In Apex City Undine made up her mind to have her own way. She elopes and marries a vulgar "hustler," but is speedily divorced. She is very beautiful when she reaches New York. No emotional experience would leave a blur19 on her radiant youth, because love for her is a sensation, not a sentiment. By indirect and cumulative20 touches the novelist evokes21 for us her image. Truly a lovely apparition22, almost mindless, with great sympathetic eyes and a sweet mouth. She exists, does Undine. She is not the barren fruit of a satirical pen. Foreigners, both men and women, puzzle over her freedom, chilliness23, and commercial horse-sense. She doesn't long intrigue24 their curiosity, her brain is poorly furnished and conversation with her is not a fine art. She is temperamental in the sense that she lives on her nerves; without the hum and glitter of the opera, fashionable restaurants, or dances she relapses into a sullen25 stupor26, or rages wildly at the fate that made her poor. She, too, like Hedda and Emma, lives in the moment, a silly moth5 enamoured of a millionaire. Mildred Lawson is positively27 intellectual in comparison, for she has a "go" at picture-making, while the only pictures Undine cares for are those produced by her own exquisitely28 plastic figure. No wonder Ralph Marvell fell in love with her, or, rather, in love with his [Pg 326] poetic29 vision of her. He was, poor man, an idealist, and his fine porcelain30 was soon cracked in contact with her brassy egotism.
He is of the old Washington Square stock, as antique—and as honourable—as Methuselah. Undine soon tires of him; above all, tires of his family and their old-fashioned social code. For her the rowdy joys of Peter Van Degen and his set. The Odyssey31 of Undine is set forth32 for us by an accomplished33 artist in prose. We see her in Italy, blind to its natural beauties, blind to its art, unhappy till she gets into the "hurrah34" of St. Moritz. We follow her hence, note her trailing her petty misery—boredom because she can't spend extravagantly—through modish35 drawing-rooms; then a fresh hegira36, Europe, a divorce, the episode with Peter Van Degen and its profound disillusionment (she has the courage to jump the main-travelled road of convention for a brief term) and her remarriage. That, too, is a failure, only because Undine so wills it. She has literally37 killed her second husband because she wins from him by "legal" means their child, and in the end she again marries her divorced husband, Elmer Moffatt, now a magnate, a multimillionaire. She has at last followed the advice of Mrs. Heeny, her adviser38 and masseuse. "Go steady, Undine, and you'll get anywheres." We leave her in a blaze of rubies39 and glory at her French chateau40, and she isn't happy, for she has just learned that, being divorced, she can never be an ambassadress, [Pg 327] and that her major detestation, the "Jim Driscolls," had been appointed to the English court as ambassador from America. The novel ends with this coda: "She could never be an ambassador's wife; and as she advanced to welcome her first guests, she said to herself, that it was the one part she was really made for." The truth is she was bored as a wife, and like Emma Bovary, found in adultery all the platitudes41 of marriage.
You ask yourself, after studying the play, and the two novels, if the new woman is necessarily disagreeable. To my way of thinking, it is principally the craving42 for novelty in characterisation that has wrought43 the change in our heroines of fiction, although new freedom and responsibilities have evolved new types. Naturally the pulchritudinous44 weakling we shall always have with us, ugly girls with brains are a welcome relief from the eternal purring of the popular girl with the baby smile. But it would be a mistake to call Hedda, or Mildred, or Undine, new women. Mildred is the most "advanced," Hedda the most dangerous—she pulled the trigger far too early—and Undine the most selfish of the three. The three are disagreeable, but the trio is transitional in type. Each girl is a compromiser, Undine being the boldest; she did a lot of shifting and indulged in much cowardly evasion45. Vulgarians all, they are yet too complex to be pinned down by a formula. Old wine in these three new [Pg 328] bottles makes for disaster. Undine Spragg is the worst failure of the three. She got what she wanted for she wanted only dross46. Ibsen's Button-Moulder will meet her at the Cross-Roads when her time comes. Hedda, like Strindberg's Julia, may escape him because, coward as she was when facing harsh reality, she had the courage to rid her family of a worthless encumbrance47. If she had been a robust48 egoist, and realised her nature to the full, she would have been a Hedda Gabler "reversed," in a word, the Hilda Wangel of The Master Builder. But with Mildred she lacked the strength either to renounce49 or to sin. And Undine Spragg hadn't the courage to become downright wicked; the game she played was so pitiful that it wasn't worth the poor little tallow-dip. What is her own is the will-to-silliness. As Princess Estradina exclaimed in her brutally50 frank fashion: "My dear, it's what I always say when people talk to me about fast Americans: you're the only innocent women left in the world...." This is far from being a compliment. No, Undine is voluble, vulgar, and "catty," but she isn't wicked. It takes brains to be wicked in the grand manner. She is only disagreeable and fashionable; and she is as impersonal51 and monotonous52 as a self-playing pianoforte.
The End
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1 nuance | |
n.(意义、意见、颜色)细微差别 | |
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2 resounding | |
adj. 响亮的 | |
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3 apex | |
n.顶点,最高点 | |
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4 stentorian | |
adj.大声的,响亮的 | |
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5 moth | |
n.蛾,蛀虫 | |
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6 abound | |
vi.大量存在;(in,with)充满,富于 | |
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7 exterior | |
adj.外部的,外在的;表面的 | |
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8 metallic | |
adj.金属的;金属制的;含金属的;产金属的;像金属的 | |
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9 brazen | |
adj.厚脸皮的,无耻的,坚硬的 | |
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10 aglow | |
adj.发亮的;发红的;adv.发亮地 | |
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11 muffled | |
adj.(声音)被隔的;听不太清的;(衣服)裹严的;蒙住的v.压抑,捂住( muffle的过去式和过去分词 );用厚厚的衣帽包着(自己) | |
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12 viable | |
adj.可行的,切实可行的,能活下去的 | |
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13 sloppy | |
adj.邋遢的,不整洁的 | |
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14 sentimental | |
adj.多愁善感的,感伤的 | |
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15 suffrages | |
(政治性选举的)选举权,投票权( suffrage的名词复数 ) | |
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16 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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17 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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18 astringent | |
adj.止血的,收缩的,涩的;n.收缩剂,止血剂 | |
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19 blur | |
n.模糊不清的事物;vt.使模糊,使看不清楚 | |
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20 cumulative | |
adj.累积的,渐增的 | |
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21 evokes | |
产生,引起,唤起( evoke的第三人称单数 ) | |
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22 apparition | |
n.幽灵,神奇的现象 | |
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23 chilliness | |
n.寒冷,寒意,严寒 | |
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24 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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25 sullen | |
adj.愠怒的,闷闷不乐的,(天气等)阴沉的 | |
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26 stupor | |
v.昏迷;不省人事 | |
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27 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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28 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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29 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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30 porcelain | |
n.瓷;adj.瓷的,瓷制的 | |
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31 odyssey | |
n.长途冒险旅行;一连串的冒险 | |
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32 forth | |
adv.向前;向外,往外 | |
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33 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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34 hurrah | |
int.好哇,万岁,乌拉 | |
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35 modish | |
adj.流行的,时髦的 | |
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36 hegira | |
n.逃亡 | |
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37 literally | |
adv.照字面意义,逐字地;确实 | |
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38 adviser | |
n.劝告者,顾问 | |
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39 rubies | |
红宝石( ruby的名词复数 ); 红宝石色,深红色 | |
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40 chateau | |
n.城堡,别墅 | |
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41 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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42 craving | |
n.渴望,热望 | |
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43 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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44 pulchritudinous | |
adj.美貌的 | |
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45 evasion | |
n.逃避,偷漏(税) | |
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46 dross | |
n.渣滓;无用之物 | |
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47 encumbrance | |
n.妨碍物,累赘 | |
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48 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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49 renounce | |
v.放弃;拒绝承认,宣布与…断绝关系 | |
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50 brutally | |
adv.残忍地,野蛮地,冷酷无情地 | |
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51 impersonal | |
adj.无个人感情的,与个人无关的,非人称的 | |
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52 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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