Around quitting time, Tod Hackett heard a great din1 on the road outside his office. The groan2 of leather mingled3 with the jangle of iron and over all beat the tattoo4 of a thousand hooves. He hurried to the window.
An army of cavalry5 and foot was passing. It moved like a mob; its lines broken, as though fleeing from some terrible defeat. The dolmans of the hussars, the heavy shakos of the guards, Hanoverian light horse, with their fiat6 leather caps and flowing red plumes7, were all jumbled8 together in bobbing disorder9. Behind the cavalry came the infantry10, a wild sea of waving sabretaches, sloped muskets11, crossed shoulder belts and swinging cartridge12 boxes.. Tod recognized the scarlet13 infantry of England with their white shoulder pads, the black infantry of the Duke of Brunswick, the French grenadiers with their enormous white gaiters, the Scotch14 with bare knees under plaid skirts.
While he watched, a little fat man, wearing a cork15 sun-helmet, polo shirt and knickers, darted16 around the corner of the building in pursuit of the army.
“Stage Nine — you bastards17 — Stage Nine!” he screamed through a small megaphone.
The cavalry put spur to their horses and the infantry broke into a dogtrot. The little man in the cork hat ran after them, shaking his fist and cursing.
Tod watched until they had disappeared behind half a Mississippi steamboat, then put away his pencils and drawing board, and left the office. On the sidewalk outside the studio he stood for a moment trying to decide whether to walk home or take a streetcar. He had been in Hollywood less than three months and still found it a very exciting place, but he was lazy and didn’t like to walk. He decided18 to take the streetcar as far as Vine Street and walk the rest of the way.
A talent scout19 for National Films had brought Tod to the Coast after seeing some of his drawings in an exhibit of undergraduate work at the Yale School of Fine Arts. He had been hired by telegram. If the scout had met Tod, he probably wouldn’t have sent him to Hollywood to learn set and costume designing. His large, sprawling20 body, his slow blue eyes and sloppy21 grin made him seem completely without talent, almost doltish22 in fact.
Yes, despite his appearance, he was really a very complicated young man with a whole set of personalities23, one inside the other like a nest of Chinese boxes. And “The Burning of Los Angeles,” a picture he was soon to paint, definitely proved he had talent.
He left the car at Vine Street. As he walked along, he examined the evening crowd. A great many of the people wore sports clothes which were not really sports clothes. Their sweaters, knickers, slacks, blue flannel24 jackets with brass25 buttons were fancy dress. The fat lady in the yachting cap was going shopping, not boating; the man in the Norfolk jacket and Tyrolean hat was returning, not from a mountain, but an insurance office; and the girl in slacks and sneaks26 with a bandanna27 around her head had just left a switchboard, not a tennis court.
Scattered28 among these masquerades were people of a different type. Their clothing was somber29 and badly cut, bought from mail-order houses. While the others moved rapidly, darting30 into stores and cocktail31 bars, they loitered on the corners or stood with their backs to the shop windows and stared at everyone who passed. When their stare was returned, their eyes filled with hatred32. At this time Tod knew very little about them except that they had come to California to die.
He was determined33 to learn much more. They were the people he felt he must paint. He would never again do a fat red barn, old stone wall or sturdy Nantucket fisherman. From the moment he had seen them, he had known that, despite his race, training and heritage, neither Winslow Homer nor Thomas Ryder could be his masters and he turned to Goya and Daumier.
He had learned this just in time. During his last year in art school, he had begun to think that he might give up painting completely. The pleasures he received from the problems of composition and color had decreased as his facility had increased and he had realized that he was going the way of all his classmates, toward illustration or mere34 handsomeness. When the Hollywood job had come along, he had grabbed it despite the arguments of his Mends who were certain that he was selling out and would never paint again.
He reached the end of Vine Street and began the climb into Pinyon Canyon35. Night had started to fall.
The edges of the trees burned with a pale violet light and their centers gradually turned from deep purple to black. The same violet piping, like a Neon tube, outlined the tops of the ugly, hump-backed hills and they were almost beautiful.
But not even the soft wash of dusk could help the houses. Only dynamite36 would be of any use against the Mexican ranch37 houses, Samoan huts, Mediterranean38 villas39, Egyptian and Japanese temples, Swiss chalets, Tudor cottages, and every possible combination of these styles that lined the slopes of the canyon.
When he noticed that they were all of plaster, lath and paper, he was charitable and blamed their shape on the materials used. Steel, stone and brick curb40 a builder’s fancy a little, forcing him to distribute his stresses and weights and to keep his corners plumb41, but plaster and paper know no law, not even that of gravity.
On the corner of La Huerta Road was a miniature Rhine castle with tarpaper turrets42 pierced for archers43. Next to it was a little highly colored shack44 with domes45 and minarets46 out of the Arabian Nights. Again he was charitable. Both houses were comic, but he didn’t laugh. Their desire to startle was so eager and guileless.
It is hard to laugh at the need for beauty and romance, no matter how tasteless, even horrible, the results of that need are. But it is easy to sigh. Few things are sadder than the truly monstrous47.
1 din | |
n.喧闹声,嘈杂声 | |
参考例句: |
|
|
2 groan | |
vi./n.呻吟,抱怨;(发出)呻吟般的声音 | |
参考例句: |
|
|
3 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
参考例句: |
|
|
4 tattoo | |
n.纹身,(皮肤上的)刺花纹;vt.刺花纹于 | |
参考例句: |
|
|
5 cavalry | |
n.骑兵;轻装甲部队 | |
参考例句: |
|
|
6 fiat | |
n.命令,法令,批准;vt.批准,颁布 | |
参考例句: |
|
|
7 plumes | |
羽毛( plume的名词复数 ); 羽毛饰; 羽毛状物; 升上空中的羽状物 | |
参考例句: |
|
|
8 jumbled | |
adj.混乱的;杂乱的 | |
参考例句: |
|
|
9 disorder | |
n.紊乱,混乱;骚动,骚乱;疾病,失调 | |
参考例句: |
|
|
10 infantry | |
n.[总称]步兵(部队) | |
参考例句: |
|
|
11 muskets | |
n.火枪,(尤指)滑膛枪( musket的名词复数 ) | |
参考例句: |
|
|
12 cartridge | |
n.弹壳,弹药筒;(装磁带等的)盒子 | |
参考例句: |
|
|
13 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
参考例句: |
|
|
14 scotch | |
n.伤口,刻痕;苏格兰威士忌酒;v.粉碎,消灭,阻止;adj.苏格兰(人)的 | |
参考例句: |
|
|
15 cork | |
n.软木,软木塞 | |
参考例句: |
|
|
16 darted | |
v.投掷,投射( dart的过去式和过去分词 );向前冲,飞奔 | |
参考例句: |
|
|
17 bastards | |
私生子( bastard的名词复数 ); 坏蛋; 讨厌的事物; 麻烦事 (认为别人走运或不幸时说)家伙 | |
参考例句: |
|
|
18 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
参考例句: |
|
|
19 scout | |
n.童子军,侦察员;v.侦察,搜索 | |
参考例句: |
|
|
20 sprawling | |
adj.蔓生的,不规则地伸展的v.伸开四肢坐[躺]( sprawl的现在分词 );蔓延;杂乱无序地拓展;四肢伸展坐着(或躺着) | |
参考例句: |
|
|
21 sloppy | |
adj.邋遢的,不整洁的 | |
参考例句: |
|
|
22 doltish | |
adj.愚蠢的 | |
参考例句: |
|
|
23 personalities | |
n. 诽谤,(对某人容貌、性格等所进行的)人身攻击; 人身攻击;人格, 个性, 名人( personality的名词复数 ) | |
参考例句: |
|
|
24 flannel | |
n.法兰绒;法兰绒衣服 | |
参考例句: |
|
|
25 brass | |
n.黄铜;黄铜器,铜管乐器 | |
参考例句: |
|
|
26 sneaks | |
abbr.sneakers (tennis shoes) 胶底运动鞋(网球鞋)v.潜行( sneak的第三人称单数 );偷偷溜走;(儿童向成人)打小报告;告状 | |
参考例句: |
|
|
27 bandanna | |
n.大手帕 | |
参考例句: |
|
|
28 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
参考例句: |
|
|
29 somber | |
adj.昏暗的,阴天的,阴森的,忧郁的 | |
参考例句: |
|
|
30 darting | |
v.投掷,投射( dart的现在分词 );向前冲,飞奔 | |
参考例句: |
|
|
31 cocktail | |
n.鸡尾酒;餐前开胃小吃;混合物 | |
参考例句: |
|
|
32 hatred | |
n.憎恶,憎恨,仇恨 | |
参考例句: |
|
|
33 determined | |
adj.坚定的;有决心的 | |
参考例句: |
|
|
34 mere | |
adj.纯粹的;仅仅,只不过 | |
参考例句: |
|
|
35 canyon | |
n.峡谷,溪谷 | |
参考例句: |
|
|
36 dynamite | |
n./vt.(用)炸药(爆破) | |
参考例句: |
|
|
37 ranch | |
n.大牧场,大农场 | |
参考例句: |
|
|
38 Mediterranean | |
adj.地中海的;地中海沿岸的 | |
参考例句: |
|
|
39 villas | |
别墅,公馆( villa的名词复数 ); (城郊)住宅 | |
参考例句: |
|
|
40 curb | |
n.场外证券市场,场外交易;vt.制止,抑制 | |
参考例句: |
|
|
41 plumb | |
adv.精确地,完全地;v.了解意义,测水深 | |
参考例句: |
|
|
42 turrets | |
(六角)转台( turret的名词复数 ); (战舰和坦克等上的)转动炮塔; (摄影机等上的)镜头转台; (旧时攻城用的)塔车 | |
参考例句: |
|
|
43 archers | |
n.弓箭手,射箭运动员( archer的名词复数 ) | |
参考例句: |
|
|
44 shack | |
adj.简陋的小屋,窝棚 | |
参考例句: |
|
|
45 domes | |
n.圆屋顶( dome的名词复数 );像圆屋顶一样的东西;圆顶体育场 | |
参考例句: |
|
|
46 minarets | |
n.(清真寺旁由报告祈祷时刻的人使用的)光塔( minaret的名词复数 ) | |
参考例句: |
|
|
47 monstrous | |
adj.巨大的;恐怖的;可耻的,丢脸的 | |
参考例句: |
|
|
欢迎访问英文小说网 |