V. THE COLDNESS OF CHLOE

 We hear much of the human error which accepts what is sham¹ and what is real. But it is worth while to remember that with unfamiliar² things we often mistake what is real for what is sham. It is true that a very young man may think the wig³ of an actress is her hair. But it is equally true that a child yet younger may call the hair of a negro his wig. Just because the woolly savage⁴ is remote and barbaric he seems to be unnaturally⁶ neat and tidy. Everyone must have noticed the same thing in the fixed⁷ and almost offensive color of all unfamiliar things, tropic birds and tropic blossoms. Tropic birds look like staring toys out of a toy-shop. Tropic flowers simply look like artificial flowers, like things cut out of wax. This is a deep matter, and, I think, not unconnected with divinity; but anyhow it is the truth that when we see things for the first time we feel instantly that they are fictive creations; we feel the finger of God. It is only when we are thoroughly⁸ used to them and our five wits are wearied, that we see them as wild and objectless; like the shapeless tree-tops or the shifting cloud. It is the design in Nature that strikes us first; the sense of the crosses and confusions in that design only comes afterwards through experience and an almost eerie⁹ monotony. If a man saw the stars abruptly¹⁰ by accident he would think them as festive¹¹ and as artificial as a firework. We talk of the folly¹² of painting the lily; but if we saw the lily without warning we should think that it was painted. We talk of the devil not being so black as he is painted; but that very phrase is a testimony¹³ to the kinship between what is called vivid and what is called artificial. If the modern sage¹⁴ had only one glimpse of grass and sky, he would say that grass was not as green as it was painted; that sky was not as blue as it was painted. If one could see the whole universe suddenly, it would look like a bright-colored toy, just as the South American hornbill looks like a bright-colored toy. And so they are—both of them, I mean.

But it was not with this aspect of the startling air of artifice¹⁵ about all strange objects that I meant to deal. I mean merely, as a guide to history, that we should not be surprised if things wrought¹⁷ in fashions remote from ours seem artificial; we should convince ourselves that nine times out of ten these things are nakedly and almost indecently honest. You will hear men talk of the frosted classicism of Corneille or of the powdered pomposities of the eighteenth century, but all these phrases are very superficial. There never was an artificial epoch¹⁸. There never was an age of reason. Men were always men and women women: and their two generous appetites always were the expression of passion and the telling of truth. We can see something stiff and quaint¹⁹ in their mode of expression, just as our descendants will see something stiff and quaint in our coarsest slum sketch²⁰ or our most naked pathological play. But men have never talked about anything but important things; and the next force in femininity which we have to consider can be considered best perhaps in some dusty old volume of verses by a person of quality.

The eighteenth century is spoken of as the period of artificiality, in externals at least; but, indeed, there may be two words about that. In modern speech one uses artificiality as meaning indefinitely a sort of deceit; and the eighteenth century was far too artificial to deceive. It cultivated that completest art that does not conceal²² the art. Its fashions and costumes positively²³ revealed nature by allowing artifice; as in that obvious instance of a barbering that frosted every head with the same silver. It would be fantastic to call this a quaint humility²⁴ that concealed²⁵ youth; but, at least, it was not one with the evil pride that conceals²⁶ old age. Under the eighteenth century fashion people did not so much all pretend to be young, as all agree to be old. The same applies to the most odd and unnatural⁵ of their fashions; they were freakish, but they were not false. A lady may or may not be as red as she is painted, but plainly she was not so black as she was patched.

But I only introduce the reader into this atmosphere of the older and franker fictions that he may be induced to have patience for a moment with a certain element which is very common in the decoration and literature of that age and of the two centuries preceding it. It is necessary to mention it in such a connection because it is exactly one of those things that look as superficial as powder, and are really as rooted as hair.

In all the old flowery and pastoral love-songs, those of the seventeenth and eighteenth centuries especially, you will find a perpetual reproach against woman in the matter of her coldness; ceaseless and stale similes²⁷ that compare her eyes to northern stars, her heart to ice, or her bosom²⁸ to snow. Now most of us have always supposed these old and iterant phrases to be a mere¹⁶ pattern of dead words, a thing like a cold wall-paper. Yet I think those old cavalier poets who wrote about the coldness of Chloe had hold of a psychological truth missed in nearly all the realistic novels of today. Our psychological romancers perpetually represent wives as striking terror into their husbands by rolling on the floor, gnashing their teeth, throwing about the furniture or poisoning the coffee; all this upon some strange fixed theory that women are what they call emotional. But in truth the old and frigid²⁹ form is much nearer to the vital fact. Most men if they spoke²¹ with any sincerity³⁰ would agree that the most terrible quality in women, whether in friendship, courtship or marriage, was not so much being emotional as being unemotional.

There is an awful armor of ice which may be the legitimate³¹ protection of a more delicate organism; but whatever be the psychological explanation there can surely be no question of the fact. The instinctive³² cry of the female in anger is noli me tangere. I take this as the most obvious and at the same time the least hackneyed instance of a fundamental quality in the female tradition, which has tended in our time to be almost immeasurably misunderstood, both by the cant³³ of moralists and the cant of immoralists. The proper name for the thing is modesty³⁴; but as we live in an age of prejudice and must not call things by their right names, we will yield to a more modern nomenclature and call it dignity. Whatever else it is, it is the thing which a thousand poets and a million lovers have called the coldness of Chloe. It is akin³⁵ to the classical, and is at least the opposite of the grotesque³⁶. And since we are talking here chiefly in types and symbols, perhaps as good an embodiment as any of the idea may be found in the mere fact of a woman wearing a skirt. It is highly typical of the rabid plagiarism³⁷ which now passes everywhere for emancipation³⁸, that a little while ago it was common for an “advanced” woman to claim the right to wear trousers; a right about as grotesque as the right to wear a false nose. Whether female liberty is much advanced by the act of wearing a skirt on each leg I do not know; perhaps Turkish women might offer some information on the point. But if the western woman walks about (as it were) trailing the curtains of the harem with her, it is quite certain that the woven mansion³⁹ is meant for a perambulating palace, not for a perambulating prison. It is quite certain that the skirt means female dignity, not female submission⁴⁰; it can be proved by the simplest of all tests. No ruler would deliberately⁴¹ dress up in the recognized fetters⁴² of a slave; no judge would appear covered with broad arrows. But when men wish to be safely impressive, as judges, priests or kings, they do wear skirts, the long, trailing robes of female dignity The whole world is under petticoat government; for even men wear petticoats when they wish to govern.

1 sham   

n./adj.假冒(的)，虚伪(的)

参考例句：

• They cunningly played the game of sham peace.他们狡滑地玩弄假和平的把戏。
• His love was a mere sham.他的爱情是虚假的。

2 unfamiliar   

adj.陌生的，不熟悉的

参考例句：

• I am unfamiliar with the place and the people here.我在这儿人地生疏。
• The man seemed unfamiliar to me.这人很面生。

3 wig   

n.假发

参考例句：

• The actress wore a black wig over her blond hair.那个女演员戴一顶黑色假发罩住自己的金黄色头发。
• He disguised himself with a wig and false beard.他用假发和假胡须来乔装。

4 savage   

adj.野蛮的；凶恶的，残暴的；n.未开化的人

参考例句：

• The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
• He has a savage temper.他脾气粗暴。

5 unnatural   

adj.不自然的；反常的

参考例句：

• Did her behaviour seem unnatural in any way?她有任何反常表现吗？
• She has an unnatural smile on her face.她脸上挂着做作的微笑。

6 unnaturally   

adv.违反习俗地；不自然地；勉强地；不近人情地

参考例句：

• Her voice sounded unnaturally loud. 她的嗓音很响亮，但是有点反常。 来自《简明英汉词典》
• Her eyes were unnaturally bright. 她的眼睛亮得不自然。 来自《简明英汉词典》

7 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

8 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

9 eerie   

adj.怪诞的；奇异的；可怕的；胆怯的

参考例句：

• It's eerie to walk through a dark wood at night.夜晚在漆黑的森林中行走很是恐怖。
• I walked down the eerie dark path.我走在那条漆黑恐怖的小路上。

10 abruptly   

adv.突然地，出其不意地

参考例句：

• He gestured abruptly for Virginia to get in the car.他粗鲁地示意弗吉尼亚上车。
• I was abruptly notified that a half-hour speech was expected of me.我突然被通知要讲半个小时的话。

11 festive   

adj.欢宴的，节日的

参考例句：

• It was Christmas and everyone was in festive mood.当时是圣诞节，每个人都沉浸在节日的欢乐中。
• We all wore festive costumes to the ball.我们都穿着节日的盛装前去参加舞会。

12 folly   

n.愚笨，愚蠢，蠢事，蠢行，傻话

参考例句：

• Learn wisdom by the folly of others.从别人的愚蠢行动中学到智慧。
• Events proved the folly of such calculations.事情的进展证明了这种估计是愚蠢的。

13 testimony   

n.证词；见证，证明

参考例句：

• The testimony given by him is dubious.他所作的证据是可疑的。
• He was called in to bear testimony to what the police officer said.他被传入为警官所说的话作证。

14 sage   

n.圣人，哲人；adj.贤明的，明智的

参考例句：

• I was grateful for the old man's sage advice.我很感激那位老人贤明的忠告。
• The sage is the instructor of a hundred ages.这位哲人是百代之师。

15 artifice   

n.妙计，高明的手段；狡诈，诡计

参考例句：

• The use of mirrors in a room is an artifice to make the room look larger.利用镜子装饰房间是使房间显得大一点的巧妙办法。
• He displayed a great deal of artifice in decorating his new house.他在布置新房子中表现出富有的技巧。

16 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

17 wrought   

v.引起；以…原料制作；运转；adj.制造的

参考例句：

• Events in Paris wrought a change in British opinion towards France and Germany.巴黎发生的事件改变了英国对法国和德国的看法。
• It's a walking stick with a gold head wrought in the form of a flower.那是一个金质花形包头的拐杖。

18 epoch   

n.(新)时代；历元

参考例句：

• The epoch of revolution creates great figures.革命时代造就伟大的人物。
• We're at the end of the historical epoch,and at the dawn of another.我们正处在一个历史时代的末期，另一个历史时代的开端。

19 quaint   

adj.古雅的，离奇有趣的，奇怪的

参考例句：

• There were many small lanes in the quaint village.在这古香古色的村庄里，有很多小巷。
• They still keep some quaint old customs.他们仍然保留着一些稀奇古怪的旧风俗。

20 sketch   

n.草图；梗概；素描；v.素描；概述

参考例句：

• My sister often goes into the country to sketch. 我姐姐常到乡间去写生。
• I will send you a slight sketch of the house.我将给你寄去房屋的草图。

21 spoke   

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

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

22 conceal   

v.隐藏，隐瞒，隐蔽

参考例句：

• He had to conceal his identity to escape the police.为了躲避警方，他只好隐瞒身份。
• He could hardly conceal his joy at his departure.他几乎掩饰不住临行时的喜悦。

23 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

24 humility   

n.谦逊，谦恭

参考例句：

• Humility often gains more than pride.谦逊往往比骄傲收益更多。
• His voice was still soft and filled with specious humility.他的声音还是那么温和，甚至有点谦卑。

25 concealed   

a.隐藏的，隐蔽的

参考例句：

• The paintings were concealed beneath a thick layer of plaster. 那些画被隐藏在厚厚的灰泥层下面。
• I think he had a gun concealed about his person. 我认为他当时身上藏有一支枪。

26 conceals   

v.隐藏，隐瞒，遮住( conceal的第三人称单数 )

参考例句：

• He conceals his worries behind a mask of nonchalance. 他装作若无其事，借以掩饰内心的不安。 来自《简明英汉词典》
• Drunkenness reveals what soberness conceals. 酒醉吐真言。 来自《简明英汉词典》

27 similes   

（使用like或as等词语的）明喻( simile的名词复数 )

参考例句：

• Similes usually start with "like" or "as". 明喻通常以like或as开头。
• All similes and allegories concerning her began and ended with birds. 要比仿她，要模拟她，总得以鸟类始，还得以鸟类终。

28 bosom   

n.胸，胸部；胸怀；内心；adj.亲密的

参考例句：

• She drew a little book from her bosom.她从怀里取出一本小册子。
• A dark jealousy stirred in his bosom.他内心生出一阵恶毒的嫉妒。

29 frigid   

adj.寒冷的，凛冽的；冷淡的；拘禁的

参考例句：

• The water was too frigid to allow him to remain submerged for long.水冰冷彻骨，他在下面呆不了太长时间。
• She returned his smile with a frigid glance.对他的微笑她报以冷冷的一瞥。

30 sincerity   

n.真诚，诚意；真实

参考例句：

• His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
• He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。

31 legitimate   

adj.合法的，合理的，合乎逻辑的；v.使合法

参考例句：

• Sickness is a legitimate reason for asking for leave.生病是请假的一个正当的理由。
• That's a perfectly legitimate fear.怀有这种恐惧完全在情理之中。

32 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

• He tried to conceal his instinctive revulsion at the idea.他试图饰盖自己对这一想法本能的厌恶。
• Animals have an instinctive fear of fire.动物本能地怕火。

33 cant   

n.斜穿，黑话，猛扔

参考例句：

• The ship took on a dangerous cant to port.船只出现向左舷危险倾斜。
• He knows thieves'cant.他懂盗贼的黑话。

34 modesty   

n.谦逊，虚心，端庄，稳重，羞怯，朴素

参考例句：

• Industry and modesty are the chief factors of his success.勤奋和谦虚是他成功的主要因素。
• As conceit makes one lag behind,so modesty helps one make progress.骄傲使人落后，谦虚使人进步。

35 akin   

adj.同族的，类似的

参考例句：

• She painted flowers and birds pictures akin to those of earlier feminine painters.她画一些同早期女画家类似的花鸟画。
• Listening to his life story is akin to reading a good adventure novel.听他的人生故事犹如阅读一本精彩的冒险小说。

36 grotesque   

adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物）

参考例句：

• His face has a grotesque appearance.他的面部表情十分怪。
• Her account of the incident was a grotesque distortion of the truth.她对这件事的陈述是荒诞地歪曲了事实。

37 plagiarism   

n.剽窃，抄袭

参考例句：

• Teachers in America fight to control cheating and plagiarism.美国老师们努力对付欺骗和剽窃的问题。
• Now he's in real trouble.He's accused of plagiarism.现在他是真遇到麻烦了。他被指控剽窃。

38 emancipation   

n.（从束缚、支配下）解放

参考例句：

• We must arouse them to fight for their own emancipation. 我们必须唤起他们为其自身的解放而斗争。 来自《简明英汉词典》
• They rejoiced over their own emancipation. 他们为自己的解放感到欢欣鼓舞。 来自《简明英汉词典》

39 mansion   

n.大厦，大楼；宅第

参考例句：

• The old mansion was built in 1850.这座古宅建于1850年。
• The mansion has extensive grounds.这大厦四周的庭园广阔。

40 submission   

n.服从，投降；温顺，谦虚；提出

参考例句：

• The defeated general showed his submission by giving up his sword.战败将军缴剑表示投降。
• No enemy can frighten us into submission.任何敌人的恐吓都不能使我们屈服。

41 deliberately   

adv.审慎地；蓄意地；故意地

参考例句：

• The girl gave the show away deliberately.女孩故意泄露秘密。
• They deliberately shifted off the argument.他们故意回避这个论点。

42 fetters   

n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 )

参考例句：

• They were at last freed from the fetters of ignorance. 他们终于从愚昧无知的束缚中解脱出来。
• They will run wild freed from the fetters of control. 他们一旦摆脱了束缚，就会变得无法无天。 来自《简明英汉词典》