Looking back, I realise that what I have written about Charles Strickland must seem very unsatisfactory. I have given incidents that came to my knowledge, but they remain obscure because I do not know the reasons that led to them. The strangest, Strickland’s determination to become a painter, seems to be arbitrary; and though it must have had causes in the circumstances of his life, I am ignorant of them. From his own conversation I was able to glean1 nothing. If I were writing a novel, rather than narrating2 such facts as I know of a curious personality, I should have invented much to account for this change of heart. I think I should have shown a strong vocation3 in boyhood, crushed by the will of his father or sacrificed to the necessity of earning a living; I should have pictured him impatient of the restraints of life; and in the struggle between his passion for art and the duties of his station I could have aroused sympathy for him. I should so have made him a more imposing4 figure. Perhaps it would have been possible to see in him a new Prometheus. There was here, maybe, the opportunity for a modern version of the hero who for the good of mankind exposes himself to the agonies of the damned. It is always a moving subject.
On the other hand, I might have found his motives5 in the influence of the married relation. There are a dozen ways in which this might be managed. A latent gift might reveal itself on acquaintance with the painters and writers whose society his wife sought; or domestic incompatability might turn him upon himself; a love affair might fan into bright flame a fire which I could have shown smouldering dimly in his heart. I think then I should have drawn6 Mrs. Strickland quite differently. I should have abandoned the facts and made her a nagging7, tiresome8 woman, or else a bigoted9 one with no sympathy for the claims of the spirit. I should have made Strickland’s marriage a long torment10 from which escape was the only possible issue. I think I should have emphasised his patience with the unsuitable mate, and the compassion11 which made him unwilling12 to throw off the yoke13 that oppressed him. I should certainly have eliminated the children.
An effective story might also have been made by bringing him into contact with some old painter whom the pressure of want or the desire for commercial success had made false to the genius of his youth, and who, seeing in Strickland the possibilities which himself had wasted, influenced him to forsake14 all and follow the divine tyranny of art. I think there would have been something ironic15 in the picture of the successful old man, rich and honoured, living in another the life which he, though knowing it was the better part, had not had the strength to pursue.
The facts are much duller. Strickland, a boy fresh from school, went into a broker’s office without any feeling of distaste. Until he married he led the ordinary life of his fellows, gambling16 mildly on the Exchange, interested to the extent of a sovereign or two on the result of the Derby or the Oxford17 and Cambridge Race. I think he boxed a little in his spare time. On his chimney-piece he had photographs of Mrs. Langtry and Mary Anderson. He read Punch and the Sporting Times. He went to dances in Hampstead.
It matters less that for so long I should have lost sight of him. The years during which he was struggling to acquire proficiency18 in a difficult art were monotonous19, and I do not know that there was anything significant in the shifts to which he was put to earn enough money to keep him. An account of them would be an account of the things he had seen happen to other people. I do not think they had any effect on his own character. He must have acquired experiences which would form abundant material for a picaresque novel of modern Paris, but he remained aloof20, and judging from his conversation there was nothing in those years that had made a particular impression on him. Perhaps when he went to Paris he was too old to fall a victim to the glamour21 of his environment. Strange as it may seem, he always appeared to me not only practical, but immensely matter-of-fact. I suppose his life during this period was romantic, but he certainly saw no romance in it. It may be that in order to realise the romance of life you must have something of the actor in you; and, capable of standing22 outside yourself, you must be able to watch your actions with an interest at once detached and absorbed. But no one was more single-minded than Strickland. I never knew anyone who was less self-conscious. But it is unfortunate that I can give no description of the arduous23 steps by which he reached such mastery over his art as he ever acquired; for if I could show him undaunted by failure, by an unceasing effort of courage holding despair at bay, doggedly24 persistent25 in the face of self-doubt, which is the artist’s bitterest enemy, I might excite some sympathy for a personality which, I am all too conscious, must appear singularly devoid26 of charm. But I have nothing to go on. I never once saw Strickland at work, nor do I know that anyone else did. He kept the secret of his struggles to himself. If in the loneliness of his studio he wrestled27 desperately28 with the Angel of the Lord he never allowed a soul to divine his anguish29.
