The two armies close in battle, only embittered9 by the broken truce10. The description is a good specimen11 of the poet’s powers, and Lord Derby’s translation is sufficiently12 close:—
As when descending18 from the mountain’s brow
Their mingled waters in some deep ravine,
Their weight of flood, on the far mountain’s side
The shepherd hears the roar; so loud arose
The shouts and yells of those commingling22 hosts.”[17]
{v.i-70}
Then begins one of those remarkable23 descriptions of a series of single combats between warriors24 of note on either side, in which Homer delights and excels. It must be confessed that they are somewhat wearisome to a modern reader; although, as has been well observed, the details of attack and defence, wounds and death, are varied25 in a fashion which shows that the artist was thoroughly26 master of his work; and it is even said that in the physical results assigned to each particular wound he has shown no mean knowledge of anatomy27. Still, the continuous catalogue of ghastly wounds and dying agonies is uncongenial with our more refined sympathies. But it was quite in harmony with the tastes of ruder days. We find the same apparent repetition of single combats in the medieval romances—notably28 in Mallory’s King Arthur; and they were probably not the least popular portions of the tale. Even a stronger parallel case might be found in the description of a prize-fight in the columns of sporting newspapers, not so many years ago, when each particular blow and its results, up to “Round 102,” were graphically29 described in language quite as figurative, if not so poetic30, as Homer’s; and found, we must suppose, a sufficient circle of readers to whom it was not only intelligible31 but highly interesting. The poet who recites—as we must suppose Homer to have done—must above every{v.i-71}thing else excite and interest his audience: his lay must be rich in incident; and to an audience who were all more or less warlike, no incidents could be so exciting as the details of battle. There is much savageness32 in Homer’s combats; but savageness is to the taste of men whose only means of excitement is through their grosser senses, and a love of the horrible in fact or fiction is by no means extinct even in our own day.
Young Antilochus, the son of Nestor’s old age, draws the first blood in the battle. He kills Echepolus.
“Beneath his horsehair-plumèd helmet’s peak
It pierced the bone: then darkness veiled his eyes,
And, like a tower, amid the press he fell.”
Over his dead body the combat grows furious—the Greeks endeavouring to drag him off to strip his armour34, the Trojans to prevent it. The armour of a vanquished35 enemy was, in these combats, something like what an enemy’s scalp is to the Indian “brave;” to carry it off in triumph, and hang it up in their own tents as a trophy36, was the great ambition of the slayer37 and his friends. Ajax, too, slays38 his man—spearing him right through from breast to shoulder: and the tall Trojan falls like a poplar—
Ulysses, roused by the death of a friend who is killed in trying to carry off this last body, rushes to the front, and poising40 his spear, looks round to choose his victim. The foremost of his enemies recoil41; but he drives his weapon right through the temples of Demophoon, a natural son of Priam, as he sits high in his chariot. The Trojans waver; even Hector gives ground; the Greeks cheer, and some carry off the bodies, while the{v.i-72} rest press forward. It is going hard with Troy, when Apollo, who sits watching the battle from the citadel42, calls loudly to their troops to remember that “there is no Achilles in the field to-day.” So the fight is renewed, Minerva cheering on the Greeks, as Apollo does the Trojans.
Diomed, the gallant43 son of Tydeus, now becomes the hero of the day. His exploits occupy, indeed, so large a portion of the next book of the poem, that it was known as “The Deeds of Diomed,” and would form, according to one theory, a separate romance or lay of itself, exactly as some portions of the Arthurian romance have for their exclusive hero some one renowned44 Knight46 of the Round Table, as Tristram or Lancelot. Diomed fights under supernatural colours. Minerva herself not only inspires him with indomitable courage, but sheds over his whole person a halo of celestial47 radiance before which the bravest Trojan might well recoil—
There flashed, like autumn’s star, that brightest shines
When newly risen from his ocean bath.”
Once more the prince of archers50, Pandarus the Lycian, comes to the rescue of the discomfited51 Trojans. He bends his bow against Diomed, who is now fighting on foot, and the arrow flies true to its mark. He sees it strike deep into the shoulder, and the red blood streams out visibly over the breastplate. Elated by his success, he turns round and shouts his triumphant52 rallying-cry to the Trojans—“The bravest of the Greeks is wounded to the death!” But his exultation53 is premature54. Diomed gets him back to his chariot, and calls on his faithful friend and charioteer Sthenelus to draw the arrow from the wound. The blood wells out fast, as{v.i-73} the barb55 is withdrawn56; but the hero puts up a brief prayer to his guardian57 goddess for strength yet to avenge58 him of his adversary59, whose exulting60 boast he has just heard. Minerva hears. By some rapid celestial pharmacy61 she heals the wound at once, and gives him fresh strength and vigour62, adding these words of encouragement and warning:—
The Trojan hosts; for I within thy breast
Thy father’s dauntless courage have infused,
Bold horseman, buckler-clad; and from thine eyes
That thou mayest well ’twixt gods and men discern.
