姐,我要。。。
轻松的小说阅读环境
巴黎圣母院英文版 - BOOK FIFTH CHAPTER II.THIS WILL KILL THAT. Page 1
繁体
恢复默认
返回目录【键盘操作】左右光标键:上下章节;回车键:目录;双击鼠标:停止/启动自动滚动;滚动时上下光标键调节滚动速度。
  Our lady readers will pardon us if we pause for a moment to seek what could have been the thought concealed beneath those enigmatic words of the archdeacon: "This will kill that.The book will kill the edifice."To our mind, this thought had two faces.In the first place, it was a priestly thought.It was the affright of the priest in the presence of a new agent, the printing press.It was the terror and dazzled amazement of the men of the sanctuary, in the presence of the luminous press of Gutenberg.It was the pulpit and the manuscript taking the alarm at the printed word: something similar to the stupor of a sparrow which should behold the angel Legion unfold his six million wings. It was the cry of the prophet who already hears emancipated humanity roaring and swarming; who beholds in the future, intelligence sapping faith, opinion dethroning belief, the world shaking off Rome.It was the prognostication of the philosopher who sees human thought, volatilized by the press, evaporating from the theocratic recipient.It was the terror of the soldier who examines the brazen battering ram, and says:--"The tower will crumble." It signified that one power was about to succeed another power.It meant, "The press will kill the church."But underlying this thought, the first and most simple one, no doubt, there was in our opinion another, newer one, a corollary of the first, less easy to perceive and more easy to contest, a view as philosophical and belonging no longer to the priest alone but to the savant and the artist.It was a presentiment that human thought, in changing its form, was about to change its mode of expression; that the dominant idea of each generation would no longer be written with the same matter, and in the same manner; that the book of stone, so solid and so durable, was about to make way for the book of paper, more solid and still more durable.In this connection the archdeacon's vague formula had a second sense. It meant, "printing will kill architecture."In fact, from the origin of things down to the fifteenth century of the Christian era, inclusive, architecture is the great book of humanity, the principal expression of man in his different stages of development, either as a force or as an intelligence.When the memory of the first races felt itself overloaded, when the mass of reminiscences of the human race became so heavy and so confused that speech naked and flying, ran the risk of losing them on the way, men transcribed them on the soil in a manner which was at once the most visible, most durable, and most natural.They sealed each tradition beneath a monument.The first monuments were simple masses of rock, "which the iron had not touched," as Moses says.Architecture began like all writing.It was first an alphabet.Men planted a stone upright, it was a letter, and each letter was a hieroglyph, and upon each hieroglyph rested a group of ideas, like the capital on the column.This is what the earliest races did everywhere, at the same moment, on the surface of the entire world.We find the "standing stones" of the Celts in Asian Siberia; in the pampas of America.Later on, they made words; they placed stone upon stone, they coupled those syllables of granite, and attempted some combinations.The Celtic dolmen and cromlech, the Etruscan tumulus, the Hebrew galgal, are words.Some, especially the tumulus, are proper names.Sometimes even, when men had a great deal of stone, and a vast plain, they wrote a phrase. The immense pile of Karnac is a complete sentence.At last they made books.Traditions had brought forth symbols, beneath which they disappeared like the trunk of a tree beneath its foliage; all these symbols in which humanity placed faith continued to grow, to multiply, to intersect, to become more and more complicated; the first monuments no longer sufficed to contain them, they were overflowing in every part; these monuments hardly expressed now the primitive tradition, simple like themselves, naked and prone upon the earth.The symbol felt the need of expansion in the edifice. Then architecture was developed in proportion with human thought; it became a giant with a thousand heads and a thousand arms, and fixed all this floating symbolism in an eternal, visible, palpable form.While Daedalus, who is force, measured; while