Chapter 13

I would beseech¹ the literary critics of our country to disabuse² themselves of the mischievous³ notion that they are essential to the progress of literature in the way critics have imagined. Canon Farrar confesses that with the best will in the world to profit by the many criticisms of his books, he has never profited in the least by any of them; and this is almost the universal experience of authors. It is not always the fault of the critics. They sometimes deal honestly and fairly by a book, and not so often they deal adequately. But in making a book, if it is at all a good book, the author has learned all that is knowable about it, and every strong point and every weak point in it, far more accurately⁴ than any one else can possibly learn them. He has learned to do better than well for the future; but if his book is bad, he cannot be taught anything about it from the outside. It will perish; and if he has not the root of literature in him, he will perish as an author with it. But what is it that gives tendency in art, then? What is it makes people like this at one time, and that at another? Above all, what makes a better fashion change for a worse; how can the ugly come to be preferred to the beautiful; in other words, how can an art decay?

This question came up in my mind lately with regard to English fiction and its form, or rather its formlessness. How, for instance, could people who had once known the simple verity⁵, the refined perfection of Miss Austere⁶, enjoy, anything less refined and less perfect?

With her example before them, why should not English novelists have gone on writing simply, honestly, artistically⁷, ever after? One would think it must have been impossible for them to do otherwise, if one did not remember, say, the lamentable⁸ behavior of the actors who support Mr. Jefferson, and their theatricality⁹ in the very presence of his beautiful naturalness. It is very difficult, that simplicity¹⁰, and nothing is so hard as to be honest, as the reader, if he has ever happened to try it, must know. "The big bow-wow I can do myself, like anyone going," said Scott, but he owned that the exquisite¹¹ touch of Miss Austere was denied him; and it seems certainly to have been denied in greater or less measure to all her successors. But though reading and writing come by nature, as Dogberry justly said, a taste in them may be cultivated, or once cultivated, it may be preserved; and why was it not so among those poor islanders? One does not ask such things in order to be at the pains of answering them one's self, but with the hope that some one else will take the trouble to do so, and I propose to be rather a silent partner in the enterprise, which I shall leave mainly to Senor Armando Palacio Valdes. This delightful¹² author will, however, only be able to answer my question indirectly¹³ from the essay on fiction with which he prefaces one of his novels, the charming story of 'The Sister of San Sulpizio,' and I shall have some little labor¹⁴ in fitting his saws to my instances. It is an essay which I wish every one intending to read, or even to write, a novel, might acquaint himself with; for it contains some of the best and clearest things which have been said of the art of fiction in a time when nearly all who practise it have turned to talk about it.

Senor Valdes is a realist, but a realist according to his own conception of realism; and he has some words of just censure¹⁵ for the French naturalists¹⁶, whom he finds unnecessarily, and suspects of being sometimes even mercenarily, nasty. He sees the wide difference that passes between this naturalism and the realism of the English and Spanish; and he goes somewhat further than I should go in condemning¹⁷ it. "The French naturalism represents only a moment, and an insignificant¹⁸ part of life." . . . It is characterized by sadness and narrowness. The prototype of this literature is the 'Madame Bovary' of Flaubert. I am an admirer of this novelist, and especially of this novel; but often in thinking of it I have said, How dreary¹⁹ would literature be if it were no more than this! There is something antipathetic and gloomy and limited in it, as there is in modern French life; but this seems to me exactly the best possible reason for its being. I believe with Senor Valdes that "no literature can live long without joy," not because of its mistaken aesthetics²⁰, however, but because no civilization can live long without joy. The expression of French life will change when French life changes; and French naturalism is better at its worst than French unnaturalism at its best. "No one," as Senor Valdes truly says, "can rise from the perusal²¹ of a naturalistic book . . . without a vivid desire to escape" from the wretched world depicted²² in it, "and a purpose, more or less vague, of helping²³ to better the lot and morally elevate the abject²⁴ beings who figure in it. Naturalistic art, then, is not immoral²⁵ in itself, for then it would not merit the name of art; for though it is not the business of art to preach morality, still I think that, resting on a divine and spiritual principle, like the idea of the beautiful, it is perforce moral. I hold much more immoral other books which, under a glamour²⁶ of something spiritual and beautiful and sublime²⁷, portray²⁸ the vices²⁹ in which we are allied³⁰ to the beasts. Such, for example, are the works of Octave Feuillet, Arsene Houssaye, Georges Ohnet, and other contemporary novelists much in vogue³¹ among the higher classes of society."

But what is this idea of the beautiful which art rests upon, and so becomes moral? "The man of our time," says Senor Valdes, "wishes to know everything and enjoy everything: he turns the objective of a powerful equatorial towards the heavenly spaces where gravitates the infinitude of the stars, just as he applies the microscope to the infinitude of the smallest insects; for their laws are identical. His experience, united with intuition, has convinced him that in nature there is neither great nor small; all is equal. All is equally grand, all is equally just, all is equally beautiful, because all is equally divine." But beauty, Senor Valdes explains, exists in the human spirit, and is the beautiful effect which it receives from the true meaning of things; it does not matter what the things are, and it is the function of the artist who feels this effect to impart it to others. I may add that there is no joy in art except this perception of the meaning of things and its communication; when you have felt it, and portrayed³² it in a poem, a symphony, a novel, a statue, a picture, an edifice³³, you have fulfilled the purpose for which you were born an artist.

The reflection of exterior³⁴ nature in the individual spirit, Senor Valdes believes to be the fundamental of art. "To say, then, that the artist must not copy but create is nonsense, because he can in no wise copy, and in no wise create. He who sets deliberately³⁵ about modifying nature, shows that he has not felt her beauty, and therefore cannot make others feel it. The puerile³⁶ desire which some artists without genius manifest to go about selecting in nature, not what seems to them beautiful, but what they think will seem beautiful to others, and rejecting what may displease³⁷ them, ordinarily produces cold and insipid³⁸ works. For, instead of exploring the illimitable fields of reality, they cling to the forms invented by other artists who have succeeded, and they make statues of statues, poems of poems, novels of novels. It is entirely³⁹ false that the great romantic, symbolic⁴⁰, or classic poets modified nature; such as they have expressed her they felt her; and in this view they are as much realists as ourselves. In like manner if in the realistic tide that now bears us on there are some spirits who feel nature in another way, in the romantic way, or the classic way, they would not falsify her in expressing her so. Only those falsify her who, without feeling classic wise or romantic wise, set about being classic or romantic, wearisomely reproducing the models of former ages; and equally those who, without sharing the sentiment of realism, which now prevails, force themselves to be realists merely to follow the fashion."

The pseudo-realists, in fact, are the worse offenders⁴¹, to my thinking, for they sin against the living; whereas those who continue to celebrate the heroic adventures of "Puss-in-Boots" and the hair-breadth escapes of "Tom Thumb," under various aliases⁴², only cast disrespect upon the immortals⁴³ who have passed beyond these noises.

1 beseech   

v.祈求，恳求

参考例句：

• I beseech you to do this before it is too late.我恳求你做做这件事吧，趁现在还来得及。
• I beseech your favor.我恳求您帮忙。

2 disabuse   

v.解惑；矫正

参考例句：

• Let me disabuse of that foolish prejudices.让我消除那个愚蠢的偏见。
• If you think I'm going to lend you money,I must disabuse you of that wrong idea.你若认为我会借钱给你，我倒要劝你打消那念头。

3 mischievous   

adj.调皮的，恶作剧的，有害的，伤人的

参考例句：

• He is a mischievous but lovable boy.他是一个淘气但可爱的小孩。
• A mischievous cur must be tied short.恶狗必须拴得短。

4 accurately   

adv.准确地，精确地

参考例句：

• It is hard to hit the ball accurately.准确地击中球很难。
• Now scientists can forecast the weather accurately.现在科学家们能准确地预报天气。

5 verity   

n.真实性

参考例句：

• Human's mission lies in exploring verity bravely.人的天职在勇于探索真理。
• How to guarantee the verity of the financial information disclosed by listed companies? 如何保证上市公司财务信息披露真实性?

6 austere   

adj.艰苦的；朴素的，朴实无华的；严峻的

参考例句：

• His way of life is rather austere.他的生活方式相当简朴。
• The room was furnished in austere style.这间屋子的陈设都很简单朴素。

7 artistically   

adv.艺术性地

参考例句：

• The book is beautifully printed and artistically bound. 这本书印刷精美，装帧高雅。
• The room is artistically decorated. 房间布置得很美观。

8 lamentable   

adj.令人惋惜的，悔恨的

参考例句：

• This lamentable state of affairs lasted until 1947.这一令人遗憾的事态一直持续至1947年。
• His practice of inebriation was lamentable.他的酗酒常闹得别人束手无策。

9 theatricality   

n.戏剧风格，不自然

参考例句：

• The scene breaks out before you with the theatricality of a curtain lifted from a stage. 景色立即如拉开了舞台的帷幕一般充满了戏剧性地出现在你面前。 来自辞典例句

10 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

11 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

12 delightful   

adj.令人高兴的，使人快乐的

参考例句：

• We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
• Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。

13 indirectly   

adv.间接地，不直接了当地

参考例句：

• I heard the news indirectly.这消息我是间接听来的。
• They were approached indirectly through an intermediary.通过一位中间人，他们进行了间接接触。

14 labor   

n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦

参考例句：

• We are never late in satisfying him for his labor.我们从不延误付给他劳动报酬。
• He was completely spent after two weeks of hard labor.艰苦劳动两周后，他已经疲惫不堪了。

15 censure   

v./n.责备；非难；责难

参考例句：

• You must not censure him until you know the whole story.在弄清全部事实真相前不要谴责他。
• His dishonest behaviour came under severe censure.他的不诚实行为受到了严厉指责。

16 naturalists   

n.博物学家( naturalist的名词复数 )；（文学艺术的）自然主义者

参考例句：

• Naturalists differ much in determining what characters are of generic value. 自然学者对于不同性状决定生物的属的含义上，各有各的见解。 来自辞典例句
• This fact has led naturalists to believe that the Isthmus was formerly open. 使许多自然学者相信这个地蛱在以前原是开通的。 来自辞典例句

17 condemning   

v.（通常因道义上的原因而）谴责( condemn的现在分词 )；宣判；宣布…不能使用；迫使…陷于不幸的境地

参考例句：

• The government issued a statement condemning the killings. 政府发表声明谴责这些凶杀事件。
• I concur with the speaker in condemning what has been done. 我同意发言者对所做的事加以谴责。 来自《现代英汉综合大词典》

18 insignificant   

adj.无关紧要的，可忽略的，无意义的

参考例句：

• In winter the effect was found to be insignificant.在冬季，这种作用是不明显的。
• This problem was insignificant compared to others she faced.这一问题与她面临的其他问题比较起来算不得什么。

19 dreary   

adj.令人沮丧的，沉闷的，单调乏味的

参考例句：

• They live such dreary lives.他们的生活如此乏味。
• She was tired of hearing the same dreary tale of drunkenness and violence.她听够了那些关于酗酒和暴力的乏味故事。

20 aesthetics   

n.(尤指艺术方面之)美学，审美学

参考例句：

• Sometimes, of course, our markings may be simply a matter of aesthetics. 当然，有时我们的标点符号也许只是个审美的问题。 来自名作英译部分
• The field of aesthetics presents an especially difficult problem to the historian. 美学领域向历史学家提出了一个格外困难的问题。

21 perusal   

n.细读，熟读；目测

参考例句：

• Peter Cooke undertook to send each of us a sample contract for perusal.彼得·库克答应给我们每人寄送一份合同样本供阅读。
• A perusal of the letters which we have published has satisfied him of the reality of our claim.读了我们的公开信后，他终于相信我们的要求的确是真的。

22 depicted   

描绘，描画( depict的过去式和过去分词 )； 描述

参考例句：

• Other animals were depicted on the periphery of the group. 其他动物在群像的外围加以修饰。
• They depicted the thrilling situation to us in great detail. 他们向我们详细地描述了那激动人心的场面。

23 helping   

n.食物的一份&adj.帮助人的，辅助的

参考例句：

• The poor children regularly pony up for a second helping of my hamburger. 那些可怜的孩子们总是要求我把我的汉堡包再给他们一份。
• By doing this, they may at times be helping to restore competition. 这样一来, 他在某些时候,有助于竞争的加强。

24 abject   

adj.极可怜的，卑屈的

参考例句：

• This policy has turned out to be an abject failure.这一政策最后以惨败而告终。
• He had been obliged to offer an abject apology to Mr.Alleyne for his impertinence.他不得不低声下气，为他的无礼举动向艾莱恩先生请罪。

25 immoral   

adj.不道德的，淫荡的，荒淫的，有伤风化的

参考例句：

• She was questioned about his immoral conduct toward her.她被询问过有关他对她的不道德行为的情况。
• It is my belief that nuclear weapons are immoral.我相信使核武器是不邪恶的。

26 glamour   

n.魔力，魅力；vt.迷住

参考例句：

• Foreign travel has lost its glamour for her.到国外旅行对她已失去吸引力了。
• The moonlight cast a glamour over the scene.月光给景色增添了魅力。

27 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

28 portray   

v.描写，描述；画(人物、景象等)

参考例句：

• It is difficult to portray feelings in words.感情很难用言语来描写。
• Can you portray the best and worst aspects of this job?您能描述一下这份工作最好与最坏的方面吗？

29 vices   

缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳

参考例句：

• In spite of his vices, he was loved by all. 尽管他有缺点，还是受到大家的爱戴。
• He vituperated from the pulpit the vices of the court. 他在教堂的讲坛上责骂宫廷的罪恶。

30 allied   

adj.协约国的；同盟国的

参考例句：

• Britain was allied with the United States many times in history.历史上英国曾多次与美国结盟。
• Allied forces sustained heavy losses in the first few weeks of the campaign.同盟国在最初几周内遭受了巨大的损失。

31 Vogue   

n.时髦，时尚；adj.流行的

参考例句：

• Flowery carpets became the vogue.花卉地毯变成了时髦货。
• Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。

32 portrayed   

v.画像( portray的过去式和过去分词 )；描述；描绘；描画

参考例句：

• Throughout the trial, he portrayed himself as the victim. 在审讯过程中，他始终把自己说成是受害者。
• The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》

33 edifice   

n.宏伟的建筑物(如宫殿，教室)

参考例句：

• The American consulate was a magnificent edifice in the centre of Bordeaux.美国领事馆是位于波尔多市中心的一座宏伟的大厦。
• There is a huge Victorian edifice in the area.该地区有一幢维多利亚式的庞大建筑物。

34 exterior   

adj.外部的，外在的；表面的

参考例句：

• The seed has a hard exterior covering.这种子外壳很硬。
• We are painting the exterior wall of the house.我们正在给房子的外墙涂漆。

35 deliberately   

adv.审慎地；蓄意地；故意地

参考例句：

• The girl gave the show away deliberately.女孩故意泄露秘密。
• They deliberately shifted off the argument.他们故意回避这个论点。

36 puerile   

adj.幼稚的，儿童的

参考例句：

• The story is simple,even puerile.故事很简单，甚至有些幼稚。
• Concert organisers branded the group's actions as puerile.音乐会的组织者指称该乐队的行为愚蠢幼稚。

37 displease   

vt.使不高兴，惹怒；n.不悦，不满，生气

参考例句：

• Not wishing to displease her,he avoided answering the question.为了不惹她生气，他对这个问题避而不答。
• She couldn't afford to displease her boss.她得罪不起她的上司。

38 insipid   

adj.无味的，枯燥乏味的，单调的

参考例句：

• The food was rather insipid and needed gingering up.这食物缺少味道，需要加点作料。
• She said she was a good cook,but the food she cooked is insipid.她说她是个好厨师，但她做的食物却是无味道的。

39 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

40 symbolic   

adj.象征性的，符号的，象征主义的

参考例句：

• It is symbolic of the fighting spirit of modern womanhood.它象征着现代妇女的战斗精神。
• The Christian ceremony of baptism is a symbolic act.基督教的洗礼仪式是一种象征性的做法。

41 offenders   

n.冒犯者( offender的名词复数 )；犯规者；罪犯；妨害…的人（或事物）

参考例句：

• Long prison sentences can be a very effective deterrent for offenders. 判处长期徒刑可对违法者起到强有力的威慑作用。
• Purposeful work is an important part of the regime for young offenders. 使从事有意义的劳动是管理少年犯的重要方法。

42 aliases   

n.别名，化名( alias的名词复数 )

参考例句：

• Can you allow the user to enter aliases for the longer entries? 可以允许用户为过长的文字选择别名吗？ 来自About Face 3交互设计精髓
• The criminal has several aliases. 该罪犯有数个化名。 来自辞典例句

43 immortals   

不朽的人物( immortal的名词复数 )； 永生不朽者

参考例句：

• Nobody believes in the myth about human beings becoming immortals. 谁也不相信人能成仙的神话。
• Shakespeare is one of the immortals. 莎士比亚是不朽的人物之一。