133
The Yellow Poster girl looked out From her pinkly purple heaven, One eye was blue and one was green, Her bang was cut uneven21. She had three fingers on one hand, And the hairs on her head were seven.
And all these criticisms now, all these quarrels, are like old spent battlefields the sands of gracious time have covered over and hidden from view. Alone the best work of the period remains22; for good art has no period or special vogue23.
Indeed, the elements that destroy the worthless, that winnow24 the chaff25 from the grain, have been at work. For us, indeed, this landscape has changed from what it once was, and looking at it now we acquire a new impression which was denied to the critics of the age itself. Some of us, without a doubt, have gone to the opposite extreme and prattle26 about it as an age of platitudes27, and accuse a work of art of being as old as The Yellow Book. One might as well accuse a violet of being as old as the Greek Anthology. For always, to those wandering back in the right spirit to those days, there will come something of the infinite zest28 which stirred the being of the men of the nineties to create art. It was such an honest effort that one has to think of those times when Marlowe and his colleagues were athrob with ?sthetic aspiration29 to find a similitude. The134 nineties, indeed, are a pleasant flower-garden in our literature over which many strange perfumes float. There are times when one wishes to retreat into such places, as there are moments when the backwaters enchant30 us from the main stream.
It has been said it was an age of nerves. If by this is implied a keener sensitiveness to certain feelings pulsating31 in the art of this movement, one will not have very far to go to find its cause in the French impressionistic school of Manet, which, after saturating32 all types of French artists, undoubtedly33 invaded writers over here even before the movement of the nineties began. On the age without a doubt it had a lasting34 influence, so that to a certain degree, without being over-busy with what went before, we may say its writers brought it to no small degree into common use in our literature. But just as impressionism in painting had existed centuries before in the ever-busy mind of men like Leonardo da Vinci, one cannot go so far as to say it had never existed before in our literature. Such a statement would be perhaps frivolous35. But it was with these men it first came to exist as a kind of cry of a new clan36. It was these men who were essentially hectics who essayed to etch the exotic135 impression. The majority of the work of the movement, in fact, can be described as impressionisms of the abnormal by a group of individualists. For in all their work the predominant keynote will be found to be a keen sense of that strangeness of proportion which Bacon noted37 as a characteristic of what he called beauty. It is observable as much in the poems of Dowson as in the drawings of Beardsley, two of the leading types of the movement. It vibrates intensely in the minor38 work of men like Wratislaw, and also in John Gray’s early volume, as I have endeavoured to show. All Mr. Arthur Symons’s criticism is a narration39 of his soul’s adventures in quest of it. It stirred the genius of Charles Conder, and vitalizes the rather cruel analysis of Hubert Crackanthorpe. We see it almost as the animating40 spirit of the age itself in Oscar Wilde’s poems, The Sphinx and The Harlot’s House. It has become disseminated41 like a perfume from the writings of Pater in the men who came after him. It was, so to speak, a quickening stimulus42 to them as the rediscovery of a manuscript of Catullus, or a Greek figure was in the years of the Renaissance43 itself. With it came a sense of freedom. An attempt was made, because of it, for instance, to136 emancipate7 our literature to the same extent as the literatures of Latin countries move untrammelled by a hesitancy in the choice of certain themes. And people at the time, watching the fate of the prime movers, cried with a great deal of assurance, ‘That way lies madness!’
Be this as it may, the men of the nineties bequeathed a certain subtleness of emotion to our art that is not without its value. They took Byron’s satanism and inflamed44 it with the lurid45 light of Baudelaire. Buveurs de lune after the manner of Paul Verlaine, they evoked46 something of the ethereal glamour47 of moonlight itself. A realist like Crackanthorpe tried to tread the whole via dolorosa without faltering48 by the wayside. Poetry caught the mood of bizarre crises and Edgar Wilson wrought49 a strange delicate world of visions. In Max Beerbohm irony50 took on a weird51 twinge of grace almost Pierrot-like. Perhaps, indeed, they all had something of the Pierrot quality in them. Beardsley himself was enchanted52 by that little opera without words, ‘L’Enfant Prodigue.’ Dowson made a play about him. The Happy Hypocrite might be a story of the Pierrot himself grown old.
As I have hinted, much of the work conceived137 by these men was doomed53 to die, as in the case of every movement. What then remains, what is their balance to the good? Who knows? About everything man has loved and fashioned there abides54 vestiges55 of the interest of humanity. Only some things are easier to recall than others. They stand out more, so that one is bound to remark them. They have, so to speak, a cachet of their own. Among these in this movement there comes the work of the men I have so hastily attempted to realise. Each has about him something of that quality which is indefinable, but easily recognisable. Each has his charm for those who care to come with a loving interest.
The End
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1 mazes | |
迷宫( maze的名词复数 ); 纷繁复杂的规则; 复杂难懂的细节; 迷宫图 | |
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2 pessimism | |
n.悲观者,悲观主义者,厌世者 | |
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3 hardy | |
adj.勇敢的,果断的,吃苦的;耐寒的 | |
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4 beget | |
v.引起;产生 | |
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5 assailed | |
v.攻击( assail的过去式和过去分词 );困扰;质问;毅然应对 | |
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6 emancipated | |
adj.被解放的,不受约束的v.解放某人(尤指摆脱政治、法律或社会的束缚)( emancipate的过去式和过去分词 ) | |
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7 emancipate | |
v.解放,解除 | |
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8 velvet | |
n.丝绒,天鹅绒;adj.丝绒制的,柔软的 | |
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9 percolate | |
v.过滤,渗透 | |
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10 swarmed | |
密集( swarm的过去式和过去分词 ); 云集; 成群地移动; 蜜蜂或其他飞行昆虫成群地飞来飞去 | |
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11 frankly | |
adv.坦白地,直率地;坦率地说 | |
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12 lauded | |
v.称赞,赞美( laud的过去式和过去分词 ) | |
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13 essentially | |
adv.本质上,实质上,基本上 | |
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14 restiveness | |
n.倔强,难以驾御 | |
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15 fragrance | |
n.芬芳,香味,香气 | |
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16 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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17 intensity | |
n.强烈,剧烈;强度;烈度 | |
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18 harry | |
vt.掠夺,蹂躏,使苦恼 | |
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19 Oxford | |
n.牛津(英国城市) | |
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20 lackadaisical | |
adj.无精打采的,无兴趣的;adv.无精打采地,不决断地 | |
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21 uneven | |
adj.不平坦的,不规则的,不均匀的 | |
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22 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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23 Vogue | |
n.时髦,时尚;adj.流行的 | |
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24 winnow | |
v.把(谷物)的杂质吹掉,扬去 | |
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25 chaff | |
v.取笑,嘲笑;n.谷壳 | |
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26 prattle | |
n.闲谈;v.(小孩般)天真无邪地说话;发出连续而无意义的声音 | |
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27 platitudes | |
n.平常的话,老生常谈,陈词滥调( platitude的名词复数 );滥套子 | |
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28 zest | |
n.乐趣;滋味,风味;兴趣 | |
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29 aspiration | |
n.志向,志趣抱负;渴望;(语)送气音;吸出 | |
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30 enchant | |
vt.使陶醉,使入迷;使着魔,用妖术迷惑 | |
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31 pulsating | |
adj.搏动的,脉冲的v.有节奏地舒张及收缩( pulsate的现在分词 );跳动;脉动;受(激情)震动 | |
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32 saturating | |
浸湿,浸透( saturate的现在分词 ); 使…大量吸收或充满某物 | |
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33 undoubtedly | |
adv.确实地,无疑地 | |
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34 lasting | |
adj.永久的,永恒的;vbl.持续,维持 | |
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35 frivolous | |
adj.轻薄的;轻率的 | |
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36 clan | |
n.氏族,部落,宗族,家族,宗派 | |
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37 noted | |
adj.著名的,知名的 | |
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38 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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39 narration | |
n.讲述,叙述;故事;记叙体 | |
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40 animating | |
v.使有生气( animate的现在分词 );驱动;使栩栩如生地动作;赋予…以生命 | |
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41 disseminated | |
散布,传播( disseminate的过去式和过去分词 ) | |
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42 stimulus | |
n.刺激,刺激物,促进因素,引起兴奋的事物 | |
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43 renaissance | |
n.复活,复兴,文艺复兴 | |
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44 inflamed | |
adj.发炎的,红肿的v.(使)变红,发怒,过热( inflame的过去式和过去分词 ) | |
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45 lurid | |
adj.可怕的;血红的;苍白的 | |
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46 evoked | |
[医]诱发的 | |
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47 glamour | |
n.魔力,魅力;vt.迷住 | |
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48 faltering | |
犹豫的,支吾的,蹒跚的 | |
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49 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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50 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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51 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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52 enchanted | |
adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词 | |
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53 doomed | |
命定的 | |
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54 abides | |
容忍( abide的第三人称单数 ); 等候; 逗留; 停留 | |
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55 vestiges | |
残余部分( vestige的名词复数 ); 遗迹; 痕迹; 毫不 | |
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