Stephen Foster
Nanci Griffith, Songwriter: Stephen Foster just reached out and put the hook right in you, you know, the very first line of the song with his melodies and with the lyrics.
南奇·格里菲斯（Nanci Griffith），作曲家：史蒂芬·福斯特（Stephen Foster）刚刚伸出手来，把钩子放在你身上，你知道，这首歌的第一行就是他的旋律和歌词。
Fath Ruffins, Historian: Foster's music is seen as fundamental Americana.
Fath Ruffins，历史学家：福斯特的音乐被视为美国音乐的基础。
When you listen to these songs, you're listening to the history of the United States.
当您聆听这些歌曲时，您正在聆听美国的历史。
Sean Wilentz, Historian: I can't think of any great American songster, from Jerome Kern to Rogers and Hart to Elvis Presley to, to Bob Dylan, that doesn't owe a great deal to Stephen Foster.
肖恩·维伦茨（Sean Wilentz），历史学家：我想不出任何一位伟大的美国歌手，从杰罗姆·科恩（Jerome Kern）到罗杰斯（Rogers）、哈特（Hart）到猫王埃尔维斯·普雷斯利（Elvis Presley），再到鲍勃·迪伦（Bob Dylan），都很大程度上归功于斯蒂芬·福斯特（Stephen Foster）。
Mel Watkins, Author: Foster was at the forefront of when white culture started to integrate black culture with their own.
梅尔·沃特金斯（Mel Watkins），作者：当白人文化开始将黑人文化与他们自己的文化融合时，福斯特处于最前沿。
Foster's music is a combination of these strains.
福斯特的音乐是这些风格的结合。
He brought it together, and he made it into something that was quintessentially American.
他将其整合在一起，并使其成为典型的美国风格。
Peter Quinn, Author : There's no way to understand what America is without understanding popular culture.
Peter Quinn，作者：如果不了解流行文化，就无法了解美国。
We're a people in search of each other.
我们是一群互相寻找的人。
We come from different backgrounds.
我们来自不同的背景。
We have to find ourselves.
我们必须找到自己。
And we find ourselves in popular culture.
我们发现自己身处流行文化之中。
Foster's one of the architects of that common ground that we meet on, that popular culture where we sing the same music.
福斯特是我们相遇的共同点的缔造者之一，我们唱着同样的音乐的流行文化。
Narrator : On February 20, 1852, Stephen Foster and his wife Jane boarded a steamboat in Pittsburgh.
旁白：1852年2月20日，斯蒂芬·福斯特和他的妻子简在匹兹堡登上了一艘汽船。
It was a high point of his career and his marriage.
这是他事业和婚姻的巅峰。
Narrator : En route to New Orleans for Mardi Gras, the couple was celebrating the success of his most recent hit, "Old Folks at Home," a sentimental song about life on the plantation.
旁白：在前往新奥尔良参加狂欢节的途中，这对夫妇正在庆祝他最近的热门歌曲《家中的老人》的成功，这是一首关于种植园生活的感伤歌曲。
It was Foster's only journey to the deep South.
这是福斯特唯一一次深入南方的旅行。
Sean Wilentz, Historian : Here is this Northerner who wrote these songs that we think of as quintessentially Southern.
历史学家肖恩·威伦茨（Sean Wilentz）：这位北方人写了这些我们认为是典型南方歌曲的歌曲。
Narrator : All around the world, people were singing his songs about idyllic life in the South.
旁白：世界各地的人们都在唱他的歌曲，讲述南方的田园生活。
Foster's party sat on deck and sang "Old Folks at Home" as they drifted past stately mansions and slave shacks -- scenes he had imagined in his songs and now saw for the first time.
福斯特一行人坐在甲板上，一边飘过富丽堂皇的宅邸和奴隶棚屋，一边唱着《家里的老人们》——这些场景是他在歌曲中想象过的，现在第一次看到。
Narrator : Home, for Foster, was not the South, and it wasn't really Pittsburgh, either.
旁白：对于福斯特来说，家不是南方，也不是真正的匹兹堡。
It was some kind of state of grace from which he had fallen as a child.
这是一种他小时候就堕落的优雅状态。
Narrator : On July 4, 1826, Stephen Collins Foster was born in the lap of apparent luxury in a village outside Pittsburgh.
旁白：1826 年 7 月 4 日，斯蒂芬·柯林斯·福斯特出生在匹兹堡郊外一个看似奢华的村庄里。
Narrator : He was the youngest child of a large, lively and musical family.
旁白：他是一个活泼、音乐的大家庭中最小的孩子。
He spent his first years on a handsome estate called "The White Cottage." Stephen's mother described life there as Eden.
他的第一年在一座名为“白色小屋”的漂亮庄园里度过。斯蒂芬的母亲将那里的生活描述为伊甸园。
Narrator : A descendant of wealthy plantation owners, Eliza Foster was a doting mother and devoted wife.
旁白：伊丽莎·福斯特是富有的种植园主的后裔，是一位溺爱孩子的母亲和忠诚的妻子。
Her husband, William, was an up-and-coming politician and land speculator.
她的丈夫威廉是一位很有前途的政治家和土地投机商。
Deane Root, Musicologist : Stephen's father could have been one of the grand old men of Pittsburgh society, but he lost all of his vast properties.
迪恩·鲁特，音乐学家：斯蒂芬的父亲本可以成为匹兹堡社会的一位伟人，但他失去了所有的巨额财产。
Partly through his own poor business sense, apparently, but also, he did have a big drinking problem.
显然，部分原因是他自己糟糕的商业头脑，但他也确实有严重的酗酒问题。
The family was always in great fear of him sliding back to drink.
家人总是非常害怕他再次喝酒。
Narrator : When Stephen was three, the family was forced to leave their beloved White Cottage.
旁白：斯蒂芬三岁时，一家人被迫离开他们心爱的白色小屋。
Ken Emerson, Biographer : Stephen Foster was devastated by the loss of his home, even if he knew it not so much in his own memory as in what was told him by his siblings and by his parents.
肯·爱默生，传记作者：史蒂芬·福斯特因失去家园而悲痛欲绝，尽管他在自己的记忆中并不了解这一点，而是从他的兄弟姐妹和父母那里得知。
His life was marked by tremendous instability after this, and he was always yearning for a home that he couldn't have.
此后他的生活充满了极大的不稳定，他总是渴望一个他无法拥有的家。
Nostalgia for a lost home is one the deepest impulses behind Stephen Foster's music.
对失去的家园的怀念是斯蒂芬·福斯特音乐背后最深刻的冲动之一。
Narrator : In the fall of 1832, the Foster family moved across the Allegheny River from bustling Pittsburgh.
旁白：1832 年秋天，福斯特一家从繁华的匹兹堡搬到了阿勒格尼河对岸。
Narrator : While visiting a music store, seven-year-old Stephen picked up a flageolet and quickly mastered the flute-like instrument.
旁白：七岁的斯蒂芬在逛一家乐器店时，拿起了一把长笛，很快就掌握了这种类似长笛的乐器。
"His love of music was an all-absorbing passion," a schoolmate said, "and his execution on the flute was the very genius of melody." Stephen's enthusiasm for music often interfered with his studies.
“他对音乐的热爱是一种全神贯注的热情，”一位同学说，“他对长笛的演奏是旋律的天才。”斯蒂芬对音乐的热情经常干扰他的学习。
"I promise," he told his parents "not to pay any attention to my music until after eight o'clock in the evening." But little else inspired him.
“我保证，”他告诉父母“直到晚上八点之后才关注我的音乐。”但除此之外几乎没有什么能激励他。
At age 14 he composed his first piece, arranged for four flutes.
14岁时，他创作了第一首为四长笛改编的作品。
In the parlor, young Stephen enjoyed singing and playing sentimental ballads with his family.
在客厅里，年轻的斯蒂芬喜欢和家人一起唱歌、弹奏伤感的民谣。
Fath Ruffins, Historian : The piano in the parlor really comes to be a symbol of middle-class life and, in particular, the role of women.
历史学家法斯·鲁芬斯：客厅里的钢琴确实成为中产阶级生活的象征，特别是女性角色的象征。
Part of her role is to create beauty and a pleasing environment for the family to, children to be nurtured in and for the husband to experience civility and peace and calm.
她的职责之一是为家庭创造美丽和令人愉悦的环境，让孩子在其中成长，并让丈夫体验文明、和平与平静。
The piano becomes a focal point for family entertainment of crucial importance in the decades before any kind of recorded music.
