I do not know, I have never been able to tell. I have never been able to decide whether we are the greatest or the dullest of peoples.
I think we are an imaginative people with an imagination at once gigantic, heroic and shy, and also we are a strangely restrained and disciplined people who are yet neither subdued6 nor subordinated.... These are flat contradictions to state, and yet how else can one render the paradox7 of the English character and this spectacle of a handful of mute, snobbish8, not obviously clever and quite obviously ill-educated men, holding together kingdoms, tongues and races, three hundred millions of them, in a restless fermenting9 peace? Again and again in India I would find myself in little circles of the official English,-supercilious, pretentious10, conventional, carefully "turned out" people, living gawkily, thinking gawkily, talking nothing but sport and gossip, relaxing at rare intervals11 into sentimentality and levity12 as mean as a banjo tune13, and a kind of despairful disgust would engulf14 me. And then in some man's work, in some huge irrigation scheme, some feat15 of strategic foresight16, some simple, penetrating17 realization18 of deep-lying things, I would find an effect, as if out of a thickly rusted19 sheath one had pulled a sword and found it—flame....
I recall one evening I spent at a little station in Bengal, between Lucknow and Delhi, an evening given over to private theatricals20. The theatre was a huge tent, and the little roughly improvised21 stage was lit by a row of oil footlights and so small as barely to give a foothold for the actors and actresses in the more crowded scenes. About me were the great people, the colonel's wife, a touring young man of family, officers and the wife of the manager of the big sugar refinery22 close at hand. Behind were English of a more dubious23 social position, also connected with the sugar refinery, a Eurasian family or so, very dressy and aggressive and terribly snubbed, and then I think various Portuguese24 and other nondescripts and groups of non-commissioned officers and men, some with their wives. The play, admirably chosen, was that crystallization of liberal Victorian snobbery25, Caste, and I remember there was a sub-current of amusement because the young officer who played—what is the name of the hero's friend? I forget—had in the haste of his superficiality adopted a moustache that would not keep on and an eyeglass that would not keep in.
Everybody was acting26 very badly, nobody was word-perfect and a rasping prompter would not keep ahead as he ought to have done; the scenery and the make-ups were daubs, and I was filled with amazement27 that having quite wantonly undertaken to do this thing these people could then do it so slackly. Then a certain sudden warmth in the applause about me quickened my attention, and I realized the satirical purport28 of drunken old father Eccles, and the moral intention of his son-in-law, the plumber29. Between them they expressed the whole duty of the workingman as the prosperous Victorians conceived it. He was to work hard always at any job he could find for any wages he could get, and if he didn't he was a "drunken shirker" and the dupe of "paid agitators30." A comforting but misleading doctrine31. And here were these people a decade on in the twentieth century, with Time, Death, and Judgment32 close upon them, still eagerly applauding, eager to excuse their minds with this one-sided, ungracious, old-fashioned nonsense, that has done so much to intensify33 the deepening class antagonisms34 that strain us now at home almost to the breaking point!
How amazingly, it seemed, those people didn't understand and wouldn't understand any class but their own, any race but their own, any usage other than their use! Covertly35 I surveyed the colonel's profile. It expressed nothing but entire satisfaction with these disastrous36 interpretations37. What a weather-worn thought-free face that grizzled veteran showed the world!
I was seized with a sudden curiosity to see how the private soldiers behind me were taking old Eccles. I turned round to discover cropped heads and faces as expressionless as masks, and behind them dusky faces watching very alertly, and then other dusky faces, Eurasians, inferiors, servants, natives.
Then at a sharp edge the glare of our lighting38 ceased and the canvas walls of our narrow world of illusion opened into a vast blue twilight39. At the opening stood two white-clad Sikhs, very, very still and attentive40, watching the performance, and beyond them was a great space of sky over a dim profile of trees and roofs and a minaret41, a sky darkling down to the flushed red memory—such a short memory it is in India—of a day that had gone for ever.
I remained staring at that for some time.
"Isn't old Eccles good?" whispered the colonel's wife beside me, and recalled me to the play....
Somehow that picture of a narrow canvas tent in the midst of immensities has become my symbol for the whole life of the governing English, the English of India and Switzerland and the Riviera and the West End and the public services....
But they are not England, they are not the English reality, which is a thing at once bright and illuminating42 and fitful, a thing humorous and wise and adventurous—Shakespeare, Dickens, Newton, Darwin, Nelson, Bacon, Shelley—English names every one—like the piercing light of lanterns swinging and swaying among the branches of dark trees at night.
点击收听单词发音
1 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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2 garrison | |
n.卫戍部队;驻地,卫戍区;vt.派(兵)驻防 | |
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3 impetus | |
n.推动,促进,刺激;推动力 | |
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4 makers | |
n.制造者,制造商(maker的复数形式) | |
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5 casually | |
adv.漠不关心地,无动于衷地,不负责任地 | |
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6 subdued | |
adj. 屈服的,柔和的,减弱的 动词subdue的过去式和过去分词 | |
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7 paradox | |
n.似乎矛盾却正确的说法;自相矛盾的人(物) | |
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8 snobbish | |
adj.势利的,谄上欺下的 | |
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9 fermenting | |
v.(使)发酵( ferment的现在分词 );(使)激动;骚动;骚扰 | |
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10 pretentious | |
adj.自命不凡的,自负的,炫耀的 | |
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11 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 | |
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12 levity | |
n.轻率,轻浮,不稳定,多变 | |
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13 tune | |
n.调子;和谐,协调;v.调音,调节,调整 | |
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14 engulf | |
vt.吞没,吞食 | |
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15 feat | |
n.功绩;武艺,技艺;adj.灵巧的,漂亮的,合适的 | |
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16 foresight | |
n.先见之明,深谋远虑 | |
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17 penetrating | |
adj.(声音)响亮的,尖锐的adj.(气味)刺激的adj.(思想)敏锐的,有洞察力的 | |
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18 realization | |
n.实现;认识到,深刻了解 | |
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19 rusted | |
v.(使)生锈( rust的过去式和过去分词 ) | |
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20 theatricals | |
n.(业余性的)戏剧演出,舞台表演艺术;职业演员;戏剧的( theatrical的名词复数 );剧场的;炫耀的;戏剧性的 | |
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21 improvised | |
a.即席而作的,即兴的 | |
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22 refinery | |
n.精炼厂,提炼厂 | |
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23 dubious | |
adj.怀疑的,无把握的;有问题的,靠不住的 | |
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24 Portuguese | |
n.葡萄牙人;葡萄牙语 | |
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25 snobbery | |
n. 充绅士气派, 俗不可耐的性格 | |
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26 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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27 amazement | |
n.惊奇,惊讶 | |
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28 purport | |
n.意义,要旨,大要;v.意味著,做为...要旨,要领是... | |
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29 plumber | |
n.(装修水管的)管子工 | |
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30 agitators | |
n.(尤指政治变革的)鼓动者( agitator的名词复数 );煽动者;搅拌器;搅拌机 | |
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31 doctrine | |
n.教义;主义;学说 | |
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32 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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33 intensify | |
vt.加强;变强;加剧 | |
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34 antagonisms | |
对抗,敌对( antagonism的名词复数 ) | |
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35 covertly | |
adv.偷偷摸摸地 | |
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36 disastrous | |
adj.灾难性的,造成灾害的;极坏的,很糟的 | |
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37 interpretations | |
n.解释( interpretation的名词复数 );表演;演绎;理解 | |
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38 lighting | |
n.照明,光线的明暗,舞台灯光 | |
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39 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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40 attentive | |
adj.注意的,专心的;关心(别人)的,殷勤的 | |
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41 minaret | |
n.(回教寺院的)尖塔 | |
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42 illuminating | |
a.富于启发性的,有助阐明的 | |
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