天涯小站 2.0

 找回密码
 注册
搜索
查看: 4768|回复: 52

普鲁斯特如是说 (translated by Reader86)

[复制链接]
发表于 2020-8-22 11:45:33 | 显示全部楼层 |阅读模式
本帖最后由 Reader86 于 2022-3-2 11:14 PM 编辑

普鲁斯特如是说

我告诉自己,我有一个好朋友;有一个好朋友是一件不可多得的事情,我欣赏,当我们感到围绕我们周围的是难以获得的财富,这些恰恰与我自然地得到的愉悦相反,与从我自身升华出来的愉悦,与把我内心幽暗处隐藏着的事物带到光明之处的愉悦相反。如果我花上两、三个小时和圣卢聊天,他表达很赞赏我对他说的话,我会感到某种后悔、遗憾、或者厌倦、觉得不如他让我一个人独处,最终开始写作。

但是我又想到,一个人所获智力并不仅仅为了自己受益,即使最伟大的人也渴望被人欣赏,几个小时之中,我在朋友的心中建构了自己高尚的形象,我不能把这段时间视为浪费。我轻而易举地说服了自己,认为应该为这个结果而感到高兴,正因为我没有意识到这种幸福,我更急切地希望我永远不要被剥夺这种幸福。

比起其它东西,我们更担心失去我们想得到而不能得到的“财富”,因为我们的心田里面还不曾有它们的存在。我感到自己能够比大多数人更好地示范友情的美德,因为我总是把朋友的利益放在我个人的利之上,我并不太在意这些个人利益,而其他人极为关心。另外,我们每个人的本性之间都有差异,感到我的本性与他人的本性之间的差距不但没有扩大,反而会消失,这个感觉不会让我感到快乐。


喜欢普鲁斯特是因为他说的话很揭露本质,在心理学中可以找到对应的理论,我很欣赏。

过去翻译这段,觉得很合意。今天终于找出来了。


https://www.douban.com/group/topic/189382940/气传信


https://archive.org/details/InSearchOfLostTimeCompleteVolumes
回复

使用道具 举报

 楼主| 发表于 2020-9-1 11:14:55 | 显示全部楼层
本帖最后由 Reader86 于 2020-9-1 12:39 PM 编辑

“令人愉快的来客走了,我多么伤心难过,你是知道的。该死的一车人走了,他们让我又受拘束、又厌烦的;我又多么心花怒放,你也知道。正因为如此,我们认定:比起令人愉快的客人来,更希望来令人讨厌的客人。”

读了这个让我笑了。

哎,塞维尼夫人您是不是太sharp了。少说一些不行吗?
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-4 12:37:50 | 显示全部楼层
我年纪还不大,而且十分敏感,仍然没有挣脱讨人欢喜,征服人心的欲望。也没有获得一种更高贵的,一种上流社会男人应该具有的,漠不关心的态度来对待那些和他在同一餐厅吃饭的人,或者那些经过窗户的青年男女;一想到我不能够和他们一起郊游我就感到难受;我外祖母对社交俗套很轻蔑,除了我的健康,没有她关心的,如果她向他们提出要他们接受我作为伙伴,我听到的话,我会感到羞耻,这种情况会比前面那种让我更难过。不论他们回到对我陌生的别墅去也好,手执球拍出来到网球场去也好,骑马也好(马蹄会踩在我的心上,撕扯我的心),在海滩上,在让人眼花缭乱、改变社会等级的阳光里,我总是怀着热切的好奇望着他们;阳光透过大湾窗一拥而进,我穿过透明的玻璃,注视着他们的每一个动作。湾窗截住了风,对我外祖母是个遗憾,因为她不能忍受我损失了受益于被海风吹拂一个小时,就偷偷打开一扇窗。呼啦一下,风吹走了菜单,也吹走了正在邻桌用午餐人们的报纸、面纱和遮阳帽。可外祖母自己,有天堂吹来的香气支持,在一片谴责声中,依然像布兰迪娜圣女57一样镇定,面带微笑;在责骂的洪流中,那些傲慢、披头散发、怒气冲冲的游客站在一块儿对付我们,让我感到更加孤独和悲惨。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-13 16:33:28 | 显示全部楼层
本帖最后由 Reader86 于 2020-9-15 02:48 PM 编辑



Le Cercle de la Rue Royale

公爵,侯爵,亲王……右面第一就是斯万先生的原型: Charles Haas,没有爵位。




Français : Tableau en cours d'acquisition par le Musée d'Orsay à Paris.

Identification de gauche à droite :

Comte de La Tour-Maubourg,
Marquis de Lau,
Comte de Ganay,
Comte de Rochechouart,
C. Vansittant,
Marquis de Miramon,
Baron Hottinguer qui sera désigné propriétaire du tableau par tirage au sort,
Marquis de Ganay,
Gaston de Saint-Maurice,
Prince de Polignac,
Marquis de Gallifet
Charles Haas
(Musée d'Orsay : James Tissot, Le Cercle de la rue Royale)

回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-14 12:04:22 | 显示全部楼层
本帖最后由 Reader86 于 2020-9-14 10:49 PM 编辑

斯万不是贵族出身,而且还是犹太裔,但是因为父亲做股票很成功,他继承很多钱,整天在上流社会的贵族中混。被接受进入坐落在巴黎皇街一号,高雅华丽建筑(上面照片)之内的贵族俱乐部。

但是他没有一颗贵族的心。看上一个交际花(高级妓女)奥黛特,与她结了婚。

分析为什么普鲁斯特要写这个人物(他的故事占很大篇幅,贯穿整本书),体现了什么?有很多points,但斯万为什么和奥黛特结婚有一点儿,就是他没有一颗贵族的心,虽然除了心,一切都已经贵族化了。

斯万的女儿最后和圣卢结婚,也是因为圣卢是个大贵族出身,却是社会主义者(世纪末,fin du siècle,共产主义的幽灵在欧洲非常时尚),也没有一颗贵族的心,他曾衷心爱着的情妇是个三流演员, 在贵族的party上常常出洋相,让人嘲笑。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-14 22:42:43 | 显示全部楼层
不管我怎么说,我生来就是为了享受心田的愉快;关于以后我可能取得的成就这个方面,贝戈特说过话(他自己明确地说过),让我重新感到了每一天都被乏味变成失望的希望,现在,我每天一坐到写字前,开始写一篇评论文章或一部小说14,便感到这种乏味。“毕竟,”我心中暗想,“很可能写一本小说时,作者体验到快乐并非是判断一页文字文学价值的可靠标准。可能这种快乐常常附加在价值上的次要方面,而缺乏这种快乐并不能预先判断文章没有价值。也许某些杰作就是打着哈欠写出来的。”外祖母打消了我的疑惑,她说,只要我健康状况好起来时,我就能够写,而且会愉快地写。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-16 11:47:34 | 显示全部楼层
不管镇上的房屋遮住与部分海港,旱坞,或可能是海自己冲进陆地,巴尔贝克一带常常有这种景色。城市建造在海角的另一边,房顶上露出桅杆就像房顶上露出烟囱或教堂的钟楼一样;桅杆又使得它们所在的船只具有城市特色,在陆地上修建起来的,这个印象又被其它沿防波堤停靠的船只加强,那样船只密密麻麻挤在一起,人民竟然可以站在这只与另一只船上的人聊天,而分辨不出分割他们的界线,也分辨不出他们之间的水域,这捕鱼的船队看起来并不在海中;而克里克贝克的教堂从远处望去,四面被水包围,因为人们看不见城镇;在粉状的暮色和撞碎的海浪中,教堂好像从水中钻出来一般,宛如雪花石或泡沫吹出来的,围在富有诗意的彩虹腰带里面,构成一幅不真实而又有神秘色彩的图画。海滩上,画家对前景的安排让读画的人们在陆地和大洋之间辨认不出固定的边界,绝对的分界线。几个人物正在把船只推向海中,他们既在海浪中奔跑,也在沙滩上奔跑。沙中有水,映照着船体,似乎船已经下水了。海水也不是平平地往上涨,而是沿着着海岸的曲线,这个景象的透视使得海岸看起来更远,一艘在茫茫大海上行驶的船只,被军舰修造厂工程的投影掩住了一半,竟像在城市中航行了;在岩石中拾麻虾的妇女,因为四周都是水,又由于她们被阻挡在环形岩石的后面,把海滩(在最接近陆地的这端)降到了海平面上;因此她们看起来像在水下的洞穴里,船只和海浪悬挂在洞口,洞口开着,在潮汐扑来的道上,但因为潮汐奇迹般地转换了方向,因此她们安然无恙。如果整个画面使人产生海洋在海港进入陆地的印象,陆地在水下,人们则成了两栖动物,那么海元素的力量仍然到处可见。岩石周围,港口,波浪汹涌的地方,你从渔民的劲力中,从船身倾斜成锐角,与静静地竖直耸立在港口的仓库、教堂、城镇中进进出出的房屋(有人从海上归来、有人出海打鱼),人们感觉到他们艰苦地在海上奔忙,好似骑在马背上一般,海水流动湍急,性情暴躁,健跑如飞,但是,幸亏技术熟练,不然这匹牲口会把他们掀翻在地。一群度假的游人兴致勃勃地乘坐一只小船出海,小艇摇摇晃晃,像一辆双轮马车,奔驰在崎岖的路上;船夫天性快活又周到,他随风行使鼓起的风帆,而大家都坐在自己的位置上,船只不可以一侧过重而倾翻;他们飞快驶过阳光下的田野,到达绿荫覆盖的地方,他们迅速掉到波谷里面去了。尽管刚下过雨,早上仍然是风和日丽。人们的确仍然感觉到运动量很大的活动,这些活动的用力方向必须中立化,为了让平稳不动的船身保持平衡,享受阳光和微风,这是大海平静的地方,它的倒影比漂浮着的船身更像固体,更具有现实性,阳光使得船身气化;也是景色的透视互相衔接,相互吻合的地方。或者说,它们不是大海的其它部分。这些部分之间,差异很大,它们之间的差别如同某一部分与出水的教堂,或者与镇子后面停靠的船只之间的差异一样大。你的大脑开始推理,把那里正在酝酿大雨的一片黑色看成是一个单一的元素,远一点儿的都是一种颜色,锃光闪亮,别的地方被阳光、云雾和泡沫漂白了,因为有房子,看起来很紧凑,很像陆地,很受局限,因此,人们会认为一条石路或一片雪原。人们会吓了一跳,看见有条船在爬很高却没有水的陡坡上,好像一辆马车刚刚出水,继续攀登,可是,过了一会,你又在坚固平原鼓起的、不光滑的表面上,看见了一些醉醺醺地蠕动的船只;这时人们才醒悟并且过来,所有这些不同的方方面面却都是相同的,都是海。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-16 11:52:50 | 显示全部楼层
本帖最后由 Reader86 于 2020-9-16 06:56 PM 编辑

--------
28.卡尔克迪伊海港(Carquethuit)是一个虚构的港口。普鲁斯特使用“动态描写”(ekphrasis,这一词来自希腊语,是对视觉或真实艺术作品的生动、通常是戏剧性的描述)的手法,对艺术作品"卡尔克迪伊海港"进行了细致的文学描述,诠释了艺术品上的大海,陆地,城镇和港口。

ekphrasis:the use of detailed description of a work of visual art as a literary device.

