最新Unit-7-The-Monster课文翻译综合教程四

Unit 7

The Monster

Deems Taylor

1He was an undersized little man, with a head too big for his body ― a sickly little man. His nerves were bad. He had skin trouble. It was agony for him to wear anything next to his skin coarser than silk. And he had delusions of grandeur.

2He was a monster of conceit. Never for one minute did he look at the world or at people, except in relation to himself. He believed himself to be one of the greatest dramatists in the world, one of the greatest thinkers, and one of the greatest composers. To hear him talk, he was Shakespeare, and Beethoven, and Plato, rolled into one. He was one of the most exhausting conversationalists that ever lived.

Sometimes he was brilliant; sometimes he was maddeningly tiresome. But whether he was being brilliant or dull, he had one sole topic of conversation: himself. What he thought and what he did.

3He had a mania for being in the right. The slightest hint of disagreement, from anyone, on the most trivial point, was enough to set him off on a harangue that might last for hours, in which he proved himself right in so many ways, and with such exhausting volubility, that in the end his hearer, stunned and deafened, would agree with him, for the sake of peace.

4It never occurred to him that he and his doing were not of the most intense and fascinating interest to anyone with whom he came in contact. He had theories about almost any subject under the sun, including vegetarianism, the drama, politics, and music; and in support of these theories he wrote pamphlets, letters, books ...

thousands upon thousands of words, hundreds and hundreds of pages. He not only wrote these things, and published them ― usually at somebody else’s expense ― but he would sit and read them aloud, for hours, to his friends, and his family.

5He had the emotional stability of a six-year-old child. When he felt out of sorts, he would rave and stamp, or sink into suicidal gloom and talk darkly of going to the East to end his days as a Buddhist monk. Ten minutes later, when something pleased him he would rush out of doors and run around the garden, or jump up and down off the sofa, or stand on his head. He could be grief-stricken over the death of

a pet dog, and could be callous and heartless to a degree that would have made a

Roman emperor shudder.

6He was almost innocent of any sense of responsibility. He was convinced that

the world owed him a living. In support of this belief, he borrowed money from everybody who was good for a loan ― men, women, friends, or strangers. He wrote begging letters by the score, sometimes groveling without shame, at others loftily offering his intended benefactor the privilege of contributing to his support, and being mortally offended if the recipient declined the honor.

7What money he could lay his hand on he spent like an Indian rajah. No one will ever know ― certainly he never knows ― how much money he owed. We do know that his greatest benefactor gave him $6,000 to pay the most pressing of his debts in one city, and a year later had to give him $16,000 to enable him to live in another city without being thrown into jail for debt.

8He was equally unscrupulous in other ways. An endless procession of women marched through his life. His first wife spent twenty years enduring and forgiving his infidelities. His second wife had been the wife of his most devoted friend and admirer, from whom he stole her. And even while he was trying to persuade her to leave her first husband he was writing to a friend to inquire whether he could suggest some wealthy woman ― any wealthy woman ― whom he could marry for her money.

9He had a genius for making enemies. He would insult a man who disagreed with him about the weather. He would pull endless wires in order to meet some man who admir ed his work and was able and anxious to be of use to him ― and would proceed to make a mortal enemy of him with some idiotic and wholly uncalled-for exhibition of arrogance and bad manners. A character in one of his operas was a caricature of one of the most powerful music critics of his day. Not content with burlesquing him, he invited the critic to his house and read him the libretto aloud in front of his friends.

10The name of this monster was Richard Wagner. Everything I have said about him you can fi nd on record ― in newspapers, in police reports, in the testimony of people who knew him, in his own letters, between the lines of his autobiography.

And the curious thing about this record is that it doesn’t matter in the least.

11Because this undersized, sickly, disagreeable, fascinating little man was right all the time, the joke was on us. He was one of the world’s greatest dramatists; he was a great thinker; he was one of the most stupendous musical geniuses that, up to now, the world has ever seen. The world did owe him a living. What if he did talk about himself all the time? If he talked about himself for twenty-four hours every day for the span of his life he would not have uttered half the number of words that other

men have spoken and written about him since his death.

12When you consider what he wrote ― thirteen operas and music dramas, eleven of them still holding the stage, eight of them unquestionably worth ranking among the world’s great musico-dramatic masterpieces ― when you listen to wh at he wrote, the debts and heartaches that people had to endure from him don’t seem much of a price.

13What if he was faithless to his friends and to his wives? He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dull, or downright bad, he is dull in the grand manner. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. It is a matter of being dumb with wonder that his poor brain and body didn’t burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great genius. Is it any wonder he had no time to be a man?

畸人

迪姆斯·泰勒

1 他是个大头小身体、病怏怏的矬子；成日神经兮兮，皮肤也有毛病。假使贴肉的地方不穿绫罗绸缎，他便痛苦至极。他还有自大妄想。

2 他是个骄傲自大的畸人。除非他以自我为中心和出发点，否则他片刻都不拿正眼看这个世界，看这些世人。他认为自己是这世上最伟大的剧作家之一，最伟大的思想家之一，还是最伟大的作曲家之一。听他说话，人们感觉他集莎士比亚、贝多芬和柏拉图于一身。他是有史以来最能把听众搞得疲惫不堪的话痨之一。有时他妙语连珠，有时却又令人厌烦到无法忍受。但不管他出彩也罢，乏味也罢，他的话题只有一个：他自己——他自己的所思所为。

3 他有种坚持自己一贯正确的狂热。任何人只要有一丝半点的不同意见，即使再微不足道，也是够让他高谈阔论几个钟头，用他那十分累人的雄辩从多方面论证自己是正确的，结果是他的听众听得目瞪口呆，两耳震聋，为了息事宁人，只好顺从他。

4 他从未意识到，那些与他来往的人对于他本人和他的所作所为并没有太大的兴趣。他对万事万物几乎都有自己的理论，包括素食主义、戏剧、政治与音乐。为了支持这些理论他写下小册子、信件和书籍……他写了千言万语，成百上千页。他不仅著书立说，还要刊行于世，而且往往不用他自掏腰包。他还正襟危坐，面对朋友和家人高声朗读这些作品，连续数

小时而孜孜不倦。

5 他的情感状态像6岁小儿那样不稳定。身体不舒服时，他会暴跳如雷，跺脚发泄；或是垂头丧气，痛不欲生，阴郁地表示他要远走东方，出家当和尚，终老一生。十分钟后，来了让他开心的事，他会冲出门去，在花园里奔跑打转，或在沙发上上蹦下跳，或者拿大顶。一只宠物小狗的死去会让他难过至极，但他的冷酷无情又足以令罗马暴君不寒而栗。

6 他几乎一点责任感都没有，坚信世人就该供养他。为了支持这种信念，他从所有能借到钱的人那里借钱——男人，女人，朋友，甚至是陌生人。他大量写信求人家借钱给他，有时不知羞耻，低声下气，而有时却又傲慢地给他看上的施主授予资助他的特权。如果收信人拒绝接受帮助他的尊荣，他便大为光火。

7 对于他仅有的一点点钱，他也挥霍无度，堪比印度的王公。从来没人知道----当然他自己也从来不知道——他到底欠了多少钱。我们能确证的是，对他最慷慨的施主给了他6,000美元来偿还他在某城市欠下的债务，解了他的燃眉之急；一年之后又不得不给他16,000美元使他能在另一个城市混下去，免遭因债台高筑而被投入大牢的命运。

8 其他方面他也一样肆无忌惮，寡廉鲜耻。无数女人在他生活中往来不绝。第一任妻子和他相处了20年，不断忍受和原谅他的不忠。第二任妻子曾是他最忠实的朋友和仰慕者的前妻，他还是将她据为己有。甚至在他劝说这个即将成为他第二任妻子的女人离开她丈夫的同时，他还在给一个朋友写信，问他是否能推荐一个富婆——随便什么富婆——能嫁给他，尽管他在意的只是她的钱财。

9 他擅长树敌。如果有人就天气问题和他意见不一，他便侮辱此人。他一直暗地里想方设法结交仰慕他作品的人士，仰慕者能够并且渴望被他利用——随后他却用愚不可及、毫无缘由的傲慢无礼把这位人士变成和自己不共戴天的死敌。他一部歌剧中的某个人物原型来自于和他同时代的最有影响力的音乐批评家之一，他把这位批评家的形象以漫画形式呈现。就这么嘲讽他还不满足，还请他到家里来，在一帮朋友面前大声把相关歌词读给他听。

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11 因为这位矮墩墩、病怏怏、讨人嫌却很迷人的小个子是一贯正确的，该被笑话的是我们。他是世上最伟大的戏剧家之一，他是位伟大的思想家，他是世上迄今为止最了不起的音乐天才之一。世人就该供养他。假如他片刻不停地谈论他自己又如何呢？假设他每天24小时，一生中的每一天都在谈论他自己，他所说的话还及不上自他身故至今世人对他的口头和书面评论的一半篇幅。

12 当你想想他所写的作品——13部歌剧和音乐剧，其中11部至今仍然盛演不衰，其中8部毋庸置疑地雄踞世界伟大的音乐戏剧杰作之列——当你聆听他的作品，他欠下的债务和给人们带来的心痛看起来不算多大的代价。

13 他对朋友和妻子不忠又如何呢？他对一位情人至死不渝，那就是音乐。他片刻都没有出

卖过他的信仰，他的梦想。他的每一行音乐都不是出自等闲之辈。即便在他令人生厌的时候，在他十足道德败坏的时候，他也坏得了不起。聆听着他的音乐，他的所作所为相形之下简直不足挂齿，根本谈不上原谅不原谅。这简直就是一个让人难以言表的奇迹，他那可怜的大脑和身体竟然没有在如此强大的创造力的折磨下崩溃，这个恶魔挣扎着，抓挠着要挣脱出来，撕扯着，尖叫着，想要他把内心的音乐谱写出来。在他短短70年的生命历程中，他取得了几乎难以企及的成就，即便对一位伟大的天才来说也是如此。这就是奇迹。那么他没时间好好做人，有什么值得大惊小怪的吗？