这座城市因罗马浴场而兴，在乔治王时代演变成了上流社会的“大型疗养院”。奥斯汀笔下的《诺桑觉寺》和《劝导》，简直就是巴斯的“黑料”实录。在《诺桑觉寺》里，艾伦先生因痛风而前往巴斯治疗，巴斯的泵房被写成“社交的剧场”：绅士们捏着鼻烟壶讨论痛风疗法，贵妇们用扇子半遮面交换绯闻，而温泉水“冒着泡，像极了虚假的希望”；《劝导》中的史密斯太太则是为了治瘸腿而来——“除了去洗温泉浴以外，从不出门”。
It became relentless: that critical voice, and the burden of thousands of years of literary accomplishment. My relationship to the world was embroiled in this anxiety, too, and it struck me that the current century’s relentless presentism was a clear defense against the very same kind of anxiety. Overwhelmingly, contemporary literature and media seemed incapable of admitting to the power of the past. True, young people have always resented being told what to read, but the current fashion was to say they were right—right to bristle at the idea that there were works and histories they would have to live up to if they wanted to be great. It seemed obvious that this mass inability to square up to the inheritance and influence of the past was what really lay behind the sterility of contemporary arts and letters—a sterility many contemporary writers and artists would not even acknowledge.
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