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故园风雨后|Brideshead Revisited

第四章 塞巴斯蒂安在家里——马奇梅因勋爵在国外|Chapter 4

属类： 双语小说 【分类】世界名著 -[作者: 伊夫林-沃] 阅读：[107808]
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THE languor of Youth - how unique and quintessential it is! How quickly, how irrecoverably, lost! The zest, the generous affections, the illusions, the despair, all the traditional attributes of Youth - all save this - come and go with us through life. These things are a part of life itself; but languor - the relaxation of yet unwearied sinews, the mind sequestered and self-regarding that belongs to Youth alone and dies with it.  Perhaps in the mansions of Limbo the heroes enjoy some such compensation for their loss of the Beatific Vision; perhaps the Beatific Vision itself has some remote kinship with this lowly experience; I, at any rate, believed myself very near heaven, during those languid days at Brideshead.

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‘Why is this house called a “Castle”?’

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‘It used to be one until they moved it.’

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‘What can you mean?’

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‘Just that. We had a castle a mile away, down by the village. Then we took a fancy to the valley and. pulled the castle down, carted the stones up here, and built a new house.  I’m glad they did, aren’t you?’

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‘If it was mine I’d never live anywhere else.’

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‘But you sec. Charles, it isn’t mine. Just at the moment it is, but usually it’s full of ravening beasts. If it could only be like this always - always summer, always alone, the fruit always ripe, and Aloysius in a good temper...’

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It is thus I like to remember Sebastian, as he was that summer, when we wandered alone together through that enchanted palace; Sebastian in his wheel chair spinning down the box-edged walks of the kitchen gardens in search of alpine strawberries and warm figs, propelling himself through the succession of hothouses, from scent to scent and climate to climate, to cut the muscat grapes and choose orchids for our button-holes; Sebastian hobbling with a pantomime of difficulty to the old nurseries, sitting beside me on the threadbare, flowered carpet with the toy-cupboard empty about us and Nanny Hawkins stitching complacently in the comer, saying, ‘You’re one as bad as the other; a pair of children the two of you. Is that what they teach you at College?’

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Sebastian supine on the sunny seat in the colonnade, as he was now, and I in a hard chair beside him, trying to draw the fountain.

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‘Is the dome by Inigo Jones, too? It looks later.’

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‘Oh, Charles, don’t be such a tourist. What does it matter when it was built if it’s pretty?’

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‘It’s the sort of thing I like to know.’

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‘Oh dear, I thought I’d cured you of all that - the terrible Mr Collins.’

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It was an aesthetic education to live within those walls, to wander from room to room, from the Soanesque library to the Chinese drawing, adazzle with gilt pagodas and nodding mandarins, painted paper and Chippendale fretwork, from the Pompeian parlour to the great tapestry-hung hall which stood unchanged, as it had been designed two hundred and fifty years before; to sit, hour after hour, in the shade looking out on the terrace.

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This terrace was the final consummation of the house’s plan; it stood on massive stone ramparts above the lakes, so that from the hall steps it seemed to overhang them, as though, standing by the balustrade, one could have dropped a pebble into the first of them immediately below one’s feet. It was embraced by the two arms of the colonnade; beyond the pavilions groves of lime led to the wooded hillsides.

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Part of the terrace was paved, part planted with flower-beds and arabesques of dwarf box; taller box grew in a dense hedge, making a wide oval, cut into niches and interspersed with statuary, and, in the centre, dominating the, whole splendid space rose the fountain; such a fountain as one might expect to find in a piazza of southern Italy; such a fountain as was, indeed, found there a century ago by one of Sebasian’s ancestors; found, purchased, imported, and re-erected in an alien but welcoming climate.

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Sebastian set me to draw it. It was an ambitious subject for an amateur - an oval basin with an island of sculptured rocks at its centre; on the rocks grew, in stone, formal tropical vegetation, and wild English fem in its natural fronds; through them ran a dozen streams that counterfeited springs, and round them sported fantastic tropical animals, camels and camelopards and an ebullient lion, all vomiting water; on the rocks, to the height of the pediment, stood an Egyptian obelisk of red sandstone - but, by some odd chance, for the thing was far beyond me, I brought it off and, by judicious omissions and some stylish tricks, produced a very passable echo of Piranesi.

