Rumor1 of departure is in the air. Since yesterday there has been vague talk of our being sent to China, to the Gulf2 of Pekin; one of those rumors3 which spread, no one knows how, from one end of the ship to the other, two or three days before the official orders arrive, and which usually turn out tolerably correct. What will the last act of my little Japanese comedy be? the denouement4, the separation? Will there be any touch of sadness on the part of my mousme, or on my own, just a tightening5 of the heartstrings at the moment of our final farewell? At this moment I can imagine nothing of the sort. And then the adieus of Yves and Chrysanthème, what will they be? This question preoccupies6 me more than all.
Nothing very definite has been learned as yet, but it is certain that, one way or another, our stay in Japan is drawing to a close. It is this, perhaps, which disposes me this evening to look more kindly7 on my surroundings. It is about six o’clock, after a day spent on duty, when I reach Diou-djen-dji. The evening sun, low in the sky, on the point of setting, pours into my room, and floods it with rays of red gold, lighting8 up the Buddhas9 and the great sheaves of quaintly10 arranged flowers in the antique vases. Here are assembled five or six little dolls, my neighbors, amusing themselves by dancing to the sound of Chrysanthème’s guitar. And this evening I experienced a real charm in feeling that this dwelling11 and the woman who leads the dance are mine. On the whole, I have perhaps been unjust to this country; it seems to me that my eyes are at last opened to see it in its true light, that all my senses are undergoing a strange and abrupt12 transition. I suddenly have a better perception and appreciation13 of all the infinity14 of dainty trifles among which I live; of the fragile and studied grace of their forms, the oddity of their drawings, the refined choice of their colors.
I stretch myself upon the white mats; Chrysanthème, always eagerly attentive15, brings me my pillow of serpent’s -skin; and the smiling mousmes, with the interrupted rhythm of a while ago still running in their heads, move around me with measured steps.
Their immaculate socks with the separate great toes make no noise; nothing is heard, as they glide16 by, but a ‘froufrou’ of silken stuffs. I find them all pleasant to look upon; their dollish air pleases me now, and I fancy I have discovered what it is that gives it to them: it is not only their round, inexpressive faces with eyebrows17 far removed from the eyelids18, but the excessive amplitude19 of their dress. With those huge sleeves, it might be supposed they have neither back nor shoulders; their delicate figures are lost in these wide robes, which float around what might be little marionettes without bodies at all, and which would slip to the ground of themselves were they not kept together midway, about where a waist should be, by the wide silken sashes — a very different comprehension of the art of dressing20 to ours, which endeavors as much as possible to bring into relief the curves, real or false, of the figure.
And then, how much I admire the flowers in our vases, arranged by Chrysanthème, with her Japanese taste lotus-flowers, great, sacred flowers of a tender, veined rose color, the milky21 rose-tint seen on porcelain22; they resemble, when in full bloom, great water-lilies, and when only in bud might be taken for long pale tulips. Their soft but rather cloying23 scent24 is added to that other indefinable odor of mousmes, of yellow race, of Japan, which is always and everywhere in the air. The late flowers of September, at this season very rare and expensive, grow on longer stems than the summer blooms; Chrysanthème has left them in their large aquatic25 leaves of a melancholy26 seaweed-green, and mingled28 with them tall, slight rushes. I look at them, and recall with some irony29 those great round bunches in the shape of cauliflowers, which our florists30 sell in France, wrapped in white lace-paper!
Still no letters from Europe, from any one. How things change, become effaced31 and forgotten! Here am I, accommodating myself to this finical Japan and dwindling32 down to its affected33 mannerism34; I feel that my thoughts run in smaller grooves35, my tastes incline to smaller things-things which suggest nothing greater than a smile. I am becoming used to tiny and ingenious furniture, to doll-like desks, to miniature bowls with which to play at dinner, to the immaculate monotony of the mats, to the finely finished simplicity36 of the white woodwork. I am even losing my Western prejudices; all my preconceived ideas are this evening evaporating and vanishing; crossing the garden I have courteously37 saluted38 M. Sucre, who was watering his dwarf39 shrubs40 and his deformed41 flowers; and Madame Prune42 appears to me a highly respectable old lady, in whose past there is nothing to criticise43.
We shall take no walk to-night; my only wish is to remain stretched out where I am, listening to the music of my mousme’s ‘chamecen’.
Till now I have always used the word guitar, to avoid exotic terms, for the abuse of which I have been so reproached. But neither the word guitar nor mandolin suffices to designate this slender instrument with its long neck, the high notes of which are shriller than the voice of the grasshopper44; and henceforth, I will write ‘chamecen’.
I will also call my mousme Kikou, Kikou-San; this name suits her better than Chrysanthème, which, though translating the sense exactly, does not preserve the strange-sounding euphony45 of the original.
I therefore say to Kikou, my wife:
“Play, play on for me; I shall remain here all the evening and listen to you.”
Astonished to find me in so amiable46 a mood, she requires pressing a little, and with almost a bitter curve of triumph and disdain47 upon her lips, she seats herself in the attitude of an idol48, raises her long, dark-colored sleeves, and begins. The first hesitating notes are murmured faintly and mingle27 with the music of the insects humming outside, in the quiet air of the warm and golden twilight49. First she plays slowly, a confused medley50 of fragments which she does not seem to remember perfectly51, of which one waits for the finish and waits in vain; while the other girls giggle52, inattentive, and regretful of their interrupted dance. She herself is absent, sulky, as if she were only performing a duty.
Then by degrees, little by little, the music becomes more animated53, and the mousmes begin to listen. Now, tremblingly, it grows into a feverish54 rapidity, and her gaze has no longer the vacant stare of a doll. Then the music changes again; in it there is the sighing of the wind, the hideous55 laughter of ghouls; tears, heartrending plaints, and her dilated56 pupils seem to be directed inwardly in settled gaze on some indescribable Japanesery within her own soul.
I listen, lying there with eyes half shut, looking out between my drooping57 eyelids, which are gradually lowering, in involuntary heaviness, upon the enormous red sun dying away over Nagasaki. I have a somewhat melancholy feeling that my past life and all other places in the world are receding58 from my view and fading away. At this moment of nightfall I feel almost at home in this corner of Japan, amidst the gardens of this suburb. I never have had such an impression before.

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1
rumor
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n.谣言,谣传,传说 | |
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2
gulf
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n.海湾;深渊,鸿沟;分歧,隔阂 | |
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3
rumors
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n.传闻( rumor的名词复数 );[古]名誉;咕哝;[古]喧嚷v.传闻( rumor的第三人称单数 );[古]名誉;咕哝;[古]喧嚷 | |
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4
denouement
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n.结尾,结局 | |
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5
tightening
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上紧,固定,紧密 | |
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6
preoccupies
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v.占据(某人)思想,使对…全神贯注,使专心于( preoccupy的第三人称单数 ) | |
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7
kindly
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adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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8
lighting
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n.照明,光线的明暗,舞台灯光 | |
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9
Buddhas
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n.佛,佛陀,佛像( Buddha的名词复数 ) | |
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10
quaintly
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adv.古怪离奇地 | |
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11
dwelling
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n.住宅,住所,寓所 | |
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12
abrupt
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adj.突然的,意外的;唐突的,鲁莽的 | |
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13
appreciation
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n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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14
infinity
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n.无限,无穷,大量 | |
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15
attentive
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adj.注意的,专心的;关心(别人)的,殷勤的 | |
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16
glide
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n./v.溜,滑行;(时间)消逝 | |
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17
eyebrows
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眉毛( eyebrow的名词复数 ) | |
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18
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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19
amplitude
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n.广大;充足;振幅 | |
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20
dressing
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n.(食物)调料;包扎伤口的用品,敷料 | |
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21
milky
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adj.牛奶的,多奶的;乳白色的 | |
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22
porcelain
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n.瓷;adj.瓷的,瓷制的 | |
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23
cloying
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adj.甜得发腻的 | |
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24
scent
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n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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25
aquatic
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adj.水生的,水栖的 | |
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26
melancholy
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n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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27
mingle
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vt.使混合,使相混;vi.混合起来;相交往 | |
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28
mingled
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混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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29
irony
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n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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30
florists
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n.花商,花农,花卉研究者( florist的名词复数 ) | |
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31
effaced
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v.擦掉( efface的过去式和过去分词 );抹去;超越;使黯然失色 | |
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32
dwindling
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adj.逐渐减少的v.逐渐变少或变小( dwindle的现在分词 ) | |
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33
affected
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adj.不自然的,假装的 | |
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34
mannerism
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n.特殊习惯,怪癖 | |
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35
grooves
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n.沟( groove的名词复数 );槽;老一套;(某种)音乐节奏v.沟( groove的第三人称单数 );槽;老一套;(某种)音乐节奏 | |
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36
simplicity
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n.简单,简易;朴素;直率,单纯 | |
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37
courteously
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adv.有礼貌地,亲切地 | |
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38
saluted
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v.欢迎,致敬( salute的过去式和过去分词 );赞扬,赞颂 | |
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39
dwarf
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n.矮子,侏儒,矮小的动植物;vt.使…矮小 | |
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40
shrubs
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灌木( shrub的名词复数 ) | |
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41
deformed
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adj.畸形的;变形的;丑的,破相了的 | |
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42
prune
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n.酶干;vt.修剪,砍掉,削减;vi.删除 | |
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43
criticise
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v.批评,评论;非难 | |
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44
grasshopper
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n.蚱蜢,蝗虫,蚂蚱 | |
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45
euphony
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n.悦耳的语音 | |
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46
amiable
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adj.和蔼可亲的,友善的,亲切的 | |
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47
disdain
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n.鄙视,轻视;v.轻视,鄙视,不屑 | |
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48
idol
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n.偶像,红人,宠儿 | |
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49
twilight
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n.暮光,黄昏;暮年,晚期,衰落时期 | |
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50
medley
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n.混合 | |
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51
perfectly
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adv.完美地,无可非议地,彻底地 | |
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52
giggle
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n.痴笑,咯咯地笑;v.咯咯地笑着说 | |
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53
animated
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adj.生气勃勃的,活跃的,愉快的 | |
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54
feverish
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adj.发烧的,狂热的,兴奋的 | |
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55
hideous
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adj.丑陋的,可憎的,可怕的,恐怖的 | |
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56
dilated
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adj.加宽的,扩大的v.(使某物)扩大,膨胀,张大( dilate的过去式和过去分词 ) | |
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57
drooping
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adj. 下垂的,无力的 动词droop的现在分词 | |
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58
receding
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v.逐渐远离( recede的现在分词 );向后倾斜;自原处后退或避开别人的注视;尤指问题 | |
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