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【書摘】蓋爾芒特家那邊—蓋爾芒特夫人與親王夫人 (Duchesse de Guermantes V.S. Princess de Guermantes) 5
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【書摘】蓋爾芒特家那邊蓋爾芒特夫人與親夫人 (Duchesse de Guermantes V.S. Princess de Guermantes) 5
Mme de Cambremer essayait de distinguer quelle sorte de toilette portaient les deux cousines. Pour moi, je ne doutais pas que ces toilettes ne leur fussent particulières, non pas seulement dans le sens où la livrée à col rouge ou à revers bleu appartenait jadis exclusivement aux Guermantes et aux Condé, mais plutôt comme pour un oiseau le plumage qui n’est pas seulement un ornement de sa beauté, mais une extension de son corps. La toilette de ces deux femmes me semblait comme une matérialisation neigeuse ou diaprée de leur activité intérieure, et, comme les gestes que j’avais vu faire à la princesse de Guermantes et que je n’avais pas douté correspondre à une idée cachée, les plumes qui descendaient du front de la princesse et le corsage éblouissant et pailleté de sa cousine semblaient avoir une signification, être pour chacune des deux femmes un attribut qui n’était qu’à elle et dont j’aurais voulu connaître la signification : l’oiseau de paradis me semblait inséparable de l’une, comme le paon de Junon ; je ne pensais pas qu’aucune femme pût usurper le corsage pailleté de l’autre plus que l’égide étincelante et frangée de Minerve. Et quand je portais mes yeux sur cette baignoire, bien plus qu’au plafond du théâtre où étaient peintes de froides allégories, c’était comme si j’avais aperçu, grâce au déchirement miraculeux des nuées coutumières, l’assemblée des Dieux en train de contempler le spectacle des hommes, sous un velum rouge, dans une éclaircie lumineuse, entre deux piliers du Ciel.
(l’édition Gallimard, Paris, 1946-47)

康布林梅夫人試圖區分這對堂妯娌的服飾。而我並不懷疑她們的服飾是她們所特有的,就像從前紅領或藍翻邊的制服專門屬於蓋爾芒特家和孔代家的僕役一樣,或者,打個更貼切的比方,就像鳥的羽毛,不僅是美的裝飾品,而且是身軀的外延部分。在我看來,這兩個女人的服飾是她們內心活動的具體體現,或白衣素服,或五光十色,絢麗多彩;我認為我所看到的蓋爾芒特親夫人的一舉一動,都受到一個隱秘的思想支配,而從她的額頭垂下的羽毛和她堂嫂那件光輝閃爍的裙上衣,似乎也都包含著一種意義,是這兩個女人各自的象徵。我很想瞭解這些特徵的意義;我覺得天國的神鳥似乎和她們當中的一個不可分離,就像孔雀和朱諾永遠緊緊相依;而另一個的飾有金銀箔的裙上衣,如同米涅瓦的飾有流蘇、閃閃發光的神盾,絕對不可能被任何別的女人侵佔。劇場的天花板上畫滿了平淡乏味的寓意畫,我寧願看蓋爾芒特親夫人的正廳包廂,也不願意往天花板上瞧一眼。當我舉眸凝望她這間包廂的時候,層層疊疊的雲霧奇跡般地裂開,我從雲隙中仿佛看見天神們聚集在天國的兩根柱子中間,在一塊紅色的頂篷下凝神觀看凡人的表演,周圍雲霧繚繞,唯有他們的所在地露出了一塊金光燦燦的晴空。
(p.56~57
追憶似水年華 III蓋爾芒特家那邊 聯經版 1992)

Mme. de Cambremer was trying to make out how exactly the cousins were dressed. For my own part, I never doubted that their garments were peculiar to themselves, not merely in the sense in which the livery with red collar or blue facings had belonged once exclusively to the houses of Guermantes and Condé, but rather as is peculiar to a bird the plumage which, as well as being a heightening of its beauty, is an extension of its body. The toilet of these two ladies seemed to me like a materialisation, snow-white or patterned with colour, of their internal activity, and, like the gestures which I had seen the Princesse de Guermantes make, with no doubt in my own mind that they corresponded to some idea latent in hers, the plumes which swept downward from her brow, and her cousin’s glittering spangled bodice seemed each to have a special meaning, to be to one or the other lady an attribute which was hers and hers alone, the significance of which I would eagerly have learned; the bird of paradise seemed inseparable from its wearer as her peacock is from Juno, and I did not believe that any other woman could usurp that spangled bodice, any more than the fringed and flashing aegis of Minerva. And when I turned my eyes to their box, far more than on the ceiling of the theatre, painted with cold and lifeless allegories, it was as though I had seen, thanks to a miraculous rending of the clouds that ordinarily veiled it, the Assembly of the Gods in the act of contemplating the spectacle of mankind, beneath a crimsor canopy, in a clear lighted space, between two pillars of Heaven.
(Translated by C. K. Scott Moncrieff)

Mme de Cambremer was trying to distinguish how the two cousins were dressed. Personally, I had no doubt that their manner of dressing was peculiar to themselves, not merely in the sense that livery with red collar or blue lapels had once been peculiar to the houses of Guermantes and Condé, but, rather, as for a bird, whose plumage is not some added adornment of its beauty but an extension of its body. The way the two women dressed seemed to me like the snow-white or the many-colored materialization of their inner worlds and, like the gestures I had seen the Princesse de Guermantes make, and which, I assumed, corresponded to some hidden motivation, the feathers that hung down from her forehead and the dazzling, sequined bodice of her cousin seemed to have a particular significance and to represent for each of the women an attribute which was hers alone, the meaning of which I should have liked to know; the bird of paradise seemed to be as inseparable from one of them as the peacock is from Juno; I did not believe that any other woman could usurp the sequined bodice of the other any more than the fringed and shining shield of Minerva. And when I looked over toward their box, far more than on the ceiling of the theater, which was painted with lifeless allegories, it was like seeing, thanks to some miraculous break in the customary clouds, the assembly of the Gods contemplating the spectacle of mortals, beneath a red canopy, in a clear patch of light, between two pillars of heaven.
(Translated by Mark Treharne)

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