It was vague at first, hardly a definite, tangible7 thing in the daughter's mind, but later it grew to be a definite feeling that her life was being cramped8. She had been warned off from association with this person and that; had been shown the pitfalls9 that surround the free, untrammelled life of the art studio. Marriage with the average artist was not to be considered. Modelling from the nude10, particularly the nude of a man, was to her mother at first most distressing11. She insisted on being present and for a long time her daughter thought that was all right. Finally the presence, the viewpoint, the intellectual insistence12 of her mother, became too irksome, and an open break followed. It was one of those family tragedies which almost kill conservative parents. Mrs. Finch's heart was practically broken.
The trouble with this break was that it came a little too late for Miriam's happiness. In the stress of this insistent13 chaperonage she had lost her youth—the period during which she felt she should have had her natural freedom. She had lost the interest of several men who in her nineteenth, twentieth and twenty-first years had approached her longingly15, but who could not stand the criticism of her mother. At twenty-eight when the break came the most delightful16 love period was over and she felt grieved and resentful.
At that time she had insisted on a complete and radical17 change for herself. She had managed to get, through one art dealer18 and another, orders for some of her spirited clay figurines. There was a dancing girl, a visualization19 of one of the moods of Carmencita, a celebrated20 dancer of the period, which had caught the public fancy—at least the particular art dealer who was handling her work for her had managed to sell some eighteen replicas21 of it at $175 each. Miss Finch's share of this was $100, each. There was another little thing, a six-inch bronze called "Sleep," which had sold some twenty replicas at $150 each, and was still selling. "The Wind," a figure crouching22 and huddling23 as if from cold, was also selling. It looked as though she might be able to make from three to four thousand dollars a year steadily24.
She demanded of her mother at this time the right to a private studio, to go and come when she pleased, to go about alone wherever she wished, to have men and women come to her private apartment, and be entertained by her in her own manner. She objected to supervision25 in any form, cast aside criticism and declared roundly that she would lead her own life. She realized sadly while she was doing it, however, that the best was gone—that she had not had the wit or the stamina26 to do as she pleased at the time she most wanted to do so. Now she would be almost automatically conservative. She could not help it.
Eugene when he first met her felt something of this. He felt the subtlety27 of her temperament, her philosophic28 conclusions, what might be called her emotional disappointment. She was eager for life, which seemed to him odd, for she appeared to have so much. By degrees he got it out of her, for they came to be quite friendly and then he understood clearly just how things were.
By the end of three months and before Christina Channing appeared, Eugene had come to the sanest29, cleanest understanding with Miss Finch that he had yet reached with any woman. He had dropped into the habit of calling there once and sometimes twice a week. He had learned to understand her point of view, which was detachedly æsthetic and rather removed from the world of the sensuous30. Her ideal of a lover had been fixed to a certain extent by statues and poems of Greek youth—Hylas, Adonis, Perseus, and by those men of the Middle Ages painted by Millais, Burne-Jones, Dante Gabriel Rossetti and Ford31 Madox Brown. She had hoped for a youth with a classic outline of face, distinction of form, graciousness of demeanor32 and an appreciative33 intellect. He must be manly34 but artistic. It was a rather high ideal, not readily capable of attainment35 by a woman already turned thirty, but nevertheless worth dreaming about.
Although she had surrounded herself with talented youth as much as possible—both young men and young women—she had not come across the one. There had been a number of times when, for a very little while, she had imagined she had found him, but had been compelled to see her fancies fail. All the youths she knew had been inclined to fall in love with girls younger than themselves—some to the interesting maidens36 she had introduced them to. It is hard to witness an ideal turning from yourself, its spiritual counterpart, and fixing itself upon some mere37 fleshly vision of beauty which a few years will cause to fade. Such had been her fate, however, and she was at times inclined to despair. When Eugene appeared she had almost concluded that love was not for her, and she did not flatter herself that he would fall in love with her. Nevertheless she could not help but be interested in him and look at times with a longing14 eye at his interesting face and figure. It was so obvious that if he loved at all it would be dramatically, in all probability, beautifully.
As time went on she took pains to be agreeable to him. He had, as it were, the freedom of her room. She knew of exhibitions, personalities38, movements—in religion, art, science, government, literature. She was inclined to take an interest in socialism, and believed in righting the wrongs of the people. Eugene thought he did, but he was so keenly interested in life as a spectacle that he hadn't as much time to sympathize as he thought he ought to have. She took him to see exhibitions, and to meet people, being rather proud of a boy with so much talent; and she was pleased to find that he was so generally acceptable. People, particularly writers, poets, musicians—beginners in every field, were inclined to remember him. He was an easy talker, witty39, quick to make himself at home and perfectly40 natural. He tried to be accurate in his judgments41 of things, and fair, but he was young and subject to strong prejudices. He appreciated her friendship, and did not seek to make their relationship more intimate. He knew that only a sincere proposal of marriage could have won her, and he did not care enough for her for that. He felt himself bound to Angela and, curiously42, he felt Miriam's age as a bar between them. He admired her tremendously and was learning in part through her what his ideal ought to be, but he was not drawn43 sufficiently44 to want to make love to her.
But in Christina Channing, whom he met shortly afterward45, he found a woman of a more sensuous and lovable type, though hardly less artistic. Christina Channing was a singer by profession, living also in New York with her mother, but not, as Miss Finch had been, dominated by her so thoroughly46, although she was still at the age when her mother could and did have considerable influence with her. She was twenty-seven years of age and so far, had not yet attained47 the eminence48 which subsequently was hers, though she was full of that buoyant self-confidence which makes for eventual49 triumph. So far she had studied ardently50 under various teachers, had had several love affairs, none serious enough to win her away from her chosen profession, and had gone through the various experiences of those who begin ignorantly to do something in art and eventually reach experience and understanding of how the world is organized and what they will have to do to succeed.
Although Miss Channing's artistic sense did not rise to that definite artistic expression in her material surroundings which characterized Miss Finch's studio atmosphere, it went much farther in its expression of her joy in life. Her voice, a rich contralto, deep, full, colorful, had a note of pathos51 and poignancy52 which gave a touch of emotion to her gayest songs. She could play well enough to accompany herself with delicacy53 and emphasis. She was at present one of the soloists54 with the New York Symphony Orchestra, with the privilege of accepting occasional outside engagements. The following Fall she was preparing to make a final dash to Germany to see if she could not get an engagement with a notable court opera company and so pave the way for a New York success. She was already quite well known in musical circles as a promising55 operatic candidate and her eventual arrival would be not so much a question of talent as of luck.
While these two women fascinated Eugene for the time being, his feeling for Angela continued unchanged; for though she suffered in an intellectual or artistic comparison, he felt that she was richer emotionally. There was a poignancy in her love letters, an intensity56 about her personal feelings when in his presence which moved him in spite of himself—an ache went with her which brought a memory of the tales of Sappho and Marguerite Gautier. It occurred to him now that if he flung her aside it might go seriously with her. He did not actually think of doing anything of the sort, but he was realizing that there was a difference between her and intellectual women like Miriam Finch. Besides that, there was a whole constellation57 of society women swimming into his ken—women whom he only knew, as yet, through the newspapers and the smart weeklies like Town Topics and Vogue58, who were presenting still a third order of perfection. Vaguely59 he was beginning to see that the world was immense and subtle, and that there were many things to learn about women that he had never dreamed of.
Christina Channing was a rival of Angela's in one sense, that of bodily beauty. She had a tall perfectly rounded form, a lovely oval face, a nut brown complexion60 with the rosy61 glow of health showing in cheeks and lips, and a mass of blue black hair. Her great brown eyes were lustrous62 and sympathetic.
Eugene met her through the good offices of Shotmeyer, who had been given by some common friend in Boston a letter of introduction to her. He had spoken of Eugene as being a very brilliant young artist and his friend, and remarked that he would like to bring him up some evening to hear her sing. Miss Channing acquiesced64, for she had seen some of his drawings and was struck by the poetic65 note in them. Shotmeyer, vain of his notable acquaintances—who in fact tolerated him for his amusing gossip—described Miss Channing's voice to Eugene and asked him if he did not want to call on her some evening. "Delighted," said Eugene.
The appointment was made and together they went to Miss Channing's suite66 in a superior Nineteenth Street boarding house. Miss Channing received them, arrayed in a smooth, close fitting dress of black velvet67, touched with red. Eugene was reminded of the first costume in which he had seen Ruby68. He was dazzled. As for her, as she told him afterward, she was conscious of a peculiar69 illogical perturbation.
"When I put on my ribbon that night," she told him, "I was going to put on a dark blue silk one I had just bought and then I thought 'No, he'll like me better in a red one.' Isn't that curious? I just felt as though you were going to like me—as though we might know each other better. That young man—what's his name—described you so accurately70." It was months afterward when she confessed that.
When Eugene entered it was with the grand air he had acquired since his life had begun to broaden in the East. He took his relationship with talent, particularly female talent, seriously. He stood up very straight, walked with a noticeable stride, drove an examining glance into the very soul of the person he was looking at. He was quick to get impressions, especially of talent. He could feel ability in another. When he looked at Miss Channing he felt it like a strong wave—the vibrating wave of an intense consciousness.
She greeted him, extending a soft white hand. They spoke63 of how they had heard of each other. Eugene somehow made her feel his enthusiasm for her art. "Music is the finer thing," he said, when she spoke of his own gift.
Christina's dark brown eyes swept him from head to foot. He was like his pictures, she thought—and as good to look at.
He was introduced to her mother. They sat down, talking, and presently Miss Channing sang—"Che faro senza Euridice." Eugene felt as if she were singing to him. Her cheeks were flushed and her lips red.
Her mother remarked after she had finished, "You're in splendid voice this evening, Christina."
"I feel particularly fit," she replied.
Christina thrilled. The description caught her fancy. It seemed true. She felt something of that in the sounds to which she gave utterance72.
"Please sing 'Who is Sylvia,'" he begged a little later. She complied gladly.
"That was written for you," he said softly as she ceased, for he had come close to the piano. "You image Sylvia for me." Her cheeks colored warmly.
"Thanks," she nodded, and her eyes spoke too. She welcomed his daring and she was glad to let him know it.
点击
收听单词发音
收听单词发音 |
1
finch
|
|
| n.雀科鸣禽(如燕雀，金丝雀等) | |
参考例句： |
|
|
|
|
2
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
3
temperament
|
|
| n.气质，性格，性情 | |
参考例句： |
|
|
|
|
4
corrupting
|
|
| （使）败坏( corrupt的现在分词 )； （使）腐化； 引起（计算机文件等的）错误； 破坏 | |
参考例句： |
|
|
|
|
5
judgment
|
|
| n.审判；判断力，识别力，看法，意见 | |
参考例句： |
|
|
|
|
6
diverge
|
|
| v.分叉，分歧，离题，使...岔开，使转向 | |
参考例句： |
|
|
|
|
7
tangible
|
|
| adj.有形的，可触摸的，确凿的，实际的 | |
参考例句： |
|
|
|
|
8
cramped
|
|
| a.狭窄的 | |
参考例句： |
|
|
|
|
9
pitfalls
|
|
| （捕猎野兽用的）陷阱( pitfall的名词复数 )； 意想不到的困难，易犯的错误 | |
参考例句： |
|
|
|
|
10
nude
|
|
| adj.裸体的；n.裸体者，裸体艺术品 | |
参考例句： |
|
|
|
|
11
distressing
|
|
| a.使人痛苦的 | |
参考例句： |
|
|
|
|
12
insistence
|
|
| n.坚持；强调；坚决主张 | |
参考例句： |
|
|
|
|
13
insistent
|
|
| adj.迫切的，坚持的 | |
参考例句： |
|
|
|
|
14
longing
|
|
| n.（for）渴望 | |
参考例句： |
|
|
|
|
15
longingly
|
|
| adv. 渴望地 热望地 | |
参考例句： |
|
|
|
|
16
delightful
|
|
| adj.令人高兴的，使人快乐的 | |
参考例句： |
|
|
|
|
17
radical
|
|
| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
参考例句： |
|
|
|
|
18
dealer
|
|
| n.商人，贩子 | |
参考例句： |
|
|
|
|
19
visualization
|
|
| n.想像，设想 | |
参考例句： |
|
|
|
|
20
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
21
replicas
|
|
| n.复制品( replica的名词复数 ) | |
参考例句： |
|
|
|
|
22
crouching
|
|
| v.屈膝，蹲伏( crouch的现在分词 ) | |
参考例句： |
|
|
|
|
23
huddling
|
|
| n. 杂乱一团, 混乱, 拥挤 v. 推挤, 乱堆, 草率了事 | |
参考例句： |
|
|
|
|
24
steadily
|
|
| adv.稳定地；不变地；持续地 | |
参考例句： |
|
|
|
|
25
supervision
|
|
| n.监督，管理 | |
参考例句： |
|
|
|
|
26
stamina
|
|
| n.体力；精力；耐力 | |
参考例句： |
|
|
|
|
27
subtlety
|
|
| n.微妙，敏锐，精巧；微妙之处，细微的区别 | |
参考例句： |
|
|
|
|
28
philosophic
|
|
| adj.哲学的，贤明的 | |
参考例句： |
|
|
|
|
29
sanest
|
|
| adj.心智健全的( sane的最高级 )；神志正常的；明智的；稳健的 | |
参考例句： |
|
|
|
|
30
sensuous
|
|
| adj.激发美感的；感官的，感觉上的 | |
参考例句： |
|
|
|
|
31
Ford
|
|
| n.浅滩，水浅可涉处；v.涉水，涉过 | |
参考例句： |
|
|
|
|
32
demeanor
|
|
| n.行为；风度 | |
参考例句： |
|
|
|
|
33
appreciative
|
|
| adj.有鉴赏力的，有眼力的；感激的 | |
参考例句： |
|
|
|
|
34
manly
|
|
| adj.有男子气概的；adv.男子般地，果断地 | |
参考例句： |
|
|
|
|
35
attainment
|
|
| n.达到，到达；［常pl.］成就，造诣 | |
参考例句： |
|
|
|
|
36
maidens
|
|
| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
参考例句： |
|
|
|
|
37
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
38
personalities
|
|
| n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 ) | |
参考例句： |
|
|
|
|
39
witty
|
|
| adj.机智的，风趣的 | |
参考例句： |
|
|
|
|
40
perfectly
|
|
| adv.完美地，无可非议地，彻底地 | |
参考例句： |
|
|
|
|
41
judgments
|
|
| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
参考例句： |
|
|
|
|
42
curiously
|
|
| adv.有求知欲地；好问地；奇特地 | |
参考例句： |
|
|
|
|
43
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
44
sufficiently
|
|
| adv.足够地，充分地 | |
参考例句： |
|
|
|
|
45
afterward
|
|
| adv.后来；以后 | |
参考例句： |
|
|
|
|
46
thoroughly
|
|
| adv.完全地，彻底地，十足地 | |
参考例句： |
|
|
|
|
47
attained
|
|
| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
参考例句： |
|
|
|
|
48
eminence
|
|
| n.卓越，显赫；高地，高处；名家 | |
参考例句： |
|
|
|
|
49
eventual
|
|
| adj.最后的，结局的，最终的 | |
参考例句： |
|
|
|
|
50
ardently
|
|
| adv.热心地，热烈地 | |
参考例句： |
|
|
|
|
51
pathos
|
|
| n.哀婉，悲怆 | |
参考例句： |
|
|
|
|
52
poignancy
|
|
| n.辛酸事，尖锐 | |
参考例句： |
|
|
|
|
53
delicacy
|
|
| n.精致，细微，微妙，精良；美味，佳肴 | |
参考例句： |
|
|
|
|
54
soloists
|
|
| n.独唱者，独奏者，单飞者( soloist的名词复数 ) | |
参考例句： |
|
|
|
|
55
promising
|
|
| adj.有希望的，有前途的 | |
参考例句： |
|
|
|
|
56
intensity
|
|
| n.强烈，剧烈；强度；烈度 | |
参考例句： |
|
|
|
|
57
constellation
|
|
| n.星座n.灿烂的一群 | |
参考例句： |
|
|
|
|
58
Vogue
|
|
| n.时髦，时尚；adj.流行的 | |
参考例句： |
|
|
|
|
59
vaguely
|
|
| adv.含糊地，暖昧地 | |
参考例句： |
|
|
|
|
60
complexion
|
|
| n.肤色；情况，局面；气质，性格 | |
参考例句： |
|
|
|
|
61
rosy
|
|
| adj.美好的，乐观的，玫瑰色的 | |
参考例句： |
|
|
|
|
62
lustrous
|
|
| adj.有光泽的；光辉的 | |
参考例句： |
|
|
|
|
63
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 | |
参考例句： |
|
|
|
|
64
acquiesced
|
|
| v.默认，默许( acquiesce的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
65
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
66
suite
|
|
| n.一套(家具)；套房；随从人员 | |
参考例句： |
|
|
|
|
67
velvet
|
|
| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
参考例句： |
|
|
|
|
68
ruby
|
|
| n.红宝石，红宝石色 | |
参考例句： |
|
|
|
|
69
peculiar
|
|
| adj.古怪的，异常的；特殊的，特有的 | |
参考例句： |
|
|
|
|
70
accurately
|
|
| adv.准确地，精确地 | |
参考例句： |
|
|
|
|
71
orchid
|
|
| n.兰花，淡紫色 | |
参考例句： |
|
|
|
|
72
utterance
|
|
| n.用言语表达，话语，言语 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |