著名作家塞萬提斯被海盜劫持的故事(下)
The retelling is not just a compulsion; itmight also help trauma survivors to heal. In an interview, the writer PrimoLevi, who survived the concentration camp at Auschwitz, said: “I told my storyto everyone and anyone, at the drop of a hat, from the plant manager to theyard-man... just like the Ancient Mariner”. According to Garcés, “Telling the story time and time again may havetherapeutic effects; each time you repeat, you change something, as Freudnoted. In the case of Cervantes, I think this led to introspection and to aninterest in the workings of madness. Two of his great works deal with madmen:Don Quixote and The Glass Graduate.”
複述不幸經歷並不只是一種強迫症，也許它還能幫助創傷倖存者癒合創傷。在訪談中，奧斯維辛集中營倖存者、作家普里莫·萊維（Primo Levi）表示：“一有機會，我就會把自己的經歷告訴每一個人、任何人，從工廠經理到院子裏的雜工，無一例外......活像是《古舟子詠》(Ancient Mariner)中的古代水手一般。”加爾塞斯認爲，“一次又一次地講述悲慘經歷可能有治療效果；每重複一次，你就會改變其中一些東西，就像弗洛伊德說得那樣。對塞萬提斯的情況，我想，這樣做能帶給他的內省，也引發了他對瘋狂背後的運作方式的興趣。他的兩部偉大作品都涉及瘋子：《堂吉訶德》和《玻璃碩士》（The Glass Graduate）。”
It could be this interest which marks outDon Quixote as the first truly modern European novel. “I would argue thatCervantes’s explicit interest in the question of madness emerges from theborderline situations he endured as a captive, from the encounter with deaththat transformed him into a survivor,”writes Garcés in Cervantesin Algiers. His reflection on madness “converts him into apioneer in the exploration of the psyche three centuries before Freud.”
也許正因爲如此，才使《堂吉訶德》成爲歐洲第一部真正意義上的現代小說。加爾塞斯在《塞萬提斯在阿爾及爾》（Cervantes in Algiers）中寫道，“我想，塞萬提斯對瘋狂問題的明顯興趣源自他身爲被囚徒時所忍受的不確定情況，源自他從死亡威脅中的倖存經歷。”他對瘋狂的反思“使他成爲心靈探索的先驅，比弗洛伊德還要早三百年。”
Garcés points out that the writer’s focuson captivity extends to what she calls “figurative incarcerations” such as thedelirium that imprisons Don Quixote, or the madness that captures the derangedscholar Vidriera. Cervantes returned again and again to his time as a slavethrough his characters. “Trauma is a wound in the psyche that has not beenprocessed,” says Garcés. “Cervantes’s works seem haunted by the re-enactmentsof trauma, possessed by the continual images and dreams that assault thesurvivor.”
加爾塞斯指出，塞萬提斯對囚禁生涯的關注可延伸到她所稱的“囚禁比喻”，如堂吉訶德受精神錯亂左右、或者《玻璃碩士》中精神錯亂學者受瘋狂行爲所控制。通過作品中的人物，塞萬提斯一次又一次地回到自己的囚徒歲月。加爾塞斯指出，“心理創傷是心靈中未被治癒的傷口，塞萬提斯的作品似乎被創傷的重演所困擾，充斥着倖存者腦海中反覆出現的幻象和夢魘。”
Yet for Cervantes, telling the story of histrauma went beyond testimony. Spanish cultural historian Américo Castrodescribed the author’s captivity as “the most transcendental event in hisspiritual career”; for critic Juan Bautista Avalle-Arce, it is “the hinge whichforcefully organises the entire life of Cervantes”. According to Spanish poetand novelist Juan Goytisolo, it was “that void – hole, vortex, whirlwind – inthe central nucleus of the great literary invention”. The five years inAlgiers, says Goytisolo, was a life-changing experience: “Cervanteselaborated his complex and admirable vision of Spain during his imprisonment inAfrican territories, in opposition to the rival model against which he clashed.”
但是對塞萬提斯而言，講述自己的心理創傷的意義卻超出了見證。西班牙文化史學者阿梅里科·卡斯特羅（Américo Castro）將塞萬提斯的被囚經歷稱爲“他心靈之旅最重要的先驗性事件”；文學批評家胡安·包蒂斯塔（Juan Bautista Avalle-Arce）則稱之爲“影響塞萬提斯一生的重大轉折點”。西班牙詩人、小說家胡安·戈伊蒂索洛（Juan Goytisolo）認爲，它是“偉大文學巨匠內心中的一個空洞、一個漩渦、一股旋風”。戈伊蒂索洛認爲，在阿爾及爾的五年，是影響塞萬提斯一生的體驗：“在非洲的囚禁歲月，塞萬提斯腦海中精心編織着對西班牙複雜而令人欽佩的想象，與他面對的敵手針鋒相對。”
Arguably, the writer’s enslavement not onlybroadened his vision – it broadened the scope of the novel in general. ForGarcés, Don Quixote signals “the birth of a new era through its incorporationof marginal and culturally ambiguous groups”. They include the Moriscos (formerMuslims who converted or were coerced into converting to Christianity), pícaros(rogues who live by their wits), and renegades “that people its literaryuniverse”. This was a direct result of his enslavement. “His experience as acaptive in the bagnios [slave-houses] of Algiers, his personal relations withMuslims and renegades, his encounter with different cultures and religions inthis multicultural city that welcomed corsairs from every part of the worldoffered him the possibility of examining these issues from a unique perspective.”
總之，可以說，被奴役的經歷不僅拓展了塞萬提斯的視野，也拓展了作家在小說的描寫範疇。加爾塞斯認爲，《堂吉訶德》標誌着“一個新時代的誕生，它納入了邊緣化羣體和不同的文化羣體”。“其文學世界中的人物”包括了西班牙摩爾人（前穆斯林，後皈依或被強迫皈依基督教)、流浪漢（靠小聰明度日的傢伙）和叛教徒等形形色色的人羣。這可謂是奴役生涯對他產生的直接影響。“他在阿爾及爾牢獄中被囚禁的經歷、他與穆斯林和叛教徒的個人關係、他在這個歡迎世界各地海盜的多元文化城市所接觸到的不同文化和宗教，都使他能夠以獨特的視角觀察這些問題。”
Fantasy figure
虛構人物
Garcés believes that Cervantes’ traumaticexperience “opened the door of creation for him”. And in turn, the traumaCervantes retold through his novels, plays and poetry helped Garcés through themost difficult time of her life. She wrote Cervantes in Algiers in the periodfollowing the death of her eldest son.
加爾塞斯認爲，塞萬提斯的創傷體驗“爲他打開了一扇創作之門。”塞萬提斯通過小說、戲劇和詩歌反覆講述的創傷經歷進而又幫助加爾塞斯度過了自己最艱難的人生歲月。在大兒子去世後的一段時間，她在阿爾及爾撰寫關於塞萬提斯的著述。
“The most important resource in this process of grieving and recovery…has been my writing on Cervantes,” she writes in the preface to Cervantes inAlgiers. “More than anyone or anything else, Cervantes has been the greatteacher, the healer who has helped me to reattach ‘el roto hilode mi historia’[the broken thread of my life] as I read, and wrote about, hisfictions.
在《塞萬提斯在阿爾及爾》的序言中，她這樣寫道，“在悲傷和恢復期間，我最重要的動力源泉就是關於塞萬提斯的寫作，這比任何人、任何事都重要，在閱讀他的小說，寫關於他的東西時，塞萬提斯一直是我了不起的老師，也是我的靈魂醫者，他幫我彌合了人生中的傷痕。
“The remarkable fertility of his creations that swirl around thevortex of trauma has shown me that it is possible to turn trauma into song…Revealing a truth impossible to assimilate, these are the stories of a woundthat cries out, that addresses us in an attempt to express an indescribablereality.”
他圍繞心理創傷所創作的大量作品告訴我，化創傷爲歡歌是可以做得到的......它揭示了這樣一個令人無法同化的事實——這些帶着痛苦吶喊的故事幫助我們表達出難以名狀的現實。”
Viewed in this way, telling a story cantruly save a life. In the words of Coleridge’s ancient mariner: “Since then,at an uncertain hour/That agony returns;/And till my ghastly tale is told/Thisheart within me burns.”
從這個角度而言，講故事真的能拯救一個人。正如英國19 世紀湖畔派詩人柯勒律治在長詩《古舟子詠》中所吟誦的那樣：“從此後這無比的痛苦/時時出現，將我折磨/我的心在劇痛中燃燒/直到我把這故事訴說。”
