I stayed at the H?tel d’Angleterre, and on the morning of my arrival presented myself to the Minister, Sir Edward Goschen. He was alone at the Legation. I took rooms in a street not far from the Legation, and settled down to the quiet routine of Legation life in a small capital.
Copenhagen in August seemed unusually quiet. The sentries9 outside the Amalienborg Palace looked like big wooden dolls in their blue uniforms, white trousers, white belts, and bearskins.
I immediately began to have Danish lessons from the British Vice-Consul, who was a Dane, and we soon began to read Hans Andersen in Danish. The diplomatic world in Copenhagen was a little world by itself. It consisted of the Russian Minister, Count Benckendorff, who, when I arrived, was there by himself; the Austrian Minister, Count Wildenbruch, who lived at the H?tel d’Angleterre, and never went out and rarely saw anybody; the French Minister, M. Jusserand, one of the most erudite of English scholars besides being one of the most charming of Frenchmen; and the German Minister, M. Sch?n,[209] who had a passion for dressing11 up in fancy dress; the Norwegian Minister, M. de Knagenhjelm; and the Italian Minister.
The diplomatic world mixed little with the Danes. I once heard a Dane say to another Dane: “Do you receive diplomats12?” in the same tone of surprise as would have been appropriate had the question been: “Do you receive police-spies?”
I think the theatres were shut when I arrived, and the only amusements were to go out sailing which I used to do often with Sir Edward, who had a yacht, and in the evenings to have dinner at the Tivoli music-hall, which was an out-of-door park full of side-shows and was pleasantly illuminated13.
The staff of the British Legation consisted of a First Secretary, Sir Alan Johnstone, and a Chancery servant: a Dane called Ole, who was a charming, simple person like a character in Hans Andersen, vaguely14 intoxicated15 sometimes, paternal16, easily upset, and endlessly obliging.
Sir Alan Johnstone had a little house in the country, and there I often used to spend Sunday, and there I made the acquaintance of Count Benckendorff. The first time I met him we had a violent argument about the Dreyfus case. He was a firm believer in Dreyfus’ innocence18 and so was I, but that did not prevent us arguing as though we held diametrically opposite opinions.
In the middle of August, Edmund Gosse paid a visit to Denmark and I went to him meet at Munkebjerg, which entailed19 a long cross-country journey over many canals and in trains that were borne on steamers. Munkebjerg was a lovely place on the top of a high hill with little woods reaching down to the water. There, for the first time, I experienced the long, green, luminous20 twilights of the north. Edmund Gosse was inspired by the surroundings to write a book called Hypolympia, which he afterwards dedicated21 to me. He imagined that the gods of Greece arrived at Munkebjerg immediately after their exile, and on that theme he wove a fantasy.
One of the most important duties at Copenhagen was to go to the railway station to meet the various royalties22 who used to visit the King of Denmark, and another one was to receive English Royalties at the door of the English church when they attended divine service on Sundays. We used often to see the King of Denmark out riding, and although I think he was[210] then eighty years old, he looked on horseback, so extraordinarily23 young was his figure, like a man of thirty.
I learnt Danish fairly quickly and soon I could follow the plays at the Kongelige Theatre and at other theatres. The Kongelige Theatre was a State-supported institution with an ancient tradition and an excellent troupe24 of actors and dancers. They performed opera: Gluck, Mozart, and Wagner; ballets; the classic Danish comedies of Holberg; Molière; Shakespeare; modern comedies and the dramas of Ibsen, Tolstoy, and Holger Drachman. The Shakespeare productions were particularly interesting and far more remarkable25 than any I ever saw in Berlin. They made use of the Apron26 Stage; on a small back-cloth at the back of the stage changed with the changing scene; the back-cloth was framed in a Gothic arch, which was supported by pillars raised on low steps. A curtain could be lowered across this arch, and the actors could proceed with the play in front of this curtain, without necessitating27 the lowering of the larger curtain. This small scene was extremely effective. It was just enough to give the eye the keynote of the play; and in the historical plays of Shakespeare, in Richard III. for instance, it was ideal. I saw Richard III., King Lear, and A Midsummer Night’s Dream; the latter was a beautiful and gay production; the actor who played Bottom had a rich vein28 of humour and a large exuberant29 personality, and the fairy dances were beautifully organised and executed. Of the modern drama I saw Tolstoy’s Powers of Darkness, which made a shattering effect, Ibsen’s Doll’s House and Hedda Gabler, and Holger Drachman’s Gurre, and some comedies by Otto Benzon.
The performance of the Doll’s House with Fru Hennings’ Nora was unforgettable. I have seen many Noras; Eleonora Duse and Réjane and Agnes Sorma in Berlin; but Fru Hennings played the part as if it had been written for her; she was Nora; she made the whole play more than natural, she made it inevitable30. “Quelle navrante ironie! quel désenchantement à fond!” said Jules Lema?tre, writing about Duse’s performance of Magda. In Fru Hennings’ interpretation31 of Nora, the irony32 was indeed harrowing, and the disenchantment complete; but irony, disillusion33, weariness, disgust were all merged34 into a wonderful harmony, as the realities of life gradually dawned on the little singing-bird, and the doll changed into a woman. She made the transformation35, which whenever I had[211] seen the play before seemed so difficult to believe in, of the Nora of the first act into the Nora of the last act seem the most natural thing in the world. Then Fru Hennings had the advantage of being a Dane and of speaking the words of the play in the language in which they had been written. She had a musical rippling36 voice and a plaintive37 grace of gesture. Holger Drachman’s drama Gurre was a terrible and intensely dramatic poetic38 drama, with a love duet of impassioned lyricism and melody, and an almost unbearable39 scene, in which the Queen has her rival scalded to death in a steam-bath. Hedda Gabler I confess to not being able to endure when I saw it; it was beautifully acted; too well acted; there seemed to be no difference between what was going on on the stage and in the audience. I had a sudden uprush of satiety40 with Norwegian drama: with Ibsen, with problem plays, with Denmark, with the North; and I remember going out of the theatre after the second act, in revolt and disgust, and not being able to stand any more of it. But that was an accidental impression arising from a surfeit41 of such things, and from an overdose of Scandinavian gloom and Norwegian complexity42; a short course of musical comedies would have soon enabled one to appreciate the drama of Ibsen once more; as it was, I heard it after a year and a half’s stay at Copenhagen, and at that moment I had had just a drop too much of that kind of thing.
I also saw When we dead awaken43 when it was first produced, and this again had no effect on me, save one of vague and teasing perplexity.
