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| 2019/01/01 06:47:46瀏覽254｜回應0｜推薦4 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 5 Cependant le septuor, qui avait recommencé, avançait vers sa fin ; à plusieurs reprises telle ou telle phrase de la sonate revenait, mais chaque fois changée, sur un rythme, un accompagnement différents, la même et pourtant autre, comme renaissent les choses dans la vie… Puis elles s’éloignèrent, sauf une que je vis repasser jusqu’à cinq et six fois, sans que je pusse apercevoir son visage, mais si caressante, si différente – comme sans doute la petite phrase de la sonate pour Swann – de ce qu’aucune femme m’avait jamais fait désirer, que cette phrase-là, qui m’offrait, d’une voix si douce, un bonheur qu’il eût vraiment valu la peine d’obtenir, c’est peut-être – cette créature invisible dont je ne connaissais pas le langage et que je comprenais si bien – la seule Inconnue qu’il m’ait été jamais donné de rencontrer. Puis cette phrase se défit, se transforma, comme faisait la petite phrase de la sonate, et devint le mystérieux appel du début. Une phrase d’un caractère douloureux s’opposa à lui, mais si profonde, si vague, si interne, presque si organique et viscérale qu’on ne savait pas, à chacune de ses reprises si c’était celles d’un thème ou d’une névralgie. (l’édition Gallimard, Paris, 1946-47) 這當兒，七重奏重又開始；朝著終曲進行。奏鳴曲樂句反復重現，但多彩多姿，節奏和配器都富有變化，如同生活中重複發生的事情一樣，既保持著原樣，又帶著新貌…… 慢慢地其他樂句遠離而去，只剩下一句，重複地出現五至六次，我都沒有看清它的容貌。但那樂句如此溫柔，也許像小樂句之與斯萬一樣，絕對不能與任何女人所能激化的欲望同日而語。它用溫柔的聲音給了我一種真正的幸福。我不懂它的語言，但又完全能夠理解。它有可能就是那隱形物，就是我平生遇見的唯一的陌生人。接著，這句樂句又四處彌漫，變幻形態，和奏鳴曲中的小樂句一樣，化成曲首那神秘的呼喚。有句顯示著痛苦的樂句，跟這呼喚形成了對應。這句深沉的樂句模模糊糊，幾乎是發自肺腑、帶有器質性的內心呼聲，它每次重現，我們都不知道它究竟是某一主題的表現還是神經痛的表現。 (p.273 追憶似水年華 V 女囚 聯經版 1992) 演奏重又開始，七重奏朝著曲終的方向進行；那首奏鳴曲中的這個或那個樂句，重覆出現了好多次，但每次都有所變化，不是節奏不同，就是配器不一樣，聽上去既是奏鳴曲中的樂句，又不完全就是原來的樂句，就好比生活中重覆發生的事情一樣…… 隨後，這些樂句紛紛遠去，只有其中的一個又反覆出現了五六次，我看不清她的容貌，但能感覺到她極其溫柔，而又——大概這正是斯萬對奏鳴曲中那個小樂句的感覺——跟任何女性在我身上激起這的欲念迥然不同，這個樂句以充滿溫情的聲音賦予我一種幸福感，那是一種真正值得你去追求的幸福，也許，這個樂句——我不懂她的語言，卻能對她如此了解的這個看不見的尤物——正是此生中幸福應允我有緣相遇的那位唯一的不知其名的姑娘。然後這個樂句散開，變形，正如奏鳴曲中的小樂句所做的那樣，最後變成了樂曲開頭那神秘的召喚。跟她相對應的，是個滿含痛苦意味的樂句，痛苦深沉卻又模糊，極其內斂，幾近器官、腔腑之痛，它每次出現時，你弄不明白這究竟是音樂動機的重現，還是神經痛的發作。 (p.264~265 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) Meanwhile the septet had begun again and was moving towards its close; again and again one phrase or another from the sonata recurred, but always changed, its rhythm and harmony different, the same and yet something else, as things recur in life... Then they withdrew, save one which I saw reappear five times or six, without being able to distinguish its features, but so caressing, so different—as was no doubt the little phrase in Swann’s sonata—from anything that any woman had ever made me desire, that this phrase which offered me in so sweet a voice a happiness which would really have been worth the struggle to obtain it, is perhaps—this invisible creature whose language I did not know and whom I understood so well—the only Stranger that it has ever been my good fortune to meet. Then this phrase broke up, was transformed, like the little phrase in the sonata, and became the mysterious appeal of the start. A phrase of a plaintive kind rose in opposition to it, but so profound, so vague, so internal, almost so organic and visceral that one could not tell at each of its repetitions whether they were those of a theme or of an attack of neuralgia. (Translated by C. K. Scott Moncrieff) Meanwhile the septet, having begun again, was moving towards its end; several times a phrase from somewhere in the sonata reappeared, but each time changed, set to a different rhythm, with a different accompaniment, the same and yet another, as things are when they recur in life… Then the phrases faded away, except one which I saw pass by again up to five or six times, not letting me see her face, but so tender, so different－as the little phrase from the sonata no doubt was for Swann－from, anything that any woman had yet led me to desire, that that phrase, offering me in such a gentle voice a kind of happiness which would have truly been worth attaining－that invisible creature whose language I could not understand and yet whom I understood so well－was perhaps the only Unknown Woman it has ever been granted to me to meet. Then that phrase dissolved, changed its shape, like the little phrase in the sonata, and turned into the mysterious call of the beginning of the piece. A phrase of sorrowful character came to counter it, but it was so deep, so formless, so inward, so almost organic and visceral that each time it reappeared one was not sure if what was recurring was a theme or a nerve-pain. (Translated by Carol Clark) |
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| ( 知識學習｜隨堂筆記 ) |
