Dechartre was there, reciting verses of Dante, and looking at Florence: “At the hour when our mind, a greater stranger to the flesh . . . ”
Near him, Choulette, seated on the balustrade of the terrace, his legs hanging, and his nose in his beard, was still at work on the figure of Misery8 on his stick.
Dechartre resumed the rhymes of the canticle: “At the hour when our mind, a greater stranger to the flesh; and less under the obsession9 of thoughts, is almost divine in its visions, . . . ”
She approached beside the boxwood hedge, holding a parasol and dressed in a straw-colored gown. The faint sunlight of winter enveloped10 her in pale gold.
Dechartre greeted her joyfully11.
She said:
“You are reciting verses that I do not know. I know only Metastasio. My teacher liked only Metastasio. What is the hour when the mind has divine visions?”
“Madame, that hour is the dawn of the day. It may be also the dawn of faith and of love.”
Choulette doubted that the poet meant dreams of the morning, which leave at awakening12 vivid and painful impressions, and which are not altogether strangers to the flesh. But Dechartre had quoted these verses in the pleasure of the glorious dawn which he had seen that morning on the golden hills. He had been, for a long time, troubled about the images that one sees in sleep, and he believed that these images were not related to the object that preoccupies13 one the most, but, on the contrary, to ideas abandoned during the day.
Therese recalled her morning dream, the hunter lost in the thicket14.
“Yes,” said Dechartre, “the things we see at night are unfortunate remains15 of what we have neglected the day before. Dreams avenge16 things one has disdained17. They are reproaches of abandoned friends. Hence their sadness.”
She was lost in dreams for a moment, then she said:
“That is perhaps true.”
Then, quickly, she asked Choulette if he had finished the portrait of Misery on his stick. Misery had now become a figure of Piety18, and Choulette recognized the Virgin19 in it. He had even composed a quatrain which he was to write on it in spiral form — a didactic and moral quatrain. He would cease to write, except in the style of the commandments of God rendered into French verses. The four lines expressed simplicity20 and goodness. He consented to recite them.
Therese rested on the balustrade of the terrace and sought in the distance, in the depth of the sea of light, the peaks of Vallambrosa, almost as blue as the sky. Jacques Dechartre looked at her. It seemed to him that he saw her for the first time, such was the delicacy21 that he discovered in her face, which tenderness and intelligence had invested with thoughtfulness without altering its young, fresh grace. The daylight which she liked, was indulgent to her. And truly she was pretty, bathed in that light of Florence, which caresses23 beautiful forms and feeds noble thoughts. A fine, pink color rose to her well-rounded cheeks; her eyes, bluish-gray, laughed; and when she talked, the brilliancy of her teeth set off her lips of ardent24 sweetness. His look embraced her supple25 bust26, her full hips27, and the bold attitude of her waist. She held her parasol with her left hand, the other hand played with violets. Dechartre had a mania28 for beautiful hands. Hands presented to his eyes a physiognomy as striking as the face — a character, a soul. These hands enchanted29 him. They were exquisite30. He adored their slender fingers, their pink nails, their palms soft and tender, traversed by lines as elegant as arabesques31, and rising at the base of the fingers in harmonious32 mounts. He examined them with charmed attention until she closed them on the handle of her umbrella. Then, standing33 behind her, he looked at her again. Her bust and arms, graceful34 and pure in line, her beautiful form, which was like that of a living amphora, pleased him.
“Monsieur Dechartre, that black spot over there is the Boboli Gardens, is it not? I saw the gardens three years ago. There were not many flowers in them. Nevertheless, I liked their tall, sombre trees.”
It astonished him that she talked, that she thought. The clear sound of her voice amazed him, as if he never had heard it.
He replied at random35. He was awkward. She feigned36 not to notice it, but felt a deep inward joy. His low voice, which was veiled and softened37, seemed to caress22 her. She said ordinary things:
“That view is beautiful, The weather is fine.”
点击收听单词发音
1 dressing | |
n.(食物)调料;包扎伤口的用品,敷料 | |
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2 aesthetic | |
adj.美学的,审美的,有美感 | |
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3 varnished | |
浸渍过的,涂漆的 | |
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4 pottery | |
n.陶器,陶器场 | |
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5 copper | |
n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的 | |
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6 pitchers | |
大水罐( pitcher的名词复数 ) | |
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7 rustic | |
adj.乡村的,有乡村特色的;n.乡下人,乡巴佬 | |
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8 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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9 obsession | |
n.困扰,无法摆脱的思想(或情感) | |
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10 enveloped | |
v.包围,笼罩,包住( envelop的过去式和过去分词 ) | |
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11 joyfully | |
adv. 喜悦地, 高兴地 | |
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12 awakening | |
n.觉醒,醒悟 adj.觉醒中的;唤醒的 | |
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13 preoccupies | |
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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14 thicket | |
n.灌木丛,树林 | |
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15 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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16 avenge | |
v.为...复仇,为...报仇 | |
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17 disdained | |
鄙视( disdain的过去式和过去分词 ); 不屑于做,不愿意做 | |
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18 piety | |
n.虔诚,虔敬 | |
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19 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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20 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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21 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
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22 caress | |
vt./n.爱抚,抚摸 | |
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23 caresses | |
爱抚,抚摸( caress的名词复数 ) | |
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24 ardent | |
adj.热情的,热烈的,强烈的,烈性的 | |
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25 supple | |
adj.柔软的,易弯的,逢迎的,顺从的,灵活的;vt.使柔软,使柔顺,使顺从;vi.变柔软,变柔顺 | |
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26 bust | |
vt.打破;vi.爆裂;n.半身像;胸部 | |
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27 hips | |
abbr.high impact polystyrene 高冲击强度聚苯乙烯,耐冲性聚苯乙烯n.臀部( hip的名词复数 );[建筑学]屋脊;臀围(尺寸);臀部…的 | |
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28 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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29 enchanted | |
adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词 | |
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30 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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31 arabesques | |
n.阿拉伯式花饰( arabesque的名词复数 );错综图饰;阿拉伯图案;阿拉贝斯克芭蕾舞姿(独脚站立,手前伸,另一脚一手向后伸) | |
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32 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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33 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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34 graceful | |
adj.优美的,优雅的;得体的 | |
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35 random | |
adj.随机的;任意的;n.偶然的(或随便的)行动 | |
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36 feigned | |
a.假装的,不真诚的 | |
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37 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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