Herge wanted the risk taken.

艾尔热想要冒这个险。

For me, Herge was more than a comic strip artist.

对我而言，贺吉不仅只是一位漫画的艺术家。

By way of reply, Herge offered a defence of neutrality.

艾尔热在对此信的回复中为自己的中立进行了辩护。

Herge wanted to draw cartoons about the Wild West of America.

艾尔热想要画一些有关美国未开化的西部的卡通。

Herge did not share his creation's lack of interest in money.

艾尔热可不像他笔下的人物那样对金钱缺乏兴趣。

Such artistic openness is perhaps surprising, given where Herge began his career.

考虑到艾尔热从哪里开始他的创作生涯，这种艺术家的开明也许会令人感到惊奇。

A few months later, Herge had a bitter argument with an old friend, Philippe Gerard.

几个月后，艾尔热和他的老友菲力普·杰拉尔德(Philippe Gerard)展开了一场激烈的争论。

Herge, who only travelled widely after the success of his creation, was a self - taught artist.

埃尔热是一位自学成才的画家，他只是在创作获得成功后才开始到处旅游。

Alas, none of those arguments survive a reading of a biography of Herge by Philippe Goddin, published in 2007.

遗憾的是，在读完2007年版的由菲力普•格丁(Philippe Goddin)撰写的艾尔热传后，所有这些论点都显得苍白无力了。

In one frame, he writes, Herge drew two Jews rejoicing that if the world ended, they would not have to pay back their creditors.

他写到，在一张图上艾尔热画了两个犹太人在那里庆祝，因为如果世界的末日来临，他们就不用还债了［9］。

Though Herge is routinely voted onto lists of "10 famous Belgians", he had no illusions about his homeland's limitations as a market.

虽然艾尔热经常被选入“比利时十大名人”之列，可他并不认为他的市场仅限于他的祖国。

Herge died in 1983. He justified the book by saying it was merely a reflection of naive views of the time. Scenes were revised for later editions.

埃尔热于1983年去世。他曾为该书辩护称它只不过反映出那个时代的一些纯真想法。而后来的图书版本已经修改了一些场景。

Herge developed his storytelling genius during this period possibly because of a paper shortage. Herge learned not to waste a single frame of his strip cartoon.

在这段时间里，可能是由于纸张短缺，埃尔热叙事的天赋大大提升，他学会了不浪费漫画中所绘的每一个画面。

She remains in overall artistic control of the Herge Studios in Brussels (day to day the studios are run by Fanny's second husband, Nick Rodwell, a British businessman).

她至今仍然控制着位于布鲁塞尔的艾尔热工作室的整体艺术规划（工作室的日常运作由法妮的第二任丈夫尼克·罗得威尔负责，他是一个英国商人）。