《忏悔录·卷四·游历：里昂、巴黎与假身份》第12节
Quel caprice! Quelle injustice! Quoi! ta Clarice Trahirait tes feux! &'c. Venture had taught me this air with the bass, set to other words, by the help of which I had retained it: thus at the end of my composition, I put this minuet and bass, suppressing the words, and uttering it for my own as confidently as if I had been speaking to the inhabitants of the moon. They assembled to perform my piece; I explain to each the movement, taste of execution, and references to his part--I was fully occupied. They were five or six minutes preparing, which were for me so many ages: at length, everything is adjusted, myself in a conspicuous situation, a fine roll of paper in my hand, gravely preparing to beat time. I gave four or five strokes with my paper, attending with "take care!" they begin--No, never since French operas existed was there such a confused discord! The minuet, however, presently put all the company in good humor; hardly was it begun, before I heard bursts of laughter from all parts, every one congratulated me on my pretty taste for music, declaring this minuet would make me spoken of, and that I merited the loudest praise. It is not necessary to describe my uneasiness, or to own how much I deserved it. Next day, one of the musicians, named Lutold, came to see me and was kind enough to congratulate me on my success. The profound conviction of my folly, shame, regret, and the state of despair to which I was reduced, with the impossibility of concealing the cruel agitation of my heart, made me open it to him; giving, therefore, a loose to my tears, not content with owning my ignorance, I told all, conjuring him to secrecy; he kept his word, as every one will suppose. The same evening, all Lausanne knew who I was, but what is remarkable, no one seemed to know, not even the good Perrotet, who (notwithstanding what had happened) continued to lodge and board me. I led a melancholy life here; the consequences of such an essay had not rendered Lausanne a very agreeable residence. Scholars did not present themselves in crowds, not a single female, and not a person of the city. I had only two or three great dunces, as stupid as I was ignorant, who fatigued me to death, and in my hands were not likely to edify much. At length, I was sent for to a house, where a little serpent of a girl amused herself by showing me a parcel of music that I could not read a note of, and which she had the malice to sing before her master, to teach him how it should be executed; for I was so unable to read an air at first sight, that in the charming concert I have just described, I could not possibly follow the execution a moment, or know whether they played truly what lay before them, and I myself had composed.
注释摘要
这一节是卢梭整个假冒音乐教师故事的高潮，也是最具喜剧性的自曝场面。他此时大约二十岁，刚来到洛桑，身无分文，却决定模仿他崇拜的流浪乐师旺蒂尔，化名“沃索尔·德·维尔纳夫”，自称来自巴黎的音乐教师。这个化名本身就是一种自我投射：“鲁索”变位成“沃索尔”，再用旺蒂尔的姓氏“德·维尔纳夫”给自己镶上一点贵族气，仿佛名字一改，命运也会随之更改。他完全不懂作曲，却接受…