第十个人 Lesson Ten The Tenth Man 就在第二天下午3点（闹钟上的时间），一个军官走进了牢房。这是他们几星期以来见到的第一位军官。他非常年轻，甚至小胡子的形状也显示出他不够老练，左边的胡子剃得重了点。 It was at three the next afternoon （alarm clock time） that an officer entered the cell； the first officer they had seen for weeks – and this one was very young， with inexperience even in the shape of his mustache which he had shaved too much on the left side. 他就像一个初次登台领奖的小学生一样窘迫不安，他说起话来粗鲁无礼，似乎要显示一种他并不具备的力量。 He was as embarrassed as a schoolboy making his first entry on a stage at a prize-giving， and he spoke abruptly so as to give the impression of a strength he did not possess. 他说道：“昨天夜间城里发生了几起谋杀，一名军事长官的副手、一位中士和一个骑自行车的女孩被杀。”他又说道：“我们不在乎女孩的死。法国男人杀死法国女人不关我们的事。” He said， “There were murders last night in the town. The aide-de-camp of the military governor， a sergeant and a girl on a bicycle.” He added， “We don't complain about the girl. Frenchmen have our permission to kill Frenchwomen.” 很明显他事先仔细斟酌了他的讲话，但他的嘲弄做过了头，他的表演也很业余。 He had obviously thought up his speech carefully beforehand， but the irony was overdone and the delivery that of an amateur actor： 整个场面就像手势字谜游戏那样矫饰做作。 the whole scene was as unreal as a charade. 他接着说道：“你们知道自己为什么来这里，你们在这里好吃好喝，过着舒适的日子，而我们的人却在工作和战斗。不过现在你们必须付出代价了。不要怪我们，要怪你们自己的杀人凶手。我的命令是集中营里每十个人要有一个被枪决。你们有多少人？”“报数。”他厉声喝道人们闷闷不乐地照办了。“28，29，30.”人们知道不用数他也知道人数，这不过是他玩的把戏中不可省略的一句台词…… He said， “You know what you are here for， living comfortably， on fine rations， while our men work and fight. Well， now you've got to pay the hotel bill. Don't blame us. Blame your own murderers. My orders are that one man in every ten shall be shot in this camp. How many of you are there？” He shouted sharply， “Number off，” and sullenly they obeyed， “…… twenty-eight， twenty-nine， thirty.” They knew he knew without counting. This was just a line in his charade he couldn't sacrifice. 他说道：“那么，你们的名额是三个，我们并不关心是哪三个人。你们可以自己选择。死刑于明天早上7点执行。” He said， “Your allotment then is three. We are quite indifferent as to which three. You can choose for yourselves. The funeral rites will begin at seven tomorrow morning.” 他玩的把戏结束了，人们可以听到他的脚步响亮地敲击着沥青路渐渐远去。 The charade was over： they could hear his feet striking sharply on the asphalt going away. 查维尔忽然很想知道他打的手势是什么字。要他们猜的是不是“夜间”，“姑娘”，“旁边”或“30”。不，不是。谜底肯定是“人质”。 Chavel wondered for a moment what syllable had been acted —“night，”“girl，”“aside，” or perhaps “thirty，” but it was of course the whole word—“hostage. ” 牢房里很长时间没人说话。后来一个叫克拉夫的阿尔萨斯人开口道：“好了，我们有人自愿吗？” The silence went on a long time， and then a man called Krogh， an Alsatian， said， “Well， do we have to volunteer？” “废话。”一个职员说道。他是一个上了年纪的戴着夹鼻眼镜的老头。他接着说道：“没人会自愿，我们必须抽签。除非有人认为应按年龄决定——最老的先死。” “Rubbish，” said one of the clerks， a thin elderly man in pince-nez， “nobody will volunteer. We must draw lots.” He added， “Un-less it is thought that we should go by ages —the oldest first. ” “不，不行。”另一个人说道，“那不公平。” “No， no，” one of the others said， “that would be unjust. ” “这是自然规律。” “It's the way of nature.” “那算什么自然规律。”又一个人说道，“我有个女儿，5岁时就死了。” “Not even the way of nature，” another said. “1 had a child who died when she was five……” “我们必须抽签。”市长坚定地说。 “We must draw lots，” the mayor said firmly. “只有这样才公正。”他坐在那里，双手依然紧贴在肚子上，遮挡着他的怀表，但是整个牢房里都能听见怀表清脆的滴答声。 “It is the only fair thing.” He sat with his hands still pressed over his stomach， hiding his watch， but all through the cell you could hear its blunt tick lock tick. 他接着又说道：“由未婚者抽签，已婚者除外，他们有责任。” He added， “On the unmarried. The married should not be included. They have responsibilities… “哈，哈！”皮埃尔说道，“我们明白了。为什么已婚者就应逃脱？他们的事儿已经做完了。当然，你结婚了吧？” “Ha， ha，” Pierre said， “we see through that. Why should the married get off？ Their work's finished. You， of course， are married？” “我的妻子不在了。”市长说，“我现在是未婚，你呢？” “I have lost my wife，” the mayor said， “I am not married now. And you…” “结了。”皮埃尔答道。 “Married，” Pierre said. 市长开始解下怀表。发现皮埃尔处境安全，他似乎更坚信作为怀表的主人自己必定是下一个牺牲者。 The mayor began to undo his watch； the discovery that his rival was safe seemed to confirm his belief that as the owner of time he was bound to be the next victim. 他环顾了每一个人，然后选择了查维尔。也许是因为只有他穿着西服背心适合戴表链。他说道：“查维尔先生，我想让你替我拿着怀表，万一……” He looked from face to face and chose Chavel， perhaps because he was the only man with a waistcoat fit to take the chain. He said， “Monsieur Chavel， I want you to hold this watch for me in case…” “你找别人吧！”查维尔说，“我还没结婚呢。” “you'd better choose someone else，” Chavel said. “I am not married.” 那个老职员又开口了，“我结婚了，我有权说话。 The elderly clerk spoke again. He said， “I'm married. I've got the right to speak. 我们正把一切引向歧途。这不是我们最后一次抽签。如果这儿有一个特权阶层——那些最终将活着的人，大家想想，牢房里会是什么样子。你们其他人很快就会痛恨我们。你们害怕，而我们将不再担心。“ We are going the wrong way about all this. Everyone must draw lots. This isn't the last draw we shall have， and picture to yourselves what it will be like in this cell if we have a privileged class —the ones who are left to the end. The rest of you will soon begin to hate us. We shall be left out of your fear. . . “ “他说得对。”皮埃尔说。 “He's right，” Pierre said. 市长重新握紧了怀表，说道：“就照你们的主意办。要是能够这样征税的话……”他做了个绝望的手势。 The mayor refastened his watch. “Have it your own way，” he said. “But if the taxes were levied like this…” He gave a gesture of despair. “我们如何抽签？”克拉夫问道。 “How do we draw？” Krogh asked. 查维尔答道：“最快的办法就是从一只鞋里抽出画有记号的纸条。” Chavel said， “The quickest way would be to draw marked papers out of a shoe. . .” 克拉夫轻蔑地说：“那么快干吗？对于我们当中几个人来说这可是最后一次赌博了。我们蛮可以享受一番。我提议赌抛硬币。” Krogh said contemptuously， “Why the quickest way？ This is the last gamble some of us will have. We may as well enjoy it. I say a coin.” “这不好。”那个职员说，“抛硬币不是一个公平、合理的办法。” “It won't work，” the clerk said. “You can't get a even chance with a coin.” “惟一的办法就是抽签。”市长说道。 “The only way is to draw，” the mayor said. 职员开始为抽签做准备，为此他牺牲了一封家信。 The clerk prepared the draw， sacrificing for it one of his letters from home. 他很快地看了一遍信，然后把它撕成30张小纸条。 He read it rapidly for the last time， and then tore it into thirty pieces. 他用铅笔在其中三张上画上十字，然后把每张纸条都叠上。 On three pieces he made a cross in pencil， and then folded each piece. 他接着说：“克拉夫的鞋。”大家把纸条放在地下搅乱，然后装进了鞋子里。 “Krogh's got the biggest shoe，” he said. They shuffled the pieces on the floor and then dropped them into the shoe. “我们按姓氏的字母顺序抽签。”市长说。 “We'll draw in alphabetical order，” the mayor said. “从Z开始抽。”查维尔说道。他的安全感开始动摇了。他急切想喝点什么，用手指从嘴唇上撕下一小块干皮。 “Z first，” Chavel said. His feeling of security was shaken. He wanted a drink badly. He picked at a dry piece of skin on his lip. “就按你说的办。”卡车司机说道，“有人排在维尔森前面吗？我先抽。” “As you wish，” the lorry driver said. “Anybody beat Voisin？ Here goes. 他用手在鞋子里小心地掏，就像是要掏到他心里想要的那张。 “He thrust his hand into the shoe and made careful excavations as though he had one particular scrap of paper in mind. 他抽出一张，打开，怔怔地看着，然后说了声：“完了。”他坐下来，摸出一支香烟放到嘴里，却忘了点火。 He drew one out， opened it， and gazed at it with astonishment. He said， “This is it.” He sat down and felt for a cigarette， but when he got it between his lips he forgot to light it. 查维尔心中充满了巨大而又令他感到羞耻的快乐。 Chavel was filled with a huge and shameful joy. 看来自己得救了。剩下二十九个人抽签，而只有两张带有记号的纸条。 It seemed to him that already he was saved —twenty - nine men to draw and only two marked papers left. 抽中死签的可能性突然变得对他有利，从10比1变成了14比1.经营蔬菜水果的商人也抽了一张，然后漫不经心、毫无表情地示意自己平安无事。 The chances had suddenly grown in his favor from ten to one to—fourteen to one： the greengrocer had drawn a slip and indicated carelessly and without pleasure that he was safe. 的确，从抽第一张签时人们就忌讳任何喜形于色的表现，一个人不能以任何宽慰的举动去嘲弄注定要死的人。 Indeed from the first draw any mark of pleasure was taboo： one couldn't mock the condemned man by any sign of relief. 查维尔胸中有一种隐隐约约的不安——还不是恐惧，像是一种压抑感。 Again a dull disquiet —ii couldn't yet be described as a fear—exended its empire over Chavel's chest. 当第六个人抽到空白纸条时，他发现自己在打哈欠；当第十个人——就是大家称作雅维耶的那个人抽完签后，他的心中又充满了某中怨愤的情绪。现在抽中死签的机会同开始时一样了。 It was like a constriction： he found himself yawning as the sixth man drew a blank slip， and a sense of grievance nagged at his mind when the tenth man bad drawn—it was the one they called Janvier—and the chances were once again the same as when the draw started. 有的人抽出他们手指碰到的第一张纸条；有的人似乎怀疑命运企图将某一张纸条强加于他们，所以他们刚刚从鞋里抽出一张，就又扔回去，再另换一张。 Some men drew the first slip which touched their fingers； others seemed to suspect tha t fate was trying to force on them a particular slip and when they bad drawn one a little way from the shoe would let it drop again and choose another. 时间过得很慢，令人难以置信。那个叫做维尔森的人靠墙坐着，嘴里叼着仍未点燃的香烟，对一切都不再在意。 Time passed with incredible slowness， and the man called Voisin sat against the wall with the unlighted cigarette in his mouth paying them no attention at all. 就在生存的机会逐渐变小，抽中死签的可能性达到八分之一时，一个叫做勒诺特的上年纪的职员抽中了第二张死签。 The chances had narrowed to one in eight when the elderly clerk —his name was Lenotre—drew the second slip. 他清了清喉咙，戴上夹鼻眼镜，好像要确认自己没有看错。“喂，维尔森先生，我能加入吗？”他带着淡淡的微笑说道。 He cleared his throat and put on his pince-nez as though he had to make sure he was not mistaken. “Ah， Monsieur Voisin，” he said with a thin undecided smile， “May I join you？” 令人难以琢磨的机会再次以绝对对查维尔有利的优势朝他走来，抽中死签的可能性只有十五分之一，可他这次却没有丝毫欣慰，他被普通百姓所具有的勇气所震撼，他想让这一切尽快结束，就像一副扑克玩得太久了，他只希望有人离开牌桌，结束牌局。 This time Chavel felt no joy even though the elusive odds were back again overwhelmingly in his favor at fifteen to one； he was daunted by the courage of common men. He wanted the whole thing to be over as quickly as possible： like a game of cards which has gone on too long， he only wanted someone to make a move and break up the table. 勒诺特在维尔森身边靠墙坐下，他翻过纸条，背面是信中的一点内容，“是你妻子的？”维尔森问道。“是我女儿的。”勒诺特答道，“请原谅。”他起身走到自己的铺盖处，抽出一本便笺，回到维尔森身边开始写起来。他不慌不忙，认认真真地写下一串纤细而清晰的字迹。 。 Lenotre， sitting down against the wall next to Voisin， turned the slip over： on the back was a scrap of writing. Your-wife？“ Voisin said. “My daughter，” Lenotre said. “Excuse me.” He went over to his roll of bedding and drew out a writing pad. Then he sat down next to Voisin and began to write， carefully， without hurry， a thin legible hand. 这时中死签的概率又回到了10比1. The odds were back to ten to one. 从那时起，对查维尔来说，抽中死签的可能性似乎以一种不可避免的可怕趋势发生着变化。 From that point the odds seemed to move toward Chavel with a dreadful inevitability： 9比1，8比1，抽中死签的可能性好像指向了他。 nine to one， eight to one； they were like a pointing finger. 剩下的人抽得越来越快，越来越随便。 The men who were left drew more quickly and more carelessly： 在查维尔看来，他们似乎都知道了某种秘密，知道他会抽到死签。 they seemed to Chavel to have some inner information —to know that he was the one. 轮到他抽签时，只剩下了3张纸，留给他的机会这么少，在他看来真是不公平。 When his time came to draw there were only three slips left ， and it appeared to Chavel a monstrous injustice that there were so few choices left for him. 他从鞋中抽出一张，接着又认定这是同伴的意志强加给他的，一定有十字。于是他把它放回去，另抽了一张。 He drew one out of the shoe and then feeling certain that this one had been willed on him by his companions and contained the penciled cross he threw it back and snatched another. “律师，你偷看了。”剩下的两个人中有一个大声说道，但另一个让他安静下来。 “You looked， lawyer，” one of the two men exclaimed， but the other quieted him. “他没有偷看，他抽到的是有记号的。” “He didn't look. He's got the marked one now.” “不，不。”查维尔把纸条扔到地上，开始大叫：“我从来就没有同意，你们不能让我替别人去死。” “No，” Chavel said， “no.” He threw the slip upon the ground and cried， “I never consented to the draw. You can't make me die for the rest of you. . . ” 大家惊讶地看着他，但并没有敌意。 They watched him with astonishment but without enmity. 他是一个出身高贵的人。人们没有用自己的标准去衡量他，因为他属于一个别人难以理解的阶层。人们甚至没有把他的行为与胆怯联系起来。 He was a gentleman. They didn't judge him by their own standards： he belonged to an unaccountable class and they didn't at first even attach the idea of cowardice to his actions. “听我说，”查维尔一边哀求，一边举起那张纸条。大家既惊奇又好奇地看着他。“谁接受这张纸条，我就给他10万法郎。” “Listen，” Chavel implored them. He held out the slip of paper and they all watched him with compassionate curiosity. “I'll give a hundred thousand francs to anyone who'll take this.” 他快速移动着小步地从一个人面前走到另一个人面前，朝每一个人展示那张小纸条，好像是拍卖会上的服务员。 He took little rapid steps from one man to another， showing each man the bit of paper as if he were an attendant at an auction. “10万法郎。”他恳求道。人们感到震惊，同样又感到一丝怜悯：他是他们之中惟一的有钱人，这是与众不同之处。 “A hundred thousand francs，” he implored， and they watched him with a kind of shocked pity： he was the only rich man among them and this was a unique situation. 人们无法去比较，只能认定这就是他那个阶层的特点，这犹如一个在异国港口下船就餐的旅游者能从一个碰巧与他同桌的狡猾商人身上总结出该国的国民性格。 They had no means of comparison and assumed that this was a characteristic of his class， just as a traveler stepping off the liner at a foreign port for luncheon sums up a nation's character forever in the wily businessman who happens to share the table with him.
Lesson One Rock Superstars 关于我们和我们的社会，他们告诉了我们些什么？ What Do They Tell Us About Ourselves and Our Society？ 摇滚乐是青少年叛逆的音乐。 ——摇滚乐评论家约相？罗克韦尔 Rock is the music of teenage rebellion. —— John Rockwell， rock music critic 知其崇拜何人便可知其人。 ——小说家罗伯特？佩恩？沃伦 By a man's heroes ye shall know him. —— Robert Penn Warren， novelist 1972年6月的一天，芝加哥圆形剧场挤满了大汗淋漓、疯狂摇摆的人们。 It was mid-June， 1972， the Chicago Amphitheater was packed， sweltering， rocking. 滚石摇滚乐队的迈克？贾格尔正在台上演唱“午夜漫步人”。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler.” 演唱结束时评论家唐？赫克曼在现场。 Critic Don Heckman was there when the song ended. 他描述道：“贾格尔抓起一个半加仑的水罐沿舞台前沿边跑边把里面的水洒向前几排汗流浃背的听众。听众们蜂拥般跟随着他跑，急切地希望能沾上几滴洗礼的圣水。 “Jagger，” he said， “grabs a half-gallon jug of water and runs along the front platform， sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him， eager to be touched by a few baptismal drops”。 1973年12月下旬的一天，约1.4万名歌迷在华盛顿市外的首都中心剧场尖叫着，乱哄哄地拥向台前。 It was late December， 1973， Some 14，000 screaming fans were crunching up to the front of the stage at Capital Center， outside Washington， D.C. 美国的恐怖歌星艾利丝？库珀的表演正接近尾声。 Alice Cooper， America's singing ghoul， was ending his act. 他表演的最后一幕是假装在断头台上结束自己的生命。 He ends it by pretending to end his life – with a guillotine. 他的“头”落入一个草篮中。 His “head” drops into a straw basket. “哎呀！”一个黑衣女孩子惊呼道：“啊！真是了不起，不是吗？”。 “Ooh，” gasped a girl dressed in black. “Oh， isn't that marvelous？” 当时，14岁的迈克珀力也在场，但他的父母不在那里。 Fourteen-year-old Mick Perlie was there too， but his parents weren't. “他们觉得他恶心，恶心，恶心，”迈克说，“他们对我说，你怎么受得了那些？” “They think he's sick， sick， sick，” Mike said. “They say to me， 'How can you stand that stuff？'” 1974年1月下旬的一天，在纽约州尤宁谷城拿骚体育场内，鲍勃？狄伦和“乐队”乐队正在为音乐会上要用的乐器调音。 It was late January， 1974. Inside the Nassau Coliseum in Uniondale， New York， Bob Dylan and The Band were tuning for a concert. 馆外，摇滚歌迷克利斯？辛格在大雨中等待着入场。 Outside， in the pouring rain， fan Chris Singer was waiting to get in. “这是朝圣，”克利斯说，“我应该跪着爬进去。” “ This is pilgrimage，” Chris said， “I ought to be crawling on my knees.” 对于这一切好评及个人崇拜，你怎么看？ How do you feel about all this adulation and hero worship？ 当米克？贾格尔的崇拜者们把他视为上帝的代表或是一个神时，你是赞成还是反对？ When Mick Jagger's fans look at him as a high priest or a god， are you with them or against them？ 你也和克利斯？辛格一样对鲍勃？狄伦怀有几乎是宗教般的崇敬吗？ Do you share Chris Singer's almost religious reverence for Bob Dylan？ 你认为他或狄伦是步入歧途吗？ Do you think he – or Dylan – is misguided？ 你也认为艾利丝？库珀令人恶心而拒不接受吗？ Do you reject Alice Cooper as sick？ 难道你会莫名其妙地被这个奇怪的小丑吸引，原因就在于他表达出你最狂热的幻想？ Or are you drawn somehow to this strange clown， perhaps because he acts out your wildest fantasies？ 这些并不是闲谈。 These aren't idle questions. 有些社会学家认为对这些问题的回答可以充分说明你在想些什么以及社会在想些什么——也就是说，有关你和社会的态度。 Some sociologists say that your answers to them could explain a lot about what you are thinking and about what your society is thinking – in other words， about where you and your society are. 社会学家欧文？霍洛威茨说：“音乐表现其时代。” “Music expressed its times，” says sociologist Irving Horowitz. 霍洛威茨把摇滚乐的舞台视为某种辩论的论坛，一个各种思想交锋的场所。 Horowitz sees the rock music arena as a sort of debating forum， a place where ideas clash and crash. 他把它看作是一个美国社会努力为自己的感情及信仰不断重新进行解释的地方。 He sees it as a place where American society struggles to define and redefine its feelings and beliefs. 他说：“重新解释是一项只有青年人才能执行的任务。只有他们才把创造与夸张、理性与运动、言语与声音、音乐与政治融为一体。” “The redefinition，” Horowitz says， “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration， reason and motion， word and sound， music and politics.” 作曲兼演唱家托德？伦德格伦对这个观点表示赞同。 Todd Rundgren， the composer and singer， agrees. 他说：“摇滚乐与其说是一种音乐力量不如说是一种社会心理的表现。就连埃尔维斯？普雷斯利也并非是一种伟大的音乐力量，他只不过是体现了50年代青少年那种心灰意冷的精神状态。” “Rock music，” he says， “is really a sociological expression rather than a musical force. Even Elvis Presley wasn't really a great musical force. It's just that Elvis managed to embody the frustrated teenage spirit of the 1950s.” 毫无疑问，普雷斯利震惊了美国的成人世界。 Of course Presley horrified adult America. 报纸写社论攻击他，电视网也禁止播他，但也许埃尔维斯证实了霍洛威茨和伦德格伦的看法。 Newspapers editorialized against him， and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe. 当他通过电视上埃德？沙利文的星期日晚间的综艺节目出现在千百万人面前时，就引起了某种辩论。 When he appeared on the Ed.Sullivan Sunday night variety show in front of millions， a kind of “debate” took place. 多数年纪大的观众眉头紧皱，而大多数年轻观众则报以掌声欢迎。 Most of the older viewers frowned， while most of the younger viewers applauded. 摇滚乐评论家们说，从埃尔维斯到艾利丝，许多歌星帮助我们的社会解说其信仰与态度。 Between Elvis and Alice， rock critics say， a number of rock stars have helped our society define its beliefs and attitudes. 鲍勃？狄伦触动了对现状不满的神经，他唱到民权、核散落物以及孤独。 Bob Dylan touched a nerve of disaffection. He spoke of civil rights， nuclear fallout， and loneliness. 他唱到变革和老一代人的迷茫，他在歌声中唱道：“这儿正发生着什么事，你不知道是什么事，对吗，琼斯先生？” He spoke of change and of the bewilderment of an older generation. “Something's happening here，” he sang. “You don't know what it is， do you， Mr.Jones？” 其他人也加入了这场辩论。 Others entered the debate. 霍洛威茨说，甲壳虫乐队以幽默的方式，或许还借助麻醉品的力量来倡导和平与虔诚。傲慢无理、打架斗殴的滚石乐队成员要求革命。杰斐逊飞机乐队的歌曲“我们能够联合”和“志愿者”（有一场革命）则是激进青年的更进一步的两项声明。 The Beatles， Horowitz said， urged peace and piety， with humor and maybe a little help from drugs. The Rolling Stones， arrogant street-fighting men， demanded revolution. The Jefferson Airplane's “We Can Be Together” and Volunteers （Got a Revolution）“ were two further statements of radical youth. 但政治并不是60年代强硬派摇滚乐所辩论的惟一主题，始终作为任何音乐永恒组成部分的情感也是一个重要题目。 But politics wasn't the only subject debated in the hard rock of the sixties. Feelings， always a part of any musical statement， were a major subject. 詹妮丝？乔普林用歌声表达自己的悲哀。 Janis Jophin sang of her sadness. 甲壳虫乐队揭示出爱与恨之间的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出现了“乐队”乐队把乡村音乐和西部音乐所表达的较为传统的观念与强硬派摇滚乐较为激进的“都市”观念结合在一起。 Then came The Band， mixing the more traditional ideas of country and western music into the more radical “city” ideas of the hard rock. 霍洛威茨认为这一成分的乡村音乐帮助听众表达了一种“摆脱这一切”，“重返过去时光”的强烈愿望。 This country element， Horowitz feels， helped its audience express an urge to “get away from it all，” to “go back to the old day. 当前最能说明霍洛威茨看法的例子之一就是约翰？丹佛，他最的歌曲《阳光照在我肩上》、《高高的落基山》和《乡间小路》把民间摇滚乐的音乐灵魂与力量结合了起来，而歌词则赞美了“往日美好时光”的朴素的欢乐。 。“ One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs – ”Sunshine on My Shoulders“， ”Rocky Mountain High“， and ”Country Road“ – combine the musical drive and power of folk rock， while the lyrics celebrate the simple joys of ”the good old days.“ 这样的例子不胜枚举。 The list could go on and on. 这些摇滚乐音乐家们和所有的艺术家一样反映出我们借以认识并形成属于自己的感情与信念。 Like all artists， these rock musicians mirror feelings and beliefs that help us see and form our own. 我们以什么来回报他们呢？当然是掌声和赞美。 What do we give them in return？ Applause and praise， of course. 在1972年的一次全国民意测验中，10％的男高中生和30％以上的女高中生都说他们最崇拜的人是超级摇滚歌星。 In one 1972， national opinion poll， more than 10 percent of the high school boys and 20 percent of the girls said their hero was a rock superstar. 此外我们给他们金钱， 商业杂志《福布斯》认为，“当今成为百万富翁的捷径是当摇滚歌星。” We also give them money. “The fastest way to become a millionaire these days，” says Forbes， a business magazine， “is to become a rock 'n' roll star.” 今天的英雄们——至少其中一部分人——告诉我们，他们很喜欢所得到的报偿。 Today's heroes – some of them， anyway – tell us they enjoy their rewards. “我暗自嘲笑这些先生们和女士们，他们从没想到过我们会成为金娃娃。”演唱这支歌曲的是“文化英雄”艾利丝？库珀。 “And I laughed to myself at the men and the ladies. Who never conceived of us billion-dollar babies.” The particular “culture hero” who sings that is Alice cooper. 可是，仍然存在着一个大问题：为什么他是文化英雄？ The big question remains： Why is he a culture hero？ 他，或者当今任何其他走红的摇滚歌星能告诉我们些什么有关他们的歌迷的事情？ What does he – or any other current rock success – tell us about his fans？ 对于我们自己和我们的社会有些什么了解？现在怎样，过去如何，将来又将向何处去？ About ourselves and our society？ Where it is， where it was， where it's heading？
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第十个人 Lesson Ten The Tenth Man 就在第二天下午3点（闹钟上的时间），一个军官走进了牢房。这是他们几星期以来见到的第一位军官。他非常年轻，甚至小胡子的形状也显示出他不够老练，左边的胡子剃得重了点。 It was at three the next afternoon （alarm clock time） that an officer entered the cell； the first officer they had seen for weeks – and this one was very young， with inexperience even in the shape of his mustache which he had shaved too much on the left side. 他就像一个初次登台领奖的小学生一样窘迫不安，他说起话来粗鲁无礼，似乎要显示一种他并不具备的力量。 He was as embarrassed as a schoolboy making his first entry on a stage at a prize-giving， and he spoke abruptly so as to give the impression of a strength he did not possess. 他说道：“昨天夜间城里发生了几起谋杀，一名军事长官的副手、一位中士和一个骑自行车的女孩被杀。”他又说道：“我们不在乎女孩的死。法国男人杀死法国女人不关我们的事。” He said， “There were murders last night in the town. The aide-de-camp of the military governor， a sergeant and a girl on a bicycle.” He added， “We don't complain about the girl. Frenchmen have our permission to kill Frenchwomen.” 很明显他事先仔细斟酌了他的讲话，但他的嘲弄做过了头，他的表演也很业余。 He had obviously thought up his speech carefully beforehand， but the irony was overdone and the delivery that of an amateur actor： 整个场面就像手势字谜游戏那样矫饰做作。 the whole scene was as unreal as a charade. 他接着说道：“你们知道自己为什么来这里，你们在这里好吃好喝，过着舒适的日子，而我们的人却在工作和战斗。不过现在你们必须付出代价了。不要怪我们，要怪你们自己的杀人凶手。我的命令是集中营里每十个人要有一个被枪决。你们有多少人？”“报数。”他厉声喝道人们闷闷不乐地照办了。“28，29，30.”人们知道不用数他也知道人数，这不过是他玩的把戏中不可省略的一句台词…… He said， “You know what you are here for， living comfortably， on fine rations， while our men work and fight. Well， now you've got to pay the hotel bill. Don't blame us. Blame your own murderers. My orders are that one man in every ten shall be shot in this camp. How many of you are there？” He shouted sharply， “Number off，” and sullenly they obeyed， “…… twenty-eight， twenty-nine， thirty.” They knew he knew without counting. This was just a line in his charade he couldn't sacrifice. 他说道：“那么，你们的名额是三个，我们并不关心是哪三个人。你们可以自己选择。死刑于明天早上7点执行。” He said， “Your allotment then is three. We are quite indifferent as to which three. You can choose for yourselves. The funeral rites will begin at seven tomorrow morning.” 他玩的把戏结束了，人们可以听到他的脚步响亮地敲击着沥青路渐渐远去。 The charade was over： they could hear his feet striking sharply on the asphalt going away. 查维尔忽然很想知道他打的手势是什么字。要他们猜的是不是“夜间”，“姑娘”，“旁边”或“30”。不，不是。谜底肯定是“人质”。 Chavel wondered for a moment what syllable had been acted —“night，”“girl，”“aside，” or perhaps “thirty，” but it was of course the whole word—“hostage. ” 牢房里很长时间没人说话。后来一个叫克拉夫的阿尔萨斯人开口道：“好了，我们有人自愿吗？” The silence went on a long time， and then a man called Krogh， an Alsatian， said， “Well， do we have to volunteer？” “废话。”一个职员说道。他是一个上了年纪的戴着夹鼻眼镜的老头。他接着说道：“没人会自愿，我们必须抽签。除非有人认为应按年龄决定——最老的先死。” “Rubbish，” said one of the clerks， a thin elderly man in pince-nez， “nobody will volunteer. We must draw lots.” He added， “Un-less it is thought that we should go by ages —the oldest first. ” “不，不行。”另一个人说道，“那不公平。” “No， no，” one of the others said， “that would be unjust. ” “这是自然规律。” “It's the way of nature.” “那算什么自然规律。”又一个人说道，“我有个女儿，5岁时就死了。” “Not even the way of nature，” another said. “1 had a child who died when she was five……” “我们必须抽签。”市长坚定地说。 “We must draw lots，” the mayor said firmly. “只有这样才公正。”他坐在那里，双手依然紧贴在肚子上，遮挡着他的怀表，但是整个牢房里都能听见怀表清脆的滴答声。 “It is the only fair thing.” He sat with his hands still pressed over his stomach， hiding his watch， but all through the cell you could hear its blunt tick lock tick. 他接着又说道：“由未婚者抽签，已婚者除外，他们有责任。” He added， “On the unmarried. The married should not be included. They have responsibilities… “哈，哈！”皮埃尔说道，“我们明白了。为什么已婚者就应逃脱？他们的事儿已经做完了。当然，你结婚了吧？” “Ha， ha，” Pierre said， “we see through that. Why should the married get off？ Their work's finished. You， of course， are married？” “我的妻子不在了。”市长说，“我现在是未婚，你呢？” “I have lost my wife，” the mayor said， “I am not married now. And you…” “结了。”皮埃尔答道。 “Married，” Pierre said. 市长开始解下怀表。发现皮埃尔处境安全，他似乎更坚信作为怀表的主人自己必定是下一个牺牲者。 The mayor began to undo his watch； the discovery that his rival was safe seemed to confirm his belief that as the owner of time he was bound to be the next victim. 他环顾了每一个人，然后选择了查维尔。也许是因为只有他穿着西服背心适合戴表链。他说道：“查维尔先生，我想让你替我拿着怀表，万一……” He looked from face to face and chose Chavel， perhaps because he was the only man with a waistcoat fit to take the chain. He said， “Monsieur Chavel， I want you to hold this watch for me in case…” “你找别人吧！”查维尔说，“我还没结婚呢。” “you'd better choose someone else，” Chavel said. “I am not married.” 那个老职员又开口了，“我结婚了，我有权说话。 The elderly clerk spoke again. He said， “I'm married. I've got the right to speak. 我们正把一切引向歧途。这不是我们最后一次抽签。如果这儿有一个特权阶层——那些最终将活着的人，大家想想，牢房里会是什么样子。你们其他人很快就会痛恨我们。你们害怕，而我们将不再担心。“ We are going the wrong way about all this. Everyone must draw lots. This isn't the last draw we shall have， and picture to yourselves what it will be like in this cell if we have a privileged class —the ones who are left to the end. The rest of you will soon begin to hate us. We shall be left out of your fear. . . “ “他说得对。”皮埃尔说。 “He's right，” Pierre said. 市长重新握紧了怀表，说道：“就照你们的主意办。要是能够这样征税的话……”他做了个绝望的手势。 The mayor refastened his watch. “Have it your own way，” he said. “But if the taxes were levied like this…” He gave a gesture of despair. “我们如何抽签？”克拉夫问道。 “How do we draw？” Krogh asked. 查维尔答道：“最快的办法就是从一只鞋里抽出画有记号的纸条。” Chavel said， “The quickest way would be to draw marked papers out of a shoe. . .” 克拉夫轻蔑地说：“那么快干吗？对于我们当中几个人来说这可是最后一次赌博了。我们蛮可以享受一番。我提议赌抛硬币。” Krogh said contemptuously， “Why the quickest way？ This is the last gamble some of us will have. We may as well enjoy it. I say a coin.” “这不好。”那个职员说，“抛硬币不是一个公平、合理的办法。” “It won't work，” the clerk said. “You can't get a even chance with a coin.” “惟一的办法就是抽签。”市长说道。 “The only way is to draw，” the mayor said. 职员开始为抽签做准备，为此他牺牲了一封家信。 The clerk prepared the draw， sacrificing for it one of his letters from home. 他很快地看了一遍信，然后把它撕成30张小纸条。 He read it rapidly for the last time， and then tore it into thirty pieces. 他用铅笔在其中三张上画上十字，然后把每张纸条都叠上。 On three pieces he made a cross in pencil， and then folded each piece. 他接着说：“克拉夫的鞋。”大家把纸条放在地下搅乱，然后装进了鞋子里。 “Krogh's got the biggest shoe，” he said. They shuffled the pieces on the floor and then dropped them into the shoe. “我们按姓氏的字母顺序抽签。”市长说。 “We'll draw in alphabetical order，” the mayor said. “从Z开始抽。”查维尔说道。他的安全感开始动摇了。他急切想喝点什么，用手指从嘴唇上撕下一小块干皮。 “Z first，” Chavel said. His feeling of security was shaken. He wanted a drink badly. He picked at a dry piece of skin on his lip. “就按你说的办。”卡车司机说道，“有人排在维尔森前面吗？我先抽。” “As you wish，” the lorry driver said. “Anybody beat Voisin？ Here goes. 他用手在鞋子里小心地掏，就像是要掏到他心里想要的那张。 “He thrust his hand into the shoe and made careful excavations as though he had one particular scrap of paper in mind. 他抽出一张，打开，怔怔地看着，然后说了声：“完了。”他坐下来，摸出一支香烟放到嘴里，却忘了点火。 He drew one out， opened it， and gazed at it with astonishment. He said， “This is it.” He sat down and felt for a cigarette， but when he got it between his lips he forgot to light it. 查维尔心中充满了巨大而又令他感到羞耻的快乐。 Chavel was filled with a huge and shameful joy. 看来自己得救了。剩下二十九个人抽签，而只有两张带有记号的纸条。 It seemed to him that already he was saved —twenty - nine men to draw and only two marked papers left. 抽中死签的可能性突然变得对他有利，从10比1变成了14比1.经营蔬菜水果的商人也抽了一张，然后漫不经心、毫无表情地示意自己平安无事。 The chances had suddenly grown in his favor from ten to one to—fourteen to one： the greengrocer had drawn a slip and indicated carelessly and without pleasure that he was safe. 的确，从抽第一张签时人们就忌讳任何喜形于色的表现，一个人不能以任何宽慰的举动去嘲弄注定要死的人。 Indeed from the first draw any mark of pleasure was taboo： one couldn't mock the condemned man by any sign of relief. 查维尔胸中有一种隐隐约约的不安——还不是恐惧，像是一种压抑感。 Again a dull disquiet —ii couldn't yet be described as a fear—exended its empire over Chavel's chest. 当第六个人抽到空白纸条时，他发现自己在打哈欠；当第十个人——就是大家称作雅维耶的那个人抽完签后，他的心中又充满了某中怨愤的情绪。现在抽中死签的机会同开始时一样了。 It was like a constriction： he found himself yawning as the sixth man drew a blank slip， and a sense of grievance nagged at his mind when the tenth man bad drawn—it was the one they called Janvier—and the chances were once again the same as when the draw started. 有的人抽出他们手指碰到的第一张纸条；有的人似乎怀疑命运企图将某一张纸条强加于他们，所以他们刚刚从鞋里抽出一张，就又扔回去，再另换一张。 Some men drew the first slip which touched their fingers； others seemed to suspect tha t fate was trying to force on them a particular slip and when they bad drawn one a little way from the shoe would let it drop again and choose another. 时间过得很慢，令人难以置信。那个叫做维尔森的人靠墙坐着，嘴里叼着仍未点燃的香烟，对一切都不再在意。 Time passed with incredible slowness， and the man called Voisin sat against the wall with the unlighted cigarette in his mouth paying them no attention at all. 就在生存的机会逐渐变小，抽中死签的可能性达到八分之一时，一个叫做勒诺特的上年纪的职员抽中了第二张死签。 The chances had narrowed to one in eight when the elderly clerk —his name was Lenotre—drew the second slip. 他清了清喉咙，戴上夹鼻眼镜，好像要确认自己没有看错。“喂，维尔森先生，我能加入吗？”他带着淡淡的微笑说道。 He cleared his throat and put on his pince-nez as though he had to make sure he was not mistaken. “Ah， Monsieur Voisin，” he said with a thin undecided smile， “May I join you？” 令人难以琢磨的机会再次以绝对对查维尔有利的优势朝他走来，抽中死签的可能性只有十五分之一，可他这次却没有丝毫欣慰，他被普通百姓所具有的勇气所震撼，他想让这一切尽快结束，就像一副扑克玩得太久了，他只希望有人离开牌桌，结束牌局。 This time Chavel felt no joy even though the elusive odds were back again overwhelmingly in his favor at fifteen to one； he was daunted by the courage of common men. He wanted the whole thing to be over as quickly as possible： like a game of cards which has gone on too long， he only wanted someone to make a move and break up the table. 勒诺特在维尔森身边靠墙坐下，他翻过纸条，背面是信中的一点内容，“是你妻子的？”维尔森问道。“是我女儿的。”勒诺特答道，“请原谅。”他起身走到自己的铺盖处，抽出一本便笺，回到维尔森身边开始写起来。他不慌不忙，认认真真地写下一串纤细而清晰的字迹。 。 Lenotre， sitting down against the wall next to Voisin， turned the slip over： on the back was a scrap of writing. Your-wife？“ Voisin said. “My daughter，” Lenotre said. “Excuse me.” He went over to his roll of bedding and drew out a writing pad. Then he sat down next to Voisin and began to write， carefully， without hurry， a thin legible hand. 这时中死签的概率又回到了10比1. The odds were back to ten to one. 从那时起，对查维尔来说，抽中死签的可能性似乎以一种不可避免的可怕趋势发生着变化。 From that point the odds seemed to move toward Chavel with a dreadful inevitability： 9比1，8比1，抽中死签的可能性好像指向了他。 nine to one， eight to one； they were like a pointing finger. 剩下的人抽得越来越快，越来越随便。 The men who were left drew more quickly and more carelessly： 在查维尔看来，他们似乎都知道了某种秘密，知道他会抽到死签。 they seemed to Chavel to have some inner information —to know that he was the one. 轮到他抽签时，只剩下了3张纸，留给他的机会这么少，在他看来真是不公平。 When his time came to draw there were only three slips left ， and it appeared to Chavel a monstrous injustice that there were so few choices left for him. 他从鞋中抽出一张，接着又认定这是同伴的意志强加给他的，一定有十字。于是他把它放回去，另抽了一张。 He drew one out of the shoe and then feeling certain that this one had been willed on him by his companions and contained the penciled cross he threw it back and snatched another. “律师，你偷看了。”剩下的两个人中有一个大声说道，但另一个让他安静下来。 “You looked， lawyer，” one of the two men exclaimed， but the other quieted him. “他没有偷看，他抽到的是有记号的。” “He didn't look. He's got the marked one now.” “不，不。”查维尔把纸条扔到地上，开始大叫：“我从来就没有同意，你们不能让我替别人去死。” “No，” Chavel said， “no.” He threw the slip upon the ground and cried， “I never consented to the draw. You can't make me die for the rest of you. . . ” 大家惊讶地看着他，但并没有敌意。 They watched him with astonishment but without enmity. 他是一个出身高贵的人。人们没有用自己的标准去衡量他，因为他属于一个别人难以理解的阶层。人们甚至没有把他的行为与胆怯联系起来。 He was a gentleman. They didn't judge him by their own standards： he belonged to an unaccountable class and they didn't at first even attach the idea of cowardice to his actions. “听我说，”查维尔一边哀求，一边举起那张纸条。大家既惊奇又好奇地看着他。“谁接受这张纸条，我就给他10万法郎。” “Listen，” Chavel implored them. He held out the slip of paper and they all watched him with compassionate curiosity. “I'll give a hundred thousand francs to anyone who'll take this.” 他快速移动着小步地从一个人面前走到另一个人面前，朝每一个人展示那张小纸条，好像是拍卖会上的服务员。 He took little rapid steps from one man to another， showing each man the bit of paper as if he were an attendant at an auction. “10万法郎。”他恳求道。人们感到震惊，同样又感到一丝怜悯：他是他们之中惟一的有钱人，这是与众不同之处。 “A hundred thousand francs，” he implored， and they watched him with a kind of shocked pity： he was the only rich man among them and this was a unique situation. 人们无法去比较，只能认定这就是他那个阶层的特点，这犹如一个在异国港口下船就餐的旅游者能从一个碰巧与他同桌的狡猾商人身上总结出该国的国民性格。 They had no means of comparison and assumed that this was a characteristic of his class， just as a traveler stepping off the liner at a foreign port for luncheon sums up a nation's character forever in the wily businessman who happens to share the table with him.
lesson6 一个好机会 Lesson Six A Good Chance 我到鸭溪时，喜鹊没在家，我和他的妻子阿米莉亚谈了谈。 When I got to Crow Creek， Magpie was not home. I talked to his wife Amelia. “我要找喜鹊，”我说，“我给他带来了好消息。”我指指提着的箱子，“我带来了他的诗歌和一封加利福尼亚大学的录取通知书，他们想让他来参加为印第安人举办的艺术课。” “I need to find Magpie，” I said. “I've really got some good news for him.” I pointed to the briefcase I was carrying. “I have his poems and a letter of acceptance from a University in California where they want him to come and participate in the Fine Arts Program they have started for Indians.” “你知道他还在假释期间吗？” “Do you know that he was on parole？” “这个，不，不大清楚。”我犹豫着说，“我一直没有和他联系，但我听说他遇到了些麻烦。” “Well， no， not exactly，” I said hesitantly， “I haven't kept in touch with him but I heard that he was in some kind of trouble. 她对我笑笑说：“他已经离开很久了。你知道，他在这儿不安全。他的假释官随时都在监视他，所以他还是不到这儿来为好，而且我们已经分开一段时间了，我听说他在城里的什么地方。” She smiled to me and said， “He's gone a lot. It's not safe around here for him， you know. His parole officer really watches him all the time and so sometimes it is just better for him not to come here. Besides， we haven't been together for a while. I hear he's in town somewhere.” “你是指他在钱柏林？” “Do you mean in Chamberlain？” “对。我和他姐姐住在这儿，她说前一段时间她在那儿见过他。不过喜鹊不会去加利福尼亚的。即使你见到他并和他谈此事，他现在也决不会离开这儿。” “Yes， I live here with his sister and she said that she saw him there， quite a while ago. But Magpie would not go to California. He would never leave here now even if you saw him and talked to him about it.” “可他以前去过，”我说，“他去过西雅图大学。” “But he did before，” I said， “He went to the University of Seattle.” “是的，但……但是，那是以前，”她说，似乎不想再谈这个话题。 “Yeah， but…well， that was before，” she said， as though to finish the matter. “你难道不希望他去吗？”我问道。 “Don't you want him to go？” I asked. “哦，这不是我说了算的。我们现在已经分开了。我只是告诉你，你一定会失望的。像你这样的人希望他需要那些，可他已经不再需要了。”她很快答道，语气非常肯定。 Quickly， she responded， “Oh， it's not up to me to say. He is gone from me now. I'm just telling you that you are in for a disappointment. He no longer needs the things that people like you want him to need，” she said positively. 当她意识到我不喜欢她用“像你这样的人”的字眼时，她停了一下，然后把手放在我的胳膊上，“听着，”她说，“喜鹊现在终于快乐了。他情绪很好，英俊倜傥，自由自在而又意志坚强。他和兄弟们一起坐在皮鼓前唱歌，他现在一切都很好。以前，每当发表那些反政府和反对美国印第安人事务委员会的言论时，他总会越发气愤，充满怨恨。我曾为他担忧，但现在我不再担心了。你为什么不让他独自呆着呢？” When she saw that I didn't like her reference to “people like you”， she stopped for a moment and then put her hand on my arm. “Listen，” she said， “Magpie is happy now， finally. He is in good spirits， handsome and free and strong. He sits at the drum and sings with his brothers： he's okay now. When he was saying all those things against the government and against the council， he became more and more ugly and embittered and I used to be afraid for him. But I'm not now. 我和赛利娜坐在一家咖啡馆里。 I was sitting at the café with Salina. 她突然说道：“我不知道喜鹊在哪儿，我已经4天没见到他了。” Abruptly she said， “I don't know where Mapie is. I haven't seen him in four days.” “我把他的诗也带来了。”我说，“他有机会进入加利福尼亚的艺术学院，但是我必须和他谈一谈，还要让他填一下这些表格。我相信他一定会感兴趣的。” “I've got his poems here with me，” I said. “He has a good change of going to a Fine Arts school in California， but I have to talk with him and get him to fill out some papers. I know that he is interested.” “不，他不会的，”她打断了我，“他根本就不再做这些没用的、愚蠢的梦了。” “No， he isn't，” she broke in. “He doesn't have those worthless， shitty dreams anymore.” “别这样说，赛利娜，这对他真的是个好机会。” “Don't say that， Salina. This is a good chance for him.” “好了，你爱怎么想就怎么想吧，可最近你跟他谈过吗？你知道他如今怎么样吗？” “Well， you can think what you want， but have you talked to him lately？ Do you know him as he is now？” “我知道他情况很好，我也知道他有这个天分。” “I know he is good. I know he has such talent.” “他是一个印第安人，这次他回到这里是要住下来。” “He is Indian， and he's back here to stay this time.” “你和我一起开车去钱柏林，好吗？”我问道。 “Would you drive into Chamberlain with me？” I asked. 她一言不发。 She said nothing. “如果他是你所说的那种印第安人，不管那是什么意思，如果他这次回来是要住下来，如果他自己亲口对我说出来，我就打消这个念头。但是，赛利娜，”我极力说服道，“我一定要跟他谈谈，问问他想要做什么。你知道我的意思，不是吗？” “If he is Indian as you say， whatever that means， and if he is back here to stay this time and if he tells me that himself， I'll let it go. But Salina，” I urged， “I must talk to him and ask him what he wants to do. You see that， don't you？” “是的， 我知道了，” 她 终于说道， “他有权知道这一切， 但你会明白。” “Yes，” she said finally. “He has a right to know about this， but you'll see…” 我们离开时，她的高跟鞋在咖啡屋前的人行道上发出清脆的响声，当她又谈及喜鹊时，变得焦虑不安。 Her heels clicked on the sidewalk in front of the café as we left， and she became agitated as she talked. “他在卡司特*时，因为法院被烧，惹了麻烦，被判入狱1年。他现在还在假释期间，他的假释期还有5年，可他们连任何对他不利的证据都没有找到。5年呀！你能相信吗？现在连谋杀罪的人都没有判这样重。” “After all that trouble he got into during that protest at Custer when the courthouse was burned， he was in jail for a year. He's still on parole and he will be on parole for another five years – and they didn't even prove anything against him！ Five years！ Can you believe that？ People these days can commit murder and not get that kind of a sentence.” 我们驱车行使在钱柏林的大街上，埃尔吉正站在银行附近的拐角处，我和赛利娜都心照不宣，这个喜鹊的好朋友肯定知道他在哪儿。 Elgie was standing on the corner near the Bank as we drove down the main street of Chamberlain， and both Salina and I knew without speaking that this man， this good friend of Magpie's， would know of his whereabouts. 我们停了车，埃尔吉走了过来，舒服地靠坐在车的后排座位上。 We parked the car， Elgie came over and settled himself in the back seat of the car. 车慢慢地驶到了我们停车的街角处，假释官目不转睛地盯着我们3人，而我们却假装没看见。 A police car moved slowly to the corner where we were parked and the patrolmen looked at the three of us intently and we pretended not to notice. 巡逻车在空荡荡的街道上慢慢前行。我小心谨慎地转向埃尔吉。 The patrol car inched down the empty street and I turned cautiously toward Elgie. 我还没来得及开口，赛利娜说，“她给喜鹊拿了些表格。他有可能进入加利福尼亚的一所作家学院读书。” Before I could speak， Salina said， “She is got some papers for Magpie. He has a chance to go to a writer's school in California.” 总是不太想让别人清楚地了解他的想法的埃尔吉说道，“是吗？”可赛利娜却不想让他就这么不置可否。“埃尔吉，”她嘲弄道，“埃尔吉，你知道他是不会去的！” Always tentative about letting you know what he was really thinking， Elgie said， “Yeah？” But Salina wouldn't let him get away so noncommittally， “Elgie，” she scoffed. “You know he wouldn't go！” “是呀，你知道，”埃尔吉开口说，“卡司特那件事发生以后，我和喜鹊曾经想要躲藏起来，最后我们到了奥古斯塔娜大学的校园。那儿有我们的几个朋友。他开始谈论自由，而这些是我永远都不会忘记的。在那以后当他被捕入狱时，自由便成为了他的主要话题。自由。他渴望自由，可是，老兄，他们总盯着你的时候，你不可能有自由。哦，那个怪物，就是他的那个假释官，是一只卑鄙的看门狗。” “Well， you know，” Elgie began， “one time when Magpie and me were hiding out after that Custer thing， we ended up on to Augustana College Campus. We got some friends there. And he started talking about freedom and I never forget that， and then after he went wants to be free and you can't be that， man， when they're watching you all the time. Man， that freak that's his parole officer is some mean watch-dog.” “你觉得他会拿到奖学金吗？”我满怀希望地说。 “You think he might go for the scholarship？” I asked， hopefully. “我不知道。也许吧。” “I don't know. Maybe.” “他在哪儿？”我问道。 “Where is he？” I asked. 沉默了很长一会儿后，埃尔吉终于开口了：“我想你来得太好了，因为喜鹊需要从这没完没了的监视和检查中解脱出来。事实上，他一直谈道：”如果我和白人交往，那么我将没有自由；那里没有印第安人的自由。你现在应该和他谈谈。他变了。他赞成同白人完全分离或隔离。“ There was a long silence. Then Elgie said at last， “I think it's good that you've come， because Magpie needs some relief from this constant surveillance， constant checking up. In fact， that's what he always talks about. 'If I have to associate with the whites， then I'm not free： there is no liberty in that for Indians.' You should talk to him now. He's changed. He's for complete separation， segregation， total isolation from the whites.” “这是不是有点太过分了？太不实际了？”我问道。 “Isn't that a bit too radical？ Too unrealistic？” I asked. “我不知道。我真的不知道。” “I don't know. Damn if I know.” “好了，”赛利娜说，“你觉得他在加利福尼亚的那所大学里会怎样？可这是他学习和写作的一个好机会。我觉得他会从中找到一种愉快的感觉。” “Yeah，” said Salina， “Just what do you think it would be like for him at that university in California？” “But it's a chance for him to study， to write. He can find a kind of satisfying isolation in that， I think.” 过了一会儿，埃尔吉说道：“不错，我认为你是对的”。 After a few moments， Elgie said， “Yeah， I think you are right.” 然后他又从后排座位上抬起身来说道：“我要过桥了，再过大约3个街区就到了。在我快要下桥的地方的左边有一座白色的老式二层小楼。喜鹊的哥哥刚从内布拉斯加州教养院出来，现在跟他的妻子就住在那儿，喜鹊也在。” “ Soon he got out of the back seat and said， ”I'm going to walk over the bridge . It's about three blocks down there. There is an old， whit two-story house on the left side just before you cross the bridge. Magpie's brother just got out of the Nebraska State Reformatory and he is staying there with his old lady， and that's where Magpie is.“ 现在终于能够和他谈谈，并让他自己作出决定了。 At last！ Now I could really talk to him and let him make this decision for himself. “呵！还有些问题，”埃尔吉说，“喜鹊本不应该在那儿，你知道，因为这是他的假释条件的一部分，那就是他要离开朋友、亲戚和以前的囚犯，差不多是所有的人。可上帝呀，这是他的哥哥呀。等到日落前你们再来。把车停在加油站那儿，只要从那儿绕过那条街走到房子的后门进去，你就可以跟喜鹊谈所有这一切了。” “There are things about this though，” Elgie said. “Magpie shouldn't have been there， see， because it's a part of the condition of his parole that he stays away from friends and relatives and ex-convicts and just about everybody. But Jesus， this is his brother. Wait until just before sundown and then come over. Park your car at the service station just around the block from there and walk to the back entrance of the house and then you can talk to Magpie about all this.” 赛利娜跟我讲述着喜鹊在背井离乡数月后返回鸭溪的情形及他的亲戚是怎样到他姐姐家欢迎他返乡的。“他们来听他和兄弟唱歌，他们围坐在椅子上，欢笑着和他一起歌唱。” Salina was talking， telling me about Magpie's return to Crow Creek after months in exile and how his relatives went to his sister's house and welcomed him home. “They came to hear him sing with his brothers， and they sat in chairs around the room and laughed and sang wit him.” 我们到达时，院子里停着几辆车。赛利娜压低声音说，“她们可能正在聚会。” Several cars were parked in the yard of the old house as we approached， and Salina， keeping her voice low， said， “Maybe they are having a party.” 然而，四周的寂静使我忐忑不安。当我们走进敞着的后门时，看到人们都站在厨房里，我小心翼翼地问道，“出什么事了？ But the silence which hung about the place filled me with apprehension， and when we walked in the back door which hung open， we saw people standing in the kitchen. I asked carefully， “What's wrong？” 没有人答话，只有埃尔吉走了过来。他那充血的眼睛里充满悲伤和痛苦。 Nobody spoke but Elgie came over， his bloodshot eyes filled with sorrow and misery. 他在我们面前站了一会儿，然后示意我们到起居室去。 He stood in front of us for a moment and then gestured us to go into the living room. 屋子里静静地，坐满了人。终于，埃尔吉轻轻地说道，“他们枪杀了他。” The room was filled with people sitting in silence， and finally Elgie said， quietly， “They shot him.” “他们说他违反了假释条件把他抓走了，关进监狱后就枪杀了他。” “They picked him up for breaking the conditions of his parole and they put him in jail and … they shot him.” “可是为什么？”我大喊道，“怎么会发生这样的事？” “But why？” I cried. “How could this have happened？” “他们说他们认为他要反抗，而且他们害怕他。” “They said they thought he was resisting and that they were afraid of him.” “害怕？”我怀疑地问，“但……但是，他有武器吗？” “Afraid？” I asked， incredulously. “But…but…was he armed？” “没有”，埃尔吉说着坐了下来。他的胳膊撑在膝盖上，头低着。 “No，” Elgie said， seated now， his arm on his knees， his head down. “No， he wasn't armed.” 我把喜鹊的诗紧紧握在手里，两手的拇指交替在平滑的纸夹上狠狠地摁着。 I held the poems tightly in my hands pressing my thumbs，first one and then the other，against the smoothness of the cardboard folder.
Lesson One Rock Superstars 关于我们和我们的社会，他们告诉了我们些什么？ What Do They Tell Us About Ourselves and Our Society？ 摇滚乐是青少年叛逆的音乐。 ——摇滚乐评论家约相？罗克韦尔 Rock is the music of teenage rebellion. —— John Rockwell， rock music critic 知其崇拜何人便可知其人。 ——小说家罗伯特？佩恩？沃伦 By a man's heroes ye shall know him. —— Robert Penn Warren， novelist 1972年6月的一天，芝加哥圆形剧场挤满了大汗淋漓、疯狂摇摆的人们。 It was mid-June， 1972， the Chicago Amphitheater was packed， sweltering， rocking. 滚石摇滚乐队的迈克？贾格尔正在台上演唱“午夜漫步人”。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler.” 演唱结束时评论家唐？赫克曼在现场。 Critic Don Heckman was there when the song ended. 他描述道：“贾格尔抓起一个半加仑的水罐沿舞台前沿边跑边把里面的水洒向前几排汗流浃背的听众。听众们蜂拥般跟随着他跑，急切地希望能沾上几滴洗礼的圣水。 “Jagger，” he said， “grabs a half-gallon jug of water and runs along the front platform， sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him， eager to be touched by a few baptismal drops”。 1973年12月下旬的一天，约1.4万名歌迷在华盛顿市外的首都中心剧场尖叫着，乱哄哄地拥向台前。 It was late December， 1973， Some 14，000 screaming fans were crunching up to the front of the stage at Capital Center， outside Washington， D.C. 美国的恐怖歌星艾利丝？库珀的表演正接近尾声。 Alice Cooper， America's singing ghoul， was ending his act. 他表演的最后一幕是假装在断头台上结束自己的生命。 He ends it by pretending to end his life – with a guillotine. 他的“头”落入一个草篮中。 His “head” drops into a straw basket. “哎呀！”一个黑衣女孩子惊呼道：“啊！真是了不起，不是吗？”。 “Ooh，” gasped a girl dressed in black. “Oh， isn't that marvelous？” 当时，14岁的迈克珀力也在场，但他的父母不在那里。 Fourteen-year-old Mick Perlie was there too， but his parents weren't. “他们觉得他恶心，恶心，恶心，”迈克说，“他们对我说，你怎么受得了那些？” “They think he's sick， sick， sick，” Mike said. “They say to me， 'How can you stand that stuff？'” 1974年1月下旬的一天，在纽约州尤宁谷城拿骚体育场内，鲍勃？狄伦和“乐队”乐队正在为音乐会上要用的乐器调音。 It was late January， 1974. Inside the Nassau Coliseum in Uniondale， New York， Bob Dylan and The Band were tuning for a concert. 馆外，摇滚歌迷克利斯？辛格在大雨中等待着入场。 Outside， in the pouring rain， fan Chris Singer was waiting to get in. “这是朝圣，”克利斯说，“我应该跪着爬进去。” “ This is pilgrimage，” Chris said， “I ought to be crawling on my knees.” 对于这一切好评及个人崇拜，你怎么看？ How do you feel about all this adulation and hero worship？ 当米克？贾格尔的崇拜者们把他视为上帝的代表或是一个神时，你是赞成还是反对？ When Mick Jagger's fans look at him as a high priest or a god， are you with them or against them？ 你也和克利斯？辛格一样对鲍勃？狄伦怀有几乎是宗教般的崇敬吗？ Do you share Chris Singer's almost religious reverence for Bob Dylan？ 你认为他或狄伦是步入歧途吗？ Do you think he – or Dylan – is misguided？ 你也认为艾利丝？库珀令人恶心而拒不接受吗？ Do you reject Alice Cooper as sick？ 难道你会莫名其妙地被这个奇怪的小丑吸引，原因就在于他表达出你最狂热的幻想？ Or are you drawn somehow to this strange clown， perhaps because he acts out your wildest fantasies？ 这些并不是闲谈。 These aren't idle questions. 有些社会学家认为对这些问题的回答可以充分说明你在想些什么以及社会在想些什么——也就是说，有关你和社会的态度。 Some sociologists say that your answers to them could explain a lot about what you are thinking and about what your society is thinking – in other words， about where you and your society are. 社会学家欧文？霍洛威茨说：“音乐表现其时代。” “Music expressed its times，” says sociologist Irving Horowitz. 霍洛威茨把摇滚乐的舞台视为某种辩论的论坛，一个各种思想交锋的场所。 Horowitz sees the rock music arena as a sort of debating forum， a place where ideas clash and crash. 他把它看作是一个美国社会努力为自己的感情及信仰不断重新进行解释的地方。 He sees it as a place where American society struggles to define and redefine its feelings and beliefs. 他说：“重新解释是一项只有青年人才能执行的任务。只有他们才把创造与夸张、理性与运动、言语与声音、音乐与政治融为一体。” “The redefinition，” Horowitz says， “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration， reason and motion， word and sound， music and politics.” 作曲兼演唱家托德？伦德格伦对这个观点表示赞同。 Todd Rundgren， the composer and singer， agrees. 他说：“摇滚乐与其说是一种音乐力量不如说是一种社会心理的表现。就连埃尔维斯？普雷斯利也并非是一种伟大的音乐力量，他只不过是体现了50年代青少年那种心灰意冷的精神状态。” “Rock music，” he says， “is really a sociological expression rather than a musical force. Even Elvis Presley wasn't really a great musical force. It's just that Elvis managed to embody the frustrated teenage spirit of the 1950s.” 毫无疑问，普雷斯利震惊了美国的成人世界。 Of course Presley horrified adult America. 报纸写社论攻击他，电视网也禁止播他，但也许埃尔维斯证实了霍洛威茨和伦德格伦的看法。 Newspapers editorialized against him， and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe. 当他通过电视上埃德？沙利文的星期日晚间的综艺节目出现在千百万人面前时，就引起了某种辩论。 When he appeared on the Ed.Sullivan Sunday night variety show in front of millions， a kind of “debate” took place. 多数年纪大的观众眉头紧皱，而大多数年轻观众则报以掌声欢迎。 Most of the older viewers frowned， while most of the younger viewers applauded. 摇滚乐评论家们说，从埃尔维斯到艾利丝，许多歌星帮助我们的社会解说其信仰与态度。 Between Elvis and Alice， rock critics say， a number of rock stars have helped our society define its beliefs and attitudes. 鲍勃？狄伦触动了对现状不满的神经，他唱到民权、核散落物以及孤独。 Bob Dylan touched a nerve of disaffection. He spoke of civil rights， nuclear fallout， and loneliness. 他唱到变革和老一代人的迷茫，他在歌声中唱道：“这儿正发生着什么事，你不知道是什么事，对吗，琼斯先生？” He spoke of change and of the bewilderment of an older generation. “Something's happening here，” he sang. “You don't know what it is， do you， Mr.Jones？” 其他人也加入了这场辩论。 Others entered the debate. 霍洛威茨说，甲壳虫乐队以幽默的方式，或许还借助麻醉品的力量来倡导和平与虔诚。傲慢无理、打架斗殴的滚石乐队成员要求革命。杰斐逊飞机乐队的歌曲“我们能够联合”和“志愿者”（有一场革命）则是激进青年的更进一步的两项声明。 The Beatles， Horowitz said， urged peace and piety， with humor and maybe a little help from drugs. The Rolling Stones， arrogant street-fighting men， demanded revolution. The Jefferson Airplane's “We Can Be Together” and Volunteers （Got a Revolution）“ were two further statements of radical youth. 但政治并不是60年代强硬派摇滚乐所辩论的惟一主题，始终作为任何音乐永恒组成部分的情感也是一个重要题目。 But politics wasn't the only subject debated in the hard rock of the sixties. Feelings， always a part of any musical statement， were a major subject. 詹妮丝？乔普林用歌声表达自己的悲哀。 Janis Jophin sang of her sadness. 甲壳虫乐队揭示出爱与恨之间的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出现了“乐队”乐队把乡村音乐和西部音乐所表达的较为传统的观念与强硬派摇滚乐较为激进的“都市”观念结合在一起。 Then came The Band， mixing the more traditional ideas of country and western music into the more radical “city” ideas of the hard rock. 霍洛威茨认为这一成分的乡村音乐帮助听众表达了一种“摆脱这一切”，“重返过去时光”的强烈愿望。 This country element， Horowitz feels， helped its audience express an urge to “get away from it all，” to “go back to the old day. 当前最能说明霍洛威茨看法的例子之一就是约翰？丹佛，他最的歌曲《阳光照在我肩上》、《高高的落基山》和《乡间小路》把民间摇滚乐的音乐灵魂与力量结合了起来，而歌词则赞美了“往日美好时光”的朴素的欢乐。 。“ One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs – ”Sunshine on My Shoulders“， ”Rocky Mountain High“， and ”Country Road“ – combine the musical drive and power of folk rock， while the lyrics celebrate the simple joys of ”the good old days.“ 这样的例子不胜枚举。 The list could go on and on. 这些摇滚乐音乐家们和所有的艺术家一样反映出我们借以认识并形成属于自己的感情与信念。 Like all artists， these rock musicians mirror feelings and beliefs that help us see and form our own. 我们以什么来回报他们呢？当然是掌声和赞美。 What do we give them in return？ Applause and praise， of course. 在1972年的一次全国民意测验中，10％的男高中生和30％以上的女高中生都说他们最崇拜的人是超级摇滚歌星。 In one 1972， national opinion poll， more than 10 percent of the high school boys and 20 percent of the girls said their hero was a rock superstar. 此外我们给他们金钱， 商业杂志《福布斯》认为，“当今成为百万富翁的捷径是当摇滚歌星。” We also give them money. “The fastest way to become a millionaire these days，” says Forbes， a business magazine， “is to become a rock 'n' roll star.” 今天的英雄们——至少其中一部分人——告诉我们，他们很喜欢所得到的报偿。 Today's heroes – some of them， anyway – tell us they enjoy their rewards. “我暗自嘲笑这些先生们和女士们，他们从没想到过我们会成为金娃娃。”演唱这支歌曲的是“文化英雄”艾利丝？库珀。 “And I laughed to myself at the men and the ladies. Who never conceived of us billion-dollar babies.” The particular “culture hero” who sings that is Alice cooper. 可是，仍然存在着一个大问题：为什么他是文化英雄？ The big question remains： Why is he a culture hero？ 他，或者当今任何其他走红的摇滚歌星能告诉我们些什么有关他们的歌迷的事情？ What does he – or any other current rock success – tell us about his fans？ 对于我们自己和我们的社会有些什么了解？现在怎样，过去如何，将来又将向何处去？ About ourselves and our society？ Where it is， where it was， where it's heading？
我为什么写作 Lesson 12： Why I Write 从很小的时候，大概五、六岁，我知道长大以后将成为一个作家。 From a very early age， perhaps the age of five or six， I knew that when I grew up I should be a writer. 从15到24岁的这段时间里，我试图打消这个念头，可总觉得这样做是在戕害我的天性，认为我迟早会坐下来伏案著书。 Between the ages of about seventeen and twenty-four I tried to adandon this idea， but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books. 三个孩子中，我是老二。老大和老三与我相隔五岁。8岁以前，我很少见到我爸爸。由于这个以及其他一些缘故，我的性格有些孤僻。我的举止言谈逐渐变得很不讨人喜欢，这使我在上学期间几乎没有什么朋友。 I was the middle child of three， but there was a gap of five years on either side， and I barely saw my father before I was eight- For this and other reasons I was somewhat lonely， and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. 我像一般孤僻的孩子一样，喜欢凭空编造各种故事，和想像的人谈话。我觉得，从一开始，我的文学志向就与一种孤独寂寞、被人冷落的感觉联系在一起。我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。 I had the lonely child's habit of making up stories and holding conversations with imaginary persons， and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. 我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。 I knew that I had a facility with words and a power of facing unpleasant facts， and I felt that this created a sort of private world in which I could get my own back for my failure 还是一个小孩子的时候，我就总爱把自己想像成惊险传奇中的主人公，例如罗宾汉。但不久，我的故事不再是粗糙简单的自我欣赏了。它开始趋向描写我的行动和我所见所闻的人和事。 。 . As a very small child I used to imagine that I was， say， Robin Hood， and picture myself as the hero of thrilling adventures， but quite soon my “story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. 一连几分钟，我脑子里常会有类似这样的描述：“他推开门，走进屋，一缕黄昏的阳光，透过薄纱窗帘，斜照在桌上。桌上有一个火柴盒，半开着，在墨水瓶旁边，他右手插在兜里，朝窗户走去。街心处一只龟甲猫正在追逐着一片败叶。”等等，等等。 For minutes at a time this kind of thing would be running through my head： “He pushed the door open and entered the room. A yellow beam of sunlight， filtering through the muslin curtains， slanted on to the table， where a matchbox， half open， lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf，” etc.， etc. 我在差不多25岁真正从事文学创作之前，一直保持着这种描述习惯。虽然我必须搜寻，而且也的确在寻觅恰如其分的字眼。可这种描述似乎是不由自主的，是迫于一种外界的压力。 This habit continued till I was about twenty-five， right through my non-literary years. Although I had to search， and did search， for the right words， I seemed to be making this descriptive effort almost against my will， under a kind of compulsion from outside. 我在不同时期崇仰风格各异的作家。我想，从这些“故事”一定能看出这些作家的文笔风格的痕迹。但是我记得，这些描述又总是一样地细致入微，纤毫毕现。 The “story” must， I suppose， have reflected the styles of the various writers I admired at different ages， but so far as I remember it always had the same meticulous descriptive quality. 16岁那年，我突然发现词语本身即词的音响和词的连缀就能给人以愉悦。《失乐园》中有这样一段诗行： 他负载着困难和辛劳 挺进着：负着困难辛劳的他—— When I was about sixteen I suddenly discovered the joy of mere words， i， e. the sounds and associations of words. The lines from Paradise Lost — “So hee with difficulty and labour hard Moved on： with difficulty and labour hee，“ 现在看来这并没有什么了不得，可当时却使我心灵震颤。而用hee的拼写代替he，更增加了愉悦。 which do not now seem to me so very wonderful， sent shivers down my backbone； and the spelling “hee” for “he” was an added pleasure. 至于写景物的必要，我那时已深有领悟。如果说当时我有志著书的话，我会写什么样的书是显而易见的。 As for the need to describe things， I knew all about it already. So it is clear what kind of books I wanted to write， in so far as I could be said to want to write books at that time. 我想写大部头的自然主义小说，以悲剧结局，充满细致的描写和惊人的比喻，而且不乏文才斐然的段落，字词的使用部分要求其音响效果。 I wanted to write enormous naturalistic novels with unhappy endings， full of detailed descriptions and arresting similes， and also full of purple passages in which words were used partly for the sake of their sound. 事实上，我的第一部小说，《缅甸岁月》就属于这一类书，那是我早已构思但30岁时才写成的作品。 And in fact my first completed novel， Burmese Days， which I wrote when I was thirty but projected much earlier， is rather that kind of book. 我介绍这些背景情况是因为我认为要判定一个作家的写作动机，就得对其早年的经历有所了解。 I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development. 作家的题材总是由他所处的时代决定的，至少在我们这个动荡不安的时代是如此。但他在提笔著文之前，总会养成一种在后来的创作中永远不能彻底磨灭的情感倾向 His subject matter will be determined by the age he lives in —at least this is true in tumultuous， revolutionary ages like our own—but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. 毫无疑问，作家有责任控制自己的禀性，使之不至于沉溺于那种幼稚的阶段，或陷于违反常理的心境中。但如果他从早年的熏染和志趣中脱胎换骨，他就会虐杀自己的写作热情。 It is his job， no doubt， to discipline his temperament and avoid getting stuck at some immature stage， or in some perverse mood： but if he escapes from his early influences altogether， he will have killed his impulse to write. 除去以写作为谋生之计不谈，我认为写作有四种动机，至少小说和散文写作是如此。 Putting aside the need to earn a living， I think there are four great motives for writing， at any rate for writing prose. 这四种动机或多或少地存在于每个作家身上，在某一个作家身上，它们会因时代的不同和生活环境的不同而变化。它们是： They exist in different degrees in every writer， and in any one writer the proportions will vary from time to time， according to the atmosphere in which he is living. They are： 一、纯粹的自我主义。想显示自己的聪明；想成为人们的议论中心；想身后留名；想报复那些小时候压制、指责过自己的成年人等等。不承认这是动机，是一种强烈的动机，完全是自欺欺人。 （1） Sheer egoism. Desire to seem clever， to be talked about， to be remembered after death， to get your own back on grown-ups who snubbed you in childhood， etc. ， etc. It is humbug to pretend that this is not a motive， and a strong one. . . 二、对美的狂热。能感觉身外世界的美，或者词语及其妙语连珠的美。对一个读音作用于另一个读音的音响效果，对充实缜密的行文或一篇小说的结构，感到乐趣无穷，赏心悦目。有心与人们分享一种认为有价值、不应忽略的经历。 （2） Aesthetic enthusiasm. Perception of beauty in the external world， or， on the other hand， in words and their right arrangement. Pleasure in the impact of one sound on another， in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed… 三、历史感。有志按事物的原貌来观察理解事物；有心寻找确凿的事实，收集储存以飨后人。 （3） Historical impulse. Desire to see things， as they are， to find out true facts and store them up for the use of posterity. 四、政治上的目的。这里指的是最广泛意义的政治：有志推动世界向某个方向前进；改造人们的观念，劝勉人们追求某种理想社会。就像美感因素一样，没有一本书能真正消除政治倾向。那种认为艺术与政治不相干的论点本身就是一种政治态度。 （4） Political purpose —using the word “political” in the widest possible sense. Desire to push the world in a certain direction， to ater other people's idea of the kind of society that they should strive after. Once again， no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude. 可以看出，这些不同的动机会互相抵触，会因人因时发生变化。 It can be seen how these various impulses must war against one another， and how they must fluctuate from person to person and from time to time. 由于我的天性——“天性”这里指刚成年时的状态，在我身上前三种动机远远超过第四种。 By nature —taking your “nature” to be the state you have attained when you are first adult—I am a person in whom the first three motives would outweigh the fourth. 在和平年代，我或许会写些词藻华美或专写事物写景的书，几乎意识不到我政治上的取舍。 In a peaceful age！ might have written ornate or merely descriptive books， and might have remained almost unaware of my political loyalties. 可结果我却不得不成了一个写小册子的作家。 As it is I have been forced into becoming a sort of pamphleteer. 最初，我在一个很不合适的职业中度过了5年，那是在缅甸的印度帝国警察署。随后，我经历了贫困，体会到穷困窘迫是何滋味。这使我对权势的本能的嫉妒变得更强烈，我开始意识到劳动阶级的存在，缅甸的职业使我对帝国主义的本质有所了解，但这一切并不足以赋予我明确的政治倾向。 First I spent five years in an unsuitable profession （the Indian Imperial Police， in Burma）， and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the firs t time fully aware of the existence of the working classes， and the job in Burma had given me some understanding of the nature of imperialism； but these experiences were not enough to give me an accurate political orientation. 接着*出现了，西班牙战争爆发了，各种事件频频发生。 Then came Hitler， the Spanish Civil War， etc. 到1935年底，我仍没有能决定何去何从。西班牙内战以及1936至1937年之间的其他事件扭转了这种状况，从此我认准了我的立场。 By the end of 1935 I had still failed to reach a firm decision. The Spanish war and other events in 1936 - 1937 turned the scale and thereafter I know where I stood. 1936年以来，我的严肃作品中的每一行都是为间接或直接地反对极权主义，拥护我所理解的民主社会主义而写的。 Every line of serious work that I have written since 1936 has been written， directly or indirectly， against totalitarianism and for democratic socialism， as I understand it. 认为在我们这样的年代，作家可以回避这种题材，在我看来是无稽之谈。 It seems to me nonsense， in a period like our own， to think that one can avoid writing of such subjects. 每个人都以这样那样的方式写这个题材。 Everyone writes of them in one guise or another. 这其实就是站在哪一边，取什么态度的问题。 It is simply a question of which side one takes and what approach one follows. 一个人越是意识到自己的政治态度，他越是有可能按政治行事而又不牺牲自己在美感和心智方面的追求。 And the more one is conscious of one's political bias， the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity. 在过去的十年中，我的愿望是把政治色彩的写作变成艺术创造。 What I have most wanted to do throughout the past ten years is to make political writing into an art. 我的出发点总是一种党派意识，一种对非正义的敏感。 My starting point is always a feeling of partisanship， a sense of injustice. 我坐下来写书时，不会自语道：“现在我要创造一个艺术作品了。” When I sit down to write a book I do not say to myself， “I am going to produce a work of art. ” 写作是为了揭发某种谎言，为了让人们重视某些事实。我的初衷总是向读者披露心声，赢得听众。 I write it because there is some lie that I want to expose， some fact to which I want to draw attention， and my initial concern is to get a hearing. 然而，写作必须同时又是一种美感经验。否则，我就无法完成著书的工作，甚至连一篇长篇的报刊文章都写不成。 But I could not do the work of writing a book， or even a long magazine article， if it were not also an aesthetic experience. 任何一位有心细读我的作品的读者都会发现，即使作品是直截了当的宣传鼓励，也包含着许多职业政客视为节外生枝的点缀。 Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. 我不能，也不愿意完全放弃我在童年时养成的世界观。 I am not able， and I do not want， completely to abandon the world-view that I acquired in childhood. 只要我还活着，我仍会继续讲究文笔风格，热爱大地的山川胜景，对琐细的物品和无用的传闻感到欣悦。 So long as I remain alive and well I shall continue to feel strongly about prose style， to love the surface of the earth， and to take a pleasure in solid objects and scraps of useless information. 要抑制我这方面的本能是无济于事的。我的任务是把个人根深蒂固的好恶与时代强加于我们大家的政治活动协调起来。 It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public， non-individual activities that this age forces on all of us. 这并不容易。这会产生构思及语言的问题。而真实性也以新的方式出现了疑问。 It is not easy. It raises problems of construction and of language， and it raises in a new way the problem of truthfulness. . . 这个问题以各种各样的形态出现。 In one form or another this problem comes up again. 语言则是个更微妙的问题，得花费很大的工夫讨论。 The problem of language is subtler and would take too long to discuss. 这里我只能说，近几年来，我竭力减少生动形象的描写，尽量写得更谨严简练。 I will only say that of late years I have tried to write less picturesquely and more exactly. 我发现一位作家一旦使某种文笔风格臻于完善，他也就已经超越了这种风格。 In any case I find that by the time you have perfected any style of writing， you have always outgrown it. 《动物庄园》一书便是我在有意识有计划地把政治目的和艺术追求结合为一体的尝试。 Animal Farm was the first book in which I tried， with full consciousness of what I was doing， to fuse political purpose and artistic purpose into one whole. 我已经7年没写小说了，但我希望不久能写一部。 I have not written a novel for seven years， but I hope to write another fairly soon. 这部小说注定会成败笔，每次完成的作品都觉得处处是败笔，但我清楚地知道我要写什么样的书。 It is bound to be a failure， every book is a failure， but I do know with some clarity what kind of book I want to write. 写作是一场可怕的劳心伤神的斗争，犹如一场恶病长时间发作。 …Writing a book is a horrible， exhausting struggle， like a long bout of some painful illness. 要不是被一种既不可抗拒又不可理喻的鬼怪驱使，没人愿意从事写作。 One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. 这种魔怪不外乎是婴儿嚎啕以引起人注意的本能。 For all one knows that demon is simply the same instinct that makes a baby squall for attention. 但话又说回来，作家若不能努力隐去自己的个性，他便写不出什么值得一读的东西。 And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. 好文章是一块透亮的窗玻璃。 Good prose is like a window pane. 我不能肯定地说我的哪一种动机，但我知道哪一个目标我必须遵循。 I cannot say with certainty which of my motives are the strongest， but I know which of them deserve to be followed. 回顾我的创作，我发现，什么时候缺乏政治目的，什么时候我就会写出毫无生气的书，就会坠入华而不实的篇章，写出毫无意义的句子，卖弄矫饰的形容词和堆砌一大堆空话废话。 And looking back through my work， I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages， sentences without meaninmeaning， decorative adjectives and humbug generally.
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今天教务老师给大家收集整理了高级英语自考本科教材，自考本科高级英语怎么备考的相关问题解答，还有免费的自考历年真题及自考复习重点资料下载哦，以下是全国我们为自考生们整理的一些回答，希望对你考试有帮助！请问南师大英语本科自考英语泛读用什么教材的？全新正版27036高级英语阅读教程英语泛读江苏自考教材21世纪英语专业系列教程自学考试英语专业本科指定教材高级英语阅读教程下作者：康文凯出版社：上海交通大学出版社出版日期：2004-4-5定价：28元【内容简介】《高级英语阅读教程》分上中下三册，共精选短文96篇，内容涉及中西文化、语言、教育、生活、媒介、历史、妇女问题、科技、人性、哲学、文学等，每册按主题分为16个单元，每个单元配有与学习内容相关的阅读理解、词义辨析、句子释义以及修辞等练习和思考题。该教程为英语专业高年级学生设计，也可用作大学英语研究生和本科生选修课教材或散文爱好者的读物。【目录信息】UnitOneTextAUniversitiesandTheirFunctionTextBTheCollegeIsforEveryoneCultUnitTwoTextAMotherTongueTextBDoctorTalkUnitThreeTextATheProblemofHappinessTextBMyFather’sLifeUnitFourTextARememberingtheFarmTextBMyWoodUnitFiveTextASpeakingofPicturesTextBTelevision:ThePlug-inDrugUnitSixTextAHowDoesaPoemMean?TextBReading:FromManyRulestoOneHabitUnitSevenTextAWomenTextBWomen’sBusinessUnitEightUnitNineUnitTenUnitElevenUnitTwelveUnitThirteenUnitFourteenUnitFifteenUnitSixteenReferenceKeytotheExercises2010广东省自考英语教育本科教材有哪些？课程代码课程名称使用教材作者出版社版次8469高级英语(一)(B)新编英语教程(5册)李观仪上海外语教育出版社2003.38470高级英语(二)(B)新编英语教程(5、6册)李观仪上海外语教育出版社2004.18266翻译翻译新概念英汉互译实用教程宋天锡国防工业出版社2008重印第四版8268英语词汇学现代英语词汇学概论张韵裴北京师范大学出版社20048269英语语言学新编简明英语语言学教程戴炜栋、何兆熊上海外语教育出版社2002年7月第1版8475英美报刊选读英美报刊阅读教程端木义万南京大学出版社第二版8476英国文学选读英国文学史及选读吴伟仁外语教学与研究出版社19888478英语论文写作英语写作手册丁往道等外语教学与研究1994.6第二版8477美国文学选读美国文学史及选读吴伟仁外语教学与研究出版社19908479中学英语教学法英语教学法基础何广铿暨南大学出版社20018480外语教学心理学外语教学心理学朱纯上海外语教育出版社1994.98473第二外语《中日交流标准日本语》初级上、下册人民教育/日本光村人民教育/日本光村合作出版19888474第二外语简明法语教程(上下册)孙辉商务印书馆0012英语大学英语自学教程(上册)高远高等教育出版社1999年版8447基础英语新编英语教程[修订本](1、2册)李观仪上海外语教育出版社19988448基础英语新编英语教程[修订本](3册)李观仪上海外语教育出版社19998449基础英语新编英语教程[修订本](4册)李观仪上海外语教育出版社19998450英语阅读新编英语阅读教程(1-3册)王守仁.赵文书上海外语教育出版社自考英语本科中的《高级英语》比较难，该怎样复习才能通过考试呀？自?高级英语在英语本科中不是很难的，关键是要多看书，一般应该看3遍。有很多题目是书上的东西，没有什么窍门，只有去看透教材。另外，不要把希望寄托在一些复习材料上，北大燕园什么的用处都不大。以前的真题应该做一遍。当然，你参加英语自考，应该有很好的英语基础，我就不多说怎样学习英语了，呵呵。今年自考会计本科的教材？新华书店。大型书市。中职学校书店。淘宝网。自考/成考有疑问、不知道自考/成考考点内容、不清楚当地自考/成考政策，点击底部咨询官网老师，免费领取复习资料：
Lesson One Rock Superstars 关于我们和我们的社会，他们告诉了我们些什么？ What Do They Tell Us About Ourselves and Our Society？ 摇滚乐是青少年叛逆的音乐。 ——摇滚乐评论家约相？罗克韦尔 Rock is the music of teenage rebellion. —— John Rockwell， rock music critic 知其崇拜何人便可知其人。 ——小说家罗伯特？佩恩？沃伦 By a man's heroes ye shall know him. —— Robert Penn Warren， novelist 1972年6月的一天，芝加哥圆形剧场挤满了大汗淋漓、疯狂摇摆的人们。 It was mid-June， 1972， the Chicago Amphitheater was packed， sweltering， rocking. 滚石摇滚乐队的迈克？贾格尔正在台上演唱“午夜漫步人”。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler.” 演唱结束时评论家唐？赫克曼在现场。 Critic Don Heckman was there when the song ended. 他描述道：“贾格尔抓起一个半加仑的水罐沿舞台前沿边跑边把里面的水洒向前几排汗流浃背的听众。听众们蜂拥般跟随着他跑，急切地希望能沾上几滴洗礼的圣水。 “Jagger，” he said， “grabs a half-gallon jug of water and runs along the front platform， sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him， eager to be touched by a few baptismal drops”。 1973年12月下旬的一天，约1.4万名歌迷在华盛顿市外的首都中心剧场尖叫着，乱哄哄地拥向台前。 It was late December， 1973， Some 14，000 screaming fans were crunching up to the front of the stage at Capital Center， outside Washington， D.C. 美国的恐怖歌星艾利丝？库珀的表演正接近尾声。 Alice Cooper， America's singing ghoul， was ending his act. 他表演的最后一幕是假装在断头台上结束自己的生命。 He ends it by pretending to end his life – with a guillotine. 他的“头”落入一个草篮中。 His “head” drops into a straw basket. “哎呀！”一个黑衣女孩子惊呼道：“啊！真是了不起，不是吗？”。 “Ooh，” gasped a girl dressed in black. “Oh， isn't that marvelous？” 当时，14岁的迈克珀力也在场，但他的父母不在那里。 Fourteen-year-old Mick Perlie was there too， but his parents weren't. “他们觉得他恶心，恶心，恶心，”迈克说，“他们对我说，你怎么受得了那些？” “They think he's sick， sick， sick，” Mike said. “They say to me， 'How can you stand that stuff？'” 1974年1月下旬的一天，在纽约州尤宁谷城拿骚体育场内，鲍勃？狄伦和“乐队”乐队正在为音乐会上要用的乐器调音。 It was late January， 1974. Inside the Nassau Coliseum in Uniondale， New York， Bob Dylan and The Band were tuning for a concert. 馆外，摇滚歌迷克利斯？辛格在大雨中等待着入场。 Outside， in the pouring rain， fan Chris Singer was waiting to get in. “这是朝圣，”克利斯说，“我应该跪着爬进去。” “ This is pilgrimage，” Chris said， “I ought to be crawling on my knees.” 对于这一切好评及个人崇拜，你怎么看？ How do you feel about all this adulation and hero worship？ 当米克？贾格尔的崇拜者们把他视为上帝的代表或是一个神时，你是赞成还是反对？ When Mick Jagger's fans look at him as a high priest or a god， are you with them or against them？ 你也和克利斯？辛格一样对鲍勃？狄伦怀有几乎是宗教般的崇敬吗？ Do you share Chris Singer's almost religious reverence for Bob Dylan？ 你认为他或狄伦是步入歧途吗？ Do you think he – or Dylan – is misguided？ 你也认为艾利丝？库珀令人恶心而拒不接受吗？ Do you reject Alice Cooper as sick？ 难道你会莫名其妙地被这个奇怪的小丑吸引，原因就在于他表达出你最狂热的幻想？ Or are you drawn somehow to this strange clown， perhaps because he acts out your wildest fantasies？ 这些并不是闲谈。 These aren't idle questions. 有些社会学家认为对这些问题的回答可以充分说明你在想些什么以及社会在想些什么——也就是说，有关你和社会的态度。 Some sociologists say that your answers to them could explain a lot about what you are thinking and about what your society is thinking – in other words， about where you and your society are. 社会学家欧文？霍洛威茨说：“音乐表现其时代。” “Music expressed its times，” says sociologist Irving Horowitz. 霍洛威茨把摇滚乐的舞台视为某种辩论的论坛，一个各种思想交锋的场所。 Horowitz sees the rock music arena as a sort of debating forum， a place where ideas clash and crash. 他把它看作是一个美国社会努力为自己的感情及信仰不断重新进行解释的地方。 He sees it as a place where American society struggles to define and redefine its feelings and beliefs. 他说：“重新解释是一项只有青年人才能执行的任务。只有他们才把创造与夸张、理性与运动、言语与声音、音乐与政治融为一体。” “The redefinition，” Horowitz says， “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration， reason and motion， word and sound， music and politics.” 作曲兼演唱家托德？伦德格伦对这个观点表示赞同。 Todd Rundgren， the composer and singer， agrees. 他说：“摇滚乐与其说是一种音乐力量不如说是一种社会心理的表现。就连埃尔维斯？普雷斯利也并非是一种伟大的音乐力量，他只不过是体现了50年代青少年那种心灰意冷的精神状态。” “Rock music，” he says， “is really a sociological expression rather than a musical force. Even Elvis Presley wasn't really a great musical force. It's just that Elvis managed to embody the frustrated teenage spirit of the 1950s.” 毫无疑问，普雷斯利震惊了美国的成人世界。 Of course Presley horrified adult America. 报纸写社论攻击他，电视网也禁止播他，但也许埃尔维斯证实了霍洛威茨和伦德格伦的看法。 Newspapers editorialized against him， and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe. 当他通过电视上埃德？沙利文的星期日晚间的综艺节目出现在千百万人面前时，就引起了某种辩论。 When he appeared on the Ed.Sullivan Sunday night variety show in front of millions， a kind of “debate” took place. 多数年纪大的观众眉头紧皱，而大多数年轻观众则报以掌声欢迎。 Most of the older viewers frowned， while most of the younger viewers applauded. 摇滚乐评论家们说，从埃尔维斯到艾利丝，许多歌星帮助我们的社会解说其信仰与态度。 Between Elvis and Alice， rock critics say， a number of rock stars have helped our society define its beliefs and attitudes. 鲍勃？狄伦触动了对现状不满的神经，他唱到民权、核散落物以及孤独。 Bob Dylan touched a nerve of disaffection. He spoke of civil rights， nuclear fallout， and loneliness. 他唱到变革和老一代人的迷茫，他在歌声中唱道：“这儿正发生着什么事，你不知道是什么事，对吗，琼斯先生？” He spoke of change and of the bewilderment of an older generation. “Something's happening here，” he sang. “You don't know what it is， do you， Mr.Jones？” 其他人也加入了这场辩论。 Others entered the debate. 霍洛威茨说，甲壳虫乐队以幽默的方式，或许还借助麻醉品的力量来倡导和平与虔诚。傲慢无理、打架斗殴的滚石乐队成员要求革命。杰斐逊飞机乐队的歌曲“我们能够联合”和“志愿者”（有一场革命）则是激进青年的更进一步的两项声明。 The Beatles， Horowitz said， urged peace and piety， with humor and maybe a little help from drugs. The Rolling Stones， arrogant street-fighting men， demanded revolution. The Jefferson Airplane's “We Can Be Together” and Volunteers （Got a Revolution）“ were two further statements of radical youth. 但政治并不是60年代强硬派摇滚乐所辩论的惟一主题，始终作为任何音乐永恒组成部分的情感也是一个重要题目。 But politics wasn't the only subject debated in the hard rock of the sixties. Feelings， always a part of any musical statement， were a major subject. 詹妮丝？乔普林用歌声表达自己的悲哀。 Janis Jophin sang of her sadness. 甲壳虫乐队揭示出爱与恨之间的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出现了“乐队”乐队把乡村音乐和西部音乐所表达的较为传统的观念与强硬派摇滚乐较为激进的“都市”观念结合在一起。 Then came The Band， mixing the more traditional ideas of country and western music into the more radical “city” ideas of the hard rock. 霍洛威茨认为这一成分的乡村音乐帮助听众表达了一种“摆脱这一切”，“重返过去时光”的强烈愿望。 This country element， Horowitz feels， helped its audience express an urge to “get away from it all，” to “go back to the old day. 当前最能说明霍洛威茨看法的例子之一就是约翰？丹佛，他最的歌曲《阳光照在我肩上》、《高高的落基山》和《乡间小路》把民间摇滚乐的音乐灵魂与力量结合了起来，而歌词则赞美了“往日美好时光”的朴素的欢乐。 。“ One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs – ”Sunshine on My Shoulders“， ”Rocky Mountain High“， and ”Country Road“ – combine the musical drive and power of folk rock， while the lyrics celebrate the simple joys of ”the good old days.“ 这样的例子不胜枚举。 The list could go on and on. 这些摇滚乐音乐家们和所有的艺术家一样反映出我们借以认识并形成属于自己的感情与信念。 Like all artists， these rock musicians mirror feelings and beliefs that help us see and form our own. 我们以什么来回报他们呢？当然是掌声和赞美。 What do we give them in return？ Applause and praise， of course. 在1972年的一次全国民意测验中，10％的男高中生和30％以上的女高中生都说他们最崇拜的人是超级摇滚歌星。 In one 1972， national opinion poll， more than 10 percent of the high school boys and 20 percent of the girls said their hero was a rock superstar. 此外我们给他们金钱， 商业杂志《福布斯》认为，“当今成为百万富翁的捷径是当摇滚歌星。” We also give them money. “The fastest way to become a millionaire these days，” says Forbes， a business magazine， “is to become a rock 'n' roll star.” 今天的英雄们——至少其中一部分人——告诉我们，他们很喜欢所得到的报偿。 Today's heroes – some of them， anyway – tell us they enjoy their rewards. “我暗自嘲笑这些先生们和女士们，他们从没想到过我们会成为金娃娃。”演唱这支歌曲的是“文化英雄”艾利丝？库珀。 “And I laughed to myself at the men and the ladies. Who never conceived of us billion-dollar babies.” The particular “culture hero” who sings that is Alice cooper. 可是，仍然存在着一个大问题：为什么他是文化英雄？ The big question remains： Why is he a culture hero？ 他，或者当今任何其他走红的摇滚歌星能告诉我们些什么有关他们的歌迷的事情？ What does he – or any other current rock success – tell us about his fans？ 对于我们自己和我们的社会有些什么了解？现在怎样，过去如何，将来又将向何处去？ About ourselves and our society？ Where it is， where it was， where it's heading？
lesson3 使用暴力 Lesson Three The Use of Force 他们是我的新病人，我所知道的只有名字，奥尔逊。 They were new patients to me， all I had was the name， Olson. 请您尽快赶来，我女儿病得很重。 “Please come down as soon as you can， my daughter is very sick.” 当我到达时，孩子的母亲迎接了我，这是一位看上去惊恐不安的妇人，衣着整洁却一脸忧伤的神色她只是说，这位就是医生吗？ When I arrived I was met by the mother， a big startled looking woman， very clean and apologetic who merely said， Is this the doctor？ 然后带我进了屋。 And let me in. 在后面，她又说到，请你一定要原谅我们，医生，我们让她呆在厨房里，那儿暖和，这里有时很潮湿。 In the back， she added. You must excuse us， doctor， we have her in the kitchen where it is warm. It is very damp here sometimes. 在厨房的桌子旁边，这个孩子穿得严严实实的，坐在她父亲的腿上。 The child was fully dressed and sitting on here father's lap near the kitchen table. 他父亲试图站起来，但我向他示意不用麻烦，然后我脱下外套开始检查。 He tried to get up， but I motioned for him not to bother， took off my overcoat and started to look things over. 我能够觉察出他们都很紧张，而且用怀疑的眼光上下打量着我。 I could see that they were all very nervous， eyeing me up and down distrustfully. 在这种情形下，他们通常不会提供太多的情况，而是等着我告诉他们病情，这就是为什么他们会在我身上花3美元。 As often， in such cases， they weren't telling me more than they had to， it was up to me to tell them； that's why they were spending three dollars on me. 这个孩子用她那冷漠而镇定的目光目不转睛地盯着我，脸上没有任何表情。 The child was fairly eating me up with her cold， steady eyes， and no expression on her face whatever. 她纹丝不动，内心似乎很平静。这是一个非常惹人喜爱的小东西，外表长得象小牛一样结实。 She did not move and seemed， inwardly， quiet； an unusually attractive little thing， and as strong as a heifer in appearance. 但是她的脸发红，而且呼吸急促，我知道她在发着高烧。 But her face was flushed， she was breathing rapidly， and I realized that she had a high fever. 她长着一头漂亮浓密的金发，就像刊登在广告插页上和周日报纸图片版上的那些孩子一样。 She had magnificent blonde hair， in profusion. One of those picture children often reproduced in advertising leaflets and the photogravure sections of the Sunday papers. 她发烧已经3天了，她父亲开口说，我们不知道是什么原因。 She's had a fever for three days， began the father and we don't know what it comes from. 我太太给她吃了一些药，你知道，大家都是这样做的，可这些药根本不管用，而且，附近有很多人都生了病，所以我们想请您给她检查一下，然后告诉我们是怎么一回事。 My wife has given her things， you know， like people do， but it don't do no good. And there's been a lot of sickness around. So we tho't you'd better look her over and tell us what is the matter. 像医生们经常做的那样，我问了个问题，想以此来猜测一下病症所在。 As doctors often do I took a trial shot at it as a point of departure. Has she had a sore throat？ 父母两人一起回答说，没有……没有，她说她的嗓子不疼。 Both parents answered me together， No…No， she says her throat don't hurt her. 你嗓子疼吗？母亲又问了一下孩子。 Does your throat hurt you？ Added the mother to the child. 女孩的表情没有任何变化，而她的目光却一直没有从我的脸上移开。 But the little girl's expression didn't change nor did she move her eyes from my face. 你看过她的嗓子了吗？ Have you looked？ 我想看，孩子的母亲说，但看不见。 I tried to， said the mother but II couldn't see. 这个月碰巧她上学的那个学校已经有好几例白喉病。虽然到目前为止没有人说出这件事，但很显然，我们心里都想到了。 As it happens we had been having a number of cases of diphtheria in the school to which this child went during that month and we were all， quite apparently， thinking of that， though no one had as yet spoken of the thing. 好了，我说，我们先看看嗓子吧。 Well， I said， suppose we take a look at the throat first. 我以医生特有的职业方式微笑着，叫着孩子的名字。我说，来吧，玛蒂尔达，张开嘴，让我看一下你的嗓子。 I smiled in my best professional manner and asking for the child's first name I said， come on， Mathilda， open your mouth and let's take a look at your throat. 没有任何反应。 Nothing doing. 哦，来吧，我劝道，张大你的嘴，让我看看。看，我说着把两只手伸开，我的手里没有东西，张大嘴，让我看看。 Aw， come on， I coaxed， just open your mouth wide and let me take a look. Look， I said opening both hands wide， I haven't anything in my hands. Just open up and let me see. 他是一个多好的人呀，她的母亲插话道。你看他对你多好呀，来，听话。他不会伤害你的。 Such a nice man， put in the mother. Look how kind he is to you. Come on， do what he tells you to. He won't hurt you. 听到这里我狠狠地咬了咬牙，要是他们没用“伤害”这个词，我也许能做点什么，但是我没有着急或恼怒，而是慢声细语地说着话，一边再次靠近这个孩子。 As that I ground my teeth in disgust. If only they wouldn't use the word “hurt” I might be able to get somewhere. But I did not allow myself to be hurried or disturbed but speaking quietly and slowly I approached the child again. 我刚将椅子拉近一点，突然，她像猫一样双手本能地朝我的两眼抓去，我差一点被她抓到。 As I moved my chair a little nearer suddenly with one catlike movement both her hands clawed instinctively for my eyes and she almost reached them too. 好在她只是打掉了我的眼镜，虽然眼镜没有碎，但已落到了离我几英尺远的厨房地板上。 In fact she knocked my glasses flying and they fell， though unbroken， several feet away from me on the kitchen floor. 父母两人都非常尴尬，充满歉意，你这个坏孩子，母亲一边说，一边抓着她，并摇晃着她的一只手，你看看你做的事。这么一个好人。 Both the mother and father almost turned themselves inside out in embarrassment and apology. You bad girl， said the mother， taking her and shaking here by one arm. Look what you've done. The nice man… 看在上帝的份上，我打断了她的话，请不要再在她面前说我是一个好人。 For heaven's sake， I broke in. Don't call me a nice man to her. 我来是看看她的嗓子，也许她患了白喉，而且很可能会死于这种病。 I'm here to look at her throat on the chance that she might have diphtheria and possibly die of it. 但这一切她都不在乎，看这儿，我对女孩说，我们想看看你的嗓子，你不小了，应该明白我说的话，你是自己张开嘴呢，还是我们帮你张开？ But that's nothing to her. Look here， I said to the child， we're going to look at your throat. You're old enough to understand what I'm saying. Will you open it now by yourself or shall we have to open it for you？ 她仍然一动不动，甚至连表情都没有任何变化。 Not a move. Even her expression hadn't changed. 但是她的呼吸却越来越急促。 Her breaths， however， were coming faster and faster. 接着一场战役开始了，我不得不这样做。 Then the battle began. I had to do it. 由于她的自我保护，我必须检查一下她的嗓子。 I had to have a throat culture for her own protection. 可是我首先告诉家长这完全取决于他们。 But first I told the parents that it was entirely up to them. 我说明了其危险性，但同时提出只要他们承担责任我就不会坚持做这次喉咙检查。 I explained the danger but said that I would not insist on a throat examination so long as they would take the responsibility. 如果你不按大夫说的去做，你就要去医院了，母亲严厉地警告她。 If you don't do what the doctor says you'll have to go to the hospital， the mother admonished her severely. 是吗？我只好暗自笑了笑。毕竟我已经喜欢上了这个野蛮的小东西，但却看不起这对父母。 Oh yeah？ I had to smile to myself. After all， I had already fallen in love with the savage brat， the parents were contemptible to me. 在接下来的“战斗”中他们越来越难堪，被摧垮了，直至精疲力竭。而这个女孩由于恐惧，她对我的抗拒达到了惊人的地步。 In the ensuing struggle they grew more and more abject， crushed， exhausted while she surely rose to magnificent heights of insane fury of effort bred of her terror of me. 父亲尽了的努力，他块头很大，然而事实上他面对着的是他的女儿，由于对她的所作所为感到愧疚和担心伤到她，他每次在我几乎就要成功了的关键时刻放开了她，我真恨不得杀了他。 The father tried his best， and he was a big man but the fact that she was his daughter， his shame at her behavior and his dread of hurting her made him release her just at the critical times when I had almost achieved success， till I wanted to kill him. 可是，因为又担心她真会患上白喉，尽管他自己就快昏到了，他又告诉我继续，继续，而她的母亲在我们的身后走来走去，忧愁万分地抖着双手。 But his dread also that she might have diphtheria made him tell me to go on， go on though he himself was almost fainting， while the mother moved back and forth behind us raising and lowering her hands in an agony of apprehension. 把她放在你的大腿上，我命令道，抓住她的两个手腕。 Put her in front of you on your lap， I ordered， and hold both her wrists. 然而他刚一动手，女孩就尖叫了一声。 But as soon as he did the child let out a scream. 别这样，你会弄疼我的。 Don't， you're hurting me. 放开我的手，放手，我告诉你。 Let go of my hands. Let them go I tell you. 接着她发出可怕的歇斯底里的尖叫，住手！住手！你会弄死我的！ Then she shrieked terrifyingly， hysterically. Stop it！ Stop it！ You're killing me！ 你觉得她受得了吗？医生！她母亲说。 Do you think she can stand it， doctor！ Said the mother. 你出去，丈夫对他的妻子说，你想让她死于白喉吗？ You get out， said the hu******************and to his wife. Do you want her to die of diphtheria？ 来吧，抓住她，我说道。 Come on now， hold her， I said. 接着我用左手掰住女孩的头，并试图将木制的压舌板伸进她的嘴里。 Then I grasped the child's head with my left hand and tried to get the wooden tongue depressor between her teeth. 她紧咬着牙绝望地反抗着！ She fought， with clenched teeth， desperately！ 而此时我也变得狂怒了——对一个孩子。 But now I also had grown furious-at a child. 我试图让自己不要发脾气，但却做不到，我知道怎样去检查她的嗓子。 I tried to hold myself down but I couldn't. I know how to expose a throat for inspection. 我尽了的努力。当我终于把木制的压舌板伸到最后一排牙齿的后面时，她张开了嘴，然而只是一瞬间，我还来不及看她又把嘴闭上了，没等我把它取出来，她的臼齿已经紧紧咬住了压舌板，并把压舌板咬成了碎片。 And I did my best. When finally I got the wooden spatula behind the last teeth and just the point of it into the mouth cavity， she opened up for an instant but before I could see anything she came down again and gripped the wooden blade between her molars. She reduces it to splinters before I could get it out again. 你不害臊吗？妈妈朝她大声训斥道。你在大夫面前这样不觉得害臊吗？ Aren't you ashamed， the mother yelled at her. Aren't you ashamed to act like that in front of the doctor？ 给我拿一把平柄的勺子什么的，我对母亲说。 Get me a smooth-handled spoon of some sort， I told the mother. 我们还要接着做下去。 We're going through with this. 孩子的嘴已经流血了。 The child's mouth was already bleeding. 她的舌头破了，还在歇斯底里地大叫着。 Her tongue was cut and she was screaming in wild hysterical shrieks. 也许我应该停下来，过一个多小时再回来无疑这样会好一些。 Perhaps I should have desisted and come back in an hour or more. No doubt it would have been better. 但我已经看到至少两个孩子因为这种情况而被疏忽了，躺在床上死去，我感到我必须现在进行诊断，否则就再没有机会了。 But I have seen at least two children lying dead in bed of neglect in such cases， and feeling that I must get a diagnosis now or never I went at it again. 然而最糟糕的是，我也失去了理智，我本可以在盛怒之下将女孩的嘴扒开来享受其中的快乐，向她发起进攻真是一件乐事，我的脸也因此而发热。 But the worst of it was that I too had got beyond reason. I could have torn the child apart in my own fury and enjoyed it. It was a pleasure to attack her， my face was burning with it. 在这种时候，谁都会叮咛自己，无论这个可恶的小鬼做出任何愚蠢的举动，也要违背她的意愿来保护她。 The damned little brat must be protected against her own idiocy， one says to one's self at such times. 这样做也是为了保护其他孩子，同时这也是一种社会需要，事实也确是如此。 Others must be protected against her. It is a social necessity. And all these things are true. 然而由于释放体内能量的欲望而产生的一种盲目的无法控制的狂怒和一种成年人的羞耻感，使我一直坚持到最后。 But a blind fury，a feeling of adult shame， bred of a longing for muscular release are the operatives. One goes on to the end. 在最后失去理性的“战斗”中，我控制了女孩的脖子和下巴，我强行将沉重的银勺从她的牙后面伸到嗓子直到她作呕。 In the final unreasoning assault I overpowered the child's neck any jaws. I forced the heavy silver spoon back of her teeth and down her throat till she gagged. 果然，两个扁桃体上有着一层膜状物。她勇敢地反抗就是为了不让我发现她的这个秘密，她至少隐瞒了3天嗓子疼，并对父母撒谎，都是为了逃避这样一个结果。 And there it was – both tonsils covered with membrane. She had fought valiantly to keep me from knowing her secret. She had been hiding that sore throat for three days at least and lying to her parents in order to escape just such an outcome as this. 现在，她真的狂怒了，在这以前她一直处于守势，但是现在她开始进攻了。 Now truly she was furious. She had been on the defensive before but now she attacked， Tried to get off her father's lap and fly at me while tears of defeat blinded her eye.