Preface To Thish Edition

In the autumn of 1903 I used to dine frequently in a restaurant in the Rue¹ de Clichy, Paris. Here were, among others, two waitresses that attracted my attention. One was a beautiful, pale young girl, to whom I never spoke², for she was employed far away from the table which I affected³. The other, a stout⁴, aged⁶" target="_blank">middle-aged⁵ managing Breton woman, had sole command over my table and me, and gradually she began to assume such a maternal⁷ tone towards me that I saw I should be compelled to leave that restaurant. If I was absent for a couple of nights running she would reproach me sharply: "What! you are unfaithful to me?" Once, when I complained about some French beans, she informed me roundly that French beans were a subject which I did not understand. I then decided⁸ to be eternally unfaithful to her, and I abandoned the restaurant. A few nights before the final parting an old woman came into the restaurant to dine. She was fat, shapeless, ugly, and grotesque⁹. She had a ridiculous voice, and ridiculous gestures. It was easy to see that she lived alone, and that in the long lapse¹⁰ of years she had developed the kind of peculiarity¹¹ which induces guffaws¹² among the thoughtless. She was burdened with a lot of small parcels, which she kept dropping. She chose one seat; and then, not liking¹³ it, chose another; and then another. In a few moments she had the whole restaurant laughing at her. That my middle-aged Breton should laugh was indifferent to me, but I was pained to see a coarse grimace¹⁴ of giggling¹⁵ on the pale face of the beautiful young waitress to whom I had never spoken.

I reflected, concerning the grotesque diner: "This woman was once young, slim, perhaps beautiful; certainly free from these ridiculous mannerisms. Very probably she is unconscious of her singularities. Her case is a tragedy. One ought to be able to make a heartrending novel out of the history of a woman such as she." Every stout, ageing woman is not grotesque--far from it!--but there is an extreme pathos¹⁶ in the mere¹⁷ fact that every stout ageing woman was once a young girl with the unique charm of youth in her form and movements and in her mind. And the fact that the change from the young girl to the stout ageing woman is made up of an infinite number of infinitesimal changes, each unperceived by her, only intensifies¹⁸ the pathos.

It was at this instant that I was visited by the idea of writing the book which ultimately became "The Old Wives' Tale." Of course I felt that the woman who caused the ignoble¹⁹ mirth in the restaurant would not serve me as a type of heroine. For she was much too old and obviously unsympathetic. It is an absolute rule that the principal character of a novel must not be unsympathetic, and the whole modern tendency of realistic fiction is against oddness in a prominent figure. I knew that I must choose the sort of woman who would pass unnoticed in a crowd.

I put the idea aside for a long time, but it was never very distant from me. For several reasons it made a special appeal to me. I had always been a convinced admirer of Mrs. W. K. Clifford's most precious novel, "Aunt Anne," but I wanted to see in the story of an old woman many things that Mrs. W. K. Clifford had omitted from "Aunt Anne." Moreover, I had always revolted against the absurd youthfulness, the unfading youthfulness of the average heroine. And as a protest against this fashion, I was already, in 1903, planning a novel ("Leonora") of which the heroine was aged forty, and had daughters old enough to be in love. The reviewers, by the way, were staggered by my hardihood in offering a woman of forty as a subject of serious interest to the public. But I meant to go much farther than forty! Finally as a supreme²⁰ reason, I had the example and the challenge of Guy de Maupassant's "Une Vie." In the nineties we used to regard "Une Vie" with mute awe²¹, as being the summit of achievement in fiction. And I remember being very cross with Mr. Bernard Shaw because, having read "Une Vie" at the suggestion (I think) of Mr. William Archer²², he failed to see in it anything very remarkable²³. Here I must confess that, in 1908, I read "Une Vie" again, and in spite of a natural anxiety to differ from Mr. Bernard Shaw, I was gravely disappointed with it. It is a fine novel, but decidedly inferior to "Pierre et Jean" or even "Fort Comme la Mort." To return to the year 1903. "Une Vie" relates the entire life history of a woman. I settled in the privacy of my own head that my book about the development of a young girl into a stout old lady must be the English "Une Vie." I have been accused of every fault except a lack of self-confidence, and in a few weeks I settled a further point, namely, that my book must "go one better" than "Une Vie," and that to this end it must be the life-history of two women instead of only one. Hence, "The Old Wives' Tale" has two heroines. Constance was the original; Sophia was created out of bravado²⁴, just to indicate that I declined to consider Guy de Maupassant as the last forerunner²⁵ of the deluge²⁶. I was intimidated²⁷ by the audacity²⁸ of my project, but I had sworn to carry it out. For several years I looked it squarely in the face at intervals²⁹, and then walked away to write novels of smaller scope, of which I produced five or six. But I could not dally³⁰ forever, and in the autumn of 1907 I actually began to write it, in a village near Fontainebleau, where I rented half a house from a retired³¹ railway servant. I calculated that it would be 200,000 words long (which it exactly proved to be), and I had a vague notion that no novel of such dimensions (except Richardson's) had ever been written before. So I counted the words in several famous Victorian novels, and discovered to my relief that the famous Victorian novels average 400,000 words apiece. I wrote the first part of the novel in six weeks. It was fairly easy to me, because, in the seventies, in the first decade of my life, I had lived in the actual draper's shop of the Baines's, and knew it as only a child could know it. Then I went to London on a visit. I tried to continue the book in a London hotel, but London was too distracting, and I put the thing away, and during January and February of 1908, I wrote "Buried Alive," which was published immediately, and was received with majestic³² indifference³³ by the English public, an indifference which has persisted to this day.