The music at Copenhagen was as interesting as the drama. Mozart’s operas were admirably given at the Kongelige Theatre. I remember a fine performance of Don Giovanni, the Nozze di Figaro, and Gluck’s Orpheo, concerts where Beethoven’s Symphonies were played, and a recital44 of Paderewski where he played Liszt’s arrangement of the Erlk?nig. When he came to the end of it, the impression was that he himself had experienced that ride in the night; that he had battled with the Erl King for the life of the child, and that it was he and not the child who was dead.
As soon as I could speak Danish, I made several friends among the Danes. I sometimes spent the evening at Dr. George Brandes’ house, and more often at that of Otto Benzon, the playwright45, who was extremely kind to me. The intelligentsia[212] of Copenhagen were highly cultivated; they were well-to-do and had fine collections of modern pictures. The meals were long and were often followed by a still longer supper. The days were short in winter at Copenhagen; the sun appeared to set at two; the wind blew in every direction at once down the Bred Gade. Copenhagen in winter had depressing elements.
I had, in the meantime, made great friends with the Benckendorffs at the Russian Legation.
Just as in the art of writing, and in fact in all arts, the best style is that where there is no style, or rather where we no longer notice the style, so appropriate and so inevitable, so easy the thing said, sung, or done is made to appear, so in diplomacy46 the most delightful47 diplomats were those about whom there was no diplomatic style, nothing which made you think of diplomacy. Michael Herbert was one of these, and so pre-eminently was Count Benckendorff. When he was Ambassador in London he took root easily in English life, and made friends instantly and without effort in many different worlds, so his personality and his services are well known to Englishmen. I doubt, however, whether they know how great the services were which he rendered at times both to our country as well as to his own.
All through the war, till a few days before his death, he was giving his whole heart and soul to his work, and every nerve of his being was strained to the utmost. The war killed him as certainly as if he had fought in the trenches48. He was astonishingly far-sighted and clear-sighted. In 1903 he told me there would be a revolution in Russia directly there was a war. At the time of the Agadir crisis, he told me that the future of Europe entirely49 depended on the policy of the German Government: on whether the German Emperor and his Government decided50 or not to embark51 on a Louis XIV. policy of ambition and aggression52, and try to make Germany the only European power.
When the Emperor of Russia issued the manifesto53 of 17th October, and the Russians were bedecking their cities with flags, because they thought they had received a constitution, he made it excruciatingly clear that it was nothing of the kind; and he predicted no less clearly what would be the results of so ambiguous an act, and so dangerously elastic54 a charter.
His public career belongs to history. I had the privilege[213] of knowing him as a private person and of finding in him the kindest and the wisest of friends.
I think his most striking quality was his keenness. The way he would throw himself into the discussion, the topic, or the occupation of the moment, whether it was a book, a play, a picture, a piece of music, a political question, a wolf-hunt, a speech, a problem, even an acrostic to be guessed, or the dredging of a pond.
Whenever I wrote anything new he always made me read it aloud to him, and he was in himself an extraordinarily exhilarating and encouraging public.
He was all for one’s doing more and more, for finding out what one could not do and then doing it.
He once tried to persuade me to go into Parliament. When I objected that I had no power of dealing55 with political questions, and no understanding of many affairs that a member of Parliament is supposed to understand, he said: “Rubbish! You could do all that part, just as you wrote a parody56 of Anatole France; people would think you knew.”
He hated pessimism57. He hated the Oriental, passive view of life, especially if it was preached by Occidentals. The looking forward to a Nirvana and a closed door. He hated everything negative. Suicide to him was the one unpardonable sin. He hated affectation, especially cosmopolitan58 affectation, what he used to call “le faux esprit Parisien.” “Je préfère,” he used to say, “le bon sens anglais.” He was extremely argumentative and would put his whole soul into an argument on the most trivial point; and he was as unblushingly unscrupulous as Dr. Johnson in his use of the weapons of contradiction, although, unlike Dr. Johnson, however heated the argument, he was never rude, even for a second; he didn’t know how to be rude. He spoke59 the most beautiful natural French, the French of a more elegant epoch60 than ours, with a slightly classical tinge61 in it. He spoke it not only as well as a Frenchman, but better; that is to say, he spoke without any frills or unnecessary ornament62, either of phrase or accent, with complete ease and naturalness.
He spoke English just as naturally. I remember on one occasion, shortly after he arrived in London, his being taken for an Englishman throughout a whole dinner-party by his host. But he used to say that this was sheer bluff63 and that[214] his command of the language was limited. His beautiful manners, and the perfection of his courtesy came from the same absence of style I have already alluded65 to. He was natural and unaffected with everyone, because he was chez soi partout; and his distinction, one felt, was based on a native integrity, a fundamental horror of anything common, or mean, or unkind, the incapacity of striking a wrong note in word or deed: the impossibility of hurting anyone’s feelings. A member of the Russian intelligentsia, writing in a provincial66 newspaper in Russia, about one of the many European crises that threatened Europe before the outbreak of the Great War, said: “We should have been dragged into a war, had we not had at the time, as our Ambassador in London, the first gentleman in Europe.” That is, I think, his best and most fitting epitaph.
I shall never have the benefit of his criticism any more, his keenness, his almost boyish interest, his decided, argumentative disagreement leaping into a blaze over a trifling67 point, and never again enjoy that glow of satisfaction—worth a whole world of praise—which I used to feel when he said about something, whether a poem, a newspaper article, a story, or a letter, or the most foolish of rhymes: “C’est très joli.”
I moved from my rooms in the town to the Legation and had most of my meals with the Goschens. Sir Edward’s inimitable humour, his minute observation of detail, and his keen eye for the ludicrous, the quaint17 and all the absurd incidents of daily life—and especially of diplomatic life—made all the official side of things, the dinner-parties, the interviews with ministers, the ceremonies at the station, the pompousness68 of the diplomats, extraordinarily amusing. Besides this, he was childishly fond of every kind of game, such as battledore and shuttlecock, and cup and ball.
Sir Edward went on leave in the autumn of 1900, and for a fortnight, from 10th October to 22nd October, I had the glory of being in charge, of being acting69 Chargé d’Affaires of the Legation, so that when the Foreign Office wrote to me they signed dispatches, “Yours with great truth.” The first thing which had to be done was to leave cards on all the Corps70 Diplomatique. This duty was always carried out by Ole, the Chancery servant. I gave him a sheaf of my cards to leave; he left some of them, but I think he considered that I was altogether too young to be taken seriously as a Chargé d’Affaires,[215] so he left no cards on the minor71 diplomats, who lived out of the immediate10 radius72 of the British Legation. About three days after I had been in charge, Count Benckendorff told me that the minor diplomats who had received no cards from me had held a meeting of indignation; I was to lose no time in smoothing down their ruffled73 sensibilities, so I left the cards myself. The only diplomatic interview I remember having was with the future King of Greece, who came to see me in my room and talked about something I didn’t understand. My brief era of sole responsibility was put an end to after a fortnight by the arrival of a new First Secretary in place of Alan Johnson. His name was Herbert. Shortly after his arrival Ethel Smyth paid a visit to Copenhagen on her way back to England from Berlin, where she had been negotiating for the performance of her opera, Der Wald. She wanted to make the acquaintance of the Benckendorffs, and she sang her opera to us, her Mass, and many songs of Schubert, Schumann, Brahms, Grieg, besides many English and Scotch74 ballads75. Count Benckendorff, who was musical, was enchanted76 with her singing, with her interpretation of the songs she sang, “la richesse de son exécution,” her vitality77, her good humour, her keenness, her passionate78 interest in everything. She played golf in the daytime and made music in the evening.
At Christmas, Sir Edward’s sons arrived and we had a Christmas-tree in the house, and a treat for the church choir79, and endless games of battledore and shuttlecock in the Legation ballroom80. Then, suddenly, came the unbelievable news that Queen Victoria was dead. A telegram arrived on the 22nd January, worded thus:
“I am profoundly grieved to inform you that the Queen expired this evening at six-thirty. Notify melancholy81 intelligence to Government.”
I was just going home for a little leave, but now it seemed impossible: there would be too much to do. But Sir Edward insisted on my going, all the same. Herbert was arriving back from leave, and he said he could get on without me; so I went. I saw the funeral procession from a house near the Marble Arch. The only splash of colour in the greyness and gloom of the long procession was the regalia and the bright pall7 on the gun-carriage that bore the coffin82, and everyone agreed that the most imposing[216] figure in the procession was the German Emperor in a great grey cloak. But the most impressive feature of the whole ceremony was the attitude of the crowd: its size, its silence, the universal black. London was like a dead city, and as someone said at the time: “One went about feeling as if one had cheated at cards.” I felt that what “Onkel Adolph” used to say at Hildesheim was true: “Die Engl?nder lieben ihre alte K?nigin” (“The English love their old Queen”).
In February I went to Karlsruhe to hear Ethel Smyth’s first opera, Fantasio, performed at the Hofteater with Mottl conducting. Fantasio is an opera in two acts written on Musset’s play. Ethel Smyth wrote the libretto83 herself in German. The opera contains some lovely songs, especially one that begins: “Reite ohne Sattelpferd,” and some of the most delicate music Ethel Smyth ever composed, but the libretto is undramatic, and there are not enough bones in the framework to support the musical structure. Mottl conducted the orchestra beautifully; the opera was respectfully received, but without any great enthusiasm. When the performance was over, we had supper with the Grand Duchess of Baden, and there I met a cousin of mine, Charlie d’Otrante, whom I had not seen since I was a child. He was now, though a Swedish subject—his father was a Swede—an officer in the German Army.
I stayed at Copenhagen till the spring. The spring in Denmark comes with a rush. All is wintry, without any hint of the coming change, and then all of a sudden, and in one night, the beech84 trees are green, and of so startling, vivid, and fresh a green that it almost hurts the eye, and through them you see the sea, a milky85 haze86, and the sky looks as if it had been washed clean.
In May, I went to London for my first spell of long leave since I had passed my examination. I stayed all June and July in London, and in the middle of July I went over to Brittany to stay a few days with Sarah Bernhardt at her house, the Fort des Poulains on the island of Belle-Isle, which is at the extreme north of the island. This visit entailed a terrific journey: first, a long train journey with many changes, then several hours on board a steamer, and then a two hours’ drive. The house was a little white, square, flat-roofed building among the rocks and a stone’s-throw from the sea—a great roaring[217] grey sea, with huge breakers, leaping cataracts87 of foam88, and beaches of grey pebbles89. Sarah Bernhardt’s son was staying there, Clairin, the artist, and one or two other people. The house was built entirely of pitch-pine inside. Sarah used to appear at déjeuner.
She spent all the morning working. In the afternoon she played lawn-tennis on a hard court; after dinner we played every kind of game. She was carrying on at the time a heated discussion by telegraph with the poet Catulle Mendès about the forthcoming production of a poetical90 play of his, called La Vierge d’Avilon. The dispute was about the casting: the poet wished one of the female parts to be played by a certain actress; Sarah wished otherwise. Telegram after telegram was sent and received, each of them several pages in length. The poet’s telegrams were lyrical and beautifully expressed. One of them began: “Vous êtes puissante et caline,” and another addressed her as “La grande faucheuse des illusions.” How the matter was settled ultimately, I never knew. During the whole time I stayed there, Sarah never mentioned the theatre, acting, or actors, except as far as they concerned this particular business discussion. On the other hand, she talked a great deal of her travels all over the world. She talked of Greece, and I quoted to her the line of some French poet about “des temples roux dans des poussières d’or,” and asked her whether it was an accurate description. She said: “Yes, of the Greek temples in Italy”; but, in Greece, she said it was a case of “des temples roses dans des poussières d’argent.” She said the most remarkable sight she had ever seen in her life was in Australia, when, in a large prairie, she had seen the whole sky suddenly filled with a dense91 flock of brilliantly coloured birds, which had risen all at once from the ground and obscured the whole horizon with their dazzling coloured plumage.
She was irresistibly92 comic at times, full of bubbling gaiety and spirits, and an admirable mimic93. Jules Huret wrote, while I was at Paris, an article about her, in which he described this side of her admirably.
“Quand elle veut,” he said, “Sarah est d’un comique extraordinaire, par1 l’outrance de ses images toujours justes, et la violence imprévue de ses reparties. Cette gaieté de Sarah est bien caractéristique de sa force. C’est évidemment un trop plein de sève qui se résout en joie. Elle a des trouvailles,[218] des mimiques, des répliques, une verve, des silences mêmes, qui font irrésistiblement éclater le rire autour d’elle. Elle imite certains de ses amis avec une vérité comique incroyable.”
What struck me most about her, when I saw her in private life, was her radiant and ever-present common-sense. There was no nonsense about her, no pose, and no posturing94. She was completely natural. She took herself as much for granted as being the greatest actress in the world, as Queen Victoria took for granted that she was Queen of England. She took it for granted and passed on. She told me once she had never wished to be an actress—that she had gone on to the stage against her will; she would greatly have preferred to have been a painter, and all her life she continued to model as it was, and did some interesting things in this line, especially some bronze fishes and sea-shapes for which she found models at Belle-Isle, but when she found she had got to be an actress, she said to herself: “If it has got to be, then I will be the first.”
She said she had never got over her nervousness in playing a new part, or for the first time before a new audience; if she felt the audience was friendly, this knowledge half-paralysed her; if, on the other hand, she knew or guessed the audience to be hostile, every fibre in her being tightened95 for the struggle. She said that first nights at Paris, when she knew there would be hostile elements and critics ready to say she could no longer act, always gave her the greatest confidence; she felt then it was a battle, and a battle she could win; she would force the critics to acknowledge that she could act. She told me, too, she had never gone an inch out of her way to seek for friends or admirers; she had always let them come to her; she had never taken any notice of them till they forced their attention on her. At Belle-Isle I never once heard her allude64 to any of her parts or to any of her triumphs; but she talked a great deal about current events—of the people and politicians she had met in her life, in all the countries of Europe—and said some very shrewd things about the men who were ruling England at that time.
I stayed at Belle-Isle three or four days, then I went back to London, and at the end of July I started for Russia. I had been invited to stay with the Benckendorffs at their house in the country, Sosnofka in the Government of Tambov. I did not yet know one word of Russian. At Warsaw station I had to get out and change. I left my bag for a moment on the seat[219] of the carriage. This bag contained my money, my ticket, my passport, and several other necessaries. When I came back it was gone. I couldn’t even tell anyone what had happened. As the result of a conversation in dumb show, I was put into a train; it was not the express it should have been, but a slow train, and then I had my first experience of the kindness and obligingness of the Russian people, for a fellow-traveller registered my luggage, bought me a ticket, telegraphed to the Benckendorffs for me, to the hotel at Moscow, and supplied me with food and money for the journey, which in this train took three days.
Thanks to the kindness of this traveller, I arrived safely at Moscow, and at Sosnofka the next day. It was a blazing hot August that year in Russia. The country was burnt and parched96; the green of the trees had been burnt away. Sosnofka is a large straggling village, with thatched houses. Once every seven years the whole village would probably be burnt down. Russia was very different from what I had expected. I had read several Russian books in translations—Tolstoy and Tourgenev—but the background they had formed in my mind was not like Russia at all. In fact, I had never thought of these books as happening in Russia. The people they described were so like real people, so like people that I had known myself, that I had always imagined the action taking place in England or France. I imagined Anna Karenina happening in London. Not only did the characters seem real and familiar to me, but they struck me as being the only characters I had ever met in any books which gave me the impression that I had myself known them. Dickens’ characters are real enough, and Thackeray’s characters are realistic enough; I believe absolutely in Sam Weller, in Mr. Micawber, in Mr. Guppy, in Mrs. Gamp, Mrs. Nickleby, and any you like to mention; the genius of Dickens has made me believe in them; I also believe in the existence of Major Pendennis and Becky Sharp; I feel I might meet people like that, but I never have; whereas with the characters in Tolstoy’s books I am not sure whether they belong to bookland at all; I am not at all sure they do not belong to my own past, my own limbo97, which is peopled by real people and dream people. The background which I called up in my mind was something quite unconnected with Russian books, and something far removed from reality.[220] It was the conventional background borrowed from detective stories, and Jules Verne’s Michael Strogoff, and from many melodramas98. That is to say, I imagined barbaric houses, glittering and spangled bedizened Asiatic people. The reality was so different. Russia seemed such a natural country. Everybody seemed to be doing what they liked, without any fuss; to wear any clothes they liked; to smoke when and where they wished; to live in such simplicity99 and without any paraphernalia100 at all.
As for the landscape, my first impression was that of a large, rolling plain; a church with blue cupolas; a windmill and another church. The plain is dotted with villages, and every village is like the last; the houses are squat101, sometimes built of logs and sometimes built of bricks, and the roofs are thatched with straw. The houses stand at irregular intervals102, sometimes huddled103 close together and sometimes with wide gaps between them; it was dusty when I arrived; the broad road, which is not a real road, but an immense stoneless track like the roads in America and Australia, was littered with straw and various kinds of messes, and along it the creaking carts groaned104, the peasants driving them leisurely105 and sometimes walking beside them. Every now and then there was a well with a large wooden see-saw pole to draw the water with; and everywhere, and over everything, the impression of space and leisureliness106 and the absence of hurry. The peasants wore loose shirts, with a leather coat thrown carelessly over their shoulder, or left in the cart, and the women looked picturesque107 in their everyday clothes; the folds of their prints and calicoes, which had something Biblical and statuesque about them, were more impressive to the eye than the silken finery which they wore when they went to church on Sunday.
The Benckendorffs lived at Sosnofka in two small separate two-storied houses, which were close together. The kitchen was in a separate building apart. In the pantry, the night-watchman, André, would play draughts108 in the daytime with Alexei, who cleaned the boots. By night the watchman watched; and every now and then blew a whistle. The butler, Alexander, was an old soldier in every sense of the word. His ingenuity109 had no end; nor had his resource. He could make anything and do anything; and in the course of one revolving110 noon he could be chemist, fiddler, statesman, and buffoon111. He[221] could not only play, but he could make any musical instrument. He was an expert mixer of fireworks, an inspired carpenter, and he could mend anything. He bore the traces of an early military training and drill in his upright shoulders; and about once a month he would disappear and be drunk for two or three days. The house was housemaided by two old Russian peasants, Mavra and Masha, who wore kerchiefs over their heads and speckled calico shawls. Mavra’s devotion to the Benckendorff children passed all expression; she cared little for her fate and fortune and for that of her own family as long as they were alive and well. Michael, the coachman, was another great character; he wore a black cap with peacocks’ feathers sticking upright in it, and a black tunic112 with red sleeves. He drove the troika, three horses abreast113, and no road, or rather no absence of road, daunted114 him; on the edge of an impossible hill, with no track through it, and nothing in sight but bushes and logs, and nothing to guess at except holes, if asked whether it was possible to go on, he would always laconically115 answer, “Moshno” (“Possible”), and it always was possible. There was an under-coachman called Fro. He had his qualities too; and one of these was the way in the winter he would find and recognise a track after there had been a blizzard116, which had entirely obliterated117 all semblance118 or trace of any path or roadway. Sometimes a little bit of paper or a stray twig119 would give him the clue. Only one felt just this: that Michael would have been quite unshaken in face of any catastrophes120; the earth might have opened in front of one, a hostile aeroplane might have barred the way, a regiment121 of machine-gunners might have been reported to be in ambush—he would just have nodded and quietly said, “Moshno,” and nothing more.
After dinner, that summer we used to sit on the balcony or on a stone terrace on one side of the house, and watch the message of light, the warning halo the rising moon sent up from behind the hill before she rose:
“Perchance an orb122 more wondrous123 than the moon
Trembles beneath the rim124 of the dark hills,”
and listen in the thick dark night, while the peasants in the village stamped their rhythmical125 dances to the accompaniment of bleating126 accordions127 or three-stringed balalaikas; some watchman’s rattle128 beat time; the frogs croaked129, and sometimes a[222] voice—a rather hoarse130, high, slightly sharp voice—began a long-drawn-out, high wail131, and other voices chimed in, singing the same melody in a rough counterpoint. We sat at a little green garden-table drinking our coffee, and our nalivka, the delicious clean liqueur distilled132 from cherries. There seemed to be no time in Russia. People slept when they felt inclined, not necessarily because it was night. Once when I went to stay with a friend near Kirsanof he advised me to arrive at four o’clock in the morning, if possible, as the servants would enjoy the bustle133 of someone arriving when it was still dark.
One evening we went out riding through the woods, and over the plains, and no sooner had we left the front door than my pony134, altogether out of control, galloped135 away into space. One morning we were called at one, and went out to the marshes137 to shoot wild duck before the dawn. It was quite dark when we started, and after the shooting was over, and I shot two wild duck dead, we drove home in the dawn across the dewy plains, when the whole country was awakening138, the cocks crowing and the birds singing, and the plains were bathed in lemon-coloured light, and faint pink and grey clouds hung like shreds139 from Aurora’s scarf across the horizon.
One night we camped out in the woods. We took bottles of beer and water-melons, and playing-cards, and a camera, and many rugs. We slept little; the wood was full of flies and mosquitoes, but we enjoyed ourselves much all the same, and came back with that pleasant headache which is the result of sleeping on straw in the open air on a hot August night, and covered with bites. The morning after, we had a wolf-shoot, but it was too early in the year for wolves, and nobody saw one. But there was a great display, nevertheless; a man rode on a white horse and blew a trumpet140, and there were a multitude of beaters. I remember a short dialogue bawled141 slowly, quietly, and sonorously142 in prolonged accents across a whole field between André, the night-watchman, and Wassili, the keeper. “Who is that man yonder?” asked Wassili. “He is a shepherd,” said André; “he feeds sheep.” “On pastukh, on past korov.” It was so dignified143, so slow, like a fragment of dialogue from the Old Testament144. In the morning we used to have breakfast out of doors, in the garden, under a tree, with a pleasant after-breakfast interlude of smoking[223] and conversation; then Alexander and the gardener would stroll into the garden, and there would be endless discussion about the pulling down of some paling, or the repairing of some fence or chair, or the painting of some room or gate; Alexander’s volubility had no limit, and the gardener was extraordinarily ingenious in twisting the meaning of anything into the opposite of what had been said. We had luncheon145 at half-past twelve, and sat afterwards on the terrace, till the great heat was over, and then we would go out in the troika, and take tea and a samovar with us, or find a samovar somewhere, and perhaps bathe in the river. After dinner, when it was too cold to stay out, we would sit indoors and play cards at the green table, marking the score in chalk on the table; and Pierre Benckendorff, who was not yet an officer, but still at the cadet college, used to read out Mark Twain in German, or draw pictures, or make me draw pictures, while he gave advice, or played the treble of tunes146 on the pianoforte.
There were three little rooms on the ground floor of the first house, which was built of wood. The first room into which the small front hall led was Count Benckendorff’s sitting-room147. It had a writing-table; a table where there was an array of long pipes, neatly148 arranged; a round table with a green cloth on it, and a wooden cup and ball on a plate; a bookcase full of books of reference, which were constantly consulted, whenever, as so often occurred, there was a family argument. In this room, near one of the windows, there was a deal drawing-table. There were prints on the wall. The next room had some old French wooden furniture painted with little flowers, and a large grand pianoforte, and a comfortable corner round the fireplace; in front of a window, which went down to the ground and opened like a door, there was a stone terrace with orange trees in pots on it and agapanthus plants (later there were rose trees as well). Beyond this there was a third room full of books, old books, the library of Count Benckendorff’s grandfather—the books that had been modern in the eighteenth century, in their dark brown calf149 bindings, and old marbled papers; here was the newest edition of Byron in French, the poems of Pope and Corneille and Voltaire and Gresset, the letters of Madame de Sévigné, the memoirs150 of Madame de Caylus, Napoleonic memoirs and the poems of Ossian, Schiller’s plays, and an early edition of Gogol. Upstairs on[224] the landing, there was a cupboard full of every imaginable kind of novel: the Tauchnitz novels of many ages, and French novels of every description, the early Zolas, the early Feuillets, and Maupassant’s first stories. Before going to bed, we would dive into that cupboard, and one was always sure, even in the dark, of finding something one could read. I have always thought since then, the ideal bookcase would be that in which you could plunge151 a hand into in the dark and be sure of extracting something readable. In the stone-house, the boys had each of them a sitting-room on the ground floor, and I had a bedroom and sitting-room upstairs. Next to the school library at Eton, that sitting-room proved to be my favourite room in all the world and in all my life; and at its big table I painted innumerable water-colours, and wrote four plays in verse, two plays in prose, three long books in prose, besides translating a book of Leonardo da Vinci and writing endless letters and newspaper articles. In this room, one had the feeling of the world forgetting by the world forgot, and one was recalled to reality by a bell, or by Alexander coming up to the room, as he always did, to say that tea was ready or dinner, or that the horses were at the door.
I felt the charm of Russia directly I crossed the frontier; and after a three weeks’ stay there I was so bitten by it that I resolved firstly to learn Russian, and, secondly152, to go back there as soon as I could.
I went back to Copenhagen, and stopped some hours at Moscow on the way, and saw the Kremlin, and had some amusing adventures at Testoff’s restaurant. Pierre Benckendorff had written down for me a list of things to ask for; one of which was caviare, which in Russian is ikra. But when I said ikra the waiters thought I said igra, which means play, and merely turned on the great mechanical organ which that restaurant then boasted of, and I could not get any caviare.
When I got back to Copenhagen, I at once had lessons in Russian from the psalomtchtchik at the Russian Church.
