Sings our poet in the silver-fire verse of L'Imitation de Notre-Dame la Lune, wherein he asks—Mais où sont les Lunes d'Antan. This Pierrot lunaire, this buffoon1 of new and dusty eternities, wrote a sort of vers libres, which, often breaking off with a smothered2 sob3, [Pg 41] modulates4 into prose and sings the sorrows and complaints of a world peopled by fantastic souls, clowns, somnambulists, satyrs, poets, harlots, dainty girls, Chéret posters, pierrots, kings of pyschopathic tastes, blithe5 birds, and sad-coloured cemeteries6. The poet is a mocking demon7 who rides on clouds dropping epigrams earthward, the earth that grunts9 and sweats beneath the sun or cowers10 and weeps under the stellar prairies. He mockingly calls himself "The Grand Chancellor11 of Analysis." Like Nietzsche he dances when his heart is heavy, and trills his roundelays and his gamut12 of rancorous flowers with an enigmatic smile on his lips. It is a strange and disquieting13 music, a pageantry of essences, this verse with its resonance14 of emerald. Appearing in fugitive15 fashion, it was gathered into a single volume through the efforts of friends and with the Moralités légendaires comprises his life-work, for we can hardly include the Mélanges posthumes, which consist of scraps16 and fragments (published in 1903) together with some letters, not a very weighty addition to the dead poet's fame. His translations of Walt Whitman I've not seen. Perhaps his verse is doomed17; it was born with the hectic18 flush of early dissolution, but it is safe to predict that as long as lovers of rare literature exist the volume of prose will survive. It has for the gourmet19 of style an unending charm, the charm en sourdine of its creator, to whom a falling [Pg 42] leaf or an empire in dissolution was of equal value. "His work," wrote Mr. Symons, "has the fatal evasiveness of those who shrink from remembering the one thing which they are unable to forget. Coming as he does after Rimbaud, turning the divination20 of the other into theories, into achieved results, he is the eternally grown-up nature to the point of self-negation, as the other is the eternal enfant terrible." Tout21 était pour le vieux dans le meilleur des mondes, Laforgue would have cried in the epigram of Paul Bourget.
The prose of Jules Laforgue recalls to me his description of the orchestra in Salomé, the fourth of the Moralités légendaires. Sur un mode allègre et fataliste, un orchestre aux instruments d'ivoire improvisait une petite overture22 unanime. That his syllables23 are of ivory I feel, and improvised24, but his themes are pluralistic, the immedicable and colossal25 ennui26 of life the chiefest. Woman—the "Eternal Madame," as Baudelaire calls her—is a being both magical and mediocre27; she is also an escape from the universal world-pain. La fin28 de l'homme est proche ... Antigone va passer du ménage de la famille au ménage de la planète (prophetic words). But when lovely woman begins to talk of the propagation of the ideal she only means the human species. With Lessing he believes: "There is, at most, but one disagreeable woman in the world; a pity then that every man gets her for himself."
[Pg 43] It is rather singular to observe in the writings of Marinetti, the self-elected leader of the so-called Futurists, the hopeless deliquescence of the form invented by Louis Bertrand in his Gaspard de la Nuit, and developed with almost miraculous30 results in Baudelaire and terminating with Huysmans, Maeterlinck, and Francis Poictevin ("Paysages"). Rimbaud had intervened. In his Illuminations we read that "so soon as the Idea of the Deluge31 had sunk back into its place, a rabbit halted amid the sainfoin and the small swinging bells, and said its prayers to the rainbow through the spider's web. Oh! The precious stones in hiding, the flowers already looking out ... Madame X established a piano in the Alps.... The caravans32 started. And the Splendid Hotel was erected34 upon the chaos35 of ice and night of the Pole" (from the translation by Aline Gorren). This, apparently36 mad sequence of words and dissociation of ideas, has been deciphered by M. Kahn, and need not daunt37 any one who has patience and ingenuity38. I confess I prefer Laforgue, who at his most cryptic39 is never so wildly tantalising as Rimbaud.
