2015年8月6日 星期四

NOTES ON LIFE & LETTERS by Joseph Conrad 研究和中譯本;“Boule de Suif” by Guy de Maupassant 居伊·德·莫泊桑

5 August 1850 Birth of the French writer Guy de Maupassant
© RMN-Grand Palais (Château de Versailles), Daniel Arnaudet
羊脂球(法語:Boule de Suif,英語:Butterball),或譯為脂肪球,世界文學名著,法國文學家莫泊桑的短篇小說代表作,福樓拜稱之為「可以流傳於世的傑作」。

Boule de Suif

August 5, 2014 | by 
Boule_de_Suif 
Let’s talk about Guy de Maupassant, because he was born today in 1850 and because—why not? He’s Guy de Maupassant. As our own Lorin Stein wrote in 2010,
In a career that spanned barely a decade—the 1880s and early 1890s—Maupassant produced some 300 stories, 200 articles, three travel books, a collection of poems, three plays, and six novels, and the bulk of this production was consumed with the pursuit of illicit sex. His specialty was theconte leste, a kind of bawdy comic story we have very little of in English after Chaucer (think Boccaccio or The Arabian Nights). Maupassant modernized this tradition, testing the boundaries of what was permissible even in the Paris tabloids, where many of his stories first appeared. He was the best-selling writer of his generation.
Maupassant’s early story “Boule de Suif,” from 1880, remains a hallmark and a natural starting point. It’s about a prostitute whose refrain, like Bartleby’s, is that she would prefer not to—in this case, a Prussian officer asks repeatedly for the pleasure of her intimate company, and she invariably denies him. Unlike Bartleby, though, Boule de Suif must eventually give in, not by any defect of will but because of peer pressure.
This Prussian guy, you see, has detained her and several of her countrymen at a local inn. He’ll only allow the group to leave if Boule de Suif (or “Dumpling,” should that translation suit you, or “Butterball,” or most literally “Ball of Fat”) surrenders to his advances. And so her fellow travelers, all of whom disdain her for her occupation, find themselves begging her to succumb.
From this simple conceit, Maupassant wrings a whole novel’s supply of tragicomic tension. “Boule de Suif” is prototypical Maupassant: sexual but not psychosexual, a distinction that can seem counterintuitive after Freud and modernism. To quote Lorin again:
What most troubled and delighted Maupassant’s readers was his erotic identification with women. He saw them as sexual objects, and he saw himself as a sexual object … As he had it, even a genius couldn’t write about sensuality if he wasn’t inclined that way himself. The reverse held too. In the aesthetic battles of the day between the “psychological” and the “objective” novel, Maupassant took a hard objectivist line. For most of his career he was wary of looking too deeply into characters’ motivations. “The man who goes in for pure psychology can only substitute himself for all his characters,” Maupassant wrote, “for it is impossible for him to change his own organs, which are the only intermediaries between the outside world and ourselves.” Better, he thought, to report what people do and say, and say to themselves, than to ask what makes them tick.
And what a report we get in “Boule”—I read it a little less than a decade ago, and what stuck with me, more than any of the sexual politics, was Maupassant’s vivid descriptive powers. Surviving foremost in my mind was a paragraph about Cornudet, one of Boule de Suif’s companions—a total blowhard whose beard, I remembered, was the same color as the beer he liked to swill. I just revisited the passage and found it no less striking:
Then they took their places round a high soup tureen, from which issued an odor of cabbage. In spite of this coincidence, the supper was cheerful. The cider was good; the Loiseaus and the nuns drank it from motives of economy. The others ordered wine; Cornudet demanded beer. He had his own fashion of uncorking the bottle and making the beer foam, gazing at it as he inclined his glass and then raised it to a position between the lamp and his eye that he might judge of its color. When he drank, his great beard, which matched the color of his favorite beverage, seemed to tremble with affection; his eyes positively squinted in the endeavor not to lose sight of the beloved glass, and he looked for all the world as if he were fulfilling the only function for which he was born. He seemed to have established in his mind an affinity between the two great passions of his life—pale ale and revolution—and assuredly he could not taste the one without dreaming of the other.
It will come as no surprise, given the whiff of contempt emanating from those words, that Cornudet behaves like a complete prick in the story’s brutal conclusion, after Boule de Suif has done her duty. In a devastating, morose span of description, she finds herself shunned by the same crowd that urged her on, the same bunch whose liberation she’s secured. They’re all riding out on a stagecoach, and here comes Cornudet again:
Then Cornudet, who was digesting his eggs, stretched his long legs under the opposite seat, threw himself back, folded his arms, smiled like a man who had just thought of a good joke, and began to whistle the Marseillaise.
The faces of his neighbors clouded; the popular air evidently did not find favor with them; they grew nervous and irritable, and seemed ready to howl as a dog does at the sound of a barrel-organ. Cornudet saw the discomfort he was creating, and whistled the louder; sometimes he even hummed the words … and all the way to Dieppe, during the long, dreary hours of the journey, first in the gathering dusk, then in the thick darkness, raising his voice above the rumbling of the vehicle, Cornudet continued with fierce obstinacy his vengeful and monotonous whistling, forcing his weary and exasperated-hearers to follow the song from end to end, to recall every word of every line, as each was repeated over and over again with untiring persistency.
And Boule de Suif still wept, and sometimes a sob she could not restrain was heard in the darkness between two verses of the song.
A simple phrase like “digesting his eggs” conjures, in this sinister context, a mess of hideous gastrointestinal burbles. And how casually distressing to specify that Cornudet took the trouble to whistle more loudly against the noise of the coach, and that Boule de Suif’s sobs could be made out in the interstices.
Read all of “Boule de Suif” here, translated from the French.



NOTES ON LIFE & LETTERS


Contents:

Author's note

PART I--Letters

BOOKS--1905.
HENRY JAMES--AN APPRECIATION--1905
ALPHONSE DAUDET--1898
GUY DE MAUPASSANT--1904
ANATOLE FRANCE--1904
TURGENEV--1917
STEPHEN CRANE--A NOTE WITHOUT DATES--1919
TALES OF THE SEA--1898
AN OBSERVER IN MALAYA--1898
A HAPPY WANDERER--1910
THE LIFE BEYOND--1910
THE ASCENDING EFFORT--1910
THE CENSOR OF PLAYS--AN APPRECIATION--1907

PART II--Life

AUTOCRACY AND WAR--1905
THE CRIME OF PARTITION--1919
A NOTE ON THE POLISH PROBLEM--1916
POLAND REVISITED--1915
FIRST NEWS--1918
WELL DONE--1918
TRADITION--1918
CONFIDENCE--1919
FLIGHT--1917
SOME REFLECTIONS ON THE LOSS OF THE _TITANIC_--1912
CERTAIN ASPECTS OF THE ADMIRABLE INQUIRY INTO THE LOSS OF THE
_TITANIC_--1912
PROTECTION OF OCEAN LINERS--1914
A FRIENDLY PLACE
1921年的版本
http://www.gutenberg.org/files/1143/1143.txt

包含某些文本的研究之學術研究Hardcover: 504 pages
  • Publisher: Cambridge University Press (April 5, 2004)
Notes on Life and Letters (The Cambridge Edition of the Works of Joseph Conrad) (Hardcover)by Joseph Conrad (Author), Andrew Busza (Assistant), J. H. Stape (Editor) "I HAVE not read this author's books, and if I have read them I have forgotten what they were about..." (more)

Review
"This volume--with its thoughtful and thorough essays, Notes, and Apparatus--constitutes an excellent casebook on the making of critical editions. More importantly, of course, it is a major contribution to Conrad scholarship and will undoubtedly become the authoritative foundation for further research and writing on this richly varied collection of the author's journalistic writings." - Wallace Watson, Duquesne University

ap・pa・rat・us




━━ n. (pl. ~(・es)) (一組の)器具, 装置, 仕掛け; 【生理】器官; テキスト(文本)研究の資料; (政党などの)機関 (apparat).


中文翻譯有兩種 都不願意老老實實地採用原書
也沒交待原書出處和所批評的原資料


文學人生札記/(英)康拉德著;金築雲等譯,中國文學出版社, 2000

生活筆記


作者
(英)康拉德 著,傅松雪 譯
ISBN
7534374960
頁數
526頁
開本
16開
出版社
江蘇教育出版社
出版日期
2006-11-1
書收集了康拉德1898至1920年所寫的文章,是他談論文學與人生札記的合集,真實反映了康拉德的文學觀和政治態度以及康拉德的有爭議的觀點等。

 本書目錄  


序言
第一部分 文學
書(1905年)
對亨利·詹姆斯的讚美之辭(1905年)
阿爾豐斯·都德(1898年)
居伊·德·莫泊桑(1904年)
阿納托爾·法朗士(1904年)
屠格涅夫(1917年)
斯蒂芬·克蘭——一則沒有日期的筆記(1919年)
海的故事(1898年)
馬來亞的觀察家(1898年)
快樂的漫遊者(1910年)
生活的超脫者(1910年)
超越的努力(1910年)
劇本審查員禮讚(1907年)
第二部分 人生
獨裁和戰爭(1905年)
瓜分的罪行(1919年)
波蘭問題札記(1916年)
再訪波蘭(1915年)
第一條消息(1918年)
做得好(1918年)
傳統(1918年)
自信(1919年)
一次空中飛行(1917年)
“泰坦尼克號”沉沒之思(1912年)
令人欽佩的關於“泰坦尼克號”
沉船事件調查的某些方面(1912年)
遠洋客輪的防護(1914年)
一個友好的地方
譯後記


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