The big young man with the shoulders of a bureau would never have been taken for a student if he had not been crossing the campus with a too small cap precariously1 perched on his too much hair, and if he had not been swinging a strapful of those thin, weary-worn volumes that look to be text-books and not novels. The eye-glasses set on his young nose mainly accented his youth. If he had not depended on them he would have made a splendid center rush. Instead, he was driven to the ’varsity crew, where he won more glory than in the class-room. He paused before a ground-floor window of the oldest of the old dormitories. That window-seat as usual displayed the slim and gangling2 form of a young man who was usually to be found there stretched out on his stomach and reading or writing with solemn absorption. It was necessary to call him repeatedly before he came back from the mist he surrounded himself with:
“Hay! ’Gene! Oh, Vick! ’Gene Vickery! Hay you!”
“Hay yourself! Oh, hey-o, Bret Winfield, h’are you?”
“Rotten! Say—you going to the theater to-night?”
“I usually do. What’s the play?”
“?‘A Friend in Need.’ Ran six months in New York.”
“All right, I’ll go.”
“Better get a seat under cover of the balcony.”
“Why?”
“Really? Why?”
Vickery was only a post-graduate, in his first year at Leroy University. He had gone through the home-town schools and a preparatory school and a smaller college, before he had moved on to Leroy to earn a Ph.D. He had long ago given up his ambitions to replace Shakespeare. So now he asked in his ignorance why the Freshmen of Leroy must break up the play. And Winfield answered from his knowledge:
“Because about this time of year the Freshman6 class always busts7 up a show. It’s one of the sacredest traditions of our dear old Alum Mater. Last year’s Freshies put a big musical comedy on the blink. Kidnapped half the chorus girls. This year there’s no burlesque8 in view, so the cubs9 are reduced to pulling down a high comedy.”
“Faculty won’t know anything about it till the morning papers tell how many policemen were lost and how much damage was done to the theater. If you’re going, either take an umbrella or sit under the balcony, for there will be doings.”
“I’ll be there, Bret.”
“I wish I could have you with me, but a gang of us Seniors have taken a front box together. S’long!”
“S’long!”
Vickery went back to his text-book. He was to be a professor of Greek. He had almost forgotten that he had ever fallen in love with an actress. He had kept no track of stage history.
His acquaintance with Bret Winfield had been casual until his sister Dorothy came on to spend a few days near her brother. Dorothy had grown up to be the sort of woman her childhood prophesied—big, beautiful, placid11, very noble at her best and stupid at her worst. Her big eyes were the Homeric “ox-eyes,” and Eugene in the first flush of his first Greek had called her thence Bo-opis, which he shortened later to “Bo.”
The bo-optic Dorothy made a profound impression on Bret Winfield, and he cultivated Eugene thereafter on her account. He had a rival in the scientific school, Jim Greeley, a fellow-townsman of Winfield’s. Greeley’s matter-of-fact soul was completely congenial to Dorothy, but the two young men hated each other with great dignity, and Dorothy reveled in their rivalry12. She was quite forgotten, however, when matters of real college moment were under way—such as the Freshman assault on the drama.
The news of the riot-to-be percolated13 through the two thousand students without a word reaching the ears of the faculty or the officers of the theater. There was no reason to expect trouble on this occasion. There had been no football or baseball or other contest to excite the students. They made a boisterous14 audience before the curtain rose—but then they always did. They called to each other from crag to crag. They whistled and stamped in unison15 when the curtain was a moment late; but that was to be expected in college towns. Strangely, students have been always and everywhere rioters.
The first warning the audience had of unusual purposes came when a round of uproarious applause greeted a comedian17’s delivery of a bit of very cheap wit which had been left in because the author declined to waste time polishing the seat-banging part of his first act. In this country an audience that is extremely displeased18 does not hiss19 or boo; it applauds sarcastically20 and persistently21. The poor actor who had aimed to hurry past the line found himself held up by the ironic22 hand-clapping. When he tried to go on, it broke out anew.
An actor cannot disclaim23 or apologize for the lines he has to speak, however his own prosperities are involved in them. So poor Mr. Tuell had now to stand and perspire24 while the line he had begged the author to delete provoked the tempest.
Whenever the fuming25 comedian opened his mouth to speak the applause drowned him. It soon fell into a rhythm of one-two, one-two-three, one-two, one-two-three. Tuell could only wait till the claque had grown weary of its own reproof26. Then he went on to his next feeble witticism27, another play upon words so childish that it brought forth28 cries of, “Naughty, naughty!”
The other members of the company gathered in the wings, as uncomfortable as a band of early martyrs29 waiting their turns to appear before the lions. To most of them this was their first encounter with a mutinous30 audience.
Audiences are usually a chaos31 of warring tastes and motives32 which must somehow be given focus and unity34 by the actors. That was the hardest part of the day’s work—to get the house together. To-night they must face a ready-made audience with a mind of its own—and that hostile.
The actors watched the famous “first old woman,” Mrs. John Vining, sail out with the bravery of a captive empress marching down a Roman street in chains. She was greeted with harsh cries of, “Grandma!” and, “Oh, boys, Granny’s came!”
Mrs. Vining smiled indulgently and went on with her lines. The applause broke out and continued while she and Mr. Tuell conducted a dumb-show. Then an abrupt35 silence fell just in time to emphasize the banality36 of her next speech.
“You ask of Claribel? Speaking of angels, here she comes now.”
At the sound of her name the actress summoned clutched the cross-piece of the flat that hid her from the audience. She longed for courage to run away. But actors do not run away, and she made ready to dance out on the stage and gush37 her brilliant first line: “Oh, auntie, there you are. I’ve been looking for you everywhere.”
Sheila had always hated the entrance because of its bustling38 unimportance. It was exciting enough to-night. No sooner had Mrs. Vining announced her name than there was a salvo of joy from the mob.
“Oh, girls, here comes Claribel!”
Sheila fell back into the wings as the clamor smote41 her. But she had been seen and admired. There was a hurricane of protest against her retreat:
“Come on in, Claribel; the water’s fine!” “Don’t leave the old farm, Claribel; we need you!” “Peekaboo! I see You Hiding behind the chair.”
Each of the mutineers shrieked42 something that he thought was funny, and laughed at it without heeding43 what else was shouted. The result was deafening44.
Eugene Vickery’s heart was set aswing at the glimpse of Sheila Kemble. The sight of her name on the program had revived his boyhood memories of her. He rose to protest against the hazing45 of a young girl, especially one whose tradition was so sweet in his remembrance, but he was in the back of the house and his cry of “Shame!” was lost in the uproar16, merely adding to it instead of quelling46 it.
Bret Winfield in a stage box had seen Sheila in the wings for some minutes before her entrance. He knew nothing of her except that her beauty pleased him thoroughly47 and that he was sorry to see how scared she was when she retreated.
He saw also how plucky48 she was, for, angered by the boorish49 unchivalry of the mob, she marched forth again like a young Amazon. At the full sight of her the Freshmen united in a huge noise of kisses and murmurs50 of, “Yum-yum!” and cries of, “Me for Claribel!” “Say, that’s some gal51!” “Name and address, please!” “I saw her first!” “Second havers!” “Mamma, buy me that!” She was called a peach, a peacherino, a pippin, a tangerine52, a swell53 skirt—anything that occurred to the uninspired.
Sheila felt as if she were struck by a billow. Her own color swept past the bounds of the stationary54 blushes she had painted on her cheeks. She came out again and began her line: “Oh, auntie—”
It was as if echo had gone into hysterics. Two hundred voices mocked her: “Oh, auntie!” “Oh, auntie!” “Oh, auntie!”
She wanted to laugh, she wanted to cry, she wanted to run, she wanted to fight. She wished that the whole throng55 had but one ear, that she might box it.
She continued her words with an effect of pantomime. The responses were made against a surf of noise.
Then Eric Folwell, who played the hero, came on. He was handsome, and knew it. He was a trifle over-graceful, and his evening coat fitted his perfect figure almost too perfectly57. He was met with pitiless implications of effeminacy. “Oh, Clarice!” “Say, Lizzie, are you busy?” “Won’t somebody slap the brute58 on the wrist?” “My Gawd! ain’t he primeval?” “Oh, you cave-girl!”
As if this were not shattering enough, some of the students had provided themselves with bags of those little torpedoes59 that children throw on the Fourth of July. One of these exploded at Folwell’s feet. At the utterly60 unexpected noise he jumped, as a far braver man might have done, taken thus unawares.
This simply enraptured61 the young mob, and showers of torpedoes fell about the stage. It fairly snowed explosives. The gravel62 scattered63 in all directions. A pebble64 struck Sheila on the cheek. It smarted only a trifle, but the pain was as nothing to the sacrilege.
Somehow the play struggled on to the cue for the entrance of the heroine of the play. Miss Zelma Griffen was the leading woman. She was supposed to arrive in a taxicab, and the warning “honk” of it delighted the audience. She was followed on by a red-headed chauffeur65 who asked for his fare, which she borrowed from the hero, then passed to the chauffeur, who thanked her and made his exit.
Miss Griffen was a somewhat sophisticated actress with a large record in college boys. While she waited for her cue, she had cannily66 decided67 to appease68 the mob by adopting a tone of good-fellowship. She had also provided herself with a rosette of the college colors. She waved it at the audience and smiled.
This was a false note. It was resented as a familiarity and a presumption69. This same college had rotten-egged an actor some years before for wearing a ’varsity sweater on the stage. It greeted Miss Griffen with a storm of angry protest, together with a volley of torpedoes.
Miss Griffen, completely nonplussed70, gaped71 for her line, could not remember a word of it, then ran off the stage, leaving Sheila and Mrs. Vining and Tuell to take up the fallen torch and improvise72 the scene. Sheila made the effort, asked herself the questions Miss Griffen should have asked her, and answered them. It was her religion as an actress never to let the play stop.
With all her wits askew73, she soon had herself snarled74 up in a tangle75 of syntax in which she floundered hopelessly. The student body railed at her:
“Oh, you grammar! ’Rah, ’rah, ’rah, night school!”
This insult was too much for the girl. She lost every trace of self-control.
All this time Bret Winfield had grown angrier and angrier. Bear-baiting was one thing; but dove-baiting was too cowardly even for mob-action, too unfair even for a night of sports, unpardonable even in Freshmen. He was thrilled with a chivalrous76 impulse to rush to the defense77 of Sheila, whose angry beauty had inflamed78 him further.
He stood up in the proscenium box and tried to call for fair play. He was unheard and unseen; all eyes were fastened on the stage where the fluttering actress besought79 the howling stage-manager to throw her the line louder.
Winfield determined80 to make himself both seen and heard. Fellow Seniors in the box caught at his coat-tails, but he wrenched81 loose and, putting a foot over the rail, stepped to the apron82 of the stage. In his struggle he lost his eye-glasses. They fell into the footlight trough, and he was nearly blind.
Sheila, who stood close at hand, recoiled83 in panic at the sight of this unheard-of intrusion. The rampart of the footlights had always stood as a barrier between Sheila and the audience, an impassable parapet. To-night she saw it overpassed, and she watched the invader84 with much the same horror that a nun85 would experience at seeing a soldier enter a convent window.
Winfield advanced with hesitant valor86 and frowned fiercely at the dazzling glare that beat upward from the footlights.
He was recognized at once as the famous stroke-oar of the crew that had defeated the historic rivals of Grantham University. He was hailed with tempest.
Sheila knew neither his fame nor his mission. She felt that he was about to lay hands on her; all things were possible from such barbarians87. Her knees weakened. She turned to retreat and clung to a table for support.
Suddenly she had a defender88. From the wings the big actor who had played the taxicab-driver dashed forward with a roar of anger and let drive at Winfield’s face. Winfield heard the onset89, turned and saw the fist coming. There was no time to explain his chivalric90 motive33. He ducked and the blow grazed his cheek, but the actor’s impetus91 caught him off his balance and hustled92 him on backward till one foot slid down among the footlights. Three electric bulbs were smashed as he went overboard into the orchestra.
He almost broke the backs of two unprepared viola-players, but they eased his fall. He caromed off their shoulder-blades into the multifarious instruments of the “man in the tin-shop.” One foot thumped93 bass-drum with a mighty94 plop; the other sent a cymbal95 clanging. His clutching hands set up a riot of “effects,” and he lay on the floor in a ruin of orchestral noises, and a bedlam96 of din3 from the audience.
By the time he had gathered himself together the curtain had been lowered and the whole house was in a typhoon.
A dozen policemen who had been hastily summoned and impatiently awaited by the manager charged down the aisles97 and seized each a double arm-load of the nearest rioters. The foremost policeman received Winfield as he clambered, shamefaced, over the orchestra rail.
Winfield started to explain: “I went up there to ask the fellows to be quiet.”
The officer, indignant as he was, let out a guffaw99 of contemptuous laughter: “Lord love you, kid, if that’s the best lie you can tell, what’s the use of education?”
Winfield realized the hopelessness of such self-defense. It was less shameful100 to confess the misdemeanor than to be ridiculed101 for so impotent a pretext102. He suffered himself to be jostled up the aisle98 and tossed into the patrol-wagon103 with the first van-load of prisoners. He counted on a brief stay there, for it was a custom of the college to tip over the patrol-wagon and rescue the victims of the police.
This year’s Freshmen, however, lacked the necessary initiative and leadership, and before the lost opportunity could be regained104 the wagon had rolled away, leaving the class to eternal ignominy.
点击
收听单词发音
收听单词发音 |
1
precariously
|
|
| adv.不安全地；危险地；碰机会地；不稳定地 | |
参考例句： |
|
|
|
|
2
gangling
|
|
| adj.瘦长得难看的 | |
参考例句： |
|
|
|
|
3
din
|
|
| n.喧闹声，嘈杂声 | |
参考例句： |
|
|
|
|
4
freshmen
|
|
| n.（中学或大学的）一年级学生( freshman的名词复数 ) | |
参考例句： |
|
|
|
|
5
bust
|
|
| vt.打破；vi.爆裂；n.半身像；胸部 | |
参考例句： |
|
|
|
|
6
freshman
|
|
| n.大学一年级学生(可兼指男女) | |
参考例句： |
|
|
|
|
7
busts
|
|
| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
参考例句： |
|
|
|
|
8
burlesque
|
|
| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
参考例句： |
|
|
|
|
9
cubs
|
|
| n.幼小的兽，不懂规矩的年轻人( cub的名词复数 ) | |
参考例句： |
|
|
|
|
10
faculty
|
|
| n.才能；学院，系；(学院或系的)全体教学人员 | |
参考例句： |
|
|
|
|
11
placid
|
|
| adj.安静的，平和的 | |
参考例句： |
|
|
|
|
12
rivalry
|
|
| n.竞争，竞赛，对抗 | |
参考例句： |
|
|
|
|
13
percolated
|
|
| v.滤( percolate的过去式和过去分词 )；渗透；（思想等）渗透；渗入 | |
参考例句： |
|
|
|
|
14
boisterous
|
|
| adj.喧闹的，欢闹的 | |
参考例句： |
|
|
|
|
15
unison
|
|
| n.步调一致，行动一致 | |
参考例句： |
|
|
|
|
16
uproar
|
|
| n.骚动，喧嚣，鼎沸 | |
参考例句： |
|
|
|
|
17
comedian
|
|
| n.喜剧演员；滑稽演员 | |
参考例句： |
|
|
|
|
18
displeased
|
|
| a.不快的 | |
参考例句： |
|
|
|
|
19
hiss
|
|
| v.发出嘶嘶声；发嘘声表示不满 | |
参考例句： |
|
|
|
|
20
sarcastically
|
|
| adv.挖苦地，讽刺地 | |
参考例句： |
|
|
|
|
21
persistently
|
|
| ad.坚持地；固执地 | |
参考例句： |
|
|
|
|
22
ironic
|
|
| adj.讽刺的，有讽刺意味的，出乎意料的 | |
参考例句： |
|
|
|
|
23
disclaim
|
|
| v.放弃权利，拒绝承认 | |
参考例句： |
|
|
|
|
24
perspire
|
|
| vi.出汗，流汗 | |
参考例句： |
|
|
|
|
25
fuming
|
|
| 愤怒( fume的现在分词 )； 大怒； 发怒； 冒烟 | |
参考例句： |
|
|
|
|
26
reproof
|
|
| n.斥责，责备 | |
参考例句： |
|
|
|
|
27
witticism
|
|
| n.谐语，妙语 | |
参考例句： |
|
|
|
|
28
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
29
martyrs
|
|
| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
参考例句： |
|
|
|
|
30
mutinous
|
|
| adj.叛变的，反抗的；adv.反抗地，叛变地；n.反抗，叛变 | |
参考例句： |
|
|
|
|
31
chaos
|
|
| n.混乱，无秩序 | |
参考例句： |
|
|
|
|
32
motives
|
|
| n.动机，目的( motive的名词复数 ) | |
参考例句： |
|
|
|
|
33
motive
|
|
| n.动机，目的；adv.发动的，运动的 | |
参考例句： |
|
|
|
|
34
unity
|
|
| n.团结，联合，统一；和睦，协调 | |
参考例句： |
|
|
|
|
35
abrupt
|
|
| adj.突然的，意外的；唐突的，鲁莽的 | |
参考例句： |
|
|
|
|
36
banality
|
|
| n.陈腐；平庸；陈词滥调 | |
参考例句： |
|
|
|
|
37
gush
|
|
| v.喷，涌；滔滔不绝(说话)；n.喷，涌流；迸发 | |
参考例句： |
|
|
|
|
38
bustling
|
|
| adj.喧闹的 | |
参考例句： |
|
|
|
|
39
yelped
|
|
| v.发出短而尖的叫声( yelp的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
40
hearty
|
|
| adj.热情友好的；衷心的；尽情的，纵情的 | |
参考例句： |
|
|
|
|
41
smote
|
|
| v.猛打，重击，打击( smite的过去式 ) | |
参考例句： |
|
|
|
|
42
shrieked
|
|
| v.尖叫( shriek的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
43
heeding
|
|
| v.听某人的劝告，听从( heed的现在分词 ) | |
参考例句： |
|
|
|
|
44
deafening
|
|
| adj. 振耳欲聋的, 极喧闹的 动词deafen的现在分词形式 | |
参考例句： |
|
|
|
|
45
hazing
|
|
| n.受辱，被欺侮v.（使）笼罩在薄雾中( haze的现在分词 )；戏弄，欺凌（新生等，有时作为加入美国大学生联谊会的条件） | |
参考例句： |
|
|
|
|
46
quelling
|
|
| v.（用武力）制止，结束，镇压( quell的现在分词 ) | |
参考例句： |
|
|
|
|
47
thoroughly
|
|
| adv.完全地，彻底地，十足地 | |
参考例句： |
|
|
|
|
48
plucky
|
|
| adj.勇敢的 | |
参考例句： |
|
|
|
|
49
boorish
|
|
| adj.粗野的，乡巴佬的 | |
参考例句： |
|
|
|
|
50
murmurs
|
|
| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
参考例句： |
|
|
|
|
51
gal
|
|
| n.姑娘，少女 | |
参考例句： |
|
|
|
|
52
tangerine
|
|
| n.橘子，橘子树 | |
参考例句： |
|
|
|
|
53
swell
|
|
| vi.膨胀，肿胀；增长，增强 | |
参考例句： |
|
|
|
|
54
stationary
|
|
| adj.固定的，静止不动的 | |
参考例句： |
|
|
|
|
55
throng
|
|
| n.人群，群众；v.拥挤，群集 | |
参考例句： |
|
|
|
|
56
shrieking
|
|
| v.尖叫( shriek的现在分词 ) | |
参考例句： |
|
|
|
|
57
perfectly
|
|
| adv.完美地，无可非议地，彻底地 | |
参考例句： |
|
|
|
|
58
brute
|
|
| n.野兽，兽性 | |
参考例句： |
|
|
|
|
59
torpedoes
|
|
| 鱼雷( torpedo的名词复数 )； 油井爆破筒； 刺客； 掼炮 | |
参考例句： |
|
|
|
|
60
utterly
|
|
| adv.完全地，绝对地 | |
参考例句： |
|
|
|
|
61
enraptured
|
|
| v.使狂喜( enrapture的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
62
gravel
|
|
| n.砂跞；砂砾层；结石 | |
参考例句： |
|
|
|
|
63
scattered
|
|
| adj.分散的，稀疏的；散步的；疏疏落落的 | |
参考例句： |
|
|
|
|
64
pebble
|
|
| n.卵石，小圆石 | |
参考例句： |
|
|
|
|
65
chauffeur
|
|
| n.(受雇于私人或公司的)司机；v.为…开车 | |
参考例句： |
|
|
|
|
66
cannily
|
|
| 精明地 | |
参考例句： |
|
|
|
|
67
decided
|
|
| adj.决定了的，坚决的；明显的，明确的 | |
参考例句： |
|
|
|
|
68
appease
|
|
| v.安抚，缓和，平息，满足 | |
参考例句： |
|
|
|
|
69
presumption
|
|
| n.推测，可能性，冒昧，放肆，[法律]推定 | |
参考例句： |
|
|
|
|
70
nonplussed
|
|
| adj.不知所措的，陷于窘境的v.使迷惑( nonplus的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
71
gaped
|
|
| v.目瞪口呆地凝视( gape的过去式和过去分词 )；张开，张大 | |
参考例句： |
|
|
|
|
72
improvise
|
|
| v.即兴创作；临时准备，临时凑成 | |
参考例句： |
|
|
|
|
73
askew
|
|
| adv.斜地；adj.歪斜的 | |
参考例句： |
|
|
|
|
74
snarled
|
|
| v.（指狗）吠，嗥叫， （人）咆哮( snarl的过去式和过去分词 )；咆哮着说，厉声地说 | |
参考例句： |
|
|
|
|
75
tangle
|
|
| n.纠缠；缠结；混乱；v.(使)缠绕；变乱 | |
参考例句： |
|
|
|
|
76
chivalrous
|
|
| adj.武士精神的；对女人彬彬有礼的 | |
参考例句： |
|
|
|
|
77
defense
|
|
| n.防御，保卫；[pl.]防务工事；辩护，答辩 | |
参考例句： |
|
|
|
|
78
inflamed
|
|
| adj.发炎的，红肿的v.（使）变红，发怒，过热( inflame的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
79
besought
|
|
| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
参考例句： |
|
|
|
|
80
determined
|
|
| adj.坚定的；有决心的 | |
参考例句： |
|
|
|
|
81
wrenched
|
|
| v.（猛力地）扭( wrench的过去式和过去分词 )；扭伤；使感到痛苦；使悲痛 | |
参考例句： |
|
|
|
|
82
apron
|
|
| n.围裙；工作裙 | |
参考例句： |
|
|
|
|
83
recoiled
|
|
| v.畏缩( recoil的过去式和过去分词 )；退缩；报应；返回 | |
参考例句： |
|
|
|
|
84
invader
|
|
| n.侵略者，侵犯者，入侵者 | |
参考例句： |
|
|
|
|
85
nun
|
|
| n.修女，尼姑 | |
参考例句： |
|
|
|
|
86
valor
|
|
| n.勇气，英勇 | |
参考例句： |
|
|
|
|
87
barbarians
|
|
| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
参考例句： |
|
|
|
|
88
defender
|
|
| n.保卫者，拥护者，辩护人 | |
参考例句： |
|
|
|
|
89
onset
|
|
| n.进攻，袭击，开始，突然开始 | |
参考例句： |
|
|
|
|
90
chivalric
|
|
| 有武士气概的，有武士风范的 | |
参考例句： |
|
|
|
|
|
91
impetus
|
|
| n.推动，促进，刺激；推动力 | |
参考例句： |
|
|
|
|
92
hustled
|
|
| 催促（hustle的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
93
thumped
|
|
| v.重击， （指心脏）急速跳动( thump的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
94
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
95
cymbal
|
|
| n.铙钹 | |
参考例句： |
|
|
|
|
96
bedlam
|
|
| n.混乱，骚乱；疯人院 | |
参考例句： |
|
|
|
|
97
aisles
|
|
| n. (席位间的)通道, 侧廊 | |
参考例句： |
|
|
|
|
98
aisle
|
|
| n.（教堂、教室、戏院等里的）过道，通道 | |
参考例句： |
|
|
|
|
99
guffaw
|
|
| n.哄笑；突然的大笑 | |
参考例句： |
|
|
|
|
100
shameful
|
|
| adj.可耻的，不道德的 | |
参考例句： |
|
|
|
|
101
ridiculed
|
|
| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
102
pretext
|
|
| n.借口，托词 | |
参考例句： |
|
|
|
|
103
wagon
|
|
| n.四轮马车，手推车，面包车；无盖运货列车 | |
参考例句： |
|
|
|
|
104
regained
|
|
| 复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |