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  • When Ireneo Funes looked at a glass of wine on a table,

    譯者: Lilian Chiu 審譯者: Carol Wang

  • he sawall the shoots, clusters, and grapes of the vine.

    當伊雷尼歐弗內思 看著桌上的一杯酒,

  • He remembered the shapes of the clouds in the south

    他看到的是「葡萄樹的所有 幼芽、葡萄串,以及葡萄。

  • at the dawn of the 30th of April of 1882,

    他記得 1882 年 4 月 30 日黎明時分

  • and he could compare them in his recollection with the marbled grain

    在南方天空上的雲朵是什麼形狀,

  • in the design of a leather-bound book which he had seen only once,

    且他能夠將這些雲朵拿來對照

  • and with the lines in the spray which an oar raised

    他記憶中只看過一次的 皮繩書的大理石花紋設計,

  • in the Rio Negro on the eve of the battle of the Quebrancho.”

    或是在 Quebracho 之戰前夕,

  • In the short storyFunes, the Memorious,”

    尼格羅河上槳手 所划起的水花線條。」

  • Jorge Luis Borges explores what it would be like to have a perfect memory.

    在短篇故事

  • His character not only remembers everything he has ever seen,

    《記憶力超強的弗內思》中,

  • but every time he has seen it in perfect detail.

    豪爾赫路易斯波赫士探究了 若能有完美的記憶會是什麼樣子。

  • These details are so overwhelming

    他的角色不僅能過目不忘,

  • Funes has to spend his days in a dark room,

    且每次都能夠看見所有的細節。

  • and can only sleep by imagining a part of town he has never visited.

    這些細節實在讓人難以招架,

  • According to Borges,

    導致弗內思一直待在 黑暗的房間中,

  • Funes’s memories even rendered him incapable of real thought,

    且唯一能入睡的方式

  • becauseTo think is to forget a difference, to generalize, to abstract.

    就是想像小鎮中他從來 沒有造訪過的那部分。

  • In the overly replete world of Funes there were nothing but details.”

    根據波赫士,

  • Funeslimitless memory was just one of Borges’s many explorations of infinity.

    弗內思的記憶甚至使得他 無法進行真正的思考,

  • Born in Argentina in 1899,

    因為「思考就是忘記差異、 一般化、做摘要。

  • he admired the revolutionaries of his mother’s family

    在弗內思那過度充實的 世界中,滿滿都是細節。」

  • but took after his father’s bookish clan.

    弗內思無限的記憶只是波赫士 對「無窮」所做的許多探討之一。

  • His body of essays, poems, and stories, or, as he called them, ficciones

    他於 1899 年生於阿根廷,

  • pioneered the literary style oflo real maravilloso,”

    他很仰慕他的母系 家族中的革命者,

  • known in English as Magical Realism

    但愛好書籍的天性 則來自父系家族。

  • and each was just a few pages long.

    他把他的短文、詩作、 故事稱為虛構故事,

  • Though Borges was not interested in writing long books,

    它們開創了「lo real maravilloso (西班牙文)」文學風格的先鋒,

  • he was an avid reader,

    也就是「魔幻寫實主義」——

  • recruiting friends to read to him after he went blind in middle age.

    且每一篇的長度都只有幾頁。

  • He said his image of paradise was an infinite library,

    雖然波赫士對於 寫長篇書籍沒興趣,

  • an idea he brought to life inThe library of Babel.”

    他卻是熱衷閱讀的讀者,

  • Built out of countless identical rooms,

    當他中年失明之後, 還找朋友來唸給他聽。

  • each containing the same number of books of the same length,

    他說他對於天堂的印象 是一座無窮的圖書館,

  • the library of babel is its own universe.

    他在《巴貝爾圖書館》中 把這個想法呈現出來。

  • It contains every possible variation of text,

    這座圖書館有無數 一模一樣的房間,

  • so there are some profound books,

    每一間都有同樣數目的書籍, 書籍的長度也相同,

  • but also countless tomes of complete gibberish.

    圖書館本身就自成一個宇宙。

  • The narrator has spent his entire life

    它包含了所有可能的文本變化,

  • wandering this vast labyrinth of information

    所以,有一些深奧的書籍,

  • in a possibly futile search for meaning.

    也有無數完全在 胡說八道的大型書本。

  • Labyrinths appeared over and over in Borgeswork.

    說故事的人,一生的時間

  • InThe Garden of Forking Paths,”

    都遊走在這個浩瀚的資訊迷宮中,

  • as Yu Tsun winds his way through country roads,

    尋找著意義,即使 找到的可能性很低。

  • he remembers a lost labyrinth built by one of his ancestors.

    在波赫士的作品中, 迷宮不斷出現。

  • Over the course of the story,

    在《歧路花園》中,

  • he finds out the labyrinth is not a physical maze but a novel.

    當于尊在鄉間小路上蜿蜒前進時,

  • And this novel reveals that the real Garden of Forking Paths is time:

    他想起他的祖先之一 所建造的一個失落的迷宮。

  • in every instant, there are infinite possible courses of action.

    在這個故事的過程中,

  • And as one moment follows another,

    他發現迷宮並不是 實體的迷宮,而是本小說。

  • each possibility begets another set of divergent futures.

    而這本小說揭露出 真正的歧路花園是時間:

  • Borges laid out infinite expanses of time in his labyrinths,

    在每一個瞬間,有無窮個 可能的行動步驟。

  • but he also explored the idea of condensing all of time

    而一個時刻接著一個時刻下去,

  • into a single moment.

    每一個可能性又會招致 另一組分歧的未來。

  • InThe God’s Script,”

    波赫士在他的迷宮中 展示出時間的無窮擴張,

  • at the very beginning of the world

    但他也會探討將所有時間

  • the god writes exactly one message

    壓縮成為單一時刻的想法。

  • into the spots of the jaguars,

    在《神的劇本》中,

  • who thenlove and reproduce without end,

    在世界的起源之初,

  • in caverns, in cane fields, on islands,

    神將一則訊息

  • in order that the last men might receive it.”

    寫入美洲豹的斑點中,

  • The last man turns out to be a tenacious old priest

    美洲豹接著就 「相愛並無止境地繁殖,

  • who spends years memorizing and deciphering the jaguar’s spots,

    在洞穴中、在甘蔗田裡、在島嶼上,

  • culminating in an epiphany where he finally understands the god’s message.

    目的是要讓最後的人類 能夠接受到這訊息。」

  • Imprisoned deep underground,

    結果發現,最後的人類 是位頑固的牧師,

  • he has no one to share this meaning with,

    他花了數年的時間, 記憶並破解美洲豹的斑點,

  • and it changes nothing about his circumstances,

    終於,他在頓悟中了解了神的訊息。

  • but he doesn’t mind:

    他被監禁在地底深處,

  • in that one moment,

    沒有人能跟他分享這意義,

  • he has experienced all the experience of everyone who has ever existed.

    且他的境況也沒有因此改變,

  • Reading Borges, you might catch a glimpse of infinity too.

    但他不介意:

When Ireneo Funes looked at a glass of wine on a table,

譯者: Lilian Chiu 審譯者: Carol Wang

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B2 中高級 中文 TED-Ed 無窮 圖書館 記憶 雲朵 故事

豪爾赫-路易斯-博爾赫斯的《無限》--伊蘭-斯塔萬斯。 (Infinity according to Jorge Luis Borges - Ilan Stavans)

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    林宜悉 發佈於 2021 年 01 月 14 日
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