The second thing that I saw in the Gazette (the first was of course the 'Entremets' column of wit, humour, and parody15, very uneven16 in its excellence) was the death of Simon Fuge. There was nearly a column about it, signed with initials, and the subheading of the article ran, 'Sudden death of a great painter'. That was characteristic of the Gazette. That Simon Fuge was indeed a great painter is now admitted by most dilettantes, though denied by a few. But to the great public he was not one of the few great names. To the great public he was just a medium name. Ten to one that in speaking of him to a plain person you would feel compelled to add: 'The painter, you know,' and the plain person would respond: 'Oh yes,' falsely pretending that he was perfectly17 familiar with the name. Simon Fuge had many friends on the press, and it was solely18 owing to the loyalty19 of these friends in the matter of obituary20 notices that the great public heard more of Simon Fuge in the week after his death than it had heard of him during the thirty-five years of his life. It may be asked: Why, if he had so many and such loyal friends on the press, these friends did not take measures to establish his reputation before he died? The answer is that editors will not allow journalists to praise a living artist much in excess of the esteem21 in which the public holds him; they are timid. But when a misunderstood artist is dead the editors will put no limit on laudation. I am not on the press, but it happens that I know the world.
Of all the obituary notices of Simon Fuge, the Gazette's was the first. Somehow the Gazette had obtained exclusive news of the little event, and some one high up on the Gazette's staff had a very exalted22 notion indeed of Fuge, and must have known him personally. Fuge received his deserts as a painter in that column of print. He was compared to Sorolla y Bastida for vitality23; the morbidezza of his flesh-tints was stated to be unrivalled even by—I forget the name, painting is not my speciality. The writer blandly25 inquired why examples of Fuge's work were to be seen in the Luxembourg, at Vienna, at Florence, at Dresden; and not, for instance, at the Tate Gallery, or in the Chantrey collection. The writer also inquired, with equal blandness26, why a painter who had been on the hanging committee of the Societe Nationale des Beaux Arts at Paris should not have been found worthy27 to be even an A.R.A. in London. In brief, old England 'caught it', as occurred somewhere or other most nights in the columns of the Gazette. Fuge also received his deserts as a man. And the Gazette did not conceal28 that he had not been a man after the heart of the British public. He had been too romantically and intensely alive for that. The writer gave a little penportrait of him. It was very good, recalling his tricks of manner, his unforgettable eyes, and his amazing skill in talking about himself and really interesting everybody in himself. There was a special reference to one of Fuge's most dramatic recitals—a narration29 of a night spent in a boat on Ham Lake with two beautiful girls, sisters, natives of the Five Towns, where Fuge was born. Said the obituarist30: 'Those two wonderful creatures who played so large a part in Simon Fuge's life.'
This death was a shock to me. It took away my ennui for the rest of the journey. I too had known Simon Fuge. That is to say, I had met him once, at a soiree, and on that single occasion, as luck had it, he had favoured the company with the very narration to which the Gazette contributor referred. I remembered well the burning brilliance31 of his blue-black eyes, his touching32 assurance that all of us were necessarily interested in his adventures, and the extremely graphic33 and convincing way in which he reconstituted for us the nocturnal scene on Ham Lake—the two sisters, the boat, the rustle34 of trees, the lights on shore, and his own difficulty in managing the oars36, one of which he lost for half-an-hour and found again. It was by such details as that about the oar35 that, with a tint24 of humour, he added realism to the romantic quality of his tales. He seemed to have no reticences concerning himself. Decidedly he allowed things to be understood...! Yes, his was a romantic figure, the figure of one to whom every day, and every hour of the day, was coloured by the violence of his passion for existence. His pictures had often an unearthly beauty, but for him they were nothing but faithful renderings37 of what he saw.
My mind dwelt on those two beautiful sisters. Those two beautiful sisters appealed to me more than anything else in the Gazette's obituary. Surely—Simon Fuge had obviously been a man whose emotional susceptibility and virile38 impulsiveness39 must have opened the door for him to multifarious amours—but surely he had not made himself indispensable to both sisters simultaneously40. Surely even he had not so far forgotten that Ham Lake was in the middle of a country called England, and not the ornamental41 water in the Bois de Boulogne! And yet.... The delicious possibility of ineffable42 indiscretions on the part of Simon Fuge monopolized43 my mind till the train stopped at Knype, and I descended44. Nevertheless, I think I am a serious and fairly insular45 Englishman. It is truly astonishing how a serious person can be obsessed46 by trifles that, to speak mildly, do not merit sustained attention.
I wondered where Ham Lake was. I knew merely that it lay somewhere in the environs of the Five Towns. What put fuel on the fire of my interest in the private affairs of the dead painter was the slightly curious coincidence that on the evening of the news of his death I should be travelling to the Five Towns—and for the first time in my life. Here I was at Knype, which, as I had gathered from Bradshaw, and from my acquaintance Brindley, was the traffic centre of the Five Towns.
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1 incapable | |
adj.无能力的,不能做某事的 | |
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2 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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3 mere | |
adj.纯粹的;仅仅,只不过 | |
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4 rumour | |
n.谣言,谣传,传闻 | |
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5 forth | |
adv.向前;向外,往外 | |
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6 habitually | |
ad.习惯地,通常地 | |
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7 peruse | |
v.细读,精读 | |
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8 morsel | |
n.一口,一点点 | |
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9 ironic | |
adj.讽刺的,有讽刺意味的,出乎意料的 | |
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10 idols | |
偶像( idol的名词复数 ); 受崇拜的人或物; 受到热爱和崇拜的人或物; 神像 | |
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11 piquant | |
adj.辛辣的,开胃的,令人兴奋的 | |
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12 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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13 ennui | |
n.怠倦,无聊 | |
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14 nethermost | |
adj.最下面的 | |
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15 parody | |
n.打油诗文,诙谐的改编诗文,拙劣的模仿;v.拙劣模仿,作模仿诗文 | |
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16 uneven | |
adj.不平坦的,不规则的,不均匀的 | |
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17 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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18 solely | |
adv.仅仅,唯一地 | |
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19 loyalty | |
n.忠诚,忠心 | |
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20 obituary | |
n.讣告,死亡公告;adj.死亡的 | |
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21 esteem | |
n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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22 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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23 vitality | |
n.活力,生命力,效力 | |
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24 tint | |
n.淡色,浅色;染发剂;vt.着以淡淡的颜色 | |
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25 blandly | |
adv.温和地,殷勤地 | |
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26 blandness | |
n.温柔,爽快 | |
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27 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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28 conceal | |
v.隐藏,隐瞒,隐蔽 | |
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29 narration | |
n.讲述,叙述;故事;记叙体 | |
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30 obituarist | |
写死亡新闻或略传的记者 | |
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31 brilliance | |
n.光辉,辉煌,壮丽,(卓越的)才华,才智 | |
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32 touching | |
adj.动人的,使人感伤的 | |
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33 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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34 rustle | |
v.沙沙作响;偷盗(牛、马等);n.沙沙声声 | |
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35 oar | |
n.桨,橹,划手;v.划行 | |
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36 oars | |
n.桨,橹( oar的名词复数 );划手v.划(行)( oar的第三人称单数 ) | |
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37 renderings | |
n.(戏剧或乐曲的)演奏( rendering的名词复数 );扮演;表演;翻译作品 | |
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38 virile | |
adj.男性的;有男性生殖力的;有男子气概的;强有力的 | |
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39 impulsiveness | |
n.冲动 | |
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40 simultaneously | |
adv.同时发生地,同时进行地 | |
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41 ornamental | |
adj.装饰的;作装饰用的;n.装饰品;观赏植物 | |
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42 ineffable | |
adj.无法表达的,不可言喻的 | |
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43 monopolized | |
v.垄断( monopolize的过去式和过去分词 );独占;专卖;专营 | |
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44 descended | |
a.为...后裔的,出身于...的 | |
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45 insular | |
adj.岛屿的,心胸狭窄的 | |
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46 obsessed | |
adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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