首页>> 文学论坛>> 言情>> 弗·司各特·菲茨杰拉德 F. Scott Fitzgerald   美国 United States   美国经济大萧条   (1896年9月24日1940年12月21日)
夜色温柔 Tender Is the Night
  《夜色温柔》发表于一九三四年,是菲茨杰拉德生前所完成的最后一部长篇小说,描写的是一个出身寒微但才华出众的青年对富有梦幻色彩的理想的追求以及最终如何遭到失败、变得颓废消沉的故事。小说的背景被安排是作者所熟悉的欧洲大陆,时间跨度为1917年到1930年间,但小说所展现的仍是美国“爵士乐时代”的社会场景。《夜色温柔》的主要内容介绍了强烈的怀旧情绪、悔恨心理、失落的希望、破灭的幻想、人格的分裂。它也是一部带有很强的自传性的小说,探索了一种酷似作者所经历的感情与精神的崩溃过程。
  
  《夜色温柔》-内容简介
  
  
  《夜色温柔》人民文学出版社版本
  来自美国东部的年轻的精神病医生迪克为富豪的女儿尼科儿治疗精神病。尼科尔因为与父亲乱伦的了精神病,在迪克的精心照顾下尼科儿康复。日积月累,尼科尔爱上了迪克,两人冲破家庭的阻挠终于完婚。婚后迪克的事业不景气,终日愁眉不展,平淡的日常生活磨灭了他奋斗的意志。迪克又爱上了女明星罗丝马丽,尼科尔也爱上了毫无政治信仰、谁给钱就替谁卖命的汤米。经过感情的日夜挣扎,最终尼科尔和迪克离婚,嫁给了汤米。迪克也从欧洲返回美国,行医渡过余生,心灰意冷。
    
  作者并没有把夫妻双方感情的出轨描写得简单化,迪克最深爱的还是尼科儿,他出轨的感情在女明星罗丝马丽的美貌前徘徊不定,欲行又止,辗转反侧,内心的矛盾挣扎融入了周围春光明媚的花园的环境描写,很顺理成章,那种挣扎被写成了循序渐进的激烈。酒店花园的环境描写很吸引人,花草树木层层叠叠,阳光明媚,更反衬出迪克内心的犹豫和挣扎。
  《夜色温柔》-创作背景
  
  
  这是一本描写关于爱情如何幻灭的复杂有趣的书。它描写了对于富有梦幻色彩的理想追求直至破灭的过程的故事。这部以梦幻破灭、人生颓败为主题的爱情小说,是美国“迷惘的一代”作家菲茨杰拉德的一部带有自我体验的文学作品,情节曲折,寓意深刻,隐含忽明忽暗的抒情幽伤,是“一战”后美国“中产阶级”精神生活的真实写照。
  
  《夜色温柔》把衰败作为其主题。小说的绝大部分材料来源于作者自己的经历——酗酒、生活潦倒、妻子的病以及他对自己的恐惧,同时也表达了他对一个更大世界里人们的失望,对他生活的那个花花世界的失望。在这个世界里,到处是餐会、舞会、到处是酗酒、作乐。菲茨杰拉德的大部分生活都是在这样的环境里度过的。小说《夜色温柔》正是他家庭生活和精神生活的写照。
  
  《夜色温柔》是“一部事业失败或治疗失败的小说”。作为精神病医生,迪克没能实现自己的包负,而作为丈夫,他在治好了妻子的精神病后却却失去了她。他的失败是双重的。他试图将爱情与事业结合在一起的努力为小说定下了基调,并且占据作品的大部分篇幅。正如前文所提及的《夜色温柔》表现的是复杂与单纯、旧与新之间的冲突,所以它和《了不起的盖茨比》一样,是以新旧世界的冲突为背景的,属于边疆原型的范畴,可以解读成一则“西部”故事。
  
  《夜色温柔》的深度模式就是东西部的对立。这个模式以边疆原型为基础并界定了迪克的故事。“原型的概念”,卡尔•荣格说,“是集体无意识观念的一个必不可少的相关物,暗示着在似乎无时无处不在的心理中存在着一些确切的形式。”边疆原型作为美国历程的一个特殊产物,在美国传统文化的形成中起着举足轻重的作用,它对美国的民族意识作出界定并影响着美国的生活方式。通常所谓的美国性格就是这一原型的具体体现。一代又一代的美国人,带着一种与生俱来的对自身美国性的领悟,一直试图在这片被认为提供了无限可能性的土地上实现他们色彩斑斓的梦想。这是一种浪漫主义的天赋,它的实质就是人的“凝问与思考的能力。为了探循已知事物的意义,人的精神就伸向未知的事物;为了弄懂现在,它就转向过去和未来。”
  
  不幸的是,美国人的经历证明,美国并不是一片他们可以依靠并为了浪漫主义的想象而生活的土地。正如《了不起的盖茨比》中的西部人为了重新开始而迁徒到东部一样《夜色温柔》中的美国人来到欧洲是为了得到 “拯救”。欧洲,尤其是法国的里维埃拉,似乎是菲茨杰拉德主人公们的最后的避难所。但极具讽刺意味的是,就连这现代荒原上的最后一片绿洲也败坏了。戴佛医生唯一合适的选择就是离开他堕落的场所回到美国。迪克之回到美国就好像《了不起的盖茨比》中的尼克之回归中西部。但是,尼克的回归象征着回归历史和传统,正如菲茨杰拉德所写到的那样:“于是,我们逆流行舟,没有止境地被带回到过去。”然而,迪克却被菲茨杰拉德扔在了那既无过去又无将来的迷茫之中,孤独地从一个小镇流落到另一个小镇,最终杳无音信。他的梦幻失落于对历史和传统的执着和追求,但在此之后却又无法回归历史和传统。因此,迪克•戴佛的悲剧是对菲茨杰拉德那一代大萧条时代的生活与感受的真实而准确的书写。
  《夜色温柔》-思想价值
  
  《夜色温柔》(Tender Is the Night) 是当代美国作家F1S 菲茨杰拉德( F. S. Fitzgerald , 1896 - 1940) 的一部被视为以浪漫主义手法表现严肃现实主义主题的自传体小说。该小说以生动犀利的笔触描绘了主人公戴弗尔·迪克这位风度洒脱、气质典雅、前程远大的精神病医生的情感生活及其时运的起落,折射出了作者菲茨杰拉德本人文名的鹊起跌落及个人生活、家庭、事业的颓败。可以说,这部小说是菲氏在其创作生涯达到顶峰而又日渐衰落的时期所做的一次痛苦而又执著的搏击,亦可说,它是菲氏在其家庭、经济生活、事业受阻等多重重压下所做的一次痛苦抉择,是一部融个人生活经历中的不幸而演化为整个人类社会的悲剧,并把浸透于小说字里行间的悲剧情感物化为一种审美情趣的佳作。
  
  在这部作品的宗教情感下又充溢着人类的抗争精神,正是这种“自虐”式的抗争精神赋予了这部作品古希腊悲剧式的振奋人心的艺术审美魅力,主人公迪克也如同俄底浦斯王一样,其自我放逐的意义,从悲剧审美上看,是具有人类精神不朽、不屈的象征意义的。宗教虽然是一个见仁见智的问题,但是通过发现迪克的宗教情感体验进行艺术再现,菲氏的确让读者感悟到存在的深刻局限与宇宙最高精神之间的关系。笔者把迪克的“自甘堕落”或 “自我放逐”理解成为一种自我拯救的行为,这似乎有悖于理性反传统之嫌。然而所谓的理性传统应视其本质而定。迪克反叛的是上流社会贵族优雅外衣掩盖下的利用人压迫人的理性及其竭力维护的泯灭人性的传统。由此,我们可以说,迪克•戴弗尔医生走出的是每一个现代人都可能困闭其中的富贵温柔却又消弭人生的精神牢笼。同作者菲茨杰拉德一样,笔者认为迪克“叛经离道”之举,主要在于他反抗压迫、虚奢,而努力在寻找一种具有独立人格的自我,寻找一种“更深沉的来自继续奋斗的满足”。这在金钱时代,在富贵的荒原上无疑是种振聋发聩,带有现代人类常举的行为。
  
  菲茨杰拉德在《夜色温柔》中的创作具有高度的前瞻性。贯穿整部作品的, 只是作者对人物心理和行为的细腻、独到的描述, 而没有任何的刻意评判。由此, 意义的重要性被消解了。这一点正印证了解构主义的文本观, 即文本以能指为中心, 只重视言论行为本身。对于精神病人的言论及行为的矛盾描述以及概念的模糊界定,也使得文本的意义变得不确定了。
  《夜色温柔》-相关评价
  
  这部小说的绝大部分内容写得都很精彩,令人拍案叫绝,这是一部令人越读越感到趣味无穷的小说。(海明威)
  
   这是一个关于一对美丽、富有、魅力无穷的夫妻的悲剧故事,讲述的是他们之间注定失败的婚姻的消亡。读者可以在其中看到菲茨杰拉德夫妇自己在与酗酒、不贞、疯狂和精神病院苦苦抗争的写照。但是它却没能在1934 年描绘出在里维埃拉享乐的美国有钱阶级个人焦虑的全景,而这种焦虑与正受野蛮的大萧条所制的美国是极其吻合的。( 马格特·诺瑞斯)


  Tender is the Night is a novel by American writer F. Scott Fitzgerald. It was first published in Scribner's Magazine between January-April, 1934 in four issues. It is ranked #28 on the Modern Library's list of the 100 Greatest Novels of the 20th Century.
  
  In 1932, Fitzgerald's wife Zelda Sayre Fitzgerald was hospitalized for schizophrenia in Baltimore, Maryland. The author rented the "la Paix" estate in the suburb of Towson to work on this book, the story of the rise and fall of Dick Diver, a promising young psychoanalyst and his wife, Nicole, who is also one of his patients. It would be Fitzgerald's first novel in nine years, and the last that he would complete. While working on the book he several times ran out of cash and had to borrow from his editor and agent, and write short stories for commercial magazines. The early 1930s, when Fitzgerald was conceiving and working on the book, were certainly the darkest years of his life, and accordingly, the novel has its bleak elements.
  
  Two versions of this novel are in print. The first version, published in 1934, uses flashbacks whilst the second revised version, prepared by Fitzgerald's friend and noted critic Malcolm Cowley on the basis of notes for a revision left by Fitzgerald, is ordered chronologically; this version was first published posthumously in 1951. Critics have suggested that Cowley's revision was undertaken due to negative reviews of the temporal structure of the book on its first release.
  
  The title is taken from the poem "Ode to a Nightingale" by John Keats.
  
  Plot summary
  
  Dick and Nicole Diver are a very glamorous couple who take a villa in the South of France and surround themselves with a circle of friends, mainly Americans. Also staying at the resort is Rosemary Hoyt, a young actress, with her mother. Rosemary gets sucked into the circle of the Divers, and falls in love with Dick and also becomes adopted as a close friend by Nicole. Dick first toys with the idea of an affair with Rosemary at this point, which he finally acts upon years later.
  
  However, Rosemary senses something is wrong with the couple, which is brought to light when one of the guests at a party reports having seen something strange in the bathroom. Tommy Barban, another guest, comes loyally to the defense of the Divers. The action involves various other friends, including the Norths, where a frequent occurrence is the drunken behavior of Abe North. The story becomes complicated when an unnamed man is murdered and ends up in Rosemary's bed, in a situation almost of high farce. This nearly compromises the situation with Rosemary and Dick.
  
  Once into the book, the history of the Divers emerges. Dick Diver was a doctor and psychoanalyst and had taken on a complicated case of neuroses. This was Nicole, whose complicated, incestuous relationship with her father is suggested as the cause of breakdown. As she becomes infatuated with Dick, Dick is almost driven to marry her as part of the cure. But strong objections are raised, as Nicole is an heiress and her sister thinks Dick is marrying her for her money. However they do marry, and Nicole’s money pays for Dick's partnership in a Swiss clinic and for their extravagant lifestyle. However Dick gradually develops a drinking problem. He gets into fights and trouble with the police in various incidents and is bought out of the clinic by his partner. The opening episode almost marks the cross over point whereby Dick becomes the weaker partner, progressively failing in what he attempts while Nicole becomes stronger. Dick's behaviour becomes embarrassing as he mishandles situations with the children and friends. Eventually Nicole has an affair with Tommy Barban, and divorces Dick to marry Barban. Nicole survives, while Dick drifts into ever diminishing circumstances. The underlying theme is then how one person has become strong by destroying another—a point emphasized cynically by Nicole's sister, who having seen Dick originally as the parasite, finally remarks that "That was what he was educated for."
  Composition
  
  Fitzgerald began working on a new novel almost immediately after the publication of The Great Gatsby in April 1925. His original plan was to tell the story of Francis Melarkey, a young Hollywood technician traveling on the French Riviera with his domineering mother. Francis was to fall in with a group of glittering and charming wealthy American expatriates (based on Gerald and Sara Murphy and some of their friends) and gradually disintegrate, ultimately killing his mother. Fitzgerald originally intended to call the novel "World's Fair", but also considered "Our Type" and "The Boy Who Killed His Mother". The characters based on the Murphys were originally named Seth and Dinah Piper, and Francis was intended to fall in love with Dinah – an event that would help to precipitate his disintegration.
  
  Fitzgerald wrote several chapters for this version of the novel in 1925 and 1926, but was unable to finish it. Nearly all of what he wrote ultimately made it into the finished work in altered form. Francis's arrival on the Riviera with his mother, and his introduction to the world of the Pipers, was eventually transposed into Rosemary Hoyt's arrival with her mother, and her introduction to the world of Dick and Nicole Diver. Characters created in this early version survived into the final novel, particularly Abe and Mary North (originally Grant) and the McKiscos. Several incidents such as Rosemary's arrival and early scenes on the beach, her visit to the Riviera movie studio, and the dinner party at the Divers' villa, all appeared in this original version, but with Francis in the role of the wide-eyed outsider that would later be filled by Rosemary. Also, the sequence in which a drunken Dick is beaten by police in Rome was written in this first version as well (with Francis as the beating victim); this was based on a real incident that happened to Fitzgerald in Rome in 1924.
  
  After a certain point, Fitzgerald became stymied with the novel. He and Zelda (and Scottie) returned to the United States after several years in Europe, and in 1927 Scott went to Hollywood to write for the movies. There he met Lois Moran, a beautiful actress in her late teens, with whom he had an intense relationship. Moran became the inspiration for the character of Rosemary Hoyt. Fitzgerald supported himself and his family in the late 1920s with his highly lucrative short-story output (particularly for the Saturday Evening Post, but was haunted by his inability to progress on the novel. In around 1929 he tried a new angle on the material, starting over with a shipboard story about a Hollywood director and his wife (Lew and Nicole Kelly) and a young actress named Rosemary. But Fitzgerald apparently completed only two chapters of this version.
  
  By 1930 the Fitzgeralds were again living in Europe. Zelda had her first nervous breakdown in early 1930 and was institutionalized in Switzerland. It soon became apparent that she would never fully recover. Fitzgerald's father died in 1931, an event that was written into the final novel as Dick's father's death. Devastated by these blows (and by his own unrelenting alcoholism), Fitzgerald had settled in suburban Baltimore by 1932, and had finally decided what he was going to write his novel about – a man of almost limitless potential who makes the fatal decision to marry a beautiful but mentally ill woman, and who ultimately sinks into despair and alcoholism when their doomed marriage fails.
  
  While renting a home called "La Paix" on the estate of Baltimore architect Bayard Turnbull, Fitzgerald wrote the final version of Tender Is the Night in 1932 and 1933. He salvaged almost everything he had written for the Melarkey draft of the novel in some form or other, and also borrowed ideas, images, and phrases from many short stories he had written in the years since completing The Great Gatsby. Ultimately, he poured everything he had into Tender – his feelings about his own wasted talent and (self-perceived) professional failure and stagnation; his feelings about his parents (who on a symbolic level provided much of the inspiration for Dick and Nicole Diver); about his marriage, and Zelda's illness, and psychiatry (about which he had learned a great deal during her treatment); about his affair with Lois Moran, and Zelda's with the French aviator Edouard Jozan (paralleled in the relationship between Nicole Diver and Tommy Barban).
  
  The book was completed in the fall of 1933 and serialized in four installments in Scribner's Magazine before its publication on April 12, 1934. Although the book briefly made the bestseller lists and received many sensitive and glowing reviews, its reception did not remotely match the effort and anguish Fitzgerald poured into its creation.
  Allusions/references from other works
  
  Tender Is the Night appears in the movie Who's That Knocking at My Door by Martin Scorsese: it is shown towards the end of the film, placed on the night table of the character played by Zina Bethune, during her last encounter with Harvey Keitel's character.
  
  Fitzgerald's work also appears in Michelangelo Antonioni's 1960 film L'avventura as the book Anna was reading before she disappeared, and in Wim Wenders' film Alice in den Städten (1973--in English, Alice in the Cities) on the coffee table of Vogel's depressed girlfriend. The use of the book in the latter film may have been inspired by actress Lois Moran, who was the basis for the character of Rosemary Hoyt in Fitzgerald's novel, and plays an "Airport Hostess" in Wenders' movie.
  
   * Jackson Browne has a song titled "Tender Is the Night".
   * Blur's song "Tender" has the opening line "Tender is the Night".
   * Jack Kerouac begins the 30th Chorus of Mexico City Blues with the line "Tender is the Night".
  
  Film, TV or theatrical adaptations
  
  The 1962 film Tender Is the Night, based on the novel, starred Jason Robards and Jennifer Jones as the Divers. The song "Tender Is the Night", from the movie soundtrack, was nominated for the 1962 Academy Award for Best Song.
  
  A television mini-series of the book, with script by Dennis Potter, music by Richard Rodney Bennett, and with Mary Steenburgen and Peter Strauss as Nicole and Dick, was made by the BBC and shown in 1985 on the BBC in the United Kingdom, the CBC in Canada, and on Showtime in the United States. Often praised as a brilliant adaptation with an outstanding performance by Steenburgen, this production has never been released on DVD and has since been shown in the US only once, on Bravo.
  “我已和你同在了!夜色这么温柔……
   ……而这里没有一丝光明,
   除了那随着阵阵微风吹落,
   穿过暗绿和回环的苔径的天光。”
   ——《夜莺颂》
   在法国里维埃拉风光宜人的海滨地区,大约位于马赛 与意大利边境的中途, 坐落着一家高大气派、玫瑰色的旅馆。挺拔的棕榈树给富丽堂皇的旅馆正门带来一 片阴凉,门前延伸出一小块亮晶晶的沙滩。近来,这里已成了显贵名流们的避暑胜 地。十多年前,当英国房客在四月间去北方后,这房子就几乎没人住了。如今,旅 馆四周却冒出了许多带游廊的平房,但本书的故事开始之时,也还只有十几幢圆顶 的老式别墅。这些圆顶别墅已经衰败,就像戈赛的外宾旅馆与距此地五英里远的戛 纳 之间茂密的松树林中的睡莲一样。
   旅馆与它门前明亮的、跪拜地毯似的棕黄色沙滩浑然一体。清晨,远处戛纳的 城市轮廓、粉红与浅黄相间的古老城堡及法意边界绛紫色的阿尔卑斯山倒映在水面 上,在清澈的浅滩,随着海生植物摇曳出的圈圈细浪颤动着。时间不到八点,一个 身穿蓝色浴衣的男子来到海滩,他先用清凉的海水浇泼身体,一边还大口呼吸,发 出哼哼的声音,随后下水扑腾了一阵。他离去后,沙滩与海湾清静了一个时辰。远 处的海面上,商船缓缓西行,餐厅侍者在旅馆的院子里大声说话,松树上的露水渐 渐地于了。又过了一个时辰,汽车喇叭才开始在沿着历史上摩尔人 居住的丘陵 地带蜿蜒曲折的公路上鸣响,那地方正好将法国的沿海地区与真正的普罗旺斯
   地区分隔开来。
   离海滩一英里远的地方,松树让位给了落满灰尘的杨树,那儿有一个孤零零的 铁路小站。一九二五年六月的一个早晨,一辆折篷汽车载着一位夫人和她的女儿向 戈赛旅馆驰来。母亲脸上尚有往日的风韵,这风韵不久就会被颓丧的心情蚕食。她 的神态令人愉悦地兼备了安详与明达事理,然而,人们的目光很快就会移向她的女 儿,她那粉红色的手掌似乎有着魔力,她的双颊焕发出迷人的光彩,就像孩子们傍 晚洗过冷水浴后红扑扑的小脸蛋一样可爱。她那漂亮而开阔的前额舒缓地上伸到发 际,金黄色的头发像一枚盾牌将额头掩起,再蓬松出一头波浪形鬈发。她那对水汪 汪的大眼睛晶莹亮丽,闪烁着光芒。她的双颊天然红润,那是从她有力跳动的年轻 的心脏里迸发出的色彩。她的体态微妙地徘徊在孩提时代的最后边缘——她就要满 十八岁了,她几乎完全长成妇人,然而少女时代的影子仍在她身上如清晨的露水般 若隐若现。
   大海慢慢地在她们的南面显现,与天空交接成一条细长、炽热的线条,这时母 亲说:
   “我觉得我们不会喜欢这个地方。”
   “我也有些想家了。”姑娘答道。
   她们轻松地、漫无边际地闲聊,但又对这种闲聊感到厌倦——其实,任何话题 都提不起她们的精神。她们倒不是非得刺激一下疲惫的神经来使自己兴奋,而是抱 着学龄儿童竞争奖品时有的那种急切心情,对那些孩子来说,似乎只有夺得奖品才 值得过一个假期。
   “我们住上三天就回家。我马上就去拍电报订购船票。”
   在旅馆,姑娘用似乎在背诵什么东西一般的平板声调操着一口地道的法语订了 房间。她们被安排在一楼客房。姑娘走进落地长窗带来的一片亮光里,随后,几步 来到外边环绕旅馆的石砌游廊。她走起路来臀部绷紧,腰背挺直,如同一位芭蕾舞 演员。户外,炽热的阳光紧咬住她投下的身影,她退却了——强烈的光线使她几乎 睁不开眼睛。五十码开外,蔚蓝的地中海也似乎挡不住酷热的日光照射,一点点褪 着颜色。栏杆下面,一辆破旧的别克汽车停在旅馆车道上被阳光烤晒着。
   确实,这个地方就只有海滩热热闹闹,充满生机。三个英国保姆坐在那儿编织 着很费功夫的维多利亚式样的毛衣和毛袜,这种式样在十九世纪的四十、六十和八 十年代时行过。她们一边织一边唠唠叨叨地拉着家常。紧靠海边,十多个人在条纹 遮阳伞下安了个临时的窝,他们的孩子在浅滩追逐那些不怕人的鱼儿,或赤条条地 躺在沙滩上,涂满椰子油的身体给阳光一照,亮闪闪的。
   萝丝玛丽来到海滩,一个十二岁的男孩从她身边跑过,兴奋地喊叫着扑入大海。 她觉察到陌生人注视她的逼人的目光,便脱去浴衣跟着跳到水里。她闷着头游了一 会,发觉水很浅,便摇摇晃晃地站起来,顶着水的阻力吃力地朝前趟着,像拖着重 物般拖着两条纤细的腿。当海水升到胸口时,她回头望望海岸。海滩上有个裸着上 身,戴单片眼镜的男子,他下穿紧身裤,挺着毛发丛生的胸脯,丑陋的肚脐凹陷着, 正目不转睛地看着她。当萝丝玛丽朝他看时,他摘下眼镜,随手往那团滑稽的胸毛 中一塞,接着举起手中的瓶子给自己倒了一杯饮料。
   萝丝玛丽俯卧在水面,四肢扑腾着以一种爬泳姿势朝救生筏游去。海水涌上来, 温柔地将她从暑气中拉人水中。海水渗进她的头发,淹没了她的全身。她在水里转 着圈,扑打着海水尽情地嬉戏。当她靠近救生筏时已累得气喘吁吁了,这时,一个 牙齿雪白,皮肤晒得黝黑的女子低头看着她。萝丝玛丽突然意识到自己的身体是那 么白皙,连忙转过身,朝岸边游去。她上岸时,那个手里抓着瓶子,毛茸茸的男子 走上来同她搭话。
   “我说,那条救生筏后边有鲨鱼呢。”弄不清他是哪国人,但他讲的英语带着 一种慢吞吞的牛津腔。“昨天,鲨鱼在戈尔夫瑞昂 吃掉了英国海军的两个水手。”
   “天哪!”萝丝玛丽惊叫起来。
   “是英舰丢弃的垃圾把它们引来的。”
   他眨了下眼睛,表明他这么说只是要给她一个警告。他扭捏地走了几步,又给 自己倒了一杯饮料。
   说这番话时,又有人朝她张望,她心里倒并不觉得讨厌,只想找个地方坐下来。 每户人家都在各自的遮阳伞前面占据一小块沙地,而且前后人家彼此来往,大声交 谈,使这儿呈现出一种居民区的气氛,外人随便闻人显然是不明智的。再往上面, 在布满鹅卵石和干枯的海藻的沙滩上,坐着肤色同她一样白净的一群人。他们躺在 小巧的便携式阳伞而不是海滩篷伞下面,可见他们不像是本地人。萝丝玛丽在皮肤 黝黑和皮肤白净的两堆人之间找了块空地,把她的浴衣铺在沙地上。
   就这样躺在沙滩上,她先是听见他们的说话声,感觉到他们在她身边走来走去, 他们在日光下的身影从她躯体上掠过。一条好奇的小狗呼出的热气吹到她脖子上, 让她感到痒痒的。她觉得皮肤被晒得有点灼热,她还听见渐渐退去的海浪发出低微 而疲乏的哗哗声。此刻,她已经能分辨出不同的说话者,她听说有个被轻蔑地称为 “那个北方小子”的人前一天晚上在冥纳绑架了咖啡馆的一个侍者,想要把他锯为 两段。叙述这件事的是一个穿着宽松夜礼服的白头发女人,那礼服显然是头天晚上 穿上身的,因为她头上仍戴着头饰,肩头还残留着一朵萎蔫的兰花。萝丝玛丽对她 和她的同伴们隐约地有些厌烦,便转过身去。
   她的另一边,最靠近她的是一位年轻女子。她躺卧在一把遮阳伞下,正从一本 摊开在沙地上的书中开一份清单。她松开着浴衣,露出肩膀和背脊。她皮肤光润, 呈桔红色,配上一串奶白色的珍珠项链,阳光照来,闪闪发光。她面容端庄秀美, 让人怜爱。她与萝丝玛丽互相望了望,但并没有注意到萝丝玛丽。她身旁是个头戴 骑师帽,身穿红条紧身衣的漂亮男子。再往外是萝丝玛丽见过的那个在救生筏上的 女人,她回过头来看见了萝丝玛丽。再过去是个长脸,金发蓬松的男子,他穿着蓝 色紧身衣,没戴帽子,正神情严肃地同一位穿黑色紧身衣,显然是拉美育的小伙子 说话,他们边说边拣着沙滩上一小片一小片的海藻叶。萝丝玛丽认为他们是美国人, 但看起来又不像她近来结识的那些美国人。
   过了一会,她才明白那个戴骑师帽的男子正在为这个小团体无声地表演一个小 节目。他装模作样地摆弄着一把耙子,似乎在清除砂砾,然而渐渐地表现出某种意 义隐晦的滑稽来,虽然他脸上仍是一本正经不动声色。他的每个细小的动作都让人 乐不可支,最后,他的每一句话都引发出一场大笑。即使那些在远处的人,如萝丝 玛丽,听不清他在说什么,也一个个竖起耳朵,注意起来,到最后,海滩上不动心 不分神的只有那个挂珍珠项链的年轻女子。也许出于自制和稳重,每一阵欢闹,她 只是更凑近那份清单。
