新概念第四冊(cè)課文精講 Lesson21:威廉.S. 哈特和早…

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課文21 威廉.S. 哈特和早期限的‘西部’影片

347. William S. hart was, perhaps, the greatest of all Western stars,

威廉.S.哈特大概是美國(guó)西部電影明星中的佼佼者。

348. fro unlike Gary Cooper and John Wayne

他和加里.古柏、約翰.韋恩不同，

349. he appeared in nothing but Westerns.

他只在西部電影中扮演角色。

350. From 1914 to 1924 he was supreme and unchallenged.

在1914年至1924年期間，他首屈一指，獨(dú)霸影壇。

351. It was Hart who created the basic formula of the Western film,

正是他創(chuàng)造了西部電影的基調(diào)，

352. and devised the protagonist he played in every film he made,

即在他自己的拍攝的影片中他所塑造的主人公形象：

353. the good-bad man, the accidental-noble outlaw,

被認(rèn)為是壞人的好人，出人意料的高尚的逃犯，

354. or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip;

誠(chéng)實(shí)卻遭陷害的牛仔或因流言蜚語(yǔ)蒙受嫌疑的司法官。

355. in short, the individual in conflict with himself and his frontier environment.

總之，主人公是一個(gè)自相矛盾，又與他的拓荒環(huán)境相矛盾的人物。

356. Unlike most of his contemporaries in Hollywood,

哈特與大部分同時(shí)代在好萊塢的演員不同，

357. Hart actually knew something of the old West.

他確實(shí)了解西部早期拓荒生活的一些情況。

358. He had lived in it as a child when it was already disappearing,

作為一個(gè)孩子他曾在西部生活過，當(dāng)時(shí)西部拓荒生活正在消失。

359. and his hero was firmly rooted in his memories and experiences,

他塑造的英雄人物深深地扎根于他本人的記憶和經(jīng)歷之中，

360. and in both the history and the mythology of the vanished frontier.

也扎根于有關(guān)已經(jīng)消失的拓荒生活的歷史和神話之中。

361. And although no period or place in American history has been more absurdly romanticized,

雖然在美國(guó)歷史上沒有任何時(shí)期或地區(qū)像西部拓荒時(shí)期那樣被荒謬地浪漫主義化了，

362. myth and reality did join hands in at least one arena,

但神話和事實(shí)至少在某一個(gè)舞臺(tái)上共存，

363. the conflict between the individual and encroaching civilization.

也就是存在于個(gè)人與漸漸闖入的文明這兩者的沖突之中。

364. Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen,

習(xí)慣與大自然和印第安人作斗爭(zhēng)以求生存的拓荒者被政客、銀行家和商人搞得暈頭轉(zhuǎn)向，

365. and unhorsed by fences, laws and alien taboos.

最后被圈地、尖律我外來的清規(guī)戒律所擊敗。

366. Hart's good-bad man was always an outsider,

哈特扮演的被誤為壞人的好人總是一個(gè)局外人，

367. always one of the disinherited,

總是一個(gè)被剝奪繼承權(quán)的人。

368. and if he found it necessary to shoot a sheriff or rob a bank along the way,

如果他認(rèn)為在進(jìn)行過程中有必要槍擊一個(gè)司法官或搶劫一個(gè)銀行，

369. his early audiences found it easy to understand and forgive,

他的早期觀眾很容易接受，覺得應(yīng)該原諒他，

370. especially when it was Hart who, in the end, overcame the attacking Indians.

特別是當(dāng)哈特最后戰(zhàn)勝了前來進(jìn)攻的印第安人時(shí)，觀眾更能原諒他。

371. Audiences in the second decade of the twentieth century

生活在20世紀(jì)20年代的觀眾認(rèn)為，

372. found it pleasant to escape to a time when life,though hard, was relatively simple.

逃到一個(gè)即使艱苦但比較簡(jiǎn)樸的時(shí)代中去是件愉快的事，

373. We still do;

我們今天仍有這種感覺。

374. living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives,

如今，不宣而戰(zhàn)的侵略、戰(zhàn)爭(zhēng)、虛偽、詐騙、無政府狀態(tài)以及即將臨頭的毀滅成了我們?nèi)粘Ｉ畹囊徊糠郑?/p>

375. we all want a code to live by.

我們都希望有一個(gè)賴以生存的行為準(zhǔn)則。