He entered a green and winding9 lane, fringed with tall elms, and dim with fragrant10 shade, and, after proceeding11 about half a mile, came to a long, low-built lodge12, with a thatched and shelving roof, and surrounded by a rustic13 colonnade14 covered with honeysuckle. Passing through the gate at hand, he found himself in a road winding through gently-undulating banks of exquisite15 turf, studded with rare shrubs16, and, occasionally, rarer trees. Suddenly the confined scene expanded; wide lawns spread out before him, shadowed with the dark forms of many huge cedars17, and blazing with flower-beds of every hue18. The house was also apparent, a stately mansion19 of hewn stone, with wings and a portico20 of Corinthian columns, and backed by deep woods.
This was Belmont, built by a favorite minister of state, to whom a grateful and gracious sovereign had granted a slice of a royal park whereon to raise a palace and a garden, and find occasionally Tusculan repose22.
The lady of the mansion was at home, and, though Lothair was quite prepared for this, his heart beat. The inner hall was of noble proportion, and there were ranged in it many Roman busts23, and some ancient slabs24 and altars of marble. These had been collected some century ago by the minister; but what immediately struck the eye of Lothair were two statues by an American artist, and both of fame, the Sybil and the Cleopatra. He had heard of these, but had never seen them, and could not refrain from lingering a moment to gaze upon their mystical and fascinating beauty.
He proceeded through two spacious26 and lofty chambers28, of which it was evident the furniture was new. It was luxurious29 and rich, and full of taste; but there was no attempt to recall the past in the details; no cabinets and clocks of French kings, or tables of French queens, no chairs of Venetian senators, no candelabra, that had illumined Doges of Genoa, no ancient porcelain30 of rare schools, and ivory carvings31 and choice enamels32. The walls were hung with master-pieces of modern art, chiefly of the French school, Ingres and Delaroche and Scheffer.
The last saloon led into a room of smaller dimensions, opening on the garden, and which Lothair at first thought must be a fernery, it seemed so full of choice and expanding specimens33 of that beautiful and multiform plant; but, when his eye had become a little accustomed to the scene and to the order of the groups, he perceived they were only the refreshing34 and profuse35 ornaments36 of a regularly furnished and inhabited apartment. In its centre was a table covered with writing-materials and books and some music. There was a chair before the table, so placed as if some one had only recently quitted it; a book was open, but turned upon its face, with an ivory cutter by its side. It would seem that the dweller37 in the chamber27 might not be far distant. The servant invited Lothair to be seated, and, saying that Mrs. Campian must be in the garden, proceeded to inform his mistress of the arrival of a guest.
The room opened on a terrace adorned38 with statues and orange-trees, and descending39 gently into a garden in the Italian style, in the centre of which was a marble fountain of many figures. The grounds were not extensive, but they were only separated from the royal park by a wire fence, so that the scene seemed alike rich and illimitable. On the boundary was a summer-house in the shape of a classic temple, one of those pavilions of pleasure which nobles loved to raise in the last century.
As Lothair beheld41 the scene with gratification, the servant reappeared on the step of the terrace and invited him to descend40. Guiding him through the garden, the servant retired42 as Lothair recognized Mrs. Campian approaching them.
She gave her hand to Lothair and welcomed him cordially but with serenity43. They mutually exchanged hopes that their return to town had been agreeable. Lothair could not refrain from expressing how pleased he was with Belmont.
“I am glad you approve of our hired home,” said Theodora; “I think we were fortunate in finding one that suits our tastes and habits. We love pictures and statues and trees and flowers, and yet we love our friends, and our friends are people who live in cities.”
“I think I saw two statues today of which I have often heard,” said Lothair.
“The Sibyl and Cleopatra! Yes Colonel Campian is rather proud of possessing them. He collects only modern art, for which I believe there is a great future, though some of our friends think it is yet in its cradle.”
“I am very sorry to say,” said Lothair, “that I know very little about art, or indeed any thing else, but I admire what is beautiful. I know something about architecture, at least church architecture.”
“Well, religion has produced some of our finest buildings,” said Theodora; “there is no question of that; and as long as they are adapted to what takes place in them they are admirable. The fault I find in modern churches in this country is, that there is little relation between the ceremonies and the structure. Nobody seems now conscious that every true architectural form has a purpose. But I think the climax44 of confused ideas is capped when dissenting45 chapels46 are built like cathedrals.”
“Ah! to build a cathedral!” exclaimed Lothair, “that is a great enterprise. I wish I might show you some day some drawings I have of a projected cathedral.”
