Full well Prometheus–Cleon plans — the past.
Or again, the Athenians used to call Prometheuses the makers7 of jars and stoves and other, clay-workers, with playful reference to the material, and perhaps to the use of fire in baking the ware9. If that is all your ‘Prometheus’ means, you have aimed your shaft10 well enough, and flavoured your jest with the right Attic tartness11; my productions are as brittle12 as their pottery13; fling a stone, and you may smash them all to pieces.
But here some one offers me a crumb14 of comfort: ‘That was not the likeness15 he found between you and Prometheus; he meant to commend your innovating16 originality17: at a time when human beings did not exist, Prometheus conceived and fashioned them; he moulded and elaborated certain living things into agility18 and beauty; he was practically their creator, though Athene assisted by putting breath into the clay and bringing the models to life.’ So says my some one, giving your remark its politest possible turn. Perhaps he has hit the true meaning; not that I can rest content, however, with the mere credit of innovation, and the absence of any original to which my work can be referred; if it is not good as well as original, I assure you I shall be ashamed of it, bring down my foot and crush it out of existence; its novelty shall not avail (with me at least) to save its ugliness from annihilation. If I thought otherwise, I admit that a round dozen of vultures would be none too many for the liver of a dunce who could not see that ugliness was only aggravated19 by strangeness.
Ptolemy, son of Lagus, imported two novelties into Egypt; one was a pure black Bactrian camel, the other a piebald man, half absolutely black and half unusually white, the two colours evenly distributed; he invited the Egyptians to the theatre, and concluded a varied20 show with these two, expecting to bring down the house. The audience, however, was terrified by the camel and almost stampeded; still, it was decked all over with gold, had purple housings and a richly jewelled bridle21, the spoil of Darius’ or Cambyses’ treasury22, if not of Cyrus’ own. As for the man, a few laughed at him, but most shrank as from a monster. Ptolemy realized that the show was a failure, and the Egyptians proof against mere novelty, preferring harmony and beauty. So he withdrew and ceased to prize them; the camel died forgotten, and the parti-coloured man became the reward of Thespis the fluteplayer for a successful after-dinner performance.
I am afraid my work is a camel in Egypt, and men’s admiration24 limited to the bridle and purple housings; as to combinations, though the components25 may be of the most beautiful (as Comedy and Dialogue in the present case), that will not ensure a good effect, unless the mixture is harmonious26 and well-proportioned; it is possible that the resultant of two beauties may be bizarre. The readiest instance to hand is the centaur27: not a lovely creature, you will admit, but a savage28, if the paintings of its drunken bouts29 and murders go for anything. Well, but on the other hand is it not possible for two such components to result in beauty, as the combination of wine and honey in superlative sweetness? That is my belief; but I am not prepared to maintain that my components have that property; I fear the mixture may only have obscured their separate beauties.
For one thing, there was no great original connexion or friendship between Dialogue and Comedy; the former was a stay-at-home, spending his time in solitude30, or at most taking a stroll with a few intimates; whereas Comedy put herself in the hands of Dionysus, haunted the theatre, frolicked in company, laughed and mocked and tripped it to the flute23 when she saw good; nay31, she would mount her anapaests, as likely as not, and pelt32 the friends of Dialogue with nicknames — doctrinaires, airy metaphysicians, and the like. The thing she loved of all else was to chaff33 them and drench34 them in holiday impertinence, exhibit them treading on air and arguing with the clouds, or measuring the jump of a flea35, as a type of their ethereal refinements36. But Dialogue continued his deep speculations37 upon Nature and Virtue38, till, as the musicians say, the interval39 between them was two full octaves, from the highest to the lowest note. This ill-assorted pair it is that we have dared to unite and harmonize-reluctant and ill — disposed for reconciliation40.
And here comes in the apprehension41 of yet another Promethean analogy: have I confounded male and female, and incurred42 the penalty? Or no — when will resemblances end? — have I, rather, cheated my hearers by serving them up bones wrapped in fat, comic laughter in philosophic43 solemnity? As for stealing — for Prometheus is the thief’s patron too — I defy you there; that is the one fault you cannot find with me: from whom should I have stolen? if any one has dealt before me in such forced unions and hybrids44, I have never made his acquaintance. But after all, what am I to do? I have made my bed, and I must lie in it; Epimetheus may change his mind, but Prometheus, never.
H.
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1 trampled | |
踩( trample的过去式和过去分词 ); 践踏; 无视; 侵犯 | |
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2 ingenuity | |
n.别出心裁;善于发明创造 | |
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3 attic | |
n.顶楼,屋顶室 | |
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4 laudatory | |
adj.赞扬的 | |
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5 subtlety | |
n.微妙,敏锐,精巧;微妙之处,细微的区别 | |
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6 mere | |
adj.纯粹的;仅仅,只不过 | |
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7 makers | |
n.制造者,制造商(maker的复数形式) | |
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8 applied | |
adj.应用的;v.应用,适用 | |
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9 ware | |
n.(常用复数)商品,货物 | |
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10 shaft | |
n.(工具的)柄,杆状物 | |
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11 tartness | |
n.酸,锋利 | |
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12 brittle | |
adj.易碎的;脆弱的;冷淡的;(声音)尖利的 | |
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13 pottery | |
n.陶器,陶器场 | |
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14 crumb | |
n.饼屑,面包屑,小量 | |
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15 likeness | |
n.相像,相似(之处) | |
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16 innovating | |
v.改革,创新( innovate的现在分词 );引入(新事物、思想或方法), | |
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17 originality | |
n.创造力,独创性;新颖 | |
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18 agility | |
n.敏捷,活泼 | |
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19 aggravated | |
使恶化( aggravate的过去式和过去分词 ); 使更严重; 激怒; 使恼火 | |
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20 varied | |
adj.多样的,多变化的 | |
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21 bridle | |
n.笼头,束缚;vt.抑制,约束;动怒 | |
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22 treasury | |
n.宝库;国库,金库;文库 | |
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23 flute | |
n.长笛;v.吹笛 | |
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24 admiration | |
n.钦佩,赞美,羡慕 | |
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25 components | |
(机器、设备等的)构成要素,零件,成分; 成分( component的名词复数 ); [物理化学]组分; [数学]分量; (混合物的)组成部分 | |
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26 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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27 centaur | |
n.人首马身的怪物 | |
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28 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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29 bouts | |
n.拳击(或摔跤)比赛( bout的名词复数 );一段(工作);(尤指坏事的)一通;(疾病的)发作 | |
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30 solitude | |
n. 孤独; 独居,荒僻之地,幽静的地方 | |
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31 nay | |
adv.不;n.反对票,投反对票者 | |
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32 pelt | |
v.投掷,剥皮,抨击,开火 | |
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33 chaff | |
v.取笑,嘲笑;n.谷壳 | |
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34 drench | |
v.使淋透,使湿透 | |
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35 flea | |
n.跳蚤 | |
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36 refinements | |
n.(生活)风雅;精炼( refinement的名词复数 );改良品;细微的改良;优雅或高贵的动作 | |
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37 speculations | |
n.投机买卖( speculation的名词复数 );思考;投机活动;推断 | |
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38 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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39 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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40 reconciliation | |
n.和解,和谐,一致 | |
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41 apprehension | |
n.理解,领悟;逮捕,拘捕;忧虑 | |
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42 incurred | |
[医]招致的,遭受的; incur的过去式 | |
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43 philosophic | |
adj.哲学的,贤明的 | |
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44 hybrids | |
n.杂交生成的生物体( hybrid的名词复数 );杂交植物(或动物);杂种;(不同事物的)混合物 | |
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