【簡譯】拜占庭的斐洛與《世界七大奇跡》
Philo of Byzantium's on the Seven Wonders (225 BCE) is the first known list of the Seven Wonders of the Ancient World (though it may have been based on earlier works now lost). Philo's list differs from the standard Seven Wonders in replacing the Lighthouse at Alexandria with the Walls of Babylon.
? ? ? ? ? 拜占庭的斐洛（Philo of Byzantium）所著的《世界七大奇跡》（Επτ? θα?ματα του αρχα?ου κ?σμου，公元前225年）是第一份已知的古代世界七大奇跡清單（盡管它可能是基于現(xiàn)已失傳的更早的作品）。斐洛的清單與標(biāo)準(zhǔn)的七大奇跡不同，他用巴比倫城墻取代了亞歷山大燈塔。
There were several lists, or references to, the Seven Wonders in antiquity by writers including Herodotus, Antipater of Sidon, Callimachus of Cyrene, Strabo, and Diodorus Siculus. Diodorus (l. 1st century BCE), in his Bibliotheca historica ("Historical Library") provides the standard list recognized today:
The Great Pyramid of Giza, Egypt
The Hanging Gardens of Babylon
The Statue of Zeus at Olympia, Greece
The Temple of Artemis at Ephesus
The Mausoleum at Halicarnassus, Caria
The Colossus of Rhodes
The Lighthouse of Alexandria, Egypt
? ? ? ? ? 希羅多德、西頓的安提帕特、昔蘭尼的卡利馬科斯、斯特拉波和狄奧多羅斯?·西庫魯斯等作家曾多次列舉或提及古代七大奇跡。狄奧多羅斯（公元前 1 世紀(jì)左右）在他的《歷史叢書》（Bibliotheca historica）中為我們提供了今天公認(rèn)的標(biāo)準(zhǔn)：
埃及吉薩大金字塔
巴比倫空中花園
希臘奧林匹亞宙斯神像
以弗所的阿耳忒彌斯神廟
哈利卡那索斯的摩索拉斯王陵墓
羅得島太陽神銅像
埃及亞歷山大燈塔
Philo includes all of these except the Lighthouse of Alexandria, choosing instead the Walls of Babylon, perhaps because he lived in the city and worked at the Library of Alexandria and so, maybe, he was simply used to seeing the lighthouse which was completed under Ptolemy II Philadelphus (r. 282-246 BCE), though this is speculation. There does not seem to need to be any reason for one writer choosing a given Wonder over another other than personal taste, and any list or reference to the Seven Wonders includes sites on par with those on the list recognized today. Callimachus of Cyrene (l. c. 310 to c. 240), for example, chose to include the Ishtar Gate of Babylon among the Wonders, and many who have seen the rebuilt gate at the Pergamon Museum in Germany would most likely agree with him.
? ? ? ? ? 除了亞歷山大燈塔，斐洛都提及到這些奇跡，他選擇用巴比倫城墻代之，這也許是因為他住在亞歷山大城，并在亞歷山大圖書館工作，且在托勒密二世·費拉德爾菲斯統(tǒng)治時期（公元前 282-246 年）竣工后，他與之朝夕相處。除了個人喜好之外，一位作家選擇某一奇觀而不是另一奇觀似乎不需要任何理由，任何有關(guān)七大奇觀的清單或參考資料都包括與今天公認(rèn)的七大奇觀相同的部分。例如，昔蘭尼的卡利馬科斯（Callimachus of Cyrene，約 310 年至約 240 年）選擇將巴比倫的伊什塔爾城門列入奇跡之列，許多在德國佩加蒙博物館參觀過重建大門的人很可能會同意他的觀點。
Philo's list breaks off in the middle of his description of the Temple of Artemis at Ephesus (Chapter 6), and the rest of the manuscript is lost. It is thought the missing part included the Mausoleum at Halicarnassus because, in his introduction, he mentions how one must "go to Halicarnassus in Caria" in listing where to see the Seven Wonders (Romer, 230). The work was created in Alexandria, probably at the library, where Philo was an engineer. This is by no means certain, however, and some scholars doubt whether Philo of Byzantium is even the author of the piece, referring to whoever wrote it as "Pseudo-Philo of Byzantium." It seems, however, to have been written in Alexandria and was then taken to Byzantium where it was copied, and those copies sent to other intellectual centers of the time (Romer, x).
? ? ? ? ? 斐洛的清單在描述以弗所的阿耳忒彌斯神廟（第 6 章）時中途中斷，手稿的其余部分已經(jīng)遺失。人們認(rèn)為遺失的部分包括哈利卡那索斯的摩索拉斯王陵墓，因為他在導(dǎo)言中提到，在列出七大奇跡的地點時，必須“前往卡里亞的哈利卡那索斯”（Romer，230）。這部作品很可能是他在亞歷山大圖書館構(gòu)思的，斐洛曾在那里擔(dān)任工程師。然而，尚無定論，因此一些研究人員懷疑拜占庭的斐洛是否是這篇文章的作者，并將其作者稱為“偽拜占庭斐洛”。盡管如此，這篇文章似乎是在亞歷山大寫的，然后被帶到拜占庭，在那里制作了副本并發(fā)送到當(dāng)時的其他知識中心（Romer, x）。 ?
At some point, it made its way to Europe and, according to scholar Roger Pearse, was "in the hands of the printer Hieronymus Froben in Basle in Switzerland" in the 1530s (2). Prior to this, it is thought to have been consulted by the historian, monk, and scholar Bede (l. c. 673-735 CE), who compiled his own list, which, like the many others, differs from the standard. On the Seven Wonders was included in the Palatine Library of Heidelberg, Germany, in the 16th century, was part of the collection of the Vatican in the 17th century, and then was taken to Paris after the library was looted, only finding its way back to Heidelberg in the 19th century, where the manuscript is held today (Pearse, 2).
? ? ? ? ? 據(jù)學(xué)者羅杰·皮爾斯 (Roger Pearse)?稱，該書在 15 世紀(jì) 30 年代“落入瑞士巴塞爾印刷商杰羅姆·弗羅本 (Jerome Froben)之手”(2)。在此之前，歷史學(xué)家、修道士和學(xué)者貝德（Bede，約公元前 673-735 年）曾查閱過該書目，他編制了自己的書目，與許多其他書目一樣，該書目與標(biāo)準(zhǔn)書目不同。《世界七大奇跡》于 16 世紀(jì)被收入德國海德堡帕拉丁圖書館，17 世紀(jì)成為梵蒂岡藏書的一部分，圖書館被洗劫后被帶到巴黎，直到 19 世紀(jì)才被送回海德堡，手稿至今仍保存在那里（Pearse, 2）。
The piece is important as the first known catalog of the Seven Wonders, even if it does draw on earlier authors. Philo's obvious admiration for the works he describes, as well as what he says about traveling to see them in his introduction, leads a reader to believe he visited all seven sites personally, though this may not have been the case. Even so, the detail of his work has captured the imaginations of readers for centuries, inspiring others to create lists of their own right up through the present day.
? ? ? ? ? 作為第一部已知的七大奇跡目錄，這部作品非常重要，盡管它確實借鑒了早期作者的作品。斐洛對他所描述的作品的欽佩之情溢于言表，加上他在引言中提到的前往游覽的經(jīng)歷，讓讀者相信他曾親自游覽過這七個奇跡，盡管事實可能并非如此。即便如此，幾個世紀(jì)以來，他作品中的細(xì)節(jié)還是激發(fā)了讀者的想象力，至今激勵著人們創(chuàng)建自己的奇跡清單。
奇跡清單
The following translation is by Hugh Johnstone, from the book The Seven Wonders of the World: A History of the Modern Imagination by John and Elizabeth Romer. It should be noted that Philo never places the Hanging Gardens in Babylon – he does not mention where they are – supporting the claim of modern scholars, such as Stephanie Dalley, that the Hanging Gardens were actually in Nineveh. He also chooses all of the pyramids of the Giza plateau, not just the Great Pyramid.
1.Everyone has heard of each of the Seven Wonders of the World, but few have seen all of them for themselves. To do so, one has to go abroad to Persia, cross the Euphrates River, travel to Egypt, spend some time among the Elians in Greece, go to Halicarnassus in Caria, sail to Rhodes, and see Ephesus in Ionia. Only if you travel the world and get worn out by the effort of the journey will the desire to see all the Wonders of the World be satisfied, and by the time you have done that you will be old and practically dead.
? ? ? ? ? 以下譯文由休·約翰斯通（Hugh Johnstone）根據(jù)約翰·羅默（John Romer）和伊麗莎白·羅默（Elizabeth Romer）所著的《世界七大奇跡：歷史、傳說和考古研究》翻譯而成。值得一提的是，斐洛從未將空中花園定位于巴比倫，這支持了斯蒂芬妮·達(dá)利（Stephanie Dalley）等現(xiàn)代學(xué)者的說法，即空中花園實際上在尼尼微。此外，他還選擇了吉薩高地的所有金字塔，而不僅僅是大金字塔（胡夫金字塔）。 ?
? ? ? ? ? 1.每個人都聽說過世界七大奇跡的故事，但很少有人能親眼看到它們的全部。要做到這一點，就必須出國去波斯，跨過幼發(fā)拉底河，到埃及旅行，在希臘的厄利斯（Elis）呆上一段時間，到卡里亞的哈利卡那索斯，乘船到羅得島，去參觀伊奧尼亞（愛奧尼亞）的以弗所。只有走遍世界，感受到旅途的疲憊，才能滿足一睹七大奇跡的愿望，而當(dāng)目的最終達(dá)到時，你或許已經(jīng)老了，快要死了。
2.Because of this, education can perform a remarkable and valuable task: it removes the necessity to travel, displays the beautiful and amazing things in one's very own home, and allows one to see those things with one's mind if not with one's eyes. If a man goes to the different locations, sees them once, and goes away, he immediately forgets: the details of the works are not recalled, and memories of the individual features fail. But if a man investigates in verbal form the things to wonder at and the execution of their construction, and if he contemplates, as though looking at a mirror image, the whole skillful work, he keeps the impressions of each picture indelible in his mind. The reason for this is that he has seen amazing things with his mind.
? ? ? ? ? 2.正因如此，教育可以發(fā)揮一項非凡而有價值的任務(wù)：它避免了人們旅行的必要性，足不出戶就能展示美麗而令人驚嘆的事物，讓人們即使不是用眼睛，也能用心靈感受這些事物。如果一個人去了不同的地方，只欣賞一次然后離開，他馬上就會忘記：事物的細(xì)節(jié)想不起來了，對個別特征的記憶也失效了。但是，如果一個人以語言的形式去研究那些值得驚嘆的事物及其構(gòu)造，如果他像看鏡像一樣凝視著整個巧奪天工的作品，他就會把每個作品印象牢牢地記在腦海中。之所以如此，是因為他用心靈感受到了這些令人驚嘆的奇妙場景。 ?
3.What I say will be shown to be reliable if my words make a clear description of each of the Seven Wonders and persuade the listener to acknowledge that he has got an idea of the spectacle. Of course, only the Seven Wonders are commonly described as praiseworthy, in so far as other sights can be seen just as much as these, but the admiration for the Seven Wonders and for other sights is different. For beauty, like the sun, makes it impossible to see other things when it is itself radiant.
? ? ? ? ? 3. 如果我的言語對七大奇跡中的每一個都進行了清晰的描述，并說服聽眾認(rèn)識到他已經(jīng)對奇觀有了相當(dāng)?shù)牧私?，那么我所說的可靠性就會變得顯而易見。當(dāng)然，在其他可見的景觀中，通常只有七大奇跡才被描述為值得稱贊的，但七大奇跡所引起的贊嘆與其他景觀不同。因為美就像太陽一樣，當(dāng)它本身光芒四射時，就讓人無法感受到其他事物。
一、巴比倫空中花園
1.The so-called Hanging Garden with its plants above the ground grows in the air. The roots of trees form a roof over the ground. Stone pillars stand under the garden to support it and the whole area beneath the garden is occupied with engraved bases of the pillars.
? ? ? ? ? ?1. 所謂空中花園，就是植物高出地面，向空中開放。樹根形成土壤的覆蓋物。花園下方矗立著支撐花園的石柱，花園下方的整個區(qū)域都被柱子的雕刻基座占據(jù)。
2.Individual beams of palm trees are in position, and the space separating them is very narrow. The wood from palm trees is the only kind of wood which does not rot. When they are saturated and under great pressure, they arch upwards and nourish the capillaries of the roots [of the vegetation] and admit into their own crevices roots that are not their own.
? ? ? ? ? 2. 由棕櫚樹干制成的獨立梁放置在適當(dāng)?shù)奈恢?，它們之間有一個狹窄的間隙。棕櫚樹的木材是唯一不會腐爛的木材。當(dāng)它們飽和并承受巨大壓力時，就會向上拱起，滋養(yǎng)（植物）根部的毛細(xì)血管，并將不屬于自己的根部引入自己的縫隙中。
3.On top of these beams a great amount of earth is poured to quite a depth. On top grow broad-leaved trees and garden trees, and there are varied flowers of all kinds – in short, everything that is most pleasing to the eye and most enjoyable. The area is cultivated just as happens on ground level. In much the same way as on normal ground, it sees the work of people who plant shoots: ploughing goes on above those wandering through the supporting colonnade.
? ? ? ? ? 3. 將大量土倒在這些梁的頂部，以達(dá)到相當(dāng)?shù)暮穸?。上面生長著闊葉樹和園林樹，還有各式各樣的花朵，總之，一切都讓人賞心悅目、心曠神怡。該區(qū)域的栽培方式與地面栽培方式相似。與正常田地中發(fā)生的情況類似，它考慮了種植樹苗的人們的工作，而栽培土地的工作則在那些在充當(dāng)支撐的柱子之間徘徊的人的上方繼續(xù)進行。
4.While people walk along the top, the land on top of the roof is motionless and, as in the most fertile regions, remains pure. From above, aqueducts carry in running water: along one way the stream follows a wide downhill course, along the other way the water runs up, under pressure, in a screw; the necessary mechanisms of the contraption make the water run round and round in a spiral. The water goes up into many large receptacles and irrigates the whole garden. It dampens the roots of the plants deep in the earth and keeps the earth moist. This is why the grass is always green and the leaves of the trees grow permanently [? nourished by the dew, on tender boughs.
? ? ? ? ? 4. 當(dāng)人們在上面行走時，屋頂上方的土地保持堅固，就像在最肥沃的地區(qū)一樣，它完好無損。渡槽從上方帶來流水：一方面，水流沿著寬闊的向下路線流動，而另一方面，水在螺旋壓力的作用下上升；該裝置不可或缺的機構(gòu)使水通過螺旋旋轉(zhuǎn)而循環(huán)。水流到許多大容器中，灌溉整個花園。它滋潤著泥土深處的植物根系，使泥土保持濕潤。這就是為什么小草總是綠油油的，樹葉在露水的滋潤下（......）在柔嫩的枝椏上重復(fù)生長。
5.For, free from thirst, the roots suck up the permeating water and form roaming entanglements among themselves below the ground and, as a unit, preserve the developed trees safe and sound. The masterpiece is luxurious and regal, and it breaks the laws of nature to hang the work of cultivation over the heads of spectators.
? ? ? ? ? 5. 因此，在不缺水分的情況下，植物根部吸收滲透到其中的水，并在土壤下編織成纏結(jié)，作為一個整體，保持了成年樹木的完整性與健康性?？罩谢▓@郁郁蔥蔥，富麗堂皇，打破了植物懸掛在游客頭頂?shù)淖匀环▌t。
二、埃及孟菲斯的金字塔
1.While it is impossible to build the pyramids in Memphis [today], it is marvelous to describe them. Mountains have been built on mountains. The sheer size of the squared masonry is difficult for the mind to grasp, and everyone is mystified at the enormous strength that was required to prize up such a weight of material.
? ? ? ? ? ?1. 雖然（今天）不可能在孟菲斯建造金字塔，但描述它們還是很棒的。金字塔是建在高地上的。方形磚石的巨大尺寸讓人不解，每個人都對支撐如此重的材料所需的巨大力量感到困惑。
2.A four-cornered base was set down, and hewn stones make up the foundations which are of the same dimensions as the height of each structure above ground. Gradually the whole work was brought up into a pyramid, tapering to a point.
? ? ? ? ? 2. 工人們建造了四角基座，鑿成的石頭構(gòu)成了地基，其尺寸與每座建筑離地面的高度相同。整個建筑被逐漸地砌成一個金字塔形狀，向上逐漸變小，最后變成一個頂點。
3.Its height is 500 feet and the distance around the base is 3,600 feet. The whole polished work is joined together so seamlessly that it seems to be made out of one continuous rock. But in fact, different colors and types of stone have been used in its construction: here there is white marble, here there is black African stone. Then there is also what is called 'the blood red stone' and a stone of variegated translucent green, brought, so they say, from Arabia.
? ? ? ? ?3. 它的高度為152米（500英尺），基座周圍的距離為1097米（3600）英尺。整個拋光工程連接得天衣無縫，似乎是由一塊連續(xù)的巖石制成的。但事實上，在建造過程中，工匠們使用了不同顏色和類型的石頭：這里有白色大理石、非洲黑石。此外，還有一種被稱為“血紅石”的石材，以及一種據(jù)說是從阿拉伯運來的斑斕的半透明綠色石材。
4.The colors of some of the stones are a dark glass-green, others are almost quince-yellow, while yet others have a color that is likened to the purple in conch shells. To one's astonishment is added pleasure, to one's admiration respect, and to its lavishness splendor.
? ? ? ? 4. 有些方石的顏色是深玻璃綠色，有些則是近似榅桲的黃色，還有些方石的顏色類似于貝殼的紫色。驚奇中又增添了許些愉悅，欽佩中又增添了許些崇敬，奢華中又增添了許些輝煌。
5.The ascent is no less long or tiring than a road journey. Standing on the top and looking down, one can only dimly see the bottom. Royal wealth has woven extravagant expense alongside a pleasing array of colors. May its fortune boast that it believes that with its extraordinary expense it can touch the very stars, for it is through deeds such as these that men go up to the gods, or that gods come down to men.
? ? ? ? ? 5. 攀登的耗時與勞累絲毫不亞于公路旅行。站在山頂向下望去，只能隱約看到山腳?；始覈鴰鞂⑸莩薜拈_支與令人愉悅的色彩交織在一起。愿它的財富夸耀它的信念，即憑借它非凡的支出，它甚至可以觸及星星本身，正是通過這樣的形式，人們才得以升為神靈，或者神靈才得以降臨人間。
三、希臘奧林匹亞宙斯神像
1.Cronus is the father of Zeus in heaven, but Phidias is the father of Zeus in Elis. Immortal nature was the parent of the former, but the hands of Phidias of the latter; those hands alone were capable of begetting gods. Blessed is that one person on earth who saw the king and had the ability to show the Thunderer to others.
? ? ? ? ? 1. 在天界，克洛諾斯是宙斯的父親；而在厄利斯，菲狄亞斯（Φειδ?α?）是“宙斯”的“父親”。不朽的自然是前者，而后者出自菲狄亞斯的雙手。只有這雙手能夠“孕育”神靈。在世上見到宙斯并能夠向其他人展示雷霆制造者的人是幸福的。
2.But if Zeus is embarrassed to be called the son of Phidias, skill was the mother of his representation. Nature produced elephants and Africa abounds in herds of elephants just so that Phidias could cut the tusks of the wild animals and work the matter with his hands into the form that he intended.
? ? ? ? ? 2. 如果宙斯因被稱為菲狄亞斯（Φειδ?α?）之子而感到羞恥，那么技巧就是他的“代表之母”。大自然孕育了大象，非洲有許多大象群，菲狄亞斯可以砍下這些野生動物的象牙，用手雕刻出他想要的形狀。 ?
3.Whereas we just wonder at the other six wonders, we kneel in front of this one in reverence, because the execution of the skill is as incredible as the image of Zeus is holy. The work brings praise, and the immortality brings honor.
? ? ? ? ? 3. 當(dāng)我們只是驚嘆于其他六大奇跡時，我們會虔誠地跪在這一奇跡面前，因為其技藝之精湛令人難以置信，就像宙斯的真正形象一樣神圣。雕像帶來贊美，不朽帶來榮光。
4.Those were the good old days for Greece! When her wealth in the world of the gods surpassed any other people's wealth at any subsequent time; when she had an artist who was a creator of immortality unmatched by any that later ages produced; when it was possible to show men how the gods looked – appearances which it was never to be possible for other ages to see. Certainly, Phidias is the champion over Olympus for the longest time, just in the same way as facts are better than guesswork, knowledge better than enquiry, and sight better than hearing.
? ? ? ? ? 4. 這就是希臘過去的美好時光！那時，希臘在眾神世界的財富超過了后來任何時代的其他民族；那時，希臘有一位藝術(shù)家，他是后世任何時代都無法比擬的不朽創(chuàng)造者；那時，希臘可以向人們展示眾神的樣子，這是后世永遠(yuǎn)無法想象的。毫無疑問，菲狄亞斯是是奧林匹斯山永恒的捍衛(wèi)者，就像事實勝于猜測、知識勝于探究、視覺勝于聽覺。
四、羅得島太陽神銅像
1.Rhodes is an island in the sea. It had been hidden below the sea for a long time, but then Helios revealed it, and requested of the gods that the new island be his own. On this island stands a Colossus, one hundred and twenty feet high and representing Helios. The statue is recognizable as being of Helios because it has his distinctive features. The artist used a quantity of bronze that might have exhausted the mines, for the molten image of the structure was the bronze work of the world.?
? ? ? ? ? 1. 羅德島是一座海島。它在海下隱藏了很久，后來赫利俄斯將它顯露出來，并向眾神祈禱新島將屬于自己。島上矗立著一座巨像，高36米（120英尺），代表赫利俄斯。這座雕像具有赫利俄斯的顯著特征，因此可以辨認(rèn)出是赫利俄斯的雕像。建造者們使用的青銅數(shù)量可能已經(jīng)耗盡了礦山，因為該結(jié)構(gòu)的鑄造雕像是世界上獨一無二的青銅雕像。
2.Perhaps Zeus poured down marvelous wealth on the Rhodians precisely so that they could honor Helios in spending it on the erection of the statue of the god, layer upon layer, from the ground up to the heavens. The artist secured it firmly from the inside with iron frames and squared blocks of stone, of which the horizontal bars exhibit hammer work in the Cyclopean fashion. The hidden part of the work is bigger than the visible parts. Further questions strike the admiring spectator: what kind of fire tongs were used, what size were the bases of the anvils, with what workforce was such a weight of poles forged?
? ? ? ? ? 2. 也許是宙斯向羅得島人傾瀉了海量財富，正是為了讓他們能夠把這些財富用來為赫利俄斯鑄造神像，一層一層，從地面一直建到天上。工匠們用鐵架和方形石塊從內(nèi)部將神像牢牢固定住，其中的橫條展示了巨石砌體。作品的隱藏部分比可見部分更大。欣賞者會產(chǎn)生更多的疑問：建造過程中使用的是什么類型的火爐鉗，鐵砧的底座有多大，如此重的桿子是用什么工具鍛造的？
3.A base of white marble was laid down, and on this he first set the feet of the Colossus up to the ankle bones. He had already conceived in his mind the proportions in which the one-hundred-and-twenty-foot god was going to be built. Since the soles of the feet on the base were already at a greater height than other statues, it was impossible to lift up the rest and set it on top. The ankles had to be cast on top and, just as happens in building houses, the whole work had to rise on top of itself.
? ? ? ? ? ?3. 雕像被放置在一個白色大理石底座上，工匠們首先在上面安放巨像的雙腳，直至踝骨。他們已經(jīng)在腦海中構(gòu)思好了這尊一百二十英尺高的巨像的比例。由于底座上的腳底已經(jīng)比其他雕像高，所以不可能把剩下的部分抬起來放在上面。腳踝必須鑄在上面，就像蓋房子一樣，整個工程必須自上而下。
4.And for this reason, in the case of other statues, artists first make a mold, then divide it into parts, cast them, and finally put them all together and erect the statue. But the artist of the Colossus cast the first part and then molded the second part on the first and, when the second part had been cast in bronze, built the third part on top of that. He used the same method of construction for the remaining parts. For it was not possible to move the metal parts.
? ? ? ? ? 4.在其他雕像的制作過程中，藝術(shù)家們都是先制作一個模子，然后將其分成幾個部分，再進行澆鑄，最后將它們組合在一起并豎立起來。但巨像的建造者是先鑄造第一部分，然后在第一部分上鑄造第二部分，當(dāng)?shù)诙糠止潭ê螅僭谄渖辖ㄔ斓谌糠?。他們用同樣的方法建造了其余部分。因為金屬部件是無法移動的。
5.When the casting had been done on the earlier worked parts, the intervals of the bars and the joints of the framework were taken care of, and the structure was held steady with stones that had been put inside. So that throughout the construction he might retain his conception unshaken, he continually poured an immense mound of earth round the finished parts of the Colossus, hiding what had already been worked on underground, and carried out the next stage of casting on the flat surface of what was underneath.
? ? ? ? ? 5. 當(dāng)前面的部分已經(jīng)澆鑄完畢后，就開始處理金屬棒料的間距與框架的接縫，整體結(jié)構(gòu)與內(nèi)部放置的石頭保持平衡。為了在整個施工過程中不動搖原先的構(gòu)想，工匠們不斷地在巨像已完工的部分周圍堆起一個巨大的土堆，將已完成的部分隱藏在地下，然后在新的平面上進行下一階段的澆筑。
6.Little by little he reached the goal of his dream and, at the expense of five hundred bronze talents and three hundred silver talents, he made his god equal to the god. He produced a work outstanding in its boldness, for on the world he set a second Helios facing the first.
? ? ? ? ? 6. 在五百名青銅工匠和三百名銀匠的參與下，雕像逐漸呈現(xiàn)出理想中的模樣。羅得島人讓自己的神與天神平起平坐。太陽神銅像的建造大膽出眾，因為他們在世界上樹立了第二個“赫利俄斯”，與第一個赫利俄斯遙遙相對。
五、巴比倫的城墻
1.Semiramis was rich in royal inventiveness. So when she died, she left a treasure of a wonder behind: she laid down foundations forty-one miles long and walled Babylon. The perimeter wall is long enough to exhaust a long-distance runner. The wall is striking not only on account of its length, but also on account of the solidity of its structure and of the width of the recesses inside it. For it is built from baked brick and bitumen. ?
? ? ? ? ? 1. 塞彌拉彌斯（Semiramis，傳說中的亞述女王）富有皇家創(chuàng)造力。因此，當(dāng)她去世時，留下了一個奇跡般的寶藏：在她任期內(nèi)，人們修建了長達(dá)66公里（41英里）的地基，筑起了巴比倫城墻。城墻長度足以讓一個長跑運動員筋疲力盡。這堵墻之所以引人注目，不僅因為其長度，還因其結(jié)構(gòu)的堅固性和內(nèi)部圍墻的寬度。城墻是用燒磚和瀝青砌成的。
2.The wall is more than eighty feet high and four four-horsed chariots can simultaneously ride along the width of the circular track [on top]. There are consecutive multi-storied towers [along the wall] which are capable of housing a whole army. The city is, thus, the advanced fortification of Persia. From the outside you would not guess that it encloses within itself a habitation.
? ? ? ? ? 2. 城墻高超過24米（80英尺），在（頂部）環(huán)形軌道的寬度上可以同時并排駕駛四輛四馬戰(zhàn)車。（沿著城墻的整個長度）多層塔樓依次升起，可以容納整支軍隊。因此，這座城市是波斯最先進的防御工事。從外面看，你根本無法想象它的內(nèi)部是居住區(qū)。
3.Thousands and thousands of men live inside the city's round wall! The size of the land outside the walls which is farmed is hardly bigger than the built-up area in Babylon, and the farmers outside the walls are as foreigners to those people living within the wall.
? ? ? ? ? ?3. 成千上萬的人住在城墻內(nèi)！城墻外專門用于農(nóng)業(yè)的土地面積僅比內(nèi)部建筑面積大一點，墻外的農(nóng)民對于居住在城墻內(nèi)的人來說就像是外邦人一樣。
六、以弗所的阿耳忒彌斯神廟
The Temple of Artemis at Ephesus is the only house of the gods. Whoever looks will be convinced that a change of place has occurred: that the heavenly world of immortality has been placed on the earth. For the Giants, or the sons of Aloeus, who attempted an ascent to heaven, made a heap out of mountains and built not a temple but Olympus. The result is that the work exceeds the enterprise in boldness and, likewise, the skill exceeds the work.
? ? ? ? ? 以弗所的阿耳忒彌斯神廟是眾神的唯一居所。任何人看到都會確信這里發(fā)生了變化：天上的不朽世界被置于地上。對于試圖升入天堂的巨人或者阿洛俄斯（Aloeus）的兒子來說，他們創(chuàng)造了山脈，但并沒有建造神廟，而是建造了奧林匹斯山。其結(jié)果是，當(dāng)能力超過野心，或者野心超過能力時，成功的可能性就變得有限了。
The architect loosened the bottom of the underlying ground, then dug out trenches to a great depth and laid down the foundations underground. The quantity of masonry expended on the structures below the ground amounted to whole quarries of mountains. He ensured its unshakeable steadiness and, having previously set Atlas under the weight of the parts that would support the building, first he set down on the outside a base with ten steps, and on that base he raised… [Here the manuscript breaks off; the rest of the piece is lost].
? ? ? ? ? 建筑師先松動地基底部，然后挖出很深的壕溝，在地下打下地基。地下部分所使用的磚石數(shù)量相當(dāng)于整座采石場。為了確保地基的穩(wěn)固性，工匠們事先在阿特拉斯（希臘神話里的擎天神，屬于泰坦神族，被宙斯降罪來用雙肩支撐蒼天）上設(shè)置了支撐建筑的重物，在外側(cè)建造了帶有十級臺階的基座，然后在基座上抬起.......（手稿在此中斷，其余部分已丟失）。
參考書目：
Auden, W. H. The Portable Greek Reader. Penguin Classics, 2000.
Dalley, S. The City of Babylon: A History, c. 2000 BC-AD 116. Cambridge University Press, 2021.
Elfinspell: Bede, Of the Seven Wonders of the World from The Biographical Writings and Letters of Venerable Bede, translated from the Latin by J. A. Giles, translatorAccessed 14 Jul 2023.
Jordan, P. Seven Wonders of the Ancient World. Longman, 2002.
Philo of Byzantium, On the Seven Wonders of the World: An English translation and some notes – Roger PearseAccessed 14 Jul 2023.
Romer, J. & E. The Seven Wonders of the World: A History of the Modern Imagination. Cassell PLC, 2001.
原文作者：Joshua J. Mark
? ? ? ? ? 曾在紐約馬里斯特學(xué)院兼職擔(dān)任哲學(xué)教授，曾在希臘和德國生活，并游歷過埃及。曾在大學(xué)教授歷史、寫作、文學(xué)和哲學(xué)。
原文網(wǎng)址: https://www.worldhistory.org/article/2257/philo-of-byzantiums-on-the-seven-wonders/
封面：空中花園（藝術(shù)家印象）游戲《舊世界》
