The Histories of Mitre and Araújo are admirable literary monuments to the glory of the River Plate Territories and the memory of their authors. The poetry of the lately deceased Guido y Spano and of the still living Zorrilla de San Martin occupies a deservedly high place in modern literature; while the names of Juan Cruz Varela, José Mármol and José Hernandez (the author of the Lyrics3 of Gaucho4 life published under the title of “Martin Fierro”) will ever remain household words on the River Plate.
Godofredo Daireaux and Leopoldo Lugones are typical and delightful5 writers whose sketches6 are faithful vignettes of the manners and customs, landscapes and sentiment of a century and half a century ago, of times of heroic battles and early peaceful progress. For the rest, one must, with the Muses, wait with such patience as one may for the appearance of National types of literature and art; types probably only to be formed when the National types of men and women have reached their fully7 distinct development out of existing cosmopolitan8 chaos9.[300] At present Argentine and Uruguayan Art and Literature[47] are chiefly imitative; music, painting and novels being mostly exaggerations of, often not the best, ephemeral European taste and fashions, while architecture usually alternates fidelity10 to stucco with trivially fantastic French “Villa” and “Chateau” styles.
Novelists seek to make one’s flesh creep; Painters to outvie either incomprehensibility or banality11; Architects achieve futility12 and Musicians are reminiscent of everything except the sad charm of melody which is their natural inheritance, through the Payadores, from Moorish13 Spain. The old intervals14 and harmonies are carefully eschewed15 in favour of anything, no matter what, which may seem to have a piquant16 flavour of “art nouveau.”
Nevertheless, nature sometimes will out and the old-time moods now and again penetrate17 the covering of pseudo-Viennese melody and modern Italian harmonies under which the composer has sought to hide his natural gifts and atavistic inspiration.
It is only in the theatre that the true native genius is allowed full play. Some of the real Argentine dramas and comedies are refreshingly18 delightful in their truth of characterization, sentiment and humour. All is of the soil, true to type and racy. But such things are only played at minor19 houses and in rural districts. Fashion knows them not, nor desires to know them, while Italian and French operatic and dramatic companies hold the boards of the leading theatres at prices which make it quite obligatory20 for all the best people to be seen frequently in their boxes or stalls. Still the minor theatre is the casket of the one true jewel in Argentine Art which shines with its inherent native brilliance21.
Unless, perhaps, florid oratory23 may be termed an Art. If so, it is one which has a wide vogue24 throughout South America. Few events are there allowed to pass without[301] lengthy25 and vigorous “Discursos”; the real or simulated passion of which rings strangely false in Anglo-Saxon ears. Much virtue26, however, lies in accepted convention, and the South American sees nothing comic or discordant27 in a frock-coated orator22 doing his best to turn over a sheaf of manuscript with one hand whilst he indulges in what to us is painfully exaggerated gesticulation with the rest of his body. On the contrary, the bravas of the audience which punctuate28 the barn-storming enunciation29 of the most high-flown sentiments are evidently and whole-heartedly sincere expressions of admiration30 for, at least, the speaker’s mastery of the declamatory art. Discursos are, in South America, the inevitable31 accompaniment of every event of any mark, from a funeral to the announcement of a dividend32.
It is part of the Hero Worship which has so large a place in the Latin nature. A worship none the less fervent33 because the enjoyment34 of it by its living object is frequently as brief as it must be sweet. Once dead, of course, a hero is one for ever if he have attained35 his niche36 at some prominent period of his country’s history. Great Presidents live perennially37 in the knowledge of every school child, and one bad one is still honoured by reference to his name and attributes in the comic journals whenever an unflattering comparison to a living politician is sought. Rozas and Artígas have their true meed of mingled38 praise and blame.
But all this digresses from the heading of this chapter; through, perhaps, an unconscious effort on the author’s part to eke39 out an as yet somewhat barren subject.
The truth is that no country nor individual has ever produced much art of any account during its or his infancy40. And Argentina and Uruguay are still in the barely adolescent stage of their economic and political development. The many sympathetic, though often contrasted, characteristics of the true Argentine and Uruguayan hold out, however, good hope for artistic41 achievement in the future. The facts that Argentina has already one truly native sculptress of[302] more than mediocre42 talent in Lola Mora, and one master of the art of word-painting in illustration of the old-world charm of some of the people and scenery of various distant parts of the Republic in Leopoldo Lugunes must not be lost sight of. Nor must the further one that the poetic43 spirit of the past which still broods over the wide Pampa has been caught and crystallized by Godofredo Daireaux in his Tipos y Paisages Argentinos and other delicate allegories and sketches. The River Plate awaits a native W. C. Cable to write a rosary of tales of the Old Colonial Days of the Puerto de Santa Maria de los Buenos Aires, of Vice-Regal balls, of high-combed, mantilla-coifed and beflounced belles44 in seringa and orange blossom scented45 gardens; of sighs and vows46 breathed between window bars; of times the politely veneered roughness of which has been softened47 for us by the haze48 of remoteness; a haze which soon will have produced complete obliteration49 if some living, understanding brain does not quickly record their outlines and fill these in with appropriate tints50.
Someone will, must, do this. But no stranger. Only a native genius, daintily contemplative, can, as a labour of love, bring back to life the dolce far niente days of South America before its Colonists51 awakened52 to the shrill53 call of Liberty and Independence.
The End
点击收听单词发音
1 muses | |
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事) | |
参考例句: |
|
|
2 sculptors | |
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座 | |
参考例句: |
|
|
3 lyrics | |
n.歌词 | |
参考例句: |
|
|
4 gaucho | |
n. 牧人 | |
参考例句: |
|
|
5 delightful | |
adj.令人高兴的,使人快乐的 | |
参考例句: |
|
|
6 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
参考例句: |
|
|
7 fully | |
adv.完全地,全部地,彻底地;充分地 | |
参考例句: |
|
|
8 cosmopolitan | |
adj.世界性的,全世界的,四海为家的,全球的 | |
参考例句: |
|
|
9 chaos | |
n.混乱,无秩序 | |
参考例句: |
|
|
10 fidelity | |
n.忠诚,忠实;精确 | |
参考例句: |
|
|
11 banality | |
n.陈腐;平庸;陈词滥调 | |
参考例句: |
|
|
12 futility | |
n.无用 | |
参考例句: |
|
|
13 moorish | |
adj.沼地的,荒野的,生[住]在沼地的 | |
参考例句: |
|
|
14 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
参考例句: |
|
|
15 eschewed | |
v.(尤指为道德或实际理由而)习惯性避开,回避( eschew的过去式和过去分词 ) | |
参考例句: |
|
|
16 piquant | |
adj.辛辣的,开胃的,令人兴奋的 | |
参考例句: |
|
|
17 penetrate | |
v.透(渗)入;刺入,刺穿;洞察,了解 | |
参考例句: |
|
|
18 refreshingly | |
adv.清爽地,有精神地 | |
参考例句: |
|
|
19 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
参考例句: |
|
|
20 obligatory | |
adj.强制性的,义务的,必须的 | |
参考例句: |
|
|
21 brilliance | |
n.光辉,辉煌,壮丽,(卓越的)才华,才智 | |
参考例句: |
|
|
22 orator | |
n.演说者,演讲者,雄辩家 | |
参考例句: |
|
|
23 oratory | |
n.演讲术;词藻华丽的言辞 | |
参考例句: |
|
|
24 Vogue | |
n.时髦,时尚;adj.流行的 | |
参考例句: |
|
|
25 lengthy | |
adj.漫长的,冗长的 | |
参考例句: |
|
|
26 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
参考例句: |
|
|
27 discordant | |
adj.不调和的 | |
参考例句: |
|
|
28 punctuate | |
vt.加标点于;不时打断 | |
参考例句: |
|
|
29 enunciation | |
n.清晰的发音;表明,宣言;口齿 | |
参考例句: |
|
|
30 admiration | |
n.钦佩,赞美,羡慕 | |
参考例句: |
|
|
31 inevitable | |
adj.不可避免的,必然发生的 | |
参考例句: |
|
|
32 dividend | |
n.红利,股息;回报,效益 | |
参考例句: |
|
|
33 fervent | |
adj.热的,热烈的,热情的 | |
参考例句: |
|
|
34 enjoyment | |
n.乐趣;享有;享用 | |
参考例句: |
|
|
35 attained | |
(通常经过努力)实现( attain的过去式和过去分词 ); 达到; 获得; 达到(某年龄、水平、状况) | |
参考例句: |
|
|
36 niche | |
n.壁龛;合适的职务(环境、位置等) | |
参考例句: |
|
|
37 perennially | |
adv.经常出现地;长期地;持久地;永久地 | |
参考例句: |
|
|
38 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
参考例句: |
|
|
39 eke | |
v.勉强度日,节约使用 | |
参考例句: |
|
|
40 infancy | |
n.婴儿期;幼年期;初期 | |
参考例句: |
|
|
41 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
参考例句: |
|
|
42 mediocre | |
adj.平常的,普通的 | |
参考例句: |
|
|
43 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
参考例句: |
|
|
44 belles | |
n.美女( belle的名词复数 );最美的美女 | |
参考例句: |
|
|
45 scented | |
adj.有香味的;洒香水的;有气味的v.嗅到(scent的过去分词) | |
参考例句: |
|
|
46 vows | |
誓言( vow的名词复数 ); 郑重宣布,许愿 | |
参考例句: |
|
|
47 softened | |
(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
参考例句: |
|
|
48 haze | |
n.霾,烟雾;懵懂,迷糊;vi.(over)变模糊 | |
参考例句: |
|
|
49 obliteration | |
n.涂去,删除;管腔闭合 | |
参考例句: |
|
|
50 tints | |
色彩( tint的名词复数 ); 带白的颜色; (淡色)染发剂; 痕迹 | |
参考例句: |
|
|
51 colonists | |
n.殖民地开拓者,移民,殖民地居民( colonist的名词复数 ) | |
参考例句: |
|
|
52 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
参考例句: |
|
|
53 shrill | |
adj.尖声的;刺耳的;v尖叫 | |
参考例句: |
|
|
欢迎访问英文小说网 |