按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
expresses the ideas derived from them。 … In the second of these
operations the classicist is superior。 Obliged to adapt himself to his
audience； that is to say； to people of society who are not
specialists and yet critical； he necessarily carries to perfection the
art of exciting attention and of making himself heard； that is to say；
the art of composition and of writing。 … With patient industry； and
multiplied precautions； he carries the reader along with him by a
series of easy rectilinear conceptions； step by step； omitting none；
beginning with the lowest and thus ascending to the highest； always
progressing with steady and measured peace； securely and agreeably as
on a promenade。 No interruption or diversion is possible： on either
side； along the road； balustrades keep him within bounds； each idea
extending into the following one by such an insensible transition；
that he involuntarily advances； without stopping or turning aside；
until brought to the final truth where he is to be seated。 Classic
literature throughout bears the imprint of this talent； there is no
branch of it into which the qualities of a good discourse do not enter
and form a part。 … They dominate those sort of works which； in
themselves； are only half…literary； but which； by its help； become
fully so； transforming manuscripts into fine works of art which their
subject…matter would have classified as scientific works； as reports
of action； as historical documents； as philosophical treatises； as
doctrinal expositions； as sermons； polemics； dissertations and
demonstrations。 It transforms even dictionaries and operates from
Descartes to Condillac； from Bossuet to Buffon and Voltaire； from
Pascal to Rousseau and Beaumarchais； in short； becoming prose almost
entirely； even in official dispatches； diplomatic and private
correspondence； from Madame de Sévigné to Madame du Deffant； including
so many perfect letters flowing from the pens of women who were
unaware of it 。 … Such prose is paramount in those works which； in
themselves； are literary； but which derive from it an oratorical turn。
Not only does it impose a rigid plan； a regular distribution of
parts＇26＇ in dramatic works； accurate proportions； suppressions and
connections； a sequence and progress； as in a passage of eloquence；
but again it tolerates only the most perfect discourse。 There is no
character that is not an accomplished orator； with Corneille and
Racine； with Molière himself； the confidant； the barbarian king； the
young cavalier； the drawing room coquette； the valet； all show
themselves adepts in the use of language。 Never have we encountered
such adroit introductions； such well…arranged evidence； such just
reflections； such delicate transitions； such conclusive summing ups。
Never have dialogues borne such a strong resemblance to verbal
sparring matches。 Each narration； each portrait； each detail of
action； might be detached and serve as a good example for schoolboys；
along with the masterpieces of the ancient tribune。 So strong is this
tendency that； on the approach of the final moment； in the agony of
death； alone and without witnesses； the character finds the means to
plead his own frenzy and die eloquently。
II。 ITS ORIGINAL DEFICIENCY。
Its original deficiency。 … Signs of this in the 17th century。 … It
grows with time and success。 … Proofs of this growth in the 18th
century。 … Serious poetry； the drama； history and romances。 … Short…
sighted views of man and of human existence。
This excess indicates a deficiency。 In the two operations which the
human mind performs； the classicist is more successful in the second
than in the first。 The second； indeed； stands in the way of the first；
the obligation of always speaking correctly makes him refrain from
saying all that ought to be said。 With him the form is more important
than abundant contents； the firsthand observations which serve as a
living source losing； in the regulated channels to which they are
confined； their force； depth and impetuosity。 Real poetry； able to
convey dream and illusion； cannot be brought forth。 Lyric poetry
proves abortive； and likewise the epic poem。＇27＇ Nothing sprouts on
these distant fields； remote and sublime； where speech unites with
music and painting。 Never do we hear the involuntary scream of intense
torment； the lonely confession of a distraught soul；＇28＇ pouring out
his heart to relieve himself。 When a creation of characters is
imperative； as in dramatic poetry； the classic mold fashions but one
kind； that which through education； birth； or impersonation； always
speak correctly； in other words； like so many people of high society。
No others are portrayed on the stage or elsewhere； from Corneille and
Racine to Marivaux and Beaumarchais。 So strong is the habit that it
imposes itself even on La Fontaine's animals； on the servants of
Molière； on Montesquieu's Persians； and on the Babylonians； the
Indians and the Micromégas of Voltaire。 … It must be stated；
furthermore； that these characters are only partly real。 In real
persons two kinds of characteristics may be noted； the first； few in
number； which he or she shares with others of their kind and which any
reader readily may identify； and the other kind； of which there are a
great many； describing only one particular person and these are much
more difficult to discover。 Classic art concerns itself only with the
former； it purposely effaces； neglects or subordinates the latter。 It
does not build individual persons but generalized characters； a king；
a queen； a young prince； a confidant； a high…priest； a captain of the
guards； seized by some passion； habit or inclination； such as love；
ambition； fidelity or perfidy； a despotic or a yielding temper； some
species of wickedness or of native goodness。 As to the circumstances
of time and place； which； amongst others； exercise a most powerful
influence in shaping and diversifying man； it hardly notes them； even
setting them aside。 In a tragedy the scene is set everywhere and any
time； the contrary； that the action takes place nowhere in no specific
epoch； is equally valid。 It may take place in any palace or in any
temple；＇29＇ in which； to get rid of all historic or personal impressions；
habits and costumes are introduced conventionally； being neither French
nor foreign； nor ancient； nor modern。 In this abstract world the
address is always 〃you〃（as opposed to the familiar thou）；＇30＇
〃Seigneur〃 and 〃Madame；〃 the noble style always clothing the most
different characters in the same dress。 When Corneille and Racine；
through the stateliness and elegance of their verse； afford us a
glimpse of contemporary figures they do it unconsciously； imagining
that they are portraying man in himself； and； if we of the present
time recognize in their pieces either the gentleman； the duelists； the
bullies； the politicians or the heroines of the Fronde； or the
courtiers； princes and bishops；