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‘Shall I give it to your mother?’ I asked.

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‘Why? You don’t know her.’

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‘It seems polite. I’m staying in her house.’

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‘Give it to nanny,’ said Sebastian.

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I did so, and she put it among the collection on the top of her chest of drawers, remarking that it had quite a look of the thing, which she had often heard admired but could never see the beauty of, herself.

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For me the beauty was new-found.

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Since the days when, as a schoolboy, I used to bicycle round the neighbouring parishes, rubbing brasses and photographing fonts, I had nursed a love of architecture, but, though in opinion I had made that easy leap, characteristic of my generation, from the puritanism of Ruskin to the puritanism of Roger Fry, my sentiments at heart were insular and medieval.

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This was my conversion to the Baroque. Here under that high and insolent dome, under those coffered ceilings; here, as I passed through those arches and broken pediments to the pillared shade beyond and sat, hour by hour, before the fountain, probing its shadows, tracing its lingering echoes, rejoicing in all its clustered feats of daring and invention, I felt a whole new system of nerves alive within me, as though the water that spurted and bubbled among its stones, was indeed a life-giving spring.

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One day in a cupboard we found a large japanned-tin box of oil-paints still in workable condition.

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‘Mummy bought them a year or two ago. Someone told her that you could only appreciate the beauty of the world by trying to paint it. We laughed at her a great deal about it. She couldn’t draw at all, and however bright, the colour were in the tubes, by the time mummy had mixed them up, they came out a kind of khaki. Various dry, muddy smears on the palette confirmed this statement. ‘Cordelia was- always made to wash the brushes. In the end we all protested and made mummy stop.’

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The paints gave us the idea of decorating the office; this was a small room opening on the colonnade; it had once been used for estate business, but was now derelict, holding only some garden games and a tub of dead aloes; it had plainly been designed for a softer use, perhaps as a tea-room or study, for the plaster walls were decorated with delicate Rococo panels and the roof was prettily groined. Here, in one of the smaller oval frames, I sketched a romantic landscape, and in the days that followed filled it out in colour, and, by luck and the happy mood of the moment, made a success of it. The brush seemed somehow to do what was wanted of it.

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It was a landscape without figures, a summer scene of white cloud and blue distances, with an ivy-clad ruin in the foreground, rocks and a waterfall affording a rugged introduction to the receding parkland behind. I knew little of oil-painting and learned its ways as I worked.?When, in a week, it was finished, Sebastian was eager for me to start on one of the larger panels. I made some sketches. He called for a fête champêtre with a ribboned swing and a Negro page and a shepherd playing the pipes, but the thing languished. I knew it was good chance that had made my landscape, and that this elaborate pastiche was too much for me.

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One day we went down to the cellars with Wilcox and saw the empty bays which had once held a vast store of wine; one transept only was used now; there the bins were well stocked, some of with vintages fifty years old.

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‘There’s been nothing added since his Lordship went abroad,’ said Wilcox. ‘A lot of the old wine wants drinking up. We ought to have laid down the eighteens and twenties.  I’ve had several letters about it from the wine merchants, but her Ladyship says to ask Lord Brideshead, and he says to ask his Lordship, and his Lordship says to ask the lawyers. That’s how we get low. There’s enough here for ten years at the rate it’s going, but how shall we be then?’

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Wilcox welcomed our interest; we had bottles brought up from every bin, and it was during those tranquil evenings with Sebastian that I first made a serious acquaintance with wine and sowed the seed of that rich harvest which was to be my stay in many barren years. We would sit, he and I, in the Painted Parlour with three bottles open on the table and three glasses before each of us; Sebastian had found a book on winetasting, and we followed its instructions in detail.

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We warmed the glass slightly at a candle, filled it a third high, swirled the wine round, nursed it in our hands, held it to the light, breathed it, sipped it, filled our mouths with it, and rolled it over the tongue, ringing it on the palate like a coin on a counter, tilted our heads back and let it trickle down the throat.

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Then we talked of it and nibbled Bath Oliver biscuits, and passed on to another wine; then back to the first, then on to another, until all three were in circulation and the order of glasses got confused, and we fell out over which was which, and we passed the glasses to and fro between us until there were six glasses, some of them with mixed wines in them which we had filled from the wrong bottle, till we were obliged to start again with three clean glasses each, and the bottles were empty and our praise of them wilder and more exotic.

