chapter 30 “Pastor Fido,” “Aminta,” “Romola,” “Yeast,” “Paul Ferroll”

I have always had a great love for the absolutely unreal, the purely¹ fanciful in all the arts, as well as of the absolutely real; I like the one on a far lower plane than the other, but it delights me, as a pantomime at a theatre does, or a comic opera, which has its being wholly outside the realm of the probabilities. When I once transport myself to this sphere I have no longer any care for them, and if I could I would not exact of them an allegiance which has no concern with them. For this reason I have always vastly enjoyed the artificialities of pastoral poetry; and in Venice I read with a pleasure few serious poems have given me the “Pastor Fido” of Guarini. I came later but not with fainter zest² to the “Aminta” of Tasso, without which, perhaps, the “Pastor Fido” would not have been, and I revelled³ in the pretty impossibilities of both these charming effects of the liberated⁴ imagination.
I do not the least condemn⁵ that sort of thing; one does not live by sweets, unless one is willing to spoil one’s digestion⁶; but one may now and then indulge one’s self without harm, and a sugar-plum or two after dinner may even be of advantage. What I object to is the romantic thing which asks to be accepted with all its fantasticality on the ground of reality; that seems to me hopelessly bad. But I have been able to dwell in their charming out-land or no-land with the shepherds and shepherdesses and nymphs, satyrs, and fauns, of Tasso and Guarini, and I take the finest pleasure in their company, their Dresden china loves and sorrows, their airy raptures⁷, their painless throes, their polite anguish⁸, their tears not the least salt, but flowing as sweet as the purling streams of their enamelled meadows. I wish there were more of that sort of writing; I should like very much to read it.
The greater part of my reading in Venice, when I began to find that I could not help writing about the place, was in books relating to its life and history, which I made use of rather than found pleasure in. My studies in Italian literature were full of the most charming interest, and if I had to read a good many books for conscience’ sake, there were a good many others I read for their own sake. They were chiefly poetry; and after the first essays in which I tasted the classic poets, they were chiefly the books of the modern poets.
For the present I went no farther in German literature, and I recurred⁹ to it in later years only for deeper and fuller knowledge of Heine; my Spanish was ignored, as all first loves are when one has reached the age of twenty-six. My English reading was almost wholly in the Tauchnitz editions, for otherwise English books were not easily come at then and there. George Eliot’s ‘Romola’ was then new, and I read it again and again with the sense of moral enlargement which the first fiction to conceive of the true nature of evil gave all of us who were young in that day. Tito Malema was not only a lesson, he was a revelation, and I trembled before him as in the presence of a warning and a message from the only veritable perdition. His life, in which so much that was good was mixed, with so much that was bad, lighted up the whole domain¹⁰ of egotism with its glare, and made one feel how near the best and the worst were to each other, and how they sometimes touched without absolute division in texture¹¹ and color. The book was undoubtedly¹² a favorite of mine, and I did not see then the artistic¹³ falterings in it which were afterwards evident to me.
There were not Romolas to read all the time, though, and I had to devolve upon inferior authors for my fiction the greater part of the time. Of course, I kept up with ‘Our Mutual¹⁴ Friend,’ which Dickens was then writing, and with ‘Philip,’ which was to be the last of Thackeray. I was not yet sufficiently¹⁵ instructed to appreciate Trollope, and I did not read him at all.
I got hold of Kingsley, and read ‘Yeast,’ and I think some other novels of his, with great relish¹⁶, and without sensibility to his Charles Readeish lapses¹⁷ from his art into the material of his art. But of all the minor¹⁸ fiction that I read at this time none impressed me so much as three books which had then already had their vogue¹⁹, and which I knew somewhat from reviews. They were Paul Ferroll, ‘Why Paul Ferroll Killed His Wife,’ and ‘Day after Day.’ The first two were, of course, related to each other, and they were all three full of unwholesome force. As to their aesthetic²⁰ merit I will not say anything, for I have not looked at either of the books for thirty years. I fancy, however, that their strength was rather of the tetanic than the titanic²¹ sort. They made your sympathies go with the hero, who deliberately²² puts his wife to death for the lie she told to break off his marriage with the woman he had loved, and who then marries this tender and gentle girl, and lives in great happiness with her till her death. Murder in the first degree is flattered by his fate up to the point of letting him die peacefully in Boston after these dealings of his in England; and altogether his story could not be commended to people with a morbid²⁴ taste for bloodshed. Naturally enough the books were written by a perfectly²⁵ good woman, the wife of an English clergyman, whose friends were greatly scandalized by them. As a sort of atonement she wrote ‘Day after Day,’ the story of a dismal²⁶ and joyless orphan²⁷, who dies to the sound of angelic music, faint and farheard, filling the whole chamber²⁸. A carefuller study of the phenomenon reveals the fact that the seraphic strains are produced by the steam escaping from the hot-water bottles at the feet of the invalid²⁹.
As usual, I am not able fully²³ to account for my liking³⁰ of these books, and I am so far from wishing to justify³¹ it that I think I ought rather to excuse it. But since I was really greatly fascinated with them, and read them with an evergrowing fascination³², the only honest thing to do is to own my subjection to them. It would be an interesting and important question for criticism to study, that question why certain books at a. certain time greatly dominate our fancy, and others manifestly better have no influence with us. A curious proof of the subtlety³³ of these Paul Ferroll books in the appeal they made to the imagination is the fact that I came to them fresh from ‘Romolo,’ and full of horror for myself in Tito; yet I sympathized throughout with Paul Ferroll, and was glad when he got away.

1 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

2 zest   

n.乐趣；滋味，风味；兴趣

参考例句：

• He dived into his new job with great zest.他充满热情地投入了新的工作。
• He wrote his novel about his trip to Asia with zest.他兴趣浓厚的写了一本关于他亚洲之行的小说。

3 revelled   

v.作乐( revel的过去式和过去分词 )；狂欢；着迷；陶醉

参考例句：

• The foreign guests revelled in the scenery of the lake. 外宾们十分喜爱湖上的景色。 来自辞典例句
• He revelled in those moments of idleness stolen from his work. 他喜爱学习之余的闲暇时刻。 来自辞典例句

4 liberated   

a.无拘束的，放纵的

参考例句：

• The city was liberated by the advancing army. 军队向前挺进，解放了那座城市。
• The heat brings about a chemical reaction, and oxygen is liberated. 热量引起化学反应，释放出氧气。

5 condemn   

vt.谴责，指责；宣判(罪犯)，判刑

参考例句：

• Some praise him,whereas others condemn him.有些人赞扬他，而有些人谴责他。
• We mustn't condemn him on mere suppositions.我们不可全凭臆测来指责他。

6 digestion   

n.消化，吸收

参考例句：

• This kind of tea acts as an aid to digestion.这种茶可助消化。
• This food is easy of digestion.这食物容易消化。

7 raptures   

极度欢喜( rapture的名词复数 )

参考例句：

• Her heart melted away in secret raptures. 她暗自高兴得心花怒放。
• The mere thought of his bride moves Pinkerton to raptures. 一想起新娘，平克顿不禁心花怒放。

8 anguish   

n.(尤指心灵上的)极度痛苦，烦恼

参考例句：

• She cried out for anguish at parting.分手时，她由于痛苦而失声大哭。
• The unspeakable anguish wrung his heart.难言的痛苦折磨着他的心。

9 recurred   

再发生，复发( recur的过去式和过去分词 )； 治愈

参考例句：

• Old memories constantly recurred to him. 往事经常浮现在他的脑海里。
• She always winced when he recurred to the subject of his poems. 每逢他一提到他的诗作的时候，她总是有点畏缩。

10 domain   

n.(活动等)领域，范围；领地，势力范围

参考例句：

• This information should be in the public domain.这一消息应该为公众所知。
• This question comes into the domain of philosophy.这一问题属于哲学范畴。

11 texture   

n.(织物)质地；(材料)构造；结构；肌理

参考例句：

• We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
• Her skin has a fine texture.她的皮肤细腻。

12 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

13 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

14 mutual   

adj.相互的，彼此的；共同的，共有的

参考例句：

• We must pull together for mutual interest.我们必须为相互的利益而通力合作。
• Mutual interests tied us together.相互的利害关系把我们联系在一起。

15 sufficiently   

adv.足够地，充分地

参考例句：

• It turned out he had not insured the house sufficiently.原来他没有给房屋投足保险。
• The new policy was sufficiently elastic to accommodate both views.新政策充分灵活地适用两种观点。

16 relish   

n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味

参考例句：

• I have no relish for pop music.我对流行音乐不感兴趣。
• I relish the challenge of doing jobs that others turn down.我喜欢挑战别人拒绝做的工作。

17 lapses   

n.失误，过失( lapse的名词复数 )；小毛病；行为失检；偏离正道v.退步( lapse的第三人称单数 )；陷入；倒退；丧失

参考例句：

• He sometimes lapses from good behavior. 他有时行为失检。 来自辞典例句
• He could forgive attacks of nerves, panic, bad unexplainable actions, all sorts of lapses. 他可以宽恕突然发作的歇斯底里，惊慌失措，恶劣的莫名其妙的动作，各种各样的失误。 来自辞典例句

18 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

19 Vogue   

n.时髦，时尚；adj.流行的

参考例句：

• Flowery carpets became the vogue.花卉地毯变成了时髦货。
• Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。

20 aesthetic   

adj.美学的，审美的，有美感

参考例句：

• My aesthetic standards are quite different from his.我的审美标准与他的大不相同。
• The professor advanced a new aesthetic theory.那位教授提出了新的美学理论。

21 titanic   

adj.巨人的，庞大的，强大的

参考例句：

• We have been making titanic effort to achieve our purpose.我们一直在作极大的努力，以达到我们的目的。
• The island was created by titanic powers and they are still at work today.台湾岛是由一个至今仍然在运作的巨大力量塑造出来的。

22 deliberately   

adv.审慎地；蓄意地；故意地

参考例句：

• The girl gave the show away deliberately.女孩故意泄露秘密。
• They deliberately shifted off the argument.他们故意回避这个论点。

23 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

24 morbid   

adj.病的；致病的；病态的；可怕的

参考例句：

• Some people have a morbid fascination with crime.一些人对犯罪有一种病态的痴迷。
• It's morbid to dwell on cemeteries and such like.不厌其烦地谈论墓地以及诸如此类的事是一种病态。

25 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

26 dismal   

adj.阴沉的，凄凉的，令人忧郁的，差劲的

参考例句：

• That is a rather dismal melody.那是一支相当忧郁的歌曲。
• My prospects of returning to a suitable job are dismal.我重新找到一个合适的工作岗位的希望很渺茫。

27 orphan   

n.孤儿；adj.无父母的

参考例句：

• He brought up the orphan and passed onto him his knowledge of medicine.他把一个孤儿养大，并且把自己的医术传给了他。
• The orphan had been reared in a convent by some good sisters.这个孤儿在一所修道院里被几个好心的修女带大。

28 chamber   

n.房间，寝室；会议厅；议院；会所

参考例句：

• For many,the dentist's surgery remains a torture chamber.对许多人来说，牙医的治疗室一直是间受刑室。
• The chamber was ablaze with light.会议厅里灯火辉煌。

29 invalid   

n.病人，伤残人；adj.有病的，伤残的；无效的

参考例句：

• He will visit an invalid.他将要去看望一个病人。
• A passport that is out of date is invalid.护照过期是无效的。

30 liking   

n.爱好；嗜好；喜欢

参考例句：

• The word palate also means taste or liking.Palate这个词也有“口味”或“嗜好”的意思。
• I must admit I have no liking for exaggeration.我必须承认我不喜欢夸大其词。

31 justify   

vt.证明…正当(或有理)，为…辩护

参考例句：

• He tried to justify his absence with lame excuses.他想用站不住脚的借口为自己的缺席辩解。
• Can you justify your rude behavior to me?你能向我证明你的粗野行为是有道理的吗？

32 fascination   

n.令人着迷的事物，魅力，迷恋

参考例句：

• He had a deep fascination with all forms of transport.他对所有的运输工具都很着迷。
• His letters have been a source of fascination to a wide audience.广大观众一直迷恋于他的来信。

33 subtlety   

n.微妙，敏锐，精巧；微妙之处，细微的区别

参考例句：

• He has shown enormous strength,great intelligence and great subtlety.他表现出充沛的精力、极大的智慧和高度的灵活性。
• The subtlety of his remarks was unnoticed by most of his audience.大多数听众都没有觉察到他讲话的微妙之处。