"Many poems and stories must be omitted because they deal with sight. Allusion1 to moonbeams, rainbows, starlight, clouds, and beautiful scenery may not be printed, because they serve to emphasize the blind man's sense of his affliction."
That is to say, I may not talk about beautiful mansions2 and gardens because I am poor. I may not read about Paris and the West Indies because I cannot visit them in their territorial4 reality. I may not dream of heaven because it is possible that I may never go there. Yet a venturesome spirit impels5 me to use words of sight and sound whose meaning I can guess only from analogy and fancy. This hazardous6 game is half the delight, the frolic, of daily life. I glow as I read of splendours which the eye alone can survey. Allusions7 to moonbeams and clouds do not emphasize the sense of my affliction: they carry my soul beyond affliction's narrow actuality.
Critics delight to tell us what we cannot do. They assume that blindness and deafness sever8 us completely from the things which the seeing and the hearing enjoy, and hence they assert we have no moral right to talk about beauty, the skies, mountains, the song of birds, and colours. They declare that the very sensations we have from the sense of touch are "vicarious," as though our friends felt the sun for us! They deny a priori what they have not seen and I have felt. Some brave doubters have gone so far even as to deny my existence. In order, therefore, that I may know that I exist, I resort to Descartes's method: "I think, therefore I am." Thus I am metaphysically established, and I throw upon the doubters the burden of proving my non-existence. When we consider how little has been found out about the mind, is it not amazing that any one should presume to define what one can know or cannot know? I admit that there are innumerable marvels9 in the visible universe unguessed by me. Likewise, O confident critic, there are a myriad10 sensations perceived by me of which you do not dream.
Necessity gives to the eye a precious power of seeing, and in the same way it gives a precious power of feeling to the whole body. Sometimes it seems as if the very substance of my flesh were so many eyes looking out at will upon a world new created every day. The silence and darkness which are said to shut me in, open my door most hospitably11 to countless12 sensations that distract, inform, admonish13, and amuse. With my three trusty guides, touch, smell, and taste, I make many excursions into the borderland of experience which is in sight of the city of Light. Nature accommodates itself to every man's necessity. If the eye is maimed, so that it does not see the beauteous face of day, the touch becomes more poignant14 and discriminating15. Nature proceeds through practice to strengthen and augment16 the remaining senses. For this reason the blind often hear with greater ease and distinctness than other people. The sense of smell becomes almost a new faculty17 to penetrate18 the tangle19 and vagueness of things. Thus, according to an immutable21 law, the senses assist and reinforce one another.
It is not for me to say whether we see best with the hand or the eye. I only know that the world I see with my fingers is alive, ruddy, and satisfying. Touch brings the blind many sweet certainties which our more fortunate fellows miss, because their sense of touch is uncultivated. When they look at things, they put their hands in their pockets. No doubt that is one reason why their knowledge is often so vague, inaccurate22, and useless. It is probable, too, that our knowledge of phenomena23 beyond the reach of the hand is equally imperfect. But, at all events, we behold24 them through a golden mist of fantasy.
There is nothing, however, misty25 or uncertain about what we can touch. Through the sense of touch I know the faces of friends, the illimitable variety of straight and curved lines, all surfaces, the exuberance26 of the soil, the delicate shapes of flowers, the noble forms of trees, and the range of mighty27 winds. Besides objects, surfaces, and atmospherical28 changes, I perceive countless vibrations29. I derive31 much knowledge of everyday matter from the jars and jolts32 which are to be felt everywhere in the house.
Footsteps, I discover, vary tactually according to the age, the sex, and the manners of the walker. It is impossible to mistake a child's patter for the tread of a grown person. The step of the young man, strong and free, differs from the heavy, sedate35 tread of the middle-aged36, and from the step of the old man, whose feet drag along the floor, or beat it with slow, faltering37 accents. On a bare floor a girl walks with a rapid, elastic38 rhythm which is quite distinct from the graver step of the elderly woman. I have laughed over the creak of new shoes and the clatter39 of a stout40 maid performing a jig41 in the kitchen. One day, in the dining-room of an hotel, a tactual dissonance arrested my attention. I sat still and listened with my feet. I found that two waiters were walking back and forth42, but not with the same gait. A band was playing, and I could feel the music-waves along the floor. One of the waiters walked in time to the band, graceful43 and light, while the other disregarded the music and rushed from table to table to the beat of some discord44 in his own mind. Their steps reminded me of a spirited war-steed harnessed with a cart-horse.
Often footsteps reveal in some measure the character and the mood of the walker. I feel in them firmness and indecision, hurry and deliberation, activity and laziness, fatigue45, carelessness, timidity, anger, and sorrow. I am most conscious of these moods and traits in persons with whom I am familiar.
Footsteps are frequently interrupted by certain jars and jerks, so that I know when one kneels, kicks, shakes something, sits down, or gets up. Thus I follow to some extent the actions of people about me and the changes of their postures46. Just now a thick, soft patter of bare, padded feet and a slight jolt33 told me that my dog had jumped on the chair to look out of the window. I do not, however, allow him to go uninvestigated; for occasionally I feel the same motion, and find him, not on the chair, but trespassing47 on the sofa.
