Amid the stream of citizens that flowed past the shop it was the raggedest figures that loitered longest before the two fascinating windows. Easily amused, delighting in pictures and bent17 on getting their share, if only through the eyes, of the good things of this world, they stood in open-mouthed admiration18, whereas the aristocrats19 merely glanced in, frowned and passed on.
The instant he came within sight of the house, évariste fixed20 his eyes on one of the row of windows above the shop, the one on the left hand, where there was a red carnation21 in a flower-pot behind a balcony of twisted ironwork. It was the window of élodie's chamber22, Jean Blaise's daughter. The print-dealer lived with his only child on the first floor of the house.
évariste, after halting a moment as if to get his breath in front of the Amour peintre, turned the hasp of the shop-door. He found the citoyenne élodie within; she had just sold a couple of engravings by Fragonard fils and Naigeon, carefully selected from a number of others, and before locking up the assignats received in payment in the strong-box, was holding them one after the other between her fine eyes and the light, to scrutinize23 the delicate lines and intricate curves of engraving10 and the watermark. She was naturally suspicious, for as much forged paper was in circulation as true, which was a great hindrance24 to commerce. As in former days, in the case of such as copied the King's signature, forgers of the national currency were punished by death; yet plates for printing assignats were to be found in every cellar, the Swiss smuggled25 in counterfeits26 by the million, whole packets were put in circulation in the inns, the English landed bales of them every day on our coasts, to ruin the Republic's credit and bring good patriots28 to destitution29. élodie was in terror of accepting bad paper, and still more in terror of passing it and being treated as an accomplice30 of Pitt, though she had a firm belief in her own good luck and felt pretty sure of coming off best in any emergency.
évariste looked at her with the sombre gaze that speaks more movingly of love than the most smiling face. She returned his gaze with a mocking curl of the lips and an arch gleam in the dark eyes,—an expression she wore because she knew he loved her and liked to know it and because such a look provokes a lover, makes him complain of ill-usage, brings him to the speaking point, if he has not spoken already, which was évariste's case.
Before depositing the assignats in the strong-box, she produced from her work-basket a white scarf, which she had begun to embroider32, and set to work on it. At once industrious33 and a coquette, she knew instinctively34 how to ply35 her needle so as to fascinate an admirer and make a pretty thing for her wearing at one and the same time; she had quite different ways of working according to the person watching her,—a nonchalant way for those she would lull36 into a gentle languor37, a capricious way for those she was fain to see in a more or less despairing mood. For évariste, she bent with an air of painstaking38 absorption over her scarf, for she wanted to stir a sentiment of serious affection in his heart.
élodie was neither very young nor very pretty. She might have been deemed plain at the first glance. She was a brunette, with an olive complexion39; under the broad white kerchief knotted carelessly about her head, from which the dark lustrous40 ringlets escaped, her eyes of fire gleamed as if they would burn their orbits. Her round face with its prominent cheek-bones, laughing lips and rather broad nose, that gave it a wild-wood, voluptuous41 expression, reminded the painter of the faun of the Borghese, a cast of which he had seen and been struck with admiration for its freakish charm. A faint down of moustache accentuated42 the curve of the full lips. A bosom43 that seemed big with love was confined by a crossed kerchief in the fashion of the year. Her supple44 waist, her active limbs, her whole vigorous body expressed in every movement a wild, delicious freedom. Every glance, every breath, every quiver of the warm flesh called for love and promised passion. There, behind the tradesman's counter, she seemed rather a dancing nymph, a bacchante of the opera, stripped of her lynx skin and thyrsus, imprisoned45, and travestied by a magician's spell under the modest trappings of a housewife by Chardin.
"My father is not at home," she told the painter; "wait a little, he will not be long."
In the small brown hands the needle travelled swiftly over the fine lawn.
"Is the pattern to your taste, Monsieur Gamelin?"
It was not in Gamelin's nature to pretend. And love, exaggerating his confidence, encouraged him to speak quite frankly46.
