seven discourses on art(艺术七讲座)-第21节
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especially as artists are not very frequently skilful in that mode of
communicating ideas。
Unsubstantial； however； as these rules may seem； and difficult as it
may be to convey them in writing； they are still seen and felt in the mind
of the artist； and he works from them with as much certainty as if they
were embodied； as I may say； upon paper。 It is true these refined
principles cannot be always made palpable； like the more gross rules of art；
yet it does not follow but that the mind may be put in such a train that it
shall perceive； by a kind of scientific sense； that propriety which words；
particularly words of unpractised writers such as we are； can but very
feebly suggest。
Invention is one of the great marks of genius； but if we consult
experience； we shall find that it is by being conversant with the inventions
of others that we learn to invent； as by reading the thoughts of others we
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learn to think。
Whoever has so far formed his taste as to be able to relish and feel the
beauties of the great masters has gone a great way in his study； for； merely
from a consciousness of this relish of the right； the mind swells with an
inward pride； and is almost as powerfully affected as if it had itself
produced what it admires。 Our hearts frequently warmed in this manner by
the contact of those whom we wish to resemble； will undoubtedly catch
something of their way of thinking； and we shall receive in our own
bosoms some radiation at least of their fire and splendour。 That
disposition； which is so strong in children； still continues with us； of
catching involuntarily the general air and manner of those with whom we
are most conversant； with this difference only； that a young mind is
naturally pliable and imitative； but in a more advanced state it grows rigid；
and must be warmed and softened before it will receive a deep impression。
From these considerations； which a little of your reflection will carry a
great way further； it appears of what great consequence it is that our minds
should be habituated to the contemplation of excellence； and that； far from
being contented to make such habits the discipline of our youth only； we
should； to the last moment of our lives； continue a settled intercourse with
all the true examples of grandeur。 Their inventions are not only the food
of our infancy； but the substance which supplies the fullest maturity of our
vigour。
The mind is but a barren soil； is a soil soon exhausted； and will
produce no crop； or only one； unless it be continually fertilised and
enriched with foreign matter。
When we have had continually before us the great works of art to
impregnate our minds with kindred ideas； we are then； and not till then； fit
to produce something； of the same species。 We behold all about us with
the eyes of these penetrating observers； and our minds； accustomed to
think the thoughts of the noblest and brightest intellects； are prepared for
the discovery and selection of all that is great and noble in nature。 The
greatest natural genius cannot subsist on its own stock： he who resolves
never to ransack any mind but his own will be soon reduced； from mere
barrenness； to the poorest of all imitations； he will be obliged to imitate
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himself； and to repeat what he has before often repeated。 When we know
the subject designed by such men； it will never be difficult to guess what
kind of work is to be produced。
It is vain for painters or poets to endeavour to invent without materials
on which the mind may work； and from which invention must originate。
Nothing can come of nothing。
Homer is supposed to be possessed of all the learning of his time。 And
we are certain that Michael Angelo and Raffaelle were equally possessed
of all knowledge in the art which was discoverable in the works of their
predecessors。
A mind enriched by an assemblage of all the treasures of ancient and
modern art will be more elevated and fruitful in resources in proportion to
the number of ideas which have been carefully collected and thoroughly
digested。 There can be no doubt that he who has the most materials has
the greatest means of invention； and if he has not the power of using them；
it must proceed from a feebleness of intellect or from the confused manner
in which those collections have been laid up in his mind。
The addition of other men's judgment is so far from weakening； as is
the opinion of many； our own； that it will fashion and consolidate those
ideas of excellence which lay in their birth feeble； ill…shaped； and confused；
but which are finished and put in order by the authority and practice of
those whose works may be said to have been consecrated by having stood
the test of ages。
The mind； or genius； has been compared to a spark of fire which is
smothered by a heap of fuel and prevented from blazing into a flame。
This simile； which is made use of by the younger Pliny； may be easily
mistaken for argument or proof。
There is no danger of the mind's being over…burdened with knowledge；
or the genius extinguished by any addition of images； on the contrary；
these acquisitions may as well； perhaps better； be compared； if
comparisons signified anything in reasoning； to the supply of living
embers； which will contribute to strengthen the spark that without the
association of more would have died away。
The truth is； he whose feebleness is such as to make other men's
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thoughts an incumbrance to him can have no very great strength of mind
or genius of his own to be destroyed； so that not much harm will be done
at worst。
We may oppose to Pliny the greater authority of Cicero； who is
continually enforcing the necessity of this method of study。 In his
dialogue on Oratory he makes Crassus say； that one of the first and most
important precepts is to choose a proper model for our imitation。 Hoc fit
primum in preceptis meis ut demonstremus quem imitemur。
When I speak of the habitual imitation and continued study of masters；
it is not to be understood that I advise any endeavour to copy the exact
peculiar colour and complexion of another man's mind； the success of
such an attempt must always be like his who imitates exactly the air；
manner； and gestures of him whom he admires。 His model may be
excellent； but the copy will be ridiculous； this ridicule does not arise from
his having imitated； but from his not having chosen the right mode of
imitation。
It is a necessary and warrantable pride to disdain to walk servilely
behind any individual； however elevated his rank。 The true and liberal
ground of imitation is an open field； where； though he who precedes has
had the advantage of starting before you； yet it is enough to pursue his
course； you need not tread in his footsteps； and you certainly have a right
to outstrip him if you can。
Nor； whilst I recommend studying the art from artists； can I be
supposed to mean that nature is to be neglected？ I take this study in aid
and not in exclusion of the other。 Nature is； and must be； the fountain
which alone is inexhaustible； and from which all excellences must
originally flow。
The great use of studying our predecessors is to open the mind； to
shorten our labour； and to give us the result of the selection made by those
great minds of what is grand or beautiful in nature： her rich stores are all
spread out before us； but it is an art； and no easy art；
