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【Paintings in Proust】Enthroned Madonna, San Giobbi altarpiece, Giovanni Bellini
2014/05/04 17:36:35瀏覽255|回應0|推薦9

Paintings in ProustEnthroned Madonna, San Giobbi altarpiece, Giovanni Bellini 1487 (p.245)

小說人物作曲家凡德伊的奏鳴曲多次出現在小說當中,可說佔有相當重要的地位,它甚至成為斯萬與奧黛特倆人之間愛情的國歌 (the national anthem of their love)
至於奏鳴曲的創作靈感來自何處?可參考以下連結:
http://blog.udn.com/albertineproust3/5566233
小樂段可能來自真實世界的哪一段音樂?

另摘要以下兩段關於「奏鳴曲」或「小樂句」的片段共賞:
他已經開始意識到,在這樂句甘美的樂音底下隱藏著怎樣的苦楚,也許還是難以消除的隱痛,然而他並不以為苦。讓這樂句說什麼愛情是脆弱的吧,他的愛情卻是如此牢固!他玩弄這樂句散發出的憂鬱之情,感覺到它正在流經他的身體,然而總覺得它卻像是使他的幸福感更深刻更甜蜜的一種愛撫。
(p.259
追憶似水年華 I 在斯萬家那邊 聯經版 1992)  

小樂句在我心中和在斯萬心中所喚起的聯想不盡相同。使我更為動心的是樂句的構思、嘗試、反復開始,總之是一個樂句在整個奏鳴曲中的形成和「發展過程」,一如我對阿爾貝蒂娜的愛情是在我的一生中形成的。
(p.150 追憶似水年華 VI 女逃亡者 聯經版 1992)




TEXT
Presently these two motifs were wrestling together in a close embrace in which at times one of them would disappear entirely, and then only a fragment of the other could be glimpsed. A wrestling match of disembodied energies only, to tell the truth; for if these creatures confronted one another, they did so stripped of their physical bodies, of their appearance, of their names, finding in me an inward spectator-himself indifferent, too, to names and particulars-to appreciate their immaterial and dynamic combat and follow passionately its sonorous vicissitudes. In the end the joyous motif was left triumphant; it was no longer an almost anxious appeal addressed to an empty sky, it was an ineffable joy which seemed to come from paradise, a joy as different from that of the sonata as some scarlet-clad Mantegna archangel sounding a trumpet from a grave and gentle BeIlini seraph strumming a theorbo. I knew that this new tone of joy, this summons to a supraterrestial joy, was a thing that I would never forget. But would it ever be attainable to me? (The Captive)

不一會兒,兩個動機展開了肉搏戰。一方被打得片甲不留,但我們立即發現,另一方也只剩下殘肢斷臂。但說實話,這只是兩股銳氣在短兵相接。說銳氣,是因為這互相交鋒的生命雙方都已經脫離了自己的身體、外表和名稱。遇到了我這樣一個內在的聽眾——我對名稱和個別物也是毫不在乎的——我對它們非物質的、充滿活力的爭鬥充滿興趣,津津有味地注視著跌宕起伏的聲響變化,也是因為我是一個內在型的聽眾,對名稱和個體都毫不在乎。最後快樂的動機佔據上峰。這已不再是蒼天後面傳出的焦急的呼聲,而是似乎來自天國的無以形容的快樂。但這快樂與奏鳴曲的快樂完全不同,猶如蒙塔尼亞畫中一身猩紅,吹奏號角的大天使迥然相異於貝利尼畫中手抱雙弦詩琴,溫柔莊重兩者雙兼的天使一樣。有關喜悅的這一新的微妙區別,這向著超塵脫世的喜悅的召喚,我是難以忘懷的。但是對我來說這喜悅最終可能實現嗎?
(p.274 追憶似水年華 V 女囚 聯經版 1992)

( 知識學習隨堂筆記 )
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