Lycophron (if I remember rightly) relates that a horde5 of robbers who had been justly condemned6 in Ethiopia by King Actisanes to lose their ears and noses, fled to the cataracts7 of the Nile and from thence penetrated8 into the Sandy Desert, where they at length built the temple of Jupiter Ammon.
Lycophron, and after him Theopompus, tells us that these banditti, reduced to extreme want, having neither shoes, nor clothes, nor utensils9, nor bread, bethought themselves of raising a statue of gold to an Egyptian god. This statue was ordered one evening and made in the course of the night. A member of the university much attached to Lycophron and the Ethiopian robbers asserts that nothing was more common in the venerable ages of antiquity10 than to cast a statue of gold in one night, and afterwards throw it into a fire to reduce it to an impalpable powder, in order to be swallowed by a whole people.
But where did these poor devils, without breeches, find so much gold? “What, sir!” says the man of learning, “do you forget that they had stolen enough to buy all Africa and that their daughters’ ear-rings alone were worth nine millions five hundred thousand livres of our currency?”
Be it so. But for casting a statue a little preparation is necessary. M. Le Moine employed nearly two years in casting that of Louis XV. “Oh! but this Jupiter Ammon was at most but three feet high. Go to any pewterer; will he not make you half a dozen plates in a day?”
Sir, a statue of Jupiter is harder to make than pewter plates, and I even doubt whether your thieves had wherewith to make plates so quickly, clever as they might be at pilfering11. It is not very likely that they had the necessary apparatus12; they had more need to provide themselves with meal. I respect Lycophron much, but this profound Greek and his yet more profound commentators13 know so little of the arts — they are so learned in all that is useless, and so ignorant in all that concerns the necessaries and conveniences of life, professions, trades, and daily occupations that we will take this opportunity of informing them how a metal figure is cast. This is an operation which they will find neither in Lycophron, nor in Manetho, nor even in St. Thomas’s dream.
I omit many other preparations which the encyclop?dists, especially M. Diderot, have explained much better than I could do, in the work which must immortalize their glory as well as all the arts. But to form a clear idea of the process of this art the artist must be seen at work. No one can ever learn in a book to weave stockings, nor to polish diamonds, nor to work tapestry14. Arts and trades are learned only by example and practice.
点击收听单词发音
1 fable | |
n.寓言;童话;神话 | |
参考例句: |
|
|
2 absurdity | |
n.荒谬,愚蠢;谬论 | |
参考例句: |
|
|
3 magisterial | |
adj.威风的,有权威的;adv.威严地 | |
参考例句: |
|
|
4 authorized | |
a.委任的,许可的 | |
参考例句: |
|
|
5 horde | |
n.群众,一大群 | |
参考例句: |
|
|
6 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
参考例句: |
|
|
7 cataracts | |
n.大瀑布( cataract的名词复数 );白内障 | |
参考例句: |
|
|
8 penetrated | |
adj. 击穿的,鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
参考例句: |
|
|
9 utensils | |
器具,用具,器皿( utensil的名词复数 ); 器物 | |
参考例句: |
|
|
10 antiquity | |
n.古老;高龄;古物,古迹 | |
参考例句: |
|
|
11 pilfering | |
v.偷窃(小东西),小偷( pilfer的现在分词 );偷窃(一般指小偷小摸) | |
参考例句: |
|
|
12 apparatus | |
n.装置,器械;器具,设备 | |
参考例句: |
|
|
13 commentators | |
n.评论员( commentator的名词复数 );时事评论员;注释者;实况广播员 | |
参考例句: |
|
|
14 tapestry | |
n.挂毯,丰富多采的画面 | |
参考例句: |
|
|
欢迎访问英文小说网 |