Hiram looked blankly enough out of the window into the dusty piazza3, and answered in a tone of some regret, 'Well, Mr. Audouin, if you think so, I suppose it'll be best to do it, though I can't say I'm in any particular hurry. Where do you contemplate4 making inquiries5?'
'Why,' Audouin replied in his easy confident fashion, 'there's only one really great painter now in Rome in whose studio I should like to put you, Hiram, and that's Seguin.' Hiram's face sank. 'Seguin,' he echoed somewhat gloomily. 'Ah, Seguin! But he's a figure painter, isn't he, surely, Mr. Audouin?' Audouin smiled his pleasant smile of superior wisdom. 'Well, Hiram,' he said, 'you don't come to Rome to paint Chattawauga Lake, do you? Yes, Seguin's a figure painter. And you'll be a figure painter, too, my dear fellow, before you've finished—yes, and a great one. Seguin's one of the finest living artists, you know, in all Europe. It's a great honour to be admitted into the studio of such a master.'
If somebody in authority had said to Hiram Winthrop, 'You must go to Seguin's and paint heroic figure pictures, or have your head cut off,' Hiram Winthrop would no doubt have promptly6 responded with dogged cheerfulness, 'A sainte guillotine, done,' or words to that effect, without a moment's hesitation7. But when Lothrop Audouin, his guide and benefactor8, said to him in a voice of friendly sympathy, 'You'll be a figure painter too, before you've finished, Hiram,' he no more dreamt of refusing or doubting (save in his own inmost soul) than a docile9 child dreams of resisting its parents in the matter of their choice of its school or its lessons. So he took his hat down from its peg10, and followed Audouin blindly, out into that labyrinth11 of dirty lanes and ill-paved alleys12 which constitutes the genuine Rome of the native-born modern Romans.
Audouin led the way, through the modernised shops and gay bustle13 of the Corso, to a small side street, with squalid blotchy14 houses rising high against the sky on either hand, and a crowd of dirty ragged15 children loitering in the gutter16, save when an occasional rickety carriage, drawn17 by a tottering18 skinny horse, dashed round the dark corners with a sudden swoop19, and scattered20 them right and left with loud chattering21 cries into the gloomy archways. All was new and strange to Hiram, and, if the truth must be told, not particularly inviting22. Past the Spaccio di Vino, the squalid temple of Dionysus, where grimy Romans in grubby coatsleeves sat drinking sour red wine from ill-washed tumblers; past the tinker's shop, where some squat23 Etruscan figure crouched24 by a charcoal25 stove hammering hopelessly at dilapidated pannikins; past the foul26 greengrocery, where straw-covered flasks27 of rancid oil hung up untemptingly between long strings28 of flabby greens and mouldering29 balls of country cheese; past many other sights and sounds, dimly visible to Hiram's eyes or audible to his ears in the whirl and confusion of an unknown city; till at last Audouin wheeled round the corner into the Via Colonna (where Colin had gone before), and stopped in front of a large and decently clean house, bearing on the lintel of its great oak door a little painted tin plate, 'Atelier de M. J.-B. Seguin.' Audouin turned with a smile to Hiram, poor dazzled, half-terrified Hiram, and said in a tone of some little triumph, 'There, you see, Hiram, here we are at last; in Rome, and at the great man's studio!'
And was this Rome! And was this the end of all his eager youthful aspirations30! Hiram had hardly the courage to smile back in his friend's face, and assume an air of pretended cheerfulness. Already he felt in his heart that this great, squalid, sordid31 city was really no place for such as him. He knew he would never like it; he knew he could never succeed in it. England, beautiful, smiling England, had quite unaffectedly charmed and delighted him. There, he could find a thousand subjects ready to his hand that would exactly suit his taste and temper. It was so rich in verdure and tillage; it was so pregnant with the literary and historical interests that were nearest and dearest to him. But Rome! the very first glimpse of it was to Hiram Winthrop a hideous33 disillusionment. Its dirt, its mouldiness, its gloom, its very antiquity—nay, in one word, to be quite frank, its picturesqueness34 itself, were all to his candid35 American soul unendurably ugly. He hated it from top to bottom at first sight with a deadly hatred36; and he felt quite sure he should hate it cordially as long as he lived in it.
Very Philistine37, of course, this feeling of dissatisfaction on Hiram Winthrop's part; but then, you know, the Americans are a nation of Philistines38, and after all, no man can rise wholly superior to the influence of his lifelong social environment. Indeed, it isn't easy even for an Englishman to take kindly39 just at first to the dirt and discomfort40 of southern European cities. He may put the best face upon the matter that he can; he may sedulously41 and successfully disguise his disgust lest he be accounted vulgar, narrowminded, insular42, inartistic; he may pretend to be charmed with everything, from St. Peter's to the garlic in the cookery; yet in his heart of hearts he feels distinctly that the Vatican barely outweighs43 the smells of the Ghetto44, and that the Colosseum scantily45 atones46 for the filthy47 alleys of the Tiberside slums that cover what was once the Campus Martius. It takes some residence to get over the initial disadvantages of an Italian city. But to an American-born, an unregenerate, not yet cosmopolitanised or Italianate American, fresh from the broad clean streets and neat white houses of American cities, the squalor and griminess of Rome is a thing incredible and almost unutterable. Hiram gazed at it, appalled48 and awestruck, wondering how on earth he could ever manage to live for a year or two together in that all-pervading murky49 atmosphere of dust-laden malaria50.
Besides, was he not a little sore and disappointed that Gwen had seen him, and had utterly51 forgotten him? Was he not just a trifle jealous, not only of Audouin, but also of Colin Churchill? All these things go to colour a man's opinion of towns and places quite as much as those recognised and potent52 refractive agents, the nature of his digestion53 or the state of the weather.
They were duly ushered54 up into M. Seguin's private room, and there the great painter, after a few minutes' delay, came to see them. He was a short, dry-looking, weazened-up little man, with a grizzled French moustache waxed at the ends, and an imperturbable55 air of being remarkably56 well pleased with himself, both physically57 and mentally. Audouin took him in hand at once, as if by agreement, and did all the talking, while Hiram stood silent and confused quite in the background. Indeed, a casual observer might easily have imagined that it was Audouin who wished to be the Frenchman's pupil, and that Hiram Winthrop was merely there as a disinterested58 and unconcerned bystander.
'Has Monsieur got any specimens59 of his work with him?' M. Seguin asked Hiram at last condescendingly. 'Anything on which one might form a provisional judgment60 of his probable talents?'
'I've brought a few landscapes with me from America, if you would care to see them,' Hiram answered submissively.
'To see them! Not at all, Monsieur. Do I wish to look at landscapes for my part? Far from it! Let us admit that you do not come here to me to learn landscape. The human figure—the divine human figure in all its sublime61 grandeur—there, Monsieur, is the goal of the highest art; there is the arena62 of the highest artist.' M. Seguin brought his hand carelessly down upon the fragment of ribbon on his own left breast as he finished this final sentence, as though to imply with due delicacy63 of feeling that he considered the highest artist and Jean Baptiste Seguin as practically convertible64 expressions.
Hiram inclined his head a little, partly to hide a smile. 'I'm afraid, Monsieur,' he said humbly65, 'I have nothing to show you in the way of figure painting.'
'Well, well,' Seguin answered with a polite expansion of his two hands, 'give yourself the trouble to come here to-morrow morning and prepare to copy a head of mine for the Salon66 of last year. You have seen it?—no? then this way, Messieurs, 'I will show it to you!''
The tone of exalted67 condescension68 in which he uttered those four words, 'Je vous la montrerai,' was as though he meant to afford them a glorious treat which would render them for ever after perfectly69 happy.
Hiram and Audouin followed the weazened-up little man into another room, where on an easel in the light stood his great Salon painting of Sardanapalus and the Egyptian Princess. As in everything that Seguin has painted, there was undoubtedly70 a certain meretricious71 beauty and force about it. The technique, indeed, was in its way absolutely perfect. The flesh tones had a satiny transparency; the draperies were arranged with exquisite72 skill and supreme73 knowledge; the touch was everywhere firm and solid: the art displayed was throughout consummate74. Even the figures themselves, viewed as representing their historical namesakes, were not lacking in a certain theatrical75 grace and dignity.
Hiram felt instinctively76 that Sardanapalus was the masterpiece of a great artist, who had a marvellous hand and a profound knowledge of painting, but no soul in him; and even Audouin recognised at once that though the workmanship was as nearly perfect as the deepest study and the finest eye could possibly make it, yet there was a something still more profoundly artistic that was evidently wanting to the first conception of Seguin's masterpiece.
M. Seguin himself stood still for a minute or two with his hand on his hip77, lips half parted and eye entranced, as though absorbed in contemplation of his own great work of art, and then glanced round sideways quite accidentally to see how its beauty affected32 the minds of the two strangers. Having furtively78 satisfied himself that Hiram was just then really appreciative79 of the clever light that fell obliquely80 upon Sardanapalus's dusky shoulder, and that Audouin was duly admiring the exquisitely81 painted full round arm of the Egyptian Princess, he turned to them in front once more, like one recalled from the realms of divine art to the worky-day world of actuality, and resumed the discussion of their present business.
'You will come then, to-morrow, Monsieur, and do me a study of the head of Sardanapalus. If by the time you have finished it, you display a talent worthy82 of being evoked83, I will then accept you as one of my pupils. If not—which I do not, for the rest, anticipate—you will understand, Monsieur, in that case, that it will be with the greatest regret that I shall be compeled—ah, good; you recognise the necessity laid upon an artist.—Antoine! These gentlemen—my time, the time of an artist, is very precious. Good day, Monsieur, good day to you.'
'And if he accepts you, Hiram,' Audouin said, when they got outside, 'you'd better arrange to take an apartment somewhere with young Churchill—furnished apartments suitable for art-students are cheap at Rome, they tell me—and get your meals at a trattoria. That'll make your money go farther, I estimate.'.
Hiram sighed, and almost wished in his own heart that M. Seguin would have the kindness not to recognise in him a talent worthy of being evoked by so great a master. But alas84, fate willed it otherwise. M. Seguin pronounced the head, though but feebly representing the mixed virile85 force and feminine delicacy of his own Sardanapalus, 'sufficiently86 well painted, as the work of a beginner;' and Hiram was forthwith duly enrolled87 among the great French painter's select pupils, to start work as soon as he had had a fortnight with Audouin, 'for inspecting the sights of the city.'
点击收听单词发音
1 surmise | |
v./n.猜想,推测 | |
参考例句: |
|
|
2 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
参考例句: |
|
|
3 piazza | |
n.广场;走廊 | |
参考例句: |
|
|
4 contemplate | |
vt.盘算,计议;周密考虑;注视,凝视 | |
参考例句: |
|
|
5 inquiries | |
n.调查( inquiry的名词复数 );疑问;探究;打听 | |
参考例句: |
|
|
6 promptly | |
adv.及时地,敏捷地 | |
参考例句: |
|
|
7 hesitation | |
n.犹豫,踌躇 | |
参考例句: |
|
|
8 benefactor | |
n. 恩人,行善的人,捐助人 | |
参考例句: |
|
|
9 docile | |
adj.驯服的,易控制的,容易教的 | |
参考例句: |
|
|
10 peg | |
n.木栓,木钉;vt.用木钉钉,用短桩固定 | |
参考例句: |
|
|
11 labyrinth | |
n.迷宫;难解的事物;迷路 | |
参考例句: |
|
|
12 alleys | |
胡同,小巷( alley的名词复数 ); 小径 | |
参考例句: |
|
|
13 bustle | |
v.喧扰地忙乱,匆忙,奔忙;n.忙碌;喧闹 | |
参考例句: |
|
|
14 blotchy | |
adj.有斑点的,有污渍的;斑污 | |
参考例句: |
|
|
15 ragged | |
adj.衣衫褴褛的,粗糙的,刺耳的 | |
参考例句: |
|
|
16 gutter | |
n.沟,街沟,水槽,檐槽,贫民窟 | |
参考例句: |
|
|
17 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
参考例句: |
|
|
18 tottering | |
adj.蹒跚的,动摇的v.走得或动得不稳( totter的现在分词 );踉跄;蹒跚;摇摇欲坠 | |
参考例句: |
|
|
19 swoop | |
n.俯冲,攫取;v.抓取,突然袭击 | |
参考例句: |
|
|
20 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
参考例句: |
|
|
21 chattering | |
n. (机器振动发出的)咔嗒声,(鸟等)鸣,啁啾 adj. 喋喋不休的,啾啾声的 动词chatter的现在分词形式 | |
参考例句: |
|
|
22 inviting | |
adj.诱人的,引人注目的 | |
参考例句: |
|
|
23 squat | |
v.蹲坐,蹲下;n.蹲下;adj.矮胖的,粗矮的 | |
参考例句: |
|
|
24 crouched | |
v.屈膝,蹲伏( crouch的过去式和过去分词 ) | |
参考例句: |
|
|
25 charcoal | |
n.炭,木炭,生物炭 | |
参考例句: |
|
|
26 foul | |
adj.污秽的;邪恶的;v.弄脏;妨害;犯规;n.犯规 | |
参考例句: |
|
|
27 flasks | |
n.瓶,长颈瓶, 烧瓶( flask的名词复数 ) | |
参考例句: |
|
|
28 strings | |
n.弦 | |
参考例句: |
|
|
29 mouldering | |
v.腐朽( moulder的现在分词 );腐烂,崩塌 | |
参考例句: |
|
|
30 aspirations | |
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音 | |
参考例句: |
|
|
31 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
参考例句: |
|
|
32 affected | |
adj.不自然的,假装的 | |
参考例句: |
|
|
33 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
参考例句: |
|
|
34 picturesqueness | |
参考例句: |
|
|
35 candid | |
adj.公正的,正直的;坦率的 | |
参考例句: |
|
|
36 hatred | |
n.憎恶,憎恨,仇恨 | |
参考例句: |
|
|
37 philistine | |
n.庸俗的人;adj.市侩的,庸俗的 | |
参考例句: |
|
|
38 philistines | |
n.市侩,庸人( philistine的名词复数 );庸夫俗子 | |
参考例句: |
|
|
39 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
参考例句: |
|
|
40 discomfort | |
n.不舒服,不安,难过,困难,不方便 | |
参考例句: |
|
|
41 sedulously | |
ad.孜孜不倦地 | |
参考例句: |
|
|
42 insular | |
adj.岛屿的,心胸狭窄的 | |
参考例句: |
|
|
43 outweighs | |
v.在重量上超过( outweigh的第三人称单数 );在重要性或价值方面超过 | |
参考例句: |
|
|
44 ghetto | |
n.少数民族聚居区,贫民区 | |
参考例句: |
|
|
45 scantily | |
adv.缺乏地;不充足地;吝啬地;狭窄地 | |
参考例句: |
|
|
46 atones | |
v.补偿,赎(罪)( atone的第三人称单数 );补偿,弥补,赎回 | |
参考例句: |
|
|
47 filthy | |
adj.卑劣的;恶劣的,肮脏的 | |
参考例句: |
|
|
48 appalled | |
v.使惊骇,使充满恐惧( appall的过去式和过去分词)adj.惊骇的;丧胆的 | |
参考例句: |
|
|
49 murky | |
adj.黑暗的,朦胧的;adv.阴暗地,混浊地;n.阴暗;昏暗 | |
参考例句: |
|
|
50 malaria | |
n.疟疾 | |
参考例句: |
|
|
51 utterly | |
adv.完全地,绝对地 | |
参考例句: |
|
|
52 potent | |
adj.强有力的,有权势的;有效力的 | |
参考例句: |
|
|
53 digestion | |
n.消化,吸收 | |
参考例句: |
|
|
54 ushered | |
v.引,领,陪同( usher的过去式和过去分词 ) | |
参考例句: |
|
|
55 imperturbable | |
adj.镇静的 | |
参考例句: |
|
|
56 remarkably | |
ad.不同寻常地,相当地 | |
参考例句: |
|
|
57 physically | |
adj.物质上,体格上,身体上,按自然规律 | |
参考例句: |
|
|
58 disinterested | |
adj.不关心的,不感兴趣的 | |
参考例句: |
|
|
59 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
参考例句: |
|
|
60 judgment | |
n.审判;判断力,识别力,看法,意见 | |
参考例句: |
|
|
61 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
参考例句: |
|
|
62 arena | |
n.竞技场,运动场所;竞争场所,舞台 | |
参考例句: |
|
|
63 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
参考例句: |
|
|
64 convertible | |
adj.可改变的,可交换,同意义的;n.有活动摺篷的汽车 | |
参考例句: |
|
|
65 humbly | |
adv. 恭顺地,谦卑地 | |
参考例句: |
|
|
66 salon | |
n.[法]沙龙;客厅;营业性的高级服务室 | |
参考例句: |
|
|
67 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
参考例句: |
|
|
68 condescension | |
n.自以为高人一等,贬低(别人) | |
参考例句: |
|
|
69 perfectly | |
adv.完美地,无可非议地,彻底地 | |
参考例句: |
|
|
70 undoubtedly | |
adv.确实地,无疑地 | |
参考例句: |
|
|
71 meretricious | |
adj.华而不实的,俗艳的 | |
参考例句: |
|
|
72 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
参考例句: |
|
|
73 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
参考例句: |
|
|
74 consummate | |
adj.完美的;v.成婚;使完美 [反]baffle | |
参考例句: |
|
|
75 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
参考例句: |
|
|
76 instinctively | |
adv.本能地 | |
参考例句: |
|
|
77 hip | |
n.臀部,髋;屋脊 | |
参考例句: |
|
|
78 furtively | |
adv. 偷偷地, 暗中地 | |
参考例句: |
|
|
79 appreciative | |
adj.有鉴赏力的,有眼力的;感激的 | |
参考例句: |
|
|
80 obliquely | |
adv.斜; 倾斜; 间接; 不光明正大 | |
参考例句: |
|
|
81 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
参考例句: |
|
|
82 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
参考例句: |
|
|
83 evoked | |
[医]诱发的 | |
参考例句: |
|
|
84 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
参考例句: |
|
|
85 virile | |
adj.男性的;有男性生殖力的;有男子气概的;强有力的 | |
参考例句: |
|
|
86 sufficiently | |
adv.足够地,充分地 | |
参考例句: |
|
|
87 enrolled | |
adj.入学登记了的v.[亦作enrol]( enroll的过去式和过去分词 );登记,招收,使入伍(或入会、入学等),参加,成为成员;记入名册;卷起,包起 | |
参考例句: |
|
|
欢迎访问英文小说网 |