Her disappointment, however, was only transitory, and in spite of her depressed4 and gloomy state of mind, the magic charm of Rome soon won the day over her low spirits. It is always, indeed, difficult for a northerner to resist the sparkling and effervescent sense of gaiety which awakens5 in his heart under the rays of the southern sun.
[20]
At first, only the medi?val portion of the town absorbed and attracted Irene. She spent days in wandering through labyrinths7 of narrow, dirty, unpaved streets, where people, horses, donkeys, tramways, and bicycles moved along, an apparently8 inextricable mass, in the uneven9 roadway. She felt sad and sick at heart at sight of the miserable10 dwellings—rather hovels than houses—in which, till the present day, the poor of Rome find shelter. What a contrast between these wretched abodes11 and the magnificence of the neighbouring Palazzos, with their splendid courtyards and marble colonnades12 enclosing little gardens overgrown with palms and orange-trees! Even the luxury of the Palazzos, however, depressed Irene. Her mind wandered back to the Middle Ages, and it seemed to her that she had found the key to all the cruelty and injustice13 of those dark, bygone days. How could kindness and honour and mercy flourish in such gloomy palaces, in such dismal14 narrow alleys16 where God’s sunlight never penetrated17? No wonder, indeed, if humanity, having at[21] last thrown off the medi?val régime, hastened, immediately after the French Revolution, to escape from these labyrinths of dark and crooked18 alleys, and invented a new type of towns, whose streets were broad and flooded with sunshine.
The only bright spots that relieved, to Irene, the gloom of medi?val Rome, were the Piazzas19, with their gorgeous fountains. Here was the best place for observing the Roman crowd, a crowd always interesting and characteristic, even though robbed, in these days, of its picturesque21 national costume.
There is a woman, hatless and coatless, in spite of the cold winter’s day, sitting by the fountain with a child in her arms, drawing water and finishing her bambino’s toilet in the open air. Opposite her, on the doorstep of someone’s house, a young carpenter is resting, having left the new table he was carrying to a customer in the middle of the road, in everyone’s way. The slight frown on his pink, dirty face distinctly says: “Gone are the good old times! Where are the bandits that used to hide among the ruins of the Campagna,[22] and receive with open arms fellows like me, who love a gay, careless life, and have no mission for hard work?”
His brothers in spirit, healthy, happy, lazy, young scamps, are loitering about the Piazza20, with boxes of cheap mosaic22 trinkets, smiling caressingly23 at passing Englishwomen, and saucily24 offering them their goods: “Des mosa?ques, madame? Très jolies et pas chères!” There is a passing vetturino (cabman) raising his finger, and gazing fixedly25 at the forestiere (foreigner), implying with look and gesture an obliging readiness to drive him to the end of the earth. Leaning against a column, there stands the plague of contemporary Rome: a middle-aged26 guide, with the face of a benevolent27 old father who has had no luck in life. He is muffled28 up in a brightly coloured scarf, and with a massive walking-stick in his hand, he lingers beside a historical monument and awaits his victim, the next unsuspecting and simple passing tourist. He stares gloomily at a crowd of shrieking29 street urchins30, who have just emerged from a neighbouring alley15. They are supposed to be selling newspapers,[23] but actually they are eternally fighting, rolling in the dust, throwing about and soiling the newly printed journals. They are dispersed31 and driven away with a stick by a tall, bent32 old man, picturesquely33 draped in an enormous grey cloth cloak with a fur collar. This garment the old man has dragged as a remembrance from the shoulders of a late faithful lodger34, recently deceased at an extreme old age. The inconsolable landlord is going to a festa, one of those solemn Masses, with a Cardinal35 officiating, which are celebrated36 almost every day in one or other of Rome’s innumerable churches. Behind his indescribably dirty ear, that has never been washed since his birth, he has tucked a red carnation37, as a sign of respect to the saint whose memory he is going to honour.
