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今日凌晨四时,早起晨读,发现俄国译家柳比莫夫曾经说过这样的话:“我在翻译某个作家的作品时,总是努力在俄罗斯文学中寻找与之对应的作家。这并不是说我在鼓励自己或别人‘照葫芦画瓢’,我是要寻找一个支点。”看到此段话时,我的第一反应是回头找我翻译John Galsworthy的Dancers时的屏幕录像。我实在惊呆了,我翻译时的所思所想真如柳比莫夫所说的那样,在寻找一个支点。Dancers这篇文章的支点就是我在高中时学过的一片古文《口技》,屏幕录像还告诉我,我翻译时只记得《口技》的篇名,而记不起作者,后来通过网上才查询出作者是林嗣环,翻译过程中对林嗣环的生平和《口技》的结构,用词特点进行了研究,而后才着手翻译Dancers。

Dancers
    
John Galsworthy
 
I was taken by a friend one afternoon to a theatre. When the curtain was raised, the stage was perfectly empty save for tall grey curtains which enclosed it on all sides, and presently through the thick folds of those curtains children came dancing in, singly, or in pairs, till a whole troop of ten or twelve were assembled. They were all girls; none, I think, more than fourteen years old, one or two certainly not more than eight. They wore but little clothing, their legs, feet and arms being quite bare. Their hair, too, was unbound; and their faces, grave and smiling, were so utterly dear and joyful, that in looking on them one felt transported to some Garden of Hesperides, a where self was not, and the spirit floated in pure ether. Some of these children were fair and rounded, others dark and elf like; but one and all looked entirely happy, and quite unselfconscious, giving no impression of artifice, though they had evidently had the highest and most careful training. Each flight and whirling movement seemed conceived there and then out of the joy of being — dancing had surely never been a labour to them, either in rehearsal or performance. There was no tiptoeing and posturing, no hopeless muscular achievement; all was rhythm, music, light, air, and, above all things, happiness. Smiles and love had gone to the fashioning of their performance; and smiles and love shone from every one of their faces and from the clever white turnings of their limbs.

Amongst them — though all were delightful — there were two who especially riveted my attention. The first of these two was the tallest of all the children, a dark thin girl, in whose every expression and movement there was a kind of grave, fiery love.

During one of the many dances, it fell to her to be the pursuer of a fair child, whose movements had a very strange soft charm; and this chase, which was like the hovering of a dragon fly round some water lily, or the wooing of a moon beam by the June night, had in it a most magical sweet passion. That dark, tender huntress, so full of fire and yearning, had the queerest power of symbolising all longing, and moving one's heart. In her, pursuing her white love with such wistful fervour, and ever arrested at the very movement of conquest, one seemed to see the great secret force that hunts through the world, on and on, tragically unresting, immortally sweet.

The other child who particularly enchanted me was the smallest but one, a brown haired fairy crowned with a half moon of white flowers, who wore a scanty little rose petal coloured shift that floated about her in the most delightful fashion. She danced as never child danced. Every inch of her small head and body was full of the sacred fire of motion; and in her little pas seul she seemed to be the very spirit of movement. One felt that Joy had flown down, and was inhabiting there; one heard the rippling of Joy's laughter. And, indeed, through all the theatre had risen a rustling and whispering; and sudden bursts of laughing rapture.

I looked at my friend; he was trying stealthily to remove something from his eyes with a finger. And to myself the stage seemed very misty, and all things in the world lovable; as though that dancing fairy had touched them with tender fire, and made them golden.

God knows where she got that power of bringing joy to our dry hearts: God knows how long she will keep it! But that little flying Love had in her the quality that lies deep in colour, in music, in the wind, and the sun, and in certain great works of art — the power to set the heart free from every barrier, and flood it with delight.


           
舞者
         
约翰·高尔斯华绥[1]
 
颜林海译
 
 
一日午后,应友人之约,赴一剧院观舞。幕启,厅事之上,空无一物,唯四周灰色幕布高垂而已。俄而于幕布厚折处,有孩童舞出,或独自舞蹈,或结伴联翩,舞者共计十又一二,皆为女童;余臆测,女童不过舞勺之年,或有一二仅为黄口之年。舞者着衣衫甚少,腿脚不着一物,胳膊赤裸。髫发下垂,面孔端庄而笑容灿烂,呈活泼可爱之状,晃眼视之,有如置身金苹果园,身躯不复存在,唯有精魂浮游于纯净之地。孩童之中,或肌肤白晰丰腴,或黝黑如小精灵;所跳之舞,受精心培训之状明显,然人人皆呈天真欢欣之貌,而毫无矫揉造作之态。其一举一动,仿佛发乎内,喜悦行乎外[2]——无论排练演出,舞步[3]绝无费力之感。既无蹑步蹈足、装模作样之姿态,亦无徒耗体力、漫无目标之动作;唯有节奏、音乐、灯光、神态,尤为要者,欢乐是也。舞姿之中,喜爱之情,浑然一体;喜爱之情,或见于舞者笑靥,或见于白皙肢体,或见于婆娑舞姿。舞者惹人喜爱,其中二人尤为瞩目。其一乃最高之女童,肌黝腰纤,一举一动,一颦一笑,无不呈端庄之容貌,端庄之中尽显火辣之情状。
 
舞蹈之中,有一情节,女童扮演一美童之追逐者,美童舞姿妩媚异常;追逐嬉戏,宛如蜻蜓嬉戏睡莲,宛如仲夏之夜,面向明月,倾诉衷肠,抒发撩人心魄之幽思。女猎手肌黝肤嫩,却情如火燎,魅力无比,既可为世间一切憧憬之徵实,亦可动世人之心神。女猎手黑追白,一腔热情呈现丝丝迷惘,一举一动,皆有征服之意,颇为诱人;由此情景,可窥见一神秘之伟力,盛行世间,反复不断,既可致人悲伤不安,亦可使人甜蜜心醉[4]。
 
另有一孩童,令我着迷,其身材逆数至二,发色浅棕,头戴白花半月冠,扮相俊俏似小精灵,身着短裙,裙衫绛英瓣瓣,光影颤动,飘飘欲仙。其舞姿优美远非孩童所及。孩童头颅肢体之间,处处闪烁着律动之圣火;“独舞”之中,孩童宛如舞之精灵。睹此情景,恍若喜从天降,且凝聚于此;倾耳相听,欢悦之声洋洋盈耳。此时此刻,满园啧啧声起,继而欢声雷动。
 
余睹友人,友人悄然以手拭眼。余亦眼似朦胧,氍毹不清,世间万物皆觉可爱;宛如飞仙轻点魔杖,一切皆成金光灿灿之色。
 
舞者可使枯竭之心田得到喜悦之滋润,如此力量从何而来,不得而知,唯有上帝知晓。 如此力量,可持续几时,不得而知,唯有上帝知晓!   

然如此蹁跹小爱神,身蕴如此力量,可解除心中障碍,充满喜悦,如此力量见于色彩乐曲、见于天风丽日,见于伟大之艺术珍品。
 

[1] 约翰·高尔斯华绥(John Galsworthy: 1867.8.14~1933.1.31) 英国小说家和剧作家。他放弃律师职业,成为一个作家,许多作品以法律为主题。在写出长篇巨著《福尔赛世家》(1922年完成)的第一部《有产业的人》(1906)之前,已出版了一些作品。他主要因这个家族纪事而闻名,它包含了由两段插曲相连的3本小说。他继续以福尔赛一家的故事为题材,写成另外三部小说,合称《现代喜剧》(1929)。他的剧作用自然主义手法剖析一些道德问题或社会问题,如《银匣》(1906)、《斗争》(1909)、《法网》(1910)和《忠诚》(1922)等。1932年获诺贝尔文学奖。本篇系他1910年所写的一个短篇随笔,文字工整秀丽,感情丰富饱满。

[2] 原文conceived there and then out of the joy of being中conceived意为“构想”,此处译为“发乎内”,“out of the joy of being”译为“喜悦形于外”。

[3] 原文dancing为动名词,此处译为“舞步”。

[4]“"In her, pursuing her white love with such wistful fervour, and ever arrested at the very movement of conquest, one seemed to see the great secret force that hunts through the world, on and on, tragically unresting, immortally sweet.” “her”指高个子女猎手,肌肤黝黑,white love 指被追逐者,肌肤白皙;wistful指full of yearning or desire tinged with melancholy;arrest意为“吸引”;此句译为“女猎手黑追白,一腔热情呈现丝丝迷惘,一举一动,皆有征服之意,颇为诱人;由此情景,可窥见一神秘之伟力,盛行世间,反复不断,既可致人悲伤不安,亦可使人甜蜜心醉。”