But in the glance of the profane, at the threshold of the sacred vestibule, which they had seldom crossed in the daytime or never, and who were certainly crossing it for the first time at night, everything was to be seen: uncertainty9, curiosity, vanity, humility10, embarrassment11, fastidiousness, and perhaps even a slight feeling of pain. The more vainly audacious of the profane adored and hated the "Palace" from afar, and they were dying to go there to mix with those Olympian surroundings, yet none of them ever succeeded in being invited there; so they pretended not to mind and spoke13 badly of the "Palace," though they would have walked on their knees to enter and remain there on one or all of the guest nights. Other profane were anxious to gain an intimate knowledge of an atmosphere famous for its refined luxury, for its exquisite14 pleasures, for a sense of exclusiveness, and secretly tormented15 by curiosity and desires beyond their station, had eagerly waited the chance of living there for one evening only, even as intruders. Some other profane living at St. Moritz apart from great festivities, meetings, and amusements, wishing for one night to show the rich dress they had never put on, and the hair tiring they had never tried, wishing for one evening not to be bored, had firmly believed in satisfying this complex desire of theirs by passing an enchanting16 evening at the "Palace." And since for twenty francs one could reach this lofty, closed Olympus, since for only twenty francs one could enter this terrestrial paradise, all the profane—the vain, the covetous17, the dreamers, the curious, the bored—had been preparing themselves for a week for this supreme18 approach, had been agitated19 about their dress, their hair tire, their cloak, their carriage, and their escort. In appearance they were happily agitated, but secretly they were preoccupied20 about cutting a poor figure in some way, and they pretended ease, distraction21, simplicity22, as if from time immemorial they had been frequenters of the "Palace." But the moment they penetrated23 the first vestibule of the temple dedicated25 to the god "Snob," in that temple which seemed to bear written, in its shining lights, in the superb wealth spread around, in the powerful luxury of its atmosphere and its people, the prophetic and violent motto of an ardent26 and feverish27 society: "EVVIVA LA VITA!"
When these profane, these intruders, entered there, all their emotion, all their fervour, in the long glance, changed into doubt, regret, and pain, and they would almost have turned back, as if they felt themselves profane, more than ever and eternally profane. However, hesitation28, contrition29, and pain were but for a moment: with the deep, civil courage of which women give a hundred proofs every day, of which no one is aware, though often it reaches to heroism30; with an act of resolution and valour, with feigned31 indifference32 and ingenuousness33, the profane entered and advanced, as if they were initiated. No one came forward to meet them; they knew not where to direct themselves, whether to right or left or to the rear; but followed resolutely34 by their husbands and brothers, they went and sat down in some place, fanning themselves or playing with their shawls, tranquil35 in appearance, as if they were of the house, as if they had lived for years at the "Palace."
Soon the profane were in every corner; and if their number increased, their worldly condition at that festival was not bettered. No one knew them there, they knew no one—they remained isolated36. After chatting a little with a husband or brother or son who accompanied them, appearing to smile and joke, to be interested and amused, they became silent and discouraged. They watched with badly concealed37 anxiety the elegant crowd that surrounded them, that was seated or grouped together or divided, as it greeted each other or chatted livelily; the poor profane watched to discover a face they knew of man or woman, to exchange, if not a word, a greeting, a smile, a nod with a human being of that crowd, and, disconsolate38, finding none, they lowered their eyes upon the figures of their Louis XVI fans. Still more deeply irritated were the profane who by chance knew someone at the "Palace." The loud, presumptuous39, very wealthy Frau Mentzel came from the Stahlbad, and as she held a privileged court there, she had succeeded sometimes, merely by chance, in having at her luncheons40, her go?ters, and her dinners some gentleman of the "Palace" itself, or some initiated of the "Badrutt," of the Grand Hotel, the Chateau41, the villas42, on days in which one of these gentlemen had absolutely nothing better to do; this Frau Mentzel was absolutely scandalised because among the three or four of those she knew one had greeted her, saying two words, and had turned on his heels; another had merely bowed to her without speaking; another had not seen her; and the last had openly pretended not to have seen her. Covered with jewels, in a sumptuous Parisian toilette, with an enormous feather in her hair, she did nothing but grind her teeth, chewing curses against the four lacheurs, while her husband and her two cavalieri serventi, two colourless and humble44 parasites45, listened terrified and silent, as they bowed their heads servilely.
As for Donna Mercédès de Fuentes, profane of the profane, who looked very beautiful in a white satin dress trimmed with silver, who was always beautiful, in spite of too much rouge46, bistre, and pearl powder, with which she spoiled her brown, Spanish face, she had seen three or four faces pass before her; and among them her Italian friend, Don Giorgio Galanti. Every time the perfidious47 Italian gave his arm to a different lady and only once had he directed at Donna Mercédès a greeting and a distinctly cold smile. And she had hoped to be led round in triumph by him through the salons49 of the "Palace"; she had dared to hope to dance the cotillon with him. Deluded50 and deeply snubbed, she had not even the strength to quarrel in Spanish with her poor husband; her beautiful black eyes, which were too much underlined with bistre, filled with tears.
As if they wished to show even more markedly the distance that separated them from the profane, matrons and maids and gentlemen of all ages treated each other with such domesticity, with such familiarity, that they seemed to be the closest relations, the most intimate and inseparable friends. The women particularly tutoied each other; many men and women called each other by name. French diminutives51 and English endearments52 were to be heard and strange nicknames. One greeted Fanchette, another excused the absence of Bob, one gave news of Dorine, another asked after Gladys or spoke of Bibi's illness. In that society it seemed as if no one any longer had a surname or title; all seemed brothers, cousins, husbands, lovers of one race and caste, of a single country and house. Whatever did the wretched, profane intruders know about those names, endearments, and nicknames, whoever they were, wherever they came from, whatever they did; if Bibi were a man or woman, or if Gladys were young or old? However could the profane intruders understand those conversations in French, English, or German, conversations which seemed to be carried on in a special and incomprehensible, aristocratic jargon53, full of sub-understandings, references to people unknown to them, allusions54 to events they knew nothing of; however could they understand that chaff55 full of completely conventional wit, whose formula escaped them? What could they see in the malicious56 smiles, in the little sceptical bursts of laughter? What could they grasp of the subdued57, half-uttered phrases said with a sneer58—a regular cryptic59 language, let us say? How could they imagine from a word thrown into the ear an assignment, a refusal, a consent, a warning, a malignity60, a trouble, a scandal especially; words underlined by a fleeting61 but expressive62 glance, by a rapid but suggestive squeeze of the hand? Ought not the profane intruders to be astonished, stupefied, almost oppressed by all this, while the curious, alluring63 spectacle was augmenting64 their wonderment and secret pain?
A curious, most curious, yet alluring spectacle! Not one of the ladies of the "Palace" or of the initiated resembled each other; not one was dressed alike; there was not one whose jewels resembled another's; not one whose beauty was equal to another's; not one whose ugliness was similar to another's ugliness. All were truly Olympian, by an almost mysterious sign that made them seem of one race and caste, of but one country and family. But beyond this indefinite sign, each preserved a personal character in face, dress, features, and gestures. And all these women seemed to be detached from a background even more phantasmagorial, of exquisite French women, who caused the flowing lines of their Parisian dresses to undulate gently from their hips65, amidst light lace and soft silk, purposely brought from the great ateliers of the Rue66 de la Paix for balls at the "Palace"—le Palace, ma chère, vous pensez—detached from a background of Austrian ladies, with rich and graceful67 dresses, certainly beautiful, but rather more pleasing than beautiful; separated by a background of Egyptians, Greeks, Roumanians, Argentines, Spaniards, who owed it to their immense fortunes, their natural, humble sweetness of temperament68, that they were enabled to be introduced and placed in the Olympus of the "Palace"; detached from a background of Italian women, majestic69 and grave, or pretty and witty—each figure, amidst those more prominent and those more in the shade, with her own character and own life forming a curious, singular, and alluring spectacle. The profane intruders, with dazzled eyes and bewildered glance, went from one to another of these feminine figures and now and then, tired of wondering, they lowered their glance, a little pale, before a world of such varied70 appearances, multiform and dissimilar, a world from which every moment they felt themselves separated for ever: they raised their eyes, ever less anxiously, ever more fatigued71, for some new, wondrous72 apparition73.
