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  • We're here in the British Library, the home of several of Jane Austen's manuscripts.

    我們現在在大英圖書館,即珍・奧斯丁數件遺稿的珍藏處。

  • Jane Austen is the first novelist for whom we have a substantial body of manuscript remains,

    珍・奧斯丁是第一位我們收有大量遺稿的小說家,

  • ranging from fair copies of teenage writings, through to manuscript drafts of experimental

    從青少年時期的作文副本、帶有實驗性質的手寫草稿,

  • or aborted novels and the novel she was writing in the year she died.

    或中途捨棄的小說,到她過世那年撰寫的小說。

  • Writers not only reveal themselves in their choice of materials, they also reveal themselves in the way they use their materials.

    作家不僅僅透過他們對於素材的選擇來顯露自我,亦從處理素材的方法來展現自己。

  • The first thing you notice when you look at one of Jane Austen's draft manuscripts in these tiny booklets,

    當你端詳這些小書冊裡珍・奧斯丁的手寫草稿時,你第一件會注意到的事,

  • is how densely she filled the writing surface.

    是她將整個書寫版面填得密密麻麻。

  • Right from the very start, she starts at the top, she leaves no margins on either side,

    她從最頂端開始寫,最上面的地方,每一側都沒有留邊界。

  • she leaves very little space between the lines - and she just writes forward continuously.

    她留了非常窄的行距,而且她不停流暢地寫著。

  • It's as though she already has a sense of what she wants to say

    就好似她對於自己要說什麼已經很有概念,

  • and that this is firmly in place before she begins to write.

    而且那些都在她開始寫之前已然成形。

  • If she does indeed need to go back and correct,

    倘若她真的需要回去修正,

  • she squeezes in the corrections in the very small interlinear space.

    她會將修訂內容擠在非常小的行距之間。

  • You can also see from Jane Austen's manuscripts, patterns of composition and development.

    你也能夠從珍・奧斯丁的手稿中看出她組織小說的架構與發展。

  • One of the things that you see time and time again, is that when she reaches a point

    有一件事你會一而再再而三地注意到,那便是當她寫到一定程度時,

  • where the characters are in conversation, her hand runs smoothly - often without a pause,

    通常都是角色間在對話的時候,她行文流暢,沒有一絲停頓,

  • often without a mistake, often without a slip or correction.

    往往也不會出任何差錯、缺漏或修正。

  • In other passages where she's setting up a scene or introducing a new character and having to describe him with some detail -

    在其他的段落中,例如當她在設定一個場景,或是用一些細節來介紹、描述一個新角色——

  • before he actually becomes animated by conversation - those are the passages she struggles with.

    在那個角色尚未能在與他人的對話中顯得栩栩如生時——那都是讓她苦思的段落。

  • But she does come through in the manuscripts as essentially and most confidently a conversational novelist.

    但她確實在手稿中顯露出她在本質上確信是一位受爭議的小說家。

  • She doesn't use paragraphs - or very very rarely.

    她不用段落來呈現故事——或者可以說,鮮少使用。

  • Her favourite punctuation mark is a dash.

    她最喜歡的標點符號是破折號。

  • She tends to avoid what we think of as correct, grammatical punctuation

    她傾向於避免使用我們認為正確、合乎文法的句讀

  • - so when she's not using a dash, she'll happily use a whole series of commas

    ——因此,當她不使用破折號時,她會樂於使用一連串的逗號,

  • and then eventually a full stop - usually followed by a dash.

    然後最終完全停止 ——通常緊接著一個破折號。

  • This rather sits at odds with what we're told about her as a polished stylist.

    這跟我們所知她是一位文字精練作家的評論相去甚遠。

  • It's also much closer to the way that we might use punctuation, especially in our e-mail culture.

    這也較接近於我們可能會使用標點符號的方式,特別在我們的電子郵件文化中。

We're here in the British Library, the home of several of Jane Austen's manuscripts.

我們現在在大英圖書館,即珍・奧斯丁數件遺稿的珍藏處。

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簡-奧斯汀的手稿 (Jane Austen's manuscripts)

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    April Lu 發佈於 2021 年 01 月 14 日
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