Nabokov: all I want from a book is the tingle down the spine, for my hairs to stand on end."
記憶（自由時報副刊專欄）
王丹
納博科夫在《一封永遠也寄不到俄國的信》中說過：“一切都將逝去，但我的快樂將永存。存在于對街燈潮濕的記憶中，存在于下降到運河的石頭台階上，存在于翩翩起舞的夫婦的笑臉上，存在于一切上帝慷慨地環繞我們的寂寞的東西上。”這是我看過的，關於記憶的最美的一段文字。在這段文字中，記憶以“存在”的面目出現，呈現出“生活”這一有關記憶的主要內涵，並以詩歌一般的節奏畫出了記憶在生活中走過的軌跡。
這段文字簡樸但是令人動容，正如記憶本身。很大宏大的場面，其實我們不可能一一存入記憶的檔案；或者說，那樣的關於時代，關於重大事件的記憶，其實即使庫存在我們的記憶抽屜裡，也是跟鐵門一樣冷冰冰的存在，我們當然珍惜，但是不會有融化一般的感動。我們面對這樣的記憶，會有不同的情緒，感嘆或者悲傷，憤怒或者遺憾，這些情緒端端正正地樹立在那裡，像一棵沒有表情的參天大樹，那就是歷史。那不是記憶。
而真正美麗的記憶，包裹在普通的，瑣碎的生活中，正如納博科夫所描寫的那些日常的碎片。就如同我至今還偶爾會想起遙遠的年代的某一天，在慵懶的下午的圖書室內，看到一幅插圖導引出來的內心的一些激動和嚮往。那時我初中，十幾歲的慘綠年齡。有一些只有在那種年齡才會有的莫名的惆悵，這樣的惆悵在那天的午後的陽光的照射下，彷彿把時間定格在一幀照片的黑白色的背景上。這就是記憶：它溫暖而鬆散，靜靜地躺在那裡，並不引人注目，但是偶爾想起，內心無比踏實。
讀者請用Vladimir Nabokov 找本blog 還可找出許多作品
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……
******
我對邱慧璋譯人有興趣
邱慧璋的個人資料- 國立臺灣大學外國語文學系暨研究所
－納布可夫／著《愚昧人生》（台北尔雅出版社、少见1975年台版书珍本）
－爾雅出版◎1981年12月三版
羅麗塔作者 Vladimir Nabokov，《愚昧人生》，爾雅，1985年四版 /邱慧璋譯
Bernardino Luini (c. 1480/82 – June 1532) was a North Italian painter from Leonardo's circle. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described to have taken "as much from Leonardo as his native roots enabled him to comprehend".[1] Consequently many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.[2] (22頁)
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Laughter in the Dark (Original Russian title: Камера Обскура, Kamera Obskura) is a novel written by Vladimir Nabokov and serialised in Sovremennye Zapiskireleased in 1932.[1]
The first English translation, Camera Obscura, was made by Winifred Roy and published in London in 1936 by Johnathan Long, the paperback imprint of Hutchinson Publishing, with the author credited as Vladimir Nabokoff-Sirin. Nabokov was so displeased by the translation's quality that he undertook his own translation, which was published in 1938 under the now common name, Laughter in the Dark. He is sometimes mistaken of being not fond of the book, yet in fact it was based on very personal breakthroughs in his life.
The book deals with the affection of a middle-aged man for a very young woman, resulting in a mutually parasitic relationship. In 1955, Nabokov used this theme again with Lolita to a much differently developed effect. He again used this theme to the most extreme in Ada.
The books he produced in 1932-34, Glory, Laughter in The Dark, and Despair, were all very closely related, as they were reflective of the happenings in Nabokov's life. And although Ada, Pnin, and especially Pale Fire, are showcases to his genius, Laughter In the Dark stands as part of a triad of development, showing that it was not about what Nabokov was writing, but about what he was doing to the reader and himself. Pnin is actually a revisited form of the same style later on in his career.
