It is begging the question to protest that the class of people who a generation ago read nothing now at least read novels, and to regard this as a change for the better. By similar logic4 it would be more wholesome5 to breakfast off laudanum than to omit the meal entirely6. The nineteenth century, in fact, by making education popular, has produced in America the curious spectacle of a reading-public with essentially7 nonliterary tastes. Formerly8, better books were published, because they were intended for persons who turned to reading through a natural bent9 of mind; whereas the modern American novel of commerce is addressed to us average people who read, when we read at all, in violation10 of every innate11 instinct.
Such grounds as yet exist for hopefulness on the part of those who cordially care for belles12 lettres are to be found elsewhere than in the crowded market-places of fiction, where genuine intelligence panders13 on all sides to ignorance and indolence. The phrase may seem to have no very civil ring; but reflection will assure the fair-minded that two indispensable requisites14 nowadays of a pecuniarily15 successful novel are, really, that it make no demand upon the reader's imagination, and that it rigorously refrain from assuming its reader to possess any particular information on any subject whatever. The author who writes over the head of the public is the most dangerous enemy of his publisher—and the most insidious16 as well, because so many publishers are in private life interested in literary matters, and would readily permit this personal foible to influence the exercise of their vocation17 were it possible to do so upon the preferable side of bankruptcy18.
But publishers, among innumerable other conditions, must weigh the fact that no novel which does not deal with modern times is ever really popular among the serious-minded. It is difficult to imagine a tale whose action developed under the rule of the Caesars or the Merovingians being treated as more than a literary hors d'oeuvre. We purchasers of "vital" novels know nothing about the period, beyond a hazy19 association of it with the restrictions20 of the schoolroom; our sluggish21 imaginations instinctively22 rebel against the exertion23 of forming any notion of such a period; and all the human nature that exists even in serious-minded persons is stirred up to resentment24 against the book's author for presuming to know more than a potential patron. The book, in fine, simply irritates the serious-minded person; and she—for it is only women who willingly brave the terrors of department-stores, where most of our new books are bought nowadays—quite naturally puts it aside in favor of some keen and daring study of American life that is warranted to grip the reader. So, modernity of scene is everywhere necessitated25 as an essential qualification for a book's discussion at the literary evenings of the local woman's club; and modernity of scene, of course, is almost always fatal to the permanent worth of fictitious26 narrative27.
It may seem banal28 here to recall the truism that first-class art never reproduces its surroundings; but such banality29 is often justified30 by our human proneness31 to shuffle32 over the fact that many truisms are true. And this one is pre-eminently indisputable: that what mankind has generally agreed to accept as first-class art in any of the varied33 forms of fictitious narrative has never been a truthful34 reproduction of the artist's era. Indeed, in the higher walks of fiction art has never reproduced anything, but has always dealt with the facts and laws of life as so much crude material which must be transmuted35 into comeliness36. When Shakespeare pronounced his celebrated37 dictum about art's holding the mirror up to nature, he was no doubt alluding38 to the circumstance that a mirror reverses everything which it reflects.
Nourishment39 for much wildish speculation40, in fact, can be got by considering what the world's literature would be, had its authors restricted themselves, as do we Americans so sedulously—and unavoidably—to writing of contemporaneous happenings. In fiction-making no author of the first class since Homer's infancy41 has ever in his happier efforts concerned himself at all with the great "problems" of his particular day; and among geniuses of the second rank you will find such ephemeralities adroitly42 utilized43 only when they are distorted into enduring parodies44 of their actual selves by the broad humor of a Dickens or the colossal45 fantasy of a Balzac. In such cases as the latter two writers, however, we have an otherwise competent artist handicapped by a personality so marked that, whatever he may nominally46 write about, the result is, above all else, an exposure of the writer's idiosyncrasies. Then, too, the laws of any locale wherein Mr. Pickwick achieves a competence47 in business, or of a society wherein Vautrin becomes chief of police, are upon the face of it extra-mundane. It suffices that, as a general rule, in fiction-making the true artist finds an ample, if restricted, field wherein the proper functions of the preacher, or the ventriloquist, or the photographer, or of the public prosecutor48, are exercised with equal lack of grace.
Besides, in dealing49 with contemporary life a novelist is goaded50 into too many pusillanimous51 concessions52 to plausibility53. He no longer moves with the gait of omnipotence54. It was very different in the palmy days when Dumas was free to play at ducks and drakes with history, and Victor Hugo to reconstruct the whole system of English government, and Scott to compel the sun to set in the east, whenever such minor55 changes caused to flow more smoothly56 the progress of the tale these giants had in hand. These freedoms are not tolerated in American noveldom, and only a few futile57 "high-brows" sigh in vain for Thackeray's "happy harmless Fableland, where these things are." The majority of us are deep in "vital" novels. Nor is the reason far to seek.
点击收听单词发音
1 candidly | |
adv.坦率地,直率而诚恳地 | |
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2 vended | |
v.出售(尤指土地等财产)( vend的过去式和过去分词 );(尤指在公共场所)贩卖;发表(意见,言论);声明 | |
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3 narcotics | |
n.麻醉药( narcotic的名词复数 );毒品;毒 | |
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4 logic | |
n.逻辑(学);逻辑性 | |
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5 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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6 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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7 essentially | |
adv.本质上,实质上,基本上 | |
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8 formerly | |
adv.从前,以前 | |
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9 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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10 violation | |
n.违反(行为),违背(行为),侵犯 | |
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11 innate | |
adj.天生的,固有的,天赋的 | |
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12 belles | |
n.美女( belle的名词复数 );最美的美女 | |
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13 panders | |
v.迎合(他人的低级趣味或淫欲)( pander的第三人称单数 );纵容某人;迁就某事物 | |
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14 requisites | |
n.必要的事物( requisite的名词复数 ) | |
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15 pecuniarily | |
adv.在金钱上,在金钱方面 | |
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16 insidious | |
adj.阴险的,隐匿的,暗中为害的,(疾病)不知不觉之间加剧 | |
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17 vocation | |
n.职业,行业 | |
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18 bankruptcy | |
n.破产;无偿付能力 | |
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19 hazy | |
adj.有薄雾的,朦胧的;不肯定的,模糊的 | |
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20 restrictions | |
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则) | |
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21 sluggish | |
adj.懒惰的,迟钝的,无精打采的 | |
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22 instinctively | |
adv.本能地 | |
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23 exertion | |
n.尽力,努力 | |
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24 resentment | |
n.怨愤,忿恨 | |
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25 necessitated | |
使…成为必要,需要( necessitate的过去式和过去分词 ) | |
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26 fictitious | |
adj.虚构的,假设的;空头的 | |
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27 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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28 banal | |
adj.陈腐的,平庸的 | |
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29 banality | |
n.陈腐;平庸;陈词滥调 | |
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30 justified | |
a.正当的,有理的 | |
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31 proneness | |
n.俯伏,倾向 | |
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32 shuffle | |
n.拖著脚走,洗纸牌;v.拖曳,慢吞吞地走 | |
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33 varied | |
adj.多样的,多变化的 | |
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34 truthful | |
adj.真实的,说实话的,诚实的 | |
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35 transmuted | |
v.使变形,使变质,把…变成…( transmute的过去式和过去分词 ) | |
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36 comeliness | |
n. 清秀, 美丽, 合宜 | |
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37 celebrated | |
adj.有名的,声誉卓著的 | |
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38 alluding | |
提及,暗指( allude的现在分词 ) | |
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39 nourishment | |
n.食物,营养品;营养情况 | |
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40 speculation | |
n.思索,沉思;猜测;投机 | |
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41 infancy | |
n.婴儿期;幼年期;初期 | |
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42 adroitly | |
adv.熟练地,敏捷地 | |
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43 utilized | |
v.利用,使用( utilize的过去式和过去分词 ) | |
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44 parodies | |
n.拙劣的模仿( parody的名词复数 );恶搞;滑稽的模仿诗文;表面上模仿得笨拙但充满了机智用来嘲弄别人作品的作品v.滑稽地模仿,拙劣地模仿( parody的第三人称单数 ) | |
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45 colossal | |
adj.异常的,庞大的 | |
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46 nominally | |
在名义上,表面地; 应名儿 | |
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47 competence | |
n.能力,胜任,称职 | |
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48 prosecutor | |
n.起诉人;检察官,公诉人 | |
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49 dealing | |
n.经商方法,待人态度 | |
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50 goaded | |
v.刺激( goad的过去式和过去分词 );激励;(用尖棒)驱赶;驱使(或怂恿、刺激)某人 | |
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51 pusillanimous | |
adj.懦弱的,胆怯的 | |
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52 concessions | |
n.(尤指由政府或雇主给予的)特许权( concession的名词复数 );承认;减价;(在某地的)特许经营权 | |
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53 plausibility | |
n. 似有道理, 能言善辩 | |
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54 omnipotence | |
n.全能,万能,无限威力 | |
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55 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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56 smoothly | |
adv.平滑地,顺利地,流利地,流畅地 | |
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57 futile | |
adj.无效的,无用的,无希望的 | |
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