關(guān)于英語唯美文章閱讀
關(guān)于英語唯美文章閱讀
英語是國際經(jīng)濟(jì)、技術(shù)、信息等交流中應(yīng)用最廣泛的語言，也是我國基礎(chǔ)教育中最主要的外語課程。下面是學(xué)習(xí)啦小編帶來的關(guān)于英語唯美文章，歡迎閱讀!
關(guān)于英語唯美文章篇一
THE LADY OF THE LYRICS
She is eclipsed, or gone, or in hiding. But the sixteenth century took her for granted as the object of song; she was a class, a state, a sex. It was scarcely necessary to waste the lyrist's time- -time that went so gaily to metre as not to brook delays——in making her out too clearly. She had no more of what later times call individuality than has the rose, her rival, her foil when she was kinder, her superior when she was cruel, her ever fresh and ever conventional paragon. She needed not to be devised or divined; she was ready. A merry heart goes all the day; the lyrist's never grew weary. Honest men never grow tired of bread or of any other daily things whereof the sweetness is in their own simplicity.
The lady of the lyrics was not loved in mortal earnest, and her punishment now and then for her ingratitude was to be told that she was loved in jest. She did not love; her fancy was fickle; she was not moved by long service, which, by the way, was evidently to be taken for granted precisely like the whole long past of a dream. She had not a good temper. When the poet groans it seems that she has laughed at him; when he flouts her, we may understand that she has chidden her lyrist in no temperate terms. In doing this she has sinned not so much against him as against Love. With that she is perpetually reproved. The lyrist complains to Love, pities Love for her scorning, and threatens to go away with Love, who is on his side. The sweetest verse is tuned to love when the loved one proves worthy.
There is no record of success for this policy. She goes on dancing or scolding, as the case may be, and the lyrist goes on boasting of his constancy, or suddenly renounces it for a day. The situation has variants, but no surprise or ending. The lover's convention is explicit enough, but it might puzzle a reader to account for the lady's. Pride in her beauty, at any rate, is hers——pride so great that she cannot bring herself to perceive the shortness of her day. She is so unobservant as to need to be told that life is brief, and youth briefer than life; that the rose fades, and so forth.
Now we need not assume that the lady of the lyrics ever lived. But taking her as the perfectly unanimous conception of the lyrists, how is it she did not discover these things unaided? Why does the lover invariably imagine her with a mind intensely irritable under his own praise and poetry? Obviously we cannot have her explanation of any of these matters. Why do the poets so much lament the absence of truth in one whose truth would be of little moment? And why was the convention so pleasant, among all others, as to occupy a whole age—— nay, two great ages-of literature?
Music seems to be principally answerable. For the lyrics of the lady are "words for music" by a great majority. There is hardly a single poem in the Elizabethan Song-books, properly so named, that has what would in our day be called a tone of sentiment. Music had not then the tone herself; she was ingenious, and so must the words be. She had the air of epigram, and an accurately definite limit. So, too, the lady of the lyrics, who might be called the lady of the stanzas, so strictly does she go by measure. When she is quarrelsome, it is but fuguishness; when she dances, she does it by a canon. She could not but be perverse, merrily sung to such grave notes.
So fixed was the law of this perversity that none in the song-books is allowed to be kind enough for a "melody," except one lady only. She may thus derogate, for the exceedingly Elizabethan reason that she is "brown." She is brown and kind, and a "sad flower," but the song made for her would have been too insipid, apparently, without an antithesis. The fair one is warned that her disdain makes her even less lovely than the brown.
Fair as a lily, hard to please, easily angry, ungrateful for innumerable verses, uncertain with the regularity of the madrigal, and inconstant with the punctuality of a stanza, she has gone with the arts of that day; and neither verse nor music will ever make such another lady. She refused to observe the transiency of roses; she never really intended——much as she was urged——to be a shepherdess; she was never persuaded to mitigate her dress. In return, the world has let her disappear. She scorned the poets until they turned upon her in the epigram of many a final couplet; and of these the last has been long written. Her "No" was set to counterpoint in the part-song, and she frightened Love out of her sight in a ballet. Those occupations are gone, and the lovely Elizabethan has slipped away. She was something less than mortal.
But she who was more than mortal was mortal too. This was no lady of the unanimous lyrists, but a rare visitant unknown to these exquisite little talents. She was not set for singing, but poetry spoke of her; sometimes when she was sleeping, and then Fletcher said
None can rock Heaven to sleep but her.
Or when she was singing, and Carew rhymed
Ask me no more whither doth haste The nightingale when May is past; For in your sweet dividing throat She winters, and keeps warm her note.
Sometimes when the lady was dead, and Carew, again, wrote on her monument
And here the precious dust is laid, Whose purely-tempered clay was made So fine that it the guest betrayed.
But there was besides another Lady of the lyrics; one who will never pass from the world, but has passed from song. In the sixteenth century and in the seventeenth century this lady was Death. Her inspiration never failed; not a poet but found it as fresh as the inspiration of life. Fancy was not quenched by the inevitable thought in those days, as it is in ours, and the phrase lost no dignity by the integrity of use.
To every man it happens that at one time of his life——for a space of years or for a space of months——he is convinced of death with an incomparable reality. It might seem as though literature, living the life of a man, underwent that conviction in those ages. Death was as often on the tongues of men in older ages, and oftener in their hands, but in the sixteenth century it was at their hearts. The discovery of death did not shake the poets from their composure. On the contrary, the verse is never measured with more majestic effect than when it moves in honour of this Lady of the lyrics. Sir Walter Raleigh is but a jerky writer when he is rhyming other things, however bitter or however solemn; but his lines on death, which are also lines on immortality, are infinitely noble. These are, needless to say, meditations upon death by law and violence; and so are the ingenious rhymes of Chidiock Tichborne, written after his last prose in his farewell letter to his wife——"Now, Sweet- cheek, what is left to bestow on thee, a small recompense for thy deservings"——and singularly beautiful prose is this. So also are Southwell's words. But these are exceptional deaths, and more dramatic than was needed to awake the poetry of the meditative age.
It was death as the end of the visible world and of the idle business of life——not death as a passage nor death as a fear or a darkness——that was the Lady of the lyrists. Nor was their song of the act of dying. With this a much later and much more trivial literature busied itself. Those two centuries felt with a shock that death would bring an end, and that its equalities would make vain the differences of wit and wealth which they took apparently more seriously than to us seems probable. They never wearied of the wonder. The poetry of our day has an entirely different emotion for death as parting. It was not parting that the lyrists sang of; it was the mere simplicity of death. None of our contemporaries will take such a subject; they have no more than the ordinary conviction of the matter. For the great treatment of obvious things there must evidently be an extraordinary conviction.
But whether the chief Lady of the lyrics be this, or whether she be the implacable Elizabethan feigned by the love-songs, she has equally passed from before the eyes of poets.
關(guān)于英語唯美文章篇二
MRS. DINGLEY
We cannot do her honour by her Christian name. {} All we have to call her by more tenderly is the mere D, the D that ties her to Stella, with whom she made the two-in-one whom Swift loved "better a thousand times than life, as hope saved." MD, without full stops, Swift writes it eight times in a line for the pleasure of writing it. "MD sometimes means Stella alone," says one of many editors. "The letters were written nominally to Stella and Mrs. Dingley," says another, "but it does not require to be said that it was really for Stella's sake alone that they were penned." Not so. "MD" never stands for Stella alone. And the editor does not yet live who shall persuade one honest reader, against the word of Swift, that Swift loved Stella only, with an ordinary love, and not, by a most delicate exception, Stella and Dingley, so joined that they make the "she" and "her" of every letter. And this shall be a paper of reparation to Mrs. Dingley.
No one else in literary history has been so defrauded of her honours. In love "to divide is not to take away," as Shelley says; and Dingley's half of the tender things said to MD is equal to any whole, and takes nothing from the whole of Stella's half. But the sentimentalist has fought against Mrs. Dingley from the outset. He has disliked her, shirked her, misconceived her, and effaced her. Sly sentimentalist——he finds her irksome. Through one of his most modern representatives he has but lately called her a "chaperon." A chaperon!
MD was not a sentimentalist. Stella was not so, though she has been pressed into that character; D certainly was not, and has in this respect been spared by the chronicler; and MD together were "saucy charming MD," "saucy little, pretty, dear rogues," "little monkeys mine," "little mischievous girls," "nautinautinautidear girls," "brats," "huzzies both," "impudence and saucy-face," "saucy noses," "my dearest lives and delights," "dear little young women," "good dallars, not crying dallars" (which means "girls"), "ten thousand times dearest MD," and so forth in a hundred repetitions. They are, every now and then, "poor MD," but obviously not because of their own complaining. Swift called them so because they were mortal; and he, like all great souls, lived and loved, conscious every day of the price, which is death.
The two were joined by love, not without solemnity, though man, with his summary and wholesale ready-made sentiment, has thus obstinately put them asunder. No wholesale sentiment can do otherwise than foolishly play havoc with such a relation. To Swift it was the most secluded thing in the world. "I am weary of friends, and friendships are all monsters, except MD's;" "I ought to read these letters I write after I have done. But I hope it does not puzzle little Dingley to read, for I think I mend： but methinks," he adds, "when I write plain, I do not know how, but we are not alone, all the world can see us. A bad scrawl is so snug; it looks like PMD." Again： "I do not like women so much as I did. MD, you must know, are not women." "God Almighty preserve you both and make us happy together." "I say Amen with all my heart and vitals, that we may never be asunder ten days together while poor Presto lives." "Farewell, dearest beloved MD, and love poor, poor Presto, who has not had one happy day since he left you, as hope saved."
With them——with her——he hid himself in the world, at Court, at the bar of St. James's coffee-house, whither he went on the Irish mail-day, and was "in pain except he saw MD's little handwriting." He hid with them in the long labours of these exquisite letters every night and morning. If no letter came, he comforted himself with thinking that "he had it yet to be happy with." And the world has agreed to hide under its own manifold and lachrymose blunders the grace and singularity——the distinction——of this sweet romance. "Little, sequestered pleasure-house"——it seemed as though "the many could not miss it," but not even the few have found it.
It is part of the scheme of the sympathetic historian that Stella should be the victim of hope deferred, watching for letters from Swift. But day and night Presto complains of the scantiness of MD's little letters; he waits upon "her" will： "I shall make a sort of journal, and when it is full I will send it whether MD writes or not; and so that will be pretty." "Naughty girls that will not write to a body!" "I wish you were whipped for forgetting to send. Go, be far enough, negligent baggages." "You, Mistress Stella, shall write your share, and then comes Dingley altogether, and then Stella a little crumb at the end; and then conclude with something handsome and genteel, as `your most humble cumdumble.'" But Scott and Macaulay and Thackeray are all exceedingly sorry for Stella.
Swift is most charming when he is feigning to complain of his task： "Here is such a stir and bustle with this little MD of ours; I must be writing every night; O Lord, O Lord!" "I must go write idle things, and twittle twattle." "These saucy jades take up so much of my time with writing to them in the morning." Is it not a stealthy wrong done upon Mrs. Dingley that she should be stripped of all these ornaments to her name and memory? When Swift tells a woman in a letter that there he is "writing in bed, like a tiger," she should go gay in the eyes of all generations.
They will not let Stella go gay, because of sentiment; and they will not let Mrs. Dingley go gay, because of sentiment for Stella. Marry come up! Why did not the historians assign all the tender passages (taken very seriously) to Stella, and let Dingley have the jokes, then? That would have been no ill share for Dingley. But no, forsooth, Dingley is allowed nothing.