在任何类型的音乐录制之前的几十年里，钢琴已成为至关重要的家庭娱乐焦点。
Narrator : According to "Godey's Lady's Book," to be seen lugging groceries was unspeakably vulgar, but "a roll of music looks so perfectly genteel." Away from the parlor, Stephen began experimenting with a different kind of music.
旁白：根据《戈迪女士之书》的说法，拖着杂货的样子是无法形容的粗俗，但“一卷音乐看起来非常优雅”。离开客厅，斯蒂芬开始尝试不同类型的音乐。
He, his brother Morrison, and friends put on shows for the neighbors.
他、他的兄弟莫里森和朋友们为邻居们表演节目。
Stephen was the star.
斯蒂芬是明星。
He sang comic songs written in crude black dialect that were part of a craze sweeping the country.
他演唱用粗俗的黑人方言写成的喜剧歌曲，这些歌曲是席卷全国的热潮的一部分。
This new music captivated the young boys, who caught the latest acts at the Pittsburgh Theater.
这种新音乐吸引了小男孩们，他们在匹兹堡剧院观看了最新的表演。
Narrator : Stephen and his friends whooped at the antics of white men who smeared their faces with burnt cork, wore wooly wigs, and made a mockery of black song and dance.
旁白：斯蒂芬和他的朋友们对白人的滑稽行为大喊大叫，他们用烧焦的软木塞涂抹自己的脸，戴着羊毛假发，嘲笑黑人的歌舞。
It was known as blackface minstrelsy.
这被称为黑脸吟游诗人。
Josephine Wright, Musicologist : Minstrelsy did more that any other institution to perpetuate stereotypes of black Americans.
约瑟芬·赖特（Josephine Wright），音乐学家：吟游诗人在延续对美国黑人的刻板印象方面比任何其他机构都做得更多。
The minstrel tunes presented the black man and woman as a source of derision, someone that the white American public could look down upon -- the debasement of their life, their culture, their folk speech, their music.
吟游诗人的曲调将黑人男女视为嘲笑的根源，是美国白人公众可以鄙视的人——对他们的生活、他们的文化、他们的民间言论和他们的音乐的贬低。
Mel Watkins, Author : It presented the black character as being stupid, as being comical.
梅尔·沃特金斯（Mel Watkins），作者：它将黑人角色呈现为愚蠢、滑稽。
It affected all of society because those people who didn't know blacks, and there were many places where there were very few blacks, assumed that those characterizations, those depictions, those foolish characters that we saw on stage, were real black people.
它影响了整个社会，因为那些不了解黑人的人，以及很多黑人很少的地方，都认为我们在舞台上看到的那些特征、那些描述、那些愚蠢的人物是真正的黑人。
Dale Cockrell, Musicologist : It need hardly be said that minstrelsy is about racial derision.
戴尔·科克雷尔（Dale Cockrell），音乐学家：不用说，吟游诗人是关于种族嘲笑的。
But at the same time, people are having great fun, entertainment.
但与此同时，人们也享受着巨大的乐趣和娱乐。
They're embracing a culture that they're seeming to deride at precisely the same time.
他们正在拥抱一种他们似乎同时嘲笑的文化。
It's a kind of love and loathing that's happening simultaneously.
这是一种同时发生的爱与恨。
Ken Emerson, Biographer : Stephen Foster was drawn to blackface at a young age out of the sheer spirit of fun, of rebellion and high-spirited cool.
传记作者肯·爱默生：史蒂芬·福斯特年轻时就被黑脸所吸引，纯粹是出于乐趣、叛逆和昂扬的酷感。
Narrator : His parents may have accepted his flirtation with minstrel music as youthful rebellion, but his father was upset when a homesick Stephen dropped out of college after only one week.
旁白：他的父母可能认为他对吟游诗人音乐的调情是年轻时的叛逆，但当思乡的斯蒂芬在大学仅仅一周后就退学时，他的父亲感到很沮丧。
"He is a very good boy, but I cannot get him to stick at school," his father remarked.
“他是一个非常好的男孩，但我无法让他留在学校，”他的父亲说道。
"His leisure hours are all devoted to music for which he possesses a strange talent." "Stephen studied deeply," his brother Morrison recalled, "and burned much midnight oil over the works of the masters, especially Mozart, Beethoven, and Weber." At the age of eighteen, he published his first song, a sentimental serenade.
“他的闲暇时间都花在了音乐上，他在这方面拥有一种奇怪的天赋。” “斯蒂芬深入研究，”他的兄弟莫里森回忆道，“并且熬夜研读大师的作品，尤其是莫扎特、贝多芬和韦伯。”十八岁时，他发表了第一首歌曲，一首伤感的小夜曲。
SONG — "Open Thy Lattice Love" Open thy lattice love Listen to me The cool balmy breeze is abroad on the sea!
歌曲 —“打开你的格子爱” 打开你的格子爱 听我说 凉爽宜人的微风在海上飘扬！
The moon like a queen, roams her realms of blue And the stars keep their vigils in heaven for you
月亮像女王一样漫游在蓝色的国度星星在天堂为你守夜
Narrator : Soon he began writing songs for friends to sing in harmony under his leadership.
旁白：很快他就开始写歌给朋友们在他的带领下和声合唱。
It was for these sing-a-longs that Stephen composed his first blackface song.
正是为了这些长歌，斯蒂芬创作了他的第一首黑脸歌曲。
SONG — "Lou'siana Belle" Oh!
歌曲 —“路易斯安娜·贝尔”哦！
Lou'siana's de same old state, Wha Massa us'd to dwell; He had a lubly cullud gal.
卢西安娜的旧状态，马萨过去居住的地方；他有一个性感的、肮脏的女孩。
'Twas the Louisiana Belle.
那是路易斯安那美女。
Oh!
哦！
belle don't you tell Don't tell Massa, don't you Belle,
贝儿，你不告诉吗？别告诉马萨，不是吗，贝儿，
Eric Lott, Historian : When Foster and his buddies gather around the piano and do these songs, it's kind of like in the 50's if you were a middle class guy and you saw Elvis.
埃里克·洛特（Eric Lott），历史学家：当福斯特和他的伙伴们聚集在钢琴周围演奏这些歌曲时，就像在 50 年代，如果你是一个中产阶级，你看到了猫王。
You knew that Elvis was shaking his hips in ways that wasn't typically countenanced for white middle-class boys.
你知道埃尔维斯晃动臀部的方式对于白人中产阶级男孩来说是不常见的。
Narrator : "Stephen would sit at home and improvise by the hour," said Morrison, but his financially strapped family pressured him to get a job.
旁白：“斯蒂芬会坐在家里按小时即兴发挥，”莫里森说，但他经济拮据的家庭迫使他找一份工作。
Another brother encouraged him to apply to West Point, but nothing came of it.
另一位弟兄鼓励他申请西点军校，但没有结果。
He swept floors in a cotton factory but soon quit.
他在一家棉花厂扫地，但很快就辞职了。
Ken Emerson, Biographer : He didn't want to put his nose to the grindstone and his shoulder to the wheel.
传记作者肯·爱默生：他不想埋头苦干，肩负起责任。
And this was a difficult thing for any child to rebel against in America at that point, which was the beginnings of the Industrial Revolution.
在工业革命刚开始的那个时期，对于任何一个美国孩子来说，反抗都是一件困难的事情。
This was a time when everybody was going ahead and getting ahead.
这是一个每个人都勇往直前、勇往直前的时代。
Deane Root, Musicologist : What was gnawing at him was his passion for music and poetry.
Deane Root，音乐学家：困扰他的是他对音乐和诗歌的热情。
Thomas Hampson, Baritone : I think that Stephen Foster found himself very quickly in a world that he didn't fit.
托马斯·汉普森，男中音：我认为斯蒂芬·福斯特很快就发现自己身处一个他不适应的世界。
And that's not unusual in the artistic, in the artistic mind.
这在艺术界、艺术头脑中并不罕见。
The world of Stephen Foster is in the imagination of Stephen Foster.
斯蒂芬·福斯特的世界是在斯蒂芬·福斯特的想象中。
Narrator : America was on the move in the 1840s.
旁白： 1840 年代的美国正处于移动之中。
Streaming west to fulfill their "manifest destiny," Americans blazed the Oregon Trail, annexed Texas, invaded Mexico, and struck gold in California.
为了实现他们的“天命”，美国人一路向西，开辟了俄勒冈之路，吞并了得克萨斯州，入侵了墨西哥，并在加利福尼亚州淘金了。
As the nation expanded, tensions over slavery threatened to tear the country apart.