是一种修词。

这个词汉语中有合适对应的词吗?

“造型描述”,不认为很贴切。

“动态描写”是我自己的创造。

描述是见什么说什么。

描写是心中想什么写什么。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-9-20 19:38:14 | 显示全部楼层
本帖最后由 Reader86 于 2021-5-29 09:16 PM 编辑

Just as it is not by other men of intelligence that an intelligent man is afraid of being thought a fool, so it is not by the great gentleman but by boors and ‘bounders’ that a man of fashion is afraid of finding his social value underrated. Three-fourths of the mental ingenuity displayed, of the social falsehoods scattered broadcast ever since the world began by people whose importance they have served only to diminish, have been aimed at inferiors. And Swann, who behaved quite simply and was at his ease when with a duchess, would tremble for fear of being despised, and would instantly begin to pose, were he to meet her grace’s maid. -- Marcel Proust

“就像明智的人不怕被明智的人看扁了,时尚达人不怕名流,只怕乡下佬、爆发户低估他们的社会价值。有史以来,人们费尽心机的表露,散播大言不惭、对自己的影响力百害无一利的谎言,其中有四分之三是对地位比自己低下的人而发。斯万在公爵夫人面前很朴实,很放松;若是要会见她的女佣人,他因为害怕被她鄙视,而浑身发抖,并且马上开始装模做样。”





就像Karl Marx把人都分成经济性的阶级,这个普鲁斯特看人喜欢从各个层次来看,虽然有时会有stereotype,但有时很有说明力,sharp!

您看不见别人优秀,也许是您自己太low?不在那个层次上?

估计普鲁斯特就是这个意思。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-10-7 22:21:43 | 显示全部楼层
弗朗索瓦丝还不懂得,最残忍的敌手,并不是那些和我们持不同看法,并且试图说服我们的人,而是那些火上加油、无中生有、用一些坏消息使我们心里难受的人。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-11-16 18:57:44 | 显示全部楼层
本帖最后由 Reader86 于 2021-4-17 08:26 PM 编辑

Now I could appreciate the worth of a broad, poetical, powerful interpretation, or rather it was to this that those epithets were conventionally applied, but only as we give the names of Mars, Venus, Saturn to planets which have no place in classical mythology. We feel in one world, we think, we give names to things in another; between the two we can establish a certain correspondence, but not bridge the interval.

这正是贝玛的表演向我展现的内容。也就是贵族精神和智慧的台词对我们的意味。现在,我可以欣赏一种宽松、诗意、动人的诠释,及其价值,或者说,我们用的这些形容词赞扬的正是我们的这种诠释。这一点儿不过就像我们把那些与古典神话无关的星球起命叫玛斯、维纳斯、撒頓74。我们把在一个世界感觉到的事情,在另一个世界思索、给它们起名字,我们可以使这两个世界有一些相互对应,却不能跨越两者之间的空间。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2020-12-2 02:28:02 | 显示全部楼层
本帖最后由 Reader86 于 2020-12-2 02:31 AM 编辑

Perhaps the proper place for this lady was not a theater in which it was only with the brightest stars of the season that the boxes (even those in the highest tier, which from below seemed like great hampers brimming with human flowers and fastened to the gallery on which they stood by the red cords of their plush-covered partitions) composed a panorama which deaths, scandals, illnesses, quarrels would soon alter, but which this evening was held motionless by attention, heat, giddiness, dust, smartness or boredom, in that so to speak everlasting moment of unconscious waiting and calm torpor which, in retrospect, seems always to have preceded the explosion of a bomb or the first flicker of a fire.

也许剧院中不存在她的一席之地,这里都是当下时尚的明星们;最上层的那些包厢,从下面往上看,犹如一个又一个插着人花的大篮子,用做隔墙的红绒布帘的就像绳子,把它们吊在戏院的房顶上;包厢组成一个完整的场景,而死亡、丑闻、疾病、争吵马上就会改变这个场景,但今晚这个场景被关注、室温、晕眩、尘埃、雅致和厌倦举着,一动不动,停在所谓潜意识等待以及无声漠视的永恒时刻,这些时刻事后看来总是出现在一颗炸弹爆炸,或是一把火开始燃烧的一瞬间之前。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-1-19 13:43:37 | 显示全部楼层
Charles Kenneth Scott Moncrieff, MC (25 September 1889 – 28 February 1930) was a Scottish writer and translator, most famous for his English translation of most of Proust's À la recherche du temps perdu, which he published under the Shakespearean title Remembrance of Things Past. His family name is the double-barrelled name "Scott Moncrieff".

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-1-19 18:29:55 | 显示全部楼层
本帖最后由 Reader86 于 2021-1-19 06:30 PM 编辑

https://publishing.cdlib.org/ucp ... 4&brand=ucpress

Church Architecture:
The Structure of A la recherche du Temps Perdu
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-2-20 16:31:42 | 显示全部楼层
To the ‘old soldiers’ (sons of the soil who had never heard of the Jockey Club and simply put Saint-Loup in the category of ultra-rich non-commissioned officers, in which they included all those who, whether bankrupt or not, lived in a certain style, whose income or debts ran into several figures, and who were generous towards their men), the gait, the eyeglass, the breeches, the caps of Saint-Loup, even if they saw in them nothing particularly aristocratic, furnished nevertheless just as much interest and meaning.

有些老兵从未听说过赛马俱乐部,简单地把圣卢归入非常富有的士官之列,里面包括热衷于某种生活方式,有一笔几位数的收入或债务、对士兵们慷慨大方的士官,破产和不破产的都在其中。对于他们,圣卢迈步的姿势,单片眼镜,军裤和军帽,这些东西即使毫无贵族色彩,在他们看来仍不失趣味和意义。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-3-18 15:29:27 | 显示全部楼层
There were evenings when, as I passed through the town on my way to the restaurant, I felt so keen a longing for Mme. de Guermantes that I could scarcely breathe; you might have said that part of my breast had been cut open by a skilled anatomist, taken out, and replaced by an equal part of immaterial suffering, by an equivalent load of longing and love. And however neatly the wound may have been stitched together, there is not much comfort in life when regret for the loss of another person is substituted for one’s entrails, it seems to be occupying more room than they, one feels it perpetually, and besides, what a contradiction in terms to be obliged to think a part of one’s body. (3,1,120)

有几个晚上,我穿过城市到饭店去时,一路苦苦思念德·盖尔芒特夫人,连呼吸都感到很困难,仿佛我的胸腔被一个高明的解剖医生切开,割除了一部分,补上 了一块同样大小的非物质的痛苦,补上了等量的怀旧和爱情。尽管刀口缝合很好,但当对某人的思念代替了内脏时,我们总会有不舒服的感觉,它似乎比内脏占的位 置更大,再说,不得不想着身体的一个部分,这种感觉说它象什么,它又不象什么。62

不少个夜晚,我穿过镇子去餐馆的路上,我一直思念德·盖尔芒特夫人,几乎忘了呼吸;你可以说,我的胸腔被一个技术高超的解剖学家打开,把里面的东西拿了出来,换上了等体积的、非肉体的痛苦物质,换上了等重量的、非肉体的思念和爱情。不管伤口缝合得怎样好,但是,当因为失去一个人带来的痛苦取代了内脏,人们不会感到生活的舒适,痛苦比内脏占据的地方更大,使得人们感觉痛苦是永久性的,除此之外,我们不得不认为这是身体的一部分,从这个角度而言,又是那么地矛盾!67

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-3-19 14:18:19 | 显示全部楼层
本帖最后由 Reader86 于 2021-3-19 03:12 PM 编辑

on ne change pas, on fait entrer dans le sentiment qu'on rapporte à un être bien des éléments assoupis qu'il réveille mais qui lui sont étrangers.  

人总是那样,会在另一个人的感情中掺入许多并不属于他的而仅仅是他唤醒的朦朦胧胧的感情。



We do not change; we introduce into the feeling with which we regard a person many slumbering elements which that feeling revives but which are foreign to it.

我们从未改变过自己;我们往往把对一个人的情感与很多沉睡的记忆关联起来,这个情感唤醒了这些沉睡的记忆,但这些记忆却与这个情感并不相关。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-3-23 15:11:56 | 显示全部楼层
本帖最后由 Reader86 于 2021-3-23 03:32 PM 编辑

And, as he was infected with certain of the mannerisms used in the literary circles in which the lady moved: “There is something sidereal about her, in fact something bardic; you know what I mean, the poet merging into the priest.”

他的话中到处都是这个女人社交圈子中的文人矫揉造作的词藻:“她星星一样闪光,事实上是吟游诗人的气质;你懂的,她几乎是个诗人和牧师完美的结合。”
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-3-24 00:38:39 | 显示全部楼层
本帖最后由 Reader86 于 2021-3-26 04:03 PM 编辑

paupiette

肉卷,鱼卷

Paul  Pau  将军












Powell motion里的原文只不过是:“Ms. Powell’s legal team argued that “reasonable people would not accept such statements as fact but view them only as claims that await testing by the courts through the adversary process.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-1 13:08:32 | 显示全部楼层
本帖最后由 Reader86 于 2021-4-2 12:02 PM 编辑

某同学总让我讲讲普鲁斯特。这个就算记个笔记吧。过去我的朋友玛雅总是喜欢谈论“爱情与嫉妒,” which是普鲁斯特的一个theme,他花费很多篇幅在这个theme上!

