Book Notes
Jouet Quelles singulières créatures sommes-nous, pour commencer par nous saisir de jouets, c'est-à-dire pour accepter de porter nos premiers désirs en un lieu sans espoir ?
我们究竟是何等奇特的生灵，竟然从一开始便执着于玩具，也就是说，甘愿将我们最初的渴望寄托在那无望的虚幻之地？
--Rilke
Et il songeait que plus ces objets pillés et transférés de site en site avaient été gâtés par le passage du temps, moins on les restaurait. Et c’était comme son cœur. Et moins ils avaient d’usage, plus leur valeur marchande s’accroissait. Tout cela était frappé au coin de la démence. Il passait sa vie à entourer de bandelettes d’ouate ou de tartanate des divinités qui avaient perdu le sens. Et moins on percevait leur sens, plus on les exhibait. On les mettait dans des vitrines. On blindait ces vitrines. C’était le butin du passé. C’étaient les trésors du temps. Tout à coup le clairon sonnait. L’ennemi avait l’honneur de la première salve. Les champs de bataille avaient nom Christie’s, Drouot, Sotheby’s.
他沉思着，那些被掠夺后辗转各地的物件，随着岁月的侵蚀愈加破败，人们反而越少去修复它们。恰似他的心一样。越是失去实际用途的东西，市场上的价值却越是高涨。这一切无不透着一种近乎疯狂的荒谬。他一生都在用绷带、棉花或其他材料，小心翼翼地包裹那些早已失去意义的神像。人们对它们的意义越是理解得模糊不清，它们越是被隆重展示。它们被放置在橱窗内，橱窗被加固，以保全这些过去的战利。这是时间的珍宝。忽然，号角声响起，敌人有幸打响第一枪。战场的名字叫做佳士得、德鲁奥、苏富比。
--Pascal Quignard
PERSEID The beginning and end of the PERSEID, Chimera:
Good evening.
Stories last longer than men, stones than stories, stars than stones. But even our stars' nights are numbered, and with them will pass this patterned tale to a long-deceased earth.
Infinite pause. My love, it's an epilogue, always ending, never ended, like (I don't apologize) II-G, which winds through universal space and time. My fate is to be able only to imagine boundless beauty from my experience of boundless love — but I have a fair imagination to work with, and, to work from, one priceless piece of unimagined evidence: what I hold above Beta Persei, Medusa: not serpents, but lovely woman's hair. I'm content. So with this issue, our net estate: to have become, like the noted music of our tongue, these silent, visible signs; to be the tale I tell to those with eyes to see and understanding to interpret; to raise you up forever and know that our story will never be cut off, but nightly rehearsed as long as men and women read the stars. . I'm content. Till tomorrow evening, love.
"Good night."
Good night. Good night.
vertus Sponville 每一种美德都是两个恶习之间的顶峰，两个深渊之间的脊线：
胆怯与鲁莽之间的勇气，
自满与自私之间的尊严，
愤怒与冷漠之间的温柔。
Toute vertu est un sommet entre 2 vices, une ligne de crête entre 2 abîmes:
le courage entre lâcheté et témérité,
la dignité entre complaisance et égoïsme,
la douceur entre colère et apathie.
在痛苦时读薇依 我们既不应该寻求逃避痛苦，也不应该寻求减少痛苦，而应该不被痛苦所玷污。 We should seek neither to escape suffering nor to suffer less, but to remain untainted by suffering.
人类生活中的伟大谜团并不是痛苦，而是苦难。 The great enigma of human life is not suffering but affliction.
苦难是自我与神之间无限的距离。痛苦是一种认识，即世界不是为人类而创造的，也没有变得更加人性化。痛苦是我们在这个世界上感到陌生的感觉。Affliction is the infinite distance between self and God. Affliction is an awareness that the world was not made for the human being and has not become more human. Affliction is the feeling that we are strangers in this world.
苦难是一种特定的东西，无法用任何其他术语来描述，就像声音对于聋哑人来说一样。而那些自己被苦难残害的人，根本没有能力去帮助任何人，甚至连想要帮助别人的愿望都几乎没有能力。因此，对受苦者的同情是不可能的。当它真的被发现时，我们将拥有比在水上行走、治愈病人、甚至使死人复活更令人震惊的奇迹。Affliction is something specific and impossible to describe in any other terms, as sounds are to anyone who is deaf and dumb. And as for those who have themselves been mutilated by affliction, they are in no state to help anyone at all, and they are almost incapable of even wishing to do so. Thus compassion for the afflicted is an impossibility. When it is really found we have a more astounding miracle than walking on water, healing the sick, or even raising the dead.
只有当我们遭受一种巨大的力量时，我们才会经历痛苦，这种力量是盲目的、残酷的和冷酷的，这种力量将我们与一切人性和神性分开：强奸的受害者，肆虐的疾病的受害者，极端社会不公正的受害者。所有这些以及更多的东西构成了一种力量，它首先使苦难被理解为上帝与人之间、我们与他人之间的无限距离。Affliction can only be experienced when we are subject to an immense force, blind, brutal, and cold, that separates us from all that is human and divine: the rape victim, the subject of a ravaging disease, the victim of extreme social injustice. All this and more constitute the type of force that first makes affliction knowable as the infinite distance between God and man, between ourselves and others.
正是在苦难之中，上帝的慈悲之光从其深处显现，融入那无法安慰的苦涩之心。如果我们坚守爱的道路，持之以恒，直至我们跌至那个灵魂无法抑制的呼喊之境——“我的上帝，你为何抛弃我？”如果我们在这一点上仍不停地爱着，我们就会触摸到一种不是痛苦、不是喜悦的东西，一种核心本质的东西，一种必要的、纯粹的东西，一种不属于感官的东西，一种喜悦和悲伤共有的东西：上帝的爱。It is in affliction itself that the splendor of God’s mercy shines, from its very depths, in the heart of its inconsolable bitterness. If still persevering in our love, we fall to the point where the soul cannot keep back the cry ‘My God, why hast thou forsaken me?’ if we remain at this point without ceasing to love, we end by touching something that is not affliction, not joy, something that is the central essence, necessary and pure, something not of the senses, common to joy and sorrow: the very love of God.
薇依的一个核心信念可以用非常简单的方式表达：“思想从痛苦中逃离，就像动物从死亡中逃离一样迅速而不可抗拒”。因此，我们很少或几乎从不真诚或自愿地考虑最严重的痛苦，无论是在自己身上还是在他人身上。薇依以《约伯记》为例，强调了人类蔑视受苦者的倾向，“我们的理智将所有的蔑视、所有的反感、所有的仇恨都附着在罪行和苦难之上。”在思考他人的彻底屈辱时，也就冒着在自己身上考虑这种屈辱的风险，所以苦难的景象会让理智退缩，因为它让我们意识到自己“几乎无限的脆弱”。最简单的生理变化都会让身体陷入永久的痛苦，而灵魂和社会人格也同样受制于不可预测的力量，依赖于各种外部对象，而这些对象本身都是暂时的和不可预测的。考虑他人受苦受难的现实，面对着这样的思考：我们也完全处于环境的掌控之下；除了“盲目的必然性”之外，我们没有任何深刻的原则或存在的权利——事实上，没有任何东西能将我的福祉与他人的贫穷、疾病或悲伤区分开来。One of Weil’s central convictions is expressed very simply: ‘thought flies from affliction as promptly and irresistibly as an animal flies from death’. As a result, we seldom, if ever, contemplate the worst suffering – in ourselves, or in others - honestly or willingly. Drawing on the book of Job, Weil stresses the human tendency to despise the afflicted, to ‘attach all the scorn, all the revulsion, all the hatred which our reason attaches to crime, to affliction.’ To contemplate total humiliation in another is to risk contemplating it in oneself, and so the sight of affliction repels the intellect, because it makes us aware of our ‘almost infinite fragility.’ The body can be left in permanent pain by the simplest of physical changes, and the soul and social personality are equally subject to unpredictable forces and dependent upon all sorts of external objects, themselves temporary and unpredictable. To consider the reality of the afflicted in another is to face the thought that we too are entirely at the mercy of circumstance;that no deep principle or existential right – nothing, in fact, other than the workings of ‘blind necessity’ - distinguishes my well-being from another’s poverty, sickness or sorrow.
痛苦迫使我们承认我们认为不可能的事情是真实的。Affliction compels us to recognise as real what we do not think possible.
“这不可能！” 不可能的是想象未来痛苦将继续下去。对未来的自然思考之泉被抑制了。我们的时间观念被撕裂了。 “一个月后，一年后，我们将如何受苦？”既不能思考过去，也不能思考未来的存在，就会沦为物质状态。‘It is not possible!’ What is not possible is to envisage a future where the affliction will continue. The natural spring of thought towards the future is arrested. We are lacerated in our sense of time. ‘In a month, in a year, how shall we suffer?’The being who can bear to think neither of the past nor the future is reduced to the state of matter.
只有一些灵魂才能充分体验痛苦的深度，而正是这些灵魂最能体验精神上的快乐。Only some souls can fully experience the depth of suffering, and it is these same souls who are best able to experience spiritual joy.
