论文部分内容阅读
听力小提示：这篇有声材料非常难得地同时出现了英音与美音。大家不妨多听几遍，从中体会两种发音的差异。
Raz: The Bible wasn’t the only legacy King James left behind注, at least in Britain. There was also the 1)aristocratic legacy: a world of landowners and their servants, and a way of life that lasted right up until the First World War.
Screenwriter Julian Fellowes 2)portrayed that world in the 3)acclaimed film Gosford Park. He’s done it again, this time for television, in the British series Downton Abbey. It’s the story of the aristocratic Crawley family, known as the noble Granthams. And it takes place in the two years before the outbreak of World War I in 1914.
Fellowes: They’re not 4)colossally rich. That’s not it. But they are senior 5)earls. They are the earl and 6)countess of Grantham, and they have three daughters. They live in this house, which we chose quite 7)deliberately. It’s actually, in real life, a house called Highclere Castle, which is lived in by the earls of Carnarvon. But it’s built as such a statement of aristocratic confidence. You know, when you look at that house, nobody was 8)scratching their head and worrying about their social position. This was a class that knew what it was there for. And we deliberately wanted that because the house, quite strongly, I think, is a character in the drama, really. They…they all sort of serve the house, in a way.
Raz: Early on, we learn that the Crawleys are not fabulously…obviously, they’re very wealthy, but there was a point before Robert Crawley, the earl, before he became the earl, he was in danger of losing Downton Abbey until he married his wife Cora, who is an American 9)heiress. Were those kinds of marriages common at that time?
Fellowes: Oh, enormously common. Because in Europe, to get an heiress, you basically need everyone else in the family to die, and then there’s only one girl left, and she’s a great heiress. Well, naturally enough, that doesn’t happen all that often. But the Americans don’t 10)believe in 11)primogeniture—they never have. And so when a man was enormously rich, he would make his daughters rich, as well as his sons.
Raz: He would divide it up.
Fellowes: He would divide it up. And so it meant that there were an enormous amount of American heiresses, as opposed to the European ones.
Raz: And that…that American heiress, Cora Crawley, is played brilliantly by the actress Elizabeth McGovern, and her mother-in-law, the 12)matriarch of Downton Abbey, is the 13)dowager countess. She is played by the amazing Maggie Smith.
Violet Crawley: I’m not being 14)ridiculous. No Englishman would dream of dying in someone else’s house.
Raz: (laughs) I wonder whether you wrote this part with Maggie Smith in mind.
Fellowes: I can say without question I wrote it for Maggie. There is just something about the way she plays these characters that suits the way I write them, really. And she as an actress has a wonderful 15)dry wit behind everything she does.
Raz: How much research goes into re-creating this world?
Fellowes: When I was growing up, you know, I had great aunts and things so…I mean, my oldest great aunt, who is sort of the original for Violet Grantham, Maggie Smith’s character. You know, she was born in 1880. She was presented in 1898. She was married in about 1905, and she…I knew her. She only died when I was 21. I was very lucky because I got interested while that generation was still alive.
And, you know, this is the lovely thing about being a writer because…so in a sense, you…you have this kind of 16)squirrel’s 17)pouch of stuff you’ve heard during your life. And, you know, when you get given the right project, then you can bring it out.
拉茨：圣经并非英王詹姆斯留给我们的唯一遗产，至少在英国不是。他还留下了“贵族”这项遗产：那是一个地主与仆从的世界，这种生活方式一直延续至第一次世界大战。
编剧朱利安•费洛斯在广受好评的电影《高斯福德庄园》中描绘过那个世界。他这回在小银屏上重操旧业，创作了英剧《唐顿庄园》。作品围绕贵族家庭克劳利一家展开，他们又被称为尊贵的格兰瑟姆一族。这段故事发生在1912年间，距离一战爆发还有两年。
费洛斯：他们还不至于富得流油，不是这样。但他们是地位很高的伯爵世家——格兰瑟姆伯爵与伯爵夫人——膝下有三个女儿。他们住的这个宅子是我们特意挑选的地点。实际上，这房子在现实中名叫海克利尔城堡，过去曾是卡那封伯爵的住所。它矗立在那里就是贵族自信的标志。你知道，当你看着这座大宅时，没有人会抓耳挠腮地怀疑他们的社会地位。这个阶层深知自己的存在意义。我们要的就是这种效果，因为我想这房子的强烈存在感本身就是剧中的一个角色。他们……大家在某种意义上都为这栋房子服务。
拉茨：我们先前了解到克劳利一家并不显赫……他们显然相当富裕，但是曾有一段时间，罗伯特•克劳利伯爵在受封爵位前险些失去了唐顿庄园，直到他娶了美国女继承人科拉为妻（才化险为夷）。这样的婚姻在当时常见吗？
费洛斯：喔，这相当常见。因为在欧洲，女性若想成为继承人，那个家族的所有人基本都得死掉，只剩下一个女儿，她才可以成为继承人。很自然，这种情况不会经常发生。但美国人并不看重长子继承权——他们从来不在乎这一点。于是当一个人非常有钱时，他会让自己的女儿与儿子一样有钱。
拉茨：他会分家产。
费洛斯：他会分家产。这就意味着美国出现了一大堆女继承人，数量比欧洲多得多。
拉茨：而这……这位美国女继承人科拉•克劳利被伊丽莎白•麦戈文演活了。她的婆婆才是唐顿庄园的大家长——而这位孀居老夫人的饰演者正是了不起的玛吉•史密斯。
瓦奥莱特•克劳利：哪里荒唐，英国人做梦都不会跑到别人家翘辫子。
拉茨：（笑）我在想你写这一段的时候脑子里是不是想着玛吉•史密斯。
费洛斯：毫无疑问，这正是为玛吉而写的角色。她在饰演这些角色时的表演风格很特别，与我的写作手法不谋而合。作为一名演员，她的一举一动总是流露出一种不动声色的机智劲儿。
拉茨：重现这个世界需要做多少功课呢？
费洛斯：你知道，在我的成长过程中，我有姑婆之类的亲戚……我的意思是，年纪最大那位姑婆有点像是瓦奥莱特•格兰瑟姆的原型——也就是玛吉•史密斯的角色。你瞧，她生于1880年，1898年入宫觐见，1905年左右结婚，而且……我认识她。直到我21岁那年她才过世。我很幸运，因为在那一代人还活着的时候我就对他们产生了兴趣。
你知道，这就是当作家美好的一面，因为……在某种程度上，你……你在生活中会像松鼠那样收集到一肚子的素材。一旦遇到合适的项目，你就可以将其付诸现实。
注：由于当时流传的圣经译本太多，给王权带来威胁，英王詹姆斯一世在登基后组织专家历时数年，终于在1611年5月出版《钦定版圣经》。这版圣经在宗教及文学领域享有崇高地位，影响深远，是英语世界流传最广的读物以及现代英语的基石。
Raz: The Bible wasn’t the only legacy King James left behind注, at least in Britain. There was also the 1)aristocratic legacy: a world of landowners and their servants, and a way of life that lasted right up until the First World War.
Screenwriter Julian Fellowes 2)portrayed that world in the 3)acclaimed film Gosford Park. He’s done it again, this time for television, in the British series Downton Abbey. It’s the story of the aristocratic Crawley family, known as the noble Granthams. And it takes place in the two years before the outbreak of World War I in 1914.
Fellowes: They’re not 4)colossally rich. That’s not it. But they are senior 5)earls. They are the earl and 6)countess of Grantham, and they have three daughters. They live in this house, which we chose quite 7)deliberately. It’s actually, in real life, a house called Highclere Castle, which is lived in by the earls of Carnarvon. But it’s built as such a statement of aristocratic confidence. You know, when you look at that house, nobody was 8)scratching their head and worrying about their social position. This was a class that knew what it was there for. And we deliberately wanted that because the house, quite strongly, I think, is a character in the drama, really. They…they all sort of serve the house, in a way.
Raz: Early on, we learn that the Crawleys are not fabulously…obviously, they’re very wealthy, but there was a point before Robert Crawley, the earl, before he became the earl, he was in danger of losing Downton Abbey until he married his wife Cora, who is an American 9)heiress. Were those kinds of marriages common at that time?
Fellowes: Oh, enormously common. Because in Europe, to get an heiress, you basically need everyone else in the family to die, and then there’s only one girl left, and she’s a great heiress. Well, naturally enough, that doesn’t happen all that often. But the Americans don’t 10)believe in 11)primogeniture—they never have. And so when a man was enormously rich, he would make his daughters rich, as well as his sons.
Raz: He would divide it up.
Fellowes: He would divide it up. And so it meant that there were an enormous amount of American heiresses, as opposed to the European ones.
Raz: And that…that American heiress, Cora Crawley, is played brilliantly by the actress Elizabeth McGovern, and her mother-in-law, the 12)matriarch of Downton Abbey, is the 13)dowager countess. She is played by the amazing Maggie Smith.
Violet Crawley: I’m not being 14)ridiculous. No Englishman would dream of dying in someone else’s house.
Raz: (laughs) I wonder whether you wrote this part with Maggie Smith in mind.
Fellowes: I can say without question I wrote it for Maggie. There is just something about the way she plays these characters that suits the way I write them, really. And she as an actress has a wonderful 15)dry wit behind everything she does.
Raz: How much research goes into re-creating this world?
Fellowes: When I was growing up, you know, I had great aunts and things so…I mean, my oldest great aunt, who is sort of the original for Violet Grantham, Maggie Smith’s character. You know, she was born in 1880. She was presented in 1898. She was married in about 1905, and she…I knew her. She only died when I was 21. I was very lucky because I got interested while that generation was still alive.
And, you know, this is the lovely thing about being a writer because…so in a sense, you…you have this kind of 16)squirrel’s 17)pouch of stuff you’ve heard during your life. And, you know, when you get given the right project, then you can bring it out.
拉茨：圣经并非英王詹姆斯留给我们的唯一遗产，至少在英国不是。他还留下了“贵族”这项遗产：那是一个地主与仆从的世界，这种生活方式一直延续至第一次世界大战。
编剧朱利安•费洛斯在广受好评的电影《高斯福德庄园》中描绘过那个世界。他这回在小银屏上重操旧业，创作了英剧《唐顿庄园》。作品围绕贵族家庭克劳利一家展开，他们又被称为尊贵的格兰瑟姆一族。这段故事发生在1912年间，距离一战爆发还有两年。
费洛斯：他们还不至于富得流油，不是这样。但他们是地位很高的伯爵世家——格兰瑟姆伯爵与伯爵夫人——膝下有三个女儿。他们住的这个宅子是我们特意挑选的地点。实际上，这房子在现实中名叫海克利尔城堡，过去曾是卡那封伯爵的住所。它矗立在那里就是贵族自信的标志。你知道，当你看着这座大宅时，没有人会抓耳挠腮地怀疑他们的社会地位。这个阶层深知自己的存在意义。我们要的就是这种效果，因为我想这房子的强烈存在感本身就是剧中的一个角色。他们……大家在某种意义上都为这栋房子服务。
拉茨：我们先前了解到克劳利一家并不显赫……他们显然相当富裕，但是曾有一段时间，罗伯特•克劳利伯爵在受封爵位前险些失去了唐顿庄园，直到他娶了美国女继承人科拉为妻（才化险为夷）。这样的婚姻在当时常见吗？
费洛斯：喔，这相当常见。因为在欧洲，女性若想成为继承人，那个家族的所有人基本都得死掉，只剩下一个女儿，她才可以成为继承人。很自然，这种情况不会经常发生。但美国人并不看重长子继承权——他们从来不在乎这一点。于是当一个人非常有钱时，他会让自己的女儿与儿子一样有钱。
拉茨：他会分家产。
费洛斯：他会分家产。这就意味着美国出现了一大堆女继承人，数量比欧洲多得多。
拉茨：而这……这位美国女继承人科拉•克劳利被伊丽莎白•麦戈文演活了。她的婆婆才是唐顿庄园的大家长——而这位孀居老夫人的饰演者正是了不起的玛吉•史密斯。
瓦奥莱特•克劳利：哪里荒唐，英国人做梦都不会跑到别人家翘辫子。
拉茨：（笑）我在想你写这一段的时候脑子里是不是想着玛吉•史密斯。
费洛斯：毫无疑问，这正是为玛吉而写的角色。她在饰演这些角色时的表演风格很特别，与我的写作手法不谋而合。作为一名演员，她的一举一动总是流露出一种不动声色的机智劲儿。
拉茨：重现这个世界需要做多少功课呢？
费洛斯：你知道，在我的成长过程中，我有姑婆之类的亲戚……我的意思是，年纪最大那位姑婆有点像是瓦奥莱特•格兰瑟姆的原型——也就是玛吉•史密斯的角色。你瞧，她生于1880年，1898年入宫觐见，1905年左右结婚，而且……我认识她。直到我21岁那年她才过世。我很幸运，因为在那一代人还活着的时候我就对他们产生了兴趣。
你知道，这就是当作家美好的一面，因为……在某种程度上，你……你在生活中会像松鼠那样收集到一肚子的素材。一旦遇到合适的项目，你就可以将其付诸现实。
注：由于当时流传的圣经译本太多，给王权带来威胁，英王詹姆斯一世在登基后组织专家历时数年，终于在1611年5月出版《钦定版圣经》。这版圣经在宗教及文学领域享有崇高地位，影响深远，是英语世界流传最广的读物以及现代英语的基石。