The strains of a waltz float in through the ball-room door, and to that slow, soft music there enter, in parallel processions, the two families which are respectively Mr. Aston J. Tyrrell and Miss Topsy Garrick.
The doyen of the Tyrrell family is a young and perhaps too cultured literary man with rather long, dark brown hair, a face well cut and sensitive, if a trifle weak about the lower jaw14, and a voice whose exquisite15 modulations could only be the product of education at one of the two Great Universities. We will call him plain Aston. Miss Topsy, the head of the Garrick family, is a young woman of not quite twenty, with sleek16, yellow hair hanging, like a page’s, short and thick about her ears; boyish, too, in her slenderness and length of leg—boyish, but feminine and attractive to the last degree. Miss Topsy paints charmingly, sings in a small, pure voice that twists the heart and makes the bowels17 yearn18 in the hearing of it, is well educated, and has read, or at [Pg 213]least heard of, most of the best books in three languages, knows something, too, of economics and the doctrines19 of Freud.
They enter arm in arm, fresh from the dance, trailing behind them with their disengaged hands two absurd ventriloquist’s dummies20 of themselves. They sit down on a bench placed in the middle of the stage under a kind of arbour festooned with fabulous21 flowers. The other members of the two families lurk22 in the tropical twilight of the background.
Aston advances his dummy23 and makes it speak, moving its mouth and limbs appropriately by means of the secret levers which his hand controls.
ASTON’S DUMMY.
What a perfect floor it is to-night!
TOPSY’S DUMMY.
Yes, it’s like ice, isn’t it? And such a good band.
ASTON’S DUMMY.
Oh yes, a very good band.
[Pg 214]
TOPSY’S DUMMY.
They play at dinner-time at the Necropole, you know.
ASTON’S DUMMY.
Really! (A long, uncomfortable silence.)
(From under a lofty twangum tree emerges the figure of CAIN WASHINGTON TYRRELL, ASTON’S negro brother—for the TYRRELLS, I regret to say, have a lick of the tar-brush in them and CAIN is a Mendelian throwback to the pure Jamaican type. CAIN is stout24 and his black face shines with grease. The whites of his eyes are like enamel25, his smile is chryselephantine. He is dressed in faultless evening dress and a ribbon of seals tinkles26 on his stomach. He walks with legs wide apart, the upper part of his body thrown back and his belly27 projecting, as though he were supporting the weight of an Aristophanic actor’s costume. He struts28 up and down in front of the couple on the seat, grinning and slapping himself on the waistcoat.)
[Pg 215]
CAIN.
What hair, nyum nyum! and the nape of her neck; and her body—how slender! and what lovely movements, nyum nyum! (Approaching ASTON and speaking into his ear.) Eh? eh? eh?
ASTON.
Go away, you pig. Go away. (He holds up his dummy as a shield: CAIN retires discomfited29.)
ASTON’S DUMMY.
Have you read any amusing novels lately?
TOPSY.
(Speaking over the head of her dummy.) No; I never read novels. They are mostly so frightful30, aren’t they?
[Pg 216]
ASTON.
(Enthusiastically.) How splendid! Neither do I. I only write them sometimes, that’s all. (They abandon their dummies, which fall limply into one another’s arms and collapse31 on to the floor with an expiring sigh.)
TOPSY.
You write them? I didn’t know. . . .
ASTON.
Oh, I’d very much rather you didn’t know. I shouldn’t like you ever to read one of them. They’re all awful: still, they keep the pot boiling, you know. But tell me, what do you read?
TOPSY.
Mostly history, and philosophy, and a little criticism and psychology32, and lots of poetry.
ASTON.
My dear young lady! how wonderful, how altogether unexpectedly splendid. [Pg 217](CAIN emerges with the third brother, SIR JASPER, who is a paler, thinner, more sinister33 and aristocratic ASTON.)
CAIN.
Nyum nyum nyum. . . .
SIR JASPER.
What a perfect sentence that was of yours, Aston: quite Henry Jamesian! “My dear young lady”—as though you were forty years her senior; and the rare old-worldliness of that “altogether unexpectedly splendid”! Admirable. I don’t remember your ever employing quite exactly this opening gambit before: but of course there were things very like it. (To CAIN.) What a nasty spectacle you are, Cain, gnashing your teeth like that!
[Pg 218]
CAIN.
Nyum nyum nyum.
(ASTON and TOPSY are enthusiastically talking about books: the two brothers, finding themselves quite unnoticed, retire into the shade of their twangum tree. BELLE34 GARRICK has been hovering35 behind TOPSY for some time past. She is more obviously pretty than her sister, full-bosomed and with a loose, red, laughing mouth. Unable to attract TOPSY’S attention, she turns round and calls, “HENRIKA.” A pale face with wide, surprised eyes peeps round the trunk, hairy like a mammoth’s leg, of a kadapoo tree with magenta36 leaves and flame-coloured blossoms. This is HENRIKA, TOPSY’S youngest sister. She is dressed in a little white muslin frock set off with blue ribbons.)
HENRIKA.
(Tiptoes forward.) Here I am; what is it? I was rather frightened of that man. But he really seems quite nice and tame, doesn’t he?
[Pg 219]
BELLE.
Of course he is! What a goose you are to hide like that!
HENRIKA.
He seems a nice, quiet, gentle man; and so clever.
BELLE.
What good hands he has, hasn’t he? (Approaching TOPSY and whispering in her ear.) Your hair’s going into your eyes, my dear. Toss it back in that pretty way you have. (TOPSY tosses her head; the soft, golden bell of hair quivers elastically37 about her ears.) That’s right!
CAIN.
(Bounding into the air and landing with feet apart, knees bent38, and a hand on either knee.) Oh, nyum nyum!
ASTON.
Oh, the beauty of that movement! It simply makes one catch one’s breath [Pg 220]with surprised pleasure, as the gesture of a perfect dancer might.
SIR JASPER.
ASTON.
(To TOPSY.) And do you ever try writing yourself? I’m sure you ought to.
SIR JASPER.
Yes, yes, we’re sure you ought to. Eh, Cain?
TOPSY.
Well, I have written a little poetry—or rather a few bad verses—at one time or another.
ASTON.
Really now! What about, may I ask?
[Pg 221]
TOPSY.
BELLE.
(Leaning over TOPSY’S shoulder and addressing ASTON directly.) Mostly about Love. (She dwells long and voluptuously41 on the last word, pronouncing it “lovv” rather than “luvv.”)
CAIN.
Oh, dat’s good, dat’s good; dat’s dam good. (In moments of emotion CAIN’S manners and language savour more obviously than usual of the Old Plantation42.) Did yoh see her face den10?
BELLE.
(Repeats, slowly and solemnly.) Mostly about Love.
HENRIKA.
Oh, oh. (She covers her face with her hands.) How could you? It makes me tingle43 all over. (She runs behind the kadapoo tree again.)
[Pg 222]
ASTON.
(Very seriously and intelligently.) Really. That’s very interesting. I wish you’d let me see what you’ve done some time.
SIR JASPER.
We always like to see these things, don’t we, Aston? Do you remember Mrs. Towler? How pretty she was! And the way we criticized her literary productions. . . .
ASTON.
Mrs. Towler. . . . (He shudders44 as though he had touched something soft and filthy45.) Oh, don’t, Jasper, don’t!
SIR JASPER.
Dear Mrs. Towler! We were very nice about her poems, weren’t we? Do you remember the one that began:
“My Love is like a silvern flower-de-luce
God made my lovely lily not for use,
[Pg 223]
Even Cain, I believe, saw the joke of that.
ASTON.
Mrs. Towler—oh, my God! But this is quite different: this girl really interests me.
SIR JASPER.
Oh yes, I know, I know. She interests you too, Cain, doesn’t she?
CAIN.
(Prances two or three steps of a cake-walk and sings.) Oh, ma honey, oh, ma honey.
ASTON.
But, I tell you, this is quite different.
SIR JASPER.
Of course it is. Any fool could see that it was. I’ve admitted it already.
[Pg 224]
ASTON.
(To TOPSY.) You will show them me, won’t you? I should so much like to see them.
TOPSY.
(Covered with confusion.) No, I really couldn’t. You’re a professional, you see.
HENRIKA.
(From behind the kadapoo tree.) No, you mustn’t show them to him. They’re really mine, you know, a great many of them.
BELLE.
Nonsense! (She stoops down and moves TOPSY’S foot in such a way that a very well-shaped, white-stockinged leg is visible some way up the calf48. Then, to TOPSY.) Pull your skirt down, my dear. You’re quite indecent.
CAIN.
(Putting up his monocle.) Oh, nyum nyum, ma honey! Come wid me to Dixie Land. . . .
[Pg 225]
SIR JASPER.
H’m, a little conscious, don’t you think?
ASTON.
But even professionals are human, my dear young lady. And perhaps I might be able to give you some help with your writings.
TOPSY.
HENRIKA.
Oh, don’t let him see them. I don’t want him to. Don’t let him.
ASTON.
(With heavy charm.) It always interests me so much when I hear of the young—and I trust you won’t be offended if I include you in their number—when I hear of the young taking to writing. It is one of the most important duties that we of the older generation can perform—to help and encourage the young with their [Pg 226]work. It’s a great service to the cause of Art.
SIR JASPER.
That was what I was always saying to Mrs. Towler, if I remember rightly.
TOPSY.
I can’t tell you, Mr. Tyrrell, how delightful50 it is to have one’s work taken seriously. I am so grateful to you. May I send you my little efforts, then?
CAIN.
(Executes a step dance to the furious clicking of a pair of bones.)
SIR JASPER.
I congratulate you, Aston. A most masterful bit of strategy.
BELLE.
I wonder what he’ll do next. Isn’t it exciting? Topsy, toss your head again. That’s right. Oh, I wish something would happen!
[Pg 227]
HENRIKA.
What have you done? Oh, Topsy, you really mustn’t send him my poems.
BELLE.
You said he was such a nice man just now.
HENRIKA.
Oh yes, he’s nice, I know. But then he’s a man, you must admit that. I don’t want him to see them.
TOPSY.
(Firmly.) You’re being merely foolish, Henrika. Mr. Tyrrell, a very distinguished51 literary man, has been kind enough to take an interest in my work. His criticism will be the greatest help to me.
BELLE.
Of course it will, and he has such charming eyes. (A pause. The music, [Pg 228]which has, all this while, been faintly heard through the ball-room door, becomes more audible. They are playing a rich, creamy waltz.) What delicious music! Henrika, come and have a dance. (She seizes HENRIKA round the waist and begins to waltz. HENRIKA is reluctant at first, but little by little the rhythm of the dance takes possession of her till, with her half-closed eyes and languorous52, trance-like movements, she might figure as the visible living symbol of the waltz. ASTON and TOPSY lean back in their seats, marking the time with a languid beating of the hand. CAIN sways and swoons and revolves53 in his own peculiar54 and inimitable version of the dance.)
SIR JASPER.
(Who has been watching the whole scene with amusement.) What a pretty spectacle! “Music hath charms. . . .”
HENRIKA.
(In an almost extinct voice.) Oh, Belle, Belle, I could go on dancing like this for ever. I feel quite intoxicated55 with it.
[Pg 229]
TOPSY.
ASTON.
Isn’t it? It’s called “Dreams of Desire,” I believe.
BELLE.
What a pretty name!
TOPSY.
These are wonderful flowers here.
ASTON.
Let’s go and have a look at them.
(They get up and walk round the conservatory. The flowers light up as they pass; in the midst of each is a small electric globe.)
ASTON.
This purple one with eyes is the assaf?tida flower. Don’t put your nose too near; it has a smell like burning flesh. [Pg 230]This is a Cypripedium from Sumatra. It is the only man-eating flower in the world. Notice its double set of teeth. (He puts a stick into the mouth of the flower, which instantly snaps to, like a steel trap.) Nasty, vicious brute57! These blossoms like purple sponges belong to the twangum tree; when you squeeze them they ooze58 blood. This is the Jonesia, the octopus59 of the floral world: each of its eight tentacles is armed with a sting capable of killing60 a horse. Now this is a most interesting and instructive flower—the patchouli bloom. It is perhaps the most striking example in nature of structural61 specialization brought about by Evolution. If only Darwin had lived to see the patchouli plant! You have heard of flowers specially62 adapting themselves to be fertilized63 by bees or butterflies or spiders and such-like? Well, this plant which grows in the forests of Guatemala can only be fertilized by English explorers. Observe the structure of the flower; at the base is a flat, projecting pan, containing the pistil; above it an overarching tube ending in a spout64. On either side a small crevice65 about three-quarters [Pg 231]of an inch in length may be discerned in the fleshy lobes66 of the calix. The English traveller seeing this plant is immediately struck by its resemblance to those penny-in-the-slot machines which provide scent68 for the public in the railway stations at home. Through sheer force of habit he takes a penny from his pocket and inserts it in one of the crevices69 or slots. Immediate67 result—a jet of highly scented70 liquid pollen71 is discharged from the spout upon the pistil lying below, and the plant is fertilized. Could anything be more miraculous72? And yet there are those who deny the existence of God. Poor fools!
TOPSY.
Wonderful! (Sniffing.) What a good scent.
ASTON.
The purest patchouli.
BELLE.
[Pg 232]
HENRIKA.
(Drowsily.) Delicious, ’licious. . . .
SIR JASPER.
I always like these rather canaille perfumes. Their effect is admirable.
ASTON.
This is the leopard-flower. Observe its spotted skin and its thorns like agate74 claws. This is the singing Alocusia—Alocusia Cantatrix—discovered by Humboldt during his second voyage to the Amazons. If you stroke its throat in the right place, it will begin to sing like a nightingale. Allow me. (He takes her by the wrist and guides her fingers towards the palpitating throat of a gigantic flower shaped like a gramophone trumpet75. The Alocusia bursts into song; it has a voice like Caruso’s.)
CAIN.
Oh, nyum nyum! What a hand! Oh, ma honey. (He runs a thick black finger along TOPSY’S arm.)
[Pg 233]
TOPSY.
What a remarkable76 flower!
BELLE.
I wonder whether he stroked my arm like that by accident or on purpose.
HENRIKA.
(Gives a little shiver.) He’s touching77 me, he’s touching me! But somehow I feel so sleepy I can’t move.
TOPSY.
(She moves on towards the next flower: BELLE does not allow her to disengage her hand at once.) What a curious smell this one has!
ASTON.
Be careful, be careful! That’s the chloroform plant.
[Pg 234]
TOPSY.
Oh, I feel quite dizzy and faint. That smell and the heat . . . (She almost falls: ASTON puts out his arm and holds her up.)
ASTON.
Poor child!
CAIN.
Poh chile, poh chile! (He hovers78 round her, his hands almost touching her, trembling with excitement: his white eyeballs roll horribly.)
ASTON.
I’ll open the door. The air will make you feel better. (He opens the conservatory door, still supporting TOPSY with his right arm. The wind is heard, fearfully whistling: a flurry of snow blows into the conservatory. The flowers utter piercing screams of rage and fear; their lights flicker79 wildly; several turn perfectly80 black and drop on to the floor writhing81 in agony. The floral octopus agitates82 its tentacles; the twangum blooms drip blood; all the leaves [Pg 235]of all the trees clap together with a dry, scaly83 sound.)
TOPSY.
(Faintly.) Thank you; that’s better.
ASTON.
(Closing the door.) Poor child! Come and sit down again; the chloroform flower is a real danger. (Much moved, he leads her back towards the seat.)
CAIN.
(Executes a war dance round the seated couple.) Poh chile, poh chile! Nyum nyum nyum.
SIR JASPER.
One perceives the well-known dangers of playing the Good Samaritan towards an afflicted84 member of the opposite sex. Pity has touched even our good Cain to tears.
[Pg 236]
BELLE.
Oh, I wonder what’s going to happen! It’s so exciting. I’m so glad Henrika’s gone to sleep.
TOPSY.
It was silly of me to go all faint like that.
ASTON.
I ought to have warned you in time of the chloroform flower.
BELLE.
But it’s such a lovely feeling now—like being in a very hot bath with lots of verbena bath-salts, and hardly able to move with limpness, but just ever so comfortable and happy.
ASTON.
How do you feel now? I’m afraid you’re looking very pale. Poor child!
[Pg 237]
CAIN.
Poh chile, poh chile! . . .
SIR JASPER.
I don’t know much about these things, but it seems to me, my dear Aston, that the moment has decidedly arrived.
ASTON.
I’m so sorry. You poor little thing . . . (He kisses her very gently on the forehead.)
BELLE.
A—a—h.
HENRIKA.
Oh! He kissed me: but he’s so kind and good, so kind and good. (She stirs and falls back again into her drowsy85 trance.)
CAIN.
Poh chile, poh chile! (He leans over ASTON’S shoulder and begins rudely kissing [Pg 238]TOPSY’S trance-calm, parted lips. TOPSY opens her eyes and sees the black, greasy86 face, the chryselephantine smile, the pink, thick lips, the goggling87 eyeballs of white enamel. She screams. HENRIKA springs up and screams too. TOPSY slips on to the floor, and CAIN and ASTON are left face to face with HENRIKA, pale as death and with wide-open, terrified eyes. She is trembling in every limb.)
ASTON.
(Gives CAIN a push that sends him sprawling88 backwards89, and falls on his knees before the pathetic figure of HENRIKA.) Oh, I’m so sorry, I’m so sorry. What a beast I am! I don’t know what I can have been thinking of to do such a thing.
SIR JASPER.
My dear boy, I’m afraid you and Cain knew only too well what you were thinking of. Only too well . . .
ASTON.
Will you forgive me? I can’t forgive myself.
[Pg 239]
HENRIKA.
Oh, you hurt me, you frightened me so much. I can’t bear it. (She cries.)
ASTON.
O God! O God! (The tears start into his eyes also. He takes HENRIKA’S hand and begins to kiss it.) I’m so sorry, I’m so sorry.
SIR JASPER.
If you’re not very careful, Aston, you’ll have Cain to deal with again. (CAIN has picked himself up and is creeping stealthily towards the couple in the centre of the conservatory.)
ASTON.
(Turning round.) Cain, you brute, go to hell! (CAIN slinks back.) Oh, will you forgive me for having been such a swine? What can I do?
[Pg 240]
TOPSY.
(Who has recovered her self-possession, rises to her feet and pushes HENRIKA into the background.) Thank you, it is really quite all right. I think it would be best to say no more about it, to forget what has happened.
ASTON.
Will you forgive me, then?
TOPSY.
Of course, of course. Please get up, Mr. Tyrrell.
ASTON.
(Climbing to his feet.) I can’t think how I ever came to be such a brute.
TOPSY.
(Coldly.) I thought we had agreed not to talk about this incident any further. (There is a silence.)
[Pg 241]
SIR JASPER.
Well, Aston? This has been rather fun.
BELLE.
I wish you hadn’t been quite so cold with him, Topsy. Poor man! He really is very sorry. One can see that.
HENRIKA.
But did you see that awful face? (She shudders and covers her eyes.)
ASTON.
(Picking up his dummy and manipulating it.) It is very hot in here, is it not? Shall we go back to the dancing-room?
TOPSY.
(Also takes up her dummy.) Yes, let us go back.
[Pg 242]
ASTON’S DUMMY.
Isn’t that “Roses in Picardy” that the band is playing?
TOPSY’S DUMMY.
I believe it is. What a very good band, don’t you think?
ASTON’S DUMMY.
Yes; it plays during dinner, you know, at the Necropole. (To JASPER.) Lord, what a fool I am! I’d quite forgotten; it was she who told me so as we came in.
TOPSY’S DUMMY.
At the Necropole? Really.
ASTON’S DUMMY.
A very good band and a very good floor.
TOPSY’S DUMMY.
Yes, it’s a perfect floor, isn’t it? Like glass. . . . (They go out, followed by [Pg 243]their respective families. BELLE supports HENRIKA, who is still very weak after her shock.)
BELLE.
How exciting it was, wasn’t it, Henrika?
HENRIKA.
Wasn’t it awful—too awful! Oh, that face. . . . (CAIN follows ASTON out in silence and dejection. SIR JASPER brings up the rear of the procession. His face wears its usual expression of slightly bored amusement. He lights a cigarette.)
SIR JASPER.
Charming evening, charming evening. . . . Now it’s over, I wonder whether it ever existed. (He goes out. The conservatory is left empty. The flowers flash their luminous90 pistils; the eyes of the assaf?tida blossoms solemnly wink91; leaves shake and sway and rustle92; several of the flowers [Pg 244]are heard to utter a low chuckle93, while the Alocusia, after whistling a few derisive94 notes, finally utters a loud, gross Oriental hiccough.)
点击
收听单词发音
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1
conservatory
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| n.温室，音乐学院；adj.保存性的，有保存力的 | |
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2
looming
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| n.上现蜃景（光通过低层大气发生异常折射形成的一种海市蜃楼）v.隐约出现，阴森地逼近( loom的现在分词 )；隐约出现，阴森地逼近 | |
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3
aquarium
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| n.水族馆，养鱼池，玻璃缸 | |
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4
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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5
punctuated
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| v.（在文字中）加标点符号，加标点( punctuate的过去式和过去分词 )；不时打断某事物 | |
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encumber
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| v.阻碍行动，妨碍，堆满 | |
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7
writhe
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| vt.挣扎，痛苦地扭曲；vi.扭曲，翻腾，受苦；n.翻腾，苦恼 | |
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serpentine
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| adj.蜿蜒的，弯曲的 | |
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9
orchids
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| n.兰花( orchid的名词复数 ) | |
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den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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12
tentacles
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| n.触手( tentacle的名词复数 )；触角；触须；触毛 | |
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spotted
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| adj.有斑点的，斑纹的，弄污了的 | |
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14
jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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15
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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sleek
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| adj.光滑的，井然有序的；v.使光滑，梳拢 | |
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bowels
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| n.肠，内脏，内部；肠( bowel的名词复数 )；内部，最深处 | |
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yearn
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| v.想念；怀念；渴望 | |
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doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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dummies
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| n.仿制品( dummy的名词复数 )；橡皮奶头；笨蛋；假传球 | |
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fabulous
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| adj.极好的；极为巨大的；寓言中的，传说中的 | |
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lurk
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| n.潜伏，潜行；v.潜藏，潜伏，埋伏 | |
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dummy
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| n.假的东西；(哄婴儿的)橡皮奶头 | |
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enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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tinkles
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| 丁当声，铃铃声( tinkle的名词复数 )； 一次电话 | |
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belly
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| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
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28
struts
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| （框架的）支杆( strut的名词复数 )； 支柱； 趾高气扬的步态； （尤指跳舞或表演时）卖弄 | |
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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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frightful
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| adj.可怕的；讨厌的 | |
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collapse
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| vi.累倒；昏倒；倒塌；塌陷 | |
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psychology
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| n.心理，心理学，心理状态 | |
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sinister
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| adj.不吉利的，凶恶的，左边的 | |
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belle
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| n.靓女 | |
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hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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magenta
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| n..紫红色（的染料）；adj.紫红色的 | |
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elastically
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| adv.有弹性地，伸缩自如地 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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purely
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| adv.纯粹地，完全地 | |
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nervously
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| adv.神情激动地，不安地 | |
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voluptuously
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| adv.风骚地，体态丰满地 | |
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plantation
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| n.种植园，大农场 | |
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tingle
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| vi.感到刺痛，感到激动；n.刺痛，激动 | |
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44
shudders
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| n.颤动，打颤，战栗( shudder的名词复数 )v.战栗( shudder的第三人称单数 )；发抖；（机器、车辆等）突然震动；颤动 | |
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filthy
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| adj.卑劣的；恶劣的，肮脏的 | |
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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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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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calf
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| n.小牛，犊，幼仔，小牛皮 | |
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awfully
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| adv.可怕地，非常地，极端地 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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languorous
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| adj.怠惰的，没精打采的 | |
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revolves
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| v.（使）旋转( revolve的第三人称单数 )；细想 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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intoxicated
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| 喝醉的，极其兴奋的 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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brute
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| n.野兽，兽性 | |
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58
ooze
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| n.软泥，渗出物；vi.渗出，泄漏；vt.慢慢渗出，流露 | |
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octopus
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| n.章鱼 | |
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killing
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| n.巨额利润；突然赚大钱，发大财 | |
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structural
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| adj.构造的，组织的，建筑（用）的 | |
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specially
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| adv.特定地；特殊地；明确地 | |
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Fertilized
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| v.施肥( fertilize的过去式和过去分词 ) | |
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spout
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| v.喷出，涌出；滔滔不绝地讲；n.喷管；水柱 | |
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crevice
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| n.(岩石、墙等)裂缝；缺口 | |
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lobes
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| n.耳垂( lobe的名词复数 )；（器官的）叶；肺叶；脑叶 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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scent
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| n.气味，香味，香水，线索，嗅觉；v.嗅，发觉 | |
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crevices
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| n.（尤指岩石的）裂缝，缺口( crevice的名词复数 ) | |
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scented
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| adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词) | |
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pollen
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| n.[植]花粉 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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agate
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| n.玛瑙 | |
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trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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touching
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| adj.动人的，使人感伤的 | |
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78
hovers
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| 鸟( hover的第三人称单数 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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flicker
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| vi./n.闪烁，摇曳，闪现 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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81
writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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agitates
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| 搅动( agitate的第三人称单数 )； 激怒； 使焦虑不安； （尤指为法律、社会状况的改变而）激烈争论 | |
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scaly
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| adj.鱼鳞状的；干燥粗糙的 | |
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afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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85
drowsy
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| adj.昏昏欲睡的，令人发困的 | |
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86
greasy
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| adj. 多脂的，油脂的 | |
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87
goggling
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| v.睁大眼睛瞪视， （惊讶的）转动眼珠( goggle的现在分词 ) | |
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sprawling
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| adj.蔓生的，不规则地伸展的v.伸开四肢坐[躺]( sprawl的现在分词 )；蔓延；杂乱无序地拓展；四肢伸展坐着（或躺着） | |
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backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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wink
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| n.眨眼，使眼色，瞬间；v.眨眼，使眼色，闪烁 | |
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rustle
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| v.沙沙作响；偷盗(牛、马等)；n.沙沙声声 | |
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93
chuckle
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| vi.／n.轻声笑，咯咯笑 | |
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94
derisive
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| adj.嘲弄的 | |
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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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