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海伦.凯勒 I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on. 我不知道这篇文章的多少读者看过这个生动的博物馆所展示的逼真事物的壮观景貌。当然有许多人没有机会,但是我相信,有许多人确有机会而没有利用。那里,确是利用你的眼睛的地方,你们能看见的人能在那里度过许多成果丰硕的日子,可是我只有想象的3天可见的时间,只能是仓促地一瞥,匆匆而过。 My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here , in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness. 我的下一站将是大都会艺术博物馆。像自然历史博物馆展示世界的物质方面一样,大都会艺术博物馆展示大量的人类精神方面。在贯穿人类历史的全过程中,对艺术表现的强烈冲动就像人类对食物、住所和繁衍的迫切需要一样强烈。而这里,在大都会博物馆那宽敞的大厅里,在我们面前展示了通过艺术形式表达出来的古埃及、古希腊和古罗马的精神世界。我通过我的手很好地了解了雕刻的古代尼罗河土地上的众神,我摸过巴台农神殿(译注:巴台农神殿是希腊雅典城内的帕拉斯.雅曲娜神殿,建于公元前447-432年间。神殿由大理石筑成,极尽雕饰之巧,是希腊古典建筑的杰出代表作品。)中楣石柱的复制品,我意识到向前冲锋的的雅典武士的匀称和谐美。阿波罗、维纳斯和有翅膀的萨摩丝雷斯胜利女神(译注:萨摩丝雷斯是位于希腊爱琴海东北部的一个岛屿,因公元305年在岛上立起一胜利女神大理石雕像,以纪念马斯顿国王的海战大捷而著名。因女神雕像展开的双臂塑成展翅飞翔的姿态,故称萨摩丝雷斯展翅胜利女神像。该雕像现存于巴黎罗浮宫。)是我的手指尖的朋友。我看到那荷马的长满胡须、节瘤众多的面部雕像感到无比亲切,因为他也是盲人。 My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me. 我的手在栩栩如生的罗马大理石雕像和后世的雕刻上逗留。我的手摸过米开朗基罗(译注:1475-1564年,著名的佛罗伦萨画家、雕刻家、建筑师和诗人,意大利文艺复兴盛期的杰出代表人物。)那鼓舞人心的英雄摩西雕塑石膏模;我感觉到罗丹(译注:1840-1917年,著名的法国雕塑家)的力量。我对哥特木刻的热忱精神感到敬畏。这些能被触摸到的艺术作品对我有着实在的意义,但即使这些艺术品是为了观看而不是为了触摸,我只能猜度我仍未发现的美妙。我能赞叹一只古希腊花瓶简单的线条,但我对它的图案装饰却是迷惘的。
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