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The_Monster课文翻译

The_Monster课文翻译
The_Monster课文翻译

Deems Taylor: The Monster

怪才他身材矮小,头却很大,与他的身材很不相称——是个满脸病容的矮子。他神经兮兮,有皮肤病,贴身穿比丝绸粗糙一点的任何衣服都会使他痛苦不堪。而且他还是个夸大妄想狂。他是个极其自负的怪人。除非事情与自己有关,否则他从来不屑对世界或世人瞧上一眼。对他来说,他不仅是世界上最重要的人物,而且在他眼里,他是惟一活在世界上的人。他认为自己是世界上最伟大的戏剧家之一、最伟大的思想家之一、最伟大的作曲家之一。听听他的谈话,仿佛他就是集莎士比亚、贝多芬、柏拉图三人于一身。想要听到他的高论十分容易,他是世上最能使人筋疲力竭的健谈者之一。同他度过一个夜晚,就是听他一个人滔滔不绝地说上一晚。有时,他才华横溢;有时,他又令人极其厌烦。但无论是妙趣横生还是枯燥无味,他的谈话只有一个主题:他自己,他自己的所思所为。他狂妄地认为自己总是正确的。任何人在最无足轻重的问题上露出丝毫的异议,都会激得他的强烈谴责。他可能会一连好几个小时滔滔不绝,千方百计地证明自己如何如何正确。有了这种使人耗尽心力的雄辩本事,听者最后都被他弄得头昏脑涨,耳朵发聋,为了图个清静,只好同意他的说法。他从来不会觉得,对于跟他接触的人来说,他和他的所作所为并不是使人产生强烈兴趣而为之倾倒的事情。他几乎对世间的任何领域都有自己的理

论,包括素食主义、戏剧、政治以及音乐。为了证实这些理论,他写小册子、写信、写书……文字成千上万,连篇累牍。他不仅写了,还出版了这些东西——所需费用通常由别人支付——而他会坐下来大声读给朋友和家人听,一读就是好几个小时。他写歌剧,但往往是刚有个故事梗概,他就邀请——或者更确切说是召集——一群朋友到家里,高声念给大家听。不是为了获得批评,而是为了获得称赞。整部剧的歌词写好后,朋友们还得再去听他高声朗读全剧。然后他就拿去发表,有时几年后才为歌词谱曲。他也像作曲家一样弹钢琴,但要多糟有多糟。然而,他却要坐在钢琴前,面对包括他那个时代最杰出的钢琴家在内的聚会人群,一小时接一小时地给他们演奏,不用说,都是他自己的作品。他有一副作曲家的嗓子,但他会把著名的歌唱家请到自己家里,为他们演唱自己的作品,还要扮演剧中所有的角色。他的情绪犹如六岁儿童,极易波动。心情不好时,他要么用力跺脚,口出狂言,要么陷入极度的忧郁,阴沉地说要去东方当和尚,了此残生。十分钟后,假如有什么事情使他高兴了,他就会冲出门去,绕着花园跑个不停,或者在沙发上跳上跳下或拿大顶。他会因爱犬死了而极度悲痛,也会残忍无情到使罗马皇帝也不寒而栗。他几乎没有丝毫责任感。他似乎不仅没有养活自己的能力,也从没想到过有这个义务。他深信这个世界应该给他一条活路。为了支持这一信念,他

向一切借得着钱的人借债——不管是男是女,也不管是朋友还是陌路人。求助信他一写就是二十封——有时卑躬屈膝,不顾羞耻,有时又趾高气扬地授予他预期的资助人资助他的殊荣,要是对方谢绝这一荣誉,他会气得要死。我还没见到如果债主不告上法庭他会主动付帐或还钱的记录。只要他能弄到钱,他花起来总是像个印度王公。只要他的某部歌剧一有上演的可能,他便会马上肆意花钱,迅速积欠一笔十倍于预期所得版税的债务。没有人搞得清楚——他自己肯定也不清楚——他欠了多少钱。但我们确实知道,他的一位最慷慨的资助人曾给他六千美元偿还他在某市最急迫的债务;一年之后,不得不再给他一万六千美元,使他得以在另一城市安身,而不致因欠债去坐牢。他在其他方面也是放荡不羁。无数个女人曾进入过他的生活。他的发妻与他一起生活了二十年,是在不停地忍受和原谅他的不忠中度过的。他的第二个妻子本是最崇拜他、对他最忠实的朋友的妻子,他从好友手中夺走了她。他甚至在劝说她离开第一个丈夫之际,还同时写信给一个朋友,询问能否给他介绍个阔妇人——有钱就行——他可以为了金钱跟她结婚。

他在其他私人交往中也极端自私。他对朋友有无好感,完全取决于他们对他是否绝对忠诚,抑或他们在经济上或艺术上对他是否有用。一旦他们使他失望——即使是拒绝赴宴之类的小事——或者他们对他不再那么有用,他就会毫不犹豫

地与他们断绝来往。在他生命的最后日子里,他只剩下了一个朋友,就连这个朋友也还是他在中年时才认识的。这位怪才的名字叫理查德·瓦格纳。我所谈到的关于他的一切情况都有记录可查——包括报纸、警方报告、认识他的人的证词、他本人的信件以及他的自传。但令人奇怪的是,这种记录对他的名望丝毫无损。因为,这个身材矮小、满脸病容、脾气古怪、令人着迷的小个子自始至终都是对的。该受嘲笑的是我们。他是全世界最伟大的剧作家之一,一位伟大的思想家,是迄今为止全世界最了不起的音乐天才之一。这个世界确实应该养活他。当你掂量他的作品时——十三部歌剧和音乐剧,其中十一部仍然长演不衰,八部当之无愧地位于世界音乐剧伟大名作之列——当你聆听他的作品时,他欠债不还也好,伤透人心也罢,这些代价似乎都不算什么。想一想命运至少曾一度赐给拿破仑,那个断送法国、洗劫欧洲的人何种的奢华吧。相比之下,你也许会同意,用几千元的债务来换得《指环》三部曲并不太贵。即使他不忠于朋友和妻子,又有什么关系呢?他有一位他至死都忠贞不渝的情侣:音乐。他一刻也没有动摇过自己的信念和憧憬。他的作品中没有一行乐谱是平庸之辈构想得出的。即使他有枯燥乏味或极其糟糕的作品,其乏味中仍可见伟大之处。他最糟的败笔中也有不凡之处。人们聆听他的乐曲时,并不因他也许曾是或不是什么样的人而宽恕他。这不是宽恕不宽恕的问

题。这是件令人惊讶得目瞪口呆的事情——他体内无限的创造力,像魔鬼般拼命挣扎、又挖又挠试图冲出体外;这恶魔撕扯着他,冲他狂叫,要他谱写出藏于体内的乐曲。遭受如此痛苦的折磨,他那可怜的脑袋和身躯竟没有被压垮,这岂不是人间奇迹?而真正的奇迹在于,短短七十年,他居然完成了那么多的工作,即使是一个伟大的天才,也难以做到。因此他没有时间过常人的生活,这又有什么好奇怪的呢?

最新The_Monster课文翻译

Deems Taylor: The Monster 怪才他身材矮小,头却很大,与他的身材很不相称——是个满脸病容的矮子。他神经兮兮,有皮肤病,贴身穿比丝绸粗糙一点的任何衣服都会使他痛苦不堪。而且他还是个夸大妄想狂。他是个极其自负的怪人。除非事情与自己有关,否则他从来不屑对世界或世人瞧上一眼。对他来说,他不仅是世界上最重要的人物,而且在他眼里,他是惟一活在世界上的人。他认为自己是世界上最伟大的戏剧家之一、最伟大的思想家之一、最伟大的作曲家之一。听听他的谈话,仿佛他就是集莎士比亚、贝多芬、柏拉图三人于一身。想要听到他的高论十分容易,他是世上最能使人筋疲力竭的健谈者之一。同他度过一个夜晚,就是听他一个人滔滔不绝地说上一晚。有时,他才华横溢;有时,他又令人极其厌烦。但无论是妙趣横生还是枯燥无味,他的谈话只有一个主题:他自己,他自己的所思所为。他狂妄地认为自己总是正确的。任何人在最无足轻重的问题上露出丝毫的异议,都会激得他的强烈谴责。他可能会一连好几个小时滔滔不绝,千方百计地证明自己如何如何正确。有了这种使人耗尽心力的雄辩本事,听者最后都被他弄得头昏脑涨,耳朵发聋,为了图个清静,只好同意他的说法。他从来不会觉得,对于跟他接触的人来说,他和他的所作所为并不是使人产生强烈兴趣而为之倾倒的事情。他几乎对世间的任何领域都有自己的理

论,包括素食主义、戏剧、政治以及音乐。为了证实这些理论,他写小册子、写信、写书……文字成千上万,连篇累牍。他不仅写了,还出版了这些东西——所需费用通常由别人支付——而他会坐下来大声读给朋友和家人听,一读就是好几个小时。他写歌剧,但往往是刚有个故事梗概,他就邀请——或者更确切说是召集——一群朋友到家里,高声念给大家听。不是为了获得批评,而是为了获得称赞。整部剧的歌词写好后,朋友们还得再去听他高声朗读全剧。然后他就拿去发表,有时几年后才为歌词谱曲。他也像作曲家一样弹钢琴,但要多糟有多糟。然而,他却要坐在钢琴前,面对包括他那个时代最杰出的钢琴家在内的聚会人群,一小时接一小时地给他们演奏,不用说,都是他自己的作品。他有一副作曲家的嗓子,但他会把著名的歌唱家请到自己家里,为他们演唱自己的作品,还要扮演剧中所有的角色。他的情绪犹如六岁儿童,极易波动。心情不好时,他要么用力跺脚,口出狂言,要么陷入极度的忧郁,阴沉地说要去东方当和尚,了此残生。十分钟后,假如有什么事情使他高兴了,他就会冲出门去,绕着花园跑个不停,或者在沙发上跳上跳下或拿大顶。他会因爱犬死了而极度悲痛,也会残忍无情到使罗马皇帝也不寒而栗。他几乎没有丝毫责任感。他似乎不仅没有养活自己的能力,也从没想到过有这个义务。他深信这个世界应该给他一条活路。为了支持这一信念,他

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M1U2Home alone Act One Mom and Dad arrive back from vacation a day earlier than expected. The curtains are closed and the living room is dark when Mom and Dad enter. Dad: It’s so nice to be home! Mom: Yes, I can’t wait to surprise the boys! Suddenly the door opens and a soccer ball flies through the room. Eric runs in after it, followed by a big dog, walking very slowly. Eric: Mom! Dad! You’re back early! (looking around room, sounding frightened) But, but … you weren’t supposed to come home until tomorrow! The dog slowly walks to Mom and Dad. Mom: (bending to touch dog) Eric, he’s so tired and hungry! (looking at table) The money for dog food is gone, but Spot looks like he is starving! What did you do with the cash we left? Dad: And look at this room—garbage all over the place! Where is your brother? (shouting angrily) Daniel! Daniel: (running into room) Mom, Dad, I can explain … Dad opens the curtains and light comes into the room. The room is in a mess, with pizza boxes on the floor and dirty dishes in the sink. In the corner, there is a garbage can around which are pieces of garbage and waste paper. Mom and Dad both turn towards Daniel. Dad: (sounding very angry) Listen to me, young man—we left you in charge! We thought you could act like an adult, but look at the mess! I don’t know why the house is so dirty ... Mom: Daniel, we thought you were an adult, a person who would make good decisions ... Dad: How can we trust you any mo re? We won’t tolerate such behavior in our house! Daniel: (shouting) Stop shouting at me. I’m still a teenager! Why is everything always my fault? Daniel runs into his bedroom and shuts the door angrily. Mom and Dad look at each other as lights go out. End of Act One Act Two, Scene One Daniel and Eric’s bedroom. Eric sits on his bed. Daniel has his arms crossed and looks upset. Daniel: They never even gave me a chance to defend myself. I hate them! Eric: You don’t h ate them. I can tell them we had an emergency. Then they won’t be mad any more. Daniel: No, don’t tell them anything. Anyhow, they didn’t trust me. They don’t deserve an explanation. Let them think what they want. Eric: But Daniel, if they knew that Spot was sick and we used the money to take him to the clinic ... Daniel: And that we spent all of yesterday waiting there for him, and that is why we had no time to clean the house ... but no, Eric, why didn’t they ask me what happened instead of shouting at me? Act Two, Scene Two

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