【国外文学】纯真年代 The Age of Innocence.docx

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1、【国外文学】纯真年代 The Age of InnocenceChapter 1On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York.Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which sh

2、ould compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the &q

3、uot;new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music.It was Madame Nilsson's first appeara

4、nce that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience" had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brow

5、n coupe" To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the

6、 line, instead of waiting till the cold-and-gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-stableman's most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they wan

7、t to get to it.When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in

8、 the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was "not the thing" to arrive early at the

9、 opera; and what was or was not "the thing" played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.The second reason for his delay was a personal one. He had dawdled over his cigar

10、because he was at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and

11、 exquisite in quality that-well, if he had timed his arrival in accord with the prima donna's stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: "He loves me-he loves me not-HE LOVES ME!-" and sprinkling the falling daisy peta

12、ls with notes as clear as dew.She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understan

13、ding of English- speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver- backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (prefer

14、ably a gardenia) in his buttonhole."M'ama . . . non m'ama . . . " the prima donna sang, and "M'ama!", with a final burst of love triumphant, as she pressed the dishevelled daisy to her lips and lifted her large eyes to the sophisticated countenance of the little brown

15、 Faust-Capoul, who was vainly trying, in a tight purple velvet doublet and plumed cap, to look as pure and true as his artless victim.Newland Archer, leaning against the wall at the back of the club box, turned his eyes from the stage and scanned the opposite side of the house. Directly facing him w

16、as the box of old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera, but who was always represented on fashionable nights by some of the younger members of the family. On this occasion, the front of the box was filled by her daughter-in-law, M

17、rs. Lovell Mingott, and her daughter, Mrs. Welland; and slightly withdrawn behind these brocaded matrons sat a young girl in white with eyes ecstatically fixed on the stagelovers. As Madame Nilsson's "M'ama!" thrilled out above the silent house (the boxes always stopped talking dur

18、ing the Daisy Song) a warm pink mounted to the girl's cheek, mantled her brow to the roots of her fair braids, and suffused the young slope of her breast to the line where it met a modest tulle tucker fastened with a single gardenia. She dropped her eyes to the immense bouquet of lilies-of-the-v

19、alley on her knee, and Newland Archer saw her white-gloved finger-tips touch the flowers softly. He drew a breath of satisfied vanity and his eyes returned to the stage.No expense had been spared on the setting, which was acknowledged to be very beautiful even by people who shared his acquaintance w

20、ith the Opera houses of Paris and Vienna. The foreground, to the footlights, was covered with emerald green cloth. In the middle distance symmetrical mounds of woolly green moss bounded by croquet hoops formed the base of shrubs shaped like orange-trees but studded with large pink and red roses. Gig

21、antic pansies, considerably larger than the roses, and closely resembling the floral pen- wipers made by female parishioners for fashionable clergymen, sprang from the moss beneath the rose- trees; and here and there a daisy grafted on a rose- branch flowered with a luxuriance prophetic of Mr. Luthe

22、r Burbank's far-off prodigies.In the centre of this enchanted garden Madame Nilsson, in white cashmere slashed with pale blue satin, a reticule dangling from a blue girdle, and large yellow braids carefully disposed on each side of her muslin chemisette, listened with downcast eyes to M. Capoul&

23、#39;s impassioned wooing, and affected a guileless incomprehension of his designs whenever, by word or glance, he persuasively indicated the ground floor window of the neat brick villa projecting obliquely from the right wing."The darling!" thought Newland Archer, his glance flitting back

24、to the young girl with the lilies-of-the- valley. "She doesn't even guess what it's all about." And he contemplated her absorbed young face with a thrill of possessorship in which pride in his own masculine initiation was mingled with a tender reverence for her abysmal purity. &quo

25、t;We'll read Faust together . . . by the Italian lakes . . ." he thought, somewhat hazily confusing the scene of his projected honey-moon with the masterpieces of literature which it would be his manly privilege to reveal to his bride. It was only that afternoon that May Welland had let him

26、 guess that she "cared" (New York's consecrated phrase of maiden avowal), and already his imagination, leaping ahead of the engagement ring, the betrothal kiss and the march from Lohengrin, pictured her at his side in some scene of old European witchery.He did not in the least wish the

27、 future Mrs. Newland Archer to be a simpleton. He meant her (thanks to his enlightening companionship) to develop a social tact and readiness of wit enabling her to hold her own with the most popular married women of the "younger set," in which it was the recognised custom to attract mascu

28、line homage while playfully discouraging it. If he had probed to the bottom of his vanity (as he sometimes nearly did) he would have found there the wish that his wife should be as worldly-wise and as eager to please as the married lady whose charms had held his fancy through two mildly agitated yea

29、rs; without, of course, any hint of the frailty which had so nearly marred that unhappy being's life, and had disarranged his own plans for a whole winter.How this miracle of fire and ice was to be created, and to sustain itself in a harsh world, he had never taken the time to think out; but he

30、was content to hold his view without analysing it, since he knew it was that of all the carefully-brushed, white-waistcoated, button- hole-flowered gentlemen who succeeded each other in the club box, exchanged friendly greetings with him, and turned their opera-glasses critically on the circle of la

31、dies who were the product of the system. In matters intellectual and artistic Newland Archer felt himself distinctly the superior of these chosen specimens of old New York gentility; he had probably read more, thought more, and even seen a good deal more of the world, than any other man of the numbe

32、r. Singly they betrayed their inferiority; but grouped together they represented "New York," and the habit of masculine solidarity made him accept their doctrine on all the issues called moral. He instinctively felt that in this respect it would be troublesome-and also rather bad form-to s

33、trike out for himself."Well-upon my soul!" exclaimed Lawrence Lefferts, turning his opera-glass abruptly away from the stage. Lawrence Lefferts was, on the whole, the foremost authority on "form" in New York. He had probably devoted more time than any one else to the study of thi

34、s intricate and fascinating question; but study alone could not account for his complete and easy competence. One had only to look at him, from the slant of his bald forehead and the curve of his beautiful fair moustache to the long patent-leather feet at the other end of his lean and elegant person

35、, to feel that the knowledge of "form" must be congenital in any one who knew how to wear such good clothes so carelessly and carry such height with so much lounging grace. As a young admirer had once said of him: "If anybody can tell a fellow just when to wear a black tie with evenin

36、g clothes and when not to, it's Larry Lefferts." And on the question of pumps versus patent-leather "Oxfords" his authority had never been disputed."My God!" he said; and silently handed his glass to old Sillerton Jackson.Newland Archer, following Lefferts's glance,

37、saw with surprise that his exclamation had been occasioned by the entry of a new figure into old Mrs. Mingott's box. It was that of a slim young woman, a little less tall than May Welland, with brown hair growing in close curls about her temples and held in place by a narrow band of diamonds. Th

38、e suggestion of this headdress, which gave her what was then called a "Josephine look," was carried out in the cut of the dark blue velvet gown rather theatrically caught up under her bosom by a girdle with a large old-fashioned clasp. The wearer of this unusual dress, who seemed quite unc

39、onscious of the attention it was attracting, stood a moment in the centre of the box, discussing with Mrs. Welland the propriety of taking the latter's place in the front right- hand corner; then she yielded with a slight smile, and seated herself in line with Mrs. Welland's sister-in-law, M

40、rs. Lovell Mingott, who was installed in the opposite corner.Mr. Sillerton Jackson had returned the opera-glass to Lawrence Lefferts. The whole of the club turned instinctively, waiting to hear what the old man had to say; for old Mr. Jackson was as great an authority on "family" as Lawren

41、ce Lefferts was on "form." He knew all the ramifications of New York's cousinships; and could not only elucidate such complicated questions as that of the connection between the Mingotts (through the Thorleys) with the Dallases of South Carolina, and that of the relationship of the eld

42、er branch of Philadelphia Thorleys to the Albany Chiverses (on no account to be confused with the Manson Chiverses of University Place), but could also enumerate the leading characteristics of each family: as, for instance, the fabulous stinginess of the younger lines of Leffertses (the Long Island

43、ones); or the fatal tendency of the Rushworths to make foolish matches; or the insanity recurring in every second generation of the Albany Chiverses, with whom their New York cousins had always refused to intermarry-with the disastrous exception of poor Medora Manson, who, as everybody knew . . . bu

44、t then her mother was a Rushworth.In addition to this forest of family trees, Mr. Sillerton Jackson carried between his narrow hollow temples, and under his soft thatch of silver hair, a register of most of the scandals and mysteries that had smouldered under the unruffled surface of New York societ

45、y within the last fifty years. So far indeed did his information extend, and so acutely retentive was his memory, that he was supposed to be the only man who could have told you who Julius Beaufort, the banker, really was, and what had become of handsome Bob Spicer, old Mrs. Manson Mingott's fat

46、her, who had disappeared so mysteriously (with a large sum of trust money) less than a year after his marriage, on the very day that a beautiful Spanish dancer who had been delighting thronged audiences in the old Opera-house on the Battery had taken ship for Cuba. But these mysteries, and many othe

47、rs, were closely locked in Mr. Jackson's breast; for not only did his keen sense of honour forbid his repeating anything privately imparted, but he was fully aware that his reputation for discretion increased his opportunities of finding out what he wanted to know.The club box, therefore, waited

48、 in visible suspense while Mr. Sillerton Jackson handed back Lawrence Lefferts's opera-glass. For a moment he silently scrutinised the attentive group out of his filmy blue eyes overhung by old veined lids; then he gave his moustache a thoughtful twist, and said simply: "I didn't think

49、the Mingotts would have tried it on." 70年代初一个一月的晚上，克里斯廷尼尔森在纽约音乐院演唱歌剧浮士德。虽然人们早就议论要在第40街以北的远郊兴建一座新的歌剧院，其造价与壮观将和欧洲那些著名首都的歌剧院媲美，然而上流社会却依然满足于每年冬天在这座历史悠久的音乐院红黄两色的旧包厢里进行社交聚会。保守派的人们欣赏它的窄小不便，这样可以把纽约社会开始惧怕但又为之吸引的“新人”拒之门外；多愁善感的人们因为它引起许多历史的联想而对它恋恋不舍；而音乐爱好者则留恋它精美的音响效果。在专为欣赏音乐而修建的厅堂中，音响效果向来都是个棘手的质量问题。这是尼尔森夫人

50、当年冬天的首场演出。那些被日报称为“超凡脱俗的听众”已经云集来听她的演唱。他们或乘私人马车、或乘宽敞的家庭双篷马车、或者乘档次较低却更为便利的“布朗四轮马车”，经过溜滑多雪的街道来到了这里。乘坐布朗马车来听歌剧，几乎跟坐自己的马车一样体面；而且，离开剧场时还有极大的优越性（对民主原则开一句玩笑）：你可以抢先登上线路上第一辆布朗马车，而不用等待自己的那因寒冷和烈酒而充血的红鼻子车夫在音乐院门廊下面显现。美国人想离开娱乐场所比想去的时候更加迫切，这可是那位了不起的马车行店主凭绝妙的直觉获得的伟大发现。当纽兰阿切尔打开包厢后面的门时，花园一场的帷幕刚刚升起。这位年轻人本可以早一点来到。他7点钟和母亲

51、与妹妹一起用了餐，其后又在哥特式图书室里慢慢吞吞地吸了一支雪茄。那间放了光亮的黑色胡桃木书橱和尖顶椅子的房间，是这所房子里阿切尔太太惟一允许吸烟的地方。然而，首先，纽约是个大都市，而他又十分清楚，在大都市里听歌剧早到是“不合宜”的。而是否“合宜”，在纽兰阿切尔时代的纽约，其意义就像几千年前支配了他祖先命运的不可思议的图腾恐惧一样重要。他晚到的第二个原因是个人方面的。他吸烟慢慢吞吞，是因为他在内心深处是个艺术的爱好者，玩味行将来到的快乐，常常会使他比快乐真的来到时感到更深切的满足。当这种快乐十分微妙时尤其如此，而他的乐趣多半属于这种类型。这一次他期盼的时机非常珍贵，其性质异常微妙呃，假若他把时间掌握得恰到好处，能与那位首席女演员的舞台监督合上拍，到场时正赶