O suol beato,
Ove sorridere,
Voile il creato;
Tu sei l’impero
Dell ’armonia—
Santa Lucia!
Santa Lucia!”
Signor Grabbini, impresario1 of the theatre of La Scala, resolved to give up his valiant2 but ruinous fight for the legitimate3 drama. Such pieces as Othello, Francesca da Rimini, The Count of Monte Cristo, acted with a complete cast, had proved a strain too severe for the treasury4 as well as for the capacity of his ten-foot stage. In scenes where the entire company was “on,” the jam became so great that spirited [Pg 45]pushing set in, each actor aiming to hold that part of the stage allotted5 to him by the playbook. In the struggle, conducted sometimes with stealthy art, that the audience might not be aware, toes were trodden upon and tempers badly stirred. Thus it happened that after the curtain had rolled down, the ladies and gentlemen of the company were likely to fall to shaking their fists at one another, naturally to the delight of the audience, who could hear the wordy battle very distinctly. Wherefore Signor Grabbini decided6 to change the policy of his theatre.
One night he stepped before the curtain to make the momentous7 announcement. Before he could open his mouth a sailor-man, red as Hiawatha, reached over from the wicketed parapet of the gallery and cried:
“A clasp of the hand, comrade!”
With a gallery so low as that it were folly8 to court dignity, so the little man shook the big hand and then began his [Pg 46]speech, which he punctuated9 with glances at a piece of white paper that he held. In glittering words he set forth10 the motives11 that animated12 him in deciding upon a change from the plan of amusement that had been so successful, so profitable to himself, and so agreeable to the signori of the company. But it was because he wished to serve better, to captivate even more the highly esteemed13, the eminent14, the generous Italian colony, that in the future there would be no five-act tragedies, but a veritable banquet every night of short comedies—oh, so laughable!—from the pens of the world’s greatest dramatists, in the true Italian as well as the dialect of sweet Naples.
“Bravoes!” from all over the theatre put a stop to the speech for a moment. Men in the orchestra pens leaned over the edge of the stage and lit their cigarettes at the footlights, and, taking advantage of the pause, the meal-cake man shouted his wares15.
“But this is not all, my friends,” went on Signor Grabbini.
[Pg 47]
A fresh shower of bravoes.
“Keep your feet off my head!” cried a man in the pit to one in the gallery.
“Bah!” gave back the other, drawing in a huge boot between the wickets; “in this theatre one can not stretch his legs.”
“Silence! Hear the impresario!”
“Beginning on Sunday night,” said the man on the stage, “I shall have the distinct honour of presenting to the highly discriminating16 taste of the most esteemed and eminent patrons of La Scala an extraordinary singer of canzonets.”
“Bravo, Signor Grabbini!”
“Silence!”
“Meal cakes! A soldo each!”
“Silence, thou donkey!”
“With your permission, ladies and gentlemen,” the impresario went on, bowing low, “I will proceed. The artist to whom I have referred is—ah! my friends—she is an angel of delight—a glorious type, a creature magnificent. My word of honour, the most beautiful woman in New York—nay, [Pg 48]in all America. To the artistic17 world she is known as Juno the Superb. Pay strict attention, my compatriots. The evening of the Feast of Sunday will indeed be an occasion most extraordinary, for it is my honoured privilege to inform you that in addition to the famous comedies and the exquisite18 Juno, there will be an oyster19 cook in the audience under the especial administration of the management, who will prepare soups of sea fruit in true Neapolitan style and at prices the most moderate.”
“Bravissimo!”
“Meal——”
“Silence! Evviva the oyster cook!”
“With these my humble20 words, highly prized patrons, I will conclude, and from the depth of my heart beg you to accept my most cordial gratitude21, and the assurance that in the future as well as the past you will find me ever alert to serve faithfully and to the plenitude of my power the highly esteemed, the eminent, the generous Italian colony.”
[Pg 49]
“Evviva Juno the Superb!” piped one voice.
“And the oyster soup!” thundered a Sicilian hod-carrier.
At length the curtain was raised on the last act of the tragedy, and the knights23 and ladies, buffoons24 and sages25, soldiers and huntsmen, began moving about the stage gingerly, with great skill avoiding collision as they crossed or ducking their heads when they made exits, hurried or slow, through the dollhouse doors.
