西苏论巴斯莎芭沐浴图

12. The older woman further down at the bottom is a remainder. She comes back to us
from this drawing (see Figure 1.2).
Bathsheba is also then this other woman.
The woman with the cap is: Bathsheba’s strange foreignness, her exoticism, Asia.
Nude with a cap! extravagance: something aberrant in the coifed nudity.
And the coif: oriental…

12、 在底端稍远处的这位老妇人,是个剩余者。她从这幅图画回到我们。(请看图画1.2)
巴斯莎芭也因此就算这位另外的女人。
戴着帽子的这位女人是:巴斯莎芭堤陌生的外来者,她的性爱狂。亚洲。
戴着帽子的裸体!奢侈:戴着披头帽的裸体,有某件偏离的东西。
披头帽:东方的、、、

This nude cut in two: the body is Bathsheba’s the coif is the older woman’s… The
cap! is at work.
The ‘servant’s’ gaze moves off toward the future in the East.
Bathsheba’s gaze withdraws toward the occidental future.
The two gazes descend slowly, toward the bottom.
Cross each other, don’t see each other. Are on two parallel planes.
The two women withdraw from the scene thoughtfully.

这个裸体被切成两半:身体是巴斯莎芭的身体;披头帽是老妇人的披头帽。
帽子在运作。
「仆人」的眼神移开,朝向东方的未来。
巴斯莎芭的眼神撤退,朝向西方的未来。
这两种眼神缓慢降下,朝向底端。
互相跨越,没有看见彼此。它们处于两个平行的层面。
这两位女人沉思地从场景撤退。

The ‘servant’ wipes Bathsheba’s feet distractedly. She is elsewhere. They are
elsewhere. In soul they are elsewhere. The body, left, weighs more heavily.
Bathsheba or the interior Bible 7What is the ‘servant’ thinking about? These two women are day-dreaming of the end
of the year. At the end of the year, a path will have been lost,
The end of the year…

这位「仆人」心不在焉地搽拭巴斯莎芭的脚。她在别的地方。她们都在别的地方。在灵魂,她们都是在别的地方。被留下的身体,重量更加沉重。

At first glance, at tenth glance, this is the face that at first I see. I should say: this
demi-face. We call this: profile. In fact it is a side, a half, a demi-star. The other side
belongs to the night. I will never know then but half of Bathsheba, the illuminated part.

首次瞥见,第十次瞥见,首先我看见的就是这个脸孔。我应该说:这个一半的脸孔。我们称这个为:轮廓。事实上,它是个旁边物,一个一半,半颗的星。另外一半属于夜晚。我将永远不会知道,当时仅有一半的巴斯莎芭,这个被启蒙的部分。

Figure 1.2 Fragment of a drawing by
Rembrandt. London, Victoria & Albert
Museum.

图画1.2 林布兰德图画片断,伦敦,维多利亚与阿伯特博物馆。

Stigmata 813.
Something unreadable catches my eyes. Maybe this, I tell myself, after a long
time: it is something that glides from head to toe. A motion-less movement, a
transformation. Now I see it, it is time, and even: it is time’s writing, it is age. From the
young head, the body goes forward, aging imperceptibly. Ah! so that’s what was gripping
my heart. This young woman is in the process of aging. The future is spreading through
her limbs. Her breasts are still childlike, already her pelvis, her thighs, her legs are in the
hands of age.
What? I mustn’t say this? But this is nonetheless what Rembrandt paints: the passion
(the suffering) of Bathsheba, starts here, in the body, between the knees,
where floats…the letter.

圣痕 8.13
某件无法阅读的东西吸引我的眼光。也许是这个。我告诉我自己,经过一段长时间之后。这是某件从头到脚滑走的东西。一个没有动作的运动,一种转变。现在我看见它。那是时间,甚至那是时间的写作。那是:年岁。从年轻的头,身体向前前进,不知不觉地衰老。啊!那就是紧捉住我的心的东西。这位年轻女人正处于衰老当中。未来摊开,穿过她的四肢。她的乳房依旧像小孩一般。她的骨盘,她的大腿,她的脚,都处于衰老的手中。
什么?我一定不要这样说?》但是这仍然是林布兰所绘画的东西。巴斯莎芭堤激情(痛苦),从这里开始,在身体里,在两个膝盖之间。在那里,这个讯息飘浮着、、、

雄伯译
32hsiung@pchome.com.tw
https://springhero.wordpress.com

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