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| 2016/07/20 19:09:59瀏覽331｜回應0｜推薦13 | |
| 【書摘】在少女們身旁—與少女們的情誼 (Friendship with Girls) 11 Bien entendu, cette fidélité aux impressions premières, et purement physiques, retrouvées à chaque fois auprès de mes amies, ne concernait pas que les traits de leur visage puisqu’on a vu que j’étais aussi sensible à leur voix, plus troublante peut-être (car elle n’offre pas seulement les mêmes surfaces singulières et sensuelles que lui, elle fait partie de l’abîme inaccessible qui donne le vertige des baisers sans espoir), leur voix pareille au son unique d’un petit instrument, où chacune se mettait tout entière et qui n’était qu’à elle. Tracée par une inflexion, telle ligne profonde d’une de ces voix m’étonnait quand je la reconnaissais après l’avoir oubliée. Si bien que les rectifications qu’à chaque rencontre nouvelle j’étais obligé de faire, pour le retour à la parfaite justesse, étaient aussi bien d’un accordeur ou d’un maître de chant que d’un dessinateur. (l’édition Gallimard, Paris, 1946-47) 當然，此種對初次印象的忠實，而且純粹是外表方面的印象，每次在我的女友們身邊都重新得到修正的這些印象，並不僅僅與她們面部五官有關係，諸位讀者已經看到，我對她們的嗓音也同樣敏感。說不定她們的嗓音更叫人心慌意亂 (因為嗓音不僅僅提供了與面龐同樣的特殊而又官能性的表面，它還是不可企及的深淵的組成部份，使人產生無望的親吻那種頭暈目眩)。她們的嗓音猶如一件小小樂器的單音，每種聲音都全力以赴，卻又只屬於它自己。哪個嗓音，我已將它遺忘，當哪一種抑揚頓挫又將它勾畫出來，我又辨認出這嗓音時，它的某一深曲線又叫我驚異。就這樣，每次相見，我不得不進行校正以便回到完全準確上去，就和調音師、音樂教師或製圖員進行的校正一樣。 (p.536 追憶似水年華 II 在少女們身旁 聯經版 1992) 當然，讓我如此執著的那些最初的，純然是外表特徵的，每次與這些女友相遇都會重溫的印象，並不僅僅與她們臉部的輪廓線條有關，讀者想必已經看到，我對她們的嗓音同樣也很敏感，說不定它還更讓我威到困惑 (因為嗓音不僅讓我想到跟面容一樣獨特而性感的一些表面，而且讓我依稀看到了一個無底的深淵，其中充滿著無法實現的吻的誘惑)，她們每個人的嗓音猶如一件小樂器獨有的樂音，它的音色充分表現了她的特徵，而且只有她才能發出這樣的樂音。這樣的嗓音抑揚頓挫勾勒出動人心弦的聲線，當我在業已將它忘懷之後重又認出它的時候，每次我都感到非常驚訝。因而，我在每次和這些少女見面時，為求完全準確而不得不進行的校正，就使我不僅像一個調音師或聲樂教師；而且像一個製圖員。 (p.308~309 追尋逝去的時光 II 在少女花影下 第二部 上海譯文版 周克希譯 2004) It is understood, of course, that this loyalty to the first and purely physical impressions which I formed afresh at each encounter with my friends did not involve only their facial appearance, since the reader has seen that I was sensible also of their voices, more disquieting still, perhaps (for not only does a voice offer the same strange and sensuous surfaces as a face, it issues from that unknown, inaccessible region the mere thought of which sets the mind swimming with unattainable kisses), their voices each like the unique sound of a little instrument into which the player put all her artistry and which was found only in her possession. Traced by a casual inflexion, a sudden deep chord in one of their voices would astonish me when I recognised after having forgotten it. So much so that the corrections which after every fresh meeting I was obliged to make so as to ensure absolute accuracy were as much those of a tuner or singing-master as a draughtsman’s. (Translated by C. K. Scott Moncrieff) Of course, this fidelity to first impressions, the purely physical ones, which I reencountered each time I saw the girls, was an effect not just of their facial features, since, as has been seen, I was also responsive to their voices (more responsive perhaps, for the voice not only offers the same singular and sensual surfaces as the facial features, it belongs to those unplumbable depths tempting us to the vertiginous peril of impossible kisses), in each of which sounded the unique note of a little instrument utterly expressive of its owner arid playable by no one but her. A dark line in any of their voices, drawn by one of their intonations, surprised me each time I recognized it again, after having forgotten it, And the corrections I had to make, on each new occasion, so as to retrieve perfect accuracy, were as much those required of a tuner or a singing teacher as of a draftsman. (Translated by James Grieve) |
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| ( 知識學習｜隨堂筆記 ) |