I then returned to the Fontainebleau region and gave "The Old Wives' Tale" no rest till I finished it at the end of July, 1908. It was published in the autumn of the same year, and for six weeks afterward³⁴ the English public steadily³⁵ confirmed an opinion expressed by a certain person in whose judgment³⁶ I had confidence, to the effect that the work was honest but dull, and that when it was not dull it had a regrettable tendency to facetiousness³⁷. My publishers, though brave fellows, were somewhat disheartened; however, the reception of the book gradually became less and less frigid³⁸.

With regard to the French portion of the story, it was not until I had written the first part that I saw from a study of my chronological³⁹ basis that the Siege of Paris might be brought into the tale. The idea was seductive; but I hated, and still hate, the awful business of research; and I only knew the Paris of the Twentieth Century. Now I was aware that my railway servant and his wife had been living in Paris at the time of the war. I said to the old man, "By the way, you went through the Siege of Paris, didn't you?" He turned to his old wife and said, uncertainly, "The Siege of Paris? Yes, we did, didn't we?" The Siege of Paris had been only one incident among many in their lives. Of course, they remembered it well, though not vividly⁴⁰, and I gained much information from them. But the most useful thing which I gained from them was the perception, startling at first, that ordinary people went on living very ordinary lives in Paris during the siege, and that to the vast mass of the population the siege was not the dramatic, spectacular, thrilling, ecstatic affair that is described in history. Encouraged by this perception, I decided to include the siege in my scheme. I read Sarcey's diary of the siege aloud to my wife, and I looked at the pictures in Jules Claretie's popular work on the siege and the commune, and I glanced at the printed collection of official documents, and there my research ended.

It has been asserted that unless I had actually been present at a public execution, I could not have written the chapter in which Sophia was at the Auxerre solemnity. I have not been present at a public execution, as the whole of my information about public executions was derived⁴¹ from a series of articles on them which I read in the Paris Matin. Mr. Frank Harris, discussing my book in "Vanity Fair," said it was clear that I had not seen an execution, (or words to that effect), and he proceeded to give his own description of an execution. It was a brief but terribly convincing bit of writing, quite characteristic and quite worthy⁴² of the author of "Montes the Matador⁴³" and of a man who has been almost everywhere and seen almost everything. I comprehended how far short I had fallen of the truth! I wrote to Mr. Frank Harris, regretting that his description had not been printed before I wrote mine, as I should assuredly have utilized⁴⁴ it, and, of course, I admitted that I had never witnessed an execution. He simply replied: "Neither have I." This detail is worth preserving, for it is a reproof⁴⁵ to that large body of readers, who, when a novelist has really carried conviction to them, assert off hand: "O, that must be autobiography⁴⁶!"

ARNOLD BENNETT.

1 rue   

n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔

参考例句：

• You'll rue having failed in the examination.你会悔恨考试失败。
• You're going to rue this the longest day that you live.你要终身悔恨不尽呢。

2 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

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

3 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

5 middle-aged   

adj.中年的

参考例句：

• I noticed two middle-aged passengers.我注意到两个中年乘客。
• The new skin balm was welcome by middle-aged women.这种新护肤香膏受到了中年妇女的欢迎。

6 aged   

adj.年老的，陈年的

参考例句：

• He had put on weight and aged a little.他胖了，也老点了。
• He is aged,but his memory is still good.他已年老，然而记忆力还好。

7 maternal   

adj.母亲的，母亲般的，母系的，母方的

参考例句：

• He is my maternal uncle.他是我舅舅。
• The sight of the hopeless little boy aroused her maternal instincts.那个绝望的小男孩的模样唤起了她的母性。

8 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

9 grotesque   

adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物）

参考例句：

• His face has a grotesque appearance.他的面部表情十分怪。
• Her account of the incident was a grotesque distortion of the truth.她对这件事的陈述是荒诞地歪曲了事实。

10 lapse   

n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效

参考例句：

• The incident was being seen as a serious security lapse.这一事故被看作是一次严重的安全疏忽。
• I had a lapse of memory.我记错了。

11 peculiarity   

n.独特性，特色；特殊的东西；怪癖

参考例句：

• Each country has its own peculiarity.每个国家都有自己的独特之处。
• The peculiarity of this shop is its day and nigth service.这家商店的特点是昼夜服务。

12 guffaws   

n.大笑，狂笑( guffaw的名词复数 )v.大笑，狂笑( guffaw的第三人称单数 )

参考例句：

• Harry even had to cover his face duck out of view to hide his uncontrolled guffaws. 哈里王子更是一发不可收拾，捂住脸，狂笑起来。 来自互联网

13 liking   

n.爱好；嗜好；喜欢

参考例句：

• The word palate also means taste or liking.Palate这个词也有“口味”或“嗜好”的意思。
• I must admit I have no liking for exaggeration.我必须承认我不喜欢夸大其词。

14 grimace   

v.做鬼脸，面部歪扭

参考例句：

• The boy stole a look at his father with grimace.那男孩扮着鬼脸偷看了他父亲一眼。
• Thomas made a grimace after he had tasted the wine.托马斯尝了那葡萄酒后做了个鬼脸。

15 giggling   

v.咯咯地笑( giggle的现在分词 )

参考例句：

• We just sat there giggling like naughty schoolchildren. 我们只是坐在那儿像调皮的小学生一样的咯咯地傻笑。 来自《简明英汉词典》
• I can't stand her giggling, she's so silly. 她吃吃地笑，叫我真受不了，那样子傻透了。 来自《现代英汉综合大词典》

16 pathos   

n.哀婉，悲怆

参考例句：

• The pathos of the situation brought tears to our eyes.情况令人怜悯，看得我们不禁流泪。
• There is abundant pathos in her words.她的话里富有动人哀怜的力量。

17 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

18 intensifies   

n.（使）增强， （使）加剧( intensify的名词复数 )v.（使）增强， （使）加剧( intensify的第三人称单数 )

参考例句：

• A clear atmosphere intensifies the blue of the sky. 纯净的空气使天空变得更蓝。 来自《简明英汉词典》
• Blowing on fire intensifies the heat. 吹火使热度加强。 来自《简明英汉词典》

19 ignoble   

adj.不光彩的，卑鄙的；可耻的

参考例句：

• There's something cowardly and ignoble about such an attitude.这种态度有点怯懦可鄙。
• Some very great men have come from ignoble families.有些伟人出身低微。

20 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

21 awe   

n.敬畏，惊惧；vt.使敬畏，使惊惧

参考例句：

• The sight filled us with awe.这景色使我们大为惊叹。
• The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。

22 archer   

n.射手，弓箭手

参考例句：

• The archer strung his bow and aimed an arrow at the target.弓箭手拉紧弓弦将箭瞄准靶子。
• The archer's shot was a perfect bull's-eye.射手的那一箭正中靶心。

23 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

24 bravado   

n.虚张声势，故作勇敢，逞能

参考例句：

• Their behaviour was just sheer bravado. 他们的行为完全是虚张声势。
• He flourished the weapon in an attempt at bravado. 他挥舞武器意在虚张声势。

25 forerunner   

n.前身，先驱（者），预兆，祖先

参考例句：

• She is a forerunner of the modern women's movement.她是现代妇女运动的先驱。
• Penicillin was the forerunner of modern antibiotics.青霉素是现代抗生素的先导。

26 deluge   

n./vt.洪水，暴雨，使泛滥

参考例句：

• This little stream can become a deluge when it rains heavily.雨大的时候，这条小溪能变作洪流。
• I got caught in the deluge on the way home.我在回家的路上遇到倾盆大雨。

27 intimidated   

v.恐吓；威胁adj.害怕的；受到威胁的

参考例句：

• We try to make sure children don't feel intimidated on their first day at school. 我们努力确保孩子们在上学的第一天不胆怯。
• The thief intimidated the boy into not telling the police. 这个贼恫吓那男孩使他不敢向警察报告。 来自《简明英汉词典》

28 audacity   

n.大胆，卤莽，无礼

参考例句：

• He had the audacity to ask for an increase in salary.他竟然厚着脸皮要求增加薪水。
• He had the audacity to pick pockets in broad daylight.他竟敢在光天化日之下掏包。

29 intervals   

n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息

参考例句：

• The forecast said there would be sunny intervals and showers. 预报间晴，有阵雨。
• Meetings take place at fortnightly intervals. 每两周开一次会。

30 dally   

v.荒废(时日)，调情

参考例句：

• You should not dally away your time.你不应该浪费时间。
• One shouldn't dally with a girl's affection.一个人不该玩弄女孩子的感情。

31 retired   

adj.隐退的，退休的，退役的

参考例句：

• The old man retired to the country for rest.这位老人下乡休息去了。
• Many retired people take up gardening as a hobby.许多退休的人都以从事园艺为嗜好。

32 majestic   

adj.雄伟的，壮丽的，庄严的，威严的，崇高的

参考例句：

• In the distance rose the majestic Alps.远处耸立着雄伟的阿尔卑斯山。
• He looks majestic in uniform.他穿上军装显得很威风。

33 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

34 afterward   

adv.后来；以后

参考例句：

• Let's go to the theatre first and eat afterward. 让我们先去看戏，然后吃饭。
• Afterward,the boy became a very famous artist.后来，这男孩成为一个很有名的艺术家。

35 steadily   

adv.稳定地；不变地；持续地

参考例句：

• The scope of man's use of natural resources will steadily grow.人类利用自然资源的广度将日益扩大。
• Our educational reform was steadily led onto the correct path.我们的教学改革慢慢上轨道了。

36 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

• The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
• He's a man of excellent judgment.他眼力过人。

37 facetiousness   

n.滑稽

参考例句：

• Jastrow said, with tremulous facetiousness. 杰斯特罗说着，显出抖抖嗦嗦的滑稽样子。 来自辞典例句

38 frigid   

adj.寒冷的，凛冽的；冷淡的；拘禁的

参考例句：

• The water was too frigid to allow him to remain submerged for long.水冰冷彻骨，他在下面呆不了太长时间。
• She returned his smile with a frigid glance.对他的微笑她报以冷冷的一瞥。

39 chronological   

adj.按年月顺序排列的，年代学的

参考例句：

• The paintings are exhibited in chronological sequence.这些画是按创作的时间顺序展出的。
• Give me the dates in chronological order.把日期按年月顺序给我。

40 vividly   

adv.清楚地，鲜明地，生动地

参考例句：

• The speaker pictured the suffering of the poor vividly.演讲者很生动地描述了穷人的生活。
• The characters in the book are vividly presented.这本书里的人物写得栩栩如生。

41 derived   

vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取

参考例句：

• Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
• He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》

42 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。

43 matador   

n.斗牛士

参考例句：

• The matador and bull performed wonderfully in the ring.斗牛士和公牛在斗牛场中进行阗精彩的表演。
• The matador had a narrow escape.这个斗牛士真是死里逃生。

44 utilized   

v.利用，使用( utilize的过去式和过去分词 )

参考例句：

• In the19th century waterpower was widely utilized to generate electricity. 在19世纪人们大规模使用水力来发电。 来自《简明英汉词典》
• The empty building can be utilized for city storage. 可以利用那栋空建筑物作城市的仓库。 来自《简明英汉词典》

45 reproof   

n.斥责，责备

参考例句：

• A smart reproof is better than smooth deceit.严厉的责难胜过温和的欺骗。
• He is impatient of reproof.他不能忍受指责。

46 autobiography   

n.自传

参考例句：

• He published his autobiography last autumn.他去年秋天出版了自己的自传。
• His life story is recounted in two fascinating volumes of autobiography.这两卷引人入胜的自传小说详述了他的生平。