【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 2-2
Les bras de la Berma que les vers eux-mêmes, de la même émission par laquelle ils faisaient sortir sa voix de ses lèvres, semblaient soulever sur sa poitrine, comme ces feuillages que l’eau déplace en s’échappant ; son attitude en scène qu’elle avait lentement constituée, qu’elle modifierait encore, et qui était faite de raisonnements d’une autre profondeur que ceux dont on apercevait la trace dans les gestes de ses camarades, mais de raisonnements ayant perdu leur origine volontaire, fondus dans une sorte de rayonnement où ils faisaient palpiter, autour du personnage de Phèdre, des éléments riches et complexes, mais que le spectateur fasciné prenait, non pour une réussite de l’artiste mais pour une donnée de la vie ; ces blancs voiles eux-mêmes, qui, exténués et fidèles, semblaient de la matière vivante et avoir été filés par la souffrance mi-païenne, mi-janséniste, autour de laquelle ils se contractaient comme un cocon fragile et frileux...
(l’édition Gallimard, Paris, 1946-47)
貝瑪的聲音被詩句送出她的嘴唇，同樣，她的雙臂似乎也被詩句輕輕舉到胸口，就像那些樹葉，被溢出的水推著移動位置；她那逐步形成的而且還在不斷完善的舞台風姿都一一經過仔細推敲，她一舉一動的道理和其他演員隱約可見的動作的道理有著不同的深度。她的道理不再受意志的控制，而是融於菲德爾這個人物發出的豐富而複雜的顫抖的光輝之中，入迷的觀眾竟不把它們看作藝術家的一大成就，而是生活中的一個事實。而那些白麵紗，疲倦不堪，忠心耿耿，仿佛是有生命的物質，由半異教半揚申派的痛苦編織而成，像一隻嬌弱而又怕冷的蠶繭，在這痛苦周圍收縮。
(p.47 追憶似水年華 III蓋爾芒特家那邊 聯經版 1992)
Berma’s arms, which the lines themselves, by the same dynamic force that made the words issue from her lips, seemed to raise on to her bosom like leaves disturbed by a gush of water; her attitude, on the stage, which she had gradually built up, which she was to modify yet further, and which was based upon reasonings of a different profundity from those of which traces might be seen in the gestures of her fellow-actors, but of reasonings that had lost their original deliberation, and had melted into a sort of radiance in which they sent throbbing, round the person of the heroine, elements rich and complex, but which the fascinated spectator took not as an artistic triumph but as a natural gift; those white veils themselves, which, tenuous and clinging, seemed to be of a living substance and to have been woven by the suffering, half-pagan, half-Jansenist, around which they drew close like a frail, shrinking chrysalis…
(Translated by C. K. Scott Moncrieff)
La Berma’s arms, which the lines of verse themselves, with the same force that they used to project her voice from her lips, seemed to raise to her breast like branches displaced by rushing water; her stage presence, which she had gradually developed, which she was to modify still further, and which was based upon motivations that were anchored in something quite different from those that could be glimpsed in the gestures of her fellow actors, but motivations that had lost their initial self-consciousness, melted into a kind of radiance, and set throbbing around the character of Phèdre rich and complex elements which the fascinated spectator took not for accomplished acting but for real life; those white veils themselves, exhausted and faithful, which seemed to be made of a living substance and to have been spun by the half-pagan, half-Jansenist suffering around which they clung like a frail and shrinking cocoon…
(Translated by Mark Treharne)
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