Suddenly, a group of wandering musicians show themselves on the Piazza. One plays the violin, another blows a trumpet38, while a third, in a broken top-hat and a rusty39 overcoat, sings canzonettas, and dances. Immediately, a crowd collects. At all the open windows appear signoras with black eyes and[24] raven40 tresses, pushing away with their hands the rags hung out to dry. They are all laughing and screaming and chattering41, they are all happy. This is still the same pleasure-loving ancient-Roman crowd, living more in the street than at home, and revelling42 in anything in the nature of a pageant43. Arrange a gladiator’s fight to-morrow in the Colosseum, and they will all rush to the spot, and applaud the victor as passionately44 as ever did their ancestors.
Sometimes these Piazzas are the scenes of antiquarian markets. Light wooden booths are erected46 for the sale of old cassocks and other priestly vestments, pieces of material, embroideries47, lace, old brooches, bracelets48, fans, candlesticks in the shape of antique lamps, books printed on faded yellow parchment, pictures, and statuettes. All this is bought up fast and feverishly49 by Englishwomen and Americans, whom the wily Romans deceive in the most ungodly manner.
On one such occasion, Irene, to her cost, asked the price of a piece of lace. The vendor50, having asked a hundred lire, followed[25] her twice round the Piazza, lowering his price at each step, and setting out in detail all the tragic51 circumstances that were forcing him to part with such a treasure. He had received the lace as a present from the Marquise Abrakadabra-Abrakadabrini. This highly aristocratic name was undoubtedly52 familiar to the signora? His “mamma” had been the wet-nurse of the young Marchesina, so that he, Beppo, was her foster-brother. He had hoped to mend his fortunes for life by selling this priceless lace, but poverty (he spoke53 with great pathos54, tragically55 smiting56 his chest)—poverty, signora, was obliging him to act hurriedly, and to abandon his last hope. At least, he had the one consolation57 of knowing that this family treasure was falling into the hands of such a sympathetic signora—“Look out!” he screamed suddenly, clutching hold of the shafts58 of a cab that threatened to run them over. He was only too happy to have been able to render the signora two services: first, that of saving her life, since, but for his intervention59, the vetturino would undoubtedly have run over her; and second, that of selling[26] her, for a song, a priceless piece of lace, in which the signora would look as beautiful as a queen.
When he had dropped his price from a hundred lire to twenty, Irene, only too anxious to be rid of her irksome follower60, paid him, and hurried away with her purchase, for which she had not only lost all interest, but which she by that time positively61 detested62. On her return home, she showed it to the landlord of her pension. He shook his head pityingly, twirled his finger in front of his nose, smacked63 his lips, and announced that “la pauvre signorina a été volée comme dans un bois.”
Irene began to think that old, medi?val Rome had bewitched her. On many occasions, she started out with the intention of visiting some museum or picture gallery, but always it was as if some magic power was drawing her towards those dingy64 streets, with their stench and their dirt, and their smell of cookery, where the poor of Rome were preparing their unceremonious dinners out-of-doors. Perhaps, indeed, she may have felt[27] that there was something in common between those gloomy localities and her own joyless life.
She was greatly attracted by one grim-looking palace, situated65 at a particularly dingy, dirty spot, in the neighbourhood of the Ghetto66. A terrible deed had once been perpetrated in this palace. Its owner, that famous Cenci, so noted67 for his depravity, had fallen in love with Beatrice, the daughter of his first marriage, and persecuted68 her with his shameful69 desires. The whole family rose against the mad old villain70, and, under the influence of her brothers and her step-mother, Beatrice poisoned her father. The crime was discovered, Beatrice was imprisoned71, made a full confession72, and was executed.
Having heard by chance that a famous portrait of Beatrice Cenci, the work of Guido Reni, is preserved at the Palazzo Barberini, Irene went to see it. She expected to see a queenly, tragic beauty, and found, instead, a simple girl, almost a child, in the very springtime of life—an innocent young soul to whom love and passion can as yet have[28] had no meaning. The artist has represented her in prison, dressed in the white prisoners’ attire. Her little face is worn and drawn73 through sleepless74 nights, her beautiful eyes are red with tears, her little childish lips are swollen75, just as all children’s lips are swollen when they cry. The whole touching76 little face seemed to say quite clearly: “Yes—I am a criminal! Everyone tells me that I must pay for my crime with my life; that I must leave the lovely world that I love so much, leave the sunshine and the birds and the flowers, and go away into a cold tomb. What can I do? I have no strength to protest! But you, who will live instead of me, do not curse poor Beatrice! Love her! Pity her!”
Irene’s eyes filled with tears as she looked at this martyred child, and she hid her face under her veil to hide her emotion. Other visitors to the Palazzo Barberini were also weeping and trying to conceal77 their tears.
“You are revenged, little Beatrice!” thought Irene. “Thousands are weeping at your sad fate, and are cursing your tyrants78.”
[29]
Irene soon became known in her pension as the tourist who had been living in Rome for three months and had not seen the Forum. All the Englishwomen in the house, deeply shocked at this omission79, persuaded, implored80, and at last forcibly dragged her there. From that moment, the charms of the medi?val city vanished for her, and she lost herself entirely82 in the antique world.
The weather was warm and sunny. The colossal83 walls of ruined ancient palaces and shrines84, that must surely have been built for giants, stood out in relief against the blue sky. The silence was intense, the Roman season had not yet begun. Unknown crowds of English travellers had not yet descended86 from the Swiss mountains, nor sailed across the waters from Egypt. Irene felt quite at home among the ruins. She wandered for days among the ruins of the Forum and the Palatine, trying to imagine the life of the past, when the sun shone down not on the crumbling87 stones before her but on a world of glistening88 marble and pagan luxury; when[30] the immense sculptured gods, sheltered at present in the galleries of the Vatican, rose on their pedestals high above the heads of the gorgeous crowd with its classic draperies and its garlands of flowers, worshipping, offering sacrifices, burning incense89. What a beautiful, gay, triumphant90 picture! Why did it all end? What could have driven these people away from their beloved green hills, down to the unhealthy banks of the Tiber and those dirty, dark alleys? And why are people now in their turn moving away from these alleys and returning to the hills and the sunshine, and a new, healthier life?
For the first time the thought occurred to Irene that the world, like each individual human being, must gradually pass through all the different periods of life. First, the early years, with their faltering91 steps and their uncertain memory. Then, at about five years old, the beginning of gay, happy, early childhood, white raiment, crowns and garlands and flowers, dance and song and laughter and summer-time. Dolls are indispensable at this age—modelled of clay, hewn out of stone,[31] carved in wood, at first very primitive92 and clumsy like those of the Egyptians, then always more and more lifelike, and finally perfected by the Greeks. And like a child who, having made itself a rag doll, takes it seriously and endows it with all sorts of qualities, so the Greeks and Romans place the gods they have made on pedestals, and call them Jupiter the terrible, Venus the passionate45, Amor the little rogue93, Minerva the wise, etc.
They dance around their gods with the careless gaiety of childhood; they love gorgeous processions, banquets, chariot-racing, and gladiators’ fights for life or death, upon which they look with laughter, since pity is to them, as to all children, a thing unknown.
But time passes, and the child grows older. New ideas and requirements awaken6 in him; games and gaiety lose their interest. He grows pensive94, pale, and thin, and he feels the need of suffering and tears. Irene remembered how, at the age of seven, she had suddenly experienced a great desire to fast during all the seven weeks of Lent. Pale,[32] fragile child as she had been, such privation had weakened her terribly; but incredible as it may seem, with a strength gleaned95 Heaven knows from where, she had actually held out to the end! She remembered also certain religious pilgrimages in the small provincial96 town, near which she had sometimes passed the summer with her father. Many a time in the torrid heat of a sultry July day had she walked for four or five hours through clouds of dust, along a rough, uneven road, in a procession behind an ikon, returning home half dead with fatigue97, but unable to sleep, through sheer religious exaltation. Her thoughts, too, wandered back to the neighbouring convent, whither she had often gone to pray, and where, having attended vespers, she had sometimes stood through the whole night in prayer, soaring on the wings of a religious ecstasy98, and feeling no fatigue. Her young soul had needed these raptures99, fasts, and prayers. It had needed also the food of legends, and the more wonderful, the more supernatural these legends the dearer had they grown to her[33] imagination. Her mind had acknowledged no logic100, and had needed none.
Did not the same thing happen to the world in the Middle Ages, that period of Humanity’s later childhood? Christianity, or rather its rites101 and ceremonies (since its real meaning was unattainable to these children), was accepted with enthusiasm, because these rites and ceremonies exactly answered the requirements of the age: ecstasy, martyrdom, torture rapturously borne, na?ve and lovely legends. Humanity would have no more of dolls and toys, and wrathfully destroyed the statues of the gods. Later on, in more recent times, those same people tenderly and lovingly collected the broken fragments of the statues and preserved them in their museums as cherished remembrances of childhood. It is thus that a grown-up man will pay a large sum for a broken doll, or for a faded coloured print that amused him in his early days.
Just as modelling is the heritage of babyhood, so painting is the delight of childhood. First come na?ve little drawings, like the work of the Primitives103, in which the figures of[34] saints of high religious rank are made twice as large as those of their inferiors, or like the pictures of Perugino and his school, in which the infant Christ is depicted104 wearing a coral ornament105 similar to those put round the necks of Italian children to save them from the evil eye!
Day by day, art develops and grows more perfect, reaching its apotheosis106 almost simultaneously107 in all the countries of Europe. Yet in all their magnificence and perfection, something na?ve and childlike remains108 even in the works of the great masters. They draw pictures from the life of Christ, for instance, with background and accessories of the Middle Ages. They represent some Pope in all his Catholic vestments and with his papal tiara kneeling humbly109 before the Virgin110, with the Child in her arms. They are not in the least disturbed by the thought that if a Roman Pope exists at all, it is only because this Christ Child grew up, and because His Apostles founded the Church. Their childish mind does not occupy itself with such contradictions, and Michael Angelo gives to the[35] world his famous Pièta, a magnificent marble group, in which the Virgin Mother is younger than her Son.
The defenceless child, unable to revenge himself on his tyrants and tormentors, loves to console himself with dreams of how the Divine Power—God and His angels, the Archangel Michael with a sword in his hand—will descend85 from heaven to help him. The wicked will be burnt in hell, and he, the offended and insulted one, will receive his reward in Paradise. Had he not this dream and this consolation, life would indeed be too heavy a burden.
But the child grows up, and reaches adolescence111. He stands on the threshold of life, and the school-bench is left behind him. School has taught him but little—a few facts and some elementary information. But he has learnt to reason logically, and to examine the solid foundations on which the world rests. He begins to apply his logic to everything, and when he approaches religion, doubt trembles in his soul. The absurd improbability of the legends of the[36] Middle Ages disgusts him, and at the same time he is obsessed112 by the fear of remaining without a religion, a fear which has been inculcated into his mind by his entire upbringing. Calm and cold-blooded people think it all out, and become confirmed Atheists. Not so, however, those others with fervent113, burning souls! Poor Tolstoy, in the wrath102 of his old age, destroys and insults the very elements on which he has founded and formed his life, and, having insulted them, goes to church as before, prays humbly among beggars, throws himself into a monastery114, and dies of despair on the highway.
How many such martyrs115 are there in our days! With tears and sobs116 they fall on their knees, stretch forth117 their hands to Heaven, and cry from the depths of their souls: “God! show me some miracle that I may again believe in Thee! It is only through Thy wonders and miracles worked in the early days of Christianity that people turned to Thee and believed. Why were these early Christians118 dearer to Thee than I? I love thee; it is hard for me to tear myself[37] away from Thee! A miracle, a miracle, I beseech119 Thee! I will then believe anything, even what is against all reason and logic—only come to my help I implore81 Thee! Give me a sign or a miracle!”
But there are no more miracles, and death and despair enter like iron into the soul of the sufferer.
点击
收听单词发音
收听单词发音 |
1
forum
|
|
| n.论坛，讨论会 | |
参考例句： |
|
|
|
|
2
prosaic
|
|
| adj.单调的，无趣的 | |
参考例句： |
|
|
|
|
3
attire
|
|
| v.穿衣，装扮[同]array；n.衣着；盛装 | |
参考例句： |
|
|
|
|
4
depressed
|
|
| adj.沮丧的，抑郁的，不景气的，萧条的 | |
参考例句： |
|
|
|
|
5
awakens
|
|
| v.（使）醒( awaken的第三人称单数 )；（使）觉醒；弄醒；（使）意识到 | |
参考例句： |
|
|
|
|
6
awaken
|
|
| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
参考例句： |
|
|
|
|
7
labyrinths
|
|
| 迷宫( labyrinth的名词复数 )； （文字，建筑）错综复杂的 | |
参考例句： |
|
|
|
|
8
apparently
|
|
| adv.显然地；表面上，似乎 | |
参考例句： |
|
|
|
|
9
uneven
|
|
| adj.不平坦的，不规则的，不均匀的 | |
参考例句： |
|
|
|
|
10
miserable
|
|
| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
参考例句： |
|
|
|
|
11
abodes
|
|
| 住所( abode的名词复数 )； 公寓； （在某地的）暂住； 逗留 | |
参考例句： |
|
|
|
|
12
colonnades
|
|
| n.石柱廊( colonnade的名词复数 ) | |
参考例句： |
|
|
|
|
|
13
injustice
|
|
| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
参考例句： |
|
|
|
|
14
dismal
|
|
| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
参考例句： |
|
|
|
|
15
alley
|
|
| n.小巷，胡同；小径，小路 | |
参考例句： |
|
|
|
|
16
alleys
|
|
| 胡同，小巷( alley的名词复数 )； 小径 | |
参考例句： |
|
|
|
|
17
penetrated
|
|
| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
参考例句： |
|
|
|
|
18
crooked
|
|
| adj.弯曲的；不诚实的，狡猾的，不正当的 | |
参考例句： |
|
|
|
|
19
piazzas
|
|
| n.广场，市场( piazza的名词复数 ) | |
参考例句： |
|
|
|
|
20
piazza
|
|
| n.广场；走廊 | |
参考例句： |
|
|
|
|
21
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
22
mosaic
|
|
| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
参考例句： |
|
|
|
|
23
caressingly
|
|
| 爱抚地，亲切地 | |
参考例句： |
|
|
|
|
24
saucily
|
|
| adv.傲慢地，莽撞地 | |
参考例句： |
|
|
|
|
25
fixedly
|
|
| adv.固定地；不屈地，坚定不移地 | |
参考例句： |
|
|
|
|
26
middle-aged
|
|
| adj.中年的 | |
参考例句： |
|
|
|
|
27
benevolent
|
|
| adj.仁慈的，乐善好施的 | |
参考例句： |
|
|
|
|
28
muffled
|
|
| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
参考例句： |
|
|
|
|
29
shrieking
|
|
| v.尖叫( shriek的现在分词 ) | |
参考例句： |
|
|
|
|
30
urchins
|
|
| n.顽童( urchin的名词复数 )；淘气鬼；猬；海胆 | |
参考例句： |
|
|
|
|
31
dispersed
|
|
| adj. 被驱散的, 被分散的, 散布的 | |
参考例句： |
|
|
|
|
32
bent
|
|
| n.爱好，癖好；adj.弯的；决心的，一心的 | |
参考例句： |
|
|
|
|
33
picturesquely
|
|
参考例句： |
|
|
|
|
34
lodger
|
|
| n.寄宿人，房客 | |
参考例句： |
|
|
|
|
35
cardinal
|
|
| n.(天主教的)红衣主教；adj.首要的，基本的 | |
参考例句： |
|
|
|
|
36
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
37
carnation
|
|
| n.康乃馨（一种花） | |
参考例句： |
|
|
|
|
38
trumpet
|
|
| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
参考例句： |
|
|
|
|
39
rusty
|
|
| adj.生锈的；锈色的；荒废了的 | |
参考例句： |
|
|
|
|
40
raven
|
|
| n.渡鸟，乌鸦；adj.乌亮的 | |
参考例句： |
|
|
|
|
41
chattering
|
|
| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
参考例句： |
|
|
|
|
42
revelling
|
|
| v.作乐( revel的现在分词 )；狂欢；着迷；陶醉 | |
参考例句： |
|
|
|
|
43
pageant
|
|
| n.壮观的游行；露天历史剧 | |
参考例句： |
|
|
|
|
44
passionately
|
|
| ad.热烈地，激烈地 | |
参考例句： |
|
|
|
|
45
passionate
|
|
| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
参考例句： |
|
|
|
|
46
ERECTED
|
|
| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
参考例句： |
|
|
|
|
47
embroideries
|
|
| 刺绣( embroidery的名词复数 )； 刺绣品； 刺绣法 | |
参考例句： |
|
|
|
|
48
bracelets
|
|
| n.手镯，臂镯( bracelet的名词复数 ) | |
参考例句： |
|
|
|
|
49
feverishly
|
|
| adv. 兴奋地 | |
参考例句： |
|
|
|
|
50
vendor
|
|
| n.卖主；小贩 | |
参考例句： |
|
|
|
|
51
tragic
|
|
| adj.悲剧的，悲剧性的，悲惨的 | |
参考例句： |
|
|
|
|
52
undoubtedly
|
|
| adv.确实地，无疑地 | |
参考例句： |
|
|
|
|
53
spoke
|
|
| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
参考例句： |
|
|
|
|
54
pathos
|
|
| n.哀婉，悲怆 | |
参考例句： |
|
|
|
|
55
tragically
|
|
| adv. 悲剧地，悲惨地 | |
参考例句： |
|
|
|
|
56
smiting
|
|
| v.猛打，重击，打击( smite的现在分词 ) | |
参考例句： |
|
|
|
|
57
consolation
|
|
| n.安慰，慰问 | |
参考例句： |
|
|
|
|
58
shafts
|
|
| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
参考例句： |
|
|
|
|
59
intervention
|
|
| n.介入，干涉，干预 | |
参考例句： |
|
|
|
|
60
follower
|
|
| n.跟随者；随员；门徒；信徒 | |
参考例句： |
|
|
|
|
61
positively
|
|
| adv.明确地，断然，坚决地；实在，确实 | |
参考例句： |
|
|
|
|
62
detested
|
|
| v.憎恶，嫌恶，痛恨( detest的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
63
smacked
|
|
| 拍，打，掴( smack的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
64
dingy
|
|
| adj.昏暗的，肮脏的 | |
参考例句： |
|
|
|
|
65
situated
|
|
| adj.坐落在...的，处于某种境地的 | |
参考例句： |
|
|
|
|
66
ghetto
|
|
| n.少数民族聚居区，贫民区 | |
参考例句： |
|
|
|
|
67
noted
|
|
| adj.著名的，知名的 | |
参考例句： |
|
|
|
|
68
persecuted
|
|
| （尤指宗教或政治信仰的）迫害(~sb. for sth.)( persecute的过去式和过去分词 )； 烦扰，困扰或骚扰某人 | |
参考例句： |
|
|
|
|
69
shameful
|
|
| adj.可耻的，不道德的 | |
参考例句： |
|
|
|
|
70
villain
|
|
| n.反派演员，反面人物；恶棍；问题的起因 | |
参考例句： |
|
|
|
|
71
imprisoned
|
|
| 下狱，监禁( imprison的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
72
confession
|
|
| n.自白，供认，承认 | |
参考例句： |
|
|
|
|
73
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
74
sleepless
|
|
| adj.不睡眠的，睡不著的，不休息的 | |
参考例句： |
|
|
|
|
75
swollen
|
|
| adj.肿大的，水涨的；v.使变大，肿胀 | |
参考例句： |
|
|
|
|
76
touching
|
|
| adj.动人的，使人感伤的 | |
参考例句： |
|
|
|
|
77
conceal
|
|
| v.隐藏，隐瞒，隐蔽 | |
参考例句： |
|
|
|
|
78
tyrants
|
|
| 专制统治者( tyrant的名词复数 )； 暴君似的人； （古希腊的）僭主； 严酷的事物 | |
参考例句： |
|
|
|
|
79
omission
|
|
| n.省略，删节；遗漏或省略的事物，冗长 | |
参考例句： |
|
|
|
|
80
implored
|
|
| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
81
implore
|
|
| vt.乞求，恳求，哀求 | |
参考例句： |
|
|
|
|
82
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
83
colossal
|
|
| adj.异常的，庞大的 | |
参考例句： |
|
|
|
|
84
shrines
|
|
| 圣地，圣坛，神圣场所( shrine的名词复数 ) | |
参考例句： |
|
|
|
|
85
descend
|
|
| vt./vi.传下来，下来，下降 | |
参考例句： |
|
|
|
|
86
descended
|
|
| a.为...后裔的，出身于...的 | |
参考例句： |
|
|
|
|
87
crumbling
|
|
| adj.摇摇欲坠的 | |
参考例句： |
|
|
|
|
88
glistening
|
|
| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
参考例句： |
|
|
|
|
89
incense
|
|
| v.激怒；n.香，焚香时的烟，香气 | |
参考例句： |
|
|
|
|
90
triumphant
|
|
| adj.胜利的，成功的；狂欢的，喜悦的 | |
参考例句： |
|
|
|
|
91
faltering
|
|
| 犹豫的，支吾的，蹒跚的 | |
参考例句： |
|
|
|
|
92
primitive
|
|
| adj.原始的；简单的；n.原(始)人，原始事物 | |
参考例句： |
|
|
|
|
93
rogue
|
|
| n.流氓；v.游手好闲 | |
参考例句： |
|
|
|
|
94
pensive
|
|
| a.沉思的,哀思的,忧沉的 | |
参考例句： |
|
|
|
|
95
gleaned
|
|
| v.一点点地收集（资料、事实）( glean的过去式和过去分词 )；（收割后）拾穗 | |
参考例句： |
|
|
|
|
96
provincial
|
|
| adj.省的，地方的；n．外省人，乡下人 | |
参考例句： |
|
|
|
|
97
fatigue
|
|
| n.疲劳，劳累 | |
参考例句： |
|
|
|
|
98
ecstasy
|
|
| n.狂喜，心醉神怡，入迷 | |
参考例句： |
|
|
|
|
99
raptures
|
|
| 极度欢喜( rapture的名词复数 ) | |
参考例句： |
|
|
|
|
100
logic
|
|
| n.逻辑(学)；逻辑性 | |
参考例句： |
|
|
|
|
101
rites
|
|
| 仪式，典礼( rite的名词复数 ) | |
参考例句： |
|
|
|
|
102
wrath
|
|
| n.愤怒，愤慨，暴怒 | |
参考例句： |
|
|
|
|
103
primitives
|
|
| 原始人（primitive的复数形式） | |
参考例句： |
|
|
|
|
104
depicted
|
|
| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
参考例句： |
|
|
|
|
105
ornament
|
|
| v.装饰，美化；n.装饰，装饰物 | |
参考例句： |
|
|
|
|
106
apotheosis
|
|
| n.神圣之理想；美化；颂扬 | |
参考例句： |
|
|
|
|
107
simultaneously
|
|
| adv.同时发生地，同时进行地 | |
参考例句： |
|
|
|
|
108
remains
|
|
| n.剩余物，残留物；遗体，遗迹 | |
参考例句： |
|
|
|
|
109
humbly
|
|
| adv. 恭顺地，谦卑地 | |
参考例句： |
|
|
|
|
110
virgin
|
|
| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
参考例句： |
|
|
|
|
111
adolescence
|
|
| n.青春期，青少年 | |
参考例句： |
|
|
|
|
112
obsessed
|
|
| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
参考例句： |
|
|
|
|
113
fervent
|
|
| adj.热的，热烈的，热情的 | |
参考例句： |
|
|
|
|
114
monastery
|
|
| n.修道院，僧院，寺院 | |
参考例句： |
|
|
|
|
115
martyrs
|
|
| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
参考例句： |
|
|
|
|
116
sobs
|
|
| 啜泣（声），呜咽（声）( sob的名词复数 ) | |
参考例句： |
|
|
|
|
117
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
118
Christians
|
|
| n.基督教徒( Christian的名词复数 ) | |
参考例句： |
|
|
|
|
119
beseech
|
|
| v.祈求，恳求 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |