巴黎襲擊後 《馬賽曲》響徹世界
It rang out at the Metropolitan Opera, with Plácido Domingo conducting, and before performances by the Philadelphia Orchestra, the Lyric Opera of Chicago, the Detroit Symphony Orchestra and others. Muslim leaders sang it in Paris at the scene of one of Friday’s deadly terror attacks. London’s Wembley Stadium will display its lyrics on large screens to help English-speaking soccer fans muddle through it Tuesday when England plays France.
在普拉西多·多明戈(Plácido Domingo)指揮之下，這支曲子在大都會歌劇院響起；費城交響樂團、芝加哥歌劇團、底特律交響樂團以及許多樂隊獻上表演之前同樣演奏了它。穆斯林領袖們在週五致命恐怖攻擊的一處現場之外歌唱它。星期二，英格蘭與法國足球隊在倫敦溫布利體育場展開角逐之前，大屏幕上會播放它的歌詞，幫助說英語的球迷一起磕磕絆絆地唱。
“La Marseillaise” has echoed around the world since Friday’s terrorist attacks — an expression of solidarity with the people of France and of outrage at the carnage caused by the terrorists who killed 129 people Friday during a series of coordinated attacks in Paris. But the ubiquity of the song, the French national anthem, reflects something else too: the way “La Marseillaise” resonates emotionally around the world in a way few other national anthems do.
自從週五的恐怖襲擊事件之後，《馬賽曲》(La Marseillaise)的歌聲在全世界迴響，人們以此表示對法國人民的支持，以及對恐怖分子暴行的義憤——他們於週五在巴黎發起一系列協同攻擊，殺死了129人。但是，這首法蘭西共和國的國歌之所以無處不在，還反映出其他一些東西：罕少有一首國歌能像《馬賽曲》這樣，在世界的任何地方，都令人心情激盪。
What other anthem can boast of being quoted by the Beatles (in the introduction to “All You Need Is Love”), Tchaikovsky (“1812 Overture”) and Debussy (who used fragments in his “Feux d’artifice”)? Or of being covered by the jazz guitarist Django Reinhardt and the singer Serge Gainsbourg, who recorded a reggae adaptation? Or of anchoring emotional scenes in two masterpieces of world cinema: Jean Renoir’s “Grand Illusion” and, a few years later, “Casablanca,” in the unforgettable scene where the regulars at Rick’s Café Américain sing it as an act of defiance to drown out Nazis singing a German patriotic song?
還有哪一國的國歌曾被“披頭士”(Beatles)在歌曲前奏中使用（《你所需要的只是愛》[All You Need Is Love]），或是出現在柴可夫斯基(Tchaikovsky)的《1812序曲》(1812 Overture)裏？德彪西(Debussy)的《焰火》(Feux d’artifice)亦曾使用它的片段。哪一國的國歌曾被爵士鋼琴手強哥·萊恩哈特(Django Reinhardt)翻唱，被歌手塞爾日·甘斯布(Serge Gainsbourg)錄過雷鬼版本？又有哪一國的國歌曾在兩部世界影壇的傑作中喚起扣人心絃的一幕？——先是讓·雷諾阿(Jean Renoir)的《大幻影》(Grand Illusion)，幾年後又是《卡薩布蘭卡》(Casablanca)，在那令人難忘的場景裏，裏克的“美國咖啡”酒吧的常客們唱起這首歌作爲反抗，聲音壓過了納粹士兵的德國愛國歌曲。
Of course there were other songs taken up after the Paris attacks. Madonna paid tribute to the people of France, and Piaf, by singing “La Vie en Rose” during a concert in Stockholm on Saturday. Coldplay, at a concert in Los Angeles on Saturday, paid its own tribute to the people of Paris by playing a cover of John Lennon’s “Imagine.”
當然，巴黎恐怖襲擊後，也出現了其它歌曲的聲音。星期六，麥當娜在斯德哥爾摩的演唱會上，以一曲《玫瑰人生》(La Vie en Rose)向法國人民與艾迪特·皮雅芙( Piaf)致敬。“酷玩”(Coldplay)星期六在洛杉磯的演唱會上翻唱了約翰·列儂(John Lennon)的《想象》(Imagine)，作爲對巴黎人民的致意。
But it is “La Marseillaise” that has provided much of the soundtrack since the attacks — from the French soccer fans who sang it as they were evacuated from the stadium to the mourners who gathered around the world, from the French Embassy in Dublin to Union Square in New York, where French students sang it.
但恐怖襲擊之後，畢竟還是《馬賽曲》更多地在人羣上空迴盪——法國足球球迷們從體育場撤退時，他們唱的是這支歌；世界各地的哀悼者們聚集在一起時，他們唱的是這支歌；在都柏林的法國大使館，人們唱着這支歌；法國學生們在紐約的聯合廣場集會，唱的還是這支歌。
And, since the attacks, the anthem has been played at sporting events around the world, including at N.B.A. games at Madison Square Garden, where the Knicks played the New Orleans Pelicans, and at the Staples Center in Los Angeles, where the Clippers played the Detroit Pistons, and at several N.H.L. games in Canada.
自從恐怖襲擊之後，這支國歌亦在全世界的體育賽事上回響，包括NBA的賽場——紐約尼克斯隊與新奧爾良鵜鶘隊交鋒的麥迪遜廣場花園；洛杉磯快船隊與底特律活塞隊交鋒的斯臺普斯中心；國家冰球聯盟在加拿大舉行的若干比賽上也播放了這首歌。
It is a rousing anthem but, as French speakers can attest, hardly a song of peace. Its most bloodthirsty verses — especially one calling for spilling the “impure blood” of enemies — have long attracted controversy. Over the years there have been calls by prominent French citizens, including, in 1992, by Danielle Mitterrand, who was then France’s first lady — to rewrite its most bellicose lyrics. But traditionalists won out, and the call to spill impure blood remains.
這是一首鼓舞人心的歌曲，但是說法語的人都知道，它絕非一首和平之歌。歌詞中那些嗜血的段落經常引起爭議，特別是其中有一段，要讓敵人流下“骯髒的血”。多年來，不少法國名人都曾經呼籲改寫歌中好戰的歌詞，1992年，時任法國第一夫人的達妮埃爾·密特朗(Danielle Mitterrand)就曾如此建議。但畢竟是維護傳統的人佔了上風，“骯髒的血”得以保留。
The song took a twisty path to becoming France’s national anthem. It was written in 1792 by Capt. Claude Joseph Rouget de Lisle to inspire French troops under siege by Prussian soldiers in Strasbourg, and it was originally called “The War Hymn of the Army of the Rhine.” It soon became an anthem of revolutionary France, and was given its current name after soldiers from Marseilles sang it on their marches. It fell in and out of favor in France during the 19th century, but was adopted by liberal and revolutionary movements elsewhere in Europe and around the world, and officially became the French national anthem in 1879.
這首歌在成爲法國國歌之前，曾經走過曲折的道路。1792年，克勞德·約瑟夫·魯熱·德·利爾上尉(Capt. Claude Joseph Rouget de Lisle)爲激勵斯特拉斯堡受普魯士軍隊圍困的法國士兵，寫下了這首歌，原名是《萊茵軍進行曲》(The War Hymn of the Army of the Rhine)。它很快成了法國大革命的頌歌，後來馬賽士兵進軍巴黎之時，它得到了如今這個名字。整個19世紀，它在法國的命運經歷了大起大落，但最終被歐洲乃至整個世界的自由與革命運動所接受，1879年，它正式成爲法國國歌。
“There are two sides to ‘La Marseillaise,’” the French scholar Michel Vovelle once wrote in an essay included in “Realms of Memory: The Construction of the French Past.” “On the one hand it is a revolutionary rune that extols not just liberty but the values of a new world, while on the other hand it is a war song that expresses, with a zeal sometimes deemed ‘sanguinary,’ the patriotic sentiments of an embattled nation.”
“《馬賽曲》有其兩面性，”法國學者米歇爾·沃韋爾(Michel Vovelle)在文中寫道，該文收錄於《記憶的國度：法國過去的建立》(Realms of Memory: The Construction of the French Past)一書中。“一方面，它是革命的神聖符號，不僅歌頌自由，也頌揚新世界的價值觀；另一方面，它是一首戰爭歌曲，其中的熱忱有時會顯得‘血腥’，這是一個戰鬥中的國家迸發出來的愛國情感。”
At the Metropolitan Opera, where it was played Saturday before a matinee of Puccini’s “Tosca,” the lyrics were included in an insert in the programs, along with a message that read: “The Metropolitan Opera mourns the victims of the Paris terrorist attacks and will perform the French National Anthem as a show of our solidarity with the citizens of France at today’s matinee performance.”
星期六，在大都會歌劇院，下午場普契尼(Puccini)的《托斯卡》(Tosca)上演之前，這段歌詞出現在舞臺上的字幕裏，此外還有這樣一則消息：“大都會歌劇院爲巴黎恐怖襲擊中的犧牲者哀悼，今日的下午場演出中上演《馬賽曲》，以示我們與法國人民團結一心。”
The audience stood. Many sang, drowned out by the chorus and opera singers onstage. And when it was over, there were cheers, and shouts of “Vive la France!”
觀衆們站起身來。很多人跟着一起唱，與舞臺上歌劇演員們的聲音漸漸融合在一起，成爲宏大的合唱。一曲告終，歡呼響起，人們高喊着，“法蘭西萬歲！”
