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旅行的艺术:旅行中的特定场所-3

所属教程:旅游英语口语

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2020年08月01日

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在家不开心的时候,我常搭上去希思罗机场的火车或机场巴士。在机场2号大楼的观光走廊上,或者从机场北面跑道一侧的万丽酒店的顶楼,我观看飞机连续不断地在机场起降,十分畅意。

When feeling sad at home, I have often boarded a train or airport bus and gone to Heathrow, where, from an observation gallery in Terminal 2 or from the top floor of the Renaissance Hotel along the north runway, I have drawn comfort from the sight of the ceaseless landing and take-off of aircraft.

1859年对波德莱尔是艰难的一年,在经历了《恶之花》的审判过后,他和情人詹妮·杜瓦尔的关系又宣告破裂。他于是到母亲的家乡——翁弗勒尔看望她。他在翁弗勒尔待了两个月,常在码头边找一个椅子坐下,看各种船只停靠、起航。“那些高大壮观的轮船,平稳地停在止水上;还有那些看似充满梦幻和闲适的轮船,它们难道不是在对我们无声耳语:我们什么时候开始快乐之旅?”

In the difficult year of 1859, in the aftermath of the Fleurs du mal trial and the breakup with his mistress Jeanne Duval, Baudelaire visited his mother at her home in Honfleur and, for much of his two-month stay, occupied a chair at the quayside, watching vessels docking and departing. 'Those large and beautiful ships, invisibly balanced (hovering) on tranquil waters, those hardy ships that look dreamy and idle, don't they seem to whisper to us in silent tongues: When shall we set sail for happiness?'

从机场的09L/27R区(就是飞行员所熟悉的北跑道)附近的停车场看去,天空中的波音747飞机起初只是一个耀眼的白色光点,似流星坠向地球。波音747已在空中飞行了12小时。它是拂晓时分从新加坡起飞,飞越了孟加拉湾、德里、阿富汗沙漠和里海,接着,它飞越罗马尼亚、捷克、德国南部,然后开始平缓降落。降落过程非常平缓,以致很少有乘客感觉到在飞越荷兰附近灰棕色、波浪翻滚的海面上空时飞机引擎细微的变化。接着飞机沿着泰晤士河飞过伦敦上空,再往北,到哈默史密斯附近,飞机机翼上的阻力板开始展开。飞机开始在阿克斯布里奇上空盘旋,最后在斯劳的上空,调直方向,对准跑道。从地面看去,白点慢慢变大,成了一个两层楼高的庞然大物,巨大的机翼下悬着的四只引擎像是它的耳环。在细雨中,飞机缓缓而近乎庄严地迫近机场,机身后成团的雨雾凝结,像是它拖曳的面纱。飞机的下方便是斯劳的郊区。时间是下午3时。在独立的别墅里,有人正在给水壶灌水。客厅里,电视机正开着,但声音关掉了。墙上有红色和绿色的光影移动。这就是平常的生活。而在其上方,是一架几小时前还在飞越里海的飞机。从里海到斯劳,飞机是尘世的一种象征,带着它飞越过所有地方的风尘;它永不停歇的飞行给人们以想象的力量,藉此消解心中的沉滞和幽闭感。还是在早晨,飞机在马来半岛——一个让人联想到番石榴和檀香木的气息的地方——的上空飞行,而现在,在如此长时间地脱离地面之后,在离地仅数米的上空,飞机似乎已趋静止,它的鼻子向上,像是在稍作歇息,然后,它的16个后轮接触到柏油跑道,掀起一阵烟尘,充分显示了其速度和重量。

Seen from a car park beside 09L/27R, as the north runway is known to pilots, the 747 appears at first as a small brilliant white light, a star dropping towards earth. It has been in the air for twelve hours. It took off from Singapore at dawn. It flew over the Bay of Bengal, Delhi, the Afghan desert and the Caspian Sea. It traced a course over Romania, the Czech Republic and southern Germany, before beginning its descent, so gently that few passengers would have noticed a change of tone in the engines, above the grey-brown, turbulent waters off the Dutch coast. It followed the Thames over London, turned north near Hammersmith (where the flaps began to unfold), pivoted over Uxbridge and straightened course over Slough. From the ground, the white light gradually takes shape as a vast two-storeyed body with four engines suspended like earrings beneath implausibly long wings. In the light rain, clouds of water form a veil behind the plane on its matronly progress towards the airfield. Beneath it are the suburbs of Slough. It is three in the afternoon. In detached villas, kettles are being filled. A television is on in a living room with the sound switched off. Green and red shadows move silently across walls. The everyday. And above Slough is a plane that a few hours ago was flying over the Caspian Sea. Caspian Sea-Slough: the plane a symbol of worldliness, carrying within itself a trace of all the lands it has crossed; its eternal mobility offering an imaginative counterweight to feelings of stagnation and confinement. This morning the plane was over the Malay peninsula, a place-name in which there linger the smells of guava and sandalwood. And now, a few metres above the earth which it has avoided for so long, the plane appears motionless, its nose raised upwards, seeming to pause before its sixteen rear wheels meet the tarmac with a blast of smoke that makes manifest its speed and weight.

