Djokjakarta, or Djokja, as it is commonly called, is set in the middle of a broad and fertile plain, at[190] the foot of the slumbering6 volcano of Merapi, whose occasional awakenings are marked by terrific earthquakes, which shake the city to its foundations and usually result in wide-spread destruction and loss of life. It is a city of broad, unpaved thoroughfares, shaded by rows of majestic7 waringins, and lined, in the European quarter, by handsome one-story houses, with white walls, green blinds and Doric porticos. There are two hotels in the city, one an excellently kept and comfortable establishment, as hotels go in Java; a score or so of large and moderately well-stocked European stores, and many small shops kept by Chinese; an imposing8 bank of stone and concrete; and one of the most beautiful race-courses that I have ever seen, the spring race meeting at Djokja being one of the most brilliant social events in Java. The busiest part of the city is the Chinese quarter, for, throughout the Insulinde, commerce, both retail9 and wholesale10, is largely in the hands of these sober, shrewd, hard-working yellow men, of whom there are more than three hundred thousand in Java alone and double that number in the archipelago. Beyond the European and Chinese quarters, scattered11 among the palms which form a thick fringe about the town, are the kampongs of the Javanese themselves—clusters of bamboo-built huts, thatched with leaves or grass, encircled by low mud walls. Standing13 well back from the street, and separated from it by a splendid sweep of velvety14 lawn, is the Dutch residency, a dignified15 building whose classic lines reminded me of the manor16 houses built[191] by the Dutch patroons along the Hudson. A few hundred yards away stands Fort Vredenburg, a moated, bastioned, four-square fortification, garrisoned18 by half a thousand Dutch artillerymen, whose guns frown menacingly upon the native town and the palace of the Sultan. Though its walls would crumble20 before modern artillery19 in half an hour, it stands as a visible symbol of Dutch authority and as a warning to the disloyal that that authority is backed up by cannon21.
Between Fort Vredenburg and the Sultan's palace stretches the broad aloun-aloun, its sandy, sun-baked expanse broken only by a splendid pair of waringin-trees, clipped to resemble royal payongs or parasols. In the old days those desiring audience with the sovereign were compelled to wait under these trees, frequently for days and occasionally for weeks, until "the Spike of the Universe" graciously condescended22 to receive them. Here also was the place of public execution. In the days before the white men came, public executions on the aloun-aloun provided pleasurable excitement for the inhabitants of Djokjakarta, who attended them in great numbers. The method employed was characteristic of Java: the condemned23 stood with his forehead against a wall, and the executioner drove the point of a kris between the vertebrae at the base of the neck, severing24 the spinal25 cord. But the gallows26 and the rope have superseded27 the wall and the kris in Djokjakarta, just as they have superseded the age-old custom of hurling28 criminals from the top of a high tower in Bokhara or of having the brains[192] of the condemned stamped out by an elephant, a method of execution which was long in vogue29 in Burmah.
But, though certain peculiarly barbarous customs which were practised under native rule have been abolished by the Dutch, I have no intention of suggesting that life in Djokjakarta has become colorless and tame. Au contraire! If you will take the trouble to cross the aloun-aloun to the gates of the palace, your attention will be attracted by a row of iron-barred cages built against the kraton wall. Should you be so fortunate as to find yourself in Djokjakarta on the eve of a religious festival or other holiday, each of these cages will be found to contain a full-grown tiger. For tiger-baiting remains30 one of the favorite amusements of the native princes. Nowhere else, so far as I am aware, save only in East Africa, where the Masai warriors31 encircle a lion and kill it with their spears, can you witness a sport which is its equal for peril32 and excitement.
On the day set for a tiger-baiting the aloun-aloun is jammed with spectators, their gorgeous sarongs and head-kains of batik forming a sea of color, while from a pavilion erected33 for the purpose the Sultan, surrounded by his glittering household and a selection of his favorite wives, views the dangerous sport in safety. In a cleared space before the royal pavilion several hundred half-naked Javanese, armed only with spears, stand shoulder to shoulder in a great circle, perhaps ten-score yards across, their spears pointing inward so as to form a steel fringe to the human [193]barricade. A cage containing a tiger, which has been trapped in the jungle for the occasion, is hauled forward to the circle's edge. At a signal from the Sultan the door of the cage is opened and the great striped cat, its yellow eyes glaring malevolently34, its stiffened35 tail nervously36 sweeping37 the ground, slips forth38 on padded feet to crouch39 defiantly40 in the center of the extemporized41 arena42. Occasionally, but very occasionally, the beast becomes intimidated43 at sight of the waiting spearmen and the breathless throng44 beyond them, but usually it is only a matter of seconds before things begin to happen. The long tail abruptly45 becomes rigid46, the muscles bunch themselves like coiled springs beneath the tawny47 skin, the sullen48 snarling49 changes to a deep-throated roar, and the great beast launches itself against the levelled spears. Sometimes it tears its way through the ring of flesh and steel, leaving behind it a trail of dead or wounded spearmen, and creating consternation50 among the spectators, who scatter12, panic-stricken, in every direction. But more often the spearmen drive it back, snarling and bleeding, whereupon, bewildered by the multitude of its enemies and maddened by the pain of its wounds, it hurls51 itself against another segment of the steel-fringed cordon52. After a time, baffled in its attempts to escape, the tiger retreats to the center of the circle, where it crouches53, snarling. Then, at another signal from the Sultan, the spearmen begin to close in. Smaller and smaller grows the circle, closer and closer come the remorseless[194] spear-points ... then a hoarse54 roar of fury, a spring too rapid for the eye to follow, a wild riot of brown bodies glistening55 with sweat ... spear-hafts rising and falling above a sea of turbaned heads as the blades are driven home ... again ... again ... again ... yet again ... into the great black-and-yellow carcass, which now lies inanimate upon the sand in a rapidly widening pool of crimson56.
Like the palaces of most Asiatic rulers, the kraton of the Sultan of Djokjakarta is really a royal city in the heart of his capital. It consists of a vast congeries of palaces, barracks, stables, pagodas57, temples, offices, courtyards, corridors, alleys58 and bazaars59, containing upward of fifteen thousand inhabitants, the whole encircled by a high wall four miles in length. Everything that the sovereign can require, every necessity and luxury of life, every adjunct of pleasure, is assembled within the kraton. As the Sultan's world is practically bounded by his palace walls, the kraton is to all intents and purposes a little kingdom in itself, for there dwell within it, besides the officials of the household and the women of the harem, soldiers, priests, gold and silversmiths, tailors, weavers60, makers61 of batik, civil engineers, architects, carpenters, stonemasons, manufacturers of musical instruments, stage furniture, and puppets, all supported by the court. The Sultan rarely leaves the kraton save on occasions of ceremony, when he appears in state, a thin, aristocratic-looking old man, somewhat taller than the average of[195] his subjects, wrapped in a sarong of cloth-of-gold, hung with jewels, shaded by a golden parasol, surrounded by an Arabian Nights court, and guarded—curious contrast!—by a squadron of exceedingly businesslike-looking Dutch cavalry62 in slouch hats and green denim63 uniforms.
The first impression which one receives upon entering the inner precincts of the kraton is of tawdriness and dilapidation64. Half-naked soldiers of the royal body-guard, armed with ten-foot pikes and clad only in baggy65, scarlet66 breeches and brimless caps of black leather, shaped like inverted67 flower-pots, lounge beside the gateway68 giving access to the Sultan's quarters or snore blissfully while stretched beneath the trees. The "Ruler of the World" receives his visitors—who, if they are foreigners, must always be accompanied by the Dutch Resident or a member of his staff—in the pringitan, or hall of audience, an immense, marble-floored chamber69, supported by many marble columns. The pringitan is open on three sides, the fourth communicating with the royal apartments and the harem, to which Europeans are never admitted. At the rear of the pringitan are a number of ornate state beds, hung with scarlet and heavily gilded70, evidently placed there for purposes of display, for they showed no evidences of having been slept in. Close by is a large glass case containing specimens71 of the taxidermist's art, including a number of badly moth-eaten birds of paradise. On the walls I noticed a steel-engraving of Napoleon crossing the[196] Alps, a number of English sporting prints depicting72 hunting and coaching scenes, and three villainous chromos of Queen Wilhelmina, Prince Henry of the Netherlands, and the Princess Juliana.
