評論
打印
One offended diarist writing in 1519 recorded
1519年，一名義憤填膺的作者記錄道
this wicked and pernicious vice was
在威尼斯，這種邪惡，不道德的惡行
openly practiced in Venice without shame
廣為傳播，不知羞恥
and that it had become so habitual that it was more highly regarded
到后來簡直變得習以為常，人們甚至覺得
than having to do it with one's own wife
肛交要好過跟自己的妻子性交
even more shocking this observer continued
更令人震驚的是，日記作者繼續寫道
was the fact that this wicked and abominable thing
參與這種不道德，可憎惡的行為的
was practiced not just by youth but also by old men
不僅有青年人，還有老年人，這在威尼斯簡直是
unheard of in Venice” he elaborated
破天荒頭一遭，他這么說
and a vice only recently having come from Rome
這種惡習只是最近才從羅馬傳過來的
for the perilous and other old people were given to it
老年人和青年人都參與進去
and there were passive homosexuals in the papal court
就連教皇宮廷里有被動的同性戀者
homoerotic love is the subject of this drawing by Giulio Romano
同性之愛就是朱里奧這幅作品的主題
of Apollo foundling an adolescent male lover
阿波羅正在愛撫一位年輕的男性愛人
one of two named by Ovid
是奧維德提到過的
and this is certainly one of the most explicit
阿波羅兩位戀人的其中一位，而這幅畫作
Renaissance depictions of this kind of subject
是文藝復興時期最露骨的此類主題畫作之一
the same theme for example
朱里奧的同學
was treated by Giulio Romano's fellow pupil
拉斐爾的學徒瓦加
and Raphael's workshop Perino del Vaga
也表現過類似主題
and this drawing here clearly Apollo and Hyacinth
這幅畫中的人物明顯是阿波羅和海厄辛思
but there is nothing erotic or sexual
但并不是春宮，或明顯的色情
and Hyacinth here looks more like a struggling toddler
這里的海厄辛思看起來更像一名奮力掙扎的孩童
the homoerotic appeal of
帕爾米賈尼諾這幅深具挑逗性的
this provocative image of Cupid
《丘比特雕刻弓箭》圖
carving his bow by Parmigianino
其中同性色情的意味
is undeniable
是無可爭辯的
it was painted for the artist's friend
這是為藝術家的朋友兼贊助人
and patron, the Cavaliere Francesco Baiardo
弗朗西斯科·巴亞爾多騎士而畫的
who owned a number of works
弗朗西斯科擁有許多
having an erotic and homoerotic subjects
情色和同性情色主題的畫作
portrayed not as a mischievous child
帕爾米賈尼諾并沒有
but rather as a fleshy adolescent
把丘比特畫成一名淘氣的小孩，而是
Parmigianino's Cupid gazes seductively over his shoulder
一名豐滿的青少年，他挑逗性的目光越過肩膀
at the privileged viewer
看向觀看者
to whom he presents his shapely and ample rear end
向他們展示自己輪廓分明，形狀豐滿的臀部
he wields between his thighs a large erect knife
他兩腿之間夾著一把直立的大刀，正在使用
here's the knife
這就是那把刀
a seemingly mundane object carried an overt
這把看似平凡的刀
and specifically phallic connotation
在當時的粗俗幽默和意象中
in the burlesque humor and imagery of the day
是男性陽具的一種赤裸裸的，專門的暗示
another homoerotic metaphor
另外一種同性戀的隱喻
drawn from the kitchen cabinet was the frying pan
取材自廚房餐柜，那就是長柄平底鍋
which the painter Bronzino who was also a gifted poet
畫家兼多才詩人布隆奇諾
eroticized and extolled in veiled ode to sodomy
曾經寫過一首含蓄的色情頌詩來贊美雞奸
he talked about how if you put eels in a frying pan
他講到，如果你將鰻魚放進煎鍋里煎
they lie there limp
它們會癱軟地躺在鍋中
but if you turn up the heat under the frying pan
但一旦關掉煎鍋下面的火
suddenly the eels spring to life
鰻魚就突然重新煥發生機
and I think you got it
我想大家應該懂了
other poets accorded erotic alter egos to a myriad of
其他詩人則將他們的色情自我描繪成一堆
suggestively shaped fruits and vegetables of the garden
形狀讓人浮想聯翩的各種水果和蔬菜
do I need to point them out
需要我把它們指出來嗎
here's one
這就是一個
and here the fig was a particular favorite
而無花果尤為受歡迎
one such literary wit was the poet and curial secretary
文學史上的一位才子，詩人兼元老院秘書
Francesco Berni
弗朗西斯科·貝爾
a key figure I think for grasping the essence
我認為，為了更深地理解有趣，諷刺的和粗俗的
of the comic, satiric, burlesque spirit
精神本質，貝爾尼是一位重要人物
that informs much of the more profane body and erotic imagery
這種精神，使文藝復興時期的身體，世俗
of the Renaissance
色情意象充滿了活力
his poetic formulation of the paradoxical encomium
貝爾尼詩意地構想出種種悖論式的贊詞
excessive praise of the exceedingly benign
對最不起眼的事物大加贊美
a rhetorical mode that
采用的修辭方式
had its erotic origins in antiquity
也扎根于古典時代的色情傳統中
