英文名称：Vincent Van Gogh：Painted with Words
年代：2010
推荐：千部英美剧台词本阅读
| 时间 | 英文 | 中文 |
|---|---|---|
| [00:03] | The myth of Vincent van Gogh, the mad artist | 文森特·梵高 疯狂的艺术家 围绕他的谜团 |
| [00:07] | has captivated us for over a century now. | 在过去的一个世纪里让我们如痴如醉 |
| [00:10] | Ignored during his lifetime, | 他生前不被看重 |
| [00:11] | after his death, his paintings finally surfaced, | 死后 他的画作却终于受人赏识 |
| [00:13] | 艾伦·闫陶博 | |
| [00:15] | or rather exploded, | 或者说引发轰动 |
| [00:17] | capturing the world in vibrant, vivid colours. | 那明亮的 鲜活的色彩吸引了世界的目光 |
| [00:21] | Today, they are among the most recognisable | 今天 这些画都在世界上最为人熟知的 |
| [00:24] | and valuable works of art in the world. | 最有价值的艺术作品之列 |
| [00:28] | My brush goes between my fingers | 我的画笔在我指尖游走 |
| [00:30] | as if it were the bow on a violin, | 仿佛飞舞在小提琴上的琴弓 |
| [00:31] | and absolutely for my pleasure. | 完全随我的心意舞动 |
| [00:37] | When we think of van Gogh, we see him as a strange, mad genius | 说起梵高 我们把他当做是怪异的疯狂的天才 |
| [00:42] | who somehow, through sheer instinct, found a way of | 他完全靠直觉 找到了一种方式 |
| [00:45] | pouring out the blaze of his inner feelings onto canvas. | 把他内心的情感爆发挥洒在画布上 |
| [00:51] | Let me quietly continue my work. | 让我安静地继续作画吧 |
| [00:54] | If it’s that or the madman, well, then too bad. | 如果不能作画我就要疯掉 那也没办法 |
| [00:58] | And then I can’t do anything about it. | 那我也无计可施 |
| [01:00] | But his work has often been eclipsed by his reputation as a madman. | 但他的画作却常因为他的疯狂而失色 |
| [01:06] | Vincent and I can absolutely not live side by side without trouble. | 我和文森特绝对不能和平地共处一室 |
| [01:12] | There’s simply no changing the fact that he’s eccentric. | 他这人很古怪 这是无法改变的事实 |
| [01:19] | It is an incredible story, | 他的人生是不可思议的故事 |
| [01:21] | but the true story of Vincent van Gogh | 但文森特·梵高真正的故事 |
| [01:24] | is here in the letters he left behind. | 却在他留下的这些信件中 |
| [01:34] | 文森特·梵高 | |
| [01:39] | 画语人生 | |
| [01:44] | Nothing can be said about van Gogh that he didn’t say himself. | 有关梵高的一切他自己都已有自述 |
| [01:45] | 阿姆斯特丹 梵高博物馆 | |
| [01:48] | There are 902 letters here, | 这里陈列了902封信 |
| [01:50] | the vast majority written to his younger brother Theo, | 其中大多是写给他弟弟提奥的 |
| [01:54] | who became his confidant and his lifeline. | 他既是他的知己 更维系了他的生命 |
| [01:58] | This is Vincent thinking aloud, | 这是文森特思考的声音 |
| [02:00] | taking us through his life step by step, | 带领我们一步步走过他的人生 |
| [02:03] | documenting his struggles as an artist and as a man. | 记录下他作为一名艺术家和一个人的挣扎 |
| [02:08] | It’s from these letters that this film is made. | 这部电影是基于这些书信 |
| [02:12] | Using only van Gogh’s words and those of the people around him. | 只用了梵高本人和他身边人的叙述 |
| [02:16] | Nothing is imagined. | 没有丝毫臆测 |
| [02:18] | Every word spoken is true. | 每一句话都是真实的 |
| [02:24] | 法国 阿尔勒 | |
| [02:29] | On the night of December the 23rd, 1888, | 1888年12月23日晚 |
| [02:33] | Vincent van Gogh suffered an acute mental breakdown | 文森特·梵高突发急性精神崩溃 |
| 本电影台词包含不重复单词：1855个。 其中的生词包含：四级词汇：474个，六级词汇：228个，GRE词汇：244个，托福词汇：346个，考研词汇：503个，专四词汇：402个，专八词汇：94个， 所有生词标注共：852个。 定制生词标注的台词本和单词统计，请访问生词标注台词本 | ||
| [02:36] | and cut off part of his left ear, | 割下自己耳朵的一部分 |
| [02:39] | which he presented to a prostitute in his favourite brothel. | 并送给了他常光顾的妓院的一位妓女 |
| [02:44] | The police discovered him lying in a pool of blood in his bedroom | 警察在他的卧室里找到倒在血泊中的他 |
| [02:48] | and committed him here, to the local hospital in Arles, | 随后把他送进了这里 阿尔勒本地的医院 |
| [02:51] | where he was placed in an isolation cell. | 他被关进了隔离病房 |
| [02:55] | This is van Gogh’s story in his own words. | 这是由梵高自己叙述的生平 |
| [03:05] | 1888年12月23日 | |
| [03:08] | My dear Theo, | 我亲爱的提奥 |
| [03:11] | where can I go that’s worse than where I’ve already been? | 我的处境还能比现在更差吗 |
| [03:16] | Shut up for long days under lock and key and in the isolation cell. | 终日被锁在这个隔离病房里 |
| [03:21] | I still have a certain “What’s the good of getting better?” feeling. | 我还是有种”治好了又有什么用”的感觉 |
| [03:25] | However the unbearable… | 不过那难以忍受的 |
| [03:28] | unbearable hallucinations have stopped. | 难以忍受的幻觉已经停止了 |
| [03:34] | Reducing themselves to simple nightmares. | 只剩下普通的梦魇 |
| [03:41] | Physically, I am well, | 我的身体已经好了 |
| [03:43] | the wound is closing very well | 伤口愈合得很好 |
| [03:45] | and the great loss of blood is balancing out. | 大量的失血也补充回来了 |
| [03:51] | The most fearsome thing | 但最可怕的 |
| [03:53] | is the insomnia. | 是失眠 |
| [04:00] | I feel weak, | 我觉得很虚弱 |
| [04:02] | a little anxious | 有些焦躁 |
| [04:05] | and fearful. | 还很害怕 |
| [04:08] | My dear brother, | 我亲爱的哥哥 |
| [04:11] | it breaks my heart to know that | 听闻你的不幸遭遇 |
| [04:13] | now you will actually have very bad days. | 令我伤心不已 |
| [04:19] | I do so wish that you could tell me how you feel. | 我殷切希望你能把你的感受告诉我 |
| [04:24] | For nothing is as distressing as uncertainty. | 不知你情况如何让我十分苦恼 |
| [04:30] | I remain your brother who loves you. | 依然爱你的弟弟 |
| [04:32] | Theo | 提奥 |
| [04:35] | A certain number of people from here | 这里的一些人 |
| [04:36] | have addressed a petition to the mayor | 给市长写了一封请愿书 |
| [04:39] | designating me as a man not fit for living at liberty. | 说我是不适合自由生活的人 |
| [04:46] | As the managing agent of the house | 我是文森特·梵高先生 |
| [04:49] | occupied by Mr Vincent van Gogh, | 寓所的代管人 |
| [04:50] | 伯纳德·苏尔 房东 | |
| [04:51] | I had occasion to speak with him yesterday | 昨天我有机会同他交谈 |
| [04:54] | and to observe that he is suffering from mental disturbance. | 并发现他患有精神障碍 |
| [04:58] | He insults my customers, | 他侮辱我的客人 |
| [04:59] | 玛格丽特·柯莱芙琳 菜贩 | |
| [05:00] | and is prone to interfering with women from the neighbourhood, | 还总是去骚扰邻里的女人 |
| [05:04] | whom he follows into their residences. | 还尾随她们回家 |
| [05:06] | I was seized round the waist | 我在柯莱芙琳太太店外 |
| [05:07] | 珍妮·库伦 邻居 | |
| [05:08] | outside Mrs Crevlin’s shop by this individual. | 被这人拦腰抱住 |
| [05:11] | In short, this madman is becoming a threat to public safety, | 简而言之 这个疯子已经危及公共安全 |
| [05:14] | and everyone is demanding | 大家都要求 |
| [05:16] | that he be confined to a special establishment. | 他被关进特别机构去 |
| [05:23] | And this is the petition, | 这就是那份请愿书 |
| [05:25] | filed in the police records in Arles, | 在阿尔勒的警方记录里存档 |
| [05:27] | and signed by 30 of his neighbours. | 他的三十位邻居签了字 |
| [05:32] | The chief of police then gave the order to have me locked up. | 于是警察局长下令把我关起来 |
| [05:36] | I won’t hide from you | 我不瞒你说 |
| [05:37] | that I would prefer to die than cause and bear so much trouble. | 我宁愿死也不想引起 遭受这么多麻烦 |
| [05:42] | To suffer without complaining is | 默默承受 |
| [05:43] | the only lesson that has to be learned in this life. | 是人生唯一必须懂得的道理 |
| [06:05] | Vincent’s childhood was the | 文森特的童年时期 |
| [06:07] | product of a strict Calvinist upbringing. | 父母严格按照加尔文主义教导他 |
| [06:10] | His father was a minister in the Dutch Reform Church, | 他父亲是荷兰改革教堂的牧师 |
| [06:13] | and he was brought up in Zundert, a small town in the Netherlands. | 他在荷兰的一个小镇 赞德特长大 |
| [06:21] | He was sent away to boarding school, | 随后他被送去寄宿学校 |
| [06:24] | where he was taught the rudiments of drawing, | 并在那里学习了绘画的基础 |
| [06:26] | and excelled in foreign languages. | 并且在外语方面非常突出 |
| [06:29] | He left at the age of 16, | 他十六岁离开学校 |
| [06:31] | when he started an apprenticeship with | 开始在国际艺术品交易公司 |
| [06:33] | the international art dealers, Goupil. | 古比尔做学徒 |
| [06:37] | Three years later, Theo followed in his footsteps. | 三年后 提奥也紧随他的脚步 |
| [06:42] | This is when the letters begin. | 他们的通信就是从这时开始 |
| [06:44] | Vincent was 19 years old, | 文森特当时十九岁 |
| [06:47] | and Theo just 15. | 而提奥只有十五岁 |
| [06:51] | My dear Theo, | 我亲爱的提奥 |
| [06:53] | 1872年12月13日 | |
| [06:53] | I’m so glad that both of us | 我们现在是同行 |
| [06:55] | are now in the same line of business | 又在一家公司 |
| [06:57] | and in the same firm. | 这让我非常高兴 |
| [06:58] | We must correspond often. | 我们一定要经常通信 |
| [07:04] | The love between two brothers is a great support in life, | 两兄弟之间的情谊是人生的一大支柱 |
| [07:08] | that’s an age-old truth. | 这是亘古不变的真理 |
| [07:10] | Let the fire of love between us not be extinguished, | 让我们之间的友爱之火不熄 |
| [07:14] | but let instead the experience of life make that bond even stronger, | 而让人生的历练更加增进这份感情 |
| [07:18] | let us remain upright | 让我们对彼此 |
| [07:20] | and candid with each other. | 保持开诚布公的态度 |
| [07:25] | Let there be no secrets, | 让我们之间没有秘密 |
| [07:28] | as things stand today. | 就像我们现在这样 |
| [07:34] | In May 1873, | 1873年5月 |
| [07:36] | Vincent was transferred to Goupil’s London office in Covent Garden. | 文森特被调去位于科芬园的古比尔伦敦分部 |
| [07:43] | He moved to Brixton – | 他搬进了布里克斯顿 |
| [07:44] | then a prosperous, middle-class neighbourhood. | 那时一个兴旺的中产阶级社区 |
| [07:48] | I crossed Westminster Bridge every morning and evening | 我每天早晚都会走过威斯敏斯特大桥 |
| [07:51] | and know what it looks like when the sun’s setting behind | 熟悉它在日落时分 太阳躲到 |
| [07:53] | Westminster Abbey and the Houses of Parliament. | 威斯敏斯特教堂和议会大厦后面时的样子 |
| [07:57] | His apprenticeship at Goupil | 古比尔的学徒生涯 |
| [07:59] | was beginning to train his eye in art, | 开始锻炼出他对艺术品的鉴赏力 |
| [08:01] | and his enthusiasm extended beyond office hours. | 他的热情延续到办公时间之外 |
| [08:05] | We know that because this visitors’ book at the British Museum | 我们从这本大英博物馆的访客登记薄上可得知 |
| [08:08] | shows that on August 28th 1874, | 1874年8月28日 |
| [08:12] | van Gogh was the fourth visitor of the day, | 梵高是当天的第四位访客 |
| [08:15] | and he came to see this drawing attributed to Rembrandt. | 而他是来看这幅伦勃朗的画作的 |
| [08:15] | 译注: 荷兰画家 蚀刻师 | |
| [08:22] | The figure of our lord, noble and impressive, | 吾主的身形崇高而突出 |
| [08:24] | stands out gravely against the window. | 在窗户的映衬下显得庄严肃穆 |
| [08:26] | 《基督对话玛丽和玛莎》 | |
| [08:28] | I hope not to forget that drawing, | 我希望我不会忘记这幅画 |
| [08:30] | nor what it seems to be saying to me. | 还有它向我传达的信息 |
| [08:35] | Vincent became an ardent visitor to | 文森特成了伦敦各大博物馆 |
| [08:37] | London’s great museums and galleries. | 和画廊热忱的常客 |
| [08:40] | And he shared with Theo his | 他还与提奥分享了 |
| [08:42] | growing enthusiasm for the art and literature | 他对艺术与文学日益高涨的热情 |
| [08:43] | 约翰·康士坦堡《福莱特福德磨坊》 | |
| [08:45] | he was becoming increasingly attached to. | 他对他们的喜爱越来越强烈了 |
| [08:47] | English art didn’t appeal to me much at first, | 我一开始并不喜欢英国艺术 |
| [08:48] | 托马斯·庚斯博罗 《乔温娜·巴西利》 | |
| [08:50] | one has to get used to it. | 要慢慢适应她的风格 |
| [08:53] | 约翰·艾佛雷特·米莱《奥菲莉娅》 | |
| [08:53] | But there are some good artists here. | 但这里也有一些优秀的艺术家 |
| [08:55] | Millais, who painted | 比如米莱 他画的 |
| [08:57] | Huguenot and Ophelia – they’re very beautiful. | 《胡格诺派教徒》和《奥菲莉娅》就非常美 |
| [09:01] | And then there’s Turner, | 还有特纳 |
| [09:03] | after whom you’ll probably have seen engravings. | 你大概见过他的雕刻品 |
| [09:10] | “Where are the songs of spring? Aye, where are they? | “啊 春日的歌哪里去了” |
| [09:10] | 译注: 济慈 《秋颂》 查良铮译 | |
| [09:15] | Think not of them, thou hast thy music too, | “但不要想这些吧 你也有你的音乐” |
| [09:16] | 约瑟夫·马洛德·威廉·特纳 《佩特沃斯湖落日》 | |
| [09:19] | While barred clouds bloom the soft-dying day. | “当波状的云把将逝的一天映照” |
| [09:22] | And touch the stubble-plains with rosy hue.” | “以胭红抹上残梗散碎的田野” |
| [09:27] | The last few days I’ve enjoyed reading the poems of John Keats. | 过去的几天里我一直在欣赏约翰·济慈的诗 |
| [09:31] | He’s a poet who isn’t very well known in Holland, I believe, but | 我想他在荷兰并不是位非常出名的诗人 |
| [09:35] | he’s a favourite of the painters here, which is | 但他是这里画家的最爱 |
| [09:37] | how I came to be reading him. | 我也因此才会拜读他的作品 |
| [09:42] | Vincent developed a passion for English popular art, | 文森特喜欢上了英国流行艺术 |
| [09:45] | as seen in the black and white prints | 就是能在《图报》 |
| [09:47] | in The Graphic and Illustrated London News, | 和《伦敦画报》上看到的那种黑白印刷画 |
| [09:51] | eventually collecting a thousand of them. | 他最终收集了上千幅 |
| [09:55] | In my view, | 在我看来 |
| [09:55] | prints like these together form a kind of Bible for an artist, | 这样的画放在一起 就成了艺术家的圣经 |
| [10:00] | in which he reads now and again to get into a mood. | 不时地读一读 可以进入一种状态 |
| [10:04] | It’s good not only to know them | 不仅要熟悉他们 |
| [10:05] | but to have them in the studio once and for all. | 更把他们永远存放在画室里会益处良多 |
| [10:09] | For me, the English draughtsmen | 英国美术家在我心中的地位 |
| [10:11] | are what Dickens is in the sphere of literature. | 就如狄更斯在文学圈的地位 |
| [10:15] | Noble and healthy, and something one always comes back to. | 像良师益友 我们总会回去找他 |
| [10:21] | Amongst his collection was this print of Dickens’ empty chair. | 这幅狄更斯的空椅子也在他的藏品之列 |
| [10:30] | The social realist subject matter of the prints | 这些印刷画的社会现实主义内容 |
| [10:33] | and Dickens’ writings about London’s working class | 以及狄更斯笔下所描述的生活在悲惨的贫困中的 |
| [10:36] | living in squalid poverty, | 伦敦工人阶层 |
| [10:38] | left a lasting impression on Vincent. | 给文森特留下了难以磨灭的印象 |
| [10:42] | “The mud lay thick upon the stones | “石子路上覆盖着一层厚厚的泥” |
| [10:44] | 查尔斯·狄更斯 《雾都孤儿》 | |
| [10:45] | and a black mist hung over the streets. | “黑色的雾笼罩在街巷上” |
| [10:48] | The hideous, old man seemed like some loathsome reptile, | “面目狰狞的老头活像只令人厌恶的爬虫” |
| [10:53] | crawling forth by night, | “入夜就爬了出来” |
| [10:55] | in search of some rich offal for a meal.” | “想找些油水多点的残羹冷炙当饭吃” |
| [11:01] | There’s such a yearning for | 这些大城市里的人们 |
| [11:03] | religion among the people in those big cities. | 对宗教有如此强烈的向往 |
| [11:06] | Many a worker in a factory or shop | 很多工厂和商店里的工人 |
| [11:09] | has had a remarkably pious, pure youth. | 年轻时都十分虔诚 纯洁 |
| [11:12] | George Eliot describes the life of factory workers | 乔治·艾略特描述了在兰登院小教堂 |
| [11:15] | who hold religious services in a chapel in Lantern Yard. | 供圣职的工厂工人的生活 |
| [11:22] | “The pulpit | “讲道坛 |
| [11:22] | 译注: 乔治·艾略特 《织工马南传》 | |
| [11:23] | where the minister delivered unquestioned doctrine, | 是牧师布道的地方 教义不容置疑 |
| [11:26] | and swayed to and fro…” | 他的身体前后摇摆…” |
| [11:42] | “…and handled the book in a long-accustomed manner.” | “…把弄书的方式也是长期养成的习惯了” |
| [11:51] | “These had been the channel of divine influences | “这些都是塞拉斯·马南接受神的感化的 |
| [11:54] | for Silas Marner.” | 渠道” |
| [11:58] | “They were the fostering home of his religious emotions, | “是培养他宗教情感的家园 |
| [12:02] | they were Christianity | 这就是基督教精神 |
| [12:04] | and God’s kingdom upon Earth.” | 和上帝在人间的国度” |
| [12:09] | Reading George Eliot’s novels about English evangelism | 读到乔治·艾略特描写的英国福音主义 |
| [12:13] | reminded Vincent of his own upbringing in a religious home. | 让文森特想起了自己在宗教家庭长大的经历 |
| [12:19] | Wanting now to follow in his father’s footsteps, | 现在他有意追随父亲的脚步 |
| [12:22] | he immersed himself in the study of the Bible. | 于是沉浸在对圣经的研究中 |
| [12:26] | But his preoccupation with religion | 但他专注于宗教研究 |
| [12:28] | led him to neglect his duties in the art firm, | 却怠慢了自己在艺术品公司的工作 |
| [12:32] | so he was fired. | 他因此被解雇了 |
| [12:35] | He now tried to get a position as a teacher’s assistant, | 于是他想找一个教师助理的职位 |
| [12:38] | hoping this would help him reach his goal of entering the church. | 以期助他达成在教堂供职的目标 |
| [12:43] | Dear Theo, | 亲爱的提奥 |
| [12:45] | I received a letter from a teacher in Ramsgate, | 拉姆斯盖特有位教师给我来信 |
| [12:47] | who suggested that I come there for a month, without pay, | 让我去那儿无偿工作一个月 |
| [12:51] | in order to see whether he can use me at the end of that time. | 这样他一个月后再决定是否雇用我 |
| [12:57] | It’s a beautiful route. | 这一路真美 |
| [12:59] | The sky was a light blue, with grey and white clouds. | 天空是淡蓝色的 挂着灰白相间的云彩 |
| [13:01] | 1876年4月17日 | |
| [13:06] | You can imagine, I was looking out of the window | 你能想象我望向窗外的样子 |
| [13:09] | for Ramsgate a long time before I got there. | 离拉姆斯盖特还很远就使劲地眺望 |
| [13:19] | Herewith, a little drawing of the view from the school window. | 附去一张从学校窗户向外看去的风景图 |
| [13:22] | Where the boys stand and | 学生们都站在这儿 |
| [13:23] | watch their parents going back to the station after a visit. | 目送来看望他们的家长回到车站 |
| [13:30] | Determined to make himself useful | 因为决心要帮助 |
| [13:31] | to those he saw suffering around him, | 他身边那些受苦的人们 |
| [13:34] | Vincent taught Sunday school | 文森特教伦敦市场 |
| [13:35] | to children from the London markets and streets. | 和街区里的孩子主日学 |
| [13:35] | 译注: 宗教教育 | |
| [13:39] | And on the 12th November 1876, | 1876年11月12日 |
| [13:42] | he delivered his first sermon. | 他首次布道 |
| [13:44] | We are pilgrims in the earth and strangers. | 我们是这个世界的朝圣者 是陌生人 |
| [13:48] | We come from afar and we are going far. | 我们来自远方 也将去往远方 |
| [13:51] | The journey of our life goes | 我们生命的旅途 |
| [13:53] | from the loving breast of our Mother on Earth | 始于我们人间的母亲慈爱的胸膛 |
| [13:56] | to the arms of our Father in heaven. | 最终投入天父的怀抱 |
| [13:58] | Theo, | 提奥 |
| [14:00] | your brother spoke for the first time in God’s house last Sunday. | 你的哥哥上周日第一次在上帝的屋檐下讲话 |
| [14:05] | When I stood up on the pulpit, | 当我站在讲道坛上 |
| [14:08] | I felt like someone emerging out of a dark, underground vault | 我觉得好像是从黑暗的地窖走出来 |
| [14:12] | into the friendly daylight, and | 走进温和的阳光之中 |
| [14:15] | it’s a wonderful feeling | 这感觉妙不可言 |
| [14:17] | to think that from wherever I go from now on, | 我想到从今以后 不论我去哪儿 |
| [14:20] | I’ll be preaching the gospel. | 我都会布讲福音 |
| [14:23] | Religion came to dominate his letters to his family, | 他的家书中 宗教成了主要话题 |
| [14:27] | with his Biblical fanaticism seeping into the language. | 他对宗教的狂热也渗入了字里行间 |
| [14:31] | My brother, let us take care. | 我的弟弟 让我们洁身自好 |
| [14:33] | Let us ask Him who is above, | 让我们向天父请示 |
| [14:35] | who also maketh intercession for us, | 他为我们祷告 |
| [14:37] | that He should keep us from the evil. | 他让我们远离邪恶 |
| [14:39] | Yea, let us watch and be sober, | 没错 让我们清醒地看这世界 |
| [14:41] | let us trust in the Lord with all of our heart, | 让我们全心全意地相信上帝 |
| [14:44] | and lean not unto our own understanding. | 而不要依赖自己的臆断 |
| [14:48] | Let us ask that He compel us to come in. | 让我们请求他强制我们走入他的国度 |
| [14:51] | To be meek, | 温顺 谦恭 |
| [14:52] | longsuffering and lowly, | 坚韧 谦卑 |
| [14:54] | sorrowful yet always rejoicing. | 虽有悲痛也永远感到高兴 |
| [14:59] | He writes many letters, | 他写了很多信 |
| [15:01] | long ones too, | 有些很长 |
| [15:03] | 安娜·梵高 文森特的母亲 | |
| [15:04] | and when reading them, | 读这些信的时候 |
| [15:06] | one is inclined to say | 让人不禁要想 |
| [15:08] | how can a simple clergyman come out of this? | 一个普通的牧师怎么会写出这样的话 |
| [15:13] | And then again there is | 可他就是写了 |
| [15:15] | nevertheless something good in them as well. | 不过这里面也有些好的地方 |
| [15:20] | When Vincent returned to Holland, | 文森特回到荷兰后 |
| [15:22] | his father agreed to support his preparation to enter the ministry. | 他父亲同意资助他为成为牧师做准备 |
| [15:27] | But he struggled with his studies, | 但他学习很吃力 |
| [15:29] | and quit after a year. | 一年后终于放弃 |
| [15:33] | The only option left to him was missionary work, | 他唯一的选择是去做传教士 |
| [15:37] | and in January 1879 | 1879年1月 |
| [15:39] | he was appointed as a lay-preacher in the Borinage, | 他被指派去博里纳日做非神职传教士 |
| [15:43] | a coal-mining district in Belgium. | 那是比利时的煤矿区 |
| [15:47] | Going down in a mine is an unpleasant business, | 下井真是件令人不愉快的事 |
| [15:50] | 1879年4月16日 | |
| [15:51] | in a kind of basket or cage | 人站在篮子或者说笼子里 |
| [15:54] | like a bucket in a well, | 像往井里放水桶一样下去 |
| [15:56] | so that down there looking upward, | 在下面往上看 |
| [15:58] | the daylight appears to be about as big as a star in the sky. | 阳光看起来像是天上的星星似的 |
| [16:05] | The workers get used to it, but | 工人虽然习惯了 |
| [16:07] | even so, they never shake off | 却还是挥不去 |
| [16:09] | an unconquerable feeling of horror and dread. | 那种无法克制的惊骇和恐惧感 |
| [16:17] | Vincent was truly sickened by the plight of the miners’ lives. | 矿工悲惨的生活让文森特很是难受 |
| [16:22] | Nursing the sick and injured | 对他来说照顾伤病员 |
| [16:24] | became just as important to him as preaching. | 变得与传道同样重要 |
| [16:27] | He gave away most of his possessions | 他送出了自己大部分的财产 |
| [16:29] | in the hope of alleviating their suffering. | 只希望能缓解他们的苦难 |
| [16:33] | But once again, after his six month trial, | 但六个月的试用期结束 |
| [16:36] | he failed to make the grade. | 他又没能达到要求 |
| [16:38] | 博里纳日 文森特的小屋 | |
| [16:39] | Vincent was jobless once more. | 文森特又失业了 |
| [16:43] | His father was so concerned about his state of mind | 他父亲对他的精神状态十分担忧 |
| [16:46] | that he considered having him committed to a psychiatric hospital. | 甚至考虑要把他送进精神病院 |
| [16:52] | I, for one, | 我 |
| [16:55] | a man of passions, | 是个充满激情的男人 |
| [16:58] | 1880年6月22日 | |
| [16:58] | capable and liable to do rather foolish things | 能够也很容易做出一些蠢事 |
| [17:01] | for which I sometimes feel rather sorry. | 有时我会为此感到抱歉 |
| [17:07] | For example, you know well that I’ve neglected my appearance. | 比如说 你很清楚我有些不修边幅 |
| [17:12] | I admit it’s rather shocking. | 我承认这让我很吃惊 |
| [17:15] | Must one consider oneself a dangerous man | 难道我该认为自己是个危险人物 |
| [17:17] | incapable of anything at all? I don’t think so. | 完全没有行为能力吗 我可不这么想 |
| [17:21] | Money troubles – ha! | 财务问题 哈 |
| [17:23] | And poverty have something to do with it. | 贫穷似乎也有什么关系 |
| [17:26] | Now you say, from such and such a time | 现在说 这段时间里 |
| [17:28] | you’ve been going downhill, you’ve faded away, | 我走了下坡路 我渐行渐远 |
| [17:31] | you’ve done nothing. | 我一事无成 |
| [17:34] | Now that being so, what’s to be done? | 既然如此 我又能怎样 |
| [17:40] | Theo worried about his brother, | 提奥很担心他哥哥 |
| [17:42] | but recognising a talent in Vincent’s sketches of the miners, | 但他从文森特画的矿工素描中看到了他的天赋 |
| [17:46] | encouraged him to apply himself more seriously to art. | 便鼓励他更加认真地投身艺术 |
| [17:52] | Vincent, being his own man, | 文森特是个有主见的人 |
| [17:53] | wasn’t really interested in following any traditional art education. | 他对传统的艺术教育并不感兴趣 |
| [17:58] | Instead, he taught himself using this artist’s manual | 而是研习这本查尔斯·巴尔格的画家手册 |
| [18:01] | by Charles Bargue. | 自学成材 |
| [18:05] | Careful study and constant repeated drawing of Bargue’s exercises | 仔细研究并不断反复地做巴尔格的绘画练习 |
| [18:11] | has given me more insight into figure drawing. | 让我对人体素描有了更多理解 |
| [18:18] | I’ve learned to measure and to see | 我学会了测量 分辨 |
| [18:20] | and to attempt the broad outlines, etc, | 并试着画出轮廓什么的 |
| [18:22] | so that what used to seem to me | 这样一来 过去在我看来 |
| [18:23] | to be desperately impossible is now gradually | 完全不可能做到的 现在渐渐的 |
| [18:27] | becoming possible. | 变得可能了 |
| [18:33] | Drawing is the root of everything. | 素描是一切的根基 |
