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邦斯舅舅|Uncle Bunce

三、一个得罗马奖的人的下场[1]|III

属类： 双语小说 【分类】世界名著 -[作者: 巴尔扎克] 阅读：[21968]
《邦斯舅舅》是法国现实主义作家巴尔扎克创作的长篇小说，也是他生前完成的最后一部作品。《邦斯舅舅》写于1846至1847年之间，与其姊妹篇《贝姨》同属“穷亲戚”研究系列。]
[6]　基督旧教有七大罪恶为一切罪恶之母之说，即骄傲、嫉妒、吝啬、淫乱、愤怒、懒惰、贪馋。
《 字+字- 页+页- 字+字- 页+页- 》
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一看那人瘦骨嶙峋的轮廓，虽然很大胆地穿着过时的斯宾塞，你也不敢把他当作什么艺术家；因为巴黎的艺术家差不多跟巴黎的小孩子一样，在俗人的想象中照例是嘻嘻哈哈，大有“噱头”的家伙，我这么说是因为“噱”这个古字现在又时行了。可是这走路人的确得过头奖，在法国恢复罗马学院之后，第一支受学士院褒奖的诗歌体乐曲，便是他作的。一句话说完，他就是西尔伐·邦斯先生！……他写了不少有名的感伤歌曲，给我们的母亲辈浅吟低唱过，也作过一八一五与一八一六年间上演的两三出歌剧，跟一些未曾刊行的乐曲。临了，这老实人只能替大街上一所戏院当乐队指挥；又凭着他那张脸，在几处女子私塾内当教员。薪水和学费便是他全部的收入。唉！到了这个年纪还得为了几文学费而到处奔跑！……这种很少传奇意味的生活，原来还藏着多少的神秘哟！

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In spite of the rashly assumed spencer, you would scarcely have thought, after a glance at the contours of the man’s bony frame, that this was an artist—that conventional type which is privileged, in something of the same way as a Paris gamin, to represent riotous living to the bourgeois and philistine mind, the most mirific joviality, in short (to use the old Rabelaisian word newly taken into use). Yet this elderly person had once taken the medal and the traveling scholarship; he had composed the first cantata crowned by the Institut at the time of the re-establishment of the Academie de Rome; he was M. Sylvain Pons, in fact—M. Sylvain Pons, whose name appears on the covers of well-known sentimental songs trilled by our mothers, to say nothing of a couple of operas, played in 1815 and 1816, and divers unpublished scores. The worthy soul was now ending his days as the conductor of an orchestra in a boulevard theatre, and a music master in several young ladies’ boarding-schools, a post for which his face particularly recommended him. He was entirely dependent upon his earnings. Running about to give private lessons at his age!—Think of it. How many a mystery lies in that unromantic situation!

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因此，这个穿斯宾塞的老古董不单是帝政时代的象征，三套头的背心上还大书特书地标着一个教训。他告诉你“会考”那个可怕的制度害了多少人，他自己便是一个榜样。那制度在法国行了一百年没有效果，可是至今还在继续。这种挤逼一个人聪明才智的玩意儿，原是蓬巴杜夫人的弟弟，一七四六年左右的美术署署长波阿松·特·玛里尼想出来的。一百年来得奖的人里头出了几个天才，你们屈指数一数吧！首先，伟人的产生是可遇而不可求的，在行政或学制方面费多大的劲，也代替不了那些奇迹。在一切生殖的神秘中，这是连野心勃勃，以分析逞能的近代科学也没法分析的。其次，孵化小鸡的暖灶据说当初是埃及人发明的；倘若有了这发明而不马上拿食料去喂那些孵出来的小鸡，你对埃及人又将作何感想？法国政府可就是这么办：它想把“会考”当作暖房一般去培养艺术家；赶到这机械的方法把画家、雕塑家、镂版家、音乐家制造出来以后，它就不再关心，好比公子哥儿一到晚上就不在乎他拴在纽孔上的鲜花一样。而真有才气的人倒是格勒兹、华多、法利西安·达维特、巴涅齐、奚里谷、特刚、奥贝、达维特·特·安越、欧也纳·特拉克洛阿、曼索尼哀等等[2]，他们并不把什么头奖放在心上，只照着那个无形的太阳（它的名字叫作天生的倾向）的光，在大地上欣欣向荣地生长。

