[Pg 185]
Failing merry-go-rounds and cocoanut-shies, the delights of which are apt to pall7, the English masses have still left to them their main redoubt of rational enjoyment8, which, for reasons no man may skill, is called the music-hall. The English music-hall is practically an expansion or efflorescence of the old-fashioned "sing-song." Sixty years ago the man who went out to take a stoup of ale at his inn was accustomed to be regaled with a little music free of charge. Mine host had possessed9 himself of a second-hand10 piano, and secured the services of some broken-down musician to play it for him. There was a great singing of old songs, and the time sped merrily, as it did in the golden age. These feasts of harmony brought custom, and in course of time the evening "sing-songs" at certain hostelries became organised institutions and were run on lines of great enterprise, the piano being supplemented by an orchestra, and the pianist by a number of professional singers and entertainers. Within the last fifty years the "sing-song" has been[Pg 186] separated from its parent the alehouse, and has developed into the music-hall. To-day the English music-halls are almost as thick on the ground as churches and chapels11. In the metropolis12 you would have a difficulty to count them. In the provinces every town of size supports two or three halls, and insists on London talent and London style. The class of entertainment provided may be costly13 and amusing, but it is certainly not edifying14. The performers almost to a man, and one might say to a woman, are persons who can be considered "artists" only in the broadest sense, and whose ignorance and vulgarity are as colossal15 as their salaries.
Roughly, the entertainment may be divided into two sections, the one concerned with feats16 of strength, juggling17, and the like, and the other with laughter-making and vocalism. As regards the first of these sections, a man who can balance a horse and trap on the end of his chin appears to give great satisfaction to an English audience. Why this should be so, nobody knows. The[Pg 187] good purpose that may be served by balancing a horse and trap on the end of one's chin is not obvious; but the English masses are ravished by the spectacle. They also have a great fondness for the stout19 lady who catches cannon-balls on the back of her neck, for the other stout lady who risks her life nightly on the flying trapeze, for the gentleman who walks about the stage with a piano under one arm and a live mule20 under the other, and for the gentleman who rides the bicycle standing21 on his head. To the mind of the English masses these are marvels22 and well worth the money. They give a zest23 to life, they provide material for conversation, and their attraction seems perennial24.
The great stand-by of the halls, however, is the laughter-making and vocal18 department. Here shine the great stars whose names are familiar on English lips as household words. Here is purveyed25 the culture, the song, and the humour of the English masses. It is from the music-hall stage that the vast majority of Englishmen take their[Pg 188] tone and their sentiment. That renowned26 comedian27, Fred Fetchem, strolls on to the boards of the Frivolity28 some night, and, assuming a fiendish grin, exclaims idiotically; "There's 'air!" Next morning and for many weeks thereafter all England says; "There's 'air!" on any and every occasion. "What ho she bumps!" "Now, we sha'n't be long," "Not half," "Did he?" and similar catchwords, all popular and all meaningless, capture the English imagination in their turn, and for a season, at any rate, Englishmen can say nothing else. It is the same with the music-hall song. Always there are current in England three or four "songs of the hour," which every Englishman worth the name sings, whistles, or hums; and always these songs, from whatever point of view regarded, are of the most blithering and bathotic nature. At the present moment the prime and universal favourite is that pathetic ditty, Everybody's Loved by Some One. For the benefit of the English, I quote the first stanza29 and the chorus of this work:
[Pg 189]
A lady stood within a busy city,
Her darling little daughter by her side;
She'd stopped to buy a bunch of pretty violets
From a ragged30 little orphan31 she espied32.
The words she spoke33 were kinder than the boy had heard for years;
And in reply to what she asked, he murmur'd through his tears,
Everybody's loved by some one, everybody knows that's true,
Some have father and mother dear; sister and brother, too.
All the time that I remember, since I was a mite6 so small,
I seem to be the only one that nobody loves at all.
With this enchanting34 song the English welkin resounds35 by day and night. The great, broad-shouldered, genial36 Englishman, full of four-ale and bad whisky, howls it in chorus at his favourite "public," work-girls sing it in factories, mothers rock their children to sleep with it, and every English urchin37 whistles or shouts it at you with unflagging zest. Of course, there are others; for example, there is I'm a P'liceman, which goes like this:
[Pg 190]
In the inky hour of midnight, when the clock is striking three,
As I stroll along my beet-root, many curious things I see:
Ragged urchins38 stagger past me to their mansions39 in the west;
Millionaires, through cold and hunger, on our doorsteps sink to rest;
Dirty dustmen in their broughams, off to supper at the "Cri.";
Then "Bill Sykes," the burglar, passes, with an eye-glass in his eye.
Such are the sights I witness when I am on my beat,
Filling my heart with sawdust, filling my boots with feet;
Covering half the pavement up with my "plates of meat,"
Though mother sent to say that I'm a p'liceman—
which—need one remark?—is intended for what the Scots are supposed to call "wut." Also, there is He Stopped:
Pendlebury Plum had a wart40 on his gum,
And he rubbed it with sand-paper hard;
The wart on his gum made Plum fairly hum,
When it stuck out about half a yard.
The wart grew so quick, when he rubbed it with a brick,
Till it looked like a short billiard-cue;
Said Plum to himself, "I shall die on the shelf,
For I'm darned if I know what to do."
[Pg 191]
So he went and got a pick-axe and shov'd it underneath41,
Then he lifted up his jaw42, and he swallowed all his teeth;
Then he stopped!
The verses I have quoted are a good, true, and fair sample of the kind of thing that finds favour among the English masses. I do not think that anything better is being proffered43, and it is pretty certain that anything less inane44 would be doomed45 to failure. The fact is that the English mind in the lump is flat, coarse, and maggoty, and the English understanding is as the understanding of a feeble and ill-bred child. A couple of generations ago the songs popular among Englishmen had some claim to coherence46, decency47, and common sense; nowadays, however, the Englishman admits that "he cannot sing the old songs." He has gone farther and fared worse, and among the many symptoms of his decadence48, none is more pronounced than his easy toleration of the balderdash that is being served up to him by the "'alls."
点击收听单词发音
1 killing | |
n.巨额利润;突然赚大钱,发大财 | |
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2 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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3 racing | |
n.竞赛,赛马;adj.竞赛用的,赛马用的 | |
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4 harp | |
n.竖琴;天琴座 | |
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5 unlimited | |
adj.无限的,不受控制的,无条件的 | |
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6 mite | |
n.极小的东西;小铜币 | |
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7 pall | |
v.覆盖,使平淡无味;n.柩衣,棺罩;棺材;帷幕 | |
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8 enjoyment | |
n.乐趣;享有;享用 | |
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9 possessed | |
adj.疯狂的;拥有的,占有的 | |
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10 second-hand | |
adj.用过的,旧的,二手的 | |
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11 chapels | |
n.小教堂, (医院、监狱等的)附属礼拜堂( chapel的名词复数 );(在小教堂和附属礼拜堂举行的)礼拜仪式 | |
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12 metropolis | |
n.首府;大城市 | |
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13 costly | |
adj.昂贵的,价值高的,豪华的 | |
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14 edifying | |
adj.有教训意味的,教训性的,有益的v.开导,启发( edify的现在分词 ) | |
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15 colossal | |
adj.异常的,庞大的 | |
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16 feats | |
功绩,伟业,技艺( feat的名词复数 ) | |
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17 juggling | |
n. 欺骗, 杂耍(=jugglery) adj. 欺骗的, 欺诈的 动词juggle的现在分词 | |
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18 vocal | |
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
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20 mule | |
n.骡子,杂种,执拗的人 | |
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21 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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22 marvels | |
n.奇迹( marvel的名词复数 );令人惊奇的事物(或事例);不平凡的成果;成就v.惊奇,对…感到惊奇( marvel的第三人称单数 ) | |
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23 zest | |
n.乐趣;滋味,风味;兴趣 | |
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24 perennial | |
adj.终年的;长久的 | |
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25 purveyed | |
v.提供,供应( purvey的过去式和过去分词 ) | |
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26 renowned | |
adj.著名的,有名望的,声誉鹊起的 | |
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27 comedian | |
n.喜剧演员;滑稽演员 | |
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28 frivolity | |
n.轻松的乐事,兴高采烈;轻浮的举止 | |
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29 stanza | |
n.(诗)节,段 | |
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30 ragged | |
adj.衣衫褴褛的,粗糙的,刺耳的 | |
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31 orphan | |
n.孤儿;adj.无父母的 | |
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32 espied | |
v.看到( espy的过去式和过去分词 ) | |
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33 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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34 enchanting | |
a.讨人喜欢的 | |
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35 resounds | |
v.(指声音等)回荡于某处( resound的第三人称单数 );产生回响;(指某处)回荡着声音 | |
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36 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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37 urchin | |
n.顽童;海胆 | |
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38 urchins | |
n.顽童( urchin的名词复数 );淘气鬼;猬;海胆 | |
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39 mansions | |
n.宅第,公馆,大厦( mansion的名词复数 ) | |
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40 wart | |
n.疣,肉赘;瑕疵 | |
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41 underneath | |
adj.在...下面,在...底下;adv.在下面 | |
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42 jaw | |
n.颚,颌,说教,流言蜚语;v.喋喋不休,教训 | |
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43 proffered | |
v.提供,贡献,提出( proffer的过去式和过去分词 ) | |
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44 inane | |
adj.空虚的,愚蠢的,空洞的 | |
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45 doomed | |
命定的 | |
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46 coherence | |
n.紧凑;连贯;一致性 | |
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47 decency | |
n.体面,得体,合宜,正派,庄重 | |
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48 decadence | |
n.衰落,颓废 | |
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