On the 19th of September, King Edward VII. arrived in Denmark to pay his first visit to Denmark as King of England. The King was to arrive at Elsinore in the Osborne. The Staff of the Legation had received orders to go to Elsinore and meet His Majesty153 on board the yacht. His Majesty was to land in time to meet the King of Denmark, the Crown Prince and all[225] the Danish Royal Family, the King of Greece, Queen Alexandra, the Emperor and Empress of Russia, the Dowager Empress of Russia, Prince and Princess Charles of Denmark, and other members of the various Royal Families. We were to go in uniform. The train started at eight. I have already said I was living at the Legation, but my rooms were completely isolated154 from Sir Edward’s house, and had no connection with them. I had a Danish servant called Peter. He had been told to call me punctually at seven. He forgot, or overslept himself. I woke up by accident, and automatically, and found to my horror it was twenty-five minutes to eight, and the station was far off, and I had to dress in uniform. I dressed like lightning, but it is not easy to dress like lightning in a diplomatic uniform; the tight boots are a special difficulty. I had no time to shave. I got a cab, and we drove at full gallop136 to the station, and I got into Sir Edward’s carriage as the train was moving out of the station. At Elsinore, we had fortunately some time to spare before going on board the Osborne, and I was able to get shaved in the village. Then we went on board and were presented to the King, and kissed his hand on his accession.
That same night there was a banquet at the Palace of Fredensborg for the King, to which the staff of the Legation were invited. I remember only one thing about this dinner, and that is that we were given 1600 hock to drink. It was quite bitter, and had to be drunk with about five lumps of sugar in a glass.
After dinner, we stood round a large room while the Kings and Queens, the Emperor and Empresses and Princesses, went round and talked to the guests; and this was the end of a tiring day.
A few days later the King came to luncheon at the Legation.
There was one other Royal arrival which I shall never forget. I cannot place its date, but I think it must have been Queen Alexandra’s first visit as Queen to Copenhagen. But what I remember is this, that while we were waiting on the station platform, Queen Alexandra descended155 from the train all in black, with long floating veils, and threaded her way through the crowd of Royalties and officials, looking younger than anyone present, with still the same fairy-tale-like grace of carriage and movement that I remembered as a child, and with the same youthful smile of welcome, and with all her[226] delicacy156 of form and feature heightened by her mourning and her long black veils, whose floating intricacy were obedient and docile157 to the undefinable rhythm of her beauty, and I remember thinking of Donne’s lines:
“No spring, no summer beauty has such grace
As I have seen in one autumnal face.”
I spent that Christmas at Copenhagen, and on the 7th of January 1902 a dispatch came to say I had been transferred from the post of a Third Secretary at His Majesty’s Legation at Copenhagen to that of a Third Secretary of His Majesty’s Embassy at Rome. Before I left Copenhagen I had finished an article on Taine, an article on modern French literature, and an article on Sully Prudhomme, for the new edition of the British Encyclop?dia.
点击
收听单词发音
收听单词发音 |
1
par
|
|
| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
参考例句： |
|
|
|
|
2
ointment
|
|
| n.药膏，油膏，软膏 | |
参考例句： |
|
|
|
|
3
tar
|
|
| n.柏油，焦油；vt.涂或浇柏油/焦油于 | |
参考例句： |
|
|
|
|
4
applied
|
|
| adj.应用的；v.应用，适用 | |
参考例句： |
|
|
|
|
5
berths
|
|
| n.（船、列车等的）卧铺( berth的名词复数 )；（船舶的）停泊位或锚位；差事；船台vt.v.停泊( berth的第三人称单数 )；占铺位 | |
参考例句： |
|
|
|
|
6
appalled
|
|
| v.使惊骇，使充满恐惧( appall的过去式和过去分词)adj.惊骇的；丧胆的 | |
参考例句： |
|
|
|
|
7
pall
|
|
| v.覆盖，使平淡无味；n.柩衣，棺罩；棺材；帷幕 | |
参考例句： |
|
|
|
|
8
steward
|
|
| n.乘务员，服务员；看管人；膳食管理员 | |
参考例句： |
|
|
|
|
9
sentries
|
|
| 哨兵，步兵( sentry的名词复数 ) | |
参考例句： |
|
|
|
|
10
immediate
|
|
| adj.立即的；直接的，最接近的；紧靠的 | |
参考例句： |
|
|
|
|
11
dressing
|
|
| n.(食物)调料；包扎伤口的用品，敷料 | |
参考例句： |
|
|
|
|
12
diplomats
|
|
| n.外交官( diplomat的名词复数 )；有手腕的人，善于交际的人 | |
参考例句： |
|
|
|
|
13
illuminated
|
|
| adj.被照明的；受启迪的 | |
参考例句： |
|
|
|
|
14
vaguely
|
|
| adv.含糊地，暖昧地 | |
参考例句： |
|
|
|
|
15
intoxicated
|
|
| 喝醉的，极其兴奋的 | |
参考例句： |
|
|
|
|
16
paternal
|
|
| adj.父亲的，像父亲的，父系的，父方的 | |
参考例句： |
|
|
|
|
17
quaint
|
|
| adj.古雅的，离奇有趣的，奇怪的 | |
参考例句： |
|
|
|
|
18
innocence
|
|
| n.无罪；天真；无害 | |
参考例句： |
|
|
|
|
19
entailed
|
|
| 使…成为必要( entail的过去式和过去分词 )； 需要； 限定继承； 使必需 | |
参考例句： |
|
|
|
|
20
luminous
|
|
| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
参考例句： |
|
|
|
|
21
dedicated
|
|
| adj.一心一意的；献身的；热诚的 | |
参考例句： |
|
|
|
|
22
royalties
|
|
| 特许权使用费 | |
参考例句： |
|
|
|
|
23
extraordinarily
|
|
| adv.格外地；极端地 | |
参考例句： |
|
|
|
|
24
troupe
|
|
| n.剧团，戏班；杂技团；马戏团 | |
参考例句： |
|
|
|
|
25
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
26
apron
|
|
| n.围裙；工作裙 | |
参考例句： |
|
|
|
|
27
necessitating
|
|
| 使…成为必要，需要( necessitate的现在分词 ) | |
参考例句： |
|
|
|
|
28
vein
|
|
| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
参考例句： |
|
|
|
|
29
exuberant
|
|
| adj.充满活力的；（植物）繁茂的 | |
参考例句： |
|
|
|
|
30
inevitable
|
|
| adj.不可避免的，必然发生的 | |
参考例句： |
|
|
|
|
31
interpretation
|
|
| n.解释，说明，描述；艺术处理 | |
参考例句： |
|
|
|
|
32
irony
|
|
| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
参考例句： |
|
|
|
|
33
disillusion
|
|
| vt.使不再抱幻想，使理想破灭 | |
参考例句： |
|
|
|
|
34
merged
|
|
| （使）混合( merge的过去式和过去分词 )； 相融； 融入； 渐渐消失在某物中 | |
参考例句： |
|
|
|
|
35
transformation
|
|
| n.变化；改造；转变 | |
参考例句： |
|
|
|
|
36
rippling
|
|
| 起涟漪的，潺潺流水般声音的 | |
参考例句： |
|
|
|
|
37
plaintive
|
|
| adj.可怜的，伤心的 | |
参考例句： |
|
|
|
|
38
poetic
|
|
| adj.富有诗意的，有诗人气质的，善于抒情的 | |
参考例句： |
|
|
|
|
39
unbearable
|
|
| adj.不能容忍的；忍受不住的 | |
参考例句： |
|
|
|
|
40
satiety
|
|
| n.饱和；(市场的)充分供应 | |
参考例句： |
|
|
|
|
41
surfeit
|
|
| v.使饮食过度；n.(食物)过量，过度 | |
参考例句： |
|
|
|
|
42
complexity
|
|
| n.复杂(性)，复杂的事物 | |
参考例句： |
|
|
|
|
43
awaken
|
|
| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
参考例句： |
|
|
|
|
44
recital
|
|
| n.朗诵，独奏会，独唱会 | |
参考例句： |
|
|
|
|
45
playwright
|
|
| n.剧作家，编写剧本的人 | |
参考例句： |
|
|
|
|
46
diplomacy
|
|
| n.外交；外交手腕，交际手腕 | |
参考例句： |
|
|
|
|
47
delightful
|
|
| adj.令人高兴的，使人快乐的 | |
参考例句： |
|
|
|
|
48
trenches
|
|
| 深沟，地沟( trench的名词复数 )； 战壕 | |
参考例句： |
|
|
|
|
49
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
50
decided
|
|
| adj.决定了的，坚决的；明显的，明确的 | |
参考例句： |
|
|
|
|
51
embark
|
|
| vi.乘船，着手，从事，上飞机 | |
参考例句： |
|
|
|
|
52
aggression
|
|
| n.进攻，侵略，侵犯，侵害 | |
参考例句： |
|
|
|
|
53
manifesto
|
|
| n.宣言，声明 | |
参考例句： |
|
|
|
|
54
elastic
|
|
| n.橡皮圈，松紧带；adj.有弹性的；灵活的 | |
参考例句： |
|
|
|
|
55
dealing
|
|
| n.经商方法，待人态度 | |
参考例句： |
|
|
|
|
56
parody
|
|
| n.打油诗文，诙谐的改编诗文，拙劣的模仿；v.拙劣模仿，作模仿诗文 | |
参考例句： |
|
|
|
|
57
pessimism
|
|
| n.悲观者，悲观主义者，厌世者 | |
参考例句： |
|
|
|
|
58
cosmopolitan
|
|
| adj.世界性的，全世界的，四海为家的，全球的 | |
参考例句： |
|
|
|
|
59
spoke
|
|
| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
参考例句： |
|
|
|
|
60
epoch
|
|
| n.(新)时代；历元 | |
参考例句： |
|
|
|
|
61
tinge
|
|
| vt.(较淡)着色于，染色；使带有…气息；n.淡淡色彩，些微的气息 | |
参考例句： |
|
|
|
|
62
ornament
|
|
| v.装饰，美化；n.装饰，装饰物 | |
参考例句： |
|
|
|
|
63
bluff
|
|
| v.虚张声势，用假象骗人；n.虚张声势，欺骗 | |
参考例句： |
|
|
|
|
64
allude
|
|
| v.提及，暗指 | |
参考例句： |
|
|
|
|
65
alluded
|
|
| 提及，暗指( allude的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
66
provincial
|
|
| adj.省的，地方的；n．外省人，乡下人 | |
参考例句： |
|
|
|
|
67
trifling
|
|
| adj.微不足道的；没什么价值的 | |
参考例句： |
|
|
|
|
68
pompousness
|
|
| 豪华；傲慢 | |
参考例句： |
|
|
|
|
|
69
acting
|
|
| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
参考例句： |
|
|
|
|
70
corps
|
|
| n.(通信等兵种的)部队；(同类作的)一组 | |
参考例句： |
|
|
|
|
71
minor
|
|
| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
参考例句： |
|
|
|
|
72
radius
|
|
| n.半径，半径范围；有效航程，范围，界限 | |
参考例句： |
|
|
|
|
73
ruffled
|
|
| adj. 有褶饰边的, 起皱的 动词ruffle的过去式和过去分词 | |
参考例句： |
|
|
|
|
74
scotch
|
|
| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
参考例句： |
|
|
|
|
75
ballads
|
|
| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
参考例句： |
|
|
|
|
76
enchanted
|
|
| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
参考例句： |
|
|
|
|
77
vitality
|
|
| n.活力，生命力，效力 | |
参考例句： |
|
|
|
|
78
passionate
|
|
| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
参考例句： |
|
|
|
|
79
choir
|
|
| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
参考例句： |
|
|
|
|
80
ballroom
|
|
| n.舞厅 | |
参考例句： |
|
|
|
|
81
melancholy
|
|
| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
参考例句： |
|
|
|
|
82
coffin
|
|
| n.棺材，灵柩 | |
参考例句： |
|
|
|
|
83
libretto
|
|
| n.歌剧剧本，歌曲歌词 | |
参考例句： |
|
|
|
|
84
beech
|
|
| n.山毛榉；adj.山毛榉的 | |
参考例句： |
|
|
|
|
85
milky
|
|
| adj.牛奶的，多奶的；乳白色的 | |
参考例句： |
|
|
|
|
86
haze
|
|
| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
参考例句： |
|
|
|
|
87
cataracts
|
|
| n.大瀑布( cataract的名词复数 )；白内障 | |
参考例句： |
|
|
|
|
88
foam
|
|
| v./n.泡沫，起泡沫 | |
参考例句： |
|
|
|
