This New Year’s morning he caught sight of her in the porch of Saint-Exupère, as she stood lifting her petticoat with one hand so as to emphasise12 the pliant13 bending of the knee, while with the other she held a great prayer-book bound in red morocco. As he gazed, he offered up a mental hymn14 of thanksgiving to her for thus acting15 as a charming fairy-tale, a source of subtle pleasure to all the town. This idea he tried to throw into his smile as he passed.
Madame de Gromance’s notion of ideal womanhood was not quite the same as M. Bergeret’s.72 Hers was mingled16 with many society interests, and being of the world, she had a keen eye to worldly affairs. She was by no means ignorant of the reputation she enjoyed in the town, and hence, whenever she had no special desire to stand in anyone’s good graces, she treated him with cold hauteur17. Among such persons she classed M. Bergeret, whose smile seemed merely impertinent. She replied to it, therefore, by a supercilious18 look which made him blush. As he continued his walk, he said to himself penitently19:
“She has been a minx. But on my side, I have just made an ass1 of myself. I see that now; and now that it’s too late, I also see that my smile, which said ‘You are the joy of all the town,’ must have seemed an impertinence. This delicious being is no philosopher emancipated20 from common prejudices. Of course, she would not understand me: it would be impossible for her to see that I consider her beauty one of the prime forces of the world, and regard the use she makes of it only as a splendid sovereignty. I have been tactless and I am ashamed of it. Like all honourable23 people, I have sometimes transgressed24 a human law and yet have felt no repentance25 for it whatever. But certain other acts of my life, which were merely opposed to those subtle and lofty niceties that we call the conventions, have often filled me73 with sharp regret and even with a kind of remorse26. At this moment I want to hide myself for very shame. Henceforth I shall flee whenever I see the charming vision of this lady of the supple figure, crispum ... docta movere latus. I have, indeed, begun the year badly!”
“A happy New Year to you,” said a voice that emerged from a beard beneath a straw hat.
It belonged to M. Mazure, the archivist to the department. Ever since the Ministry27 had refused him academic honours on the ground that he had no claim, and since all classes in the town steadily28 refused to return Madame Mazure’s calls, because she had been both cook and mistress to the two officials previously29 in charge of the archives, M. Mazure had been seized with a horror of all government and become disgusted with society. He lived now the life of a gloomy misanthrope30.
This being a day when friendly or, at any rate, courteous31 visits are customary, he had put on a shabby knitted scarf, the bluish wool of which showed under his overcoat decorated with torn buttonholes: this he did to show his scorn of the human race. He had also donned a broken straw hat that his good wife, Marguerite, used to stick on a cherry tree in the garden when the cherries were ripe. He cast a pitying glance at M. Bergeret’s white tie.
74 “You have just bowed,” said he, “to a pretty hussy.”
It pained M. Bergeret to have to listen to such harsh and unphilosophic language. But as he could forgive a good deal to a nature warped33 by misanthropy, it was with gentleness that he set about reproving M. Mazure for the coarseness of his speech.
“My dear Mazure,” said he, “I expected from your wide experience a juster estimate of a lady who harms no one.”
M. Mazure answered drily that he objected to light women. From him it was by no means a sincere expression of opinion, for, strictly34 speaking, M. Mazure had no moral code. But he persisted in his bad temper.
“Come now,” said M. Bergeret with a smile, “I’ll tell you what is wrong with Madame de Gromance. She was born just a hundred and fifty years too late. In eighteenth-century society no man of brains would have disapproved35 of her.”
M. Mazure began to relent under this flattery. He was no sullen36 Puritan, but he respected the civil marriage, to which the statesmen of the Revolution had imparted fresh dignity. For all that, he did not deny the claim of the heart and the senses. He acknowledged that the mistress has her place in society as well as the wife.
75 “And, by the way, how is Madame Bergeret?” he inquired.
As the north wind whistled across the Place Saint-Exupère M. Bergeret watched M. Mazure’s nose getting redder and redder under the turned-down brim of the straw hat. His own feet and knees were frozen, and he suffered his thoughts to play round the idea of Madame de Gromance just to get a little warmth and joy into his veins37.
Paillot’s shop was not open, and the two professors, thus fireless and houseless, stood looking at each other in sad sympathy.
In the depths of his friendly heart M. Bergeret thought to himself:
“As soon as I leave this fellow with his limited, boorish38 ideas, I shall be once more alone in the desert waste of this hateful town. It will be wretched.”
And his feet remained glued to the sharp stones of the square, whilst the wind made his ears burn.
“I will walk back with you as far as your door,” said the archivist of the department.
Then they walked on side by side, bowing from time to time to fellow-citizens who hurried along in their Sunday clothes, carrying dolls and bags of sweets.
“This Countess de Gromance,” said the archivist,76 “was a Chapon. There was never but one Chapon heard of—her father, the most arrant39 skinflint in the province. But I have hunted up the record of the Gromance family, who belong to the lesser40 nobility of the place. There was a Demoiselle Cécile de Gromance who in 1815 gave birth to a child by a Cossack father. That will make a capital subject for an article in a local paper. I am writing a regular series of them.”
M. Mazure spoke41 the truth: every day, from sunrise to sunset, alone in his dusty garret under the roof of the prefecture, he eagerly ransacked42 the six hundred and thirty-seven thousand pigeonholes43 which were there huddled44 together. His gloomy hatred45 of his fellow-townsmen drove him to this research, merely in the hope that he would succeed in unearthing46 some scandalous facts about the most respected families in the neighbourhood. Amid piles of ancient parchments and papers stamped by the registrars47 of the last two centuries with the arms of six kings, two emperors and three republics he used to sit, laughing in the midst of the clouds of dust, as he stirred up the evidences, now half eaten up by mice and worms, of bygone crimes and sins long since expiated48.
As they followed the windings49 of the Tintelleries, it was with the tale of these cruel revelations that he continued to entertain M. Bergeret, a man who77 always cultivated an attitude of particular indulgence towards our forefathers’ faults, and who was inquisitive51 merely in the matter of their habits and customs. Mazure had, or so he averred52, discovered in the archives a certain Terremondre who, being a terrorist and president of a local club of Sans-Culottes in 1793, had changed his Christian53 names from Nicolas-Eustache to Marat-Peuplier. Instantly Mazure hastened to supply M. Jean de Terremondre, his colleague in the Arch?ological Society, who had gone over to the monarchical54 and clerical party, with full information touching55 this forgotten forbear of his, this Marat-Peuplier Terremondre, who had actually written a hymn to Saint Guillotine. He had also unearthed56 a great-great-uncle of the diocesan Vicar-General, a Sieur de Goulet, or rather, more precisely57, a Goulet-Trocard as he signed himself, who, as an army contractor58, was condemned59 to penal60 servitude in 1812 for having supplied glandered horseflesh instead of beef. The documents relating to this trial he had published in the most rabid journal in the department. M. Mazure promised still more terrible revelations about the Laprat family, revelations full of cases of incest; about the Courtrai family, with one of its members branded for high treason in 1814; about the Dellion family, whose wealth had been gained by gambling61 in wheat;78 about the Quatrebarbe family, whose ancestors, two stokers, a man and a woman, were hanged by lynch law on a tree on Duroc Hill at the time of the consulate62. In fact, as late as 1860, old people were still to be met who remembered having seen in their childhood the branches of an oak from which hung a human form with long, black, floating tresses that used to frighten the horses.
“She remained hanging there for three years,” exclaimed the archivist, “and she was own grandmother to Hyacinthe Quatrebarbe, the diocesan architect!”
“It’s very singular,” said M. Bergeret, “but, of course, one ought to keep that kind of thing to oneself.”
But Mazure paid no heed63. He longed to publish everything, to bruit64 everything abroad, in direct opposition65 to the opinion of M. Worms-Clavelin, the préfet, who wisely said: “One ought most carefully to avoid giving occasion to scandal and dissension.” He had threatened, in fact, to get the archivist dismissed, if he persisted in revealing old family secrets.
“Ah!” cried Mazure, chuckling66 in his tangled67 forest of beard, “it shall be known that in 1815 there was a little Cossack who came into the world through the exertions68 of a Demoiselle de Gromance.”
79 Only a moment since M. Bergeret had reached his own door, and he still held the handle of the bell.
“What does it matter, after all?” said he. “The poor lady did what she couldn’t help doing. She is dead, and the little Cossack also is dead. Let us leave their memory in peace, or if we recall it for a moment, let it be with a kindly69 thought. What zeal70 is it that so carries you away, dear Monsieur Mazure?”
“The zeal for justice.”
M. Bergeret pulled the bell.
“Good-bye, Mazure,” said he; “don’t be just, and do be merciful. I wish you a very happy New Year.”
M. Bergeret looked through the dirty window of the hall to see if there were any letter or paper in the box; he still took an interest in letters from a distance or in literary reviews. But to-day there were only visiting-cards, which suggested to him nothing more interesting than personalities71 as shadowy and pale as the cards themselves, and a bill from Mademoiselle Rose, the modiste of the Tintelleries. As his eyes fell on this, the thought suddenly occurred to him that Madame Bergeret was becoming extravagant72 and that the house was stuffy73. He could feel the weight of it on his shoulders, and as he stood in the hall, he seemed80 to be bearing on his back the whole flooring of his flat, in addition to the drawing-room piano and that terrible wardrobe that swallowed up his little store of money and yet was always empty. Thus weighted with domestic troubles, M. Bergeret grasped the iron handrail with its ample curves of florid metal-work, and began, with bent74 head and short breath, to climb the stone steps. These were now blackened, worn, cracked, patched, and ornamented75 with worn bricks and squalid paving-stones, but once, in the bygone days of their early youth, they had known the tread of fine gentlemen and pretty girls, hurrying to pay rival court to Pauquet, the revenue-tax farmer who had enriched himself by the spoils of a whole province. For it was in the mansion76 of Pauquet de Sainte-Croix that M. Bergeret lived, now fallen from its glory, despoiled77 of its splendour and degraded by a plaster top-storey which had taken the place of its graceful78 gable and majestic79 roof. Now the building was darkened by tall houses built all round it, on ground where once there were gardens with a thousand statues, ornamental80 waters and a park, and even on the main courtyard where Pauquet had erected81 an allegorical monument to his king, who was in the habit of making him disgorge his booty every five or six years, after which he was left for another term to stuff himself again with gold.
81 This courtyard, which was flanked by a splendid Tuscan portico82, had vanished in 1857 when the Rue50 des Tintelleries was widened. Now Pauquet de Sainte-Croix’s mansion was nothing but an ugly tenement-house badly neglected by two old caretakers, Gaubert by name, who despised M. Bergeret for his quietness and had no sense of his true generosity83, because it was that of a man of moderate means. Yet whatever M. Raynaud gave they regarded with respect, although he gave little when he was well able to give much: to the Gauberts, his hundred-sou piece was valuable because it came from great wealth.
M. Raynaud, who owned the land near the new railway station, lived on the first storey. Over the doorway84 of this there was a bas-relief which, as usual, caught M. Bergeret’s eye as he passed. It depicted85 old Silenus on his ass surrounded by a group of nymphs. This was all that remained of the interior decoration of the mansion which, belonging to the reign21 of Louis XV, had been built at a period when the French style was aiming at the classic, but, lucky in missing its aim, had acquired that note of chastity, stability and noble elegance86 which one associates more especially with Gabriel’s designs. As a matter of fact Pauquet de Sainte-Croix’s mansion had actually been designed by a pupil of that great architect. Since then it had been82 systematically87 disfigured. Although, for economy’s sake and just to save a little trouble and expense, they had not torn down the little bas-relief of Silenus and the nymphs, they had at any rate painted it, like the rest of the staircase, with a sham22 decoration of red granite88. The tradition of the place would have it that in this Silenus one might see a portrait of Pauquet himself, who was reputed to have been the ugliest man of his time, as well as the most popular with women. M. Bergeret, although no great connoisseur89 in art, made no such mistake as this, for in the grotesque90, yet sublime91, figure of the old god he recognised a type well known in the Renaissance92, and transmitted from the Greeks and Romans. Yet, whenever he saw this Silenus and his nymphs, his thoughts naturally turned to Pauquet, who had enjoyed all the good things of this world in the very house where he himself lived a life that was not only toilsome, but thankless.
“This financier,” he thought as he stood on the landing, “merely sucked money from a king who in turn sucked it from him. This made them quits. It is unwise to brag93 about the finances of the monarchy94, since, in the end, it was the financial deficit95 that brought about the downfall of the system. But this point is noteworthy, that the king was then the sole owner of all property, both real and83 personal, throughout the kingdom. Every house belonged to the king, and in proof of this, the subject who actually enjoyed the possession of it had to place the royal arms on the slab96 at the back of the hearth97. It was therefore as owner, and not in pursuance of his right of taxation98, that Louis XIV sent his subjects’ plate to the Mint in order to defray the expenses of his wars. He even had the treasures of the churches melted down, and I read lately that he carried off the votive-offerings of Notre-Dame de Liesse in Picardy, among which was found the breast that the Queen of Poland had deposited there in gratitude for her miraculous99 recovery. Everything then belonged to the king, that is to say, to the state. And yet neither the Socialists100, who to-day demand the nationalisation of private property, nor the owners who intend to hold fast their possessions, pay any heed to the fact that this nationalisation would be, in some respects, a return to the ancient custom. It gives one a philosophic32 pleasure to reflect that the Revolution really was for the benefit of those who had acquired private ownership of national possessions and that the Declaration of the Rights of Man has become the landlords’ charter.
“This Pauquet, who used to bring here the prettiest girls from the opera, was no knight101 of Saint-Louis. To-day he would be commander of84 the Legion of Honour and to him the finance ministers would come for their instructions. Then it was money he enjoyed; now it would be honours. For money has become honourable. It is, in fact, the only nobility we possess. We have destroyed all the others to put in their place the most oppressive, the most insolent102, and the most powerful of all orders of nobility.”
M. Bergeret’s reflections were distracted at this point by the sight of a group of men, women, and children coming out of M. Raynaud’s flat. He saw that it was a band of poor relations who had come to wish the old man a happy New Year: he fancied he could see them smelling about, under their new hats, for some profit to themselves. He went on up the stairs, for he lived on the third floor, which he delighted to call the third “room,” using the seventeenth-century phrase for it. And to explain this ancient term he loved to quote La Fontaine’s lines:
Where is the good of life to men of make like you,
To live and read for ever in a poor third room?
Chill winter always finds you in the dress of June,
[6] Que sert à vos pareils de lire incessamment?
Ils sont toujours logés à la troisième chambre,
Vêtus au mois de juin comme au mois de décembre,
85 Possibly the use he made of this quotation105 and of this kind of talk was unwise, for it exasperated106 Madame Bergeret, who was proud of living in a flat in the middle of the town, in a house that was inhabited by people of good position.
“Now for the third ‘room,’” said M. Bergeret to himself. Drawing out his watch, he saw that it was eleven o’clock. He had told them not to expect him before noon, as he had intended to spend an hour in Paillot’s shop. But there he had found the shutters107 up: holidays and Sundays were days of misery108 to him, simply because the bookseller’s was closed on those days. To-day he had a feeling of annoyance109, because he had not been able to pay his usual call on Paillot.
On reaching the third storey he turned his key noiselessly in the lock and entered the dining-room with his cautious footstep. It was a dismal110 room, concerning which M. Bergeret had formed no particular opinion, although in Madame Bergeret’s eyes it was quite artistic111, on account of the brass112 chandelier which hung above the table, the chairs and sideboard of carved oak with which it was furnished, the mahogany whatnot loaded with little cups, and especially on account of the painted china plates that adorned113 the wall. On entering this room from the dimly lit hall one had the door of the study on the left, and on the86 right the drawing-room door. Whenever M. Bergeret entered the flat he was in the habit of turning to the left into his study, where solitude114, books and slippers115 awaited him. This time, however, for no particular motive116 or reason, without thinking what he was doing, he went to the right. He turned the handle, opened the door, took one step and found himself in the drawing-room.
He then saw on the sofa two figures linked together in a violent attitude that suggested either endearment117 or strife118, but which was, as a matter of fact, very compromising. Madame Bergeret’s head was turned away and could not be seen, but her feelings were plainly expressed in the generous display of her red stockings. M. Roux’s face wore that strained, solemn, set, distracted look that cannot be mistaken, although one seldom sees it; it agreed with his disordered array. Then, the appearance of everything changed in less than a second, and now M. Bergeret saw before him two quite different persons from those whom he had surprised; two persons who were much embarrassed and whose looks were strange and even rather comical. He would have fancied himself mistaken had not the first picture engraved119 itself on his sight with a strength that was only equalled by its suddenness.
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1
ass
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| n.驴；傻瓜，蠢笨的人 | |
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skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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conceals
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| v.隐藏，隐瞒，遮住( conceal的第三人称单数 ) | |
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lissom
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| adj.柔软的，轻快而优雅的 | |
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supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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hips
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| abbr.high impact polystyrene 高冲击强度聚苯乙烯，耐冲性聚苯乙烯n.臀部( hip的名词复数 )；[建筑学]屋脊；臀围（尺寸）；臀部…的 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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martial
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| adj.战争的，军事的，尚武的，威武的 | |
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amorous
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| adj.多情的；有关爱情的 | |
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gratitude
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| adj.感激，感谢 | |
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emphasise
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| vt.加强...的语气，强调，着重 | |
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pliant
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| adj.顺从的；可弯曲的 | |
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hymn
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| n.赞美诗，圣歌，颂歌 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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hauteur
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| n.傲慢 | |
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supercilious
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| adj.目中无人的，高傲的；adv.高傲地；n.高傲 | |
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penitently
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emancipated
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| adj.被解放的，不受约束的v.解放某人（尤指摆脱政治、法律或社会的束缚）( emancipate的过去式和过去分词 ) | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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sham
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| n./adj.假冒(的)，虚伪(的) | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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transgressed
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| v.超越( transgress的过去式和过去分词 )；越过；违反；违背 | |
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repentance
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remorse
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| n.痛恨，悔恨，自责 | |
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ministry
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| n.(政府的)部；牧师 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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previously
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| adv.以前，先前（地） | |
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misanthrope
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| n.恨人类的人；厌世者 | |
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courteous
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| adj.彬彬有礼的，客气的 | |
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philosophic
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| adj.哲学的，贤明的 | |
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warped
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| adj.反常的；乖戾的；（变）弯曲的；变形的v.弄弯，变歪( warp的过去式和过去分词 )；使（行为等）不合情理，使乖戾， | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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disapproved
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| v.不赞成( disapprove的过去式和过去分词 ) | |
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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boorish
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| adj.粗野的，乡巴佬的 | |
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arrant
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| adj.极端的；最大的 | |
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lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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ransacked
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| v.彻底搜查( ransack的过去式和过去分词 )；抢劫，掠夺 | |
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pigeonholes
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| n.鸽舍出入口( pigeonhole的名词复数 )；小房间；文件架上的小间隔v.把…搁在分类架上( pigeonhole的第三人称单数 )；把…留在记忆中；缓办；把…隔成小格 | |
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44
huddled
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| 挤在一起（huddle的过去式与过去分词形式） | |
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45
hatred
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| n.憎恶，憎恨，仇恨 | |
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46
unearthing
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| 发掘或挖出某物( unearth的现在分词 )； 搜寻到某事物，发现并披露 | |
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registrars
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| n.主管注册者( registrar的名词复数 )；记录者；登记员；注册主任 | |
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48
expiated
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| v.为（所犯罪过）接受惩罚，赎（罪）( expiate的过去式和过去分词 ) | |
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windings
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| （道路、河流等）蜿蜒的，弯曲的( winding的名词复数 )； 缠绕( wind的现在分词 )； 卷绕； 转动（把手） | |
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50
rue
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| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
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51
inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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averred
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| v.断言( aver的过去式和过去分词 )；证实；证明…属实；作为事实提出 | |
