(雙語(yǔ))月亮和六便士 第44章(2)

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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.

我感到很失望，不能寫(xiě)下他在評(píng)論一些老派畫(huà)家時(shí)的謬論。他的性格既然如此怪異，如果他在品評(píng)繪畫(huà)時(shí)也有一些奇談怪論，我筆下的這個(gè)形象就更加完美了。我覺(jué)得我很需要叫他對(duì)過(guò)去的一些畫(huà)家發(fā)表些荒誕的理論，但是我還是得講老實(shí)話(huà)，他同一般人一樣，對(duì)這些畫(huà)家也是贊不絕口，這叫我非常失望。我看他根本不知道誰(shuí)是埃爾·格列柯。他對(duì)委拉斯凱茲相當(dāng)敬佩，盡管懷有某種厭煩不耐的情緒。他喜歡夏爾丹，倫勃朗則使他感到入迷。他給我講倫勃朗的繪畫(huà)給他的印象時(shí)，用的語(yǔ)言極其粗鄙，我在這里無(wú)法引述。誰(shuí)也想不到他最喜愛(ài)的一位畫(huà)家竟是老布魯蓋爾（彼得·布魯蓋爾（1522—1569），佛蘭德斯畫(huà)家；其子揚(yáng)·布魯蓋爾（1568—1625）亦為畫(huà)家）。我當(dāng)時(shí)對(duì)老布魯蓋爾不太了解，而思特里克蘭德也沒(méi)有能力表達(dá)自己。我之所以記得他對(duì)布魯蓋爾的評(píng)論是因?yàn)樗@句話(huà)實(shí)在太詞不達(dá)意了。

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

“他的畫(huà)不錯(cuò)，”思特里克蘭德說(shuō)，“我敢說(shuō)他發(fā)現(xiàn)畫(huà)畫(huà)兒是件受罪的事。”

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 fit 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.

后來(lái)我在維也納看過(guò)彼得·布魯蓋爾的幾幅畫(huà)以后，我想我才懂得為什么這位畫(huà)家引起了思特里克蘭德的注意。這是另一個(gè)對(duì)世界懷著自己獨(dú)特幻覺(jué)的畫(huà)家。我當(dāng)時(shí)作了大量筆記，準(zhǔn)備將來(lái)寫(xiě)一本關(guān)于布魯蓋爾的書(shū)，但是這些材料后來(lái)都遺失了，留下來(lái)的只是一種感情的回憶。在布魯蓋爾的眼睛里，人們的形象似乎是怪誕的，他對(duì)人們這種怪誕的樣子非常氣憤；生活不過(guò)是一片混亂，充滿(mǎn)了各種可笑的、齷齪的事情，它只能給人們提供笑料，但是他笑的時(shí)候卻禁不住滿(mǎn)心哀傷。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，思特里克蘭德之所以對(duì)他同情，說(shuō)不定正是朦朧中意識(shí)到這一點(diǎn)。也許這兩個(gè)人都在努力用繪畫(huà)表現(xiàn)出更適合于通過(guò)文學(xué)表達(dá)的意念。

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

思特里克蘭德這時(shí)大概已經(jīng)四十七歲了。