As the last chapter was begun with a reminder1 looking forwards, so the present must consist of one glancing backwards2.
To some, it may raise a degree of surprise that one so full of confidence, as the merchant has throughout shown himself, up to the moment of his late sudden impulsiveness3, should, in that instance, have betrayed such a depth of discontent. He may be thought inconsistent, and even so he is. But for this, is the author to be blamed? True, it may be urged that there is nothing a writer of fiction should more carefully see to, as there is nothing a sensible reader will more carefully look for, than that, in the depiction4 of any character, its consistency5 should be preserved. But this, though at first blush, seeming reasonable enough, may, upon a closer view, prove not so much so. For how does it couple with another requirement—equally insisted upon, perhaps—that, while to all fiction is allowed some play of invention, yet, fiction based on fact should never be contradictory6 to it; and is it not a fact, that, in real life, a consistent [104] character is a rara avis? Which being so, the distaste of readers to the contrary sort in books, can hardly arise from any sense of their untrueness. It may rather be from perplexity as to understanding them. But if the acutest sage7 be often at his wits' ends to understand living character, shall those who are not sages8 expect to run and read character in those mere9 phantoms10 which flit along a page, like shadows along a wall? That fiction, where every character can, by reason of its consistency, be comprehended at a glance, either exhibits but sections of character, making them appear for wholes, or else is very untrue to reality; while, on the other hand, that author who draws a character, even though to common view incongruous in its parts, as the flying-squirrel, and, at different periods, as much at variance11 with itself as the butterfly is with the caterpillar12 into which it changes, may yet, in so doing, be not false but faithful to facts.
If reason be judge, no writer has produced such inconsistent characters as nature herself has. It must call for no small sagacity in a reader unerringly to discriminate13 in a novel between the inconsistencies of conception and those of life as elsewhere. Experience is the only guide here; but as no one man can be coextensive with what is, it may be unwise in every ease to rest upon it. When the duck-billed beaver14 of Australia was first brought stuffed to England, the naturalists15, appealing to their classifications, maintained that there was, in reality, no such creature; the bill in the specimen16 must needs be, in some way, artificially stuck on. [105]
But let nature, to the perplexity of the naturalists, produce her duck-billed beavers17 as she may, lesser18 authors some may hold, have no business to be perplexing readers with duck-billed characters. Always, they should represent human nature not in obscurity, but transparency, which, indeed, is the practice with most novelists, and is, perhaps, in certain cases, someway felt to be a kind of honor rendered by them to their kind. But, whether it involve honor or otherwise might be mooted19, considering that, if these waters of human nature can be so readily seen through, it may be either that they are very pure or very shallow. Upon the whole, it might rather be thought, that he, who, in view of its inconsistencies, says of human nature the same that, in view of its contrasts, is said of the divine nature, that it is past finding out, thereby20 evinces a better appreciation21 of it than he who, by always representing it in a clear light, leaves it to be inferred that he clearly knows all about it.
But though there is a prejudice against inconsistent characters in books, yet the prejudice bears the other way, when what seemed at first their inconsistency, afterwards, by the skill of the writer, turns out to be their good keeping. The great masters excel in nothing so much as in this very particular. They challenge astonishment22 at the tangled23 web of some character, and then raise admiration24 still greater at their satisfactory unraveling of it; in this way throwing open, sometimes to the understanding even of school misses, the last complications of that spirit which is affirmed [106] by its Creator to be fearfully and wonderfully made.
At least, something like this is claimed for certain psychological novelists; nor will the claim be here disputed. Yet, as touching25 this point, it may prove suggestive, that all those sallies of ingenuity26, having for their end the revelation of human nature on fixed27 principles, have, by the best judges, been excluded with contempt from the ranks of the sciences—palmistry, physiognomy, phrenology, psychology28. Likewise, the fact, that in all ages such conflicting views have, by the most eminent29 minds, been taken of mankind, would, as with other topics, seem some presumption30 of a pretty general and pretty thorough ignorance of it. Which may appear the less improbable if it be considered that, after poring over the best novels professing31 to portray32 human nature, the studious youth will still run risk of being too often at fault upon actually entering the world; whereas, had he been furnished with a true delineation33, it ought to fare with him something as with a stranger entering, map in hand, Boston town; the streets may be very crooked34, he may often pause; but, thanks to his true map, he does not hopelessly lose his way. Nor, to this comparison, can it be an adequate objection, that the twistings of the town are always the same, and those of human nature subject to variation. The grand points of human nature are the same to-day they were a thousand years ago. The only variability in them is in expression, not in feature.
But as, in spite of seeming discouragement, some [107] mathematicians35 are yet in hopes of hitting upon an exact method of determining the longitude36, the more earnest psychologists may, in the face of previous failures, still cherish expectations with regard to some mode of infallibly discovering the heart of man.
But enough has been said by way of apology for whatever may have seemed amiss or obscure in the character of the merchant; so nothing remains37 but to turn to our comedy, or, rather, to pass from the comedy of thought to that of action.
点击收听单词发音
1 reminder | |
n.提醒物,纪念品;暗示,提示 | |
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2 backwards | |
adv.往回地,向原处,倒,相反,前后倒置地 | |
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3 impulsiveness | |
n.冲动 | |
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4 depiction | |
n.描述 | |
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5 consistency | |
n.一贯性,前后一致,稳定性;(液体的)浓度 | |
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6 contradictory | |
adj.反驳的,反对的,抗辩的;n.正反对,矛盾对立 | |
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7 sage | |
n.圣人,哲人;adj.贤明的,明智的 | |
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8 sages | |
n.圣人( sage的名词复数 );智者;哲人;鼠尾草(可用作调料) | |
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9 mere | |
adj.纯粹的;仅仅,只不过 | |
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10 phantoms | |
n.鬼怪,幽灵( phantom的名词复数 ) | |
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11 variance | |
n.矛盾,不同 | |
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12 caterpillar | |
n.毛虫,蝴蝶的幼虫 | |
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13 discriminate | |
v.区别,辨别,区分;有区别地对待 | |
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14 beaver | |
n.海狸,河狸 | |
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15 naturalists | |
n.博物学家( naturalist的名词复数 );(文学艺术的)自然主义者 | |
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16 specimen | |
n.样本,标本 | |
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17 beavers | |
海狸( beaver的名词复数 ); 海狸皮毛; 棕灰色; 拼命工作的人 | |
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18 lesser | |
adj.次要的,较小的;adv.较小地,较少地 | |
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19 mooted | |
adj.未决定的,有争议的,有疑问的v.提出…供讨论( moot的过去式和过去分词 ) | |
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20 thereby | |
adv.因此,从而 | |
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21 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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22 astonishment | |
n.惊奇,惊异 | |
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23 tangled | |
adj. 纠缠的,紊乱的 动词tangle的过去式和过去分词 | |
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24 admiration | |
n.钦佩,赞美,羡慕 | |
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25 touching | |
adj.动人的,使人感伤的 | |
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26 ingenuity | |
n.别出心裁;善于发明创造 | |
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27 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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28 psychology | |
n.心理,心理学,心理状态 | |
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29 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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30 presumption | |
n.推测,可能性,冒昧,放肆,[法律]推定 | |
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31 professing | |
声称( profess的现在分词 ); 宣称; 公开表明; 信奉 | |
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32 portray | |
v.描写,描述;画(人物、景象等) | |
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33 delineation | |
n.记述;描写 | |
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34 crooked | |
adj.弯曲的;不诚实的,狡猾的,不正当的 | |
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35 mathematicians | |
数学家( mathematician的名词复数 ) | |
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36 longitude | |
n.经线,经度 | |
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37 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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