Therefore let us have no lifting of the curtain upon a tableau4 of the united lovers, backgrounded by defeated villainy and derogated by the comic, osculating maid and butler, thrown in as a sop5 to the Cerberi of the fifty-cent seats.
But our programme ends with a brief "turn" or two; and then to the exits. Whoever sits the show out may find, if he will, the slender thread that binds6 together, though ever so slightly, the story that, perhaps, only the Walrus7 will understand.
Extracts from a letter from the first vice-president of the Republic Insurance Company, of New York City, to Frank Goodwin, of Coralio, Republic of Anchuria.
My Dear Mr. Goodwin:—Your communication per Messrs. Howland and Fourchet, of New Orleans, has reached us. Also their draft on N. Y. for $100,000, the amount abstracted from the funds of this company by the late J. Churchill Wahrfield, its former president. … The officers and directors unite in requesting me to express to you their sincere esteem8 and thanks for your prompt and much appreciated return of the entire missing sum within two weeks from the time of its disappearance9. … Can assure you that the matter will not be allowed to receive the least publicity10. … Regret exceedingly the distressing11 death of Mr. Wahrfield by his own hand, but… Congratulations on your marriage to Miss Wahrfield … many charms, winning manners, noble and womanly nature and envied position in the best metropolitan12 society…
Cordially yours,
Lucius E. Applegate,
First Vice-President
the Republic Insurance Company.
The Vitagraphoscope
(Moving Pictures)
The Last Sausage
SCENE—An Artist's Studio. The artist, a young man of prepossessing appearance, sits in a dejected attitude, amid a litter of sketches13, with his head resting upon his hand. An oil stove stands on a pine box in the centre of the studio. The artist rises, tightens14 his waist belt to another hole, and lights the stove. He goes to a tin bread box, half-hidden by a screen, takes out a solitary15 link of sausage, turns the box upside-down to show that there is no more, and chucks the sausage into a frying-pan, which he sets upon the stove. The flame of the stove goes out, showing that there is no more oil. The artist, in evident despair, seizes the sausage, in a sudden access of rage, and hurls16 it violently from him. At the same time a door opens, and a man who enters receives the sausage forcibly against his nose. He seems to cry out; and is observed to make a dance step or two, vigorously. The newcomer is a ruddy-faced, active, keen-looking man, apparently17 of Irish ancestry18. Next he is observed to laugh immoderately; he kicks over the stove; he claps the artist (who is vainly striving to grasp his hand) vehemently19 upon the back. Then he goes through a pantomime which to the sufficiently20 intelligent spectator reveals that he has acquired large sums of money by trading pot-metal hatchets21 and razors to the Indians of the Cordillera Mountains for gold dust. He draws a roll of money as large as a small loaf of bread from his pocket, and waves it above his head, while at the same time he makes pantomime of drinking from a glass. The artist hurriedly secures his hat, and the two leave the studio together.
The Writing on the Sands
SCENE—The Beach at Nice. A woman, beautiful, still young, exquisitely22 clothed, complacent23, poised24, reclines near the water, idly scrawling25 letters in the sand with the staff of her silken parasol. The beauty of her face is audacious; her languid pose is one that you feel to be impermanent—you wait, expectant, for her to spring or glide26 or crawl, like a panther that has unaccountably become stock-still. She idly scrawls27 in the sand; and the word that she always writes is "Isabel." A man sits a few yards away. You can see that they are companions, even if no longer comrades. His face is dark and smooth, and almost inscrutable—but not quite. The two speak little together. The man also scratches on the sand with his cane28. And the word that he writes is "Anchuria." And then he looks out where the Mediterranean29 and the sky intermingle, with death in his gaze.
The Wilderness30 and Thou
SCENE—The Borders of a Gentleman's Estate in a Tropical Land. An old Indian, with a mahogany-coloured face, is trimming the grass on a grave by a mangrove31 swamp. Presently he rises to his feet and walks slowly toward a grove32 that is shaded by the gathering33, brief twilight34. In the edge of the grove stand a man who is stalwart, with a kind and courteous35 air, and a woman of a serene36 and clear-cut loveliness. When the old Indian comes up to them the man drops money in his hand. The grave-tender, with the stolid37 pride of his race, takes it as his due, and goes his way. The two in the edge of the grove turn back along the dim pathway, and walk close, close—for, after all, what is the world at its best but a little round field of the moving pictures with two walking together in it?
点击收听单词发音
1 hoop | |
n.(篮球)篮圈,篮 | |
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2 coupons | |
n.礼券( coupon的名词复数 );优惠券;订货单;参赛表 | |
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3 monologist | |
n.独白者,自言自语者 | |
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4 tableau | |
n.画面,活人画(舞台上活人扮的静态画面) | |
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5 sop | |
n.湿透的东西,懦夫;v.浸,泡,浸湿 | |
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6 binds | |
v.约束( bind的第三人称单数 );装订;捆绑;(用长布条)缠绕 | |
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7 walrus | |
n.海象 | |
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8 esteem | |
n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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9 disappearance | |
n.消失,消散,失踪 | |
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10 publicity | |
n.众所周知,闻名;宣传,广告 | |
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11 distressing | |
a.使人痛苦的 | |
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12 metropolitan | |
adj.大城市的,大都会的 | |
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13 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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14 tightens | |
收紧( tighten的第三人称单数 ); (使)变紧; (使)绷紧; 加紧 | |
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15 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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16 hurls | |
v.猛投,用力掷( hurl的第三人称单数 );大声叫骂 | |
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17 apparently | |
adv.显然地;表面上,似乎 | |
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18 ancestry | |
n.祖先,家世 | |
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19 vehemently | |
adv. 热烈地 | |
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20 sufficiently | |
adv.足够地,充分地 | |
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21 hatchets | |
n.短柄小斧( hatchet的名词复数 );恶毒攻击;诽谤;休战 | |
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22 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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23 complacent | |
adj.自满的;自鸣得意的 | |
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24 poised | |
a.摆好姿势不动的 | |
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25 scrawling | |
乱涂,潦草地写( scrawl的现在分词 ) | |
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26 glide | |
n./v.溜,滑行;(时间)消逝 | |
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27 scrawls | |
潦草的笔迹( scrawl的名词复数 ) | |
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28 cane | |
n.手杖,细长的茎,藤条;v.以杖击,以藤编制的 | |
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29 Mediterranean | |
adj.地中海的;地中海沿岸的 | |
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30 wilderness | |
n.杳无人烟的一片陆地、水等,荒漠 | |
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31 mangrove | |
n.(植物)红树,红树林 | |
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32 grove | |
n.林子,小树林,园林 | |
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33 gathering | |
n.集会,聚会,聚集 | |
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34 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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35 courteous | |
adj.彬彬有礼的,客气的 | |
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36 serene | |
adj. 安详的,宁静的,平静的 | |
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37 stolid | |
adj.无动于衷的,感情麻木的 | |
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