It is our familiarity also which has lessened9 our perception of the miraculous10 good fortune which we enjoy. Let us suppose that we were suddenly to learn that Shakespeare had returned to earth, and that he would favour any of us with an hour of his wit and his fancy. How eagerly we would seek him out! And yet we have him—the very best of him—at our elbows from week to week, and hardly trouble ourselves to put out our hands to beckon11 him down. No matter what mood a man may be in, when once he has passed through the magic door he can summon the world's greatest to sympathize with him in it. If he be thoughtful, here are the kings of thought. If he be dreamy, here are the masters of fancy. Or is it amusement that he lacks? He can signal to any one of the world's great story-tellers, and out comes the dead man and holds him enthralled12 by the hour. The dead are such good company that one may come to think too little of the living. It is a real and a pressing danger with many of us, that we should never find our own thoughts and our own souls, but be ever obsessed13 by the dead. Yet second-hand14 romance and second-hand emotion are surely better than the dull, soul-killing monotony which life brings to most of the human race. But best of all when the dead man's wisdom and strength in the living of our own strenuous15 days.
Come through the magic door with me, and sit here on the green settee, where you can see the old oak case with its untidy lines of volumes. Smoking is not forbidden. Would you care to hear me talk of them? Well, I ask nothing better, for there is no volume there which is not a dear, personal friend, and what can a man talk of more pleasantly than that? The other books are over yonder, but these are my own favourites—the ones I care to re-read and to have near my elbow. There is not a tattered16 cover which does not bring its mellow17 memories to me.
Some of them represent those little sacrifices which make a possession dearer. You see the line of old, brown volumes at the bottom? Every one of those represents a lunch. They were bought in my student days, when times were not too affluent18. Threepence was my modest allowance for my midday sandwich and glass of beer; but, as luck would have it, my way to the classes led past the most fascinating bookshop in the world. Outside the door of it stood a large tub filled with an ever-changing litter of tattered books, with a card above which announced that any volume therein could be purchased for the identical sum which I carried in my pocket. As I approached it a combat ever raged betwixt the hunger of a youthful body and that of an inquiring and omnivorous19 mind. Five times out of six the animal won. But when the mental prevailed, then there was an entrancing five minutes' digging among out-of-date almanacs, volumes of Scotch20 theology, and tables of logarithms, until one found something which made it all worth while. If you will look over these titles, you will see that I did not do so very badly. Four volumes of Gordon's "Tacitus" (life is too short to read originals, so long as there are good translations), Sir William Temple's Essays, Addison's works, Swift's "Tale of a Tub," Clarendon's "History," "Gil Blas," Buckingham's Poems, Churchill's Poems, "Life of Bacon"—not so bad for the old threepenny tub.
They were not always in such plebeian21 company. Look at the thickness of the rich leather, and the richness of the dim gold lettering. Once they adorned22 the shelves of some noble library, and even among the odd almanacs and the sermons they bore the traces of their former greatness, like the faded silk dress of the reduced gentlewoman, a present pathos23 but a glory of the past.
Reading is made too easy nowadays, with cheap paper editions and free libraries. A man does not appreciate at its full worth the thing that comes to him without effort. Who now ever gets the thrill which Carlyle felt when he hurried home with the six volumes of Gibbon's "History" under his arm, his mind just starving for want of food, to devour24 them at the rate of one a day? A book should be your very own before you can really get the taste of it, and unless you have worked for it, you will never have the true inward pride of possession.
If I had to choose the one book out of all that line from which I have had most pleasure and most profit, I should point to yonder stained copy of Macaulay's "Essays." It seems entwined into my whole life as I look backwards25. It was my comrade in my student days, it has been with me on the sweltering Gold Coast, and it formed part of my humble kit26 when I went a-whaling in the Arctic. Honest Scotch harpooners have addled27 their brains over it, and you may still see the grease stains where the second engineer grappled with Frederick the Great. Tattered and dirty and worn, no gilt-edged morocco-bound volume could ever take its place for me.
What a noble gateway28 this book forms through which one may approach the study either of letters or of history! Milton, Machiavelli, Hallam, Southey, Bunyan, Byron, Johnson, Pitt, Hampden, Clive, Hastings, Chatham—what nuclei29 for thought! With a good grip of each how pleasant and easy to fill in all that lies between! The short, vivid sentences, the broad sweep of allusion30, the exact detail, they all throw a glamour31 round the subject and should make the least studious of readers desire to go further. If Macaulay's hand cannot lead a man upon those pleasant paths, then, indeed, he may give up all hope of ever finding them.
When I was a senior schoolboy this book—not this very volume, for it had an even more tattered predecessor—opened up a new world to me. History had been a lesson and abhorrent32. Suddenly the task and the drudgery33 became an incursion into an enchanted34 land, a land of colour and beauty, with a kind, wise guide to point the path. In that great style of his I loved even the faults—indeed, now that I come to think of it, it was the faults which I loved best. No sentence could be too stiff with rich embroidery35, and no antithesis36 too flowery. It pleased me to read that "a universal shout of laughter from the Tagus to the Vistula informed the Pope that the days of the crusades were past," and I was delighted to learn that "Lady Jerningham kept a vase in which people placed foolish verses, and Mr. Dash wrote verses which were fit to be placed in Lady Jerningham's vase." Those were the kind of sentences which used to fill me with a vague but enduring pleasure, like chords which linger in the musician's ear. A man likes a plainer literary diet as he grows older, but still as I glance over the Essays I am filled with admiration37 and wonder at the alternate power of handling a great subject, and of adorning38 it by delightful39 detail—just a bold sweep of the brush, and then the most delicate stippling40. As he leads you down the path, he for ever indicates the alluring41 side-tracks which branch away from it. An admirable, if somewhat old-fashioned, literary and historical education night be effected by working through every book which is alluded42 to in the Essays. I should be curious, however, to know the exact age of the youth when he came to the end of his studies.
I wish Macaulay had written a historical novel. I am convinced that it would have been a great one. I do not know if he had the power of drawing an imaginary character, but he certainly had the gift of reconstructing a dead celebrity43 to a remarkable44 degree. Look at the simple half-paragraph in which he gives us Johnson and his atmosphere. Was ever a more definite picture given in a shorter space—
"As we close it, the club-room is before us, and the table on which stand the omelet for Nugent, and the lemons for Johnson. There are assembled those heads which live for ever on the canvas of Reynolds. There are the spectacles of Burke, and the tall thin form of Langton, the courtly sneer45 of Beauclerk and the beaming smile of Garrick, Gibbon tapping his snuff-box, and Sir Joshua with his trumpet46 in his ear. In the foreground is that strange figure which is as familiar to us as the figures of those among whom we have been brought up—the gigantic body, the huge massy face, seamed with the scars of disease, the brown coat, the black worsted stockings, the grey wig47 with the scorched48 foretop, the dirty hands, the nails bitten and pared to the quick. We see the eyes and mouth moving with convulsive twitches49; we see the heavy form rolling; we hear it puffing50, and then comes the 'Why, sir!' and the 'What then, sir?' and the 'No, sir!' and the 'You don't see your way through the question, sir!'"
It is etched into your memory for ever.
I can remember that when I visited London at the age of sixteen the first thing I did after housing my luggage was to make a pilgrimage to Macaulay's grave, where he lies in Westminster Abbey, just under the shadow of Addison, and amid the dust of the poets whom he had loved so well. It was the one great object of interest which London held for me. And so it might well be, when I think of all I owe him. It is not merely the knowledge and the stimulation52 of fresh interests, but it is the charming gentlemanly tone, the broad, liberal outlook, the general absence of bigotry53 and of prejudice. My judgment54 now confirms all that I felt for him then.
