Jaffer was saying as they rolled in: “There’s no telling in advance what Chicago’s going to do to us. New York stood for this rotten show for a whole season; Chicago may be too wise for us. I hope so. It’s a ghastly town. The Lake winds are death to a delicate throat. I always lose my voice control in Chicago.”
With Jaffer the success he was in was always a proof of the stupidity of the public. In his unending reminiscences, which he ran serially4 in the smoking-room like another Arabian Nights, the various failures he had met were variously described. Those in which he had had a good part were “over the heads of the swine”; those in which he had shone dimly were “absolutely the worst plays ever concocted5, my boy—hopeless from the start. How even a manager could fail to see it in the script I can’t for the life of me imagine.”
Old Jim Crumb6 said: “Chicago is a far better judge of a play than New York is. Chicago’s got a mind of her own. She’s the real metropolis7. The critics have got a heart; they appreciate honest effort. If they don’t like you they say so fairly, without any of the brutality8 of New York.” Crumb’s last appearance in Chicago had been in a highly successful play.
Tuell stopped groaning9 long enough to growl10: “Don’t you believe it! Chicago’s jealous of New York, and the critics have got their axes out for anything that bears the New York stamp. If they don’t like you, they lynch you—that’s all, they just lynch you.” Tuell’s last appearance there had been with a failure.
Eldon felt little interest in the matter one way or another. He had been snubbed in his romance. The other r?le he played would never be dignified11 even by a tap of the critical bludgeon. He was tired of the stage.
And then the opportunity he had prayed for fell at his feet, after he had ceased to pray for it.
The play opened on a Sunday night. It was Eldon’s first performance of a play on the Sabbath. He rather expected something to come through the roof. But the play went without a mishap12. The applause was liberal, and the next morning’s notices were enthusiastic.
Sheila was picked out for especial praise. The leading woman, Miss Zelma Griffen, was slighted. She was very snappy to Sheila, which added the final touch to Sheila’s rapture13.
Old Jaffer was complimented and remembered, and now he was loud in the praises of the town, the inspiring, bracing14 ozone15 from the Lake, and his splendid hotel. Jim Crumb’s bit as a farmer was mentioned, and his previous appearance recalled with “regret that he had not more opportunity to reveal his remarkable16 gifts of characterization.”
This was too much for poor Crumb. He went about town renewing former acquaintances with the fervor17 of a far voyager who has come home to stay. When he appeared at the second performance his speech was glucose18 and his gait rippling19. In his one scene it was his duty to bring in a lantern and hold it over an automobile20 map on which Sheila and Mrs. Vining were trying to trace a lost road. It was a passage of some dramatic moment, but Crumb in his cups made unexpected farce21 of it by swinging the lantern like a switchman.
No comic genius from Aristophanes via Molière to Hoyt has ever yet devised a scene that will convulse an audience like the mistake or mishap of an actor. Poor, befuddled22 Crumb’s wabbly lantern was the laughing hit of the piece. He was too thick to be rebuked23 that night. Friends took him to his hotel and left him to sleep it off.
When the next morning he realized what he had done, what sacrilege he had committed, he sought relief from insanity24 in a hair of the dog that bit him. He was soon mellow25 enough to fall a victim to an hallucination that Tuesday was a matinée day. He appeared at the theater at half-past one, and made up to go on. He fell asleep waiting for his cue, and was discovered when his dressing-room mate arrived at seven o’clock. Then he insisted on descending26 to report for duty. He was still so befogged that Batterson did not dare let him ruin another performance. He addressed to Crumb that simple phrase which is the theatrical27 death-warrant:
“Hand me back your part.”
With the automatic heroism28 of a soldier sentenced to execution, Crumb staggered to his room and, fetching the brochure from his trunk, surrendered it to the higher power, revealing a somewhat shaky majesty29 of despair.
Eldon was standing30 in the wings, and Batterson thrust the document at him and growled31: “You say you’re a great actor. I’m from Missouri. Get up in that and show me, to-night.”
If he had placed a spluttering bomb in Eldon’s hands, and told him to blow up a Czar with it, Eldon could hardly have felt more terrified.
点击收听单词发音
1 zigzag | |
n.曲折,之字形;adj.曲折的,锯齿形的;adv.曲折地,成锯齿形地;vt.使曲折;vi.曲折前行 | |
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2 unprecedented | |
adj.无前例的,新奇的 | |
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3 contemplated | |
adj. 预期的 动词contemplate的过去分词形式 | |
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4 serially | |
adv.连续地,连续刊载地 | |
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5 concocted | |
v.将(尤指通常不相配合的)成分混合成某物( concoct的过去式和过去分词 );调制;编造;捏造 | |
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6 crumb | |
n.饼屑,面包屑,小量 | |
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7 metropolis | |
n.首府;大城市 | |
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8 brutality | |
n.野蛮的行为,残忍,野蛮 | |
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9 groaning | |
adj. 呜咽的, 呻吟的 动词groan的现在分词形式 | |
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10 growl | |
v.(狗等)嗥叫,(炮等)轰鸣;n.嗥叫,轰鸣 | |
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11 dignified | |
a.可敬的,高贵的 | |
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12 mishap | |
n.不幸的事,不幸;灾祸 | |
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13 rapture | |
n.狂喜;全神贯注;着迷;v.使狂喜 | |
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14 bracing | |
adj.令人振奋的 | |
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15 ozone | |
n.臭氧,新鲜空气 | |
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16 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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17 fervor | |
n.热诚;热心;炽热 | |
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18 glucose | |
n.葡萄糖 | |
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19 rippling | |
起涟漪的,潺潺流水般声音的 | |
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20 automobile | |
n.汽车,机动车 | |
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21 farce | |
n.闹剧,笑剧,滑稽戏;胡闹 | |
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22 befuddled | |
adj.迷糊的,糊涂的v.使烂醉( befuddle的过去式和过去分词 );使迷惑不解 | |
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23 rebuked | |
责难或指责( rebuke的过去式和过去分词 ) | |
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24 insanity | |
n.疯狂,精神错乱;极端的愚蠢,荒唐 | |
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25 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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26 descending | |
n. 下行 adj. 下降的 | |
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27 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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28 heroism | |
n.大无畏精神,英勇 | |
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29 majesty | |
n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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30 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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31 growled | |
v.(动物)发狺狺声, (雷)作隆隆声( growl的过去式和过去分词 );低声咆哮着说 | |
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