Max Beerbohm - The Morris Dancers 汉译

It was in the wide street of a tiny village near Oxford that I saw them. Fantastic – high fantastical – figures they did cut in their finery. But in demeanor they were quite simple, quite serious, these eight English peasants. They had trudged hither from the neighboring village that was their home. And they danced quite simply, quite seriously. One of them, I learned, was a cobbler, another a baker, and the rest were farm-laborers. And their fathers and their fathers’ fathers had danced here before them, even so, every May-day morning. They were as deeply rooted in antiquity as the elm outside the inn. They were here always in their season as surely as the elm put forth its buds. And the elm, knowing them, approving them, let its green-flecked branches dance in unison with them.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

The first dance was in full swing when I approached. Only six of the men were dancers. Of the others, one was the “minstrel,” the other the “dysard.” The minstrel was playing a flute; and the dysard I knew by the wand and leathern bladder which he brandished as he walked around, keeping a space for the dancers, and chasing and buffeting merrily any man or child who ventured too near. He, like the others, wore a white smock decked with sundry ribands, and a top-hat that must have belonged to his grandfather. Its antiquity of form and texture contrasted strangely with the freshness of the garland of paper roses that wreathed it. I was told that the wife or sweetheart of every Morris-dancer takes special pains to deck her man out more gaily than his fellows. But this pious endeavor had defeated its own end. So bewildering was the amount of brand-new bunting attached to all these eight men that no matron or maiden could for the life of her have determined which was the most splendid of them all. Besides his adventitious finery, every dancer, of course, had in his hands the scarves which are as necessary to his performance of the Morris as are the bells strapped about the calves of his legs. Waving these scarves and jangling these bells with a stolid rhythm, the six peasants danced facing one another, three on either side, while the minstrel fluted and the dysard strutted around. That minstrel’s tune runs in my head even now – a queer little stolid tune that recalls vividly to me the aspect of the dance. It is the sort of tune Bottom the Weaver must often have danced to in his youth… After they had drunk some ale, they formed up for the second dance – a circular dance. And anon, above the notes of the flute and the jangling of the bells and the stamping of the boots, I seemed to hear the knell actually tolling, Hoot! Hoot! Hoot! A motor came fussing and fuming in its cloud of dust. Hoot! Hoot! The dysard ran to meet it, brandishing his wand of office. He had to stand aside. Hoot! The dancers had just time to get out of the way. The scowling motorists vanished. Dancers and dysard, presently visible through the subsiding dust, looked rather foolish and crestfallen. And all the branches of the conservative old elm above them seemed to be quivering with indignation.