The letter hinted at an order upon his muse1 for amatory verse; delightful2 task, cheering prospect3.
Bid a man whose usual lot it is to break stones for the parish at tenpence the cubic yard—bid such an one play at marbles with some stone taws for half an hour per day, and pocket one pound one—bid a poor horse who has drawn4 those stones about, and browsed5 short grass by the wayside—bid him canter a few times round a grassy7 ring, and then go to his corn—in short, bid Rosinante change with Pegasus, and you do no more than Mr. Vane's letter held out to Triplet.
The amatory verse of that day was not up-hill work. There was a beaten track on a dead level, and you followed it. You told the tender creature, with a world of circumlocution8, that, “without joking now,” she was a leper, ditto a tigress, item marble. You next feigned9 a lucid10 interval11, and to be on the point of detesting12 your monster, but in twenty more verses love became, as usual, stronger than reason, and you wound up your rotten yarn13 thus:
You hugged a golden chain. You drew deeper into your wound a barbed shaft14, like—(any wild animal will do, no one of them is such an ass6, so you had an equal title to all). And on looking back you saw with horrible complacency that you had inflicted15 one hundred locusts16, five feet long, upon oppressed humanity.
Wont17 to travel over acres of canvas for a few shillings, and roods of paper on bare speculation18, Triplet knew he could make a thousand a year at the above work without thinking.
He came therefore to the box-keeper with his eyes glittering.
“Mr. Vane?”
“Just gone out with a gentleman.”
“I'll wait then.”
Now Mr. Vane, we know, was in the green-room, and went home by the stage-door. The last thing he thought of was poor Triplet; the rich do not dream how they disappoint the poor. Triplet's castle fell as many a predecessor19 had. When the lights were put out, he left the theater with a bitter sigh.
“If this gentleman knew how many sweet children I have, and what a good, patient, suffering wife, sure he would not have chosen me to make a fool of!” said the poor fellow to himself.
“Ah!” thought he, “if I could but conquer you; and why not? All history shows that nothing is unconquerable except perseverance21. Hannibal conquered the Alps, and I'll conquer you,” cried Triplet, firmly. “Yes, this visit is not lost; here I register a vow22: I will force my way into that mountain of masonry23, or perish in the attempt.”
Triplet's most unpremeditated thoughts and actions often savored24 ridiculously of the sublime25. Then and there, gazing with folded arms on this fortress26 of Thespis, the polytechnic27 man organized his first assault. The next evening he made it.
Five months previously28 he had sent the manager three great, large tragedies. He knew the aversion a theatrical29 manager has to read a manuscript play, not recommended by influential30 folk; an aversion which always has been carried to superstition31. So he hit on the following scheme:
He wrote Mr. Rich a letter; in this he told Mr. Rich that he (Triplet) was aware what a quantity of trash is offered every week to a manager, how disheartening it must be to read it at all, and how natural, after a while, to read none. Therefore, he (Triplet) had provided that Mr. Rich might economize32 his time, and yet not remain in ignorance of the dramatic treasure that lay ready to his hand.
“The soul of a play,” continued Triplet, “is the plot or fable33. A gentleman of your experience can decide at once whether a plot or story is one to take the public!”
So then he drew out, in full, the three plots. He wrote these plots in verse! Heaven forgive us all, he really did. There were also two margins34 left; on one, which was narrow, he jotted36 down the locale per page of the most brilliant passages; on the other margin35, which was as wide as the column of the plot, he made careful drawings of the personages in the principal dramatic situations; scrolls37 issued from their mouths, on which were written the words of fire that were flowing from each in these eruptions38 of the dramatic action. All was referred to pages in the manuscripts.
“By this means, sir,” resumed the latter, “you will gut39 my fish in a jiffy; permit me to recall that expression, with apologies for my freedom. I would say, you will, in a few minutes of your valuable existence, skim the cream of Triplet.”
This author's respect for the manager's time carried him into further and unusual details.
