旅行的藝術(shù):旅行中的特定場所-8

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雷蒙德·威廉斯 [10] 曾指出，旅行，或者那種漫無目的的漂泊的過程，其價(jià)值在于它們能讓我們體驗(yàn)情感上的巨大轉(zhuǎn)變，這種轉(zhuǎn)變可以追溯到18世紀(jì)末期，那時(shí)候出現(xiàn)了一種現(xiàn)象，外來的旅行者似乎比當(dāng)?shù)厝说赖赂呱校?/p>

The value we ascribe to the process of travelling, to wandering without reference to a destination, connects us, the critic Raymond Williams once proposed, to a broad shift in sensibilities dating back some 200 years, whereby the outsider came to seem morally superior to the insider:

愛德華·霍珀：《旅館房間》，1931年

From the late 18th century onwards, it is no longer from the practice of community but from being a wanderer that the instinct of fellowfeeling is derived. Thus an essential isolation and silence and loneliness become the carriers of nature and community against the rigours, the cold abstinence, the selfish ease of ordinary society.

十八世紀(jì)以來，人類的同情和了解不再源自于社群活動(dòng)，而是來自于人們的漂泊經(jīng)驗(yàn)。因此一種基本的疏離、沉默和孤獨(dú)已成為人性和社群的載體，對抗著普通社會階層的苛嚴(yán)僵固、冷漠無情和自私自利的閑適。

Raymond Williams, The Country and the City

——雷蒙德·威廉斯：《鄉(xiāng)村和城市》

如果我們在加油站，還有汽車旅館等地方發(fā)現(xiàn)了生活的詩意，如果我們?yōu)闄C(jī)場和火車車廂所吸引，其原因也許是我們明確地感覺到這些偏僻孤立的地方給我們提供了一種實(shí)實(shí)在在的場景，使我們能暫時(shí)擺脫因循僵滯的日常生活中難以改易的種種自私的安逸、種種陋習(xí)和拘囿，不管它們在設(shè)計(jì)上是如何的不完美、不舒適，在色彩上是如何的不含蓄，在燈光上是如何的不柔和。

If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.