But if the humanitarian1 impulse has mostly disappeared from Christmas fiction, I think it has never so generally characterized all fiction. One may refuse to recognize this impulse; one may deny that it is in any greater degree shaping life than ever before, but no one who has the current of literature under his eye can fail to note it there. People are thinking and feeling generously, if not living justly, in our time; it is a day of anxiety to be saved from the curse that is on selfishness, of eager question how others shall be helped, of bold denial that the conditions in which we would fain have rested are sacred or immutable2. Especially in America, where the race has gained a height never reached before, the eminence3 enables more men than ever before to see how even here vast masses of men are sunk in misery4 that must grow every day more hopeless, or embroiled5 in a struggle for mere6 life that must end in enslaving and imbruting them.
Art, indeed, is beginning to find out that if it does not make friends with Need it must perish. It perceives that to take itself from the many and leave them no joy in their work, and to give itself to the few whom it can bring no joy in their idleness, is an error that kills. The men and women who do the hard work of the world have learned that they have a right to pleasure in their toil7, and that when justice is done them they will have it. In all ages poetry has affirmed something of this sort, but it remained for ours to perceive it and express it somehow in every form of literature. But this is only one phase of the devotion of the best literature of our time to the service of humanity. No book written with a low or cynical8 motive9 could succeed now, no matter how brilliantly written; and the work done in the past to the glorification10 of mere passion and power, to the deification of self, appears monstrous11 and hideous12. The romantic spirit worshipped genius, worshipped heroism13, but at its best, in such a man as Victor Hugo, this spirit recognized the supreme14 claim of the lowest humanity. Its error was to idealize the victims of society, to paint them impossibly virtuous15 and beautiful; but truth, which has succeeded to the highest mission of romance, paints these victims as they are, and bids the world consider them not because they are beautiful and virtuous, but because they are ugly and vicious, cruel, filthy16, and only not altogether loathsome17 because the divine can never wholly die out of the human. The truth does not find these victims among the poor alone, among the hungry, the houseless, the ragged18; but it also finds them among the rich, cursed with the aimlessness, the satiety19, the despair of wealth, wasting their lives in a fool's paradise of shows and semblances20, with nothing real but the misery that comes of insincerity and selfishness.
I do not think the fiction of our own time even always equal to this work, or perhaps more than seldom so. But as I once expressed, to the long-reverberating discontent of two continents, fiction is now a finer art than it, has been hitherto, and more nearly meets the requirements of the infallible standard. I have hopes of real usefulness in it, because it is at last building on the only sure foundation; but I am by no means certain that it will be the ultimate literary form, or will remain as important as we believe it is destined21 to become. On the contrary, it is quite imaginable that when the great mass of readers, now sunk in the foolish joys of mere fable22, shall be lifted to an interest in the meaning of things through the faithful portrayal23 of life in fiction, then fiction the most faithful may be superseded24 by a still more faithful form of contemporaneous history. I willingly leave the precise character of this form to the more robust25 imagination of readers whose minds have been nurtured26 upon romantic novels, and who really have an imagination worth speaking of, and confine myself, as usual, to the hither side of the regions of conjecture27.
The art which in the mean time disdains28 the office of teacher is one of the last refuges of the aristocratic spirit which is disappearing from politics and society, and is now seeking to shelter itself in aesthetics29. The pride of caste is becoming the pride of taste; but as before, it is averse30 to the mass of men; it consents to know them only in some conventionalized and artificial guise31. It seeks to withdraw itself, to stand aloof32; to be distinguished33, and not to be identified. Democracy in literature is the reverse of all this. It wishes to know and to tell the truth, confident that consolation34 and delight are there; it does not care to paint the marvellous and impossible for the vulgar many, or to sentimentalize and falsify the actual for the vulgar few. Men are more like than unlike one another: let us make them know one another better, that they may be all humbled35 and strengthened with a sense of their fraternity. Neither arts, nor letters, nor sciences, except as they somehow, clearly or obscurely, tend to make the race better and kinder, are to be regarded as serious interests; they are all lower than the rudest crafts that feed and house and clothe, for except they do this office they are idle; and they cannot do this except from and through the truth.
The End
点击收听单词发音
1 humanitarian | |
n.人道主义者,博爱者,基督凡人论者 | |
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2 immutable | |
adj.不可改变的,永恒的 | |
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3 eminence | |
n.卓越,显赫;高地,高处;名家 | |
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4 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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5 embroiled | |
adj.卷入的;纠缠不清的 | |
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6 mere | |
adj.纯粹的;仅仅,只不过 | |
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7 toil | |
vi.辛劳工作,艰难地行动;n.苦工,难事 | |
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8 cynical | |
adj.(对人性或动机)怀疑的,不信世道向善的 | |
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9 motive | |
n.动机,目的;adv.发动的,运动的 | |
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10 glorification | |
n.赞颂 | |
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11 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
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12 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
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13 heroism | |
n.大无畏精神,英勇 | |
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14 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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15 virtuous | |
adj.有品德的,善良的,贞洁的,有效力的 | |
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16 filthy | |
adj.卑劣的;恶劣的,肮脏的 | |
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17 loathsome | |
adj.讨厌的,令人厌恶的 | |
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18 ragged | |
adj.衣衫褴褛的,粗糙的,刺耳的 | |
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19 satiety | |
n.饱和;(市场的)充分供应 | |
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20 semblances | |
n.外表,外观(semblance的复数形式) | |
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21 destined | |
adj.命中注定的;(for)以…为目的地的 | |
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22 fable | |
n.寓言;童话;神话 | |
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23 portrayal | |
n.饰演;描画 | |
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24 superseded | |
[医]被代替的,废弃的 | |
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25 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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26 nurtured | |
养育( nurture的过去式和过去分词 ); 培育; 滋长; 助长 | |
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27 conjecture | |
n./v.推测,猜测 | |
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28 disdains | |
鄙视,轻蔑( disdain的名词复数 ) | |
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29 aesthetics | |
n.(尤指艺术方面之)美学,审美学 | |
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30 averse | |
adj.厌恶的;反对的,不乐意的 | |
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31 guise | |
n.外表,伪装的姿态 | |
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32 aloof | |
adj.远离的;冷淡的,漠不关心的 | |
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33 distinguished | |
adj.卓越的,杰出的,著名的 | |
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34 consolation | |
n.安慰,慰问 | |
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35 humbled | |
adj. 卑下的,谦逊的,粗陋的 vt. 使 ... 卑下,贬低 | |
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