著名作家塞万提斯被海盗劫持的故事(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.”
复述不幸经历并不只是一种强迫症，也许它还能帮助创伤幸存者愈合创伤。在访谈中，奥斯维辛集中营幸存者、作家普里莫·莱维（Primo Levi）表示：“一有机会，我就会把自己的经历告诉每一个人、任何人，从工厂经理到院子里的杂工，无一例外......活像是《古舟子咏》(Ancient Mariner)中的古代水手一般。”加尔塞斯认为，“一次又一次地讲述悲惨经历可能有治疗效果；每重复一次，你就会改变其中一些东西，就像弗洛伊德说得那样。对塞万提斯的情况，我想，这样做能带给他的内省，也引发了他对疯狂背后的运作方式的兴趣。他的两部伟大作品都涉及疯子：《堂吉诃德》和《玻璃硕士》（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.”
也许正因为如此，才使《堂吉诃德》成为欧洲第一部真正意义上的现代小说。加尔塞斯在《塞万提斯在阿尔及尔》（Cervantes in Algiers）中写道，“我想，塞万提斯对疯狂问题的明显兴趣源自他身为被囚徒时所忍受的不确定情况，源自他从死亡威胁中的幸存经历。”他对疯狂的反思“使他成为心灵探索的先驱，比弗洛伊德还要早三百年。”
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.”
加尔塞斯指出，塞万提斯对囚禁生涯的关注可延伸到她所称的“囚禁比喻”，如堂吉诃德受精神错乱左右、或者《玻璃硕士》中精神错乱学者受疯狂行为所控制。通过作品中的人物，塞万提斯一次又一次地回到自己的囚徒岁月。加尔塞斯指出，“心理创伤是心灵中未被治愈的伤口，塞万提斯的作品似乎被创伤的重演所困扰，充斥着幸存者脑海中反复出现的幻象和梦魇。”
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.”
但是对塞万提斯而言，讲述自己的心理创伤的意义却超出了见证。西班牙文化史学者阿梅里科·卡斯特罗（Américo Castro）将塞万提斯的被囚经历称为“他心灵之旅最重要的先验性事件”；文学批评家胡安·包蒂斯塔（Juan Bautista Avalle-Arce）则称之为“影响塞万提斯一生的重大转折点”。西班牙诗人、小说家胡安·戈伊蒂索洛（Juan Goytisolo）认为，它是“伟大文学巨匠内心中的一个空洞、一个漩涡、一股旋风”。戈伊蒂索洛认为，在阿尔及尔的五年，是影响塞万提斯一生的体验：“在非洲的囚禁岁月，塞万提斯脑海中精心编织着对西班牙复杂而令人钦佩的想象，与他面对的敌手针锋相对。”
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.”
总之，可以说，被奴役的经历不仅拓展了塞万提斯的视野，也拓展了作家在小说的描写范畴。加尔塞斯认为，《堂吉诃德》标志着“一个新时代的诞生，它纳入了边缘化群体和不同的文化群体”。“其文学世界中的人物”包括了西班牙摩尔人（前穆斯林，后皈依或被强迫皈依基督教)、流浪汉（靠小聪明度日的家伙）和叛教徒等形形色色的人群。这可谓是奴役生涯对他产生的直接影响。“他在阿尔及尔牢狱中被囚禁的经历、他与穆斯林和叛教徒的个人关系、他在这个欢迎世界各地海盗的多元文化城市所接触到的不同文化和宗教，都使他能够以独特的视角观察这些问题。”
Fantasy figure
虚构人物
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.
加尔塞斯认为，塞万提斯的创伤体验“为他打开了一扇创作之门。”塞万提斯通过小说、戏剧和诗歌反复讲述的创伤经历进而又帮助加尔塞斯度过了自己最艰难的人生岁月。在大儿子去世后的一段时间，她在阿尔及尔撰写关于塞万提斯的著述。
“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《塞万提斯在阿尔及尔》的序言中，她这样写道，“在悲伤和恢复期间，我最重要的动力源泉就是关于塞万提斯的写作，这比任何人、任何事都重要，在阅读他的小说，写关于他的东西时，塞万提斯一直是我了不起的老师，也是我的灵魂医者，他帮我弥合了人生中的伤痕。
“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.”
他围绕心理创伤所创作的大量作品告诉我，化创伤为欢歌是可以做得到的......它揭示了这样一个令人无法同化的事实——这些带着痛苦呐喊的故事帮助我们表达出难以名状的现实。”
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.”
从这个角度而言，讲故事真的能拯救一个人。正如英国19 世纪湖畔派诗人柯勒律治在长诗《古舟子咏》中所吟诵的那样：“从此后这无比的痛苦/时时出现，将我折磨/我的心在剧痛中燃烧/直到我把这故事诉说。”
