第　二　章 文艺复兴时期

在英国文艺复兴时期，诗歌繁荣，但散文作品也是丰富多彩的。

求知欲与好奇心席卷了学术思想领域，出现了一场大规模的翻译运动。希腊罗马的古典文学、哲学著作、传记、政论，海峡对岸的拉伯雷、蒙田等人的作品都纷纷被译成英文，并且产生了重大影响。到了十七世纪初年，五十四位学者合力译出了英文《圣经》，由国王詹姆斯一世钦命印行，更是影响深远，直到今天。

这场翻译运动之所以能够取得巨大成功，也有语言上的原因。十六世纪的英国文学语言有两大特点：一是吸收性强，对外来的和民间下层的词汇说法大量采用；二是表达力强，叙事、状物、写景、辩难，无所不能。语言处于这样开放的状况，翻译才能顺利进行；而反过来，大量的翻译又给了语言以多方面的锻炼，使它有更大的伸缩性，更胜任各种繁难的具体工作，同时又更富于探索和创造精神。

因此这是一个伟大的翻译家时期，现在人们一谈英文翻译，总要回忆这个伊丽莎白朝盛世，提到诺斯、弗洛里欧、欧克特、霍兰德等名译手。这又是一个新的散文风格和品种纷纷涌现的时期，重要的作家作品在十六世纪后半叶有黎里的《尤弗伊斯》、纳什的《不幸的旅人》、胡克的《论教会政策的法则》、培根的《随笔》，十七世纪前半叶又出现了勃登的《忧郁的解剖》、汤玛斯·勃朗的《医生的宗教》和《瓮葬》、弥尔顿的《论出版自由》、沃尔顿的《垂钓全书》，以及无数的人物特写、传记、历史书、地方志、海外旅行记、席间谈话，无数的布道文，无数有关宗教、政治、社会问题的小册子。

英国散文从未有过这样兴旺发达的局面。在风格上，千姿百态；在内容上，几乎什么都谈，现实人生之外，还有人探究隐秘心理，涉猎外国古俗；既有沃尔顿的水边凝思，也有弥尔顿的当朝抗言；在小册子之战中，不仅有绅士们的说教，还传来了“平均派”、“掘地派”的群众呼声，一场人民革命的雷鸣已隐约可闻。高雅文化在这里，下层文化和边缘文化也在这里，二者的对立和冲突使得这个时期的散文更充实，也更有光彩。

两种风格的争论；科学家的介入

冲突也见于关于散文风格的争论。在十六世纪，古罗马的拉丁散文风格还有重大影响，虽然英国本土的散文传统也日益壮大；但同样是古典风格模式，西塞罗式（Ciceronian）与色尼加式（Senecan）显著不同：前者讲究修辞术，用大量的明喻、暗喻、拟人、夸张等手段铺陈一事，句子是长的、丰满的，音调是铿锵的；后者则相反，着重论点的鲜明与表达的有力，句子是短的，不求堂皇的韵律而接近口语的节奏。起初，英国散文家中大多学习西塞罗式，而黎里的《尤弗伊斯》（John Lyly: Euphues）讲究对仗、用典和音韵上的和谐，则雕琢更过于西塞罗风格，创立了类似中国骈文的“尤弗伊体”，略举一例如下：

No, no, it is the disposition of the thought, that altereth the nature of the thing. The Sunne shineth vpon the dounghill, and is not corrupted: the Diamond lyeth in the fire, and it is not consumed: the Christall toucheth the Toade and is not poysoned: the birde Trochilus lyueth by the mouth of the Crocodile and is not spoyled: a perfect wit is never bewitched with lewdnesse, neither entised with lasciuousnesse. Is it not common that the Holme Tree springeth amidst the Beech? That the Iuie spreadeth vpon the hard stones? That the soft fetherbed breaketh the hard blade?

曰：否，此大不然也，盖唯心所指则变物之性。日照粪壤，不损其明；钻石入火，不损其坚；水有蟾蜍，不染其毒；鹪鹩栖鳄吻，不为所吞；贤者不涉遐想，不动绮思。冬青耸出掬林；薛荔罩笼磐石；柔茵能当利刃，此非物之常乎？

（周珏良译文）

这类美文自有爱好者，当时的贵妇小姐还竞相仿效，却为一些真要用散文来说清一件事情的务实之士所忌。他们不仅反对“尤弗伊体”，就连一般的修辞术也不以为然。有一位写蒙田式即培根式随笔的康华利斯把西塞罗式的修辞术比作“翻文字跟斗……明明一个字能说清的事却硬要用三个字！”而培根本人更是认为整个十六世纪的主导风格是“追求词语过于内容”，是讲究修辞手段而不问内容是否重要，必须加以改革。

这些人推崇的是色尼加风格。当时另一位散文家霍尔主教因其文章的朴实被称为“英国的色尼加”，他特别称赞色尼加风格的简短，曾说：“简短使文章内容更便记忆，更易使用。”就连写得并不简短的勃顿也在《忧郁的解剖》第六版（1651）的前言里说：“我有啥说啥。我尊重内容而不是词语。……我不注意妙句，只尽全力使读者理解，而不是取悦他的耳朵。”

但是色尼加风格也有它的毛病，有时太突兀，有时太散漫，靠许多连接词松散地串成一片。这时知识界出现一股新的力量，干脆要求把事情说清楚，而不问什么风格不风格。提出这主张的是科学家们。他们是时代的宠儿，在1660年成立了皇家学会。他们早已讨厌修辞术之类了，学会一成立，就共同约定：

They have exacted from all their Members, a close, naked, natural way of Speaking; positive Expressions, clear Senses; a native Easiness; bringing all Things as near the mathematical Plainness as they can; and preferring the Language of Artizans, Countrymen, and Merchants, before that of Wits, or Scholars.

要求全体会员用一种紧凑、朴素、自然的说话方式，正面表达，意思清楚，自然流利，一切尽量接近数学般的清楚，宁用工匠、乡下人、商贩的语言，不用才子、学者的语言。

这一空前革命性的主张，又表达得如此彻底，完全不留余地，是斯泼拉特写在1667年出版的《皇家学会史》里的。它至少表示：散文能否写清楚不是一件小事，关系到思想文化的全局，关系到将来社会的发展，因此自然科学家们当仁不让，要从外面来解决才子和学者们争论不休的问题了。

英文《圣经》的文学成就

我们且来通过具体篇章，略窥这时散文的风貌。

首先，英文《圣经》（The Authorized Version of the English Bible, 1611）。

《圣经》由《旧约》（The Old Testament）、《新约》（The New Testament）两大部分构成。《旧约》主要是希伯来人最早的传说、历史、先知的言行、格言、哲理书等等，一上来就是《创世记》（Genesis）^〔1〕：

In the beginning God created the heaven and the earth.

