Salem, September 14th, 1841—A.M.
Ownest beloved, I know not whether thou dost expect a letter from thy husband; but I have a comfortable faith that it will not be altogether unwelcome; so I boldly sit down to scribble1. I love thee transcendently; and nothing makes me more sensible of the fact, than that I write thee voluntary letters, without any external necessity. It is as if intense love should make a dumb man speak. (Alas! I hear a knocking at the door, and suspect that some untimely person is about to call me away from my Dove.)
Afternoon.—Dearest, it was even as I suspected. How sad it is, that we cannot be sure of one moment's uninterrupted communication, even when we are talking together in that same old chamber2, where I have spent so many quiet years! Well; thou must be content to lose some very sweet outpourings wherewith my heart would probably have covered the first, and perhaps 45 the second page of this sheet. The amount of all would have been, that I am somewhat partial to thee—and thou hast a suspicion of that fact, already.
Belovedest, Master Cheever is a very good subject for a sketch3—especially if thou dost portray4 him in the very act of executing judgment5 on an evil-doer. The little urchin6 may be laid across his knee, and his arms and legs (and whole person, indeed) should be flying all abroad, in an agony of nervous excitement and corporeal7 smart. The Master, on the other hand, must be calm, rigid8, without anger or pity, the very personification of that unmitigable law, whereby suffering follows sin. Meantime, the lion's head should have a sort of sly twist of one side of its mouth, and wink9 of one eye, in order to give the impression, that, after all, the crime and the punishment are neither of them the most serious things in the world. I would draw this sketch myself, if I had but the use of thy magic fingers. Why dost thou—being one and the same person with thy husband—unjustly keep those delicate little instruments (thy fingers, to wit) all to thyself?
Then, dearest, the Acadians will do very well for the second sketch. Wilt10 thou represent them as just landing on the wharf11?—or as presenting 46 themselves before Governor Shirley, seated in the great chair? Another subject (if this do not altogether suit thee) might be old Cotton Mather, venerable in a three cornered hat and other antique attire12, walking the streets of Boston, and lifting up his hands to bless the people, while they all revile13 him. An old dame14 should be seen flinging or emptying some vials of medicine on his head, from the latticed window of an old-fashioned house; and all around must be tokens of pestilence15 and mourning—as a coffin16 borne along, a woman or children weeping on a door-step. Canst thou paint the tolling17 of the old South bell?
If thou likest not this subject, thou canst take the military council, holden at Boston by the Earl of Loudoun, and other captains and governors—his lordship in the great chair, an old-fashioned military figure, with a star on his breast. Some of Louis XV's commanders will give thee the costume. On the table and scattered18 about the room must be symbols of warfare19, swords, pistols, plumed20 hats, a drum, trumpet21, and rolled up banner, in one heap. It were not amiss that thou introduce the armed figure of an Indian chief, as taking part in the council—or standing22 apart from the English, erect23 and stern.
Now for Liberty tree—there is an engraving24 of 47 that famous vegetable in Snow's History of Boston; but thou wilt draw a better one out of thine own head. If thou dost represent it, I see not what scene can be beneath it, save poor Mr. Oliver taking the oath. Thou must represent him with a bag wig25, ruffled26 sleeves, embroidered27 coat, and all such ornaments28, because he is the representative of aristocracy and artificial system. The people may be as rough and wild as thy sweetest fancy can make them;—nevertheless, there must be one or two grave, puritanical29 figures in the midst. Such an one might sit in the great chair, and be an emblem30 of that stern spirit, which brought about the revolution. But thou wilt find this is a hard subject.
But what a dolt31 is thy husband, thus to obtrude32 his counsel in the place of thine own inspiration! Belovedest, I want soon to tell thee how I love thee. Thou must not expect me till Saturday afternoon. I yearn33 infinitely34 to see thee. Heaven bless thee forever and forever.
Thine Ownest.
Miss Sophia A. Peabody,
Care of Dr. N. Peabody,
Boston, Mass.
点击收听单词发音
1 scribble | |
v.潦草地书写,乱写,滥写;n.潦草的写法,潦草写成的东西,杂文 | |
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2 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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3 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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4 portray | |
v.描写,描述;画(人物、景象等) | |
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5 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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6 urchin | |
n.顽童;海胆 | |
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7 corporeal | |
adj.肉体的,身体的;物质的 | |
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8 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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9 wink | |
n.眨眼,使眼色,瞬间;v.眨眼,使眼色,闪烁 | |
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10 wilt | |
v.(使)植物凋谢或枯萎;(指人)疲倦,衰弱 | |
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11 wharf | |
n.码头,停泊处 | |
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12 attire | |
v.穿衣,装扮[同]array;n.衣着;盛装 | |
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13 revile | |
v.辱骂,谩骂 | |
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14 dame | |
n.女士 | |
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15 pestilence | |
n.瘟疫 | |
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16 coffin | |
n.棺材,灵柩 | |
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17 tolling | |
[财]来料加工 | |
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18 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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19 warfare | |
n.战争(状态);斗争;冲突 | |
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20 plumed | |
饰有羽毛的 | |
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21 trumpet | |
n.喇叭,喇叭声;v.吹喇叭,吹嘘 | |
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22 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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23 erect | |
n./v.树立,建立,使竖立;adj.直立的,垂直的 | |
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24 engraving | |
n.版画;雕刻(作品);雕刻艺术;镌版术v.在(硬物)上雕刻(字,画等)( engrave的现在分词 );将某事物深深印在(记忆或头脑中) | |
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25 wig | |
n.假发 | |
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26 ruffled | |
adj. 有褶饰边的, 起皱的 动词ruffle的过去式和过去分词 | |
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27 embroidered | |
adj.绣花的 | |
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28 ornaments | |
n.装饰( ornament的名词复数 );点缀;装饰品;首饰v.装饰,点缀,美化( ornament的第三人称单数 ) | |
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29 puritanical | |
adj.极端拘谨的;道德严格的 | |
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30 emblem | |
n.象征,标志;徽章 | |
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31 dolt | |
n.傻瓜 | |
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32 obtrude | |
v.闯入;侵入;打扰 | |
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33 yearn | |
v.想念;怀念;渴望 | |
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34 infinitely | |
adv.无限地,无穷地 | |
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