But the following year he struck the naturalistic note more strongly in his Portrait of Lady L., the only full-length, life-sized portrait that he ever painted; and he declared himself plainly and definitely a realist in his picture entitled My Parents. It would be impossible to find two figures more life-like, more literal, or painted with[Pg 32] greater sincerity3. This canvas amounted to a declaration of principles; for an artist whom filial piety4 cannot turn aside from the truth will never make sacrifices to convention: he will never consent to embellish5 or idealize his models through tricks of his craft; he will paint them as he sees them, without correcting any of the imperfections and ugliness with which nature has afflicted6 them. How clearly we recognize that these likenesses of Bastien-Lepage's parents are absolutely true to life, and how much better we like them as they are, in the simple intimacy7 of daily life, than if they had been decked out, all spick and span, as a less scrupulous8 artist would inevitably9 have shown them to us!
Bastien-Lepage's brother, himself a painter of some talent, has preserved in his studio at Neuilly a certain number of the artist's works, which he surrounds with pious10 care and feelingly exhibits to occasional visitors. The family portraits are there, pulsating11 with life and radiating that gener[Pg 35]ous peasant kindliness12 which finds expression in a broad and tender smile. The father, seated in a chair in his garden, an old man with shrewd yet friendly eyes, seems so real, so actual, that we almost expect him to step down from his frame to bid us welcome. And what a marvel13 the Portrait of my Mother is, which forms a companion piece on the same wall! A somewhat wistful charm pervades14 this face, with its deeply graven lines, and an infinite tenderness, a true mother's tenderness, hovers15 over the thin, pale lips.
PLATE IV PLATE IV—HAY-MAKING
(Museum of the Luxembourg)
A masterpiece of contemporary painting, because of the truth of its attitudes and the vigour17 of its execution. It would be impossible to render more forcibly the blissfulness of rest when the body has been racked by the exhausting labour of the soil. In this picture, Bastien-Lepage revealed himself as an incomparable painter of rural life.
Perhaps this is the moment, in the presence of these pictures, to emphasize Bastien-Lepage's great value as a colourist. Few contemporary painters have used colour with so much tact18, such veritable mastery as he. Others have employed more dazzling tonal schemes and have achieved more gorgeous effects, but no one has rendered with such exact truth the tints19 of the flesh, the grayish folds of wrinkles, the profound light of the eye. And his colour is always clear,[Pg 36] always unmistakably employed to produce a sought-after effect. There is no artifice20, no trick-work, it is all straightforward21, honest, precise; the opposition22 of light and shade never result in opacity23, bitumen24 plays no part in his canvases, the astonishing relief of which is obtained by means of such perfect simplicity25 that it recalls the inimitable technique of Correggio.
In 1878 he exhibited Hay-making, that magisterial26 page from the life of the fields which to-day is the pride of the Luxembourg museum, and which the art of the engraver27 has scattered28 broadcast to the extent of millions of copies.
This picture represents a vast sun-bathed meadow, overstrewn with new-mown hay and punctuated29, here and there, by the rounded cones30 of the stacks. Against the blue background of the sky, green hill-tops trace an undulant line. In the foreground a robust31, bony-armed country-woman is seated on the grass, her legs stretched out before her in an attitude expressive32 of the utter[Pg 37] weariness resulting from the work performed. Her head, solidly planted on her massive neck, is a marvel of realism; in her vulgar peasant face we may read health, strength, and a sort of dulled mentality33 born of physical fatigue34. In every fibre of her exhausted35 body the woman is veritably resting, and through her half-parted lips it seems as though we could detect the passage of her hurried breathing. The man beside her, no less worn out than she, is stretched at full length on the thick couch of grass, and with his hat over his face, to shelter it from the sun, he is sleeping as though dead to the world.
Every detail of this canvas is perfect, because every detail is true, drawn36 straight from life, the fruit of minute observation. In it Bastien-Lepage once more affirms his predilection37 for the open country; and nothing could be more impressive than these two uncouth38, vulgar, homely39 human beings, set amid the splendour of a meadow turned golden by the sun. It is an every-day spectacle; it[Pg 38] would not seem at first sight to contain material for a picture. But Bastien-Lepage has succeeded in proving indisputably that beauty does not consist solely40 in the harmony of the body, but in the impression which emanates41 from scenes that are most humble42 in outward appearance. In these few square feet of canvas the artist has summed up, perhaps without intending it, all the majesty43 of nature and all the grandeur44 of the life of the fields. It is scarcely necessary to add that this work is a transcript45 of the soil of Lorraine, that good natal46 soil which he loved so profoundly and to which he returned eagerly, year after year.
Bastien-Lepage was exclusively the painter of the rural aspects of Lorraine; he loved its horizons, its fertile and undulating plains. And when, occasionally, he ventured into allegory, the background was still Lorraine, and the characters were developed in the familiar setting of his native village, Damvillers. And how he loved it! How he enjoyed the warm atmosphere of affection [Pg 41] which always awaited him when his father, grandfather, and valiant47 and devoted48 "little mother" gathered at night around the family table! He made his home in Paris, because residence there was indispensable, both for business and artistic49 reasons; but the moment that he could escape from the capital and its constraints50, he would go to rest and gather new energy in the midst of the family circle. He had a spacious51 studio installed in the second story of the ancestral home; and there he worked, absolutely happy so long as he could see the old grandfather at his side, pipe in mouth, examining the work with a knowing air, and the father and mother in a sort of ecstasy52, as they watched him fill in his canvas.
PLATE V PLATE V.—PORTRAIT OF M. HAYEM
(Museum of the Luxembourg)
A marvel of discernment and of rendering53. The face, to be sure, has a strong originality54; but there is no slight merit in having expressed with such striking truth the piercing intelligence of the eyes that twinkle behind the lenses of the spectacles, and the energy, tempered with satiric55 humour, of his whole odd physiognomy.
Nevertheless, Bastien-Lepage was no studio painter; it was not from the height of a window that he chose to contemplate56 nature, but in the open fields, in the very heart of the furrows57; and it was there also, in the midst of the wheat and the rye, that he set up his easel and painted his[Pg 42] peasants in action, in the daily fulfilment of their thankless task. And by picturing them thus, without artifice, in all their simplicity of gesture and coarseness of feature, he imbued58 his canvases with a profound spirit of poetry, through which the often brutal59 realism of his subjects was redeemed60 and ennobled. In the presence of these peasants he experienced a joy more genuine than he had ever felt before the rarest canvases in any museum. Not that he denied or disdained61 the genius of the great ancestors of painting; he had too much reverence62 for his art ever to dream of doing so. But when it came to a question of training, he could learn more from nature than from them. Listen to his own exposition of his ideas:
"What a pity," he wrote, "that we are initiated63, whether we will or not, into traditions and routines, under the pretext64 that this is the way to train us to be artists! It would be so simple to teach the use of brush and palette, without ever once mentioning the name of Michelangelo[Pg 43] or Raphael or Murillo or Domenichino! We could then go home, back to Brittany or Gascony, Lorraine or Normandy, and peacefully paint the portrait of our own province; and if some morning the book we had chanced to read aroused the wish to paint a Prodigal65 Son, or Priam at the feet of Achilles, we could reconstruct the scene to suit ourselves, without needing to resort to the museums, taking the setting from our own surroundings and making use of the models close at hand, as though the old drama dated only from yesterday. That is the way for an artist to succeed in breathing the breath of life into his art and in making it beautiful and appealing to the eyes of the whole world. And that is the goal towards which I am striving with all my strength."
As painter of the open air, he became in a certain sense the founder66 of a school, without meaning to be; for his conception of the painter's art won over a whole group of young artists who united in hailing him as their master. Each year[Pg 44] his offerings to the Salon67 were impatiently awaited, and his followers68 gathered in full force before them, discussing, comparing, acclaiming69; each Salon became the occasion for a new success, the critics were unanimous in praising him, the public adopted his pictures for their own, because they could understand his clear and rigorous manner. Whatever hostility70 he met with was among his own colleagues, at least among such of them as were discouraged and humiliated71 by his vigorous originality. Nevertheless, the Exposition of 1878, at which he had gathered together all his works, was an especially triumphant72 occasion for him; yet when the awards were distributed, he discovered that he had received nothing but a medal of the third class.
At the Salon of 1879, Bastien-Lepage exhibited his Women gathering73 Potatoes, which formed a companion piece to his Hay-making. Here again we have the landscape of Lorraine and the eternal and infinitely74 varied75 theme of rural labour. In a sun-parched field two women are toiling76 to reap[Pg 45] the harvest of potatoes. While the one in the middle distance is stooping to turn up the ripe bulbs from the soil, the other, placed in the foreground, is striving to empty the contents of her basket into a sack which she holds open by a wonderfully natural movement of her knee. Nothing could be simpler or more humble than this subject, and yet one feels drawn towards it, conquered by the truth of these two figures, both in their attitude and their expression. Involuntarily memory conjures78 up another canvas, The Gleaners, and we realize that it is impossible to resist that higher appeal which the great artists succeed in giving to the most commonplace episode of farming life. But, unlike Millet79, Bastien-Lepage does not awaken80 in us any compassion81 for these beings who toil77, stooping above the earth; no touch of bitterness saddens his pictures, and the types which he shows to us have the healthy vigour of peasants who live their lives in the open air and love the soil which nourishes them.[Pg 46]
This picture, when it appeared, produced a sensation. Coming directly after the Hay-making, it definitely established Bastien-Lepage's talent and placed him in the foremost rank of painters of rural life. The critics hailed this powerful canvas with enthusiasm. Théodore de Banville, writing of the Salon of 1879, said: "M. Bastien-Lepage is the king of this Exposition. Young as he is, he has started in to produce masterpieces: he is very wise! For in later years an artist continues to copy himself, with more or less cleverness and success; but the creative genius has taken wing, like a bird on whose tail we have failed to drop the indispensable grain of salt. The October Season pictures the harvesting of potatoes. The earth, the encompassing82 air as far as we can see, the sky, the solitude83 laden84 with silence, are all evoked85 for us in this picture by the sincerity of its powerful painter; the peasant women are done in a masterly manner, and precisely86 for the reason that he has seen them apart from all convention[Pg 47] and has not tried to idealize them by any hackneyed device."
Albert Wolff was no less enthusiastic: "The colouring in Women harvesting Potatoes is ingratiating and discreet87; not a discordant88 touch disturbs the beautiful harmony of this canvas, over which the silence of the open country has descended89, enveloping90 the obscure toil. It is only artists of superior powers who can embody91 so much charm in a single conception."
Another feature of the same Salon was his magnificent portrait of Madame Sarah Bernhardt, a marvel of expression and of delicate art, embodied92 in a pale symphony of tenderest whites, blending harmoniously93 with the warmest tones of gold. The great tragic94 actress is portrayed95 draped, almost swathed, in a gown of white china silk, verging96 on the faintest yellowish caste; she is posed in profile, that cameo-like profile that has so often been portrayed. She is seated, with a sort of intentional97 rigidity98, on a white fur robe, and is[Pg 48] examining a statuette of Orpheus, in old ivory, which she holds in her hands. Her expressive and intellectual features are treated with a vigour which does full justice to the classic beauty and virile99 energy of the sitter.
"The work as a whole," wrote the critic of the Revue des Beaux-Arts, "possesses supreme100 distinction and an admirable delicacy101 of colouring. The silvery tones of the whites, the warm grays of the draped gown lead up to the freshness of the delicate, rose-like flesh tints, beneath the crown of close curled locks that seem at once massive and weightless. The artist's hand was sure of itself; it neither groped nor hesitated. The execution is such that the drawing of the gown and the lines of the face seem to have been traced by an engraver's tool. In this case, however, definiteness has not resulted in stiffness. The sharp design has not imprisoned102 unwilling103 forms; it leaves them free to move as they please within the limits of their contours which are its domain104. It is worth[Pg 51] while to examine with a lens the marvellous process which, by the aid of imperceptible half-tones, has softened105 the modelling of the face and hands."
PLATE VI PLATE VI.—PORTRAIT OF M. X——
(Museum at Verdun)
Bastien-Lepage possessed106 the rare quality of being able to bestow107 the same superior skill upon every part of a portrait. Being sincere before all else, he never tried to shirk any difficulty; this is seen in the care he took in painting the hands of all his various sitters, showing something akin16 to vanity in the marvellous talent he displayed in rendering them. In this portrait—just as in all the others—the hands are quite as truly a miracle of execution as the face itself.
These two pictures earned Bastien-Lepage the Cross of the Legion of Honour and a definite recognition of his talent. The artist could not keep his delight to himself and, good son that he was, wished to share it with his beloved family; so he sent for them, to pay him a visit in Paris. The grandfather and the "good little mother" arrived, full of pride in this famous son, of whom the whole world was talking. He showed them the sights of the city and was only too happy to have a chance to introduce them to his friends; he took his mother to the big shops and insisted on choosing silk cloaks and silk dresses for her. The poor woman protested, saying that they were far too fine, that she would never dare to wear anything like that. "Show us some more," ordered the devoted artist, "I want mamma to have her choice of the best there is!"[Pg 52]
After the old people had returned home to Lorraine, Bastien-Lepage set out for England, where he was to paint the portrait of the Prince of Wales, who afterwards became King Edward VII.
In this portrait of tiny dimensions the Prince is represented in fancy costume, after the manner of Holbein. His garments recall in a measure those worn by King Henry VIII, in the celebrated108 portrait done by the great painter from Basle. The Collar of the Golden Fleece is displayed upon his breast. In the background of the picture may be seen dimly, through a veil of mist, the panorama109 of London and the gray ribbon of the Thames. The portrait is a little gem110, which Bastien-Lepage wrought111 with the minuteness and affectedly113 hieratic mannerism114 of Holbein and the French primitive115 school. Although at present in possession of M. émile Bastien-Lepage, it will eventually find its place, together with a goodly number of other canvases, in the museum of the Louvre, to which the brother of the great artist intends to bequeath them.[Pg 53]
It should be mentioned here, in connection with this work, that Bastien-Lepage continued to make more and more of a specialty116 of portraits of reduced dimensions, and that he acquired in this respect a reputation of the first order. He loved these little canvases, scarcely larger than miniatures, and he expended117 on their scanty118 surfaces an inimitable skill; he embellished119 them with a wealth of accessory detail which brings to mind, as we look at them to-day, the formidable labours of the illuminators of the middle ages. But this goldsmith's work, far from impairing120 the effect of the whole, adds a certain fascination121 to it. And he expended upon the study of the face the same degree of devotion that he gave to the rendering of a garment. His models relive with an intensity122 of life such as could be expressed only by an artist who has made a life-long study of nature in her minutest manifestations123.
To name over his portraits would be to mention an equal number of masterpieces. The catalogue[Pg 54] would be too long, for Bastien-Lepage was an indefatigable124 workman. We may content ourselves with citing those that are most widely known: that of M. Andrieux, one-time Prefect of Police, whose refined features are rendered with striking truth; that of J. Bastien-Lepage, the artist's uncle, which is here reproduced and which shows him violin in hand, a clear and vigorous piece of brush-work, transcribing125 life in telling strokes, with an astonishing simplicity of means. This fine example is to be seen to-day in the museum at Verdun. And in the same museum there is still another that deserves mention; namely, the excellent Portrait of M. X. And we must not forget the Portrait of André Theuriet, born, like Bastien-Lepage, on the banks of the Meuse and attached to the painter by ties of almost fraternal affection. One feels that, in this picture, the heart must have guided the hand, for it would be difficult to find another work more magisterial in execution and more delicate in finish. And lastly, there is[Pg 55] Mme. Bastien-Lepage, the "good little mother," as the great artist and loving son used to call her. He posed her in the garden of the home at Damvillers. She is seated on a stone bench; on her knees rests a large garden hat; her two hands are crossed, one over the other, and in the left she holds a little bunch of field flowers. She is clad in a loose dress of sombre colour, cut with a pelerine; and nothing but the one bright spot formed by the white collar reveals the severity of the costume. The whole attitude of the body in repose126 is perfect in its truth and naturalness; but our admiration127 changes and quickens to emotion when we raise our eyes to the level of the face of this "good little mother," a bony, irregular face, almost ugly, but so gentle, so kind, so touchingly128 illumined by the tender caress129 in the eyes as they rest upon the adored son in the course of painting her. Those emaciated130 features, which not even the crown of blonde hair is able to rejuvenate131, are unmistakably those of a mother; if we had not[Pg 56] known, we should inevitably have divined it; no one but a son, and a great artist as well, could have crowned the brow of a woman with such an aureole of gentleness and love.
Bastien-Lepage, whom those who envied him affected112 to regard as dedicated132 wholly to the reproduction of rustic133 uncouthness134, had no equal in catching135 the radiance of feminine charms, even in their subtlest manifestations. No one was more skilled than he in seizing and recording136 the one particular trait, often elusive137 and intangible, which characterizes a woman and makes her beautiful. What delicious portraits of women we owe to him! Where could we meet with a more smiling image than that of Mme. Godillot, radiant and seductive, a rosy139 vision in the black velvet140 of her gown, relieved by the brilliant sheen of her white satin corsage! And what studied and elaborate art was expended on the Portrait of Mme. Klotz, whose magnificent brunette beauty emerges like a gorgeous lily from the surrounding whiteness of[Pg 57] her scarf, that is all the more dazzlingly white by contrast with her sombre robe! And still again, there is the Portrait of Mme. Juliette Drouet, another beautiful and noble specimen141 of portraiture142. And how marvellously Bastien-Lepage could detect the hidden soul lurking143 in the inmost recesses144 of his models and reveal it behind the transparent145 screen of their eyes! If Bastien-Lepage had not achieved eternal glory as an interpreter of rural life, he would still have remained celebrated as a portrait painter.
But to Bastien-Lepage portrait painting was only a side issue, a form of relaxation146 between two landscapes; his predilection, his one object in life, so to speak, was to return constantly to his peasants, his scenes of toil, his fields of Lorraine.
After his return from England he passed some months at Damvillers, when an impulse seized him to visit Italy, to which the verdict of a prejudiced committee had once upon a time barred his way. He proceeded straight to Venice, and it[Pg 58] may as well be acknowledged at once, Venetian art left him cold, if not indifferent. He had never in the least understood any of the big "set pieces," and in spite of all the art of Veronese and Titian, in spite of their dazzling flare147 of colour, he never succeeded in understanding their sumptuous148 allegories or in accepting the fantastic interpretation149 of nature which the Venetians allowed themselves. He returned to Damvillers, profoundly disillusioned150 and more than ever convinced that nature alone, such as he saw it, was deserving of the attention of the true artist. There would be no object in discussing here how rightly or how ill founded such an opinion was; we note it only to indicate once more the absolute independence of the painter, his fixed151 determination never to imitate anyone.
And, beyond question, there is no resemblance to any other painter in that curious and remarkable152 picture known as Jeanne d'Arc listening to the Voices. Lorraine in heart and soul, Bastien-Lepage desired to pay his tribute, as so many had done [Pg 61] before him, to the glorious heroine who, like him, had come from the banks of the Meuse. And he wished also to restore her to her natural setting, with the greatest degree of historic accuracy. Consequently it is in a Lorraine garden surrounding a Lorraine cottage that he shows us Jeanne, the shepherdess; around her are the familiar garden utensils153 such as peasants use to-day just as they did in the fifteenth century. She is standing in an inspired and attentive154 attitude, which gives to her whole countenance155 that forceful character which Bastien-Lepage imprints156 upon all his compatriots. For he wished to make her, in a certain sense, a composite type of the women of the Lorraine race, such as Theuriet has described: "The forehead low but intelligent, the eyes with drooping157 lids that half conceal158 the somewhat sullen159 glance; the bones prominent in cheek and jaw160, the chin square, indicative of an opinionated race; the mouth large, with half parted lips, through which one perceives the passage of the deep-drawn[Pg 62] breath." This head is always the same; under all the variations in physiognomy we always meet with the same local type: it is the head of the woman in Hay-making and of the Women gathering Potatoes, and it is also that of the "good little mother," so fundamentally and emphatically representative of Lorraine.
PLATE VII PLATE VII.—THE LITTLE CHIMNEY-SWEEP
(Collection of é. Bastien-Lepage)
This attractive picture, full of charm and vigour, belongs to the closing years of the artist's life, at the time when he was enjoying the flood tide of his talent. How much force and truth there is in this picture of the little chimney-sweep, and what graceful161 nimbleness in the movements of the cats that he is watching at play.
Nevertheless Jeanne d'Arc listening to the Voices was rather badly received by the critics. Without disputing the originality and vigour of the inspired shepherdess, they reproached the artist for the presence of the traditional saints. Bastien-Lepage had indicated these under the form of luminous162 vapour, radiating through the branches overhanging the garden: St. Michael in the golden armour163 of a knight164 of the fifteenth century, St. Margaret and St. Catherine as phantoms165 so diaphanous166 as to be hardly perceptible. The idealists complained that the picture was lacking in idealism; the realists were somewhat disconcerted to find the apparitions167 there at all. It must be[Pg 63] acknowledged that Bastien-Lepage ceases to be himself the moment that he ventures to attempt the supernatural or even allegory pure and simple. He feels that he is no longer on familiar ground, he hesitates, he fumbles168, and the harmony of the work suffers in consequence. Nevertheless, in spite of this undeniable defect, the face of Jeanne d'Arc will be remembered as a piece of powerful painting and genuine inspiration.
At all events, Bastien-Lepage was keenly aware of the half-way nature of his success, and from that day renounced169 forever the element of the marvellous and confined himself to that concrete and tangible138 poetry which emanates from the earth.
Some little time after his Jeanne d'Arc, he produced The Mendicant170, veteran knight of the road, whose lazy life is passed in going from door to door, asking charity and compelling it if need be; suspicious looking old tramp, perhaps a thief as well, who inspires fear and whose sack is often filled through unwillingness171 to provoke him. The[Pg 64] artist has pictured him with a stout172 stick in his hand, stowing away the slice of bread which a pretty slip of a girl in a blue apron173 has just given him. This fine and vigorous canvas scored almost as much of a success, at the Salon of 1881, as the admirable Portrait of Albert Wolff, a critic on the Figaro and close personal friend of the artist.
In 1882 he won a further success with his superb Father Jacques, a masterly study of the Lorraine peasant, and with his charming Portrait of Mme. W.
In 1883 came Love in a Village, one of his most popular canvases, in which he depicted174 with charming naturalness the uncomplicated and na?ve courtship of rustic lovers. Here are a pair who are untroubled by curious glances; the nearer houses of the village are quite close by. Bending slightly towards his sweetheart, the man is murmuring his avowals in her ear, in a voice that, we suspect, is by no means steady. Strapping175 fellow that he is, he evidently lacks the habit of making pretty speeches; we can see that from the embarrassed air with which he twists his fingers. His words, however, are plainly not lacking in eloquence176, for the girl, type of buxom177 young womanhood that we have already learned to know, has bent178 her head and, although her back is turned, we are sure that she is blushing as she listens to his declaration. A special atmosphere emanates from this picture, as well as that profound spirit of poetry which is inseparable from the eternal song of love.
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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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chiaroscuro
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| n.明暗对照法 | |
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sincerity
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| n.真诚，诚意；真实 | |
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piety
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| n.虔诚，虔敬 | |
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embellish
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| v.装饰，布置；给…添加细节，润饰 | |
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afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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intimacy
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| n.熟悉，亲密，密切关系，亲昵的言行 | |
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scrupulous
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| adj.审慎的，小心翼翼的，完全的，纯粹的 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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pulsating
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| adj.搏动的，脉冲的v.有节奏地舒张及收缩( pulsate的现在分词 )；跳动；脉动；受（激情）震动 | |
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kindliness
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| n.厚道，亲切，友好的行为 | |
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marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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pervades
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| v.遍及，弥漫( pervade的第三人称单数 ) | |
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hovers
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| 鸟( hover的第三人称单数 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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akin
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| adj.同族的，类似的 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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tact
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| n.机敏，圆滑，得体 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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artifice
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| n.妙计，高明的手段；狡诈，诡计 | |
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straightforward
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| adj.正直的，坦率的；易懂的，简单的 | |
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opposition
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opacity
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| n.不透明；难懂 | |
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bitumen
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| n.沥青 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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magisterial
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| adj.威风的，有权威的；adv.威严地 | |
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engraver
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| n.雕刻师，雕工 | |
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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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punctuated
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| v.（在文字中）加标点符号，加标点( punctuate的过去式和过去分词 )；不时打断某事物 | |
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cones
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| n.（人眼）圆锥细胞；圆锥体( cone的名词复数 )；球果；圆锥形东西；（盛冰淇淋的）锥形蛋卷筒 | |
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robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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33
mentality
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| n.心理，思想，脑力 | |
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34
fatigue
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| n.疲劳，劳累 | |
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35
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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36
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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37
predilection
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| n.偏好 | |
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38
uncouth
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| adj.无教养的，粗鲁的 | |
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39
homely
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| adj.家常的，简朴的；不漂亮的 | |
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40
solely
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| adv.仅仅，唯一地 | |
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41
emanates
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| v.从…处传出，传出( emanate的第三人称单数 )；产生，表现，显示 | |
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42
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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43
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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44
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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45
transcript
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| n.抄本，誊本，副本，肄业证书 | |
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46
natal
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| adj.出生的，先天的 | |
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47
valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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48
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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49
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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50
constraints
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| 强制( constraint的名词复数 )； 限制； 约束 | |
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51
spacious
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| adj.广阔的，宽敞的 | |
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52
ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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53
rendering
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| n.表现，描写 | |
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54
originality
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| n.创造力，独创性；新颖 | |
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55
satiric
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| adj.讽刺的，挖苦的 | |
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56
contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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57
furrows
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| n.犁沟( furrow的名词复数 )；（脸上的）皱纹v.犁田，开沟( furrow的第三人称单数 ) | |
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58
imbued
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| v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等） | |
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59
brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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60
redeemed
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| adj. 可赎回的，可救赎的 动词redeem的过去式和过去分词形式 | |
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61
disdained
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| 鄙视( disdain的过去式和过去分词 )； 不屑于做，不愿意做 | |
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62
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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63
initiated
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| n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入 | |
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64
pretext
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| n.借口，托词 | |
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65
prodigal
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| adj.浪费的，挥霍的，放荡的 | |
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66
Founder
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| n.创始者，缔造者 | |
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67
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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68
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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69
acclaiming
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| 向…欢呼( acclaim的现在分词 )； 向…喝彩； 称赞…； 欢呼或拥戴（某人）为… | |
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70
hostility
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| n.敌对，敌意；抵制［pl.］交战，战争 | |
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71
humiliated
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| 感到羞愧的 | |
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72
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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73
gathering
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| n.集会，聚会，聚集 | |
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74
infinitely
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| adv.无限地，无穷地 | |
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75
varied
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| adj.多样的，多变化的 | |
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76
toiling
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| 长时间或辛苦地工作( toil的现在分词 )； 艰难缓慢地移动，跋涉 | |
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77
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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78
conjures
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| 用魔术变出( conjure的第三人称单数 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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79
millet
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| n.小米，谷子 | |
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80
awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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81
compassion
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| n.同情，怜悯 | |
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82
encompassing
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| v.围绕( encompass的现在分词 )；包围；包含；包括 | |
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83
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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84
laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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85
evoked
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| [医]诱发的 | |
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86
precisely
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| adv.恰好，正好，精确地，细致地 | |
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87
discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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88
discordant
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| adj.不调和的 | |
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89
descended
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| a.为...后裔的，出身于...的 | |
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90
enveloping
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| v.包围，笼罩，包住( envelop的现在分词 ) | |
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91
embody
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| vt.具体表达，使具体化；包含，收录 | |
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92
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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93
harmoniously
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| 和谐地，调和地 | |
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94
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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95
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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96
verging
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| 接近，逼近（verge的现在分词形式） | |
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97
intentional
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| adj.故意的，有意（识）的 | |
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98
rigidity
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| adj.钢性，坚硬 | |
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99
virile
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| adj.男性的；有男性生殖力的；有男子气概的；强有力的 | |
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100
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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101
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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102
imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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103
unwilling
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| adj.不情愿的 | |
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104
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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105
softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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106
possessed
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| adj.疯狂的；拥有的，占有的 | |
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107
bestow
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| v.把…赠与，把…授予；花费 | |
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108
celebrated
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| adj.有名的，声誉卓著的 | |
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109
panorama
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| n.全景，全景画，全景摄影，全景照片[装置] | |
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110
gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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111
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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112
affected
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| adj.不自然的，假装的 | |
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113
affectedly
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114
mannerism
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| n.特殊习惯，怪癖 | |
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115
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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116
specialty
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| n.(speciality)特性，特质；专业，专长 | |
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117
expended
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| v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽 | |
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118
scanty
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| adj.缺乏的，仅有的，节省的，狭小的，不够的 | |
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119
embellished
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| v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色 | |
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120
impairing
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| v.损害，削弱( impair的现在分词 ) | |
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121
fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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122
intensity
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| n.强烈，剧烈；强度；烈度 | |
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123
manifestations
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| n.表示，显示（manifestation的复数形式） | |
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124
indefatigable
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| adj.不知疲倦的，不屈不挠的 | |
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125
transcribing
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| （用不同的录音手段）转录( transcribe的现在分词 )； 改编（乐曲）（以适应他种乐器或声部）； 抄写； 用音标标出（声音） | |
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126
repose
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| v.(使)休息；n.安息 | |
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127
admiration
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| n.钦佩，赞美，羡慕 | |
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128
touchingly
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| adv.令人同情地，感人地，动人地 | |
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129
caress
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| vt./n.爱抚，抚摸 | |
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130
emaciated
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| adj.衰弱的，消瘦的 | |
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131
rejuvenate
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| v.(使)返老还童；(使)恢复活力 | |
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132
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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133
rustic
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| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
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134
uncouthness
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135
catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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136
recording
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| n.录音，记录 | |
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137
elusive
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| adj.难以表达(捉摸)的；令人困惑的；逃避的 | |
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138
tangible
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| adj.有形的，可触摸的，确凿的，实际的 | |
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139
rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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140
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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141
specimen
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| n.样本，标本 | |
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142
portraiture
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| n.肖像画法 | |
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143
lurking
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| 潜在 | |
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144
recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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145
transparent
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| adj.明显的，无疑的；透明的 | |
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146
relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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147
flare
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| v.闪耀，闪烁；n.潮红；突发 | |
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148
sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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149
interpretation
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| n.解释，说明，描述；艺术处理 | |
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150
disillusioned
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| a.不再抱幻想的，大失所望的，幻想破灭的 | |
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151
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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152
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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153
utensils
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| 器具，用具，器皿( utensil的名词复数 )； 器物 | |
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154
attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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155
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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156
imprints
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| n.压印( imprint的名词复数 )；痕迹；持久影响 | |
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157
drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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158
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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159
sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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160
jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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161
graceful
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| adj.优美的，优雅的；得体的 | |
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162
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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163
armour
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| （=armor）n.盔甲；装甲部队 | |
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164
knight
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| n.骑士，武士；爵士 | |
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165
phantoms
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| n.鬼怪，幽灵( phantom的名词复数 ) | |
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166
diaphanous
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| adj.(布)精致的，半透明的 | |
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167
apparitions
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| n.特异景象( apparition的名词复数 )；幽灵；鬼；（特异景象等的）出现 | |
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168
fumbles
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| 摸索，笨拙的处理( fumble的名词复数 ) | |
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169
renounced
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| v.声明放弃( renounce的过去式和过去分词 )；宣布放弃；宣布与…决裂；宣布摒弃 | |
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170
mendicant
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| n.乞丐；adj.行乞的 | |
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171
unwillingness
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| n. 不愿意，不情愿 | |
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173
apron
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| n.围裙；工作裙 | |
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174
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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175
strapping
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| adj. 魁伟的, 身材高大健壮的 n. 皮绳或皮带的材料, 裹伤胶带, 皮鞭 动词strap的现在分词形式 | |
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176
eloquence
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| n.雄辩；口才，修辞 | |
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177
buxom
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| adj.（妇女）丰满的，有健康美的 | |
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178
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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