A paper of mine entitled "The Proustian theme in a letter from Keats to Benjamin Bailey" was chuckled over by the six or seven scholars who read it. I launched upon an "Histoire abrégée de la poésie anglaise" for a prominent publishing firm, and then started to compile that manual of French literature for English-speaking students (with comparisons drawn from English writers) which was to occupy me throughout the forties -- and the last volume of which was almost ready for press by the time of my arrest.
我的一篇题为“济慈致本杰明。贝利信中的普鲁斯特式主题”的论文,六位还是七位学者读了,都咯咯笑起来。我为一家著名出版公司完成了《英国诗歌的历史缩》,然后着手为英美学生编写法国文学手册,这项工作占去我四十岁至四十九岁之间的全部时间——我被捕时,最后一卷就即将出版了。
The days of my youth, as I look back on them, seem to fly away from me in a flurry of pale repetitive scraps like those morning snow storms of used tissue paper that a train passenger sees whirling in the wake of the observation car. In my sanitary relations with women I was practical, ironical and brisk. While a college student, in London and Paris, paid ladies sufficed me. My studies were meticulous and intense, although not particularly fruitful. At first, I planned to take a degree in psychiatry as many manqué talents do; but I was even more manqué than that; a peculiar exhaustion, I am so oppressed, doctor, set in; and I switched to English literature, where so many frustrated poets end as pipe-smoking teachers in tweeds. Paris suited me. I discussed Soviet movies with expatriates. I sat with uranists in the Deux Magots. I published tortuous essays in obscure journals. I composed pastiches:
我年轻的日子,当我回首时,象苍白的反覆出现的残片,一陈风似地都飞去了,就象火车旅客在清晨见到的一阵废卫生纸的风雪跟在了望车尾后盘旋。就我和女人正常的关系而言,我是实际的、幽默的、轻快的。作为一个大学生,在伦敦和巴黎,雇佣女子对我足够了。我的学习过于琐细,非常紧张,尽管并不特别有成绩。最初,我计划象好多落魄才子那样,拿个精神病学的学位;但我比这还落魄;我被压抑过度,医生,一种特殊的疲惫出现了;于是我转向英语文学,这科里许多失败的诗人最后都成了穿苏格兰呢、抽烟袋的教师。巴黎适合我。我和流亡者大谈苏联电影。我和铀矿学家—起坐在“第二人像”里。我在偏僻的小报上发表歪歪扭扭的小品文。我还创作模仿他人风格的打油诗:
… Fr?ulein von Kulp may turn, her hand upon the door; I will not follow her. Nor Fresca. Nor that Gull.
……冯。库尔普小姐或许会扭转身,她的手在门上;我不会跟随她。也不跟随弗莱斯卡。亦不跟那只鸟仔。
Now I wish to introduce the following idea. Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as "nymphets."
现在我想介绍这样一种观点。在九岁和十四岁年龄限内的一些处女,能对一些着了魔的游历者,尽管比他们小两倍甚或好几倍,显示出她们真实的本性,不是人性的,而是山林女神般的(也就是说,鬼性的);而这些被选中的小生命,我想命名她们为“性感少女”。
It will be marked that I substitute time terms for spatial ones. In fact, I would have the reader see "nine" and "fourteen" as the boundaries -- the mirrory beaches and rosy rocks -- of an enchanted island haunted by those nymphets of mine and surrounded by a vast, misty sea. Between those age limits, are all girl-children nymphets? Of course not. Otherwise, we who are in the know, we lone voyagers, we nympholepts, would have long gone insane. Neither are good looks any criterion; and vulgarity, or at least what a given community terms so, does not necessarily impair certain mysterious characteristics, the fey grace, the elusive, shifty, soul-shattering, insidious charm that separates the nymphet from such coevals of hers as are incomparably more dependent on the spatial world of synchronous phenomena than on that intangible island of entranced time where Lolita plays with her likes. Within the same age limits the number of true nymphets is strikingly inferior to that of provisionally plain, or just nice, or "cute," or even "sweet" and "attractive," ordinary, plumpish, formless, cold-skinned, essentially human little girls, with tummies and pigtails, who may or may not turn into adults of great beauty (look at the ugly dumplings in black stockings and white hats that are metamorphosed into stunning stars of the screen). A normal man given a group photograph of school girls or Girl Scouts and asked to point out the comeliest one will not necessarily choose the nymphet among them. You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs -- the slightly feline outline of a cheekbone, the slenderness of a downy limb, and other indices which despair and shame and tears of tenderness forbid me to tabulate -- the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power.
显然我是用时间概念代替了空间概念。实际上,我是想让读者把“九岁”和“十四岁”看作界限——如镜的沙滩和玫瑰色的岩石——一个到处出没着我的性感少女们的幽灵的魔岛界限,那海岛就镶嵌在一片雾气腾腾的汪洋之中。在这个年龄限内的女孩子是否都是性感少女呢?当然不是。否则我们这些熟谙此道者,我们这些孤独的过客,我们这些癖色贪花之人,岂不早就癫狂了。漂亮并不是标准;而粗俗,至少就一个特定的阶层而言,并不一定损害什么神秘的特性:惹人发狂的优雅,难以捉摸的、、诡诈的、灵魂分裂的、阴险的诱惑力,这些都是使性感少女有别于她们同代人的特性,那些同代人比之即将出现的时间的虚渺岛屿———洛丽塔,还有与她相似的女孩儿在上边嬉耍——来说,更无比依赖于此时存在的空间世界。在相同年龄限度内,真正性感少女的数量,大大低于那些暂时只显平淡的、或只是好看的、或“娇小可爱的”、甚或是“甜美迷人”、平常的、直率的、无拘无束的、皮肤冰冷的、有人昧的小女孩,鼓着小肚子,梳着小辫子,成年以后可能会也可能不会出落成大美人(看看那些蠢笨的矮胖女人,穿着黑色长统袜,戴着白草帽,让人比喻为幕布上令人眩目的星星)。拿一群女学生或女童子军的照片给一位严肃正经的男子,并让他推选一张最漂亮的,他不一定要挑其中的性感少女。你必须是一个艺术家,一个狂人,一个无限忧郁的造物,你的欲望是冒着热毒的气泡,你诡谲的坚毅里有一股超肉欲的火焰永远通红,为了立刻辩认出,通过难以形容的特征——轮廓象猫一样的脸颊,柔软的四肢,还有其它一些使温柔的眼泪感到失望和羞愧的标志,我不能罗列下去——在所有孩子中辨认出那个销魂夺魄的小鬼人精;她末被他们发现,自己对自己神奇的力量也一无所知。
I found a job -- teaching English to a group of adults in Auteuil. Then a school for boys employed me for a couple of winters. Now and then I took advantage of the acquaintances I had formed among social workers and psychotherapists to visit in their company various institutions, such as orphanages and reform schools, where pale pubescent girls with matted eyelashes could be stared at in perfect impunity remindful of that granted one in dreams.
我找到一份职业——在奥托伊给一个成人班教英语。而后一所男校聘用我两个冬天。偶尔,我也利用一下我在社会工作者和心理医生中的泛泛之交,让他们陪着去访问各类单位,比如孤儿院和改良学校;那里,快进入青春发育期的女孩子,面色苍白、睫毛乌暗,被人端祥却不受伤害,令我想起了那个梦赐的女孩。
Furthermore, since the idea of time plays such a magic part in the matter, the student should not be surprised to learn that there must be a gap of several years, never less than ten I should say, generally thirty or forty, and as many as ninety in a few known cases, between maiden and man to enable the latter to come under a nymphet's spell. It is a question of focal adjustment, of a certain distance that the inner eye thrills to surmount, and a certain contrast that the mind perceives with a gasp of perverse delight. When I was a child and she was a child, my little Annabel was no nymphet to me; I was her equal, a faunlet in my own right, on that same enchanted island of time; but today, in September 1952, after twenty-nine years have elapsed, I think I can distinguish in her the initial fateful elf in my life. We loved each other with a premature love, marked by a fierceness that so often destroys adult lives. I was a strong lad and survived; but the poison was in the wound, and the wound remained ever open, and soon I found myself maturing amid a civilization which allows a man of twenty-five to court a girl of sixteen but not a girl of twelve.
