2018年10月自學(xué)考試《英語(yǔ)(二)》閱讀強(qiáng)化輔導(dǎo)(26)

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The Seeds of Wrath

The world knows a great deal about apartheid. It knows it as a repressive political system which denies political representation to 14,000,000 South Africans because they are not white; it knows it as a divisive social system which keeps people apart, dividing them on colour lines and punishing those who try to cross these lines. But the effects of apartheid in term of social behaviour and on cultural development are less well known.

To understand the effects of apartheid it is necessary to think of the daily lives of the people and the ways in which their lives are regulated by apartheid.

It means standing for hours in a bus-queue, because there are too few buses specially set asid for black people; it means having to pass theatres and swimming pools with no thought of ever entering them, because they are set aside for white people; and because the restrictions extend to the thoughts people think, and because the laws apply to both black and white, it means that all people in South Africa are denied the right to read certain books because the government believes them to be subversive of its apartheid society.

Apartheid means that sporsmen like Basil D'Oliviera, Steve Makone, and Precious Mackenzie could never represent their own country because they were not white; that singers and actors like Miriam Makeba and Lionel Ngamane would be restricted because of their colour to appearing in certain places and before certain audiences - a coloured cast could perfor Verdi's "La Traviata" but no nonwhites could attend a performance before the State President.

The list of restrictions is endless - these are only a few small examples. But what they add up to is a division which breeds hostility. At sports events, if white and black are present, they support opposing sides and the result is friction - so much so that in many grounds only whites are allowed.

It is illegal for white and black to play chess together. And whites who tried to play football in a team with black members were prosecuted.

And in a society where these ugly barriers exist, it is better to pretend that they are not there. The result is that the writers and poets of white South Africa are incapable of producing any work which truthfully reflects their society; and so deep has this kind of blindness entered that no work of any real worth has been produced in South Africa for many years.

Perhaps one might expect the writers among the blacks, in a situation full of tension and pain, to produce works which live. But for them apartheid presents another problem; to be frank is to be banned. And so writers like Alex la Guma were silenced by banning orders, or others, like Alfred Hutchinson and Bloke Modisane fled the country. For Nat Nakasa the pledge he was required to sign - to leave his country and never return proved too much; he committed suicide in New York.

Even white writers - Andre Brink, for instance - who have dared to criticise, or appear to criticise, the apartheid society have suffered. Their works have been banned, or they have been savagely attacked by the official spokesmen of apartheid.

The failure of writers to write, or of people to understand each other - all these are indications of the deeper evil; the failure of communication. But what is little understood by the outside world is that this is a failure legislated for. It is a failure which has been carefully designed.

It is the intention of those who have constructed the apartheid society, and who intend that it should last forever, that those who make up the society should be prevented from communicating with each other. Black and white must be cut off from each other, must be unable to communicate. It is on this division that apartheid rests. This is the true meaning of apartheid. And it is this that inflicts the true terrible wound on South African society.

But the real damage is in daily human relations. I have seen white children standing in one of the mixed buses rather than sit beside anyone who was not white and this seems to me so complete a rejection of another human person that it goes much further than the division and separation backed by law. From this kind of rejection comes a complete lack of any feeling of common humanity; the suffering of human being ceases to be real because he has ceased to be a real human being.

This is the situation which has been created in South Africa today. The tensions are real, the threat of a violent eruption constant. And this must not be thought of simply as the product of political factors or arguments. It is a simple truth that human relations between people have deteriorated so far that dialogue, understanding, friendship - all these are impossible.

This is the effect of apartheid in terms of the society - this is its all pervasive extent: it breeds, if it breeds anything, hostility: often the result is simply the bitter sterility which will bring about violence.

憤怒的種子

世人對(duì)種族隔離了解甚多。知道它是一種鎮(zhèn)壓性政治制度，在這種制度下，1，400萬(wàn)南非人因?yàn)椴皇前兹硕环裾J(rèn)為政治代表;人們還知道它是一種使人們隔開(kāi)的政治制度，它按膚色的界限把人們分開(kāi)，并懲罰那些試圖　　　　越過(guò)那些界限的人。但人們對(duì)種族隔離就社會(huì)行為而言造成的影響所知甚少。

要理解種族隔離的影響，有必要思考一下人們的日常工作以及他們?cè)诜N族隔離制度制約下的生活方式。

這意味著站幾個(gè)小時(shí)等車，因?yàn)楹谌顺俗钠囂倭?意味著在不得不經(jīng)過(guò)劇場(chǎng)和游泳池時(shí)，卻從沒(méi)想到要進(jìn)去，因?yàn)樗鼈兪墙o白人準(zhǔn)備的;因?yàn)檫@些限制已經(jīng)延伸到人們思維之中，因?yàn)榉蛇m用于白人和黑人，它意味著所有南非人沒(méi)有閱讀某些書(shū)的權(quán)利，因?yàn)檎J(rèn)為他們會(huì)對(duì)種族隔離政策起破壞作用。

