本帖最后由 openzh 于 2013-10-7 18:20 编辑
REAPER OF THE SOMME 索姆(法国地名)的猎人 We are the Dead. Short days ago 不久前，我们战死沙场
We lived, felt dawn, saw sunset glow,
我们曾经活著，感受过黎明和傍晚的霞光
Loved and were loved, 我们曾经为人所爱， and now we lie In the fields of the Somme.
现在我们却长眠于索姆战场 The following account was assembled from the writings of a French military surgeon in 1916, 以下内容来自于1916年一名法国军事外科医生的作品 detailing an incident of a wounded soldier’s delusions after an experience on the battlefield of the Somme. 详细描述了一个受伤的士兵在索姆战役后的幻觉。 These journal entries, dated October 1916, belonged to Doctor Coetmellec, the residing chief surgeon and mental health specialist at Base Hospital #11, near Bapaume. 这些日记日期为1916年10月，属于Bapaume附近的基地11医院驻留的首席外科医生和心理健康专家Coetmellec医生 The hospital was primarily used for rehabilitation of soldiers wounded in the Battle of the Somme. 这个医院主要针对在索姆战争中受伤士兵的康复。 The Doctor was killed in the war and his possessions were sent home. Among the items that actually made it back were a journal containing the writings of interest and a series of sketches. 医生在战争中牺牲后，他的遗物被送回了家乡。遗物中有一本日记，里面有他感兴趣的事物描写和一系列的素描图。 In our research we have come to the conclusion that the remaining items have been sold a number of times through different estate sales finally ending up in the hands of an historian, who acquired them in the 1980’s. 经过研究我们发现，这些东西被不同的商人出售了很多次，最后在1980年到了一个历史学家的手中。 He then began to research the materials and published info pertaining to the Doctor’s work and this odd discovery. 之后历史学家开始研究材料并出版发行关于医生的工作和这个奇怪的发现。 He’s still in possession of the assets and has released transcriptions of the journal entries and digital scans of the few sketches that remain. 他仍然拥有资产，发布了日记的副本和剩余素描的数字扫描。 Of the Doctor’s entries the ones that sparked our interest pertain to patient #213 Marcel Lazare and his story. 医生的记录激发了我们对213号病人马塞尔•拉夏尔和他的故事的兴趣 －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ October 9, 1916 1916年10月9日 Patient #213: Sous-Lieutenant Marcel Lazare – 151st Régiment d‘Infantrie, wounded by Artillery battery fire. Prior to his war involvement, Lazare was a notable artist d‘ Nouveau in Nice. Patient was pulled from battle and brought to my care after a shell explosion left him for dead. He is calm, considering the significant damage to his legs. His first words to me: “It was him.” I assume he is speaking of the soldier who pulled him from battle. The rest of his men were obliterated, their lives forever taken in an apocalyptic shelling. 病人#213：马塞尔•拉夏尔少尉，在炮火中受伤。在参战前，拉夏尔是个著名的艺术家。从战争中撤出的伤员被送来让我护理， 在一次炸弹爆炸后救拉夏尔的士兵去世了。拉夏尔很冷静，他的腿部受到了严重的创伤。他对我说的第一句话就是“是他。”我猜他说的是那个把他从战争中救出来的士兵。其他的人他几乎都忘记了，他们的生命永远停留在了爆炸的那一刻。 October 10, 1916 1916年10月10日 Removed Patient 213’s legs – impacted shrapnel. 因为弹片的原因，病人213截肢了。 October 12, 1916 1916年10月12日 Patient seems not to know or care about the loss of his legs, has no questions about when he might recover or return home. Instead, he has begun to repeat phrases, such as: “The others…he ripped them apart” - “They could not stop him” - “He is coming for me.” 病人看起来不知道也不关心失去他的双腿，对于他何时可以恢复或者回家也没有任何疑问。反而，他开始重复一些话，诸如：“其他人……他把他们碎尸了”“他们不能制止他”“他来找我了。” Patient Lazare is experiencing common post-traumatic delusions; that is, he is creating nightmares to explain his war experience. These delusions distract the patient from reality, yet, once gone, the patient is hit with compounded survivor’s guilt and shock. If he continues with this for much longer, I will request transfer to a psych ward. 