西苏论巴斯莎芭沐浴图 5

14. The Violence of the Letter.
At first I didn’t see it. The letter.
Little by little the letter captures the gazes.
At first I looked at the body.
This body that lets itself fall into itself.
That weighs. Weighing. For? Against?
I looked at the body’s dough. The flesh furnishes. Without muscles. (See the muscled
thighs of the Woman Bathing.)
A despondency, a prostration. Of an animal that knows itself promised. To the
sacrifice.
‘The body lowers its head.’
(It seems there has been a pentimento3 of the head.)
(Whereas all the women rise, in one way or another. Even the modest ones, even
Hendrickje. They have muscles or a cap.)
Bathsheba is drooping. Slightly.
Chin drooping.
An indolence has seized her.
Dejection? Resignation?
How she holds the letter: Weariness. She might drop it.

14、 信息的暴力
起初,我没有看见它。这个信息。
逐渐地,这个信息捕获各种凝视。
起初,我观看身体。
这个让自己掉入自己的身体。
那个沉重的身体。沉重?为了什么?反对什么?
我观看身体的肉身。肉身供应装配。没有肌肉。(请看「沐浴的女人」的大腿的肌肉。
沮丧。卖春。知道自己被许诺的动物。献给牺牲。
身体垂涎它的头。
(似乎,始终存在着头的悔恨)。
(虽然所有的女人起来,以某种的方式。即使最谦虚的女人,即使亨瑞杰。她们都有肌肉或帽子。)
巴斯莎芭低垂着。稍微。
下巴低垂着。
混身散发着懒散。
沮丧?顺服?
她保有这个信息的方式是:疲倦。她可能掉落它。

15. (N.B. the victory of the letter: the slow rise to the surface, the insistence.)
So there is a letter.
There is always a letter.
The letter, what violence! How it seeks us out, how it aims at us!
Us.
Especially women.
And more often than joy, it is some death it brings to us.
I don’t know why I hadn’t seen it. And you?

15、(信息的胜利:缓慢上升到表明,坚持)
所以,信息存在。
总是有一个信息。
信息,怎样的暴力!它如何寻找出我们,它怎样目标朝着我们!
我们。
特别是女人。
更加经常的,不仅是欢乐,信息带给我们的是某种死亡。
我不知道为什么我没有看见它。你看见它吗?

What’s a letter, next to a big body full of buttered light? a crumpled paper, next to
these unctuous linens?
Suddenly I am letterstruck. And I see only it.4 This letter! no, it’s a hole in the body of
the painting, the rent, the tear in the night. It I see the letter, I no longer see Bathsheba.
And now that I have my eyes on the letter, I see that it’s the letter that spills this shadow
on to Bathsheba’s left leg. This letter is in opposition. To the veil. To the linen.
To the reading. It is a letter from the back. It turns its back to us. When I wanted to
read it: forever forbidden. To paint a letter seen from the back! The Door is closed. It is
David, an old tale whispers to me.

怎样的信息,在充满塗奶油的光的庞大身体的旁边?在这些杂乱的内衣的旁边,怎样的一张皱乱的纸?
突然地,我被信息击中。我看见的仅是信息。这封信息!不,这是在图画的身体里的一个空洞,这个撕裂,夜晚的撕开。它。我看见这个信息。我不再看见巴斯莎芭。
既然我的眼光注视这封信息。我看见,就是这个信息,将这个阴影喷洒到巴斯莎芭左腿上。这封信息处于对立。跟薄纱对立,跟内衣对立。
跟阅读对立。这是一封从背后来的信息!门是封闭。那是大卫王。古老的传说跟我们喃喃叙述。

15
David is the outsider. The outside. The arranger.5 Invisible.
‘David and Bathsheba,’ that’s it: it is Bathsheba to the letter… The letter resounds
throughout the entire painting.

Form
This painting is divided more or less into two triangles.
Shadow of gold and (carnal) light of flesh.
In the center, the stroke of the letter.

15、 大卫王是外人。在外面。陌生人,隐而不见。
大卫王与巴斯莎芭,那就是它。那是巴斯莎芭跟信息的对立。在整个图画里面,这个信息迴响着。

形式
这个图画有点被区分成为两个三角形。
黄金的阴影与肉身的(肉体的)光。
在中央,信息的击中。

16. The letter has just been read.
The two women are under the letter’s sway.
The letter has taken their breath away. Has dispatched them over there into the closed
time, before the closed doors to the future.
Here in the painting, in the tent, they have already past, the present already past falls in
heavy folds toward the bottom.

16、 这封信息刚刚被阅读。
这两位女人受到这个信息的影响。
这个信息让她们惊叹不已。这封信息将她们配送到那里,进入封闭的时间,在进入未来的被封闭的门之前。
在图画,在帐篷,这里,她们已经有过去,已经过去的现在,以沉重的皱波掉落,朝向底端。

How white the letter is in the middle of the painting. Of a shadowy rosy whiteness.
The letter is within the scale, so it is a part of Bathsheba’s colors.
Letter one neither holds on to nor drops. Holds the entire painting under the
indecipherable charm of its breath.
And how red the stain is at the corner of the letter.

在图画的中央,这个信息是多么白。属于阴影般的玫瑰的白。
这封信息在天平之内。所以它是巴斯莎芭的颜色的部分。
信息,我们既没有掌握,也没有掉落它。我们将整个图画,放置在图画的呼吸的无法描述的魔力底下。
在信息的角落的这个污点是多么的红。

Like a signature. The mark on the shoulder. A touch of purple on the white. Sign or
signature. Piece of red seal? A bit of wax. So is it realistic? No, it is red. It is an element.
Incarnadine.
Portrait of Sadness: presentiment of mourning.
Bathsheba’s sadness:
She becomes sad under the insistence of our gaze.
The mouth made for smiling, the mouth doesn’t droop.
The sadness is in the brow: the brow slightly rises like thought slightly rises as it
attempts to think farther.

就像一个签名。在肩膀上的记号。白色上面的紫色色调。讯息或签名。一块红色印章?一点腊封。所以,那是写实的吗?不,那是红色。那是一个元素。
肉体的颜色。
悲伤的肖像:哀悼的恶兆。
巴斯莎芭的悲伤:
在我们的凝视的坚持,她成为悲伤。
嘴巴是为了微笑而形成,嘴巴没有垂下。
悲伤是在眉毛。眉毛稍微上扬,就像思想稍微上升,当它企图更深远地思想。

雄伯译

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s


%d bloggers like this: