漫游东西世界(外研社双语读库)
Author: [英] E. V. 卢卡斯（E. V. Lucas）
Date: 2010-02-01
Publisher: FLTCN

E. V. Lucas
Roving East and Roving West
漫游东西世界

E. V. 卢卡斯（英）  著

外研社编译组  译

外语教学与研究出版社
FOREIGN LANGUAGE TEACHING AND RESEARCH PRESS
北京 Beijing

Chinese translation copyright © Foreign Language Teaching and Research Press 2011

All rights reserved. No part of this publication may be reproduced or distributed by any means, or stored in a database or retrieval system, without the prior written permission of Foreign Language Teaching and Research Press.

本书版权由外语教学与研究出版社独家所有。如未获得该社书面同意，书中任何部分之文字及图片，不得用任何方式抄袭、节录、翻印或存储利用于任何数据库及检索系统等。

Published by Foreign Language Teaching and Research Press

No. 19 Xisanhuan Beilu
Beijing, China 100089
http://www.fltrp.com

目 录

- India  印度

- Japan  日本

- America  美国

India

印度

Noiseless Feet

无声的脚步

Although India is a land of walkers, there is no sound of footfalls. Most of the feet are bare and all are silent: dark strangers overtake one like ghosts.

尽管在印度这片土地上，有很多人在走路，却听不见他们的脚步声。大多数人光着脚板，所有的脚板踩在地上都不发出一点声响：皮肤黝黑的陌生人，像幽灵一样超到你的前面。

Both in the cities and the country some one is always walking. There are carts and motorcars, and on the roads about Delhi a curious service of camel omnibuses, but most of the people walk, and they walk ever. In the bazaars they walk in their thousands; on the long, dusty roads, miles from anywhere, there are always a few, approaching or receding.

无论城里还是乡下，总有人在漫步。尽管有马车，有汽车，德里附近的公路上还有一种奇特的骆驼公共交通车，但大多数人依然选择步行，而且总在走着。集市里，成千上万的人在漫步；尘土飞扬的漫长公路上，即使前不着村、后不着店，也总能看到那么几个人向你走来或是渐渐远去。

It is odd that the only occasion on which Indians break from their walk into a run or a trot is when they are bearers at a funeral, or have an unusually heavy head-load, or carry a piano. Why there is so much piano-carrying in Calcutta I cannot say, but the streets (as I feel now) have no commoner spectacle than six or eight merry, half-naked fellows, trotting along, laughing and jesting under their burden, all with an odd, swinging movement of the arms.

奇怪的是，只有在葬礼上抬着棺材时，头上顶着的东西格外沉重时，或抬着钢琴时，印度人才会奔跑或是小跑起来。我说不清为什么加尔各答总是有那么多钢琴要抬，但是街上（我现在觉得）最常见的场景就是，六至八个快活的，半裸着身子的人，一路小跑，抬着担子，嬉笑打趣，每个人的胳膊都以一种奇特的节奏摆动着。

One of one's earliest impressions of the Indians is that their hands are inadequate. They suggest no power.

印度人给人的第一印象之一是四肢无力、缺乏力量。

Not only is there always some one walking, but there is always some one resting. They repose at full length wherever the need for sleep takes them; or they sit with pointed knees. Coming from England one is struck by so much inertness; for though the English labourer can be lazy enough he usually rests on his feet, leaning against walls: if he is a land labourer, leaning with his back to the support; if he follows the sea, leaning on his stomach.

不仅总是有人在漫步，而且总有人在休息。只要他们想睡觉，就会平躺下来或抱膝而坐。英国人惊讶于他们的懒散，因为英国的劳动者再懒散也不过是站着休息，倚靠着墙壁。地里劳作的人仰靠着休息；海上的水手们俯倚着休息。

It was interesting to pass on from India and its prostrate philosophers with their infinite capacity for taking naps, to Japan, where there seems to be neither time nor space for idlers. Whereas in India one has continually to turn aside in order not to step upon a sleeping figure—the footpath being a favourite dormitory—in Japan no one is ever doing nothing, and no one appears to be weary or poor.

暂且不论印度，不论那些永远睡不够、喜欢趴着的哲学家，转而看日本——这个时间和空间上都容不下游手好闲之人的国家，就会发现一种有趣的对照。在印度，你总得让到一边以避免踩到躺在地上睡觉的人——而人行道是一处很受欢迎的宿处——在日本，每个人时时刻刻都在做事，没有一个人看起来疲惫或虚弱。

India, save for a few native politicians and agitators, strikes one as a land destitute of ambition. In the cities there are infrequent signs of progress; in the country none. The peasants support life on as little as they can, they rest as much as possible and their carts and implements are prehistoric. They may believe in their gods, but fatalism is their true religion. How little they can be affected by civilisation I learned from a tiny settlement of bush-dwellers not twenty miles from Bombay, close to that beautiful lake which has been transformed into a reservoir, where bows and arrows are still the only weapons and rats are a staple food. And in an hour's time, in a car, one could be telephoning one's friends or watching a cinema!

除去本国的寥寥几个政客和煽动者，印度给人的印象是一个没有野心的国家。在城里，很少看到体现进步的标志；在乡下，则完全找不到进步的踪影。农民用尽可能少的资源维持生计，尽可能多地休息，用着非常原始的车和农具。他们也许会相信他们的神，但真正的宗教信仰却是宿命论。一小批灌木丛中的居民让我意识到，现代文明对他们的影响微乎其微。那是一个离孟买不到20英里的小村落，附近有一片美丽的湖泊，如今已被改造成一个水库。在那里，弓箭是他们仅有的武器，老鼠是他们的主食。而从那里出来你只需要坐一个小时的车，就可以打电话给朋友或是去看一场电影！

The Sahib

老爷

I did not have to wait to reach India for that great and exciting moment when one is first called "Sahib." I was addressed as "Sahib," to my mingled pride and confusion, at Marseilles, by an attendant on the steamer which I joined there. Later I grew accustomed to it, although never, I hope, blase; but to the end my bearer fascinated me by alluding to me as Master—not directly, but—impersonally, as though it were some other person that I knew, who was always with me, an alter ego who could not answer for himself: "Would Master like this or that?" "At what time did Master wish to be called?"

还没到印度我就体会到了第一次被人称作“老爷”的兴奋与激动。在马赛我所乘的一艘汽轮上一位侍者称我为“老爷”，我当时既骄傲又疑惑。后来我慢慢适应了这种叫法，尽管我希望自己永远不会对此感到腻烦，但是航程最后我的脚夫却暗指我为主人，这让我兴奋——他没有直接说，而是间接暗示。客观说来，这称谓好像是我认识的某个人，他总在我身边，是一个无法自己回答问题的自我变体：“主人喜欢这个还是那个？”“什么时候叫主人？”

And then the beautiful "Salaam!"

接着是一个漂亮的“敬礼”！

I was sorry for the English doomed to become so used to Eastern deference that they cease to be thrilled.

对那些生来就习惯了东方人敬重而不再感到激动的英国人，我为他们感到很遗憾。

The Passing Show

流动的展览

It is difficult for a stranger to India, especially when paying only a brief visit, to lose the impression that he is at an exhibition—in a section of a World's Fair. How long it takes for this delusion to wear off I cannot say. All I can say is that seven weeks are not enough. And never does one feel it more than in the bazaar, where movement is incessant and humanity is so packed and costumes are so diverse, and where the suggestion of the exhibition is of course heightened by the merchants and the stalls. What one misses is any vantage point—anything resembling a chair at the Cafe de la Paix[1] in Paris, for instance—where one may sit at ease and watch the wonderful changing spectacle going past. There are in Indian cities no such places. To observe the life of the bazaar closely and be unobserved is almost impossible.

外地人初到印度，尤其只是短暂停留的人难免会觉得自己是在参观一个展览——世界博览会的一部分。我说不准具体要多久这种错觉才会渐渐消失，但我知道七周的时间是不够的。集市比其他地方更能使人产生这种错觉，因为在那里，人群川流不息，拥挤不堪，服装各异，当然，商人和货摊又进一步强化了展览的气氛。人们找不到好的视角——比如类似巴黎和平咖啡馆里的一把椅子——可以悠闲地坐着，欣赏这美妙、变幻的景致在面前经过。然而，在印度的城市，没有这样的地方，因此在不被注意的情况下近距离观察集市生活几乎是不可能的。

It would be extraordinarily interesting to sit there, beside some wellinformed Anglo-Indian or Indo-Anglian, and learn all the minutia of caste and be told who and what everybody was: what the different ochre marks signified on the Hindu foreheads; what this man did for a living, and that; and so forth. Even without such an informant I was never tired of drifting about the native quarters in whatever city I found myself and watching the curiously leisurely and detached commercial methods of the dealers—the money lenders reclining on their couches; the pearl merchants with their palms full of the little desirable jewels; the silversmiths hammering; the tailors cross-legged; the whole Arabian Nights pageant. All the shops seem to be overstaffed, unless an element of detached inquisitiveness is essential to business in the East. No transaction is complete without a few watchful spectators, usually youths, who apparently are employed by the establishment for the sole purpose of exhibiting curiosity.

坐在那里，听旁边某个见闻广博的盎格鲁血统的印度人或印度血统的盎格鲁人详细讲述印度的社会阶层和每个人的来历、身份，是一件非常有意思的事：印度人额头上不同的赭色印记代表什么，这个人靠什么谋生，以及这样或那样的问题。每到一个城市，即使没人给我讲这些，我也会乐此不疲地到当地各处随意走走，去观察商人们新奇、闲适、超然的经营方式——放债人躺在躺椅里；珍珠商手心里放满吸引人的小珠宝；银器匠敲着小锤；裁缝师翘着二郎腿；完全是《天方夜谭》中的盛大场面；如果不是因为不经意的好奇是东方买卖的一个基本要素，那么所有的商店都会显得人浮于事。每笔交易总要有几个人在一旁仔细观看，否则就不算完整。观看者通常是些年轻人，显然是被商家雇来只为显示好奇心的。

I picked up a few odds and ends of information, by degrees, but only the more obvious: such as that the slight shaving of the Mohammedan's upper lip is to remove any impediment to the utterance of the name of Allah[2]; that the red-dyed beards are a record that their wearers have made the pilgrimage to Mecca; that the respirator often worn by the Jains is to prevent the death of even a fly in inhalation. I was shown a Jain woman carefully emptying a piece of wood with holes in it into the road, each hole containing a louse which had crawled there during the night but must not be killed. The Jains[3] adore every living creature; the Hindus chief ly the cow. As for this divinity, she drifts about the cities as though they were built for her, and one sees the passers-by touching her, hoping for sanctity or a blessing. A certain sex inequality is, however, only too noticeable, and particularly in and about Bombay, where the bullock cart is so common—the bullock receiving little but blows and execration from his drivers.

我逐渐了解了一些零星的信息，但都是些显而易见的：比如伊斯兰教徒稍加修剪的上唇胡子，是为了更好地叫出真主阿拉的名字；染红的胡须是对麦加朝圣之旅的记录；耆那教徒经常戴着口罩以免呼吸时犯下杀生之罪（哪怕只是吸入一只苍蝇）。我见过一个耆那女教徒在路上仔细清理一截有很多小洞的木头，每个洞里都有一只虱子，这些虱子是在晚上爬进去的，但又不能杀掉。耆那教徒崇拜一切生物，印度教徒主要崇拜母牛。母牛在城市里四处游荡，仿佛这些城市是为她而建的，你能看见有路人轻触她，以求圣洁或保佑。然而，对牛的性别歧视非常明显，尤其是在孟买和其附近的地方，公牛拉车很常见——它们所得甚少，却还要遭受驱车人的鞭打和咒骂。

The sacred pigeon is also happy in Bombay, being fed copiously all day long; and I visited there a Hindu sanctuary, called the Pingheripole, for every kind of animal—a Home of Rest or Asylum—where even pariah dogs are fed and protected.

圣鸽也很高兴住在孟买，整天不愁吃。我游览了那里的一个印度禁猎区——平赫里保勒，为各种动物提供休憩的家园或庇护所——即使流浪狗在那里也能得到喂养和保护。

I was told early of certain things one must not do: such as saluting with the left hand, which is the dishonourable one of the pair, and refraining carefully, when in a temple or mosque, from touching anything at all, because for an unbeliever to touch is to desecrate. I was told also that a Mohammedan grave always gives one the points of the compass, because the body is buried north and south with the head at the north, turned towards Mecca. The Hindus have no graves.

早先，就有人告诫我有些事是不能做的：比如用左手敬礼，因为左手是双手中相对不净的一只。进入寺庙或清真寺，要小心避免触碰任何东西，因为对于非信徒来说，触碰就是亵渎。我还听说伊斯兰教徒的陵墓能指明方位，因为遗体是南北向埋葬的，头朝北，面向麦加的方向。而印度教徒是没有坟墓的。

In India the Occidental, especially if coming from France as I did, is struck by the absence of any out-of-door communion between men and women. In the street men are with men, women with women. Most women lower their eyes as a man approaches, although when the woman is a Mohammedan and young one is often conscious of a bright black glance through the veil. There is no public fondling, nothing like the familiar demonstrations of affection that we are accustomed to in Paris and London (more so during the War and since) and in New York. Nothing so offends and surprises the Indian as this want of restraint and shame on our part, and in Japan I learned that the Japanese share the Indian view.

在印度的西方人，尤其是像我一样从法国来的，很难理解在户外男女没有交流的情形。街上，男人跟男人在一起，女人跟女人在一起。遇到男人时大多数妇女会垂下眼睛，但通常能感觉到信奉伊斯兰教的年轻女子明亮的黑色眼眸透过面纱投来的轻轻一瞥。没有人会在公共场合下调情，也看不到巴黎、伦敦（一战爆发以来更是如此）和纽约街头常见的示爱方式。没有什么比我们这种缺乏自制和羞耻心的行为更让印度人愤怒和惊讶了。我在日本时发现，日本人在这个问题上也是一样。

It seemed to me that the chewing of the betel-nut is more prevalent in Bombay than elsewhere. One sees it all over India; everywhere are moving jaws with red juice trickling; but in Bombay there are more vendors of the rolled-up leaves and more crimson splashes on pavement and wall. It is an unpleasant habit, but there is no doubt that teeth are ultimately the whiter for it. Even though I was instructed in the art of betel-nut chewing by an Indian gentleman of world-wide fame in the cricket field, from whom I would willingly learn anything, I could not endure the experience.

在我看来，孟买似乎是最盛行嚼槟榔的城市。尽管全印度的人都在嚼槟榔，到处可见人们动着下巴，嘴边淌着红色的汁液，但是孟买的槟榔小贩最多，路上墙上的深红色污迹也最多。这是个令人厌恶的习惯，但是毫无疑问，牙齿也正因此而更加洁白。尽管也曾有一位在板球界举世闻名的印度绅士教过我嚼槟榔的技巧，我愿意跟他学习任何东西，但忍受不了嚼槟榔。

Most nations, I suppose, look upon the dances of other nations with a certain perplexity. Such glimpses, for example, as I had in America of the movement known as the Shimmie Shake[4] filled me with alarm, while Orientals have been known to display boredom at the Russian Ballet. Personally I adore the Russian Ballet, but I found the Nautch very fatiguing. It is at once too long and too monotonous, but I dare say that if one could follow the words of the accompanying songs, or cantillations, the result might be more entertaining. That would not, however, improve the actual dancing, in which I was disappointed. In Japan, on the other hand, I succumbed completely to the odd, hypnotic mechanism of the Geisha, the accompaniments to which are more varied, or more acceptable to my ear, than the Indian music. But I shall always remember the sounds of the distant, approaching or receding, snakecharmers' piping, heard through the heat, as it so often is on Sundays in Calcutta. To my inward ear that is India's typical melody; and it has relationship to the Punch and Judy[5] allurement of our childhood.

我想，大多数国家都对其他国家的舞蹈感到有些困惑。比如，我在美国见过的希米舞就让我满怀惊愕。而人们都知道，东方人觉得俄罗斯芭蕾舞很无趣。我个人喜欢俄罗斯芭蕾舞，但觉得印度舞女的舞蹈很乏味，它太长、太单调了。不过我敢说，如果你跟得上伴舞歌曲或吟唱的歌词，就能体会到更多的乐趣。当然这于舞蹈本身并无改进，我对舞蹈感到失望。然而，在日本，我完全沉醉于艺伎奇特而催人入眠的舞曲中。对我来说这种伴奏比印度舞曲更多样化、更悦耳。但是我永远记得在加尔各答的星期天时常听见的远处耍蛇艺人的笛声，忽远忽近，在热浪中传送。就我的内心感觉而言，那才是典型的印度音乐，其魅力宛如我们童年所喜欢的木偶戏《庞奇和朱迪》。

It was in Bombay that I saw my first fakir, and in Harrison Road, Calcutta, my last. There had been so long a series in between that I was able to confirm my first impression. I can now, therefore, generalize safely when saying that all these strange creatures resemble a blend of Tolstoi and Mr. Bernard Shaw. Imagine such a hybrid, naked save for a loin cloth, and smeared all over with dust, and you have a holy man in the East. The Harrison Road fakir, who passed on his way along the crowded pavement unconcerned and practically unobserved, was white with ashes and was beating a piece of iron as a wayward child might be doing. He was followed by a boy, but no effort was made to collect alms. It is true philosophy to be prepared to live in such a state of simplicity. Most of the problems of life would dissolve and vanish if one could reduce one's needs to the frugality of a fakir. I have thought often of him since I returned, in London, to all the arrears of work and duty and the liabilities that accumulate during a long holiday; but never more so than when confronted by a Peace-time tailor's bill.

我第一次见到托钵僧是在孟买的哈里森路，最后一次是在加尔各答。其间还见过很多，不断加深着我对他们的最初印象，因此，现在我才能有把握地对这些奇怪的人作个总结——即托尔斯泰和萧伯纳的结合。想象这两个人的组合体，半裸着身子，裹着一块腰布，满身尘土，这就是一位东方贤哲的形象了。哈里森路上的那位托钵僧走在拥挤的人行道上，没有人关心他，也没有人看他一眼，这位如死灰般苍白的僧人，像个任性的孩子一样敲打着手中的铁片。他身后跟着一个男孩，但是两人并无劝募之意。人生的真谛即是准备好生活在这种简单的状态中。如果人的所求和托钵僧一样简单，那么人生的大多数问题也就迎刃而解，化为乌有。回到伦敦，面对长假中积累起来的所有未做之事、需承担的所有义务和责任之时，我常常想起这位僧人。收到和平年代裁缝的账单时，尤其如此。

India's Birds

印度的鸟

One of the first peculiarities of Bombay that I noticed and never lost sight of was the kites. The city by day is never without these spies, these sentries. From dawn to dusk the great unresting birds are sailing over it, silent and vigilant. Whenever you look up, there they are, crisscrossing in the sky, swooping and swerving and watching. After a while one begins to be nervous: it is disquieting to be so continually under inspection. Now and then they quarrel and even fight: now and then one will descend with a rush and rise carrying a rat or other delicacy in its claws; but these interruptions of the pattern are only momentary. For the rest of the time they swirl and circle and never cease to watch. Bombay also has its predatory crows, who are so bold that it is unsafe to leave any bright article on the veranda table. Spectacles, for example, set up a longing in their hearts which they make no effort to control. But these birds are everywhere. At a wayside station just outside Calcutta, in the early morning, the passengers all had tea, and when it was finished and the trays were laid on the platform, I watched the crows, who were perfectly aware of this custom and had been approaching nearer and nearer as we drank, dart swiftly to the sugar basins and carry off the lumps that remained. The crow, however, is, comparatively speaking, a human being; the kite is something alien and a cause of fear, and the traveller in India never loses him. His eye is as coldly attentive to Calcutta as to Bombay.

老鹰是我首先注意到的孟买的一个特色，这些老鹰也从未离开过我的视线。白天，在这座城市总能看到这些侦探和哨兵。从黎明到黄昏，这些不知疲倦的大鸟在天空中飞翔，沉默而机警。一抬头，就能看到它们在空中交错飞翔，或俯冲下来、或瞬即转向、或留神监视。观察些时候，你就会紧张起来，时刻受到监视总让人感到不安；它们时不时地争吵甚至打斗一阵，时不时会有一只老鹰俯冲下来抓起一只老鼠或其他美味返回天空。这些中断只是暂时的，其他时候它们在天空中盘旋，一刻也不停地进行监视。孟买也有食肉鸦，它们非常大胆，因此把任何闪闪发亮的东西放在阳台的桌上都是不安全的。比如，眼镜就能激起它们心中的渴望，而它们绝对不会压制这种渴望。这种鸟到处都是。一天清晨，在加尔各答城外的一个路边车站，乘客们都在喝早茶，喝完后，茶盘都放在站台上，我看到几只食肉鸦——它们早已熟悉了这种习惯——趁我们喝茶的时候缓缓接近，此刻便迅速冲向糖缸，拾起剩下的糖块。不过，相对而言，乌鸦是人的同类，而老鹰更像异类，让人产生恐惧，印度的旅人怎么都逃脱不了老鹰。它像注视孟买那样冷冷地注视着加尔各答。

It is, of course, the indigenous birds of a country that emphasise its foreignness far more than its people. People can travel. Turbaned heads are, for example, not unknown in England; but to have green parrots with long tails flitting among the trees, as they used to fl it in my host's garden in Bombay, is to be in India beyond question. At Raisina we had mynahs and the babblers, or "Seven Sisters," in great profusion, and also the King Crow with his imposing tail; while the little striped squirrels were everywhere. These merry restless little rodents do more than run and scamper and leap: they seem to be positively lifted into space by their tails. Their stripes (as every one knows) came directly from the hand of God, recording for ever how, on the day of creation, He stroked them by way of approval.

当然，当地的鸟类比当地的人民更能突出这个国家的异域特色。人们可以四处旅行，例如，在英国也能看到裹着头巾的人。但是在树丛间掠过的长尾绿鹦鹉无疑是印度独有的，就像我曾在孟买房东的花园见过的那样。在莱辛纳有很多八哥和鹛鸟，或者叫“七姐妹”。还有王鸦拖着神气的尾巴，随处可见身上带条纹的松鼠。这些快乐而不知疲倦的小啮齿动物们不止是奔跑、蹦跳：它们似乎都被尾巴举到了空中。它们身上人们熟知的条纹直接来自上帝之手，记录了它们被创造出来的那一天，上帝对它们的爱抚。

No Indian bird gave me so much pleasure to watch as the speckled kingfishers, which I saw at their best on the Jumna[6] at Okhla[7]. They poise in the air above the water with their long bills pointed downwards at a right-angle to their fluttering bodies, searching the depths for their prey; and then they drop with the quickness of thought into the stream. The other kingfisher—coloured like ours but bigger—who waits on an overhanging branch, I saw too, but the evolutions of the hovering variety were more absorbing.

印度的鸟中，斑点翠鸟带给我最大的观赏乐趣，我发现奥克拉的朱木拿河是观赏翠鸟的最佳位置。它们以一种优美而平稳的姿态立在水上，扑腾着翅膀，长长的鸟喙向下伸着，与身体成直角，在深水中寻觅猎物，一旦有所发现便立即钻入水中。我还见过另一种翠鸟，羽毛颜色跟我们的翠鸟相似，但比我们的鸟大，它们栖息在高高的枝头。但是盘旋水上的翠鸟更具观赏性。

When one is travelling by road, the birds that most attract the notice are the peacocks and the giant cranes; while wherever there are cattle in any numbers there are the white paddy birds, feeding on their backs—the birds from which the osprey plumes are obtained. One sees, too, many kinds of eagle and hawk. In fact, the ornithologist can never be dull in this country.

如果你在陆路旅行，最引人注目的就是孔雀和巨鹤。只要有牛群的地方，就能看见白色的稻田鸟，站在牛背上吃食。女帽上的装饰羽毛就是取自这种鸟。你也能看到各种各样的鹰。事实上，鸟类学者在这个国家绝不会感到无聊。

Wild animals I had few opportunities to observe, although a mongoose at Raisina gave me a very amusing ten minutes. At Raisina, also, the jackals came close to the house at night; and on an early morning ride in a motorcar to Agra we passed a wolf, and a little later were most impudently raced and outdistanced by a blackbuck, who, instead of bolting into security at the sight or sound of man, ran, or rather, advanced—for his progress is mysterious and magical—beside us for some forty yards and then, —with a laugh, put on extra speed (we were doing perhaps thirty miles an hour) and disappeared ahead. All about Muttra we dispersed monkeys up the trees and into the bushes as we approached. Next to the parrots it is the monkeys that most convince the traveler that he is in a strange tropical land. And the flying foxes. Nothing is more strange than a tree full of these creatures sleeping pendant by day, or their silent swift black movements by night.

我少有机会见到野生动物，不过在莱辛纳遇到一只猫鼬，我愉悦地观赏了十分钟。在莱辛纳，夜幕降临后，豺狼也会逼近房舍。一天清晨，我们坐着汽车前往阿格拉，路上，一只狼从我们车旁经过。没过多久，又遇见一只印度黑羚，它竟狂妄地同我们赛跑起来，还超过了我们。它看到我们，听到我们的声音，非但没有闪躲之意，反而奔跑起来，确切的说是在向前冲（这让人觉得诡异和神奇）。同我们并行奔跑了约40码之后，它长嗥一声，加快了速度（我们的时速约为每小时30英里），消失在前方。走近马图拉，我们每到一处，都能看见猴子四散爬上树枝或躲进灌木丛。除去鹦鹉，就属猴子最能让旅人感受到自己身处一片陌生的热带土地。还有狐蝠，没有什么比满树狐蝠更为奇异的景致了，白天它们悬吊在枝头睡觉，夜间它们的黑影悄声掠过。

I saw no snakes wild, but in the Bacteriological Laboratory at Parel in Bombay, which Lt.-Col. Glen Liston controls with so much zeal and resourcefulness, I was shown the process by which the antidotes to snake poisoning are prepared, for dispersion through the country. A cobra or black snake is released from his cage and fixed by the attendant with a stick pressed on his neck a little below the head. The snake is then firmly and safely held just above this point between the f nger and thumb, and a tumbler, with a piece of flannel round its edge, is proffered to it to bite. As the snake bites, a clear yellow fluid, like strained honey in colour and thickness, flows into the glass from the poison fangs. This poison is later injected in small doses into the veins of horses kept carefully for the purpose, and then, in due course, the blood of the horses is tapped in order to make the anti-toxin. Wonderful are the ways of science! The Laboratory is also the headquarters of the Government's constant campaign against malaria and guinea worm, typhoid and cholera, and, in a smaller degree, hydrophobia. But nothing, I should guess, would ever get sanitary sense into India, except in almost negligible patches.

我没见过野生蛇，但是在孟买帕雷尔，由格伦·利斯顿中校以高昂的热情与智慧指挥的一个细菌实验室里，我看到了蛇毒解药调制的过程，这种药将分发至全国各地。从笼里放出一条眼镜蛇或黑蛇，助理将一根木棍置于蛇头下部一点，将其颈部固定住，这样用大拇指和其他任意一根手指就能牢固、安全地握住固定点往上的部位。另外还准备了一只平底玻璃杯让它咬，杯子边缘缠了一层绒布。当蛇咬住杯子时，一种清亮的黄色液体自毒牙流至杯中，颜色和浓度像滤过的蜂蜜。稍后，便将小剂量的这种毒液注射到专门精心饲养的马匹的血管中，接下来，等到合适的时候，再将马匹身体里的血液抽取出来，制成抗毒素。科学真是奇妙！实验室同时也是政府长期抗击疟疾、麦地那龙线虫、伤寒、霍乱，以及（相对次要的）狂犬病的总部。但是，我认为印度无论如何也卫生不起来，除了极少一些地区。

The Towers Of Silence

寂静之塔

The Parsees[8] have made Bombay their own, more surely even than the Scotch possess Calcutta. Numerically very weak, they are long-headed and far-sighted beyond any Indian and are better qualified to traffick and to control. All the cotton mills are theirs, and theirs the finest houses in the most beautiful sites. When that conflict begins between the Hindus and the Mohammedans which will render India a waste and a shambles, it is the Parsees who will occupy the high places—until a more powerful conqueror arrives.

帕西人认为孟买属于帕西人，就像苏格兰人认为加尔各答属于苏格兰，只不过帕西人的这种信念更加坚定。从数量上来说，帕西人很弱小，但是他们比任何印度人都更加精明敏锐、具有远见卓识，并更擅长交易和管理。所有的棉花工厂都是他们开的，他们在最漂亮的住宅区拥有着最高级的房子。一旦印度教徒同伊斯兰教徒发生冲突，将印度变成一片荒凉混乱之地，那么占领高地的将会是帕西人——直到一个更强大的征服者出现。

Bombay has no more curious sight than the Towers of Silence, the Parsee cemetery; and one of the first questions that one is asked is if one has visited them. But when the time came for me to ascend those sinister steps on Malabar Hill[9] I need hardly say that my companion was a many years' resident of Bombay who, although he had long intended to go there, had hitherto neglected his opportunities. Throughout my travels I was, it is pleasant to think, in this way the cause of more sightseeing in others than they might ever have suffered. To give but one other instance typical of many—I saw Faneuil Hall[10] in Boston in the company of a Bostonian some thirty years of age, whose office was within a few yards of this historic and very interesting building, and whose business is more intimately associated with culture than any other, but who had never before crossed the threshold.

寂静之塔——帕西人公墓，是孟买最为奇特的景致。一个人初到印度，总会被问及是否去瞻仰过他们。我终于有机会沿着马拉巴尔山脉的台阶拾级而上，与我同去的朋友虽然在孟买居住多年，早就计划要去那里，却一再错过机会。我在旅途中促成了很多人的观光之行，不然，他们也许至今也不会去那些地方。这样想来，令我十分愉快。再举个典型的例子，我参观波士顿的法纳尔大厅是在一个三十岁上下的波士顿人的陪同下去的，他的办公室距离这座具有历史意义又饶有趣味的大楼仅几码之遥，他做的工作又与文化密切相关，但此前却从未踏入法纳尔大厅。

The Towers of Silence, which are situated in a very beautiful park, with little temples among the trees and flowers, consist of five circular buildings, a model of one of which is displayed to visitors. Inside the tower is an iron grating on which the naked corpses are laid, and no sooner are they there than the awaiting vultures descend and consume the flesh. I saw these grisly birds sitting expectantly in rows on the coping of the towers, and the sight was almost too gruesome. Such is their voracity that the body is a skeleton in an hour or so. The Parsees choose this method of dissolution because since they worship fire they must not ask it to demean itself with the dead; and both earth and water they hold also too sacred to use for burial. Hence this strange and—at the first blush—repellant compromise. The sight of the cemetery that awaits us in England is rarely cheering, but if to that cemetery were attached a regiment of cruel and hideous birds of prey we should shudder indeed. Whether the Parsees shudder I cannot say, but they give no sign of it. They build their palaces in full view of these terrible Towers, pass, on their way to dinner parties, luxuriously in Rolls-Royces beside the trees where the vultures roost, and generally behave themselves as if this were the best possible of worlds and the only one. And I think they are wise.

寂静之塔坐落在一座非常美丽的公园内，花间树丛中点缀着一些小寺庙。寂静之塔由五座圆形建筑构成，还有一座依照其中一座塔楼修建的塔供游客参观。走进塔内，可以看见一块铁格栅，上面摆放着赤裸的尸体，尸体刚一放上去，就引来一群等候在旁的兀鹰从空中冲下啄食。我看见这些面目狰狞的鸟，排成排坐在塔顶引颈以待。这番景象实在令人触目惊心。只需约一个小时，一具尸体就会被这群贪婪的兀鹰啄食为一具骷髅。帕西人选择这种消亡方式，因为他们崇拜火，不能让火被死者玷污。他们认为土和水也同样神圣，反对水葬和土葬。于是选择了这种古怪，乍一看来恶心的方式。虽然等着掩埋我们的英国公墓也并不令人欢欣，但如果增加这样一群啄食腐肉的残忍而可怖的鸟，我们一定不寒而栗。帕西人是否会战栗，我不知道，但至少他们没有表现出来。他们在附近修筑宫殿，将这些可怖的塔楼尽收眼底。他们前往晚宴的途中，经过这些塔楼，他们坐1马拉巴尔山脉，孟买南部的一座小山。2法纳尔大厅，位于波士顿，用作商场和会议厅，成为美国革命前的反英集会场所，故该大厅有“自由摇篮”之称。在豪华的劳斯莱斯里，驶过一排排枝头栖息着兀鹰的树木，似乎在表明这里是世界上最美好的地方，是独一无二的。我想他们是明智的。

Oriental apathy, or, at any rate, unruffled receptiveness, may carry its owner very far, and yet if these vultures cause no misgivings, no chills at the heart, I shall be surprised. As for those olive-skinned Parsee girls, with the long oval faces and the lustrous eyes—how must it strike them?

东方式的淡漠，或者说，至少是冷静接纳的态度，对东方人产生着深远的影响。既便如此，他们面对兀鹰时，内心既不畏惧也不瑟缩，这还是令我感到讶异。那些有着橄榄色皮肤、鸭蛋脸和明亮眸子的帕西少女会作何感受呢？

It was not till I went to the caves of Elephanta[11] that I saw vultures in their marvellous flight. It is here that they breed, and the sky was full of them at an incredible distance up, resting on their great wings against the wind, circling and deploying. At this height they are magnificent. But seen at close quarters they are horrible, revolting. On a day's hunting which I shall describe later I was in at the death of a gond, or swamp-deer, at about noon, and we returned for the carcase about three hours later, only to find it surrounded by some hundreds of these birds tearing at it in a kind of frenzy of gluttony. They were not in the least disconcerted by our approach, and not until the bearers had taken sticks to them would they leave. The heavy half-gorged flapping of a vulture's wings as it settles itself to a new aspect of its repast is the most disgusting sight I have seen.

直到去了埃勒凡塔石窟，我才见识到兀鹰令人叹为观止的飞翔。它们在这里繁衍生息。无尽的高空中，漫天飞翔的兀鹰，倚着巨大的翅膀，迎风盘旋、变换队型。从这个高度看，这些兀鹰显得蔚为壮观。但若凑近观赏，则是一番可怖的景象，令人心生厌恶。一天外出打猎（稍后我会再做描述），中午时分，我们猎杀了一只印度沼鹿，又名南美泽鹿。大约三个小时后，我们返回这里打算取走这只鹿的尸体，却发现它被几百只兀鹰团团围住，它们贪婪、疯狂地撕咬着这具尸体。我们的靠近丝毫没有引起它们的不安，直到搬运工人拿了棍子过去，它们才肯离开。一只半饱的兀鹰扇动着沉重的翅膀停歇到另一堆食物上，这是我见过的最令人厌恶的情景。

To revert to the Towers of Silence, one is brought very near to death everywhere in the East. We have our funeral corteges at home, with sufficient frequency, but they do not emphasize the thought of the necessary end of all things as do the swathed corpses that one meets so often being carried through the streets, on their way to this or that burning place. In Bombay I met several every day, with their bearers and followers all in white, and all moving with the curious trot that seems to be reserved for such obsequies. There were always, also, during my stay, new supplies of fire-wood outside the great Hindu burning ground in Queen's Road; and yet no epidemic was raging; the city was normal save for a strike of mill-hands. It is true that I met wedding parties almost equally often; but in India a wedding party is not, as with us, a suggestion of new life to replace the dead, for the brides so often are infants.

寂静之塔将我们与东方各地的死亡拉近。我们家乡也经常会有葬礼队伍，但是他们并不强调凡事必须有个结局的思想，就像人们常在路上看到一具被包裹起来的尸体被抬往这里或那里进行火化。在孟买，我每天都能见到一些抬棺人和随从都身着白衣，以奇特的小跑前行，这种步子似乎是专门用来参加葬礼的。我在印度的时候，女皇大道上的印度大火葬场外还始终有木柴供应，当时却也没有流行病肆虐，除了有一场纺织工人罢工，这座城市还算正常。诚然，婚礼也同样频繁。只不过印度的婚礼，不像我们的婚礼，预示着新的生命取代逝去的，因为新娘大多还是婴儿。

One of the differences between the poor of London and the poor of India may be noticed here. In the East-End a funeral is considered to be a failure unless its cost is out of all proportion to the survivors' means, while a wedding is a matter of a few shillings; whereas in India a funeral is a simple ceremony, to be hurried over, while the wedding festivities last for weeks and often plunge the family into debts from which they never recover.

在此也许能留意到伦敦穷人和印度穷人的一个差别。在伦敦东区，如果在世的人不能倾其所有来为死者操办丧事，那这个葬礼就是失败的，而操办婚事只需几先令就够了。但是，在印度，葬礼只需一个简单的仪式，就能很快结束，而婚礼则要持续数周，还经常让一个家庭陷入永远无法偿清的债务中。

The Garlands

花环

The selective processes of the memory are very curious. It has been decreed that one of my most vivid recollections of Bombay should be that of the embarrassment and half-amused self-consciousness of an American businessman on the platform of the railway station for Delhi. Having completed his negotiatory visit he was being speeded on his way by the native staff of the firm, who had hung him with garlands like a sacrificial bull. In the Crawford Market I had watched the florists at work tearing the blossoms from a kind of frangipani known as the Temple Flower, in order to string them tightly into chains; and now and again in the streets one came upon people wearing them; but to find a shrewd and portly commercial American thus bedecked was a shock. As it happened, he was to share my compartment, and on entering, just before the train started, he apologised very heartily for importing so much heavy perfume into the atmosphere, but begged to be excused because it was the custom of the country and he didn't like to hurt anyone's feelings. He then stood at the door, waving farewells, and directly when the line took a bend f lung the wreaths out of the window. I was glad of his company, for in addition to these floral offerings his Bombay associates had provided him with a barrel of the best oranges that ever were grown—sufficient for a battalion—and these we consumed at brief intervals all the way to Delhi.

记忆筛选的过程十分奇特。我对于孟买最鲜活的记忆之一注定应该是一位美国商人的窘迫和难堪。说起来让人觉得有些好笑。他在火车站的月台上，将要前往德里，完成了此次商谈之旅的他正被当地公司的员工簇拥着接受他们的旅途祝福，他们给他戴了一身的花环，使他看起来像一头祭祀用的牛。在克劳福德市场，我曾看见工作中的花商从一种素馨花植物即鸡蛋花上扯下花瓣，将这些花密密麻麻串成一条条花环。如今，也在街上见过人们戴这样的花环。但是看到一个精明、发福的美国商人被装扮成这样，着实令人大吃一惊。碰巧他要跟我上同一节车厢，上了车，火车正要启动时，他诚恳地抱歉自己把车厢里弄得一股浓香，恳请大家原谅，因为这是这个国家的风俗，他也不愿违抗别人的好意。然后，他站到车门前，与车外的人挥手作别，接着车一转弯，他就将所有花环扔出窗外。我很高兴有这么个旅伴，因为除了花环，他的孟买朋友还送给他一桶上好的橙子（足够一大群人吃）。去德里的一路上，我们每隔一小会就吃一些，最后全部吃完了。

Delhi

德里

"If you can be in India only so short a time as seven weeks," said an artist friend of mine—and among his pictures is a sombre representation of the big sacred bull that grazes under the walls of Delhi Fort—"why not stay in Delhi all the while? You will then learn far more of India than by rushing about." I think he was right, although it was not feasible to accept the advice. For Delhi has so much; it has, first and foremost, the Fort; it has the Jama Masjid[12], that immense mosque where on Fridays at one o'clock may be seen Mohammedans of every age wearing every hue, thousands worshipping as one; it has the ancient capitals scattered about the country around it; it has signs and memories of the Mutiny[13]; it has delectable English residences; and it has the Chandni Chauk[14], the long main street with all its curious buildings and crowds and countless tributary alleys, every one of which is the East crystallised, every one of which has its white walls, its decorative doorways, its loiterers, its beggars, its artificers, and its defiance of the bogey, Progress.

“如果你能在印度停留短短七个星期，”我的一位艺术家朋友这样说道——在他的画作中，有一幅画描绘的是一头大圣牛在德里堡垒边吃草的惨淡景象——“为什么这七个星期不都留在德里呢？这样对印度的了解远甚于在印度走马观花一趟。”尽管他的建议不太可行，但我想他是对的。因为德里有太多可供游览的地方。首先，这里有堡垒；这里还有贾玛清真寺，这座宏大的清真寺，每到星期五一点钟，就聚集着成千上万不同年龄的伊斯兰教徒，穿着不同颜色的服装，整齐划一地进行膜拜；这里还能看到散布在周边乡村的古老柱头；这里留下了当年印度反英暴动的印记和回忆；这里有可爱的英国人宅邸；这里还有月光集市，这条长长的主街上有奇特的楼房，拥挤的人群和数不清的岔道，每一条道上都汇聚着东方特色，每一条道上都能看见白色的墙壁、装饰过的入口、游手好闲的人、乞丐、技工，也能看到人们对困难的蔑视以及进取意识。

Another thing: in January, Delhi, before the sun is high and after he has sunk, is cool and bracing.

还有一点：一月的德里，日出前和日落后，天气凉爽宜人。

But, most of all, Delhi is interesting because it was the very centre of the Mogul[15] dominance, and when one has become immersed in the story of the great rulers, from Babar[16] to Aurungzebe[17], one thinks of most other history as insipid. Of Babar, who reigned from 1526 to 1530, I saw no trace in India; but his son Humayun[18] (1530-1556) built Indrapat, which is just outside the walls of Delhi, and he lies close by in the beautiful mausoleum that bears his name. Humayun's son, Akbar[19] (1556-1605), preferred Agra to Delhi; nor was Jahangir[20] (1605-1627), who succeeded Akbar, a great builder hereabout; but with Shah Jahan[21] (1627-1658), Jahangir's son, came the present Delhi's golden age. He it was who built the Jama Masjid, the great mosque set commandingly on a mound and gained by magnificent flights of steps. To the traveller approaching the city from any direction the two graceful minarets of the mosque stand for Delhi. It was Shah Jahan, prince of Mogul builders, who decreed also the palace in the Fort, to say nothing (at the moment) of the Taj Mahal[22] at Agra; while two of his daughters, Jahanara, and Roshanara, that naughty Begam, enriched Delhi too, the little pavilion in the Gardens that bear Roshanara's name being a gem. Wandering among these architectural delights, now empty and under alien protection, it is difficult to believe that their period was as recent as Cromwell and Milton. But in India the sense of chronology vanishes.

但是，最重要的是，德里有趣是因为它曾是莫卧儿的统治中心。当人们沉浸在从巴卑尔到奥朗则布这些伟大统治者的故事中时，就会觉得其他多数历史故事平淡无味。巴伯尔1526年至1530年在位，我在印度找不到他留下的印记。但是他的儿子胡马雍（1530-1556年在位）建立了因陀罗之城，就在德里堡垒之外，他则长眠在附近一座刻有他的名字的漂亮陵墓中。胡马雍的儿子阿克巴（1556-1605年在位）喜欢阿格拉甚于德里。贾汗季（1605-1627年在位），阿克巴的后继者，也没有在这一带修建很多伟大的建筑。但贾汗季的儿子沙·贾汗（1627-1658年在位）在位期间，现在的德里才迎来了黄金时代。是他修建了贾玛寺，这座伟大的清真寺巍然建在一座小山之上，有一段宽阔的台阶通向大门。对于从各方来到德里的游客，清真寺的两座雅致的尖塔就是德里的标志性建筑。是沙·贾汗请来莫卧儿建筑工人，下令修建堡垒里的宫殿，（此刻）更不用说阿格拉的泰姬陵；他的两个女儿，贾哈娜拉和淘气的劳莎娜拉·贝甘姆也丰富了德里的建筑。园林里一个宝石般镶嵌其中的小亭子就是以她的名字来命名的。这些古建筑现在已经空空如也，处于外邦保护之下，徜徉其中，很难相信它们是克伦威尔、弥尔顿时代的建筑，但是在印度，人们的年代概念已经消失了。

After Shah Jahan came his crafty son, Aurungzebe, who succeeded in keeping his empire together until 1707, and with him the grandeur of the Grand Moguls waned and after him ceased to be, although not until the Mutiny was their rule extinguished. As I have just said, in India the sense of chronology vanishes, or goes astray, and it is with a start that one is confronted, in the Museum in Delhi Fort, by a photograph of the last Mogul!

继沙·贾汗之后是他诡计多端的儿子奥朗则布，他维持帝国统一直至1707年，在他继位之时，莫卧儿帝国的光辉开始逐渐退去，他去世后，变得荡然无存。尽管直到反英暴动，帝国统治才彻底消亡。正如我刚才所说，在印度，人们的年代概念消失了，或者说是年代感迷失了，当他们在德里堡垒博物馆看到一张莫卧儿帝国末代的照片时吃惊不已。

In Bombay, during my wakeful moments in the hottest part of the day, I had passed the time and imbibed instruction by reading the three delightful books of the late E. H. Aitken[23], who called himself "Eha"—Behind the Bungalow, The Tribes on My Frontier and A Naturalist on the Prowl. No more amusing and kindly studies of the fauna, flora and human inhabitants of a country can have ever been written than these; and I can suggest, to the domestically curious mind, no better preparation for a visit to India. But at Raisina, when the cool evenings set in and it was pleasant to get near the wood fire, I took to history and revelled in the story of the Moguls as told by many authorities, but most entertainingly perhaps by Tavernier[24], the French adventurer who took service under Aurungzebe. If any one wants to know what Delhi was like in the seventeenth century during Aurungzebe's long reign, and how the daily life in the Palace went, and would learn more of the power and autocracy and splendour and cruelty of the Grand Moguls, let him get Tavernier's record. If once I began to quote from it I should never stop; and therefore I pass on, merely remarking that when you have finished the travels of M. Tavernier, the travels of M. Bernier, another contemporary French observer, await you. And I hold you to be envied. The Palace in the Fort is now but a fraction of what it was in the time of Aurungzebe and his father, but enough remains to enable the imaginative mind to reconstruct the past, especially if one has read my two annalists. One of Bernier's most vivid passages describes the Diwan-i-Am[25], or Hall of Public Audience, the building to which, after leaving the modern military part of the Fort, one first comes, where the Moguls sat in state during a durbar, and painted and gilded elephants, richly draped, took part in the obeisances. Next comes the Hall of Private Audiences[26], where the Peacock Throne once stood. It has now vanished, but in its day it was one of the wonders of the world, the tails of the two guardian peacocks being composed of precious stones and the throne itself being of jewelled gold. It was for this that one of Shah Jahan's poets wrote an inscription in which we find such lines as—

在孟买，一天最酷热难当的时候，我难以入睡，便阅读已故作家E.H.艾特肯写的三本趣味小书以消磨时间、吸取教训，他称自己为“伊哈”——这三本书分别是《平房背后》、《边境部落》和《巡游的博物学家》。要研究一个国家的动物、植物和人类居民，没有什么书比这些书更有趣、更可读。我向喜欢呆在室内又具有好奇心的人们推荐这些书，它们是前往印度的最佳准备。但是在莱辛那，当夜幕降临，天气凉爽宜人、适于坐在柴火边时，我就会读史书，陶醉在许多权威作家所写的莫卧儿历史中。最有趣的当属塔维尼埃的作品，他是一位法国冒险家，曾在奥朗则布统治下当差。如果谁想了解17世纪处于奥朗则布长期统治下的德里，想了解当时宫殿中的日常生活和更多关于莫卧儿帝王的权力、独裁、辉煌和残酷，就可以去读塔维尼埃的作品。如果我要引述其中文句，将会一发不可收拾，所以我还是跳过，只提请大家注意，如果你读完了塔维尼埃先生的游记，还有另一名法国当代观察家伯尼埃先生的游记等着你，我想人们一定会羡慕你的。

By the order of the Emperor the azure of Heaven was exhausted on its decoration…

堡垒里的宫殿遗迹只是奥朗则布和他父亲时代的很小一部分，不过这些就足够让一个富有想象力的头脑重构当年的样子，尤其是如果你读过我推荐的两位编年史作家的话。伯尼埃其中一个最生动的章节描写了觐见宫，即公众大厅。离开堡垒的现代军事部分后，人们接下来就会前往这座建筑。在这里莫卧儿帝王庄重地坐着正式接待臣民，着色、镀金的大象身上披着华丽的垂布，走在鞠躬的队伍中。接下来便是私人大厅，这里曾巍然屹立的孔雀王座，现在已经没有了。在当时这是世界奇观之一：两只守卫的孔雀尾巴是由宝石做成，王座本身是由镶有珠宝的黄金所制。沙·贾汗的诗人为此题诗一首，我们可以看到如下诗句——

The world had become so short of gold on account of its use in the throne that the purse of the Earth was empty of treasure…

奉帝王之命，蔚蓝上天倾其装饰之能⋯⋯

On a dark night, by the lustre of its rubies and pearls

漆黑的夜晚，它的红宝石和珍珠的光芒

it can lend stars to a hundred skies…

足以照耀 一百个夜空⋯⋯

That was right enough, no doubt, but when our poet went on to say,

这毫无疑问已经够了，但是我们的诗人继续写道：

As long as a trace remains of existence and space

只要时空尚存一线

Shah Jahan shall continue to sit on this throne, we feel that he was unwise. Such pronouncements can be tested. As it happened, Shah Jahan was destined, very shortly after the poem was written, to be removed into captivity by his son, and the rest of his unhappy life was spent in a prison at Agra. On each end wall of the Hall of Private Audience is the famous couplet,—

沙·贾汗就能继续安坐宝座之上，我们觉得他不够明智，因为这样的宣言是会接受检验的。后来，这首诗写下不久，沙·贾汗就命中注定般被他的儿子囚禁起来。他不幸的后半生就在阿格拉的一所监狱中度过。枢密宫的每一面墙上都写着两行著名的对句：

If there is a Paradise on the face of the earth,

如果说人间有个天堂

It is this, Oh! it is this, Oh! it is this.

那就在这里，啊！就在这里，啊！就在这里。

I think of the garden and palace of Delhi Fort as the loveliest spot in India. Not the most beautiful, not the most impressive; but the loveliest. The Taj Mahal has a greater beauty; the ruined city of Fatehpur-Sikri has a greater dignity; but for the perfection of domestic regality in design and material and workmanship, this marble home and mosque and accompanying garden and terrace could not be excelled. After the Halls of Audience we come to the seraglio and accompanying buildings, where everything is perfect and nothing is on the grand scale. The Pearl Mosque could hardly be smaller; and it is as pure and fresh as a lotus. There is a series of apartments all in white marble (with inlayings of gold and the most delicately pierced marble gratings) through which a stream of water used to run (and it ran again at the Coronation Durbar in 1911, when the Royal Baths were again made to "function") that must be one of the most magical of the works of man. Every inch is charming and distinguished. All these rooms are built along the high wall which in the time of Shah Jahan and his many lady loves was washed by the Jumna. But today the river has receded and a broad strip of grass intervenes.

我觉得德里城堡的花园和宫殿是印度最可爱的景点。尽管算不上最漂亮，也算不上最令人难忘的，但一定是最可爱的。泰姬陵更加漂亮，法塔赫布尔·希克利废墟更加庄严，但是若论皇宫内部设计、材料和工艺的完美，这座大理石宫殿、清真寺和陪衬的花园、露台是不可逾越的。离开枢密厅，我们来到内室和周边建筑，这里一切都很完美而不铺张。珍珠清真寺小得不能再小，像莲花一样纯洁、清新。这里有一排全由白色大理石建造的房间（镶嵌有黄金和制作精致的大理石格栅），当时有一股水流流经这里（1911年诸侯加冕，皇室沐浴恢复后，又开始流淌），可以说这是人类最为神奇的杰作之一。每一方寸都魅力四射、卓尔不凡。所有这些房间依高墙而建，在沙·贾汗和他的爱宠居住时，这堵墙旁边就是朱木拿河水。但是今天，河水已经退去，取而代之的是一条青草小路。

A Day'S Hawking

鹰猎的一天

One of my best Indian days was that on which Colonel Sir Umar Hayat Khan took us out a-hawking. Sir Umar is himself something of a hawk—an impressive figure in his great turban with long streamers, his keen aquiline features and blackest of hair. All sport comes naturally to him, whether hunting or shooting, pig-sticking, coursing or falconry; and the Great War found him with a sportsman's eagerness to rush into the fray, where he distinguished himself notably.

乌玛尔·哈亚特·汗爵士上校带我们出去鹰猎的一天是我在印度最美好的日子之一。乌玛尔爵士自己就有点像鹰。他体格健壮，头上裹着大头巾，垂下长长的飘带。他像老鹰一样敏锐，留一头乌黑的头发。他天生对一切运动都很在行，不论是打猎、射击、狩猎野猪、追踪猎物还是鹰猎；世界大战满足了他急切的打斗热情，在激烈的战争中他脱颖而出。

We found this gallant chieftain in the midst of his retainers on the further bank of the Jumna, at the end of the long bridge. Here the plains begin—miles of fields of stubble, with here and there a tree and here and there a pool or marsh, as far as eye can reach, an ancient walled city in the near distance being almost the only excrescence. Between the river and this city was our hunting ground.

我们见到了在朱木拿河的对岸，长桥的尽头这位勇敢的首领和他的随从。平原从这里开始——一片片收割后的田地延绵数英里，其间零星点缀着些树木、池塘和沼泽。目之所及，唯一阻挡视线的是不远处的一座有城墙的古城。在这座古城和这条河流中间就是我们的狩猎场。

With the exception of Sir Umar, two of his friends and ourselves, the company was on foot; and nothing more like the middle ages did I ever see. The retainers were in every kind of costume, one having an old pink coat and one a green; one leading a couple of greyhounds in case we put up a hare; others carrying guns (for we were prepared for all); while the chief falconer and his assistants had their hawks on their wrists, and one odd old fellow was provided with a net, in which a captive live hawk was to flutter and struggle to attract his hereditary foes, the little birds, who, deeming him unable to hit back, were to swarm down to deride and defy and be caught in the meshes.

除了乌玛尔爵士，他的两个朋友和我们自己，其他人都是步行。我没见过有什么比这个场面更具中世纪特点了。随从们穿着各种服装，有一个穿着一件粉色的旧大衣，另一个的大衣是绿色的；有一个带着两三条猎狗以备我们遇到野兔。其他人拿着猎枪（我们做好了充分的准备）；领头的猎鹰人和他的助手们让老鹰歇在他们的手腕上。有一个古怪的老头拿着一张网，网里是一只被俘的活鹰，那只老鹰在网里扑腾挣扎着以吸引他们宿敌的注意，那些小鸟以为它无还击之力就成群扑下来嘲弄和挑衅，结果被捕入网中。

I may say at once that hawking, particularly in this form, does not give me much pleasure. There is something magnificent in the flight of the falcon when it is released and flung towards its prey, but the odds are too heavy in its favour and the whimperings of the doomed quarry strike a chill in the heart. We flew our hawks at duck and plovers, and missed none. Often the first swoop failed, but the deadly implacable pursuer was instantly ready to swoop again, and rarely was a third manoeuvre necessary. Man, under the influence of the excitement of the chase, is the same all the world over, and there was no difference between these Indians moving swiftly to intervene between the hawk and its stricken prey and an English boy running to retrieve his rabbit. Their animation and triumph—even their shouts and cries—were alike.

我马上就知道自己并不喜欢鹰猎，尤其是这种方式的鹰猎并不能给我带来太多乐趣。当猎鹰被释放，飞向空中直扑猎物时，有点扣人心弦，但是机会明显偏向猎鹰，难逃厄运的猎物发出的悲号声让人心生战栗。我们让猎鹰追捕鸭子和鸟，无一失手。通常第一次都会失败，但是这致命的追捕者绝不善罢甘休，马上就会再次扑向猎物，很少需要发起第三次进攻。在这种激动人心的追击的影响下，全世界的人表现都是一样的。这些印度人飞快地奔上前去隔开猎鹰和它到手的猎物，这同一个英国男孩跑过去取回兔子时的速度没有差别。他们的活力和胜利——甚至于他们的叫喊声都是相同的。

And so we crossed field after field on our gentle steeds—and no one admires gentleness in a horse more than I—stopping only to watch another tragedy of the air, or to look across the river to Delhi and see the Fort under new conditions. All this country I had so often looked down upon from those high massive walls, standing in one of the lovely windows of Shah Jahan's earthly paradise; and now the scene was reversed, and I began to take more delight in it than in the sport. But at a pond to which we next came there was enacted a drama so absorbing that everything else was forgotten, even the heat of the sun.

我们骑着我们温顺的马，越过一片又一片田地——没有人像我这么喜欢马匹的温顺——停下来只是为了观看空中发生的又一出悲剧，或者遥望河对岸的德里，遥望那重新修缮的城堡。过去我经常站在沙·贾汗的人间天堂里一扇精巧的窗前，从那些高大的城墙上俯视这片乡村土地；现在这个场景颠倒过来，我在这其中获得的乐趣更甚于鹰猎运动本身。接下来我们来到一个池塘边，在那里上演的一出引人入胜的剧目让我忘记了其他一切，甚至烈日的炎热。

Upon this pond were three wild-duck at which a falcon was instantly flown. For a while, however, they kept their presence of mind and refused to leave the water—diving beneath the surface at the moment that the enemy was within a foot of them. On went the hawk, in its terrible, cruel onset, and up came the ducks, all ready to repeat these tactics when it turned and attacked again. But on one of the party (I swear it was not I), in order to assist the hawk, firing his gun, two of the ducks became panic-stricken and left the water, only of course to be quickly destroyed. It was on the hawk's return journey to the pond to make sure of the third duck that I saw for the first time in my life—and I hope the last—the expression on the countenance of these terrible birds in the execution of their duty: more than the mere execution of duty, the determination to have no more nonsense, to put an end to anything so monstrous as self-protection in others; for my horse being directly in the way, he flew under its neck and for a moment I thought that he was confusing me with the desired mallard. Nothing more merciless or purposeful did I ever see.

这个池塘里有三只野鸭，一只猎鹰迅速飞扑过去。刚开始，野鸭还很镇静，不愿离开水面——看到敌人离它们不到一英尺时就潜入水下。猎鹰继续发起可怕、残酷的攻击。野鸭又浮出水面，只要猎鹰转而发起新一轮的攻击，它们就随时准备像刚才那样潜入水底。但是我们中有一个人（我发誓不是我）为了援助猎鹰开了一枪，两只野鸭受到惊吓离开了水面，当然很快就被消灭了。是在猎鹰返回池塘搜捕第三只野鸭时，我第一次看到了这些可怕的鸟在执行任务时的表情，我希望这也是最后一次：它们不仅仅是在执行任务，更表现了一种速战速决的决心，要立刻结束他人任何自我保护的荒谬行为。因为我的马正好拦在中间，猎鹰从它的脖子下飞过去，有那么一会儿，我还以为它把我当成了要搜寻的野鸭。我从未见过如此残忍、坚定的表情。

Then began a really heroic struggle on the part of the victim. He timed his dives to perfection, and escaped so often that the spirit of chivalry would have decreed a truce. But blood had been tasted, and, the desire being for more, the guns were again discharged. Not even they, however, could divert the duck from his intention of saving his life, and he dived away from the shot, too.

接着受害者开始了真正英勇的挣扎。它将潜入水底的时机把握得恰到好处，多次逃脱。若秉着骑士精神，一定会让它们休战。但是已经尝到鲜血，而欲望还不止于此，又有人放枪。然而即使放枪也不能打消这只野鸭自救的念头，它潜下去躲过了子弹。

It was at this moment that assistance to the gallant little bird arrived—not from man, who was past all decency, but from brother feathers. Out of a clear sky suddenly appeared two tern, dazzling in their whiteness, and these did all in their power to infuriate the hawk and lure him from the water. They flew round him and over him; they called him names; they said he was a bully and that all of us (which was true) ought to be ashamed of ourselves; they daunted and challenged and attacked. But the enemy was too strong for them. A fusillade drove them off, and once again we were free to consider the case of the duck, who was still swimming anxiously about, hoping against hope. More shots were fired, one of the boys waded in with a stick, and the dogs were added to the assault; and in the face of so determined a bombardment the poor little creature at last flew up, to be struck down within a few seconds by the insatiable avenger.

这时，这只英勇野鸭的救援来了——不是人类，他们已毫无良知，而是带着羽毛的同类。明朗的空中突然出现两只炽白的燕鸥，它们竭尽所能激怒猎鹰，想把它从水面引开。它们时而围着它盘旋，时而越过它头顶，骂它，说它是个恶霸，说我们都应该为自己的欺凌行为感到羞耻（确实如此）。它们恐吓它、挑衅它、攻击它，但是对它们来说，敌人太强大了。接着一连串的枪声赶走了它们，我们又可以关注野鸭了，它还在池塘里慌张地游动，仍然抱有希望。又有人开了几枪，一个男孩拿着一根棍子趟进池塘，几只猎狗也参与到攻击中来。面对如此坚定的轰击，这可怜的小东西最后还是飞了出来，几秒钟就被贪婪的复仇者击倒。

That was the crowning event of the afternoon. Thereafter we had only small successes, and some very pronounced failures when, as happened several times, a bird flew for safety through a tree, and the hawk, following, was held up amid the branches. One of the birds thus to escape was a blue jay of brilliant beauty. We also got some hares. And then we loitered back under the yellowing sky, and Sir Umar Hayat Khan ceased suddenly to be a foe of fur and feathers and became a poet, talking of sunsets in India and in England as though the appreciation of tender beauty were his only delight.

这就是那天下午的高潮事件。之后，我们只取得了几次小胜利，并经历了一些明显的失败，有几次，一只鸟从树枝间穿过去躲避追捕，跟在后面的猎鹰被卡在了树枝上，这样逃过一劫的鸟中有一只漂亮的蓝松鸦。我们还打了些野兔。然后天色渐暗，我们就开始慢慢往回走了。乌玛尔·哈亚特·汗爵士突然间就不再是飞禽走兽的敌人，而成了一位诗人，谈起了印度和英格兰的夕阳，仿佛欣赏柔和的美景是他唯一的乐趣。

New, or Imperial, Delhi

新德里或皇城德里

There have been seven Delhis; and it required no little courage to establish a new one—the Imperial capital—actually within sight of most of them; but the courage was forthcoming. Originally the position was to be to the north of the present city, where the Coronation Durbar spread its canvas, but Raisina was found to be healthier, and it is there, some five miles to the southwest, that the new palaces are rising from the rock. Fatehpur-Sikri is the only city with which the New Delhi can be compared; but not Akbar himself could devise it on a nobler scale. Akbar's centralising gift and Napoleon's spacious views may be said to combine here, the long avenues having kinship with the Champs Elysées, and Government House and the Secretariat on the great rocky plateau at Raisina corresponding to the palace on Fatehpur-Sikri's highest point. The splendour and the imagination which designed the lay-out of Imperial Delhi cannot be over-praised, and under the hands of Sir Edwin Lutyens[27] and Mr. Herbert Baker[28] some wonderful buildings are coming to life. The city, since it is several square miles in extent, cannot be finished for some years, but it may be ready to be the seat of Government as soon as 1924.

已经有了七个德里，要再建一个新的德里——皇都——就需要很大勇气，而且新皇城将建在多数旧皇城的视线之内，但还是有人鼓起了勇气。起初，位置选在现在这座城市的北部，那里曾是诸侯加冕举行仪式的地方，但是后来发现莱辛那环境更好，于是在原定选址西南方向约5英里的地方，从石间建起了一座座宫殿。唯一能与新德里媲美的只有法塔赫布尔·希克利。但是单凭阿克巴自己无法建成这么宏伟的建筑。据说这里融合了阿克巴的集权才能和拿破仑的开阔眼界。这里的长街和法国巴黎香榭丽舍大街有着异曲同工之妙，政府大楼和莱辛那多岩高地上的秘书处同法塔赫布尔·希克利最高点的宫殿遥相呼应。皇城德里布局设计的恢宏气势和想象力怎么夸赞也不为过。在埃德温·鲁坦斯爵士和赫伯特·贝克先生的手下，一些神奇的建筑诞生了。这座城市纵横延绵数英里，几年之内无法建成，但是1924年新政府应该可以搬来这里。

As I have said, the old Delhis are all about the new one. On the Grand Trunk road out of Delhi proper, which goes to Muttra and Agra, you pass, very quickly, on the left, the remains of Firozabad, the capital of Firoz Shah in the later thirteenth century. Two or three miles further on is Indrapat on its hill overlooking the Jumna, surrounded by lofty walls. It is as modern as the sixteenth century, but is now in ruins. At Indrapat reigned Humayun, the son of the mighty Babar (who on his conquering way to Delhi had swum every river in advance of his army) and the father of the mighty Akbar. I loitered long within Indrapat's massive walls, which are now given up to a few attendants and an occasional visitor, and like all the monuments around Delhi are most carefully conserved under the Act for that purpose, which was not the least of Lord Curzon[29]'s Viceregal achievements. Among the buildings which still stand, rising from the turf, is Humayun's library. It was here that he met his end—one tradition relating that he fell in the dark on his way to fetch a book, and another that his purpose had been less intellectually amatory.

正如我所说，老德里散布在新德里周边。在德里城外通向马图拉和阿格拉的大干路上，你走不了多远便可以看见左边有菲罗札巴德遗迹，菲罗札巴德是13世纪后期菲罗兹·沙的都城。继续往前两、三英里就可以看见因陀罗之城坐落在山上，俯瞰朱木拿河，四周高墙林立。因陀罗之城并不古老，它建成于16世纪，可如今已成为一片废墟。因陀罗之城的统治者是胡马雍，伟大的巴伯尔王（征服德里的途中，先于他的军队游过每一条河流）之子和伟大的阿克巴王之父。我在高墙之内的因陀罗之城徘徊了很久，如今里面只有几名工作人员和少许游客。这里的城墙像德里周围所有的纪念碑一样被悉心呵护，这得益于为此通过的法案，可算作寇仁勋爵任总督期间取得的成就。在保存下来的建筑中，胡马雍的图书馆屹立在一片草地上。他就是在这里去世的——有一种说法说他是在黑暗中取书时摔死的，还有一种说法就使他显得不这么智慧，说他是为了感情而亡。

Another mile and we come, still just beside the Grand Trunk road, to Humayun's Tomb, which stands in a vast garden where green parrots continually chatter and pursue each other. There is something very charming—a touch of the truest civilisation, if civilisation means the art of living graciously—in the practice of the old Emperors and rulers, of building their mausoleums during their lifetime and using them, until their ultimate destiny was fulfilled, as pleasure resorts. To this enchanting spot came Humayun and his ladies full of life, to be insouciant and gay. Then, his hour striking, Humayun's happy retreat became Humayun's Tomb. He died in 1556, when Queen Mary, in England, was persecuting Protestants. The Tomb is in good repair and to the stranger to the East who has not yet visited Agra and seen the Taj Mahal (which has a similar ground plan), it is as beautiful as need be. Humayun's cenotaph, in plain white marble, is in the very centre. Below, in the vault immediately beneath it, are his remains. Other illustrious dust is here, too; and some less illustrious, such as that of Humayun's barber, which reposes beneath a dome of burning-blue tiles in a corner of the garden.

再前行一英里，就来到了胡马雍陵，还是在大干路旁边。这座陵墓坐落在一个大花园内，里面有绿鹦鹉在叽叽喳喳、相互追逐。这里的景象有很迷人之处——如果文明就是雅致地生活，那么这里能让人感到一种最纯粹的文明。过去的帝王、统治者们生前修建陵墓，在这里游玩直到陵墓完成其终极使命。来到这个醉人的地方，胡马雍和他的妃子们充满活力，无忧无虑地嬉戏。接着丧钟鸣响时，胡马雍的欢乐胜地变成了其葬身之所。他死于1556年，当时英国的玛丽皇后正在迫害新教徒。陵墓维护得很好，对于初到东方还没到过阿格拉，没有参观泰姬陵（建筑平面图与胡马雍陵相似）的游客来说，这里够漂亮了。由纯白大理石打造的胡马雍纪念碑立在花园正中。纪念碑下面的墓室中放置着他的遗体。这里还有一些名人的骨灰，也还有些不太出名人士的骨灰，比如胡马雍的理发师就安葬在花园一角的蓝瓦穹窿下。

From the upper galleries of the Emperor's mausoleum the eye enjoys various rich prospects—the valley of the Jumna pulsating in the heat, the walls of the New Delhi at Raisina almost visibly growing, and, to the north, Delhi itself, with the twin towers of the great mosque over all. Down the Grand Trunk road, immediately below, are bullock wagons and wayfarers, and here and there is a loaded camel. Across the road is a curious little group of sacred buildings whither some of the wayfarers no doubt are bent on a pilgrimage; for here is the shrine of the Saint Nizam-ud-din Aulia, who worked miracles during his life and died during the reign of our Edward II—in 1324.

站在帝王陵墓上面的走廊里，可以看见各种丰富的景象——朱木拿河的溪流在热浪中律动，莱辛那的新德里城墙明显在增高，北面德里城中大清真寺的双子塔高耸入云。沿着大干路望下去，紧接着的是牛车和赶路的人们，随处可见驮着担子的骆驼。路的对面是一小群奇特的宗教建筑，有些赶路人无疑是要去那里朝圣。这里就有圣人尼扎姆丁·奥利亚神祠，他生前创造了很多奇迹，于1324年爱德华二世统治期间去世。

On visiting his shrine (which involved the usual assumption of overshoes to prevent our infidel leather from contaminating the floor), we fell, after evading countless beggars and would-be guides, into the hands of a kindly old man who pressed handfuls of little white nuts upon us and who remains in my memory as the only independent Mussulman priest in India, for he refused a tip. In this respect nothing could be more widely separated than his conduct and that of the three priests of the Jama Masjid in Delhi, who, discovering us on the wall, just before the Friday service began, held up the service for several minutes while they explained their schedule of gratuities—beginning with ten rupees for the High Priest—and this after we had already provided for the attendant who had supplied the overshoes and had led us to the point of vantage! I thought how amusing it would be if a visitor to an English cathedral—where money usually has to pass, as it is—were surrounded by the Dean, Archdeacon, Canons and Minor Canons, with outstretched hands, and had to buy his way to a sight of the altar, according to the status of each. The spectacle would be as odd to us, as it must be to the French or Italians—and even perhaps Americans—to see a demand for an entrance fee on the Canterbury portals.

参观他的神祠时（为了不让非教徒玷污神祠的地面，通常要穿上套靴），我们避开一大堆乞丐和想给我们做导游的人，然后遇到了一位和善的老人，他塞给我们一捧小白果。在我的记忆里他是印度唯一一名伊斯兰独立牧师，因为他拒绝接受小费。在这方面，他的行为同我们在德里贾玛寺碰到的三个牧师的表现形成了再鲜明不过的对比。星期五礼拜仪式即将开始时，那三个牧师在城墙上看到我们，为了说明他们的小费标准（主教10卢比起），就把仪式耽误了几分钟，而在这之前我们已经向给我们提供套靴，并带我们到最佳视角的随从付了小费。我想若去参观英格兰大教堂一路都要花钱的话一定很有趣，教长、副主教、教士、低级牧师都向你伸出手，你要根据他们各自的身份花钱买来通向圣坛的路。这样的情景在我们看来不可思议，就像法国人和意大利人，甚至包括美国人，看到坎特伯雷教堂要收入场费也感到不可思议一样。

Were we to continue on the Grand Trunk road for a few miles, first crossing a noble Mogul bridge, we should come to a little walled city, Badapur, where a turning due west leads to another Delhi of the past, Tughlakabad, and on to yet another, the remains of Lal Kot, where the famous Minar soars to the sky.

如果再继续沿着大干路前行几英里，过一座宏伟的莫卧儿大桥就会来到一座有城墙的小城——巴达普尔，在那里向西转就会通向历史上的又一个德里，杜格拉卡巴德，继续前行还有一个，拉尔科特城废墟，在那里就会看到那座高耸入云的著名高塔。

One of the most pleasing effects of the New Delhi is the series of vistas which the lay-out provides. It has been so arranged that many of the avenues radiating from the central rock on which Government House and the Secretariat are being set are closed at their distant ends by historic buildings. Standing on the temporary tower which marks this centre one is able to see in a few moments all the ruined cities that I have mentioned. The Kutb Minar[30] is the most important landmark in the far south, although the eye rests most lovingly on the red and white comeliness of the tomb of Safdar Jang in the middle distance—which, with Humayun's Tomb, makes a triangle with the new Government House. Within that triangle are the Lodi tombs, marking yet another period in the history of Delhi, the Lodis being the rulers who early in the fi fteenth century were defeated by Babar.

新德里令人愉悦的一点在于它的布局能让人欣赏到一连串远处的美景。根据城市规划，许多街道发源于中心岩石（政府大楼和秘书处就位于这块岩石上），以历史建筑作为终点。站在这座标志着市中心的临时塔楼上，用不了多久就能看到我刚才提到的所有那些古城遗迹。古特伯高塔是远处南面最重要的地标，不过人们的目光大多会停留在眼前不远处红白相间的沙夫达炯陵美景上。沙夫达炯陵、胡马雍陵和新政府大楼构成了一个三角区。在这个三角区内有标志德里另一时期历史的洛提陵，洛提曾是这里的统治者，于15世纪早期被巴卑尔打败。

The Kutb Minar enclosure, which is a large garden, where beautiful masonry, flowers, trees and birds equally flourish, commemorates the capture of Delhi by Muhammad bin Sam in 1193, the battle being directed by his lieutenant, Kutb-ud-din. From that time until the Mutiny in 1857 Delhi was under Mohammedan rule. One of the first acts of the conqueror was to destroy the Hindu temple that stood here and erect the mosque that now takes its place, and he then built the great tower known as the Kutb Minar, or Tower of Victory, which ascends in diminishing red and white storeys to a height of 235 feet, involving the inquisitive view-finder in a climb of 379 steps. On the other side of the mosque are the beginnings of a second tower, which, judging by the size of the base, was to have risen to a still greater height, but it was abandoned after 150 feet. Its purpose was to celebrate for ever the glory of the Emperor Ala-ud-din (1296-1316).

古特伯高塔外围是一座大花园，是为了纪念1193年穆1古特伯高塔，世界上最高的砖砌清真寺尖塔。罕默德·本·萨姆占领德里而修建的，园内的砖石建筑、鲜花、树木、鸟雀相映生辉。这场战役是由他的中尉古特伯·乌德·丁指挥的。从那时起到1857年印度反英暴动，德里一直在伊斯兰教统治下。征服者最早的举措之一就是摧毁这里的印度教堂，修建清真寺取而代之。接着又修建了雄伟的古特伯高塔，又叫胜利塔，塔高235英尺，红白相间的尖塔逐层变细，塔内有379级台阶通往塔顶悬台。清真寺的另一边还有一座刚开工的塔楼，从塔基大小可以判断这座塔楼会修建得更高，但是修到150英尺后就停工了。修建这座塔是为了纪念阿拉乌丁王（1296-1316）永远的辉煌。

In front of the mosque is the Iron Pillar which has been the cause of so much perplexity both to antiquaries and chemists, and meat and drink to Sanscrit scholars. The pillar has an inscription commemorating an early monarch named Chandra who conquered Bengal in the fifth century, and it must have been brought to this spot for reerection. But its refusal to rust, and the purity of its constituents, are its special merits. To me the mysteries of iron pillars are without interest, and what I chiefly remember of this remarkable pleasaunce is the exquisite stone carvings of the ruined cloisters and the green parrots that play among the trees.

清真寺前是纯铁铁柱，它让古董商人和化学家感到迷惑，给梵语学者带来生计。柱子上的铭文是为了纪念一位名叫钱德拉的早期君主，他于5世纪征服了孟加拉。铁柱一定是后来被迁到这里的，其特殊优点在于材质纯净，不易生锈。我对神秘的铁柱没有兴趣，不过我至今还清晰记得那神奇乐园破败的回廊上精致的石雕和树间嬉闹的绿鹦鹉。

The Divers

潜水者

As we were leaving the Kutb after a late afternoon visit, my host and I were hailed excitedly by an elderly man whose speech was incomprehensible, but whose gestures indicated plainly enough that there was something important up the hill. The line of least resistance being the natural one in India, we allowed him to guide us, and came after a few minutes, among the ruins of the citadel of Lal Kot, to one of those deep wells gained by long flights of steps whither the ladies of the palaces used to resort in the hottest weather. Evening was drawing on and the profundities of this cavern were forbiddingly gloomy; nor was the scene rendered more alluring by the presence of three whitebearded old men, almost stark naked and leaner than greyhounds, who shivered and grimaced, and suggested nothing so much as fugitives from the grave. They were, however, not only alive, but athletically so, being professional divers who earned an exceedingly uncomfortable living by dropping, feet first, from the highest point of the building into the water eighty feet below.

下午晚些时候我们去了趟古特伯,正要离开那里时，一个上了年纪的男人冲我和我的招待者大喊，他说的什么我们听不懂，但从他的手势足以看出山上发生了什么重要的事情。在印度当然是选择最省事的办法，让他给我们带路。几分钟后，我们来到了拉尔科特城堡废墟的一口深井处，一段长梯通向井底。这里曾是宫廷嫔妃的避暑胜地。夜幕降临，这口深井幽深阴沉得让人不敢接近，三个几乎赤裸着全身的白胡子老头进一步加深了这种可怕的气氛。他们比长腿猎犬还瘦，直哆嗦，脸上一副痛苦的表情，让人觉得是从坟墓里逃出来的。然而，他们是活人，而且还是擅长运动的活人。他们是专业的潜水者，过着极不舒适的生活，靠潜水挣钱，即双脚向下，从深井的最高点跃入下面八十英尺处的井水中。

One of them indicating his willingness—more than willingness, eagerness—to perform this manoeuvre for two rupees, we agreed, and placing us on a step from which the best view could be had, he fled along the gallery to the top of the shaft, and after certain preliminary movements, to indicate how perilous was the adventure, and how chilly the evening, and how more than worth two rupees it was, he committed his body to the operations of the law of gravity. We saw it through the apertures in the shaft on its downward way and then heard the splash as it reached the distant water, while a crowd of pigeons who had retired to roost among the masonry dashed out and away. The diver emerged from the well and came running up the steps towards us, while his companion scarecrows fled also to the top of the shaft and one after the other dropped down, too; so that in a minute or so we were surrounded by three old, dripping men, each demanding two rupees. Useless to protest that we had desired but one of them to perform: they pursued us into the open, and even clung to our knees, and of course we paid—afterwards to learn that one rupee for the lot was a lavish guerdon.

其中一个人表示愿意——不止愿意，而是急不可耐——为了挣两个卢比表演，我们同意了。他让我们坐到一个观赏跳水的最佳位置，然后沿着通道奔向井口，做了一些准备动作，表明这项活动很危险而且晚上很冷，我们这两卢比花得很值。透过井壁的裂缝我们看到他纵身跳下去，之后听到井底深处的水面传来水花溅起的巨大声响，吓得栖息在井中的一群鸽子迅速逃离。潜水者浮出水面，沿着台阶而上向我们跑过来。他两个瘦骨嶙峋、衣衫褴褛的同伴则跑到井口，相继跳了下去；于是，不到一分钟，我们就被三个湿淋淋的老人围住了，每人索要两卢比，尽管我们抗议说当初只答应让一人表演，但他们一直跟在我们后面走了出来，甚至拉着我们的腿不放。当然，我们还是付了钱——后来才发现其实一人一个卢比就算很慷慨了。

One meets with these divers continually, wherever there is a pool sacred or otherwise; but some actually leap into the water and do not merely drop. At the shrine of the Saint Nizam-ud-din, near Humayun's Tomb, I found them—but there they were healthy-looking youths—and again at Fatehpur-Sikri. But for this sporadic diving, the wrestling bouts which are common everywhere, the Nautch and the jugglers, India seems to have no pastimes.

一路上只要有池塘的地方就会陆续碰到这些潜水者，不管这些池塘是否具有宗教意义，当然有些人确实会潜入水底，而不只是跳下去而已。在胡马雍陵附近的圣人尼扎姆丁神祠，我看到了潜水者，不过他们都是健康的年轻人。后来又在法塔赫布尔·希克利看到了潜水者。除了偶尔见到的潜水、随处可见的摔跤、印度舞女的表演和杂耍以外，印度似乎没有别的娱乐活动。

The Rope Trick

绳子魔术

The returning traveller from India is besieged by questioners who want to know all about the most famous of the jugglers' performances. In this trick the magician flings a rope into the air, retaining one end in his hand, and his boy climbs up it and disappears. I did not see it.

从印度旅游回来的人难免被人们团团围住提问,了解所有关于最有名的印度魔术表演的事情。在这种魔术中，魔术师握着魔绳一端，把另一端抛向空中，他的孩子顺绳而上，消失在空中。这个魔术我没有见到。

Agra And Fatehpur-Sikri

阿格拉与法塔赫布尔·希克利

All the Indian cities that I saw seemed to cover an immense acreage, partly because every modern house has its garden and compound. In a country where land is cheap and servants are legion there need be no congestion, and, so far, the Anglo-Indian knows little or nothing of the embarrassments of dwellers in New York or London. To every one in India falls naturally a little faithful company of assistants to oil the wheels of life—groom, gardener, butler and so forth—and a spacious dwelling-place to think of England in, and calculate the variable value of the rupee, and wonder why the dickens So-and-so got his knighthood. Agra seemed to me to be the most widespreading city of all; but very likely it is not. In itself it is far from being the most interesting, but it has one building of great beauty—the Pearl Mosque in the Fort—and one building of such consummate beauty as to make it a place of pilgrimage that no traveller would dare to avoid—the Taj Mahal. Whether or not the Taj Mahal is the most enchanting work of architecture in the world I leave it to more extensive travellers to say. To my eyes it has an unearthly loveliness which I make no effort to pass on to others.

我所见过的印度城市面积似乎都很大，这一定程度上是因为每一座现代房屋都有花园和院子。在乡下，土地便宜，仆人又多，没有必要挤在一起。目前，英裔印度人很少了解或完全不了解纽约和伦敦居民的窘困。在印度他们每个人都有一小帮忠实的助手——马夫、园丁、管家等为他们的人生之轮上油，都有一个宽敞的住处，在其中他们想着英国的事，计算卢比比价的变化，琢磨某某到底是如何取得骑士身份的。我觉得阿格拉似乎是最大的城市，但很可能它不是，它也远不是最有趣的城市，不过它有一座非常美丽的建筑——城堡内的珍珠清真寺——和另一座所有游客必去朝圣的完美建筑——泰姬陵。泰姬陵是不是世界建筑作品中最具魅力的作品，就让广大游客来评判吧！在我眼里，它具有一种超凡脱俗的魅力，这种魅力不用我多说。

The Taj Mahal was built by that inspired friend of architecture, Shah Jahan, as the tomb of the best beloved of his wives, Arjumand Banu[31], called Mumtaz-i-Mahal or Pride of the Palace. There she lies, and there lies her husband. I wonder how many of the travellers who stand entranced before this mausoleum, in sunshine and at dusk or under the moon, and who have not troubled about its history, realise that Giotto's Tower[32] in Florence is three centuries older, and St. Peter's[33] in Rome antedates it by a little, and St. Paul's Cathedral[34] in London is only twenty or thirty years younger. Yet so it is. In India one falls naturally into the way of thinking of everything that is not of our own time as being of immense age, if not prehistoric.

泰姬陵是由在建筑方面有灵感的沙·贾汗为他最宠爱的妃子——亚珠曼德·芭奴，又叫慕塔芝玛哈，即“宫殿的骄傲”修建的。她躺在那里，那里也躺着她的丈夫。我不知道在阳光、夕阳或月光下陶醉于陵墓美景的游客中，在不去过问它历史的游客中，有多少人知道佛罗伦萨的乔托钟楼比它早了三百多年，罗马圣彼得大教堂也稍早于它建成，而伦敦的圣保罗大教堂只比它晚了二三十年。尽管这样，在印度，人们很自然地就认为，只要不是我们这个时代的事物即使不属于史前也一定有着悠久的历史。

Opinions differ as to the respective beauties of Agra Fort and Delhi Fort, but in so far as the enclosures themselves are considered I give my vote unhesitatingly to Delhi. Yet when one thinks also of what can be seen from the ramparts, then the palm goes instantly to Agra, for its view of the Taj Mahal. It is tragic, walking here, to think of the last days of Shah Jahan, who brought into being both the marble palace and the wonderful Moti-Masjid or marble mosque. For in 1658 his son, Aurungzebe, deposed him and for the rest of his life he was imprisoned in these walls.

关于阿格拉堡和德里堡哪个更美众说纷纭，但是目前如果只论城堡本身，我会毫不犹豫地投票给德里堡。如果就城墙上能看到的风景而论，我会马上举手给阿格拉堡，因为从那里可以看到泰姬陵。来到泰姬陵，想着沙·贾汗晚年的悲惨生活不禁令人叹惋。他修建了大理石宫殿和神奇的珍珠清真寺即大理石清真寺，在1658年被儿子奥朗则布篡位并囚禁在这些高墙后度过余生。

His grandfather, Akbar, the other great Agra builder, was made of sterner stuff. All Shah Jahan's creations—the Taj, the marble mosque, the palaces both here and at Delhi, even the great Jama Masjid at Delhi,—have a certain sensuous quality. They are not exactly decadent, but they suggest sweetness rather than strength. The Empire had been won, and Shah Jahan could indulge in luxury and ease. But Akbar had had to fight, and he remained to the end a man of action, and we see his character reflected in his stronghold Fatehpur-Sikri, which one visits from Agra and never forgets. If I were asked to say which place in India most fascinated me and touched the imagination I think I should name this dead city.

他的祖父阿克巴，另一个伟大的阿格拉建造者，性格坚毅。沙·贾汗的所有建筑——泰姬陵、大理石清真寺以及这里和德里的宫殿，甚至包括德里的贾玛清真寺——都给人一种感官上的愉悦，不是颓废，而是柔美。帝国已经取得胜利，沙·贾汗可以沉湎于奢华安逸之中。但是阿克巴却不得不奋战，他至死都是一个实战家。他的性格彰显于其根据地法塔赫布尔·希克利中，来过这里的游客都不会忘记这座城堡。如果问我印度的哪个地方最令我着迷、最能拨动我的想象力，我想就是这座荒城。

Akbar, the son of Babar, is my hero among the Moguls, and this was Akbar's chosen home, until scarcity of water forced him to abandon it for Agra. Akbar, the noblest of the great line of Moguls whose splendour ended in 1707 with the death of Aurungzebe, came to the throne in 1556, only eight years before Shakespeare was born, and died in 1605, and it is interesting to realise how recent were his times, the whole suggestion of Fatehpur-Sikri being one of very remote antiquity. Yet when it was being built so modern a masterpiece as Hamlet was being written and played. Those interested in the Great Moguls ought really to visit Fatehpur-Sikri before Delhi or Agra, because Akbar was the grandfather of Shah Jahan. But there can be no such chronological wanderings in India. Have we not already seen Humayun's Tomb, outside Delhi?—and Humayun was Akbar's father.

阿克巴，巴卑尔的儿子，是我心中的莫卧儿帝国英雄，这里是阿克巴选中的家园，直到水源不足他才被迫离开这里迁到阿格拉。阿克巴是莫卧儿家族中最高贵的成员，家族的辉煌于1707年随着奥朗则布的死亡而结束。他于1556年（仅八年后莎士比亚诞生）登上王位，卒于1605年。他的时代其实离我们很近，意识到这点很有意思，整个法塔赫布尔·希克利给人一种遥远古老的感觉。然而它并非那样古老，它修建的那个时代，《哈姆雷特》这部杰出剧作刚被写成并上演。对伟大的莫卧儿王朝有兴趣的人的确应该在参观德里和阿格拉前先去看看法塔赫布尔·希克利，因为阿克巴是沙·贾汗的祖父。但印度没有可能跟随年表顺序参观了。我们不是已经看到了德里城外的胡马雍陵了吗？——胡马雍是阿克巴的父亲。

They say the leopard and the jackal keep the courts where Akbar gloried… —this adaptation of FitzGerald's lines ran through my mind as we passed from room to room and tower to tower of Fatehpur-Sikri. There is nothing to compare with it, except perhaps Pompeii. And in that comparison one realises how impossible it is at a hazard to date an Indian ruin, for, as I have said, Fatehpur-Sikri is from the days of Elizabeth, while Pompeii was destroyed in the first century, and yet Pompeii in many ways seems less ancient.

他们说曾辉煌一时的阿克巴宫廷如今豺狼横行——当我们经过法塔赫布尔·希克利的一个个房间、一座座塔楼时，我不禁想到了这句话，它改编自菲茨杰拉德的诗句。也许除了庞培城就再也没有什么能与之比拟，而这样比较时，人们会发现难以推测出一片印度废墟的真正年代。因为就像我前面提到的，法塔赫布尔·希克利是伊丽莎白时期的建筑，而庞培城在公元一世纪就被摧毁了，然而在很多方面，庞培似乎还不如法塔赫布尔·希克利古老。

The walls of Fatehpur-Sikri are seven miles round and the city rises to the summits of two steep hills. It was on the higher one that Akbar set his palace. Civilisation has run a railway through the lower levels; the old high road still climbs the hill under the incredibly lofty walls of the palace. The royal enclosure is divided into all the usual courtyards and apartments, but they are on a grander scale. Also the architecture is more mixed. Here is the swimming bath; here are the cool, dark rooms for the ladies of the harem in the hottest days, with odd corners where Akbar is said to have played hide-and-seek with them; here is the hall where Akbar, who kept an open mind on religion, listened to, and disputed with, dialecticians of varying creeds—himself seated in the middle, and the doctrinaires in four pulpits around him; here is the Mint; here is the house of the Turkish queen, with its elaborate carvings and decorations; here is the girls' school, with a courtyard laid out for human chess, the pieces being slave-girls; here is a noble mosque; here is the vast court where the great father of his people administered justice, or what approximated to it, and received homage. Here are the spreading stables and riding school; here is even the tomb of a favourite elephant.

绕古城而建的城墙总长7英里，古城盘山而上直达两座陡峭山峰之巅。阿克巴将宫殿建在更高的那座山峰上，随着文明的发展，山腰已经开凿修建起了一条铁路。宫殿高墙脚下那条古老的山路依然盘踞在那里。皇家建筑群由一些普通的庭院和房间组成，只不过规模更大，建筑风格更加多样。这里是游泳沐浴的地方；这里有凉爽、幽暗的房间供妃嫔避暑，房间里有些偏僻的角落，据说阿克巴曾同妃子们在这里捉迷藏；这里还有一个大厅，对宗教持开放态度的阿克巴在这里听取持不同信条的辩证家们谈论自己的观点并与他们展开辩论——他自己坐在中间，那些教条主义者坐在四周的讲道坛后；这里有铸币工厂；这里有土耳其王后的宫殿，殿内有精致的雕刻和装饰；这里有女子学院，里面有一个人体棋盘布局的院子，由女奴充当棋子；这里有一座宏伟的清真寺；这里有一座大殿，伟大的君主在这里执行审判或类似事务，并接受臣民的朝拜；这里有一大片马厩和骑术学校；这里甚至还有一座为最受人宠爱的大象修建的坟墓。

And here is the marble tomb of the Saint, the Shaikh Salim, whose holiness brought it about that the Emperor became at last the father of a son—none other than Jahangir. The shrine is visited even to this day by childless wives, who tie shreds of their clothing to the lattice-work of a marble window as an earnest of their maternal worthiness. It is visited also by the devout for various purposes, among others by those whose horses are sick and who nail votive horseshoes to the great gate. According to tradition the mother of Jahangir was a Christian named Miriam, and her house and garden may be seen, the house having the traces of a fresco which by those who greatly wish it can be believed to represent the Annunciation. Tradition, however, is probably wrong, and the princess was from Jaipur and a true Mussulwoman.

这里还有圣人谢赫·萨利姆的大理石陵墓，在这位圣人的帮助下，帝王终于生下了一个儿子——就是贾汗季。即使到了现在，仍然有一些没有孩子的已婚妇女来这里祭拜神像，她们从衣服上剪下一条条布系在大理石窗的窗棂上，以示她们愿为人母的虔诚之心。也有怀着其他心愿的信徒来到这里，比如有人为了生病的马而来，他们将许愿马蹄铁钉到神祠大门上。据传贾汗季的母亲是一个基督教徒，名叫米丽娅姆，她的宫殿和花园现在还可以看到，宫殿里留存着壁画的痕迹，当年作画的画家们十分希望用壁画来表现天使报喜的场景。然而，传说或许有误，王妃实际上来自斋浦尔，并且是一名真正的伊斯兰教徒。

From ever y height—and particularly from the Panch Mahal's[35] roof—one sees immense prospects and realises what a landmark the stronghold of Fatehpur-Sikri must have been to the dwellers in the plains; but no view is the equal of that which bursts on the astonished eyes at the great north gateway, where all Rajputana[36] is at one's feet. I do not pretend to any exhaustive knowledge of the gates of the world, but I cannot believe that there can be others set as this Gate of Victory is in the walls of a palace, at the head of myriad steps, on the very top of a commanding rock and opening on to thousands of square miles of country. Having seen the amazing landscape one descends the steps to the road, and looking up is astonished and exalted by seeing the gate from below. Nothing so grand has ever come into my ken. The Taj Mahal is unforgettingly beautiful; but this glorious gate in the sky has more at once to exercise and stimulate the imagination and reward the vision.

从任何高度——尤其是从班杰默哈塔顶，人们可以看见广阔的风景并发现法塔赫布尔·希克利这个根据地对这片平原上的居民来说是一座怎样的地标。但是什么都不能与北大门突如其来的景象相提并论，这是一番令人瞠目结舌的景象。拉杰普塔纳全景呈现在人们脚下。我并不是自夸对世界上所有的大门都了如指掌，但是我不信还有别的门能像这座胜利门这样，矗立于宫殿的高墙之间，凌驾于无数层台阶之上，屹立于一块居高临下的巨石之上，使人得以望见国土上延绵数千平方英里的景色。欣赏了这令人惊叹的景色后，走下台阶、来到路上，站在胜利门脚下抬头仰望，这让人感到惊异和激动。我从未见过如此壮观的景色。泰姬陵的美令人难忘，但是苍穹下这座辉煌的胜利门更能在瞬间锻炼和激发人的想象力，开阔眼界。

On the gate are the words: "Isa ( Jesus), on whom be peace, said: 'The world is a bridge; pass over it, but build no house on it. The world endures but an hour; spend it in devotion.'"

门上镌刻的铭文写着：“以萨（耶稣）与和平同在，他曾说过：‘世界是一座桥梁，从它上面经过，但不要在上面修房建屋。世界只能承受一个小时；虔诚地利用它吧。’”

Having seen Fatehpur-Sikri, where Akbar lived and did more than build a house, it is a natural course to return to Agra by way of Sikandra, where he was buried. Sikandra is like the Taj Mahal and Humayun's Tomb in general disposition—the mausoleum itself being in the centre of a garden. But it is informed by a more sombre spirit. The burial-place of the mighty Emperor is in the very heart of the building, gained by a sloping passage lit by an attendant with a torch. Here was Akbar laid, while high above, on the topmost stage of the mausoleum, in the full light, is his cenotaph of marble, with the ninetynine names of Allah inscribed upon it. Near the cenotaph is a marble pillar on which once was set the Koh-i-noor diamond[37], chief of Akbar's treasures. Today it is part of the English regalia.

参观完阿克巴住过并在那里修建过多座宫殿的法塔赫布尔·希克利后，自然要取道锡根德拉返回阿格拉，锡根德拉是阿克巴的陵墓所在地，总体来说它和泰姬陵、胡马雍陵的布局相似——陵墓位于花园中央，但是气氛更加庄严肃穆。伟大帝王被安葬在这座建筑的中心，一名工作人员举着火把照明，我们沿一段坡道而下。阿克巴就躺在这里，上面陵墓顶端灯火通明的高台就是他的大理石纪念碑，碑上刻着九十九个“安拉”的名字。纪念碑附近有一根大理石柱，柱身上曾镶有科·依·诺尔钻石——阿克巴的主要宝贝，如今已成为英王御宝的一部分。

Lucknow

勒克瑙

The Ridge at Delhi is a sufficiently moving reminder of the Indian Mutiny; but it is at Lucknow that the most poignant phases are reenacted. At Delhi may be seen, preserved for ever, the famous buildings which the British succeeded in keeping—Hindu Rao's house, and the Observatory, and Flagstaff Tower, the holding of which gave them victory; while in the walls of the Kashmir Gate our cannon balls are still visibly imbedded. There is also the statue of John Nicholson[38] in the Kudsia Garden, and in the little Museum of the Fort are countless souvenirs.

仅德里山脉就足以提醒人们“印度反英暴动”这段历史。但是，勒克瑙才是其最惨痛阶段上演的地方。在德里，还能看见永久保存下来的英军成功驻守的著名建筑——辛都·拉奥宅邸、瞭望台和旗塔，守住这些建筑使他们取得了胜利。克什米尔门内的城墙上还能见到我们当初射进的炮弹。古德西亚花园里还有约翰·尼科尔森的雕像，城堡的小博物馆里陈列着数不尽的纪念品。

But Lucknow was the centre of the tragedy, and the Residency is preserved as a sacred spot. Not even the recent Great War left in its track any more poignant souvenirs of fortitude and disaster than the little burial ground here, around the ruins of the church, where those who fell in the Mutiny and those who fought or suffered in the Mutiny are lying. Long ago as it was—1857—there are still a few vacant lots destined to be filled. Chief of the tombstones that bear the honoured names is that of the heroic defender who kept upon the topmost roof the banner of England flying. It has the simple and touching inscription: "Here lies Henry Lawrence[39], who tried to do his duty. May the Lord have mercy on his soul!”

但是勒克瑙是悲剧的中心，官邸被作为圣地保存下来。即使最近的世界大战留下的作为刚毅和灾难象征的纪念物也没有这一小片墓地上的多。在这片环绕教堂遗迹的墓地上，躺着那些在反英暴动中倒下的人，以及那些在暴动中浴血奋战、饱受折磨的人。很久以前，也就是1857年，这里还有几块空地未被填满。墓碑上刻着一个个令人肃然起敬的名字，其中一座主要墓碑上刻着的名字属于一名英勇的守卫者，他始终让英国国旗在屋顶的最高处飘扬。上面镌刻着简单而感人的铭文：“这里躺着恪尽职守的亨利·劳伦斯，愿主保佑他的灵魂！”

In the Residency every step of the siege and relief can be followed. I was there first on a serene evening after rain; and but for some tropical trees it might have been an English scene. All that was lacking was a thrush or blackbird's note; but the grass was as soft and green as at home and the air as sweet. I shall long retain the memory of the contrast between the incidents which give this enclosure its unique place in history and the perfect calm brooding over all. And whenever any one calls my attention to a Bougainvillaea I shall say, "Ah! But you should see the Bougainvillaea in the Residency garden at Lucknow."

在官邸内，可以了解到当年被围和获救的每一步。我第一次去那里是在一个宁静的夜晚，刚刚下完一场雨。如果没有那些热带树木，它就是一片英伦风景，缺少的只是歌鸫或画眉的鸣叫。但这里的草和家乡的草一样绿一样柔软，这里的空气和家乡的空气一样清新。将这片围场变为一处独特历史遗迹的事件和现在的一派平和形成的对比将永远留存在我的记忆里。不论什么时候有人叫我看九重葛时，我都会说：“啊！你真该去看看勒克瑙官邸花园里的九重葛。”

Everywhere that I went in India I found this noble lavish shrub in full flower, but never wearing such a purple as at Lucknow. The next best was in the Fort at Delhi. It was not till I reached Calcutta that I caught any glimpse of the famous scarlet goldmore tree in leaf; but I saw enough to realise how splendid must be the effect of an avenue of them. Bombay, however, was rich in hedges of poinsettia, and they serve as an introduction to the goldmore's glory.

在印度我所到之处都会看见这种高贵而旺盛的灌木上面开满了花，但开出这种紫色花朵的只有勒克瑙的九重葛，其次是德里堡。直到加尔各答我才瞥见枝叶繁茂的著名古德摩尔红树。但是这足以让我想象出种上这种树的街道是多么漂亮。而在孟买，有很多一品红，是领略古德摩尔红树美丽的前奏曲。

Before leaving the Residency I should like to quote a passage from the little brochure on the defence of Lucknow which Sir Harcourt Butler[40], the Governor of the United Provinces, with characteristic thoughtfulness has prepared for the use of his guests. "The visitor to the Residency," he wrote, thinking evidently of a similar evening to that on which we visited it, "who muses on the past and the future, may note that upon the spot where the enemy's assault was hottest twin hospitals for Europeans and Indians have been erected by Oudh's premier Taluqdar, the Maharaja of Balrampur[41]; and as the sun sets over the great city, lingering awhile on the trim lawns and battered walls which link the present with the past, a strong hope may come to him, like a distant call to prayer, that old wounds may soon be healed, and old causes of disunion may disappear, and that Englishmen and Indians, knit together by loyalty to their beloved Sovereign, may be as brothers before the altar of the Empire, bearing the Empire's burden, and sharing its inestimable privileges, and, it may be, adding something not yet seen or dreamt of to its world-wide and weather-beaten fame.”

离开官邸前，我想从守卫勒克瑙的小册子上摘录一段话，这本小册子是联合省总督哈考特·巴特勒爵士以其特有的体贴为他的客人们准备的。“来到这座官邸的访客，”他写道，显然是想到了某个与我们到访相似的夜晚，“若重温往昔、畅想未来，你们会留意到在这个敌人进攻最猛烈的地方，奥德最早的地主——伯尔拉姆布尔王公已经为欧洲人和印度人建立起了两座医院。当夕阳余晖洒满这座伟大的城市，在修剪平整的草坪上和连接过去与将来的残破城墙边逗留片刻，他会收获一种强大的希望，就像祈祷的人听到了遥远的召唤。旧的伤口很快就会愈合，分裂的缘由也会消失，英国人和印度人会联合起来效忠他们所爱戴的君王，他们会像兄弟一样站在帝国的圣坛前，共同肩负帝国的责任，共同分享帝国无法估量的特权，甚至还可以做些我们不曾见过甚至不曾梦想过的事情来巩固它在世上饱经风霜的声誉。”

I left Lucknow with regret, and would advise any European with time to spare, and the desire to be at once civilised and warm, to think seriously of spending a winter there instead of in the illusory sunshine of the Riviera, or the comparative barbarity of Algiers. The journey is longer, but the charm of the place would repay.

我带着遗憾离开了勒克瑙，我会建议每一个有闲暇的欧洲人，如果想即刻变得文明和热情起来，就应该认真考虑去那里过一个冬天，而不是去让人虚幻的阳光下的里维埃拉或相对野蛮的阿尔及尔。虽然去勒克瑙的旅程更长，但是它的魅力也更大。

A Tiger

老虎

To have the opportunity of hunting a tiger—on an elephant too—which by a stroke of luck fell to me, is to experience the un-English character of India at its fullest. Almost everything else could be reproduced elsewhere—the palaces, the bazaars, the caravans, the mosques and temples with their worshippers—but not the jungle, the Himalayas, the vast swamps through which our elephants waded up to the Plimsoll, the almost too painful ecstasies of the pursuit of an eater of man.

有机会猎虎——而且是在象背上——是运气使然，这让我充分体验到了印度非英式的特色。印度的一切——如宫殿、集市、大篷车、清真寺、庙宇及其朝拜者等——几乎都可以在别的地方重现，但载着我们的大象经过了丛林、喜马拉雅山以及大片的沼泽，一直到普利姆索尔，这都无法重现，食人兽追捕行动带来的近乎痛苦的狂喜无法重现。

The master of the chase, who has many tigers to his name, was Sir Harcourt Butler, whose hospitality is famous, so large and warm is it, and so minute, and it was because he was not satisfi ed that the ordinary diversions of the "Lucknow Week" were sufficient for his guests, that he impulsively arranged a day's swamp-deer shooting on the borders of Nepaul. The time was short, or of elephants there would have been seventy or more; as it was, we were apologised to (there were only about six of us) for the poverty of the supply, a mere five and twenty being obtainable. But to these eyes, which had never seen more than six elephants at once, and those in the captivity either of a zoo or a circus, a row of five and twenty was astounding. They were waiting for us on the plain, at a spot distant some score of miles by car, through improvised roads, from the station, whither an all-night railway journey had borne us. The name of the station, if I ever knew it, I have forgotten: there was no room in my heated brain for such trifles; but I have forgotten nothing else.

组织这次捕猎的主人是哈考特·巴特勒爵士，曾多次猎获老虎，他的好客是出了名的，招待客人慷慨热情、细致入微。他不满意“勒克瑙一周”安排的普通娱乐活动，认为这些不足以招待客人，于是一时兴起安排一天在尼泊尔边境狩猎印度沼鹿。时间仓促，本打算安排七十多头大象，最后只弄到了二十五头，主人还因此向我们（我们总共才六人）道歉，但是我们从未一次见过六头以上的大象，而且都是在动物园和马戏团，这二十五头大象并列排开就足以令我们震撼不已。它们在平原上等候我们，我们从车站出来，经过一些临时道路，驱车行驶了几十英里到达那里。我们坐了一整晚的火车才到那个车站，车站的名字我不记得了，因为兴奋的大脑里没有多余的空间储存这类琐事，但是其他的一切我都没有忘记。

It was after an hour and a half 's drive in the cool and spicy early morning air—between the f luttering rags on canes which told the drivers how to steer—that we came suddenly in sight of some distant tents and beside them an immense long dark inexplicable mass which through the haze seemed now and then to move. As we drew nearer, this mass was discerned to be a row of elephants assembled in line ready to salute the Governor. The effect was more impressive and more Eastern than anything I had seen. Grotesque too—for some had painted faces and gilded toes, and not a few surveyed me with an expression in which the comic spirit was too noticeable. Six or seven had howdahs, the rest blankets: those with howdahs being for the party and its leader, Bam Bahadur, a noted shikaree; and the others to carry provisions and bring back the spoil. On the neck of each sat an impassive mahout.

我们在清晨凉爽、芳香的空气中驱车一个半小时后来到那里，透过那些挂在茎秆上为司机指路的飞舞的破布，我们突然看见了远处的一些帐篷，帐篷旁有一大片黑压压的长形物体，说不清是什么，在薄雾中不时地移动。我们慢慢接近，发现这原来是并列排开的大象集合在那里准备迎接总督。这是我见过的最令人难忘、最具东方特色的场面，还很怪诞，因为有些大象的脸上擦了粉，指甲涂成了金色，还有几头大象打量着我，表情十分滑稽。六七头象配了坐轿，其他的则铺上了毯子：这些象轿是为猎队和队长巴姆·巴哈杜尔——一位著名的职业猎手准备的。其他的用来运载食物和运回猎物。每头象的颈上都坐着一个面无表情的驯象人。

To one to whom the pen is mightier than the gun and whose half a century's bag contains only a few rabbits, a hedgehog and a moorhen, it is no inconsiderable ordeal to be handed a repeating rifle and some dozens of cartridges and be told that that is your elephant—the big one there, with the red ochre on its forehead. To be on an elephant in the jungle without the responsibilities of a lethal weapon would be sufficient thrill for one day: but to be expected also to deal out death was too much. In the company of others, however, one can do anything; and I gradually ascended to the top, not, as the accomplished hunters did, by placing a foot on the trunk and being swung heavenwards, but painfully, on a ladder; by my side being a very keen Indian youth, the son of a minor chieftain, who spoke English perfectly and was to instruct me in Nimrod's lore.

对于一个用笔胜过用枪，五十年只猎获几只野兔、一只刺猬和一只黑水鸡的人而言，交给他一杆连发步枪、几十发子弹，告诉他额头上有红印的大个那头就是你的大象，这可是一次不小的考验。骑在大象背上穿过丛林而不带一件致命武器就已经够刺激的了,而当人们还希望你用手中的武器射杀猎物就有些过头了。不过，有其他人一起，就没有什么办不到的。我慢慢吃力地借助梯子上了象背，不像熟练的猎人那样一脚踩在象鼻上，被往上一甩就上去了。我旁边的是一个身手敏捷的印度小伙，父亲是个小首领，他讲一口纯正的英语，接下来要教我狩猎知识。

And so the procession started, and for a while discomfort set acutely in, for the movement of a howdah is short and jerky, and it takes some time both to adjust oneself to it and to lose the feeling that the elephant sooner or later—and probably sooner—must trip and fall. But the glory of the morning, the urgency of our progress, the novelty and sublimity of the means of transport, the strangeness of the scene, and my companion's speculations on the day's promise, overcame any personal want of ease and I forgot myself in the universal. Our destination was a series of marshes some six miles away, where the gonds—or swamp-deer—were usually found, and we were divided up, some elephants, of which mine was one, taking the left wing, with instructions on reaching a certain spot to wait there for the deer who would move off in that direction; others taking the right wing; and others beating up the middle.

我们的队伍就这样出发了，不久我就感到强烈的不适，因为象轿急促摇晃、颠簸，让人担心大象迟早是要跌倒的——而且应该很快，过了好大一会才逐渐适应摇晃，同时消除这种担心。但是清晨的美景、行进的紧迫、交通工具的新奇和庄严、场面的奇特以及我的同伴对这一天收获的预测帮我克服了一切不适，我很快就忘记了自己的存在。目的地是约六英里外的一带沼泽，那里常有印度沼鹿出没。我们兵分三路，一些大象，也就是我所在的一队从左侧进入，前往指定地点等候向那个方向逃去的沼鹿，一队从右侧进入，还有一队由中间进入。

We began with a trial of nervous stamina—for a river far down in its bed below us almost immediately occurred, and this had to be crossed. I abandoned all hope as the elephant descended the bank almost, as it seemed, perpendicularly, and plunged into the water with an enormous splash. But after he had squeeged through, extricating himself with a gigantic wrench, the ground was level for a long while, and there was time to look around and recollect one's fatalism. Far ahead in a blue mist were the Himalayas. All about were unending fields, with here and there white cattle grazing. Cranes stretched their necks above the grass; now and then a herd of blackbuck (which were below our hunting ambitions) scampered away; the sky was full of wild-duck and other water-fowl.

一开始我们就面临紧张的毅力考验——因为没过一会儿脚下就出现了一条长河，而我们必须过河。当大象走下几乎与水面垂直的河堤，跳入水中，溅起一大片水花时，我放弃了一切希望。但是它趟过了河，用力一扭它庞大的身躯上了岸，前方是一片延绵不绝的平地，我又有时间环顾四周、沉思命运了。前面远处掩映在蓝色薄雾中的就是喜马拉雅山。这里是一望无际的田野，到处是白色的牛群在吃草；有伸长脖子的鹭站在草地上；时不时会有一群印度黑羚跑过（它们不是我们的狩猎对象）；天空中到处是野鸭和其他水鸟。

Of the hunting of the gond I should have something to say had not a diversion occurred which relegated that lively and elusive creature to an obscure place in the background. We had finished the beat, and most of us had emerged from the swamp to higher ground where an open space, or maidan, corresponding to a drive in an English preserve, but on the grand scale, divided it from the jungle—all our thoughts being set upon lunch—when suddenly across this open space passed a blur of yellow and black only a few yards from the nearest elephant. It was so unexpected and so quick that even the trained eyes of my companion were uncertain. "Did you see?" he asked me in a voice of hushed and wondering awe. "Could that have been a tiger?" I could not say, but I understood his excitement. For the tiger is the king of Indian carnivorae, the most desired of all game. Hunters date their lives by them: such and such a thing happened not on the anniversary of their wedding day; not when their boy went to Balliol[42]; not when they received the K.C.I.E.[43]; but in the year that they shot this or that man-eater.

关于狩猎沼鹿，我本来是有些要说的，但是突然发生的一件事情转移了我的注意力，使我无暇顾及这个活泼而难以捉摸的家伙。我们终于走完了沼泽地，大多数人出现在一块高地上，这里是一片空地，或者叫广场，就像英国禁猎区的车道，但是更加开阔。出了丛林，大家一心想着午饭，就在这时一个黄黑色的影子突然从空地上窜过，离最近的大象只有几码远。这实在是太意外、太迅速了，以至于我同伴那训练有素的双眼也没有看清。“你看见了吗？”他低声问我，既惊愕又敬畏。“那会是一只老虎吗？”我不知道，但我理解他的兴奋。因为老虎是印度的百兽之王，是最令人渴望的猎物。猎手们以此来记录自己的人生：这样或那样的事情不是发生在他们的结婚周年纪念日；不是他们的儿子进入贝利奥尔学院；不是他们接受爵级司令勋章；而是他们射中这只或那只食人兽。

That a tiger had really chanced upon us we soon ascertained. Also that it had been hit by the rifle on the first elephant and had disappeared into the jungle, which consisted hereabouts of a grass some twenty feet high, bleached by the sun.

很快我们就确定真的撞见了一只老虎，而且它被第一头大象上的猎手打中一枪，躲进了丛林，这一带的丛林里面全是二十多英尺高的野草，被太阳晒得发白。

A Council of War followed, and we were led by Bam Bahadur on a rounding-up manoeuvre. According to his judgment the tiger would remain just inside the cover, and our duty was therefore to make a wide detour and then advance in as solid a semicircle as possible upon him and force him again into the open, where the hunter who had inflicted the first wound was to remain stationed. Accordingly all the rest of us entered the jungle in single file, our elephants treading down the grass with their great irresistible feet or wrenching it away with their invincible trunks. It was now that the shikaree was feeling the elephant shortage. Had there been seventy-five instead of only twenty-five, he said, all would be well: he could then form a cordon such as no tiger might break through. For lack of these others, when the time came to turn and advance upon our prey he caused fires to be lighted here and there where the gaps were widest, so that we forged onwards not only to the accompaniment of the shrill cries of the mahouts and the noise of plunging and overwhelming elephants, but to the fierce roar and crackle of burning stalks.

接下来召开了作战会议，我们在巴姆·巴哈杜尔的带领下展开围捕行动。根据他的判断，老虎应该就藏在丛林的野草底下，因此我们的任务就是围着丛林绕一个大圈，尽可能围成一个密实的半圆把它逼回到空地上来。已经射中老虎一枪的猎人守在原地，相应地其他人以单列进入丛林，我们的大象要么用不可阻挡的大脚板把野草踩踏倒，要么用不可征服的鼻子把它们拧断。现在猎手开始感到大象数目不够，他说，要是有七十五头而不是仅二十五头大象的话，一切就都好办了：他可以围成一道封锁线，任何老虎也无法冲破。因为没有这么多大象，准备进攻猎物时，他吩咐在最大的几个缺口处生起了大火，这样我们一路稳步冲过去，不仅有驯象人尖锐的叫喊声和大象势不可挡地猛冲发出的声响相伴，还有燃烧的茎杆噼里啪啦作响。

And thus, after an hour in this bewildering tangle, with the universe filled with sound and strangeness, and the scent of wood smoke mingling with the heat of the air, and the lust of the chase in our veins, we drew to the spot where the animal was guessed to be hiding, and knew that the guess was true by the demeanour of the elephants. Real danger had suddenly entered into the adventure; and they showed it. A wounded tiger at bay can do desperate things, and some of the elephants now refused to budge forward any more, or complied only with terrified screams. Some of the unarmed mahouts were also reluctant, and shouted their fears. But the shikaree was inexorable. There the tiger was, and we must drive it out.

因此，经过一个小时令人困惑的混乱后，整片丛林喊声震天、笼罩在一片奇异的气氛下。接着木材燃烧的烟味与空气中的热气混杂在一起，我们的血管里充满追捕的欲望，慢慢接近我们所推测的老虎藏身之处，凭大象的行为我们知道推测是准确的。我们的冒险中真正的危险突然来临了，它们害怕起来。一只受伤的老虎走投无路时会不顾一切，有几头大象也不愿意再往前逼近，或只是发出惊恐的叫声。几个徒手的驯象人也犹豫了，喊叫声中充满了恐惧。但是猎人却无动于衷：老虎就在那里，我们必须把它逼出来。

Closer and closer we drew, until every elephant's flank was pressing against its neighbour, the outside ones being each at the edge of the open space; in the middle of which was the twenty-fifth with its vigilant rider standing tense with his rifle to his shoulder. The noise was now deafening. Every one was uttering something, either to scare the tiger or to encourage the elephants or his neighbour or possibly himself; while now and then from the depths of the grass ahead of us came an outraged growl, with more than a suggestion of contempt in it for such unsportsmanship as could array twenty-five elephants, half a hundred men and a dozen rifles against one inoffensive wild beast.

我们一步步逼近，直到每头大象都紧紧侧挨在一起，外侧两边分别有一头大象守在空地的边缘，中间的第二十五头大象上警惕的骑手精神高度集中地站着，枪已经举到了肩上。现在喊叫声震耳欲聋。每个人都喊叫着什么，也许是要惊吓老虎，也许是在鼓励大象或旁边的同伴，也许是在鼓励自己。而我们前方的深草底下时不时会传来一声愤怒的咆哮，无疑是蔑视我们缺乏公平竞争精神，竟然用二十五头大象、五十多个人和十几杆枪对付一只毫无恶意的野生动物。

And then suddenly the grass waved, there was a rustle and rush and a snarl of furious rage, and once again a blur of yellow and black crossed the open space. Six or more reports rang out, and to my dying day I shall remember, with mixed feelings, that one of these reports was the result of pressure on a trigger applied by a finger belonging to me. That the tiger was hit again—by other bullets than mine—was certain, but instead of falling it disappeared into the jungle on the other side of the maidan, and again we were destined to employ enclosing tactics. It was now intensely hot, but nobody minded; and we were an hour and a half late for lunch, but nobody minded: the chase was all! The phrase "out for blood" had taken on its literal primitive meaning.

突然间，草动了一下，只听得一阵沙沙作响、急速奔跑之声和一声狂怒的咆哮后，一个黄黑的影子再次窜到了空地上，紧接着六声或更多声枪响响起，我至死也不会忘记，有一声枪响是我怀着复杂的心情，手指触动扳机发出的。那只老虎显然再次中枪（不是被我的子弹打中），但并未倒下而是躲进了空地另一边的丛林中。于是，我们决定再次发起围攻。此时天气酷热，但没人介意；此时午饭时间已经过去了一个半小时，但没人介意。追捕压倒一切！“杀无赦”这个词语此时体现出了最原始的字面意义。

The second rounding-up was less simple than the first, because the tiger had more choice of hiding places; but again our shikaree displayed his wonderful intuition, and in about an hour we had ringed the creature in. That this was to be the end was evident from the electrical purposefulness which animated the old hands. The experienced shots were carefully disposed, and my own peace of mind was not increased by the warning "If the tiger leaps on your elephant, don't shoot"—the point being that novices can be very wild with their rifles under such conditions. As the question "What shall I do instead?" was lost in the tumult, the latter stages of this momentous drama were seen by these eyes less steadily and less whole than I could have wished. But I saw the tiger spring, growling, at an elephant removed some four yards from mine, and I saw it driven back by a shot from one of the native hunters. And then when, after another period of anxious expectancy, it emerged again from the undergrowth, and sprang towards our host, I saw him put two bullets into it almost instantaneously; and the beautiful obstinate creature fell, never to rise again.

第二轮围捕比第一轮复杂，因为老虎不断变换藏身之地，但是我们的猎手再次展示了他神奇的直觉，我们只用了一个小时就把老虎围了起来。有了明确的目标，老猎手们大受鼓舞，这样一来结局是很明显的。他们精心部署着射击老手，我并没有因为“如果老虎扑向你的大象，不要开枪”的告诫而更加平静，因为在这种情形下，持枪新手通常控制不好自己的步枪。“那我应该怎么办？”的反问被淹没在一阵嘈杂声中，这场重要戏剧的后继阶段在我们看来并不像我所希望的那么平稳和完整。但我看到那只老虎咆哮着扑向离我约四码远的一头大象，我看见一个本地猎人开枪把它逼了回去。接着，我们焦急地等了一会儿之后，它又从野草底下窜了出来，扑向我们的接待主人，我看到他迅即两枪打中老虎。于是这头美丽、顽强的野兽终于倒地，再也没有站起来。

The Sacred City

圣城

The devout Hindu knows in Benares the height of ecstasy: but, if I am typical, the European experiences there both discomfort and inquietude. Nowhere else in India did I feel so foreign, so alien. To be of cool Christian traditions and an Occidental, an inquisitive sightseer among these fervent pilgrims intent upon their pious duties and rapt in exaltation and unthinking inflexible belief, was in itself disconcerting, almost to the point of shame; while the pilgrims were so remarkably of a different world, a different era, that one felt lost.

虔诚的印度教徒在贝拿勒斯体验到的是极度欢乐：但是，欧洲人（假设我是个典型）在这里经历的则是不适和不安。印度没有哪个地方像这里让我感到如此陌生、如此格格不入。一个冷静的基督教徒、一个西方人、一个满怀好奇的观光客，置身于这些专注于宗教事务、欣喜若狂，耽迷于其坚定信仰而不加思考的狂热朝圣客中，本身就很窘迫，甚至到了羞愧的程度。而朝圣客们显然身处一个不同的世界、不同的年代，这让你感到失落。

This, however, is not all. India is never too sanitary, except where the English are in their own strongholds, but Benares—at any rate the parts which the tourist must visit—is least scrupulous in such matters. The canonization of the cow must needs carry a penalty with it, and Benares might be described as a sanctified byre without any labouring Hercules in prospect. Godliness it may have, but cleanliness is very distant. The streets, too, seem to be narrower and more congested than those in any other city; so that it is often embarrassingly difficult to treat the approaching ruminants with the respect due to them. Fortunately they are seldom anything but mild and unaggressive. Part perplexed, part inquisitive, and part contemptuous, they are met everywhere, while in one of the temples in which the unbeliever may (to his great contentment) do no more than stand at the entrance, they are frankly worshipped. In another temple monkeys are revered too, careering about the walls and courtyards and being fed by the curious and the devout.

然而，这还不是全部。除了英国人的根据地外，印度从来就不够卫生。但是在贝拿勒斯（至少是游客必去的那些地方）人们根本就不在意这些。神化牛就必然会带来相应的恶果。可以说贝拿勒斯看起来就是一个未被大力神打扫过的神圣牛栏。也许它是圣洁的，但远远谈不上清洁。这里的街道也似乎比其他城市的更加狭窄、更加拥挤，所以这常常令人很窘迫，难以对走近的神牛表示出应有的尊敬。幸好它们总是很温和，很少侵犯人。到处都能看到牛，他们有的疑惑、有的好奇、有的傲慢。在一座庙宇门前，我看到非教徒（心满意足地）只是站在入口处，它们受到了坦诚的崇拜。在另一座庙宇里，猴子也受到崇拜，它们在墙壁上、院子里猛冲，好奇的游客和虔诚的信徒在给它们喂食。

Holiness is not only the peculiar characteristic of Benares: it is also its staple industry. In the streets there is a shrine at every few feet, while the shops where little lingams are for sale must be numbered by hundreds.

神圣不仅仅是贝拿勒斯的特点：它还是这里的主要产业。在街上，每隔几英尺就有一个神龛，这里有数以百计的商店出售象征湿婆神的小男性生殖器像。

The chief glory of Benares is, however, the Ganges[44], on one side of which is the teeming sweltering city with its palaces and temples heaped high for two or three miles, and bathers swarming at the river's edge; while the other bank is flat and bare. A watering-place front on the ocean's shore does not end more suddenly and completely. There is nothing that I have seen with which to compare the north bank of the Ganges, with the morning sun on its many-coloured facades and towers, but Venice. As one is rowed slowly down the river it is of Venice that one instinctively thinks. As in Venice, the palaces are of various colours, pink and red and yellow and blue, and the sun has crumbled their facades in the same way. But there is this difference—that over the Benares roofs the monkeys scamper.

贝拿勒斯最壮丽的还是恒河，河岸的一边是拥挤、酷热的城市和其延绵两三英里的高耸宫殿和庙宇以及蜂拥来到河边沐浴的人；另一边却平坦、空荡。再也没有终止得如此突然、彻底的海滨海水浴场。我所见过的只有威尼斯可以与恒河的北岸及其朝阳下五光十色的建筑物表面、色彩斑斓的塔楼相媲美。当你荡起双桨，缓缓顺流而下时，本能地就会想到威尼斯。同威尼斯一样，这里的宫殿也是颜色不一，有粉的、红的、黄的和蓝的，而太阳也以同样的方式照耀着建筑物的正面。但是有一点是不同的——那就是贝拿勒斯的屋顶上有奔跑的猴子。

Gradually Venice is forgotten as the novel interest of the scene captures one's whole attention. At each of the ghauts (a landing place or steps) variegated masses of pilgrims—no matter how early the hour, and to see them rightly one ought to start quite by six—are making their ablutions and deriving holiness from the yellow tide. You saw them yesterday trudging wearily through the streets, the sacred city at last reached; and here they are in their thousands, brown and glistening. They are of every age: quite old white-bearded men and withered women, meticulously serious in their ritual, and then boys and girls deriving also a little fun from their immersion. Here and there the bathing ghaut is diversified by a burning ghaut, and one may catch a glimpse of the extremities of the corpse twisting among the faggots. Here and there is a boat or raft in which a priest is seated under his umbrella, fishing for souls as men in punts on the Thames fish for roach. And over all is the pitiless sun, hot even now, before breakfast, but soon to be unbearable.

当你的全部注意力被这个场景的新颖之处吸引后，就忘却了威尼斯。在河边石梯的每一级台阶上不论多早都有一群形形色色的朝圣客聚在那里（要想看个清楚，六点就得来），在黄色的潮水中沐浴以获得圣洁。你昨天还看见他们拖着疲惫的身躯艰难地行走在街上，最后终于抵达圣地。他们成千地聚在这里，皮肤黝黑发亮。他们来自不同年龄层：年岁已高的白胡子老人、浑身皱纹的妇人在小心翼翼、严肃庄重地进行其宗教仪式，男孩女孩们也沉浸其中，自得其乐。石梯上不仅有沐浴的人还有焚烧尸体的人，你可以瞥见尸体的四肢在柴堆上被烧得卷曲起来。河面上四处散落着一些船只或皮艇，每条船上都有一位神职人员坐在伞下，垂钓灵魂，就像坐在泰晤士河平底船里垂钓斜齿鳊的人。头顶是无情的太阳，早饭还没开始就很热了，马上就会更加酷热难耐。

I was not sorry when the voyage ended and we returned to the Maharajah's Guest House for a little repose and refreshment, before visiting the early Buddhist stronghold at Sarnath, the "Deer Park," where the Master first preached his doctrine and whither his five attendants sought a haven after they had forsaken him. Drifting about its ruins and contemplating the glorious capital of the famous Asoka column—all that has been preserved—I found myself murmuring the couplet,—

旅行结束时我并不觉得遗憾，接着我们返回土邦主宾馆休息、吃饭，之后我们去参观了早期佛教的根据地——“鹿野苑”，这里是佛陀最早宣讲佛法的地方，他的五个随从也是在这里离开他，另寻避难之所。徜徉在这片废墟中，凝视着著名的阿育王柱的宏伟柱头——凝视着被保存下来的这一切古迹——我低声吟起了这两行诗句：

With a friendly Buddhist priest I seek respite from the strife

僧侣为友与世无争

And manifold anomalies which go to make up life—

尘世万象生活之真谛

but the odds are that even the early Buddhists were not immune.

但是即使早期的佛教徒大概也无法避免尘世纷争。

Calcutta

加尔各答

Calcutta and Bombay are strangely different—so different that they can only be contrasted. Bombay, first and foremost, has the sea, and I can think of nothing more lovely than the sunsets that one watches from the lawn of the Yacht Club or from the promenade on Warder Road. Calcutta has no sea—nothing but a very difficult tidal river. Calcutta, again, has no Malabar Hill. But then Bombay has no open space to compare with the Maidan[45]; and for all its crowded bazaars it has no street so diversified and interesting as Harrison Road. It has no Chinatown. Its climate is enervating where that of Calcutta, if not bracing—and no one could call it that—at any rate does not extract every particle of vigour from the European system.

加尔各答和孟买的差别令人不可思议——迥异到只能进行对比。首先，孟买有海，我想象不到什么比从游艇俱乐部的草坪上或沃德路的人行道上看到的落日余晖更加可爱；而加尔各答没有海——只有一条非常难得的感潮河。加尔各答也没有马拉巴尔山。但是孟买没有哪个露天场所能与马坦公园媲美。尽管孟买有拥挤的市集，却没有哪条街道像哈里森路那么丰富、有趣。孟买没有唐人街，气候令人四肢无力，而加尔各答的气候——即使不会令人精神振奋——至少也不会攫走欧洲人体格里的每一丝元气。

But the special glory of Calcutta is the Maidan, that vast green space which, unlike so many parks, spreads itself at the city's feet. One does not have to seek it: there it is, with room for every one and a racecourse and a cricket-ground to boot. And if there is no magic in the evening prospect such as the sea and its ships under the f laming or mysterious enveiling sky can offer to the eye at Bombay, there is a quality of golden richness in the twilight over Calcutta, as seen across the Maidan, through its trees, that is unique. I rejoiced in it daily. This twilight is very brief, but it is exquisite.

但加尔各答的独特美景是马坦公园，不同于许多其他公园，一片广阔的绿地由城铺开。你不用刻意去寻找：它就在那里，能容纳每个人，甚至赛马场和板球场。如果说傍晚的景色没有孟买人所见那般有魔力，比如在火红或神秘面纱遮罩的天空之下的大海和海上的船只，那么透过公园的树木欣赏夕阳余晖下金灿灿的加尔各答也是独一无二的。我每天都为此感到欣喜，夕阳余晖虽然短暂却妙曼之极。

It is easier in Calcutta to be suddenly transported to England than in any other Indian city that I visited. There are, it is true, more statues of Lord Curzon than we are accustomed to; but many of the homes are quite English, save for the multitude of servants; Government House, serene and spacious and patrician, is a replica of Kedlestone Hall in Derbyshire: the business buildings within and without are structurally English, and the familiar Scotch accent sounds everywhere. But the illusion is most complete in St. John's Church.

在加尔各答比在我到过的其他任何印度城市都更容易产生一种突然被带回英国的感觉。那里的寇仁雕像比我们惯常所见的要多，这是真的；但除了大量的仆人外，许多房子带有浓重的英伦风格。政府大楼宁静、宽敞、高贵，简直就是德比郡凯德斯顿庄园的复制品：里里外外的商业楼群都是依英式风格而建，到处都是熟悉的苏格兰口音。圣约翰教堂更是把这种幻象推向了极致。

Rose Aylmer

罗丝·艾尔默

Ah, what avails the sceptred race,

啊！皇族有什么用，

Ah, what the form divine!

啊！多么完美的形态！

What every virtue, every grace!

一切美德，一切慈爱！

Rose Aylmer, all were thine!

罗丝·艾尔默，都是你的！

Rose Aylmer, whom these wakeful eyes

罗丝·艾尔默，没有合上的双眼

May weep, but never see,

也许在流泪，但永远看不见，

A night of memories and sighs

一晚的回忆与叹息

I consecrate to thee.

我把它们献给你。

One curious task which I set myself in Calcutta was to find Rose Aylmer's grave, for it was there that, in 1800, the mortal part of the lady whom Landor[46] immortalised was buried. But I tried in vain. I walked for hours amid the sombre pyramidal tombs beneath which the Calcutta English used to be laid, among them, in 1815, Thackeray's[47] father, but I found no trace of her whom I sought. I have seen many famous cemeteries, all depressing, from Kensal Green to Genoa, from Rock Creek to Montmartre, but none can approach in its forlorn melancholy the tract of stained and crumbling sarcophagi packed so close as almost to touch each other, in the burial ground off Rawdon Street and Park Street. Let no one establish a monument of cement over me. Any material rather than that!

我在加尔各答给自己安排的一项不寻常的任务，就是去寻找罗丝·艾尔默的墓地，因为这位在兰多笔下名垂千古的人物原型于1800年被安葬在这里。但是我在那些肃穆的锥形墓碑间走了几个小时也没有找到，过去，在加尔各答的英国人就被葬在这些墓碑下。其中，我看到了死于1815年的萨克雷父亲的墓碑，但没有我所寻找的罗丝·艾尔默的任何痕迹。我见过的很多著名公墓，从肯瑟尔园公墓到热那亚公墓，从石溪公墓到蒙马特尔公墓都很萧条，但罗顿街和公园街旁的墓地最让人觉得凄凉和忧伤，那里污浊、破败的石棺一座紧挨着一座，中间几乎不留间隙。我希望不要用水泥为我建造墓碑，除此以外，其他任何材料都可以。

Job And Joe

乔布和乔

If I did not find Rose Aylmer's tomb, I found, in St. John's pleasant God's Acre, the comely mausoleum of Job Charnock[48], and this delighted me, because for how long has been ringing in my ears that line—

我没有找到罗丝·艾尔默的墓地，但我在圣约翰教堂整洁的教堂墓地中找到了乔布·查诺克漂亮的陵墓。这让我高兴，因为下面这行诗句在我耳边回响甚久：

"The tall pale widow is mine, Joe, the little brown girl's for you." which I met with so many years ago in The Light That Failed,[49] where the Nilghai sings it to his own music! He got it, he said, from a tombstone, in a distant land; and the tombstone is now incorporated with Job Charnock's, the distant land being India; but the verses I have had to collect elsewhere. I found them in Calcutta, in my host's library.

“那高个苍白的寡妇是我的，乔，那棕色的小姑娘是你的。”这是多年前我在《消失的光芒》中读到的，尼尔盖和着自己的音乐吟唱这行诗句。他说是在一片遥远土地的一座墓碑上看到的这句诗。这座墓碑在此和乔布·查诺克融合在一起，那片遥远的土地就是印度。但这行诗句我一定还在别的地方见到过，在加尔各答，我的接待人的藏书室里。

Joe was Joseph, or Josiah Townsend, a pilot of the Ganges, and tradition has it that he and Job Charnock, who, as an officer of the East India Company, founded Calcutta in 1690, saved a pretty young Hindu widow from ascending her husband's funeral pyre and committing suttee. Tradition states further that Job Charnock and his bride "lived lovingly for many years and had several children," until in due time she was buried in the mausoleum at St. John's, where her husband sacrificed a cock on each anniversary of her death ever after. The story has been examined and found to be improbable, but Charnock was a bold fellow who might easily have started many legends; and the poem remains, and if there is a livelier, I should like to know of it. I have been at the agreeable pains of reconstructing the verses as they were probably written, so that there are two more than the Nilghai sang. The whole is a very curious haunting ballad, leaving us with the desire to know much more of the lives of both men—Job Charnock the frontiersman, and Joseph Townsend, "skilful and industrious, a kind father and a useful friend," who could navigate not only the Ganges but the shifting Hooghli. Rarely can so much mixed autobiography and romance have been packed into six stanzas—and here too the adventurous East and West meet:—

诗句中的乔就是约瑟夫或乔赛亚·汤森，恒河上的一名领航员。传说他和乔布·查诺克，东印度公司的一名行政官员于1690年建立了加尔各答，并将一名正要殉夫的年轻漂亮的印度寡妇从她丈夫葬礼的火台上救了下来。传说乔布·查诺克和他的新娘“相亲相爱生活了很多年，还生了几个孩子，”直到她死后被安葬在圣约翰教堂的陵墓中，此后，每到她的祭日，丈夫就会杀一只公鸡来祭拜她。经过考证，这个谣传不大可信。但查诺克是个勇敢的人，很容易成为许多传说的主角。而诗句流传下来，如果还有更可信的版本，我愿意了解。我经过一番努力把这首诗歌按照原作的大概模样进行了重写，但整个过程是愉悦的，有两句是尼尔盖歌里没有的。全诗是一首萦绕心间的奇特歌谣，让人们渴望了解更多有关这两个人的生活——边境工作人员乔布·查诺克和“勤劳能干的慈父和益友”约瑟夫·汤森，他不仅能在恒河上驾船也能在水流多变的胡格利河上航行。很少有人能在六段诗节里涵盖如此丰富的自传和传奇，并将东西方历险融合在一起——

I've shipped my cable, messmates,

我把缆绳和同伴装上船，我要顺流而下，

I'm dropping down with the tide;

我在下达出航命令，而汝坐在锚上，

I have my sailing orders while ye at anchor ride,

六月里晴朗的早晨，我从未像这样满怀良知、

And never, on fair June morning, have I put out to sea With clearer conscience, or better hope, or heart more light and free.

