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Creative Process of Works
The great question that this paper will, but feebly, attempt to answer is , what is the creative process?
Though much theory has accumulated, little is really known about the power that lies at the bottom of poetic creation. It is true that great poets and artists produce beauty by employing all the powers of personality and by fusing emotions, reason, and intuitions. But what is the magical synthesis that joins and arranges these complex parts into poetic unity?
John s, in his justly famous “The Road to Xanadu,” developed one of the earliest and still generally acceptable answers to this tantalizing question. Imaginative creation, he concludes, is a complex process in which the conscious and unconscious minds jointly operate. “There is…the deep well with its chaos of fortuitously blending images; but there is likewise the Vision which sees shining in and through the chaos of the potential lines of Form, and with the Vision, the controlling Will. Which gives to that potential beauty actuality.”
The Deep Well is the unconscious mind that is peopled with the facts, ideas, feelings of the conscious activity. The imaginative vision, an unconscious activity, shines through the land of chaos, of lights and shadows, silently seeking pattern and form. Finally, the conscious mind again, through Will, captures and embodies the idea in the final work of art. In this way is unity born out of chaos.
Though there can be no absolute certainty, there is general agreement that the periods in the development of a creative work parallel, to some extent, Lowes’ theory of Well, Vision, Form, and Will. There are at least three stages in the creative process: preparation, inspiration, work.
In a sense, the period of preparation is all of the writer’s life. It is the Deep Well. It is the Deep Well. It is especially a period of concentration which gives the unconscious mind an opportunity to communicate with the conscious mind. When remembrance of things past reach the conscious level of the writer’s mind, he is ready to go on with the process. Part of this preparation involves learning a medium—learning a language, learning how to write, learning literary forms. It is important to mot here that form cannot be imposed upon the idea. Evidence, though sparse, shows that the idea gives birth to the form that can best convey it. It is the Vision, according to Lowes, ” which sees shining in and through the chaws of the potential lines of from … ”
1. When remembrance of things past reach the conscious level, the post has reached the stage called
[A] Well. [B] Vision. [C] Form. [D] Will.
2. Which of the following statements is TRUE?
[A] The form determines the subject matter.
[B] The idea determines the form.
[C] Vision makes beauty an actuality.
[D] A writer is unconscious when he prepares his work.
3. The word “fortuitously” in the third paragraph means
[A] accidentally. [B] luckily. [C] thoroughly. [D] potentially.
4. The remembrance of things past is carried on in the
[A] Deep Well. [B] Vision.
[C] Chaotic lights and shadows. [D] Conscious mind.
答案詳解：1. D. 意志。第三段倒數第二句“最終又是意識的思維，通過意志，在其最終的藝術作品中捕捉和體現了這種思想觀念”。第五段第三句：“當作者回溯以往事情達到了有意識的水平時，他就具備(準備)了繼續創作進程的條件。這種準備工作中有一部分涉及學習媒介——學習一種語言，學習如何寫，學習文學形式。”第二段都體現了意志是有意識思維的集中表現。
A. 源泉，來源，顧名思義，也是最初的東西。 B. 洞察力，視覺。 C.形式。這三項選擇在第二，三段集中說明，見難句譯註3及第四題答案。
2. B. 思想觀念決定形式。這在最後一段倒數第四句：部分準備工作涉及學習媒介——學習語言，學習如何寫，學習文學形式之後“這裏要注意文學形式不能強加於思想觀念。有證據，雖然很少，表明思想觀念產生適合傳遞它的文學形式。
A. 形式決定主題。 C. 形象使美變得真實。 D. 作者在準備寫作時處於無意識狀態。難句譯註3和第四題答案都說明了這三項選擇是不對的。
3. A. 偶然的。
B. 幸運的，fortuitously一詞確實有幸運的之義。但這裏上下文含義是A，見難句譯註3。
C. 徹底的，透徹的。 D. 潛在的，可能的。
4. A. 深井(深層的源泉)。見難句譯註3和第三句“深層的源泉是無意識思維，內中塞滿了各種事實，觀點，意識活動的'情感。富有想象力的洞察力是一種無意識的活動，在雜亂的土壤中閃爍光輝，忽明忽暗，默默的探索模式和形式。最後，又是有意識的思維，通過意志……。”這裏說明回溯過去是在深井階段進行。
B. 視覺，是在探索表現形式。 C. 雜亂的光亮和陰影，明面和暗面。 D. 有意識思維