Thanks to the courtesy of the Resident, who had notified the authorities of the royal household of our visit in advance, we found that a series of Javanese dances had been arranged in our honor. Now Javanese dancing is about as exciting as German grand opera, and, like opera, one has to understand it to appreciate it. Personally, I should have preferred to wander about the kraton, but court etiquette73 demanded that I should sit upon a hard and exceedingly uncomfortable chair throughout a long and humid morning, with the thermometer registering one hundred and four degrees in the shade, and watch a number of anaemic and dissipated-looking youths, who composed the royal ballet, go through an interminable series of posturings and gestures to the monotonous75 music of a native orchestra.
Those who have gained their ideas of Javanese dancing from the performances of Ruth St. Denis and Florence O'Denishawn have disappointment in store for them when they go to Java. To tell the truth I found the dancers far less interesting than their audience, which consisted of several hundred women of the harem, clad in filmy, semi-transparent garments of the most beautiful colors, who watched the proceedings76 from the semi-obscurity of the pringitan. I cannot be certain, because the light was poor and their faces were[197] in the shadow, but I think that there were several extremely good-looking girls among them. There was one in particular that I remember—a slender, willowy thing with an apricot-colored skin and an oval, piquant77 face framed by masses of blue-black hair. Her orange sarong was so tightly wound about her that she might as well have been wearing a wet silk bathing-suit, so far as concealing78 her figure was concerned. Whenever she caught my eye she smiled mischievously79. I should have liked to have seen more of her, but an unamiable-looking sentry80 armed with a large scimitar prevented.
By extraordinary good fortune we arrived in Djokjakarta on the eve of the celebration of a double royal wedding, two of the Sultan's grandsons marrying two of his granddaughters. Thanks to the cooperation of the Dutch Resident, Hawkinson was enabled to obtain a remarkable81 series of pictures of the highly spectacular marriage ceremonies, it being the first time, I believe, that a motion-picture camera had been permitted within the closely guarded precincts of the kraton.
The festivities, which occupied several days, consisted of receptions, fireworks, reviews, games, dances, and religious ceremonies, culminating in a most impressive and colorful pageant82, when the two bridegrooms proceeded to the palace in state to claim their brides. Nowhere outside the pages of The Wizard of Oz could one find such amazing and fantastic costumes as those worn by the thousands of natives who took part in that procession. Every combination of colors was[198] used, every period of European and Asiatic history was represented. Some of the costumes looked as though they owed their inspiration to Bakst's designs for the Russian ballet—or perhaps Bakst obtained his ideas in Djokjakarta; others were strongly reminiscent of Louis XIV's era, of the courts of the great Indian princes, of the Ziegfeld Follies84.
The procession was led by four peasant women bearing trays of vegetables and fruits, symbols of fecundity85, I assumed. Behind them, sitting cross-legged in glass cages swung from poles, each borne by a score of sweating coolies in scarlet liveries, were the four chief messengers of the royal harem—former concubines of the Sultan who had once been noted86 for their influence and beauty. The cages—I can think of no better description—were of red lacquer, about four feet square, with glass sides, and, so far as I could see, entirely87 air-tight. They looked not unlike large goldfish aquariums88. As they were passing us the procession halted for a few moments and the panting coolies lowered their burdens to the ground. Whereupon Hawkinson, who is no respecter of persons when the business of getting pictures is concerned, set up his camera within six feet of one of the cages and proceeded to take a "close-up" of the indignant but helpless occupant, who, unable to escape or even turn away, could only assume an indifference89 which she was evidently far from feeling.
Following the harem attendants marched a company of the royal body-guard, in scarlet cutaway coats like[199] those worn by the British grenadiers during the American Revolution, pipe-clayed cross-belts, white nankeen breeches, enormous cavalry boots, extending half-way up the thigh90, and curious hats of black glazed91 leather, of a shape which was a cross between a fireman's helmet and the cap of a Norman man-at-arms. They were armed indiscriminately with long pikes and ancient flint-locks, and marched to the music of fife and drum. The leader of the band danced a sort of shimmy as he marched, at the same time tootling on a flute92. He looked like the Pied Piper of Hamelin. Perhaps the most curious feature of the procession was provided by the clowns, both men and women—an interesting survival of the court-jesters of the Middle Ages—powdered and painted like their fellows of the circus, and performing many of their stereotyped93 antics. One of them, wearing an enormous pair of black goggles94, bestrode a sort of hobby-horse, made of papier-maché, and, when he saw that Hawkinson was taking his picture, cavorted95 and grimaced96, to the huge delight of the onlookers97. The female clowns, all of whom were burdened by excessive avoirdupois, wiggled their hips98 and shoulders as they marched in a sort of Oriental shimmy.
Following a gorgeous cavalcade99 of mounted princes of the blood, in uniforms of all colors, periods, and descriptions, their képis surmounted100 by towering ostrich101 plumes102, came a long procession of the great dignitaries of the household—the royal betel-box bearer, the royal cuspidor-carrier, and others bearing on[200] scarlet cushions the royal toothpicks, the royal toothbrush, the royal toilet set, and the royal mirror, all of gold set with jewels. The mothers of the brides, painted like courtesans and hung with jewels, were borne by in sedan-chairs, in which they sat cross-legged on silken cushions. Then, after a dramatic pause, their approach heralded103 by a burst of barbaric music, came the brides themselves, each reclining in an enormous scarlet litter borne by fifty coolies. Beside them sat attendants who sprinkled them with perfumes and cooled them with fans of peacock-feathers. In accordance with an ancient Javanese custom, the faces, necks, arms, and breasts of the brides were stained with saffron to a brilliant yellow; their cheeks were as stiff with enamel105 as their garments were with jewels. Immediately behind the palanquins bearing the brides—one of whom looked to be about thirteen, the other a few years older—rode the bridegrooms; one, a sullen-looking fellow who, I was told, already had five wives and plainly showed it, astride a magnificent gray Arab; the other, who was still a boy, on a showy bay stallion, both animals being decked with flowers and caparisoned in trappings of scarlet leather trimmed with silver. The bridegrooms, naked to the waist, were, like their brides, dyed a vivid yellow; their sarongs were of cloth-of-gold and they were loaded with jeweled necklaces, bracelets106, and anklets. Royal grooms83 in scarlet liveries led their prancing107 horses and other attendants, walking at their stirrups, bore over their heads golden payongs, the Javanese symbol of [201]royalty108. Following them on foot was a great concourse of dignitaries and courtiers, clad in costumes of every color and description and walking under a forest of gorgeous parasols, the colors of which denoted the rank of those they shaded. The payongs of the Sultan, the Dutch Resident, and the royal princes are of gold, those of the princesses of the royal family are yellow, of the great nobles white, of the ministers and the higher officials of the country, red; of the lesser109 dignitaries, dark gray, and so on. This sea of swaying parasols, the gorgeous costumes of the dignitaries, the fantastic uniforms of the soldiery, the richly caparisoned horses, the gilded litters, the burnished110 weapons, the jewels of the women, the flaunting111 banners, and the rainbow-tinted batiks worn by the tens of thousands of native spectators combined to form a scene bewildering in its variety, dazzling in its brilliancy and kaleidoscopic112 in its coloring. Mr. Ziegfeld never produced so fantastic and colorful a spectacle. It would have been the envy and the despair of that prince of showmen, the late Phineas T. Barnum.
A dozen miles or so northwest of Djokjakarta, standing in the middle of a fertile plain which stretches away to the lower slopes of slumbering Merapi, are the ruins of Boro-Boedor, of all the Hindu temples of Java the largest and the most magnificent and one of the architectural marvels113 of the world. They can be reached from Djokjakarta by motor[202] in an hour. The road, which skirts the foothills of a volcanic114 mountain range, runs through a number of archways roofed with red tiles which in the rainy season afford convenient refuges from the sudden tropical showers and in the dry season opportunities to escape from the blinding glare of the sun. Leaving the main highway at Kalangan, a quaint116 hamlet with a picturesque117 and interesting market, we turned into a side road and wound for a few miles through cocoanut plantations118, then the road ascended120 and, rounding the shoulder of a little hill, we saw, through the trees, a squat121, pyramidal mass of reddish stone, broken, irregular and unimposing. It was Tjandi Boro-Boedor (the name means "shrine122 of the many Buddhas") considered by many authorities the most interesting Buddhist124 remains in existence. Though in magnitude it cannot compare with such great Buddhist monuments as those at Ajunta in India, and Angkor in Cambodia, yet in its beautiful symmetry and its wealth of carving125 it is superior to them all.
Strictly126 speaking, Boro-Boedor is not a temple but a hill, rising about one hundred and fifty feet above the plain, encased with terraces constructed of hewn lava-blocks and crowded with sculptures, which, if placed side by side, would extend for upwards127 of three miles. The lowest terrace now above ground forms a square, each side approximately five hundred feet long. About fifty feet higher there is another terrace of similar shape. Then follow four other terraces of more irregular contour, the structure being crowned[203] by a dome3 or cupola, fifty feet in diameter, surrounded by sixteen smaller bell-shaped cupolas, known as dagobas. The subjects of the bas-reliefs lining104 the lowest terrace are of the most varied128 description, forming a picture gallery of landscapes, agricultural and household episodes and incidents of the chase, mingled129 with mythological130 and religious scenes. It would seem, indeed, as though it had been the architect's intention to gradually wean the pilgrims from the physical to the spiritual, for as they began to ascend119 from stage to stage of the temple-hill they were insensibly drawn131 from material, every-day things to the realities of religion, so that by the time the dagoba at the top was reached they had passed through a course of religious instruction, as it were, and were ready, with enlightened eyes, to enter and behold132 the image of Buddha123, symbolically133 left imperfect, as beyond the power of human art to realize or portray134. From base to summit the whole hill is really a great picture-bible of the Buddhist creed135.
The building of Boro-Boedor was probably begun in the ninth century, when King Asoka was distributing the supposed remains of Buddha throughout all the countries of the East in an endeavor to spread the faith. A portion of the remains was brought to Boro-Boedor, which had been the center of Buddhist influence in Java ever since 603, when the Indian ruler, Guzerat, settled in Middle Java with five thousand of his followers136. In the sixteenth century, when a wave of Mohammedanism swept the island from end to[204] end, the Buddhist temples being destroyed by the fanatic137 followers of the Prophet and the priests slaughtered138 on their altars, the Buddhists139, in order to save the famous shrine from desecration140 and destruction, buried it under many feet of earth. Thus the great monument remained, hidden and almost forgotten, for three hundred years, but during the brief period of British rule in Java, Sir Stamford Raffles141 ordered its excavation142, the work being accomplished143 in less than two months. Since then the Dutch have taken further steps to restore and preserve it, though unfortunately the stone of which it is built was too soft to withstand the wear and tear of centuries, many of the bas-reliefs now being almost effaced144. It remains, however, one of the greatest religious monuments of all time.
Conditions at Surakarta—usually called Solo for short—are the exact counterpart of those in Djokjakarta: the same puppet ruler, who is called Susuhunan instead of Sultan, the same semi-barbaric court life, the same fantastic costumes, a Dutch resident, a Dutch fort, and a Dutch garrison17. But the kraton of the Susuhunan is far better kept than that of his fellow ruler at Djokjakarta, and shows more evidences of Europeanization. The troopers of the royal body-guard are smart, soldierly-looking fellows in well-cut uniforms of European pattern, to which a distinctly Eastern touch is lent, however, by their steel helmets, their brass145-embossed leather shields, their scimitars, and their shoulder-guards of chain mail. The[205] royal stables, which contain several hundred fine Australian horses and a number of beautiful Sumbawan ponies146, together with a score or more gilt147 carriages of state, are as immaculately kept as those of Buckingham Palace. In the palace garage I was shown a row of powerful Fiats148, gleaming with fresh varnish149 and polished brass, and beside them, as among equals, a member of the well-known Ford115 family of Detroit, proudly bearing on its panels the ornate arms of the Susuhunan. I felt as though I had encountered an old friend who had married into royalty.
As though we had not seen enough dancing at Djokjakarta, I found that they had arranged another performance for us in the kraton at Surakarta. This time, however, the dancers were girls, most of them only ten or twelve years old and none of them more than half-way through their teens. They wore sarongs of the most exquisite150 colors—purple, heliotrope151, violet, rose, geranium, cerise, lemon, sky-blue, burnt-orange—and they floated over the marble floor of the great hall like enormous butterflies. As a special mark of the Susuhunan's favor, the performance concluded with a spear dance by four princes of the royal house—blasé, decadent-looking youths, who spend their waking hours, so the Dutch official who acted as my cicerone told me, in dancing, opium-smoking, cock-fighting and gambling152, virtually their only companions being the women of the harem. If the Dutch Government does not actively153 encourage dissipation and debauchery among the native princes, neither does it[206] take any steps to discourage it, the idea being, I imagine, that Holland's administrative154 problems in the Vorstenlanden would be greatly simplified were the reigning155 families to die out. The princes, who were armed with javelins156 and krises, performed for our benefit a Terpsichorean157 version of one of the tales of Javanese mythology158. The dance was characterized by the utmost deliberation of movement, the dancers holding certain postures159 for several seconds at a time, reminding me, in their rigid self-consciousness, of the "living pictures" which were so popular in America twenty years ago.
All of the dancers, as I have already remarked, were of the blood royal and one, I was told, was in the direct line of succession. Judging from the vacuity160 of his expression, the Dutch have no reason to anticipate any difficulty in maintaining their mastery in Soerakarta when he comes to the throne. But the Dutch officials take no chances with the intrigue-loving native princes; they keep them under close surveillance at all times. It is one of the disadvantages of Christian161 governments ruling peoples of alien race and religion that methods of revolt are not always visible to the naked eye, and even the Dutch Intelligence Service in the Indies, efficient as it is, has no means of knowing what is going on in the forbidden quarters of the kratons. In Java, as in other Moslem162 lands, more than one bloody163 uprising has been planned in the safety and secrecy164 of the harem. Potential disloyalty is neutralized165, therefore, by a discreet166 display of force.[207] Throughout the performance in the palace a Dutch trooper in field gray, bandoliers stuffed with cartridges167 festooned across his chest and a carbine tucked under his arm, paced slowly up and down—an ever-present symbol of Dutch power—watching the posturing74 princes with a sardonic168 eye. That is Holland's way of showing that, should disaffection show its head, she is ready to deal with it.
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spike
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| n.长钉，钉鞋；v.以大钉钉牢，使...失效 | |
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beset
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| v.镶嵌；困扰，包围 | |
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dome
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| n.圆屋顶，拱顶 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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emulator
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| n.仿真器；仿真程序 | |
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slumbering
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| 微睡，睡眠（slumber的现在分词形式） | |
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7
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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retail
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| v./n.零售；adv.以零售价格 | |
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wholesale
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| n.批发；adv.以批发方式；vt.批发，成批出售 | |
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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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scatter
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| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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velvety
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| adj. 像天鹅绒的, 轻软光滑的, 柔软的 | |
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dignified
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| a.可敬的，高贵的 | |
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manor
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| n.庄园，领地 | |
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garrison
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| n.卫戍部队；驻地，卫戍区；vt.派(兵)驻防 | |
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garrisoned
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| 卫戍部队守备( garrison的过去式和过去分词 )； 派部队驻防 | |
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artillery
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| n.(军)火炮，大炮；炮兵(部队) | |
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crumble
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| vi.碎裂，崩溃；vt.弄碎，摧毁 | |
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cannon
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| n.大炮，火炮；飞机上的机关炮 | |
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condescended
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| 屈尊，俯就( condescend的过去式和过去分词 )； 故意表示和蔼可亲 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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severing
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| v.切断，断绝( sever的现在分词 )；断，裂 | |
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spinal
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| adj.针的，尖刺的，尖刺状突起的；adj.脊骨的，脊髓的 | |
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gallows
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| n.绞刑架，绞台 | |
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superseded
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| [医]被代替的，废弃的 | |
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hurling
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| n.爱尔兰式曲棍球v.猛投，用力掷( hurl的现在分词 )；大声叫骂 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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31
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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32
peril
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| n.(严重的)危险；危险的事物 | |
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33
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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34
malevolently
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35
stiffened
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| 加强的 | |
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36
nervously
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| adv.神情激动地，不安地 | |
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37
sweeping
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| adj.范围广大的，一扫无遗的 | |
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38
forth
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| adv.向前；向外，往外 | |
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39
crouch
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| v.蹲伏，蜷缩，低头弯腰；n.蹲伏 | |
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40
defiantly
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| adv.挑战地，大胆对抗地 | |
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41
extemporized
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| v.即兴创作，即席演奏( extemporize的过去式和过去分词 ) | |
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42
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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43
intimidated
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| v.恐吓；威胁adj.害怕的；受到威胁的 | |
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44
throng
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| n.人群，群众；v.拥挤，群集 | |
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45
abruptly
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| adv.突然地，出其不意地 | |
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46
rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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47
tawny
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| adj.茶色的，黄褐色的；n.黄褐色 | |
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48
sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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49
snarling
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| v.（指狗）吠，嗥叫， （人）咆哮( snarl的现在分词 )；咆哮着说，厉声地说 | |
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50
consternation
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| n.大为吃惊，惊骇 | |
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51
hurls
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| v.猛投，用力掷( hurl的第三人称单数 )；大声叫骂 | |
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52
cordon
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| n.警戒线，哨兵线 | |
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53
crouches
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| n.蹲着的姿势( crouch的名词复数 )v.屈膝，蹲伏( crouch的第三人称单数 ) | |
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54
hoarse
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| adj.嘶哑的，沙哑的 | |
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55
glistening
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| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
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56
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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57
pagodas
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| 塔，宝塔( pagoda的名词复数 ) | |
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58
alleys
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| 胡同，小巷( alley的名词复数 )； 小径 | |
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59
bazaars
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| （东方国家的）市场( bazaar的名词复数 )； 义卖； 义卖市场； （出售花哨商品等的）小商品市场 | |
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60
weavers
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| 织工，编织者( weaver的名词复数 ) | |
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61
makers
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| n.制造者，制造商（maker的复数形式） | |
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62
cavalry
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| n.骑兵；轻装甲部队 | |
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63
denim
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| n.斜纹棉布；斜纹棉布裤，牛仔裤 | |
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64
dilapidation
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| n.倒塌；毁坏 | |
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65
baggy
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| adj.膨胀如袋的，宽松下垂的 | |
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66
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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67
inverted
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| adj.反向的，倒转的v.使倒置，使反转( invert的过去式和过去分词 ) | |
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68
gateway
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| n.大门口，出入口，途径，方法 | |
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69
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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70
gilded
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| a.镀金的，富有的 | |
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71
specimens
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|
| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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72
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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73
etiquette
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| n.礼仪，礼节；规矩 | |
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74
posturing
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| 做出某种姿势( posture的现在分词 ) | |
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75
monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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76
proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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77
piquant
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| adj.辛辣的，开胃的，令人兴奋的 | |
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78
concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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79
mischievously
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| adv.有害地；淘气地 | |
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80
sentry
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| n.哨兵，警卫 | |
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81
remarkable
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|
| adj.显著的，异常的，非凡的，值得注意的 | |
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82
pageant
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| n.壮观的游行；露天历史剧 | |
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83
grooms
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| n.新郎( groom的名词复数 )；马夫v.照料或梳洗（马等）( groom的第三人称单数 )；使做好准备；训练；（给动物）擦洗 | |
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84
follies
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| 罪恶，时事讽刺剧； 愚蠢，蠢笨，愚蠢的行为、思想或做法( folly的名词复数 ) | |
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85
fecundity
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| n.生产力；丰富 | |
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86
noted
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| adj.著名的，知名的 | |
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87
entirely
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|
| ad.全部地，完整地；完全地，彻底地 | |
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88
aquariums
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| n.养鱼缸，水族馆( aquarium的名词复数 ) | |
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89
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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90
thigh
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| n.大腿；股骨 | |
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91
glazed
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|
| adj.光滑的，像玻璃的；上过釉的；呆滞无神的v.装玻璃( glaze的过去式)；上釉于，上光；（目光）变得呆滞无神 | |
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92
flute
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|
| n.长笛；v.吹笛 | |
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93
stereotyped
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|
| adj.(指形象、思想、人物等)模式化的 | |
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94
goggles
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| n.护目镜 | |
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95
cavorted
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| v.跳跃( cavort的过去式 ) | |
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96
grimaced
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| v.扮鬼相，做鬼脸( grimace的过去式和过去分词 ) | |
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97
onlookers
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| n.旁观者，观看者( onlooker的名词复数 ) | |
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98
hips
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| abbr.high impact polystyrene 高冲击强度聚苯乙烯，耐冲性聚苯乙烯n.臀部( hip的名词复数 )；[建筑学]屋脊；臀围（尺寸）；臀部…的 | |
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99
cavalcade
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| n.车队等的行列 | |
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100
surmounted
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|
| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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101
ostrich
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| n.鸵鸟 | |
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102
plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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103
heralded
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| v.预示( herald的过去式和过去分词 )；宣布（好或重要） | |
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104
lining
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| n.衬里，衬料 | |
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105
enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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106
bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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107
prancing
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| v.（马）腾跃( prance的现在分词 ) | |
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108
royalty
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| n.皇家，皇族 | |
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109
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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110
burnished
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|
| adj.抛光的，光亮的v.擦亮（金属等），磨光( burnish的过去式和过去分词 )；被擦亮，磨光 | |
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111
flaunting
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|
| adj.招摇的，扬扬得意的，夸耀的v.炫耀，夸耀( flaunt的现在分词 )；有什么能耐就施展出来 | |
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112
kaleidoscopic
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|
| adj.千变万化的 | |
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113
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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114
volcanic
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| adj.火山的；象火山的；由火山引起的 | |
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115
Ford
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| n.浅滩，水浅可涉处；v.涉水，涉过 | |
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116
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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117
picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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118
plantations
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| n.种植园，大农场( plantation的名词复数 ) | |
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119
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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120
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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121
squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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122
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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123
Buddha
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| n.佛；佛像；佛陀 | |
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124
Buddhist
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| adj./n.佛教的，佛教徒 | |
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125
carving
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| n.雕刻品，雕花 | |
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126
strictly
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| adv.严厉地，严格地；严密地 | |
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127
upwards
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| adv.向上，在更高处...以上 | |
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128
varied
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| adj.多样的，多变化的 | |
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129
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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130
mythological
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| adj.神话的 | |
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131
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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132
behold
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| v.看，注视，看到 | |
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133
symbolically
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| ad.象征地，象征性地 | |
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134
portray
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| v.描写，描述；画(人物、景象等) | |
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135
creed
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| n.信条；信念，纲领 | |
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136
followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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137
fanatic
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| n.狂热者，入迷者；adj.狂热入迷的 | |
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138
slaughtered
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| v.屠杀，杀戮，屠宰( slaughter的过去式和过去分词 ) | |
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139
Buddhists
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| n.佛教徒( Buddhist的名词复数 ) | |
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140
desecration
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| n. 亵渎神圣, 污辱 | |
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141
raffles
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| n.抽彩售物( raffle的名词复数 )v.以抽彩方式售（物）( raffle的第三人称单数 ) | |
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142
excavation
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| n.挖掘，发掘；被挖掘之地 | |
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143
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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144
effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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145
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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146
ponies
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| 矮种马，小型马( pony的名词复数 )； ￡25 25 英镑 | |
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147
gilt
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| adj.镀金的；n.金边证券 | |
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148
fiats
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| n.命令，许可( fiat的名词复数 )；菲亚特汽车（意大利品牌） | |
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149
varnish
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| n.清漆；v.上清漆；粉饰 | |
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150
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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151
heliotrope
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| n.天芥菜；淡紫色 | |
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152
gambling
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| n.赌博；投机 | |
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153
actively
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| adv.积极地，勤奋地 | |
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154
administrative
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| adj.行政的，管理的 | |
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155
reigning
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| adj.统治的，起支配作用的 | |
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156
javelins
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| n.标枪( javelin的名词复数 ) | |
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157
terpsichorean
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| adj.舞蹈的；n.舞蹈家 | |
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158
mythology
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| n.神话，神话学，神话集 | |
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159
postures
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| 姿势( posture的名词复数 )； 看法； 态度； 立场 | |
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160
vacuity
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| n.(想象力等)贫乏，无聊，空白 | |
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161
Christian
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| adj.基督教徒的；n.基督教徒 | |
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162
Moslem
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| n.回教徒，穆罕默德信徒；adj.回教徒的，回教的 | |
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163
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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164
secrecy
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| n.秘密，保密，隐蔽 | |
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165
neutralized
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| v.使失效( neutralize的过去式和过去分词 )；抵消；中和；使（一个国家）中立化 | |
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166
discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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167
cartridges
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| 子弹( cartridge的名词复数 )； （打印机的）墨盒； 录音带盒； （唱机的）唱头 | |
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168
sardonic
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| adj.嘲笑的，冷笑的，讥讽的 | |
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