满怀希望、轻松自在地出海。

An Ashburnham! A Fairfax! Hark how the corslets ring!

阿什伯纳姆！费尔法克斯！听，那是铁甲的声响！

Why are the blacksmiths out today, beating those men at the spring?

铁匠们今天为何而来，是要在泉水之上敲打这些人？

Ho, Willie, Hob and Cuddie!—bring out your boats amain,

噢！威利，霍布，卡迪——快拿出你们的船，

There's a great red pool to swim them o'er, yonder in Deadman's Lane.

到死人巷那边的红色大池塘里去划桨。

Nay, do not cry, sweet Katie—only a month afl oat

不，别哭，亲爱的凯蒂——航行只有一个月

And then the ring and the parson, at Fairlight Church, my doat.

然后就是戒指和牧师，在费尔莱特教堂，我的宝贝。

The flower-strewn path—the Press Gang! No, I shall never see

铺满鲜花的地面——少年报社！不，我见不到了

Her little grave where the daisies wave in the breeze on Fairlight Lee.

雏菊在她费尔莱特避风处的小小坟地上随风摇摆。

"Shoulder to shoulder, Joe, my boy, into the crowd like a wedge!

“肩并肩，乔，我的伙计，像楔子一样楔入人群中！

Out with the hangers, messmates, but do not strike with the edge!”

大伙儿，拿出你们的挂钩，但别用钩端进攻！”

Cries Charnock, "Scatter the faggots! Double that Brahmin in two!

查诺克喊道，“散开柴把！把那个婆罗门劈成两半！

The tall pale widow is mine, Joe, the little brown girl's for you."

那高个苍白的寡妇是我的，乔，那棕色的小姑娘是你的。”

Young Joe (you're nearing sixty), why is your hide so dark?

年轻的乔伊（你都快六十了），为什么还是这么黑？

Katie had fair soft blue eyes—who blackened yours? Why, hark!

凯蒂有双柔美的蓝眼睛——是谁把你的变成了黑色？为什么，听！

The morning gun! Ho, steady! The arquebuses to me;

清晨的枪声！噢，稳住！给我火绳钩枪；

I've sounded the Dutch High Admiral's heart as my lead doth sound the sea.

我击中了荷兰海军上将的心脏，犹如我的铅锤沉入深海。

Sounding, sounding the Ganges—floating down with the tide,

恒河潺潺流淌——顺水而下，

Moor me close by Charnock, next to my nut-brown bride.

让我停靠查诺克，紧挨我栗棕色的新娘。

My blessing to Katie at Fairlight—Howell, my thanks to you—

保佑费尔莱特我的凯蒂——豪厄尔，谢谢你——

Steady!—We steer for Heaven through scud drifts cold and blue.

稳住！我们在寒冷蔚蓝的水流中向天堂航行。

Exit

离开印度

I arrived in Bombay on the last day of 1919 and embarked at Calcutta for Japan on the evening of February 17th, seven weeks later. But to embark at Calcutta is not to leave it, for we merely dropped down the river a short distance that night, and for the next day and a half we were in the Hooghli[50], sounding all the way. It is a difficult river to emerge from; nor do I recommend any one else to travel, as I did, on a boat with a forward deck cargo of two or three hundred goats on the starboard side and half as many monkeys on the port, with a small elephant tethered between and a cage of leopards adjacent. These, the property of an American dealer in wild animals, were intended for sale in the States; all but one of the leopards, which, being lame, he had decided to kill, to provide a "robe" for his wife. Nothing could be more different than the careless aimless activities of the monkeys I had seen among the trees between Agra and Delhi and scampering over the parapets of Benares, all thieves and libertines with a charter, and the restriction of these poor cowering mannikins, overcrowded in their cages, with an abysmal sorrow in their eyes. Many died on the voyage, and I think the Indian Government should look into the question of their export very narrowly.

我于1919年最后一天抵达孟买，七个星期以后，我于2月17日傍晚在加尔各答上船前往日本。但是在加尔各答上船并不意味着离开了那里，因为那晚我们只顺流航行了很小一段路程，接下来的一天半我们进入胡格利水域，一路上听着潺潺的水流声。在这条河上乘船旅行并不令人愉快；我也不推荐大家像我一样乘坐这样一艘船航行，前甲板上堆满了货物，右舷边有两三百只山羊，左舷边约一百多只猴子、猴子中间拴着一只小象，旁边笼子里还装着一些豹子。这都是一个从事野生动物贸易的美国商人的财产，他要带回国去卖。他决定杀掉其中一只跛脚的豹子，给妻子做一件袍子。我曾见过的猴子和这船上的猴子形成鲜明对比，那些我在阿格拉、德里树间看到的猴子、在贝勒拿斯墙壁上蹦来跳去的猴子都无忧无虑、漫无目的地活动着，人们对他们的偷窃和浪荡行为听之任之。而这船上的可怜小矮猴却被关在过度拥挤的笼子里，畏缩成一团，眼神流露出极度的悲伤，很多在航行途中死去，我觉得印度政府应该认真调查他们出口贸易中存在的问题。

(1)巴黎和平咖啡馆，巴黎著名咖啡馆，位于巴黎第九区。

(2)阿拉，伊斯兰教中唯一的神，中文音译为安拉或阿拉。

(3)耆那教，公元前6至前5世纪在印度与佛教同时兴起，反对祭祀杀生，实践苦行。

(4)希米舞常写作"shimmy"，盛行于20世纪20年代初的一种爵士舞，跳时抖动肩部和臀部。

(5)《庞奇和朱迪》，一部英国传统木偶戏。

(6)朱木拿河，是印度北部主要河流之一。

(7)恒河最大的支流。全长1,370公里，起源于喜马拉雅山脉。

(8)帕西人，公元8世纪为逃避穆斯林迫害而自波斯移居印度的琐罗亚斯德教徒的后裔。

(9)马拉巴尔山脉，孟买南部的一座小山。

(10)法纳尔大厅，位于波士顿，用作商场和会议厅，成为美国革命前的反英集会场所，故该大厅有“自由摇篮”之称。

(11)埃勒凡塔石窟，又译为象岛，印度中世纪印度教石窟，1987年被联合国教科文组织列入世界文化遗址

(12)贾玛清真寺，位于旧德里古城东北角，印度最大的清真寺。

(13)印度反英暴动，指1857年到1858年印度本地士兵反对英国殖民政策的暴动。

(14)月光集市，是老德里繁华的商业中心。

(15)莫卧儿帝国，又名蒙兀儿帝国（1526——1857），是巴伯尔建立的印度朝代。该帝国的官方语言是波斯语，但统治者是有突厥血统的蒙古人，信奉伊斯兰教。

(16)巴伯尔（1483——1530），1526至1530年在位，印度莫卧儿帝国的开国君主。

(17)奥朗则布（1618——1707），1659至1707年在位，是莫卧儿帝国第六代皇帝。

(18)胡马雍（1508——1556），印度莫卧儿帝国皇帝。大莫卧儿帝国创始人巴伯尔大帝之子。1530年继承其父的印度领地。

(19)阿克巴（1542——1605），莫卧儿帝国皇帝。在位期间加强中央集权，实行多种改革，扩大帝国疆域。

(20)贾汗季（1569——1627），印度莫卧儿帝国第四代皇帝，阿克巴之子。

(21)沙·贾汗（1592——1666），印度莫卧儿帝国的皇帝，于1627年到1658年在位。在位时征服了德干各国，兴建泰姬陵和德里新城。

(22)泰姬陵，即泰吉·马哈尔陵，在印度北部名城阿格拉，是莫卧儿王朝第五代皇帝沙·贾汗为了纪念他已故皇后姬蔓·芭奴而建立的陵墓，被誉为“完美建筑”。

(23)E.H.艾特肯（1851——1909），幽默作家、博物学家，尤其擅长描写印度野生生物。他以笔名“伊哈”深受盎格鲁印度人的喜爱。

(24)塔维尼埃（1605——1689），法国冒险家，与印度贸易的先驱人物，出生于巴黎，热爱游历。

(25)觐见宫，或称公众大厅，莫卧儿帝国统治者接见大臣，听大臣们上奏国事的地方。

(26)私人大厅，或称枢密宫，比觐见宫小，是莫卧儿帝国统治者会见使节和贵宾的地方。

(27)埃德温·鲁坦斯爵士（1869——1944），他出生并逝于伦敦，是20世纪英国建筑师的先导。

(28)赫伯特·贝克（1862——1946），英国建筑师，与埃德温·鲁坦斯参与了新德里的设计。

(29)寇仁勋爵（1895——1925），英国驻印度总督、外交大臣。

(30)古特伯高塔，世界上最高的砖砌清真寺尖塔

(31)亚珠曼德·芭奴（1593——1630），全名亚珠曼德·贝侬·比古姆，又被称作姬蔓·芭奴，波斯人，传说貌美无比。1612年与库拉穆王子结婚，赐予“慕塔芝玛哈”的封号，是沙·贾汗皇帝的第三任妻子。

(32)乔托钟楼，建于1334年至1359年，由乔托设计，位于意大利佛罗伦萨的主教座堂广场。

(33)圣彼得大教堂，建于1506年至1626年，是天主教的神圣之地。

(34)圣保罗大教堂，建于1675年至1710年，英国国教的中心教堂，坐落于英国伦敦市。

(35)班杰默哈，法塔赫布尔·希克利内的一座五层高的印度教塔楼。

(36)拉杰普塔纳，大部分位于印度拉贾斯坦邦，印度西北部的一个地区。

(37)科·依·诺尔钻石，印度一颗原重191克拉的历史最悠久的大金刚石；1849年以来为英王御宝，重琢成108.8克拉；1937年成为英王王冠宝石。

(38)约翰·尼科尔森（1822——1857），维多利亚时期的英国准将，在压制1857年印度反英暴动中发挥了重要作用。

(39)亨利·劳伦斯（1806——1857），英国军人、政治家，于1857年在勒克瑙抵抗印度反英暴动中牺牲。

(40)哈考特·巴特勒爵士（1869——1938），印度阿格拉和奥德联合省（现印度北方邦）的第一位省督。

(41)伯尔拉姆布尔，印度北方邦城市。

(42)贝利奥尔学院，是牛津大学最著名、最古老的学院之一，以活跃的政治氛围著称，曾经培养出多位英国首相和英国政界的其他重要人物。

(43)爵级司令勋章，维多利亚女皇在1878年设立，到1947年印度独立，勋章亦不再颁发。勋章共有三等，分别是：爵级大司令勋章，爵级司令勋章，三等勋章。

(44)恒河，流经印度北部，是南亚的一条主要河流，印度人将之奉为圣河。

(45)马坦公园，加尔各答最大的城市公园，这里有许多露天运动场。

(46)兰多（1775——1864），英国作家、诗人，代表作是多卷本散文著作《想象的对话》。

(47)萨克雷（1811——1863），英国小说家，作品多讽刺上层社会，主要作品有长篇小说《名利场》、历史小说《亨利·埃斯蒙德》等。舒适的白色圣殿采用了雷恩爵士的建筑风格，圣安德鲁教会也同样如此。静闭此处，远离尘嚣，在迷人的东方，你也可以像在家乡一个八月的晴好日召开城市秘密集会一样。我尤其不会忘记圣约翰教堂：它的光芒、它的独特以及它四周的绿景。

(48)乔布·查诺克（1630－1693），英国人，于1655年或1656年前往印度并随即任职于东印度公司。

(49)《消失的光芒》，拉迪亚德·吉卜林的长篇小说。小说的主要背景是伦敦，但是贯穿小说的许多重要事件发生在苏丹或印度。

(50)胡格利，位于印度，是恒河的一条支流。

Japan

日本

Introductory

绪言

I ought not to write about Japan at all, for I was there but three short weeks, and rain or snow fell almost all the time, and I sailed for America on the very day that the cherry blossom festivities began. But—well, there is only one Fujiyama, and it is surpassingly beautiful and satisfying—the perfect mountain—and I should feel contemptible if I did not add my eulogy of it—my gratitude—to all the others.

我本不应该写日本，因为我只在那里停留了短短三周时间，而且这段时间几乎一直都是雨雪天气，我又正好在樱花节开始的那天离开这里前往美国。但是富士山只有一座，这座完美的山峰无比美丽，让人欣喜。如果不把我对它的赞美之辞与感激之情写进来，我会感到惭愧。

Since, then, I am to say something of Fuji, let the way be paved.

因此，我要说说富士山，不过得先做个铺垫。

The Little Land

小国

One is immediately struck, on landing at Kobe—and continually after—by the littleness of Japan. The little flimsy houses, the little flimsy shops, the small men, the toylike women, the tiny children, as numerous and like unto each other as the pebbles on the shore—these are everywhere. But although small of stature the Japanese men are often very powerfully built and many of them suggest great strength. They are taking to games, too. While I was in the country baseball was a craze, and boys were practising pitching and catching everywhere, even in the streets of the cities.

刚到神户（和接下来的其他地方），日本的小就会给你留下深刻的印象。到处都是数不尽的小房子、小商店、小男人，小得像玩偶一样的女人还有小小的孩子，他们连在一起仿佛是岸边的鹅卵石。尽管身材矮小，日本男人大多长得非常结实，而且许多人都很有力气。他们也很喜爱运动。我在那里的时候，棒球运动风靡一时，到处都有练习投球、接球的男孩们，连城里的街上都有。

Littleness—with which is associated the most delicate detail and elaborate finish—is the mark also of modern Japanese art. In the curiosity shops whatever was massive or largely simple was Chinese. Even the royal palaces at Kyoto are small, the rooms, exquisite as they are, with perfect joinery and ancient paintings, being seldom more than a few feet square, with very low ceilings. I went over two of these palaces, falling into the hands, at each, of English-speaking officials whose ciceronage was touched with a kind of rapture. At the Nijo, especially, was my guide an enthusiast, becoming lyrical over the famous cartoons of the "Wet Heron" and the "Sleeping Sparrows."

小—最精巧、最细致的小—也是日本现代艺术的特征。在古玩商店，凡是大而简的古董都是来自中国。甚至连京都的皇家宫殿也都很小，里面的房间精致高雅、精雕细琢，饰以古老的绘画，大多只有几平方英尺大小，天花板距离地面很近。我在两个这样的宫殿参观时分别都遇到了讲英语的官员，他们十分投入地在为我做导游解说。尤其是我在二条城的导游，这位热情的人对著名的《濡鹭》和《睡着的麻雀》两个绘画作品作了一番抒情的描述。

In India I had grown accustomed to removing my shoes at the threshold of mosques. There it was out of deference to Allah, but in Japan the concession is demanded solely in the interests of floor polish, and you take your shoes off not only in palaces and houses but in some of the shops. It gave one an odd burglarious feeling to be creeping noiselessly from room to room of the Nijo; but there was nothing to steal. The place was empty, save for decoration.

在印度，我已经习惯了在清真寺门口脱下鞋子，这是出于对真主阿拉的尊重，但是在日本，这样做纯粹是为了保护光洁的地面。进入宫殿、住宅要脱鞋，进入有些商店也要脱鞋。这样悄无声息地在二条城里的屋间进进出出，感觉像做贼似的；不过实际上没有什么可偷的，这里除了装饰之外一无所有。

There is a certain amplitude in some of the larger Kyoto temples, with their long galleries and massive gateways, but these only serve to accentuate the littleness elsewhere. In the principal Kyoto temple I had for guide a minute Japanese with the ecstatic passion for trifles that seems to mark his race. A picture representing the miracle of the "Fly-away Sparrows," as he called them, was the treasure on which he concentrated, and next to that he drew my attention to the boards of the gangway uniting two buildings, which, as one stepped on them, emitted a sound that the Japanese believe to resemble the song of Philomela. To me it brought no such memory, and the fact that this effect, common in Japan, is technically known as "a nightingale squeak," perhaps supports my insensitiveness.

京都一些较大的寺庙要稍微宽敞一些，那里有长长的走廊和宽阔的大门，但它们只是更加凸显了其他地方的小。在京都一座主要的寺庙里，给我当导游的一个瘦小的日本人热情洋溢地介绍着那些代表他们民族特征的小玩意儿。有一幅画描绘的是被他称作《飞走的麻雀》的奇迹，这是他介绍的重点，接下来他让我注意两个建筑间过道上的木板，人走在上面，木板会发出一种声音，日本人认为这种声音就像夜莺的鸣唱。但是它并没有给我这种感觉，大概是因为这种被专业地称为“夜莺鸣叫”的声音效果在日本很常见。

If old Japan is to be found anywhere it is in Kyoto—in spite of its huge factory chimneys. In Tokyo, complete European dress is common in the streets, but in Kyoto it is the exception. Tokyo also wears boots, but Kyoto is noisy with pattens night and day. Not only are there countless shops in Kyoto given up to porcelain, carvings, screens, bronzes, old armour, and so forth, but no matter how trumpery the normal stock in trade of the other shops, a number of them have a little glass case—a shop within a shop, as it were—in which a few rare and ancient articles of beauty are kept. A great deal of Japan is expressed in this pretty custom.

若要寻访古代日本的痕迹，那就去京都—尽管那里也有工厂的大烟囱。在东京，完全欧化的服装是街上常见的景象，而这在京都却是极少见的。东京人穿皮鞋，但是在京都，日夜都能听到不绝于耳的木屐声。京都有很多商店出售瓷器、雕刻品、屏风、铜器、旧盔甲等等，而其他的商店，不论它们出售的普通商品多么没有价值，很多都会有一个小玻璃橱（就像是店中店），里面存放着一些珍贵而古老的精美工艺品。日本的许多方面就是通过这种有趣的习俗表现出来的。

The Rice Fields

稻田

My first experience of Japanese scenery of any wildness was gained while shooting the rapids of the Katsuragava, an exciting voyage among boulders in a shallow and often very turbulent stream in a steep and craggy valley a few miles from Kyoto. Previous to this expedition I had seen, from the train, only the trim rice fields,—each a tiny parallelogram with its irrigation channels as a boundary, so carefully tended that there is not a weed in the whole country. Japan is cut up into these absurd little squares, of which twenty and more would go into an ordinary English field. Often the terminal posts are painted a bright red; often a little row of family tombs is there too. The watermill is a common object of the country. But birds are few and animals one sees never. Indeed in all my three weeks I saw no four-footed animals, except a dead rat, two pigs and one cat. I am excluding of course beasts of draught—horses and bullocks—which are everywhere. Not a cow, not a sheep, not a dog! But that there are cattle is proved by the proverbial excellence of Kobe steaks, which I tested and can swear to. In all my three weeks, both in cities and the country, I saw only one crying child. Of children there were millions, mostly boys, but only one was unhappy.

第一次见到日本的野外风景是在乘船飞速通过桂川河时，那是一次激动人心的航行。我们的船穿梭在京都几英里外的一个陡峭、崎岖山谷间的浅溪中。溪流中乱石林立，水流时而非常湍急。此前，我只在火车上见过整齐的稻田—每一块小小的四方稻田之间以灌溉的沟渠隔开，它们得到精心照料，以至于整个乡间都看不见一根野草。日本被隔成这些滑稽的小方块，二十多个这样的小方块才有英国一块普通的稻田大。田边的界桩通常都被涂上鲜红的颜色；那里也常常会有一小排家族的墓碑。水磨在乡下很常见。但是很少有飞鸟，根本看不见动物。事实上，我在那里的三个星期，除了一只死老鼠、两头猪和一只猫以外，就没有见过别的四足动物。当然不算载物的牲口—马和小公牛还是随处可见的。但是没有一头母牛，没有一只绵羊，没有一条狗！不过既然有大家津津乐道的美味神户牛排，就说明还是有牛的，我去尝了尝并可以肯定一定是牛排。在那里的三个星期，我在城里和乡下就只见过一个哭泣的孩子。日本有几百万孩子，大多数是男孩，但不开心的只有一个。

Surface Materialism

肤浅的实利主义

In spite of Kyoto's eight hundred temples I could not get any but a materialistic concept of its inhabitants; and elsewhere this impression was emphasised. A stranger cannot, of course, know; he can but record his feelings, without claiming any authority for them. But I am sure I was never in a country where I perceived fewer indications of any spiritual life. Every one is busy; every one seems to be happy or at any rate not discontented; every one chatters and laughs and is, one feels, a fatalist. Sufficient unto the day! After all, it is the women of a nation that chiefly keep burning the sacred flame and pass it on; but in Japan, I understand, the women are far too busy in pleasing the men to have time for such duties; Japan is run by men for men. It is an unwritten law that a woman must never be anything but gay in her lord's presence, must never for a moment claim the privilege of peevishness.

虽然京都有八百多座寺庙，但我从这里的居民身上只看到一种实利观，而其他地方更加强了我的这种印象。当然一个陌生人是无法了解的，他只能记录下自己的感受，不能说自己是权威的。但是我确定我到过的其他任何一个国家的精神生活都要比这里的丰富。每个人都在忙碌；每个人似乎都很开心，或至少没有表现出不满；每个人都在聊天、欢笑，看起来像是宿命论者。活到今天就足够了！说到底，一个国家主要都是妇女在烧香拜佛，并把它传承下去。但是在日本，我发现，这里的妇女忙于取悦丈夫而没有时间履行这样的职责；日本由男人统治，为男人服务。女人只能在男主人面前表现出快乐，绝不能抱怨，这在日本是一条不成文的法律。

As an instance of the Japanese woman's indifference to fate and readiness to oblige, I may say that we had on our ship two or three hundred girls in charge of a duenna or so, who were bound for Honolulu to be married to Japanese settlers there, to whom their photographs had been forwarded. These girls are known as "Picture Brides." At Honolulu their new proprietors awaited them, and I suppose identified and appropriated them, although to the European eye one face differed no whit from another.

有一个例子能说明日本女性对命运的淡漠和顺从。在我们搭乘的轮船上，有两三百个日本女孩，她们都由一两个女人负责看管，前往檀香山嫁给在那里定居的日本人，她们的照片先前就已经被寄过去了。这些女孩被叫做“照片新娘”。她们的新主人在檀香山等着她们，我想他们已经确定并分配了具体对象，尽管在欧洲人眼里，这些脸蛋儿看起来都是一样的。

The Japanese have the practical qualities that consort with materialism. They are quick to supply creature comforts; their hotels are wellmanaged; their cooks are excellent; their sign-posts are numerous and, I believe, very circumstantial; at the railway stations are lists of the show places in the neighbourhood; the telephone is general. But there are strange failings. The roads, for example, are often very bad, although so many motor-cars exist. Even in Tokyo the puddles and mud are abominable. There is no fixed rule to force rickshaw men to carry bells. There is no rule of the road at all, so that the driver of a vehicle must be doubly alert, having to make up his mind not only as to what he is going to do himself, but also what the approaching driver is probably going to do. From time to time, I believe, a rule of the road has been tried, but it has always broken down.

日本人讲究实用，与其实利主义一致。他们擅长提供物质享受；他们把酒店经营得很好；他们有优秀的厨师；他们有无数的路标，我相信这些路标也极尽详细；火车站里列出了附近的名胜；电话很普遍。但是它也有些奇怪的缺点。比如，尽管有很多机动车，大多数道路状况却很差。即使在东京也有令人讨厌的水坑和泥巴。没有明文规定要人力车夫带铃铛。根本没有交通规则，因此驾车司机要加倍警惕，不仅要决定自己往哪边开，还要推测迎面过来的司机会往哪边开。我想他们一定也试行过交通规则，但是总有人违反。

The rickshaw bells are the more important, because the Japanese are not observant. They may see Fuji and stand for hours worshipping a spray of cherry blossom, but they do not see what is coming. Normally they look down.

人力车夫的铃铛更加重要，因为日本人从不留心观察，他们也许会在富士山前，驻足几个小时欣赏一场樱花雨，但从不留心对面来了什么，他们总是朝下看。

The rickshaw is comfortable and speedy; but to be drawn about by a fellow-creature is a humiliating experience and I never ceased to feel too conspicuous and ashamed. I discovered also how easy it is to lose one's temper with these men. I used to sit and wonder if there had ever been a runaway, and I never hired a rickshaw without thinking of Mr. Anstey's story of the talking horse.

人力车舒适、快捷，但是被自己的同类拉着跑是件非常丢人的事，我感到如此惹眼、羞耻，这种感觉从未停止。我还发现人们动不动就跟这些人发脾气。我总是坐在里面想有没有人曾经逃跑过。我每次雇车都会想到安斯蒂那个会说话的马的故事。

First Glimpse Of Fuji

初见富士

I left Kyoto for Yokohama on Wednesday night, March 17, 1920, at eleven, and Thursday, March 18, 1920, thus remains with me as a redletter day, for it was then, at about half-past seven in the morning, that, lifting the blind of my sleeping compartment, I saw—almost within reach, as it seemed, dazzlingly white under its snow against a clear blue sky, with the sun flooding it with glory—Fujiyama. I was to see it again several times—for I went to Myanoshita for that purpose—but never again so startlingly and wonderfully as this.

1920年3月17日星期三晚11点我从京都出发前往横滨，次日（1920年3月18日星期四）可以说是我的大喜之日，因为那天早上七点半左右，我拉开卧铺车厢的窗帘，看到了富士山，它几乎是近在咫尺，积雪覆盖的山峰白得耀眼，背衬着碧蓝的天空，沐浴在朝阳之下。我此后还见过它几次—去宫之下就是为了这个目的—但却再也没有让我会这般惊艳。

When I am asked to name in a word the most beautiful thing I saw on my travels I mention Fujiyama instantly. There is nothing else to challenge it. Perhaps had I seen Mount Qomolangma from Darjeeling I might have a different story to tell; but I missed it. The Taj? Yes, the Taj is a divine work of man; but it has not the serene lofty isolation of this sublime mountain, rising from the plain alone and immense with almost perfect symmetry.

如果有人问我旅途中见到的最美的东西是什么，我会立刻说是富士山。世上没有什么能与之媲美。或许我若在大吉岭见到了珠穆朗玛峰那可能会另当别论，但我没有见到。泰姬陵呢？对，泰姬陵是人类的杰作，但是它不像这座高耸入云的孤峰给人以宁静、巍峨之感。富士山平地而起，完美对称的山体逐渐向两边延伸。

I was not to see Fujiyama again for a week or so, but in the meanwhile I saw the Daibutsu, the giant figure of Buddha, at Kamakura, in all its bland placidity. These were the only big things I found in Japan.

我大约一个星期之后再次见到了富士山，这之前我去镰仓参观了神态平静、祥和的大佛雕像。这些是我在日本发现的仅有的宏大的景物。

Two Funerals

两场葬礼

Yokohama is industrial and dirty everywhere but on the drive beside the harbour, and on the Bluff, where the rich foreigners live. I visited one house on this pleasant eminence and there was nothing in it to suggest that it was in Japan any more than in, say, Cheltenham[1]. The form was English, the furniture was English, the pictures and books were English; photographs of school and college cricket elevens gave it the final home touch. Only in the garden were there exotic indications. The English certainly have the knack of carrying their atmosphere with them. I had noticed that often in India; but this Yokohama villa was the completest exemplification.

横滨是一座工业城市，到处都脏兮兮的，但港口的车道和富裕的外国人居住区布拉夫除外。我曾参观过这块充满生气的高地上的一所房子，那里的一切让人感觉像是身处于切尔滕纳姆而非日本。房子的外观是英式的，里面的家具也是英式的，图片和书籍是英语的，一组11人制校园板球运动的照片甚至让我感觉像回到了家乡。只有在花园里才能看到一些不属于英国的迹象。英国人确实擅长将英国氛围带到他们去的任何地方，在印度我常常会有这样的体会，但是这幢横滨别墅才是最佳范例。

Wandering about the city I came one morning on a funeral procession that ought to have pleased Henry Ward Beecher[2], who, on the only occasion on which I heard him, when he was very old and I was very young, urged upon his hearers the importance of bright colours and fl owers instead of the ordinary habiliments and accoutrements of woe. For when a soul is on its way to paradise, he said, we should be glad. The Yokohama cortege was headed by men bearing banners; then came girls all in white, riding in rickshaws; then the gaudy hearse; then priests in rickshaws; and finally the relations and friends. The effect conveyed was not one of melancholy; but even if every one had been in black, impressiveness would have been wanting, for no one can look dignified in a rickshaw.

一天早晨，我在城里漫步时遇到了一支送葬的队伍，亨利·沃德·比彻看到这个队伍应该会很高兴。只有那么一次，我听过他的演说，当时他已经很老了而我还很年轻，我听到他强烈要求听众们注重颜色的鲜明和花朵的装饰，不要穿普通的服装，不要佩戴表达哀思的饰品。因为当一个灵魂前往天堂时，他说，我们应该感到高兴才对。这支横滨送葬队伍由几个举着旗幡的男人领头，后面是身着白衣的女子坐在人力车上；接着是装饰华美的灵车；灵车后面跟着一辆辆拉着牧师的人力车；最后面是死者的亲朋好友。整个队伍没有悲哀的气氛，即使每个人都穿上黑色服装，也不会令人动容，因为坐在人力车上就不会显得庄重。

Compared, however, with a funeral which I saw in Hong Kong, the Yokohama ceremony was solemnity in essence. The Hong Kong obsequies were those of a tobacco-magnate's wife and the widower had determined to spare no expense on their thoroughness. He had even offered, but without success, to compensate the tramway company for a suspension of the service, the result of his failure being that every few minutes the procession was held up to permit the cars to go by; which meant that instead of taking only two hours to pass any given point, it took three. The estimated cost of the funeral was one hundred thousand dollars and all Hong Kong was there to see.

然而，与我在香港见到的一个葬礼相比，这个横滨葬礼基本上还算严肃。香港的葬礼是一个烟草大王为亡妻举办的，他决心不惜一切代价也要将葬礼办得完备周到。他甚至想出钱让电车公司暂停服务，但没有如愿，因此送葬队伍每隔几分钟就得停下来让车辆通过，最后比预计的两个小时多用了一个小时才通过预定地点。据估计这个葬礼花费了十万美元，全香港都在观看。

To Chinese eyes it doubtless had a sombre religious character, but to us it was merely a diverting spectacle of incredible prolongation. We were not wholly to blame in missing its sanctity, for the participants, who were more like mummers than mourners, had all been hired and were enjoying the day off. For the most part they merely wore their fancy dress and walked and talked or played instruments, but now and then there was a dragon and a champion boxing it and these certainly earned their money. At intervals came bearers with trays on which were comforts for the next world or symbolical devices, while, to infi nity both in front and behind, banners and streamers and lanterns danced and jogged above all. A miracle-show of the middle ages can

在中国人眼中，这无疑具有严肃的宗教意味，但是在我们看来，则纯粹是一个冗长无比的滑稽场面。不要责怪我们不尊重它的神圣性，因为走在队伍里的人更像是在演戏而不是真的默哀，他们都是主人花钱雇来的，而且这一天也过得很开心。他们的主要作用是穿着花哨的服装走在队伍中，说说话或者奏奏乐，不时还会有一条龙和舞龙人在队伍中表演，这些人肯定也是要赚取赏钱的。每隔一会儿，就会过来一些端着盘子的人，盘里放着另一个世界使用的物品或者说是象征物件，而队伍的前后都有举着旗幡、提着灯笼的人一直在跳着舞、蹦着脚。这跟中世纪的奇迹剧表演没有什么差别。

The Little Geisha

小艺伎

I left Japan, as I have said, just before the cherry-blossom festivities began, but I was able to see a number of the dances—which never change but are passed with exactitude, step for step, gesture for gesture and expression for expression, from one geisha to another—as performed by a child who was being educated for the profession. Although so young she knew accurately upwards of sixty dances, and the pick of these she executed for a few spectators, in a little fragile paper-walled house outside Yokohama, while her adoring aunt played the wistful repetitive accompaniments.

前面说过，我是在樱花节前夕离开日本的，但我还是看到了一些舞蹈—千篇一律但有严格的动作要求，每个艺伎都必须踩着同样的步伐、摆着同样的姿势、带着同样的表情。我所看到的舞蹈是由一个孩子表演的，她正在接受艺伎训练。虽然年纪还小，但她已经精确掌握了六十多种舞蹈，她从中挑选了一些，在横滨城外的一个纸糊墙壁的小屋子里为一些观众表演，她崇敬的阿姨在一旁反复演奏一支忧伤的曲调来给她伴奏。

The little creature—a mere watch-chain ornament—had a typical Japanese face, half mask, half mischief, and a tiny high voice which now and then broke into the dance. But dances, strictly speaking, they are not. They are really posturing and the manoeuvres of a fan. To me they are strangely fascinating, and, with the music, almost more so than our Western ballets. But there is a difference between the ballet and the geisha dances, and it is so wide that there is no true comparison; for whereas the ballet stimulates and excites, these Japanese movements hypnotise and lull.

这个小女孩—仿佛一个表链装饰品那么不起眼—有一张典型的日本脸蛋儿，带着一分矜持、一分淘气，她那稚弱而尖细嗓音的吟唱不时有些突兀地加进。但是这些舞蹈，严格说来，不算舞蹈，而只是在变换姿势，挥动扇子。我被这种奇特的舞蹈迷住了，配上音乐，这种舞蹈比我们西方的芭蕾更加令人陶醉。但是芭蕾和艺伎舞蹈有一个差别，不过这个差别太大以致无法准确进行比较；总之芭蕾给人以刺激，令人兴奋，而日本舞蹈催人入眠。

MANNERS

礼仪

The public manners of the Japanese are not good. In all my solitary walks about Myanoshita I met with no single peasant who passed the time of day, and in the streets of Tokyo English people were being jostled and stared at and treated without respect. It was a moment when Americans were unpopular, and the theory was broached that for fear of missing the chance to be rude to an American the Japanese became rude to all outlanders indiscriminately. One indeed gathered the impression that, except in Kyoto, which is a backwater, foreigners are no longer wanted. "Japan for the Japanese" would seem to be the motto: one day, not far distant, to be amended to "The World for Japan." I shall never forget the humiliation I suffered in a stockbroker's office in Tokyo, into which, seeing the words "English spoken" over the door, I had ventured in the hope of being directed to an address I was seeking. Not a word of English did any one know, but the whole staff left its typewriters and desks to come and laugh. I was always willing to remove the gravity of Japanese children by my grotesque Occidentalism, but I have a very real objection to being a butt for the ridicule of grown-ups. Such an incident could not have occurred, I believe, anywhere else. But it is not only the foreigners to whom the Japanese are rude: they do nothing for their fellows either. The want of chivalry in trains and trams was conspicuous.

日本人缺乏公共礼仪。我独自漫步在宫之下时，从未见过一个农夫打过招呼；在东京的街上，英国人被推来搡去，被人盯着看着，不受尊重。那时候美国人是不受欢迎的，所以就有了这样一个说法：因为不想失去对美国人无理的机会，日本人决定对一切外来者一律都粗鲁无礼。在日本你确实能感觉到，除了京都这个落后地区，他们不再需要外国人。“日本是日本人的”似乎是他们的格言，在不久的将来这句格言会被改写成“世界是日本人的”。我永远也不会忘记自己在一个东京股票经纪人办公室里所受到的侮辱，当时我看到门上挂着“说英语”的牌子就斗胆走了进去，希望有人能告诉我我要找的一个地方在哪里，结果没有一个人会一个英文单词，而且所有人都放下手中的活儿过来笑话我。我总是希望能用自己怪诞的西洋味儿来让日本的孩子们不要那么拘谨，但是我非常讨厌自己成了成年人的笑柄。我想，这样的事情在别的国家是不可能发生的。但是日本人不仅对外国人无理：他们也不会为自己的同胞做点什么。他们在火车上、电车上都缺乏谦让精神。

The ceremonial manners of the Japanese can, however, be more precise and formal than any I ever witnessed. A wedding reception chanced to be in progress in my Tokyo hotel one afternoon, and through the open door I had glimpses of Japanese gentlemen in frock coats bowing to Japanese ladies and making perfect right angles as they did so. So elaborate indeed were the courtesies that to Western eyes they bordered dangerously on burlesque.

然而，日本的仪式礼仪是我见过的最严格、最正式的。一天下午，我所住的一家东京的酒店正好有一场婚宴在进行，于是我有机会透过敞开的房门看到了几个身着礼服的日本绅士给几位日本女士行鞠躬礼，他们鞠躬的角度实在是完美至极，这样的繁文缛节在西方人眼里简直就像是一场滑稽表演。

The destination that I was seeking when I entered the stockbroker's office was a certain book-store, and when I eventually found it I was asked a question by a Japanese youth that still perplexes me. It was in the English section, the principal volumes in which, as imported to supply Japanese demands, were American, and all bore either upon success in engineering and other professions and crafts, or on the rapid acquirement of wealth. How to Double Your Income in a Week, How to Get Rich Quickly, How to Succeed in Business, and so forth; all preaching, in fact, the new gospel which is doing Japan no good. There were also, however, a certain number of novels, and one of the customers, a boy who looked as though he were still at school, noting my English appearance, brought a translation of Maupassant to me and asked me what "soul" meant—"A Woman's Soul" being the new title. Now I defy any one with no Japanese to make it clear to a Japanese boy with very little English what a woman's soul is.

我走进股票经纪人办公室要寻找的地方是一家书店，我最终找到了那里，一个日本青年问了我一个问题，至今我都不知道该如何作答。那是在书店的英文类图书区，为了满足日本人需求而进口的这些书主要来自美国，要么是关于如何在工科或其他职业、技术方面取得成功的，要么是关于如何快速致富的，例如《如何在一周之内使收入翻一番》、《如何快速致富》、《经商宝典》等等。一切布道，确切地说，新福音书在日本一无是处。不过这里也有一些小说，有一位顾客—是一个男孩，看起来还在上学。他注意到我看起来像是英国人，于是拿了一本莫泊桑的翻译作品给我看，问我“灵魂”是什么意思—因为译文标题是“一个女人的灵魂”。现在我每碰到一个不会日语的人都会问他应如何给一个只会一点点英文的日本男孩解释清楚女人的灵魂是什么。

The Play

戏剧

At Tokyo I was present for an hour or so at a performance in a national theatre. It had been in progress for a long time when I entered and would continue long after I left, for that is the Japanese custom. In London people with too little to do are on occasion prepared to spend the whole day outside theatres waiting for the doors to open. They will then witness a two and a half hours' performance. But in Japan the plays go on from eleven a.m. to eleven p.m. and the audience bring their sustenance and tobacco with them. The seats are mats on the ground, and the actors reach the stage by a passage through the auditorium as well as from the wings. The scenery is very elementary, and there is always a gate which has to be opened when the characters pass through and closed after them, although it is isolated and has no contiguous wall or fence.

在东京我去一家国家剧院看了大约一个小时的演出。我进去的时候演出已经开始了很长时间，而我离开之后还会继续很长时间，这就是日本戏剧的特点。在伦敦，无事可做的人有时会整天在剧院外等候开门，进去后他们看两个半小时的演出。但是在日本，戏剧从早上十一点演到晚上十一点，观众会带着食物和香烟进场，座位就是铺在地上的垫子，演员既有从舞台两侧上台的也有穿过大厅走廊上台的。布景非常简单，而且总有单独的一扇大门，旁边没有围墙或围栏，演员进场时，门打开；演员进场后，门关闭。

None of our Western morbid desire for novelty, I am told, troubles the Japanese play-goer, who is prepared to witness the same drama, usually based on an historical event or national legend thoroughly familiar to him, for ever and ever. It is as though the theatres in England were given up exclusively to, say, Shakespeare's Henry IV, V and VI sequence. On the occasion of my visit there was little of what we call acting, but endless elocution. During the performance the attendants walk about, with the persistence of constables during a London policecourt hearing, carrying refreshments and little charcoal stoves. The signal for the next act is a deafening clicking noise made by one of the stage hands on two sticks, which gradually rises to a shattering crescendo as the curtain is drawn aside. It must be understood that the theatre that I am describing was set apart for national drama. In others there are topical farces and laughter is continuous; but I did not visit any. On board ship, however, we had a series of performances of such pieces by the Japanese cabin attendants and waiters, many of whom were professional actors. The Japanese passengers enjoyed them immensely.

据说日本的戏迷丝毫不受西方追求新意的观念影响，他们愿意永远看同一出戏剧，通常是改编自他们熟悉的历史事件或民族传奇，就好比英国的剧院不演别的只演莎士比亚的《亨利四世》、《亨利五世》、《亨利六世》系列剧。我去看的那一段根本算不上演戏，只是没完没了的朗诵。演出的时候，总有工作人员走来走去，像伦敦治安法庭上执着的警察，他们手里拿着点心和小炭炉。下一幕开始的信号是震耳欲聋的一阵哐哐声，是舞台上的一个工作人员敲击两截棍子发出的声音，随着帷幕的拉开，这声音还在逐渐变大，直到最后一声巨响。在这里要交代清楚的是，我所描写的这个剧院是专门演民族戏剧的。在其他剧院还有主题闹剧，里面的笑声一阵接一阵；但这样的剧院我一家也没有去过。不过在船上，我们看到了一系列这类闹剧，是由日本船舱的工作人员和服务生表演的，他们中有一些是职业演员。日本乘客看得非常开心。

Myanoshita

宫之下

A whole week of my too short stay was given to Myanoshita, whither I was driven by the impossibility of retaining a room in either Yokohama or Tokyo, and where I stayed willingly on, out of delight in the place itself. After being cooped up for so long on ships, and kept inactive under the heat of India, it was like a new existence to take immense walks among these mountains in the keen rarified air, even though there was both rain and snow. Myanoshita stands some four thousand feet high and is situated in a valley in which are many summer cottages and health resorts. The heart of this Alpine settlement is the Fujiya Hotel, where I was living, which is kept by an enterprising Americanised and Europeanised Japanese proprietor and his very charming wife, Madame Yamaguchi, whose father was the founder of the house, and, I believe, the discoverer of the district, and who herself is famous as a gracious hostess throughout Japan. No hotel so well or so thoughtfully administered have I ever stayed in; nor was I ever in another where the water for the bath gushes in from a natural hot spring. But hot springs are numerous in this region, while there is a gorge which I visited, some four miles distant, where boiling sulphur hisses and bubbles for ever and aye.

尽管我在日本只停留了很短的时间，但有一整个星期都是在宫之下度过的，因为我无法在横滨和东京的房间里继续住下去，而我也愿意一直呆在这里，因为它本身就是一个充满快乐的地方。尤其是在船上禁闭了很长时间，在印度被热得怠倦无力后，畅快地漫步于这些山脉间，享受着清新纯净的空气，犹如获得了新生，尽管这里一直是雨雪天气。宫之下海拔约4,000英尺，位于一座山谷之上，那里有许多消夏村庄和健身场所。这片高地区域的中心就是我下榻的富士屋酒店，经营这家酒店的是一个既美国化又欧洲化的日本业主和他迷人的妻子—山口夫人，是她的父亲创办了这家酒店，我想一定也是他发现了这个地方。山口夫人作为一个和蔼的女老板在日本很有名气。这是我所住过的酒店里经营得最好，或者说服务最周到的一家，而且洗澡水是从一个天然温泉中流出来的，这也是我住过的其他酒店不曾有过的。不过这地区有无数个温泉，我去过约四英里外的一个峡谷，那里沸腾的硫磺嘶嘶作响，不停地冒泡。

Many of the Myanoshita dishes were new to me and welcome. There is an excellent salad called "Slow," and the bamboo, which is Japan's best friend—serving the nation in scores of ways: as fences, as walls, as water-pipes, as supports, as carrying-poles, as thatch, as fishingrods— here found its way into the salad bowl and was not distasteful. The custom of drinking a glass of orange juice before breakfast might well be adopted with us; but not the least of the oddities of England which I realised as I moved about the earth is our unwillingness to eat fruit. Japan also has a perfect mineral water, "Tansan."

宫之下的很多菜肴，我都是第一次吃并且很喜欢。有一道非常美味的沙拉叫做“素萝”，还有竹子。竹子是日本最好的朋友，在这个国家有几十种用途：如围栏、墙壁、水管、支架、扁担、屋顶、渔竿等。在这里它被拌进沙拉，味道也不错。早饭前喝一杯橙汁的习惯我们也许能够接受；但是我在各地旅行的过程中逐渐意识到，英国人有个怪癖就是不愿意吃水果。日本还有一种纯矿物水叫做“碳酸”。

When not making long expeditions to catch new glimpses of Fuji I roamed about the hill-sides among the little villages, or leaned over crazy bridges to watch the waterfalls beneath; for there is water everywhere, tumbling down to the distant ocean, a wedge of which can be seen from the hotel windows. This Japanese valley might be in Switzerland, save for the absence of any but human life. Not a cow, not a goat.

没有远行去看富士山的日子里，我就在村落间的山坡上漫步，或者倚靠在破败的桥上，观赏桥底的瀑布。这里到处都能见到湍急的水流，自上而下汇入遥远的大海，从酒店的窗户向外望去，可以看见大海入口的一角。日本这里的山谷与瑞士的山谷很像，只是除了人以外什么都没有，没有一头牛，没有一只羊。

The labourers wear blue linen smocks, usually with some device upon them, and they merge into the landscape as naturally as French or Belgian peasants. These men, whether working on the soil or the roads, or engaged in cutting bamboos or building houses, wear the large straw hats that one sees in the old Japanese prints. Nothing has changed in their dress. But the modernized Japanese, the dweller in the cities or casual visitor to the country, pins his faith to the bowler. The bowler is so much his favourite headgear that he wears it often with native costume on his body. Perhaps it is to Japan that all the bowlers have gone, now that London has taken to the soft Homburg. It was odd to meet groups of these bizarre little men among the precipices: even stranger perhaps were their little ladies, especially on Sunday, in the gayest Japanese clothes, their faces plastered with rice powder and cigarettes in their mouths. Too many of them are disfigured by gold teeth, which are so common in Japan as to be almost the rule. An English resident assured me that I must not assume that the Japanese teeth are therefore unusually defective: often the gold is merely ostentation, a visible sign that the owner of the auriferous mouth is both alive to American progress and can afford it.

劳作的人们穿着蓝色的亚麻制服，衣服上通常带有某种图案，他们就像法国或比利时的农民一样自然地融入这片风景之中。这些人，无论是在地里或路上工作，还是在砍竹子或建房子，都带着一顶大草帽，就像人们在古老的日本版画上看到的那样。他们的服装没有变化。但是日本比较现代的人，城里的居民或偶尔来到乡间的游客则对圆顶帽有着坚定的信仰。圆顶帽是他们最喜爱的头饰，常被用来搭配民族服装。也许所有的圆顶帽都跑到日本去了，如今伦敦流行起了洪堡软毡帽。很奇怪的是，会在悬崖峭壁间遇到一群群打扮奇特的矮小的人，其中那些个子小小的女士更为奇特，尤其在星期天，这些人会穿着最华美的日本服装，脸上涂着大米散粉，嘴里叼着烟。很多人镶了难看的金牙，这在日本很普遍，实属惯常。一个英国侨民告诉我绝对不要因此而以为日本人的牙齿有着异常的缺陷，镶金牙通常只是为了显摆，是要证明自己看到了美国的进步并有能力跟上这种进步。

Even in Myanoshita Fujiyama has to be sought for and climbed for, the walls of rock that form the valley being so high and enclosing. But the result is worth every effort. Immediately above the hotel is a hill from whose summit the upper part of the enchanted mountain can be seen, and I ascended tortuously to this point within an hour of my arrival. The next day I walked to Lake Hakone (where the Emperor has a summer palace), some eight miles away, in the hope of getting Fuji's white crest reflected on its surface; but a veil of mist enshrouded all. And then twice I went to the edge of the watershed at the head of the valley: once struggling through the snow to the Otome Pass, on an immemorial and nearly perpendicular bridle path, and once by the modern road to the tunnel which, with characteristic address, the Japanese have bored through the rock, thus reducing a very steep gradient.

即使在宫之下，要看到富士山也要经过一番探寻与攀登，山谷的岩壁很高，呈包围状。但是努力没有白费。从紧邻酒店屋顶的一座小山的山尖上可以看见迷人的富士山的上半部分，我辛苦攀登了近一个小时来到这里。第二天，我走了约八英里来到箱根湖边，（这里有一座皇室避暑宫殿），希望能看到富士山白色山峰在湖中的倒影，但是迷雾遮住了一切。然后我又到山谷前面的分水岭去了两趟：一次经由一条古老的、近乎垂直的马道，奋力穿越积雪来到乙女峠；一次是经由一条现代道路来到一条隧道，这条位置特别的隧道是日本人凿开岩石挖掘出来的，这样就可以省去一条陡峭的坡道。

In the tunnel the icicles were hanging several feet long and as big as masts, and the air was biting. But one emerged suddenly upon a prospect the wonder of which probably cannot be excelled—a vast plain far below, made up of verdure and villages and lakes, with distant surrounding heights, and immediately in front, filling half the sky, Fuji himself. It is from this point, and from the ancient Otome Pass, a mile or so away on the same ridge, that the symmetry of the mountain is most perfect; and here one can best appreciate the simplicity of it, the quiet natural ease with which it rises above its neighbours. There was more snow on the slopes than when I had seen it from the train a few days before; and the sky again was without a cloud. I have never been so conscious of majestic serenity, without any concomitant feeling of awe. Fuji is both sublime and human.

隧道里面悬着几英尺长的冰柱，有桅杆那么粗，空气冷得刺骨。但是一出隧道，忽然间一片秀美无双的景色呈现在眼前—底下一片广袤、青翠的平原，平原上散布着村庄和湖泊，四周高山林立，前面最近处挡住了大半边天的就是富士山。这里和距离这座山脊约一英里的古乙女􀳰，是欣赏富士山山体对称之美的最佳位置，这里也是观赏富士山纯朴风貌的最佳位置，它凌驾于群山之上，仪态宁静自然。这时山坡上的积雪比我几天前从火车上看到的更厚了；天空中还是没有一片云彩。我从未在强烈感受一种宏伟与静穆的同时而不心生敬畏。富士山既庄严崇高又富有人情。

No other country has a symbol like this. When the Japanese think of Japan they visualise Fuji: returning exiles crowd the decks for the first glimpse of it; departing exiles with tears in their eyes watch it disappear. There is not a shop window but has Fuji in some representation; it is found in every house; its contours are engraved on teaspoons, embossed on ash-trays. You cannot escape from its counterfeits; but if you have seen it you do not mind.

别的国家没有这样的象征。当日本人想起日本时，他们的头脑中就会出现富士山的画面：归乡的游子挤到甲板上想第一眼看到它；离乡的游子噙着泪水看它慢慢消失在视线中。每个商店的橱窗里都陈列着能表现富士山的物品；每个房子里也有；茶匙上有富士山轮廓的雕刻，烟灰缸上有它的浮雕。你在哪里都能见到它的赝品，但是见到它后你不会介意的。

When on my way home I found myself in an American picture gallery, either in San Francisco, Chicago, Boston or New York, I lingered longest in the rooms where the coloured prints of the Japanese masters hang—and America has very fine collections, particularly in Boston— and I stood longest before those landscapes by Hokusai[3] and Hiroshige[4] in which Fuji occurs. Hokusai in particular venerated the mountain, and in many of his most beautiful pictures people are calling to each other to admire some new and marvellous aspect of it. It was he who drew Fuji as seen through the arch of a breaking wave! I was looking at the British Museum's example of this daring print only a few days ago, and, doing so, living my Myanoshita days again.

回国的途中，无论是旧金山、芝加哥、波士顿，还是纽约的美国画廊里，我发现自己在那些挂着日本大师所作的水彩画的展厅里停留的时间最久（美国有很多非常好的收藏品，尤其是在波士顿），而站在绘有富士山的葛饰北斋和安藤广重的风景画旁的时间又最长。葛饰北斋尤其崇敬这座大山，在他一些最美的画作里，人们在彼此呼唤着过来欣赏它的新颖、神奇之处。就是他画下了从破浪的弧度下观赏到的富士山！几天前，我还在大英博物馆里欣赏到了这幅大胆的画作。欣赏的时候，仿佛我又回到了宫之下的那些日子里。

There is much in Japan that is petty, much that is too material and not a little that is disturbing; but Fuji is there too, dominating all, calm and wise and lovely beyond description, and it would be Fuji that lured me back.

日本有很多细小的东西，有很多太实利，太不尽如人意之处，但是那里也有富士山，它俯视一切，宁静、睿智、美好得无法形容，我若重游日本，那一定是受富士山的魅力所惑。

(1)切尔滕纳姆，英国英格兰格洛斯特郡的自治市镇。

(2)亨利·沃德·比彻（1813—1887），19世纪中后期著名的美国牧师、社会改革家。

(3)葛饰北斋（1760—1849），日本浮世绘画家，他以富士山不同角度的样貌为题，画了《富岳三十六景》的一系列风景图，因而远近驰名，其中以《赤富士》和《神奈川冲浪里》最为知名。

(4)安藤广重（1797—1858），日本浮世绘画家，作品多描绘风景名胜。与喜多川歌、葛饰北斋合称浮世绘三大家。

America

美国

Democracy At Home

国内民主

My first experience of democracy-in-being followed swiftly upon boarding the steamboat for San Francisco, when "Show this man Number 231" was the American steward's command to a cabin boy. I had no objection to being called a man: far from it; but after years of being called a gentleman it was startling. This happened at Yokohama; and when, in the Customs House at San Francisco, a porter wheeling a truck broke through a queue of us waiting to obtain our quittances, with the careless warning, "Out of the way, fellers!" I knew that here was democracy indeed.

我刚一登上开往旧金山的汽轮就体验到了现实的民主，当时一个美国乘务员正吩咐船上的一个服务员“带这个人去231号”。我不反对他称我为“人”，完全不介意；但因为长期被人叫做“先生”，这还是让我吃了一惊。这件事情发生在横滨。另一次是在旧金山的海关，我们正在排队等候领取收据，这时一个搬运工拖着一个滑轮手推车从我们队伍中横穿过去，满不在乎地叫嚷着：“让开，伙计们！”我知道这就是真正的民主。

I confess to liking it, although I was to be brought up with another jolt when a notice-board on a grass-plot suddenly confronted me, bearing the words:

我承认我喜欢这种民主，尽管另一件事又让我吃了一惊，那时我突然看到一片草地上立着一个告示牌，上面写着：

"Illustration: KEEP OFF. THIS MEANS YOU.”

“注意：请勿践踏，说的就是你！”

But I like it. I like the tradition which, once your name is written in the hotel reception book, makes you instantly "Mr. Lucas" to every one in the place. There is a friendliness about it: the hotel is more of a home, or at any rate, less of a barrack, because of it. And yet this universal camaraderie has some odd lapses into formality. The members of clubs in America are far more ceremonious with each other than we are in England. In English clubs the prefix "Mr." is a solecism, but in American clubs I have watched quite old friends and associates whose greetings have been marked almost by pomposity and certainly by ritual. Yet Americans, I should say, are heartier than we; more happy to be with each other; less critical and exacting. They certainly spend less time in discussing each other's foibles. That may be because the dollar is so much more an absorbing theme, but more likely it is because America is a democracy, and the theory of democracy, as I understand it, is to assume that every man is a good fellow until the reverse is proved. I should not like to say that the theory of those of us who live under a monarchy is the opposite, but it seemed to me that Americans are more ready than we to be sociable and tolerant.

但我喜欢这样。我喜欢这样的习俗：一旦你把名字填到酒店登记簿上，“卢卡斯先生”就在这里被所有人叫开了。这种友好的气氛让酒店更像家，或者至少不是军营。不过这种广泛的友谊有时却变得很正式。美国俱乐部成员之间远比我们英国更加注重礼节。在英国俱乐部，称呼“先生”会显得失礼，但是在美国俱乐部，我发现即使是相识已久的老朋友、老熟人之间的寒暄几乎都有些虚夸的迹象，当然也是很有礼节性的。我要说，美国人确实比我们更热情，更高兴彼此呆在一起，不那么挑剔、苛求。他们在一起讨论彼此弱点的情况确实比较少，这或许是因为美元的讨论价值要大得多，但是更有说服力的理由是美国是一个民主国家，按我的理解，民主理论就是每个人都是好人，除非有人能证明相反的情况。我并不是说处于君主政体统治下的我们的理论就是相反的，不过我觉得美国人似乎比我们更合群、更宽容。

Try as I might I could never be quick enough to get in first with that delightful American greeting, "Pleased to meet you," or "Glad to know you, Mr. Lucas." I pondered long on the best retort and at last formulated this, but never dared to use it for fear that its genuineness might be suspected: "I shall be sorry when we have to part."

尽管我也尝试过，但还是无法很快说出那种快活的美国式寒暄，“很高兴见到您”或“很高兴认识您，卢卡斯先生”。为了给对方一个最好的回答，我思考了很久，最后想到了这句话：“我们不得不分别的时候我会感到遗憾的。”但我从来都不敢说出口，因为害怕对方怀疑我的真诚。

San Francisco

旧金山

It was in San Francisco that I learned—and very quickly—that it is as necessary to visit America in order to know what Americans are like as it is to leave one's own country in order to know more about that. Americans when abroad are less hearty, less revealing. They are either suffering from a constraint or an over-assertiveness; and both moods may be due to not being at home. In neither case are they so natural as at home. I suppose that on soil not our own we all tend to be a little over-anxious to proclaim our nationality, to maintain the distinction. In our hearts can perhaps be too firmly planted the invisible flag of our country.

在旧金山我认识到—很快就认识到—要了解美国人就必须到美国去，同样要进一步了解自己的国家就必须离开那里。在国外的美国人不那么热情，不那么外向。他们要么过于克制，要么过于自信。这两种情绪都是因为身处异乡。在这两种情况下，他们都不像在国内那么自然。我想不在自己的国土上，人们都会因为过于紧张而不愿意表现出自己的民族特性或差异。在我们心里，也许牢牢插着一面无形的国旗。

Be this as it may, I very quickly discerned a difference between Americans in America and in England. I found them simple where I had thought of them as the reverse, and now, after meeting others in various parts of the country, even in complex and composite New York, I should say that simplicity is the keynote of the American character. It is in his simplicity that the American differs most from the European. Such simplicity is perfectly consistent with the impatience, the desire for novelty, for brevity, of the American people. We think of them as always wishing to reduce life to formulae, as unwilling to express any surprise, and these tendencies may easily be considered as signs of a tiring civilisation. But in reality they are signs of youth too.

虽然这样，我还是很快就察觉到在美国的美国人和在英国的美国人之间的一个差异。我发现他们很简单，并不像我曾认为的那么复杂。现在，见过美国各地的美国人之后，甚至包括复杂、多元的纽约，我应该说简单是美国性格的基调。简单是美国人与欧洲人的最大区别。与这种简单完全一致的是美国人的急躁、求新和简洁。我们觉得他们总是希望把生活简化成公式，不愿表现出惊奇。这些特征很容易被当作一种疲倦的文化的象征。但实际上，这也是年轻的象征。

Roads Good And Bad

好路和坏路

San Francisco I shall chiefly recollect (apart from personal reasons) for the sparkling freshness and vigour of the air; for the extent and variety of Golden Gate Park[1], where I found a bust of Beethoven, but no sign of Bret Harte[2]; for the vast reading-room in the library at Berkeley, a university which is so enchantingly situated, beneath such a sun, and in sight of such a bay, that I marvel that any work can be done there at all; and for the miles and miles of perfect tarmac roads fringed with burning eschscholtzias and gentle purple irises. That was in April. I found elsewhere in America no roads comparable with these. Even around Washington their condition was such that to ride in a motorcar was to experience all the alleged benefits of horseback, while in the Adirondacks, anywhere off the noble Theodore Roosevelt[3] Memorial Highway, with its "T. R." blazonings along the route, one's liver was bent and broken. While I was in America the movement to purchase Roosevelt's house as a national possession was in full swing, but this Memorial Highway strikes the imagination with more force. That was an inspiration, and I hope that the road will never be allowed to fall into disrepair.

我首先能回忆起来的是旧金山（不含个人因素），因为这里生机盎然、空气清新；这里的金门公园广阔、多样，我在公园里看到了贝多芬的半身像，但是没有布勒特·哈特的标志；还有伯克利大学图书馆的大阅览室，这所大学坐落于如此迷人的地方，笼罩在如此迷人的阳光之下，位于如此迷人的海湾河畔，真是令我惊异如何能在这样的地方安心学习；以及延伸几英里的完美的柏油碎石路，路旁装点着鲜艳的花菱草和淡紫色鸢尾花。当时是四月份。在美国其他地方，我再也没有见到能与这些路相媲美的公路。即使是华盛顿周围的道路，其状况也十分糟糕，开着机动车行驶在上面能体会到所有所谓的骑马的益处，而在阿迪朗达克，除了沿途都有“T·R”纹章的著名的西奥多·罗斯福纪念高速公路外，所有公路都很颠簸，能把人的内脏都震碎了。我在美国期间，将罗斯福故居购买为国有财产的运动正进行得如火如荼，但是这条纪念高速公路其实更让人欣赏。这是一个启迪，我希望永远不要让这条路失修。

Universities, Love And Pronunciation

大学、爱情和发音

Watching the young men and maidens crowding to a lecture in the Hearst Amphitheatre at Berkeley[4], under that glorious Californian sky, I was struck by the sensible, frank intimacy of them all, and envied them the advantages that must be theirs over the English methods of segregation at the same age, which, by creating shyness and destroying familiarity, tends to retard if not destroy the natural understanding which ought to subsist between them and if it did would often make life afterwards so much simpler.

加利福尼亚灿烂的天空下，我看到少男少女涌向伯克利大学的赫斯特露天剧场去听讲座。他们之间显而易见的、直率的亲密给我留下了深刻的印象。相较于英国同龄人中实行的男女分校制我更羡慕他们的这种优越。在英国，男女分校使少男少女们变得害羞而损坏了他们之间的亲密，这种做法即使不破坏也会有碍增进彼此间的真实了解，而男女之间理应有真实的了解，这样会使以后的生活更加轻松。

I asked one of the professors to what extent marriages were made in Berkeley, but he had no statistics. All he could say was that Cupid was very little trouble to the authorities and that Mr. Hoover[5] and Mrs. Hoover first met each other as students at Stanford. And then I asked an ex-member of one of the Sororities and she said that at college one was a good deal in love and a good deal out of it. The romance rarely persisted into later life.

我询问过伯克利大学的一位教授有多少人在校期间结婚，但是他说没有统计过。他只告诉我丘比特不会给学校当局带来麻烦，他还说胡佛先生和胡佛夫人就是在斯坦福就读时相识的。之后我又问了女生会的一名前会员，她说在大学每个人都有很多恋爱经历，也有很多失恋的经历。浪漫很少会持续到毕业后的人生。

She pronounced romance with the accent on the first syllable, whereas somewhere half-way across the Atlantic the accent passes to the second; and why such illogical things should be is a mystery. The differences can be very disconcerting, especially if one refuses to give way. I had an experience to the point when talking with some one in Chicago and wishing to answer carefully his question as to the conditions under which the poor of our great cities live. These are, in my observation, infinitely worse in England than in America. Indeed I hardly saw any poor in America at all—not poverty as we understand it. But I could not frame my reply because "squalor" (which we pronounce as though it rhymed with "mollor") was the only fitting epithet and he had just used it himself, pronouncing it in the American way—or at any rate in his American way—with a long "a." So I turned the subject.

她说到浪漫时，重音在第一个音节，而在大西洋另一边的人说这个词时则把重音放在第二个音节。为什么会有这种不合理的现象是一个不解之谜。这类区别会让人非常不安，尤其是你非要弄清楚不可的时候。我有一次这样的经历，那是跟芝加哥的一个人谈话，并想认真回答他关于大城市的穷人们生活在什么样的状况下的问题。据我的观察，英国穷人的处境比美国差得多。实际上，我在美国基本上看不到穷人—没有我们认为的那种贫穷。但是我无法回答他，因为“squalor”（贫穷）（这个词在我们的发音里和“moller”的韵相同）是唯一恰当的形容词，而他刚刚已经提到这个词，发音是美式发音（至少是他的美式发音），尾音是一个长长的“a”，于是我转移了话题。

Neither nation has any monopoly of reasonableness in pronunciation. The American way of saying "advertisement" is more sensible than ours of saying "advertisement," since we say "advertise" too. But then, although the Americans say "inquire," just as we do, they illogically put the stress on the first syllable when they talk about an "inquiry." The Tower of Babel[6] is thus carried up one storey higher. The original idea was merely to confuse languages; it cannot ever have been wished that two friendly peoples should speak the same language differently.

两个国家都不能说自己的发音是标准的。美国“advertisement”的发音比我们的“advertisment”的发音更合理，因为我们也说“advertise”。但是还有，尽管美国人说“inquire”时发音跟我们相同，但是他们说“inquiry”时又不知为何把重音放到第一个音节，因此巴别塔又多建了一层；（上帝）最初的想法只是要打乱人间的语言，但他从未打算让两个友好的民族用不同的方式讲同一种语言。

But I have wandered far from Berkeley and Stanford. I am not sure as to my course of conduct if I had a daughter of seventeen, but I am quite convinced that if I had a son of that age I should send him to an American university for two or three years after his English school. He should then become a citizen of the Anglo-Saxon world indeed.

我已经从伯克利和斯坦福跑题跑得很远了。我不知道如果我有一个17岁的女儿我会如何教导她的行为，但是我非常确定如果我有一个这么大的儿子，我应该会在他完成国内的学业后把他送到美国大学去读两到三年。这样他才能真正成为盎格鲁—撒克逊世界的公民。

First Signs of Prohibition

禁酒的最初征兆

We had met Prohibition first at Honolulu, not a few of the passengers receiving the shock of their lives on learning at the hotel that only "soft drinks" were permitted. Our second reminder of the new regime came as we entered American waters off the Golden Gate and the ship's bar was formally closed. And then, in San Francisco, we found "dry" land indeed. In this connection let me say that in the hotel I made acquaintance with an official of great power who was new to me: the buttoned boy who rejoices in the proud title of Bell Captain. He gave me a private insight into his precocity (but that is not the word, for all boys in America are men too), and into his influence, by offering to supply me with forbidden fruit, in the shape of whisky, at the modest figure of $25 a bottle. He did not, however, say dollars: like most of his compatriots (and it is a favourite word with them) he said something between "dollars" and "dallars."

我们第一次遭遇禁酒是在檀香山，很多乘客知道在酒店只能喝“软饮料”后都异常惊讶。我们再次记起这个新制度是在进入美国金门水域时，船上的酒吧正式关闭了。接下来，在旧金山，我们找到了一片真正的“干”地。关于这一点，让我说说在酒店结交的一个很有能耐的官员，我对他并不熟悉：这是一个戴着徽章的男孩，他为他徽章上“侍者领班”的光荣头衔感到欣喜。他私下让我见识了他的早熟（但这个词不够确切，因为所有的美国男孩也都是男人）和能耐，他提出给我提供禁果，以威士忌的形式，一瓶只收取25美元。然而，他说的不是dollars（美元）：跟他的大多数同胞一样，他的这个词（这个是他们最喜欢的一个词）的发音介于“dollars”和“dallars”之间。

I had, a few days later, in Chicago, a similarly friendly offer from a policeman of whom I had inquired the way. Recognizing an English accent, he had instantly divined what my dearest wish must be. I then asked him how prohibition was affecting the people on his beat. He said that a few drunkards were less comfortable and a few wives more serene; but for the most part he had seen no increase of happiness, and the extra money that it provided was spent either on the movies, dress, or "other foolishness." I did not allow him to refresh me. After a course of American "tough fiction," of which "Susan Lenox" remains most luridly in the memory, I had a terror of all professional upholders of the law.

几天后，我在芝加哥向一个警察问路，他同样友好地提出给我提供酒。听出了我的英国口音后，他马上就猜到了我最热切的愿望。然后我问他禁酒令对他巡逻区域内的人们有什么影响。他说有些酒鬼不太舒服，然而有些妻子却平静了许多。但是总体说来，他没有看到幸福指数在上升，多出来的钱花在了电影、衣服或“其他蠢事”上。我没有让他给我酒。我看了一部美式“暴力小说”，印象最深的就是放荡不羁的“苏珊·伦诺克斯”，此后我便对那些职业法律卫士们怀有一种恐惧。

R. L. S.

罗伯特·路易斯·斯蒂文森

Coming by chance upon the Robert Louis Stevenson[7] memorial at San Francisco, on the edge of Chinatown, I copied its inscription, and in case any reader of these notes may have forgotten its trend I copy it again here; for I do not suppose that its application was intended to cease with the Californian city. It is counsel addressed to the individual, but since nations are but individuals in quantity such ideals cannot be repeated amiss:

我在旧金山的唐人街边上偶然见到了罗伯特·路易斯·斯蒂文森的纪念碑。我抄下了碑上的铭文，我又把它抄在这里，以免阅读这本游记的读者无法跟上本书的思路，因为我想它不只适用于加利福尼亚城。铭文虽然是对个人的忠告，但既然所有的国家不过是个人的集成，那么就很有必要复述一下这样的理想：

To be honest; to be kind; to earn a little; to spend a little less; to make upon the whole a family happier for his presence; to renounce when that shall be necessary and not to be embittered; to keep a few friends, but these without capitulation; above all, on the same grim condition, to keep friends with himself— here is a task for all that man has of fortitude and delicacy.

要诚实，要善良；挣得少就要花得更少；总的来说，要让全家人因为自己的存在而感到更加幸福；该放弃的时候要果断放弃而不要愤恨不快；要交一些能坚持原则的朋友，最重要的是，在同样严酷的情况下，要同自己交朋友。—这是所有既坚忍又谨慎的人需要承担的责任。

It is a far cry from San Francisco to Saranac, yet Stevenson is their connecting chain, with the late Harry Widener's[8] amazing collection of Stevensoniana, in his memorial library at Harvard, as a link. The Saranac cottage, which on the day of my visit was surrounded by the sweetest lilac blooms that ever perfumed the air, is still a place of pilgrimage, and one by one new articles of interest are being added to the collection. It was pleasant indeed to find an English author thus honoured. Later, in Central Park, New York, I was to find statues of Shakespeare, Burns[9] and Sir Walter Scott[10].

旧金山同萨拉纳克千差万别，斯蒂文森是连接它们的链条，而哈佛大学怀德纳纪念图书馆里收藏的已故哈里·怀德纳的一套斯蒂文森全集则是这根链条上的一环。我去萨拉纳克村庄的那天，四周开满了最甜的丁香花，花香久久弥漫在空中。村庄仍然是一个旅游胜地，收藏品里补进了一件又一件新到的纪念物。看到一个英国作家受到这样的礼遇确实令我很高兴。之后，在纽约的中央公园里我又看到了莎士比亚、彭斯和沃尔特·司各特爵士的雕像。

It was, oddly enough, in the Adirondacks that I came upon my only experience of simplified spelling in the land of its birth. It was in that pleasant home from home, the Lake Placid Club, where one is adjured to close the door "tyt" as one leaves a room; where one drinks "cofi ;" and where that most necessary and mysterious of the functionaries of life, the physician, is able to watch his divinity dwindle and his dignity disappear under the style "fizisn."

很奇怪，在简化拼写的发源地我惟一一次见到它是在阿迪朗达克山脉地区，在那他乡的温馨之家，即普拉西德湖俱乐部。那里的人被要求在出门前要关“紧”（tight被简化为tyt）门；那里的人们喝“咖啡”（coffee被简化为cofi）；那里最必要、最神秘的生命之职—医生，只能眼看着自己的神圣和威严在“医生”（physician被简化为fizisn）的称号中逐渐消失。

Stories And Humourists

故事和幽默家

I heard many stories in America, where every one is a raconteur, but none was better than this, which my San Francisco host narrated, from his own experience, as the most perfect example of an honest answer ever given. When a boy, he said, he was much in the company of an old trapper in the Californian mountains. During one of their expeditions together he noticed that a camp meeting was to be held, and out of curiosity he persuaded Reuben to attend it with him. Perched on a back seat, they were watching the scene when an elderly Evangelical sister placed herself beside the old hunter, laid her hand on his arm, and asked him if he loved Jesus. He pondered for some moments and then replied thus: "Waal, ma'am, I can't go so far as to say that I love Him. I can't go so far as that. But, by gosh, I'll say this—I ain't got nothin' agin Him."

我在美国听过很多故事，那里的每个人都擅长讲故事，但是没有哪个故事能胜过在旧金山招待我的主人根据自己的经历所叙述的一个故事，这个故事是有史以来关于诚实答案的最完美典范。他说自己小时候常跟加利福尼亚山里的一位老猎手为伴。有一次，他们一起出猎的时候，他得知要召开信徒的野营集会。于是，他在好奇心的驱使下说服了鲁本跟他同去。他们坐在后排观看时，一个传福音的修女坐在老猎手旁边把手放在他的臂膀上，问他爱不爱基督。他犹豫了片刻，这样回答说：“嗯，夫人，我不敢说我爱他，我不敢那么说。不过，对于主，我可以这么说—我也没啥可反对他的。”

The funniest spontaneous thing I heard said was the remark of a farmer in the Adirondacks in reply to my question "Had they recovered up there, from the recent war?" "Yes," he said, "they had," adding brightly, "Quite a war, wasn't it?"

我听到的最有趣的脱口而出的回答来自阿迪朗达克的一个农民。我问道：“人们从战争中恢复过来了吗？”“是的，已经恢复了，”他说，并轻快地补充道,“一场了不起的大战，不是吗？”

In a manner of speaking all Americans are humourists. Just as all French people are wits by reason of the epigrammatic structure of their language, so are all Americans humourists by reason of the national stores of picturesque slang and analogy to which they have access. I think that this tendency to resort to a common stock instead of striving after individual exactitude and colour is to be deplored. It discourages thought where thought should be encouraged. Adults are, of course, beyond redemption, but parents might at least do something about it with their children. One of the cleverest American writers whom I met made no effort whatever to get beyond these accepted phrases as he narrated one racy incident after another. With the pen in his hand (or, more probably, the typewriter under his fingers) his sense of epithet is precise; but in his conversational stories men were as mad as "Sam Hill," injuries hurt "like hell," and a knapsack was as heavy "as the devil." We all laughed; but he should have had more of the artist's pride.

从说话的方式看，所有的美国人都是幽默家。就像所有的法国人都是智者是因为他们的语言中有警句式结构，美国人都是幽默家是因为他们的民族储备了大量唾手可得的形象的俚语和类比。我为这种因为依赖于通俗表达方式的储备而放弃追求个人的严谨和特色的作法而感到惋惜。它扼制了本应被鼓励的思考。成年人是无药可救了，不过作为父母总该为孩子们做点什么吧。我见过的美国最聪明的一个作家在讲述一个又一个辛辣讽刺的事件时，无意做任何努力使用这些约定俗成的词语以外的表达方式。用他手里的笔（或者更多的时候是手指下的打字机），他能精确地使用形容词。但是在谈话中讲到的故事里，他用“像萨姆·希尔一样”来形容人的疯狂，用“像地狱一样”来形容伤口的疼痛，用“像魔鬼一样”来形容背包的沉重。我们都笑了，但是他本应该还有更多作为艺术家的骄傲。

Three American professional humourists whom I had the good fortune to meet and be with for some time were Irvin Cobb[11], Don Marquis[12], and Oliver Herford[13], each authentic and each so different. Beneath Mr. Cobb's fun is a mass of ripe experience and sagacity. However playful he may be on the surface one is aware of an almost Johnsonian universality beneath. It would not be extravagant to call his humour the bloom on the fruit of the tree of knowledge (I am talking now only of the three as I found them in conversation). Don Marquis, while equally serious (and all the best humourists are serious at heart), has a more grotesque fancy and is more of a reformer, or, at any rate, a rebel. His dissatisfaction with hypocrisy provoked a scorn that Mr. Cobb is too elemental to entertain. Some day perhaps Don Marquis will induce an editor to print the exercises in unorthodoxy which he has been writing and which, in extract, he repeated to us with such unction; but I doubt it. They are too searching. But that so busy a man should turn aside from his work to dabble in religious satire seemed to me a very interesting thing; for nothing is so unprofitable—except to the honest soul of him who conceives it.

我有幸见到三位美国职业幽默家，并同他们进行了交谈。他们分别是：埃文·科布，唐·马奎斯和奥利弗·赫福德，每个人都很自然，各有自己的特色。科布的笑话体现了他丰富的阅历和睿智的思想，不论他表现得多么滑稽，人们都能看得出他内在的约翰逊式的无所不知。说他的幽默是知识之树的开花结果并不夸张（这里所说的只是谈话中我对他们三个人的印象）。同样严肃的唐·马奎斯（所有杰出的幽默家的内心都是严肃的）有更多奇特的想法，更像个改革家，或者，无论如何，是个叛逆者。他对科布先生很不满，认为他虚伪，其作品很肤浅没有欣赏价值。也许有一天，唐·马奎斯会说服一位编辑出版他正在撰写的非正统作品，他曾从中挑选了一些并带着无比的热忱讲给我们听；不过我对此表示怀疑，因为它们太过锐利。但是这样繁忙的一个人会丢下自己的工作转而投入到宗教讽刺文学在我看来是一件非常有趣的事，因为没有什么比这更加无利可图了—除了满足那个做出这些思考的诚实的灵魂。

One of Don Marquis's more racy stories which I recollect is of a loafer in a country town who had the habit of dropping into the store every day at the time the free cheese was set on the counter, and buying very little in return. When the time came for the privilege to be withdrawn the loafer was outraged and aghast. Addressing the storekeeper (his friend for years) he summed up his ungenerosity in these terms: "Your soul, Henry," he said, "is so mean, that if there were a million souls like it in the belly of a fl ea, they'd be so far apart they couldn't hear each other holler."

我记得唐·马奎斯的一个更为尖刻的故事写的是一个生活在城镇的流浪汉，他习惯了每天在柜台提供免费奶酪的时候走进商店，然后买上一丁点儿作为回报。当商店停止提供这种优惠时，这个流浪汉既愤怒又震惊。他这样总结店主（他多年的朋友）的吝啬：“你的灵魂，亨利，”他说，“太小，以至于把一百万个你这样的灵魂放在一只跳蚤的肚子里，它们之间还会因为离得太远而听不见彼此的叫喊。”

As for Oliver Herford, he is an elf, a sprite, a creature of fantasy, who may be—and, I rejoice to say, is—in this world, but certainly is not of it. This Oliver is in the line of Puck[14] and Mercutio[15] and Lamb[16] and Hood[17] and other lovers and makers of nonsense, and it is we who ask for "more." He had just brought out his irresponsible but very searching exercise in cosmogony, This Giddy Globe, dedicated to President Wilson ("with all his faults he quotes me still") and this was the first indigenous work I read on American soil. Oliver Herford is perhaps best known by his Rubaiyat of a Persian Kitten, and there is a kitten also in "This Giddy Globe:”

而奥利弗·赫福德则鬼灵精怪，有一肚子的荒诞想法。他也许身在（而且确实身处，我很高兴这么说）这个世界，但绝不属于这个世界。这个奥利弗和帕克、茂丘西奥、兰姆、胡德及其他热爱荒诞、制造荒诞的人属于同一行列，而同时在不断“索要更多荒诞”的是我们自己。他刚刚出版了一本名为《这个眼花缭乱的地球》的书，并把它献给了威尔逊总统（“尽管他有很多缺点，但他还是引用了我的话”），书中他对宇宙进化论的探讨虽然不可信，但却非常犀利。这是我在美国读到的第一部本土作品。《一只波斯猫的鲁拜集》也许是奥利弗·赫福德最为著名的作品，而在《这个眼花缭乱的地球》中也有一只小猫。

"Hurray!" cried the Kitten, "Hurray!"

“好哇！”小猫大喊，“好哇！”

As he merrily set the sails,

他快乐地扬帆，

"I sail o'er the ocean to-day

“今天我要乘船

To look at the Prince of Wales.”

去看威尔士王子。”

—this was when the Prince was making his triumphant visit to New York in 1919—

当时的背景是1919年威尔士王子胜利出访纽约

"But, Kitten," I said dismayed,

“但是，小猫，”我沮丧地说，

"If you live through the angry gales

“即使你能抵挡愤怒的大风

You know you will be afraid

你知道的，你也会因为胆怯

To look at the Prince of Wales.”

而不敢去见威尔士王子。”

Said the Kitten, "No such thing!

小猫说：“没有这样的事

Why should he make me wince?

他为什么会让我退缩

If a Cat may look at a King

如果一只猫咪能见国王

A Kitten may look at a Prince!”

一只小猫就能去见王子。”

This reminds me that the story goes that when the Prince expressed his admiration for Fifth Avenue he was congratulated upon having "said a mouthful." Beyond a mouthful, as an encomium of sagacity or sensationalism in speech, there is but one advance and that is when one says "an earful."

这让我想到了一个故事，据说王子在表达他对第5大街的赞美时，被人称赞“说到了点子上”。除了“满口赞誉”，还有一个程度更深的短语可以用来称赞言辞的智慧和煽情，那就是“满耳溢美之词”。

The Cars

车厢

The journey from San Francisco to Chicago, once the fruit country is passed, is drearily tedious, and I was never so tired of a train. The spacious compartments that one travelled in on the Indian journeys, where there are four arm-chairs and a bath-room, are a bad preparation for the long narrow American cars packed with humanity, and for the very inadequate washing-room, which is also the negro attendant's bed-chamber:"Although," he explained to me, "when the car isn't full I always sleep in Berth Number 1." If the night could be indefinitely prolonged, these journeys would be more tolerable; but for the general comfort the sleeping berths must be converted into seats at an early hour. In addition to books, I had, as a means of beguilement, the society of a returned exile from the Philippines, who told me the story of his life, showed me the necklace he was taking home to his daughter's wedding, and asked my advice as to the wisdom or unwisdom of marrying again, the lady of his wavering choice having been at school with him in New England and being now a widow in Nebraska with property of her own. Besides being thus garrulous and open, he was the most helpful man I ever met, acting as a nurse to the three or four restless children in the car, and even producing from his bag a pair of scissors and a bottle of gum with which to make dolls' paper clothes. Never in my life have I called a stranger "Ed" on such short acquaintance; never have I been called "Poppa" so often by the peevish progeny of others.

过了水果之乡后，从旧金山到芝加哥的旅程就变得索然无味起来，我从没有感到如此厌倦火车。在印度坐的火车很宽敞，车厢里有四把扶手椅和一间厕所，这就使得接下来在美国坐火车很难适应了：车厢狭长且人多拥挤，空间狭小的盥洗室还同时是黑人服务员的卧室。“不过，”他向我解释道，“车厢没有坐满乘客的时候，我总是睡1号卧铺。”如果夜晚能无限地延长，旅途也不会这么难熬。但是考虑到更多人的舒适，卧铺一大早就会被调整为座位。除了书，还有一个同伴帮我消磨时间，他是一个从菲律宾返乡的游子，他给我讲述他的人生故事，给我看他要带回去送给女儿当结婚礼物的那条项链，还问我如果他再娶是否明智。他拿不定主意是否要娶的那位女士曾经跟他一起在新英格兰的一所学校上学，如今丈夫去世，在内布拉斯加有一份属于自己的产业。他不仅絮叨、坦率，还是我所见过最热心的人，他当起了车厢里三四个不安分孩子的保姆，甚至从自己的包里取出一把剪刀、一瓶胶水做起了玩偶纸衣服。从前我绝不会把刚刚认识的一个陌生人叫做“埃德”，也从没有被别人家倔强的孩子叫过“爸爸”。

It was on this train that I began to realise how much thirstier the Americans are than we. The passengers were continually filling and emptying the little cups that are stacked beside the fountains in the corridors, and long before we reached Chicago the cups had all been used. In England only children drink water at odd times and they not to excess. But in America every one drinks water, and the water is there for drinking, pure and cold and plentiful. It is beside the bed, in the corners of offices, awaiting you at meals, jingling down the passages of hotels, bubbling in the streets. In English restaurants, water bottles are rarely supplied until asked for; in our hotel bedrooms they seldom bear lifting to the light. As to whether the general health of the Americans is superior or inferior to ours by reason of this water-drinking custom, I have no information; but figures would be interesting.

我是在这辆火车上才意识到美国人跟我们相比有多么容易口渴。车厢走廊的水龙头旁边放着一摞小杯子，乘客们在那里不停地接水、喝水。还远没到芝加哥，那些杯子就用完了。在英国只有小孩子才偶尔喝水并且不会过量。但是在美国，每个人都喝水，这里的水就是用来喝的，纯净、冰凉、充沛。在床边，在办公室的角落里，在你用餐时等着你，哗哗地流过酒店的过道，潺潺地在街上流着。在英国的餐馆，水瓶里很少有水，除非你提出要求；在我们的酒店里也很少能看见装水的瓶子。美国人的健康状况比我们好还是比我们差是不是跟饮水习惯有关，我不得而知；但是数据应该会非常有意思。

Chicago

芝加哥

In Chicago the weather was wet and cold, and it was not until after I had left that I learned of the presence there of certain literary collections which I may now perhaps never see. But I spent much time in the Museum, where there is one of the finest Hobbemas[18] in the world, and where two such different creative artists as Claude Monet[19] and Josiah Wedgwood[20] are especially honoured. But the chief discovery for me was the sincere and masterly work in landscape of George Inness[21], my fi rst impression of whom was to be fortifi ed when I passed on to Boston, and reinforced in the Hearn[22] collection in the Metropolitan Museum in New York.

芝加哥的气候潮湿、寒冷，我离开那里之后才知道那有某些文学作品集，现在我也许再也看不到了。但是我花了很多时间在博物馆里，这里收藏了霍贝玛最杰出的作品之一，两位风格迥异的创意艺术家克劳德·莫奈和乔赛亚·韦奇伍德在这里尤其受到尊敬。但是我最主要的发现是乔治·英尼斯感情真挚、技艺纯熟的风景画作品，我对他的第一印象在波士顿得到了强化，在纽约的大都会博物馆里看到的赫恩藏画进一步加深了我对他的印象。

It was in Chicago, in the Marshall Field Book Department—which is to ordinary English bookshops like a liner to a houseboat—that I first realised how intense is the interest which America takes in foreign contemporary literature. In England the translation has a certain vogue—Mrs. Garnett[23]'s supple and faithful renderings of Turgenev, Tolstoi, Dostoievski, and Tchekov have, for example, a great following—but we do not adventure much beyond the French and the Russians; whereas I learn that English versions of hundreds of other foreign books are eagerly bought in America. Such curiosity seems to me to be very sensible. I was surprised also to find tables packed high with the modern drama. In England the printed play is not to the general taste.

在芝加哥的马歇尔·菲尔德书店（它之于英国的普通书店就像一艘大型商船之于一艘小型家庭游艇），我第一次发觉美国人对外国当代文学有着浓厚的兴趣。在英国，外国译著有着一定的流行趋势—比如，加尼特夫人对屠格涅夫、托尔斯泰、陀思妥耶夫斯基、契诃夫等作家优雅、忠实的翻译就有大量的追随者—但是我们不会进入法国和俄国以外的文学领域。然而，我知道几百部其他的外国作品的英译本都被美国读者竞相购买。我觉得这种好奇是明智的。同样让我惊讶的是桌子上堆放了很高一摞现代戏剧。在英国，鲜有人欣赏戏剧的印制本。

It was in Chicago that I found "window-shopping" at its most enterprising. In San Francisco the costumiers' windows were thronged all Sunday, but in Chicago they are brilliantly lighted till midnight, long after closing hours, so that late passers-by may mark down desirable things to buy on the morrow.

我发现“橱窗购物”在芝加哥发展蓬勃。星期天一整天旧金山的服装店窗前挤满了顾客，而芝加哥的服装店橱窗直到半夜还亮着耀眼的灯光，虽然店铺早已关门，但是晚归的过路人可以先记下自己心仪的商品，第二天早上再来购买。

The spirited equestrian statue of General John A. Logan, in a waste space by Michigan Avenue, which I could see from my bedroom window, was my first and by no means the least satisfying experience of American sculpture on its native soil—to be face to face with St. Gaudens[24]' figure of "Grief" in Rock Creek Cemetery, at Washington, having long been a desire. In time I came to see that beautiful conception, and I saw also the fine Shaw monument in Boston, fine both in idea and in execution; and the Sheridan, by the Plaza Hotel in New York; and the Farragut in Madison Square; and the Pilgrim in Philadelphia—all the work of the same firm, sensitive hand, a replica of whose Lincoln is now to be seen at Westminster.

透过我的卧室窗户，可以看到密歇根大街附近的一块荒地上竖立着约翰·A.洛根将军骑在马上的英勇雕像。这是我第一次在美国本土看到美国雕塑，但也令人很满意。我一直渴望能亲眼看到华盛顿石溪公墓里圣高登斯所作的“悲伤”雕像，后来我终于看到了这个美丽的杰作；我还在波士顿看到了精致的萧伯纳纪念碑，构思细腻，雕工精湛；还有在纽约的广场大饭店旁的谢里丹；还有麦迪逊广场上的法拉格特；还有费城的朝圣者—这些都出自同一只坚定、敏感的手，现在威斯敏斯特还有一座他雕刻的林肯像的仿制品。

The statue seems almost as natural a part of civic ornament in America as it is in France, and is not in England; and the standard as a rule is high. In particular I like the many horsemen—Anthony Wayne[25] dominating the landscape at Valley Forge; and George Washington[26] again and again, and not least in Fairmount Park in Philadelphia (where there is also a bronze roughrider realistically set on a cliff—as though from Ambrose Bierce[27]'s famous story—by Frederic Remington[28]). American painters can too often suggest predecessors, usually French, but the sculptors have a strength and directness of their own, and it would not surprise me if some of the best statues of the future came from their country. No one would say that all American civic sculpture is good. There is a gigantic bust of Washington Irving[29] behind New York's Public Library which would be better away; nor are the lions that guard that splendid institution superabundantly leonine; but the traveller is more charmed than depressed by the marble and bronze effigies that meet his eye—and few witnesses have been able to say that of England. Among the more remarkable public works I might name the symbolical figures on the steps of the Boston Free Library, and the frieze in deep relief on the Romanesque church on Park Avenue in New York, and I found something big and impressive in the Barnard groups at Harrisburg. Many of the little bronzes in the Metropolitan Museum—at the other extreme—are exquisite.