At last, amidst the murmurs75 of the whole crowd, appeared, late as usual, the famous Miss Miriam Jenkyns, a divine girl—ah, elle est vraiment divine, ma chère—with whom already ten to thirty celebrated76 personages were in love, and numerous unknown personages. Amongst the illustrious were an hereditary77 prince of a powerful empire, an Indian Maharajah, a grandee78 of Spain, a celebrated scientist, a renowned79 painter and father of sons; but Miss Jenkyns loved none of them, and instead, contented80 herself with her unrestrained desire of conquest, being now a Europeanised American girl, full of the deepest scepticism. Nevertheless, as she came from Pontresina she appeared one of the last, desired and invoked81 especially by those who had never seen her. She appeared in a wilful82 simplicity, dressed in a tunic83 of white wool, like the "Primavera" of Sandro Botticelli, adorned84 with a branch of flowers which crossed the skirt right to its hem12, with hair knotted a little loosely as in the picture of the great Tuscan, and covered with loose flowers, with a white tulle shawl, like a cloud, on her shoulders and arms. Her natural beauty had been recomposed and transformed by her according to the purest pre-Raphaelite type, and it was very difficult to discover the subtle and minute art of the recomposition and transformation85. There was another great murmuring, one of the last, when the Princess of Leiningen entered, an Armenian who, in the strangest circumstances, had married a German mediatised prince, a military prince, whose appearances were rare. Not very tall of stature86, in fact rather small, but moulded to perfection, with little hands and feet, the Princess of Leiningen comprised within herself the poetic87 legends of Armenian beauty. Beneath a mass of black, shining hair, her forehead was white and short, her two immense black eyes were shining like jewels; she had a pure, oval face, very white, on which the long eyelashes cast a slight shadow, touched up by the inevitable88 but pretty maquillage of Eastern women, with rather a crimson89 rouge on the cheeks and the lobes90 of the ears, a slightly violet shade beneath the eyes, some black, the better to arch the subtle eyebrows91, and a little of the rather crimson rouge on the lips. She was dressed completely in black, and since she was so white she seemed to rise from a background of shadow; an immense hat of black tulle strangely framed her white face and splendid eyes. She always wore an immense hat, black or white, even with her décolleté dresses, and she never danced. She crossed the room with her light little feet, shod in white satin, without looking at anyone—a dream creature, unreal as one of Edgar Allan Poe's characters, unreal as a vision in an hallucination. She remained at the back of the salon48 silent beneath the shadow of her black hat and black dress, completely white with her unreal countenance92.
At this last strange appearance the profane felt their impressions to be founded and they settled themselves into two different parties. The one, proud and impertinent, like Frau Mentzel, openly hated the surroundings they had wished to penetrate24 and began to vent43 their anger and their humiliation93, finding all the matrons and maids of the "Palace," who were unaware94 of their existence, ugly, awkward, indecent, shameless, venting95 their anger on their husbands and followers96 who, poor people, through cowardice97 agreed, though they were frightened at heart lest these vituperations should be heard, as they looked around them carefully in fear of a scandal. The other party, true snobs98, blind and deaf adorers of that surrounding, venerated99 it even more deeply, felt themselves even more humiliated100, and oppressed, bewailing even more their own anonymity101, nullity, and lack of existence. They felt they deserved to be anonymous102 there and non-existing for ever: they understood that they had no right, that they never would have any right to belong to that superior, unarrivable, sublime103 humanity that lived at the "Palace"!
The which superior, unreachable, sublime humanity, while it aroused such vain disdain104, such empty proposals of revenge, such sterile105 lamentation106 among the wretched profane, was troubling itself with nothing else at that lively and intense hour of the ball but with that deep and supreme feminine interest—to see, observe, study, value, and put a figure on the jewels of the other women in the ballroom107. To note, analyse, and value these jewels and compare them with their own; at times to smile in triumph, or enviously108, or really bitterly, according as their own jewels succeeded in being superior, equal, inferior, or very inferior to the others. Their eyes seemed not to rest on the pearl necklaces, on the rivières of diamonds, the diadems109 of pearls and diamonds, the emerald solitaires, and the ruby111 sprays. Their glance was fleeting, their lips offered other words, but the women did nothing but mentally make rapid calculations, after which they smiled carelessly, or suddenly sighed, or were unexpectedly disturbed. For on that summer night in the high mountains, in a landscape of the purest beauty, amid proud peaks so close to the stars, amid eternal glaciers112 that told an austere113 and terrible tale, in that room there were collected, in the shape of jewels, the fortune perhaps of a populace. At the splendour of thousands and thousands of gems114, at the scintillations of those thousands of precious stones, in the presence of all that bewildering brilliance115, women's beauty, girls' grace, and richness of apparel were concentrated into a furnace of light, lost their value, and were completely eclipsed. Each woman's hair, neck, bosom116, and arms were so thickly crowded with pearls and diamonds, sapphires117 and emeralds, while the jewels of some were few, but enormous, that nothing took the eye or mind, at once astonishing and frightening, but that mad, frenzied118 luxury up there in the high mountains, in the still summer night, not far from the whiteness of the peaks profiled against the sky. But suddenly even that madness and frenzy119 seemed conquered, and in spite of the studied reserve of all those women, and in spite of the studied indifference of the men, a word passed from group to group, from room to room, murmured a hundred times, softly or loudly:
"The tiara! The tiara!"
Mrs. Annie Clarke appeared in the hall, coming from her apartments, although her daughter had been dancing for an hour, having for her partner in the cotillon Don Vittorio Lante della Scala. Being lazy, Annie Clarke always arrived late, or perhaps she did so purposely. That evening she was wearing a rather dark dress of purple velvet120, trimmed with quite simple lace; from neck and bosom descended121 a rivière of diamonds, which were very large at the neck, and afterwards became less large, in long streams of small, shining diamonds, like streams of running water, falling to the waist, whence neck, bosom, and corsage assumed a luminous122, strange appearance. But what was astounding123 in Annie Clarke that evening, what had never been seen before, was her diamond tiara. It was not a single diadem110 of large diamonds, but three diadems, one above the other, in flowers, and leaves, and Arabic work and points. It was a veritable little tower of diamonds, perched on a suitable coiffure. It was a tiara that bizarrely resembled those of the High Priests of Buddha124 in Indian temples, a tiara that strangely resembled the jewelled triple crown of the Pope of the whole Catholic world. It was the tiara of all the great American ladies, the famous tiara of the house of Clarke, like a lighthouse or like the torch which Bartholdi's "Liberty" holds aloft over the port of Brooklyn, to show navigators the entrance to New York. As Annie Clarke crossed the length of the hall quietly and indifferently to pay her respects to Her Serene125 Highness, the Grand Duchess of Salm-Salm, this Clarke tiara, beacon126 and torch of America, eclipsed, annulled127, destroyed—a unique, inimitable jewel—all the other jewels of the women who were gathered there. After a great silence of wonderment amongst the throng128, of groups near and far, after a silence of stupor129, spite, annoyance130, envy, anger, and sadness; after some instants of these atrocious, seething131 sentiments of every kind, a chattering132 began and spread everywhere about the tiara and against it, about Mabel's marriage and against it.
"Puis-je me congratuler pour les fian?ailles de votre chère fille?" the Grand Duchess politely asked Annie Clarke.
As she bowed, the tiara threw a stream of light around. Beneath her tiara Annie Clarke smiled, bowed, and expressed her thanks.
Of the hundred and twenty ladies who were present at the "Palace" festivities that evening but eighty, perhaps, were seated round the ballroom for the charity cotillon; and among the eighty only thirty were dancing. Thus even in this that reputation for theatricalism133 and parade, which everything assumed in the "Palace" Olympus, was maintained: that reputation was maintained, so that there was always a spectacle and a public which at times changed sides, passing from the stage to the stalls, and vice135 versa. There were not many couples, then, to dance in the long and undulating whirls of the "Boston," in the rapid if rarer twirls of the waltz—so much the fashion now the "Boston," so out of fashion the waltz! There were not many couples, hence those who danced had plenty of room in which to turn round, now languidly, now more resolutely, in the difficult modern art of the "Boston." There was no bumping of each other; trains gyrated in their silken softness without being trod upon; voile and tulle skirts seemed like revolving136 clouds. Thus the dancers could display all their mastery of the dance if they possessed137 it, and those who did not possess it dared not expose themselves on the stage, since all around the curious, attentive138 public followed such a dance spectacle as if they were at the theatre; observing, criticising, approving, and scoffing139. On that stage there were some of the dancers of the first flight: the slender Principessa di Castelforte in her white dress and with her string of pearls, worth half a million; another Italian, the Marchesa di Althan, a reed of a woman with an attractive, ugly face; Signorina de Aguilar, a Brazilian, dressed in red, with a vigour140 quite Spanish, dancing like a lost soul, like an insatiable flame. Madame Lawrence danced like a Grecian bas-relief; Miss Mabel Clarke with perfect harmony, in the grace and ardour of the dance; Miss Miriam Jenkyns glided141 as if she were a shadow or a nymph on the meadows. And there were other celebrated dancers, celebrated in all cosmopolitan142 salons, at Biarritz, at Nice, and at Cairo.
In the first flight among the men were Count Buchner, the diplomat143, who had danced in all the capitals of the world for thirty years on end, and at sixty, dried and withered144 as he was, was still a beautiful dancer; the beau of beaux, the Hungarian, the Comte de Hencke, the famous dancer of the majourka to the music of Liszt; Don Vittorio Lante della Scala, one of the most graceful and vigorous dancers of Italy; the young Comte de Roy, the little Frenchman; Edward Crozes, the twenty-year-old son of Lady Crozes. People came and went from the hall, the saloon, and other rooms, and the audience at the performance changed and was renewed around the famous dancers. The performance continued, each performing his or her part with artistic145 zeal146, amidst the approval or adverse147 criticisms of the audience. In a dress of tenderest pink crêpe, surrounded by a silver girdle, with a small wreath of little roses around her riotous148 chestnut149 hair, Mabel Clarke, one of the chief characters of this worldly comedy, was dancing the beginning of the cotillon with another of the chief dancer-actors, Vittorio Lante della Scala; but seized by the truth and the force of their feelings, they forgot to be actors. They had no thought of pleasing others, of being admired by others. They forgot altogether their surroundings, with their artifices150 and pretences151 and obligatory152 masks; and only the perfect, tranquil joy of being together held them in its beautiful frankness, of not leaving each other, of being able to let themselves go to the rhythm of the music in harmonious153 turns, where they seemed to depart and vanish afar in a dream of well-being154 led on by the languid murmur74 of the music. In their sentimental155 absorption they seemed even more to suit each other, and the public of the boxes and stalls around them wondered at them, then with a sneer the fashionable gossiping, calumny156, and back-biting began again, subduedly.
"... Lante has hit it off."
"... The girl has lost her head."
"... Of course, he has done his best to compromise her."
"... In any case, he won't be the first."
"... St. Moritz is a great marriage mart."
"... There are plenty of men, too."
Every now and then the music was silent, and the dancers promenaded157 arm in arm or sat down for a moment, the girls with their hands full of flowers and their figures crossed with ribbons of brilliant colours, the cotillon gifts. Then matron and maid would approach Mabel and Vittorio with a smile of satisfaction on their lips, asking in French, in English, in German:
"May I congratulate you?"
The American girl's beautiful head, crowned with roses, said "yes" with a gracious, frank bow. Vittorio Lante, unable to control himself, for a moment paled with joy, and twisted his yellow moustaches nervously158. The friend would be profuse159 in her compliments.
"Oh, thanks!" scarcely murmured Vittorio Lante.
Once alone, they looked at each other, enjoying those delicious moments intensely. Then, without speaking, in simultaneous action, they joined in the dance again, between the Countess of Durckeim, the Hungarian, a charming eccentric, and Beau de Hencke, who astonished the room, or they danced between the Comte de Roy and Miriam Jenkyns, who danced as if in one of Corot's pictures. Then the friend, maid or matron would rejoin her own set. With spiteful glances, correctly veiled, with slighting words and unfinished phrase, the chorus about Mabel Clarke began again:
"... Oh, these American girls, all the world is theirs. It is disgusting."
"... These American girls pretend to be strong, and as soon as they see an Italian's moustaches they fall."
"... Dowry? A settlement, and uncertain, too."
"... Papa Clarke may go under."
"... He has gone under three times."
"... Mabel's dear papa is a faker of pig's flesh."
"... The mother is silly and vain. Poor Vittorio, what a father and mother-in-law!"
In a dance that became ever more lively, the first and second parts of that theatrical134 spectacle passed—the "Palace" cotillon. A more precipitous movement led the couples amidst gauze, tulle, ribbons, paper caps, streamers of fresh flowers, and Swiss bells of silver paper.
Now and then, during a moment's pause, a friend stopped beside Mabel and Vittorio, formulated163 a courteous164 inquiry165, bowed at the reply, and offered his congratulations, seemingly complimentary166 and full of worldly good-nature. The orchestra gave forth167 its fervid168 recall; the couples danced anew in a hurried whirl. The friend would withdraw to form the centre of a group of men, old, middle-aged169, and young, to whom he brought the news, and where the worldly, masculine choir170, with disingenuous171 air, with an air as if it did not matter, occupied itself particularly with Vittorio Lante.
"... He hasn't a farthing."
"... Seven hundred thousand francs' worth of debts."
"... Refused five times by five girls."
"... His mother mends silk stockings to get a living."
"... He can't pay his hotel bill."
"... Is it true that he paid his attentions to the mother?"
"... He hasn't a title. The real princes are the others, the Della Rovere."
"... He can buy it back; it is there in the family. He has only to pay well for it."
"... He can do that now."
"... It seems that the girl has already given him money. It is the custom in America."
More gaily173, naturally, and simply towards its close, the cotillon gathered together all the couples in the room. By now all the actors had forgotten parade and performance, and were merely abandoning themselves to the great and intoxicating174 pleasure of living. The cotillon ended, because all wished to go to supper, to the extremely dainty, exquisite supper which, in an extremely new chic175 aspect, closes every special night at the "Palace." In two or three rooms the tables were ready. The company was chosen carefully, sympathetic and antipathetic were again carefully expressed, with bizarre reunions and cruel exclusions176. In the ballroom the final picture still kept the crowd. Upon two little chariots, drawn177 by hand, appeared two great piles of green branches and wild flowers, tied with ribbons. Drawn joyfully178 into the middle of the room, the bundles were opened, revealing in the one Miriam Jenkyns, in the other Mabel Clarke, the two leaders of the cotillon. The greatest applause greeted this final picture, and while the pair led the final gallop179, there were still some discreet180 exclamations181 directed at Mabel and Vittorio:
"Vive les fiancés!"
Blushing in her pink dress as she left the room on Vittorio Lante's arm, Mabel Clarke passed into the hall, to look for her mother to sup at the great Clarke table. And now everyone surrounded her, to congratulate her and Vittorio, and both, happy and composed, returned thanks. A few moments afterwards all were seated at table. At a table for men only, amidst young and old, all more or less dowry-hunters, their less happy and less fortunate chief, the Vicomte de Lynen, was telling in a low voice, between the langouste à la Colbert and the chaufroid de gibier, how three years ago Vittorio Lante had seduced182 a poor cousin of his house, how she had had a baby by him, how he had deserted183 mother and little daughter, and how the mother had threatened to vitrioler l'Américaine.
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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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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initiated
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| n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入 | |
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profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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villa
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| n.别墅，城郊小屋 | |
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retinue
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| n.侍从；随员 | |
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rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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humility
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| n.谦逊，谦恭 | |
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embarrassment
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| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
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hem
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| n.贴边，镶边；vt.缝贴边；(in)包围，限制 | |
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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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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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tormented
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| 饱受折磨的 | |
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enchanting
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covetous
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| adj.贪婪的，贪心的 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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agitated
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| adj.被鼓动的，不安的 | |
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preoccupied
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| adj.全神贯注的，入神的；被抢先占有的；心事重重的v.占据（某人）思想，使对…全神贯注，使专心于( preoccupy的过去式) | |
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distraction
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| n.精神涣散，精神不集中，消遣，娱乐 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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penetrated
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| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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25
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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27
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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28
hesitation
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| n.犹豫，踌躇 | |
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29
contrition
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| n.悔罪，痛悔 | |
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30
heroism
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| n.大无畏精神，英勇 | |
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31
feigned
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| a.假装的，不真诚的 | |
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32
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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33
ingenuousness
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| n.率直；正直；老实 | |
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34
resolutely
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| adj.坚决地，果断地 | |
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35
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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36
isolated
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| adj.与世隔绝的 | |
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37
concealed
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| a.隐藏的，隐蔽的 | |
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38
disconsolate
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| adj.忧郁的，不快的 | |
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39
presumptuous
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| adj.胆大妄为的，放肆的，冒昧的，冒失的 | |
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40
luncheons
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| n.午餐，午宴( luncheon的名词复数 ) | |
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41
chateau
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| n.城堡，别墅 | |
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42
villas
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| 别墅，公馆( villa的名词复数 )； （城郊）住宅 | |
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43
vent
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| n.通风口，排放口；开衩；vt.表达，发泄 | |
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44
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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45
parasites
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| 寄生物( parasite的名词复数 )； 靠他人为生的人； 诸虫 | |
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46
rouge
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| n.胭脂，口红唇膏；v.(在…上)擦口红 | |
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47
perfidious
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| adj.不忠的，背信弃义的 | |
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48
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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49
salons
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| n.（营业性质的）店( salon的名词复数 )；厅；沙龙（旧时在上流社会女主人家的例行聚会或聚会场所）；（大宅中的）客厅 | |
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50
