黎烈文 藝文談片
The Correspondence of Gustave Flaubert and Georg e Sand/ 喬治 桑傳/福樓拜往復書簡；Flaubert in the Ruins of Paris
Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year
From the summer of 1870 through the spring of 1871, France suffered a humiliating defeat in its war against Prussia and witnessed bloody class warfare that culminated in the crushing of the Paris Commune. In Flaubert in the Ruins of Paris, Peter Brooks examines why Flaubert thought his recently published novel, Sentimental Education, was prophetic of the upheavals in France during this "terrible year," and how Flaubert's life and that of his compatriots were changed forever.
Brooks uses letters between Flaubert and his novelist friend and confidante George Sand to tell the story of Flaubert and his work, exploring his political commitments and his understanding of war, occupation, insurrection, and bloody political repression. Interweaving history, art history, and literary criticism-from Flaubert's magnificent novel of historical despair, to the building of the reactionary monument the Sacré-Coeur on Paris's highest summit, to the emergence of photography as historical witness-Brooks sheds new light on the pivotal moment when France redefined herself for the modern world.
『往復書簡 サンド＝フロベール』 持田明子編訳、藤原書店、1998年
The George Sand–Gustave Flaubert Letters, translated by Aimée G. Leffingwell McKenzie (A. L. McKenzie), introduced by Stuart Sherman (1921), available at the Gutenberg website as E-text N° 5115
這本以前介紹的
1869年元旦 一時 兩人靈犀相通 各寫一信 (平均2周一封)
http://www.musee-rodin.fr/....../sculptures/cathedral
The Cathedral | Rodin Museum
Carved in stone and still covered in toolmarks,The Cathedral is a combination of two right hands,…
MUSEE-RODIN.FR
Paperback: 424 pages
Publisher: Harvill Press, The (1999)
Language: English New York : Knopf : Distributed by Random House, 1993
[ARTWORK OF THE WEEK] The Cathedral is a combination of two right hands. This work emphasizes #Rodin’s fondness and passion for these hands, in order to give them a more finished and autonomous form. > Learn more : http://ow.ly/SzKJs 《喬治‧ 桑與福樓拜 》(1920s-1930s) 收入身後7年出版的 《性格與文化》(1937) 譯本:北京三聯 ，2010 黎烈文《藝文談片‧佛洛貝爾的沙龍》(台北:文星，1965，頁197-204) 介紹《佛洛貝爾給喬治‧ 桑的信》書前有陌伯桑80頁(中文約5-6萬字)的研究佛洛貝爾的導論。作者簡述之。 CXLIV. TO GUSTAVE FLAUBERT, at Croissset Nohant, 9 January, 1870 I have had so much proof to correct that I am stupefied with it. I needed that to console me for your departure, troubadour of my heart, and for another departure also, that of my drudge of a Plauchmar--and still another departure, that of my grand-nephew Edme, my favorite, the one who played the marionettes with Maurice. He has passed his examinations for collector and goes to Pithiviers- -unless by pull, we could get him as substitute at La Chatre. Do you know M. Roy, the head of the management of the domains? If by chance the princess knew him and would be willing to say a word to him in favor of young Simonnet? I should be happy to owe her this joy for his family and this economy for his mother who is poor. It appears that it is very easy to obtain and that no rule opposes it. But one must HAVE PULL; a word to the princess, a line from M. Roy and our tears would change to joy. That child is very dear to me. He is so loving and so good! They had hard work to bring him up, he was always ill, always dandled on the knees and always gentle and sweet. He has a great deal of intelligence and he works well at La Chatre, where his chief the collector adores him and mourns for him also. Well, do what you can, if you can do anything at all. They continue to damn your book. That doesn't prevent it from being a fine and good book. Justice will come later, JUSTICE IS ALWAYS DONE. Apparently it did not come at the right moment, or rather it came too soon. It has demonstrated too well the disorder that reigns in people's minds. It has rubbed the open wound, people recognize themselves too well in it. Everyone adores you here and our consciences are too pure to be upset at the truth: we talk of you every day. Yesterday, Lina said to me that she admired very much all you do, but that she preferred Salammbo to your modern descriptions. If you had been in a corner, this is what you would have heard from her, from me, and from THE OTHERS: "He is taller and larger than the average person. His mind is like him, beyond ordinary proportions. In that he is like Victor Hugo, at least as much as like Balzac, but he has the taste and discernment that Hugo lacks, and he is an artist which Balzac was not.--Is he then more than both? Chi lo sa?--He hasn't let himself out yet. The enormous volume of his brain troubles him. He doesn't know if he is a poet or a realist; and the fact that he is both, hinders him.--He must get straightened out in his different lines of effort. He sees everything and wants to grasp everything at once.--He is not the cut of the public that wants to eat in little mouthfuls, whom large pieces choke. But the public will go to him, just the same, when it understands.--It will even go rather quickly if the author CONDESCENDS to be willing to be quite understood.--For that, perhaps there will have to be asked some concessions to the indolence of its mind. One ought to reflect before daring to give this advice." That sums up what we said. It is not useless to know the opinion of good people and of young people. The youngest say that l'Education sentimentale made them sad. They did not come across themselves in it, they who have not yet lived; but they have illusions and they say: "Why does this man, so good, so kind, so gay, so simple, so sympathetic, wish to discourage us from living?" What they say is poorly reasoned out, but as it is instinctive, perhaps it ought to be taken into account. Aurore talks of you and still cradles her baby in her lap; Gabrielle calls Punch, HER LITTLE ONE, and will not eat her dinner unless he is opposite her. They are our continual idols, these brats. Yesterday, I received, after your letter of the day before, a letter from Berton, who thinks that they will not play l'Affranchi longer than the 18th or the 20th. Wait for me, since you can delay your departure a little. It is too bad weather to go to Croisset; it is always an effort for me to leave my dear nest to go to attend to my miserable profession; but the effort is less when I hope to find you in Paris. I embrace you for myself and for all my brood. CXLIV。在克羅伊塞特推出FLAUBERT Nohant，1870年1月9日 我有很多證據證明我糾正了這個問題。一世 需要我安慰你離開我的時候，我的嬉皮士 心，還有另一種情況，那就是我厭倦了一個 普勞赫馬爾 - 還有一次，那就是我的侄子 埃蒙，我最喜歡的，和莫里斯一起玩木偶的人。 他已經通過了收藏家的考試，然後去了Pithiviers- - 除了拉，我們可以讓他在拉Chatre取代。 你知道領域管理負責人M. Roy嗎？如果通過 公主有機會認識他，並且願意說一句話 他贊成年輕的西蒙內特？我應該為此感到高興 他的家庭和這個經濟對他的窮人母親來說是快樂的。它似乎很容易獲得，並且沒有規則反對它。 但是必須要有一個拉;公爵的一句話，來自M.羅伊的一句話我們的眼淚會變成歡樂。 那個孩子對我很珍貴。他是如此的愛和如此美好！他們有努力工作來撫養他，他總是生病，總是被打擾膝蓋，總是溫柔甜美。他有很多情報和他在拉查塔爾，他的首席執行官收藏家崇拜他並為他哀悼。那麼，盡你所能，如果你能做任何事情。 他們繼續詛咒你的書。這並不妨礙它的存在 一本很好的書。正義會遲一點，正義是永遠DONE。顯然它並不是在正確的時刻，或者說是它來得太快了。它證明了這種混亂的情況太好了 在人們的腦海裡。人們認識到它已經擦傷了傷口 他們自己太好了。 大家都喜歡你，我們的良知太純潔了 對事實感到不滿：我們每天都在談論你。昨天，麗娜說對我而言，她非常崇拜你所做的一切，但她更喜歡 薩拉姆博到你的現代描述。如果你在一個角落裡，這是你從她，從我和從THE聽到的 其他： “他比普通人更高，更大，他的思想就像 他超越了普通的比例。因為他就像維克多雨果一樣 最少和巴爾扎克一樣多，但他有品位和洞察力 雨果缺乏，他是巴爾扎克不是的藝術家 - 是他嗎？ 那麼比兩者都多？ Chi lo sa？ - 他還沒有讓自己失望。該 他大腦的巨大麻煩使他煩惱。他不知道他是不是 詩人或現實主義者;而他既是事實，也阻礙了他.--他 必須通過不同的努力得到理順。他看 一切，並希望立即把握所有事情.--他不是被割斷的 想要在小口大口吃的大眾 件嗆。但是，公眾會在他看來，就像他一樣 理解 - 如果作者這樣做甚至會很快 CONDESCENDS願意被理解.--也許 將不得不被要求讓步 心神。在敢於提出這個建議之前，應該反思一下。“ 這總結了我們所說的。知道的意見不無用處 好人和年輕人。最年輕的說l'教育 情感讓他們難過。他們沒有遇到過 它，還沒有活過的人;但他們有幻想，他們 說：“為什麼這個人，這麼好，那麼善良，那麼同性戀，那麼簡單，如此 同情，希望阻止我們活下去？“他們說的是 理由不充分，但因為它本能，所以也許它應該 應予以考慮。 奧羅爾和你說話，仍然抱著她的嬰兒在她的膝蓋上;加布里埃爾 打電話給Punch，她的小一，除非他不吃晚餐 在她的對面。他們是我們不斷的偶像，這些小子。 昨天，在收到你前一封信後，我收到了一封信 來自貝頓，他認為他們不會再玩l'Affranchi 比十八號或二十號還要好。等我，因為你可以延遲你的 離開一點。去Croisset天氣太糟糕了;它是 總是努力讓我離開親愛的巢去參加我的 悲慘的職業;但是當我希望找到你時，努力就會減少 在巴黎。 我為自己和我所有的孩子擁抱你。 ---《喬治‧ 桑傳 》1804-76 朱靜編 台北: 業強 1994 他倆1866年初交 十年內的通信錄如此豐富喬治‧ 桑死時 Flaubert 等15位法國名人趕去訣別 "她永遠是法國的一位傑出人物， 而且是法國獨特的光榮"--Flaubert  喬治桑傳 |
| Nohant-Vic/ George Sand 了解為什麼 Sand 死時， 只幾人去參加喪禮：Nohant 很遠 2éme partie Nohant le samedi 10 juin 1876, Gustave Flaubert est demeuré près de nous. Sa haute taille domine la foule. Son grand chapeau de feutre gris, ses longues moustaches rousses, son teint coloré, son air martial enfin lui donnent je ne sais quel aspect de mousquetaire. Lui aussi est ému et il ne le cache point. Ce grand homme pleure comme un enfant. La cérémonie est terminée; le cortège sort lentement du porche de l'humble petite église. D'abord vient le vieux sonneur, le père Caruat; il s'avance à pas très lents le dos voûté sous sa blouse bleue. La flamme du cierge qu'il porte est rendue vacillante par le tremblement de sa main. Derrière lui apparaît le corps porté à bras, puis la famille; les enfants et les femmes berrichonnes jeunes et vieilles tout enveloppées de la tête aux pieds de leurs grandes capuches noires. En voyant sortir ce pieux cortège de l'église, Gustave Flaubert, tout en se découvrant en même temps que nous tous, ne cherche point à retenir, les grosses larmes qui s'échappent de ses yeux, puis presque tout haut faisant un geste large qui embrasse tout ce que nous voyons « Ça lui ressemble » s'écrie-t-il. Et c'est vrai. Cette poétique et simple cérémonie tout empreinte de triste mélancolie est d'accord avec le souvenir de la grande âme qui n'est plus. Mme Maurice nous a fait distribuer à tous de petites branches de laurier que chacun de nous jettera dans la tombe au lieu d'eau bénite. La chère morte emportera ainsi avec elle tous les lauriers qu'elle aurait pu cueillir encore. Nous voici au cimetière. Alexandre Dumas fils ne prononce point le discours qu'il a passé la nuit à écrire. (L'auteur du Demi-monde a fait paraître ce discours un an plus tard dans une Revue.) Victor Hugo vient d'adresser télégraphiquement à M. Paul Meurice un discours qu'il le charge de lire; il commence ainsi : « Je pleure une morte et je salue une immortelle. Je l'ai aimée; je l'ai admirée; je l'ai vénérée aujourd'hui, dans l'auguste sérénité de la mort je la contemple, Je la félicite parce que ce qu'elle a fait est grand, et je la remercie parce que ce qu'elle a fait est bon. Je me souviens qu'un jour je lui ai écrit : Je vous remercie d'être une si grande âme. Est-ce que nous l'avons perdue ? Non. Ces hautes figures disparaissent mais ne s’évanouissent pas. Loin de là, on pourrait presque dire qu'elles se réalisent. En devenant invisibles sous une forme, elles deviennent visibles sous l'autre, transfiguration sublime ». Les discours se succèdent. Ils sont tous ce qu'ils doivent être. La mémoire de Mme Sand ne périra point," son souvenir demeurera éternel; c'est vrai. Mais la gloire ne console que les cœurs sans tendresse. Autour de nous paysans et paysannes pleurent à grands sanglots. La plupart d'entre eux ne savent ni lire, ni écrire, ce qu'ils savent bien seulement c'est que la bonne dame de Nohant est morte. Ils ne comprennent rien du tout à la gloire littéraire de leur illustre compatriote, et ils en peuvent très peu savoir. Finalement ce n'est point sur elle, c'est sur eux-mêmes qu'ils s'apitoient et se lamentent. George Sand était compatissante à toutes les misères. Elle se cachait pour faire le bien, comme d'autres pour faire le mal. Photo : Dessin représentant les obsèques de George Sand publié le 24 juin 1876 dans le Monde illustré. 透過Google 翻譯成英文Part 2 Nohant on Saturday, June 10, 1876, Gustave Flaubert remained close to us. His tall figure dominates the crowd. His big gray felt hat, his long red mustaches, his colored complexion, his martial air finally give him some musketeer aspect. He too is moved and he does not hide it. This big man cries like a child. The ceremony is over; the procession slowly leaves the porch of the humble little church. First comes the old ringer, Father Caruat; he walks at a very slow pace with his back arched under his blue blouse. The flame of the candle that he carries is made vacillating by the trembling of his hand. Behind him appears the body carried to arms, then the family; the young and old Berry children and women all wrapped from head to toe of their big black hoods. On seeing this pious cortege coming out of the church, Gustave Flaubert, while discovering himself at the same time as all of us, does not try to restrain, the big tears that escape from his eyes, then almost aloud making a broad gesture. who embraces everything we see "It looks like him," he exclaims. And that's true. This poetic and simple ceremony all stamped with sad melancholy agrees with the memory of the great soul that is no more. Madame Maurice has distributed to all of us small branches of laurel that each of us will throw in the grave instead of holy water. The dear dead woman will thus take with her all the laurels that she could have picked yet. Here we are at the cemetery. Alexandre Dumas Jr. does not pronounce the speech he spent the night writing. (The author of The Half-World published this speech a year later in a Review.) Victor Hugo has just telegraphed to M. Paul Meurice a speech which he charges him to read; he begins like this: "I cry a dead woman and I greet an immortal. I loved it; I admired her; I venerated her today, in the august serenity of death I contemplate her, I congratulate her because what she has done is great, and I thank her because what she has done is good. I remember one day I wrote to him: Thank you for being such a great soul. Have we lost it? No. These high figures disappear but do not fade. Far from it, we could almost say that they come true. By becoming invisible in one form, they become visible under the other, a sublime transfiguration ". The speeches follow one another. They are all what they must be. The memory of Mrs. Sand will not perish, her memory will remain eternal, it is true, but glory only consoles hearts without tenderness. Around us peasants and peasants cry with great sobs. Most of them do not know how to read or write, what they only know is that Nohant's good lady is dead. They understand nothing at all about the literary glory of their illustrious compatriot, and they can know very little about it. Finally it is not on her, it is on themselves that they apologize and lament. George Sand was compassionate to all misery. She was hiding to do good, like others to do evil. Photo: Drawing depicting the funeral of George Sand published June 24, 1876 in the Illustrated World.  **** 福樓拜文學書簡 [法]福樓拜 北京燕山出版社2011 這本書翻譯不合格 我根據其中幾封與喬治 桑的通信的對照 凡是難的 都以"......"表示 http://blog.udn.com/le14nov/8587194 《原创经典译丛:福楼拜文学书简》是一本福楼拜书信的精选集。在《原创经典译丛:福楼拜文学书简》里，我们将会欣赏到福楼拜，用他直率的语言，丰富的想象力和独特的观察力，去探讨关于文学、政治、女人和生活的种种命题。福楼拜的书信具有重要的美学价值和文献价值，其中的真知灼见惠及后世众多文坛巨匠，是我们认识福楼拜以及艺术主张，了解19世纪文坛现状的一面镜子。 作者简介 · · · · · ·福楼拜，伟大的法国批判现实主义作家。以其不朽名作《包法利夫人》、《情感教育》、《萨朗波》等现代小说闻名，亦以其书信闻名。他的文学理论更是对莫泊桑、高尔基、昆德拉产生重要影响，被誉为“自然主义文学的鼻祖”、“西方现代小说的奠基者”。 目录 · · · · · ·包法利夫人就是我（代译序） 情与性 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致维克多·雨果 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致勒鲁瓦叶·德·尚特皮小姐 致勒鲁瓦叶·德·尚特皮小姐 致乔治·桑 致乔治·桑 致马克西姆·杜刚 致莱奥妮·薄蕾娜 致玛蒂尔德公主 致爱德玛·德·热奈特 致莱奥妮·薄蕾娜 致莱奥妮·薄蕾娜 致甥女卡罗琳 致玛格丽特·夏邦蒂埃 个性化与非个性化 致路易·布耶 致马克西姆·杜刚 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致鲁伊丝·高莱 致儒勒·杜勃朗 致伊万·屠格涅夫 致卡米叶·勒莫尼埃 艺术至上 致鲁伊丝·高莱 致马克西姆·杜刚 致夏尔·波德莱尔 致龚古尔兄弟 致龚古尔兄弟 致希波里特·泰纳 致乔治·桑 致居伊·德·莫泊桑 致伊万·屠格涅夫 致居伊·德·莫泊桑 致居伊·德·莫泊桑 内心的使命 致鲁伊丝·高莱 致恩斯特·费多 致戴奥菲尔·戈蒂埃 致恩斯特·费多 致爱德玛·德·热奈特 致圣伯甫 致儒勒·杜勃朗 致马克西姆·杜刚 致伊万·屠格涅夫 致勒鲁瓦叶·德·尚特皮小姐 致艾米尔·左拉 致伊万·屠格涅夫 时代下的思考 致希波里特·泰纳 致乔治·桑 致乔治·桑 致乔治·桑 致考尔努夫人 致乔治·桑 致莱奥妮·薄蕾娜 致居伊·德·莫泊桑 致玛蒂尔德公主 致伊万·屠格涅夫 致爱德玛·德·热奈特 致于斯曼 致艾米尔·左拉 致甥女卡罗琳 一切取决于构思 致鲁伊丝·高莱 致鲁伊丝·高莱 致儒勒·德·龚古尔 致爱德玛·德·热奈特 致圣伯甫 致儒勒·米什莱 致居伊·德·莫泊桑 致居伊·德·莫泊桑 致爱德玛·德·热奈特 致爱德玛·德·热奈特 致爱德玛·德·热奈特 附录 译者后记 传统与创新
黎烈文 《藝文談片 》內有 福樓的"五人聚會"等短篇 古斯塔夫·福樓拜的沙龍，據龔古爾兄弟的日記： 福樓拜談他在上埃及碰到某女，其背部如冰冷....大家說他編出的故事.... 屠格涅夫是頭豬，豬一樣的性格，他的豬一樣的性格中夾雜著傷感……左拉是頭粗俗粗魯的豬，他的豬一樣的性格完全被塗鴉佔據……都德是頭病態的豬，腦子裡一時興起，有一個天可能會陷入瘋狂……福樓拜是頭假豬，自稱是豬，假裝是豬，和真正的豬一樣，嗨，朋友們……至於我，我時而像頭豬，由於肉體的挫敗感，因精子動物而瘋狂，我時而像頭豬 Turgenev is a Pig, piggishness, whose piggishness is tinged with sentimentality, ... Zola is a vulgar and brutish pig, whose piggishness is entirely taken up with scribbling....Daudet is a sicky pig, with the passing fancies of a brain where madness could someday enter in.... Flaubert is a fake pig, claimming to be a pig and pretending to be one, to be on the same level as the real and genuine pigs, hi friends....As for me I am a pig intermittently,, with bouts of swinishness, due to the frustrations of the flesh, frenzied by spermatic animalcule ,_prise_de_la_rue_Saint-Andr%C3%A9-des-Arts,_6%C3%A8me_arrondissement,_Pari,_PH808.jpg?uselang=fr) Le restaurant Magny au fond à droite de la rue de la Contrescarpe-Saint-André, vers 1865.馬尼晚宴（Magny dinner）始於1862年，匯聚了巴黎的一群記者、作家、藝術家和科學家，在馬尼餐廳舉行。 1870年普法戰爭後，這項活動在布雷班特餐廳舉行。 馬尼餐廳，位於聖安德烈孔特雷斯卡普街最右側，約攝於1865年。 該晚宴每月舉行兩次，僅限男士參加。唯一的例外是喬治桑，他猶豫再三後同意加入。主賓包括聖伯夫、保羅·加瓦爾尼、泰奧菲爾·戈蒂埃、古斯塔夫·福樓拜、居伊·德·莫泊桑、龔古爾兄弟、歐內斯特·勒南、馬塞蘭·貝特洛、伊波利特·泰納、儒勒·克拉雷蒂、伊凡·屠格涅夫、保羅·德·聖維克多等人。 Un dîner Magny est un repas qui réunissait à Paris, à partir de 1862, un cénacle de journalistes, d'écrivains, d'artistes et de scientifiques au restaurant Magny puis, après la guerre de 1870, au restaurant Le Brébant. Le dîner se tenait deux fois par mois et seuls les hommes y étaient admis. L'unique exception fut George Sand, qui accepta de se joindre au groupe après une longue hésitation. Les principaux convives étaient Sainte-Beuve, Paul Gavarni, Théophile Gautier, Gustave Flaubert, Guy de Maupassant, les frères Goncourt, Ernest Renan, Marcellin Berthelot, Hippolyte Taine, Jules Claretie, Ivan Tourgueniev, Paul de Saint-Victor... Histoire[modifier | modifier le code]Le dîner Magny est fondé à la fin de l'année 1862 par Paul Gavarni dans un restaurant parisien, rue de la Contrescarpe-Dauphine (actuelle rue André-Mazet)[1]. Après la mort de Sainte-Beuve, ce dîner a lieu, non-plus chez Modeste Magny, mais chez son beau-frère, Paul Brébant[1],[2]. The French have always made a fetish of conversation, unhesitatingly proclaiming themselves masters of this art. Between 1862 and 1872, a number of Paris's greatest causeurs met regularly for dinner at Magny's, a small restaurant on the Left Bank. They included Flaubert, the expatriated Turgenev, George Sand, Saint‐Beuve, Theophile Gautier, Ernest Renan, Hippolyte Taine and the Goncourt brothers, as well as a number of lesser lights. Robert Baldick, a writer deservedly known for his works on French literature, had the happy idea of researching these famous evenings and reconstructing six of them from journals, diaries, notebooks, memoirs, letters and actual recorded exchanges. If “Dinner at Magny's” is disappointing, it is not Mr. Baldick's fault. His part of the job is almost a tour de force: It is the principals who have let us down. At one moment, their conversation sounds like locker‐room talk after quite a few Scotches at the 19th hole; at another, they huff, puff and pontificate like so many old duffers in rockers on a porch. One of the displeasing things about the book is the way they posture and contort themselves for the sake of a mot. They sound as if they were trying to speak exclusively in definitions, or to enunciate epigrams they ghost‐wrote in advance. (This could be the fault of Mr. Baldick's method, but anyone familiar with their works or their biographies will be more inclined to blame the characters themselves.) Their speech rhythms are laden with a consciousness of their positions and strike our Cavett‐conditioned ears as terribly slow. Grunts in Impeccable Diction Exclusively male conversations tend to make the speakers sound as if they were each 50 pounds heavier and hung‐over as well. Grunts, wheezes, belches, hawkings are all decked out in impeccable diction, but women are needed—if only as a digestif—to keep the verbal gourmandizing to a decent level. Gautier, who is still in his 50's, boasts that he makes love only once a year. The Goncourt brothers, being younger, share mistress once a week. Balzac, who is not present, is mentioned as practicing coitus interruptus in order to conserve his creative powers. Flaubert is both better and worse, getting up to do a little dance in front of the mirror after each time. Only Turgenev sounds even remotely moved in a way we can empathize into: He says that, after lovemaking, he is reunited with nature, things look real once more. SaintBeuve, the reigning critic of the time, has never spent a whole night with a woman: His work schedule won't allow it. 法國人一直非常熱衷於交談，並毫不猶豫地宣稱自己是這門藝術的大師。 1862 年至 1872 年間，巴黎許多最偉大的談話家定期在左岸的一家小餐館馬尼餐廳共進晚餐。他們包括福樓拜、流亡國外的屠格涅夫、喬治·桑、聖伯夫、泰奧菲勒·戈蒂埃、歐內斯特·勒南、伊波利特·泰納和龔古爾兄弟，當然也少不了不少名不見經傳的人物。羅伯特·巴爾迪克是一位以研究法國文學而聞名的作家，他突發奇想，研究了這些著名的夜晚，並從日記、筆記、筆記本、回憶錄、書信和實際記錄的交流中重現了其中的六個夜晚。如果《馬尼餐廳的晚餐》令人失望，那不是巴爾迪克先生的錯。他的工作幾乎堪稱傑作：是校長們讓我們失望了。他們的對話一會兒聽起來像在第19洞喝了好幾杯蘇格蘭威士忌後在更衣室裡閒聊；一會兒又像一群坐在門廊搖椅上的老傢伙，氣喘吁籲，滔滔不絕地發表意見。 這本書令人不快的地方之一在於他們為了一句格言而擺出各種姿勢和扭曲的姿態。他們聽起來就像在竭力用定義說話，或是在念叨他們事先代筆的警句。 （這或許是巴爾迪克先生寫作方法的錯，但任何熟悉他們作品或傳記的人都會更傾向於責怪他們自己。）他們的說話節奏充滿了對自己地位的意識，在我們卡維特式的耳朵裡，聽起來慢得可怕。 吐字清晰，語調無可挑剔 純男性對話往往會讓說話者聽起來好像每個人都重了50磅，而且還宿醉未醒。咕嚕聲、喘息聲、飽嗝聲、呼嚕聲，所有這些詞句都完美無瑕，但女人是必不可少的——哪怕只是作為消化劑——來將這口口相傳的饕餮盛宴維持在一個相當不錯的水平。 年逾五十的戈蒂耶誇耀自己一年只做愛一次。年紀較小的龔古爾兄弟每週共用一個情婦。巴爾扎克（他不在場）被提及練習性交中斷以保存創造力。福樓拜則好壞參半，每次做愛後都會起身對著鏡子跳一小段舞。只有屠格涅夫聽起來略帶感動，讓我們能夠感同身受：他說，做愛之後，他與自然重聚，萬物再次顯得真實。聖伯夫，當時的權威批評家，從未與女人共度良宵：他的工作日程不允許。 Wisecracks abound, but they are positively architectural, built stone on stone like forts. The best remarks are all too often quoted from someone else. When speaking of literature, our great men all complain of too much work and too little appreciation. The old saw about new words for a new age is exhumed; the “pure” novel, the formally perfect, is relegated to second‐raters, on the assumption that true genius cannot be altogether tamed by art. When the theologian Ronan foolishly calls George Sand “the greatest artist of our times and the finest talent,” Saint‐Beuve gets off one or his better bits of malice: “Madame Sand has a great soul and a perfectly enormous bottom.” No quotable Talk of Polities On the subject of politics, our celebrities are hardly worth quoting. They are far more interested in prostitution, of which Flaubert says: “A man has missed something if he has never woken up in an anonymous bed beside a face he'll never see again, and if he has never left a brothel at dawn feeling like jumping off a bridge into the river out of sheer physical disgust with life.” “A glance into its [prostitution's] depths makes you dizzy and teaches you so much. It makes you so sad, and fills, you with such dreams of love!” Such hyperbole is more understandable if we remind ourselves that brothels were different sorts of places in those days. The siege of Paris during the war with Prussia finds our gourmets dining on dog and rat meat, stuffed donkey's head and elephant steak or consomme derived from the two former favorites of the Paris zoo. Turgenev complains that he can't make love any more; Gautier is attracted only to chic, freaky, “modern” types; one of the Goncourts has died of syphilis and the. other's talk is a “litany of laments.” Paris, like every great city id the last hundred years, is changing for the worse: You have to buy your books standing up now. Magny's is overshadowed by a flashier place that offers a view of the boulevard and bad food. The new place is patronized by businessmen, politicians and military types. One wonders, irreverently, whether the conversations were better or worse. 俏皮話比比皆是，但它們確實像建築一樣，像堡壘一樣壘砌在石頭上。最精彩的言論往往被引用自他人。談到文學，我們的偉人無一例外地抱怨工作太多，欣賞太少。關於新時代新詞的古老格言被重新挖掘出來；「純粹」的小說，形式上完美的小說，被貶低為二流之作，因為他們認為真正的天才無法被藝術完全馴服。當神學家羅南愚蠢地稱喬治·桑為“我們這個時代最偉大的藝術家和最傑出的才華”時，聖伯夫便用他那句或幾句更貼切的惡意來表達自己的觀點：“桑夫人擁有偉大的靈魂和無比豐滿的臀部。” 政治話題無可引用 在政治話題上，我們的名人幾乎不值得引用。他們對賣淫更感興趣，福樓拜曾這樣評價：「如果一個人從未在一張無名的床上醒來，身旁是一張他再也見不到的臉，如果他從未在黎明離開妓院時，因為對生活的純粹生理厭惡而想從橋上跳進河裡，那他就錯過了什麼。 普魯士戰爭期間，巴黎被圍困，我們的美食家們享用著狗肉、老鼠肉、填餡驢頭和象排，或者用巴黎動物園以前最受歡迎的兩種動物做成的清湯。屠格涅夫抱怨他再也無法做愛；戈蒂埃只對時髦、怪異的「現代」類型感興趣；龔古爾兄弟中，有一人死於梅毒，另一人的談話則像在「哀悼」。巴黎，就像過去一百年裡所有偉大的城市一樣，正在變得越來越糟：現在你得站著買書了。馬格尼書店被一家更奢華的店所掩蓋，這家店可以欣賞到林蔭大道的景色，但食物很糟糕。這家新店的顧客包括商人、政客和軍人。人們不禁會不自覺地好奇，這些對話是更好了還是更糟了。 （法）居斯塔夫·福樓拜著丁世中譯 ISBN： 9787549554911 出版時間： 2020-10-01 定價： 58.00 責編：張玉琴、韓亞平 **** |
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