When a carpenter works in the house or in the barn near by, I know by the slanting48, up-and-down, toothed vibration30, and the ringing concussion49 of blow upon blow, that he is sawing or hammering. If I am near enough, a certain vibration, travelling back and forth along a wooden surface, brings me the information that he is using a plane.
A slight flutter on the rug tells me that a breeze has blown my papers off the table. A round thump50 is a signal that a pencil has rolled on the floor. If a book falls, it gives a flat thud. A wooden rap on the balustrade announces that dinner is ready. Many of these vibrations are obliterated51 out of doors. On a lawn or the road, I can feel only running, stamping, and the rumble52 of wheels.
By placing my hand on a person's lips and throat, I gain an idea of many specific vibrations, and interpret them: a boy's chuckle53, a man's "Whew!" of surprise, the "Hem3!" of annoyance54 or perplexity, the moan of pain, a scream, a whisper, a rasp, a sob55, a choke, and a gasp56. The utterances57 of animals, though wordless, are eloquent58 to me—the cat's purr, its mew, its angry, jerky, scolding spit; the dog's bow-wow of warning or of joyous59 welcome, its yelp60 of despair, and its contented61 snore; the cow's moo; a monkey's chatter62; the snort of a horse; the lion's roar, and the terrible snarl63 of the tiger. Perhaps I ought to add, for the benefit of the critics and doubters who may peruse64 this essay, that with my own hands I have felt all these sounds. From my childhood to the present day I have availed myself of every opportunity to visit zoological gardens, menageries, and the circus, and all the animals, except the tiger, have talked into my hand. I have touched the tiger only in a museum, where he is as harmless as a lamb. I have, however, heard him talk by putting my hand on the bars of his cage. I have touched several lions in the flesh, and felt them roar royally, like a cataract65 over rocks.
To continue, I know the plop of liquid in a pitcher66. So if I spill my milk, I have not the excuse of ignorance. I am also familiar with the pop of a cork67, the sputter68 of a flame, the tick-tack of the clock, the metallic69 swing of the windmill, the laboured rise and fall of the pump, the voluminous spurt70 of the hose, the deceptive71 tap of the breeze at door and window, and many other vibrations past computing72.
There are tactual vibrations which do not belong to skin-touch. They penetrate the skin, the nerves, the bones, like pain, heat, and cold. The beat of a drum smites73 me through from the chest to the shoulder-blades. The din20 of the train, the bridge, and grinding machinery74 retains its "old-man-of-the-sea" grip upon me long after its cause has been left behind. If vibration and motion combine in my touch for any length of time, the earth seems to run away while I stand still. When I step off the train, the platform whirls round, and I find it difficult to walk steadily75.
Every atom of my body is a vibroscope. But my sensations are not infallible. I reach out, and my fingers meet something furry76, which jumps about, gathers itself together as if to spring, and acts like an animal. I pause a moment for caution. I touch it again more firmly, and find it is a fur coat fluttering and flapping in the wind. To me, as to you, the earth seems motionless, and the sun appears to move; for the rays of the afternoon withdraw more and more, as they touch my face, until the air becomes cool. From this I understand how it is that the shore seems to recede77 as you sail away from it. Hence I feel no incredulity when you say that parallel lines appear to converge78, and the earth and sky to meet. My few senses long ago revealed to me their imperfections and deceptivity.
Not only are the senses deceptive, but numerous usages in our language indicate that people who have five senses find it difficult to keep their functions distinct. I understand that we hear views, see tones, taste music. I am told that voices have colour. Tact34, which I have supposed to be a matter of nice perception, turns out to be a matter of taste. Judging from the large use of the word, taste appears to be the most important of all the senses. Taste governs the great and small conventions of life. Certainly the language of the senses is full of contradictions, and my fellows who have five doors to their house are not more surely at home in themselves than I. May I not, then, be excused if this account of my sensations lacks precision?
点击收听单词发音
1 allusion | |
n.暗示,间接提示 | |
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2 mansions | |
n.宅第,公馆,大厦( mansion的名词复数 ) | |
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3 hem | |
n.贴边,镶边;vt.缝贴边;(in)包围,限制 | |
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4 territorial | |
adj.领土的,领地的 | |
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5 impels | |
v.推动、推进或敦促某人做某事( impel的第三人称单数 ) | |
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6 hazardous | |
adj.(有)危险的,冒险的;碰运气的 | |
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7 allusions | |
暗指,间接提到( allusion的名词复数 ) | |
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8 sever | |
v.切开,割开;断绝,中断 | |
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9 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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10 myriad | |
adj.无数的;n.无数,极大数量 | |
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11 hospitably | |
亲切地,招待周到地,善于款待地 | |
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12 countless | |
adj.无数的,多得不计其数的 | |
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13 admonish | |
v.训戒;警告;劝告 | |
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14 poignant | |
adj.令人痛苦的,辛酸的,惨痛的 | |
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15 discriminating | |
a.有辨别能力的 | |
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16 augment | |
vt.(使)增大,增加,增长,扩张 | |
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17 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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18 penetrate | |
v.透(渗)入;刺入,刺穿;洞察,了解 | |
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19 tangle | |
n.纠缠;缠结;混乱;v.(使)缠绕;变乱 | |
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20 din | |
n.喧闹声,嘈杂声 | |
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21 immutable | |
adj.不可改变的,永恒的 | |
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22 inaccurate | |
adj.错误的,不正确的,不准确的 | |
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23 phenomena | |
n.现象 | |
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24 behold | |
v.看,注视,看到 | |
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25 misty | |
adj.雾蒙蒙的,有雾的 | |
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26 exuberance | |
n.丰富;繁荣 | |
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27 mighty | |
adj.强有力的;巨大的 | |
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28 atmospherical | |
adj.空气的,气压的 | |
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29 vibrations | |
n.摆动( vibration的名词复数 );震动;感受;(偏离平衡位置的)一次性往复振动 | |
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30 vibration | |
n.颤动,振动;摆动 | |
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31 derive | |
v.取得;导出;引申;来自;源自;出自 | |
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32 jolts | |
(使)摇动, (使)震惊( jolt的名词复数 ) | |
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33 jolt | |
v.(使)摇动,(使)震动,(使)颠簸 | |
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34 tact | |
n.机敏,圆滑,得体 | |
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35 sedate | |
adj.沉着的,镇静的,安静的 | |
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36 middle-aged | |
adj.中年的 | |
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37 faltering | |
犹豫的,支吾的,蹒跚的 | |
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38 elastic | |
n.橡皮圈,松紧带;adj.有弹性的;灵活的 | |
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39 clatter | |
v./n.(使)发出连续而清脆的撞击声 | |
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41 jig | |
n.快步舞(曲);v.上下晃动;用夹具辅助加工;蹦蹦跳跳 | |
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42 forth | |
adv.向前;向外,往外 | |
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43 graceful | |
adj.优美的,优雅的;得体的 | |
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44 discord | |
n.不和,意见不合,争论,(音乐)不和谐 | |
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45 fatigue | |
n.疲劳,劳累 | |
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46 postures | |
姿势( posture的名词复数 ); 看法; 态度; 立场 | |
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47 trespassing | |
[法]非法入侵 | |
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48 slanting | |
倾斜的,歪斜的 | |
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49 concussion | |
n.脑震荡;震动 | |
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50 thump | |
v.重击,砰然地响;n.重击,重击声 | |
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51 obliterated | |
v.除去( obliterate的过去式和过去分词 );涂去;擦掉;彻底破坏或毁灭 | |
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52 rumble | |
n.隆隆声;吵嚷;v.隆隆响;低沉地说 | |
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53 chuckle | |
vi./n.轻声笑,咯咯笑 | |
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54 annoyance | |
n.恼怒,生气,烦恼 | |
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55 sob | |
n.空间轨道的轰炸机;呜咽,哭泣 | |
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56 gasp | |
n.喘息,气喘;v.喘息;气吁吁他说 | |
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57 utterances | |
n.发声( utterance的名词复数 );说话方式;语调;言论 | |
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58 eloquent | |
adj.雄辩的,口才流利的;明白显示出的 | |
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59 joyous | |
adj.充满快乐的;令人高兴的 | |
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60 yelp | |
vi.狗吠 | |
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61 contented | |
adj.满意的,安心的,知足的 | |
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62 chatter | |
vi./n.喋喋不休;短促尖叫;(牙齿)打战 | |
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63 snarl | |
v.吼叫,怒骂,纠缠,混乱;n.混乱,缠结,咆哮 | |
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64 peruse | |
v.细读,精读 | |
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65 cataract | |
n.大瀑布,奔流,洪水,白内障 | |
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66 pitcher | |
n.(有嘴和柄的)大水罐;(棒球)投手 | |
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67 cork | |
n.软木,软木塞 | |
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68 sputter | |
n.喷溅声;v.喷溅 | |
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69 metallic | |
adj.金属的;金属制的;含金属的;产金属的;像金属的 | |
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70 spurt | |
v.喷出;突然进发;突然兴隆 | |
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71 deceptive | |
adj.骗人的,造成假象的,靠不住的 | |
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72 computing | |
n.计算 | |
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73 smites | |
v.猛打,重击,打击( smite的第三人称单数 ) | |
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74 machinery | |
n.(总称)机械,机器;机构 | |
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75 steadily | |
adv.稳定地;不变地;持续地 | |
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76 furry | |
adj.毛皮的;似毛皮的;毛皮制的 | |
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77 recede | |
vi.退(去),渐渐远去;向后倾斜,缩进 | |
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78 converge | |
vi.会合;聚集,集中;(思想、观点等)趋近 | |
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