I understand how scarlet7 can differ from crimson8 because I know that the smell of an orange is not the smell of a grape-fruit. I can also conceive that colours have shades, and guess what shades are. In smell and taste there are varieties not broad enough to be fundamental; so I call them shades. There are half a dozen roses near me. They all have the unmistakable rose scent9; yet my nose tells me that they are not the same. The American Beauty is distinct from the Jacqueminot and La France. Odours in certain grasses fade as really to my sense as certain colours do to yours in the sun. The freshness of a flower in my hand is analogous10 to the freshness I taste in an apple newly picked. I make use of analogies like these to enlarge my conceptions of colours. Some analogies which I draw between qualities in surface and vibration11, taste and smell, are drawn12 by others between sight, hearing, and touch. This fact encourages me to persevere13, to try and bridge the gap between the eye and the hand.
Certainly I get far enough to sympathize with the delight that my kind feel in beauty they see and harmony they hear. This bond between humanity and me is worth keeping, even if the idea on which I base it prove erroneous.
Sweet, beautiful vibrations14 exist for my touch, even though they travel through other substances than air to reach me. So I imagine sweet, delightful15 sounds, and the artistic16 arrangement of them which is called music, and I remember that they travel through the air to the ear, conveying impressions somewhat like mine. I also know what tones are, since they are perceptible tactually in a voice. Now, heat varies greatly in the sun, in the fire, in hands, and in the fur of animals; indeed, there is such a thing for me as a cold sun. So I think of the varieties of light that touch the eye, cold and warm, vivid and dim, soft and glaring, but always light, and I imagine their passage through the air to an extensive sense, instead of to a narrow one like touch. From the experience I have had with voices I guess how the eye distinguishes shades in the midst of light. While I read the lips of a woman whose voice is soprano, I note a low tone or a glad tone in the midst of a high, flowing voice. When I feel my cheeks hot, I know that I am red. I have talked so much and read so much about colours that through no will of my own I attach meanings to them, just as all people attach certain meanings to abstract terms like hope, idealism, monotheism, intellect, which cannot be represented truly by visible objects, but which are understood from analogies between immaterial concepts and the ideas they awaken17 of external things. The force of association drives me to say that white is exalted18 and pure, green is exuberant19, red suggests love or shame or strength. Without the colour or its equivalent, life to me would be dark, barren, a vast blackness.
Thus through an inner law of completeness my thoughts are not permitted to remain colourless. It strains my mind to separate colour and sound from objects. Since my education began I have always had things described to me with their colours and sounds by one with keen senses and a fine feeling for the significant. Therefore I habitually20 think of things as coloured and resonant21. Habit accounts for part. The soul sense accounts for another part. The brain with its five-sensed construction asserts its right and accounts for the rest. Inclusive of all, the unity22 of the world demands that colour be kept in it, whether I have cognizance of it or not. Rather than be shut out, I take part in it by discussing it, imagining it, happy in the happiness of those near me who gaze at the lovely hues23 of the sunset or the rainbow.
My hand has its share in this multiple knowledge, but it must never be forgotten that with the fingers I see only a very small portion of a surface, and that I must pass my hand continually over it before my touch grasps the whole. It is still more important, however, to remember that my imagination is not tethered to certain points, locations, and distances. It puts all the parts together simultaneously24 as if it saw or knew instead of feeling them. Though I feel only a small part of my horse at a time,—my horse is nervous and does not submit to manual explorations,—yet, because I have many times felt hock, nose, hoof25 and mane, I can see the steeds of Phœbus Apollo coursing the heavens.
With such a power active it is impossible that my thought should be vague, indistinct. It must needs be potent26, definite. This is really a corollary of the philosophical27 truth that the real world exists only for the mind. That is to say, I can never touch the world in its entirety; indeed, I touch less of it than the portion that others see or hear. But all creatures, all objects, pass into my brain entire, and occupy the same extent there that they do in material space. I declare that for me branched thoughts, instead of pines, wave, sway, rustle28, make musical the ridges29 of mountains rising summit upon summit. Mention a rose too far away for me to smell it. Straightway a scent steals into my nostril30, a form presses against my palm in all its dilating31 softness, with rounded petals32, slightly curled edges, curving stem, leaves drooping33. When I would fain view the world as a whole, it rushes into vision—man, beast, bird, reptile34, fly, sky, ocean, mountains, plain, rock, pebble35. The warmth of life, the reality of creation is over all—the throb36 of human hands, glossiness37 of fur, lithe38 windings39 of long bodies, poignant40 buzzing of insects, the ruggedness41 of the steeps as I climb them, the liquid mobility42 and boom of waves upon the rocks. Strange to say, try as I may, I cannot force my touch to pervade43 this universe in all directions. The moment I try, the whole vanishes; only small objects or narrow portions of a surface, mere44 touch-signs, a chaos45 of things scattered[138] at random46, remain. No thrill, no delight is excited thereby47. Restore to the artistic, comprehensive internal sense its rightful domain48, and you give me joy which best proves the reality.
点击收听单词发音
1 lesser | |
adj.次要的,较小的;adv.较小地,较少地 | |
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2 navigate | |
v.航行,飞行;导航,领航 | |
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3 haven | |
n.安全的地方,避难所,庇护所 | |
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4 steers | |
n.阉公牛,肉用公牛( steer的名词复数 )v.驾驶( steer的第三人称单数 );操纵;控制;引导 | |
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5 glorify | |
vt.颂扬,赞美,使增光,美化 | |
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6 annihilated | |
v.(彻底)消灭( annihilate的过去式和过去分词 );使无效;废止;彻底击溃 | |
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7 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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8 crimson | |
n./adj.深(绯)红色(的);vi.脸变绯红色 | |
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9 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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10 analogous | |
adj.相似的;类似的 | |
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11 vibration | |
n.颤动,振动;摆动 | |
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12 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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13 persevere | |
v.坚持,坚忍,不屈不挠 | |
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14 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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15 delightful | |
adj.令人高兴的,使人快乐的 | |
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16 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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17 awaken | |
vi.醒,觉醒;vt.唤醒,使觉醒,唤起,激起 | |
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18 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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19 exuberant | |
adj.充满活力的;(植物)繁茂的 | |
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20 habitually | |
ad.习惯地,通常地 | |
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21 resonant | |
adj.(声音)洪亮的,共鸣的 | |
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22 unity | |
n.团结,联合,统一;和睦,协调 | |
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23 hues | |
色彩( hue的名词复数 ); 色调; 信仰; 观点 | |
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24 simultaneously | |
adv.同时发生地,同时进行地 | |
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25 hoof | |
n.(马,牛等的)蹄 | |
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26 potent | |
adj.强有力的,有权势的;有效力的 | |
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27 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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28 rustle | |
v.沙沙作响;偷盗(牛、马等);n.沙沙声声 | |
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29 ridges | |
n.脊( ridge的名词复数 );山脊;脊状突起;大气层的)高压脊 | |
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30 nostril | |
n.鼻孔 | |
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31 dilating | |
v.(使某物)扩大,膨胀,张大( dilate的现在分词 ) | |
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32 petals | |
n.花瓣( petal的名词复数 ) | |
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33 drooping | |
adj. 下垂的,无力的 动词droop的现在分词 | |
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34 reptile | |
n.爬行动物;两栖动物 | |
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35 pebble | |
n.卵石,小圆石 | |
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36 throb | |
v.震颤,颤动;(急速强烈地)跳动,搏动 | |
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37 glossiness | |
有光泽的; 光泽度 | |
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38 lithe | |
adj.(指人、身体)柔软的,易弯的 | |
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39 windings | |
(道路、河流等)蜿蜒的,弯曲的( winding的名词复数 ); 缠绕( wind的现在分词 ); 卷绕; 转动(把手) | |
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40 poignant | |
adj.令人痛苦的,辛酸的,惨痛的 | |
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41 ruggedness | |
险峻,粗野; 耐久性; 坚固性 | |
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42 mobility | |
n.可动性,变动性,情感不定 | |
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43 pervade | |
v.弥漫,遍及,充满,渗透,漫延 | |
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44 mere | |
adj.纯粹的;仅仅,只不过 | |
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45 chaos | |
n.混乱,无秩序 | |
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46 random | |
adj.随机的;任意的;n.偶然的(或随便的)行动 | |
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47 thereby | |
adv.因此,从而 | |
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48 domain | |
n.(活动等)领域,范围;领地,势力范围 | |
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