Albinus delivers Margot her first role as an actress, but she does not appear to be very talented. In fact, what she possesses in beauty is best captured by the imagination rather than even a still camera. Only Albinus' wealth ensures she gets to play her role. Margot realized she played the role poorly, and Albinus worried about her reaction. Rex, however, adored seeing the girl from the streets suffer, and took the opportunity to use her ineptitude. After Margot becomes upset upon viewing the film, Albinus coaxes her into taking a holiday to the south. They rent a hotel room and, after a chance encounter with an old friend, Albinus happens to surmise that Margot and Rex are engaged in an affair. He had always been envious of Rex as he was the truest of the artists, unlike him. He stole beautiful young things from Albinus his whole life and this was not different. Albinus steals away with Margot and leaves Rex at the hotel. On their journey out of town, Albinus, a self-proclaimed poor driver, crashes the car and is blinded, leaving him in need of care and oblivious to the world around him.
Rex and Margot take advantage of his handicap and rent a chalet in Switzerland where Rex poses as Albinus' doctor, although Albinus is unaware of Rex's presence. Unknown to Albinus he was being mocked and tortured during his recovery. He becomes increasingly suspicious as his ears become more attuned and he perceives someone's presence, but his fears are never confirmed. Paul, a friend to the family, after suspecting forgery (Rex and Margot have been bleeding Albinus' accounts dry by feigning his hand on cheques), drives to the residence and discovers Rex toying with Albinus in his blinded state. Paul then escorts Albinus back to his ex-wife, Elizabet's, home. After a short time, Albinus receives a call that Fraulein Peters (Margot) has returned to his flat to collect some things. Knowing that she is coming, he decides to kill her. Without haste, he heads to Margot's flat and makes his way to the apartment, trapping her inside by barricading the door, intending to shoot her with his pistol. He seeks her out by her scent and faint sounds but when he tries to shoot her she overpowers him, grabs the pistol, and kills him.
時間，乍看之下無邊無際，因此一開始我沒發現它是個監獄。 --- 納博科夫
記憶（自由時報副刊專欄）
王丹
納博科夫在《一封永遠也寄不到俄國的信》中說過：“一切都將逝去，但我的快樂將永存。存在于對街燈潮濕的記憶中，存在于下降到運河的石頭台階上，存在于翩翩起舞的夫婦的笑臉上，存在于一切上帝慷慨地環繞我們的寂寞的東西上。”這是我看過的，關於記憶的最美的一段文字。在這段文字中，記憶以“存在”的面目出現，呈現出“生活”這一有關記憶的主要內涵，並以詩歌一般的節奏畫出了記憶在生活中走過的軌跡。
這段文字簡樸但是令人動容，正如記憶本身。很大宏大的場面，其實我們不可能一一存入記憶的檔案；或者說，那樣的關於時代，關於重大事件的記憶，其實即使庫存在我們的記憶抽屜裡，也是跟鐵門一樣冷冰冰的存在，我們當然珍惜，但是不會有融化一般的感動。我們面對這樣的記憶，會有不同的情緒，感嘆或者悲傷，憤怒或者遺憾，這些情緒端端正正地樹立在那裡，像一棵沒有表情的參天大樹，那就是歷史。那不是記憶。
而真正美麗的記憶，包裹在普通的，瑣碎的生活中，正如納博科夫所描寫的那些日常的碎片。就如同我至今還偶爾會想起遙遠的年代的某一天，在慵懶的下午的圖書室內，看到一幅插圖導引出來的內心的一些激動和嚮往。那時我初中，十幾歲的慘綠年齡。有一些只有在那種年齡才會有的莫名的惆悵，這樣的惆悵在那天的午後的陽光的照射下，彷彿把時間定格在一幀照片的黑白色的背景上。這就是記憶：它溫暖而鬆散，靜靜地躺在那裡，並不引人注目，但是偶爾想起，內心無比踏實。
真正的記憶，是個人的。即使是與他們有關，也是因為這樣的他者，與我們自己有著千絲萬縷的聯繫，也是因為從對他者的回憶中，我們看到了自己走過的或者蜿蜒或者崎嶇的道路。真正的記憶，也很難與人分享吧，因為這樣的記憶與我們的個任性的感受緊密連接在一起，而感受，尤其是歷經了時間磨礪之後的那些殘留下來的感受，已經細微到只有我們自己才能品味。所有公開的述說，只能引起歧義和誤會，引起紛雜的聯想和不必要的抗拒，我們其實是與自己的記憶一路走來，證明著自己的存在的。
隨著時間的流逝，我們每個人都在囤積記憶，都在豐富自己的庫存。記憶因此而是一門藝術，關係到我們的未來。當有那麼一天，我們終於老去，咀嚼記憶就是我們的日常生活，這時候，我們拉開抽屜，一件件把玩不同質地，不同顏色，不同款式的記憶，就像王家衛在他的電影中不厭其煩地展現的舊時代的旗袍一樣，各種各樣的記憶，就是我們盤點人生的賬目。因此，現在我們如何選擇，我們保留什麼，我們放棄什麼，就成為重要的功課，必須早一點動手準備。
這些記憶，有文字，有照片；或者是一首歌曲，或者是一幅油畫，或者根本什麼也不是，只是一種瞬間的情緒，但是來自過去的暗影。這些記憶，讓我們橫跨在時間和空間的橋樑上，俯視自己曾經珍惜過的歲月。它們簡單樸素，字跡鮮明，線條清晰。它們，會決定著我們完成人生的意義。
Search Results
- Vladimir Nabokov: Life and Lolita - BBC Documentary - YouTubewww.youtube.com/watch?v=TnvvBL6set4Oct 14, 2012 - Uploaded by 324wilsonVladimir Nabokov is one of my favorite writers of all time, but some of his works, espeically "Lolita," remains ...
BBC Four - How Do You Solve a Problem Like Lolita?
www.bbc.co.uk › Factual› Arts, Culture & the MediaBBC Four, audio interviews: Vladimir Nabokov· BBC News: Nabokov's unfinished work is published · Nabokov's Lolita (www.vestige.org); Newsnight: Nabokov's ...Vladimir Nabokov on Literature and Life: A Rare 1969 BBC Interview ...