"You embroider cleverly, citoyenne; but, if I am to say what I think, the pattern you have traced is not simple enough or bold enough, and smacks47 of the affected48 taste that in France governed too long the ornamentation of dress and furniture and woodwork; all those rosettes and wreaths recall the pretty, finikin style that was in favour under the tyrant49. There is a new birth of taste. Alas50! we have much leeway to make up. In the days of the infamous51 Louis XV the art of decoration had something Chinese about it. They made pot-bellied cabinets with drawer handles grotesque in their contortions52, good for nothing but to be thrown on the fire to warm good patriots. Simplicity53 alone is beautiful. We must hark back to the antique. David designs beds and chairs from the Etruscan vases and the wall-paintings of Herculaneum."
"Yes, I have seen those beds and chairs," said élodie, "they are lovely. Soon we shall want no other sort. I am like you, I adore the antique."
"Well, then, citoyenne," returned évariste, "if you had limited your pattern to a Greek border, with ivy54 leaves, serpents or crossed arrows, it would have been worthy55 of a Spartan56 maiden57 ... and of you. But you can still keep this design by simplifying it, reducing it to the plain lines of beauty."
She asked her preceptor what should be picked out.
He bent over the work, and the girl's ringlets swept lightly over his cheek. Their hands met and their breaths mingled58. For an instant évariste tasted an ecstatic bliss59, but to feel élodie's lips so close to his own filled him with fear, and dreading60 to alarm her modesty61, he drew back quickly.
The citoyenne Blaise was in love with évariste Gamelin; she thought his great ardent62 eyes superb no less than the fine oval of his pale face, and his abundant black locks, parted above the brow and falling in showers about his shoulders; his gravity of demeanour, his cold reserve, his severe manner and uncompromising speech which never condescended63 to flattery, were equally to her liking64. She was in love, and therefore believed him possessed65 of supreme66 artistic67 genius that would one day blossom forth68 in incomparable masterpieces and make his name world-famous,—and she loved him the better for the belief. The citoyenne Blaise was no prude on the score of masculine purity and her scruples69 were not offended because a man should satisfy his passions and follow his own tastes and caprices; she loved évariste, who was virtuous70; she did not love him because he was virtuous, albeit71 she appreciated the advantage of his being so in that she had no cause for jealousy72 or suspicion or any fear of rivals in his affections.
Nevertheless, for the time being, she deemed his reserve a little overdone73. If Racine's "Aricie," who loved "Hippolyte," admired the youthful hero's untameable virtue74, it was with the hope of winning a victory over it, and she would quickly have bewailed a sternness of moral fibre that had refused to be softened75 for her sake. At the first opportunity she more than half declared her passion to constrain76 him to speak out himself. Like her prototype the tender-hearted "Aricie," the citoyenne Blaise was much inclined to think that in love the woman is bound to make the advances. "The fondest hearts," she told herself, "are the most fearful; they need help and encouragement. Besides, they are so simple a woman can go half way and even further without their even knowing it, if only she lets them fancy the credit is theirs of the bold attack and the glorious victory." What made her more confident of success was the fact that she knew for a certainty (and indeed there was no doubt about it) that évariste, before ever the Revolution had made him a hero, had loved a mistress like any ordinary mortal, a very unheroic creature, no other than the concierge77 at the Academy of Painting. élodie, who was a girl of some experience, quite realised that there are different sorts of love. The sentiment évariste inspired in her heart was profound enough for her to dream of making him the partner of her life. She was very ready to marry him, but hardly expected her father would approve the union of his only daughter with a poor and unknown artist. Gamelin had nothing, while the printseller turned over large sums of money. The Amour peintre brought him in large profits, the share market larger still, and he was in partnership78 with an army contractor79 who supplied the cavalry80 of the Republic with rushes in place of hay and mildewed81 oats. In a word, the cutler's son of the Rue Saint-Dominique was a very insignificant82 personage beside the publisher of engravings, a man known throughout Europe, related to the Blaizots, Basans and Didots, and an honoured guest at the houses of the citoyens Saint-Pierre and Florian. Not that, as an obedient daughter should, she held her father's consent to be an indispensable preliminary to her settlement in life. The latter, early left a widower83, and a man of a self-indulgent, volatile84 temper, as enterprising with women as he was in business, had never paid much heed85 to her and had left her to develop at her own sweet will, untrammelled whether by parental86 advice or parental affection, more careful to ignore than to safeguard the girl's behaviour, whose passionate87 temperament88 he appreciated as a connoisseur89 of the sex and in whom he recognized charms far and away more seductive than a pretty face. Too generous-hearted to be circumspect90, too clever to come to harm, cautious even in her caprices, passion had never made her forget the social proprieties91. Her father was infinitely92 grateful for this prudent93 behaviour, and as she had inherited from him a good head for business and a taste for money-making, he never troubled himself as to the mysterious reasons that deterred94 a girl so eminently95 marriageable from entering that estate and kept her at home, where she was as good as a housekeeper96 and four clerks to him. At twenty-seven she felt old enough and experienced enough to manage her own concerns and had no need to ask the advice or consult the wishes of a father still a young man, and one of so easy-going and careless a temper. But for her to marry Gamelin, Monsieur Blaise must needs contrive97 a future for a son-in-law with such poor prospects98, give him an interest in the business, guarantee him regular work as he did to several artists already—in fact, one way or another, provide him with a livelihood99; and such a favour was out of the question, she considered, whether for the one to offer or the other to accept, so small was the bond of sympathy between the two men.
