It was a dark autumn night. The old banker was pacing from corner to corner of his study, recalling to his mind the party he gave in the autumn fifteen years ago. There were many clever people at the party and much interesting conversation. They talked among other things of capital punishment. The guests, among them not a few scholars and journalists, for the most part disapproved1 of capital punishment. They found it obsolete2 as a means of punishment, unfitted to a Christian3 State and immoral4. Some of them thought that capital punishment should be replaced universally by life-imprisonment5.
"I don't agree with you," said the host. "I myself have experienced neither capital punishment nor life-imprisonment, but if one may judge a priori, then in my opinion capital punishment is more moral and more humane6 than imprisonment. Execution kills instantly, life-imprisonment kills by degrees. Who is the more humane executioner, one who kills you in a few seconds or one who draws the life out of you incessantly8, for years?"
"They're both equally immoral," remarked one of the guests, "because their purpose is the same, to take away life. The State is not God. It has no right to take away that which it cannot give back, if it should so desire."
Among the company was a lawyer, a young man of about twenty-five. On being asked his opinion, he said:
"Capital punishment and life-imprisonment are equally immoral; but if I were offered the choice between them, I would certainly choose the second. It's better to live somehow than not to live at all."
There ensued a lively discussion. The banker who was then younger and more nervous suddenly lost his temper, banged his fist on the table, and turning to the young lawyer, cried out:
"It's a lie. I bet you two millions you wouldn't stick in a cell even for five years."
"If that's serious," replied the lawyer, "then I bet I'll stay not five but fifteen."
"Fifteen! Done!" cried the banker. "Gentlemen, I stake two millions."
"Agreed. You stake two millions, I my freedom," said the lawyer.
So this wild, ridiculous bet came to pass. The banker, who at that time had too many millions to count, spoiled and capricious, was beside himself with rapture10. During supper he said to the lawyer jokingly:
"Come to your senses, young man, before it's too late. Two millions are nothing to me, but you stand to lose three or four of the best years of your life. I say three or four, because you'll never stick it out any longer. Don't forget either, you unhappy man, that voluntary is much heavier than enforced imprisonment. The idea that you have the right to free yourself at any moment will poison the whole of your life in the cell. I pity you."
And now the banker pacing from corner to corner, recalled all this and asked himself:
"Why did I make this bet? What's the good? The lawyer loses fifteen years of his life and I throw away two millions. Will it convince people that capital punishment is worse or better than imprisonment for life. No, No! all stuff and rubbish. On my part, it was the caprice of a well-fed man; on the lawyer's, pure greed of gold."
He recollected11 further what happened after the evening party. It was decided13 that the lawyer must undergo his imprisonment under the strictest observation, in a garden-wing of the banker's house. It was agreed that during the period he would be deprived of the right to cross the threshold, to see living people, to hear human voices, and to receive letters and newspapers. He was permitted to have a musical instrument, to read books, to write letters, to drink wine and smoke tobacco. By the agreement he could communicate, but only in silence, with the outside world through a little window specially14 constructed for this purpose. Everything necessary, books, music, wine, he could receive in any quantity by sending a note through the window. The agreement provided for all the minutest details, which made the confinement15 strictly16 solitary17, and it obliged the lawyer to remain exactly fifteen years from twelve o'clock of November 14th 1870 to twelve o'clock of November 14th 1885. The least attempt on his part to violate the conditions, to escape if only for two minutes before the time freed the banker from the obligation to pay him the two millions.
During the first year of imprisonment, the lawyer, as far as it was possible to judge from his short notes, suffered terribly from loneliness and boredom18. From his wing day and night came the sound of the piano. He rejected wine and tobacco. "Wine," he wrote, "excites desires, and desires are the chief foes19 of a prisoner; besides, nothing is more boring than to drink good wine alone," and tobacco spoils the air in his room. During the first year the lawyer was sent books of a light character; novels with a complicated love interest, stories of crime and fantasy, comedies, and so on.
In the second year the piano was heard no longer and the lawyer asked only for classics. In the fifth year, music was heard again, and the prisoner asked for wine. Those who watched him said that during the whole of that year he was only eating, drinking, and lying on his bed. He yawned often and talked angrily to himself. Books he did not read. Sometimes at nights he would sit down to write. He would write for a long time and tear it all up in the morning. More than once he was heard to weep.
In the second half of the sixth year, the prisoner began zealously20 to study languages, philosophy, and history. He fell on these subjects so hungrily that the banker hardly had time to get books enough for him. In the space of four years about six hundred volumes were bought at his request. It was while that passion lasted that the banker received the following letter from the prisoner: "My dear gaoler, I am writing these lines in six languages. Show them to experts. Let them read them. If they do not find one single mistake, I beg you to give orders to have a gun fired off in the garden. By the noise I shall know that my efforts have not been in vain. The geniuses of all ages and countries speak in different languages; but in them all burns the same flame. Oh, if you knew my heavenly happiness now that I can understand them!" The prisoner's desire was fulfilled. Two shots were fired in the garden by the banker's order.
Later on, after the tenth year, the lawyer sat immovable before his table and read only the New Testament21. The banker found it strange that a man who in four years had mastered six hundred erudite volumes, should have spent nearly a year in reading one book, easy to understand and by no means thick. The New Testament was then replaced by the history of religions and theology.
During the last two years of his confinement the prisoner read an extraordinary amount, quite haphazard22. Now he would apply himself to the natural sciences, then would read Byron or Shakespeare. Notes used to come from him in which he asked to be sent at the same time a book on chemistry, a text-book of medicine, a novel, and some treatise23 on philosophy or theology. He read as though he were swimming in the sea among the broken pieces of wreckage24, and in his desire to save his life was eagerly grasping one piece after another.
II
The banker recalled all this, and thought:
"To-morrow at twelve o'clock he receives his freedom. Under the agreement, I shall have to pay him two millions. If I pay, it's all over with me. I am ruined for ever...."
Fifteen years before he had too many millions to count, but now he was afraid to ask himself which he had more of, money or debts. Gambling25 on the Stock-Exchange, risky26 speculation27, and the recklessness of which he could not rid himself even in old age, had gradually brought his business to decay; and the fearless, self-confident, proud man of business had become an ordinary banker, trembling at every rise and fall in the market.
"That cursed bet," murmured the old man clutching his head in despair.... "Why didn't the man die? He's only forty years old. He will take away my last farthing, marry, enjoy life, gamble on the Exchange, and I will look on like an envious29 beggar and hear the same words from him every day: 'I'm obliged to you for the happiness of my life. Let me help you.' No, it's too much! The only escape from bankruptcy30 and disgrace—is that the man should die."
The clock had just struck three. The banker was listening. In Ike house everyone was asleep, and one could hear only the frozen trees whining31 outside the windows. Trying to make no sound, he took out of his safe the key of the door which had not been opened for fifteen years, put on his overcoat, and went out of the house. The garden was dark and cold. It was raining. A keen damp wind hovered32 howling over all the garden and gave the trees no rest. Though he strained his eyes, the banker could see neither the ground, nor the white statues, nor the garden-wing, nor the trees. Approaching the place where the garden wing stood, he called the watchman twice. There was no answer. Evidently the watchman had taken shelter from the bad weather and was now asleep somewhere in the kitchen or the greenhouse.
"If I have the courage to fulfil my intention," thought the old man, "the suspicion will fall on the watchman first of all."
In the darkness he groped for the stairs and the door and entered the hall of the gardenwing, then poked34 his way into a narrow passage and struck a match. Not a soul was there. Someone's bed, with no bedclothes on it, stood there, and an iron stove was dark in the corner. The seals on the door that led into the prisoner's room were unbroken.
When the match went out, the old man, trembling from agitation35, peeped into the little window.
In the prisoner's room a candle was burning dim. The prisoner himself sat by the table. Only his back, the hair on his head and his hands were visible. On the table, the two chairs, the carpet by the table open books were strewn.
Five minutes passed and the prisoner never once stirred. Fifteen years confinement had taught him to sit motionless. The banker tapped on the window with his finger, but the prisoner gave no movement in reply. Then the banker cautiously tore the seals from the door and put the key into the lock. The rusty36 lock gave a hoarse37 groan38 and the door creaked. The banker expected instantly to hear a cry of surprise and the sound of steps. Three minutes passed and it was as quiet behind the door as it had been before. He made up his mind to enter. Before the table sat a man, unlike an ordinary human being. It was a skeleton, with tight-drawn39 skin, with a woman's long curly hair, and a shaggy beard. The colour of his face was yellow, of an earthy shade; the cheeks were sunken, the back long and narrow, and the hand upon which he leaned his hairy head was so lean and skinny that it was painful to look upon. His hair was already silvering with grey, and no one who glanced at the senile emaciation40 of the face would have believed that he was only forty years old. On the table, before his bended head, lay a sheet of paper on which something was written in a tiny hand.
"Poor devil," thought the banker, "he's asleep and probably seeing millions in his dreams. I have only to take and throw this half-dead thing on the bed, smother41 him a moment with the pillow, and the most careful examination will find no trace of unnatural42 death. But, first, let us read what he has written here."
The banker took the sheet from the table and read:
"To-morrow at twelve o'clock midnight, I shall obtain my freedom and the right to mix with people. But before I leave this room and see the sun I think it necessary to say a few words to you. On my own clear conscience and before God who sees me I declare to you that I despise freedom, life, health, and all that your books call the blessings43 of the world.
"For fifteen years I have diligently44 studied earthly life. True, I saw neither the earth nor the people, but in your books I drank fragrant45 wine, sang songs, hunted deer and wild boar in the forests, loved women.... And beautiful women, like clouds ethereal, created by the magic of your poets' genius, visited me by night and whispered me wonderful tales, which made my head drunken. In your books I climbed the summits of Elbruz and Mont Blanc and saw from thence how the sun rose in the morning, and in the evening overflowed46 the sky, the ocean and the mountain ridges47 with a purple gold. I saw from thence how above me lightnings glimmered48 cleaving50 the clouds; I saw green forests, fields, rivers, lakes, cities; I heard syrens singing, and the playing of the pipes of Pan; I touched the wings of beautiful devils who came flying to me to speak of God.... In your books I cast myself into bottomless abysses, worked miracles, burned cities to the ground, preached new religions, conquered whole countries....
"Your books gave me wisdom. All that unwearying human thought created in the centuries is compressed to a little lump in my skull51. I know that I am more clever than you all.
"And I despise your books, despise all wordly blessings and wisdom. Everything is void, frail52, visionary and delusive53 like a mirage54. Though you be proud and wise and beautiful, yet will death wipe you from the face of the earth like the mice underground; and your posterity55, your history, and the immortality56 of your men of genius will be as frozen slag57, burnt down together with the terrestrial globe.
"You are mad, and gone the wrong way. You take lie for truth and ugliness for beauty. You would marvel58 if by certain conditions there should suddenly grow on apple and orange trees, instead of fruit, frogs and lizards59, and if roses should begin to breathe the odour of a sweating horse. So do I marvel at you, who have bartered60 heaven for earth. I do not want to understand you.
"That I may show you in deed my contempt for that by which you live, I waive61 the two millions of which I once dreamed as of paradise, and which I now despise. That I may deprive myself of my right to them, I shall come out from here five minutes before the stipulated62 term, and thus shall violate the agreement."
When he had read, the banker put the sheet on the table, kissed the head of the strange man, and began to weep. He went out of the wing. Never at any other time, not even after his terrible losses on the Exchange, had he felt such contempt for himself as now. Coming home, he lay down on his bed, but agitation and tears kept him long from sleep....
The next morning the poor watchman came running to him and told him that they had seen the man who lived in the wing climbing through the window into the garden. He had gone to the gate and disappeared. Together with his servants the banker went instantly to the wing and established the escape of his prisoner. To avoid unnecessary rumours63 he took the paper with the renunciation from the table and, on his return, locked it in his safe.
A TEDIOUS STORY
(FROM AN OLD MAN'S JOURNAL)
I
There lives in Russia an emeritus64 professor, Nicolai Stiepanovich ... privy65 councillor and knight66. He has so many Russian and foreign Orders that when he puts them on the students call him "the holy picture." His acquaintance is most distinguished67. Not a single famous scholar lived or died during the last twenty-five or thirty years but he was intimately acquainted with him. Now he has no one to be friendly with, but speaking of the past the long list of his eminent68 friends would end with such names as Pirogov, Kavelin, and the poet Nekrasov, who bestowed69 upon him their warmest and most sincere friendship. He is a member of all the Russian and of three foreign universities, et cetera, et cetera. All this, and a great deal besides, forms what is known as my name.
This name of mine is very popular. It is known to every literate71 person in Russia; abroad it is mentioned from professorial chairs with the epithets72 "eminent and esteemed73." It is reckoned among those fortunate names which to mention in vain or to abuse in public or in the Press is considered a mark of bad breeding. Indeed, it should be so; because with my name is inseparably associated the idea of a famous, richly gifted, and indubitably useful person. I am a steady worker, with the endurance of a camel, which is important. I am also endowed with talent, which is still more important. In passing, I would add that I am a well-educated, modest, and honest fellow. I have never poked my nose into letters or politics, never sought popularity in disputes with the ignorant, and made no speeches either at dinners or at my colleagues' funerals. Altogether there is not a single spot on my learned name, and it has nothing to complain of. It is fortunate.
The bearer of this name, that is myself, is a man of sixty-two, with a bald head, false teeth and an incurable74 tic. My name is as brilliant and prepossessing, as I, myself am dull and ugly. My head and hands tremble from weakness; my neck, like that of one of Turgeniev's heroines, resembles the handle of a counter-bass75; my chest is hollow and my back narrow. When I speak or read my mouth twists, and when I smile my whole face is covered with senile, deathly wrinkles. There is nothing imposing76 in my pitiable face, save that when I suffer from the tic, I have a singular expression which compels anyone who looks at me to think: "This man will die soon, for sure."
I can still read pretty well; I can still hold the attention of my audience for two hours. My passionate77 manner, the literary form of my exposition and my humour make the defects of my voice almost unnoticeable, though it is dry, harsh, and hard like a hypocrite's. But I write badly. The part of my brain which governs the ability to write refused office. My memory has weakened, and my thoughts are too inconsequent; and when I expound78 them on paper, I always have a feeling that I have lost the sense of their organic connection. The construction is monotonous79, and the sentence feeble and timid. I often do not write what I want to, and when I write the end I cannot remember the beginning. I often forget common words, and in writing a letter I always have to waste much energy in order to avoid superfluous80 sentences and unnecessary incidental statements; both bear clear witness of the decay of my intellectual activity. And it is remarkable81 that, the simpler the letter, the more tormenting83 is my effort. When writing a scientific article I fed much freer and much more intelligent than in writing a letter of welcome or a report. One thing more: it is easier for me to write German or English than Russian.
As regards my present life, I must first of all note insomnia84, from which I have begun to suffer lately. If I were asked: "What is now the chief and fundamental fact of your existence?" I would answer: "Insomnia." From habit, I still undress at midnight precisely85 and get into bed. I soon fall asleep but wake just after one with the feeling that I have not slept at all. I must get out of bed and light the lamp. For an hour or two I walk about the room from corner to corner and inspect the long familiar pictures. When I am weary of walking I sit down to the table. I sit motionless thinking of nothing, feeling no desires; if a book lies before me I draw it mechanically towards me and read without interest. Thus lately in one night I read mechanically a whole novel with a strange title, "Of What the Swallow Sang." Or in order to occupy my attention I make myself count to a thousand, or I imagine the face of some one of my friends, and begin to remember in what year and under what circumstances he joined the faculty86. I love to listen to sounds. Now, two rooms away from me my daughter Liza will say something quickly, in her sleep; then my wife will walk through the drawing-room with a candle and infallibly drop the box of matches. Then the shrinking wood of the cupboard squeaks88 or the burner of the lamp tinkles89 suddenly, and all these sounds somehow agitate90 me.
Not to sleep of nights confesses one abnormal; and therefore I wait impatiently for the morning and the day, when I have the right not to sleep. Many oppressive hours pass before the cock crows. He is my harbinger of good. As soon as he has crowed I know that in an hour's time the porter downstairs will awake and for some reason or other go up the stairs, coughing angrily; and later beyond the windows the air begins to pale gradually and voices echo in the street.
The day begins with the coming of my wife. She comes in to me in a petticoat, with her hair undone91, but already washed and smelling of eau de Cologne, and looking as though she came in by accident, saying the same thing every time: "Pardon, I came in for a moment. You haven't slept again?" Then she puts the lamp out, sits by the table and begins to talk. I am not a prophet but I know beforehand what the subject of conversation will be, every morning the same. Usually, after breathless inquiries92 after my health, she suddenly remembers our son, the officer, who is serving in Warsaw. On the twentieth of each month we send him fifty roubles. This is our chief subject of conversation.
"Of course it is hard on us," my wife sighs. "But until he is finally settled we are obliged to help him. The boy is among strangers; the pay is small. But if you like, next month we'll send him forty roubles instead of fifty. What do you think?"
Daily experience might have convinced my wife that expenses do not grow less by talking of them. But my wife does not acknowledge experience and speaks about our officer punctually every day, about bread, thank Heaven, being cheaper and sugar a half-penny dearer—and all this in a tone as though it were news to me.
I listen and agree mechanically. Probably because I have not slept during the night strange idle thoughts take hold of me. I look at my wife and wonder like a child. In perplexity I ask myself: This old, stout93, clumsy woman, with sordid94 cares and anxiety about bread and butter written in the dull expression of her face, her eyes tired with eternal thoughts of debts and poverty, who can talk only of expenses and smile only when things are cheap—was this once the slim Varya whom I loved passionately95 for her fine clear mind, her pure soul, her beauty, and as Othello loved Desdemona, for her "compassion96" of my science? Is she really the same, my wife Varya, who bore me a son?
I gaze intently into the fat, clumsy old woman's face. I seek in her my Varya; but from the past nothing remains97 but her fear for my health and her way of calling my salary "our" salary and my hat "our" hat. It pains me to look at her, and to console her, if only a little, I let her talk as she pleases, and I am silent even when she judges people unjustly, or scolds me because I do not practise and do not publish text-books.
Our conversation always ends in the same way. My wife suddenly remembers that I have not yet had tea, and gives a start:
"Why am I sitting down?" she says, getting up. "The samovar has been on the table a long while, and I sit chatting. How forgetful I am? Good gracious!"
She hurries away, but stops at the door to say:
"We owe Yegor five months' wages. Do you realise it? It's a bad thing to let the servants' wages run on. I've said so often. It's much easier to pay ten roubles every month than fifty for five!"
Outside the door she stops again:
"I pity our poor Liza more than anybody. The girl studies at the Conservatoire. She's always in good society, and the Lord only knows how she's dressed. That fur-coat of hers! It's a sin to show yourself in the street in it. If she had a different father, it would do, but everyone knows he is a famous professor, a privy councillor."
So, having reproached me for my name and title, she goes away at last. Thus begins my day. It does not improve.
When I have drunk my tea, Liza comes in, in a fur-coat and hat, with her music, ready to go to the Conservatoire. She is twenty-two. She looks younger. She is pretty, rather like my wife when she was young. She kisses me tenderly on my forehead and my hand.
"Good morning, Papa. Quite well?"
As a child she adored ice-cream, and I often had to take her to a confectioner's. Ice-cream was her standard of beauty. If she wanted to praise me, she used to say: "Papa, you are ice-creamy." One finger she called the pistachio, the other the cream, the third the raspberry finger and so on. And when she came to say good morning, I used to lift her on to my knees and kiss her fingers, and say:
"The cream one, the pistachio one, the lemon one."
And now from force of habit I kiss Liza's fingers and murmur28:
"Pistachio one, cream one, lemon one." But it does not sound the same. I am cold like the ice-cream and I feel ashamed. When my daughter comes in and touches my forehead with her lips I shudder98 as though a bee had stung my forehead, I smile constrainedly100 and turn away my face. Since my insomnia began a question has been driving like a nail into my brain. My daughter continually sees how terribly I, an old man, blush because I owe the servant his wages; she sees how often the worry of small debts forces me to leave my work and to pace the room from corner to corner for hours, thinking; but why hasn't she, even once, come to me without telling her mother and whispered: "Father, here's my watch, bracelets101, earrings102, dresses.... Pawn103 them all.... You need money"? Why, seeing how I and her mother try to hide our poverty, out of false pride—why does she not deny herself the luxury of music lessons? I would not accept the watch, the bracelets, or her sacrifices—God forbid!—I do not want that.
Which reminds me of my son, the Warsaw officer. He is a clever, honest, and sober fellow. But that doesn't mean very much. If I had an old father, and I knew that there were moments when he was ashamed of his poverty, I think I would give up my commission to someone else and hire myself out as a navvy. These thoughts of the children poison me. What good are they? Only a mean and irritable105 person Can take refuge in thinking evil of ordinary people because they are not heroes. But enough of that.
At a quarter to ten I have to go and lecture to my dear boys. I dress myself and walk the road I have known these thirty years. For me it has a history of its own. Here is a big grey building with a chemist's shop beneath. A tiny house once stood there, and it was a beer-shop. In this beer-shop I thought out my thesis, and wrote my first love-letter to Varya. I wrote it in pencil on a scrap106 of paper that began "Historia Morbi." Here is a grocer's shop. It used to belong to a little Jew who sold me cigarettes on credit, and later on to a fat woman who loved students "because every one of them had a mother." Now a red-headed merchant sits there, a very nonchalant man, who drinks tea from a copper107 tea-pot. And here are the gloomy gates of the University that have not been repaired for years; a weary porter in a sheepskin coat, a broom, heaps of snow ... Such gates cannot produce a good impression on a boy who comes fresh from the provinces and imagines that the temple of science is really a temple. Certainly, in the history of Russian pessimism108, the age of university buildings, the dreariness109 of the corridors, the smoke-stains on the walls, the meagre light, the dismal110 appearance of the stairs, the clothes-pegs and the benches, hold one of the foremost places in the series of predisposing causes. Here is our garden. It does not seem to have grown any better or any worse since I was a student. I do not like it. It would be much more sensible if tall pine-trees and fine oaks grew there instead of consumptive lime-trees, yellow acacias and thin clipped lilac. The student's mood is created mainly by every one of the surroundings in which he studies; therefore he must see everywhere before him only what is great and strong and exquisite111. Heaven preserve him from starveling trees, broken windows, and drab walls and doors covered with tom oilcloth.
As I approach my main staircase the door is open wide. I am met by my old friend, of the same age and name as I, Nicolas the porter. He grunts112 as he lets me in:
"It's frosty, Your Excellency."
Or if my coat is wet:
"It's raining a bit, Your Excellency."
Then he runs in front of me and opens all the doors on my way. In the study he carefully takes off my coat and at the same time manages to tell me some university news. Because of the close acquaintance that exists between all the University porters and keepers, he knows all that happens in the four faculties113, in the registry, in the chancellor's cabinet, and the library. He knows everything. When, for instance, the resignation of the rector or dean is under discussion, I hear him talking to the junior porters, naming candidates and explaining offhand114 that so and so will not be approved by the Minister, so and so will himself refuse the honour; then he plunges115 into fantastic details of some mysterious papers received in the registry, of a secret conversation which appears to have taken place between the Minister and the curator, and so on. These details apart, he is almost always right. The impressions he forms of each candidate are original, but also true. If you want to know who read his thesis, joined the staff, resigned or died in a particular year, then you must seek the assistance of this veteran's colossal116 memory. He will not only name you the year, month, and day, but give you the accompanying details of this or any other event. Such memory is the privilege of love.
He is the guardian117 of the university traditions. From the porters before him he inherited many legends of the life of the university. He added to this wealth much of his own and if you like he will tell you many stories, long or short. He can tell you of extraordinary savants who knew everything, of remarkable scholars who did not sleep for weeks on end, of numberless martyrs119 to science; good triumphs over evil with him. The weak always conquer the strong, the wise man the fool, the modest the proud, the young the old. There is no need to take all these legends and stories for sterling120; but filter them, and you will find what you want in your filter, a noble tradition and the names of true heroes acknowledged by all.
In our society all the information about the learned world consists entirely121 of anecdotes122 of the extraordinary absent-mindedness of old professors, and of a handful of jokes, which are ascribed to Guber or to myself or to Baboukhin. But this is too little for an educated society. If it loved science, savants and students as Nicolas loves them, it would long ago have had a literature of whole epics123, stories, and biographies. But unfortunately this is yet to be.
The news told, Nicolas looks stem and we begin to talk business. If an outsider were then to hear how freely Nicolas uses the jargon124, he would be inclined to think that he was a scholar, posing as a soldier. By the way, the rumours of the university-porter's erudition are very exaggerated. It is true that Nicolas knows more than a hundred Latin tags, can put a skeleton together and on occasion make a preparation, can make the students laugh with a long learned quotation125, but the simple theory of the circulation of the blood is as dark to him now as it was twenty years ago.
At the table in my room, bent126 low over a book or a preparation, sits my dissector127, Peter Ignatievich. He is a hardworking, modest man of thirty-five without any gifts, already bald and with a big belly128. He works from morning to night, reads tremendously and remembers everything he has read. In this respect he is not merely an excellent man, but a man of gold; but in all others he is a cart-horse, or if you like a learned blockhead. The characteristic traits of a cart-horse which distinguish him from a creature of talent are these. His outlook is narrow, absolutely bounded by his specialism. Apart from his own subject he is as naive129 as a child. I remember once entering the room and saying:
"Think what bad luck! They say, Skobielev is dead."
Nicolas crossed himself; but Peter Ignatievich turned to me:
"Which Skobielev do you mean?"
Another time,—some time earlier—I announced that Professor Pierov was dead. That darling Peter Ignatievich asked:
"What was his subject?"
I imagine that if Patti sang into his ear, or Russia were attacked by hordes131 of Chinamen, or there was an earthquake, he would not lift a finger, but would go on in the quietest way with his eye screwed over his microscope. In a word: "What's Hecuba to him?" I would give anything to see how this dry old stick goes to bed with his wife.
Another trait: a fanatical belief in the infallibility of science, above all in everything that the Germans write. He is sure of himself and his preparations, knows the purpose of life, is absolutely ignorant of the doubts and disillusionments that turn talents grey,—a slavish worship of the authorities, and not a shadow of need to think for himself. It is hard to persuade him and quite impossible to discuss with him. Just try a discussion with a man who is profoundly convinced that the best science is medicine, the best men doctors, the best traditions—the medical! From the ugly past of medicine only one tradition has survived,—the white necktie that doctors wear still. For a learned, and more generally for an educated person there can exist only a general university tradition, without any division into traditions of medicine, of law, and so on. But it's quite impossible for Peter Ignatievich to agree with that; and he is ready to argue it with you till doomsday.
His future is quite plain to me. During the whole of his life he will make several hundred preparations of extraordinary purity, will write any number of dry, quite competent, essays, will make about ten scrupulously132 accurate translations; but he won't invent gunpowder133. For gunpowder, imagination is wanted, inventiveness, and a gift for divination134, and Peter Ignatievich has nothing of the kind. In short, he is not a master of science but a labourer.
Peter Ignatievich, Nicolas, and I whisper together. We are rather strange to ourselves. One feels something quite particular, when the audience booms like the sea behind the door. In thirty years I have not grown used to this feeling, and I have it every morning. I button up my frock-coat nervously135, ask Nicolas unnecessary questions, get angry.... It is as though I were afraid; but it is not fear, but something else which I cannot name nor describe.
Unnecessarily, I look at my watch and say:
"Well, it's time to go."
And we march in, in this order: Nicolas with the preparations or the atlases136 in front, myself next, and after me, the cart-horse, modestly hanging his head; or, if necessary, a corpse137 on a stretcher in front and behind the corpse Nicolas and so on. The students rise when I appear, then sit down and the noise of the sea is suddenly still. Calm begins.
I know what I will lecture about, but I know nothing of how I will lecture, where I will begin and where I will end. There is not a single sentence ready in my brain. But as soon as I glance at the audience, sitting around me in an amphitheatre, and utter the stereotyped138 "In our last lecture we ended with...." and the sentences fly out of my soul in a long line—then it is full steam ahead. I speak with irresistible139 speed, and with passion, and it seems as though no earthly power could check the current of my speech. In order to lecture well, that is without being wearisome and to the listener's profit, besides talent you must have the knack140 of it and experience; you must have a clear idea both of your own powers, of the people to whom you are lecturing, and of the subject of your remarks. Moreover, you must be quick in the uptake, keep a sharp eye open, and never for a moment lose your field of vision.
When he presents the composer's thought, a good conductor does twenty things at once. He reads the score, waves his baton141, watches the singer makes a gesture now towards the drum, now to the double-bass, and so on. It is the same with me when lecturing. I have some hundred and fifty faces before me, quite unlike each other, and three hundred eyes staring me straight in the face. My purpose is to conquer this many-headed hydra142. If I have a clear idea how far they are attending and how much they are comprehending every minute while I am lecturing, then the hydra is in my power. My other opponent is within me. This is the endless variety of forms, phenomena143 and laws, and the vast number of ideas, whether my own or others', which depend upon them. Every moment I must be skilful144 enough to choose what is most important and necessary from this enormous material, and just as swiftly as my speech flows to clothe my thought in a form which will penetrate145 the hydra's understanding and excite its attention. Besides I must watch carefully to see that my thoughts shall not be presented as they have been accumulated, but in a certain order, necessary for the correct composition of the picture which I wish to paint. Further, I endeavour to make my speech literary, my definitions brief and exact, my sentences as simple and elegant as possible. Every moment I must hold myself in and remember that I have only an hour and forty minutes to spend. In other words, it is a heavy labour. At one and the same time you have to be a savant, a schoolmaster, and an orator147, and it is a failure if the orator triumphs over the schoolmaster in you or the schoolmaster over the orator.
After lecturing for a quarter, for half an hour, I notice suddenly that the students have begun to stare at the ceiling or Peter Ignatievich. One will feel for his handkerchief, another settle himself comfortably, another smile at his own thoughts. This means their attention is tried. I must take steps. I seize the first opening and make a pun. All the hundred and fifty faces have a broad smile, their eyes flash merrily, and for a while you can hear the boom of the sea. I laugh too. Their attention is refreshed and I can go on.
No sport, no recreation, no game ever gave me such delight as reading a lecture. Only in a lecture could I surrender myself wholly to passion and understand that inspiration is not a poet's fiction, but exists indeed. And I do not believe that Hercules, even after the most delightful148 of his exploits, felt such a pleasant weariness as I experienced every time after a lecture.
This was in the past. Now at lectures I experience only torture. Not half an hour passes before I begin to feel an invincible149 weakness in my legs and shoulders. I sit down in my chair, but I am not used to lecture sitting. In a moment I am up again, and lecture standing146. Then I sit down again. Inside my mouth is dry, my voice is hoarse, my head feels dizzy. To hide my state from my audience I drink some water now and then, cough, wipe my nose continually, as though I was troubled by a cold, make inopportune puns, and finally announce the interval150 earlier than I should. But chiefly I feel ashamed.
Conscience and reason tell me that the best thing I could do now is to read my farewell lecture to the boys, give them my last word, bless them and give up my place to someone younger and stronger than I. But, heaven be my judge, I have not the courage to act up to my conscience.
Unfortunately, I am neither philosopher nor theologian. I know quite well I have no more than six months to live; and it would seem that now I ought to be mainly occupied with questions of the darkness beyond the grave, and the visions which will visit my sleep in the earth. But somehow my soul is not curious of these questions, though my mind grants every atom of their importance. Now before my death it is just as it was twenty or thirty years ago. Only science interests me.—When I take my last breath I shall still believe that Science is the most important, the most beautiful, the most necessary thing in the life of man; that she has always been and always will be the highest manifestation151 of love, and that by her alone will man triumph over nature and himself. This faith is, perhaps, at bottom naive and unfair, but I am not to blame if this and not another is my faith. To conquer this faith within me is for me impossible.
But this is beside the point. I only ask that you should incline to my weakness and understand that to tear a man who is more deeply concerned with the destiny of a brain tissue than the final goal of creation away from his rostrum and his students is like taking him and nailing him up in a coffin152 without waiting until he is dead.
Because of my insomnia and the intense struggle with my increasing weakness a strange thing happens inside me. In the middle of my lecture tears rise to my throat, my eyes begin to ache, and I have a passionate and hysterical153 desire to stretch out my hands and moan aloud. I want to cry out that fate has doomed154 me, a famous man, to death; that in some six months here in the auditorium155 another will be master. I want to cry out that I am poisoned; that new ideas that I did not know before have poisoned the last days of my life, and sting my brain incessantly like mosquitoes. At that moment my position seems so terrible to me that I want all my students to be terrified, to jump from their seats and rush panic-stricken to the door, shrieking156 in despair.
It is not easy to live through such moments.
II
After the lecture I sit at home and work. I read reviews, dissertations157, or prepare for the next lecture, and sometimes I write something. I work with interruptions, since I have to receive visitors.
The bell rings. It is a friend who has come to talk over some business. He enters with hat and stick. He holds them both in front of him and says:
"Just a minute, a minute. Sit down, cher confrère. Only a word or two."
First we try to show each other that we are both extraordinarily159 polite and very glad to see each other. I make him sit down in the chair, and he makes me sit down; and then we touch each other's waists, and put our hands on each other's buttons, as though we were feeling each other and afraid to bum160 ourselves. We both laugh, though we say nothing funny. Sitting down, we bend our heads together and begin to whisper to each other. We must gild161 our conversation with such Chinese formalities as: "You remarked most justly" or "I have already had the occasion to say." We must giggle162 if either of us makes a pun, though it's a bad one. When we have finished with the business, my friend gets up with a rush, waves his hat towards my work, and begins to take his leave. We feel each other once more and laugh. I accompany him down to the hall. There I help my friend on with his coat, but he emphatically declines so great an honour. Then, when Yegor opens the door my friend assures me that I will catch cold, and I pretend to be ready to follow him into the street. And when I finally return to my study my face keeps smiling still, it must be from inertia163.
A little later another ring. Someone enters the hall, spends a long time taking off his coat and coughs. Yegor brings me word that a student has come. I tell him to show him up. In a minute a pleasant-faced young man appears. For a year we have been on these forced terms together. He sends in abominable164 answers at examinations, and I mark him gamma. Every year I have about seven of these people to whom, to use the students' slang, "I give a plough" or "haul them through." Those of them who fail because of stupidity or illness, usually bear their cross in patience and do not bargain with me; only sanguine165 temperaments166, "open natures," bargain with me and come to my house, people whose appetite is spoiled or who are prevented from going regularly to the opera by a delay in their examinations. With the first I am over-indulgent; the second kind I keep on the run for a year.
"Sit down," I say to my guest. "What was it you wished to say?"
"Forgive me for troubling you, Professor...." he begins, stammering167 and never looking me in the face. "I would not venture to trouble you unless.... I was up for my examination before you for the fifth time ... and I failed. I implore168 you to be kind, and give me a 'satis,' because...."
The defence which all idlers make of themselves is always the same. They have passed in every other subject with distinction, and failed only in mine, which is all the more strange because they had always studied my subject most diligently and know it thoroughly169. They failed through some inconceivable misunderstanding.
"Forgive me, my friend," I say to my guest. "But I can't give you a 'satis'—impossible. Go and read your lectures again, and then come. Then we'll see."
Pause. I get a desire to torment82 the student a little, because he prefers beer and the opera to science; and I say with a sigh:
"In my opinion, the best thing for you now is to give up the Faculty of Medicine altogether. With your abilities, if you find it impossible to pass the examination, then it seems you have neither the desire nor the vocation170 to be a doctor."
My sanguine friend's face grows grave.
"Excuse me, Professor," he smiles, "but it would be strange, to say the least, on my part. Studying medicine for five years and suddenly—to throw it over."
"Yes, but it's better to waste five years than to spend your whole life afterwards in an occupation which you dislike."
Immediately I begin to feel sorry for him and hasten to say:
"Well, do as you please. Read a little and come again."
"When?" the idler asks, dully.
"Whenever you like. To-morrow, even."
And I read in his pleasant eyes. "I can come again; but you'll send me away again, you beast."
"Of course," I say, "you won't become more learned because you have to come up to me fifteen times for examination; but this will form your character. You must be thankful for that."
Silence. I rise and wait for my guest to leave. But he stands there, looking at the window, pulling at his little beard and thinking. It becomes tedious.
My sanguine friend has a pleasant, succulent voice, clever, amusing eyes, a good-natured face, rather puffed171 by assiduity to beer and much resting on the sofa. Evidently he could tell me many interesting things about the opera, about his love affairs, about the friends he adores; but, unfortunately, it is not the thing. And I would so eagerly listen!
"On my word of honour, Professor, if you give me a 'satis' I'll...."
As soon as it gets to "my word of honour," I wave my hands and sit down to the table. The student thinks for a while and says, dejectedly:
"In that case, good-bye.... Forgive me!"
"Good-bye, my friend.... Good-bye!"
He walks irresolutely172 into the hall, slowly puts on his coat, and, when he goes into the street, probably thinks again for a long while; having excogitated nothing better than "old devil" for me, he goes to a cheap restaurant to drink beer and dine, and then home to sleep. Peace be to your ashes, honest labourer!
A third ring. Enters a young doctor in a new black suit, gold-rimmed spectacles and the inevitable174 white necktie. He introduces himself. I ask him to take a seat and inquire his business. The young priest of science begins to tell me, not without agitation, that he passed his doctor's examination this year, and now has only to write his dissertation158. He would like to work with me, under my guidance; and I would do him a great kindness if I would suggest a subject for his dissertation.
"I should be delighted to be of use to you, mon cher confrère," I say. "But first of all, let us come to an agreement as to what is a dissertation. Generally we understand by this, work produced as the result of an independent creative power. Isn't that so? But a work written on another's subject, under another's guidance, has a different name."
The aspirant175 is silent. I fire up and jump out of my seat. "Why do you all come to me? I can't understand," I cry out angrily. "Do I keep a shop? I don't sell theses across the counter. For the one thousandth time I ask you all to leave me alone. Forgive my rudeness, but I've got tired of it at last!"
The aspirant is silent. Only, a tinge176 of colour shows on his cheek. His face expresses his profound respect for my famous name and my erudition, but I see in his eyes that he despises my voice, my pitiable figure, my nervous gestures. When I am angry I seem to him a very queer fellow.
"I do not keep a shop," I storm. "It's an amazing business! Why don't you want to be independent? Why do you find freedom so objectionable?"
I say a great deal, but he is silent. At last by degrees I grow calm, and, of course, surrender. The aspirant will receive a valueless subject from me, will write under my observation a needless thesis, will pass his tedious disputation cum laude and will get a useless and learned degree.
The rings follow in endless succession, but here I confine myself to four. The fourth ring sounds, and I hear the familiar steps, the rustling177 dress, the dear voice.
Eighteen years ago my dear friend, the oculist178, died and left behind him a seven year old daughter, Katy, and sixty thousand roubles. By his will he made me guardian. Katy lived in my family till she was ten. Afterwards she was sent to College and lived with me only in her holidays in the summer months. I had no time to attend to her education. I watched only by fits and starts; so that I can say very little about her childhood.
The chief thing I remember, the one I love to dwell upon in memory, is the extraordinary confidence which she had when she entered my house, when she had to have the doctor,—a confidence which was always shining in her darling face. She would sit in a corner somewhere with her face tied up, and would be sure to be absorbed in watching something. Whether she was watching me write and read books, or my wife bustling179 about, or the cook peeling the potatoes in the kitchen or the dog playing about—her eyes invariably expressed the same thing: "Everything that goes on in this world,—everything is beautiful and clever." She was inquisitive180 and adored to talk to me. She would sit at the table opposite me, watching my movements and asking questions. She is interested to know what I read, what I do at the University, if I'm not afraid of corpses181, what I do with my money.
"Do the students fight at the University?" she would ask.
"They do, my dear."
"You make them go down on their knees?"
"I do."
And it seemed funny to her that the students fought and that I made them go down on their knees, and she laughed. She was a gentle, good, patient child.
Pretty often I happened to see how something was taken away from her, or she was unjustly punished, or her curiosity was not satisfied. At such moments sadness would be added to her permanent expression of confidence—nothing more. I didn't know how to take her part, but when I saw her sadness, I always had the desire to draw her close to me and comfort her in an old nurse's voice: "My darling little orphan182!"
I remember too she loved to be well dressed and to sprinkle herself with scents183. In this she was like me. I also love good clothes and fine scents.
I regret that I had neither the time nor the inclination185 to watch the beginnings and the growth of the passion which had completely taken hold of Katy when she was no more than fourteen or fifteen. I mean her passionate love for the theatre. When she used to come from the College for her holidays and live with us, nothing gave her such pleasure and enthusiasm to talk about as plays and actors. She used to tire us with her incessant7 conversation about the theatre. I alone hadn't the courage to deny her my attention. My wife and children did not listen to her. When she felt the desire to share her raptures186 she would come to my study and coax187: "Nicolai Stiepanich, do let me speak to you about the theatre."
I used to show her the time and say:
"I'll give you half an hour. Fire away!"
Later on she used to bring in pictures of the actors and actresses she worshipped—whole dozens of them. Then several times she tried to take part in amateur theatricals188, and finally when she left College she declared to me she was born to be an actress.
I never shared Katy's enthusiasms for the theatre. My opinion is that if a play is good then there's no need to trouble the actors for it to make the proper impression; you can be satisfied merely by reading it. If the play is bad, no acting190 will make it good.
When I was young I often went to the theatre, and nowadays my family takes a box twice a year and carries me off for an airing there. Of course this is not enough to give me the right to pass verdicts on the theatre; but I will say a few words about it. In my opinion the theatre hasn't improved in the last thirty or forty years. I can't find any more than I did then, a glass of dean water, either in the corridors or the foyer. Just as they did then, the attendants fine me sixpence for my coat, though there's nothing illegal in wearing a warm coat in winter. Just as it did then, the orchestra plays quite unnecessarily in the intervals191, and adds a new, gratuitous192 impression to the one received from the play. Just as they did then, men go to the bar in the intervals and drink spirits. If there is no perceptible improvement in little things, it will be useless to look for it in the bigger things. When an actor, hide-bound in theatrical189 traditions and prejudices, tries to read simple straightforward193 monologue194: "To be or not to be," not at all simply, but with an incomprehensible and inevitable hiss195 and convulsions over his whole body, or when he tries to convince me that Chazky, who is always talking to fools and is in love with a fool, is a very clever man and that "The Sorrows of Knowledge" is not a boring play,—then I get from the stage a breath of the same old routine that exasperated197 me forty years ago when I was regaled with classical lamentation198 and beating on the breast. Every time I come out of the theatre a more thorough conservative than I went in.
It's quite possible to convince the sentimental199, self-confident crowd that the theatre in its present state is an education. But not a man who knows what true education is would swallow this. I don't know what it may be in fifty or a hundred years, but under present conditions the theatre can only be a recreation. But the recreation is too expensive for continual use, and robs the country of thousands of young, healthy, gifted men and women, who if they had not devoted200 themselves to the theatre would be excellent doctors, farmers, schoolmistresses, or officers. It robs the public of its evenings, the best time for intellectual work and friendly conversation. I pass over the waste of money and the moral injuries to the spectator when he sees murder, adultery, or slander201 wrongly treated on the stage.
But Katy's opinion was quite the opposite. She assured me that even in its present state the theatre is above lecture-rooms and books, above everything else in the world. The theatre is a power that unites in itself all the arts, and the actors are men with a mission. No separate art or science can act on the human soul so strongly and truly as the stage; and therefore it is reasonable that a medium actor should enjoy much greater popularity than the finest scholar or painter. No public activity can give such delight and satisfaction as the theatrical.
So one fine day Katy joined a theatrical company and went away, I believe, to Ufa, taking with her a lot of money, a bagful of rainbow hopes, and some very high-class views on the business.
Her first letters on the journey were wonderful. When I read them I was simply amazed that little sheets of paper could contain so much youth, such transparent202 purity, such divine innocence203, and at the same time so many subtle, sensible judgments204, that would do honour to a sound masculine intelligence. The Volga, nature, the towns she visited, her friends, her successes and failures—she did not write about them, she sang. Every line breathed the confidence which I used to see in her face; and with all this a mass of grammatical mistakes and hardly a single stop.
Scarce six months passed before I received a highly poetical205 enthusiastic letter, beginning, "I have fallen in love." She enclosed a photograph of a young man with a clean-shaven face, in a broad-brimmed hat, with a plaid thrown over his shoulders. The next letters were just as splendid, but stops already began to appear and the grammatical mistakes to vanish. They had a strong masculine scent184. Katy began to write about what a good thing it would be to build a big theatre somewhere in the Volga, but on a cooperative basis, and to attract the rich business-men and shipowners to the undertaking206. There would be plenty of money, huge receipts, and the actors would work in partnership207.... Perhaps all this is really a good thing, but I can't help thinking such schemes could only come from a man's head.
Anyhow for eighteen months or a couple of years everything seemed to be all right. Katy was in love, had her heart in her business and was happy. But later on I began to notice dear symptoms of a decline in her letters. It began with Katy complaining about her friends. This is the first and most ominous208 sign. If a young scholar or litterateur begins his career by complaining bitterly about other scholars or littérateurs, it means that he is tired already and not fit for his business. Katy wrote to me that her friends would not come to rehearsals209 and never knew their parts; that they showed an utter contempt for the public in the absurd plays they staged and the manner they behaved. To swell210 the box-office receipts—the only topic of conversation—serious actresses degrade themselves by singing sentimentalities, and tragic211 actors sing music-hall songs, laughing at husbands who are deceived and unfaithful wives who are pregnant. In short, it was amazing that the profession, in the provinces, was not absolutely dead. The marvel was that it could exist at all with such thin, rotten blood in its veins212.
In reply I sent Katy a long and, I confess, a very tedious letter. Among other things I wrote: "I used to talk fairly often to actors in the past, men of the noblest character, who honoured me with their friendship. From my conversations with them I understood that their activities were guided rather by the whim213 and fashion of society than by the free working of their own minds. The best of them in their lifetime had to play in tragedy, in musical comedy, in French farce214, and in pantomime; yet all through they considered that they were treading the right path and being useful. You see that this means that you must look for the cause of the evil, not in the actors, but deeper down, in the art itself and the attitude of society towards it." This letter of mine only made Katy cross. "You and I are playing in different operas. I didn't write to you about men of the noblest character, but about a lot of sharks who haven't a spark of nobility in them. They are a horde130 of savages216 who came on the stage only because they wouldn't be allowed anywhere else. The only ground they have for calling themselves artists is their impudence217. Not a single talent among them, but any number of incapables, drunkards, intriguers, and slanderers. I can't tell you how bitterly I feel it that the art I love so much is fallen into the hands of people I despise. It hurts me that the best men should be content to look at evil from a distance and not want to come nearer. Instead of taking an active part, they write ponderous220 platitudes221 and useless sermons...." and more in the same strain.
A little while after I received the following: "I have been inhumanly222 deceived. I can't go on living any more. Do as you think fit with my money. I loved you as a father and as my only friend. Forgive me."
So it appeared that he too belonged to the horde of savages. Later on, I gathered from various hints, that there was an attempt at suicide. Apparently223, Katy tried to poison herself. I think she must have been seriously ill afterwards, for I got the following letter from Yalta, where most probably the doctors had sent her. Her last letter to me contained a request that I should send her at Yalta a thousand roubles, and it ended with the words: "Forgive me for writing such a sad letter. I buried my baby yesterday." After she had spent about a year in the Crimea she returned home.
She had been travelling for about four years, and during these four years I confess that I occupied a strange and unenviable position in regard to her. When she announced to me that she was going on to the stage and afterwards wrote to me about her love; when the desire to spend took hold of her, as it did periodically, and I had to send her every now and then one or two thousand roubles at her request; when she wrote that she intended to die, and afterwards that her baby was dead,—-I was at a loss every time. All my sympathy with her fate consisted in thinking hard and writing long tedious letters which might as well never have been written. But then I was in loco parentis and I loved her as a daughter.
Katy lives half a mile away from me now. She took a five-roomed house and furnished it comfortably, with the taste that was born in her. If anyone were to undertake to depict224 her surroundings, then the dominating mood of the picture would be indolence. Soft cushions, soft chairs for her indolent body; carpets for her indolent feet; faded, dim, dull colours for her indolent eyes; for her indolent soul, a heap of cheap fans and tiny pictures on the walls, pictures in which novelty of execution was more noticeable than content; plenty of little tables and stands, set out with perfectly225 useless and worthless things, shapeless scraps226 instead of curtains.... All this, combined with a horror of bright colours, of symmetry, and space, betokened227 a perversion228 of the natural taste as well as indolence of the soul. For whole days Katy lies on the sofa and reads books, mostly novels and stories. She goes outside her house but once in the day, to come and see me.
I work. Katy sits on the sofa at my side. She is silent, and wraps herself up in her shawl as though she were cold. Either because she is sympathetic to me, or I because I had got used to her continual visits while she was still a little girl, her presence does not prevent me from concentrating on my work. At long intervals I ask her some question or other, mechanically, and she answers very curtly229; or, for a moment's rest, I turn towards her and watch how she is absorbed in looking through some medical review or newspaper. And then I see that the old expression of confidence in her face is there no more. Her expression now is cold, indifferent, distracted, like that of a passenger who has to wait a long while for his train. She dresses as she used—well and simply, but carelessly. Evidently her clothes and her hair suffer not a little from the sofas and hammocks on which she lies for days together. And she is not curious any more. She doesn't ask me questions any more, as if she had experienced everything in life and did not expect to hear anything new.
About four o'clock there is a sound of movement in the hall and the drawing-room. It's Liza come back from the Conservatoire, bringing her friends with her. You can hear them playing the piano, trying their voices and giggling230. Yegor is laying the table in the dining-room and making a noise with the plates.
"Good-bye," says Katy. "I shan't go in to see your people. They must excuse me. I haven't time. Come and see me."
When I escort her into the hall, she looks me over sternly from head to foot, and says in vexation:
"You get thinner and thinner. Why don't you take a cure? I'll go to Sergius Fiodorovich and ask him to come. You must let him see you."
"It's not necessary, Katy."
"I can't understand why your family does nothing. They're a nice lot."
She puts on her jacket with her rush. Inevitably231, two or three hair-pins fall out of her careless hair on to the floor. It's too much bother to tidy her hair now; besides she is in a hurry. She pushes the straggling strands232 of hair untidily under her hat and goes away.
As soon as I come into the dining-room, my wife asks:
"Was that Katy with you just now? Why didn't she come to see us. It really is extraordinary...."
"Mamma!" says Liza reproachfully, "If she doesn't want to come, that's her affair. There's no need for us to go on our knees."
"Very well; but it's insulting. To sit in the study for three hours, without thinking of us. But she can do as she likes."
Varya and Liza both hate Katy. This hatred233 is unintelligible234 to me; probably you have to be a woman to understand it. I'll bet my life on it that you'll hardly find a single one among the hundred and fifty young men I see almost every day in my audience, or the hundred old ones I happen to meet every week, who would be able to understand why women hate and abhor235 Katy's past, her being pregnant and unmarried and her illegitimate child. Yet at the same time I cannot bring to mind a single woman or girl of my acquaintance who would not cherish such feelings, either consciously or instinctively236. And it's not because women are purer and more virtuous237 than men. If virtue238 and purity are not free from evil feeling, there's precious little difference between them and vice239. I explain it simply by the backward state of women's development. The sorrowful sense of compassion and the torment of conscience, which the modern man experiences when he sees distress240 have much more to tell me about culture and moral development than have hatred and repulsion. The modern woman is as lachrymose241 and as coarse in heart as she was in the middle ages. And in my opinion those who advise her to be educated like a man have wisdom on their side.
But still my wife does not like Katy, because she was an actress, and for her ingratitude242, her pride, her extravagances, and all the innumerable vices243 one woman can always discover in another.
Besides myself and my family we have two or three of my daughter's girl friends to dinner and Alexander Adolphovich Gnekker, Liza's admirer and suitor. He is a fair young man, not more than thirty years old, of middle height, very fat, broad shouldered, with reddish hair round his ears and a little stained moustache, which give his smooth chubby244 face the look of a doll's. He wears a very short jacket, a fancy waistcoat, large-striped trousers, very full on the hip70 and very narrow in the leg, and brown boots without heels. His eyes stick out like a lobster245's, his tie is like a lobster's tail, and I can't help thinking even that the smell of lobster soup clings about the whole of this young man. He visits us every day; but no one in the family knows where he comes from, where he was educated, or how he lives. He cannot play or sing, but he has a certain connection with music as well as singing, for he is agent for somebody's pianos, and is often at the Academy. He knows all the celebrities246, and he manages concerts. He gives his opinion on music with great authority and I have noticed that everybody hastens to agree with him.
Rich men always have parasites247 about them. So do the sciences and the arts. It seems that there is no science or art in existence, which is free from such "foreign bodies" as this Mr. Gnekker. I am not a musician and perhaps I am mistaken about Gnekker, besides I don't know him very well. But I can't help suspecting the authority and dignity with which he stands beside the piano and listens when anyone is singing or playing.
You may be a gentleman and a privy councillor a hundred times over; but if you have a daughter you can't be guaranteed against the pettinesses that are so often brought into your house and into your own humour, by courtings, engagements, and weddings. For instance, I cannot reconcile myself to my wife's solemn expression every time Gnekker comes to our house, nor to those bottles of Chateau248 Lafitte, port, and sherry which are put on the table only for him, to convince him beyond doubt of the generous luxury in which we live. Nor can I stomach the staccato laughter which Liza learned at the Academy, and her way of screwing up her eyes, when men are about the house. Above all, I can't understand why it is that such a creature should come to me every day and have dinner with me—a creature perfectly foreign to my habits, my science, and the whole tenour of my life, a creature absolutely unlike the men I love. My wife and the servants whisper mysteriously that that is "the bridegroom," but still I can't understand why he's there. It disturbs my mind just as much as if a Zulu were put next to me at table. Besides, it seems strange to me that my daughter whom I used to think of as a baby should be in love with that necktie, those eyes, those chubby cheeks.
Formerly249, I either enjoyed my dinner or was indifferent about it. Now it does nothing but bore and exasperate196 me. Since I was made an Excellency and Dean of the Faculty, for some reason or other my family found it necessary to make a thorough change in our menu and the dinner arrangements. Instead of the simple food I was used to as a student and a doctor, I am now fed on potage-puree, with some sossoulki swimming about in it, and kidneys in Madeira. The title of General and my renown250 have robbed me for ever of schi and savoury pies, and roast goose with apple sauce, and bream with kasha. They robbed me as well of my maid servant Agasha, a funny, talkative old woman, instead of whom I am now waited on by Yegor, a stupid, conceited251 fellow who always has a white glove in his right hand. The intervals between the courses are short, but they seem terribly long. There is nothing to fill them. We don't have any more of the old good-humour, the familiar conversations, the jokes and the laughter; no more mutual252 endearments253, or the gaiety that used to animate254 my children, my wife, and myself when we met at the dinner table. For a busy man like me dinner was a time to rest and meet my friends, and a feast for my wife and children, not a very long feast, to be sure, but a gay and happy one, for they knew that for half an hour I did not belong to science and my students, but solely255 to them and to no one else. No more chance of getting tipsy on a single glass of wine, no more Agasha, no more bream with kasha, no more the old uproar256 to welcome our little contretemps at dinner, when the cat fought the dog under the table, or Katy's head-band fell down her cheek into her soup.
Our dinner nowadays is as nasty to describe as to eat. On my wife's face there is pompousness257, an assumed gravity, and the usual anxiety. She eyes our plates nervously: "I see you don't like the meat?... Honestly, don't you like it?" And I must answer, "Don't worry, my dear. The meat is very good." She: "You're always taking my part, Nicolai Stiepanich. You never tell the truth. Why has Alexander Adolphovich eaten so little?" and the same sort of conversation for the whole of dinner. Liza laughs staccato and screws up her eyes. I look at both of them, and at this moment at dinner here I can see quite clearly that their inner lives have slipped out of my observation long ago. I feel as though once upon a time I lived at home with a real family, but now I am dining as a guest with an unreal wife and looking at an unreal Liza. There has been an utter change in both of them, while I have lost sight of the long process that led up to the change. No wonder I don't understand anything. What was the reason of the change? I don't know. Perhaps the only trouble is that God did not give my wife and daughter the strength He gave me. From my childhood I have been accustomed to resist outside influences and have been hardened enough. Such earthly catastrophes259 as fame, being made General, the change from comfort to living above my means, acquaintance with high society, have scarcely touched me. I have survived safe and sound. But it all fell down like an avalanche260 on my weak, unhardened wife and Liza, and crushed them.
Gnekker and the girls talk of fugues and counter-fugues; singers and pianists, Bach and Brahms, and my wife, frightened of being suspected of musical ignorance, smiles sympathetically and murmurs261: "Wonderful.... Is it possible?... Why?..." Gnekker eats steadily262, jokes gravely, and listens condescendingly to the ladies' remarks. Now and then he has the desire to talk bad French, and then he finds it necessary for some unknown reason to address me magnificently, "Votre Excellence265."
And I am morose266. Apparently I embarrass them all and they embarrass me. I never had any intimate acquaintance with class antagonism267 before, but now something of the kind torments268 me indeed. I try to find only bad traits in Gnekker. It does not take long and then I am tormented269 because one of my friends has not taken his place as bridegroom. In another way too his presence has a bad effect upon me. Usually, when I am left alone with myself or when I am in the company of people I love, I never think of my merits; and if I begin to think about them they seem as trivial as though I had become a scholar only yesterday. But in the presence of a man like Gnekker my merits appear to me like an extremely high mountain, whose summit is lost in the clouds, while Gnekkers move about the foot, so small as hardly to be seen.
After dinner I go up to my study and light my little pipe, the only one during the whole day, the sole survivor270 of my old habit of smoking from morning to night. My wife comes into me while I am smoking and sits down to speak to me. Just as in the morning, I know beforehand what the conversation will be.
"We ought to talk seriously, Nicolai Stiepanovich," she begins. "I mean about Liza. Why won't you attend?"
"Attend to what?"
"You pretend you don't notice anything. It's not right: It's not right to be unconcerned. Gnekker has intentions about Liza. What do you say to that?"
"I can't say he's a bad man, because I don't know him; but I've told you a thousand times already that I don't like him."
"But that's impossible ... impossible...." She rises and walks about in agitation.
"It's impossible to have such an attitude to a serious matter," she says. "When our daughter's happiness is concerned, we must put everything personal aside. I know you don't like him.... Very well.... But if we refuse him now and upset everything, how can you guarantee that Liza won't have a grievance271 against us for the rest of her life? Heaven knows there aren't many young men nowadays. It's quite likely there won't be another chance. He loves Liza very much and she likes him, evidently. Of course he hasn't a settled position. But what is there to do? Please God, he'll get a position in time. He comes of a good family, and he's rich."
"How did you find that out?"
"He said so himself. His father has a big house in Kharkov and an estate outside. You must certainly go to Kharkov."
"Why?"
"You'll find out there. You have acquaintances among the professors there. I'd go myself. But I'm a woman. I can't."
"I will not go to Kharkov," I say morosely272.
My wife gets frightened; a tormented expression comes over her face.
"For God's sake, Nicolai Stiepanich," she implores273, sobbing274, "For God's sake help me with this burden! It hurts me."
It is painful to look at her.
"Very well, Varya," I say kindly275, "If you like—very well I'll go to Kharkov, and do everything you want."
She puts her handkerchief to her eyes and goes to cry in her room. I am left alone.
A little later they bring in the lamp. The familiar shadows that have wearied me for years fall from the chairs and the lamp-shade on to the walls and the floor. When I look at them it seems that it's night already, and the cursed insomnia has begun. I lie down on the bed; then I get up and walk about the room then lie down again. My nervous excitement generally reaches its highest after dinner, before the evening. For no reason I begin to cry and hide my head in the pillow. All the while I am afraid somebody may come in; I am afraid I shall die suddenly; I am ashamed of my tears; altogether, something intolerable is happening in my soul. I feel I cannot look at the lamp or the books or the shadows on the floor, or listen to the voices in the drawing-room any more. Some invisible, mysterious force pushes me rudely out of my house. I jump up, dress hurriedly, and go cautiously out into the street so that the household shall not notice me. Where shall I go?
The answer to this question has long been there in my brain: "To Katy."
III
As usual she is lying on the Turkish divan276 or the couch and reading something. Seeing me she lifts her head languidly, sits down, and gives me her hand.
"You are always lying down like that," I say after a reposeful277 silence. "It's unhealthy. You'd far better be doing something."
"Ah?"
"You'd far better be doing something, I say."
"What?... A woman can be either a simple worker or an actress."
"Well, then—if you can't become a worker, be an actress."
She is silent.
"You had better marry," I say, half-joking.
"There's no one to marry: and no use if I did."
"You can't go on living like this."
"Without a husband? As if that mattered. There are as many men as you like, if you only had the will."
"This isn't right, Katy."
"What isn't right?"
"What you said just now."
Katy sees that I am chagrined278, and desires to soften279 the bad impression.
"Come. Let's come here. Here."
She leads me into a small room, very cosy280, and points to the writing table.
"There. I made it for you. You'll work here. Come every day and bring your work with you. They only disturb you there at home.... Will you work here? Would you like to?"
In order not to hurt her by refusing, I answer that I shall work with her and that I like the room immensely. Then we both sit down in the cosy room and begin to talk.
The warmth, the cosy surroundings, the presence of a sympathetic being, rouses in me now not a feeling of pleasure as it used but a strong desire to complain and grumble281. Anyhow it seems to me that if I moan and complain I shall feel better.
"It's a bad business, my dear," I begin with a sigh. "Very bad."
"What is the matter?"
"I'll tell you what is the matter. The best and most sacred right of kings is the right to pardon. And I have always felt myself a king so long as I used this right prodigally282. I never judged, I was compassionate283, I pardoned everyone right and left. Where others protested and revolted I only advised and persuaded. All my life I've tried to make my society tolerable to the family of students, friends and servants. And this attitude of mine towards people, I know, educated every one who came into contact with me. But now I am king no more. There's something going on in me which belongs only to slaves. Day and night evil thoughts roam about in my head, and feelings which I never knew before have made their home in my soul. I hate and despise; I'm exasperated, disturbed, and afraid. I've become strict beyond measure, exacting284, unkind, and suspicious. Even the things which in the past gave me the chance of making an extra pun, now bring me a feeling of oppression. My logic285 has changed too. I used to despise money alone; now I cherish evil feelings, not to money, but to the rich, as if they were guilty. I used to hate violence and arbitrariness; now I hate the people who employ violence, as if they alone are to blame and not all of us, who cannot educate one another. What does it all mean? If my new thoughts and feelings come from a change of my convictions, where could the change have come from? Has the world grown worse and I better, or was I blind and indifferent before? But if the change is due to the general decline of my physical and mental powers—I am sick and losing weight every day—then I'm in a pitiable position. It means that my new thoughts are abnormal and unhealthy, that I must be ashamed of them and consider them valueless...."
"Sickness hasn't anything to do with it," Katy interrupts. "Your eyes are opened—that's all. You've begun to notice things you didn't want to notice before for some reason. My opinion is that you must break with your family finally first of all and then go away."
"You're talking nonsense."
"You don't love them any more. Then, why do you behave unfairly? And is it a family! Mere49 nobodies. If they died to-day, no one would notice their absence to-morrow."
Katy despises my wife and daughter as much as they hate her. It's scarcely possible nowadays to speak of the right of people to despise one another. But if you accept Katy's point of view and own that such a right exists, you will notice that she has the same right to despise my wife and Liza as they have to hate her.
"Mere nobodies!" she repeats. "Did you have any dinner to-day? It's a wonder they didn't forget to tell you dinner was ready. I don't know how they still remember that you exist."
"Katy!" I say sternly. "Please be quiet."
"You don't think it's fun for me to talk about them, do you? I wish I didn't know them at all. You listen to me, dear. Leave everything and go away: go abroad—the quicker, the better."
"What nonsense! What about the University?"
"And the University, too. What is it to you? There's no sense in it all. You've been lecturing for thirty years, and where are your pupils? Have you many famous scholars? Count them up. But to increase the number of doctors who exploit the general ignorance and make hundreds of thousands,—there's no need to be a good and gifted man. You aren't wanted."
"My God, how bitter you are!" I get terrified. "How bitter you are. Be quiet, or I'll go away. I can't reply to the bitter things you say."
The maid enters and calls us to tea. Thank God, our conversation changes round the samovar. I have made my moan, and now I want to indulge another senile weakness—reminiscences. I tell Katy about my past, to my great surprise with details that I never suspected I had kept safe in my memory. And she listens to me with emotion, with pride, holding her breath. I like particularly to tell how I once was a student at a seminary and how I dreamed of entering the University.
"I used to walk in the seminary garden," I tell her, "and the wind would bring the sound of a song and the thrumming of an accordion286 from a distant tavern287, or a troika with bells would pass quickly by the seminary fence. That would be quite enough to fill not only my breast with a sense of happiness, but my stomach, legs, and hands. As I heard the sound of the accordion or the bells fading away, I would see myself a doctor and paint pictures, one more glorious than another. And, you see, my dreams came true. There were more things I dared to dream of. I have been a favourite professor thirty years, I have had excellent friends and an honourable288 reputation. I loved and married when I was passionately in love. I had children. Altogether, when I look back the whole of my life seems like a nice, clever composition. The only thing I have to do now is not to spoil the finale. For this, I must die like a man. If death is really a danger then I must meet it as becomes a teacher, a scholar, and a citizen of a Christian State. But I am spoiling the finale. I am drowning, and I run to you and beg for help, and you say: 'Drown. It's your duty.'"
At this point a ring at the bell sounds in the hall. Katy and I both recognise it and say:
"That must be Mikhail Fiodorovich."
And indeed in a minute Mikhail Fiodorovich, my colleague, the philologist289, enters. He is a tall, well-built man about fifty years old, clean shaven, with thick grey hair and black eyebrows290. He is a good man and an admirable friend. He belongs to an old aristocratic family, a prosperous and gifted house which has played a notable r?le in the history of our literature and education. He himself is clever, gifted, and highly educated, but not without his eccentricities292. To a certain extent we are all eccentric, queer fellows, but his eccentricities have an element of the exceptional, not quite safe for his friends. Among the latter I know not a few who cannot see his many merits clearly because of his eccentricities.
As he walks in he slowly removes his gloves and says in his velvety293 bass:
"How do you do? Drinking tea. Just in time. It's hellishly cold."
Then he sits down at the table, takes a glass of tea and immediately begins to talk. What chiefly marks his way of talking is his invariably ironical294 tone, a mixture of philosophy and jest, like Shakespeare's grave-diggers. He always talks of serious matters; but never seriously. His opinions are always acid and provocative295, but thanks to his tender, easy, jesting tone, it somehow happens that his acidity296 and provocativeness297 don't tire one's ears, and one very soon gets used to it. Every evening he brings along some half-dozen stories of the university life and generally begins with them when he sits down at the table.
"O Lord," he sighs with an amusing movement of his black eyebrows, "there are some funny people in the world."
"Who?" asks Katy.
"I was coming down after my lecture to-day and I met that old idiot N—— on the stairs. He walks along, as usual pushing out that horse jowl of his, looking for some one to bewail his headaches, his wife, and his students, who won't come to his lectures. 'Well,' I think to myself, 'he's seen me. It's all up—no hope for And so on in the same strain. Or he begins like this,
"Yesterday I was at Z's public lecture. Tell it not in Gath, but I do wonder how our alma mater dares to show the public such an ass9, such a double-dyed blockhead as Z. Why he's a European fool. Good Lord, you won't find one like him in all Europe—not even if you looked in daytime, and with a lantern. Imagine it: he lectures as though he were sucking a stick of barley-sugar—su—su—su. He gets a fright because he can't make out his manuscript. His little thoughts will only just keep moving, hardly moving, like a bishop298 riding a bicycle. Above all you can't make out a word he says. The flies die of boredom, it's so terrific. It can only be compared with the boredom in the great Hall at the Commemoration, when the traditional speech is made. To hell with it!"
Immediately an abrupt299 change of subject.
"I had to make the speech; three years ago. Nicolai Stiepanovich will remember. It was hot, close. My full uniform was tight under my arms, tight as death. I read for half an hour, an hour, an hour and a half, two hours. 'Well,' I thought, 'thank God I've only ten pages left.' And I had four pages of peroration300 that I needn't read at all. 'Only six pages then,' I thought. Imagine it. I just gave a glance in front of me and saw sitting next to each other in the front row a general with a broad ribbon and a bishop. The poor devils were bored stiff. They were staring about madly to stop themselves from going to sleep. For all that they are still trying to look attentive301, to make some appearance of understanding what I'm reading, and look as though they like it. 'Well,' I thought, 'if you like it, then you shall have it. I'll spite you.' So I set to and read the four pages, every word."
When he speaks only his eyes and eyebrows smile as it is generally with the ironical. At such moments there is no hatred or malice302 in his eyes but a great deal of acuteness and that peculiar303 fox-cunning which you can catch only in very observant people. Further, about his eyes I have noticed one more peculiarity304. When he takes his glass from Katy, or listens to her remarks, or follows her with a glance as she goes out of the room for a little while, then I catch in his look something humble305, prayerful, pure....
The maid takes the samovar away and puts on the table a big piece of cheese, some fruit, and a bottle of Crimean champagne306, a thoroughly bad wine which Katy got to like when she lived in the Crimea. Mikhail Fiodorovich takes two packs of cards from the shelves and sets them out for patience. If one may believe his assurances, some games of patience demand a great power of combination and concentration. Nevertheless while he sets out the cards he amuses himself by talking continually. Katy follows his cards carefully, helping307 him more by mimicry308 than words. In the whole evening she drinks no more than two small glasses of wine, I drink only a quarter of a glass, the remainder of the bottle falls to Mikhail Fiodorovich, who can drink any amount without ever getting drunk.
During patience we solve all kinds of questions, mostly of the lofty order, and our dearest love, science, comes off second best.
"Science, thank God, has had her day," says Mikhail Fiodorovich very slowly. "She has had her swan-song. Ye-es. Mankind has begun to feel the desire to replace her by something else. She was grown from the soil of prejudice, fed by prejudices, and is now the same quintessence of prejudices as were her bygone grandmothers: alchemy, metaphysics and philosophy. As between European scholars and the Chinese who have no sciences at all the difference is merely trifling309, a matter only of externals. The Chinese had no scientific knowledge, but what have they lost by that?"
"Flies haven't any scientific knowledge either," I say; "but what does that prove?"
"It's no use getting angry, Nicolai Stiepanich. I say this only between ourselves. I'm more cautious than you think. I shan't proclaim it from the housetops, God forbid! The masses still keep alive a prejudice that science and art are superior to agriculture and commerce, superior to crafts. Our persuasion310 makes a living from this prejudice. It's not for you and me to destroy it. God forbid!"
During patience the younger generation also comes in for it.
"Our public is degenerate311 nowadays," Mikhail Fiodorovich sighs. "I don't speak of ideals and such things, I only ask that they should be able to work and think decently. 'Sadly I look at the men of our time'—it's quite true in this connection."
"Yes, they're frightfully degenerate," Katy agrees. "Tell me, had you one single eminent person under you during the last five or ten years?"
"I don't know how it is with the other professors,—but somehow I don't recollect12 that it ever happened to me."
"In my lifetime I've seen a great many of your students and young scholars, a great many actors.... What happened? I never once had the luck to meet, not a hero or a man of talent, but an ordinarily interesting person. Everything's dull and incapable218, swollen312 and pretentious313...."
All these conversations about degeneracy give me always the impression that I have unwittingly overheard an unpleasant conversation about my daughter. I feel offended because the indictments314 are made wholesale316 and are based upon such ancient hackneyed commonplaces and such penny-dreadful notions as degeneracy, lack of ideals, or comparisons with the glorious past. Any indictment315, even if it's made in a company of ladies, should be formulated318 with all possible precision; otherwise it isn't an indictment, but an empty calumny319, unworthy of decent people.
I am an old man, and have served for the last thirty years; but I don't see any sign either of degeneracy or the lack of ideals. I don't find it any worse now than before. My porter, Nicolas, whose experience in this case has its value, says that students nowadays are neither better nor worse than their predecessors321.
If I were asked what was the thing I did not like about my present pupils, I wouldn't say offhand or answer at length, but with a certain precision. I know their defects and there's no need for me to take refuge in a mist of commonplaces. I don't like the way they smoke, and drink spirits, and marry late; or the way they are careless and indifferent to the point of allowing students to go hungry in their midst, and not paying their debts into "The Students' Aid Society." They are ignorant of modern languages and express themselves incorrectly in Russian. Only yesterday my colleague, the hygienist, complained to me that he had to lecture twice as often because of their incompetent322 knowledge of physics and their complete ignorance of meteorology. They are readily influenced by the most modern writers, and some of those not the best, but they are absolutely indifferent to classics like Shakespeare, Marcus Aurelius, Epictetus and Pascal; and their worldly unpracticality shows itself mostly in their inability to distinguish between great and small. They solve all difficult questions which have a more or less social character (emigration, for instance) by getting up subscriptions323, but not by the method of scientific investigation324 and experiment, though this is at their full disposal, and, above all, corresponds to their vocation. They readily become house-doctors, assistant house-doctors, clinical assistants, or consulting doctors, and they are prepared to keep these positions until they are forty, though independence, a sense of freedom, and personal initiative are quite as necessary in science, as, for instance, in art or commerce. I have pupils and listeners, but I have no helpers or successors. Therefore I love them and am concerned for them, but I'm not proud of them ... and so on.
However great the number of such defects may be, it's only in a cowardly and timid person that they give rise to pessimism and distraction325. All of them are by nature accidental and transitory, and are completely dependent on the conditions of life. Ten years will be enough for them to disappear or give place to new and different defects, which are quite indispensable, but will in their turn give the timid a fright. Students' shortcomings often annoy me, but the annoyance326 is nothing in comparison with the joy I have had these thirty years in speaking with my pupils, lecturing to them, studying their relations and comparing them with people of a different class.
Mikhail Fiodorovich is a slanderer219. Katy listens and neither of them notices how deep is the pit into which they are drawn by such an outwardly innocuous recreation as condemning327 one's neighbours. They don't realise how a simple conversation gradually turns into mockery and derision, or how they both begin even to employ the manners of calumny.
"There are some queer types to be found," says Mikhail Fiodorovich. "Yesterday I went to see our friend Yegor Pietrovich. There I found a student, one of your medicos, a third-year man, I think. His face ... rather in the style of Dobroliubov—the stamp of profound thought on his brow. We began to talk. 'My dear fellow—an extraordinary business. I've just read that some German or other—can't remember his name—has extracted a new alkaloid from the human brain—idiotine.' Do you know he really believed it, and produced an expression of respect on his face, as much as to say, 'See, what a power we are.'"
"The other day I went to the theatre. I sat down. Just in front of me in the next row two people were sitting: one, 'one of the chosen,' evidently a law student, the other a whiskery medico. The medico was as drunk as a cobbler. Not an atom of attention to the stage. Dozing328 and nodding. But the moment some actor began to deliver a loud monologue, or just raised his voice, my medico thrills, digs his neighbour in the ribs329. 'What's he say? Something noble?' 'Noble,' answers 'the chosen.'
"'Brrravo!' bawls330 the medico. 'No—ble. Bravo.' You see the drunken blockhead didn't come to the theatre for art, but for something noble. He wants nobility."
Katy listens and laughs. Her laugh is rather strange. She breathes out in swift, rhythmic331, and regular alternation with her inward breathing. It's as though she were playing an accordion. Of her face, only her nostrils332 laugh. My heart fails me. I don't know what to say. I lose my temper, crimson333, jump up from my seat and cry:
"Be quiet, won't you? Why do you sit here like two toads334, poisoning the air with your breath? I've had enough."
In vain I wait for them to stop their slanders335. I prepare to go home. And it's time, too. Past ten o'clock.
"I'll sit here a little longer," says Mikhail Fiodorovich, "if you give me leave, Ekaterina Vladimirovna?"
"You have my leave," Katy answers.
"Bene. In that case, order another bottle, please."
Together they escort me to the hall with candles in their hands. While I'm putting on my overcoat, Mikhail Fiodorovich says:
"You've grown terribly thin and old lately. Nicolai Stiepanovich. What's the matter with you? Ill?
"Yes, a little."
"And he will not look after himself," Katy puts in sternly.
"Why don't you look after yourself? How can you go on like this? God helps those who help themselves, my dear man. Give my regards to your family and make my excuses for not coming. One of these days, before I go abroad, I'll come to say good-bye. Without fail. I'm off next week."
I came away from Katy's irritated, frightened by the talk about my illness and discontented with myself. "And why," I ask myself, "shouldn't I be attended by one of my colleagues?" Instantly I see how my friend, after sounding me, will go to the window silently, think a little while, turn towards me and say, indifferently, trying to prevent me from reading the truth in his face: "At the moment I don't see anything particular; but still, cher confrère, I would advise you to break off your work...." And that will take my last hope away.
Who doesn't have hopes? Nowadays, when I diagnose and treat myself, I sometimes hope that my ignorance deceives me, that I am mistaken about the albumen and sugar which I find, as well as about my heart, and also about the anasarca which I have noticed twice in the morning. While I read over the therapeutic336 text-books again with the eagerness of a hypochondriac, and change the prescriptions337 every day, I still believe that I will come across something hopeful. How trivial it all is!
Whether the sky is cloudy all over or the moon and stars are shining in it, every time I come back home I look at it and think that death will take me soon. Surely at that moment my thoughts should be as deep as the sky, as bright, as striking ... but no! I think of myself, of my wife, Liza, Gnekker, the students, people in general. My thoughts are not good, they are mean; I juggle339 with myself, and at this moment my attitude towards life can be expressed in the words the famous Arakheev wrote in one of his intimate letters: "All good in the world is inseparably linked to bad, and there is always more bad than good." Which means that everything is ugly, there's nothing to live for, and the sixty-two years I have lived out must be counted as lost. I surprise myself in these thoughts and try to convince myself they are accidental and temporary and not deeply rooted in me, but I think immediately:
"If that's true, why am I drawn every evening to those two toads." And I swear to myself never to go to Katy any more, though I know I will go to her again to-morrow.
As I pull my door bell and go upstairs, I feel already that I have no family and no desire to return to it. It is plain my new, Arakheev thoughts are not accidental or temporary in me, but possess my whole being. With a bad conscience, dull, indolent, hardly able to move my limbs, as though I had a ten ton weight upon me, I lie down in my bed and soon fall asleep.
And then—insomnia.
IV
The summer comes and life changes.
One fine morning Liza comes in to me and says in a joking tone:
"Come, Your Excellency. It's all ready."
They lead My Excellency into the street, put me into a cab and drive me away. For want of occupation I read the signboards backwards340 as I go. The word "Tavern" becomes "Nrevat." That would do for a baron's name: Baroness341 Nrevat. Beyond, I drive across the field by the cemetery342, which produces no impression upon me whatever, though I'll soon lie there. After a two hours' drive, My Excellency is led into the ground-floor of the bungalow343, and put into a small, lively room with a light-blue paper.
Insomnia at night as before, but I am no more wakeful in the morning and don't listen to my wife, but lie in bed. I don't sleep, but I am in a sleepy state, half-forgetfulness, when you know you are not asleep, but have dreams. I get up in the afternoon, and sit down at the table by force of habit, but now I don't work any more but amuse myself with French yellow-backs sent me by Katy. Of course it would be more patriotic344 to read Russian authors, but to tell the truth I'm not particularly disposed to them. Leaving out two or three old ones, all the modern literature doesn't seem to me to be literature but a unique home industry which exists only to be encouraged, but the goods are bought with reluctance345. The best of these homemade goods can't be called remarkable and it's impossible to praise it sincerely without a saving "but"; and the same must be said of all the literary novelties I've read during the last ten or fifteen years. Not one remarkable, and you can't dispense346 with "but." They have cleverness, nobility, and no talent; talent, nobility and no cleverness; or finally, talent, cleverness, but no nobility.
I would not say that French books have talent, cleverness, and nobility. Nor do they satisfy me. But they are not so boring as the Russian; and it is not rare to find in them the chief constituent347 of creative genius—the sense of personal freedom, which is lacking to Russian authors. I do not recall one single new book in which from the very first page the author did not try to tie himself up in all manner of conventions and contracts with his conscience. One is frightened to speak of the naked body, another is bound hand and foot by psychological analysis, a third must have "a kindly attitude to his fellow-men," the fourth heaps up whole pages with descriptions of nature on purpose to avoid any suspicion of a tendency.... One desires to be in his books a bourgeois348 at all costs, another at all costs an aristocrat291. Deliberation, cautiousness, cunning: but no freedom, no courage to write as one likes, and therefore no creative genius.
All this refers to belles349-lettres, so-called.
As for serious articles in Russian, on sociology, for instance, or art and so forth350, I don't read them, simply out of timidity. For some reason in my childhood and youth I had a fear of porters and theatre attendants, and this fear has remained with me up till now. Even now I am afraid of them. It is said that only that which one cannot understand seems terrible. And indeed it is very difficult to understand why hall-porters and theatre attendants are so pompous258 and haughty351 and importantly polite. When I read serious articles, I have exactly the same indefinable fear. Their portentous352 gravity, their playfulness, like an archbishop's, their over-familiar attitude to foreign authors, their capacity for talking dignified353 nonsense—"filling a vacuum with emptiness"—it is all inconceivable to me and terrifying, and quite unlike the modesty354 and the calm and gentlemanly tone to which I am accustomed when reading our writers on medicine and the natural sciences. Not only articles; I have difficulty also in reading translations even when they are edited by serious Russians. The presumptuous355 benevolence356 of the prefaces, the abundance of notes by the translator (which prevents one from concentrating), the parenthetical queries357 and sics, which are so liberally scattered358 over the book or the article by the translator—seem to me an assault on the author's person, as well as on my independence as a reader.
Once I was invited as an expert to the High Court. In the interval one of my fellow-experts called my attention to the rude behaviour of the public prosecutor359 to the prisoners, among whom were two women intellectuals. I don't think I exaggerated at all when I replied to my colleague that he was not behaving more rudely than authors of serious articles behave to one another. Indeed their behaviour is so rude that one speaks of them with bitterness. They behave to each other or to the writers whom they criticise360 either with too much deference361, careless of their own dignity, or, on the other hand, they treat them much worse than I have treated Gnekker, my future son-in-law, in these notes and thoughts of mine. Accusations362 of irresponsibility, of impure363 intentions, of any kind of crime even, are the usual adornment364 of serious articles. And this, as our young medicos love to say in their little articles—quite ultima ratio. Such an attitude must necessarily be reflected in the character of the young generation of writers, and therefore I'm not at all surprised that in the new books which, have been added to our belles lettres in the last ten or fifteen years, the heroes drink a great deal of vodka and the heroines are not sufficiently365 chaste366.
I read French books and look out of the window, which is open—I see the pointed367 palings of my little garden, two or three skinny trees, and there, beyond the garden, the road, fields, then a wide strip of young pine-forest. I often delight in watching a little boy and girl, both white-haired and ragged368, climb on the garden fence and laugh at my baldness. In their shining little eyes I read, "Come out, thou bald-head." These are almost the only people who don't care a bit about my reputation or my title.
I don't have visitors everyday now. I'll mention only the visits of Nicolas and Piotr Ignatievich. Nicolas comes to me usually on holidays, pretending to come on business, but really to see me. He is very hilarious369, a thing which never happens to him in the winter.
"Well, what have you got to say?" I ask him, coming out into the passage.
"Your Excellency!" he says, pressing his hand to his heart and looking at me with a lover's rapture. "Your Excellency! So help me God! God strike me where I stand! Gaudeamus igitur juvenestus."
And he kisses me eagerly on the shoulders, on my sleeves, and buttons.
"Is everything all right over there?" I ask.
"Your Excellency! I swear to God...."
He never stops swearing, quite unnecessarily, and I soon get bored, and send him to the kitchen, where they give him dinner. Piotr Ignatievich also comes on holidays specially to visit me and communicate his thoughts to me. He usually sits by the table in my room, modest, clean, judicious370, without daring to cross his legs or lean his elbows on the table, all the while telling me in a quiet, even voice what he considers very piquant371 items of news gathered from journals and pamphlets.
These items are all alike and can be reduced to the following type: A Frenchman made a discovery. Another—a German—exposed him by showing that this discovery had been made as long ago as 1870 by some American. Then a third—also a German—outwitted them both by showing that both of them had been confused, by taking spherules of air under a microscope for dark pigment372. Even when he wants to make me laugh, Piotr Ignatievich tells his story at great length, very much as though he were defending a thesis, enumerating373 his literary sources in detail, with every effort to avoid mistakes in the dates, the particular number of the journal and the names. Moreover, he does not say Petit simply but inevitably, Jean Jacques Petit. If he happens to stay to dinner, he will tell the same sort of piquant stories and drive all the company to despondency. If Gnekker and Liza begin to speak of fugues and counter-fugues in his presence he modestly lowers his eyes, and his face falls. He is ashamed that such trivialities should be spoken of in the presence of such serious men as him and me.
In my present state of mind five minutes are enough for him to bore me as though I had seen and listened to him for a whole eternity374. I hate the poor man. I wither375 away beneath his quiet, even voice and his bookish language. His stories make me stupid.... He cherishes the kindliest feelings towards me and talks to me only to give me pleasure. I reward him by staring at his face as if I wanted to hypnotise him, and thinking "Go away. Go, go...." But he is proof against my mental suggestion and sits, sits, sits....
While he sits with me I cannot rid myself of the idea: "When I die, it's quite possible that he will be appointed in my place." Then my poor audience appears to me as an oasis376 where the stream has dried, up, and I am unkind to Piotr Ignatievich, and silent and morose as if he were guilty of such thoughts and not I myself. When he begins, as usual, to glorify377 the German scholars, I no longer jest good-naturedly, but murmur sternly:
"They're fools, your Germans...."
It's like the late Professor Nikita Krylov when he was bathing with Pirogov at Reval. He got angry with the water, which was very cold, and swore about "These scoundrelly Germans." I behave badly to Piotr Ignatievich; and it's only when he is going away and I see through the window his grey hat disappearing behind the garden fence, that I want to call him back and say: "Forgive me, my dear fellow."
The dinner goes yet more wearily than in winter. The same Gnekker, whom I now hate and despise, dines with me every day. Before, I used to suffer his presence in silence, but now I say biting things to him, which make my wife and Liza blush. Carried away by an evil feeling, I often say things that are merely foolish, end don't know why I say them. Thus it happened once that after looking at Gnekker contemptuously for a long while, I suddenly fired off, for no reason at all:
"Eagles than barnyard-fowls378 may lower bend;
But fowls shall never to the heav'ns ascend381."
More's the pity that the fowl379 Gnekker shows himself more clever than the eagle professor. Knowing my wife and daughter are on his side he maintains these tactics. He replies to my shafts382 with a condescending263 silence ("The old man's off his head.... What's the good of talking to him?"), or makes good-humoured fun of me. It is amazing to what depths of pettiness a man may descend264. During the whole dinner I can dream how Gnekker will be shown to be an adventurer, how Liza and my wife will realise their mistake, and I will tease them—ridiculous dreams like these at a time when I have one foot in the grave.
Now there occur misunderstandings, of a kind which I formerly knew only by hearsay383. Though it is painful I will describe one which occurred after dinner the other day. I sit in my room smoking a little pipe. Enters my wife, as usual, sits down and begins to talk. What a good idea it would be to go to Kharkov now while the weather is warm and there is the time, and inquire what kind of man our Gnekker is.
"Very well. I'll go," I agree.
My wife gets up, pleased with me, and walks to the door; but immediately returns:
"By-the bye, I've one more favour to ask. I know you'll be angry; but it's my duty to warn you.... Forgive me, Nicolai,—but all our neighbours have begun to talk about the way you go to Katy's continually. I don't deny that she's clever and educated. It's pleasant to spend the time with her. But at your age and in your position it's rather strange to find pleasure in her society.... Besides she has a reputation enough to...."
All my blood rushes instantly from my brain. My eyes flash fire. I catch hold of my hair, and stamp and cry, in a voice that is not mine:
"Leave me alone, leave me, leave me...."
My face is probably terrible, and my voice strange, for my wife suddenly gets pale, and calls aloud, with a despairing voice, also not her own. At our cries rush in Liza and Gnekker, then Yegor.
My feet grow numb118, as though they did not exist. I feel that I am falling into somebody's arms. Then I hear crying for a little while and sink into a faint which lasts for two or three hours.
Now for Katy. She comes to see me before evening every day, which of course must be noticed by my neighbours and my friends. After a minute she takes me with her for a drive. She has her own horse and a new buggy she bought this summer. Generally she lives like a princess. She has taken an expensive detached bungalow with a big garden, and put into it all her town furniture. She has two maids and a coachman. I often ask her:
"Katy, what will you live on when you've spent all your father's money?"
"We'll see, then," she answers.
"But this money deserves to be treated more seriously, my dear. It was earned by a good man and honest labour."
"You've told me that before. I know."
First we drive by the field, then by a young pine forest, which you can see from my window. Nature seems to me as beautiful as she used, although the devil whispers to me that all these pines and firs, the birds and white clouds in the sky will not notice my absence in three or four months when I am dead. Katy likes to take the reins384, and it is good that the weather is fine and I am sitting by her side. She is in a happy mood, and does not say bitter things.
"You're a very good man, Nicolai," she says. "You are a rare bird. There's no actor who could play your part. Mine or Mikhail's, for instance—even a bad actor could manage, but yours—there's nobody. I envy you, envy you terribly I What am I? What?"
She thinks for a moment, and asks:
"I'm a negative phenomenon, aren't I?"
"Yes," I answer.
"H'm ... what's to be done then?"
What answer can I give? It's easy to say "Work," or "Give your property to the poor," or "Know yourself," and because it's so easy to say this I don't know what to answer.
My therapeutist385 colleagues, when teaching methods of cure, advise one "to individualise each particular case." This advice must be followed in order to convince one's self that the remedies recommended in the text-books as the best and most thoroughly suitable as a general rule, are quite unsuitable in particular cases. It applies to moral affections as well. But I must answer something. So I say:
"You've too much time on your hands, my dear. You must take up something.... In fact, why shouldn't you go on the stage again, if you have a vocation."
"I can't."
"You have the manner and tone of a victim. I don't like it, my dear. You have yourself to blame. Remember, you began by getting angry with people and things in general; but you never did anything to improve either of them. You didn't put up a struggle against the evil. You got tired. You're not a victim of the struggle but of your own weakness. Certainly you were young then and inexperienced. But now everything can be different. Come on, be an actress. You will work; you will serve in the temple of art."...
"Don't be so clever, Nicolai," she interrupts. "Let's agree once for all: let's speak about actors, actresses, writers, but let us leave art out of it. You're a rare and excellent man. But you don't understand enough about art to consider it truly sacred. You have no flair386, no ear for art. You've been busy all your life, and you never had time to acquire the flair. Really ... I don't love these conversations about art!" she continues nervously. "I don't love them. They've vulgarised it enough already, thank you."
"Who's vulgarised it?"
"They vulgarised it by their drunkenness, newspapers by their over-familiarity, clever people by philosophy."
"What's philosophy got to do with it?"
"A great deal. If a man philosophises, it means he doesn't understand."
So that it should not come to bitter words, I hasten to change the subject, and then keep silence for a long while. It's not till we come out of the forest and drive towards Katy's bungalow, I return to the subject and ask:
"Still, you haven't answered me why you don't want to go on the stage?"
"Really, it's cruel," she cries out, and suddenly blushes all over. "You want me to tell you the truth outright387. Very well if ... if you will have it I I've no talent! No talent and ... much ambition! There you are!"
After this confession388, she turns her face away from me, and to hide the trembling of her hands, tugs389 at the reins.
As we approach her bungalow, from a distance we see Mikhail already, walking about by the gate, impatiently awaiting us.
"This Fiodorovich again," Katy says with annoyance. "Please take him away from me. I'm sick of him. He's flat.... Let him go to the deuce."
Mikhail Fiodorovich ought to have gone abroad long ago, but he has postponed390 his departure every week. There have been some changes in him lately. He's suddenly got thin, begun to be affected391 by drink—a thing that never happened to him before, and his black eyebrows have begun to get grey. When our buggy stops at the gate he cannot hide his joy and impatience392. Anxiously he helps Katy and me from the buggy, hastily asks us questions, laughs, slowly rubs his hands, and that gentle, prayerful, pure something that I used to notice only in his eyes is now poured over all his face. He is happy and at the same time ashamed of his happiness, ashamed of his habit of coming to Katy's every evening, and he finds it necessary to give a reason for his coming, some obvious absurdity393, like: "I was passing on business, and I thought I'd just drop in for a second."
All three of us go indoors. First we drink tea, then our old friends, the two packs of cards, appear on the table, with a big piece of cheese, some fruit, and a bottle of Crimean champagne. The subjects of conversation are not new, but all exactly the same as they were in the winter. The university, the students, literature, the theatre—all of them come in for it. The air thickens with slanders, and grows more dose. It is poisoned by the breath, not of two toads as in winter, but now by all three. Besides the velvety, baritone laughter and the accordion-like giggle, the maid who waits upon us hears also the unpleasant jarring laugh of a musical comedy general: "He, he, he!"
V
There sometimes come fearful nights with thunder, lightning, rain, and wind, which the peasants call "sparrow-nights." There was one such sparrow-night in my own personal life....
I wake after midnight and suddenly leap out of bed. Somehow it seems to me that I am going to die immediately. I do not know why, for there is no single sensation in my body which points to a quick end; but a terror presses on my soul as though I had suddenly seen a huge, ill-boding fire in the sky.
I light the lamp quickly and drink some water straight out of the decanter. Then I hurry to the window. The weather is magnificent. The air smells of hay and some delicious thing besides. I see the spikes394 of my garden fence, the sleepy starveling trees by the window, the road, the dark strip of forest. There is a calm and brilliant moon in the sky and not a single cloud. Serenity395. Not a leaf stirs. To me it seems that everything is looking at me and listening for me to die.
Dread317 seizes me. I shut the window and run to the bed, I feel for my pulse. I cannot find it in my wrist; I seek it in my temples, my chin, my hand again. They are all cold and slippery with sweat. My breathing comes quicker and quicker; my body trembles, all my bowels396 are stirred, and my face and forehead feel as though a cobweb had settled on them.
What shall I do? Shall I call my family? No use. I do not know what my wife and Liza will do when they come in to me.
I hide my head under the pillow, shut my eyes and wait, wait.... My spine397 is cold. It almost contracts within me. And I feel that death will approach me only from behind, very quietly.
"Kivi, kivi." A squeak87 sounds in the stillness of the night. I do not know whether it is in my heart or in the street.
God, how awful! I would drink some more water; but now I dread opening my eyes, and fear to raise my head. The terror is unaccountable, animal. I cannot understand why I am afraid. Is it because I want to live, or because a new and unknown pain awaits me?
Upstairs, above the ceiling, a moan, then a laugh ... I listen. A little after steps sound on the staircase. Someone hurries down, then up again. In a minute steps sound downstairs again. Someone stops by my door and listens.
"Who's there?" I call.
The door opens. I open my eyes boldly and see my wife. Her face is pale and her eyes red with weeping.
"You're not asleep, Nicolai Stiepanovich?" she asks.
"What is it?"
"For God's sake go down to Liza. Something is wrong with her."
"Very well ... with pleasure," I murmur, very glad that I am not alone. "Very well ... immediately."
As I follow my wife I hear what she tells me, and from agitation understand not a word. Bright spots from her candle dance over the steps of the stairs; our long shadows tremble; my feet catch in the skirts of my dressing398-gown. My breath goes, and it seems to me that someone is chasing me, trying to seize my back. "I shall die here on the staircase, this second," I think, "this second." But we have passed the staircase, the dark hall with the Italian window and we go into Liza's room. She sits in bed in her chemise; her bare legs hang down and she moans.
"Oh, my God ... oh, my God!" she murmurs, half shutting her eyes from our candles. "I can't, I can't."
"Liza, my child," I say, "what's the matter?"
Seeing me, she calls out and falls on my neck.
"Papa darling," she sobs399. "Papa dearest ... my sweet. I don't know what it is.... It hurts."
She embraces me, kisses me and lisps endearments which I heard her lisp when she was still a baby.
"Be calm, my child. God's with you," I say. "You mustn't cry. Something hurts me too."
I try to cover her with the bedclothes; my wife gives her to drink; and both of us jostle in confusion round the bed. My shoulders push into hers, and at that moment I remember how we used to bathe our children.
"But help her, help her!" my wife implores. "Do something!" And what can I do? Nothing. There is some weight on the girl's soul; but I understand nothing, know nothing and can only murmur:
"It's nothing, nothing.... It will pass.... Sleep, sleep."
As if on purpose a dog suddenly howls in the yard, at first low and irresolute173, then aloud, in two voices. I never put any value on such signs as dogs' whining or screeching400 owls380; but now my heart contracts painfully, and I hasten to explain the howling.
"Nonsense," I think. "It's the influence of one organism on another. My great nervous strain was transmitted to my wife, to Liza, and to the dog. That's all. Such transmissions explain presentiments401 and previsions."
A little later when I return to my room to write a prescription338 for Liza I no longer think that I shall die soon. My soul simply feels heavy and dull, so that I am even sad that I did not die suddenly. For a long while I stand motionless in the middle of the room, pondering what I shall prescribe for Liza; but the moans above the ceiling are silent and I decide not to write a prescription, but stand there still.
There is a dead silence, a silence, as one man wrote, that rings in one's ears. The time goes slowly. The bars of moonshine on the windowsill do not move from their place, as though congealed402.... The dawn is still far away.
But the garden-gate creaks; someone steals in, and strips a twig403 from the starveling trees, and cautiously knocks with it on my window.
"Nicolai Stiepanovich!" I hear a whisper. "Nicolai Stiepanovich!"
I open the window, and I think that I am dreaming. Under the window, close against the wall stands a woman in a blade dress. She is brightly lighted by the moon and looks at me with wide eyes. Her face is pale, stem and fantastic in the moon, like marble. Her chin trembles.
"It is I...." she says, "I ... Katy!"
In the moon all women's eyes are big and black, people are taller and paler. Probably that is the reason why I did not recognise her in the first moment.
"What's the matter?"
"Forgive me," she says. "I suddenly felt so dreary404 ... I could not bear it. So I came here. There's a light in your window ... and I decided to knock.... Forgive me.... Ah, if you knew how dreary I felt! What are you doing now?"
"Nothing. Insomnia."
Her eyebrows lift, her eyes shine with tears and all her face is illumined as with light, with the familiar, but long unseen, look of confidence.
"Nicolai Stiepanovich!" she says imploringly405, stretching out both her hands to me. "Dear, I beg you ... I implore.... If you do not despise my friendship and my respect for you, then do what I implore you."
"What is it?"
"Take my money."
"What next? What's the good of your money to me?"
"You will go somewhere to be cured. You must cure yourself. You will take it? Yes? Dear ... Yes?"
She looks into my face eagerly and repeats:
"Yes? You will take it?"
"No, my dear, I won't take it....", I say. "Thank you."
She turns her back to me and lowers her head. Probably the tone of my refusal would not allow any further talk of money.
"Go home to sleep," I say. "I'll see you to-morrow."
"It means, you don't consider me your friend?" she asks sadly.
"I don't say that. But your money is no good to me."
"Forgive me," she says lowering her voice by a full octave. "I understand you. To be obliged to a person like me ... a retired406 actress... But good-bye."
And she walks away so quickly that I have no time even to say "Good-bye."
VI
I am in Kharkov.
Since it would be useless to fight against my present mood, and I have no power to do it, I made up my mind that the last days of my life shall be irreproachable407, on the formal side. If I am not right with my family, which I certainly admit, I will try at least to do as it wishes. Besides I am lately become so indifferent that it's positively408 all the same, to me whether I go to Kharkov, or Paris, or Berditshev.
I arrived here at noon and put up at a hotel not far from the cathedral. The train made me giddy, the draughts409 blew through me, and now I am sitting on the bed with my head in my hands waiting for the tic. I ought to go to my professor friends to-day, but I have neither the will nor the strength.
The old hall-porter comes in to ask whether I have brought my own bed-clothes. I keep him about five minutes asking him questions about Gnekker, on whose account I came here. The porter happens to be Kharkov-born, and knows the town inside out; but he doesn't remember any family with the name of Gnekker. I inquire about the estate. The answer is the same.
The clock in the passage strikes one,... two,... three.... The last months of my life, while I wait for death, seem to me far longer than my whole life. Never before could I reconcile myself to the slowness of time as I can now. Before, when I had to wait for a train at the station, or to sit at an examination, a quarter of an hour would seem an eternity. Now I can sit motionless in bed the whole night long, quite calmly thinking that there will be the same long, colourless night to-morrow, and the next day....
In the passage the clock strikes five, six, seven.... It grows dark. There is dull pain in my cheek—the beginning of the tic. To occupy myself with thoughts, I return to my old point of view, when I was not indifferent, and ask: Why do I, a famous man, a privy councillor, sit in this little room, on this bed with a strange grey blanket? Why do I look at this cheap tin washstand and listen to the wretched clock jarring in the passage? Is all this worthy320 of my fame and my high position among people? And I answer these questions with a smile. My na?veté seems funny to me—the na?veté with which as a young man I exaggerated the value of fame and of the exclusive position which famous men enjoy. I am famous, my name is spoken with reverence410. My portrait has appeared in "Niva" and in "The Universal Illustration." I've even read my biography in a German paper, but what of that? I sit lonely, by myself, in a strange city, on a strange bed, rubbing my aching cheek with my palm....
Family scandals, the hardness of creditors411, the rudeness of railway men, the discomforts412 of the passport system, the expensive and unwholesome food at the buffets413, the general coarseness and roughness of people,—all this and a great deal more that would take too long to put down, concerns me as much as it concerns any bourgeois who is known only in his own little street. Where is the exclusiveness of my position then? We will admit that I am infinitely414 famous, that I am a hero of whom my country is proud. All the newspapers give bulletins of my illness, the post is already bringing in sympathetic addresses from my friends, my pupils, and the public. But all this will not save me from dying in anguish415 on a stranger's bed in utter loneliness. Of course there is no one to blame for this. But I must confess I do not like my popularity. I feel that it has deceived me.
At about ten I fall asleep, and, in spite of the tic sleep soundly, and would sleep for a long while were I not awakened416. Just after one there is a sudden knock on my door.
"Who's there?"
"A telegram."
"You could have brought it to-morrow," I storm, as I take the telegram from the porter. "Now I shan't sleep again."
"I'm sorry. There was a light in your room. I thought you were not asleep."
I open the telegram and look first at the signature—my wife's. What does she want?
"Gnekker married Liza secretly yesterday. Return."
I read the telegram. For a long while I am not startled. Not Gnekker's or Liza's action frightens me, but the indifference417 with which I receive the news of their marriage. Men say that philosophers and true savants are indifferent. It is untrue. Indifference is the paralysis418 of the soul, premature419 death.
I go to bed again and begin to ponder with what thoughts I can occupy myself. What on earth shall I think of? I seem to have thought over everything, and now there is nothing powerful enough to rouse my thought.
When the day begins to dawn, I sit in bed clasping my knees and, for want of occupation I try to know myself. "Know yourself" is good, useful advice; but it is a pity that the ancients did not think of showing us the way to avail ourselves of it.
Before, when I had the desire to understand somebody else, or myself, I used not to take into consideration actions, wherein everything is conditional420, but desires. Tell me what you want, and I will tell you what you are.
And now I examine myself. What do I want?
I want our wives, children, friends, and pupils to love in us, not the name or the firm or the label, but the ordinary human beings. What besides? I should like to have assistants and successors. What more? I should like to wake in a hundred years' time, and take a look, if only with one eye, at what has happened to science. I should like to live ten years more.... What further?
Nothing further. I think, think a long while and cannot make out anything else. However much I were to think, wherever my thoughts should stray, it is clear to me that the chief, all-important something is lacking in my desires. In my infatuation for science, my desire to live, my sitting here on a strange bed, my yearning421 to know myself, in all the thoughts, feelings, and ideas I form about anything, there is wanting the something universal which could bind422 all these together in one whole. Each feeling and thought lives detached in me, and in all my opinions about science, the theatre, literature, and my pupils, and in all the little pictures which my imagination paints, not even the most cunning analyst423 will discover what is called the general idea, or the god of the living man.
And if this is not there, then nothing is there.
In poverty such as this a serious infirmity, fear of death, influence of circumstances and people would have been enough to overthrow424 and shatter all that I formerly considered as my conception of the world, and all wherein I saw the meaning and joy of my life. Therefore, it is nothing strange that I have darkened the last months of my life by thoughts and feelings worthy of a slave or a savage215, and that I am now indifferent and do not notice the dawn. If there is lacking in a man that which is higher and stronger than all outside influences, then verily a good cold in the head is enough to upset his balance and to make him see each bird an owl33 and hear a dog's whine425 in every sound; and all his pessimism or his optimism with their attendant thoughts, great and small, seem then to be merely symptoms and no more.
I am beaten. Then it's no good going on thinking, no good talking. I shall sit and wait in silence for what will come.
In the morning the porter brings me tea and the local paper. Mechanically I read the advertisements on the first page, the leader, the extracts from newspapers and magazines, the local news ... Among other things I find in the local news an item like this: "Our famous scholar, emeritus professor Nicolai Stiepanovich arrived in Kharkov yesterday by the express, and stayed at——hotel."
Evidently big names are created to live detached from those who bear them. Now my name walks in Kharkov undisturbed. In some three months it will shine as bright as the sun itself, inscribed426 in letters of gold on my tombstone—at a time when I myself will be under the sod....
A faint knock at the door. Somebody wants me.
"Who's there? Come in!"
The door opens. I step back in astonishment427, and hasten to pull my dressing gown together. Before me stands Katy.
"How do you do?" she says, panting from running up the stairs. "You didn't expect me? I ... I've come too."
She sits down and continues, stammering and looking away from me. "Why don't you say 'Good morning'? I arrived too ... to-day. I found out you were at this hotel, and came to see you."
"I'm delighted to see you," I say shrugging my shoulders. "But I'm surprised. You might have dropped straight from heaven. What are you doing here?"
"I?... I just came."
Silence. Suddenly she gets up impetuously and comes over to me.
"Nicolai Stiepanich!" she says, growing pale and pressing her hands to her breast. "Nicolai Stiepanich! I can't go on like this any longer. I can't. For God's sake tell me now, immediately. What shall I do? Tell me, what shall I do?"
"What can I say? I am beaten. I can say nothing."
"But tell me, I implore you," she continues, out of breath and trembling all over her body. "I swear to you, I can't go on like this any longer. I haven't the strength."
She drops into a chair and begins to sob104. She throws her head back, wrings428 her hands, stamps with her feet; her hat falls from her head and dangles429 by its string, her hair is loosened.
"Help me, help," she implores. "I can't bear it any more."
She takes a handkerchief out of her little travelling bag and with it pulls out some letters which fall from her knees to the floor. I pick them up from the floor and recognise on one of them Mikhail Fiodorovich's hand-writing, and accidentally read part of a word: "passionat...."
"There's nothing that I can say to you, Katy," I say.
"Help me," she sobs, seizing my hand and kissing it. "You're my father, my only friend. You're wise and learned, and you've lived long! You were a teacher. Tell me what to do."
I am bewildered and surprised, stirred by her sobbing, and I can hardly stand upright.
"Let's have some breakfast, Katy," I say with a constrained99 smile.
Instantly I add in a sinking voice:
"I shall be dead soon, Katy...."
"Only one word, only one word," she weeps and stretches out her hands to me. "What shall I do?"
"You're a queer thing, really....", I murmur. "I can't understand it. Such a clever woman and suddenly—weeping...."
Comes silence. Katy arranges her hair, puts on her hat, then crumples430 her letters and stuffs them in her little bag, all in silence and unhurried. Her face, her bosom431 and her gloves are wet with tears, but her expression is dry already, stern.... I look at her and am ashamed that I am happier than she. It was but a little while before my death, in the ebb432 of my life, that I noticed in myself the absence of what our friends the philosophers call the general idea; but this poor thing's soul has never known and never will know shelter all her life, all her life.
"Katy, let's have breakfast," I say.
"No, thank you," she answers coldly.
One minute more passes in silence.
"I don't like Kharkov," I say. "It's too grey. A grey city."
"Yes ... ugly.... I'm not here for long.... On my way. I leave to-day."
"For where?"
"For the Crimea ... I mean, the Caucasus."
"So. For long?"
"I don't know."
Katy gets up and gives me her hand with a cold smile, looking away from me.
I would like to ask her: "That means you won't be at my funeral?" But she does not look at me; her hand is cold and like a stranger's. I escort her to the door in silenqe.... She goes out of my room and walks down the long passage, without looking back. She knows that my eyes are following her, and probably on the landing she will look back.
No, she did not look back. The black dress showed for the last time, her steps were stilled.... Goodbye, my treasure!
点击收听单词发音
1 disapproved | |
v.不赞成( disapprove的过去式和过去分词 ) | |
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2 obsolete | |
adj.已废弃的,过时的 | |
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3 Christian | |
adj.基督教徒的;n.基督教徒 | |
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4 immoral | |
adj.不道德的,淫荡的,荒淫的,有伤风化的 | |
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5 imprisonment | |
n.关押,监禁,坐牢 | |
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6 humane | |
adj.人道的,富有同情心的 | |
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7 incessant | |
adj.不停的,连续的 | |
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8 incessantly | |
ad.不停地 | |
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9 ass | |
n.驴;傻瓜,蠢笨的人 | |
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10 rapture | |
n.狂喜;全神贯注;着迷;v.使狂喜 | |
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11 recollected | |
adj.冷静的;镇定的;被回忆起的;沉思默想的v.记起,想起( recollect的过去式和过去分词 ) | |
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12 recollect | |
v.回忆,想起,记起,忆起,记得 | |
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13 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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14 specially | |
adv.特定地;特殊地;明确地 | |
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15 confinement | |
n.幽禁,拘留,监禁;分娩;限制,局限 | |
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16 strictly | |
adv.严厉地,严格地;严密地 | |
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17 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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18 boredom | |
n.厌烦,厌倦,乏味,无聊 | |
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19 foes | |
敌人,仇敌( foe的名词复数 ) | |
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20 zealously | |
adv.热心地;热情地;积极地;狂热地 | |
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21 testament | |
n.遗嘱;证明 | |
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22 haphazard | |
adj.无计划的,随意的,杂乱无章的 | |
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23 treatise | |
n.专著;(专题)论文 | |
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24 wreckage | |
n.(失事飞机等的)残骸,破坏,毁坏 | |
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25 gambling | |
n.赌博;投机 | |
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26 risky | |
adj.有风险的,冒险的 | |
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27 speculation | |
n.思索,沉思;猜测;投机 | |
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28 murmur | |
n.低语,低声的怨言;v.低语,低声而言 | |
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29 envious | |
adj.嫉妒的,羡慕的 | |
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30 bankruptcy | |
n.破产;无偿付能力 | |
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31 whining | |
n. 抱怨,牢骚 v. 哭诉,发牢骚 | |
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32 hovered | |
鸟( hover的过去式和过去分词 ); 靠近(某事物); (人)徘徊; 犹豫 | |
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33 owl | |
n.猫头鹰,枭 | |
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34 poked | |
v.伸出( poke的过去式和过去分词 );戳出;拨弄;与(某人)性交 | |
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35 agitation | |
n.搅动;搅拌;鼓动,煽动 | |
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36 rusty | |
adj.生锈的;锈色的;荒废了的 | |
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37 hoarse | |
adj.嘶哑的,沙哑的 | |
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38 groan | |
vi./n.呻吟,抱怨;(发出)呻吟般的声音 | |
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39 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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40 emaciation | |
n.消瘦,憔悴,衰弱 | |
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41 smother | |
vt./vi.使窒息;抑制;闷死;n.浓烟;窒息 | |
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42 unnatural | |
adj.不自然的;反常的 | |
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43 blessings | |
n.(上帝的)祝福( blessing的名词复数 );好事;福分;因祸得福 | |
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44 diligently | |
ad.industriously;carefully | |
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45 fragrant | |
adj.芬香的,馥郁的,愉快的 | |
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46 overflowed | |
溢出的 | |
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47 ridges | |
n.脊( ridge的名词复数 );山脊;脊状突起;大气层的)高压脊 | |
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48 glimmered | |
v.发闪光,发微光( glimmer的过去式和过去分词 ) | |
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49 mere | |
adj.纯粹的;仅仅,只不过 | |
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50 cleaving | |
v.劈开,剁开,割开( cleave的现在分词 ) | |
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51 skull | |
n.头骨;颅骨 | |
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52 frail | |
adj.身体虚弱的;易损坏的 | |
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53 delusive | |
adj.欺骗的,妄想的 | |
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54 mirage | |
n.海市蜃楼,幻景 | |
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55 posterity | |
n.后裔,子孙,后代 | |
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56 immortality | |
n.不死,不朽 | |
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57 slag | |
n.熔渣,铁屑,矿渣;v.使变成熔渣,变熔渣 | |
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58 marvel | |
vi.(at)惊叹vt.感到惊异;n.令人惊异的事 | |
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59 lizards | |
n.蜥蜴( lizard的名词复数 ) | |
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60 bartered | |
v.作物物交换,以货换货( barter的过去式和过去分词 ) | |
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61 waive | |
vt.放弃,不坚持(规定、要求、权力等) | |
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62 stipulated | |
vt.& vi.规定;约定adj.[法]合同规定的 | |
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63 rumours | |
n.传闻( rumour的名词复数 );风闻;谣言;谣传 | |
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64 emeritus | |
adj.名誉退休的 | |
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65 privy | |
adj.私用的;隐密的 | |
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66 knight | |
n.骑士,武士;爵士 | |
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67 distinguished | |
adj.卓越的,杰出的,著名的 | |
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68 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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69 bestowed | |
赠给,授予( bestow的过去式和过去分词 ) | |
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70 hip | |
n.臀部,髋;屋脊 | |
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71 literate | |
n.学者;adj.精通文学的,受过教育的 | |
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72 epithets | |
n.(表示性质、特征等的)词语( epithet的名词复数 ) | |
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73 esteemed | |
adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 );敬重;认为;以为 | |
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74 incurable | |
adj.不能医治的,不能矫正的,无救的;n.不治的病人,无救的人 | |
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75 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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76 imposing | |
adj.使人难忘的,壮丽的,堂皇的,雄伟的 | |
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77 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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78 expound | |
v.详述;解释;阐述 | |
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79 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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80 superfluous | |
adj.过多的,过剩的,多余的 | |
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81 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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82 torment | |
n.折磨;令人痛苦的东西(人);vt.折磨;纠缠 | |
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83 tormenting | |
使痛苦的,使苦恼的 | |
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84 insomnia | |
n.失眠,失眠症 | |
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85 precisely | |
adv.恰好,正好,精确地,细致地 | |
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86 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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87 squeak | |
n.吱吱声,逃脱;v.(发出)吱吱叫,侥幸通过;(俚)告密 | |
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88 squeaks | |
n.短促的尖叫声,吱吱声( squeak的名词复数 )v.短促地尖叫( squeak的第三人称单数 );吱吱叫;告密;充当告密者 | |
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89 tinkles | |
丁当声,铃铃声( tinkle的名词复数 ); 一次电话 | |
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90 agitate | |
vi.(for,against)煽动,鼓动;vt.搅动 | |
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91 undone | |
a.未做完的,未完成的 | |
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92 inquiries | |
n.调查( inquiry的名词复数 );疑问;探究;打听 | |
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94 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
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95 passionately | |
ad.热烈地,激烈地 | |
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96 compassion | |
n.同情,怜悯 | |
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97 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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98 shudder | |
v.战粟,震动,剧烈地摇晃;n.战粟,抖动 | |
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99 constrained | |
adj.束缚的,节制的 | |
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100 constrainedly | |
不自然地,勉强地,强制地 | |
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101 bracelets | |
n.手镯,臂镯( bracelet的名词复数 ) | |
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102 earrings | |
n.耳环( earring的名词复数 );耳坠子 | |
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103 pawn | |
n.典当,抵押,小人物,走卒;v.典当,抵押 | |
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104 sob | |
n.空间轨道的轰炸机;呜咽,哭泣 | |
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105 irritable | |
adj.急躁的;过敏的;易怒的 | |
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106 scrap | |
n.碎片;废料;v.废弃,报废 | |
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107 copper | |
n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的 | |
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108 pessimism | |
n.悲观者,悲观主义者,厌世者 | |
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109 dreariness | |
沉寂,可怕,凄凉 | |
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110 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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111 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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112 grunts | |
(猪等)作呼噜声( grunt的第三人称单数 ); (指人)发出类似的哼声; 咕哝着说; 石鲈 | |
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113 faculties | |
n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
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114 offhand | |
adj.临时,无准备的;随便,马虎的 | |
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115 plunges | |
n.跳进,投入vt.使投入,使插入,使陷入vi.投入,跳进,陷入v.颠簸( plunge的第三人称单数 );暴跌;骤降;突降 | |
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116 colossal | |
adj.异常的,庞大的 | |
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117 guardian | |
n.监护人;守卫者,保护者 | |
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118 numb | |
adj.麻木的,失去感觉的;v.使麻木 | |
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119 martyrs | |
n.martyr的复数形式;烈士( martyr的名词复数 );殉道者;殉教者;乞怜者(向人诉苦以博取同情) | |
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120 sterling | |
adj.英币的(纯粹的,货真价实的);n.英国货币(英镑) | |
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121 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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122 anecdotes | |
n.掌故,趣闻,轶事( anecdote的名词复数 ) | |
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123 epics | |
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍) | |
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124 jargon | |
n.术语,行话 | |
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125 quotation | |
n.引文,引语,语录;报价,牌价,行情 | |
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126 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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127 dissector | |
n.解剖者,解剖学家,解剖器 | |
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128 belly | |
n.肚子,腹部;(像肚子一样)鼓起的部分,膛 | |
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129 naive | |
adj.幼稚的,轻信的;天真的 | |
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130 horde | |
n.群众,一大群 | |
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131 hordes | |
n.移动着的一大群( horde的名词复数 );部落 | |
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132 scrupulously | |
adv.一丝不苟地;小心翼翼地,多顾虑地 | |
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133 gunpowder | |
n.火药 | |
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134 divination | |
n.占卜,预测 | |
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135 nervously | |
adv.神情激动地,不安地 | |
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136 atlases | |
地图集( atlas的名词复数 ) | |
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137 corpse | |
n.尸体,死尸 | |
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138 stereotyped | |
adj.(指形象、思想、人物等)模式化的 | |
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139 irresistible | |
adj.非常诱人的,无法拒绝的,无法抗拒的 | |
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140 knack | |
n.诀窍,做事情的灵巧的,便利的方法 | |
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141 baton | |
n.乐队用指挥杖 | |
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142 hydra | |
n.水螅;难于根除的祸患 | |
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143 phenomena | |
n.现象 | |
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144 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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145 penetrate | |
v.透(渗)入;刺入,刺穿;洞察,了解 | |
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146 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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147 orator | |
n.演说者,演讲者,雄辩家 | |
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148 delightful | |
adj.令人高兴的,使人快乐的 | |
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149 invincible | |
adj.不可征服的,难以制服的 | |
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150 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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151 manifestation | |
n.表现形式;表明;现象 | |
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152 coffin | |
n.棺材,灵柩 | |
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153 hysterical | |
adj.情绪异常激动的,歇斯底里般的 | |
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154 doomed | |
命定的 | |
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155 auditorium | |
n.观众席,听众席;会堂,礼堂 | |
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156 shrieking | |
v.尖叫( shriek的现在分词 ) | |
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157 dissertations | |
专题论文,学位论文( dissertation的名词复数 ) | |
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158 dissertation | |
n.(博士学位)论文,学术演讲,专题论文 | |
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159 extraordinarily | |
adv.格外地;极端地 | |
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160 bum | |
n.臀部;流浪汉,乞丐;vt.乞求,乞讨 | |
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161 gild | |
vt.给…镀金,把…漆成金色,使呈金色 | |
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162 giggle | |
n.痴笑,咯咯地笑;v.咯咯地笑着说 | |
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163 inertia | |
adj.惰性,惯性,懒惰,迟钝 | |
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164 abominable | |
adj.可厌的,令人憎恶的 | |
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165 sanguine | |
adj.充满希望的,乐观的,血红色的 | |
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166 temperaments | |
性格( temperament的名词复数 ); (人或动物的)气质; 易冲动; (性情)暴躁 | |
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167 stammering | |
v.结巴地说出( stammer的现在分词 ) | |
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168 implore | |
vt.乞求,恳求,哀求 | |
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169 thoroughly | |
adv.完全地,彻底地,十足地 | |
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170 vocation | |
n.职业,行业 | |
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171 puffed | |
adj.疏松的v.使喷出( puff的过去式和过去分词 );喷着汽(或烟)移动;吹嘘;吹捧 | |
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172 irresolutely | |
adv.优柔寡断地 | |
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173 irresolute | |
adj.无决断的,优柔寡断的,踌躇不定的 | |
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174 inevitable | |
adj.不可避免的,必然发生的 | |
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175 aspirant | |
n.热望者;adj.渴望的 | |
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176 tinge | |
vt.(较淡)着色于,染色;使带有…气息;n.淡淡色彩,些微的气息 | |
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177 rustling | |
n. 瑟瑟声,沙沙声 adj. 发沙沙声的 | |
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178 oculist | |
n.眼科医生 | |
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179 bustling | |
adj.喧闹的 | |
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180 inquisitive | |
adj.求知欲强的,好奇的,好寻根究底的 | |
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181 corpses | |
n.死尸,尸体( corpse的名词复数 ) | |
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182 orphan | |
n.孤儿;adj.无父母的 | |
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183 scents | |
n.香水( scent的名词复数 );气味;(动物的)臭迹;(尤指狗的)嗅觉 | |
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184 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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185 inclination | |
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好 | |
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186 raptures | |
极度欢喜( rapture的名词复数 ) | |
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187 coax | |
v.哄诱,劝诱,用诱哄得到,诱取 | |
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188 theatricals | |
n.(业余性的)戏剧演出,舞台表演艺术;职业演员;戏剧的( theatrical的名词复数 );剧场的;炫耀的;戏剧性的 | |
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189 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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190 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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191 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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192 gratuitous | |
adj.无偿的,免费的;无缘无故的,不必要的 | |
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193 straightforward | |
adj.正直的,坦率的;易懂的,简单的 | |
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194 monologue | |
n.长篇大论,(戏剧等中的)独白 | |
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195 hiss | |
v.发出嘶嘶声;发嘘声表示不满 | |
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196 exasperate | |
v.激怒,使(疾病)加剧,使恶化 | |
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197 exasperated | |
adj.恼怒的 | |
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198 lamentation | |
n.悲叹,哀悼 | |
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199 sentimental | |
adj.多愁善感的,感伤的 | |
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200 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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201 slander | |
n./v.诽谤,污蔑 | |
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202 transparent | |
adj.明显的,无疑的;透明的 | |
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203 innocence | |
n.无罪;天真;无害 | |
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204 judgments | |
判断( judgment的名词复数 ); 鉴定; 评价; 审判 | |
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205 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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206 undertaking | |
n.保证,许诺,事业 | |
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207 partnership | |
n.合作关系,伙伴关系 | |
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208 ominous | |
adj.不祥的,不吉的,预兆的,预示的 | |
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209 rehearsals | |
n.练习( rehearsal的名词复数 );排练;复述;重复 | |
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210 swell | |
vi.膨胀,肿胀;增长,增强 | |
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211 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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212 veins | |
n.纹理;矿脉( vein的名词复数 );静脉;叶脉;纹理 | |
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213 whim | |
n.一时的兴致,突然的念头;奇想,幻想 | |
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214 farce | |
n.闹剧,笑剧,滑稽戏;胡闹 | |
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215 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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216 savages | |
未开化的人,野蛮人( savage的名词复数 ) | |
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217 impudence | |
n.厚颜无耻;冒失;无礼 | |
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218 incapable | |
adj.无能力的,不能做某事的 | |
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219 slanderer | |
造谣中伤者 | |
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220 ponderous | |
adj.沉重的,笨重的,(文章)冗长的 | |
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221 platitudes | |
n.平常的话,老生常谈,陈词滥调( platitude的名词复数 );滥套子 | |
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222 inhumanly | |
adv.无人情味地,残忍地 | |
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223 apparently | |
adv.显然地;表面上,似乎 | |
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224 depict | |
vt.描画,描绘;描写,描述 | |
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225 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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226 scraps | |
油渣 | |
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227 betokened | |
v.预示,表示( betoken的过去式和过去分词 ) | |
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228 perversion | |
n.曲解;堕落;反常 | |
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229 curtly | |
adv.简短地 | |
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230 giggling | |
v.咯咯地笑( giggle的现在分词 ) | |
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231 inevitably | |
adv.不可避免地;必然发生地 | |
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232 strands | |
n.(线、绳、金属线、毛发等的)股( strand的名词复数 );缕;海洋、湖或河的)岸;(观点、计划、故事等的)部份v.使滞留,使搁浅( strand的第三人称单数 ) | |
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233 hatred | |
n.憎恶,憎恨,仇恨 | |
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234 unintelligible | |
adj.无法了解的,难解的,莫明其妙的 | |
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235 abhor | |
v.憎恶;痛恨 | |
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236 instinctively | |
adv.本能地 | |
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237 virtuous | |
adj.有品德的,善良的,贞洁的,有效力的 | |
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238 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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239 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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240 distress | |
n.苦恼,痛苦,不舒适;不幸;vt.使悲痛 | |
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241 lachrymose | |
adj.好流泪的,引人落泪的;adv.眼泪地,哭泣地 | |
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242 ingratitude | |
n.忘恩负义 | |
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243 vices | |
缺陷( vice的名词复数 ); 恶习; 不道德行为; 台钳 | |
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244 chubby | |
adj.丰满的,圆胖的 | |
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245 lobster | |
n.龙虾,龙虾肉 | |
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246 celebrities | |
n.(尤指娱乐界的)名人( celebrity的名词复数 );名流;名声;名誉 | |
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247 parasites | |
寄生物( parasite的名词复数 ); 靠他人为生的人; 诸虫 | |
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248 chateau | |
n.城堡,别墅 | |
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249 formerly | |
adv.从前,以前 | |
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250 renown | |
n.声誉,名望 | |
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251 conceited | |
adj.自负的,骄傲自满的 | |
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252 mutual | |
adj.相互的,彼此的;共同的,共有的 | |
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253 endearments | |
n.表示爱慕的话语,亲热的表示( endearment的名词复数 ) | |
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254 animate | |
v.赋于生命,鼓励;adj.有生命的,有生气的 | |
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255 solely | |
adv.仅仅,唯一地 | |
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256 uproar | |
n.骚动,喧嚣,鼎沸 | |
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257 pompousness | |
豪华;傲慢 | |
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258 pompous | |
adj.傲慢的,自大的;夸大的;豪华的 | |
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259 catastrophes | |
n.灾祸( catastrophe的名词复数 );灾难;不幸事件;困难 | |
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260 avalanche | |
n.雪崩,大量涌来 | |
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261 murmurs | |
n.低沉、连续而不清的声音( murmur的名词复数 );低语声;怨言;嘀咕 | |
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262 steadily | |
adv.稳定地;不变地;持续地 | |
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263 condescending | |
adj.谦逊的,故意屈尊的 | |
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264 descend | |
vt./vi.传下来,下来,下降 | |
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265 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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266 morose | |
adj.脾气坏的,不高兴的 | |
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267 antagonism | |
n.对抗,敌对,对立 | |
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268 torments | |
(肉体或精神上的)折磨,痛苦( torment的名词复数 ); 造成痛苦的事物[人] | |
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269 tormented | |
饱受折磨的 | |
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270 survivor | |
n.生存者,残存者,幸存者 | |
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271 grievance | |
n.怨愤,气恼,委屈 | |
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272 morosely | |
adv.愁眉苦脸地,忧郁地 | |
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273 implores | |
恳求或乞求(某人)( implore的第三人称单数 ) | |
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274 sobbing | |
<主方>Ⅰ adj.湿透的 | |
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275 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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276 divan | |
n.长沙发;(波斯或其他东方诗人的)诗集 | |
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277 reposeful | |
adj.平稳的,沉着的 | |
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278 chagrined | |
adj.懊恼的,苦恼的v.使懊恼,使懊丧,使悔恨( chagrin的过去式和过去分词 ) | |
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279 soften | |
v.(使)变柔软;(使)变柔和 | |
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280 cosy | |
adj.温暖而舒适的,安逸的 | |
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281 grumble | |
vi.抱怨;咕哝;n.抱怨,牢骚;咕哝,隆隆声 | |
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282 prodigally | |
adv.浪费地,丰饶地 | |
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283 compassionate | |
adj.有同情心的,表示同情的 | |
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284 exacting | |
adj.苛求的,要求严格的 | |
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285 logic | |
n.逻辑(学);逻辑性 | |
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286 accordion | |
n.手风琴;adj.可折叠的 | |
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287 tavern | |
n.小旅馆,客栈;小酒店 | |
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288 honourable | |
adj.可敬的;荣誉的,光荣的 | |
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289 philologist | |
n.语言学者,文献学者 | |
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290 eyebrows | |
眉毛( eyebrow的名词复数 ) | |
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291 aristocrat | |
n.贵族,有贵族气派的人,上层人物 | |
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292 eccentricities | |
n.古怪行为( eccentricity的名词复数 );反常;怪癖 | |
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293 velvety | |
adj. 像天鹅绒的, 轻软光滑的, 柔软的 | |
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294 ironical | |
adj.讽刺的,冷嘲的 | |
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295 provocative | |
adj.挑衅的,煽动的,刺激的,挑逗的 | |
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296 acidity | |
n.酸度,酸性 | |
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297 provocativeness | |
Provocativeness | |
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298 bishop | |
n.主教,(国际象棋)象 | |
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299 abrupt | |
adj.突然的,意外的;唐突的,鲁莽的 | |
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300 peroration | |
n.(演说等之)结论 | |
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301 attentive | |
adj.注意的,专心的;关心(别人)的,殷勤的 | |
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302 malice | |
n.恶意,怨恨,蓄意;[律]预谋 | |
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303 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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304 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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305 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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306 champagne | |
n.香槟酒;微黄色 | |
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307 helping | |
n.食物的一份&adj.帮助人的,辅助的 | |
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308 mimicry | |
n.(生物)拟态,模仿 | |
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309 trifling | |
adj.微不足道的;没什么价值的 | |
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310 persuasion | |
n.劝说;说服;持有某种信仰的宗派 | |
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311 degenerate | |
v.退步,堕落;adj.退步的,堕落的;n.堕落者 | |
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312 swollen | |
adj.肿大的,水涨的;v.使变大,肿胀 | |
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313 pretentious | |
adj.自命不凡的,自负的,炫耀的 | |
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314 indictments | |
n.(制度、社会等的)衰败迹象( indictment的名词复数 );刑事起诉书;公诉书;控告 | |
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315 indictment | |
n.起诉;诉状 | |
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316 wholesale | |
n.批发;adv.以批发方式;vt.批发,成批出售 | |
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317 dread | |
vt.担忧,忧虑;惧怕,不敢;n.担忧,畏惧 | |
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318 formulated | |
v.构想出( formulate的过去式和过去分词 );规划;确切地阐述;用公式表示 | |
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319 calumny | |
n.诽谤,污蔑,中伤 | |
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320 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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321 predecessors | |
n.前任( predecessor的名词复数 );前辈;(被取代的)原有事物;前身 | |
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322 incompetent | |
adj.无能力的,不能胜任的 | |
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323 subscriptions | |
n.(报刊等的)订阅费( subscription的名词复数 );捐款;(俱乐部的)会员费;捐助 | |
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324 investigation | |
n.调查,调查研究 | |
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325 distraction | |
n.精神涣散,精神不集中,消遣,娱乐 | |
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326 annoyance | |
n.恼怒,生气,烦恼 | |
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327 condemning | |
v.(通常因道义上的原因而)谴责( condemn的现在分词 );宣判;宣布…不能使用;迫使…陷于不幸的境地 | |
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328 dozing | |
v.打瞌睡,假寐 n.瞌睡 | |
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329 ribs | |
n.肋骨( rib的名词复数 );(船或屋顶等的)肋拱;肋骨状的东西;(织物的)凸条花纹 | |
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330 bawls | |
v.大叫,大喊( bawl的第三人称单数 );放声大哭;大声叫出;叫卖(货物) | |
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331 rhythmic | |
adj.有节奏的,有韵律的 | |
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332 nostrils | |
鼻孔( nostril的名词复数 ) | |
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333 crimson | |
n./adj.深(绯)红色(的);vi.脸变绯红色 | |
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334 toads | |
n.蟾蜍,癞蛤蟆( toad的名词复数 ) | |
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335 slanders | |
诽谤,诋毁( slander的名词复数 ) | |
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336 therapeutic | |
adj.治疗的,起治疗作用的;对身心健康有益的 | |
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337 prescriptions | |
药( prescription的名词复数 ); 处方; 开处方; 计划 | |
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338 prescription | |
n.处方,开药;指示,规定 | |
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339 juggle | |
v.变戏法,纂改,欺骗,同时做;n.玩杂耍,纂改,花招 | |
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340 backwards | |
adv.往回地,向原处,倒,相反,前后倒置地 | |
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341 baroness | |
n.男爵夫人,女男爵 | |
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342 cemetery | |
n.坟墓,墓地,坟场 | |
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343 bungalow | |
n.平房,周围有阳台的木造小平房 | |
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344 patriotic | |
adj.爱国的,有爱国心的 | |
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345 reluctance | |
n.厌恶,讨厌,勉强,不情愿 | |
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346 dispense | |
vt.分配,分发;配(药),发(药);实施 | |
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347 constituent | |
n.选民;成分,组分;adj.组成的,构成的 | |
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348 bourgeois | |
adj./n.追求物质享受的(人);中产阶级分子 | |
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349 belles | |
n.美女( belle的名词复数 );最美的美女 | |
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350 forth | |
adv.向前;向外,往外 | |
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351 haughty | |
adj.傲慢的,高傲的 | |
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352 portentous | |
adj.不祥的,可怕的,装腔作势的 | |
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353 dignified | |
a.可敬的,高贵的 | |
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354 modesty | |
n.谦逊,虚心,端庄,稳重,羞怯,朴素 | |
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355 presumptuous | |
adj.胆大妄为的,放肆的,冒昧的,冒失的 | |
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356 benevolence | |
n.慈悲,捐助 | |
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357 queries | |
n.问题( query的名词复数 );疑问;询问;问号v.质疑,对…表示疑问( query的第三人称单数 );询问 | |
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358 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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359 prosecutor | |
n.起诉人;检察官,公诉人 | |
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360 criticise | |
v.批评,评论;非难 | |
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361 deference | |
n.尊重,顺从;敬意 | |
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362 accusations | |
n.指责( accusation的名词复数 );指控;控告;(被告发、控告的)罪名 | |
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363 impure | |
adj.不纯净的,不洁的;不道德的,下流的 | |
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364 adornment | |
n.装饰;装饰品 | |
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365 sufficiently | |
adv.足够地,充分地 | |
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366 chaste | |
adj.贞洁的;有道德的;善良的;简朴的 | |
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367 pointed | |
adj.尖的,直截了当的 | |
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368 ragged | |
adj.衣衫褴褛的,粗糙的,刺耳的 | |
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369 hilarious | |
adj.充满笑声的,欢闹的;[反]depressed | |
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370 judicious | |
adj.明智的,明断的,能作出明智决定的 | |
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371 piquant | |
adj.辛辣的,开胃的,令人兴奋的 | |
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372 pigment | |
n.天然色素,干粉颜料 | |
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373 enumerating | |
v.列举,枚举,数( enumerate的现在分词 ) | |
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374 eternity | |
n.不朽,来世;永恒,无穷 | |
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375 wither | |
vt.使凋谢,使衰退,(用眼神气势等)使畏缩;vi.枯萎,衰退,消亡 | |
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376 oasis | |
n.(沙漠中的)绿洲,宜人的地方 | |
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377 glorify | |
vt.颂扬,赞美,使增光,美化 | |
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378 fowls | |
鸟( fowl的名词复数 ); 禽肉; 既不是这; 非驴非马 | |
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379 fowl | |
n.家禽,鸡,禽肉 | |
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380 owls | |
n.猫头鹰( owl的名词复数 ) | |
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381 ascend | |
vi.渐渐上升,升高;vt.攀登,登上 | |
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382 shafts | |
n.轴( shaft的名词复数 );(箭、高尔夫球棒等的)杆;通风井;一阵(疼痛、害怕等) | |
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383 hearsay | |
n.谣传,风闻 | |
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384 reins | |
感情,激情; 缰( rein的名词复数 ); 控制手段; 掌管; (成人带着幼儿走路以防其走失时用的)保护带 | |
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385 therapeutist | |
n.治疗学家,临床医学家 | |
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386 flair | |
n.天赋,本领,才华;洞察力 | |
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387 outright | |
adv.坦率地;彻底地;立即;adj.无疑的;彻底的 | |
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388 confession | |
n.自白,供认,承认 | |
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389 tugs | |
n.猛拉( tug的名词复数 );猛拖;拖船v.用力拉,使劲拉,猛扯( tug的第三人称单数 ) | |
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390 postponed | |
vt.& vi.延期,缓办,(使)延迟vt.把…放在次要地位;[语]把…放在后面(或句尾)vi.(疟疾等)延缓发作(或复发) | |
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391 affected | |
adj.不自然的,假装的 | |
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392 impatience | |
n.不耐烦,急躁 | |
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393 absurdity | |
n.荒谬,愚蠢;谬论 | |
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394 spikes | |
n.穗( spike的名词复数 );跑鞋;(防滑)鞋钉;尖状物v.加烈酒于( spike的第三人称单数 );偷偷地给某人的饮料加入(更多)酒精( 或药物);把尖状物钉入;打乱某人的计划 | |
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395 serenity | |
n.宁静,沉着,晴朗 | |
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396 bowels | |
n.肠,内脏,内部;肠( bowel的名词复数 );内部,最深处 | |
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397 spine | |
n.脊柱,脊椎;(动植物的)刺;书脊 | |
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398 dressing | |
n.(食物)调料;包扎伤口的用品,敷料 | |
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399 sobs | |
啜泣(声),呜咽(声)( sob的名词复数 ) | |
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400 screeching | |
v.发出尖叫声( screech的现在分词 );发出粗而刺耳的声音;高叫 | |
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401 presentiments | |
n.(对不祥事物的)预感( presentiment的名词复数 ) | |
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402 congealed | |
v.使凝结,冻结( congeal的过去式和过去分词 );(指血)凝结 | |
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403 twig | |
n.小树枝,嫩枝;v.理解 | |
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404 dreary | |
adj.令人沮丧的,沉闷的,单调乏味的 | |
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405 imploringly | |
adv. 恳求地, 哀求地 | |
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406 retired | |
adj.隐退的,退休的,退役的 | |
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407 irreproachable | |
adj.不可指责的,无过失的 | |
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408 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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409 draughts | |
n. <英>国际跳棋 | |
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410 reverence | |
n.敬畏,尊敬,尊严;Reverence:对某些基督教神职人员的尊称;v.尊敬,敬畏,崇敬 | |
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411 creditors | |
n.债权人,债主( creditor的名词复数 ) | |
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412 discomforts | |
n.不舒适( discomfort的名词复数 );不愉快,苦恼 | |
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413 buffets | |
(火车站的)饮食柜台( buffet的名词复数 ); (火车的)餐车; 自助餐 | |
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414 infinitely | |
adv.无限地,无穷地 | |
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415 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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416 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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417 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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418 paralysis | |
n.麻痹(症);瘫痪(症) | |
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419 premature | |
adj.比预期时间早的;不成熟的,仓促的 | |
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420 conditional | |
adj.条件的,带有条件的 | |
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421 yearning | |
a.渴望的;向往的;怀念的 | |
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422 bind | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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423 analyst | |
n.分析家,化验员;心理分析学家 | |
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424 overthrow | |
v.推翻,打倒,颠覆;n.推翻,瓦解,颠覆 | |
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425 whine | |
v.哀号,号哭;n.哀鸣 | |
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426 inscribed | |
v.写,刻( inscribe的过去式和过去分词 );内接 | |
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427 astonishment | |
n.惊奇,惊异 | |
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428 wrings | |
绞( wring的第三人称单数 ); 握紧(尤指别人的手); 把(湿衣服)拧干; 绞掉(水) | |
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429 dangles | |
悬吊着( dangle的第三人称单数 ); 摆动不定; 用某事物诱惑…; 吊胃口 | |
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430 crumples | |
压皱,弄皱( crumple的第三人称单数 ); 变皱 | |
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431 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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432 ebb | |
vi.衰退,减退;n.处于低潮,处于衰退状态 | |
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