Owing to the imperfections of the club laundry and the erring4 humanity of Downs, he arrived late. The Gay Spark had begun. He found a darkened auditorium5 and a glowing stage. In the dim box Lois and Laurencine were sitting in front on gilt6 chairs. Lucas sat behind Laurencine, and there was an empty chair behind Lois. Her gesture, her smile, her glance, as she turned to George and looked up, were touching7. She was delighted to see him; she had the mien8 of a child who has got what it wanted and has absolutely forgotten that it ever pouted9, shrieked10, and stamped its foot. She was determined11 to charm her uttermost. Her eye in the gloom was soft with mysterious invitations. George looked about the interior of the box; he saw the rich cloaks of the girls hanging up next to glossy12 masculine hats, the large mirror on the wall, and mother-of-pearl opera-glasses, chocolates, and flowers on the crimson13 ledge14. He was very close to the powerfully built and yet plastic Lois. He could watch her changing curves as she breathed; the faint scent15 she used rose to his nostrils16. He thought, with contained rapture17: "Nothing in the world is equal to this." He did not care a fig18 for the effect of perspective drawings or the result of the competition. Lois, her head half-turned towards him, her gaze lost in the sombre distances of the auditorium, talked in a low tone, ignoring the performance. He gathered that the sudden departure of Irene Wheeler had unusually impressed and disconcerted and, to a certain extent, mortified19 the sisters, who could not explain it, and who resented the compulsion to go back to Paris at once. And he detected in Lois, not for the first time, a grievance20 that Irene kept her, Lois, apart from the main current of her apparently21 gorgeous social career. Obviously an evening at which the sole guests were two girls and a youth all quite unknown to newspapers could not be a major item in the life of a woman such as Irene Wheeler. She had left them unceremoniously to themselves at the last moment, as it were permitting them to do what they liked within the limits of goodness for one night, and commanding them to return sagely22 home on the morrow. A red-nosed actor, hands in pockets, waddled23 self-consciously on to the stage, and the packed audience, emitting murmurs24 of satisfaction, applauded. Conversations were interrupted. George, expectant, gave his attention to the show. He knew little or nothing of musical comedy, having come under influences which had taught him to despise it. His stepfather, for example, could be very sarcastic25 about musical comedy, and through both Enwright and John Orgreave George had further cultivated the habit of classical music, already acquired in boyhood at home in the Five Towns. In the previous year, despite the calls upon his time of study for examinations, George had attended the Covent Garden performances of the Wagnerian "Ring" as he might have attended High Mass. He knew by name a considerable percentage of the hundred odd themes in "The Ring," and it was his boast that he could identify practically all the forty-seven themes in The Meistersingers . He raved26 about Ternina in Tristan . He had worshipped the Joachim quartet. He was acquainted with all the popular symphonies of Beethoven, Schubert, Schumann, Mozart, Glazounov, and Tschaikovsky. He even frequented the Philharmonic Concerts, which were then conducted by a composer of sentimental27 drawing-room ballads28, and though he would not class this conductor with Richter or Henry J. Wood, he yet believed that somehow, by the magic of the sacred name of the Philharmonic Society, the balladmonger in the man expired in the act of raising the baton29 and was replaced by a serious and sensitive artist. He was accustomed to hear the same pieces of music again and again and again, and they were all or nearly all very fine, indisputably great. It never occurred to him that once they had been unfamiliar30 and had had to fight for the notice of persons who indulged in music exactly as he indulged in music. He had no traffic with the unfamiliar. Unfamiliar items on a programme displeased31 him. He had heard compositions by Richard Strauss, but he could make nothing of them, and his timid, untravelled taste feared to like them. Mr. Enwright himself was mainly inimical to Strauss, as to most of modern Germany, perhaps because of the new architecture in Berlin. George knew that there existed young English composers with such names as Cyril Scott, Balfour Gardiner, Donald Tovey—for he had seen these names recently on the front page of The Daily Telegraph —but he had never gone to the extent of listening to their works. He was entirely32 sure that they could not hold a candle to Wagner, and his sub-conscious idea was that it was rather like their cheek to compose at all. He had not noticed that Hugo Wolf had just died, nor indeed had he noticed that Hugo Wolf had ever lived.
Nevertheless this lofty and exclusive adherent33 of the 'best' music was not prejudiced in advance against The Gay Spark . He was anxious to enjoy it and he expected to enjoy it. The Gay Spark had already an enormous prestige; it bore the agreeable, captivating label of Vienna; and immense sums were being made out of it in all the capitals of the world. George did not hope for immortal34 strains, but he anticipated a distinguished35, lilting gaiety, and in the 'book' a witty36 and cosmopolitan37 flavour that would lift the thing high above such English musical comedies as he had seen. It was impossible that a work of so universal and prodigious38 a vogue39 should not have unquestionable virtues40.
The sight of the red-nosed comedian41 rather shocked George, who had supposed that red-nosed comedians42 belonged to the past. However, the man was atoned43 for by three extremely beautiful and graceful44 young girls who followed him. Round about the small group was ranged a semicircle of handsome creatures in long skirts, behind whom was another semicircle of young men in white flannels45; the scene was a street in Mandalay. The red-nosed comedian began by making a joke concerning his mother-in-law, and another concerning mendacious46 statements to his wife to explain his nocturnal absences from home, and another concerning his intoxicated47 condition. The three extremely beautiful and graceful young girls laughed deliriously48 at the red-nosed comedian; they replied in a similar vein49. They clasped his neck and kissed him rapturously, and thereupon he sang a song, of which the message was that all three extremely beautiful and graceful girls practised professionally the most ancient and stable of feminine vocations50; the girls, by means of many refrains, confirmed this definition of their status in society. Then the four of them danced, and there was enthusiastic applause from every part of the house except the semicircle of European odalisques lost, for some unexplained reason, in Mandalay. These ladies, the indubitable physical attractions of each of whom were known by the management to fill five or six stalls every night, took no pains whatever to hide that they were acutely bored by the whole proceedings51. Self-sufficient in their beauty, deeply aware of the power of their beauty, they deigned52 to move a lackadaisical53 arm or leg at intervals54 in accordance with the respectful suggestions of the conductor.
Soon afterwards the gay spark herself appeared, amid a hysteria of applause. She played the part of the wife of a military officer, and displayed therein a marvellous, a terrifying vitality55 of tongue, leg, and arm. The young men in white flannels surrounded her, and she could flirt56 with all of them; she was on intimate terms with the red-nosed comedian, and also with the trio of delightful57 wantons, and her ideals in life seemed to be identical with theirs. When, through the arrival of certain dandies twirling canes58, and the mysterious transformation59 of the Burmese street into a Parisian cafe, these ideals were on the point of realization60, there was a great burst of brass61 in the orchestra, succeeded by a violent chorus, some kicking, and a general wassail, and the curtain fell on the first act. It had to be raised four times before the gratefully appreciative62 clapping would cease.
The auditorium shone with light; it grew murmurous63 with ecstatic approval. The virginal face of Laurencine shot its rapture to Lucas as she turned to shake hands with George.
"Jolly well done, isn't it?" said Lucas.
"Yes," said George.
Lucas, too content to notice the perfunctoriness of George's affirmative, went on:
"When you think that they're performing it this very night in St. Petersburg, Berlin, Paris, Brussels, and, I fancy, Rome, but I'm not sure—marvellous, isn't it?"
"It is," said George ambiguously.
Though continuing to like him, he now definitely despised Everard. The fellow had no artistic64 perceptions; he was a child. By some means he had got through his Final, and was soon to be a junior partner in Enwright & Lucas. George, however, did not envy Everard the soft situation; he only pitied Enwright & Lucas. Everard had often urged George to go to musical comedies more frequently, hinting that they were frightfully better than George could conceive. The Gay Spark gave Lucas away entirely; it gave away his method of existence.
"I don't believe you like it," said sharp Laurencine.
"I adore it," George protested. "Don't you?"
"Oh! I do, of course," said Laurencine. "I knew I should."
Lucas, instinctively65 on the defence, said:
"The second act's much better than the first."
George's hopes, dashed but not broken, recovered somewhat. After all there had been one or two gleams of real jokes, and a catchiness66 in certain airs; and the spark possessed67 temperament68 in profusion69. It was possible that the next act might be diverting.
"You do look tired," said Laurencine.
"Oh no, darling!" Lois objected. "I think he looks splendid."
She was intensely happy in the theatre. The box was very well placed—since Irene had bought it—with a view equally good of the stage and of the semicircle of boxes. Lois' glance wandered blissfully round the boxes, all occupied by gay parties, and over the vivacious70 stalls. She gazed, and she enjoyed being gazed at. She bathed herself in the glitter and the gaudiness71 and the opulence72 and the humanity, as in tonic73 fluid. She seemed to float sinuously74 and voluptuously75 immersed in it, as in tepid76 water lit with sunshine.
"Do have a choc.," she invited eagerly.
George took a chocolate. She took one. They all took one. They all had the unconscious pride of youth that does not know itself young. Each was different from the others. George showed the reserve of the artist; Lucas the ease of the connoisseur77 of mundane78 spectacles; Laurencine the sturdy, catholic, girlish innocence79 that nothing can corrupt80. And the sovereign was Lois. She straightened her shoulders; she leaned languorously81; she looked up, she looked down; she spoke82 softly and loudly; she laughed and smiled. And in every movement and in every gesture and tone she sym bolized the ecstasy83 of life. She sought pleasure, and she had found it, and she had no afterthought. She was infectious; she was irresistible84, and terrible too. For it was dismaying, at any rate to George, to dwell on the fierceness of her instinct and on the fierceness of its satisfaction. To George her burning eyes were wistful, pathetic, in their simplicity85. He felt a sort of fearful pity for her. And he admired her—she was something definite; she was something magnificently outright86; she did live. Also he liked her; the implications in her glance appealed to him. The peculiar87 accents in which she referred to the enigma88 of Irene Wheeler were extraordinarily89 attractive to that part of his nature which was perverse90 and sophisticated. "At least she is not a simpleton," he thought. "And she doesn't pretend to be. Some day I shall talk to her."
The orchestra resumed; the lights went out. Lois settled herself to fresh enchantment91 as the curtain rolled up to disclose the bright halls and staircases of a supper-club. The second act was an amplification92 and inflammation of the themes of the first. As for the music, George listened in vain for an original tune93, even for a tune of which he could not foretell94 the end from the beginning; the one or two engaging bits of melody which enlivened the first act were employed again in the second. The disdainful, lethargic95 chorus was the same; the same trio of delicious wantons fondled and kissed the same red-nosed comedian, who was still in the same state of inebriety96, and the gay spark flitted roysteringly through the same evolutions, in pursuit of the same simple ideals. The jocularity pivoted97 unendingly on the same twin centres of alcohol and concupiscence. Gradually the latter grew to more and more importance, and the piece became a high and candid98 homage99 to the impulse by force of which alone one generation succeeds another. No beautiful and graceful young girl on the stage blenched100 before the salacious witticisms102 of the tireless comedian; on the contrary he remained the darling of the stage. And as he was the darling of the stage, so was he the darling of the audience.
And if no beautiful and graceful young girl blenched on the stage, neither did the beautiful and graceful young girls in the audience blench101. You could see them sitting happily with their fathers and mothers and cousins and uncles and aunts, savouring the spectacle from dim stalls and boxes in the most perfect respectability. Laurencine leaning her elbows on the ledge of the box, watched with eager, parted lips, and never showed the slightest sign of uneasiness.
George was uneasy; he was distressed103. The extraordinary juxtaposition105 of respectability and a ribald sexual display startled but did not distress104 him. If the whole audience was ready to stand it he certainly was. He had no desire to protect people from themselves, nor to blush on behalf of others—whoever they might be. Had anybody accused him of saintliness he would have resented the charge, quite justifiably106, and if the wit of The Gay Spark had been witty, he would have enjoyed it without a qualm. What distressed him, what utterly107 desolated108 him, was the grossness, the poorness, the cheapness, the dullness, and the uninventive monotony of the interminable entertainment. He yawned, he could not help yawning; he yawned his soul away. Lois must have heard him yawning, but she did not move. He looked at her curiously109, pitifully, speculating how much of her luxury was due to Irene Wheeler, and how little to 'Parisian' of The Sunday Journal —for he had been inquiring about the fruits of journalism110. The vision of his own office and of the perspective drawing rose seductively and irresistibly111 in his mind. He could not stay in the theatre; he felt that if he stayed he would be in danger of dropping down dead, suffocated112 by tedium113; and the drawing must be finished; it would not wait; it was the most urgent thing in the world. And not a syllable114 had any person in the box said to him about his great task. Lois's forearm, braceleted, lay on the front of the box. Unceremoniously he took her hand.
"Bye-bye."
"You aren't going?" Her whisper was incredulous.
"Must."
He gave her no chance to expostulate. With one movement he had seized his hat and coat and slid from the box, just as the finale of the act was imminent115 and the red-nosed comedian was measuring the gay spark for new lingerie with a giant property-cigar. He had not said good-bye to Laurencine. He had not asked about their departure on the morrow. But he was free.
In the foyer a couple—a woman in a rose plush sortie de bal , and a blade—were mysteriously talking. The blade looked at him, smiled, and left the lady.
"Hallo, old fellow!" It was Buckingham Smith, who had been getting on in the world.
They shook hands.
"You've left Chelsea, haven't you?"
"Yes," said George.
"So've I. Don't see much of the old gang nowadays. Heard anything of old Princey lately?"
"I will," cried George.
He walked quickly up to Russell Square, impatient to steep himself anew in his work. All sense of fatigue118 had left him. Time seemed to be flying past him, and he rushing towards an unknown fate. On the previous day he had received an enheartening, challenging, sardonic119 letter from his stepfather, who referred to politics and envisaged120 a new epoch121 for the country. Edwin Clayhanger was a Radical122 of a type found only in the Midlands and the North. For many years Clayhanger's party, to which he was passionately123 faithful, had had no war-cry and no programme worthy124 of its traditions. The increasing success of the campaign against Protection, and certain signs that the introduction of Chinese labour into South Africa could be effectively resisted, had excited the middle-aged125 provincial—now an Alderman—and he had managed to communicate fire to George. But in George, though he sturdily shared his stepfather's views, the resulting righteous energy was diverted to architectural creation.
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1
voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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peevish
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| adj.易怒的，坏脾气的 | |
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erring
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| 做错事的，错误的 | |
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auditorium
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| n.观众席，听众席；会堂，礼堂 | |
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gilt
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| adj.镀金的；n.金边证券 | |
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touching
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| adj.动人的，使人感伤的 | |
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mien
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| n.风采；态度 | |
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pouted
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| v.撅（嘴）( pout的过去式和过去分词 ) | |
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shrieked
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| v.尖叫( shriek的过去式和过去分词 ) | |
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determined
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| adj.坚定的；有决心的 | |
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glossy
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| adj.平滑的；有光泽的 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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ledge
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| n.壁架，架状突出物；岩架，岩礁 | |
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scent
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| n.气味，香味，香水，线索，嗅觉；v.嗅，发觉 | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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fig
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| n.无花果(树) | |
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mortified
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| v.使受辱( mortify的过去式和过去分词 )；伤害（人的感情）；克制；抑制（肉体、情感等） | |
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grievance
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| n.怨愤，气恼，委屈 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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sagely
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| adv. 贤能地，贤明地 | |
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waddled
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| v.（像鸭子一样）摇摇摆摆地走( waddle的过去式和过去分词 ) | |
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murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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sarcastic
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| adj.讥讽的，讽刺的，嘲弄的 | |
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raved
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| v.胡言乱语( rave的过去式和过去分词 )；愤怒地说；咆哮；痴心地说 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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baton
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| n.乐队用指挥杖 | |
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unfamiliar
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| adj.陌生的，不熟悉的 | |
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displeased
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| a.不快的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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adherent
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| n.信徒，追随者，拥护者 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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witty
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| adj.机智的，风趣的 | |
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cosmopolitan
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| adj.世界性的，全世界的，四海为家的，全球的 | |
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prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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comedian
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| n.喜剧演员；滑稽演员 | |
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comedians
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| n.喜剧演员，丑角( comedian的名词复数 ) | |
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43
atoned
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| v.补偿，赎（罪）( atone的过去式和过去分词 )；补偿，弥补，赎回 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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flannels
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| 法兰绒男裤； 法兰绒( flannel的名词复数 ) | |
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mendacious
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| adj.不真的，撒谎的 | |
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intoxicated
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| 喝醉的，极其兴奋的 | |
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deliriously
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| adv.谵妄（性）；发狂；极度兴奋/亢奋；说胡话 | |
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vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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50
vocations
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| n.（认为特别适合自己的）职业( vocation的名词复数 )；使命；神召；（认为某种工作或生活方式特别适合自己的）信心 | |
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51
proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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52
deigned
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| v.屈尊，俯就( deign的过去式和过去分词 ) | |
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53
lackadaisical
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| adj.无精打采的，无兴趣的；adv.无精打采地，不决断地 | |
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54
intervals
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| 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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55
vitality
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| n.活力，生命力，效力 | |
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flirt
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| v.调情，挑逗，调戏；n.调情者，卖俏者 | |
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57
delightful
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| adj.令人高兴的，使人快乐的 | |
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58
canes
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| n.（某些植物，如竹或甘蔗的）茎( cane的名词复数 )；（用于制作家具等的）竹竿；竹杖 | |
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59
transformation
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| n.变化；改造；转变 | |
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realization
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| n.实现；认识到，深刻了解 | |
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61
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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62
appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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murmurous
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| adj.低声的 | |
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64
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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65
instinctively
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| adv.本能地 | |
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66
catchiness
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| 吸引性； 断续性； 迷惑性； 欺骗性 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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temperament
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| n.气质，性格，性情 | |
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profusion
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| n.挥霍；丰富 | |
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vivacious
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| adj.活泼的，快活的 | |
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gaudiness
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| n.华美，俗丽的美 | |
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opulence
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| n.财富，富裕 | |
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73
tonic
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| n./adj.滋补品，补药，强身的，健体的 | |
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sinuously
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| 弯曲的，蜿蜒的 | |
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voluptuously
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| adv.风骚地，体态丰满地 | |
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tepid
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| adj.微温的，温热的，不太热心的 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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mundane
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| adj.平凡的；尘世的；宇宙的 | |
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innocence
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| n.无罪；天真；无害 | |
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80
corrupt
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| v.贿赂，收买；adj.腐败的，贪污的 | |
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languorously
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| adv.疲倦地，郁闷地 | |
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82
spoke
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| 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 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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84
irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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outright
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| adv.坦率地；彻底地；立即；adj.无疑的；彻底的 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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enigma
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| n.谜，谜一样的人或事 | |
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extraordinarily
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| adv.格外地；极端地 | |
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perverse
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| adj.刚愎的；坚持错误的，行为反常的 | |
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enchantment
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| n.迷惑，妖术，魅力 | |
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amplification
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| n.扩大，发挥 | |
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93
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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foretell
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| v.预言，预告，预示 | |
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lethargic
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| adj.昏睡的，懒洋洋的 | |
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inebriety
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| n.醉，陶醉 | |
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pivoted
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| adj.转动的，回转的，装在枢轴上的v.（似）在枢轴上转动( pivot的过去式和过去分词 )；把…放在枢轴上；以…为核心，围绕（主旨）展开 | |
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candid
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| adj.公正的，正直的；坦率的 | |
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99
homage
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| n.尊敬，敬意，崇敬 | |
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blenched
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| v.（因惊吓而）退缩，惊悸( blench的过去式和过去分词 )；（使）变白，（使）变苍白 | |
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101
blench
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| v.退缩，畏缩 | |
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102
witticisms
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| n.妙语，俏皮话( witticism的名词复数 ) | |
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103
distressed
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| 痛苦的 | |
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104
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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105
juxtaposition
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| n.毗邻，并置，并列 | |
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106
justifiably
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| adv.无可非议地 | |
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107
utterly
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| adv.完全地，绝对地 | |
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108
desolated
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| adj.荒凉的，荒废的 | |
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109
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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journalism
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| n.新闻工作，报业 | |
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111
irresistibly
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| adv.无法抵抗地，不能自持地；极为诱惑人地 | |
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112
suffocated
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| （使某人）窒息而死( suffocate的过去式和过去分词 )； （将某人）闷死； 让人感觉闷热； 憋气 | |
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113
tedium
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| n.单调；烦闷 | |
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114
syllable
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| n.音节；vt.分音节 | |
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115
imminent
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| adj.即将发生的，临近的，逼近的 | |
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116
buck
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| n.雄鹿，雄兔；v.马离地跳跃 | |
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117
colloquy
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| n.谈话，自由讨论 | |
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118
fatigue
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| n.疲劳，劳累 | |
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119
sardonic
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| adj.嘲笑的，冷笑的，讥讽的 | |
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120
envisaged
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| 想像，设想( envisage的过去式和过去分词 ) | |
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121
epoch
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| n.(新)时代；历元 | |
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122
radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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123
passionately
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| ad.热烈地，激烈地 | |
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124
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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125
middle-aged
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| adj.中年的 | |
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