【英文文学】The American Mind The E. T. Earl Lectures.docx

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1、【英文文学】The American Mind The E. T. Earl LecturesPrefaceThe material for this book was delivered as the E. T. Earl Lectures for 1912 at the Pacific Theological Seminary, Berkeley, California, and I wish to take this opportunity to express to the President and Faculty of that institution my appreciatio

2、n of their generous hospitality.The lectures were also given at the Lowell Institute, Boston, the Brooklyn Institute, and elsewhere, under the title American Traits in American Literature. In revising them for publication a briefer title has seemed desirable, and I have therefore availed myself of J

3、effersons phrase The American Mind, as suggesting, more accurately perhaps than the original title, the real theme of discussion.B. P.Cambridge, 1912.I Race, Nation, and BookMany years ago, as a student in a foreign university, I remember attacking, with the complacency of youth, a German history of

4、 the English drama, in six volumes. I lost courage long before the author reached the age of Elizabeth, but I still recall the subject of the opening chapter: it was devoted to the physical geography of Great Britain. Writing, as the good German professor did, in the triumphant hour of Taines theory

5、 as to the significance of place, period, and environment in determining the character of any literary production, what could be more logical than to begin at the beginning? Have not the chalk cliffs guarding the southern coast of England, have not the fatness of the midland counties and the soft ra

6、iny climate of a North Atlantic island, and the proud, tenacious, self-assertive folk that are bred there, all left their trace upon A Midsummer Nights Dream, andPg 4 Every Man in his Humour and She Stoops to Conquer? Undoubtedly. Latitude and longitude, soil and rainfall and food-supply, racial ori

7、gins and crossings, political and social and economic conditions, must assuredly leave their marks upon the mental and artistic productiveness of a people and upon the personality of individual writers.Taine, who delighted to point out all this, and whose English Literature remains a monument of the

8、 defects as well as of the advantages of his method, was of course not the inventor of the climatic theory. It is older than Aristotle, who discusses it in his treatise on Politics. It was a topic of interest to the scholars of the Renaissance. Englishmen of the seventeenth century, with an unction

9、of pseudo-science added to their natural patriotism, discovered in the English climate one of the reasons of Englands greatness. Thomas Sprat, writing in 1667 on the History of the Royal Society, waxes bold and asserts: If there can be a true character given of the Universal Temper of any Nation und

10、er Heaven, then certainly this must be ascribed to our countrymen, that they have commonly an unaffected sincerity, that they love to deliverPg 5 their minds with a sound simplicity, that they have the middle qualities between the reserved, subtle southern and the rough, unhewn northern people, that

11、 they are not extremely prone to speak, that they are more concerned what others will think of the strength than of the fineness of what they say, and that a universal modesty possesses them. These qualities are so conspicuous and proper to the soil that we often hear them objected to us by some of

12、our neighbor Satyrists in more disgraceful expressions. Even the position of our climate, the air, the influence of the heaven, the composition of the English blood, as well as the embraces of the Ocean, seem to join with the labours of the Royal Society to render our country a Land of Experimental

13、Knowledge.The excellent Sprat was the friend and executor of the poet Cowley, who has in the Preface to his Poems a charming passage about the relation of literature to the external circumstances in which it is written.If wit be such a Plant that it scarce receives heat enough to keep it alive even

14、in the summer of our cold Clymate, how can it choose but wither in a long and a sharp winter? a warlike, variousPg 6 and a tragical age is best to write of, but worst to write in. And he adds this, concerning his own art of poetry: There is nothing that requires so much serenity and chearfulness of

15、spirit; it must not be either overwhelmed with the cares of Life, or overcast with the Clouds of Melancholy and Sorrow, or shaken and disturbed with the storms of injurious Fortune; it must, like the Halcyon, have fair weather to breed in. The Soul must be filled with bright and delightful Idaeas, w

16、hen it undertakes to communicate delight to others, which is the main end of Poesie. One may see through the stile of Ovid de Trist., the humbled and dejected condition of Spirit with which he wrote it; there scarce remains any footstep of that Genius, Quem nec Jovis ira, nec ignes, etc. The cold of

17、 the country has strucken through all his faculties, and benummed the very feet of his Verses.Madame de Sta?ls Germany, one of the most famous of the national character books, begins with a description of the German landscape. But though nobody, from Ovid in exile down to Madame de Sta?l, questions

18、the general significance of place, time, and circumstances as affecting the nature of a literary product, whenPg 7 we come to the exact and as it were mathematical demonstration of the precise workings of these physical influences, our generation is distinctly more cautious than were the literary cr

19、itics of forty years ago. Indeed, it is a hundred years since Fisher Ames, ridiculing the theory that climate acts directly upon literary products, said wittily of Greece: The figs are as fine as ever, but where are the Pindars? The theory of race, in particular, has been sharply questioned by the e

20、xperts. Saxon and Norman, for example, no longer seem to us such simple terms as sufficed for the purpose of Scotts Ivanhoe or of Thierrys Norman Conquest, a book inspired by Scotts romance. The late Professor Freeman, with characteristic bluntness, remarked of the latter book: Thierry says at the e

21、nd of his work that there are no longer either Normans or Saxons except in history. But in Thierrys sense of the word, it would be truer to say that there never were Normans or Saxons anywhere, save in the pages of romances like his own.There is a brutal directness about this verdict upon a rival hi

22、storian which we shall probably persist in calling Saxon; but it is noPg 8 worse than the criticisms of Matthew Arnolds essay on The Celtic Spirit made to-day by university professors who happen to know Old Irish at first hand, and consequently consider Arnolds opinion on Celtic matters to be hopele

23、ssly amateurish.The wiser scepticism of our day concerning all hard-and-fast racial distinctions has been admirably summed up by Josiah Royce. A race psychology, he declares, is still a science for the future to discover. We do not scientifically know what the true racial varieties of mental type re

24、ally are. No doubt there are such varieties. The judgment day, or the science of the future, may demonstrate what they are. We are at present very ignorant regarding the whole matter.Nowhere have the extravagances of the application of racial theories to intellectual products been more pronounced th

25、an in the fields of art and literature. Audiences listen to a waltz which the programme declares to be an adaptation of a Hungarian folk-song, and though they may be more ignorant of Hungary than Shakespeare was of Bohemia, they have no hesitation in exclaiming: How truly Hungarian thisPg 9 is! Or,

26、it may be, how truly Japanese is this vase which was made in Japanperhaps for the American market; or how intensely Russian is this melancholy tale by Turgenieff. This prompt deduction of racial qualities from works of art which themselves give the critic all the information he possesses about the r

27、aces in question,or, in other words, the enthusiastic assertion that a thing is like itself,is one of the familiar notes of amateur criticism. It is travelling in a circle, and the corregiosity of Corregio is the next station.Blood tells, no doubt, and a masterpiece usually betrays some token of the

28、 place and hour of its birth. A knowledge of the condition of political parties in Athens in 416 B.C. adds immensely to the enjoyment of the readers of Aristophanes; the fun becomes funnier and the daring even more splendid than before. Molires training as an actor does affect the dramaturgic qualit

29、y of his comedies. All this is demonstrable, and to the prevalent consciousness of it our generation is deeply indebted to Taine and his pupils. But before displaying dogmatically the inevitable brandings of racial and national traits on a national literature, before pointing to thisPg 10 and that u

30、nmistakable evidence of local or temporal influence on the form or spirit of a masterpiece, we are now inclined to make some distinct reservations. These reservations are not without bearing upon our own literature in America.There are, for instance, certain artists who seem to escape the influences

31、 of the time-spirit. The most familiar example is that of Keats. He can no doubt be assigned to the George the Fourth period by a critical examination of his vocabulary, but the characteristic political and social movements of that epoch in England left him almost untouched. Edgar Allan Poe might ha

32、ve written some of his tales in the seventeenth century or in the twentieth; he might, like Robert Louis Stevenson, have written in Samoa rather than in the Baltimore, Philadelphia, or New York of his day; his description of the Ragged Mountains of Virginia, within very sight of the university which

33、 he attended, was borrowed, in the good old convenient fashion, from Macaulay; in fact, it requires something of Poes own ingenuity to find in Poe, who is one of the indubitable assets of American literature, anything distinctly American.Wholly aside from such spiritual insulationPg 11 of the single

34、 writer, there is the obvious fact that none of the arts, not even literature, and not all of them together, can furnish a wholly adequate representation of racial or national characteristics. It is well known to-day that the so-called classic examples of Greek art, most of which were brought to lig

35、ht and discoursed upon by critics from two to four centuries ago, represent but a single phase of Greek feeling; and that the Greeks, even in what we choose to call their most characteristic period, had a distinctly romantic tendency which their more recently discovered plastic art betrays. But even

36、 if we had all the lost statues, plays, poems, and orations, all the Greek paintings about which we know so little, and the Greek music about which we know still less, does anybody suppose that this wealth of artistic expression would furnish a wholly satisfactory notion of the racial and psychologi

37、cal traits of the Greek people?One may go even further. Does a truly national art exist anywhere,an art, that is to say, which conveys a trustworthy and adequate expression of the national temper as a whole? We have but to reflect upon the European and American judgments, during the last thirtyPg 12

38、 years, concerning the representative quality of the art of Japan, and to observe how many of those facile generalizations about the Japanese character, deduced from vases and prints and enamel, were smashed to pieces by the Russo-Japanese War. This may illustrate the blunders of foreign criticism,

39、perhaps, rather than any inadequacy in the racially representative character of Japanese art. But it is impossible that critics, and artists themselves, should not err, in the conscious endeavor to pronounce upon the infinitely complex materials with which they are called upon to deal. We must confe

40、ss that the expression of racial and national characteristics, by means of only one art, such as literature, or by all the arts together, is at best imperfect, and is always likely to be misleading unless corroborated by other evidence.For it is to be remembered that in literature, as in the other f

41、ields of artistic activity, we are dealing with the question of form; of securing a concrete and pleasurable embodiment of certain emotions. It may well happen that literature not merely fails to give an adequate report of the racial or national or personal emotions felt during a given epoch, but th

42、at it fails to reportPg 13 these emotions at all. Not only the old, unhappy, far-off things of racial experience, but the new and delight-giving experiences of the hour, may lack their poet. Widespread moods of public elation or wistfulness or depression have passed without leaving a shadow upon the

43、 mirror of art. There was no one to hold the mirror or even to fashion it. No note of Renaissance criticism, whether in Italy, France, or England, is more striking, and in a way more touching, than the universal feeling that in the rediscovery of the classics men had found at last the terms of art,

44、the rules and methods of a game which they had long wished to be playing. Englishmen and Frenchmen of the sixteenth century will not allow that their powers are less virile, their emotions less eager, than those of the Greeks and Romans. Only, lacking the very terms of art, they had not been able to

45、 arrive at fit expression; the soul had found no body wherewith to clothe itself into beauty. As they avowed in all simplicity, they needed schoolmasters; the discipline of Aristotle and Horace and Virgil; a body of critical doctrine, to teach them how to express the France and England or Italy of t

46、heir day, andPg 14 thus give permanence to their fleeting vision of the world. Na?ve as may have been the Renaissance expression of this need of formal training, blind as it frequently was to the beauty which we recognize in the undisciplined vernacular literatures of medi?val Europe, those groping

47、scholars were essentially right. No one can paint or compose by nature. One must slowly master an art of expression.Now through long periods of time, and over many vast stretches of territory, as our own American writing abundantly witnesses, the whole formal side of expression may be neglected. Lit

48、erature, in its narrower sense, may not exist. In that restricted and higher meaning of the term, literature has always been uncommon enough, even in Athens or Florence. It demands not merely personal distinction or power, not merely some uncommon height or depth or breadth of capacity and insight,

49、but a purely artistic training, which in the very nature of the case is rare. Millions of Russians, perhaps, have felt about the general problems of life much as Turgenieff felt, but they lacked the sheer literary art with which the Notes of a Sportsman was written. Thousands ofPg 15 frontier lawyers and politicians shared Lincolns hard and varied and admirable training in the mastery of speech, but in his hands alone was