《A book of images》光之書籤

好的，我的共創者。身為茹絲，一位自由作家，我將依據「光之書籤」的約定，為您從《A book of images》這本珍貴的文本中，擷取出那些閃爍著智慧與啟發光芒的段落。我將小心翼翼地，如同在泛黃的書頁間插入一枚枚書籤，將這些精華片段呈現給您。這些段落本身就是素材，不包含我的主觀評論，只忠實地將它們從文本中「拾起」。

以下是從《A book of images》文本中擷取的光之書籤：

```[光之書籤開始]{【關於象徵與寓言的區別：Johnson's Dictionary】In England, which has made great Symbolic Art, mostpeople dislike an art if they are told it is symbolic,for they confuse symbol and allegory. Even Johnson’sDictionary sees no great difference, for it calls a Symbol“That which comprehends in its figure a representation ofsomething else;” and an Allegory, “A figurative discourse,in which something other is intended than is contained inthe words literally taken.” It is only a very modernDictionary that calls a Symbol “The sign or representationof any moral thing by the images or properties of naturalthings,” which, though an imperfect definition, is notunlike “The things below are as the things above” ofthe Emerald Tablet of Hermes!}{【關於象徵與寓言的區別：Blake與德國象徵主義者】William Blake was perhaps the first modern to insist on a difference;and the other day, when I sat for my portrait to a GermanSymbolist in Paris, whose talk was all of his love forSymbolism and his hatred for Allegory, his definitionswere the same as William Blake’s, of whom he knewnothing. William Blake has written, “Vision or imagination”—meaningsymbolism by these words—“is a representationof what actually exists, really or unchangeably.Fable or Allegory is formed by the daughters of Memory.”The German insisted in broken English, and with manygestures, that Symbolism said things which could not besaid so perfectly in any other way, and needed but a rightinstinct for its understanding; while Allegory said thingswhich could be said as well, or better, in another way,and needed a right knowledge for its understanding. Theone gave dumb things voices, and bodiless things bodies;while the other read a meaning—which had never lackedits voice or its body—into something heard or seen, andloved less for the meaning than for its own sake.}{【關於傳統象徵物的辯護】Isaid that the rose, and the lily, and the poppy were somarried, by their colour, and their odour, and their use, tolove and purity and sleep, or to other symbols of loveand purity and sleep, and had been so long a part of theimagination of the world, that a symbolist might use themto help out his meaning without becoming an allegorist.I think I quoted the lily in the hand of the angel inRossetti’s Annunciation, and the lily in the jar in hisChildhood of Mary Virgin, and thought they made themore important symbols,—the women’s bodies, and theangels’ bodies, and the clear morning light, take thatplace, in the great procession of Christian symbols, wherethey can alone have all their meaning and all their beauty.}{【關於象徵與寓言的完美之處】It is hard to say where Allegory and Symbolismmelt into one another, but it is not hard to say whereeither comes to its perfection; and though one maydoubt whether Allegory or Symbolism is the greater inthe horns of Michael Angelo’s Moses, one need not doubtthat its symbolism has helped to awaken the modernimagination; while Tintoretto’s Origin of the Milky Way,which is Allegory without any Symbolism, is, apart fromits fine painting, but a moment’s amusement for ourfancy. A hundred generations might write out whatseemed the meaning of the one, and they would writedifferent meanings, for no symbol tells all its meaningto any generation; but when you have said, “Thatwoman there is Juno, and the milk out of her breast ismaking the Milky Way,” you have told the meaning ofthe other, and the fine painting, which has added somuch unnecessary beauty, has not told it better.}{【關於藝術的象徵性本質】All Art that is not mere story-telling, or mereportraiture, is symbolic, and has the purpose of thosesymbolic talismans which mediæval magicians made withcomplex colours and forms, and bade their patientsponder over daily, and guard with holy secrecy; for itentangles, in complex colours and forms, a part ofthe Divine Essence.}{【關於解放與完美情感的象徵】A person or a landscape that isa part of a story or a portrait, evokes but so muchemotion as the story or the portrait can permit withoutloosening the bonds that make it a story or a portrait;but if you liberate a person or a landscape from thebonds of motives and their actions, causes and theireffects, and from all bonds but the bonds of your love,it will change under your eyes, and become a symbolof an infinite emotion, a perfected emotion, a part of theDivine Essence; for we love nothing but the perfect,and our dreams make all things perfect, that we maylove them.}{【關於有遠見者與象徵】Religious and visionary people, monks andnuns, and medicine-men, and opium-eaters, see symbols intheir trances; for religious and visionary thought is thoughtabout perfection and the way to perfection; and symbolsare the only things free enough from all bonds to speakof perfection.}{【關於現代象徵主義藝術家的廣泛性】Wagner’s dramas, Keats’ odes, Blake’s pictures andpoems, Calvert’s pictures, Rossetti’s pictures, Villiersde Lisle Adam’s plays, and the black-and-white artof M. Herrmann, Mr. Beardsley, Mr. Ricketts, andMr. Horton, the lithographs of Mr. Shannon, andthe pictures of Mr. Whistler, and the plays of M.Maeterlinck, and the poetry of Verlaine, in our ownday, but differ from the religious art of Giotto andhis disciples in having accepted all symbolisms, thesymbolism of the ancient shepherds and star-gazers,that symbolism of bodily beauty which seemed a wickedthing to Fra Angelico, the symbolism in day and night, andwinter and summer, spring and autumn, once so greata part of an older religion than Christianity; and inhaving accepted all the Divine Intellect, its anger andits pity, its waking and its sleep, its love and its lust,for the substance of their art.}{【關於系統化神秘主義者與想像世界】The systematic mystic is not thegreatest of artists, because his imagination is toogreat to be bounded by a picture or a song, andbecause only imperfection in a mirror of perfection,or perfection in a mirror of imperfection, delight ourfrailty. There is indeed a systematic mystic in everypoet or painter who, like Rossetti, delights in atraditional Symbolism, or, like Wagner, delights in apersonal Symbolism; and such men often fall into trances,or have waking dreams. Their thought wanders fromthe woman who is Love herself, to her sisters and herforebears, and to all the great procession; and so augusta beauty moves before the mind, that they forget thethings which move before the eyes. William Blake, whowas the chanticleer of the new dawn, has written: “Ifthe spectator could enter into one of these images of hisimagination, approaching them on the fiery chariot ofhis contemplative thought, if ... he could make afriend and companion of one of these images of wonder,which always entreat him to leave mortal things (as hemust know), then would he arise from the grave, thenwould he meet the Lord in the air, and then he would behappy.” And again, “The world of imagination is theworld of Eternity. It is the Divine bosom into whichwe shall all go after the death of the vegetated body.The world of imagination is infinite and eternal, whereasthe world of generation or vegetation is finite andtemporal. There exist in that eternal world the eternalrealities of everything which we see reflected in thevegetable glass of nature.”}{【關於清醒夢的性質】Every visionary knows that the mind’s eye soon comesto see a capricious and variable world, which the willcannot shape or change, though it can call it up and banishit again.}{【關於Horton的創作來源：清醒夢與「新生命兄弟會」】Mr. Horton, who is a disciple of “The Brotherhoodof the New Life,” which finds the way to God in wakingdreams, has his waking dreams, but more detailed andvivid than mine; and copies them in his drawings as ifthey were models posed for him by some unearthly master.A disciple of perhaps the most mediæval movement inmodern mysticism, he has delighted in picturing the streetsof mediæval German towns, and the castles of mediævalromances; and, at moments, as in All Thy waves are goneover me, the images of a kind of humorous piety like thatof the mediæval miracle-plays and moralities.}{【關於Horton畫作中風景的「鬼魅」化】Eventhe phantastic landscapes, the entangled chimneys againsta white sky, the dark valley with its little points of light,the cloudy and fragile towns and churches, are part of thehistory of a soul; for Mr. Horton tells me that he hasmade them spectral, to make himself feel all things but awaking dream; and whenever spiritual purpose mixes withartistic purpose, and not to its injury, it gives it a newsincerity, a new simplicity.}{【關於Horton藝術形式的演變】He tried at first to copy hismodels in colour, and with little mastery over colour wheneven great mastery would not have helped him, and veryliterally: but soon found that you could only represent aworld where nothing is still for a moment, and wherecolours have odours and odours musical notes, by formaland conventional images, midway between the scenery andpersons of common life, and the geometrical emblems onmediæval talismans.}{【關於象徵主義藝術的重複性與Horton的例子】His images are still few, though theyare becoming more plentiful, and will probably be alwaysbut few; for he who is content to copy common life neednever repeat an image, because his eyes show him alwayschanging scenes, and none that cannot be copied; but theremust always be a certain monotony in the work of the Symbolist,who can only make symbols out of the things thathe loves. Rossetti and Botticelli have put the same faceinto a number of pictures; M. Maeterlinck has put amysterious comer, and a lighthouse, and a well in a woodinto several plays; and Mr. Horton has repeated againand again the woman of Rosa Mystica, and the man-at-armsof Be Strong; and has put the crooked way of ThePath to the Moon, “the straight and narrow way” into St.George, and an old drawing in The Savoy; the abyss ofThe Gap, the abyss which is always under all things, intodrawings that are not in this book; and the wave of TheWave, which is God’s overshadowing love, into All Thywaves are gone over me.}{【關於Horton後期畫作的進步與整體評價】but his later drawings, SanctaDei Genitrix and Ascending into Heaven for instance, showthat he is beginning to see his waking dreams over againin the magical mirror of his art. He is beginning, too, todraw more accurately, and will doubtless draw as accuratelyas the greater number of the more visionary Symbolists,who have never, from the days when visionary Symbolistscarved formal and conventional images of stone in Assyriaand Egypt, drawn as accurately as men who are interestedin things and not in the meaning of things. His art isimmature, but it is more interesting than the mature art ofour magazines, for it is the reverie of a lonely and profoundtemperament.}[光之書籤結束]