|
89
pebbles
|
|
| [复数]鹅卵石； 沙砾； 卵石，小圆石( pebble的名词复数 ) | |
参考例句： |
|
|
|
|
90
poetical
|
|
| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
参考例句： |
|
|
|
|
91
dense
|
|
| a.密集的，稠密的，浓密的；密度大的 | |
参考例句： |
|
|
|
|
92
irresistibly
|
|
| adv.无法抵抗地，不能自持地；极为诱惑人地 | |
参考例句： |
|
|
|
|
93
mimic
|
|
| v.模仿，戏弄；n.模仿他人言行的人 | |
参考例句： |
|
|
|
|
94
posturing
|
|
| 做出某种姿势( posture的现在分词 ) | |
参考例句： |
|
|
|
|
95
tightened
|
|
| 收紧( tighten的过去式和过去分词 )； （使）变紧； （使）绷紧； 加紧 | |
参考例句： |
|
|
|
|
96
parched
|
|
| adj.焦干的；极渴的；v.（使）焦干 | |
参考例句： |
|
|
|
|
97
limbo
|
|
| n.地狱的边缘；监狱 | |
参考例句： |
|
|
|
|
98
melodramas
|
|
| 情节剧( melodrama的名词复数 ) | |
参考例句： |
|
|
|
|
99
simplicity
|
|
| n.简单，简易；朴素；直率，单纯 | |
参考例句： |
|
|
|
|
100
paraphernalia
|
|
| n.装备；随身用品 | |
参考例句： |
|
|
|
|
101
squat
|
|
| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
参考例句： |
|
|
|
|
102
intervals
|
|
| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
参考例句： |
|
|
|
|
103
huddled
|
|
| 挤在一起（huddle的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
104
groaned
|
|
| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
参考例句： |
|
|
|
|
105
leisurely
|
|
| adj.悠闲的；从容的，慢慢的 | |
参考例句： |
|
|
|
|
106
leisureliness
|
|
| n.悠然，从容 | |
参考例句： |
|
|
|
|
107
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
108
draughts
|
|
| n. <英>国际跳棋 | |
参考例句： |
|
|
|
|
109
ingenuity
|
|
| n.别出心裁；善于发明创造 | |
参考例句： |
|
|
|
|
110
revolving
|
|
| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
参考例句： |
|
|
|
|
111
buffoon
|
|
| n.演出时的丑角 | |
参考例句： |
|
|
|
|
112
tunic
|
|
| n.束腰外衣 | |
参考例句： |
|
|
|
|
113
abreast
|
|
| adv.并排地；跟上(时代)的步伐，与…并进地 | |
参考例句： |
|
|
|
|
114
daunted
|
|
| 使（某人）气馁，威吓( daunt的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
115
laconically
|
|
| adv.简短地，简洁地 | |
参考例句： |
|
|
|
|
116
blizzard
|
|
| n.暴风雪 | |
参考例句： |
|
|
|
|
117
obliterated
|
|
| v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭 | |
参考例句： |
|
|
|
|
118
semblance
|
|
| n.外貌，外表 | |
参考例句： |
|
|
|
|
119
twig
|
|
| n.小树枝，嫩枝；v.理解 | |
参考例句： |
|
|
|
|
120
catastrophes
|
|
| n.灾祸( catastrophe的名词复数 )；灾难；不幸事件；困难 | |
参考例句： |
|
|
|
|
121
regiment
|
|
| n.团，多数，管理；v.组织，编成团，统制 | |
参考例句： |
|
|
|
|
122
orb
|
|
| n.太阳；星球；v.弄圆；成球形 | |
参考例句： |
|
|
|
|
123
wondrous
|
|
| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
参考例句： |
|
|
|
|
124
rim
|
|
| n.(圆物的)边，轮缘；边界 | |
参考例句： |
|
|
|
|
125
rhythmical
|
|
| adj.有节奏的，有韵律的 | |
参考例句： |
|
|
|
|
126
bleating
|
|
| v.（羊，小牛）叫( bleat的现在分词 )；哭诉；发出羊叫似的声音；轻声诉说 | |
参考例句： |
|
|
|
|
127
accordions
|
|
| n.手风琴( accordion的名词复数 ) | |
参考例句： |
|
|
|
|
128
rattle
|
|
| v.飞奔，碰响；激怒；n.碰撞声；拨浪鼓 | |
参考例句： |
|
|
|
|
129
croaked
|
|
| v.呱呱地叫( croak的过去式和过去分词 )；用粗的声音说 | |
参考例句： |
|
|
|
|
130
hoarse
|
|
| adj.嘶哑的，沙哑的 | |
参考例句： |
|
|
|
|
131
wail
|
|
| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
参考例句： |
|
|
|
|
132
distilled
|
|
| adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 )；从…提取精华 | |
参考例句： |
|
|
|
|
133
bustle
|
|
| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
参考例句： |
|
|
|
|
134
pony
|
|
| adj.小型的；n.小马 | |
参考例句： |
|
|
|
|
135
galloped
|
|
| （使马）飞奔，奔驰( gallop的过去式和过去分词 )； 快速做[说]某事 | |
参考例句： |
|
|
|
|
136
gallop
|
|
| v./n.(马或骑马等)飞奔；飞速发展 | |
参考例句： |
|
|
|
|
137
marshes
|
|
| n.沼泽，湿地( marsh的名词复数 ) | |
参考例句： |
|
|
|
|
138
awakening
|
|
| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
参考例句： |
|
|
|
|
139
shreds
|
|
| v.撕碎，切碎( shred的第三人称单数 )；用撕毁机撕毁（文件） | |
参考例句： |
|
|
|
|
140
trumpet
|
|
| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
参考例句： |
|
|
|
|
141
bawled
|
|
| v.大叫，大喊( bawl的过去式和过去分词 )；放声大哭；大声叫出；叫卖（货物） | |
参考例句： |
|
|
|
|
142
sonorously
|
|
| adv.圆润低沉地；感人地；堂皇地；朗朗地 | |
参考例句： |
|
|
|
|
143
dignified
|
|
| a.可敬的，高贵的 | |
参考例句： |
|
|
|
|
144
testament
|
|
| n.遗嘱；证明 | |
参考例句： |
|
|
|
|
145
luncheon
|
|
| n.午宴，午餐，便宴 | |
参考例句： |
|
|
|
|
146
tunes
|
|
| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
参考例句： |
|
|
|
|
147
sitting-room
|
|
| n.（BrE）客厅，起居室 | |
参考例句： |
|
|
|
|
148
neatly
|
|
| adv.整洁地，干净地，灵巧地，熟练地 | |
参考例句： |
|
|
|
|
149
calf
|
|
| n.小牛，犊，幼仔，小牛皮 | |
参考例句： |
|
|
|
|
150
memoirs
|
|
| n.回忆录；回忆录传( mem,自oir的名词复数) | |
参考例句： |
|
|
|
|
151
plunge
|
|
| v.跳入，(使)投入，(使)陷入；猛冲 | |
参考例句： |
|
|
|
|
152
secondly
|
|
| adv.第二，其次 | |
参考例句： |
|
|
|
|
153
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
154
isolated
|
|
| adj.与世隔绝的 | |
参考例句： |
|
|
|
|
155
descended
|
|
| a.为...后裔的，出身于...的 | |
参考例句： |
|
|
|
|
156
delicacy
|
|
| n.精致，细微，微妙，精良；美味，佳肴 | |
参考例句： |
|
|
|
|
157
docile
|
|
| adj.驯服的，易控制的，容易教的 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |