Year by year the patient research of the archeologist unearths1 new discoveries, confirming or contradicting those already made, and translating, as it were, into actual fact much that had previously2 been considered legendary3. And still, year by year, till the whole history is laid bare, the process is likely to continue. Comparatively late discoveries at Abydos have converted the mythical4 kings of the First Dynasty into real human beings, living and dying thousands of years ago. Their burial places have been found, and Menes, Aha-Mena, is no longer a suppositious, but a real character. Weapons, furniture, vases, drinking vessels5, jewelry6, etc., with the names of various kings upon them, have been dug up and may now be seen at Abydos, in the University Museum in London, in that of the University of Pennsylvania, and in other places.
Among these we come upon the first memorial of a queen. From out of the darkness of the centuries stretches forth7 a woman’s arm laden8 with bracelets9, and tells of the common humanity which unites us. It is thus described: “The most important piece of gold work discovered consists of the bracelets of the Queen of Zer.[27] The queen’s arm had been broken off long ago, when the tomb was originally plundered10, and hidden in a hole in the wall. There it had been overlooked alike by the builders of the Osiris shrine11, by the Coptic destroyers, and by the Arabs employed by the French mission, until it was discovered by Professor Petrie’s workmen, with the four bracelets in their original order. Each is made in a different and somewhat elaborate design, partly in gold and partly in beads12 of amethyst13, turquoise14 or lazuli.” These “finds” also include the tomb of a young girl, “Bener-Ab” (Sweet of Heart), whom some fancied to be the daughter of Ment, which contained an ivory figure dressed in flowing robes. And still another “find” includes some plaited locks and a fringe of curly false hair.
The early Egyptian comes upon the historic stage very much decorated as to head, very decollete as to garments. No Indian with war paint and feathers was more elaborately gotten up. So that his peruke hung in curled or braided locks about him, or, if of royal blood, he wore his crown or double crown, all else seemed of minor15 importance. We can imagine him lightly attired16, treading the streets of modern London and straying into the law courts, where he would encounter judges and barristers in their wigs17 of office. Doubtless he would bow and touch his head significantly, intimating that a common bond of taste united them.
So important were these coiffures that one of the earliest offices of which we find record is that of “Superintendent19 of Wigs and Head-dresses,”[28] and among the treasures of various museums are specimens20 of these belongings21 of royalty22.
Reproduced in almost every book on Egypt are those most ancient portrait statues of General Ra-hotep and his wife, the Princess Nefert. One authority assigns them to the Third Dynasty, and already the wig18 was in full flow. The gentleman wears a comparatively modest head covering, but the lady’s was of portentous23 size and thickness, falling in curls on either side of her face, with its artless, unaffected expression. Doubtless the fashionable world of that day thought the wig gave “a presence”—as an English dame24 said of caps—to the wearer. General Ra-hotep had married a lady of rank, of royal blood, his superior in that respect, but both were deemed important enough to have their massive statues cut, sitting in the usual ceremonial attitude, bolt upright, the knees and feet closely pressed together. “A statue of dignity culminating in a bust25 of beneficence.”
The Egyptian ideal was a studied dignity of posture26. The Greeks, aiming at the grace and beauty of nature, sculptured their figures in the various attitudes of the human form, as also, in a degree, did the Romans. While we see on coins and in old manuscripts the Saxon and early Norman kings with knees and feet wide apart, and this also is the ceremonial Chinese attitude.
But even with a formal prescribed position of the figure the early Egyptian faces were evidently true to nature to an extent not the case in later times. There is an individuality about them which makes us feel that we see a truthful[29] personification. In the Old Empire the realistic school is found side by side with conventional art. In the Fourth Dynasty especially we see conventional figures and portrait heads, while in the Fifth all is more natural. To this last belongs the fine limestone28 statue of a scribe now in the Louvre. A slender but powerful figure, square in the shoulders, with slight legs and long, flat feet, seated in an Oriental manner and writing on a parchment unrolled on his knee. The flesh tints30 a pale red, a false beard, bronze for the brows, eyes enamelled alabaster31 and crystal, and a nail for the pupil.