惟有注视我们的局限和我们的苦难，才使我们处在更高的层次上。
注意人类的苦难。
关注的行为就是一种爱的行为。The act of paying attention is an act of love.
绝对无杂质的注意力即是祈祷。Absolutely unmixed attention is prayer.
薇依对基督教产生兴趣的最后一个关键经历是她读了乔治·赫伯特的诗《爱》，在头痛最严重的时刻，她会一遍又一遍地对自己重复这首诗。她起初以为自己只是在背诵这首诗：“但在我不知道的情况下，背诵具有祈祷的作用。正如我告诉过你的，正是在其中一次朗诵中，基督亲自降临并占据了我。”The final pivotal experience in Weil’s draw to Christianity came with her reading of George Herbert’s poem Love which she would repeat to herself over and over in the most disabling moments of her headaches. She believed at first that she was merely reciting the poem: “but without my knowing it the recitation had the virtue of a prayer. It was during one of these recitations that, as I told you, Christ himself came down and took possession of me.”
对自己的同情是真正的谦卑。Compassion directed toward oneself is true humility.
我也不是我想象中的自己。知道这个就是宽恕。I also am other than what I imagine myself to be. To know this is forgiveness.
世界是紧闭的门。这是一个障碍。同时它也是一条出路。The world is the closed door. It is a barrier. And at the same time it is the way through.
对我们邻居的完全的爱仅仅意味着能够说：“你正在经历什么？The love of our neighbor in all its fullness simply means being able to say, "What are you going through?
看待苦难作为克服人类自我中心倾向的一种方式，也是一种在爱和整体上更接近世界的方式。
蛇为亚当和夏娃提供了知识。塞壬将知识传给了尤利西斯。这些故事告诉我们，在快乐中寻求知识是灵魂的丧失。为什么？除非我们寻求知识，否则快乐可能是无害的。只有在痛苦中寻求它才是被允许的。Suffering and enjoyment as sources of knowledge. The serpent offered knowledge to Adam and Eve. The sirens offered knowledge to Ulysses. These stories teach that the soul is lost through seeking knowledge in pleasure. Why? Pleasure is perhaps innocent on condition that we do not seek knowledge in it. It is permissible to seek that only in suffering.
不幸留下的伤口，即使在睡梦中也会一滴一滴地流血；就这样，他们逐渐用武力训练人，使他不由自主地获得智慧。人必须学会将自己视为有限且依赖的存在；只有苦难才教会他这一点。Misfortunes leave wounds which bleed drop by drop even in sleep; thus little by little they train man by force and dispose him to wisdom in spite of himself. Man must learn to think ofhimself as a limited and dependent being; and only suffering teaches him this.
想要保持作为人的清醒、意识及尊严是有可能的，但就得要每天克服绝望。
所有的问题都会再次回到时间上。极度的痛苦：无方向的时间：通往地狱或天堂的道路。All problems come back again to time. Extreme suffering: undirected time: the way to hell or to paradise.
爱是一种方向，而不是一种精神状态。
上帝的缺席是完美之爱的最奇妙的证明。
人类的存在是如此脆弱，并且面临如此多的危险，以至于我无法不颤抖地去爱。Human existence is so fragile a thing and exposed to such dangers that I cannot love without trembling.
爱是我们贫贱的一种标志。
哪怕是爱情，都是一场苦役。
爱不是安慰，而是光。Love is not consolation, it is light.
基督教的极端伟大之处在于，它不寻求超自然的治疗痛苦的方法，而是寻求超自然的对痛苦的利用。The extreme greatness of Christianity lies in the fact that it does not seek a supernatural remedy for suffering but a supernatural use for it.
邪恶既不是痛苦，也不是罪恶；这是同时发生的，这是他们俩的共同点。因为它们是连在一起的；罪使我们受苦，而苦难使我们邪恶，而这种痛苦与罪的不可分割的复合体就是我们违背自己的意愿而被淹没在邪恶之中，这让我们感到恐惧。Evil is neither suffering nor sin; it is both at the same time, it is something common to them both. For they are linked together; sin makes us suffer and suffering makes us evil, and this indissoluble complex of suffering and sin is the evil in which we are submerged against our will, and to our horror.
痛苦和磨难是一种货币，从一只手到另一只手，直到到达接受它们但不传递它们的人为止。Pain and suffering are a kind of currency passed from hand to hand until they reach someone who receives them but does not pass them on.
我能做到，故我在。I can, therefore I am.
我只能赞许那些一面哭泣一面追求的人。—— 帕斯卡尔
马克洛尔 Maqroll 不要获取。你要为变得贫穷而旅行。这才是你的真实所需——Henri Michaux
Non, non, pas acquérir. Voyager pour t’appauvrir. Voilà ce dont tu as besoin.——Henri Michaux
一切移动的，都在移向死亡，没有任何海港——Jules Laforgue
Tout n'en va pas moins à la Mort, Y a pas de port.——Jules Laforgue
永远怀着能找到海的希望，他们在路上，没有面包，没有拐杖和钱箱，只啃食苦涩得完美的金柠檬——Stéphane Mallarmé
Toujours avec l'espoir de rencontrer la mer, - Ils voyageaient sans pain, sans bâtons et sans urnes, - Mordant au citron d'or de l'idéal amer.——Stéphane Mallarmé
一个人也因此而变成了死亡的同盟，他信任它，只为得到它会授予他但生命却拒绝给他的全部荣耀——Pierre Reverdy
“La vie n’est qu’une succession de défaites. Il y a de belles façades —il en est de pires. Mais derrière les belles, presque autant que derriè re les pires, la défaite, toujours la défaite et encore la défaite —ce qui n’empêche pas de chanter victoire, car au fond l’homme n’est réellement vainçu que par la mort— mais encore, uniquement parce qu’elle lui ôte tout moyen de proclamer contra l’évidence qu’il ne l’est pas. Alors, il s’est fait même un allié de la mort et il compte beaucoup sur elle pour lui donner toute la gloire que lui a refusée la vie».”——reverdy
还有一人沿着堤岸捡起，他的不安的残迹——Emile Verhaerem
Et celui-là ramasse, aux bords/Les épaves de son remords.——Emile Verhaerem
你让塞莱斯特打开窗，秋天像受伤的野兽一样撞击它——Alvaro Mutis
你必须任由自己深入，你葬礼的网——Alvaro Mutis
Our Human Fragility The condition of being good is that it should always be possible for you to be morally destroyed by something you couldn’t prevent. To be a good human being is to have a kind of openness to the world, an ability to trust uncertain things beyond your own control, that can lead you to be shattered in very extreme circumstances for which you were not to blame. That says something very important about the human condition of the ethical life: that it is based on a trust in the uncertain and on a willingness to be exposed; it’s based on being more like a plant than like a jewel, something rather fragile, but whose very particular beauty is inseparable from its fragility.
The paradox of the human condition, Nussbaum reminds us, is that while our capacity for vulnerability — and, by extension, our ability to trust others — may be what allows for tragedy to befall us, the greatest tragedy of all is the attempt to guard against hurt by petrifying that essential softness of the soul, for that denies our basic humanity:
Being a human means accepting promises from other people and trusting that other people will be good to you. When that is too much to bear, it is always possible to retreat into the thought, “I’ll live for my own comfort, for my own revenge, for my own anger, and I just won’t be a member of society anymore.” That really means, “I won’t be a human being anymore.”
You see people doing that today where they feel that society has let them down, and they can’t ask anything of it, and they can’t put their hopes on anything outside themselves. You see them actually retreating to a life in which they think only of their own satisfaction, and maybe the satisfaction of their revenge against society. But the life that no longer trusts another human being and no longer forms ties to the political community is not a human life any longer.
Bill Moyers(1988), "Philosopher Martha Nussbaum on How to Live with Our Human Fragility"
Confessions Lust 3 Translations of Confessions Lust:
“I went to Carthage, where I found myself in the midst of a hissing cauldron of lust. Bodily desire, like a morass, and adolescent sex welling up within me exuded mists which clouded over and obscured my heart, so that I could not distinguish the clear light of true love from the murk of lust.” (Pine-Coffin)
"Mine were the putrid fumes rising from scummy bodily lusts and the diseased eruption of puberty, befouling and befuddling my heart with their smoke, so that there was no telling the unclouded sky of affection from the thick murk of carnality.”(Ruden)
“From the mud of my fleshly desires and my erupting puberty belched out murky clouds that obscured and darkened my heart until I could not distinguish the calm light of love from the fog of lust.”(Boulding)
Lovers on a Bicycle She rides sitting on the frame, like a bird
perched on a branch, puffed-up, mature,
with two clenched
knees that signal sweetly
to the truck drivers passing by.Him we don’t see clearly, but we hear
his flask clanking against the seat with every
pedal stroke. He’s humming a ditty,
where did he pick it up, which war zone? No one’s heard it here.She holds a handful of hazelnuts and feeds him
without turning — she passes them back and he
catches them with his mouth, which resembles
a fringed brown patch.On the way back from the station she’ll be alone,
looking like a paper doll,
dry, straight, two-dimensional,
used to making do with this love, as she
is used to making a meal out of nothing —
a dash of tea, a couple of potatoes.
She will ride through the first bout of rain,
reeling with her feet the over-exposed film — an endless
blank frame, where he runs into the living room
and spins her in his arms.So it goes, this empty language of love, bargaining with hope,
like a one-legged chair with a stove: let me be
at least until midday. I won’t
live through the night.Translated from the Ukrainian by Anton Tenser and Tatiana Filimonova
Закохані на Велосипеді
Вона їде на рамі, як пташка, що
ненадовго присіла на гілку, роздмухана і оперена,
з двома стуленими
колінами, що шлють солодкі позивні
водіям зустрічних вантажівок.Його бачимо невиразно, зате чути,
як фляга його постукує об сідло з кожним натисканням
педалей. Мугикає мелодійку,
з якого фронту він її привіз? Тут такої не знають.Вона тримає у жмені лісові горіхи, частує його,
не обертаючись – точніше, підносить їх навмання, а він
ловить горіхи вустами, що нагадують
брунатну поторочену латку.Назад, зі станції, вона вертатиметься сама,
більше схожа на фігурку з паперу,
суха, рівна, двовимірна,
звикла вправлятися в цій любові, як у
добуванні обіду з нічого –
жменьки чаю і двох картоплин.
Буде їхати крізь перші удари дощу,
перемотуючи ногами засвічену плівку, безкінечний
порожній кадр, у якому він колись забігав до вітальні
й крутив її довго в обіймах.От, пуста мова любові, що торгується із надією,
як одноногий стілець із пічкою: ще хоч до полудня
не чіпай, якщо вже не дано мені
пережити ніч.липень 2013
树 一棵树，一棵树，彼此孤离地兀立着；风与空气，告诉着他们的距离。但是在泥土的覆盖下，他们的根伸长着，在看不见的深处，他们把根须纠缠在一起。
——《树》，艾青
Weil La Chine, la non-action divine comme plénitude de l’action, l’absence divine comme plénitude de sa présence.
中国，神圣行动的不作为，即行动的丰满，神圣的缺席，即存在的丰满。 选译自Cécile Sauvage诗歌 树根爬上沟壑，我永远生活在绿色的草地和蓝色的山丘上，从汹涌的泉水中喘气。
固守事物的虚无，不担心自恋谦虚的折磨。
向亲密的朋友传递只有蜜糖和玫瑰花开的感性亲吻。Le Chant des villes 我被城市的脉动吸引
他们起伏不平的生长
呼吸在绿色空隙之中
我溜进了他们的小巷
到处能听到他的子民
我沉迷于开罗或巴黎
他在我的血管中回荡
附着在我的皮肤之下我将再也无法
彻底离开
市区。Le Chant des villes
Andrée Chedid
La Psychanalyse du feu 科学与诗歌的对立是巴切拉德的赌注。
通过探索物体和概念的假想而质疑想象与理性的关系，巴切拉德认为它们可以是冲突的或互补的：具有强烈情感力量的图像会给科学家造成幻觉，也会对文学家造成诗意的超负荷。
如果所有的缓慢变化都可以用生命来解释，那么快速变化的一切也都可以用火来解释。
用恩培多克勒的火、水、土、气四元素来进行想象，巴切拉德将物质引入想象领域，赋予想象以存在的地位，并将火的隐喻标记为普罗米修斯情结、恩培多克勒情结、诺瓦利斯情结、霍夫曼情节，期望据此建立诗意形象本体论。
神话里普罗米休斯从奥林匹斯山上盗取了火，最初的诱惑是如此明确，火是人类心里第一个着魔神怪念头，从此人类对火有着极端的迷恋。钻木取火，摩擦起电，在火源的功利主义解释之外，火还是情感的，甚至是性的，强烈性别化的火源神话里隐含着火种的形式原则。
从原初形象、社会禁忌、生死本能再到火的性化，神圣化，化学家最初定义燃素为物质核心，燃素生机勃勃且贪得无厌，吸收其他物质，死亡并重生。
我们对火的理解之间介入了如此多的图像，热量垂直扩散的证据也来自烟囱中火焰升起的熟悉图像。而现代科学中，火不再是科学的对象，而是一个直接客体，通过取代许多其他现象而强加于原始选择的客体。巴切拉德说，火是人类从未实现客观态度的领域之一。
有了酒精之后，点燃，赋予欲望和想象力的水就实现生与火的共融。烈酒是巴切拉德文本中出生于所谓的“霍夫曼情结”的一种，能点燃的潘趣酒以阳刚之气照耀着其创作。