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| 2018/12/24 05:41:26瀏覽300｜回應0｜推薦9 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 2-2 Et pourtant, ces phrases si différentes étaient faites des mêmes éléments, car, de même qu’il y avait un certain univers, perceptible pour nous, en ces parcelles dispersées çà et là, dans telles demeures, dans tels musées, et qui était l’univers d’Elstir, celui qu’il voyait, celui où il vivait, de même la musique de Vinteuil étendait, notes par notes, touches par touches, les colorations inconnues d’un univers inestimable, insoupçonné, fragmenté par les lacunes que laissaient entre elles les auditions de son oeuvre ; ces deux interrogations si dissemblables qui commandaient les mouvements si différents de la sonate et du septuor, l’une brisant en courts appels une ligne continue et pure, l’autre ressoudant en une armature indivisible des fragments épars, c’était pourtant, l’une si calme et timide, presque détachée et comme philosophique, l’autre si pressante, anxieuse, implorante, une même prière, jaillie devant différents levers de soleil intérieurs, et seulement réfractée à travers les milieux différents de pensées autres, de recherches d’art en progrès au cours d’années où il avait voulu créer quelque chose de nouveau. (l’édition Gallimard, Paris, 1946-47) 但是，這些如此相異的樂句是由同一些成分構成的。有些世界需要我們由零看整。我們從某建築上，某博物館中，東西各處、一鱗半爪，能看出一個世界。埃爾斯蒂爾的世界就是如此，這是他眼中、生活中的世界。相反，有些世界需要我們由整看零。凡德伊的作品通過一音一符、一拍一調把一個出人意料的世界，一種聞所未聞、不可估價的色彩展示出來。但是由於聽眾欣賞他的作品，時間上前後是有錯落的，這個世界就出現了空隙，造成了間隙。這兩種探索的方法如此不同，致使奏鳴曲和七重奏的行進節奏也如此不同。一個使用短促的呼喚，將一根純淨延綿的長線切成碎段，另一個則將散亂的殘音重新溶入同一隱形的調號。一個是如此沉靜靦腆，近乎於分弓拉奏，又如哲學玄思，而另一個則是如此急促焦慮，苦苦哀求。然而這是同一種祈禱，內心一旦出現不同的朝霞，它就噴溢而出。那些年間，他希望創新，這祈禱便僅僅表現為思想新異、藝術探索的折光。 (p.268~269 追憶似水年華 V 女囚 聯經版 1992) 然而，如此不同的這兩個樂句，卻是由同樣的要素構成的，因為，正如有的世界——那正是埃爾斯蒂爾看到並生活其中的世界——我們是通過隨處散布的細部、碎片，諸如博物館和私人宅邸的藏品，來感知它的，同樣，凡特伊以一個又一個音符、一次又一次的觸鍵，把種種我們所陌生的、無比珍貴的色彩，賦予另一個世界，那是一個我們意想不到的世界，由於我們在不同的時段聆聽他的作品，他的這個世界也就間隔成了許多片段，而他先前的那個奏鳴曲和此刻的這個七重奏，既然所發出的詢問全然不同，而樂曲的行進速度差別就很大，一個把一條綿延、純淨的聲線截成短促的呼喚，另一個則把許多散亂的碎片拼合成一個牢不可分的構架，一個是安靜的，怯生生的，有點像斷弓的演奏，帶有哲理的意味，另一個則是急迫、不安的懇求，但它們所要表達的，是同一個請求，同一個祈願，只不這它們是心中的太陽上升到不同高度時，經由不同的介質折射出來的光線，這些不同介質反映了他在追求創新的心路歷程中的思想演變，以及藝術探索的不同階段。 (p.259~260 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) And yet these so widely different phrases were composed of the same elements, for just as there was a certain universe, perceptible by us in those fragments scattered here and there, in private houses, in public galleries, which were Elstir’s universe, the universe which he saw, in which he lived, so to the music of Vinteuil extended, note by note, key by key, the unknown colourings of an inestimable, unsuspected universe, made fragmentary by the gaps that occurred between the different occasions of hearing his work performed; those two so dissimilar questions which commanded the so different movements of the sonata and the septet, the former breaking into short appeals a line continuous and pure, the latter welding together into an indivisible structure a medley of scattered fragments, were nevertheless, one so calm and timid, almost detached and as though philosophic, the other so anxious, pressing, imploring, were nevertheless the same prayer, poured forth before different risings of the inward sun and merely refracted through the different mediums of other thoughts, of artistic researches carried on through the years in which he had tried to create something new. (Translated by C. K. Scott Moncrieff) And yet these phrases, different as they were, were all made up of the same elements, for just as there was a parallel universe, perceptible to us in fragments dispersed here and there in museums and private collections, which was Elstir’s universe, so Vinteuil’s music spread out, note by note, touch by touch, the unknown, priceless colorations of an unsuspected universe, fragmented by the lacunae which separated successive hearings of his work; these two such different questionings which determined the different progress of the sonata and the septet, one breaking up into short appeals a line in itself continuous and pure, the other welding scattered fragments together to form an indivisible framework, one so quiet and timid, almost detached and as it were philosophical, the other so pressing, anxious, imploring, were in fact the same prayer, the other so pressing, anxious, imploring, were in fact the same prayer, springing up before different inner sunrises, and simply refracted through different milieux of disparate thoughts, artistic experiments in progress during the years when he had been trying to create something new. (Translated by Carol Clark) |
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| ( 知識學習｜隨堂筆記 ) |
