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因此，对精神状况进行生理研究，会为激励伦理学提供最为有力的支持。神学已向我们启示，死后需要承受地狱之苦，但现世习惯性地以错误方式塑造性格会带来更多的灾难。如果年轻人能够意识到，不久之后他们就会被习惯所驱使，那么他们就会更加关注自己在习惯形成时期的行为。我们在编织自己的命运，不论是好还是坏，不会重来。一点善举、一个恶行，都会留下不小的痕迹。杰斐逊剧中的醉汉瑞普·凡·温克尔每次失职都会安慰自己：“这次不算！”好吧！就算他自己不去计算，慈爱的上苍也不去计算，但冥冥中的力量还是会毫厘不爽地计算的。在他的神经细胞和纤维之间，无数分子在默默地计数、录入和储存，当下一次诱惑来临之时，就会对他不利。在严格的科学意义上，我们所做的任何事都不会完全磨灭。当然，这有好的一面，也有坏的一面。一杯一杯地饮酒，我们会成为积习难改的酒鬼；同样，一次一次的行动，一个小时又一个小时的工作，可以使我们成为品德高尚的圣人，成为实践或科学领域的权威与专家。无论教育的过程如何，年轻人都不必对教育的结果感到忧虑。只要在工作日的每个小时都认真而忙碌地工作，结果自然会水到渠成。完全可以确定的是，某天清晨醒来，他会发现自己已成为一代人中的佼佼者，无论他选择了什么样的追求目标。在他完成一项项具体工作的时候，对此类问题的判断力会在他的身上默默地积聚，形成一种永不消失的财富。年轻人应该尽早知道这个真理，因为比起所有其他因素，若对此一无所知，可能会令刚刚踏上艰巨职业生涯的年轻人产生更多的胆怯与懦弱。
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（李春江 译）
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西南联大英文课（英汉双语版） [:1705033846]
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29 WHY A CLASSIC IS A CLASSIC
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By Arnold Bennett
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WHY A CLASSIC IS A CLASSIC, by Arnold Bennett, from his Literary Taste, How to Form It , New York, George H. Doran Company.Reprinted in Chamberlain and Bolton, Progressive Readings in Prose , pp. 37-39.
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Arnold Bennett （1867-1931）, English novelist, best known for his Old Wives’Tales , a realistic study of the pottery-manufacturing Staffordshire. WHY A CLASSIC IS A CLASSIC was written in 1909 and shows Mr. Bennett at his best in freeing a time-worn subject from cant phrases and wearisome formality.
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The large majority of our fellow citizens care as much about literature as they care about aëroplanes or the program of the Legislature. They do not ignore it; they are not quite indifferent to it. But their interest in it is faint and perfunctory;or, if their interest happens to be violent, it is spasmodic. Ask the two hundred thousand persons whose enthusiasm made the vogue of a popular novel ten years ago what they think of that novel now, and you will gather that they have utterly forgotten it, and that they would no more dream of reading it again than of reading Bishop Stubbs’s Select Charters . Probably if they did read it again they would not enjoy it—not because the said novel is a whit worse now than it was ten years ago; not because their taste has improved—but because they have not had sufficient practice to be able to rely on their taste as a means of permanent pleasure. They simply don’t know from one day to the next what will please them.
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In the face of this one may ask: Why does the great and universal fame of classical authors continue? The answer is that the fame of classical authors is entirely independent of the majority. Do you suppose that if the fame of Shakespeare depended on the man in the street it would survive a fortnight? The fame of classical authors is orginally made, and it is maintained, by a passionate few. Even when a first-class author has enjoyed immense success during his lifetime, the majority have never appreciated him so sincerely as they have appreciated second-rate men. He has always been reënforced by the ardor of the passionate few. And in the case of an author who has emerged into glory after his death, the happy sequel has been due solely to the obstinate perseverance of the few. They could not leave him alone; they would not. They kept on savoring him, and talking about him, and buying him, and they generally behaved with such eager zeal, and they were so authoritative and sure of themselves, that at last the majority grew accustomed to the sound of his name and placidly agreed to the proposition that he was a genius; the majority really did not care very much either way.
