I am not speaking, of course, of work that must be done, especially in abnormal times; I am speaking of the psychology10 of tedium11 and of the romance of life. It is apparently12 demanded that the fire should be concealed14 in the entrails of an engine; that it should work through a labyrinth15 of bolts and bars; that it should litter around it numberless dreary16 offices, and leave behind it a train of indirect and mechanical servants, each further than the last from the least faint vibration17 of the original energy. Then, if in some outlying shed a woman has to stand counting tickets, or tying up parcels from morning till night, that woman is supposed to be free. She has Burst the Fetters18. She is Living Her Own Life. But there is supposed to be nothing but dullness for the woman who is face to face with that elemental fury which drives and fashions the whole. There is nothing poetical19 (as compared with the tickets and labels) in the woman who repeats the primordial20 adventure of Prometheus. And there is nothing artistic21 (as compared with the shed) about the terrestrial light which turns the greyest room to gold; which reclothes the woman’s raggedest children round the hearth22 with the colours of a company of Fra Angelico, so that the mere23 reflections of the flame can conquer the solid hues24 of drab and dust, and all her household is clothed with scarlet25.
The fire is in this, perhaps, the finest and simplest symbol of a truth persistently26 misunderstood. These elementary things, the land, the roof, the family, may seem mean and miserable27; and in a cynical28 civilization very probably will seem mean and miserable. But the things themselves are not mean or miserable; and any reformer who says they are is not only taking hold of the stick by the wrong end, he is cutting off the branch by which he is hanging. The stamp of social failure is not that men have these simple things, but, rather, that they do not have them; or even when they do, do not know that they have them. If the Fireside Woman is dull, it is because she never looks at the fire. It is because she is not, in the wise and philosophical29 sense, enough of a fire-worshipper. And she lacks this faculty30 because the whole drift of the modern world discourages that creative concentration, that intensive cultivation32 of the fancy, which filled the lives of our fathers with crowds of little household gods, and which created all the lesser33 and lighter34 sanctities that surround Christmas.
Amid the wild and wandering adventures of the fireside are some which made possible the very scientific progress which is prone35 to carp at it. The engine, of which I spoke36 recently, was (we have all been told) suggested because James Watt37 looked at the kettle. I will not conceal13 a suspicion that our society might have evolved better if he had looked at the fire. I mean, of course, if he had not only looked at it, but seen it, which is not always the same thing. If he had seen what there is to be seen, he might possibly have done many things. He might, for instance, have revived the Trade Guilds38 of Glasgow, which failed to grasp his discovery; he might have taught them to take hold of the new energy and turn it towards democracy, instead of going off and handing over his invention to the Capitalists. For the defect which betrayed all Watt’s school and generation, full as it was of a virile39 and thrifty40 Radicalism41, was precisely42 that it did not draw from these primal43 sources of piety44 and poetry. It was not sufficiently45 religious, and, therefore, not sufficiently domestic; and the rich rode it down at last. For the hearth is the only possible altar of insurrection, as even the pagans knew; from that fire alone are taken the flaming brands which can really lay waste the wicked cities. The truth can be told well enough by saying that James Watt would not really have comprehended the word Christmas; and would have been much annoyed if told to consider the Yule log instead of the kettle. He was the Fireside Man; but he was not domestic enough to be dangerous. For it is the domestic man and not the wild man, just as it is the domestic dog and not the wild dog, who really fights with thieves and dies at his post. There has not been a genuine popular war in England since the war of Wat Tyler, and the origin of that, it will be remembered, was strictly46 domestic. It was so domestic that it would not happen at all in the modern world: Wat Tyler would simply be automatically shot into prison for resisting a rational and necessary scientific inspection47. It was the growth of an unhuman and unhomelike philosophy that made all the difference between the Wat of the fourteenth century and the Watt of the nineteenth. And the spirit of real democracy will not re-emerge until it rises from the fireside and comes forth48 in the red reality of fire; the giant of Christmas brandishing49 the Yule log for a club.
But there is another feature in the flaming hearth which illustrates50 its natural kinship with Christmas. It is a place, as Christmas is a time; and these vivid limitations are vital to man as a mystic. It is not merely that the idea of everything being in its right place makes all the difference between a fire in a house and a house on fire. It is that the fireplace is a frame; and it is the frame that creates the picture. By being tied to a special spot the sacred dragon becomes more powerful and, in the high imaginative sense, more free. This is that link between hearths51 and altars which the heathen felt, and of which I have already spoken. If the household be the heart of politics, the fire is the heart of the household; and the vital organ is spread equally everywhere only in the very low organisms. The universe of the mere universalist is one of the very low organisms. The theosophic generalizations52 about Nirvana and the All may be compared to the American fashion of abolishing the fireplace altogether and heating the whole house artificially to the same temperature—a depressing habit. I can imagine that a system of hot-water pipes might satisfy a Pantheist; the notion suggests a rather dreary parody53 of Pan and his pipes. I can imagine that a Buddhist54 might want his whole house warmed like the palm-house at Kew; but, I think, a limited and localized fire will always be as much associated with Christians55 as it has always been associated with Christmas.
Shakespeare, himself like a large and liberal fire round which winter tales are told, has hit the mark in this matter exactly, as it concerns the poet or maker56 of fictive things. Shakespeare does not say that the poet loses himself in the All, that he dissipates concrete things into a cloudy twilight57, that he turns this home of ours into a vista58 or any vaguer thing. He says the exact opposite. It is “a local habitation and a name” that the poet gives to what would otherwise be nothing. This seeming narrowness which men complain of in the altar and the hearth is as broad as Shakespeare and the whole human imagination, and should command the respect even of those who think the cult31 of Christmas really is all imagination. Even those who can only regard the great story of Bethlehem as a fairy-tale told by the fire will yet agree that such narrowness is the first artistic necessity even of a good fairy-tale. But there are others who think, at least, that their thought strikes deeper and pierces to a more subtle truth in the mind. There are others for whom all our fairy-tales, and even all our appetite for fairy-tales, draw their fire from one central fairy-tale, as all forgeries59 draw their significance from a signature. They believe that this fable60 is a fact, and that the other fables61 cannot really be appreciated even as fables until we know it is a fact. For them, personality is a step beyond universality; one might almost call it an escape from universality. And what they follow is as much something more than Pantheism as a flame is something more than a temperature. For them, God is not bound down and limited by being merely everything; He is also at liberty to be something. And for them Christmas will always deal with a reality exactly as Shakespeare’s poetry deals with an unreality; it will give, not to airy nothing, but to the enormous and overwhelming everything, a local habitation and a Name.
点击收听单词发音
1 sneer | |
v.轻蔑;嘲笑;n.嘲笑,讥讽的言语 | |
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2 withering | |
使人畏缩的,使人害羞的,使人难堪的 | |
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3 stunted | |
adj.矮小的;发育迟缓的 | |
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4 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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5 prosaic | |
adj.单调的,无趣的 | |
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6 precipice | |
n.悬崖,危急的处境 | |
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7 ennui | |
n.怠倦,无聊 | |
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8 crimson | |
n./adj.深(绯)红色(的);vi.脸变绯红色 | |
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9 absurdity | |
n.荒谬,愚蠢;谬论 | |
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10 psychology | |
n.心理,心理学,心理状态 | |
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11 tedium | |
n.单调;烦闷 | |
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12 apparently | |
adv.显然地;表面上,似乎 | |
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13 conceal | |
v.隐藏,隐瞒,隐蔽 | |
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14 concealed | |
a.隐藏的,隐蔽的 | |
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15 labyrinth | |
n.迷宫;难解的事物;迷路 | |
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16 dreary | |
adj.令人沮丧的,沉闷的,单调乏味的 | |
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17 vibration | |
n.颤动,振动;摆动 | |
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18 fetters | |
n.脚镣( fetter的名词复数 );束缚v.给…上脚镣,束缚( fetter的第三人称单数 ) | |
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19 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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20 primordial | |
adj.原始的;最初的 | |
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21 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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22 hearth | |
n.壁炉炉床,壁炉地面 | |
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23 mere | |
adj.纯粹的;仅仅,只不过 | |
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24 hues | |
色彩( hue的名词复数 ); 色调; 信仰; 观点 | |
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25 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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26 persistently | |
ad.坚持地;固执地 | |
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27 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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28 cynical | |
adj.(对人性或动机)怀疑的,不信世道向善的 | |
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29 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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30 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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31 cult | |
n.异教,邪教;时尚,狂热的崇拜 | |
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32 cultivation | |
n.耕作,培养,栽培(法),养成 | |
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33 lesser | |
adj.次要的,较小的;adv.较小地,较少地 | |
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34 lighter | |
n.打火机,点火器;驳船;v.用驳船运送;light的比较级 | |
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35 prone | |
adj.(to)易于…的,很可能…的;俯卧的 | |
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36 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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37 watt | |
n.瓦,瓦特 | |
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38 guilds | |
行会,同业公会,协会( guild的名词复数 ) | |
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39 virile | |
adj.男性的;有男性生殖力的;有男子气概的;强有力的 | |
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40 thrifty | |
adj.节俭的;兴旺的;健壮的 | |
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41 radicalism | |
n. 急进主义, 根本的改革主义 | |
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42 precisely | |
adv.恰好,正好,精确地,细致地 | |
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43 primal | |
adj.原始的;最重要的 | |
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44 piety | |
n.虔诚,虔敬 | |
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45 sufficiently | |
adv.足够地,充分地 | |
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46 strictly | |
adv.严厉地,严格地;严密地 | |
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47 inspection | |
n.检查,审查,检阅 | |
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48 forth | |
adv.向前;向外,往外 | |
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49 brandishing | |
v.挥舞( brandish的现在分词 );炫耀 | |
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50 illustrates | |
给…加插图( illustrate的第三人称单数 ); 说明; 表明; (用示例、图画等)说明 | |
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51 hearths | |
壁炉前的地板,炉床,壁炉边( hearth的名词复数 ) | |
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52 generalizations | |
一般化( generalization的名词复数 ); 普通化; 归纳; 概论 | |
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53 parody | |
n.打油诗文,诙谐的改编诗文,拙劣的模仿;v.拙劣模仿,作模仿诗文 | |
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54 Buddhist | |
adj./n.佛教的,佛教徒 | |
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55 Christians | |
n.基督教徒( Christian的名词复数 ) | |
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56 maker | |
n.制造者,制造商 | |
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57 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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58 vista | |
n.远景,深景,展望,回想 | |
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59 forgeries | |
伪造( forgery的名词复数 ); 伪造的文件、签名等 | |
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60 fable | |
n.寓言;童话;神话 | |
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61 fables | |
n.寓言( fable的名词复数 );神话,传说 | |
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