照片上的中文是我的翻译。您读一下就懂了,其它翻译,您读了也不懂。因为译者自己不懂普鲁斯特在说什么。

性格即命运。斯万爱一个女人,爱得惊慌失措,气喘吁吁,和一个女人结婚是为了自己获得心理的平静。一旦平静,他对她的关注也会失去,更不会有爱情。因此,对于斯万,爱情和嫉妒分不开。








https://www.douban.com/group/topic/104228130/
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-1 13:29:54 | 显示全部楼层
我告诉自己,我有一个好朋友;有一个好朋友是一件不可多得的事情,我欣赏,当我们感到围绕我们周围的是难以获得的财富,这些恰恰与我自然地得到的愉悦相反,与从我自身升华出来的愉悦,与把我内心幽暗处隐藏着的事物带到光明之处的愉悦相反。如果我花上两、三个小时和圣卢聊天,他表达很赞赏我对他说的话,我会感到某种后悔、遗憾、或者厌倦、觉得不如他让我一个人独处,最终开始写作。

但是我又想到,一个人所获智力并不仅仅为了自己受益,即使最伟大的人也渴望被人欣赏,几个小时之中,我在朋友的心中建构了自己高尚的形象,我不能把这段时间视为浪费。我轻而易举地说服了自己,认为应该为这个结果而感到高兴,正因为我没有意识到这种幸福,我更急切地希望我永远不要被剥夺这种幸福。

比起其它东西,我们更担心失去我们想得到而不能得到的“财富”,因为我们的心田里面还不曾有它们的存在。我感到自己能够比大多数人更好地示范友情的美德,因为我总是把朋友的利益放在我个人的利之上,我并不太在意这些个人利益,而其他人极为关心。另外,我们每个人的本性之间都有差异,感到我的本性与他人的本性之间的差距不但没有扩大,反而会消失,这个感觉不会让我感到快乐。


喜欢普鲁斯特是因为他说的话很揭露本质,在心理学中可以找到对应的理论,我很欣赏。

过去翻译这段觉得很合意。今天终于找出来了。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-2 14:37:54 | 显示全部楼层


有人说普鲁斯特喜欢重复,第一卷写了斯万的对奥黛特死缠烂打的爱情,第二卷又以对希尔贝特的死缠烂打重复,只不过多写了记忆的变迁和脱离本真,第三卷又写记忆的变迁,但是多写了巴黎上流社会的沙龙,第四卷又写了外省上流的沙龙,但是却又多写了两种同性恋,索多姆和戈摩尔。不禁让我猜想,是否第五章要花一半的章节以上来接着写这种感情。人们常说,感情的事情不是一句两句话能够说得清楚的,作者便不停地重复(其实也不算重复),于是,他把感情的事情讲清楚了~

终于,为什么斯万在后悔自己浪掷几年光阴在自己并不喜欢、和自己不是一路的女人身上后,最终又娶了奥黛特。因为,马塞尔也陷入了同样的情感漩涡里面——嫉妒。理智的思考不停地告诉马塞尔,阿尔贝蒂娜不是一个合适的结婚对象,包括她的出身,她的情趣,她的同性恋名声,但是,凡德伊小姐的到来昭告着他有可能失去阿尔贝蒂娜,他的心跳散了架,他决定无论如何也要死死抓住阿尔贝蒂娜。

这种嫉妒不停地在德·夏吕斯男爵和莫雷儿之间出现。当莫雷儿与盖尔芒特亲王私会,当莫雷儿企图摆脱夏吕斯的控制时,男爵竟撒下大谎,以决斗的名义骗得莫雷儿的言听计从。当布洛克和夏吕斯亲密交谈时,莫雷儿不停地为马塞尔无法(拒绝)透露更多关于布洛克的行踪而小声欢呼。而马塞尔对阿尔贝蒂娜的那点儿嫉妒简直微不足道,对她与安德烈、两个犹太姑娘、圣卢的关系,马塞尔耿耿于怀却又无法得到证实。这一卷一直没完没了地写男爵和莫雷儿的爱情,我知道,最后肯定要回到阿尔贝蒂娜身上,因为本卷名为《索多姆和戈摩尔》。当我迟迟看不到戈摩尔那一部分,而是偶尔提一提马塞尔的嫉妒心,我仿佛看到了陀思妥耶夫斯基在《白痴》里,罗果仁尾随公爵,最后在黑暗中刺了他一刀,我知道最终会讲的。

普鲁斯特和陀思妥耶夫斯基是相似的,喜欢就一个场景大着笔墨,喜欢把灵魂一遍又一遍拷问,喜欢把原本云缭雾罩的感情暴露得清清楚楚。只不过,陀专注于对与错、善与恶、信仰与怀疑,而普关注于真与假、美与丑、高贵与低贱、虚伪与真实。陀是底层人民思想的揭露者,普是贵族生活的揭露者。一个从十年牢狱流亡生活中归来写作,一个从自己热爱的社交生活中隐退闭门谢客开始写作,而且他们都写到了生命的终点。

再一次,普鲁斯特又让记忆经历了美好到失望的过程,这次是词源学家让所有地名引发的幻想破灭,小汽车让原本的作为一个整体的城市变成一条条街道且随时可达。这就是所有的追忆的命运吧。

普鲁斯特说,对于美的东西,只有当我形单影只,孤寂一身或者旁若无人的时候,我才能感受到它们的存在。

来源:https://www.douban.com/note/768638997/
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-2 17:46:47 | 显示全部楼层
本帖最后由 Reader86 于 2021-4-4 08:39 PM 编辑

And yet he was inclined to suspect that the state for which he so much longed was a calm, a peace, which would not have created an atmosphere favourable to his love. When Odette ceased to be for him a creature always absent, regretted, imagined; when the feeling that he had for her was no longer the same mysterious disturbance that was wrought in him by the phrase from the sonata, but constant affection and gratitude, when those normal relations were established between them which would put an end to his melancholy madness; then, no doubt, the actions of Odette’s daily life would appear to him as being of but little intrinsic interest — as he had several times, already, felt that they might be, on the day, for instance, when he had read, through its envelope, her letter to Forcheville. Examining his complaint with as much scientific detachment as if he had inoculated himself with it in order to study its effects, he told himself that, when he was cured of it, what Odette might or might not do would be indifferent to him. But in his morbid state, to tell the truth, he feared death itself no more than such a recovery, which would, in fact, amount to the death of all that he then was.

然而他总是认为,他热切地期待的生活是安然、平和,这样的生活气氛并不能使他的爱人心满意足。当奥黛特对于他来说不再总是缺席,不再让他感到遗憾,不再让他依赖于想象时;当他对她的感觉不再是那首奏鸣曲中那个乐句激起的没有来由的心慌意乱,而是一往情深,而是感激之心时;当他们建立了正常的关系,将结束他的忧郁和狂躁时;毫无疑问,那时,奥黛特日常生活的活动,对他来说,就会失去实在的意义了─他已经有了这样的感觉,好几次了,比如,那次透过信封偷看他给福什维尔的信就是一次。他科学地、超然地琢磨自己的病痛,就像为了研究,在自己身上移植了疫苗;他知道,当他痊愈之后,奥黛特无论做或者不做什么事情对他都无足轻重。然而在他的病态中,他的确就像恐惧死亡一样,恐惧他的痊愈,因为这个痊愈就意味着他那时本身的一切即将死亡。

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-2 23:04:14 | 显示全部楼层
It was promptly settled between us that he and I were to be great friends for ever, and he would say ‘our friendship’ as though he were speaking of some important and delightful thing which had an existence independent of ourselves, and which he soon called — not counting his love for his mistress — the great joy of his life. These words made me rather uncomfortable and I was at a loss for an answer, for I did not feel when I was with him and talked to him — and no doubt it would have been the same with everyone else — any of that happiness which it was, on the other hand, possible for me to experience when I was by myself. For alone, at times, I felt surging from the depths of my being one or other of those impressions which gave me a delicious sense of comfort. But as soon as I was with some one else, when I began to talk to a friend, my mind at once ‘turned about,’ it was towards the listener and not myself that it directed its thoughts, and when they followed this outward course they brought me no pleasure. Once I had left Saint-Loup, I managed, with the help of words, to put more or less in order the confused minutes that I had spent with him; I told myself that I had a good friend, that a good friend was a rare thing, and I tasted, when I felt myself surrounded by ‘goods’ that were difficult to acquire, what was precisely the opposite of the pleasure that was natural to me, the opposite of the pleasure of having extracted from myself and brought to light something that was hidden in my inner darkness. If I had spent two or three hours in conversation with Saint-Loup, and he had expressed his admiration of what I had said to him, I felt a sort of remorse, or regret, or weariness at not having been left alone and ready, at last, to begin my work. But I told myself that one is not given intelligence for one’s own benefit only, that the greatest of men have longed for appreciation, that I could not regard as wasted hours in which I had built up an exalted idea of myself in the mind of my friend; I had no difficulty in persuading myself that I ought to be happy in consequence, and I hoped all the more anxiously that this happiness might never be taken from me simply because I had not yet been conscious of it. We fear more than the loss of everything else the disappearance of the ‘goods’ that have remained beyond our reach, because our heart has not taken possession of them. I felt that I was capable of exemplifying the virtues of friendship better than most people (because I should always place the good of my friends before those personal interests to which other people were devoted but which did not count for me), but not of finding happiness in a feeling which, instead of multiplying the differences that there were between my nature and those of other people — as there are among all of us — would cancel them.

  我们很快就决定了:他和我永远是好朋友。他说“我们的友情”时,就好象在谈论一件重要、令人高兴的事情,独立于我们的存在一样,而且不久就称它为他生活中伟大的快乐(不包括对女朋友的爱)。这些话让我感到不舒服,我很茫然,不知如何回答,因为和他在一起,和他谈话(肯定与别人同样),我并不感觉到那种我独自一人时可能感受的幸福。独自呆着时,有时,我感到有一种或另一种感觉从内心深处涌来,是这种感觉给我以甜美的快意。但只要我和别人在一起,只要我开始和一位朋友谈话,我的大脑就“转身”,它思考的方向是朝着对方,而不是朝我自己。思考的方向朝外时,不能给我带来快乐。一旦我离开圣卢时,我想方设法,借助语言,把我与他一起度过的时间里,纷乱的思绪多多少少理出点头绪来。我告诉自己,我有一个好朋友;有一个好朋友是一件不可多得的事情,我欣赏,当我们感到围绕我周围的是难以获得的财富,这些恰恰与我自然地得到的愉悦相反,与从我自身升华出来的愉悦,与把我内心幽暗处隐藏着的事物带到光明之处的愉悦相反。如果我花上两、三个小时和圣卢聊天,他表达很赞赏我对他说的话,我会感到某种后悔、遗憾、或者厌倦、觉得不如他让我一个人独处,最终开始写作。但是我又想到,一个人所获智力并不仅仅为了自己受益,即使最伟大的人也渴望被人欣赏,几个小时之中,我在朋友的心中建构了自己高尚的形象,我不能把这段时间视为浪费。我轻而易举地说服了自己,认为应该为这个结果而感到高兴,正因为我没有意识到这种幸福,我更急切地希望我永远不要被剥夺这种幸福。比起其它东西,我们更担心失去我们想得到而不能得到的“财富”,因为我们的心田里面还不曾有它们的存在。我感到自己能够比大多数人更好地示范友情的美德,因为我总是把朋友的利益放在我个人的利之上,我并不太在意这些个人利益,而其他人极为关心。另外,我们每个人的本性之间都有差异,感到我的本性与他人的本性之间的差距不但没有扩大,反而会消失,这个感觉不会让我感到快乐。(2,2,59,66)
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-2 23:08:13 | 显示全部楼层
And I have no doubt that then — just as a desire to have her potatoes served with béchamel sauce, for a change, would be formed, ultimately, from the pleasure she found in the daily reappearance of those mashed potatoes of which she was never ‘tired’ — she would extract from the accumulation of those monotonous days (on which she so much depended) a keen expectation of some domestic cataclysm, instantaneous in its happening, but violent enough to compel her to put into effect, once for all, one of those changes which she knew would be beneficial to her health, but to which she could never make up her mind without some such stimulus. She was genuinely fond of us; she would have enjoyed the long luxury of weeping for our untimely decease; coming at a moment when she felt ‘well’ and was not in a perspiration, the news that the house was being destroyed by a fire, in which all the rest of us had already perished, a fire which, in a little while, would not leave one stone standing upon another, but from which she herself would still have plenty of time to escape without undue haste, provided that she rose at once from her bed, must often have haunted her dreams, as a prospect which combined with the two minor advantages of letting her taste the full savour of her affection for us in long years of mourning, and of causing universal stupefaction in the village when she should sally forth to conduct our obsequies, crushed but courageous, moribund but erect, the paramount and priceless boon of forcing her at the right moment, with no time to be lost, no room for weakening hesitations, to go off and spend the summer at her charming farm of Mirougrain, where there was a waterfall.

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-2 23:10:29 | 显示全部楼层
本帖最后由 Reader86 于 2021-4-8 11:31 PM 编辑

The year before, at an evening party, he had heard a piece of music played on the piano and violin. At first he had appreciated only the material quality of the sounds which those instruments secreted. And it had been a source of keen pleasure when, below the narrow ribbon of the violin-part, delicate, unyielding, substantial and governing the whole, he had suddenly perceived, where it was trying to surge upwards in a flowing tide of sound, the mass of the piano-part, multiform, coherent, level, and breaking everywhere in melody like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight. But at a given moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he had tried to collect, to treasure in his memory the phrase or harmony — he knew not which — that had just been played, and had opened and expanded his soul, just as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating our nostrils.

年前,他某个晚会上听到钢琴和小提琴演奏的一部作品。最初,他欣赏了这两种乐器奏出物质性的音响,一直源源不断地传送一种强烈的愉快感,然后,小提琴部分纤细得像丝带一样,悠扬雅致、锲而不舍;在这个音乐性很强,驾御整个曲子的音域之下,他忽然感到刚琴部分雄厚的质量,多种模式相互协调均匀平衡,乘声音流动的高潮试图向上涌动,并且像深蓝色的大海,汹涌澎拜,呈现在旋律的每个部分;音乐被月光照射成银色、诱惑成小调曲式。在某一个时刻,他自己也不能清楚地辨认出乐曲的主题,或者说出让他愉悦的是什么,却是突然被迷住了,他试图把他自己并不太熟悉,演奏出来的乐句以及和弦收集起来,储存在记忆里,因为乐曲敞开、延伸了他的灵魂,就像玫瑰的芳香在夜晚湿润的空气上飘过,具有馥郁扑鼻、沁人肺腑的力量。


now, I had to free myself, at the first possible moment, in her arms, from the phantom, hitherto unsuspected and suddenly called into being by her voice, of a grandmother really separated from me, resigned, having, what I had never yet thought of her as having, a definite age, who had just received a letter from me in an empty house, as I had once before imagined Mamma in a house by herself, when I had left her to go to Balbec.


现在,我必须尽早把自己从一个被分开两地,因而成为幽灵的外祖母的怀抱中解放出来,
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-8 00:55:44 | 显示全部楼层
本帖最后由 Reader86 于 2021-7-20 05:21 PM 编辑

普鲁斯特的悲惨生涯

作者 斯蒂芬.茨威格 译者 高中甫

战争结束时期,1871年7月10日,普鲁斯特生于巴黎一个富裕的、极为有钱的市民家庭,是一个著名医生的儿子。但无论是父亲的技艺还是母亲的家财万贯,都无法挽救他的童年:九岁时小马塞尔就永远地失去了健康。在市龙涅森一次散步的归途中,他染上了一种哮喘痉挛症,这种可怕的病症毕生都折磨着他的胸部,直到最后一息。从他九岁时开始,几乎所有一切都与他无缘:旅行、游戏、活动、恣肆欢闹,所有称之为童年的东西。这样一来,他很早就成了观察者,情感细腻,神经衰弱,轻易激动发货,是一个神经和感官极度敏感的人。他狂热地喜爱自然风光,但他难得有那么几次机会去欣赏它,在春天一次也没有过。因为细微的花粉,大自然的湿热和春情使他那易受刺激的器官感到痛苦。他狂热地喜爱鲜花,但他却不可以靠近它们。当一个朋友在纽扣中插着一朵石竹进入房间时,他不得不请求他把它摘掉;到一个沙发去做客,桌子上摆着花束会把他抛回家来,一整天躺在床上。有时候他乘一辆关闭的车辆外出,以便从玻璃窗里去观望喜爱的色彩和散发气息的花萼。他只是看书,看书,看书,去了解旅行,去了解他永远无法身临其境的种种风光。有一次他到了威尼斯,去过了海边一两次,可每一次旅行都使他付出了过多的力量。这样他几乎就把自己完全关闭在巴黎了。

所有的感觉在他那里变得如此细腻敏锐。一种语气,一个女人头发上的装饰针,某个人坐在桌旁和站起的方式,聚会时所有那些最细微的装饰物,在他的记忆里清清楚楚一丝不差。他的那双在睫毛中闪动着的永远是清醒的眼睛捕捉住每一瞬间的细枝末节,一次谈话的所有承上启下、转变话题和拐弯抹角以及结舌无语都在他的耳朵里明辨无误。因此他后来又一次在长篇小说里使诺波伯爵占用了一百五十页篇幅,口若悬河,滔滔不绝,毫不停顿,一鼓作气。他的眼神是清醒的,灵敏的,是在为所有其他疲惫不堪的器官而工作。

双亲原是想让他学习外交的,但他衰弱的体质使所有的意图化为泡影。反正不着急,双亲有的是钱,母亲溺爱他,结果,他就把他的年华挥霍在社交里、沙龙里,致使他到三十五岁时一直过着一种极为可笑的、极为懒散的、极为无聊的浪荡生活,一个伟大的艺术家过的竟是这种生活。他作为附庸风雅之徒在人们称之为纨绔子弟的社交活动中厮混,他到处出现,到处受到款待。有十五年的时间,没一个夜晚人们都必然会在任何一个沙龙里,甚至在极不易找到的沙龙里找到这个温顺的、羞怯的、总是对风雅之士肃然起敬胆战心惊的年轻人,他总是喋喋不休,毕恭毕敬,讨人欢心和使人无聊。不论在哪儿,他都倚在一个角落,热衷于一场交谈;法堡圣.日耳曼的上层贵族也极为罕见地容忍这位无名的侵入者;对他来说这原本就是极大胜利。因为从外表上看,年轻的马塞尔.普鲁斯特就没有品性可言。他并不怎么可爱,不怎么俊秀,非贵族出身,甚至是一个犹太女人的儿子。就是他的文学成就也不能为他正名,因为他的一本小集子《欢乐与时日》虽然有阿纳托尔.法朗士出于好心写的一篇前言,但既没有分量也没取得成功。是什么使他惹人喜爱呢,唯一的是他的慷慨大方:他向所有的女人赠送名贵的鲜花,他使各方面都馈赠意想不到的礼物,邀请每一个人,就是对最无足轻重的纨绔子弟也绞尽脑汁表示好感,怀有善意。在巴黎豪华的里兹饭店,他以他的好客和数目巨大的小费而闻名。他给的小费比美国百万富翁给的十倍还要多,每当他踏入大厅,所有的帽子都谦卑地、飞快地脱下来,他的请客难以想象的挥霍和丰盛味美:他让人从城市的不同商店弄来的所有的特殊的风味——Rive Gaudie 商店里的鸽子,Garlon的童子鸡,特地从尼查运来的新鲜蔬菜和水果。他就这样不断地通过殷勤和大方赢得了整个巴黎而从没有自己去索求。

他挥霍的钱财为他在这个社会里取得了合法的身份,但比这金钱更令他喜悦的是他对这个社会的礼仪的一种几乎是病态的敬畏,是他对礼节的奴隶般的崇拜,是他对时尚的所有俗气和愚行的敬重,他对贵族习俗的不成文规定尊敬得有如面对一部《圣经》:餐桌位置排列成了他整天进行了研究的问题。为什么X公主把L伯爵安置在餐桌的末端,而把K男爵安置在上端,每一种卑微的闲言碎语,每一个粗率的过失都像一种令世界震惊的灾难似的使他激动不安;M侯爵夫人轮流邀请赴宴,次序的秘密何在,为此他询问了十五个人就为弄明白;或者为什么另一个贵族夫人在他的包厢里接待了F先生。通过这种热情,通过过对这类琐事认真—后来在他的书里也居于主宰地位—,他本人在这个可笑和逢场作戏的世界里赢得了作为礼仪专家的名声。这样一个高尚的才子,我们时代中最强有力的人物之一,有十五年的时光就过着这样一种毫无意义的,处于无所事事和爆发户之间的生活,白天精疲力竭、晕头涨脑地卧床不起,晚上穿着礼服从一个社交场奔到另一个社交场,用宴请、书信和聚会打发时光,是虚荣的白日舞场中的最多余的人;到处出头露面,可没有在一个地方受到认真的注意,只不过是另外一些礼服和白色蝴蝶结之间的一个礼服和一个白色的蝴蝶结而已。

仅有唯一的一个微小的特点把他与其他人区分开来。每到晚间,他回到家里卧倒在床上,当他无法入睡时,他就把他所观察到的所看到的所听到的都一页一页记在笔记簿上。慢慢地,越来越多,他都把它们保存在很大的皮包里。像圣西门一样:表面上是国王宫廷中一个乏味的朝臣,暗地里是一个完整时代的描述者和审判者,马塞尔.普鲁斯特每天晚上在笔记本上描绘整个巴黎所有这些微不足道和瞬间即逝的东西,写下评语和井然有序的素描,也许为的是把短暂变为永恒。