随着国家的扩张，奴隶制的紧张局势有可能导致国家分裂。
By 1847, Foster had moved to Cincinnati on the Ohio River to work as a clerk for his brother's shipping business.
1847 年，福斯特搬到俄亥俄河畔的辛辛那提，在他兄弟的航运公司担任职员。
His office was just up from the Public Landing where the steamboats docked.
他的办公室就在汽船停靠的公共码头的上方。
Across the river was Kentucky, a slave state.
河对岸是奴隶州肯塔基州。
Cincinnati was a major hub on the Underground Railroad and a tinderbox of racial conflict.
辛辛那提是地下铁路的主要枢纽，也是种族冲突的火药桶。
Sean Wilentz, Historian : The degree of racial tension was very high.
Sean Wilentz，历史学家：种族紧张程度非常高。
The transcendent part of that was that in that river culture, down on the docks, down where there was mingling between some whites and some blacks, there was a much more easy-going familiarity.
其中最重要的部分是，在河流文化中，在码头上，在一些白人和黑人混杂的地方，有一种更加随和的熟悉感。
To a person like Foster, he would have been able to see a kind of cultural interaction -- songs, foods, ideas, etc. -- in a kind of promiscuous assembly that was extraordinary for a young man growing up in what had been a fairly provincial country up to that point.
对于像福斯特这样的人来说，他能够在一种杂乱的集会中看到一种文化互动——歌曲、食物、思想等等，这对于一个在一个相当偏僻的国家长大的年轻人来说是非同寻常的。
Narrator : Through his office window Foster saw, and heard, roustabouts loading and unloading boats.
旁白：通过他办公室的窗户，福斯特看到、听到了码头工人装卸船只的声音。
The work songs of black and white boatmen filled the air.
空气中弥漫着黑白船工的劳动歌声。
SONG — "De Boatmen's Dance" High row, de boatmen row Floatin' down de river de old Ohio.
歌曲 —“船夫之舞” 高高的划船，船夫的划船 沿着老俄亥俄河漂流而下。
High row, de boatmen row Floatin' down de river de old Ohio.
高高的划船，船夫划着船，沿着古老的俄亥俄河漂流而下。
De boatmen dance, de boatmen sing, De boatmen up to ebry ting
船夫跳舞，船夫唱歌，船夫到埃布汀
Narrator : Inspired by the sounds around him, he continued to write music.
旁白：受到周围声音的启发，他继续创作音乐。
One song was a minstrel tune about two separated black lovers.
其中一首歌是一首关于两个分离的黑人恋人的吟游诗人的曲调。
It would become the biggest hit the world had ever known.
这将成为世界上有史以来最轰动的事件。
SONG — "Oh!
宋——“哦！
Susanna" I come from Alabama With my Banjo on my knee I'se gwine to Lou'siana My true lub for to see.
苏珊娜”我来自阿拉巴马州，膝上放着我的班卓琴，我要去路易斯安娜，我真正的朋友要看。
It rained all night de day I left, De wedder it was dry; The sun so hot I froze to def Susanna, don't you cry.
我离开那天整夜都在下雨，尽管天气干燥；太阳那么热，我冻僵了，苏珊娜，你别哭。
Narrator : Prospectors sang it as they joined the California Gold Rush.
旁白：探矿者在加入加州淘金热时唱着这首歌。
The temperance movement refashioned it as "O Rum-seller." And Harriet Tubman sang "The Northern Star," set to the tune of "Oh!
禁酒运动将其重新命名为“O Rum-seller”。哈里特·塔布曼演唱了《北极星》，曲调是“哦！
Susanna," as she guided slaves to freedom along the Underground Railroad.
苏珊娜”，她引导奴隶沿着地下铁路走向自由。
Fath Ruffins, Historian : His songs come about at a time when these elements of culture, which once before had only really been very localized, through transportation and through new kinds of printing technologies, come to be portable.
历史学家法斯·鲁芬斯：他的歌曲诞生之际，这些文化元素以前只是通过运输和新型印刷技术真正本地化，现在变得可以随身携带。
You can experience them the same way in California as in Maine.
您可以在加利福尼亚州和缅因州以同样的方式体验它们。
Eric Lott, Historian : It's somebody in a formative moment of popular culture, a moment when the pop music industry is coming together, and Foster is really there at the emergence of this entire industry.
埃里克·洛特（Eric Lott），历史学家：这是一个处于流行文化形成时刻的人，一个流行音乐产业正在聚集的时刻，而福斯特确实在整个产业的兴起过程中出现了。
He's one of its main engines.
他是其主要引擎之一。
Peter Quinn, Author : Before Stephen Foster, the largest sale of sheet music is five thousand sheets.
彼得·奎因 (Peter Quinn)，作者：在史蒂芬·福斯特之前，最大的乐谱销量为 5000 张。
With "Oh!
与“哦！
Susanna" it's a hundred thousand.
苏珊娜”这是十万。
All of a sudden, you have people all over the country singing the same song.
突然之间，全国各地的人们都在唱同一首歌。
Narrator : "Oh!
旁白：“哦！
Susanna" was a windfall for everyone but Foster.
苏珊娜”对除了福斯特之外的每个人来说都是一笔意外之财。
His music publisher made thousands of dollars and others profited from pirated versions.
他的音乐出版商赚了数千美元，其他人则从盗版中获利。
For the first time, Foster realized that he too could make money writing songs.
福斯特第一次意识到他也可以写歌赚钱。
Ken Emerson, Biographer : This was his way out, from the work-a-day drab realities of being an accountant.
传记作者肯·爱默生：这是他摆脱会计师日常单调工作现实的出路。
It was an opportunity that he could seize.
这是一个他可以抓住的机会。
And so out of this developed a resolve, once the songs became big and once they earned publishers money, he decided, "I want some of mine."
因此，他下定决心，一旦这些歌曲变得很受欢迎，一旦它们为发行商赚到了钱，他就决定，“我想要一些我的。”
Narrator : He signed contracts with two publishing firms, guaranteeing him a royalty -- two cents on every twenty-five cent piece of sheet music sold -- and then quit his accounting job.
旁白：他与两家出版公司签订了合同，保证他能获得版税——每售出一张二十五美分的乐谱，就能获得两美分——然后辞去了会计工作。
Deane Root, Musicologist : When Foster started, there was nothing, no legal profession to help him out, no precedent for contracts written with a publisher.
音乐学家迪恩·鲁特（Deane Root）：当福斯特开始工作时，没有任何东西，没有法律专业人士可以帮助他，也没有与出版商签订合同的先例。
How would he know what was fair and what wasn't fair?
他怎么知道什么是公平的，什么是不公平的？
There was no one to help him with this.
没有人可以帮助他解决这件事。
Stephen Foster decided to be a professional songwriter when nothing like that existed.
当没有这样的东西存在时，斯蒂芬·福斯特决定成为一名专业的歌曲作者。
Narrator : In the Winter of 1850, Foster -- now 23 -- returned to Pittsburgh to launch his new career.
旁白：1850 年冬天，现年 23 岁的福斯特回到匹兹堡开始他的新职业生涯。
Narrator : A few months later, a young woman with auburn hair caught Stephen's eye.
旁白：几个月后，一位赤褐色头发的年轻女子引起了斯蒂芬的注意。
On July 22, he married 20-year-old Jane Denny McDowell.
7月22日，他与20岁的简·丹尼·麦克道尔结婚。
Narrator : Jane was the daughter of longtime family friends.
旁白：简是长期家庭朋友的女儿。
Her father, a prominent local physician, had recently died, leaving Jane's mother to raise and marry off half-a-dozen daughters.
她的父亲是当地一位著名的医生，最近去世了，留下简的母亲抚养并娶了六个女儿。
Narrator : Jane was an unlikely match.
旁白：简不太可能匹配。
She was practical, conventional, and not at all musical.
她很实际，很传统，一点也不音乐。
Deane Root, Musicologist : He made all these life decisions about what his career was going to be, who his wife was going to be, where he was going to live, all within the course of a few months.
Deane Root，音乐学家：他在几个月内做出了所有这些人生决定，包括他的职业生涯、他的妻子将是谁、他将住在哪里。
It was impulsive, as many things were with Stephen Foster, it was impulsive.
这是一时冲动，就像史蒂芬·福斯特的很多事情一样，这是一时冲动。
Narrator : Stephen and Jane squeezed into his parents' crowded household, which also included his brother Henry's family.
