【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 2-3 - Notes of a Proustian

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【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 2-3

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【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 2-3
...tout cela, voix, attitudes, gestes, voiles, n’étaient, autour de ce corps d’une idée qu’est un vers (corps qui, au contraire des corps humains, n’est pas devant l’âme comme un obstacle opaque qui empêche de l’apercevoir mais comme un vêtement purifié, vivifié où elle se diffuse et où on la retrouve), que des enveloppes supplémentaires qui, au lieu de la cacher, rendaient plus splendidement l’âme qui se les était assimilées et s’y était répandue, que des coulées de substances diverses, devenues translucides, dont la superposition ne fait que réfracter plus richement le rayon central et prisonnier qui les traverse et rendre plus étendue, plus précieuse et plus belle la matière imbibée de flamme où il est engainé. Telle l’interprétation de la Berma était, autour de l’oeuvre, une seconde oeuvre vivifiée aussi par le génie.
(l’édition Gallimard, Paris, 1946-47)

所有這一切，聲音，風姿，動作，面紗，環繞在一個思想，即一句詩這個軀體周圍，而這個軀體與人體不同，不是不透明的起障礙作用的物質，而是一件純淨的超塵脫俗的衣服。它們不過是外加的包皮，不但沒有遮住靈魂，反而使它更加燦爛，而靈魂把它們吸收，並在它們中間散發。它們不過是半透明物質的溶岩流，層層疊疊，使穿透它們而受到阻礙的那束中心光柱折射出越來越富麗的光芒，並使被包在光柱外面的火焰滲透了的物質散發得更廣、變得更珍貴、更美麗。這就是拉貝瑪對作品的表演。她的天才賦予作品以生命，並且創造了第二部作品。
(p.47 追憶似水年華 III蓋爾芒特家那邊聯經版 1992)

…all of them, voice, attitude, gestures, veils, were nothing more, round this embodiment of an idea, which a line of poetry is (an embodiment that, unlike our human bodies, covers the soul not with an opaque screen which prevents us from seeing it, but with a purified, a quickened garment through which the soul is diffused and we discover it), than additional envelopes which instead of concealing shewed up in greater splendour the soul that had assimilated them to itself and had spread itself through them, than layers of different substances, grown translucent, the interpolation of which has the effect only of causing a richer refraction of the imprisoned, central ray that pierces through them, and of making more extensive, more precious and more fair the matter purified by fire in which it is enshrined. So Berma’s interpretation was, around Racine’s work, a second work, quickened also by the breath of genius.
(Translated by C. K. Scott Moncrieff)

…all these, voice, stage presence, gestures, veils, around that embodiment of an idea represented by a line of poetry (an embodiment that, unlike human bodies, does not stand in the way of the soul like an opaque obstacle that prevents us from seeing it, but is there like a purified, vitalized garment in which the soul is diffused and can be discovered), were merely additional coverings that, instead of concealing, revealed the greater splendor of the soul that bad assimilated and spread itself through them, like lava flows of different substances, turned translucent, superimposed upon each other only to refract the more richly the imprisoned, central ray of light that shines through them, and to render more far-reaching, more precious, and more beautiful the flame-drenched matter in which it is sheathed. So La Berma’s interpretation was, around Racine work, a second work, it, too, enlivened by genius.
(Translated by Mark Treharne)

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