Chapter Ⅳ 接过墨客的衣钵摇旗呐喊（3）
《最震撼人心的声音》作者：姜宇 2017-02-11 10:27
Chapter Ⅳ 接过墨客的衣钵摇旗呐喊（3）
关于“深色的”这个词是这样产生的：一扇巨大的窗户，傍晚的天空，一个男人，A(后来成为迪力), 和一个女人, B(后来成为凯特), 坐着饮酒。“胖子还是瘦子?”男人问道。他们在谈论谁？然后我看见站在窗边的女人，C(后来成为安娜)在另一种光线下，她背对着他们，她的头发是深色的。
“Dark.” A large window. Evening sky. A man, A (later to become Deeley), and a woman, B (later to become Kate), sitting with drinks. “Fat or thin?” the man asks. Who are they talking about? But I then see, standing at the window, a woman, C (later to become Anna), in another condition of light, her back to them, her hair dark.
这是个奇特的时刻，这个时刻正在被创造的人物此刻之前还不存在。接下来的是无规则的、不确定的，甚至是幻觉的，尽管有的时候它可以是不可阻挡的雪崩。作者的位置是古怪的。一方面他并不为戏剧中的人物所欢迎，这些人物抗拒他，和他们在一起很不容易，无法定义他们，你肯定不能对他们发号施令。在一定程度上你同他们做着永无终结的游戏，猫捉老鼠，瞎子识人，捉迷藏。但最终你发现你手上有了有血肉的人，他们有他们自己的意愿和感情，通过角色存在着，你不能改变、操纵或者歪曲他们。
It’s a strange moment, the moment of creating characters who up to that moment have had no existence. What follows is fitful, uncertain, even hallucinatory, although sometimes it can be an unstoppable avalanche. The author’s position is an odd one. In a sense he is not welcomed by the characters. The characters resist him, they are not easy to live with, they are impossible to define. You certainly can’t dictate to them. To a certain extent you play a never-ending game with them, cat and mouse, blindman’s buff, hide-and-seek. But finally you find that you have people of flesh and blood on your hands, people with will and an individual sensibility of their own, made out of component parts you are unable to change, manipulate or distort.
所以艺术中语言依然是高度模糊的行当，是那种踩上去迅速下沉的危险流沙区，是那种弹簧蹦床，是那种在作家的脚下随时随地塌陷下去的冻结成冰的水池。
So language in art remains a highly ambiguous transaction, a quicksand, a trampoline, a frozen pool which might give way under you, the author, at any time.
但是正如我所说的，寻求真理永远不能停止。它不能被阻止，不能被延缓。它必须被面对着，就在此时此地。
But as I have said, the search for the truth can never stop. It cannot be adjourned, it ca
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关于“深色的”这个词是这样产生的：一扇巨大的窗户，傍晚的天空，一个男人，A(后来成为迪力), 和一个女人, B(后来成为凯特), 坐着饮酒。“胖子还是瘦子?”男人问道。他们在谈论谁？然后我看见站在窗边的女人，C(后来成为安娜)在另一种光线下，她背对着他们，她的头发是深色的。
“Dark.” A large window. Evening sky. A man, A (later to become Deeley), and a woman, B (later to become Kate), sitting with drinks. “Fat or thin?” the man asks. Who are they talking about? But I then see, standing at the window, a woman, C (later to become Anna), in another condition of light, her back to them, her hair dark.
这是个奇特的时刻，这个时刻正在被创造的人物此刻之前还不存在。接下来的是无规则的、不确定的，甚至是幻觉的，尽管有的时候它可以是不可阻挡的雪崩。作者的位置是古怪的。一方面他并不为戏剧中的人物所欢迎，这些人物抗拒他，和他们在一起很不容易，无法定义他们，你肯定不能对他们发号施令。在一定程度上你同他们做着永无终结的游戏，猫捉老鼠，瞎子识人，捉迷藏。但最终你发现你手上有了有血肉的人，他们有他们自己的意愿和感情，通过角色存在着，你不能改变、操纵或者歪曲他们。
It’s a strange moment, the moment of creating characters who up to that moment have had no existence. What follows is fitful, uncertain, even hallucinatory, although sometimes it can be an unstoppable avalanche. The author’s position is an odd one. In a sense he is not welcomed by the characters. The characters resist him, they are not easy to live with, they are impossible to define. You certainly can’t dictate to them. To a certain extent you play a never-ending game with them, cat and mouse, blindman’s buff, hide-and-seek. But finally you find that you have people of flesh and blood on your hands, people with will and an individual sensibility of their own, made out of component parts you are unable to change, manipulate or distort.
所以艺术中语言依然是高度模糊的行当，是那种踩上去迅速下沉的危险流沙区，是那种弹簧蹦床，是那种在作家的脚下随时随地塌陷下去的冻结成冰的水池。
So language in art remains a highly ambiguous transaction, a quicksand, a trampoline, a frozen pool which might give way under you, the author, at any time.
但是正如我所说的，寻求真理永远不能停止。它不能被阻止，不能被延缓。它必须被面对着，就在此时此地。
But as I have said, the search for the truth can never stop. It cannot be adjourned, it ca