第45章 铜猪 The Metal Pig（2 / 2）
看看他这纤细的手指；圣母玛利亚是打算让他做手套匠的。”
then she said, “he is a good d, he shall stay with , he ay bee a clever gloveaker, like you.
Look what delicate fgers he has got; adonna tended hi floveaker.”
于是男孩就留在了他们这儿，老妇人亲自教他缝纫；他吃得好，睡得好，变得非常快活。
So the boy stayed with the, and the woan herself taught hi to sew; ae well, and slept well, and beca very 快活。
但最后他开始逗弄那只叫贝利斯玛的小狗。
but at st he began to tease bellissia, as the little dog was called.
这让老妇人很生气，她责骂他，还威胁他，这让他非常不开心，他就跑到自己房间里，满脑子都是悲伤的想法。
this ade the woan angry, and she slded hi and threatened hi, which ade hi very unhappy, and he went and sat his own roo full of sad thoughts.
这间屋子临街，街上挂着要晾干的兽皮，他的窗户上横着粗粗的铁栅栏。
this chaber looked uporeet, which hung sks to dry, and there were thick iron bars across his dow.
那天晚上他躺在床上睡不着，想着那只铜猪；实际上，它一直在他的脑海里。
that night he y awake, thkg of the tal pig; deed, it was always his thoughts.
突然他觉得好像听到外面有啪嗒啪嗒的脚步声。
Suddenly he fancied he heard feet outside gog pit-a-pat.
他从床上跳起来，走到窗户边。
he sprung out of bed ao the dow.
会不会是那只铜猪呢？
uld it be the tal pig?
但什么也看不见；不管他刚才听到的是什么，都已经过去了。
but there was nothg to be seen; whatever he had heard had passed already.
第二天早上，他们的邻居，那位画家，路过这里，手里拿着一个颜料盒和一大卷画布。
, their neighbor, the artist, passed by, carryg a pat-box and a rge roll of vas.
“去帮这位先生拿一下他的颜料盒。” 老妇人对男孩说；男孩立刻照做了，拿起颜料盒，跟着画家走了。
“help the geo carry his box of lors,” said the woan to the boy; and he obeyed stantly, took the box, and followed the pater.
他们一直走，直到来到了画廊，然后爬上了他那晚骑着铜猪上去过的同一道楼梯。
they walked on till they reached the picture gallery, and ouhe sa staircase up which he had ridden that night oal pig.
他记得所有的雕像和画作，那美丽的大理石维纳斯雕像，他又看了看画有救世主和圣约翰的圣母像。
he rebered all the statues and pictures, the beautiful arble Ven, and aga he looked at the adonna with the Saviour and St.
John.
他们在布龙齐诺的那幅画前停了下来，画中基督站在地狱里，孩子们在他面前微笑着，满心欢喜地期待着进入天堂；这个可怜的男孩也笑了，因为这里就是他的天堂。
they sped before the picture by bronzo, whitation of enterg heaven; and the poor boy siled, too, for here was his heaven.
“你现在可以回家了。” 画家说，而男孩站在那里看着他，直到他支起了画架。
“You ay go ho now,” said the pater, while the boy stood watg hi, till he has set up his easel.
“我能看你画画吗？”
男孩问；“我能看你在这块白色画布上画画吗？”
“ay I see you pat?”
asked the boy; “ay I see you put the picture on this white vas?”
“我还没打算画画呢。” 画家回答道；然后他拿出了一支粉笔。
“I a not gog to pai,” replied the artist; then he brought out a piece of chalk.
他的手快速移动着，眼睛估量着那幅大作；尽管只出现了一条淡淡的线，但救世主的形象却和那幅彩色画里的一样清晰可见。
his hand oved quickly, and his eye asured the great picture; and though nothg appeared but a fat lihe figure of the Saviour was as clearly visible as the lored picture.
“你怎么还不走？”
画家说。
“why don’t you go?”
said the pater.
然后男孩默默地走回家，坐在桌子旁，学着缝手套。
then the boy wandered ho silently, aed hiself oable, and learo sew gloves.
但一整天他的心思都在画廊里；所以他扎到了手指，干活也不利索了。
but all day long his thoughts were the picture gallery; and so he pricked his fgers and was awkward.
但他不再逗弄贝利斯玛（那只小狗）了。
but he did not tease bellissia.
当夜幕降临，屋门敞开着的时候，他溜了出去。
when eveng ca, and the hoe door stood open, he slipped out.
那是一个明亮、美丽、星光闪烁的夜晚，但相当寒冷。
It was a bright, beautiful, starlight eveng, but rather ld.
他穿过已经空无一人的街道，很快就来到了铜猪跟前；他弯下腰，亲吻了它闪亮的鼻子，然后坐到了它的背上。
Away he went through the already-deserted streets, and soon ca to the tal pig; he stooped down and kissed its shg nose, and theed hiself on its back.
“你这快乐的家伙，” 他说，“我是多么想念你呀！今晚我们得去兜一圈。”
“You happy creature,” he said; “how I have longed for you! we t take a ride to-night.”
但是铜猪一动不动地躺着，而清澈的水流从它的嘴里汩汩流出。
but the tal pig y otionless, while the fresh strea ghed forth fro its outh.
小男孩仍然跨坐在它的背上，这时他感觉有什么东西在拽他的衣服。
the little boy still sat astride on its back, when he felt sothg pullg at his clothes.
他低头一看，原来是贝利斯玛，那只毛被剪得光溜溜的小贝利斯玛，正叫着，仿佛在说：“我也在这儿呢；你坐在那儿干嘛？”
he looked down, and there was bellissia, little sooth-shaven bellissia, barkg as if she would have said, “here I a too; why are you sittg there?”
一条凶猛的龙也不会像这只小狗在这儿出现时把小男孩吓成这样。
A fiery dragon uld not have frightehe little boy so uch as did the little dog this pce.
“贝利斯玛跑到街上来了，而且没穿衣服！” 就像老太太说的那样；“这会有什么后果呀？”
“bellissia ireet, and not dressed!” as the old dy called it; “what would be the end of this?”
这只狗在冬天从来不出门，除非给它穿上为它特制的小羊皮外套；这件外套用红丝带系在小狗的脖子和身上，还装饰着玫瑰花结和小铃铛。
the dog never went out ter, unless she was attired a little bsk at which had been ade for her; it was fastened round the little dog’s ned body with red ribbons, and was derated with rosettes and little bells.
当冬天允许它出门跟着女主人小跑的时候，这只狗看上去几乎就像一只小羊羔。
the dog looked alost like a little kid when she was allowed to go out ter, and trot after her istress.
而现在它却在这寒冷的户外，而且没穿衣服。
And now here she was the ld, and not dressed.
哦，这会有什么后果呀？
oh, how would it end?
他所有的幻想一下子都破灭了；不过他还是又亲了亲铜猪，然后把贝利斯玛抱在怀里。
All his fancies were quickly put to flight; yet he kissed the tal pig once ore, and then took bellissia his ars.
这可怜的小东西冻得直发抖，男孩便以最快的速度往家跑。
the poor little thg trebled so with ld, that the boy ran howard as fast as he uld.
“你抱着个啥东西跑得这么急？”
他遇到的两个警察问道，那狗还冲着他们叫呢。
“what are y away with there?”
asked o of the police who he t, and at who the dog barked.
“你从哪儿偷来的这只漂亮小狗？”
他们问道；然后就把狗从他手里夺走了。
“where have you stolen that pretty dog?”
they asked; and they took it away fro hi.
“哦，我没偷它呀；求求你们把它还给我吧。” 男孩绝望地喊道。
“oh, I have not stolen it; do give it to back aga,” cried the boy, despairgly.
“要是你没偷，你可以回家说一声，让他们到警署来领狗。”
然后他们告诉了他警署在哪儿，就带着贝利斯玛走了。
“If you have not stolen it, you ay say at ho that they send to the watch-hoe for the dog.”
theold hi where the watch-hoe was, a away with bellissia.
这下可出了大乱子。
here was a dreadful trouble.
男孩不知道自己是该跳进阿诺河呢，还是回家把一切都坦白交代。
the boy did not know whether he had better jup to the Arno ho and fess everythg.
他想，他们肯定会杀了他的。
they would certaly kill hi, he thought.
“唉，我倒宁愿被他们杀了，” 他寻思着，“因为那样我就死了，还能上天堂呢。” 于是他就往家走，几乎是盼着一死了之。
“well, I would gdly be killed,” he reasoned; “for then I shall die, and go to heaven:” and so he went ho, alost hopg for death.
门是锁着的，他够不着门环。
the door was locked, and he uld not reach the knocker.
街上一个人也没有；于是他捡起一块石头，用它使劲地砸门。
No one was ireet; so he took up a stone, and with it ade a trendo the door.
“谁呀？”
屋里有人问道。
“who is there?”
asked sobody fro with.
