[2008.11.22] 二战中的法兰西：硝烟与明镜

France in the second world war
二战中的法兰西

Smoke and mirrors
硝烟与明镜

Nov 20th 2008
From The Economist print edition

“I HAD only one thought,” declared Simone de Beauvoir as Hitler’s troops advanced on Paris in June 1940, “not to be caught like a rat in occupied Paris.” So much for first reactions: like so many others of the French cultural elite, de Beauvoir, after a brief flight to the Loire valley, was soon back in Paris’s Café de Flore and other haunts of the Left Bank intelligentsia.

“当时只有一个想法”，1940年7月，西蒙•德•波伏娃在希特勒的军队开进巴黎时说，”就是别在敌占的巴黎被当做叛徒被抓走。” 然而在经历了最初的惶恐之后，波伏娃和其他法国的文化界精英一样，又从避难的卢瓦尔河河谷（Loire valley）回到了巴黎，再度现身于花神咖啡馆（Café de Flore）和其他左岸知识分子经常光顾的场所。
[花神咖啡馆 http://en.wikipedia.org/wiki/Caf%C3%A9_de_Flore]

And why not? Paris was the uncontested cultural capital of the world-the home not just of French intellectuals and artists such as Sartre and Matisse but of a foreign galaxy, too, from America’s Man Ray to Romania’s Brancusi and Russia’s Stravinsky. Moreover, as Frederic Spotts points out, Hitler’s intent was not to subjugate or eliminate the Parisian cultural elite but to seduce it, and by dint of cultural exchange-programmes and subsidised concerts and newspapers subtly convince the French of German superiority in art, music and literature.
为什么不呢？毋庸置疑，巴黎是世界文化之都。她不仅是像萨特（Sartre）、马蒂斯（Matisse）这样的法国知识分子和艺术家们的故乡，同时也是外国精英们的故乡，从美国的曼•雷（Man Ray）到罗马尼亚的布兰库什（Brancusi），还有俄国的斯特拉文斯基（Stravinsky）等，都汇聚巴黎。而且，正如Frederic Spotts指出的，希特勒并不打算征服或消灭巴黎的文化精英，而是想对他们施以引诱。他企图凭借开展文化互通活动，赞助音乐会和报纸，使法国人在无形中相信德国在艺术、音乐和文学上的优越地位。

[马蒂斯 http://en.wikipedia.org/wiki/Matisse
曼•雷 http://en.wikipedia.org/wiki/Man_Ray
布兰库什 http://en.wikipedia.org/wiki/Brancusi
斯特拉文斯基 http://en.wikipedia.org/wiki/Stravinsky]

For any non-Jewish artist, composer or writer that posed some tricky questions: would it be easy, or even possible, to work in exile; would it be patriotic to stay-or to leave? The northern half of the country was under occupation, the southern half was under the collaborationist government of Vichy and no one could tell how long the situation would last. As Matisse put it, “If everyone of value leaves France, what remains of France?”
这就对每一位非犹太族的艺术家、作曲家或是作家提出了一些刁钻的问题：在流亡时继续创作是一件容易的事吗？可能吗？留在法国是爱国的表现吗？还是应该离开？北部法国被德军占领，而南部则处在通敌的维西（Vichy）政府的统治之下。没人知道这种局面会持续多久。就像马蒂斯说的：”如果所有的精英都离开了法国，那么法国还剩下什么呢？”

Some of value did leave: Mondrian, Dali, Duchamp, Chagall and Léger were among those who made their various ways to New York. But many more did not. They divided between those, like Jean Guéhenno, an essayist, who bravely made no secret of their opposition to the Nazis and others, like Robert Brasillach (publisher of the viciously anti-Semitic paper “Je Suis Partout”), who were sycophantically pro-Nazi. A great number-arguably including Picasso and Sartre, as well as, less controversially, Jean Cocteau-sought the middle ground of peaceful coexistence with the occupiers, whatever their subsequent professions to the contrary.
有些精英的确离开了：蒙德里安（Mondrian）、达利（Dali）、杜尚（Duchamp）、夏加尔（Chagall）和莱热（Léger）等一些人通过种种渠道去了纽约。但更多的人留了下来。他们中有散文作家让•格和诺（Jean Guéhenno），他勇敢地站出来反对纳粹；其他人像罗伯特•巴西拉奇（Robert Brasillach）–激进的反犹太报纸《Je Suis Partout》(试译为<我无处不在>)的发行人–则对纳粹表示支持，竭力奉承。大部分人保持中立，选择与占领的德军和平共处，不论他们之后会在作品中抒发怎样的反抗之情。他们中包括了毕加索、萨特，人们对此颇具争议，还有一个争议较少的人物让•科克托（Jean Cocteau）。

[蒙德里安 http://en.wikipedia.org/wiki/Piet_Mondrian
达利 http://en.wikipedia.org/wiki/Salvador_Dal%C3%AD
杜尚 http://en.wikipedia.org/wiki/Duchamp
夏加尔 http://en.wikipedia.org/wiki/Chagall
莱热 http://en.wikipedia.org/wiki/Fernand_L%C3%A9ger
罗伯特•巴西拉奇 http://en.wikipedia.org/wiki/Robert_Brasillach
让•科克托 http://en.wikipedia.org/wiki/Jean_Cocteau]

Mr Spotts, who owes his title to Cocteau (“Long live this shameful peace,” was Cocteau’s typically flippant reaction to the occupation), has written an exhaustive study of what he says is a neglected subject. That may be a claim too far-there are, after all, plenty of books on how individual artists and intellectuals survived the occupation. But it is hard to disagree with Mr Spotts’s observations, especially when it comes to the account-settling vengeance of the liberation. And he rightly wonders whether the intellectual elite of any other country, if faced with similar circumstances, would have behaved any better.
Spotts先生称自己的书名来源于科克托（”令人蒙羞的和平万岁”–这是科克托对德军占领巴黎的典型的戏谑的回应）。Spotts先生对这一阶段进行了详尽的研究，并认为这是一个被人忽略的课题。这一说法也许过于绝对，毕竟很多作品都描写了某位艺术家和知识分子在被占期间求生的经历。但对于 Spotts先生的观察，尤其是对解放后大清算式的报复的认识上，我们很难予以否认。而且，他还提出了疑问：如果面临相似的处境，其他任何一个国家的知识精英会做得更好吗？他的疑问不无道理。

One criticism is his indulgence in untranslated bits of French, German and Italian; another is his occasional use of words like “aleatory”, which smack of translation (Mr Spotts lives in France) and have no place in modern English. But these are small defects in a book which reveals much about France, “a country where ideas have always been more important than facts.”
他的书中有两点不足，一是书中大量出现法语、德语和意大利语，且都没有给出翻译；再一个就是作者会偶尔使用像”aleatory”（侥幸的）这样带有翻译腔，而且在现代英语中罕用的词（Spotts先生现居法国）。但这本书为我们展现了法国–“一个思想远比事实重要的国家”–的全貌，因此，以上这些不足不过是微小的瑕疵罢了。

译者：zhs2046  http://www.ecocn.org/bbs/viewthread.php?tid=15614&extra=page%3D1