評論
打印
Could annihilation occur to matter, this were the thing to do it.
一旦發(fā)生什么毀滅性的事情，一定是從這里產(chǎn)生出來的。
Nor does this—its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.
它這種驚人的力量，一點也不會使它那柔雅的動作有所遜色；動作柔和自如好象是通過一種巨人似的力量而波動起伏。相反地，這種動作產(chǎn)生一種非常令人驚駭?shù)拿栏?。真正的力量決不會破壞美或者和諧，而是往往更賦它以美，同時，凡是富麗堂皇的東西，力量就跟不可思議的魔力極有關系。如果把雕刻品的海格立斯那種似乎要從大理石炸出來的、滿布全身的緊張肌肉都給毀掉，它的誘人的力量也就完全消失了。正如虔敬的愛克曼（約翰·彼得·愛克曼（1792—1854）——德國作家，歌德的朋友，秘書，著有《歌德談話錄》一書。）從歌德的赤裸的尸體上揭起麻布被單，看到歌德的結實的胸脯，而大為感動一樣，因為那胸脯就跟羅馬的凱旋拱門一模一樣。當安哲羅（安哲羅——意大利十六世紀的畫家。）甚至把圣父畫成人形的時候，也畫得多么壯健。那些柔和委婉、具有雌雄同體的意大利畫，不管它是怎樣顯示出了圣子的圣愛，都挺成功地體現(xiàn)出了作者的意念，盡管那些畫畫得那么缺乏結實的肌肉，除了顯出一種消極的、女性的屈從與忍耐的神氣，一點也顯示不出力量，但從它各方面所表現(xiàn)出來的氣派說來，卻形成了作者的理論的特別切合實際的特點。
