the rhythm of life and other essays(生命的旋律)-第7章
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appeals take praise from the praised： He leaves my educated eyes to do a
little of the work。 He respects my responsibility no lessthough he
respects it less explicitlythan I do his。 What he allows me would not be
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granted by a meaner master。 If he does not hold himself bound to prove
his own truth； he returns thanks for my trust。 It is as though he used his
countrymen's courteous hyperbole and called his house my own。 In a
sense of the most noble hostship he does me the honours of his picture。
Because Impressionism is so free； therefore is it doubly bound。
Because there is none to arraign it； it is a thousand times responsible。 To
undertake this art for the sake of its privileges without confessing its
obligationsor at least without confessing them up to the point of honour
is to take a vulgar freedom： to see immunities precisely where there are
duties； and an advantage where there is a bond。 A very mob of men have
taken Impressionism upon themselves in this our later day。 It is against
all probabilities that more than a few among these have within them the
point of honour。 In their galleries we are beset with a dim distrust。 And
to distrust is more humiliating than to be distrusted。 How many of these
landscape…painters； deliberately rash； are painting the truth of their own
impressions？ An ethical question as to loyalty is easily answered； truth
and falsehood as to fact are； happily for the intelligence of the common
conscience； not hard to divide。 But when the DUBIUM concerns not fact
but artistic truth； can the many be sure that their sensitiveness； their
candour； their scruple； their delicate equipoise of perceptions； the
vigilance of their apprehension； are enough？ Now Impressionists of late
have told us things as to their impressionsas to the effect of things upon
the temperament of this man and upon the mood of thatwhich should not
be asserted except on the artistic point of honour。 The majority can tell
ordinary truth； but they should not trust themselves for truth extraordinary。
They can face the general judgment； but they should hesitate to produce
work that appeals to the last judgment； which is the judgment within。
There is too much reason to divine that a certain number of those who
aspire to derive from the greatest of masters have no temperaments worth
speaking of； no point of view worth seizing； no vigilance worth awaiting；
no mood worth waylaying。 And to be； de parti pris； an Impressionist
without these！ O Velasquez！ Nor is literature quite free from a like
reproach in her own things。 An author； here and there； will make as
though he had a word worth hearingnay； worth over…hearinga word that
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seeks to withdraw even while it is uttered； and yet what it seems to
dissemble is all too probably a platitude。 But obviously； literature is not
as is the craft and mystery of paintingso at the mercy of a half…imposture；
so guarded by unprovable honour。 For the art of painting is reserved that
shadowy risk； that undefined salvation。 May the gods guard us from the
further popularising of Impressionism； for the point of honour is the
simple secret of the few。
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COMPOSURE
Tribulation； Immortality； the Multitude： what remedy of composure
do these words bring for their own great disquiet！ Without the
remoteness of the Latinity the thought would come too close and shake too
cruelly。 In order to the sane endurance of the intimate trouble of the soul
an aloofness of language is needful。 Johnson feared death。 Did his
noble English control and postpone the terror？ Did it keep the fear at
some courteous； deferent distance from the centre of that human heart； in
the very act of the leap and lapse of mortality？ Doubtless there is in
language such an educative power。 Speech is a school。 Every language
is a persuasion； an induced habit； an instrument which receives the note
indeed but gives the tone。 Every language imposes a quality； teaches a
temper； proposes a way； bestows a tradition： this is the tonethe voice
of the instrument。 Every language； by counter… change； replies to the
writer's touch or breath his own intention； articulate： this is his note。
Much has always been said； many things to the purpose have been thought；
of the power and the responsibility of the note。 Of the legislation and
influence of the tone I have been led to think by comparing the tranquillity
of Johnson and the composure of Canning with the stimulated and close
emotion； the interior trouble； of those writers who have entered as
disciples in the school of the more Teutonic English。
For if every language be a school； more significantly and more
educatively is a part of a language a school to him who chooses that part。
Few languages offer the choice。 The fact that a choice is made implies
the results and fruits of a decision。 The French author is without these。
They are of all the heritages of the English writer the most important。 He
receives a language of dual derivation。 He may submit himself to either
University； whither he will take his impulse and his character； where he
will leave their influence； and whence he will accept their education。
The Frenchman has certainly a style to develop within definite limits； but
he does not subject himself to suggestions tending mainly hitherwards or
thitherwards； to currents of various race within one literature。 Such a
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choice of subjection is the singular opportunity of the Englishman。 I do
not mean to ignore the necessary mingling。 Happily that mingling has
been done once for all for us all。 Nay； one of the most charming things
that a master of English can achieve is the repayment of the united
teaching by linking their results so exquisitely in his own practice； that
words of the two schools are made to meet each other with a surprise and
delight that shall prove them at once gayer strangers； and sweeter
companions； than the world knew they were。 Nevertheless there remains
the liberty of choice as to which school of words shall have the place of
honour in the great and sensitive moments of an author's style： which
school shall be used for conspicuousness； and which for multitudinous
service。 And the choice being open； the perturbation of the pulses and
impulses of so many hearts quickened in thought and feeling in this day
suggests to me a deliberate return to the recollectedness of the more
tranquil language。 'Doubtless there is a place of peace。'
A place of peace； not of indifference。 It is impossible not to charge
some of the moralists of the last century with an indifference into which
they educated their platitudes and into which their platitudes educated
them。 Addison thus gave and took； until he was almost incapable of
coming within arm's…length of a real or spiritual emotion。 There is no
knowing to what distance the removal of the 'appropriate sentiment' from
the central soul might have attained but for the change and renewal in
language； which came when it was needed。 Addison had assuredly
removed eternity far from the apprehension of the soul when his Cato
hailed the 'pleasing hope；' the 'fond desire；' and the touch of war was
distant from him who conceived his 'repulsed battalions' and his 'doubtful
battle。' What came afterwards； when simplicity and nearness were restored
once more； was doubtless journeyman's work at times。 Men were too
eager to go into the workshop of language。 There were unreasonable
raptures over the mere making of common words。 'A hand…shoe！ a
finger…hat！ a foreword！ Beautiful！' they cried； and for the love of
German the youngest daughter of Chrysale herself might have consented
to be kissed by a grammarian。 It seemed to be forgotten that a language
with all its construction visible is a language little fitted for the more
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advanced mental processes； that its images are material； and that； on the
other hand； a certain spiritualising and subtilising effect of alien
derivations is a privilege and an advantage incalculablethat to possess
that half of the language within which Latin heredities lurk and
Romanesque allusions are at play is to possess the state and security of a
dead tongue； without the death。
But now I spoke of words encountering as gay strangers； various in
origin； divided in race； within a master's phrase。 The most beautiful and
the most sudden of such meetings are of course in Shakespeare。
'Superfluous kings；' 'A lass unparalleled；' 'Multitudinous seas：' we needed
not to w
