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月亮和六便士|Moon and Sixpence

第一章|Chapter I

属类： 双语小说 【分类】世界名著 -[作者: 毛姆] 阅读：[37819]
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毋庸讳言，当我初次结识查尔斯·斯特里克兰时，并未看出他有何过人之处。然而，现在大多数人都认识到了他的伟大。我所说的伟大，并非官运亨通的政客或者立功受奖的军人所赢得的那种伟大，因为这些人的伟大只关乎于他们的地位，而无涉于个人的品性。一旦时过境迁，他们身上的光环也就褪去了。

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I confess that when first I made acquaintance with Charles Strickland I never for a moment discerned that there was in him anything out of the ordinary. Yet now few will be found to deny his greatness.I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier；that is a quality which belongs to the place he occupies rather than to the man；and a change of circumstance reduces it to very discreet proportions.

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人们通常会发现一位卸职的首相想当年无非是个夸夸其谈的政客，没有一兵一卒的光杆司令现在也只不过是市肆中气短的英雄。但是查尔斯·斯特里克兰的伟大却是货真价实的，可能你不喜欢他的艺术，但不管怎样你无法拒绝由它所唤起的兴趣。他的作品能吸引你的目光，触动你的心弦。

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The Prime Minister out of office is seen, too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.The greatness of Charles Strickland was authentic.It may be that you do not like his art, but at all events you can hardly refuse it the tribute of your interest.He disturbs and arrests.

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他受人讥讽的时代已经过去了，而且对他的辩护不再被看作是古怪的行径，对他的赞颂也不再被认为是反常的表现。瑕不掩瑜，甚至他的缺点在人们的眼中也变得理所应当。他在艺术领域的地位尚无定论，或许崇拜者的恭维和贬损者的蔑视都很任性随意，但有一点却毋庸置疑，那就是他秉具的天赋。

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The time has passed when he was an object of ridicule, and it is no longer a mark of eccentricity to defend or of perversity to extol him.His faults are accepted as the necessary complement to his merits.It is still possible to discuss his place in art, and the adulation of his admirers is perhaps no less capricious than the disparagement of his detractors；but one thing can never be doubtful, and that is that he had genius.

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在我看来，对于艺术，最有趣的东西就是艺术家的个性。如果个性非凡，即使这个艺术家有再多的缺点，我也愿意原谅。我认为委拉斯开兹是个比艾尔·格列柯更优秀的画家，可是他的画风和题材司空见惯，缺乏新鲜感，不免让人们对他的崇拜大打折扣。而那位来自克里特岛的画家格列柯，他的作品充满肉欲和悲剧的情调，仿佛作为永恒的牺牲把自己灵魂的神秘奉献出来。

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To my mind the most interesting thing in art is the personality of the artist；and if that is singular, I am willing to excuse a thousand faults.I suppose Velasquez was a better painter than El Greco, but custom stales one’s admiration for him：the Cretan, sensual and tragic, proffers the mystery of his soul like a standing sacrifice.

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艺术家们，无论是画家、诗人或是音乐家，会用他们或者崇高、或者美妙的作品来装点世界，满足人们审美的需要，但这又类同于人的性本能，美妙的同时又不无野蛮粗暴。伟大的艺术家会将作品与其个人本身的伟大才能一同展现出来，寻找艺术家的秘密有种阅读侦探小说般让人欲罢不能的感觉，又如同宇宙充满了奥秘，迷人之处在于无法找到答案。

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The artist, painter, poet, or musician, by his decoration, sublime or beautiful, satisfes the aesthetic sense；but that is akin to the sexual instinct, and shares its barbarity：he lays before you also the greater gift of himself.To pursue his secret has something of the fascination of a detective story.It is a riddle which shares with the universe the merit of having no answer.

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即便是斯特里克兰最不起眼的作品也在暗示着他那怪异、复杂、受折磨的个性。毫无疑问，正是这些特点使得那些不喜欢他的作品的人也无法对这些画作漠然视之。同样也正是因为这一点，才会有那么多人对他的生活和性格感到兴奋和好奇，激发了他们浓厚的兴趣。

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The most insignifcant of Strickland’s works suggests a personality which is strange, tormented, and complex；and it is this surely which prevents even those who do not like his pictures from being indifferent to them；it is this which has excited so curious an interest in his life and character.

