Where dwelt the goddess with the lovely locks.
He paused; and there came on him, as he stood,
That threw a perfume all about the isle;
And she within sat spinning all the while,
And sang a low sweet song that made him hark and smile.
The cave in front was spread with a green vine,
Whose dark round bunches almost burst with wine;
Four fountains clear and crisp refreshed the place;
While all about a meadowy ground was seen,
Calypso recognises the messenger, for the immortals28, says the poet, know each other always. Mercury tells his errand—a bitter one for the nymph to hear, for she has set her heart upon her mortal lover. Very hard and envious29, she says, is the Olympian tyrant30, to grudge31 her this harmless fancy. [She must have thought in her heart, though the poet does not put{v.ii-45} it into words for her, that Jupiter should surely have some sympathy for weaknesses of which he set so remarkable32 an example.] But she will obey, as needs she must. Ulysses shall go; only he must build himself a boat, for there is none in her island. She goes herself to announce to him his coming deliverance. She finds him sitting pensively33, as is his wont34, on the sea-beach, looking and longing35 in the direction of Ithaca.
“Companion of the rocks, the livelong light,
He dreaming on the shore, but not at rest,
Gazed on the pulses of the ocean’s breast.”
His heart is in his native island; but, sooth to say, he makes the best of his present captivity37. He endures, if he does not heartily38 reciprocate39, the love of his fair jailer. The correspondence in many points of these Homeric lays with the legends of medi?val Christendom, especially with those of Arthur and his Round Table, has been already noticed. It has been said also that, on the whole, the moral tone of Homer is far purer. But there is one bright creation of medi?val fiction which finds no counterpart in the song of the Greek bard40. It was only Christianity—one might almost say it was only medi?val Christianity—which could conceive the pure ideal of the stainless41 knight42 who has kept his maiden43 innocence,—who only can sit in the “siege perilous” and win the holy Grail, “because his heart is pure.” Among all the heroes of Iliad or Odyssey there is no Sir Galahad.
Calypso obeys the behest of Jove reluctantly, but{v.ii-46} without murmuring. Goddess-like or woman-like, however, she cannot fail to be mortified44 at the want of any reluctance45 on her lover’s part to leave her. There is something touching46 in her expostulation:—
“Child of Laertes, wouldst thou fain depart
Hence to thine own dear fatherland? Farewell!
Yet, couldst thou read the sorrow and the smart,
With me in immortality47 to dwell
Deeply and long thou yearnest for thy wife;
Yet her in beauty I perchance excel.
Beseems not one who hath but mortal life
Ulysses’ reply is honest and manful:—
Well may Penelope in form and brow
Yet even thus ’tis very dear to me
My long-desired return and ancient home to see.
“But if some god amid the wine-dark flood
Then will I bear it as a brave man should.
Not the first time I suffer. Wave and war
Deep in my life have graven many a scar.”
It cannot but be observed, however, that while Penelope’s whole thoughts and interests are concentrated upon her absent husband, the longing of Ulysses is rather after his fatherland than his wife. She is only one of the many component54 parts of the home-scene which is ever before the wanderer’s eyes; and not always the most important part, for his aged55 father and mother and his young son seem to be at least equal{v.ii-47} objects of anxiety. It may be urged that in this parting scene with Calypso he is purposely reticent56 in the matter of his affection for Penelope, not caring to draw down upon himself the proverbial wrath57 of “a woman scorned;” and that for a similar reason he suppresses his feelings, and quite ignores the existence of his wife, at the court of Alcinous, when that king offers him his daughter in marriage. But there is, to say the least, some lack of enthusiasm on the husband’s part throughout. Of the single-hearted devotion of woman to man we have striking instances both in Penelope and in the Andromache of the Iliad; but the devotion of man to woman had yet long to wait for its development in the age of chivalry58.
He builds himself a boat on the island, by Calypso’s instructions, and when all is ready, she stores it plentifully59 with food and wine, and gives him directions for his voyage. He launches and sets sail; but the angry god of the sea (irate especially against Ulysses for having blinded his son, the giant Polyphemus, as we shall learn hereafter) stirs winds and waves against him, wrecks60 his bark, and leaves him clinging for life to a broken spar. One of the sea-nymphs, Ino, takes pity on him, and gives him a charmed scarf—so long as he wears it his life is safe. For two nights and days he is tossed helplessly on the ocean; on the third, with sore wounds and bruises61, he makes good his landing on the rock-bound coast of a strange island. Utterly62 exhausted63, he scrapes together a bed of leaves, and creeping into it, sinks into a profound sleep.
