telephone operator to ring the bell, and the bell-boys that came to the door with messages from Bret she shooed away.
Sheila found on her breakfast-tray a small stack of notes from Bret. They ranged from incredulous amazement1 at her neglect to towering rage.
Sheila was still new enough to wedlock2 to feel sorrier for him than for herself. She had a dim feeling that Bret had in him the makings of a very difficult specimen3 of
that most difficult class, the prima donna’s husband. But she blamed her profession and hated the theater and Reben for tormenting4 her poor, patient, devoted5, long-
suffering lover.
Yet as the soldier bridegroom, however he hates the war, obeys his captain none the less, so Sheila never dreamed of mutiny. She was an actor’s daughter and no
treachery could be worse than to desert a manager, a company, and a work of art at the crisis of the whole investment. She regretted that she was not even giving her
She wrote Bret a little note of mad regret, abject7 apology, and insane devotion, and asked Pennock to get it to him at once.
Pennock growled8: “You better give that young man to me. You’ll never have time to see him. And his jealousy9 is simply dretful.”
At the theater Sheila met Reben in a morning-after mood. He had had little sleep and he was sure that the play was hopeless. The only thing that could have cured him
would have been a line of people at the box-office. The lobby was empty, and few spaces can look quite so empty as a theater lobby. The box-office man spoke10 to him,
too, with a familiarity based undoubtedly11 on the notices.
One of the papers published a fulsome12 eulogy13 that Starr Coleman would not have dared to submit. Of the opposite tenor14 was the slashing15 abuse of a more important paper
that nursed one of those critics of which each town has at least a single specimen—the local Archilochus whose similar ambition seems to be to drive the objects of
His chief support is his knowledge that his readers enjoy his vigor17 in pelting18 transient actors as a small boy throws rocks at express trains. His highest reward is
the town boast, “We got a critic can roast an actor as good as anybuddy in N’York, and ain’t afraid to do it, either.”
As children these humorists first show their genius by placing bent19 pins on chairs; later they pull the chairs from under old ladies and start baby-carriages on a
downward path. Every day is April fool to them.
Reben was always arguing that critics had nothing to do with success or failure and always ready to document his argument, and always trembled before them, none the
less. It is small wonder that critics learn to secrete20 vitriol, since their praise makes so little effect and only their acid etches.
Reben had tossed aside the paper that praised his company and his play, but he clipped the hostile articles. The play-roaster began, as usual, with a pun on the title,
“The Woman Pays but the audience won’t.”
As a matter of fact, Reben was about convinced that the play was a failure. It had succeeded in France because it was written for the French. The process of adaptation
had taken away its Gallic brilliance21 without adding any Anglo-Saxon trickery. Reben would make a fight for it, before he gave up, but he had a cold, dismal22 intuition
which he summed up to Batterson in that simple fatal phrase:
“It won’t do.”
He did not tell Sheila so, lest he hurt her work, but he told Prior that the play was deficient23 in viscera—only he used the grand old Anglo-Saxon phrasing.
He gave Prior some ideas for the visceration of the play and set him to work on a radical24 reconstruction25, chiefly involving a powerful injection of heart-interest.
When Sheila reached the theater the rehearsal27 was brief and perfunctory. Reben explained the situation, and told her to take a good rest and give a performance at
night. He had only one suggestion:
“Put more pep in the love-scenes and restore the clutch at the last curtain.”
Reben laughed: “Ah, behave! When the curtain fell last night the thud could be heard a mile. The people thought it fell by accident. If the box-office hadn’t been
closed they’d have hollered for their money back. You jump into Eldon’s arms to-night and hug as hard as you can. The same to you, Eldon. It’s youth and love they
Sheila felt grave misgivings31 as to the effect of the restoration on her own arch-critic and private audience. But she rejoiced at being granted a holiday. She
telephoned to Bret from a drug-store.
“I’ve got a day off, honey. Isn’t it gee-lo-rious!”
Then she sped to him as fast as a taxicab could take her. He had an avalanche32 of grievances33 waiting for her, but the sight of her beauty running home to him melted the
stored-up snows. The chafing-dish was still in place after its all-night vigil, and it cooked a luncheon34 that rivaled quails35 and manna.
That afternoon Bret chartered a motor and they rode afar. They talked much of their first moonlight ride. It was still moonlight about them, though people better
acquainted with the region would have called it afternoon sunlight. When Bret kissed her now she did not complain or threaten. In fact, she complained and threatened
when he did not kiss her.
They dined outside the city walls and scudded36 home in the sunset. Sheila would not let Bret take her near the theater, lest he be seen. Indeed, she begged him not to
go to the theater at all that night, but to spend the hours of waiting at the vaudeville37 or some moving-picture house. He protested that he did not want her out of his
sight.
The reason she gave was not the real one: “Everybody always plays badly at a second performance, honey. I’d hate to have you see how badly I can play. Please don’t
go to-night.”
He consented sulkily; she had a hope that the romantic emphasis Reben had commanded and the final embrace would fail so badly that he would not insist on their
retention38. She did not want Bret to see the experiment. But there was no denying that warmth helped the play immensely. Sheila’s increased success distressed39 her. Her
marriage had tied all her ambitions into such a snarl40 that she could be true neither to Bret nor to Reben and least of all to herself.
Reben was jubilant. “What d’I tell you? That’s what they pay for; a lot of heart-throbs and one or two big punches. We’ll get ’em yet. Will you have a bite of
supper with us to-night?”
