Of Human Bondage  人性的枷锁

‘Aber, Adolf,’ said the Frau Professor from the other end of the table. ‘Calm yourself.’

"Abor,Adolf,教授太太在桌子另一端说,"别激动嘛!"

He shook his fist at her. He was the mildest of creatures and ventured upon no action of his life without consulting her.

他朝她扬了扬拳头。他这个人的性格再温驯不过,从不敢不向太太请教就贸然行事的。

‘No, Helene, I tell you this,’ he shouted. ‘I would sooner my daughters were lying dead at my feet than see them listening to the garbage of that shameless fellow.’

"不,海伦,你听我说,"他大声嚷嚷,"我情愿让女儿死在我脚下,也不放她们去听那个无耻之尤的无聊废话。"

The play was The Doll’s House and the author was Henrik Ibsen.

那出戏是《玩偶之家》,作者是亨利克·易卜生。

Professor Erlin classed him with Richard Wagner, but of him he spoke not with anger but with good-humoured laughter. He was a charlatan but a successful charlatan, and in that was always something for the comic spirit to rejoice in.

欧林教授把易卜生和理查德·瓦格纳归在一类里,但是他谈到后者时,并不生气,只是不甚计较地哈哈一笑。瓦格纳是个冒充内行的河湖客,不过冒充得不露破绽,单凭这一点,就颇有几分喜剧色彩,足以令人陶然。

‘Verruckter Kerl! A madman!’ he said.

"Verruckter kerl!"他说。

He had seen Lohengrin and that passed muster. It was dull but no worse. But Siegfried! When he mentioned it Professor Erlin leaned his head on his hand and bellowed with laughter. Not a melody in it from beginning to end! He could imagine Richard Wagner sitting in his box and laughing till his sides ached at the sight of all the people who were taking it seriously. It was the greatest hoax of the nineteenth century. He lifted his glass of beer to his lips, threw back his head, and drank till the glass was empty. Then wiping his mouth with the back of his hand, he said:

他看过《洛亨格林》,这出歌剧还算过得去,虽然有点沉闷,还不至于太糟。但是《齐格弗里特》,欧林教授一提到这出歌剧,就把头往于上一靠,声若洪钟似地大笑起来。歌剧从头到尾,一节悦耳动听的旋律也没有。不妨可以作这样的想象:剧作家理查德·瓦格纳本人就坐在包厢里,看到台下所有观众都在一本正经地观看这出歌剧,他忍俊不禁,最后连肚子也笑疼了。这是十九世纪最大的骗局。欧林教授把自己的那杯啤酒举到嘴唇边,头往后一仰,一饮而尽。然后,他用手背抹了抹嘴,说:

‘I tell you young people that before the nineteenth century is out Wagner will be as dead as mutton. Wagner! I would give all his works for one opera by Donizetti.’

"年轻人,我可以告诉你们,不出十九世纪,瓦格纳就会被人们忘得一干二净。瓦格纳!我宁愿拿他所有的作品去换唐尼采蒂的一出歌剧。"