极品美文The Literature of Knowledge and the Literature of Power

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听说是极品美文 反正我是看不懂

 The Literature of Knowledge and the Literature of Power
　　What is it that we mean by literature?  Popularly, and amongst the thoughtless, it is held to include everything that is printed in a book.  Little logic is required to disturb that definition.  The most thoughtless person is easily made aware that in the idea of literature one essential element is some relation to a general and common interest of man—so that what applies only to a local, or professional, or merely personal interest, even though presenting itself in the shape of a book, will not belong to Literature.  So far the definition is easily narrowed; and it is as easily expanded.  For not only is much that takes a station in books not literature; but inversely, much that really is literature never reaches a station in books.  The weekly sermons of Christendom, that vast pulpit literature which acts so extensively upon the popular mind—to warn, to uphold, to renew, to comfort, to alarm—does not attain the sanctuary of libraries in the ten-thousandth part of its extent.  The Drama again—as, for instance, the finest of Shakespeare’s plays in England, and all leading Athenian plays in the noontide of the Attic stage—operated as a literature on the public mind, and were (according to the strictest letter of that term) published through the audiences that witnessed their representation some time before they were published as things to be read; and they were published in this scenical mode of publication with much more effect than they could have had as books during ages of costly copying or of costly printing.
　　Books, therefore, do not suggest an idea coextensive and interchangeable with the idea of Literature; since much literature, scenic, forensic, or didactic (as from lecturers and public orators), may never come into books, and much that does come into books may connect itself with no literary interest.  But a far more important correction, applicable to the common vague idea of literature, is to be sought not so much in a better definition of literature as in a sharper distinction of the two functions which it fulfills.  In that great social organ which, collectively, we call literature, there may be distinguished two separate offices that may blend and often do so, but capable, severally, of a severe insulation, and naturally fitted for reciprocal repulsion.  There is, first, the literature of knowledge; and, secondly, the literature of power.  The function of the first is—to teach; the function of the second is—to move: the first is a rudder; the second, an oar or a sail.  The first speaks to the mere discursive understanding; the second speaks ultimately, it may happen, to the higher understanding or reason, but always through affections of pleasure and sympathy.  Remotely, it may travel towards an object seated in what Lord Bacon calls dry light; but, proximately, it does and must operate—else it ceases to be a literature of power—on and through that humid light which clothes itself in the mists and glittering iris of human passions, desires, and genial emotions. Men have so little reflected on the higher functions of literature as to find it a paradox if one should describe it as a mean or subordinate purpose of books to give information.  But this is a paradox only in the sense which makes it honorable to be paradoxical.  Whenever we talk in ordinary language of seeking information or gaining knowledge, we understand the words as connected with something of absolute novelty.  But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds: it exists eternally by way of germ or latent principle in the lowest as in the highest, needing to be developed, but never to be planted.  To be capable of transplantation is the immediate criterion of a truth that ranges on a lower scale.  Besides which, there is a rarer thing than truth—namely, power, or deep sympathy with truth.  What is the effect, for instance, upon society, of children?  By the pity, by the tenderness, and by the peculiar modes of admiration, which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven—the frailty, for instance, which appeals to forbearance, the innocence which symbolizes the heavenly, and the simplicity which is most alien from the worldly—are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz. the literature of power. What do you learn from Paradise Lost? Nothing at all. What do you learn from a cookery book?  Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level; what you owe is power—that is, exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upwards, a step ascending as upon a Jacob’s ladder from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth: whereas the very first step in power is a flight—is an ascending movement into another element where earth is forgotten.
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