病人拉夏尔正在经历创伤后的幻觉，换言之，他通过噩梦来解释他的战争经历。这些幻觉使病人脱离现实。病人感受到作为幸存者的负罪感和打击。如果这个持续更长的时间，我将申请把他转移到精神病区。 October 19, 1916 1916年10月19日 Today, Patient 213: “One holds his scythe. One grabs and lifts you from the earth. Another uses its long fingers to dissect you slowly, and the last rips your screaming head from your body.” 今天，病人213说：一只手拿着大釖。一只手抓住你，把你举起来。另一只手用他长长的手指慢慢地切割你的身体，剩下的手把你尖叫的头颅从身体上撕裂下来。 October 20, 1916 1916年10月20日 A nurse found Patient 213 drawing on his sheets and casts. When she took his pencil, he apologized, clear eyed and steady. She told me that, though she was confused by his behavior, she felt as though she was talking to a sane man. His desire to draw has given me a thought. If Lazare is able to express himself in the way that he finds most natural, through his artistic talent, he may be able to quickly exorcise the delusion. I gave him some basic drawing supplies that I could find, and asked him to illustrate what he saw. 一个护士发现病人213在他的床单和绷带上画画。当护士拿起他的铅笔，他向护士道歉，目光清澈而坚定。护士告诉我她对病人213的行为感到很困惑，她感觉自己似乎是在跟一个精神正常的人说话。他想要把他的想法画出来。如果拉夏尔能够通过他发现的最自然的方式，通过他的艺术才能来表达自己，他可能能很快地驱除他的幻觉。 October 21, 1916 1916年10月21日 This morning, I returned to a stack of sketches. The drawings are precise and consistent, not the typical work of a man who has lost his mind. The main component is a creature: Massive, his head a hollow, empty skull, with four sinewy arms that lead to long, spider-like pointed fingers. His chest is protected with heavy, ornate armor, with black leather tassets hanging from his belt. His knees are plated by sculptures of screaming lions,and steel bracer gauntlets cover his long wrists. One of the arms holds a curved, gleaming scythe. 今天早上，我带回了一堆草图。那些绘画精确而协调，不是一个精神异常的人可以画出来的。画的主要部分是一个生物：巨大的身体上是空心的头骨，胳膊长而强壮有力，像蜘蛛一样尖尖的手指。身穿沉重而华丽的盔甲，腰以下是黑色的皮质腿甲。他的膝盖上是怒吼的狮子，钢索铠甲覆盖着它长长的手腕。一个胳膊挎着弯弯的闪闪发光的镰刀。 He shows how the monster moves. It leaves a rotting trail of destruction from the perils of war – helmets, rusted weaponry, remnants of fallen soldiers’ uniforms – deteriorating and swirling beneath its feet, industrial battle trash and residue of those who were once fathers and sons. There is smeared blood on the paper where bodies are drawn, piled. I notice that Patient 213’s fingertips are bleeding, pricked with the sharpened lead of the pencils. 他展示了怪物是如何行动的。战争给它留下了腐败毁灭的痕迹。头盔，生锈的武器，破损的阵亡士兵的制服。他的脚下是工业残渣、战争垃圾和那些曾经是父亲和儿子如今却已经逝去的人的尸体，画面上尸体堆积的地方有斑斑的血迹。我注意到病人213的指尖被铅笔尖锐的尖儿刺出血迹。 In one sketch, the creature holds a soldier’s body with one of his tangled arms. With another arm, he holds the head inside the soldier’s own battle helmet, as if presenting it to us on a platter. Under the creature’s heavy boots are the bodies of other soldiers, bleeding and crushed under the weight of this massive sack of bones. The empty eyes of the skull seem to have gotten blacker, while the smile of his crooked jaw seems to have gotten wider.The creature is unmistakably Death. 一副草图上，那个生物一只胳膊抱着一个士兵的身体，另一只胳膊托着戴着头盔的士兵的头，好像放在一个盘子里向我们展示一样。在那个生物沉重的靴子下是其他士兵的尸体，在这个巨大而沉重的骨头下淌血、破碎，当笑容闪过他扭曲松动的下巴时，头盖骨上空洞的眼睛似乎变得更黑了。这个生物就是一个真真切切的死神。 As a doctor, I am determined to call this a severe post-traumatic hallucination. Yet his precision and adamancy has given me pause. typically only men of sound minds can conjure such detailed exacting illustrations. Either I have underestimated the magnitude of his mental condition; or he is absolutely, without a doubt, telling the truth.As a man, I cannot say what I believe. 作为一个医生，我认为这个是严重的创伤后幻觉，然而他的严谨和固执却让我不能确认这一点。通常只有具有健全的思维才可以画出这么复杂精密的插图。要么是我低估了他的精神状态，要么就是他绝对毫无疑问地在讲一个事实。作为一个人，我不知道该相信哪一种了。 October 22, 1916 1916年10月22日 It is 2AM. The evening Nurse called me, terrified, saying there were horrifying screams, and sounds of crunching and scraping coming from Patient 213’s wing.When I entered his room, there was nothing out of the ordinary. He seems to have died peacefully in his sleep. 凌晨2点，夜班护士惊恐地告诉我说病人213的房间传出一些令人毛骨悚然的尖叫声，还有嘎吱嘎吱嚼东西和削东西的声音。当我进入他的房间，却并没有发现任何异常，他看起来像在睡眠中平静地死去了一样。 Although Marcel Lazare is now passed on, in quiet slumber my nights are haunted by the passionately expressed works he left behind. They, more than any of the horrors I have witnessed in this war, have challenged my definition of sanity. I have packed the art works of Lazare into a valise and had them sent back home so that I can contemplate their true meaning once this war is over, for to do so now is at great peril to my own fragile stability. 尽管马塞尔·拉夏尔现在已经去世了，但他留下的东西却每晚都出现在我的梦中。他们，比我目睹的这个战争中的任何场景都要恐怖，挑战了我的理智。我把拉夏尔的这些艺术作品打包放进了一个手提箱并把它们送回家，我认为他们的真正意义是这场战争一旦结束，对我脆弱的稳定有着巨大的风险。 －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ Reports were confirmed that Lazare was the only survivor of Artillery battery fire that obliterated his entire platoon. Yet, he had a different story of what happened on the battlefield.He was convinced that a skeleton like creature, with four arms and long bony fingers, tortured and ripped his fellow soldiers to pieces:“One holds his scythe. One grabs and lifts you from the earth. Another uses its long bladed fingers to dissect you slowly, and the last rips your soul from your body.” 报道证实，拉夏尔所在整个排都被消灭了，他是唯一的幸存者。但是，对于发生在战场上的事他却有不同的故事。他确信一个像人一样的骷髅，用他的四个胳膊和长长的瘦骨嶙峋的手指折磨他的战友并把他们撕成碎片：一只手拿着他的大镰刀，一只手抓住你并把你举起来，另一只手用它长长的带有刀刃的手指缓慢地解剖你，最后一只手负责把你的灵魂从你的身体撕扯出来。 Did Lazare suffer from a post-traumatic delusion, a concoction of Lazare’s subconscious to eradicate the memory of a gruesome incident? The scythe he described is similar to that of the mythical “Grim Reaper”, which was a pervasive and well known image at the time. Did Lazare’s psyche place this character into his delusion to represent the senseless death he witnessed or was it more genuine? 是不是拉夏尔正在经受创伤后的幻觉，他的潜意识正在消灭一段可怕的记忆？他描述的大镰刀与众所周知的神话里的“死神”相似。拉夏尔的灵魂把这个片段放入他的幻觉代表了他所目睹的毫无意义的死亡还是这才是真实的呢？ From the journal, however, it seems that Dr. Coetmellec quickly went from skeptical to drawn in by Lazare’s vision, almost to the point of believing the story. Instead of sending the soldier to a psych ward, as he should have, Coetmellec allowed the man to sketch what he had seen. After seeing the sketches, Coetmellec surprisingly ascertains: “The creature is unmistakeably death.” 从日记看来，尽管Coetmellec医生很快对拉夏尔处于幻觉中画的画产生了怀疑，但他还是几乎相信了那个故事。士兵本来应该被送到精神病房，但医生并没有这样做，而是允许士兵把他所看到的都画下来。看到那些素描之后，医生出人意料地确定：“那个生物就是死神。” NOTE: In reading through Coetmellec’s other journal entries, I am hard pressed to find that he was anything but a sensible doctor – not the type to buy into a story, or easily convinced of such a story given its fantastical nature. The fact that he continued to allow Lazare’s “delusions” is beyond me. I can only guess that, in the stress of war, anyone is vulnerable to a disconnect from reality. The part that is hard to explain is that there was something that held his attention and kept him from just passing Lazare off. This set of sketches is what remains of the many Lazare completed as referenced in the journal. They depict the creature and the alleged scene on the battlefield, as told by Patient #213. 