One does not pronounce the subject forbidden. We know, and recognize, that a man's mistress may be a nobler woman than his wife, the love between them more real; we know and recognize where mere1 passion may lead; and we do not carelessly push beyond the pale, those whom a hundred different circumstances—quite different degrees of moral weakness or reckless defiance2 through special trouble—may have led to live on man's desires. We do not dismiss them from thought, reading, and conversation.
Nevertheless many novels now written use these most grave issues for mere dramatic effect, or to confound morality; and, to these ends, offer a falsely attractive picture of emotional adventure. In his terrible Bed of Roses, on the other hand, Mr. W. L. George [34]treats his theme with the definite object of exposing the tragedy of a young woman with no training, suddenly forced to earn her living; and of expressing his righteous anger against the conditions of civilization. Because, he declares, "a woman can scratch up a living but not a future; and the only job she's really fit for is to be a man's keep, legal or illegal, permanent or temporary." The narrative3 itself is most emphatically not free from offence, but the motive4 is honest and sincere.
Mr. Gilbert Cannan, again, with less earnest intention but still legitimately5, seems to have written Pink Roses to illustrate6 the demoralizing effects of the war on a quite decent, average young man, who was "left out" of things—through a weak heart. He drifts into an experiment of lust7, but is not finally destroyed, because he recognized from the first that he had only sought the adventure—to fill the blank years.
The frail8 "Cora" of Mr. Snaith's Sailor merely stands for temptation, which no novelist can omit. The episode is not shirked, but it is treated with all the traditional reticence9, which puts it outside our discussion here.
In these examples the motive may be [35]acknowledged towards justification10; but such books as Mr. W. L. George's Confessions11 of Ursula Trent only respond to a morbid12 preference for melodramatic atmosphere: they assume, and encourage, our interest in the unclean.
To heighten the effect, they are—almost inevitably—untrue. The attractions and drama are exaggerated, giving a false glamour13 to the gravest tragedy of human nature. There is here obvious adventure, and far greater variety or colour than we can, most of us, reach in ordinary respectable life. There is even some real liberty for the individual (though far less than these superficial narratives14 suggest), in dramatic contrast to the slaving drudgery15 and imprisoned16 minds—of underpaid long hours of toil17 and drab unloving homes.
The hopeless tragedy, the bitter knowledge, the utter weariness and the slavery of the soul do not provide the novelist with dramatic material, and are—to a large extent—left out of the picture. He slurs18 over, or altogether ignores, the blunting of moral sense, the coarsening of moral fibre, the lowering of all ideals: the gradual loss of power over oneself, loss of will, loss of freedom, loss—even—of [36]desire. He may use the more obvious foulness19 and brutality20 as an occasion for drama—naturally not wishing to be transparently21 unreal. The moral tragedy is not there.
But by his own art standard, that demands the exact truth, he is condemned22; and he is guilty of just that falsehood which he set out to expose and revile—of treating his characters as a class apart, rather types than individuals. As the Victorians assumed, without charity, they were always lower than the "respectable"; he almost conveys the impression that they are necessarily higher—as careless, and far more dangerous, an assumption.
We can perhaps see more clearly where this perverse24 attack upon convention really leads from another example of fiction, frankly25 designed to sell.
It is, indeed, hard to detect the serious object or thought behind such books as The Age of Consent. The publisher claims "extraordinary delicacy26" for its treatment of a "difficult, perilous27, and exciting situation," which is "modern in the fullest sense." There is, we admit, nothing coarse here in language or thought, a welcome exception to-day; and the combination of essential purity, in a very real sense, with a courageous28 acceptance of [37]life, is revealed with real understanding of morality and of our natural instincts.
In other words, Pamela is a true woman; with exceptional possession of herself, heroic impulse and a clean mind; capable of sustained, genuine self-sacrifice and self-restraint.
But when we consider the tests by which her nature is revealed and developed, the sordid29 vice30 in which she grew from girl to woman; the whole impression is reversed. Circumstances and atmosphere are violently morbid and also quite abnormal. We have not only every conceivable variety in the cruel and profit-sharing intrigues31 of lust (with no sudden impulse to excuse, if not condone); but illustration and discussion of the most extreme and vile23 form of criminal mania32 that serves no purpose but to heighten the crude sensationalism.
The legal problem suggested by the title (a "practical" issue of grave importance to public morality) is only used for the mechanism33 of the plot; and spiritual purity is fertilized34 by manure35. This, of course, may be achieved by a strong nature: virtue36 does sometimes triumph against long odds37. But such books without doubt imply that the surroundings of loathly sin provide the most [38]favourable soil for the growth and strengthening of a girl's innocence38 to perfect womanhood. Which is a lie.
Can we finally hesitate to proclaim that too many novels, written round "gay life," create moods and stimulate39 emotions, by which truth and the Right are hidden or denied?
点击收听单词发音
1 mere | |
adj.纯粹的;仅仅,只不过 | |
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2 defiance | |
n.挑战,挑衅,蔑视,违抗 | |
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3 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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4 motive | |
n.动机,目的;adv.发动的,运动的 | |
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5 legitimately | |
ad.合法地;正当地,合理地 | |
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6 illustrate | |
v.举例说明,阐明;图解,加插图 | |
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7 lust | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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8 frail | |
adj.身体虚弱的;易损坏的 | |
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9 reticence | |
n.沉默,含蓄 | |
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10 justification | |
n.正当的理由;辩解的理由 | |
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11 confessions | |
n.承认( confession的名词复数 );自首;声明;(向神父的)忏悔 | |
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12 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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13 glamour | |
n.魔力,魅力;vt.迷住 | |
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14 narratives | |
记叙文( narrative的名词复数 ); 故事; 叙述; 叙述部分 | |
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15 drudgery | |
n.苦工,重活,单调乏味的工作 | |
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16 imprisoned | |
下狱,监禁( imprison的过去式和过去分词 ) | |
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17 toil | |
vi.辛劳工作,艰难地行动;n.苦工,难事 | |
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18 slurs | |
含糊的发音( slur的名词复数 ); 玷污; 连奏线; 连唱线 | |
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19 foulness | |
n. 纠缠, 卑鄙 | |
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20 brutality | |
n.野蛮的行为,残忍,野蛮 | |
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21 transparently | |
明亮地,显然地,易觉察地 | |
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22 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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23 vile | |
adj.卑鄙的,可耻的,邪恶的;坏透的 | |
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24 perverse | |
adj.刚愎的;坚持错误的,行为反常的 | |
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25 frankly | |
adv.坦白地,直率地;坦率地说 | |
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26 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
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27 perilous | |
adj.危险的,冒险的 | |
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28 courageous | |
adj.勇敢的,有胆量的 | |
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29 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
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30 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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31 intrigues | |
n.密谋策划( intrigue的名词复数 );神秘气氛;引人入胜的复杂情节v.搞阴谋诡计( intrigue的第三人称单数 );激起…的好奇心 | |
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32 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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33 mechanism | |
n.机械装置;机构,结构 | |
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34 Fertilized | |
v.施肥( fertilize的过去式和过去分词 ) | |
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35 manure | |
n.粪,肥,肥粒;vt.施肥 | |
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36 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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37 odds | |
n.让步,机率,可能性,比率;胜败优劣之别 | |
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38 innocence | |
n.无罪;天真;无害 | |
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39 stimulate | |
vt.刺激,使兴奋;激励,使…振奋 | |
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