'I'm not going. I've just got out,' I replied.
'Well, then, why dunna' ye stand out o' th' wee and let them get in as wants to?'
Unable to offer a coherent answer to this crushing demand, I stood out of the way. In the light of further knowledge I now surmise14 that that porter was a very friendly and sociable15 porter. But at the moment I really believed that, taking me for the least admirable and necessary of God's creatures, he meant to convey his opinion to me for my own good. I glanced up at the lighted windows of the train, and saw the composed, careless faces of haughty16 persons who were going direct from London to Manchester, and to whom the Five Towns was nothing but a delay. I envied them. I wanted to return to the shelter of the train. When it left, I fancied that my last link with civilization was broken. Then another train puffed17 in, and it was simply taken by assault in a fraction of time, to an incomprehensible bawling18 of friendly sociable porters. Season-ticket holders19 at Finsbury Park think they know how to possess themselves of a train; they are deceived. So this is where Simon Fuge came from (I reflected)! The devil it is (I reflected)! I tried to conceive what the invaders20 of the train would exclaim if confronted by one of Simon Fuge's pictures. I could imagine only one word, and that a monosyllable, that would meet the case of their sentiments. And his dalliance, his tangential21 nocturnal deviations22 in gondolas23 with exquisite24 twin odalisques! There did not seem to be much room for amorous25 elegance26 in the lives of these invaders. And his death! What would they say of his death? Upon my soul, as I stood on that dirty platform, in a milieu27 of advertisements of soap, boots, and aperients, I began to believe that Simon Fuge never had lived, that he was a mere28 illusion of his friends and his small public. All that I saw around me was a violent negation29 of Simon Fuge, that entity30 of rare, fine, exotic sensibilities, that perfectly31 mad gourmet32 of sensations, that exotic seer of beauty.
I caught sight of my acquaintance and host, Mr Robert Brindley, coming towards me on the platform. Hitherto I had only met him in London, when, as chairman of the committee of management of the Wedgwood Institution and School of Art at Bursley, he had called on me at the British Museum for advice as to loan exhibits. He was then dressed like a self-respecting tourist. Now, although an architect by profession, he appeared to be anxious to be mistaken for a sporting squire34. He wore very baggy35 knickerbockers, and leggings, and a cap. This raiment was apparently36 the agreed uniform of the easy classes in the Five Towns; for in the crowd I had noticed several such consciously superior figures among the artisans. Mr Brindley, like most of the people in the station, had a slightly pinched and chilled air, as though that morning he had by inadvertence omitted to don those garments which are not seen. He also, like most of the people there, but not to the same extent, had a somewhat suspicious and narrowly shrewd regard, as who should say: 'If any person thinks he can get the better of me by a trick, let him try—that's all.' But the moment his eye encountered mine, this expression vanished from his face, and he gave me a candid37 smile.
'I hope you're well,' he said gravely, squeezing my hand in a sort of vice33 that he carried at the end of his right arm.
'Oh, I'm all right,' he said, in response to the expression of my hopes.
It was a relief to me to see him. He took charge of me. I felt, as it were, safe in his arms. I perceived that, unaided and unprotected, I should never have succeeded in reaching Bursley from Knype.
A whistle sounded.
'Better get in,' he suggested; and then in a tone of absolute command: 'Give me your bag.'
I obeyed. He opened the door of a first-class carriage.
'I'm travelling second,' I explained.
'Never mind. Get in.'
I got in; he followed. The train moved.
'Ah!' breathed Mr Brindley, blowing out much air and falling like a sack of coal into a corner seat. He was a thin man, aged41 about thirty, with brown eyes, and a short blonde beard.
Conversation was at first difficult. Personally I am not a bubbling fount of gay nothings when I find myself alone with a comparative stranger. My drawbridge goes up as if by magic, my postern is closed, and I peer cautiously through the narrow slits42 of my turret43 to estimate the chances of peril44. Nor was Mr Brindley offensively affable. However, we struggled into a kind of chatter45. I had come to the Five Towns, on behalf of the British Museum, to inspect and appraise46, with a view to purchase by the nation, some huge slip-decorated dishes, excessively curious according to photographs, which had been discovered in the cellars of the Conservative Club at Bursley. Having shared in the negotiations47 for my visit, Mr Brindley had invited me to spend the night at his house. We were able to talk about all this. And when we had talked about all this we were able to talk about the singular scenery of coal dust, potsherds, flame and steam, through which the train wound its way. It was squalid ugliness, but it was squalid ugliness on a scale so vast and overpowering that it became sublime48. Great furnaces gleamed red in the twilight49, and their fires were reflected in horrible black canals; processions of heavy vapour drifted in all directions across the sky, over what acres of mean and miserable50 brown architecture! The air was alive with the most extraordinary, weird51, gigantic sounds. I do not think the Five Towns will ever be described: Dante lived too soon. As for the erratic52 and exquisite genius, Simon Fuge, and his odalisques reclining on silken cushions on the enchanted53 bosom54 of a lake—I could no longer conjure55 them up even faintly in my mind.
'I suppose you know Simon Fuge is dead?' I remarked, in a pause.
'No! Is he?' said Mr Brindley, with interest. 'Is it in the paper?'
He did not seem to be quite sure that it would be in the paper.
'Here it is,' said I, and I passed him the Gazette.
'Ha!' he exclaimed explosively. This 'Ha!' was entirely56 different from his 'Ah!' Something shot across his eyes, something incredibly rapid—too rapid for a wink57; yet it could only be called a wink. It was the most subtle transmission of the beyond-speech that I have ever known any man accomplish, and it endeared Mr Brindley to me. But I knew not its significance.
'What do they think of Fuge down here?' I asked.
'I don't expect they think of him,' said my host.
'Have one of mine,' I suggested, hastily producing my case.
He did not even glance at its contents.
'No, thanks,' he said curtly.
I named my brand.
'My dear sir,' he said, with a return to his kindly exasperation, 'no cigarette that is not fresh made can be called a cigarette.' I stood corrected. 'You may pay as much as you like, but you can never buy cigarettes as good as I can make out of an ounce of fresh B.D.V. tobacco. Can you roll one?' I had to admit that I could not, I who in Bloomsbury was accepted as an authority on cigarettes as well as on porcelain59. 'I'll roll you one, and you shall try it.'
He did so.
I gathered from his solemnity that cigarettes counted in the life of Mr Brindley. He could not take cigarettes other than seriously. The worst of it was that he was quite right. The cigarette which he constructed for me out of his wretched B.D.V. tobacco was adorable, and I have made my own cigarettes ever since. You will find B.D.V. tobacco all over the haunts frequented by us of the Museum now-a-days, solely60 owing to the expertise61 of Mr Brindley. A terribly capable and positive man! He KNEW, and he knew that he knew.
He said nothing further as to Simon Fuge. Apparently he had forgotten the decease.
'Do you often see the Gazette?' I asked, perhaps in the hope of attracting him back to Fuge.
'No,' he said; 'the musical criticism is too rotten.'
Involuntarily I bridled62. It was startling, and it was not agreeable, to have one's favourite organ so abruptly condemned63 by a provincial64 architect in knickerbockers and a cap, in the midst of all that industrial ugliness. What could the Five Towns know about art? Yet here was this fellow condemning65 the Gazette on artistic66 grounds. I offered no defence, because he was right—again. But I did not like it.
'No,' I said.
'Pity!' he ejaculated.
'I've often heard that it's a very good paper,' I said politely.
'It isn't a very good paper,' he laid me low. 'It's the best paper in the world. Try it for a month—it gets to Euston at half-past eight—and then tell me what you think.'
I saw that I must pull myself together. I had glided68 into the Five Towns in a mood of gentle, wise condescension69. I saw that it would be as well, for my own honour and safety, to put on another mood as quickly as possible, otherwise I might be left for dead on the field. Certainly the fellow was provincial, curt13, even brutal70 in his despisal of diplomacy71. Certainly he exaggerated the importance of cigarettes in the great secular72 scheme of evolution. But he was a man; he was a very tonic73 dose. I thought it would be safer to assume that he knew everything, and that the British Museum knew very little. Yet at the British Museum he had been quite different, quite deferential74 and rather timid. Still, I liked him. I liked his eyes.
The train stopped at an incredible station situated75 in the centre of a rolling desert whose surface consisted of broken pots and cinders76. I expect no one to believe this.
点击收听单词发音
1 antiquities | |
n.古老( antiquity的名词复数 );古迹;古人们;古代的风俗习惯 | |
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2 constructive | |
adj.建设的,建设性的 | |
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3 disdain | |
n.鄙视,轻视;v.轻视,鄙视,不屑 | |
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4 determined | |
adj.坚定的;有决心的 | |
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5 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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6 realization | |
n.实现;认识到,深刻了解 | |
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7 throng | |
n.人群,群众;v.拥挤,群集 | |
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8 abruptly | |
adv.突然地,出其不意地 | |
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9 brittle | |
adj.易碎的;脆弱的;冷淡的;(声音)尖利的 | |
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10 machinery | |
n.(总称)机械,机器;机构 | |
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11 manifestations | |
n.表示,显示(manifestation的复数形式) | |
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12 curtly | |
adv.简短地 | |
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13 curt | |
adj.简短的,草率的 | |
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14 surmise | |
v./n.猜想,推测 | |
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15 sociable | |
adj.好交际的,友好的,合群的 | |
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16 haughty | |
adj.傲慢的,高傲的 | |
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17 puffed | |
adj.疏松的v.使喷出( puff的过去式和过去分词 );喷着汽(或烟)移动;吹嘘;吹捧 | |
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18 bawling | |
v.大叫,大喊( bawl的现在分词 );放声大哭;大声叫出;叫卖(货物) | |
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19 holders | |
支持物( holder的名词复数 ); 持有者; (支票等)持有人; 支托(或握持)…之物 | |
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20 invaders | |
入侵者,侵略者,侵入物( invader的名词复数 ) | |
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21 tangential | |
adj.离题的,切线的 | |
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22 deviations | |
背离,偏离( deviation的名词复数 ); 离经叛道的行为 | |
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23 gondolas | |
n.狭长小船( gondola的名词复数 );货架(一般指商店,例如化妆品店);吊船工作台 | |
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24 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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25 amorous | |
adj.多情的;有关爱情的 | |
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26 elegance | |
n.优雅;优美,雅致;精致,巧妙 | |
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27 milieu | |
n.环境;出身背景;(个人所处的)社会环境 | |
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28 mere | |
adj.纯粹的;仅仅,只不过 | |
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29 negation | |
n.否定;否认 | |
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30 entity | |
n.实体,独立存在体,实际存在物 | |
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31 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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32 gourmet | |
n.食物品尝家;adj.出于美食家之手的 | |
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33 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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34 squire | |
n.护卫, 侍从, 乡绅 | |
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35 baggy | |
adj.膨胀如袋的,宽松下垂的 | |
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36 apparently | |
adv.显然地;表面上,似乎 | |
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37 candid | |
adj.公正的,正直的;坦率的 | |
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38 reassured | |
adj.使消除疑虑的;使放心的v.再保证,恢复信心( reassure的过去式和过去分词) | |
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39 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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40 exasperation | |
n.愤慨 | |
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41 aged | |
adj.年老的,陈年的 | |
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42 slits | |
n.狭长的口子,裂缝( slit的名词复数 )v.切开,撕开( slit的第三人称单数 );在…上开狭长口子 | |
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43 turret | |
n.塔楼,角塔 | |
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44 peril | |
n.(严重的)危险;危险的事物 | |
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45 chatter | |
vi./n.喋喋不休;短促尖叫;(牙齿)打战 | |
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46 appraise | |
v.估价,评价,鉴定 | |
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47 negotiations | |
协商( negotiation的名词复数 ); 谈判; 完成(难事); 通过 | |
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48 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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49 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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50 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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51 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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52 erratic | |
adj.古怪的,反复无常的,不稳定的 | |
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53 enchanted | |
adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词 | |
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54 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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55 conjure | |
v.恳求,祈求;变魔术,变戏法 | |
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56 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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57 wink | |
n.眨眼,使眼色,瞬间;v.眨眼,使眼色,闪烁 | |
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58 pouch | |
n.小袋,小包,囊状袋;vt.装...入袋中,用袋运输;vi.用袋送信件 | |
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59 porcelain | |
n.瓷;adj.瓷的,瓷制的 | |
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60 solely | |
adv.仅仅,唯一地 | |
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61 expertise | |
n.专门知识(或技能等),专长 | |
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62 bridled | |
给…套龙头( bridle的过去式和过去分词 ); 控制; 昂首表示轻蔑(或怨忿等); 动怒,生气 | |
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63 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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64 provincial | |
adj.省的,地方的;n.外省人,乡下人 | |
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65 condemning | |
v.(通常因道义上的原因而)谴责( condemn的现在分词 );宣判;宣布…不能使用;迫使…陷于不幸的境地 | |
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66 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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67 guardian | |
n.监护人;守卫者,保护者 | |
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68 glided | |
v.滑动( glide的过去式和过去分词 );掠过;(鸟或飞机 ) 滑翔 | |
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69 condescension | |
n.自以为高人一等,贬低(别人) | |
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70 brutal | |
adj.残忍的,野蛮的,不讲理的 | |
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71 diplomacy | |
n.外交;外交手腕,交际手腕 | |
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72 secular | |
n.牧师,凡人;adj.世俗的,现世的,不朽的 | |
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73 tonic | |
n./adj.滋补品,补药,强身的,健体的 | |
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74 deferential | |
adj. 敬意的,恭敬的 | |
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75 situated | |
adj.坐落在...的,处于某种境地的 | |
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76 cinders | |
n.煤渣( cinder的名词复数 );炭渣;煤渣路;煤渣跑道 | |
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77 blithely | |
adv.欢乐地,快活地,无挂虑地 | |
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78 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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