这对心理学是一个问题:什么是第一位的?马塞尔.普鲁斯特,这个没有生活能力的人和患病的人,十五年来过着一个附庸风雅之徒的纸醉金迷和百无聊赖的生活,仅仅是出自内心的高兴,这些笔记薄仅是一种顺手所为,就如一次很快狂热起来的聚会游戏的一种余兴?或者他步入沙龙仅仅像一个进入实验室的化学家,像进入草地的生物学家。是为了一部伟大的无与伦比的作品企业收集那些难以觉察的材料?他是虚与委蛇,还是真心实意?他是这个消磨时光大军中的一员,或者他是来自另一个,更高一级的帝国的一个间谍?他闲散游荡是出自喜悦或是另有所谋,对礼仪心理学的这种几乎既是谬误也是机智的狂热是他的生命和需要,或者仅是一位热情的化学分析家的出色伪装!或者这两者在他身上是那么的杰出地、那么神秘地融合为一,若不是命运用它严厉的手突然把他从无聊的闲谈世界中扯了出来,并把它置于遮盖起来的、黑暗的、仅是时而被内心的光亮照亮的个人世界中的领地的话,那他身上的艺术家纯正本性永远不会显露出来。这时局面突然改变了。1903年他母亲去世,不久医生断定,他越来越加剧的痛苦无可救药。现在,马塞尔.普鲁斯特一下子把他的生活扭转过来了。他严严实实地把自己封闭在豪斯曼林荫大道旁他的那座小屋里,一夜之间他从一个百无聊赖的浪荡子和懒鬼变成了那些最艰苦劳作、孜孜不倦的劳动者中的一个,成了这个世纪文坛上受敬重的人;一夜之间他从最最喧闹的社交界把自己掷入最最冷清的孤独之中。这是这位伟大诗人的可悲景象:他卧在床上,整天不起,他那消瘦的、饥饿的、由于痉挛不断颤抖的躯体越来越冰冷。他在床上穿了三件衬衣,在胸前盖上棉制护胸,双手带着厚厚的手套,可还是冷,冷得很。壁炉里火光熊熊,窗户从不开启,因为柏油路间一两颗栗子树散发的淡淡的气味就使他痛苦不堪(在巴黎没有任何其他的胸膛像他这样)。他像一个开始腐烂的尸体一样,躲在那里越来越蜷缩起来,他一直卧床不起,费力地呼吸浑浊的、漫溢的、被药品毒化了的空气。直到很晚的时候他才振作起来,借助一线灯光,一丝光泽,才看到他那温馨可爱的优美居所,看到几幅贵族的面孔。仆人逼他穿上礼服,围上围巾,给他那已经裹上了三层衣服的身体再穿上上皮衣。他乘车来到里兹饭店,以便去看看他喜爱的活动场所,豪华的场所。他的车夫在门外等待,整夜的等待,随后把疲惫得死一样的主人重又带回到床上。马塞尔.普鲁斯特不再进入社交界了,但只有唯一一次:他为了自己的小说需要知道一个上层贵族举止的细节,于是有一次拖着身子进入一个沙龙—这使大家感到惊讶—去观察沙岗公爵是怎样戴单片眼镜的。有一次夜里他到一个有名的喜欢卖弄风情的女人那里,问她还有没有她二十年前在布龙涅森林戴的帽子;他为描绘奥黛特需要这顶帽子。他极为失望的听到,她是如何地笑他,她早就把它送给她的女仆了。

马车把这个疲惫得死一样的人从里兹饭店带回家里。他的睡衣和护胸挂在一直燃烧的火炉上边:他的身体早就不能穿凉的内衣了。仆人给他穿好,带他上床。面前摆着托盘,他开始写他的结构宏伟的长篇《追忆逝水年华》,二十本卷宗里写得满满的,全是草稿,床前的圈手椅和桌子,甚至床上堆得都是纸片和纸页。他就这样写,日以继夜,每个清醒的时刻,血在燃烧,手套里的双手由于寒冷在发抖,他就不断地写,写呀,写呀。有时朋友来访,他贪婪地问及社交场的所有细节,他在暗中还用好奇的触角去触摸失去的那个花花世界,像条猎狗一样,他追逐他的朋友,要他们讲述这一个人和那一个丑闻给他听,这样他就能细致入微地知道这个人物和那个人物的情况。凡是人们告诉他的,这种狂热越来越烧得他憔悴。马塞尔.普鲁斯特,这个可怜的通体火热的人越来越衰弱,越来越瘦骨嶙峋;那部恢弘的作品,长篇小说,或者应称为长篇系列的《追忆似水年华》越来越扩展,越来越成长壮大。

这部作品始于1905年,他在1912年认为已经完成。从篇幅上看共有厚厚的三卷(但在印刷期间由于扩展已不少于十卷了)。现在发表成了折磨他的问题了。马塞尔.普鲁斯特,一个四十岁的人,毫无名气,不,比毫无名望还要令人恼火,这是因为从文学意义上来讲,他有一个很坏的名声:马塞尔.普鲁斯特,是沙龙中一个附庸风雅的纨绔子弟,交际场中的无聊文人,时而在《费加罗报》发表些沙龙中的花边新闻(那些教养差的读者总是把马塞尔.普鲁斯特读作马塞尔.普莱沃)。这没有带来任何好处。这样,他想走一条捷径是毫无希望的。于是朋友们试图找些社会关系,以便能使这部作品得以发表。一个有声望的贵族请来《新法兰西评论》的主编安德烈.纪德,把这部手稿交给了他。但《新法兰西评论》—它从这部作品上赚了十万法郎—直截了当拒绝了他,《新法兰西水星报》和Olendorf同样加以拒绝。最终,一个出版界新人,他想冒这个风险,但还是等了两年—直到1913年,这部恢弘的作品第一卷才问世。然而,恰恰是在成功要展开它的翅膀时,战争爆发了,它的羽翼随即被打断了。

在战后,当第五卷发表之后,法国和欧洲才开始注意到我们时代的这部最为独特的史诗般的作品。但马塞尔.普鲁斯特称之为荣誉的,早已只是一个人剩余下来的一种憔悴的、灼热的、不宁的断残而已,成了一个颤动的阴影。这个可怜的病人,他活着只是为了能够看到他的作品的发表。他晚间依旧拖着个身子去里兹饭店。在这儿,在摆满酒菜的桌旁,或者在门房里,润饰最后的校样。因为在家里,在床上,他感到就像在坟墓里一样,而只有在这里,在他看到他喜爱的堂皇富丽的环境在眼前熠熠发光时,他才感到还有最后一丝力气—若是在家里他早就瘫痪无力了——,当那可汀使他疲惫乏力时,他就用咖啡因使自己振作起来,与朋友们进行短时间的交谈或重新工作。他的痛苦愈恶化,愈剧烈,这个长期以来一直懒散的人工作得就愈无所节制——只为在临死之前完成他的作品。他不愿再见医生,他们长时间地折磨他,从没有帮助过他。他自己照顾自己,直到1922年11月18日辞世而去。在他生命的最后几天,虽然他已意识到自己去日无多,他依然用艺术家唯一的武器去对抗那不可避免的死亡,这武器就是:观察。他清醒地分析他自己的处境,直到最后一刻:这些记录应该用于校样中他的主人公柏多特之死,使之更富有立体感,更真实可信,应该用于去表现一些个人生命最终的东西,诗人无法知道这些,只有垂死的人才知道。他最后的活动还是观察。在死者夜间用的桌子上,药品翻倒,脏兮兮一片,人们找到自己难辨的纸片,上面是他用半冻僵的手写出最后的字句。这是为新一卷做的笔记,它可能耗去了一年的时光,而现在属于他本人的仅有几分钟了。他就这样掴了死亡的耳光:艺术家露出最后的庄严表情,他战胜了对死亡的恐惧,他对死亡进行了窥视。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-10 21:31:19 | 显示全部楼层
Baron de Charlus (夏吕斯男爵)这个人物

普鲁斯特的人物都是复杂的人物。个性多方面,没有一个可以单纯地说是好人物,还是坏人物。

夏吕斯可以是公爵或是侯爵, 但据说是不愿躺在家庭的功劳薄上,自封为男爵。  

我的印象是, 他很 boycott,穿的衣服很招惹人围观。也很假模假式,但找男朋友时,就必须放下架子,不能装了。

他可以找别人做男朋友,但是记得有一个情节,别人来找他,他就把人痛打一顿。

他有一次坑了马塞尔,他说姑姑维尔巴西斯夫人邀请他和外婆去姑姑家,可是他们去了,维尔巴西斯夫人很惊奇,因为她根本不知道这回事儿。  

一开始,他在贝尔贝克大旅馆门口看见了Marcel,以为他是个不知来自何方的小人物,很charming,就想引诱他做他的同性恋男朋友,但Marcel回避了,Marcel这点与斯万一样,不和很看重的贵族家族扯事儿,不然会丢了朋友。   

但男爵懂文化,艺术,起码比圣卢更知道古典油画的价值。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-19 23:29:21 | 显示全部楼层
Proust and Other Matters

https://proustmatters.com/2014/0 ... t-andre-des-champs/

Close reading sometimes discloses more puzzles than it dissolves.  Here I am well along on a second reading.  I’m in The Fugitive and am startled by  “ …. from that Saint-André-des-Champs side of her [Andree’s] nature which Albertine too had shown me at the start.”  I pause.  I ask “Now what is that nature?”  Obviously I missed something in the previous 2000 pages – twice.  I recognized the name of the church, but what did it stand for?  After some searching, I think I can now depuzzle it.  (If others demystify, I don’t see why I can’t depuzzle.)  It turns out to be not that much of a puzzle, after all – I just didn’t get it without deciphering.

    How French that church was!  Over its door the saints, the chevalier knights with lilies in their hands …the medieval artist and the medieval peasant (who had survived to cook for us in the nineteenth century) …[SW 164-165]

    …for I foresaw that she [Françoise] would speak of them as being among those duties which could not be avoided, according to the laws laid down at Saint-André-des-Champs..[GW149]

    …of the little French peasant whose type may be seen in stone at Saint-André-des-Champs [GW 381]

    …from that Saint-André-des-Champs side of her [Andree’s] nature which Albertine too had shown me at the start. [FUG 616]

    … the best in the Frenchmen of Saint-André-des-Champs, lords, citizens and serfs …[Vol III TR 760]

    …a good Frenchman according to the rule of Saint-André-des-Champs [Vol III TR 872]

    the greatness of France, her greatness of soul, her greatness after the fashion of Saint-André-des-Champs.  [Vol III TR 876]

Obviously, the church stands for something.

The church of Saint-André-des-Champs is located by the Méséglise Way in Combray.  It is not THE church – the one that clutches at the heart.  That one is Saint Hilaire next to Aunt Léonie’s house right in the town.  Saint-André-des-Champs is outside the town, out in the fields.  For Marcel, it is that which is quintessentially French – but medieval and feudal French.  It is representative of the solid, loyal serf and peasant sensibility (as well as the Nobility and Monarchy).  The sculpted stone saints and angels on its porch were modeled for the sculptors by medieval peasants.  Their faces and worldview repeat down through history and Marcel sees them today in the cooks and coachmen all around him.  Thus, when we read of “the laws laid down at Saint-André-des-Champs” we understand these to be the manners, limitations, aspirations and proprieties set down by the French feudal code.  Françoise and Théodore seem to be the most representative of these “laws” (although both Albertine, Andree and Saint Loup have that “side” in their natures too.)

To say that Saint-André-des-Champs stands in for French feudal manners and mentality is not to demean or to belittle.  Just the opposite is made clear in Time Regained against the background of the war (WWI).  There, people of different classes, noble and ignoble, attest to the greatness of France, her greatness of soul, through their conformity with the medieval rules of Saint-André-des-Champs.

What are these medieval rules? –  Loyalty and Strict Placement and Keeping One’s Place are some.

It is interesting that Charlus does not ever seem to be associated with that church and its rules even though he is often associated, like Françoise, with medieval and feudal.  Perhaps it’s because he carries a whiff of the German whereas Saint-André-des-Champs is pure French.

