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Chapter 2 My arrival in Paris
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This was the year 1907. Gertrude Stein was just seeing through the press Three Lives which she was having privately1 printed, and she was deep in The Making of Americans, her thousand page book. Picasso had just finished his portrait of her which nobody at that time liked except the painter and the painted and which is now so famous, and he had just begun his strange complicated picture of three women, Matisse had just finished his Bonheur de Vivre, his first big composition which gave him the name of fauve or a zoo. It was the moment Max Jacob has since called the heroic age of cubism. I remember not long ago hearing Picasso and Gertrude Stein talking about various things that had happened at that time, one of them said but all that could not have happened in that one year, oh said the other, my dear you forget we were young then and we did a great deal in a year.

There are a great many things to tell of what was happening then and what had happened before, which led up to then, but now I must describe what I saw when I came.

The home at 27 rue2 de Fleurus consisted then as it does now of a tiny pavilion of two stories with four small rooms, a kitchen and bath, and a very large atelier adjoining. Now the atelier is attached to the pavilion by a tiny hall passage added in 1914 but at that time the atelier had its own entrance, one rang the bell of the pavilion or knocked at the door of the atelier, and a great many people did both, but more knocked at the atelier. I was privileged to do both. I had been invited to dine on Saturday evening which was the evening when everybody came, and indeed everybody did come. I went to dinner. The dinner was cooked by Hélène. I must tell a little about Hélène.

Hélène had already been two years with Gertrude Stein and her brother. She was one of those admirable bonnes in other words excellent maids of all work, good cooks thoroughly3 occupied with the welfare of their employers and of themselves, firmly convinced that everything purchasable was far too dear. Oh but it is dear, was her answer to any question. She wasted nothing and carried on the household at the regular rate of eight francs a day. She even wanted to include guests at that price, it was her pride, but of course that was difficult since she for the honour of her house as well as to satisfy her employers always had to give every one enough to eat. She was a most excellent cook and she made a very good soufflé. In those days most of the guests were living more or less precariously4, no one starved, some one always helped but still most of them did not live in abundance. It was Braque who said about four years later when they were all beginning to be known, with a sigh and a smile, how life has changed we all now have cooks who can make a soufflé.

Hélène had her opinions, she did not for instance like Matisse. She said a frenchman should not stay unexpectedly to a meal particularly if he asked the servant beforehand what there was for dinner. She said foreigners had a perfect right to do these things but not a frenchman and Matisse had once done it. So when Miss Stein said to her, Monsieur Matisse is staying for dinner this evening, she would say, in that case I will not make an omelette but fry the eggs. It takes the same number of eggs and the same amount of butter but it shows less respect, and he will understand.

Hélène stayed with the household until the end of 1913. Then her husband, by that time she had married and had a little boy, insisted that she work for others no longer. To her great regret she left and later she always said that life at home was never as amusing as it had been at the rue de Fleurus. Much later, only about three years ago, she came back for a year, she and her husband had fallen on bad times and her boy had died. She was as cheery as ever and enormously interested. She said isn’t it extraordinary, all those people whom I knew when they were nobody are now always mentioned in the newspapers, and the other night over the radio they mentioned the name of Monsieur Picasso. Why they even speak in the newspapers of Monsieur Braque, who Used to hold up the big pictures to hang because he was the strongest, while the janitor5 drove the nails, and they are putting into the Louvre, just imagine it, into the Louvre, a picture by that little poor Monsieur Rousseau, who was so timid he did not even have courage enough to knock at the door. She was terribly interested in seeing Monsieur Picasso and his wife and child and cooked her very best dinner for him, but how he has changed, she said, well, said she, I suppose that is natural but then he has a lovely son. We thought that really Hélenè had come back to give the young generation the once over. She had in a way but she was not interested in them. She said they made no impression on her which made them all very sad because the legend of her was well known to all Paris. After a year things were going better again, her husband was earning more money, and she once more remains6 at home. But to come back to 1907.

Before I tell about the guests I must tell what I saw. As I said being invited to dinner I rang the bell of the little pavilion and was taken into the tiny hall and then into the small dining room lined with books. On the only free space, the doors, were tacked7 up a few drawings by Picasso and Matisse. As the other guests had not yet come Miss Stein took me into the atelier. It often rained in Paris and it was always difficult to go from the little pavilion to the atelier door in the rain in evening clothes, but you were not to mind such things as the hosts and most of the guests did not. We went into the atelier which opened with a yale key the only yale key in the quarter at that time, and this was not so much for safety, because in those days the pictures had no value, but because the key was small and could go into a purse instead of being enormous as french keys were. Against the walls were several pieces of large italian renaissance8 furniture and in the middle of the room was a big renaissance table, on it a lovely inkstand, and at one end of it note-books neatly9 arranged, the kind of note-books french children use, with pictures of earthquakes and explorations on the outside of them. And on all the walls right up to the ceiling were pictures. At one end of the room was a big cast iron stove that Hélène came in and filled with a rattle10, and in one corner of the room was a large table on which were horseshoe nails and pebbles11 and little pipe cigarette holders12 which one looked at curiously13 but did not touch, but which turned out later to be accumulations from the pockets of Picasso and Gertrude Stein. But to return to the pictures. The pictures were so strange that one quite instinctively14 looked at anything rather than at them just at first. I have refreshed my memory by looking at some snap shots taken inside the atelier at that time. The chairs in the room were also all italian renaissance, not very comfortable for short-legged people and one got the habit of sitting on one’s legs. Miss Stein sat near the stove in a lovely high-backed one and she peacefully let her legs hang, which was a matter of habit, and when any one of the many visitors came to ask her a question she lifted herself up out of this chair and usually replied in french, not just now. This usually referred to something they wished to see, drawings which were put away, some german had once spilled ink on one, or some other not to be fulfilled desire. But to return to the pictures. As I say they completely covered the white-washed walls right up to the top of the very high ceiling. The room was lit at this time by high gas fixtures15. This was the second stage. They had just been put in. Before that there had only been lamps, and a stalwart guest held up the lamp while the others looked. But gas had just been put in and an ingenious american painter named Sayen, to divert his mind from the birth of his first child, was arranging some mechanical contrivance that would light the high fixtures by themselves. The old landlady16 extremely conservative did not allow electricity in her houses and electricity was not put in until 1914, the old landlady by that time too old to know the difference, her house agent gave permission. But this time I am really going to tell about the pictures.

It is very difficult now that everybody is accustomed to everything to give some idea of the kind of uneasiness one felt when one first looked at all these pictures on these walls. In those days there were pictures of all kinds there, the time had not yet come when there were only Cézannes, Renoirs, Matisses and Picassos, nor as it was even later only Cézannes and Picassos. At that time there was a great deal of Matisse, Picasso, Renoir, Cézanne but there were also a great many other things. There were two Gauguins, there were Manguins, there was a big nude17 by Valloton that felt like only it was not like the Odalisque of Manet, there was a Toulouse–Lautrec. Once about this time Picasso looking at this and greatly daring said, but all the same I do paint better than he did. Toulouse–Lautrec had been the most important of his early influences. I later bought a little tiny picture by Picasso of that epoch18. There was a portrait of Gertrude Stein by Valloton that might have been a David but was not, there was a Maurice Denis, a little Daumier, many Cézanne water colours, there was in short everything, there was even a little Delacroix and a moderate sized Greco. There were enormous Picassos of the Harlequin period, there were two rows of Matisses, there was a big portrait of a woman by Cézanne and some little Cézannes, all these pictures had a history and I will soon tell them. Now I was confused and I looked and I looked and I was confused. Gertrude Stein and her brother were so accustomed to this state of mind in a guest that they paid no attention to it. Then there was a sharp tap at the atelier door. Gertrude Stein opened it and a little dark dapper man came in with hair, eyes, face, hands and feet all very much alive. Hullo Alfy, she said, this is Miss Toklas. How do you do Miss Toklas, he said very solemnly. This was Alfy Maurer an old habitué of the house. He had been there before there were these pictures, when there were only japanese prints, and he was among those who used to light matches to light up a little piece of the Cézanne portrait. Of course you can tell it is a finished picture, he used to explain to the other american painters who came and looked dubiously19, you can tell because it has a frame, now whoever heard of anybody framing a canvas if the picture isn’t finished. He had followed, followed, followed always humbly20 always sincerely, it was he who selected the first lot of pictures for the famous Barnes collection some years later faithfully and enthusiastically. It was he who when later Barnes came to the house and waved his cheque-book said, so help me God, I didn’t bring him. Gertrude Stein who has an explosive temper, came in another evening and there were her brother, Alfy and a stranger. She did not like the stranger’s looks. Who is that, said she to Alfy. I didn’t bring him, said Alfy. He looks like a Jew, said Gertrude Stein, he is worse than that, says Alfy. But to return to that first evening. A few minutes after Ally came in there was a violent knock at the door and, dinner is ready, from Hélène. It’s funny the Picassos have not come, said they all, however we won’t wait at least Hélène won’t wait. So we went into the court and into the pavilion, and dining room and began dinner. It’s funny, said Miss Stein, Pablo is always promptness itself, he is never early and he is never late, it is his pride that punctuality is the politeness of kings, be even makes Fernande punctual. Of course he often says yes when he has no intention of doing what he says yes to, he can’t say no, no is not in his vocabulary and you have to know whether his yes means yes or means no, but when he says a yes that means yes and he did about tonight he is always punctual. These were the days before automobiles21 and nobody worried about accidents. We had just finished the first course when there was a quick patter of footsteps in the court and Hélène opened the door before the bell rang. Pablo and Fernande as everybody called them at that time walked in. He, small, quick moving but not restless, his eyes having a strange faculty22 of opening wide and drinking in what he wished to see. He had the isolation23 and movement of the head of a bull-fighter at the head of their procession. Fernande was a tall beautiful woman with a wonderful big hat and a very evidently new dress, they were both very fussed. I am very upset, said Pablo, but you know very well Gertrude I am never late but Fernande had ordered a dress for the vernissage tomorrow and it didn’t come. Well here you are anyway, said Miss Stein, since it’s you Hélène won’t mind. And we all sat down. I was next to Picasso who was silent and then gradually became peaceful. Alfy paid compliments to Fernande and she was soon calm and placid24. After a little while I murmured to Picasso that I liked his portrait of Gertrude Stein. Yes, he said, everybody says that she does not look like it but that does not make any difference, she will, he said. The conversation soon became lively it was all about the opening day of the salon25 indépendant which was the great event of the year. Everybody was interested in all the scandals that would or would not break out. Picasso never exhibited but as his followers27 did and there were a great many stories connected with each follower26 the hopes and fears were vivacious28.

While we were having coffee footsteps were heard in the court quite a number of footsteps and Miss Stein rose and said, don’t hurry, I have to let them in. And she left.

When we went into the atelier there were already quite a number of people in the room, scattered29 groups, single and couples all looking and looking. Gertrude Stein sat by the stove talking and listening and getting up to open the door and go up to various people talking and listening. She usually opened the door to the knock and the usual formula was, de la part de qui venez-vous, who is your introducer. The idea was that anybody could come but for form’s sake and in Paris you have to have a formula, everybody was supposed to be able to mention the name of somebody who had told them about it. It was a mere31 form, really everybody could come in and as at that time these pictures had no value and there was no social privilege attached to knowing any one there, only those came who really were interested. So as I say anybody could come in, however, there was the formula. Miss Stein once in opening the door said as she usually did by whose invitation do you come and we heard an aggrieved32 voice reply, but by yours, madame. He was a young man Gertrude Stein had met somewhere and with whom she had had a long conversation and to whom she had given a cordial invitation and then had as promptly33 forgotten.

The room was soon very very full and who were they all. Groups of hungarian painters and writers, it happened that some hungarian had once been brought and the word had spread from him throughout all Hungary, any village where there was a young man who had ambitions heard of 27 rue de Fleurus and then he lived but to get there and a great many did get there. They were always there, all sizes and shapes, all degrees of wealth and poverty, some very charming, some simply rough and every now and then a very beautiful young peasant. Then there were quantities of germans, not too popular because they tended always to want to see anything that was put away and they tended to break things and Gertrude Stein has a weakness for breakable objects, she has a horror of people who collect only the unbreakable. Then there was a fair sprinkling of americans, Mildred Aldrich would bring a group or Sayen, the electrician, or some painter and occasionally an architectural student would accidentally get there and then there were the habitués, among them Miss Mars and Miss Squires34 whom Gertrude Stein afterwards immortalised in her story of Miss Furr and Miss Skeene. On that first night Miss Mars and I talked of a subject then entirely36 new, how to make up your face. She was interested in types, she knew that there were femme decorative37, femme d’intérieur and femme intrigante; there was no doubt that Fernande Picasso was a femme decorative, but what was Madame Matisse, femme d’intérieur, I said, and she was very pleased. From time to time one heard the high spanish whinnying laugh of Picasso and gay contralto outbreak of Gertrude Stein, people came and went, in and out. Miss Stein told me to sit with Fernande. Fernande was always beautiful but heavy in hand. I sat, it was my first sitting with a wife of a genius.

Before I decided38 to write this book my twenty-five years with Gertrude Stein, I had often said that I would write, The wives of geniuses I have sat with. I have sat with so many. I have sat with wives who were not wives, of geniuses who were real geniuses. I have sat with real wives of geniuses who were not real geniuses. I have sat with wives of geniuses, of near geniuses, of would be geniuses, in short I have sat very often and very long with many wives and wives of many geniuses.

As I was saying Fernande, who was then living with Picasso and had been with him a long time that is to say they were all twenty-four years old at that time but they had been together a long time, Fernande was the first wife of a genius I sat with and she was not the least amusing. We talked hats. Fernande had two subjects hats and perfumes. This first day we talked hats. She liked hats, she had the true french feeling about a hat, if a hat did not provoke some witticism39 from a man on the street the hat was not a success. Later on once in Montmartre she and I were walking together. She had on a large yellow hat and I had on a much smaller blue one. As we were walking along a workman stopped and called out, there go the sun and the moon shining together. Ah, said Fernande to me with a radiant smile, you see our hats are a success.

Miss Stein called me and said she wanted to have me meet Matisse. She was talking to a medium sized man with a reddish beard and glasses. He had a very alert although slightly heavy presence and Miss Stein and he seemed to be full of hidden meanings. As I came up I heard her say, Oh yes but it would be more difficult now. We were talking, she said, of a lunch party we had in here last year. We had just hung all the pictures and we asked all the painters. You know how painters are, I wanted to make them happy so I placed each one opposite his own picture, and they were happy so happy that we had to send out twice for more bread, when you know France you will know that that means that they were happy, because they cannot eat and drink without bread and we had to send out twice for bread so they were happy. Nobody noticed my little arrangement except Matisse and he did not until just as he left, and now he says it is a proof that I am very wicked, Matisse laughed and said, yes I know Mademoiselle Gertrude, the world is a theatre for you, but there are theatres and theatres, and when you listen so carefully to me and so attentively40 and do not hear a word I say then I do say that you are very wicked. Then they both began talking about the vernissage of the independent as every one else was doing and of course I did not know what it was all about. But gradually I knew and later on I will tell the story of the pictures, their painters and their followers and what this conversation meant.

Later I was near Picasso, he was standing41 meditatively42. Do you think, he said, that I really do look like your president Lincoln. I had thought a good many things that evening but I had not thought that. You see, he went on, Gertrude, (I wish I could convey something of the simple affection and confidence with which he always pronounced her name and with which she always said, Pablo. In all their long friendship with all its sometimes troubled moments and its complications this has never changed.) Gertrude showed me a photograph of him and I have been trying to arrange my hair to look like his, I think my forehead does. I did not know whether he meant it or not but I was sympathetic. I did not realise then how completely and entirely american was Gertrude Stein. Later I often teased her, calling her a general, a civil war general of either or both sides. She had a series of photographs of the civil war, rather wonderful photographs and she and Picasso used to pore over them. Then he would suddenly re, member the spanish war and he became very spanish and very bitter and Spain and America in their persons could say very bitter things about each other’s country. But at this my first evening I knew nothing of all this and so I was polite and that was all.

And now the evening was drawing to a close. Everybody was leaving and everybody was still talking about the vernissage of the independent. I too left carrying with me a card of invitation for the vernissage. And so this, one of the most important evenings of my life, came to an end.

I went to the vernissage taking with me a friend, the invitation I had been given admitting two. We went very early. I had been told to go early otherwise we would not be able to see anything, and there would be no place to sit, and my friend liked to sit. We went to the building just put up for this salon. In France they always put things up just for the day or for a few days and then take them down again. Gertrude Stein’s elder brother always says that the secret of the chronic43 employment or lack of unemployment in France is due to the number of men actively44 engaged in putting up and taking down temporary buildings. Human nature is so permanent in France that they can afford to be as temporary as they like with their buildings. We went to the long low certainly very very long temporary building that was put up every year for the independents. When after the war or just before, I forget, the independent was given permanent quarters in the big exposition building, the Grand Palais, it became much less interesting. After all it is the adventure that counts. The long building was beautifully alight with Paris light.

In earlier, still earlier days, in the days of Seurat, the independent had its exhibition in a building where the rain rained in. Indeed it was because of this, that in hanging pictures in the rain, poor Seurat caught his fatal cold. Now there was no rain coming in, it was a lovely day and we felt very festive46. When we got in we were indeed early as nearly as possible the first to be there. We went from one room to another and quite frankly47 we had no idea which of the pictures the Saturday evening crowd would have thought art and which were just the attempts of what in France are known as the Sunday painters, workingmen, hair-dressers and veterinaries and visionaries who only paint once a week when they do not have to work. I say we did not know but yes perhaps we did know. But not about the Rousseau, and there was an enormous Rousseau there which was the scandal of the show, it was a picture of the officials of the republic, Picasso now owns it, no that picture we could not know as going to be one of the great pictures, and that as Hélène was to say, would come to be in the Louvre. There was also there if my memory is correct a strange picture by the same douanier Rousseau, a sort of apotheosis49 of Guillaume Apollinaire with an aged45 Marie Laurencin behind him as a muse50. That also I would not have recognised as a serious work of art. At that time of course I knew nothing about Marie Laurencin and Guillaume Apollinaire but, there is a lot to tell about them, later. Then we went on and saw a Matisse. Ah there we, were beginning to feel at home. We knew a Matisse when we saw it, knew at once and enjoyed it and knew that it was great art and beautiful. It was a big figure of a woman lying in among some cactuses. A picture which was after the show to be at the rue de Fleurus. There one day the five year old little boy of the janitor who often used to visit Gertrude Stein who was fond of him, jumped into her arms as she was standing at the open door of the atelier and looking over her shoulder and seeing the picture cried out in rapture51, oh la la what a beautiful body of a woman. Miss Stein used always to tell this story when the casual stranger in the aggressive way of the casual stranger said, looking at this picture, and what is that supposed to represent.

In the same room as the Matisse, a little covered by a partition, was a hungarian version of the same picture by one Czobel whom I remembered to have seen at the rue de Fleurus, it was the happy independent way to put a violent follower opposite the violent but not quite as violent master.

We went on and on, there were a great many rooms and a great many pictures in the rooms and finally we came to a middle room and there was a garden bench and as there were people coming in quite a few people we sat down on the bench to rest.

We had been resting and looking at every body and it was indeed the vie de Bohème just as one had seen it in the opera and they were very wonderful to look at. Just then somebody behind us put a hand on our shoulders and burst out laughing. It was Gertrude Stein. You have seated yourselves admirably, she said. But why, we asked. Because right here in front of you is the whole story. We looked but we saw nothing except two big pictures that looked quite alike but not altogether alike. One is a Braque and one is a Derain, explained Gertrude Stein. They were strange pictures of strangely formed rather wooden blocked figures, one if I remember rightly a sort of man and women, the other three women. Well, she said still laughing. We were puzzled, we had seen so much strangeness we did not know why these two were any stranger. She was quickly lost in an excited and voluble crowd. We recognised Pablo Picasso and Fernande, we thought we recognised many more, to be sure everybody seemed to be interested in our corner and we stayed, but we did not know why they were so especially interested. After a considerable interval52 Gertrude Stein came back again, this time evidently even more excited and amused. She leaned over us and said solemnly, do you want to take french lessons. We hesitated, why yes we could take french lessons. Well Fernande will give you french lessons, go and find her and tell her how absolutely you are pining to take french lessons. But why should she give us french lessons, we asked. Because, well because she and Pablo have decided to separate forever. I suppose it has happened before but not since I have known them. You know Pablo says if you love a woman you give her money. Well now it is when you want to leave a woman you have to wait until you have enough money to give her. Vollard has just bought out his atelier and so he can afford to separate from her by giving her half. She wants to install herself in a room by herself and give french lessons, so that is how you come in. Well what has that to do with these two pictures, asked my ever curious friend. Nothing, said Gertrude Stein going off with a great shout of laughter. I will tell the whole story as I afterward35 learnt it but now I must find Fernande and propose to her to take french lessons from her.

I wandered about and looked at the crowd, never had I imagined there could be so many kinds of men making and looking at pictures. In America, even in San Francisco, I had been accustomed to see women at picture shows and some men, but here there were men, men, men, sometimes women with them but more often three or four men with one woman, sometimes five or six men with two women. Later on I became accustomed to this proportion. In one of these groups of five or six men and two women I saw the Picassos, that is I saw Fernande with her characteristic gesture, one ringed forefinger53 straight in the air. As I afterwards found out she had the Napoleonic forefinger quite as long if not a shade longer than the middle finger, and this, whenever she was animated54, which after all was not very often because Fernande was indolent, always went straight up into the air. I waited not wishing to break into this group of which she at one end and Picasso at the other end were the absorbed centres but finally I summoned up courage to go forward and draw her attention and tell her of my desire. Oh yes, she said sweetly, Gertrude has told me of your desire, it would give me great pleasure to give you lessons, you and your friend, I will be the next few days very busy installing myself in my new apartment. Gertrude is coming to see me the end of the week, if you and your friend would accompany her we could then make all arrangements. Fernande spoke55 a very elegant french, some lapses56 of course into montmartrois that I found difficult to follow, but she had been educated to be a schoolmistress, her voice was lovely and she was very very beautiful with a marvellous complexion57. She was a big woman but not too big because she was indolent and she had the small round arms that give the characteristic beauty to all french women. It was rather a pity that short skirts ever came in because until then one never imagined the sturdy french legs of the average french woman, one thought only of the beauty of the small rounded arms. I agreed to Fernande’s proposal and left her.

On my way back to where my friend was sitting I became more accustomed not so much to the pictures as to the people. I began to realise there was a certain uniformity of type. Many years after, that is just a few years ago, when Juan Gris whom we all loved very much died, (he was after Pablo Picasso Gertrude Stein’s dearest friend) I heard her say to Braque, she and he were standing together at the funeral, who are all these people, there are so many and they are so familiar and I do not know who any of them are. Oh, Braque replied, they are all the people you used to see at the vernissage of the independent and the autumn salon and you saw their faces twice a year, year after year, and that is the reason they are all so familiar.

Gertrude Stein and I about ten days later went to Montmartre, I for the first time. I have never ceased to love it. We go there every now and then and I always have the same tender expectant feeling that I had then. It is a place where you were always standing and sometimes waiting, not for anything to happen, but just standing. The inhabitants of Montmartre did not sit much, they mostly stood which was just as well as the chairs, the dining room chairs of France, did not tempt48 one to sit. So I went to Montmartre and I began my apprenticeship58 of standing. We first went to see Picasso and I then we went to see Fernande. Picasso now never likes to go to Montmartre, he does not like to think about it much less talk about it. Even to Gertrude Stein he is hesitant about talking of it, there were things that at that time cut deeply into his spanish pride and the end of his Montmartre life was bitterness and disillusion59, and there is nothing more bitter than spanish disillusion.

But at this time he was in and of Montmartre and lived in the rue Ravignan.

We went to the Odeon and there got into an omnibus, that is we mounted on top of an omnibus, the nice old horse-pulled omnibuses that went pretty quickly and steadily60 across Paris and up the hill to the place Blanche. There we got out and climbed a steep street lined with shops with things to eat, the rue Lepic, and then turning we went around a corner and climbed even more steeply in fact almost straight up and came to the rue Ravignan, now place Emile–Goudeau but otherwise unchanged, with its steps leading up to the little flat square with its few but tender little trees, a man carpentering in the corner of it, the last time I was there not very long ago there was still a man carpentering in a corner of it, and a little café just before you went up the steps where they all used to eat, it is still there, and to the left the low wooden building of studios that is still there.

We went up the couple of steps and through the open door passing on our left the studio in which later Juan Gris was to live out his martyrdom but where then lived a certain Vaillant, a nondescript painter who was to lend his studio as a ladies dressing61 room at the famous banquet for Rousseau, and then we passed a steep flight of steps leading down where Max Jacob had a studio a little later, and we passed another steep little stairway which led to the studio where not long before a young fellow had committed suicide, Picasso painted one of the most wonderful of his early pictures of the friends gathered round the coffin62, we passed all this to a larger door where Gertrude Stein knocked and Picasso opened the door and we went in.

He was dressed in what the french call the singe63 or monkey costume, overalls64 made of blue jean or brown, I think his was blue and it is called a singe or monkey because being all of one piece with a belt, if the belt is not fastened, and it very often is not, it hangs down behind and so makes a monkey. His eyes were more wonderful than even I remembered, so full and so brown, and his hands so dark and delicate and alert. We went further in. There was a couch in one corner, a very small stove that did for cooking and heating in the other corner, some chairs, the large broken one Gertrude Stein sat in when she was painted and a general smell of dog and paint and there was a big dog there and Picasso moved her about from one place to another exactly as if the dog had been a large piece of furniture. He asked us to sit down but as all the chairs were full we all stood up and stood until we left. It was my first experience of standing but afterwards I found that they all stood that way for hours. Against the wall was an enormous picture, a strange picture of light and dark colours, that is all I can say, of a group, an enormous group and next to it another in a sort of a red brown, of three women, square and posturing65, all of it rather frightening. Picasso and Gertrude Stein stood together talking. I stood back and looked. I cannot say I realised anything but I felt that there was something painful and beautiful there and oppressive but imprisoned66. I heard Gertrude Stein say, and mine. Picasso thereupon brought out a smaller picture, a rather unfinished thing that could not finish, very pale almost white, two figures, they were all there but very unfinished and not finishable. Picasso said, but he will never accept it. Yes, I know, answered Gertrude Stein. But just the same it is the only one in which it is all there. Yes, I know, he replied and they fell silent. After that they continued a low toned conversation and then Miss Stein said, well we have to go, we are going to have tea with Fernande. Yes, I know, replied Picasso. How often do you see her, she said, he got very red and looked sheepish. I have never been there, he said resentfully. She chuckled67, well anyway we are going there, she said, and Miss Toklas is going to have lessons in french. Ah the Miss Toklas, he said, with small feet like a spanish woman and earrings68 like a gypsy and a father who is king of Poland like the Poniatowskis, of course she will take lessons. We all laughed and went to the door. There stood a very beautiful man, oh Agero, said Picasso, you know the ladies. He looks like a Greco, I said in english. Picasso caught the name, a false Greco, he said. Oh I forgot to give you these, said Gertrude Stein handing Picasso a package of newspapers, they will console you. He opened them up, they were the Sunday supplement of american papers, they were the Katzenjammer kids. Oh oui, Oh oui, he said, his face full of satisfaction, merci thanks Gertrude, and we left.

We left then and continued to climb higher up the hill. What did you think of what you saw, asked Miss Stein. Well I did see something. Sure you did, she said, but did you see what it had to do with those two pictures you sat in front of so long at the vernissage. Only that Picassos were rather awful and the others were not. Sure, she said, as Pablo once remarked, when you make a thing, it is so complicated making it that it is bound to be ugly, but those that do it after you they don’t have to worry about making it and they can make it pretty, and so everybody can like it when the others make it.

We went on and turned down a little street and there was another little house and we asked for Mademoiselle Bellevallee and we were sent into a little corridor and we knocked and went into a moderate sized room in which was a very large bed and a piano and a little tea table and Fernande and two others.

One of them was Alice Princet. She was rather a madonna like creature, with large lovely eyes and charming hair. Fernande afterwards explained that she was the daughter of a workingman and had the brutal69 thumbs that of course were a characteristic of workingmen. She had been, so Fernande explained, for seven years with Princet who was in the government employ and she had been faithful to him in the fashion of Montmartre, that is to say she had stuck to him through sickness and health but she had amused herself by the way. Now they were to be married. Princet had become the head of his small department in the government service and it would be necessary for him to invite other heads of departments to his house and so of course he must regularise the relation. They were actually married a few months afterward and it was apropos70 of this marriage that Max Jacob made his famous remark, it is wonderful to long for a woman for seven years and to possess her at last. Picasso made the more practical one, why should they marry simply in order to divorce. This was a prophecy.

No sooner were they married than Alice Princet met Derain and Derain met her. It was what the french call un coup30 de foudre, or love at first sight. They went quite mad about each other. Princet tried to bear it but they were married now and it was different. Beside he was angry for the first time hi his life and in his anger he tore up Alice’s first fur coat which she had gotten for the wedding. That settled the matter, and within six months after the marriage Alice left Princet never to return. She and Derain went off together and they have never separated since. I always liked Alice Derain. She had a certain wild quality that perhaps had to do with her brutal thumbs and was curiously in accord with her madonna face.

The other woman was Germaine Pichot, entirely a different type. She was quiet and serious and spanish, she had the square shoulders and the unseeing fixed71 eyes of a spanish woman. She was very gentle. She was married to a spanish painter Pichot, who was rather a wonderful creature, he was long and thin like one of those primitive72 Christs in spanish churches and when he did a spanish dance which he did later at the famous banquet to Rousseau, he was awe73 inspiringly religious.

Germaine, so Fernande said, was the heroine of many a strange story, she had once taken a young man to the hospital, he had been injured in a fracas74 at a music hall and all his crowd had deserted75 him. Germaine quite naturally stood by and saw him through. She had many sisters, she and all of them had been born and bred in Montmartre and they were all of different fathers and married to different nationalities, even to turks and armenians. Germaine, much later was very ill for years and she always had around her a devoted76 coterie77. They used to carry her in her armchair to the nearest cinema and they, and she in the armchair, saw the performance through. They did this regularly once a week. I imagine they are still doing it.

The conversation around the tea table of Fernande was not lively, nobody had anything to say. It was a pleasure to meet, it was even an honour, but that was about all. Fernande complained a little that her charwoman had not adequately dusted and rinsed78 the tea things, and also that buying a bed and a piano on the instalment plan had elements of unpleasantness. Otherwise we really none of us had much to say.

Finally she and I arranged about the french lessons, I was to pay fifty cents an hour and she was to come to see me two days hence and we were to begin. Just at the end of the visit they were more natural. Fernande asked Miss Stein if she had any of the comic supplements of the american papers left. Gertrude Stein replied that she had just left them with Pablo.

Fernande roused like a lioness defending her cubs79. That is a brutality80 that I will never forgive him, she said. I met him on the street, he had a comic supplement in his hand, I asked him to give it to me to help me to distract myself and he brutally81 refused. It was a piece of cruelty that I will never forgive. I ask you, Gertrude, to give to me myself the next copies you have of the comic supplement. Gertrude Stein said, why certainly with pleasure.

As we went out she said to me, it is to be hoped that they will be together again before the next comic supplements of the Katzenjammer kids come out because if I do not give them to Pablo he will be all upset and if I do Fernande will make an awful fuss. Well I suppose I will have to lose them or have my brother give them to Pablo by mistake.

Fernande came quite promptly to the appointment and we proceeded to our lesson. Of course to have a lesson in french one has to converse82 and Fernande had three subjects, hats, we had not much more to say about hats, perfumes, we had something to say about perfumes. Perfumes were Fernande’s really great extravagance, she was the scandal of Montmartre because she had once bought a bottle of perfume named Smoke and had paid eighty francs for it at that time sixteen dollars and it had no scent83 but such wonderful colour, like real bottled liquid smoke. Her third subject was the categories of furs. There were three categories of furs, there were first category, sables84, second category ermine and chinchilla, third category martin fox and squirrel. It was the most surprising thing I had heard in Paris. I was surprised. Chinchilla second, squirrel called fur and no seal skin.

Our only other conversation was the description and names of the dogs that were then fashionable. This was my subject and after I had described she always hesitated, ah yes, she would say illuminated85, you wish to describe a little belgian dog whose name is griffon.

There we were, she was very beautiful but it was a little heavy and monotonous86, so I suggested we should meet out of doors, at a tea place or take walks in Montmartre. That was better. She began to tell me things. I met Max Jacob. Fernande and he were very funny together. They felt themselves to be a courtly couple of the first empire, he being le vieux marquis kissing her hand and paying compliments and she the Empress Josephine receiving them. It was a caricature but a rather wonderful one. Then she told me about a mysterious horrible woman called Marie Laurencin who made noises like an animal and annoyed Picasso. I thought of her as a horrible old woman and was delighted when I met the young chic87 Marie who looked like a Clouet. Max Jacob read my horoscope. It was a great honour because he wrote it down. I did not realise it then but I have since and most of all very lately, as all the young gentlemen who nowadays so much admire Max are so astonished and impressed that he wrote mine down as he has always been supposed never to write them but just to say them off hand. Well anyway I have mine and it is written.

Then she also told me a great many stories about Van Dongen and his dutch wife and dutch little girl. Van Dongen broke into notoriety by a portrait he did of Fernande. It was in that way that he created the type of almond eyes that were later so much the vogue88. But Fernande’s almond eyes were natural, for good or for bad everything was natural in Fernande.

Of course Van Dongen did not admit that this picture was a portrait of Fernande, although she had sat for it and there was in consequence much bitterness. Van Dongen in these days was poor, he had a dutch wife who was a vegetarian89 and they lived on spinach90. Van Dongen frequently escaped from the spinach to a joint91 in Montmartre where the girls paid for his dinner and his drinks.

The Van Dongen child was only four years old but terrific. Van Dongen used to do acrobatics92 with her and swing her around his head by a leg. When she hugged Picasso of whom she was very fond she used almost to destroy him, he had a great fear of her.

There were many other tales of Germaine Pichot and the circus where she found her lovers and there were tales of all the past and present life of Montmartre. Fernande herself had one ideal. It was Evelyn Thaw93 the heroine of the ma ment. And Fernande adored her in the way a later generation adored Mary Pickford, she was so blonde, so pale, so nothing and Fernande would give a heavy sigh of admiration94.

The next time I saw Gertrude Stein she said to me suddenly, is Fernande wearing her earrings. I do not know, I said. Well notice, she said. The next time I saw Gertrude Stein I said, yes Fernande is wearing her earrings. Oh well, she said, there is nothing to be done yet, it’s a nuisance because Pablo naturally having nobody in the studio cannot stay at home. In another week I was able to announce that Fernande was not wearing her earrings. Oh well it’s alright then she has no more money left and it is all over, said Gertrude Stein. And it was. A week later I was dining with Fernande and Pablo at the rue de Fleurus.

I gave Fernande a chinese gown from San Francisco and Pablo gave me a lovely drawing.

And now I will tell you how two americans happened to be in the heart of an art movement of which the outside world at that time knew nothing.


点击收听单词发音收听单词发音  

1 privately IkpzwT     
adv.以私人的身份,悄悄地,私下地
参考例句:
  • Some ministers admit privately that unemployment could continue to rise.一些部长私下承认失业率可能继续升高。
  • The man privately admits that his motive is profits.那人私下承认他的动机是为了牟利。
2 rue 8DGy6     
n.懊悔,芸香,后悔;v.后悔,悲伤,懊悔
参考例句:
  • You'll rue having failed in the examination.你会悔恨考试失败。
  • You're going to rue this the longest day that you live.你要终身悔恨不尽呢。
3 thoroughly sgmz0J     
adv.完全地,彻底地,十足地
参考例句:
  • The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
  • The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。
4 precariously 8l8zT3     
adv.不安全地;危险地;碰机会地;不稳定地
参考例句:
  • The hotel was perched precariously on a steep hillside. 旅馆危险地坐落在陡峭的山坡上。 来自《简明英汉词典》
  • The phone was perched precariously on the window ledge. 电话放在窗台上,摇摇欲坠。 来自《简明英汉词典》
5 janitor iaFz7     
n.看门人,管门人
参考例句:
  • The janitor wiped on the windows with his rags.看门人用褴褛的衣服擦着窗户。
  • The janitor swept the floors and locked up the building every night.那个看门人每天晚上负责打扫大楼的地板和锁门。
6 remains 1kMzTy     
n.剩余物,残留物;遗体,遗迹
参考例句:
  • He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
  • The remains of the meal were fed to the dog.残羹剩饭喂狗了。
7 tacked d6b486b3f9966de864e3b4d2aa518abc     
用平头钉钉( tack的过去式和过去分词 ); 附加,增补; 帆船抢风行驶,用粗线脚缝
参考例句:
  • He tacked the sheets of paper on as carefully as possible. 他尽量小心地把纸张钉上去。
  • The seamstress tacked the two pieces of cloth. 女裁缝把那两块布粗缝了起来。
8 renaissance PBdzl     
n.复活,复兴,文艺复兴
参考例句:
  • The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
  • The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。
9 neatly ynZzBp     
adv.整洁地,干净地,灵巧地,熟练地
参考例句:
  • Sailors know how to wind up a long rope neatly.水手们知道怎样把一条大绳利落地缠好。
  • The child's dress is neatly gathered at the neck.那孩子的衣服在领口处打着整齐的皱褶。
10 rattle 5Alzb     
v.飞奔,碰响;激怒;n.碰撞声;拨浪鼓
参考例句:
  • The baby only shook the rattle and laughed and crowed.孩子只是摇着拨浪鼓,笑着叫着。
  • She could hear the rattle of the teacups.她听见茶具叮当响。
11 pebbles e4aa8eab2296e27a327354cbb0b2c5d2     
[复数]鹅卵石; 沙砾; 卵石,小圆石( pebble的名词复数 )
参考例句:
  • The pebbles of the drive crunched under his feet. 汽车道上的小石子在他脚底下喀嚓作响。
  • Line the pots with pebbles to ensure good drainage. 在罐子里铺一层鹅卵石,以确保排水良好。
12 holders 79c0e3bbb1170e3018817c5f45ebf33f     
支持物( holder的名词复数 ); 持有者; (支票等)持有人; 支托(或握持)…之物
参考例句:
  • Slaves were mercilessly ground down by slave holders. 奴隶受奴隶主的残酷压迫。
  • It is recognition of compassion's part that leads the up-holders of capital punishment to accuse the abolitionists of sentimentality in being more sorry for the murderer than for his victim. 正是对怜悯的作用有了认识,才使得死刑的提倡者指控主张废除死刑的人感情用事,同情谋杀犯胜过同情受害者。
13 curiously 3v0zIc     
adv.有求知欲地;好问地;奇特地
参考例句:
  • He looked curiously at the people.他好奇地看着那些人。
  • He took long stealthy strides. His hands were curiously cold.他迈着悄没声息的大步。他的双手出奇地冷。
14 instinctively 2qezD2     
adv.本能地
参考例句:
  • As he leaned towards her she instinctively recoiled. 他向她靠近,她本能地往后缩。 来自《简明英汉词典》
  • He knew instinctively where he would find her. 他本能地知道在哪儿能找到她。 来自《简明英汉词典》
15 fixtures 9403e5114acb6bb59791a97291be54b5     
(房屋等的)固定装置( fixture的名词复数 ); 如(浴盆、抽水马桶); 固定在某位置的人或物; (定期定点举行的)体育活动
参考例句:
  • The insurance policy covers the building and any fixtures contained therein. 保险单为这座大楼及其中所有的设施保了险。
  • The fixtures had already been sold and the sum divided. 固定设备已经卖了,钱也分了。 来自英汉文学 - 嘉莉妹妹
16 landlady t2ZxE     
n.女房东,女地主
参考例句:
  • I heard my landlady creeping stealthily up to my door.我听到我的女房东偷偷地来到我的门前。
  • The landlady came over to serve me.女店主过来接待我。
17 nude CHLxF     
adj.裸体的;n.裸体者,裸体艺术品
参考例句:
  • It's a painting of the Duchess of Alba in the nude.这是一幅阿尔巴公爵夫人的裸体肖像画。
  • She doesn't like nude swimming.她不喜欢裸泳。
18 epoch riTzw     
n.(新)时代;历元
参考例句:
  • The epoch of revolution creates great figures.革命时代造就伟大的人物。
  • We're at the end of the historical epoch,and at the dawn of another.我们正处在一个历史时代的末期,另一个历史时代的开端。
19 dubiously dubiously     
adv.可疑地,怀疑地
参考例句:
  • "What does he have to do?" queried Chin dubiously. “他有什么心事?”琴向觉民问道,她的脸上现出疑惑不解的神情。 来自汉英文学 - 家(1-26) - 家(1-26)
  • He walked out fast, leaving the head waiter staring dubiously at the flimsy blue paper. 他很快地走出去,撇下侍者头儿半信半疑地瞪着这张薄薄的蓝纸。 来自辞典例句
20 humbly humbly     
adv. 恭顺地,谦卑地
参考例句:
  • We humbly beg Your Majesty to show mercy. 我们恳请陛下发发慈悲。
  • "You must be right, Sir,'said John humbly. “你一定是对的,先生,”约翰恭顺地说道。
21 automobiles 760a1b7b6ea4a07c12e5f64cc766962b     
n.汽车( automobile的名词复数 )
参考例句:
  • When automobiles become popular,the use of the horse and buggy passed away. 汽车普及后,就不再使用马和马车了。 来自《简明英汉词典》
  • Automobiles speed in an endless stream along the boulevard. 宽阔的林荫道上,汽车川流不息。 来自《现代汉英综合大词典》
22 faculty HhkzK     
n.才能;学院,系;(学院或系的)全体教学人员
参考例句:
  • He has a great faculty for learning foreign languages.他有学习外语的天赋。
  • He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。
23 isolation 7qMzTS     
n.隔离,孤立,分解,分离
参考例句:
  • The millionaire lived in complete isolation from the outside world.这位富翁过着与世隔绝的生活。
  • He retired and lived in relative isolation.他退休后,生活比较孤寂。
24 placid 7A1yV     
adj.安静的,平和的
参考例句:
  • He had been leading a placid life for the past eight years.八年来他一直过着平静的生活。
  • You should be in a placid mood and have a heart-to- heart talk with her.你应该心平气和的好好和她谈谈心。
25 salon VjTz2Z     
n.[法]沙龙;客厅;营业性的高级服务室
参考例句:
  • Do you go to the hairdresser or beauty salon more than twice a week?你每周去美容院或美容沙龙多过两次吗?
  • You can hear a lot of dirt at a salon.你在沙龙上会听到很多流言蜚语。
26 follower gjXxP     
n.跟随者;随员;门徒;信徒
参考例句:
  • He is a faithful follower of his home football team.他是他家乡足球队的忠实拥护者。
  • Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。
27 followers 5c342ee9ce1bf07932a1f66af2be7652     
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件
参考例句:
  • the followers of Mahatma Gandhi 圣雄甘地的拥护者
  • The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。
28 vivacious Dp7yI     
adj.活泼的,快活的
参考例句:
  • She is an artless,vivacious girl.她是一个天真活泼的女孩。
  • The picture has a vivacious artistic conception.这幅画气韵生动。
29 scattered 7jgzKF     
adj.分散的,稀疏的;散步的;疏疏落落的
参考例句:
  • Gathering up his scattered papers,he pushed them into his case.他把散乱的文件收拾起来,塞进文件夹里。
30 coup co5z4     
n.政变;突然而成功的行动
参考例句:
  • The monarch was ousted by a military coup.那君主被军事政变者废黜了。
  • That government was overthrown in a military coup three years ago.那个政府在3年前的军事政变中被推翻。
31 mere rC1xE     
adj.纯粹的;仅仅,只不过
参考例句:
  • That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
  • It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。
32 aggrieved mzyzc3     
adj.愤愤不平的,受委屈的;悲痛的;(在合法权利方面)受侵害的v.令委屈,令苦恼,侵害( aggrieve的过去式);令委屈,令苦恼,侵害( aggrieve的过去式和过去分词)
参考例句:
  • He felt aggrieved at not being chosen for the team. 他因没被选到队里感到愤愤不平。 来自《简明英汉词典》
  • She is the aggrieved person whose fiance&1& did not show up for their wedding. 她很委屈,她的未婚夫未出现在他们的婚礼上。 来自《简明英汉词典》
33 promptly LRMxm     
adv.及时地,敏捷地
参考例句:
  • He paid the money back promptly.他立即还了钱。
  • She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。
34 squires e1ac9927c38cb55b9bb45b8ea91f1ef1     
n.地主,乡绅( squire的名词复数 )
参考例句:
  • The family history was typical of the Catholic squires of England. 这个家族的历史,在英格兰信天主教的乡绅中是很典型的。 来自辞典例句
  • By 1696, with Tory squires and Amsterdam burghers complaining about excessive taxes. 到1696年,托利党的乡绅们和阿姆斯特丹的市民都对苛捐杂税怨声载道。 来自辞典例句
35 afterward fK6y3     
adv.后来;以后
参考例句:
  • Let's go to the theatre first and eat afterward. 让我们先去看戏,然后吃饭。
  • Afterward,the boy became a very famous artist.后来,这男孩成为一个很有名的艺术家。
36 entirely entirely     
ad.全部地,完整地;完全地,彻底地
参考例句:
  • The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
  • His life was entirely given up to the educational work. 他的一生统统献给了教育工作。
37 decorative bxtxc     
adj.装饰的,可作装饰的
参考例句:
  • This ware is suitable for decorative purpose but unsuitable for utility.这种器皿中看不中用。
  • The style is ornate and highly decorative.这种风格很华丽,而且装饰效果很好。
38 decided lvqzZd     
adj.决定了的,坚决的;明显的,明确的
参考例句:
  • This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
  • There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。
39 witticism KIeyn     
n.谐语,妙语
参考例句:
  • He tries to lighten his lectures with an occasional witticism.他有时想用俏皮话使课堂活跃。
  • His witticism was as sharp as a marble.他的打趣话十分枯燥无味。
40 attentively AyQzjz     
adv.聚精会神地;周到地;谛;凝神
参考例句:
  • She listened attentively while I poured out my problems. 我倾吐心中的烦恼时,她一直在注意听。 来自《简明英汉词典》
  • She listened attentively and set down every word he said. 她专心听着,把他说的话一字不漏地记下来。 来自《简明英汉词典》
41 standing 2hCzgo     
n.持续,地位;adj.永久的,不动的,直立的,不流动的
参考例句:
  • After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
  • They're standing out against any change in the law.他们坚决反对对法律做任何修改。
42 meditatively 1840c96c2541871bf074763dc24f786a     
adv.冥想地
参考例句:
  • The old man looked meditatively at the darts board. 老头儿沉思不语,看着那投镖板。 来自英汉文学
  • "Well,'said the foreman, scratching his ear meditatively, "we do need a stitcher. “这--"工头沉思地搔了搔耳朵。 "我们确实需要一个缝纫工。 来自英汉文学 - 嘉莉妹妹
43 chronic BO9zl     
adj.(疾病)长期未愈的,慢性的;极坏的
参考例句:
  • Famine differs from chronic malnutrition.饥荒不同于慢性营养不良。
  • Chronic poisoning may lead to death from inanition.慢性中毒也可能由虚弱导致死亡。
44 actively lzezni     
adv.积极地,勤奋地
参考例句:
  • During this period all the students were actively participating.在这节课中所有的学生都积极参加。
  • We are actively intervening to settle a quarrel.我们正在积极调解争执。
45 aged 6zWzdI     
adj.年老的,陈年的
参考例句:
  • He had put on weight and aged a little.他胖了,也老点了。
  • He is aged,but his memory is still good.他已年老,然而记忆力还好。
46 festive mkBx5     
adj.欢宴的,节日的
参考例句:
  • It was Christmas and everyone was in festive mood.当时是圣诞节,每个人都沉浸在节日的欢乐中。
  • We all wore festive costumes to the ball.我们都穿着节日的盛装前去参加舞会。
47 frankly fsXzcf     
adv.坦白地,直率地;坦率地说
参考例句:
  • To speak frankly, I don't like the idea at all.老实说,我一点也不赞成这个主意。
  • Frankly speaking, I'm not opposed to reform.坦率地说,我不反对改革。
48 tempt MpIwg     
vt.引诱,勾引,吸引,引起…的兴趣
参考例句:
  • Nothing could tempt him to such a course of action.什么都不能诱使他去那样做。
  • The fact that she had become wealthy did not tempt her to alter her frugal way of life.她有钱了,可这丝毫没能让她改变节俭的生活习惯。
49 apotheosis UMSyN     
n.神圣之理想;美化;颂扬
参考例句:
  • The legend of king arthur represent the apotheosis of chivalry.亚瑟王的传说代表骑士精神的顶峰。
  • The Oriental in Bangkok is the apotheosis of the grand hotel.曼谷的东方饭店是豪华饭店的典范。
50 muse v6CzM     
n.缪斯(希腊神话中的女神),创作灵感
参考例句:
  • His muse had deserted him,and he could no longer write.他已无灵感,不能再写作了。
  • Many of the papers muse on the fate of the President.很多报纸都在揣测总统的命运。
51 rapture 9STzG     
n.狂喜;全神贯注;着迷;v.使狂喜
参考例句:
  • His speech was received with rapture by his supporters.他的演说受到支持者们的热烈欢迎。
  • In the midst of his rapture,he was interrupted by his father.他正欢天喜地,被他父亲打断了。
52 interval 85kxY     
n.间隔,间距;幕间休息,中场休息
参考例句:
  • The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
  • There was a long interval before he anwsered the telephone.隔了好久他才回了电话。
53 forefinger pihxt     
n.食指
参考例句:
  • He pinched the leaf between his thumb and forefinger.他将叶子捏在拇指和食指之间。
  • He held it between the tips of his thumb and forefinger.他用他大拇指和食指尖拿着它。
54 animated Cz7zMa     
adj.生气勃勃的,活跃的,愉快的
参考例句:
  • His observations gave rise to an animated and lively discussion.他的言论引起了一场气氛热烈而活跃的讨论。
  • We had an animated discussion over current events last evening.昨天晚上我们热烈地讨论时事。
55 spoke XryyC     
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
参考例句:
  • They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
  • The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。
56 lapses 43ecf1ab71734d38301e2287a6e458dc     
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
57 complexion IOsz4     
n.肤色;情况,局面;气质,性格
参考例句:
  • Red does not suit with her complexion.红色与她的肤色不协调。
  • Her resignation puts a different complexion on things.她一辞职局面就全变了。
58 apprenticeship 4NLyv     
n.学徒身份;学徒期
参考例句:
  • She was in the second year of her apprenticeship as a carpenter. 她当木工学徒已是第二年了。
  • He served his apprenticeship with Bob. 他跟鲍勃当学徒。
59 disillusion HtTxo     
vt.使不再抱幻想,使理想破灭
参考例句:
  • Do not say anything to disillusion them.别说什么叫他们泄气的话。
  • I'd hate to be the one to disillusion him.我不愿意成为那个让他幻想破灭的人。
60 steadily Qukw6     
adv.稳定地;不变地;持续地
参考例句:
  • The scope of man's use of natural resources will steadily grow.人类利用自然资源的广度将日益扩大。
  • Our educational reform was steadily led onto the correct path.我们的教学改革慢慢上轨道了。
61 dressing 1uOzJG     
n.(食物)调料;包扎伤口的用品,敷料
参考例句:
  • Don't spend such a lot of time in dressing yourself.别花那么多时间来打扮自己。
  • The children enjoy dressing up in mother's old clothes.孩子们喜欢穿上妈妈旧时的衣服玩。
62 coffin XWRy7     
n.棺材,灵柩
参考例句:
  • When one's coffin is covered,all discussion about him can be settled.盖棺论定。
  • The coffin was placed in the grave.那口棺材已安放到坟墓里去了。
63 singe rxXwz     
v.(轻微地)烧焦;烫焦;烤焦
参考例句:
  • If the iron is too hot you'll singe that nightdress.如果熨斗过热,你会把睡衣烫焦。
  • It is also important to singe knitted cloth to obtain a smooth surface.对针织物进行烧毛处理以获得光洁的表面也是很重要的。
64 overalls 2mCz6w     
n.(复)工装裤;长罩衣
参考例句:
  • He is in overalls today.他今天穿的是工作裤。
  • He changed his overalls for a suit.他脱下工装裤,换上了一套西服。
65 posturing 1785febcc47e6193be90be621fdf70d9     
做出某种姿势( posture的现在分词 )
参考例句:
  • She was posturing a model. 她正在摆模特儿的姿势。
  • She says the President may just be posturing. 她说总统也许只是在做样子而已。
66 imprisoned bc7d0bcdd0951055b819cfd008ef0d8d     
下狱,监禁( imprison的过去式和过去分词 )
参考例句:
  • He was imprisoned for two concurrent terms of 30 months and 18 months. 他被判处30个月和18个月的监禁,合并执行。
  • They were imprisoned for possession of drugs. 他们因拥有毒品而被监禁。
67 chuckled 8ce1383c838073977a08258a1f3e30f8     
轻声地笑( chuckle的过去式和过去分词 )
参考例句:
  • She chuckled at the memory. 想起这件事她就暗自发笑。
  • She chuckled softly to herself as she remembered his astonished look. 想起他那惊讶的表情,她就轻轻地暗自发笑。
68 earrings 9ukzSs     
n.耳环( earring的名词复数 );耳坠子
参考例句:
  • a pair of earrings 一对耳环
  • These earrings snap on with special fastener. 这付耳环是用特制的按扣扣上去的。 来自《简明英汉词典》
69 brutal bSFyb     
adj.残忍的,野蛮的,不讲理的
参考例句:
  • She has to face the brutal reality.她不得不去面对冷酷的现实。
  • They're brutal people behind their civilised veneer.他们表面上温文有礼,骨子里却是野蛮残忍。
70 apropos keky3     
adv.恰好地;adj.恰当的;关于
参考例句:
  • I thought he spoke very apropos.我认为他说得很中肯。
  • He arrived very apropos.他来得很及时。
71 fixed JsKzzj     
adj.固定的,不变的,准备好的;(计算机)固定的
参考例句:
  • Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗?
  • Once the aim is fixed,we should not change it arbitrarily.目标一旦确定,我们就不应该随意改变。
72 primitive vSwz0     
adj.原始的;简单的;n.原(始)人,原始事物
参考例句:
  • It is a primitive instinct to flee a place of danger.逃离危险的地方是一种原始本能。
  • His book describes the march of the civilization of a primitive society.他的著作描述了一个原始社会的开化过程。
73 awe WNqzC     
n.敬畏,惊惧;vt.使敬畏,使惊惧
参考例句:
  • The sight filled us with awe.这景色使我们大为惊叹。
  • The approaching tornado struck awe in our hearts.正在逼近的龙卷风使我们惊恐万分。
74 fracas 260yo     
n.打架;吵闹
参考例句:
  • A couple of mobsters were rubbed out in a fracas with the law.几个暴徒在与警方喧闹的斗争中丧命。
  • The police were called in to stop the fracas.警察奉命去制止骚乱。
75 deserted GukzoL     
adj.荒芜的,荒废的,无人的,被遗弃的
参考例句:
  • The deserted village was filled with a deathly silence.这个荒废的村庄死一般的寂静。
  • The enemy chieftain was opposed and deserted by his followers.敌人头目众叛亲离。
76 devoted xu9zka     
adj.忠诚的,忠实的,热心的,献身于...的
参考例句:
  • He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
  • We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。
77 coterie VzJxh     
n.(有共同兴趣的)小团体,小圈子
参考例句:
  • The name is known to only a small coterie of collectors.这个名字只有收藏家的小圈子才知道。
  • Mary and her coterie gave a party to which we were not invited.玛利和她的圈内朋友举行派对,我们没被邀请。
78 rinsed 637d6ed17a5c20097c9dbfb69621fd20     
v.漂洗( rinse的过去式和过去分词 );冲洗;用清水漂洗掉(肥皂泡等);(用清水)冲掉
参考例句:
  • She rinsed out the sea water from her swimming-costume. 她把游泳衣里的海水冲洗掉。 来自《简明英汉词典》
  • The clothes have been rinsed three times. 衣服已经洗了三和。 来自《现代汉英综合大词典》
79 cubs 01d925a0dc25c0b909e51536316e8697     
n.幼小的兽,不懂规矩的年轻人( cub的名词复数 )
参考例句:
  • a lioness guarding her cubs 守护幼崽的母狮
  • Lion cubs depend on their mother to feed them. 狮子的幼仔依靠母狮喂养。 来自《简明英汉词典》
80 brutality MSbyb     
n.野蛮的行为,残忍,野蛮
参考例句:
  • The brutality of the crime has appalled the public. 罪行之残暴使公众大为震惊。
  • a general who was infamous for his brutality 因残忍而恶名昭彰的将军
81 brutally jSRya     
adv.残忍地,野蛮地,冷酷无情地
参考例句:
  • The uprising was brutally put down.起义被残酷地镇压下去了。
  • A pro-democracy uprising was brutally suppressed.一场争取民主的起义被残酷镇压了。
82 converse 7ZwyI     
vi.谈话,谈天,闲聊;adv.相反的,相反
参考例句:
  • He can converse in three languages.他可以用3种语言谈话。
  • I wanted to appear friendly and approachable but I think I gave the converse impression.我想显得友好、平易近人些,却发觉给人的印象恰恰相反。
83 scent WThzs     
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉
参考例句:
  • The air was filled with the scent of lilac.空气中弥漫着丁香花的芬芳。
  • The flowers give off a heady scent at night.这些花晚上散发出醉人的芳香。
84 sables ecc880d6aca2d81fff6103920e6e4228     
n.紫貂( sable的名词复数 );紫貂皮;阴暗的;暗夜
参考例句:
  • Able sables staple apples on stable tables. 能干的黑貂把苹果钉在牢固的桌子上。 来自互联网
85 illuminated 98b351e9bc282af85e83e767e5ec76b8     
adj.被照明的;受启迪的
参考例句:
  • Floodlights illuminated the stadium. 泛光灯照亮了体育场。
  • the illuminated city at night 夜幕中万家灯火的城市
86 monotonous FwQyJ     
adj.单调的,一成不变的,使人厌倦的
参考例句:
  • She thought life in the small town was monotonous.她觉得小镇上的生活单调而乏味。
  • His articles are fixed in form and monotonous in content.他的文章千篇一律,一个调调儿。
87 chic iX5zb     
n./adj.别致(的),时髦(的),讲究的
参考例句:
  • She bought a chic little hat.她买了一顶别致的小帽子。
  • The chic restaurant is patronized by many celebrities.这家时髦的饭店常有名人光顾。
88 Vogue 6hMwC     
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。
89 vegetarian 7KGzY     
n.素食者;adj.素食的
参考例句:
  • She got used gradually to the vegetarian diet.她逐渐习惯吃素食。
  • I didn't realize you were a vegetarian.我不知道你是个素食者。
90 spinach Dhuzr5     
n.菠菜
参考例句:
  • Eating spinach is supposed to make you strong.据说吃菠菜能使人强壮。
  • You should eat such vegetables as carrot,celery and spinach.你应该吃胡萝卜、芹菜和菠菜这类的蔬菜。
91 joint m3lx4     
adj.联合的,共同的;n.关节,接合处;v.连接,贴合
参考例句:
  • I had a bad fall,which put my shoulder out of joint.我重重地摔了一跤,肩膀脫臼了。
  • We wrote a letter in joint names.我们联名写了封信。
92 acrobatics IzgzpT     
n.杂技
参考例句:
  • Acrobatics is hard to learn but beautiful to watch.杂技不好学,但很好看。
  • We watched a performance which included a puppet show and acrobatics.我们观看了一场演出,内容有木偶和杂技。
93 thaw fUYz5     
v.(使)融化,(使)变得友善;n.融化,缓和
参考例句:
  • The snow is beginning to thaw.雪已开始融化。
  • The spring thaw caused heavy flooding.春天解冻引起了洪水泛滥。
94 admiration afpyA     
n.钦佩,赞美,羡慕
参考例句:
  • He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
  • We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。


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