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| 2016/08/30 06:03:53瀏覽472｜回應0｜推薦14 | |
| 【書摘】蓋爾芒特家那邊—蓋爾芒特之名 (The Name of Guermantes) 2 Alors le Nom, sous les repeints successifs duquel nous pourrions finir par retrouver à l’origine le beau portrait d’une étrangère que nous n’aurons jamais connue, n’est plus que la simple carte photographique d’identité à laquelle nous nous reportons pour savoir si nous connaissons, si nous devons ou non saluer une personne qui passe. Mais qu’une sensation d’une année d’autrefois – comme ces instruments de musique enregistreurs qui gardent le son et le style des différents artistes qui en jouèrent – permette à notre mémoire de nous faire entendre ce nom avec le timbre particulier qu’il avait alors pour notre oreille, et ce nom en apparence non changé, nous sentons la distance qui sépare l’un de l’autre les rêves que signifièrent successivement pour nous ses syllabes identiques. (l’édition Gallimard, Paris, 1946-47) 名字不過是一張有照片的普通身分證，如果迎面走來一個人，我們就看一看這張身分證，好弄清楚我們認不認識這個過路人，該不該同他打招呼；名字經過我們一次又一次的想像而變了樣，但是，我們還能發現一個我們素不相識的女人的原始倩影。但是，儘管從前某年所產生的某種感覺，會像那些能保留不同藝術家的聲音和風格的自動錄音器那樣，使這個名字在我們記憶中重現，使我們重新聽見這個名字，而且聽上去仍然是從前的聲音，表面上沒有什麼變化，但是，我們仍能感覺得到，相同的聲音在我們身上引起的一連串夢幻已經不相同了。 (p.5 追憶似水年華 III蓋爾芒特家那邊 聯經版 1992) Then the Name, beneath our successive ‘restorations’ of which we may end by finding, as their original, the beautiful portrait of a strange lady whom we are never to meet, is nothing more than the mere photograph, for identification, to which we refer in order to decide whether we know, whether or not we ought to bow to a person who passes us in the street. But let a sensation from a bygone year—like those recording instruments which preserve the sound and the manner of the various artists who have sung or played into them—enable our memory to make us hear that name with the particular ring with which it then sounded in our ears, then, while the name itself has apparently not changed, we feel the distance that separates the dreams which at different times its same syllables have meant to us. (Translated by C. K. Scott Moncrieff) So the Name, beneath the successive retouching that might eventually lead us to discover the original handsome portrait of an unknown woman we have never met, becomes no more than the mere photograph on an identity card to which we refer when we need to decide whether we know, whether or not we should acknowledge a person we encounter. But should a sensation from the distant past－like those musical instruments that record and preserve the sound and style of the various artists who played them－enable our memory to make us hear that name with the particular tone it then had for our ears, even if the name seems not to have changed, we can still feel the distance between the various dreams which its unchanging syllables evoked for us in turn. (Translated by Mark Treharne) |
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| ( 知識學習｜隨堂筆記 ) |
