yet it made him sorrowful to laugh.Brueghel gave me the impression of a man striving to express in one medium feelings more appropriate to expression in another, and it may be that it was the obscure consciousness of this that excited Strickland's sympathy.Perhaps both were trying to put down in paint ideas which were more suitable to literature.

Strickland at this time must have been nearly forty-seven.

對畫家們的藝術(shù)有怎樣的評論具有某種重要性,斯特里克蘭對于過去偉大的藝術(shù)家們有何看法,我應(yīng)該把自己所知道的都寫出來,很自然地放到書中。但是恐怕我不值得把它們記下來,因為斯特里克蘭不是一個健談的人,他沒有什么才能把自己的話用能讓聽眾記住的詞句突出體現(xiàn)。他并不機(jī)智,但幽默中充滿譏諷,如果我能成功地再現(xiàn)他說話方式的話,這些都能看到。他對別人觀點(diǎn)的反駁十分粗魯,有時因為實話實說,惹人發(fā)笑,但這也是幽默方式的一種。正是因為斯特里克蘭的幽默與眾不同而顯得更有力量,如果大家都這樣說的話,它也就失去了讓人覺得好玩的效果了。

我不得不說,斯特里克蘭不是一個有大智慧的人,他對繪畫藝術(shù)的一些看法也不比普通人高明多少。我從沒聽他評論過一些和他風(fēng)格類似畫家的作品——比如說塞尚[78],或者凡·高[79]的作品,我甚至非常懷疑他是否看過這些畫家的作品。他對印象派畫家的作品也興趣不大,雖然他們的繪畫技巧讓他印象深刻,但我想象他肯定認(rèn)為這些人對待藝術(shù)創(chuàng)作的態(tài)度是平庸的。當(dāng)斯特里克蘭對莫奈的出類拔萃大加評論時,他卻說:“我更喜歡溫特爾哈爾特[80]的作品。”但是,我敢說他說這話是為了氣人,如果真是這樣的話,他做到了。

讓我感到失望的是,不能記錄他在評論老一輩大師們時的放縱言論。他的性格太古怪,如果他對這些人的評論是令人無法容忍的,我覺得倒能使他的形象更完整些。我認(rèn)為需要把他歸類為對前輩們的藝術(shù),愛用一些荒誕理論妄加評論的人,但事實上我的希望幻滅了,我得承認(rèn)他對他們的看法與一般人沒有什么兩樣。我認(rèn)為他根本不知道艾爾·格列柯,他對委拉斯開茲青睞有加,盡管懷有某種厭煩不耐的情緒。夏爾丹的作品能使他愉悅,倫勃朗[81]的作品能夠讓他狂喜。他描述倫勃朗的作品留給他的印象時,話說得非常粗俗,讓我不能重復(fù)。唯一令他感興趣的畫家是老布魯蓋爾[82],這完全出乎我的意料。我當(dāng)時對這位畫家了解不多,而斯特里克蘭又沒有能力把自己的想法解釋清楚,我現(xiàn)在還能記得他關(guān)于這位畫家所說的下面這句話,是因為他說得過于粗俗,詞不達(dá)意,不能讓人滿意。

“他還可以,”斯特里克蘭說,“我敢打賭他發(fā)現(xiàn)了畫畫如下地獄?!?/p>

后來在維也納,我看到彼得·布魯蓋爾的幾幅畫作,我想我才理解了為什么這位畫家會引起斯特里克蘭的關(guān)注,因為他也是一個對世界有著自己獨(dú)特幻象的畫家。我在當(dāng)時記了大量的筆記,打算寫一些關(guān)于他的文字,但是后來我的筆記遺失了,現(xiàn)在留下的只是一種感情的回憶了。彼得·布魯蓋爾似乎把他的同類看成是怪誕的,他對他們奇形怪狀的樣子很生氣,生活是一種混沌,充滿了滑稽可笑與骯臟卑鄙的事情,只能給人們提供笑料,然而,這種笑也是一種哀傷的笑。布魯蓋爾給我的印象是,他想用一種手段努力表達(dá)只適合于另一種方式表達(dá)的感情,正是這一點(diǎn),在模模糊糊的意識里激起了斯特里克蘭的同感。也許他們兩人正試圖用繪畫表達(dá)思想,而實際上這些思想更適合用文學(xué)的方式來表達(dá)。

斯特里克蘭這個時候一定接近四十七歲了。

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