My four-volume edition of the History stands, as you see, to the right of the Essays. Do you recollect55 the third chapter of that work—the one which reconstructs the England of the seventeenth century? It has always seemed to me the very high-water mark of Macaulay's powers, with its marvellous mixture of precise fact and romantic phrasing. The population of towns, the statistics of commerce, the prosaic56 facts of life are all transmuted57 into wonder and interest by the handling of the master. You feel that he could have cast a glamour over the multiplication58 table had he set himself to do so. Take a single concrete example of what I mean. The fact that a Londoner in the country, or a countryman in London, felt equally out of place in those days of difficult travel, would seem to hardly require stating, and to afford no opportunity of leaving a strong impression upon the reader's mind. See what Macaulay makes of it, though it is no more than a hundred other paragraphs which discuss a hundred various points—
"A cockney in a rural village was stared at as much as if he had intruded59 into a kraal of Hottentots. On the other hand, when the lord of a Lincolnshire or Shropshire manor60 appeared in Fleet Street, he was as easily distinguished61 from the resident population as a Turk or a Lascar. His dress, his gait, his accent, the manner in which he gazed at the shops, stumbled into gutters62, ran against the porters, and stood under the waterspouts, marked him out as an excellent subject for the operations of swindlers and banterers. Bullies63 jostled him into the kennel64, Hackney coachmen splashed him from head to foot, thieves explored with perfect security the huge pockets of his horseman's coat, while he stood entranced by the splendour of the Lord Mayor's Show. Money-droppers, sore from the cart's tail, introduced themselves to him, and appeared to him the most honest friendly gentlemen that he had ever seen. Painted women, the refuse of Lewkner Lane and Whetstone Park, passed themselves on him for countesses and maids of honour. If he asked his way to St. James', his informants sent him to Mile End. If he went into a shop, he was instantly discerned to be a fit purchaser of everything that nobody else would buy, of second-hand embroidery, copper65 rings, and watches that would not go. If he rambled66 into any fashionable coffee-house, he became a mark for the insolent67 derision of fops, and the grave waggery of Templars. Enraged68 and mortified69, he soon returned to his mansion70, and there, in the homage71 of his tenants72 and the conversation of his boon73 companions, found consolation74 for the vexations and humiliations which he had undergone. There he was once more a great man, and saw nothing above himself except when at the assizes he took his seat on the bench near the Judge, or when at the muster75 of the militia76 he saluted77 the Lord Lieutenant78."
On the whole, I should put this detached chapter of description at the very head of his Essays, though it happens to occur in another volume. The History as a whole does not, as it seems to me, reach the same level as the shorter articles. One cannot but feel that it is a brilliant piece of special pleading from a fervid79 Whig, and that there must be more to be said for the other side than is there set forth80. Some of the Essays are tinged81 also, no doubt, by his own political and religious limitations. The best are those which get right away into the broad fields of literature and philosophy. Johnson, Walpole, Madame D'Arblay, Addison, and the two great Indian ones, Clive and Warren Hastings, are my own favourites. Frederick the Great, too, must surely stand in the first rank. Only one would I wish to eliminate. It is the diabolically82 clever criticism upon Montgomery. One would have wished to think that Macaulay's heart was too kind, and his soul too gentle, to pen so bitter an attack. Bad work will sink of its own weight. It is not necessary to souse the author as well. One would think more highly of the man if he had not done that savage83 bit of work.
I don't know why talking of Macaulay always makes me think of Scott, whose books in a faded, olive-backed line, have a shelf, you see, of their own. Perhaps it is that they both had so great an influence, and woke such admiration in me. Or perhaps it is the real similarity in the minds and characters of the two men. You don't see it, you say? Well, just think of Scott's "Border Ballads," and then of Macaulay's "Lays." The machines must be alike, when the products are so similar. Each was the only man who could possibly have written the poems of the other. What swing and dash in both of them! What a love of all that is and noble and martial85! So simple, and yet so strong. But there are minds on which strength and simplicity86 are thrown away. They think that unless a thing is obscure it must be superficial, whereas it is often the shallow stream which is turbid87, and the deep which is clear. Do you remember the fatuous88 criticism of Matthew Arnold upon the glorious "Lays," where he calls out "is this poetry?" after quoting—
"And how can man die better
For the ashes of his fathers
And the Temples of his Gods?"
In trying to show that Macaulay had not the poetic90 sense he was really showing that he himself had not the dramatic sense. The baldness of the idea and of the language had evidently offended him. But this is exactly where the true merit lies. Macaulay is giving the rough, blunt words with which a simple-minded soldier appeals to two comrades to help him in a deed of valour. Any high-flown sentiment would have been absolutely out of character. The lines are, I think, taken with their context, admirable ballad84 poetry, and have just the dramatic quality and sense which a ballad poet must have. That opinion of Arnold's shook my faith in his judgment, and yet I would forgive a good deal to the man who wrote—
"One more charge and then be dumb,
May the victors when they come
Find my body near the wall."
Not a bad verse that for one's life aspiration92.