Orpheus, who is intelligence, sang;--the pillar, which is a letter; the arcade, which is a syllable; the pyramid, which is a word,--all set in movement at once by a law of geometry and by a law of poetry, grouped themselves, combined, amalgamated, descended, ascended, placed themselves side by side on the soil, ranged themselves in stories in the sky, until they had written under the dictation of the general idea of an epoch, those marvellous books which were also marvellous edifices: the pagoda of Eklinga, the Rhamseion of Egypt, the Temple of Solomon.The generating idea, the word, was not only at the foundation of all these edifices, but also in the form.The temple of Solomon, for example, was not alone the binding of the holy book; it was the holy book itself.On each one of its concentric walls, the priests could read the word translated and manifested to the eye, and thus they followed its transformations from sanctuary to sanctuary, until they seized it in its last tabernacle, under its most concrete form, which still belonged to architecture: the arch.Thus the word was enclosed in an edifice, but its image was upon its envelope, like the human form on the coffin of a mummy.And not only the form of edifices, but the sites selected for them, revealed the thought which they represented, according as the symbol to be expressed was graceful or grave. Greece crowned her mountains with a temple harmonious to the eye; India disembowelled hers, to chisel therein those monstrous subterranean pagodas, borne up by gigantic rows of granite elephants.Thus, during the first six thousand years of the world, from the most immemorial pagoda of Hindustan, to the cathedral of Cologne, architecture was the great handwriting of the human race.And this is so true, that not only every religious symbol, but every human thought, has its page and its monument in that immense book.All civilization begins in theocracy and ends in democracy. This law of liberty following unity is written in architecture. For, let us insist upon this point, masonry must not be thought to be powerful only in erecting the temple and in expressing the myth and sacerdotal symbolism; in inscribing in hieroglyphs upon its pages of stone the mysterious tables of the law.If it were thus,--as there comes in all human society a moment when the sacred symbol is worn out and becomes obliterated under freedom of thought, when man escapes from the priest, when the excrescence of philosophies and systems devour the face of religion,--architecture could not reproduce this new state of human thought; its leaves, so crowded on the face, would be empty on the back; its work would be mutilated; its book would he incomplete.But no.Let us take as an example the Middle Ages, where we see more clearly because it is nearer to us.During its first period, while theocracy is organizing Europe, while the Vatican is rallying and reclassing about itself the elements of a Rome made from the Rome which lies in ruins around the Capitol, while Christianity is seeking all the stages of society amid the rubbish of anterior civilization, and rebuilding with its ruins a new hierarchic universe, the keystone to whose vault is the priest--one first hears a dull echo from that chaos, and then, little by little, one sees, arising from beneath the breath of Christianity, from beneath the hand of the barbarians, from the fragments of the dead Greek and Roman architectures, that mysterious Romanesque architecture, sister of the theocratic masonry of Egypt and of India, inalterable emblem of pure catholicism, unchangeable hieroglyph of the papal unity.All the thought of that day is written, in fact, in this sombre, Romanesque style.One feels everywhere in it authority, unity, the impenetrable, the absolute, Gregory VII.; always the priest, never the man; everywhere caste, never the people.But the Crusades arrive.They are a great popular movement, and every great popular movement, whatever may be its cause and object, always sets free the spirit of liberty from its final precipitate.New things spring into life every day.Here opens the stormy period of the Jacqueries, pragueries, and Leagues.Authority wavers, unity is divided. Feudalism demands to share with theocracy, while awaiting the inevitable arrival of the people, who will assume the part of the lion: ~Quia nominor leo~.Seignory pierces through sacerdotalism; the commonality, through seignory.The