环球百事通！新概念英语第四册课本原文：作家之所需

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课文39 作家之所需

720. I have known very few writers,

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我的认识的作家寥寥无几，

721. but those I have known, and whom I respect, confess at once that they have little idea where they the are going when they first set pen to paper.

然而凡是我所认识和尊敬【jìng】的作家，都【dōu】立【lì】即承认在他们动【dòng】笔时【shí】，不清楚要写什【shí】么，怎么写。

722. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration;

他们心中【zhōng】只在一个或【huò】两【liǎng】个角色。他们处于【yú】急切不安的状【zhuàng】态，而被【bèi】当作是灵【líng】感。

723. all admit radical changes of destination once the journey has begun;

他们无不承认，一旦“旅程”开始，“目的地”常有急剧的变化。

724. one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in the Scottish Highlands.

据我所知【zhī】，有【yǒu】位作家花了9个月的时【shí】间写了一部关克什米【mǐ】尔的小说，后来【lái】却【què】把整个【gè】故事背景换成了苏格兰高地。

725. I never heard of anyone making a "skeleton", as we were taught at school.

我从未听说过任何一位作家像我们在学校那样，

726. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began.

动笔前先列什么提纲。作【zuò】家在剪【jiǎn】裁修【xiū】改【gǎi】、构思时间、穿插【chā】情节、以至从头重写【xiě】的过程中，会【huì】领【lǐng】悟到素【sù】材中【zhōng】很多东西是他刚【gāng】动笔时所未意【yì】识到的。

727. This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination.

这种有机的【de】加【jiā】工过【guò】程往往达到不【bú】寻常自【zì】我发现的境界，具【jù】有难以言表的构思魅力。

728. A blurred image appears; he adds a brushstroke and another, and it is gone;

一个朦胧【lóng】的形象出现在【zài】作家的脑【nǎo】海【hǎi】里【lǐ】，他左添【tiān】一笔，右添一笔，形象反【fǎn】而消逝了;

729. but something was there, and he will not rest till he has captured it.

可是，好像还有什么东西存在着【zhe】，不把它捕【bǔ】捉到，作家【jiā】是不会罢休的。

730. Sometimes the yeast within a writer outlives a book he has written.

有时，一个作家一本书写完了，但兴奋仍不消散。

731. I have heard of writers who read nothing but their own books;

我听说一些作家，除了自己的书外，别的书一概不读，

732. like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them.

犹如希【xī】腊神话中那位漂亮的少年，站在【zài】镜前，不【bú】能辨认【rèn】自【zì】身的真面目。

733. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, super-imposing new ones, begging response from those around them.

由于这个原因【yīn】，作家喋【dié】喋【dié】不休【xiū】地谈【tán】论自己的书【shū】，挖掘【jué】其隐【yǐn】晦的含义，询问周围人的反应。

734. Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair.

作【zuò】家如【rú】此行【háng】事【shì】当然被人误解【jiě】。他还不【bú】如给人讲一【yī】个犯罪案件或一个恋爱故事。

735. He is also, incidentally, an unforgivable bore.

顺便说一句，他也是个不可饶恕的令人厌烦的人。

736. This temptation to cover the distance between himself and the reader,

这种企图消除自己和读者之间距离的作法，

737. to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.

企【qǐ】图用【yòng】不了解自己【jǐ】的人的观点来研究自【zì】己【jǐ】塑造的形象的作法，会导致作家的毁灭【miè】，因为他已【yǐ】经开始为取悦【yuè】他人而写作了。

738. A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow.

一两年前，一位年轻的英国作家发表【biǎo】了中【zhōng】肯【kěn】的看法。他说，初【chū】稿是才华，以后各稿是艺术。

739. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within.

也【yě】是由于这个原【yuán】因，作家【jiā】同任何艺术家一样，找不【bú】到可休【xiū】息的场所，找不到伙伴和活【huó】动使自己得到安【ān】逸。任何【hé】局外人的判【pàn】断也比【bǐ】不上他内心的【de】正【zhèng】确判断。

740. A writer makes order out of the anarchy of his heart;

一旦作家从内心的紊乱中理出头绪，

741. he submits himself to a more ruthless discipline than any critic dreamed of,

就应该按任何评论家想像不到的无情规范约束自己写作;

742. and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.

当他【tā】沽名钓誉时，他就脱离了自【zì】我生活，脱离了对自己灵【líng】魂【hún】最【zuì】深【shēn】处世界的探索。

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