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!
recked the historical instinct。 an old man with an academic appointment; who was a leader in the attack upon synge; sees in the 11th century romance of deirdre a re?telling of the first five act tragedy outside the classic languages; and this tragedy from his description of it was certainly written on the elizabethan model; while an allusion to a copper boat; a marvel of magic like cinderellas slipper; persuades him that the ancient irish had forestalled the modern dockyards in the making of metal ships。 the man who doubted; let us say; our fabulous ancient kings running up to adam; or found but mythology in some old tale; was as hated as if he had doubted the authority of scripture。 above all no man was so ignorant; that he had not by rote familiar arguments and statistics to drive away amid familiar applause; all those had they but found strange truth in the world or in their mind; whose knowledge has passed out of memory and bee an instinct of hand or eye。 there was no literature; for literature is a child of experience always; of knowledge never; and the nation itself; instead of being a dumb struggling thought seeking a mouth to utter it or hand to show it; a teeming delight that would re?create the world; had bee; at best; a subject of knowledge。
。。!
Synge And The Ireland Of His TimeV
taylor always spoke with confidence though he was no determined man; being easily flattered or jostled from his way; and this; putting as it were his fiery heart into his mouth made him formidable。 and i have noticed that all those who speak the thoughts of many; speak confidently; while those who speak their own thoughts are hesitating and timid; as though they spoke out of a mind and body grown sensitive to the edge of bewilderment among many impressions。 they speak to us that we may give them certainty; by seeing what they have seen; and so it is; that enlargement of experience does not e from those oratorical thinkers; or from those decisive rhythms that move large numbers of men; but from writers that seem by contrast as feminine as the soul when it explores in blakes picture the recesses of the grave; carrying its faint lamp trembling and astonished; or as the muses who are never pictured as one?breasted amazons; but as women needing protection。 indeed; all art which appeals to individual man and awaits the confirmation of his senses and his reveries; seems when arrayed against the moral zeal; the confident logic; the ordered proof of journalism; a trifling; impertinent; vexatious thing; a tumbler who has unrolled his carpet in the way of a marching army。
/d/
Synge And The Ireland Of His TimeVI
...
i attack things that are as dear to many as some holy image carried hither and thither by some broken clan; and can but say that i have felt in my body the affections i disturb; and believed that if i could raise them into contemplation i would make possible a literature; that finding its subject?matter all ready in mens minds would be; not as ours is; an interest for scholars; but the possession of a people。 i have founded societies with this aim; and was indeed founding one in paris when i first met with j。m。 synge; and i have known what it is to be changed by that i would have changed; till i became argumentative and unmannerly; hating men even in daily life for their opinions。 and though i was never convinced that the anatomies of last years leaves are a living forest; or thought a continual apologetic could do other than make the soul a vapour and the body a stone; or believed that literature can be made by anything but by what is still blind and dumb within ourselves; i have had to learn how hard in one who lives where forms of expression and habits of thought have been born; not for the pleasure of begetting but for the public good; is that purification from insincerity; vanity; malignity; arrogance; which is the discovery of style。 but it became possible to live when i had learnt all i had not learnt in shaping words; in defending synge against his enemies; and knew that rich energies; fine; turbulent or gracious thoughts; whether in life or letters; are but love?children。
。。
Synge And The Ireland Of His TimeVII
(小//说;网/
synge seemed by nature unfitted to think a political thought; and with the exception of one sentence; spoken when i first met him in paris; that implied some sort of nationalist conviction; i cannot remember that he spoke of politics or showed any interest in men in the mass; or in any subject that is studied through abstractions and statistics。 often for months together he and i and lady gregory would see no one outside the abbey theatre; and that life; lived as it were in a ship at sea; suited him; for unlike those whose habit of mind fits them to judge of men in the mass; he was wise in judging individual men; and as wise in dealing with them as the faint energies of ill?health would permit; but of their political thoughts he long understood nothing。 one night when we were still producing plays in a little hall; certain members of the pany told him that a play on the rebellion of 98 would be a great success。 after a fortnight he brought them a scenario which read like a chapter out of rabelais。 two women; a protestant and a catholic; take refuge in a cave; and there quarrel about religion; abusing the pope or queen elizabeth and henry viii; but in low voices; for the one fears to be ravished by the soldiers; the other by the rebels。 at last one woman goes out because she would sooner any fate than such wicked pany。 yet; i doubt if he would have written at all if he did not write of ireland; and for it; and i know that he thought creative art could only e from such preoccupation。
once; when in later years; anxious about the educational effect of our movement; i proposed adding to the abbey pany a second pany to play international drama; synge; who had not hitherto opposed me; thought the matter so important that he did so in a formal letter。
i had spoken of a german municipal theatre as my model; and he said that the municipal theatres all over europe gave fine performances of old classics but did not create (he disliked modern drama for its sterility of spe