阿根廷足球傳奇人物迭戈·阿曼多·馬拉多納身穿博卡青年俱樂部球衣，感謝2001年在布宜諾斯艾利斯博卡青年主場觀看告別賽的5萬多名球迷。 ENRIQUE MARCARIAN/REUTERS
The day that Diego Maradona said goodbye, as his voice cracked and the place that had always been home heaved and sobbed, his mind drifted to the mistakes that he had made, the price that he had paid.
道別那天，迭戈·馬拉多納的聲音已經哽咽，一直被他當作家的那個地方也在啜泣哀嘆著，他的思緒飄到了他所犯過的錯誤，他所付出的代價上。
In his valedictory moment, he did not seek absolution. All he asked, instead, was that the sport that he had loved and that had adored him in return, the one that he had mastered, the one he had illuminated, the one he lifted into an art, was not tarnished by all that he had done.
在他的告別時刻，他沒有請求寬恕。相反，他所求的，只是他熱愛並以崇拜回報他的這項運動——他精通的、照亮的、將之升華為一門藝術的這項運動，不被他做過的一切玷汙。
The last line of his speech that day — the final time he graced La Bombonera, home of Boca Juniors, the club that held him closest to its heart — became an Argentine aphorism: 「La pelota no se mancha,」 he told the adoring crowd. The ball does not show the dirt.
那天是他最後一次來到博卡青年隊(Boca Juniors)的主場糖果盒球場(La Bombonera)，這仍是對他最親的俱樂部，他演講的最後一句話成為了一句阿根廷格言：「La pelota no se mancha，」他對著崇拜他的球迷說。球不沾汙。
It is certainly possible that Diego Armando Maradona, who died Wednesday at age 60, was the finest soccer player ever to draw breath, though that is a subject of hot and unyielding debate. Less contentious is the idea that no other player has ever inspired such fierce devotion.
於本週三去世、享年60歲的迭戈·阿曼多·馬拉多納(Diego Armando Maradona)當然可能是有史以來最偉大的足球運動員，儘管這個話題一直有激烈而無休止的爭論。但爭論較少的觀點是，從沒有哪位球員曾像他那樣激發如此熾烈的熱愛。
There is something approaching a cult in his name in Naples, the overlooked and demeaned port city that he transformed into the center of the soccer universe for a few, glorious years at the peak of his career. The city’s mayor on Wednesday suggested the stadium that houses his former club, Napoli, should be renamed for him. That privilege currently falls to St. Paul.
在那不勒斯，他的名字幾乎成為一種崇拜，在他生涯巔峰期的幾年輝煌裡，這個被忽視和貶低的港口城市被他變成了足球世界的中心。週三，該市市長建議以他的名字重新命名他曾效力過的那不勒斯俱樂部的主場。目前享有其冠名特權的人是聖保羅(St. Paul)。
In Argentina, Maradona’s homeland — which declared three days of national mourning once his death was announced — there has long been a church in his honor. For many, Maradona was a quasi-religious experience.
馬拉多納的故鄉阿根廷在死訊傳來後立即宣布全國哀悼三天，那裡早就有一個為紀念他而建的教堂。對許多人來說，馬拉多納是一種近乎宗教的體驗。
2008年，馬拉多納在坎城電影節。他的個性與放蕩不羈充實了他的人生故事。 ERIC GAILLARD/REUTERS
He was no straightforward icon. He struggled with drug addiction for decades. He was thrown out of a World Cup in disgrace after testing positive for performance-enhancing drugs. Health troubles plagued him, testament to a life of excess. He did not acknowledge his son, Diego, for years. In his later life, he became estranged from his ex-wife, Claudia Villafañe, and from his two daughters, Giannina and Dalma. There were allegations of domestic abuse toward one former girlfriend. There were guns and associations with organized crime.
他不是個簡單的偶像。他在毒癮中掙扎了幾十年。因為興奮劑檢測呈陽性，他恥辱地被逐出了世界盃賽場。健康問題困擾著他，證明他一直過著毫無節制的放蕩生活。他曾有多年不肯認自己的兒子迭戈(Diego)。到晚年，他疏遠了前妻克勞狄婭·維拉法妮(Claudia Villafañe)，以及兩個女兒吉安妮娜(Giannina)和達爾瑪(Dalma)。一名前女友指控他家暴。他還與槍枝和有組織犯罪扯上過關係。
Maradona never shied away from acknowledging that he had made mistakes, even as he failed to stop making them. The tendency — understandable, sincere, unavoidable — as soccer reeled from the news of his death, as the eulogies flowed from Lionel Messi (「eternal」) and from Cristiano Ronaldo (「a genius」) and from Pelé (「a legend」), was to avoid his flaws and his weaknesses, to strike his demons from memory out of respect, out of affection.
馬拉多納從來不否認自己犯的錯，即使他無法停止繼續犯錯。當足球界因他的死訊震動，利昂內爾·梅西(Lionel Messi)（「不朽」）、克裡斯蒂亞諾·羅納爾多(Cristiano Ronaldo)（「一位天才」）以及貝利（「一個傳奇」）的悼詞紛至沓來，人們——可以理解地、真誠地、不可避免地——傾向於迴避他的缺點和弱點，出於尊敬和愛戴，把他的心魔踢出記憶。
And yet without mention of those troubles, Maradona’s story is not cleansed. It is contorted. Those struggles did not improve him as a player. Instead, they would prevent him from achieving all that he might have done and, eventually, shorten his career.
然而，如果不提這些麻煩，馬拉多納的故事就無法得到凈化。它會被扭曲。這些掙扎並沒有提升他作為球員的水平。相反，它們阻止他去成就所有那些他可能成就的事，並最終縮短了他的球員生涯。
But if the flaws diminished what Maradona was, they burnished what he represented to those who watched him, those who adored him. That such beauty could emerge from such tumult made him mean something more; it gave him a resonance that stretched beyond even his outsize ability. His darkness sharpened the contours of his light.
但就算這些缺陷損害了曾經的馬拉多納，對關注他、崇拜他的人來說，它們仍擦亮了他所代表的東西。如此的混亂能產生如此的美麗，這賦予了他更多意義；讓他激發的共鳴甚至遠超自己的超能力。他的黑暗讓他的光芒輪廓更鮮明。
Thirty-two years before Maradona was born, the great Argentine writer Borocotó — editor of El Gráfico, the prestigious, trailblazing sports magazine — suggested the country should erect a statue to the so-called pibe: the dusty-faced street kid with the 「trickster eyes,」 「a mane of hair rebelling against the comb」 and the 「sparkling gaze」 who represented not only Argentina’s soccer culture, but also its self-image as a nation.
在馬拉多納出生的32年前，偉大的阿根廷作家博羅科託(Borocotó)——久負盛名的開創性體育雜誌《足球畫報》(El Gráfico)的編輯——建議，阿根廷應該為所謂的「小子」建一座雕像：那是個街頭小孩的形象，塵土滿面，有一雙「騙子般的眼睛」，「一頭梳不順的濃密頭髮」，「目光如炬」，不僅代表阿根廷的足球文化，也能代表這個國家的自我意象。
Maradona was the platonic ideal of a pibe, all virtuoso skill and impetuous cunning. He captured the spirit Borocotó made immortal more than any player — more than anyone could have thought possible — not just when he was a teenager, fresh from the potrero, but throughout his career.
球技精湛、衝動狡猾的馬拉多納就是這個小子的理想形象。他比所有球員都更符合博羅科託描繪的不朽精神——其程度遠超所有人的想像，無論是十幾歲從廢棄空地裡嶄露頭角時，還是他的整個職業生涯，都是如此。
All of those iconic images of Maradona are monuments to the spirit of the pibe: leaping high above Peter Shilton, the England goalkeeper, the goal that he would joke — with the 「Picaresque laugh」 that met Borocotó’s description — was scored by the Hand of God; dancing, a couple of minutes later, through the entire England team to score 「the goal of the century,」 the strike that would prompt the commentator Victor Hugo Morales to declare him a 「comet from the sky」; facing up to the entire Belgian team, the ball at his feet, a picture of fear on their faces.
馬拉多納所有的標誌性形象都是代表這種小子精神的豐碑：高高躍過英格蘭門將彼德·希爾頓(Peter Shilton)的樣子，他開玩笑——「流浪漢一樣的笑」也符合博羅科託的描述——說那一球來自上帝之手；幾分鐘後，他就邁著舞步穿越整支英格蘭隊的防線，打進「世紀進球」，那次射門讓解說員維克多·雨果·莫拉萊斯(Victor Hugo Morales)宣布他就是「從天而降的彗星」；面對整支比利時隊，球在他腳下，對手臉上充滿恐懼的樣子被照片捕捉。
No matter how high he flew, Maradona never strayed from his roots; he was a pibe when he first emerged, he was a pibe when he almost single-handedly dragged Argentina to the World Cup in 1986, and back to the final four years later. He was a pibe when Barcelona made him the most expensive player on the planet and when he took Napoli to not one, but two Serie A titles. He was a pibe even as he conquered the world.
不管飛得多高，馬拉多納從來沒有遠離自己的根；他剛出道時是個小子，1986年幾乎憑一己之力將阿根廷拖進世界盃，四年後又重回決賽時是個小子。當巴賽隆納讓他成為世界上身價最高的球員，當他帶領那不勒斯拿下了不是一個而是兩個意甲冠軍的時候，他也是個小子。即使徵服了世界，他仍是那個小子。
1986年，馬拉多納掠過英格蘭隊的整條防線，打進了世界盃史上最著名的進球之一。而幾分鐘前，他才剛完成世上最臭名昭著的進球之一。 AGENCE FRANCE-PRESSE — GETTY IMAGES
That was his glory, and it was also his downfall. How, after all, could a boy who had never grown up expect to cope with the world he found himself in, with the expectation and the demands, with the idolization and the temptation? The light shone so brightly that the darkness in its wake could only grow.
這是他的榮耀，也是他的沉淪。畢竟，一個從未長大的男孩怎可能應付得了他所置身的這個充滿種種期望和要求、種種崇拜和誘惑的世界呢？如此強烈的光明之後，黑暗只會愈發濃重。
Maradona himself never made excuses for his missteps, though that is not the same as atoning for them. As he told the filmmaker Emir Kusturica in 2008, he held himself responsible for all that he had done, good and bad. But he knew, too, that at some point a line had to be drawn between Maradona the person and Maradona the player.
馬拉多納從不為自己的行差踏錯找藉口，儘管這與贖罪是兩碼事。正如他在2008年告訴電影導演埃米爾·庫斯圖裡卡(Emir Kusturica)的那樣，他對自己所做的一切負責，無論好壞。但他也知道，總有一天，人們必須在馬拉多納這個人與馬拉多納這名球員之間劃清界限。
His legacy as the former is a complex one: a brilliant, troubled individual, one who suffered pain but inflicted it, too, a boy and then a man who crumbled and cracked under the pressure of a situation he did not have the tools to survive.
作為前者，他留下的遺產是複雜的：一個才華橫溢、麻煩纏身的人，一個遭受過痛苦但也施加了痛苦的人，他是一個男孩，後來成了一個在無法戰勝的壓力下破碎崩潰的男人。
But his meaning as the latter is more straightforward. Maradona encapsulated an ideal, he infatuated a nation, he turned a mere game into a form of art. The pibe is a quintessentially Argentine complex but it is one that generates global understanding: the impish, improvised brilliance of the innocent.
但作為後者，他的意義更加直白。馬拉多納將一種理想集於一身，讓一個國家為其痴迷，他把一項簡單的運動變成了一種藝術。那個小子是典型的阿根廷情結，卻得到了全世界的理解：那是純真無邪者頑皮、即興的耀眼才華。
Maradona himself always saw soccer as his salvation, his deliverance. In 2005, in a brief phase as a television personality, he was asked what he might like to offer up as an epitaph. 「Thanks to soccer,」 he said. 「It is the sport that gives me the greatest joy, the greatest freedom. It is like touching the sky with your hands. Thanks to the ball.」
馬拉多納本人一直將足球視為他的救贖，他的解脫。在2005年那段作為電視名人的短暫時間裡，有人問他會在自己的墓誌銘上寫什麼。「多虧了足球，」他說。「這項運動給了我最大的快樂，最大的自由。就像用手觸摸到了天空。多虧了這個球。」
His flaws and his demons will not be forgotten, not even with time. His memory will always be a complex one. But no matter how deep the darkness, it should not be allowed to obscure the light that he brought. 「La pelota no se mancha.」 The ball does not show the dirt.
即使時間流逝，他的缺點和他的心魔也不會被遺忘。他留下的記憶將永遠是複雜的。但無論黑暗有多深，都無法遮蔽他所帶來的光芒。「La pelota no se mancha」。球不沾汙。
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