Two accidents—youth and cash—give to this girl an assurance that finally makes her odious11; but women who have neither can be equally offensive. Her prospective12 mother-in-law, the squire's wife, parades the decline in the family's finances so obtrusively13 that she becomes as tiresome14 as a flapping curtain. When Lord Kirby is shown by her through the ancestral home, he escapes with a sense of enormous relief, saying to his wife, "That's an awful woman. You hear about people being purse-proud, but she seems to be empty-purse-proud, and I don't know that that isn't worse. If people are as hard up as that they ought to hide it."
In Abington Abbey (1917) and The Graftons (1918) we have really one book, and the last page of the sequel makes me hope that the history of this charming family may be continued—I don't care through how many volumes. Mr. Grafton is a gentleman, and the way in[42] which he settles the various problems of family discipline and the affairs of the estate springs from his unerring good sense. His daughters adore their widower-father, but each in her own manner. And though they are all attractive, I know which one I like the best.
Mr. Marshall published with The Graftons an exceedingly interesting Introduction, containing a defense15 of his methods which is not needed by intelligent readers, but which may enlighten those who do not understand what he is about. In a personal letter, however, he expressed himself in words that I like better than his printed apologia. "The Grafton family isn't so rich in varied16 interest as the Clinton family, but I hope they will make their friends. I think they are as 'nice' a family as any I've drawn17. I set out simply to show them in their country home, and make their country neighbours display themselves in the light of their critical humour, without much idea of a story. It turned into something rather different, and I'm not quite sure about it yet. And it has taken two books to work it out."
Now the reason why I like this ink-epistle better than the formal preface is because in the latter Mr. Marshall seemed to think it nec[43]essary to reply to those critics who said he ought to discuss in his novels the economic questions concerned with the tenure18 of the land. If he should by some evil temptation make economic questions the basis of his stories of English country life, he would commit the cardinal19 sin that has corrupted20 so much of contemporary fiction, the sin that I condemned21 at the outset of this essay. The most conspicuous22 element in his art is Charm. If some one should persuade him that he ought to become more "serious," his novels would lose their atmosphere; and he might find himself writing like that earnest student of modern movements, Mrs. Humphry Ward23.
I am aware that the most insulting epithet24 that can be applied25 to a book, or a play, or a human being is the word "Puritan"; and I remember reading a review somewhere of Abington Abbey which commented rather satirically on the interview between Grafton and Lassigny, and most satirically of all on the conclusion of the interview, which left the stiff, prejudiced, puritanical26 British parent in possession of the field. But once more, Mr. Marshall is not trying to prove a thesis; he is representing the Englishman and the French[44]man in a hot debate, where neither is right and neither is wrong, but where each is partly right and partly wrong. Each says in the heat of the contest something injudicious, even as men do when they are angry. But when Lassigny literally27 takes French leave, we do not care who has scored the most points; the real winner is the one who is not present—the girl herself. For when two men fight about a woman, as they do somewhere every day, the truly important question is not, which man wins the fight? The only real question is, does the woman win?
It will never do to make generalizations28 from merely one of Mr. Marshall's novels. If we had only Abington Abbey, we might imagine that he detested29 the clergy30, for the clergyman in this book is surely detestable; but in The Greatest of These there are two clergymen who are admirable characters, and a third who is by no means wholly or even mainly evil. Like an honest student of life, Mr. Marshall never considers a man as a representative of a business, but as a human being. No man is good because he is a clergyman; but it would be well perhaps if every member of that highest of all professions were a clergyman because he was good.
点击收听单词发音
1 grotesque | |
adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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2 manor | |
n.庄园,领地 | |
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3 waning | |
adj.(月亮)渐亏的,逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 );(月)亏;变小;变暗淡 | |
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4 steadily | |
adv.稳定地;不变地;持续地 | |
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5 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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6 burlesque | |
v.嘲弄,戏仿;n.嘲弄,取笑,滑稽模仿 | |
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7 displeased | |
a.不快的 | |
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8 snobbish | |
adj.势利的,谄上欺下的 | |
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9 fusion | |
n.溶化;熔解;熔化状态,熔和;熔接 | |
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10 myopic | |
adj.目光短浅的,缺乏远见的 | |
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11 odious | |
adj.可憎的,讨厌的 | |
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12 prospective | |
adj.预期的,未来的,前瞻性的 | |
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13 obtrusively | |
adv.冒失地,莽撞地 | |
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14 tiresome | |
adj.令人疲劳的,令人厌倦的 | |
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15 defense | |
n.防御,保卫;[pl.]防务工事;辩护,答辩 | |
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16 varied | |
adj.多样的,多变化的 | |
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17 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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18 tenure | |
n.终身职位;任期;(土地)保有权,保有期 | |
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19 cardinal | |
n.(天主教的)红衣主教;adj.首要的,基本的 | |
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20 corrupted | |
(使)败坏( corrupt的过去式和过去分词 ); (使)腐化; 引起(计算机文件等的)错误; 破坏 | |
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21 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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22 conspicuous | |
adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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23 ward | |
n.守卫,监护,病房,行政区,由监护人或法院保护的人(尤指儿童);vt.守护,躲开 | |
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24 epithet | |
n.(用于褒贬人物等的)表述形容词,修饰语 | |
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25 applied | |
adj.应用的;v.应用,适用 | |
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26 puritanical | |
adj.极端拘谨的;道德严格的 | |
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27 literally | |
adv.照字面意义,逐字地;确实 | |
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28 generalizations | |
一般化( generalization的名词复数 ); 普通化; 归纳; 概论 | |
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29 detested | |
v.憎恶,嫌恶,痛恨( detest的过去式和过去分词 ) | |
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30 clergy | |
n.[总称]牧师,神职人员 | |
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