| [18:40] | After years in the wilderness, | 经历了多年茫然地追寻 |
| [18:42] | Vincent had finally found his vocation. | 文森特终于找到了他的天命 |
| [18:45] | My plan is not to spare myself, | 我打算不让自己闲下来 |
| [18:49] | not to avoid a lot of difficulties and emotions. | 不去回避诸多困难和情绪 |
| [18:53] | It’s of a relative indifference to me | 我根本不在乎 |
| [18:54] | whether I live a long or short time. | 我能长命百岁还是英年早逝 |
| [18:57] | I’m concerned with the world only | 我只在乎 在这世上 |
| [19:00] | in that I have a certain… | 我有一种 |
| [19:03] | obligation, or duty, if you like, | 义务 也可以说是职责 |
| [19:06] | having walked the world for 30 years | 毕竟我都三十岁了 |
| [19:08] | to leave a souvenir of gratitude | 要留下点什么纪念我的感恩之心 |
| [19:12] | in the form of paintings or drawings. | 并以绘画的形式呈现出来 |
| [19:21] | Van Gogh was from the very beginning, and would remain, | 梵高从始至终 |
| [19:24] | a man of the people, | 都是人民的一员 |
| [19:25] | identifying with the peasants, the working class, with the outcasts. | 与农民 工人和流浪者产生共鸣 |
| [19:31] | And all his letters from now on | 从这之后 他的信中 |
| [19:33] | document his single-minded immersion in art | 记录了他对艺术全身心地投入 |
| [19:36] | his own and the work of those he most admired. | 他沉浸在自己和他所钦佩的艺术家的作品当中 |
| [19:41] | In particular the French artist Jean Francois Millet, | 他特别钟情于法国画家让·弗朗西斯科·米勒 |
| [19:44] | famous for his realistic scenes of peasant farmers’ lives. | 他以写实地画出农民生活而闻名 |
| [19:48] | 让·弗朗西斯科·米勒 《一天的结束》 | |
| [19:49] | I feel the need to study figure drawing from masters like Millet. | 我觉得很有必要向米勒这样的大师学习人体素描 |
| [19:54] | “In art, one must give one’s heart and soul,” he says. | 他说”人要全心全意地投入艺术” |
| [19:55] | 让·弗朗西斯科·米勒 《拾穗者》 | |
| [20:03] | I have already drawn The Sower five times, | 我已经画过五遍《收割者》了 |
| [20:05] | and I’m so completely absorbed in that figure, | 我完全被这个人物吸引了 |
| [20:06] | 让·弗朗西斯科·米勒 《收割者》 | |
| [20:07] | I will take it up again. | 我还会再画的 |
| [20:09] | 梵高 《收割者》 | |
| [20:12] | Nature… | 自然… |
| [20:14] | always begins by resisting the draughtsman. | 一开始总是要反抗美术家 |
| [20:18] | It sometimes resembles what Shakespeare calls taming the shrew, | 就好像莎士比亚所写的《驯悍记》 |
| [20:23] | to conquer the opposition through perseverance, | 用不屈不挠征服对方 |
| [20:27] | willy-nilly. | 不由分说 |
| [20:32] | If I succeed in putting some warmth and love into the work, | 如果我能成功地在画作中注入温暖和情感 |
| [20:36] | then it will find friends. | 定会受人赏识 |
| [20:43] | Although Vincent was able to put love into his work, | 虽然文森特能在画作中倾注情感 |
| [20:47] | it was proving difficult to find in his life. | 他在生活中却难觅红颜知己 |
| [20:51] | He was back home living with his parents. | 他搬回家和他父母住 |
| [20:54] | His widowed cousin Kee Voss came to visit the parsonage, | 他的表嫂 寡妇姬·沃斯来他家拜访 |
| [20:57] | and Vincent fell madly in love with her. | 而文森特则疯狂地爱上了她 |
| [21:04] | From the beginning of this love | 从我爱上她的一刻起 |
| [21:06] | I’ve felt that unless I threw myself into it unreservedly, | 我就觉得除非我毫无保留地去爱 |
| [21:11] | committing myself to it whole-heartedly, fully and forever, then | 全心地投入 永不变心 |
| [21:16] | there would be absolutely no chance for me. | 否则我就绝对没有丝毫机会 |
| [21:20] | But does it matter to me if the chance is smaller or larger? | 但是我的机会大不大对我来说要紧吗 |
| [21:23] | I mean, | 我是说 |
| [21:25] | must I, can I, take that into accounts when I love? | 当我爱上一个人 还需要顾及这些吗 |
| [21:32] | No. | 不 |
| [21:34] | No thought to the winnings. | 不去想得失 |
| [21:38] | One loves because one loves. | 一个人爱了就是爱了 |
| [21:42] | But this love was not reciprocated, | 但这份爱并未得到回应 |
| [21:45] | and it embarrassed his parents, | 而且让他的父母感到难堪 |
| [21:47] | who thought he was shaming the family. | 他们认为他给家族蒙羞了 |
| [21:50] | His uncle forbade Vincent from seeing Kee. | 他的舅舅不许文森特见姬 |
| [21:53] | But he bombarded her with letters, | 但他却给她写了很多信 |
| [21:56] | but then… | 后来… |
| [21:57] | I went to Amsterdam. | 我去了阿姆斯特丹 |
| [22:00] | There I was told “Your persistence is sickening.” | 他们说”你的固执令人厌恶” |
| [22:08] | I put my fingers in the flame of a lamp and said, | 我把手放在烛火上 并说 |
| [22:11] | “Let me see her for as long as I hold my hand in the flame.” | “你们不让我见她 我就不把手拿开” |
| [22:18] | But they blew out the lamp, and said, you shall not see her. | 可他们吹灭了蜡烛 并说 你不能见她 |
| [22:26] | To love… | 爱情… |
| [22:29] | What a business. | 真是件麻烦事 |
| [22:39] | Vincent set out for The Hague, | 文森特启程去了海牙 |
| [22:41] | the centre of the Dutch art world. | 那里是荷兰的艺术中心 |
| [22:44] | I had a rather violent argument with Pa, and | 我跟爸爸爆发了激烈的争吵 |
| [22:48] | feelings ran so high that | 爸爸的情绪很激动 |
| [22:49] | Pa said it would be better if I left home. | 他说我最好离家 |
| [22:53] | It was said so decisively that I actually left the same day. | 他的语气很坚决 所以我当天就离开了家 |
| [22:59] | I was angrier than I’ve ever remembered being in my whole life, | 我这辈子从来没这么生气过 |
| [23:02] | and I told Pa plainly that | 我跟爸爸坦言说 |
| [23:03] | I found the whole system of that religion loathsome. | 我认为整个宗教体系十分讨厌 |
| [23:06] | I want nothing more to do with it, | 我再不要跟它有任何瓜葛 |
| [23:08] | and have to guard against it as against something fatal. | 还要像抵御致命侵害那样防着它 |
| [23:14] | Now without an income or a home, he turned to Theo. | 他现在没有钱也没地方住 便向提奥求助 |
| [23:20] | It goes without saying that | 不用说 |
| [23:21] | I’m asking you, Theo, if you can do this… | 提奥 我得求你 不知你能不能… |
| [23:24] | …To send me now and then what you can | …如果你有闲钱 时不时接济我一下 |
| [23:25] | without going short yourself. | 但不要让你自己捉襟见肘 |
| [23:28] | Let me send you my work and you take what you want from it. | 我会把我的画作寄给你 你可以随意选取 |
| [23:31] | …But I insist that I may consider | …但我要坚持认为 |
| [23:33] | the money I would receive from you as money I’ve earned. | 我从你那里拿到的钱是我挣得的 |
| [23:36] | I hope to do as much as I can to help you | 我希望能尽力帮你 |
| [23:38] | until you start earning yourself, | 直到你自己有收入 |
| [23:39] | but what I don’t like | 可我对你 |
| [23:40] | is the way you’ve contrived to leave Pa and Ma. | 这样离开爸妈感到很不高兴 |
| [23:43] | What the devil made you so childish | 你怎么会这么幼稚 |
| [23:45] | and so shameless as to contrive in this way in this way | 这么不知羞耻 竟会做出这种事 |
| [23:47] | to make their life miserable and almost impossible? | 让他们的生活痛苦不堪 举步维艰 |
| [23:51] | It’s your duty to set things straight at all costs. | 你有义务不惜一切代价纠正你的错误 |
| [23:55] | Upon arrival in The Hague, | 一到海牙 |
| [23:57] | Vincent set himself up in a small studio | 文森特就给自己建了个小画室 |
| [24:00] | and got a commission for a series of cityscapes, | 并且受雇画一组城市风貌 |
| [24:03] | sketching all aspects of the modern metropolis. | 他写生了现代都市的方方面面 |
| [24:08] | And Vincent, wanting to enjoy all the pleasures of city life, | 文森特想要享受城市生活的各种乐趣 |
| [24:12] | soon found himself in hospital for a few weeks | 几周后就住进了医院 |
| [24:14] | undergoing treatment for syphilis. | 接受梅毒治疗 |
| [24:19] | And then… | 后来… |
| [24:20] | This winter I met a pregnant woman, | 我冬天时遇到一位孕妇 |
| [24:22] | 1882年5月7日 | |
| [24:23] | who had been abandoned by the man whose child she was carrying. | 她被她腹中孩子的父亲抛弃了 |
| [24:27] | A pregnant woman | 一个孕妇 |
| [24:29] | wandering the streets in winter, | 大冬天在街头徘徊 |
| [24:31] | earning her bread, you can imagine how. | 想挣点饭钱 你能想象是什么样子 |
| [24:34] | I took that woman as a model | 我留她做模特 |
| [24:37] | and I worked with her the whole of the winter. | 我们整个冬天都在作画 |
| [24:40] | She’s learning to pose better every day, | 她每天都更会摆姿势了 |
| [24:43] | that’s extremely important to me. | 这对我来说十分重要 |
| [24:47] | Her name was Clasina Maria Hoornik, | 她名叫柯拉姬娜·玛丽娅·胡尼克 |
| [24:50] | better known as Sien, a woman older than Vincent. | 也就是希恩 她比文森特年长 |
| [24:57] | She was a seamstress who supplemented her income with prostitution. | 她是个裁缝 靠卖淫增加收入 |
| [25:03] | I couldn’t give her a model’s full daily wage. | 我无力支付她一个模特应得的日薪 |
| [25:08] | But all the same, I paid her rent and until now have been able, | 不过我替她付了房租 而且直到目前 |
| [25:13] | thank God, to preserve her and her child from hunger and cold | 谢天谢地 还能让她和她的孩子不至挨饿受冻 |
| [25:16] | by sharing my own bread with her. | 我把自己的食物与她分享 |
| [25:20] | When I met this woman, | 我遇到她时 |
| [25:21] | she caught my eye because she looked so ill. | 她的病态让我注意到了她 |
| [25:25] | To me, | 在我看来 |
| [25:28] | she is beautiful. | 她很美 |
| [25:33] | And I find in her exactly what I need. | 我在她身上找到了我正需要的东西 |
| [25:38] | Life has given her a drubbing, and sorrow, | 生活将她击垮 让她痛苦 |
| [25:41] | sorrow and adversity have left their mark. | 而痛苦和不幸在她身上留下了痕迹 |
| [25:48] | She posed for my very best drawing, | 我最好的一幅画就是以她为模特 |
| [25:50] | 哀伤 | |
| [25:50] | Sorrow. | 那就是《哀伤》 |
| [25:52] | 哀伤 | |
| [25:52] | I want to make drawings that move some people. | 我希望我的画作能打动别人 |
| [25:53] | 哀伤 | |
| [25:56] | Sorrow is a small beginning. | 《哀伤》只是个开始 |
| [25:57] | At least it contains something straight from my own feelings. | 至少它包含了我自己的情感 |
| [26:01] | I couldn’t draw Sorrow if I didn’t feel it myself. | 如果我没有体会过哀伤 我是画不出来的 |
| [26:09] | This other one, Roots, is some tree roots in sandy ground. | 另一张画《树根》 画的是长在砂质土上的树根 |
| [26:15] | I’ve tried to imbue the landscape | 我试着在风景画里倾注 |
| [26:18] | with the same sentiment as the figure. | 在人物画中表现出的那种情感 |
| [26:22] | In all of nature, trees for instance, | 在自然界中 比如树 |
| [26:25] | I see expression and soul. | 我能看到一种表现力和灵魂 |
| [26:42] | Well, it may be that I felt more passion for Kee Voss, | 或许我对姬·沃斯的感情更为强烈 |
| [26:47] | and that in certain respects | 在某些方面 |
| [26:50] | she was more charming than Sien. | 她比希恩更有魅力 |
| [26:54] | It is certainly not so | 但绝不能说 |
| [26:55] | that the love for Sien is therefore less sincere. | 因此我对希恩的爱就不那么真诚了 |
| [27:04] | This relationship generated even more disgust in the family | 比起之前文森特对姬的迷恋 |
| [27:08] | than Vincent’s earlier infatuation with Kee, | 这段感情让他的家人更为反感 |
| [27:12] | and once again | 而他又一次 |
| [27:14] | he was penniless. | 身无分为了 |
| [27:16] | But, old chap, this has been an anxious fortnight. | 老弟 这两周真令人不安 |
| [27:21] | When I wrote to you in the middle of May, | 我五月中旬给你写信时 |
| [27:23] | all I had left was three, | 我只剩三… |
| [27:24] | three-and-a-half guilder after paying the baker. | 买了面包之后 只剩三个半荷兰盾 |
| [27:28] | The rent’s due on 1st June, | 6月1日就要交房租了 |
| [27:30] | and I have nothing, literally | 而我一分钱都没有 真的 |
| [27:33] | nothing. | 什么都没有 |
| [27:36] | I hope you’ll be able to send something. | 我希望你能给我寄点钱来 |
| [27:42] | But Theo was just as scandalised | 但是提奥也为他感到丢脸 |
| [27:44] | and refused to send any extra money. | 拒绝给他寄钱 |
| [27:47] | With Vincent unable to support a family, | 因为文森特不能再养家糊口了 |
| [27:50] | Sien decided to go back to prostitution once the baby was born. | 希恩决定生下孩子后继续卖淫 |
| [27:56] | For Vincent, this was all too much. | 对文森特来说 这太难以接受 |
| [27:59] | Oh, Theo, | 提奥啊 |
| [28:01] | I have the most impossible and highly unsuitable | 我的这段感情匪夷所思 |
| [28:06] | love affairs from which, | 又不合时宜 |
| [28:08] | as a rule, I emerge only with shame and disgrace. | 并又一次让我蒙羞 |
| [28:20] | But I shall continue to think of her often. | 但我还会时常想她的 |
| [28:30] | And so Vincent left, | 于是文森特离开了 |
| [28:32] | and went deep into rural Holland, | 他深入荷兰的乡村 |
