Anacreon.
I love not him, who o'er the wine-cup's flow
The dinner and dessert passed away. The ladies retired6 to the drawing-room: the gentlemen discoursed7 over their wine. Mr. MacBorrowdale pronounced a eulogium on the port, which was cordially echoed by the divine in regard to the claret.
Mr. Falconer. Doctor, your tastes and sympathies are very much with the Greeks; but I doubt if you would have liked their wine. Condiments8 of sea-water and turpentine must have given it an odd flavour; and mixing water with it, in the proportion of three to one, must have reduced the strength of merely fermented10 liquor to something like the smallest ale of Christophero Sly.
The Rev11. Dr. Opimian. I must say I should not like to put either salt water or turpentine into this claret: they would not improve its bouquet12; nor to dilute13 it with any portion of water: it has to my mind, as it is, just the strength it ought to have, and no more. But the Greek taste was so exquisite14 in all matters in which we can bring it to the test, as to justify15 a strong presumption16 that in matters in which we cannot test it, it was equally correct. Salt water and turpentine do not suit our wine: it does not follow that theirs had not in it some basis of contrast, which may have made them pleasant in combination. And it was only a few of their wines that were so treated.
Lord Curryfin. Then it could not have been much like their drink of the present day. 'My master cannot be right in his mind,' said Lord Byron's man Fletcher, 'or he would not have left Italy, where we had everything, to go to a country of savages17; there is nothing to eat in Greece but tough billy-goats, or to drink but spirits of turpentine.'{1}
The Rev. Dr. Opimian. There is an ambiguous present, which somewhat perplexes me, in an epigram of Rhianus, 'Here is a vessel18 of half-wine, half-turpentine, and a singularly lean specimen19 of kid: the sender, Hippocrates, is worthy20 of all praise.'{2} Perhaps this was a doctor's present to a patient. Alcaeus, Anacreon, and Nonnus could not have sung as they did under the inspiration of spirit of turpentine. We learn from Athenseus, and Pliny, and the old comedians21, that the Greeks had a vast variety of wine, enough to suit every variety of taste. I infer the unknown from the known. We know little of their music. I have no doubt it was as excellent in its kind as their sculpture.
1 Trelawny's Recollections.
2 (Greek passage)
Anthologia Palatina: Appendix: 72.
Mr. Minim. I can scarcely think that, sir. They seem to have had only the minor22 key, and to have known no more of counterpoint than they did of perspective.
The Rev. Dr. Opimian. Their system of painting did not require perspective. Their main subject was on one foreground. Buildings, rocks, trees, served simply to indicate, not to delineate, the scene.
Mr. Falconer. I must demur23 to their having only the minor key. The natural ascent24 of the voice is in the major key, and with their exquisite sensibility to sound they could not have missed the obvious expression of cheerfulness. With their three scales, diatonic, chromatic25, and enharmonic, they must have exhausted26 every possible expression of feeling. Their scales were in true intervals27; they had really major and minor tones; we have neither, but a confusion of both. They had both sharps and flats: we have neither, but a mere9 set of semitones, which serve for both. In their enharmonic scale the fineness of their ear perceived distinctions which are lost on the coarseness of ours.
Mr. Minim. With all that they never got beyond melody. They had no harmony, in our sense. They sang only in unisons and octaves.
Mr. Falconer. It is not clear that they did not sing in fifths. As to harmony in one sense, I will not go so far as to say with Ritson that the only use of the harmony is to spoil the melody; but I will say, that to my taste a simple accompaniment, in strict subordination to the melody, is far more agreeable than that Niagara of sound under which it is now the fashion to bury it.
Mr. Minim. In that case, you would prefer a song with a simple pianoforte accompaniment to the same song on the Italian stage.
Mr. Falconer. A song sung with feeling and expression is good, however accompanied. Otherwise, the pianoforte is not much to my mind. All its intervals are false, and temperament28 is a poor substitute for natural intonation29. Then its incapability30 of sustaining a note has led, as the only means of producing effect, to those infinitesimal subdivisions of sound, in which all sentiment and expression are twittered and frittered into nothingness.
