Learn to be poor in spirit, my son, if you would penetrate1 that sacred night which environs truth. Learn of the Sages2 to allow to the Devils no power in Nature, since the fatal stone has shut ’em up in the depth of the abyss. Learn of the Philosophers always to look for natural causes in all extraordinary events; and when such natural causes are wanting, recur3 to God.
The Count de Gabalis.
All these additions to his knowledge of Zanoni, picked up in the various lounging-places and resorts that he frequented, were unsatisfactory to Glyndon. That night Viola did not perform at the theatre; and the next day, still disturbed by bewildered fancies, and averse4 to the sober and sarcastic5 companionship of Mervale, Glyndon sauntered musingly6 into the public gardens, and paused under the very tree under which he had first heard the voice that had exercised upon his mind so singular an influence. The gardens were deserted7. He threw himself on one of the seats placed beneath the shade; and again, in the midst of his reverie, the same cold shudder8 came over him which Zanoni had so distinctly defined, and to which he had ascribed so extraordinary a cause.
He roused himself with a sudden effort, and started to see, seated next him, a figure hideous9 enough to have personated one of the malignant10 beings of whom Zanoni had spoken. It was a small man, dressed in a fashion strikingly at variance12 with the elaborate costume of the day: an affectation of homeliness13 and poverty approaching to squalor, in the loose trousers, coarse as a ship’s sail; in the rough jacket, which appeared rent wilfully14 into holes; and the black, ragged15, tangled16 locks that streamed from their confinement17 under a woollen cap, accorded but ill with other details which spoke11 of comparative wealth. The shirt, open at the throat, was fastened by a brooch of gaudy18 stones; and two pendent massive gold chains announced the foppery of two watches.
The man’s figure, if not absolutely deformed19, was yet marvellously ill-favoured; his shoulders high and square; his chest flattened20, as if crushed in; his gloveless hands were knotted at the joints21, and, large, bony, and muscular, dangled22 from lean, emaciated23 wrists, as if not belonging to them. His features had the painful distortion sometimes seen in the countenance24 of a cripple,— large, exaggerated, with the nose nearly touching25 the chin; the eyes small, but glowing with a cunning fire as they dwelt on Glyndon; and the mouth was twisted into a grin that displayed rows of jagged, black, broken teeth. Yet over this frightful26 face there still played a kind of disagreeable intelligence, an expression at once astute27 and bold; and as Glyndon, recovering from the first impression, looked again at his neighbour, he blushed at his own dismay, and recognised a French artist, with whom he had formed an acquaintance, and who was possessed28 of no inconsiderable talents in his calling.
Indeed, it was to be remarked that this creature, whose externals were so deserted by the Graces, particularly delighted in designs aspiring29 to majesty30 and grandeur31. Though his colouring was hard and shallow, as was that generally of the French school at the time, his DRAWINGS were admirable for symmetry, simple elegance32, and classic vigour33; at the same time they unquestionably wanted ideal grace. He was fond of selecting subjects from Roman history, rather than from the copious34 world of Grecian beauty, or those still more sublime35 stories of scriptural record from which Raphael and Michael Angelo borrowed their inspirations. His grandeur was that not of gods and saints, but mortals. His delineation36 of beauty was that which the eye cannot blame and the soul does not acknowledge. In a word, as it was said of Dionysius, he was an Anthropographos, or Painter of Men. It was also a notable contradiction in this person, who was addicted37 to the most extravagant38 excesses in every passion, whether of hate or love, implacable in revenge, and insatiable in debauch39, that he was in the habit of uttering the most beautiful sentiments of exalted40 purity and genial41 philanthropy. The world was not good enough for him; he was, to use the expressive42 German phrase, A WORLD-BETTERER! Nevertheless, his sarcastic lip often seemed to mock the sentiments he uttered, as if it sought to insinuate43 that he was above even the world he would construct.
Finally, this painter was in close correspondence with the Republicans of Paris, and was held to be one of those missionaries44 whom, from the earliest period of the Revolution, the regenerators of mankind were pleased to despatch45 to the various states yet shackled46, whether by actual tyranny or wholesome47 laws. Certainly, as the historian of Italy (Botta.) has observed, there was no city in Italy where these new doctrines49 would be received with greater favour than Naples, partly from the lively temper of the people, principally because the most hateful feudal50 privileges, however partially51 curtailed52 some years before by the great minister, Tanuccini, still presented so many daily and practical evils as to make change wear a more substantial charm than the mere53 and meretricious54 bloom on the cheek of the harlot, Novelty. This man, whom I will call Jean Nicot, was, therefore, an oracle55 among the younger and bolder spirits of Naples; and before Glyndon had met Zanoni, the former had not been among the least dazzled by the eloquent56 aspirations57 of the hideous philanthropist.
“It is so long since we have met, cher confrere,” said Nicot, drawing his seat nearer to Glyndon’s, “that you cannot be surprised that I see you with delight, and even take the liberty to intrude58 on your meditations59.
“They were of no agreeable nature,” said Glyndon; “and never was intrusion more welcome.”
“You will be charmed to hear,” said Nicot, drawing several letters from his bosom60, “that the good work proceeds with marvellous rapidity. Mirabeau, indeed, is no more; but, mort Diable! the French people are now a Mirabeau themselves.” With this remark, Monsieur Nicot proceeded to read and to comment upon several animated61 and interesting passages in his correspondence, in which the word virtue62 was introduced twenty-seven times, and God not once. And then, warmed by the cheering prospects63 thus opened to him, he began to indulge in those anticipations65 of the future, the outline of which we have already seen in the eloquent extravagance of Condorcet. All the old virtues66 were dethroned for a new Pantheon: patriotism67 was a narrow sentiment; philanthropy was to be its successor. No love that did not embrace all mankind, as warm for Indus and the Pole as for the hearth68 of home, was worthy69 the breast of a generous man. Opinion was to be free as air; and in order to make it so, it was necessary to exterminate70 all those whose opinions were not the same as Mons. Jean Nicot’s. Much of this amused, much revolted Glyndon; but when the painter turned to dwell upon a science that all should comprehend, and the results of which all should enjoy,— a science that, springing from the soil of equal institutions and equal mental cultivation71, should give to all the races of men wealth without labour, and a life longer than the Patriarchs’, without care,— then Glyndon listened with interest and admiration72, not unmixed with awe73. “Observe,” said Nicot, “how much that we now cherish as a virtue will then be rejected as meanness. Our oppressors, for instance, preach to us of the excellence74 of gratitude75. Gratitude, the confession76 of inferiority! What so hateful to a noble spirit as the humiliating sense of obligation? But where there is equality there can be no means for power thus to enslave merit. The benefactor77 and the client will alike cease, and —”
“And in the mean time,” said a low voice, at hand,—“in the mean time, Jean Nicot?”
The two artists started, and Glyndon recognised Zanoni.
He gazed with a brow of unusual sternness on Nicot, who, lumped together as he sat, looked up at him askew78, and with an expression of fear and dismay upon his distorted countenance.
Ho, ho! Messire Jean Nicot, thou who fearest neither God nor Devil, why fearest thou the eye of a man?
“It is not the first time I have been a witness to your opinions on the infirmity of gratitude,” said Zanoni.
Nicot suppressed an exclamation79, and, after gloomily surveying Zanoni with an eye villanous and sinister80, but full of hate impotent and unutterable, said, “I know you not,— what would you of me?”
“Your absence. Leave us!”
Nicot sprang forward a step, with hands clenched81, and showing his teeth from ear to ear, like a wild beast incensed82. Zanoni stood motionless, and smiled at him in scorn. Nicot halted abruptly83, as if fixed84 and fascinated by the look, shivered from head to foot, and sullenly85, and with a visible effort, as if impelled86 by a power not his own, turned away.
Glyndon’s eyes followed him in surprise.
“And what know you of this man?” said Zanoni.
“I know him as one like myself,— a follower87 of art.”
“Of ART! Do not so profane88 that glorious word. What Nature is to God, art should be to man,— a sublime, beneficent, genial, and warm creation. That wretch89 may be a PAINTER, not an ARTIST.”
“And pardon me if I ask what YOU know of one you thus disparage90?”
“I know thus much, that you are beneath my care if it be necessary to warn you against him; his own lips show the hideousness91 of his heart. Why should I tell you of the crimes he has committed? He SPEAKS crime!”
“You do not seem, Signor Zanoni, to be one of the admirers of the dawning Revolution. Perhaps you are prejudiced against the man because you dislike the opinions?”
“What opinions?”
Glyndon paused, somewhat puzzled to define; but at length he said, “Nay92, I must wrong you; for you, of all men, I suppose, cannot discredit93 the doctrine48 that preaches the infinite improvement of the human species.”
“You are right; the few in every age improve the many; the many now may be as wise as the few were; but improvement is at a standstill, if you tell me that the many now are as wise as the few ARE.”
“I comprehend you; you will not allow the law of universal equality!”
“Law! If the whole world conspired94 to enforce the falsehood they could not make it LAW. Level all conditions today, and you only smooth away all obstacles to tyranny tomorrow. A nation that aspires95 to EQUALITY is unfit for FREEDOM. Throughout all creation, from the archangel to the worm, from Olympus to the pebble96, from the radiant and completed planet to the nebula97 that hardens through ages of mist and slime into the habitable world, the first law of Nature is inequality.”
“Harsh doctrine, if applied98 to states. Are the cruel disparities of life never to be removed?”
“Disparities of the PHYSICAL life? Oh, let us hope so. But disparities of the INTELLECTUAL and the MORAL, never! Universal equality of intelligence, of mind, of genius, of virtue!— no teacher left to the world! no men wiser, better than others,— were it not an impossible condition, WHAT A HOPELESS PROSPECT64 FOR HUMANITY! No, while the world lasts, the sun will gild99 the mountain-top before it shines upon the plain. Diffuse100 all the knowledge the earth contains equally over all mankind today, and some men will be wiser than the rest tomorrow. And THIS is not a harsh, but a loving law,— the REAL law of improvement; the wiser the few in one generation, the wiser will be the multitude the next!”
As Zanoni thus spoke, they moved on through the smiling gardens, and the beautiful bay lay sparkling in the noontide. A gentle breeze just cooled the sunbeam, and stirred the ocean; and in the inexpressible clearness of the atmosphere there was something that rejoiced the senses. The very soul seemed to grow lighter101 and purer in that lucid102 air.
“And these men, to commence their era of improvement and equality, are jealous even of the Creator. They would deny an intelligence,— a God!” said Zanoni, as if involuntarily. “Are you an artist, and, looking on the world, can you listen to such a dogma? Between God and genius there is a necessary link,— there is almost a correspondent language. Well said the Pythagorean (Sextus, the Pythagorean.), ‘A good intellect is the chorus of divinity.’”
Struck and touched with these sentiments, which he little expected to fall from one to whom he ascribed those powers which the superstitions103 of childhood ascribe to the darker agencies, Glyndon said: “And yet you have confessed that your life, separated from that of others, is one that man should dread104 to share. Is there, then, a connection between magic and religion?”
“Magic!” And what is magic! When the traveller beholds105 in Persia the ruins of palaces and temples, the ignorant inhabitants inform him they were the work of magicians. What is beyond their own power, the vulgar cannot comprehend to be lawfully106 in the power of others. But if by magic you mean a perpetual research amongst all that is more latent and obscure in Nature, I answer, I profess107 that magic, and that he who does so comes but nearer to the fountain of all belief. Knowest thou not that magic was taught in the schools of old? But how, and by whom? As the last and most solemn lesson, by the Priests who ministered to the Temple. (Psellus de Daemon (MS.)) And you, who would be a painter, is not there a magic also in that art you would advance? Must you not, after long study of the Beautiful that has been, seize upon new and airy combinations of a beauty that is to be? See you not that the grander art, whether of poet or of painter, ever seeking for the TRUE, abhors108 the REAL; that you must seize Nature as her master, not lackey109 her as her slave?
“You demand mastery over the past, a conception of the future. Has not the art that is truly noble for its domain110 the future and the past? You would conjure111 the invisible beings to your charm; and what is painting but the fixing into substance the Invisible? Are you discontented with this world? This world was never meant for genius! To exist, it must create another. What magician can do more; nay, what science can do as much? There are two avenues from the little passions and the drear calamities113 of earth; both lead to heaven and away from hell,— art and science. But art is more godlike than science; science discovers, art creates. You have faculties114 that may command art; be contented112 with your lot. The astronomer115 who catalogues the stars cannot add one atom to the universe; the poet can call a universe from the atom; the chemist may heal with his drugs the infirmities of the human form; the painter, or the sculptor116, fixes into everlasting117 youth forms divine, which no disease can ravage118, and no years impair119. Renounce120 those wandering fancies that lead you now to myself, and now to yon orator121 of the human race; to us two, who are the antipodes of each other! Your pencil is your wand; your canvas may raise Utopias fairer than Condorcet dreams of. I press not yet for your decision; but what man of genius ever asked more to cheer his path to the grave than love and glory?”
“But,” said Glyndon, fixing his eyes earnestly on Zanoni, “if there be a power to baffle the grave itself —”
Zanoni’s brow darkened. “And were this so,” he said, after a pause, “would it be so sweet a lot to outlive all you loved, and to recoil122 from every human tie? Perhaps the fairest immortality123 on earth is that of a noble name.”
“You do not answer me,— you equivocate124. I have read of the long lives far beyond the date common experience assigns to man,” persisted Glyndon, “which some of the alchemists enjoyed. Is the golden elixir125 but a fable126?”
“If not, and these men discovered it, they died, because they refused to live! There may be a mournful warning in your conjecture127. Turn once more to the easel and the canvas!”
So saying, Zanoni waved his hand, and, with downcast eyes and a slow step, bent128 his way back into the city.
收听单词发音 |
1
penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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sages
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| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
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recur
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| vi.复发，重现，再发生 | |
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averse
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| adj.厌恶的；反对的，不乐意的 | |
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sarcastic
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| adj.讥讽的，讽刺的，嘲弄的 | |
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musingly
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| adv.沉思地，冥想地 | |
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deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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malignant
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| adj.恶性的，致命的；恶意的，恶毒的 | |
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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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variance
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| n.矛盾，不同 | |
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homeliness
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| n.简朴，朴实；相貌平平 | |
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wilfully
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| adv.任性固执地；蓄意地 | |
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ragged
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| adj.衣衫褴褛的，粗糙的，刺耳的 | |
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tangled
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| adj. 纠缠的，紊乱的 动词tangle的过去式和过去分词 | |
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confinement
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| n.幽禁，拘留，监禁；分娩；限制，局限 | |
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gaudy
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| adj.华而不实的；俗丽的 | |
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deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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flattened
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| [医]（水）平扁的，弄平的 | |
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joints
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| 接头( joint的名词复数 )； 关节； 公共场所（尤指价格低廉的饮食和娱乐场所） （非正式）； 一块烤肉 （英式英语） | |
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dangled
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| 悬吊着( dangle的过去式和过去分词 )； 摆动不定； 用某事物诱惑…； 吊胃口 | |
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emaciated
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| adj.衰弱的，消瘦的 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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touching
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| adj.动人的，使人感伤的 | |
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frightful
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| adj.可怕的；讨厌的 | |
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astute
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| adj.机敏的，精明的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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aspiring
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| adj.有志气的；有抱负的；高耸的v.渴望；追求 | |
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majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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copious
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| adj.丰富的，大量的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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delineation
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| n.记述；描写 | |
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addicted
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| adj.沉溺于....的，对...上瘾的 | |
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extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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debauch
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| v.使堕落，放纵 | |
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exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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insinuate
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| vt.含沙射影地说，暗示 | |
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missionaries
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| n.传教士( missionary的名词复数 ) | |
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despatch
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| n./v.(dispatch)派遣；发送；n.急件；新闻报道 | |
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shackled
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| 给（某人）带上手铐或脚镣( shackle的过去式和过去分词 ) | |
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wholesome
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| adj.适合；卫生的；有益健康的；显示身心健康的 | |
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doctrine
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| n.教义；主义；学说 | |
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doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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feudal
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| adj.封建的，封地的，领地的 | |
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51
partially
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| adv.部分地，从某些方面讲 | |
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52
curtailed
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| v.截断，缩短( curtail的过去式和过去分词 ) | |
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53
mere
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| adj.纯粹的；仅仅，只不过 | |
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meretricious
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| adj.华而不实的，俗艳的 | |
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oracle
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| n.神谕，神谕处，预言 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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aspirations
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| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
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intrude
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| vi.闯入；侵入；打扰，侵扰 | |
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meditations
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| 默想( meditation的名词复数 )； 默念； 沉思； 冥想 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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prospects
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| n.希望，前途(恒为复数) | |
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prospect
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| n.前景，前途；景色，视野 | |
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anticipations
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| 预期( anticipation的名词复数 )； 预测； （信托财产收益的）预支； 预期的事物 | |
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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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67
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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hearth
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| n.壁炉炉床，壁炉地面 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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70
exterminate
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| v.扑灭，消灭，根绝 | |
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71
cultivation
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| n.耕作，培养，栽培（法），养成 | |
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72
admiration
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| n.钦佩，赞美，羡慕 | |
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73
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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75
gratitude
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| adj.感激，感谢 | |
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76
confession
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| n.自白，供认，承认 | |
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benefactor
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| n. 恩人，行善的人，捐助人 | |
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78
askew
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| adv.斜地；adj.歪斜的 | |
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exclamation
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| n.感叹号，惊呼，惊叹词 | |
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80
sinister
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| adj.不吉利的，凶恶的，左边的 | |
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81
clenched
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| v.紧握，抓紧，咬紧( clench的过去式和过去分词 ) | |
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82
incensed
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| 盛怒的 | |
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83
abruptly
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| adv.突然地，出其不意地 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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sullenly
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| 不高兴地，绷着脸，忧郁地 | |
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impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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follower
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| n.跟随者；随员；门徒；信徒 | |
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profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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wretch
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| n.可怜的人，不幸的人；卑鄙的人 | |
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90
disparage
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| v.贬抑，轻蔑 | |
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91
hideousness
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92
nay
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| adv.不；n.反对票，投反对票者 | |
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discredit
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| vt.使不可置信；n.丧失信义；不信，怀疑 | |
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conspired
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| 密谋( conspire的过去式和过去分词 )； 搞阴谋； （事件等）巧合； 共同导致 | |
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aspires
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| v.渴望，追求( aspire的第三人称单数 ) | |
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96
pebble
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| n.卵石，小圆石 | |
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nebula
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| n.星云，喷雾剂 | |
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applied
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| adj.应用的；v.应用，适用 | |
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gild
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| vt.给…镀金，把…漆成金色，使呈金色 | |
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diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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101
lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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102
lucid
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| adj.明白易懂的，清晰的，头脑清楚的 | |
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103
superstitions
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| 迷信，迷信行为( superstition的名词复数 ) | |
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104
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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105
beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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106
lawfully
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| adv.守法地，合法地；合理地 | |
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107
profess
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| v.声称，冒称，以...为业，正式接受入教，表明信仰 | |
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108
abhors
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| v.憎恶( abhor的第三人称单数 )；（厌恶地）回避；拒绝；淘汰 | |
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109
lackey
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| n.侍从；跟班 | |
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110
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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conjure
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| v.恳求，祈求；变魔术，变戏法 | |
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112
contented
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| adj.满意的，安心的，知足的 | |
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113
calamities
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| n.灾祸，灾难( calamity的名词复数 )；不幸之事 | |
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114
faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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115
astronomer
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| n.天文学家 | |
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116
sculptor
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| n.雕刻家，雕刻家 | |
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117
everlasting
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| adj.永恒的，持久的，无止境的 | |
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118
ravage
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| vt.使...荒废，破坏...；n.破坏，掠夺，荒废 | |
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119
impair
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| v.损害，损伤；削弱，减少 | |
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120
renounce
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| v.放弃；拒绝承认，宣布与…断绝关系 | |
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121
orator
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| n.演说者，演讲者，雄辩家 | |
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122
recoil
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| vi.退却，退缩，畏缩 | |
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123
immortality
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| n.不死，不朽 | |
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124
equivocate
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| v.模棱两可地，支吾其词 | |
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125
elixir
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| n.长生不老药，万能药 | |
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126
fable
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| n.寓言；童话；神话 | |
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127
conjecture
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| n./v.推测，猜测 | |
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128
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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