(雙語)月亮和六便士 第1章(2)

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It was not till four years after Strickland's death that Maurice Huret wrote that article in the Mercure de France which rescued the unknown painter from oblivion and blazed the trail which succeeding writers, with more or less docility, have followed. For a long time no critic has enjoyed in France a more incontestable authority, and it was impossible not to be impressed by the claims he made; they seemed extravagant; but later judgments have confirmed his estimate, and the reputation of Charles Strickland is now firmly established on the lines which he laid down. The rise of this reputation is one of the most romantic incidents in the history of art. But I do not propose to deal with Charles Strickland's work except in so far as it touches upon his character. I cannot agree with the painters who claim superciliously that the layman can understand nothing of painting, and that he can best show his appreciation of their works by silence and a cheque-book. It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman: art is a manifestation of emotion, and emotion speaks a language that all may understand. But I will allow that the critic who has not a practical knowledge of technique is seldom able to say anything on the subject of real value, and my ignorance of painting is extreme. Fortunately, there is no need for me to risk the adventure, since my friend, Mr. Edward Leggatt, an able writer as well as an admirable painter, has exhaustively discussed Charles Strickland's work in a little book ("A Modern Artist： Notes on the Work of Charles Strickland， " by Edward Leggatt， A. R. H. A. Martin Secker， 1917.)which is a charming example of a style, for the most part, less happily cultivated in England than in France.

直到思特里克蘭德去世四年以后，莫利斯·胥瑞才寫了那篇發(fā)表在《法蘭西信使》上的文章，使這位不為人所知的畫家不致湮沒無聞。他的這篇文章打響了第一炮，很多怯于標(biāo)新的作家這才踏著他的足跡走了下去。在很長一段時間內(nèi)法國藝術(shù)評論界更沒有哪個人享有比胥瑞更無可爭辯的權(quán)威。胥瑞提出的論點(diǎn)不可能不給人以深刻的印象，看起來他對思特里克蘭德的稱許似乎有些過分，但后來輿論的裁決卻證實了他評價的公正；而查理斯·思特里克蘭德的聲名便也在他所定的調(diào)子上不可動搖地建立起來了。思特里克蘭德聲名噪起，這在藝術(shù)史上實在是最富于浪漫主義味道的一個事例。但是我在這里并不想對查理斯·思特里克蘭德的藝術(shù)作品有所評論，除非在這些作品涉及到畫家性格的時候。我對某些畫家的意見不敢茍同，他們傲慢地認(rèn)為外行根本不懂得繪畫，門外漢要表示對藝術(shù)的鑒賞，最好的方法就是免開尊口，大大方方地掏出支票簿。老實講，把藝術(shù)看作只有名工巧匠才能完全理解的藝術(shù)技巧，其實是一種荒謬的誤解。藝術(shù)是什么？藝術(shù)是感情的表露，藝術(shù)使用的是一種人人都能理解的語言。但是我也承認(rèn)，藝術(shù)評論家如果對技巧沒有實際知識，是很少能作出真正有價值的評論的；而我自己對繪畫恰好是非常無知的。幸而在這方面我無庸冒任何風(fēng)險，因為我的朋友愛德華·雷加特先生既是一位寫文章的高手，又是一位深有造詣的畫家，他在一本小書里【《一位當(dāng)代畫家，對查理斯·思特里克蘭德繪畫的評論》，愛爾蘭皇家學(xué)院會員愛德華·雷加特著，1917年馬丁·塞克爾出版。（作者注）】對查理斯·思特里克蘭德的作品已經(jīng)作了詳盡的探索；這本書的優(yōu)美文風(fēng)也為我們樹立了一個典范。很可惜，這種文風(fēng)今天在英國遠(yuǎn)不如在法國那么時興了。