It would be giving a false impression to say that Mrs. Collingwood had enjoyed herself. She took a holiday like medicine, with a view to its after-effects, in order to enable her to return with renewed vigour4 to the battle with immoral5 books and people who were not helpful and did not live in closes. In order to attain6 this end as fully7 as possible she had spent all her time out of doors, taking long strolls from breakfast till lunch, and a walk with her husband from lunch till tea, on the recognised plan that the best rest for a tired mind is to strenuously8 overtire the body also. She had continually looked at the beauties of nature also as part of the prescription9, and had read a little Wordsworth as she would read a guide-book in a foreign town. In the evening, and sometimes if it was exceedingly wet, she would work, and had produced three G. F. S. leaflets, one of which embodied10 her lecture on the Down[82]ward Tendencies of Modern Fiction. Another was called No Parleyings with the Enemy. In fact, when she and her husband returned, she might be said to be a match for anything.
Jack arrived on a brilliant September afternoon, and, sending his luggage on, walked himself. The old, quaint11 town seemed to his brisker London eye to be dozing12 on as peacefully as ever, in a sort of tranquil13 medi?val drowsiness14. From the station, which was on a hill, he could see across the cup-shaped hollow in which lay the red-tiled town. There were no new houses on the way down, and the names above all the old ones were the same. The man who had cut his hair when he was a child stood, as he had always stood, at his door, looking on to the street, with a pair of scissors stuck into the pocket of his white apron15, neither balder nor stouter16 than he used to be. It had always been a matter of wonder to Jack how a man with so bald a head dare have his windows filled full of infallible hair-preservers, but perhaps he was a cynic, and traded with amusement on the fathomless17 credulity of[83] man. The very slope of the high street seemed designed for a leisurely18 folk; it was too steep for a horse to trot19 either up or down, and the foot-passengers ascended20 softly like bubbles arising through water, and descended21 with the same equable motion like pebbles22 sinking in the sea. Half-way down he branched off through a covered passage leading under a house into the close, and there, too, time seemed to have stood still. A few nursery-maids wheeled contented23 babies up and down its paths, and children were playing among the grave-stones; the gray pinnacled24 west front seemed the incarnation of stability. As always, the place asserted its instant charm over him; for the moment as he passed through the grave-yard into the close he would have asked nothing better than to say an eternal good-bye to the froth and bubble of the world and turn the key on his ambitions. It would be necessary, he reflected, to be rid of them, else in a week or two he would be tingling25 for wider things again and chafing26 at the slow passage of ungrudged hours. Like all healthily minded young men, he knew he was going to overtop[84] the world, and the air here was opiate. But for the moment he was in love with tranquility.
Both his father and mother were out when he arrived at the house, and, with the spell of soothing27 still on him, he sauntered off again, meaning to return home for tea, and leaving the town, struck into a foot-path that led through the water-meadows by the river. It has been stated how his mother regretted that, if he was to be a painter at all, he had not been a landscape-painter, and this afternoon the regret was his also. Portrait-painting, he told himself, was an inspiration which might or might not be at one’s command. For every hundred faces he looked at he only saw one or two that suggested anything. Before now he had caused offence, when given an order for a portrait, by insisting on seeing his sitter before he promised anything, and then declining the task. It was not beauty he looked for in a face, nor was it exactly intelligence. The quality, whatever it was, might be altogether absent in the most admired features, and present in every line of the face when there were, so to speak, no[85] features at all. It was this eternal search for this, the refusal to paint where he did not find it, and a magical brush when he did, that had already given him a somewhat unusual standing28 among the younger painters of the day. His pictures were few, but, as a natural consequence of the integrity and honesty of his art, his refusal to paint without the conviction that his subject was for him, there was nothing in any of them to show a want of grasp. That everything was proper material for art he did not deny, but he emphatically affirmed that everything was not proper material for each artist.
But, compared to the portrait-painter who thus limited himself, how fortunate, he thought, was the landscape-painter. All trees were paintable if you could paint a tree at all; all clear and running water was beautiful, all clouds “composed.” This green bank on which he wandered, the lower grasses of which waved in the suck of the brilliant stream, the stretch of meadow beyond, tall with loose-strife and the hundred herbs of watery29 places, the great austern downs beyond with the clump30 or two of pines, the[86] remnants of the great southern forests of England—what landscape-painter could fail to find his subject in any of these?
He paused on the edge of the stream where the water was running in steadfast31 haste toward a mill which stood a hundred yards below, and looked long into that translucent32 coolness. Subaqueous plantations33 of green weed undulated backward and forward in the thrust of the water like the tail of a poised34 fish, alternating with bare spaces pebble-sown, but the pebbles were glorified35 to topaz and amber36. Here and there tall tufts of pithy37 rushes stood breast-high in the water, making strange movements of twitching38 as the current struck them, causing the smooth crystal to be broken with a sudden dimple. Over the surface from time to time there would run like a wreath of mist a darker line, as if some finger had traced on the stream a letter which the water was trying to efface39; then the mark would change from a circle to a half-circle, straighten itself out for a moment, and then be broken. From below came the gush40 of the mill mixed with the bourdon note of the machinery41, and Jack could see the[87] rush of water coming out of the dark passage in torrents42 of white foam43, a soda-water of bubbles. There, he knew, the weeds would be altogether different; they would be close as velvet44, or moss45 on a tree, offering little surface to the flood, and not like thick, branching forests, which would be torn away in the mill-race.
He had waited so long looking into the water that he saw it was nearly time to go back, but the attraction of the stream held him by cords, and he could not but go on, just to look at the jubilant water escaping from the prison of the mill and perhaps extend his wandering to a pool he knew of a hundred yards below where the water deepened suddenly and resumed again its sedater46 going. A plank47 bridge crossed at the head of this, just below a red brick wall which bounded the garden belonging to the mill. He would go as far as that corner, cross the stream, and return to Wroxton by the path on the other side of the meadows.
So on he went: the channel below the mill was all it should be, and the sun, for his delight, caught the white spray of the plunging[88] river and hung a broken rainbow on it. This Jack felt was a gift thrown in; he had not anticipated it, and it gave him a thrill of pleasure. Yet, even as he looked, he shook his head. The need of the artist for expression was on him, and he could only tell himself that this was all beautiful, and he wished he was a landscape-painter. And, thinking thus, he turned the corner of the red wall, and stopped.
In the centre of the plank bridge by which he intended to cross was standing a girl opposite him, with a face full of laughter and anxiety, and with her parasol she kept at bay a small retriever puppy who had just left the water, and, still dripping, was evidently coming to his mistress in order to shake himself and receive her congratulations on his having had a swim. Even as Jack turned the corner the puppy began his shake, and to his trained, quick eye the whole scene was as complete and as faithful as an instantaneous photograph. The puppy’s head was already shaken, and down to his shoulders he was black and curly set in a halo of spray, but the shake had not yet touched his back and tail,[89] the hair of which was still shining and close. The girl was also dressed in black; with one hand she drew her skirts away from the dog, with the other she held out her open parasol so that the puppy should be compelled to keep his distance, for the bridge was narrow, and he could hardly pass. Her face, with its wide, laughing eyes set in an expression of agonized48 dismay, which her smiling mouth contradicted, was a moment’s miracle. Obviously every nerve of her body, every cell, however secret, in her brain was taken up and lost in the amused fear that the puppy would wet her. She had no hat on, and the perfect oval of her face was crowned with the most glorious black hair. And Jack gave a quick-drawn49 breath. A moment before he had lamented50 that he was not a landscape-painter; now, for all he cared, the world might be made of Portland cement, if only that girl would laugh and that puppy would shake itself.
The infinite moment was soon over. Even while he stared, oblivious51 of all else, the puppy had grown curly from nose to tail, the anxiety had faded like a breath from the gir[90]l’s face, and she looked up and saw him. She turned and retraced52 her steps over the plank, and stepped into the meadow, where, only a few yards off, was sitting an oldish lady reading a book. The girl’s hat was lying by her, and there was a tea-basket out, the silver of which twinkled pleasantly in the sun. Jack walked straight past them, and did not look again. He had recorded in his brain all he wanted, and to stop and stare would be not only rude but, what in his present frame of mind was more important, unnecessary. He did not even look round when he heard short, scuffling steps behind him, and impatient barkings, and a voice said, “Toby, come here at once.”
He knew instinctively53 that it was the girl who had spoken, and not the elder lady, for the voice had the timbre54 which belonged to that face. Who she was he did not know, and really he did not care. She had given him a vision, and she might disappear again. He would have liked, he longed, in fact, to paint her, but no more, and, except as a sitter, she was nothing to him. He could even, on reflection, have thought twice about that, for[91] his one moment had been so complete and was so indelible. Perhaps she was a poseuse, startled for once into a genuine emotion, though on so small a matter as the wetting of her gown. It was more than possible that she would never serve him again, though she sat to him for a score of years, as she had served him at that moment. She did not concern him as long as the puppy was not shaking itself close to her, and in that regard she was his already. And as he walked back along the water-meadows he thought no more about the amber pavement of the stream, and envied not any mood of the landscape-painter, for whom a water-meadow held no such exquisite55 surprises. But the girl was to him no more than a subject, and though the puppy was an essential factor in the scene, he valued it not on the principle of “Love me, love my dog.”
All the way home his vision remained vivid, and in his mind he settled the composition of it. The girl should stand facing full, with the dog almost straight in front of her, cutting the canvas in two by a long black line. Behind should be the green meadow,[92] with a narrow strip of broken ground just indicating the stream bank, and the moment should be when the dog had shaken its head curly again, while the rest of it was still drowned and sleek56. And in the joy of creation he laughed aloud and let his pipe go out.
He found his father and mother had both come in, and was told they were having tea in the garden. Canon Collingwood welcomed him warmly, and his mother evidently remembered she was his mother. These first moments were always a little awkward, for Jack was apt to forget how few subjects they had in common, and would pour himself out in matters that were near his life before perceiving that what he said was, if not distasteful to his mother, at any rate alien to her. He did so on this occasion.
“I walked down by the river as I saw you were not in,” he said, “and I was in luck. Just as I turned the corner by the mill I came upon a finished picture. A girl standing on the bridge, keeping off a wet puppy with her parasol. You should have seen her face, beautiful to begin with, laughing in every[93] line. I never saw anything so complete. I wonder who she was?”
“Some young woman from the town probably,” said his mother, in tones that would have frozen the mercury in a thermometer.
“I wish I had spoken to her now,” continued the unfortunate Jack, “though I didn’t want to at the moment. Anyhow, I remember her face pretty well. Besides, she looked a lady—it might have been awkward.”
“Very awkward,” said his mother.
This time he heard, and the vivacity57 was struck from his face. But he went on without a pause.
“And did you enjoy your time at the Lakes, father?” he said; “I never answered your letter, I know, but I really was tremendously busy, though that is no excuse. I was painting Mrs. Napier; do you know her, mother? She has a sort of Lady Hamilton face.”
Now Lady Hamilton was not a person whom Mrs. Collingwood desired to have mentioned, and she felt it her duty to change the subject.[94]
“There will be a beautiful sunset,” she said.
Now this was kind. Though torture and chains should not make her allude58 to any one who even resembled that notorious woman, yet she was willing to talk about subjects in the domain59 of art, provided only that they were innocent, and might without profanation60 be mentioned under the shadow of the Cathedral. But as a Christian61 woman she drew the line at Lady Hamilton.
Canon Collingwood plunged62 to the rescue.
“Exquisite, quite exquisite,” he said; “that rose-colour is so—so beautiful, and the contrast of it with the blue above is quite—quite beautiful.”
And, exhausted63 by the effort of making this discerning criticism, he took another cup of tea. Whether conversation could have languished64 further is unknown, for at the moment the butler came out of the house, followed by Miss Clara Clifford. Mrs. Collingwood welcomed her with a worker’s smile.
“So pleasant to see you,” she said; “you[95] know my son, I think. We were all enjoying the lovely sunset.”
“Beautiful, is it not?” said Miss Clara, staring at the east. She was always a little nervous about coming to call without her sister, but Ph?be had the tooth-ache, and Villa66 Montrose smelt67 as if it were built of creosote. She took a sip68 of her tea, and laid hands upon her courage.
“And talking of sunset,” she said, “reminds me of what I wanted to say to you, Mrs. Collingwood. May we add your name to our list of patronesses this year for our Annual Art Exhibition? You have been so kind as to permit it before.”
“I shall be delighted,” said Mrs. Collingwood, “for I have always found that the Wroxton Exhibition was so delightful69. You must exercise a strict censorship over what you exhibit, and I am sure you do. I remember very clearly seven or eight pictures of Switzerland and several of the Lakes. Surely you remember the picture of Grasmere, William, which was shown last year? I pointed70 out the original to you when we were there.[96]”
It was one of Mrs. Collingwood’s chiefest pleasures in the artistic71 line to be able to see the “original” of a picture she had noticed, or to recognise in a picture an “original” she knew. She cared, in fact, more for the fact that a picture represented a place she knew than she did for its merits. She always bought a catalogue when she went to a picture exhibition, and always marked with a cross the pictures which had pleased her most. These would be found to be representations of places she knew. Occasionally, when she knew a place very well, she would have given the picture two crosses, but two crosses in Mrs. Collingwood’s catalogue were as rare as double stars in Baedeker. Any part of Wroxton Cathedral would receive one, and Grasmere had a chance.
This favourable72 reception of her first request made Miss Clara even bolder. She was afraid that Ph?be might consider her conduct unladylike, but Ph?be was not there. She turned to Jack.
“We should be so much honoured,” she said, “if you could lend us a sketch73, a mere2 sketch. It would be the greatest pleasure,[97] and I would be responsible for its being well hung.”
“I have nothing with me here,” said Jack, “but”—and a thought struck him—“but when must the pictures be sent in by?”
“The exhibition opens in ten days,” said Miss Clifford.
“Certainly then, I shall be charmed,” he said. “It will only be a sketch, you know, but you shall have it this week. Shall I send it to your house?”
Miss Clifford was overwhelmed with gratitude74. She looked round, indeed, apprehensively75 at Mrs. Collingwood, but neither she nor the Canon appeared to have thought her request unmaidenly. The triumph of having secured a sketch by Jack was so great that even Ph?be would probably be lenient76.
Jack had come to Wroxton nominally77 for a holiday, but as soon as Miss Clifford had left he began working at his sketch. He found, as he had hoped, that the scene of the afternoon was very clearly visualized78, and by dinner-time he had sketched79 it out as he meant it to be. He felt an extraordinary de[98]light in the work, and as he progressed with it it became more and more capable of becoming a picture. In fact, before dinner his promised sketch, which he had intended to be an eighteen-inch water-colour, had so changed in scheme that he determined80 to make an oil picture of it, three feet by two. Whether or not it would be finished in the three days in which he had promised that Miss Clifford should have it was more than doubtful, but he had forgotten Miss Clifford. All he knew was that a picture was in his head.
The face he had drawn with great minuteness, and as he found himself reproducing, with a faithfulness for which he had scarcely dared to hope, the laughing anguish65 of the girl, it crossed his mind, but for one moment only, that he was doing rather a questionable81 thing. He had no idea who his subject was. She might or might not be a resident in Wroxton, she might or might not come to the picture exhibition, and then find a portrait of herself; and how she would take it if she did was equally problematical. Jack confessed to himself that he knew nothing whatever of[99] her. All he had seen was her laugh; she might be able to frown; he did not know.
But the scruple82 lasted so short a time, and was in itself of so slight a nature, that it never reoccurred. Artists, it is said, do their work in a sort of somnambulism; it seemed to Jack that he worked in a state of intoxication83. He lived riotously84 when the brush was in his hand, his mind sang and shouted as he worked.
Certainly as he progressed with it—and day by day it continued to prosper85 and live on the canvas—he was frankly86 surprised at the vividness with which the moment had been impressed upon him. The girl had a moonstone brooch on, the dog a silver collar; the sunlight caught some outlying hairs on her head, and though they were black, it turned them into gold. All these things and a hundred like them he had hardly been conscious of seeing until he began to record them.
On the fourth day it was finished, and as soon as it was dry he sent it to Miss Clifford. The day after he was leaving himself and going back to work, and he seemed to himself to have had no holiday at all. Yet he did not[100] regret it; somehow his occupation had taken hold of his mind, and when he looked at the finished thing he knew that conscious humble87 pride which alone is sufficient reward to the artist for what he has done.
“It is good,” he said to himself. “I wish I had seen that girl again,” he added.
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1
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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reposed
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| v.将（手臂等）靠在某人（某物）上( repose的过去式和过去分词 ) | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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immoral
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| adj.不道德的，淫荡的，荒淫的，有伤风化的 | |
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6
attain
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| vt.达到，获得，完成 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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strenuously
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| adv.奋发地，费力地 | |
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prescription
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| n.处方，开药；指示，规定 | |
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10
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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11
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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dozing
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| v.打瞌睡,假寐 n.瞌睡 | |
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tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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14
drowsiness
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| n.睡意；嗜睡 | |
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apron
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| n.围裙；工作裙 | |
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stouter
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| 粗壮的( stout的比较级 )； 结实的； 坚固的； 坚定的 | |
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fathomless
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| a.深不可测的 | |
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leisurely
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| adj.悠闲的；从容的，慢慢的 | |
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trot
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| n.疾走，慢跑；n.老太婆；现成译本；(复数）trots:腹泻（与the 连用）；v.小跑，快步走，赶紧 | |
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ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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descended
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| a.为...后裔的，出身于...的 | |
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pebbles
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| [复数]鹅卵石； 沙砾； 卵石，小圆石( pebble的名词复数 ) | |
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23
contented
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| adj.满意的，安心的，知足的 | |
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pinnacled
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| 小尖塔般耸立的，顶处的 | |
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tingling
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| v.有刺痛感( tingle的现在分词 ) | |
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chafing
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| n.皮肤发炎v.擦热（尤指皮肤）( chafe的现在分词 )；擦痛；发怒；惹怒 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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watery
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| adj.有水的，水汪汪的；湿的，湿润的 | |
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clump
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| n.树丛，草丛；vi.用沉重的脚步行走 | |
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steadfast
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| adj.固定的，不变的，不动摇的；忠实的；坚贞不移的 | |
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translucent
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| adj.半透明的；透明的 | |
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plantations
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| n.种植园，大农场( plantation的名词复数 ) | |
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poised
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| a.摆好姿势不动的 | |
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glorified
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| 美其名的，变荣耀的 | |
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amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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pithy
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| adj.(讲话或文章)简练的 | |
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twitching
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| n.颤搐 | |
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efface
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| v.擦掉，抹去 | |
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gush
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| v.喷，涌；滔滔不绝(说话)；n.喷，涌流；迸发 | |
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41
machinery
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| n.(总称)机械，机器；机构 | |
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42
torrents
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| n.倾注；奔流( torrent的名词复数 )；急流；爆发；连续不断 | |
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43
foam
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| v./n.泡沫，起泡沫 | |
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44
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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45
moss
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| n.苔，藓，地衣 | |
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46
sedater
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| adj.镇定的( sedate的比较级 )；泰然的；不慌不忙的（常用于名词前）；宁静的 | |
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47
plank
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| n.板条，木板，政策要点，政纲条目 | |
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48
agonized
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| v.使（极度）痛苦，折磨( agonize的过去式和过去分词 )；苦斗；苦苦思索；感到极度痛苦 | |
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49
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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50
lamented
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| adj.被哀悼的，令人遗憾的v.（为…）哀悼，痛哭，悲伤( lament的过去式和过去分词 ) | |
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51
oblivious
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| adj.易忘的，遗忘的，忘却的，健忘的 | |
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retraced
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| v.折回( retrace的过去式和过去分词 )；回忆；回顾；追溯 | |
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instinctively
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| adv.本能地 | |
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timbre
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| n.音色，音质 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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sleek
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| adj.光滑的，井然有序的；v.使光滑，梳拢 | |
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vivacity
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| n.快活，活泼，精神充沛 | |
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allude
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| v.提及，暗指 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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profanation
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| n.亵渎 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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languished
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| 长期受苦( languish的过去式和过去分词 )； 受折磨； 变得（越来越）衰弱； 因渴望而变得憔悴或闷闷不乐 | |
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anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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villa
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| n.别墅，城郊小屋 | |
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smelt
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| v.熔解，熔炼；n.银白鱼，胡瓜鱼 | |
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sip
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| v.小口地喝，抿，呷；n.一小口的量 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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pointed
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| adj.尖的，直截了当的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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gratitude
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| adj.感激，感谢 | |
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apprehensively
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| adv.担心地 | |
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lenient
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| adj.宽大的，仁慈的 | |
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nominally
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| 在名义上，表面地； 应名儿 | |
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visualized
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| 直观的，直视的 | |
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sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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determined
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| adj.坚定的；有决心的 | |
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questionable
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| adj.可疑的，有问题的 | |
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scruple
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| n./v.顾忌，迟疑 | |
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intoxication
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| n.wild excitement;drunkenness；poisoning | |
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riotously
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| adv.骚动地，暴乱地 | |
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prosper
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| v.成功，兴隆，昌盛；使成功，使昌隆，繁荣 | |
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frankly
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| adv.坦白地，直率地；坦率地说 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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