On the Feast of Sunday a packed theatre bore witness to the wisdom of Signor Grabbini’s change of policy. From the base-board of the stage, which was fringed by a row of shrubby26 black heads, to the last tier of benches there was no vacant seat. The first of the short comedies was reeled off without a single toe trodden on, since it required only five dramatis personæ. Not a joke went begging, for the audience heard [Pg 50]them all twice—first from the prompter, who bawled27 them from his little green coop at the footlights, and again from the mouths of the actors.
Next came the star of the evening, Juno the Superb. As the orchestra—blaring its brass—struck up the prelude28 of her song, Signor Di Bello entered the tiny proscenium box and dropped into a chair. The fame of her plethoric29 beauty had reached him, as the impresario had taken good care it should reach many an appreciative30 masculine ear. He was a very different-looking man to-night from the Signor Di Bello of business hours, clad in a long drab blouse, hacking31 Parmesan and weighing macaroni. Now he showed brave in snowy shirt front of bulging32 expanse, large diamond, black coat, white waistcoat, lavender trousers, and a gorgeous bouquet33 stuck under his left cheek.
When she appeared in the glare of the lights, draped frankly34 in the odd colours and tinsel frippery of the Campania peasant [Pg 51]maid—as she is seen nowhere but on the stage—it was plain that the impresario had made an intelligent guess. Her exuberant35 charms were sufficient to deal even that audience a start. The men caught their breath, and the women made wry36 faces. Had they possessed37 eyes for anything but Juno, they would have seen that the grocer in the box was smitten38 hard by the sudden picture of billowing womanhood and glowing flesh tint39. “Ah, what beauty!” he breathed, leaning farther over the rail, deep in the spell of her great hazel eyes, the peony of her cheeks, the soft tawn of her neck, and shoulders that shaded down to clearest amber40. “Pomegranates and hidden rosebuds41! By the egg of Columbus!”
And in truth she was, as every man had to own, as fine a woman as ever came out of Italy or any other country. But this did not keep their teeth off edge when she began to voice “Santa Lucia,” that evergreen42 canzonet of Naples. She pitched upon a key that baffled the orchestra. The leader stamped his [Pg 52]foot and shifted tones in vain. Only deaf ears could have failed to perceive that it was her generous friend Nature and not art that had opened to her the stage door.
“Madonna Maria!” was the criticism of Luigia the Garlic Woman. “She has the voice of a hungry goat on a foggy morning.”
But there was one pair of eardrums on which her bleating43 did not grate. They belonged to Signor Di Bello, in calmer moments a man of very good hearing. But he was stone deaf now. Before the Levantine charms of this thrilling creature all his senses were absorbed in sight.
“Brava, bravissima!” he shouted at the interlude. “Oh, simpiaticone!”
“What a whale she is!” said a phthisic cigarette girl to her promised husband, who heard her not.
“An ugly figure she makes, truly,” sneered45 a barber’s wife to her husband. “A big cow like that in the frock of a child! No honest woman, one sees easily. And [Pg 53]look, Adriano! Her nose! I find it similar to the snout of Signora Grametto’s little black-faced dog.”
There was no gainsaying46 this bold touch of the Supreme47 Sculptor’s realism. Glorious her black tresses, delectable48 her form and colour, uptilting and ample her nose.
The canzonet ended, she walked off without bowing to or glancing at the audience, but the men, one and all, their eye thirst still unslaked, joined in Signor Di Bello’s frantic49 demand for an encore. On she came with stolid50 countenance51 and began the song all over again, although the women had set up a hissing52 that matched the strength of the applause. Signor Di Bello called the flower girl into the box, bought an armful of her wares, and threw them wildly on the stage. They fell in a shower on all sides of Juno. Instantly she stopped, put her arms akimbo, and while the orchestra played on, glared blackly at her vehement53 admirer. Flowers for a Neapolitan of the Porto! Blossoms that have poison in their breath! [Pg 54]Stupid Di Bello! Stupid Genovese! Twelve years in Mulberry, and to forget the hatred54 that Neapolitans of Naples have for natural blooms! Perhaps you thought she was from the country, like most of the people there. Bah! In such a serious matter one ought to be sure.
It was the women’s golden chance. They started a titter of derisive55 laughter that became a gale56 and swept through the theatre. Juno moved toward the box, trampling57 the odious58 flowers, and spat59 in the face of Signor Di Bello. Then she left the stage, followed by an outpour of boorish60 gibes61.
