Fine artists we have among us, and right-minded as far as they go; and we must not forget this at evil moments when it seems as if all the women had taken to writing hysterical14 improprieties, and some of the men were trying to be at least as hysterical in despair of being as improper15. Other traits are much more characteristic of our life and our fiction. In most American novels, vivid and graphic16 as the best of them are, the people are segregated17 if not sequestered18, and the scene is sparsely19 populated. The effect may be in instinctive20 response to the vacancy21 of our social life, and I shall not make haste to blame it. There are few places, few occasions among us, in which a novelist can get a large number of polite people together, or at least keep them together. Unless he carries a snap-camera his picture of them has no probability; they affect one like the figures perfunctorily associated in such deadly old engravings as that of "Washington Irving and his Friends." Perhaps it is for this reason that we excel in small pieces with three or four figures, or in studies of rustic22 communities, where there is propinquity if not society. Our grasp of more urbane23 life is feeble; most attempts to assemble it in our pictures are failures, possibly because it is too transitory, too intangible in its nature with us, to be truthfully represented as really existent.
I am not sure that the Americans have not brought the short story nearer perfection in the all-round sense that almost any other people, and for reasons very simple and near at hand. It might be argued from the national hurry and impatience25 that it was a literary form peculiarly adapted to the American temperament26, but I suspect that its extraordinary development among us is owing much more to more tangible24 facts. The success of American magazines, which is nothing less than prodigious27, is only commensurate with their excellence28. Their sort of success is not only from the courage to decide which ought to please, but from the knowledge of what does please; and it is probable that, aside from the pictures, it is the short stories which please the readers of our best magazines. The serial29 novels they must have, of course; but rather more of course they must have short stories, and by operation of the law of supply and demand, the short stories, abundant in quantity and excellent in quality, are forthcoming because they are wanted. By another operation of the same law, which political economists30 have more recently taken account of, the demand follows the supply, and short stories are sought for because there is a proven ability to furnish them, and people read them willingly because they are usually very good. The art of writing them is now so disciplined and diffused31 with us that there is no lack either for the magazines or for the newspaper "syndicates" which deal in them almost to the exclusion32 of the serials33.
An interesting fact in regard to the different varieties of the short story among us is that the sketches34 and studies by the women seem faithfuller and more realistic than those of the men, in proportion to their number. Their tendency is more distinctly in that direction, and there is a solidity, an honest observation, in the work of such women, which often leaves little to be desired. I should, upon the whole, be disposed to rank American short stories only below those of such Russian writers as I have read, and I should praise rather than blame their free use of our different local parlances, or "dialects," as people call them. I like this because I hope that our inherited English may be constantly freshened and revived from the native sources which our literary decentralization will help to keep open, and I will own that as I turn over novels coming from Philadelphia, from New Mexico, from Boston, from Tennessee, from rural New England, from New York, every local flavor of diction gives me courage and pleasure. Alphonse Daudet, in a conversation with H. H. Boyesen said, speaking of Tourguenief, "What a luxury it must be to have a great big untrodden barbaric language to wade35 into! We poor fellows who work in the language of an old civilization, we may sit and chisel36 our little verbal felicities, only to find in the end that it is a borrowed jewel we are polishing. The crown- jewels of our French tongue have passed through the hands of so many generations of monarchs37 that it seems like presumption38 on the part of any late-born pretender to attempt to wear them."
This grief is, of course, a little whimsical, yet it has a certain measure of reason in it, and the same regret has been more seriously expressed by the Italian poet Aleardi:
"Muse39 of an aged11 people, in the eve
Of fading civilization, I was born.
. . . . . . Oh, fortunate,
My sisters, who in the heroic dawn
Of races sung! To them did destiny give
The virgin40 fire and chaste41 ingenuousness42
Of their land's speech; and, reverenced43, their hands
Ran over potent44 strings45."
It will never do to allow that we are at such a desperate pass in English, but something of this divine despair we may feel too in thinking of "the spacious46 times of great Elizabeth," when the poets were trying the stops of the young language, and thrilling with the surprises of their own music. We may comfort ourselves, however, unless we prefer a luxury of grief, by remembering that no language is ever old on the lips of those who speak it, no matter how decrepit47 it drops from the pen. We have only to leave our studies, editorial and other, and go into the shops and fields to find the "spacious times" again; and from the beginning Realism, before she had put on her capital letter, had divined this near-at-hand truth along with the rest. Lowell, almost the greatest and finest realist who ever wrought48 in verse, showed us that Elizabeth was still Queen where he heard Yankee farmers talk. One need not invite slang into the company of its betters, though perhaps slang has been dropping its "s" and becoming language ever since the world began, and is certainly sometimes delightful49 and forcible beyond the reach of the dictionary. I would not have any one go about for new words, but if one of them came aptly, not to reject its help. For our novelists to try to write Americanly, from any motive50, would be a dismal51 error, but being born Americans, I then use "Americanisms" whenever these serve their turn; and when their characters speak, I should like to hear them speak true American, with all the varying Tennesseean, Philadelphian, Bostonian, and New York accents. If we bother ourselves to write what the critics imagine to be "English," we shall be priggish and artificial, and still more so if we make our Americans talk "English." There is also this serious disadvantage about "English," that if we wrote the best "English" in the world, probably the English themselves would not know it, or, if they did, certainly would not own it. It has always been supposed by grammarians and purists that a language can be kept as they find it; but languages, while they live, are perpetually changing. God apparently52 meant them for the common people; and the common people will use them freely as they use other gifts of God. On their lips our continental53 English will differ more and more from the insular54 English, and I believe that this is not deplorable, but desirable.
In fine, I would have our American novelists be as American as they unconsciously can. Matthew Arnold complained that he found no "distinction" in our life, and I would gladly persuade all artists intending greatness in any kind among us that the recognition of the fact pointed55 out by Mr. Arnold ought to be a source of inspiration to them, and not discouragement. We have been now some hundred years building up a state on the affirmation of the essential equality of men in their rights and duties, and whether we have been right or been wrong the gods have taken us at our word, and have responded to us with a civilization in which there is no "distinction" perceptible to the eye that loves and values it. Such beauty and such grandeur56 as we have is common beauty, common grandeur, or the beauty and grandeur in which the quality of solidarity57 so prevails that neither distinguishes itself to the disadvantage of anything else. It seems to me that these conditions invite the artist to the study and the appreciation58 of the common, and to the portrayal59 in every art of those finer and higher aspects which unite rather than sever60 humanity, if he would thrive in our new order of things. The talent that is robust61 enough to front the every-day world and catch the charm of its work-worn, care-worn, brave, kindly62 face, need not fear the encounter, though it seems terrible to the sort nurtured63 in the superstition64 of the romantic, the bizarre, the heroic, the distinguished65, as the things alone worthy66 of painting or carving67 or writing. The arts must become democratic, and then we shall have the expression of America in art; and the reproach which Arnold was half right in making us shall have no justice in it any longer; we shall be "distinguished."
点击收听单词发音
1 lamented | |
adj.被哀悼的,令人遗憾的v.(为…)哀悼,痛哭,悲伤( lament的过去式和过去分词 ) | |
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2 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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3 dealing | |
n.经商方法,待人态度 | |
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4 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 ) | |
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5 rigors | |
严格( rigor的名词复数 ); 严酷; 严密; (由惊吓或中毒等导致的身体)僵直 | |
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6 plumbers | |
n.管子工,水暖工( plumber的名词复数 );[美][口](防止泄密的)堵漏人员 | |
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7 softened | |
(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
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8 formerly | |
adv.从前,以前 | |
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9 cramp | |
n.痉挛;[pl.](腹)绞痛;vt.限制,束缚 | |
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10 lawful | |
adj.法律许可的,守法的,合法的 | |
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11 aged | |
adj.年老的,陈年的 | |
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12 purely | |
adv.纯粹地,完全地 | |
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13 averted | |
防止,避免( avert的过去式和过去分词 ); 转移 | |
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14 hysterical | |
adj.情绪异常激动的,歇斯底里般的 | |
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15 improper | |
adj.不适当的,不合适的,不正确的,不合礼仪的 | |
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16 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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17 segregated | |
分开的; 被隔离的 | |
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18 sequestered | |
adj.扣押的;隐退的;幽静的;偏僻的v.使隔绝,使隔离( sequester的过去式和过去分词 );扣押 | |
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19 sparsely | |
adv.稀疏地;稀少地;不足地;贫乏地 | |
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20 instinctive | |
adj.(出于)本能的;直觉的;(出于)天性的 | |
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21 vacancy | |
n.(旅馆的)空位,空房,(职务的)空缺 | |
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22 rustic | |
adj.乡村的,有乡村特色的;n.乡下人,乡巴佬 | |
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23 urbane | |
adj.温文尔雅的,懂礼的 | |
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24 tangible | |
adj.有形的,可触摸的,确凿的,实际的 | |
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25 impatience | |
n.不耐烦,急躁 | |
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26 temperament | |
n.气质,性格,性情 | |
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27 prodigious | |
adj.惊人的,奇妙的;异常的;巨大的;庞大的 | |
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28 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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29 serial | |
n.连本影片,连本电视节目;adj.连续的 | |
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30 economists | |
n.经济学家,经济专家( economist的名词复数 ) | |
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31 diffused | |
散布的,普及的,扩散的 | |
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32 exclusion | |
n.拒绝,排除,排斥,远足,远途旅行 | |
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33 serials | |
n.连载小说,电视连续剧( serial的名词复数 ) | |
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34 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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35 wade | |
v.跋涉,涉水;n.跋涉 | |
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36 chisel | |
n.凿子;v.用凿子刻,雕,凿 | |
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37 monarchs | |
君主,帝王( monarch的名词复数 ) | |
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38 presumption | |
n.推测,可能性,冒昧,放肆,[法律]推定 | |
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39 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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40 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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41 chaste | |
adj.贞洁的;有道德的;善良的;简朴的 | |
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42 ingenuousness | |
n.率直;正直;老实 | |
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43 reverenced | |
v.尊敬,崇敬( reverence的过去式和过去分词 );敬礼 | |
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44 potent | |
adj.强有力的,有权势的;有效力的 | |
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45 strings | |
n.弦 | |
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46 spacious | |
adj.广阔的,宽敞的 | |
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47 decrepit | |
adj.衰老的,破旧的 | |
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48 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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49 delightful | |
adj.令人高兴的,使人快乐的 | |
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50 motive | |
n.动机,目的;adv.发动的,运动的 | |
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51 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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52 apparently | |
adv.显然地;表面上,似乎 | |
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53 continental | |
adj.大陆的,大陆性的,欧洲大陆的 | |
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54 insular | |
adj.岛屿的,心胸狭窄的 | |
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55 pointed | |
adj.尖的,直截了当的 | |
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56 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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57 solidarity | |
n.团结;休戚相关 | |
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58 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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59 portrayal | |
n.饰演;描画 | |
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60 sever | |
v.切开,割开;断绝,中断 | |
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61 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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62 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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63 nurtured | |
养育( nurture的过去式和过去分词 ); 培育; 滋长; 助长 | |
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64 superstition | |
n.迷信,迷信行为 | |
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65 distinguished | |
adj.卓越的,杰出的,著名的 | |
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66 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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67 carving | |
n.雕刻品,雕花 | |
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