My schoolmaster was a kind of priest, not of Buddhism5 nor of Shintoism, but one of those who go by the name of Yamabushi; he let his hair grow instead of shaving it off as the Buddhist6 priest does, wore high clogs7 and the peculiar8 robe of his religion. He simply followed his father in the vocation9; he was a young man of high promise and manifested more ardor10 in letters than at the prayers for the sick or for the prosperity of the people. His house was on the fourth block of the main street, set back a little from the street and with an open yard between the tall, elaborate gate and the mansion11. The front of the residence was taken up by the shrine12; the school was kept in the back part of the house. When we first entered the school we were known as the "newcomers" among the older boys, and though bullying13 was not altogether absent, we had no ordeal14 to go through as the Freshmen15 have in American colleges.
The pupil's equipment in one of these old-fashioned schools consisted of a low table, a cushion to squat16 upon, and a chest for the following articles: white paper, copy-books and a small box containing a stone ink-vessel17, a cake of india ink, an earthen water-bottle and brushes. A little water is poured in the hollow of the stone vessel, the india ink rubbed on it for a while, and when the water becomes sufficiently18 black the brush is dipped in it. Then looking at model characters written down for us in a separate book by the teacher, we try to trace the same on our copy-books, paying close attention to every particular. The first that we must learn is our alphabet of forty-eight letters.
I recall vividly19 the trials in making the alphabetical20 figures. I tried time and again, but to fail; the sorrow gathered thickly in my mind and soon the grief overpowered all my strenuous21 efforts not to weep, then the master would send one of the older boys to help me. He stands behind me while I sit, grasps my hand which holds the brush, and to my heart's content traces figures like the master's in perfection.
The copy-book is made of the tenacious22 soft Japanese paper, many sheets of which are bound together. Each of the forty-eight characters is studied separately; it is written large so that the learner may see where a bold stroke is required and where a mild touch. After the alphabet we learn to write Chinese characters. The copy-books become black after a while, being dried and used again; therefore they need not be perfectly23 white at first; usually they are made of the sheets of an old ledger24. I used to see on the pages of the copy-books made for me by my father, old debts and credits, and the names of the parties concerned in them, dating back to grandfather's time; they disappeared collectively under my wild dash and sweep of india ink. What an act of generosity25 to wipe out the remembrance of former money complications! After a day's work all the copy-books are literally26 drenched27 with the black fluid; they are moist and heavy. They must be dried. Every patch of sunshine about the school is improved, every breezy corner turned to account. At home the kitchen is spread with them at night, so as to have them dry by the morning. Copy-books that have done long service are coated with a smooth, shining incrustation of carbon—shining if good ink has been used, but dull if ink is of cheap quality. The quality of an india ink cake is not only judged by its lustre28, but also by its hardness and odor; a good one is hard and pleasant and the bad soft and unpleasant. After we have practised writing the letters for some time, we finally write them on white papers and present them to our teacher, who with red ink makes further necessary corrections. If the final copy is satisfactory, he sets us at work on a next portion.
Every morning, after breakfast, I gathered together dried copy-books and went after or waited for some boys to come along. We strolled up the street toward the schoolmaster's, calling on other boys as we went. The first task in school upon our arrival was to set the tables in order, get the things out of the chests and go after some water for making the ink. It was no comfortable occupation, cold winter mornings, to get the water from the well in the windy, open yard in the rear of the house, and dip our hand and the drip-bottle together and keep them in it until all the air escaped by bubbles, and the bottle was full. A bottle though I called it, the receptacle is a hollow, square china vessel, with two small holes on the flat surface—one in the centre and the other in one of the corners.
We sit in a house where there is practically no arrangement for heating and where we are poorly protected from the gusts29 from without. The Japanese house is built opening widely into the external air; it has but a few segments of external walls around it; therefore one can select no breezier abode30 during the warm months, but in the dead of winter—the mere31 thought of it makes me shiver. Those immense open spaces could be closed, to be sure, at night with solid pine-board sliding doors; but in the daytime the question of light comes in. To meet this difficulty our ingenious forefathers32 had contrived33 a frame-work of wood pasted with paper. You must know they had no idea of glass. We can scarcely call it a happy solution of the problem, for the paper is soon punched through and lets in the biting wind. Too much active ventilation takes place, whistling through the holes; and then when a storm strikes us, the whole frail34 work shakes in the grooves35 wherein its two ends are fitted, like the chattering36 of the teeth. This sliding paper partition is called shoji, and of late has been somewhat replaced by the more expensive glass windows. Since the introduction of glass I have seen the shoji partly covered with it and partly with paper, the Japanese thinking it very convenient to see through the partition without being at the pains of pushing it aside or making a hole in the paper. Had paper been entirely37 discarded and glass alone been used the Japanese house would be much brighter and warmer.
Such a building is a poor place to hold a school in, but the boys were used to it and they behaved so—quarreling, weeping, laughing, shrieking—that there was little time left for them to feel the cold in their young warm blood.
点击收听单词发音
1 slate | |
n.板岩,石板,石片,石板色,候选人名单;adj.暗蓝灰色的,含板岩的;vt.用石板覆盖,痛打,提名,预订 | |
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2 beads | |
n.(空心)小珠子( bead的名词复数 );水珠;珠子项链 | |
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3 abacus | |
n.算盘 | |
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4 influx | |
n.流入,注入 | |
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5 Buddhism | |
n.佛教(教义) | |
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6 Buddhist | |
adj./n.佛教的,佛教徒 | |
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7 clogs | |
木屐; 木底鞋,木屐( clog的名词复数 ) | |
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8 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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9 vocation | |
n.职业,行业 | |
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10 ardor | |
n.热情,狂热 | |
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11 mansion | |
n.大厦,大楼;宅第 | |
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12 shrine | |
n.圣地,神龛,庙;v.将...置于神龛内,把...奉为神圣 | |
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13 bullying | |
v.恐吓,威逼( bully的现在分词 );豪;跋扈 | |
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14 ordeal | |
n.苦难经历,(尤指对品格、耐力的)严峻考验 | |
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15 freshmen | |
n.(中学或大学的)一年级学生( freshman的名词复数 ) | |
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16 squat | |
v.蹲坐,蹲下;n.蹲下;adj.矮胖的,粗矮的 | |
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17 vessel | |
n.船舶;容器,器皿;管,导管,血管 | |
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18 sufficiently | |
adv.足够地,充分地 | |
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19 vividly | |
adv.清楚地,鲜明地,生动地 | |
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20 alphabetical | |
adj.字母(表)的,依字母顺序的 | |
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21 strenuous | |
adj.奋发的,使劲的;紧张的;热烈的,狂热的 | |
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22 tenacious | |
adj.顽强的,固执的,记忆力强的,粘的 | |
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23 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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24 ledger | |
n.总帐,分类帐;帐簿 | |
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25 generosity | |
n.大度,慷慨,慷慨的行为 | |
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26 literally | |
adv.照字面意义,逐字地;确实 | |
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27 drenched | |
adj.湿透的;充满的v.使湿透( drench的过去式和过去分词 );在某人(某物)上大量使用(某液体) | |
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28 lustre | |
n.光亮,光泽;荣誉 | |
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29 gusts | |
一阵强风( gust的名词复数 ); (怒、笑等的)爆发; (感情的)迸发; 发作 | |
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30 abode | |
n.住处,住所 | |
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31 mere | |
adj.纯粹的;仅仅,只不过 | |
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32 forefathers | |
n.祖先,先人;祖先,祖宗( forefather的名词复数 );列祖列宗;前人 | |
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33 contrived | |
adj.不自然的,做作的;虚构的 | |
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34 frail | |
adj.身体虚弱的;易损坏的 | |
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35 grooves | |
n.沟( groove的名词复数 );槽;老一套;(某种)音乐节奏v.沟( groove的第三人称单数 );槽;老一套;(某种)音乐节奏 | |
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36 chattering | |
n. (机器振动发出的)咔嗒声,(鸟等)鸣,啁啾 adj. 喋喋不休的,啾啾声的 动词chatter的现在分词形式 | |
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37 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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