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to stand in the pulpit of experience and give an honest message to the world. Stevenson was no exception to this rule. He avowed4 the impulse frankly5 when he said to William Archer6, “I would rise from the dead to preach.”
In his stories we look in vain for “morals” in the narrow sense,—proverbs printed in italics and tagged on to the tale like imitation oranges tied to a Christmas tree. The teaching of his fiction is like that of life, diffused7 through the course of events and embodied8 in the development of characters. But as the story unfolds we are never in doubt as to the feelings of the narrator,—his pity for the unfortunate; his scorn for the mean, the selfish, the hypocritical; his admiration9 for the brave, the kind, the loyal and cheerful servants of duty. Never at his lightest and gayest does he make us think of life as a silly farce10; nor at his sternest and saddest does he leave us disheartened, “having no hope and without God in the world.” Behind the play there is a meaning, and beyond the conflict there is a victory, and underneath11 the uncertainties12 of doubt there is a foothold for faith.
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I like what Stevenson wrote to an old preacher, his father’s friend. “Yes, my father was a ‘distinctly religious man,’ but not a pious13.... His sentiments were tragic14; he was a tragic thinker. Now granted that life is tragic to the marrow15, it seems the proper service of religion to make us accept and serve in that tragedy, as officers in that other and comparable one of war. Service is the word, active service in the military sense; and the religious man—I beg pardon, the pious man—is he who has a military joy in duty,—not he who weeps over the wounded.”
This is the point of view from which Stevenson writes as a novelist; you can feel it even in a romance as romantic as Prince Otto; and in his essays, where he speaks directly and in the first person, this way of taking life as an adventure for the valourous and faithful comes out yet more distinctly. The grace and vigour16 of his diction, the pointed17 quality of his style, the wit of his comment on men and books, add to the persuasiveness18 of his teaching. I can see no reason why morality should be drab and dull. It was not so in Stevenson’s character,
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nor is it so in his books. That is one reason why they are companionable.
“There is nothing in it [the world],” wrote he to a friend, “but the moral side—but the great battle and the breathing times with their refreshments19. I see no more and no less. And if you look again, it is not ugly, and it is filled with promise.”.
The End
点击收听单词发音
1 velvet | |
n.丝绒,天鹅绒;adj.丝绒制的,柔软的 | |
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2 scoff | |
n.嘲笑,笑柄,愚弄;v.嘲笑,嘲弄,愚弄,狼吞虎咽 | |
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3 humbly | |
adv. 恭顺地,谦卑地 | |
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4 avowed | |
adj.公开声明的,承认的v.公开声明,承认( avow的过去式和过去分词) | |
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5 frankly | |
adv.坦白地,直率地;坦率地说 | |
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6 archer | |
n.射手,弓箭手 | |
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7 diffused | |
散布的,普及的,扩散的 | |
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8 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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9 admiration | |
n.钦佩,赞美,羡慕 | |
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10 farce | |
n.闹剧,笑剧,滑稽戏;胡闹 | |
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11 underneath | |
adj.在...下面,在...底下;adv.在下面 | |
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12 uncertainties | |
无把握( uncertainty的名词复数 ); 不确定; 变化不定; 无把握、不确定的事物 | |
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13 pious | |
adj.虔诚的;道貌岸然的 | |
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14 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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15 marrow | |
n.骨髓;精华;活力 | |
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16 vigour | |
(=vigor)n.智力,体力,精力 | |
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17 pointed | |
adj.尖的,直截了当的 | |
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18 persuasiveness | |
说服力 | |
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19 refreshments | |
n.点心,便餐;(会议后的)简单茶点招 待 | |
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