One day on a walk, foul weather causes the family to scurry out of the rain and into the church.  M notes the stone carvings and their usual scenes –   weddings, funerals, saints.  Then, in a new sentence he goes on to observe that the sculptor  “also” recorded “certain” anecdotes of Aristotle and Virgil.  These tiny words “also” and  “certain” are unmistakably the Proustian mark of something unusual –  coy little droppings – whispered hints that there is more here than meets the eye – usually sexual.

    Often, too, we would hurry to take shelter, huddled togethercheek by jowl with its stony saints and patriarchs,under the porch of Saint-André-des-Champs. How French that church was! Over its door the saints, the chevalier kings with lilies in their hands, the wedding scenes and funeralswere carved as they might have been in the mind of Françoise. The sculptor had also recorded certain anecdotes of Aristotle and Virgil, precisely as Françoise in her kitchen was wont to hold forth about St Louis as though she herself had known him, generally in order to depreciate, by contrast with him, my grandparents whom she considered less “righteous.” One could see that the notions which the mediaeval artist and … [Vol III SW 164]

Aristotle and Phyllis, 15th C. Rouen Cathedral

15th C. , Rouen Cathedral

So  what’s with these certain anecdotes of Aristotle and Virgil?  The back story on Aristotle is his situation.  He’s down on all fours like a horse.  He’s being ridden and often flogged by a beautiful woman,  Phyllis.  Iconoclastic.  Pagan.  Strange image for a church.
Cadouin Abbey, France

Cadouin Abbey, France

But, amazingly, this was a not an uncommon medieval depiction in painting, sculpture, ivories, wood and found in churches. Google “Aristotle Phyllis”.  One explanation is that he was crazy with lust for Phyllis.  She agreed to sex on the condition that she go astride and whip him.

I don’t know what’s with Virgil — but with Proust, it’s most probably sexual. Perhaps the sculptor of Saint-André-des-Champs gestures at homosexual love in the Eclogues? Corydon?

All this in the little words “also” and “certain” as the family waits for the weather to break.*
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-20 11:19:50 | 显示全部楼层
本帖最后由 Reader86 于 2021-4-20 11:41 AM 编辑

圣安德烈德香槟教堂(Saint-André-des-Champs),普鲁斯特再次提到这个教堂,它代表了坚实,忠诚的农奴和农民的敏感性,以及贵族和君主制。门廊上雕刻的石头圣人和天使是中世纪农民的作品,它们成为今日雕刻家的模板。他们的面孔和世界观在历史上反复出现,马塞尔在他周围的厨师和马夫中看到他们。因此,当我们阅读“圣安德烈德香槟教堂制定的法律”时,我们将其理解为法国封建法典所规定的举止,界限,诉求和礼仪。说圣安德烈德香槟教堂代表法国的封建礼节和心态,并非贬低或者鄙视。另见《贡布雷》注释95,以及那一部分对圣安德烈德香槟教堂的描述。弗朗索瓦和贡布雷教堂的西奥多(Théodore)似乎是这些“法律”中最具代表性的人(尽管阿尔贝蒂娜,安德烈和圣卢普在性质上也都具有这种“一面”)。 说圣安德烈德香槟教堂代表法国的封建礼节和心态,并不是在贬低或者鄙视。后面的章节一在战背景中,清楚地表明了相反的情况。在那里,各种阶级的贵族和无知的人通过遵循中世纪的圣安德烈得香槟教堂,证明了法国的伟大和她灵魂的伟大。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-21 01:08:33 | 显示全部楼层
在旅途中,如果他遇到一家人,他不该去结识,但里面有个女人,具有一种他从未见过的魅力,而引起他的注意;如果为了维持他的精神高贵,欺骗这个女人在他心中燃起的欲望,为了替代一种他能从她身上品尝到的不同愉悦,他可以写信邀请一个过去的情妇,来加入他的行列,和他一块儿旅行,但是,放弃一种新形式的幸福,因为生活中的一件小事儿而自弃,就像不去造访他所在的国家,而是把自己关在屋子里看巴黎的“景色”一样胆小,一样愚蠢。他不把自己监禁在他的社会关系壁垒里,而是把自己的社会关系变成探险家随身携带的折叠帐篷一样,以便哪儿看见那个女人可心,就可以把它建筑在新的地基上。不能搬动,或者不能适应新愉悦的东西,不管是哪个部分,尽管别人很羡慕,他都像没有用处一样丢掉。很多次,他赢得一个公爵夫人的信任,慢慢地激起了她想帮他一把的愿望,但总没有发现机会,可是他却给她送个措辞轻率的信件,要她送去一封电报,使他能够立即跟她手下的一个管家联系,因为他在乡下注意到了管家的女儿,这真像是一个饿得要死的人拿一粒钻石换一片面包!想悔过也不顶用时,他只有嘲笑自己;原来他的本性里,有一种滑稽的元素,幸亏有很多难能可贵的雅致之处的补偿。再说,他属于一类聪明人,过着赋闲的日子,他们认为,赋闲为智商提供的研究对像与任何艺术或者知识能获得的研究对像一样值得人们的兴趣,“生活”包含着的情节比书中写出来的爱情故事更有趣、更浪漫,他们在这些观点中寻求安慰、并且可能只是一个借口。至少他可以让那些更含蓄一些的上流社会朋友接受,也能说服他们接受这些理论,易如反掌,特别是夏吕斯男爵;他常和他讲一些自己让人惊艳经历,让他乐一乐;比如有一次,他在火车上遇到一个女人,把她带回家,发现她是一位在位君主的妹妹,欧洲当时错综复杂的政治线索全都握在她哥哥手中,他自己也因此对欧洲政治状况的方方面面也看到了最深刻的寓意,或者说,由于局势的扑朔迷离,他是否能当上某人厨娘的情夫,要由教皇选举会议12即将做出的选择来决定。 (1, 3, 4)

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-4-29 10:56:29 | 显示全部楼层
Sa haine des snobs découlait de son snobisme, mais faisait croire aux naïfs, c'est-à-dire à tout le monde, qu'il en était exempt.

His hatred of snobs stemmed from his snobbery, but made the naive, that is to say everyone, believe that he was exempt from it.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-5-20 11:55:52 | 显示全部楼层
本帖最后由 Reader86 于 2021-5-20 11:59 AM 编辑

瑞典女士之间的合作运动 (短语,上文提到),莫邦,法国著名演员,注释中有。

1,人类的天性中,没有对瑞典女士之间的合作运动,或者是对莫邦所用创造角色的方式产生浓厚兴趣的能力。

2,大自然忘记(没有)赋予人类对瑞典女士之间的合作运动,或者是对莫邦所用创造角色的方式产生浓厚兴趣的能力,彻底忘记了。

3,人类的天性中,没有对瑞典女士之间的合作运动浓厚兴趣的能力;同样也没有对莫邦所用创造角色的方式产生浓厚兴趣的能力。

4,大自然忘记赋予人类对瑞典女士之间的合作运动产生浓厚兴趣的能力,彻底忘记了。大自然同样彻底忘记了赋予人类对莫邦所用创造角色的方式产生浓厚兴趣的能力。


“That must be delightful,” sighed my grandfather, in whose mind nature had unfortunately forgotten to include any capacity whatsoever for becoming passionately interested in the co-operative movement among the ladies of Sweden or in the methods employed by Maubant to get up @his parts, just as it had forgotten to endow my grandmother’s two sisters with a grain of that precious salt which one has oneself to ‘add to taste’ in order to extract any savour from a narrative of the private life of Mole or of the Comte de Paris.

“太好了,”我外祖父说。他叹了一口气,心中却是在想,大自然不幸忘记赋予人类对瑞典女士之间的合作运动产生兴趣的能力,也忘记赋予对莫邦创造角色的方法产生兴趣的能力,彻底忘记了,因此他感到乏味!恰巧就像它忘记赋予我外祖母两位姐妹“一粒宝贵的盐”,她们自己可以把其“加在欣赏力中”,才能从莫莱或者巴黎伯爵私生活的故事中提取出来些滋味。

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-5-23 21:10:14 | 显示全部楼层
And I have no doubt that then — just as a desire to have her potatoes served with béchamel sauce, for a change, would be formed, ultimately, from the pleasure she found in the daily reappearance of those mashed potatoes of which she was never ‘tired’ — she would extract from the accumulation of those monotonous days (on which she so much depended) a keen expectation of some domestic cataclysm, instantaneous in its happening, but violent enough to compel her to put into effect, once for all, one of those changes which she knew would be beneficial to her health, but to which she could never make up her mind without some such stimulus. She was genuinely fond of us; she would have enjoyed the long luxury of weeping for our untimely decease; coming at a moment when she felt ‘well’ and was not in a perspiration, the news that the house was being destroyed by a fire, in which all the rest of us had already perished, a fire which, in a little while, would not leave one stone standing upon another, but from which she herself would still have plenty of time to escape without undue haste, provided that she rose at once from her bed, must often have haunted her dreams, as a prospect which combined with the two minor advantages of letting her taste the full savour of her affection for us in long years of mourning, and of causing universal stupefaction in the village when she should sally forth to conduct our obsequies, crushed but courageous, moribund but erect, the paramount and priceless boon of forcing her at the right moment, with no time to be lost, no room for weakening hesitations, to go off and spend the summer at her charming farm of Mirougrain, where there was a waterfall.

回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-5-27 17:08:02 | 显示全部楼层
Eugene de Beauharnais (1781-1824), prince of Eichs
UNSPECIFIED - CIRCA 1800: Eugene de Beauharnais (1781-1824), prince of Eichstadt, at the grave of his mother, the Josephine empress. Engraving XIXth century. RVB-10932. (Photo by Roger Viollet Collection/Getty Images)



Proust had this engraving at his great aunt's home.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-7-12 10:18:46 | 显示全部楼层
本帖最后由 Reader86 于 2021-7-12 10:20 AM 编辑

https://www.bbc.co.uk/programmes/p00548wx

Melvyn Bragg discusses the life and achievements of the 19th century French novelist Marcel Proust whose 3000 page work À La Recherche du Temps Perdu has been called the definitive modern novel.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-7-20 11:22:21 | 显示全部楼层
本帖最后由 Reader86 于 2021-7-20 11:23 AM 编辑

历史学家深深地鞠了一躬,我一样;他感觉这一致意后会有友好的互动,眼睛睁得大大的,闪光放亮,正准备张口说些什么时,但德·盖尔芒特夫人的反应却一下使他呆住了:她利用灵活的上半身,猛地向前弯下,施了一个夸张的礼,然后优雅地直起身来,而没有使得她的脸或者眼睛看起来注意到有人站在她的面前;轻轻地嗯了一声之后,因为看见了我和历史学家,她乐意脸上显现出没有任何表情,只是通过动了动鼻孔,精确地证实了她闲置的注意力完全处于惰性状态。

The historian made a low bow, as I did also, and since he seemed to suppose that some friendly remark ought to follow this salute, his eyes brightened and he was preparing to open his mouth when he was once more frozen by the sight of Mme. de Guermantes who had taken advantage of the independence of her torso to throw it forward with an exaggerated politeness and bring it neatly back to a position of rest without letting face or eyes appear to have noticed that anyone was standing before them; after breathing a gentle sigh she contented herself with manifesting the nullity of the impression that had been made on her by the sight of the historian and myself by performing certain movements of her nostrils with a precision that testified to the absolute inertia of her unoccupied attention. (3,1,208,115)
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-8-5 12:21:58 | 显示全部楼层
Aldous Huxley and Proust

Mentioning Proust yesterday made me think of Aldous Huxley's character Anthony Beavis who is so rude about him in Eyeless in Gaza:
"'How I hate old Proust! Really detest him.' And with a richly comic eloquence he proceeded to evoke the vision of that asthmatic seeker of lost time squatting, horribly white and flabby, with breasts almost female but fledged with long black hairs, for ever squatting in the tepid bath of his remembered past. And all the stale soapsuds of countless previous washings floated around him, all the accumulated dirt of years lay crusty on the sides of the tub or hung in dark suspension in the water. And there he sat, a pale repellent invalid, taking up spongefuls of his own thick soup and squeezing it over his face, scooping up cupfuls of it and appreciatively rolling the grey and gritty liquor round his mouth, gargling, rinsing his nostrils with it, like a pious Hindu in the Ganges."

