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第114章

zanoni-第114章

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work regarded in this view; it is not my intention to say

anything; whether in exposition of the design; or in defence of

the execution。  No typical meanings (which; in plain terms are

but moral suggestions; more or less numerous; more or less

subtle) can afford just excuse to a writer of fiction; for the

errors he should avoid in the most ordinary novel。  We have no

right to expect the most ingenious reader to search for the inner

meaning; if the obvious course of the narrative be tedious and

displeasing。  It is; on the contrary; in proportion as we are

satisfied with the objective sense of a work of imagination; that

we are inclined to search into its depths for the more secret

intentions of the author。  Were we not so divinely charmed with

〃Faust;〃 and 〃Hamlet;〃 and 〃Prometheus;〃 so ardently carried on

by the interest of the story told to the common understanding; we

should trouble ourselves little with the types in each which all

of us can detect;none of us can elucidate; none elucidate; for

the essence of type is mystery。  We behold the figure; we cannot

lift the veil。  The author himself is not called upon to explain

what he designed。  An allegory is a personation of distinct and

definite things;virtues or qualities;and the key can be given

easily; but a writer who conveys typical meanings; may express

them in myriads。  He cannot disentangle all the hues which

commingle into the light he seeks to cast upon truth; and

therefore the great masters of this enchanted soil;Fairyland of

Fairyland; Poetry imbedded beneath Poetry;wisely leave to each

mind to guess at such truths as best please or instruct it。  To

have asked Goethe to explain the 〃Faust〃 would have entailed as

complex and puzzling an answer as to have asked Mephistopheles to

explain what is beneath the earth we tread on。  The stores

beneath may differ for every passenger; each step may require a

new description; and what is treasure to the geologist may be

rubbish to the miner。  Six worlds may lie under a sod; but to the

common eye they are but six layers of stone。



Art in itself; if not necessarily typical; is essentially a

suggester of something subtler than that which it embodies to the

sense。  What Pliny tells us of a great painter of old; is true of

most great painters; 〃their works express something beyond the

works;〃〃more felt than understood。〃  This belongs to the

concentration of intellect which high art demands; and which; of

all the arts; sculpture best illustrates。  Take Thorwaldsen's

Statue of Mercury;it is but a single figure; yet it tells to

those conversant with mythology a whole legend。  The god has

removed the pipe from his lips; because he has already lulled to

sleep the Argus; whom you do not see。  He is pressing his heel

against his sword; because the moment is come when he may slay

his victim。  Apply the principle of this noble concentration of

art to the moral writer:  he; too; gives to your eye but a single

figure; yet each attitude; each expression; may refer to events

and truths you must have the learning to remember; the acuteness

to penetrate; or the imagination to conjecture。  But to a

classical judge of sculpture; would not the exquisite pleasure of

discovering the all not told in Thorwaldsen's masterpiece be

destroyed if the artist had engraved in detail his meaning at the

base of the statue?  Is it not the same with the typical sense

which the artist in words conveys?  The pleasure of divining art

in each is the noble exercise of all by whom art is worthily

regarded。



We of the humbler race not unreasonably shelter ourselves under

the authority of the masters; on whom the world's judgment is

pronounced; and great names are cited; not with the arrogance of

equals; but with the humility of inferiors。



The author of Zanoni gives; then; no key to mysteries; be they

trivial or important; which may be found in the secret chambers

by those who lift the tapestry from the wall; but out of the many

solutions of the main enigmaif enigma; indeed; there bewhich

have been sent to him; he ventures to select the one which he

subjoins; from the ingenuity and thought which it displays; and

from respect for the distinguished writer (one of the most

eminent our time has produced) who deemed him worthy of an honour

he is proud to display。  He leaves it to the reader to agree

with; or dissent from the explanation。  〃A hundred men;〃 says the

old Platonist; 〃may read the book by the help of the same lamp;

yet all may differ on the text; for the lamp only lights the

characters;the mind must divine the meaning。〃  The object of a

parable is not that of a problem; it does not seek to convince;

but to suggest。  It takes the thought below the surface of the

understanding to the deeper intelligence which the world rarely

tasks。  It is not sunlight on the water; it is a hymn chanted to

the nymph who hearkens and awakes below。



。。。



〃ZANONI EXPLAINED。



BY。〃



MEJNOUR:Contemplation of the Actual;SCIENCE。  Always old; and

must last as long as the Actual。  Less fallible than Idealism;

but less practically potent; from its ignorance of the human

heart。



ZANONI:Contemplation of the Ideal;IDEALISM。  Always

necessarily sympathetic:  lives by enjoyment; and is therefore

typified by eternal youth。  (〃I do not understand the making

Idealism less undying (on this scene of existence) than

Science。〃Commentator。  Because; granting the above premises;

Idealism is more subjected than Science to the Affections; or to

Instinct; because the Affections; sooner or later; force Idealism

into the Actual; and in the Actual its immortality departs。  The

only absolutely Actual portion of the work is found in the

concluding scenes that depict the Reign of Terror。  The

introduction of this part was objected to by some as out of

keeping with the fanciful portions that preceded it。  But if the

writer of the solution has rightly shown or suggested the

intention of the author; the most strongly and rudely actual

scene of the age in which the story is cast was the necessary and

harmonious completion of the whole。  The excesses and crimes of

Humanity are the grave of the Ideal。 Author。)  Idealism is the

potent Interpreter and Prophet of the Real; but its powers are

impaired in proportion to their exposure to human passion。



VIOLA:Human INSTINCT。  (Hardly worthy to be called LOVE; as

Love would not forsake its object at the bidding of

Superstition。)  Resorts; first in its aspiration after the Ideal;

to tinsel shows; then relinquishes these for a higher love; but

is still; from the conditions of its nature; inadequate to this;

and liable to suspicion and mistrust。  Its greatest force

(Maternal Instinct) has power to penetrate some secrets; to trace

some movements of the Ideal; but; too feeble to command them;

yields to Superstition; sees sin where there is none; while

committing sin; under a false guidance; weakly seeking refuge

amidst the very tumults of the warring passions of the Actual;

while deserting the serene Ideal;pining; nevertheless; in the

absence of the Ideal; and expiring (not perishing; but becoming

transmuted) in the aspiration after having the laws of the two

natures reconciled。



(It might best suit popular apprehension to call these three the

Understanding; the Imagination; and the Heart。)



CHILD:NEW…BORN INSTINCT; while trained and informed by

Idealism; promises a preter…human result by its early;

incommunicable vigilance and intelligence; but is compelled; by

inevitable orphanhood; and the one…half of the laws of its

existence; to lapse into ordinary conditions。



AIDON…AI:FAITH; which manifests its splendour; and delivers its

oracles; and imparts its marvels; only to the higher moods of the

soul; and whose directed antagonism is with Fear; so that those

who employ the resources of Fear must dispense with those of

Faith。  Yet aspiration holds open a way of restoration

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