When so muchhas been written about Charles Strickland, it may seem unnecessary that Ishould write more. A painter's monument is his work. It is true I knew him moreintimately than most: I met him first before ever he became a painter, and Isaw him not infrequently during the difficult years he spent in Paris; but I donot suppose I should ever have set down my recollections if the hazards of thewar had not taken me to Tahiti. There, as is notorious, he spent the last yearsof his life; and there I came across persons who were familiar with him. I findmyself in a position to throw light on just that part of his tragic careerwhich has remained most obscure. If they who believe in Strickland's greatnessare right, the personal narratives of such as knew him in the flesh can hardlybe superfluous. What would we not give for the reminiscences of someone who hadbeen as intimately acquainted with El Greco as I was with Strickland?

关于查理斯·思特里克兰德的文章既已写了这么多，看来我似乎没有必要再多费笔墨了。为画家树碑立传归根结底还是他的作品。当然喏，我比大多数人对他更为熟悉；我第一次和他会面远在他改行学画以前。在他落魄巴黎的一段坎坷困顿的日子里，我经常和他见面。但如果不是战争的动乱使我有机会踏上塔希提岛的话，我是不会把我的一些回忆写在纸上的。众所周知，他正是在塔希提度过生命中最后几年；我在那里遇见不少熟悉他的人。我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。如果那些相信思特里克兰德伟大的人看法正确的话，与他有过亲身接触的人对他的追述便很难说是多余的了。如果有人同埃尔·格列柯象我同思特里克兰德那样熟稔，为了读到他写的格列柯回忆录，有什么代价我们不肯付呢？