Marionetta made many ineffectual attempts to extract from Scythrop the secret of his mystery; and, in despair of drawing it from himself, began to form hopes that she might find a clue to it from Mr Flosky, who was Scythrop’s dearest friend, and was more frequently than any other person admitted to his solitary8 tower. Mr Flosky, however, had ceased to be visible in a morning. He was engaged in the composition of a dismal9 ballad10; and, Marionetta’s uneasiness overcoming her scruples11 of decorum, she determined12 to seek him in the apartment which he had chosen for his study. She tapped at the door, and at the sound ‘Come in,’ entered the apartment. It was noon, and the sun was shining in full splendour, much to the annoyance13 of Mr Flosky, who had obviated14 the inconvenience by closing the shutters15, and drawing the window-curtains. He was sitting at his table by the light of a solitary candle, with a pen in one hand, and a muffineer in the other, with which he occasionally sprinkled salt on the wick, to make it burn blue. He sate16 with ‘his eye in a fine frenzy17 rolling,’ and turned his inspired gaze on Marionetta as if she had been the ghastly ladie of a magical vision; then placed his hand before his eyes, with an appearance of manifest pain — shook his head — withdrew his hand — rubbed his eyes, like a waking man — and said, in a tone of ruefulness most jeremitaylorically pathetic, ‘To what am I to attribute this very unexpected pleasure, my dear Miss O’Carroll?’
MARIONETTA I must apologise for intruding18 on you, Mr Flosky; but the interest which I— you — take in my cousin Scythrop —
MR FLOSKY Pardon me, Miss O’Carroll; I do not take any interest in any person or thing on the face of the earth; which sentiment, if you analyse it, you will find to be the quintessence of the most refined philanthropy.
MARIONETTA I will take it for granted that it is so, Mr Flosky; I am not conversant19 with metaphysical subtleties20, but —
MR FLOSKY Subtleties! my dear Miss O’Carroll. I am sorry to find you participating in the vulgar error of the reading public, to whom an unusual collocation of words, involving a juxtaposition21 of antiperistatical ideas, immediately suggests the notion of hyperoxysophistical paradoxology.
MARIONETTA Indeed, Mr Flosky, it suggests no such notion to me. I have sought you for the purpose of obtaining information.
MR FLOSKY (shaking his head) No one ever sought me for such a purpose before.
MARIONETTA I think, Mr Flosky — that is, I believe — that is, I fancy — that is, I imagine —
MR FLOSKY The τουτεστι, the id est, the cioè, the c’est à dire22, the that is, my dear Miss O’Carroll, is not applicable in this case — if you will permit me to take the liberty of saying so. Think is not synonymous with believe — for belief, in many most important particulars, results from the total absence, the absolute negation23 of thought, and is thereby24 the sane25 and orthodox condition of mind; and thought and belief are both essentially26 different from fancy, and fancy, again, is distinct from imagination. This distinction between fancy and imagination is one of the most abstruse27 and important points of metaphysics. I have written seven hundred pages of promise to elucidate28 it, which promise I shall keep as faithfully as the bank will its promise to pay.
MARIONETTA I assure you, Mr Flosky, I care no more about metaphysics than I do about the bank; and, if you will condescend29 to talk to a simple girl in intelligible30 terms —
MR FLOSKY Say not condescend! Know you not that you talk to the most humble31 of men, to one who has buckled32 on the armour33 of sanctity, and clothed himself with humility34 as with a garment?
MARIONETTA My cousin Scythrop has of late had an air of mystery about him, which gives me great uneasiness.
MR FLOSKY That is strange: nothing is so becoming to a man as an air of mystery. Mystery is the very key-stone of all that is beautiful in poetry, all that is sacred in faith, and all that is recondite35 in transcendental psychology36. I am writing a ballad which is all mystery; it is ‘such stuff as dreams are made of,’ and is, indeed, stuff made of a dream; for, last night I fell asleep as usual over my book, and had a vision of pure reason. I composed five hundred lines in my sleep; so that, having had a dream of a ballad, I am now officiating as my own Peter Quince, and making a ballad of my dream, and it shall be called Bottom’s Dream, because it has no bottom.
MARIONETTA I see, Mr Flosky, you think my intrusion unseasonable, and are inclined to punish it, by talking nonsense to me. (Mr Flosky gave a start at the word nonsense, which almost overturned the table.) I assure you, I would not have intruded37 if I had not been very much interested in the question I wish to ask you. —(Mr Flosky listened in sullen38 dignity.)— My cousin Scythrop seems to have some secret preying39 on his mind. —(Mr Flosky was silent.)— He seems very unhappy — Mr Flosky. — Perhaps you are acquainted with the cause. —(Mr Flosky was still silent.)— I only wish to know — Mr Flosky — if it is any thing — that could be remedied by any thing — that any one — of whom I know any thing — could do.
MR FLOSKY (after a pause) There are various ways of getting at secrets. The most approved methods, as recommended both theoretically and practically in philosophical40 novels, are eavesdropping41 at key-holes, picking the locks of chests and desks, peeping into letters, steaming wafers, and insinuating42 hot wire under sealing wax; none of which methods I hold it lawful43 to practise.
MARIONETTA Surely, Mr Flosky, you cannot suspect me of wishing to adopt or encourage such base and contemptible44 arts.
MR FLOSKY Yet are they recommended, and with well-strung reasons, by writers of gravity and note, as simple and easy methods of studying character, and gratifying that laudable curiosity which aims at the knowledge of man.
MARIONETTA I am as ignorant of this morality which you do not approve, as of the metaphysics which you do: I should be glad to know by your means, what is the matter with my cousin; I do not like to see him unhappy, and I suppose there is some reason for it.
MR FLOSKY Now I should rather suppose there is no reason for it: it is the fashion to be unhappy. To have a reason for being so would be exceedingly common-place: to be so without any is the province of genius: the art of being miserable45 for misery’s sake, has been brought to great perfection in our days; and the ancient Odyssey46, which held forth47 a shining example of the endurance of real misfortune, will give place to a modern one, setting out a more instructive picture of querulous impatience48 under imaginary evils.
MARIONETTA Will you oblige me, Mr Flosky, by giving me a plain answer to a plain question?
MR FLOSKY It is impossible, my dear Miss O’Carroll. I never gave a plain answer to a question in my life.
MARIONETTA Do you, or do you not, know what is the matter with my cousin?
MR FLOSKY To say that I do not know, would be to say that I am ignorant of something; and God forbid, that a transcendental metaphysician, who has pure anticipated cognitions of every thing, and carries the whole science of geometry in his head without ever having looked into Euclid, should fall into so empirical an error as to declare himself ignorant of any thing: to say that I do know, would be to pretend to positive and circumstantial knowledge touching49 present matter of fact, which, when you consider the nature of evidence, and the various lights in which the same thing may be seen —
MARIONETTA I see, Mr Flosky, that either you have no information, or are determined not to impart it; and I beg your pardon for having given you this unnecessary trouble.
MR FLOSKY My dear Miss O’Carroll, it would have given me great pleasure to have said any thing that would have given you pleasure; but if any person living could make report of having obtained any information on any subject from Ferdinando Flosky, my transcendental reputation would be ruined for ever.
点击收听单词发音
1 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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2 trifling | |
adj.微不足道的;没什么价值的 | |
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3 capability | |
n.能力;才能;(pl)可发展的能力或特性等 | |
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4 discomfort | |
n.不舒服,不安,难过,困难,不方便 | |
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5 soothe | |
v.安慰;使平静;使减轻;缓和;奉承 | |
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6 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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7 diurnal | |
adj.白天的,每日的 | |
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8 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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9 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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10 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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11 scruples | |
n.良心上的不安( scruple的名词复数 );顾虑,顾忌v.感到于心不安,有顾忌( scruple的第三人称单数 ) | |
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12 determined | |
adj.坚定的;有决心的 | |
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13 annoyance | |
n.恼怒,生气,烦恼 | |
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14 obviated | |
v.避免,消除(贫困、不方便等)( obviate的过去式和过去分词 ) | |
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15 shutters | |
百叶窗( shutter的名词复数 ); (照相机的)快门 | |
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16 sate | |
v.使充分满足 | |
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17 frenzy | |
n.疯狂,狂热,极度的激动 | |
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18 intruding | |
v.侵入,侵扰,打扰( intrude的现在分词);把…强加于 | |
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19 conversant | |
adj.亲近的,有交情的,熟悉的 | |
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20 subtleties | |
细微( subtlety的名词复数 ); 精细; 巧妙; 细微的差别等 | |
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21 juxtaposition | |
n.毗邻,并置,并列 | |
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22 dire | |
adj.可怕的,悲惨的,阴惨的,极端的 | |
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23 negation | |
n.否定;否认 | |
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24 thereby | |
adv.因此,从而 | |
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25 sane | |
adj.心智健全的,神志清醒的,明智的,稳健的 | |
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26 essentially | |
adv.本质上,实质上,基本上 | |
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27 abstruse | |
adj.深奥的,难解的 | |
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28 elucidate | |
v.阐明,说明 | |
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29 condescend | |
v.俯就,屈尊;堕落,丢丑 | |
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30 intelligible | |
adj.可理解的,明白易懂的,清楚的 | |
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31 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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32 buckled | |
a. 有带扣的 | |
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33 armour | |
(=armor)n.盔甲;装甲部队 | |
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34 humility | |
n.谦逊,谦恭 | |
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35 recondite | |
adj.深奥的,难解的 | |
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36 psychology | |
n.心理,心理学,心理状态 | |
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37 intruded | |
n.侵入的,推进的v.侵入,侵扰,打扰( intrude的过去式和过去分词 );把…强加于 | |
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38 sullen | |
adj.愠怒的,闷闷不乐的,(天气等)阴沉的 | |
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39 preying | |
v.掠食( prey的现在分词 );掠食;折磨;(人)靠欺诈为生 | |
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40 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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41 eavesdropping | |
n. 偷听 | |
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42 insinuating | |
adj.曲意巴结的,暗示的v.暗示( insinuate的现在分词 );巧妙或迂回地潜入;(使)缓慢进入;慢慢伸入 | |
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43 lawful | |
adj.法律许可的,守法的,合法的 | |
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44 contemptible | |
adj.可鄙的,可轻视的,卑劣的 | |
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45 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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46 odyssey | |
n.长途冒险旅行;一连串的冒险 | |
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47 forth | |
adv.向前;向外,往外 | |
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48 impatience | |
n.不耐烦,急躁 | |
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49 touching | |
adj.动人的,使人感伤的 | |
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