In youth, as at the opera, everything seems possible. Surely it is not necessary to choose between love and riches. One may have both, and the one all the more easily for having attained1 the other. It must be a fiction of the moralists who construct the dramas that the god of love and the god of money each claims an undivided allegiance. It was in some wholly legendary2, perhaps spiritual, world that it was necessary to renounce3 love to gain the Rhine gold. The boxes at the Metropolitan4 did not believe this. The spectators of the boxes could believe it still less. For was not beauty there seen shining in jewels that have a market value, and did not love visibly preside over the union, and make it known that his sweetest favors go with a prosperous world? And yet, is the charm of life somewhat depending upon a sense of its fleetingness, of its phantasmagorial character, a note of coming disaster, maybe, in the midst of its most seductive pageantry, in the whirl and glitter and hurry of it? Is there some subtle sense of exquisite6 satisfaction in snatching the sweet moments of life out of the very delirium7 of it, that must soon end in an awakening8 to bankruptcy9 of the affections, and the dreadful loss of illusions? Else why do we take pleasure--a pleasure so deep that it touches the heart like melancholy--in the common drama of the opera? How gay and joyous10 is the beginning! Mirth, hilarity11, entrancing sound, brilliant color, the note of a trumpet12 calling to heroism13, the beseeching14 of the concordant strings15, and the soft flute16 inviting17 to pleasure; scenes placid18, pastoral, innocent; light-hearted love, the dance on the green, the stately pageant5 in the sunlit streets, the court, the ball, the mad splendor19 of life. And then love becomes passion, and passion thwarted20 hurries on to sin, and sin lifts to the heights of the immortal21, sweetly smiling gods, and plunges22 to the depths of despair. In vain the orchestra, the inevitable23 accompaniment of life, warns and pleads and admonishes24; calm has gone, and gayety has gone; there is no sweetness now but in the wildness of surrender and of sacrifice. How sad are the remembered strains that aforetime were incentives25 to love and promises of happiness! Gloom settles upon the scene; Mephisto, the only radiant one, flits across it, and mocks the poor broken-hearted girl clinging to the church door. There is a dungeon26, the chanting of the procession of tonsured27 priests, the passing-bell. Seldom appears the golden bridge over which the baffled and tired pass into Valhalla.
Do we like this because it is life, or because there is a certain satisfaction in seeing the tragedy which impends28 over all, pervades29 the atmosphere, as it were, and adds something of zest30 to the mildest enjoyment31? Should we go away from the mimic32 stage any, better and stronger if the drama began in the dungeon and ended on the greensward, with innocent love and resplendent beauty in possession of the Rhine gold?
How simple, after all, was the created world on the stage to the real world in the auditorium33, with its thousand complexities34 and dramatic situations, and if the little knot of players of parts for an hour could have had leisure to be spectators of the audience, what a deeper revelation of life would they not have seen! For the world has never assembled such an epitome35 of itself, in its passion for pleasure and its passion for display, as in the modern opera, with its ranks and tiers of votaries36 from the pit to the dome37. I fancy that even Margaret, whose love for music was genuine, was almost as much fascinated by the greater spectacle as by the less.
It was a crowded night, for the opera was one that appealed to the senses and stimulated38 them to activity, and left the mind free to pursue its own schemes; in a word, orchestra and the scenes formed a sort of accompaniment and interpreter to the private dramas in the boxes. The opera was made for society, and not society for the opera. We occupied a box in the second tier--the Morgans, Margaret, and my wife. Morgan said that the glasses were raised to us from the parquet39 and leveled at us from the loges because we were a country party, but he well enough knew whose fresh beauty and enthusiastic young face it was that drew the fire when the curtain fell on the first act, and there was for a moment a little lull40 in the hum of conversation.
"I had heard," Morgan was saying, "that the opera was not acclimated41 in New York; but it is nearly so. The audience do not jabber42 so loud nor so incessantly43 as at San Carlo, and they do not hum the airs with the singers--"
"Perhaps," said my wife, "that is because they do not know the airs."
"But they are getting on in cultivation44, and learning how to assert the social side of the opera, which is not to be seriously interfered45 with by the music on the stage."
"But the music, the scenery, were never before so good," I replied to these cynical46 observations.
"That is true. And the social side has risen with it. Do you know what an impudent47 thing the managers did the other night in protesting against the raising of the lights by which the house was made brilliant and the cheap illusions of the stage were destroyed? They wanted to make the house positively48 gloomy for the sake of a little artificial moonlight on the painted towers and the canvas lakes."
As the world goes, the scene was brilliant, of course with republican simplicity49. The imagination was helped by no titled names any more than the eye was by the insignia of rank, but there was a certain glow of feeling, as the glass swept the circle, to know that there were ten millions in this box, and twenty in the next, and fifty in the next, attested50 well enough by the flash of jewels and the splendor of attire51, and one might indulge a genuine pride in the prosperity of the republic. As for beauty, the world, surely, in this later time, had flowered here--flowered with something of Aspasia's grace and something of the haughty52 coldness of Agrippina. And yet it was American. Here and there in the boxes was a thoroughbred portrait by Copley--the long shapely neck, the sloping shoulders, the drooping53 eyelids54, even to the gown in which the great-grandmother danced with the French officers.
"Who is that lovely creature?" asked Margaret, indicating a box opposite.
I did not know. There were two ladies, and behind them I had no difficulty in making out Henderson and--Margaret evidently had not seen him Mr. Lyon. Almost at the same moment Henderson recognized me, and signaled for me to come to his box. As I rose to do so, Mrs. Morgan exclaimed: "Why, there is Mr. Lyon! Do tell him we are here." I saw Margaret's color rise, but she did not speak.
I was presented to Mrs. Eschelle and her daughter; in the latter I recognized the beauty who had flashed by us in the Park. The elder lady inclined to stoutness55, and her too youthful apparel could not mislead one as to the length of her pilgrimage in this world, nor soften56 the hard lines of her worldly face-lines acquired, one could see, by a social struggle, and not drawn57 there by an innate58 patrician59 insolence60.
"We are glad to see a friend of Mr. Henderson's," she said, "and of Mr. Lyon's also. Mr. Lyon has told us much of your charming country home. Who is that pretty girl in your box, Mr. Fairchild?"
Miss Eschelle had her glass pointed61 at Margaret as I gave the desired information.
"How innocent!" she murmured. "And she's quite in the style--isn't she, Mr. Lyon?" she asked, turning about, her sweet mobile face quite the picture of what she was describing. "We are all innocent in these days."
"It is a very good style," I said.
"Isn't it becoming?" asked the girl, making her dark eyes at once merry and demure62.
Mr. Lyon was looking intently at the opposite box, and a slight shade came over his fine face. "Ah, I see!"
"I beg your pardon, Miss Eschelle," he said, after a second, "I hardly know which to admire most, the beauty, or the wit, or the innocence63 of the American women."
"There is nothing so confusing, though, as the country innocence," the girl said, with the most natural air; "it never knows where to stop."
"You are too absurd, Carmen," her mother interposed; "as if the town girl did!"
"Well, mamma, there is authority for saying that there is a time for everything, only one must be in the fashion, you know."
Mr. Lyon looked a little dubious64 at this turn of the talk; Mr. Henderson was as evidently amused at the girl's acting65. I said I was glad to see that goodness was in fashion.
"Oh, it often is. You know we were promised a knowledge of good as well as evil. It depends upon the point of view. I fancy, now, that Mr. Henderson tolerates the good--that is the reason we get on so well together; and Mr. Lyon tolerates the evil--that's the reason he likes New York. I have almost promised him that I will have a mission school."
The girl looked quite capable of it, or of any other form of devotion. Notwithstanding her persistent67 banter68, she had a most inviting innocence of manner, almost an ingenuousness69, that well became her exquisite beauty. And but for a tentative daring in her talk, as if the gentle creature were experimenting as to how far one could safely go, her innocence might have seemed that of ignorance.
It came out in the talk that Mr. Lyon had been in Washington for a week, and would return there later on.
"We had a claim on him," said Mrs. Eschelle, "for his kindness to us in London, and we are trying to convince him that New York is the real capital."
"Unfortunately," added Miss Eschelle, looking up in Mr. Lyon's face, "he visited Brandon first, and you seem to have bewitched him with your simple country ways. I can get him to talk of nothing else."
"You mean to say," Mr. Lyon replied, with the air of retorting, "that you have asked me about nothing else."
"Oh, you know we felt a little responsible for you; and there is no place so dangerous as the country. Now here you are protected--we put all the wickedness on the stage, and learn to recognize and shun70 it."
"It may be wicked," said her mother, "but it is dull. Don't you find it so, Mr. Henderson? I am passionately71 fond of Wagner, but it is too noisy for anything tonight."
"I notice, dear," the dutiful daughter replied for all of us, "that you have to raise your voice. But there is the ballet. Let us all listen now."
Mr. Lyon excused himself from going with me, saying that he would call at our hotel, and I took Henderson. "I shall count the minutes you are going to lose," the girl said as we went out-to our box. The lobbies in the interact were thronged72 with men--for the most part the young speculators of the Chamber73 turned into loungers in the foyer--knowing, alert, attitudinizing in the extreme of the mode, unable even in this hour to give beauty the preference to business, well knowing, perhaps, that beauty itself in these days has a fine eye for business.
I liked Henderson better in our box than in his own. Was it because the atmosphere was more natural and genuine? Or was it Margaret's transparent74 nature, her sincere enjoyment of the scene, her evident pleasure in the music, the color, the gayety of the house, that made him drop the slight cynical air of the world which had fitted him so admirably a moment before? He already knew my wife and the Morgans, and, after the greetings were made, he took a seat by Margaret, quite content while the act was going on to watch its progress in the play of her responsive features. How quickly she felt, how the frown followed the smile, how, she seemed to weigh and try to apprehend75 the meaning of what went on--how her every sense enjoyed life!
"It is absurd," she said, turning her bright face to him when the curtain dropped, "to be so interested in fictitious76 trouble."
"I'm not so sure that it is," he replied, in her own tone; "the opera is a sort of pulpit, and not seldom preaches an awful sermon--more plainly than the preacher dares to make it."
"But not in nomine Dei."
"No. But who can say what is most effective? I often wonder, as I watch the congregations coming from the churches on the Avenue, if they are any more solemnized than the audiences that pour out of this house. I confess that I cannot shake off 'Lohengrin' in a good while after I hear it."
"And so you think the theatres have a moral influence?"
"Honestly"--and I heard his good-natured laugh--"I couldn't swear to that. But then we don't know what New York might be without them."
"I don't know," said Margaret, reflectively, "that my own good impulses, such as I have, are excited by anything I see on the stage; perhaps I am more tolerant, and maybe toleration is not good. I wonder if I should grow worldly, seeing more of it?"
"Perhaps it is not the stage so much as the house," Henderson replied, beginning to read the girl's mind.
"Yes, it would be different if one came alone and saw the play, unconscious of the house, as if it were a picture. I think it is the house that disturbs one, makes one restless and discontented."
"I never analyzed77 my emotions," said Henderson, "but when I was a boy and came to the theatre I well remember that it made me ambitious; every sort of thing seemed possible of attainment78 in the excitement of the crowded house, the music, the lights, the easy successes on the stage; nothing else is more stimulating79 to a lad; nothing else makes the world more attractive."
"And does it continue to have the same effect, Mr. Henderson?"
"Hardly," and he smiled; "the illusion goes, and the stage is about as real as the house--usually less interesting. It can hardly compete with the comedy in the boxes."
"Perhaps it is lack of experience, but I like the play for itself."
"Oh yes; desire for the dramatic is natural. People will have it somehow. In the country village where there are no theatres the people make dramas out of each other's lives; the most trivial incidents are magnified and talked about--dramatized, in short."
"You mean gossiped about?"
"Well, you may call it gossip--nothing can be concealed80; everybody knows about everybody else; there is no privacy; everything is used to create that illusory spectacle which the stage tries to give. I think that in the country village a good theatre would be a wholesome81 influence, satisfy a natural appetite indicated by the inquisition into the affairs of neighbors, and by the petty scandal."
"We are on the way to it," said Mr. Morgan, who sat behind them; "we have theatricals83 in the church parlors84, which may grow into a nineteenth century substitute for the miracle-plays. You mustn't, Margaret, let Mr. Henderson prejudice you against the country."
"No," said the latter, quickly; "I was only trying to defend the city. We country people always do that. We must base our theatrical82 life on something in nature."
"What is the difference, Mr. Henderson," asked Margaret, "between the gossip in the boxes and the country gossip you spoke85 of?"
"In toleration mainly, and lack of exact knowledge. It is here rather cynical persiflage86, not concentrated public opinion."
"I don't follow you," said Morgan. "It seems to me that in the city you've got gossip plus the stage."
"That is to say, we have the world."
"I don't like to believe that," said Margaret, seriously--"your definition of the world."
"You make me see that it was a poor jest," he said, rising to go. "By-the-way, we have a friend of yours in our box tonight--a young Englishman."
"Oh, Mr. Lyon. We were all delighted with him. Such a transparent, genuine nature!"
"Tell him," said my wife, "that we should be happy to see him at our hotel."
When Henderson came back to his box Carmen did not look up, but she said, indifferently: "What, so soon? But your absence has made one person thoroughly87 miserable88. Mr. Lyon has not taken his eyes off you. I never saw such an international attachment89."
"What more could I do for Miss Eschelle than to leave her in such company?"
"I beg your pardon," said Lyon. "Miss Eschelle must believe that I thoroughly appreciate Mr. Henderson's self-sacrifice. If I occasionally looked over where he was, I assure you it was in pity."
"You are both altogether too self-sacrificing," the beauty replied, turning to Henderson a look that was sweetly forgiving. "They who sin much shall be forgiven much, you know."
"That leaves me," Mr. Lyon answered, with a laugh, "as you say over here, out in the cold, for I have passed a too happy evening to feel like a transgressor90."
"The sins of omission91 are the worst sort," she retorted.
"You see what you must do to be forgiven," Henderson said to Lyon, with that good-natured smile that was so potent92 to smooth away sharpness.
"I fear I can never do enough to qualify myself." And he also laughed.
"You never will," Carmen answered, but she accompanied the doubt with a witching smile that denied it.
"What is all this about forgiveness?" asked Mrs. Eschelle, turning to them from regarding the stage.
"Oh, we were having an experience meeting behind your back, mamma, only Mr. Henderson won't tell his experience."
"Miss Eschelle is in such a forgiving humor tonight that she absolves93 before any one has a chance to confess," he replied.
"Don't you think I am always so, Mr. Lyon?"
Mr. Lyon bowed. "I think that an opera-box with Miss Eschelle is the easiest confessional in the world."
"That's something like a compliment. You see" (to Henderson) "how much you Americans have to learn."
"Will you be my teacher?"
"Or your pupil," the girl said, in a low voice, standing66 near him as she rose.
The play was over. In the robing and descending94 through the corridors there were the usual chatter95, meaning looks, confidential96 asides. It is always at the last moment, in the hurry, as in a postscript97, that woman says what she means, or what for the moment she wishes to be thought to mean. In the crowd on the main stairway the two parties saw each other at a distance, but without speaking.
"Is it true that Lyon is 'epris' there?" Carmen whispered to Henderson when she had scanned and thoroughly inventoried98 Margaret.
"You know as much as I do."
"Well, you did stay a long time," she said, in a lower tone.
As Margaret's party waited for their carriage she saw Mrs. Eschelle and her daughter enter a shining coach, with footman and coachman in livery. Henderson stood raising his hat. A little white hand was shaken to him from the window, and a sweet, innocent face leaned forward--a face with dark, eyes and golden hair, lit up with a radiant smile. That face for the moment was New York to Margaret, and New York seemed a vain show.
Carmen threw herself back in her seat as if weary. Mrs. Eschelle sat bolt-upright.
"What in the world, child, made you go on so tonight?"
"I don't know."
"What made you snub Mr. Lyon so often?"
"Did I? He won't mind much. Didn't you see, mother, that he was distrait99 the moment he espied100 that girl? I'm not going to waste my time. I know the signs. No fisheries imbroglio101 for me, thank you."
"Fish? Who said anything about fish?"
"Oh, the international business. Ask Mr. Henderson to explain it. The English want to fish in our waters, I believe. I think Mr. Lyon has had a nibble102 from a fresh-water fish. Perhaps it's the other way, and he's hooked. There be fishers of men, you know, mother."
"You are a strange child, Carmen. I hope you will be civil to both of them." And they rode on in silence.
收听单词发音 |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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legendary
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| adj.传奇（中）的，闻名遐迩的；n.传奇（文学） | |
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renounce
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| v.放弃；拒绝承认，宣布与…断绝关系 | |
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metropolitan
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| adj.大城市的，大都会的 | |
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pageant
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| n.壮观的游行；露天历史剧 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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delirium
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| n. 神智昏迷,说胡话;极度兴奋 | |
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awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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bankruptcy
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| n.破产；无偿付能力 | |
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joyous
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| adj.充满快乐的；令人高兴的 | |
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hilarity
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| n.欢乐；热闹 | |
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trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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heroism
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| n.大无畏精神，英勇 | |
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beseeching
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| adj.恳求似的v.恳求，乞求（某事物）( beseech的现在分词 ) | |
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strings
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| n.弦 | |
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flute
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| n.长笛；v.吹笛 | |
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inviting
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| adj.诱人的，引人注目的 | |
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placid
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| adj.安静的，平和的 | |
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splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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thwarted
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| 阻挠( thwart的过去式和过去分词 )； 使受挫折； 挫败； 横过 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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plunges
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| n.跳进，投入vt.使投入，使插入，使陷入vi.投入，跳进，陷入v.颠簸( plunge的第三人称单数 )；暴跌；骤降；突降 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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admonishes
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| n.劝告( admonish的名词复数 )；训诫；（温和地）责备；轻责v.劝告( admonish的第三人称单数 )；训诫；（温和地）责备；轻责 | |
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incentives
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| 激励某人做某事的事物( incentive的名词复数 )； 刺激； 诱因； 动机 | |
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dungeon
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| n.地牢，土牢 | |
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tonsured
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| v.剃( tonsure的过去式和过去分词 ) | |
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impends
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| v.进行威胁，即将发生( impend的第三人称单数 ) | |
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pervades
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| v.遍及，弥漫( pervade的第三人称单数 ) | |
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zest
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| n.乐趣；滋味，风味；兴趣 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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mimic
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| v.模仿，戏弄；n.模仿他人言行的人 | |
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auditorium
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| n.观众席，听众席；会堂，礼堂 | |
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complexities
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| 复杂性(complexity的名词复数)； 复杂的事物 | |
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epitome
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| n.典型，梗概 | |
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votaries
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| n.信徒( votary的名词复数 )；追随者；（天主教）修士；修女 | |
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dome
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| n.圆屋顶，拱顶 | |
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stimulated
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| a.刺激的 | |
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parquet
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| n.镶木地板 | |
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lull
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| v.使安静，使入睡，缓和，哄骗；n.暂停，间歇 | |
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acclimated
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| v.使适应新环境，使服水土服水土，适应( acclimate的过去式和过去分词 ) | |
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jabber
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| v.快而不清楚地说；n.吱吱喳喳 | |
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incessantly
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| ad.不停地 | |
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cultivation
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| n.耕作，培养，栽培（法），养成 | |
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interfered
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| v.干预( interfere的过去式和过去分词 )；调停；妨碍；干涉 | |
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cynical
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| adj.(对人性或动机)怀疑的，不信世道向善的 | |
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impudent
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| adj.鲁莽的，卑鄙的，厚颜无耻的 | |
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positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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attested
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| adj.经检验证明无病的，经检验证明无菌的v.证明( attest的过去式和过去分词 )；证实；声称…属实；使宣誓 | |
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attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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haughty
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| adj.傲慢的，高傲的 | |
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drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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stoutness
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| 坚固，刚毅 | |
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soften
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| v.(使)变柔软；(使)变柔和 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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innate
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| adj.天生的，固有的，天赋的 | |
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patrician
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| adj.贵族的，显贵的；n.贵族；有教养的人；罗马帝国的地方官 | |
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insolence
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| n.傲慢；无礼；厚颜；傲慢的态度 | |
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pointed
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| adj.尖的，直截了当的 | |
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demure
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| adj.严肃的；端庄的 | |
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innocence
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| n.无罪；天真；无害 | |
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dubious
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| adj.怀疑的，无把握的；有问题的，靠不住的 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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persistent
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| adj.坚持不懈的，执意的；持续的 | |
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banter
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| n.嘲弄，戏谑；v.取笑，逗弄，开玩笑 | |
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ingenuousness
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| n.率直；正直；老实 | |
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shun
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| vt.避开，回避，避免 | |
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passionately
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| ad.热烈地，激烈地 | |
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thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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apprehend
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| vt.理解，领悟，逮捕，拘捕，忧虑 | |
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fictitious
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| adj.虚构的，假设的；空头的 | |
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analyzed
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| v.分析( analyze的过去式和过去分词 )；分解；解释；对…进行心理分析 | |
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attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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stimulating
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| adj.有启发性的，能激发人思考的 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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wholesome
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| adj.适合；卫生的；有益健康的；显示身心健康的 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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theatricals
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| n.（业余性的）戏剧演出，舞台表演艺术；职业演员；戏剧的( theatrical的名词复数 )；剧场的；炫耀的；戏剧性的 | |
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parlors
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| 客厅( parlor的名词复数 )； 起居室； （旅馆中的）休息室； （通常用来构成合成词）店 | |
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spoke
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| 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 | |
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persiflage
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| n.戏弄；挖苦 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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attachment
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| n.附属物，附件；依恋；依附 | |
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transgressor
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| n.违背者 | |
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omission
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| n.省略，删节；遗漏或省略的事物，冗长 | |
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potent
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| adj.强有力的，有权势的；有效力的 | |
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absolves
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| 宣告…无罪，赦免…的罪行，宽恕…的罪行( absolve的第三人称单数 )； 不受责难，免除责任 [义务] ,开脱（罪责） | |
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descending
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| n. 下行 adj. 下降的 | |
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chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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postscript
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| n.附言，又及；(正文后的)补充说明 | |
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inventoried
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| vt.编制…的目录（inventory的过去式与过去分词形式） | |
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distrait
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| adj.心不在焉的 | |
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espied
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| v.看到( espy的过去式和过去分词 ) | |
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101
imbroglio
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| n.纷乱，纠葛，纷扰，一团糟 | |
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102
nibble
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| n.轻咬，啃；v.一点点地咬，慢慢啃，吹毛求疵 | |
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