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‘...It is a little shy wine like a gazelle.’

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‘Like a leprechaun.’

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‘Dappled, in a tapestry meadow.’

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‘Like flute by still water.’

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‘...And this is a wise old wine.’

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‘A prophet in a cave.’

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‘...And this is a necklace of pearls on a white neck.’

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‘Like a swan.’

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‘Like the last unicorn.’

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And we would leave the golden candlelight of the dining-room for the starlight outside and sit on the edge of the fountain, cooling our hands in the water and listening drunkenly to its splash and gurgle over the rocks.

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‘Ought we to be drunk every night?, Sebastian asked one morning.

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‘Yes, I think so.’

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‘I think so too.’

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We saw few strangers. There was the agent, a lean and pouchy colonel, who crossed our path occasionally and once came to tea. Usually we managed to hide from him. On Sundays a monk was fetched from a neighbouring monastery to say mass and breakfast with us. He was the first priest I ever met; I noticed how unlike he was to a parson, but Brideshead was a place of such enchantment to me that I expected everything and everyone to be unique; Father Phipps was in fact a bland, bun-faced man with, an interest in county cricket which he obstinately believed us to share. 

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‘You, know, father, Charles and I simply don’t know about cricket.’

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‘I wish I’d seen Tennyson make that fifty-eight last Thursday. That must have been an innings. The account in The Times was excellent. Did you see him against the South Africans?’

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‘I’ve never seen him.’

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‘Neither have I. I haven’t seen a first-class match for years not since Father Graves took me when we were passing through Leeds, after we’d been to the induction of the Abbot at Ampleforth. Father Graves managed to look up a train which gave us three hours to wait on the afternoon of the match against Lancashire. That was an afternoon. I remember every ball of it. Since then I’ve had to go by the papers. You seldom go to see cricket?’

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‘Never,’ I said, and he looked at me with the expression I have seen since in the religious, of innocent wonder that those who expose themselves to the dangers of the world should avail themselves so little of its varied solace.

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Sebastian always heard his mass, which was ill-attended. Brideshead was not an old-established centre of Catholicism. Lady Marchmain had introduced a few Catholic servants, but the majority of them, and all the cottages, prayed, if anywhere, among the Flyte tombs in the little grey church at the gates.

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Sebastian’s faith was an enigma to me at that time, but not one which I felt particularly concerned to solve. I had no religion. I was taken to church weekly as a child, and at school attended chapel daily, but, as though in compensation, from the time I went to my public school I was excused church in the holidays. The masters who taught me Divinity told me that biblical texts were highly untrustworthy. They never suggested I should try to pray. My father did not go to church except on family occasions and then with derision.

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My mother, I think, was devout. It once seemed odd to me that she should have thought it her duty to leave my father and me and go off with an ambulance, to Serbia, to die of exhaustion in the snow in Bosnia. But later I recognized some such spirit in myself. Later, too, I have come to accept claims which then, in 1923, I never troubled to examine, and to accept the supernatural as the real. I was aware of no such needs that summer at Brideshead.?

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Often, almost daily, since I had known Sebastian, some chance word in his conversation had reminded me that he was a Catholic, but I took it as a foible, like his teddy-bear. We never discussed the matter until on the second Sunday at Brideshead, when Father Phipps had left us and we sat in the colonnade with the papers, he surprised me by saying: ‘Oh dear, it’s very difficult being a Catholic.’

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‘Does it make much difference to you?’

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‘Of course. All the time.’

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‘Well, I can’t say I’ve noticed it. Are you struggling against temptation? You don’t seem much more virtuous than me.’

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[1]指1916—1922年间在位的英国首相。[2]指1888—1918年间在位的威廉二世。
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[3]原文为意大利文，船夫的名字。
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[4]原文为意大利文。
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[5]原文为意大利文。
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[6]原文为意大利文。
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[7]佛罗莱恩是世界上享有盛名且昂贵的咖啡馆。
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[8]法国后印象派画家，所画多为舞者、妓女等中下层人物。
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[9]指位于威尼斯圣马可广场的著名雕像。
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