同法国一样，这些雕塑很自然地成为了城市装饰的一部分，而在英国却不是。这些雕像的标准通常都很高。我尤其喜欢那些骑手雕像—安东尼·韦恩在佛吉山谷上俯瞰风景；乔治·华盛顿反复出现在马背上，尤其是在费城的费蒙公园（那里还有弗雷德里克·雷明顿的铜雕作品驯马人，逼真地立在悬崖上—仿佛是从安布罗斯·比尔斯的著名故事中出来的。）美国画家总会受到前期画家的影响，通常是法国的，但是雕刻家们总有他们自己的力量和方向，如果将来最好的雕塑出自这个国家，我也不会感到惊奇。没有人会说美国所有的城市雕塑都很好。纽约公共图书馆后面那座巨大的华盛顿·欧文半身像就应该移走。守卫这座辉煌图书馆的狮子雕像不太像狮子，也该移走。但是游客们看到大理石和铜铸雕像时总是欣喜多过失望—但是没有几个人会这么说英国。要我说哪些公共作品更加令人瞩目，那就是波士顿自由图书馆台阶上的象征主义人像和纽约公园大街罗马式教堂壁缘上的深浮雕。我发现在哈里斯堡的巴纳德雕塑群宏大、令人难忘。而大都会博物馆里的许多小铜像（则体现了另一个极端）雕工精致。

The Movies

电影

We have our cinema theatres in England in some abundance, but the cinema is not yet in the blood here as in America. In America picture-palaces[30] are palaces indeed—with gold and marble, and mural decorations, built to seat thousands—and every newspaper has its cinema page, where the activities of the movie stars in their courses are chronicled every morning. Moreover, America is the home of the industry; and rightly so, for it has, I should say, been abundantly proved that Americans are the only people who really understand both cinema acting and cinema production. Italy, France and England make a few pictures, but their efforts are half-hearted: not only because acting for the fi lm is a new and separate art, but because atmospheric conditions are better in America than in Europe.

英国有相当数目的电影院，但是不像在这里电影已经融入美国人的血液。在美国，电影宫殿是真正的宫殿—有黄金和大理石，有壁画装饰，有上千个座位。每家报纸都有电影版面，电影明星的活动日程表每天早晨都会更新。此外，美国还是电影之乡，这是当之无愧的，因为已经有大量证据可以体现美国人是唯一真正理解电影表演和电影制作的民族。意大利、法国和英国也拍过一些电影，但是他们都没有尽全力。不仅是因为电影是一种新生的、独立的艺术，也是因为美国比欧洲的氛围更加浓厚。

It was in Chicago that I had my only opportunity of seeing cinema stars in the flesh. The rain falling, as it seems to do there with no more effort or fatigue to itself than in Manchester, I had, one afternoon, to change my outdoor plans and take refuge at the matinee of a musical comedy called "Sometime", with Frank Tinney[31] in the leading part. Tinney, I may say, during his engagement in London some years ago, became so great a favourite that one performer has been flourishing on an imitation of him ever since. The play had been in progress only for a few minutes when Frank, in his capacity as a theatre doorkeeper, was presented by his manager with a tip. A dialogue, which to the trained ear was obviously more or less an improvisation, then followed:

我唯一一次有幸见到电影明星本人是在芝加哥。那天下午下着雨，像曼彻斯特的雨一样，没有愈下愈猛的趋势也没有逐渐减弱的征兆。于是我改变了原来的户外活动计划，躲进电影院去看了一出名为《有一天》的音乐喜剧的日场，该剧的主演是弗兰克·廷尼。要知道，廷尼几年前在伦敦发展期间就成了深受人们喜爱的演员，以至于后来有一个表演者因模仿他而走红。音乐剧开始没几分钟，在剧中扮演电影院门卫的弗兰克就在经理给他打点小费的情景下出场了。下面的这段对话，有经验的人一听就知道是临时加入的：

Manager: "What will you do with that dollar, Frank?"

经理：“你会怎么花这一美元，弗兰克？”

Frank: "I shall go to the movies. I always go to the movies when there's a Norma Talmadge[32] picture. Ask me why I always go to the movies when there's a Norma Talmadge picture."

弗兰克：“我会去看电影。我总是去看诺玛·塔尔梅奇演的电影。问问我为什么总是去看诺玛·塔尔梅奇演的电影。”

Manager: "Why do you always go to the movies when there's a Norma Talmadge picture, Frank?"

经理：“你为什么总是去看诺玛·塔尔梅奇演的电影，弗兰克？”

Frank: "I go because, I go because she's my favourite actress. (Applause.) Ask me why Norma Talmadge is my favourite actress.”

弗兰克：“我去是因为，我去是因为她是我最喜欢的女演员。（鼓掌）问问我为什么诺玛·塔尔梅奇是我最喜欢的女演员。”

Manager: "Why is Norma Talmadge your favourite actress, Frank?"

经理：“为什么诺玛·塔尔梅奇是你最喜欢的女演员，弗兰克？”

Frank: "Norma Talmadge is my favourite actress because she is always saving her honour. I've seen her saving it seventeen times. (To the audience) You like Norma Talmadge, don't you?" (Applause from the audience.)

弗兰克：“诺玛·塔尔梅奇是我最喜欢的女演员是因为她总是能够挽救自己的名声。我见过她这样做过17次。（面向观众）你们喜欢诺玛·塔尔梅奇，是吗？”（观众鼓掌）

Frank: "Then wouldn't you like to see her as she really is? (To a lady sitting with friends in a box.) Stand up, Norma, and let the audience see you.”

弗兰克：“那你们想见她本人吗？（面向包厢中跟朋友们坐在一起的一位女士）站起来，诺玛，让观众看看你。”

Here a slim lady with a tense, eager, pale face and a mass of hair stood up and bowed. Immense enthusiasm.

于是一位苗条的女士站起来向大家鞠躬。她一张紧绷、殷切、苍白的脸，一头蓬松的头发。观众反应热烈。

Frank: "That's Norma Talmadge. You do like saving your honour, don't you, Norma? And now (to the audience) wouldn't you like to see Norma's

弗兰克：“这就是诺玛·塔尔梅奇。你确实喜欢挽救

little sister, Constance? (More applause.) Stand up, Constance, and let the audience see you.”

自己的名声，是吗，诺玛？那么现在（面向观众）你们想见诺玛的小妹妹康斯坦斯吗？（更热烈的掌声）站起来，康斯坦斯，让观众看看你。”

Here another slim lady bowed her acknowledgments and the play was permitted to proceed.

这时又站起来一位苗条女士鞠躬答谢观众，之后音乐剧接着往下演。

What America is going to do with the cinema remains to be seen, but I, for one, deplore the modern tendency of novelists to be lured by American money to write for it. If the cinema wants stories from novelists let it take them from the printed books. One has but to reflect upon what might have happened had the cinema been invented a hundred years ago, to realise my disturbance of mind. With Mr. Lasky's millions to tempt them Dickens would have written "David Copperfield" and Thackeray "Vanity Fair," not for their publishers and as an endowment to millions of grateful readers in perpetuity, but as plots for the immediate necessity of the film, with a transitory life of a few months in dark rooms. Of what new "David Copperfields" and "Vanity Fairs" the cinema is to rob us we shall not know; but I hold that the novelist who can write a living book is a traitor to his art and conscience if he prefers the easy money of the film. Readers are to be considered before the frequenters of Picture Palaces. His privilege is to beguile and amuse and refresh through the ages: not to snatch momentary triumphs and disappear.

美国电影将如何发展，我们拭目以待。但是，就我个人来说，我为现代小说的发展趋势感到惋惜，因为小说家的创作将会受到美国金钱的诱惑。如果电影想要小说家们的故事，让他们到已经出版的作品中去寻找吧。如果电影业早一百年开始将会是什么样？大家只要想想这个问题就会明了我的担心。如果有拉斯基的百万美元作为诱惑，那么狄更斯的《大卫·科波菲尔》和萨克雷的《名利场》就不是为他们的出版商而作，就不会成为百万读者永远感激的馈赠，而只是满足电影临时需要的情节，只有在暗室里几个月的短暂生命。电影会从我们这里夺走哪些当代的《大卫·科波菲尔》和《名利场》，我们不清楚。但是我相信能写下一部不朽巨著的小说家如果选择了从电影中轻易获得的金钱就会成为自己的艺术和良心的叛徒。应该优先考虑的是读者而不是电影院的常客。小说家的优势在于其作品能经得住岁月的考验而长期吸引读者，而不在于图一时之利而昙花一现。

The evidence of the moment is more on the side of the pessimist than the optimist. I found in America no trace of interest in such valuable records as the Kearton[33] pictures of African jungle life or the Ponting[34] records of the Arctic Zone. For the moment the whole energy of the gigantic cinema industry seemed to be directed towards the filming of human stories and the completest beguilement, without the faintest infusion of instruction or idealism, of the many-headed mob. In short, to provide "dope." Whether so much "dope" is desirable, is the question to be answered. That poor human nature needs a certain amount, is beyond doubt. But so much? And do we all need it, or at any rate deserve it? is another question. Sometimes indeed I wonder whether those of us who have our full share of senses ought to go to the cinema at all. It may be that its true purpose is to be the dramatist of the deaf.

眼前的证据支持悲观主义者多于支持乐观主义者。我发现美国人对一些有价值的资料没有什么兴趣，比如基尔顿的非洲丛林生活影片或庞廷的北极地带影片。目前庞大的电影业的全部精力都指向人类故事的拍摄和纯粹的娱乐，而没有一丁点儿的教育意义和理想主义。简而言之，这纯粹是在制造“兴奋剂”。人们是否需要如此大量的“兴奋剂”还有待回答。可怜的人性需要一定剂量是毫无疑问的，但是需要这么多吗？而且是不是我们所有人都需要或者都应该得到？这是另一个问题。有时，我确实在想我们这些头脑完全清醒的人是不是应该干脆不去电影院。可能电影的真正意图是成为聋人的剧作家吧。

The American Face

美国脸孔

Perhaps it is one of the travellers' illusions (and we are very susceptible to them), but I have the impression that American men are more alike than the English are. It may be because there are fewer idiosyncrasies in male attire, for in America every one wears the same kind of hat; but I think not. In spite of the mixed origin of most Americans, a national type of face has been evolved to which they seem satisfied almost universally to pay allegiance. Again and again in the streets I have been about to accost strangers to whom I felt sure I had recently been introduced, discovering just in time that they were merely doubles. In England I fancy there is more individuality in appearance. If it is denied that American faces are more true to one type than ours, I shall reopen the attack by affirming that American voices are beyond question alike. My position in these two charges may be illustrated by notices that I saw fixed to gates at the docks in San Francisco. On one were the words "No Smoking"; on the other "Positively No Smoking." And what about the science of physiognomy? I have been wondering if Lavater[35] is to be trusted outside Europe. In China and Japan I was continually perplexed, for I saw so many men who obviously were successful—leaders and controllers—but who were without more than the rudiments of a nose on which to support their glasses; and yet I have been brought up to believe that without a nose of some dimensions it was idle to hope for worldly eminence. Again, in America, is it possible that all these massive chins and firm aquiline beaks are ruling the roost and reaching whatever goal they set out for? I doubt it.

也许这是游客的错觉之一（我们很容易受这些错觉的影响），在我的印象中美国男人比英国男人彼此更加相像。也许是因为美国男士装束的风格缺乏多样性，因为在美国每个人都戴着同样的帽子。但我认为不是这样的。尽管大多数美国人身体里混杂着多种血统，一个典型的民族脸孔已经形成，这一点美国人也似乎普遍愿意接受。我一次又一次在街上遇到这种情况，每当我正要同确信是刚刚认识的一个陌生人搭话时，就会及时发现他们只是长得极为相似的两个人。我觉得英国人个体外貌特征更为明显。如果有人要反驳这个观点，我会展开另一轮的辩驳断言美国人的声音不容置疑是十分相似的。我可以用我在旧金山船坞大门上看到的两则告示来佐证我的以上两种看法。其中之一写着“禁烟”；另一则上写着“绝对禁烟”。

The average American face is, I think, keener than ours and healthier. One sees fewer ruined faces than in English cities, fewer men and women who have lost self-respect and self-control. The American people as a whole strike the observer as being more prosperous, more alert and ambitious, than the English. Where I found mean streets they were always in the occupation of aliens.

如果用面相学来解释呢？我一直在思考拉瓦特尔在欧洲大陆以外的地方还能受人信赖吗？在中国和日本，我经常感到疑惑不解，因为我见过的许多人，显然都是成功人士（领导人和部门官员），他们的鼻子扁平得都无法支撑住眼镜。然而，我从小就相信一个人的鼻子如果没有立体感，就不用指望成名。反之在美国，难道所有的宽面颊和鹰钩鼻都能成为统治者，得到一切他们想要的吗？我对此表示怀疑。总的来说美国人的脸孔比我们的更加热情和健康。比起英国的城市，这里堕落的脸孔更少，这里丧失自尊和自制的人也更少。在旁观者看来，美国这个民族比英国更加成功、更加机警、更有雄心。我发现脏乱的街上住着的总是外国人。

To revert to the matter of clothes, the American does as little as possible to make things easy for the conjectural observer. In England one can base guesses of some accuracy on attire. In a railway carriage one can hazard without any great risk of error the theory that this man is in trade and that in a profession, that another is a stockbroker, and a fourth a country squire. But America is full of surprises, due to the uniformity of clothing and a certain carelessness which elevates comfort to a ritual. The man you think of as a millionaire may be a drummer, the drummer a millionaire. Again, in England people are known to a certain extent by the hotels they stay at, the restaurants they eat at, and the class in which they travel. Such superficial guides fail one in America.

回到服装问题上来，美国人尽可能不在这上面花费精力好让旁观者更容易判断他们的身份。在英国你可以通过装束比较精确地判断出一个人的身份。在火车上，你的推测总也错不到哪里去：这个人是经商的，那个人是受过高等教育的，另一个是股票经纪人，第四个是位乡绅。但是在美国总会让你感到意外，因为他们统一的服装样式，和那种把追求舒适升华至风俗习惯的随意。你觉得是百万富翁的人也许是个鼓手，你认为是鼓手的也许是个百万富翁。而在英国，通过这个人下榻的酒店、吃饭的餐馆、出行交通工具的等级就可以从某种程度上判断他们的身份。而这些外在的信息在美国却不管用。

Prohibition Again

再次禁酒

I can best indicate, without the mechanical assistance of dates, the time of my sojourn in New York by saying that, during those few weeks, Woodrow Wilson[36]'s successor was being sought, the possibility of the repeal of the Prohibition Act was a matter of excited interest, and "Babe" Ruth[37] was the national hero. During this period I saw the President sitting on the veranda of the White House; I had opportunities of honouring Prohibition in the breach as well as in the observance; and these eyes were everlastingly cheered and enriched by the spectacle of the "Babe" (who is a baseball divinity) lifting a ball over the Polo Ground pavilion into Manhattan Field. I hold, then, that I cannot be said to have been unlucky or to have wasted my time.

如果不按照日期机械地记录，我可以把在纽约的短暂停留简要概括如下：在那几个星期里，伍德罗·威尔逊的继任者正在寻找之中；禁酒令可能废除会引发民众热切关注；“贝比”鲁思成为了全民偶像。这期间，我看到了坐在白宫阳台上的总统；我有机会看到人们遵守和违反禁酒令；我还大饱眼福看到了“贝比”（他是一个棒球神话）击球，球从波罗球场凉亭上方飞过，进入曼哈顿场。我觉得我是幸运的，我的时间没有白费。

I found (this was in the spring of 1920) Prohibition the universal topic: could it last, and should it last? In England we are accused of talking always of the weather. In America, where there is no weather, nothing but climate, that theme probably was never popular. Even if it once were, however, it had given way to Prohibition. At every lunch or dinner table at which I was present Prohibition was a topic. And how could it be otherwise?—for if my host was a "dry" man, he had to begin by apologising for having nothing cheering to offer, and if he possessed a cellar it was impossible not to open the ball by congratulating him on his luck and his generosity. Meanwhile the guests were comparing notes as to the best substitutes for alcoholic beverages, exchanging recipes, or describing their adventures with private stills.

我发现禁酒是每个人谈论的话题（当时是1920年春天）：它能不能持续？应不应该持续？在英国我们总是被人指责经常谈论天气。在美国，没有天气只有气候，显然这个话题不会受到欢迎。即使它曾经受到欢迎，现在也让步给禁酒了。我出席的每次午宴或晚宴，禁酒都是餐桌上人们讨论的话题。不说它说什么呢？因为如果我的主人是一个“干”人，他会在开饭前表示歉意，因为他没有什么振奋精神的东西可以提供给大家；如果他拥有一个酒窖，开场白就必然是大家对他的好运和慷慨的庆贺。同时宾客们会讨论用什么来取代酒精饮料是最好的，或是交流各自的秘方，或是讲述他们冒险到私人酿酒商处购买酒的经历。

I visited a young couple in a charming little cottage in one of the garden cities near New York, and found them equally divided in their solicitude over a baby on the top floor and a huge jar in the basement which needed constant skimming if the beer was to be worth drinking.

我在纽约附近一座花园城市的一个迷人的小村庄里见过一对年轻夫妇，他们一边挂念着顶层的孩子，一边操心着地下室的一大罐啤酒，因为要不断撇去表面的泡沫，才能保证啤酒的味道。

One effect of Prohibition which I was hoping for, if not actually expecting, failed to materialise. I had thought that the standard of what are called T. B. M. (Tired Business Men[38]) theatrical shows might be higher if the tendency of alcohol to make audiences more tolerant (as it undoubtedly can do in London) were no longer operative. But these entertainments seemed, under teetotallers, no better.

对于禁酒的效果，我有一个愿望，如果不能说是真正期待的话，但是这个愿望没有实现。我原以为如果曾使得观众更宽容（在英国无疑会这样）的酒精不再发挥作用，那么被称作T.B.M(《疲惫的商人》)的舞台表演的标准便会得到提高。但是这些由戒酒者观看的娱乐表演似乎毫无长进。

The Ball Game

棒球运动

After seeing my first ball game or so I was inclined to suggest improvements; but now that I have attended more I am disposed to think that those in authority know more about it than I do, and that such blemishes as it appears to have are probably inevitable. For one thing, I thought that the outfield had too great an advantage. For another, not unassociated with that objection, I thought that the homerun hit was not sufficiently rewarded above the quite ordinary hit— "bunch-hit," is it? —that brings in a man or men. In the English game of "Rounders," the parent of baseball, a home-run hit either restores life to a man already out or provides the batting side with a life in reserve. To put a premium of this kind on so noble an achievement is surely not fantastic. So I thought. And yet I see now that the game must not be lengthened, or much of its character would go. It is its concentrated American fury that is its greatest charm. If a three-day cricket match were so packed with emotion we should all die of heart failure.

大概在看完第一场棒球比赛后，我就想发表意见好让他们有所进步。但是现在看了更多的比赛后，我发现那些专家们比我内行多了，而这些表面的缺点很可能是比赛中难以避免的。一方面，我觉得外场优势太大；另一方面，正是因为这个缺陷，我觉得相对于让一人或者多人进垒的普通安打—是这么说的吧？—来说，本垒打得分实在不够高。在英国的圆场球（棒球的前身）中，本垒打要么让已经出局的人重新获得一次机会，要么会让攻方多得一次重生的机会。给这么漂亮的击球这样的奖赏当然不过分。我是这么想的。然而现在依我看，这个运动一定不能延长，不然它的许多特征就会消失。美国人浓缩的激情是它的最大魅力。如果怀着如此强烈的热情观看历时三天的板球比赛，我们会心脏衰竭而死去。

I thought, too, that it is illogical that a ground stroke behind the diamond should be a no-ball, and yet, should that ball be in the air and caught, the striker should be out. I thought it an odd example of lenience to allow the batsman as many strokes behind the catcher as he chanced to make. But the more baseball I see the more it enchants me as a spectacle, and these early questionings are forgotten.

我还认为将内场后的击球触地判为坏球是不合理的，然而，只要球触地前被接住，击球手就会出局。我觉得让击球手只要有机会就在捕手后面击球太过宽容。但是看了更多的棒球比赛后我就更着迷于这种精彩的场面了，并把这些起初的疑问抛在了脑后。

Baseball and cricket cannot be compared, because they are as different as America and England; they can only be contrasted. Indeed, many of the differences between the peoples are reflected in the games; for cricket is leisurely and patient, whereas baseball is urgent and restless. Cricket can prosper without excitement, while excitement is baseball's life-blood, and so on: the catalogue could be indefinitely extended. But, though a comparison is futile, it may be interesting to note some of the divergences between the games. One of the chief is that baseball requires no specially prepared ground, whereas cricket demands turf in perfect order. Bad weather, again, is a more serious foe to the English than to the American game, for if the turf is soaked we cannot go on, and hence a number of drawn or unfinished matches in the course of a season. A two hours' game, such as baseball is, can, however, always be played off.

棒球和板球不能进行比较，它们的差别就像美国和英国一样，只能进行对比。实际上，这两个民族的很多差别都体现在这两项运动中；板球运动轻松、平和；而棒球激烈、急躁。板球运动不需要刺激也能兴盛，而刺激是棒球的生命之源，等等等等，这些不同之处可以无限列举下去。不过，尽管比较是徒劳的，但这两项运动的有些差别还是非常有趣的。其中一大差别就是棒球场地不需要精心准备，而板球需要十分平整的草地。糟糕的天气对英国的比赛威胁比对美国的比赛威胁更大，因为一旦草坪浸湿比赛就将无法继续进行，于是一个赛季就会出现许多平局或没有打完的比赛。然而，这样的情况不会发生在两个小时就能结束的棒球比赛中。

In baseball the pitcher's ball must reach the batter before it touches the ground; in cricket, if the ball did not touch the ground first and reach the batsman on the bound, no one would ever be out at all, for the other ball, the full-pitch as we call it, is, with a fl at bat, too easy to hit, for our bowlers swerve very rarely: it is the contact with the ground which enables them to give the ball its extra spin or break. Full-pitches are therefore very uncommon. In cricket a bowler who delivered the ball with the action of a pitcher would be disqualified for "throwing": it is one of the laws of cricket that the bowler's elbow must not be bent.

在棒球中，投出的球必须在触地之前被击中；在板球中，球落地弹起来之后被击中，也不会有人出局，因为另一种球，我们叫做直投球，用平拍打很容易却反而不易击中，因为我们的投手很少转向：触地产生的摩擦力会使球加速旋转或产生方向变化，成为变化球。直投球因此非常少见。在板球中，投球手如果采用棒球中的投球姿势便会被判为无效投球：投球手的肘部不能弯曲是板球的一条比赛规则。

In cricket (I mean in the first-class variety of the game) the decisions of the umpire are never questioned, either by players or public.

在板球中（我是说一流板球），裁判的决定从未遭到过球员或观众的质疑。

In baseball there are but two strokes for the batter: either the "swipe," or "slog," as we call it, where he uses all his might, or the "bunt," usually a sacrificial effort; in cricket there are scores of strokes, before the wicket, behind it, and at every angle to it. These the cricketer is able to make because the bat is fl at and wide, and he holds it both vertically and at a slant, as occasion demands, and is allowed, at his own risk, to run out to meet the ball. In the early days of cricket, a hundred and fifty years ago, the bat was like a baseball club, but curved, and the only strokes then were much what the only baseball strokes are now— the full-strength hit and the stopping hit. So long as the pitcher delivers the ball in the air it is probable that the baseball club will remain as it is; but should the evolution of the game allow the pitcher to make use of the ground, then the introduction of a flattened club is probable. But let us not look ahead. All that we can be sure of is that, since baseball is American, it will change.

棒球只有两种击球方式：我们叫做“全挥棒击球”或“触击”，前者是击球手全力击球，后者通常是一种牺牲性打法；而板球有几十种击球方式：三柱门前击球、三柱门后击球、三柱门任意角度击球。这些击球板球队员都能完成，因为板球棒平而宽，他可以根据需要垂直握棒或倾斜握棒，还可以自己冒险跑出去接球。早期板球运动，也就是一百五十年前，球棒同棒球中使用的球棒相似，但是呈曲形，当时的击球方式就像现在的棒球一样只有两种：“全力击球”和“触击击球”，只要禁止投球触地，棒球球棒就不会改变。但是如果随着棒球的发展投手可以利用地面，那么就有可能会采用平板球棍。不论将来如何发展，我们可以肯定的就是，只要是美国式，它就一定会变。

To resume the catalogue of contrast. In baseball the batsman must run for every fair hit; in cricket he may choose which hits to run for.

继续进行对比列举。在棒球中，击球手必须力追每一个内安打，而在板球中，击球手可以有选择地追击。

In baseball a man's desire is to hit the ball in the air beyond the fi elders; in cricket, though a man would like to do this, his side is better served if he hits every ball along the ground.

在棒球中，击球员希望能击出守场员接不到的高飞球；在板球中，尽管队员也希望这样，但是他沿着场地一路击球对自己的球队更有利。

In baseball no man can have more than a very small number of hits in a match; in cricket he can be batting for a whole day, and then again before the match is over. There are instances of batsmen making over 400 runs before being out.

在棒球中，一个队员在一场比赛中最多只能击出几次安打；在板球中，他可以击球一整天，第二天还能再击一整天直到比赛结束，有击球手出局前突破400分的先例。

Another difference between the games is that in cricket we use a new ball only at the beginning of a fresh inning (of which there cannot be more than four in a match) and when each 200 runs have been scored; and (this will astonish the American reader) when the ball is hit among the people it is returned. I have seen such rapid voluntary surrenders at baseball very seldom, and so much of a "fan" have I become that the spectacle has always been accompanied in my breast by pain and contempt. I had the gratification of receiving from the burly John McGraw[39] an autograph ball as a souvenir of a visit to the Polo Ground. I put it in my pocket hurriedly, conscious of the risk I ran among a nation of ball-stealers in possessing such a trophy; and I got away with it. But I am sure that had it been a ball hit out of the ground by the mighty "Babe" Ruth, which—recovering it by some supernatural means—he had handed to me in public, I should not have emerged alive, or, if alive, not in the ball's company.

另一个差别是，在板球中，只在新一局开始时（一场比赛不会超过四局），或两队得分突破200时才使用新球；而球飞入看台区时会被归还（美国读者看到这里一定会大吃一惊）。我很少在棒球场上看到有人愿意如此快速主动放弃飞过来的棒球，然而我已经成了一个忠实的“球迷”，看到这种场面时总是会既痛苦又鄙视。我很高兴人高马大的约翰·麦格劳曾送给我一个他亲笔签名的棒球作为我去波罗球场的纪念品。我立即把它装进口袋，明白在我身处的这个国家，到处都是希望能拥有这么一个战利品的窃球人。我带着它成功逃离了。但是我敢肯定，如果这个球是被伟大的“贝比”鲁思打出球场的（又通过某种超自然的方式重新取回），如果他在公共场合将它交给我，我一定无法活着离开，即使能活着离开，球也不在了。

In cricket the wicket-keeper, who, like the baseball catcher, is protected, although he has no mask, is the most difficult man to obtain, because he has the hardest time and the least public approbation; in baseball the catcher is a hero and every boy aspires to his mitt.

在板球中，三柱门守卫，就像棒球中的捕手，会受到保护。尽管他不戴面罩，却是最难拿下的一个人，因为他的任务最艰巨、受到的公众关注最少；在棒球中，捕手是英雄人物，每个男孩都渴望一双捕手手套。

In cricket no player makes more than three hundred pounds a season, unless it is his turn for his one and only benefit, when he may make a thousand pounds more. But most players do not reach such a level of success that a benefit is their lot. But baseballers earn enormous sums.

在板球运动中，队员一个赛季的收入不超过三百英镑，除非是他凭一己之力取得了胜利，这样他的收入会有一千多英镑。但是大多数球员无法取得这样的成就，而棒球队员的收入是很大一笔。

If a match could be arranged between eleven cricketers and eleven baseballers, the cricketers to be allowed to bowl and the baseballers to pitch, the cricketers to use their own bats and the baseballers their own clubs, I fancy that the cricketers would win; for the difficulty of hitting our bowling with a club would be greater than of hitting their pitching with a bat. But their wonderful fielding and far more accurate and swifter throwing than ours might just save them. Such throwing we see only very rarely, for good throwing is no longer insisted upon in cricket, much to the game's detriment. That old players should lose their shoulders is natural—and, of course, our players remain in first-class cricket for many years longer than ball champions—but there is no excuse for the young men who have taken advantage of a growing laxity in this matter. Chief of the few cricketers who throw with any of the terrible precision of a baseball field is Hobbs. It must be borne in mind, however, that cricket does not demand such constant throwing at full speed as baseball does; for in cricket, as I have said, the batsman may choose what hits he will run for, and if he chooses only the perfectly safe ones the fieldsmen are never at high pressure. There is also nothing in cricket quite to compare with base-stealing.

如果让11名板球队员和11名棒球队员比赛，允许板球队员按照板球规则投球，棒球队员按照棒球规则投球，允许各自使用各自的球棒，我想获胜的应该是板球队员。因为用棒球棒击板球一定比用板球棒击棒球更难，但是棒球队员们有力的防守和更精准、更迅速的投球可以解救他们。我们现在很少见到这种投球了，因为板球不再追求漂亮的投球，这对于板球运动是很大的损失。老队员们松懈下来在情理之中（其实我们的球员参加一流板球比赛的时间要比棒球冠军们长得多），然而年轻队员们不能以此作为松懈的理由。能在棒球场上投出那么精准的球的少数队员中霍布斯是代表人物，但是一定要记住，板球不需要像棒球那样频繁、全力投球；因为在板球中，正如我已说过的，击球手会有选择地追击，如果他只选择完美的安打，外场员就永远不会有太大的压力。板球中也没有类似棒球中的偷垒。

When it comes to catching, the percentage of missed catches is far higher at cricket than at baseball; but there are good reasons for this. One is that in baseball a glove is worn; another that in baseball all catches come to the fieldsmen with long or sufficient notice. The fieldsmen are all, except the catcher, in front of the batsmen; there is nothing to compare with the unexpected nimbleness that our point and slips have to display.

说到接球，板球捕手失误的机率比棒球捕手高；但这是有因可循的。首先，棒球队员戴着手套。其次，棒球中的外场员有足够的时间和精力关注捕球。除了捕手，所有的外场员都在击球手的前方；我们比赛中得分和失分时出人意料的敏捷捕球场面是棒球不能比的。

In the hypothetical contest that I have suggested, between baseballers and cricketers, if the conditions were nominally equal and the cricketers had to pitch like baseballers and the baseballers to use the English bat, why then the baseballers would win handsomely.

在我假设的棒球队和板球队的比赛中，如果在同等条件下，板球队员可以像棒球队员那样投球，棒球队员也可以使用英国的球棒，那棒球队肯定会赢得非常漂亮。

Baseball, I fancy, will not be acclimatised in England. We had our chance when London was full of American soldiers and we did not take it. But we were very grateful to them for playing the game in our midst, for the authorities were so considerate as to let them play on Sundays (which we are never allowed to do) and I was one of those who hoped that this might be the thin end of the wedge and Sunday cricket also be permitted. But no; when the war was over and the Americans left us, the old Sabbatarianism reasserted itself. If, however, we ever exchanged national games, and cricket were played in America and baseball in England, it is the English spectator who would have the better of the exchange. I am convinced that although we should quickly find baseball diverting, nothing would ever persuade an American crowd to be otherwise than bored by cricket.

我觉得棒球运动不会在英国盛行起来。当伦敦到处是美国士兵的时候我们本是有机会的，但是我们没有抓住它。不过我们很感激他们能在我们那里进行比赛，因为当局想得很周到，让他们在星期天的时候打球（我们从未得到这样的许可）。我像很多人一样希望这是一个良好的开端，希望星期天也能进行板球运动。但是这样的希望没有成为现实。当战争结束美国人离去之后，人们又开始关注星期日守安息。如果两国曾经彼此交换运动项目，在美国举行板球比赛，在英国举行棒球比赛，那么英国观众将从中受益更多。我相信我们会很快领略到棒球运动的乐趣，而美国民众却绝不能忍受板球的无聊。

Skyscrapers

摩天大楼

Perhaps if I had reached New York from the sea the skyscrapers would have struck me more violently. But I had already seen a few in San Francisco (and wondered at and admired the courage which could build so high after the earthquake of 1906), and more in Chicago, all ugly; so that when I came to New York and found that the latest architects were not only building high, but imposing beauty on these mammoth structures, surprise was mingled with delight. No matter how many more millions of dollars are expended on that strange medley of ancient forms which go to make up New York's new Cathedral[40], where Romanesque and Gothic seem already to be ready for their divorce, the Woolworth Building[41] will be New York's true fane. Mr. Cass Gilbert[42], the designer of that graceful immensity, not only gave commerce its most notable monument (to date), but removed for ever the slur upon skyscrapers. The Woolworth Building does not scrape the sky; it greets it, salutes it with a beau geste. And I would say something similar of the Bush Building, with its alabaster chapel in the air which becomes translucent at night; and the Madison Square Tower (whose clock face, I noticed, has the amazing diameter of three storeys); and the Burroughs Welcome Building on 41st Street, with its lovely perpendicular lines; and that immense cube of masonry on Park Avenue which bursts into flower, so to speak, at the top in the shape of a very beautiful loggia. But even if these adornments become, as I hope, the rule, one could not resent the ordinary structural elephantiasis a moment after realising New York's physical conditions. A growing city built on a narrow peninsula is unable to expand laterally and must, therefore, soar. The problem was how to make it soar with dignity, and the problem has been solved.

如果我由海路到达纽约，摩天大楼带给我的震撼也许会更大。但是我已经在旧金山见过一些摩天大楼了（惊叹并钦佩他们在1906年地震后还有勇气修建这样的高楼），在芝加哥见过更多，都很难看；因此当我来到纽约发现现代的建筑师不仅能修建这样的高楼，还能把这些庞然大物修建得如此美丽时，我既惊讶又高兴。不管为了将不同的古典风格融入纽约新的大教堂多消耗了几百万美元，（在那建筑上罗马式建筑风格和哥特式建筑风格看起来已经准备好分道扬镳了），伍尔沃思大厦还是将成为纽约真正的神殿。卡斯·吉尔伯特先生，这座优美大厦的设计者，不仅为商业活动提供了一座最令人瞩目的纪念碑（到目前为止），也永远抹去了摩天大厦的污点。伍尔沃思大厦没有给天空带来擦痕，而是给它带去了问候，用一个优美的姿势向它敬礼。同样漂亮的还有布什大厦，乳白的教堂在夜晚是半透明的；麦迪逊广场大厦（我发现它的钟面直径竟然有三层楼高）；41街的伯勒斯大厦，垂直的线条十分漂亮；派克大街巨大的砖石建筑顶端有个非常漂亮的凉廊，可以说使建筑看起来像绽放的鲜花。但是就算这些装饰如我所愿的那样，会随处可见，只要你意识到纽约的城市现状，就一刻也不会讨厌那些普通的建筑扩张了。随着这个建造在小岛上的城市逐渐成长，它无法进行横向扩张，因此必须纵向发展。问题是如何让它更加体面地纵向发展。现在这个问题已经解决。

In the old days when brown stone was the only builders' medium New York must have been a drab city indeed; or so I gather from the few ancient typical residences that remain. There are a few that are new, too, but for the most part the modern house is of white stone. Gayest of all is, I suppose, that vermilion-roofed florist's on Fifth Avenue.

过去，当褐色的砖石还是建造工人的唯一的材料时，纽约一定是一座乏味的城市。我从现存的少数典型老宅可以大约推测出来这点。虽然有一些褐色房子也是新的，但是大部分现代房屋都使用白色砖石。我猜颜色最艳的应该是第五大街上花商的朱红色屋顶的房子。

One has to ascend the Woolworth Building to appreciate at a blow with what discretion the original settlers of New York made their choice. It is interesting, too, to watch Broadway—which, for all I know, is the longest street in the world—starting at one's feet on its lawless journey to Albany: lawless because it is almost the only sinuous thing in this city of parallelograms and has the effrontery to cross diagonally both Fifth Avenue and Sixth. Before leaving the Woolworth Building, I would say that there seemed to me something rather comically paradoxical in being charged 50 cents for access to the top of a structure which was erected to celebrate the triumph of a commercial genius whose boast it was to have made his fortune out of articles sold at a rate never higher than 10 cents.

人们应该上到伍尔沃思大厦顶层去鉴赏一番，在那里你马上就能看到纽约的第一批定居者们做出的选择是多么谨慎。看百老汇也很有意思—据我所知这是世界上最长的街道—从你的脚下一直毫无章法地延伸至奥尔巴尼：说它毫无章法是因为在这座由无数平行四边形组成的城市里，只有它是蜿蜒错综、厚颜无耻地由第五大街和第六大街的对角线穿行而过。离开伍尔沃思大厦前，我要说说一个在我看来似乎很可笑的自相矛盾的现象。那就是上到这座大厦顶层需要交纳五十美分，大厦是为庆祝伍尔沃思这个商业天才的成功而建，而这个天才曾自夸他的财富都是靠出售不超过十美分的小商品赚来的。

Having dallied sufficiently on the summit—there are a trifle of fiftyeight floors, but an express lift makes nothing of them—I continued the implacable career of the tripper by watching for a while the deafening kerb market, which presented on that morning an odd appearance, more like Yarmouth beach than a financial centre, for there had been rain, and all the street operators were in sou'westers and sea-boots. There can be spasms of similar excitement in London, in the neighbourhood of Capel Court, but we have nothing that compares so closely with this crowd as Tattersall's Ring at Epsom just before the Derby.

在顶层悠闲逛了很长时间后（大厦总共五十八层，但直达电梯使它们显得微不足道），我继续旅行者不变的事业，到吵吵嚷嚷的场外证券市场去看了看。那天早上呈现出一番奇怪的景象，这里更像雅茅斯海滩而不是金融中心。因为当时下着雨，所有的交易员都戴着防水帽，穿着防水靴。在伦敦的卡佩尔厅附近也有一阵阵类似的骚动，但这里的人群更像埃普素姆的赛马会开始前聚集在塔特索尔斯马场的人群。

A Plea For The Aquarium

为水族馆请愿

It was a relief to resume my programme by entering that abode of the dumb and detached—the Aquarium in Battery Park. For the kerb uproar "the uncommunicating muteness of fishes" was the only panacea. The Bronx Zoo is not, I think, except in the matter of buffalo and deer paddocks, so good as ours in London, but it has this shining advantage—it is free. So also is the Aquarium in Battery Park, and it was pleasing to see how crowded the place can be. In England all interest in living fish, except as creatures to be coaxed towards hooks and occasionally retained there, has vanished; on the site of old Westminster Aquarium the Wesleyans now manage their finances and determine their circuits, while the Brighton Aquarium, once famous all the world over, is a variety hall with barely a fi n to its name.

进入一个沉寂、独立的地方—巴特里公园的水族馆后，我感到了一种解脱。因为“默默无闻的鱼儿”是唯一能医治场外证券市场喧闹的灵丹妙药。我想布朗斯动物园除了水牛和鹿场以外，其他的都不如我们伦敦的好。但是它有一个明显的优点—免费。巴特里公园的水族馆也是免费的，看到那里熙熙攘攘的人群我很高兴。在英国，除了被骗上钩的鱼和偶尔逃脱的鱼以外，人们对于活鱼的一切兴趣已经消失。威斯敏斯特的水族馆旧址，现在是卫斯理教徒在管理财务，安排巡回布道。而曾经闻名于世的布赖顿水族馆现在是一个多功能厅，一条鱼也没有，徒有其名。

After seeing the aquarium in Honolulu, which is like a pelagic rainbow factory, and the aquarium in New York with all its strange and beautiful denizens, I am a little ashamed of our English apathy. To maintain picture galleries, where, however beautiful and chromatic, all is dead, and be insensitive to the loveliness of fish, in hue, in shape and in movement, is not quite pardonable.

檀香山的水族馆像一个浮动的彩虹工厂，纽约水族馆有很多奇特、美丽的深海动物。看了这些水族馆，想到英国人对水族馆的冷漠我感到一丝羞愧。展馆只拥有鱼类图片而没有真正的鱼是不可原谅的，因为图片，无论有多么美丽、多么鲜艳都是没有生命的，根本无法反映那些颜色不一、形态各异的鱼儿游来游去时的可爱。

English And French Influences

英国和法国的影响

In essentials America is American, but when it comes to inessentials, to trimmings, her dependence on old England was noticeable again and again as I walked about New York. The fashion which, at the moment, the print shops were fostering was for our racing, hunting and coaching coloured prints of a century ago, while in the gallery of the distinguished little Grolier Club I found an exhibition of the work of Randolph Caldecott[43] and Kate Greenaway[44]. In such old bookshops as I visited all the emphasis was—just then—laid upon Keats[45] and Lamb and Shelley[46], whose first editions and presentation copies seem to be continually making the westward journey. I had not been in New York twenty-four hours before Keats' Lamia, 1820—with an inscription from the author to Charles Lamb—the very copy from which, I imagine, Lamb wrote his review, was in my hands; but it would have been far beyond my means even if the pound were not standing at 3.83. These "association" books, in which American collectors take especial pleasure, can be very costly. At a sale soon after I left New York, seven presentation copies of Dickens'[47] books, containing merely the author's signed inscription, realised [48]70 dollars. To continue, in Wanamaker's old curiosity department I found little but English furniture and odds and ends, at prices which in their own country would have been fantastically high. In the "Vanity Fair" department, however (as I think it is called), the source was French. I suppose that French influence must be at the back of all the costumiers and jewellers of New York, but the shops themselves are far more spacious than those in Paris and not less well-appointed. Tiffany's48 is a palace; all it lacks is a name, but its splendid anonymity is, I take it, a point of honour.

美国本质上是美国人的，但是从其他非本质的装饰层面看，古英国对她的影响是显而易见的，我在纽约四处走的时候一次又一次印证了这点。当时版画店流行的是我们一个世纪前的赛马、狩猎、马车的彩色版画；我看到著名的格罗里埃小俱乐部里展出了伦道夫·考尔德科特和凯特·格里纳韦的作品。在我访问的那些非常古老的书店里，济慈、兰姆和雪莱的文集在当时最受重视。这些作品的第一版和赠送本的魅力似乎正继续向西蔓延。我到达纽约还不到二十四小时就得到了济慈1820年所作的《拉弥亚》—上面有作者给查尔斯·兰姆的题词—我想这一定就是兰姆写书评时用的那本书的副本。即便这本书的标价不是3.83英镑，得到这样一本书也远超乎我能力之所及。美国收藏家特别乐于收藏的这些“联盟”图书一般非常昂贵。在我刚离开纽约不久的一场拍卖会上，七本有作者亲笔题词的狄更斯作品赠送本被人以4870美元拍得。继续前行，我来到沃纳梅克古玩商店，发现那里尽是些英国的家具和零碎物件，标价比它们在本国的价格高出很多。然而在“名利场”区（我觉得它叫这个名称）都是来自法国的物品。我想纽约所有的服装商和珠宝商都一定受到了法国风尚的影响，但是纽约商店比巴黎商店更加宽敞，设施齐备毫不逊色。蒂芙尼商店是一座宫殿，缺少的只是名气，但是我觉得这种值得称赞的隐姓埋名是一种荣誉。

It used to be said that good Americans when they died went to Paris. The Parisian lure no doubt is still powerful; but every day I should guess that more of Paris comes to America. The upper parts of New York have boulevards and apartment houses very like the real thing, and I noticed that the architecture of France exerts a special attraction for the rich man decreeing himself a pleasure dome. There are millionaires' residences in New York that might have been transplanted not only from the Avenue du Bois de Boulogne, but from Touraine itself; while when I made my pilgrimage to Mr. Widener's, just outside Philadelphia, I found Rembrandt's[49] "Mill", and Manet's[50] "Dead Bull-Fighter”, and a Vermeer[51], and a little meadow painted divinely by Corot[52], and El Greco's[53] "Family Group", and Donatello's[54] "St. George", and one of the most lovely scenes that ever was created by Turner's[55] enchanted brush, all enshrined in a palace which Louis Seize might have built.

