Your inquiry1 is congenial, and I feel guilty of selfishness in answering it in this way. But he must be a poor workman, whether artisan or artist, who does not welcome an excuse now and then for shutting out the fascinating and maddening complexity3 of this shining world to concentrate his random4 wits on some honest and self-stimulating expression of his purpose.
There are exceptions to every rule; but writing, if undertaken as a trade, is subject to the conditions of all other trades. The apprentice5 must begin with task-work; he must please his employers before he can [52]earn the right to please himself. Not only that, he must have ingenuity6 and patience enough to learn how editors are pleased; but he will be startled, I think, if he studies their needs, to see how eager they are to meet him half way. This necessary docility7 is in the long run, a wholesome8 physic, because, if our apprentice has any gallantry of spirit, it will arouse in him an exhilarating irritation9, that indignation which is said to be the forerunner10 of creation. It will mean, probably, a period—perhaps short, perhaps long, perhaps permanent—of rather meagre and stinted11 acquaintance with the genial2 luxuries and amenities12 of life; but (such is the optimism of memory) a period that he will always look back upon as the happiest of all. It is well for our apprentice if, in this season, he has a taste for cheap tobacco and a tactful technique in borrowing money.
The deliberate embrace of literature as a career involves very real dangers. I mean dangers to the spirit over and above those of the right-hand trouser pocket. For, let it be honestly stated, the business of writing is solidly founded on a monstrous13 and perilous14 egotism. Himself, his temperament16, his powers of observation and comment, his emotions and sensibilities and ambitions and idiocies—these are the only monopoly the writer has. This is his only capital, and with glorious and shameless confidence he proposes to market it. Let him make the best of it. Continually stooping over the muddy flux17 of his racing18 mind, searching a momentary19 flash of clearness in which he can find mirrored some delicate beauty or truth, he tosses between[53] the alternatives of self-grandeur and self-disgust. It is a painful matter, this endless self-scrutiny. We are all familiar with the addled20 ego15 of literature—the writer whom constant self-communion has made vulgar, acid, querulous, and vain. And yet it is remarkable21 that of so many who meddle22 with the combustible23 passions of their own minds so few are blown up. The discipline of living is a fine cooling-jacket for the engine.
It is essential for our apprentice to remember that, though he begin with the vilest24 hack-work—writing scoffing25 paragraphs, or advertising26 pamphlets, or freelance snippets for the papers—that even in hack-work quality shows itself to those competent to judge; and he need not always subdue27 his gold to the lead in which he works. Moreover, conscience and instinct are surprisingly true and sane28. If he follows the suggestions of his own inward, he will generally be right. Moreover again, no one can help him as much as he can help himself. There is no job in the writing world that he cannot have if he really wants it. Writing about something he intimately knows is a sound principle. Hugh Walpole, that greatly gifted novelist, taught school after leaving Cambridge, and very sensibly began by writing about school-teaching. If you care to see how well he did it, read "The Gods and Mr. Perrin." I would propose this test to the would-be writer: Does he feel, honestly, that he could write as convincingly about his own tract29 of life (whatever it may be) as Walpole wrote about that boys' school? If so, he has a true vocation30 for literature.
[54]The first and most necessary equipment of any writer, be he reporter, advertising copy-man, poet, or historian, is swift, lively, accurate observation. And since consciousness is a rapid, shallow river which we can only rarely dam up deep enough to go swimming and take our ease, it is his positive need (unless he is a genius who can afford to let drift away much of his only source of gold) to keep a note-book handy for the sieving31 and skimming of this running stream. Samuel Butler has good advice on this topic. Of ideas, he says, you must throw salt on their tails or they fly away and you never see their bright plumage again. Poems, stories, epigrams, all the happiest freaks of the mind, flit by on wings and at haphazard32 instants. They must be caught in air. In this respect one thinks American writers ought to have an advantage over English, for American trousers are made with hip-pockets, in which a small note-book may so comfortably caress33 the natural curvature of man.
Fancy is engendered34 in the eyes, said Shakespeare, and is with gazing fed. By fancy he meant (I suppose) love; but imagination is also so engendered. Close, constant, vivid, and compassionate35 gazing at the ways of mankind is the laboratory manual of literature. But for most of us we may gaze until our eyeballs twitch36 with weariness; unless we seize and hold the flying picture in some steadfast37 memorandum38, the greater part of our experience dissolves away with time. If a man has thought sufficiently39 about the arduous40 and variously rewarded profession of literature to propose seriously to follow it for a living, he will already [55]have said these things to himself, with more force and pungency41. He may have satisfied himself that he has a necessary desire for "self-expression," which is a parlous42 state indeed, and the cause of much literary villainy. The truly great writer is more likely to write in the hope of expressing the hearts of others than his own. And there are other desires, too, most legitimate43, that he may feel. An English humorist said recently in the preface to his book: "I wrote these stories to satisfy an inward craving—not for artistic44 expression, but for food and drink." But I cannot conscientiously45 advise any man to turn to writing merely as a means of earning his victual unless he should, by some cheerful casualty, stumble upon a trick of the You-know-me-Alfred sort, what one might call the Attabuoyant style. If all you want is a suggestion as to some honest way of growing rich, the doughnut industry is not yet overcrowded; and people will stand in line to pay twenty-two cents for a dab46 of ice-cream smeared47 with a trickle48 of syrup49.
To the man who approaches writing with some decent tincture of idealism it is well to say that he proposes to use as a trade what is, at its best and happiest, an art and a recreation. He proposes to sell his mental reactions to the helpless public, and he proposes not only to enjoy himself by so doing, but to be handsomely recompensed withal. He cannot complain that in days when both honesty and delicacy50 of mind are none too common we ask him to bring to his task the humility51 of the tradesman, the joy of the sportsman, the conscience of the artist.
[56]And if he does so, he will be in a condition to profit by these fine words of George Santayana, said of the poet, but applicable to workers in every branch of literature:
"He labours with his nameless burden of perception, and wastes himself in aimless impulses of emotion and reverie, until finally the method of some art offers a vent52 to his inspiration, or to such part of it as can survive the test of time and the discipline of expression.... Wealth of sensation and freedom of fancy, which make an extraordinary ferment53 in his ignorant heart, presently bubble over into some kind of utterance54."
点击收听单词发音
1 inquiry | |
n.打听,询问,调查,查问 | |
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2 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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3 complexity | |
n.复杂(性),复杂的事物 | |
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4 random | |
adj.随机的;任意的;n.偶然的(或随便的)行动 | |
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5 apprentice | |
n.学徒,徒弟 | |
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6 ingenuity | |
n.别出心裁;善于发明创造 | |
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7 docility | |
n.容易教,易驾驶,驯服 | |
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8 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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9 irritation | |
n.激怒,恼怒,生气 | |
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10 forerunner | |
n.前身,先驱(者),预兆,祖先 | |
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11 stinted | |
v.限制,节省(stint的过去式与过去分词形式) | |
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12 amenities | |
n.令人愉快的事物;礼仪;礼节;便利设施;礼仪( amenity的名词复数 );便利设施;(环境等的)舒适;(性情等的)愉快 | |
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13 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
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14 perilous | |
adj.危险的,冒险的 | |
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15 ego | |
n.自我,自己,自尊 | |
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16 temperament | |
n.气质,性格,性情 | |
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17 flux | |
n.流动;不断的改变 | |
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18 racing | |
n.竞赛,赛马;adj.竞赛用的,赛马用的 | |
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19 momentary | |
adj.片刻的,瞬息的;短暂的 | |
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20 addled | |
adj.(头脑)糊涂的,愚蠢的;(指蛋类)变坏v.使糊涂( addle的过去式和过去分词 );使混乱;使腐臭;使变质 | |
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21 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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22 meddle | |
v.干预,干涉,插手 | |
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23 combustible | |
a. 易燃的,可燃的; n. 易燃物,可燃物 | |
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24 vilest | |
adj.卑鄙的( vile的最高级 );可耻的;极坏的;非常讨厌的 | |
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25 scoffing | |
n. 嘲笑, 笑柄, 愚弄 v. 嘲笑, 嘲弄, 愚弄, 狼吞虎咽 | |
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26 advertising | |
n.广告业;广告活动 a.广告的;广告业务的 | |
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27 subdue | |
vt.制服,使顺从,征服;抑制,克制 | |
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28 sane | |
adj.心智健全的,神志清醒的,明智的,稳健的 | |
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29 tract | |
n.传单,小册子,大片(土地或森林) | |
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30 vocation | |
n.职业,行业 | |
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31 sieving | |
筛(选),筛分(法) | |
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32 haphazard | |
adj.无计划的,随意的,杂乱无章的 | |
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33 caress | |
vt./n.爱抚,抚摸 | |
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34 engendered | |
v.产生(某形势或状况),造成,引起( engender的过去式和过去分词 ) | |
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35 compassionate | |
adj.有同情心的,表示同情的 | |
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36 twitch | |
v.急拉,抽动,痉挛,抽搐;n.扯,阵痛,痉挛 | |
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37 steadfast | |
adj.固定的,不变的,不动摇的;忠实的;坚贞不移的 | |
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38 memorandum | |
n.备忘录,便笺 | |
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39 sufficiently | |
adv.足够地,充分地 | |
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40 arduous | |
adj.艰苦的,费力的,陡峭的 | |
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41 pungency | |
n.(气味等的)刺激性;辣;(言语等的)辛辣;尖刻 | |
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42 parlous | |
adj.危险的,不确定的,难对付的 | |
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43 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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44 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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45 conscientiously | |
adv.凭良心地;认真地,负责尽职地;老老实实 | |
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46 dab | |
v.轻触,轻拍,轻涂;n.(颜料等的)轻涂 | |
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47 smeared | |
弄脏; 玷污; 涂抹; 擦上 | |
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48 trickle | |
vi.淌,滴,流出,慢慢移动,逐渐消散 | |
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49 syrup | |
n.糖浆,糖水 | |
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50 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
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51 humility | |
n.谦逊,谦恭 | |
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52 vent | |
n.通风口,排放口;开衩;vt.表达,发泄 | |
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53 ferment | |
vt.使发酵;n./vt.(使)激动,(使)动乱 | |
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54 utterance | |
n.用言语表达,话语,言语 | |
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