2011年3月14日 星期一

Chaucer:《坎特伯里故事集 》; Troilus and Cressida; wretchedness, solas

的確,對那些充耳不聞的人說教,徒令自己受人討厭。
──傑弗里·喬叟(Chaucer)《坎特伯里故事集˙梅里白(Melibeus)的故事》
你那無價值的講演,令我雙耳疼痛。
──傑弗里·喬叟(Chaucer)《坎特伯里故事集˙梅里白(Melibeus)的故事》開場白




「有一位法學家,是一個傑出的人物,審慎又聰明,經常參加有關法學的討論。他很賢明,能博得眾人的推崇……談吐精闢允當,當過巡迴法庭的審判官,受到皇家的委任,特准裁判所有性質不同的案件。由於他的學識和名望,領受許多酬勞和衣物。自從威廉一世以來,每一件官司的判例他都記得清清楚楚,每一條法令他都能逐字背誦。他所寫下的字據,誰也無法提出責難。他的才能極為高超,一份產業不管它附有何種條件,他總能使它取得絕對的權益,他的契據上,誰也找不出任何漏洞,再也沒有比他更忙碌的人了。」------喬叟·《坎特伯利故事集》

*****

solace, solas, duet, wretchedness

從影響研究到中國文學(論文集):施友忠教授九十壽慶論文集(1992)
作者:陳鵬翔,張靜二,施友忠
從影響研究到中國文學(論文集): - Google 圖書結果
solas 翻譯成 "娛樂的實質氣氛"?



solas
n.Solace. [Obs.] Chaucer.


solace
(sŏl'ĭs) pronunciation
n.
  1. Comfort in sorrow, misfortune, or distress; consolation.
  2. A source of comfort or consolation.
tr.v., -aced, -ac·ing, -ac·es.
  1. To comfort, cheer, or console, as in trouble or sorrow. See synonyms at comfort.
  2. To allay or assuage: "They solaced their wretchedness, however, by duets after supper" (Jane Austen).

Pride and prejudice - Google 圖書結果

Jane Austen - 1954 - Fiction - 160 頁
Bingley was quite uncomfortable; his sisters declared that they were miserable. They solaced their wretchedness, however, by duets after supper ...
[Middle English solas, from Old French, from Latin sōlācium, from sōlārī, to console.]
solacer sol'ac·er n.
duet
[名]1 《音楽》二重唱(曲), 二重奏(曲).2 ((比喩))対話.du・et・tist[名]二重唱[奏]者.
duettist
[名]二重唱[奏]者.


((形式))[名]
1 [U](悲しみ・不運などに対する)慰め((for ...))
find [take (one's)] solace in reading
読書に慰めを見いだす.
2 ((a 〜))(人にとって)慰めとなるもの((to ...)).
━━[動](他)…を(…で)慰める, 〈悲しみ・苦痛を〉和らげる((with ...))
solace one's grief with drink
酒で悲しみを紛らす.
━━(自)慰めを得る, 慰めとなる.


wretchedness
n.
1. The quality or state of being wretched; utter misery. Sir W. Raleigh.
2. A wretched object; anything despicably. [Obs.]
Eat worms and such wretchedness.
Chaucer.

7. Title Page: Troilus and Criseyde

Medium:Wood Engraving
Date of Work:1929
Edition Size:400
Dimensions(inches HxW)7.21" x 4.48"
From Eric Gills Book of Engravings, published by Douglas Cleverdon, 1929.
Price:£150
Price inclusive of frame, VAT & UK shipping

97. Title Page: Troilus and Criseyde

杰弗里喬叟特洛勒斯與克麗西德》(Troilus and Cressida吳芬譯,北京:中國對外翻譯出版公司,1999。其中的「譯者序」:「……方重先生於50年代將喬叟的絕大多數作品以散文體翻成中文……」(p. XII)。
「時代錯置」(anachronism)這主題相當有趣,可參考錢鍾書《管錐篇(四)》有精彩事例說明(台北:書林版,pp. 1299-1305
在文學術語上有人給詩人想像力更大的空間,可以有某種時空上的自由應用,稱為「詩的破格」(poetic license)。譬如說,杰弗里喬叟特洛勒斯與克麗西德的「年代誤植」,可以被諒解。此行中的『上帝』即是年代誤植的一例,基督教的出現比特洛亞戰爭晚了一千餘年。((吳芬譯,北京:中國對外翻譯出版公司,1999p. 47))」【順便記下一位翻譯者:「……方重先生於50年代將喬叟的絕大多數作品以散文體翻成中文……」(「譯者序」。p. XII)】


Troilus and Criseyde (Tr)及其他

最末處作者還抱怨抄書人的錯誤給他帶來許多麻煩......

Novel applications of the techniques of evolutionary biology

In the days before printing, manuscripts were copied by scribes, who introduced changes - either deliberately or accidentally. For a long time, scholars have used the distribution of variations among different extant versions of a text to determine which were copied from the same earlier version and produce a stemma (plural: stemmata), a tree showing these relationships. This is known as stemmatic analysis, and was pioneered by the German scholar Karl Lachmann in the 19th century.


The scribe Jean Mielot (from 'Scribes and Illuminators' C de Hamel, British Museum Press).
The scribe Jean Mielot (from 'Scribes and Illuminators', C. de Hamel, British Museum Press).

2011年3月7日 星期一

The Last Word by Matthew Arnold

園文存》(臺北:雲天圖書公司, 1970 年) 有妙譯


The Last Word

Matthew Arnold
(1822-1888)


Creep into thy narrow bed,
Creep, and let no more be said!
Vain thy onset! all stands fast.
Thou thyself must break at last.

Let the long contention cease!
Geese are swans, and swans are geese.
Let them have it how they will!
Thou art tired: best be still.

They out-talked thee, hissed thee, tore thee?
Better men fared thus before thee;
Fired their ringing shot and passed,
Hotly charged - and sank at last.

Charge once more, then, and be dumb!
Let the victors, when they come,
When the forts of folly fall,
Find thy body by the wall!

2011年3月1日 星期二

St Simeon Stylites by Lord Alfred Tennyson

胡適在與楊聯陞談論楊先生的關於"自搏和自撲" 的論文時
指出英國詩人丁尼生Tennyson 的作品 Saint Simoen Stylites有描述中古"聖徒"這方面的描述 (他推薦楊讀該詩)
並 定義他的中國宗教 (Sinitic Religion): Religious Taoism was originally a consolidated form of the native beliefs and practices. " 許多原帶地域性的信仰與儀式的結合"

St Simeon Stylites by Lord Alfred Tennyson (1809-92)

St Simeon Stylites


First published in 1842, reprinted in all the subsequent editions of the poems but with no alterations in the text, except that in eighth line from the end "my" was substituted for "mine" in 1846. Tennyson informed a friend that it was not from the 'Acta Sanctorum', but from Hone's 'Every-Day Book', vol. i., pp. 35-36, that he got the material for this poem, and a comparison with the narrative in Hone and the poem seems to show that this was the case.

It is not easy to identify the St. Simeon Stylites of Hone's narrative and Tennyson's poem, whether he is to be identified with St. Simeon the Elder, of whom there are three memoirs given in the 'Acta Sanctorum', tom. i., 5th January, 261-286, or with St. Simeon Stylites, Junior, of whom there is an elaborate biography in Greek by Nicephorus printed with a Latin translation and notes in the 'Acta Sanctorum', tom. v., 24th May, 298-401. It seems clear that whoever compiled the account popularised by Hone had read both and amalgamated them. The main lines in the story of both saints are exactly the same. Both stood on columns, both tortured themselves in the same ways, both wrought miracles, and both died at their posts of penance. St. Simeon the Elder was born at Sisan in Syria about A.D. 390, and was buried at Antioch in A.D. 459 or 460. The Simeon the Younger was born at Antioch A. D. 521 and died in A.D. 592. His life, which is of singular interest, is much more elaborately related.

This poem is not simply a dramatic study. It bears very directly on Tennyson's philosophy of life. In these early poems he has given us four studies in the morbid anatomy of character: 'The Palace of Art', which illustrates the abuse of aesthetic and intellectual enjoyment of self; 'The Vision of Sin', which illustrates the effects of similar indulgence in the grosser pleasures of the senses; 'The Two Voices', which illustrates the mischief of despondent self-absorption, while the present poem illustrates the equally pernicious indulgence in an opposite extreme, asceticism affected for the mere gratification of personal vanity.


Altho' I be the basest of mankind,
From scalp to sole one slough and crust of sin,
Unfit for earth, unfit for heaven, scarce meet
For troops of devils, mad with blasphemy,
I will not cease to grasp the hope I hold
Of saintdom, and to clamour, morn and sob,
Battering the gates of heaven with storms of prayer,
Have mercy, Lord, and take away my sin.
Let this avail, just, dreadful, mighty God,
This not be all in vain that thrice ten years,
Thrice multiplied by superhuman pangs,
In hungers and in thirsts, fevers and cold,
In coughs, aches, stitches, ulcerous throes and cramps,
A sign betwixt the meadow and the cloud,
Patient on this tall pillar I have borne
Rain, wind, frost, heat, hail, damp, and sleet, and snow;
And I had hoped that ere this period closed
Thou wouldst have caught me up into Thy rest,
Denying not these weather-beaten limbs
The meed of saints, the white robe and the palm.
O take the meaning, Lord: I do not breathe,
Not whisper, any murmur of complaint.
Pain heap'd ten-hundred-fold to this, were still
Less burthen, by ten-hundred-fold, to bear,
Than were those lead-like tons of sin, that crush'd
My spirit flat before thee. O Lord, Lord,
Thou knowest I bore this better at the first,
For I was strong and hale of body then;
And tho' my teeth, which now are dropt away,
Would chatter with the cold, and all my beard
Was tagg'd with icy fringes in the moon,
I drown'd the whoopings of the owl with sound
Of pious hymns and psalms, and sometimes saw
An angel stand and watch me, as I sang.
Now am I feeble grown; my end draws nigh;
I hope my end draws nigh: half deaf I am,
So that I scarce can hear the people hum
About the column's base, and almost blind,
And scarce can recognise the fields I know;
And both my thighs are rotted with the dew;
Yet cease I not to clamour and to cry,
While my stiff spine can hold my weary head,
Till all my limbs drop piecemeal from the stone,
Have mercy, mercy: take away my sin.
O Jesus, if thou wilt not save my soul,
Who may be saved? who is it may be saved?
Who may be made a saint, if I fail here?
Show me the man hath suffered more than I.
For did not all thy martyrs die one death?
For either they were stoned, or crucified,
Or burn'd in fire, or boil'd in oil, or sawn
In twain beneath the ribs; but I die here
To-day, and whole years long, a life of death.
Bear witness, if I could have found a way
(And heedfully I sifted all my thought)
More slowly-painful to subdue this home
Of sin, my flesh, which I despise and hate,
I had not stinted practice, O my God.
For not alone this pillar-punishment, [1]
Not this alone I bore: but while I lived
In the white convent down the valley there,
For many weeks about my loins I wore
The rope that haled the buckets from the well,
Twisted as tight as I could knot the noose;
And spake not of it to a single soul,
Until the ulcer, eating thro' my skin,
Betray'd my secret penance, so that all
My brethren marvell'd greatly. More than this
I bore, whereof, O God, thou knowest all.[2]
Three winters, that my soul might grow to thee,
I lived up there on yonder mountain side.
My right leg chain'd into the crag, I lay
Pent in a roofless close of ragged stones;
Inswathed sometimes in wandering mist, and twice
Black'd with thy branding thunder, and sometimes
Sucking the damps for drink, and eating not,
Except the spare chance-gift of those that came
To touch my body and be heal'd, and live:
And they say then that I work'd miracles,
Whereof my fame is loud amongst mankind,
Cured lameness, palsies, cancers. Thou, O God,
Knowest alone whether this was or no.
Have mercy, mercy; cover all my sin.

Then, that I might be more alone with thee, [3]
Three years I lived upon a pillar, high
Six cubits, and three years on one of twelve;
And twice three years I crouch'd on one that rose
Twenty by measure; last of all, I grew
Twice ten long weary weary years to this,
That numbers forty cubits from the soil.
I think that I have borne as much as this--
Or else I dream--and for so long a time,
If I may measure time by yon slow light,
And this high dial, which my sorrow crowns--
So much--even so. And yet I know not well,
For that the evil ones comes here, and say,
"Fall down, O Simeon: thou hast suffer'd long
For ages and for ages!" then they prate
Of penances I cannot have gone thro',
Perplexing me with lies; and oft I fall,
Maybe for months, in such blind lethargies,
That Heaven, and Earth, and Time are choked. But yet
Bethink thee, Lord, while thou and all the saints
Enjoy themselves in Heaven, and men on earth
House in the shade of comfortable roofs,
Sit with their wives by fires, eat wholesome food,
And wear warm clothes, and even beasts have stalls,
I, 'tween the spring and downfall of the light,
Bow down one thousand and two hundred times,
To Christ, the Virgin Mother, and the Saints;
Or in the night, after a little sleep,
I wake: the chill stars sparkle; I am wet
With drenching dews, or stiff with crackling frost.
I wear an undress'd goatskin on my back;
A grazing iron collar grinds my neck;
And in my weak, lean arms I lift the cross,
And strive and wrestle with thee till I die:
O mercy, mercy! wash away my sin.
O Lord, thou knowest what a man I am;
A sinful man, conceived and born in sin:
'Tis their own doing; this is none of mine;
Lay it not to me. Am I to blame for this,
That here come those that worship me? Ha! ha!
They think that I am somewhat. What am I?
The silly people take me for a saint,
And bring me offerings of fruit and flowers:
And I, in truth (thou wilt bear witness here)
Have all in all endured as much, and more
Than many just and holy men, whose names
Are register'd and calendar'd for saints.
Good people, you do ill to kneel to me.
What is it I can have done to merit this?
I am a sinner viler than you all.
It may be I have wrought some miracles, [4]
And cured some halt and maim'd; but what of that?
It may be, no one, even among the saints,
May match his pains with mine; but what of that?
Yet do not rise: for you may look on me,
And in your looking you may kneel to God.
Speak! is there any of you halt or maim'd?
I think you know I have some power with Heaven
From my long penance: let him speak his wish.
Yes, I can heal. Power goes forth from me.
They say that they are heal'd. Ah, hark! they shout
"St. Simeon Stylites". Why, if so,
God reaps a harvest in me. O my soul,
God reaps a harvest in thee. If this be,
Can I work miracles and not be saved?
This is not told of any. They were saints.
It cannot be but that I shall be saved;
Yea, crown'd a saint. They shout, "Behold a saint!"
And lower voices saint me from above.
Courage, St. Simeon! This dull chrysalis
Cracks into shining wings, and hope ere death
Spreads more and more and more, that God hath now
Sponged and made blank of crimeful record all
My mortal archives. O my sons, my sons,
I, Simeon of the pillar, by surname Stylites, among men;
I, Simeon, The watcher on the column till the end;
I, Simeon, whose brain the sunshine bakes;
I, whose bald brows in silent hours become
Unnaturally hoar with rime, do now
From my high nest of penance here proclaim
That Pontius and Iscariot by my side
Show'd like fair seraphs. On the coals I lay,
A vessel full of sin: all hell beneath
Made me boil over. Devils pluck'd my sleeve; [5]
Abaddon and Asmodeus caught at me.
I smote them with the cross; they swarm'd again.
In bed like monstrous apes they crush'd my chest:
They flapp'd my light out as I read: I saw
Their faces grow between me and my book:
With colt-like whinny and with hoggish whine
They burst my prayer. Yet this way was left,
And by this way I'scaped them. Mortify
Your flesh, like me, with scourges and with thorns;
Smite, shrink not, spare not. If it may be, fast
Whole Lents, and pray. I hardly, with slow steps,
With slow, faint steps, and much exceeding pain,
Have scrambled past those pits of fire, that still
Sing in mine ears. But yield not me the praise:
God only thro' his bounty hath thought fit,
Among the powers and princes of this world,
To make me an example to mankind,
Which few can reach to. Yet I do not say
But that a time may come--yea, even now,
Now, now, his footsteps smite the threshold stairs
Of life--I say, that time is at the doors
When you may worship me without reproach;
For I will leave my relics in your land,
And you may carve a shrine about my dust,
And burn a fragrant lamp before my bones,
When I am gather'd to the glorious saints.
While I spake then, a sting of shrewdest pain
Ran shrivelling thro' me, and a cloudlike change,
In passing, with a grosser film made thick
These heavy, horny eyes. The end! the end!
Surely the end! What's here? a shape, a shade,
A flash of light. Is that the angel there
That holds a crown? Come, blessed brother, come,
I know thy glittering face. I waited long;
My brows are ready. What! deny it now?
Nay, draw, draw, draw nigh. So I clutch it. Christ!
'Tis gone: 'tis here again; the crown! the crown! [6]
So now 'tis fitted on and grows to me,
And from it melt the dews of Paradise,
Sweet! sweet! spikenard, and balm, and frankincense.
Ah! let me not be fool'd, sweet saints: I trust
That I am whole, and clean, and meet for Heaven.
Speak, if there be a priest, a man of God,
Among you there, and let him presently
Approach, and lean a ladder on the shaft,
And climbing up into my airy home,
Deliver me the blessed sacrament;
For by the warning of the Holy Ghost,
I prophesy that I shall die to-night,
A quarter before twelve. [7] But thou, O Lord,
Aid all this foolish people; let them take
Example, pattern: lead them to thy light.

[Footnote 1: For this incident 'cf. Acta', v., 317:

"Petit aliquando ab aliquo ad se invisente funem, acceptumque circa corpus convolvit constringitque tarn arete ut, exesâ carne, quæ istuc mollis admodum ac tenera est, nudæ costæ exstarent".

The same is told also of the younger Stylites, where the incident of concealing the torture is added, 'Acta', i., 265.]

[Footnote 2: For this retirement to a mountain see 'Acta', i., 270, and it is referred to in the other lives:

"Post hæc egressus occulte perrexit in montem non longe a monasterio, ibique sibi clausulam de siccâ petrâ fecit, et stetit sic annos tres."]

[Footnote 3: In accurate accordance with the third life, 'Acta', i., 277:

"Primum quidem columna ad sex erecta cubitos est, deinde ad duodecim, post ad vigenti extensa est";

but for the thirty-six cubits which is assigned as the height of the last column Tennyson's authority, drawing on another account ('Id'., 271), substitutes forty:

"Fecerunt illi columnam habentem cubitos quadraginta".]

[Footnote 4: For the miracles wrought by him see all the lives.]

[Footnote 5: These details seem taken from the well-known stories about Luther and Bunyan. All that the 'Acta' say about St. Simeon is that he was pestered by devils.]

[Footnote 6: The 'Acta' say nothing about the crown, but dwell on the supernatural fragrance which exhaled from the saint.]

[Footnote 7: Tennyson has given a very poor substitute for the beautifully pathetic account given of the death of St. Simeon in 'Acta', i., 168, and again in the ninth chapter of the second Life, 'Ibid'., 273. But this is to be explained perhaps by the moral purpose of the poem.]

2011年2月25日 星期五

Jefferies, Richard, 1848-1887

理查德.杰弗里斯
燕子歸時 天津:百花文藝 2003 倪慶(金+氣)

燕子归时
, 百花文艺,

百花文艺出版社出版的:史蒂文生游记选。翻译倪庆汽(最后一个字电脑里找不到)


Bevis: the Story of a Boy (London: Sampson Low, Marston, Searle, & Rivington, 1882)


Jefferies, Richard, 1848-1887

2011年2月18日 星期五

莠子/狐狸

iss Bankhead / The Little Tares/The Little Foxes

1940/2/5 去看戲 THE LITTLE TARES 查不到
(tare
[名]
1 ソラマメ属の総称;その種子.
2 ((〜s))《聖書》有毒な雑草, ドクムギ;((比喩))害毒〈マタイ書13:25〉.)

但在人睡覺的時候,他的仇人來,在麥子中間撒上莠子,就走了。




主角Miss Bankhead 很有名 可以一查


(băngk'hĕd') pronunciation, Tallulah Brockman 1903-1968.

American actress noted for her wit, glamour, and performances in plays, such as The Little Foxes (1939), and motion pictures, including Lifeboat (1943).