face of Europe is changed.Well! the face of architecture is changed also.Like civilization, it has turned a page, and the new spirit of the time finds her ready to write at its dictation. It returns from the crusades with the pointed arch, like the nations with liberty.Then, while Rome is undergoing gradual dismemberment, Romanesque architecture dies.The hieroglyph deserts the cathedral, and betakes itself to blazoning the donjon keep, in order to lend prestige to feudalism.The cathedral itself, that edifice formerly so dogmatic, invaded henceforth by the bourgeoisie, by the community, by liberty, escapes the priest and falls into the power of the artist.The artist builds it after his own fashion.Farewell to mystery, myth, law.Fancy and caprice, welcome.provided the priest has his basilica and his altar, he has nothing to say.The four walls belong to the artist.The architectural book belongs no longer to the priest, to religion, to Rome; it is the property of poetry, of imagination, of the people.Hence the rapid and innumerable transformations of that architecture which owns but three centuries, so striking after the stagnant immobility of the Romanesque architecture, which owns six or seven. Nevertheless, art marches on with giant strides.popular genius amid originality accomplish the task which the bishops formerly fulfilled.Each race writes its line upon the book, as it passes; it erases the ancient Romanesque hieroglyphs on the frontispieces of cathedrals, and at the most one only sees dogma cropping out here and there, beneath the new symbol which it has deposited.The popular drapery hardly permits the religious skeleton to be suspected.One cannot even form an idea of the liberties which the architects then take, even toward the Church.There are capitals knitted of nuns and monks, shamelessly coupled, as on the hall of chimney pieces in the palais de Justice, in paris.There is Noah's adventure carved to the last detail, as under the great portal of Bourges. There is a bacchanalian monk, with ass's ears and glass in hand, laughing in the face of a whole community, as on the lavatory of the Abbey of Bocherville.There exists at that epoch, for thought written in stone, a privilege exactly comparable to our present liberty of the press.It is the liberty of architecture.This liberty goes very far.Sometimes a portal, a fa?ade, an entire church, presents a symbolical sense absolutely foreign to worship, or even hostile to the Church.In the thirteenth century, Guillaume de paris, and Nicholas Flamel, in the fifteenth, wrote such seditious pages.Saint-Jacques de la Boucherie was a whole church of the opposition.Thought was then free only in this manner; hence it never wrote itself out completely except on the books called edifices. Thought, under the form of edifice, could have beheld itself burned in the public square by the hands of the executioner, in its manuscript form, if it had been sufficiently imprudent to risk itself thus; thought, as the door of a church, would have been a spectator of the punishment of thought as a book.Having thus only this resource, masonry, in order to make its way to the light, flung itself upon it from all quarters. Hence the immense quantity of cathedrals which have covered Europe--a number so prodigious that one can hardly believe it even after having verified it.All the material forces, all the intellectual forces of society converged towards the same point: architecture.In this manner, under the pretext of building churches to God, art was developed in its magnificent proportions.Then whoever was born a poet became an architect. Genius, scattered in the masses, repressed in every quarterunder feudalism as under a ~testudo~ of brazen bucklers, finding no issue except in the direction of architecture,--gushed forth through that art, and its Iliads assumed the form of cathedrals.All other arts obeyed, and placed themselves under the discipline of architecture.They were the workmen of the great work.The architect, the poet, the master, summed up in his person the sculpture which carved his fa?ades, painting which illuminated his windows, music which set his bells to pealing, and breathed into his organs.There was nothing down to poor poetry,--properly speaking, that which persisted in vegetating in manuscripts,--which was not forced, in order to make something of itself, to come and frame itself in the edifice in the shape of a hymn or of prose; the same part, after all, which the tragedies of AEschylus had played in the sacerdotal festivals of Greece; Genesis, in the temple of Solomon.Thus, down to the time of Gutenberg, architecture is the principal writing, the universal writing.In that granite book, begun by the Orient, continued by Greek and Roman antiquity, the Middle Ages wrote the last page.Moreover, this phenomenon of an architecture of the people following an architecture of caste, which we have just been observing in the Middle Ages, is reproduced with every analogous movement in the human intelligence at the other great epochs of history.Thus, in order to enunciate here only summarily, a law which it would require volumes to develop: in the high Orient, the cradle of primitive times, after Hindoo architecture came phoenician architecture, that opulent mother of Arabian architecture; in antiquity, after Egyptian architecture, of which Etruscan style and cyclopean monuments are but one variety, came Greek architecture (of which the Roman style is only a continuation), surcharged with the Carthaginian dome; in modern times, after Romanesque architecture came Gothic architecture.And by separating there three series into their component parts, we shall find in the three eldest sisters, Hindoo architecture, Egyptian architecture, Romanesque architecture, the same symbol; that is to say, theocracy, caste, unity, dogma, myth, God: and for the three younger sisters, phoenician architecture, Greek architecture, Gothic architecture, whatever, nevertheless, may be the diversity of form inherent in their nature, the same signification also; that is to say, liberty, the people, man.In the Hindu, Egyptian, or Romanesque architecture, one feels the priest, nothing but the priest, whether he calls himself Brahmin, Magian, or pope.It is not the same in the architectures of the people.They are richer and less sacred. In the phoenician, one feels the merchant; in the Greek, the republican; in the Gothic, the citizen.The general characteristics of all theocratic architecture are immutability, horror of progress, the preservation of traditional lines, the consecration of the primitive types, the constant bending of all the forms of men and of nature to the incomprehensible caprices of the symbol.These are dark books, which the initiated alone understand how to decipher. Moreover, every form, every deformity even, has there a sense which renders it inviolable.Do not ask of Hindoo, Egyptian, Romanesque masonry to reform their design, or to improve their statuary.Every attempt at perfecting is an impiety to them.In these architectures it seems as though the rigidity of the dogma had spread over the stone like a sort of second petrifaction.The general characteristics of popular masonry, on the contrary, are progress, originality, opulence, perpetual movement.They are already sufficiently detached from religion to think of their beauty, to take care of it, to correct without relaxation their parure of statues or arabesques.They are of the age.They have something human, which they mingle incessantly with the divine symbol under which they still produce.Hence, edifices comprehensible to every soul, to every intelligence, to every imagination, symbolical still, but as easy to understand as nature.Between theocratic architecture and this there is the difference that lies between a sacred language and a vulgar language, between hieroglyphics and art, between Solomon and phidias.If the reader will sum up what we have hitherto briefly, very briefly, indicated, neglecting a thousand proofs and also a thousand objections of detail, be will be led to this: that architecture was, down to the fifteenth century, the chief register of humanity; that in that interval not a thought which is in any degree complicated made its appearance in the world, which has not been worked into an edifice; that every popular idea, and every religious law, has had its monumental records; that the human race has, in short, had no important thought which it has not written in stone.And why? Because every thought, either philosophical or religious, is interested in perpetuating itself; because the idea which has moved one generation wishes to move others also, and leave a trace.Now, what a precarious immortality is that of the manuscript!How much more solid, durable, unyielding, is a book of stone!In order to destroy the written word, a torch and a Turk are sufficient.To demolish the constructed word, a social revolution, a terrestrial revolution are required. The barbarians passed over the Coliseum; the deluge, perhaps, passed over the pyramids.In the fifteenth century everything changes.Human thought discovers a mode of perpetuating itself, not only more durable and more resisting than architecture, but still more simple and easy.Architecture is dethroned. Gutenberg's letters of lead are about to supersede Orpheus's letters of stone.*The book is about to kill the edifice*.The invention of printing is the greatest event in history. It is the mother of revolution.It is the mode of expression of humanity which is totally renewed; it is human thought stripping off one form and donning another; it is the complete and definitive change of skin of that symbolical serpent which since the days of Adam has represented intelligence.In its printed form, thought is more imperishable than ever; it is volatile, irresistible, indestructible.It is mingled with the air.In the days of architecture it made a mountain of itself, and took powerful possession of a century and a place.Now it converts itself into a flock of birds, scatters itself to the four winds, and occupies all points of air and space at once.We repeat, who does not perceive that in this form it is far more indelible?It was solid, it has become alive. It passes from duration in time to immortality.One can demolish a mass; bow can one extirpate ubiquity?If a flood comes, the mountains will have long disappeared beneath the waves, while the birds will still be flying about; and if a single ark floats on the surface of the cataclysm, they will alight upon it, will float with it, will be present with it at the ebbing of the waters; and the new world which emerges from this chaos will behold, on its awakening, the thought of the world which has been submerged soaring above it, winged and living.
或许您还会喜欢:
安德的影子
作者:佚名
章节:25 人气:0
摘要:严格地说,这本书不是一个续集,因为这本书开始的时候也是《安德的游戏》开始的时候,结束也一样,两者从时间上非常接近,而且几乎发生在完全相同的地方。实际上,它应该说是同一个故事的另一种讲法,有很多相同的角色和设定,不过是采用另一个人的视角。很难说究竟该怎么给这本书做个论断。一本孪生小说?一本平行小说?如果我能够把那个科学术语移植到文学内,也许称为“视差”小说更贴切一点。 [点击阅读]
安迪密恩
作者:佚名
章节:60 人气:0
摘要:01你不应读此。如果你读这本书,只是想知道和弥赛亚[1](我们的弥赛亚)做爱是什么感觉,那你就不该继续读下去,因为你只是个窥婬狂而已。如果你读这本书,只因你是诗人那部《诗篇》的忠实爱好者,对海伯利安朝圣者的余生之事十分着迷且好奇,那你将会大失所望。我不知道他们大多数人发生了什么事。他们生活并死去,那是在我出生前三个世纪的事情了。 [点击阅读]
宠物公墓
作者:佚名
章节:62 人气:0
摘要:耶稣对他的门徒说:“我们的朋友拉撒路睡了,我去叫醒他。”门徒互相看看,有些人不知道耶稣的话是带有比喻含义的,他们笑着说:“主啊,他若睡了,就必好了。”耶稣就明明白白地告诉他们说:“拉撒路死了……如今我们去他那儿吧。”——摘自《约翰福音》第01章路易斯·克利德3岁就失去了父亲,也从不知道祖父是谁,他从没料想到在自己步入中年时,却遇到了一个像父亲一样的人。 [点击阅读]
寂静的春天
作者:佚名
章节:18 人气:0
摘要:寂静的春天前言副总统阿尔·戈尔作为一位被选出来的政府官员,给《寂静的春天》作序有一种自卑的感觉,因为它是一座丰碑,它为思想的力量比政治家的力量更强大提供了无可辩驳的证据。1962年,当《寂静的春天)第一次出版时,公众政策中还没有“环境”这一款项。在一些城市,尤其是洛杉矶,烟雾已经成为一些事件的起因,虽然表面上看起来还没有对公众的健康构成太大的威胁。 [点击阅读]
寓所谜案
作者:佚名
章节:32 人气:0
摘要:我不知道到底从哪儿开始这个故事,但是我还是选择了某个星期三在牧师寓所的午餐时分开始。席间的交谈大部分与将要叙述的故事无关,但还是包含得有一两件有启发的事件,这些事件会影响到故事的发展。我刚切完了一些煮熟的牛肉(顺带一句,牛肉非常硬),在回到我的座位上时,我说,任何人如果谋杀了普罗瑟罗上校,将会是对整个世界做了一件大好事。我讲的这番话,倒是与我的这身衣服不太相称。 [点击阅读]
寻羊冒险记
作者:佚名
章节:44 人气:0
摘要:星期三下午的郊游从报纸上偶然得知她的死讯的一个朋友打电话把这个消息告诉了我。他在听筒旁缓缓读了一家晨报的这则报道。报道文字很一般,大约是刚出大学校门的记者写的见习性文字。某月某日某街角某司机压死了某人。该司机因业务过失致死之嫌正接受审查。听起来竟如杂志扉页登载的一首短诗。“葬礼在哪里举行?”我问。“这——不知道。”他说,“问题首先是:那孩子有家什么的吗?”她当然也有家。 [点击阅读]
小老鼠斯图亚特
作者:佚名
章节:15 人气:0
摘要:向北,再向北,直到永远——译者序“我希望从现在起一直向北走,直到生命的结束。”“一个人在路上也可能遇到比死亡更可怕的事情。”修理工说。“是的,我知道,”斯图亚特回答。——《小老鼠斯图亚特》不管朝什么方向走行路,只要是你自己想要的方向,就该一直走下去,直到生命的结束。斯图亚特是这样想的,怀特是这样想的。我也是。不过,行路可能是枯燥的,艰难的,甚至是危险的。但行路也是有趣的,有意义的。 [点击阅读]
小逻辑
作者:佚名
章节:22 人气:0
摘要:为了适应我的哲学讲演的听众对一种教本的需要起见,我愿意让这个对于哲学全部轮廓的提纲,比我原来所预计的更早一些出版问世。本书因限于纲要的性质,不仅未能依照理念的内容予以详尽发挥,而且又特别紧缩了关于理念的系统推演的发挥。而系统的推演必定包皮含有我们在别的科学里所了解的证明,而且这种证明是一个够得上称为科学的哲学所必不可缺少的。 [点击阅读]
小酒店
作者:佚名
章节:10 人气:0
摘要:《卢贡——马卡尔家族》应当是由20部小说组成。1896年此套系列小说的总体计划业已确定,我极其严格地遵守了这一计划。到了该写《小酒店》的时候,我亦如写作其他几部小说一样①完成了创作;按既定的方案,我丝毫也未停顿。这件事也赋予我力量,因为我正向确定的目标迈进。①《小酒店》是《卢贡——马卡尔家族》系列小说的第七部。前六部小说在此之前均已如期发表。 [点击阅读]
小银和我
作者:佚名
章节:142 人气:0
摘要:——和希梅内斯的《小银和我》严文井许多年以前,在西班牙某一个小乡村里,有一头小毛驴,名叫小银。它像个小男孩,天真、好奇而又调皮。它喜欢美,甚至还会唱几支简短的咏叹调。它有自己的语言,足以充分表达它的喜悦、欢乐、沮丧或者失望。有一天,它悄悄咽了气。世界上从此缺少了它的声音,好像它从来就没有出生过一样。这件事说起来真有些叫人忧伤,因此西班牙诗人希梅内斯为它写了一百多首诗。每首都在哭泣,每首又都在微笑。 [点击阅读]
少女的港湾
作者:佚名
章节:10 人气:0
摘要:这是在盛大的入学典礼结束后不久的某一天。学生们从四面八方的走廊上涌向钟声响彻的校园里。奔跑着嬉戏作乐的声音;在樱花树下的长凳上阅读某本小书的人;玩着捉迷藏游戏的快活人群;漫无目的地并肩散步的人们。新入校的一年级学生们热热闹闹地从下面的运动场走了上来。看样子是刚上完了体操课,她们全都脱掉了外衣,小脸蛋儿红通通的。高年级学生们俨然一副遴选美丽花朵的眼神,埋伏在树木的浓荫下,或是走廊的转弯处。 [点击阅读]
尼罗河上的惨案
作者:佚名
章节:47 人气:0
摘要:第一章(1)“林内特·里奇维!”“就是她!”伯纳比先生说。这位先生是“三王冠”旅馆的老板。他用手肘推推他的同伴。这两个人乡巴佬似的睁大眼睛盯着,嘴巴微微张开。一辆深红色的劳斯莱斯停在邮局门口。一个女孩跳下汽车,她没戴帽子,穿一件看起来很普通(只是看起来)的上衣。 [点击阅读]