The difficulty troubled the girl's tender heart and wise brain. She saw nothing to alarm her in a secret union with her lover and in taking the author of nature for sole witness of their mutual100 troth. Her creed101 found nothing blameworthy in such a union, which the independence of her mode of life made possible and which évariste's honourable102 and virtuous character gave her good hopes of forming without apprehension103 as to the result. But Gamelin was hard put to it to live and provide his old mother with the barest necessaries, and it did not seem as though in so straitened an existence room could well be found for an amour even when reduced to the simplicity of nature. Moreover, évariste had not yet spoken and declared his intentions, though certainly the citoyenne Blaise hoped to bring him to this before long.
She broke off her meditations104, and the needle stopped at the same moment.
"Citoyen évariste," she said, "I shall not care for the scarf, unless you like it too. Draw me a pattern, please. Meanwhile, I will copy Penelope and unravel105 what I have done in your absence."
He answered in a tone of sombre enthusiasm:
"I promise you I will, citoyenne. I will draw you the brand of the tyrannicide Harmodius,—a sword in a wreath,"—and pulling out his pencil, he sketched106 in a design of swords and flowers in the sober, unadorned style he admired. And as he drew, he expounded107 his views of art:
"A regenerated109 People," he declared, "must repudiate110 all the legacies111 of servitude, bad taste, bad outline, bad drawing. Watteau, Boucher, Fragonard worked for tyrants112 and for slaves. Their works show no feeling for good style or purity of line, no love of nature or truth. Masks, dolls, fripperies, monkey-tricks,—nothing else! Posterity113 will despise their frivolous114 productions. In a hundred years all Watteau's pictures will be banished115 to the garrets and falling to pieces from neglect; in 1893 struggling painters will be daubing their studies over Boucher's canvases. David has opened the way; he approaches the Antique, but he has not yet reached true simplicity, true grandeur116, bare and unadorned. Our artists have many secrets still to learn from the friezes117 of Herculaneum, the Roman bas-reliefs, the Etruscan vases."
He dilated118 at length on antique beauty, then came back to Fragonard, whom he abused with inexhaustible venom119:
"Do you know him, citoyenne?"
élodie nodded.
"You likewise know good old Greuze, who is ridiculous enough, to be sure, with his scarlet120 coat and his sword. But he looks like a wise man of Greece beside Fragonard. I met him, a while ago, the miserable121 old man, trotting122 by under the arcades123 of the Palais-égalité, powdered, genteel, sprightly124, spruce, hideous125. At sight of him, I longed that, failing Apollo, some sturdy friend of the arts might hang him up to a tree and flay126 him alive like Marsyas as an everlasting127 warning to bad painters."
élodie gave him a long look out of her dancing, wanton eyes.
"You know how to hate, Monsieur Gamelin, are we to conclude you know also how to lo...?"
"Is that you, Gamelin?" broke in a tenor128 voice; it was the citoyen Blaise just come back to his shop. He advanced, boots creaking, charms rattling129, coat-skirts flying, an enormous black cocked hat on his head, the corners of which touched his shoulders.
élodie, picking up her work-basket, retreated to her chamber.
"Well, Gamelin!" inquired the citoyen Blaise, "have you brought me anything new?"
"Our playing cards present a grievous and startling contrast with our present ways of thinking. The names of knave130 and king offend the ears of a patriot27. I have designed and executed a reformed, Revolutionary pack in which for kings, queens, and knaves131 are substituted Liberties, Equalities, Fraternities; the aces132 in a border of fasces, are called Laws.... You call Liberty of clubs, Equality of spades, Fraternity of diamonds, Law of hearts. I venture to think my cards are drawn133 with some spirit; I propose to have them engraved134 on copper136 by Desmahis, and to take out letters of patent."
So saying and extracting from his portfolio137 some finished designs in water-colour, the artist handed them to the printseller.
The citoyen Blaise declined to take them, and turning away:
"My lad," he sneered138, "take 'em to the Convention; they will perhaps accord you a vote of thanks. But never think to make a sol by your new invention which is not new at all. You're a day behind the fair. Your Revolutionary pack of cards is the third I've had brought me. Your comrade Dugourc offered me last week a picquet set with four Geniuses of the People, four Liberties, four Equalities. Another was suggested, with Sages139 and Heroes, Cato, Rousseau, Hannibal,—I don't know what all!... And these cards had the advantage over yours, my friend, in being coarsely drawn and cut on wood blocks—with a penknife. How little you know the world to dream that players will use cards designed in the taste of David and engraved à la Bartolozzi! And then again, what a strange mistake to think it needs all this to-do to suit the old packs to the new ideas. Out of their own heads, the good sansculottes can find a corrective for what offends them, saying, instead of 'king'—'The Tyrant!' or just 'The fat pig!' They go on using the same old filthy140 cards and never buy new ones. The great market for playing-cards is the gaming-hells of the Palais-égalité; well, I advise you to go there and offer the croupiers and punters there your Liberties, your Equalities, your ... what d'ye call 'em?... Laws of hearts ... and come back and tell me what sort of a reception they gave you!"
The citoyen Blaise sat down on the counter, filliped away sundry141 grains of snuff from his nankeen breeches and looking at Gamelin with an air of gentle pity:
"Let me give you a bit of advice, citoyen; if you want to make your living, drop your patriotic142 packs of cards, leave your revolutionary symbols alone, have done with your Hercules, your hydras, your Furies pursuing guilt143, your Geniuses of Liberty, and paint me pretty girls. The people's ardour for regeneration grows lukewarm with time, but men will always love women. Paint me women, all pink and white, with little feet and tiny hands. And get this into your thick skull144 that nobody cares a fig16 about the Revolution or wants to hear another word about it."
But évariste drew himself up in indignant protest:
"What! not hear another word of the Revolution!... But, why surely, the restoration of liberty, the victories of our armies, the chastisement145 of tyrants are events that will startle the most remote posterity. How could we not be struck by such portents146?... What! the sect147 of the sansculotte Jesus has lasted well-nigh eighteen centuries, and the religion of Liberty is to be abolished after barely four years of existence!"
But Jean Blaise resumed in a tone of superiority:
"You walk in a dream; I see life as it is. Believe me, friend, the Revolution is a bore; it lasts over long. Five years of enthusiasm, five years of fraternal embraces, of massacres148, of fine speeches, of Marseillaises, of tocsins, of 'hang up the aristocrats,' of heads promenaded149 on pikes, of women mounted astride of cannon150, of trees of Liberty crowned with the red cap, of white-robed maidens151 and old men drawn about the streets in flower-wreathed cars; of imprisonments and guillotinings, of proclamations, and short commons, of cockades and plumes152, swords and carmagnoles—it grows tedious! And then folk are beginning to lose the hang of it all. We have gone through too much, we have seen too many of the great men and noble patriots whom you have led in triumph to the Capitol only to hurl153 them afterwards from the Tarpeian rock,—Necker, Mirabeau, La Fayette, Bailly, Pétion, Manuel, and how many others! How can we be sure you are not preparing the same fate for your new heroes?... Men have lost all count."
"Their names, citoyen Blaise; name them, these heroes we are making ready to sacrifice!" cried Gamelin in a tone that recalled the print-dealer to a sense of prudence154.
"I am a Republican and a patriot," he replied, clapping his hand on his heart. "I am as good a Republican as you, as ardent a patriot as you, citoyen Gamelin. I do not suspect your zeal155 nor accuse you of any backsliding. But remember that my zeal and my devotion to the State are attested156 by numerous acts. Here you have my principles: I give my confidence to every individual competent to serve the Nation. Before the men whom the general voice elects to the perilous157 honour of the Legislative158 office, such as Marat, such as Robespierre, I bow my head; I am ready to support them to the measure of my poor ability and offer them the humble159 co-operation of a good citizen. The Committees can bear witness to my ardour and self-sacrifice. In conjunction with true patriots, I have furnished oats and fodder160 to our gallant11 cavalry, boots for our soldiers. This very day I am despatching from Vernon a convoy161 of sixty oxen to the Army of the South through a country infested162 with brigands163 and patrolled by the emissaries of Pitt and Condé. I do not talk; I act."
Gamelin calmly put back his sketches164 in his portfolio, the strings165 of which he tied and then slipped it under his arm.
"It is a strange contradiction," he said through his clenched166 teeth, "to see men help our soldiers to carry through the world the liberty they betray in their own homes by sowing discontent and alarm in the soul of its defenders167.... Greeting and farewell, citoyen Blaise."
Before turning down the alley168 that runs alongside the Oratoire, Gamelin, his heart big with love and anger, wheeled round for a last look at the red carnations169 blossoming on a certain window-sill.
He did not despair; the fatherland would yet be saved. Against Jean Blaise's unpatriotic speeches he set his faith in the Revolution. Still he was bound to recognize that the tradesman had some show of reason when he asserted that the people of Paris had lost its old interest in public events. Alas! it was but too manifest that to the enthusiasm of the early days had little by little succeeded a widespread indifference170, that never again would be seen the mighty171 crowds, unanimous in their ardour, of '89, never again the millions, one in heart and soul, that in '90 thronged172 round the altar of the fédérés. Well, good citizens must show double zeal and courage, must rouse the people from its apathy173, bidding it choose between liberty and death.
Such were Gamelin's thoughts, and the memory of élodie was a spur to his confidence.
Coming to the Quais, he saw the sun setting in the distant west behind lowering clouds that were like mountains of glowing lava174; the roofs of the city were bathed in a golden light; the windows flashed back a thousand dazzling reflections. And Gamelin pictured the Titans forging out of the molten fragments of by-gone worlds Diké, the city of brass175.
Not having a morsel176 of bread for his mother or himself, he was dreaming of a place at the limitless board that should have all the world for guests and welcome regenerated humanity to the feast. Meantime, he tried to persuade himself that the fatherland, as a good mother should, would feed her faithful child. Shutting his mind against the gibes177 of the printseller, he forced himself to believe that his notion of a Revolutionary pack of cards was a novel one and a good one, and that with these happily conceived sketches of his he held a fortune in the portfolio under his arm. "Desmahis," he told himself, "shall engrave135 them. We will publish for ourselves the new patriotic toy and we are sure to sell ten thousand packs in a month, at twenty sols apiece."
In his impatience178 to realize the project, he strode off at once for the Quai de la Ferraille, where Desmahis lived over a glazier's shop.
The entrance was through the shop. The glazier's wife informed Gamelin that the citoyen Desmahis was not in, a fact that in no wise surprised the painter, who knew his friend was of a vagabond and dissipated humour and who marvelled179 that a man could engrave so much and so well as he did while showing so little perseverance180. Gamelin made up his mind to wait a while for his return and the woman offered him a chair. She was in a black mood and began to grumble181 at the badness of trade, though she had always been told that the Revolution, by breaking windows, was making the glaziers' fortunes.
Night was falling; so abandoning his idea of waiting for his comrade, Gamelin took his leave of his hostess of the moment. As he was crossing the Pont-Neuf, he saw a detachment of National Guards debouch182 from the Quai des Morfondus. They were mounted and carried torches. They were driving back the crowd, and amid a mighty clatter183 of sabres escorting a cart driving slowly on its way to the guillotine with a man whose name no one knew, a ci-devant noble, the first prisoner condemned184 by the newly constituted Revolutionary Tribunal. He could be seen by glimpses between the guardsmen's hats, sitting with hands tied behind his back, his head bared and swaying from side to side, his face to the cart's tail. The headsman stood beside him lolling against the rail. The passers-by had stopped to look and were telling each other it was likely one of the fellows who starved the people, and staring with eyes of indifference. Gamelin, coming closer, caught sight of Desmahis among the spectators; he was struggling to push a way through the press and cut across the line of march. He called out to him and clapped a hand on his shoulder,—and Desmahis turned his head. He was a young man with a handsome face and a stalwart person. In former days, at the Academy, they used to say he had the head of Bacchus on the torso of Hercules. His friends nicknamed him "Barbaroux" because of his likeness185 to that representative of the people.
"Come here," Gamelin said to him, "I have something of importance to say to you, Desmahis."
"Leave me alone," the latter answered peevishly186, muttering some half-heard explanation, looking out as he spoke31 for a chance of darting187 across:
"I was following a divine creature, in a straw hat, a milliner's wench, with her flaxen hair down her back; that cursed cart has blocked my way.... She has gone on ahead, she is at the other end of the bridge by now!"
Gamelin endeavoured to hold him back by his coat skirts, swearing his business was urgent.
But Desmahis had already slipped away between horses, guards, swords and torches, and was in hot pursuit of the milliner's girl.
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1
dealer
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| n.商人，贩子 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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rue
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| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
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vaulted
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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obliterate
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| v.擦去，涂抹，去掉...痕迹，消失，除去 | |
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glazed
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| adj.光滑的，像玻璃的；上过釉的；呆滞无神的v.装玻璃( glaze的过去式)；上釉于，上光；（目光）变得呆滞无神 | |
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panes
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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engraving
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| n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中） | |
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gallant
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graceful
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| adj.优美的，优雅的；得体的 | |
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conjugal
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rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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promenade
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fig
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bent
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admiration
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| n.钦佩，赞美，羡慕 | |
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aristocrats
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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carnation
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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scrutinize
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hindrance
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smuggled
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counterfeits
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patriot
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| n.爱国者，爱国主义者 | |
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patriots
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| 爱国者，爱国主义者( patriot的名词复数 ) | |
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destitution
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30
accomplice
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| n.从犯，帮凶，同谋 | |
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31
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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32
embroider
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| v.刺绣于(布)上；给…添枝加叶，润饰 | |
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33
industrious
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| adj.勤劳的，刻苦的，奋发的 | |
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34
instinctively
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| adv.本能地 | |
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35
ply
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| v.(搬运工等)等候顾客，弯曲 | |
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36
lull
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| v.使安静，使入睡，缓和，哄骗；n.暂停，间歇 | |
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37
languor
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| n.无精力，倦怠 | |
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38
painstaking
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| adj.苦干的；艰苦的，费力的，刻苦的 | |
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39
complexion
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| n.肤色；情况，局面；气质，性格 | |
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40
lustrous
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| adj.有光泽的；光辉的 | |
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41
voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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42
accentuated
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| v.重读( accentuate的过去式和过去分词 )；使突出；使恶化；加重音符号于 | |
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43
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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44
supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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45
imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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46
frankly
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| adv.坦白地，直率地；坦率地说 | |
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47
smacks
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| 掌掴（声）( smack的名词复数 )； 海洛因； （打的）一拳； 打巴掌 | |
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48
affected
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| adj.不自然的，假装的 | |
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49
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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50
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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51
infamous
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| adj.声名狼藉的，臭名昭著的，邪恶的 | |
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52
contortions
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| n.扭歪，弯曲；扭曲，弄歪，歪曲( contortion的名词复数 ) | |
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53
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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54
ivy
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| n.常青藤，常春藤 | |
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55
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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56
spartan
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| adj.简朴的，刻苦的；n.斯巴达；斯巴达式的人 | |
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57
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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58
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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59
bliss
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| n.狂喜，福佑，天赐的福 | |
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60
dreading
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| v.害怕，恐惧，担心( dread的现在分词 ) | |
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61
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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62
ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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63
condescended
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| 屈尊，俯就( condescend的过去式和过去分词 )； 故意表示和蔼可亲 | |
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64
liking
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| n.爱好；嗜好；喜欢 | |
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65
possessed
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| adj.疯狂的；拥有的，占有的 | |
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66
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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67
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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68
forth
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| adv.向前；向外，往外 | |
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69
scruples
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| n.良心上的不安( scruple的名词复数 )；顾虑，顾忌v.感到于心不安，有顾忌( scruple的第三人称单数 ) | |
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70
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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71
albeit
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| conj.即使；纵使；虽然 | |
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72
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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73
overdone
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| v.做得过分( overdo的过去分词 )；太夸张；把…煮得太久；（工作等）过度 | |
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74
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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75
softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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76
constrain
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| vt.限制，约束；克制，抑制 | |
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77
concierge
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| n.管理员；门房 | |
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78
partnership
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| n.合作关系，伙伴关系 | |
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79
contractor
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| n.订约人，承包人，收缩肌 | |
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80
cavalry
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| n.骑兵；轻装甲部队 | |
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81
mildewed
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|
| adj.发了霉的，陈腐的，长了霉花的v.（使）发霉，（使）长霉( mildew的过去式和过去分词 ) | |
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82
insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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83
widower
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| n.鳏夫 | |
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84
volatile
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| adj.反复无常的，挥发性的，稍纵即逝的，脾气火爆的；n.挥发性物质 | |
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85
heed
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| v.注意，留意；n.注意，留心 | |
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86
parental
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| adj.父母的；父的；母的 | |
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87
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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88
temperament
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| n.气质，性格，性情 | |
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89
connoisseur
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| n.鉴赏家，行家，内行 | |
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90
circumspect
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|
| adj.慎重的，谨慎的 | |
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91
proprieties
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| n.礼仪，礼节；礼貌( propriety的名词复数 )；规矩；正当；合适 | |
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92
infinitely
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| adv.无限地，无穷地 | |
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93
prudent
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| adj.谨慎的，有远见的，精打细算的 | |
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94
deterred
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| v.阻止，制止( deter的过去式和过去分词 ) | |
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95
eminently
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|
| adv.突出地；显著地；不寻常地 | |
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96
housekeeper
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| n.管理家务的主妇，女管家 | |
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97
contrive
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| vt.谋划，策划；设法做到；设计，想出 | |
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98
prospects
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| n.希望，前途(恒为复数) | |
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99
livelihood
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| n.生计，谋生之道 | |
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100
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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101
creed
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| n.信条；信念，纲领 | |
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102
honourable
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| adj.可敬的；荣誉的，光荣的 | |
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103
apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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104
meditations
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| 默想( meditation的名词复数 )； 默念； 沉思； 冥想 | |
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105
unravel
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| v.弄清楚（秘密）；拆开，解开，松开 | |
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106
sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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107
expounded
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| 论述，详细讲解( expound的过去式和过去分词 ) | |
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108
expound
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| v.详述；解释；阐述 | |
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109
regenerated
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| v.新生，再生( regenerate的过去式和过去分词 ) | |
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110
repudiate
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| v.拒绝，拒付，拒绝履行 | |
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111
legacies
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| n.遗产( legacy的名词复数 )；遗留之物；遗留问题；后遗症 | |
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112
tyrants
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| 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 | |
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113
posterity
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| n.后裔，子孙，后代 | |
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114
frivolous
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| adj.轻薄的；轻率的 | |
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115
banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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116
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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117
friezes
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| n.（柱顶过梁和挑檐间的）雕带，（墙顶的）饰带( frieze的名词复数 ) | |
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118
dilated
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| adj.加宽的，扩大的v.（使某物）扩大，膨胀，张大( dilate的过去式和过去分词 ) | |
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119
venom
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| n.毒液，恶毒，痛恨 | |
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120
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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121
miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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122
trotting
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| 小跑，急走( trot的现在分词 )； 匆匆忙忙地走 | |
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123
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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124
sprightly
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| adj.愉快的，活泼的 | |
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125
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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126
flay
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| vt.剥皮；痛骂 | |
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127
everlasting
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| adj.永恒的，持久的，无止境的 | |
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128
tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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129
rattling
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| adj. 格格作响的, 活泼的, 很好的 adv. 极其, 很, 非常 动词rattle的现在分词 | |
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130
knave
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| n.流氓；（纸牌中的）杰克 | |
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131
knaves
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| n.恶棍，无赖( knave的名词复数 )；（纸牌中的）杰克 | |
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132
aces
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| abbr.adjustable convertible-rate equity security (units) 可调节的股本证券兑换率；aircraft ejection seat 飞机弹射座椅；automatic control evaluation simulator 自动控制评估模拟器n.擅长…的人( ace的名词复数 )；精于…的人；（ 网球 ）（对手接不到发球的）发球得分；爱司球 | |
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133
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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134
engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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135
engrave
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| vt.（在...上）雕刻，使铭记，使牢记 | |
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136
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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137
portfolio
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| n.公事包；文件夹；大臣及部长职位 | |
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138
sneered
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| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
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139
sages
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| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
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140
filthy
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| adj.卑劣的；恶劣的，肮脏的 | |
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141
sundry
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| adj.各式各样的，种种的 | |
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142
patriotic
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| adj.爱国的，有爱国心的 | |
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143
guilt
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| n.犯罪；内疚；过失，罪责 | |
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144
skull
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| n.头骨；颅骨 | |
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145
chastisement
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| n.惩罚 | |
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146
portents
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| n.预兆( portent的名词复数 )；征兆；怪事；奇物 | |
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147
sect
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| n.派别，宗教，学派，派系 | |
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148
massacres
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| 大屠杀( massacre的名词复数 )； 惨败 | |
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149
promenaded
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| v.兜风( promenade的过去式和过去分词 ) | |
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150
cannon
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| n.大炮，火炮；飞机上的机关炮 | |
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151
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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152
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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153
hurl
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| vt.猛投，力掷，声叫骂 | |
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154
prudence
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| n.谨慎，精明，节俭 | |
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155
zeal
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| n.热心，热情，热忱 | |
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156
attested
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| adj.经检验证明无病的，经检验证明无菌的v.证明( attest的过去式和过去分词 )；证实；声称…属实；使宣誓 | |
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157
perilous
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| adj.危险的，冒险的 | |
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158
legislative
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| n.立法机构，立法权；adj.立法的，有立法权的 | |
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159
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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160
fodder
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| n.草料；炮灰 | |
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161
convoy
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| vt.护送，护卫，护航；n.护送；护送队 | |
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162
infested
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| adj.为患的，大批滋生的（常与with搭配）v.害虫、野兽大批出没于( infest的过去式和过去分词 )；遍布于 | |
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163
brigands
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| n.土匪，强盗( brigand的名词复数 ) | |
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164
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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165
strings
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| n.弦 | |
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166
clenched
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| v.紧握，抓紧，咬紧( clench的过去式和过去分词 ) | |
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167
defenders
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| n.防御者( defender的名词复数 )；守卫者；保护者；辩护者 | |
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168
alley
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| n.小巷，胡同；小径，小路 | |
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169
carnations
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| n.麝香石竹，康乃馨( carnation的名词复数 ) | |
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170
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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171
mighty
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| adj.强有力的；巨大的 | |
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172
thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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173
apathy
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| n.漠不关心，无动于衷；冷淡 | |
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174
lava
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| n.熔岩，火山岩 | |
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175
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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176
morsel
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| n.一口，一点点 | |
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177
gibes
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| vi.嘲笑，嘲弄（gibe的第三人称单数形式） | |
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178
impatience
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| n.不耐烦，急躁 | |
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179
marvelled
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| v.惊奇，对…感到惊奇( marvel的过去式和过去分词 ) | |
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180
perseverance
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| n.坚持不懈，不屈不挠 | |
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181
grumble
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| vi.抱怨；咕哝；n.抱怨，牢骚；咕哝，隆隆声 | |
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182
debouch
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| v.流出，进入 | |
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183
clatter
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| v./n.(使)发出连续而清脆的撞击声 | |
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184
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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185
likeness
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| n.相像，相似（之处） | |
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186
peevishly
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| adv．暴躁地 | |
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187
darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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