过去有种说法是善良的美国人死后会去巴黎。毫无疑问巴黎的诱惑仍然很大；然而，我觉得每天都有更多的巴黎元素进入美国。纽约北区有着和巴黎非常相似的林阴大道和公寓；我还发现法式建筑对那些敕令给自己建个安乐窝的富人有特别的吸引力。纽约一些百万富翁的住宅区就像是把“布伦绿地大道”和整个“都兰”都移植过来了。我去欣赏怀德纳先生的收藏品时，就在费城外，我在那里看到了伦勃朗的《磨坊》、马奈的《死了的斗牛士》、一幅弗美尔的作品、柯罗所作的一幅犹如神来之笔的草地小风景画、埃尔·格列柯的《圣家族》、多那太罗的《圣乔治》、一幅透纳神奇画笔下最可爱的风景画，所有这些都收藏在一座像路易十六建造的宫殿一样豪华的房子里。

But America is even more French than this. Her women can be not less soignées than those of France, although they suggest a cooler blood and less dependence on male society; her bread and coffee are better than France's best. Moreover, when it comes to night and the Broadway constellations challenge the darkness, New York leaves Paris far behind. For every cabaret and supper resort that Paris can provide, New York has three; and for every dancing floor in Paris, New York has thirty. Good Americans, however, will still remain faithful to their old posthumous love, if only for her wine.

但是美国比法国更法国。美国妇女和法国妇女一样注意保养，只不过她们更加冷静、不那么依赖男性社会；美国的面包和咖啡比法国最好的还要好。此外，到了晚上，百老汇的璀璨星光盖过了黑夜的深沉，此时的纽约远远超过了巴黎。纽约的酒吧、餐厅是巴黎的三倍；纽约的舞厅是巴黎的三十倍。然而，善良的美国人依旧会怀着死后入巴黎的愿望，即使只是为了那里的葡萄酒。

Apropos of American women, their position struck me as very different from the position of women with us. English women are deferential to their husbands; they are content to be relegated to the background on all occasions when they are not wanted. They are dependent. They seldom wear an air of triumph and rarely take the lead. But American women are complacent and assured, they do most of the talking, make most of the plans: if they are not seen, it is because they are in the background; they are either active prominently elsewhere or are high on pedestals. With each other they are mostly or often humorously direct, whereas with men they seem to adopt an ironical or patronising attitude. American women seem also to have a curious power of attracting to themselves other women who admire them and foster their self-esteem. And, for all that I know, these satellites have satellites too. Their federacy almost amounts to a solid secret society; not so much against men, for men must provide the sinews of war and other comforts, but for their own satisfaction. Both sexes appear not to languish when alone.

说到美国妇女，我很惊讶她们的地位同我们国家妇女的地位差别如此之大。英国妇女顺从丈夫；不需要她们的时候，她们甘愿被置于后台。她们依赖丈夫。她们很少摆出一副胜利的神态，很少做主。但是美国妇女自满、自信，谈话中总是她们在说，大多数计划都由她们制定，如果你看不到她们，那是因为她们选择在后台；她们要么在别的地方突出显眼，要么就高高在上。她们彼此聚在一起总是幽默、坦率，而同男人们在一起，她们似乎总是一副嘲讽、居高临下的态度。美国妇女有一种奇特的力量，能够吸引其他女性崇拜者，这些崇拜者又进一步增强了她们的自尊。而且，据我所知，这些仆从也有她们自己的仆从。她们的这种联盟几乎就像一个坚固、秘密的团体；不是用来对付男人，因为男人是战争的中坚力量，而且还需要他们提供其他舒适之物；这个团体是为了满足她们自己的需要。男人和女人似乎都不会因为没有彼此的陪伴而变得憔悴。

Sky-Signs And Coney Island

高空广告牌和科尼岛

All visitors to New York speak of the exhilaration of its air, and I can but repeat their testimony. After the first few days the idea of going to bed became an absurdity.

所有去过纽约的游客都会说到那里令人兴奋的空中景象，我只能再次证明他们所言属实。没过几天，我就开始觉得上床睡觉简直就是个荒谬的想法。

Among the peculiarly beautiful effects that America produces, sky signs must be counted high. I had seen some when in San Francisco against the deep Californian night, and they captivated the startled vision; but the reckless profusion and movement of the Great White Way[56], as I turned out of 42nd Street on my first evening in New York, came as something more than a surprise: a revelation of wilful gaiety. We have normally nothing in England to compare with it. Nor can we have even our Earl's Court exhibition imitations of it so long as coal is so rare and costly. But though we had the driving power for the electricity we could never get such brilliance, for the clear American atmosphere is an essential ally. In our humid airs all the diamond glints would be blurred.

在各种美国营造出的独特而美丽的空中景象中，高空广告牌一定占了很大比重。在旧金山的时候，我就看到有一些高空广告牌映衬在加利福尼亚深沉的夜空中，呈现出一番令人震惊的迷人景象。但是我在纽约的第一晚从第42大街出来后，“伟大的白色大道”上令人目不暇接的闪烁夜景给人的不仅仅是惊讶，更是一种恣意欢乐的昭示。英国自然没有什么能与之相比。只要煤炭仍然这么稀少、昂贵，我们的伯爵宫展览中心就无法模仿出这种效果。尽管我们有电力驱动能源，也无法打造如此耀眼的灯光，因为美国有清朗的天气。而在潮湿的英国，一切钻石般的光芒都会变得模糊。

For the purest beauty of traceries of light against a blue background one must go, however, not to Broadway, which is too bizarre, but to Luna Park on Coney Island. Odd that it should be there, in that bewildering medley of sound and restlessness, that an extreme of loveliness should be found; but I maintain that it is so, that nothing more strangely and voluptuously beautiful could be seen than all those minarets and domes, with their lines and curves formed by myriad lamps, turning by contrast the heavens into an ocean of velvet blue, mysterious and soft and profound.

要观赏蓝色背景下纯粹的光线交错的美景，你不要去百老汇，那里太怪诞，而一定要去科尼岛的月神公园。奇怪的是它竟然会在那里，在一片喧闹的声音和躁动之中，你会发现它那极致的魅力。所有的尖塔和拱顶，以及无数夜灯形成的线条和弧线，把夜空衬托得像一片天鹅绒般的蓝色海洋，神秘、柔和、深沉，我觉得再没有比这更为奇异、更令人陶醉的景致了。

Only periodically—when we have exhibitions at Earl's Court[57] or at Olympia[58]—is there in England anything like Coney Island. At Blackpool[59] in August, and on Hampstead Heath[60] on Bank Holidays, a corresponding spirit of revelry is attempted, but it is not so natural, and is vitiated by a self-conscious determination to be gay and by not a little vulgarity. The revellers of Steeplechase Park[61] seemed to me to be more genuine even than the crowds that throng the Fete de Neuilly[62]; and a vast deal happier.

只有在伯爵宫或奥林匹亚定期举行展览时，英国才会出现类似科尼岛这样的景致。八月的布莱克浦，银行休业日的汉普特西斯公园，也有人尝试这种狂欢的情绪，但都不够真实，而且往往被那种自觉追求欢乐的心理和大量粗俗的行为所破坏。我觉得越野障碍赛马乐园狂欢的人群似乎比聚集在讷伊集市的人群更加真切，也高兴得多得多。

One very striking difference between Coney Island and the French fair is the absence of children from New York's "safety-valve," as some one described it to me. I saw hardly any. It is as though once again the child's birthday gifts had been appropriated by its elders; but as a matter of fact the Parks of Steeplechase and Luna were, I imagine, designed deliberately for adults. Judging by the popularity of the chutes and the whips, the switchbacks and the witching waves, eccentric movement has a peculiar attraction for the American holiday-maker. As some one put it, there is no better way, or at any rate no more thorough way, of throwing young people together. Middle-aged people, too. But the observer receives no impression of moral disorder. High spirits are the rule, and impropriety is the exception. Even in the auditorium at Steeplechase Park, where the cognoscenti assemble to witness the discomfiture of the uninitiated, there is nothing but harmless laughter as the skirts fly up before the unsuspected blast. Such a performance in England, were it permitted, would degenerate into ugliness; in France, too, it would make the alien spectator uncomfortable. But the essential public chastity of the Americans—I am not sure that I ought not here to write civilisation of the Americans—emerges triumphant.

科尼岛和法国集市的一个显著区别是：在纽约的“安全阀”（有人这么给我描述这些地方）里没有孩子们的身影。我没有看到任何儿童。这就好像孩子们的生日礼物又被大人们抢了去。但是我想越野障碍赛马乐园和月神公园实际上就是专门为成年人设计的。从滑道、回旋轮、过山车、冲天的巨浪可以看得出这种怪诞的运动对于休假的美国人有着独特的魅力。就像有人说的那样，没有什么更好的方式，或者至少没有什么更彻底的方式把青年人聚到一起了。对中年人也不例外。但是这并没有给旁观者留下道德混乱的印象。高昂的情绪是普遍现象，而热情不高是例外情况。甚至在越野障碍赛马乐园的观众席，行家们聚集此处观看外行的拙劣表演，当裙摆被不期而至的风掀起，大家发出阵阵没有恶意的欢笑。如果这样的表演在英国得到许可，一定会沦为低俗表演；若在法国，也会让外国的观众感到不自在。但是美国人的这种公共美德—我不确定是否应该从这里开始描写美国人的文明—成功地脱颖而出。

It was at Coney Island that I came suddenly upon the Pig Slide and had a new conception of what quadrupeds can do for man.

在科尼岛上意外看到的滑猪游戏让我对人类利用四足动物有了一个新想法。

The Pig Slide, which was in one of the less noisy quarters of Luna Park, consisted of an enclosure in which stood a wooden building of two storeys, some five yards wide and three high. On the upper storey was a row of six or eight cages, in each of which dwelt a little live pig, an infant of a few weeks. In the middle of the row, descending to the ground, was an inclined board, with raised edges, such as is often installed in swimming-baths to make diving automatic, and beneath each cage was a hole a foot in diameter. The spectators and participants crowded outside the enclosure, and the thing was to throw balls, which were hired for the purpose, into the holes. Nothing could exceed the alert and eager interest taken by the little pigs in the efforts of the ballthrowers. They quivered on their little legs; they pressed their little noses against the bars of the cages; their little eyes sparkled; their tails (the only public corkscrews left in America) curled and uncurled and curled again: and with reason, for whereas if you missed—as was only too easy—nothing happened: if you threw accurately the fun began, and the fun was also theirs.

滑猪游戏在月神公园不太嘈杂的一个角落进行，那里有片围场，围场里有一个宽五码高三码的两层木房。上层是一排笼子，约六到八个，每个笼子里有一头刚出生几个星期的小猪崽。这排猪笼中间到地面放了一块倾斜的板子，板子的两侧有立起的挡板，就像装在室内游泳池里的能自动滑入水池的装置，每个笼子底下，有个直径约一英尺的洞。观众们和参与者挤在围场外面，首先是用租来的球往洞里投。没有什么能超出小猪对投过来的球表现出的机警和极大兴趣。它们的小腿在打颤，鼻子顶着笼子上的栅栏，小眼睛闪烁着，尾巴（像只在美国才有的公用螺丝锥）卷起来又打开再卷起来；情理之中的，你没投进去—这太常见了—就什么也不会发生；你准确地投进去后，乐趣才刚开始，这也是小猪们的乐趣。

This is what occurred. First a bell rang and then a spring released the door of the cage immediately over the hole which your ball had entered, so that it swung open. The little pig within, after watching the previous infirmity of your aim with dejection, if not contempt, had pricked up his ears on the sound of the bell, and now smiled a gratified smile, irresistible in infectiousness, and trotted out, and, with the smile dissolving into an expression of absolute beatitude, slid voluptuously down the plank: to be gathered in at the foot by an attendant and returned to its cage all ready for another such adventure.

这就是接下来所发生的。先是铃响，接着你投进球的那个洞上方的笼门上，弹簧装置会立即弹开，于是笼门便打开了。那只小猪，看你屡次失手后感到沮丧（如果不是鄙视的话），这次听到铃声就竖起了耳朵，现在脸上露出了满意的笑容，很有感染力的一笑。它跑了出来，脸上的笑容变成了一种绝对祝福的表情，兴高采烈地从铺板上滑了下来，滑到下面被一名工作人员接住，重新放回笼子，准备开始下一轮冒险。

It was for these moments and their concomitant changes of countenance that you paid your money. To taste the triumph of good marksmanship was only a fraction of your joy; the greater part of it consisted in liberating a little prisoner and setting in motion so much ecstasy.

你花钱就是为了看到这些时刻以及随之而来的表情变化。尝到了神射手的胜利只是喜悦的一小部分；更大的喜悦来自释放一名小囚犯以及引发了如此的狂欢。

The Press

新闻界

America is a land of newspapers, and the newspapers are very largely the same. To a certain extent many of them are exactly the same, for the vastness of the country makes it possible to syndicalise various features, so that you find Walt Mason's[63] sagacious and merry and punctual verse, printed to look like prose but never disappointing the ear, in one of the journals that you buy wherever you are, in San Francisco, Salt Lake City, Chicago or New York; and Mr. Montagu's topical rhymes in another; and the daily adventures of Mutt and Jeff, who are national heroes, in a third. Every day, for ever, do those and other regular features occur in certain of the papers: which is partly why no American ever seems to confine himself, as is our custom, to only one.

美国有很多家报纸，而且它们大体上都很相似。从一定程度上说，许多报纸完全相同，因为美国的广博使各种特征的融合变得可能。你随便在旧金山、盐湖城、芝加哥、纽约或别的什么地方买几份报纸，总会发现沃尔特·梅森那敏锐、欢快、准确的诗句以散文格式印在其中一份报纸上，但绝不会让你的耳朵失望，而孟塔古先生的主题诗歌会出现在另一份报纸上；马特和杰夫，这两个民族英雄的历险故事会出现在第三份报纸上。每天总是那些或其他固定的特点出现在某些报纸上：这也从某些方面说明了为什么美国人似乎从不像我们的习俗那样只限于读一份报纸。

Another and admirable feature of certain American papers is a column edited by a man of letters, whose business it is to fill it every day, either with the blossoms of his own intelligence or of outside contributors, or a little of each: such a column as Don Marquis[64] edits for The Sun, called "The Sundial," and Franklin P. Adams[65] for The Tribune, called "The Conning Tower," and Christopher Morley[66] for the New York Evening Post, called "The Bowling Green." Perhaps the unsigned "Way of the World" in our Morning Post is the nearest London correlative.

某些美国报纸的另一个令人钦佩的特点是作家专栏，这位作家每天负责用自己或其他社外撰稿人的智慧之花或者结合两人的才智填满这个专栏：这样的专栏如唐·马奎斯开设在《太阳报》的“日晷”专栏，富兰克林·P.亚当斯在《论坛报》开设的“指挥塔”专栏以及克里斯托弗·莫利为纽约《晚邮报》开设的“保龄球场”专栏。也许伦敦《早报》上没有署名的“世界之路”专栏与之最为相似。

These columns are managed with skill and catholicity, and they impart an element of graciousness and fancy into what might otherwise be too materialistic a budget. A journalist, like myself, is naturally delighted to find editors and a vast public so true to their writing friends. Very few English editors allow their subscribers the opportunity of establishing such steady personal relations; and in England, in consequence, the signed daily contribution from one literary hand is very rare—to an American observer probably mysteriously so. The daily cartoon is common with us; but in London, for example, I cannot think of any similar literary feature that is signed in full. We have C. E. B. 's regular verse in the Evening News and "The Londoner's" daily essay in the same paper, and various initials elsewhere; but, with us, only the artists are allowed their names. Now, in America every name, everywhere, is blazoned forth.

这些专栏很出色、很包容，它们赋予报纸一种优雅和想象力的元素，并不一味只关注预算。像我这样的记者自然很高兴看到编辑们和这么多公众对他们的作家朋友如此拥护。英国编辑很少让读者有机会同他们维持如此稳定的个人关系。因此，在英国很少有报纸每天都刊登同一作家署名的文章—这在美国读者看来很可能是不可思议的。每日漫画在我们国家很常见；但是在伦敦，我想不到哪份报纸上有署全名的类似文学作品。《晚间新闻》上经常刊登C.E.B.的诗歌和“伦敦人”的每日短文，其他报纸上还有各种首字母署名。在我们国家，只允许艺术家署全名。如今在美国，每个人的名字在每个地方都是可以宣扬的。

Whatever bushel measures[67] may be used for in the United States the concealing of light is no part of their programme.

不论美国用美式蒲式耳想做什么，隐姓埋名可不在他们的计划之内。

Another feature of American daily journals comparatively unknown in England is the so-called comic pictorial sequence. All the big papers have from one to half a dozen of these sequences, each by a different artist. Bud Fisher[68] with "Mutt and Jeff" comes first in popularity, I believe, and then there are his rivals and his imitators. Nothing more inane than some of these series could be invented; and yet they persist and could not, I am told, be dropped by any editor who thought first of circulation.

另一个相对不为英国人所了解的美国日报的特点是所谓的连环画。所有的大报都有一到六组连环画，每一组都出自不同的艺术家之手。我想巴德·费希尔的“马特与杰夫”是最早开始流行起来的，后来才出现了他的对手和模仿者。没有什么比某些连环画更愚蠢的创作了。但是它们继续存在着，据说任何优先考虑销量的编辑都不会把它们去掉。

After the individual contributions have been subtracted, all the newspapers are curiously alike. The same reporters might be on every one; the same sub-editors; the same composers of head-lines. If we think of Americans as too capable of cynical levity it is largely because of these head-lines, which are always as epigrammatic as possible, always light-hearted, often facetious, and often cruel. An unfortunate woman's failure at suicide after killing her husband was thus touched off in one of the journals while I was in New York:

如果不考虑个人供稿，所有的报纸都离奇地相似。每份报纸上都有同样的记者，同样的助理编辑，同样的标题风格。如果你认为美国人有一种过于愤世嫉俗的轻浮，那主要是因为这些极尽讽刺的标题总是那么轻松、轻率，又那么残酷。我在纽约看到一份报纸用这样的标题展开一个不幸的女子在杀死丈夫后自杀未遂的报道：

POOR SHOT AT HERSELF

枪法拙劣自杀失手

BUT SUCCEEDS IN LODGING BULLET IN SPOUSE.

但射杀丈夫却得手

When it comes to the choice of news, one cannot believe that American editors are the best friends of their country. I am holding no brief for many English editors; I think that our papers can be common too, and can be too ready to take things by the wrong handle; but I think that more vulgarising of life is, at present, effected by American journalists than by English. There are, however, many signs that we may catch up. Profusion is a characteristic of the American newspaper. There is too much of everything. And when Sunday comes with its masses of reading matter proper to the Day of Rest one is appalled. One thing is certain—no American can find time to do justice both to his Sunday paper and his Maker. It is principally on Sunday that one realises that if Matthew Arnold[69]'s saying that every nation has the newspapers it deserves is true, America must have been very naughty. How the Sunday editions could be brought out while the paper-shortage was being discussed everywhere, as it was during my visit, was a problem that staggered me. But that the shortage was real I was assured, and jokes upon it even got into the music halls: a sure indication of its existence. "If the scarcity of paper gets more acute," I heard a comedian say, "they'll soon have to make shoes of leather again."

说到新闻的选择，人们无法相信美国的编辑是其人民的挚友。我并不是在为众多的英国编辑辩护。我想我们的报纸也很普通，而且太惯于用错误的方法处理事情了；但是我认为，目前美国记者比英国记者对生活庸俗化的影响更大。但是很多现象正表明我们也逐渐赶上来了。丰富是美国报纸的一个特点。一切都太丰富了。当星期天到来时，随之而来的阅读资料多得让人害怕，与休息日十分“相称”。有一点是确定的—没有哪个美国人能有时间鉴赏周日报纸和上帝。大体上人们会在周日明白，如果你同意马修·阿诺德所说的每个国家都有与其相匹配的报纸数量，那么美国人一定很不守规矩。我在美国旅游期间，很惊讶为什么到处都在讨论缺纸的问题而周日报纸却总是能如期而至。但是我肯定缺纸是真的，关于这个问题的笑话甚至进入了音乐大厅：一个很确定的证据。“如果缺纸问题继续恶化，”我听到一个喜剧演员唱道，“他们就只能重新用皮子做鞋了。”

But it is not only the Sunday papers that are so immense. I used to hold the Saturday Evening Post in my hands, weighed down beneath its bulk, and marvel that the nation that had time to read it could have time for anything else. The matter is of the best, but what would the prudent, wise and hard-working philosopher who founded it so many years ago—Benjamin Franklin—say if he saw its lure deflecting millions of readers from the real business of life?

但是泛滥的不止是周日报纸。我曾经手里拿着一份《周六晚报》，沉甸甸的直往下坠,我惊叹这个民族读完这样一份报纸后竟然还有时间做别的事情。这份报纸是最优秀的报纸之一，不过多年前创办报纸的那位严谨、睿智、勤奋的哲人—本杰明·富兰克林看到数以百万的读者因读报而耽误了人生的正事该作何感想呢？

When we come to consider the American magazines—to which class the Saturday Evening Post almost belongs—and the English, there is no comparison. The best American magazines are wonderful in their quality and range, and we have nothing to set beside them. It is astonishing to think how different, in the same country, daily and monthly journalism can be. Omitting the monthly reviews, Blackwood is, I take it, our fi nest monthly miscellany; and all of Blackwood could easily and naturally be absorbed in one of the American magazines and be illustrated into the bargain, and still leave room for much more. And the whole would cost less! Why England is so poorly and pettily served in the matter of monthly magazines is something of a mystery; but part of the cause is the rivalry of the papers, and part the smallness of our population. But I shall always hold that we deserve more good magazines than we have now.

说到美国杂志—《周六晚邮报》可以算作这类—和英国杂志，我觉得二者没有可比性。最好的美国杂志质量和题材范围都极好，我们没有能与之相比的。让人惊异的是同一个国家日报和月刊差别竟然如此之大。不算月评在内，我觉得《布莱克伍德》是英国最好的月刊，而美国一本杂志就能轻松自然地消化《布莱克伍德》的所有文章并在对其进行图解说明后还能有很多剩余空间。价钱还更便宜！英国月刊为什么数量少、质量低让人难以理解。一部分是因为有报纸的竞争，一部分是因为我们人口少。但是我一直都认为我们应该发行更多好的杂志。

Treasures Of Art

艺术宝藏

I was fortunate in being in New York when the Metropolitan Museum celebrated the fi ftieth anniversary of its birth, for I was therefore able to enjoy not only its normal treasures but such others as had been borrowed for birthday presents, which means that I saw Mrs. H. E. Huntington's Vermeer, as well as the supreme Marquand[70] example of that master; more than the regular wealth of Rembrandts, Manet's "Still Life," Gauguin's[71] "Women by the River," El Greco's "View of Toledo," Franz Hals'[72] big jovial Dutchman from Mr. Harry Goldman's walls, and Bellini's[73] "Bacchanale"—to say nothing of the lace in galleries 18 and 19, Mr. Morgan's[74] bronze Eros from Pompeii, and the various cases of porcelain from a score of collections. But without extra allurements I should have been drawn again and again to this magnificent museum.

我很幸运当大都会博物馆举行五十周年庆典的时候我在纽约，因为我可以同时欣赏到本馆收藏的艺术品和专为庆典从外面借来的艺术品，这样我才得以看到H.E.亨廷顿夫人和马昆德收藏的弗美尔的杰作；还有平常就能看到的伦勃朗的作品，马奈的《静物》，高庚的《河边的女人》，埃尔·格列柯的《托雷多风景》，哈利·戈德曼墙上佛兰斯·哈尔斯所画的快乐的大个子荷兰人，贝利尼的《酒神节》，更不用说还有在18和19展厅分别展出的，摩根先生收藏的来自庞贝的爱神铜像，和从二十多套收藏中挑选出来的各式瓷器。如果没有其他有趣的地方，我一定会一次又一次地被吸引到这座宏伟的博物馆来。

Two of the principal metropolitan donors—Altman[75] and Hearn— were the owners of big dry goods stores, while Marquand, whose little Vermeer is probably the loveliest thing in America, was also a merchant. In future I shall look upon all the great emporium proprietors as worthy of patronage, on the chance of their being also beneficent collectors of works of art. This thought, this hope, is more likely to get me into a certain Oxford Street establishment than all the rhetoric and special pleading of Callisthenes[76].

大都会的两名主要捐赠人—奥尔特曼和赫恩是干货店老板，而马昆德也是一个商人，他所藏的小弗美尔可以说是美国最可爱的艺术品。今后我觉得大型百货商店值得光顾，说不准店主就是艺术品慈善收藏家。有了这样的想法和希望，我很可能更愿意去光顾牛津街的某家商店而不去听卡利斯提尼斯雄辩、独特的演讲。

The Frick Gallery was not accessible; but I was privileged to roam at will both in Mr. Morgan's library and in Mr. H. E. Huntington[77]'s, in each of which I saw such a profusion of unique and unappraisable autographs as I had not supposed existed in private hands. Rare books any one with money can have, for they are mostly in duplicate; but autographs and "association" books are unique, and America is the place for them. I had known that it was necessary to cross the Atlantic in order to see the originals of many of the pictures of which we in London have only the photographs. I knew that the bulk of the Lamb correspondence was in America, and at Mr. Morgan's I saw the author's draft of the essay on "Roast Pig," and at Mr. Newton's, in Philadelphia, the original of "Dream Children," an even more desirable possession; I knew that America had provided an eager home for everything connected with Keats and Shelley and Stevenson; but it was a surprise to find at Mr. Morgan's so wide a range of MSS., extending from Milton[78] to Du Maurier[79], and from Bacon[80] to "Dorian Gray"[81]; while at Mr. Huntington's I had in my hands the actual foolscap sheets on which Heine[82] composed his "Florentine Nights."

进不去弗里克画廊，但我有机会在摩根和H.E.亨廷顿先生的图书馆里随意游览。在这两个图书馆里我都看到了大量独一无二的、不曾见过的名家亲笔签名，没想到它们落入民间收藏家之手。稀有书籍只要有钱就可以买到手，因为大多都是复制品。但是签名和“联盟”书籍是独一无二的，而美国就是它们的归处。我以前就知道要穿过大西洋才能看到许多名画真品，我们伦敦只有照片。我知道兰姆大量的信件在美国，在摩根图书馆里我看到作者的散文《谈谈烧猪》的初稿，而在费城牛顿先生的博物馆里看到了更让人觊觎的《梦中的孩子们》的手稿。我知道美国更迫切地想收藏一切跟济慈、雪莱和斯蒂文森有关的物品。但是让我惊讶的是摩根图书馆里竟然有如此广泛的手稿，从弥尔顿到杜莫里埃，从培根到《道林·格雷》；在亨廷顿图书馆我把海涅当年写下《佛罗伦萨的夜晚》的大页书写纸拿在手里摩挲。

I ought, you say, to have known this before. Maybe. But that ignorance in such matters is no monopoly of mine I can prove by remarking that many an American collector with whom I have talked was unaware that the library of Harvard University is the possessor of all the works of reference—mostly annotated—which were used by Thomas Carlyle[83] in writing his "Cromwell" and his "Frederick the Great," and they were bequeathed by him in his will to Harvard University because of his esteem and regard for the American people, "particularly the more silent part of them."

你会说我应该早就知道这些事情。也许吧！但是并不是我一个人不知道，很多跟我交谈过的美国收藏家也不知道哈佛大学图书馆里收藏有托马斯·卡莱尔当初撰写《克伦威尔》和《腓特烈大帝》所用的全部参考文献（大多加以注释）。出于对美国人（“尤其是他们中更沉默的那些人”）的尊敬，托马斯死后将它们赠给了哈佛大学。

My hours in these libraries, together with a glimpse of the Widener room at Harvard and certain booksellers' shelves, gave me some idea of what American collectors have done towards making the New World a treasury of the Old, and I realised how more and more necessary it will be, in the future, for all critics of art in whatever branch, and of literature in whatever branch, and all students even of antiquity, if they intend to be thorough, to visit America. This I had guessed at, but never before had known.

去了这些图书馆，加上在哈佛大学怀德纳图书馆的匆匆一瞥，又看了某些书商的书架后，让我看到了美国收藏家在将新世界变为旧世界宝藏的过程中所做出的贡献，我意识到，将来，一切艺术评论家，不论他们研究的是什么领域，一切文学家，也不论他们研究的是什么领域，甚至古代文物学的学生，如果打算进行严谨透彻的研究，来美国访问学习的必要性会越来越大。我以前曾作过这样的猜测，但直到现在我才真正明白。

The English traveller lighting upon so many of the essentially English riches as are conserved in American libraries, and particularly when he has not a meagre share of national pride, cannot but pause to wonder how it came about—and comes about—that so much that ought to be in its own country has been permitted to stray.

英国游客看到这么多原本属于英国的财富被收藏在美国图书馆，尤其是当他觉得无法分享这种民族自豪感时，就会禁不住停下来思考这种情况是怎么发生的—以及正在发生着的—这些本应该在自己国家的许多财富会流失到了别处。

In England collectors and connoisseurs are by no means rare. What, then, were they doing to let all these letters of Keats and Shelley, Burns and Byron[84], Lamb and Johnson[85]—to name for the moment nothing else—find their resting-place in America? The dollar is very powerful, I know, but should it have been as pre-eminently powerful as this? Need it have defeated so much patriotism?

英国的收藏家和鉴赏家绝对不少。那么他们怎么会让济慈、雪莱、彭斯、拜伦、兰姆和约翰逊的信件—此刻我只能列举这些—在美国安了家？我知道美元非常强大，但是它强大到这种程度了吗？甚至能胜过浓厚的爱国主义热情？

Pictures come into a different category, for every artist painted more than one picture. I have experienced no shade of resentment towards their new owners in looking at the superb collections of old and new foreign masters in the American public and private galleries; for so long as there are enough examples of the masters to go round, every nation should have a share. With MSS. , however, it is different. Facsimiles, such as the Boston Bibliographical Society's edition of Lamb's letters, would serve for the rest of the world, and the originals should be in their author's native land. But that is a counsel of perfection. The only thing to do is to grin and bear it, and feel happy that these unique possessions are preserved with such loving pride and care. Any idea of retaliation on America on the part of England by buying up the MSS of the great American writers, such as Franklin[86] and Poe[87], Hawthorne[88] and Emerson[89], Thoreau[90] and Lowell[91], Holmes[92] and Whitman[93], was rendered futile by the discovery that Mr. Morgan possesses these too. I had in his library all the Breakfast Table[94] series in my hands, together with a play by Poe not yet published.

绘画可以归入另一个类别，因为每位艺术家不止创作一幅绘画。我在美国公共的和私人的画廊里看到新老国外大师的收藏品后对它们的新主人并没有产生怨恨情绪。只要这些大师的作品够多，每个国家都应该收藏一些。但是对于手稿就应该另当别论。摹真本，比如兰姆书信的波士顿文献协会版本，就可以供全世界其他地方的人们欣赏，但是原版应该保存在作者的家乡。但这只是一个理想却不切实际的劝告。我们只能挤出一丝笑容忍了，并为这笔独特的财产被人满怀自豪和关爱地珍藏着感到高兴。英国人想通过购买美国伟大作家的手稿，比如，富兰克林和爱伦·坡、霍桑和爱默生、梭罗和洛威尔、霍姆斯和惠特曼来报复美国的想法也是徒劳的，因为我发现摩根先生也拥有这些。在他的图书馆里，我把全套的《早餐桌上》和爱伦·坡的一部没有出版的戏剧捧在手里欣赏。

Mount Vernon

弗农山

Mention of the beautiful solicitude with which these treasures are surrounded, suggests the reflection that the old country has something to learn from the new in the matter of distinguished custodianship. We have no place of national pilgrimage in England that is so perfect a model as Washington's home at Mount Vernon. It is perhaps through lack of a figure of the Washington type that we have nothing to compare with it; for any parallel one must rather go to Fontainebleau; but certain shrines are ours and none of them discloses quite such pious thoroughness as this. When I think of the completeness of the preservation and reconstruction of Mount Vernon, where, largely through the piety of individuals, a thousand personal relics have been reassembled, so that, save for the sightseers, this serene and simple Virginian mansion is almost exactly as it was, I am filled with admiration. For a young people largely in a hurry to find time to be so proud and so reverent is a significant thing.

说到对这些珍宝的悉心关切，我们得到一个启示，那就是新世界成功的保管经验值得旧世界学习。英国没有一个国家圣地，能像弗农山的华盛顿庄园那样成为一个国家的完美典范。也许这是因为我们缺少像华盛顿这样的典范人物。如果你要寻找类似的地方，那就去枫丹白露。我们国家也有一些圣地，但是没有一处像这里将虔诚表现得如此透彻。当我想到弗农山被保护、重建得如此完整时，心里充满了崇敬之情。上千件私人文物能重新回到这里，主要是依托个人的虔诚行为，因此，除了观光客，这座宁静、简朴的弗吉尼亚宅院几乎跟当年一模一样。这个圣地对于一个急于想表达自豪、恭敬的年轻民族来说意义非凡。

Nor is this spirit of pious reverence confined to national memorials. Longfellow's Wayside Inn in Massachusetts, although still only a hostelry, compares not unfavourably with Dove Cottage[95] at Grasmere and Carlyle's house in Chelsea. The preservation is more minute. But to return to Mount Vernon, the orderliness of the place is not its least noticeable feature. There is no mingling of trade with sentiment, as at Stratford-on-Avon[96], for example. Within the borders of the estate everything is quiet. I have never seen Americans in church (not, I hasten to add, because they abstain, but because I did), but I am sure that they could not, even there, behave more as if the environment were sacred. To watch the crowds at Mount Vernon, and to contemplate the massive isolated grandeur of the Lincoln Memorial now being finished at Washington, is to realise that America, for all its superficial frivolity and cynicism, is capable of a very deep seriousness.

这种虔敬的精神并不只局限于国家纪念馆。马萨诸塞州的朗费罗“路边客栈”，尽管仍然只是一家客栈，但并不比格拉斯米尔的“鸽舍”和切尔西的“卡莱尔故居”逊色，甚至可以说保护得更加细心。但是再回来说弗农山，井然有序也并非是它最不引人注意的特点。比如，它不像斯特拉特福，贸易和情感交织在一起。在这片土地上，一切都是宁静的。我从没在教堂里见过美国人（我得赶紧补充：不是因为他们不去，而是因为我自己没去），但是我可以肯定即使在教堂，他们也不会因为氛围神圣而表现得更加虔诚。看着弗农山上的人群，想着在华盛顿已经建成的独立、宏大、辉煌的林肯纪念堂，我意识到，美国尽管表面看来轻浮、玩世不恭，做起事来也能极其严肃。

Vers Libre

自由体诗

It would have been pedantic, while in America, to have abstained from an effort at vers libre.

在美国如果你回避自由体诗就会显得十分迂腐。

REVOLT

反抗

I had been to the Metropolitan Museum looking at beautiful things and rejoicing in them.

我去大都会博物馆看了许多美丽的收藏，感到非常高兴。

And then I had to catch a train and go far into the country, to Paul Smith's.

接着我搭乘火车到这个国家更远的地方去，去保罗·史密斯博物馆。

And as the light lessened and the brooding hour set in I looked out of the window and reconstructed some of the lovely things I had seen— the sculptures and the paintings, the jewels and the porcelain: all the fine flower of the arts through the ages.

光线渐暗，我慢慢陷入沉思中，眼望窗外，我见过的那些可爱的事物再次呈现在脑海中—那些雕刻和绘画，珠宝和瓷器：所有那些穿越时光的艺术瑰宝。

It seemed marvellous beyond understanding that such perfection could exist, and I thought how wonderful it must be to be God and see His creatures rising now and again to such heights.

这样的完美之作能保存下来似乎神奇得让人无法理解。我想上帝看到他自己创造的人类成长并达到这种高度一定会惊叹不已。

And then I came to a station where there was to be a very long wait, and I went to an inn for a meal.

接着我们到了下一站，火车在这里停留的时间很长，于是我去一家客栈吃了顿饭。

It was a dirty neglected place, with a sullen unwashed man at the door, who called raspingly to his wife within.

这是一个脏乱、不起眼的地方，一个郁郁寡欢、不修边幅的男子坐在门口，他粗声粗气地叫唤里屋的妻子。

And when she came she was a slattern, with dishevelled hair and a soiled dress and apron, and she looked miserable and worn out.

她走了过来，蓬头垢面、衣服和围裙上满是污垢，看起来一副悲惨、疲惫的样子。

She prepared a meal which I could not eat, and when I went to pay for it I found her sitting dejectedly in a chair looking with a kind of dumb despair at the day's washing-up still to do.

她做的饭叫人没法吃，我走过去要付钱时发现她沮丧地坐在椅子上，看着今天一大堆要洗的餐具，一副呆滞绝望的神情。

And as I walked up and down the road waiting for the car I thought of this woman's earlier life when she was happy.

于是我起身走到路边去等车的时候，开始想象她早年的快乐生活会是什么样子。

I thought of her in her courtship, when her husband loved her and they looked forward to marriage and he was tender and she was blithe.

我想到了她的恋爱时期，她的丈夫怜爱她，两个人期待早日步入婚姻殿堂，他很温柔而她很快乐。

They probably went to Coney Island together and laughed with the rest.

他们很可能一起来到科尼岛和其他人一起欢声笑语。

And it seemed iniquitous that such changes should come about and that merry girls should grow into sluts and slovens, and ardent young husbands should degenerate into unkempt bullies, and houses meant for happiness should decay, and marriage promises all be forgotten.

而如今快乐的女孩变成了懒惰、脏乱的妇人，曾经热情、年轻的丈夫变得粗野、霸道，曾经的幸福小屋变得破败，婚姻的誓言全被遗忘。发生这样的变化似乎很不道德。

And I felt that if the world could not be better managed than that I never wanted to see any of God's artistic darlings at the top of their form again and the Metropolitan Museum could go hang.

我觉得如果这个世界经营得像这个小家这样，我就再也不愿去欣赏上帝最美的艺术宠儿了，大都会博物馆就可以被遗忘了。

Domestic Architecture

国内建筑

I believe that few statements about America would so surprise English people as that it has beautiful architecture. I was prepared to find Boston and Cambridge old-fashioned and homelike—Oliver Wendell Holmes had initiated me; I had a distinct notion of the cool spaciousness of the White House and the imposing proportions of the Capitol and, of course, I knew that one had but to see the skyscrapers of New York to experience the traditional repulsion! But of the church of St. Thomas on Fifth Avenue I had heard nothing, nor of Mr. Morgan's exquisite library, nor of the Grand Central terminus, nor of the Lincoln Memorial at Washington, nor of the bland charm of Mount Vernon. Nor had I expected to find Fifth Avenue so dignified and cordial a thoroughfare.

我相信没有什么对美国的评价会比说它有漂亮的建筑更令英国人吃惊。波士顿和剑桥是两座老派、温馨的城市，这我有思想准备—奥利弗·温德尔·霍姆斯的描述给我留下了初步的印象。我明显感觉到白宫清冷宽敞，国会大厦气势恢宏。当然，我也知道如果你想去体会突破传统之处那就该去看看纽约的摩天大楼！但之前我并未听说过第五大街的圣托马斯教堂，也不知道摩根先生精致的图书馆、大中央车站、华盛顿的林肯纪念堂、弗农山那柔和的魅力。我也没有想到第五大街是一条如此有品位而热闹的街道。

Even less was I prepared for such metal work and stone work as is to be seen in some of the business houses—such as, for example, the new Guaranty Trust offices, both on Broadway and in Fifth Avenue. Even the elevators (for which we in England, in spite of our ancient lethargy, have a one-syllable word) are often finished with charming taste.

我更没有料到的是一些商铺的金属结构和石方结构都能如此漂亮—比如，百老汇和第五大街上都有的那些新担保信托办公室。即使是电梯（在英国，尽管我们一向懒散,我们的电梯是单音节词）也常常设计得很有品位。

Least of all did I anticipate the maturity of America's buildings. Those serene facades on Beacon Street overlooking Boston Common, where the Autocrat used to walk (and I made an endeavour to follow his identical footsteps, for he was my first real author)—they are as satisfying as anything in Georgian London. And I shall long treasure the memory of the warm red brick and easy proportions of the Boston City Hall and Faneuil Hall, and Independence Hall at Philadelphia seen through a screen of leaves. But in England (and these buildings were English once) we still have many old red brick buildings; what we have not is anything to correspond with the spacious friendly houses of wood which I saw in the country all about Boston and at Cambridge— such houses as that which was Lowell's home—each amid its own greenery. Nowhere, however, did I see a more comely manor house of the old Colonial style than Anthony Wayne's, near Daylesford, in Pennsylvania. In England only cottages are built of wood, and I rather think that there are now by-laws against that.

我最没有料到的是美国建筑的发展如此成熟。灯塔街上那些外观宁静详和的建筑俯瞰着波士顿公园，独裁者曾在这里散步（我试图去追寻他曾经的步履，因为他是我真正的启蒙作家）—这里的一切像乔治王时代的伦敦那样令人满意。我会永远把这些珍藏在记忆里：暖暖的红砖、大小适中的波士顿市政厅、法尼尔厅、还有掩映在树叶中的费城独立厅。在英国（这些建筑也曾出现在英国）我们仍然有许多古老的红砖建筑；但是我们没有波士顿和剑桥周边乡村里的那些宽敞、舒适的木房—洛威尔的故居就是这种风格的房子—每一幢房子都包裹在融融绿意之中。然而我见过的最漂亮的旧时殖民风格的庄园是宾夕法尼亚戴尔斯福特附近的安东尼·韦恩庄园。在英国只有小村舍才用木头建造，而且我记得现在还有地方法规禁止建木屋了。

Not all the good country houses, big and little, are, however, old. American architects in the past few years seem to have developed a very attractive type of home, often only a cottage, and I saw a great number of these on the slopes of the Hudson, all the new ones combining taste with the suggestion of comfort. The conservation of trees wherever possible is an admirable feature of modern suburban planning in America. In England the new suburb too often has nothing but saplings. In America, again, the houses, even the very small ones, are more often detached than with us.

并不是所有大大小小的乡间木房都很古老。在过去的几年里美国建筑师似乎设计出了一种非常受欢迎的房屋类型，通常只是一个村舍，我看到哈德逊的山丘上有很多这样的房子，都是新建的，既有品位又舒适。不管在哪里都尽量保护树木是美国现代郊区规划中一个令人赞赏的特点。在英国，新郊区往往只有一些小树苗。而同样美国的房子，即使是很小的房子之间的间距也比我们的大。

Boston

波士顿

Once the lay-out of New York has been mastered—its avenues and numbered cross streets—it is the most difficult city in the world in which to lose one's way. But Boston is different. I found Boston hard to learn, although it was a pleasant task to acquire knowledge, for I was led into some of the quietest little Georgian streets I have ever been in, steep though some of them were, and along one of the fairest of green walks—that between the back of Beacon Street and the placid Charles.

只要你熟悉了纽约的布局—它的主干道和编了号的十字街—你就会发现这是世界上最不容易迷路的一个城市。但是波士顿就不一样了。尽管学习新知识是一件令人开心的事情，我还是觉得波士顿很难了解。我曾被引至几条乔治王朝时代风格的街道，那是我所见过的最僻静的小街，有些道路相当陡，我还曾沿着灯塔后街和宁静的查尔斯街中间一条最美的林阴道行走。

Against Boston I have a certain grudge, for I could find no one to direct me to the place where the tea was thrown overboard. But that it was subjected to this indignity we may be certain—partly from the testimony of subsequent events not too soothing to English feelings, and partly from the unpopularity which that honest herb still suffers on American soil. Coffee, yes; coffee at all times; but no one will take any but the most perfunctory interest in the preparation of tea. I found the harbour; I traversed wharf after wharf; but found no visible record of the most momentous act of jettison since Jonah[97]. In the top room, however, of Faneuil Hall, in the Honourable Artillery Company's headquarters, the more salient incidents of the struggle which followed are all depicted by enthusiastic, if not too talented, painters; and I saw in the distance the monument on Bunker's Hill.

对于波士顿我有些不满，因为没有一个人能告诉我当年倾茶事件发生的地点在哪里。但是我们知道那可能是因为当年所受的侮辱—部分是因为对于后来发生事件的记述不太利于平复英国人的情绪，部分则是因为茶叶在美国的土地上不受欢迎。咖啡，对，总是咖啡；但是没有人愿意花一丁点儿心思去琢磨如何沏茶。我找到了那个港口；我跨过一个又一个码头，但是看不见关于这个自约拿以来最重大的货物投弃事件的记录。然而，在法尼尔厅的顶层房间里、在荣誉炮兵连的总部内，这场斗争引发的突出事件被一些热情而极富天赋的画家们描绘了下来；我还远远地看到了邦克山上的纪念碑。

My cicerone must be excused, for he was a Boston man, born and bred, and I ought never to have put him to the humiliation of confessing his natural ignorance. But the record is there, and legible enough. The tablet (many kind correspondents have informed me since certain of these notes appeared in the Outlook) is at 495 Atlantic Avenue, in the water-front district, just a short walk from the South Station, and it has the following inscription:

一定不能责怪我的导游，因为他是一个土生土长的波士顿人，我绝不应该把他置于承认自己无知的尴尬境地。但是记录就在那里，而且可以很清楚地看到。那块牌匾（自从这本游记的某些篇章刊登在《希望》上之后，许多善意的记者都告知过我）就在水岸区的大西洋道495号，从南站步行很快就能到达这里。牌匾上面写着：

HERE FORMERLY STOOD

格林芬码头

GRIFFIN'S WHARF

旧址

at which lay moored on Dec. 16, 1773, three British ships with cargoes of tea.

1773年12月16日三艘装着茶叶的英国货船停泊在这里。

To defeat King George's trivial but tyrannical tax of three pence a pound, about ninety citizens of Boston, partly disguised as Indians, boarded the ships, threw the cargoes, three hundred and forty-two chests in all, into the sea and made the world ring with the patriotic exploit of the

为了抵抗乔治国王微薄但专制的茶叶税—每磅三便士，大约有90个波士顿人，部分假扮成印第安人，上了船，将342箱茶叶全部倒入大海，使全世界都开始响应波士顿茶党的英勇爱国行为。

BOSTON TEA PARTY

不！这种酒从未被调出来过。

"No! ne'er was mingled such a draught In palace, hall, or arbor,

无论在宫殿、大厅还是凉亭

As freemen brewed and tyrants quaffed

自由人酿制、暴君痛饮

That night in Boston Harbor.”

那晚在波士顿港口

Boston has a remarkable art gallery and museum, notable for its ancient Chinese paintings, its collection of Japanese prints—one of the best in the world, I believe—and a dazzling wall of water-colours by Mr. Sargent[98]. It was here that I saw my first Winslow Homer[99]—two or three rapid sketches of fi shermen in full excitement—and was conquered by his verve and actuality. In the Metropolitan Museum in New York I found him again in oils and my admiration increased. Surely no one ever can have painted the sea with more vividness, power and truth! We have no example of his work in any public gallery in London; nor have we anything by W. M. Chase[100], Arthur B. Davies[101], Swain Gifford[102], J. W. Alexander[103], George Inness[104], or De Forest Brush[105]. It is more than time for another American Exhibition. As it is, the only modern American artists of whom there is any general knowledge in England are Mr. Sargent, Mr. Epstein[106] and Mr. Pennel[107], and the late E. A. Abbey[108], G. H. Boughton[109], and Whistler[110]. Other Americans painting in our midst are Mr. Mark Fisher[111], R.A., Mr. J. J. Shannon[112], R.A., Mr. J. McLure Hamilton[113], and Mr. G. Wetherbee[114].

波士顿有一座非凡的艺术画廊和博物馆，以它收藏的中国古代绘画和日本版画集（我相信是世界一流的）以及一面耀眼的萨金特水彩画墙壁而著称。我是在这里第一次见到了温斯洛·霍默的作品—两三幅描绘兴高采烈的渔夫的素描，我被他画中的神韵和真实所征服。在纽约的大都会博物馆里又看到他的油画后，更加深了对他的敬佩。实在没有人能把大海描绘得如此生动、强大和真实！在伦敦的任何一个公共画廊里都没有他的作品，也没有W.M.蔡斯、亚瑟·B.戴维斯、斯温·吉福德、J.W.亚历山大、乔治·英尼斯或福里斯特·布拉什的作品。实在是时候在英国再举行一次美国画家的作品展了。其实，英国人了解的美国现代艺术家只有萨金特先生、爱泼斯坦先生、彭内尔先生、已故的E.A.艾比、G.H.鲍顿先生和惠斯勒。在我们国家还能找到其他一些美国画家的作品，包括马克·费希尔先生、J.J.香农、J.麦克卢尔·汉密尔顿先生、G.韦瑟比先生。

The Boston Gallery is the proud possessor of the rough and unfinished but "speaking" likeness of George Washington by his predestined limner Gilbert Stuart[115], and also a companion presentment of Washington's wife. Looking upon this lady's countenance and watching a party of school girls who were making the tour of the rooms, not uncomforted on their arduous adventure by chocolate and other confections, it occurred to me that if America increases her present love of eating sweets, due, I am told, not a little to Prohibition, George Washington will gradually disappear into the background and Martha Washington, who has already given her name to a very popular brand of candy, will be venerated instead, as the Sweet Mother of her Country.

波士顿画廊为拥有一幅粗略的、未完成的但却极为逼真的乔治·华盛顿肖像而引以为傲，是由华盛顿指定的画匠吉尔伯特·斯图亚特所绘。旁边还有一幅华盛顿夫人的画像。欣赏华盛顿夫人的画像时，我注意到一群女学生一边勤奋地四处参观，一边吃着巧克力和其他糖果，她们并不觉得有何不妥。我想如果美国人对于糖果的热情与日俱增（有人告诉我这跟禁酒有很大关系），那么乔治·华盛顿就会淡出历史，而玛莎·华盛顿，这位已经同意一个著名糖果品牌使用其名字的国母将会作为“糖果之母”而受到崇敬。

An American correspondent sends me the following poem in order to explain to me the deviousness of Boston's principal thoroughfare. The poet is Mr. Sam Walter Foss[116]:—

一位美国记者寄给我下面这首诗以解释波士顿主要干道的曲折来历。这首诗的作者是萨姆·沃尔特·福斯：

One day through the primeval wood

某一天，一头听话的小牛

A calf walked home, as good calves should;

回家时经过一片原始森林

But made a trail all bent askew,

但是跟所有的小牛一样

A crooked trail, as all calves do.

它留下的足迹弯弯曲曲

Since then two hundred years have fled,

两百多年的光阴转眼逝去

And, I infer, the calf is dead.

而我猜，那小牛也早已死去

But still he left behind his trail,

但是它走过的小径依旧

And thereby hangs my moral tale.

于是就有了下面的故事

The trail was taken up next day

第二天一条孤单的狗

By a lone dog that passed that way;

从小径上走过

And then a wise bell-wether sheep

又有一只聪明的领头羊

Pursued the trail o'er vale and steep,

顺着它穿过山谷和陡坡

And drew the fl ock behind him too,

一边召唤着身后的羊群

As good bell-wethers always do.

尽责的领头羊总要这么做

And from that day o'er hill and glade

从那以后，山上林间有了一条古林小道

Through those old woods a path was made,

许多人走进走出

And many men wound in and out,

闪躲、转身、弯腰

And dodged and turned and bent about,

众口怒骂这

And uttered words of righteous wrath Because 'twas such a crooked path;

百转千回的小径

But still they followed—do not laugh—

但他们还是跟着，别笑！

The fi rst migrations of that calf,

小牛的第一批移民

And through this winding wood-way stalked

这条曲径日渐开阔

Because he wabbled when he walked.

因为人们走路摇摆不定

The forest path became a lane

森林小径成了一条小路

That bent and turned and turned again;

依旧是百转千回

This crooked lane became a road,

这条弯弯的小道变成一条马路

Where many a poor horse with his load

一群群马匹驮着担子走在上面

Toiled on beneath the burning sun,

顶着炽烈的太阳

And travelled some three miles in one.

日行大约三里路

And thus a century and a half

如此一百五十年

They trod the footsteps of that calf.

他们依然循着小牛的足迹

The years passed on in swiftness fleet,

光阴飞逝，白驹过隙

The road became a village street,

道路拓为村街，连接乡里

And then before men were aware,

还不等人们意识过来

A city's crowded thoroughfare,

就成了一条拥挤的城市干道

And soon the central street was this

转眼间又成中心大道

Of a renowned metropolis.

穿梭于知名都市之中

And men two centuries and a half

又过了两百五十年

Trod in the footsteps of that calf.

人们依然踩着小牛的足迹

Each day a hundred thousand rout

每一天成千上万的人

Followed the zigzag calf about;

跟随小牛走过的曲径

And o'er his crooked journey went

他曾走过的蜿蜒旅途

The traffi c of a continent.

如今车水马龙

A hundred thousand men were led

小牛虽已死去了三百年

By one calf near three centuries dead.

但成千上万人在它带领下

They followed still his crooked way

他们依旧循着蜿蜒小道

And lost one hundred years a day;

百年的岁月，弹指一挥间

For thus such reverence is lent

源远流长的先例

To well-established precedent.

受到人们的尊敬

A moral lesson this might teach,

这可以作为一堂道德课

Were I ordained and called to preach.

如果有人令我担任牧师

For men are prone to go it blind

因为人们愿意盲目

Along the calf-paths of the mind,

走在心里的牛道上

And work away from sun to sun

他们像其他人一样

To do what other men have done.

日出而作日落而息

They follow in the beaten track,

他们循着沧桑的小径

And out and in and forth and back

来来回回，走进走出

And still their devious course pursue,

但是他们仍然循着那条

To keep the paths that others do.

其他人走过的蜿蜒之路

But how the wise old wood-gods laugh

但是看到最初的小牛的明智的古林之神

Who saw the fi rst primeval calf!

他会怎样嘲笑人们

Ah, many things this tale might teach—But

哦！这个故事里蕴藏着许多道理—但是

I am not ordained to preach.

我没有领受布道的命令

Philadelphia

费城

I was fortunate in the city over which William Penn[117], in giant effi gy, keeps watch and ward, in having as guide, philosopher and friend Mr. A. Edward Newton[118], the Johnsonian, and the author of one of the best examples of "amateur" literature that I know—”The Amenities of Book-Collecting." Mr. Newton took me everywhere, even to the little seventeenth-century Swedish church, which architecturally may be described as the antipodes of Philadelphia's newer glory, the Curtis Building[119], where editors are lodged like kings and can be attained to (if at all) only through marble halls. We went to St. Peter's, where, suddenly awaking during the sermon, one would think oneself to be in a London city church, and to the Historical Museum, where I found among the Quaker[120] records many of my own ancestors and was bewildered amid such a profusion of relics of Penn, Washington and Franklin. In the old library were more traces of Franklin, including his famous electrical appliance, again testifying to the white f lame with which American hero-worship can burn; and we found the sagacious Benjamin once more at the Franklin Inn Club, where the simplicity of the eighteenth century mingles with the humour and culture of the twentieth. We then drove through several miles of Fairmount Park, stopping for a few minutes in the hope of finding the late J. G. Johnson's Vermeer in the gallery there; but for the moment it was in hiding, the walls being devoted to his Italian pictures.

在这座有威廉·佩恩的巨型雕像注视和守卫的城市里，我很幸运能有一位哲学家朋友A.爱德华·牛顿先生做我的向导。他是一位约翰逊研究者，撰写了一部杰出的“业余”文学作品—《藏书之乐》。牛顿先生带我去了城里的每一个地方，甚至去了那个十七世纪的瑞典小教堂，从建筑风格看，这教堂正好与费城新建的宏伟建筑—柯蒂斯大厦相反，大厦里的编辑们像国王一样坐在那里难以企及，（如果能去的话）必须穿过大理石厅才能走到他们跟前。我们去了圣彼得教堂，在那里，如果你猛然从布道仪式中回过神来，会觉得自己仿佛身在伦敦市的一座教堂。我们还去了历史博物馆，在那里的贵格会信徒档案中我发现有很多我们自己的祖先，大量的潘恩、华盛顿和富兰克林的遗物让我眼花缭乱。在古老的图书馆里我们找到了更多富兰克林的物品，包括他著名的电器，看到这些藏品心中不由得又燃起一股美式英雄崇拜所激发的那种崇敬之情；我们再次看到这位智者留下的更多痕迹是在富兰克林旅馆俱乐部，那里融合了十八世纪的纯朴和二十世纪的气息与文化。我们接着驱车在费蒙公园行驶了几英里，中途停了几分钟希望在那里的画廊里找到已故的J.G.约翰逊收藏的弗美尔作品。但是当时这幅画被藏起来了，而原来的那面墙换上了他收藏的意大利绘画。

Finally we drew up at the gates of that strange and imposing Corinthian temple which might have been dislodged from its original site and hurled to Philadelphia by the first Quaker, Poseidon[121]—the Girard College[122]. This solemn fane we were permitted to enter only on convincing the porter that we were not ministers of religion—an easy enough task for Mr. Newton, who wears with grace the natural abandon of a Voltairean, but a difficult one for me. Why Stephen Girard[123], the worthy "merchant and mariner" who endowed this institution, was so suspicious of the cloth, no matter what its cut, I do not know; no doubt he had his reasons; but his prejudices are faithfully respected by his janitor, whose eye is a very gimlet of suspicion. However, we got in and saw the philanthropist's tomb and his household effects behind those massive columns.

最后我们在吉拉德学院大门前停了下来，这座奇特、雄伟的科林斯式教堂仿佛是被第一个“震颤者”波塞冬把它从原址上拔起投到费城来的。要进入这座庄严的神殿必须让门卫相信我们并非宗教牧师—这对于一身伏尔泰风格装束优雅的牛顿先生来说十分容易，但对我来说却很难。我不知道为什么这个学院的捐赠者斯蒂芬·吉拉德这位可敬的商人和水手对布料如此不信任，不论它被裁剪成什么样。自然他有他的理由。但是他的这个偏见得到了他的门卫的切实遵从，他锐利的目光里闪烁着怀疑。不过，我们还是进去了并且在那些宏伟的柱子后面见到了这个慈善家的坟墓和遗物。

That evening I spent in Mr. Newton's library among Blake and Lamb and Johnson autographs and MSS., breaking the Tenth Commandment[124] with a recklessness that would have satisfied and delighted Stephen Girard's gatekeeper; and the next day we were off to Valley Forge to see with what imaginative thoughtfulness the Government has been transforming Washington's camp into a national park and restoring the old landmarks. It was a fine spring day and the woods were flecked with the white and pink blossoms of the dogwood—a tree which in England is only an inconspicuous hedgerow bush but here has both charm and importance and some of the unexpectedness of a tropical growth. I wish we could acclimatise it. The memorial chapel now in course of completion on one of the Valley Forge eminences seemed to me a very admirable example not only of modern Gothic but of votive piety. And such a wealth of American symbolism cannot exist elsewhere. But in the severe little cottage where Washington made his headquarters, down by the stream, with all his frugal campaigning furniture and accessories in their old places, I felt more emotion than in the odour of sanctity. The simple reality of it conquered the stained glass.

那天晚上我去了牛顿先生的书房，看到了布莱克、兰姆和约翰逊的亲笔签名和手稿，我莽撞地破了第十条戒律，我想斯蒂芬·吉拉德的门卫对此一定会感到满意和高兴。第二天我们去弗吉谷，想看看政府是如何运用有创意的思想将华盛顿军营改造为一个国家公园并重新修复当年的地标的。那是一个晴好的春日，树林里点缀着白色和粉色的山茱萸花—这种树在英国只是一种很不起眼的树篱灌木，但是在这儿既有魅力又有重要用途，还给人一种意想不到的热带气息。我希望能把它移植到我们国家。弗吉谷的一座山脊上即将完成的纪念教堂，在我看来是一座糅合现代哥特风格和虔诚宗教理念的建筑典范。这种具有美国象征意义的建筑在别的地方难得一见。在溪流的下游，我见到了当年被华盛顿用作基地的那个简朴的小村舍，战时的所有家具和装饰都还在原地，在这里我的感受比在圣殿里更加强烈，它朴素的现实感胜过教堂里的彩色玻璃。

General Reflections

总体印象

Looking back on it all I realise that America never struck me as a new country, although its inhabitants often seemed to be a new people. The cities are more mature than the citizens. New York, Chicago, Boston, Philadelphia, Washington—all have an air of permanence and age. The buildings, even the most fantastic, suggest indigenousness, or at least stability; nor would the presence of more ancient structures increase this effect. To the eye of the ordinary Englishman accustomed to work in what we call the City, in Fleet Street, in the Strand, in Piccadilly, or in Oxford Street, New York would not appear to be a younger place than London, and Boston might easily strike him as older. Nor is London more than a little older, except in spots, such as the Tower and the Temple and the Abbey, and that little Tudor row in Holborn, all separated by vast tracts of modernity. Indeed, I would almost go farther and say that London sets up an illusion of being newer even than New York by reason of its more disturbing street traffic both in the roads and on the footways, and the prevalence of the gaily coloured omnibuses which thunder along so many thoroughfares in notable contrast with the sedate and sober vehicles that serve Fifth Avenue and are hardly seen elsewhere.

回头看来，我意识到自己从来没有觉得美国是一个新的国家，尽管那里的居民似乎是一个新的民族。城市比国民更为成熟。纽约、芝加哥、波士顿、费城和华盛顿—全都散发出永恒而古老的气息。那里的建筑，即使是最奇特的，也都具有本土特色，或者至少显得稳固恒久。即使再多一些古老的建筑，也不见得能强化这种效果。在习惯了在舰队街、斯特兰德大道、皮卡迪里大道、牛津街这些被我们称为城市的地方工作的普通英国人眼里，纽约不比伦敦年轻，而波士顿很容易让人觉得比伦敦还要古老。除了那些与零星分布于大群现代建筑中的古塔、古庙、古修道院以及位于霍尔本的都铎王朝古街道外，伦敦一点也不显得更古老。实际上，我可以更进一步说伦敦甚至会让人误以为它比纽约更新，因为马路上人行道上都是繁乱的交通，到处是色彩华丽的公共汽车一路轰隆隆地驶过许多城市干道，与此形成鲜明对比的是行驶在第五大街上的那些安静、颜色素淡的交通工具，而且这在别的地方几乎看不到。

Meanwhile an illusion of antiquity is set up by New York's habit of commingling business houses and private residences, which surely belongs to an older order of society. In London we have done away with such a blend. Our nearest approach to Fifth Avenue is, I suppose, Regent Street; but there are no mansions among the shops of Regent Street. Our shops are there and our mansions are elsewhere, far away, in what we call residential quarters—such as Park Lane, Queen's Gate, Mayfair, the Bayswater Road, and Grosvenor Square. To turn out of Fifth Avenue into the quiet streets where people live is to receive a distinct impression of sedateness such as New York is never supposed to convey. One has the same feeling in the other great American cities.

造成古老错觉的另一个原因是纽约习惯把商房和民宅混建在一起，这无疑是一种比较古老的城市布局。伦敦已经抛弃了这种混杂的形式。我想和第五大街最相近的应该是伦敦的摄政街，但是摄政街的商铺与商铺之间没有民宅。我们把商铺建在那里，而民宅建在远离那里的区域，我们把那片区域叫作住宅区—例如派克大街、女皇门、梅菲尔、贝斯沃特路、格罗夫纳广场。出了第五大街来到人们生活着的安静街道，会让人感受到明显的清静，而纽约绝不会给人这种感觉。在美国其他很多大城市都会有类似的感觉。

But when it comes to their inhabitants there are to the English eye fewer signs of maturity. I have never been able to get rid of the idea that every one I have met in America, no matter how grave a senior, instead of being really and self-consciously in the thick of life, is only getting ready to begin. Perhaps this is due in part to the pleasure—the excitement almost—which American business men—and all Americans are business men—take in their work. They not merely do it, but they enjoy doing it and they watch themselves doing it. They seem to have a knack of withdrawing aside and observing themselves as from the stalls, not without applause. In other words, they dramatise continually. Now, one does not do this when one is old—it is a childish game—and it is another proof that they are younger than we, who do not enjoy our work, and indeed, most of us, are ashamed of it and want the world to believe that we live like the lilies on private means.

但是英国人在这里的居民身上却看不到什么成熟的标志。我总是觉得我在美国遇见的每个人，即使严肃的老者，也没有真正地或者说自觉地进入生活最激烈的阶段，而只是刚做好开始的准备。也许这部分是因为所有的美国商人（所有美国人都是商人）在工作中享受乐趣（甚至可以说是刺激）。他们不仅在这样做，而且很乐意这样做和欣赏自己这样做。他们似乎很擅长退到一边，站到货摊外面观察自己，甚至还会鼓掌。换言之，他们总是沉溺在自我的戏剧里。现在，成年人不会这样做—这是个孩子玩的游戏—这是可以证明他们比我们年轻的另一个证据。我们不喜欢工作，而实际上，我们很多人为此感到羞愧，想要全世界都相信我们靠着私有财产活得像纯洁无暇的百合花。

Similarly, many Americans seem, when they talk, to be two persons: one the talker, and the other the listener charmed by the quality of his discourse. There is nothing detrimental in such duplicity. Indeed, I think I have a very real envy of it. But one of the defects of the listening habit is perhaps to make them too rhetorical, too verbose. It is odd that the nation that has given us so much epigrammatic slang and the telegraph and the telephone and the typewriter should have so little of what might be called intellectual short-hand. But so it is. Too many Americans are remorseless when they are making themselves clear.

同样，很多美国人说话的时候似乎都是两个人：一个是说话人，另一个是陶醉在他精彩讲演中的听众。这种双重角色并没有什么危害。其实，我对它感到十分羡慕。但是这种听自己说话的习惯的缺点之一是可能会让讲话变得太华丽、冗长。奇怪的是这个发明了简练俚语、电报、电话、打字机的国家却很少能做到简单明了。但是事实就是如此。很多美国人为了表达清楚自己的意思就会进行无休无止的解释。

Yet the passion for printed idiomatic sententiousness and arresting trade notices is visible all the time. You see it in the newspapers and in the shops. I found a children's millinery shop in New York with this laconic indication of its scope, in permanent letters, on the plate-glass window: "Lids for Kids." A New York undertaker, I am told, has affixed to all his hearses the too legible legend: "You may linger, but I'll get you yet."

但是他们对于简洁的印刷品和醒目的商业告示的热情总是随处可见。在报纸上、商店里都能看见。我在纽约看见一家卖女童帽的商店的厚玻璃上，用擦不掉的笔写着用以说明经营范围的几个字：“童帽”。我听说一位纽约的棺材商，在所有的棺材上都贴了显眼的说明：“你也许还在徘徊，但最终还是会来光顾。”

When it comes to descriptive new words, coined rapidly to meet occasions, we English are nowhere compared with the Americans. Could there be anything better than the term "Nearbeer" to reveal at a blow the character of a substitute for ale? I take off my hat, too, to "crape-hanger," which leaves "kill-joy" far in the rear. But "optience" for a cinema audience, which sees but does not hear, though ingenious, is less admirable. Although I found the walls of business off ices in New York and elsewhere decorated with pithy counsel to callers, and discouragements to irrelevance, such as "Come to the point but don't camp on it," "To hell with yesterday," and so forth, I am very doubtful if with all these suggestions of practical address and Napoleonic efficiency the American business man is as quick and decisive as ours can be. There is more autobiography talked in American offices than in English; more getting ready to begin.

为迎合某些特定场合迅速造出某些描述性的新词，在这方面我们英国人绝不是美国人的对手。还有什么表达能比“近似啤酒”更能一下子就描述出浓啤酒替代物的特征呢。我也很赞赏“丧气”，它远远胜过“扫兴”。但是用“视众”表示电影院的观众，有一定创意但不够精彩，因为只有看而没有听的含义。

I have, however, no envy of the American man's inability to loaf and invite his soul, as his great democratic poet was able to do. I think that this unfamiliarity with armchair life is a misfortune. That article of furniture, we must suppose, is for older civilisations, where men have either, after earning the right to recline, taken their ease gracefully, or have inherited their fortune and are partial to idleness. It consorts ill with those who are still either continually and restlessly in pursuit of the dollar or are engaged in the occupation of watching dollars automatically arrive.

我发现纽约一些商业办公室的墙上有一些给访客的言简意赅的忠告和不要因为无关紧要的事情而分心的劝诫,例如“直奔目的，切莫扎营”、“让昨天见鬼去吧”等等，但我怀疑仅凭这些踏实做事和拿破仑式效率的建议，美国商人就能像英国商人一样迅速、决断。美国办公室比英国办公室更多地谈论自传，美国人更多地准备开始而非着手去做。

One of the things, I take it, for Americans to learn is how to transform money into a friend. So many men who ought to be quietly rejoicing in their riches seem still to be anxious and acquisitive; so many men who have become suddenly wealthy seem to be allowing their gains to ruin their happiness. For the nation's good nearly every one, I fancy, has too much money.

然而我并不羡慕美国人不擅游手好闲和像他们伟大的民主诗人那样款待自己的灵魂。我觉得不熟悉扶手椅的生活是一种悲哀。那件家具，我们有理由认为，是旧文明时代的产物，当时男人要么赚了足够多的钱供其享受这种闲适，要么从先辈继承的财富使其能这样悠闲自得地生活。那些不知停歇地赚钱的人或职业是看着钞票自动流入的人不愿与这样的家具相连。快乐。为了整个民族，我觉得是不是几乎每个美国人的钱还是少点为好。

My experience is that England has almost everything to learn from America in the matter of hotels. I consider American second and thirdclass hotels to be better in many ways than our best. Every American restaurant, of each grade, is better than the English equivalent; the appointments are better, the food is served with more distinction and often is better too. When it comes to coffee, there is no comparison whatever: American coffee is the best in the world. Only quite recently has the importance of the complete suite entered the intelligence of the promoters of English hotels, and in myriads of these establishments, called first class, there is still but one bathroom to twenty rooms. Heating coils and hot and cold water in the rooms are even more rare: so rare as to be mentioned in the advertisements. Telephones in the rooms are rarer. In too many hotels in England there is still no light at the head of the bed. But we have certain advantages. For example, in English restaurants there is always something on the table to eat at once—hors d'oeuvres or bread and butter. In America there is too often nothing ready but iced water—an ungenial overture to any feast—and you must wait until your order has been taken. Other travellers, even Americans, have agreed with me that it would be more comfortable if the convention which decrees that the waiter shall bring everything together could be overruled. Something "to go on with" is a great ameliorative, especially when one is hungry and tired.

在酒店经营上，我的体会是英国几乎要在各个方面都向美国学习。我觉得美国二流和三流的酒店在很多方面都胜过我们一流的酒店。每一家美国酒店都比同一级别的英国酒店好：会见环境更好，提供的食物也非常不同而且通常都比英国的更好。至于咖啡，就更是不能比了：美国的咖啡是世界一流的。直到最近英国酒店的经营者才开始明白完整套间的重要性，但是在无数这些所谓的一流套间里，还是二十个房间共用一个浴室。房间里的加热盘管、冷热水更是少见—少见到值得写入广告。房间里的电话则还要少见。英国很多酒店里仍然没有床头灯。但是我们也有一些优点，比如：英国餐厅的桌上随时都有可以马上吃的食物—开胃菜或面包加黄油。而在美国除了冰水一杯—就餐前仅此而已—什么都没有，只能坐在那里等服务生来取你的菜单。其他游客，甚至美国人也赞同，如果能打破让侍者把菜一起端上来的惯例，一定会让人觉得更加舒服。“不断上菜”会让人舒服很多，尤其是当你感到饥饿疲惫的时候。

In thus commending American hotels over English it is, however, only right to admit that the American hotels are very much more expensive.

这样评论美国酒店优于英国酒店的前提当然要承认美国酒店贵得多。

While on the subject of eating, I would say that for all their notorious freedoms Americans have a better sense of order than we. Their policemen may carry their batons drawn, and even swing them with a certain insolent defiance or even provocation, but New York goes on its way with more precision and less disturbance than London, and every one is smarter, more alert. The suggestion of a living wage for all is constant. It is indeed on this sense of orderliness that the success of certain of the American time-saving appliances is built. The Automat restaurants, for example, where the customer gets all his requirements himself, would never do in London. The idea is perfect; but it requires the co-operation of the customer, and that is what we should fail to provide. The spotless cleanliness and mechanical exactitude of these places in New York would cease in London, and gradually they would decline and then disappear. At heart, we in England dislike wellmanaged places. Nor can I see New York's public distribution of hot water adopted in London. Such little geysers as expel steam at intervals through the roadway of Fifth Avenue will never, I fear, be found in Regent Street or Piccadilly. Our communism is very patchy.

关于吃，我要说尽管美国人的自由散漫是世人皆知的，但在吃上他们比我们更讲究秩序。美国的警察也许会拔出警棍，甚至傲慢或挑衅地挥舞警棍。但是纽约还是比伦敦发展得更加规范、有序，在这里每个人也更加机智、警惕。经常能感觉出来每个人都能拿到一份维持生计的薪水。实际上这种有序性是美国一些省时设备成功运行的基础。比如，在自助餐馆里，顾客可以自取所需，但这在伦敦是无法实现的。这个完美的想法需要顾客的配合，而这正是我们无法做到的。纽约这些地方的清洁和秩序到了伦敦就会乱了套，这样它们便会逐渐衰败直至消失不见。我们英国人在内心里讨厌管理有序的地方。伦敦也没有采用纽约公共场所提供热水的方式。恐怕摄政街和皮卡迪里大道上都找不到第五大街上的这种时不时会喷出蒸汽的小间歇泉。共产主义在我们国家还不成气候。

There are some unexpected differences between America and England. It is odd, for instance, to find a nation from whom we get most of our tobacco and who have the reputation of even chewing cigars, with such strict rules against smoking. In the Music Halls, which are, as a rule, better than ours, smoking is permitted only in certain parts. Public decorum again is, I should say, more noticeable in an American than an English city, and yet both in San Francisco and New York I dined in restaurants—not late—between 7 and 8—and not furtive hole-incorner places,—where girls belonging to the establishment, wearing almost nothing at all, performed the latest dances, with extravagant and daring variations of them, among the tables. In London this kind of thing is unknown. In Paris it occurs only in the night cafes. It struck me as astonishing—and probably not at all to the good—that it should be an ordinary dinner accompaniment.

美国和英国还有很多让人意想不到的差别。比如，我们大量地从美国进口烟草，美国人咀嚼烟草也是出了名的，但是奇怪的是，他们却有很严格的禁烟制度。在音乐大厅（通常比我们的要好），只在某些区域允许吸烟。我必须要说美国的公共礼仪比英国城市做得更好，不过我在旧金山和纽约用餐的两家餐厅里—时间也不晚，七八点之间，也不是在哪个僻静的角落—都有受雇于餐厅的女孩，在餐桌间，穿着很少的衣服表演最流行的舞蹈，放纵、大胆地变换着舞姿。这样的事情在伦敦是没有的。在巴黎，也只会出现在深夜的咖啡厅里。普通餐厅竟然用这种表演作为陪席实在令我大吃一惊（当然绝不是什么好的惊异）。

I was asked while I was in America to set down some of the chief things that I missed. I might easily have begun with walking-sticks, for until I reached New York I seemed to be the only man in America who carried one, although a San Francisco friend confessed to sometimes "wearing a cane" on Sundays. I missed a Visitors' Book either at the British Embassy in Washington or at the White House. After passing through India, where one's first duty is to enter one's name in these volumes, it seemed odd that the same machinery of civility should be lacking. I missed any system of cleaning boots during the night, in the hotels; but I soon became accustomed to this, and rather enjoyed visiting the "shine parlours," in one of which was this crisp notice: "If you like our work, tell your friends; if you don't like it, tell us." I missed gum-chewing.

在美国的时候有人让我归纳一下我最怀念的事物。我很容易一开始就想到手杖，因为到达纽约后我似乎是美国唯一拿着手杖的人，尽管一个旧金山的朋友坦言他自己有时会在星期天“带上拐杖”；我怀念英国驻华盛顿大使馆或白宫的那本访客登记簿。在印度旅行时，人们每到一处的第一件事情就是要把名字填到来访登记簿里，奇怪的是这一文明程序在美国竟然没有；晚上，我怀念酒店里所有的擦鞋服务；但是我很快就适应了，也很愿意去光顾“擦鞋室”，其中有一家写着这样一则轻快的告示：“如果你满意我们的工作，请转告你的朋友；如果你不满意，请直接告诉我们”；我怀念嚼口香糖。

But it was on returning to England that I began really to take notice. Then I found myself missing America's cleanliness, America's despatch, its hotel efficiency, its lashings of cream, its ice on every hand. All this at Liverpool! I missed later the petrol fountains all about the roads, a few of which I had seen in India, at which the motorist can replenish; but these surely will not be long in coming. I don't want England to be Americanised; I don't want America to cease to be a foreign country; but there are lessons each of us can learn.

但是返回英国后，我才真正开始留意。于是我就发现自己开始怀念美国的干净，美国的迅速，它酒店的效率，它的大量奶油以及每个人手里的冰激凌。要是这些都在利物浦该多好！接下来，我又开始怀念一路上都有的汽油罐，在印度我也见过一些，汽车司机可以去那里加油；但是这些东西很快就会来到。我不希望英国美国化。我希望美国继续是一个异域国度。但是我们可以相互学习经验。

If I were an American, although I travelled abroad now and then (and I hold that it is the duty of a man to see other lands but live in his own) I should concentrate on America. It is the country of the future. I am glad I have seen it and now know something—however slight—about it at first hand. I made many friends there and amassed innumerable delightful memories. But what is the use of eight weeks? I am ashamed not to have gone there sooner, and humiliated by the brevity of my stay. I have had the opportunity only to lift a thousand curtains, get a glimpse of the entertainment on the other side and drop them again. I should like to go there every other year and have time: time to make the acquaintance of a naturalist and learn from him the names of birds and trees and flowers; time to loiter in the byways; time to penetrate into deeper strata where intimacies strike root and the real discoveries are made; time to discern beneath the surface, so hard and assured, something fey, something wistful, the sense of tears.

如果我是一个美国人，尽管也会时不时去国外旅游（我觉得去国外旅游但住在国内是一个人的职责），但会把美国作为中心。这是一个有美好将来的国家。我很高兴自己见到了它，并了解了一些—尽管很少—第一手资料。我在那里交了很多朋友，积累了无数快乐的回忆。但是八个星期能做什么？我很惭愧自己没有早点去到那里，很羞愧自己只作了如此短暂的停留。我有机会拉开千重帷幕，刚瞥见了对面表演的一角，却又放下了帷幕。我愿意每隔一年去那里一次，希望有时间结交一位博物学者，跟他讨教各种飞禽走兽、花草树木的名字；能有时间在小路上游逛；能有时间走进美国社会各阶层并广交朋友、了解实情；能有时间在那里深入实地地感受喜怒哀乐。

(1)金门公园，位于旧金山，占地1017英亩，横跨53条街，是世界最大的人工公园。

(2)布勒特·哈特(1836—1902)，美国作家、乡土派小说创始人之一。

(3)西奥多·罗斯福（1858—1919），美国第26任总统，共和党人，对内执行资源保护政策，对外执行“大棒政策”。

(4)伯克利大学，美国一所著名的公立大学，位于旧金山东湾伯克利市的山丘上。

(5)胡佛（1874—1964），美国第31任总统，共和党人。

(6)巴别，基督教《圣经》中城市名，诺亚的后代拟在此建通天塔，上帝怒其狂妄，使建塔人操不同的语言，塔因此终未建成。

(7)罗伯特·路易斯·斯蒂文森（1850—1894），英国作家，19世纪末新浪漫主义的代表，主要小说有《金银岛》、《化身博士》、《绑架》等。

(8)哈里·怀德纳（1885—1912），美国商人、藏书家，毕业于哈佛大学。

(9)彭斯（1759—1796），苏格兰诗人，主要用苏格兰方言写诗，优秀诗作有《自由树》、《一朵红红的玫瑰》等。

(10)沃尔特·司各特（1771—1832），英国苏格兰小说家、诗人，是历史小说首创者、浪漫主义运动的先驱，主要作品有长诗《湖上夫人》和历史小说《威弗利》等。

(11)埃文·科布（1876—1944），美国新闻记者、幽默作家。

(12)唐·马奎斯（1878—1937），美国记者、作家。

(13)奥利弗·赫福德（1863—1935），美国作家、艺术家、插图画家，被称作“美国的奥斯卡·王尔德”

(14)帕克，莎士比亚作品《仲夏夜之梦》中淘气的仙女。

(15)茂丘西奥，莎士比亚悲剧《罗密欧与朱丽叶》中的人物。

(16)兰姆（1775—1834），英国散文家、评论家。

(17)胡德（1799—1845），英国诗人，所写《衬衫之歌》成为社会抗议诗歌的典范，其幽默诗亦负盛名。

(18)霍贝玛（1638—1709），荷兰风景画家，一生默默无闻，直到20世纪才被公认为大画家，代表作有《密德哈尼斯林阴道》、《水车》。

(19)克劳德·莫奈（1840—1926），法国画家，印象派创始人和主要代表人物，代表作有《睡莲》、《鲁昂大教堂》、《帆船》等。

(20)乔赛亚·韦奇伍德（1730—1795），英国著名陶器工匠和制造商。

(21)乔治·英尼斯（1825—1894），19世纪美国著名风景画家。

(22)赫恩（1835—1913），美国收藏家。

(23)加尼特（1862—1946），英国女翻译家，向英美读者介绍俄罗斯文学名著。

(24)圣高登斯（1848—1907），美国雕刻家，以纪念雕像和浅浮雕造型著称。

(25)安东尼·韦恩（1745—1796），美国将领，后任陆军总司令。

(26)乔治·华盛顿（1732—1799），美国第一任总统，领导美国独立战争的大陆军总司令。

(27)安布罗斯·比尔斯（1842—1914），美国小说家、新闻工作者，专写以战争、死亡和恐怖为题材的讽刺小说。

(28)弗雷德里克·雷明顿（1861—1909），美国油画家、插图画家、雕刻家。

(29)华盛顿·欧文（1783—1859），美国作家，被称为“美国文学之父”，代表作为《见闻札记》。

(30)电影宫殿，电影院的旧称。

(31)弗兰克·廷尼（1878—1940），美国喜剧演员。

(32)诺玛·塔尔梅奇（1893—1957），无声电影时期著名的美国演员、电影制片人。

(33)基尔顿（1871—1940），英国著名野生摄影家。

(34)庞廷（1870—1935），英国摄影家。

(35)拉瓦特尔（1741—1801），瑞士神学家、诗人、相面术创立者。

(36)伍德罗·威尔逊（1856—1924），美国第28任总统，民主党人，领导美国参加第一次世界大战。

(37)鲁思（1895—1948），美国职业棒球运动员，绰号"Babe"，首批入选美国棒球荣誉厅的五人之一。

(38)《疲惫的商人》，1927年由罗伯特·麦高恩导演的无声喜剧短片。

(39)约翰·麦格劳（1873—1934），美国职业棒球运动员。

(40)圣约翰教堂，坐落在曼哈顿阿姆斯特丹大道，是1892年花1500万美元兴建的世界最大的哥特式教堂。

(41)伍尔沃斯大楼，位于纽约市的一栋摩天大楼，属于新哥特式的建筑。

(42)卡斯·吉尔伯特（1859—1934），美国著名建筑师，伍尔沃斯摩天大楼的设计者。

(43)伦道夫·考尔德科特（1846—1886），英国艺术家、插图画家。

(44)凯特·格里纳韦（1846—1901），英国儿童插图画家、作家。

(45)济慈（1795—1821），英国诗人，19世纪早期英国浪漫主义运动代表诗人之一。

(46)雪莱（1792—1822），英国浪漫主义诗人，赞颂革命，抨击封建统治和传统。

(47)狄更斯（1812—1870），英国维多利亚时期著名的小说家。

(48)蒂芙尼公司，是一间美国珠宝和银饰公司，1837年由查尔斯·蒂芙尼和约翰·B·杨在纽约市创立，商店设在下曼哈顿区，是一间专门销售时尚商品的精品店。

(49)伦勃朗（1606—1669），欧洲17世纪的伟大画家。

(50)马奈（1832—1883），法国写实派与印象派画家。

(51)弗美尔（1632—1675），荷兰风俗画家，亦作肖像画和风景画。

(52)柯罗（1796—1875），法国画家，使法国风景画从传统的历史风景画过渡到现实主义风景画的代表人物。

(53)埃尔·格列柯（1541—1614），西班牙文艺复兴时期著名的幻想主义风格作家。

(54)多那太罗（1386—1466），意大利文艺复兴时期佛罗伦斯著名雕刻家。

(55)透纳（1775—1851），英国浪漫主义风景画家，著名的水彩画家和版画家。

(56)白色大道，百老汇，原名白色大道。

(57)伯爵宫，位于西伦敦的一个展览中心和娱乐场馆。

(58)奥林匹亚，位于伦敦的一个展览中心。

(59)布莱克浦，又名黑潭，位于英格兰西北部，是著名的现代休闲度假地。

(60)汉普特西斯公园，伦敦最大的一片古老绿地，占地面积约790英亩。

(61)越野障碍赛马乐园，纽约布鲁克林区科尼岛上1897年至1964年的一个娱乐公园。

(62)讷伊，法国巴黎西北郊的市镇。

(63)沃尔特·梅森（1867—1925），美国编辑、作家。

(64)唐·马奎斯（1878—1937），美国记者、作家。

(65)富兰克林·P.亚当斯（1881—1960），美国专栏作家。

(66)克里斯托弗·莫利（1890—1957），美国记者、小说家、散文家、诗人。

(67)美式蒲式耳比英式蒲式尔少3%。

(68)巴德·费希尔（1885—1954），美国漫画家。

(69)马修·阿诺德（1822—1888），英国维多利亚时代的诗人和评论家。

(70)马昆德（1819—1902），美国慈善家、收藏家。

(72)佛兰斯·哈尔斯（1580—1666），荷兰肖像画家和风俗画家。

(71)高庚（1848—1903），法国后期印象派画家，醉心于“原始主义”。

(73)贝利尼（1430—1516），意大利文艺复兴时期画家。

(74)摩根（1837—1913），美国金融家、银行家、艺术收藏家。

(75)奥尔特曼（1840—1913），美国商人、艺术收藏家。

(76)卡利斯提尼斯（公元前360—前328），希腊史学家，曾以史官身份追随亚历山大远征亚洲。

(77)亨廷顿（1850—1927），美国铁路大亨、商界领袖。

(78)弥尔顿（1608—1674），英国诗人，对18世纪诗人产生了深刻影响。

(79)杜莫里埃（1907—1989），英国作家、剧作家。

(80)培根（1561—1626），英国散文作家、哲学家、政治家。

(81)《道林·格雷》，即《道林·格雷的肖像》，由英国作家奥斯卡·王尔德创作，是极少数唯美主义小说之一。

(82)海涅（1797—1856），19世纪最重要的德国诗人。

(83)托马斯·卡莱尔（1795—1881），苏格兰散文作家和历史学家。

(84)拜伦（1788—1824），英国诗人、作家。

(85)约翰逊（1709—1784），英国文学评论家、诗人、散文家、传记家。

(86)富兰克林（1706—1790），美国著名政治家、科学家，同时亦是出版商、印刷商、记者、作家、慈善家。

(87)爱伦·坡（1809—1849），美国著名诗人、短篇小说作家、编辑和文学评论家，现代侦探小说的创始人。

(88)霍桑（1804—1864），美国小说家，其作品开创了美国象征小说的传统。

(89)爱默生（1803—1882），美国思想家、文学家，美国超验主义的代表。

(90)梭罗（1817—1862)，美国作家、哲学家，超验主义的代表人物，主张回归自然。

(91)洛威尔（1855—1916），美国天文学家、商人、作家和数学家。

(92)霍姆斯（1809—1894），美国医师，幽默作家，以《早餐桌上》闻名。

(93)惠特曼（1819—1892），美国著名诗人、人文主义者。

(94)《早餐桌上》，霍姆斯的散文集。

(95)鸽舍，威廉·华兹华斯故居。

(96)斯特拉特福，英国英格兰沃里克郡艾冯河畔斯特拉特福区的一个小镇，著名剧作家莎士比亚的故乡。

(97)约拿，《圣经·旧约》中的先知，乘船逃避上帝指派的任务，结果在海上遭遇风暴，被船上的水手们抛进海里。

(98)萨金特（1856—1925），美国画家，长期侨居伦敦，以肖像画著称，后致力于壁画和水彩画。

(99)温斯洛·霍默（1836—1910），美国画家，画工出身，以表现海景著称。

(100)W.M.蔡斯（1849—1916），美国印象派画家。

(101)亚瑟·B·戴维斯（1863—1928），美国画家，把欧洲现代派绘画介绍到美国。

(102)斯温·吉福德（1840—1905），美国风景画家。

(103)J.W.亚历山大（1856—1915），美国肖像画家、人物画家和插图画家。

(104)乔治·英尼斯（1825—1894），美国风景画家，善于描绘秋景。

(105)福里斯特·布拉什（1855—1941），美国人物画家、肖像画家。

(106)爱泼斯坦（1880—1959），出生于美国的英国肖像雕刻家。

(107)彭内尔（1857—1926），美国画家，擅长铜版画、石版画和书籍插画。

(108)E.A.艾比（1852—1911），美国插图画家，后定居英国。

(109)G.H.鲍顿（1834—1905），出生于英国的美国画家。

(110)惠斯勒（1834—1903），美国画家，长期侨居英国。

(111)马克·费希尔（1841—1923），美国画家。

(112)J.J.香农（1862—1923），美国艺术家，以肖像画著称。

(113)J.麦克卢尔·汉密尔顿（1853—1936），英美艺术家，以肖像画、人物画和插画著称。

(114)G.韦瑟比（1851—1920），著名画家，出生于美国，一生绝大部分居住在英国。

(115)吉尔伯特·斯图亚特（1755—1828），美国画家，开创美国独特肖像画风格。

(116)萨姆·沃尔特·福斯（1858—1911），美国图书管理员、诗人。

(117)威廉·佩恩（1644—1718），英国基督教新教贵格会领袖。

(118)A.爱德华·牛顿（1863—1940），美国作家、出版商、藏书家。

(119)柯蒂斯大厦，美国著名出版社之一柯蒂斯出版公司的总部所在。

(120)贵格会，基督教新教的一个派别，因一名早期领袖的号诫“听到上帝的话而发抖”而得名“贵格”，字面意思为“震颤者”。

(121)波塞冬，希腊神话中的海神，亦被称为大地的震撼者。

(122)吉拉德学院，美国费城的一家私立慈善学校。

(123)斯蒂芬·吉拉德（1750—1831），美国慈善家、银行家。

(124)圣经第十戒律为：不可贪恋人的房屋；也不可贪恋人的妻子、仆婢、牛驴、并其他一切所有的。