《瓦尔登湖·第一章·经济篇·Economy》第41节
True, there are architects so called in this country, and I have heard of one at least possessed with the idea of making architectural ornaments have a core of truth, a necessity, and hence a beauty, as if it were a revelation to him. All very well perhaps from his point of view, but only a little better than the common dilettantism. A sentimental reformer in architecture, he began at the cornice, not at the foundation. It was only how to put a core of truth within the ornaments, that every sugar plum in fact might have an almond or caraway seed in it,—though I hold that almonds are most wholesome without the sugar,—and not how the inhabitant, the indweller, might build truly within and without, and let the ornaments take care of themselves. What reasonable man ever supposed that ornaments were something outward and in the skin merely,—that the tortoise got his spotted shell, or the shellfish its mother-o’-pearl tints, by such a contract as the inhabitants of Broadway their Trinity Church? But a man has no more to do with the style of architecture of his house than a tortoise with that of its shell: nor need the soldier be so idle as to try to paint the precise color of his virtue on his standard. The enemy will find it out. He may turn pale when the trial comes. This man seemed to me to lean over the cornice, and timidly whisper his half truth to the rude occupants who really knew it better than he. What of architectural beauty I now see, I know has gradually grown from within outward, out of the necessities and character of the indweller, who is the only builder,—out of some unconscious truthfulness, and nobleness, without ever a thought for the appearance and whatever additional beauty of this kind is destined to be produced will be preceded by a like unconscious beauty of life. The most interesting dwellings in this country, as the painter knows, are the most unpretending, humble log huts and cottages of the poor commonly; it is the life of the inhabitants whose shells they are, and not any peculiarity in their surfaces merely, which makes them picturesque; and equally interesting will be the citizen’s suburban box, when his life shall be as simple and as agreeable to the imagination, and there is as little straining after effect in the style of his dwelling. A great proportion of architectural ornaments are literally hollow, and a September gale would strip them off, like borrowed plumes, without injury to the substantials. They can do without architecture who have no olives nor wines in the cellar. What if an equal ado were made about the ornaments of style in literature, and the architects of our bibles spent as much time about their cornices as the architects of our churches do? So are made the belles-lettres and the beaux-arts and their professors. Much it concerns a man, forsooth, how a few sticks are slanted over him or under him, and what colors are daubed upon his box. It would signify somewhat, if, in any earnest sense, he slanted them and daubed it; but the spirit having departed out of the tenant, it is of a piece with constructing his own coffin,—the architecture of the grave, and “carpenter” is but another name for “coffin-maker.” One man says, in his despair or indifference to life, take up a handful of the earth at your feet, and paint your house that color. Is he thinking of his last and narrow house? Toss up a copper for it as well. What an abundance of leisure he must have! Why do you take up a handful of dirt? Better paint your house your own complexion; let it turn pale or blush for you. An enterprise to improve the style of cottage architecture! When you have got my ornaments ready I will wear them.
注释摘要
梭罗在这里把矛头对准了当时美国的建筑思潮，尤其可能是针对园艺风格建筑或早期哥特复兴中那种过度讲究装饰趣味的倾向。他提到的某位建筑师，很可能指向霍雷肖·格里诺这类功能主义先驱，或是当时热衷于论证装饰必须有其内在真理的改革者。梭罗给这种姿态起了个刻薄而精确的名字：感伤派改革者。问题不出在追求真理，而出在他从飞檐开始，而不是从地基开始——从建筑的外观构件下手，而…