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| 2019/01/02 05:54:06瀏覽285｜回應0｜推薦10 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 6 D’autre part, des phrases, distinctes la première fois dans la musique entendue chez Mme Verdurin, mais que je n’avais pas alors reconnues là, je les identifiais maintenant avec des phrases des autres oeuvres, comme cette phrase de la Variation religieuse pour orgue qui, chez Mme Verdurin, avait passé inaperçue pour moi dans le septuor, où pourtant, sainte qui avait descendu les degrés du sanctuaire, elle se trouvait mêlée aux fées familières du musicien. D’autre part, la phrase, qui m’avait paru trop peu mélodique, trop mécaniquement rythmée, de la joie titubante des cloches de midi, maintenant c’était celle que j’aimais le mieux, soit que je fusse habitué à sa laideur, soit que j’eusse découvert sa beauté. Cette réaction sur la déception que causent d’abord les chefs-d’oeuvre, on peut, en effet, l’attribuer à un affaiblissement de l’impression initiale ou à l’effort nécessaire pour dégager la vérité. Deux hypothèses qui se représentent pour toutes les questions importantes : les questions de la réalité de l’Art, de la réalité de l’Éternité de l’âme ; c’est un choix qu’il faut faire entre elles ; et pour la musique de Vinteuil, ce choix se représentait à tout moment sous bien des formes. (l’édition Gallimard, Paris, 1946-47) 另有一種情況，有些樂句本來十分清晰，我當時聽不出來，現在聽起來卻一清二楚，聽得出它們與其他作品的聯繫。譬如，在維爾迪蘭夫人家裡聽到的七重奏中，有一句管風琴宗教變奏樂句，當時就未曾引起我的注意，然而，這句樂句猶如從天堂神宇拾級而下的聖女，來到音樂家熟悉的仙女中間，與她們融為一體。此外，我曾經覺得有些表現正午鐘聲歡騰快樂氣氛的樂句，缺乏悅耳的音調，節奏過於機械，現在卻成了我最喜歡的樂句。這不是因為我習慣了它的醜陋，就是因為我發現了它的美麗。我們對任何傑作，起初感到失望，後來作出相反的反映，究其原因，是因為起初的感受在弱化，或者因為我們為發掘真理作出了努力。這是適用於一切重要問題——藝術現實的問題、現實的問題以及靈魂永恆的問題——的兩種假設。這兩種假設，必須選擇其一。就凡德伊的音樂而言，時刻都需要作這種選擇，而且選擇的表現形式是多種多樣的。 (p.399 追憶似水年華 V 女囚 聯經版 1992) 換一個角度看，有些第一遍聽就很清晰的樂句，其實我當時並沒真的認出它們，現在，我認出了它們就是別的作品中的某些樂句，正如我在韋爾迪蘭夫人府上聽七重奏時，沒有認出宗教題材管風琴變奏中的那個樂句，而它卻有如聖女那般步下神殿，與作曲家筆下已為我們所熟悉的仙女們融為一體了。再比如說，表現中午排鐘齊鳴歡騰景象的那個樂句，我當時覺得旋律不美，節奏也呆板，現在它卻是我最鍾愛的樂句——其中的原因，我想，不是我習慣了這種醜，就是我發現了它的美。傑作一開始引起的失望情緒，之所以會發生轉變，究其原因，無非是或者最初的印象漸漸淡忘了，或者我們為探索人生真諦付出了努力。這兩種假設，適用於一切重要的問題，諸如有關藝術的真實、真實性本身以及靈魂的永恆性的問題：在這兩種假設中作選擇，始終是必需的；就凡特伊的音樂而言，我每時每刻都面臨以不同形式出現的這一選擇。 (p.388 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) On the other hand, phrases that I had distinguished at once in the music that I had heard at Mme. Verdurin’s, but had not then recognised, I identified now with phrases from other works, such as that phrase from the Sacred Variation for the Organ which, at Mme. Verdurin’s, had passed unperceived by me in the septet, where nevertheless, a saint that had stepped down from the sanctuary, it found itself consorting with the composer’s familiar fays. Finally, the phrase that had seemed to me too little melodious, too mechanical in its rhythm, of the swinging joy of bells at noon, had now become my favourite, whether because I had grown accustomed to its ugliness or because I had discovered its beauty. This reaction from the disappointment which great works of art cause at first may in fact be attributed to a weakening of the initial impression or to the effort necessary to lay bare the truth. Two hypotheses which suggest themselves in all important questions, questions of the truth of Art, of the truth of the Immortality of the Soul; we must choose between them; and, in the case of Vinteuil’s music, this choice presented itself at every moment under a variety of forms. (Translated by C. K. Scott Moncrieff) On the other hand, some phrases which had been distinct even the first time, but which I had not recognized in this position, I could now identify with phrases in other works, like the phrase from the Religious Variations for organ which at Mme Verdurin’s had passed unnoticed in the septet, in which, however, like a saint who had come down the sanctuary steps, she found herself mingling with the fairies more familiar to the musician. On the other hand, the ‘bells at midday’ phrase which had seemed to me too unmelodic, too mechanically rhythmical in its heavy-footed joy, was now the one I loved most, whether it was that I had become used to its ugliness, or that I had discovered its beauty. This reaction to the initial disappointment caused by masterpieces can, indeed, be attributed either to a weakening of our original impression, or to the effort required to arrive at the truth. Two hypotheses that arise again in relation to all important questions, the questions of the reality of Art, of Reality itse1f of the Eternity of the soul: we have to choose between them; and in the case of Vinteuil’s music, one was faced with the choice at every moment, in a variety of forms. (Translated by Carol Clark) |
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| ( 知識學習｜隨堂筆記 ) |
