【書摘】蓋爾芒特家那邊—拉貝瑪 (About la Berma) 5-2
Mais la Berma faisait pourtant entrer les mots, même les vers, même les « tirades », dans des ensembles plus vastes qu’eux-mêmes, à la frontière desquels c’était un charme de les voir obligés de s’arrêter, s’interrompre ; ainsi un poète prend plaisir à faire hésiter un instant, à la rime, le mot qui va s’élancer et un musicien à confondre les mots divers du livret dans un même rythme qui les contrarie et les entraîne. Ainsi dans les phrases du dramaturge moderne comme dans les vers de Racine, la Berma savait introduire ces vastes images de douleur, de noblesse, de passion, qui étaient ses chefs-d’oeuvre à elle, et où on la reconnaissait comme, dans des portraits qu’il a peints d’après des modèles différents, on reconnaît un peintre.
(l’édition Gallimard, Paris, 1946-47)
然而，拉貝瑪把詞、詩句，甚至把「長篇獨白」都揉進比它們自身更大的體系中，看到它們不得不在這些體系的邊緣停留，我們會心醉神迷；正如詩人選詞時先要考慮到韻腳，音樂家寫歌詞時要把一句句台詞納入同一個旋律中，既束縛它們，又帶動它們。因此，拉貝瑪善於把痛苦、高雅和激情這些宏偉的形象揉進現代戲劇的台詞中，就像把它們揉進拉辛的詩句中一樣，而這些形象正是她獨特的創造，一看便知道是她的傑作，正如在一個畫家根據不同的模特兒畫成的肖像上，人們能夠認出是同一個畫家的作品。
(p.51 追憶似水年華 III蓋爾芒特家那邊 聯經版 1992)
But Berma at the same time made her words, her lines, her whole speeches even, flow into lakes of sound vaster than themselves, at the margins of which it was a joy to see them obliged to stop, to break off; thus it is that a poet takes pleasure in making hesitate for a moment at the rhyming point the word which is about to spring forth, and a composer in merging the various words of his libretto in a single rhythm which contradicts, captures and controls them. Thus into the prose sentences of the modern playwright as into the poetry of Racine Berma managed to introduce those vast images of grief, nobility, passion, which were the masterpieces of her own personal art, and in which she could be recognised as, in the portraits which he has made of different sitters, we recognise a painter.
(Translated by C. K. Scott Moncrieff)
But La Berma also integrated the words, the lines, and even whole speeches into ensembles that were vaster than themselves, at the margins of which it was magical to see them obliged to stop, to break off; in the same way, a poet will delight in momentarily delaying at the rhyme break the next word to come, and a composer in merging the various words of the libretto into a single rhythm which both runs counter to them and carries them along. Thus, into the prose of the modern playwright as into the verse of Racine, La Berma had the ability to introduce those vast images of suffering, nobility, and passion that were her personal masterpieces, and which bore her hallmark in the same way as the portraits a painter has made of different sitters.
(Translated by Mark Treharne)
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