If then some god make trial of thy force,
With redoubled vigour and fury the hero returns to the battle; and again the Trojans’ names, to each of which the poet contrives70 to give some touch of individual character, swell71 the list of his victims. ?neas marks his terrible career, and goes to seek for Pandarus. He points out to him the movements of the Greek champion, and bids him try upon his person the far-famed skill that had so nearly turned the fate of war in the case of Menelaus. Pandarus tells him of his late unsuccessful attempt, and declares his full belief{v.i-74} that some glamour72 of more than mortal power has made Diomed invulnerable to human weapons. He bitterly regrets, as he tells ?neas, that he did not follow the counsels of his father Lycaon, and bring with him to the campaign, like other chiefs of his rank, some of those noble steeds of whom eleven pair stand always in his father’s stalls, “champing the white barley73 and the spelt.” He had feared, in truth, that they might lack provender74 in the straits of the siege:—
“Woe worth the day, when from the glittering wall,
And to fair Ilion, from my father’s hall,
Captain of men, did with my Lycians go!
If ever I return, if ever I know
My country, my dear wife, my home again,
Let me fall headless to an enemy’s blow,
Save the red blaze of fire these arms contain!” (W.)
?neas bids him mount with him into his chariot, and together they will encounter this redoubtable76 Greek. Pandarus takes the spear and shield, while ?neas guides the horses. Diomed is still fighting on foot, when Sthenelus, who attends him with the chariot, sees the two hostile chiefs bearing down upon him. He begs his comrade to remount, and avoid the encounter with two such adversaries77. Diomed indignantly refuses. He will slay15 both, with the help of Heaven; and he charges Sthenelus, if such should be the happy result, to leave his own horses and chariot, securing the reins78 carefully to the chariot-front, and make prize of the far-famed steeds of ?neas—they are descended79 from the immortal67 breed bestowed80 of old by Jupiter upon King Tros. So, on foot still, he awaits their onset. Pandarus stands high in the chariot{v.i-75} with poised81 weapon, and hails his enemy as he comes within hurling82 distance:—
The spear may enter where the arrow failed.”
It does enter, and piercing through the tough ox-hide of the shield, stands fixed in the breastplate. Again, with premature triumph, he shouts exultingly84 to Diomed that at last he has got his death-wound. But the Greek quietly tells him that he has missed—which assuredly he himself is not going to do. He hurls85 his spear in turn with fatal aim: and the poet tells us with ghastly detail how it entered beneath the eyeball, and passed down through the “white teeth” and tongue—
“Till the bright point looked out beneath the chin”—
and Pandarus the Lycian closes his career, free at least from the baseness which medieval romances have attached to his name.
?neas, in obedience86 to the laws of heroic chivalry87, at once leaps down from the chariot to defend against all comers the body of his fallen comrade.
“And like a lion fearless in his strength
His spear and buckler round about him held,
To all who dared approach him threat’ning death.”
Diomed in this case avails himself of a mode of attack not uncommon89 with Homer’s heroes. He seizes a huge stone—which not two men of this degenerate90 age (says Homer, with a poet’s cynicism for the present) could have lifted—and hurls it at the Trojan prince. It strikes him on the hip91, crushes the joint92, and brings him to his knees. But that his goddess-mother Venus comes to his rescue, the world had heard the last of ?neas, and{v.i-76} Virgil must have sought another hero for his great poem.
“About her much-loved son her arms she throws—
Her arms, whose whiteness match the falling snows;
Sthenelus, for his part, remembers the orders of his friend and chief, and drives off at once to the Greek camp with the much-coveted horses of ?neas. Diomed rushes in pursuit of Venus—whom he knows, by his new gift of clear vision—as she carries off her son through the ranks of the Trojans. She, at least, of all the divinities of Olympus, had no business, thought the Greek, in the mêlée of battle. Besides, he had received from Minerva special permission to attack her. Most ungallantly, to our notions, he does so. The scene is such a curious one, that it is well to give Lord Derby’s version of it:—
“Her, searching through the crowd, at length he found,
The sharp spear grazed her palm below the wrist.
Forth from the wound th’ immortal current flowed,
Pure ichor, life-stream of the blessed Gods;
They eat no bread, they drink no ruddy wine,
And bloodless thence and deathless they become.
But in his arms Apollo bore him off
Might pierce his breast, and rob him of his life.
Loud shouted brave Tydides, as she fled:
‘Daughter of Jove, from battle-fields retire;
If war thou seek’st, the lesson thou shalt learn
Thus he; but ill at ease, and sorely pained,{v.i-77}
Weeping with pain, her fair skin soiled with blood.”
It is the original of the grand passage in the ‘Paradise Lost,’ in which the English poet has adopted almost literally104 the Homeric idea of suffering inflicted on an immortal essence, while carefully avoiding the ludicrous element in the scene. In the battle of the Angels, Michael cleaves105 Satan down the right side:—
“The griding sword with discontinuous wound
Passed through him; but th’ ethereal substance closed,
A stream of nectar’ous humour issuing flowed,
—Par. Lost, vi. 329.
In sore plight108 the goddess mounts to Olympus, and there, throwing herself into the arms of her mother Dione, bewails the wrong she has suffered at the hands of a presumptuous109 mortal. Dione comforts her as best she may, reminding her how in times past other of the Olympian deities110 have had to endure woes111 from men: Mars, when the giants Otus and Ephialtes bound him for thirteen months in brazen112 fetters113; Juno herself, the queen of Heaven, and Pluto114, the king of the Shades, had been wounded by the daring Hercules. She foretells115, however, an untimely death for the presumptuous hero who has raised his hand against a goddess:—
“Fool and blind!
Unknowing he how short his term of life,
Who fights against the gods! for him no child
Upon his knees shall lisp a father’s name,
Safe from the war and battle-field returned.
Brave as he is, let Diomed beware
Then fair ?giale, Adrastus’ child,
Shall long, with lamentations loud, disturb
Her youthful lord, the bravest of the Greeks.” (D.)
But Dione is no prophet. Diomed returned home (if the later legends are to be believed) to find that his wife ?giale had been anything but inconsolable during his absence.
Venus’ wound is healed, and her tears are soon dried. But Minerva—whose province in the celestial government seems to be not only wisdom but satire—cannot resist a jest upon the unfortunate plight of the Queen of Love. She points her out to Jupiter, and suggests as a probable explanation of the wound, that she has been trying to lead astray some other fair Greek, like Helen,—
A golden clasp has scratched her slender arm.”
Jupiter smiles, and calling his pouting121 daughter-goddess to his side, recommends her in future to leave to Mars and Minerva the dangers of the battle-field, and confine her own prowess to campaigns in which she is likely to be more victorious122.
Diomed is still rushing in pursuit of ?neas. He knows that Apollo is shielding him; but not even this knowledge checks the impetuous Greek.
“Thrice was his onset made, with murd’rous aim,
And thrice Apollo struck his glittering shield;
But when with godlike force he sought to make
His fourth attempt, the Far-destroyer spake
In terms of awful menace; ‘Be advised,
Tydides, and retire; nor as a god
Of gods immortal and of earth-born men.’” (D.)
Diomed accepts the warning, and ?neas is carried{v.i-79} off to the temple of Apollo in the citadel, where Latona and Diana tend and heal him. Apollo meanwhile replaces him in the battle by a phantom124 likeness125, round which Greeks and Trojans continue the fight. Then he calls his brother deity126 the War-god to the rescue of the hard-prest Trojans, and entreats127 him to scare from the field this irreverent and outrageous128 champion, who, he verily believes, would lift his spear against Olympian Jove himself. In the likeness of a Thracian chief, Mars calls Hector to the rescue; and the Trojan prince leaps from his chariot, and, crying his battle-cry, turns the tide of war. ?neas is restored, sound and well, to his place in the mêlée—somewhat indeed to the astonishment129 of his friends, who had seen him lying so long grievously wounded; but, as the poet pithily130 remarks, little time had they to ask him questions. The two Ajaxes, Ulysses, Menelaus, and Agamemnon himself, “king of men,” come to the forefront of the Greek battle: and the young Antilochus, son of the venerable Nestor, notably wins his spurs. But the Trojans have supernatural aid: and Diomed, of the purged vision, cries to his friends to beware, for that he sees the War-god in their front brandishing131 his huge spear. The Greek line warily132 gives ground before this immortal adversary. The Queen of Heaven can no longer endure to be a mere133 spectatress of the peril134 of her favourites. She obtains permission from Jupiter to send Minerva against Mars: and the two goddesses, seated in Juno’s chariot of state, glide135 down from Olympus—
and alight upon the plain of Troy. There Juno, taking human shape, taunts137 the Greek troops with cowardice{v.i-80}—
“In form of Stentor of the brazen voice,
Whose shout was as the shout of fifty men”—
and whose name has made a familiar place for itself in our English vocabulary.
“Shame on ye, Greeks, base cowards! brave alone
Went forth to battle, from the Dardan gates
The Trojans never ventured to advance.”
Minerva seeks out Diomed, whom she finds leaning on his chariot, resting awhile from the fight, and bathing the wound made by the arrow of Pandarus. She taunts him with his inferiority to his great father Tydeus, who was, she reminds him, “small in stature139, but every inch a soldier.” Diomed excuses himself by reference to her own charge to him—to fight with none of the immortals save Venus only. But now the goddess withdraws the prohibition140, and herself—putting on the “helmet of darkness,” to hide herself from Mars—takes her place beside him in the chariot, instead of Sthenelus, his henchman and charioteer: and the chariot-axle groans beneath the more than mortal load. They drive in full career against the War-god: in vain he hurls his spear against Diomed, for the hand of the goddess turns it safely aside. The mortal champion is more successful: his spear strikes Mars in the flank, piercing the flesh, and drawing from him, as from Venus, the heavenly “ichor.” And the wounded god cries out with a shout like that of ten thousand men, so that both hosts listen to the sound with awe141 and trembling. He too, like Venus, flies to Olympus, and there makes piteous complaint of the impious deeds which, at the instigation of Minerva, this headstrong mortal is permitted to do. His father{v.i-81} Jupiter rates him soundly, as the outlaw142 of the Olympian family, inheriting his mother Juno’s headstrong temper. However, he bids P?on, the physician of the immortals, heal the wound, and Hebe prepares him a bath. Juno and Minerva have done their work, having driven Mars from the field, and they too quit the plains of Troy, and leave the mortal heroes to themselves.
While Diomed still pursues his career of slaughter143, Menelaus gives token of that easy and pliant144 disposition145 which half explains his behaviour to Helen. He has at his mercy a Trojan who has been thrown from his chariot, and begs his life. The fair-haired king is about to spare him,—as none in the whole story of the fight is spared,—when his brother Agamemnon comes up, and after chiding146 him for such soft-heartedness, pins the wretched suppliant147 to the ground with his ashen148 spear.
So the fight goes on through the sixth book; which is, however, chiefly remarkable for two of the most striking episodes in the poem. The first is the meeting of Diomed with the young Lycian captain, Glaucus. Encountering him in the field, and struck by his bold bearing, he asks his name and race. Glaucus replies with that pathetic simile149 which, found under many forms in many poets, has its earliest embodiment in the verse of the Hebrew Psalmist and the Greek bard150. “The days of man are but as grass.”
“Brave son of Tydeus, wherefore set thy mind
My race to know? the generations are
As of the leaves, so also of mankind.
Such on the earth the race of men we find;
Each in his order a set time attends;
One generation rises and another ends.” (W.)
{v.i-82}
The young chieftain goes on, nevertheless, to announce his birth and lineage. He is the grandson of the noble Bellerophon—the rider of the wondrous153 horse Pegasus and the slayer of the monster Chim?ra—all of whose exploits he narrates154 at length, with some disregard to probabilities, in the full roar of the battle round him. It turns out that he and Diomed are bound together by a tie which all of Greek blood scrupulously155 respected—the rights of hospitality exercised towards each other by some of their ancestors. Such obligations descended from father to son, and served from time to time to mitigate156 the fierce and vindictive157 spirit of an age when every man’s hand was in some sort against another. The grandfather of Diomed had been Bellerophon’s guest and friend. So the Greek places his spear in the ground, and vows158 that he will not raise his arm against Glaucus. There are enough besides of the Trojan allies for him to slay, and Glaucus may find Greeks enough on whom to flesh his valour; but for themselves, the old hereditary159 bond shall hold good, and in token of amity160 they will change armour. A good exchange, indeed, for Diomed; for whereas his own is but of the ordinary brass161 or bronze, the young Lycian’s panoply162 is richly inlaid with gold—“a hundred oxen’s worth for the worth of nine.” The Greek words have passed into a proverb.
The Trojans are still hard prest, and by the advice of his brother Helenus, who has the gift of soothsaying, and is as it were the domestic priest of the royal household, Hector hastens to the city, and directs his mother Hecuba to go with her matrons in solemn procession to the temple of Pallas, and beseech164 the goddess to withdraw the terrible Diomed from{v.i-83} the field. In the palace, to his indignation, he finds Paris dallying165 with Helen, and polishing his armour instead of joining the fight. Hector upbraids166 him sharply: and Helen, in a speech full of self-abasement, laments167 the unworthiness of her paramour. Hector speaks no word of reproach to her, though he gently declines her invitation to rest himself also a while from the battle. Paris promises to follow him at once to the field; and Hector moves on to his own wife’s apartments, to see her and his child once more before he goes back to the combat which he has a half-foreboding will end fatally for himself, whatever be the fortunes of Troy.
And now we are introduced to the second female character in the poem, standing168 in the strongest possible contrast with that of Helen, but of no less admirable conception. It is remarkable how entirely169 Homer succeeds in interesting us in his women, without having recourse to what might seem to us the very natural expedient170 of dwelling171 on their personal charms; especially when it is taken into account that, in his simple narrative172, he has not the resources of the modern novelist, who can make even the plainest heroine attractive by painting her mental perfections, or setting before us the charms of her conversation. It has been said that he rather assumes than describes the beauty of Helen: in the case of Andromache, it has been remarked that he never once applies to her any epithet173 implying personal attractions, though all his translators, Lord Derby included, have been tempted174 to do so. It is as the wife and mother that Andromache charms us. We readily assume that she is comely175, graceful—all that a woman should be; but it is simple grace of{v.i-84} domestic character which forms the attraction of the Trojan princess.
Hector does not find her, as he expects, in the palace. She had heard how the fortunes of the day seemed turning against the Trojans; and she had hurried, “like one distraught,” to the tower of the citadel, to see with her own eyes how the fight was going. He meets her at the Sc?an gates, with the nurse and the child, “whom Hector called Scamandrius, from the river, but the citizens Astyanax”—“defender of the city.” The father looks silently on his boy, and smiles; Andromache in tears clings to her husband, and makes a pathetic appeal to him not to be too prodigal176 of a life which is so dear to his wife and child. Her fate has been already that of many women of her day. Her father and seven tall brethren have been slain by the fierce Achilles, when ravaging177 the country round Troy he destroyed their native city of Cilician Thebes: her mother too is dead, and she is left alone. She adds the touching178 loving confession179, which Pope’s version has made popular enough even to unclassical ears—
“But while my Hector still survives, I see
My father, mother, brethren, all in thee.”
Hector soothes180 her, but it is with a mournful foreboding of evil to come. He values too much his own honour and fair fame to shrink from the battle:—
“I should blush
If like a coward I could shun the fight;
Nor could my soul the lessons of my youth
So far forget, whose boast it still has been
In the fore-front of battle to be found,
Charged with my father’s glory and mine own.
Yet in my inmost soul too well I know
The day must come when this our sacred Troy,{v.i-85}
And Priam’s race, and Priam’s royal self,
Shall in one common ruin be o’erthrown.” (D.)
But that which wrings182 his heart most of all is the vision before his eyes of his beloved wife dragged into slavery. Pope’s version of the rest of the passage is so good of its kind, and has so naturalised the scene to our English conceptions, that no closer version will ever supersede183 it.
Stretched his fond arms to clasp the lovely boy;
The babe clung crying to his nurse’s breast,
Scared at the dazzling helm and nodding crest.
With secret pleasure each fond parent smiled,
And Hector hasted to relieve his child,
The glitt’ring terrors from his brows unbound,
And placed the beaming helmet on the ground.
Then kissed the child, and lifting high in air,
Thus to the Gods preferred a father’s prayer:
‘O thou! whose glory fills th’ ethereal throne,
And all ye deathless powers! protect my son!
To guard the Trojans, to defend the crown,
And rise the Hector of the future age!
And say—This chief transcends189 his father’s fame:
While pleased amidst the general shouts of Troy,
His mother’s conscious heart o’erflows with joy.’
He spoke, and fondly gazing on her charms,
Restored the pleasing burthen to her arms;
She mingled with the smile a tender tear.
And dried the falling drops, and thus pursued.”
The “charms,” be it said, are entirely Pope’s idea, and do not harmonise with the simplicity195 of the true{v.i-86} Homeric picture. The husband was not thinking of his wife’s beauty. He “caresses her with his hand,” and tries to cheer her with the thought that no hero dies until his work is done.
“For, till my day of destiny is come,
No man may take my life; and when it comes,
Nor brave nor coward can escape that day.
Their several tasks; and leave to men of Troy,
And chief of all to me, the toils of war.” (D.)
The tender yet half-contemptuous tone in which the iron soldier relegates197 the woman to her own inferior cares, is true to the spirit of every age in which war is the main business of man’s life. Something in the same tone is the charming scene between Hotspur and his lady in Shakspeare’s ‘Henry IV.’
“Hotspur. Away, you trifler!—Love? I love thee not,—
I care not for thee, Kate; this is no world
And pass them current too.—God’s me, my horse!—
What say’st thou, Kate? What wouldst thou have with me?
Lady Percy. Do you not love me? Do you not indeed?
Well,—do not, then; for since you love me not,
I will not love myself.—Do you not love me?
And when I am o’ horseback, I will swear
I love thee infinitely202. But hark you, Kate:
I must not have you henceforth question me
Whither I go, nor reason whereabout;
Whither I must, I must; and, to conclude,
This evening must I leave you, gentle Kate.
I know you wise; but yet, no further wise
No lady closer: for I well believe
Thou wilt not utter that thou dost not know.”
{v.i-87}
Hector and his wife part; he to the fight, accompanied now by Paris, girt for the battle in glittering armour, the show knight of the Trojans: Andromache back to the palace, casting many a lingering glance behind at the gallant husband she is fated never again to see alive. The Roman ladies of the last days of the Republic were not much given to sentiment; but we do not wonder that Brutus’s wife, Portia, knowing well the Homeric story, was moved to tears in looking at a picture of this parting scene.
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onset
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| n.进攻，袭击，开始，突然开始 | |
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discordant
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| adj.不调和的 | |
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animates
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| v.使有生气( animate的第三人称单数 )；驱动；使栩栩如生地动作；赋予…以生命 | |
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hover
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| vi.翱翔，盘旋；徘徊；彷徨，犹豫 | |
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strife
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| n.争吵，冲突，倾轧，竞争 | |
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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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crest
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| n.顶点；饰章；羽冠；vt.达到顶点；vi.形成浪尖 | |
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affronts
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| n.（当众）侮辱，（故意）冒犯( affront的名词复数 )v.勇敢地面对( affront的第三人称单数 )；相遇 | |
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embittered
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| v.使怨恨，激怒( embitter的过去式和过去分词 ) | |
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truce
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| n.休战，(争执，烦恼等的)缓和；v.以停战结束 | |
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specimen
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| n.样本，标本 | |
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sufficiently
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| adv.足够地，充分地 | |
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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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groans
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| n.呻吟，叹息( groan的名词复数 )；呻吟般的声音v.呻吟( groan的第三人称单数 )；发牢骚；抱怨；受苦 | |
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slay
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| v.杀死，宰杀，杀戮 | |
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slaying
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| 杀戮。 | |
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slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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18
descending
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| n. 下行 adj. 下降的 | |
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19
torrents
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| n.倾注；奔流( torrent的名词复数 )；急流；爆发；连续不断 | |
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20
copious
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| adj.丰富的，大量的 | |
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21
downwards
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| adj./adv.向下的（地），下行的（地） | |
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22
commingling
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| v.混合，掺和，合并( commingle的现在分词 ) | |
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23
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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24
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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25
varied
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| adj.多样的，多变化的 | |
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26
thoroughly
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| adv.完全地，彻底地，十足地 | |
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27
anatomy
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| n.解剖学，解剖；功能，结构，组织 | |
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28
notably
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| adv.值得注意地，显著地，尤其地，特别地 | |
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29
graphically
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| adv.通过图表；生动地，轮廓分明地 | |
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30
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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31
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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32
savageness
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| 天然，野蛮 | |
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33
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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34
armour
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| （=armor）n.盔甲；装甲部队 | |
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35
vanquished
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| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
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36
trophy
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| n.优胜旗，奖品，奖杯，战胜品，纪念品 | |
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37
slayer
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| n. 杀人者，凶手 | |
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38
slays
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| 杀死，宰杀，杀戮( slay的第三人称单数 ) | |
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39
axe
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| n.斧子；v.用斧头砍，削减 | |
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40
poising
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| 使平衡( poise的现在分词 )； 保持（某种姿势）； 抓紧； 使稳定 | |
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41
recoil
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| vi.退却，退缩，畏缩 | |
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42
citadel
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| n.城堡；堡垒；避难所 | |
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43
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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44
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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45
renown
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| n.声誉，名望 | |
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46
knight
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| n.骑士，武士；爵士 | |
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47
celestial
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| adj.天体的；天上的 | |
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48
forth
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| adv.向前；向外，往外 | |
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49
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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50
archers
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| n.弓箭手，射箭运动员( archer的名词复数 ) | |
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51
discomfited
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| v.使为难( discomfit的过去式和过去分词)；使狼狈；使挫折；挫败 | |
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52
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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53
exultation
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| n.狂喜，得意 | |
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54
premature
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| adj.比预期时间早的；不成熟的，仓促的 | |
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55
barb
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| n.（鱼钩等的）倒钩，倒刺 | |
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56
withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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57
guardian
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| n.监护人；守卫者，保护者 | |
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58
avenge
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| v.为...复仇，为...报仇 | |
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59
adversary
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| adj.敌手，对手 | |
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60
exulting
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| vi. 欢欣鼓舞，狂喜 | |
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61
pharmacy
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| n.药房，药剂学，制药业，配药业，一批备用药品 | |
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62
vigour
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| （=vigor）n.智力，体力，精力 | |
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63
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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64
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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65
purged
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| 清除（政敌等）( purge的过去式和过去分词 )； 涤除（罪恶等）； 净化（心灵、风气等）； 消除（错事等）的不良影响 | |
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66
immortals
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| 不朽的人物( immortal的名词复数 )； 永生不朽者 | |
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67
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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68
fray
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| v.争吵；打斗；磨损，磨破；n.吵架；打斗 | |
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69
shun
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| vt.避开，回避，避免 | |
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70
contrives
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| （不顾困难地）促成某事( contrive的第三人称单数 )； 巧妙地策划，精巧地制造（如机器）； 设法做到 | |
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71
swell
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| vi.膨胀，肿胀；增长，增强 | |
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72
glamour
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| n.魔力，魅力；vt.迷住 | |
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73
barley
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| n.大麦，大麦粒 | |
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74
provender
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| n.刍草；秣料 | |
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75
shafts
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|
| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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76
redoubtable
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|
| adj.可敬的；可怕的 | |
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77
adversaries
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| n.对手，敌手( adversary的名词复数 ) | |
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78
reins
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| 感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带 | |
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79
descended
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| a.为...后裔的，出身于...的 | |
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80
bestowed
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|
| 赠给，授予( bestow的过去式和过去分词 ) | |
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81
poised
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| a.摆好姿势不动的 | |
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82
hurling
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|
| n.爱尔兰式曲棍球v.猛投，用力掷( hurl的现在分词 )；大声叫骂 | |
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83
assailed
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|
| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
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84
exultingly
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| 兴高采烈地，得意地 | |
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85
hurls
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| v.猛投，用力掷( hurl的第三人称单数 )；大声叫骂 | |
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86
obedience
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| n.服从，顺从 | |
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87
chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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88
corpse
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| n.尸体，死尸 | |
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89
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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90
degenerate
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| v.退步，堕落；adj.退步的，堕落的；n.堕落者 | |
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91
hip
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| n.臀部，髋；屋脊 | |
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92
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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93
foe
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| n.敌人，仇敌 | |
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94
javelins
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| n.标枪( javelin的名词复数 ) | |
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95
pointed
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| adj.尖的，直截了当的 | |
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96
inflicted
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| 把…强加给，使承受，遭受( inflict的过去式和过去分词 ) | |
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97
ambrosial
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| adj.美味的 | |
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98
shrieked
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| v.尖叫( shriek的过去式和过去分词 ) | |
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99
enveloped
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| v.包围，笼罩，包住( envelop的过去式和过去分词 ) | |
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100
delude
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| vt.欺骗；哄骗 | |
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101
shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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102
iris
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| n.虹膜，彩虹 | |
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103
tumult
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| n.喧哗；激动，混乱；吵闹 | |
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104
literally
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| adv.照字面意义，逐字地；确实 | |
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105
cleaves
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| v.劈开，剁开，割开( cleave的第三人称单数 ) | |
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106
gash
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| v.深切，划开；n.(深长的)切(伤)口；裂缝 | |
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107
sanguine
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| adj.充满希望的，乐观的，血红色的 | |
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108
plight
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| n.困境，境况，誓约，艰难；vt.宣誓，保证，约定 | |
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109
presumptuous
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| adj.胆大妄为的，放肆的，冒昧的，冒失的 | |
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110
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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111
woes
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| 困境( woe的名词复数 )； 悲伤； 我好苦哇； 某人就要倒霉 | |
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112
brazen
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| adj.厚脸皮的，无耻的，坚硬的 | |
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113
fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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114
Pluto
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| n.冥王星 | |
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115
foretells
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| v.预言，预示( foretell的第三人称单数 ) | |
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116
mightier
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| adj. 强有力的，强大的，巨大的 adv. 很，极其 | |
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117
valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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118
slumbers
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| 睡眠，安眠( slumber的名词复数 ) | |
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119
dame
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| n.女士 | |
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120
caressed
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| 爱抚或抚摸…( caress的过去式和过去分词 ) | |
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121
pouting
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| v.撅（嘴）( pout的现在分词 ) | |
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122
victorious
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| adj.胜利的，得胜的 | |
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123
esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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124
phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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125
likeness
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| n.相像，相似（之处） | |
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126
deity
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| n.神，神性；被奉若神明的人(或物) | |
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127
entreats
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| 恳求，乞求( entreat的第三人称单数 ) | |
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128
outrageous
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| adj.无理的，令人不能容忍的 | |
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129
astonishment
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| n.惊奇，惊异 | |
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130
pithily
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| adv.有力地，简洁地 | |
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131
brandishing
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| v.挥舞( brandish的现在分词 )；炫耀 | |
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132
warily
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| adv.留心地 | |
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133
mere
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| adj.纯粹的；仅仅，只不过 | |
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134
peril
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| n.(严重的)危险；危险的事物 | |
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135
glide
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| n./v.溜，滑行；(时间)消逝 | |
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136
starry
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| adj.星光照耀的, 闪亮的 | |
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137
taunts
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| 嘲弄的言语，嘲笑，奚落( taunt的名词复数 ) | |
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138
semblance
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| n.外貌，外表 | |
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139
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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140
prohibition
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| n.禁止；禁令，禁律 | |
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141
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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142
outlaw
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| n.歹徒，亡命之徒；vt.宣布…为不合法 | |
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143
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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144
pliant
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| adj.顺从的；可弯曲的 | |
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145
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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146
chiding
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| v.责骂，责备( chide的现在分词 ) | |
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147
suppliant
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| adj.哀恳的；n.恳求者，哀求者 | |
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148
ashen
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| adj.灰的 | |
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149
simile
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| n.直喻，明喻 | |
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150
bard
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| n.吟游诗人 | |
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151
withering
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| 使人畏缩的，使人害羞的，使人难堪的 | |
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152
descends
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| v.下来( descend的第三人称单数 )；下去；下降；下斜 | |
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153
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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154
narrates
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| v.故事( narrate的第三人称单数 ) | |
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155
scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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156
mitigate
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| vt.（使）减轻，（使）缓和 | |
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157
vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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158
vows
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| 誓言( vow的名词复数 )； 郑重宣布，许愿 | |
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159
hereditary
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| adj.遗传的，遗传性的，可继承的，世袭的 | |
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160
amity
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| n.友好关系 | |
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161
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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162
panoply
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| n.全副甲胄，礼服 | |
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163
ply
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| v.(搬运工等)等候顾客，弯曲 | |
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164
beseech
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| v.祈求，恳求 | |
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165
dallying
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| v.随随便便地对待( dally的现在分词 )；不很认真地考虑；浪费时间；调情 | |
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166
upbraids
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| v.责备，申斥，谴责( upbraid的第三人称单数 ) | |
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167
laments
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| n.悲恸，哀歌，挽歌( lament的名词复数 )v.（为…）哀悼，痛哭，悲伤( lament的第三人称单数 ) | |
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168
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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169
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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170
expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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171
dwelling
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| n.住宅，住所，寓所 | |
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172
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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173
epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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174
tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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175
comely
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| adj.漂亮的，合宜的 | |
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176
prodigal
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| adj.浪费的，挥霍的，放荡的 | |
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177
ravaging
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| 毁坏( ravage的现在分词 )； 蹂躏； 劫掠； 抢劫 | |
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178
touching
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| adj.动人的，使人感伤的 | |
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179
confession
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| n.自白，供认，承认 | |
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180
soothes
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| v.安慰( soothe的第三人称单数 )；抚慰；使舒服；减轻痛苦 | |
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181
dames
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| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
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182
wrings
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| 绞( wring的第三人称单数 )； 握紧（尤指别人的手）； 把（湿衣服）拧干； 绞掉（水） | |
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183
supersede
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| v.替代；充任 | |
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184
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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185
foes
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| 敌人，仇敌( foe的名词复数 ) | |
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186
toils
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| 网 | |
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187
reeking
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| v.发出浓烈的臭气( reek的现在分词 )；散发臭气；发出难闻的气味 (of sth)；明显带有（令人不快或生疑的跡象） | |
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188
acclaim
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| v.向…欢呼，公认；n.欢呼，喝彩，称赞 | |
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189
transcends
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| 超出或超越（经验、信念、描写能力等）的范围( transcend的第三人称单数 )； 优于或胜过… | |
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190
fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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191
repose
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| v.(使)休息；n.安息 | |
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192
chastised
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| v.严惩（某人）（尤指责打）( chastise的过去式 ) | |
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193
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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194
compassion
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| n.同情，怜悯 | |
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195
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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196
loom
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| n.织布机，织机；v.隐现，(危险、忧虑等)迫近 | |
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197
relegates
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| v.使降级( relegate的第三人称单数 )；使降职；转移；把…归类 | |
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198
tilt
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| v.(使)倾侧；(使)倾斜；n.倾侧；倾斜 | |
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199
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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200
nay
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| adv.不；n.反对票，投反对票者 | |
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201
wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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202
infinitely
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| adv.无限地，无穷地 | |
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203
harry
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| vt.掠夺，蹂躏，使苦恼 | |
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204
secrecy
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| n.秘密，保密，隐蔽 | |
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