Out of this sculpture of Chartres grew the very wonderful art of the thirteenth century, which gives a sorely diminished glory to the Cathedral of Paris and gave, a year ago, a still greater glory to that immortal29 group of churches now slowly crumbling30 under gun-fire. Very notable examples of the transition are at Senlis,{241} but they have been shockingly mutilated, and only one of the two wonderful carved lintels still gives much idea of its original beauty. The panel of the “Resurrection of the Virgin31,” has all the architectural form and the decorative sense of Chartres, but it has as well an added human quality that makes it enduringly vital and appealing. The same can be said of the surrounding statues and reliefs that are of the same period, and altogether the almost unique work at Senlis strikes a singularly happy balance, as sculptured architecture, between the rigid formalism of Chartres and Vezelay and the exquisite32 humanism and the almost too-surpassing art of Paris, Amiens, and Reims. But for the Revolution Senlis would not have stood so alone for sculptural art of the transition. Laon once possessed33 far more, and of an even higher type, but all the column figures of the west doors, and indeed practically all the free-standing statues, were then ruthlessly destroyed and those that have taken their places are merely modern assumptions. The tympana of the doors are original, though mutilated: the Coronation of the Virgin, scenes from her life, the Last Judgment34; while in the archivolts and around the windows are remains35 of singularly{242} beautiful effigies36 of the wise and foolish virgins37, the seven liberal arts, episodes from the lives of the saints. More or less of the original polychromatic decoration remains, and the statues themselves, even in their battered38 state, are marvels39 of art. Every trace of archaism and of uncertainty40 is gone, the sculptor works with a definiteness and a certainty of touch that are amazing, while his sense of the eternally sculpturesque is infallible. Every face—where a face remains—is brilliantly characterised; the poses are graceful41, unaffected, constantly varied42; the gestures are convincing, the stone quality never lost, while there is nothing outside Hellas—except Amiens and Reims—so faultless in its composition of drapery. From the very first this was one of the strong points in French sculpture; each artist strove for, and attained44, not only distinction, but naturalism expressed through and by an almost classic formalism; the line composition, from Vezelay to Reims, is a succession of ever-waxing marvels. At Laon are even now mutilated figures that are as perfect in their composition of lines and masses as anything in Athens, and the same was true of Reims. Personally I have always thought of the figure work at Amiens (apart from the bas reliefs) as less perfect in this respect, in spite of expert opinion, than that of Paris, Laon, and Reims; less brilliantly composed, more heavy and realistic, while the figures themselves are certainly not as slender and graceful, or so varied in pose. Moissac and Vezelay are hieratic abstractions, Chartres pure architecture, Soissons a breathing of divine life into ancient forms, but Laon and Paris and Reims are pure and perfect sculpture against which no criticism of any kind can be brought. Never has actual life been better expressed through the necessarily transforming modes of art than here; in these exquisite and rhythmical compositions the barbarous folly45 of the naturalistic and realistic schools of modern times is made cruelly apparent, and the base products of the average nineteenth-century practitioners46 (barring a few exceptions such as St. Gaudens at his best, as in the Rock Creek47 figure) become in comparison as absurd as do the shameless vulgarities of Bernini and his unhappy ilk.
There still remain at Laon many broken and headless fragments, and I do not know where anything can be found more complete in every sculptural quality. This is a great art at its{244} highest, and it shows, as Reims once showed, that in the early thirteenth century France possessed an art of sculpture that could take its place unashamed beside the best of the Parthenon. Usually one thinks of Gothic sculpture in the terms of that late fourteenth-century work so easily obtainable from venders of the remains of medi?val art, but this is of a time when a cold convention had killed the art itself; when the subtle curves of such matchless things as the statue of the Virgin from the north door of her church in Paris had been distorted into grotesque48 exaggeration; when the thin, close lines of drapery had coarsened into triangular49 spaces of meaningless upholstery, and the sensitive, spiritual faces of Reims had given place to fat attempts at a stolid50 pulchritude51. This is not art but a trade, and it bears no earthly resemblance to the consummate52 work of a century earlier, when the art itself and the religion and the joy and the personal liberty behind it were very real things.
Chronologically53, the next great sculpture of France is that of the Cathedral of Paris, but as I have arbitrarily excluded this city from the survey, since one must stop somewhere, while Paris requires a volume to itself, it is only necessary to{245} say that in spite of the devastations of man during six centuries, ending with the dull barbarity of the architect Sufflot, who hacked54 away the trumeau of the great central west door, together with a large section of the tympanum of the Last Judgment, in order to provide a more magnificent means of entrance for processions, enough still exists to show the singular mastery of the art. As for the statue of Our Lady on the north transept, it is one of the finest works of sculpture of any time or place, the perfection of the drapery finding rivals only in Greece. It is interesting to realise that this marvellous work antedates55 Niccolo Pisano by more than a century, so that if there still are those who search for the origins of sculpture after the great blank of the Dark Ages, they must forsake56 the Renaissance57 and Italy and find what they sought in France during the culmination58 of the Middle Ages.
At Amiens there is also, over the south portal, a figure of the Blessed Virgin, and while it is wholly different in spirit from that of Paris, it is almost as lovely and even more delicate and full of charm. Paris has the majesty59 and nobility of Michael Angelo, with nothing of his high but inopportune paganism, but this is like Mino da{246} Fiesole, with all his daintiness and sweetness of feeling, and added to this an almost playful humanism that is wonderfully appealing. “Le Beau Dieu” of Amiens, on the trumeau of the central west door is almost in the class of the Paris Virgin and the sculpture of Reims, and is perhaps more nearly a satisfactory showing forth of Christ in human form than any other work of art in the world. The whole vast church is a pageant60 of carven figures—prophets, saints, apostles, kings, virtues61 and vices62, symbolical63 characters, scenes from the Old and New Testaments64, the lives of the saints, philosophy, romance—every tympanum is carved in bas relief, and the wall below the columns of the west portals is set with innumerable medallions of the signs of the zodiac and the labours of man. Never was there such an apotheosis65 of imagination, and only at Reims is there anything a degree finer as art. Even there the difference is mostly one of personal taste; if you like the lost marvels of Reims better than the miraculously66 preserved wonders of Amiens, well and good; it is for you to say, for both are matchless, each after its own kind. How the amazing array of carvings68 and statues at Amiens has survived passes the understanding; one would{247} have supposed that its spiritual emphasis, its priceless nature, and its singular beauty would have subjected it to the sequent attentions of Huguenots, Revolutionaries, and the nineteenth century, but all have passed it by; and even the Prussians in their brief occupation on their way to defeat at the Marne had no time to leave their mark. Now that Reims is gone, Amiens must remain (if it does remain) the great and crowning exemplar of Christian69 sculpture at its highest and most triumphant70 cresting71 of achievement.
It is hard to write of the sculptures of Reims, or of anything dead and foully72 mutilated. For generations the thousands of carved figures stood in their niches73 growing grey and weather-worn through the passing of years—neglected, unnoticed, despised—while silly effigies were turned out by incompetent74 bunglers to receive the laudation of the haunters of international expositions and the galleries of the Salon75. Then suddenly a dim light showed itself and grew steadily76 brighter until at last, a year or two ago, the consciousness became sure that here was one of the very great things in the world, one of the few supreme products of man in his highest and most unfamiliar77 estate, priceless and unreplaceable, as the Par{248}thenon or the philosophy of St. Thomas Aquinas, or the plays of Shakespeare, or the music of Johann Sebastian Bach. And the long-delayed knowledge came to us only to be turned into a memory, the new possession was ours only to be taken away, and now nevermore for ever can it be granted to us to live in and with this perished art, for it is gone as utterly78 as the lost dramas of Sophocles, the burned library of Alexandria, the “Last Supper” of Leonardo da Vinci.
“The fool hath said in his heart, ‘there is no God,’” and the fool hath said in his heart: “I am greater and more precious than silly works of art.” What is the result of this insolence79, the “Pomeranian grenadier” type of insolence that exalts80 an ignorant, degraded, useless hulk of dull flesh and blood over the supreme works of divinely inspired men? Under the lash81 of industrialism he can transform coal and iron into money values; he can fight for markets overseas where his masters can sell articles no man needs, to people who do not want them; he can beget82 children after his own kind, in their turn to do likewise, and finally—though this is not the appealing argument to the partisans83 of his essential superiority—he has an immortal soul he is doing his best to lose, and fre{249}quently succeeding to admiration84. Are the vile85 types that revealed themselves in rape16 and murder and mutilation in the undefended villages of Belgium, or those under whose orders they acted, more worth saving for further industry of the same nature than the “Worship of the Lamb” in Ghent or the sculptures of the northwest door of Reims? It is an easy argument to offer, the sanctity of human life, but it is not the motive86 behind the batteries on the hills to the east of the devastated87 capital of Champagne88, month after month pouring shell on the greatest cathedral that the Christianity of the West has reared to the glory of God. The motive behind the batteries is an instinctive89 realisation that Reims is a record of human greatness to which the gunners and their masters cannot attain43, a lasting90 reproach to inferiority, a sermon and a prayer, a menace to bloated self-sufficiency and to a baseless pride. Nobility engenders91 hate as well as reverence92, the choice depends only on the nature of the man who confronts it, and there never has been a time in all history when decadence93 did not bring into existence a hatred94 of all fine and noble things that for very rage and resentment95 willed the destruction of the dumb accuser. Reims, and what Reims stood{250} for, cannot exist in the world together with their potent96 and efficient negation17; therefore Reims perishes, as has perished at similar times in the past so much of the record in sublimity97 and beauty of that human superiority which is the silent accuser of all spiritual and ethical98 degeneration.
For the making of the west front of Reims all the great masters and craftsmen99 of France gathered together, and the sculpture showed not only greater excellence100 than may be found elsewhere, but a greater variety in genius and personality. It is not that in the doors of this fa?ade were to be found great statues in conspicuous101 places with lesser102 work all around; every piece of sculpture or of carving67 was a masterpiece of its kind. High up in the gables, hidden in the shadows of the archivolts, forgotten in odd corners where only persistent103 search would reveal them, were little figures or isolated104 heads as carefully thought out and as finely felt as the august hierarchies105 of the front itself. Personality, varied, vital, distinguished106, marked the sculpture of Reims, together with an unerring sense of beauty of formalised line, and an erudition, a familiarity with the Scriptures107, with scholastic108 philosophy, with the lives of the saints, and with the arts and sciences that would appear to do away with the quaint109 superstition110 that the Middle Ages were a time of intellectual ignorance. The men who carved these statues were not of the ?sthetically elect; they were not a few highly trained, well-dressed, and supercilious111 specialists, working in the confidence born of years in Paris and Rome; they were stone-masons, members of their own self-respecting union, who had worked their way up a little higher than their fellows and so could carve each his group of statues to the satisfaction of bishop112 or abbot or master mason and—which was even more to the point—to his own satisfaction and in accordance with the jealous standards of excellence of his guild113. He had to know what he was doing and what he had to express; there was no ubiquitous architect to instruct him, no “committee on symbolism” to show him the way, and so if he could not read well enough to enjoy a modern “yellow journal,” or write well enough to forge a name or draft a speculative114 prospectus115, he did know far more about religion, theology, philosophy, history, and the contemporary sciences and arts and romances than the modern workman with his years of public school behind him, or{252} many an architect or sculptor with his high school, preparatory school, and university training behind him as well.
They knew and felt and enjoyed, these sculptors116 of Reims, whose work endured for six centuries and might have lasted six more. Perhaps the quality of enjoyment117 was more clearly expressed than anything else. Life was worth living to them and they made the most of it, and with much laughter. These carved figures at Reims and Amiens and Paris show in every line the good human joy of doing a thing well, just as so much of the output of so much of modern industrialism shows the dull indifference118 or the weary disgust for doing a thing ill. No sculptor then would have contented119 himself with making a clay model and a plaster cast and then turning the execution over to a gang of ignorant day-labourers working like banderlogs, only with the intelligent assistance of mechanical devices. The artist was the craftsman120 and the art was a craft, just as the craft was an art, and the work shows it all to those who still can see. Great work, the greatest work, if you like; but so far as Reims is concerned it is now fire-scorched débris, and for its loss we are consoled by the offer of—another{253} Sieges Allee, perhaps. The world may be forgiven for thinking that the game is not worth the candle.
During the Hundred Years’ War sculpture in France froze into a sometimes pleasing but never very profitable convention; now and then it had great loveliness, as in the statues of the church at Brou, but generally it had those qualities of exaggeration, affectation, and insincerity to which I already have referred. Technically121, it was always very perfect and sometimes the decorative design and the manipulation of the marble were almost Japanese in their curious delicacy122. Toward the end of the century there is an improvement owing to the influence of Flanders, then prosperous and cultured while so much of the rest of Europe was spiritually and physically123 devastated by wars, but this later work seemed the particular detestation of the reformers, and mostly it is gone, particularly in the land of its origin, where reform followed by revolution left nothing intact that could be mutilated. Little of the work of the two great schools of Tournai and Burgundy remains, but there is enough to show that if the torch of sculptural art had passed in blood and flame from the hands of France, it had been seized by the{254} men of the Netherlands and carried on for two centuries at least with little diminution124 in its radiance. With the seventeenth century the flame was suddenly extinguished and afterward125 was nothing but that type of baroque absurdity126 that still disgraces the undevastated churches with preposterous127 marble screens and loud-mouthed, theatrical128 pulpits, and prancing129 images of heroic size stuck on the columns of nave130 and choir131.
