To answer that question well one must needs be artist and engineer, and I am neither. Moreover, one must employ words and phrases that do not exist, for this world still does not dream of the things that may be done with thought and steel, when the engineer is sufficiently1 educated to be an artist, and the artistic2 intelligence has been quickened to the accomplishment3 of an engineer. How can one write of these things for a generation which rather admires that inconvenient4 and gawky muddle5 of ironwork and Flemish architecture, the London Tower Bridge. When before this, temerarious anticipators have written of the mighty6 buildings that might someday be, the illustrator has blended with the poor ineffectual splutter of the author’s words, his powerful suggestion that it amounted simply to something bulbous, florid and fluent in the vein7 of the onion, and L’Art Nouveau. But here, it may be, the illustrator will not intervene.
Art has scarcely begun in the world.
There have been a few forerunners8 and that is all. Leonardo, Michael Angelo; how they would have exulted9 in the liberties of steel! There are no more pathetic documents in the archives of art than Leonardo’s memoranda10. In these, one sees him again and again reaching out as it were, with empty desirous hands, towards the unborn possibilities of the engineer. And Durer, too, was a Modern, with the same turn towards creative invention. In our times these men would have wanted to make viaducts, to bridge wild and inaccessible11 places, to cut and straddle great railways athwart the mountain masses of the world. You can see, time after time, in Durer’s work, as you can see in the imaginary architectural landscape of the Pompeian walls, the dream of structures, lighter12 and bolder than stone or brick can yield. . . . These Utopian town buildings will be the realisation of such dreams.
Here will be one of the great meeting places of mankind. Here — I speak of Utopian London — will be the traditional centre of one of the great races in the commonalty of the World State — and here will be its social and intellectual exchange. There will be a mighty University here, with thousands of professors and tens of thousands of advanced students, and here great journals of thought and speculation13, mature and splendid books of philosophy and science, and a glorious fabric14 of literature will be woven and shaped, and with a teeming15 leisureliness16, put forth17. Here will be stupendous libraries, and a mighty organisation18 of museums. About these centres will cluster a great swarm19 of people, and close at hand will be another centre, for I who am an Englishman must needs stipulate20 that Westminster shall still be a seat of world Empire, one of several seats, if you will — where the ruling council of the world assembles. Then the arts will cluster round this city, as gold gathers about wisdom, and here Englishmen will weave into wonderful prose and beautiful rhythms and subtly atmospheric21 forms, the intricate, austere22 and courageous23 imagination of our race.
One will come into this place as one comes into a noble mansion24. They will have flung great arches and domes25 of glass above the wider spaces of the town, the slender beauty of the perfect metal-work far overhead will be softened26 to a fairy-like unsubstantiality by the mild London air. It will be the London air we know, clear of filth27 and all impurity28, the same air that gives our October days their unspeakable clarity and makes every London twilight29 mysteriously beautiful. We shall go along avenues of architecture that will be emancipated30 from the last memories of the squat31 temple boxes of the Greek, the buxom32 curvatures of Rome; the Goth in us will have taken to steel and countless33 new materials as kindly34 as once he took to stone. The gay and swiftly moving platforms of the public ways will go past on either hand, carrying sporadic35 groups of people, and very speedily we shall find ourselves in a sort of central space, rich with palms and flowering bushes and statuary. We shall look along an avenue of trees, down a wide gorge36 between the cliffs of crowded hotels, the hotels that are still glowing with internal lights, to where the shining morning river streams dawnlit out to sea.
Great multitudes of people will pass softly to and fro in this central space, beautiful girls and youths going to the University classes that are held in the stately palaces about us, grave and capable men and women going to their businesses, children meandering37 along to their schools, holiday makers38, lovers, setting out upon a hundred quests; and here we shall ask for the two we more particularly seek. A graceful39 little telephone kiosk will put us within reach of them, and with a queer sense of unreality I shall find myself talking to my Utopian twin. He has heard of me, he wants to see me and he gives me clear directions how to come to him.
I wonder if my own voice sounds like that.
“Yes,” I say, “then I will come as soon as we have been to our hotel.”
We indulge in no eloquence40 upon this remarkable41 occasion. Yet I feel an unusual emotional stir. I tremble greatly, and the telephonic mouthpiece rattles42 as I replace it.
And thence the botanist43 and I walk on to the apartments that have been set aside for us, and into which the poor little rolls of the property that has accumulated about us in Utopia, our earthly raiment, and a change of linen44 and the like, have already been delivered. As we go I find I have little to say to my companion, until presently I am struck by a transitory wonder that he should have so little to say to me.
“I can still hardly realise,” I say, “that I am going to see myself — as I might have been.”
“No,” he says, and relapses at once into his own preoccupation.
For a moment my wonder as to what he should be thinking about brings me near to a double self-forgetfulness.
I realise we are at the entrance of our hotel before I can formulate45 any further remark.
“This is the place,” I say.
点击收听单词发音
1 sufficiently | |
adv.足够地,充分地 | |
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2 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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3 accomplishment | |
n.完成,成就,(pl.)造诣,技能 | |
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4 inconvenient | |
adj.不方便的,令人感到麻烦的 | |
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5 muddle | |
n.困惑,混浊状态;vt.使混乱,使糊涂,使惊呆;vi.胡乱应付,混乱 | |
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6 mighty | |
adj.强有力的;巨大的 | |
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7 vein | |
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络 | |
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8 forerunners | |
n.先驱( forerunner的名词复数 );开路人;先兆;前兆 | |
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9 exulted | |
狂喜,欢跃( exult的过去式和过去分词 ) | |
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10 memoranda | |
n. 备忘录, 便条 名词memorandum的复数形式 | |
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11 inaccessible | |
adj.达不到的,难接近的 | |
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12 lighter | |
n.打火机,点火器;驳船;v.用驳船运送;light的比较级 | |
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13 speculation | |
n.思索,沉思;猜测;投机 | |
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14 fabric | |
n.织物,织品,布;构造,结构,组织 | |
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15 teeming | |
adj.丰富的v.充满( teem的现在分词 );到处都是;(指水、雨等)暴降;倾注 | |
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16 leisureliness | |
n.悠然,从容 | |
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17 forth | |
adv.向前;向外,往外 | |
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18 organisation | |
n.组织,安排,团体,有机休 | |
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19 swarm | |
n.(昆虫)等一大群;vi.成群飞舞;蜂拥而入 | |
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20 stipulate | |
vt.规定,(作为条件)讲定,保证 | |
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21 atmospheric | |
adj.大气的,空气的;大气层的;大气所引起的 | |
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22 austere | |
adj.艰苦的;朴素的,朴实无华的;严峻的 | |
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23 courageous | |
adj.勇敢的,有胆量的 | |
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24 mansion | |
n.大厦,大楼;宅第 | |
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25 domes | |
n.圆屋顶( dome的名词复数 );像圆屋顶一样的东西;圆顶体育场 | |
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26 softened | |
(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
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27 filth | |
n.肮脏,污物,污秽;淫猥 | |
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28 impurity | |
n.不洁,不纯,杂质 | |
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29 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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30 emancipated | |
adj.被解放的,不受约束的v.解放某人(尤指摆脱政治、法律或社会的束缚)( emancipate的过去式和过去分词 ) | |
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31 squat | |
v.蹲坐,蹲下;n.蹲下;adj.矮胖的,粗矮的 | |
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32 buxom | |
adj.(妇女)丰满的,有健康美的 | |
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33 countless | |
adj.无数的,多得不计其数的 | |
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34 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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35 sporadic | |
adj.偶尔发生的 [反]regular;分散的 | |
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36 gorge | |
n.咽喉,胃,暴食,山峡;v.塞饱,狼吞虎咽地吃 | |
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37 meandering | |
蜿蜒的河流,漫步,聊天 | |
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38 makers | |
n.制造者,制造商(maker的复数形式) | |
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39 graceful | |
adj.优美的,优雅的;得体的 | |
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40 eloquence | |
n.雄辩;口才,修辞 | |
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41 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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42 rattles | |
(使)发出格格的响声, (使)作嘎嘎声( rattle的第三人称单数 ); 喋喋不休地说话; 迅速而嘎嘎作响地移动,堕下或走动; 使紧张,使恐惧 | |
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43 botanist | |
n.植物学家 | |
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44 linen | |
n.亚麻布,亚麻线,亚麻制品;adj.亚麻布制的,亚麻的 | |
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45 formulate | |
v.用公式表示;规划;设计;系统地阐述 | |
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