It was no wonder that Cressy ran away with young Charley Wilton, who hadn’t a shabby thing about him except his health. He was her first music teacher, the choir-master of the church in which she sang. Charley was very handsome; the “romantic” son of an old, impoverished11 family. He had refused to go into a good business with his uncles and had gone abroad to study music when that was an extravagant12 and picturesque13 thing for an Ohio boy to do. His letters home were handed round among the members of his own family and of other families equally conservative. Indeed, Charley and what his mother called “his music” were the romantic expression of a considerable group of people; young cousins and old aunts and quiet-dwelling neighbours, allied14 by the amity15 of several generations. Nobody was properly married in our part of Columbus unless Charley Wilton, and no other, played the wedding march. The old ladies of the First Church used to say that he “hovered over the keys like a spirit.” At nineteen Cressida was beautiful enough to turn a much harder head than the pale, ethereal one Charley Wilton bent16 above the organ.
That the chapter which began so gracefully17 ran on into such a stretch of grim, hard prose, was simply Cressida’s relentless18 bad luck. In her undertakings19, in whatever she could lay hold of with her two hands, she was successful; but whatever happened to her was almost sure to be bad. Her family, her husbands, her son, would have crushed any other woman I have ever known. Cressida lived, more than most of us, “for others”; and what she seemed to promote among her beneficiaries was indolence and envy and discord20 — even dishonesty and turpitude21.
Her sisters were fond of saying — at club luncheons22 — that Cressida had remained “untouched by the breath of scandal,” which was not strictly23 true. There were captious24 people who objected to her long and close association with Miletus Poppas. Her second husband, Ransome McChord, the foreign representative of the great McChord Harvester Company, whom she married in Germany, had so persistently25 objected to Poppas that she was eventually forced to choose between them. Any one who knew her well could easily understand why she chose Poppas.
While her actual self was the least changed, the least modified by experience that it would be possible to imagine, there had been, professionally, two Cressida Garnets; the big handsome girl, already a “popular favourite” of the concert stage, who took with her to Germany the raw material of a great voice; — and the accomplished26 artist who came back. The singer that returned was largely the work of Miletus Poppas. Cressida had at least known what she needed, hunted for it, found it, and held fast to it. After experimenting with a score of teachers and accompanists, she settled down to work her problem out with Poppas. Other coaches came and went — she was always trying new ones — but Poppas survived them all. Cressida was not musically intelligent; she never became so. Who does not remember the countless27 rehearsals28 which were necessary before she first sang Isolde in Berlin; the disgust of the conductor, the sullenness29 of the tenor30, the rages of the blonde teufelin, boiling with the impatience31 of youth and genius, who sang her Brangaena? Everything but her driving power Cressida had to get from the outside.
Poppas was, in his way, quite as incomplete as his pupil. He possessed32 a great many valuable things for which there is no market; intuitions, discrimination, imagination, a whole twilight33 world of intentions and shadowy beginnings which were dark to Cressida. I remember that when “Trilby” was published she fell into a fright and said such books ought to be prohibited by law; which gave me an intimation of what their relationship had actually become.
Poppas was indispensable to her. He was like a book in which she had written down more about herself than she could possibly remember — and it was information that she might need at any moment. He was the one person who knew her absolutely and who saw into the bottom of her grief. An artist’s saddest secrets are those that have to do with his artistry. Poppas knew all the simple things that were so desperately34 hard for Cressida, all the difficult things in which she could count on herself; her stupidities and inconsistencies, the chiaroscuro35 of the voice itself and what could be expected from the mind somewhat mismated with it. He knew where she was sound and where she was mended. With him she could share the depressing knowledge of what a wretchedly faulty thing any productive faculty36 is.
But if Poppas was necessary to her career, she was his career. By the time Cressida left the Metropolitan37 Opera Company, Poppas was a rich man. He had always received a retaining fee and a percentage of her salary, — and he was a man of simple habits. Her liberality with Poppas was one of the weapons that Horace and the Garnets used against Cressida, and it was a point in the argument by which they justified38 to themselves their rapacity39. Whatever they didn’t get, they told themselves, Poppas would. What they got, therefore, they were only saving from Poppas. The Greek ached a good deal at the general pillage40, and Cressida’s conciliatory methods with her family made him sarcastic41 and spiteful. But he had to make terms, somehow, with the Garnets and Horace, and with the husband, if there happened to be one. He sometimes reminded them, when they fell to wrangling42, that they must not, after all, overturn the boat under them, and that it would be better to stop just before they drove her wild than just after. As he was the only one among them who understood the sources of her fortune, — and they knew it, — he was able, when it came to a general set-to, to proclaim sanctuary43 for the goose that laid the golden eggs.
That Poppas had caused the break between Cressida and McChord was another stick her sisters held over her. They pretended to understand perfectly44, and were always explaining what they termed her “separation”; but they let Cressida know that it cast a shadow over her family and took a good deal of living down.
A beautiful soundness of body, a seemingly exhaustless vitality45, and a certain “squareness” of character as well as of mind, gave Cressida Garnet earning powers that were exceptional even in her lavishly46 rewarded profession. Managers chose her over the heads of singers much more gifted, because she was so sane47, so conscientious48, and above all, because she was so sure. Her efficiency was like a beacon49 to lightly anchored men, and in the intervals50 between her marriages she had as many suitors as Penelope. Whatever else they saw in her at first, her competency so impressed and delighted them that they gradually lost sight of everything else. Her sterling51 character was the subject of her story. Once, as she said, she very nearly escaped her destiny. With Blasius Bouchalka she became almost another woman, but not quite. Her “principles,” or his lack of them, drove those two apart in the end. It was of Bouchalka that we talked upon that last voyage I ever made with Cressida Garnet, and not of Jerome Brown. She remembered the Bohemian kindly52, and since it was the passage in her life to which she most often reverted53, it is the one I shall relate here.
点击收听单词发音
1 preoccupied | |
adj.全神贯注的,入神的;被抢先占有的;心事重重的v.占据(某人)思想,使对…全神贯注,使专心于( preoccupy的过去式) | |
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2 inflamed | |
adj.发炎的,红肿的v.(使)变红,发怒,过热( inflame的过去式和过去分词 ) | |
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3 democrat | |
n.民主主义者,民主人士;民主党党员 | |
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4 inscribed | |
v.写,刻( inscribe的过去式和过去分词 );内接 | |
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5 eminence | |
n.卓越,显赫;高地,高处;名家 | |
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6 originality | |
n.创造力,独创性;新颖 | |
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7 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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8 frankly | |
adv.坦白地,直率地;坦率地说 | |
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9 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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10 grudges | |
不满,怨恨,妒忌( grudge的名词复数 ) | |
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11 impoverished | |
adj.穷困的,无力的,用尽了的v.使(某人)贫穷( impoverish的过去式和过去分词 );使(某物)贫瘠或恶化 | |
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12 extravagant | |
adj.奢侈的;过分的;(言行等)放肆的 | |
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13 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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14 allied | |
adj.协约国的;同盟国的 | |
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15 amity | |
n.友好关系 | |
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16 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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17 gracefully | |
ad.大大方方地;优美地 | |
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18 relentless | |
adj.残酷的,不留情的,无怜悯心的 | |
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19 undertakings | |
企业( undertaking的名词复数 ); 保证; 殡仪业; 任务 | |
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20 discord | |
n.不和,意见不合,争论,(音乐)不和谐 | |
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21 turpitude | |
n.可耻;邪恶 | |
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22 luncheons | |
n.午餐,午宴( luncheon的名词复数 ) | |
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23 strictly | |
adv.严厉地,严格地;严密地 | |
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24 captious | |
adj.难讨好的,吹毛求疵的 | |
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25 persistently | |
ad.坚持地;固执地 | |
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26 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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27 countless | |
adj.无数的,多得不计其数的 | |
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28 rehearsals | |
n.练习( rehearsal的名词复数 );排练;复述;重复 | |
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29 sullenness | |
n. 愠怒, 沉闷, 情绪消沉 | |
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30 tenor | |
n.男高音(歌手),次中音(乐器),要旨,大意 | |
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31 impatience | |
n.不耐烦,急躁 | |
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32 possessed | |
adj.疯狂的;拥有的,占有的 | |
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33 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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34 desperately | |
adv.极度渴望地,绝望地,孤注一掷地 | |
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35 chiaroscuro | |
n.明暗对照法 | |
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36 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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37 metropolitan | |
adj.大城市的,大都会的 | |
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38 justified | |
a.正当的,有理的 | |
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39 rapacity | |
n.贪婪,贪心,劫掠的欲望 | |
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40 pillage | |
v.抢劫;掠夺;n.抢劫,掠夺;掠夺物 | |
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41 sarcastic | |
adj.讥讽的,讽刺的,嘲弄的 | |
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42 wrangling | |
v.争吵,争论,口角( wrangle的现在分词 ) | |
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43 sanctuary | |
n.圣所,圣堂,寺庙;禁猎区,保护区 | |
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44 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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45 vitality | |
n.活力,生命力,效力 | |
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46 lavishly | |
adv.慷慨地,大方地 | |
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47 sane | |
adj.心智健全的,神志清醒的,明智的,稳健的 | |
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48 conscientious | |
adj.审慎正直的,认真的,本着良心的 | |
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49 beacon | |
n.烽火,(警告用的)闪火灯,灯塔 | |
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50 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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51 sterling | |
adj.英币的(纯粹的,货真价实的);n.英国货币(英镑) | |
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52 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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53 reverted | |
恢复( revert的过去式和过去分词 ); 重提; 回到…上; 归还 | |
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