"Do you want to see the Director? He is in his study with mamma.
Go and wait in the parlour."This was a large hall with bare walls, a noble enough apartmentin its unadorned simplicity2, in spite of the mean horsehair chairsthat stood round it. Above the fire-place, instead of a mirror,was a _Mater dolorosa_ that caught the eye by its dazzlingwhiteness. Big marble tears stood arrested in mid-career downthe cheeks, while the features expressed the pious3 absorptionof the Divine Mother's grief. Jean Servien read the inscriptioncut in red letters on the pedestal, which ran thus:
PRESENTED TO THE REVEREND ABBE BORDIER,
IN MEMORY OF
PHILIPPE-GUY DE THIERERCHE,
WHO DIED AT PAU,
NOVEMBER 11, 1867, IN THE SEVENTEENTH
YEAR OF HIS AGE,
BY THE COUNTESS VALENTINE DE THIERERCHE,
NéE DE BRUILLE DE SAINT-AMAND.
_LAUDATE PUERI DOMINUM_
Then he forgot his anxieties, forgot he was there to beg foremployment, shook off the instinctive5 dread6 that had seized himon the threshold of the great silent house. He forgot his fearsand hopes--hopes of being promoted usher7! He was absorbed bythis cruel domestic drama revealed to him in the inscription4.
A scion8 of one of the greatest families of France, a pupil ofthe Abbé Bordier, attacked by phthisis in the midst of his nowprofitless studies and leaving school, not to enjoy life andtaste the glorious pleasures only those contemn10 who have drainedthem to the dregs, but to die at a southern town in the arms ofhis mother whose overwhelming, but still self-conscious griefwas symbolized11 by this pompous12 memorial of her sorrow. He couldfeel, he could see it all. The three Latin words that representthe stricken mother saying: "Children, praise ye the Lord whohath taken away my child," astonished him by their austere13 piety,while at the same time he admired the aristocratic bearing thatwas preserved even in the presence of death.
He was still lost in these day-dreams when an old priest beckonedhim to walk into an inner room. The worthy14 man took the letterof recommendation which Jean handed him, set on his big nose apair of spectacles with round glasses for all the world likethe two wheels of a miniature silver chariot, and proceeded toread the letter, holding it out at the full stretch of his arm.
The windows giving on the garden stood open, and a tendril ofwild vine hung down on to the desk at the foot of a crucifix ofold ivory, while a light breeze set the papers on it flutteringlike white wings.
The Abbé Bordier, his reading concluded, turned to the young man,showing a deeply lined countenance15 and a forehead beautifullypolished by age. He took off his spectacles and rubbed his eyes.
Then the worn eyelids16 lifted slowly and discovered a pair of greyeyes of a shade that somehow reminded you of an autumn morning.
He lay back in his armchair, his legs stretched out in front ofhim, displaying his silver-buckled shoes and black stockings.
"It seems then, my dear boy," he began, "you wish, so my venerablefriend the Abbé Marguerite informs me, to devote yourself toteaching; and your idea would be to prepare for your degree whileat the same time performing the duties of an assistant masterto supervise the boys at their work. It is a humble17 office; butit will depend entirely18 on yourself, my dear young friend, todignify it by a heartfelt zeal19 and a determination to succeed.
I shall entrust20 the studies of the _Remove_ to your care. Ourbursar will inform you of the conditions attaching to the post."Jean bowed and made to leave the room; but suddenly the Abbé Bordierbeckoned him to stop and asked abruptly21:
"No, no! French verse. Now, would you rhyme _tr?ne_ with _couronne_?
The rhyme is not, it must be allowed, quite satisfactory to theear, yet the usage of the great writers authorizes23 it."So saying, the old fellow laid hold of a bulky manuscript book.
"Listen," he cried, "listen. It is St. Fabricius addressing theProconsul Flavius:
_Achève, fais dresser l'appareil souhaité De ma mort, ou plut?t de ma félicité.
Le Roi des Rois, du haut de son céleste tr?ne, Déjà me tend la palme et tresse ma couronne._"Do you think it would be better if he said:
_Achève, fais dresser l'appareil souhaité De ma mort, ou plut?t de ma félicité.
Je vois le Roi des Rois me tendre la couronne, Quel n'en est le prix quand c'est Dieu qui la donne!_"Doubtless these latter lines are more correct than the others,but they are less vigorous, and a poet should never sacrificemeaning to metre.
_Le Roi des Rois, du haut de son céleste tr?ne, Déjà me tend la palme et tresse ma couronne."_This time, as he declaimed the verses, he went through thecorresponding gestures of tendering a gift and plaiting a garland.
"It is better so," he added, "better so!"Jean, in some surprise, said yes, it was certainly better.
Then he confided25 in Jean that it was a very difficult thing indeedto write poetry. You must get the c?sura in the right place,bring in the rhyme naturally, make your rhythm run in diverscadences, now strong, now sweet, sometimes onomatopoetic, useonly words either elevated in themselves or dignified26 by thecircumstances.
He read one passage of his Tragedy because he had his doubtsabout the number of feet in the line, another because he thoughtit contained some bold strokes happily conceived, then a thirdto elucidate27 the two first, eventually the whole five acts fromstart to finish. He acted the words as he read, modulating28 hisvoice to suit the various characters, stamping and storming,and to adjust his black skullcap--it _would_ tumble off at thepathetic parts--dealing himself a succession of sounding slapson the crown of his head.
This sacred drama, in which no woman appeared, was to be playedby the pupils of the Institution at a forthcoming function. Theprevious year he had staged his first tragedy, _le Baptêmede Clovis_, in the same approved style. A regular, MonsieurSchuver, had arranged garlands of paper roses to represent thebattlefield of Tolbiac and the basilica at Rheims. To give awild, barbaric look to the boys who represented Clovis' henchmen,the sister superintendent29 of the wardrobe had tacked9 up theirwhite trousers to the knee. But the Abbé Bordier hoped greaterthings still for his new piece.
Jean applauded and improved upon these ambitious projects. Hissuggestions for scenery and costumes were admirable. He wouldhave the ruthless Flavius seated on a curule chair of ivory,draped with purple, erected30 before a portico31 painted on the backcloth. The costumes of the Roman soldiers, he insisted, mustbe copied from those on Trajan's Column.
His words opened superb vistas32 before the old priest's eyes;he was enchanted33, ravished, yet full of doubts and fears. Alas34!
Monsieur Schuver was quite helpless if it came to designing anythingmore ambitious than his paper roses. Then Jean must needs takea look round in the shed where the properties were stored, andthe two discussed together how the stage must be set and theside-scenes worked. Jean took measurements, drew up a plan, workedout an estimate. He manifested a passionate35 eagerness that wassurprising, albeit36 the old priest took it all as a matter ofcourse. A batten would come here, a practicable door there. Theactor would enter there...
But the worthy priest checked him:
"Say the reciter, my dear boy; _actor_ is not a word forself-respecting people."Barring this trifling37 misunderstanding, they were in perfectaccord. The sun was setting by this time and the Abbé Bordier'sshadow, grotesquely38 elongated39, danced up and down the sandy floorof the shed, while the old, broken voice declaimed tags of versethat echoed to the furthest recesses40 of the court. But Jean Servienwas smiling at the vision only _his_ eyes could see of Gabrielle,the inspirer of all his enthusiasm.
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1
accosted
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v.走过去跟…讲话( accost的过去式和过去分词 );跟…搭讪;(乞丐等)上前向…乞讨;(妓女等)勾搭 | |
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2
simplicity
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n.简单,简易;朴素;直率,单纯 | |
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3
pious
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adj.虔诚的;道貌岸然的 | |
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4
inscription
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n.(尤指石块上的)刻印文字,铭文,碑文 | |
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instinctive
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adj.(出于)本能的;直觉的;(出于)天性的 | |
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dread
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vt.担忧,忧虑;惧怕,不敢;n.担忧,畏惧 | |
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7
usher
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n.带位员,招待员;vt.引导,护送;vi.做招待,担任引座员 | |
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8
scion
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n.嫩芽,子孙 | |
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9
tacked
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用平头钉钉( tack的过去式和过去分词 ); 附加,增补; 帆船抢风行驶,用粗线脚缝 | |
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10
contemn
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v.蔑视 | |
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11
symbolized
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v.象征,作为…的象征( symbolize的过去式和过去分词 ) | |
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12
pompous
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adj.傲慢的,自大的;夸大的;豪华的 | |
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13
austere
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adj.艰苦的;朴素的,朴实无华的;严峻的 | |
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14
worthy
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adj.(of)值得的,配得上的;有价值的 | |
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15
countenance
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n.脸色,面容;面部表情;vt.支持,赞同 | |
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16
eyelids
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n.眼睑( eyelid的名词复数 );眼睛也不眨一下;不露声色;面不改色 | |
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17
humble
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adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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18
entirely
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ad.全部地,完整地;完全地,彻底地 | |
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19
zeal
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n.热心,热情,热忱 | |
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entrust
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v.信赖,信托,交托 | |
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abruptly
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adv.突然地,出其不意地 | |
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22
queried
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v.质疑,对…表示疑问( query的过去式和过去分词 );询问 | |
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23
authorizes
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授权,批准,委托( authorize的名词复数 ) | |
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24
innocence
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n.无罪;天真;无害 | |
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25
confided
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v.吐露(秘密,心事等)( confide的过去式和过去分词 );(向某人)吐露(隐私、秘密等) | |
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26
dignified
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a.可敬的,高贵的 | |
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27
elucidate
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v.阐明,说明 | |
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28
modulating
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调整( modulate的现在分词 ); (对波幅、频率的)调制; 转调; 调整或改变(嗓音)的音调 | |
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29
superintendent
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n.监督人,主管,总监;(英国)警务长 | |
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30
ERECTED
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adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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31
portico
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n.柱廊,门廊 | |
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32
vistas
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长条形景色( vista的名词复数 ); 回顾; 展望; (未来可能发生的)一系列情景 | |
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33
enchanted
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adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词 | |
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34
alas
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int.唉(表示悲伤、忧愁、恐惧等) | |
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35
passionate
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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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36
albeit
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conj.即使;纵使;虽然 | |
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trifling
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adj.微不足道的;没什么价值的 | |
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grotesquely
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adv. 奇异地,荒诞地 | |
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39
elongated
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v.延长,加长( elongate的过去式和过去分词 ) | |
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recesses
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n.壁凹( recess的名词复数 );(工作或业务活动的)中止或暂停期间;学校的课间休息;某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 );将(墙)做成凹形,在(墙)上做壁龛;休息,休会,休庭 | |
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