the play was a sermon; a certain critic said it was vile5. Which was true? It is not pleasant to be called vile even though the epithet6 has been hurled7 at many of the
noblest.
The bitter discussion it aroused wounded Vickery mortally. Eldon told him that nothing was better for success than to arouse discussion, and that the final proof of
great art is its ability to make a lot of people ferociously8 angry.
“You see, I’m so lean and weak, I’ve got no shock-absorbers. I can’t do anything but cough like a damned he-Camille.”
Sheila and Batterson and even Reben begged him to leave the company and go back to town. But he was in a frenzy10 for perfection. He was relentless11 with his own lines
and scenes. He denounced them rabidly. He tore out pages of manuscript from the prompt-copy, and sat at the table writing new scenes while the rehearsals12 went on.
Between the acts he wrote new lines. He wrote in a terrible hurry. He was in a terrible hurry.
But he was in a frenzy for perfection. He was relentless with the actors. Every word, every silence, was important to him as a link in his chain of gold.
Batterson and Reben and Sheila questioned many of his words, phrases, and even whole scenes. Everybody had a more or less respectful criticism, a more or less
“A play succeeds or falls by its big idea,” he said, “by its big sweep, and nothing else matters. The greatest play in the world is ‘Hamlet,’ and it’s so full of
faults that a whole library has been written about it. But you can’t kill its big points. What difference does it make how the shore-line runs if your ocean is an
ocean? Let me alone, I tell you. Do my play the best you can, then we’ll soon know if the public wants it.
“You ruined one play for me, Mr. Reben, but you can’t monkey with this one. I thought of all the objections you’ve made and a hundred others when I was writing it.
I liked it this way then, and I knew as much then as I do now—only I was red-hot at the time, and I’m not going to fool with it in cold blood.”
There were arguments and instances enough against him, and Reben and Batterson showered him with stories of plays that had been saved from disaster by collaboration14.
He answered with stories of plays that had succeeded without it and plays that had crashed in spite of it.
“It’s all a gamble,” he cried. “Let’s throw our coin on one number and either make or lose. Anyway, my contract says you can’t alter a line without my consent,
and you’ll never get that. It’s my last play, and it’s my own play, and they’ve got to take it or leave it just as I write it.”
At last the company turned to charge down upon New York. They arrived at three o’clock on a Sunday morning.
As Sheila and Mrs. Vining rode through the streets to their hotel they saw on all sides the work of the advertising16 men. On bill-boards were big “stands” with Sheila
’s name in letters as big as herself. On smaller boards her full-length portrait smiled at her from “three sheets.” In the windows were “half-sheets.” Even the
garbage-cans proclaimed her name.
Fame was a terrifying thing.
Sunday was given over to a prolonged dress-rehearsal beginning at noon and lasting17 till four the next morning. At about three o’clock in the afternoon Eugene Vickery
A doctor who was brought in haste picked him up and carried him to a taxicab and sped with him to a hospital. The troupe19 was staggered like a line of infantry20 in which
the first shell drops. Then it closed together and went on.
The next day Sheila visited Eugene and never found a r?le so hard to play as the character of Hope at the bedside of Despair.
The nurse would not let her stay long and forbade Vickery to talk, but he managed to whisper, brokenly:
“Don’t worry about me. Don’t think about me. Work for yourself and the play. That will be working for me. If it succeeds, it’s a kind of a little immortality21 for
me; if it fails—well, don’t worry, I won’t mind—then. Go and rest now. I’ve no strength to give you, or I’d make you as strong as a giant—you poor, brave,
beautiful little woman! God bless you! Good luck!”
点击收听单词发音
1 provincial | |
adj.省的,地方的;n.外省人,乡下人 | |
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2 immoral | |
adj.不道德的,淫荡的,荒淫的,有伤风化的 | |
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3 accusation | |
n.控告,指责,谴责 | |
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4 clergy | |
n.[总称]牧师,神职人员 | |
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5 vile | |
adj.卑鄙的,可耻的,邪恶的;坏透的 | |
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6 epithet | |
n.(用于褒贬人物等的)表述形容词,修饰语 | |
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7 hurled | |
v.猛投,用力掷( hurl的过去式和过去分词 );大声叫骂 | |
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8 ferociously | |
野蛮地,残忍地 | |
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9 killing | |
n.巨额利润;突然赚大钱,发大财 | |
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10 frenzy | |
n.疯狂,狂热,极度的激动 | |
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11 relentless | |
adj.残酷的,不留情的,无怜悯心的 | |
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12 rehearsals | |
n.练习( rehearsal的名词复数 );排练;复述;重复 | |
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13 piecemeal | |
adj.零碎的;n.片,块;adv.逐渐地;v.弄成碎块 | |
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14 collaboration | |
n.合作,协作;勾结 | |
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15 deference | |
n.尊重,顺从;敬意 | |
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16 advertising | |
n.广告业;广告活动 a.广告的;广告业务的 | |
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17 lasting | |
adj.永久的,永恒的;vbl.持续,维持 | |
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18 wrangle | |
vi.争吵 | |
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19 troupe | |
n.剧团,戏班;杂技团;马戏团 | |
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20 infantry | |
n.[总称]步兵(部队) | |
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21 immortality | |
n.不死,不朽 | |
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