巴黎袭击后 《马赛曲》响彻世界

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)指挥之下，这支曲子在大都会歌剧院响起；费城交响乐团、芝加哥歌剧团、底特律交响乐团以及许多乐队献上表演之前同样演奏了它。穆斯林领袖们在周五致命恐怖攻击的一处现场之外歌唱它。星期二，英格兰与法国足球队在伦敦温布利体育场展开角逐之前，大屏幕上会播放它的歌词，帮助说英语的球迷一起磕磕绊绊地唱。

“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.

自从周五的恐怖袭击事件之后，《马赛曲》(La Marseillaise)的歌声在全世界回响，人们以此表示对法国人民的支持，以及对恐怖分子暴行的义愤——他们于周五在巴黎发起一系列协同攻击，杀死了129人。但是，这首法兰西共和国的国歌之所以无处不在，还反映出其他一些东西：罕少有一首国歌能像《马赛曲》这样，在世界的任何地方，都令人心情激荡。

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?

还有哪一国的国歌曾被“披头士”(Beatles)在歌曲前奏中使用（《你所需要的只是爱》[All You Need Is Love]），或是出现在柴可夫斯基(Tchaikovsky)的《1812序曲》(1812 Overture)里？德彪西(Debussy)的《焰火》(Feux d’artifice)亦曾使用它的片段。哪一国的国歌曾被爵士钢琴手强哥·莱恩哈特(Django Reinhardt)翻唱，被歌手塞尔日·甘斯布(Serge Gainsbourg)录过雷鬼版本？又有哪一国的国歌曾在两部世界影坛的杰作中唤起扣人心弦的一幕？——先是让·雷诺阿(Jean Renoir)的《大幻影》(Grand Illusion)，几年后又是《卡萨布兰卡》(Casablanca)，在那令人难忘的场景里，里克的“美国咖啡”酒吧的常客们唱起这首歌作为反抗，声音压过了纳粹士兵的德国爱国歌曲。

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.”

当然，巴黎恐怖袭击后，也出现了其它歌曲的声音。星期六，麦当娜在斯德哥尔摩的演唱会上，以一曲《玫瑰人生》(La Vie en Rose)向法国人民与艾迪特·皮雅芙( Piaf)致敬。“酷玩”(Coldplay)星期六在洛杉矶的演唱会上翻唱了约翰·列侬(John Lennon)的《想象》(Imagine)，作为对巴黎人民的致意。

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.

但恐怖袭击之后，毕竟还是《马赛曲》更多地在人群上空回荡——法国足球球迷们从体育场撤退时，他们唱的是这支歌；世界各地的哀悼者们聚集在一起时，他们唱的是这支歌；在都柏林的法国大使馆，人们唱着这支歌；法国学生们在纽约的联合广场集会，唱的还是这支歌。

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.

自从恐怖袭击之后，这支国歌亦在全世界的体育赛事上回响，包括NBA的赛场——纽约尼克斯队与新奥尔良鹈鹕队交锋的麦迪逊广场花园；洛杉矶快船队与底特律活塞队交锋的斯台普斯中心；国家冰球联盟在加拿大举行的若干比赛上也播放了这首歌。

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.

这是一首鼓舞人心的歌曲，但是说法语的人都知道，它绝非一首和平之歌。歌词中那些嗜血的段落经常引起争议，特别是其中有一段，要让敌人流下“肮脏的血”。多年来，不少法国名人都曾经呼吁改写歌中好战的歌词，1992年，时任法国第一夫人的达妮埃尔·密特朗(Danielle Mitterrand)就曾如此建议。但毕竟是维护传统的人占了上风，“肮脏的血”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.

这首歌在成为法国国歌之前，曾经走过曲折的道路。1792年，克劳德·约瑟夫·鲁热·德·利尔上尉(Capt. Claude Joseph Rouget de Lisle)为激励斯特拉斯堡受普鲁士军队围困的法国士兵，写下了这首歌，原名是《莱茵军进行曲》(The War Hymn of the Army of the Rhine)。它很快成了法国大革命的颂歌，后来马赛士兵进军巴黎之时，它得到了如今这个名字。整个19世纪，它在法国的命运经历了大起大落，但最终被欧洲乃至整个世界的自由与革命运动所接受，1879年，它正式成为法国国歌。

“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.”

“《马赛曲》有其两面性，”法国学者米歇尔·沃韦尔(Michel Vovelle)在文中写道，该文收录于《记忆的国度：法国过去的建立》(Realms of Memory: The Construction of the French Past)一书中。“一方面，它是革命的神圣符号，不仅歌颂自由，也颂扬新世界的价值观；另一方面，它是一首战争歌曲，其中的热忱有时会显得‘血腥’，这是一个战斗中的国家迸发出来的爱国情感。”

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，在大都会歌剧院，下午场普契尼(Puccini)的《托斯卡》(Tosca)上演之前，这段歌词出现在舞台上的字幕里，此外还有这样一则消息：“大都会歌剧院为巴黎恐怖袭击中的牺牲者哀悼，今日的下午场演出中上演《马赛曲》，以示我们与法国人民团结一心。”

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!”

观众们站起身来。很多人跟着一起唱，与舞台上歌剧演员们的声音渐渐融合在一起，成为宏大的合唱。一曲告终，欢呼响起，人们高喊着，“法兰西万岁！”