月亮和六便士 第十八章(1)

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　　In point of fact, I met Strickland before I had been a fortnight in Paris. 实际上，我在巴黎住了还不到两个星期就看到思特里克兰德了。

　　I quickly found myself a tiny apartment on the fifth floor of a house in the Rue¹ des Dames,  我没有费什么工夫就在达姆路一所房子的五层楼上租到一小间公寓。

　　and for a couple of hundred francs bought at a second-hand² dealer's enough furniture to make it habitable.  我花了两三百法郎在一家旧货店购置了几件家具，把屋子布置起来，

　　I arranged with the concierge³ to make my coffee in the morning and to keep the place clean.  又同看门的人商量好，叫她每天早晨给我煮咖啡，替我收拾房间。

　　Then I went to see my friend Dirk Stroeve. 这以后我就去看我的朋友戴尔克·施特略夫。

　　Dirk Stroeve was one of those persons whom, according to your character, you cannot think of without derisive⁴ laughter or an embarrassed shrug⁵ of the shoulders.  戴尔克·施特略夫是这样一个人：根据人们不同的性格，有人在想到他的时候鄙夷地一笑，有的则困惑地耸一下肩膀。

　　Nature had made him a buffoon⁶.  造物主把他制造成一个滑稽角色。

　　He was a painter, but a very bad one, whom I had met in Rome, and I still remembered his pictures.  他是一个画家，但他是一个很蹩脚的画家。我是在罗马和他认识的，我始终记得他那时画的画儿。

　　He had a genuine enthusiasm for the commonplace.  他衷心拜倒在平凡庸俗的脚下。

　　His soul palpitating with love of art,  他的灵魂由于对艺术的热爱而悸动着，

　　he painted the models who hung about the stairway of Bernini in the Piazza⁷ de Spagna, undaunted by their obvious picturesqueness;  他描摹悬在斯巴尼亚广场贝尼尼（乔凡尼·罗伦索·贝尼尼（1598—1680），意大利巴洛克派雕塑家、建筑家和画家）式楼梯上的一些画幅，一点儿也不觉得这些绘画美得有些失真。

　　and his studio was full of canvases on which were portrayed⁸ moustachioed, large-eyed peasants in peaked hats, urchins⁹ in becoming rags, and women in bright petticoats.  他自己画室里的作品张张画的是蓄着小胡须、生着大眼睛、头戴尖顶帽的农民，衣衫破烂但又整齐得体的街头顽童，和穿着花花绿绿的裙子的女人。

　　Sometimes they lounged at the steps of a church, and sometimes dallied¹⁰ among cypresses¹¹ against a cloudless sky;  这些画中人物有时候在教堂门口台阶上闲立，有时候在一片晴朗无云的碧空下的柏树丛中戏逐，

　　sometimes they made love by a Renaissance¹² well-head, and sometimes they wandered through the Campagna by the side of an ox-waggon.  有时候在有文艺复兴时期建筑风格的喷泉边调情，也有时候跟在牛车旁边走过意大利田野。

　　They were carefully drawn¹³ and carefully painted.  这些人物画得非常细致，色彩过于真切。

　　A photograph could not have been more exact.  就是摄影师也不能拍出更加逼真的照片来。

　　One of the painters at the Villa¹⁴ Medici had called him Le Maitre de la Boite a Chocoloats. 住在梅迪其别墅的一位画家管施特略夫叫做巧克力糖盒子的大画师。

　　To look at his pictures you would have thought that Monet, Manet, and the rest of the Impressionists had never been. 看了他的画，你会认为莫奈（克劳德·莫奈（1840—1926），法国画家）、马奈（埃多瓦·马奈（1832—1883），法国画家）和所有印象派画家从来不曾出现过。

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