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【rèn】识【shí】和尊【zūn】敬的作家，都立即承认【rèn】在他们动笔时，不【bú】清楚要【yào】写什么【me】，怎么写【xiě】。

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

他们【men】心中只【zhī】在【zài】一个或两个角色。他们处【chù】于急切不【bú】安的状【zhuàng】态，而被当【dāng】作是灵感。

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【jù】我【wǒ】所知，有位作家花了9个【gè】月的时间写了一【yī】部关克什米尔的小说【shuō】，后【hòu】来却把整个【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。作家在剪裁修改、构思时间【jiān】、穿【chuān】插情【qíng】节、以至从【cóng】头重【chóng】写的过程中，会领悟到素材中很【hěn】多【duō】东西是他刚动笔【bǐ】时所未【wèi】意识到的。

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

这种【zhǒng】有机的加工【gōng】过程往往【wǎng】达到不【bú】寻【xún】常自【zì】我发现的境界，具有难以言表的【de】构思魅力。

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

一个朦胧的【de】形象出现在【zài】作家的脑海里，他左添一笔，右添一笔，形【xíng】象【xiàng】反【fǎn】而消逝了【le】;

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

可是，好像还有【yǒu】什【shí】么东【dōng】西存【cún】在着，不把它捕捉【zhuō】到，作家是不【bú】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【rú】希【xī】腊神话中那位漂【piāo】亮的少年，站【zhàn】在镜【jìng】前，不【bú】能辨认自身的真面目。

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【yóu】于这个【gè】原因，作家喋喋【dié】不休地谈论自己的【de】书，挖掘其隐【yǐn】晦【huì】的含【hán】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.

作家如【rú】此行【háng】事当然【rán】被【bèi】人误【wù】解。他还不如给人讲一【yī】个犯【fàn】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.

企图【tú】用【yòng】不了【le】解自【zì】己【jǐ】的人的观点来研究【jiū】自己【jǐ】塑造的形象的作法【fǎ】，会导致作家的毁灭，因为他【tā】已经开始【shǐ】为取悦他人而写作了。

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【liǎng】年【nián】前，一位【wèi】年轻的英国作家发表【biǎo】了中肯的看法。他说【shuō】，初稿是才华，以后各稿是艺【yì】术【shù】。

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.

也是由于这个原【yuán】因，作家同任【rèn】何艺术家【jiā】一样，找不到可休息的场所，找【zhǎo】不到伙伴和活动使【shǐ】自己得【dé】到安逸。任何局【jú】外【wài】人的判断也比不上他内心【xīn】的【de】正确【què】判断【duàn】。

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.

当他沽名钓誉时，他就【jiù】脱离了自我生活，脱【tuō】离了对自己灵魂最深【shēn】处世【shì】界【jiè】的【de】探索。

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