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直到斯特里克兰去世四年后，莫里斯·休瑞写了一篇文章，发表在《法兰西信使》上，正是这篇文章才使得这位默默无闻的画家不致湮没，而且为后来的那些囿于传统的评论家们开辟了一条新的道路。

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It was not till four years after Strickland’s death that Maurice Huret wrote that article in the Mercure de France which rescued the unknown painter from oblivion and blazed the trail which succeeding writers, with more or less docility, have followed.

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在法国，长期以来没有哪位评论家像休瑞那样具有无可争辩的权威性，他的观点绝对让人印象深刻。他对斯特里克兰的赞誉似乎有些过头，但后来人们对这位画家的评价证明他的话所言非虚。今天斯特里克兰的名声正是建立在他当初的判断之上，这位画家的声名鹊起可以说是艺术史上最具浪漫色彩的事件之一。

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For a long time no critic has enjoyed in France a more incontestable authority, and it was impossible not to be impressed by the claims he made；they seemed extravagant；but later judgements have confirmed his estimate, and the reputation of Charles Strickland is now firmly established on the lines which he laid down.The rise of this reputation is one of the most romantic incidents in the history of art.

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某些画家傲慢地宣称外行们根本不懂绘画艺术，所以俗人要表达对画作欣赏的最好方式就是闭嘴和掏出支票，我对这种说法不能认同，因为艺术是感情的表达，而感情是人类共通和能够理解的。所以，艺术只有艺术家才能鉴赏的说法，就如同精妙的手艺只有能工巧匠才能完全理解一样荒诞不经。

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I cannot agree with the painters who claim superciliously that the layman can understand nothing of painting, and that he can best show his appreciation of their works by silence and a cheque-book.It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman：art is a manifestation of emotion, and emotion speaks a language that all may understand.

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但是我也承认，对绘画技巧缺乏实际知识的评论家很少能对画作提出真正有价值的看法，而我自己对绘画就一无所知。幸运的是，在这方面我不必冒妄加评论的风险，因为我的朋友爱德华·勒加特先生，既是一位有能力的作家，又是一位造诣颇深的画家，在他的一本小书中，对斯特里克兰的作品做了充分的探讨，此书的文风优美，堪称典范，令人难过的是，这种文风在英国的大部分地区远不如在法国那样受到推崇。

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But I will allow that the critic who has not a practical knowledge of technique is seldom able to say anything on the subject of real value, and my ignorance of painting is extreme.Fortunately, there is no need for me to risk the adventure, since my friend, Mr.Edward Leggatt, an able writer as well as an admirable painter, has exhaustively discussed Charles Strickland’s work in a little book [1] which is a charming example of a style, for the most part, less happily cultivated in England than in France.

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莫里斯·休瑞在他那篇著名的文章中对查尔斯·斯特里克兰的生平做了简介，旨在吊足读者好奇的胃口。在对艺术表现出的冷峻的感情之下，他却表达出了真诚的渴望，呼唤人们对一个极具原创精神的天才要给予明智的关注。但是，休瑞是个撰稿的高手，他不会不知道“好奇之心，人皆有之”的道理，他用这种方式轻易地达到了预期的效果。

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Maurice Huret in his famous article gave an outline of Charles Strickland’s life which was well calculated to whet the appetites of the inquiring. With his disinterested passion for art, he had a real desire to call the attention of the wise to a talent which was in the highest degree original；but he was too good a journalist to be unaware that the“human interest”would enable him more easily to effect his purpose.

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当那些过去与斯特里克兰有过接触的人——有些作家在伦敦时就认识他，有些画家在蒙特马特尔咖啡馆和他见过面——惊讶地发现，原来他们以为他不过是个失败的画家，现在却好像换了个人似的，成了一个真正的天才，并与他们失之交臂。他的名字开始出现在法国和美国杂志刊登的一系列文章中，某个人会撰写对他的回忆文章，另一个人会撰写对他画作的鉴赏文章，这些文章增加了斯特里克兰的名声，但却勾起了公众的好奇心，而又无法完全满足他们的好奇。

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And when such as had come in contact with Strickland in the past, writers who had known him in London, painters who had met him in the cafés of Montmartre, discovered to their amazement that where they had seen but an unsuccessful artist, like another, authentic genius had rubbed shoulders with them, there began to appear in the magazines of France and America a succession of articles, the reminiscences of one, the appreciation of another, which added to Strickland’s notoriety, and fed without satisfying the curiosity of the public.

