For Hayao Miyazaki, flight is a metaphorfor freedom

　　对Hayao Miyazaki,而言，飞翔是自由的象征

　　Hayao Miyazaki has spent his careerconjuring up fantastical worlds full of outlandish creatures. “Spirited Away”(2001), which won an Oscar for best animated film, is set in a magical realmruled by a bejewelled witch and populated by talking frogs, gremlins made ofsoot and a vaporous creature who emits gold nuggets from his fingertips. Amidtoday’s pandemic, one feature of Mr Miyazaki’s escapist movies is particularlyintoxicating: his obsession with flying.

　　Hayao Miyazaki,终其一生都致力于创造充满奇异生物的幻妙世界。《千与千寻》(2001年上映，曾荣获奥斯卡最佳动画电影奖)的故事发生在一个由珠光宝气的魔女统治的魔幻王国里，那里居住着会说话的青蛙、由煤烟化作的小精灵以及一个能够从指间变出金子的空灵生物。在新冠疫情肆虐的今天，宫崎骏的超现实奇幻电影令人着迷之处在于：他对飞翔的痴迷。

　　Flight is in Mr Miyazaki’s blood. He wasborn in 1941 in Tokyo, where his father ran a firm that manufactured parts forJapanese fighter planes during the second world war. He whiled away boyhoodhours inventing his own aircraft; at night he dreamed of gliding above thecity.

　　Hayao Miyazaki,的体内流淌着飞翔的血脉。1941年，他出生于日本东京，他的父亲在二战期间经营着一家制造日军战斗机零部件的公司。他的童年时光是在发明属于自己的飞行器中度过的;夜里，他会梦到自己在城市的上空翱翔。

　　Most imaginations become more earthboundwith age, but as an adult Mr Miyazaki thought up a squadron of wondrous flyingmachines with designs that embody their pilots’ personalities. “Castle in theSky” (1986) features a rag-tag family of pirates who buzz around in “flaptors”,contraptions with transparent, flapping wings that resemble giant mosquitoes.

　　随着年龄渐长，大多数人的想象力会逐渐向现实贴近，但成年后的Hayao Miyazaki,却构想出了许多令人惊叹的飞行器，而每一个飞行器的设计能够彰显飞行员的个性。《天空之城》(1986年上映)的主角是一个下层社会的海盗家庭，他们驾驶着“flaptors”(一种有着透明机翼、飞起来像个巨型蚊子的精巧的飞行器)四处游荡。

　　He is a connoisseur of the sensory thrillof flight. His characters swoop over mountainous landscapes and arc throughcerulean skies full of billowing white cumulus, leaving vapour trails twistinglike ribbons in the air. When they dive into the clouds for cover, they make asplash as though sinking into clots of heavy cream.

　　他善于描绘惊险刺激的飞行场面。他笔下的人物在崇山峻岭间盘旋，在朵朵白云的蓝天中翱翔，并在空中留下宛如丝带一般的航迹线。当他们俯冲至云层寻找掩护时，甚至还会溅起一股浪花，仿佛掉进了一团厚厚的奶油中。

　　In these animations, flying is about morethan ingenious designs and sumptuous images. It also provides Mr Miyazaki’sdeepest metaphors, standing for confidence, independence, the power of theimagination itself. Most of his protagonists are children undergoing rites ofpassage—the dislocation of moving house or trouble in the family.

　　在这些动画中，飞翔不单单是巧妙的设计和华丽的图景。Hayao Miyazaki,还赋予了其最深刻的隐喻，它象征着自信、独立和想象力本身的力量。他笔下的大多数主人公都是正在经历蜕变的孩子——他们面对着迁居的不适或家庭中的麻烦。

　　Take Mei and Satsuki, the young sisters in“My Neighbour Totoro” (1988) who have just relocated with their father to ruralJapan. Exploring their new home, they discover a tubby woodland spirit in theroots of a camphor tree.

　　以《龙猫》(1988年上映)中的两姐妹小米和小月为例，她们跟随父亲刚刚搬至乡下。在探索新家园时，她们在一棵樟树的树根处发现了一个矮胖的森林精灵——龙猫。

　　A benevolent presence, Totoro soars abovethe countryside on a spinning top and takes the girls along for the ride.Gradually, as it emerges that their mother is gravely ill, these adventuresseem more than mere flights of fancy. They are a form of solace.

　　善良亲切的龙猫带着两位女孩在乡村的上空翱翔。渐渐地，当她们的母亲病重时，这些冒险不再只是华丽的飞行，更是一种慰藉。

　　That is what Mr Miyazaki’s enchantingstories offer as the world waits for borders to reopen and planes to take offagain. His most resonant film is “Kiki’s Delivery Service” (1989), whichfollows a charmingly wilful 13-year-old witch who rides around on a broom.

　　当我们等待各国边境重新开放、飞机重新起飞之际，宫崎骏这些令人着迷的故事也正在给我们提供慰藉。1989年上映的《魔女宅急便》是他最能引发共鸣的一部电影，这部影片讲述了一个骑着扫帚四处游历的13岁魔法少女的故事。

　　Determined to find her way in the world,she sets up a courier company to profit from her ability to fly. But whenbusiness slows and she suffers her first bout of boy trouble, she loses heartand her powers of levitation, too. “We fly with our spirit,” she says as shetries to restore her confidence, take to the skies and get her life goingagain. Sound familiar?

　　她决心去闯出自己的一番天地，于是她创立了一家快递公司，并利用自己的飞行能力挣钱。但当生意陷入困境、而她第一次遇到情感烦恼时，她不仅失去了信心，还失去了飞行能力。她说：“我们要靠着信念飞翔。”她努力让自己重拾信心、重新飞上天际，开始新的生活。这听起来是不是很熟悉?

　　注：双语全文源自经济学人

　　注：双语全文源自纽约时报中文网

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