The myriads3 of Prussian germs, gases, and gangrenes released into the air and for the past year obsessing4 everything, revived my quiescent5 creation. I was moved to vomit6 Kreisler forth7. It is one big germ more. May the flames of Louvain help to illuminate8 (and illustrate) my hapless protagonist9! His misdemeanours too, which might appear too harshly real at ordinary times, have, just now, too obvious confirmations10 to be questioned.
Germany’s large leaden brain booms away in the centre of Europe. Her brain-waves and titanic11 orchestrations have broken round us for too long not to have had their effect. As we never think ourselves, except a stray Irishman or American, we should long ago have been swamped had it not been for the sea. The habits and vitality12 of the seaman’s life and this vigorous element have protected us intellectually as the blue water has politically.
In Europe Nietzsche’s gospel of desperation, the beyond-law-man, etc., has deeply influenced the Paris apache, the Italian Futurist littérateur, the[x] Russian revolutionary. Nietzsche’s books are full of seductions and sugar-plums. They have made “aristocrats” of people who would otherwise have been only mild snobs13 or meddlesome14 prigs; as much as, if not more than, other writings, they have made “expropriators” of what would otherwise merely have been Arsène Lupins: and they have made an Over-man of every vulgarly energetic grocer in Europe. The commercial and military success of Prussia has deeply influenced the French, as it is gradually winning the imagination of the English. The fascination15 of material power is, for the irreligious modern man, almost impossible to resist.
There is much to be said for this eruption16 of greedy, fleshy, frantic17 strength in the midst of discouraged delicacies18. Germany has its mission and its beauty. We will hope that the English may benefit by this power and passion, without being unnecessarily grateful for a gift that has been bought with best English blood, and which is not as important or unique as the great English gift bestowed19 centuries ago.
As to the Prophet of War, the tone of Nietzsche’s books should have discredited20 his philosophy. The modern Prussian advocate of the Aristocratic and Tyrannic took everybody into his confidence. Then he would coquet: he gave special prizes. Everybody couldn’t be a follower21 of his! No: only the minority: that is the minority who read his books, which has steadily22 grown till it comprises certainly (or would were it collected together) the ungainliest and strangest aristocratic caste any world could hope to see!
Kreisler in this book is a German and nothing else. Tarr is the individual in the book, and is at the same time one of the showmen of the author. His private life, however, I am in no way responsible for. The long drawn-out struggle in which we find this young man engaged is illuminated23 from start to finish by the hero of it. His theory, put in another way, is that an artist requires more energy than civilization provides, or than the civilized24 mode of life implies: more na?veté,[xi] freshness, and unconsciousness. So Nature agrees to force his sensibility and intelligence, on the one hand, to the utmost pitch, leaving him, on the other, an uncultivated and ungregarious tract25 where he can run wild and renew his forces and remain unspoilt.
Tarr, in his analysis of the anomalies of taste, gives the key to a crowd of other variants26 and twists to which most of the misunderstandings and stupidities in the deciphering of men are due. He exaggerates his own departure from perfect sense and taste into an unnecessary image of Shame and Disgust, before which he publicly castigates27 himself. He is a primitive figure, coupled with a modern type of flabby sophistication: that is Bertha Lunkin. The Münich German Madonna stands nude28, too, in the market-place, with a pained distortion of the face.
Tarr’s message, as a character in a book, is this. Under the camouflage29 of a monotonous30 intrigue31 he points a permanent opposition32, of life outstripped33, and art become lonely. He incidentally is intended to bring some comfort of analysis amongst less sifted34 and more ominous35 perplexities of our time. His message, as he discourses36, laughs, and picks his way through the heavily obstructed37 land of this story, is the message of a figure of health. His introspection is not melancholy38; for the strange and, as with his pedagogic wand he points out, hideously39 unsatisfactory figures that are given ingress to his innermost apartments become assimilated at once to a life in which he has the profoundest confidence. He exalts40 Life into a Comedy, when otherwise it is, to his mind, a tawdry zone of half-art, or a silly Tragedy. Art is the only thing worth the tragic41 impulse, for him; and, as he says, it is his drama. Should art, that is some finely-adjusted creative will, suddenly become the drama of the youth infatuated with his maiden42, what different dispositions43 would have to be made; what contradictory44 tremors45 would invade his amorous46 frame; what portions of that frame would still smoulder amorously47? These questions Tarr disposes of to his satisfaction.
So much by way of warning before the curtain rises. Even if the necessary tragic thrill of misgiving48 is caused thereby49 (or are we going to be “shocked” in the right way once again, not in Shaw’s “bloody,” schoolgirl way?), it may extenuate50 the at times seemingly needless nucleus51 of blood and tears.
P. Wyndham Lewis
1915
点击收听单词发音
1 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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2 Partisanship | |
n. 党派性, 党派偏见 | |
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3 myriads | |
n.无数,极大数量( myriad的名词复数 ) | |
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4 obsessing | |
v.时刻困扰( obsess的现在分词 );缠住;使痴迷;使迷恋 | |
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5 quiescent | |
adj.静止的,不活动的,寂静的 | |
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6 vomit | |
v.呕吐,作呕;n.呕吐物,吐出物 | |
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7 forth | |
adv.向前;向外,往外 | |
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8 illuminate | |
vt.照亮,照明;用灯光装饰;说明,阐释 | |
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9 protagonist | |
n.(思想观念的)倡导者;主角,主人公 | |
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10 confirmations | |
证实( confirmation的名词复数 ); 证据; 确认; (基督教中的)坚信礼 | |
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11 titanic | |
adj.巨人的,庞大的,强大的 | |
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12 vitality | |
n.活力,生命力,效力 | |
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13 snobs | |
(谄上傲下的)势利小人( snob的名词复数 ); 自高自大者,自命不凡者 | |
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14 meddlesome | |
adj.爱管闲事的 | |
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15 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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16 eruption | |
n.火山爆发;(战争等)爆发;(疾病等)发作 | |
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17 frantic | |
adj.狂乱的,错乱的,激昂的 | |
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18 delicacies | |
n.棘手( delicacy的名词复数 );精致;精美的食物;周到 | |
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19 bestowed | |
赠给,授予( bestow的过去式和过去分词 ) | |
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20 discredited | |
不足信的,不名誉的 | |
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21 follower | |
n.跟随者;随员;门徒;信徒 | |
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22 steadily | |
adv.稳定地;不变地;持续地 | |
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23 illuminated | |
adj.被照明的;受启迪的 | |
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24 civilized | |
a.有教养的,文雅的 | |
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25 tract | |
n.传单,小册子,大片(土地或森林) | |
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26 variants | |
n.变体( variant的名词复数 );变种;变型;(词等的)变体 | |
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27 castigates | |
v.严厉责骂、批评或惩罚(某人)( castigate的第三人称单数 ) | |
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28 nude | |
adj.裸体的;n.裸体者,裸体艺术品 | |
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29 camouflage | |
n./v.掩饰,伪装 | |
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30 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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31 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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32 opposition | |
n.反对,敌对 | |
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33 outstripped | |
v.做得比…更好,(在赛跑等中)超过( outstrip的过去式和过去分词 ) | |
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34 sifted | |
v.筛( sift的过去式和过去分词 );筛滤;细查;详审 | |
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35 ominous | |
adj.不祥的,不吉的,预兆的,预示的 | |
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36 discourses | |
论文( discourse的名词复数 ); 演说; 讲道; 话语 | |
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37 obstructed | |
阻塞( obstruct的过去式和过去分词 ); 堵塞; 阻碍; 阻止 | |
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38 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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39 hideously | |
adv.可怕地,非常讨厌地 | |
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40 exalts | |
赞扬( exalt的第三人称单数 ); 歌颂; 提升; 提拔 | |
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41 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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42 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
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43 dispositions | |
安排( disposition的名词复数 ); 倾向; (财产、金钱的)处置; 气质 | |
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44 contradictory | |
adj.反驳的,反对的,抗辩的;n.正反对,矛盾对立 | |
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45 tremors | |
震颤( tremor的名词复数 ); 战栗; 震颤声; 大地的轻微震动 | |
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46 amorous | |
adj.多情的;有关爱情的 | |
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47 amorously | |
adv.好色地,妖艳地;脉;脉脉;眽眽 | |
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48 misgiving | |
n.疑虑,担忧,害怕 | |
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49 thereby | |
adv.因此,从而 | |
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50 extenuate | |
v.减轻,使人原谅 | |
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51 nucleus | |
n.核,核心,原子核 | |
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