The most disconcerting trait of John La Farge was his reversal of the process.

John La Farge 最令人不安的特点是他对这一过程的逆转。 他的方法安静而间接。

This vehemence, which Whistler never betrayed in his painting, La Farge seemed to lavish on his glass.

惠斯勒在他的画作中从未背叛过这种强烈的情绪，拉法奇似乎在他的玻璃杯上大肆挥霍。

It should express what it was; and this was something that neither Adams nor La Farge understood.

它应该表达它是什么； 这是亚当斯和拉法奇都不明白的事情。

One evening Humphreys Johnston, who was devoted to La Farge, asked him to meet Whistler at dinner.

一天晚上，忠于拉法基的汉弗莱斯约翰斯顿邀请他在晚餐时与惠斯勒会面。

His solitude was broken in November by the chance arrival of John La Farge. At that moment, contact with La Farge had a new value.

11 月，约翰·拉法奇 (John La Farge) 的偶然到来打破了他的孤独。在那一刻，与拉法基的接触有了新的价值。

In conversation La Farge's mind was opaline with infinite shades and refractions of light, and with color toned down to the finest gradations.

在谈话中，拉法奇的头脑是乳白色的， 有着无限的阴影和光线的折射， 颜色被调到最精细的层次。

La Farge was ill — more ill than usual even for him — but he admired and liked Whistler, and insisted on going.

拉法奇病了——甚至对他来说病得比平时更严重——但他钦佩和喜欢惠斯勒， 并坚持要去。

He had just come up from the South Seas with John La Farge, who had reluctantly crawled away towards New York to resume the grinding routine of studio-work at an age when life runs low.

他刚和约翰·拉法奇从南海回来，约翰·拉法奇不情愿地爬到纽约去，在生活低落的年纪继续艰苦的工作室工作。

To La Farge, eccentricity meant convention; a mind really eccentric never betrayed it. True eccentricity was a tone — a shade — a nuance — and the finer the tone, the truer the eccentricity.

对 La Farge 来说，古怪意味着惯例；一颗真正古怪的心永远不会背叛它。真正的怪癖是一种语气——一种阴影——一种细微差别——语气越细腻，怪癖就越真实。

Of all his friends La Farge alone owned a mind complex enough to contrast against the commonplaces of American uniformity, and in the process had vastly perplexed most Americans who came in contact with it.

在他所有的朋友中，只有拉法奇的头脑复杂到足以与美国千篇一律的陈词滥调形成鲜明对比，并且在这个过程中让大多数接触过它的美国人感到非常困惑。

All the others — the Hunts, Richardson, John La Farge, Stanford White — were exuberant; only St. Gaudens could never discuss or dilate on an emotion, or suggest artistic arguments for giving to his work the forms that he felt.

所有其他人——亨特、理查森、约翰·拉法奇、斯坦福·怀特——都兴高采烈；只有 St. Gaudens 永远不会讨论或详述某种情感，也不会提出艺术论据来为他的作品赋予他所感受到的形式。