旁白：斯蒂芬和简挤进了他父母拥挤的家庭，其中还包括他哥哥亨利的家人。
Nine occupants became ten when Jane gave birth to Marion, the Fosters' only child.
当简生下福斯特夫妇唯一的孩子马里昂时，九名居住者变成了十名。
Narrator : Foster worked in an upstairs studio behind locked doors.
旁白：福斯特在楼上一间锁着门的工作室里工作。
He was disciplined and prolific.
他纪律严明，多产。
Writing both minstrel and parlor songs, he published sixteen compositions in 1850 and just as many the next year.
他创作了吟游诗人和室内歌曲，1850 年出版了 16 首作品，第二年出版了同样多的作品。
Narrator : Though his parlor songs were modestly popular...
旁白：虽然他的客厅歌曲还算流行……
Narrator : ...
旁白：...
his blackface songs were famous.
他的黑脸歌曲很有名。
Narrator : "They seemed to travel like the wind from city to city," a friend recalled, "and one had hardly heard them in Pittsburgh when they were being whistled on the streets of New York."
旁白：“他们就像风一样从一个城市吹到另一个城市，”一位朋友回忆道，“当他们在纽约街头吹口哨时，人们在匹兹堡几乎听不到他们的声音。”
Narrator : He would have preferred to make his mark with parlor ballads, which appealed to the genteel taste of his family, but a song like "Laura Lee" earned only $13 while the blackface "Nelly Bly" made $564.
旁白：他更喜欢用客厅民谣来打响名声，因为这很适合他家人的上流品味，但像《Laura Lee》这样的歌曲只赚了 13 美元，而黑脸歌曲《Nelly Bly》则赚了 564 美元。
Narrator : Foster was thrilled by his success, but the vulgarity of blackface made him uncomfortable.
旁白：福斯特对自己的成功感到兴奋，但黑脸的粗俗让他感到不舒服。
Deane Root, Musicologist : It had been one of the great pains of his relationship with his family that he was writing for theatre and worse still minstrel theatre.
迪恩·鲁特（Deane Root），音乐学家：他为戏剧，更糟糕的是为吟游诗人戏剧创作，是他与家人关系中最大的痛苦之一。
Narrator : Stephen Foster resolved to make blackface respectable as well as profitable.
旁白：史蒂芬·福斯特决心让黑脸变得受人尊敬并且有利可图。
Narrator : In the 1850s, the most successful minstrel troupe in America was Christy's Minstrels.
旁白：1850年代，美国最成功的吟游诗人剧团是克里斯蒂的吟游诗人。
They staged a less raunchy, more refined blackface show that appealed to middle-class families.
他们上演了一场不那么粗俗、更加精致的黑脸表演，吸引了中产阶级家庭。
"I wish to unite with you," Foster wrote E.
“我希望与你团结在一起，”福斯特在信中写道。
P.
P。
Christy, the troupe's leader, "in every effort to encourage a taste for this style of music."
剧团领队克里斯蒂“尽一切努力鼓励人们欣赏这种音乐风格。”
Dale Cockrell, Musicologist : Quite consciously, Stephen Foster recognized that the economic clout of the American parlor, the American middle-class, was growing, and that if he was to achieve a livelihood in songwriting, that he had to appeal to that group.
戴尔·科克雷尔（Dale Cockrell），音乐学家：史蒂芬·福斯特非常有意识地认识到美国客厅、美国中产阶级的经济影响力正在增长，如果他想靠歌曲创作谋生，他就必须吸引这个群体。
Narrator : Foster's early songs used the dialect of the minstrel stage.
旁白：福斯特的早期歌曲使用了吟游诗人舞台的方言。
But he soon began to replace what he described as the "trashy and really offensive words" of blackface with lyrics and themes more appropriate for the parlor.
但他很快就开始用更适合客厅的歌词和主题取代他所描述的“垃圾和真正令人反感的词语”黑脸。
Narrator : In 1849, he mourned the passing of a black boatman's wife in "Nelly was a Lady".
旁白：1849年，他在《耐莉是一位贵妇》中哀悼一位黑人船夫妻子的去世。
SONG — "Nelly Was a Lady" Down on the Mississippi floating, Long time I trabble on de way, All night de cottonwood a toting, Sing for my true lub all de day.
歌曲——“耐莉是一位女士”在密西西比河上漂流，我在路上拖行了很长时间，整晚都在棉木上，整天为我真正的生活而歌唱。
Nelly was a lady Last night she died, Toll de bell for lubly Nell My dark Virginny bride.
内莉是一位女士 昨晚她去世了，为活泼的内尔敲响了丧钟，我的深色处女新娘。
Ken Emerson, Author : No American songwriter had ever called an African American woman a "lady" before.
肯·爱默生（Ken Emerson），作者：以前没有一位美国歌曲作家曾称非裔美国女性为“女士”。
Foster began to invest more dignity in African Americans than they had ever previously enjoyed in blackface music.
福斯特开始为非裔美国人赋予比他们以前在黑脸音乐中享受到的更多的尊严。
Narrator : Foster's life now centered totally on music, often at the expense of his family.
旁白：福斯特的生活现在完全以音乐为中心，常常以牺牲家庭为代价。
"He could not bear the slightest noise or interruption in his work," his daughter Marion remembered.
“他无法忍受工作中的丝毫噪音或干扰，”他的女儿玛丽昂回忆道。
"I could not quite understand his sudden change from my gay, almost child-like companion on the street, to the thoughtful preoccupied, almost stern man in the study."
“我不太理解他突然从我在街上快乐、几乎像孩子一样的伙伴，变成了书房里深思熟虑、全神贯注、几乎严厉的人。”
Deane Root, Musicologist : Jane could not understand Stephen's need to be isolated while he was working.
Deane Root，音乐学家：Jane 无法理解 Stephen 在工作时需要被隔离。
She interrupted him.
她打断了他的话。
He would fly into screaming fits when she wanted his attention and he was trying to compose.
当她想要他的注意力而他正试图平静下来时，他就会突然尖叫起来。
They were incompatible spiritually in some way because she was not musical she could not understand his passion, his devotion and this was his life.
他们在精神上在某种程度上是不相容的，因为她不懂音乐，她无法理解他的激情、他的奉献，而这就是他的生活。
Thomas Hampson, Baritone : Would Foster have done anything else?
男中音托马斯·汉普森：福斯特还会做其他事情吗？
No. He was a songwriter.
不，他是一位歌曲作家。
He was a musician.
他是一位音乐家。
He was an artist.
他是一位艺术家。
Narrator : Increasingly, he spent evenings out, playing music with friends and drinking into the early morning.
旁白：他越来越多地在晚上外出，与朋友一起演奏音乐，喝酒到凌晨。
Narrator : In the Summer of 1851, Foster was struggling over lyrics about plantation life on South Carolina's Pee Dee River.
旁白：1851 年夏天，福斯特正在为有关南卡罗来纳州皮迪河种植园生活的歌词而苦苦挣扎。
Unhappy with the name of the river, he consulted an atlas and discovered one in Florida he'd never heard of.
他对这条河的名字不满意，查阅了一本地图集，并在佛罗里达州发现了一条他从未听说过的河名。
The song was soon finished.
歌曲很快就完成了。
SONG — "Old Folks at Home" Way down upon de Swanee ribber, Far, far away, Dere's wha my heart is turning ebber, Dere's wha de old folks stay.
歌曲——“家中的老人”远在斯瓦尼的肋骨上，远方，远方，德雷是我的心正在衰退，德雷是老人留下来的地方。
Narrator : "Old Folks at Home" was a huge hit.
旁白：《家里的老人》大受欢迎。
"Pianos and guitars groan with it," reported the Albany State Register, "sentimental young ladies sing it, boatmen roar it out at all times, and the butcher's boy treats you to a strain or two of it as he hands in the steaks for dinner."
据《奥尔巴尼州纪事报》报道，“钢琴和吉他伴着它呻吟，多愁善感的年轻女士们唱着它，船夫随时都在吼叫着它，屠夫的男孩在递上晚餐牛排时请你喝上一两声。”
Peter Quinn, Author : In the 1850s as more and more people are leaving the land going into the cities, there's a sense that we're gaining something but we're losing something.
Peter Quinn，作者：在 1850 年代，随着越来越多的人离开土地进入城市，我们有一种感觉，我们正在获得一些东西，但我们正在失去一些东西。
That we've lost our home or are in search of a home.
我们失去了家园或正在寻找家园。
And you hear that theme in his music about the "Old Folks At Home," finding your way home, and that he heard this and that he put it in songs that all different groups could sing and have different images in their head, but they were singing about the same thing.
你会在他的音乐中听到这个主题，关于“家里的老人”，找到回家的路，他听到了这个主题，并将其放入所有不同群体都可以唱的歌曲中，他们的脑海中有不同的图像，但他们唱的是同一件事。
SONG — "Old Folks at Home" All up and down de whole creation Sadly I roam
歌曲 — “家里的老人” 整个造物的上下都悲伤地我漫游
Narrator : "Old Folks at Home" merged a blackface fantasy of life on the plantation with memories of Foster's own childhood in the White Cottage.
旁白：《家里的老人》将种植园里的黑脸幻想与福斯特自己在白色小屋里的童年回忆融为一体。
SONG — "Old Folks at Home": Still longing for de old plantation, And for de old folks at home.
歌曲——《家里的老人》：依然思念着古老的种植园，思念着家里的老人。
Ken Emerson, Biographer : He projected upon African American his own longings and anxieties.
传记作家肯·爱默生：他将自己的渴望和焦虑投射到非裔美国人身上。
After all, Foster had been dispossessed of his home when he was a child.
毕竟，福斯特小时候就被剥夺了自己的家。
He knew about the frailty and fragility of families, this yearning for home and for connection.
他了解家庭的脆弱和脆弱，了解对家和联系的渴望。
Narrator : Foster's portrayal of plantation life was naïve, especially as the national debate over slavery intensified.
旁白：福斯特对种植园生活的描绘很天真，尤其是在全国范围内关于奴隶制的辩论愈演愈烈的情况下。
A critic charged it was like all other minstrel songs -- "black things white-washed, or white things black-washed."
一位评论家指责它就像所有其他吟游诗人的歌曲一样——“黑色的东西被粉刷成白色，或者白色的东西被粉刷成黑色。”
Mel Watkins, Author : These were images of black people who were treated well and supposedly wanted to go back to the South because they were so comfortable in slavery.
梅尔·沃特金斯（Mel Watkins），作者：这些都是黑人受到良好待遇的照片，据说他们想回到南方，因为他们在奴隶制中感到非常舒服。
What was basically missing there was the slaves' rebellious spirit, the slaves' understanding that slavery was wrong and need to get out of the situation as quickly as possible.
那里基本上缺少的是奴隶的叛逆精神，奴隶们认识到奴隶制是错误的，需要尽快摆脱这种情况。
Narrator : Still, African Americans took the song to heart.
旁白：尽管如此，非裔美国人仍然牢记这首歌。
Slaves sang it in cotton fields down South, and a former slave recounted how another won her hand by serenading her with "Old Folks at Home."
奴隶们在南方的棉田里唱着这首歌，一位前奴隶讲述了另一个奴隶如何通过唱《家里的老人》小夜曲赢得了她的芳心。
Narrator : Foster had succeeded in fusing blackface with the nostalgic sentiments of the parlor, and "Old Folks at Home" was as popular in middle-class homes as on minstrel stages.
旁白：福斯特成功地将黑脸与客厅的怀旧情绪融合在一起，《家里的老人》在中产阶级家庭中和吟游诗人的舞台上一样受欢迎。
Narrator : The song became the property of the people.
旁白：这首歌成为了人民的财产。
The one person who could not lay claim to it was Foster.
福斯特是唯一一个无法声称拥有这一权利的人。
For an additional $15 he had sold E.
他以额外 15 美元的价格出售了 E。
P.
P。
Christy the right to be credited as author of what would become his biggest seller.
克里斯蒂有权被认为是他的畅销书的作者。
Eric Lott, Historian : He backed into blackface music, wasn't altogether comfortable penning those songs.
埃里克·洛特（Eric Lott），历史学家：他热衷于黑脸音乐，但对写这些歌曲感到不太舒服。
But at a certain point, partly because of financial concerns or maybe even mostly because of financial concerns, he says, "Look, they're mine and I want them back and I want to be known as this kind of blackface writer."
但在某种程度上，部分是因为经济问题，甚至可能主要是因为经济问题，他说，“看，它们是我的，我希望它们回来，我希望被称为这种黑脸作家。”
Narrator : "I have concluded to pursue the Ethiopian business without fear or shame and establish my name as the best Ethiopian songwriter," he wrote Christy.
旁白：“我决定毫无恐惧或羞耻地从事埃塞俄比亚业务，并确立我作为埃塞俄比亚最好的歌曲作家的声誉，”他给克里斯蒂写道。
"But I am not encouraged in undertaking this so long as 'Old Folks at Home' stares me in the face with another's name on it."
“但只要‘家里的老人’盯着我的脸，上面写着别人的名字，我就不会被鼓励这样做。”
Narrator : In March 1852, a novel appeared in bookstores in Pittsburgh and throughout the North that would stir Foster and the nation.
旁白：1852 年 3 月，一本小说出现在匹兹堡和整个北方的书店里，轰动了福斯特和全国。
In Uncle Tom's Cabin, Harriet Beecher Stowe attacked the evils of slavery, encouraging abolitionists and outraging slaveholders.
在《汤姆叔叔的小屋》中，哈丽特·比彻·斯托抨击了奴隶制的罪恶，鼓励废奴主义者并激怒了奴隶主。
Narrator : Foster's reaction to the book was conflicted.
旁白：福斯特对这本书的反应很矛盾。
He sympathized with the plight of Stowe's terrorized slaves.
他对斯托受惊的奴隶的困境表示同情。
Yet, like the rest of his family, he was a so-called "Doughface Democrat," tolerating slavery in order to preserve the Union.
然而，和他的其他家人一样，他是一个所谓的“硬脸民主党人”，为了维护联邦而容忍奴隶制。
Thomas Hampson, Baritone : I don't think he was an active abolitionist any more than he was an active racist.
托马斯·汉普森，男中音：我不认为他是一个积极的废奴主义者，就像他不是一个积极的种族主义者一样。
I don't think he was an active anything.
我不认为他是一个活跃的人。
I don't think it was about Stephen Foster.
我不认为这是关于斯蒂芬·福斯特的。
I think it was about a place he wanted people and himself to be.
我认为这是关于他希望人们和他自己成为一个地方的。
Narrator : In his sketchbook, he wrote a few lines of a song he first called "Poor Uncle Tom, good night." By the time it was published, he had removed explicit references to the novel, but the song preserved the wrenching story of a slave family's separation.
旁白：在他的素描本中，他写了一首他最初称为“可怜的汤姆叔叔，晚安”的歌曲的几行。当它出版时，他已经删除了对小说的明确提及，但这首歌保留了奴隶家庭分离的痛苦故事。
SONG — "My Old Kentucky Home, Good Night": The sun shines bright in the old Kentucky home, 'Tis summer, the darkies are gay, The corn top's ripe and the meadow's in the bloom While the birds make music all the day.
歌曲——“我的肯塔基老家，晚安”：肯塔基老家的阳光明媚，这是夏天，黑人是快乐的，玉米穗成熟了，草地盛开，而鸟儿整天都在唱歌。
The young folks roll on the little cabin floor, All merry, all happy and bright:
年轻人在小木屋的地板上打滚， 一切都很快乐，一切都快乐而明亮：
By'n by Hard Times comes a knocking at the door, Then my old Kentucky Home, good night!
到了困难时期，有人敲门，然后是我的肯塔基老家，晚安！
Dale Cockrell, Musicologist : "My Old Kentucky Home" is Stephen Foster's shining moment.
音乐学家戴尔·科克雷尔 (Dale Cockrell)：《我的肯塔基老家》是斯蒂芬·福斯特的辉煌时刻。
It's filled with lyrical lines that are of surpassing beauty.
它充满了无比美丽的抒情诗句。
The chorus just kind of wafts in the air: "Weep no more, my lady, weep no more today."
副歌在空气中飘荡：“别再哭了，我的女士，今天别再哭了。”
SONG — "My Old Kentucky Home, Good Night" Weep no more my lady, oh weep no more today
歌曲 —“我的肯塔基老家，晚安”别再哭泣，我的女士，哦，今天别再哭泣
Dale Cockrell, Musicologist : People sing the song, understand the sentiment of the song and then are halfway through the song and realize that this is a song about a slave sold down river.
音乐学家戴尔·科克雷尔（Dale Cockrell）：人们唱这首歌，理解这首歌的情感，然后唱到一半，意识到这是一首关于被卖到河边的奴隶的歌曲。
And I think struck home that slavery is something that is their problem as well as something that's a Southern problem.
我认为奴隶制是他们的问题，也是南方的问题。
Narrator : Even the black leader and abolitionist Frederick Douglass admired the sentiments of "My Old Kentucky Home." "They awaken the sympathies for the slave," he stated, "in which anti-slavery principles take root and flourish."
旁白：就连黑人领袖和废奴主义者弗雷德里克·道格拉斯也钦佩《我的肯塔基老家》的情感。 “它们唤醒了人们对奴隶的同情，”他说，“反奴隶制原则在其中扎根并蓬勃发展。”
Fath Ruffins, Historian : Frederick Douglass saw the benefit of his portrayals as being tragic and sentimental in ways which stirred feelings of perhaps not equality but feelings that no one should be treated in this way.
历史学家法斯·拉芬斯：弗雷德里克·道格拉斯认为他的描绘的好处是悲剧性和感伤的，它激起了也许不是平等的感觉，而是任何人都不应该受到这种方式对待的感觉。
Sean Wilentz, Historian : It imparted to black people a degree of grace, humanity, dignity, which they had not had before in American culture.
历史学家肖恩·威伦茨：它赋予黑人一定程度的优雅、人性和尊严，这是他们在美国文化中以前从未有过的。
How conscious he was of what he was doing is another question.
他对自己所做的事情有多清醒是另一个问题。
But his songs had a quality that was larger than themselves and actually went well beyond what he himself could have intended.
但他的歌曲具有超越其本身的品质，实际上远远超出了他本人的预期。
Narrator : Recognizing the value of Foster's name, his New York publisher began promoting him as "THE SONGWRITER OF AMERICA." Only twenty-seven years old, Foster was at the height of his musical talent and popularity.
旁白：认识到福斯特名字的价值，他的纽约出版商开始将他宣传为“美国歌曲作家”。年仅二十七岁的福斯特正处于音乐天赋和知名度的顶峰。
Narrator : In the spring of 1853, Jane and Stephen separated.
旁白：1853年春天，简和斯蒂芬分居了。
Family and friends gossiped that Jane "did not care for music and hoped that Stephen would give up songwriting." She "nagged Stephen constantly," they said, "so that he became increasingly moody."
家人和朋友都说简“不喜欢音乐，希望斯蒂芬放弃歌曲创作”。他们说，她“不断地唠叨斯蒂芬，让他变得越来越喜怒无常。”
Narrator : The suffocating Foster household -- and her husband's growing drinking problem -- added to Jane's frustration.
旁白：令人窒息的福斯特家庭——以及她丈夫日益严重的酗酒问题——让简更加沮丧。
Taking Marion, she moved in with her mother.
她带着玛丽昂搬去和母亲住在一起。
Eric Lott, Historian : He tries to maintain a middle-class life with a wife and a child, but it fails him at every turn and he is constantly feeling displaced, away from his family, drunk.
埃里克·洛特（Eric Lott），历史学家：他试图与妻子和孩子一起维持中产阶级生活，但每次都失败，他不断感到流离失所，远离家人，喝醉了。
He's a Bohemian recruit who is trying to maintain the middle-class persona and the two come into sharp contradiction.
他是一名波西米亚新兵，试图维持中产阶级的形象，两人产生了尖锐的矛盾。
Narrator : Stephen moved to New York to be close to the music publishing industry.
旁白：斯蒂芬搬到纽约是为了接近音乐出版业。
Peter Quinn, Author : In 1853 when Foster comes to New York, his music is being sung in New York.
彼得·奎因 (Peter Quinn)，作者： 1853 年，当福斯特来到纽约时，他的音乐正在纽约传唱。
It's part of the beginnings of the popular song industry that will come to be centered in New York at Tin Pan Alley.
这是流行歌曲产业开端的一部分，该产业将以纽约的 Tin Pan Alley 为中心。
And he is a celebrity.
他是名人。
He's sought out by the newspapers.
报纸都在寻找他。
People want to talk to him.
人们想和他说话。
Nanci Griffith, Songwriter : That was unheard of, for a songwriter to become so popular, but it was like waiting for the new Bruce Springsteen record to come out.
南奇·格里菲斯（Nanci Griffith），歌曲作者：对于一位歌曲作者来说，如此受欢迎是闻所未闻的，但这就像等待布鲁斯·斯普林斯汀的新唱片问世一样。
At that time, it was sheet music.
那时，它是乐谱。
And, you know, people would scramble to go and buy this sheet music.
而且，你知道，人们会争先恐后地去购买这些乐谱。
Narrator : But the New York critics scorned his popular blackface songs.
旁白：但是纽约的评论家对他流行的黑脸歌曲嗤之以鼻。
"Much of his music is excellent," the Musical World & Times noted, "but being wedded to negro idioms it is discarded by many who would otherwise gladly welcome it to their pianos.
“他的大部分音乐都很出色，”《音乐世界与时报》指出，“但由于与黑人习语的结合，它被许多原本乐意欢迎它出现在钢琴上的人抛弃了。
We were glad to learn from Mr. F.
我们很高兴向 F 先生学习。
that he intends to devote himself principally hereafter to the production of 'White men's' music.'"
他打算今后主要致力于‘白人’音乐的制作。”
Deane Root, Musicologist : One of the great ironies of Foster's career is that he earned the most from the minstrel songs, but they tailed off in his production.
Deane Root，音乐学家：福斯特职业生涯中最大的讽刺之一是，他从吟游诗人歌曲中获得了最多的收入，但这些歌曲在他的作品中却逐渐减少。
He stopped writing them.
他不再写它们了。
He needed acceptance for what he was writing by the highest cultured taste in this country.
他需要他所写的东西得到这个国家最高文化品味的认可。
Narrator : Soon after moving to New York, he published the Social Orchestra, a collection of seventy-three instrumental arrangements of popular songs, classical melodies and operatic arias.
旁白：搬到纽约后不久，他出版了《社会管弦乐队》，这是一本收录了七十三首流行歌曲、古典旋律和歌剧咏叹调的器乐改编作品集。
It was his most ambitious bid for respectability, but he made only $150 compared to the $1,300 "My Old Kentucky Home," brought in.
这是他为赢得体面而进行的最雄心勃勃的投标，但与价值 1,300 美元的“我的肯塔基老家”相比，他只赚了 150 美元。
Narrator : His earnings averaged $1,400 a year -- a middle-class income for the time.
旁白：他的平均收入为每年 1,400 美元——在当时属于中产阶级收入。
By all accounts, he should have been making more.
从各方面来看，他应该赚更多。
Deane Root, Musicologist : Foster was generating millions of dollars of profit for publishers.
Deane Root，音乐学家：福斯特为出版商创造了数百万美元的利润。
He had no income except for an outright payment from the publisher or a minuscule royalty on sales that he couldn't track.
除了出版商直接付款或他无法追踪的微薄销售版税外，他没有任何收入。
He had no way of knowing whether he was being paid fairly or not.
他无法知道自己的报酬是否公平。
If he lived in the 20th century with all the protections and legal resources that we have today, he would be making tens of million dollars a year.
如果他生活在 20 世纪，拥有我们今天拥有的所有保护和法律资源，他每年将赚取数千万美元。
SONG — "Jeanie with the Light Brown Hair" I dream of Jeanie with the light brown hair, Borne, like a vapor, on the summer air
歌曲 —“浅棕色头发的珍妮”我梦见浅棕色头发的珍妮，Borne，像水蒸气一样，在夏天的空气中
Narrator : In June 1854, he published a wistful Irish ballad that was only modestly successful.
旁白：1854 年 6 月，他出版了一首充满渴望的爱尔兰民谣，但只取得了一定的成功。
Narrator : In his first draft, "Jeanie" was "Jennie," Stephen's nickname for Jane.
旁白：在他的初稿中，“Jeanie”是“Jennie”，斯蒂芬对简的昵称。
Ken Emerson, Biographer : In the original version of the song, Jenny is dead.
传记作者肯·爱默生：在歌曲的原始版本中，珍妮死了。
Her chilled form lies low.
她冰冷的身躯低垂着。
She's in the grave.
她在坟墓里。
And it's almost as if Stephen wished that Jane were dead.
就好像斯蒂芬希望简死了一样。
And then, in subsequent versions, she becomes back to life.
然后，在后续版本中，她又复活了。
It's almost as if he feels guilty because of his desire to wish Jenny dead, and so he comes to wishing that they were reunited.
就好像他因为希望珍妮死而感到内疚，所以他开始希望他们团聚。
Narrator : That year, Stephen and Jane reconciled.
旁白：那一年，史蒂芬和简和好了。
She and Marion joined him in New York and together they set up home across the river in Hoboken, New Jersey.
她和玛丽昂在纽约与他会合，并一起在河对岸的新泽西州霍博肯安家。
Peter Quinn, Author : One of the great American dreams is that if we change places, we'll change our lives.
彼得·奎因（Peter Quinn），作者：伟大的美国梦之一是，如果我们改变地方，我们就会改变我们的生活。
And he goes to Hoboken to set up this little domestic place where he'll finally live with Jane and raise their daughter.
他前往霍博肯建立这个小小的家庭住所，他最终将在那里与简住在一起并抚养他们的女儿。
And Stephen Foster in Hoboken is the same person he was in Cincinnati and New York.
霍博肯的斯蒂芬·福斯特与辛辛那提和纽约的斯蒂芬·福斯特是同一个人。
Nothing really changes.
没有什么真正改变。
Narrator : Within months, Stephen abruptly returned to Pittsburgh and his parents -- to be joined only later by his wife and daughter.
旁白：几个月后，斯蒂芬突然回到匹兹堡和他的父母——后来他的妻子和女儿也加入了。
SONG — "Jeanie with the Light Brown Hair" Oh!.......I long for Jeanie, and my heart bows low, Never more to find her where the bright waters flow.
歌曲——《浅棕色头发的珍妮》哦！......我渴望珍妮，我的心低垂，再也找不到她在明亮的水流处。
Narrator : Foster returned home at a time of economic hardship.
旁白：福斯特在经济困难时期回国。
"Hard times were the general subject of talk," noted one observer, "with no sign of any let-up on their hardness." Unemployment was widespread in Pittsburgh and the Fosters were forced to add a boarder to their already crowded house.
一位观察家指出，“艰难时期是人们谈论的普遍话题，而且没有任何迹象表明他们的艰难时期有任何减弱的迹象。”匹兹堡失业现象普遍，福斯特一家被迫在他们已经拥挤的房子里增加一个寄宿生。
Narrator : Instead of retreating to his familiar dream world, Foster evoked the harsh reality in his own backyard.
旁白：福斯特没有退回到他熟悉的梦想世界，而是在他自己的后院唤起了残酷的现实。
SONG — "Hard Times Come Again No More" Let us pause in life's pleasures and count its many tears While we all sup sorrow with the poor: There's a song that will linger forever in our ears; Oh!
歌曲——“艰难的时光不再再来”让我们在生活的欢乐中停下来，数数它的泪水，当我们与穷人一起悲伤时：有一首歌将永远萦绕在我们耳边；哦！
Hard Times, come again no more.
艰难的时刻，不再再来。
Peter Quinn, Author : He really writes the first song that's about an economic crisis.
Peter Quinn，作者：他确实写了第一首关于经济危机的歌曲。
It's "Buddy, Can You Spare a Dime?" in the 1850s.
这是“伙计，你能给我一毛钱吗？”在1850年代。
And that comes out of this ability of his to stand back and listen, not just — never to look down on the people but to try to hear what they're saying and put it into music.
这源于他退后一步倾听的能力，不仅仅是——从不轻视人们，而是尝试倾听他们在说什么并将其融入音乐中。
Nanci Griffith, Songwriter: His songs were like small short stories with beautiful melodies.
Nanci Griffith，词曲作者：他的歌曲就像旋律优美的小短篇故事。
SONG — "Hard Times Come Again No More" While we seek mirth and beauty and music light and gay There are frail forms fainting at the door: Though their voices are silent, their pleading looks will say Oh!
歌曲——“困难时期不再再来”当我们寻求欢乐和美丽和轻快而欢快的音乐时，门口有虚弱的身影晕倒：虽然他们的声音是沉默的，但他们恳求的眼神会说哦！
Hard Times, come again no more.
艰难的时刻，不再再来。
Narrator : Hard times hit home on January 18, 1855, when Stephen's mother died of a stroke.
旁白：1855 年 1 月 18 日，斯蒂芬的母亲因中风去世，困难重重。
Six months later, his father died, followed by his brother Dunning, dead of tuberculosis.
六个月后，他的父亲去世，他的兄弟邓宁也因肺结核去世。
They were buried in Allegheny Cemetery, less than a mile from the paradise lost of the White Cottage.
他们被埋葬在阿勒格尼公墓，距离失去的天堂白色小屋不到一英里。
SONG -- "Hard Times Come Again No More" Oh!
歌曲--“困难时期不再再来”哦！
Hard Times, come again no more.
艰难的时刻，不再再来。
Narrator : Foster drank more and wrote less.
旁白：福斯特喝得更多，写得更少。
In 1856, he published one song.
1856年，他出版了一首歌。
The following year, he produced only one more.
第二年，他又只制作了一张。
He was trapped in a vicious cycle of declining artistic productivity and increasing alcoholic intake.
他陷入了艺术生产力下降和酒精摄入量增加的恶性循环。
Narrator : His income plummeted.
旁白：他的收入直线下降。
He survived on advances from his publisher that drove him deeply into debt.
他依靠出版商的预付款生存下来，这使他负债累累。
"Please send me $12," Stephen requested of his brother Morrison, "I require this amount for little washing bills, etc., which are, you know, the most perplexing."
“请寄给我 12 美元，”斯蒂芬向他的兄弟莫里森请求道，“我需要这笔钱来支付小额洗衣费等，你知道，这些是最令人困惑的。”
Narrator : Foster resorted to selling the future rights to all his songs.
旁白：福斯特诉诸出售他所有歌曲的未来版权。
Deane Root, Musicologist : He had nothing to sell, except his own talents.
Deane Root，音乐学家：除了他自己的才华之外，他没有什么可卖的。
He felt washed-up.
他感到精疲力尽。
And the whole idea of the professional songwriter working at the office like his brothers collapsed.
专业歌曲作者像他的兄弟一样在办公室工作的整个想法崩溃了。
Narrator : Jane, frustrated and desperate, eventually left Stephen for good.
旁白：简感到沮丧和绝望，最终永远离开了斯蒂芬。
She took a job as a telegraph operator to support herself and Marion.
她找到了一份电报员的工作来养活自己和玛丽昂。
Peter Quinn, Author : She married somebody when Foster was on the way up, and he went down, but he didn't take her with him, nor his daughter.
彼得·奎因（Peter Quinn），作者：当福斯特事业蒸蒸日上时，她嫁给了某人，而福斯特却走下坡路，但他没有带走她，也没有带走他的女儿。
She had the strength of character and mind and the independence to go out and make her own way.
她有坚强的性格和思想，也有独立出去走自己的路的能力。
Narrator : In 1860, Foster returned to New York to try to salvage his career.
旁白：1860年，福斯特回到纽约试图挽救他的职业生涯。
He hadn't written a hit in seven years and his name no longer commanded respect.
他已经七年没有写出一首热门作品，他的名字也不再受到尊重。
Narrator : With his back against the wall, he cranked out songs, publishing 76 in three years.
旁白：他背水一战，创作歌曲，三年内出版了76首。
But they were mostly second-rate.
但他们大多是二流的。
Deane Root, Musicologist : There's a change in his attitude during the Civil War in New York.
Deane Root，音乐学家：在纽约内战期间，他的态度发生了变化。
No longer does he have this professional resolve.
他不再有这种职业决心。
A lot of the music is tossed off for the few dollars that he can get from the hand of a publisher.
很多音乐都被扔掉了，他只能从出版商那里得到几美元。
He's lost respect in himself.
他已经失去了对自己的尊重。
He has lost respect for the goals or the mission that he had set for his career.
他已经失去了对自己为职业生涯设定的目标或使命的尊重。
Narrator : He was living at the time in a boarding house on the Bowery and hanging out in a bar in the backroom of a shabby German grocery store.
旁白：当时他住在包厘街的一间寄宿处，并在一家破旧的德国杂货店后面的酒吧里闲逛。
Narrator : On a raw, snowy day, a young man entered in search of Foster.
旁白：在一个寒冷的下雪天，一个年轻人进来寻找福斯特。
A law student with a penchant for poetry, George Cooper had written some lines that he told Foster he "fondly hoped might be wedded to immortal melody."
乔治·库珀是一名热爱诗歌的法学院学生，他写了一些诗句，他告诉福斯特，他“衷心希望这些诗句能够与不朽的旋律结合在一起”。
Narrator : Foster quickly fashioned a tune and then set to work on the piano accompaniment.
旁白：福斯特很快创作了一首曲子，然后开始进行钢琴伴奏。
"When in doubt as to a proper note," Cooper remarked, "his right hand would run up and down imaginary piano keys as the finishing touches were made to the song."
“当对正确的音符有疑问时，”库珀评论道，“当歌曲的最后润色完成时，他的右手会在想象中的钢琴键上上下移动。”
Narrator : They sold the song that very night for $25.
旁白：当天晚上他们就以 25 美元的价格卖掉了这首歌。
It was the first of nearly two dozen songs that the duo of Foster and Cooper produced.
这是福斯特和库珀二人组创作的近两打歌曲中的第一首。
Narrator : Foster seldom wrote lyrics anymore, mostly hastily written melodies, and called Cooper "the left wing of the song factory." Even with the support of his new partner, Foster was a beaten man.
旁白：福斯特很少写歌词了，大多是匆忙写的旋律，并称库珀为“歌曲工厂的左翼”。即使有新搭档的支持，福斯特还是一个被打败的人。
He "drank constantly," said Cooper.
库珀说，他“经常喝酒”。
"He was indifferent to food, often making a meal of apples and turnips from the grocery shop."
“他对食物漠不关心，经常用杂货店里的苹果和萝卜做一顿饭。”
Narrator : From time to time, a friend later recalled, Foster would entertain the regulars of the grocery barroom by singing "Hard Times."
旁白：据一位朋友后来回忆，福斯特有时会唱《艰难时世》来招待杂货酒吧的常客。
Narrator : Then, rising above the wreckage of his life, Foster found inspiration to write one of his most enduring songs.
旁白：然后，福斯特从生活的废墟中站起来，找到了灵感，写出了他最经久不衰的歌曲之一。
SONG — "Beautiful Dreamer" Beautiful dreamer, wake unto me, Starlight and dew drops are waiting for thee
歌曲 —《美丽的梦想家》美丽的梦想家，醒来吧，星光和露珠在等你
Peter Quinn, Author : It's this desire for something else, not the reality that we live in but the dream.
作者彼得·奎因：这是对其他事物的渴望，不是我们生活的现实，而是梦想。
I mean that's what we talk about--the American dream.
我的意思是，这就是我们谈论的——美国梦。
That echoes in that song "Beautiful Dreamer." It's not just a love song, a man dreaming about a woman.
这在歌曲“美丽的梦想家”中得到了回响。这不仅仅是一首情歌，一个男人梦见一个女人。
It's what we are as a people, dreaming of something better that defines us.
这就是我们作为一个民族的本质，梦想着更好的东西，这定义了我们。
Narrator : On Sunday morning, January 10, 1864, Foster, weak from a fever, fell in his Bowery hotel and cut his neck.
旁白：1864 年 1 月 10 日星期日早上，福斯特因发烧而虚弱，在包厘街酒店摔倒并割伤了脖子。
George Cooper and a doctor were summoned.
乔治·库珀和一名医生被传唤。
Cooper found Foster lying naked in a pool of blood.
库珀发现福斯特赤身裸体躺在血泊中。
"I'm done for," he whispered, and begged for a drink.
“我完了，”他低声说道，并请求喝一杯。
Peter Quinn, Author : He was rapidly becoming a national nobody, somebody in a hotel room whose best years were behind him.
彼得·奎恩（Peter Quinn），作家：他很快就成为了全国无名小卒，一个在酒店房间里度过了最美好的岁月的人。
I think he knew he wasn't coming back.
我想他知道他不会回来了。
I think he knew he was never gonna hear the music that he had once heard.
我想他知道他永远不会再听到他曾经听过的音乐了。
Narrator : Three days later, Stephen Foster died in Bellevue Hospital.
旁白：三天后，斯蒂芬·福斯特在贝尔维尤医院去世。
Among his few possessions was a worn leather purse containing 38-cents and a scrap of paper with the scribbled words "dear friends and gentle hearts."
他仅有的几件财产包括一个破旧的皮包，里面装着 38 美分的钱和一张纸片，上面潦草地写着“亲爱的朋友和温柔的心”。
Narrator : As Foster's body was lowered into a grave next to his parents, the minister concluded his eulogy by saying he hoped "that the deceased had joined in singing an heavenly anthem that would never end."
旁白：当福斯特的遗体被埋入他父母旁边的坟墓时，部长在悼词的最后说，他希望“死者能一起唱响一首永远不会结束的天堂赞歌”。
SONG -- "Beautiful Dreamer" Beautiful dreamer, wake unto me, Starlight and dew drops are waiting for thee; Sounds of the rude world heard in the day, Lull'd by the moonlight have all pass'd away!
歌曲--《美丽的梦想家》 美丽的梦想家，醒来吧，星光和露珠在等你；白天听到的粗鲁世界的声音，月光下的平静都过去了！
Beautiful dreamer, queen of my song,...
美丽的梦想家，我的歌曲女王，...
List while I woo thee with soft melody;...
当我用柔和的旋律向你求爱时，列出清单；...
Nanci Griffith, Songwriter : We can still feel his tears 150 years later.
Nanci Griffith，歌曲作者：150 年后我们仍然可以感受到他的泪水。
We still feel and hear his teardrops on the page.
我们仍然能感觉到并听到他在书页上的泪珠。
Peter Quinn, Author : To understand him is to understand, not only an individual life but the way that individual life touched so many parts of the American experience.
作者彼得·奎因：了解他不仅是了解个人生活，而且是了解个人生活如何影响美国经历的许多部分。
A record of events (1796-1864) related to songwriter Stephen Foster.
与歌曲作家斯蒂芬·福斯特有关的事件记录（1796-1864）。
The following sheet music is from the Foster Hall Reproductions: Songs, Compositions and Arrangements by Stephen Foster, created in 1933 privately by Josiah Kirby Lilly, founder of the Foster Hall Collection, which is now part of the Center for American Music at the University of Pittsburgh.
以下乐谱来自福斯特厅复制品：斯蒂芬·福斯特的歌曲、作曲和编曲，由福斯特厅收藏的创始人乔赛亚·柯比·莉莉 (Josiah Kirby Lilly) 于 1933 年私人创作，该收藏现在是匹兹堡大学美国音乐中心的一部分。
Learn more about the history and legacy of the blackface minstrel show in these excerpts of interviews with historians Dale Cockrell, Eric Lott, Deane Root, Fath Ruffins, and Josephine Wright, writers Ken Emerson and Mel Watkins, and performers Nanci Griffith and Thomas Hampson.
通过对历史学家 Dale Cockrell、Eric Lott、Deane Root、Fath Ruffins 和 Josephine Wright、作家 Ken Emerson 和 Mel Watkins 以及表演者 Nanci Griffith 和 Thomas Hampson 的采访摘录，了解有关黑脸吟游诗人表演的历史和遗产的更多信息。
Read about how performers Lenwood Sloan and Fernand Jackson choreographed the minstrel dances seen in the film.
了解表演者伦伍德·斯隆和费尔南德·杰克逊如何编排电影中的吟游诗人舞蹈。
Read about Charlotte Susanna Foster, Jane McDowell Foster, Stephen Collins Foster and William Barclay Foster.
了解夏洛特·苏珊娜·福斯特、简·麦克道威尔·福斯特、斯蒂芬·柯林斯·福斯特和威廉·巴克莱·福斯特。
Find out more about Edward P.
了解更多有关爱德华·P.
Christy, Daniel Decatur Emmett, Jenny Lind and Thomas Moore.
克里斯蒂、丹尼尔·迪凯特·埃米特、珍妮·林德和托马斯·摩尔。
African American music in Stephen Foster's time, Uncle Tom's Cabin takes the nation by storm, Stephen Foster backs Pennsylvania Democrat James Buchanan and the Yale Glee Club nixes Foster.
史蒂芬·福斯特时代的非裔美国音乐《汤姆叔叔的小屋》风靡全国，史蒂芬·福斯特支持宾夕法尼亚州民主党人詹姆斯·布坎南，而耶鲁欢乐合唱团则拒绝了福斯特。
When young William Foster arrived in Pittsburgh in the year 1796, the town of 1,300 had already begun its transformation from untamed wilderness to industrial powerhouse.
当年轻的威廉·福斯特 (William Foster) 于 1796 年抵达匹兹堡时，这座拥有 1,300 人的小镇已经开始从未开垦的荒野转变为工业重镇。