“Originality6,” whether in manners, action, or art, consists simply in a man’s being upon his own line; in his advancing with a single mind towards his unique apprehension7 of good; and in his doing so in harmony with the universal laws which secure to all men the liberty of doing as he is doing, without hindrance8 from his or any other’s individuality. Unless “originality” thus works in submission9 to and harmony with general law, it loses its nature. In morals it becomes sin or insanity10, in manners and in art oddity and eccentricity11, which are in reality the extreme opposites and travesties12 of originality. As in religion it is said that “no man can know whether he is worthy13 of love,” so in art and ordinary life no man can know whether he is original. If through habitual14 fidelity15 to his idea of good he has attained16 to originality, he will be the last person in the world to know it. If he thinks he is original, he is probably not so; and if he is commonly praised for originality, he may hardly hope to attain to any such distinction. Originality never expresses itself in harsh and obtrusive17 singularities. A society of persons of true originality in manners would be like an oak-tree, the leaves of which all{69} look alike until they are carefully compared, when it is found that they are all different. In art, the sphere of extraordinary originalities, there is the same absence of strongly pronounced distinctions, and therefore the same withdrawal18 from the recognition of the vulgar, who look for originality in antics, oddities, crudities, and incessant19 violations20 of the universal laws, which true originality religiously observes; its very function consisting, as it does, in upholding those laws and illustrating21 them and making them unprecedentedly22 attractive by its own peculiar23 emphases and modulations.
The individuality or “genius” of a man, which results from fidelity in life and art to his “ruling love,” is almost necessarily narrow. Shakespeare is the only artist that ever lived whose genius has even approached to universality. His range is so great that ordinary readers, if, like Mr. Frederic Harrison, they had the courage to speak their impressions, would with him condemn24 the greater part of his work as “rubbish”—that is, as having no counterpart in the “positivism” of their actual or imaginative experience. Every play of Shakespeare is a new vision—not only a new aspect of his vision, as is the case with the different works of nearly all other artists, even the greatest. Narrowness, indeed, so far from being opposed to{70} greatness in art, is often its condition. Dante and Wordsworth are proofs that greatness of genius consists in seeing clearly rather than much; and well it would have been both for poets and for readers had the former always or even generally understood the economy of moving always on their own lines. Nothing has so much injured modern art as the artist’s ambition to show off his “breadth”; and many an immortal25 lyric26 or idyll has been lost because the lyric or idyllic27 poet has chosen to forsake28 his line for the production of exceedingly mortal epics29 or tragedies. The modern custom of exhibiting all the works of a single painter at a time affords proof which every one will understand of what has been said. Who, with an eye for each painter’s true quality, can have gone over the collections in recent years of the pictures of Landseer, Reynolds, Rossetti, Blake, Holman Hunt, and others, without a feeling of surprise, and some perhaps irrational30 disappointment, at the discovery for the first time of the artist’s limitations? Each had painted the same vision over and over again! There was no harm in that. The mistake was in bringing together the replicas31 which should have adorned32 “palace chambers33 far apart.” But poets, whose “works” are always collectively exhibited, should beware how they betray the inevitable34 fact of the narrowness of genius. Not only should they{71} never leave their own line for another which is not their own, but they should be equally careful not to go over it again when they have once got to the end of it.
点击收听单词发音
1 faculties | |
n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
参考例句: |
|
|
2 humility | |
n.谦逊,谦恭 | |
参考例句: |
|
|
3 edifying | |
adj.有教训意味的,教训性的,有益的v.开导,启发( edify的现在分词 ) | |
参考例句: |
|
|
4 sufficiently | |
adv.足够地,充分地 | |
参考例句: |
|
|
5 attain | |
vt.达到,获得,完成 | |
参考例句: |
|
|
6 originality | |
n.创造力,独创性;新颖 | |
参考例句: |
|
|
7 apprehension | |
n.理解,领悟;逮捕,拘捕;忧虑 | |
参考例句: |
|
|
8 hindrance | |
n.妨碍,障碍 | |
参考例句: |
|
|
9 submission | |
n.服从,投降;温顺,谦虚;提出 | |
参考例句: |
|
|
10 insanity | |
n.疯狂,精神错乱;极端的愚蠢,荒唐 | |
参考例句: |
|
|
11 eccentricity | |
n.古怪,反常,怪癖 | |
参考例句: |
|
|
12 travesties | |
n.拙劣的模仿作品,荒谬的模仿,歪曲( travesty的名词复数 ) | |
参考例句: |
|
|
13 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
参考例句: |
|
|
14 habitual | |
adj.习惯性的;通常的,惯常的 | |
参考例句: |
|
|
15 fidelity | |
n.忠诚,忠实;精确 | |
参考例句: |
|
|
16 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: |
|
|
17 obtrusive | |
adj.显眼的;冒失的 | |
参考例句: |
|
|
18 withdrawal | |
n.取回,提款;撤退,撤军;收回,撤销 | |
参考例句: |
|
|
19 incessant | |
adj.不停的,连续的 | |
参考例句: |
|
|
20 violations | |
违反( violation的名词复数 ); 冒犯; 违反(行为、事例); 强奸 | |
参考例句: |
|
|
21 illustrating | |
给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
参考例句: |
|
|
22 unprecedentedly | |
adv.空前地 | |
参考例句: |
|
|
23 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
参考例句: |
|
|
24 condemn | |
vt.谴责,指责;宣判(罪犯),判刑 | |
参考例句: |
|
|
25 immortal | |
adj.不朽的;永生的,不死的;神的 | |
参考例句: |
|
|
26 lyric | |
n.抒情诗,歌词;adj.抒情的 | |
参考例句: |
|
|
27 idyllic | |
adj.质朴宜人的,田园风光的 | |
参考例句: |
|
|
28 forsake | |
vt.遗弃,抛弃;舍弃,放弃 | |
参考例句: |
|
|
29 epics | |
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍) | |
参考例句: |
|
|
30 irrational | |
adj.无理性的,失去理性的 | |
参考例句: |
|
|
31 replicas | |
n.复制品( replica的名词复数 ) | |
参考例句: |
|
|
32 adorned | |
[计]被修饰的 | |
参考例句: |
|
|
33 chambers | |
n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅 | |
参考例句: |
|
|
34 inevitable | |
adj.不可避免的,必然发生的 | |
参考例句: |
|
|
欢迎访问英文小说网 |