William S. Hart and the Early "Western" Film
课文学习台
William S. Hart and the Early "Western" Film
区分观点、依据、例子与限制，用自己的话准确重建论述。
课文精读第1 / 4段
本课原文与译文
展开完整文本 · 便于查阅与检索
第1段
William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared in nothing but Westerns. From 1914 to 1924 he was supreme and unchallenged. It was Hart who created the basic formula of the Western film, and devised the protagonist he played in every film he made, the good-bad man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip; in short, the individual in conflict with himself and his frontier environment.
威廉·S·哈特大概是美国西部电影明星中的佼佼者。他不同于加里·库珀和约翰·韦恩，他只演西部电影。从 1914年到1924年，他的表演首屈一指，地位不可撼动。西部电影的基调，以及他所扮演的主人公形象，正是哈特所创造和所塑造的。被认为是坏人的好人，出人意料的高尚的逃犯，诚实却遭陷害的牛仔，或因流言蜚语蒙受嫌疑的司法官。总之，主人公不仅自相矛盾，还与他所处的开拓国土的大环境相悖。
第2段
Unlike most of his contemporaries in Hollywood, Hart actually knew something of the Old West. He had lived in it as a child when it was already disappearing, and his hero was firmly rooted in his memories and experiences, and in both the history and the mythology of the vanished frontier. And although no period or place in American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching civilization.
哈特与当时大部分好莱坞的演员不同，他确实了解（历史上）旧西部的有关情况。孩提时他在旧西部生活过，当时开拓的浪潮已经开始退却。 他的西部英雄深深地植根于他的记忆深处，融入其经历；也扎根于旧西部的历史和逐步消逝的神话之中。旧西部被荒谬地浪漫化，虽然在美国历史上没有任何时期或地区能出其右，但至少在个人与不断侵入其生活的文明之间的冲突上，神话与现实确实交织在了一起。
第3段
Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen, and unhorsed by fences, laws and alien taboos. Hart's good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and forgive, especially when it was Hart who, in the end, overcame the attacking Indians.
习惯与大自然和印第安人作斗争以求生存的人们，却被政客、银行家和商人搞得晕头转向；又被围栏、法律和外来的禁忌打得措手不及。哈特扮演的偶尔做做坏事的好人，总是个外人，总是个没有当地各项权利的人。如果他认为一路上有必要开枪射死司法官或抢劫银行，他的早期观众很能理解，也很容易谅解，当最后哈特打败了前来进攻的印第安人时，观众尤其容易理解和谅解。
第4段
Audiences in the second decade of the twentieth century found it pleasant to escape to a time when life, though hard, was relatively simple. We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.
生活在20世纪10年代的观众认为，逃离到虽然艰苦，但相对而言简朴的时代中去，会感到愉悦。我们今天仍有这种感觉。如今，不宣而战的侵略、战争、虚伪、诈骗、无政府状态以及即将临头的毁灭，成为我们日常生活的一部分，我们都希望有一个得以依附的生存法则。
学完这一课
选一个可以讨论的判断，说明依据，再加上一句限制或不同情况。
译文与解析据吴应时整理资料及本站首轮审校稿；词伙与练习提示为本站学习设计。原PDF第84—87页，2022年2月第2版。