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| 2014/09/19 07:51:11瀏覽133｜回應0｜推薦6 | |
| 【書摘】在少女們身旁—偉大作品的領悟 (realization of a masterpiece) 6 Ce qu’on appelle la postérité, c’est la postérité de l’oeuvre. Il faut que l’oeuvre (en ne tenant pas compte, pour simplifier, des génies qui à la même époque peuvent parallèlement préparer pour l’avenir un public meilleur dont d’autres génies que lui bénéficieront) crée elle-même sa postérité. Si donc l’oeuvre était tenue en réserve, n’était connue que de la postérité, celle-ci, pour cette oeuvre, ne serait pas la postérité mais une assemblée de contemporains ayant simplement vécu cinquante ans plus tard. Aussi faut-il que l’artiste – et c’est ce qu’avait fait Vinteuil – s’il veut que son oeuvre puisse suivre sa route, la lance, là où il y a assez de profondeur, en plein et lointain avenir. Et pourtant ce temps à venir, vraie perspective des chefs-d’oeuvre, si n’en pas tenir compte est l’erreur des mauvais juges, en tenir compte est parfois le dangereux scrupule des bons. (l’édition Gallimard, Paris, 1946-47) 所謂後代，其實就是作品的後代。作品本身 (為了簡明起見，此處不包括這種天才：它們在同一時期不是為自己，而是為其他天才培養未來的更佳公眾) 必須創造自己的後代。如果作品被封存起來，只是在後代面前才顯現的話，那麼，對作品來說，這個後代將不是後代，而是同代人，僅僅晚生活五十年罷了。因此，如果藝術家希望作品自辟道路的話，他必須——這正是凡德伊所做的——在有足夠深度的地方拋出它，朝著遙遠的真正未來拋過去。這個未來的時間是一部傑作的真正遠景，蹩腳的鑒賞家的錯誤在於忽視這未來的時間，而高明的鑒賞家有時帶著一種危險的苛求來考慮它。 (p.101 追憶似水年華 II 在少女們身旁 聯經版 1992) 所謂後世，就是作品的後世。作品 (為簡單起見，那些不僅能為自己，而且還能同時為其他天才培養未來的高水準受眾的天才，不在考慮之列) 應該為自己創造後世。倘若把作品封存起來，直到後世才公諸於眾，那麼就這部作品而言，這樣的後世就不是後世，而是同時代的一群人，只不過是生活在五十年以後罷了。所以，藝術家若要讓自己的作品走上自身的軌道，就不能把它藏諸名山，而必須讓它行之於市，直至遙遠的將來。這個將來，才是傑作真正的歸宿，不高明的評論家，差就差在想不到這個將來，高明的評論家時時把將來放在心上，但有時又因顧慮太多而誤事。 (p.107 追尋逝去的時光 II 在少女花影下 上海譯文版 周克希譯 2004) What artists call posterity is the posterity of the work of art. It is essential that the work (leaving out of account, for brevity’s sake, the contingency that several men of genius may at the same time be working along parallel lines to create a more instructed public in the future, a public from which other men of genius shall reap the benefit) shall create its own posterity. For if the work were held in reserve, were revealed only to posterity, that audience, for that particular work, would be not posterity but a group of contemporaries who were merely living half-a-century later in time. And so it is essential that the artist (and this is what Vinteuil had done), if he wishes his work to be free to follow its own course, shall launch it, wherever he may find sufficient depth, confidently outward bound towards the future. And yet this interval of time, the true perspective in which to behold a work of art, if leaving it out of account is the mistake made by bad judges, taking it into account is at times a dangerous precaution of the good. (Translated by C. K. Scott Moncrieff) What is known as posterity is the work’s own posterity. The creator of the work of genius must make no compromises with, must take no account of, other geniuses, who may at the same period be following their own course toward creating for the future a more aware public, which will reward other geniuses hut not himse1f; the work has to create its own posterity. So, if this work were to be held back, in the hope of its being known only to posterity, it would be greeted not by posterity but by an assembly of its contemporaries who simply happened to be living fifty years later. Which is why the artist who wishes his work to find its own way must do what Vinteuil had done, and launch it as far as possible toward the unknown depths of the distant future. There lies the masterpiece’s true element; and yet, though poor judges can make the mistake of taking no account of the time to come, better judges can at times be tempted by the perilous precaution o taking too much account of it. (Translated by James Grieve) |
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| ( 知識學習｜隨堂筆記 ) |