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有关斯特里克兰的文章很受读者欢迎，勤奋的维特布瑞希特—洛特霍尔兹在他鸿篇巨制的专著里开列了一张书单，列举出富有权威性的一些文章。

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The subject was grateful, and the industrious Weitbrecht-Rotholz in his imposing monograph [2] has been able to give a remarkable list of authorities.

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编造神话的能力是人类所固有的，在那些出类拔萃的人的生涯中，无论发生的是令人惊讶的事件还是神秘的事件，都会被人们津津乐道，人们还热衷发明一种传奇，并且狂热地笃信不移。它是用一种浪漫对平庸生活进行的抗议。传奇中的种种事件已然成为英雄走向不朽最可靠的通行证。

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The faculty for myth is innate in the human race. It seizes with avidity upon any incidents, surprising or mysterious, in the career of those who have at all distinguished themselves from their fellows, and invents a legend to which it then attaches a fanatical belief.It is the protest of romance against the commonplace of life.The incidents of the legend become the hero’s surest passport to immortality.

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沃尔特·雷利爵士在人们的记忆中被奉为神圣，与其说是因为他发现了很多领地，并以英国的名字命名的丰功伟绩，还不如说是因为他把披风铺在地上让伊丽莎白女王踏过去的小插曲。一个惯于冷嘲热讽的哲学家想到这点时，会哑然失笑。查尔斯·斯特里克兰生前默默无闻，一生树敌颇多而交友甚少。

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The ironic philosopher refects with a smile that Sir Walter Raleigh is more safely enshrined in the memory of mankind because he set his cloak for the Virgin Queen to walk on than because he carried the English name to undiscovered countries.Charles Strickland lived obscurely.He made enemies rather than friends.

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那些为他著书立说的人要用活跃的想象去弥补所收集资料的不足也就毫不为奇了。但显而易见的是，尽管人们对斯特里克兰生平事迹知道得并不多，但足够浪漫的文人骚客从中可以找到大量铺陈敷衍的材料，他的生活中有不少离奇可怕的事件，他的性格里也有反常粗暴的一面，他的命运中又不乏悲壮凄怆的遭遇。经过一段时间，便从这材料中产生了一个传奇，即使是睿智的历史学家对这种传奇也不敢贸然抨击。

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It is not strange, then, that those who wrote of him should have eked out their scanty recollections with a lively fancy, and it is evident that there was enough in the little that was known of him to give opportunity to the romantic scribe；there was much in his life which was strange and terrible, in his character something outrageous, and in his fate not a little that was pathetic.In due course a legend arose of such circumstantiality that the wise historian would hesitate to attack it.

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然而，一个明智的历史学家本应该讲求准确，但罗伯特·斯特里克兰牧师显然不属此类。他宣称写他父亲的传记是为了“消除某些街谈巷议的误解”，尤其是关于他父亲后半生的谬种流传，已经“给活着的亲人带来很大痛苦”。显而易见，众所周知的对斯特里克兰生平的种种描述，都让一个体面的家庭蒙羞。

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But a wise historian is precisely what the Rev. Robert Strickland is not.He wrote his biography [3] avowedly to“remove certain misconceptions which had gained currency”in regard to the later part of his father’s life, and which had“caused considerable pain to persons still living.”It is obvious that there was much in the commonly received account of Strickland’s life to embarrass a respectable family.

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我是带着一种消遣娱乐的心情来读这本传记的，而且暗自庆幸，这本书写得毫无生气，枯燥乏味。斯特里克兰先生在书中被刻画成一个模范丈夫和好父亲，一个脾气随和、做事勤勉、品行端正的谦谦君子。

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I have read this work with a good deal of amusement, and upon this I congratulate myself, since it is colourless and dull.Mr.Strickland has drawn the portrait of an excellent husband and father, a man of kindly temper, industrious habits, and moral disposition.

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这位当代的牧师在做《圣经》诠释学的研究时，已经获得了某种令人吃惊的、顾左右而言他的能力，其精妙之处在于，作为一个尽职的儿子，罗伯特·斯特里克兰牧师在“诠释”乃父生前种种事迹时，总能很方便地找到某些细节，使他能够在时机成熟时在教会获得显要职位，甚至我都似乎看到了他肌肉结实的小腿上俨然已经套上了主教的绑腿。

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The modern clergyman has acquired in his study of the science which I believe is called exegesis an astonishing facility for explaining things away, but the subtlety with which the Rev.Robert Strickland has“interpreted”all the facts in his father’s life which a dutiful son might fnd it convenient to remember must surely lead him in the fullness of time to the highest dignities of the Church.I see already his muscular calves encased in the gaiters episcopal.

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虽然这事做起来需要巨大的勇气，也会冒一定的风险，因为在斯特里克兰声誉日隆时，那些普遍被人接受的传说，并没有对他的名声带来好的影响。他的艺术对很多人有那么大的吸引力，或者是因为人们对他的性格很憎恶，或者是对他的死充满同情。斯特里克兰儿子的这部为父亲粉饰的传记，不啻给其父的崇拜者们浇了一头冷水。

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It was a hazardous, though maybe a gallant thing to do, since it is probable that the legend commonly received has had no small share in the growth of Strickland’s reputation；for there are many who have been attracted to his art by the detestation in which they held his character or the compassion with which they regarded his death；and the son’s well-meaning efforts threw a singular chill upon the father’s admirers.

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在这部传记出版后，人们还在对此书议论纷纷之际，斯特里克兰一生中最重要的作品之一——《撒玛利亚的女人》旋即被卖给了克里斯蒂拍卖行，可最后拍出的价钱比九个月前少了235英镑就并非偶然了。那时，一位有名的收藏家购得了这幅画，但他突然离世，所以这幅画又重新被拍卖。

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It is due to no accident that when one of his most important works, The Woman of Samaria，4 was sold at Christie’s shortly after the discussion which followed the publication of Mr.Strickland’s biography, it fetched￡235 less than it had done nine months before, when it was bought by the distinguished collector whose sudden death had brought it once more under the hammer.

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如果人类非凡的造就神话史诗的能力无法消除某种影响，即一个故事不能满足人类的猎奇心的话，光凭查尔斯·斯特里克兰的力量和独创性，是远远不能使得其画作的价钱前后差别有如此之大的。幸亏没过多久，维特布瑞希特—洛特霍尔兹博士的作品就问世了，最终让所有的艺术爱好者们打消了顾虑。

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Perhaps Charles Strickland’s power and originality would scarcely have suffced to turn the scale if the remarkable mythopoeic faculty of mankind had not brushed aside with impatience a story which disappointed all its craving for the extraordinary.And presently Dr.Weitbrecht-Rotholz produced the work which fnally set at rest the misgivings of all lovers of art.

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维特布瑞希特—洛特霍尔兹博士属于这样一类历史学家的学派：认为人性要多坏就有多坏，可以说没有最坏只有更坏。当然，比起那些成心把传奇性的大人物写成道貌岸然的君子，使人败兴的作家来说，这一派历史学家的著作肯定能给读者带来更大的乐趣。

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Dr. Weitbrecht-Rotholz belongs to that school of historians which believes that human nature is not only about as bad as it can be, but a great deal worse；and certainly the reader is safer of entertainment in their hands than in those of the writers who take a malicious pleasure in representing the great fgures of romance as patterns of the domestic virtues.

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对我而言，如果把安东尼和克里奥佩特拉之间仅仅写成经济上的联盟，我会感到遗憾的。同样要让我相信提比略和英王乔治五世一样是无可指摘的君主的话，恐怕要拿出比现存材料更多的证据来证明，谢天谢地，目前似乎还没有。维特布瑞希特—洛特霍尔兹博士正是用了这样的逻辑来评论罗伯特·斯特里克兰牧师所写的传记，这部天真的传记让人们对于那位不幸的人儿难免会产生某种同情。

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For my part, I should be sorry to think that there was nothing between Antony and Cleopatra but an economic situation；and it will require a great deal more evidence than is ever likely to be available, thank God, to persuade me that Tiberius was as blameless a monarch as King George V.Dr.Weitbrecht-Rotholz has dealt in such terms with the Rev.Robert Strickland’s innocent biography that it is difficult to avoid feeling a certain sympathy for the unlucky parson.

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牧师为顾及体面故意闪烁其词的地方，被攻击为虚伪；大肆渲染的地方，被严责为谎言；而保持沉默的地方又被诟病为背叛。对于传记作者来说，作品中的这些小过失应该受到指责，但是对于传记主人公的儿子而言，又情有可原。倒霉的是，盎格鲁—撒克逊民族似乎也因此受到牵连，被非难为假装正经、弄虚作假、狂妄自大、欺骗成性、狡猾成精，甚至烹饪也一塌糊涂。

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His decent reticence is branded as hypocrisy, his circumlocutions are roundly called lies, and his silence is vilifed as treachery.And on the strength of peccadilloes, reprehensible in an author, but excusable in a son, the Anglo-Saxon race is accused of prudishness, humbug, pretentiousness, deceit, cunning, and bad cooking.

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我个人认为，斯特里克兰牧师在驳斥已深入人心的，说他父母之间“不太愉快”的论调时，实在过于草率。他在传记中引用一封查尔斯·斯特里克兰从巴黎寄来的信件，把他的妻子描述为“一个优秀的女人”，而维特布瑞希特—洛特霍尔兹博士把这封信的原件复制了出来，原来段落中这句话的原意是这样的：“让上帝诅咒我的妻子吧，她可真是一个‘优秀得可以’的女人，我真希望她能下地狱。”牧师对于不受欢迎的证据这样来处理，即使在教会鼎盛的时代，似乎也大为不妥。

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Personally I think it was rash of Mr.Strickland, in refuting the account which had gained belief of a certain“unpleasantness”between his father and mother, to state that Charles Strickland in a letter written from Paris had described her as“an excellent woman，”since Dr.Weitbrecht-Rotholz was able to print the letter in facsimile, and it appears that the passage referred to ran in fact as follows：God damn my wife.She is an excellent woman.I wish she was in hell.It is not thus that the Church in its great days dealt with evidence that was unwelcome.

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维特布瑞希特—洛特霍尔兹博士是查尔斯·斯特里克兰热情的崇拜者，他如果要想为斯特里克兰进行粉饰不会有丝毫危险。但是，他目光敏锐，对于所有隐藏在天真无邪表象下卑劣的动机都能明察秋毫。他既是一个精神病理学家，又是艺术的研究者，没有什么潜意识下的秘密能够瞒得了他，没有哪个探究秘密的人能够像他那样在平凡物体中看出更深的意义。

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Dr. Weitbrecht-Rotholz was an enthusiastic admirer of Charles Strickland, and there was no danger that he would whitewash him.He had an unerring eye for the despicable motive in actions that had all the appearance of innocence.He was a psycho-pathologist as well as a student of art, and the subconscious had few secrets from him.No mystic ever saw deeper meaning in common things.

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这个探秘的人看出了不便言传的东西，而精神病理学家看到了无法说出的东西。我们看到这位博学的作家热衷于搜寻出每一件让这位主人公丢脸的逸闻逸事，不免让人啧啧称奇。

28
-

The mystic sees the ineffable and the psycho-pathologist the unspeakable.There is a singular fascination in watching the eagerness with which the learned author ferrets out every circumstance which may throw discredit on his hero.

29
-

每当他找出某件主人公冷酷无情或卑鄙自私的例子，他的心就会对他多一份热情，而且在找到某件被遗忘的故事，能够用来嘲弄罗伯特·斯特里克兰牧师的一片孝心时，他就会像宗教法庭的法官审判异教徒那样兴高采烈。

29
-

His heart warms to him when he can bring forward some example of cruelty or meanness, and he exults like an inquisitor at the auto da fé of an heretic when with some forgotten story he can confound the flial piety of the Rev.Robert Strickland.

30
-

他那孜孜不倦的精神着实令人赞叹，没有什么琐事能够在他的笔下漏掉，如果查尔斯·斯特里克兰有一笔洗衣费用没有付清，细节就会被详细地记录下来；如果他欠别人半克朗的钱没有偿还，这笔债务的每一个细节绝不会被漏掉。

30
-

His industry has been amazing.Nothing has been too small to escape him, and you may be sure that if Charles Strickland left a laundry bill unpaid it will be given you in extenso, and if he forebore to return a borrowed half-crown no detail of the transaction will be omitted.

序号 英文/音标 中文解释 更多操作

discreet

[dɪ’skriːt]

adj.谨慎的;不引人注意的;朴素的，简易的

greatness

[ɡreɪtnəs]

n.伟大;崇高;巨大

authentic

[ɔː’θentɪk]

adj.真正的;真实的;可信的;可靠的

tribute

[’trɪbjuːt]

n.贡品;称赞;敬意;礼物

eccentricity

[ˌeksen’trɪsəti]

n.古怪;古怪的行为;怪癖;离心率

complement

[’kɒmplɪment]

vt.相辅相成

proffer

[’prɒfə(r)]

v.提供;提出

torment

[’tɔːment]

n.苦痛;拷问;折磨;烦恼

excite

[ɪk’saɪt]

vt.使兴奋;使激动;刺激;激起

docility

[dəʊ’sɪləti]

n.顺从;温顺;驯服

extravagant

[ɪk’strævəɡənt]

adj.奢侈的;浪费的;过度的;大量的

supercilious

[ˌsuːpə’sɪliəs]

adj.目中无人的;高傲的

craftsman

[’krɑːftsmən]

n.工匠;技工;手艺人

manifestation

[ˌmænɪfe’steɪʃn]

n.表现;示威运动;显灵

ignorance

[’ɪɡnərəns]

n.无知;愚昧

fortunate

[’fɔːtʃənət]

adj.幸运的;侥幸的;带来幸运的

exhaustive

[ɪɡ’zɔːstɪv]

adj.彻底的;详尽的;消耗的

whet

[wet]

n.磨;磨利之物;开胃物

past

[pɑːst]

a. 过去的;

unsuccessful

[ˌʌnsək’sesfl]

adj.不成功的;失败的

succession

[sək’seʃn]

n.连续;继承权;继位

reminiscence

[ˌremɪ’nɪsns]

n.回想;回忆;记忆力

monograph

[’mɒnəɡrɑːf]

n.专题论文

immortality

[ˌɪmɔː’tæləti]

n.不朽;永生

mankind

[mæn’kaɪnd]

n.人类;男人

eke

[iːk]

vt.竭力增补;勉强维持;竭力维持

fancy

[’fænsi]

n. 【C】设想；幻想；空想;

avowedly

[ə’vaʊɪdli]

adv.公然地

amusement

[ə’mjuːzmənt]

n.乐趣，娱乐;消遣

kindly

[’kaɪndli]

adj.和蔼的;温和的;爽快的

disposition

[ˌdɪspə’zɪʃn]

n.性情;倾向;安排;处置;控制;【计算机】 配置情况

fullness

[’fʊlnəs]

n.丰满;充分;完整丰富;适时

muscular

[’mʌskjələ(r)]

adj.肌肉的;肌肉发达的

gaiter

[’ɡeɪtə(r)]

n.绑腿;长统橡胶靴;鞋罩;高帮松紧鞋

hazardous

[’hæzədəs]

adj.危险的;冒险的;碰运气的

singular

[’sɪŋɡjələ(r)]

a. 非凡的；卓越的;

admirer

[əd’maɪərə(r)]

n.钦佩者;仰慕者;求爱者

hammer

[’hæmə(r)]

n.锤子;榔头

scarcely

[’skeəsli]

adv.几乎不;简直不;刚刚;决不

crave

[kreɪv]

v.渴望;热望;迫切需要;恳求

misgiving

[ˌmɪs’ɡɪvɪŋ]

n.疑虑;怀疑,

malicious

[mə’lɪʃəs]

adj.怀恶意的;恶毒的

monarch

[’mɒnək]

n.帝王;君主

cunning

[’kʌnɪŋ]

adj.狡猾的;有眼光的;精巧的;可爱的

rash

[ræʃ]

n.疹子;大量

refute

[rɪ’fjuːt]

vt.驳斥;反驳;驳倒

facsimile

[fæk’sɪməli]

n.摹本;传真

mystic

[’mɪstɪk]

adj.神秘的;神秘主义者的

eagerness

[’iːgənɪs]

n.渴望;热心

ferret

[’ferɪt]

n.白鼬;雪貂

cruelty

[’kruːəlti]

n.残酷;虐待;残酷的行为

amaze

[ə’meɪz]

vt.使吃惊;使惊异

bill

[bɪl]

①帐单；清单;

unpaid

[ˌʌn’peɪd]

adj.未付款的;没有报酬的

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