另外,由于时间的观念在事物中起着非常奇妙的作用,学生们理当不觉惊奇地懂得,男人和少女之间应该有一条年龄断沟,我说,无论如何不能少于十年,一般是三十年或四十年,在一些特别情况下甚至多达九十个年,这样能使后者属于性感少女之列。这是一个焦点调节的问题,是内在眼睛能颤栗着超越特定距离的问题。当我是孩子她也是孩子,阿娜贝尔对于我并不是性感少女;我是她的对手,本身就是个小牧神,在一座同样着魔的时间岛上;但是今天,1952年的九月,二十九年闪过去了,我想我可以在她身上辨认出我这一辈子最早命定的精灵。我们带着不成熟的爱彼此相爱,表现得粗暴,这种凶暴如果是成人,往往能毁灭她们的生活。我是一个健壮的少年活了下来;但毒素却在伤口,伤口永远裂着,不久我发现,在一种允许二十五岁的男子向十六岁而不能是十二岁少女求婚的文明里,我成熟了。
No wonder, then, that my adult life during the European period of my existence proved monstrously twofold. Overtly, I had so-called normal relationships with a number of terrestrial women having pumpkins or pears for breasts; inly, I was consumed by a hell furnace of localized lust for every passing nymphet whom as a law-abiding poltroon I never dared approach. The human females I was allowed to wield were but palliative agents. I am ready to believe that the sensations I derived from natural fornication were much the same as those known to normal big males consorting with their normal big mates in that routine rhythm which shakes the world. The trouble was that those gentlemen had not, and I had, caught glimpses of an incomparably more poignant bliss. The dimmest of my pollutive dreams was a thousand times more dazzling than all the adultery the most virile writer of genius or the most talented impotent might imagine. My world was split. I was aware of not one but two sexes, neither of which was mine; both would be termed female by the anatomist. But to me, through the prism of my senses, "they were as different as mist and mast." All this I rationalize now. In my twenties and early thirties, I did not understand my throes quite so clearly. While my body knew what it craved for, my mind rejected my body's every plea. One moment I was ashamed and frightened, another recklessly optimistic. Taboos strangulated me. Psychoanalysts wooed me with pseudoliberations of pseudolibidoes. The fact that to me the only objects of amorous tremor were sisters of Annabel's, her handmaids and girl-pages, appeared to me at times as a forerunner of insanity. At other times I would tell myself that it was all a question of attitude, that there was really nothing wrong in being moved to distraction by girl-children. Let me remind my reader that in England, with the passage of the Children and Young Person Act in 1933, the term "girl-child" is defined as "a girl who is over eight but under fourteen years" (after that, from fourteen to seventeen, the statutory definition is "young person"). In Massachusetts, U. S., on the other hand, a "wayward child" is, technically, one "between seven and seventeen years of age" (who, moreover, habitually associates with vicious or immoral persons). Hugh Broughton, a writer of controversy in the reign of James the First, has proved that Rahab was a harlot at ten years of age. This is all very interesting, and I daresay you see me already frothing at the mouth in a fit; but no, I am not; I am just winking happy thoughts into a little tiddle cup. Here are some more pictures. Here is Virgil who could the nymphet sing in single tone, but probably preferred a lad's perineum. Here are two of King Akhnaten's and Queen Nefertiti's pre-nubile Nile daughters (that royal couple had a litter of six), wearing nothing but many necklaces of bright beads, relaxed on cushions, intact after three thousand years, with their soft brown puppybodies, cropped hair and long ebony eyes. Here are some brides of ten compelled to seat themselves on the fascinum, the virile ivory in the temples of classical scholarship. Marriage and cohabitation before the age of puberty are still not uncommon in certain East Indian provinces. Lepcha old men of eighty copulate with girls of eight, and nobody minds. After all, Dante fell madly in love with his Beatrice when she was nine, a sparkling girleen, painted and lovely, and bejeweled, in a crimson frock, and this was in 1274, in Florence, at a private feast in the merry month of May. And when Petrarch fell madly in love with his Laureen, she was a fair-haired nymphet of twelve running in the wind, in the pollen and dust, a flower in flight, in the beautiful plain as descried from the hills of Vaucluse.
毫无疑问,那会儿我在欧洲时期的成年生活是双重的,很可怕,确实。公开处,我和许多生着南瓜形或梨形乳房的风尘女子有所谓正常关系;暗地里,我对每个过路的性感少女的顽固欲望又把我搞得憔悴不堪,我象一个法律禁止的懦夫,对她们不敢接近。我能使用的女性,只是缓解的工具。我几乎要相信,我从自然的性行为中获得的感觉,完全等同于正常的伟男子与他们正常的伟伴侣在撼动世界的谐调节奏中相结合的感觉。问题是那些绅士未能、而我却捕捉到了一种无比痛切的畅快。我依稀朦胧遭受玷污之梦境也比生命力最旺盛的天才作家或最有天赋的阳萎人所能想象出的苛合之事要璀灿一千倍。我世界分裂了。我了解了不是一种而是两种性别,却无一属于我;两者都被解剖学家称为雌性。但对于我,透过我的感觉三棱镜,“它们迥然如烟雾之于船桅”。所有这一切,我现在能用科学解释了。在我二十岁和三十出头的年龄,我还不能这么清楚地懂得我的痛苦。一方面我的身体明白它寻求什么,另一方面我的大脑却拒绝身体的每一项请求。一时间我感到羞怯、恐惧,还有盲目的乐观。禁忌勒束着我。精神分折学家用伪解放论和伪性本能讨好我。对于我,仅有的几个能引起情爱兴奋的对象就是阿娜贝尔的姐姐、她的女仆个女童仆,这个事实有时想起来,就象精神失常的前兆;其它时候,我则告诫自己,这不过完全是态度的问题,被女该子弄得神魂颠倒实在并没什么错误。让我提醒我的读者,在英格兰,1933年通过了“青少年法案”以后,“少女”被定义为“八岁以上十四岁以下的女童”(之后,十四岁以上十七岁以下,法律的定义是“青年”)。而在美国马萨诸塞州,一个“任性孩子”,机械地说,是在“七至十七岁之间”(另外,他们习惯上总是和歹徒或淫棍为伍)。休。布劳顿,詹姆斯一世的时期一位能言善辩的作家,已经证明了雷哈布十岁上就当了娼妓。这一切都很有意思,我敢说你看见我已经口沫横飞了;但没有,我没有;我只是让快乐的思想跳入一只小杯中。这里还有好些图画。这是维吉尔.他能使性感少女用一种声调唱歌,也很可能更喜欢一个小伙子的腹膜。这是阿肯那顿王和奈费尔提蒂王后两个未到婚龄的尼罗河女儿(这对皇家姐妹养了一窝六岁小狗),赤裸的玉体上除却一串串亮闪闪的念珠项练便别无它物,三千年过去了,仍悠然端倚在褥垫上,那褐色的柔软娇体,剪短的秀发和乌黑的媚眼都依然精美无损。这幅是几位十岁的新娘被迫坐在木柴上,那是古代学业宫殿里刚劲象牙的象征。青春期以前的婚配和同居在东印度某些地区仍是常事。雷布查人八十岁老头可以和八岁女孩交媾,并无人怪罪。但丁疯狂地爱上了他的贝雅特里奇时,她只有九岁,璀灿的少女时期,这是在1274年的佛罗伦萨,在明媚的五月里一次私人宴会上,她化了妆,珠光宝气,可爱极了,穿一件深红色裙袍。当彼特拉克疯狂地爱上了他的劳琳时,她也不过是个十二岁金发耀眼的性感少女,在风中、在花粉和尘埃中奔跑着,是飞舞的一只花朵,象画中描绘的,从沃克吕兹山区飞到了那片美丽的平原。
But let us be prim and civilized. Humbert Humbert tried hard to be good. Really and truly, he did. He had the utmost respect for ordinary children, with their purity and vulnerability, and under no circumstances would he have interfered with the innocence of a child, if there was the least risk of a row. But how his heart beat when, among the innocent throng, he espied a demon child, "enfant charmante et fourbe" dim eyes, bright lips, ten years in jail if you only show her you are looking at her. So life went. Humbert was perfectly capable of intercourse with Eve, but it was Lilith he longed for. The bud-stage of breast development appears early (10.7 years) in the sequence of somatic changes accompanying pubescence. And the next maturational item available is the first appearance of pigmented pubic hair (11.2 years). My little cup brims with tiddles.
还是让我们正经而文明一点吧。亨伯特。亨伯特极力想作好人。实际上,他真地这样做了。他完全尊敬普通的孩子们的纯真和弱点;无论在什么情况下,即使没多大危险,他也不会妨害这些孩子的天真无邪。但是,当他从那天真的一群中,寻觅出了一个小妖精,他的心便怎样狂跳了,“魅人而狡猾的女孩”,恍惚的眼睛,鲜亮的嘴唇,如果你只表现出你在凝视她,就得在狱中呆上十年。生活就这样继续下去了。亨伯特是那样精于和夏娃作爱,但他渴求的却是夜妖。乳房生长的幼芽期由于青春发育所带来的身体变化而提早出现了(10.7岁)。而紧接着成熟的就是变色阴毛的第一次出现(11.2岁)。我的小杯里盛满了狂乱的意念。
A shipwreck. An atoll. Alone with a drowned passenger's shivering child. Darling, this is only a game! How marvelous were my fancied adventures as I sat on a hard park bench pretending to be immersed in a trembling book. Around the quiet scholar, nymphets played freely, as if he were a familiar statue or part of an old tree's shadow and sheen. Once a perfect little beauty in a tartan frock, with a clatter put her heavily armed foot near me upon the bench to dip her slim bare arms into me and tighten the strap of her roller skate, and I dissolved in the sun, with my book for fig leaf, as her auburn ringlets fell all over her skinned knee, and the shadow of leaves I shared pulsated and melted on her radiant limb next to my chameleonic cheek. Another time a red-haired school girl hung over me in the métro, and a revelation of axillary russet I obtained remained in my blood for weeks. I could list a great number of these one-sided diminutive romances. Some of them ended in a rich flavor of hell. It happened for instance that from my balcony I would notice a lighted window across the street and what looked like a nymphet in the act of undressing before a co-operative mirror. Thus isolated, thus removed, the vision acquired an especially keen charm that made me race with all speed toward my lone gratification. But abruptly, fiendishly, the tender pattern of nudity I had adored would be transformed into the disgusting lamp-lit bare arm of a man in his underclothes reading his paper by the open window in the hot, damp, hopeless summer night.
一次翻船。一个环状珊瑚岛。单独和一位落水旅客浑身颤抖的孩子在一起。亲爱的,这只是个游戏!当我坐在公园硬梆梆的长凳上,假装陶醉在一本颤抖的书中,我幻想的冒险是多么妙不可言。围在安静的学者身边,性感少女们自由地嬉玩,仿佛他是一个亲熟的塑像或是一株古树的影辉。一次,一个精致的小美人,穿着格子呢裙,在一阵笑闹中将全副武装笨重的双足放在长凳上靠近我,又斜伸出她柔软、赤裸的双臂系紧她旱冰鞋的带子,我便在阳光中融化了,我的书成了一种掩饰,她的红褐色卷发垂落在她瘦削的膝上,我享受到的叶影在她明媚的肢体上摇曳、消逝,我的脸颊在她的身边幽明不定了。另一次,一个红头发的女学生在地铁车上靠着我,我瞥见到她腋窝下泄露的一小片赤褐色存留定我的血液里几个星期不褪。我能列出一长串这种一厢情愿的小浪漫。有些在地狱浓郁的香气中消散了。比如,我偶然在阳台上看见街对面一扇亮灯的窗户里有个性感少女正在镜前脱衣。如此形影相吊,如此销魂,这景色生出了一种勾心摄魄的诱惑力,促使我全速跑向我孤独的尤物。然而突然,糟糕得很,我崇拜的那副美好的裸体投入了台灯下一双男人赤裸的臂膀,他穿着内衣裤,读着报纸,靠在敞开的窗边,沉浸在炎热、潮湿、绝望的夏夜里。
Rope-skipping, hopscotch. That old woman in black who sat down next to me on my bench, on my rack of joy (a nymphet was groping under me for a lost marble), and asked if I had stomachache, the insolent hag. Ah, leave me alone in my pubescent park, in my mossy garden. Let them play around me forever. Never grow up.
跳绳。跳房子。那位穿黑衣的老妇人,坐在长凳上我的身边,坐在我快乐的拷问台上(一个性感少女正在我脚下摸找一块丢失的大理石子),问我是不是肚子疼,这个侮慢无礼的女巫。啊,走开吧,让我独自呆在我春情勃动的公园里,呆在我生满青苔的花圃中。让她们永远在我身边嬉耍吧,永远不要长大。