“A projected cathedral!” said Theodora. “Well, I must confess to you I never could comprehend the idea of a Protestant cathedral.”
“But I am not quite sure,” said Lothair, blushing and agitated47, “that it will be a Protestant cathedral. I have not made up my mind about that.”
Theodora glanced at him, unobserved, with her wonderful gray eyes; a sort of supernatural light seemed to shoot from beneath their long dark lashes48 and read his inmost nature. They were all this time returning, as she had suggested, to the house. Rather suddenly she said, “By-the-by, as you are so fond of art, I ought to have asked you whether you would like to see a work by the sculptor49 of Cleopatra, which arrived when we were at Oxford50. We have placed it on a pedestal in the temple. It is the Genius of Freedom. I may say I was assisting at its inauguration51 when your name was announced to me.”
Lothair caught at this proposal, and they turned and approached the temple. Some workmen were leaving the building as they entered, and one or two lingered.
Upon a pedestal of porphyry rose the statue of a female in marble. Though veiled with drapery which might have become the Goddess of Modesty52, admirable art permitted the contour of the perfect form to be traced. The feet were without sandals, and the undulating breadth of one shoulder, where the drapery was festooned, remained uncovered. One expected with such a shape some divine visage. That was not wanting; but humanity was asserted in the transcendent brow, which beamed with sublime53 thought and profound enthusiasm.
Some would have sighed that such beings could only be pictured in a poet’s or an artist’s dream, but Lothair felt that what he beheld with rapture54 was no ideal creation, and that he was in the presence of the inspiring original.
“It is too like!” he murmured.
“It is the most successful recurrence55 to the true principles of art in modern sculpture,” said a gentleman on his right hand.
This person was a young man, though more than ten years older than Lothair. His appearance was striking. Above the middle height, his form, athletic56 though lithe57 and symmetrical, was crowned by a countenance58 aquiline59 but delicate, and from many circumstances of a remarkable60 radiancy. The lustre61 of his complexion62, the fire of his eye, and his chestnut hair in profuse curls, contributed much to this dazzling effect. A thick but small mustache did not conceal63 his curved lip or the scornful pride of his distended64 nostril65, and his beard, close but not long, did not veil the singular beauty of his mouth. It was an arrogant66 face, daring and vivacious67, yet weighted with an expression of deep and haughty68 thought.
The costume of this gentleman was rich and picturesque. Such extravagance of form and color is sometimes encountered in the adventurous69 toilet of a country house, but rarely experienced in what might still be looked upon as a morning visit in the metropolis70.
“You know Mr. Phoebus?” asked a low, clear voice, and turning round Lothair was presented to a person so famous that even Lothair had heard of him.
Mr. Phoebus was the most successful, not to say the most eminent71, painter of the age. He was the descendant of a noble family of Gascony that had emigrated to England from France in the reign21 of Louis XIV. Unquestionably they had mixed their blood frequently during the interval72 and the vicissitudes73 of their various life; but, in Gaston Phoebus, Nature, as is sometimes her wont74, had chosen to reproduce exactly the original type. He was the Gascon noble of the sixteenth century, with all his brilliancy, bravery, and boastfulness, equally vain, arrogant, and eccentric, accomplished75 in all the daring or the graceful3 pursuits of man, yet nursed in the philosophy of our times.
“It is presumption76 in my talking about such things,” said Lothair; “but might I venture to ask what you may consider the true principles of art?”
“ARYAN principles,” said Mr. Phoebus; “not merely the study of Nature, but of beautiful Nature; the art of design in a country inhabited by a first-rate race, and where the laws, the manners, the customs, are calculated to maintain the health and beauty of a first-rate race. In a greater or less degree, these conditions obtained from the age of Pericles to the age of Hadrian in pure Aryan communities, but Semitism began then to prevail, and ultimately triumphed. Semitism has destroyed art; it taught man to despise his own body, and the essence of art is to honor the human frame.”
“I am afraid I ought not to talk about such things,” said Lothair; “but, if by Semitism you mean religion, surely the Italian painters inspired by Semitism did something.”
“Great things,” said Mr. Phoebus—“some of the greatest. Semitism gave them subjects, but the Renaissance77 gave them Aryan art, and it gave that art to a purely78 Aryan race. But Semitism rallied in the shape of the Reformation, and swept all away. When Leo the Tenth was pope, popery was pagan; popery is now Christian79, and art is extinct.”
“I cannot enter into such controversies,” said Lothair. “Every day I feel more and more I am extremely ignorant.”
“Do not regret it,” said Mr. Phoebus. “What you call ignorance is your strength. By ignorance you mean a want of knowledge of books. Books are fatal; they are the curse of the human race. Nine-tenths of existing books are nonsense, and the clever books are the refutation of that nonsense. The greatest misfortune that ever befell man was the invention of printing. Printing has destroyed education. Art is a great thing, and Science is a great thing; but all that art and science can reveal can be taught by man and by his attributes—his voice, his hand, his eye. The essence of education is the education of the body. Beauty and health are the chief sources of happiness. Men should live in the air; their exercises should be regular, varied80, scientific. To render his body strong and supple81 is the first duty of man. He should develop and completely master the whole muscular system. What I admire in the order to which you belong is that they do live in the air; that they excel in athletic sports; that they can only speak one language; and that they never read. This is not a complete education, but it is the highest education since the Greek.”
“What you say I feel encouraging,” said Lothair, repressing a smile, “for I myself live very much in the air, and am fond of all sports; but I confess I am often ashamed of being so poor a linguist82, and was seriously thinking that I ought to read.”
“No doubt every man should combine an intellectual with a physical training,” replied Mr. Phoebus; “but the popular conception of the means is radically83 wrong. Youth should attend lectures on art and science by the most illustrious professors, and should converse84 together afterward85 on what they have heard. They should learn to talk; it is a rare accomplishment86, and extremely healthy. They should have music always at their meals. The theatre, entirely87 remodelled88 and reformed, and, under a minister of state, should be an important element of education. I should not object to the recitation of lyric89 poetry. That is enough. I would not have a book in the house, or even see a newspaper.”
“These are Aryan principles?” said Lothair.
“They are,” said Mr. Phoebus; “and of such principles, I believe, a great revival90 is at hand. We shall both live to see another Renaissance.”
“And our artist here,” said Lothair, pointing to the statue, “you are of opinion that he is asserting these principles?”
“Yes; because he has produced the Aryan form by studying the Aryan form. Phidias never had a finer model, and he has not been unequal to it.”
“I fancied,” said Lothair, in a lower and inquiring tone, though Mrs. Campian had some time before glided91 out of the pavilion, and was giving directions to the workmen—“I fancied I had heard that Mrs. Campian was a Roman.”
“The Romans were Greeks,” said Mr. Phoebus, “and in this instance the Phidian type came out. It has not been thrown away. I believe Theodora has inspired as many painters and sculptors92 as any Aryan goddess. I look upon her as such, for I know nothing more divine.”
“I fear the Phidian type is very rare,” said Lothair.
“In nature and in art there must always be surpassing instances,” said Mr. Phoebus. “It is a law, and a wise one; but, depend upon it, so strong and perfect a type as the original Aryan must be yet abundant among the millions, and may be developed. But for this you want great changes in your laws. It is the first duty of a state to attend to the frame and health of the subject. The Spartans93 understood this. They permitted no marriage the probable consequences of which might be a feeble progeny94; they even took measures to secure a vigorous one. The Romans doomed95 the deformed96 to immediate25 destruction. The union of the races concerns the welfare of the commonwealth97 much too nearly to be intrusted to individual arrangement. The fate of a nation will ultimately depend upon the strength and health of the population. Both France and England should look to this; they have cause. As for our mighty98 engines of war in the hands of a puny99 race, it will be the old story of the lower empire and the Greek fire. Laws should be passed to secure all this, and some day they will be. But nothing can be done until the Aryan races are extricated100 from Semitism.”
点击
收听单词发音
收听单词发音 |
1
suburban
|
|
| adj.城郊的，在郊区的 | |
参考例句： |
|
|
|
|
2
bustling
|
|
| adj.喧闹的 | |
参考例句： |
|
|
|
|
3
graceful
|
|
| adj.优美的，优雅的；得体的 | |
参考例句： |
|
|
|
|
4
gracefully
|
|
| ad.大大方方地；优美地 | |
参考例句： |
|
|
|
|
5
abounding
|
|
| adj.丰富的，大量的v.大量存在，充满，富于( abound的现在分词 ) | |
参考例句： |
|
|
|
|
6
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
7
chestnut
|
|
| n.栗树，栗子 | |
参考例句： |
|
|
|
|
8
barb
|
|
| n.（鱼钩等的）倒钩，倒刺 | |
参考例句： |
|
|
|
|
9
winding
|
|
| n.绕，缠，绕组，线圈 | |
参考例句： |
|
|
|
|
10
fragrant
|
|
| adj.芬香的，馥郁的，愉快的 | |
参考例句： |
|
|
|
|
11
proceeding
|
|
| n.行动，进行，(pl.)会议录，学报 | |
参考例句： |
|
|
|
|
12
lodge
|
|
| v.临时住宿，寄宿，寄存，容纳；n.传达室，小旅馆 | |
参考例句： |
|
|
|
|
13
rustic
|
|
| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
参考例句： |
|
|
|
|
14
colonnade
|
|
| n.柱廊 | |
参考例句： |
|
|
|
|
15
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
16
shrubs
|
|
| 灌木( shrub的名词复数 ) | |
参考例句： |
|
|
|
|
17
cedars
|
|
| 雪松，西洋杉( cedar的名词复数 ) | |
参考例句： |
|
|
|
|
18
hue
|
|
| n.色度；色调；样子 | |
参考例句： |
|
|
|
|
19
mansion
|
|
| n.大厦，大楼；宅第 | |
参考例句： |
|
|
|
|
20
portico
|
|
| n.柱廊，门廊 | |
参考例句： |
|
|
|
|
21
reign
|
|
| n.统治时期，统治，支配，盛行；v.占优势 | |
参考例句： |
|
|
|
|
22
repose
|
|
| v.(使)休息；n.安息 | |
参考例句： |
|
|
|
|
23
busts
|
|
| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
参考例句： |
|
|
|
|
24
slabs
|
|
| n.厚板，平板，厚片( slab的名词复数 )；厚胶片 | |
参考例句： |
|
|
|
|
25
immediate
|
|
| adj.立即的；直接的，最接近的；紧靠的 | |
参考例句： |
|
|
|
|
26
spacious
|
|
| adj.广阔的，宽敞的 | |
参考例句： |
|
|
|
|
27
chamber
|
|
| n.房间，寝室；会议厅；议院；会所 | |
参考例句： |
|
|
|
|
28
chambers
|
|
| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
参考例句： |
|
|
|
|
29
luxurious
|
|
| adj.精美而昂贵的；豪华的 | |
参考例句： |
|
|
|
|
30
porcelain
|
|
| n.瓷；adj.瓷的，瓷制的 | |
参考例句： |
|
|
|
|
31
carvings
|
|
| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
参考例句： |
|
|
|
|
32
enamels
|
|
| 搪瓷( enamel的名词复数 )； 珐琅； 釉药； 瓷漆 | |
参考例句： |
|
|
|
|
33
specimens
|
|
| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
参考例句： |
|
|
|
|
34
refreshing
|
|
| adj.使精神振作的，使人清爽的，使人喜欢的 | |
参考例句： |
|
|
|
|
35
profuse
|
|
| adj.很多的，大量的，极其丰富的 | |
参考例句： |
|
|
|
|
36
ornaments
|
|
| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
参考例句： |
|
|
|
|
37
dweller
|
|
| n.居住者，住客 | |
参考例句： |
|
|
|
|
38
adorned
|
|
| [计]被修饰的 | |
参考例句： |
|
|
|
|
39
descending
|
|
| n. 下行 adj. 下降的 | |
参考例句： |
|
|
|
|
40
descend
|
|
| vt./vi.传下来，下来，下降 | |
参考例句： |
|
|
|
|
41
beheld
|
|
| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
参考例句： |
|
|
|
|
42
retired
|
|
| adj.隐退的，退休的，退役的 | |
参考例句： |
|
|
|
|
43
serenity
|
|
| n.宁静，沉着，晴朗 | |
参考例句： |
|
|
|
|
44
climax
|
|
| n.顶点；高潮；v.(使)达到顶点 | |
参考例句： |
|
|
|
|
45
dissenting
|
|
| adj.不同意的 | |
参考例句： |
|
|
|
|
46
chapels
|
|
| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
参考例句： |
|
|
|
|
47
agitated
|
|
| adj.被鼓动的，不安的 | |
参考例句： |
|
|
|
|
48
lashes
|
|
| n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥 | |
参考例句： |
|
|
|
|
49
sculptor
|
|
| n.雕刻家，雕刻家 | |
参考例句： |
|
|
|
|
50
Oxford
|
|
| n.牛津（英国城市） | |
参考例句： |
|
|
|
|
51
inauguration
|
|
| n.开幕、就职典礼 | |
参考例句： |
|
|
|
|
52
modesty
|
|
| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
参考例句： |
|
|
|
|
53
sublime
|
|
| adj.崇高的，伟大的；极度的，不顾后果的 | |
参考例句： |
|
|
|
|
54
rapture
|
|
| n.狂喜；全神贯注；着迷；v.使狂喜 | |
参考例句： |
|
|
|
|
55
recurrence
|
|
| n.复发，反复，重现 | |
参考例句： |
|
|
|
|
56
athletic
|
|
| adj.擅长运动的，强健的；活跃的，体格健壮的 | |
参考例句： |
|
|
|
|
57
lithe
|
|
| adj.(指人、身体)柔软的，易弯的 | |
参考例句： |
|
|
|
|
58
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
59
aquiline
|
|
| adj.钩状的，鹰的 | |
参考例句： |
|
|
|
|
60
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
61
lustre
|
|
| n.光亮，光泽；荣誉 | |
参考例句： |
|
|
|
|
62
complexion
|
|
| n.肤色；情况，局面；气质，性格 | |
参考例句： |
|
|
|
|
63
conceal
|
|
| v.隐藏，隐瞒，隐蔽 | |
参考例句： |
|
|
|
|
64
distended
|
|
| v.（使）膨胀，肿胀( distend的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
65
nostril
|
|
| n.鼻孔 | |
参考例句： |
|
|
|
|
66
arrogant
|
|
| adj.傲慢的，自大的 | |
参考例句： |
|
|
|
|
67
vivacious
|
|
| adj.活泼的，快活的 | |
参考例句： |
|
|
|
|
68
haughty
|
|
| adj.傲慢的，高傲的 | |
参考例句： |
|
|
|
|
69
adventurous
|
|
| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
参考例句： |
|
|
|
|
70
metropolis
|
|
| n.首府；大城市 | |
参考例句： |
|
|
|
|
71
eminent
|
|
| adj.显赫的，杰出的，有名的，优良的 | |
参考例句： |
|
|
|
|
72
interval
|
|
| n.间隔，间距；幕间休息，中场休息 | |
参考例句： |
|
|
|
|
73
vicissitudes
|
|
| n.变迁，世事变化；变迁兴衰( vicissitude的名词复数 )；盛衰兴废 | |
参考例句： |
|
|
|
|
74
wont
|
|
| adj.习惯于；v.习惯；n.习惯 | |
参考例句： |
|
|
|
|
75
accomplished
|
|
| adj.有才艺的；有造诣的；达到了的 | |
参考例句： |
|
|
|
|
76
presumption
|
|
| n.推测，可能性，冒昧，放肆，[法律]推定 | |
参考例句： |
|
|
|
|
77
renaissance
|
|
| n.复活，复兴，文艺复兴 | |
参考例句： |
|
|
|
|
78
purely
|
|
| adv.纯粹地，完全地 | |
参考例句： |
|
|
|
|
79
Christian
|
|
| adj.基督教徒的；n.基督教徒 | |
参考例句： |
|
|
|
|
80
varied
|
|
| adj.多样的，多变化的 | |
参考例句： |
|
|
|
|
81
supple
|
|
| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
参考例句： |
|
|
|
|
82
linguist
|
|
| n.语言学家；精通数种外国语言者 | |
参考例句： |
|
|
|
|
83
radically
|
|
| ad.根本地，本质地 | |
参考例句： |
|
|
|
|
84
converse
|
|
| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
参考例句： |
|
|
|
|
85
afterward
|
|
| adv.后来；以后 | |
参考例句： |
|
|
|
|
86
accomplishment
|
|
| n.完成，成就，（pl.）造诣，技能 | |
参考例句： |
|
|
|
|
87
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
88
remodelled
|
|
| v.改变…的结构[形状]( remodel的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
89
lyric
|
|
| n.抒情诗，歌词；adj.抒情的 | |
参考例句： |
|
|
|
|
90
revival
|
|
| n.复兴，复苏，（精力、活力等的）重振 | |
参考例句： |
|
|
|
|
91
glided
|
|
| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
参考例句： |
|
|
|
|
92
sculptors
|
|
| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
参考例句： |
|
|
|
|
93
spartans
|
|
| n.斯巴达（spartan的复数形式） | |
参考例句： |
|
|
|
|
94
progeny
|
|
| n.后代，子孙；结果 | |
参考例句： |
|
|
|
|
95
doomed
|
|
| 命定的 | |
参考例句： |
|
|
|
|
96
deformed
|
|
| adj.畸形的；变形的；丑的，破相了的 | |
参考例句： |
|
|
|
|
97
commonwealth
|
|
| n.共和国，联邦，共同体 | |
参考例句： |
|
|
|
|
98
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
99
puny
|
|
| adj.微不足道的，弱小的 | |
参考例句： |
|
|
|
|
100
extricated
|
|
| v.使摆脱困难，脱身( extricate的过去式和过去分词 ) | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |