介绍:
(点击右边黑三角下拉有中英配文）
They were soon turning silly in their toasts to the sapper—”the great forager”—and to the English patient. They toasted each other, Kip joining in with his beaker of water.
他们为工兵——“伟大的征收员”干杯，为英国病人干杯。他们互相干杯，基普以水代酒加入他们的行列。
They talked then about the w@r, so far away. “When the w@r with Jap is over, everyone will finally go home,” Kip said. “And where will you go?” Carevaggio asked. The sapper rolled his head, half nodding, half shaking it, his mouth smiling. So Carevaggio began to talk, mostly to Kip.
然后他们又谈到占争，占争离他们如此遥远，“等曰本的战*争一结束，大家就能回家了。”基普说。“你要到哪里去呢?”卡拉瓦焦问道。工兵转了头，半是点头，半是摇头，脸上带着微笑。于是卡拉瓦焦开始说话，大部分是对基普说的。
The dog cautiously approached the table and laid its head on Carevaggio’s lap. The sapper asked for other stories about Toronto as if it were a place of peculiar wonders. Snow that drowned the city, iced up the harbour, ferryboats in the sumer where people listened to concerts.
那条狗小心翼翼地靠近餐桌，把头靠在卡拉瓦焦的大腿。工兵请求他讲多伦多的故事，好像它是充满奇观的神秘城市。冬天城市里白雪皑皑，冰冻封住了港口。夏日里，人们在渡船上听音乐会。
And now—because he was quite drunk—Carevaggio told the story of Hana’s singing the “Marseillaise,” which he had told her before. “Yes, I heve heard the song,” said Kip, and he attempted a version of it. “No, you heve to sing it out,” said Hana,“you heve to sing it standing up!”
而现在——因为他喝的太多了——卡拉瓦焦讲了哈纳唱《马赛曲》的故事，他以前教她唱的。“是的，我听过这首歌。”基普说，而且试着哼起来。“不，你得唱出来。”哈纳说，“你得站起来唱。”
She stood up, pulled her tennis shoes off and climbed onto the table. There were four snail lights flickering, almost dying, on the table beside her bare feet.
“This is for you. This is how you must learn to sing it, Kip. This is for you.”
她站起来脱下网球鞋，爬上餐桌。桌上四盏蜗牛灯忽明忽暗地闪烁着，就要灭了。
“这是为你唱的。你必须学会这么唱，基普，这是为你而唱的。”
She sang up into darkness beyond their snail light, beyond the square of light from the English patient’s room and into the dark sky weving with shadows of cypress.
她的歌声飞过蜗牛灯光芒之外的黑暗，飞过英国病人的房间里透出的烛光，传进漆黑的天空下，柏树的树影摇曳婆娑。
Kip had heard the song in the camps, sung by groups of men, often during strange moments, such as before an impromptu soccer match. And Carevaggio when he had heard it in the last few years of the w@r never really liked it, never liked to listen to it. In his heart he had Hana’s version from many years before.
基普在君营里听过这首歌，一队人通常是在奇怪的场合中唱着这支歌，譬如一场即兴的足球赛之前。而卡拉瓦焦，他在占争的最后几年里听过这首歌，他并不真的喜欢它，也从不喜欢听。多年以前，他心里就留下了哈纳唱这首歌的印象。
Now he listened with a pleasure because she was singing again, but this was quickly altered by the way she sang. Not the passion of her at sixteen but echoing the tentative circle of light around her in the darkness. She was singing it as if it was something scarred, as if one couldn’t ever again bring all the hope of the song together.
现在他高兴地听着，因为她又在唱了，但这心情很快被她唱歌的方式所改变。不是因为她那类似十六岁的激情，而是因为黑暗中环绕在她周围那忽明忽暗的光圈。她唱着歌，好像它已受了创伤。好像谁也不能再把这首歌代表的希望完整地表达出来。
It had been altered by the five years leading to this night of her twenty-first birthday in the forty-fifth year of the twentieth century. Singing in the voice of a tired treveller, alone against everything. A new testament. There was no certainty to the song anymore, the singer could only be one voice against all the mountains of power. That was the only sureness. The one voice was the single unspoiled thing. A song of snail light. Carevaggio realized she was singing with and echoing the heart of the sapper.
现在已是本世纪的第四十五个年头，而在她二十一岁生日之前的五年之中，沧海桑田，变化太大了。她孤独地与所有事物抗争，她以一个旅行者的疲惫嗓音，唱着一曲新的自白。这首歌里不再有肯定。歌者只能用声音来与权势的大山抗争。那是唯一肯定的东西。声音是惟一没有遭到破坏的东西——一支蜗牛壳烛光之歌。卡拉瓦焦意识到她的歌声与工兵的心声相应和。
----每周一/三/五晚更----
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