XI: ON DEVIATING INTO SENSE

 There is a story, very dear for some reason to our ancestors, that Apelles, or I forget what other Greek painter, grown desperate at the failure of his efforts to portray¹ realistically the foam² on a dog’s mouth, threw his sponge at the picture in a pet, and was rewarded for his ill-temper by discovering that the resultant smudge was the living image of the froth whose aspect he had been unable, with all his art, to recapture. No one will ever know the history of all the happy mistakes, the accidents and unconscious deviations⁴ into genius, that have helped to enrich the world’s art. They are probably countless⁵. I myself have deviated⁶ more than once into accidental felicities. Recently, for example, the hazards of careless typewriting caused me to invent a new portmanteau word of the most brilliantly Laforguian quality. I had meant to write the phrase “the Human Comedy,” but, by a happy slip, I put my finger on the letter that stands next to “C” on the universal keyboard. When I came to read over the completed page I found that I had written “the 81Human Vomedy.” Was there ever a criticism of life more succinct⁷ and expressive⁸? To the more sensitive and queasy⁹ among the gods the last few years must indeed have seemed a vomedy of the first order.

The grossest forms of mistake have played quite a distinguished¹⁰ part in the history of letters. One thinks, for example, of the name Criseida or Cressida manufactured out of a Greek accusative, of that Spenserian misunderstanding of Chaucer which gave currency to the rather ridiculous substantive¹¹ “derring-do.” Less familiar, but more deliciously absurd, is Chaucer’s slip in reading “naves ballatrices” for “naves bellatrices”—ballet-ships instead of battle-ships—and his translation “shippes hoppesteres.” But these broad, straightforward¹² howlers are uninteresting compared with the more subtle deviations into originality¹³ occasionally achieved by authors who were trying their best not to be original. Nowhere do we find more remarkable¹⁴ examples of accidental brilliance¹⁵ than among the post-Chaucerian poets, whose very indistinct knowledge of what precisely¹⁶ was the metre in which they were trying to write often caused them to produce very striking variations on the staple¹⁷ English measure.

Chaucer’s variations from the decasyllable 82norm were deliberate. So, for the most part, were those of his disciple¹⁹ Lydgate, whose favourite “broken-backed” line, lacking the first syllable¹⁸ of the iambus that follows the c?sura, is metrically of the greatest interest to contemporary poets. Lydgate’s characteristic line follows this model:

For speechéless nothing maist thou speed.

Judiciously²⁰ employed, the broken-backed line might yield very beautiful effects. Lydgate, as has been said, was probably pretty conscious of what he was doing. But his procrustean²¹ methods were apt to be a little indiscriminate, and one wonders sometimes whether he was playing variations on a known theme or whether he was rather tentatively groping after the beautiful regularity²² of his master Chaucer. The later fifteenth and sixteenth century poets seem to have worked very much in the dark. The poems of such writers as Hawes and Skelton abound²³ in the vaguest parodies²⁴ of the decasyllable line. Anything from seven to fifteen syllables²⁵ will serve their turn. With them the variations are seldom interesting. Chance had not much opportunity of producing subtle metrical effects with a man like Skelton, whose mind was naturally so full 83of jigging²⁶ doggerel²⁷ that his variations on the decasyllable are mostly in the nature of rough skeltonics. I have found interesting accidental variations on the decasyllable in Heywood, the writer of moralities. This, from the Play of Love, has a real metrical beauty:

Felt ye but one pang²⁹ such as I feel many,

One pang of despair or one pang of desire,

One pang of one displeasant look of her eye,

One pang of one word of her mouth as in ire,

Or in restraint of her love which I desire—

One pang of all these, felt once in all your life,

Should quail³⁰ your opinion and quench³¹ all our strife³².

These dactylic resolutions of the third and fourth lines are extremely interesting.

But the most remarkable example of accidental metrical invention that I have yet come across is to be found in the Earl of Surrey’s translation of Horace’s ode on the golden mean. Surrey was one of the pioneers of the reaction against the vagueness and uncertain carelessness of the post-Chaucerians. From the example of Italian poetry he had learned that a line must have a fixed³³ number of syllables. In all his poems his aim is always to achieve regularity at whatever cost. To make sure of having ten syllables in every line it is evident that Surrey 84made use of his fingers as well as his ears. We see him at his worst and most laborious³⁴ in the first stanza³⁵ of his translation:

Of thy life, Thomas, this compass well mark:

Ne by coward dread³⁶ in shunning³⁷ storms dark

Not aye with full sails the high seas to beat;

On shallow shores thy keel in peril³⁸ freat.

The ten syllables are there all right, but except in the last line there is no recognizable rhythm of any kind, whether regular or irregular. But when Surrey comes to the second stanza—

Auream quisquis mediocritatem

Diligit, tutus caret³⁹ obsoleti

Sordibus tecti, caret invidenda

Sobrius aula—

some lucky accident inspires him with the genius to translate in these words:

Whoso gladly halseth the golden mean,

Void of dangers advisedly hath his home;

Not with loathsome⁴⁰ muck as a den³ unclean,

Nor palace like, whereat disdain⁴¹ may gloam.

Not only is this a very good translation, but it is also a very interesting and subtle metrical experiment. What could be more felicitous⁴² than this stanza made up of three 85trochaic lines, quickened by beautiful dactylic resolutions, and a final iambic line of regular measure—the recognized tonic²⁸ chord that brings the music to its close? And yet the tunelessness of the first stanza is enough to prove that Surrey’s achievement is as much a product of accident as the foam on the jaws⁴³ of Apelles’ dog. He was doing his best all the time to write decasyllabics with the normal iambic beat of the last line. His failures to do so were sometimes unconscious strokes of genius.

1 portray   

v.描写，描述；画(人物、景象等)

参考例句：

• It is difficult to portray feelings in words.感情很难用言语来描写。
• Can you portray the best and worst aspects of this job?您能描述一下这份工作最好与最坏的方面吗？

2 foam   

v./n.泡沫，起泡沫

参考例句：

• The glass of beer was mostly foam.这杯啤酒大部分是泡沫。
• The surface of the water is full of foam.水面都是泡沫。

3 den   

n.兽穴；秘密地方；安静的小房间，私室

参考例句：

• There is a big fox den on the back hill.后山有一个很大的狐狸窝。
• The only way to catch tiger cubs is to go into tiger's den.不入虎穴焉得虎子。

4 deviations   

背离，偏离( deviation的名词复数 )； 离经叛道的行为

参考例句：

• Local deviations depend strongly on the local geometry of the solid matrix. 局部偏离严格地依赖于固体矩阵的局部几何形状。
• They were a series of tactical day-to-day deviations from White House policy. 它们是一系列策略上一天天摆脱白宫政策的偏向。

5 countless   

adj.无数的，多得不计其数的

参考例句：

• In the war countless innocent people lost their lives.在这场战争中无数无辜的人丧失了性命。
• I've told you countless times.我已经告诉你无数遍了。

6 deviated   

v.偏离，越轨( deviate的过去式和过去分词 )

参考例句：

• On this occasion the plane deviated from its usual flight path. 这一次那架飞机偏离了正常的航线。 来自《简明英汉词典》
• His statements sometimes deviated from the truth. 他的陈述有时偏离事实。 来自《简明英汉词典》

7 succinct   

adj.简明的，简洁的

参考例句：

• The last paragraph is a succinct summary.最后这段话概括性很强。
• A succinct style lends vigour to writing.措辞简练使文笔有力。

8 expressive   

adj.表现的，表达…的，富于表情的

参考例句：

• Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
• He had a mobile,expressive,animated face.他有一张多变的，富于表情的，生动活泼的脸。

9 queasy   

adj.易呕的

参考例句：

• I felt a little queasy on the ship.我在船上觉得有点晕眩想呕吐。
• He was very prone to seasickness and already felt queasy.他快晕船了，已经感到恶心了。

10 distinguished   

adj.卓越的，杰出的，著名的

参考例句：

• Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
• A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。

11 substantive   

adj.表示实在的；本质的、实质性的；独立的；n.实词，实名词；独立存在的实体

参考例句：

• They plan to meet again in Rome very soon to begin substantive negotiations.他们计划不久在罗马再次会晤以开始实质性的谈判。
• A president needs substantive advice,but he also requires emotional succor. 一个总统需要实质性的建议，但也需要感情上的支持。

12 straightforward   

adj.正直的，坦率的；易懂的，简单的

参考例句：

• A straightforward talk is better than a flowery speech.巧言不如直说。
• I must insist on your giving me a straightforward answer.我一定要你给我一个直截了当的回答。

13 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

14 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

15 brilliance   

n.光辉，辉煌，壮丽，（卓越的）才华，才智

参考例句：

• I was totally amazed by the brilliance of her paintings.她的绘画才能令我惊歎不已。
• The gorgeous costume added to the brilliance of the dance.华丽的服装使舞蹈更加光彩夺目。

16 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

• It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
• The man adjusted very precisely.那个人调得很准。

17 staple   

n.主要产物，常用品，主要要素，原料，订书钉，钩环；adj.主要的，重要的；vt.分类

参考例句：

• Tea is the staple crop here.本地产品以茶叶为大宗。
• Potatoes are the staple of their diet.土豆是他们的主要食品。

18 syllable   

n.音节；vt.分音节

参考例句：

• You put too much emphasis on the last syllable.你把最后一个音节读得太重。
• The stress on the last syllable is light.最后一个音节是轻音节。

19 disciple   

n.信徒，门徒，追随者

参考例句：

• Your disciple failed to welcome you.你的徒弟没能迎接你。
• He was an ardent disciple of Gandhi.他是甘地的忠实信徒。

20 judiciously   

adv.明断地，明智而审慎地

参考例句：

• Let's use these intelligence tests judiciously. 让我们好好利用这些智力测试题吧。 来自《简明英汉词典》
• His ideas were quaint and fantastic. She brought him judiciously to earth. 他的看法荒廖古怪，她颇有见识地劝他面对现实。 来自辞典例句

21 procrustean   

adj.强求一致的

参考例句：

• We are firmly opposed to the policy of a procrustean bed.我们坚决反对强求一致的政策。

22 regularity   

n.规律性，规则性；匀称，整齐

参考例句：

• The idea is to maintain the regularity of the heartbeat.问题就是要维持心跳的规律性。
• He exercised with a regularity that amazed us.他锻炼的规律程度令我们非常惊讶。

23 abound   

vi.大量存在；(in，with)充满，富于

参考例句：

• Oranges abound here all the year round.这里一年到头都有很多橙子。
• But problems abound in the management of State-owned companies.但是在国有企业的管理中仍然存在不少问题。

24 parodies   

n.拙劣的模仿( parody的名词复数 )；恶搞；滑稽的模仿诗文；表面上模仿得笨拙但充满了机智用来嘲弄别人作品的作品v.滑稽地模仿，拙劣地模仿( parody的第三人称单数 )

参考例句：

• Later, however, they delight in parodies of nursery rhymes. 可要不了多久，他们便乐于对它进行窜改。 来自英汉非文学 - 民俗
• Most parodies are little more than literary teases. 大多数讽刺的模仿诗文只能算上是文学上的揶揄。 来自辞典例句

25 syllables   

n.音节( syllable的名词复数 )

参考例句：

• a word with two syllables 双音节单词
• 'No. But I'll swear it was a name of two syllables.' “想不起。不过我可以发誓，它有两个音节。” 来自英汉文学 - 双城记

26 jigging   

n.跳汰选，簸选v.（使）上下急动( jig的现在分词 )

参考例句：

• They were jigging up and down to the music. 他们随着音乐的节拍轻快地上下跳着。 来自互联网
• She hopped about on stage, jigging her feet. 她在舞台上用脚跳来跳去。 来自互联网

27 doggerel   

n.拙劣的诗，打油诗

参考例句：

• The doggerel doesn't filiate itself.这首打油诗没有标明作者是谁。
• He styled his poem doggerel.他把他的这首诗歌叫做打油诗。

28 tonic   

n./adj.滋补品，补药，强身的，健体的

参考例句：

• It will be marketed as a tonic for the elderly.这将作为老年人滋补品在市场上销售。
• Sea air is Nature's best tonic for mind and body.海上的空气是大自然赋予的对人们身心的最佳补品。

29 pang   

n.剧痛，悲痛，苦闷

参考例句：

• She experienced a sharp pang of disappointment.她经历了失望的巨大痛苦。
• She was beginning to know the pang of disappointed love.她开始尝到了失恋的痛苦。

30 quail   

n.鹌鹑；vi.畏惧，颤抖

参考例句：

• Cowards always quail before the enemy.在敌人面前，胆小鬼们总是畏缩不前的。
• Quail eggs are very high in cholesterol.鹌鹑蛋胆固醇含量高。

31 quench   

vt.熄灭，扑灭；压制

参考例句：

• The firemen were unable to quench the fire.消防人员无法扑灭这场大火。
• Having a bottle of soft drink is not enough to quench my thirst.喝一瓶汽水不够解渴。

32 strife   

n.争吵，冲突，倾轧，竞争

参考例句：

• We do not intend to be drawn into the internal strife.我们不想卷入内乱之中。
• Money is a major cause of strife in many marriages.金钱是造成很多婚姻不和的一个主要原因。

33 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。

34 laborious   

adj.吃力的，努力的，不流畅

参考例句：

• They had the laborious task of cutting down the huge tree.他们接受了伐大树的艰苦工作。
• Ants and bees are laborious insects.蚂蚁与蜜蜂是勤劳的昆虫。

35 stanza   

n.（诗）节，段

参考例句：

• We omitted to sing the second stanza.我们漏唱了第二节。
• One young reporter wrote a review with a stanza that contained some offensive content.一个年轻的记者就歌词中包含有攻击性内容的一节写了评论。

36 dread   

vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧

参考例句：

• We all dread to think what will happen if the company closes.我们都不敢去想一旦公司关门我们该怎么办。
• Her heart was relieved of its blankest dread.她极度恐惧的心理消除了。

37 shunning   

v.避开，回避，避免( shun的现在分词 )

参考例句：

• My flight was more a shunning of external and internal dangers. 我的出走是要避开各种外在的和内在的威胁。 来自辞典例句
• That book Yeh-yeh gave me-"On Filial Piety and the Shunning of Lewdness"-was still on the table. 我坐下来，祖父给我的那本《刘芷唐先生教孝戒淫浅训》还在桌子上。 来自汉英文学 - 家（1-26） - 家（1-26）

38 peril   

n.(严重的)危险；危险的事物

参考例句：

• The refugees were in peril of death from hunger.难民有饿死的危险。
• The embankment is in great peril.河堤岌岌可危。

39 caret   

n.加字符号

参考例句：

• Move the caret to a specified position.将插字符移动到指定的位置。
• The caret shape can be a line,a block,or a bitmap.插入符可以是一根短线、一个方块或者一幅位图。

40 loathsome   

adj.讨厌的，令人厌恶的

参考例句：

• The witch hid her loathsome face with her hands.巫婆用手掩住她那张令人恶心的脸。
• Some people think that snakes are loathsome creatures.有些人觉得蛇是令人憎恶的动物。

41 disdain   

n.鄙视，轻视；v.轻视，鄙视，不屑

参考例句：

• Some people disdain labour.有些人轻视劳动。
• A great man should disdain flatterers.伟大的人物应鄙视献媚者。

42 felicitous   

adj.恰当的，巧妙的；n.恰当，贴切

参考例句：

• She played him--sometimes delicately,sometimes with a less felicitous touch.她吊着他--有时温柔地，有时手法就不那么巧妙。
• You need to handle the delicate matter in a most felicitous manner.你需要用得体的方式处理这件微妙的事。

43 jaws   

n.口部；嘴

参考例句：

• The antelope could not escape the crocodile's gaping jaws. 那只羚羊无法从鱷鱼张开的大口中逃脱。
• The scored jaws of a vise help it bite the work. 台钳上有刻痕的虎钳牙帮助它紧咬住工件。