Excerpt：《本雅明經典作品六種》

關於Walter Benjamin的閱讀記憶或許已經遙不可考。

試著從王涌的譯本先來複習一段關於波德萊爾的精彩短文。

https://www.books.com.tw/products/CN11861848
本雅明經典作品六種
作者：（德）瓦爾特·本雅明
譯者：王涌
出版社：廣西師範大學出版社
出版日期：2023/04/21

內容簡介
瓦爾特·本雅明的著作自20世紀陸續譯介到中文世界以來，產生了廣泛影響，是人文學科領域公認的重要作品。本書彙集本雅明六部經典作品于一冊，由王涌教授翻譯並作注，方便讀者閱讀與收藏。

《攝影小史》《機械複製時代的藝術作品》《愛德華·福克斯：收藏家和歷史學家》是本雅明關於藝術研究的三篇經典文章，堪稱對攝影、電影等現代媒介之批評實踐的豐碑式作品，為人們提供了啟發性視角。《發達資本主義時代的抒情詩人：論波德萊爾》是本雅明最有名的代表作之一，是他“拱廊街計劃”的一部分，從中可以讀到在19世紀資本主義發展過程中，人與自身異化所做的鬥爭。《1900年前後的柏林童年》是作家重審童年生活的散文集。在他的深入洞察和新奇視角下，童年獲得了新的闡釋，此作曾被西方評論家稱為“我們時代最優美的散文創作之一”。

本書同時收錄了兩個版本（基森版和最後稿），以便於讀者研究閱讀。《德意志人》是本雅明精心編選並作導語的書信集，收集了1783—1883年間27封德國人的書信，有的來自名人，有的來自普通市民階層，展現了19世紀德國人的思想變遷，而本雅明的點評則是一份對歷史文化信息的獨特解讀。

譯者介紹
 王湧，德國漢諾威大學日爾曼語言與文學碩士，法蘭克福大學藝術學博士，卡爾斯魯厄設計學院博士後。在德語國家留學、工作十年有餘。除國內外出版的有關專著外，翻譯並出版本雅明和尼采的著作多種。

【Excerpt】
〈波德萊爾與巴黎街道〉
(Baudelaire, or the Streets of Paris)

一切對我來說都成了意象。
Tout pour moi devient Allégorie.
——波德萊爾：《天鵝》(BAUDELAIRE, “Le cygne”

寓言是波德萊爾的天賦所在，憂鬱是這一天賦的滋養源泉。在波德萊爾那裡，巴黎第一次成為抒情詩的題材。他的詩不是家鄉頌歌，而是這位寓言者凝視巴黎城的目光，一位異化者的目光。那是閒逛者的凝視，這些人給正在到來的大城市人那種令人生厭的生活方式灑上一抹撫慰的光彩。閒逛者依然站在大城市和資產階級隊伍的門檻上。兩者都還沒有使他願意真正進入，兩者中不管哪一者都還不能讓他感到自在，他在人群中尋找自己的避難所。早期對人群的描述可以在恩格斯和坡的作品中找到。人群是一層面紗，透過這層面紗，熟悉的城市如同幽靈般向閒逛者招手。在這個幽靈的召喚中，城市時而變成一道景觀，時而變成房屋。二者都成為百貨商店建築的要素，而百貨商店也利用閒逛者來銷售其商品，它們是對閒逛的最後打擊。
Baudelaire’s genius, which is fed on melancholy, is an allegorical genius. In Baudelaire Paris becomes for the first time a subject of lyric poetry. This poetry is not regional art; rather, the gaze of the allegorist that falls on the city is estranged. It is the gaze of the flâneur, whose mode of life still surrounds the approaching desolation of city life with a propitiatory luster. The flâneur is still on the threshold, of the city as of the bourgeois class. Neither has yet engulfed him; in neither is he at home. He seeks refuge in the crowd. Early contributions to a physiognomic of the crowd are to be found in Engels and Poe. The crowd is the veil through which the familiar city lures the flâneur like a phantasmagoria. In it the city is now a landscape, now a room. Both, then, constitute the department store that puts even flânerie to use for commodity circulation. The department store is the flâneur’s last practical joke.

在閒逛中，知識分子走進了市場。他們表面上是隨便看看，但實際上是為了找到主顧。在這一中間狀態（一方面他們已有了贊助者，另一方面卻又開始自己熟悉市場運作），他們顯得像是波希米亞人。他們經濟地位的不穩定與他們政治功能的不確定是一致的。這一點在職業密謀家那裡得到了最鮮明的體現，而職業密謀家也絕對地屬於波希米亞人之列，他們最初的活動場所是軍隊，後來轉到了小資產階級中，偶爾也在無產者那裡進行活動。然而這些人在無產者自己的領導人身上看到的是他們的敵人。《共產黨宣言》結束了這些人的政治生命。波德萊爾的詩便從這群人的叛逆感情中汲取力量，他站在被社會所拋棄的人士一邊，他所過的性生活只發生在一個妓女那裡。
In the flâneur the intelligentsia pays a visit to the marketplace, ostensibly to look around, yet in reality to find a buyer. In this intermediate phase, in which it still has patrons but is already beginning to familiarize itself with the market, it appears as bohemianism. The uncertainty of its political function corresponds to the uncertainty of its economic position. This is most strikingly expressed in the professional conspirators, who are certainly a part of Bohemia. Their first field of activity is the army; later it becomes the petit bourgeoisie, occasionally the proletariat. Yet this stratum sees its opponents in the real leaders of the latter. The Communist Manifesto puts an end to their political existence. Baudelaire’s poetry draws its strength from the rebellious emotionalism of this group. He throws his lot in with the asocial. His only sexual communion is realized with a whore.

通向地獄的道路是容易的。
Facilis descensus Aventi
——維吉爾：《埃涅阿斯紀》(VIRGIL, Aeneid)

波德萊爾詩作的獨到之處在於：女人和死亡的圖像在第三個意象即巴黎的意象中相互交融了。他詩中的巴黎是一座沈陷的城市，與其說沈陷到地下，不如說已沈落到海底。這座城市的地獄神因素——它的地貌，塞納河那古老的被遺棄的河床——在波德萊爾那裡留下了印記。不過，對於波德萊爾來說，這座城市「充溢死氣的田園詩」中最關鍵的是某種社會性基質，一種現代基質。現代主義是他詩篇的主要重音。作為憂鬱者，他碾碎了理想（《憂鬱與理想》），但現代主義恰恰又不斷去援引史前史，出現這一情形的原因在於這個時代社會關係和社會事件所具有的那種曖昧。曖昧是辯證法的形象體現，是辯證法法則處於靜止狀態時出現的情形。這種靜止狀態便是烏托邦，而辯證意象因此也就是夢中的意象。商品清楚地將這樣的意象展示為膜拜，而拱廊街，不管是裡面的房屋還是星星，都展示了這樣的意象，這樣的意象也由集銷售員和商品於一身的妓女所提供。
What is unique in Baudelaire’s poetry is that the images of women and death are permeated by a third, that of Paris. The Paris of his poems is a submerged city, more submarine than subterranean. The chthonic elements of the city—its topographical formation, the old deserted bed of the Seine— doubtless left their impression on his work. Yet what is decisive in Baudelaire’s “deathly idyll” of the city is a social, modern substratum. Modernity is a main accent in his poetry. He shatters the ideal as spleen (Spleen et Idéal ). But it is precisely modernity that is always quoting primeval history. This happens here through the ambiguity attending the social relationships and products of this epoch. Ambiguity is the pictorial image of dialectics, the law of dialectics seen at a standstill. This standstill is Utopia and the dialectic image therefore a dream image. Such an image is presented by the pure commodity: as fetish. Such an image are the arcades, which are both house and stars. Such an image is the prostitute, who is saleswoman and wares in one.

發現我地盤的旅行。
Le voyage pour découvrir ma géographie
——《狂人日記》（巴黎，1907年）NOTE OF A MADMAN (PARIS 1907)

《惡之花》的最後一首詩《旅行》中有這樣的詩句：「噢，死亡，老船長，時間到了，讓我們拋錨吧。」閒逛者的最後旅行：死亡。他們的目標：新事物。「到前所未知的土地上去發現新東西。」新穎是獨立於商品使用價值之外的一種品質，它是獨特地顯現集體無意識意象的本源，它也是時尚不斷促成的錯誤意識的實質所在。就像一面鏡子反照在另一面鏡子裡一樣，這種新穎也反映在循環往復的幻覺中。這種反映的產物便是「文化史」幻覺，在這樣的文化史中，資產階級完全陶醉於他們的錯誤意識中，而開始懷疑其使命並停止「同功利不可分」 （波德萊爾）的藝術被迫把新穎當成了它的最高價值。在這樣的情況下，對新穎的真實見證便成了一種賣弄風雅。它對藝術的態度就像花花公子對時尚的態度一樣。

The last poem of the Flowers of Evil, “The Journey”: “Oh death, old captain, it is time, let us weigh anchor.” The last journey of the flâneur: death. Its destination: the new. “To the depths of the unknown, there to find something new.” Novelty is a quality independent of the intrinsic value of the commodity. It is the origin of the illusion inseverable from the images produced by the collective unconscious. It is the quintessence of false consciousness, whose indefatigable agent is fashion. The illusion of novelty is reflected, like one mirror in another, in the illusion of perpetual sameness. The product of this reflection is the phantasmagoria of “cultural history,” in which the bourgeoisie savors its false consciousness to the last. The art that begins to doubt its task and ceases to be “inseparable from utility” (Baudelaire) must make novelty its highest value. The snob becomes its arbiter novarum rerum. He is to art what the dandy is to fashion.

就像17世紀寓言是辯證意象的凖則一樣，到了19世紀新穎便成了辯證意象的准則。新穎的雜誌與報紙並駕齊驅，新聞界引領了一開始頗見興旺的精神價值市場。藝術上的不順應時勢者抗議這種藝術向市場的投降。他們聚集在「為藝術而藝術」的旗幟下。從這一口號中產生出了藝術品整體（Gesamtkunstwerk）的概念，這一概念試圖將藝術同技術的發展相脫離。這個藝術品整體為自己舉行的典禮與美化商品的所謂消遣是對應的，二者都是被從人的社會存在中抽象出來的。波德萊爾被瓦格納迷住了。
As in the seventeenth century the canon of dialectical imagery came to be allegory, in the nineteenth it is novelty. The magasins de nouveauté are joined by the newspapers. The press organizes the market in intellectual values, in which prices at first soar. Nonconformists rebel against the handing over of art to the market. They gather around the banner of “l’art pour l’art.” This slogan springs from the conception of the total artwork, which attempts to isolate art from the development of technology. The solemnity with which it is celebrated is the corollary to the frivolity that glorifies the commodity. Both abstract from the social existence of man. Baudelaire succumbs to the infatuation of Wagner.

[英譯參考資料]
Reflections : essays, aphorisms, autobiographical writings
Walter Benjamin (author), Peter Demetz (editor)
‎Schocken; First Edition (March 12, 1986)