Showing posts with label M. Proust 普魯斯特. Show all posts
Showing posts with label M. Proust 普魯斯特. Show all posts

Monday, June 11, 2012

普魯斯特的大衣

Proust's Overcoat 緣起自作者採訪協助維斯康堤( Luchino Visconti )構思改編《追憶似水年華》( In Search of Lost Time )的 Piero Tosi ,引出普魯斯特( Marcel Proust )遺物、手稿收藏家 Jacques Guerin 的故事。

巴黎香水商 Jacques Guerin 二十歲起就是普魯斯特書迷,1927年因盲腸炎結識普魯斯特的弟弟、腫瘤科/外科醫生羅拔( Robert ) 。Guerin 在羅拔家看到一些普魯斯特親筆修改的手稿(普魯斯特於1922年逝世),改得密密麻麻。六年後,羅拔亦不幸過世,遺孀 Marthe 生前與普魯斯特關係淡薄,將大部份藏書、書信、手稿等燒掉。Guerin 從為她賣掉遺物的代理人 Werner 口中得知,隨即設法阻攔,買下有幸未被燒掉的東世。Guerin 對  Werner 窮追猛打,問他還有沒有其他的遺物--作者筆下的 Werner 與 Guerin 是一對活寶, Guerin 戀物到執迷的地步, Werner 則採一種 sadistic 態度,老是說沒有,但又會暗示還有一點甚麼。再三追問下,Werner 終於透露他還保留了大部份家具, Guerin 一概買下。

人們最愛談的其中一件普魯斯特佚事,是他大熱天都穿上厚大衣外出,就是在飯店用餐,亦衣不離身。而這件大衣,竟然被羅拔遺孀轉贈予 Werner ,供他釣魚時鋪在腿上保暖。 追問到最後, Werner 也不得不把大衣的下落告訴 Guerin,因為不好意思,不收分文便給了他。

書中列出部份 Guerin 收藏的普魯斯特舊照、書信,也談及普魯斯特與弟弟、弟婦的微妙感情,不無唏歔,不過大部份資料都在其他傳記中有提及, Guerin 的熱情與執迷反而特別動人。

Guerin 通過 Werner 在羅拔家「拯救」回來的其中一幀照片--幼年的羅拔與馬塞

法國前總統密特朗( Francois Mitterrand )曾親自拜訪 Guerin ,希望為國家圖書館( Bibliotheque Nationale )接收部份手稿/書籍,Guerin 招呼周到,但不賣帳,不過臨終還是將大部份收藏捐增及拍賣。普魯斯特完成《追憶似水年華》時的睡房原貌,現在 Musee Carnavalet 展出;大衣因為不適宜長期展示,好好躺在博物館儲存室。

本書作者是意大利女記者 Lorenza Foschini(譯者則是 Paintings in Proust 的作者 Eric Karpeles),行文明快,用詞比較溫厚,有維護憐惜的意味,不諳普魯斯特作品或生平的人,讀過也會喜歡上他。相比之下,普魯斯特傳記作者 Edmund White (另有多種傳記,例如 Jean-Yves Tadie 的,但未曾拜讀)則非常硬梆梆。

雖然有點「花邊」性質,但是極好看的一本小書。

網上圖片





Saturday, January 28, 2012

試讀《尤利西斯》

看過馬蒂斯( Henri Matisse )展覽後,決心把買下多年的《尤利西斯》( Ulysses )拿來一讀。幾年前讀《都柏林人》( Dubliners )已經覺得很艱澀(亦很晦暗),很多愛爾蘭用語根本看不懂,就是有註釋,也覺得非常阻隔,看了兩三個短篇就丟下了。

讀《尤利西斯》感覺上沒那麼吃力,但不知所云的地方到處皆是,也看不出漫無重心的描寫背後有何用心,不免越看越分心。一百六十頁開外,我相信以我的英語程度,根本不可能把本書看完。即使看完,也不得其味。