Another portrait statue of great celebrity32 is that of the “wooden man” reproduced in a plaster cast in almost every museum. It is half life-size, probably the foreman of a gang of laborers33, is called “Ra Emka,” and was found at the Sakkarah pyramid. Its age has been said to be six thousand years. It had originally eyes of opaque34 white quartz35, pupils of rock crystal, bronze eyelids36, and arms made separately, with a staff of office in one hand, and was once covered with linen37, plastered and painted. The Arabs called it “Sheikel Belel, or Belud,” “Village Chief.” A mutilated statue of his wife was found beside him, only the head and trunk being entire. The face was of the common Egyptian type, with rather a peevish38 expression, in contrast to the husband’s more urbane39 and amiable40 look. Statues of a certain Sepi and his wife, attributed to the Third Dynasty, are also in the Louvre.
The outline of the physiognomy of General Ra-hotep and Ra-Emka are not unlike in type.[30] The Princess Nefert has buff flesh tints, her husband’s are somewhat darker, and both have the crystal eyes which impart such a lifelike appearance. A dignified41 and portly pair, who gaze steadily42 out above the head of the sight-seer in the Gizeh museum. This collection, first gathered at Boulak and later removed to Gizeh, is the youngest but the richest in portrait statues of private individuals. Most are in what is called the hieratic attitude, with the left arm close to the body, the left hand holding a roll of papyrus43, the right leg advanced, the right hand raised, as if grasping a staff, or perhaps, as at the Resurrection, holding the Book of the Dead. With Menes the first distinct record of dynasties begins, so far as yet discovered, and mooted44 points remain for the student as to which reigned46 simultaneously47 and which in succession. The first two dynasties were Thinites, from Tini, Greek This, near Abydos, in Upper Egypt, seat of the worship of Osiris, where their tombs and various remains48, as above referred to, have been found. One of the most ancient is a fragment of jewelry bearing the name of Mena, who is said to have founded Memphis, to have turned aside the course of the river to build his city, to have reigned sixty-two years, and, finally, to have been killed by a hippopotamus49 or crocodile. Zer, or Teta, understood medicine and wrote astronomical50 books; of others it is said that one wrote the sacred books, another introduced animal worship, and another was a giant. Of this first dynasty there seem to have been some seven or eight kings.
[31]
As early as the Second Dynasty, under Binothris, a law was passed admitting women to sovereignty, and thereafter, from time to time, as guardian51, regent, or independent ruler, a woman held sway. As goddesses above, so the woman below had her share of authority. The queen by incantations protected the king when in his priestly robe he offered sacrifices, played the sistrum (a sort of religious instrument) to drive away evil spirits, offered libations, poured perfumes and cast flowers. She walked behind the king in processions, gave audiences with him and governed for him, as the goddess Isis for Osiris, in his absence. The worship of the bull Apis, destined52 to so wide a popularity, was also introduced in this dynasty.
No extended or separate account of the queens, with one or two exceptions, can be found in the writers on Egypt, but here and there we come across the mention of certain names and brief stories or conflicting statements in regard to them. Several are spoken of by Maspero in his account of these earliest times. But to Mertytefs or Mertitifsi chiefly clings any sort of history which can vitalize her for us. We read of Mirisonku, daughter of Kheops and sister and wife of Khephren, of Mirtitifsi, of Khuit, of Miriri-ankh-nas, and of Meri-s-ankh, of the Sixth Dynasty, worshipper of the gods. Another writer gives Meri-s-ankh as the queen of Sneferu or Khafra, and Hentsen as Kufu’s daughter, says that Hatshepset made scarabs of Menkaura, and mentions a statue of Ra-en-usa, of the Fifth Dynasty. A stele53 in Gizeh, found at[32] Abydos and of the Fifth Dynasty, represents the royal spouse54 Pepi-ankhnes and the “chef” Aou seated on each side of a table of offerings. The city of This gave its name to the yet earliest known kings, but Memphis, “The Haven55 of the Good,” was the great metropolis56 in the time of Mertitefs.