   那个戴单片眼镜,手里抓着瓶子的男子,不知从哪儿冒了出来,冷不了地同萝 丝玛丽搭话。
   “你是个顶呱呱的游泳健将。”
   她不以为然。
   “真的很棒。我叫坎布恩。这里有一位太太说她上星期在索伦托 见过你, 知道你是谁。她很想同你见见面。”
   萝丝玛丽压住心中的不快,向四周扫了一眼,看见那群未被晒黑的人正等着她 过去。她颇不情愿地站起身来,朝他们走去。
   “这是艾布拉姆斯夫人,这是麦基斯克夫人和麦基斯克先生,这是邓弗莱先生。”
   “我们知道你是谁,”守夜礼服的女人说,“你是萝丝玛丽·霍伊特,我在索 伦托认出了你,我还向旅馆侍者打听过你的情况,我们都认为你演得十分出色,我 们想知道你为什么不回美同再拍一部响当当的片子。”
   他们不无夸张地做了个礼让的姿势。那个认出萝丝玛丽来的女人不是犹太人, 尽管她有个犹太名字。她属于那种老“玩家”,不怎么受阅历的影响,而容易同年 轻人打成一片。
   “我们要给你忠告,不要刚来就晒焦了,”她兴致勃勃地说,“因为你的皮肤 很重要,但这儿似乎有太多的规矩,我们不知道你是否介意。”
  “我们觉得你也许最有戏。”麦基斯克夫人说。她是个眼光阴毒,容貌姣好的 ,举手投足有一种咄咄逼人的气势。“我们弄不懂谁有戏,谁没戏。我丈夫特 别欣赏的一个男子像是个大演员,但实际上,他是个配角。”
   “戏?”萝丝玛丽似懂非懂地询问道,“有什么戏?”
   “亲爱的,我们可不知道,”艾布拉姆斯夫人边说,边颤动着肥胖的身子发出 格格的笑声,“我们没戏,我们是观众。”
   邓弗莱先生是个长着亚麻色头发,有些女人气的青年,他插嘴道:“艾布拉姆 斯妈妈自己就是一台戏。”这时,坎布恩对他晃晃眼镜说:“哎,罗亚尔,别瞎扯 了。”萝丝玛丽不耐烦地看着他们,心想要是她的母亲在身边就好了。她不喜欢这 些人,在她把他们同海滩另一头引起她兴趣的那些人做过比较后尤其如此。换了她 母亲,她的端庄和左右逢源的社交天赋会很快地使她们摆脱这种不受欢迎的境况, 然而萝丝玛丽出名才六个月,而巨她少女时期养成的法国派头,以及后来学到的美 国作风有时会混杂在一起,使她陷于眼下这种尴尬的境地。
   麦基斯克先生是个长得瘦小,脸上有雀斑和红点的三十岁的男子,他并不觉得 “有戏没戏”这个话题有什么乐趣。他先前凝望着大海,此刻,他扫了妻子一眼, 转身面对萝丝玛丽,唐突地问道:
   “到这儿很久了吗?”
   “刚一天。”
   “哦。”
   他显然觉得这样发问过于突兀,便转眼看看其他人。
   “要呆上一夏天吗?”麦基斯克夫人不识趣地问,“要是你在这儿呆下去,你 就有戏看了。”
   “看在上帝分上,瓦奥莱特,别再说这个了!”她丈夫吼道,“开别的玩笑吧, 看在上帝分上!”
   麦基斯克夫人转向艾布拉姆斯夫人,呼吸声粗粗地。
   “他太激动了。”
   “我没有激动,”麦基斯克不承认,“恰恰相反,我一点儿也不激动。”
   他分明很恼火。他脸色发青,这使他的所有表白徒劳无益。突然,他有点意识 到自己的处境,便起身走向大海。他妻子跟着他,萝丝玛丽也趁机跟了上去。
   麦基斯克长长地吸了口气,扎进浅水里,双臂僵硬地拍打着地中海的海水,显 然想表明他游的是一种自由泳——等气用完时,他抬起头四下张望,惊讶地发现他 离海岸没多远。
   “我还没有学会换气。我从来就弄不明白该怎样换气。”他带着询问的目光看 着萝丝玛丽。
   “我想你要学会在水下吐气,”她对他讲解,“每划四下水,你侧过头来换口 气。”
   “对我来说,换气最难学了。我们到救生筏那儿去,好吗?”
   那个头发蓬松的男子四仰八叉地躺在筏上。救生筏随浪颠簸。麦基斯克夫人游 了过来,这时筏身猛然一晃,重重地撞了她的手臂一下。那男子探身将她拉上了竹 筏。
   “恐怕竹筏打着你了。”他说起话来缓慢迟疑。他有一张萝丝玛丽所见过的最 难看的脸:印第安人的高颧骨,厚厚的上嘴唇,赤褐色的大眼睛深深陷进去。他说 话轻声细语,仿佛想让他说的话以一种迂回而不是莽撞的方式传达给麦基斯克夫人。 一转眼,他已跃入水中,颀长的身子平伸着冲向海岸。
   萝丝玛丽和麦基斯克夫人注视着他。当前冲的动力耗尽,他猛地弓起身来,瘦 细的大腿伸出水面,随后不见了人影,几乎连个水泡都没有留下。
   “他是个游泳能手。”萝丝玛丽说。
   麦基斯克夫人的回答出乎意料地粗暴。
   “嗨,他是个蹩脚的音乐家。”她向丈夫转过身去。他经过两次徒劳的尝试才 设法爬上了救生筏,本想卖弄地伸展一下手脚来平衡身体,不料更加踉踉跄跄起来。 “我只是说,艾贝·诺思或许是个游泳能手,但他也是个蹩脚的音乐家。”
   “是的。”麦基斯克勉强地附和着。显然,他创造了他妻子的生活天地,只允 许她在这个世界里有一点儿自由。
   “安太尔 跟我很熟。”麦基斯克夫人挑战似地转向萝丝玛丽,“安太尔和 乔伊斯 。我猜想你在好莱坞没怎么听说过这些人,可我丈夫在美国第一个写了 评论《尤利西斯》的文章。”
   “我现在真希望有根烟抽,”麦基斯克平静地说,“眼下这个更重要。”
   “他了解那个圈子的事情,你不这样认为吗,艾伯特?”
   她突然没了声音。那个戴珍珠项链的女子也来到水里,同她的两个孩子会合。 此时,艾贝·诺思从水下像一座火山岛似地冒出来,将其中一个孩子举起放在自己 肩上。这孩子既害怕又高兴地大声喊叫,但那女子只是恬静地看着,没有笑容。
   “是他的妻子吗?”萝丝玛丽问。
   “不是,她是戴弗夫人。他们不住在旅馆。”她直勾勾的眼光,一动不动地盯 着那个女子的脸庞。过了一会,她倏地转向萝丝玛丽。
   “你以前到过国外吗?”
   “到过,我在巴黎上的学。”
   “哦!那你也许懂得,你要是想在这儿玩得舒心,那就得设法结识一些真正的 法国名门。这些人能有什么长进呢?”她用左肩膀朝海岸指指,“他们只是三五成 群地四处闲逛。当然,我们有推荐信,我们在巴黎见到了法国所有第一流的艺术家 和作家。那让人多高兴。”
   “想必也是。”
   “你可知道,我丈夫就要写完他的第一部小说了。”
   萝丝玛丽说:“噢,是吗?”她井不很在意这些事儿,她只是想,这么热的大, 她母亲能否睡得着。
   “小说与《尤利西斯》一书的思想有关,”麦基斯克夫人接着说,“所不同的 是,我丈夫表现的是一百年,而不是二十四小时之内的事 。他表现一个老朽的 法国贵族,并把他放到机械时代中加以比较——”
   “嗨,看在上帝分上,瓦奥莱特,别见到一个告诉一个,”麦基斯克提出, “我不想在小说出版前就传得沸沸扬扬。”
   萝丝玛丽游回到岸边,她把浴巾披到酸疼的肩膀上,再次躺在阳光下。戴骑师 帽的男子手只拿着一瓶酒和几只玻璃杯,从这顶遮阳伞走到那顶遮阳伞。不一会, 他和他的朋友闹得更欢,凑得更近了。此刻,那些遮阳伞连成了一片。她猜想有人 在辞行,这大概是他们在海滩上的最后一次聚会了。甚至孩子们也知道喧闹声是从 那遮阳伞下发出的,都转身朝那边张望。在萝丝玛丽看来,这一切都与那个戴骑师 帽的男子有关。
   中午时分,炽热的气流笼罩着大海和天空,甚至五英里远处白带子般的戛纳市 也渐渐模糊起来,恍如一道清新、凉爽的幻景。一艘旅鸫鸟式的船只从外侧黝黑的 大海驰来,横着靠近一块海滩。似乎这广阔的海岸到处死气沉沉,唯独在那透过遮 阳伞的阳光下,红红绿绿的色彩和叽叽喳喳的声音传达出生活的气息。
   坎布恩朝她走来,在几步远的地方站住脚。萝丝玛丽闭上眼睛,装作睡着。接 着她微微睁开眼睛,蒙蒙陇陇地看到两根模糊的柱子——两条腿。那人想躲进一块 云彩投到沙滩上的阴影里,但那块云彩在如灼如烤的天穹中飘走了。这时萝丝玛丽 真的睡着了。
   她醒来时全身大汗淋漓,她发现海滩上已空空荡荡,只有那个戴骑师帽的男子 在收最后一把遮阳伞。萝丝玛丽睡眼惺。恰地躺着,他走过来说:
   “我打算走之前来叫醒你。一下子晒得太黑没有好处。”
   “谢谢。”萝丝玛丽低头看到自己晒成深红色的大腿,不禁叫道:“天哪!”
   她快活地大笑起来,想邀他一块聊聊,但迪克·戴弗已带着一顶帐篷和一把海 滩遮阳伞走向一辆停着的汽车,于是她就下水去冲洗身上的汗珠。他走回来,把耙 子、铲子和筛子收到一起,塞到一块岩石的裂缝里。他朝海滩四下巡视一番,看是 否遗漏了什么东西。
   “请问现在几点了?”萝丝玛丽问。
   “大概一点半了。”
   他们一起面对大海,眺望了片刻。
   “这时辰不坏,”迪克·戴弗说,“这不是一天中最糟糕的时辰。”
   他看着她,她一时觉得自己生活在他眼中那片明亮的蓝色世界里,这意念十分 强烈和自信。他扛起最后一包杂物向汽车走去,萝丝玛丽也上岸,抓起浴衣抖了抖, 径直走回旅馆。
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