| [28:35] | to live and paint among the peasants. | 与农民同住并创作 |
| [28:39] | This time I’m writing to | 我现在是在 |
| [28:39] | 1883年10月3日 | |
| [28:40] | you from the very back of beyond in Drenthe. | 德伦特的偏远地区给你写信 |
| [28:43] | I see no way of describing the countryside | 我找不到合适的词语 |
| [28:46] | to you as it should be done, because | 向你描述乡下的景色 因为 |
| [28:48] | words fail me. | 它是难以言状的美 |
| [28:53] | What I think is the best life | 我认为最好的人生 |
| [28:55] | is a life made up of long years | 是常年能在户外 |
| [28:57] | of being in touch with nature out of doors. | 与自然接触的生活 |
| [29:02] | Here are a couple of evening effects. | 附上几张描绘夜晚的画作 |
| [29:04] | I’m still working on that weed burner, | 我还在修改那幅烧野草的画 |
| [29:06] | whom I’ve caught better than before | 我画的已经比之前有进步了 |
| [29:08] | in a painted study as far as the tone is concerned, | 从画法上来说 至少色调更好了 |
| [29:10] | so that it conveys more of the vastness of the plain | 这样能更好的表现平原的辽阔 |
| [29:14] | and the gathering dusk. | 和烟尘的浓密 |
| [29:17] | And one muddy evening after the rain I found the little hut, | 有一晚 雨后路上很泥泞 我发现了一个小屋 |
| [29:22] | which was very beautiful in its natural setting. | 它有种天然去雕饰的美丽 |
| [29:33] | When I say that I’m a peasant painter, that is really so, | 我说我是农民画家 此话是当真的 |
| [29:36] | and will become clearer to you in future. | 今后你会越来越明白这点 |
| [29:53] | But living in such an isolated place, | 但生活在如此与世隔绝的地方 |
| [29:56] | loneliness soon bore down on him. | 孤独感很快侵袭了他 |
| [29:58] | Alone, one is sure to perish. | 孤独注定会毁灭一个人 |
| [30:02] | Only with another can one be saved. | 只有有人作伴才能拯救一个人 |
| [30:08] | The very best and most effective medicine | 最有效的良药 |
| [30:10] | is still love and a home. | 仍是爱和家庭 |
| [30:16] | So home he went, | 所以他回家了 |
| [30:18] | depressed and broke, | 他心情沮丧 身无分为 |
| [30:19] | 梵高故居 纽南 | |
| [30:19] | and with his tail between his legs, | 他夹着尾巴 |
| [30:21] | to live with his parents again. | 又搬回来跟他父母住 |
| [30:24] | However, the medicine wasn’t quite right. | 不过 这样做却并非对症下药 |
| [30:28] | At first it seemed to be hopeless, | 一开始似乎陷入僵局 |
| [30:29] | 提奥德洛斯·梵高 文森特的父亲 | |
| [30:31] | but it has gradually got better, | 但渐渐有所好转 |
| [30:33] | particularly since we agreed | 特别是我们同意 |
| [30:35] | that he will stay with us for the time being, | 他这段时间可以跟我们住在这儿 |
| [30:37] | to make studies here. | 创作习作 |
| [30:40] | He wanted the outhouse to be fitted up for him. | 他想要我们收拾好外屋让他搬进去 |
| [30:43] | We don’t think it’s a particularly suitable place, | 我们觉得那里不是很合适 |
| [30:44] | but we’ve had it spruced up. | 但我们也给装修好了 |
| [30:47] | Now, we shall just make it nice and warm and dry | 我们只需要把房子修好 保温防潮 |
| [30:50] | and then it should do. | 应该就行了 |
| [30:53] | There’s a similar reluctance about taking me into the house | 我的家人并不情愿让我住进来 |
| [30:56] | 1883年12月15日 | |
| [30:57] | as there would be about having a large, shaggy dog in the house. | 就像不愿留下一只毛茸茸的大狗 |
| [31:02] | He’ll come into the room with his wet paws, | 狗狗会踩着湿漉漉的爪子进屋 |
| [31:03] | and then he’s so shaggy. | 毛也太多 |
| [31:04] | He’ll get in everyone’s way. | 又碍手碍脚 |
| [31:07] | And his bark is so loud. | 他的叫声也太大了 |
| [31:09] | In short, he’s a filthy animal. | 总之 他是个脏兮兮的畜生 |
| [31:11] | Very well. | 那好吧 |
| [31:14] | But the animal has a human history | 但这只狗有人一样的过去 |
| [31:17] | and, although it’s a dog, a human soul, | 他尽管是只狗 却有人的灵魂 |
| [31:21] | and one with finer feelings at that, capable of | 也有细腻的感情 他能够 |
| [31:25] | feeling what people say about him, | 感觉出别人对他是怎么看的 |
| [31:28] | which an ordinary dog can’t do. | 这一点普通的狗是做不到的 |
| [31:33] | We’re undertaking this new trial with real good faith. | 我们对这次新的尝试很有信心 |
| [31:38] | It’s a pity that he isn’t a little more accommodating, | 只是可惜他不能再随和些 |
| [31:40] | but there’s simply no changing the fact that he’s eccentric. | 但他这人很古怪 这是无法改变的事实 |
| [31:46] | And I, admitting that I am a sort of dog. | 我承认 我也算是一只狗 |
| [31:51] | Accept them, | 就接受他们 |
| [31:54] | for what they are. | 接受他们真实的样子 |
| [31:57] | Despite the difficulties at home, | 尽管在家中遇到的困难 |
| [31:59] | it was around this time | 文森特正是在这一时期 |
| [32:01] | that Vincent came into his own as an artist. | 达到作为艺术家的全盛时期 |
| [32:03] | Starting with the drawings of local weavers. | 就从画当地的织布工开始 |
| [32:09] | Every day, I paint studies of the weavers here. | 我每天画这里的织布工 |
| [32:16] | I think the looms, with that quite complicated machinery, | 我觉得那机构复杂的织布机 |
| [32:21] | in the middle of which sits the little figure, | 中间坐着的小小的身影 |
| [32:25] | will also lend themselves to pen drawings. | 也都会愿意被我用钢笔画下来 |
| [32:29] | I must make sure that I get them so that | 不过我必须得保证我画的 |
| [32:31] | the colour and tone match with other Dutch paintings, though. | 颜色和调子与其他的荷兰画家的作品相称 |
| [32:36] | These Dutch painters he was so impressed by | 如此打动他的荷兰画家 |
| [32:37] | 安东·莫夫 《沼泽》 | |
| [32:39] | were Anton Mauve and Jozef Israels, | 正是安东·莫夫和约瑟夫·伊泽洛兹 |
| [32:42] | artists from The Hague School, | 他们都是海牙派的艺术家 |
| [32:44] | celebrated for their rural scenes and peasant subjects. | 他们因描绘田园风光和农民而闻名 |
| [32:46] | 约瑟夫·伊泽洛兹 《乡间田野》 | |
| [32:48] | Their palette was grey and brown, | 他们多使用灰色和褐色 |
| [32:51] | matching the weather conditions of The Netherlands. | 这与荷兰的天气状况相符 |
| [32:53] | Very different from the revolutionary paintings | 却与当时在巴黎创作出来的 |
| [32:56] | being produced in Paris at that time | 具有革命性的画作十分不同 |
| [32:58] | by The Impressionists with their bright and colourful paintings, | 那时印象派画家的画作色彩丰富而鲜亮 |
| [33:02] | which Theo had written to Vincent about. | 提奥把这些写信告诉了文森特 |
| [33:04] | 克劳德·莫奈 《昂蒂布》 | |
| [33:10] | I hear you talk about a lot of new names, | 你提到了很多陌生的名字 |
| [33:13] | it’s not always possible for me to understand | 可我连一幅他们的作品都没见过 |
| [33:15] | when I’ve seen absolutely nothing by them. | 要怎么理解他们呢 |
| [33:19] | And from what you say about Impressionism, | 就你跟我讲的关于印象派的事来看 |
| [33:21] | it’s not entirely clear to me what one suppose to understand by it. | 我不太清楚该怎么去理解他们的作品 |
| [33:24] | For my part, I find so tremendously much in Israels, for instance, | 就我而言 我还是更欣赏像伊泽洛兹这样的画家 |
| [33:29] | that I’m not particularly curious about or eager for something | 所以倒不是非常好奇或急于了解什么 |
| [33:34] | different or newer. | 特别的新东西 |
| [33:38] | Despite this, | 尽管如此 |
| [33:39] | Vincent was becoming increasingly interested in colour, | 文森特对色彩还是越来越感兴趣了 |
| [33:43] | fascinated by what he saw emerging on the looms. | 织布机织出的图案令他着迷 |
| [33:49] | When the weavers weave those fabrics, they try, as you know, | 正如你所知 织布工编织织物时会试着 |
| [33:52] | to get the very brightest colours in balance against one another | 让最鲜亮的色彩与彼此交相呼应 |
| [33:55] | in the multicoloured tartans, | 彩色的格子呢都是如此 |
| [33:57] | so that, rather than the fabric clashing, | 这样一来 织物没有不协调的感觉 |
| [33:59] | the overall effect is harmonious from a distance. | 而远观时 整体上是和谐的 |
| [34:04] | 译注: 法国艺术家 | |
| [34:04] | You have to go straight to Eugene Delacroix | 你要在尤金·德拉克罗瓦的作品中 |
| [34:07] | to find such an orchestration of colours. | 才能找到对色彩如此和谐地运用 |
| [34:09] | I’m talking about the blue, green sketch with | 轮廓是蓝色 绿色的 |
| [34:12] | red and purple and touches of lemon yellow. | 配上红色和紫色 还加上一抹柠檬黄 |
| [34:18] | It speaks a symbolic language through colour itself. | 色彩本身就是具有象征性的语言 |
| [34:23] | So now Vincent starts to introduce shards of colour into his work, | 所以文森特开始在作品中加入一些颜色 |
| [34:29] | in landscapes, | 先是在风景画中 |
| [34:31] | and then in a series of portraits of local peasants. | 之后是在一系列当地农民的画像中 |
| [34:38] | I have a few of the heads I promised you. | 像我跟你保证的那样 我画了一些头像 |
| [34:40] | They are studies, in the true meaning of the word. | 这些画作就真的只能称为习作 |
| [34:44] | I’ve already painted at least 30 or so. | 我已经画了大约三十多张了 |
| [34:51] | At the same time, | 与此同时 |
| [34:52] | I’m working on those peasants around a dish of potatoes again. | 我又开始画那副农民围坐在一盘土豆旁的画了 |
| [34:57] | I hope that the painting of those potato eaters will progress a bit. | 我希望这幅吃土豆的人的画会有所进步 |
| [35:02] | You see, I really wanted to make it so that | 我是像画出那种感觉 |
| [35:05] | 1885年4月30日 | |
| [35:06] | people get the idea that these folk, | 让人们能看出这些人 |
| [35:08] | eating their potatoes by the light of their little lamp on the table, | 他们就着桌上昏黄的灯光吃着他们的土豆 |
| [35:11] | They’ve… they have tilled the earth themselves | 他们…他们亲自在田间耕作 |
| [35:14] | with these hands they are putting in the dish, | 用的正是这双吃土豆的手 |
| [35:17] | so the whole thing speaks of manual labour | 所以这些土豆代表了他们的体力劳动 |
| [35:20] | and thus they have honestly earned their food. | 因此这些食物是他们老老实实挣来的 |
| [35:25] | I wanted to give the idea of | 我想表现出 |
| [35:27] | a way of life wholly different from ours. | 一种与我们完全不同的生活方式 |
| [35:33] | I certainly don’t just want everyone to admire it | 我当然并非只想要每个人都欣赏它 |
| [35:37] | or approve of it without knowing why. | 或者不明所以就去称赞它 |
| [35:42] | Admiration certainly didn’t come from Theo, | 可提奥并不欣赏他的画 |
| [35:45] | or from Vincent’s friend and fellow artist, | 而文森特的朋友 也是艺术家 |
| [35:48] | one Anthon van Rappard. | 安东·梵赖泼德也觉得难以认同 |
| [35:51] | My dear friend! | 我亲爱的朋友 |
| [35:52] | 安东·梵赖泼德 艺术家 | |
| [35:53] | You can do better than this, fortunately. | 幸好这不是你最佳的作品 |
| [35:59] | That coquettish little hand of that woman at the back, | 后面那个女人伸出的风骚的小手 |
| [36:02] | how untrue! | 多么失真啊 |
| [36:06] | And what connection is there between the coffeepot, | 这个咖啡壶 桌子和放在壶把上的手 |
| [36:08] | the table | 他们之间 |
| [36:09] | and the hand lying on top of the handle? | 有什么联系呢 |
| [36:12] | What’s that pot doing, for that matter? | 说起来 这壶怎么会摆在那儿 |
| [36:15] | It isn’t standing, | 既不是放在桌上 |
| [36:17] | it isn’t being held, | 又没人拿着它 |
| [36:18] | but what then? | 那是怎么回事 |
| [36:22] | And why may that man on the left not have a knee, | 为什么看不到左边男人的膝盖 |
| [36:24] | or a belly or lungs? | 也不见腹部和胸部 |
| [36:27] | Or are they in his back? | 还是都画在背面了 |
| [36:29] | And why must his arm be a metre too short? | 他的手臂为什么会短一截 |
| [36:32] | And why must he lack half of his nose? | 他的鼻子为什么少画一半 |
| [36:35] | With such a manner of working, | 你就这么作画 |
| [36:37] | you dare to invoke the name of Millet? | 还敢提到米勒的大名 |
| [36:41] | Come on! | 真受不了 |
| [36:42] | Art is too important, it seems to me, to be treated so | 以我之见 艺术很重要 不该如此 |
| [36:46] | cavalierly. | 轻慢地对待 |
| [36:51] | But perhaps van Rappard had missed the point. | 但或许梵赖泼德没有看到重点 |
| [36:55] | I want people to say of my work, | 我希望人们说起我的作品 |
| [36:57] | that man feels deeply, that man feels subtly, | 会说我的体会很深刻 我的感觉很敏锐 |
| [37:02] | despite my so-called coarseness | 尽管画作有所谓的粗糙感 |
| [37:04] | or perhaps precisely because of it. | 或许正因如此才会有这种感觉 |
| [37:08] | Do you understand? | 你懂吗 |
| [37:10] | It seems pretentious to talk like this now, | 我现在说这话显得有些矫情 |
| [37:12] | but that’s why I want to push on! | 可正因为如此我才想努力坚持下去 |
| [37:18] | The Potato Eaters demonstrates the | 《吃土豆的人》显示了 |
| [37:20] | level of accomplishment van Gogh had reached in his art, | 梵高的艺术造诣达到的程度 |
| [37:24] | and remember, he’d only been painting for four years. | 不要忘了 他开始作画仅有四年时间 |
| [37:27] | It was also the first and | 这是他第一次 |
| [37:29] | the last time he ever did a group portrait. | 也是唯一一次画群像 |
| [37:33] | But the contemptuous critique of van Gogh’s masterpiece | 但对梵高的杰作嗤之以鼻的评论 |
| [37:36] | wasn’t the only matter featured in van Rappard’s letter. | 并不是梵赖泼德信中唯一的主题 |
| [37:41] | The news of the death of your father came so unexpectedly | 你父亲过世的消息令人措手不及 |
| [37:45] | that I very much wanted some further message, | 我很想有进一步的了解 |
| [37:48] | which didn’t come, however. | 但你并没多写 |
| [37:52] | Did you think that I had so little interest in your father | 你以为我对你父亲漠不关心 |
| [37:54] | that a polite formula to announce something so affecting | 即使发生这样令人心痛的事 写几句过场话 |
| [37:58] | was enough for that interest? | 对我来说就足够了吗 |
| [38:02] | Vincent hardly mentions the | 在那个时期的信件中 |
| [38:04] | death of his father in the letters of the time, | 文森特几乎没怎么提到他父亲过世的事 |
| [38:07] | but despite the difficulties of their relationship, | 虽然两人关系紧张 |
| [38:10] | he was nevertheless affected by the news. | 但此事还是给他很大震动 |
| [38:12] | 愿你安息 | |
| [38:14] | My dear Theo, | 我亲爱的提奥 |
| [38:16] | I’m still very much under the impression of what has just happened. | 这突来的变故还萦绕在我的心头 |
| [38:21] | I just kept painting these two Sundays. | 过去的两个周日我一直在作画 |
| [38:25] | And he painted his father’s Bible. | 他画下了他父亲的圣经 |
| [38:29] | I’m sending you a still life | 我给你寄去了一幅静物 |
| [38:31] | of an open, hence an off-white, Bible, | 是一本打开的灰白的圣经 |
| [38:35] | bound in leather, against a black background. | 皮面装订 背景是黑色的 |
| [38:37] | I painted this one in a single day. | 这幅画我一天就画完了 |
| [38:42] | This is to show you that when I say that perhaps I haven’t | 我想让你看到 我说过或许 |
| [38:46] | grafted entirely for nothing, | 我的辛劳工作也不是一无所成 |
| [38:49] | I mean it. | 那是真心话 |
| [38:53] | And, tellingly, | 引人注目的是 |
| [38:54] | Vincent placed next to his father’s Bible | 文森特在他父亲的圣经旁边 |
| [38:57] | a book by the French novelist Emile Zola, | 放置了一本法国小说家埃米利·左拉的书 |
| [39:00] | the supreme chronicler | 左拉以记录工人阶级 |
| [39:02] | of the oppressed and tormented working class. | 饱受的压迫和折磨而闻名于世 |
| [39:06] | Vincent saw in Zola a kindred spirit, | 文森特觉得跟左拉意气相投 |
| [39:08] | embracing the social purpose of art | 对艺术的社会性 |
| [39:11] | as well as the artistic interpretation of reality. | 和用艺术解读现实都欣然接受 |
| [39:16] | Zola, in La Joie De Vivre and L’Assommoir, | 左拉在《生之趣》和《小酒店》 |
| [39:18] | and so many other masterpieces, | 还有其他很多杰作中 |
| [39:20] | paint life as we feel it ourselves and | 把我们对生活的感受描写了出来 |
| [39:23] | thus satisfies that need which we have, | 这样就满足了我们 |
| [39:25] | that people tell us the truth. | 想要了解真相的需要 |
| [39:28] | Read lots of Zola, it’s healthy stuff | 我读了不少左拉的作品 益处多多 |
| [39:33] | and clears the mind. | 如醍醐灌顶 |
| [39:37] | The next part of his journey | 他接下来的旅程 |
| [39:39] | would take him to the epicentre of the art world, | 将把他带入艺术世界的中心 |
| [39:43] | leaving the Netherlands far behind him. | 而把荷兰远远抛在身后 |
| [39:51] | Vincent arrived in Paris in February 1886, | 1886年2月 文森特来到了巴黎 |
| [39:54] | when the art scene was in transition. | 而此时艺术界正在发生转变 |
| [39:57] | Impressionism had already been dominant for over a decade, | 印象派已经称霸十多年了 |
| [40:01] | but now the hunt was on for something new. | 但现在大家在寻找新的东西 |
| [40:04] | Somehow, he finally understood that to | 不知怎么 他终于想通了 |
| [40:06] | be taken seriously as an artist, | 想要成为被人认可的艺术家 |
| [40:08] | he had to come to Paris. | 他必须得来巴黎 |
| [40:10] | However, he didn’t bother to inform Theo | 可是他事先并没通知提奥 |
| [40:13] | until he’d already arrived, | 直到他到了巴黎 |
| [40:15] | sending him a note to meet him in The Louvre in the Salle Carree, | 才给他送了张便条 约在卢浮宫正厅见 |
| [40:19] | where the great European masters were hung, | 欧洲大师的作品都在那里挂着 |
| [40:22] | the Rembrandts and Delacroixs. | 其中就有伦勃朗和德拉克罗瓦的作品 |
| [40:26] | Vinsent intended to immerse himself | 文森特打算完全沉浸在 |
| [40:28] | in the artistic life of the city, | 城市的艺术生活里 |
| [40:30] | and moved to Montmartre with Theo, | 与提奥一同搬到蒙马特区 |
| [40:33] | into this house at 54 Rue Lepic. | 勒皮克街45号这栋房子里 |
| [40:36] | Fortunately, we’re doing well in our new home. | 所幸的是 我们在新家一切都好 |
| [40:39] | You’d no longer recognise Vincent, he’s changed so much, | 你会认不出文森特的 他变化很大 |
| [40:41] | and that strikes others even more than me. | 对此 其他人比我还要吃惊 |
| [40:46] | He has had a major operation on his mouth, | 他做了一个口腔的大手术 |
| [40:48] | for he had lost almost all his teeth | 因为他胃不好 |
| [40:49] | because of the poor state of his stomach. | 导致牙都要掉光了 |
| [40:52] | The doctor says he is now completely recovered. | 医生说他现在已经完全恢复了 |
| [40:55] | He’s making tremendous progress with his work, | 他的绘画有了极大的进展 |
| [40:58] | and proof of that is that he is starting to make a success of it. | 而能证明这一点的就是他开始有所成就了 |
| [41:03] | Vincent enrolled at the studio of the artist Fernand Cormon, | 文森特进入了艺术家费南德·科尔蒙的画室 |
| [41:07] | where he befriended many of the aspiring artists of the day, | 在那里他结交了当时不少有抱负的艺术家 |
| [41:10] | including Toulouse Lautrec, | 包括图卢兹·洛特雷克 |
| [41:12] | sitting here on the left, | 就是图上坐在左边的人 |
| [41:14] | with, reputedly, Vincent beside him holding the palette. | 而一般认为 他旁边举着调色盘的就是文森特 |
| [41:18] | But he became bored and frustrated | 他画了三个月的石膏模型 |
| [41:20] | after three months working from plaster casts, so he left. | 觉得厌倦又失意 于是他离开了 |
| [41:27] | What I think about my own work | 说起我自己的作品 |
| [41:29] | is that the painting of the peasants eating the potatoes | 就是那幅我在纽南画的 |
| [41:34] | that I did in Nuenen is, after all, the best thing I did. | 农民吃土豆的画 毕竟那是我最好的作品 |
| [41:38] | What I hope to achieve, | 总之 我想做到的 |
| [41:42] | is to paint a good portrait, anyway. | 是画一幅好的肖像画 |
| [41:48] | For inspiration, he turned to the Dutch master Rembrandt, | 他在荷兰大师伦勃朗身上寻求灵感 |
| [41:52] | who painted more than 90 self portraits | 伦勃朗画了九十余幅自画像 |
| [41:55] | from the outset of his career | 作画时间从他开始绘画 |
| [41:57] | to the year of his death in 1669. | 直到他1669年去世 |
| [42:00] | So, Rembrandt painted angels. | 伦勃朗画过天使 |
| [42:04] | He paints himself as an old man, | 他把自己画成老头的样子 |
| [42:07] | wrinkled, toothless, wearing a white cap. | 满脸皱纹 牙掉光了 戴着一顶白帽子 |
| [42:12] | First, painting from life in the mirror, | 一开始 是对着镜子写生 |
| [42:17] | he dreams, | 后来他想得出神 |
| [42:19] | dreams, and his brush begins to paint his own portrait again, | 在恍惚间 他的画笔又开始给他画像了 |
| [42:23] | but from memory, | 但却是凭记忆 |
| [42:26] | and his expression is sadder, | 他的表情变得哀伤了 |
| [42:32] | and more saddening. | 越来越哀伤 |
| [42:43] | For my own part, my fortunes dictate that | 就我而言 因为时运不济 |
| [42:45] | I’m making rapid progress in becoming a little old man myself. | 我老得很快 就要变成小老头了 |
| [42:51] | But what does that matter? | 但那又如何 |
| [42:54] | I have a dirty and difficult occupation, | 我从事着一项困难又脏兮兮的职业 |
| [42:59] | painting. | 绘画 |
| [43:03] | Vincent started his self portrait series | 文森特也开始画自画像 |
| [43:06] | with the dark brown colours he’d been accustomed to. | 他使用的是他习惯的暗褐色调 |
| [43:11] | But gradually, his colour and brushwork changed, | 但逐渐的 他的用色和笔法有了改变 |
| [43:15] | as he came under the influence of the new art | 这是受了他在身边看到的一种 |
| [43:17] | that he saw around him. | 新艺术形式的影响 |
| [43:20] | The paintings become lighter and more colourful. | 他的画作变得明快也更斑斓了 |
| [43:26] | My intention is to show that a variety of | 我想展现出一个人 |
| [43:28] | very different portraits can be made by the same person. | 能画出风格迥异的肖像画 |
| [43:35] | The painter of the future | 未来的画家 |
| [43:36] | is a colourist as there has never been before. | 该是前无古人的配色师 |
| [43:42] | He hasn’t yet sold any paintings for money, | 他还没卖掉任何画 |
| [43:45] | but exchanges his work for other paintings. | 但却用自己的作品与别人的画作交换 |
| [43:48] | He also has acquaintances from whom | 他还结识了一个人 |
| [43:50] | he receives a beautiful delivery of flowers every week | 那人每周给他送来一束鲜花 |
| [43:53] | that can serve him as a model. | 让他拿来作画用 |
| [43:56] | I’ve made a series of colour studies in painting simply flowers, | 我画了一些列以花为主题彩色习作 |
| [44:01] | seeking oppositions of blue with orange, red and green, | 想要画出蓝色和橙色 红色和绿色 |
| [44:05] | yellow and violet, | 黄色和紫色的对比 |
| [44:07] | seeking the broken and neutral tones | 想用不协调的中性色调 |
| [44:09] | to harmonise brutal extremes. | 来协调强烈的反差 |
| [44:15] | He’s also much more cheerful than before, | 他比以前快乐多了 |
| [44:18] | and he goes down well with the people here. | 他跟这里的人也处得很好 |
| [44:19] | To give you an example, hardly a day passes without him being | 就比如说 几乎每天他都会应邀 |
| [44:23] | invited to visit the studios of painters of repute, | 去走访哪位知名画家的画室 |
| [44:27] | or people come to him. | 要么就有别人来看望他 |
| [44:31] | 勒皮克街 | |
| [44:33] | Just a few minutes’ walk from Rue Lepic, | 在离里勒皮克街 |
| [44:35] | and from Le Moulin de la Galette, | 和煎饼磨坊不远处 |
| [44:38] | a bar and dance hall masquerading as a windmill, | 煎饼磨坊是做成磨坊样子的酒吧舞厅 |
| [44:41] | which Vincent loved to paint, | 文森特很喜欢画它 |
| [44:42] | 皮埃尔·唐吉 | |
| [44:42] | was Pere Tanguy’s art supply shop. | 是皮埃尔·唐吉的绘画用品店 |
| [44:46] | This place | 这个地方 |
| [44:47] | became the hub for the whole community of Parisian artists, | 成了巴黎艺术家们的聚集地 |
| [44:51] | who would gather and gossip | 他们在这里聚会 交谈 |
| [44:52] | and exchange their pictures | 用他们的画作 |
| [44:54] | for materials supplied by Pere Tanguy, | 去交换由皮埃尔·唐吉提供的作画材料 |
| [44:57] | the legendary father figure of the avant garde. | 也就是传奇的先锋派之父 |
| [45:01] | Paul Cezanne, | 保罗·塞尚 |
| [45:01] | 译注: 法国后印象派画家 | |
| [45:02] | 译注: 法国印象派画家 雕塑家 | |
| [45:02] | Edgar Degas, | 埃德加·德加 |
| [45:03] | Toulouse Lautrec, | 屠勒斯·劳特雷克 |
| [45:03] | 译注: 法国后印象派画家 | |
| [45:04] | 译注: 法国后印象派画家 | |
| [45:04] | George Seurat. | 乔治·修拉 |
| [45:06] | They all came here. | 他们都来过这里 |
| [45:09] | It’s extraordinary to think that this tiny room | 想想都觉得很不同寻常 这间小屋子 |
| [45:11] | was the principal gathering place for what is probably | 曾是一群 大概是有史以来 |
| [45:14] | the most celebrated group of artists in history. | 最著名的艺术家的主要的聚会场所 |
| [45:19] | Vincent, who was socially awkward, | 不善社交的文森特 |
| [45:21] | had little appetite for these gatherings | 对这些聚会并不感兴趣 |
| [45:23] | or for the competitive environment it fostered. | 也不喜欢它孕育的竞争氛围 |
| [45:28] | But there was one artist who like him stood out from the crowd. | 但有一位艺术家喜欢他 让文森特另眼相待 |
| [45:33] | His name was Paul Gauguin, | 他就是保罗·高更 |
| [45:33] | 译注: 法国后印象派画家 | |
| [45:35] | and he shared with Vincent a passion for Japanese prints. | 而他与文森特都喜欢日本浮世绘 |
| [45:41] | This was the art-form that | 这种艺术形式 |
| [45:42] | transfixed the western world in the late 19th century. | 在19世纪后期震惊了西方世界 |
| [45:49] | Japanese prints are certainly the most practical way | 日本浮世绘绝对是 |
| [45:51] | of getting to understand the direction | 理解现在绘画走向的 |
| [45:54] | that painting has taken at present. | 最实际的方式 |
| [45:57] | Colourful and bright. | 色彩丰富而明亮 |
| [46:02] | Theo and I have hundreds of them. | 我和提奥收集了上百张 |
| [46:15] | At first, he simply started to copy the prints. | 一开始 他只是做简单的临摹 |
| [46:18] | 広重《龟户梅屋铺》 | |
| [46:22] | 梵高《梅树开花》 | |
| [46:25] | Then, he began to experiment with his own work, | 然后 他开始试着自己创作 |
| [46:28] | cropping objects at the edges and introducing strong diagonals. | 在边缘处剪裁物体 并引入鲜明的对角线 |
| [46:29] | 広重《七里渡口》 | |
| [46:35] | And Japanese prints started to appear in the background | 同时日本浮世绘也开始作为背景 |
| [46:38] | in several of his portraits, | 出现在他几幅画像里 |
| [46:41] | including this one of Pere Tanguy. | 包括这幅皮埃尔·唐吉的画像 |
| [46:46] | However, other Parisian indulgences were not so beneficial. | 不过 他在巴黎的其他嗜好却不怎么有益 |
| [46:52] | Vincent was drinking large amounts of absinthe. | 文森特当时大量饮用苦艾酒 |
| [46:56] | The bohemian lifestyle | 这种波西米亚的生活方式 |
| [46:57] | was damaging his already fragile health. | 损害了他本已脆弱的健康 |
| [47:00] | And his relationship with Theo was becoming seriously strained. | 而他和提奥的关系也变得十分紧张 |
| [47:05] | It’s as if there are two people in him – | 他身体里就像是住了两个人 |
| [47:07] | the one, marvellously gifted, | 一个 天赋异禀 |
| [47:10] | sensitive and gentle, | 体贴而温柔 |
| [47:12] | and the other, self-loving and unfeeling. | 另一个 自恋而冷漠 |
| [47:19] | There was a time when… | 曾经… |
| [47:21] | I loved Vincent very much and he was my best friend, | 我深爱着文森特 他也是我的挚友 |
| [47:24] | but that’s over now. | 但现在都结束了 |
| [47:27] | It seems to be even worse, as far as he is concerned, | 就他看来 情况似乎更糟 |
| [47:29] | for he loses no opportunity to let me see | 他不放过任何机会让我知道 |
| [47:31] | that he despises me and that I inspire aversion in him. | 他鄙视我 见到我就讨厌 |
| [47:36] | This makes it almost intolerable for me at home. | 这让我在家十分难捱 |
| [47:39] | No-one wants to come by any more | 再也没人愿意来拜访了 |
| [47:40] | because it always leads to rows, and | 因为总会跟他发生口角 |
| [47:43] | he’s so filthy and slovenly | 他又脏又邋遢 |
| [47:45] | that the household looks anything but inviting. | 这家里根本无法待客 |
| [48:02] | Vincent had had enough of the quarrels with Theo, | 文森特不想再跟提奥吵架了 |
| [48:05] | and of the artistic egos of the avant-garde. | 也受够了先锋派艺术上的自大 |
| [48:09] | Longing for the peace of the countryside, | 出于对乡村平静生活的渴望 |
| [48:11] | he left Paris in February 1888 | 他于1888年2月离开了巴黎 |
| [48:15] | and headed south to Arles, in Provence. | 往南 去了普罗旺斯的阿尔勒 |
| [48:21] | I want to begin by telling you | 我想告诉你 |
| [48:22] | that this part of the world seems to me | 在我眼中 世界的这一隅 |
| [48:24] | as beautiful as Japan for the clearness of the atmosphere | 像日本一样漂亮 空气清新 |
| [48:28] | and the charm of the colour effects. | 交织的色彩也令人陶醉 |
| [48:31] | Pale orange sunsets, | 日落是淡橘色的 |
| [48:34] | making the fields almost blue. | 田野被照得几乎是蓝色的了 |
| [48:40] | Glorious yellow suns. | 太阳是璀璨的黄色 |
| [48:46] | Soon after his arrival, | 文森特一到达目的地 |
| [48:48] | Vincent moved into The Yellow House on Place Lamartine, | 就搬进了拉马丁广场的黄房子 |
| [48:53] | and set to work at once, | 并立刻着手作画 |
| [48:54] | experimenting with an increasingly vivid palette, | 进行试验 他使用的色彩愈发鲜艳了 |
| [48:58] | convinced that this would be his artistic legacy. | 他坚信 这将是他的艺术遗产 |
| [49:04] | Now that I’ve found my bearings a little more, | 现在我对自己的位置找得更准了 |
| [49:07] | I’m beginning to see the advantages here. | 我开始看到这里的优势 |
| [49:10] | For myself, I’m in better health here than in the north. | 就我而言 我的身体比在北部时好多了 |
| [49:13] | I even work in the wheat fields at midday, | 我甚至大中午在麦田里作画 |
| [49:16] | in the full heat of the sun, without any shade whatever, | 烈日当空 也没有荫凉 |
| [49:19] | and there you are, | 我就待在那儿 |
| [49:20] | I revel in it like a cicada. | 像蝉一样怡然自得 |
| [49:26] | If only I’d known this country at 25, | 要是我二十五岁时就发现这里多好啊 |
| [49:30] | instead of coming here at 35, but | 而不是三十五才到了这里 |
| [49:33] | then I was | 可那时我… |
| [49:35] | enthusiastic about grey, or rather, absence of colour. | 一心喜欢灰色 或者说就不怎么喜欢用颜色 |
| [49:40] | Ah, but this! | 可这里太美了 |
| [49:43] | I don’t need Japanese prints here, | 我在这儿不需要看日本浮世绘 |
| [49:46] | because I’m always saying to myself I’m in Japan. | 我对自己说 我就在日本呢 |
| [49:54] | I’d like to do drawings in the style of Japanese. | 我想画日本风格的画 |
| [49:58] | I can’t do anything but strike while the iron’s hot. | 现在只能趁热打铁 |
| [50:03] | I hope to make real progress this year, | 我希望今年能有真正的进步 |
| [50:05] | which I really need to do. | 我真的很需要进步 |
| [50:15] | However, working alone for days on end took its toll, | 然而 终日作画对他造成了伤害 |
| [50:20] | and depression set in. | 他的情绪陷入低谷 |
| [50:26] | From the letters, it’s clear | 从信中明显能看出 |
| [50:28] | that he was suffering from bipolar disorder. | 他患上了躁郁症 |
| [50:41] | 1888年7月5日 | |
| [50:47] | So many days pass without me saying a word to anyone | 我很多天没跟人说话了 |
| [50:52] | except to order supper or a coffee. | 除了点菜和要咖啡 |
| [50:58] | It’s been like that from the start. | 从一开始就这样 |
| [51:03] | For my part, it worries me to spend so much time by myself, | 对我来说 让我不安的是一个人这么长时间独处 |
| [51:09] | alone. | 孤独一人 |
| [51:12] | Vincent dreamed of establishing an artists’ colony, | 文森特梦想着建立一个艺术家聚居地 |
| [51:16] | a “Studio in the South”, as he called it, | 他称其为”南方画室” |
| [51:18] | where artists could work together in a collegiate culture, | 在这里艺术家能在一种学院的氛围中合作 |
| [51:22] | unlike the more combustible Parisian art world he’d left behind. | 而不像他离开的那个剑拔弩张的巴黎艺术世界 |
| [51:30] | Gauguin is in Brittany, | 高更住在布列塔尼 |
| [51:31] | but has again suffered an attack of his liver complaint. | 但他的肝病又犯了 |
| [51:35] | I wish I were in the same place as him, | 我希望我能在他身边 |
| [51:38] | or he here with me. | 或者他来我这里 |
| [51:47] | My… | 我… |
| [51:49] | dear old Gauguin. | 亲爱的老朋友 高更 |
| [51:56] | I’ve just rented a four-room house here in Arles. | 我刚在阿尔勒租下了一间四室的房子 |
| [52:00] | It seems to me that | 以我之见 |
| [52:02] | if I could find a painter | 如果我能找到一位画家 |
| [52:03] | who wanted to make the most out of the south, | 也想尽力画下南方的美丽 |
| [52:06] | and who was sufficiently absorbed in his work like me, | 并能像我一样足够专注于他的创作 |
| [52:10] | to be inclined to live like a monk, | 有意过僧侣一般的生活 |
| [52:13] | bound up in his work and not inclined to waste his time, then | 忙于作画而不浪费时间 |
| [52:16] | the thing would be very good. | 那该会很不错 |
| [52:17] | 保罗·高更 艺术家 | |
| [52:18] | “And you would give my brother one painting a month, | “你每月得给我弟弟一幅画 |
| [52:21] | – while you’d be free…” – to do whatever you liked with the rest. | -而其他的…” -则随你处置 |
| [52:28] | In the hope of living in a studio with Gauguin, | 怀着与高更同住在一个画室里的希望 |
| [52:30] | I’d like to do a decoration for the studio. | 我想装饰一下画室 |
| [52:34] | Nothing but large sunflowers. | 只用大向日葵来妆点 |
| [52:43] | I also did a canvas of my bedroom | 我还画了一张我卧室的画 |
| [52:45] | with the whitewood furniture that you know. | 你知道屋里摆着白木的家具 |
| [52:47] | It amused me enormously doing this bare interior. | 我觉得这样不加修饰地画出室内布景很有趣 |
| [52:51] | My aim was to give it colours like stained glass, | 我想像彩色玻璃那样给它上色 |
| [52:56] | and a design of solid outlines. | 用实线勾画轮廓 |
| [53:02] | Unfortunately, Gauguin procrastinated, | 可惜高更延迟了旅程 |
| [53:05] | so Vincent bided his time, | 所以文森特等待着 |
| [53:07] | determined to focus on his work | 决心专注于他的作画 |
| [53:09] | in preparation for the great man’s arrival – | 为伟大的画家的到来做准备 |
| [53:13] | even prepared, in principal at least, | 甚至准备 至少从原则上 |
| [53:15] | to curtail some of his favourite pursuits. | 削减一些他钟情的爱好 |
| [53:20] | Painting and screwing around a lot aren’t compatible – | 绘画和到处鬼混是不能相提并论的 |
| [53:25] | it weakens the brain, | 后者会削弱大脑 |
| [53:27] | and that’s what’s really so dammed annoying. | 这才是令人讨厌之处 |
| [53:28] | I’d prefer to be cloistered up like the monks. | 我宁愿像僧侣那样隐居 |
| [53:32] | Free to go to the brothel, just like the monks, | 像僧侣那样可以随意出入妓院 |
| [53:36] | or to the wine shop, if my heart chooses to! | 如果我想的话 还可以去买酒 |
| [53:44] | In my painting of The Night Cafe, | 我画的《夜间咖啡馆》 |
| [53:46] | I’ve tried to express the idea that the cafe is the place | 想表达的意思是在咖啡馆 |
| [53:50] | where you can ruin yourself, go mad, | 你可以堕落 发狂 |
| [53:54] | commit crimes. | 犯罪 |
| [53:58] | Included here, a square canvas, The Starry Sky – | 随信寄去一幅方形的画 画的是星空 |
| [54:04] | actually painted at night, under a gas-lamp. | 我还是点着煤气灯在晚上画的呢 |
| [54:09] | The fields are mauve. | 田野是淡紫色的 |
| [54:11] | The town is blue and violet. | 小镇则是蓝紫相间的 |
| [54:14] | Two small coloured figures of lovers in the foreground. | 前景里有一对彩色的恋人的身影 |
| [54:28] | He’s an odd fellow, but | 他为人古怪 |
| [54:31] | what a head he has on him. | 却又如此天才 |
| [54:35] | It’s enviable. | 真令人羡慕 |
| [54:45] | I shall count myself very happy | 如果我靠作画就足以维持生计 |
| [54:47] | if I manage to work enough to earn my living. | 我将知足常乐 |
| [54:53] | It makes me very worried when I tell myself | 我一想到我画了这么多画 |
| [54:56] | that I’ve done so many paintings and drawings | 却一幅都没卖出去 |
| [54:58] | without ever selling any. | 就让我十分烦恼 |
| [55:12] | Gauguin finally arrived on the 23rd October 1888. | 1888年10月23日 高更终于到了 |
| [55:18] | Turquoise, a vibrant, alive turquoise, as if the sea was bubbling. | 鲜活的蓝绿色 就好像海洋在冒泡 |
| [55:21] | A few days later, the two artists set off | 几天后 两位艺术家去了 |
| [55:24] | for the nearby Roman cemetery at Les Alyscamps, | 附近位于阿利斯康的天主教墓地 |
| [55:27] | intent on depicting the same subject, side by side. | 他们打算并肩而坐 画同样的主题 |
| [55:35] | Vincent painted what he saw and what he felt, | 文森特把他的所见所感都画了下来 |
| [55:38] | the industrial scene in the background is framed by the trees. | 背景里的工厂被框在树里 |
| [55:46] | By contrast, Gauguin had little time for reality. | 相比之下 高更则无暇写实 |
| [55:50] | He painted, as a rule, from memory. | 他一如既往地 凭记忆去画 |
| [55:53] | And in the time it took Gauguin to complete this picture, | 在高更慢慢地有条不紊地 |
| [55:56] | slowly and methodically, | 完成这幅画期间 |
| [55:58] | Vincent, at top speed, had knocked out two more. | 文森特 则快马加鞭 又画了两幅 |
| [56:04] | Gauguin, in spite of himself and in spite of me, | 高更在有意无意间 |
| [56:10] | has proved to me a little it was time to change things a bit. | 让我多少认识到 是时候做些改变了 |
| [56:15] | I’m now working from memory, | 我现在凭记忆作画 |
| [56:18] | and all my earlier studies will still be useful for that work, | 而我之前的习作也能派上用场 |
| [56:22] | as they will remind me | 因为他们会让我记起 |
| [56:25] | of former things that I have seen. | 我之前看到的东西 |
| [56:31] | And one of these was a subject he painted again and again, | 而其中之一就是他反复画的主题 |
| [56:36] | The Sower. | 《播种者》 |
| [56:38] | Now, the influence of Gauguin can clearly be seen. | 现在 高更的影响已经显而易见了 |
| [56:42] | Immense lemon yellow disk for the sun, | 用硕大的柠檬黄的圆盘作为太阳 |
| [56:46] | green-yellow sky with pink clouds. | 天空是黄绿色的 飘着粉色的云彩 |
| [56:50] | The field is violet, | 田野是紫色的 |
| [56:52] | the sower and the tree, Prussian blue. | 播种者和树则是普鲁士蓝的 |
| [56:56] | But Vincent found it difficult painting purely from memory, | 但完全凭记忆作画对文森特来说很难 |
| [57:00] | and soon returned to subjects directly in front of him. | 所以他很快又回到画放在他眼前的物体 |
| [57:06] | The last two studies are rather funny canvases, | 最近画的两幅习作很有意思 |
| [57:10] | a wooden and straw chair all yellow | 一把用木头和草制作的黄色椅子 |
| [57:12] | on red tiles against a wall. | 背靠墙 放在红砖地上 |
| [57:15] | Then Gauguin’s armchair, red and green, | 另一幅画的是高更的扶手椅 红绿相间 |
| [57:18] | night effect. | 画的是晚上的样子 |
| [57:20] | On the seat, two novels and a candle. | 座椅上放着两本小说和一只蜡烛 |
| [57:23] | On sailcloth, in thick impasto. | 我在帆布上用厚涂颜料的画法画的 |
| [57:29] | But it wasn’t long before | 可没过多久 |
| [57:30] | tensions developed between the two artists. | 两位艺术家之间的关系就紧张起来 |
| [57:33] | Gauguin’s work was selling well in Paris – | 高更的画作在巴黎热销 |
| [57:36] | Vincent still couldn’t find buyers. | 文森特却还是找不到买主 |
| [57:39] | He started to drink heavily again. | 他又开始酗酒 |
| [57:42] | His behaviour was becoming odder and odder, | 他的行为越来越古怪 |
| [57:45] | and after just eight weeks, | 仅过了八周 |
| [57:46] | Gauguin became increasing exasperated. | 就惹得高更火冒三丈 |
| [57:50] | I feel completely disorientated in Arles. | 我在阿尔勒感到十分不知所措 |
| [57:53] | I find everything so small | 一切都那么小里小气 |
| [57:55] | and mean, | 平庸 |
| [57:57] | both the landscape and the people. | 风景和居民都是这样 |
| [58:01] | In general, Vincent and myself do not see eye to eye, | 总的来说 我和文森特意见相左 |
| [58:05] | particularly on painting. | 尤其在绘画方面 |
| [58:09] | He likes my pictures very much, | 他很喜欢我的画 |
| [58:11] | but when I’m painting them, | 可我作画的时候 |
| [58:13] | he criticises me for this and that. | 他却指手画脚 吹毛求疵 |
| [58:16] | Vincent and I can absolutely not live side by side without trouble. | 我和文森特绝对不能和平地共处一室 |
| [58:23] | In December 1888, | 1888年12月 |
| [58:25] | Gauguin painted this, Portrait Of van Gogh painting Sunflowers. | 高更画下这幅《正在画向日葵的梵高》 |
| [58:30] | Vincent looked at it in silence, then said, | 文森特默默地看着 然后说 |
| [58:33] | “It’s me all right, but me gone mad.” | “的确是我 但却是疯狂的我” |
| [58:37] | But is it? | 但果真如此吗 |
| [58:41] | When I look at this picture, I don’t see van Gogh at all. | 当我看着这幅画的时候 我根本看不到梵高 |
| [58:45] | I see Gauguin. | 我看到的是高更 |
| [58:47] | And that seems to me to explain a lot about their relationship. | 在我看来 这就很能说明两个人的关系了 |
| [58:53] | A few days later, the two artists got into a heated argument. | 几天之后 两位艺术家爆发了激烈的争论 |
| [59:01] | It was so bizarre I couldn’t take it. | 他的行为怪诞 让我难以忍受 |
| [59:04] | He even asked me, “Are you going to leave?” | 他甚至问我 “你到底走不走” |
| [59:08] | I felt I must go out alone | 我觉得我得一个人出去走走 |
| [59:10] | and take the air | 呼吸一下空气 |
| [59:11] | along some paths | 沿着小路散散步 |
| [59:13] | when I heard behind me a familiar step | 这时就听到后面传来熟悉的脚步声 |
| [59:16] | short, quick, irregular. | 急促 快速 不规则 |
| [59:20] | I turned around on that instant | 我立刻转身 |
| [59:22] | as Vincent rushed towards me, an open razor in hand. | 文森特向我冲来 手里拿着打开的剃刀 |
| [59:29] | Vincent returned to the Yellow House, | 文森特回到黄房子 |
| [59:31] | where, | 在那里 |
| [59:32] | with perhaps the very same knife that he threatened Gauguin with, | 他用可能正是他拿来吓唬高更的那把剃刀 |
| [59:36] | he mutilated his left ear. | 自残左耳 |
| [59:44] | 1888年12月23日 | |
| [59:48] | I wouldn’t exactly have chosen madness | 我倒不想做个疯子 |
| [59:52] | had there been a choice, | 可我别无选择 |
| [59:54] | but once one has something like that, | 不过人得过一次”疯” |
| [59:56] | one can’t catch it any more. | 就不会再得了 |
| [1:00:01] | I find that his condition has improved a little. | 我认为他情况有所好转 |
| [1:00:03] | 阿尔勒医院 菲利克斯·雷伊医生 | |
| [1:00:03] | I don’t believe his life is in danger – for the moment at least. | 我认为他没有生命危险了 至少暂时没有了 |
| [1:00:08] | He’s eating quite well | 他胃口挺好 |
| [1:00:10] | and his physical strength enables him to withstand his crises. | 他的体力也足够他撑过病情危险期 |
| [1:00:14] | My assessment is that he’ll be able to recover in a short time, | 我认为他很快就能恢复 |
| [1:00:18] | while retaining the extreme excitability that must form | 同时 构成他性格本质的极端兴奋性 |
| [1:00:21] | the essence of his character. | 也可得以保留 |
| [1:00:29] | From his hospital room, | 在他的病房里 |
| [1:00:31] | Vincent painted this self-portrait, | 文森特画了这幅自画像 |
| [1:00:33] | one of the most arresting works of art in the world. | 现在它是世界上最引人注目的艺术作品之一 |
| [1:00:42] | The advantages I have here are that they are all sick. | 这里的好处在于大家都是病人 |
| [1:00:48] | And so at least I don’t feel… | 至少我不会觉得… |
| [1:00:51] | alone. | 孤独 |
| [1:00:54] | I’m quite absorbed in reading Shakespeare. | 我沉浸在阅读莎士比亚的作品之中 |
| [1:00:57] | I’ve first taken the kings series | 我首先读的是列王传 |
| [1:01:01] | of which I’ve already read Richard II, | 我已经读过《理查二世》 |
| [1:01:03] | Henry IV, Henry V, | 《亨利四世》《亨利五世》 |
| [1:01:05] | parts of Henry VI. | 《亨利六世》也读了一部分了 |
| [1:01:07] | Have you ever read King Lear? | 你读过《李尔王》吗 |
| [1:01:09] | But anyway, I think I shan’t urge you too much to read such | 不过 我想我不该太催促你读这么 |
| [1:01:14] | dramatic stories? | 戏剧化的故事 |
| [1:01:18] | When after reading them myself I… | 我读了这些书之后 我… |
| [1:01:22] | I’m always obliged to go and gaze at a blade of grass | 我总觉得要去看看草叶 |
| [1:01:28] | pine tree branch, | 松树枝 |
| [1:01:31] | an ear of wheat | 麦穗 |
| [1:01:34] | to calm myself. | 来平复心情 |
| [1:01:40] | Vincent suffered repeated episodes of mental instability | 文森特在阿尔勒医院住院期间 |
| [1:01:43] | whilst in the hospital here in Arles. | 精神不稳定反复发作 |
| [1:01:46] | But in between these fits, | 但在发病间隙 |
| [1:01:47] | he was well enough to find comfort in his art, | 他的健康状况还允许他在艺术中找寻慰藉 |
| [1:01:50] | painting the grounds here and the ward. | 他画下了这里庭院和病房 |
| [1:01:58] | After five months in hospital, | 他住院五个月 |
| [1:02:00] | mindful perhaps of his precarious mental state, | 或许心里还惦记着他不稳定的精神状态 |
| [1:02:03] | he was reluctant to return home alone to the Yellow House. | 他不情愿地独自回到了黄房子的家 |
| [1:02:07] | And with Theo’s help, | 在提奥的帮助下 |
| [1:02:09] | he voluntarily admitted himself to the nearby asylum at Saint-Remy. | 他自愿住进了附近圣雷米的精神病院 |
| [1:02:15] | Dear Director, with the agreement | 亲爱的院长 经当事人 |
| [1:02:17] | of the person involved, who is my brother, | 也就是我哥哥的同意 |
| [1:02:19] | I am writing to request the admission into your institution | 我写信请求你获准文森特·威廉·梵高 |
| [1:02:22] | of Vincent Willem van Gogh. | 住进你们的精神病院 |
| [1:02:25] | I ask you to admit him with your third-class residents. | 我请求你将他与你们的三等病人安排在一起 |
| [1:02:28] | I hope you will have no objection | 如果他想离开你们医院 |
| [1:02:30] | to allowing him the freedom to paint | 外出作画 |
| [1:02:31] | outside your institution whenever he wishes to do so. | 届时希望你不会反对 |
| [1:02:36] | Further, | 另外 |
| [1:02:38] | without elaborating on the attention he will require, | 关于他需要的照顾 我就不多说了 |
| [1:02:41] | but which I assume | 但我想 |
| [1:02:42] | is given with the same care to all your residents, | 应该会受到与你们其他病人一视同仁的待遇 |
| [1:02:45] | I hope you will be so kind as to allow him to have at least | 我希望你能允许他至少 |
| [1:02:49] | half a litre of wine with his meals. | 每餐喝半升酒 |
| [1:02:56] | Vincent arrived here at Saint-Remy on 8th May 1889, | 文森特于1889年5月8日到达圣雷米 |
| [1:03:01] | where he would remain for a year. | 他将在这儿待上一年 |
| [1:03:04] | The letters he wrote during that time | 他在这段时期写的信 |
| [1:03:07] | are a heart-wrenching confession | 是令人心碎的告白 |
| [1:03:09] | of his coming to terms with his condition. | 写下了他渐渐屈服于自己的病情 |
| [1:03:16] | I wanted to tell you that | 我想告诉你 |
| [1:03:20] | I’ve done well to come here. | 我来这儿是件好事 |
| [1:03:24] | First, in seeing the reality of the lives of the | 一开始 在这个动物园 |
| [1:03:27] | mad, cracked people in this menagerie. | 看到真正的疯子 精神病 |
| [1:03:32] | I’m losing the vague dread, the fear of the thing. And… | 我对他们的朦胧的恐惧消失了 |
| [1:03:37] | little by little, I can come to consider madness | 我逐渐能把疯狂 |
| [1:03:39] | as being an illness like any other. | 也看做是一种病症 |
| [1:03:43] | As far as I know, the doctor here is inclined to | 据我所知 这里的医生倾向于 |
| [1:03:46] | consider what I’ve had as an attack of | 认为我的疾病是一种 |
| [1:03:48] | an epileptic nature. | 癫痫发作 |
| [1:03:52] | It’s quite odd perhaps that the result of this terrible attack is | 或许奇怪的是 这可怕的发作 |
| [1:03:55] | that in my mind there’s hardly any really clear desire or | 整的我浑浑噩噩 |
| [1:03:59] | hope left. | 了无希望 |
| [1:04:02] | I’m thinking of squarely accepting my profession as a madman. | 我在考虑干脆承认我就是个全职疯子了 |
| [1:04:13] | There were days, sometimes weeks, | 有时数日 甚至数周 |
| [1:04:15] | when Vincent was unable to work, | 文森特不能作画 |
| [1:04:17] | tormented by spells of mental illness. | 被精神疾病所折磨 |
| [1:04:20] | But these alternated with periods of amazing creativity | 但其他时候 他的创造力却叹为观止 |
| [1:04:24] | in which he was extremely productive. | 他也极其高产 |
| [1:04:36] | He was given permission to paint in the surrounding countryside | 他获准在周围的乡村作画 |
| [1:04:40] | and sent dozens of paintings to Theo in Paris. | 并给身在巴黎的提奥寄去了十数幅画 |
| [1:04:57] | Thanks very much for the consignment of canvases, | 谢谢你寄来的画布 |
| [1:05:00] | colours, brushes, tobacco and chocolate, | 颜料 画笔 烟草和巧克力 |
| [1:05:03] | which reached me in good order. | 我都完好地收到了 |
| [1:05:07] | I was very glad of it, | 我非常高兴 |
| [1:05:10] | for I was pining for work a little. | 我正渴望多画些画 |
| [1:05:15] | Also, for a few days now | 另外 这几日 |
| [1:05:16] | I’ve been going outside to work in the neighbourhood. | 我一直出去在这附近作画 |
| [1:05:19] | What a beautiful land and what beautiful blue and what a sun. | 多美的山水 多美的蓝色 多美的太阳啊 |
| [1:05:26] | So then my brush goes between my fingers | 我的画笔在我指尖游走 |
| [1:05:28] | as if it were the bow on a violin and | 仿佛飞舞在小提琴上的琴弓 |
| [1:05:30] | absolutely for my pleasure. | 完全随我的心意舞动 |
| [1:05:37] | I’m struggling with a canvas | 我在努力完成一幅画 |
| [1:05:39] | begun a few days before my indisposition. | 是我抱恙几天前开始的画的 |
| [1:05:44] | A reaper, the study is all in yellow, | 是一幅收割者的习作 画面一片黄色 |
| [1:05:48] | terribly thickly impasted, | 我着色很厚 |
| [1:05:50] | but the subject was beautiful and simple. | 但画的主题却是简单而美丽的 |
| [1:05:55] | A vague figure struggling like a devil | 一个模糊的身影 像个魔鬼 |
| [1:05:57] | in the full heat of the day to reach the end of his toil. | 在炎炎烈日下 辛苦地完成他的工作 |
| [1:06:04] | And then saw the image of death in it, | 然后我在画里看到了死亡的形象 |
| [1:06:08] | in the sense that humanity would be like the wheat being reaped. | 就是说人最终也会像麦子一样被收割 |
| [1:06:08] | 译注: 在西方 死神的形象是身披黑袍 手持镰刀 | |
| [1:06:15] | So, if you like, | 可以说 |
| [1:06:16] | it’s the opposite of that sower I tried before. But… | 这与我之前画的播种者正相反 但是… |
| [1:06:19] | in this death, nothing’s sad, | 这样的死亡并不哀伤 |
| [1:06:21] | it takes place in broad daylight with a sun that | 它发生在光天化日之下 |
| [1:06:25] | floods everything with a light of fine gold. | 太阳给万物洒下了一层金色 |
| [1:06:34] | Your latest paintings have given me a great deal to think about | 你最近的画作 让我对你 |
| [1:06:37] | as regards your state of mind when you made them. | 作画时候的心理状态 想了很多 |
| [1:06:40] | All of them have | 所有的画作都蕴含着 |
| [1:06:43] | a power of colour | 色彩的力量 |
| [1:06:45] | which you hadn’t attained before, | 这是你之前没做到的 |
| [1:06:47] | which in itself is | 就其本身而言 |
| [1:06:49] | a rare quality, | 已是少见的才华 |
| [1:06:52] | but you’ve gone further. | 但你却更上一层楼 |
| [1:06:57] | But how hard your mind must have worked | 可你的大脑一定工作得非常辛苦 |
| [1:06:59] | and how you endangered yourself to the extreme point where | 你甚至冒险把自己推向极限 |
| [1:07:05] | vertigo is inevitable. | 都不免产生了眩晕 |
| [1:07:09] | Let me quietly continue my work. | 让我安静地继续作画吧 |
| [1:07:12] | If it’s that of a madman, well then, too bad. | 如果不能作画我就要疯掉 那也没办法 |
| [1:07:16] | Then I can’t do anything about it. | 那我也无计可施 |
| [1:07:23] | And around this time, | 就在此期间 |
| [1:07:24] | Vincent got the only review ever to appear in his lifetime, | 文森特得到了他一生唯一的评论 |
| [1:07:29] | by the young critic, Albert Aurier. | 评论出自年轻的评论家 艾伯特·奥瑞耶 |
| [1:07:31] | What characterises his works as a whole | 他的作品的整体特征 |
| [1:07:32] | 艾伯特·奥瑞耶 艺术评论家 | |
| [1:07:34] | is its excess of strength, | 是过剩的力度 |
| [1:07:38] | of nervousness, | 过度的神经质 |
| [1:07:41] | its violence of expression. | 是那种激烈的表达 |
| [1:07:46] | His colour we know already, | 我们已经了解他的用色 |
| [1:07:48] | unbelievably dazzling | 难以置信的炫目 |
| [1:07:51] | with this metallic, jewel-like quality. | 并且有种金属的宝石般的质感 |
| [1:07:57] | In his categorical affirmation of character of things, | 从他对事物特征的决断中 |
| [1:08:00] | a powerful figure is revealed – | 我们看到了一个强势的形象 |
| [1:08:04] | masculine | 具有阳刚之气 |
| [1:08:06] | daring, | 大胆的 |
| [1:08:09] | very often brutal | 甚至常常是野蛮的 |
| [1:08:17] | yet sometimes | 可有时 |
| [1:08:20] | ingeniously delicate. | 却又天才的细腻 |
| [1:08:24] | Vincent stayed at St Remy for over a year, | 文森特在圣雷米待了一年多 |
| [1:08:27] | but he began to fear being labelled the mad artist, | 但他怕被人冠以疯子艺术家的名号 |
| [1:08:31] | so once again, | 所以他又一次 |
| [1:08:33] | he asked Theo for help. | 向提奥求助 |
| [1:08:35] | I don’t feel competent enough | 我认为我不够资格 |
| [1:08:36] | to judge the way they treat patients here, | 去评判这里对待病人的方式 |
| [1:08:38] | 1890年5月4日 | |
| [1:08:38] | and nor do I have any desire to enter into the detail, | 我也并不想细说 |
| [1:08:41] | but please remember that around six months ago | 但请你想想六个月前 |
| [1:08:44] | I warned you | 我曾说过 |
| [1:08:45] | that if I was seized by a crisis of a similar nature, | 如果我受到此类危机感的困扰 |
| [1:08:49] | that I would wish to change asylums. | 我会想要转院 |
| [1:08:52] | And I’ve delayed too long already, | 我已经耽搁太久了 |
| [1:08:54] | having allowed an attack to go by in the meantime. | 在此期间就发生了一次发作 |
| [1:08:56] | I was then in the middle of work, | 我那时正在作画 |
| [1:08:57] | and I wanted to finish canvases in progress, | 我一心想完成那幅画 |
| [1:09:00] | otherwise I would no longer be here by now. | 否则我现在就不在了 |
| [1:09:03] | Right, so | 好吧 |
| [1:09:05] | I’m going to tell you | 我想跟你说 |
| [1:09:07] | that it seems to me that a fortnight, | 我认为在两周内 |
| [1:09:09] | though a week would please me more, | 当然一周就更好了 |
| [1:09:12] | should be enough to take the necessary steps to move. | 就足够让我转院了 |
| [1:09:17] | During his stay in the home, this patient, | 这名病人在疗养院住院期间 |
| [1:09:20] | who is calm for most of the time, | 绝大部分时间很平静 |
| [1:09:21] | 裴伦医生 圣雷米疗养院院长 | |
| [1:09:22] | has had several attacks | 但有过几次发作 |
| [1:09:25] | lasting for between two weeks and a month. | 持续时间从两周到一个月不等 |
| [1:09:28] | During these attacks, he is subject to terrifying terrors, | 他病发期间 他陷入极度恐慌中 |
| [1:09:33] | and has on several occasions attempted to poison himself, | 并且几次试图服毒 |
| [1:09:37] | either by swallowing colours that he used for painting, | 要么是吞食他用来作画的颜料 |
| [1:09:40] | or by ingesting paraffin, | 要么是咽石蜡 |
| [1:09:43] | which he had taken from the boy when he was filling his lamps. | 石蜡是从来给他换蜡烛的护工那里夺的 |
| [1:09:50] | In the interval between attacks, | 他不发病的时候 |
| [1:09:51] | the patient is perfectly calm and lucid, | 病人非常平静 头脑清醒 |
| [1:09:54] | and passionately devotes himself to painting. | 并且充满热情地专注于绘画 |
| [1:09:58] | He is asking to be discharged today | 今天他要求出院 |
| [1:10:01] | in order to go to live in the north of France, | 想要去法国北部生活 |
| [1:10:04] | hoping that climate will suit him better. | 希望那里的气候会更适合他 |
| [1:10:12] | In May 1890, he moved to Auvers, close to Paris, | 1890年5月 他搬去了离巴黎不远的欧韦 |
| [1:10:17] | with a letter of introduction from Theo to a Dr Paul Gachet. | 还带着提奥写给保罗·加歇医生的介绍信 |
| [1:10:22] | 拉武旅馆 | |
| [1:10:22] | 贩酒餐馆 | |
| [1:10:23] | 拉武旅馆 | |
| [1:10:23] | 贩酒餐馆 | |
| [1:10:24] | And he rented an attic room here at the Auberge Ravoux. | 他在拉武旅馆租下了一间阁楼 |
| [1:10:25] | 贩酒餐馆 | |
| [1:10:26] | 贩酒餐馆 | |
| [1:10:34] | Once settled in Auvers, | 在欧韦安顿下来后 |
| [1:10:36] | Vincent set himself a punishing schedule, | 文森特给自己定下了十分劳顿的日程 |
| [1:10:39] | leaving his room at five in the morning | 早上五点就离开房间 |
| [1:10:41] | to go out and paint in fields | 去田野里作画 |
| [1:10:43] | and not returning till nine at night. | 晚上九点才回来 |
| [1:10:46] | It was a period of intense activity | 这段时期他紧张地工作 |
| [1:10:49] | in which he produced a canvas a day. | 每日完成一幅画 |
| [1:10:53] | 1890年6月5日 | |
| [1:10:57] | Being back north, | 回到北方来 |
| [1:10:59] | I am very distracted. | 我感到目不暇接 |
| [1:11:01] | I did a portrait of Dr Gachet the other day. | 我前几天画了幅加歇医生的画像 |
| [1:11:06] | You have a face, | 你看这张脸 |
| [1:11:07] | the colour of over-heated and sun-drenched brick, | 他的脸色像是被阳光烤透了的砖头 |
| [1:11:14] | with reddish hair, | 头发略带红色 |
| [1:11:16] | a white cap, blue background. | 白帽子 蓝背景 |
| [1:11:20] | He’s very nervous and | 他很神经质 |
| [1:11:22] | very bizarre. | 很怪诞 |
| [1:11:26] | My portrait of myself is almost like this too – | 我的自画像跟这幅也极为相似 |
| [1:11:29] | so similar are we physically, and morally. | 我们体貌和内心都很相像 |
| [1:11:35] | I think he is sicker than I am, or | 我觉得他比我病得还重 |
| [1:11:38] | shall we say, just as much? | 也或者该说我们半斤八两 |
| [1:11:43] | When one blind man leads another, | 瞎子给盲人指路 |
| [1:11:45] | don’t they both fall into the ditch? | 两个人还不得一起栽进沟里吗 |
| [1:11:52] | Although Vincent doubted Dr Gachet’s ability to help him, | 虽然文森特对加歇医生的能力存有顾虑 |
| [1:11:56] | they did become good friends. | 他们还是成了好友 |
| [1:11:59] | He dined at his house and painted his daughter. | 他去他家吃饭 还给他女儿画像 |
| [1:12:02] | They had much in common. | 他们很有共同语言 |
| [1:12:04] | Gachet was not only a physician but also an amateur artist, | 加歇并不只是个医生 还是业余艺术家 |
| [1:12:07] | and deeply involved in the treatment of mental malaise. | 并且在精神抑郁的治疗方面涉足很深 |
| [1:12:11] | But despite the doctor’s sympathetic ear, | 虽然医生出于同情而聆听他的心声 |
| [1:12:14] | Vincent is still alone. | 文森特仍感到孤单 |
| [1:12:25] | Since my illness, the feelings | 因为我的疾病 |
| [1:12:28] | of loneliness takes hold of me in the fields | 我在田野里常感到孤单 |
| [1:12:33] | in such a fearsome way that I hesitate to go out. | 这感觉令人如此生畏 以至我不敢出门 |
| [1:12:40] | With time, though, that will change. | 但过段时间会有所改变的 |
| [1:12:45] | It’s only in front of the easel while painting that | 只有站在画架前作画时 |
| [1:12:48] | I feel a little of life. | 我才感到一丝生命力 |
| [1:12:55] | I feel | 我觉得 |
| [1:13:00] | a failure. | 很失败 |
| [1:13:04] | That’s it is regards me. | 我就是这样了 |
| [1:13:08] | I feel that that’s the fate I’m accepting, | 我觉得我在接受这样的命运 |
| [1:13:14] | and which won’t change any more. | 也不会再有改观了 |
| [1:13:32] | In July 1890, he returned to Paris to visit Theo | 1890年7月 他回到巴黎去看望提奥 |
| [1:13:36] | and his sister-in-law, Jo, | 和他弟媳乔 |
| [1:13:39] | and to see for the first time his recently-born nephew, | 并第一次见到他刚出生的侄子 |
| [1:13:43] | Vincent. | 文森特 |
| [1:13:45] | Theo explained to him that he now had responsibilities, | 提奥对他说 他现在肩负责任 |
| [1:13:49] | with a young family to support. | 要养家糊口 |
| [1:13:52] | Vincent now feared that he was becoming a liability. | 文森特担心他成了累赘 |
| [1:13:57] | Distressed, he returned to Auvers that same evening. | 他十分烦恼 当晚就回了欧韦 |
| [1:14:05] | I feared, | 我怕 |
| [1:14:06] | not completely but a little nonetheless, | 我多多少少 |
| [1:14:10] | that I was a danger to you. | 危及了你的生活 |
| [1:14:16] | Living at your expense. | 靠你的接济度日 |
| [1:14:22] | Perhaps like to write to you about many things. | 给你写信说了很多事 |
| [1:14:29] | Profess the desire has passed to such a degree | 可这种倾诉的欲望已经消退 |
| [1:14:31] | that I feel the pointlessness of it. | 我甚至觉得它毫无意义 |
| [1:14:49] | I’m applying myself to my canvases with all my attention. | 我全神贯注地投入到绘画中 |
| [1:14:55] | They’re immense stretches of wheat fields | 我画麦田在躁动的天空下 |
| [1:14:58] | under turbulent skies. | 无垠地伸展 |
| [1:15:02] | And I made a point of trying to express sadness, | 我特别注意去表达一种伤感 |
| [1:15:07] | extreme loneliness. | 极度的孤独感 |
| [1:15:13] | Look after yourself | 保重 |
| [1:15:16] | and handshakes in thought. | 握手 |
| [1:15:24] | Yours truly, | 你忠实的 |
| [1:15:28] | Vincent. | 文森特 |
| [1:15:40] | Four days after writing his final letter to Theo, | 给提奥写下这封绝笔信后四天 |
| [1:15:44] | he went into the wheatfields | 他走进麦田 |
| [1:15:46] | and shot himself in the chest. | 对自己胸口开了一枪 |
| [1:15:50] | He managed to crawl back here | 他爬回了这里 |
| [1:15:52] | and climb these stairs to his attic room. | 爬上了自己的阁楼 |
| [1:16:01] | Two days later, he died here, in this room, at the age of 37, | 两天后 他死在这间房里 享年三十七岁 |
| [1:16:07] | with Theo at his side. | 提奥就在他身旁 |
| [1:16:19] | Dr Gachet and the other doctor were | 加歇医生 和另一位医生 |
| [1:16:22] | excellent and looked after him very well, but, | 他们很好 精心地照顾他 |
| [1:16:25] | realised from the very first moment | 但从一开始大家就知道 |
| [1:16:27] | there was nothing anyone could do. | 已经无力回天了 |
| [1:16:33] | Vincent said, “This is the way I would like to go.” | 文森特说 “我就是想这样离开人世” |
| [1:16:39] | And half an hour later, he had his way. | 半个小时后 他如愿了 |
| [1:16:49] | Life weighed so heavily upon him. | 他活得如此艰辛 |
| [1:16:55] | But as always happens, | 可世事总是如此 |
| [1:16:56] | everyone is now full of praise for his talent. | 现在大家都对他的才华赞赏有加 |
| [1:17:28] | Vincent wanted everyone to understand his art, | 文森特希望人人都能理解他的艺术 |
| [1:17:32] | he wanted it, he said, | 他说 他希望他的作品能 |
| [1:17:33] | “To say something consoling, like music.” | “像音乐一样慰藉心灵” |
| [1:17:37] | Perhaps the only person who really understood him in his lifetime | 或许他生前唯一真正理解他的人 |
| [1:17:40] | was his brother, Theo, | 就是他弟弟提奥 |
| [1:17:42] | who died just six months later of syphilis, at the age of 33. | 他仅仅六个月后就死于梅毒 享年三十三岁 |
| [1:17:49] | They’re now buried here, | 现在他们安葬于此 |
| [1:17:50] | 提奥多尔·梵高 长眠于此 | |
| [1:17:50] | 提奥多尔·梵高 长眠于此 | |
| [1:17:51] | side by side, in Auvers. | 并排葬在欧韦 |
| [1:17:51] | 文森特梵高 长眠于此 | |
| [1:17:51] | 提奥多尔·梵高 长眠于此 | |
| [1:17:52] | 文森特梵高 长眠于此 | |
| [1:17:52] | 提奥多尔·梵高 长眠于此 | |
| [1:17:53] | 文森特梵高 长眠于此 | |
| [1:17:54] | The ivy which seems to overwhelm their graves | 爬满了他们坟墓的常春藤 |
| [1:17:54] | 文森特梵高 长眠于此 | |
| [1:17:55] | 文森特梵高 长眠于此 | |
| [1:17:57] | also serves to bind them together. | 把他们连在了一起 |
| [1:17:59] | It was once a cutting from Dr Gachet’s garden. | 这常春藤是从加歇医生的花园扦插过来的 |
| [1:18:03] | Van Gogh only sold a few artworks in his life. | 梵高生前只卖出几幅画作 |
| [1:18:06] | Today, they’re worth millions, | 但今天 他的作品却价值连城 |
| [1:18:09] | ironic, maybe, | 或许有些讽刺 |
| [1:18:10] | but Vincent seemed to know all along | 但文森特似乎一直就知道 |
| [1:18:13] | what would happen. | 将会发生什么 |
| [1:18:22] | We’re now living here in a world of painting, | 我们现在住在画的世界 |
| [1:18:26] | where everything is occupied by people, | 到处都是人 |
| [1:18:31] | who all intercept money. | 人人都在敛财 |
| [1:18:34] | And you mustn’t think that I’m imagining things. | 你不要觉得我在瞎想 |
| [1:18:38] | People pay a lot for the work when the painter himself is dead. | 画家一死 人们就会出大钱买他的作品 |
| [1:19:11] | 本片中演员的每句台词 都直接取自文森特·梵高本人的信件 以及他身边人的信件和证词 | |
| [1:19:19] | 由安德鲁·霍顿和艾伦·闫陶博 改编为剧本 | |