In his spiritual home—a neat and commodious4 Georgian mansion5 in the style of Leoni or Ware—he sits and reads, he turns over portfolios6 of queer old prints, he savours meditatively7 the literary vintages of centuries. And occasionally, once in two or three years, he tosses over his park palings a record of these leisured degustations, a judgment8 passed upon his library, a ripe rare book. One time it is Eminent9 Victorians; the next it is Queen Victoria herself. To-day he has given us a miscellaneous collection of Books and Characters.
If Voltaire had lived to the age of two hundred and thirty instead of shuffling10 off 137at a paltry11 eighty-four, he would have written about the Victorian epoch12, about life and letters at large, very much as Mr. Strachey has written. That lucid13 common sense, that sharp illuminating14 wit which delight us in the writings of the middle eighteenth century—these are Mr. Strachey’s characteristics. We know exactly what he would have been if he had come into the world at the beginning of the seventeen hundreds; if he is different from the men of that date it is because he happens to have been born towards the end of the eighteens.
The sum of knowledge at the disposal of the old Encyclop?dists was singularly small, compared, that is to say, with the knowledge which we of the twentieth century have inherited. They made mistakes and in their ignorance they passed what we can see to have been hasty and very imperfect judgments15 on men and things. Mr. Strachey is the eighteenth century grown-up; he is Voltaire at two hundred and thirty.
Voltaire at sixty would have treated the Victorian era, if it could have appeared in a prophetical vision before his eyes, in terms of “La Pucelle”—with ribaldry. He would have had to be much older in knowledge and inherited experience before he could have approached it in that spirit of sympathetic 138irony and ironical17 sympathy which Mr. Strachey brings to bear upon it. Mr. Strachey makes us like the old Queen, while we smile at her; he makes us admire the Prince Consort18 in spite of the portentous19 priggishness—duly insisted on in the biography—which accompanied his intelligence. With all the untutored barbarity of their notions, Gordon and Florence Nightingale are presented to us as sympathetic figures. Their peculiar20 brand of religion and ethics21 might be absurd, but their characters are shown to be interesting and fine.
It is only in the case of Dr. Arnold that Mr. Strachey permits himself to be unrestrainedly Voltairean; he becomes a hundred and seventy years younger as he describes the founder22 of the modern Public School system. The irony16 of that description is tempered by no sympathy. To make the man appear even more ridiculous, Mr. Strachey adds a stroke or two to the portrait of his own contriving—little inventions which deepen the absurdity23 of the caricature. Thus we read that Arnold’s “outward appearance was the index of his inward character. The legs, perhaps, were shorter than they should have been; but the sturdy athletic24 frame, especially when it was swathed (as it usually was) in the flowing robes of a Doctor of 139Divinity, was full of an imposing25 vigour26.” How exquisitely27 right those short legs are! how artistically28 inevitable29! Our admiration30 for Mr. Strachey’s art is only increased when we discover that in attributing to the Doctor this brevity of shank he is justified31 by no contemporary document. The short legs are his own contribution.
Voltaire, then, at two hundred and thirty has learned sympathy. He has learned that there are other ways of envisaging32 life than the common-sense, reasonable way and that people with a crack-brained view of the universe have a right to be judged as human beings and must not be condemned33 out of hand as lunatics or obscurantists. Blake and St. Francis have as much right to their place in the sun as Gibbon and Hume. But still, in spite of this lesson, learned and inherited from the nineteenth century, our Voltaire of eleven score years and ten still shows a marked preference for the Gibbons and the Humes; he still understands their attitude towards life a great deal better than he understands the other fellow’s attitude.
In his new volume of Books and Characters Mr. Strachey prints an essay on Blake (written, it may be added parenthetically, some sixteen years ago), in which he sets out very conscientiously34 to give that disquieting35 poet 140his due. The essay is interesting, not because it contains anything particularly novel in the way of criticism, but because it reveals, in spite of all Mr. Strachey’s efforts to overcome it, in spite of his admiration for the great artist in Blake, his profound antagonism36 towards Blake’s view of life.
He cannot swallow mysticism; he finds it clearly very difficult to understand what all this fuss about the soul really signifies. The man who believes in the absoluteness of good and evil, who sees the universe as a spiritual entity37 concerned, in some transcendental fashion, with morality, the man who regards the human spirit as possessing a somehow cosmic importance and significance—ah no, decidedly no, even at two hundred and thirty Voltaire cannot whole-heartedly sympathize with such a man.
And that, no doubt, is the reason why Mr. Strachey has generally shrunk from dealing38, in his biographies and his criticisms, with any of these strange incomprehensible characters. Blake is the only one he had tried his hand on, and the result is not entirely39 satisfactory. He is more at home with the Gibbons and Humes of this world, and when he is not discussing the reasonable beings he likes to amuse himself with the eccentrics, like Mr. Creevey or Lady Hester Stanhope. 141The portentous, formidable mystics he leaves severely40 alone.
