LONDON NOTES January 1897

 I am afraid the interest of the world of native letters is not at this moment so great as to make us despise mere¹ translation as an aid to curiosity. There is indeed no reason why we should forbear to say in advance what we are certain, every time, to say after (after the heat has cooled I mean:) namely, that nothing is easier to concede than that Ibsen—contentious name!—would be much less remarked if he were one of a dozen. It is impossible, in London at least, to shut one’s eyes to the fact that if to so many ingenious minds he is a kind of pictorial² monster, a grotesque³ on the sign of a side-show, this is at least partly because his form has a monstrous⁴ rarity. It is one of the odd things of our actual esthetics that the more theatres multiply the less any one reads a play—the less any one cares, in a word, for the text of the adventure. That no one ever does read a play has long been a commonplace of the wisdom of booksellers. Ibsen, however, is a text, and Ibsen is read, and Ibsen contradicts the custom and confounds the prejudice; with the effect thereby⁵, in an odd way, of being doubly an exotic. His violent substance imposes, as it were, his insidious⁶ form; it is not (as would have seemed more likely) the form that imposes the substance. Mr. William Archer⁷ has just published his version of “John Gabriel Borkman,” of which, moreover, French and German versions reach us at the same moment. There are therefore all the elements of a fresh breeze in the wind—one has already a sense as of a cracking of whips and a girding of loins. You may by this time be terribly tired of it all in America; but, as I mentioned a fortnight ago, we have had very recent evidence that languor⁸ here, in this connection, is by no means as yet the dominant⁹ note. It is not the dispute itself, however, that most interests me: let me pay it, for what it has been and what it still may be, the mere superficial tribute of saying that it constitutes one of the very few cases of contagious¹⁰ discussion of a matter not political, a question not of mere practice, of which I remember to have felt, in a heavy air, the engaging titillation¹¹. In London generally, I think, the wandering breath of criticism is the stray guest at the big party—the shy young man whom nobody knows. In this remarkable¹² instance the shy young man has ventured to pause and hover¹³, has lighted on a topic, introduced himself and, after a gasp¹⁴ of consternation¹⁵ in the company, seen a little circle gather round him. I can only speak as one of the little circle, testifying to my individual glee.

 

The author who at the age of seventy, a provincial¹⁶ of provincials¹⁷, turns out “John Gabriel” is frankly¹⁸ for me so much one of the peculiar¹⁹ pleasures of the day, one of the current strong sensations, that, erect²⁰ as he seems still to stand, I deplore²¹ his extreme maturity²² and, thinking of what shall happen, look round in vain for any other possible source of the same kind of emotion. For Ibsen strikes me as an extraordinary curiosity, and every time he sounds his note the miracle to my perception is renewed. I call it a miracle because it is a result of so dry a view of life, so indifferent a vision of the comedy of things. His idea of the thing represented is never the comic idea, though this is evidently what it often only can be for many of his English readers and spectators. Comedy moreover is a product mainly of observation, and I scarcely know what to say of his figures except that they haven’t the signs. The answer to that is doubtless partly that they haven’t the English, but have the Norwegian. In such a case one of the Norwegian must be in truth this very lack of signs.

 

They have no tone but their moral tone. They are highly animated²³ abstractions, with the extraordinary, the brilliant property of becoming when represented at once more abstract and more living. If the spirit is a lamp within us, glowing through what the world and the flesh make of us as through a ground-glass shade, then such pictures as Little Eyolf and John Gabriel are each a chassez-croisez of lamps burning, as in tasteless parlours, with the flame practically exposed. There are no shades in the house, or the Norwegian ground-glass is singularly clear. There is a positive odour of spiritual paraffin. The author nevertheless arrives at the dramatist’s great goal—he arrives for all his meagreness at intensity²⁴. The meagreness, which is after all but an unconscious, an admirable economy, never interferes²⁵ with that: it plays straight into the hands of his rare mastery of form. The contrast between this form—so difficult to have reached, so “evolved,” so civilised—and the bareness and bleakness²⁶ of his little northern democracy is the source of half the hard frugal²⁷ charm that he puts forth²⁸. In the cold fixed²⁹ light of it the notes we speak of as deficiencies take a sharp value in the picture. There is no small-talk, there are scarcely any manners. On the other hand there is so little vulgarity that this of itself has almost the effect of a deeper, a more lonely provincialism. The background at any rate is the sunset over the ice. Well in the very front of the scene lunges with extraordinary length of arm the Ego³⁰ against the Ego, and rocks in a rigour of passion the soul against the soul—a spectacle, a movement, as definite as the relief of silhouettes³¹ in black paper or of a train of Eskimo dogs on the snow. Down from that desolation the sturdy old symbolist comes this time with a supreme³² example of his method. It is a high wonder and pleasure to welcome such splendid fruit from sap that might by now have shown something of the chill of age. Never has he juggled³³ more gallantly³⁴ with difficulty and danger than in this really prodigious³⁵ “John Gabriel,” in which a great span of tragedy is taken between three or four persons—a trio of the grim and grizzled—in the two or three hours of a winter’s evening; in which the whole thing throbs³⁶ with an actability that fairly shakes us as we read; and in which, as the very flower of his artistic³⁷ triumph, he has given us for the most beautiful and touching³⁸ of his heroines a sad old maid of sixty. Such “parts,” even from the vulgarest point of view, are Borkman and Ella Rentheim.

 

1 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

2 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

3 grotesque   

adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物）

参考例句：

• His face has a grotesque appearance.他的面部表情十分怪。
• Her account of the incident was a grotesque distortion of the truth.她对这件事的陈述是荒诞地歪曲了事实。

4 monstrous   

adj.巨大的；恐怖的；可耻的，丢脸的

参考例句：

• The smoke began to whirl and grew into a monstrous column.浓烟开始盘旋上升，形成了一个巨大的烟柱。
• Your behaviour in class is monstrous!你在课堂上的行为真是丢人！

5 thereby   

adv.因此，从而

参考例句：

• I have never been to that city,,ereby I don't know much about it.我从未去过那座城市，因此对它不怎么熟悉。
• He became a British citizen,thereby gaining the right to vote.他成了英国公民，因而得到了投票权。

6 insidious   

adj.阴险的，隐匿的，暗中为害的，（疾病）不知不觉之间加剧

参考例句：

• That insidious man bad-mouthed me to almost everyone else.那个阴险的家伙几乎见人便说我的坏话。
• Organized crime has an insidious influence on all who come into contact with it.所有和集团犯罪有关的人都会不知不觉地受坏影响。

7 archer   

n.射手，弓箭手

参考例句：

• The archer strung his bow and aimed an arrow at the target.弓箭手拉紧弓弦将箭瞄准靶子。
• The archer's shot was a perfect bull's-eye.射手的那一箭正中靶心。

8 languor   

n.无精力，倦怠

参考例句：

• It was hot,yet with a sweet languor about it.天气是炎热的，然而却有一种惬意的懒洋洋的感觉。
• She,in her languor,had not troubled to eat much.她懒懒的，没吃多少东西。

9 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

10 contagious   

adj.传染性的，有感染力的

参考例句：

• It's a highly contagious infection.这种病极易传染。
• He's got a contagious laugh.他的笑富有感染力。

11 titillation   

n.搔痒，愉快；搔痒感

参考例句：

12 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

13 hover   

vi.翱翔，盘旋；徘徊；彷徨，犹豫

参考例句：

• You don't hover round the table.你不要围着桌子走来走去。
• A plane is hover on our house.有一架飞机在我们的房子上盘旋。

14 gasp   

n.喘息，气喘；v.喘息；气吁吁他说

参考例句：

• She gave a gasp of surprise.她吃惊得大口喘气。
• The enemy are at their last gasp.敌人在做垂死的挣扎。

15 consternation   

n.大为吃惊，惊骇

参考例句：

• He was filled with consternation to hear that his friend was so ill.他听说朋友病得那么厉害，感到非常震惊。
• Sam stared at him in consternation.萨姆惊恐不安地注视着他。

16 provincial   

adj.省的，地方的；n．外省人，乡下人

参考例句：

• City dwellers think country folk have provincial attitudes.城里人以为乡下人思想迂腐。
• Two leading cadres came down from the provincial capital yesterday.昨天从省里下来了两位领导干部。

17 provincials   

n.首都以外的人，地区居民( provincial的名词复数 )

参考例句：

• We were still provincials in the full sense of the word. 严格说来，我们都还是乡巴佬。 来自辞典例句
• Only provincials love such gadgets. 只有粗俗的人才喜欢玩这玩意。 来自辞典例句

18 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

• To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。
• Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

19 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

20 erect   

n./v.树立，建立，使竖立；adj.直立的，垂直的

参考例句：

• She held her head erect and her back straight.她昂着头，把背挺得笔直。
• Soldiers are trained to stand erect.士兵们训练站得笔直。

21 deplore   

vt.哀叹，对...深感遗憾

参考例句：

• I deplore what has happened.我为所发生的事深感愤慨。
• There are many of us who deplore this lack of responsibility.我们中有许多人谴责这种不负责任的做法。

22 maturity   

n.成熟；完成；(支票、债券等)到期

参考例句：

• These plants ought to reach maturity after five years.这些植物五年后就该长成了。
• This is the period at which the body attains maturity.这是身体发育成熟的时期。

23 animated   

adj.生气勃勃的，活跃的，愉快的

参考例句：

• His observations gave rise to an animated and lively discussion.他的言论引起了一场气氛热烈而活跃的讨论。
• We had an animated discussion over current events last evening.昨天晚上我们热烈地讨论时事。

24 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

25 interferes   

vi. 妨碍，冲突，干涉

参考例句：

• The noise interferes with my work. 这噪音妨碍我的工作。
• That interferes with my plan. 那干扰了我的计划。

26 bleakness   

adj. 萧瑟的, 严寒的, 阴郁的

参考例句：

• It forgoes the bleakness of protest and dissent for the energizing confidence of constructive solutions. 它放弃了bleakness抗议和持不同政见者的信心，激发建设性的解决办法。
• Bertha was looking out of the window at the bleakness of the day. 伯莎望着窗外晦暗的天色。

27 frugal   

adj.节俭的，节约的，少量的，微量的

参考例句：

• He was a VIP,but he had a frugal life.他是位要人，但生活俭朴。
• The old woman is frugal to the extreme.那老妇人节约到了极点。

28 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

29 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

30 ego   

n.自我，自己，自尊

参考例句：

• He is absolute ego in all thing.在所有的事情上他都绝对自我。
• She has been on an ego trip since she sang on television.她上电视台唱过歌之后就一直自吹自擂。

31 silhouettes   

轮廓( silhouette的名词复数 )； （人的）体形； （事物的）形状； 剪影

参考例句：

• Now that darkness was falling, only their silhouettes were outlined against the faintly glimmering sky. 这时节两山只剩余一抹深黑，赖天空微明为画出一个轮廓。 来自汉英文学 - 散文英译
• They could see silhouettes. 他们能看得见影子的。

32 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

33 juggled   

v.歪曲( juggle的过去式和过去分词 )；耍弄；有效地组织；尽力同时应付（两个或两个以上的重要工作或活动）

参考例句：

• He juggled the company's accounts to show a profit. 为了表明公司赢利，他篡改了公司的账目。 来自《简明英汉词典》
• The juggler juggled three bottles. 这个玩杂耍的人可同时抛接3个瓶子。 来自《简明英汉词典》

34 gallantly   

adv. 漂亮地，勇敢地，献殷勤地

参考例句：

• He gallantly offered to carry her cases to the car. 他殷勤地要帮她把箱子拎到车子里去。
• The new fighters behave gallantly under fire. 新战士在炮火下表现得很勇敢。

35 prodigious   

adj.惊人的，奇妙的；异常的；巨大的；庞大的

参考例句：

• This business generates cash in prodigious amounts.这种业务收益丰厚。
• He impressed all who met him with his prodigious memory.他惊人的记忆力让所有见过他的人都印象深刻。

36 throbs   

体内的跳动( throb的名词复数 )

参考例句：

• My finger throbs with the cut. 我的手指因切伤而阵阵抽痛。
• We should count time by heart throbs, in the cause of right. 我们应该在正确的目标下，以心跳的速度来计算时间。

37 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

38 touching   

adj.动人的，使人感伤的

参考例句：

• It was a touching sight.这是一幅动人的景象。
• His letter was touching.他的信很感人。