---
url: >-
  https://gaojian.site/new-concept/book-4/21-william-s-hart-and-the-early-western-film.md
description: >-
  新概念英语第四册：William S. Hart and the Early "Western"
  Film。精读、词块回忆、双向译练、句法、逻辑与FSRS复习。
---

# 21 · 威廉·S．哈特和早期的“西部”影片

### 第1段

William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared in nothing but Westerns. From 1914 to 1924 he was supreme and unchallenged. It was Hart who created the basic formula of the Western film, and devised the protagonist he played in every film he made, the good-bad man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip; in short, the individual in conflict with himself and his frontier environment.
Unlike most of his contemporaries in Hollywood, Hart actually knew something of the Old West. He had lived in it as a child when it was already disappearing, and his hero was firmly rooted in his memories and experiences, and in both the history and the mythology of the vanished frontier. And although no period or place in American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching civilization.
Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen, and unhorsed by fences, laws and alien taboos. Hart's good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and forgive, especially when it was Hart who, in the end, overcame the attacking Indians.
Audiences in the second decade of the twentieth century found it pleasant to escape to a time when life, though hard, was relatively simple. We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.

中文理解：威廉·S．哈特或许是所有西部片明星中最出色的一位，因为与加里·库珀、约翰·韦恩不同，他只演西部片。从一九一四年到一九二四年，他的地位无人能及，也无人挑战。西部片的基本模式正是由他确立的；他还塑造出自己每部影片都扮演的主人公：外表像坏人、内心却善良的人，身为亡命之徒却意外显出高尚品格的人，诚实却遭陷害的牛仔，或者被恶毒流言弄得嫌疑缠身的警长。总之，这是一个既与自身矛盾斗争，又与西部边疆环境发生冲突的人。
与同时代的大多数好莱坞演员不同，哈特确实了解旧西部。他小时候在那里生活过，当时旧西部已经开始消逝。他所塑造的英雄，深深扎根于自己的记忆和经历，也扎根于那片已不复存在的边疆的历史与传说。诚然，美国历史上没有哪段时期、哪片土地，被如此夸张地浪漫化；但至少在个人与不断扩张的文明发生冲突这一点上，传说与现实确实交汇了。
那些早已习惯在恶劣自然环境中、在与印第安人的冲突中挣扎求生的人，面对政客、银行家和商人却不知所措，又被围栏、法律和陌生的禁忌击落马下。哈特扮演的这种亦正亦邪的人，始终是局外人，是被剥夺了原有权利的人。如果他在途中觉得非射杀一名警长、抢劫一家银行不可，早期观众也很容易理解和原谅他；尤其当最后击退印第安人进攻的正是哈特时，更是如此。
20世纪10年代的观众喜欢借电影逃到一个生活虽艰苦、却相对简单的年代。我们现在仍然如此。我们生活的世界里，未宣告的侵略、战争、虚伪、欺诈、混乱，以及迫在眉睫的毁灭，都是日常的一部分；所以，我们都想找到一套可以遵循的生活准则。

* **nothing but**：只有；强调排他范围，不等于not only。

* **the basic formula**：基本模式；formula不仅是数学公式，也可指固定套路。

* **made suspect**：被弄得可疑；undefined

* **vicious gossip**：恶意流言；gossip通常不可数，此处是污名来源。

* **in conflict with**：与……冲突；可用于外部冲突或内部矛盾，先明白两端。

* **firmly rooted in**：深深植根于；指出来源，不表示所有记忆都等于历史事实。

* **join hands**：携手；交汇；文中比喻传说与现实相遇，不是实际握手。

* **at least one arena**：至少一个领域；undefined

* **struggling for survival**：挣扎求生；for引出争取的目标，against引出对抗对象。

* **were bewildered by**：被……弄得不知所措；强调难以理解新情况，不只是惊讶。

* **along the way**：在过程中；途中；既可实际旅途，也可泛指发展过程。

* **found it easy**：觉得很容易；it占位，真正评价对象是不定式动作。

* **relatively simple**：相对简单；要有比较基准，不等于绝对简单。

* **impending immolation**：迫近的毁灭；undefined

* **part of our daily lives**：日常生活的一部分；undefined

* **a code to live by**：可遵循的生活准则；by连回遵循的准则，不是生活地点。

#### William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared in nothing but Westerns.

复合句，主句为主系表结构，后有一个 for 引导的原因状语从句，主谓结构.

William Surrey Hart (1864-1946). (American stage and silent motion-picture) actor, (who was the leading hero (of the early westerns).)

\[https://www.britannica.com/biography/William-S-Hart]

Gary Cooper (1901-1961)，John Wayne (1907-1979)均为美国著名男演员.

#### From 1914 to 1924 he was supreme and unchallenged.

简单句，主系表结构.

#### It was Hart who created the basic formula of the Western film, and devised the protagonist he played in every film he made, the good-bad man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip; in short, the individual in conflict with himself and his frontier environment.

复合句，主句为强调句，对 Hart 进行了强调，然后是简单的主谓宾并列结构.

he played 和 he made 均为主谓结构的定语从句.

后面一连串均为 protagonist 的同位语. 其中 the sheriff made suspect by vicious gossip 中，suspect 为形容词，表示“受到怀疑的”，不是表示某人心怀疑虑的 suspicious。该句可改写为 the sheriff who has been made suspect by vicious gossip.

分号后面是省略句，把系动词 is 省略了. 还原为 the individual is in conflict with himself and is also conflict with his frontier environment.

这里的 frontier environment 有特定时代背景，即 American frontier 美国边境线，主要指美国领土向西不断扩张的历史过程，美国的西进运动，The American frontier comprises the geography, history, folklore, and cultural expression (of life) \[in the forward wave] (of American expansion) (that began with English colonial settlements) \[in the early 17th century] and (ended with the admission) (of the last remaining western territories as states in 1959). 是指美国领土扩张时期，美国西部的地理、历史、居民、文化等多元内涵，这段时间从十七世纪初的英国美洲殖民地到1959 年建立最后一个美国本土的州为止.

#### Unlike most of his contemporaries in Hollywood, Hart actually knew something of the Old West.

简单句，主谓宾结构. 其中 Old West 的“O”字母必须大写，旧西部，又称 Wild West，也同样每个单词第一个字母需要大写，书中印成 old，予以改正.

The period of the Wild West was from 1865-1895, a period of thirty years. The 'Old West'

\[1] 引自 https://en.wikipedia.org/wiki/American_frontier was famous for cowboys, native Indians, the lawmen, gunslingers, the pioneers, the prospectors, the gamblers, the scouts, the outlaws, the gangs and the gunfighters. 哈特生于 1864 年，孩提时代正好是旧西部（狂野西部）的发展时期.

#### He had lived in it as a child when it was already disappearing, and his hero was firmly rooted in his memories and experiences, and in both the history and the mythology of the vanished frontier.

复合句，首句为主谓+时间状语结构. and 后面为第二句，该句为主谓结构，and 与 in both 之间有所省略，可理解成 and rooted in.

#### And although no period or place in American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching civilization.

复合句，although 引导让步状语从句，为主谓结构.

主句为主谓宾结构.

#### Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen, and unhorsed by fences, laws and alien taboos.

并列句，and 连接 were bewildered 和 unhorsed 两个谓语. 主谓结构.

这句涉及时代背景，上文交代了美国当时西进的拓荒历程，这些拓荒者在这一路都是与荒蛮的西部自然环境作斗争，与土著印第安人作斗争，在他们习惯了这样的生活之后，时代不同了，他们最终被文明的各种方式和规则所改变. 文中以 unhorsed 来表达这种改变，一语双关，牛仔们从马上下来，进入现代生活.

#### Hart's good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and forgive, especially when it was Hart who, in the end, overcame the attacking Indians.

复合句，and 连接 were bewildered 和 unhorsed 两个谓语. 主谓结构.

主句为主系表结构，第二个表语有所省略，an outsider, and always was one of the disinherited.

if 引导的条件状语从句中，为 find+形式宾语+宾补+真正宾语结构，主句也用了同样的结构. 最后是 when 引导的时间状语从句，为强调句，主谓宾结构.

本句中 disinherited 并非指剥夺了财产继承权，而是 to deprive of a natural or established right or privilege. 即对于当时的哈里来说，他的财产可能被剥夺了，他又无法融入所在的社区，故而这里的一切，包括认同和荣誉，都无法继承.

#### Audiences in the second decade of the twentieth century found it pleasant to escape to a time when life, though hard, was relatively simple.

复合句，主句结构跟上句一致. when 引导的时间状语从句为主系表结构.

这里教材翻译成“20 世纪20 年代”有误，文中为二十世纪第二个十年，也就是 1910-1919，在中文中应为10 年代，而非20 年代. 哈特1914 年开始出名，亦为10 年代.

#### We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.

复合句，由分号分成2 句，第一句主谓结构，第二句主谓宾结构，只是前面有一个分词作状语，被定语从句所修饰. 该从句为主系表结构.

\[1] 此处参考：https://forum.wordreference.com/threads/the-disinherited.2195183/

## 学完这一课

先列两三个例子，再用in short归纳共同特征。

[Nce · 本册复习台](/new-concept/book-4/review) · [三册选择地图](/new-concept/)

*译文依据整理稿，由本站按中文表达重新校订；解析据吴应时整理资料及首轮审校稿；词伙与练习提示为本站学习设计。原PDF第84—87页，2022年2月第2版。*