And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God⁵moved upon the face of the waters.

And God said, Let there be light: and there was light.

And God saw the light, that it was good: and God divided the light from the darkness.

And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.

起初，神创造天地。地是空虚混沌，渊面黑暗。神的灵运行在水面上。神说：要有光。就有了光。神看光是好的，就把光暗分开了。神称光为昼，称暗为夜。有晚上，有早晨，这是头一日。

以后就是上帝创造亚当、夏娃两位人类始祖的故事，他们如何因吃了禁果而被逐出伊甸园；摩西的故事，他如何率领以色列人逃出埃及，后来又如何在巴勒斯坦重建家园；接着来了以色列人历代君主和族长的史传……

但是《旧约》也包括了美丽的《雅歌》，如《所罗门的歌》（The Song of Solomon）：

The voice of my beloved! behold he cometh leaping upon the mountains, skipping upon the hills.

My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, showing himself through the lattice.

My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.

For, lo, the winter is past, the rain is over and gone;

The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land;

听啊，是我良人的声音。看哪，他翻山越岭而来。我的良人好像羚羊，或像小鹿。他站在我们的墙壁后，从窗户往里观看，从窗棂往里窥探。

我良人对我说：我的佳偶，我的美人，起来，与我同去。因为冬天已往，雨水止住过去了。地上百花开放、百鸟鸣叫的时候已经来到，斑鸠的声音，在我们境内也听见了。

How beautiful are thy feet with shoes, O prince's daughter! the joints of thy thighs are like jewels, the work of the hands of a cunning workman.

Thy navel is like a round goblet, which wanteth not liquor: thy belly is like a heap of wheat set about with lilies.

Thy two breasts are like two young roes that are twins.

王女啊，你的脚在鞋中何其美好。你的大腿圆润好像美玉，是巧匠的手作成的。你的肚脐如圆杯，不缺调和的酒。你的腰如一堆麦子，周围有百合花。你的两乳好像一对小鹿，就是母鹿双生的。

雅歌也不尽是这类愉快的吟唱，还有更深、更强烈的感情流露：

Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame.

Many waters cannot quench love, neither can the floods drown it: if a man would give all the substance of his house for love, it would utterly be contemned.

求你将我放在你心上如印记，带在你臂上如戳记，因为爱情如死之坚强，嫉恨如阴间之残忍，所发的电光是火焰的电光，是耶和华的烈焰。

爱情，众水不能熄灭，大水也不能淹没。若有人拿家中所有的财宝要换爱情，就全被藐视。

而在《约伯记》（Book of Job）里，还有震撼灵魂的人天对话，涉及如何看待命运和苦难，深刻地端出了悲剧性的人的处境，连文字也带上了激动、焦灼的节奏：

Is there not an appointed time to man upon earth? are not his days also like the days of a hireling?

As a servant earnestly desireth the shadow, and as a hireling looketh for the reward of his work;

So am I made to possess months of vanity, and wearisome nights are appointed to me.

When I lie down, I say, When shall I arise, and the night be gone? and I am fall of tossings to and fro unto the dawning of the day.

My flesh is clothed with worms and clods dust; my skin is broken, and become loathsome.

My days are swifter than a weaver's shuttle, and are spent without hope.

人在世上岂无争战么？他的日子不像雇工人的日子么？像奴仆切慕黑影、像雇工人盼望工价，我也照样，经过困苦的日月，夜间的疲乏为我而定。我躺卧的时候，便说：我何时起来，黑夜就过去呢？我尽是翻来覆去，直到天亮。我的肉体以虫子和尘土为衣。我的皮肤才收了口，又重新破裂。我的日子比梭更快，都消耗在无指望之中。

WHY, seeing times are not hidden from the Almighty, do they that know him not see his days?

Some remove the landmarks; they violently take away flocks, and feed thereof.

They drive away the ass of the fatherless, they take the widow's ox for a pledge.

They turn the needy out of the way: the poor of the earth hide themselves together.

Behold, as wild asses in the desert, go they forth to their work; rising betimes for a prey: the wilderness yieldeth food for them and for their children.

They reap every one his corn in the field: and they gather the vintage of the wicked.

They cause the naked to lodge without clothing, that they have no covering in the cold.

They are wet with the showers of the mountains, and embrace the rock for want of a shelter.

They pluck the fatherless from the breast, and take a pledge of the poor.

They cause him to go naked without clothing, and they take away the sheaf from the hungry;

Which make oil within their walls, and tread their winepresses, and suffer thirst.

Men groan from out of the city, and the soul of the wounded crieth out: yet God layeth not folly to them.

全能者既定期罚恶，如何不使认识他的人看见那日子呢？有人挪移地界，抢夺群畜而牧养，他们拉去孤儿的驴，强取寡妇的牛为当头。他们使穷人离开正道，世上的贫民尽都隐藏。这些贫穷人，如同野驴出到旷野，殷勤寻找食物。他们靠着野地给儿女糊口，收割别人的禾稼，摘取恶人余剩的葡萄，终夜赤身无衣，天气寒冷毫无遮被盖，在山上大雨淋湿，因没有避身之处就挨近罄石。又有人从母怀中抢夺孤儿，强取穷人的衣服为当头，使人赤身无衣，到处流行，且因饥饿扛抬禾捆，在那些人的围墙内造油、酿酒，自己还口渴。在多民的城内有人唉哼，受伤的人哀号。神却不理会那恶人的愚妄。

而最后神的回答是轰轰的雷声：

THEN the Lord answered Job out of the whirlwind, and said,

Who is this that darkeneth counsel my words without knowledge?

Gird up now thy loins like a man; for I will demand of thee, and answer thou me.

Where wast thou when I laid the foundations of the earth? declare, if thou hast understanding.

Who hath laid the measures thereof, if thou knowest? or who hath stretched the line upon it?

Whereupon are the foundations thereof fastened? or who laid the corder stone thereof;

When the morning stars sang together, and all the sons of God shouted for joy?

Or who shut up the sea with doors, when it brake forth, as if it had issued out of the womb?

