One of the peculiarities1 of Bulwer was his passion for occult studies. They had a charm for him early in life, and he pursued them with the earnestness which characterised his pursuit of other studies. He became absorbed in wizard lore2; he equipped himself with magical implements,— with rods for transmitting influence, and crystal balls in which to discern coming scenes and persons; and communed with spiritualists and mediums. The fruit of these mystic studies is seen in “Zanoni” and “A strange Story,” romances which were a labour of love to the author, and into which he threw all the power he possessed,— power reenforced by multifarious reading and an instinctive3 appreciation4 of Oriental thought. These weird5 stories, in which the author has formulated6 his theory of magic, are of a wholly different type from his previous fictions, and, in place of the heroes and villains7 of every day life, we have beings that belong in part to another sphere, and that deal with mysterious and occult agencies. Once more the old forgotten lore of the Cabala is unfolded; the furnace of the alchemist, whose fires have been extinct for centuries, is lighted anew, and the lamp of the Rosicrucian reillumined. No other works of the author, contradictory8 as have been the opinions of them, have provoked such a diversity of criticism as these. To some persons they represent a temporary aberration9 of genius rather than any serious thought or definite purpose; while others regard them as surpassing in bold and original speculation10, profound analysis of character, and thrilling interest, all of the author’s other works. The truth, we believe, lies midway between these extremes. It is questionable11 whether the introduction into a novel of such subjects as are discussed in these romances be not an offence against good sense and good taste; but it is as unreasonable12 to deny the vigour13 and originality14 of their author’s conceptions, as to deny that the execution is imperfect, and, at times, bungling15 and absurd.
It has been justly said that the present half century has witnessed the rise and triumphs of science, the extent and marvels16 of which even Bacon’s fancy never conceived, simultaneously17 with superstitions18 grosser than any which Bacon’s age believed. “The one is, in fact, the natural reaction from the other. The more science seeks to exclude the miraculous19, and reduce all nature, animate20 and inanimate, to an invariable law of sequences, the more does the natural instinct of man rebel, and seek an outlet21 for those obstinate22 questionings, those ‘blank misgivings23 of a creature moving about in worlds not realised,’ taking refuge in delusions24 as degrading as any of the so-called Dark Ages.” It was the revolt from the chilling materialism25 of the age which inspired the mystic creations of “Zanoni” and “A Strange Story.” Of these works, which support and supplement each other, one is the contemplation of our actual life through a spiritual medium, the other is designed to show that, without some gleams of the supernatural, man is not man, nor nature nature.
In “Zanoni” the author introduces us to two human beings who have achieved immortality27: one, Mejnour, void of all passion or feeling, calm, benignant, bloodless, an intellect rather than a man; the other, Zanoni, the pupil of Mejnour, the representative of an ideal life in its utmost perfection, possessing eternal youth, absolute power, and absolute knowledge, and withal the fullest capacity to enjoy and to love, and, as a necessity of that love, to sorrow and despair. By his love for Viola Zanoni is compelled to descend28 from his exalted29 state, to lose his eternal calm, and to share in the cares and anxieties of humanity; and this degradation30 is completed by the birth of a child. Finally, he gives up the life which hangs on that of another, in order to save that other, the loving and beloved wife, who has delivered him from his solitude31 and isolation32. Wife and child are mortal, and to outlive them and his love for them is impossible. But Mejnour, who is the impersonation of thought,— pure intellect without affection,— lives on.
Bulwer has himself justly characterised this work, in the Introduction, as a romance and not a romance, as a truth for those who can comprehend it, and an extravagance for those who cannot. The most careless or matter-of-fact reader must see that the work, like the enigmatical “Faust,” deals in types and symbols; that the writer intends to suggest to the mind something more subtle and impalpable than that which is embodied33 to the senses. What that something is, hardly two persons will agree. The most obvious interpretation34 of the types is, that in Zanoni the author depicts35 to us humanity, perfected, sublimed36, which lives not for self, but for others; in Mejnour, as we have before said, cold, passionless, self-sufficing intellect; in Glyndon, the young Englishman, the mingled37 strength and weakness of human nature; in the heartless, selfish artist, Nicot, icy, soulless atheism38, believing nothing, hoping nothing, trusting and loving nothing; and in the beautiful, artless Viola, an exquisite39 creation, pure womanhood, loving, trusting and truthful40. As a work of art the romance is one of great power. It is original in its conception, and pervaded41 by one central idea; but it would have been improved, we think, by a more sparing use of the supernatural. The inevitable42 effect of so much hackneyed diablerie — of such an accumulation of wonder upon wonder — is to deaden the impression they would naturally make upon us. In Hawthorne’s tales we see with what ease a great imaginative artist can produce a deeper thrill by a far slighter use of the weird and the mysterious.
The chief interest of the story for the ordinary reader centres, not in its ghostly characters and improbable machinery43, the scenes in Mejnour’s chamber44 in the ruined castle among the Apennines, the colossal45 and appalling46 apparitions47 on Vesuvius, the hideous48 phantom49 with its burning eye that haunted Glyndon, but in the loves of Viola and the mysterious Zanoni, the blissful and the fearful scenes through which they pass, and their final destiny, when the hero of the story sacrifices his own “charmed life” to save hers, and the Immortal26 finds the only true immortality in death. Among the striking passages in the work are the pathetic sketch50 of the old violinist and composer, Pisani, with his sympathetic “barbiton” which moaned, groaned51, growled52, and laughed responsive to the feelings of its master; the description of Viola’s and her father’s triumph, when “The Siren,” his masterpiece, is performed at the San Carlo in Naples; Glyndon’s adventure at the Carnival53 in Naples; the death of his sister; the vivid pictures of the Reign54 of Terror in Paris, closing with the downfall of Robespierre and his satellites; and perhaps, above all, the thrilling scene where Zanoni leaves Viola asleep in prison when his guards call him to execution, and she, unconscious of the terrible sacrifice, but awaking and missing him, has a vision of the procession to the guillotine, with Zanoni there, radiant in youth and beauty, followed by the sudden vanishing of the headsman,— the horror,— and the “Welcome” of her loved one to Heaven in a myriad55 of melodies from the choral hosts above.
“Zanoni” was originally published by Saunders and Otley, London, in three volumes 12mo., in 1842. A translation into French, made by M. Sheldon under the direction of P. Lorain, was published in Paris in the “Bibliotheque des Meilleurs Romans Etrangers.”
W.M.
1 peculiarities | |
n. 特质, 特性, 怪癖, 古怪 | |
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2 lore | |
n.传说;学问,经验,知识 | |
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3 instinctive | |
adj.(出于)本能的;直觉的;(出于)天性的 | |
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4 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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5 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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6 formulated | |
v.构想出( formulate的过去式和过去分词 );规划;确切地阐述;用公式表示 | |
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7 villains | |
n.恶棍( villain的名词复数 );罪犯;(小说、戏剧等中的)反面人物;淘气鬼 | |
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8 contradictory | |
adj.反驳的,反对的,抗辩的;n.正反对,矛盾对立 | |
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9 aberration | |
n.离开正路,脱离常规,色差 | |
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10 speculation | |
n.思索,沉思;猜测;投机 | |
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11 questionable | |
adj.可疑的,有问题的 | |
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12 unreasonable | |
adj.不讲道理的,不合情理的,过度的 | |
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13 vigour | |
(=vigor)n.智力,体力,精力 | |
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14 originality | |
n.创造力,独创性;新颖 | |
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15 bungling | |
adj.笨拙的,粗劣的v.搞糟,完不成( bungle的现在分词 );笨手笨脚地做;失败;完不成 | |
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16 marvels | |
n.奇迹( marvel的名词复数 );令人惊奇的事物(或事例);不平凡的成果;成就v.惊奇,对…感到惊奇( marvel的第三人称单数 ) | |
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17 simultaneously | |
adv.同时发生地,同时进行地 | |
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18 superstitions | |
迷信,迷信行为( superstition的名词复数 ) | |
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19 miraculous | |
adj.像奇迹一样的,不可思议的 | |
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20 animate | |
v.赋于生命,鼓励;adj.有生命的,有生气的 | |
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21 outlet | |
n.出口/路;销路;批发商店;通风口;发泄 | |
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22 obstinate | |
adj.顽固的,倔强的,不易屈服的,较难治愈的 | |
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23 misgivings | |
n.疑虑,担忧,害怕;疑虑,担心,恐惧( misgiving的名词复数 );疑惧 | |
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24 delusions | |
n.欺骗( delusion的名词复数 );谬见;错觉;妄想 | |
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25 materialism | |
n.[哲]唯物主义,唯物论;物质至上 | |
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26 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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27 immortality | |
n.不死,不朽 | |
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28 descend | |
vt./vi.传下来,下来,下降 | |
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29 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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30 degradation | |
n.降级;低落;退化;陵削;降解;衰变 | |
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31 solitude | |
n. 孤独; 独居,荒僻之地,幽静的地方 | |
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32 isolation | |
n.隔离,孤立,分解,分离 | |
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33 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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34 interpretation | |
n.解释,说明,描述;艺术处理 | |
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35 depicts | |
描绘,描画( depict的第三人称单数 ); 描述 | |
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36 sublimed | |
伟大的( sublime的过去式和过去分词 ); 令人赞叹的; 极端的; 不顾后果的 | |
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37 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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38 atheism | |
n.无神论,不信神 | |
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39 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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40 truthful | |
adj.真实的,说实话的,诚实的 | |
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41 pervaded | |
v.遍及,弥漫( pervade的过去式和过去分词 ) | |
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42 inevitable | |
adj.不可避免的,必然发生的 | |
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43 machinery | |
n.(总称)机械,机器;机构 | |
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44 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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45 colossal | |
adj.异常的,庞大的 | |
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46 appalling | |
adj.骇人听闻的,令人震惊的,可怕的 | |
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47 apparitions | |
n.特异景象( apparition的名词复数 );幽灵;鬼;(特异景象等的)出现 | |
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48 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
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49 phantom | |
n.幻影,虚位,幽灵;adj.错觉的,幻影的,幽灵的 | |
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50 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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51 groaned | |
v.呻吟( groan的过去式和过去分词 );发牢骚;抱怨;受苦 | |
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52 growled | |
v.(动物)发狺狺声, (雷)作隆隆声( growl的过去式和过去分词 );低声咆哮着说 | |
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53 carnival | |
n.嘉年华会,狂欢,狂欢节,巡回表演 | |
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54 reign | |
n.统治时期,统治,支配,盛行;v.占优势 | |
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55 myriad | |
adj.无数的;n.无数,极大数量 | |
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