Moralités légendaires contains six sections. I don't know which to admire the most, the Hamlet or the Lohengrin, the Salomé or the Persée et Andromède. Le Miracle des Roses is of an exceeding charm, though dealing40 with the obvious, while Pan et la Syrinx has a quality which I can recall nowhere else in literature; [Pg 44] perhaps in the cadences41 charged with the magic and irony42 of Chopin, or in the half-dreams of Watteau, colour and golden sadness intermingled, may evoke43 the spiritual parodies44 of Laforgue, but in literature there is no analogue45, though Pan is of classic flavour despite his very modern Weltanschauung. Syrinx is a woodland creature nebulous and exquisite46. Pursued by Pan—the Eternal Male in rut—she does not succumb47 to his pipes, and after she has vanished in the lingering wind, he blows sweeter music through his seven reeds. The symbol is not difficult to decipher. And who would not succumb to the languorous48 melancholy49 of Andromède, not chained to a rock but living on the best of terms with her monster, who calls her Bébé! The sea bores her profoundly. She looks for Perseus, who doesn't come; the sea, always the sea without a moment's weakness; in brief, not the stuff of which friends are made! When the knight50 appears and kills her monster, he loses his halo for Andromède, who cherishes her monstrous51 guardian52. Perseus, a prig disgusted by the fickleness53 of the Young Person, flees, and the death of the monster brings to life a lovely youth—put under the spell of malignant54 powers—who promptly55 weds56 his ward8. In Lohengrin, Son of Parsifal, the whole machinery57 of the Wagner opera is transposed to the key of lunar parody58. What ambrosia59 from the Walhalla of topsyturvy is this Elsa with her "eyes hymeneally illumined" as she [Pg 45] awaits her saviour60. He appears and they are married. Alas61! The pillow of the nuptial62 couch becomes a swan that carries off Lohengrin weary of the tart33 queries63 made by his little bride concerning love and sex and other unimportant questions of daily life. This Elsa is a sensual goose. She is also a stubborn believer in the biblical injunction: "Crescite et multiplicamini," and she would willingly allow the glittering stranger Knight to brisé le sceau de ses petites solitudes64, as the Vicar of Diane-Artemis phrases it. The landscapes of these tales are fantastically beautiful, and scattered65 through the narrative66 are fragments of verse, vagrant67 and witty68, that light up the stories with a glowworm phosphorescence.
Salomé and her celebrated69 eyebrows70 is a spiritual sister of Flaubert's damsel, as Elsa is nearly related to his Salammb?. She dwells in the far-off Iles Blanches71 Esotériques, and she, too, is annoyed by the stupidity of the sea, always new, always respectable! She is the first of the Salomés since Flaubert who has caught some of her prototype's fragrance72. (Oscar Wilde's attempt proved mediocre. He introduced a discordant73 pathological note, but the music of Richard Strauss may save his pasticcio. It interprets the exotic prose of the Irishman with tongues of fire; it laps up the text, encircles it, underlines, amplifies74, comments, and in nodules of luminosity, makes clear that which is dark, ennobles much that is vain, [Pg 46] withal it never insists on leading; the composer appears to follow the poet.) Laforgue's Salomé tries to sport with the head of John the Baptist, stumbles, loses her footing, and falls from the machicolated wall on jagged rocks below, as the head floats out to sea, miraculously75 alight. There are wit and philosophy and the hint of high thoughts in Salomé, though her heart like glass is cold, empty, and crystalline.
The subtitle76 of Hamlet, which heads the volume, is—Or, the Results of Filial Devotion—and the story, as Mr. Hale asserts, is Laforgue's masterpiece. Here is a Hamlet for you, a prince whose antics are enough to disturb the dust of Shakespeare and make the angels on high weep with hysterical77 laughter. Not remotely hinting at burlesque78, the character is delicately etched. By the subtle withdrawal79 of certain traits, this Hamlet behaves as a man would who has been trepanned and his moral nature removed by an analytical80 surgeon. He is irony personified and is the most delightful81 company for one weary of the Great Good Game around and about us, the game of deceit, treachery, politics, love, social intercourse82, religion, and commerce. Laforgue's Hamlet sees through the hole in the mundane83 millstone and his every phrase is like the flash of a scimitar.
It is the irony of his position, the irony of his knowledge that he is Shakespeare's creation and must live up to his artistic84 paternity; the [Pg 47] irony that he is au fond a cabotin, a footlight strutter85, a mouther of phrases metaphysical and a despiser of Ophelia (chère petite glu he names her) that are all so appealing. Intellectual braggart86, this Hamlet resides after his father Horwendill's "irregular decease" in a tower hard by the Sound, from which Helsingborg may be seen. An old, stagnant87 canal is beneath his windows. In his chamber88 are waxen figures of his mother, Gerutha, and his uncle-father, Fengo. He daily pierces their hearts with needles after a bad old-fashioned medi?val formula of witchcraft89. But it avails naught90. With a fine touch he seeks for his revenge by having enacted91 before their Majesties92 of Denmark his own play. They incontinently collapse93 in mortal nausea94, for they are excellent critics.
Such a play scene, withal Shakespearian! "Stability thy name is woman!" he exclaims bitterly, for he fears love with the compromising domesticity of marriage. It is his rigorous transvaluation of all moral values and conventionalities that proclaims this Hamlet a man of the future. No half-way treaties with the obvious in life, no crooking95 the pregnant hinges of his opinions to the powers that be. An anarch, pure and complex, he despises all methods. What soliloquies, replete96 with the biting, cynical97 wisdom of a disillusionised soul!
"Ah," he sighs, "there are no longer young girls, they are all nurses. Ophelia loves me [Pg 48] because, as Hobbes claims: 'Nothing is more agreeable in our ownership of goods than the thought that they are superior to the goods of others.' Now I am socially and morally superior to the 'goods' of her little friends. She wishes to make me, Hamlet, comfortable. Ah, if I could only have met Helen of Narbonne!" A Hamlet who quotes the author of The Leviathan is a Hamlet with a vengeance98.
To him enter the players William and Kate. He reads them his play. Kate's stage name is Ophelia. "Comment!" cries Hamlet, "encore une Ophelia dans ma potion!" William doesn't like the play because his part is not "sympathetic." After they retire Hamlet indulges in a passionate99 outburst reproaching the times with its hypocrisy100 and des hypocrites et routinières jeunes filles. If women but knew they would prostrate101 themselves before him as did the weeping ones upon the body of the dead Adonis! The key of this discourse102 is high-pitched and cutting. Laforgue, a philosopher, a pessimist103, makes his art the canvas for his ironic104 temperament105. The Prince's interview with Ophelia is full of soundless mirth. And how he lavishes106 upon his own deranged107 head offensive abuse: "Piteous provincial108! Cabotin! Pédicure!" This last is his topmost term of contempt.
His parleying with the grave-diggers is another stroke of wit. One of them tells him that Polonius is carried off by apoplexy—a bust109 has [Pg 49] been erected to his memory bearing the inscription110, "Words! Words! Words!" He also learns that Yorick was his half-brother, the son of a gipsy woman. Ophelia dies—he hears this with mixed feelings—and he is informed that the young Prince Hamlet is quite mad. The grave-digger is a philosopher, he thinks that Fortinbras is at hand, that the best investment for his money will be in Norwegian bonds. The funeral cortège approaches. Hamlet hides.
His soliloquy upon the skull111 of Yorick has been partly done into English by Mr. Symons.
"Alas, poor Yorick! As one seems to hear in this little shell, the multitudinous roar of the ocean, so I hear the whole quenchless112 symphony of the universal soul, of whose echoes this box was its cross-roads. There's a solid idea!... Perhaps I have twenty or thirty years to live, and I shall pass away like the others. Like the others? O Totality, the misery113 of being there no longer! Ah! I would like to set out to-morrow and search all through the world for the most adamantine processes of embalming114. They, too, were the little people of History, learning to read, trimming their nails, lighting115 the dirty lamp every evening, in love, gluttonous116, vain, fond of compliments, handshakes, and kisses, living on bell-town gossip, saying, 'What sort of weather shall we have to-morrow? Winter has really come.... We have had no plums this year.' Ah! Everything is good, if it would not come to an end. [Pg 50] And thou, Silence, pardon the earth; the little madcap hardly knows what she is doing; on the day of the great summing-up before the Ideal, she will be labelled with a piteous idem in the column of the miniature evolutions of the Unique Evolution, in the column of negligible quantities.... To die! Evidently, one does without knowing it, as, every night, one enters upon sleep. One has no consciousness of the passing of the last lucid117 thought into sleep, into swooning, into death. Evidently. But to be no more, to be here no more, to be ours no more! Not even to be able, any more, to press against one's human heart, some idle afternoon, the ancient sadness contained in one little chord on the piano!"
And this "secular118 sadness" pursues the heartless Hamlet to the cemetery119; he returns after dark in company with the buxom120 actress Kate. They have eloped.
But the fatal irresolution121 again overtakes him. He would see Ophelia's tomb for the last time, and as he attempts to decipher its inscription, Laertes—idiot d'humanité, the average sensible man—approaches and the pair hold converse122. It is a revelation of the face of foolishness. Laertes reproaches Hamlet. He has by his trifling123 with Ophelia caused her death. Laertes calls him a poor demented one, exclaims over his lack of moral sense, and winds up by bidding the crazy Prince leave the cemetery. Quand on finit par29 folie, c'est qu'on a commencé [Pg 51] par le cabotinage. (Which is a consoling axiom for an actor.) Hamlet with his na?ve irony calmly inquires:
"And thy sister!" This is too much for the distracted brother, who poignards the Prince. Hamlet expires with Nero's cry on his lips:
"Ah! Ah! Qualis ... artifex ... pereo!" And, as the author remarks: "He rendered to immutable124 nature his Hamletic soul." William enters and, discovering his Kate, gives her a sound beating; not the first or the last, as she apprises125 us. The poem ends with this motto: Un Hamlet de moins; la race n'en est pas perdue, qu'on se le dise! Which is chilly126 truth.
The artistic beauty of the prose, its haunting assonance, its supple127 rhythms make this Hamlet impossible save in French. Nor can the fine edge of its wit, its multiple though masked ironies128, its astounding129 transposition of Shakespearian humour and philosophy be aught else than loosely paraphrased130. Laforgue's Hamlet is of to-morrow, for every epoch131 orchestrates anew its own vision of Hamlet. The eighteenth century had one; the nineteenth had another; and our generation a fresher. But we know of none so vital as this fantastic thinker of Laforgue's. He must have had his ear close to the Time Spirit, so aptly has he caught the vibrations132 of his whirring loom133, so closely to these vibrations has he attuned134 the key-note of his twentieth-century Hamlet.
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1
buffoon
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| n.演出时的丑角 | |
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smothered
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| （使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制 | |
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sob
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| n.空间轨道的轰炸机；呜咽，哭泣 | |
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modulates
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| 调整( modulate的第三人称单数 )； （对波幅、频率的）调制； 转调； 调整或改变（嗓音）的音调 | |
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blithe
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| adj.快乐的，无忧无虑的 | |
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cemeteries
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| n.（非教堂的）墓地，公墓( cemetery的名词复数 ) | |
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demon
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| n.魔鬼，恶魔 | |
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ward
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| n.守卫，监护，病房，行政区，由监护人或法院保护的人（尤指儿童）；vt.守护，躲开 | |
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grunts
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| （猪等）作呼噜声( grunt的第三人称单数 )； （指人）发出类似的哼声； 咕哝着说； 石鲈 | |
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cowers
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| v.畏缩，抖缩( cower的第三人称单数 ) | |
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chancellor
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| n.(英)大臣；法官；(德、奥)总理；大学校长 | |
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gamut
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| n.全音阶，(一领域的)全部知识 | |
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disquieting
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| adj.令人不安的，令人不平静的v.使不安，使忧虑，使烦恼( disquiet的现在分词 ) | |
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resonance
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| n.洪亮；共鸣；共振 | |
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fugitive
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| adj.逃亡的，易逝的；n.逃犯，逃亡者 | |
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scraps
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| 油渣 | |
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doomed
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| 命定的 | |
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hectic
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| adj.肺病的；消耗热的；发热的；闹哄哄的 | |
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gourmet
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| n.食物品尝家；adj.出于美食家之手的 | |
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divination
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| n.占卜，预测 | |
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tout
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| v.推销，招徕；兜售；吹捧，劝诱 | |
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overture
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| n.前奏曲、序曲，提议，提案，初步交涉 | |
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syllables
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| n.音节( syllable的名词复数 ) | |
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improvised
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| a.即席而作的,即兴的 | |
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colossal
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| adj.异常的，庞大的 | |
