Who could not have been captivated by the most exciting chapter in the eurozone drama thus far, as it culminated on Monday with a bailout proposal that may preserve the union and cast prime minister Alexis Tsipras as a symbol of the great humiliation of Greece?
有谁不被欧元区迄今为止上演的最惊心动魄的一幕大戏深深吸引？随着希腊与欧盟达成纾困协议，该幕大戏于达到了最高潮，该协议可确保欧盟维系统一，也让希腊总理齐普拉斯(Alexis Tsipras)成了该国蒙受奇耻大辱的代表。
The script emerging from the 14-hour talks that announced the new terms of solidarity seemed to be drawn from near-Shakespearean levels of bombast — or at least from the work of Elia Kazan, the late screenwriter and director (of Greek parentage, as it happens) who brought us such classics as On the Waterfront and East of Eden.
经过14小时艰苦谈判达成的协议文本，宣布了维系欧盟不分裂的最新条款，通篇措辞都是近乎莎士比亚作品的豪言壮语——抑或说至少可与已故大编剧兼导演伊利亚?卡赞（Elia Kazan，其父母恰巧都是希腊人）的作品水准相媲美，伊利亚?卡赞执导了《码头风云》(On the Waterfront)以及《伊甸园之东》(East of Eden)等经典名片。
Such drama. Such raw emotional expression. As I readaccounts of Donald Tusk, president of the European Council, barring the doors and insisting that a path must be found through the impasse; and French finance minister Michel Sapin’s call that everyone “get it all out” and air their private grudges; of German finance minister Wolfgang Sch?uble thundering that he was “not an idiot” to Mario Draghi, it was hard not to imagine the sharpening of pencils in writing rooms the world over. Who will be first to make their dramatic contribution to “Grexit: the meeting that nearly broke the union”? Surely, Peter Morgan must now be wondering about the potential for a fly-on-the-wall-style account of the crucifixion of Tsipras, as the talks were described by a senior eurozone official.
如此“剧情大片”，如此赤裸裸的情感表述。正如我研读欧盟理事会主席图斯克(Donald Tusk)的讲话（他一方面设置种种障碍，另一方面却信誓旦旦地说必须要找到破除债务僵局的方法）、法国财长米歇尔?萨潘(Michel Sapin)要求各方“畅所欲言”并公开说出满腹牢骚的呼吁，以及德国财长沃尔夫冈?朔伊布勒(Wolfgang Sch?uble)对欧洲央行行长马里奥?德拉吉(Mario Draghi)说自己“不是白痴”的愤怒抗议时，很容易让世人想象到整场谈判是如何地艰难与火药味十足。谁会是扭转“希腊退出欧元区(Grexit)——这场几乎让欧盟分裂谈判”的“首功之臣”？很显然，大编剧皮特?摩根(Peter Morgan)如今肯定在琢磨是否有可能以纪实手法写出齐普拉斯深受折磨与煎熬的剧情，欧元区某高级官员正是如此描述欧盟与希腊之间的这场谈判的。
And what of the clothes? Call it the myopia of the fashion editor if you will but, just as I was fascinated by the actions of the eurozoners, so I was equally spellbound by what their clothes had to say. If Grexit was a movie, what did their costumes tell us about their role in the event?
那么这些要员穿啥服装参会？你可能会说时装编辑缺乏远见，但是，正如我对这些欧元区政要的所作所为深感兴趣，我也被其服装所传递的信息深深吸引住。如果把“希腊退出欧元区”的谈判比作一部剧情大片，那么各国政要的穿着会揭示其从中扮演何种角色？
Our leading anti-hero Tsipras has cut a fascinating figure from the outset. His political attitude has always been made manifest by his rejection of the tie, and the sight of him careering around the political circuit in an open-necked shirt, his suit naked but for the addition of a neat pocket square, has come to symbolise Greece’s breezy disdain towards the bullish euro-didacts of the north. Such a small sartorial detail, and yet even the most elementary student of politics has been able to understand his point of difference at a glance. His lack of tie is cheering and makes him accessible. And to the maddening frustration of many, his deportment gives him the appearance of being an “alright bloke”.
我们的第一“反面主角”齐普拉斯从一上场就惹人注目。其政治态度因拒系领带而表露无遗，他穿着开领衬衫以及除一块整洁方巾外别无它物的西装竭力周旋于政治角斗场上，标志着希腊开始蔑视欧元区北部那些顽固不化的说教国家。如此微小的穿着细节，即便初涉政坛者也能一眼瞧出齐普拉斯的迥异立场。齐普拉斯不系领带，显得既可爱又亲民。让很多人抓狂而又无奈的是：他的行为举止俨然一个“好男人”。
It has also been the source of endless political point-scoring. When Matteo Renzi, Italy’s prime minister, presented Tsipras with a tie in February, Tsipras gamely promised to “wear it when we find a viable solution for Europe”. The complex politics of state, all tied up in a Windsor knot: even a simpleton like me can understand that.
领带还成了无休止政治指责的根源。当意大利总理伦奇(Matteo Renzi)今年2月送给齐普拉斯一根领带时，后者勇敢承诺：“等到双方（欧盟与希腊）达成解决债务可行性方案的那一天，自己一定会系上它”。错综复杂的政治态势就像剪不断、理还乱的温莎结(Windsor knot)：甚至连我这样的弱智都能看得明明白白。
Angela Merkel and Christine Lagarde were similarly unique in this cast. Lone women amid the sea of suits, their decision to wear white to the talks was fascinating. White, as everybody knows, speaks of innocence and a clarity of vision. It also represents authority: it’s the colour of medical men and clerics. Were these our avenging angels, delivering the voice of truth amid so much hot air?
德国总理默克尔(Angela Merkel)与IMF总裁拉加德(Christine Lagarde)在这幕谈判大戏的“演职表”中同样特殊。在满是穿西服的男性政要中间，她们两位女性显得形单影只，但她俩决定一身白装参会让人浮想联翩。众所周知，白色喻意天真无邪与清晰思路，它也代表权威：它是白衣天使与神职人员的着装颜色。默克尔与拉加德真是这次空话连篇峰会上发出理性之声的复仇天使？
Not so fast. As any film student will tell you, white is as often the colour of menace as it is the colour of the Vestal Virgin. White, in drama, is very often very nasty. For every Nun’s Story there’s a Nurse Ratched, who wears a white tunic in which to humiliate and neuter her wayward charges in One Flew Over the Cuckoo’s Nest. It’s the colour worn by Miranda Priestly to impart cold imperiousness in The Devil Wears Prada. And it’s the colour worn by Alex Forrest to punish her adulterous former partner in Fatal Attraction. In the great push-me, pull-me romance of the Grexit drama, Merkel has played both Belle and Beast, and her white jacket was no less ambiguous in its significance here.
诸位且慢。正如电影专业学生会说：白色通常既是维斯太贞女(Vestal Virgin)的服装色，也是预示危险之色。在影视剧中，白色在很多情况下喻意“肮脏下流”。既有《修女传》(Nun’s Story)中天使般的修女嘉比雅，总也不乏《飞越疯人院》(One Flew Over the Cuckoo’s Nest)中的护士长拉契特(Nurse Ratched)，后者身穿白色束腰上衣，却以此羞辱病人以及让自己的任性固执变得冠冕堂皇。白色还是《时尚女魔头》(The Devil Wears Prada)中冷酷无情与专横跋扈的女主角米兰达?普里斯特丽(Miranda Priestly)最青睐的颜色，又是《致命诱惑》(Fatal Attraction)一片中亚丽克丝?福雷斯特（Alex Forrest，她报复不忠于自己的昔日情夫）喜欢的衣服颜色。在这场“希腊是否退出欧元区”的谈判情感大戏中，默克尔既是美女又是野兽(Belle and Beast)，她的白外套喻意越发让人捉摸不定。