seven discourses on art(艺术七讲座)-第20节
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remaining amongst them； the melancholy monuments of their former
grandeur and long…lost science； they always answer that they were built by
magicians。 The untaught mind finds a vast gulf between its own powers
and these works of complicated art which it is utterly unable to fathom。
And it supposes that such a void can be passed only by supernatural
powers。
And； as for artists themselves； it is by no means their interest to
undeceive such judges； however conscious they may be of the very natural
means by which the extraordinary powers were acquired； our art being
intrinsically imitative； rejects this idea of inspiration more； perhaps； than
any other。
It is to avoid this plain confession of truth； as it should seem； that this
imitation of mastersindeed； almost all imitation which implies a more
regular and progressive method of attaining the ends of paintinghas ever
been particularly inveighed against with great keenness； both by ancient
and modern writers。
To derive all from native power； to owe nothing to another； is the
praise which men； who do not much think what they are saying； bestow
sometimes upon others； and sometimes on themselves； and their imaginary
dignity is naturally heightened by a supercilious censure of the low； the
barren； the grovelling； the servile imitator。 It would be no wonder if a
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student； frightened by these terrors and disgraceful epithets； with which
the poor imitators are so often loaded； should let fall his pencil in mere
despair； conscious how much he has been indebted to the labours of others；
how little； how very little of his art was born with him； and； considering it
as hopeless； to set about acquiring by the imitation of any human master
what he is taught to suppose is matter of inspiration from heaven。
Some allowance must be made for what is said in the gaiety or
ambition of rhetoric。 We cannot suppose that any one can really mean to
exclude all imitation of others。 A position so wild would scarce deserve a
serious answer； for it is apparent； if we were forbid to make use of the
advantages which our predecessors afford us； the art would be always to
begin； and consequently remain always in its infant state； and it is a
common observation that no art was ever invented and carried to
perfection at the same time。
But to bring us entirely to reason and sobriety； let it be observed； that a
painter must not only be of necessity an imitator of the works of nature；
which alone is sufficient to dispel this phantom of inspiration； but he must
be as necessarily an imitator of the works of other painters。 This appears
more humiliating； but it is equally true； and no man can be an artist；
whatever he may suppose； upon any other terms。
However； those who appear more moderate and reasonable allow that
study is to begin by imitation； but that we should no longer use the
thoughts of our predecessors when we are become able to think for
ourselves。 They hold that imitation is as hurtful to the more advanced
student as it was advantageous to the beginner。
For my own part； I confess I am not only very much disposed to lay
down the absolute necessity of imitation in the first stages of the art； but
am of opinion that the study of other masters； which I here call imitation；
may be extended throughout our whole life without any danger of the
inconveniences with which it is charged； of enfeebling the mind； or
preventing us from giving that original air which every work undoubtedly
ought always to have。
I am； on the contrary； persuaded that by imitation only； variety； and
even originality of invention is produced。
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I will go further； even genius； at least what generally is so called； is the
child of imitation。 But as this appears to be contrary to the general
opinion； I must explain my position before I enforce it。
Genius is supposed to be a power of producing excellences which are
out of the reach of the rules of arta power which no precepts can teach；
and which no industry can acquire。
This opinion of the impossibility of acquiring those beauties which
stamp the work with the character of genius； supposes that it is something
more fixed than in reality it is； and that we always do； and ever did agree；
about what should be considered as a characteristic of genius。
But the truth is that the degree of excellence which proclaims genius is
different in different times and different places； and what shows it to be so
is that mankind have often changed their opinion upon this matter。
When the arts were in their infancy； the power of merely drawing the
likeness of any object was considered as one of its greatest efforts。
The common people； ignorant of the principles of art； talk the same
language even to this day。 But when it was found that every man could
be taught to do this； and a great deal more； merely by the observance of
certain precepts； the name of genius then shifted its application； and was
given only to those who added the peculiar character of the object they
represented； to those who had invention； expression； grace； or dignity； or；
in short； such qualities or excellences the producing of which could not
then be taught by any known and promulgated rules。
We are very sure that the beauty of form； the expression of the
passions； the art of composition； even the power of giving a general air of
grandeur to your work； is at present very much under the dominion of
rules。 These excellences were； heretofore； considered merely as the
effects of genius； and justly； if genius is not taken for inspiration； but as
the effect of close observation and experience。
He who first made any of these observations and digested them； so as
to form an invariable principle for himself to work by； had that merit； but
probably no one went very far at once； and generally the first who gave
the hint did not know how to pursue it steadily and methodically； at least
not in the beginning。 He himself worked on it； and improved it； others
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worked more； and improved farther； until the secret was discovered； and
the practice made as general as refined practice can be made。 How many
more principles may be fixed and ascertained we cannot tell； but as
criticism is likely to go hand in hand with the art which is its subject； we
may venture to say that as that art shall advance； its powers will be still
more and more fixed by rules。
But by whatever strides criticism may gain ground； we need be under
no apprehension that invention will ever be annihilated or subdued； or
intellectual energy be brought entirely within the restraint of written law。
Genius will still have room enough to expatiate； and keep always the same
distance from narrow comprehension and mechanical performance。
What we now call genius begins； not where rules； abstractedly taken；
end； but where known vulgar and trite rules have no longer any place。 It
must of necessity be that even works of genius； as well as every other
effect； as it must have its cause； must likewise have its rules； it cannot be
by chance that excellences are produced with any constancy； or any
certainty； for this is not the nature of chance； but the rules by which men
of extraordinary parts； and such as are called men of genius work； are
either such as they discover by their own peculiar observation； or of such a
nice texture as not easily to admit handling or expressing in words；
especially as artists are not very frequently skilful in that
