西苏论画 204

西苏论画 204

Stigmata 24
圣痕 24

What was the first stroke of the pen? And before the first line there were many others.
In truth the first line is the survivor of the mêlée: everything starts in the middle.
One must jump into the middle of the sheet of paper, fell the quill, as soon as the race
begins, or else it’s battle.

画笔的第一次画下的是什么?在第一线条之前,有许多的其他的线条。事实上,第一个线条是这个激烈战斗的存活者。每样东西都从中间开始。我们必须跳进这张纸的中央,砍下画笔,当競塞开始,否则那是一场战斗。

And now I see what the Woman Ironing, the Executioner, the Saint, the little boy,
have in common: it’s Violence. It’s about combat.

现在,我看见那位熨烫衣服的女人,侩子手,圣者,小男孩,他们有什么共通的地方。那就是暴力。那是关于战斗。

Drawings of combat, these drawings which, fatally, touch me, wounded though they
are, and therefore similar to us.

战斗的图画,这些图画,感动我,虽然它们致命地受伤。因为跟我们一样同病相怜。

Drawings par excellence: because every drawing (is) combat(s) itself. Drawing is the
emblem of all our hidden, intestine combats. There we see the soul’s entrails.
What is the page of a book? What remains of a sheet of paper becomes a field of battle
on which we, writing, drawing, have killed each other ourselves. A flagstone of paper
under which a carnage effaces itself. In writing, all is disputed, and sacrificed. As soon as
Kafka took his pen in his right hand, his left hand jumped on it (on his right) and the
combat raged. This made for such drafts that, in the inability to give reason to the one
hand or the other, Kafka dreamed of dragging into the fire, with himself, the innumerable
traces of his hostilities. And if he didn’t do it himself that’s just because he tried to
repent. We try to repent, but we never repent. One doesn’t repent. One doesn’t manage.
One makes essays.

特别优秀的图画:因为每幅图画都是战斗的本身。图画就是所有我们隐藏与内部的战斗的标志。在那里。我们看见灵魂的内脏。书的这一页是什么?一张画纸剩余的东西,变成战斗的领域。在这个领域,我们书写与绘画,彼此互相杀戮。在画纸的石板底下,大屠杀抹除它自己。在书写中,一切都被争议,都被牺牲。当卡夫卡用他的右手拿起笔,他的左手就跳上它(跳上他的右手),然后战斗猛烈进行。这就形成这些草稿。由于没有能力给出理由,给右手或左手,卡夫卡梦见把他的敌意的无数的痕迹,连他自己,拖进火里。假如他自己没有这样做,那是因为他尝试悔恨。我们尝试悔恨。但是我们永远没有悔恨。我们没有处理。我们写作散文。

When Rembrandt wanted to draw The Beheading of St John the Baptist there was an
explosion, and the two men, the executioner and the victim, fought one another for the
paper with ferocity, Rembrandt, the executioner, the victim, moaned with long cutting
wails. What was drawing itself between himself is the decapitation exploding in the body
of the executioner. The pen has captured the transfer, the brutal and rapid explosion in the
process of instantaneously transforming the two adversaries. Everything, drawn from the
point of view of the executor. The drawing was called: The Executioner’s Taking Off, but
subsequently this name was crossed out and replaced… N.B. And precisely in this scene
where Rembrandt became an executioner, no repentance. I mean to say: no Christian
repentance. (The executioner is searching for his accomplishment, and in a few strokes,
becomes the incarnation of the cutting blade.)

当林布兰想要绘画「洗礼者圣约翰先知的被砍头」,爆炸发生,这两个人,侩子手与受害者,因为长期的砍伤的哀叫悲叹着。在他自己之间绘画它自己的东西,就是侩子手的身体爆炸的砍头。画笔捕捉这种转移,这种残酷与迅速的爆炸,瞬间转换两个敌人的过程。每样东西,都从侩子手段观点来绘画。这幅图画的标题是:「侩子手的起飞」。但是随后,这个标题诶删掉,然后被更换。N.B. 确实就是这个场景,林布兰成为一位侩子手,没有悔恨。我意图要说:没有基督教徒的悔恨。(侩子手正在寻找他的成就。然后,用几个笔触,他成为这个砍切的刀刃的具体化身。)

Because our soul has no firm footing.

因为我们的灵魂没有坚固的立足点。

Agitation reigns in these drawings. This is perhaps why painters draw? Because drawing
is the right to tumult, to frenzy. The right to: no. The drawing cries out. But painting,
even frenetic, even Van Gogh, paints all the same after the tempest. It takes a little time.

激情统辖这些图画。这或许是为什么画家绘画。因为绘画是进入骚乱,进入疯狂的权利。通往:否定的权利。绘画喊叫出来。但是图画,即使是狂乱,即使梵谷,在暴风雨后,仍然绘画。它需要一点时间。

But the drawing is: essay: before. ‘Work in which the author treats his or her matter
without pretending to say the last word…’ We don’t have the last word: truth always has
the word before, and we run out of breath at its heels. In the essay entitled ‘Of
Repentance’ Montaigne recounts how he always in fact guarded against all (Christian)
repentance, while at the same time giving himself up to the Essay, the only form of
writing faithful to the truth, the desirable unseizable. ‘If my mind could gain a firm
footing, I would not make essays, I would make decisions,’ but it is always ‘in
apprenticeship and on trial.’ Our soul never has its footing on this earth. Graze the paper
with the soul’s foot, and immediately the foot slips. It’s always this same story of the foot
and the ground, one and the other in motion, the one missing the other. How then to draw a firm footing, when our soul is merely a staggering? Our drawings, our books and us, we all go along at the same pace, with an uncertain foot. This is why it is the legs above all which, in our drawings, are the most agitated.

但是这幅图画是散文:以前。「作者处理他或她的事情的工作,没有伪装要说出最后的话语、、、」我们并没有最后的话语:真理总是拥有先前的话语,我们跟着真理的脚跟后面,上气不接下气。在标题是「谈悔恨」的这篇散文,蒙田描述他实际上如何总是防所有的(基督徒)的悔恨。同时,他陶醉于书写散文。这是唯一忠实于真理的书写的形式,渴望中的无可掌握的东西。「假如我的心灵能够获得坚固的立足点,我将不会写作散文,我将会做决定。」但是我的灵魂总是在充当学徒,在尝试当中。」我们的灵魂在大地从来没有它的立足点。假如用灵魂的脚跋涉这些纸张,脚立即会滑倒。这总是脚与场地的相同的故事。前者与后者的运动,前者错过后者。因此如何绘画一个坚固立足点,当我们的灵魂仅是蹒珊而行。我们的图画,我们的书,与我们,我们总是用相同的步伐前行,脚履不稳定。这就是为什么尤其重要的是脚,在我们的图画里,脚总是最激情的。

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

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