He awakes to find himself in a kind of faeryland.{v.ii-48} The island on which he has been cast is Scheria,[32] inhabited by the Ph?acians, whose king and people are very far indeed from being of the ordinary type of mortal men. Whether the poet, in his description of these Ph?acian islanders, was exercising his imagination only, or indulging his talent for satire64, is a controverted65 question with Homeric critics. Those who would assign this poem of the Odyssey to a different author from the writer or writers of the Iliad, and to a much later date than that commonly given to Homer, have thought that in the good-humoured boastfulness of the Ph?acian character, their love of pleasure and novelty, and their attachment66 to the sea, some Ionian poet was showing up, under fictitious67 names, the weaknesses of his own countrymen. Others take the Ph?acians to be only another name for the Ph?nicians, the sailors of all seas, who had probably in their character somewhat of the egotism and exaggeration which have been commonly reputed faults of men who have travelled far and seen much. Whatever may be the true interpretation68 of the story, or whether there be any interpretation at all, this curious episode in the adventures of Ulysses is unquestionably rather comic than serious. The names are all significant, somewhat after the fashion of those assumed by the Red men. The king (Alcinous) is “Strong-mind,” son of “The Swift Seaman,” and he has a brother called “Crusher of Men.” The nautical69 names of his courtiers—“Prow70-man” and “Stern-man,” and the rest—are as palpably conventional as our own Tom Bowline{v.ii-49} and Captain Crosstree. The hero’s introduction to his new hosts presents, nevertheless, one of the most beautiful scenes in the poem. The patriarchal simplicity71 of the tale cannot fail to remind the reader, as Homer so often does, of the narratives72 of the earlier Scriptures73.
The princess Nausicaa, daughter of the king of the Ph?acians, has had a dream. The dream—which comes as naturally to princesses, no doubt, as to other young people—is of marriage; and in this case it could be no possible reproach to the dreamer, since the goddess of wisdom is represented as having herself suggested it. Nor is the dream of any bridegroom in particular, but simply of what seems to us the very prosaic74 fact that a wedding outfit75, which must soon come to be thought of, required household stores of good linen76; and that the family stock in the palace, from long disuse, stood much in need of washing. Nausicaa awakes in the morning, and begs of her father to lend her a chariot and a yoke77 of mules78, that she and her maidens79 may go down to the shore, where the river joins the sea, to perform this domestic duty. The pastoral simplicity of the whole scene is charming. It has all the freshness of those earlier ages when the business of life was so leisurely80 and jovially81 conducted, that much of it wore the features of a holiday. The princess and her maidens plunge83 the linen in the stream, and stamp it clean with their pretty bare feet (a process which will remind an English reader of Arlette and Robert of Normandy, and which may be seen in operation still at many a burn-side in Scotland), and then go{v.ii-50} themselves to bathe. An outdoor banquet forms part of the day’s enjoyment84; for the good queen, Nausicaa’s mother, has stored the wain with delicate viands85 and a goat-skin of sweet wine. When this is over, the girls begin to play at ball. Ulysses, be it remembered, is all this while lying fast asleep under his heap of leaves, and, as it happens, close by the spot where this merry party are disporting86 themselves. By chance Nausicaa, too eager in her game, throws the ball out into the sea; whereupon the whole chorus of handmaidens raise a cry of dismay, which at once awakens87 the sleeper88. He is puzzled, when he comes to himself, to make out where he is; and still more confounded, when he peers out from his hiding-place, to find himself in the close neighbourhood of this bevy89 of joyous90 damsels, especially when he bethinks himself of the very primitive91 style of his present costume; for the scarf which the sea-nymph gave him us a talisman92 he had cast into the sea upon his landing, as she had especially charged him. But Ulysses is far too old a traveller to allow an over-punctilious modesty93 to stand in his way when he is in danger of starving. He has no idea of missing this opportunity of supplying his wants merely because he has lost his wardrobe. He extemporises some very slight covering out of an olive-bough, and, in this strange attire94, makes his sudden appearance before the party. Nausicaa’s maidens all scream and take to flight—very excusably; but the king’s daughter, with a true nobility, stands firm. She sees only a shipwrecked man, and “to the pure all things are pure.” Ulysses is a courtier as well as a traveller, and knows much of “cities and men;” and{v.ii-51} it is not the flattery of a suppliant95, but the quick discernment of a man of the world, which makes him at once assign her true rank to the fair stranger who stands before him. He remains96 at a respectful distance, while, in the language of Eastern compliment, he compares her to the young palm-tree for grace and beauty, and invokes97 the blessing98 of the gods upon her marriage-hour, if she will take pity on his miserable99 case. Nausicaa recalls her fugitive100 attendants, and rebukes101 them for their folly103, reminding them that “the stranger and the poor are the messengers of the gods.” The shipwrecked hero is supplied at once with food and drink and raiment; and when he reappears, after having bathed and clothed himself, it is with a mien104 and stature more majestic105 than his wont, with the “hyacinthine locks” of immortal youth flowing round his stately shoulders—such grace does his guardian106 goddess bestow107 upon him, that he may find favour in the sight of the Ph?acian princess. She looks upon him now with simple and undisguised admiration108, confessing aside to her handmaidens that, when her time for marriage does come, she should wish for just such a husband as this godlike stranger. There is nothing unmaidenly in such language from the lips of Nausicaa. To remain unmarried was a reproach in her day, whatever it may be in ours, and a reproach not likely to fall upon a king’s daughter; so, looking upon the marriage state as inevitable110, and at her age very near at hand, she thinks and speaks of it unreservedly to her companions. Our modern conventional silence on such topics arises in great degree from the fact that a perpetual maidenhood{v.ii-52} is the inevitable lot of far too many in our over-civilised society, and, being inevitable, is no reproach. It does not consort111, therefore, with maidenly109 dignity to express any interest about marriage, for which an opportunity may never be offered.
But Nausicaa is at least as careful to observe the proprieties112, according to her own view of them, as any modern young lady. She will promise the shipwrecked stranger a welcome at her father’s court; but he must by no means ride home in the wain with her, or even be seen entering the city in her company. So Ulysses runs by the side of her mules, and waits in a sacred grove113 near the city gates, until the princess and her party have re-entered the palace. When they have disappeared, he issues forth11, and meets a girl carrying a pitcher114. It is once more his guardian goddess in disguise. She veils him in a mist, so that he passes the streets unquestioned by the natives (who have no love for strangers), and stands at last in the presence of King Alcinous.
The king of the Ph?acians, as well as his queen, boast to be descended115 from Neptune116. His subjects therefore, are, as has been said, emphatically a seagoing people. Ulysses has already seen with admiration, as he passed,
Their galleys119, moreover, are unlike any barks that ever walked the seas except in a poet’s imagination. King Alcinous himself describes them:{v.ii-53}—
“For unto us no pilots appertain,
Rudder nor helm which other barks obey.
These, ruled by reason, their own course essay
Sharing men’s mind. Cities and climes they know,
Wrapt in an ambient vapour, to and fro
The wondrous123 art of navigation might well seem nothing less than miraculous124 in an age when all the forces of nature were personified as gods. So, when the great ship Argo carried out her crew of ancient heroes on what was the first voyage of discovery, the fable125 ran that in her prow was set a beam cut from the oak of Dodona, which had the gift of speech, and gave the voyagers oracles126 in their distress127. Our English Spenser must have had these Ph?acian ships in mind when he describes the “gondelay” which bears the enchantress Ph?dria:—
“Eftsoone her shallow ship away did slide,
More swift than swallow sheres the liquid sky,
Only she turned a pin, and by-and-by
It cut a way upon the yielding wave,
(Ne cared she her course for to apply)
For it was taught the way which she would have,
And both from rocks and flats itself could wisely save.”
As the men of Ph?acia excel all others in seamanship, so also do the women in the feminine accomplishments130 of weaving and embroidery131. But they are not, as they freely confess, a nation of warriors132: they love the feast and the dance and the song, and care little for what other men call glory. The palace of Alcinous{v.ii-54} and its environs are all in accordance with this luxurious133 type of character. All round the palace lie gardens and orchards134, which rejoice in an enchanted135 climate, under whose influence their luscious136 products ripen137 in an unfailing succession:—
“There in full prime the orchard-trees grow tall,
Pear and the healthful olive. Each and all
Both summer droughts and chills of winter spare;
All the year round they flourish. Some the air
Apple grows old on apple, pear on pear,
Thus the rich revolution doth for aye endure.”
When the traveller enters within the palace itself, he finds himself surrounded with equal wonders.
“For, like the sun’s fire or the moon’s, a light
Far streaming through the high-roofed house did pass
From the long basement to the topmost height.
Of cornice; and the doors were framed of gold;
Silver pilasters, which with grace uphold
“And dogs on each side of the doors there stand,
Silver and gold, the which in ancient day
And set for sentinels to hold the way.
Death cannot tame them, nor the years decay.
And from the shining threshold thrones were set,
On to the far room, where the women met,
With many a rich robe strewn and woven coverlet.{v.ii-55}
“There the Ph?acian chieftains eat and drink,
While golden youths on pedestals upbear
Each in his outstretched hand a lighted link,
And in the house are fifty handmaids fair;
Some in the mill the yellow corn grind small;
Flash like the quivering leaves of aspen tall;
King Alcinous sits on his golden throne, “quaffing his wine like a god.” His queen, Arete, sits beside him, weaving yarn151 of the royal purple. Warned by his kind friend the princess, Ulysses passes by the king’s seat, and falls at the feet of the queen. In the court of Ph?acia—whether the story be disguised fact or pure fiction, whether the poet was satiric152 or serious—the ruling influence lies with the women. The mist in which Minerva had enveloped153 his person melts away; and while all gaze in astonishment154 at his sudden appearance, he claims hospitality as a shipwrecked wanderer, and then, after the fashion of suppliants155, seats himself on the hearth-stone. The hospitality of Alcinous is prompt and magnificent. He bids one of his sons rise up and cede156 the place of honour to the stranger. If he be mortal man, the boon157 he asks shall be granted; but it may be that he is one of the immortals, who, as he gravely assures his guest, often condescend158 to come down and share the banquets of the Ph?acians, and make themselves known to them face to face. Ulysses assures his royal host, in a passage which is in itself sufficient to mark the subdued159 comedy of the episode, that far from having any claim to divinity, he is very{v.ii-56} mortal indeed, and wholly taken up at present with one of the most inglorious of mortal cravings:—
“Nothing more shameless is than Appetite,
Makes us remember, in our own despite,
Both food and drink. Thus I, thrice wretched wight,
Carry of inward grief surpassing store,
Yet she constrains161 me with superior might,
Wipes clean away the memory-written score,
And takes whate’er I give, and taking, craveth more.”[33]
There is every appliance to satisfy appetite, however, in the luxurious halls of Alcinous. While Ulysses is seated at table, Queen Arete, careful housewife as she is with all her royalty162, marks with some curiosity that the raiment which their strange guest wears must have come from her own household stores—so well does she know the work of herself and her handmaidens. This leads to a confession163 on Ulysses’ part of his previous interview with Nausicaa, whom he praises, as he had good right to do, as wise beyond her years. So charmed is the king with his guest’s taste and discernment, that he at once declares that nothing would{v.ii-57} please him better than to retain him at his court in the character of a son-in-law. Ulysses (whose fate it is throughout his wanderings to make himself only too interesting to the fair sex generally) is by this time too much accustomed to such proposals to show any embarrassment164. With his usual diplomacy165 he puts the question aside—bowing his acknowledgments only, it may be, though Homer does not tell us even so much as this. The one point to which he addresses himself is the king’s promise to send him safe home, which he accepts with thankfulness. Before they retire for the night, the queen herself does not disdain166 to give special orders for their guest’s accommodation. She bids her maidens prepare
“A couch beneath the echoing corridor,
Then the wide coverlets of richness rare,
And to arrange the blankets warm and white,
Wherein who sleepeth straight forgets his care.
They then, each holding in her hand a light,
From the great hall pass forth, and spread the robes aright.”
The combination of magnificence with simplicity is of a wholly Oriental character. The appliances of the court might be those of a modern Eastern potentate168; yet the queen is a thrifty169 housekeeper170, the princess-royal superintends the family wash, and the five sons of the royal family, when their sister comes home, themselves come forward and unyoke her mules from the wain which has brought home the linen.
The next day is devoted171 to feasting and games in honour of the stranger. Amongst the company sits{v.ii-58} the blind minstrel Demodocus, in whose person it has been thought that the poet describes himself—
Ill, that of light she did his eyes deprive,
Good, that sweet minstrelsies divine at will
She lent him, and a voice men’s ears to thrill.
For him Pontonous silver-studded chair
Set with the feasters, leaning it with skill
Against the column, and with tender care
Such honour has the bard in all lands. The king’s son does not disdain to guide “the blind fingers;” and when the song is over, the herald174 leads him carefully to his place at the banquet, where his portion is of the choicest—“the chine of the white-tusked boar.” The subject of his lay is the tale which charms all hearers—Ph?acian, Greek, or Roman, ancient or modern, then as now—the tale of Troy. Touched with the remembrances which the song awakens, Ulysses wraps his face in his mantle175 to hide his rising tears. The king marks his guest’s emotion: too courteous176 to allude177 to it, he contents himself with rising at once from the banquet-table, and giving order for the sports to begin. Foot-race, wrestling, quoit-throwing, and boxing, all have their turn; and in all the king’s’ sons take their part, not unsuccessfully. It is suggested at last that the stranger, who stands silently looking on, should exhibit some feat82 of strength or skill. Ulysses declines—he has no heart just now for pastimes. Then one of the young Ph?acians, Euryalus, who has just won the wrestling-match, gives{v.ii-59} vent to an ungracious taunt178. Their guest, he says, is plainly no hero, nor versed179 in the noble science of athletics180; he must be some skipper of a merchantman, “whose talk is all of cargoes181.” He brings down upon himself a grand rebuke102 from Ulysses:—
“Man, thou hast not said well; a fool thou art.
Not all fair gifts to all doth God divide,
One seems in mien poor, but his feebler part
God crowns with language, that men learn to love
Within them. First in councils he doth prove,
And, ’mid the crowd observant, like a god doth move.
“Another, though in mould of form and face
Like the immortal gods he seems to be,
Hath no wise word to crown the outward grace
So is thine aspect fair exceedingly,
Yet is thine understanding wholly vain.”
Then the hero who has thrown the mighty185 Ajax in the wrestling-ring, who is swifter of foot than any Greek except Achilles, and who has been awarded that matchless hero’s arms as the prize of valour against all competitors,—rises in his wrath, and gives his gay entertainers a taste of his quality. Not deigning186 even to throw off his mantle, he seizes a huge stone quoit, and hurls187 it, after a single swing, far beyond the point reached by any of the late competitors. The astonished islanders crouch188 to the ground as it sings through the air above their heads. Once roused, Ulysses launches out into the self-assertion which has been remarked as being common to all{v.ii-60} the heroes of Homeric story. He challenges the whole circle of bystanders to engage with him in whatsoever189 contest they will—
He will not, indeed, compare himself with some of the heroes of old, such as were Hercules and Eurytus;
“But of all else I swear that I stand first,
Such men as now upon the earth eat bread.”
None of the Ph?acians will accept the challenge. The king commends the spirit in which the stranger has repelled191 the insult of Euryalus, and with the gay good-humour which marks the Ph?acian character, confesses that in feats of strength his nation can claim no real excellence192, but only in speed of foot and in seamanship; or, above all, in the dance—in this no men can surpass them. His guest shall see and judge. Nine grave elders, by the king’s command (and here the satire is evident, even if we have lost the application) stand forth as masters of the ceremonies, and clear the lists for dancing. A band of selected youths perform an elaborate ballet, while the minstrel Demodocus sings to his harp a sportive lay, not over-delicate, of the stolen loves of Mars and Venus, and their capture in the cunning net of Vulcan. If it must be granted that this song forms a strong exception to the purity of Homer’s muse, it has also been fairly pleaded for him, that it is introduced as characteristic of an unwarlike nation and an effeminate society. But even in his lightest mood the poet has no sort of{v.ii-61} sympathy with a wife’s unfaithfulness. He takes his gods and goddesses as he found them in the popular creed193; bad enough, and far worse than the mortal men and women of his own poetical194 creation. But his own morals are far higher than those of Olympus. Even in this questionable195 ballad196 of the Ph?acian minstrel the point of the jest is in strong contrast to some of the comedies of a more modern school. It is on the detected culprits, not on the injured husband, that the ridicule197 of gods and men is mercilessly showered. When the ballet is concluded, two of the king’s sons, at their father’s bidding, perform a sort of minuet, in which ball-play is introduced. Ulysses expresses his admiration of the whole performance in words which sound like solemn irony:—
“O king, pre-eminent in word and deed,
Of late thy lips the threatening vaunt did make
That these thy dancers all the world exceed—
Now have I seen fulfilment of thy rede;
Yea, wonder holds me while I gaze thereon.”
So all passes off with pleasant compliments between hosts and guest. The king and his twelve peers present Ulysses with costly198 gifts, and Euryalus, in pledge of regret for his late unseemly speech, offers his own silver-hilted sword with its ivory scabbard.
From the games they pass again to the banquet; and one more glimpse is given us of the gentle Nausicaa, perfectly199 in keeping with the maiden guilelessness of her character. Ulysses—still radiant with the more than human beauty which the goddess has bestowed200 upon him—moves to his place in the hall.{v.ii-62}
Passed to the drinkers; and Nausicaa there
Stood, moulded by the gods exceeding fair.
She on the roof-tree pillar leaning, heard
Deep in her breast admiring wonder stirred,
And in a low sweet voice she spake this winged word.
“‘Hail, stranger-guest! when fatherland and wife
Thou shalt revisit, then remember me,
Since to me first thou owest the price of life.’
‘Child of a generous sire, if willed it be
That I my home and dear return yet see,
It is not easy to discover, with any certainty, what the Greek poet meant us to understand as to the feelings of Nausicaa towards Ulysses. It has been said that Love, in the complex modern acceptation of the term, is unknown to the Greek poets. Nor is there, in this passage, any approach to the expression of such a feeling on the part of the princess. Yet, had the scene found place in the work of a modern poet, we should have understood at once that, without any kind of reproach to the perfect maidenly delicacy207 of Nausicaa, it was meant to show us the dawn of a tender sentiment—nothing more—towards the stranger-guest whom the gods had endowed with such majestic graces of person, who stood so high above all rivals in feats of strength and skill, whose misfortunes surrounded him with a double interest, and, above all, in whom she felt a kind of personal property as his deliverer.{v.ii-63}
The Greek historian Plutarch chivalrously208 defends the young princess from the charge of forwardness, which ungallant critics brought against her as early as his day. It was no marvel209, he says, that she knew and valued a hero when she saw him, and preferred him to the carpet-knights of her own country, who were good only at the dance and the banquet. But with her it was, after all, a sentiment, and no more; but which might have ripened210 into love, under other circumstances, had the hero of her maiden fancy been as free to choose as she was.
So vanishes from the page one of the sweetest creations of Greek fiction—the more charming to us, as coming nearest, perhaps, of all to the modern type of feeling. The farewell to Nausicaa is briefly211 said; and Ulysses, sitting by King Alcinous at the banquet, pays a high compliment to the blind minstrel, and gives him a new theme for song. Since he knows so well the story of the great Siege, let him now take his lyre, and sing to them of the wondrous Horse. Demodocus obeys. He sings how the Greeks, hopeless of taking Troy by force of arms, had recourse at last to stratagem212: how they constructed a huge framework in the shape of a horse, ostensibly an offering to the gods, and then set fire to their sea-camp, and sailed away—for home, to all appearance—leaving an armed company hidden in the womb of the wooden monster; how the Trojans, after much doubt, dragged it inside their walls, and how, in the night-time, the Greeks issued from their strange ambush213, and spread fire and sword through the devoted city. And all along Ulysses{v.ii-64} is the hero of the lay. He is the leader of the venturous band who thus carried their lives in their hands into the midst of their enemies: he it is who, “like unto Mars,” storms the house of Deiphobus, who had taken Helen to wife after the death of his brother Paris, and restores the Spartan214 princess to her rightful lord. Tears of emotion again fill the listener’s eyes; and again the courteous king bids the minstrel cease, when he sees that some chord of mournful remembrance is struck in the heart of his guest. But he now implores215 him, as he has good right to do, to tell them who he really is. Why does the Tale of Troy so move him? The answer, replies the stranger, will be a long tale, and sad to tell; but his very name, he proudly says, is a history—“I am Ulysses, son of Laertes!”
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mar
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| vt.破坏，毁坏，弄糟 | |
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odyssey
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| n.长途冒险旅行；一连串的冒险 | |
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dignified
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| a.可敬的，高贵的 | |
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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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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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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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mentor
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| n.指导者，良师益友；v.指导 | |
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vent
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| n.通风口，排放口；开衩；vt.表达，发泄 | |
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downwards
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| adj./adv.向下的（地），下行的（地） | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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forth
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| adv.向前；向外，往外 | |
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12
iniquity
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| n.邪恶；不公正 | |
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13
toils
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| 网 | |
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14
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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15
ply
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| v.(搬运工等)等候顾客，弯曲 | |
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16
isle
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| n.小岛，岛 | |
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17
oblique
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| adj.斜的，倾斜的，无诚意的，不坦率的 | |
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18
subsided
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| v.（土地）下陷（因在地下采矿）( subside的过去式和过去分词 )；减弱；下降至较低或正常水平；一下子坐在椅子等上 | |
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19
cavern
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| n.洞穴，大山洞 | |
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20
cedar
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| n.雪松，香柏(木) | |
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21
sylvan
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| adj.森林的 | |
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22
cypresses
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| n.柏属植物，柏树( cypress的名词复数 ) | |
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23
owl
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| n.猫头鹰，枭 | |
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24
hawk
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| n.鹰，骗子；鹰派成员 | |
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25
sprightly
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| adj.愉快的，活泼的 | |
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26
mingling
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| adj.混合的 | |
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27
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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28
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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29
envious
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| adj.嫉妒的，羡慕的 | |
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30
tyrant
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|
| n.暴君，专制的君主，残暴的人 | |
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31
grudge
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| n.不满，怨恨，妒嫉；vt.勉强给，不情愿做 | |
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32
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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33
pensively
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| adv.沉思地，焦虑地 | |
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34
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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35
longing
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|
| n.（for）渴望 | |
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36
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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37
captivity
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|
| n.囚禁；被俘；束缚 | |
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38
heartily
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|
| adv.衷心地，诚恳地，十分，很 | |
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39
reciprocate
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|
| v.往复运动；互换；回报，酬答 | |
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40
bard
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| n.吟游诗人 | |
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41
stainless
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|
| adj.无瑕疵的，不锈的 | |
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42
knight
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|
| n.骑士，武士；爵士 | |
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43
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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44
mortified
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|
| v.使受辱( mortify的过去式和过去分词 )；伤害（人的感情）；克制；抑制（肉体、情感等） | |
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45
reluctance
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|
| n.厌恶，讨厌，勉强，不情愿 | |
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46
touching
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|
| adj.动人的，使人感伤的 | |
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47
immortality
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| n.不死，不朽 | |
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48
mansion
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| n.大厦，大楼；宅第 | |
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49
strife
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| n.争吵，冲突，倾轧，竞争 | |
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50
avow
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| v.承认，公开宣称 | |
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51
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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52
doom
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|
| n.厄运，劫数；v.注定，命定 | |
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53
vessel
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|
| n.船舶；容器，器皿；管，导管，血管 | |
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54
component
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|
| n.组成部分，成分，元件；adj.组成的，合成的 | |
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55
aged
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|
| adj.年老的，陈年的 | |
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56
reticent
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|
| adj.沉默寡言的；言不如意的 | |
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57
wrath
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|
| n.愤怒，愤慨，暴怒 | |
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58
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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59
plentifully
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|
| adv. 许多地，丰饶地 | |
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60
wrecks
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| n.沉船( wreck的名词复数 )；（事故中）遭严重毁坏的汽车（或飞机等）；（身体或精神上）受到严重损伤的人；状况非常糟糕的车辆（或建筑物等）v.毁坏[毁灭]某物( wreck的第三人称单数 )；使（船舶）失事，使遇难，使下沉 | |
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61
bruises
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| n.瘀伤，伤痕，擦伤( bruise的名词复数 ) | |
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62
utterly
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|
| adv.完全地，绝对地 | |
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63
exhausted
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|
| adj.极其疲惫的，精疲力尽的 | |
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64
satire
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|
| n.讽刺，讽刺文学，讽刺作品 | |
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65
controverted
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|
| v.争论，反驳，否定( controvert的过去式和过去分词 ) | |
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66
attachment
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|
| n.附属物，附件；依恋；依附 | |
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67
fictitious
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|
| adj.虚构的，假设的；空头的 | |
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68
interpretation
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|
| n.解释，说明，描述；艺术处理 | |
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69
nautical
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|
| adj.海上的，航海的，船员的 | |
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70
prow
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|
| n.(飞机)机头，船头 | |
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71
simplicity
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|
| n.简单，简易；朴素；直率，单纯 | |
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72
narratives
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|
| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
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73
scriptures
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|
| 经文，圣典( scripture的名词复数 )； 经典 | |
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74
prosaic
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|
| adj.单调的，无趣的 | |
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75
outfit
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|
| n.（为特殊用途的）全套装备，全套服装 | |
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76
linen
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|
| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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77
yoke
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|
| n.轭；支配；v.给...上轭，连接，使成配偶 | |
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78
mules
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|
| 骡( mule的名词复数 )； 拖鞋； 顽固的人； 越境运毒者 | |
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79
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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80
leisurely
|
|
| adj.悠闲的；从容的，慢慢的 | |
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81
jovially
|
|
| adv.愉快地，高兴地 | |
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82
feat
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|
| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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83
plunge
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|
| v.跳入，(使)投入，(使)陷入；猛冲 | |
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84
enjoyment
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|
| n.乐趣；享有；享用 | |
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85
viands
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|
| n.食品，食物 | |
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86
disporting
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|
| v.嬉戏，玩乐，自娱( disport的现在分词 ) | |
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87
awakens
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|
| v.（使）醒( awaken的第三人称单数 )；（使）觉醒；弄醒；（使）意识到 | |
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88
sleeper
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|
| n.睡眠者，卧车，卧铺 | |
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89
bevy
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| n.一群 | |
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90
joyous
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|
| adj.充满快乐的；令人高兴的 | |
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91
primitive
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|
| adj.原始的；简单的；n.原(始)人，原始事物 | |
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92
talisman
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| n.避邪物，护身符 | |
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93
modesty
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|
| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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94
attire
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|
| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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95
suppliant
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|
| adj.哀恳的；n.恳求者，哀求者 | |
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96
remains
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|
| n.剩余物，残留物；遗体，遗迹 | |
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97
invokes
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|
| v.援引( invoke的第三人称单数 )；行使（权利等）；祈求救助；恳求 | |
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98
blessing
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|
| n.祈神赐福；祷告；祝福，祝愿 | |
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99
miserable
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|
| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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100
fugitive
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|
| adj.逃亡的，易逝的；n.逃犯，逃亡者 | |
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101
rebukes
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| 责难或指责( rebuke的第三人称单数 ) | |
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102
rebuke
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|
| v.指责，非难，斥责 [反]praise | |
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103
folly
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|
| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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104
mien
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| n.风采；态度 | |
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105
majestic
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|
| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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106
guardian
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|
| n.监护人；守卫者，保护者 | |
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107
bestow
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| v.把…赠与，把…授予；花费 | |
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108
admiration
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|
| n.钦佩，赞美，羡慕 | |
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109
maidenly
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|
| adj. 像处女的, 谨慎的, 稳静的 | |
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110
inevitable
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| adj.不可避免的，必然发生的 | |
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111
consort
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| v.相伴；结交 | |
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112
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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113
grove
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| n.林子，小树林，园林 | |
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114
pitcher
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| n.(有嘴和柄的)大水罐；(棒球)投手 | |
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115
descended
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| a.为...后裔的，出身于...的 | |
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116
Neptune
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| n.海王星 | |
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117
havens
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| n.港口，安全地方( haven的名词复数 )v.港口，安全地方( haven的第三人称单数 ) | |
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118
mariners
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| 海员，水手（mariner的复数形式） | |
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119
galleys
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| n.平底大船，战舰( galley的名词复数 )；（船上或航空器上的）厨房 | |
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120
cleaving
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| v.劈开，剁开，割开( cleave的现在分词 ) | |
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121
scathe
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| v.损伤；n.伤害 | |
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122
overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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123
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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124
miraculous
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|
| adj.像奇迹一样的，不可思议的 | |
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125
fable
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| n.寓言；童话；神话 | |
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126
oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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127
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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128
oar
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|
| n.桨，橹，划手；v.划行 | |
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129
canvass
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|
| v.招徕顾客，兜售；游说；详细检查，讨论 | |
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130
accomplishments
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| n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就 | |
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131
embroidery
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|
| n.绣花，刺绣；绣制品 | |
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132
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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133
luxurious
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| adj.精美而昂贵的；豪华的 | |
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134
orchards
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| （通常指围起来的）果园( orchard的名词复数 ) | |
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135
enchanted
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|
| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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136
luscious
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|
| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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137
ripen
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|
| vt.使成熟；vi.成熟 | |
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138
fig
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|
| n.无花果(树) | |
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139
zephyr
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| n.和风，微风 | |
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140
lure
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|
| n.吸引人的东西，诱惑物；vt.引诱，吸引 | |
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141
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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142
zoned
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| adj.划成区域的，束带的v.（飞机、汽车等）急速移动( zoom的现在分词 )；（价格、费用等）急升，猛涨 | |
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143
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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144
brazen
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| adj.厚脸皮的，无耻的，坚硬的 | |
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145
burnished
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| adj.抛光的，光亮的v.擦亮（金属等），磨光( burnish的过去式和过去分词 )；被擦亮，磨光 | |
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146
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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147
lustrous
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| adj.有光泽的；光辉的 | |
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148
flare
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| v.闪耀，闪烁；n.潮红；突发 | |
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149
looms
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| n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近 | |
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150
trickling
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| n.油画底色含油太多而成泡沫状突起v.滴( trickle的现在分词 )；淌；使)慢慢走；缓慢移动 | |
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151
yarn
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| n.纱，纱线，纺线；奇闻漫谈，旅行轶事 | |
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152
satiric
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| adj.讽刺的，挖苦的 | |
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153
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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154
astonishment
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| n.惊奇，惊异 | |
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155
suppliants
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| n.恳求者，哀求者( suppliant的名词复数 ) | |
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156
cede
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| v.割让，放弃 | |
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157
boon
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| n.恩赐，恩物，恩惠 | |
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158
condescend
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| v.俯就，屈尊；堕落，丢丑 | |
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159
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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160
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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161
constrains
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| 强迫( constrain的第三人称单数 )； 强使； 限制； 约束 | |
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162
royalty
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| n.皇家，皇族 | |
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163
confession
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| n.自白，供认，承认 | |
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164
embarrassment
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| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
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165
diplomacy
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| n.外交；外交手腕，交际手腕 | |
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166
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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167
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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168
potentate
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| n.统治者；君主 | |
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169
thrifty
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| adj.节俭的；兴旺的；健壮的 | |
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170
housekeeper
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| n.管理家务的主妇，女管家 | |
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171
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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172
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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173
harp
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| n.竖琴；天琴座 | |
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174
herald
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| vt.预示...的来临，预告，宣布，欢迎 | |
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175
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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176
courteous
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| adj.彬彬有礼的，客气的 | |
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177
allude
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| v.提及，暗指 | |
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178
taunt
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| n.辱骂，嘲弄；v.嘲弄 | |
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179
versed
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| adj. 精通，熟练 | |
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180
athletics
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| n.运动，体育，田径运动 | |
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181
cargoes
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| n.（船或飞机装载的）货物( cargo的名词复数 )；大量，重负 | |
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182
eloquence
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| n.雄辩；口才，修辞 | |
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183
dart
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| v.猛冲，投掷；n.飞镖，猛冲 | |
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184
blemish
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| v.损害；玷污；瑕疵，缺点 | |
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185
mighty
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| adj.强有力的；巨大的 | |
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186
deigning
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| v.屈尊，俯就( deign的现在分词 ) | |
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187
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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188
crouch
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| v.蹲伏，蜷缩，低头弯腰；n.蹲伏 | |
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189
whatsoever
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| adv.（用于否定句中以加强语气）任何；pron.无论什么 | |
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190
feats
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| 功绩，伟业，技艺( feat的名词复数 ) | |
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191
repelled
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| v.击退( repel的过去式和过去分词 )；使厌恶；排斥；推开 | |
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192
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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193
creed
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| n.信条；信念，纲领 | |
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194
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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195
questionable
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| adj.可疑的，有问题的 | |
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196
ballad
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| n.歌谣，民谣，流行爱情歌曲 | |
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197
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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198
costly
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| adj.昂贵的，价值高的，豪华的 | |
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199
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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200
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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201
cleansed
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| 弄干净，清洗( cleanse的过去式和过去分词 ) | |
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202
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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203
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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204
dominion
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| n.统治，管辖，支配权；领土，版图 | |
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205
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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206
saviour
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| n.拯救者，救星 | |
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207
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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208
chivalrously
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| adv.象骑士一样地 | |
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209
marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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210
ripened
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| v.成熟，使熟( ripen的过去式和过去分词 ) | |
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211
briefly
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| adv.简单地，简短地 | |
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212
stratagem
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| n.诡计，计谋 | |
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213
ambush
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| n.埋伏(地点)；伏兵；v.埋伏；伏击 | |
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214
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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215
implores
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| 恳求或乞求（某人）( implore的第三人称单数 ) | |
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