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邦斯舅舅|Uncle Bunce

六、一个到处看得见的被剥削者|VI

属类： 双语小说 【分类】世界名著 -[作者: 巴尔扎克] 阅读：[21965]
《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。]
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邦斯认识许模克的时候，刚当上乐队指挥，那在一个无名的作曲家真是达到登峰造极的地位了！他并没钻谋，而是当时的部长包比诺送给他的人情。靠七月革命发迹的商界豪杰[1]，手头恰好有所戏院，又恰好碰上一个老朋友，一个会教暴发户脸红的朋友，便把戏院交给了他。包比诺伯爵，有一天在车中瞥见那个青年时代的老伙计，狼狈不堪地在街上走，鞋袜不全，穿着件说不出什么颜色的大褂，探着鼻子，仿佛想凭几个小本钱找些大生意做做。那朋友叫作高狄沙，跑街出身，当年对包比诺大字号的兴发很出过一番力。包比诺封了伯爵，进了贵族院，当了两任部长，可并没翻脸不认人。不但如此，他还想让跑街添点服装，捞点儿钱。平民宫廷的政治与虚荣[2]，倒不曾使老药材商的心变质。色眯眯的高狄沙，听到有所破产的戏院，便想拿过来；部长给了他戏院，又介绍给他几位老风流做股东，都是相当有钱，能够做女戏子们的后台的。邦斯既是部长府上的食客，部长就把他的名字交了下去。高狄沙公司开张之后，居然很发达，一八三四年上又有了个大计划，想在大街上搅些通俗歌剧。芭蕾舞跟神幻剧的音乐[3]，需要有个过得去而且还能写点曲子的乐队指挥。高狄沙接手以前，经理部因为亏本，久已不雇用抄谱员。邦斯便介绍许模克去专管乐谱，虽是起码行业，可非有点音乐的真本领不行。许模克听了邦斯出的主意，跟喜歌剧院的乐谱主任联络之下，无须再照顾刻板工作。两个朋友合作的结果非常圆满。像所有的德国人一样，许模克的和声学功夫极深，总谱的配器工作由他一手包办了去，邦斯只管写调子。他们替两三出走红的戏所配的音乐，颇有些新鲜的段落，得到知音的听众赞赏，但他们以为这是时代的进步，从来不想追究作者姓甚名谁。因此，像戏池里的人看不见楼厅的观众一样，没有人看见邦斯和许模克有什么光荣。在巴黎，尤其从一八三〇年起，要不是千方百计，以九牛二虎之力，把大批竞争的同业排挤掉，谁也休想出头；而这是需要强壮的身体的；两位朋友既然心里长了那块结石，怎么还会有气力去为功名活动呢？

[1]　一八三〇年七月革命后，路易·菲利普上台，中产阶级得势，暴发商人因缘际会而转入政治舞台的，比比皆是。
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At the time of their first meeting, Pons had just received that marshal’s baton of the unknown musical composer—an appointment as conductor of an orchestra. It had come to him unasked, by a favor of Count Popinot, a bourgeois hero of July, at that time a member of the Government. Count Popinot had the license of a theatre in his gift, and Count Popinot had also an old acquaintance of the kind that the successful man blushes to meet. As he rolls through the streets of Paris in his carriage, it is not pleasant to see his boyhood’s chum down at heel, with a coat of many improbable colors and trousers innocent of straps, and a head full of soaring speculations on too grand a scale to tempt shy, easily scared capital. Moreover, this friend of his youth, Gaudissart by name, had done not a little in the past towards founding the fortunes of the great house of Popinot. Popinot, now a Count and a peer of France, after twice holding a portfolio had no wish to shake off "the Illustrious Gaudissart." Quite otherwise. The pomps and vanities of the Court of the Citizen-King had not spoiled the sometime druggist’s kind heart; he wished to put his ex-commercial traveler in the way of renewing his wardrobe and replenishing his purse. So when Gaudissart, always an enthusiastic admirer of the fair sex, applied for the license of a bankrupt theatre, Popinot granted it on condition that Pons (a parasite of the Hotel Popinot) should be engaged as conductor of the orchestra; and at the same time, the Count was careful to send certain elderly amateurs of beauty to the theatre, so that the new manager might be strongly supported financially by wealthy admirers of feminine charms revealed by the costume of the ballet. Gaudissart and Company, who, be it said, made their fortune, hit upon the grand idea of operas for the people, and carried it out in a boulevard theatre in 1834. A tolerable conductor, who could adapt or even compose a little music upon occasion, was a necessity for ballets and pantomimes; but the last management had so long been bankrupt, that they could not afford to keep a transposer and copyist. Pons therefore introduced Schmucke to the company as copier of music, a humble calling which requires no small musical knowledge; and Schmucke, acting on Pons’ advice, came to an understanding with the chef-de-service at the Opera-Comique, so saving himself the clerical drudgery. The partnership between Pons and Schmucke produced one brilliant result. Schmucke being a German, harmony was his strong point; he looked over the instrumentation of Pons’ compositions, and Pons provided the airs. Here and there an amateur among the audience admired the new pieces of music which served as accompaniment to two or three great successes, but they attributed the improvement vaguely to "progress." No one cared to know the composer’s name; like occupants of the baignoires, lost to view of the house, to gain a view of the stage, Pons and Schmucke eclipsed themselves by their success. In Paris (especially since the Revolution of July) no one can hope to succeed unless he will push his way quibuscumque viis and with all his might through a formidable host of competitors; but for this feat a man needs thews and sinews, and our two friends, be it remembered, had that affection of the heart which cripples all ambitious effort.

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邦斯平时要八点左右才上戏院，那是正戏开场的时间，而正戏的前奏曲和伴奏，都非有严格的指挥不可。小戏院对这些事多半很马虎；邦斯因为从来不跟经理部计较什么，行动更可以随便，并且必要时还能由许模克代庖。一来二去，许模克在乐队里的地位稳固了。高狄沙嘴里不说，心里很明白邦斯的副手是有本领的，有用处的。潮流所趋，人们不得不学大戏院的样，在乐队里添架钢琴放在指挥台旁边，由义务的助理指挥许模克义务弹奏。当大家把没有野心没有架子的老实的德国人认识清楚之后，所有的音乐师都拿他当自己人看待。经理部开发一份很少的薪水，把小戏院不备而有时非用不可的乐器，统统交给他担任，例如钢琴、七弦竖琴、英国号角、大提琴、竖琴、西班牙响板、串铃、竖笛，等等。德国人不会运用“自由”的武器，可是天生地能演奏所有的乐器。

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Pons, as a rule, only went to his theatre towards eight o’clock, when the piece in favor came on, and overtures and accompaniments needed the strict ruling of the baton; most minor theatres are lax in such matters, and Pons felt the more at ease because he himself had been by no means grasping in all his dealings with the management; and Schmucke, if need be, could take his place. Time went by, and Schmucke became an institution in the orchestra; the Illustrious Gaudissart said nothing, but he was well aware of the value of Pons’ collaborator. He was obliged to include a pianoforte in the orchestra (following the example of the leading theatres); the instrument was placed beside the conductor’s chair, and Schmucke played without increase of salary—a volunteer supernumerary. As Schmucke’s character, his utter lack of ambition or pretence became known, the orchestra recognized him as one of themselves; and as time went on, he was intrusted with the often needed miscellaneous musical instruments which form no part of the regular band of a boulevard theatre. For a very small addition to his stipend, Schmucke played the viola d’amore, hautboy, violoncello, and harp, as well as the piano, the castanets for thecachucha, the bells, saxhorn, and the like. If the Germans cannot draw harmony from the mighty instruments of Liberty, yet to play all instruments of music comes to them by nature.

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两个老艺术家在戏院里人缘极好；他们对什么事情都像哲学家一样有着洒脱的态度，闭着眼睛，不愿意看任何戏班子都免不了的弊病。譬如说，为了增加收入而把跳舞团跟剧团混在一起的时候，就有种种麻烦事儿，叫经理、编剧和乐师们头疼。可是谦和的邦斯，凭他洁身自好与尊重旁人的作风，博得了大众的敬意。再说，一清如水的生活，诚实不欺的性格，在无论哪个阶层里，即使心术最坏的人也会对之肃然起敬。在巴黎，真正的道德，跟一颗大钻石或珍奇的宝物一样受人欣赏。没有一个演员，一个编剧，一个舞女——不管她怎样的无赖——敢对邦斯和许模克捣鬼或搅什么缺德的玩意儿的。邦斯有时还在后台出现，许模克却只认识从戏院边门通往乐队的地下甬道。休息时间，德国老头偶尔对池子里瞧一眼，向一个吹笛子的、生在斯特拉斯堡而原籍德国凯尔的乐师，打听那些月楼上的怪人物是什么来历。许模克天真的头脑，从笛师那儿受了一番社会教育之后，对于众口喧传的交际花，朝三暮四的姘居生活，红角儿的挥霍，女案目的舞弊，慢慢地也觉得真有可能了。无伤大雅的放荡，这老实人已经认为糜烂的大都会生活中最要不得的罪恶，他听了笑笑，仿佛是海外奇谈，无法相信的。精明的读者，当然懂得邦斯和许模克照时髦的说法是受人剥削的；不错，他们在金钱上是吃了亏，但在人家的尊敬和态度上占了便宜。

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The two old artists were exceedingly popular at the theatre, and took its ways philosophically. They had put, as it were, scales over their eyes, lest they should see the offences that needs must come when a corps de ballet is blended with actors and actresses, one of the most trying combinations ever created by the laws of supply and demand for the torment of managers, authors, and composers alike. Every one esteemed Pons with his kindness and his modesty, his great self-respect and respect for others; for a pure and limpid life wins something like admiration from the worst nature in every social sphere, and in Paris a fair virtue meets with something of the success of a large diamond, so great a rarity it is. No actor, no dancer however brazen, would have indulged in the mildest practical joke at the expense of either Pons or Schmucke. Pons very occasionally put in an appearance in the foyer; but all that Schmucke knew of the theatre was the underground passage from the street door to the orchestra. Sometimes, however, during an interval, the good German would venture to make a survey of the house and ask a few questions of the first flute, a young fellow from Strasbourg, who came of a German family at Kehl. Gradually under the flute’s tuition Schmucke’s childlike imagination acquired a certain amount of knowledge of the world; he could believe in the existence of that fabulous creature the lorette, the possibility of "marriages at the Thirteenth Arrondissement," the vagaries of the leading lady, and the contraband traffic carried on by box-openers. In his eyes the more harmless forms of vice were the lowest depths of Babylonish iniquity; he did not believe the stories, he smiled at them for grotesque inventions. The ingenious reader can see that Pons and Schmucke were exploited, to use a word much in fashion; but what they lost in money they gained in consideration and kindly treatment.

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高狄沙公司靠了某一出芭蕾舞剧的走红而很快地赚了钱之后，经理们送了一组银铸的人像给邦斯，据说是却里尼的作品，价值的惊人竟成为后台的谈话资料。原来人家花了一千两百法郎！好好先生一定要把礼物退回。高狄沙费了多少口舌才硬要他收下了。

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It was after the success of the ballet with which a run of success began for the Gaudissart Company that the management presented Pons with a piece of plate—a group of figures attributed to Benvenuto Cellini. The alarming costliness of the gift caused talk in the green-room. It was a matter of twelve hundred francs! Pons, poor honest soul, was for returning the present, and Gaudissart had a world of trouble to persuade him to keep it.

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“唉！咱们要找到像他这样的演员才好呢！”高狄沙对股东们说。

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Ah! said the manager afterwards, when he told his partner of the interview, "if we could only find actors up to that sample."

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两位朋友的共同生活，表面上那么恬静，唯一的扰乱是邦斯不惜任何牺牲的那个癖；他无论如何非在别人家里吃晚饭不可。每逢他穿衣服而许模克恰好在家的时候，德国人总得对这个要命的习惯慨叹一番。

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In their joint life, outwardly so quiet, there was the one disturbing element—the weakness to which Pons sacrificed, the insatiable craving to dine out. Whenever Schmucke happened to be at home while Pons was dressing for the evening, the good German would bewail this deplorable habit.

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“要是他吃得胖些倒还罢了！”他常常这么说。

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Gif only he vas ony fatter vor it! he many a time cried.

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而许模克一心希望能有个办法，治好朋友那个可耻的恶习；因为真正的朋友在精神方面的感应，和狗的嗅觉一样灵敏；他们能体会到朋友的悲伤，猜到悲伤的原因，老在心里牵挂着。

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And Schmucke would dream of curing his friend of his degrading vice, for a true friend’s instinct in all that belongs to the inner life is unerring as a dog’s sense of smell; a friend knows by intuition the trouble in his friend’s soul, and guesses at the cause and ponders it in his heart.

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许模克虽然丑得可怕，还有股恬静出世的气息给冲淡一下；可是邦斯以纯粹法国人的性格，罗曼蒂克的气质，眉宇之间就没有那种风采。你们想吧，他右手小指上还戴着一只钻戒，那在帝政时代还过得去，到了今日岂不显得可笑？德国人看到朋友满面愁容的表情，知道他吃白食的角色越来越当不下去了。一八四四年十月，邦斯能够去吃饭的人家已经很有限。可怜的乐队指挥只能在亲戚中间走动，并且，我们在下文可以看到，他把亲戚两字的意义也应用得太广了。

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Pons, who always wore a diamond ring on the little finger of his right hand, an ornament permitted in the time of the Empire, but ridiculous to-day—Pons, who belonged to the "troubadour time," the sentimental periods of the first Empire, was too much a child of his age, too much of a Frenchman to wear the expression of divine serenity which softened Schmucke’s hideous ugliness. From Pons’ melancholy looks Schmucke knew that the profession of parasite was growing daily more difficult and painful. And, in fact, in that month of October 1844, the number of houses at which Pons dined was naturally much restricted; reduced to move round and round the family circle, he had used the word family in far too wide a sense, as will shortly be seen.

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从前在蒲陶南街上做绸缎生意的富商加缪索，前妻娶的是邦斯的嫡堂姊妹，一个有钱的独养女儿。她的父亲和邦斯的父亲便是供应内廷的刺绣商，有名的邦斯兄弟。音乐家邦斯的父母都是那铺子的合伙老板。一七八九年大革命之前创设的刺绣工场，到一八一五年上，由加缪索太太的父亲盘给了列凡先生。退休将近十年的加缪索，一八四四年时当了国会议员，厂商公会的委员。因为加缪索一族的人对邦斯很好，邦斯便自认为跟加缪索后妻所生的孩子也是甥舅，其实他们之间一点亲戚关系都谈不上。

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M. Camusot, the rich silk mercer of the Rue des Bourdonnais, had married Pons’ first cousin, Mlle. Pons, only child and heiress of one of the well-known firm of Pons Brothers, court embroiderers. Pons’ own father and mother retired from a firm founded before the Revolution of 1789, leaving their capital in the business until Mlle. Pons’ father sold it in 1815 to M. Rivet. M. Camusot had since lost his wife and married again, and retired from business some ten years, and now in 1844 he was a member of the Board of Trade, a deputy, and what not. But the Camusot clan were friendly; and Pons, good man, still considered that he was some kind of cousin to the children of the second marriage, who were not relations, or even connected with him in any way.

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加缪索的填房是加陶家的小姐，邦斯既是加缪索的舅子，连带就跟加陶家认了亲戚。加陶也是一个布尔乔亚大族，近亲远戚之多，使他们的势力不下于加缪索家族。加缪索后妻的兄弟加陶公证人，太太是娶希弗维尔家的，大名鼎鼎的希弗维尔是化学业的巨头，和安赛默·包比诺有姻亲。大家知道[4]，包比诺在药材批发业中称霸的时期很久，又给七月革命捧上了台，成为拥护路易·菲利普的中心人物。邦斯附着加缪索与加陶的骥尾，闯入了希弗维尔家；又从希弗维尔家一溜溜进了包比诺家：说起来，他到处是舅子的舅子。

[4]　包比诺的身世，在《赛查·皮罗多》《大名鼎鼎的高狄沙》两部小说中曾有详细叙述，故作者在此有“大家知道”之句。又包比诺在《贝姨》中亦有提及。
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The second Mme. Camusot being a Mlle. Cardot, Pons introduced himself as a relative into the tolerably numerous Cardot family, a second bourgeois tribe which, taken with its connections, formed quite as strong a clan as the Camusots; for Cardot the notary (brother of the second Mme. Camusot) had married a Mlle. Chiffreville; and the well-known family of Chiffreville, the leading firm of manufacturing chemists, was closely connected with the whole drug trade, of which M. Anselme Popinot was for many years the undisputed head, until the Revolution of July plunged him into the very centre of the dynastic movement, as everybody knows. So Pons, in the wake of the Camusots and Cardots, reached the Chiffrevilles, and thence the Popinots, always in the character of a cousin’s cousin.

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我们知道了老音乐家的这些亲戚关系，便可懂得他怎么在一八四四年上还会有人很亲昵地招待他：第一位是包比诺伯爵，贵族院议员，前任农商部部长；第二位是加陶，退休的公证人，现任巴黎某区的区长兼国会议员；第三位是老加缪索，国会议员，厂商公会的委员，未来的贵族院议员；第四位是加缪索·特·玛维尔，老加缪索前妻所生的儿子，也就是邦斯唯一的、真正的嫡堂外甥。

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The above concise statement of Pons’ relations with his entertainers explains how it came to pass that an old musician was received in 1844 as one of the family in the houses of four distinguished persons—to wit, M. le Comte Popinot, peer of France, and twice in office; M. Cardot, retired notary, mayor and deputy of an arrondissement in Paris; M. Camusot senior, a member of the Board of Trade and the Municipal Chamber and a peerage; and lastly, M. Camusot de Marville, Camusot’s son by his first marriage, and Pons’ one genuine relation, albeit even he was a first cousin once removed.

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小加缪索为了跟父亲和后母所生的兄弟们有所区别，在姓氏后面加上一处田产的名字——玛维尔。一八四四年时，他是巴黎高等法院的一个庭长。

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This Camusot, President of a Chamber of the Court of Appeal in Paris, had taken the name of his estate at Marville to distinguish himself from his father and a younger half brother.

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加陶公证人的女儿，嫁给受盘加陶事务所的后任贝蒂哀。邦斯自命为加陶事务所的一分子，理当一并移交，去做贝蒂哀家的座上客。在那边吃饭的权利，照邦斯说来是有老公证人为证的。

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Cardot the retired notary had married his daughter to his successor, whose name was Berthier; and Pons, transferred as part of the connection, acquired a right to dine with the Berthiers "in the presence of a notary," as he put it.

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这个布尔乔亚的天地，便是邦斯所谓的亲属，也就是他千辛万苦保留着一份刀叉的人家。

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This was the bourgeois empyrean which Pons called his "family," that upper world in which he so painfully reserved his right to a knife and fork.

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那些人家中间，加缪索庭长照理应当是待他最好的，而他也特别巴结这一家。不幸，庭长夫人——她的父亲蒂里翁是路易十八与查理十世的传达官——对丈夫的舅舅从来没有表示过殷勤。邦斯白白地费了不少时间去奉承她，义务教加缪索小姐弹琴，可是他没法把那个头发半红不红的姑娘造成一个音乐家。本书开场的时候，他正捧着一件宝物要到外甥家里去。玛维尔府上庄严的绿幔子，淡褐色的糊壁花绸，椅子上的丝绒面，古板的家具，屋子里一派森严的法官气息，老是使邦斯心虚胆怯，仿佛走进了杜伊勒里宫。奇怪的是他在城墙街包比诺公馆，因为屋里摆满了艺术品，倒觉得很自在；原来前任部长自从进了政界以后，忽然风雅成癖，也许他在政治上搅的丑事太多了，需要收集一些美妙的艺术品调剂一下。

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Of all these houses, some ten in all, the one in which Pons ought to have met with the kindest reception should by rights have been his own cousin’s; and, indeed, he paid most attention to President Camusot’s family. But, alas! Mme. Camusot de Marville, daughter of the Sieur Thirion, usher of the cabinet to Louis XVIII and Charles X, had never taken very kindly to her husband’s first cousin, once removed. Pons had tried to soften this formidable relative; he wasted his time; for in spite of the pianoforte lessons which he gave gratuitously to Mlle. Camusot, a young woman with hair somewhat inclined to red, it was impossible to make a musician of her. And now, at this very moment, as he walked with that precious object in his hand, Pons was bound for the President’s house, where he always felt as if he were at the Tuileries itself, so heavily did the solemn green curtains, the carmelite-brown hangings, thick piled carpets, heavy furniture, and general atmosphere of magisterial severity oppress his soul. Strange as it may seem, he felt more at home in the Hotel Popinot, Rue Basse-du-Rempart, probably because it was full of works of art; for the master of the house, since he entered public life, had acquired a mania for collecting beautiful things, by way of contrast no doubt, for a politician is obliged to pay for secret services of the ugliest kind.

序号 英文/音标 中文解释 更多操作

composer

[kəm’pəʊzə(r)]

n.创作者(尤指乐曲的)

conductor

[kən’dʌktə(r)]

n.导体

orchestra

[’ɔːkɪstrə]

n.管弦乐队

bourgeois

[’bʊəʒwɑː]

n.中产阶级的人;资产阶级的人

theatre

[ˈθɪətə]

n.戏院,剧场,电影院

blush

[blʌʃ]

n.脸红;羞愧

Paris

[’pærɪs]

n.巴黎;重楼(百合科植物);帕里斯(姓氏)

carriage

[’kærɪdʒ]

n.四轮马车

past

[pɑːst]

a. 过去的;

vanity

[’vænəti]

n.化妆台[c]

renew

[rɪ’njuː]

v.重新开始;更新

replenish

[rɪ’plenɪʃ]

vt.补充;再装满

enthusiastic

[ɪnˌθjuːzi’æstɪk]

adj.热心的;热情的;热烈的

parasite

[’pærəsaɪt]

n.寄生虫;寄生生物;食客

amateur

[’æmətə(r)]

n.外行;业余爱好者

admirer

[əd’maɪərə(r)]

n.钦佩者;仰慕者;求爱者

ballet

[’bæleɪ]

n.芭蕾舞

pantomime

[’pæntəmaɪm]

n.哑剧;童话剧;哑剧演员;手势

clerical

[’klerɪkl]

adj.书记的;事务上的;抄写员的

instrumentation

[ˌɪnstrəmen’teɪʃn]

n.谱写器乐;仪表化;测试设备

occupant

[’ɒkjəpənt]

n.占有者;占领者;居住者

formidable

[’fɔːmɪdəbl]

adj.强大的;可怕的;难对付的

cripple

[’krɪpl]

n.跛者;残废

overture

[’əʊvətʃʊə(r)]

n.提议;提案;主动表示;序曲

utter

[’ʌtə(r)]

adj.完全的;全然的;绝对的

pretense

[prɪ’tens]

n.借口;虚假;伪装;自吹;炫耀.

intrust

[ɪn’trʌst]

vt.信赖;信托;交托.

miscellaneous

[ˌmɪsə’leɪniəs]

a. 杂;

esteem

[ɪ’stiːm]

n.尊敬

underground

[ˌʌndə’ɡraʊnd]

adj.地下的;秘密的

flute

[fluːt]

n.长笛;凹槽

gradual

[’ɡrædʒuəl]

adj.逐渐的;逐步的;平缓的

vice

[vaɪs]

adj.副的;代理的

kindly

[’kaɪndli]

adj.和蔼的;温和的;爽快的

franc

[fræŋk]

n.法郎

told

[təʊld]

v.告诉;吩咐;讲述

disturbance

[dɪ’stɜːbəns]

n.扰乱;骚动

dine

[daɪn]

v.用正餐;进餐

ponder

[’pɒndə(r)]

v.沉思;考虑

hideous

[’hɪdiəs]

adj.丑陋的;可怕的;可憎的;令人惊骇的

melancholy

[’melənkəli]

n.忧郁;忧愁;悲伤

founding

[’faʊndɪŋ]

n.建立;成立,

Rivet

[’rɪvɪt]

n.铆钉 vt. 集中注意力(目光)；吸引;

clan

[klæn]

n.氏族;宗族;党派

manufacture

[ˌmænju’fæktʃə(r)]

v.(手工)制造

entertainer

[ˌentə’teɪnə(r)]

n.表演娱乐节目的人;演艺人员;款待者

albeit

[ˌɔːl’biːɪt]

conj.虽然(即使)

Appeal

[ə’piːl]

①[U][C]呼吁，要求;

gratuitous

[ɡrə’tjuːɪtəs]

adj.无缘无故的;无必要的;免费的

felted

[’feltɪd]

v. 把 ... 制成毡(使 ... 粘结)

solemn

[’sɒləm]

adj.庄严的;严肃的;隆重的

oblige

[ə’blaɪdʒ]

vt.迫使;责成;使感激;施恩于;帮 ... 的忙;使…成为必要

alas

[ə’læs]

int.唉;哎呀(表示悲伤、忧愁、恐惧等)

usher

[’ʌʃə(r)]

n.带位员;招待员

pianoforte

[piˌænəʊ’fɔːti]

n.钢琴

magisterial

[ˌmædʒɪ’stɪəriəl]

adj.有权威的;威严的;专横的;地方法官的

mania

[’meɪniə]

n. 【U】【医】躁狂(症) (＝violent madness)， 疯狂;

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