[2]　凡不加注而书中情节并不暗晦的人名、地名等专门名词，概不加注，免读者有读百科小辞典之感。
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But the last man to wear the spencer carried something about him besides his Empire Associations; a warning and a lesson was written large over that triple waistcoat. Wherever he went, he exhibited, without fee or charge, one of the many victims of the fatal system of competition which still prevails in France in spite of a century of trial without result; for Poisson de Marigny, brother of the Pompadour and Director of Fine Arts, somewhere about 1746 invented this method of applying pressure to the brain. That was a hundred years ago. Try if you can count upon your fingers the men of genius among the prizemen of those hundred years. In the first place, no deliberate effort of schoolmaster or administrator can replace the miracles of chance which produce great men: of all the mysteries of generation, this most defies the ambitious modern scientific investigator. In the second—the ancient Egyptians (we are told) invented incubator-stoves for hatching eggs; what would be thought of Egyptians who should neglect to fill the beaks of the callow fledglings? Yet this is precisely what France is doing. She does her utmost to produce artists by the artificial heat of competitive examination; but, the sculptor, painter, engraver, or musician once turned out by this mechanical process, she no more troubles herself about them and their fate than the dandy cares for yesterday’s flower in his buttonhole. And so it happens that the really great man is a Greuze, a Watteau, a Felicien David, a Pagnesi, a Gericault, a Decamps, an Auber, a David d’Angers, an Eugene Delacroix, or a Meissonier—artists who take but little heed of grande prix, and spring up in the open field under the rays of that invisible sun called Vocation.

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政府把西尔伐·邦斯送往罗马，想教他成为一个大音乐家，他却在那儿养成了爱古物爱美术品的癖。凡是手和头脑产生的杰作，近来的俗语统称为古董的，他都非常内行。所以这音乐家一八一〇年回到巴黎的时候，变了个贪得无厌的收藏家，带回许多油画，小人像，画框，象牙的和木头的雕刻，五彩的珐琅，瓷器等等；买价跟运费，使他在留学期间把父亲大部分的遗产花光了。在罗马照规矩待了三年，他又漫游意大利，把母亲的遗产也照式照样地花完了。他要很悠闲地到威尼斯、米兰、佛罗伦萨、博洛尼亚、那不勒斯各处去观光，以艺术家那种无愁无虑的性情，像梦想者与哲学家一般在每个城里逗留一番——至于将来的生计，他觉得只要靠自己的本领就行了，正如娼妓们拿姿色看作吃饭的本钱。那次奇妙的游历使邦斯快活之极；一个心灵伟大，感觉敏锐，因为生得奇丑而不能像一八〇九年的那句老话所说的，博得美人青睐的人，他所能得到的幸福，在那次旅行中可以说达到了最高峰。他觉得人生实际的东西都比不上他理想的典型；内心的声音跟现实的声音不调和，可是他对这一点早已满不在乎。在他心中保存着很纯粹很强烈的审美感，使他作了些巧妙、细腻、优雅的歌曲，在一八一〇至一八一四年间很有点名气。在法国，凡是靠潮流靠巴黎一时的狂热捧起来的那种声名，就会造成邦斯一流的人。要说对伟大的成就如此严厉，而对渺小的东西如此宽容的，世界上没有一国可与法国相比。德国音乐的巨潮和罗西尼的洋洋大作不久就把邦斯淹没了；一八二四年时，凭他最后几支歌曲，还有人知道他是个有趣的音乐家，可是你想，到一八三一年他还剩点儿什么！再到一八四四年，在他默默无闻的生涯中仅有的一幕戏开场的时候，西尔伐·邦斯的价值只像洪水以前的一个小音符了；虽然他还替自己服务的戏院和几家邻近的戏院以很少的报酬为戏剧配乐，音乐商已经完全不知道有他这个人了。

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The Government sent Sylvain Pons to Rome to make a great musician of himself; and in Rome Sylvain Pons acquired a taste for the antique and works of art. He became an admirable judge of those masterpieces of the brain and hand which are summed up by the useful neologism "bric-a-brac;" and when the child of Euterpe returned to Paris somewhere about the year 1810, it was in the character of a rabid collector, loaded with pictures, statuettes, frames, wood-carving, ivories, enamels, porcelains, and the like. He had sunk the greater part of his patrimony, not so much in the purchases themselves as on the expenses of transit; and every penny inherited from his mother had been spent in the course of a three-years’ travel in Italy after the residence in Rome came to an end. He had seen Venice, Milan, Florence, Bologna, and Naples leisurely, as he wished to see them, as a dreamer of dreams, and a philosopher; careless of the future, for an artist looks to his talent for support as the fille de joie counts upon her beauty. All through those splendid years of travel Pons was as happy as was possible to a man with a great soul, a sensitive nature, and a face so ugly that any "success with the fair" (to use the stereotyped formula of 1809) was out of the question; the realities of life always fell short of the ideals which Pons created for himself; the world without was not in tune with the soul within, but Pons had made up his mind to the dissonance. Doubtless the sense of beauty that he had kept pure and living in his inmost soul was the spring from which the delicate, graceful, and ingenious music flowed and won him reputation between 1810 and 1814. Every reputation founded upon the fashion or the fancy of the hour, or upon the short-lived follies of Paris, produces its Pons. No place in the world is so inexorable in great things; no city of the globe so disdainfully indulgent in small. Pons’ notes were drowned before long in floods of German harmony and the music of Rossini; and if in 1824 he was known as an agreeable musician, a composer of various drawing-room melodies, judge if he was likely to be famous in 183l! In 1844, the year in which the single drama of this obscure life began, Sylvain Pons was of no more value than an antediluvian semiquaver; dealers in music had never heard of his name, though he was still composing, on scanty pay, for his own orchestra or for neighboring theatres.

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可是这好好先生倒很赏识近代的名家，倘使有些优秀作品给美满地演奏出来，他会下泪；但他的崇拜，并不像霍夫曼小说中的克雷斯勒那样的如醉若狂，他表面上绝不流露，只在心中自得其乐，像那些抽鸦片吸麻醉品的人。唯一能使凡夫俗子与大诗人并肩的那种敬仰与了解，在巴黎极难遇到，一切思潮在那儿仅仅像旅客一般地稍作勾留，所以邦斯是值得我们钦佩的了。他不曾走红仿佛有点说不过去，可是他很天真地承认，在和声方面他差着点儿，没有把对位学研究到家；倘若再下一番新功夫，他可能在现代作曲家中占一席之地，当然不是成为罗西尼，而是哀洛一流[3]；但规模越来越大的配器法使他觉得无从下手。并且，收藏家的喜悦，也把他的不能享有盛名大大地补偿了，倘若要他在收藏的古董与罗西尼的荣名之间挑一项的话，你爱信不信，他竟会挑上他心爱的珍品的。那收藏名贵版画的、博学的希那华说过，他拿一张雷斯达尔、霍贝玛、荷尔拜因、穆立罗、格勒兹、塞巴斯蒂亚诺·德·皮翁博、乔尔乔内、拉斐尔、丢勒的画欣赏的时候，非要那张画是只花五十法郎买来的，才更觉得津津有味。邦斯也是这个主张，他决不买一百法郎以上的东西；而要他肯花五十法郎，那东西非值三千不可；他认为世上值到三百法郎的神品久已绝迹。机会是极难得的，但他具备三大成功的条件——像鹿一般会跑的腿，逛马路的闲工夫，犹太人那样的耐性。

