But it is not totally neglected. Those persons with gold-rimmed spectacles whose usual occupation is to spy upon the obvious have remarked audibly (on several occasions) that poetry has so far not given to science any acknowledgment worthy5 of its distinguished6 position in the popular mind. Except that Tennyson looked down the throat of a foxglove, that Erasmus Darwin wrote The Loves of the Plants and a scoffer7 The Loves of the Triangles, poets have been supposed to be indecorously blind to the progress of science. What tribute, for instance, has poetry paid to electricity? All I can remember on the spur of the moment is Mr. Arthur Symons’ line about arc lamps: “Hung with the globes of some unnatural8 fruit.”
Commerce and Manufacture praise on every hand in their not mute but inarticulate way the glories of science. Poetry does not play its part. Behold9 John Keats, skilful10 with the surgeon’s knife; but when he writes poetry his inspiration is not from the operating table. Here I am reminded, though, of a modern instance to the contrary in prose. Mr. H. G. Wells, who, as far as I know, has never written a line of verse, was inspired a few years ago to write a short story, Under the Knife. Out of a clock-dial, a brass11 rod, and a whiff of chloroform, he has conjured12 for us a sensation of space and eternity13, evoked14 the face of the Unknowable, and an awesome16, august voice, like the voice of the Judgment17 Day; a great voice, perhaps the voice of science itself, uttering the words: “There shall be no more pain!” I advise you to look up that story, so human and so intimate, because Mr. Wells, the writer of prose whose amazing inventiveness we all know, remains18 a poet even in his most perverse19 moments of scorn for things as they are. His poetic20 imagination is sometimes even greater than his inventiveness, I am not afraid to say. But, indeed, imaginative faculty21 would make any man a poet — were he born without tongue for speech and without hands to seize his fancy and fasten her down to a wretched piece of paper.
The book 6 which in the course of the last few days I have opened and shut several times is not imaginative. But, on the other hand, it is not a dumb book, as some are. It has even a sort of sober and serious eloquence22, reminding us that not poetry alone is at fault in this matter. Mr. Bourne begins his Ascending23 Effort with a remark by Sir Francis Galton upon Eugenics that “if the principles he was advocating were to become effective they must be introduced into the national conscience, like a new religion.” “Introduced” suggests compulsory24 vaccination25. Mr. Bourne, who is not a theologian, wishes to league together not science and religion, but science and the arts. “The intoxicating26 power of art,” he thinks, is the very thing needed to give the desired effect to the doctrines27 of science. In uninspired phrase he points to the arts playing once upon a time a part in “popularising the Christian28 tenets.” With painstaking29 fervour as great as the fervour of prophets, but not so persuasive30, he foresees the arts some day popularising science. Until that day dawns, science will continue to be lame1 and poetry blind. He himself cannot smooth or even point out the way, though he thinks that “a really prudent31 people would be greedy of beauty,” and their public authorities “as careful of the sense of comfort as of sanitation32.”
6 The Ascending Effort. By George Bourne.
As the writer of those remarkable33 rustic34 notebooks, The Bettesworth Book and Memoirs35 of a Surrey Labourer, the author has a claim upon our attention. But his seriousness, his patience, his almost touching36 sincerity37, can only command the respect of his readers and nothing more. He is obsessed38 by science, haunted and shadowed by it, until he has been bewildered into awe15. He knows, indeed, that art owes its triumphs and its subtle influence to the fact that it issues straight from our organic vitality39, and is a movement of life-cells with their matchless unintellectual knowledge. But the fact that poetry does not seem obviously in love with science has never made him doubt whether it may not be an argument against his haste to see the marriage ceremony performed amid public rejoicings.
Many a man has heard or read and believes that the earth goes round the sun; one small blob of mud among several others, spinning ridiculously with a waggling motion like a top about to fall. This is the Copernican system, and the man believes in the system without often knowing as much about it as its name. But while watching a sunset he sheds his belief; he sees the sun as a small and useful object, the servant of his needs and the witness of his ascending effort, sinking slowly behind a range of mountains, and then he holds the system of Ptolemy. He holds it without knowing it. In the same way a poet hears, reads, and believes a thousand undeniable truths which have not yet got into his blood, nor will do after reading Mr. Bourne’s book; he writes, therefore, as if neither truths nor book existed. Life and the arts follow dark courses, and will not turn aside to the brilliant arc-lights of science. Some day, without a doubt — and it may be a consolation40 to Mr. Bourne to know it — fully41 informed critics will point out that Mr. Davies’s poem on a dark woman combing her hair must have been written after the invasion of appendicitis42, and that Mr. Yeats’s “Had I the heaven’s embroidered43 cloths” came before radium was quite unnecessarily dragged out of its respectable obscurity in pitchblende to upset the venerable (and comparatively naive) chemistry of our young days.
There are times when the tyranny of science and the cant44 of science are alarming, but there are other times when they are entertaining — and this is one of them. “Many a man prides himself” says Mr. Bourne, “on his piety45 or his views of art, whose whole range of ideas, could they be investigated, would be found ordinary, if not base, because they have been adopted in compliance46 with some external persuasion47 or to serve some timid purpose instead of proceeding48 authoritatively49 from the living selection of his hereditary50 taste.” This extract is a fair sample of the book’s thought and of its style. But Mr. Bourne seems to forget that “persuasion” is a vain thing. The appreciation51 of great art comes from within.
It is but the merest justice to say that the transparent53 honesty of Mr. Bourne’s purpose is undeniable. But the whole book is simply an earnest expression of a pious54 wish; and, like the generality of pious wishes, this one seems of little dynamic value — besides being impracticable.
Yes, indeed. Art has served Religion; artists have found the most exalted55 inspiration in Christianity; but the light of Transfiguration which has illuminated56 the profoundest mysteries of our sinful souls is not the light of the generating stations, which exposes the depths of our infatuation where our mere52 cleverness is permitted for a while to grope for the unessential among invincible57 shadows.
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1 lame | |
adj.跛的,(辩解、论据等)无说服力的 | |
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2 lamentably | |
adv.哀伤地,拙劣地 | |
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3 soothe | |
v.安慰;使平静;使减轻;缓和;奉承 | |
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4 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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5 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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6 distinguished | |
adj.卓越的,杰出的,著名的 | |
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7 scoffer | |
嘲笑者 | |
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8 unnatural | |
adj.不自然的;反常的 | |
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9 behold | |
v.看,注视,看到 | |
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10 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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11 brass | |
n.黄铜;黄铜器,铜管乐器 | |
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12 conjured | |
用魔术变出( conjure的过去式和过去分词 ); 祈求,恳求; 变戏法; (变魔术般地) 使…出现 | |
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13 eternity | |
n.不朽,来世;永恒,无穷 | |
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14 evoked | |
[医]诱发的 | |
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15 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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16 awesome | |
adj.令人惊叹的,难得吓人的,很好的 | |
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17 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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18 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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19 perverse | |
adj.刚愎的;坚持错误的,行为反常的 | |
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20 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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21 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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22 eloquence | |
n.雄辩;口才,修辞 | |
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23 ascending | |
adj.上升的,向上的 | |
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24 compulsory | |
n.强制的,必修的;规定的,义务的 | |
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25 vaccination | |
n.接种疫苗,种痘 | |
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26 intoxicating | |
a. 醉人的,使人兴奋的 | |
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27 doctrines | |
n.教条( doctrine的名词复数 );教义;学说;(政府政策的)正式声明 | |
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28 Christian | |
adj.基督教徒的;n.基督教徒 | |
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29 painstaking | |
adj.苦干的;艰苦的,费力的,刻苦的 | |
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30 persuasive | |
adj.有说服力的,能说得使人相信的 | |
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31 prudent | |
adj.谨慎的,有远见的,精打细算的 | |
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32 sanitation | |
n.公共卫生,环境卫生,卫生设备 | |
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33 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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34 rustic | |
adj.乡村的,有乡村特色的;n.乡下人,乡巴佬 | |
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35 memoirs | |
n.回忆录;回忆录传( mem,自oir的名词复数) | |
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36 touching | |
adj.动人的,使人感伤的 | |
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37 sincerity | |
n.真诚,诚意;真实 | |
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38 obsessed | |
adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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39 vitality | |
n.活力,生命力,效力 | |
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40 consolation | |
n.安慰,慰问 | |
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41 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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42 appendicitis | |
n.阑尾炎,盲肠炎 | |
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43 embroidered | |
adj.绣花的 | |
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44 cant | |
n.斜穿,黑话,猛扔 | |
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45 piety | |
n.虔诚,虔敬 | |
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46 compliance | |
n.顺从;服从;附和;屈从 | |
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47 persuasion | |
n.劝说;说服;持有某种信仰的宗派 | |
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48 proceeding | |
n.行动,进行,(pl.)会议录,学报 | |
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49 authoritatively | |
命令式地,有权威地,可信地 | |
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50 hereditary | |
adj.遗传的,遗传性的,可继承的,世袭的 | |
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51 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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52 mere | |
adj.纯粹的;仅仅,只不过 | |
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53 transparent | |
adj.明显的,无疑的;透明的 | |
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54 pious | |
adj.虔诚的;道貌岸然的 | |
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55 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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56 illuminated | |
adj.被照明的;受启迪的 | |
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57 invincible | |
adj.不可征服的,难以制服的 | |
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