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www.brainpickings.org/.../vladimir-nabokov-james-mossman-in...Jan 18, 2013 - Vladimir Nabokov on Literature and Life: A Rare 1969 BBC Interview. by Maria Popova. “The arrows of adverse criticism cannot scratch, ...
1977年冬，森堯學長從倫敦來Colchester訪我。他跟我說《說吧！記憶》值得一讀。我到圖書館拿起這本舊書，就像蔣彝先生的《倫敦啞行》那般舊。不過後者還有彩色圖詩，而納布可夫的，只是文字的魅力。數十年之後我看到”兩岸”的翻譯本，都沒什麼味道。
讀者請用Vladimir Nabokov 找本blog 還可找出許多作品
出 版 社： 上海译文出版社
2010
說吧，記憶︰自傳追述
Speak，Memory:An Autobiography Revisited
作者：[美]弗拉基米爾‧納博科夫（Nabokov，V.）
作 者： （美）納博科夫 著，王家湘 譯
出 版 社： 上海譯文出版社
出版時間： 2009-4-1
字 數： 235000
版 次： 1
頁 數： 393
印刷時間： 2009-4-1
內容簡介
我在思想上回到了過去——思想令人絕望地漸行漸淡——遙遠的地方，我在那裏摸索某個秘密的通道，結果發現時間的監獄是球形的，沒有出口。除了自殺，我嘗試過一切。我曾拋棄自己的身份，以便能夠充作一個傳統的幽靈，偷偷進入孕育我之前就已經存在的國度。
一 個小玻璃球裏的彩色螺旋，我就是這麼看待自己的一生的……當我回顧那些流亡的歲月時，我看到自己，以及成千上萬個其他俄國人，過著一種奇怪但完全不能說 是不愉快的生活，處於物質的貧困和思想的奢華之中，在小人物、幽靈般的德國人和法國人之間，我們，流亡者們，碰巧居住在他們多少有點夢幻似的城市裏。這些 原住民在我們心裏和用玻璃紙剪出來的人形一樣單調透明，我們雖然使用他們精巧的裝置，給他們愛開玩笑的人鼓掌，採摘他們路旁的李子和蘋果，但是我們和他們 之間不存在真正的、像在我們自己人中如此廣泛存在的那種極富人情味的交流。有的時候似乎是我們無視他們，就像一個傲慢或極端愚蠢的侵略者無視一群雜亂的、 無法辨認的當地人一樣：但是偶爾，其實還是相當經常地，那個我們通過它平靜地展示我們的傷心事和我們的藝術的幽靈般的世界會產生一種可怕的動亂，使我們明 白誰是無形的囚徒，而誰又是真正的主人。
作者簡介
弗拉基米爾·納博科夫（1899-1977）納博科夫是二十世紀公認的傑出小說家和文體家。 一八九九年四月一十三日，納博科大出生於聖彼德堡。布爾什維克革命期間，納博科夫隨全家於一九一九年流亡德國。他在劍橋三一學院攻讀法國和俄羅斯文學後，開始了在柏林和巴黎十八年的文學生涯。 一九四○年，納博科夫移居美國，在威爾斯理、斯坦福、康奈爾和哈佛大學執教，以小說家、詩人、批評家和翻譯家身份享譽文壇，著有《庶出的標誌》、《洛麗塔》、《普寧》和《微暗的火》等長篇小說。 一九五五年九月十五日，納博科夫最有名的作品《洛麗塔》由巴黎奧林匹亞出版社出版並引發爭議。 一九六一年，納博科夫遷居瑞上蒙特勒；一九七七年七月二日在洛桑病逝。
書摘插圖
第一章
一
搖 籃在深淵上方搖著，而常識告訴我們，我們的生存只不過是兩個永恆的黑暗之間瞬息即逝的一線光明。儘管這兩者是同卵雙生，但是人在看他出生前的深淵時總是 比看他要去的前方的那個（以每小時大約四千五百次心跳的速度）深淵要平靜得多。然而，我認識一個年輕的時間恐懼者，當他第一次看著他出生前幾個星期家裏拍攝的電影時，體驗到一種類似驚恐的感情。他看見了一個幾乎沒有任何變化的世界——同樣的房子，同樣的人——然後意識到在那裏面他根本就不存在，而且沒有人 為缺少他而難過。他瞥見他的母親在樓上的一扇視窗揮手，那個不熟悉的手勢使他心神不安，仿佛那是種神秘的告別。但是特別使他害怕的是看到一輛放在門廊裏的 嶄新的嬰兒車，帶著棺材所具有的自鳴得意、侵蝕一切的神氣；就連那也是空的，仿佛，在事物的進程反向發展的過程中，他自己的身體已經分崩離析了。
這樣的想像對於年輕人來說並不陌生。或者，換句話來說，想到最初和最後的事情常常帶有青少年的特點——除非可能受到某種古老、嚴厲的宗教的指引。天性期望 一個成年人接受這兩個黑暗的虛空，和接受這兩者之間的J晾人景象時同樣漠然。想像，是不朽和不成熟的人的極頂快樂，應該受到限制。為了能夠享受生活，我們 不應過多地享受想像的快樂。
