It will then be answered, not without a sneer10, “And what would you prefer? Would you go back to the elegant early Victorian female, with ringlets and smelling-bottle, doing a little in water colors, dabbling11 a little in Italian, playing a little on the harp12, writing in vulgar albums and painting on senseless screens? Do you prefer that?” To which I answer, “Emphatically, yes.” I solidly prefer it to the new female education, for this reason, that I can see in it an intellectual design, while there is none in the other. I am by no means sure that even in point of practical fact that elegant female would not have been more than a match for most of the inelegant females. I fancy Jane Austen was stronger, sharper and shrewder than Charlotte Bronte; I am quite certain she was stronger, sharper and shrewder than George Eliot. She could do one thing neither of them could do: she could coolly and sensibly describe a man. I am not sure that the old great lady who could only smatter Italian was not more vigorous than the new great lady who can only stammer13 American; nor am I certain that the bygone duchesses who were scarcely successful when they painted Melrose Abbey, were so much more weak-minded than the modern duchesses who paint only their own faces, and are bad at that. But that is not the point. What was the theory, what was the idea, in their old, weak water-colors and their shaky Italian? The idea was the same which in a ruder rank expressed itself in home-made wines and hereditary14 recipes; and which still, in a thousand unexpected ways, can be found clinging to the women of the poor. It was the idea I urged in the second part of this book: that the world must keep one great amateur, lest we all become artists and perish. Somebody must renounce15 all specialist conquests, that she may conquer all the conquerors16. That she may be a queen of life, she must not be a private soldier in it. I do not think the elegant female with her bad Italian was a perfect product, any more than I think the slum woman talking gin and funerals is a perfect product; alas17! there are few perfect products. But they come from a comprehensible idea; and the new woman comes from nothing and nowhere. It is right to have an ideal, it is right to have the right ideal, and these two have the right ideal. The slum mother with her funerals is the degenerate18 daughter of Antigone, the obstinate19 priestess of the household gods. The lady talking bad Italian was the decayed tenth cousin of Portia, the great and golden Italian lady, the Renascence amateur of life, who could be a barrister because she could be anything. Sunken and neglected in the sea of modern monotony and imitation, the types hold tightly to their original truths. Antigone, ugly, dirty and often drunken, will still bury her father. The elegant female, vapid20 and fading away to nothing, still feels faintly the fundamental difference between herself and her husband: that he must be Something in the City, that she may be everything in the country.
There was a time when you and I and all of us were all very close to God; so that even now the color of a pebble21 (or a paint), the smell of a flower (or a firework), comes to our hearts with a kind of authority and certainty; as if they were fragments of a muddled22 message, or features of a forgotten face. To pour that fiery23 simplicity24 upon the whole of life is the only real aim of education; and closest to the child comes the woman—she understands. To say what she understands is beyond me; save only this, that it is not a solemnity. Rather it is a towering levity25, an uproarious amateurishness26 of the universe, such as we felt when we were little, and would as soon sing as garden, as soon paint as run. To smatter the tongues of men and angels, to dabble27 in the dreadful sciences, to juggle28 with pillars and pyramids and toss up the planets like balls, this is that inner audacity29 and indifference30 which the human soul, like a conjurer catching31 oranges, must keep up forever. This is that insanely frivolous32 thing we call sanity33. And the elegant female, drooping34 her ringlets over her water-colors, knew it and acted on it. She was juggling35 with frantic36 and flaming suns. She was maintaining the bold equilibrium37 of inferiorities which is the most mysterious of superiorities and perhaps the most unattainable. She was maintaining the prime truth of woman, the universal mother: that if a thing is worth doing, it is worth doing badly.
点击收听单词发音
1 vestige | |
n.痕迹,遗迹,残余 | |
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2 squires | |
n.地主,乡绅( squire的名词复数 ) | |
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3 Oxford | |
n.牛津(英国城市) | |
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4 query | |
n.疑问,问号,质问;vt.询问,表示怀疑 | |
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5 plodding | |
a.proceeding in a slow or dull way | |
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6 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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7 brutal | |
adj.残忍的,野蛮的,不讲理的 | |
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8 subjugation | |
n.镇压,平息,征服 | |
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9 brass | |
n.黄铜;黄铜器,铜管乐器 | |
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10 sneer | |
v.轻蔑;嘲笑;n.嘲笑,讥讽的言语 | |
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11 dabbling | |
v.涉猎( dabble的现在分词 );涉足;浅尝;少量投资 | |
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12 harp | |
n.竖琴;天琴座 | |
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13 stammer | |
n.结巴,口吃;v.结结巴巴地说 | |
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14 hereditary | |
adj.遗传的,遗传性的,可继承的,世袭的 | |
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15 renounce | |
v.放弃;拒绝承认,宣布与…断绝关系 | |
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16 conquerors | |
征服者,占领者( conqueror的名词复数 ) | |
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17 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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18 degenerate | |
v.退步,堕落;adj.退步的,堕落的;n.堕落者 | |
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19 obstinate | |
adj.顽固的,倔强的,不易屈服的,较难治愈的 | |
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20 vapid | |
adj.无味的;无生气的 | |
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21 pebble | |
n.卵石,小圆石 | |
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22 muddled | |
adj.混乱的;糊涂的;头脑昏昏然的v.弄乱,弄糟( muddle的过去式);使糊涂;对付,混日子 | |
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23 fiery | |
adj.燃烧着的,火红的;暴躁的;激烈的 | |
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24 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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25 levity | |
n.轻率,轻浮,不稳定,多变 | |
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26 amateurishness | |
n.amateurish(业余的)的变形 | |
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27 dabble | |
v.涉足,浅赏 | |
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28 juggle | |
v.变戏法,纂改,欺骗,同时做;n.玩杂耍,纂改,花招 | |
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29 audacity | |
n.大胆,卤莽,无礼 | |
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30 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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31 catching | |
adj.易传染的,有魅力的,迷人的,接住 | |
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32 frivolous | |
adj.轻薄的;轻率的 | |
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33 sanity | |
n.心智健全,神智正常,判断正确 | |
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34 drooping | |
adj. 下垂的,无力的 动词droop的现在分词 | |
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35 juggling | |
n. 欺骗, 杂耍(=jugglery) adj. 欺骗的, 欺诈的 动词juggle的现在分词 | |
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36 frantic | |
adj.狂乱的,错乱的,激昂的 | |
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37 equilibrium | |
n.平衡,均衡,相称,均势,平静 | |
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