When it came to Miss Crabb’s adventure, every humorist excelled himself in descriptive smartness and in cunning turns of ironical6 phrasing. The head-line experts did telling work in the same connection. All this was[68] perfectly7 understood and enjoyed at home, but foreigners, especially the English, stubbornly insisted upon viewing it as the high-water mark of American refinement8 and culture.
When that genial9 periodical, the Smartsburgh Bulldozer, announced with due gravity that Miss Crabb, a Western journalist, had leaped from the top of Mt. Boab to the valley below, and had been caught in the arms of a stalwart moonshiner, where she safely reposed10, etc., the London Times copied the paragraph and made it a text for a heavy editorial upon the barbaric influences of Republican institutions, to which the American Minister felt bound to advert11 in a characteristic after-dinner speech at a London club. So humorous, however, were his remarks that he was understood to be vigorously in earnest, and the result was perfect confirmation12 of the old world’s opinion as to the rudimentary character of our national culture.
Meantime Hotel Helicon continued to be the scene of varied13 if not startling incidents. In their search for local color and picturesque material, the litterateurs invaded every nook and corner of the region upon and round about Mt. Boab, sketching15, making notes, recording16 suggestions, studying dialect, and filling their minds with the uncouth17 peculiarities18 of the mountain folk.
“It has come to this,” grumbled19 Peck, “that American literature, its fiction I mean, is founded on dialect drivel and vulgar yawp. Look at our magazines; four-fifths of their[69] short stories are full of negro talk, or cracker20 lingo21, or mountain jibberish, or New England farm yawp, or Hoosier dialect. It is horribly humiliating. It actually makes foreigners think that we are a nation of green-horns. Why, a day or two ago I had occasion to consult the article on American literature in the Encyclopædia Britannica and therein I was told in one breath how great a writer and how truly American Mr. Lowell is, and in the next breath I was informed that a poem beginning with the verse, ‘Under the yaller pines I house’ is one of his master-pieces! Do you see? Do you catch the drift of the Englishman’s argument? To be truly great, as an American, one must be surpassingly vulgar, even in poetry!”
This off-hand shower of critical observation had as little effect upon the minds of Peck’s hearers as a summer rain has on the backs of a flock of ducks. They even grew more vehement22 in their pursuit of local color.
“When I was spending a month at Rockledge castle with Lord Knownaught,” said Crane, “his lordship frequently suggested that I should make a poem on the life of Jesse James.”
“Well, why didn’t you do it?” inquired Miss Crabb with a ring of impatience23 in her voice, “if you had you might have made a hit. You might have attracted some attention.”
“I did write it,” said Crane retrospectively, “and sent it to George Dunkirk & Co.”
“Well?” sighed Miss Crabb with intense interest.
“Well,” replied Crane, “they rejected the MS. without reading it.”
Again Dufour laughed, as if at a good joke.
“George Dunkirk & Co.!” cried Guilford Ferris, the romancer, “George Dunkirk & Co.! They are thieves. They have been making false reports on copyright to me for five years or more!”
Dufour chuckled25 as if his jaws26 would fall off, and finally with a red face and gleaming humorous eyes got up from the chair he was filling on the veranda27, and went up to his room.
The rest of the company looked at one another inquiringly.
“Who is he, anyhow?” demanded Peck.
“That’s just my query,” said Ferris.
“Nobody in the house knows anything definite about him,” remarked R. Hobbs Lucas. “And yet he evidently is a distinguished28 person, and his name haunts me.”
“So it does me,” said Miss Moyne.
“I tell you he’s a newspaper reporter. His cheek proves that,” remarked Peck.
Miss Crabb made a note, her own cheek flaming. “I presume you call that humor,” she observed, “it’s about like New York’s best efforts. In the West reporters are respectable people.”
“I beg pardon,” Peck said hastily, “I did not mean to insinuate29 that anybody is not respectable. Everybody is eminently30 respectable if I speak of them. I never trouble myself with the other kind.”
“Well, I don’t believe that Mr. Dufour is a reporter at all,” replied Miss Crabb, with emphasis, “for he’s not inquisitive31, he don’t make notes, and he don’t appear to be writing any.”
“In my opinion he’s a realist—a genuine analytical32, motive-dissecting, commonplace-recording, international novelist in disguise,” said Ferris.
“Oh!”
“Ah!”
“Dear me!”
“But who?”
“It may be Arthur Selby himself, incog. Who knows?”
“Humph!” growled33 Crane with a lofty scrowl, “I should think I ought to know Selby. I drank wine with him at—”
Upon this occasion the number of newspapers that fell to the hand of each guest was much greater than usual, and it was soon discovered that Miss Crabb’s latest letter had been forwarded to a “syndicate” and was appearing simultaneously35 in ninety odd different journals.
No piece of composition ever was more stunningly36 realistic or more impartially37, nay38, abjectly39 truthful40 than was that letter. It gave[72] a minute account of the quarrel between Peck and Crane over their attentions to Miss Moyne, the fight, Miss Crabb’s fall, the subsequent adventures and all the hotel gossip of every sort. It was personal to the last degree, but it was not in the slightest libelous41. No person could say that any untruth had been told, or even that any tinge42 of false-coloring had been laid upon the facts as recorded; and yet how merciless!
Of course Miss Crabb’s name did not appear with the article, save as one of its subjects, and she saw at once that she had better guard her secret.
That was a breeze which rustled43 through Hotel Helicon. Everybody was supremely44 indignant; but there was no clue to the traitor45 who had thus betrayed everybody’s secrets. It would be absurd to suppose that Miss Crabb was not suspected at once, on account of her constant and superfluous46 show of note-making, still there were others who might be guilty. Crane and Peck were indignant, the former especially ready to resent to the death any allusion47 to the details of the duel48. Miss Moyne with the quick insight of a clever and gifted young woman, comprehended the situation in its general terms and was vexed49 as much as amused. The whole thing had to her mind the appearance of a melodramatic, broadly sensational50 sketch14, in which she had played the part of the innocent, unconscious, but all-powerful heroine. Indeed the newspaper account placed[73] her in this unpleasant attitude before a million readers.
“A lucky affair for you, Miss Moyne,” said Dufour to her, a few days later, “you cannot over-reckon the boom it will give to your latest book. You may expect a pretty round sum with your next copyright statement.”
“But the ridiculous idea of having all this stuff about me going the rounds of the newspapers!” she responded, her beautiful patrician52 face showing just a hint of color.
“Don’t care for it a moment,” said Dufour, “it will not hurt you.”
“The thought of having that hideous53 picture in all the patent inside pages of the cheap press, with my name under it, en toutes lettres, and—why it is horrible!” she went on, with trembling lips.
Dufour smiled upon her, as if indulgently, a curious, tender gleam in his eyes.
“Wait,” he said, “and don’t allow it to trouble you. The world discriminates54 pretty well, after all. It will not hurt you. It’s a mighty55 boom for you.”
She looked at him with a sudden flash in her cheeks and eyes, and exclaimed almost vehemently56: “I will not permit it! They shall not do it. I cannot bear to be treated as if—as if I were a theatrical57 person—a variety actress!”
“My dear Miss Moyne,” he hurriedly said, his own face showing a tinge of embarrassment,、 “you are taking a wrong point of view, indeed you are. Wait till you see the out-come.” His tone was humble58 and apologetic as he continued—“My opinion is that this very thing will quadruple the sales of your book.”
“I don’t want them quadrupled,” she cried, “just look at that front hair and that nose!” She held up a newspaper for him to inspect a picture of herself, a miserable59, distorted thing. “It is absolutely disgraceful. My dresses never fit like that, and who ever saw me with a man’s collar on!”
Tears were in her beautiful eyes.
Dufour consoled her as best he could, though he could not resist the temptation to suggest that even a caricature of her face was sure to have in it the fascination60 of genuine loveliness, a suggestion which was phrased with consummate61 art and received with an appearance of innocence62 that was beyond all art.
点击收听单词发音
1 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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2 dwellers | |
n.居民,居住者( dweller的名词复数 ) | |
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3 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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4 reverberated | |
回响,回荡( reverberate的过去式和过去分词 ); 使反响,使回荡,使反射 | |
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5 inmates | |
n.囚犯( inmate的名词复数 ) | |
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6 ironical | |
adj.讽刺的,冷嘲的 | |
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7 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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8 refinement | |
n.文雅;高尚;精美;精制;精炼 | |
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9 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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10 reposed | |
v.将(手臂等)靠在某人(某物)上( repose的过去式和过去分词 ) | |
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11 advert | |
vi.注意,留意,言及;n.广告 | |
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12 confirmation | |
n.证实,确认,批准 | |
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13 varied | |
adj.多样的,多变化的 | |
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14 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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15 sketching | |
n.草图 | |
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16 recording | |
n.录音,记录 | |
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17 uncouth | |
adj.无教养的,粗鲁的 | |
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18 peculiarities | |
n. 特质, 特性, 怪癖, 古怪 | |
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19 grumbled | |
抱怨( grumble的过去式和过去分词 ); 发牢骚; 咕哝; 发哼声 | |
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20 cracker | |
n.(无甜味的)薄脆饼干 | |
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21 lingo | |
n.语言不知所云,外国话,隐语 | |
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22 vehement | |
adj.感情强烈的;热烈的;(人)有强烈感情的 | |
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23 impatience | |
n.不耐烦,急躁 | |
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24 heartily | |
adv.衷心地,诚恳地,十分,很 | |
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25 chuckled | |
轻声地笑( chuckle的过去式和过去分词 ) | |
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26 jaws | |
n.口部;嘴 | |
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27 veranda | |
n.走廊;阳台 | |
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28 distinguished | |
adj.卓越的,杰出的,著名的 | |
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29 insinuate | |
vt.含沙射影地说,暗示 | |
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30 eminently | |
adv.突出地;显著地;不寻常地 | |
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31 inquisitive | |
adj.求知欲强的,好奇的,好寻根究底的 | |
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32 analytical | |
adj.分析的;用分析法的 | |
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33 growled | |
v.(动物)发狺狺声, (雷)作隆隆声( growl的过去式和过去分词 );低声咆哮着说 | |
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34 scramble | |
v.爬行,攀爬,杂乱蔓延,碎片,片段,废料 | |
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35 simultaneously | |
adv.同时发生地,同时进行地 | |
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36 stunningly | |
ad.令人目瞪口呆地;惊人地 | |
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37 impartially | |
adv.公平地,无私地 | |
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38 nay | |
adv.不;n.反对票,投反对票者 | |
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39 abjectly | |
凄惨地; 绝望地; 糟透地; 悲惨地 | |
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40 truthful | |
adj.真实的,说实话的,诚实的 | |
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41 libelous | |
adj.败坏名誉的,诽谤性的 | |
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42 tinge | |
vt.(较淡)着色于,染色;使带有…气息;n.淡淡色彩,些微的气息 | |
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43 rustled | |
v.发出沙沙的声音( rustle的过去式和过去分词 ) | |
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44 supremely | |
adv.无上地,崇高地 | |
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45 traitor | |
n.叛徒,卖国贼 | |
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46 superfluous | |
adj.过多的,过剩的,多余的 | |
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47 allusion | |
n.暗示,间接提示 | |
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48 duel | |
n./v.决斗;(双方的)斗争 | |
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49 vexed | |
adj.争论不休的;(指问题等)棘手的;争论不休的问题;烦恼的v.使烦恼( vex的过去式和过去分词 );使苦恼;使生气;详细讨论 | |
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50 sensational | |
adj.使人感动的,非常好的,轰动的,耸人听闻的 | |
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51 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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52 patrician | |
adj.贵族的,显贵的;n.贵族;有教养的人;罗马帝国的地方官 | |
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53 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
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54 discriminates | |
分别,辨别,区分( discriminate的第三人称单数 ); 歧视,有差别地对待 | |
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55 mighty | |
adj.强有力的;巨大的 | |
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56 vehemently | |
adv. 热烈地 | |
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57 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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58 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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59 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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60 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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61 consummate | |
adj.完美的;v.成婚;使完美 [反]baffle | |
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62 innocence | |
n.无罪;天真;无害 | |
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