In no case is the above more true than in that of the wife or wives of Rameses II, the Sesostris of the Greeks who waged tedious wars against the Hittites, with whom he made peace in the twenty-first year of his reign1, and of whom Herodotus speaks. It is the king whose striking and heroic figure in childhood, youth and manhood, occupies the foreground of the canvas, dwarfing4 into comparative insignificance5 all who stand near him, and leaving the details as regards female relationships but as accessories and background.
Nofritari Minimut.
Says an ardent6 Egyptologist, “One of the handsomest of men, we come in time to recognize his[219] face, with its haughty7 beauty, just as we do that of Henry VIII or Louis XIV.” Curtis speaks thus on the general subject: “Oriental masculine beauty is so mild and feminine that the men are like statues of men seen in the most mellowing8 and azure9 atmosphere. The forms of the face have a surprising grace and perfection. They are not statues and gods so seen, but the budding beauty of the Antinous when he, too, had been in the soft climate, the ripening10 rounding lip, the arched brow, the heavy, drooping11 lid, the crushed, closed eye, like a bud bursting with voluptuous12 beauty, the low broad brow; these I remember at Asyoot and remember forever.”
Much of this, perhaps, constituted the charm of the youthful Rameses face, but to it must be added something of the strength and intellect which were often lacking.
From his mother, Queen Tuaa, Rameses II, of the nineteenth dynasty, received the heritage of royal ancestry13; his father, Seti I, belonged to a new family, who, in view of descent, had no claim to the throne. So say most authorities, though some dispute it. As a child, his father made him co-ruler with himself. An inscription14 of Rameses II reads, “I was a boy in his lap,” referring to his father, “and he spoke15 thus, ‘I will have him crowned as king, for I desire to behold16 his grandeur17 while I am still alive.’” Officers then came forward to place the crown on his head, and Seti said: “Place the royal circlet on his brow.” After this ceremony, however, he was still left in the[220] house of the women and royal concubines, but was put in command of a band of Amazons, “maidens who wore a harness of leather.” So that soldier and conqueror18 though he so early became, his associations from childhood up were constantly with women, and for the sex in general his subsequent conduct may lead us to infer he had a special weakness.
Another inscription reads, “when thou wast a boy with the youth locks of hair, no monument saw the light without thy command, no business was conducted without thy knowledge.” He laid foundation stones even in childhood. Little wonder that no prouder monarch19 ever held sway and that we associate the idea of unwonted magnificence with him and his queens.
“Rameses the Great, if he was as much like his portraits as they are like each other, must have been one of the handsomest men, not only of his own day, but of all history,” says the enthusiastic Miss Edwards. There is a bas-relief of him during his first campaign as a beautiful youth with “a delicate, Dantesque face.” Some years later we see him at Abydos in the temple of Seti I with a boyish beard. The likeness20 with which we become most familiar, in the prime of life, is thus described: “The face is oval, the eyes are long, prominent and heavy-lidded, the nose slightly aquiline21 and characteristically depressed22 at the tip. The nostrils23 are open and sensitive, the under lip projects, the chin is short and square.”
It seems likely that it was true of Rameses II[221] as is said of the sailor, that he had a “sweetheart in every port.” No woman could boast that she alone reigned24 in his heart. Two, if not three, wives were made his legal consorts25, and he had numerous concubines. The king’s name was branded on female slaves that they could not escape undiscovered.
Little or nothing is known of the queen’s previous history; she may be said to have had no childhood or youth as regards our story. As the wife of Rameses II and the mother of his children she first becomes known to us. Queen Nofritari seems to have been his earliest consort26, probably his sister or the daughter of some Egyptian noble. One writer, Pollard, gives authority for considering her the princess who rescued Moses, the daughter of the king, whom he subsequently married; but as the king doubtless married in his youth, and she is the first queen of whom we find record, this seems unlikely. Says the same writer, speaking of the temple of Luxor, “Rameses the Great, some two hundred and thirty years afterwards, added another large court, which was surrounded by a double row of columns; between these are gigantic statues of this monarch, more or less perfect. One on the left of the court is very beautiful, in most perfect condition, and represents him as a young man. The expression of the countenance27 is very pleasing. By his side, her head reaching to his knee, stands the diminutive28 but beautiful form of his beloved Nefert-ari.”
The queen’s name, as usual, is variously spelled
[222]
Nofritari-Minimut, Nefertari, Nofertuit-Meri-en Mut, and Nofruari, and means, as did that of Queen Nefertari-Aahmes, “good or beautiful companion.” She shared her honors with a Khi-tan princess, whose brief story is told in a later chapter, and with another lady, Isis-Nefer.
Rameses II even lies under the suspicion of having married two of his own daughters, Honuttani and Bint-Antha, the latter whom Baedaker speaks of as queen under the title of Bint-Anat, and of a small statue of her standing29 by the knee of a larger one of Rameses II, of whom he was known to be especially fond. It is this princess who is made the heroine of Ebers’ story of “Uarda,” but she is here provided with a more suitable lover, while Rameses himself is depicted31 as a more noble character than is perhaps quite warranted by the historical records. So true, however, are Professor Ebers’ stories to the ascertained32 facts in each case, that, as a rule, they may, serve as admirable historical studies, quite aside from any merit they may possess as artistic33 works of fiction.
Jewish tradition mentions a certain Princess Moeris (which some writers have believed to be one of Rameses II’s youngest children, the Princess Meri) as the one who rescued Moses in infancy34, as above referred to.
Pictures and inscriptions35 give the number of Rameses II’s children as sixty sons and fifty-nine daughters, and one enumeration36 even reaches to one hundred and seventy-one children. Some of Rameses’ daughters were Meri Amun, Beken-Mut,[223] Noferari, Nebtani and Isiemkheb, of whom Meri-Amun and Neb-tani, in addition to Houttani, and Bint-Antha are marked as queens in the family list, probably the wives of their brothers or near relatives.
On the walls of the temple at Deir Champollion found an imperfect list of these sons and daughters. As a curiosity one may cite the different dates assigned by historians as the beginning of the reign of Rameses II: Brugsch, B. C. 1407; Mariette, 1405; Lepsius, 1388; Bunson, 1352, and Poole, 1283.
Since his son was of the blood royal, it was the policy of Seti I to unite him with himself, as has been shown, in the government of the kingdom, thus pacifying37 all adherents38 to the old regime, and Queen Tuaa, from whom Rameses II derived39 his “blue blood,” appears in the family group. The attachment40 between this father and son is an attractive feature of their joint41 reigns2, and reminds one of the similar bond between Thothmes I and his daughter Hatasu. In peace and war Seti and Rameses were ever side by side. Together they governed, together they took their pleasure and rode forth42, each in his royal chariot, to fight and to conquer.
At Abydos, Karnak and other places are pictures of the prince; in one of them, adorned43 with the priestly panther skin, he is pouring libations on the altar in front of him, while his father holds a censor44; according to these same representations and many inscriptions in the various temples adorned with his statues, the youthful Rameses[224] performed prodigies45 of valor46 in the field. In the little temple of Betel-Wali are shown, on the right wall, the victories of Rameses II over the Libyans and Syrians, and on the left, over the Ethiopians. He was a “Black Prince” for whom the hand of fate did not lay out a brief career. The delight of his father’s heart, he lived to assume the full government and to pay royal honors in that beloved parent.
Like his ancestor Amenophis III, Rameses II seems to have had a passion for lions, not so much for the sport of hunting them as to train them for pets or instruments of warfare47. Doubtless there was something that specially30 ministered to the pride of the haughty monarch in these favorites, known as the lion has ever been as “the king of beasts,” the “monarch of the forest,” etc.
Whether the queen shared his partiality we are not told, but since they were his playthings and his companions, she must have accepted them in a measure, if with a trembling heart. His favorite lion lay at the door of the king’s tent and went forth with him to the battlefield, probably at times even set loose to slay48 and destroy the enemy. The wall paintings show the king’s lions in various places.
There is something both attractive and repellant in this figure of the proud, handsome, vainglorious49 monarch, in the full vigor50 of his manhood, accompanied by this dangerous ally and slave. The tale of the lion and the mouse, Esop’s well known fable51, is said to be of Egyptian origin, and within the last forty or fifty years many romantic[225] stories and many love tales of the Egyptians have come to light.
A more modern character, Sir Henry Rawlinson, who wrote much on Egypt and also a great authority on Persian inscriptions, shared with this ancient king his taste for barbarous pets. He brought up a young lion who followed him around like a dog and lay at his feet when he wrote and studied. He also made such a pet of a leopard52 that it knew him after long separation, and displayed pleasure at his presence, when he visited the Zoological Garden in England, to which he had given it. The story goes that he put his hand into the cage when the keeper, who did not know him, exclaimed: “Take your hand out of the cage! The animal is very savage53 and will bite you!”
“I don’t think he will bite me,” said Sir Henry, “will you Fahad?” and the beast answered with a purr and would hardly let the hand be withdrawn54.
Queen Nefritare-Minimut was the first, the chief, and the best beloved, there seems little question, of the wives of Rameses II, since it is her picture that appears with that of the king in various places and she is termed “Beloved Companion.” Maspero gives a picture of her in her chariot, following the king and says, “Still a young woman with delicate, regular features already faded and wrinkled under her powder. Like her husband she wears a long robe, its folds, through the rapid motion, floating behind her.” There is a large escort and every one stands in[226] a chariot driven by a groom55. This queen was the mother of a number of children, who, in the temple of Abou Simbel, elsewhere called Ibsamboul, are grouped with her. We may accord her some charm of beauty since the monarch of that time selected his wife, not from a list of foreign princesses of suitable rank, but from among the children of his own nobles, or relatives, with whose attractions he could become more readily acquainted. More than one writer speaks of the queen’s figure being full of grace and her features refined and attractive in her pictures.
There are two temples at Abou Simbel, translated “Father of the Corn” or “Father of the Sickle,” excavated56 in the solid rock. The larger has statues chiefly of the king, though there are smaller ones of his mother, wife and some of his children. The smaller, of the queen also of equal size with her husband, and smaller ones of some of their sons and daughters. These are the most familiar effigies57 of Rameses II and Nofritare-Minimut together, the male figure being full of spirit, the female of grace. “Rameses, the Strong in Truth, the beloved of Amen,” says the outer legend, “made this divine abode58 for his wife, Nefertari, whom he loves.” Within the words are “his royal wife, who loves him, Nefertari, the beloved of Maut, constructed for him this abode in the mountain of Pure Waters.”
Curtis says, “In these faces of Rameses, seven feet long, is a godlike grandeur and beauty which the Greeks never reached—the mind cannot escape the feeling that they were conceived[227] by colossal59 minds. Such only cherish the idea of repose60 so profound—their beauty is steeped in a placid61 passion that seems passionless. In those earlier days Art was not content with the grace of Nature, but coped with its proportions. Vain attempt, but glorious!”
Miss Edwards was present and took part in the discovery of some portions of this edifice62 and describes the occurrences and her sensations with her usual picturesqueness63 and enthusiasm.
On the inner north wall there is a picture, presumably of Queen Nofritari, with a blue head-dress and disk, in her right hand the ankh or life sign and in her left a jackal-headed sceptre. Vases of a blue color stand on a table of offerings near.
It is at this temple that we know Rameses best, fifteen or twenty years later than the pictures of him before described. Here, to quote from the same author, he has “outlived the rage of early youth and become implacable. God-like serenity64, superhuman pride, immutable65 will breathe from the stone. He has learned to believe his power irresistible66 and himself divine.”
The queen wears the plumes67 and disk of Hathor and has her daughters with her. She has much sweetness and grace if not positive beauty.
The colossi are difficult to see but the southernmost may be best viewed in profile on a sand slope level with the beard. Even the great cast in the British Museum cannot be well seen. The temple at Abou Simbel has one hall and many[228] large chambers68. The colossi are placed two to the right and two to left of the door; they are sixty feet high without the platform and measure across the chest twenty-five feet four inches. The figures are sealed, but if standing would be eighty-three feet high. Little dimples giving sweetness to the corners of the mouth and, tiny depressions in the lobe69 of the ear, are as large as saucers. The most southward statue is best preserved. The next statue is shattered to the waist, the head lying in the sand, at its feet. The third is nearly perfect. The fourth has lost beard, uraeus and arms, and has a hole in front. The heads are worked out, the bodies generalized. The figures are naked to the waist, and clothed below in the usual striped tunic70. They wear the double crown, rich collars, no sandals or bracelets71, and there are holes in the stone which may have held bronze or gold belts. The cartouches of the king are on his breast, and arm, having been probably tatooed upon his person. The statues are executed in a light vein72 of rock and were, it is likely, not painted, like those of Siva’s temple in Elephantine, in India. Above the door is a twenty-foot statue of Ra and on either side a portrait of the king in bas relief.
The smaller temple has six statues, three on each side of the door, over thirty feet high, the King and Queen Nofritari. The king is crowned with the pashent, and uraeus and wears a fantastic helmet, adorned with plumes and horns. He has some of his sons, she her daughters with her, ten feet in height, reaching to the knees of[229] their parents. The names of the royal consorts appear on every pillar and on every wall, with the statement that affection unites them. The queen is seen on the facade73 as the mother of six children and adorned with the attributes of a goddess. The king is attended by captives of different nations. The temple seems to have been left unfinished. The larger temple is within twenty-five yards of the brink74 of the river, the smaller within as many feet. They are of different shades of yellow.
In some of the pictures the figures wear pectoral ornaments75 and a rich necklace, with alternate vermilion and black drops, and a golden yellow belt, studded with red and black stones. The throne is on a blue platform, painted in stripes, red, blue and white. The platform is decorated with gold colored stars and tan crosses, picked out with red. Amon-Ra, the god whom they worship, is here represented with a blue-black complexion76, a corselet of gold chain, armor, and a head-dress of towering plumes. On the altar is a blue lotus with a red stalk, and a vessel77 with a spout78 like a coffee pot. There are as many varieties of this god in Egypt as of the Madonna in Italy and Spain.
An earthquake in the time of Rameses II may have accounted for the partial overthrow79 of the statues on the outside of the temple. The cast of a stele80 in the Louvre states that Rameses II made artesian wells in the desert.
In one of the pictures of the queen she advances with two sistra, the sacred instrument introduced[230] in the Fourth Dynasty, time of Mertytefs. This consists of a frame, somewhat oval in shape, with bars across, strung with rings, which slipped up and down. We can fancy the music produced to be rather Chinese in character and not such as would appeal to Western ears as charming. The priestess of the god was the “divine wife,” or the “divine handmaid,” a position of great honor, even for the queen. The handle of the sistrum in the oldest times was always cow-eared and ornamented81 with the head of Hathor, the Egyptian Venus.
One of the goddesses to whom the queen is paying honor is Ta-ur-t, who has the face of a woman on the body of a hippopotamus82. She wears a wig83, and a robe of state with five capes84, described as a cross between that of a Lord Chancellor85 and a coachman. Behind the goddess stand the gods Thoth and Nut.
Thebes was no doubt the chief residence of Queen Nofritari, Tunis that of the Khitan Princess; the king’s enormous domestic establishments probably being in different places. There is a story, who can tell whether it be founded on fact? that the king and queen, by the treacherous86 dealing87 of one of the king’s relatives, were shut up in a certain city which was then set on fire, the intriguer88 doubtless intending to usurp89 the throne, and that at the queen’s suggestion some of the king’s sons formed their bodies into a bridge by which he might escape, some of them suffering death in consequence.
The great Thebes is said to have been as large[231] as London. On the Eastern bank, the Arabian side of the Nile, stand Karnak and Luxor. On the western or Lybian bank, Goornah, the Rameseum and Medinet Haboo. The Rameseum, a palace and temple combined, faces about half way between Karnak and Luxor. Medinet Haboo is further to the south than any building on the east side of the river. Behind the western group is the great Theban Metropolis90, along the Lybian range, further back in radiating valleys, are the Tombs of the Kings. Between Karnak and Luxor is a little less than two miles, from Medinet Haboo to Goornah something under four.
The prostrate91 statue of Rameses II, near Memphis, so long covered with Nile mud, repeats the lineaments of the Abou Simbel statue. This colossus kept vigil at the gate of the temple and is serene92 and dignified93, even in its overthrow; it is of Syenite and probably stood in front of the temple of Ptah, mentioned both by Herodotus and Diodorus. Says a poetic94 writer, “I fancy the repose of that court in a Theban sunset, the windless stillness of the air, and cloudlessness of the sky. The king enters, thoughtfully pacing by the calm browed statue, that seems the sentinel of heaven. In the presence of the majestic95 columns, humanly carved, their hands sedately96 folded upon their breasts—his weary soul is bathed with peace, as a weary body with living water.” This statue is one of the most pleasing of the many likenesses of Rameses II, and a cast of it has been taken. Mariette said “the head[232] modelled with a grandeur of style which one never tires of admiring, is an authentic97 portrait of the celebrated98 conqueror of the Nineteenth Dynasty.”
The pre-nomen of Rameses II was “Ra-usr-mat-setep-en-Ra,” “Sun strong in Truth, approved of the Sun, son of the Sun, Beloved of Amon.” The foot is eleven feet by four feet ten inches, and on the peristyle is inscribed99, “I am Osymandies, King of Kings. If any would know how great I am and where I lie, let him excel me in any of my works.”
The passion for building, characteristic of many Egyptian kings, was specially strong in the father and son, Seti I and Rameses II, and the latter completed many structures begun by the former. To Seti I are credited the grand temple of Osiris at Abydos, the temple and palace of Karnak at Thebes, and his tomb, which is said to excel those of the other Theban kings in its sculpture, colored decorations and alabaster100 sarcophagi. But his Hypostyle Hall at Karnak exceeds them all.
To Rameses II are credited many architectural works along the Nile, from the Delta101 to the capital of Ethiopia. The list comprises the splendid rock temples at Abou Simbel, in Nubia, just described, the Rammesium or Memnonium, called by Diodorus “the tomb of Osymandius,” on the walls of which are sculptured the story of Rameses’ reign, large portions of the temple palaces of Karnak and Luxor, before which last stands the column whose mate is now in the Place de la Concorde in Paris, a small temple[233] at Abydos, and various works in the Fayum, at Memphis and at Tunis, of which last he was especially fond. In nothing apparently102 did he take more delight than in erecting103 gigantic statues of himself.
To accomplish these great architectural designs required an immense army of workmen and no monarch was more ruthless in his expenditure104 of human life. Some have believed that to this period belongs in large part the slavery of the Hebrews, whose cries reached the very ears of Heaven and it is said that he deported105 whole tribes to accomplish his purposes. History repeats itself; as in the earlier reigns, during the structure of the pyramids, and Queen Nofritari Minimut, like Queen Mertytefs, must have witnessed much suffering and viewed it perhaps with a like indifference106. Proud of her husband’s deeds and accomplishments107, what mattered the cost of such monuments. Of little more value than an insect’s life was that of the innumerable slaves that bowed, trembled and toiled108 at the great monarch’s command. We can believe that the sound of the taskmaster’s whip woke no echo of pity in that haughty breast. Devotion to the gods, exultation109 in her husband, more or less passionate110 devotion to her children, these left no room for the consideration of the life and sorrows of a slave.
“By the Nile the sacred river
I can see the captive hordes111
Bend beneath the lash112 and quiver
At the long papyrus113 cords;
[234]
While in granite114 wrapt and solemn
Rising over roof and column
Amen-Hotep dreams or Rameses,
Lord of Lords.”
So the curtain drops over the queen in the zenith of her powers, and we hear the tinkle115 of her sistrum, faintly, faintly down the centuries. Priestess, queen, wife, mother, statue, shadow—thus she stands smiling stonily116, yet sweetly, on succeeding ages. Rich in this world’s goods, beloved of Heaven. Yet did she, too, exclaim with Solomon, “Vanity of vanities, all is vanity!” Who can tell?
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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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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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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dwarfing
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| n.矮化病 | |
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insignificance
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| n.不重要；无价值；无意义 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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haughty
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| adj.傲慢的，高傲的 | |
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mellowing
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| 软化，醇化 | |
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azure
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| adj.天蓝色的，蔚蓝色的 | |
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ripening
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| v.成熟，使熟( ripen的现在分词 )；熟化；熟成 | |
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drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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ancestry
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| n.祖先，家世 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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spoke
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| 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 | |
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behold
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| v.看，注视，看到 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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conqueror
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| n.征服者，胜利者 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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likeness
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| n.相像，相似（之处） | |
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aquiline
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| adj.钩状的，鹰的 | |
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depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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reigned
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| vi.当政，统治（reign的过去式形式） | |
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consorts
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| n.配偶( consort的名词复数 )；（演奏古典音乐的）一组乐师；一组古典乐器；一起v.结伴( consort的第三人称单数 )；交往；相称；调和 | |
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consort
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| v.相伴；结交 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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diminutive
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| adj.小巧可爱的，小的 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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specially
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| adv.特定地；特殊地；明确地 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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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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infancy
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| n.婴儿期；幼年期；初期 | |
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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enumeration
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| n.计数，列举；细目；详表；点查 | |
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pacifying
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| 使（某人）安静( pacify的现在分词 )； 息怒； 抚慰； 在（有战争的地区、国家等）实现和平 | |
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38
adherents
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| n.支持者，拥护者( adherent的名词复数 )；党羽；徒子徒孙 | |
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39
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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40
attachment
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| n.附属物，附件；依恋；依附 | |
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41
joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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42
forth
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| adv.向前；向外，往外 | |
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43
adorned
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| [计]被修饰的 | |
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44
censor
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| n./vt.审查，审查员；删改 | |
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45
prodigies
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| n.奇才，天才（尤指神童）( prodigy的名词复数 ) | |
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46
valor
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| n.勇气，英勇 | |
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47
warfare
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| n.战争(状态)；斗争；冲突 | |
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48
slay
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| v.杀死，宰杀，杀戮 | |
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49
vainglorious
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| adj.自负的；夸大的 | |
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50
vigor
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| n.活力，精力，元气 | |
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51
fable
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| n.寓言；童话；神话 | |
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52
leopard
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| n.豹 | |
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53
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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54
withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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55
groom
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| vt.给（马、狗等）梳毛，照料，使...整洁 | |
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56
excavated
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| v.挖掘( excavate的过去式和过去分词 )；开凿；挖出；发掘 | |
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57
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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58
abode
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| n.住处，住所 | |
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59
colossal
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| adj.异常的，庞大的 | |
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60
repose
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| v.(使)休息；n.安息 | |
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61
placid
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| adj.安静的，平和的 | |
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62
edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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63
picturesqueness
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64
serenity
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| n.宁静，沉着，晴朗 | |
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65
immutable
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| adj.不可改变的，永恒的 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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69
lobe
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| n.耳垂，（肺，肝等的）叶 | |
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tunic
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| n.束腰外衣 | |
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bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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72
vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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facade
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| n.(建筑物的)正面，临街正面；外表 | |
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74
brink
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| n.(悬崖、河流等的)边缘，边沿 | |
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75
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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76
complexion
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| n.肤色；情况，局面；气质，性格 | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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spout
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| v.喷出，涌出；滔滔不绝地讲；n.喷管；水柱 | |
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overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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stele
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| n.石碑，石柱 | |
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81
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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82
hippopotamus
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| n.河马 | |
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83
wig
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| n.假发 | |
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84
capes
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| 碎谷； 斗篷( cape的名词复数 )； 披肩； 海角； 岬 | |
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85
chancellor
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| n.(英)大臣；法官；(德、奥)总理；大学校长 | |
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86
treacherous
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| adj.不可靠的，有暗藏的危险的；adj.背叛的，背信弃义的 | |
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87
dealing
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| n.经商方法，待人态度 | |
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88
intriguer
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| 密谋者 | |
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89
usurp
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| vt.篡夺，霸占；vi.篡位 | |
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90
metropolis
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| n.首府；大城市 | |
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91
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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92
serene
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| adj. 安详的，宁静的，平静的 | |
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93
dignified
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| a.可敬的，高贵的 | |
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94
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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96
sedately
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| adv.镇静地，安详地 | |
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97
authentic
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| a.真的，真正的；可靠的，可信的，有根据的 | |
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98
celebrated
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| adj.有名的，声誉卓著的 | |
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99
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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100
alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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101
delta
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| n.（流的）角洲 | |
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102
apparently
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| adv.显然地；表面上，似乎 | |
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103
erecting
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| v.使直立，竖起( erect的现在分词 )；建立 | |
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104
expenditure
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| n.(时间、劳力、金钱等)支出；使用，消耗 | |
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105
deported
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| v.将…驱逐出境( deport的过去式和过去分词 )；举止 | |
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106
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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107
accomplishments
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| n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就 | |
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108
toiled
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| 长时间或辛苦地工作( toil的过去式和过去分词 )； 艰难缓慢地移动，跋涉 | |
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109
exultation
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| n.狂喜，得意 | |
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110
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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111
hordes
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| n.移动着的一大群( horde的名词复数 )；部落 | |
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112
lash
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| v.系牢；鞭打；猛烈抨击；n.鞭打；眼睫毛 | |
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113
papyrus
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| n.古以纸草制成之纸 | |
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114
granite
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| adj.花岗岩，花岗石 | |
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115
tinkle
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| vi.叮当作响；n.叮当声 | |
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116
stonily
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| 石头地，冷酷地 | |
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