注解：在阅读Coetmellec医生其他的日记时，我发现他是个有头脑的医生，不是那种买一个小说或者很容易相信一个空想故事的人。事实上，他继续允许拉夏尔的幻觉，这点上超出了我的理解范围。我只能猜测，在战争的压力下，任何人都容易脱离现实。有什么东西吸引了他的注意，让他把注意力从拉夏尔身上移开。 在日记中引用的这组草图是拉夏尔完成的许多作品中剩下的，他们描述了病人213所说的那个生物和战场上的场景。 The magnitude and intensity of these drawings is blatantly clear when seeing them firsthand. The pages are a series of roughs, with attention on the violent intricacies – the jagged jaw of the skeleton, the crushing of a soldier’s skull by long, bony fingers. They are terrifying, and drawn in such disturbing detail, it is almost as if they are coming to life on the page. They seem rushed, with a sense of urgency but still uphold a disturbing sense of detail, it’s as if Lazare’s hand is being driven maniacally by his fervent and fearful passion. It is, as the Doctor expressed, unmistakably Death. 纸张是那么的粗糙，强烈的错综复杂。当直面这些画作时，能清晰地感受到画作给人的触动，错综复杂的暴力场景——骨架层次不齐的下巴，瘦长的手指碾碎的士兵头骨。他们是可怕的，细节是那么令人不安的，就好像他们活生生地出现在画面上。他们看起来匆忙，急迫，令人不安，好像拉夏尔的手被他的狂热和激情疯狂地驱动着。是这样的，就像医生确定的那样，它毫无疑问就是死神。 As Lazare was an artist by trade before going to war, he had a great artistic talent, and had the ability to draw such life like illustrations of which his past work was well known for. At face value, it seems he was adapting them from a representation of the mythical Grim Reaper. However, in our research, we cannot find anything close to what Lazare’s wild imagination created to represent Death. He captures details and elements that are unique only to his vision which suggest that he was either highly imaginative or was drawing from a vision of what was real. 在奔赴战场前拉夏尔是个艺术家，他有着杰出的艺术才能，他画画很出名。表面上看起来，他似乎适应了神话里的死神。尽管，在我们的研究中，我们没有发现任何可以证明是拉夏尔疯狂的想象力创造了死神。他用他独一无二的视觉去捕获细节和元素，要么他具有极高的想象力要么他画的就是真实的。 There is no evidence of it returning with Doctor Coetmellec’s belongings but there was a reference made to a more definitive piece with “clean strokes and expert shading” ironically, it was said to have been completed on a wooden panel from an ammunition crate. This piece turned up sometime in the 1950’s and was displayed as the photos below will show. The Austrian museum it was kept by has since closed but the entire collection was archived within the Museed’Orsay in France. Sources within say they have no real definitive answer on the current whereabouts of the painting – it too has been lost to time, but provided us with the photos from their archive of the painting on display. 没有证据证明，它和Coetmellec医生的遗物一起被送回，讽刺的是，这些拥有“干净的笔触和专业的画法”的作品竟是在弹药箱的木头板子上完成的。在1950年的某个时候，这些被制成照片展示。那时奥地利博物馆已经关闭，所有的作品被归档在法国的奥尔赛博物馆。内部人士称关于这些作品的下落至今他们仍然没有真正明确的答案，但为我们提供了那些画作的档案照片。 After reading the vivid journal entries and viewing these sketches, against my better judgment, I think I understand why Dr. Coetmellec came to believe the story of Patient #213. 在读了那些生动的日记，看了那些素描图后，我想我明白了为什么Coetmellec医生相信了病人213的故事。 Lazare’s chilling story accompanied by the visual assets inspired a recent reproduction of the ammo case lid painting. Enough detail was able to be pulled from the images documenting the painting that we feel provide an accurate representation, and as vivid of a look at the Grim Reaper that haunted Sous-Lieutenant Marcel Lazare. 拉夏尔栩栩如生令人心寒的故事作为视觉遗产激发了近代复制弹药案件绘画作品。这幅画的图像记录了足够的细节，生动而精确地再现了死神猎捕少尉马塞尔·拉夏尔的过程。 end
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发表于 2013-10-7 16:05
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