在一条平行的跑道上,一架A340正起飞开往纽约。在斯泰恩斯水库的上空,飞机收起了阻力板和机底的轮子,因为在接下来的8小时穿云越海的飞行时间、3000英里的飞行距离里,飞机用不上它们,直到飞行至长滩一排排白色长条板平房的上方,飞机准备降落时才再度用得上它们。从飞机涡轮风扇发动机排出的热雾里,可以看见别的整装待发的飞机。放眼整个机场,到处可见正在移动的飞机,在灰色的地平线的陪衬下,它们多彩的后翼如同帆船赛场上林立的船帆。

On a parallel runway, an A340 ascends for New York and, over the Staines reservoir, retracts its flaps and wheels, which it won't require again until the descent over the white clapboard houses of Long Beach, 3,000 miles and eight hours of sea-and-cloud away. Visible through the heat haze of turbofans, other planes wait to start their journeys. All across the airfield, planes are on the move, their fins a confusion of colours against the grey horizon, like sails at a regatta.

机场3号候机厅的背面,沿着其由玻璃和钢架结构建成的外墙,停着4架巨型客机。从机身上的标志判断,可知它们来自不同的地方:加拿大、巴西、巴基斯坦和韩国。在起飞前的几个小时里,它们机翼的间隔才不过几米,但随后,它们将开始各自的旅程,迎着平流层的风飞向各自的目的地。同船泊靠码头时的情形相似,飞机降落后,一场优美的舞蹈也就开始了。卡车溜到机腹下方;黑色的油管牢牢地接到机翼上;机场舷梯的方形橡胶接口连到机舱出口;货舱门打开了,卸下有些磨损的铝制货箱,货箱里装载的可能是几天前还悬挂在热带果树枝头的水果,或者是几天前还生长在高原峡谷里的蔬菜;两个穿制服的工作人员在飞机的一个引擎旁架好了梯子,他们打开引擎罩,里面全是复杂的电线和钢管;毛毯和枕头从前舱卸下了飞机;乘客们开始走下飞机,对他们而言,这个普通的英国的下午将会有些超自然的意味。

Along the glass and steel back of Terminal 3 rest four giants, whose liveries indicate a varied provenance: Canada, Brazil, Pakistan, Korea. For a few hours, their wing-tips will lie only a few metres apart, until each set begins another journey into the stratospheric winds. As every ship turns into a gate, a choreographed dance begins. Trucks slip to the underbelly, black fuel hoses are fastened to the wings, a gangway bends its rectangular rubber lips over the fuselage. The doors of the holds are opened to disgorge battered aluminium cargo crates, perhaps containing fruit that only a few days ago hung from the branches of tropical trees or vegetables that had their roots in the soil of high silent valleys. Two men in overalls set up a small ladder next to one engine and open its casing to reveal an intricate terrain of wires and small steel pipes. Sheets and pillows are lowered from the front of one cabin. Passengers disembark for whom this ordinary English afternoon will have a supernatural tinge.

在机场,最引人注目的东西莫过于机场大厅天花板下悬着的一排排电视屏,上面显示着进出港的飞机航班的情况;这些显示屏,不曾有美感上的考量,放在整齐划一的罩盒里,屏上显示的文字版式呆滞乏味,却能使人兴奋,触发想象力。东京、阿姆斯特丹、伊斯坦布尔;华沙、西雅图、里约热内卢。这些显示屏能引发人们诗意的共鸣,一如詹姆斯·乔伊斯 [3] 的《尤利西斯》的最后一行:“的里雅斯特、苏黎世、巴黎。”不仅明晰地记录了小说《尤利西斯》的写作地点,同样重要的是,它揭示了隐藏在这一行文字背后大都会精神的象征。源于这些显示屏的,是持续不断的召唤,有时还伴随有电视屏上光标不安分的闪烁,似乎在昭示,我们既有的生活多么容易被改变:假设我们走过一条通道,登上飞机,那么数小时后,我们将置身于一个全然陌生的地方,在那里,没有人知道我们的名字。下午3点,正是我们困乏和绝望之际,如果我们能摆脱困乏和绝望的掌控,并坚信总会有一架飞机带着我们飞向某一个地方,就像是波德莱尔所谓的“任何地方!任何地方!”,或者是的里雅斯特、苏黎世、巴黎,那该是多么快意的事情!

Nowhere is the appeal of the airport more concentrated than in the television screens which hang in rows from terminal ceilings announcing the departure and arrival of flights and whose absence of aesthetic self-consciousness, whose workmanlike casing and pedestrian typefaces, do nothing to disguise their emotional charge or imaginative allure.Tokyo,Amsterdam,Istanbul. Warsaw,Seattle, Rio. The screens bear all the poetic resonance of the last line of James Joyce's Ulysses : at once a record of where the novel was written and, no less importantly, a symbol of the cosmopolitan spirit behind its composition:'Trieste, Zurich, Paris.' The constant calls of the screens, some accompanied by the impatient pulsing of a cursor, suggest with what ease our seemingly entrenched lives might be altered, were we to walk down a corridor and on to a craft that in a few hours would land us in a place of which we had no memories and where no one knew our names. How pleasant to hold in mind, through the crevasses of our moods, at three in the afternoon when lassitude and despair threaten, that there is always a plane taking off for somewhere, for Baudelaire's 'Anywhere! Anywhere!': Trieste, Zurich, Paris.

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