Roy devoted himself with good grace to May Thurston, who welcomed him candidly13, for her heart was deeply wounded by the patent defection of her lover. Masters had glibly14 assured her that it was the part of diplomacy15 just now for him to conceal their real relation by his attentions to Margaret, but his reasoning was not altogether convincing[123] to her intelligence, and the voice of instinct told her that her love was being flouted16 before her very eyes. In consequence, she greeted this new admirer gladly as a sop17 to her pride and, presently, as Roy exerted himself to the utmost toward making a favorable impression, for the sake of the genuine pleasure his company gave her. Being a sensible young woman in the main, the inevitable18 comparisons that soon began to arise in her mind between the two young men did much toward tearing loose the roots of love from her heart, leaving the soil there freshly tilled for the planting of other seed.
Mrs. West played her part excellently as chaperon by giving her society much of the time to David and Billy. She was so good to look on in her well-preserved charms, and so wise and sympathetic in her conversation, and so untiring a listener, that the two men found themselves very content.
The other three members of the household, Jake, his wife, and Chris made an amiable19 trio in the kitchen, where Mrs. Dustin, who, as Jake bore witness, had always “hankered to go a-travelin’,” was never[124] weary of hearing the newcomer’s tales of strange places whither he had journeyed. For the first time in his life, Chris found himself appreciated at his full worth, perhaps beyond, not as a servant but as a man, by those who, while of a humble20 walk in life, were yet not of the servant class. He expanded under the novel and pleasing influence, and developed a gift of narrative21 that surprised himself. He felt a new sense of his own importance, which did not in the least lessen22 his devotion to Mrs. West and Margaret.
On the third night after the episode in the recess23, the ladies had retired24 to their chambers26 for the night, and the indefatigable27 Masters, also, had taken his departure from the cottage, but the four friends still remained in the music-room, where Saxe had been playing. They were smoking and chatting in care-free fashion of many things—but not of the treasure which they had set out to find, though that lay ready at the back of the mind of each.
Saxe lingered at the piano. Now, he was idly giving forth28 bits of various compositions[125] as they chanced to rise in memory. It was while in this mood of desultory29 reminiscence that he suddenly became aroused to knowledge of the fact that he was monotonously30 drumming a tedious strain, which had neither melody or harmony to justify31 the choice of it at all, much less this senseless reiteration32. For a few seconds, he found himself bewildered: he could not recall what the music was, either the name of the composition or the name of the author. Nor could he recollect33 what manner of association he had ever had with the barren phrases, that he should thus subconsciously34 carry them in memory. He was disagreeably impressed by the event, because he prided himself on the clarity of his mental processes, and here he found himself completely baffled. Then, in a flash, remembrance came, and with it an even greater wonder.
This was the music that had been written by the old man of whom he was the doubtful heir. Even while he mused35, he had been continuing the harsh fragment, and now he gave careful ear to it, seeking some explanation of the reason why it had persisted in memory,[126] to issue in his playing without volition36 on his part. But there came no suggestion as to that cause from the uncouth37 strain. He played it once again, without any hint of understanding, then ceased, wholly at a loss; it was another who afforded the clue that had eluded38 him.
As the echoes died away, Billy Walker rumbled39 a comment from his luxurious40 huddling41 in the depths of the chair:
“Sounds like money—heaps of money—gold, you know, all in stacks, being counted—clink, clink! Clink, clink!”
Saxe whirled on the piano-stool, an expression of amazement42 on his face as he stared at his unmusical friend.
“By heavens, Billy,” he cried excitedly, “you’ve got it—you’ve got it exactly! That’s what it is; it’s the clink, clink, clink of the gold-pieces, as they’re piled up.” He was astounded43 by this perspicacity44 on the part of one who had no soul for music, yet had succeeded here, where he himself had failed. He had no particle of doubt that this explanation as to the meaning of the music was the true one. He played the piece once[127] again, emphasizing the accent in the bass45 a little, so that the effect was even more pronounced. There could be no mistake.
“Why, that’s the piece you played the other night—the weird48 one. I’d been wondering where I’d heard it. It’s the one that got on Miss Thurston’s nerves so, because the old man was always playing it toward the last. It’s enough to get on anyone’s nerves, for that matter, but Billy hit the idea all right.”
David Thwing, nodding energetically, turned his protuberant49 eyes on Billy.
“Yes, you hit it, old man,” he exclaimed. “You got the idea we were all looking for, and couldn’t quite catch hold of. Bully50 for you! But how in the world did you ever come to do it? You, a music sharp!” He burst into a mellow51 peal52 of laughter, in which the others joined.
Suddenly, Saxe sprang to his feet, with a display of emotion that was contrary to his habit, for he had schooled himself to a certain phlegmatic53 bearing that masked the[128] native susceptibility of his moods. Now, however, he forgot restraint in the agitation54 of his feeling, and addressed his friends with a vehemence55 that astonished them. His swift gestures and the changing play of his features revealed the volatile56 artistic57 temperament58, which was ordinarily shrouded59 within a veil of imperturbable60 calm.
“I know, I understand it all now,” he declared eagerly. “In this music, the old man crystallized his besetting61 sin. This composition of his is the song of gold; it is the miser8’s song. In it, he translates into musical terms the vice62 that corroded63 his soul. In it, he expresses the sordidness64 of that vice, even as he himself knew it out of dreadful personal experience. And, somehow, he put into the music the strength of the spell that was laid on him. It is there—some malignant65 fascination66 which each and every one of us has felt in a fashion of his own. That is why it so gripped Miss Thurston, and why it affected67 her so disagreeably. It has in it a subtle, irresistible68 suggestion of the hideous69. The ignominy and the power of greed alike sound in the monotony of its rhythm,[129] its harshness, its fearful simplicity70. It is uncouth, it is as if it were calloused71. Yet, it is full of vital, frightful72 emotion. It is a statement of ghastly truth, it is a confession73 of degradation74, it is a wail75 of utter despair. In short, it is the heart-song of the miser, written by the brain that looked into the heart and learned its hateful mystery.”
The others had listened in tense silence, surprised beyond measure before this outbreak from one always hitherto so tranquil76, so serene77 amid the varying stresses of affairs. It was the revelation of their friend in a new light, wherein he showed with an impressiveness strange to them. They watched him intently as he stood there before them, all animation78, his handsome face flushed in the passion of the moment. A little sigh of appreciation issued from the lips of each as, with the last words, he sank again to the piano-stool, and dropped his hands to the keys. So, once again, he played the music of that dead man who had given himself to a gross, an evil worship. Still under the influence of deep emotion, the player now abandoned himself to the theme, and[130] wrought79 on it with all his skill in music, with all the feeling of repulsion that held him in thrall80.
There was not in this improvisation81 the power, the mastery, that had marked the frenzied82 interpretation83 by which the composer had amazed the night. But Saxe Temple was not wanting a large measure of skill, and to this he added the sympathy of the true artist, surcharged with a profound emotion. The uncanny spell of the music laid its hold on them all as he went on playing, gripped them, sent weird visions reeling before their fancy. Even Billy Walker for once was beguiled84 into a curious receptivity, so that he saw vistas85 of crouched86 specters, which ceaselessly shuffled87 golden coins to and fro, in a frenetic joy that was the madness of anguish88. May Thurston, asleep in her chamber25, turned uneasily, and her dreams grew troubled.
When, at last, Saxe had made an end of playing, there followed a long silence. It was Billy Walker who broke it. His great voice rang through the room, harsh, compelling:
“It’s there,” he said, with simple finality. “It’s there—the clue!”
点击收听单词发音
1 speculation | |
n.思索,沉思;猜测;投机 | |
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2 irritation | |
n.激怒,恼怒,生气 | |
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3 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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4 conceal | |
v.隐藏,隐瞒,隐蔽 | |
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5 futile | |
adj.无效的,无用的,无希望的 | |
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6 jealousy | |
n.妒忌,嫉妒,猜忌 | |
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7 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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8 miser | |
n.守财奴,吝啬鬼 (adj.miserly) | |
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9 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
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10 remarkably | |
ad.不同寻常地,相当地 | |
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11 disposition | |
n.性情,性格;意向,倾向;排列,部署 | |
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12 admiration | |
n.钦佩,赞美,羡慕 | |
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13 candidly | |
adv.坦率地,直率而诚恳地 | |
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14 glibly | |
adv.流利地,流畅地;满口 | |
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15 diplomacy | |
n.外交;外交手腕,交际手腕 | |
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16 flouted | |
v.藐视,轻视( flout的过去式和过去分词 ) | |
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17 sop | |
n.湿透的东西,懦夫;v.浸,泡,浸湿 | |
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18 inevitable | |
adj.不可避免的,必然发生的 | |
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19 amiable | |
adj.和蔼可亲的,友善的,亲切的 | |
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20 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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21 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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22 lessen | |
vt.减少,减轻;缩小 | |
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23 recess | |
n.短期休息,壁凹(墙上装架子,柜子等凹处) | |
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24 retired | |
adj.隐退的,退休的,退役的 | |
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25 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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26 chambers | |
n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅 | |
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27 indefatigable | |
adj.不知疲倦的,不屈不挠的 | |
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28 forth | |
adv.向前;向外,往外 | |
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29 desultory | |
adj.散漫的,无方法的 | |
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30 monotonously | |
adv.单调地,无变化地 | |
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31 justify | |
vt.证明…正当(或有理),为…辩护 | |
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32 reiteration | |
n. 重覆, 反覆, 重说 | |
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33 recollect | |
v.回忆,想起,记起,忆起,记得 | |
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34 subconsciously | |
ad.下意识地,潜意识地 | |
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35 mused | |
v.沉思,冥想( muse的过去式和过去分词 );沉思自语说(某事) | |
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36 volition | |
n.意志;决意 | |
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37 uncouth | |
adj.无教养的,粗鲁的 | |
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38 eluded | |
v.(尤指机敏地)避开( elude的过去式和过去分词 );逃避;躲避;使达不到 | |
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39 rumbled | |
发出隆隆声,发出辘辘声( rumble的过去式和过去分词 ); 轰鸣着缓慢行进; 发现…的真相; 看穿(阴谋) | |
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40 luxurious | |
adj.精美而昂贵的;豪华的 | |
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41 huddling | |
n. 杂乱一团, 混乱, 拥挤 v. 推挤, 乱堆, 草率了事 | |
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42 amazement | |
n.惊奇,惊讶 | |
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43 astounded | |
v.使震惊(astound的过去式和过去分词);愕然;愕;惊讶 | |
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44 perspicacity | |
n. 敏锐, 聪明, 洞察力 | |
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45 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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46 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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47 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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48 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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49 protuberant | |
adj.突出的,隆起的 | |
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50 bully | |
n.恃强欺弱者,小流氓;vt.威胁,欺侮 | |
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51 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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52 peal | |
n.钟声;v.鸣响 | |
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53 phlegmatic | |
adj.冷静的,冷淡的,冷漠的,无活力的 | |
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54 agitation | |
n.搅动;搅拌;鼓动,煽动 | |
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55 vehemence | |
n.热切;激烈;愤怒 | |
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56 volatile | |
adj.反复无常的,挥发性的,稍纵即逝的,脾气火爆的;n.挥发性物质 | |
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57 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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58 temperament | |
n.气质,性格,性情 | |
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59 shrouded | |
v.隐瞒( shroud的过去式和过去分词 );保密 | |
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60 imperturbable | |
adj.镇静的 | |
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61 besetting | |
adj.不断攻击的v.困扰( beset的现在分词 );不断围攻;镶;嵌 | |
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62 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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63 corroded | |
已被腐蚀的 | |
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64 sordidness | |
n.肮脏;污秽;卑鄙;可耻 | |
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65 malignant | |
adj.恶性的,致命的;恶意的,恶毒的 | |
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66 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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67 affected | |
adj.不自然的,假装的 | |
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68 irresistible | |
adj.非常诱人的,无法拒绝的,无法抗拒的 | |
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69 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
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70 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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71 calloused | |
adj.粗糙的,粗硬的,起老茧的v.(使)硬结,(使)起茧( callous的过去式和过去分词 );(使)冷酷无情 | |
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72 frightful | |
adj.可怕的;讨厌的 | |
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73 confession | |
n.自白,供认,承认 | |
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74 degradation | |
n.降级;低落;退化;陵削;降解;衰变 | |
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75 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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76 tranquil | |
adj. 安静的, 宁静的, 稳定的, 不变的 | |
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77 serene | |
adj. 安详的,宁静的,平静的 | |
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78 animation | |
n.活泼,兴奋,卡通片/动画片的制作 | |
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79 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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80 thrall | |
n.奴隶;奴隶制 | |
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81 improvisation | |
n.即席演奏(或演唱);即兴创作 | |
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82 frenzied | |
a.激怒的;疯狂的 | |
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83 interpretation | |
n.解释,说明,描述;艺术处理 | |
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84 beguiled | |
v.欺骗( beguile的过去式和过去分词 );使陶醉;使高兴;消磨(时间等) | |
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85 vistas | |
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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86 crouched | |
v.屈膝,蹲伏( crouch的过去式和过去分词 ) | |
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87 shuffled | |
v.洗(纸牌)( shuffle的过去式和过去分词 );拖着脚步走;粗心地做;摆脱尘世的烦恼 | |
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88 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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