The Little Foxes is a 1939 play by Lillian Hellman. Its title comes from Chapter 2, Verse 15 in the Song of Solomon in the King James version of the Bible, which reads, "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes."
請你們為我捕捉狐狸,捕捉毀壞葡萄園的小狐狸,我們的葡萄園正在開花啊!

2011年2月14日 星期一

Henry James's Review on Our Mutual Friend

韋勒克.R. Wellek 近代文學批評史 第四卷 (868頁)

第10 章 亨利 詹姆斯 ( pp. 291-323) Our Mutual Friend 是"奇異怪誕的怪物充斥其中 /無理歪曲/ 他們毫無人性可言" (p.302)

----

Edmund Wilson famously compared James's objectivity to Shakespeare's: One would be in a position to appreciate James better if one compared him with the dramatists of the seventeenth century—Racine and Molière, whom he resembles in form as well as in point of view, and even Shakespeare, when allowances are made for the most extreme differences in subject and form. These poets are not, like Dickens and Hardy, writers of melodrama—either humorous or pessimistic, nor secretaries of society like Balzac, nor prophets like Tolstoy: they are occupied simply with the presentation of conflicts of moral character, which they do not concern themselves about softening or averting. They do not indict society for these situations: they regard them as universal and inevitable. They do not even blame God for allowing them: they accept them as the conditions of life.[27]William Dean Howells saw James as a representative of a new realist school of literary art which broke with the English romantic tradition epitomized by the works of Charles Dickens and William Makepeace Thackeray. Howells wrote that realism found "its chief exemplar in Mr. James... A novelist he is not, after the old fashion, or after any fashion but his own."[44]
***

Henry James's Review on Our Mutual Friend The Nation (New York) 21 December 1865

Our Mutual Friend is, to our perception, the poorest of Mr Dickens's works. And it is poor with the poverty not of momentary embarrassment, but of permanent exhaustion. It is wanting in inspiration. For the last ten years it has seemed to us that Mr Dickens has been. unmistakably forcing himself Bleak House was forced; Little Dorrit was labored; the present work is dug out as with a spade and pickaxe.

Of course -- to anticipate the usual argument -- who but Dickens could have written it? Who, indeed? Who else would have established a lady in business in a novel on the admirably solid basis of her always putting on gloves and tieing a handkerchief round her head in moments of grief, and of her habitually addressing her family with 'Peace! hold!' It is needless to say that Mrs Reginald Wilfer is first and last the occasion of considerable true humor. When, after conducting her daughter to Mrs Boffin's carriage, in sight of all the envious neighbors, she is described as enjoying her triumph during the next quarter of an hour by airing herself on the door-step 'in a kind of splendidly serene trance,' we laugh with as uncritical a laugh as could be desired of us. We pay the same tribute to her assertions, as she narrates the glories of the society she enjoyed at her father's table, that she has known as many as three copper-plate engravers exchanging the most exquisite Sallies and retorts there at one time. But when to these we have added a dozen more happy examples of the humor which was exhaled from every line of Mr Dickens's earlier writings, we shall have closed the list of the merits of the work before us. To say that the conduct of the story, with all its complications, betrays a long-practised hand, is to pay no compliment worthy the author.

If this were, indeed, a compliment, we should be inclined to carry it further, and congratulate him on his success in what we should call the manufacture of fiction; for in so doing we should express a feeling that has attended us throughout the book. Seldom, we reflected, had we read a book so intensely written, so little seen, known, or felt.

In all Mr Dickens's works the fantastic has been his great resource; and while his fancy was lively and vigorous it accomplished great things. But the fantastic, when the fancy is dead, is a very poor business. The movement of Mr Dickens's fancy in Mrs Wilfer and Mr Boffin and Lady Tippins, and the Lammles and Miss Wren, and even in Eugene Wrayburn, is, to our mind, a movement lifeless, forced, mechanical. It is the letter of his old humor without the spirit. It is hardly too much to say that every character here put before us is a mere bundle of eccentricities, animated by no principle of nature whatever.

In former days there reigned in Mr Dickens's extravagances a comparative consistency; they were exaggerated statements of types that really existed. We had, perhaps, never known a Newman Noggs, nor a Pecksniff, nor a Micawber; but we had known persons of whom these figures were but the strictly logical consummation. But among the grotesque creatures who occupy the pages before us, there is not one whom we can refer to as an existing type. In all Mr Dickens's stories, indeed, the reader has been called upon, and has willingly consented, to accept a certain number of figures or creatures of pure fancy, for this was the author's poetry. He was, moreover, always repaid for his concession by a peculiar beauty or power in these exceptional characters. But he is now expected to make the same concession with a very inadequate reward.

What do we get in return for accepting Miss Jenny Wren as a possible person? This young lady is the type of a certain class of characters of which Mr Dickens has made a speciality, and with which he has been accustomed to draw alternate smiles and tears, according as he pressed one spring or another. But this is very cheap merriment and very cheap pathos. Miss Jenny Wren is a poor little dwarf, afflicted, as she constantly reiterates, with a 'bad back' and 'queer legs,' who makes dolls' dresses, and is for ever pricking at those with whom she converses, in the air, with her needle, and assuring them that she knows their 'tricks and their manners.' Like all Mr Dickens's pathetic characters, she is a little monster; she is deformed, unhealthy, unnatural; she belongs to the troop of hunchbacks, imbeciles, and precocious children who have carried on the sentimental business in all Mr Dickens's novels; the little Nells, the Smikes, the Paul Dombeys.

Mr Dickens goes as far out of the way for his wicked people as he does for his good ones. Rogue Riderhood, indeed, in the present story, is villanous with a sufficiently natural villany; he belongs to that quarter of society in which the author is most at his ease. But was there ever such wickedness as that of the Lammles and Mr Fledgeby? Not that people have not been as mischievous as they; but was any one ever mischievous in that singular fashion? Did a couple of elegant swindlers ever take such particular pains to be aggressively inhuman? -- for we can find no other word for the gratuitous distortions to which they are subjected. The word humanity strikes us as strangely discordant, in the midst of these pages; for, let us boldly declare it, there is no humanity here.

Humanity is nearer home than the Boffins, and the Lammles, and the Wilfers, and the Veneerings. It is in what men have in common with each other, and not in what they have in distinction. The people just named have nothing in common with each other, except the fact that they have nothing in common with mankind at large. What a world were this world if the world of Our Mutual Friend were an honest reflection of it! But a community of eccentrics is impossible. Rules alone are consistent with each other; exceptions are inconsistent. Society is maintained by natural sense and natural feeling. We cannot conceive a society in which these principles are not in some manner represented. Where in these pages are the depositaries of that intelligence without which the movement of life would cease? Who represents nature?

Accepting half of Mr Dickens's persons as intentionally grotesque, where are those exemplars of sound humanity who should afford us the proper measure of their companions' variations? We ought not, injustice to the author, to seek them among his weaker -- that is, his mere conventional -- characters; in John Harmon, Lizzie Hexam, or Mortimer Lightwood; but we assuredly cannot find them among his stronger -- that is, his artificial creations.

Suppose we take Eugene Wrayburn and Bradley Headstone. They occupy a half-way position between the habitual probable of nature and the habitual impossible of Mr Dickens. A large portion of the story rests upon the enmity borne by Headstone to Wrayburn, both being in love with the same woman. Wrayburn is a gentleman, and Headstone is one of the people. Wrayburn is well-bred, careless, elegant, sceptical, and idle: Headstone is a high-tempered, hard-working, ambitious young schoolmaster. There lay in the opposition of these two characters a very good story. But the prime requisite was that they should be characters: Mr Dickens, according to his usual plan, has made them simply figures, and between them the story that was to be, the story that should have been, has evaporated. Wrayburn lounges about with his hands in his pockets, smoking a cigar, and talking nonsense. Headstone strides about, clenching his fists and biting his lips and grasping his stick.

There is one scene in which Wrayburn chaffs the schoolmaster with easy insolence, while the latter writhes impotently under his well-bred sarcasm. This scene is very clever, but it is very insufficient. If the majority of readers were not so very timid in the use of words we should call it vulgar. By this we do not mean to indicate the conventional impropriety of two gentlemen exchanging lively personalities; we mean to emphasize the essentially small character of these personalities. In other words, the moment, dramatically, is great, while the author's conception is weak. The friction of two men, of two characters, of two passions, produces stronger sparks than Wrayburn's boyish repartees and Headstone's melodramatic commonplaces. Such scenes as this are useful in fixing the limits of Mr Dickens's insight. Insight is, perhaps, too strong a word; for we are convinced that it is one of the chief conditions of his genius not to see beneath the surface of things. If we might hazard a definition of his literary character, we should, accordingly, call him the greatest of superficial novelists. We are aware that this definition confines him to an inferior rank in the department of letters which he adorns; but we accept this consequence of our proposition. It were, in our opinion, an offence against humanity to place Mr Dickens among the greatest novelists. For, to repeat what we have already intimated, he has created nothing but figure. He has added nothing to our understanding of human character. He is master of but two alternatives: he reconciles us to what is commonplace, and he reconciles us to what is odd. The value of the former service is questionable; and the manner in which Mr Dickens performs it sometimes conveys a certain impression of charlatanism. The value of the latter service is incontestable, and here Mr Dickens is an honest, an admirable artist. But what is the condition of the truly great novelist? For him there are no alternatives, for him there are no oddities, for him there is nothing outside of humanity. He cannot shirk it; it imposes itself upon him. For him alone, therefore, there is a true and a false; for him alone it is possible to be right, because it is possible to be wrong. Mr Dickens is a great observer and a great humorist, but he is nothing of a philosopher.

Some people may hereupon say, so much the better; we say, so much the worse. For a novelist very soon has need of a little philosophy. In treating of Micawber, and Boffin, and Pickwick, et hoc genus omne, he can, indeed, dispense with it, for this -- we say it with all deference -- is not serious writing. But when he comes to tell the story of a passion, a story like that of Headstone and Wrayburn, he becomes a moralist as well as an artist. He must know man as well as men, and to know man is to be a philosopher. The writer who knows men alone, if he have Mr Dickens's humor and fancy, will give us figures and pictures for which we cannot be too grateful, for he will enlarge our knowledge of the world. But when he introduces men and women whose interest is preconceived to lie not in the poverty, the weakness, the drollery of their natures, but in their complete and unconscious subjection to ordinary and healthy human emotions, all his humor, all his fancy, will avail him nothing, if, out of the fulness of his sympathy, he is unable to prosecute those generalizations in which alone consists the real greatness of a work of art. This may sound like very subtle talk about a very simple matter; it is rather very simple talk about a very subtle matter. A story based upon those elementary passions in which alone we seek the true and final manifestation of character must be told in a spirit of intellectual superiority to those passions. That is, the author must understand what he is talking about. The perusal of a story so told is one of the most elevating experiences within the reach of the human mind. The perusal of a story which is not so told is infinitely depressing and unprofitable.

2011年2月13日 星期日

"Anglo-Saxon attitudes"

取一blogThe Seduction of Culture in German History Wolf ... 部分預祝成功 (張兄在翻譯的書:
".....又譬如說 本書說:

Anglo-Saxon Attitudes 是1871 年 Lewis Carroll 在 Through the Looking-Glass 中所鑄

以後又是一本著名小說的書名:Anglo-Saxon Attitudes is a satirical novel by Angus Wilson, published in 1956. It was Wilson's most popular book, and many consider it his best work.[1]


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The phrase "Anglo-Saxon attitudes"

"Anglo-Saxon attitudes" is a phrase spoofed by Lewis Carroll in Through the Looking-Glass (1871):

"All this was lost on Alice, who was still looking intently along the road, shading her eyes with one hand. 'I see somebody now!' she exclaimed at last. 'But he's coming very slowly—and what curious attitudes he goes into!'
(For the Messenger kept skipping up and down, and wriggling like an eel, as he came along, with his great hands spread out like fans on each side.)
'Not at all,' said the King. 'He's an Anglo-Saxon Messenger—and those are Anglo-Saxon attitudes. He only does them when he's happy.'"

Wilson uses part of this quotation at the front of his novel. Lewis Carroll is referring to a ninth- to eleventh-century style in English drawing, in which the figures are shown in swaying positions with the palms held out in exaggerated positions.[4]