There are passages, nevertheless, which can hardly be taken from her. For now and then Swift parts his dear MD. When he does so he invariably drops those initials and writes "Stella" or "Ppt" for the one, and "D" or "Dingley" for the other. There is no exception to this anywhere. He is anxious about Stella's "little eyes," and about her health generally; whereas Dingley is strong. Poor Ppt, he thinks, will not catch the "new fever," because she is not well; "but why should D escape it, pray?" And Mrs. Dingley is rebuked for her tale of a journey from Dublin to Wexford. "I doubt, Madam Dingley, you are apt to lie in your travels, though not so bad as Stella; she tells thumpers." Stella is often reproved for her spelling, and Mrs. Dingley writes much the better hand. But she is a puzzle-headed woman, like another. "What do you mean by my fourth letter, Madam Dinglibus? Does not Stella say you had my fifth, goody Blunder?" "Now, Mistress Dingley, are you not an impudent slut to except a letter next packet? Unreasonable baggage! No, little Dingley, I am always in bed by twelve, and I take great care of myself." "You are a pretending slut, indeed, with your `fourth' and `fifth' in the margin, and your `journal' and everything. O Lord, never saw the like, we shall never have done." "I never saw such a letter, so saucy, so journalish, so everything." Swift is insistently grateful for their inquiries for his health. He pauses seriously to thank them in the midst of his prattle. Both women—— MD——are rallied on their politics： "I have a fancy that Ppt is a Tory, I fancy she looks like one, and D a sort of trimmer."
But it is for Dingley separately that Swift endured a wild bird in his lodgings. His man Patrick had got one to take over to her in Ireland. "He keeps it in a closet, where it makes a terrible litter; but I say nothing; I am as tame as a clout."
Forgotten Dingley, happy in this, has not had to endure the ignominy, in a hundred essays, to be retrospectively offered to Swift as an unclaimed wife; so far so good. But two hundred years is long for her to have gone stripped of so radiant a glory as is hers by right. "Better, thanks to MD's prayers," wrote the immortal man who loved her, in a private fragment of a journal, never meant for Dingley's eyes, nor for Ppt's, nor for any human eyes; and the rogue Stella has for two centuries stolen all the credit of those prayers, and all the thanks of that pious benediction.
關(guān)于英語唯美文章篇三
THE SPIRIT OF PLACE
With mimicry, with praises, with echoes, or with answers, the poets have all but outsung the bells. The inarticulate bell has found too much interpretation, too many rhymes professing to close with her inaccessible utterance, and to agree with her remote tongue. The bell, like the bird, is a musician pestered with literature.
To the bell, moreover, men do actual violence. You cannot shake together a nightingale's notes, or strike or drive them into haste, nor can you make a lark toll for you with intervals to suit your turn, whereas wedding-bells are compelled to seem gay by mere movement and hustling. I have known some grim bells, with not a single joyous note in the whole peal, so forced to hurry for a human festival, with their harshness made light of, as though the Bishop of Hereford had again been forced to dance in his boots by a merry highwayman.
The clock is an inexorable but less arbitrary player than the bellringer, and the chimes await their appointed time to fly——wild prisoners——by twos or threes, or in greater companies. Fugitives—— one or twelve taking wing——they are sudden, they are brief, they are gone; they are delivered from the close hands of this actual present. Not in vain is the sudden upper door opened against the sky; they are away, hours of the past.
Of all unfamiliar bells, those which seem to hold the memory most surely after but one hearing are bells of an unseen cathedral of France when one has arrived by night; they are no more to be forgotten than the bells in "Parsifal." They mingle with the sound of feet in unknown streets, they are the voices of an unknown tower; they are loud in their own language. The spirit of place, which is to be seen in the shapes of the fields and the manner of the crops, to be felt in a prevalent wind, breathed in the breath of the earth, overheard in a far street-cry or in the tinkle of some black-smith, calls out and peals in the cathedral bells. It speaks its local tongue remotely, steadfastly, largely, clamorously, loudly, and greatly by these voices; you hear the sound in its dignity, and you know how familiar, how childlike, how lifelong it is in the ears of the people. The bells are strange, and you know how homely they must be. Their utterances are, as it were, the classics of a dialect.
Spirit of place! It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name. It is recalled all a lifetime, having been perceived a week, and is not scattered but abides, one living body of remembrance. The untravelled spirit of place——not to be pursued, for it never flies, but always to be discovered, never absent, without variation——lurks in the by-ways and rules over the towers, indestructible, an indescribable unity. It awaits us always in its ancient and eager freshness. It is sweet and nimble within its immemorial boundaries, but it never crosses them. Long white roads outside have mere suggestions of it and prophecies; they give promise not of its coming, for it abides, but of a new and singular and unforeseen goal for our present pilgrimage, and of an intimacy to be made. Was ever journey too hard or too long that had to pay such a visit? And if by good fortune it is a child who is the pilgrim, the spirit of place gives him a peculiar welcome, for antiquity and the conceiver of antiquity (who is only a child) know one another; nor is there a more delicate perceiver of locality than a child. He is well used to words and voices that he does not understand, and this is a condition of his simplicity; and when those unknown words are bells, loud in the night, they are to him as homely and as old as lullabies.
If, especially in England, we make rough and reluctant bells go in gay measures, when we whip them to run down the scale to ring in a wedding-bells that would step to quite another and a less agile march with a better grace——there are belfries that hold far sweeter companies. If there is no music within Italian churches, there is a most curious local immemorial music in many a campanile on the heights. Their way is for the ringers to play a tune on the festivals, and the tunes are not hymn tunes or popular melodies, but proper bell-tunes, made for bells. Doubtless they were made in times better versed than ours in the sub-divisions of the arts, and better able to understand the strength that lies ready in the mere little submission to the means of a little art, and to the limits—— nay, the very embarrassments——of those means. If it were but possible to give here a real bell-tune——which cannot be, for those melodies are rather long——the reader would understand how some village musician of the past used his narrow means as a composer for the bells, with what freshness, completeness, significance, fancy, and what effect of liberty.
These hamlet-bells are the sweetest, as to their own voices, in the world. Then I speak of their antiquity I use the word relatively. The belfries are no older than the sixteenth or seventeenth century, the time when Italy seems to have been generally rebuilt. But, needless to say, this is antiquity for music, especially in Italy. At that time they must have had foundries for bells of tender voices, and pure, warm, light, and golden throats, precisely tuned. The hounds of Theseus had not a more just scale, tuned in a peal, than a North Italian belfry holds in leash. But it does not send them out in a mere scale, it touches them in the order of the game of a charming melody. Of all cheerful sounds made by man this is by far the most light-hearted. You do not hear it from the great churches. Giotto's coloured tower in Florence, that carries the bells for Santa Maria del Fiore and Brunelleschi's silent dome, does not ring more than four contralto notes, tuned with sweetness, depth, and dignity, and swinging one musical phrase which softly fills the country.
The village belfry it is that grows so fantastic and has such nimble bells. Obviously it stands alone with its own village, and can therefore hear its own tune from beginning to end. There are no other bells in earshot. Other such dovecote-doors are suddenly set open to the cloud, on a festa morning, to let fly those soft-voiced flocks, but the nearest is behind one of many mountains, and our local tune is uninterrupted. Doubtless this is why the little, secluded, sequestered art of composing melodies for bells——charming division of an art, having its own ends and means, and keeping its own wings for unfolding by law——dwells in these solitary places. No tunes in a town would get this hearing, or would be made clear to the end of their frolic amid such a wide and lofty silence.
Nor does every inner village of Italy hold a bell-tune of its own; the custom is Ligurian. Nowhere so much as in Genoa does the nervous tourist complain of church bells in the morning, and in fact he is made to hear an honest rout of them betimes. But the nervous tourist has not, perhaps, the sense of place, and the genius of place does not signal to him to go and find it among innumerable hills, where one by one, one by one, the belfries stand and play their tunes. Variable are those lonely melodies, having a differing gaiety for the festivals; and a pitiful air is played for the burial of a villager.
As for the poets, there is but one among so many of their bells that seems to toll with a spiritual music so loud as to be unforgotten when the mind goes up a little higher than the earth, to listen in thought to earth's untethered sounds. This is Milton's curfew, that sways across one of the greatest of all the seashores of poetry—— "the wide-watered."
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