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| 2014/11/04 20:34:45瀏覽184｜回應0｜推薦9 | |
| 【書摘】在少女們身旁—貝戈特 (About Bergotte) 7 À cet égard il y avait plus d’intonations, plus d’accent, dans ses livres que dans ses propos ; accent indépendant de la beauté du style, que l’auteur lui-même n’a pas perçu sans doute, car il n’est pas séparable de sa personnalité la plus intime. C’est cet accent qui, aux moments où, dans ses livres, Bergotte était entièrement naturel, rythmait les mots souvent alors (l’édition Gallimard, Paris, 1946-47) 從這一點來看，他的作品比話語具有更多的音調變化，更多的語氣。這語氣獨立於文體美之外，與作者最深沉的個性密不可分，因此他本人可能並不察覺。當貝戈特在作品中暢敘心懷時，正是這個語調使他所寫的、當時往往無足輕重的字眼獲得了節奏。這些語調在作品中並未標明，也沒有任何記號，然而，它們卻自動地附在詞句之上（詞句只能以這種方式來誦讀），它們是作者身上最短暫而又最深刻的東西，而且它們將成為作者本質的見證，以說明作者的溫柔（儘管他往往出言不遜）和溫情（儘管好色）。 (p.121 追憶似水年華 II 在少女們身旁 聯經版 1992) 就這一點而言，他的文章比他的說括更頓挫有致，更有語調感：這種無關文體美的語調，與最隱密的自我密不可分，因而作者本人也未必意識得到。當貝戈特在寫作中進人自山揮灑的境界時，正是這種語調使他筆下那些看似毫無意義的詞句有了節奏的律動。這種語調在文章中並未特地註明，全無標記可尋，然而它是詞句所固有的，你不能換一種方式去讀這些詞句，這是作家身上稍縱即逝卻又最深刻的東西，它印證了他的真性情，我們能透過峻刻的筆觸看到內心的溫柔，透過佻薄的行文看到細膩的情感。 (p.129 追尋逝去的時光 II 在少女花影下 上海譯文版 周克希譯 2004) In this respect, there were more intonations, there was more accent in his books than in his talk; an accent independent of the beauty of style, which the author himself has possibly not perceived, for it is not separable from his most intimate personality. It was this accent which, at the moments when, in his books, Bergotte was entirely natural, gave a rhythm to the words—often at such times quite insignificant—that he wrote. This accent is not marked on the printed page, there is nothing there to indicate it, and yet it comes of its own accord to his phrases, one cannot pronounce them in any other way, it is what was most ephemeral and at the same time most profound in the writer, and it is what will bear witness to his true nature, what will say whether, despite all the austerity that he has expressed he was gentle, despite all his sensuality sentimental. (Translated by C. K. Scott Moncrieff) In that sense, one could hear in his books more intonations and more accent than in his speech; for this is an accent which is unrelated to the beauty of a style, which a writer himself may not even have noticed, as it is inseparable from his most private self. This was the accent which always marked its rhythm in the words Bergotte wrote when he was being entirely natural, however insignificant in themselves such words might be. It is an accent marked by no sign on the page, indicated by nothing in the text; and yet it clings to the sentences, which cannot be spoken in any other way; it was the most ephemeral hut the most profound thing in the writer, the thing which will bear definitive witness to his nature, which will enable one to tell whether, despite all the harsh things he uttered, he was a gentle man, whether, despite all the sensuality, he was a man of sentiment. (Translated by James Grieve) |
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| ( 知識學習｜隨堂筆記 ) |