種族隔離意味著因?yàn)椴皇前兹耍褙惼潬?middot;戴里維爾拉、史蒂夫·馬孔和普萊舍斯·麥肯齊這樣的運(yùn)動(dòng)員根本不能代表自己的祖國(guó)參加比賽。因?yàn)槟w色只能出現(xiàn)在一定場(chǎng)合和一定觀眾面前，像米亞姆·馬齊巴和萊昂納爾·恩卡納這樣的歌唱家和演員的演出就會(huì)愛(ài)到限制。一個(gè)有色人劇組可以上演威爾第的《茶花女》，但只要不是白人，就不能先于國(guó)家總統(tǒng)觀看演出。

這種限制不勝枚舉--這里只是幾個(gè)小小的例子。但它們合起來(lái)就是一個(gè)產(chǎn)生敵意的隔離。在體育賽事中，如果白人和黑人都在場(chǎng)，他們會(huì)支持各自一方，結(jié)果就會(huì)發(fā)生磨擦--這種磨擦如此之在以至于有些場(chǎng)地只允許白人進(jìn)入。

白人和黑人一塊下棋是非法的，試圖在有黑人的球員的球隊(duì)踢足球的白人會(huì)受到指控。

在這些丑陋的障礙存在的社會(huì)里，最好是佯裝不知它的存在。這樣做的結(jié)果是南非白人作家和詩(shī)人不能創(chuàng)作出真實(shí)反映其社會(huì)生活的作品，這種視而不見(jiàn)對(duì)人們生活的影響如此之大以至于多年來(lái)南非就根本沒(méi)有過(guò)真正有價(jià)值的作品。 或許有些人期盼處于緊張和痛苦之中的黑人作家們會(huì)創(chuàng)作出反映其真實(shí)生活的作品，但對(duì)他們而言，種族隔離帶來(lái)另一個(gè)問(wèn)題：坦率是被嚴(yán)禁的。所以像亞歷克斯·拉顧瑪這樣一些作家都因禁令而保持緘默?；蛘呦衿渌骷胰绨柛ダ椎?middot;哈奇遜和布婁可·莫狄森逃往國(guó)外。證明更為過(guò)分的是納特·納卡薩，他被迫發(fā)誓離開(kāi)他的祖國(guó)，永不回來(lái)，結(jié)果在紐約自殺了。

即使像安德烈·布林可這樣的白人作家們，他們敢于批評(píng)或者似乎要去批評(píng)隔離社會(huì)也遭到了不幸。他們的作品被禁止，他們受到了種族隔離官方發(fā)言人的猛烈攻擊。

作家不能寫(xiě)作，人民不能相互理解--所有這些都是很深的罪惡跡象，是不能交流的跡象，但外部世界幾乎不能理解的是這是有預(yù)謀的失敗。

這是那些建立種族隔離社會(huì)的人們的意圖，是那些企圖讓種族隔離永久存在，并且阻止組成這個(gè)社會(huì)的人們之間的相互交流的人們的意圖，也正是南非社會(huì)所遭受的真正可怕的創(chuàng)傷。

但真正的破壞是在日常的人際關(guān)系上。我見(jiàn)到過(guò)一輛黑人白人混合乘坐的公共汽車上，白人小孩情愿站著也不愿坐在任何一個(gè)有色人旁邊。我個(gè)人認(rèn)為如此徹底與另一個(gè)種族的人對(duì)立起來(lái)，似乎比法律意義上的分離或隔離更甚一籌。這種對(duì)立帶來(lái)的是一種共同人性的感情匱乏。人類的苦難不再是真的，因?yàn)樗巡辉偈钦嬲饬x上的人。

這就是現(xiàn)今的南非造成的情況。緊張是真的，暴力的威脅經(jīng)常不斷。這不能簡(jiǎn)單地認(rèn)為是政治因素或政治爭(zhēng)論的產(chǎn)物。一個(gè)簡(jiǎn)單地事實(shí)是人們的關(guān)系已經(jīng)十分惡化，以至于對(duì)話、理解、友誼--所有的這些都不可能了。

這種種族隔離在社會(huì)方面的影響--這種影響的觸角無(wú)所不在。如果說(shuō)它還能繁衍什么，那就是仇視，其結(jié)果不過(guò)是痛苦的思想貧乏，而這往往又會(huì)帶來(lái)暴力。