西苏论巴斯莎芭沐浴图11

23. The ox is dazzling. The ox is pregnant with light.
To the extent that we don’t see the woman’s head—advancing prudently, in a halo of
weak light.
The light seems to be the luminous shadow projected by the flesh.
In ‘reality’ it is doubtless coming from behind the door.
The woman pokes her head in through the doorway, to see? Furtiveness. As if she
were looking at what mustn’t be looked at.
Clandestine glance: curiosity wonders: is it there? Who’s there? What’s hidden there?

23、 公牛令人晕眩。公年孕育着光。
我们甚至没有看见女人的头—谨慎地前进,处于微弱光辉的氛围。
光似乎是肉身投射到惨淡的阴影。
在现实里,无可置疑地,光来自于门背后。
女人经由门口,探出她的头,为了观看?秘密地,好像她正在观看被禁止观看的东西。
秘密的瞥见:好奇心想要知道:它就在那里吗?谁在那里?什么被隐藏在那里?

To one side the powerful body, the incarnation of slaughtered power, hung by its feet.
Why is the ox hung ‘head down’ (the absence of a head down there)?
On the other the small head without a body, the question.
But we don’t see her. The shining of the ox attracts my entire gaze. Attracts us. We are
attracted by the open ox as by the illuminated carriage opening of a palace.
The light calls. We advance. Let’s enter.
Here all is gold and purple.
We are in the breast.

在一边,这个强壮的身体,被屠杀的力量的具体肉身,从脚跟被垂吊,。
为什么公牛被头朝下地被垂吊(在那儿,头是欠缺的)?
在另外一边,有个小头,没有身体,是个疑问。
但是我们没有看见她。公牛的闪亮吸引我整个的凝视。吸引我们。我们被公开的公牛吸引,如同被宫殿的灯火明亮的马车的空地。
光召唤。我们前进。让我们进入。
在此,一切都是黄金与紫色。
我们在乳房。

24. Before me spreads the agitated space with its somber thicknesses of fatty haunted
gold, so it seems, in the purple distances of the canvas, of flayed scarlet stairs in the
geologic matter, the ground sheer like a deep hanging, past upon past, my mines, my
reserve difficult to access, but overflowing if I arrive, with thoughts, with passions, with
kin, before me my personal foreign land: everything in the nearby over there is mine,
everything is strangely foreign to me: everything that, in its night dough, I discern for the
first time, I recognize. The world, before me, so great, is inside, it is the immense
limitless life hidden behind restricted life.
Stigmata 14

24、 在我面前,这个骚动的空间展开,具有它惨淡的厚度,在画布的紫色的各种距离,似乎萦绕著黄金的厚实。剥落斑漆的猩红色楼梯,地质的质料,直接的地面,像深深的垂挂,过去盖上过去,我的矿场,难以接近的我的储藏室,但是假如我到达,带着思想,带着激情,带着亲密,它满溢出来。我个人的陌生的土地,在我面前。在它的夜晚的质料里,我第一次觉察到的每样东西,我体认出来。在我面前,这个世界是多么巨大。这世界在里面,它是广裘的无限生命,隐藏在受到限制的生命背后。

Do you see the steps? To the right, some somber steps tell us we are down below, in
the cellar. Somber descending steps.
But here we climb up. These steps here, the interior gold and purple steps lead us
toward the heights, toward the heart of the temple.
What are we present at? At a mystery. At a solemn representation.
This is not the crucifixion.
This is the Passion according to Rembrandt. Mourning and Transfiguration of the Ox.
It is there in the cellar, that I divine:
What does he seek to paint of Bathsheba?
Her solitude of slaughtered ox.
Bathsheba or the slaughtered ox.

你们看见台阶吗?对着光,某些的惨淡的台阶告诉我们,我们在底下,在地窖。惨淡的往下延伸的台阶。
但是,在此我们攀爬。在此的这些台阶,内部的黄金与紫色的台阶,引导我们朝向高度,朝向庙堂的核心。
我们对着什么呈现?对着神秘。对着严肃的再现表象。
这并不是耶稣基督的十字架。
这是生命激情,依照林布兰「公牛的哀悼与蜕变」。
就在地窖那里。我推测。
对于巴斯莎芭,他尝试画出什么?
被屠杀的公牛队她的孤独。
巴斯莎芭或被屠杀的公牛。

P.S. Reading the big catalogues, I look for The Slaughtered Ox. For example in
Gerson’s beautiful volume on Rembrandt.9 I flip through the index. The author has
classified the work according to rubrics; Portraits: Self-portraits, Portraits of Men,
Portraits of Women, Portraits of Children; Groups…(I’m looking for the Ox),
Landscapes… Finally I find it: it is in Interiors, keeping company with the Philosopher
Meditating.

附记:阅读厚厚的几本目录。我寻找「被屠杀的公牛」。譬如,在乔森论林布兰的美丽的巨册,我翻阅索引。作者将作品依照性质分类:肖像画:自我肖像,男人肖像,女人肖像,小孩肖像;群体画(我正在寻找公牛)。风景画、、、最后,我找到它:它在室内画那里。跟「沉思中的哲学家」放在一块。

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

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