The Mademoiselle de Maupin of real life was a singer at the Opera in Paris at the end of the seventeenth century. She was the daughter of a man of somewhat humble13 extraction engaged in secretarial work with the Count d’Armagnac; and whilst only a girl married a man named Maupin employed in the province. With him she had lived only a few months when she ran away with a maitre d’armes (anglicè, a fencing master) named Serane. If this individual had no other good quality in matters human or divine, he was at least a good teacher of the sword. His professional arts were used in the service of his inamorata, who became herself an excellent swordsman even in an age when swordsmanship had an important place in social life. It may have been the sexual equality implied by the name which gave the young woman the idea, but thenceforth she became a man in appearance;—in reality, in so far as such a metamorphosis can be accomplished14 by courage, recklessness, hardihood, unscrupulousness, and a willing obedience15 to all the ideas which passion and sensuality can originate and a greed of notoriety carry into execution.
In a professional tour from Paris to Marseilles, in which she as an actress took the part of a man,237 she gained the affections of the flighty daughter of a rich merchant of Marseilles; and, as a man, ran away with her. Being pursued, they sought refuge in a convent—a place which at that age it was manifestly easier to get into than to get out of. Here the two remained for a few days, during which, by the aid of histrionic and other arts, the actress obviated16 the necessary suspicions of her foolish companion and kept danger away. All the while La Maupin was conscious that an irate17 and rich father was in hot search for his missing daughter, and she knew that any talk about the venture would infallibly lose her the girl’s fortune, besides getting herself within the grip of the law. So she decided18 on a bold scheme of escape from the convent, whereby she might obliterate her tracks. A nun19 of the convent had died and her body was awaiting burial. In the night La Maupin exchanged the body of the dead nun for the living one of her own victim. Having thus got her companion out of the convent, she set the building on fire to cover up everything, and escaped in secret to a neighbouring village, taking with her by force the girl, who naturally enough was disillusioned20 and began to have scruples21 as to the wisdom of her conduct. In the village they remained hidden for a few weeks, during which time the repentance22 of the poor girl became a fixed23 quantity. An attempt, well supported, was made to arrest the ostensible24 man; but this was foiled by the female swordsman238 who killed one of the would-be captors and dangerously wounded two others. The girl, however, made good her escape; secretly she fled from her deceiver and reached her parents in safety. But the hue25 and cry was out after La Maupin, whose identity was now known. She was pursued, captured, and placed in gaol26 to await trial. The law was strong and inexorable; the erring27 woman who had thus outraged28 so many conventions was condemned29 to be burned alive.
But abstract law and the executive are quite different things—at least they were in France at the close of the seventeenth century: as indeed they are occasionally in other countries and at varying times. La Maupin, being a woman and a clever one, procured30 sufficient influence to have the execution postponed31, and so had the full punishment delayed, if not entirely32 avoided. More than this, she managed to get back to Paris and so to begin her noxious33 career all over again. Of course she had strong help from her popularity. She was a favourite at the opera, and the class which patronises and supports this kind of artistic34 effort is a rich and powerful one, which governments do not care to displease35 by the refusal of such a small favour as making the law hold its hand with regard to an erring favourite.
But La Maupin’s truculent36 tendencies were not to be restrained. In Paris in 1695 whilst she was one of the audience at a theatre she took umbrage239 at some act or speech of one of the comedians37 playing in the piece, and leaving her seat went round to the stage and caned38 him in the presence of the audience. The actor, M. Dumenil, an accomplished and favourite performer but a man of peaceful disposition39, submitted to the affront40 and took no action in the matter. La Maupin, however, suffered, through herself, the penalty of her conduct. She had entered on a course of violence which became a habit. For some years she flourished and exercised all the tyrannies of her own sex and in addition those habitual41 to men which came from expert use of the sword. Thus she went attired42 as a man to a ball given by a Prince of the blood. In that garb43 she treated a fellow-guest, a woman, with indecency; and she was challenged by three different men—each of whom, when the consequent fight came on, she ran through the body, after which she returned to the ball. Shortly afterwards she fought and wounded a man, M. de Servan, who had affronted44 a woman. For these escapades she was again pardoned. She then went to Brussels where she lived under the protection of Count Albert of Bavaria, the Elector. With him she remained until the quarrel, inevitable45 in such a life, came. After much bickering46 he agreed to her demand of a settlement, but in order to show his anger by affronting47 her he sent the large amount of his involuntary bequest48 by the servile hand of the husband of his mistress, Countess d’Arcos, who240 had supplanted49 her, with a curt50 message that she must leave Brussels at once. The bearer of such a message to such a woman as La Maupin had probably reckoned on an unfriendly reception; but he evidently underestimated her anger. Not contented51 with flinging at his head the large douceur of which he was the bearer, she expressed in her direct way her unfavourable opinion, of him, of his master, and of the message which he had carried for the latter. She ended her tirade52 by kicking him downstairs, with the justification53 for her form of physical violence that she would not sully her sword with his blood.
From Brussels she went to Spain as femme de chambre to the Countess Marino but returned to Paris in 1704. Once more she took up her work as an opera singer; or rather she tried to take it up, but she had lost her vogue54, and the public would have none of her. As a matter of fact, she was only just above thirty years of age, which should under normal circumstances be the beginning of a woman’s prime. But the life she had been leading since her early girlhood was not one which made for true happiness or for physical health; she was prematurely55 old, and her artistic powers were worn out.
Still, her pluck, and the obstinacy56 on which it was grafted57, remained. For a whole year she maintained a never-failing struggle for her old supremacy58, but without avail. Seeing that all was241 lost, she left the stage and returned to her husband who, realising that she was rich, managed to reconcile whatever shreds59 of honour he had to her infamous60 record. The Church, too, accepted her—and her riches—within its sheltering portals. By the aid of a tolerant priest she got absolution, and two years after her retirement61 from the opera she died in a convent in all the odour of sanctity.
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1 alterations | |
n.改动( alteration的名词复数 );更改;变化;改变 | |
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2 obliterate | |
v.擦去,涂抹,去掉...痕迹,消失,除去 | |
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3 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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4 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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5 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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6 excision | |
n.删掉;除去 | |
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7 subtleties | |
细微( subtlety的名词复数 ); 精细; 巧妙; 细微的差别等 | |
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8 laden | |
adj.装满了的;充满了的;负了重担的;苦恼的 | |
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9 sufficiently | |
adv.足够地,充分地 | |
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10 cohesive | |
adj.有粘着力的;有结合力的;凝聚性的 | |
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11 forth | |
adv.向前;向外,往外 | |
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12 sordidness | |
n.肮脏;污秽;卑鄙;可耻 | |
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13 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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14 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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15 obedience | |
n.服从,顺从 | |
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16 obviated | |
v.避免,消除(贫困、不方便等)( obviate的过去式和过去分词 ) | |
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17 irate | |
adj.发怒的,生气 | |
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18 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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19 nun | |
n.修女,尼姑 | |
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20 disillusioned | |
a.不再抱幻想的,大失所望的,幻想破灭的 | |
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21 scruples | |
n.良心上的不安( scruple的名词复数 );顾虑,顾忌v.感到于心不安,有顾忌( scruple的第三人称单数 ) | |
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22 repentance | |
n.懊悔 | |
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23 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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24 ostensible | |
adj.(指理由)表面的,假装的 | |
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25 hue | |
n.色度;色调;样子 | |
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26 gaol | |
n.(jail)监狱;(不加冠词)监禁;vt.使…坐牢 | |
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27 erring | |
做错事的,错误的 | |
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28 outraged | |
a.震惊的,义愤填膺的 | |
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29 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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30 procured | |
v.(努力)取得, (设法)获得( procure的过去式和过去分词 );拉皮条 | |
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31 postponed | |
vt.& vi.延期,缓办,(使)延迟vt.把…放在次要地位;[语]把…放在后面(或句尾)vi.(疟疾等)延缓发作(或复发) | |
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32 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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33 noxious | |
adj.有害的,有毒的;使道德败坏的,讨厌的 | |
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34 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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35 displease | |
vt.使不高兴,惹怒;n.不悦,不满,生气 | |
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36 truculent | |
adj.野蛮的,粗野的 | |
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37 comedians | |
n.喜剧演员,丑角( comedian的名词复数 ) | |
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38 caned | |
vt.用苔杖打(cane的过去式与过去分词形式) | |
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39 disposition | |
n.性情,性格;意向,倾向;排列,部署 | |
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40 affront | |
n./v.侮辱,触怒 | |
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41 habitual | |
adj.习惯性的;通常的,惯常的 | |
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42 attired | |
adj.穿着整齐的v.使穿上衣服,使穿上盛装( attire的过去式和过去分词 ) | |
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43 garb | |
n.服装,装束 | |
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44 affronted | |
adj.被侮辱的,被冒犯的v.勇敢地面对( affront的过去式和过去分词 );相遇 | |
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45 inevitable | |
adj.不可避免的,必然发生的 | |
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46 bickering | |
v.争吵( bicker的现在分词 );口角;(水等)作潺潺声;闪烁 | |
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47 affronting | |
v.勇敢地面对( affront的现在分词 );相遇 | |
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48 bequest | |
n.遗赠;遗产,遗物 | |
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49 supplanted | |
把…排挤掉,取代( supplant的过去式和过去分词 ) | |
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50 curt | |
adj.简短的,草率的 | |
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51 contented | |
adj.满意的,安心的,知足的 | |
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52 tirade | |
n.冗长的攻击性演说 | |
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53 justification | |
n.正当的理由;辩解的理由 | |
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54 Vogue | |
n.时髦,时尚;adj.流行的 | |
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55 prematurely | |
adv.过早地,贸然地 | |
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56 obstinacy | |
n.顽固;(病痛等)难治 | |
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57 grafted | |
移植( graft的过去式和过去分词 ); 嫁接; 使(思想、制度等)成为(…的一部份); 植根 | |
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58 supremacy | |
n.至上;至高权力 | |
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59 shreds | |
v.撕碎,切碎( shred的第三人称单数 );用撕毁机撕毁(文件) | |
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60 infamous | |
adj.声名狼藉的,臭名昭著的,邪恶的 | |
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61 retirement | |
n.退休,退职 | |
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