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53
Christian
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| adj.基督教徒的；n.基督教徒 | |
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54
monarchical
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| adj. 国王的，帝王的，君主的，拥护君主制的 =monarchic | |
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55
touching
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| adj.动人的，使人感伤的 | |
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56
unearthed
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| 出土的（考古） | |
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57
precisely
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| adv.恰好，正好，精确地，细致地 | |
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58
contractor
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| n.订约人，承包人，收缩肌 | |
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59
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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60
penal
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| adj.刑罚的；刑法上的 | |
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61
gambling
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| n.赌博；投机 | |
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62
consulate
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| n.领事馆 | |
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63
heed
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| v.注意，留意；n.注意，留心 | |
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64
bruit
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| v.散布；n.（听诊时所听到的）杂音；吵闹 | |
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opposition
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| n.反对，敌对 | |
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66
chuckling
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| 轻声地笑( chuckle的现在分词 ) | |
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67
tangled
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| adj. 纠缠的，紊乱的 动词tangle的过去式和过去分词 | |
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exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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zeal
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| n.热心，热情，热忱 | |
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personalities
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| n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 ) | |
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72
extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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stuffy
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| adj.不透气的，闷热的 | |
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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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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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mansion
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| n.大厦，大楼；宅第 | |
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despoiled
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| v.掠夺，抢劫( despoil的过去式和过去分词 ) | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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81
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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82
portico
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| n.柱廊，门廊 | |
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83
generosity
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| n.大度，慷慨，慷慨的行为 | |
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doorway
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| n.门口，(喻)入门；门路，途径 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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systematically
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| adv.有系统地 | |
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88
granite
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| adj.花岗岩，花岗石 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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90
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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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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93
brag
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| v./n.吹牛，自夸；adj.第一流的 | |
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94
monarchy
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| n.君主，最高统治者；君主政体，君主国 | |
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95
deficit
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| n.亏空，亏损；赤字，逆差 | |
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96
slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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97
hearth
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| n.壁炉炉床，壁炉地面 | |
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98
taxation
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| n.征税，税收，税金 | |
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99
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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100
socialists
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| 社会主义者( socialist的名词复数 ) | |
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101
knight
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| n.骑士，武士；爵士 | |
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102
insolent
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| adj.傲慢的，无理的 | |
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103
lackey
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| n.侍从；跟班 | |
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104
tout
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| v.推销，招徕；兜售；吹捧，劝诱 | |
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105
quotation
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| n.引文，引语，语录；报价，牌价，行情 | |
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106
exasperated
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| adj.恼怒的 | |
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107
shutters
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| 百叶窗( shutter的名词复数 )； （照相机的）快门 | |
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108
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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109
annoyance
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| n.恼怒，生气，烦恼 | |
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110
dismal
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| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
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111
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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112
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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113
adorned
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| [计]被修饰的 | |
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114
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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115
slippers
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| n. 拖鞋 | |
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116
motive
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| n.动机，目的；adv.发动的，运动的 | |
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117
endearment
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| n.表示亲爱的行为 | |
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118
strife
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| n.争吵，冲突，倾轧，竞争 | |
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119
engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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