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Excerpt：王爾德的〈作為藝術家的批評家〉 (能夠好好生活，這是世間最難能可貴的事；許多人只是活著，其餘一概不知。) https://en.wikipedia.org/wiki/The_Critic_as_Artist The Critic as Artist "The Critic as Artist" is an essay by Oscar Wilde, containing the most extensive statements of his aesthetic philosophy. A dialogue in two parts, it is by far the longest one included in his collection of essays titled Intentions published in 1 May 1891. "The Critic as Artist" is a significantly revised version of articles that first appeared in the July and September 1890 issues of The Nineteenth Century, originally entitled "The True Function and Value of Criticism." The essay is a conversation between its leading voice Gilbert and Ernest, who suggests ideas for Gilbert to reject. https://www.books.com.tw/products/CN10056833 謊言的衰落：王爾德藝術批評文選 作者： [英]奧斯卡‧王爾德 出版社：江蘇教育出版社 出版日期：2004/03/01 語言：簡體中文 【Excerpt】 〈作為藝術家的批評家〉 Gilbert. …Without the critical faculty, there is no artistic creation at all, worthy of the name. You spoke a little while ago of that fine spirit of choice and delicate instinct of selection by which the artist realises life for us, and gives to it a momentary perfection. Well, that spirit of choice, that subtle tact of omission, is really the critical faculty in one of its most characteristic moods, and no one who does not possess this critical faculty can create anything at all in art. Arnold’s definition of literature as a criticism of life was not very felicitous in form, but it showed how keenly he recognised the importance of the critical element in all creative work. 吉爾伯特：……沒有批評才能，根本就不會有值得一提的藝術創作。不久前，你談到敏銳的選擇精神和直覺，藝術家通過這些來為我們逼真地表現生活，並賦予它瞬息的完美。哦，選擇的精神，對冗長事物的巧妙變通手段，這正是最典型的批評才能，不具備這種批評才能的人，就根本不可能在藝術中有所創造。 Gilbert. …All fine imaginative work is self-conscious and deliberate. No poet sings because he must sing. At least, no great poet does. A great poet sings because he chooses to sing. It is so now, and it has always been so. We are sometimes apt to think that the voices that sounded at the dawn of poetry were simpler, fresher, and more natural than ours, and that the world which the early poets looked at, and through which they walked, had a kind of poetical quality of its own, and almost without changing could pass into song. 吉爾伯特：……所有傑出的虛構作品都是自覺的、經過深思熟慮的。沒有哪位詩人因必須歌唱而歌唱。至少，偉大的詩人不會這樣做。一位偉大的詩人因為選擇了歌唱而歌唱，現在是這樣，這去也是這樣。有時我們傾向於認為，那些在詩歌的啟蒙時代的聲音比我們現在的聲音更簡樸、更清新、也更自然，早期詩人面對和漫游的那世界擁有一種自身的詩歌品質，幾乎不必改動就已經是詩歌了。 (p.111) Ernest. But is Criticism really a creative art? 歐內斯特：但是批評真是一種創造性藝術嗎？ Gilbert. Why should it not be? It works with materials, and puts them into a form that is at once new and delightful. What more can one say of poetry? Indeed, I would call criticism a creation within a creation. For just as the great artists, from Homer and Æschylus, down to Shakespeare and Keats, did not go directly to life for their subject-matter, but sought for it in myth, and legend, and ancient tale, so the critic deals with materials that others have, as it were, purified for him, and to which imaginative form and colour have been already added. Nay, more, I would say that the highest Criticism, being the purest form of personal impression, is in its way more creative than creation, as it has least reference to any standard external to itself, and is, in fact, its own reason for existing, and, as the Greeks would put it, in itself, and to itself, an end. 吉爾伯特：為什麼它不該是呢？它處理的是原材料，並把原材料轉化成一種既新穎又可喜的形式。詩歌又比這多什麼呢？其實，我願意把批評稱做“創作中的創作”。因為從荷馬、埃斯庫羅斯一直到莎士比亞和濟慈，這些偉大的藝術家不是從生活中直接尋找題材，而是取材於神話、傳奇，以及古代故事，批評家也是這樣，可以說，他使用的材料是那些別人已經為他加工提煉，已經具備幻想形式和色彩的材料。不僅如此，我還要說，最高的批評是令人印象的最純粹形式，就其風格來說它比創作更富有創造性，因為它最不需要參照外在於自身的標準，而且事實上它是它自身存在的理由，希臘人會這樣說，它的目標就在自身中，它己以自身為目標。 Gilbert. Yes, from the soul. That is what the highest criticism really is, the record of one’s own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilised form of autobiography, as it deals not with the events, but with the thoughts of one’s life; not with life’s physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind. 吉爾伯特：是的，針對靈魂。那才是真正的最高批評。人的自身靈魂的履歷，它比歷史更富有魅力，因為它只關注自己。它比哲學更討人喜歡，因為它的主題具體而不抽象，真實而不含糊。它是自傳惟一的文明形式，因為它記敘的不是事件而是傳主生平的思想；不是生命中那些行為和境遇的物質事件，而是精神狀態和頭腦中富有想像力的激情。 (p.124~125) …In point of fact, there is no such thing as Shakespeare’s Hamlet. If Hamlet has something of the definiteness of a work of art, he has also all the obscurity that belongs to life. There are as many Hamlets as there are melancholies. Ernest. As many Hamlets as there are melancholies? Gilbert. Yes: and as art springs from personality, so it is only to personality that it can be revealed, and from the meeting of the two comes right interpretative criticism. ……實際上，根本就不存在莎士比亞的哈姆雷特。如果哈姆雷特具有藝術作品的某種明確性，那麼他也秉承了生命所具有的全部隱晦。有多少種憂鬱，就有多少種哈姆雷特。 歐內斯特：有多少種憂鬱，就有多少種哈姆雷特？ 吉爾伯特：是的，而且因為藝術來自個性，所以只有在個性面前它才肯展現自己，這兩者的會合誕生了健全的詮釋性批評。 (p.139) Ernest. Must we go, then, to Art for everything? Gilbert. For everything. Because Art does not hurt us. The tears that we shed at a play are a type of the exquisite sterile emotions that it is the function of Art to awaken. We weep, but we are not wounded. We grieve, but our grief is not bitter. In the actual life of man, sorrow, as Spinoza says somewhere, is a passage to a lesser perfection. But the sorrow with which Art fills us both purifies and initiates, if I may quote once more from the great art critic of the Greeks. It is through Art, and through Art only, that we can realise our perfection; through Art, and through Art only, that we can shield ourselves from the sordid perils of actual existence. … 歐內斯特：我們應該到藝術那裡去尋找一切嗎？ 吉爾伯特：是的，一切。因為藝術不會傷害到我們。我們在一齣戲劇中流下的眼淚是一種優雅而無實際意義的情緒，藝術的作用就是喚醒它。我們哭泣，但是不會受傷；我們傷心，但是我們的哀傷不是痛苦的。在人們的真實生活中，正如斯賓諾莎在某處所說，悲傷是通往較次完美的途徑。然而，如果我可以再次引用偉大的希臘藝術批評家的話，我會說藝術為我們添加的悲傷起到的是淨化和激發的作用。正是通過藝術，也只有通過藝術，我們才能夠實現自己的完美；通過並只有通過藝術，我們才能夠保衛自己遠離現實存在的齷齪險境。…… (p.147) …But some one should teach them that while, in the opinion of society, Contemplation is the gravest sin of which any citizen can be guilty, in the opinion of the highest culture it is the proper occupation of man. Ernest. Contemplation? Gilbert. Contemplation. I said to you some time ago that it was far more difficult to talk about a thing than to do it. Let me say to you now that to do nothing at all is the most difficult thing in the world, the most difficult and the most intellectual. To Plato, with his passion for wisdom, this was the noblest form of energy. To Aristotle, with his passion for knowledge, this was the noblest form of energy also. It was to this that the passion for holiness led the saint and the mystic of mediæval days. ……儘管以社會的觀點來看，沉思是任何公民都可能犯下的最嚴重的罪行，但是從最高文明的角度來看，它是人類的適當職業。 歐內斯特：沉思？ 吉爾伯特：沉思。不久前我曾對你說過，說一件事比做一件事要難得多。現在讓我來告訴你，無所事事才是這個世界上最難的事，最難也是最富有智性的事。對於熱愛智慧的柏拉圖來說，這是活力的最高貴形式；對於熱愛知識的亞里士多德而言，這也是活力的最高貴形式。對神聖事物的激情把中世紀的聖徒和神秘主義者也引向了這條道路。 (p.148~149) Yes, Ernest: the contemplative life, the life that has for its aim not doing but being, and not being merely, but becoming—that is what the critical spirit can give us. The gods live thus: either brooding over their own perfection, as Aristotle tells us, or, as Epicurus fancied, watching with the calm eyes of the spectator the tragicomedy of the world that they have made. We, too, might live like them, and set ourselves to witness with appropriate emotions the varied scenes that man and nature afford. We might make ourselves spiritual by detaching ourselves from action, and become perfect by the rejection of energy. 是的，歐內斯特，冥想的生活，這種生活的目的不是 “去做” (doing) 而是 “去存在” (being)，而且不僅僅是 “去存在”，還要 “去成為” (becoming)——那就是批評精神所能給予我們的。諸神要麼像亞里士多德告訴我們的那樣，過著為自身的完善而沉思冥想的生活，要麼像伊壁鳩魯所幻想的那樣，以觀眾那冷靜的目光觀察著發生在這個世界上的、由他一手創造的悲喜劇。我們也可以生活得和他們一樣，讓自己以適宜的心情觀看那些由人和自然所提供的千姿百態的場景，我們可以通過遠離行動的方式來達到精神化、通過拒絕活力的方式來抵達完美。 (p.153) Art is a passion, and, in matters of art, Thought is inevitably coloured by emotion, and so is fluid rather than fixed, and, depending upon fine moods and exquisite moments, cannot be narrowed into the rigidity of a scientific formula or a theological dogma. It is to the soul that Art speaks, and the soul may be made the prisoner of the mind as well as of the body. 藝術是一種激情，而且在藝術中，思想不可避免地帶有感情色彩，因此常處於變動之中而並非固定不變，它依賴細膩的情緒和微妙的瞬間，不可能受限制於僵化的科學公式或神學教義。藝術向靈魂傾訴，而靈魂可能會變成頭腦的俘虜，也可能是身體的俘虜。 (p.164) Gilbert. The influence of the critic will be the mere fact of his own existence. He will represent the flawless type. In him the culture of the century will see itself realised. You must not ask of him to have any aim other than the perfecting of himself. The demand of the intellect, as has been well said, is simply to feel itself alive. The critic may, indeed, desire to exercise influence; but, if so, he will concern himself not with the individual, but with the age, which he will seek to wake into consciousness, and to make responsive, creating in it new desires and appetites, and lending it his larger vision and his nobler moods. 吉爾伯特：批評家的影響力就在於他的存在。他代表的是無瑕疵的典型。本世紀的文化將會在他身上得到體現。除了完善自我以外，你不應該要求他有其他任何目的。我已經說得很清楚了，知識所要求的僅僅是感覺到自身活著的狀態。確實，批評家也許會期望發揮他的影響，但是，如果真那樣的話，他就不能沉浸在對個人的關心之中，而必須去忙於應付時代了，他將會試圖喚醒時代，要求它做出響應，使它產生新的欲望和胃口，把自己更廣闊的視域和更崇高的情感出借給它。 (p.174~175) Gilbert. The appeal of all art is simply to the artistic temperament. Art does not address herself to the specialist. Her claim is that she is universal, and that in all her manifestations she is one. Indeed, so far from its being true that the artist is the best judge of art, a really great artist can never judge of other people’s work at all, and can hardly, in fact, judge of his own. That very concentration of vision that makes a man an artist, limits by its sheer intensity his faculty of fine appreciation. The energy of creation hurries him blindly on to his own goal. The wheels of his chariot raise the dust as a cloud around him. The gods are hidden from each other. They can recognise their worshippers. That is all. 吉爾伯特：所有的藝術吸引的都只是藝術氣質，藝術不是針對專家的，她聲稱她是廣泛存在的，在所有的表現形式中她都是同一種事物。其次，“藝術家是最好的藝術鑒賞者”遠非一個正確的觀點，一位真正的偉大藝術家根本就不可能去鑒賞別人的作品，事實上、他也幾乎不可能去鑒賞他自己的作品。使一個人得以成為藝術家的那種高度濃縮的視野，由於它那劇烈的張力，限制了他在精微鑒賞方面的能力。創造的動力催促他朝著自己的目標視而不見地趕路。他的馬車車輪所揚起的灰塵就像雲霧一樣籠罩著他。神衹們互相向對方隱藏自身，但他們能認出自己的信徒。如此而已。 (p.175~176) Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the æsthetic critic can understand it. To the great poet, there is only one method of music—his own. To the great painter, there is only one manner of painting—that which he himself employs. The æsthetic critic, and the æsthetic critic alone, can appreciate all forms and modes. It is to him that Art makes her appeal. 技藝其實就是個性，那就是為什麼藝術家沒法講授它，學生沒法領悟它，而美學批評家卻能理解它的原因所在。對於偉大的詩人來說，只有一種譜曲的方法——即他自己的方法；對於偉大的畫家來說，只有一種繪畫的手法——即他自己運用的手法。美學批評家，只需美學批評家自己，就可以欣賞所有的形式和手法。藝術所召喚的正是這樣的人。 (p.178) Ernest. You have told me many strange things to-night, Gilbert. You have told me that it is more difficult to talk about a thing than to do it, and that to do nothing at all is the most difficult thing in the world; you have told me that all Art is immoral, and all thought dangerous; that criticism is more creative than creation, and that the highest criticism is that which reveals in the work of Art what the artist had not put there; that it is exactly because a man cannot do a thing that he is the proper judge of it; and that the true critic is unfair, insincere, and not rational. My friend, you are a dreamer. Gilbert. Yes: I am a dreamer. For a dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world. 歐內斯特：今晚你對我講了許多新奇的事，吉爾伯特。你告訴我說一件事比做一件事更難，而在這個世界上最難的就是無所事事；你告訴我所有的藝術都是不道德的，所有的思想都是危險的；還有批評比創作更富有創造性，最高的批評是在藝術作品中揭示那些連藝術家都不知道的東西；還有，正是因為一個人做不了一件事，他才會成為它的合適的評判者，以及真正的批評家是不公正的、不真誠的，而且毫無理性。我的朋友，你可真是個夢想家。 吉爾伯特：是的，我是個夢想家。夢想家是那種只有借助月光才能找到自己道路的人，他所受到的懲罰是他比世人更早地看見曙光。 (p.184) 【原文參考資料】 http://www.wilde-online.info/the-critic-as-artist.html https://www.gutenberg.org/files/887/887-h/887-h.htm#page95 The Critic as Artist |
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