The Essayist 的赏析
There are as many kinds of essays as there are human attitudes or poses, as many essay flavors as there are Howard Johnson ice creams. The essayist arises in the morning and, if he has work to do, selects his garb from an unusually extensive wardrobe: he can pull on any sort of shirt, be any sort of person, according to his mood or his subject matter----philosopher scold, jester, raconteur, confidant, pundit, devil's advocate, enthusiast. I like the essay, have always liked it, and even as a child was at work, attempting to inflict my young thoughts and experiences on others by putting them on paper. I early broke into print in the pages of St. Nicholas. I tend still to fall back on the essay form (or lack of form) when an idea strikes me, but I am not fooled about the place of the essay in twentieth-century American letters----it stands a short distance down the line. The essayist, unlike the novelist, the poet, and the playwright, must be content in his self-imposed role of second-class citizen. A writer who has his sights trained on the Nobel Prize or other earthly triumphs had best write a novel, a poem, or a play, and leave the essayist to ramble about, content with living a free life and enjoying the satisfactions of a somewhat undisciplined existence. (Dr. Johnson called the essay "an irregular, undigested piece"; this happy practitioner has no wish to quarrel with the good doctor's characterization.)
散文种类很多，犹如人的姿态，而散文风格韵味之多则犹如霍华德?约翰逊的冰淇淋。散文家清晨起来，倘若有工作得做，总从一批特别多样化的服装中挑选出他的外衣来：且不论他是那一类人，他可以根据自己的心境或是题材披上任何种类的衬衫----哲学家、爱骂人的人、诙谐的人、讲故事的人、知己朋友、学术权威、爱唱反调的人、热心人士。我爱好散文，一向爱好，孩提时就动手写文章，试图把我年轻的思想与经历写在纸上，强加给别人。我写的散文最早刊登在《圣尼古拉杂志》上。当我突然有了一个想法时，我还是倾向于采用散文这种形式（或者可以说是，缺乏任何形式），不过我对于散文在二十世纪美国文坛上的地位并没有上当受骗。----总的说来，散文地位偏低。散文家不像小说家、诗人和剧作家，他必须满足于自己强加上身的二等公民的角色。一个目光瞄准诺贝尔奖或是世上其他荣誉的作家，最好写一篇小说、一首诗或一部戏剧，撇下散文家四下漫游，满足于一种自由自在的生活，享受着一种或多或少散漫生活的种种快事。（约翰逊博士把散文称为“一篇不合常规的、未经整理的文字”；我这个快乐的散文作者无意就那位好博士关于散文特性的描述进行指责。）
Shakespeare was never revered in his lifetime, but he received his share of praise.[154] In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy.[155] And the authors of the Parnassus plays at St John's College, Cambridge, numbered him with Chaucer, Gower and Spenser.[156] In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art".[157]
Between the Restoration of the monarchy in 1660 and the end of the seventeenth century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson.[158] Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, "I admire him, but I love Shakespeare".[159] For several decades, Rymer's view held sway; but during the eighteenth century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation.[160] By 1800, he was firmly enshrined as the national poet.[161] In the eighteenth and nineteenth centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal and Victor Hugo.[162]
During the Romantic era, Shakespeare was praised by the poet and literary philosopher Samuel Taylor Coleridge; and the critic August Wilhelm Schlegel translated his plays in the spirit of German Romanticism.[163] In the nineteenth century, critical admiration for Shakespeare's genius often bordered on adulation.[164] "That King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible".[165] The Victorians produced his plays as lavish spectacles on a grand scale.[166] The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry". He claimed that the new naturalism of Ibsen's plays had made Shakespeare obsolete.[167]
The modernist revolution in the arts during the early twentieth century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T. S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern.[168] Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for "post-modern" studies of Shakespeare.[169] By the eighties, Shakespeare studies were open to movements such as structuralism, feminism, African American studies, and queer studies
作者在本文中主要论述了随笔作者的本质.首先他指出随笔作者是自我解放的人,有一颗对一切事物都感星期的通信,并指出惟有这样才有足够的勇气和精力去写随笔.
接着,坏特指出随笔形式多种多样,就如人们的态度和姿势多种多样一般.
怀特从小就喜欢随笔,他注重随笔的形式,是自由自在,无所拘束的形式.
随笔作者之忌是在文中有所欺骗和隐瞒,随笔的形式虽然松散自由,但还是要遵循一定的规则,不能过分随意.
最后,怀特强调了随笔作者以自我中心的品质,他认为正是这样的自我中心的风格造就了随笔的魅力.
The essayist is a self-liberated man,sus-tained by the childish belief that everything hethinks about,everything that happens to him,is of general interest.He is a fellow who thor-oughly enjoys his work,just as people whotake bird enjoy theirs.Each new excursion ofthe essayist,each new “attempt”,differs from novelist.
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