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ennui
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| n.怠倦，无聊 | |
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mediocre
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| adj.平常的，普通的 | |
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fin
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| n.鳍；(飞机的)安定翼 | |
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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deluge
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| n./vt.洪水，暴雨，使泛滥 | |
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caravans
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| （可供居住的）拖车（通常由机动车拖行）( caravan的名词复数 )； 篷车； （穿过沙漠地带的）旅行队（如商队） | |
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tart
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| adj.酸的；尖酸的，刻薄的；n.果馅饼；淫妇 | |
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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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chaos
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| n.混乱，无秩序 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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daunt
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| vt.使胆怯，使气馁 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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cryptic
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| adj.秘密的，神秘的，含义模糊的 | |
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dealing
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| n.经商方法，待人态度 | |
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cadences
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| n.（声音的）抑扬顿挫( cadence的名词复数 )；节奏；韵律；调子 | |
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irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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evoke
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| vt.唤起，引起，使人想起 | |
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parodies
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| n.拙劣的模仿( parody的名词复数 )；恶搞；滑稽的模仿诗文；表面上模仿得笨拙但充满了机智用来嘲弄别人作品的作品v.滑稽地模仿，拙劣地模仿( parody的第三人称单数 ) | |
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analogue
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| n.类似物；同源语 | |
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46
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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succumb
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| v.屈服，屈从；死 | |
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48
languorous
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| adj.怠惰的，没精打采的 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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knight
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| n.骑士，武士；爵士 | |
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51
monstrous
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| adj.巨大的；恐怖的；可耻的，丢脸的 | |
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52
guardian
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| n.监护人；守卫者，保护者 | |
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fickleness
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| n.易变；无常；浮躁；变化无常 | |
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54
malignant
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| adj.恶性的，致命的；恶意的，恶毒的 | |
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promptly
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| adv.及时地，敏捷地 | |
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56
weds
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| v.嫁，娶，（与…）结婚( wed的第三人称单数 ) | |
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machinery
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| n.(总称)机械，机器；机构 | |
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parody
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| n.打油诗文，诙谐的改编诗文，拙劣的模仿；v.拙劣模仿，作模仿诗文 | |
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59
ambrosia
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| n.神的食物；蜂食 | |
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saviour
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| n.拯救者，救星 | |
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61
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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nuptial
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| adj.婚姻的，婚礼的 | |
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queries
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| n.问题( query的名词复数 )；疑问；询问；问号v.质疑，对…表示疑问( query的第三人称单数 )；询问 | |
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64
solitudes
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| n.独居( solitude的名词复数 )；孤独；荒僻的地方；人迹罕至的地方 | |
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65
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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66
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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67
vagrant
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| n.流浪者，游民；adj.流浪的，漂泊不定的 | |
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68
witty
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| adj.机智的，风趣的 | |
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69
celebrated
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| adj.有名的，声誉卓著的 | |
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70
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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71
blanches
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| v.使变白( blanch的第三人称单数 )；使（植物）不见阳光而变白；酸洗（金属）使有光泽；用沸水烫（杏仁等）以便去皮 | |
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72
fragrance
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| n.芬芳，香味，香气 | |
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73
discordant
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| adj.不调和的 | |
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74
amplifies
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| 放大，扩大( amplify的第三人称单数 )； 增强； 详述 | |
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miraculously
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| ad.奇迹般地 | |
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76
subtitle
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| n.副题（书本中的），说明对白的字幕 | |
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77
hysterical
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| adj.情绪异常激动的，歇斯底里般的 | |
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78
burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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79
withdrawal
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| n.取回，提款；撤退，撤军；收回，撤销 | |
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80
analytical
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| adj.分析的；用分析法的 | |
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81
delightful
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| adj.令人高兴的，使人快乐的 | |
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82
intercourse
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| n.性交；交流，交往，交际 | |
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83
mundane
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| adj.平凡的；尘世的；宇宙的 | |
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84
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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85
strutter
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| n.高视阔步的人 | |
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86
braggart
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| n.吹牛者；adj.吹牛的，自夸的 | |
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87
stagnant
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| adj.不流动的，停滞的，不景气的 | |
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88
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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witchcraft
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| n.魔法，巫术 | |
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90
naught
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| n.无，零 [=nought] | |
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enacted
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| 制定（法律），通过（法案）( enact的过去式和过去分词 ) | |
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92
majesties
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| n.雄伟( majesty的名词复数 )；庄严；陛下；王权 | |
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93
collapse
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| vi.累倒；昏倒；倒塌；塌陷 | |
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94
nausea
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| n.作呕，恶心；极端的憎恶(或厌恶) | |
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crooking
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| n.弯曲（木材等的缺陷）v.弯成钩形( crook的现在分词 ) | |
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96
replete
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| adj.饱满的，塞满的；n.贮蜜蚁 | |
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97
cynical
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| adj.(对人性或动机)怀疑的，不信世道向善的 | |
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98
vengeance
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| n.报复，报仇，复仇 | |
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99
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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100
hypocrisy
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| n.伪善，虚伪 | |
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101
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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102
discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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103
pessimist
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| n.悲观者；悲观主义者；厌世 | |
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104
ironic
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| adj.讽刺的，有讽刺意味的，出乎意料的 | |
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105
temperament
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| n.气质，性格，性情 | |
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106
lavishes
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| v.过分给予，滥施( lavish的第三人称单数 ) | |
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107
deranged
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| adj.疯狂的 | |
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108
provincial
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| adj.省的，地方的；n．外省人，乡下人 | |
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109
bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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110
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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111
skull
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| n.头骨；颅骨 | |
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112
quenchless
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| 不可熄灭的 | |
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113
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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114
embalming
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| v.保存（尸体）不腐( embalm的现在分词 )；使不被遗忘；使充满香气 | |
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115
lighting
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| n.照明，光线的明暗，舞台灯光 | |
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116
gluttonous
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| adj.贪吃的，贪婪的 | |
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117
lucid
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| adj.明白易懂的，清晰的，头脑清楚的 | |
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118
secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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119
cemetery
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| n.坟墓，墓地，坟场 | |
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120
buxom
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| adj.（妇女）丰满的，有健康美的 | |
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121
irresolution
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| n.不决断，优柔寡断，犹豫不定 | |
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122
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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123
trifling
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| adj.微不足道的；没什么价值的 | |
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124
immutable
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| adj.不可改变的，永恒的 | |
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125
apprises
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| v.告知，通知( apprise的第三人称单数 )；评价 | |
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126
chilly
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| adj.凉快的，寒冷的 | |
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127
supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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128
ironies
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| n.反语( irony的名词复数 )；冷嘲；具有讽刺意味的事；嘲弄 | |
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129
astounding
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| adj.使人震惊的vt.使震惊，使大吃一惊astound的现在分词) | |
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130
paraphrased
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| v.释义，意译( paraphrase的过去式和过去分词 ) | |
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131
epoch
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| n.(新)时代；历元 | |
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132
vibrations
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| n.摆动( vibration的名词复数 )；震动；感受；（偏离平衡位置的）一次性往复振动 | |
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133
loom
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| n.织布机，织机；v.隐现，(危险、忧虑等)迫近 | |
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134
attuned
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| v.使协调( attune的过去式和过去分词 )；调音 | |
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