内容发布更新时间 : 2024/11/17 3:35:02星期一 下面是文章的全部内容请认真阅读。
《经济学家》读译参考 Translated & Edited by Chen Jilong
Unlike Barry, Fuseli—a former preacher who was forced to leave his native Zurich—looked rationally at the London art scene. He saw that（5）the only way to compete for “wall power” at the all-important annual exhibition of the RA was to carve out his own niche, the more eye-catching and ★esoteric[18] the better. In 1782 Fuseli exhibited “The Nightmare” for the first time, drawing record crowds of up to 3,000 people a day. Perplexed critics asked what the painting was about. In an age when art was supposed to depict an actual person or event, （6）it came as a shock that this was a painting not of a nightmare, but of the nightmare as a generalized experience.
当过传教士后来被迫离开祖国瑞士的富塞利跟巴里不一样，他较为理智地看待伦敦艺术境况。他发现，要想在至关重要的皇家美术学院年度画展上争取到“支持力量”，只有标新立异，越引人注目、越生涩越好。1782年，富塞利首次展出《梦魇》一作，每天观摩者创纪录地达到3000人。批评家们对画中所要表现的主题感到百思不得其解。在一个艺术被认为应该是描写真人真事的年代，这幅画的诞生让世人感到震惊：它并不单单是对一般恶梦的简单描绘，而是对恶梦体验的一次真实再现。
Interestingly, it was not until 1793 that anyone suggested publicly that the painting of a scantily ★clad[19] woman stretched out on a bed might be about sex. In a post-Freud world, it is impossible to look at “The Nightmare” and see anything else.（7） There is a soft-porn ★perversity[20] about many of Fuseli's muscular super-heroes and ★nubile[21] ★nymphs[22], particularly his Titania from “A Midsummer Night's Dream”. The ★erotic[23] drawings and prints by him and his pupil Theodor von Holst are so explicit that the Tate has hung a veil between them and Fuseli's popular fairy paintings nearby, which are a favourite with children.
有意思的是，直到1793年才有人公开指出，这幅画上的女人几乎一丝不挂地躺在床上，因此可能与性有关。在后弗洛伊德时代，盯着《梦魇》而又不想入非非是不可能的。富塞利画中肌肉结实的超级英雄和含苞欲放的美丽少女，尤其是取材于《仲夏夜之梦》的泰坦尼亚，模糊的色情描绘让人多少有些心慌意乱。由于富塞利及其学生霍尔斯特的素描和版画色情描绘过于直接，泰特美术馆就悬挂起一块幕布，将在这些画与近旁富塞利那些迎合大众的、尤其是孩子们最爱看的仙女画隔开。
Unsurprisingly, Fuseli's work was ★vilified[24] by the Victorians, and he came back into favour only when the Surrealists—（8）★enthralled[25] by his weird mix of deviance, death and dreams—claimed him as a hero. Today, the artist who bred his own moths in order to depict them accurately in his fairy paintings hangs in the same gallery as those other attention-seekers, Mr Hirst and Tracey Emin; it is almost as if he were their long-lost ancestor.
富塞利的作品遭到了维多利亚女王时代艺术家们的非难，这是意料之中的事。直到超现实主义者――集反社会、死亡、幻想等诡异元素于一身的富塞利令他们着迷――称之为英雄的时候，他这才重新受宠。如今，这位为了准确描绘仙女画中的飞蛾而亲自养殖的艺术家，同其他那些万众瞩目的人如赫斯特、特雷西?艾明一样，也进入了美术陈列室，看上去就像是这些人的鼻祖。
While Fuseli's rehabilitation is admirable, the Tate's obsession with inclusiveness dilutes Sir Christopher's ideas. （9）Viewers are overloaded with ★mawkish[26] pictures that the curators call “Gothic gloomth”, borrowing a phrase from Horace Walpole. Instead of rising to Sir Christopher's wide-ranging themes, which link Fuseli and Blake with other great European painters, including Goya and Caspar David Friedrich, the Tate has taken a ★parochial[27] view, showing virtually every mediocre British artist who ever ★dabbled[28] in gothic fantasy. Thankfully James Gillray is also there, and his ★biting[29] caricatures lift the spirits.
虽然富塞利的重振旗鼓令人肃然起敬，但坚持包罗万象的泰特美术馆还是弱化了克里斯托弗的观念。众多索然无味的绘画充斥着观众的视野，美术馆长们引用贺瑞斯?沃波尔的一条成语，把这些画称作“哥特式晦暗”。克里斯托弗爵士崇尚的主题广泛，将富塞利、布莱克同包括戈亚、卡斯帕?戴维?弗雷德里希在内的欧洲其他杰出画家有机结合在一起，但泰特美术馆却反其道而行之，几乎展出了所有和哥特式幻想沾点
Page 16 of 37
《经济学家》读译参考 Translated & Edited by Chen Jilong
边、不入流的英国艺术家的作品，其眼界之狭窄可见一斑。令人欣慰的是，这里面也包括了詹姆斯?基尔雷，他的讽刺画发人深省，令人精神振奋。
The last room is one of the best.（10） Here Sir Christopher has added his cross-cultural ★hallmark[30]: a series of horror film clips that invoke Fuseli's “The Nightmare” as the ultimate shock-horror icon. And at the exit, Angela Carter's words, “We live in gothic times”, are emblazoned on the wall. The spirit of Barry and Fuseli lives on.
最后一间是最好的展室之一，克里斯托弗爵士的“跨文化”印记在此得以展现，那就是一系列以富塞利《梦魇》为最终惊悚形象的恐怖电影短片。并且，在展室出口处的墙上，安吉拉?卡特的名言“我们生活在哥特式时代”也赫然在目。巴里和富塞利的精神常驻人间。
★★★注释★★★
[1]romance with：对??的迷恋、向往
如：a childhood romance with the sea 儿时对大海的浪漫向往（憧憬）
[2]make a comeback: 恢复、复原（指名誉、地位、知名度、流行性）
如：The film star made an unexpected comeback. 这位电影明星出人意料地复出了。
[3]enfant terrible：莽汉（因其令人惊愕的不合传统的行为、工作或思想而使他人困窘或惊慌的人）；复数形式为enfants terribles
如：The radical painter was the enfant terrible of the art establishment.激进派画家是艺术当权派的可怕莽汉
[4]亨利?富塞利，生于瑞士的英国画家，作品包括恶梦 （1781年），风格怪诞恐怖，对20世纪二三十年代的超现实主义者有一定影响
[5]fall from grace: 失去天恩，堕落（名誉、地位的贬低）
[6]tableaux: 舞台造型,(由活人扮演的)静态画面、场面
[7]Jubiter：朱庇特（古罗马的保护神）；另：木星
Juno：：罗马万神庙里最主要的女神，朱庇特的妻子亦是其姐姐，主司婚姻和妇女的安康； Mount Ida：艾达峰，克里特岛中部一山峰，海拔2,457.7m(8,058英尺）。它是该岛的最高点，在古代它与人们对宙斯的崇拜有密切的相关。
[8]coin：设计，杜撰（新词语）
如：Do not coin terms that are intelligible to nobody.不要生造谁也不懂的词语。
[9]Philoctetes：菲罗克忒忒斯，希腊神话中人物，在特洛伊战争中用其父大力神Hercules所遗之弓和毒箭杀死特洛伊王子Paris的英雄
[10]brainchild：指计划,想法,创作等脑力劳动的创造物
[11]polymath：学识渊博的人
[12]genre：类型，流派（文艺作品）
Page 17 of 37
《经济学家》读译参考 Translated & Edited by Chen Jilong
[13]incubus：阴库巴斯恶鬼，梦淫妖（据说会趁女人熟睡压而在女人身上并与其交配的恶鬼）；梦魇；沉重负担
[14]perch：v. 栖息，栖止
如：Birds perched on the branch.鸟停在树枝上。
[15]ghoulish：adj.食尸鬼似的，残忍的 ghoul：n.食尸鬼；盗尸者
[16]bigotry：n.固执，顽固，偏见
[17]occult：n.神秘学，神秘之事，玄妙之事
[18]esoteric：adj.深奥的，秘传的，不公开披露的
如：Some words are really too esoteric for this dictionary. 有些单词实在太生僻了,未收入本词典内。
[19]clad：穿衣的，覆盖着的
如：The woods on the mountain sides were clad in mist.高山坡上的小树林都笼罩在一片薄雾中。
[20]perversity：n.反常；刚愎，任性；错乱
[21]nubile：adj.适于结婚的，到结婚年龄的；性成熟的
[22]nymph：n.美少女；居于山林水泽的仙女；罗马神话中宁芙女神
[23]erotic：adj.性欲的，好色的，色情的
[24]vilify：v.污蔑；诋毁；诽谤；辱骂
[25]enthrall：v.迷住，着迷
如：The boy was enthralled by the stories of adventure.这孩子被冒险故事迷住了。
[26]mawkish：adj.自作多情的，多愁善感的；令人作呕的，令人厌恶的
[27]parochial：adj.教区的；眼界狭窄的，地方性的
[28]dabble：v.涉水，涉足 dabble in：涉猎，涉足；不经意做?? 如：She just dabbles in chemistry.她只不过是随便搞一下化学。
[29]biting：adj.尖锐的，尖刻的；刺痛的
如：His remark has a biting edge to it.他的评语非常尖锐。
[30]hallmark：n.标记；特点