When I come to his connection with Blanche Stroeve I am exasperated30 by the fragmentariness of the facts at my disposal. To give my story coherence31 I should describe the progress of their tragic32 union, but I know nothing of the three months during which they lived together. I do not know how they got on or what they talked about. After all, there are twenty-four hours in the day, and the summits of emotion can only be reached at rare intervals33. I can only imagine how they passed the rest of the time. While the light lasted and so long as Blanche’s strength endured, I suppose that Strickland painted, and it must have irritated her when she saw him absorbed in his work. As a mistress she did not then exist for him, but only as a model; and then there were long hours in which they lived side by side in silence. It must have frightened her. When Strickland suggested that in her surrender to him there was a sense of triumph over Dirk Stroeve, because he had come to her help in her extremity34, he opened the door to many a dark conjecture35. I hope it was not true. It seems to me rather horrible. But who can fathom36 the subtleties37 of the human heart? Certainly not those who expect from it only decorous sentiments and normal emotions. When Blanche saw that, notwithstanding his moments of passion, Strickland remained aloof, she must have been filled with dismay, and even in those moments I surmise38 that she realised that to him she was not an individual, but an instrument of pleasure; he was a stranger still, and she tried to bind39 him to herself with pathetic arts. She strove to ensnare him with comfort and would not see that comfort meant nothing to him. She was at pains to get him the things to eat that he liked, and would not see that he was indifferent to food. She was afraid to leave him alone. She pursued him with attentions, and when his passion was dormant40 sought to excite it, for then at least she had the illusion of holding him. Perhaps she knew with her intelligence that the chains she forged only aroused his instinct of destruction, as the plate-glass window makes your fingers itch41 for half a brick; but her heart, incapable42 of reason, made her continue on a course she knew was fatal. She must have been very unhappy. But the blindness of love led her to believe what she wanted to be true, and her love was so great that it seemed impossible to her that it should not in return awake an equal love.
But my study of Strickland’s character suffers from a greater defect than my ignorance of many facts. Because they were obvious and striking, I have written of his relations to women; and yet they were but an insignificant43 part of his life. It is an irony44 that they should so tragically45 have affected46 others. His real life consisted of dreams and of tremendously hard work.
Here lies the unreality of fiction. For in men, as a rule, love is but an episode which takes its place among the other affairs of the day, and the emphasis laid on it in novels gives it an importance which is untrue to life. There are few men to whom it is the most important thing in the world, and they are not very interesting ones; even women, with whom the subject is of paramount47 interest, have a contempt for them. They are flattered and excited by them, but have an uneasy feeling that they are poor creatures. But even during the brief intervals in which they are in love, men do other things which distract their mind; the trades by which they earn their living engage their attention; they are absorbed in sport; they can interest themselves in art. For the most part, they keep their various activities in various compartments48, and they can pursue one to the temporary exclusion49 of the other. They have a faculty50 of concentration on that which occupies them at the moment, and it irks them if one encroaches on the other. As lovers, the difference between men and women is that women can love all day long, but men only at times.
With Strickland the sexual appetite took a very small place. It was unimportant. It was irksome. His soul aimed elsewhither. He had violent passions, and on occasion desire seized his body so that he was driven to an orgy of lust51, but he hated the instincts that robbed him of his self-possession. I think, even, he hated the inevitable52 partner in his debauchery. When he had regained53 command over himself, he shuddered54 at the sight of the woman he had enjoyed. His thoughts floated then serenely55 in the empyrean, and he felt towards her the horror that perhaps the painted butterfly, hovering56 about the flowers, feels to the filthy57 chrysalis from which it has triumphantly58 emerged. I suppose that art is a manifestation59 of the sexual instinct. It is the same emotion which is excited in the human heart by the sight of a lovely woman, the Bay of Naples under the yellow moon, and the Entombment of Titian. It is possible that Strickland hated the normal release of sex because it seemed to him brutal60 by comparison with the satisfaction of artistic61 creation. It seems strange even to myself, when I have described a man who was cruel, selfish, brutal and sensual, to say that he was a great idealist. The fact remains62.
He lived more poorly than an artisan. He worked harder. He cared nothing for those things which with most people make life gracious and beautiful. He was indifferent to money. He cared nothing about fame. You cannot praise him because he resisted the temptation to make any of those compromises with the world which most of us yield to. He had no such temptation. It never entered his head that compromise was possible. He lived in Paris more lonely than an anchorite in the deserts of Thebes. He asked nothing his fellows except that they should leave him alone. He was single-hearted in his aim, and to pursue it he was willing to sacrifice not only himself—many can do that—but others. He had a vision.
Strickland was an odious63 man, but I still think he was a great one.
1 glean [gli:n] 第9级 | |
vt.&vi.收集(消息、资料、情报等) | |
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2 narrating [ˈnærˌeɪtɪŋ] 第7级 | |
v.故事( narrate的现在分词 ) | |
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3 vocation [vəʊˈkeɪʃn] 第7级 | |
n.职业,行业 | |
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4 imposing [ɪmˈpəʊzɪŋ] 第8级 | |
adj.使人难忘的,壮丽的,堂皇的,雄伟的 | |
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5 motives [ˈməutivz] 第7级 | |
n.动机,目的( motive的名词复数 ) | |
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6 drawn [drɔ:n] 第11级 | |
v.(draw的过去式)拖,拉,拔出;adj.憔悴的,紧张的 | |
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7 nagging [ˈnægɪŋ] 第9级 | |
adj.唠叨的,挑剔的;使人不得安宁的v.不断地挑剔或批评(某人)( nag的现在分词 );不断地烦扰或伤害(某人);无休止地抱怨;不断指责 | |
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8 tiresome [ˈtaɪəsəm] 第7级 | |
adj.令人疲劳的,令人厌倦的 | |
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9 bigoted [ˈbɪgətɪd] 第11级 | |
adj.固执己见的,心胸狭窄的 | |
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10 torment [ˈtɔ:ment] 第7级 | |
n.折磨;令人痛苦的东西(人);vt.折磨;纠缠 | |
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11 compassion [kəmˈpæʃn] 第8级 | |
n.同情,怜悯 | |
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12 unwilling [ʌnˈwɪlɪŋ] 第7级 | |
adj.不情愿的 | |
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13 yoke [jəʊk] 第9级 | |
n.轭;支配;vt.给...上轭,连接,使成配偶;vi.结合;匹配 | |
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14 forsake [fəˈseɪk] 第7级 | |
vt.遗弃,抛弃;舍弃,放弃 | |
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15 ironic [aɪˈrɒnɪk] 第8级 | |
adj.讽刺的,有讽刺意味的,出乎意料的 | |
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16 gambling [ˈgæmblɪŋ] 第7级 | |
n.赌博;投机 | |
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17 Oxford ['ɒksfəd] 第8级 | |
n.牛津(英国城市) | |
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18 proficiency [prə'fɪʃnsɪ] 第7级 | |
n.精通,熟练,精练 | |
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19 monotonous [məˈnɒtənəs] 第8级 | |
adj.单调的,一成不变的,使人厌倦的 | |
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20 aloof [əˈlu:f] 第9级 | |
adj.远离的;冷淡的,漠不关心的 | |
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21 glamour [ˈglæmə(r)] 第7级 | |
n.魔力,魅力;vt.迷住 | |
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22 standing [ˈstændɪŋ] 第8级 | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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23 arduous [ˈɑ:djuəs] 第9级 | |
adj.艰苦的,费力的,陡峭的 | |
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24 doggedly ['dɒɡɪdlɪ] 第11级 | |
adv.顽强地,固执地 | |
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25 persistent [pəˈsɪstənt] 第7级 | |
adj.坚持不懈的,执意的;持续的 | |
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26 devoid [dɪˈvɔɪd] 第9级 | |
adj.全无的,缺乏的 | |
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27 wrestled [ˈresld] 第7级 | |
v.(与某人)搏斗( wrestle的过去式和过去分词 );扭成一团;扭打;(与…)摔跤 | |
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28 desperately ['despərətlɪ] 第8级 | |
adv.极度渴望地,绝望地,孤注一掷地 | |
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29 anguish [ˈæŋgwɪʃ] 第7级 | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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30 exasperated [ig'zæspəreitid] 第8级 | |
adj.恼怒的 | |
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31 coherence [kəʊˈhɪərəns] 第10级 | |
n.紧凑;连贯;一致性 | |
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32 tragic [ˈtrædʒɪk] 第7级 | |
adj.悲剧的,悲剧性的,悲惨的 | |
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33 intervals ['ɪntevl] 第7级 | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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34 extremity [ɪkˈstreməti] 第9级 | |
n.末端,尽头;尽力;终极;极度 | |
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35 conjecture [kənˈdʒektʃə(r)] 第9级 | |
n./v.推测,猜测 | |
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36 fathom [ˈfæðəm] 第10级 | |
vt.领悟,彻底了解 | |
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37 subtleties ['sʌtltɪz] 第9级 | |
细微( subtlety的名词复数 ); 精细; 巧妙; 细微的差别等 | |
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38 surmise [səˈmaɪz] 第9级 | |
v./n.猜想,推测 | |
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39 bind [baɪnd] 第7级 | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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40 dormant [ˈdɔ:mənt] 第9级 | |
adj.暂停活动的;休眠的;潜伏的 | |
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41 itch [ɪtʃ] 第8级 | |
n.痒,渴望,疥癣;vi.发痒,渴望 | |
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42 incapable [ɪnˈkeɪpəbl] 第8级 | |
adj.无能力的,不能做某事的 | |
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43 insignificant [ˌɪnsɪgˈnɪfɪkənt] 第9级 | |
adj.无关紧要的,可忽略的,无意义的 | |
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44 irony [ˈaɪrəni] 第7级 | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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45 tragically ['trædʒɪklɪ] 第7级 | |
adv. 悲剧地,悲惨地 | |
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46 affected [əˈfektɪd] 第9级 | |
adj.不自然的,假装的 | |
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47 paramount [ˈpærəmaʊnt] 第9级 | |
adj.最重要的,最高权力的 | |
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48 compartments [kəmˈpɑ:tmənts] 第7级 | |
n.间隔( compartment的名词复数 );(列车车厢的)隔间;(家具或设备等的)分隔间;隔层 | |
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49 exclusion [ɪkˈsklu:ʒn] 第8级 | |
n.拒绝,排除,排斥,远足,远途旅行 | |
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50 faculty [ˈfæklti] 第7级 | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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51 lust [lʌst] 第10级 | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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52 inevitable [ɪnˈevɪtəbl] 第7级 | |
adj.不可避免的,必然发生的 | |
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53 regained [ri:ˈgeɪnd] 第8级 | |
复得( regain的过去式和过去分词 ); 赢回; 重回; 复至某地 | |
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54 shuddered [ˈʃʌdəd] 第8级 | |
v.战栗( shudder的过去式和过去分词 );发抖;(机器、车辆等)突然震动;颤动 | |
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55 serenely [sə'ri:nlɪ] 第8级 | |
adv.安详地,宁静地,平静地 | |
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56 hovering ['hɒvərɪŋ] 第7级 | |
鸟( hover的现在分词 ); 靠近(某事物); (人)徘徊; 犹豫 | |
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57 filthy [ˈfɪlθi] 第9级 | |
adj.卑劣的;恶劣的,肮脏的 | |
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58 triumphantly [trai'ʌmfəntli] 第9级 | |
ad.得意洋洋地;得胜地;成功地 | |
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59 manifestation [ˌmænɪfeˈsteɪʃn] 第9级 | |
n.表现形式;表明;现象 | |
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60 brutal [ˈbru:tl] 第7级 | |
adj.残忍的,野蛮的,不讲理的 | |
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61 artistic [ɑ:ˈtɪstɪk] 第7级 | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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