应该怎样读书英语美文

应该怎样读书英语美文

　　How Should One Read a Book?

　　by Virginia Woolf (1882-1941) from The Second Common Reader

　　Born in England, Virginia Woolf was the daughter of Leslie Stephen, a well-known scholar. She was educated primarily at home and attributed her love of reading to the early and complete access she was given to her father’s library. With her husband, Leonard Woolf, she founded the Hogarth Press and became known as member of the Bloomsbury group of intellectuals, which included economist John Maynard Keynes, biographer Lytton Strachey, novelist E. M. Forster, and art historian Clive Bell. Although she was a central figure in London literary life, Woolf often saw herself as isolated from the mains stream because she was a woman. Woolf is best known for her experimental, modernist novels, including Mrs. Dalloway(1925) and To the Lighthouse(1927) which are widely appreciated for her breakthrough into a new mode and technique--the stream of consciousness. In her diary and critical essays she has much to say about women and fiction. Her 1929 book A Room of One’s Own documents her desire for women to take their rightful place in literary history and as an essayist she has occupied a high place in 20th century literature. The common Reader (1925 first series; 1932 second series) has acquired classic status. She also wrote short stories and biographies. “Professions for Women” taken from The collected Essays Vol 2. is originally a paper Woolf read to the Women’s Service League, an organization for professional women in London.

　　In the first place, I want to emphasize the note of interrogation at the end of my title. Even if I could answer the question for myself, the answer would apply only to me and not to you. The only advice, indeed, that one person can give another about reading is to take no advice, to follow your own instincts, to use your own reason, to come to your own conclusions. If this is agreed between us, then I feel at liberty to put forward a few ideas and suggestions because you will not allow them to fetter that independence which is the most important quality that a reader can possess. After all, what laws can be laid down about books? The battle of Waterloo[1] was certainly fought on a certain day; but is Hamlet a better play than Lear? Nobody can say. Each must decide that question for himself. To admit authorities, however heavily furred and gowned, into our libraries and let them tell us how to read, what to read, what value to place on what we read, is to destroy the spirit of freedom which is the breath of those sanctuaries. Everywhere else we may be bound by laws and conventions—there we have none.

　　But to enjoy freedom, if the platitude is pardonable, we have of course to control ourselves. We must not squander our powers, helplessly and ignorantly, squirting half the house in order to water a single rose-bush; we must train them, exactly and powerfully, here on the very spot. This, it may be, is one of the first difficulties that faces us in a library. What is “the very spot”? There may well seem to be nothing but a conglomeration and huddle of confusion. Poems and novels, histories and memoirs, dictionaries and blue-books; books written in all languages by men and women of all tempers, races, and ages jostle each other on the shelf. And outside the donkey brays, the women gossip at the pump, the colts gallop across the fields. Where are we to begin? How are we to bring order into this multitudinous chaos and get the deepest and widest pleasure from what we read?

　　It is simple enough to say that since books have classes--fiction, biography, poetry--we should separate them and take from each what it is right that each should give us. Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconceptions when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, the signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The thirty-two chapters of a novel—if we consider how to read a novel first--are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you—how at the corner of the street, perhaps, you passed two people talking. A tree shook; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision; an entire conception, seemed contained in that moment.

　　But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist—Defoe, Jane Austen, or Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person—Defoe, Jane Austen, or Thomas Hardy—but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe they mean nothing to Jane Austen. Hers is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The other side of the mind is now exposed—the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon us they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another—from Jane Austen to Hardy, from Peacock[2] to Trollope,[3] from Scott to Meredith[4]—is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great finesse of perception, but of great boldness of imagination if you are going to make use of all that the novelist—the great artist—gives you.

　　* * * *

　　“We have only to compare”—with those words the cat is out of the bag, and the true complexity of reading is admitted. The first process, to receive impressions with the utmost understanding, is only half the process of reading; it must be completed, if we are to get the whole pleasure from a book, by another. We must pass judgment upon these multitudinous impressions; we must make of these fleeting shapes one that is hard and lasting. But not directly. Wait for the dust of reading to settle; for the conflict and the questioning to die down; walk, talk, pull the dead petals from a rose, or fall asleep. Then suddenly without our willing it, for it is thus that Nature undertakes these transitions, the book will return, but differently. It will float to the top of the mind as a whole. And the book as a whole is different from the book received currently in separate phrases. Details now fit themselves into their places. We see the shape from start to finish; it is a barn, a pig-sty, or a cathedral. Now then we can compare book with book as we compare building with building. But this act of comparison means that our attitude has changed; we are no longer the friends of the writer, but his judges; and just as we cannot be too sympathetic as friends, so as judges we cannot be too severe. Are they not criminals, books that have wasted our time and sympathy; are they not the most insidious enemies of society, corrupters, defilers, the writers of false books, faked books, books that fill the air with decay and disease? Let us then be severe in our judgments; let us compare each book with the greatest of its kind. There they hang in the mind the shapes of the books we have read solidified by the judgments we have passed on them—Robinson Crusoe, Emma, The Return of the Native. Compare the novels with these—even the latest and least of novels has a right to be judged with the best. And so with poetry—when the intoxication of rhythm has died down and the splendour of words has faded a visionary shape will return to us and this must be compared with Lear, with Phedre,[5] with The Prelude;[6] or if not with these, with whatever is the best or seems to us to be the best in its own kind. And we may be sure that the newness of new poetry and fiction is its most superficial quality and that we have only to alter slightly, not to recast, the standards by which we have judged the old.

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