【Paintings in Proust】Supper, Léon Bakst, 1902 (p.208)

很難想像普魯斯特如此接近同樣是傳奇人物的畢卡索、尼金斯基、史特拉文斯基，甚至是詹姆斯‧喬伊斯等人，而會把當時俄羅斯芭蕾舞的這些人物寫進小說的想法又是什麼？
從 Richard Davenport-Hines 所寫的《巴黎 1922，普魯斯特》——普魯斯特生命中的最後一個夏天在富麗酒店的那一場晚宴——或許可以找到答案？
http://www.books.com.tw/products/0010420627

【TEXT】
When, with the prodigious flowering of the Russian Ballet, revealing one after another Bakst, Nijinsky, Benois and the genius of Stravinsky, Princess Yourbeletieff, the youthful sponsor of all these new great men, appeared wearing on her head an immense, quivering aigrette that was new to the women of Paris and that they all sought to copy, it was widely supposed that this marvellous creature had been imported in their copious luggage and as their most priceless treasure, by the Russian dancers…(Sodom and Gomorrah)
當俄羅斯芭蕾舞轟動至極，蔚為奇觀，巴克斯特、尼仁斯基、伯努瓦和斯特拉文斯基相繼亮相之時，所有這些偉人的女護主尤貝爾季也夫親王夫人露了面，頭上戴著一頂碩大的羽飾帽，晃晃蕩蕩，巴黎的女子從未見過這種帽子，競相效仿，看她那樣子，人們都以為這一絕代美女像是俄羅斯舞蹈家們的稀世珍寶，隨其不計其數的行裝一起運來的...
(p.155 追憶似水年華 IV索多姆和戈摩爾 聯經版 1992)