—Thomas Carlyle.
The death of Tennyson has called forth3 a vast deal of nonsense. Much of it is even insincere. The pulpits have spouted4 cataracts5 of sentimentality. Some of them have emitted quantities of sheer drivel. A stranger would think we had lost our only poet, and well-nigh our only teacher; whereas, if the truth must be told, we have lost one who was occasionally a great poet, but for the most part a miraculous6 artist in words. No man in his senses—certainly no man with a spark of judgment—could call Tennyson a profound thinker. Mainly he gave exquisite7 expression to ideas that floated around him. Nor did he possess a high degree of the creative faculty8, such as Shakespeare possessed9 in inexhaustible abundance. Surely it is possible to admire our dead poet's genius without telling lies over his grave.
Among the pulpit utterances10 on Tennyson we note the Rev11. Hugh Price Hughes's as perhaps the very perfection of slobbery incapacity. He appears to be delivering a course of addresses on the poet. The first of these escaped our attention; the second is before us in the supplement to last week's Methodist Times. We have read it with great attention and without the slightest profit. Not a sentence or a phrase in it rises above commonplace. That a crowd of people should listen to such stuff on a Sunday afternoon, when they might be taking a walk or enjoying a snooze, is a striking evidence of the degeneration of the human mind, at least in the circles of Methodism.
Mr. Hughes praises Tennyson for "conscientiousness13 in the use and choice of words." He should have said "the choice and use of words," for choice must precede use to be of any service. Mr. Hughes says it is of great importance that we should all be as conscientious12 as Tennyson. He might as well say it is of great importance that we should all be as strong as Sandow.
Let us take a few examples of Mr. Hughes's "conscientiousness." He talks of "shining features" which "lie upon the very surface" of Tennyson's poems. Now features seldom shine, they do not lie, and they must be (not upon, but) at the surface. Six lines further the shining features change into "shining qualities," as though features and qualities were synonyms14. Mr. Hughes speaks, in the style of a penny-a-liner, of Tennyson's "amazing and unparalleled popular influence." Will he tell us if anything could amaze us without being unparalleled? He remarks that Tennyson was "not merely and mainly a poet of the educated classes." He should have said "merely or mainly." He enjoins15 upon us to "define our terms" and "know the exact meanings of the terms we use"—which is absolute tautology16. He says of flirtation—on which he seems an authority—that "I greatly fear, and am morally certain" it is as much perpetrated by men as by women. But if he fears he cannot be certain, and if he is certain he cannot fear. He calls duelling a form of "insanity18 and barbarism." But while it may be one or the other, it cannot be both at once. The disjunctive, therefore, not the copulative, is the proper conjunction. Mr. Hughes misspells the name of Spenser, translates mariage de convenance as a marriage of convenience, and inserts one of his own inventions in a line of Locksley Hall, which runs thus in the Hughes edition of Tennyson—
Puppet to a father's threat and servile to a mother's shrewish tongue.
"Mother's" spoils the line. It is not Tennyson's. Mr. Hughes may claim it—"an ill-favored thing, sir, but mine own." It does equal credit to his "conscientiousness" and his ears.
Mr. Hughes's style as a critic does not rise to the level of an active contempt. Let us look at his matter and see if it shows any superiority.
"Yet although," Mr. Hughes says, with characteristic elegance—"yet although he wrote so much, Tennyson never wrote a single line that would bring a painful or anxious blush to the cheek of the most innocent or sensitive maiden19." What a curious antithesis20! Why should a man write impurely21 for writing much? And is this the supreme23 virtue24 of a great poet? It might be predicated of Martin Tupper. Milton, on the other hand, must have made many a maiden rosy25 by his description of Eve's naked loveliness—to say nothing of the scene after the Fall; while Shakespeare must have turned many a maiden cheek scarlet26, though we do not believe he ever did the maiden any harm. Tennyson was not as free-spoken as some poets—greater poets than himself. But what does Mr. Hughes mean by his "Christ-like purity"? Is there a reference here to the twelfth verse of the nineteenth chapter of Matthew?
Purity, if properly understood, is undoubtedly27 a virtue. Mr. Hughes forgets, however, that his eulogy28 on Tennyson in this respect is a slur29 upon the Bible. There are things in the Old Testament—not to mention the New Testament—calculated to make "the most innocent or sensitive maiden" vomit30; things that might abash31 a prostitute and make a satyr squeamish. We suggest, therefore, that Mr. Hughes should cease canting about "purity" while he helps to thrust the Bible into the hands of little children.
The reward of Tennyson's purity, according to Mr. Hughes, was that "he was able to understand women." "The English race," exclaims the eulogist, "has never contemplated32 a nobler or more inspiring womanhood than that which glows on every page of Tennyson." This is the hectic33 exaggeration in which Mr. Hughes habitually34 indulges. Tennyson never drew a live woman. Maud is a lay figure, and the heroine of "The Princess" is purely22 fantastic. George Meredith beats the late Laureate hollow in this respect. He is second only to Shakespeare, who here, as elsewhere, maintains his supremacy35.
Mr. Hughes's remarks on Locksley Hall are, to use his own expression, amazing. "How terribly," he says, "does he [Tennyson] paint the swift degeneration of the faithless Amy." Mr. Hughes forgets—or does he forget?—that in the sequel to this poem, entitled Sixty Years After, Tennyson unsays all the high-pitched dispraise of Amy and her squire36. Locksley Hall is a piece of splendid versification, but the hero is a prig, which is a shade worse than a Philistine37. Young fellows mouth the poem rapturously; their elders smile at the disguises of egotism.
Loveless marriage was reprobated by Tennyson, and Mr. Hughes goes into ecstacies over the tremendous fact. Like the Psalmist, he is in haste; he cannot point to a poet who ever hinted the dethronement of love.
A choice Hughesean sentence occurs in this connexion. "I very much regret," the preacher says, "that Maud's lover was such a conventional idiot that he should have been guilty of the supreme folly38 of challenging her brother to a duel17." Shade of Lindley Murrey, what a sentence! A boy who wrote thus would deserve whipping. And what right, we ask, has a Christian39 minister to rail at duelling? It was unknown to Greek or Roman society. Indeed, it is merely a form of the Ordeal40, which was upheld by Christianity. The duel was originally a direct and solemn appeal to Providence41. Only a sceptic has the right to call it a folly.
Enough of Mr. Hughes as a stylist, a critic, and teacher. What he really shines in is invention.
His story of the converted Atheist42 shoemaker displays a faculty which has no scope in a sermon on Tennyson.
点击收听单词发音
1 heterogeneous | |
adj.庞杂的;异类的 | |
参考例句: |
|
|
2 clotted | |
adj.凝结的v.凝固( clot的过去式和过去分词 ) | |
参考例句: |
|
|
3 forth | |
adv.向前;向外,往外 | |
参考例句: |
|
|
4 spouted | |
adj.装有嘴的v.(指液体)喷出( spout的过去式和过去分词 );滔滔不绝地讲;喋喋不休地说;喷水 | |
参考例句: |
|
|
5 cataracts | |
n.大瀑布( cataract的名词复数 );白内障 | |
参考例句: |
|
|
6 miraculous | |
adj.像奇迹一样的,不可思议的 | |
参考例句: |
|
|
7 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
参考例句: |
|
|
8 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
参考例句: |
|
|
9 possessed | |
adj.疯狂的;拥有的,占有的 | |
参考例句: |
|
|
10 utterances | |
n.发声( utterance的名词复数 );说话方式;语调;言论 | |
参考例句: |
|
|
11 rev | |
v.发动机旋转,加快速度 | |
参考例句: |
|
|
12 conscientious | |
adj.审慎正直的,认真的,本着良心的 | |
参考例句: |
|
|
13 conscientiousness | |
责任心 | |
参考例句: |
|
|
14 synonyms | |
同义词( synonym的名词复数 ) | |
参考例句: |
|
|
15 enjoins | |
v.命令( enjoin的第三人称单数 ) | |
参考例句: |
|
|
16 tautology | |
n.无谓的重复;恒真命题 | |
参考例句: |
|
|
17 duel | |
n./v.决斗;(双方的)斗争 | |
参考例句: |
|
|
18 insanity | |
n.疯狂,精神错乱;极端的愚蠢,荒唐 | |
参考例句: |
|
|
19 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
参考例句: |
|
|
20 antithesis | |
n.对立;相对 | |
参考例句: |
|
|
21 impurely | |
污染地,不纯地 | |
参考例句: |
|
|
22 purely | |
adv.纯粹地,完全地 | |
参考例句: |
|
|
23 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
参考例句: |
|
|
24 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
参考例句: |
|
|
25 rosy | |
adj.美好的,乐观的,玫瑰色的 | |
参考例句: |
|
|
26 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
参考例句: |
|
|
27 undoubtedly | |
adv.确实地,无疑地 | |
参考例句: |
|
|
28 eulogy | |
n.颂词;颂扬 | |
参考例句: |
|
|
29 slur | |
v.含糊地说;诋毁;连唱;n.诋毁;含糊的发音 | |
参考例句: |
|
|
30 vomit | |
v.呕吐,作呕;n.呕吐物,吐出物 | |
参考例句: |
|
|
31 abash | |
v.使窘迫,使局促不安 | |
参考例句: |
|
|
32 contemplated | |
adj. 预期的 动词contemplate的过去分词形式 | |
参考例句: |
|
|
33 hectic | |
adj.肺病的;消耗热的;发热的;闹哄哄的 | |
参考例句: |
|
|
34 habitually | |
ad.习惯地,通常地 | |
参考例句: |
|
|
35 supremacy | |
n.至上;至高权力 | |
参考例句: |
|
|
36 squire | |
n.护卫, 侍从, 乡绅 | |
参考例句: |
|
|
37 philistine | |
n.庸俗的人;adj.市侩的,庸俗的 | |
参考例句: |
|
|
38 folly | |
n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
参考例句: |
|
|
39 Christian | |
adj.基督教徒的;n.基督教徒 | |
参考例句: |
|
|
40 ordeal | |
n.苦难经历,(尤指对品格、耐力的)严峻考验 | |
参考例句: |
|
|
41 providence | |
n.深谋远虑,天道,天意;远见;节约;上帝 | |
参考例句: |
|
|
42 atheist | |
n.无神论者 | |
参考例句: |
|
|
欢迎访问英文小说网 |