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时间：2020-11-28 07:13:06 作者：《中国金融》70年70人特别谈|姜洋谈期货市场如何服务实体经济 浏览量：30676
"Where do you expect to go?"
“No, she’ll be glad to have you.”
She called us names we never could spell,
The pleadings had taken three hours; the jury deliberated, or seemed to do so, for an hour or more. Public opinion in the Hall, as at the Tower conferences, was overwhelmingly in favour of Campion. But “the poor twelve,” as Allen calls them, came back, fearful to be found “no friend of C?sar,” bringing in a verdict against the whole company as “guilty of the said treasons and conspiracies.” The Lord Chief Justice spoke: “Campion, and the rest, what can you say why you should not die?” Then Campion broke out into a brief appeal to the future and the past, a lyric strain such as was not often heard beneath those ancient rafters, so sadly used to the spectacle of noble hearts in jeopardy. “It was not our death that ever we feared! But we knew that we were not lords of our own lives, and therefore for want of answer would not be guilty of our own deaths. The only thing that we have now to say is, that if our religion do make us traitors we are worthy to be condemned; but otherwise we are and have been as true subjects as ever the Queen had. In condemning us you condemn all your own ancestors, all the ancient priests, Bishops and Kings: all that was once the glory of England, the Island of Saints, and the most devoted child of the See of Peter. For what have we taught (however you may qualify it with the odious name of treason), that they did not uniformly teach? To be condemned with these old lights, not of England only, but of the world, by their degenerate descendants, is both gladness and glory to us! God lives. Posterity will live. Their judgment is not so liable to corruption as that of those who are now going to sentence us to death.” After which the Lord Chief Justice pronounced the formula in use for all prisoners condemned to capital punishment. “Ye must go to the place whence ye came, there to remain until ye shall be drawn through the open city of London upon hurdles to the place of execution, and there be hanged and let down alive . . . and your entrails taken out and burnt in your sight; then your heads to be cut off, and your bodies to be divided in four parts, to be disposed of at her Majesty’s pleasure. And may God have mercy on your souls!” Some of the company raised a storm of protest, but Campion’s voice rose above theirs, crying: “We praise Thee, O God!” Sherwin seconded him with the shouted anthem of Eastertide: “This is the day that the Lord hath made: let us rejoice and be glad therein!” Like expressions of triumph were presently taken up, to the amazement of bystanders. Then the doomed men were parted, and were all taken away, Edmund Campion being put in a barge on the Thames, and rowed back to the Tower, where he was heavily shackled with irons, and left alone.
"Adieu! the joys of La Valette."
“Ah, that’s very theoretic!” the young man promptly brought out. “Depend upon it, that’s a Yankee prejudice.”
"'No!' she cried. 'It is impossible that all this should be lost—that such a life should be sacrificed to leave nothing—but sorrow. You know what vast plans he had. I knew of them, too—I could not perhaps understand—but others knew of them. Something must remain. His words, at least, have not died.'
"You must help her make them what they should be. You havebegun already, and when I see those rings where they are, my girlis prettier in my sight than if the biggest diamonds that evertwinkled shone in her ears," answered Dr. Alec, looking at herwith approving eyes.
Thus much in introducing the head of the family. Let us now attempt to sketch the gentle Emily.
1.Mr Milestone. Here is another part of the grounds in its natural state. Here is a large rock, with the mountain-ash rooted in its fissures, overgrown, as you see, with ivy and moss; and from this part of it bursts a little fountain, that runs bubbling down its rugged sides.
2.Chapter 15 Beyond the Wall>
Allowing for this, however, some of the finest pages in all Hawthorne are to be found in it. The subject, as I have said, is a particularly happy one, and there is a great deal of interest in the simple combination and opposition of the four actors. It is noticeable that in spite of the considerable length of the story, there are no accessory figures; Donatello and Miriam, Kenyon and Hilda, exclusively occupy the scene. This is the more noticeable as the scene is very large, and the great Roman background is constantly presented to us. The relations of these four people are full of that moral picturesqueness which Hawthorne was always looking for; he found it in perfection in the history of Donatello. As I have said, the novel is the most popular of his works, and every one will remember the figure of the simple, joyous, sensuous young Italian, who is not so much a man as a child, and not so much a child as a charming, innocent animal, and how he is brought to self-knowledge and to a miserable conscious manhood, by the commission of a crime. Donatello is rather vague and impalpable; he says too little in the book, shows himself too little, and falls short, I think, of being a creation. But he is enough of a creation to make us enter into the situation, and the whole history of his rise, or fall, whichever one chooses to call it — his tasting of the tree of knowledge and finding existence complicated with a regret — is unfolded with a thousand ingenious and exquisite touches. Of course, to make the interest complete, there is a woman in the affair, and Hawthorne has done few things more beautiful than the picture of the unequal complicity of guilt between his immature and dimly-puzzled hero, with his clinging, unquestioning, unexacting devotion, and the dark, powerful, more widely-seeing feminine nature of Miriam. Deeply touching is the representation of the manner in which these two essentially different persons — the woman intelligent, passionate, acquainted with life, and with a tragic element in her own career; the youth ignorant, gentle, unworldly, brightly and harmlessly natural — are equalised and bound together by their common secret, which insulates them, morally, from the rest of mankind. The character of Hilda has always struck me as an admirable invention — one of those things that mark the man of genius. It needed a man of genius and of Hawthorne’s imaginative delicacy, to feel the propriety of such a figure as Hilda’s and to perceive the relief it would both give and borrow. This pure and somewhat rigid New England girl, following the vocation of a copyist of pictures in Rome, unacquainted with evil and untouched by impurity, has been accidentally the witness, unknown and unsuspected, of the dark deed by which her friends, Miriam and Donatello, are knit together. This is her revelation of evil, her loss of perfect innocence. She has done no wrong, and yet wrongdoing has become a part of her experience, and she carries the weight of her detested knowledge upon her heart. She carries it a long time, saddened and oppressed by it, till at last she can bear it no longer. If I have called the whole idea of the presence and effect of Hilda in the story a trait of genius, the purest touch of inspiration is the episode in which the poor girl deposits her burden. She has passed the whole lonely summer in Rome, and one day, at the end of it, finding herself in St. Peter’s, she enters a confessional, strenuous daughter of the Puritans as she is, and pours out her dark knowledge into the bosom of the Church — then comes away with her conscience lightened, not a whit the less a Puritan than before. If the book contained nothing else noteworthy but this admirable scene, and the pages describing the murder committed by Donatello under Miriam’s eyes, and the ecstatic wandering, afterwards, of the guilty couple, through the “blood-stained streets of Rome,” it would still deserve to rank high among the imaginative productions of our day.