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假如当得了作家,谁愿意当批评家?批评家过的是第二手的生活。使文字不朽的,不是批评。运些都是简单的真理。可是我们却有忘记这些真理的危险,因为目前独立的批评力量和威信特别盛行。在美国,批评家以一个独立人物而存在,有才气的青年把批评看作声誉很高的事业,而不把批评看作是自己的失败。真正的批评家是诗人的仆从;而今天他的举动却俨然是主宰。目前文艺界的主要特点是:“非小说”——报告文学、历史、哲理论说、传记、评论——胜过了传统的想象作品。批评处在一个苦难和摇摆的情境中,批评的职能有三方面:第一,批评可以告诉我们读什么和怎样读。第二,批评能联系。在这样一个时代里,技术交通的迅速,实际上掩盖了思想意识和政治的顽固障碍,批评家能充当中间人和监护人。第三,最重要的职能是关于当代文学的判断。我这篇文章的整个目的就是提出“高尚的文学修养”概念。用谨严、恐惧和欢乐的实例,辅导作为整个人类的我们如何阅读,是文学批评的职责。没有它,创作本身可以变得沉默下来。
Whoever wants to be a critic if she becomes a writer? The critics have a second-hand life. Make the text immortal, not criticism. These are simple truths. However, we are at risk of forgetting these truths because the current independent criticism and prestige are particularly prevalent. In the United States, where critics exist as an independent figure, talented young people see criticism as a highly reputable undertaking, not criticism as their own failure. The real critic is the poet’s servant; and today his actions are as if dominated. The main characteristics of the current literary and art circles are: “non-fiction” - reportage, history, philosophical theory, biographies and commentary - outperform traditional imaginative works. Criticism In a difficult and swinging situation, the function of criticism has three aspects: First, criticism can tell us what to read and how to read it. Second, criticism can be contacted. In such an era, the rapid transport of technology effectively masked the obstinate obstacles of ideology and politics, and critics could act as intermediaries and guardians. Third, the most important function is to judge contemporary literature. The whole purpose of my article is to put forward the concept of “noble literature accomplishment.” Using examples of cautiousness, fear, and joy, it is the duty of literary criticism to coach us as human beings as a whole. Without it, the creation itself can become silent.