“Breakfast,” said he, “is a quiet meal. Let me respectfully suggest, that by placing one of my plots on the table, with, say, the sugar-basin upon it (this, again, is a mere40 suggestion), and the play it appertains to on your other side, you can readily judge my work without disturbing the avocations41 of the day, and master a play in the twinkling of a teacup; forgive my facetiousness42. This day month, at ten of the clock, I shall expect,” said Triplet, with sudden severity, “sir, your decision!”
Then, gliding43 back to the courtier, he formally disowned all special title to the consideration he expected from Mr. Rich's well-known courtesy; still he begged permission to remind that gentleman that he had, six years ago, painted for him a large scene, illuminated44 by two great poetical45 incidents: a red sun, of dimensions never seen out of doors in this or any country; and an ocean of sand, yellower than up to that time had been attained46 in art or nature; and that once, when the audience, late in the evening, had suddenly demanded a popular song from Mr. Nokes, he (Triplet), seeing the orchestra thinned by desertion, and nugatory47 by intoxication48, had started from the pit, resuscitated49 with the whole contents of his snuff-box the bass50 fiddle51, snatched the leader's violin, and carried Mr. Nokes triumphantly52 through; that thunders of applause had followed, and Mr. Nokes had kindly54 returned thanks for both; but that he (Triplet) had hastily retired55 to evade56 the manager's acknowledgments, preferring to wait an opportunity like the present, when both interests could be conciliated, etc.
This letter he posted at its destination, to save time, and returned triumphant53 home. He had now forgiven and almost forgotten Vane; and had reflected that, after all, the drama was his proper walk.
“My dear,” said he to Mrs. Triplet, “this family is on the eve of a great triumph!” Then, inverting57 that order of the grandiloquent58 and the homely59 which he invented in our first chapter, he proceeded to say: “I have reared in a single day a new avenue by which histrionic greatness, hitherto obstructed60, may become accessible. Wife, I think I have done the trick at last. Lysimachus!” added he, “let a libation be poured out on so smiling an occasion, and a burnt-offering rise to propitiate61 the celestial62 powers. Run to the 'Sun,' you dog. Three pennyworth of ale, and a hap'orth o' tobacco.”
Ere the month was out, I am sorry to say, the Triplets were reduced to a state of beggary. Mrs. Triplet's health had long been failing; and, although her duties at her little theater were light and occasional, the manager was obliged to discharge her, since she could not be depended upon.
The family had not enough to eat! Think of that! They were not warm at night, and they felt gnawing63 and faintness often by day. Think of that!
Fortune was unjust here. The man was laughable, and a goose; and had no genius either for writing, painting, or acting64; but in that he resembled most writers, painters, and actors of his own day and ours. He was not beneath the average of what men call art, and it is art's antipodes—treadmill artifice65.
Other fluent ninnies shared gain, and even fame, and were called 'penmen,' in Triplet's day. Other ranters were quietly getting rich by noise. Other liars66 and humbugs67 were painting out o' doors indoors, and eating mutton instead of thistles for drenched68 stinging-nettles, yclept trees; for block-tin clouds; for butlers' pantry seas, and garret-conceived lakes; for molten sugar-candy rivers; for airless atmosphere and sunless air; for carpet nature, and cold, dead fragments of an earth all soul and living glory to every cultivated eye but a routine painter's. Yet the man of many such mediocrities could not keep the pot boiling. We suspect that, to those who would rise in life, even strong versatility69 is a very doubtful good, and weak versatility ruination.
At last, the bitter, weary month was gone, and Triplet's eye brightened gloriously. He donned his best suit; and, while tying his cravat70, lectured his family. First, he complimented them upon their deportment in adversity; hinted that moralists, not experience, had informed him prosperity was far more trying to the character. Put them all solemnly on their guard down to Lucy, aetat five, that they were morituri and ae, and must be pleased to abstain71 from “insolent gladness” upon his return.
“Sweet are the uses of adversity!” continued this cheerful monitor. “If we had not been hard up this while, we should not come with a full relish72 to meat three times a week, which, unless I am an ass (and I don't see myself in that light),” said Triplet dryly, “will, I apprehend73, be, after this day, the primary condition of our future existence.”
“James, take the picture with you,” said Mrs. Triplet, in one of those calm, little, desponding voices that fall upon the soul so agreeably when one is a cock-a-hoop, and desires, with permission, so to remain.
“What on earth am I to take Mrs. Woffington's portrait for?”
“We have nothing in the house,” said the wife, blushing.
Triplet's eye glittered like a rattlesnake's.
“The intimation is eccentric,” said he. “Are you mad, Jane? Pray,” continued he, veiling his wrath74 in scornful words, “is it requisite75, heroic, or judicious76 on the eve, or more correctly the morn, of affluence77 to deposit an unfinished work of art with a mercenary relation? Hang it, Jane! would you really have me pawn78 Mrs. Woffington to-day?”
“James,” said Jane steadily79, “the manager may disappoint you, we have often been disappointed; so take the picture with you. They will give you ten shillings on it.”
“Madam,” said the poet, “for the first time in our conjugal81 career, your commands deviate82 so entirely83 from reason that I respectfully withdraw that implicit84 obedience85 which has hitherto constituted my principal reputation. I'm hanged if I do it, Jane!”
“Dear James, to oblige me!”
“That alters the case; you confess it is unreasonable86?”
“Oh, yes! it is only to oblige me.
“Enough!” said Triplet, whose tongue was often a flail87 that fell on friend, foe88 and self indiscriminately. “Allow it to be unreasonable, and I do it as a matter of course—to please you, Jane.”
Accordingly the good soul wrapped it in green baize; but to relieve his mind he was obliged to get behind his wife, and shrug89 his shoulders to Lysimachus and the eldest90 girl, as who should say voila bien une femme votre mere a vous!
At last he was off, in high spirits. He reached Covent Garden at half-past ten, and there the poor fellow was sucked into our narrative91 whirlpool.
We must, however, leave him for a few minutes.
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1
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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prospect
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| n.前景，前途；景色，视野 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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browsed
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| v.吃草( browse的过去式和过去分词 )；随意翻阅；（在商店里）随便看看；（在计算机上）浏览信息 | |
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6
ass
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| n.驴；傻瓜，蠢笨的人 | |
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7
grassy
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| adj.盖满草的；长满草的 | |
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circumlocution
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| n. 绕圈子的话，迂回累赘的陈述 | |
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feigned
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| a.假装的，不真诚的 | |
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lucid
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| adj.明白易懂的，清晰的，头脑清楚的 | |
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11
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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12
detesting
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| v.憎恶，嫌恶，痛恨( detest的现在分词 ) | |
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13
yarn
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| n.纱，纱线，纺线；奇闻漫谈，旅行轶事 | |
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14
shaft
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| n.(工具的)柄，杆状物 | |
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15
inflicted
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| 把…强加给，使承受，遭受( inflict的过去式和过去分词 ) | |
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16
locusts
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| n.蝗虫( locust的名词复数 )；贪吃的人；破坏者；槐树 | |
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17
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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speculation
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| n.思索，沉思；猜测；投机 | |
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19
predecessor
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| n.前辈，前任 | |
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loomed
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| v.隐约出现，阴森地逼近( loom的过去式和过去分词 )；隐约出现，阴森地逼近 | |
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21
perseverance
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| n.坚持不懈，不屈不挠 | |
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vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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23
masonry
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| n.砖土建筑；砖石 | |
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24
savored
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| v.意味，带有…的性质( savor的过去式和过去分词 )；给…加调味品；使有风味；品尝 | |
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25
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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fortress
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| n.堡垒，防御工事 | |
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27
polytechnic
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| adj.各种工艺的，综合技术的；n.工艺(专科)学校；理工(专科)学校 | |
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28
previously
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| adv.以前，先前（地） | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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influential
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| adj.有影响的，有权势的 | |
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superstition
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| n.迷信，迷信行为 | |
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economize
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| v.节约，节省 | |
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fable
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| n.寓言；童话；神话 | |
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margins
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| 边( margin的名词复数 )； 利润； 页边空白； 差数 | |
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margin
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| n.页边空白；差额；余地，余裕；边，边缘 | |
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36
jotted
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| v.匆忙记下( jot的过去式和过去分词 )；草草记下，匆匆记下 | |
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37
scrolls
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| n.（常用于录写正式文件的）纸卷( scroll的名词复数 )；卷轴；涡卷形（装饰）；卷形花纹v.（电脑屏幕上）从上到下移动（资料等），卷页( scroll的第三人称单数 )；（似卷轴般）卷起；（像展开卷轴般地）将文字显示于屏幕 | |
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38
eruptions
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| n.喷发，爆发( eruption的名词复数 ) | |
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39
gut
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| n.[pl.]胆量；内脏；adj.本能的；vt.取出内脏 | |
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40
mere
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| adj.纯粹的；仅仅，只不过 | |
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41
avocations
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| n.业余爱好，嗜好( avocation的名词复数 )；职业 | |
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42
facetiousness
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| n.滑稽 | |
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43
gliding
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| v. 滑翔 adj. 滑动的 | |
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44
illuminated
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| adj.被照明的；受启迪的 | |
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45
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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46
attained
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| （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） | |
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47
nugatory
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| adj.琐碎的，无价值的 | |
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48
intoxication
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| n.wild excitement;drunkenness；poisoning | |
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49
resuscitated
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| v.使（某人或某物）恢复知觉，苏醒( resuscitate的过去式和过去分词 ) | |
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50
bass
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| n.男低音(歌手)；低音乐器；低音大提琴 | |
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51
fiddle
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| n.小提琴；vi.拉提琴；不停拨弄，乱动 | |
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52
triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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53
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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54
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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55
retired
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| adj.隐退的，退休的，退役的 | |
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56
evade
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| vt.逃避，回避；避开，躲避 | |
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57
inverting
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| v.使倒置，使反转( invert的现在分词 ) | |
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58
grandiloquent
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| adj.夸张的 | |
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59
homely
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| adj.家常的，简朴的；不漂亮的 | |
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60
obstructed
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| 阻塞( obstruct的过去式和过去分词 )； 堵塞； 阻碍； 阻止 | |
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61
propitiate
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| v.慰解，劝解 | |
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celestial
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| adj.天体的；天上的 | |
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63
gnawing
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| a.痛苦的，折磨人的 | |
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64
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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artifice
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| n.妙计，高明的手段；狡诈，诡计 | |
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66
liars
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| 说谎者( liar的名词复数 ) | |
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67
humbugs
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| 欺骗( humbug的名词复数 )； 虚伪； 骗子； 薄荷硬糖 | |
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68
drenched
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| adj.湿透的；充满的v.使湿透( drench的过去式和过去分词 )；在某人（某物）上大量使用（某液体） | |
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versatility
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| n.多才多艺，多样性，多功能 | |
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70
cravat
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| n.领巾，领结；v.使穿有领结的服装，使结领结 | |
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abstain
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| v.自制，戒绝，弃权，避免 | |
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72
relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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73
apprehend
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| vt.理解，领悟，逮捕，拘捕，忧虑 | |
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74
wrath
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| n.愤怒，愤慨，暴怒 | |
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75
requisite
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| adj.需要的，必不可少的；n.必需品 | |
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76
judicious
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| adj.明智的，明断的，能作出明智决定的 | |
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affluence
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| n.充裕，富足 | |
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78
pawn
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| n.典当，抵押，小人物，走卒；v.典当，抵押 | |
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79
steadily
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| adv.稳定地；不变地；持续地 | |
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80
lurid
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| adj.可怕的；血红的；苍白的 | |
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81
conjugal
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| adj.婚姻的，婚姻性的 | |
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82
deviate
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| v.(from)背离，偏离 | |
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83
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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84
implicit
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| a.暗示的，含蓄的，不明晰的，绝对的 | |
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85
obedience
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| n.服从，顺从 | |
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86
unreasonable
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| adj.不讲道理的，不合情理的，过度的 | |
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87
flail
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| v.用连枷打；击打；n.连枷（脱粒用的工具） | |
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88
foe
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| n.敌人，仇敌 | |
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89
shrug
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| v.耸肩(表示怀疑、冷漠、不知等) | |
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90
eldest
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| adj.最年长的，最年老的 | |
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91
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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