essays and lectures-第21节
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as bitter as the fire which she would make her slave。
But I think it will bring you something besides this; something
that is the knowledge of real strength in art: not that you should
imitate the works of these men; but their artistic spirit; their
artistic attitude; I think you should absorb that。
For in nations; as in individuals; if the passion for creation be
not accompanied by the critical; the aesthetic faculty also; it
will be sure to waste its strength aimlessly; failing perhaps in
the artistic spirit of choice; or in the mistaking of feeling for
form; or in the following of false ideals。
For the various spiritual forms of the imagination have a natural
affinity with certain sensuous forms of art … and to discern the
qualities of each art; to intensify as well its limitations as its
powers of expression; is one of the aims that culture sets before
us。 It is not an increased moral sense; an increased moral
supervision that your literature needs。 Indeed; one should never
talk of a moral or an immoral poem … poems are either well written
or badly written; that is all。 And; indeed; any element of morals
or implied reference to a standard of good or evil in art is often
a sign of a certain incompleteness of vision; often a note of
discord in the harmony of an imaginative creation; for all good
work aims at a purely artistic effect。 'We must be careful;' said
Goethe; 'not to be always looking for culture merely in what is
obviously moral。 Everything that is great promotes civilisation as
soon as we are aware of it。'
But; as in your cities so in your literature; it is a permanent
canon and standard of taste; an increased sensibility to beauty (if
I may say so) that is lacking。 All noble work is not national
merely; but universal。 The political independence of a nation must
not be confused with any intellectual isolation。 The spiritual
freedom; indeed; your own generous lives and liberal air will give
you。 From us you will learn the classical restraint of form。
For all great art is delicate art; roughness having very little to
do with strength; and harshness very little to do with power。 'The
artist;' as Mr。 Swinburne says; 'must be perfectly articulate。'
This limitation is for the artist perfect freedom: it is at once
the origin and the sign of his strength。 So that all the supreme
masters of style … Dante; Sophocles; Shakespeare … are the supreme
masters of spiritual and intellectual vision also。
Love art for its own sake; and then all things that you need will
be added to you。
This devotion to beauty and to the creation of beautiful things is
the test of all great civilised nations。 Philosophy may teach us
to bear with equanimity the misfortunes of our neighbours; and
science resolve the moral sense into a secretion of sugar; but art
is what makes the life of each citizen a sacrament and not a
speculation; art is what makes the life of the whole race immortal。
For beauty is the only thing that time cannot harm。 Philosophies
fall away like sand; and creeds follow one another like the
withered leaves of autumn; but what is beautiful is a joy for all
seasons and a possession for all eternity。
Wars and the clash of armies and the meeting of men in battle by
trampled field or leaguered city; and the rising of nations there
must always be。 But I think that art; by creating a common
intellectual atmosphere between all countries; might … if it could
not overshadow the world with the silver wings of peace … at least
make men such brothers that they would not go out to slay one
another for the whim or folly of some king or minister; as they do
in Europe。 Fraternity would come no more with the hands of Cain;
nor Liberty betray freedom with the kiss of Anarchy; for national
hatreds are always strongest where culture is lowest。
'How could I?' said Goethe; when reproached for not writing like
Korner against the French。 'How could I; to whom barbarism and
culture alone are of importance; hate a nation which is among the
most cultivated of the earth; a nation to which I owe a great part
of my own cultivation?'
Mighty empires; too; there must always be as long as personal
ambition and the spirit of the age are one; but art at least is the
only empire which a nation's enemies cannot take from her by
conquest; but which is taken by submission only。 The sovereignty
of Greece and Rome is not yet passed away; though the gods of the
one be dead and the eagles of the other tired。
And we in our Renaissance are seeking to create a sovereignty that
will still be England's when her yellow leopards have grown weary
of wars and the rose of her shield is crimsoned no more with the
blood of battle; and you; too; absorbing into the generous heart of
a great people this pervading artistic spirit; will create for
yourselves such riches as you have never yet created; though your
land be a network of railways and your cities the harbours for the
galleys of the world。
I know; indeed; that the divine natural prescience of beauty which
is the inalienable inheritance of Greek and Italian is not our
inheritance。 For such an informing and presiding spirit of art to
shield us from all harsh and alien influences; we of the Northern
races must turn rather to that strained self…consciousness of our
age which; as it is the key…note of all our romantic art; must be
the source of all or nearly all our culture。 I mean that
intellectual curiosity of the nineteenth century which is always
looking for the secret of the life that still lingers round old and
bygone forms of culture。 It takes from each what is serviceable
for the modern spirit … from Athens its wonder without its worship;
from Venice its splendour without its sin。 The same spirit is
always analysing its own strength and its own weakness; counting
what it owes to East and to West; to the olive…trees of Colonus and
to the palm…trees of Lebanon; to Gethsemane and to the garden of
Proserpine。
And yet the truths of art cannot be taught: they are revealed
only; revealed to natures which have made themselves receptive of
all beautiful impressions by the study and worship of all beautiful
things。 And hence the enormous importance given to the decorative
arts in our English Renaissance; hence all that marvel of design
that comes from the hand of Edward Burne…Jones; all that weaving of
tapestry and staining of glass; that beautiful working in clay and
metal and wood which we owe to William Morris; the greatest
handicraftsman we have had in England since the fourteenth century。
So; in years to come there will be nothing in any man's house which
has not given delight to its maker and does not give delight to its
user。 The children; like the children of Plato's perfect city;
will grow up 'in a simple atmosphere of all fair things' … I quote
from the passage in the REPUBLIC … 'a simple atmosphere of all fair
things; where beauty; which is the spirit of art; will come on eye
and ear like a fresh breath of wind that brings health from a clear
upland; and insensibly and gradually draw the child's soul into
harmony with all knowledge and all wisdom; so that he will love
what is beautiful and good; and hate what is evil and ugly (for
they always go together) long before he knows the reason why; and
then when reason comes will kiss her on the cheek as a friend。'
That is what Plato thought decorative art could do for a nation;
feeling that the secret not of philosophy merely but of all
gracious existence might be externally hidden from any one whose
youth had been passed in uncomely and vulgar surroundings; and that
the beauty of form and colour even; as he says; in the meanest
vessels of the house; will find its way into the inmost places of
the soul and lead the boy naturally to look for that divine harmony
of spiritual life of which art was to him the material symbol and
warrant。
Prelude indeed to all knowledge and all wisdom will this love of
beautiful things be for us; yet there are times when wisdom becomes
a burden and knowledge is one with sorrow: for as every body has
its shadow so every soul has its scepticism。 In such dread moments
of discord and despair where should we; of this torn and troubled
age; turn our steps if not to that secure house of beauty where
there is always a little forgetfulness; always a great joy; to that
CITTE DIVINA; as the old Italian heresy called it; the divine city
where one can stand; though only for a brief moment; apart from the
division and terror of the world and the choice of the world too?
This is that CONSOLATION DES ARTS which is the key…note of
Gautier's poetry; the secret of modern life foreshadowed … as
indeed what in our century is not? … by Goethe。 You remember what
he said to the German people: 'Only have the courage;' he said;
'to give yourselves up to your impressions; all