WHEN a writer calls his work a Romance, it need hardly be observed that he wishes to claim a certain latitude1, both as to its fashion and material, which he would not have felt himself entitled to assume had he professed2 to be writing a Novel. The latter form of composition is presumed to aim at a very minute fidelity4, not merely to the possible, but to the probable and ordinary course of man’s experience. The former — while, as a work of art, it must rigidly5 subject itself to laws, and while it sins unpardonably so far as it may swerve6 aside from the truth of the human heart — has fairly a right to present that truth under circumstances, to a great extent, of the writer’s own choosing or creation. If he think fit, also, he may so manage his atmospherical7 medium as to bring out or mellow8 the lights and deepen and enrich the shadows of the picture. He will be wise, no doubt, to make a very moderate use of the privileges here stated, and, especially, to mingle9 the Marvelous rather as a slight, delicate, and evanescent flavor, than as any portion of the actual substance of the dish offered to the public. He can hardly be said, however, to commit a literary crime even if he disregard this caution.
In the present work, the author has proposed to himself — but with what success, fortunately, it is not for him to judge — to keep undeviatingly within his immunities10. The point of view in which this tale comes under the Romantic definition lies in the attempt to connect a bygone time with the very present that is flitting away from us. It is a legend prolonging itself, from an epoch11 now gray in the distance, down into our own broad daylight, and bringing along with it some of its legendary12 mist, which the reader, according to his pleasure, may either disregard, or allow it to float almost imperceptibly about the characters and events for the sake of a picturesque13 effect. The narrative14, it may be, is woven of so humble15 a texture16 as to require this advantage, and, at the same time, to render it the more difficult of attainment17.
Many writers lay very great stress upon some definite moral purpose, at which they profess3 to aim their works. Not to be deficient18 in this particular, the author has provided himself with a moral — the truth, namely, that the wrong-doing of one generation lives into the successive ones, and, divesting19 itself of every temporary advantage, becomes a pure and uncontrollable mischief20; and he would feel it a singular gratification if this romance might effectually convince mankind — or, indeed, any one man — of the folly21 of tumbling down an avalanche22 of ill-gotten gold, or real estate, on the heads of an unfortunate posterity23, thereby24 to maim25 and crush them, until the accumulated mass shall be scattered26 abroad in its original atoms. In good faith, however, he is not sufficiently27 imaginative to flatter himself with the slightest hope of this kind. When romances do really teach anything, or produce any effective operation, it is usually through a far more subtile process than the ostensible28 one. The author has considered it hardly worth his while, therefore, relentlessly29 to impale30 the story with its moral as with an iron rod — or, rather, as by sticking a pin through a butterfly, — thus at once depriving it of life, and causing it to stiffen31 in an ungainly and unnatural32 attitude. A high truth, indeed, fairly, finely, and skilfully33 wrought34 out, brightening at every step, and crowning the final development of a work of fiction, may add an artistic35 glory, but is never any truer, and seldom any more evident, at the last page than at the first.
The reader may perhaps choose to assign an actual locality to the imaginary events of this narrative. If permitted by the historical connection — which, though slight, was essential to his plan — the author would very willingly have avoided anything of this nature. Not to speak of other objections, it exposes the romance to an inflexible36 and exceedingly dangerous species of criticism, by bringing his fancy-pictures almost into positive contact with the realities of the moment. It has been no part of his object, however, to describe local manners, nor in any way to meddle37 with the characteristics of a community for whom he cherishes a proper respect and a natural regard. He trusts not to be considered as unpardonably offending by laying out a street that infringes38 upon nobody’s private rights, and appropriating a lot of land which had no visible owner, and building a house of materials long in use for constructing castles in the air. The personages of the tale — though they give themselves out to be of ancient stability and considerable prominence39 — are really of the author’s own making, or at all events, of his own mixing; their virtues40 can shed no lustre41, nor their defects redound42, in the remotest degree, to the discredit43 of the venerable town of which they profess to be inhabitants. He would be glad, therefore, if-especially in the quarter to which he alludes-the book may be read strictly44 as a Romance, having a great deal more to do with the clouds overhead than with any portion of the actual soil of the County of Essex.
Lenox, January 27, 1851.
1 latitude | |
n.纬度,行动或言论的自由(范围),(pl.)地区 | |
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2 professed | |
公开声称的,伪称的,已立誓信教的 | |
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3 profess | |
v.声称,冒称,以...为业,正式接受入教,表明信仰 | |
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4 fidelity | |
n.忠诚,忠实;精确 | |
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5 rigidly | |
adv.刻板地,僵化地 | |
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6 swerve | |
v.突然转向,背离;n.转向,弯曲,背离 | |
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7 atmospherical | |
adj.空气的,气压的 | |
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8 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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9 mingle | |
vt.使混合,使相混;vi.混合起来;相交往 | |
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10 immunities | |
免除,豁免( immunity的名词复数 ); 免疫力 | |
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11 epoch | |
n.(新)时代;历元 | |
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12 legendary | |
adj.传奇(中)的,闻名遐迩的;n.传奇(文学) | |
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13 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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14 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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15 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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16 texture | |
n.(织物)质地;(材料)构造;结构;肌理 | |
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17 attainment | |
n.达到,到达;[常pl.]成就,造诣 | |
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18 deficient | |
adj.不足的,不充份的,有缺陷的 | |
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19 divesting | |
v.剥夺( divest的现在分词 );脱去(衣服);2。从…取去…;1。(给某人)脱衣服 | |
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20 mischief | |
n.损害,伤害,危害;恶作剧,捣蛋,胡闹 | |
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21 folly | |
n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
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22 avalanche | |
n.雪崩,大量涌来 | |
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23 posterity | |
n.后裔,子孙,后代 | |
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24 thereby | |
adv.因此,从而 | |
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25 maim | |
v.使残废,使不能工作,使伤残 | |
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26 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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27 sufficiently | |
adv.足够地,充分地 | |
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28 ostensible | |
adj.(指理由)表面的,假装的 | |
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29 relentlessly | |
adv.不屈不挠地;残酷地;不间断 | |
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30 impale | |
v.用尖物刺某人、某物 | |
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31 stiffen | |
v.(使)硬,(使)变挺,(使)变僵硬 | |
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32 unnatural | |
adj.不自然的;反常的 | |
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33 skilfully | |
adv. (美skillfully)熟练地 | |
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34 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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35 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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36 inflexible | |
adj.不可改变的,不受影响的,不屈服的 | |
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37 meddle | |
v.干预,干涉,插手 | |
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38 infringes | |
v.违反(规章等)( infringe的第三人称单数 );侵犯(某人的权利);侵害(某人的自由、权益等) | |
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39 prominence | |
n.突出;显著;杰出;重要 | |
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40 virtues | |
美德( virtue的名词复数 ); 德行; 优点; 长处 | |
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41 lustre | |
n.光亮,光泽;荣誉 | |
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42 redound | |
v.有助于;提;报应 | |
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43 discredit | |
vt.使不可置信;n.丧失信义;不信,怀疑 | |
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44 strictly | |
adv.严厉地,严格地;严密地 | |
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