“Infame! infame!” It was the voice of Bertino, crying loudly from the last row of benches, under the gallery hard by the door. With a firing emotion that he did not know was the green fever, he had watched the doings of his uncle, and when the bright colours rained about her, brushing her cheeks and hair, and whisking her shoulders, he thought with a heart-fall of the wretched blossom his hand had bestowed62 a [Pg 55]week before at the Wooden Bunch. Madre Santissima! His uncle kissed her with lovely flowers, and he, miserable63 soul, kissed her with a spot of yellow paint. But when the people laughed and sneered, and he saw her anger kindle64, her cause was his own. The pigs and sons of pigs! To laugh at her! At his queen, the amorosa of his dreamland, by sunglow and starshine, asleep or at work. Grander than the dames65 of Genoa palaces, more beautiful than the peaches of California. And his uncle! The old mooncalf! He was the cause of it all. Served him right that kiss she gave him back. Ha-ha! But these jeers66, these hounds yelping67 at his queen! “Infame! infame!”
The people thought he meant it for Juno, and took up the cry, which did not subside68 until the Bay of Naples and the cone44 of Vesuvius rolled up from the bottom, and the second comedy began. Signor Di Bello had no appetite for this, and he left the box, passing out amid the nudges and snickers of the first families of the Genovesi, Milanesi, [Pg 56]and Torinesi, who were there in force along with the flower of the Calabriani, Napolitani, and Siciliani. But he put a good face on the matter, and at the door hailed the impresario:
点击
收听单词发音
收听单词发音 |
1
impresario
|
|
| n.歌剧团的经理人；乐团指挥 | |
参考例句： |
|
|
|
|
2
valiant
|
|
| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
参考例句： |
|
|
|
|
3
legitimate
|
|
| adj.合法的，合理的，合乎逻辑的；v.使合法 | |
参考例句： |
|
|
|
|
4
treasury
|
|
| n.宝库；国库，金库；文库 | |
参考例句： |
|
|
|
|
5
allotted
|
|
| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
6
decided
|
|
| adj.决定了的，坚决的；明显的，明确的 | |
参考例句： |
|
|
|
|
7
momentous
|
|
| adj.重要的，重大的 | |
参考例句： |
|
|
|
|
8
folly
|
|
| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
参考例句： |
|
|
|
|
9
punctuated
|
|
| v.（在文字中）加标点符号，加标点( punctuate的过去式和过去分词 )；不时打断某事物 | |
参考例句： |
|
|
|
|
10
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
11
motives
|
|
| n.动机，目的( motive的名词复数 ) | |
参考例句： |
|
|
|
|
12
animated
|
|
| adj.生气勃勃的，活跃的，愉快的 | |
参考例句： |
|
|
|
|
13
esteemed
|
|
| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
参考例句： |
|
|
|
|
14
eminent
|
|
| adj.显赫的，杰出的，有名的，优良的 | |
参考例句： |
|
|
|
|
15
wares
|
|
| n. 货物, 商品 | |
参考例句： |
|
|
|
|
16
discriminating
|
|
| a.有辨别能力的 | |
参考例句： |
|
|
|
|
17
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
18
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
19
oyster
|
|
| n.牡蛎；沉默寡言的人 | |
参考例句： |
|
|
|
|
20
humble
|
|
| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
参考例句： |
|
|
|
|
21
gratitude
|
|
| adj.感激，感谢 | |
参考例句： |
|
|
|
|
22
salaaming
|
|
| 行额手礼( salaam的现在分词 ) | |
参考例句： |
|
|
|
|
|
23
knights
|
|
| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
参考例句： |
|
|
|
|
24
buffoons
|
|
| n.愚蠢的人( buffoon的名词复数 )；傻瓜；逗乐小丑；滑稽的人 | |
参考例句： |
|
|
|
|
|
25
sages
|
|
| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
参考例句： |
|
|
|
|
26
shrubby
|
|
| adj.灌木的，灌木一般的，灌木繁茂著的 | |
参考例句： |
|
|
|
|
27
bawled
|
|
| v.大叫，大喊( bawl的过去式和过去分词 )；放声大哭；大声叫出；叫卖（货物） | |
参考例句： |
|
|
|
|
28
prelude
|
|
| n.序言，前兆，序曲 | |
参考例句： |
|
|
|
|
29
plethoric
|
|
| adj.过多的，多血症的 | |
参考例句： |
|
|
|
|
|
30
appreciative
|
|
| adj.有鉴赏力的，有眼力的；感激的 | |
参考例句： |
|
|
|
|
31
hacking
|
|
| n.非法访问计算机系统和数据库的活动 | |
参考例句： |
|
|
|
|
32
bulging
|
|
| 膨胀； 凸出（部）； 打气； 折皱 | |
参考例句： |
|
|
|
|
33
bouquet
|
|
| n.花束，酒香 | |
参考例句： |
|
|
|
|
34
frankly
|
|
| adv.坦白地，直率地；坦率地说 | |
参考例句： |
|
|
|
|
35
exuberant
|
|
| adj.充满活力的；（植物）繁茂的 | |
参考例句： |
|
|
|
|
36
wry
|
|
| adj.讽刺的；扭曲的 | |
参考例句： |
|
|
|
|
37
possessed
|
|
| adj.疯狂的；拥有的，占有的 | |
参考例句： |
|
|
|
|
38
smitten
|
|
| 猛打，重击，打击( smite的过去分词 ) | |
参考例句： |
|
|
|
|
39
tint
|
|
| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
参考例句： |
|
|
|
|
40
amber
|
|
| n.琥珀；琥珀色；adj.琥珀制的 | |
参考例句： |
|
|
|
|
41
rosebuds
|
|
| 蔷薇花蕾，妙龄少女，初入社交界的少女( rosebud的名词复数 ) | |
参考例句： |
|
|
|
|
42
evergreen
|
|
| n.常青树；adj.四季常青的 | |
参考例句： |
|
|
|
|
43
bleating
|
|
| v.（羊，小牛）叫( bleat的现在分词 )；哭诉；发出羊叫似的声音；轻声诉说 | |
参考例句： |
|
|
|
|
44
cone
|
|
| n.圆锥体，圆锥形东西，球果 | |
参考例句： |
|
|
|
|
45
sneered
|
|
| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
46
gainsaying
|
|
| v.否认，反驳( gainsay的现在分词 ) | |
参考例句： |
|
|
|
|
47
supreme
|
|
| adj.极度的，最重要的；至高的，最高的 | |
参考例句： |
|
|
|
|
48
delectable
|
|
| adj.使人愉快的；美味的 | |
参考例句： |
|
|
|
|
49
frantic
|
|
| adj.狂乱的，错乱的，激昂的 | |
参考例句： |
|
|
|
|
50
stolid
|
|
| adj.无动于衷的，感情麻木的 | |
参考例句： |
|
|
|
|
51
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
52
hissing
|
|
| n. 发嘶嘶声, 蔑视 动词hiss的现在分词形式 | |
参考例句： |
|
|
|
|
53
vehement
|
|
| adj.感情强烈的；热烈的；(人)有强烈感情的 | |
参考例句： |
|
|
|
|
54
hatred
|
|
| n.憎恶，憎恨，仇恨 | |
参考例句： |
|
|
|
|
55
derisive
|
|
| adj.嘲弄的 | |
参考例句： |
|
|
|
|
56
gale
|
|
| n.大风，强风，一阵闹声（尤指笑声等） | |
参考例句： |
|
|
|
|
57
trampling
|
|
| 踩( trample的现在分词 )； 践踏； 无视； 侵犯 | |
参考例句： |
|
|
|
|
58
odious
|
|
| adj.可憎的，讨厌的 | |
参考例句： |
|
|
|
|
59
spat
|
|
| n.口角，掌击；v.发出呼噜呼噜声 | |
参考例句： |
|
|
|
|
60
boorish
|
|
| adj.粗野的，乡巴佬的 | |
参考例句： |
|
|
|
|
61
gibes
|
|
| vi.嘲笑，嘲弄（gibe的第三人称单数形式） | |
参考例句： |
|
|
|
|
62
bestowed
|
|
| 赠给，授予( bestow的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
63
miserable
|
|
| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
参考例句： |
|
|
|
|
64
kindle
|
|
| v.点燃，着火 | |
参考例句： |
|
|
|
|
65
dames
|
|
| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
参考例句： |
|
|
|
|
66
jeers
|
|
| n.操纵帆桁下部（使其上下的）索具；嘲讽( jeer的名词复数 )v.嘲笑( jeer的第三人称单数 ) | |
参考例句： |
|
|
|
|
67
yelping
|
|
| v.发出短而尖的叫声( yelp的现在分词 ) | |
参考例句： |
|
|
|
|
68
subside
|
|
| vi.平静，平息；下沉，塌陷，沉降 | |
参考例句： |
|
|
|
|
69
chuckling
|
|
| 轻声地笑( chuckle的现在分词 ) | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |