Meanwhile, utterly uncaring for and utterly independent of what went on upstairs, the denizens38 of the lower story kept quietly on. Who were the denizens of the lower story? who but the well-known Titian Sketching-Club! How many men who, after struggling through Suffolk Street and the Portland Gallery, have won their way to fame and fortune, have made their _coup d'essai_ on the walls of the chambers rented by the Titian Sketching-Club! Outsiders, who professed39 great love for art, but who only knew the two or three exhibitions of the season and only recognised the score of names in each vouchsafed40 for by the newspaper-critics, would have been astonished to learn the amount of canvas covered, pains taken, and skill brought to bear upon the work of the Members of the Titian. There are guilds41, and companies of Freemasons, and brotherhoods42 by the score in London; but I know of none where the grand spirit of Camaraderie43 is so carried out as in this. It is the nearest thing to the _Vie de Bohème_ of Paris of Henri Murger that we can show; there is more liberty of speech and thought and action, less reticence44, more friendship,--when friendship is understood by purse-sharing, by sick-bedside-watching, by absence of envy, jealousy45, hatred46, and all uncharitableness,--more singleness of purpose, more contempt for shams47 and impostures and the dismal49 fetters50 of conventionality, than in any other circle of English Society with which I am acquainted.
It was a grand night with the Titians; no model was carefully posed on the "throne" that evening; no intelligent class was grouped round on the rising benches, copying from the "draped" or the "nude52;" none of the wardrobe or properties of the club (and it is rich in both),--none of the coats of mail or suits of armour, hauberks and broadswords, buff boots, dinted breastplates, carved ebony crucifixes, ivory-hafted daggers53, Louis-Onze caps, friars' gowns and rosaries, nor other portions of the stock-in-trade, were on view. The "sending-in" day for the approaching Exhibition of the British Institution was at hand; and the discoloured smoky old walls of the Titians, the rickety easels piled round the room, all available ledges55 and nooks, were covered with the works of the members of the club, which they fully26 intended to submit for exhibition. A very Babel, in a thick fog of tobacco-smoke, through which loomed56 the red face of Flexor the famous model, like the sun in November, greeted you on your entrance. Flexor pretended to take the hats, but the visitors seemed to know him too well, and contented57 themselves with nodding at him in a friendly manner, and retaining their property. Then you passed into the rooms, where you found yourself wedged up amongst a crowd of perhaps the most extraordinary-looking beings you ever encountered. Little men with big heads and long beards, big men with bald heads and shaved cheeks, and enormous moustaches and glowering58 spectacles; tall thin straggling men, who seemed all profile, and whose full face you could never catch; dirty shaggy little men, with heads of hair like red mops, and no apparent faces underneath59, whose eyes flashed through their elf-locks, and who were explaining their pictures with singular pantomimic power of their sinewy60 hands, and notably61 of their ever-flashing thumbs; moon-faced solemn didactic men prosing away on their views of art to dreary62 discontented listeners; and foppish63, smart little fellows, standing64 a-tiptoe to get particular lights, shading their eyes with their hands, and backing against the company generally. Moving here and there among the guests was the Titians' president, honest old Tom Wrigley, who had been "at it," as he used to say, for thirty years; without making any great mark in his profession, but who was cordially beloved for his kind-heartedness and _bonhomie_, and who had a word and a joke for all. As he elbowed his way through the room he spoke65 right and left.
"Hallo, Tom Rogers!--hallo, Tom! That's an improvement, Tom, my boy! Got rid of the heavy browns, eh? weren't good, those heavy browns; specially66 for a Venetian atmosphere, eh, Tom? Much better, this.--How are you, Jukes? Old story, Jukes?--hen and chickens, ducks in the pond, horse looking over the gate? Quite right, Jukes; stick to that, if it pays. Much better than the death of J. Caesar on a twenty-foot canvas, which nobody would be fool enough to buy. Stick to the ducks, Jukes, old fellow.--What's the matter, George? Why so savage67, my son?"
"Here's Scumble!" said the young man addressed, in an undertone.
"And what of that, George? Mr. Scumble is a Royal Academician, it is true; and consequently a mark for your scorn and hatred, George. But it's not _his_ fault; he never did anything to aspire68 to such a dignity. It's your British public, George, which is such an insensate jackass as to buy Scumble's pictures, and to tell him he's a genius."
"He was on the Hanging-Committee last year, and--"
"Ah, so he was; and your 'Aristides' was kicked out, and so was my 'Hope Deferred,' which was a deuced sight better than your big picture, Master George; but see how I shall treat him.--How do you do, Mr. Scumble? You're very welcome here, sir."
Mr. Scumble, R.A., who had a head like a tin-loaf, and a face without any earthly expression, bowed his acknowledgments and threw as much warmth into his manner as he possibly could, apparently69 labouring under a notion that he was marked out for speedy assassination70. "This is indeed a char-ming collection! Great talent among the ri-sing men, Mr.--pardon me--President! This now, for instance, a most charming landscape!"
"Yes, old boy; you may say that," said a square-built man smoking a clay-pipe, and leaning with his elbows on the easel on which the picture was placed. "I mean the real thing,--not this; which ain't bad though, is it? Not that I should say so; 'cause for why; which I did it!" and here the square-built man removed one of his elbows from the easel, and dug it into the sacred ribs71 of Scumble, R.A.
"Bad, sir!" said Scumble, recoiling72 from the thrust, and still with the notion of a secret dagger54 hidden behind the square-built man's waistcoat; "it's magnificent, superb, Mr.----!"
"Meaning me? Potts!" said the square-built man "Charley Potts, artist, U.E., or unsuccessful exhibitor at every daub-show in London. That's the Via Mala, that is. I was there last autumn with Geoffrey Ludlow and Tom Bleistift. 'Show me a finer view than that,' I said to those fellows, when it burst upon us. 'If you'd a Scotchman with you,' said Tom, 'he'd say it wasn't so fine as the approach to Edinburgh.' 'Would he?'said I. 'If he said anything of that sort, I'd show him that view, and--and rub his nose in it!'"
Mr. Scumble, R.A., smiled in a sickly manner, bowed feebly, and passed on. Old Tom Wrigley laughed a great boisterous73 "Ha, ha!" and went on his way. Charley Potts remained before his picture, turning his back on it, and puffing74 out great volumes of smoke. He seemed to know everybody in the room, and to be known to and greeted by most of them. Some slapped him on the back, some poked75 him in the ribs, others laid their forefingers76 alongside their noses and winked77; but all called him "Charley," and all had some pleasant word for him; and to all he had something to say in return.
"Hallo, Fred Snitterfield!" he called out to a fat man in a suit of shepherd's-plaid dittoes. "Halloa, Fred! how's your brother Bill? What's he been doing? Not here to-night, of course?"
"No; he wasn't very well," said the man addressed. "He's got--"
"Yes, yes; I know, Fred!" said Charley Potts. "Wife won't let him! That's it, isn't it, old boy? He only dined out once in his life without leave, and then he sent home a telegram to say he was engaged; and when his wife received the telegram she would not believe it, because she said it wasn't his handwriting! Poor old Bill! Did he sell that 'Revenge' to what's-his-name--that Manchester man--Prebble?"
"Lord, no! Haven't you heard? Prebble's smashed up,--all his property gone to the devil!"
"Ah, then Prebble will find it again some day, no doubt. Look out! here's Bowie!"
Mr. Bowie was the art-critic of a great daily journal. In early life he had courted art himself; but lacking executive power, he had mixed up a few theories and quaint51 conceits78 which he had learned with a great deal of acrid79 bile, with which he had been gifted by nature, and wrote the most pungent80 and malevolent81 art-notices of the day. A tall, light-haired, vacant-looking man, like a light-house without any light in it, peering uncomfortably over his stiff white cravat82, and fumbling83 nervously84 at his watch-chain. Clinging close to him, and pointing out to him various pictures as they passed them by, was quite another style of man,--Caniche, the great picture dealer,--an under-sized lively Gascon, black-bearded from his chin, round which it was closely cut, to his beady black eyes, faultlessly dressed, sparkling in speech, affable in manner, at home with all.
"Ah, ah!" said he, stopping before the easel, "the Via Mala! Not bad--not at all bad!" he continued, with scarcely a trace of a foreign accent. "Yours, Charley Potts? yours, _mon brave?_ De-caidedly an improvement, Charley! You go on that way, mai boy, and some day--"
"Some day you'll give me twenty pound, and sell me for a hundred! won't you, Caniche?--generous buffalo85!" growled86 Charley, over his pipe.
The men round laughed, but Caniche was not a bit offended. "Of course," he said, simply, "I will, indeed; that is my trade! And if you could find a man who would give you thirty, you would throw me over in what you call a brace87 of shakes! _N'est-ce pas?_ Meanwhile, find the man to give you thirty. He is not here; I mean coming now.--How do you do, Herr Stompff?"
Mr. Caniche (popularly known as Cannish among the artists) winced88 as he said this, for Herr Stompff was his great rival and bitterest enemy.
A short, bald-headed, gray-bearded man was Mr. Stompff,--a Hamburger,--who, on his first arrival in England, had been an importer of piping bullfinches at Hull89; then a tobacconist in St Mary Axe90; and who finally had taken up picture-selling, and did an enormous business. No one could tell that he was not an Englishman from his talk, and an Englishman with a marvellous fluency91 in the vernacular92. He had every slang saying as soon as it was out, and by this used to triumph over his rival Caniche, who never could follow his phraseology.
"Hallo, Caniche!" he said; "how are you? What's up?--running the rig on the boys here! telling Charley Potts his daubs are first-rate? Pickles93!--We know all that game, don't we, Charley? What do you want for it, Charley?--How are you, Mr. Bowie? what's fresh with you, sir? Too proud to come and have a cut of mutton with me and Mrs. S. a-Sunday, I suppose? Some good fellows coming, too; Mugger from the Cracksideum, and Talboys and Sir Paul Potter--leastways I've asked him. Well, Charley, what's the figure for this lot, eh?"
"I'll trouble you not to 'Charley' me, Mr. Stump94, or whatever your infernal name is!" said Potts, folding his arms and puffing out his smoke savagely95. "I don't want any Havannah cigars, nor silk handkerchiefs, nor painted canaries, nor anything else in your line, sir; and I want your confounded patronage96 least of all!"
"Good boy, Charley! very good boy!" said Stompff, calmly pulling his whisker through his teeth--"shouldn't lose his temper, though. Come and dine a-Sunday, Charley." Mr. Potts said something, which the historian is not bound to repeat, turned on his heel, and walked away.
Mr. Stompff was not a bit disconcerted at this treatment. He merely stuck his tongue in his cheek, and looking at the men standing round, said, "He's on the high ropes, is Master Charley! Some of you fellows have been lending him half-a-crown, or that fool Caniche has bought one of his pictures for seven-and-six! Now, has anybody anything new to show, eh?" Of course everybody had something new to show to the great Stompff, the enterprising Stompff, the liberal Stompff, whose cheques were as good as notes of the Bank of England. How they watched his progress, and how their hearts beat as he loitered before their works! Jupp, who had a bed-ridden wife, a dear pretty little woman recovering from rheumatic fever at, Adalbert Villa97, Elgiva Road, St. John's Wood; Smethurst, who had a 25_l_. bill coming due in a fortnight, and had three-and-sevenpence wherewith to: Vogelstadt, who had been beguiled98 into leaving Dusseldorf for London on the rumours99 of English riches and English patronage, and whose capital studies of birds in the snow, and _treibe-jagd's_, and boar-hunts, had called forth universal laudation, but had not as yet entrapped100 a single purchaser, so that Vogelstadt, who had come down not discontentedly to living on bread-and-milk, had notions of mortgaging his ancestral thumb-ring to procure101 even those trifling102 necessaries,--how they al glared with expectation as the ex-singing-bird-importer passed their pictures in review! That worthy103 took matters very easily, strolling along with his hands in his pockets, glancing at the easels and along the walls, occasionally nodding his head in approval, or shrugging his shoulders in depreciation104, but never saying a word until he stopped opposite a well-placed figure-subject to which he devoted105 a two-minutes' close scrutiny106, and then uttered this frank though _argot_-tinged criticism "That'll hit 'em up! that'll open their eyelids107, by Jove! Whose is it?"
The picture represented a modern ballroom108, in a corner of which a man of middle age, his arms tightly folded across his breast, was intently watching the movements of a young girl, just starting off in a _valse_ with a handsome dashing young partner. The expressions in the two faces were admirably defined: in the man's was a deep earnest devotion not unmingled with passion and with jealousy, his tightly-clenched mouth, his deep-set earnest eyes, settled in rapt adoration110 on the girl, showed the earnestness of his feeling, SO did the rigidly-fixed111 arms, and the _pose_ of the figure, which, originally careless, had become hardened and angular through intensity112 of feeling. The contrast was well marked; in the girl's face which was turned toward the man while her eyes were fixed on him, was a bright saucy113 triumph, brightening her eyes, inflating114 her little nostrils115, curving the corners of her mouth, while her figure was light and airy, just obedient to the first notes of the _valse_, balancing itself as it were on the arm of her partner before starting off down the dance. All the accessories were admirable: the dreary wallflowers ranged round the room, the chaperons nidnodding together on the rout-seats, paterfamilias despondingly consulting his watch, the wearied hostess, and the somnolently-inclined musicians,--all were there, portrayed116 not merely by a facile hand but by a man conversant117 with society. The title of the picture, "Sic vos non vobis," was written on a bit of paper stuck into the frame, on the other corner of which was a card bearing the words "Mr. Geoffrey Ludlow."
"Ah!" said Stompff, who, after carefully scanning the picture close and then from a distance, had read the card--"at last! Geoffrey Ludlow's going to fulfil the promise which he's been showing this ten years! A late birth, but a fine babby now it's born! That's the real thing and no flies! That's about as near a good thing as I've seen this long time--that; come, you'll say the same! That's a good picture, Mr. Wrigley!"
"Ah!" said old Tom, coming up at the moment, "you've made another lucky hit if you've bought that, Mr. Stompff! Geoff is so confoundedly undecided, so horribly weak in all things, that he's been all this time making up his mind whether he really would paint a good picture or not. But he's decided118 at last, and he has painted a clipper."
"Ye-es!" said Stompff, whose first enthusiasm had by no means died away--on the contrary, he thought so well of the picture that he had within himself determined119 to purchase it; but his business caution was coming over him strongly. "Yes! it's a clipper, as you say, Wrigley; but it's a picture which would take all a fellow knew to work it. Throw that into the market--where are you! Pouf! gone I no one thinking of it. Judicious120 advertisement, judicious squaring of those confounded fellows of the press; a little dinner at the Albion or the Star and Garter to two or three whom we know; and then the wonderful grasp of modern life, the singular manner in which the great natural feelings are rendered, the microscopic121 observation, and the power of detail--"
"Yes, yes," said Tom Wrigley; "for which, see _Catalogue of Stompff's Gallery of Modern Painters_, price 6_d_. Spare yourself, you unselfish encourager of talent, and spare Geoff's blushes; for here he is.--Did you hear what Stompff was saying on, Geoff?"
As he spoke, there came slouching up, shouldering his way through the crowd, a big, heavily-built man of about forty years of age, standing over six feet, and striking in appearance if not prepossessing. Striking in appearance from his height, which was even increased by his great shock head of dark-brown hair standing upright on his forehead, but curling in tight crisp waves round the back and poll of his head; from his great prominent brown eyes, which, firmly set in their large thickly-carved lids, flashed from under an overhanging pair of brows; from his large heavy nose, thick and fleshy, yet with lithe122 sensitive nostrils; from his short upper and protruding123 thick under lip; from the length of his chin and the massive heaviness of his jaw124, though the heavy beard greatly concealed125 the formation of the lower portion of his face. A face which at once evoked126 attention, which no one passed by without noticing, which people at first called "odd," and "singular," and "queer," according to their vocabulary; then, following the same rule, pronounced "ugly," or "hideous," or "grotesque,"--allowing all the time that there "was something very curious in it." But a face which, when seen in animation127 or excitement, in reflex of the soul within, whose every thought was legibly portrayed in its every expression, in light or shade, with earnest watchful128 eyes, and knit brows and quivering nostrils and working lips; or, on the other hand, with its mouth full of sound big white teeth gleaming between its ruddy lips, and its eyes sparkling with pure merriment or mischief;--then a face to be preferred to all the dolly inanities129 of the Household Brigade, or even the matchless toga-draped dummies130 in Mr. Truefitt's window. This was Geoffrey Ludlow, whom everybody liked, but who was esteemed131 to be so weak and vacillating, so infirm of purpose, so incapable132 of succeeding in his art or in his life, as to have been always regarded as an object of pity rather than envy; as a man who was his own worst enemy, and of whom nothing could be said. He had apparently caught some words of the conversation, for when he arrived at the group a smile lit up his homely133 features, and his teeth glistened134 again in the gaslight.
"What are you fellows joking about?" he asked, while he roared with laughter, as if with an anticipatory135 relish136 of the fun. "Some chaff137 at my expense, eh? Something about my not having made up my mind to do something or not; the usual nonsense, I suppose?"
"Not at all Geoff," said Tom Wrigley. "The question asked by Mr. Stompff here was--whether you wished to sell this picture, and what you asked for it."
"Ah!" said Geoffrey Ludlow, his lips closing and the fun dying out of his eyes. "Well, you see it's of course a compliment for you, Mr. Stompff, to ask the question; but I've scarcely made up my mind--whether--and indeed as to the price--"
"Stuff, Geoff! What rubbish you talk!" said Charley Potts, who had rejoined the group. "You know well enough that you painted the picture for sale. You know equally well that the price is two hundred guineas. Are you answered, Mr. Stump?"
Ludlow started forward with a look of annoyance138, but Stompff merely grinned, and said quietly, "I take it at the price, and as many more as Mr. Ludlow will paint of the same sort; stock, lock, and barrel, I'll have the whole bilin'. Must change the title though, Ludlow, my boy. None of your Sic wos non thingummy; none of your Hebrew classics for the British public. 'The Vow,' or 'the Last Farewell,' or something in that line.--Very neatly139 done of you, Charley, my boy; very neat bit of dealing140, I call it. I ought to deduct141 four-and-nine from the next fifteen shillin' commission you get; but I'll make it up to you this way,--you've evidently all the qualities of a salesman; come and be my clerk, and I'll stand thirty shillings a-week and a commission on the catalogues."
Charley Potts was too delighted at his friend's success to feel annoyance at these remarks; he merely shook his fist laughingly, and was passing on, with his arm through Ludlow's; but the vivacious142 dealer, who had rapidly calculated where he could plant his newly-acquired purchase, and what percentage he could make on it, was not to be thus balked143.
"Look here!" said he; "a bargain's a bargain, ain't it? People say your word's as good as your bond, and all that. Pickles! You drop down to my office to-morrow, Ludlow, and there'll be an agreement for you to sign--all straight and reg'lar, you know. And come and cut your mutton with me and Mrs. S. at Velasquez Villa, Nottin' 'Ill, on Sunday, at six. No sayin' no, because I won't hear it. We'll wet our connection in a glass of Sham48. And bring Charley with you, if his dress-coat ain't up! You know, Charley! Tar109, Tar!" And highly delighted with himself, and with the full conviction that he had rendered himself thoroughly144 delightful145 to his hearers, the great man waddled146 off his brougham.
Meanwhile the news of the purchase had spread through the rooms, and men were hurrying up on all sides to congratulate Ludlow on his success. The fortunate man seemed, however, a little dazed with his triumph; he shook all the outstretched hands cordially, and said a few commonplaces of thanks, intermingled with doubts as to whether he had not been too well treated; but on the first convenient opportunity he slipped away, and sliding a shilling into the palm of Flexor the model, who, being by this time very drunk, had arranged his hair in a curl on his forehead, and was sitting on the bench in the hall after his famous rendering147 of George the Fourth of blessed memory, Geoff seized his hat and coat and let himself out. The fresh night-air revived him wonderfully, and he was about starting off at his usual headstrong pace, when he heard a low dismal moan, and looking round, he saw a female figure cowering148 in a doorway149. The next instant he was kneeling by her side.
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jovial
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| adj.快乐的，好交际的 | |
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metropolis
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| n.首府；大城市 | |
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rumour
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| n.谣言，谣传，传闻 | |
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elevation
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| n.高度；海拔；高地；上升；提高 | |
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squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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portico
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| n.柱廊，门廊 | |
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ignoble
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| adj.不光彩的，卑鄙的；可耻的 | |
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alterations
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| n.改动( alteration的名词复数 )；更改；变化；改变 | |
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spacious
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| adj.广阔的，宽敞的 | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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dealer
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| n.商人，贩子 | |
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inspection
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| n.检查，审查，检阅 | |
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outskirts
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| n.郊外，郊区 | |
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alienated
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| adj.感到孤独的，不合群的v.使疏远( alienate的过去式和过去分词 )；使不友好；转让；让渡（财产等） | |
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astute
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| adj.机敏的，精明的 | |
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edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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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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exchequer
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| n.财政部；国库 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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flecks
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crumbs
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crumb
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celebrated
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fully
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illuminated
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utterly
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illegible
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forth
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bland
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| adj.淡而无味的，温和的，无刺激性的 | |
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polyglot
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| adj.通晓数种语言的；n.通晓多种语言的人 | |
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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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clement
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| adj.仁慈的；温和的 | |
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illuminating
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| a.富于启发性的，有助阐明的 | |
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armour
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| （=armor）n.盔甲；装甲部队 | |
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porcelain
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denizens
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| n.居民，住户( denizen的名词复数 ) | |
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professed
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| 公开声称的，伪称的，已立誓信教的 | |
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40
vouchsafed
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| v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺 | |
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41
guilds
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| 行会，同业公会，协会( guild的名词复数 ) | |
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42
brotherhoods
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| 兄弟关系( brotherhood的名词复数 )； （总称）同行； （宗教性的）兄弟会； 同业公会 | |
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43
camaraderie
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| n.同志之爱，友情 | |
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44
reticence
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| n.沉默，含蓄 | |
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45
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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46
hatred
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| n.憎恶，憎恨，仇恨 | |
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47
shams
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| 假象( sham的名词复数 )； 假货； 虚假的行为（或感情、言语等）； 假装…的人 | |
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48
sham
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| n./adj.假冒(的)，虚伪(的) | |
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49
dismal
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| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
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50
fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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51
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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52
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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53
daggers
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| 匕首，短剑( dagger的名词复数 ) | |
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54
dagger
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| n.匕首，短剑，剑号 | |
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55
ledges
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| n.（墙壁，悬崖等）突出的狭长部分( ledge的名词复数 )；（平窄的）壁架；横档；（尤指）窗台 | |
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56
loomed
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| v.隐约出现，阴森地逼近( loom的过去式和过去分词 )；隐约出现，阴森地逼近 | |
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57
contented
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| adj.满意的，安心的，知足的 | |
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58
glowering
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| v.怒视( glower的现在分词 ) | |
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59
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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60
sinewy
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| adj.多腱的，强壮有力的 | |
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61
notably
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| adv.值得注意地，显著地，尤其地，特别地 | |
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62
dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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63
foppish
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| adj.矫饰的，浮华的 | |
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64
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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65
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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66
specially
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| adv.特定地；特殊地；明确地 | |
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67
savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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68
aspire
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| vi.(to，after)渴望，追求，有志于 | |
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69
apparently
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| adv.显然地；表面上，似乎 | |
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70
assassination
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| n.暗杀；暗杀事件 | |
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71
ribs
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| n.肋骨( rib的名词复数 )；（船或屋顶等的）肋拱；肋骨状的东西；（织物的）凸条花纹 | |
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72
recoiling
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| v.畏缩( recoil的现在分词 )；退缩；报应；返回 | |
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73
boisterous
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| adj.喧闹的，欢闹的 | |
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74
puffing
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| v.使喷出( puff的现在分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
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75
poked
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| v.伸出( poke的过去式和过去分词 )；戳出；拨弄；与（某人）性交 | |
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76
forefingers
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| n.食指( forefinger的名词复数 ) | |
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77
winked
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| v.使眼色( wink的过去式和过去分词 )；递眼色（表示友好或高兴等）；（指光）闪烁；闪亮 | |
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78
conceits
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| 高傲( conceit的名词复数 )； 自以为； 巧妙的词语； 别出心裁的比喻 | |
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79
acrid
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| adj.辛辣的，尖刻的，刻薄的 | |
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80
pungent
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| adj.（气味、味道）刺激性的，辛辣的；尖锐的 | |
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81
malevolent
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| adj.有恶意的，恶毒的 | |
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82
cravat
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| n.领巾，领结；v.使穿有领结的服装，使结领结 | |
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83
fumbling
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| n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理 | |
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84
nervously
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| adv.神情激动地，不安地 | |
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85
buffalo
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| n.(北美)野牛；(亚洲)水牛 | |
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86
growled
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| v.（动物）发狺狺声， （雷）作隆隆声( growl的过去式和过去分词 )；低声咆哮着说 | |
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87
brace
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| n. 支柱,曲柄,大括号; v. 绷紧,顶住,(为困难或坏事)做准备 | |
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88
winced
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| 赶紧避开，畏缩( wince的过去式和过去分词 ) | |
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89
hull
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| n.船身；(果、实等的)外壳；vt.去(谷物等)壳 | |
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90
axe
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| n.斧子；v.用斧头砍，削减 | |
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91
fluency
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| n.流畅，雄辩，善辩 | |
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92
vernacular
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| adj.地方的，用地方语写成的；n.白话；行话；本国语；动植物的俗名 | |
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93
pickles
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| n.腌菜( pickle的名词复数 )；处于困境；遇到麻烦；菜酱 | |
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94
stump
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| n.残株，烟蒂，讲演台；v.砍断，蹒跚而走 | |
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95
savagely
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| adv. 野蛮地，残酷地 | |
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96
patronage
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| n.赞助，支援，援助；光顾，捧场 | |
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97
villa
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| n.别墅，城郊小屋 | |
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98
beguiled
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| v.欺骗( beguile的过去式和过去分词 )；使陶醉；使高兴；消磨（时间等） | |
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99
rumours
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| n.传闻( rumour的名词复数 )；风闻；谣言；谣传 | |
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100
entrapped
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| v.使陷入圈套，使入陷阱( entrap的过去式和过去分词 ) | |
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101
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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102
trifling
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| adj.微不足道的；没什么价值的 | |
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103
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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104
depreciation
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| n.价值低落，贬值，蔑视，贬低 | |
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105
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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106
scrutiny
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| n.详细检查，仔细观察 | |
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107
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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108
ballroom
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| n.舞厅 | |
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109
tar
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| n.柏油，焦油；vt.涂或浇柏油/焦油于 | |
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110
adoration
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| n.爱慕，崇拜 | |
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111
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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112
intensity
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| n.强烈，剧烈；强度；烈度 | |
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113
saucy
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| adj.无礼的；俊俏的；活泼的 | |
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114
inflating
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| v.使充气（于轮胎、气球等）( inflate的现在分词 )；（使）膨胀；（使）通货膨胀；物价上涨 | |
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115
nostrils
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| 鼻孔( nostril的名词复数 ) | |
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116
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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117
conversant
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| adj.亲近的，有交情的，熟悉的 | |
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118
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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119
determined
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| adj.坚定的；有决心的 | |
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120
judicious
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| adj.明智的，明断的，能作出明智决定的 | |
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121
microscopic
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| adj.微小的，细微的，极小的，显微的 | |
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122
lithe
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| adj.(指人、身体)柔软的，易弯的 | |
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123
protruding
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| v.（使某物）伸出，（使某物）突出( protrude的现在分词 )；凸 | |
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124
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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125
concealed
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| a.隐藏的，隐蔽的 | |
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126
evoked
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| [医]诱发的 | |
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127
animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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128
watchful
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| adj.注意的，警惕的 | |
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129
inanities
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| n.空洞( inanity的名词复数 )；浅薄；愚蠢；空洞的言行 | |
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130
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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131
esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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132
incapable
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| adj.无能力的，不能做某事的 | |
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133
homely
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| adj.家常的，简朴的；不漂亮的 | |
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134
glistened
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| v.湿物闪耀，闪亮( glisten的过去式和过去分词 ) | |
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135
anticipatory
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| adj.预想的，预期的 | |
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136
relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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137
chaff
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| v.取笑，嘲笑；n.谷壳 | |
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138
annoyance
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| n.恼怒，生气，烦恼 | |
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139
neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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140
dealing
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| n.经商方法，待人态度 | |
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141
deduct
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| vt.扣除，减去 | |
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142
vivacious
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| adj.活泼的，快活的 | |
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143
balked
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| v.畏缩不前，犹豫( balk的过去式和过去分词 )；（指马）不肯跑 | |
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144
thoroughly
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| adv.完全地，彻底地，十足地 | |
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145
delightful
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| adj.令人高兴的，使人快乐的 | |
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146
waddled
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| v.（像鸭子一样）摇摇摆摆地走( waddle的过去式和过去分词 ) | |
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147
rendering
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| n.表现，描写 | |
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148
cowering
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| v.畏缩，抖缩( cower的现在分词 ) | |
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149
doorway
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| n.门口，(喻)入门；门路，途径 | |
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