Excerpt：里爾克的《羅丹論》 - Notes of a Proustian

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Excerpt：里爾克的《羅丹論》

2022/10/22 04:38:33瀏覽489｜回應0｜推薦9

Excerpt：里爾克的《羅丹論》

https://www.sanmin.com.tw/Product/index/006035068
梁宗岱譯集：羅丹論（簡體書）
作者：里爾克 (Rainer Maria Rilke)
譯者：梁宗岱
出版社：華東師範大學出版社
出版日：2016/09/01

里爾克初到巴黎，即為探究羅丹的雕塑藝術寫一本書，這就是《羅丹論》。里爾克在羅丹身邊多年，以其細膩的觀察和詩人的筆觸撰寫了一部關於羅丹其人其藝術的論著，是藝術史上的一部傑作。
里爾克是一位重要的德語詩人，除了創作德語詩歌外還撰寫小說、劇本以及一些雜文和法語詩歌，其書信集也是里爾克文學作品的一個重要組成部分。

譯者簡介
梁宗岱（1903-1983），著名詩人、翻譯家、作家和教授。一九二四年留學歐洲，與保羅‧瓦萊里、羅曼‧羅蘭等文學大師過從甚密；一九三一年底回國，先後任教於北京大學、南開大學、復旦大學、中山大學、廣州外國語學院等著名學府。著述廣及詩歌創作、中外文學翻譯和文藝批評，在中國二十世紀文學史上留下深刻印記。

【Excerpt】
羅丹未成名前是孤零的。榮譽來了，他也許更孤零了吧。因為榮譽不過是一個新名字四周發生的誤會的總和而已。
關於羅丹的誤會很多，要解釋起來是極困難的事。而且，這是不必要的；它們所包圍的，只是他的名字，而決不是那超出這名字範圍的作品。這作品已經成為無名的了，正如一片平原是無名的，或者像大海一樣在地圖上、典籍裡和人類心目中才有名號，而實際上只是一片汪洋、波動與深度而已。
我們將要在這裡論及的作品已經生長有年，而且還一天天長大起來，像一座森林一般，片刻也不停息。我們穿插於千百件作品中，心悅誠服於那層出不窮的發現與創造……
Rodin was solitary before he was famous. And fame, when it arrived, made him perhaps even more solitary. For in the end fame is no more than the sum of all the misunderstandings that gather around a new name.
There are many of these around Rodin, and clarifying them would be a long, arduous, and ultimately unnecessary task. They surround the name, but not the work, which far exceeds the resonance of the name, and which has become nameless, as a great plain is nameless, or a sea, which may bear a name in maps, in books, and among people, but which is in reality just vastness, movement, and depth.
The work of which we speak here has been growing for years. It grows every day like a forest, never losing an hour. Passing among its countless manifestations, we are overcome by the richness of discovery and invention, and we can’t help but marvel at the pair of hands from which this world has grown. We remember how small human hands are, how quickly they tire and how little time is given them to create.

地獄之門 (1880-1917)
La Porte de lEnfer
(石膏)

他把一切太孤零不能隸屬於這偉大的整體的，一切不是這和諧所絕對需要的，通通刪掉；他讓那些人物和隊伍自己找尋它們的地位，他靜心觀察他手創的人物的生命，他側耳傾聽每個人的意志，然後一一成全它們。於是這門上的宇宙漸漸浮現出來。它那擁擠著雕塑的形象的面開始勃然有生氣：帶著漸漸柔化的陽紋，門右的人物的騷動像人聲般熄滅下去。在門的外框，無論哪方面都是飛升，向上拉、向上抽的動；反之，那兩扇門卻是下降，向下滑，向下崩潰。
He excluded everything that was too solitary to submit to the great totality, everything that wasn’t entirely necessary in this context. He let the figures and groups find their own places; he observed the life of the people he had created, listening and letting them all act according to their own will. This is the way the world of these Gates gradually came about. Its surfaces, to which the sculpted forms would be attached, began to come to life. The agitation of the figures melted into the surface in reliefs of decreasing depth. Within the frame there is an upward motion from both sides, a pulling- and lifting-up, while the dominant motion on the wings of the gate is a falling glide and rush.

冥思 (1881-1905)
La Méditation
(石膏)

從來未有一個人體那麼集中在它最親切的部分的周圍，那麼馴服於自己的靈魂，而又給自己富於彈力的血液所挽留的。在這深深地向側面的軀體上面，頸脖怎樣微微舉起，伸拓，和支持那傾聽著的頭兒高出生命的遙遠濤聲之上，在我們心靈裡喚起那宏大透徹的感應，我們簡直不能想起一個更驚心動魄，更內在的姿勢。
Never before has the human body been so concentrated around its interior, so shaped by its own soul and yet restrained by the elastic power of its blood. And the way the neck rises ever so slightly, stretching to hold the listening head above the distant rush of life, is so impressive and deeply felt that one has a difficult time remembering a gesture as moving or expressive.

思想者 (1881)
Le Penseur
(青銅)

前面，在靜鎖著的空間裡，是《思想者》(Le Penseur) 的雕像，一個因為深思的緣故，徹悟了這整個光景的宏偉和恐怖的人的雕像。他坐著，凝神而且緘默，腦中載著無數的形象和思想，而他的全部力量 (那是一個行動者的力量) 都在沉思著。他全身都是頭腦，血管裡的血液就是腦漿。

In front of this, set within the enclosed stillness of the space, is the figure of Le Penseur, the man who sees the enormity and vast horror of the scene because he thinks it. He sits in mute absorption, heavy with pictures and thoughts, and all his strength (which is the strength of a man of action) goes into this thinking. His whole body has become a skull, all the blood in his veins a brain.

康復的女人 (1892)
La Convalescente
(大理石)

可是，另外還有一物：一副帶著痛楚的手的靜默的面孔；而這石膏具有那麼透明的白色，只有在羅丹的工具下才受理的。在台座上，我看見這幾個字，而且已經被抹掉了:《康復的女人》。現在呢，我四周只有些新的未完成的作品，沒有名字，它們正在蛻變中；它們只是昨天和前天才開始做，或者已經做了好些年了；但它們和其他一樣無憂無慮。它們並不計較。

And here beside me is another thing, a quiet face attached to a suffering hand. The plaster has that transparent whiteness that can only be imparted by Rodin’s tools. And on the stand, written and then crossed out again – Convalescente. And then I find myself among new, nameless things in progress; they were begun yesterday or the day before, or even years ago, but they have the same equanimity as the others. They don’t keep track of time.

(Translated by Daniel Slager)

( 知識學習｜隨堂筆記 )