I like a dirty slum; not because I am naturally unclean — I have not a drop of Neapolitan blood in my veins8 — but because I generally find a certain sediment9 of philosophy precipitated10 in its gutters11. A clean street is terribly prosaic12. There is no food for thought in carefully swept pavements, barren kennels13, and vulgarly spotless houses. But when I go down a street which has been left so long to itself that it has acquired a distinct outward character, I find plenty to think about. The scraps14 of sodden15 letters lying in the ash-barrel have their meaning: desperate appeals, perhaps, from Tom, the baker’s assistant, to Amelia, the daughter of the dry-goods retailer16, who is always selling at a sacrifice in consequence of the late fire. That may be Tom himself who is now passing me in a white apron17, and I look up at the windows of the house (which does not, however, give any signs of a recent conflagration) and almost hope to see Amelia wave a white pocket-handkerchief. The bit of orange-peel lying on the sidewalk inspires thought. Who will fall over it? who but the industrious18 mother of six children, the eldest19 of which is only nine months old, all of whom are dependent on her exertions20 for support? I see her slip and tumble. I see the pale face convulsed with agony, and the vain struggle to get up; the pitying crowd closing her off from all air; the anxious young doctor who happened to be passing by; the manipulation of the broken limb, the shake of the head, the moan of the victim, the litter borne on men’s shoulders, the gates of the New York Hospital unclosing, the subscription21 taken up on the spot. There is some food for speculation22 in that three-year-old, tattered23 child, masked with dirt, who is throwing a brick at another three-year-old, tattered child, masked with dirt. It is not difficult to perceive that he is destined24 to lurk25, as it were, through life. His bad, flat face — or, at least, what can be seen of it — does not look as if it were made for the light of day. The mire26 in which he wallows now is but a type of the moral mire in which he will wallow hereafter. The feeble little hand lifted at this instant to smite27 his companion, half in earnest, half in jest, will be raised against his fellow-beings forevermore.
Golosh Street — as I will call this nameless lane before alluded28 to — is an interesting locality. All the oddities of trade seem to have found their way thither29 and made an eccentric mercantile settlement. There is a bird-shop at one corner, wainscoted with little cages containing linnets, waxwings, canaries, blackbirds, Mino-birds, with a hundred other varieties, known only to naturalists30. Immediately opposite is an establishment where they sell nothing but ornaments31 made out of the tinted32 leaves of autumn, varnished33 and gummed into various forms. Farther down is a second-hand34 book-stall, which looks like a sentry~box mangled35 out flat, and which is remarkable36 for not containing a complete set of any work. There is a small chink between two ordinary~sized houses, in which a little Frenchman makes and sells artificial eyes, specimens37 of which, ranged on a black velvet38 cushion, stare at you unwinkingly through the window as you pass, until you shudder39 and hurry on, thinking how awful the world would be, if every one went about without eyelids40. There are junk-shops in Golosh Street that seem to have got hold of all the old nails in the Ark and all the old brass41 of Corinth. Madame Filomel, the fortune-teller, lives at No. 12 Golosh Street, second story front, pull the bell on the left-hand side. Next door to Madame is the shop of Herr Hippe, commonly called the Wondersmith.
Herr Hippe’s shop is the largest in Golosh Street, and to all appearance is furnished with the smallest stock. Beyond a few packing~cases, a turner’s lathe42, and a shelf laden43 with dissected44 maps of Europe, the interior of the shop is entirely45 unfurnished. The window, which is lofty and wide, but much begrimed with dirt, contains the only pleasant object in the place. This is a beautiful little miniature theatre — that is to say, the orchestra and stage. It is fitted with charmingly painted scenery and all the appliances for scenic46 changes. There are tiny traps, and delicately constructed “lifts,” and real footlights fed with burning-fluid, and in the orchestra sits a diminutive47 conductor before his desk, surrounded by musical manikins, all provided with the smallest of violoncellos, flutes48, oboes, drums, and such like. There are characters also on the stage. A Templar in a white cloak is dragging a fainting female form to the parapet of a ruined bridge, while behind a great black rock on the left one can see a man concealed49, who, kneeling, levels an arquebuse at the knight’s heart. But the orchestra is silent; the conductor never beats the time, the musicians never play a note. The Templar never drags his victim an inch nearer to the bridge, the masked avenger50 takes an eternal aim with his weapon. This repose51 appears unnatural52; for so admirably are the figures executed, that they seem replete53 with life. One is almost led to believe, in looking on them, that they are resting beneath some spell which hinders their motion. One expects every moment to hear the loud explosion of the arquebuse — to see the blue smoke curling, the Templar falling — to hear the orchestra playing the requiem54 of the guilty.
Few people knew what Herr Hippe’s business or trade really was. That he worked at something was evident; else why the shop? Some people inclined to the belief that he was an inventor, or mechanician. His workshop was in the rear of the store, and into that sanctuary55 no one but himself had admission. He arrived in Golosh Street eight or ten years ago, and one fine morning, the neighbors, taking down their shutters56, observed that No. 13 had got a tenant57. A tall, thin, sallow~faced man stood on a ladder outside the shop-entrance, nailing up a large board, on which “Herr Hippe, Wondersmith,” was painted in black letters on a yellow ground. The little theatre stood in the window, where it stood ever after, and Herr Hippe was established.
But what was a Wondersmith? people asked each other. No one could reply. Madame Filomel was consulted, but she looked grave, and said that it was none of her business. Mr. Pippel, the bird-fancier, who was a German, and ought to know best, thought it was the English for some singular Teutonic profession; but his replies were so vague, that Golosh Street was as unsatisfied as ever. Solon, the little humpback, who kept the odd-volume book-stall at the lowest corner, could throw no light upon it. And at length people had to come to the conclusion, that Herr Hippe was either a coiner or a magician, and opinions were divided.
点击收听单词发音
1 slants | |
(使)倾斜,歪斜( slant的第三人称单数 ); 有倾向性地编写或报道 | |
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2 determined | |
adj.坚定的;有决心的 | |
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3 adage | |
n.格言,古训 | |
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4 taint | |
n.污点;感染;腐坏;v.使感染;污染 | |
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5 filth | |
n.肮脏,污物,污秽;淫猥 | |
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6 greasy | |
adj. 多脂的,油脂的 | |
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7 ghetto | |
n.少数民族聚居区,贫民区 | |
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8 veins | |
n.纹理;矿脉( vein的名词复数 );静脉;叶脉;纹理 | |
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9 sediment | |
n.沉淀,沉渣,沉积(物) | |
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10 precipitated | |
v.(突如其来地)使发生( precipitate的过去式和过去分词 );促成;猛然摔下;使沉淀 | |
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11 gutters | |
(路边)排水沟( gutter的名词复数 ); 阴沟; (屋顶的)天沟; 贫贱的境地 | |
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12 prosaic | |
adj.单调的,无趣的 | |
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13 kennels | |
n.主人外出时的小动物寄养处,养狗场;狗窝( kennel的名词复数 );养狗场 | |
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14 scraps | |
油渣 | |
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15 sodden | |
adj.浑身湿透的;v.使浸透;使呆头呆脑 | |
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16 retailer | |
n.零售商(人) | |
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17 apron | |
n.围裙;工作裙 | |
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18 industrious | |
adj.勤劳的,刻苦的,奋发的 | |
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19 eldest | |
adj.最年长的,最年老的 | |
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20 exertions | |
n.努力( exertion的名词复数 );费力;(能力、权力等的)运用;行使 | |
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21 subscription | |
n.预订,预订费,亲笔签名,调配法,下标(处方) | |
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22 speculation | |
n.思索,沉思;猜测;投机 | |
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23 tattered | |
adj.破旧的,衣衫破的 | |
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24 destined | |
adj.命中注定的;(for)以…为目的地的 | |
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25 lurk | |
n.潜伏,潜行;v.潜藏,潜伏,埋伏 | |
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26 mire | |
n.泥沼,泥泞;v.使...陷于泥泞,使...陷入困境 | |
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27 smite | |
v.重击;彻底击败;n.打;尝试;一点儿 | |
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28 alluded | |
提及,暗指( allude的过去式和过去分词 ) | |
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29 thither | |
adv.向那里;adj.在那边的,对岸的 | |
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30 naturalists | |
n.博物学家( naturalist的名词复数 );(文学艺术的)自然主义者 | |
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31 ornaments | |
n.装饰( ornament的名词复数 );点缀;装饰品;首饰v.装饰,点缀,美化( ornament的第三人称单数 ) | |
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32 tinted | |
adj. 带色彩的 动词tint的过去式和过去分词 | |
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33 varnished | |
浸渍过的,涂漆的 | |
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34 second-hand | |
adj.用过的,旧的,二手的 | |
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35 mangled | |
vt.乱砍(mangle的过去式与过去分词形式) | |
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36 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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37 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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38 velvet | |
n.丝绒,天鹅绒;adj.丝绒制的,柔软的 | |
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39 shudder | |
v.战粟,震动,剧烈地摇晃;n.战粟,抖动 | |
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40 eyelids | |
n.眼睑( eyelid的名词复数 );眼睛也不眨一下;不露声色;面不改色 | |
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41 brass | |
n.黄铜;黄铜器,铜管乐器 | |
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42 lathe | |
n.车床,陶器,镟床 | |
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43 laden | |
adj.装满了的;充满了的;负了重担的;苦恼的 | |
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44 dissected | |
adj.切开的,分割的,(叶子)多裂的v.解剖(动物等)( dissect的过去式和过去分词 );仔细分析或研究 | |
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45 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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46 scenic | |
adj.自然景色的,景色优美的 | |
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47 diminutive | |
adj.小巧可爱的,小的 | |
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48 flutes | |
长笛( flute的名词复数 ); 细长香槟杯(形似长笛) | |
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49 concealed | |
a.隐藏的,隐蔽的 | |
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50 avenger | |
n. 复仇者 | |
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51 repose | |
v.(使)休息;n.安息 | |
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52 unnatural | |
adj.不自然的;反常的 | |
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53 replete | |
adj.饱满的,塞满的;n.贮蜜蚁 | |
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54 requiem | |
n.安魂曲,安灵曲 | |
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55 sanctuary | |
n.圣所,圣堂,寺庙;禁猎区,保护区 | |
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56 shutters | |
百叶窗( shutter的名词复数 ); (照相机的)快门 | |
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57 tenant | |
n.承租人;房客;佃户;v.租借,租用 | |
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