This is one of the things which human society has not yet understood—the value of a noble, inspiriting text. When it does we shall meet them everywhere engraved93 on appropriate places, and our progress through the streets will be brightened and ennobled by one continual series of beautiful mental impulses and images, reflected into our souls from the printed thoughts which meet our eyes. To think that we should walk with empty, listless minds while all this splendid material is running to waste. I do not mean mere51 Scriptural texts, for they do not bear the same meaning to all, though what human creature can fail to be spurred onwards by "Work while it is day, for the night cometh when no man can work." But I mean those beautiful thoughts—who can say that they are uninspired thoughts?—which may be gathered from a hundred authors to match a hundred uses. A fine thought in fine language is a most precious jewel, and should not be hid away, but be exposed for use and ornament94. To take the nearest example, there is a horse-trough across the road from my house, a plain stone trough, and no man could pass it with any feelings save vague discontent at its ugliness. But suppose that on its front slab95 you print the verse of Coleridge—
"He prayeth best who loveth best
All things, both great and small
For the dear Lord who fashioned him
He knows and loveth all."
I fear I may misquote, for I have not "The Ancient Mariner96" at my elbow, but even as it stands does it not elevate the horse-trough? We all do this, I suppose, in a small way for ourselves. There are few men who have not some chosen quotations97 printed on their study mantelpieces, or, better still, in their hearts. Carlyle's transcription of "Rest! Rest! Shall I not have all Eternity98 to rest in!" is a pretty good spur to a weary man. But what we need is a more general application of the same thing for public and not for private use, until people understand that a graven thought is as beautiful an ornament as any graven image, striking through the eye right deep down into the soul.
However, all this has nothing to do with Macaulay's glorious lays, save that when you want some flowers of manliness99 and patriotism100 you can pluck quite a bouquet101 out of those. I had the good fortune to learn the Lay of Horatius off by heart when I was a child, and it stamped itself on my plastic mind, so that even now I can reel off almost the whole of it. Goldsmith said that in conversation he was like the man who had a thousand pounds in the bank, but could not compete with the man who had an actual sixpence in his pocket. So the ballad that you bear in your mind outweighs102 the whole bookshelf which waits for reference. But I want you now to move your eye a little farther down the shelf to the line of olive-green volumes. That is my edition of Scott. But surely I must give you a little breathing space before I venture upon them.
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该作者的其它作品
《福尔摩斯历险记The Adventures of Sherlock Holmes》
《巴斯克维尔的猎犬 The Hound of Baskervilles》
《福尔摩斯归来记 THE RETURN OF SHERLOCK HOLMES》
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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adorns
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| 装饰，佩带( adorn的第三人称单数 ) | |
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plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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eerie
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| adj.怪诞的；奇异的；可怕的；胆怯的 | |
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embalmed
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| adj.用防腐药物保存（尸体）的v.保存（尸体）不腐( embalm的过去式和过去分词 )；使不被遗忘；使充满香气 | |
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personalities
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| n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 ) | |
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lessened
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| 减少的，减弱的 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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beckon
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| v.(以点头或打手势)向...示意，召唤 | |
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enthralled
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| 迷住，吸引住( enthrall的过去式和过去分词 )； 使感到非常愉快 | |
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obsessed
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| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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second-hand
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| adj.用过的，旧的，二手的 | |
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strenuous
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| adj.奋发的，使劲的；紧张的；热烈的，狂热的 | |
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tattered
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| adj.破旧的，衣衫破的 | |
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mellow
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| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
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affluent
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| adj.富裕的，富有的，丰富的，富饶的 | |
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omnivorous
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| adj.杂食的 | |
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scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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plebeian
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| adj.粗俗的；平民的；n.平民；庶民 | |
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adorned
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| [计]被修饰的 | |
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pathos
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| n.哀婉，悲怆 | |
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devour
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| v.吞没；贪婪地注视或谛听，贪读；使着迷 | |
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backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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kit
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| n.用具包，成套工具；随身携带物 | |
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addled
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| adj.（头脑）糊涂的，愚蠢的；（指蛋类）变坏v.使糊涂( addle的过去式和过去分词 )；使混乱；使腐臭；使变质 | |
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gateway
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| n.大门口，出入口，途径，方法 | |
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nuclei
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| n.核 | |
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allusion
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| n.暗示，间接提示 | |
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glamour
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| n.魔力，魅力；vt.迷住 | |
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abhorrent
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| adj.可恶的，可恨的，讨厌的 | |
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drudgery
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| n.苦工，重活，单调乏味的工作 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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embroidery
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| n.绣花，刺绣；绣制品 | |
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antithesis
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| n.对立；相对 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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adorning
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| 修饰，装饰物 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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stippling
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| n.点刻法，点画v.加点、绘斑，加粒( stipple的现在分词 )；（把油漆、水泥等的表面）弄粗糙 | |
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alluring
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| adj.吸引人的，迷人的 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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celebrity
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| n.名人，名流；著名，名声，名望 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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sneer
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| v.轻蔑；嘲笑；n.嘲笑，讥讽的言语 | |
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46
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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wig
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| n.假发 | |
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scorched
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| 烧焦，烤焦( scorch的过去式和过去分词 )； 使（植物）枯萎，把…晒枯； 高速行驶； 枯焦 | |
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twitches
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| n.（使）抽动， （使）颤动， （使）抽搐( twitch的名词复数 ) | |
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50
puffing
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| v.使喷出( puff的现在分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
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51
mere
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| adj.纯粹的；仅仅，只不过 | |
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52
stimulation
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| n.刺激，激励，鼓舞 | |
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53
bigotry
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| n.偏见，偏执，持偏见的行为[态度]等 | |
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54
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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55
recollect
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| v.回忆，想起，记起，忆起，记得 | |
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56
prosaic
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| adj.单调的，无趣的 | |
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transmuted
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| v.使变形，使变质，把…变成…( transmute的过去式和过去分词 ) | |
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multiplication
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| n.增加，增多，倍增；增殖，繁殖；乘法 | |
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intruded
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| n.侵入的，推进的v.侵入，侵扰，打扰( intrude的过去式和过去分词 )；把…强加于 | |
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manor
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| n.庄园，领地 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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gutters
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| （路边）排水沟( gutter的名词复数 )； 阴沟； （屋顶的）天沟； 贫贱的境地 | |
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bullies
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| n.欺凌弱小者, 开球 vt.恐吓, 威胁, 欺负 | |
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kennel
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| n.狗舍，狗窝 | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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rambled
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| （无目的地）漫游( ramble的过去式和过去分词 )； （喻）漫谈； 扯淡； 长篇大论 | |
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insolent
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| adj.傲慢的，无理的 | |
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enraged
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| 使暴怒( enrage的过去式和过去分词 )； 歜； 激愤 | |
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mortified
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| v.使受辱( mortify的过去式和过去分词 )；伤害（人的感情）；克制；抑制（肉体、情感等） | |
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mansion
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| n.大厦，大楼；宅第 | |
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homage
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| n.尊敬，敬意，崇敬 | |
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tenants
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| n.房客( tenant的名词复数 )；佃户；占用者；占有者 | |
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boon
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| n.恩赐，恩物，恩惠 | |
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consolation
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| n.安慰，慰问 | |
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muster
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| v.集合，收集，鼓起，激起；n.集合，检阅，集合人员，点名册 | |
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militia
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| n.民兵，民兵组织 | |
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saluted
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| v.欢迎，致敬( salute的过去式和过去分词 )；赞扬，赞颂 | |
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lieutenant
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| n.陆军中尉，海军上尉；代理官员，副职官员 | |
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fervid
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| adj.热情的；炽热的 | |
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forth
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| adv.向前；向外，往外 | |
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tinged
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| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
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diabolically
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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ballad
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| n.歌谣，民谣，流行爱情歌曲 | |
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martial
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| adj.战争的，军事的，尚武的，威武的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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turbid
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| adj.混浊的，泥水的，浓的 | |
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fatuous
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| adj.愚昧的；昏庸的 | |
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odds
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| n.让步，机率，可能性，比率；胜败优劣之别 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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mariner
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| n.水手号不载人航天探测器，海员，航海者 | |
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quotations
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| n.引用( quotation的名词复数 )；[商业]行情（报告）；（货物或股票的）市价；时价 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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99
manliness
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| 刚毅 | |
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100
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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101
bouquet
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| n.花束，酒香 | |
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102
outweighs
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| v.在重量上超过( outweigh的第三人称单数 )；在重要性或价值方面超过 | |
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