When I made the cloud the garment thereof, and thick darkness a swaddling band for it,

And brake up for it my decreed place, and set bars and doors,

And said, Hitherto shalt thou come, but no further: and here shall thy proud waves be stayed?

那时耶和华从旋风中回答约伯说：谁用无知的言语，使我的旨意暗昧不明！你要如勇士束腰。我问你，你可以指示我。我立大地根基的时候，你在哪里呢？你若有聪明只管说罢。你若晓得，就说是谁定地的尺度，是谁把准绳拉在其上？地的根基安置在何处？地的界石是谁安放的？那时晨星一同歌唱，神的众子也都欢呼。海水冲出，如出胎胞，那时谁将他关闭呢？是我用云彩当海的衣服，用幽暗当包裹他的布，为他定界限，又安门和闩，说：你只可到这里，不可越过，你狂傲的浪要到此止住。

一阵阵的雷声，一连串的问和答，上帝在上天入地，收集各种事实，来表自己的功绩，用以证明自己的“全能”。故事以约伯认罪、受到上帝加倍赐福而结束，然而深印人心的却是约伯所受的各种苦难，而他所提的问题和所作的诅咒更是不断震响，比雷声更要持久，更为可怕。

《新约》另是一番景象。它讲的主要是耶稣的生平和言行，而耶稣是一个穷人的儿子，站在平民百姓一边，说了许多对异族统治者和本地的文士伪善者之流不利的话，最后被钉在十字架上处死了。

可以举有名的“登山训众”（Sermon on the Mount）为例，来看看耶稣说了些什么：

AND seeing the multitudes, he went up into a mountain: and when he was set, his disciples came unto him:

And he opened his mouth, and taught them, saying,

Blessed are the poor in spirit: for theirs is the kingdom of heaven.

Blessed are they that mourn: for they shall be comforted.

Blessed are the meek: for they shall inherit the earth.

Blessed are they which do hunger and thirst after righteousness: for they shall be filled.

Blessed are the merciful: for they shall obtain mercy.

Blessed are the pure in heart: for they shall see God.

Blessed are the peacemakers: for they shall be called the children of God.

Blessed are they which are persecuted for righteousness' sake: for theirs is the kingdom of heaven.

Blessed are ye, when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake.

Rejoice, and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you.

Ye are the salt of the earth: but if the salt have lost his savor, wherewith shall it be salted? it is thenceforth good for nothing, but to be cast out, and to be trodden under foot of men.

Ye are the light of the world. A city that is set on a hill cannot be hid.

Neither do men light a candle, and put it under a bushel, but on a candle-stick; and it giveth light unto all that are in the house.

Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.

耶稣看见这许多的人，就上了山。既已坐下，门徒到他跟前来，他就开口教训他们说：

虚心的人有福了，因为天国是他们的。哀恸的人有福了，因为他们必得安慰。温柔的人有福了，因为他们必得见神。使人和睦的人有福了，因为他们必称为神的儿子。为义受逼迫的人有福了，因为天国是他们的。若因我辱骂你们、逼迫你们、捏造各样坏话毁谤你们，你们就有福了，应当欢喜快乐，因为你们在天上的赏赐是大的。在你们以前的先知，人也是这样逼迫他们。

你们是世上的盐。盐若失了味，怎能叫他再咸呢？以后无用，不过丢在外面，被人践踏了。你们是世上的光。城造在山上，是不能隐藏的。人点灯，不能放在斗底下，是放在灯台上，就像照亮一家的人。你们的光也当这样照在人前，叫他们看见你们的好行为，便将荣耀归给你们在天上的父。

耶稣所赞扬的是虚心的人，哀恸的人，温柔的人，使人和睦的人，受辱骂和逼迫的人，也就是下等人，而不是那些骄傲的、暴虐的、得意扬扬的上等人。前者是世上的盐，世上的光，也就是一个简朴的社会里最重要、最不可缺的人。一直到今天，说英语的还在用“世上的盐”来称高尚的人，真正的社会中坚。

当然，耶稣并不号召下等人起来斗争，而是还说了一些希望人们和睦相处、彼此宽恕的话：

Ye have heard that it hath been said, An eye for an eye, and a tooth for a tooth:

But I say unto you, That ye resist not evil: but whosoever shall smite thee on thy right cheek, turn to him the other also.

And if any man will sue thee at the law, and take away thy coat, let him have thy cloak also.

And whosoever shall compel thee to go a mile, go with him twain.

Give to him that asketh thee, and from him that would borrow of thee turn not thou away.

Ye have heard that it hath been said, Thou shalt love thy neighbor, and hate thine enemy.

But I say unto you, Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you;

That ye may be the children of your Father which is in heaven: for he maketh his sun to rise on the evil and on the good, and sendeth rain on the just and on the unjust.

你们听见有话说：以眼还眼，以牙还牙。只是我告诉你们：不要与恶人作对。有人打你的右脸，连左脸也转过来由他打。有人想要告你，要拿你的裹衣，连外衣也由他拿去。有人强逼你走一里路，你就同他走两里。有求你的，你就给他。有向你借贷的，不可推辞。

你们听见有话说：当爱你的邻居，恨你的仇敌。只是我告诉你们：要爱你们的仇敌，为那逼迫你们的祷告。这样就可以做你们天父的儿子，因为他叫日头照好人，也照歹人，降雨给义人，也给不义的人。

这些话也是很有影响的，成为基督教义里一大要点，甚至影响了后世殖民地人民的“不抵抗运动”之类。但是耶稣全部言行的倾向是颠覆精神，颠覆旧的宗教，颠覆不义的人的统治。统治者是看得清楚的，所以把他钉死在十字架上。但就是耶稣之死，《新约》也并不把它写得轰轰烈烈；同以前的古典史诗不一样，这里并无英雄主义的光彩。耶稣一生是朴实无华的，记录他这一生的《新约》的文字也采取了朴素的风格，同《旧约》的雄迈、瑰丽形成了对照。

总的说来，《旧约》更富文学情调，《新约》更多宗教精神。而两者共有的则是对尘世生活的苦难感，对理想天国的憧憬，还掺杂有对民族兴亡的历史感，对压迫和奴役的反抗精神。

英文《圣经》对英国的语言、文学都有深刻的影响。它为后来无数的英文作家提供了题材，弥尔顿的《失乐园》、班扬的《天路历程》就是例子。后世又有无数作家模仿纯朴的“圣经体”风格，班扬、笛福、斯威夫特、考拔特、萧伯纳等散文大家都得益于此。它的无数说法、典故、比喻等等至今是核心英语。它的散文节奏——这是外国人所不注意的一面——也是随着将近四百年在教堂里周复一周的朗读而融入每个基督教徒的意识之中。因此虽然这部1611年出版的译本有不少误译，所用文字在当年就已有点陈旧，译法也有过分希伯来化的毛病，但是后来几次大规模的修正与改译，直到1970年出版的英文《新圣经》，尽管有众多学者的参加，提出了更准确的译文，却始终无法取而代之。

培根的《随笔》：小作品，大作用

我们再来看看培根的《随笔》（Francis Bacon: Essays, 1625）。

培根是大哲学家，英国唯物主义的始祖，自称“以天下全部学问为己任”；他又是大官僚，登上了大理院长的高位，却又以受贿罪而被弹劾去职，从此绝望仕途。后世诗人蒲伯称他为“最聪明、最出色、最卑鄙的人”。他的主要著作是用拉丁文写的，《随笔》只是一些摘记式的短文，所以才用英文来写，却不料他的文学声誉就建立在这本薄薄的小书上。从文学史来看，他是第一个把法国蒙田创立的随笔这一文学形式移植到英国来的人，后来它变成英国散文中最令人爱读的品种之一，培根之功不可没。而他自己所作，也确实出色，篇幅很短，而充满深刻的见解，表达方式力求扼要，而又周到，读者可以看出他的智慧像医生手里锐利的手术刀，在一层一层地解剖着人生和社会里的各种问题：真理、死亡、宗教、爱情、逆遇、高位、友谊、父母与子女、读书、利己的聪明，等等；同时，他也谈美，谈旅行、娱乐、庭园、营造，笔下出现诗情，以至雪莱称他为一个“诗人”。

培根的随笔往往起句就不凡，立刻吸引读者的注意，例如：

Men fear death as children fear to go in the dark.

人怕死犹如儿童怕入暗室。

He that hath wife and children hath given hostages to fortune, for they are inapediments to great enterprises, either of virtue or mischief.

有妻儿者实已向命运押了人质，从此难成大事，无论善恶。

What is truth? said jesting Pilate, and would not stay for an answer.

真理何物？彼拉多笑而问曰，不待人答而去。

文章当中，也是闪耀着名言妙语，例如：

To choose time is to save time.

善择时即省时。

Virtue is a rich stone, best plain set.

道德犹如宝石，朴素最美。

Prosperity doth best discover vice, but adversity doth best discover virtue.

顺境易见劣性，逆境易见德性。

All rising to great place is by a winding stair.

The rising unto place is laborious; and by pains men come to greater pains: and it is sometimes base; and by indignities men come to dignities.

一切腾达，无不须循小梯盘旋而上。历尽艰难始登高位，含辛茹苦，唯得更大辛苦。有时事且卑劣，因此须做尽不光荣之事，方能达光荣之位。

Fame is like a river, that beareth up things light and swollen, and drowns things weighty and solid.

声名犹如大河，空虚无物者浮，实学有才者沉。

下面再拿《谈读书》（Of Studies）中的一个长段，来看看培根的思想脉络和风格特色：

Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgement and disposition of business. For expert men can execute, and perhaps judge of particulars, one by one; but the general counsels, and the plots and marshalling of affairs, come best from those that are learned. To spend too much time in studies is sloth; to use them too much for ornament, is affectation; to make judgement wholly by their rules, is the humour of a scholar. They perfect nature, and are perfected by experience: for natural abilities are like natural plants, that need proyning by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience. Crafty men contemn studies, simple men admire them, and wise men use them; for they teach not their own use; but that is a wisdom without them, and above them, won by observation. Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. Some books also may be read by deputy, and extracts made of them by others; but that would be only in the less important arguments, and the meaner sort of books; else distilled books are like common distilled waters, flashy things.

读书足以怡情，足以博识，足以长才。其怡情也，最见于独处幽居之时；其博识也，最见于高谈阔论之中；其长才也，最见于处世判事之际。练达之士虽能分别处理细事或一一判别枝节，然纵观统筹、全局策划，则舍好学深思者莫属。读书费时过多易惰，文采藻饰太盛则矫，全凭条文断事乃学究故态。读书补天然之不足，经验又补读书之不足，盖天生才干犹如自然花草，读书然后知如何修剪移接；而书中所示，如不以经验范之，则又大而无当。有一技之长者鄙读书，无知者羡读书，唯明智之士用读书，然书并不以用处告人，用书之智不在书中，而在书外，全凭观察得之。读书时不可存心诘难作者，不可尽信书上所言，亦不可只为寻章摘句，而应推敲细思；书有可浅尝者，有可吞食者，少数则须咀嚼消化。换言之，有只须读其部分者，有只须大体涉猎者，少数则须全读，读时须全神贯注，孜孜不倦。书亦可请人代读，取其所作摘要，但只限题材较次或价值不高者，否则书经提炼犹如水经蒸馏，淡而无味矣。

令人惊讶的是作者思想的周密，什么可能情况都想到了，什么问题都有答案，很自信，但也很实际，就是时至今日，他的话对读书人也是有帮助的。而同时，作者一句废话也不讲，文章紧凑，脉络清楚，步骤分明。他的比喻也通俗易懂：修剪花草、饮食消化之类，到段末则用蒸馏水来比拟经过别人提炼的书之索然无味，十分确切。

总之，这是务实的散文。但并不是培根的唯一风格。他还用不同的风格写了许多他自己认为更重要的其它作品。《随笔》的风格当然不是西塞罗式，但也不是色尼加式，培根对于两者都不满意；他虽然写得紧凑，有时也略略放松，正是放松时露出他的人情味和诗情。但他确是实现了自己的主张，即内容重于词语，写得准确、清楚，而这正是新的时代精神所要求的。皇家学会的科学家们从培根得到的启发是多方面的，不仅有实验主义的哲学和所罗门宫的科学院蓝图，还有“一切尽量接近数学般的清楚”的风格范例。

巴洛克和其它风格

同培根的简约明晰的《随笔》相对照的，是一类繁复、华美，甚至带点神秘色彩的巴洛克式（Baroque）文章，代表作如汤玛斯·勃朗（Thomas Browne, 1605—82）的《医生的宗教》（Religio Medici）和《瓮葬》（Urn Burial）。现在从这两本书各引一小部分：

Schollers are men of peace, they beare no armes, but their tongues are sharper then Actius his razor, their pens carry farther, and give a lowder report than thunder; I had rather stand in the shock of a Basilisco then in the fary of a mercilesse Pen. It is not meere zeale to Learning, or devotion to the Muses, that wiser Princes Patron the Arts, and carry an indulgent aspect unto Schollers, but a desire to have their names eternized by the memory of their writings, and a feare of the revengeful pen of succeeding ages: for these are the men, that when they have played their parts, and had their exits, must step out and give the morall of their Scenes, and deliver unto posterity an Inventory of their vertues and vices. And surely there goes a great deale of conscience to the compiling of an History, and there is do reproach to the scandall of a Story; It is such an Authenticke kinde of falsehood that with authority belies our good names to all Nations and Posteritie.

学者是爱和平的人，他们不携带武器，但他们的舌头却比阿克提乌斯的剃刀还锋利，他们的笔更厉害，比雷声还响；我宁肯忍受大炮的震撼，也不愿忍受一支无情的笔的怒袭。聪明的君主奖掖文学，不仅仅是因为他们热衷学术或敬重诗神，才以宽容的脸色对待学者，而是因为想借学者们的著作垂名千古，并防后人的直笔，因为当他们演完了他们的戏，下台去了，就轮到学者出来，讲述一下从这出戏人们应得到什么教训，给后人开一张清单，哪些是善，哪些是恶。可以肯定地说，历史的编纂，很大一部分是个良心问题；在历史里进行污蔑，并不被人认为是过错；讹误变成了其实，而且以权威的姿态丑化我们的美名，散播到万国和后代。

——医生的宗教（Ⅱ.3）（1642）

（杨周翰译文，本节下同）

Life is a pure flame, and we live by an invisible Sun within us. A small fire sufficeth for life, great flames seemed too little after death, while men vainly affected precious pyres, and to burn like Sardanalus, but the wisdom of funerall Laws found the folly of prodigall blazes, and reduced undoing fires, unto the rule of sober obsequies, wherein few could be so mean as not to provide wood, pitch, a mourner, and an Urne.

生命是纯净的火焰，我们是靠内心的一个看不见的太阳生活着。为满足生命，微小的火就足够了，但死后一片大火还似乎太小，人们为虚荣所驱使，专爱华贵的柴堆，像萨尔达那帕罗斯那样燃烧。但后人认为这样疯狂地焚烧是愚蠢的，订立了明智的葬律，削减了这种毁灭性的焚烧，举行清醒的葬礼，当然也没有人吝啬到连木柴、沥青、一个哭丧人、一只瓮也不准备。

——瓮葬（第5章）（1658）

Pyramids, Arches, Obelisks, were but the irregularities of vain-glory, and wilde enormities of ancient magnanimity. But the most magnanimous resolution rests in the Christian Religion, which trampleth upon pride, and sets on the neck of ambition, humbly pursuing that infallible perpetuity, unto which all others must diminish their diameters, and be poorly seen in Angles of contingency.

金字塔、拱门、纪念柱，不过是古人过分虚荣和狂妄自大的表现。而最宏伟的心胸则存在于基督教中，它把骄傲踏在脚下，把野心骑在胯下，怀着谦卑的心追求确实可靠的永恒，与此相比，其他的所谓永恒只得缩小它们的直径，从最小的角度去看，显得十分寒怆。

——瓮葬（第5章）

以上几段都值得细细咀嚼。我们看出这位医生不仅知识渊博，很有见地，而且有极丰富的想象力，奇特的形象一个接一个而过，加上大量的典故，文章如富丽的锦缎。这就是所谓巴洛克风格。

*　　　*　　　*　　　*

此外，还有一些十七世纪的特殊品种可提。

其一是人物或性格特写，如韦伯斯特所写的《挤奶女》（John Webster, A Fair and Happy Milkmaid）：

A Fair and Happy Milkmaid

Is a Country Wench, that is so far from making herself beautiful by art that one look of hers is able to put all face-physick out of countenance. She knows a fair look is but a dumb orator to commend virtue, therefore minds it not. All her excellencies stand in her so silently, as if they had stolen upon her without her knowledge. The lining of her apparel (which is herself) is far better than outsides of tissue: for though she be not arrayed in the spoil of the silkworm, she is decked in innocency, a far better wearing. She doth not, with lying long abed, spoil both her complexion and conditions; nature hath taught her too immoderate sleep is rust to the soul: she rises therefore with Chanticleer, her dame's cock, and at night makes the lamb her curfew. In milking a Cow, and straining the teats through her fingers, it seems that so sweet a milk-press makes the milk the whiter or sweeter; for never came almond glove or aromatic ointment on her palm to taint it. The golden ears of corn fall and kiss her feet when she reaps them, as if they wished to be bound and led prisoners by the same hand that felled them. Her breath is her own, which scents all the year long of June, like a new-made haycock. She makes her hand hard with labour, and her heart soft with pity; and when winter evenings fall early (sitting at her merry wheel) she sings a defiance to the giddy wheel of Fortune. She doth all things with so sweet a grace, it seems ignorance will not suffer her to do ill, being her mind is to do well. She bestows her year's wages at next fair; and in chusing her garments counts no bravery i 'th' world like decency. The garden and beehive are all her physick and chirurgery, and she lives the longer for it. She dares go alone, and unfold sheep in the night, and fears no manner of ill, because she means none: yet to say truth, she is never alone, for she is still accompanied with old songs, honest thoughts, and prayers, but short ones; yet they have their efficacy, in that they are not palled with enshing idle cogitations. Lastly, her dreams are so chaste that she dare tell them; only a Friday's dream is all her superstition: that she conceals for fear of anger. Thus lives she, and all her care is she may die in the springtime, to have store of flowers stuck upon her winding-sheet.

一个漂亮、快活的挤奶姑娘

她是一个乡下姑娘，从不打扮自己，却能看人一眼就使所有的美容术失色。她知道美容不过是品德的无言昭告，因此不加注意。她的美德都悄悄地出现在她身上，像是瞒着她偷偷跑来的。她的衣服（也就是她本人）衬里远胜过面子，因为她虽不穿丝绸，却有纯洁为饰，经得起多年使用。她从不因睡眠过多而弄坏容貌和身体；大自然使她懂得：贪睡会使灵魂生锈。所以她清早与女主人的公鸡同起，夜晚与暮归的羊群同息。挤奶的时候，她用手攥着奶头，从这可爱的挤奶机中流出的牛奶便显得格外色纯味香，因为她从不戴杏仁色的手套，也不往手上涂香脂，牛奶也就不会变味。她去收割时，金黄的麦穗落到地上吻她的双脚，像是心甘情愿被那只砍倒它们的手捆绑俘虏。她口里的气味是她自己的，一年四季发着六月的气息，像新垛的干草堆传出清香。她因劳动而双手变粗，因怜悯而心肠变软。冬天早黑，她坐在愉快的纺车旁边，对急转的命运之轮唱无畏的歌。她做任何事都娴静大方，似乎不懂也不会做坏，因为她的心总想做好。赶集的时候，她把一年的工钱全部花掉，买衣服只挑合体，不重华贵。花园和蜂箱是她仅有的医生，她却因此更长寿。晚上她敢独自放羊出栏，不怕出坏事，因为她对人没有坏心；可是说实话，她也从不孤独，因为总有熟悉的歌、真诚的想法和不长的祈祷词与她作伴，而这些也真顶事，不会因引起妄想而减效。最后，连她的梦也都纯洁，不怕告诉别人。不过她却迷信星期五的梦，怕惹谁生气，从不泄露。她就这样生活着，只有一个愿望，那就是她能死在春天，那样她的裹尸布上可以摆放许多鲜花。

（杨国斌译文）

*　　　*　　　*　　　*

另一种是教士的布道文。

多恩（John Donne, 1571?—1631）以写“玄学派诗”出名，但他的布道文也是传世之作，形象新奇，雄辩滔滔，例如这样一段：

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bells tolls; it tolls for thee.

没有谁是个独立的岛屿；每个人都是大陆的一片土，整体的一部分。大海如把一个土块冲走，欧洲就小了一块，就像海岬缺了一块，就像你朋友或你自己的田庄缺了一块一样。每个人的死等于减去了我的一部分，因为我是包括在人类之中的，因此不必派人打听丧钟为谁而敲，它是为你敲的。

（杨周翰译文）

二十世纪三十年代美国作家海明威写了一本以西班牙内战为内容的长篇小说，就用了《丧钟为谁而敲》的题名，可见多恩此文的影响。

*　　　*　　　*　　　*

又有一种书叫“闲谈录”（table talk）。约翰·赛尔顿（John Selden, 1584—1654）写过一本，其中有这样一段：

We measure the Excellency of other Men, by some Excellency we conceive to be in ourselves. Nash, a Poet, poor enough, (as Poets use to be,) seeing an Alderman with his Gold Chain, upon his great Horse, by way of scorn said to one of his Companions, 'Do you see yon fellow, how goodly, how big he looks? Why, that fellow cannot make a blank Verse.'

Table Talk, LXXXVIII

我们总是拿自鸣得意的本身长处去衡量别人。有诗人名纳西，穷甚（诗人总是穷的），走到街上见一市议员佩金链、骑高马迎面而来，就对身边同伴不屑地说：“看见那家伙么？多神气，多伟大！可是，他连一行白体诗也写不出！”

多么像《世说新语》里的某些文章！附带说，这位纳西不仅写诗和诗剧，也是一位散文能手，所作《不幸的旅人》一书用民间的语言写漫游城乡的见闻，是英国第一部流浪汉小说。

*　　　*　　　*　　　*

沃尔顿的《垂钓全书》（Izaak Walton, The Complete Angler, 1653）用的是对话体，写得随便、亲切，但并不全写水边风光，而是常常由鱼而想到人和人的社会，例如有这样一段：

All Pikes that live long prove chargeable to their Keepers, because their life is maintained by the death of so many other Fish, even those of his own kind, which has made him by some Writers to be called the Tyrant of the Rivers, or the Fresh-water-wolf, by reason of his bold, greedy devouring disposition; which is so keen, as Gesner relates, a man going to a Pond (where it seems a Pike had devoured all the fish) to water his Mule, had a Pike bit his Mule by the lips, to which the Pike hung so fast, that the Mule drew him out of the water, and by that accident the owner of the Mule got the Pike.

狗鱼都活得很长，养鱼人却吃不消，因为这种鱼是以其它许多鱼的死来维持生命的，它甚至吃它的同类，有的作者称之为河霸，或淡水狼，因为它有胆大、贪婪、吞食的性格。盖斯纳讲过一件事，说有一个人牵了一头驴到池边饮驴，池里有一条狗鱼，看来已经把其它的鱼都吃光了，那狗鱼一口把驴子咬住，驴子把狗鱼曳出水面，就这样驴子的主人用驴把狗鱼钓了出来。

（杨周翰译文）

写的是狗鱼，指的是靠别人的死来维持自己生命的社会恶霸，因此此书还带有寓言性质。

沃尔顿也以人物传记著称，所记人物中有多恩和沃顿，都写得传神。有一句名言：“使节是一个派往国外为了国家的利益而扯谎的好人”，便出自他的《沃顿传》。

政治斗争的武器

以上的散文，风格或庄重，或简约，或华丽，或闲适，都是写个人观察、思索、想象所得的。

但这是一个剧烈变革的时期，充满了争论，四十年代起还充满了火药味，散文还常被用作斗争的武器。

武器式的散文当中，也是有各种风格。

大至说来，可分上、中、下三格。

上格如弥尔顿（John Milton, 1608—74）的论战文。以下两段摘自他的《论出版自由》（Areopagitica, 1644）：

They who to states and governors of the Commonwealth direct their speech, High Court of Parliament, or, wanting such access in a private condition, write that which they foresee may advance the public good, I suppose them, as at the beginning of no mean endeavour, not a little altered and moved inwardly in their minds: some with doubt of what will be the success, others with fear of what will be the censure; some with hope, others with confidence of what they have to speak. And me perhaps each of these dispositions, as the subject was whereon I entered, may have at other times variously affected; and likely might in these foremost expressions now also disclose which of them swayed most, but that the very attempt of this address thus made, and the thought of whom it hath recourse to, hath got the power within me to a passion far more welcome than incidental to a preface. Which though I stay not to confess ere any ask I shall be blameless, if it be no other than the joy and gratulation which it brings to all who wish and promote their country's liberty; whereof this whole discourse proposed will be a certain testimony, if not a trophy.

夫为国献言，大夫条陈于明堂，议政于国会，一介之士则撰文章。文章，大业也。执笔之际，情为之移，神为之奋，或忧其败，或虑其祸，或切盼成功，或信其说必行。余作此文，各种心情悉有之，于此卷首，宜以主要动机，为读者述之。然今既脱稿，不日将见于公众，激越澎湃，不能自已，殊非卷首数语可毕其辞。虽然，余纵不作序，谅世人亦不余责。此文之作无他，为国之爱慕自由之人，为国之提倡自由之人，为与彼等共雀跃同欢庆耳。全篇文字，可作争取自由之实证，甚或可作赢得自由之丰碑。

（许国璋译文，下段同）

I deny not, but that it is of greatest concernment in the Church and Commonwealth, to have a vigilant eye how books demean themselves as well as men; and thereafter to confine, imprison, and do sharpest justice on them as malefactors. For books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them. I know they are as lively, and as vigorously productive, as those fabulous dragon's teeth, and being sown up and down, may chance to spring up armed men. And yet, on the other hand, unless wariness be used, as good almost kill a man as kill a good book: who kills a man kills a reasonable creature, God's image; but he who destroys a good book, kills reason itself, kills the image of God, as it were, in the eye.

教会与国家，于书之为好书坏书，公民之为好人坏人，不能不表极大关注。此点余亦承认。治坏人，或予禁闭，或投牢中，或处予极刑。然则书非可以致死者也。书之生命力，乃作者灵魂所赋予。书，作家智慧之精华，如炼金丹，升华净化，臻于至纯，乃纳玉壶，以为珍藏。谚言，龙之齿，植地生幼龙。书之孳衍，与龙似。植书于野，异日或生持矛武士。人可以错杀，好书亦可以错毁。是不可不慎也。杀一人，杀一有理性之生命，杀一上帝之子孙耳。若毁一好书，实毁理性本身，无异毁上帝之目。

弥尔顿是大诗人，但也以雄迈的散文风格著称。这两段调子高昂，文字庄严，句子结构繁复，是高度拉丁化的风格。他有崇高的使命感，谈到一个关系到自由人命运的大问题，情感激动，因此拿出他从古典文学里学到的全部雄辩术，侃侃而谈。主题、说话人的身份、场合三者都要求高昂、庄严的语言风格。弥尔顿没有辜负人们的期望：他提供了这样一种风格。

只不过这已不是一般平民百姓所能理解——更谈不上欣赏——的风格。他们另有代言人。那就是从“平等派”、“掘地派”里出来的群众领袖。他们的演讲和政论小册子用了完全不同的风格，即我们所称的下格。

请看下列两例：

1. OH that the cravings of our Stomacks could be heard by the Parliament and City! Oh that the Tears of our poor famishing Babes were botled! Oh that their tender Mothers Cryes for bread to feed them were ingraven in Brasse！

O you Members of Parliament, and rich men in the City, that are at ease, and drink Wine in Bowls, and stretch yourselves upon Beds of Down, you that grind our faces, and flay off our skins, Will no man amongst you regard, will no man behold our faces black with Sorrow and Famine? Is there none to pity? The Sea Monster drawes out the brest, and gives suck to their young ones, and are our Rulers become cruell like the Ostrich in the Wildernesse?

Oh ye great men of England, will not (think you) the righteous God behold our Affliction, doth not he take notice that you devour us as if our Flesh were Bread? are not most of you either Parliament-men, Customers, Excise-men, Treasurers, Governors of Towns and Castles, or Commanders in the Army, Officers in those Dens of Robbery, the Courts of Law? and are not your Kinsmen and Allies, Collectors of the Kings Revenue, or the Bishops Rents, or Sequestratours? What then are your russling Silks and Velvets, and your glittering Gold and Silver Laces? are they not the sweat of our brows, & the wants of our backs & bellies?

Anonymous, The Mournfull Cryes etc. (1648)

1．呵，如果国会和市政府能听见我们肚子里的饥叫就好了！能把我们挨饿的孩子的眼泪装在瓶子里就好了！能把他们善心的母亲要求拿面包去喂他们的哭声刻在铜牌上就好了！

呵，你们这些国会议员，市政府的阔人，过得舒舒服服，喝着大碗酒，盖着鸭绒被，你们刮我们的肉，剥我们的皮，却没有一个留心一下，看一看我们的脸如何因愁苦和饥饿而变黑了么？没有任何人值得怜悯么？海怪还会拉出奶头给它的孩子喂奶，而我们的统治者却变得像荒野里的鸵鸟一样残酷了么？

呵，英格兰的大人物，你们以为正义的上帝不会注意到你们像吃面包那样吃我们的肉么？你们大多数不就是国会议员，海关关员，税局局员，司库，城镇和堡垒的长官，军队里的司令，法庭那贼窝里的法警么？你们的亲戚和把兄弟不就是替国王收税、替主教收租、执行扣押的那些人么？你们的绸缎呢绒，你们的金线银线编的花边又是什么呢？不就是我们额上的汗水，我们的瘦脊梁和空肚子么？

这个小册子的作者没有署名，有人说是掘地派领袖约翰·利尔本（John Lilburne, 1614—57）。这样的散文完全不同于弥尔顿或前面引过的任何人的，没有修辞术，也没有闲适情调，只有呼声和骂声。

2. It is in vaine for our Members of Parliament to think that we will justifie or tollerate the same among them, which we would not indure in the King, to pluck off the Garments of Royalty from oppression and tyranny, to dresse up the same in Parlament Robes: No, no, that was ever and is farre from our hearts, and wee shall justifie or allow the same no more in the one then in the other, for it is equally unequall in both, and in itself resistable wheresoever it is found. ...

All degrees and titles Magisteriall, whether emperiall, regall, Parliamentarie, or otherwise are all subservient to popular safety, all founded and grounded thereon, all instituted and ordained only for it, for without it can be no humane society, cohabitation or being, which above all earthly things must be maintained, as the earthly sovereign good of mankind, let what or who will perish, or be confounded, for mankind must be preserved upon the earth, and to this preservation, all the Children of men have an equall title by Birth, none to be deprived thereof, but such as are enemies thereto, and this is the ground-worke that God in nature hath laid for all commonwealths, for all Governours and Governments amongst men, for all their Lawes, executions and Administrations: therefore all contrary Governments and Governours are ungodly, unnatural, diabolicall, and trayterous, to be abhorred, condemned and resisted by all possible wayes and meanes whatsoever：

—An Appeal etc. (1647)

2．过去，我们受不了国王的压迫和专制，把他的王袍剥掉了，现在如果国会议员以为只要穿上国会的袍子就一样可以压迫我们，那是妄想！不，不，那离我们想的太远了！不管来自国王或国会，我们一概不会允许；他们都不公平，哪儿出现不公平，我们就在哪儿反抗。……

一切官职、称号，无论来自帝国、王国、国会或别的什么，都得服从于大众的安全，都以这个为根据，都只是为这个而制定，因为没有这个就没有人类社会，没有群居和生存，因此必须保持安全，这是人类最大的好事。东西可毁，人可死，但必须在地球上保存人类，人人有保存之权，除敌人外，任何人的这个权利不能剥夺。这是上帝在自然界立下的规矩，适用于一切官吏、政府，一切法律、行政、管理，而与此相反的官吏与政府都是反上帝、反自然、信魔鬼的，都是叛逆，可以用一切方式、一切办法加以憎恨、谴责、抵抗。

这本小册子用了一个挖苦的标题，明明是人民的告示，却说成《在韦思敏斯特聚会的腐败的英格兰下议院向代表一般自由人民的机构的呼吁》（1647）。作者理查德·峨弗顿（Richard Overton）又是一个“掘地派”。他除了大喊，还说了一个大道理，即一切服从大众的安全。散文在这里不仅谴责，还讲政治理论，这就接近我们所谓的中格了。

*　　　*　　　*　　　*

中格的代表者是汤玛斯·霍布斯（Thomas Hobbes, 1588—1679）。他是一个保皇党，又是一个政治哲学家，写了一本名著，叫《利维坦》（Leviathan, 1651）。下面一节出自该书：

Hereby it is manifest, that during the time men live without a common Power to keep them all in awe, they are in that condition which is called Warre; and such a warre, as is of every man, against every man.

Whatsoever therefore is consequent to a time of Warre, where every man is Enemy to every man; the same is consequent to the time, wherein men live without other security, than what their own strength, and their own invention shall furnish them withall. In such condition, there is no place for Industry; because the fruit thereof is uncertain: and consequently no Culture of the Earth; no Navigation, nor use of the commodities that may be imported by Sea; no commodious Building; no Instruments of moving, and removing such things as require much force; no Knowledge of the face of the Earth; no account of Time; no Arts; no Letters; no Society; and which is worst of all, continuall feare, and danger of violent death; And the life of man, solitary, poore, nasty, brutish, and short.

3．明显的是，当人们生活在没有一个共同的力量足以震慑他们的时候，他们可称为处于战争状态，而且是一场人人为敌的战争。

在人感到除自己力量外别无安全保障、一切靠自己想办法的时候，情况就同人人为敌的战争时候一样。在这种情况下，不可能有工业，因为没有把握出产品；也就没有耕作，没有航行，对海运来的商品没有用处，没有宽敞的建筑，没有工具足以输送需要大力才能移动的物件，没有关于地球表面的知识，没有时间的计算，没有工艺，没有文艺，没有社交；而最坏的是，只有对于暴死的经常恐惧和实际危险，于是人的生命变得孤寂，穷困，肮脏，野兽不如，而且短促。

这里的主要思想是：国家必须有威力强大、足以震慑一切臣民的中央政权，才能秩序井然，百业兴盛。文章写得清楚，逻辑性强，句子安排得井然有序。但霍布斯的笔锋也常带情感，例如引文最后一句就露出了这位政治哲学家对人生的悲剧感，五个形容词一个比一个厉害，最后则归结到“短促”——短促的生，永恒的死。

世纪中叶的回顾与展望

1660年左右，西塞罗与色尼加之争已经过去，英国散文呈现这样一种局面，即说理性、辩论性的散文与随意性、抒情性的散文两类并存，各有佳作，而很多文章则融合两者之长，同时不论何类，都受到科学家的实用风格的冲击。

形成这一局面，是变的结果。我们永远得记住，这是一个剧烈变化的时代。从十六世纪到十七世纪前半，整整一百多年，散文诸家竞起，两种风格之争，小册子之战，文胜于质还是质重于文的辩论，都反映了英国文艺复兴时期经济、政治、宗教上的重大动荡，举凡原始积累、海外扩张、王位继承、清教主义的兴起、大革命的逼近与爆发、科学上的突破与发展……都影响了散文，也都有求于散文，因此在散文家的文句后面有着意识形态的风云变幻，连巴洛克式的华丽怪诞也代表着一种思想情态。

这些变化给了英国散文以莫大的好处。散文能从书斋走到自然界，走到激烈争论的街头或者炮火纷飞的战场，总是能磨炼得更加坚强而灵活的。这一百多年的大运动量给了英国散文以蓬勃的生气和无穷的活力，英语也变得更加壮健而又敏锐，才有可能在以后的时间里担当起新的任务。人皆称道英国十八世纪散文，然而如果没有十七世纪的锻炼和实验，就不会有以后的局面。

这是一个关键时期。到了十七世纪中叶，革命和内战解决了一批政治、宗教的矛盾，资产阶级和地主贵族联合专政了，大局平稳下来，英国散文则在继续变化。

怎样变化？

简单地说，不同类型的散文各奔前程，但又有一个主导方向，那就是平易，于平易中见思想，见艺术。

这平易是一种文明的品质。英国散文在扔掉过去的芜杂、粗鲁、怪僻、土气、岛国狭隘性等等，正如英国语言在改掉不规则和不雅洁而走向规范化。这两者是同时并进，互为补益的。

这平易蕴藏着许多深刻影响后世的重大发展。说理文从霍布斯发展到洛克，而洛克抚育了美国《独立宣言》的起草者，其后果远远超越语言文学的范围。随意性抒情性散文发展为英国式的小品文。德莱顿融合说理和抒情而写出了《论戏剧诗》那样的英国式文论。笛福则继续平等派、掘地派的小册子传统，运用捕捉具体细节和说故事的本领，创建了近代现实主义小说。混合了这一切，面对广大的新的读者群，又出现了越来越繁荣的期刊文学。……

十七世纪的散文为这些变化准备了条件。等这些变化逐一实现的时候，英国散文也从文艺复兴的黄昏进入了启蒙主义的黎明。

注　释

〔1〕此文中《圣经》各段译文，引自中华圣经会印发的《新旧约全书》（1946年版），但标点现代化了。