这段话主要表达了以下几个观点：
一、对寓言的态度及解释神话童话的语言困境
作者不喜欢有意为之的寓言，但也承认在解释神话或童话的主旨时不得不使用寓言式的语言。同时指出故事的生命力越强越易被寓言式解读，而好的寓言也容易作为故事被接受。
二、围绕“堕落、死亡和机器”的主题探讨
1. 堕落的多种形式：主题围绕堕落、死亡和机器展开，堕落以多种形式出现，不可避免。
2. 死亡与艺术及创造性欲望的关系：死亡尤其影响艺术和创造性欲望，这种欲望没有生物学功能，与普通生物性生活的满足感相分离且常与之冲突。创造性欲望一方面热爱真实世界，一方面又充满死亡意识且不满足于此，有多种“堕落”的可能。
3. 占有欲与反抗造物主法则：可能变得占有欲强，次创造者会把创造物当作自己的，甚至想成为主宰和上帝，反抗造物主法则特别是死亡法则。
4. 对权力的渴望及导致的结果：这种反抗会导致对权力的渴望，为使意志更快生效而走向对机器（或魔法）的追求。这里的机器指使用外部计划或装置而非发展内在力量或才能，甚至以支配的腐败动机使用才能，如推平真实世界或强迫其他意志。作者认为机器是现代更明显的形式，且与魔法的关系比通常认为的更密切。
【 在 Talker2020 (Talker2020) 的大作中提到: 】
: J.R.R.托尔金这两段在说啥呢？
: 大佬们给解解～
:
: I dislike Allegory – the conscious and intentional allegory – yet any attempt to explain the purport of myth or fairytale must use allegorical language. (And, of course, the more 'life' a story has the more readily will it be susceptible of allegorical interpretations: while the better a deliberate allegory is made the more nearly will it be acceptable just as a story.) Anyway all this stuff13 is mainly concerned with Fall, Mortality, and the Machine. With Fall inevitably, and that motive occurs in several modes. With Mortality, especially as it affects art and the creative (or as I should say, sub-creative) desire which seems to have no biological function, and to be apart from the satisfactions of plain ordinary biological life, with which, in our world, it is indeed usually at strife. This desire is at once wedded to a passionate love of the real primary world, and hence filled with the sense of mortality, and yet unsatisfied by it. It has various opportunities of 'Fall'. It may become possessive, clinging to the things made as 'its own', the sub-creator wishes to be the Lord and God of his private creation. He will rebel against the laws of the Creator – especially against mortality. Both of these (alone or together) will lead to the desire for Power, for making the will more quickly effective, – and so to the Machine (or Magic). By the last I intend all use of external plans or devices (apparatus) instead of development of the inherent inner powers or talents — or even the use of these talents with the corrupted motive of dominating: bulldozing the real world, or coercing other wills. The Machine is our more obvious modern form though more closely related to Magic than is usually recognised.
--
FROM 183.208.254.*
我劝你别看这些
这些都是阻碍你去实践的原因
【 在 Talker2020 (Talker2020) 的大作中提到: 】
: J.R.R.托尔金这两段在说啥呢？
: 大佬们给解解～
:
: I dislike Allegory – the conscious and intentional allegory – yet any attempt to explain the purport of myth or fairytale must use allegorical language. (And, of course, the more 'life' a story has the more readily will it be susceptible of allegorical interpretations: while the better a deliberate allegory is made the more nearly will it be acceptable just as a story.) Anyway all this stuff13 is mainly concerned with Fall, Mortality, and the Machine. With Fall inevitably, and that motive occurs in several modes. With Mortality, especially as it affects art and the creative (or as I should say, sub-creative) desire which seems to have no biological function, and to be apart from the satisfactions of plain ordinary biological life, with which, in our world, it is indeed usually at strife. This desire is at once wedded to a passionate love of the real primary world, and hence filled with the sense of mortality, and yet unsatisfied by it. It has various opportunities of 'Fall'. It may become possessive, clinging to the things made as 'its own', the sub-creator wishes to be the Lord and God of his private creation. He will rebel against the laws of the Creator – especially against mortality. Both of these (alone or together) will lead to the desire for Power, for making the will more quickly effective, – and so to the Machine (or Magic). By the last I intend all use of external plans or devices (apparatus) instead of development of the inherent inner powers or talents — or even the use of these talents with the corrupted motive of dominating: bulldozing the real world, or coercing other wills. The Machine is our more obvious modern form though more closely related to Magic than is usually recognised.
--
FROM 183.208.254.*