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| 2022/04/24 06:50:27瀏覽470｜回應0｜推薦6 | |
| Selected poem：《愛，不可能：普魯斯特詩選》之〈安東尼‧華多〉 打開新書《愛，不可能：普魯斯特詩選》，也就打開自己身為普魯斯特迷的閱讀記憶。且讓我試著以〈安東尼‧華多〉這首詩來說明。 抄完這首詩，首先應該會想到是劉森堯翻譯的《歡樂時光》(Les Plaisirs et les Jours; Pleasure and Days)，在〈畫家和音樂家的畫像〉這個章節也有收錄這首詩。 緊接著則是應該想起他的散文集《駁聖伯夫》，關於〈華托〉(Watteau) 有一小篇專論，同時有一本英文選譯的普魯斯特文集 Proust on Art and Literature 也可以找到這篇文章。 最後，在 Paintings in Proust 這本書，作者 Eric Karpeles 也引用了《追憶似水年華》的一段文字讓我們複習 Watteau 的畫作。 透過這一連串書單的查找，彷彿我已經回顧了10多年來的閱讀人生。 https://www.books.com.tw/products/CN11742114 愛，不可能：普魯斯特詩選 作者：馬塞爾‧普魯斯特 譯者：姜山 出版社：山東文藝出版社 出版日期：2022/01/01 語言：簡體中文 〈安東尼‧華多〉 曦光為樹與人臉上妝 身穿藍色斗篷，面具不斷變幻； 如塵密吻繞飛在倦乏的嘴旁······ 虛空變溫柔，眼前的一切，遙遠。 假面舞會，另一道憂鬱的遠景， 讓愛的示意更虛幻、悲傷、迷人。 詩人的任性——或愛人的謹慎， 愛需要考究的裝幀—— 小船、茶點、寧靜與樂聲。 https://www.books.com.tw/products/0010867207 歡樂時光 Les Plaisirs et les jours 作者：馬塞爾．普魯斯特 原文作者：Marcel Proust 譯者：劉森堯 出版社：印刻 出版日期：2020/08/20 〈安東‧瓦多〉 夜幕低垂，暮色籠罩著樹木和大地， 他披著藍色大衣，在那模糊的面具底下， 嘴角還殘留著接過吻的痕跡， 海浪變得溫和，一切顯得既近又遠。 化裝舞會，另一個遙遠的憂鬱， 裝出錯誤的愛的姿態，既憂傷又迷人。 詩人的多情善變——或是情人的謹慎小心， 愛情需要適度的裝飾—— 這裡一艘小舢舨，小點心，寂靜和音樂。 https://www.amazon.com/Collected-Poems-Dual-Language-Parallel-Classics/dp/0143106902 The Collected Poems: A Dual-Language Edition with Parallel Text (Penguin Classics Deluxe Edition) ANTOINE WATTEAU Twilight staining faces under the trees with its blue cape, its dubious mask, the dust of kisses round exhausted mouths... Whats vague is tender now, whats near, remote. The masquerade, another sad escape, misquotes loves gestures—winsome, woebegone— a poets whim? a gallants vigilance? Love requires a careful staging: here boats and picnics, music, silences. ANTOINE WATTEAU Crépuscule grimant les arbres et les faces, Avec son manteau bleu, sous son masque incertain; Poussière de baisers autour des bouches lasses... Le vague devient tendre, et le tout près, lointain. La mascarade, autre lointain mélancolique, Fait le geste daimer plus faux, triste et charmant. Caprice de poète—ou prudence damant, Lamour ayant besoin dêtre orné savamment— Voici barques, goûters, silences et musique. 書名：駁聖伯夫 作者：普魯斯特 譯者：沈志明 出版社：國立編譯館 出版日期：1997/7 〈華托〉(Watteau) 我常常想到畫家華托，同情裏夾著憐憫，他的業績留存於世的，有繪畫、寓意畫、神化了的愛情和歡樂，他的所有傳記作家都說他體質虛弱，從來，或幾乎從來不能享有性愛的快樂。所以，在他的作品中，性愛是傷感的，歡娛也是傷感的。 I often think with a mixture of fellow-feeling and pity about the life of the painter Watteau, whose work lives on as the portrayal, the allegory, the apotheosis of love and pleasure, and who was, by the report of all his biographers, physically such a weakling that he could never, or rarely, taste the sweets of love. So in his art, love, and even pleasure, is overcast with melancholy. …… 如此不幸的好人以身為好畫家而自慰。人人都樂意聽說華托喜歡盧森堡公園，他久久待在那裏繪畫，“因為這個公園不像其他王家住宅那樣多的被畫成圖畫。” 但我覺得更有意義的還是，他通過購買或受禮把 “義大利喜劇院” 所有的服裝收集起來，使其成為真正的收藏品：他的主要樂趣是，當朋友們來看他時，叫他們穿上他收藏的戲裝。然後他請他們擺個姿勢，看著一個個活生生的人，穿一身非真實的美麗服裝，笑容可掬，瞻前顧後，維妙維肖，他不再為自己喜愛光線和顏色的心總受到茫茫塵世的冷落而痛苦。朋友們離他而去了，他仍抓著剛開頭的素描不放，晚些時候再把它融入大的構圖中去。 This good man who was so ill-starred found consolation in being a good painter. It is pleasant to learn that he was fond of the Luxembourg Garden, and spent long hours there painting “because this garden was not kept so tidy as the other royal domains.” But I find even more significance in the fact that he got together, by purchase or gift, a regular collection of all the Commedia dell’ Arte costumes. It was his chief delight, when friends came to him, to make them dress up in these costumes. Then he would ask them to pose for him, consoling himself, by the spectacle of living, smiling, chattering people in such lovely unreal attire, for having to drag a soul enamoured of light and happiness through a lifetime of fog in which it was always a-cold. When his friends had left him, he pulled together the sketch he had begun, and brought it into a full-scale composition later on. https://www.amazon.com/Paintings-Proust-Visual-Companion-Search/dp/0500238545 Paintings in Proust: A Visual Companion to In Search of Lost Time 【Paintings in Proust】 Standing Cavalier Wearing a Cape (L’Indifferent), Antoine Watteau, 1716 (p.151) I was delighted to observe, in the thick of a crowd of journalists or men of fashion, admirers of the actresses, who were greeting one another, talking, smoking, as though at a party in town, a young man in a black velvet cap and hortensia-coloured skirt, his cheeks chalked in red like a page from a Watteau album, who with smiling lips and eves raised to the ceiling, describing graceful patterns with the palms of his hands and springing lightly into (he air, seemed so entirely of another species from the sensible people in everyday clothes in the midst of whom he was pursuing like a madman the course of his ecstatic dream, so alien to the preoccupations of their life, so anterior to the habits of their civilisation, so enfranchised from the laws of nature, that it was ;is restful and refreshing a spectacle as watching a butterfly straying through a crowd to follow with ones eyes, between the flats, the natural arabesques traced by his winged, capricious, painted curvetings. (Guermantes Way) 一群記者和社交人士像在社交場合那樣抽著煙，聊著天，不停地同人打招呼。他們是女演員的朋友。我高興地發現，在他們中間有一個年輕人，戴著黑絨無沿帽，穿著繡球花色裙子，臉上塗得紅紅的，像是華托畫冊中用紅鉛筆勾勒的肖像畫；他嘴邊漾出微笑，眼裡閃著藍光，用手掌做出各種優美的動作，輕盈地蹦來跳去，同他周圍那些身穿短上衣和禮服的有理智的人好像不屬於同一類；他像一個精神病人，如醉如癡地追蹤著自己的夢幻，他的夢同周圍人的憂慮毫不相干，在周圍人的文明形成之前就久已存在，不受任何自然法則的束縛；他就像一隻塗脂施粉的迷途的蝴蝶，張著翅膀，自由自在地在天空布景中間飛來飛去，在上面畫出一幅幅自然樸素的阿拉伯裝飾圖案。看到此番情景，人們會感到心境恬靜、爽快。 (p.187~188 追憶似水年華 III蓋爾芒特家那邊 聯經版 1992) |
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