我放棄了。

還是先從中文譯本入手,比較實際。僅小說開場 Buck Mulligan 與 Stephen Dedalus 對話一幕,我已發覺讀原文時完全錯過了對宗教及宗教觀的調侃。

不少人把喬伊斯( James Joyce )與普魯斯特( Marcel Proust )相提並論,但閱讀兩人的作品,是徹底不同的經驗。特別值得一提的是,我從前就覺得《追憶似水年華》( In Search of Lost Time )根本不是意識流小說,今有了《尤利西斯》的比較,我更覺《尤利西斯》是徹底的意識流小說,但《追憶似水年華》並不是。普魯斯特寫回憶,但那是綿綿密密的一張網,人與事相互交織,感傷的 Marcel 之靈魂在網上踽踽前行,間或重新發現埋藏記憶深處的感情。他會由與藝術家朋友的對話,引發出連篇藝術、文學的思緒,他會浮想連篇,但並不止於浮想連篇。他會追尋那看似漫無邊際的聯想之根源,使這種書寫超越意識流層面。

由差點摔倒於不平的石板道回憶起人生各種喜悅時光(包括品嚐馬德蓮點心的喜悅),他繼續想,為何我會想到這些喜悅時光?除後他憶起,在威尼斯曾同樣差點摔倒於不平石板道,其感動如一,一如馬德蓮點心的滋味,令他想起貢布雷的時光;但為甚麼是威尼斯,為甚麼是貢布雷? Marcel 繼續叩問, Proust 繼續通過書寫尋求答案。這不止是意識流,而是通過書寫,發掘此生此世的奧秘。《追憶似水年華》的真正主角,一如書名已點出,是時間,及時間之流逝。傷痕的癒合,人情之變幻,人在變幻中的不自知,韶華暗渡中老去,全都通過書寫被呈現(本雅明 Walter Benjamin 說的 actualization )。Time Regained ,不是重返/拾光陰,而是明白時間(之不能逆轉)的真締,通過一種心領神會,conquer 時間及創傷。

附錄:

一九二一年喬伊斯在蘇黎世一家咖啡館裡曾對為他寫傳記的畫家佛蘭克·勃真說:「我在這本書裡設置了那麼多迷津,它將逼使幾個世記的教授學者們來爭論我的原意。」接着,他還惡作劇地調侃說,「這就是確保不朽的唯一途徑。」(M按:怎麼似倉海君會說的話?)(見艾爾曼的《詹姆斯·喬伊斯》第521頁)也就是说,作者是有意把這部奇書寫得文字生僻古奥,内容艱深晦澀,撲朔迷離,以致七十多年来,西方喬學家們根據不同版本,對本書内容各執一說,爭論不休。



四十年代,我初讀此書時,就常抓耳撓腮。實在看不懂時就只好跳過去。



《尤利西斯》的文字猶如一隻萬花筒,變幻无窮。西方有的作者把全書文體分作抒情的、史詩的和戲劇的三種,但作品本身彷佛拒絕这種概括。全書最不好處理的是第十四章。其背景是婦產醫院,寫的是嬰兒的誕生。它難在文體的模擬。全章開頭用的是古英语。接着又模擬了英國文學史上歷代名家的文體,其中有的我們熟悉,有的生疏。無論如何,我們沒有本事用中文去表達这麼多不同的文體。為了對原作這裡的意圖略表尊重,我們只是試圖把前邊較古的部份譯成半文半白。(M按:曹雪芹模擬大觀園群芳不同性格而作的詠白海棠詩、菊花詩,想也不易譯吧?!)



讀《尤利西斯》首先得過語言關。全書除了夾雜法、德、意、西以及北歐多種語言外,還時常使用希臘、拉丁、希伯來等古代文字,包括梵文。有時三个句子中竟混幾種语言。要麼就只取字頭字尾。有些近乎文字游戲,但有時也表現了作者的艺术匠心。


--摘自蕭乾《尤利西斯》中文版譯序



Friday, December 30, 2011

晨興理荒穢

今早花了個多小時修剪盆栽。

年中為寫一篇關於成瀨巳喜男的文章,重讀川端康成的《山之音》,忽然為他對盆栽(Bonsai)的描寫著迷。

北美研究者 Roy Starrs 將《山之音》與普魯斯特( Marcel Proust )的《追憶逝水年華》(In Search of Lost Time/À la recherche du temps perdu)相提並論,兩部作品在風格及主題(及篇幅!)上當然多有不同,但都以主人公( Marcel /信吾)的心理感受出發,普魯斯特綿密舖敘,川端抽像跳躍,但似乎都邁向同一目標:通過書寫,將主人公從時間(年華逝去)的重擔中解脫出來,尋找超越時間桎梏的昇華。(Starrs, Roy, ‘Time and Anti-time’, in Soundings In Time: The Fictive Art of Yasunari Kawabata, Richmond: Japan Library, 1998)

Roy Starrs 由能劇往往流露對往昔的傷感(a sensitivity to passing time)說起,帶出日本文學之物哀傳統。《山之音》處處是物哀意象--其不是有關信吾對實在的人(無論是菊子或保子姊姊)的感情,而是他對抽像概念——衰老、年青、色相、永恆等等的思考詠歎。小說充滿四時植物、自然景象的描寫,信吾與菊子的閑談總離不開應時草木,全書章節題名除了〈傷後〉之外,全都是自然物事,充份體現信吾見物起興的情懷,這種情懷,來自和歌,來自川端喜好的《枕草子》及《源氏物語》。

盆栽是將瞬間與永恆、萬物與唯一凝聚於一可觸之空間。有人以為盆栽是邪惡的,因以個人的意志扭曲自然,將原應在野外的樹木植入細小盆皿;有人從盆栽裡看出藝術,看出禪。

不瞞你,我的一個外國朋友就以扭曲自然的觀點挑戰我,有趣的是,她家種花種草養貓養狗,於是我答道,那你的狗是否應該回到森林?她只得不置可否:噢,人類就是有千百種方法逆轉自然。但是何謂逆轉,何謂自然?我相信命運不可拂逆,所以可以逆轉的,或許根本就不是自然,也非命運,或者說,是自然的一部份。 Donald Richie 詮釋「物哀」,指其傳達一種滿意的聽任自然(contented resignation),觀察到萬物有其序、甘於順其而然的情感(an observance of the way things are and a willingness to go along with them),「物哀」的本質是感受存在的本質(experiencing the basic nature of existence),體驗天人合一的愉悅(savouring the comforts of being in harmony with the cycles of the universe),任由逆境襲來(acceptance of adversity),及懷抱不可拂逆之命運(appreciation of the inevitable)。(Donald Richie, A Hundred Years of Japanese Film (revised edition), Tokyo: Kodansha International Ltd, 2005, p. 63)如此看來,盆栽是最懂得物哀的。

其實我認為兩種觀點(扭曲自然/禪)都對--盆栽之迷人,正在亦正亦邪的雙重性。它的看似不平衡,其實是精心打理的不平衡(如日本庭院),所以是近乎完美的平衡。它的靜止,反映著萬物流動。盆栽有禪味,也具妖氣。盆栽是矛盾的存在。

"Janus is the tutelary diety of criticism and the symbol of genius."
-Balzac, Lost Illusions

於是今年六月買了一盆盆栽(圖右),上月與 Tim 的妹妹參加一個課程,從雜生的小樹著手,自己理出一盆(圖左)。都不是名貴的盆栽,只是年幼的、最易栽種的刺柏(juniper)。

今早第一次細心修剪,不意就是一小時,每一剪是一世界,只有修剪了,才發覺有更多可以修剪,完全是忘我的。

(我們沒有花園,不可以堆肥,但用一種 Urban Composter bin ,剩菜果皮丟進去,會沉澱出可用作有機肥料的液體。)





Friday, March 05, 2010

Tasmania a Wild Peace-land

一到埗,便愛上 Tasmania 。

Tasmania 是澳洲南部的一個島,自成一角,並不是熱門的旅遊地區,我稱之為未被旅遊業污染的世外,保留著它獨有的質樸和粗野,我希望它一直如此,因為它將會是我們日後常到的地方。

I fall in love with Tasmania immediately.

Tasmania is a lovely island in the South of Australia, staying in is splendid isolation from the overwhelming influence of tourism because it is not among the most popular tourist spots. Not just some countryside but a wild land that retains its rusticity and naturalness. I wish it would always retain such beauty because it will be the place we are going to visit from time to time.




有點像電影裡看過的美國西部,天與地連成一綫,一丁點城市氣息都沒有(除了一兩個港口附近比較大規模的市鎮),只有烈日當空、大片的平原、罌粟田、稻麥田、不修邊幅的車道—— Tim 的父親 Moss 特意不走高速公路,好讓我多看自然風景——、路上常會見到被撞斃或野獸噬咬過的動物屍骸,他們稱之為 Road Kills 。 Tim 的父母05年初次來渡假,一見傾心,當即買下一塊地,連同一大片樹林, Moss 親自建了一座小屋(!),每年到那裡小住三兩月。小屋位處山上,面向廣闊的草原和農地,寧靜的 Mountain Roland 座落遠方,守護著這一片風景。屋外鳥聲蟲鳴不絕,晚上還會有野兔、刺蝟、負鼠、沙袋鼠和貓頭鷹四出活動;晚飯後把骨頭丟到屋外,第二天起來已不知所蹤。

Just like the landscapes I saw in some Western movies, there is no trace of city/urban life at all (except perhaps one or two major towns). All that we have are enormous plains, opium fields, wheat fields right below the high noon, alongside the rough and sometimes twisty roads – Tim’s father Moss stayed away from the highways on purpose so that I can enjoy more views - , and road kills are but a casual view you catch every day. Tim’s parents went to Tasmania for the first time in 2005 and fell in love with the place immediately that they bought a piece of land on a hill with a handsome little forest. Moss built a house with his own effort (!) and they travelled down to Tassie for vacations every year. Every morning I woke up to be greeted by a beautiful view of plains, lawns, trees and farmlands with the tranquil Mountain Roland standing at the far end, looking after this beautiful view. The birds’ chirping and the insects’ chanting composed an enjoyable piece of music all through the day and when night fell, little rabbits, echidnas, possums, wallabies and even owls would creep out to enjoy the millions of silver-white stars, if also the food and the bones we left in the bushes, with us.

屋外風景

傍晚(還是清早?),另一景像

屋外的樹林

屋外的樹林



初到埗的黃昏,我們坐在游廊上吃芝士,喝Tim 買的香檳,看日落,我想起普魯斯特在到到巴爾貝克(Balbec)的火車上看到的平靜鄉郊風景。普魯斯特常提到 veranda ,他看海濱少女,他的 Albertine 的地方,我一直當作是陽台,這次去 Tasmania 和 Brisbane ,看過他們的房子,終於知道 veranda ——通常是客廳外有蓋的游廊,在日本房子也常見。有些人家會在游廊封上玻璃窗,變得密不透風,明顯我們並不喜歡那樣做。怎麼捨得把空氣與樹木的氣味,午後的陽光排除在外?在最自然的地方寫作、看書、吃茶、看風景,是我們的 luxury。

We sat at the veranda on the first evening and watched the sunset while enjoying good cheese and Jacob’s Creek rose champagne (which becomes one of my favourite). The view reminds me of Proust’s account of the country views he saw on the train to Balbec. Veranda, veranda is one of Proust’s favorite place in his beloved Balbec where he often settles to look at the shadow of young girls in flower, his Albertine…. Due to my limited experience and exposure I used to imagine a veranda to be something sort of a balcony, only to learn what it is after this trip to Tasmania and Brisbane. Some people like to cover up the veranda with glass windows but Moss and Elsie’s houses all have “open” verandas which are exactly the way Tim and I enjoy. The smell of the air and the bushes and the natural sunlight make it an ideal place for tea, reading, writing or simply being idle.

Tasmania 的氣候變幻莫測,今天萬里無雲,碧日晴空,第二天早上起來卻可以變得濃霧氤氳。那兒的霧卻是清新的,一點不覺霧靄沉沉——或許因為我們身處的地勢高,有一種朦朧的仙氣,那霧濃得觸手可及,四野淡白,美得令人出神。

Weather in Tasmania is capricious, ranging from a chilly cold like the day we arrived to a sweating heat in the day that follows, and one morning after a fine bright day we woke up to find ourselves in the midst of a thick fog gently pervading from the veranda and balcony. Unlike that in London (or in Hong Kong recently) which often conjures up melancholy, the fog - perhaps due to our location in a highland- was light and poetic, and it evokes a celestial lightheartedness.

我們在 Tasmania 住了八天。 Moss 每天駕著一輛七十年代的 Kingswood 汽車,帶我們穿越 Tassie 北部近十個小鎮。 Kingswood 令我興奮的是前座可坐三人,Moss 讓我坐在中間,兩個可愛的男人—— Tim and Moss 在我兩旁, Elsie 則在後排。每個小鎮都有它的特色,規模都很小,只有基本的士多、雜貨店、餐聽,賣日常食品用品,絕對絕對沒有 luxuries 。當然也有一些賣紀念品的店鋪,也有各種古董店,玻璃彩繪店,而且貨品價值不菲,不過你不會見到旅遊城市排山倒海的商業味。

During our 8 days of stay, Moss drove an old Kingswood (which captured me at first sight) to drive us across more than 10 towns in Northern Tasmania. As if in a movies in the 60’s or the 70’s, I was so spoilt they let me sit at the front with two lovely men at both sides, whereas Elsie reigned the back and impressed us all the time with her wits. Moss was a sweet husband he always asked if Elsie is doing fine at the back. Shops are minimal in towns, selling mostly daily necessities and luxuries have absolutely no place here (YEAH). Of course, there are shops selling souvenirs and Moss and Elsie had brought us to some really fascinating novelty shops, murano shops and antique shops where the prices are HIGH, but like I said, there is hardly any disturbing harassment of commercialization and consumerism.





兩老本來有意思把小屋賣掉,已經跟地產商接洽,不過見我玩得這樣興奮,他們說,現在不賣了!

And the most exciting news being, Moss and Elsie has given up their idea of selling this lovely lovely house!

接下來再按圖寫一點點。待續。
To be continued with more stories with pictures.





Saturday, December 12, 2009

Tears of Sublimation

I was soaked in tears when watching Ulysses' Gaze this afternoon, especially in scenes when A (Harvey Keitel) was travelling through present and past, memories and imaginations, bliss and bitterness, longings and regrets - just like in Eternity and A Day. But those were not tears of sadness, rather tears of sublimation. The music and the images summoned up some unspeakable sentiments deep in my soul.

If Visconti could best depict the aristocratic elegance and decadent obsession in Proust's In Search of Lost Time - a project he didn't manage to complete during his lifetime, Angelopoulos is undoubtedly the one and only one, if not the last one - for I can't see any potential ones coming, that can best transcend onto screen Proust's loneliness, nostalgia, complexes, unmendable scars, lost regrets and of course all those streams of consciousness...

「沒有任何其他藝術形式比電影更能補捉時間的流逝,而又更能保留時間,讓它一回又一回地重覆自己。」

「安哲羅普洛斯......說:『人的肉身永遠都在日常瑣事中糾纏不清,而沉默的心靈則無言地編織思緒,直到一天,機緣巧合,隱秘的圖像浮現出來,水到渠成地糅合到現實生活的千絲萬縷裡去。』學者們可以花上洋洋萬言,從希臘的歷史、政治、文化、神話......,去解讀安哲羅普洛斯的電影,卻始終不若他自己寥寥數語來得來得精確清晰。其電影的藝術魅力,正正來自那些沉著恬靜、神秘詩意的影象——」


—黃愛玲

"You come all this way looking for something that's believed to be lost..."

—S (Erland Josephson), in Ulysses' Gaze



Monday, November 16, 2009

男人!

我老爹發現我最近看 Anais Nin :「啊,你係地鐵睇,咪好寸?」

我:「車,D 人都唔知係乜啦。」

老爹摩挲兩掌:「呵呵,拿住本 Anais Nin 的女仔,我會好想......」

我:「係囉,吸引過拿住本 Proust 呀可?」

老爹(覺得我深得佢心):「梗係啦! Proust 係悶皇黎嘛!」

果然係一個男人......He probably doesn't know that Anais was a great fan of Proust's, and she once said, "...Myself is like the self of Proust, it's merely an instrument to connect life and the myth."

聽日問下 TM 先......



Sunday, June 21, 2009

My Notes on Time Regained (the film)

It is certainly one of the most exquisite experiences on earth having finished reading In Search of Lost Time...

Raoul Ruiz is famous for his obsession with and his skill in representation of “remembrance of things past”, or “stream of consciousness” with his hypnotic, dreamlike cinematic images, and I started watching Time Regained with such expectation.

To say it is an adaptation of Proust’s literary work, I’d rather put it as a work inspired by it. There are certain Raoul Ruiz's own input and invention in it.

I appreciate the film’s being experimental in exhausting many kinds of film languages to capture the idea of “finding time again”, or “travelling through time”, its brilliant use of mise-en-scene (especially in those scenes where there is Marcel alone), slowly and rhythmically unfolding a deep melanchly in certain scenes, the beautifully exggerated lighting and high contrast cinematography that re-creates a dreamlike ambience, and its first-person narrative in disguise of a third-person narrative (or third-person in disguise of first-person) - because Marcel, the narrator, is always there - exactly corresponding to that of the Book’s.

But, as one can expect, much of the book's poetic beauty, sadness, and sense of disillusion is lost.

The major problem being it is an adaptation of only the last volume, with a vain attempt to (sometimes) explain (certain) things in brief. It is not feasible at all to depict the last volume alone, because it's true beauty could only be realized after you have experienced all the preceding volumes. BUT it would be another issue, if one aims more at visualizing certain moments than unfolding a story, which, sadly, does not seem to be what RR is doing.

I believe this film is intended only for those who have read the book – I have difficulty imagining people who never read the book being able to make sense out of this film, let alone grasping the significance of every scene and every single line being delivered. (Yet on the other hand, for those who have read the book, all these would seem too simplified, shallow, and out of place!)

This enclosed and no-so-care-to-explain-everything approach reminds me a little bit of Tian Zhuangzhuang’s The Go Master (《吳清源》). BUT the problem with Time Regained is exactly in the parts when it tries to explain (one and one's relationship, or what had happened in the previous volumes)! For example, the scene in which Marcel, as a child, meets the “lady in pink” in his uncle's place without yet realizing her to be the Odette who later plays a very important role in his life, was a key moment in the book, key only when it is recalled, and key being it brings Marcel to the realization that "the significance of an experience is not always immediately revealed"; but the scene only functions as a flashback (not to mention it is totally misleading: as if Odette knows Marcel being the little boy - she never does). Another scene being Marcel’s confrontation with Albertine which is awkward and never for one second succeeds in depicting the power struggle and the bizarre love-torture relationship between them. These two scenes may well left unshot!

Nonetheless, as a work inspired by the original work, it was a pleasure to re-experience some of the poetic moments in moving images – only those with Marcel alone.

Because Marcel is very Marcel (take a look at the screen captures below).

Whereas the rest of the cast, except Catherine Deneuve as Odette carrying her mysterious charm, is a little bit of a disaster: The gentle and caring Saint-Loup is too disappointingly ugly; Emmanuelle Beart is sensual and enchanting as always, but she is being too much herself than Gilberte and her acting is too modern for the role. Morel is way too ordinary-looking to be the homme fatale of the whole work. John Malkovich gave a fair performance as Charlus but he is still not the charming, elegant and at once sarcastic and loving Baron to me…And see how Albertine, the elusive little kitten, the sophisticated, sad, and mischievous kitten, and one who attracts and is attacted to women, is turned into a vulgar witch (should I be glad that she, Chiara Mastroianni, being really Deneuve's daughter, was not casted as Gilberte?)...

How cute that soaked-with-tear Marcel is...








Tuesday, May 19, 2009

恍如隔世

"A stout lady greeted me, and during the short time she was speaking the most varied thoughts thronged my mind. I hesitated for a moment before replying to her, afraid that, recognizing people no better than I did, she might have thought that I was somebody else, then her confidence made me, on the contrary, out of fear that this might be somebody whom I had known extremely well, exaggerate the friendliness of my smile, while my looks continued to search her features for the name I could not find. As a candidate for the baccalaureate, in his uncertainty, fixes his eyes on the examiner's face and hopes in vain to find there the answer for which he would do better to look in his own memory, I fixed my eyes on the features of the stout lady. The seemed to be those of Mme Swann, so my smile took on a more respectful quality, while my indecision began to diminish. Then a second later I heard the stout lady say: “You thought I was Mama, it's true I am beginning to look very like her.” And I recognized Gilberte."

Marcel Proust, Finding Time Again (In Search of Lost Time, Book 6)

看到這裡,深深吸了一口氣。



Tuesday, April 28, 2009

Days of Reading



他送了我這本書。



Sunday, March 02, 2008

The Mégélise way

女皇外遊, Société Particulière de la Reine 的(深宵) soirée 活動暫停, Duchesse de Polignac 乘空小休數天。連日花天酒地,無以為記(或不在此記);倒是寧願抄書一段--最近讀完的,一直想抄。如不嫌行貨,我想告訴你,再沒有別的文章,能如此優美而完全地說出我對某些往事的難以割捨,以及它們對我的深刻的影響--尤其當別人無法理解我的快樂時。

So the Mégélise way and the Guermantes way remain for me linked to many of the little events of that life which, of all the various lives we lead concurrently, is the most abundant in vicissitudes, the richest in episodes, I mean our intellectual life. No doubt it progresses within us imperceptibly, and the truths that have changed its meaning and its appearance for us, that have opened new paths to us, we had been preparing to discover for a long time; but we did so without knowing it; and for us they date only from the day, from the minute in which they became visible. The flowers that played on the grass then, the water that flowed past in the sunlight, the whole landscape that surrounded their appearance continues to accompany the memory of them with its unconscious or abstracted face; and certainly when they were slowly studied by that humble passerby, that child dreaming - as a king is studied by a memorialist lost in the crowd - that corner of nature, that bit of garden could not have believed it would be thanks to him that they would be elected to survive in all their most ephemeral details; and yet the fragrance of hawthorn that for ages along the hedge where the sweetbriers will soon replace it, a sound of echoless steps on the gravel of a path, a bubble formed against a water plant by the current of the stream and bursting immediately - my exaltation has borne them along with it and managed to carry them across so many years in succession, while the paths round about have disappeared and those who walked on them have died, and the memory of those who walked on them. At times the piece of landscape thus transported into the present detaches itself in such isolation from everything else that it floats uncertain in my mind like a flowery Delos, while I cannot say from which country, which time - perhaps quite simply which dream - it comes. But it is most especially as deep layers of my mental soil, as the firm ground on which I still stand, that I must think of the Mégélise way and the Guermantes way. It is because I believed in things and in people while I walked along them, that the things and people they revealed to me are the only ones that I still take seriously today and that still bring me joy. Whether it is that the faith which creates has dried up in me, or that reality takes shape in memory alone, the flowers I am shown today for the first time do not seem to me to be real flowers. The Mégélise way with its lilacs, its hawthorns, its cornflowers, its poppies, its apple trees, the Guermantes way with its river full of tadpoles, its water lilies and buttercups, formed for me for all time the contours of the countryside where I would like to live, where I demand above all else that I may go fishing, drift about in a boat, see ruins of Gothic fortifications, and find among the wheat fields a church, like Saint-André-des-Champs, monumental, rustic, and golden as a haystack; and the cornflowers, the hawthorns, the apple trees that I still happen, when travelling, to come upon in the fields, because they are situated at the same depth, on the level of my past, communicate immediately with my heart. And yet, because places have something individual about them, when I am seized by the desire to see the Guermantes way again, you would not satisfy it by taking me to the bank of a river where the water lilies were just as beautiful, more beautiful than in the Vivonne, any more than on my return home in the evening - at the hour when there awakened in me that anguish which later emigrates into love, and may become forever inseparable from it - I would have wished that the mother who came to say goodnight to me would be more beautiful and more intelligent than my own. No; just as what I needed so that I could go to sleep happy, with that untroubled peace which no mistress has been able to give me since that time because one doubts them even at the moment one believes in them, and can never possess their hearts as I received in a kiss my mother's heart, complete, without the reservation of an afterthought, without the residue of an intention that was not for me - was that it should be her, that she should incline over me that face marked below the eye by something which was, it seems, a blemish, and which I loved as much as the rest, so what I want to see again is the Guermantes way that I knew, with the farm that is not very far from the two that come after pressed so close together, at the entrance to the avenue of oaks; those meadows on which, when the sun turns them reflective as a pond, the leaves of the apple trees are sketched, that landscape whose individuality sometimes, at night in my dreams, clasps me with an almost uncanny power and which I can no longer recover when I wake up. No doubt, by virtue of having forever indissolubly united in me different impressions merely because they had made me experience them at the same time, the Mégélise way and the Guermantes way exposed me, for the future, to many disappointments and even to many mistakes. For often I have wanted to see a person again without discerning that it was simply because she reminded me of a hedge of hawthorns, and I have been led to believe, to make someone else believe, in a revival of affection, by what was simply a desire to travel. But because of that very fact, too, and by persisting in those of my impressions of today to which they may be connected, they give them foundations, depth, a dimension lacking from the others. They add to them, too, a charm, a meaning that is for me alone. When on summer evenings the melodious sky growls like a wild animal and everyone grumbles at the storm, it is because of the Mégélise way that I am the only one in ecstasy inhaling, through the noise of the falling rain, the smell of invisible, enduring lilacs.

Marcel Proust, In Search of Lost Time



Sunday, February 03, 2008

Naturalness

"But as for my grandmother, in all weathers, even in downpour when Françoise had rushed the precious wicker armchairs indoors so that they would not get wet, we would see her in the empty, rain-lashed garden, pushing back her disordered gray locks so that her forehead could more freely drink in the salubriousness of the wind and rain. She would say, 'At last, one can breathe!' and would roam the soaked paths – too symmetrically aligned for her liking by the new gardener, who lacked all feeling for nature... - with her jerky, enthusiastic little step, regulated by the various emotions excited in her soul by the intoxication of the storm, the power of good health, the stupidity of my upbringing, and the symmetry of the gardens, rather than by the desire, quite unknown to her, to spare her plum-coloured skirt the spots of mud under which it would disappear up to a height that was always, for her maid, a source of despair and a problem."

"...who was always glad to have a pretext for taking one more walk around the garden and who would profit from it by surreptitiously pulling up a few rose stakes on the way so as to make the roses look a little more natural, like a mother who runs her hand through her son's hair to fluff it up after the barber has flattened it too much."

"I believe above all that, confusedly, my grandmother found in the steeple of Combray what for her had the highest value in the world, an air of naturalness and an air of distinction. Knowing nothing about architecture, she would say, 'My children, make fun of me if you like, perhaps it isn't beautiful according to the rules, but I like its strange old face. I'm sure that if it could play the piano it would not play dryly.'"


《追憶似水年華》裡率性自然,看輕俗世法度的祖母,總是讓我想到女皇。前幾晚我們由尖沙咀經廟街行到百老匯電影中心接 FPO 同事,天一直飄著陰冷的雨,她卻不要躲在傘下;有條小路雨水滴滴答答在人家的簷蓬滾下來,像個小瀑布,她也想照衝過去。