如：The sense of guilt is the hallmark of civilized humanity.犯罪感是文明人显而易见的特征。
Page 18 of 37
《经济学家》读译参考 Translated & Edited by Chen Jilong
[31]emblazon：v.用纹章装饰，醒目装饰；颂扬
★★★砖已抛，玉何在？★★★（见文中划线部分）
（1） But Barry found it hard to be bound by rules, and he turned history and myth into a series of tableaux that were at once oddly expressionistic and deeply personal.
（2） proved too full of feeling for a British audience raised on portraits and landscape paintings.
（3） he makes a minor appearance in “Gothic Nightmares: Fuseli, Blake and the Romantic Imagination” （4） Indeed, his interpretation illuminates an Enlightenment world that hovered between reason and bigotry, and where a quasi-scientific interest in the occult and the emerging genre of the novel fed a public that was hungry for “tales of wonder”.
（5） the only way to compete for “wall power” at the all-important annual exhibition of the RA was to carve out his own niche, the more eye-catching and esoteric the better.
（6） it came as a shock that this was a painting not of a nightmare, but of the nightmare as a generalized experience.
（7） There is a soft-porn perversity about many of Fuseli's muscular super-heroes and nubile nymphs, particularly his Titania from “A Midsummer Night's Dream”.
（8） enthralled by his weird mix of deviance, death and dreams （9） Viewers are overloaded with mawkish pictures that the curators call “Gothic gloomth”, borrowing a phrase from Horace Walpole.
（10） Here Sir Christopher has added his cross-cultural hallmark: a series of horror film clips that invoke Fuseli's “The Nightmare” as the ultimate shock-horror icon.
TEXT 6
Travelling with baggage 背着行囊去旅行
Feb 16th 2006
From The Economist print edition
（1）FEW modern travel writers excite more hostility and awe than Sir ★Wilfred Thesiger[1], who died in 2003. Despising the “drab uniformity of the modern world”, Sir Wilfred ★slogged across [2] Africa and Asia, especially Arabia, on animals and on foot, immersing himself in tribal societies. He delighted in killing—lions in Sudan in the years before the second world war, Germans and Italians during it. He disliked “soft” living and “★intrusive[3]” women and revered murderous savages, to whom he gave guns. He thought educating the working classes a waste of good servants. He kicked his dog. His journeys were more notable as feats of ★masochistic[4] endurance than as exploration. Yet his first two books, “Arabian Sands”, about his crossing of the Empty Quarter, and “The Marsh Arabs”, about southern Iraq, have a ★terse[5] brilliance about them. As records of ancient cultures on the ★cusp[6] of ★oblivion[7], they are unrivalled.