What the seventeenth century failed to accomplish in the line of these atrocities132 is scarcely worth doing; the grotesque insanity133 of the confessionals and pulpits and other woodwork of the time passes imagination, and is matched only by the misdirected ingenuity134 and facility of it all. The cathedral in Brussels; St. André at Antwerp; St. Martin, Ypres; St. Pierre, Louvain, were particularly hard hit, but there were few churches that did not boast at least a pulpit in a style of design that would have looked like a king’s coach of state had it not more closely resembled a bandwagon. St. Gudule in Brussels suffered most of all, for it not only possesses a peculiarly irritating pulpit of most ridiculous design but its columns are disfigured by the impossible statues on grotesque brackets, while it is disgraced by some of{255} the very worst stained glass produced before the last quarter of the nineteenth century, when all past records were revised.
When one compares the tawdry horrors that in the seventeenth and eighteenth centuries blotted135 almost every church in Flanders and Brabant, and compares it, not with the consummate sculpture and decoration of the great era but even with such work of the undoubted decadence as the screens of Louvain and Lierre, the impossible gulf136 between the two civilisations becomes peculiarly conspicuous. When one realises further that the black-and-white-marble mortuary horrors in the way of screens in Bruges, Antwerp, and Ghent exist at the expense of such works of real, if unguarded, art as the screen at Lierre, destroyed to give place to their perfumed artifice137, the annihilation of art that has followed its production with implacable steps takes on a new poignancy138, and the continued destruction, now violently in process, becomes even less endurable than before.
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1
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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decorative
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| adj.装饰的，可作装饰的 | |
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rhythmical
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| adj.有节奏的，有韵律的 | |
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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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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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differentiation
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| n.区别，区分 | |
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forth
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| adv.向前；向外，往外 | |
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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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cumulative
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| adj.累积的，渐增的 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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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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erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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elongated
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| v.延长，加长( elongate的过去式和过去分词 ) | |
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zigzags
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| n.锯齿形的线条、小径等( zigzag的名词复数 )v.弯弯曲曲地走路，曲折地前进( zigzag的第三人称单数 ) | |
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rape
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| n.抢夺，掠夺，强奸；vt.掠夺，抢夺，强奸 | |
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negation
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| n.否定；否认 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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purely
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| adv.纯粹地，完全地 | |
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allied
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| adj.协约国的；同盟国的 | |
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akin
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| adj.同族的，类似的 | |
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archaic
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| adj.(语言、词汇等)古代的，已不通用的 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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limestone
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| n.石灰石 | |
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persistence
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| n.坚持，持续，存留 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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evolutionary
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| adj.进化的；演化的，演变的；[生]进化论的 | |
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speculations
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| n.投机买卖( speculation的名词复数 )；思考；投机活动；推断 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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crumbling
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| adj.摇摇欲坠的 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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effigies
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| n.（人的）雕像，模拟像，肖像( effigy的名词复数 ) | |
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virgins
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| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
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battered
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| adj.磨损的；v.连续猛击；磨损 | |
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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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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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varied
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| adj.多样的，多变化的 | |
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attain
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| vt.达到，获得，完成 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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45
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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practitioners
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| n.习艺者，实习者( practitioner的名词复数 )；从业者（尤指医师） | |
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creek
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| n.小溪，小河，小湾 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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triangular
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| adj.三角（形）的，三者间的 | |
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50
stolid
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| adj.无动于衷的，感情麻木的 | |
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51
pulchritude
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| n.美丽 | |
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52
consummate
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| adj.完美的；v.成婚；使完美 [反]baffle | |
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53
chronologically
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| ad. 按年代的 | |
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54
hacked
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| 生气 | |
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55
antedates
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| v.（在历史上）比…为早( antedate的第三人称单数 )；先于；早于；（在信、支票等上）填写比实际日期早的日期 | |
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56
forsake
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| vt.遗弃，抛弃；舍弃，放弃 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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culmination
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| n.顶点；最高潮 | |
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majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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pageant
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| n.壮观的游行；露天历史剧 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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vices
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| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
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63
symbolical
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| a.象征性的 | |
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64
testaments
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| n.遗嘱( testament的名词复数 )；实际的证明 | |
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65
apotheosis
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| n.神圣之理想；美化；颂扬 | |
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66
miraculously
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| ad.奇迹般地 | |
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67
carving
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| n.雕刻品，雕花 | |
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68
carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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69
Christian
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| adj.基督教徒的；n.基督教徒 | |
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70
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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71
cresting
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| n.顶饰v.到达山顶（或浪峰）( crest的现在分词 )；到达洪峰，达到顶点 | |
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72
foully
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| ad.卑鄙地 | |
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73
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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74
incompetent
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| adj.无能力的，不能胜任的 | |
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75
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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76
steadily
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| adv.稳定地；不变地；持续地 | |
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77
unfamiliar
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| adj.陌生的，不熟悉的 | |
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78
utterly
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| adv.完全地，绝对地 | |
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79
insolence
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| n.傲慢；无礼；厚颜；傲慢的态度 | |
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80
exalts
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| 赞扬( exalt的第三人称单数 )； 歌颂； 提升； 提拔 | |
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81
lash
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| v.系牢；鞭打；猛烈抨击；n.鞭打；眼睫毛 | |
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82
beget
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| v.引起；产生 | |
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83
partisans
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| 游击队员( partisan的名词复数 )； 党人； 党羽； 帮伙 | |
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84
admiration
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| n.钦佩，赞美，羡慕 | |
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85
vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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86
motive
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| n.动机，目的；adv.发动的，运动的 | |
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87
devastated
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| v.彻底破坏( devastate的过去式和过去分词)；摧毁；毁灭；在感情上（精神上、财务上等）压垮adj.毁坏的；极为震惊的 | |
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88
champagne
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| n.香槟酒；微黄色 | |
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89
instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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90
lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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91
engenders
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| v.产生（某形势或状况），造成，引起( engender的第三人称单数 ) | |
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92
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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93
decadence
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| n.衰落，颓废 | |
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94
hatred
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| n.憎恶，憎恨，仇恨 | |
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resentment
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| n.怨愤，忿恨 | |
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96
potent
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| adj.强有力的，有权势的；有效力的 | |
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97
sublimity
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| 崇高，庄严，气质高尚 | |
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ethical
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| adj.伦理的，道德的，合乎道德的 | |
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99
craftsmen
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| n. 技工 | |
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100
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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101
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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102
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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103
persistent
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| adj.坚持不懈的，执意的；持续的 | |
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104
isolated
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| adj.与世隔绝的 | |
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105
hierarchies
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| 等级制度( hierarchy的名词复数 )； 统治集团； 领导层； 层次体系 | |
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106
distinguished
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| adj.卓越的，杰出的，著名的 | |
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107
scriptures
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| 经文，圣典( scripture的名词复数 )； 经典 | |
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108
scholastic
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| adj.学校的，学院的，学术上的 | |
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109
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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110
superstition
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| n.迷信，迷信行为 | |
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111
supercilious
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| adj.目中无人的，高傲的；adv.高傲地；n.高傲 | |
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112
bishop
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| n.主教，（国际象棋）象 | |
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113
guild
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| n.行会，同业公会，协会 | |
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114
speculative
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| adj.思索性的，暝想性的，推理的 | |
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115
prospectus
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| n.计划书；说明书；慕股书 | |
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116
sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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117
enjoyment
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| n.乐趣；享有；享用 | |
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118
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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119
contented
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| adj.满意的，安心的，知足的 | |
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120
craftsman
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| n.技工，精于一门工艺的匠人 | |
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121
technically
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| adv.专门地，技术上地 | |
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122
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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123
physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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124
diminution
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| n.减少；变小 | |
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125
afterward
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| adv.后来；以后 | |
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126
absurdity
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| n.荒谬，愚蠢；谬论 | |
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127
preposterous
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| adj.荒谬的，可笑的 | |
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128
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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129
prancing
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| v.（马）腾跃( prance的现在分词 ) | |
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130
nave
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| n.教堂的中部；本堂 | |
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131
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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132
atrocities
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| n.邪恶，暴行( atrocity的名词复数 )；滔天大罪 | |
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133
insanity
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| n.疯狂，精神错乱；极端的愚蠢，荒唐 | |
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134
ingenuity
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| n.别出心裁；善于发明创造 | |
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135
blotted
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| 涂污( blot的过去式和过去分词 )； （用吸墨纸）吸干 | |
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136
gulf
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| n.海湾；深渊，鸿沟；分歧，隔阂 | |
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137
artifice
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| n.妙计，高明的手段；狡诈，诡计 | |
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138
poignancy
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| n.辛酸事，尖锐 | |
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