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CHAPTER II. Mr. Gillingham Gets Out at the Wrong Station
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Whether Mark Ablett was a bore or not depended on the point of view, but it may be said at once that he never bored his company on the subject of his early life. However, stories get about. There is always somebody who knows. It was understood—and this, anyhow, on Mark’s own authority—that his father had been a country clergyman. It was said that, as a boy, Mark had attracted the notice, and patronage1, of some rich old spinster of the neighbourhood, who had paid for his education, both at school and university. At about the time when he was coming down from Cambridge, his father had died; leaving behind him a few debts, as a warning to his family, and a reputation for short sermons, as an example to his successor. Neither warning nor example seems to have been effective. Mark went to London, with an allowance from his patron, and (it is generally agreed) made acquaintance with the money-lenders. He was supposed, by his patron and any others who inquired, to be “writing”; but what he wrote, other than letters asking for more time to pay, has never been discovered. However, he attended the theatres and music halls very regularly—no doubt with a view to some serious articles in the “Spectator” on the decadence2 of the English stage.
Fortunately (from Mark’s point of view) his patron died during his third year in London, and left him all the money he wanted. From that moment his life loses its legendary3 character, and becomes more a matter of history. He settled accounts with the money-lenders, abandoned his crop of wild oats to the harvesting of others, and became in his turn a patron. He patronized the Arts. It was not only usurers who discovered that Mark Ablett no longer wrote for money; editors were now offered free contributions as well as free lunches; publishers were given agreements for an occasional slender volume, in which the author paid all expenses and waived4 all royalties5; promising6 young painters and poets dined with him; and he even took a theatrical
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1
patronage
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n.赞助,支援,援助;光顾,捧场 | |
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2
decadence
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n.衰落,颓废 | |
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3
legendary
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adj.传奇(中)的,闻名遐迩的;n.传奇(文学) | |
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4
waived
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v.宣布放弃( waive的过去式和过去分词 );搁置;推迟;放弃(权利、要求等) | |
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5
royalties
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特许权使用费 | |
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6
promising
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adj.有希望的,有前途的 | |
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7
theatrical
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adj.剧场的,演戏的;做戏似的,做作的 | |
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8
lavishness
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n.浪费,过度 | |
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9
snob
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n.势利小人,自以为高雅、有学问的人 | |
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10
undoubtedly
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adv.确实地,无疑地 | |
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glibly
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adv.流利地,流畅地;满口 | |
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12
ass
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n.驴;傻瓜,蠢笨的人 | |
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13
motives
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n.动机,目的( motive的名词复数 ) | |
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14
mere
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adj.纯粹的;仅仅,只不过 | |
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recording
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n.录音,记录 | |
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16
generosity
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n.大度,慷慨,慷慨的行为 | |
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17
lavished
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v.过分给予,滥施( lavish的过去式和过去分词 ) | |
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boon
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n.恩赐,恩物,恩惠 | |
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kindliness
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n.厚道,亲切,友好的行为 | |
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flannel
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n.法兰绒;法兰绒衣服 | |
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retired
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adj.隐退的,退休的,退役的 | |
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decided
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adj.决定了的,坚决的;明显的,明确的 | |
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23
grunted
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(猪等)作呼噜声( grunt的过去式和过去分词 ); (指人)发出类似的哼声; 咕哝着说 | |
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helping
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n.食物的一份&adj.帮助人的,辅助的 | |
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curry
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n.咖哩粉,咖哩饭菜;v.用咖哩粉调味,用马栉梳,制革 | |
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acting
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n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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chattered
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(人)喋喋不休( chatter的过去式 ); 唠叨; (牙齿)打战; (机器)震颤 | |
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instinctive
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adj.(出于)本能的;直觉的;(出于)天性的 | |
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rehearsals
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n.练习( rehearsal的名词复数 );排练;复述;重复 | |
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shrugged
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vt.耸肩(shrug的过去式与过去分词形式) | |
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peevishly
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adv.暴躁地 | |
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reminder
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n.提醒物,纪念品;暗示,提示 | |
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apparently
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adv.显然地;表面上,似乎 | |
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prodigal
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adj.浪费的,挥霍的,放荡的 | |
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leisurely
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adj.悠闲的;从容的,慢慢的 | |
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etiquette
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n.礼仪,礼节;规矩 | |
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landlady
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n.女房东,女地主 | |
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pint
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n.品脱 | |
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murmur
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n.低语,低声的怨言;v.低语,低声而言 | |
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unemployed
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adj.失业的,没有工作的;未动用的,闲置的 | |
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mutual
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adj.相互的,彼此的;共同的,共有的 | |
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sufficiently
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adv.足够地,充分地 | |
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amazement
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n.惊奇,惊讶 | |
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