[3]　罗西尼的作品，当时在巴黎红极一时。哀洛（1791—1833）则系法国二三流音乐家。
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And yet, the worthy man did justice to the great masters of our day; a masterpiece finely rendered brought tears to his eyes; but his religion never bordered on mania, as in the case of Hoffmann’s Kreislers; he kept his enthusiasm to himself; his delight, like the paradise reached by opium or hashish, lay within his own soul. The gift of admiration, of comprehension, the single faculty by which the ordinary man becomes the brother of the poet, is rare in the city of Paris, that inn whither all ideas, like travelers, come to stay for awhile; so rare is it, that Pons surely deserves our respectful esteem. His personal failure may seem anomalous, but he frankly admitted that he was weak in harmony. He had neglected the study of counterpoint; there was a time when he might have begun his studies afresh and held his own among modern composers, when he might have been, not certainly a Rossini, but a Herold. But he was alarmed by the intricacies of modern orchestration; and at length, in the pleasures of collecting, he found such ever-renewed compensation for his failure, that if he had been made to choose between his curiosities and the fame of Rossini—will it be believed?—Pons would have pronounced for his beloved collection. Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom—that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastiano del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase. If he laid out as much as fifty francs, he was careful to assure himself beforehand that the object was worth three thousand. The most beautiful thing in the world, if it cost three hundred francs, did not exist for Pons. Rare had been his bargains; but he possessed the three qualifications for success—a stag’s legs, an idler’s disregard of time, and the patience of a Jew.

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这套办法，在罗马，在巴黎，行了四十年，大有成绩。回国以后每年花上两千法郎的结果，邦斯谁也不让看见地，藏着各种各样的精品，目录的编号到了惊人的一千九百零七号。一八一一至一八一六年间，他在巴黎城中到处奔跑的时候，如今值一千二的东西，他花十法郎就弄到了。其中有的是画，在巴黎市场上每年流通的四万五千幅中挑出来的；有的是塞夫勒窑软坯的瓷器，从奥弗涅人手中买来的；这些人是囤货商的爪牙，把蓬巴杜式的法国美术品用小车从各地载到巴黎来。总之，他搜集十七十八世纪的遗物，发掘一般有才气有性灵的法国艺术家，例如不出名的大师勒包脱勒，拉华莱-波尚之类；他们创造了路易十五式、路易十六式的风格，给现代艺术家整天待在博物院图版室中改头换面、自命为新创的式样做蓝本。邦斯还有好多藏品是跟人交换来的，这是收藏家无可形容的喜悦！买古董的快乐只能放在第二位；交换古董，在手里进进出出，才是第一乐事。邦斯是最早收鼻烟壶跟小型画像的人[4]。但他在玩古董的人中并不知名，因为他不上拍卖行，也不在有名的铺子里露脸，这样他也就不知道他的宝物的时值估价了。

[4]　小型画像（miniature）是表盖、胸章、妇女饰物上的极小的画。题材不限于人像，亦有风景花鸟，等等。
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This system, carried out for forty years, in Rome or Paris alike, had borne its fruits. Since Pons returned from Italy, he had regularly spent about two thousand francs a year upon a collection of masterpieces of every sort and description, a collection hidden away from all eyes but his own; and now his catalogue had reached the incredible number of 1907. Wandering about Paris between 1811 and 1816, he had picked up many a treasure for ten francs, which would fetch a thousand or twelve hundred to-day. Some forty-five thousand canvases change hands annually in Paris picture sales, and these Pons had sifted through year by year. Pons had Sevres porcelain, pate tendre, bought of Auvergnats, those satellites of the Black Band who sacked chateaux and carried off the marvels of Pompadour France in their tumbril carts; he had, in fact, collected the drifted wreck of the seventeenth and eighteenth centuries; he recognized the genius of the French school, and discerned the merit of the Lepautres and Lavallee-Poussins and the rest of the great obscure creators of the Genre Louis Quinze and the Genre Louis Seize. Our modern craftsmen now draw without acknowledgment from them, pore incessantly over the treasures of the Cabinet des Estampes, borrow adroitly, and give out their pastiches for new inventions. Pons had obtained many a piece by exchange, and therein lies the ineffable joy of the collector. The joy of buying bric-a-brac is a secondary delight; in the give-and-take of barter lies the joy of joys. Pons had begun by collecting snuff-boxes and miniatures; his name was unknown in bric-a-bracology, for he seldom showed himself in salesrooms or in the shops of well-known dealers; Pons was not aware that his treasures had any commercial value.

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收藏家中的巨擘杜索末拉，曾经想接近这位音乐家，但杜氏没有能进入邦斯美术馆就故世了；而邦斯美术馆，是唯一能和有名的索华育的收藏媲美的[5]。他们俩颇有相像的地方：两人都是音乐家，都没有什么财产，用同样的方法收藏，爱好艺术，痛恨有名的富翁与商人们抬价。对一切手工艺，一切神妙的制作，索华育是邦斯的对头、敌手、竞争者。跟他一样，邦斯的心永远不知餍足，对美术品的爱好正如情人爱一个美丽的情妇；守斋街上的拍卖行内，作品在估价员的锤子声中卖来卖去，他觉得简直是罪大恶极、侮辱古董的行为。他的美术馆是给自己时时刻刻享受的。生来崇拜大作品的心灵，真有大情人那样奇妙的天赋；他们今天的快乐不会比昨日的减少一点，从来不会厌倦，而可喜的是杰作也永远不会老。所以那天他像父亲抱着孩子般拿着的东西，一定是偶然碰上的什么宝物，那种欢天喜地拿着就走的心情，你们鉴赏家自然能领会到！

[5]　杜索末拉（1794—1842）的收藏，即今日格吕尼博物馆的藏品。索华育（1781—1860）的收藏，生前即捐与卢浮宫博物馆。两人均系法国史上有名的大收藏家兼鉴赏家。
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The late lamented Dusommerard tried his best to gain Pons’ confidence, but the prince of bric-a-brac died before he could gain an entrance to the Pons museum, the one private collection which could compare with the famous Sauvageot museum. Pons and M. Sauvageot indeed resembled each other in more ways than one. M. Sauvageot, like Pons, was a musician; he was likewise a comparatively poor man, and he had collected his bric-a-brac in much the same way, with the same love of art, the same hatred of rich capitalists with well-known names who collect for the sake of running up prices as cleverly as possible. There was yet another point of resemblance between the pair; Pons, like his rival competitor and antagonist, felt in his heart an insatiable craving after specimens of the craftsman’s skill and miracles of workmanship; he loved them as a man might love a fair mistress; an auction in the salerooms in the Rue des Jeuneurs, with its accompaniments of hammer strokes and brokers’ men, was a crime of lese-bric-a-brac in Pons’ eyes. Pons’ museum was for his own delight at every hour; for the soul created to know and feel all the beauty of a masterpiece has this in common with the lover—to-day’s joy is as great as the joy of yesterday; possession never palls; and a masterpiece, happily, never grows old. So the object that he held in his hand with such fatherly care could only be a "find," carried off with what affection amateurs alone know!

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看了这段小传的第一道轮廓，大家一定会叫起来：“哦！别瞧他生得丑，倒是世界上最幸福的人呢！”不错，一个人染上了一种嗜好，什么烦恼，什么无名的愁闷，都再也伤害不到他的心。你们之中凡是没法再喝到欢乐的美酒的人，不妨想法去搅上一个收藏的瘾，不管收什么（连招贴都有人在收集呢！）；那时你即使没有整个儿的幸福，至少能得些零星的喜悦。所谓好癖，就是快感的升华。话虽如此，你们可不必艳羡邦斯；要是你们存下这种心，那就跟其他类似的情操一样，必然是由于误会的缘故了。

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After the first outlines of this biographical sketch, every one will cry at once, "Why! this is the happiest man on earth, in spite of his ugliness!" And, in truth, no spleen, no dullness can resist the counter-irritant supplied by a "craze," the intellectual moxa of a hobby. You who can no longer drink of "the cup of pleasure," as it has been called through all ages, try to collect something, no matter what (people have been known to collect placards), so shall you receive the small change for the gold ingot of happiness. Have you a hobby? You have transferred pleasure to the plane of ideas. And yet, you need not envy the worthy Pons; such envy, like all kindred sentiments, would be founded upon a misapprehension.

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这个人，感觉那么灵敏，一颗心老在欣赏人类美妙的制作，欣赏人与造化争奇的奋斗，他可是犯了七大罪恶中上帝惩罚最轻的一桩，换句话说，邦斯是好吃的[6]。既没有多少钱，再加上玩古董的瘾，饮食就不能不清苦，使他那张挑精拣肥的嘴巴受不了。先是单身汉天天在外边吃人家的，把饮食问题给解决了。帝政时代，仰慕名流的风气远过于现在，大概因为那时名流不多，又没有什么政治野心。一个人不用费多大气力，就能成为诗人、作家或音乐家。邦斯当时被认为可能和尼科罗、巴哀、裴尔登[7]等等抗衡的，所以收到的请帖之多，甚至要在日记簿上登记下来，像律师登记案子一样。他以艺术家的身份出去周旋，拿自己作的歌谱送给饭局的主人们，在他们家弹弹钢琴，把他服务的法杜戏院的包厢票请客，替人家凑几个音乐会，有时还在亲戚家的临时舞会中拉提琴。

[6]　基督旧教有七大罪恶为一切罪恶之母之说，即骄傲、嫉妒、吝啬、淫乱、愤怒、懒惰、贪馋。
8
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With a nature so sensitive, with a soul that lived by tireless admiration of the magnificent achievements of art, of the high rivalry between human toil and the work of Nature—Pons was a slave to that one of the Seven Deadly Sins with which God surely will deal least hardly; Pons was a glutton. A narrow income, combined with a passion for bric-a-brac, condemned him to a regimen so abhorrent to a discriminating palate, that, bachelor as he was, he had cut the knot of the problem by dining out every day. Now, in the time of the Empire, celebrities were more sought after than at present, perhaps because there were so few of them, perhaps because they made little or no political pretension. In those days, besides, you could set up for a poet, a musician, or a painter, with so little expense. Pons, being regarded as the probable rival of Niccolo, Paer, and Berton, used to receive so many invitations, that he was forced to keep a list of engagements, much as barristers note down the cases for which they are retained. And Pons behaved like an artist. He presented his amphitryons with copies of his songs, he "obliged" at the pianoforte, he brought them orders for boxes at the Feydeau, his own theatre, he organized concerts, he was not above taking the fiddle himself sometimes in a relation’s house, and getting up a little impromptu dance.

序号 英文/音标 中文解释 更多操作

rash

[ræʃ]

n.疹子;大量

spencer

[’spensə]

n.(羊毛)短上衣;Spencer.斯宾塞(姓氏;男子名).

scarcely

[’skeəsli]

adv.几乎不;简直不;刚刚;决不

contour

[’kɒntʊə(r)]

n.轮廓

bony

[’bəʊni]

adj.如骨的;多骨的;瘦骨嶙峋的

Paris

[’pærɪs]

n.巴黎;重楼(百合科植物);帕里斯(姓氏)

bourgeois

[’bʊəʒwɑː]

n.中产阶级的人;资产阶级的人

diver

[’daɪvə(r)]

n.跳水者;潜水员

conductor

[kən’dʌktə(r)]

n.导体

orchestra

[’ɔːkɪstrə]

n.管弦乐队

theatre

[ˈθɪətə]

n.戏院,剧场,电影院

triple

[’trɪpl]

adj.三倍的

deliberate

[dɪ’lɪbərət]

adj.深思熟虑的;故意的;从容不迫的

defy

[dɪ’faɪ]

vt.藐视;挑衅;反抗

Egyptian

[i’dʒɪpʃn]

adj.埃及的;埃及人的

hatching

[’hætʃɪŋ]

n.阴影;影线

beak

[biːk]

n.鸟嘴;鸟嘴状物体;鹰钩鼻

utmost

[’ʌtməʊst]

adj.极度的;最大限度的

David

[’deɪvɪd]

戴维(男子名)

decamp

[dɪ’kæmp]

v.(士兵)离营;匆忙秘密地离开

ray

[reɪ]

n.光线;射线;辐射

antique

[æn’tiːk]

adj.古代的;古老的;过时的

statuette

[ˌstætʃu’et]

n.小雕像

ivory

[’aɪvəri]

n.象牙;乳白色

enamel

[ɪ’næml]

n.搪瓷;珐琅;瓷釉

penny

[’peni]

n.便士;【美】分

inmost

[’ɪnməʊst]

adj.最内部的;最深处的

graceful

[’ɡreɪsfl]

adj.优雅的;得体的

founding

[’faʊndɪŋ]

n.建立;成立,

fancy

[’fænsi]

n. 【C】设想；幻想；空想;

disdainful

[dɪs’deɪnfl]

adj.鄙视的;不屑一顾的;轻蔑的

composer

[kəm’pəʊzə(r)]

n.创作者(尤指乐曲的)

opium

[’əʊpiəm]

n.鸦片;麻醉剂

esteem

[ɪ’stiːm]

n.尊敬

beloved

[bɪ’lʌvd]

adj.心爱的

franc

[fræŋk]

n.法郎

qualification

[ˌkwɒlɪfɪ’keɪʃn]

n.资格

disregard

[ˌdɪsrɪ’ɡɑːd]

vt.不顾;忽视

pick

[pɪkt]

采摘，挑选；

porcelain

[’pɔːsəlɪn]

n.瓷器;瓷

chateau

[’ʃætəʊ]

n.(法国的)城堡;别墅;庄园

marvel

[’mɑːvl]

n.奇异的事物;令人吃惊的人

discern

[dɪ’sɜːn]

v.辨别;看出;察觉

creator

[kri’eɪtə(r)]

n.创造者;【计】创建者

craftsman

[’krɑːftsmən]

n.工匠;技工;手艺人

acknowledgement

[ək’nɒlɪdʒmənt]

n.承认;确认;感谢.

pore

[pɔː(r)]

n.毛孔;小孔

incessant

[ɪn’sesnt]

adj.不断的;无尽的

adroit

[ə’drɔɪt]

adj.熟练的;灵巧的;机敏的;善于…的

barter

[’bɑːtə(r)]

v.物物交换;以货易货

lament

[lə’ment]

n.悲叹;悼词

comparative

[kəm’pærətɪv]

adj.比较的;相当的

hatred

[’heɪtrɪd]

n.仇恨;憎恨;敌意;怨恨

capitalist

[’kæpɪtəlɪst]

n.资本家;资本主义者

specimen

[’spesɪmən]

n.标本;样本

mistress

[’mɪstrəs]

n.主妇;女主人;情妇

hammer

[’hæmə(r)]

n.锤子;榔头

pall

[pɔːl]

n.遮盖物;幕;棺罩

amateur

[’æmətə(r)]

n.外行;业余爱好者

spleen

[spliːn]

n.脾;脾气;怒气

placard

[’plækɑːd]

n.招贴;海报;标语牌

ingot

[’ɪŋɡət]

n.锭;铸块

regimen

[’redʒɪmən]

n.养生法;生活规则;训练课程

knot

[nɒt]

n.结;节

dine

[daɪn]

v.用正餐;进餐

barrister

[’bærɪstə(r)]

n.出庭律师(在英国有资格出席高等法院进行辩护)

oblige

[ə’blaɪdʒ]

vt.迫使;责成;使感激;施恩于;帮 ... 的忙;使…成为必要

fiddle

[’fɪdl]

n.小提琴;骗局

tireless

[’taɪələs]

adj.不知疲倦的;孜孜不倦的

rivalry

[’raɪvlri]

n.敌对;竞争;对抗

toil

[tɔɪl]

n.辛苦;苦工;罗网;圈套

glutton

[’ɡlʌtn]

n.贪吃者

condemned

[kən’demd]

adj.被责难的;被宣告有罪的,

abhorrent

[əb’hɒrənt]

adj.令人憎恶的

discriminate

[dɪ’skrɪmɪneɪt]

vt.区分;区别对待

pretension

[prɪ’tenʃn]

n.声称;自命;要求;自负;狂妄;炫耀

pianoforte

[piˌænəʊ’fɔːti]

n.钢琴

impromptu

[ɪm’prɒmptjuː]

adj.即席的;即兴的，临时的

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