My range of pieces was the usual one — waltzes, galops, “romances,” “arrangements,” etcetera; all of them of the class of delightful10 compositions of which any one with a little healthy taste could point out a selection among the better class works contained in any volume of music and say, “These are what you ought NOT to play, seeing that anything worse, less tasteful, and more silly has never yet been included in any collection of music,”— but which (probably for that very reason) are to be found on the piano of every Russian lady. True, we also possessed an unfortunate volume which contained Beethoven’s “Sonate Pathetique” and the C minor11 Sonata12 (a volume lamed13 for life by the ladies — more especially by Lubotshka, who used to discourse14 music from it in memory of Mamma), as well as certain other good pieces which her teacher in Moscow had given her; but among that collection there were likewise compositions of the teacher’s own, in the shape of clumsy marches and galops — and these too Lubotshka used to play! Katenka and I cared nothing for serious works, but preferred, above all things, “Le Fou” and “The Nightingale”— the latter of which Katenka would play until her fingers almost became invisible, and which I too was beginning to execute with much vigour15 and some continuity. I had adopted the gestures of the young man of whom I have spoken, and frequently regretted that there were no strangers present to see me play. Soon, however, I began to realise that Liszt and Kalkbrenner were beyond me, and that I should never overtake Katenka. Accordingly, imagining that classical music was easier (as well as, partly, for the sake of originality), I suddenly came to the conclusion that I loved abstruse17 German music. I began to go into raptures18 whenever Lubotshka played the “Sonate Pathetique,” and although (if the truth be told) that work had for years driven me to the verge19 of distraction20, I set myself to play Beethoven, and to talk of him as “Beethoven.” Yet through all this chopping and changing and pretence21 (as I now conceive) there may have run in me a certain vein22 of talent, since music sometimes affected23 me even to tears, and things which particularly pleased me I could strum on the piano afterwards (in a certain fashion) without the score; so that, had any one taught me at that period to look upon music as an end, a grace, in itself, and not merely as a means for pleasing womenfolk with the velocity24 and pseudo-sentiment of one’s playing, I might possibly have become a passable musician.
The reading of French novels (of which Woloda had brought a large store with him from Moscow) was another of my amusements that summer. At that period Monte Cristo and Taine’s works had just appeared, while I also revelled25 in stories by Sue, Dumas, and Paul de Kock. Even their most unnatural26 personages and events were for me as real as actuality, and not only was I incapable27 of suspecting an author of lying, but, in my eyes, there existed no author at all. That is to say, the various personages and events of a book paraded themselves before me on the printed page as personages and events that were alive and real; and although I had never in my life met such characters as I there read about, I never for a second doubted that I should one day do so. I discovered in myself all the passions described in every novel, as well as a likeness28 to all the characters — heroes and villains29 impartially30 — who figured therein, just as a suspicious man finds in himself the signs of every possible disease when reading a book on medicine. I took pleasure both in the cunning designs, the glowing sentiments, the tumultuous events, and the character- drawing of these works. A good man was of the goodness, a bad man of the badness, possible only to the imagination of early youth. Likewise I found great pleasure in the fact that it was all written in French, and that I could lay to heart the fine words which the fine heroes spoke16, and recall them for use some day when engaged in some noble deed. What quantities of French phrases I culled31 from those books for Kolpikoff’s benefit if I should ever meet him again, as well as for HERS, when at length I should find her and reveal to her my love! For them both I prepared speeches which should overcome them as soon as spoken! Upon novels, too, I founded new ideals of the moral qualities which I wished to attain32. First of all, I wished to be NOBLE in all my deeds and conduct (I use the French word noble instead of the Russian word blagorodni for the reason that the former has a different meaning to the latter — as the Germans well understood when they adopted noble as nobel and differentiated33 it from ehrlich); next, to be strenuous34; and lastly, to be what I was already inclined to be, namely, comme il faut. I even tried to approximate my appearance and bearing to that of the heroes who possessed these qualities. In particular I remember how in one of the hundred or so novels which I read that summer there was a very strenuous hero with heavy eyebrows35, and that I so greatly wished to resemble him (I felt that I did so already from a moral point of view) that one day, when looking at my eyebrows in the glass, I conceived the idea of clipping them, in order to make them grow bushier. Unfortunately, after I had started to do so, I happened to clip one spot rather shorter than the rest, and so had to level down the rest to it-with the result that, to my horror, I beheld36 myself eyebrow-less, and anything but presentable. However, I comforted myself with the reflection that my eyebrows would soon sprout37 again as bushy as my hero’s, and was only perplexed38 to think how I could explain the circumstance to the household when they next perceived my eyebrow-less condition. Accordingly I borrowed some gunpowder39 from Woloda, rubbed it on my temples, and set it alight. The powder did not fire properly, but I succeeded in singeing40 myself sufficiently41 to avert42 all suspicion of my pranks43. And, indeed, afterwards, when I had forgotten all about my hero, my eyebrows grew again, and much thicker than they had been before.
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1 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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2 discoursing | |
演说(discourse的现在分词形式) | |
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3 amenities | |
n.令人愉快的事物;礼仪;礼节;便利设施;礼仪( amenity的名词复数 );便利设施;(环境等的)舒适;(性情等的)愉快 | |
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4 skilfully | |
adv. (美skillfully)熟练地 | |
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5 graceful | |
adj.优美的,优雅的;得体的 | |
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6 possessed | |
adj.疯狂的;拥有的,占有的 | |
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7 instructor | |
n.指导者,教员,教练 | |
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8 rebellious | |
adj.造反的,反抗的,难控制的 | |
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9 luncheon | |
n.午宴,午餐,便宴 | |
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10 delightful | |
adj.令人高兴的,使人快乐的 | |
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11 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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12 sonata | |
n.奏鸣曲 | |
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13 lamed | |
希伯莱语第十二个字母 | |
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14 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
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15 vigour | |
(=vigor)n.智力,体力,精力 | |
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16 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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17 abstruse | |
adj.深奥的,难解的 | |
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18 raptures | |
极度欢喜( rapture的名词复数 ) | |
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19 verge | |
n.边,边缘;v.接近,濒临 | |
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20 distraction | |
n.精神涣散,精神不集中,消遣,娱乐 | |
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21 pretence | |
n.假装,作假;借口,口实;虚伪;虚饰 | |
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22 vein | |
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络 | |
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23 affected | |
adj.不自然的,假装的 | |
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24 velocity | |
n.速度,速率 | |
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25 revelled | |
v.作乐( revel的过去式和过去分词 );狂欢;着迷;陶醉 | |
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26 unnatural | |
adj.不自然的;反常的 | |
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27 incapable | |
adj.无能力的,不能做某事的 | |
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28 likeness | |
n.相像,相似(之处) | |
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29 villains | |
n.恶棍( villain的名词复数 );罪犯;(小说、戏剧等中的)反面人物;淘气鬼 | |
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30 impartially | |
adv.公平地,无私地 | |
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31 culled | |
v.挑选,剔除( cull的过去式和过去分词 ) | |
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32 attain | |
vt.达到,获得,完成 | |
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33 differentiated | |
区分,区别,辨别( differentiate的过去式和过去分词 ); 区别对待; 表明…间的差别,构成…间差别的特征 | |
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34 strenuous | |
adj.奋发的,使劲的;紧张的;热烈的,狂热的 | |
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35 eyebrows | |
眉毛( eyebrow的名词复数 ) | |
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36 beheld | |
v.看,注视( behold的过去式和过去分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟 | |
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37 sprout | |
n.芽,萌芽;vt.使发芽,摘去芽;vi.长芽,抽条 | |
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38 perplexed | |
adj.不知所措的 | |
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39 gunpowder | |
n.火药 | |
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40 singeing | |
v.浅表烧焦( singe的现在分词 );(毛发)燎,烧焦尖端[边儿];烧毛 | |
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41 sufficiently | |
adv.足够地,充分地 | |
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42 avert | |
v.防止,避免;转移(目光、注意力等) | |
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43 pranks | |
n.玩笑,恶作剧( prank的名词复数 ) | |
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