One cannot imagine Mr. Strachey coping with Dostoevsky or with any of the other great explorers of the soul. One cannot imagine him writing a life of Beethoven. These huge beings are disquieting for a Voltaire who has learned enough sympathy to be able to recognize their greatness, but whose temperament41 still remains42 unalterably alien. Mr. Strachey is wise to have nothing to do with them.
The second-rate mystics (I use the term in its widest and vaguest sense), the men who believe in the spirituality of the universe and in the queerer dogmas which have become tangled43 in that belief, without possessing the genius which alone can justify44 such notions in the eyes of the Voltaireans—these are the objects on which Mr. Strachey likes to turn his calm and penetrating45 gaze. Gordon and Florence Nightingale, the Prince Consort, Clough—they and their beliefs are made to look rather absurd by the time he has done with them. He reduces their spiritual struggles to a series of the most comically futile46 series of gymnastics in the void. The men of genius who have gone through the same spiritual struggles, who have believed the same sort of creeds47, have 142had the unanswerable justification48 of their genius. These poor absurd creatures have not. Voltaire in his third century gives them a certain amount of his newly learned sympathy; but he also gives them a pretty strong dose of his old irony.
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1 civilized | |
a.有教养的,文雅的 | |
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2 seethes | |
(液体)沸腾( seethe的第三人称单数 ); 激动,大怒; 强压怒火; 生闷气(~with sth|~ at sth) | |
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3 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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4 commodious | |
adj.宽敞的;使用方便的 | |
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5 mansion | |
n.大厦,大楼;宅第 | |
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6 portfolios | |
n.投资组合( portfolio的名词复数 );(保险)业务量;(公司或机构提供的)系列产品;纸夹 | |
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7 meditatively | |
adv.冥想地 | |
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8 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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9 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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10 shuffling | |
adj. 慢慢移动的, 滑移的 动词shuffle的现在分词形式 | |
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11 paltry | |
adj.无价值的,微不足道的 | |
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12 epoch | |
n.(新)时代;历元 | |
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13 lucid | |
adj.明白易懂的,清晰的,头脑清楚的 | |
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14 illuminating | |
a.富于启发性的,有助阐明的 | |
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15 judgments | |
判断( judgment的名词复数 ); 鉴定; 评价; 审判 | |
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16 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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17 ironical | |
adj.讽刺的,冷嘲的 | |
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18 consort | |
v.相伴;结交 | |
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19 portentous | |
adj.不祥的,可怕的,装腔作势的 | |
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20 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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21 ethics | |
n.伦理学;伦理观,道德标准 | |
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22 Founder | |
n.创始者,缔造者 | |
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23 absurdity | |
n.荒谬,愚蠢;谬论 | |
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24 athletic | |
adj.擅长运动的,强健的;活跃的,体格健壮的 | |
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25 imposing | |
adj.使人难忘的,壮丽的,堂皇的,雄伟的 | |
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26 vigour | |
(=vigor)n.智力,体力,精力 | |
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27 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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28 artistically | |
adv.艺术性地 | |
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29 inevitable | |
adj.不可避免的,必然发生的 | |
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30 admiration | |
n.钦佩,赞美,羡慕 | |
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31 justified | |
a.正当的,有理的 | |
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32 envisaging | |
想像,设想( envisage的现在分词 ) | |
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33 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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34 conscientiously | |
adv.凭良心地;认真地,负责尽职地;老老实实 | |
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35 disquieting | |
adj.令人不安的,令人不平静的v.使不安,使忧虑,使烦恼( disquiet的现在分词 ) | |
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36 antagonism | |
n.对抗,敌对,对立 | |
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37 entity | |
n.实体,独立存在体,实际存在物 | |
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38 dealing | |
n.经商方法,待人态度 | |
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39 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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40 severely | |
adv.严格地;严厉地;非常恶劣地 | |
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41 temperament | |
n.气质,性格,性情 | |
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42 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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43 tangled | |
adj. 纠缠的,紊乱的 动词tangle的过去式和过去分词 | |
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44 justify | |
vt.证明…正当(或有理),为…辩护 | |
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45 penetrating | |
adj.(声音)响亮的,尖锐的adj.(气味)刺激的adj.(思想)敏锐的,有洞察力的 | |
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46 futile | |
adj.无效的,无用的,无希望的 | |
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47 creeds | |
(尤指宗教)信条,教条( creed的名词复数 ) | |
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48 justification | |
n.正当的理由;辩解的理由 | |
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