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And it is by the passionate few that the renown of genius is kept alive from one generation to another. These few are always at work. They are always rediscovering genius. Their curiosity and enthusiasm are exhaustless, so that there is little chance of genius being ignored. And, moreover, they are always working either for or against the verdicts of the majority. The majority can make a reputation, but it is too careless to maintain it. If, by accident, the passionate few agree with the majority in a particular instance, they will frequently remind the majority that such and such a reputation has been made, and the majority will idly concur: “Ah, yes. By the way, we must not forget that such and such a reputation exists.” Without that persistent memory-jogging the reputation would quickly fall into the oblivion which is death. The passionate few only have their way by reason of the fact that they are genuinely interested in literature, that literature matters to them. They conquer by their obstinacy alone, by their eternal repetition of the same statements. Do you suppose they could prove to the man in the street that Shakespeare was a great artist? The said man would not even understand the terms they employed. But when he is told ten thousand times, and generation after generation, that Shakespeare was a great artist, the said man believes—not by reason, but by faith. And he, too, repeats that Shakespeare was a great artist, and he buys the complete works of Shakespeare and puts them on his shelves, and he goes to see the marvelous stage effects which accompany King Lear or Hamlet , and comes back religiously convinced that Shakespeare was a great artist. All because the passionate few could not keep their admiration of Shakespeare to themselves. This is not cynicism; but truth. And it is important that those who wish to form their literary taste should grasp it.
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What causes the passionate few to make such a fuss about literature? There can be only one reply. They find a keen and lasting pleasure in literature. They enjoy literature as some men enjoy beer. The recurrence of this pleasure naturally keeps their interest in literature very much alive. They are forever making new researches, forever practicing on themselves. They learn to understand themselves. They learn to know what they want. Their taste becomes surer and surer as their experience lengthens. They do not enjoy to-day what will seem tedious to them to-morrow. When they find a book tedious, no amount of popular clatter will persuade them that it is pleasurable; and when they find it pleasurable no chill silence of the street crowds will affect their conviction that the book is good and permanent. They have faith in themselves. What are the qualities in a book which give keen and lasting pleasure to the passionate few? This is a question so difficult that it has never yet been completely answered. You may talk lightly about truth, insight, knowledge, wisdom, humor, and beauty. But these comfortable words do not really carry you very far, for each of them has to be defined, especially the first and last. It is all very well for Keats in his airy manner to assert that beauty is truth, truth beauty, and that that is all he knows or needs to know. I, for one, need to know a lot more. And I never shall know. Nobody, not even Hazlitt nor Sainte Beuve, has ever finally explained why he thought a book beautiful. I take the first fine lines that come to hand—
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The woods of Arcady are dead,
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And over is their antique joy—
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and I say that those lines are beautiful because they give me pleasure. But why? No answer! I only know that the passionate few will broadly agree with me in deriving this mysterious pleasure from these lines. I am only convinced that the liveliness of our pleasure in those and many other lines by the same author will ultimately cause the majority to believe, by faith, that W. B. Yeats is a genius. The one reassuring aspect of the literary affair is that the passionate few are passionate about the same things. A continuance of interest does, in actual practice, lead ultimately to the same judgments. There is only the difference in width of interest. Some of the passionate few lack catholicity, or, rather, the whole of their interest is confined to one narrow channel; they have none left over. These men help specially to vitalize the reputations of the narrower geniuses, such as Crashaw. But their active predilections never contradict the general verdict of the passionate few; rather they reënforce it.
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A classic is a work which gives pleasure to the minority which is intensely and permanently interested in literature. It lives on because the minority, eager to renew the sensation of pleasure, is eternally curious and is therefore engaged in an eternal process of rediscovery. A classic does not survive for any ethical reason. It does not survive because it conforms to certain canons, or because neglect would not kill it. It survives because it is a source of pleasure, and because the passionate few can no more neglect it than a bee can neglect a flower. The passionate few do not read “the right things” because they are right. That is to put the cart before the horse.“The right things” are the right things solely because the passionate few like reading them. Hence—and I now arrive at my point—the one primary essential to literary taste is a hot interest in literature. If you have that, all the rest will come. It matters nothing that at present you fail to find pleasure in certain classics. The driving impulse of your interest will force you to acquire experience, and experience will teach you the use of the means of pleasure. You do not know the secret ways of yourself: that is all. A continuance of interest must inevitably bring you to the keenest joys. But, of course, experience may be acquired judiciously or injudiciously, just as Putney may be reached via Walham Green or via St.Petersburg.
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Notes
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perfunctory, done merely as a duty; performed mechanically and as a thing of rote or carelessly and superficially; marked by indifference.
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spasmodic, acting or proceeding fitfully or intermittently; lacking continuity of effort, production.
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Bishop Stubbs’s “Select Charters.” William Stubbs （1825-1901）, English bishop and historian, professor of modern history at Oxford, 1866-1884. His most famous work is his Constitutional History of England （1874-1878）.
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whit, bit, iota.
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classical authors, writers of the first rank, especially in literature and art, classical because their works have become classics.
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Shakespeare, William （1564-1616）, the greatest of the English poets and dramatists.
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sequel, that which follows, continuation; hence, consequence, effect, result.
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savoring, tasting, relishing.