Completely unfair but very memorable.

No-one seems to read Aldous Huxley's novels any more. I've forgotten almost everything about them, except that passage and the fact that I enjoyed them. I suppose one could regard this as one of the pluses of advancing age: due to failing memory I am now able to read books I enjoyed already and enjoy them all over again.
Actually another bit of Huxley I haven't forgotten is the section on the word 'carminative' in Crome Yellow:
"'It's a word I've treasured since my earliest infancy,' said Denis, 'treasured and loved. They used to give me cinnamon when I had a cold - quite useless, but not disagreeable. One poured it drop by drop out of narrow bottles, a golden liquor, fierce and fiery. On the label was a list of its virtues and, among other things, it was described as being in the highest degree carminative. I adored the word. 'Isn't it carminative,' I used to say to myself when I'd taken my dose. It seemed so wonderfully to describe that sensation of internal warmth, that glow, that - what shall I call it? - physical satisfaction which followed the drinking of cinnamon. Later when I discovered alcohol, 'carminative' described that similar, but nobler, more spiritual glow which wine evokes not only in the body but the soul as well. The carminative virtues of burgundy, of rum, of old brandy, of Lacryma Christi, of Marsala, of Aleatico, of stout, of gin, of champagne, of claret, of the raw new wine of this year's Tuscan vintage - I compared them, I classified them. Marsala is rosily, downily carminative; gin pricks and refreshes while it warms. I had a whole table of carmination values. And now,' Denis spread out his hands, palms upwards, despairingly, 'now I know what carminative really means.'
'Well, what does it mean?' asked Mr Scogan, a little impatiently.
'Carminative,' said Denis, lingering lovingly over the syllables, 'carminative. I imagined vaguely that it had something to do with carmen-carminis, still more vaguely with caro-carnis, and its derivatives, like carnival and carnation. Carminative - there was the idea of singing and the idea of flesh, rose-coloured and warm, with a suggestion of the jollities of mi-Careme and the masked holidays of Venice. Carminative - the warmth,the glow, the interior ripeness were all in the word.'"
Poor Denis.

http://zmkc.blogspot.com/2010/03/aldous-huxley-and-proust.html
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-8-5 12:28:06 | 显示全部楼层
本帖最后由 Reader86 于 2021-8-5 01:11 PM 编辑

Proust Reader

« Other Souls The Study of Feelings »

The Legacy of Proust


Henri Peyre, in his Critical Essay “The Legacy of Proust”, writes that following the initial acclaim of ISOLT there followed a sharp drop in his stock.  Witness the denunciations by writers of the time.

    W. H. Auden and Louis MacNeice, venturing to appraise the literary stock market in their Letters from Iceland, prophesied–wrongly–‘some further weakening in Proust.” Philip Guedalla had, much earlier, coined one of his bons mots in accounting that the vogue for Proust would hardly outlast a ‘Marcel wave.’ ‘Water jelly,’ exclaimed D. H. Lawrence to characterize that strange cold-blooded animal who scientifically and patiently dissociated ideas, emotions, and sensations. ‘Ploughing a field with knitting needles’ was George Moore’s description of Proust. Aldous Huxley, one of the very few living writers who had the honor of a flattering mention in Proust’s novel, placed some ungrateful lines in the mouth of one of his characters in Eyeless in Gaza.

    ‘How I hate old Proust!…that asthmatic seeker of lost time squatting, horribly white and flabby, with breasts almost female but fledged with long black hairs, for ever squatting in the tepid bath of his remembered past…There he sat, a pale repellent invalid, taking up spongefuls his own thick soup and squeezing it over his face…(28-29)

Revulsion at his depiction of “abnormal love” and the tendency of the next generation to dismiss the prior one are perhaps expected. As is Proust’s failure to depict “class struggle” and the lives of ordinary working people, although he did pretty well with the servant class. Peyre concedes these points but considers them ephemeral. Proust’s greatness lies, of course, in qualities as a novelist, the foremost being the creation of the most vividly drawn characters in literature.

    While Charlus is the incomparable hero of Proustian fiction, perhaps of twentieth-century fiction altogether, Swann, though less dominant in the saga, lays bare more clearly Proust’s process of character presentation and delineation. Like all the others, he is a blend of several persons observed by the author in reality. He first appears to the narrator when the latter, a sensitive child, surrounds him with mystery and accumulates baffling contradictions on the wealthy neighbor of Combray. Proust depicts his physique in rapid touches, renders his language, gradually suggests him among his family, his sets of friends. Like most Proustian characters, Swann leads a double life and is himself ambivalent. He is one of the very few exceptions who, perhaps because he dies before the middle of the work, is never carried away in the infernal homosexual round. But he cherishes dolorous and languid women, Botticelli-like, in art, yet, in real life, concretely embraces Rubens-like cooks, servants, and unrefined country girls. He is addicted to dreaming and sharpens his acute nervous sensitiveness to the point of welcoming pain, but he is not capable of the effort needed to mature in solitude and to create a work of art. He thus fills an essential function in the novel. He opens up the world of art to Marcel but fails to show him how to penetrate deeply into it, as Elstir will teach him. He points to the peril of living a purely mundane life and of being engulfed by it to the point of losing the ability to concentrate and to create. and he prefigures for Marcel all the tortures of sickly love, anguish, lack of will, and jealousy that will punctuate with their monotonous burden every subsequent passionate pilgrimage within the long novel. (36-37)

Peyre, too, finds the association of Proust with schools of philosophy and psychology of little interest. But he does place Proust in the school of the romantics, who placed imagination at the center.

More aptly than the much abused adjective ‘Bergsonian,’ the broader word ‘romantic’ would designate the best in the Proustian vision. The romantics restored ‘the pleasures of imagination’ to the forefront. Romantic heroes, and, even more, romantic heroines, enjoyed the expectation of all joys, and particularly the sinful ones, far more than the fulfillment of such expectations; for reality regularly disappointed them. Like Emma Bovary after she had decided to seek the realization of her bookish dreams with pitifully selfish lovers, they confessed to ‘experiencing nothing extraordinary’ even in forbidden pleasures. But, and on another plane, imagination was the goddess worshipped by Coleridge, Poe, Baudelaire, and Proust. It alone constituted the whole of love according to Proust; it lay at its source in any case, and it provoked all other pleasures, transfiguring to secondary characters fleetingly colored by the narrator’s magic lantern persons from M. de Charlus, Mme de Guermantes, la Berma, and Bergotte to Mlle de Stermaria or the dairy girl of whom he caught a glimpse from the train taking him to Balbec. Proust’s claim to greatness lies in part in that irradiation of imagination, enriched by a retentive and transfiguring memory, which turns a weight of matter into gold, and transmutes vices, jealousies, and suspicions into beauty. (39-40)

https://proustreader.wordpress.c ... legacy-of-proust-2/
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-8-19 10:47:59 | 显示全部楼层
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-8-26 16:02:54 | 显示全部楼层
It is the end of the end and, as they say, the "last cry".

C'est le fin du fin et, comme on dit, le «dernier cri».
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-9-8 16:45:08 | 显示全部楼层
The real voyage of discovery consists not in seeking new lands but seeing with new eyes.

The only paradise is paradise lost.

For a long time I used to go to bed early.

Let us be grateful to people who make us happy; they are the charming gardeners who make our souls blossom.

Love is space and time measured by the heart.

Happiness is beneficial for the body, but it is grief that develops the powers of the mind.

We are healed from suffering only by experiencing it to the full.

Let us leave the beautiful women to men with no imagination.

We don't receive wisdom; we must discover it for ourselves after a journey that no one can take for us or spare us.

Only through art can we emerge from ourselves and know what another person sees.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-9-23 13:36:06 | 显示全部楼层
“Their honour precarious, their liberty provisional, lasting only until the discovery of their crime; their position unstable, like that of the poet who one day was feasted at every table, applauded in every theatre in London, and on the next was driven from every lodging, unable to find a pillow upon which to lay his head, turning the mill like Samson and saying like him: "The two sexes shall die, each in a place apart!”; excluded even, save on the days of general disaster when the majority rally round the victim as the Jews rallied round Dreyfus, from the sympathy–at times from the society–of their fellows, in whom they inspire only disgust at seeing themselves as they are, portrayed in a mirror which, ceasing to flatter them, accentuates every blemish that they have refused to observe in themselves, and makes them understand that what they have been calling their love (a thing to which, playing upon the word, they have by association annexed all that poetry, painting, music, chivalry, asceticism have contrived to add to love) springs not from an ideal of beauty which they have chosen but from an incurable malady; like the Jews again (save some who will associate only with others of their race and have always on their lips ritual words and consecrated pleasantries), shunning one another, seeking out those who are most directly their opposite, who do not desire their company, pardoning their rebuffs, moved to ecstasy by their condescension; but also brought into the company of their own kind by the ostracism that strikes them, the opprobrium under which they have fallen, having finally been invested, by a persecution similar to that of Israel, with the physical and moral characteristics of a race, sometimes beautiful, often hideous, finding (in spite of all the mockery with which he who, more closely blended with, better assimilated to the opposing race, is relatively, in appearance, the least inverted, heaps upon him who has remained more so) a relief in frequenting the society of their kind, and even some corroboration of their own life, so much so that, while steadfastly denying that they are a race (the name of which is the vilest of insults), those who succeed in concealing the fact that they belong to it they readily unmask, with a view less to injuring them, though they have no scruple about that, than to excusing themselves; and, going in search (as a doctor seeks cases of appendicitis) of cases of inversion in history, taking pleasure in recalling that Socrates was one of themselves, as the Israelites claim that Jesus was one of them, without reflecting that there were no abnormals when homosexuality was the norm, no anti-Christians before Christ, that the disgrace alone makes the crime because it has allowed to survive only those who remained obdurate to every warning, to every example, to every punishment, by virtue of an innate disposition so peculiar that it is more repugnant to other men (even though it may be accompanied by exalted moral qualities) than certain other vices which exclude those qualities, such as theft, cruelty, breach of faith, vices better understood and so more readily excused by the generality of men; forming a freemasonry far more extensive, more powerful and less suspected than that of the Lodges, for it rests upon an identity of tastes, needs, habits, dangers, apprenticeship, knowledge, traffic, glossary, and one in which the members themselves, who intend not to know one another, recognise one another immediately by natural or conventional, involuntary or deliberate signs which indicate one of his congeners to the beggar in the street, in the great nobleman whose carriage door he is shutting, to the father in the suitor for his daughter’s hand, to him who has sought healing, absolution, defence, in the doctor, the priest, the barrister to whom he has had recourse; all of them obliged to protect their own secret but having their part in a secret shared with the others, which the rest of humanity does not suspect and which means that to them the most wildly improbable tales of adventure seem true, for in this romantic, anachronistic life the ambassador is a bosom friend of the felon, the prince, with a certain independence of action with which his aristocratic breeding has furnished him, and which the trembling little cit would lack, on leaving the duchess’s party goes off to confer in private with the hooligan; a reprobate part of the human whole, but an important part, suspected where it does not exist, flaunting itself, insolent and unpunished, where its existence is never guessed; numbering its adherents everywhere, among the people, in the army, in the church, in the prison, on the throne; living, in short, at least to a great extent, in a playful and perilous intimacy with the men of the other race, provoking them, playing with them by speaking of its vice as of something alien to it; a game that is rendered easy by the blindness or duplicity of the others, a game that may be kept up for years until the day of the scandal, on which these lion-tamers are devoured; until then, obliged to make a secret of their lives, to turn away their eyes from the things on which they would naturally fasten them, to fasten them upon those from which they would naturally turn away, to change the gender of many of the words in their vocabulary, a social constraint, slight in comparison with the inward constraint which their vice, or what is improperly so called, imposes upon them with regard not so much now to others as to themselves, and in such a way that to themselves it does not appear a vice.“
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-9-23 13:36:37 | 显示全部楼层
本帖最后由 Reader86 于 2021-9-23 01:44 PM 编辑

普鲁斯特最长的一个句子。958个词。


Cities of the Plain
(Sodom et Gomorrhe)
[Vol. 4 of Remembrance of Things Past–
(À la Recherche du temps perdu)]
回复 支持 反对

使用道具 举报

 楼主| 发表于 2021-11-16 21:00:50 | 显示全部楼层
气传信

https://www.douban.com/group/topic/189382940/

P1374
“您如果得知凡德伊小姐和她的女友要来巴黎,您能不能用气传信先通知我一下,告诉 我她们究竟要逗留多长时间,但千万不要告诉任何人,我向您提出过这个请求,行吗?”

P301
"哪天您得知凡德伊小姐或是她女友要来巴黎的消息,麻烦您发个气压快件给我,告诉我她们到底在巴黎待几天,另外,请别把我问您这事告诉别人,行吗?"

https://www.sohu.com/a/375459119_119097

但它并不是科幻产物,这种名为 气动管道传输(Pneumatic Tube Transport)的运输系统,它就在我们的身边。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2022-2-16 13:07:08 | 显示全部楼层

Life had obligingly revealed to one in its whole extent the novel of this little girl’s life, had lent one, for the study of her, first one optical instrument, then another, and had added to one’s carnal desire an accompaniment which, multiplied and diversified it with those other desires, more spiritual and less easily assuaged, which do not emerge from their torpor but leave it to carry on alone, when it aims only at the conquest of a piece of flesh, but which, to gain possession of a whole tract of memories from which they have felt nostalgically exiled, come surging round it, enlarge and extend it, are unable to follow it to the fulfillment, the assimilation, impossible in the form in which it is looked for, of an immaterial reality, but wait for this desire half-way and at the moment of return, provide it once more with their escort;  


生活热情地向你全面地展示了这个小女孩生命的篇章,为了让你可以观察她,为你提供一个接一个光学仪器,又在你对她的肉欲之上加上另一个欲望:精神欲望;精神欲望激起更强烈的肉欲,它与另一些偏重于精神,存在时间更久的欲望一起,使得你的欲望各种各样,千变万化;当肉欲的目的只是征服肉体时,这些精神欲望并不积极响应,而是离开它,听任它单独行动,但是,为了拥有一段完整记忆,记录它们被排斥于这段肉欲的记忆之外,而耿耿于怀的感受,它们涌向肉欲,围绕着它,使它更强烈,持续的时间更长;精神欲望不能和肉欲一起,直到它得到满足,它们也不能与肉欲融为一体,因为肉体并非寻求与精神境界合二为一的形式,但它们在中途等待肉欲,等着它满足后回来的那一刻,重新与它相伴;
回复 支持 反对

使用道具 举报

 楼主| 发表于 2022-2-16 23:39:31 | 显示全部楼层
本帖最后由 Reader86 于 2022-2-17 01:10 AM 编辑

Feeling it to be at least the eve, if not the morrow, of the beloved’s departure, one follows along the brink of the shivering water those attractive paths by which already a first red leaf is blooming like a last rose,  scans that horizon where, by a device the opposite of that employed in those panoramas beneath whose domed roofs the wax figures in the foreground impart to the painted canvas beyond them the illusory appearance of depth and mass, our eyes, passing without any transition from the cultivated park to the natural heights of Meudon and the Mont Valérien, do not know where to set the boundary, and make the natural country trespass upon the handiwork of the gardener, of which they project far beyond its own limits the artificial charm; like those rare birds reared in the open in a botanical garden which every day in the liberty of their winged excursions sally forth to strike, among the surrounding woods, an exotic note.

你感到被爱的人如果不是明天将要离去,就在今晚;徘徊在闪着微光的湖岸,诱人的小径上,眼前,小径边的第一片红叶像最后一朵玫瑰花悄然绽放 ,远方,你瞭望地平线(而眼睛的功能恰好与全景摄影装置相反,在全景照片的穹顶之下,前景中的蜡像,使得它们位置的上方,画在画布上的背景在深度和广度上产生错觉32,你会觉得背景在无限远的天边)你的视线从植物繁茂的公园落到自然地貌的默东33高地和瓦勒里昂山34没有任何过度地带,不知道该在哪里划分界线,原野肆意侵入园丁手艺建造的公园,人类把园中远远超过自己极限的人造美境展现在我们眼前;就像在植物园中,稀珍的鸟儿在开放的空间饲养,它们每天自由地任凭翅膀带它们飞来飞去,在周边的树林里,奏响奇异的音乐。
  --------
      32.这里大概指的是那些画在有穹顶的建筑物内壁上的画,就像那些著名的大教堂,屋子中央的观众会产生周围是真实事物的幻觉。
      33.默东(Meudon)位于巴黎西南,在凡尔赛宫附近,周边有很多森林,地势较高,从布洛尼林园可以看见。
    34.瓦莱里安山(the Mont Valérien)位于巴黎西边,俯瞰布洛涅园林。
    
回复 支持 反对

使用道具 举报

 楼主| 发表于 2022-3-17 22:30:50 | 显示全部楼层
本帖最后由 Reader86 于 2022-3-17 10:32 PM 编辑

瞧瞧普鲁斯特是怎样夸圣卢和法国人。在普鲁斯特心中, 他最亲密的朋友,圣卢代表法国人,他的仆人弗朗索瓦丝代表法国传统女性。

在新创造的性格中,不管整个家族的缺陷怎么组合在一起,支配圣卢的毕竟是胸怀坦荡,开朗乐观的品质,魅力无穷。因此,应该坦率承认法国人具有内在的闪光品质,无论何时在纯粹的发国人身上发现这些品质,不管贵族还是平民,它们盛开优雅花朵,用绚丽多彩修饰有些过分,因为有尺寸的比例以及某些限制,一个来法国的外国人,不管他多么值得敬佩,对我们不会这样优雅。毫无疑问,他人也不缺乏智力和道德品质,如果我们开始时,不让那些我们排斥和爱好的东西支配我们的思想,那么他们这些品质对我们会很可贵。从平等的角度去看是美的东西,用心灵衡量是有价值的东西,它们会首先吸引我们的眼睛,具有漂亮的颜色,被完美地雕琢,它的内容和形式不但应该被表达于外部世界,也应该具有内在的美,不管怎么说,这是一件愉快的事情,只有法国人才有的品质。
回复 支持 反对

使用道具 举报

 楼主| 发表于 2022-3-17 22:31:30 | 显示全部楼层
But in Saint-Loup, when all was said, however the faults of his relatives might be combined in a fresh creation of character, there reigned the most charming openness of mind and heart. And whenever (it must be frankly admitted, to the undying glory of France) these qualities are found in a man who is purely French, be he noble or plebeian, they flower — flourish would be too strong a word, for a sense of proportion persists and also a certain restraint — with a grace which the foreign visitor, however estimable he may be, does not present to us. Of these intellectual and moral qualities others undoubtedly have their share, and if we have first to overcome what repels us and what makes us smile they remain no less precious. But it is all the same a pleasant thing, and one which is perhaps exclusively French that what is fine from the standpoint of equity, what is of value to the heart and mind should be first of all attractive to the eyes, charmingly coloured, consummately chiselled, should express outwardly as well in substance as in form an inward perfection.
回复 支持 反对

使用道具 举报

 楼主| 发表于 2022-4-15 12:25:52 | 显示全部楼层
a change of surroundings comparable to that which introduces Parsifal suddenly into the midst of the Flower-Maidens.



Overview
Flower Maidens

Quick Reference

(Wagner: Parsifal). Six sops. These maidens live in Klingsor's magic garden, trying to seduce the Knights of the Grail and interest them in earthly pleasures. When Parsifal meets them, they tease him, but once they realize he is quite happy to play with them, they try to seduce him. They fight among themselves, each claiming to be the most beautiful. When Kundry calls to Parsifal, they metaphorically spring to attention, leaving him and returning to their castle. Created (1882) by Fräulein Horsen, Meta, Pringle, André, Galfy, and Belce (and in the programme for the première they were designated ‘Klingsor's Zaubermädchen’, i.e. Klingsor's Magic Maidens).

From:  Flower Maidens  in  A Dictionary of Opera Characters »

Subjects: Music — Opera
Related content in Oxford Reference
Reference entries
Flower Maidens
in A Dictionary of Opera Characters (2) Length: 108 words

View all related items in Oxford Reference »

Search for: 'Flower Maidens' in Oxford Reference »

https://www.oxfordreference.com/ ... y.20110803095824951
回复 支持 反对

使用道具 举报

手机版|天涯小站

GMT-4, 2022-6-25 07:14 PM

Powered by Discuz! X3.4

© 2001-2017 Comsenz Inc.

快速回复 返回顶部 返回列表