我 討厭這種事態。我感覺到了要表示我的厭惡並掩飾天性的強烈願望。我的頭腦一再做出巨大的努力，來看清在我生命的前後兩側的不具個人色彩的黑暗中最微弱的 帶個人性質的閃光。我相信，造成這個黑暗的僅僅是時間之牆，是它將我和我青腫的拳頭與自由的永恆世界隔開，這是我樂於和身上畫著最鮮豔的彩繪的野蠻人共用 的信念。我在思想上回到了過去——思想令人絕望地漸行漸淡——遙遠的地方，我在那裏摸索某個秘密的通道，結果發現時間的監獄是球形的，沒有出口。除了自 殺，我嘗試過一切。我曾拋棄自己的身份，以便能夠充作一個傳統的幽靈，偷偷進入孕育我之前就已經存在的國度。我曾在心理上忍受有損身份地和維多利亞時代的 女作家以及退役上校們為伴，他們記得前世曾是古羅馬大道上的奴隸信使，或者是拉薩柳樹下的哲人。我翻遍舊夢，尋找鑰匙和線索——讓我馬上說清楚，我完全拒 絕佛洛德那庸俗、低劣、基本上是中世紀的世界，連同那對性象徵的異想天開的探索（有點像在莎士比亞的作品中尋找培根式的離合詩），以及充滿怨恨的小小的 胚胎從他們天然的隱蔽深處對他們雙親性生活的窺探。
起 初，我並沒有意識到，乍看起來如此無邊無際的時間竟會是一個監獄。在探究我的童年的時候（這僅次於探究你的永恆），我看到了意識的覺醒是一系列間隔開的 閃現，間隔逐漸縮小，直到形成了鮮明的大塊的感知，提供給記憶一個並不牢固的支撐點。我很小就幾乎同時學會了數數和說話，但是內心裏認知我就是我，我的父 母是我的父母，似乎只是後來才確立起來的，是直接和我發現他們的年齡與我的年齡的關係相聯繫的。從我想到這一揭示時那立即侵入我的記憶的、帶著片片透過交 疊的綠葉的光影的強烈陽光來判斷，那個場合可能是鄉間的夏末，我母親的生日，我問了些問題，估摸了得到的回答。根據重演論①，這一切本應如此；我們遠祖頭 腦中的反身意識的開始必定和時間意識的初現是同時發生的。
因此，當新揭露出來的、我自己新鮮俐落的四歲年紀的配方面對父母的三十三及二十七歲年紀的配方時，我感到自己產生了一個變化。我受到了巨大的、令人鼓舞的 震動。仿佛比五十個月以前那個號啕大哭的泡得半死的我（老習俗要求父母退到一扇門後，我的母親透過這扇半關的門，設法糾正了笨拙失誤的大長老康斯坦丁-維 特韋尼斯基神父的錯誤）所經歷的希臘天主教的浸泡要更為神聖的方式接受第二次洗禮，我感到自己突然投入了明亮的流動的傳導體之中，這傳導體不是別的，正是 純粹的時間元素。你和不是自己、但是被時間的共同流動和自己結合在一起的人們分享它——正如激動的洗海水浴的人們分享閃閃發亮的海水一樣，這是和空間世界 很不相同的環境，空間世界不僅是人，而且連猿猴和蝴蝶都是能夠感知到的。在那一瞬間，我深切地意識到，那個二十七歲、穿著柔和的白色和粉紅色衣服、拉著我 的左手的人是我的母親，而那個三十三歲的、穿著刺眼的白色和金色衣服、拉著我的右手的人是我的父親。我在他們兩個人之間，在他們平穩地向前行進的時候，我 大搖大擺地走一陣，小跑一陣，再大搖大擺地走一陣，沿著小路的中間走過片片光影，今天我很容易就認出，這條小路正是我們家在俄國原聖彼德堡省的叫維拉的鄉 村別墅的庭園裏兩旁長著觀賞小櫟樹的小徑。確實，從我目前偏遠的、與世隔絕的、幾乎是杳無人跡的時間之山脊上，我把。一九。三年那個八月天的微小的自己看 做在慶祝有意識的生命的誕生。如果拉我左手的人和拉我右手的人在以前曾同時在我嬰兒模糊的世界裏出現過的話，也是在溫柔的不知姓名身份的面具之下出現的； 但是現在我父親的穿著——那套騎兵衛隊的華麗軍裝，半身鎧甲的光滑的金燦燦的突起部在他的前胸和後背閃閃放光，像太陽一樣呈現出來，而且在以後的好幾年裏 我對父母的年齡一直保持著強烈的好奇，不斷要人家告訴我他們的歲數，好像一個心情緊張的乘客為了對一隻新表而詢問時間一樣。
我的父親，請注意，在我出生前很久就已完成了軍事訓練，因此我想那天他穿上老軍團的服飾是節日時的一個玩笑。那麼，我第一個完整的意識的閃現要歸功於一個玩笑——這也具有重演的含義，因為在地球上最先意識到時間的動物也是最先會笑的動物。
二
隱 藏在我四歲時玩的遊戲背後的是原始洞穴（而不是佛洛德式神秘主義者們可能設想的東西）。在我的腦子裏出現的，宛如史前地質上地殼隆起的某種巨大無比的 產物，是在維拉別墅的一個客廳裏的一張大長沙發，沙發面是白底子上印有黑色三葉草的印花裝飾布。歷史在離這張長沙發的一端不遠的地方開始（有公正的希臘人 的保證），那兒有一大盆繡球花叢，開著淺藍色和一些帶綠色的花，在房間的一個角落裏半掩著一尊狄安娜①大理石胸像的墊座。長沙發貼靠著的那面牆上，一張鑲 在烏木框裏的灰色版畫標誌著歷史的另一個時期——那是拿破崙戰爭的場景之一，畫面上真正敵對方是具體事件和它的寓意，你看到的是一個受傷的鼓手，一匹死 馬，戰利品，一個士兵正要用刺刀刺向另一個士兵，以及在將軍們中間的那個刀槍不入的皇帝在定格了的衝突中擺著姿勢，所有這一切都聚集在同一個視覺平面上。
某 個大人幫助了我，他先用兩隻手，然後加上一條有力的腿，把長沙發從牆挪開幾英寸，以便形成一個狹窄的通道，再進一步幫我用長沙發的長靠枕嚴實地封住頂 上，兩頭拿幾個墊子堵住。這樣我就得到了爬過漆黑的隧道的難以相信的樂趣，我在隧道裏會逗留一小會兒，聽自己嗡嗡的耳鳴聲——小男孩們躲藏在滿是塵土的地 方時如此熟悉的那孤單的震動——然後，在突然一陣美妙的驚慌下，手腳並用迅速嘭嘭爬到隧道頭上，推開墊子，歡迎我的是一把維也納籐椅下鑲木地板上網狀的太 陽光，和兩隻輪流停落下來的快樂的蒼蠅。另外一個隧道遊戲更柔和、更具夢幻感。清早醒來後，我用床上的東西做成帳篷，在雪崩般的床單的幽暗中、在似乎從遙 遠的距離之外穿透我半在陰影中的掩蔽所的微弱的亮光下，聽任想像力朦朧地千般馳騁，我想像在那遙遠的地方，奇異的白色動物在湖泊地帶自由遊蕩。對我的側面 帶有毛茸茸的棉線繩網的兒童床的回憶，也使我記起了把玩一個水晶蛋時的快樂：那是某個記不起來的復活節遺留下來的，是一個非常漂亮、堅實得可愛的深石榴紅 色的水晶蛋。我總是把床單的一角咬得濕透，然後把那個蛋緊緊包在裏面，好欣賞並且再舔舔緊包起來的琢面的溫暖閃爍的紅色，它神奇完美的光澤和色彩透過濕布 滲了過來。但是這還不是我最盡情享受美的一次。
宇 宙是多麼小啊（袋鼠的育兒袋就能夠將它裝下），和人的意識相比，和個人的一個回憶及語言對這個回憶的表達相比，又是多麼微不足道啊！我可能過分地喜愛自 己最早的印象，但是我對它們懷著感激之情是有原因的。它們將我引到了一個名副其實的視覺和觸覺的極樂園。我回憶起一九。三年秋天的一個夜晚，在國外旅行的 時候，臥鋪車廂裏（可能是在早已消失了的地中海豪華列車上，它的六節車廂的下半部漆成紅棕色，窗格是米黃色的）我跪在視窗的一個（略顯扁平的）枕頭上，懷 著難解的極度痛苦，看見遠處山坡上有幾處神奇的燈光在向我召喚，然後悄悄地落進黑絲絨口袋裏：那都是鑽石，我後來在作品中將它們送給了我的人物，以減輕財 富的重壓。可能我設法把臥鋪床頭很緊的有壓印圖案的百葉窗鬆開推了上去，我的腳跟很冷，但是我仍然跪在那兒凝視著外面。沒有任何東西比回想那些初始的激動 更甜蜜或更奇異的了。它們屬於一個完美的童年的和諧世界，作為這樣一個世界，在人的記憶中具有自然可塑的形態，幾乎不用什麼努力就能夠寫下來；只有在進行 青春期的回憶的時候摩涅莫辛涅才開始挑剔，找起岔子來。不僅如此，我還認為，在儲藏印象的能力方面，我這一代的俄國兒童經歷了一段天才時期，仿佛是考慮到 了將會使他們所熟悉的世界完全消失的大變革，命運通過給予他們比應得的一份更多的東西忠實地盡自己所能幫助他們。當一切都儲藏好了以後，天才就不復存在 了，正如發生在別的那些更為特殊的神童身上的那樣——漂亮的、頭髮鬈曲的少年揮動指揮棒，或者駕禦巨大的鋼琴，他們最後變成了二流音樂家，有著哀怨的眼 睛，莫名的疾病，以及隱約地有點畸形的沒有男子漢氣概的臀部。不過即使如此，個人的種種奧秘繼續引逗著回憶錄的作者。我既不能從環境中也不能從遺傳中找到 使我成形的具體工具，那在我生活上壓下了某種複雜的浮水印圖案的無名的滾軋機，它那獨一無二的圖案在藝術之燈被點燃、照亮了生命的全景之時變得清晰可見。
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我對邱慧璋譯人有興趣
邱慧璋的個人資料- 國立臺灣大學外國語文學系暨研究所
www.forex.ntu.edu.tw/.../bio.php?PI... - Cached -Translate this page
姓名, 邱慧璋. 班別, 學士班. 就學狀態, 已畢業. 畢業年度, 1955. ![book]( "book")
賭徒 / 杜斯朵也夫斯基(F. Dostoyevsky)著 ; 邱慧璋譯.杜斯妥也夫斯基 (Dostoyevsky, Fyodor), 1821-1881.出版項 臺北市 : 仙人掌出版社, 民國59嘉義市 : 明山書局, 民國59版次 初版.- 2.
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賭徒 / 杜思妥也夫斯基(Dostoevsky, F. M.)撰 ; 邱慧璋譯.杜斯妥也夫斯基 (Dostoyevsky, Fyodor), 1821-1881.出版項 臺北市 : 志文出版社, 民國68Title 伊甸園東 Authors John Steinback, 劉森堯, 邱慧璋 Publisher 書華出版事業有限公司, 1995
－納布可夫／著《愚昧人生》（台北尔雅出版社、少见1975年台版书珍本）
－爾雅出版◎1981年12月三版
羅麗塔作者 Vladimir Nabokov，《愚昧人生》，爾雅，1985年四版 /邱慧璋譯
Bernardino Luini (c. 1480/82 – June 1532) was a North Italian painter from Leonardo's circle. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described to have taken "as much from Leonardo as his native roots enabled him to comprehend".[1] Consequently many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.[2] (22頁)
Madonna del Roseto (Pinacoteca di Brera).
Laughter in the Dark (novel)
From Wikipedia, the free encyclopedia
| Laughter in the Dark | |
|---|---|
 First US edition | |
| Author(s) | Vladimir Nabokov |
| Original title | Камера Обскура |
| Country | Germany |
| Language | Russian |
| Genre(s) | Novel |
| Publisher | Bobbs-Merrill Company |
| Publication date | 1932 |
| Media type | Print (Hardback& Paperback) |
| Pages | 292 pp |
| ISBN | ISBN 0-8112-0708-0 (1978 English edition) & ISBN 5-306-00189-0 (2001 Russian edition) |
| OCLC Number | 4562864 |
The first English translation, Camera Obscura, was made by Winifred Roy and published in London in 1936 by Johnathan Long, the paperback imprint of Hutchinson Publishing, with the author credited as Vladimir Nabokoff-Sirin. Nabokov was so displeased by the translation's quality that he undertook his own translation, which was published in 1938 under the now common name, Laughter in the Dark. He is sometimes mistaken of being not fond of the book, yet in fact it was based on very personal breakthroughs in his life.
The book deals with the affection of a middle-aged man for a very young woman, resulting in a mutually parasitic relationship. In 1955, Nabokov used this theme again with Lolita to a much differently developed effect. He again used this theme to the most extreme in Ada.
The books he produced in 1932-34, Glory, Laughter in The Dark, and Despair, were all very closely related, as they were reflective of the happenings in Nabokov's life. And although Ada, Pnin, and especially Pale Fire, are showcases to his genius, Laughter In the Dark stands as part of a triad of development, showing that it was not about what Nabokov was writing, but about what he was doing to the reader and himself. Pnin is actually a revisited form of the same style later on in his career.
Contents |
[edit]Characters
The characters were given different names in the English translation. In the following list the names of the main characters of the English translation are given first with the original names in parentheses.- Albert Albinus (Bruno Krechmar) - a middle-aged art-critic
- Margot Peters (Magda Peters) - an 16-year-old aspiring actress, common worker, model, seductress
- Axel Rex (Robert Gorn, probably Robert Horn) - A painter from New York and Margot's first lover, also Margot's first broken relationship when he abandoned her
- Elisabeth Albinus - Albert Albinus's wife
- Paul Hochenwart - Elisabeth's brother
- Otto Peters - Margot's brother
- Frieda - The Albinus' housekeeper
- Irma Albinus - Elisabeth and Albert's daughter
- Kaspar - A friend of Otto's
- Udo Conrad - An author and acquaintance of Albert's
[edit]Plot
Albinus is a respected, reasonably happy married art critic who lives in Berlin. He lusts after the 18-year old Margot whom he meets at a cinema, where she works, and seduces her over the course of many encounters. His prolonged affair with Margot is eventually revealed to Elisabeth when Margot deliberately sends a letter to the Albinus residence and Albert is unable to intercept it before it is discovered. This results in the dissolution of the Albinus' marriage. Rather than disown the young troublemaker he is even more attracted to her. Margot uses him to become a film star, her ambition in life. Albinus introduces Margot to Axel Rex, but he does not know the two had previously been lovers. Margot and Rex resume their relationship, and start plotting to get Albinus out of the way and rob him of his money. Rex sees the opportunities that Albinus's infatuation with Margot produces, and understands that even a great risk is little to the blind and helpless; in love, in loss, and in dwindling fortune.Albinus delivers Margot her first role as an actress, but she does not appear to be very talented. In fact, what she possesses in beauty is best captured by the imagination rather than even a still camera. Only Albinus' wealth ensures she gets to play her role. Margot realized she played the role poorly, and Albinus worried about her reaction. Rex, however, adored seeing the girl from the streets suffer, and took the opportunity to use her ineptitude. After Margot becomes upset upon viewing the film, Albinus coaxes her into taking a holiday to the south. They rent a hotel room and, after a chance encounter with an old friend, Albinus happens to surmise that Margot and Rex are engaged in an affair. He had always been envious of Rex as he was the truest of the artists, unlike him. He stole beautiful young things from Albinus his whole life and this was not different. Albinus steals away with Margot and leaves Rex at the hotel. On their journey out of town, Albinus, a self-proclaimed poor driver, crashes the car and is blinded, leaving him in need of care and oblivious to the world around him.
Rex and Margot take advantage of his handicap and rent a chalet in Switzerland where Rex poses as Albinus' doctor, although Albinus is unaware of Rex's presence. Unknown to Albinus he was being mocked and tortured during his recovery. He becomes increasingly suspicious as his ears become more attuned and he perceives someone's presence, but his fears are never confirmed. Paul, a friend to the family, after suspecting forgery (Rex and Margot have been bleeding Albinus' accounts dry by feigning his hand on cheques), drives to the residence and discovers Rex toying with Albinus in his blinded state. Paul then escorts Albinus back to his ex-wife, Elizabet's, home. After a short time, Albinus receives a call that Fraulein Peters (Margot) has returned to his flat to collect some things. Knowing that she is coming, he decides to kill her. Without haste, he heads to Margot's flat and makes his way to the apartment, trapping her inside by barricading the door, intending to shoot her with his pistol. He seeks her out by her scent and faint sounds but when he tries to shoot her she overpowers him, grabs the pistol, and kills him.
[edit]Film adaptation
Main article: Laughter in the Dark (film)
In 1969, Laughter in the Dark was adapted for film directed by Tony Richardson, which would originally star Richard Burton as Albinus. When he was fired for drunkenness, he was replaced by Nicol Williamson. Anna Karina played the role of Margot, Jean-Claude Drouot played the role of Axel Rex.[edit]Literary reviews
- Camera Obscura and Laughter in the Dark, or The Confusion of Texts, by Christine Raguet-Bouvard (translated by Jeff Edwards)
- Nabokov's Poetics of Vision, or, What Anna Karenina is Doing in Kamera obskura by Thomas Seifrid.
[edit]External links
- Laughter in the Dark at the imdb