Queen Mertitefs is said to have been first the wife of King Seneferu, “the Betterer,” whose mother is given by one authority as Queen Hapunimait. Mertytefs was, some say, of the Third, some of the Fourth Dynasty. In a limestone group in the Leyden Museum (among the oldest portrait statues in the world) sit the queen, the mysterious Ka, which may be briefly57 described as the embodied58 spirit, and her secretary, a priest named Kenun. Without a secretary or scribe no royal personage’s list of attendants was complete. It was hardly the private correspondence which occupied their time, as in later days, though the habit of letter writing then existed, but so many items had to be noted59 down. The queen and her Ka sit side by side, with black hair and buff flesh tints just alike.
Seneferu, founder60 of the Fourth Dynasty, is the first king of whom we have contemporary monuments, and the Fourth is sometimes called the “pyramid dynasty.” During this reign45 the kingdom was prosperous, the arts flourished, and foreign conquests were made. The king left a good name, and was worshipped till the Ptolemaic period.
Diodorus stated that in the marriage contracts[33] the wife was to control her husband. Be that as it may, she was doubtless, as in modern times, the ruler of the household. Mertytefs was young, some say fourteen, and probably beautiful, when she married Seneferu, whom she survived, and, possessing the usual charm of widows, she again married the Cheops of Herodotus, the Khufu of Manetho, of whom a small ivory has been recently found by Professor Petrie at Abydos, the builder of the Great Pyramid. Marriette assigns the date 4234 B. C., and Brugsch 3733 B. C. to this period, while Petrie gives from the time of the First Dynasty to the Sixth 4777 B. C. to 3503 B. C. Some writers interpolate a certain Ratatef, sometimes said to be the son, sometimes the brother of Khufu.
The building of a pyramid as his sepulchre was one of the chief occupations, might almost say the amusements or pleasures, of a king, as the building of a house in modern times affords constant study and entertainment to the constructor, and day after day he goes to watch its progress. The thought of death had no terror for the Egyptians—to the king it was simply a new world, peopled with gods and goddesses, among whom he would take an honored place. His pyramid was the book, the autobiography61, often an illustrated62 one, that he published, filled with accounts of his deeds and prowess and certain to give him name and fame with posterity63. The word pyramid is said to mean “king’s grave,” and thus reveals its purpose.
So, slowly, under the eyes of Queen Mertytefs rose these gigantic and marvellous structures.[34] What matter, if the object were accomplished64, that hundreds of lives were sacrificed in the ceaseless and laborious65 toil66 under a tropic sun. Herodotus says it took one hundred thousand, Pliny three hundred thousand, men twenty years in the building. We can imagine the queen from time to time going in state to view the progress of the work and helping67 it on with her suggestions. Some traditions tell that Khufu was specially27 tyrannical and cruel, and even stopped praying to the gods to press on his great enterprise. The rock testimony68 styles him brave and a conqueror69.
“Egypt is the monumental land of the earth, as the Egyptians are the monumental people,” says Bunsen. The history of Egypt goes, as it were, against the stream; the earliest monuments are between Cairo and Siout, in Lower Egypt, the latest temples in Nubia, Upper Egypt.
The pyramids, whose entrances pointed70 to the North star, and which were perhaps two thousand years old when Abraham was born, looked from a distance like isolated71 mountain peaks or faint blue triangles outlined against the sky, and the clear air made them seem nearer than they were. They occupied the whole horizon as one advanced beyond the plain of tombs. “Anear,” says Miss Edwards, “a mighty72 shadow, sharp and distinct, divided the sunlight where it fell, as its great original divided the sunlight in the upper air and darkened the space it covered like an eclipse—registering sixty centuries of history.” In the early times the three large pyramids were probably almost central in the embrace[35] of the city, which stretched away westward74 from the Nile in “a succession of gardens, squares, palaces and monuments, girdling the lake with beautiful villages and climbing, with its terraces, grottoes, shrines75 and marble pavilions, the very sides of the cliffs two leagues from the Nile. From the top of the great pyramid of Cheops to-day one views the broad domes76 and the minarets77 of Cairo, the hills beyond and a palm grove78 on the site of ancient Memphis,” says Bayard Taylor. “Over the rich palm trees the blue streak79 of the river and the plain beyond you see the phantoms80 of two pyramids in the haze81 which still curtains the Libyan desert. Northward82, beyond the parks and palaces of Shoba, the Nile stretches his two great arms towards the sea, dotted far into the distance with sails that flash in the sun.” Many other pyramids are in sight, while higher than St. Peter’s, Rome, St. Paul’s, London, or the Capitol at Washington, the greatest of them, this enormous structure of past ages still dominates the plain. A modern poet has said of them:
“Amid the deserts of a mystic land,
Like Sibyls waiting for a doom83 far-seen,
Apart in awful solitude84 they stand,
With thoughts unending caravan85 between.”
Even then it was probably a magnificent city in which Queen Mertytefs dwelt. Colossal86 gateways87, with the disk and extended wings above, pillars on which lights burned at night, avenues of sphinxes, palaces along the river bank, columns[36] with carved capitals, with the lotus in bud and bloom, as well as other plants, and gorgeously painted shafts88, temples of red sandstone, with forests of pillars, lakes surrounded with trees and flowering shrubs89, oranges, scarlet90 pomegranates, olives, figs91, vines, and everywhere crowds of freemen and troops of slaves.
The Sphinx, previously sculptured, doubtless underwent some work of restoration at this time, and is said by certain authorities to bear the features of Chephren aggrandized92, by others that it was in the image of the god Harmachis. The Arabs named it “Abuthol, Father of Terrors.” Its present state called forth from an illiterate93 voyager of modern times the caustic94 remark, “They keep it in shocking repair!” Maspero believed the Sphinx belonged to the period of the Horshesu, “Followers of Horus,” chiefs of the clans95 gathered into one kingdom under Menes.
The Book of the Dead, which laid down rules, as we may say, both for the dead and the living, belonged to the Fourth Dynasty, and the fragments of it which have descended96 to us are the source of much of our information about this ancient land and people.
Besides the serious business of pyramid building, the kings and queens had their amusements of other sorts. The harp73 and flute97 were known in the Fourth Dynasty, and music, singing and dancing no doubt date from the Garden of Eden. Dwarfs98 were favorite pets, and a story is told of a frolic of King Seneferu’s, who, for diversion, kept a boat manned with girls whose airy costumes[37] consisted of network. Perchance he may not have been so sober-minded a person as his successor in the queen’s affections. Khufu built the Great Pyramid, and perhaps rebuilt the temple of Isis near the Sphinx, also a temple at Denderah, added to or restored later, first by Thothmes IV and afterwards by some of the Ptolemies.
Mertytefs or Khufu’s sons and daughters are spoken of by Rawlinson, and a daughter, Hents or Hentsen, was buried under a small pyramid near her father. There is a tradition that he sold his daughter for money to carry on the building of his pyramid, while she, sharing in the profits, built one for herself. The king consecrated99 gold and copper100 statues to Isis in honor of his daughter. Other stories tell of treasures buried in the pyramids which were appropriated by the sovereigns of other centuries.
Tutors, or “nurses,” as they were called, were appointed for the royal children, and possibly the queen’s secretary, Kenun, may have held this position. Record is made of a certain Shap-siska-fankhu, who was governor of the “House of the Royal Children,” in the Fifth Dynasty. Shafra or Khafra was thought to be son-in-law to Khufu and his wife; Meri-ankh-s, or Meri-s-ankh, whose tomb is at Sakkarah, was a priestess of the god Thoth. She was high in confidence and favor, and bore at least two sons. Her husband, or another son of Khufu, was high priest at Heliopolis.
Mertytefs was evidently a lady of great vigor102, capacity and attraction, for two reigns101 did not[38] exhaust her powers, and under the succeeding king, Kafra or Chafra, probably son-in-law or nephew, and builder of the second pyramid of Gizeh, she still in a measure held sway. The name signified “beloved of her father,” but she was evidently beloved of fortune also, for her sun sinks in splendor103 as the “Administrator of the Great Hall of the Palace,” where she had probably innumerable slaves to oversee104 and do her bidding, “Mistress of the Royal Wardrobe” and “Superintendent of the Chamber105 of Wigs and Head-dresses”—three important offices. Yet are women of forty on the Nile said to be as old as those of sixty in Europe. Not this lady surely, else were her brilliant career briefly run. To account for this singular history one commentator106 allows her a hundred and six years, another a hundred and thirty. A lady’s age is always a mystery. Perhaps she never told it, but “let concealment107, like a worm in the bud, feed on her damask cheek,” and after these lapses108 of centuries it may be we shall never be set right on this point.
The statue of King Chefren, with his novel head-dress, serene109 expression, and paucity110 of underwear, is familiar, but the upper class figures were always more conventional, the lower more realistic. A new king meant usually a new city, a new palace, and a new tomb, and architecture flourished in these distant periods.
The duties of the Queen Dowager were doubtless arduous111. “Administrator of the Great Hall” probably included the direction and control of a large retinue112 of servants and the preparations[39] for feast and audiences. “Mistress of the Royal Wardrobe” was perhaps a less onerous113 position, owing to the brevity of the then fashionable costume. At some periods men wore but two garments, women but one—a sort of narrow chemise of fine linen, through which the limbs could be plainly seen, with or without a strap114 over the shoulders. Another costume was a light skirt with long shoulder straps115 and bound by a girdle, the ends falling in front. Over this usually a full skirt of fine linen, with sleeves below the elbows and broad skirt falling to the ground.
Both men and women adorned116 themselves with necklaces and bracelets, and used stibium to darken under the eyelids—while the nails, hands and feet were stained with henna, which gave them an orange tint29. Occasionally, also, an added decoration was a line drawn117 from the corner of the eye to the temple. In the earliest times foot covering was seldom worn indoors.
But to be “Superintendent of the Chamber of Wigs and Head-dresses” could have been no sinecure118. Wigs! Wigs! Wigs! We can imagine them in the room devoted119 to them, on shelves, in boxes, and on stands. Upon this department of his wardrobe the Egyptian spent much time and care. With head closely shaven, and frequently the chin also divested120 of all natural endowment, he had unlimited121 opportunity to add what he considered improvement of an artificial character. He wore a manufactured beard, caps of a striped material, and wigs made both of human hair and sheep’s wool. The wigs consisted of rows of little curls beginning at different[40] points and cut round and square. The shorter covered the head or neck, and the longer lay on the shoulders; a wig in the Berlin museum shows both short curls and long. In other instances braids and plaits were preferred to curls. The peculiarity122 of the Egyptian head was a prominent back, and this doubtless had to be considered in the shape of the wig selected. The pages who served the king and queen in their private apartments often wore a crown of natural flowers.
The women appear usually to have worn the wigs over their own hair, which sometimes escaped below. It also hung down in two tresses on the breast, and the young princes wore a side lock before the ear, as did the youthful god Horus. So much pride did females take in their hair that an especially fine lock was sometimes cut off and buried with them.
It was all deemed an important subject. A certain Shapsesre of later time, superintendent at court, a wig-maker by profession, had four statues of himself made for his tomb, each with a different style of wig!
The king wore a sort of handkerchief, a cap, or a helmet. The white crown of Upper Egypt was a curious, high, white, conical cap; that of Lower Egypt was red, had a high, narrow back and a metal ornament123 bent124 obliquely125 forward. They were, after a time, worn together. The upreared uraeus or asp was the sign of royalty. The goddess Ra-nu was represented with the asp which was worn by the queen, with the addition of the vulture with drooping126 or outspread[41] wings, the winged sum disk and other costly127 head-dresses.
A great stele found at the pyramid of Gizeh is dedicated128 to the memory of a princess who, after being a great favorite in the court of Seneferu and Khufu, was subsequently attached to the private house of Kafra, and her history seems to run strangely parallel with that of the queen—if she herself be not intended.
Four or five thousand years before Christ are the dates assigned to this period. We must grope and work somewhat at random129 in the reconstruction130 of our mosaic131. Yet does Queen Mertytefs stand out with a certain lifelikeness. Imagination plays around her active figure, and she looks out at us from the shadows, not with languorous132, soft glances and gentle movements, but with vivacity133 and power in her black eyes and an attractive and capable face. None but a woman of power and capacity, we may be sure, could have been “Administrator of the Great Hall.”
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1
unearths
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| 发掘或挖出某物( unearth的第三人称单数 )； 搜寻到某事物，发现并披露 | |
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previously
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| adv.以前，先前（地） | |
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legendary
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| adj.传奇（中）的，闻名遐迩的；n.传奇（文学） | |
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4
mythical
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| adj.神话的；虚构的；想像的 | |
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vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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jewelry
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| n.（jewllery）（总称）珠宝 | |
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forth
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| adv.向前；向外，往外 | |
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laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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plundered
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| 掠夺，抢劫( plunder的过去式和过去分词 ) | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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13
amethyst
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| n.紫水晶 | |
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turquoise
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| n.绿宝石；adj.蓝绿色的 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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attired
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| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
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wigs
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| n.假发，法官帽( wig的名词复数 ) | |
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wig
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| n.假发 | |
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superintendent
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| n.监督人，主管，总监；(英国)警务长 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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belongings
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| n.私人物品，私人财物 | |
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royalty
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| n.皇家，皇族 | |
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portentous
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| adj.不祥的，可怕的，装腔作势的 | |
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dame
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| n.女士 | |
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bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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posture
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| n.姿势，姿态，心态，态度；v.作出某种姿势 | |
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specially
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| adv.特定地；特殊地；明确地 | |
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limestone
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| n.石灰石 | |
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tint
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| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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celebrity
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| n.名人，名流；著名，名声，名望 | |
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laborers
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| n.体力劳动者，工人( laborer的名词复数 )；（熟练工人的）辅助工 | |
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opaque
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| adj.不透光的；不反光的，不传导的；晦涩的 | |
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quartz
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| n.石英 | |
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eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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peevish
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| adj.易怒的，坏脾气的 | |
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urbane
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| adj.温文尔雅的，懂礼的 | |
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40
amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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41
dignified
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| a.可敬的，高贵的 | |
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42
steadily
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| adv.稳定地；不变地；持续地 | |
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43
papyrus
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| n.古以纸草制成之纸 | |
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44
mooted
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| adj.未决定的，有争议的，有疑问的v.提出…供讨论( moot的过去式和过去分词 ) | |
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45
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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46
reigned
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| vi.当政，统治（reign的过去式形式） | |
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47
simultaneously
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| adv.同时发生地，同时进行地 | |
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48
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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49
hippopotamus
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| n.河马 | |
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50
astronomical
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| adj.天文学的，（数字）极大的 | |
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51
guardian
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| n.监护人；守卫者，保护者 | |
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52
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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53
stele
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| n.石碑，石柱 | |
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54
spouse
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| n.配偶(指夫或妻) | |
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55
haven
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| n.安全的地方，避难所，庇护所 | |
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56
metropolis
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| n.首府；大城市 | |
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57
briefly
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| adv.简单地，简短地 | |
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58
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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59
noted
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| adj.著名的，知名的 | |
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60
Founder
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| n.创始者，缔造者 | |
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61
autobiography
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| n.自传 | |
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62
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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63
posterity
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| n.后裔，子孙，后代 | |
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64
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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65
laborious
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| adj.吃力的，努力的，不流畅 | |
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66
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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67
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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68
testimony
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| n.证词；见证，证明 | |
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69
conqueror
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| n.征服者，胜利者 | |
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70
pointed
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| adj.尖的，直截了当的 | |
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71
isolated
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| adj.与世隔绝的 | |
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72
mighty
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| adj.强有力的；巨大的 | |
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73
harp
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| n.竖琴；天琴座 | |
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74
westward
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| n.西方，西部；adj.西方的，向西的；adv.向西 | |
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75
shrines
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| 圣地，圣坛，神圣场所( shrine的名词复数 ) | |
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76
domes
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| n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场 | |
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77
minarets
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| n.（清真寺旁由报告祈祷时刻的人使用的）光塔( minaret的名词复数 ) | |
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78
grove
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| n.林子，小树林，园林 | |
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79
streak
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| n.条理，斑纹，倾向，少许，痕迹；v.加条纹，变成条纹，奔驰，快速移动 | |
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80
phantoms
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| n.鬼怪，幽灵( phantom的名词复数 ) | |
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81
haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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82
northward
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| adv.向北；n.北方的地区 | |
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83
doom
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| n.厄运，劫数；v.注定，命定 | |
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84
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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85
caravan
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| n.大蓬车；活动房屋 | |
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86
colossal
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| adj.异常的，庞大的 | |
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87
gateways
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| n.网关( gateway的名词复数 )；门径；方法；大门口 | |
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88
shafts
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| 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） | |
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89
shrubs
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| 灌木( shrub的名词复数 ) | |
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90
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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91
figs
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| figures 数字，图形，外形 | |
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92
aggrandized
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| v.扩大某人的权力( aggrandize的过去式和过去分词 )；提高某人的地位；夸大；吹捧 | |
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93
illiterate
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| adj.文盲的；无知的；n.文盲 | |
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94
caustic
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| adj.刻薄的，腐蚀性的 | |
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95
clans
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| 宗族( clan的名词复数 )； 氏族； 庞大的家族； 宗派 | |
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96
descended
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| a.为...后裔的，出身于...的 | |
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97
flute
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| n.长笛；v.吹笛 | |
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98
dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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99
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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100
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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101
reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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102
vigor
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| n.活力，精力，元气 | |
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103
splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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104
oversee
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| vt.监督，管理 | |
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105
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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106
commentator
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| n.注释者，解说者；实况广播评论员 | |
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107
concealment
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| n.隐藏, 掩盖，隐瞒 | |
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108
lapses
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| n.失误，过失( lapse的名词复数 )；小毛病；行为失检；偏离正道v.退步( lapse的第三人称单数 )；陷入；倒退；丧失 | |
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109
serene
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| adj. 安详的，宁静的，平静的 | |
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110
paucity
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| n.小量，缺乏 | |
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111
arduous
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| adj.艰苦的，费力的，陡峭的 | |
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112
retinue
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| n.侍从；随员 | |
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113
onerous
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| adj.繁重的 | |
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114
strap
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| n.皮带，带子；v.用带扣住，束牢；用绷带包扎 | |
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115
straps
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| n.带子( strap的名词复数 )；挎带；肩带；背带v.用皮带捆扎( strap的第三人称单数 )；用皮带抽打；包扎；给…打绷带 | |
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116
adorned
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| [计]被修饰的 | |
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117
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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118
sinecure
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| n.闲差事，挂名职务 | |
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119
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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120
divested
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| v.剥夺( divest的过去式和过去分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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121
unlimited
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| adj.无限的，不受控制的，无条件的 | |
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122
peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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123
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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124
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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125
obliquely
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| adv.斜； 倾斜； 间接； 不光明正大 | |
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126
drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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127
costly
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| adj.昂贵的，价值高的，豪华的 | |
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128
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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129
random
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| adj.随机的；任意的；n.偶然的(或随便的)行动 | |
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130
reconstruction
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| n.重建，再现，复原 | |
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131
mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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132
languorous
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| adj.怠惰的，没精打采的 | |
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133
vivacity
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| n.快活，活泼，精神充沛 | |
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