the rhythm of life and other essays(生命的旋律)-第8节
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they will still count their superior weeping as the choicest of their gifts。
And Lepidus； who loves to wonder； can have no better subject for his
admiration than the pathos of the time。 It is bred now of your mud by the
operation of your sun。 'Tis a strange serpent； and the tears of it are wet。
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THE POINT OF HONOUR
Not without significance is the Spanish nationality of Velasquez。 In
Spain was the Point put upon Honour； and Velasquez was the first
Impressionist。 As an Impressionist he claimed； implicity if not explicity；
a whole series of delicate trusts in his trustworthiness； he made an appeal
to the confidence of his peers； he relied on his own candour and asked that
the candid should rely upon him； he kept the chastity of art when other
masters were content with its honesty； and when others saved artistic
conscience he safeguarded the point of honour。 Contemporary masters
more or less proved their position； and convinced the world by something
of demonstration； the first Impressionist simply asked that his word should
be accepted。 To those who would not take his word he offers no bond。 To
those who will； he grants the distinction of a share in his responsibility。
Somewhat unrefined； in comparison to his lofty and simple claim to be
believed on a suggestion； is the commoner painter's production of his
credentials； his appeal to the sanctions of ordinary experience； his self…
defence against the suspicion of making irresponsible mysteries in art。
'You can see for yourself；' the lesser man seems to say to the world； 'thus
things are； and I render them in such manner that your intelligence may be
satisfied。' This is an appeal to average experienceat the best the
cumulative experience； and with the average； or with the sum； art cannot
deal without derogation。 The Spaniard seems to say： 'Thus things are
in my pictorial sight。 Trust me； I apprehend them so。' We are not
excluded from his counsels； but we are asked to attribute a certain
authority to him； master of the craft as he is； master of that art of seeing
pictorially which is the beginning and not far from the endnot far short
of the wholeof the art of painting。 So little indeed are we shut out from
the mysteries of a great Impressionist's impression that Velasquez requires
us to be in some degree his colleagues。 Thus may each of us to whom he
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。
