There is no sentimental4 weakness in the method he employs. A rare genius for humour tempers all his work; he can record the progressive starvation of an actor out of work in an economy of phrase that leaves no room for gratuitous5 appeal, trace the long-drawn6 efforts to outpace persistent7 poverty of pence with a simplicity8 that enforces conviction. His pen is never so poignant9 or restrained as when he shows us a woman sharpened and coarsened by cheap toil10. But throughout the tale of struggle and triumph, defeat and attainment11, there persists that sense of eternal quest which shortens the hardest road. Do you starve to-day? Opportunity of plenty may wait at the street corner, the chance of a lifetime alight from the next bus; for Leonard Merrick is not concerned with people of large incomes and small problems; the men and women of whom he writes earn their own living.
His most marked successes deal with stage life, indeed he is one of the very few authors who convince one of the actuality of theatrical12 folk. He shows us the chorus girl in her lodgings13, in the Strand15 bars, at the dramatic agency; we understand her ambitions, become familiar with her unconquerable pluck and capacity for comradeship, even acquire a liking16 for the smell of grease-paint. We meet the same girl out of an engagement, follow her pilgrimage from Bloomsbury to Brixton seeking an ever cheaper lodging14; we watch the mud and wet of the streets soak her inadequate17 boots, endure with her the pangs18 of hunger ill-allayed by a fugitive19 bun. We accompany her to the pawnbroker's, and experience the joys of combat with a recalcitrant20 "uncle" who refuses to lend more than eighteenpence on a silk blouse. And still the sense of adventure persists, the reality of romance endures, the joy of laughter remains21. We realise the compensation of precarious22 tenure23 on sufficiency, appreciate the great truth that the adversity of to-day is lightened by the uncertainty24 of to-morrow, that no matter how grim the struggle, how sharp the hardship—and the hunger—the sense of adventure companions and consoles. Authors who concern themselves only with men and women of assured position and regular incomes have forgotten the truth which Leonard Merrick so triumphantly25 affirms. Romance is no respecter of persons. The freedom of the open road, its promise, its pitfalls26, sudden ecstasies27 and fugitive glamours28 is not a preserve of the rich but the heritage of the people.
His psychological methods allure30 one by their seeming simplicity; quietly, with a delicate deliberation, he emphasises the outline of his characters until with sudden swift decision, in the utterance31 of a phrase, the doing of some one of those small things that are life's real revelations, he shows you the soul of the man or woman whose externals he has so carefully portrayed32. Half-forgotten words and acts crowd in on the memory, as in The Man who was Good when Carew appeals to Mary to save his child—and her rival's. It needed the genius of Merrick to make one realise that the high-water mark of betrayal was reached not by the man's desertion of the woman who loved him, but by his pitiful exploitation of that love.
I know of no author with a more subtle understanding of woman, her generosity33 and meanness, her strange reticence34, amazing candours. Mary Brett an, that tragedy of invincible35 fidelity36, could only have been portrayed by a man able to sense feminine capacity for dumb fortitude37. One feels that had she made even a gesture of revolt, Mary would have been freed of the paralysis38 of sterile39 constancy; and one knows that women of her type can never make the ultimate defiance40.
Leonard Merrick has the inimitable gift of inducing his readers to experience the emotions he portrays41. The zest42 of adventure grips you, as it grips the hero of Conrad in Quest of his Youth, perhaps the greatest of his triumphs. We share with that perfect lover his mellow43 regrets and his anticipatory44 ardours; we wait in tremulous expectancy45 outside the little restaurant in Soho for his delightful46 Lady Parlington, falling, with him-from light-hearted confidence to sickening uncertainty as time wears on and still she does not come. The same emotional buoyancy stirs in all his work; his incomparable humour endears to us the least of his creations. His adorable landladies47 become our friends, his "walking gentlemen" our close acquaintance. I do not know to this day whether I have met certain of these heavenly creatures in life or in Mr. Merrick's novels, and it is difficult to enter a theatrical lodging without feeling that you are living the last story in The Man who Understood Women, or revisiting the first beginnings of Peggy Harper.
London has many lovers, none so intimate with her allurements48 as Leonard Merrick. He knows the glamour29 of her midnight pavements, the hunger of her clamant streets, and the enchantments49 of her grey river have drawn him. He has felt the deciduous50 charm of her luxury, the abiding51 pleasure of her leafy spaces, and the intriguing52 alleys53 of Fleet Street are to him familiar and dear. For the suburbs he has an infinite kindness, and has companioned adventure on many a questing tram.
It has long been a matter of insuperable difficulty to obtain Mr. Merrick's novels; for years I have essayed to find a copy of Conrad, and from every bookseller have been sent empty away. In a moment of folly54 I lent my own copy to a neighbour—I cannot call him friend—who forthwith adopted the volume as his most invaluable55 possession, and, undeterred by savagery56 or threats, refused to give it up. And now after long waiting, I am made glad by a reissue of these incomparable works, and the knowledge that an ever-increasing public, too long denied the opportunity of their acquaintance, will share my delight. Far removed from the nightmare of the problem novel, his books centre on simple human things savoured with the rare salt of his humour; and whether in the suburbs or the slums, in Soho or the Strand, whether prosperous or starving, the men and women of whom he writes are touched with that high courage, that fine comradeship, which is the very essence of romance.
J.K. PROTHERO.
点击收听单词发音
1 refreshment | |
n.恢复,精神爽快,提神之事物;(复数)refreshments:点心,茶点 | |
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2 distinctive | |
adj.特别的,有特色的,与众不同的 | |
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3 injustice | |
n.非正义,不公正,不公平,侵犯(别人的)权利 | |
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4 sentimental | |
adj.多愁善感的,感伤的 | |
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5 gratuitous | |
adj.无偿的,免费的;无缘无故的,不必要的 | |
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6 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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7 persistent | |
adj.坚持不懈的,执意的;持续的 | |
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8 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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9 poignant | |
adj.令人痛苦的,辛酸的,惨痛的 | |
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10 toil | |
vi.辛劳工作,艰难地行动;n.苦工,难事 | |
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11 attainment | |
n.达到,到达;[常pl.]成就,造诣 | |
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12 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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13 lodgings | |
n. 出租的房舍, 寄宿舍 | |
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14 lodging | |
n.寄宿,住所;(大学生的)校外宿舍 | |
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15 strand | |
vt.使(船)搁浅,使(某人)困于(某地) | |
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16 liking | |
n.爱好;嗜好;喜欢 | |
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17 inadequate | |
adj.(for,to)不充足的,不适当的 | |
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18 pangs | |
突然的剧痛( pang的名词复数 ); 悲痛 | |
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19 fugitive | |
adj.逃亡的,易逝的;n.逃犯,逃亡者 | |
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20 recalcitrant | |
adj.倔强的 | |
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21 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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22 precarious | |
adj.不安定的,靠不住的;根据不足的 | |
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23 tenure | |
n.终身职位;任期;(土地)保有权,保有期 | |
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24 uncertainty | |
n.易变,靠不住,不确知,不确定的事物 | |
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25 triumphantly | |
ad.得意洋洋地;得胜地;成功地 | |
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26 pitfalls | |
(捕猎野兽用的)陷阱( pitfall的名词复数 ); 意想不到的困难,易犯的错误 | |
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27 ecstasies | |
狂喜( ecstasy的名词复数 ); 出神; 入迷; 迷幻药 | |
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28 glamours | |
n.魅力,诱惑力( glamour的名词复数 ) | |
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29 glamour | |
n.魔力,魅力;vt.迷住 | |
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30 allure | |
n.诱惑力,魅力;vt.诱惑,引诱,吸引 | |
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31 utterance | |
n.用言语表达,话语,言语 | |
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32 portrayed | |
v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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33 generosity | |
n.大度,慷慨,慷慨的行为 | |
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34 reticence | |
n.沉默,含蓄 | |
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35 invincible | |
adj.不可征服的,难以制服的 | |
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36 fidelity | |
n.忠诚,忠实;精确 | |
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37 fortitude | |
n.坚忍不拔;刚毅 | |
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38 paralysis | |
n.麻痹(症);瘫痪(症) | |
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39 sterile | |
adj.不毛的,不孕的,无菌的,枯燥的,贫瘠的 | |
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40 defiance | |
n.挑战,挑衅,蔑视,违抗 | |
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41 portrays | |
v.画像( portray的第三人称单数 );描述;描绘;描画 | |
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42 zest | |
n.乐趣;滋味,风味;兴趣 | |
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43 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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44 anticipatory | |
adj.预想的,预期的 | |
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45 expectancy | |
n.期望,预期,(根据概率统计求得)预期数额 | |
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46 delightful | |
adj.令人高兴的,使人快乐的 | |
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47 landladies | |
n.女房东,女店主,女地主( landlady的名词复数 ) | |
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48 allurements | |
n.诱惑( allurement的名词复数 );吸引;诱惑物;有诱惑力的事物 | |
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49 enchantments | |
n.魅力( enchantment的名词复数 );迷人之处;施魔法;着魔 | |
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50 deciduous | |
adj.非永久的;短暂的;脱落的;落叶的 | |
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51 abiding | |
adj.永久的,持久的,不变的 | |
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52 intriguing | |
adj.有趣的;迷人的v.搞阴谋诡计(intrigue的现在分词);激起…的好奇心 | |
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53 alleys | |
胡同,小巷( alley的名词复数 ); 小径 | |
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54 folly | |
n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
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55 invaluable | |
adj.无价的,非常宝贵的,极为贵重的 | |
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56 savagery | |
n.野性 | |
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