现代游记作家鲜有人能比2003年去世的威福瑞?塞西格爵士更令人敬畏。威福瑞爵士厌恶这个“单一乏味的现代世界”，于是或兽力或徒步，长途跋涉，穿越非洲和亚洲，特别是阿拉伯半岛，完全将自己沉浸在了部落社会中。在德国人和意大利人参加的二战前的那段岁月里，他住在苏丹，喜欢捕猎狮子。他讨厌“温和”的生活，憎恶“不安本分”的女人，敬重残暴的原始人并向他们赠送枪支。在他看来，让工人阶级受教育无异于优秀奴仆人才的浪费。他用脚踹自己的狗。他的旅行所以出名，与其说是因为探险历程，莫若
Page 19 of 37
《经济学家》读译参考 Translated & Edited by Chen Jilong
说是因为他那种“受虐狂”的表现。不过，他的头两本著作，一本叙述横穿阿拉伯半岛南部沙漠“空白之地”的《阿拉伯沙地》和另一本描写南伊拉克的《沼地阿拉伯人》，简洁明了地记录了他光辉的旅程。相比湮没于历史深处的那些古文化记载，这样的旅程同样无与伦比。
Sir Wilfred's critics invariably sing the same chorus. They accuse him of hypocrisy, noting that his part-time primitive lifestyle required a private income and good connections to obtain travel permits. They argue that he ★deluded[8] himself about the motives of his adored tribal companions. In Kenya, where he lived for two decades towards the end of his life, his Samburu “sons” are calculated to have ★fleeced him of[9] at least $1m. （2）Homosexuality, latent or otherwise, explains him, they conclude, pointing to the photographs he took of beautiful youths.
非议威福瑞的人从来都异口同声地指责他是伪君子，说他的半原始生活方式少不了私人收入支持，而且要想获得旅行批准，他还得处理好人际关系。他们坚持认为，威福瑞说自己旅行的动机是仰慕部落社会里的同伴，这是自欺欺人。威福瑞晚年曾在肯尼亚生活了二十年，据估算，他在桑姆布鲁部落认养的几个“儿子”至少从他那里骗取了100万美元。批评人士指着威福瑞拍摄的一些漂亮年轻人的照片，断定威福瑞的所作所为完全因为他是同性恋，无论明不明显。
This may all be true, but it does not diminish his achievements. （3）Moreover, he admits as much himself in his autobiography and elsewhere. In 1938, before his main travels, for example, Sir Wilfred wrote of his efforts to adopt foreign ways: “（4）I don't delude myself that I succeed but I get my interest and pleasure trying.” 也许大家说的都没错，但是这并不会抹杀他的功绩。况且，在他的自传和别的地方，对这些话他并未作任何辩解。比如，他曾写到，1938年在一系列重要旅程开始前利用过外交途径，“到底成功与否，我不想欺骗自己，但是趣味和快乐终究来之不易。”
In this authorised biography, Alexander Maitland adds a little colour to the picture, but no important details. He describes the beatings and sexual abuse the explorer suffered at his first boarding school. Quoting from Sir Wilfred's letters, he traces the ★craggy[10] traveller's devotion to his dead father, his mother and three brothers. At times, Sir Wilfred sounds more forgiving, especially of friends, and more playful than his reputation has suggested.（5）As for his sexuality, Mr Maitland refers ★coyly [11] to occasional “★furtive[12] embraces and ★voyeuristic[13] encounters”, presumably with men. Wearisome as this topic has become, Mr Maitland achieves nothing by skirting it; and his allusion to Sir Wilfred's “almost-too precious” relationship with his mother is annoyingly vague. 在威福瑞授权出版的这本传记中，亚历山大?梅特兰也就此添油加醋说了一通，不过没什么引人注目的详细描写。书中记述了这位探险家最初上寄宿学校时曾经遭受的责打和性虐待。梅特兰引用威福瑞信中的话说，这位经历坎坷不平的旅行者热爱自己去世的父亲、母亲还有三个兄弟。威福瑞有的时候似乎要比传言中说的更为宽容，尤其是对朋友，而且也更为顽皮。至于他的性取向，梅特兰只是蜻蜓点水地提到，威福瑞大概曾和男人，偶尔“偷偷摸摸地拥抱一下或者有一点窥淫爱好”。尽管这一话题已经让人感到厌倦，梅特兰若想回避，就只能一无所获。并且，他暗示威福瑞与其母亲的关系“几乎过于做作”，也让人摸不着头脑，厌烦不已。
There may be a reason why Mr Maitland struggles for critical ★distance[14] He writes that he and Sir Wilfred were long-standing friends, but he fails to mention that he collaborated with the explorer on four of his books and later inherited his London flat. If Mr Maitland found it so difficult to view his late friend and benefactor objectively, then perhaps he should not have tried. An earlier biography by Michael Asher, who ★scoured[15] the deserts to track down Sir Wilfred's former fellow travellers, was better; （6）Mr Maitland seems to have interviewed almost nobody black or brown.
Page 20 of 37