Meanwhile, if, as I hope, you feel some interest in Caterina and her friends at Cheverel Manor, you are perhaps asking, How came she to be there? How was it that this tiny, dark-eyed child of the south, whose face was immediately suggestive of olive-covered hills and taper-lit shrines8, came to have her home in that stately English manor-house, by the side of the blonde matron, Lady Cheverel—almost as if a humming-bird were found perched on one of the elm-trees in the park, by the side of her ladyship’s handsomest pouter-pigeon? Speaking good English, too, and joining in Protestant prayers! Surely she must have been adopted and brought over to England at a very early age. She was.
During Sir Christopher’s last visit to Italy with his lady, fifteen years before, they resided for some time at Milan, where Sir Christopher, who was an enthusiast9 for Gothic architecture, and was then entertaining the project of metamorphosing his plain brick family mansion10 into the model of a Gothic manor-house, was bent11 on studying the details of that marble miracle, the Cathedral. Here Lady Cheverel, as at other Italian cities where she made any protracted12 stay, engaged a maestro to give her lessons in singing, for she had then not only fine musical taste, but a fine soprano voice. Those were days when very rich people used manuscript music, and many a man who resembled Jean Jacques in nothing else, resembled him in getting a livelihood13 ‘à copier la musique à tant la page’. Lady Cheverel having need of this service, Maestro Albani told her he would send her a poveraccio of his acquaintance, whose manuscript was the neatest and most correct he knew of. Unhappily, the poveraccio was not always in his best wits, and was sometimes rather slow in consequence; but it would be a work of Christian14 charity worthy15 of the beautiful Signora to employ poor Sarti.
The next morning, Mrs. Sharp, then a blooming abigail of three-and-thirty, entered her lady’s private room and said, ‘If you please, my lady, there’s the frowsiest, shabbiest man you ever saw, outside, and he’s told Mr. Warren as the singing-master sent him to see your ladyship. But I think you’ll hardly like him to come in here. Belike he’s only a beggar.’
‘O yes, show him in immediately.’
Mrs. Sharp retired16, muttering something about ‘fleas and worse’. She had the smallest possible admiration17 for fair Ausonia and its natives, and even her profound deference18 for Sir Christopher and her lady could not prevent her from expressing her amazement19 at the infatuation of gentlefolks in choosing to sojourn20 among ‘Papises, in countries where there was no getting to air a bit o’ linen21, and where the people smelt22 o’ garlick fit to knock you down.’
However she presently reappeared, ushering23 in a small meagre man, sallow and dingy24, with a restless wandering look in his dull eyes, and an excessive timidity about his deep reverences25, which gave him the air of a man who had been long a solitary26 prisoner. Yet through all this squalor and wretchedness there were some traces discernible of comparative youth and former good looks. Lady Cheverel, though not very tender-hearted, still less sentimental27, was essentially28 kind, and liked to dispense29 benefits like a goddess, who looks down benignly30 on the halt, the maimed, and the blind that approach her shrine7. She was smitten31 with some compassion32 at the sight of poor Sarti, who struck her as the mere33 battered34 wreck35 of a vessel36 that might have once floated gaily37 enough on its outward voyage to the sound of pipes and tabors. She spoke38 gently as she pointed39 out to him the operatic selections she wished him to copy, and he seemed to sun himself in her auburn, radiant presence, so that when he made his exit with the music-books under his arm, his bow, though not less reverent40, was less timid.
It was ten years at least since Sarti had seen anything so bright and stately and beautiful as Lady Cheverel. For the time was far off in which he had trod the stage in satin and feathers, the primo tenore of one short season. He had completely lost his voice in the following winter, and had ever since been little better than a cracked fiddle41, which is good for nothing but firewood. For, like many Italian singers, he was too ignorant to teach, and if it had not been for his one talent of penmanship, he and his young helpless wife might have starved. Then, just after their third child was born, fever came, swept away the sickly mother and the two eldest42 children, and attacked Sarti himself, who rose from his sick-bed with enfeebled brain and muscle, and a tiny baby on his hands, scarcely four months old. He lodged43 over a fruit-shop kept by a stout44 virago45, loud of tongue and irate46 in temper, but who had had children born to her, and so had taken care of the tiny yellow, black-eyed bambinetto, and tended Sarti himself through his sickness. Here he continued to live, earning a meagre subsistence for himself and his little one by the work of copying music, put into his hands chiefly by Maestro Albani. He seemed to exist for nothing but the child: he tended it, he dandled it, he chatted to it, living with it alone in his one room above the fruit-shop, only asking his landlady47 to take care of the marmoset during his short absences in fetching and carrying home work. Customers frequenting that fruit-shop might often see the tiny Caterina seated on the floor with her legs in a heap of pease, which it was her delight to kick about; or perhaps deposited, like a kitten, in a large basket out of harm’s way.
Sometimes, however, Sarti left his little one with another kind of protectress. He was very regular in his devotions, which he paid thrice a-week in the great cathedral, carrying Caterina with him. Here, when the high morning sun was warming the myriad48 glittering pinnacles49 without, and struggling against the massive gloom within, the shadow of a man with a child on his arm might be seen flitting across the more stationary50 shadows of pillar and mullion, and making its way towards a little tinsel Madonna hanging in a retired spot near the choir51. Amid all the sublimities of the mighty52 cathedral, poor Sarti had fixed53 on this tinsel Madonna as the symbol of divine mercy and protection,—just as a child, in the presence of a great landscape, sees none of the glories of wood and sky, but sets its heart on a floating feather or insect that happens to be on a level with its eye. Here, then, Sarti worshipped and prayed, setting Caterina on the floor by his side; and now and then, when the cathedral lay near some place where he had to call, and did not like to take her, he would leave her there in front of the tinsel Madonna, where she would sit, perfectly54 good, amusing herself with low crowing noises and see-sawings of her tiny body. And when Sarti came back, he always found that the Blessed Mother had taken good care of Caterina.
That was briefly55 the history of Sarti, who fulfilled so well the orders Lady Cheverel gave him, that she sent him away again with a stock of new work. But this time, week after week passed, and he neither reappeared nor sent home the music intrusted to him. Lady Cheverel began to be anxious, and was thinking of sending Warren to inquire at the address Sarti had given her, when one day, as she was equipped for driving out, the valet brought in a small piece of paper, which, he said, had been left for her ladyship by a man who was carrying fruit. The paper contained only three tremulous lines, in Italian:—‘Will the Eccelentissima, for the love of God, have pity on a dying man, and come to him?’
Lady Cheverel recognized the handwriting as Sarti’s in spite of its tremulousness, and, going down to her carriage, ordered the Milanese coachman to drive to Strada Quinquagesima, Numero 10. The coach stopped in a dirty narrow street opposite La Pazzini’s fruit-shop, and that large specimen56 of womanhood immediately presented herself at the door, to the extreme disgust of Mrs. Sharp, who remarked privately57 to Mr. Warren that La Pazzini was a ‘hijeous porpis’. The fruit-woman, however, was all smiles and deep curtsies to the Eccelentissima, who, not very well understanding her Milanese dialect, abbreviated58 the conversation by asking to be shown at once to Signor Sarti. La Pazzini preceded her up the dark narrow stairs, and opened a door through which she begged her ladyship to enter. Directly opposite the door lay Sarti, on a low miserable59 bed. His eyes were glazed60, and no movement indicated that he was conscious of their entrance.
On the foot of the bed was seated a tiny child, apparently61 not three years old, her head covered by a linen cap, her feet clothed with leather boots, above which her little yellow legs showed thin and naked. A frock, made of what had once been a gay flowered silk, was her only other garment. Her large dark eyes shone from out her queer little face, like two precious stones in a grotesque62 image carved in old ivory. She held an empty medicine-bottle in her hand, and was amusing herself with putting the cork63 in and drawing it out again, to hear how it would pop.
La Pazzini went up to the bed and said, ‘Ecco la nobilissima donna;’ but directly after screamed out, ‘Holy mother! he is dead!’
It was so. The entreaty64 had not been sent in time for Sarti to carry out his project of asking the great English lady to take care of his Caterina. That was the thought which haunted his feeble brain as soon as he began to fear that his illness would end in death. She had wealth—she was kind—she would surely do something for the poor orphan65. And so, at last, he sent that scrap66 of paper which won the fulfilment of his prayer, though he did not live to utter it. Lady Cheverel gave La Pazzini money that the last decencies might be paid to the dead man, and carried away Caterina, meaning to consult Sir Christopher as to what should be done with her. Even Mrs. Sharp had been so smitten with pity by the scene she had witnessed when she was summoned up-stairs to fetch Caterina, as to shed a small tear, though she was not at all subject to that weakness; indeed, she abstained67 from it on principle, because, as she often said, it was known to be the worst thing in the world for the eyes.
On the way back to her hotel, Lady Cheverel turned over various projects in her mind regarding Caterina, but at last one gained the preference over all the rest. Why should they not take the child to England, and bring her up there? They had been married twelve years, yet Cheverel Manor was cheered by no children’s voices, and the old house would be all the better for a little of that music. Besides, it would be a Christian work to train this little Papist into a good Protestant, and graft68 as much English fruit as possible on the Italian stem.
Sir Christopher listened to this plan with hearty69 acquiescence70. He loved children, and took at once to the little black-eyed monkey—his name for Caterina all through her short life. But neither he nor Lady Cheverel had any idea of adopting her as their daughter, and giving her their own rank in life. They were much too English and aristocratic to think of anything so romantic. No! the child would be brought up at Cheverel Manor as a protegée, to be ultimately useful, perhaps, in sorting worsteds, keeping accounts, reading aloud, and otherwise supplying the place of spectacles when her ladyship’s eyes should wax dim.
So Mrs. Sharp had to procure71 new clothes, to replace the linen cap, flowered frock, and leathern boots; and now, strange to say, little Caterina, who had suffered many unconscious evils in her existence of thirty moons, first began to know conscious troubles. ‘Ignorance,’ says Ajax, ‘is a painless evil;’ so, I should think, is dirt, considering the merry faces that go along with it. At any rate, cleanliness is sometimes a painful good, as any one can vouch72 who has had his face washed the wrong way, by a pitiless hand with a gold ring on the third finger. If you, reader, have not known that initiatory73 anguish, it is idle to expect that you will form any approximate conception of what Caterina endured under Mrs. Sharp’s new dispensation of soap-and-water. Happily, this purgatory74 came presently to be associated in her tiny brain with a passage straightway to a seat of bliss—the sofa in Lady Cheverel’s sitting-room75, where there were toys to be broken, a ride was to be had on Sir Christopher’s knee, and a spaniel of resigned temper was prepared to undergo small tortures without flinching76.
该作者的其它作品
《弗洛斯河上的磨坊 The Mill on the Floss》
《米德尔马契 Middlemarch》
该作者的其它作品
《弗洛斯河上的磨坊 The Mill on the Floss》
《米德尔马契 Middlemarch》
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1
manor
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| n.庄园，领地 | |
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agitated
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| adj.被鼓动的，不安的 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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allayed
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| v.减轻，缓和( allay的过去式和过去分词 ) | |
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bruised
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| [医]青肿的，瘀紫的 | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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shrines
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| 圣地，圣坛，神圣场所( shrine的名词复数 ) | |
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enthusiast
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| n.热心人，热衷者 | |
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mansion
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| n.大厦，大楼；宅第 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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protracted
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| adj.拖延的；延长的v.拖延“protract”的过去式和过去分词 | |
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livelihood
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| n.生计，谋生之道 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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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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retired
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| adj.隐退的，退休的，退役的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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deference
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| n.尊重，顺从；敬意 | |
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amazement
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| n.惊奇，惊讶 | |
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sojourn
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| v./n.旅居，寄居；逗留 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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smelt
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| v.熔解，熔炼；n.银白鱼，胡瓜鱼 | |
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ushering
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| v.引，领，陪同( usher的现在分词 ) | |
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dingy
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| adj.昏暗的，肮脏的 | |
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reverences
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| n.尊敬，崇敬( reverence的名词复数 )；敬礼 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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essentially
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| adv.本质上，实质上，基本上 | |
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dispense
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| vt.分配，分发；配(药)，发(药)；实施 | |
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benignly
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| adv.仁慈地，亲切地 | |
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smitten
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| 猛打，重击，打击( smite的过去分词 ) | |
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compassion
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| n.同情，怜悯 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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battered
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| adj.磨损的；v.连续猛击；磨损 | |
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wreck
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| n.失事，遇难；沉船；vt.(船等)失事，遇难 | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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gaily
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| adv.欢乐地，高兴地 | |
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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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pointed
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| adj.尖的，直截了当的 | |
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reverent
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| adj.恭敬的，虔诚的 | |
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41
fiddle
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| n.小提琴；vi.拉提琴；不停拨弄，乱动 | |
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eldest
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| adj.最年长的，最年老的 | |
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lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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virago
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| n.悍妇 | |
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irate
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| adj.发怒的，生气 | |
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landlady
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| n.女房东，女地主 | |
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myriad
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| adj.无数的；n.无数，极大数量 | |
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pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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stationary
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| adj.固定的，静止不动的 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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mighty
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| adj.强有力的；巨大的 | |
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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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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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briefly
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| adv.简单地，简短地 | |
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specimen
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| n.样本，标本 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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abbreviated
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| adj. 简短的，省略的 动词abbreviate的过去式和过去分词 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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60
glazed
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| adj.光滑的，像玻璃的；上过釉的；呆滞无神的v.装玻璃( glaze的过去式)；上釉于，上光；（目光）变得呆滞无神 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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cork
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| n.软木，软木塞 | |
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entreaty
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| n.恳求，哀求 | |
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orphan
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| n.孤儿；adj.无父母的 | |
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scrap
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| n.碎片；废料；v.废弃，报废 | |
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abstained
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| v.戒（尤指酒），戒除( abstain的过去式和过去分词 )；弃权（不投票） | |
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graft
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| n.移植，嫁接，艰苦工作，贪污；v.移植，嫁接 | |
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hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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acquiescence
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| n.默许；顺从 | |
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71
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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vouch
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| v.担保；断定；n.被担保者 | |
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73
initiatory
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| adj.开始的；创始的；入会的；入社的 | |
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purgatory
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| n.炼狱；苦难；adj.净化的，清洗的 | |
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sitting-room
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| n.（BrE）客厅，起居室 | |
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flinching
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| v.（因危险和痛苦）退缩，畏惧( flinch的现在分词 ) | |
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