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| 2018/12/26 05:29:58瀏覽346｜回應0｜推薦7 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 2-3 Un accent, cet accent de Vinteuil, séparé de l’accent des autres musiciens par une différence bien plus grande que celle que nous percevons entre la voix de deux personnes, même entre le beuglement et le cri de deux espèces animales : par la différence même qu’il y a entre la pensée de ces autres musiciens et les éternelles investigations de Vinteuil, la question qu’il se posait sous tant de formes, son habituelle spéculation, mais aussi débarrassée des formes analytiques du raisonnement que si elle s’exerçait dans le monde des anges, de sorte que nous pouvons en mesurer la profondeur, mais sans plus la traduire en langage humain que ne le peuvent les esprits désincarnés quand, évoqués par un médium, celui-ci les interroge sur les secrets de la mort. Et, même en tenant compte de cette originalité acquise qui m’avait frappé dès l’après-midi, de cette parenté que les musicographes pourraient trouver entre eux, c’est bien un accent unique auquel s’élèvent, auquel reviennent malgré eux ces grands chanteurs que sont les musiciens originaux, et qui est une preuve de l’existence irréductiblement individuelle de l’âme. (l’édition Gallimard, Paris, 1946-47) 一種重音，這是凡德伊的重音，它與別的音樂家的重音是互不相仿的。這是由於他們之間有一種區別，它比我們在兩個人的聲音中，甚至於兩種動物的叫聲中聽出來的區別要大得多。這是一種真正的區別，是某位音樂家的思想跟凡德伊的永恆性探索之間所具有的區別。他使用千萬種方式反躬自問，他習慣於純思辨。但他那種思辨仿佛是在天使國裡進行似的，完全擺脫了推理所具有的分析形式，以至於我們可以測量其深度，但是我們無法將其迻譯成人類語言。這跟脫離肉體的靈魂具有相同的道理。當通靈者召喚亡靈，向亡靈詢問死亡的奧秘時，亡靈也無法用人類的語言來轉譯。說它是一種重音，它畢竟是一種重音；看一看下午使我為之震驚的那後天獲得的獨創性，再看一看那音樂理論家能夠發現的音樂家之間的承襲關係，它畢竟還是一種獨一無二的重音。偉大的歌唱家，即獨特的音樂家們，不由自主返回到這一重音上來，朝著這重音的高度攀登。這重音表明，完全個體性質的靈魂確實是存在的。 (p.269~270 追憶似水年華 V 女囚 聯經版 1992) 是的，那是一種音調，凡特伊的音調，它有別於其他作曲家的音調，其間的差別，比我們聽兩個人說話或兩頭同種的動物嘶叫，所能感覺到的差別更為明顯；這種實質性的差別，正是那些作曲家的創作思想與凡特伊永恆的探問之間的差別，他以種種形式向自己提問，他習慣於抽象的思辨，然而這種思辨猶如在天使的國度中進行，擺脫了推演的分析形式，讓我們可以測量它的深度，卻無法把它轉譯成人類的語言，這就好比靈魂脫離軀體以後，即使通靈者再把它召來，詢問死亡的秘密，它也無法用人類的語言說出這個秘密；是的，那是一種音調，因為即便這個下午如此打動我的獨創性是後天獲得的，即便音樂評論家可以在作曲家之間找出淵源關係，但是我知道，富有創新精神的作曲家就像偉大的歌唱家，他常會不自覺地追求音色獨特的音調，那是富有個性的心靈存在的一種證明。 (p.260~261 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) Such an accent, the accent of Vinteuil, is separated from the accents of other composers by a difference far greater than that which we perceive between the voices of two people, even between the cries of two species of animal: by the difference that exists between the thoughts of those other composers and the eternal investigations of Vinteuil, the question that he put to himself in so many forms, his habitual speculation, but as free from analytical formulas of reasoning as if it were being carried out in the world of the angels, so that we can measure its depth, but without being any more able to translate it into human speech than are disincarnate spirits when, evoked by a medium, he questions them as to the mysteries of death. And even when I bore in mind the acquired originality which had struck me that afternoon, that kinship which musical critics might discover among them, it is indeed a unique accent to which rise, and return in spite of themselves those great singers that original composers are, which is a proof of the irreducibly individual existence of the soul. (Translated by C. K. Scott Moncrieff) A particular accent, this accent of Vinteuils, separated from the accent of other musicians by a distinction much more marked than the one we perceive between the voices of different people, or even between the bellowing and the cry of two animal species; a real difference, the one that existed between the thought of some other musician and the eternal investigations of Vinteuil, the question that he put to himself in so many different forms, his speculation, endlessly painstaking but as free from the analytical forms of reasoning as if it had been conducted in the realm of the angels, so that we can measure its depth but no more translate it into human speech than disembodied spirits can when they are called up by a medium and interrogated about the secrets of death; his own accent, for in the end and even taking into account the acquired originality which had struck me in the afternoon, the family relationship which musicologists could trace between composers, it is to a single, personal voice that those great singers, the original musicians, always return in spite of themselves, a voice which is the living proof of the irreducible individuality of each soul. (Translated by Carol Clark) |
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| ( 知識學習｜隨堂筆記 ) |