“是我。” 他说。
“It is I,” said he.
“贝利斯玛不见了。
打开门，然后杀了我吧。”
“bellissia is gone.
open the door, and then kill .”
这下可真是乱了套。
then ihere was a great panic.
老太太可喜欢贝利斯玛了。
ada was so very fond of bellissia.
她立刻朝通常挂狗衣服的那面墙看过去；那件小羊皮外套还在那儿呢。
She idiately looked at the wall where the dog’s dress ually hung; and there was the little bsk.
“贝利斯玛在警署呢！” 她叫道。
“bellissia ich-hoe!” she cried.
“你这坏孩子！你是怎么把她引诱出去的？
可怜的娇弱小东西，落到那些粗手粗脚的警察手里！她会冻坏的。”
“You bad boy! how did you entice her out?
poor little delicate thg, with thh poli! and she’ll be frozen with ld.”
朱塞佩立刻动身去了，他妻子在那儿哀叹，男孩则在哭泣。
Gieppe went off at once, while his wife nted, and the boy wept.
几个邻居进来了，其中就有那位画家。
Several of the neighbors ca , and aongst the the pater.
他把男孩拉到两膝之间，询问起他来；没几句完整的话，他就很快听完了整个事情的来龙去脉，还知道了关于铜猪以及那次奇妙的骑乘去画廊的经历，这经历确实有点让人难以理解。
he took the boy beeen his knees, and questioned hi; and, brokeences, he soon heard the whole story, and also about the tal pig, and the wonderful ride to the picture-gallery, which was certaly rather prehensible.
不过，画家安慰了这个小家伙，还试图平息那位女士的怒气；但直到她丈夫带着和警察在一起的贝利斯玛回来，她才消了气。
the pater, however, soled the little fellow, and tried to soften the dy’s anger; but she would not be pacified till her hbaurned with bellissia, who had been with the police.
然后大家都很高兴，画家抚摸着男孩，还送了他许多画。
then there was great rejoig, and the pater caressed the boy, and gave hi a nuber of pictures.
哦，这些画可真美啊！—— 画着长着滑稽脑袋的人物；而且，最重要的是，铜猪也在画里呢。
oh, what beautiful pictures these were! — figures with funny heads; and, above all, the tal pig was there too.
哦，没有什么比这更让人开心的了。
oh, nothg uld be ore delightful.
只需几笔，它就出现在纸上了；甚至它后面的房子也被勾勒了出来。
by ans of a few strokes, it was ade to appear on the paper; and even the hoe that stood behd it had beeched .
哦，如果他也能画画就好了！能画画的人可以在自己面前变出整个世界。
oh, if he uld only draat! he who uld do this uld jure all the world before hi.
第二天一有空，男孩就拿了一支铅笔，在其中一幅画的背面试着临摹那幅铜猪的画，他成功了。
the first leisure ont durg the day, the boy got a pencil, and on the back of one of the other drags he attepted to py the drag of the tal pig, and he sueeded.
当然，画得有点歪歪扭扭的，线条高低不平，一条腿粗，另一条腿细；但它还是有点像临摹的那幅画，他对自己的成果欣喜若狂。
certaly it was rather crooked, rather up and down, ohick, and ah; still it was like the py, and he was overjoyed at what he had done.
铅笔用起来并不完全顺手 —— 他已经发现了这一点；但第二天他又试了一次。
the pencil would not go quite as it ought, — he had found that out; but the day he tried aga.
在第一只猪的旁边又画了第二只，这只看起来比第一只好上百倍；第三次画的时候就画得非常好了，任何人都能看得出画的是什么。
A sed pig was drawn by the side of the first, and this looked a huis better; and the third attept was so good, that everybody ight know what it was ant to represent.
现在手套制作的进度变得很慢。
And now the gloveaki on but slowly.
城里店铺下的订单都没能很快完成；因为铜猪已经教会了这个男孩，所有的物体都可以画在纸上；而佛罗伦萨本身对于任何愿意翻阅它的人来说就是一本画册。
the iven by the shops iown were not fished quickly; for the tal pig had taught the boy that all objects ay be drawn upon the paper; and Florence is a picture-book itself for any one who chooses to turs pages.
在特里尼塔广场上立着一根细长的柱子，柱子上是正义女神，她双眼蒙着布条，手里拿着天平。
on the piazza dell trita stands a slender pilr, and upon it is the goddess of Jtice, bldfolded, with her scales her hand.
她很快就被画在了纸上，把她画在纸上的正是那个做手套的男孩。
She was soon represented on paper, and it was the gloveaker’s boy who pced her there.
他收集的画越来越多；但到目前为止，它们还只是些没有生命的物体的临摹画，有一天，贝利斯玛在他面前蹦蹦跳跳起来：“站着别动，” 他喊道，“我要把你画得漂漂亮亮的，放到我的收藏品里。”
his lle of pictures creased; but as yet they were only pies of lifeless objects, when one day bellissia ca gabollg before hi: “Stand still,” cried he, “and I will draw you beautifully, to put aongst y lle.”
但是贝利斯玛就是不肯站着不动，所以必须把她紧紧地绑在一个位置上。
but bellissia would not stand still, so she t be bound fast one position.
他把她的头和尾巴都绑住了；但是她又叫又跳，结果把绳子拉得紧紧的，差点把自己勒死；就在这时，她的女主人走了进来。
he tied her head and tail; but she barked and juped, and so pulled and tightehe strg, that she was nearly strangled; and jt then her istress walked .
“你这坏孩子！可怜的小家伙！” 她就只能说出这么几句话。
“You wicked boy! the poor little creature!” was all she uld utter.
她把男孩推开，用脚踹他，骂他是个忘恩负义、一无是处、邪恶的坏孩子，还禁止他再进家门。
She phed the boy fro her, thrt hi away with her foot, called hi a ost ungrateful, good-for-nothg, wicked boy, and forbade hi to ehe hoe aga.
然后她哭了起来，亲吻着她那差点被勒死的小贝利斯玛。
then she wept, and kissed her little half-strangled bellissia.
就在这时，画家走进了房间。
At this ont the pater ehe roo.
1834 年，佛罗伦萨艺术学院举办了一场展览。
In the year 1834 there was an exhibition the Acadey of Arts at Florence.
并排摆放的两幅画吸引了大批观众。
o pictures, pced side by side, attracted a rge nuber of spectators.
其中较小的那幅画描绘了一个小男孩坐在桌前画画；他面前是一只白色的小贵宾犬，毛被修剪得很奇特；但因为这只狗不肯站着不动，就用绳子把它的头和尾巴绑住，让它固定在一个位置上。
the saller of the o represented a little boy sittg at a table, drag; before hi was a little white poodle, curioly shaven; but as the anial would not stand still, it had been fastened with a strg to its head and tail, to keep it one position.
这幅画的逼真和生动引起了每个人的兴趣。
the truthfulness and life this picture ied every one.
据说这位画家是一位年轻的佛罗伦萨人，小时候他在街上被一位老手套匠发现并收养。
the pater was said to be a young Florente, who had been found ireets, when a child, by an old gloveaker, who had brought hi up.
这个男孩是自学绘画的：还有人说，就在这孩子因为把女主人最喜欢的小狗绑起来当模特而即将被赶走的时候，一位如今已成名的年轻艺术家发现了他的天赋。
the boy had taught hiself to draw: it was also said that a young artist, now fao, had disvered talent the child jt as he was about to be sent away for havg tied up ada’s favorite little dog, and g it as a odel.
正如这幅画所证明的，那个做手套的男孩也已经成为了一位伟大的画家；但旁边那幅更大的画则更能证明他的才华。
the gloveaker’s boy had also bee a great pater, as the picture proved; but the rger picture by its side was a still greater proof of his talent.
那幅画描绘了一个衣衫褴褛的英俊男孩，靠在罗莎门街上的铜猪旁睡着了。
It represented a handso boy, clothed rags, lyg asleep, and leang agast the tal pig ireet of the porta Rosa.
所有的观众都对这个地方很熟悉。
All the spectators khe spot well.
孩子的双臂搂着铜猪的脖子，他睡得很沉。
the child’s ars were round the neck of the pig, and he was a deep sleep.
圣母像前的灯把强烈而有效的光线投射在孩子苍白、娇嫩的脸上。
the p before the picture of the adonna threw a strong, effective light on the pale, delicate face of the child.
这是一幅美丽的画。
It was a beautiful picture.
一个宽大的镀金画框镶着这幅画，画框的一个角上挂着一个桂冠；但是一根黑色的带子，悄悄地缠在绿叶中间，还有一条黑纱飘带从上面垂下来；因为就在最近几天，这位年轻的艺术家已经 —— 去世了。
A rge gilt fra surrou, and on one er of the fra a urel wreath had been hung; but a bck band, ed unseen aong the green leaves, and a strear of crape, hung down fro it; for with the st few days the young artist had — died.