“Thanks ever so much,” said Sheila. “I have an engagement with—friends.”
She simply had not the courage to use the singular.
Reben laughed: “So long as it’s not just one. By the by, where were you all day? I tried all afternoon to get you at the hotel. I wanted to take you out for a little
fresh air.”
“With friendzz?” he asked, peculiarly.
“Naturally not with enemies.”
She thought that rather quick work. But he gave her a suspicious look.
“Remember, Sheila—your picture is pasted all over town. These small cities are gossip-factories. Be careful. Remember the old saying, if you can’t be good, be
careful.”
He apologized in haste, convinced that his suspicions were outrageous43, and glad to be wrong. He added: “I’ve got good news for you: the office sale for to-morrow’s
matinee and night shows a little jump. That tells the story. When the business grows, we can laugh at the critics.”
“Fine!” said Sheila, half-heartedly. Then she hurried from the theater to the carriage waiting at the appointed spot. The door opened magically and she was drawn
into the dark and cuddled into the arms of her “friends,” her family, her world.
After the first informalities Bret asked, “Well, how did it go?”
“Pretty well, everybody said. But it needs a lot of work. Reben is sure we’ve got a success, eventually.”
“That’s good,” Bret sighed.
When they reached the hotel they found that they had neglected to provide supplies for the chafing-dish. Sheila was hungry.
“We’re old married people now,” said Sheila. “Let’s have supper in the dining-room. There’ll be nobody we know in this little hotel.”
They took supper in the little dining-room. There were only two other people there. Sheila noted44 that they stared at her with frank delight and plainly kept talking
about her. She was used to it; Winfield did not see anybody on earth but Sheila.
“Kind of nice being together in public like decent people,” he beamed.
“Isn’t it?” she gleamed.
“Let’s have another motor-ride to-morrow afternoon.”
“I can’t, honey. It’s matinée day.”
“We’ll get up early and go in the morning, then.”
“Oh, but I’ve got to sleep as late as I can, honey! It’s a hard day for me.”
The next morning they had breakfast served in their apartment at twelve o’clock. She called it breakfast. It was lunch for Bret.
He had stolen out of the darkened room at eight and gone down to his breakfast in the cafe. He had dawdled45 about the town, buying her flowers and gifts. When he got
back at eleven she was still asleep. She looked as if she had been drowned.
He sat in the dim light till it was time to call her. They were eating grapefruit out of the same spoon when the telephone rang. A gruff voice greeted Bret:
“Is this Mr. Winfield?”
“Yes. Who are you?”
“Is—Miss—is Sheila there?”
“Ye—yes. Who are you?”
“Mr. Reben.”
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收听单词发音
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1
amazement
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| n.惊奇，惊讶 | |
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wedlock
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| n.婚姻，已婚状态 | |
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specimen
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| n.样本，标本 | |
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tormenting
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| 使痛苦的，使苦恼的 | |
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5
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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plight
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| n.困境，境况，誓约，艰难；vt.宣誓，保证，约定 | |
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abject
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| adj.极可怜的，卑屈的 | |
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8
growled
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| 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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jealousy
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| n.妒忌，嫉妒，猜忌 | |
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10
spoke
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| 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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11
undoubtedly
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| adv.确实地，无疑地 | |
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12
fulsome
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| adj.可恶的，虚伪的，过分恭维的 | |
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13
eulogy
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| n.颂词；颂扬 | |
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14
tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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15
slashing
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| adj.尖锐的；苛刻的；鲜明的；乱砍的v.挥砍( slash的现在分词 )；鞭打；割破；削减 | |
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16
satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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17
vigor
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| n.活力，精力，元气 | |
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18
pelting
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| 微不足道的，无价值的，盛怒的 | |
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19
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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20
secrete
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| vt.分泌；隐匿，使隐秘 | |
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21
brilliance
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| n.光辉，辉煌，壮丽，（卓越的）才华，才智 | |
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22
dismal
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| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
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23
deficient
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| adj.不足的，不充份的，有缺陷的 | |
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24
radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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25
reconstruction
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| n.重建，再现，复原 | |
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26
meddling
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| v.干涉，干预（他人事务）( meddle的现在分词 ) | |
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27
rehearsal
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| n.排练，排演；练习 | |
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28
gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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29
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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30
omissions
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| n.省略( omission的名词复数 )；删节；遗漏；略去或漏掉的事（或人） | |
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31
misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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32
avalanche
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| n.雪崩，大量涌来 | |
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33
grievances
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| n.委屈( grievance的名词复数 )；苦衷；不满；牢骚 | |
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34
luncheon
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| n.午宴，午餐，便宴 | |
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35
quails
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| 鹌鹑( quail的名词复数 )； 鹌鹑肉 | |
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36
scudded
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| v.（尤指船、舰或云彩）笔直、高速而平稳地移动( scud的过去式和过去分词 ) | |
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37
vaudeville
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| n.歌舞杂耍表演 | |
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38
retention
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| n.保留，保持，保持力，记忆力 | |
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39
distressed
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| 痛苦的 | |
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40
snarl
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| v.吼叫，怒骂，纠缠，混乱；n.混乱，缠结，咆哮 | |
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41
awfully
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| adv.可怕地，非常地，极端地 | |
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42
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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43
outrageous
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| adj.无理的，令人不能容忍的 | |
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44
noted
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| adj.著名的，知名的 | |
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45
dawdled
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| v.混（时间）( dawdle的过去式和过去分词 ) | |
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