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| 2019/01/06 05:09:40瀏覽296｜回應0｜推薦8 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 7-2 Sans pousser plus loin cette comparaison, je sentais que les rumeurs claires, les bruyantes couleurs que Vinteuil nous envoyait du monde où il composait promenaient devant mon imagination, avec insistance, mais trop rapidement pour qu’elle pût l’appréhender quelque chose que je pourrais comparer à la soierie embaumée d’un géranium. Seulement, tandis que, dans le souvenir, ce vague peut être sinon approfondi, du moins précisé, grâce à un repérage de circonstances qui expliquent pourquoi une certaine saveur a pu vous rappeler des sensations lumineuses, les sensations vagues données par Vinteuil, venant non d’un souvenir, mais d’une impression (comme celle des clochers de Martainville), il aurait fallu trouver, de la fragrance de géranium de sa musique, non une explication matérielle, mais l’équivalent profond, la fête inconnue et colorée (dont ses oeuvres semblaient les fragments disjoints, les éclats aux cassures écarlates), le mode selon lequel il « entendait » et projetait hors de lui l’univers. Cette qualité inconnue d’un monde unique, et qu’aucun autre musicien ne nous avait jamais fait voir, peut-être était-ce en cela, disais-je à Albertine, qu’est la preuve la plus authentique du génie, bien plus que dans le contenu de l’oeuvre elle-même. (l’édition Gallimard, Paris, 1946-47) 凡德伊的創作就猶如這一杯茶，他從音樂世界為我們送來了光怪陸離的感覺。明亮的喧嘩、沸騰的色彩在我的想像前歡快的舞動著，揮動著——但速度之快，我的想像根本無法抓住——散發老鸛草芬芳的綾羅綢緞。雖然這種模糊不清的感覺在回憶中是不能深化的，但是時間場合特徵能夠告訴我們，為什麼某種味覺會使我們回憶起光的感覺；根據時間場合特徵，模糊的感覺至少可以得到澄清。然而，凡德伊作品引起的模糊感覺並非來自一種回憶，而是來自一種感受 (如對馬丹維爾鐘樓的感受)。因此，從他音樂散發的老鸛草芬芳中，應該尋找的不是物質的原因，而是深層的原因。應該發現，這是世人不知的，五彩繽紛的歡慶 (他的作品似乎就是這種歡慶的片斷，是露出鮮紅截面的片斷)，是他「聽到」世界以後，把世界拋出體外的方式。任何音樂家都未向我們展示過這一獨特世界，其特性鮮為人知。我對阿爾貝蒂娜說，最能證實真正天才的，正是這一世界的特性，而根本不是作品的本身。 (p.400~401 追憶似水年華 V 女囚 聯經版 1992) 就拿那杯茶來說吧，凡特伊給我帶來了充滿陽光的感覺，明亮的市聲，暄騰的色彩，都來自他作曲的世界，凡特伊把它們展現在我的想象中，執著而又迅捷得讓我無法抓住這有如隱隱散發著天竺葵香氣的絲綢一般的東西。雖然記憶中的這種含糊不清的東西，可以憑借測定環境 (某種氣味之所以會喚起我們充滿陽光的感覺，就是因為有這樣的環境的緣故)——不說是深化吧，至少是使之精確，但是凡特伊帶給我的朦朧的感覺，並非來自回憶，而是來自一種印象 (比如對馬丁鎮鐘樓的印象)，從他的音樂所散發的天竺葵芳香中，我們應該尋找的不是物質上的解釋，而是更深層次的對等物——那是一個未知的、歡鬧的慶典 (他的作品，都彷彿是這個慶典的不連貫的片段，是一些裂口呈猩紅色的碎片)，是他聆聽天地萬物並將它們投射到自身之外去的方式。別的音樂家都不曾像我們展示過這個獨特的世界，它的特性讓我們感到很陌生，而這種特性，我對阿爾貝蒂娜說，也許比作品本身更有說服力，證明了天才之所以為天才。 (p.389 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) Without pressing this comparison farther, I felt that the clear sounds, the blazing colours which Vinteuil sent to us from the world in which he composed, paraded before my imagination with insistence but too rapidly for me to be able to apprehend it, something which I might compare to the perfumed silkiness of a geranium. Only, whereas, in memory, this vagueness may be, if not explored, at any rate fixed precisely, thanks to a guiding line of circumstances which explain why a certain savour has been able to recall to us luminous sensations, the vague sensations given by Vinteuil coming not from a memory but from an impression (like that of the steeples of Martinville), one would have had to find, for the geranium scent of his music, not a material explanation, but the profound equivalent, the unknown and highly coloured festival (of which his works seemed to be the scattered fragments, the scarlet-flashing rifts), the mode in which he ‘heard’ the universe and projected it far beyond himself. This unknown quality of a unique world which no other composer had ever made us see, perhaps it is in this, I said to Albertine, that the most authentic proof of genius consists, even more than in the content of the work itself. (Translated by C. K. Scott Moncrieff) The only thing is, while in a memory the vagueness can be if not eliminated at least made more precise by pinpointing the circumstances which explain why a certain taste recalls sensations of light, since the vague sensations conveyed by Vinteuil came not from a memory but from an impression (like that of the steeples of Martinville), one would have had to explain the geranium fragrance of his music not by a material resemblance but by its profound equivalent, the unknown, multicoloured festival (of which his works seemed to be disparate fragments, dazzling shards with scarlet fracture lines), the mode according to which he ‘heard’ and projected the universe. This unknown quality of a unique world, which no other musician had ever shown us before, was perhaps, I said to Albertine, the most authentic proof of genius, much more than the content of the work itself. (Translated by Carol Clark) |
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