The Rev. Dr. Opimian. I quite agree with you. The other day a band passed my gate playing 'The Campbells are coming'; but instead of the fine old Scotch31 lilt, and the emphasis on 'Oho! oho!' what they actually played was, 'The Ca-a-a-a-ampbells are co-o-o-o-ming, Oh-o-ho-o-o! Oh-o-ho-o-o'; I thought to myself, There is the essence and quintessence of modern music. I like the old organ-music such as it was, when there were no keys but C and F, and every note responded to a syllable32. The effect of the prolonged and sustained sound must have been truly magnificent:
Who cares to hear sacred music on a piano?
Mr. Minim. Yet I must say that there is a great charm in that brilliancy of execution which is an exclusively modern and very modern accomplishment40
Mr. Falconer. To those who perceive it. All things are as they are perceived. To me music has no charm without expression.
Lord Curryfin. (who, having observed Mr. MacBorrowdale's determination not to be drawn into an argument, amused himself with asking his opinion on all subjects). What is your opinion, Mr. MacBorrowdale?
Mr. MacBorrowdale. I hold to the opinion I have already expressed, that this is as good a glass of port as ever I tasted.
Lord Curryfin. I mean your opinion of modern music and musical instruments.
Mr. MacBorrowdale. The organ is very good for psalms41, which I never sing, and the pianoforte for jigs42, which I never dance. And if I were not to hear either of them from January to December, I should not complain of the privation.
Lord Curryfin. You are an utilitarian43, Mr. MacBorrowdale. You are all for utility—public utility—and you see none in music.
Mr. MacBorrowdale. Nay44, not exactly so. If devotion is good, if cheerfulness is good, and if music promotes each of them in proper time and place, music is useful. If I am as devout45 without the organ, and as cheerful without the piano, as I ever should be with them, that may be the defect of my head or my ear. I am not for forcing my tastes or no-tastes on other people. Let every man enjoy himself in his own way, while he does not annoy others. I would not deprive you of your enjoyment46 of a brilliant symphony, and I hope you would not deprive me of my enjoyment of a glass of old wine.
The Rev. Dr. Opimian:
'Très mihi convivae prope dissentire videntur,
Poscentes vario multum diversa palate'{1}
With different taste they call for different dishes.
The Rev. Dr. Opimian. And the utility, too, sir: for I think I am indebted to one for the pleasure of your acquaintance.
Mr. Falconer. When you did me the honour to compare my house to the Palace of Circe. The gain was mine.
Mr. Pallet. You admit, sir, that the Greeks had no knowledge of perspective.
The Rev. Dr. Opimian. Observing that they had no need of it. Their subject was a foreground like a relievo. Their background was a symbol, not a representation. 'No knowledge' is perhaps too strong. They had it where it was essential. They drew a peristyle, as it appeared to the eye, as accurately49 as we can do. In short, they gave to each distinct object its own proper perspective, but to separate objects they did not give their relative perspective, for the reason I have given, that they did not need it.
Mr. Falconer. There is to me one great charm in their painting, as we may judge from the specimens50 in Pompeii, which, though not their greatest works, indicate their school. They never crowded their canvas with figures. They presented one, two, three, four, or at most five persons, preferring one and rarely exceeding three. These persons were never lost in the profusion51 of scenery, dress, and decoration. They had clearly-defined outlines, and were agreeable objects from any part of the room in which they were placed.
Mr. Pallet. They must have lost much in beauty of detail.
The Rev. Dr. Opimian. Therein is the essential difference of ancient and modern taste. Simple beauty—of idea in poetry, of sound in music, of figure in painting—was their great characteristic. Ours is detail in all these matters, overwhelming detail. We have not grand outlines for the imagination of the spectator or hearer to fill up: his imagination has no play of its own: it is overloaded52 with minutio and kaleidoscopical colours.
Lord Curryfin. Detail has its own beauty. I have admired a Dutch picture of a butcher's shop, where all the charm was in detail.
The Rev. Dr. Opimian. I cannot admire anything of the kind. I must take pleasure in the thing represented before I can derive53 any from the representation.
Mr. Pallet. I am afraid, sir, as our favourite studies all lead us to extreme opinions, you think the Greek painting was the better for not having perspective, and the Greek music for not having harmony.
The Rev. Dr. Opimian. I think they had as much perspective and as much harmony as was consistent with that simplicity54 which characterised their painting and music as much as their poetry.
Lord Curryfin. What is your opinion, Mr. MacBorrowdale?
Mr. MacBorrowdale. I think you may just buz that bottle before you.
Lord Curryfin. I mean your opinion of Greek perspective?
Mr. MacBorrowdale. Troth, I am of opinion that a bottle looks smaller at a distance than when it is close by, and I prefer it as a full-sized object in the foreground.
Lord Curryfin. I have often wondered that a gentleman so well qualified55 as you are to discuss all subjects should so carefully avoid discussing any.
Mr. MacBorrowdale. After dinner, my lord, after dinner. I work hard all the morning at serious things, sometimes till I get a headache, which, however, does not often trouble me. After dinner I like to crack my bottle and chirp56 and talk nonsense, and fit myself for the company of Jack57 of Dover.
Lord Curryfin. Jack of Dover! Who was he?
Mr. MacBorrowdale. He was a man who travelled in search of a greater fool than himself, and did not find him.{1}
for the Veriest Foole in England. London, 1604. Reprinted
for the Percy Society, 1842.
The Rev. Dr. Opimian. He must have lived in odd times. In our days he would not have gone far without falling in with a teetotaller, or a decimal coinage man, or a school-for-all man, or a competitive examination man, who would not allow a drayman to lower a barrel into a cellar unless he could expound59 the mathematical principles by which he performed the operation.
Mr. MacBorrowdale. Nay, that is all pragmatical fooling. The fooling Jack looked for was jovial60 fooling, fooling to the top of his bent61, excellent fooling, which, under the semblance62 of folly63, was both merry and wise. He did not look for mere unmixed folly, of which there never was a deficiency. The fool he looked for was one which it takes a wise man to make—a Shakespearian fool.{1}
1 OEuvre, ma foi, où n'est facile atteindre:
Pour le vrai fol bien naïvement feindre.
EUTRAPEL, p. 28.
The Rev. Dr. Opimian. In that sense he might travel far, and return, as he did in his own day, without having found the fool he looked for.
Mr. MacBorrowdale. A teetotaller! Well! He is the true Heautontimorumenos, the self-punisher, with a jug64 of toast-and-water for his Christmas wassail. So far his folly is merely pitiable, but his intolerance makes it offensive. He cannot enjoy his own tipple65 unless he can deprive me of mine. A fox that has lost his tail. There is no tyrant66 like a thoroughpaced reformer. I drink to his own reformation.
Mr. Gryll. He is like Bababec's faquir, who sat in a chair full of nails, pour avoir de la considération. But the faquir did not want others to do the same. He wanted all the consideration for himself, and kept all the nails for himself. If these meddlers would do the like by their toast-and-water, nobody would begrudge68 it them.
The Rev. Dr. Opimian. Now, sir, if the man who has fooled the greatest number of persons to the top of their bent were to be adjudged the fittest companion for Jack of Dover, you would find him in a distinguished69 meddler67 with everything who has been for half-a-century the merry-andrew of a vast arena70, which he calls moral and political science, but which has in it a dash of everything that has ever occupied human thought.
Lord Curryfin. I know whom you mean; but he is a great man in his way, and has done much good.
The Rev. Dr. Opimian. He has helped to introduce much change; whether for good or for ill remains71 to be seen. I forgot he was your lordship's friend. I apologise, and drink to his health.
Lord Curryfin. Oh! pray, do not apologise to me. I would not have my friendships, tastes, pursuits, and predilections72 interfere73 in the slightest degree with the fullest liberty of speech on all persons and things. There are many who think with you that he is a moral and political Jack of Dover. So be it. Time will bring him to his level.
Mr. MacBorrowdale. I will only say of the distinguished personage, that Jack of Dover would not pair off with him. This is the true universal science, the oracle74 of La Dive Bouteille.
Mr. Gryll. It is not exactly Greek music, Mr. Minim, that you are giving us for our Aristophanic choruses.
Mr. Minim. No, sir; I have endeavoured to give you a good selection, as appropriate as I can make it.
Mr. Pallet. Neither am I giving you Greek painting for the scenery. I have taken the liberty to introduce perspective.
The Rev. Dr. Opimian. Very rightly both, for Aristophanes in London.
Mr. Minim. Besides, sir, we must have such music as your young ladies can sing.
The Rev. Dr. Opimian. Assuredly; and so far as we have yet heard them rehearse, they sing it delightfully75.
点击
收听单词发音
收听单词发音 |
1
sage
|
|
| n.圣人，哲人；adj.贤明的，明智的 | |
参考例句： |
|
|
|
|
2
strife
|
|
| n.争吵，冲突，倾轧，竞争 | |
参考例句： |
|
|
|
|
3
woe
|
|
| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
参考例句： |
|
|
|
|
4
muses
|
|
| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
参考例句： |
|
|
|
|
5
mingle
|
|
| vt.使混合，使相混；vi.混合起来；相交往 | |
参考例句： |
|
|
|
|
6
retired
|
|
| adj.隐退的，退休的，退役的 | |
参考例句： |
|
|
|
|
7
discoursed
|
|
| 演说（discourse的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
8
condiments
|
|
| n.调味品 | |
参考例句： |
|
|
|
|
9
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
10
fermented
|
|
| v.（使）发酵( ferment的过去式和过去分词 )；（使）激动；骚动；骚扰 | |
参考例句： |
|
|
|
|
11
rev
|
|
| v.发动机旋转，加快速度 | |
参考例句： |
|
|
|
|
12
bouquet
|
|
| n.花束，酒香 | |
参考例句： |
|
|
|
|
13
dilute
|
|
| vt.稀释，冲淡；adj.稀释的，冲淡的 | |
参考例句： |
|
|
|
|
14
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
15
justify
|
|
| vt.证明…正当(或有理)，为…辩护 | |
参考例句： |
|
|
|
|
16
presumption
|
|
| n.推测，可能性，冒昧，放肆，[法律]推定 | |
参考例句： |
|
|
|
|
17
savages
|
|
| 未开化的人，野蛮人( savage的名词复数 ) | |
参考例句： |
|
|
|
|
18
vessel
|
|
| n.船舶；容器，器皿；管，导管，血管 | |
参考例句： |
|
|
|
|
19
specimen
|
|
| n.样本，标本 | |
参考例句： |
|
|
|
|
20
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
21
comedians
|
|
| n.喜剧演员，丑角( comedian的名词复数 ) | |
参考例句： |
|
|
|
|
22
minor
|
|
| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
参考例句： |
|
|
|
|
23
demur
|
|
| v．表示异议，反对 | |
参考例句： |
|
|
|
|
24
ascent
|
|
| n.(声望或地位)提高；上升，升高；登高 | |
参考例句： |
|
|
|
|
25
chromatic
|
|
| adj.色彩的，颜色的 | |
参考例句： |
|
|
|
|
26
exhausted
|
|
| adj.极其疲惫的，精疲力尽的 | |
参考例句： |
|
|
|
|
27
intervals
|
|
| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
参考例句： |
|
|
|
|
28
temperament
|
|
| n.气质，性格，性情 | |
参考例句： |
|
|
|
|
29
intonation
|
|
| n.语调，声调；发声 | |
参考例句： |
|
|
|
|
30
incapability
|
|
| n.无能 | |
参考例句： |
|
|
|
|
31
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： |
|
|
|
|
32
syllable
|
|
| n.音节；vt.分音节 | |
参考例句： |
|
|
|
|
33
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
34
aisle
|
|
| n.（教堂、教室、戏院等里的）过道，通道 | |
参考例句： |
|
|
|
|
35
fretted
|
|
| 焦躁的，附有弦马的，腐蚀的 | |
参考例句： |
|
|
|
|
36
vault
|
|
| n.拱形圆顶，地窖，地下室 | |
参考例句： |
|
|
|
|
37
pealing
|
|
| v.（使）（钟等）鸣响，（雷等）发出隆隆声( peal的现在分词 ) | |
参考例句： |
|
|
|
|
38
anthem
|
|
| n.圣歌，赞美诗，颂歌 | |
参考例句： |
|
|
|
|
39
swelled
|
|
| 增强( swell的过去式和过去分词 )； 肿胀； （使）凸出； 充满（激情） | |
参考例句： |
|
|
|
|
40
accomplishment
|
|
| n.完成，成就，（pl.）造诣，技能 | |
参考例句： |
|
|
|
|
41
psalms
|
|
| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
参考例句： |
|
|
|
|
42
jigs
|
|
| n.快步舞（曲）极快地( jig的名词复数 )；夹具v.（使）上下急动( jig的第三人称单数 ) | |
参考例句： |
|
|
|
|
43
utilitarian
|
|
| adj.实用的，功利的 | |
参考例句： |
|
|
|
|
44
nay
|
|
| adv.不；n.反对票，投反对票者 | |
参考例句： |
|
|
|
|
45
devout
|
|
| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
参考例句： |
|
|
|
|
46
enjoyment
|
|
| n.乐趣；享有；享用 | |
参考例句： |
|
|
|
|
47
dissent
|
|
| n./v.不同意，持异议 | |
参考例句： |
|
|
|
|
48
quotation
|
|
| n.引文，引语，语录；报价，牌价，行情 | |
参考例句： |
|
|
|
|
49
accurately
|
|
| adv.准确地，精确地 | |
参考例句： |
|
|
|
|
50
specimens
|
|
| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
参考例句： |
|
|
|
|
51
profusion
|
|
| n.挥霍；丰富 | |
参考例句： |
|
|
|
|
52
overloaded
|
|
| a.超载的，超负荷的 | |
参考例句： |
|
|
|
|
53
derive
|
|
| v.取得；导出；引申；来自；源自；出自 | |
参考例句： |
|
|
|
|
54
simplicity
|
|
| n.简单，简易；朴素；直率，单纯 | |
参考例句： |
|
|
|
|
55
qualified
|
|
| adj.合格的，有资格的，胜任的，有限制的 | |
参考例句： |
|
|
|
|
56
chirp
|
|
| v.(尤指鸟)唧唧喳喳的叫 | |
参考例句： |
|
|
|
|
57
jack
|
|
| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
参考例句： |
|
|
|
|
58
privy
|
|
| adj.私用的；隐密的 | |
参考例句： |
|
|
|
|
59
expound
|
|
| v.详述；解释；阐述 | |
参考例句： |
|
|
|
|
60
jovial
|
|
| adj.快乐的，好交际的 | |
参考例句： |
|
|
|
|
61
bent
|
|
| n.爱好，癖好；adj.弯的；决心的，一心的 | |
参考例句： |
|
|
|
|
62
semblance
|
|
| n.外貌，外表 | |
参考例句： |
|
|
|
|
63
folly
|
|
| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
参考例句： |
|
|
|
|
64
jug
|
|
| n.(有柄，小口，可盛水等的)大壶，罐，盂 | |
参考例句： |
|
|
|
|
65
tipple
|
|
| n.常喝的酒；v.不断喝，饮烈酒 | |
参考例句： |
|
|
|
|
66
tyrant
|
|
| n.暴君，专制的君主，残暴的人 | |
参考例句： |
|
|
|
|
67
meddler
|
|
| n.爱管闲事的人，干涉者 | |
参考例句： |
|
|
|
|
68
begrudge
|
|
| vt.吝啬，羡慕 | |
参考例句： |
|
|
|
|
69
distinguished
|
|
| adj.卓越的，杰出的，著名的 | |
参考例句： |
|
|
|
|
70
arena
|
|
| n.竞技场，运动场所；竞争场所，舞台 | |
参考例句： |
|
|
|
|
71
remains
|
|
| n.剩余物，残留物；遗体，遗迹 | |
参考例句： |
|
|
|
|
72
predilections
|
|
| n.偏爱，偏好，嗜好( predilection的名词复数 ) | |
参考例句： |
|
|
|
|
73
interfere
|
|
| v.(in)干涉，干预；(with)妨碍，打扰 | |
参考例句： |
|
|
|
|
74
oracle
|
|
| n.神谕，神谕处，预言 | |
参考例句： |
|
|
|
|
75
delightfully
|
|
| 大喜，欣然 | |
参考例句： |
|
|
|
|
76
desultory
|
|
| adj.散漫的，无方法的 | |
参考例句： |
|
|
|
|
77
adjourned
|
|
| （使）休会， （使）休庭( adjourn的过去式和过去分词 ) | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |