Virginibus Puerisque, and Other Papers. Роберт СтивенсонЧитать онлайн книгу.
as well as practically inconvenient. This is scarcely fair; for the feeling on which it merely attends, like an ill-humoured courtier, is itself artificial in exactly the same sense and to the same degree. I suppose what is meant by that objection is that jealousy has not always been a character of man; formed no part of that very modest kit of sentiments with which he is supposed to have begun the world; but waited to make its appearance in better days and among richer natures. And this is equally true of love, and friendship, and love of country, and delight in what they call the beauties of nature, and most other things worth having. Love, in particular, will not endure any historical scrutiny: to all who have fallen across it, it is one of the most incontestable facts in the world; but if you begin to ask what it was in other periods and countries, in Greece for instance, the strangest doubts begin to spring up, and everything seems so vague and changing that a dream is logical in comparison. Jealousy, at any rate, is one of the consequences of love; you may like it or not, at pleasure; but there it is.
It is not exactly jealousy, however, that we feel when we reflect on the past of those we love. A bundle of letters found after years of happy union creates no sense of insecurity in the present; and yet it will pain a man sharply. The two people entertain no vulgar doubt of each other: but this pre-existence of both occurs to the mind as something indelicate. To be altogether right, they should have had twin birth together, at the same moment with the feeling that unites them. Then indeed it would be simple and perfect and without reserve or afterthought. Then they would understand each other with a fulness impossible otherwise. There would be no barrier between them of associations that cannot be imparted. They would be led into none of those comparisons that send the blood back to the heart. And they would know that there had been no time lost, and they had been together as much as was possible. For besides terror for the separation that must follow some time or other in the future, men feel anger, and something like remorse, when they think of that other separation which endured until they met. Some one has written that love makes people believe in immortality, because there seems not to be room enough in life for so great a tenderness, and it is inconceivable that the most masterful of our emotions should have no more than the spare moments of a few years. Indeed, it seems strange; but if we call to mind analogies, we can hardly regard it as impossible.
“The blind bow-boy,” who smiles upon us from the end of terraces in old Dutch gardens, laughingly hails his bird-bolts among a fleeting generation. But for as fast as ever he shoots, the game dissolves and disappears into eternity from under his falling arrows; this one is gone ere he is struck; the other has but time to make one gesture and give one passionate cry; and they are all the things of a moment. When the generation is gone, when the play is over, when the thirty years’ panorama has been withdrawn in tatters from the stage of the world, we may ask what has become of these great, weighty, and undying loves, and the sweet-hearts who despised mortal conditions in a fine credulity; and they can only show us a few songs in a bygone taste, a few actions worth remembering, and a few children who have retained some happy stamp from the disposition of their parents.
IV. – TRUTH OF INTERCOURSE
Among sayings that have a currency in spite of being wholly false upon the face of them for the sake of a half-truth upon another subject which is accidentally combined with the error, one of the grossest and broadest conveys the monstrous proposition that it is easy to tell the truth and hard to tell a lie. I wish heartily it were. But the truth is one; it has first to be discovered, then justly and exactly uttered. Even with instruments specially contrived for such a purpose – with a foot rule, a level, or a theodolite – it is not easy to be exact; it is easier, alas! to be inexact. From those who mark the divisions on a scale to those who measure the boundaries of empires or the distance of the heavenly stars, it is by careful method and minute, unwearying attention that men rise even to material exactness or to sure knowledge even of external and constant things. But it is easier to draw the outline of a mountain than the changing appearance of a face; and truth in human relations is of this more intangible and dubious order: hard to seize, harder to communicate. Veracity to facts in a loose, colloquial sense – not to say that I have been in Malabar when as a matter of fact I was never out of England, not to say that I have read Cervantes in the original when as a matter of fact I know not one syllable of Spanish – this, indeed, is easy and to the same degree unimportant in itself. Lies of this sort, according to circumstances, may or may not be important; in a certain sense even they may or may not be false. The habitual liar may be a very honest fellow, and live truly with his wife and friends; while another man who never told a formal falsehood in his life may yet be himself one lie – heart and face, from top to bottom. This is the kind of lie which poisons intimacy. And, vice versâ, veracity to sentiment, truth in a relation, truth to your own heart and your friends, never to feign or falsify emotion – that is the truth which makes love possible and mankind happy.
L’art de bien dire is but a drawing-room accomplishment unless it be pressed into the service of the truth. The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish. This is commonly understood in the case of books or set orations; even in making your will, or writing an explicit letter, some difficulty is admitted by the world. But one thing you can never make Philistine natures understand; one thing, which yet lies on the surface, remains as unseizable to their wits as a high flight of metaphysics – namely, that the business of life is mainly carried on by means of this difficult art of literature, and according to a man’s proficiency in that art shall be the freedom and the fulness of his intercourse with other men. Anybody, it is supposed, can say what he means; and, in spite of their notorious experience to the contrary, people so continue to suppose. Now, I simply open the last book I have been reading – Mr. Leland’s captivating English Gipsies. “It is said,” I find on p. 7, “that those who can converse with Irish peasants in their own native tongue form far higher opinions of their appreciation of the beautiful, and of the elements of humour and pathos in their hearts, than do those who know their thoughts only through the medium of English. I know from my own observations that this is quite the case with the Indians of North America, and it is unquestionably so with the gipsy.” In short, where a man has not a full possession of the language, the most important, because the most amiable, qualities of his nature have to lie buried and fallow; for the pleasure of comradeship, and the intellectual part of love, rest upon these very “elements of humour and pathos.” Here is a man opulent in both, and for lack of a medium he can put none of it out to interest in the market of affection! But what is thus made plain to our apprehensions in the case of a foreign language is partially true even with the tongue we learned in childhood. Indeed, we all speak different dialects; one shall be copious and exact, another loose and meagre; but the speech of the ideal talker shall correspond and fit upon the truth of fact – not clumsily, obscuring lineaments, like a mantle, but cleanly adhering, like an athlete’s skin. And what is the result? That the one can open himself more clearly to his friends, and can enjoy more of what makes life truly valuable – intimacy with those he loves. An orator makes a false step; he employs some trivial, some absurd, some vulgar phrase; in the turn of a sentence he insults, by a side wind, those whom he is labouring to charm; in speaking to one sentiment he unconsciously ruffles another in parenthesis; and you are not surprised, for you know his task to be delicate and filled with perils. “O frivolous mind of man, light ignorance!” As if yourself, when you seek to explain some misunderstanding or excuse some apparent fault, speaking swiftly and addressing a mind still recently incensed, were not harnessing for a more perilous adventure; as if yourself required less tact and eloquence; as if an angry friend or a suspicious lover were not more easy to offend than a meeting of indifferent politicians! Nay, and the orator treads in a beaten round; the matters he discusses have been discussed a thousand times before; language is ready-shaped to his purpose; he speaks out of a cut and dry vocabulary. But you – may it not be that your defence reposes on some subtlety of feeling, not so much as touched upon in Shakespeare, to express which, like a pioneer, you must venture forth into zones of thought still unsurveyed, and become yourself a literary innovator? For even in love there are unlovely humours; ambiguous acts, unpardonable words, may yet have sprung from a kind sentiment. If the injured one could read your heart, you may be sure that he would understand and pardon; but, alas! the heart cannot be shown – it has to be demonstrated in words. Do you think it is a hard thing to write poetry? Why, that is to write poetry,