deluded
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| v.欺骗，哄骗( delude的过去式和过去分词 ) | |
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51
diminutives
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| n.微小( diminutive的名词复数 )；昵称，爱称 | |
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52
endearments
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| n.表示爱慕的话语，亲热的表示( endearment的名词复数 ) | |
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53
jargon
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| n.术语，行话 | |
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54
allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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55
chaff
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| v.取笑，嘲笑；n.谷壳 | |
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56
malicious
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| adj.有恶意的，心怀恶意的 | |
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57
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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58
sneer
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| v.轻蔑；嘲笑；n.嘲笑，讥讽的言语 | |
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59
cryptic
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| adj.秘密的，神秘的，含义模糊的 | |
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60
malignity
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| n.极度的恶意，恶毒；（病的）恶性 | |
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61
fleeting
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| adj.短暂的，飞逝的 | |
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62
expressive
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| adj.表现的，表达…的，富于表情的 | |
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63
alluring
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| adj.吸引人的，迷人的 | |
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64
augmenting
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| 使扩张 | |
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65
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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66
rue
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| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
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67
graceful
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| adj.优美的，优雅的；得体的 | |
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68
temperament
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| n.气质，性格，性情 | |
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69
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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70
varied
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| adj.多样的，多变化的 | |
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71
fatigued
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| adj. 疲乏的 | |
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72
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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73
apparition
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| n.幽灵，神奇的现象 | |
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74
murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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75
murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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76
celebrated
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| adj.有名的，声誉卓著的 | |
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77
hereditary
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| adj.遗传的，遗传性的，可继承的，世袭的 | |
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78
grandee
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| n.贵族；大公 | |
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79
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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80
contented
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| adj.满意的，安心的，知足的 | |
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81
invoked
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| v.援引( invoke的过去式和过去分词 )；行使（权利等）；祈求救助；恳求 | |
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82
wilful
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| adj.任性的，故意的 | |
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83
tunic
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| n.束腰外衣 | |
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84
adorned
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| [计]被修饰的 | |
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85
transformation
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| n.变化；改造；转变 | |
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86
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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87
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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88
inevitable
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| adj.不可避免的，必然发生的 | |
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89
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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90
lobes
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| n.耳垂( lobe的名词复数 )；（器官的）叶；肺叶；脑叶 | |
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91
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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92
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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93
humiliation
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| n.羞辱 | |
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94
unaware
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| a.不知道的，未意识到的 | |
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95
venting
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| 消除； 泄去； 排去； 通风 | |
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96
followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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97
cowardice
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| n.胆小，怯懦 | |
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98
snobs
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| （谄上傲下的）势利小人( snob的名词复数 )； 自高自大者，自命不凡者 | |
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99
venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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100
humiliated
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| 感到羞愧的 | |
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101
anonymity
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| n.the condition of being anonymous | |
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102
anonymous
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| adj.无名的；匿名的；无特色的 | |
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103
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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104
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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105
sterile
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| adj.不毛的，不孕的，无菌的，枯燥的，贫瘠的 | |
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106
lamentation
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| n.悲叹，哀悼 | |
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107
ballroom
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| n.舞厅 | |
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108
enviously
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| adv.满怀嫉妒地 | |
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109
diadems
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| n.王冠，王权，带状头饰( diadem的名词复数 ) | |
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110
diadem
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| n.王冠，冕 | |
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111
ruby
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| n.红宝石，红宝石色 | |
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112
glaciers
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| 冰河，冰川( glacier的名词复数 ) | |
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113
austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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114
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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115
brilliance
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| n.光辉，辉煌，壮丽，（卓越的）才华，才智 | |
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116
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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117
sapphires
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| n.蓝宝石，钢玉宝石( sapphire的名词复数 )；蔚蓝色 | |
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118
frenzied
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| a.激怒的；疯狂的 | |
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119
frenzy
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| n.疯狂，狂热，极度的激动 | |
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120
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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121
descended
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| a.为...后裔的，出身于...的 | |
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122
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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123
astounding
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| adj.使人震惊的vt.使震惊，使大吃一惊astound的现在分词) | |
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124
Buddha
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| n.佛；佛像；佛陀 | |
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125
serene
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| adj. 安详的，宁静的，平静的 | |
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126
beacon
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| n.烽火，（警告用的）闪火灯，灯塔 | |
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127
annulled
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| v.宣告无效( annul的过去式和过去分词 )；取消；使消失；抹去 | |
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128
throng
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| n.人群，群众；v.拥挤，群集 | |
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129
stupor
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| v.昏迷；不省人事 | |
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130
annoyance
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| n.恼怒，生气，烦恼 | |
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131
seething
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| 沸腾的，火热的 | |
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132
chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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133
theatricalism
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| n.演出法，戏剧风格 | |
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134
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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135
vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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136
revolving
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| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
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137
possessed
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| adj.疯狂的；拥有的，占有的 | |
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138
attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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139
scoffing
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| n. 嘲笑, 笑柄, 愚弄 v. 嘲笑, 嘲弄, 愚弄, 狼吞虎咽 | |
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140
vigour
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| （=vigor）n.智力，体力，精力 | |
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141
glided
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| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
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142
cosmopolitan
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| adj.世界性的，全世界的，四海为家的，全球的 | |
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143
diplomat
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| n.外交官，外交家；能交际的人，圆滑的人 | |
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144
withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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145
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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146
zeal
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| n.热心，热情，热忱 | |
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147
adverse
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| adj.不利的；有害的；敌对的，不友好的 | |
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148
riotous
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| adj.骚乱的；狂欢的 | |
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149
chestnut
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| n.栗树，栗子 | |
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150
artifices
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| n.灵巧( artifice的名词复数 )；诡计；巧妙办法；虚伪行为 | |
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151
pretences
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| n.假装( pretence的名词复数 )；作假；自命；自称 | |
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152
obligatory
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| adj.强制性的，义务的，必须的 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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154
well-being
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| n.安康，安乐，幸福 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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calumny
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| n.诽谤，污蔑，中伤 | |
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promenaded
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| v.兜风( promenade的过去式和过去分词 ) | |
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nervously
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| adv.神情激动地，不安地 | |
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profuse
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| adj.很多的，大量的，极其丰富的 | |
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frankly
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| adv.坦白地，直率地；坦率地说 | |
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limpid
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| adj.清澈的，透明的 | |
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fable
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| n.寓言；童话；神话 | |
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formulated
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| v.构想出( formulate的过去式和过去分词 )；规划；确切地阐述；用公式表示 | |
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courteous
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| adj.彬彬有礼的，客气的 | |
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inquiry
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| n.打听，询问，调查，查问 | |
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complimentary
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| adj.赠送的，免费的，赞美的，恭维的 | |
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forth
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| adv.向前；向外，往外 | |
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fervid
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| adj.热情的；炽热的 | |
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middle-aged
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| adj.中年的 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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disingenuous
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| adj.不诚恳的，虚伪的 | |
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creditors
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| n.债权人，债主( creditor的名词复数 ) | |
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gaily
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| adv.欢乐地，高兴地 | |
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intoxicating
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| a. 醉人的,使人兴奋的 | |
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chic
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| n./adj.别致(的)，时髦(的)，讲究的 | |
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exclusions
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| n.不包括的项目：如接受服务项目是由投保以前已患有的疾病或伤害引致的，保险公司有权拒绝支付。；拒绝( exclusion的名词复数 )；排除；被排斥在外的人（或事物）；排外主义 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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joyfully
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| adv. 喜悦地, 高兴地 | |
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gallop
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| v./n.(马或骑马等)飞奔；飞速发展 | |
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discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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exclamations
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| n.呼喊( exclamation的名词复数 )；感叹；感叹语；感叹词 | |
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seduced
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| 诱奸( seduce的过去式和过去分词 )； 勾引； 诱使堕落； 使入迷 | |
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deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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