An Inscription2.
Kwannon
Kwannon, the Goddess of Mercy, resembles in many ways the no less merciful and gentle Jizō, for both renounced3 the joy of Nirvana that they might bring peace and happiness to others. Kwannon, however, is a much more complex divinity than Jizō, and though she is most frequently portrayed4 as a very beautiful and saintly Japanese woman, she nevertheless assumes a multitude of forms. We are familiar with certain Indian gods and goddesses with innumerable hands, and Kwannon is sometimes depicted6 as Senjiu-Kwannon, or Kwannon-of-the-Thousand-Hands.[1] Each hand holds an object of some kind, as if to suggest that here indeed was a goddess ready in her love to give and to answer prayer to the uttermost.
Then there is Jiu-ichi-men-Kwannon, the Kwannon-of-the-Eleven-Faces. The face of Kwannon is here represented as "smiling with eternal youth and infinite tenderness," and in her glowing presence the ideal of the divine feminine is presented with infinite beauty of conception. In the tiara of Jiu-ichi-men-Kwannon are exquisite7 faces, a radiation, as it were, of miniature Kwannons. Sometimes the tiara of Kwannon takes another form, as in Batō-Kwannon, or Kwannon-with-the-Horse's-Head. The title is a little misleading, for such a graceful8 creature is very far from possessing a[Pg 200] horse's head in any of her manifestations9. Images of this particular Kwannon depict5 a horse cut out in the tiara. Batō-Kwannon is the Goddess to whom peasants pray for the safety and preservation10 of their horses and cattle, and Batō-Kwannon is not only said to protect dumb animals, particularly those who labour for mankind, but she extends her power to protecting their spirits and bringing them ease and a happier life than they experienced while on earth. In sharp contrast with the Kwannons we have already described is Hito-koto-Kwannon, the Kwannon who will only answer one prayer. The Gods of Love and Wisdom are frequently represented in conjunction with this Goddess, and the "Twenty-eight Followers11" are personifications of certain constellations12. But in all the variations of Kwannon she preserves the same virgin13 beauty, and this Goddess of Mercy has not inappropriately been called the Japanese Madonna.
Kwannon in Chinese Myth
In China Kwannon is known as Kwanjin, and is the spiritual son of Amitâbha, but this divinity always appears as a goddess, as her images in both China and Japan testify. The Chinese claim that Kwanjin is of native origin, and was originally the daughter of the King of the Chow dynasty. She was sentenced to death by her father because she refused to marry, but the executioner's sword broke without inflicting14 a wound. We are told that later on her spirit went to Hell. There was something so radiantly beautiful about the spirit of Kwanjin that her very presence turned Hell into Paradise. The King of the Infernal Regions, in order to maintain the gloomy aspect of his realm, sent Kwanjin back to earth again, and he caused her to be miraculously15 transported on a lotus flower to the Island of Pootoo.
[Pg 201]
An Incarnation of Kwannon
Chūjo Hime, a Buddhist17 nun18, is generally regarded as the greatest early Japanese artist of embroidery19, and, according to legend, she was an incarnation of Kwannon. Chūjō Hime met with much cruel treatment from her stepmother, until she finally retired20 to the temple of Toema-dera, and there worked upon the wonderful lotus thread embroidery depicting21 the Buddhist Paradise. The design is so exquisite that we can easily understand the Japanese belief that the Gods helped this great artist in her work.
Kwannon the Mother
There is another remarkable22 embroidery, by Kano Hogai, depicting Kwannon as the Divine Mother, pouring forth23 from a crystal phial the water of creation. As this holy water falls in a series of bubbles, each bubble may be seen to contain a little babe with reverently24 folded hands. It is altogether a wonderful piece of work, and, turning from its pictorial25 beauty to study a description of its technicalities, we find that it took three years to execute, and that 12,100 different shades of silk, and twelve of gold thread, were used.
The "Thirty-three Places" Sacred to Kwannon
There are thirty-three shrines26 sacred to Kwannon. All are carefully numbered, and are to be found in the provinces near Kyōto. The following legend may possibly account for the reverence28 bestowed29 upon the Saikoku Sanjū-san Sho (the "Thirty-three Places").
When the great Buddhist abbot of the eighth century, Tokudō Shōnin, died, he was conducted into the presence of Emma-Ō, the Lord of the Dead. The castle in which Emma-Ō lived was resplendent with silver and gold,[Pg 202] rosy30 pearls, and all manner of sparkling jewels. A light emanated31 from Emma-Ō too, and that dread32 God had a smile upon his face. He received the distinguished33 abbot with extreme courtesy, and thus addressed him:
"Tokudō Shōnin, there are thirty-three places where Kwannon reveals her special favour, for behold34 she has, in her boundless35 love, divided herself into many bodies, so that he who cries for aid shall not cry in vain. Alas36! men continue to go their evil ways, for they know not of these sacred shrines. They live their sordid37 lives and pass into Hell, a vast and countless38 number. Oh, how blind they are, how wayward, and how full of folly39! If they were to make but a single pilgrimage to these thirty-three shrines sacred to our Lady of Mercy, a pure and wonderful light would shine from their feet, feet made spiritually strong to crush down all evil, to scatter40 the hundred and thirty-six hells into fragments. If, in spite of this pilgrimage, one should chance to fall into Hell, I will take his place and receive into myself all his suffering, for if this happened my tale of peace would be false, and I should indeed deserve to suffer. Here is a list of the thirty-and-three sacred shrines of Kwannon. Take it into the troubled world of men and women, and make known the everlasting41 mercy of Kwannon."
Tokudō, having carefully listened to all Emma-Ō had told him, replied: "You have honoured me with such a mission, but mortals are full of doubts and fears, and they would ask for some sign that what I tell them is indeed true."
Emma-Ō at once presented the abbot with his jewelled seal, and, bidding him farewell, sent him on his way accompanied by two attendants.
While these strange happenings were taking place in the Underworld the disciples42 of Tokudō perceived[Pg 203] that though their master's body had lain for three days and nights the flesh had not grown cold. The devoted43 followers did not bury the body, believing that their master was not dead. And such was indeed the case, for eventually Tokudō awakened44 from his trance, and in his right hand he held the jewelled seal of Emma-Ō.
Tokudō lost no time in narrating45 his strange adventures, and when he had concluded his story he and his disciples set off on a pilgrimage to the thirty-three holy places[2] over which the Goddess of Mercy presides.
List of the "Thirty-three Places"
The following is a complete list of the "Thirty-three Places" sacred to Kwannon:
[Pg 204]
1. Fudaraku-ji, at Nachi, in Kishū.
2. Kimii-dera, near Wakayama, in Kishū.
3. Kokawa-dera, in Kishū.
4. Sefuku-ji, in Izumi.
5. Fujii-dera, in Kawachi.
6. Tsubosaka-dera, in Yamato.
7. Oka-dera, in Yamato.
8. Hase-dera, in Yamato.
9. Nan-enō, at Nara, in Yamato.
10. Mimuroto-dera, at Uji, in Yamashiro.
11. Kami Daigo-dera, at Uji, in Yamashiro.
12. Iwama-dera, in Ōmi.
13. Ishiyama-dera, near Ōtsu, in Ōmi.
14. Miidera, near Ōtsu, in Ōmi.
15. Ima-Gumano, at Kyōto, in Yamashiro.
16. Kiyomizu-dera, at Kyōto.
17. Rokuhara-dera, at Kyōto.
18. Rokkaku-dō, at Kyōto.
19. Kōdō, at Kyōto.
20. Yoshimine-dera, at Kyōto.
21. Anōji, in Tamba.
22. Sōjiji, in Settsu.
23. Katsuo-dera, in Settsu.
24. Nakayama-dera, near Kōbe, in Settsu.
25. Shin Kiyomizu-dera, in Harima.
26. Hokkeji, in Harima.
27. Shosha-san, in Harima.
28. Nareai-ji, in Tango.
29. Matsunoo-dera, in Wakasa.
30. Chikubu-shima, island in Lake Biwa, in Ōmi.
31. Chōmeiji, in Ōmi.
32. Kwannonji, in Ōmi.
33. Tanigumi-dera, near Tarui, in Mino.[3]
The "Hall of the Second Moon"
The Buddhist temple of Ni-gwarsu-dō ("Hall of the Second Moon") contains a small copper46 image of Kwannon. It has the miraculous16 power of being warm like living flesh, and since the image was enshrined special services in honour of Kwannon take place in February, and on the 18th of each month the sacred image is exposed for worship.
Kwannon and the Deer
An old hermit47 named Saion Zenji took up his abode48 on Mount Nariai in order that he might be able to gaze upon the beauty of Ama-no-Hashidate, a narrow fir-clad promontory49 dividing Lake Iwataki and Miyazu Bay. Ama-no-Hashidate is still regarded as one of the Sankei, or "Three Great Sights," of Japan, and still Mount[Pg 205] Nariai is considered the best spot from which to view this charming scene.
On Mount Nariai this gentle and holy recluse50 erected51 a little shrine27 to Kwannon not far from a solitary52 pine-tree. He spent his happy days in looking upon Ama-no-Hashidate and in chanting the Buddhist Scriptures53, and his charming disposition54 and holy ways were much appreciated by the people who came to pray at the little shrine he had so lovingly erected for his own joy and for the joy of others.
The hermit's abode, delightful55 enough in mild and sunny weather, was dreary56 in the winter-time, for when it snowed the good old man was cut off from human intercourse57. On one occasion the snow fell so heavily that it was piled up in some places to a height of twenty feet. Day after day the severe weather continued, and at last the poor old hermit found that he had no food of any kind. Chancing to look out one morning, he saw that a deer was lying dead in the snow. As he gazed upon the poor creature, which had been frozen to death, he remembered that it was unlawful in the sight of Kwannon to eat the flesh of animals; but on thinking over the matter more carefully it seemed to him that he could do more good to his fellow creatures by partaking of this deer than by observing the strict letter of the law and allowing himself to starve in sight of plenty.
When Saion Zenji had come to this wise decision he went out and cut off a piece of venison, cooked it, and ate half, with many prayers of thanksgiving for his deliverance. The rest of the venison he left in his cooking-pot.
Eventually the snow melted, and several folk hastily wended their way from the neighbouring village, and ascended58 Mount Nariai, expecting to see that their good and much-loved hermit had forever passed away from this world. As they approached the shrine,[Pg 206] however, they were rejoiced to hear the old man chanting, in a clear and ringing voice, the sacred Buddhist Scriptures.
The folk from the village gathered about the hermit while he narrated59 the story of his deliverance. When, out of curiosity, they chanced to peep into his cooking-pot, they saw, to their utter amazement60, that it contained no venison, but a piece of wood covered with gold foil. Still wondering what it all meant, they looked upon the image of Kwannon in the little shrine, and found that a piece had been cut from her loins, and when they inserted the piece of wood the wound was healed. Then it was that the old hermit and the folk gathered about him realised that the deer had been none other than Kwannon, who, in her boundless love and tender mercy, had made a sacrifice of her own divine flesh.
Benten
"The wild flowers fade, the maple-leaves,
Touched by frost-fingers, float to earth;
But on the bosom61 of the sea
The flowers to which her waves give birth
Fade not, like blossoms on the land,
Nor feel the chill of Autumn's hand."
Yasuhide. (Trans. by Clara A. Walsh.)
Benten, the Goddess of the Sea, is also one of the Seven Divinities of Luck; and she is romantically referred to as the Goddess of Love, Beauty, and Eloquence62. She is represented in Japanese art as riding on a dragon or serpent, which may account for the fact that in certain localities snakes are regarded as being sacred. Images of Benten depict her as having eight arms. Six hands are extended above her head and hold a bow, arrow, wheel, sword, key, and sacred jewel, while her two remaining hands are reverently crossed in prayer. She resembles Kwannon in many[Pg 207] ways, and images of the two goddesses are frequently seen together, but the shrines of Benten are usually to be found on islands.
Benten and the Dragon
We have already referred to Benten riding on a dragon, and the following legend may possibly be connected with this particular representation.
In a certain cave there lived a formidable dragon, which devoured63 the children of the village of Koshigoe. In the sixth century Benten was determined64 to put a stop to this monster's unseemly behaviour, and having caused a great earthquake she hovered65 in the clouds over the cave where the dread dragon had taken up his abode. Benten then descended66 from the clouds, entered the cavern67, married the dragon, and was thus able, through her good influence, to put an end to the slaughter68 of little children. With the coming of Benten there arose from the sea the famous Island of Enoshima,[4] which has remained to this day sacred to the Goddess of the Sea.
Benten-of-the-Birth-Water
Hanagaki Baishū, a young poet and scholar, attended a great festival to celebrate the rebuilding of the Amadera temple. He wandered about the beautiful grounds, and eventually reached the place of a spring from which he had often quenched69 his thirst. He found that what had originally been a spring was now a pond, and, moreover, that at one corner of the pond there was a tablet bearing the words Tanjō-Sui ("Birth-Water"), and also a small but attractive temple dedicated70 to Benten. While Baishū was noting the[Pg 208] changes in the temple grounds the wind blew to his feet a charmingly written love-poem. He picked it up, and discovered that it had been inscribed71 by a female hand, that the characters were exquisitely72 formed, and that the ink was fresh.
Baishū went home and read and re-read the poem. It was not long before he fell in love with the writer, and finally he resolved to make her his wife. At length he went to the temple of Benten-of-the-Birth-Water, and cried: "Oh, Goddess, come to my aid, and help me to find the woman who wrote these wind-blown verses!" Having thus prayed, he promised to perform a seven days' religious service, and to devote the seventh night in ceaseless worship before the sacred shrine of Benten, in the grounds of the Amadera.
On the seventh night of the vigil Baishū heard a voice calling for admittance at the main gateway73 of the temple grounds. The gate was opened, and an old man, clad in ceremonial robes and with a black cap upon his head, advanced and silently knelt before the temple of Benten. Then the outer door of the temple mysteriously opened, and a bamboo curtain was partially74 raised, revealing a handsome boy, who thus addressed the old man: "We have taken pity on a young man who desires a certain love-union, and have called you to inquire into the matter, and to see if you can bring the young people together."
The old man bowed, and then drew from his sleeve a cord which he wound round Baishū's body, igniting one end in a temple-lantern, and waving his hand the while, as if beckoning75 some spirit to appear out of the dark night. In a moment a young girl entered the temple grounds, and, with her fan half concealing76 her pretty face, she knelt beside Baishū.
Then the beautiful boy thus addressed Baishū: "We[Pg 209] have heard your prayer, and we have known that recently you have suffered much. The woman you love is now beside you." And having uttered these words the divine youth departed, and the old man left the temple grounds.
When Baishū had given thanks to Benten-of-the-Birth-Water he proceeded homeward. On reaching the street outside the temple grounds he saw a young girl, and at once recognised her as the woman he loved. Baishū spoke77 to her, and when she replied the gentleness and sweetness of her voice filled the youth with joy. Together they walked through the silent streets until at last they came to the house where Baishū lived. There was a moment's pause, and then the maiden78 said: "Benten has made me your wife," and the lovers entered the house together.
The marriage was an extremely fortunate one, and the happy Baishū discovered that his wife, apart from her excellent domestic qualities, was accomplished79 in the art of arranging flowers and in the art of embroidery, and that her delicate writing was not less pleasing than her charming pictures. Baishū knew nothing about her family, but as she had been presented to him by the Goddess Benten he considered that it was unnecessary to question her in the matter. There was only one thing that puzzled the loving Baishū, and that was that the neighbours seemed to be totally unaware80 of his wife's presence.
One day, while Baishū was walking in a remote quarter of Kyōto, he saw a servant beckoning to him from the gateway of a private house. The man came forward, bowed respectfully, and said: "Will you deign81 to enter this house? My master is anxious to have the honour of speaking to you." Baishū, who knew nothing of the servant or his master, was not a little[Pg 210] surprised by this strange greeting, but he allowed himself to be conducted to the guest-room, and thus his host addressed him:
"I most humbly82 apologise for the very informal manner of my invitation, but I believe that I have acted in compliance83 with a message I received from the Goddess Benten. I have a daughter, and, as I am anxious to find a good husband for her, I sent her written poems to all the temples of Benten in Kyōto. In a dream the Goddess came to me, and told me that she had secured an excellent husband for my daughter, and that he would visit me during the coming winter. I was not inclined to attach very much importance to this dream; but last night Benten again revealed herself to me in a vision, and said that to-morrow the husband she had chosen for my daughter would call upon me, and that I could then arrange the marriage. The Goddess described the appearance of the young man so minutely that I am assured that you are my daughter's future husband."
These strange words filled Baishū with sorrow, and when his courteous84 host proposed to present him to the lady he was unable to summon up sufficient courage to tell his would-be father-in-law that he already had a wife. Baishū followed his host into another apartment, and to his amazement and joy he discovered that the daughter of the house was none other than his own wife! And yet there was a subtle difference, for the woman who now smiled upon him was the body of his wife, and she who had appeared before the temple of Benten-of-the-Birth-Water was her soul. We are told that Benten performed this miracle for the sake of her worshippers, and thus it came to pass that Baishū had a strange dual85 marriage with the woman he loved.
[Pg 211]
Daikoku
Daikoku, the God of Wealth, Ebisu, his son, the God of Labour, and Hotei, the God of Laughter and Contentment, belong to that cycle of deities86 known as the Gods of Luck. Daikoku is represented with a Magic Mallet87, which bears the sign of the Jewel, embodying88 the male and female spirit, and signifies a creative deity89. A stroke of his Mallet confers wealth, and his second attribute is the Rat. Daikoku is, as we should suppose, an extremely popular deity, and he is frequently portrayed as a prosperous Chinese gentleman, richly apparelled, and is usually shown standing90 on bales of rice, with a bag of precious things on his shoulder. This genial91 and beneficent God is also depicted as seated on bales of rice, or showing his treasures to some eager and expectant child, or holding the Red Sun against his breast with one hand and grasping the Magic Mallet with the other.
Daikoku's Rat
Daikoku's attribute, a Rat, has an emblematic92 and moral meaning in connection with the wealth hidden in the God's bag. The Rat is frequently portrayed either in the bale of rice with its head peeping out, or in it, or playing with the Mallet, and sometimes a large number of rats are shown.
According to a certain old legend, the Buddhist Gods grew jealous of Daikoku. They consulted together, and finally decided93 that they would get rid of the too popular Daikoku, to whom the Japanese offered prayers and incense94. Emma-Ō, the Lord of the Dead, promised to send his most cunning and clever oni, Shiro, who, he said, would have no difficulty in conquering the God of Wealth. Shiro, guided by a sparrow, went to[Pg 212] Daikoku's castle, but though he hunted high and low he could not find its owner. Finally Shiro discovered a large storehouse, in which he saw the God of Wealth seated. Daikoku called his Rat and bade him find out who it was who dared to disturb him. When the Rat saw Shiro he ran into the garden and brought back a branch of holly95, with which he drove the oni away, and Daikoku remains96 to this day one of the most popular of the Japanese Gods. This incident is said to be the origin of the New Year's Eve charm, consisting of a holly leaf and a skewer97, or a sprig of holly fixed98 in the lintel of the door of a house to prevent the return of the oni.
The Six Daikoku
1. Makura Daikoku, ordinary form with Mallet on lotus leaf.
2. Ojikara Daikoku, with sword and vajra.
3. Bika Daikoku, a priest, with Mallet in right hand, vajra-hilted sword in left.
4. Yasha Daikoku, with Wheel of the Law in his right hand.
5. Shinda Daikoku, a boy seated with a crystal in his left hand.
6. Mahakara Daikoku, seated female, with small bale of rice on her head.
Ebisu
Ebisu and his father Daikoku are usually pictured together: the God of Wealth seated upon bales of rice, pressing the Red Sun against his breast with one hand, and with the other holding the wealth-giving Mallet, while Ebisu is depicted with a fishing-rod and a great tai fish under his arm.
[Pg 213]
Hotei
Hotei, the God of Laughter and Contentment, is one of the most whimsical of the Japanese Gods. He is represented as extremely fat, carrying on his back a linen99 bag (ho-tei), from which he derives100 his name. In this bag he stows the Precious Things, but when in a particularly playful mood he uses it as a receptacle for merry and inquisitive101 children. Sometimes Hotei is represented in a broken-down and extremely shabby carriage drawn102 by boys, and is then known as the Waggon103 Priest. Again he is portrayed as carrying in one hand a Chinese fan and in the other his bag, or balancing at either end of a pole the bag of Precious Things and a boy.
[1] The title is not accurate, for in reality this form of Kwannon possesses only forty hands. No doubt the name is intended to suggest munificence104 on the part of this Goddess.
[2] "In imitation of the original Thirty-three Holy Places, thirty-three other places have been established in Eastern Japan, and also in the district of Chichibu."—Murray's Handbook for Japan, by Basil Hall Chamberlain and W. B. Mason.
[3] Compiled from Murray's Handbook for Japan.
[4] See Glimpses of Unfamiliar105 Japan, by Lafcadio Hearn, vol. i. pp. 62-104.
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adoration
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| n.爱慕，崇拜 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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renounced
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| v.声明放弃( renounce的过去式和过去分词 )；宣布放弃；宣布与…决裂；宣布摒弃 | |
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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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depict
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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graceful
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manifestations
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preservation
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| n.保护，维护，保存，保留，保持 | |
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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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constellations
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| n.星座( constellation的名词复数 )；一群杰出人物；一系列（相关的想法、事物）；一群（相关的人） | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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inflicting
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miraculously
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miraculous
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Buddhist
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| adj./n.佛教的，佛教徒 | |
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nun
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| n.修女，尼姑 | |
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embroidery
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retired
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depicting
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remarkable
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forth
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reverently
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pictorial
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shrines
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shrine
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reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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bestowed
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rosy
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emanated
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dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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33
distinguished
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| adj.卓越的，杰出的，著名的 | |
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34
behold
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| v.看，注视，看到 | |
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35
boundless
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| adj.无限的；无边无际的；巨大的 | |
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36
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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37
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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38
countless
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| adj.无数的，多得不计其数的 | |
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39
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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40
scatter
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| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
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41
everlasting
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| adj.永恒的，持久的，无止境的 | |
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42
disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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43
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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45
narrating
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| v.故事( narrate的现在分词 ) | |
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46
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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47
hermit
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| n.隐士，修道者；隐居 | |
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48
abode
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| n.住处，住所 | |
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49
promontory
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| n.海角；岬 | |
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50
recluse
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| n.隐居者 | |
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51
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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52
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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53
scriptures
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| 经文，圣典( scripture的名词复数 )； 经典 | |
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54
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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58
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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narrated
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| v.故事( narrate的过去式和过去分词 ) | |
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60
amazement
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| n.惊奇，惊讶 | |
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61
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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63
devoured
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| 吞没( devour的过去式和过去分词 )； 耗尽； 津津有味地看； 狼吞虎咽地吃光 | |
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determined
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| adj.坚定的；有决心的 | |
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hovered
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| 鸟( hover的过去式和过去分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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66
descended
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| a.为...后裔的，出身于...的 | |
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cavern
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| n.洞穴，大山洞 | |
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68
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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quenched
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| 解（渴）( quench的过去式和过去分词 )； 终止（某事物）； （用水）扑灭（火焰等）； 将（热物体）放入水中急速冷却 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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gateway
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| n.大门口，出入口，途径，方法 | |
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partially
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| adv.部分地，从某些方面讲 | |
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beckoning
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| adj.引诱人的，令人心动的v.（用头或手的动作）示意，召唤( beckon的现在分词 ) | |
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concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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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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maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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79
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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80
unaware
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| a.不知道的，未意识到的 | |
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81
deign
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| v. 屈尊, 惠允 ( 做某事) | |
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82
humbly
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| adv. 恭顺地，谦卑地 | |
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83
compliance
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| n.顺从；服从；附和；屈从 | |
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84
courteous
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| adj.彬彬有礼的，客气的 | |
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85
dual
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| adj.双的；二重的，二元的 | |
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86
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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87
mallet
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| n.槌棒 | |
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88
embodying
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| v.表现( embody的现在分词 )；象征；包括；包含 | |
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89
deity
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| n.神，神性；被奉若神明的人(或物) | |
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90
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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genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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92
emblematic
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| adj.象征的，可当标志的；象征性 | |
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93
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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94
incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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95
holly
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| n.[植]冬青属灌木 | |
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96
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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97
skewer
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| n.（烤肉用的）串肉杆；v.用杆串好 | |
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98
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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99
linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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100
derives
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| v.得到( derive的第三人称单数 )；（从…中）得到获得；源于；（从…中）提取 | |
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101
inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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102
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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103
waggon
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| n.运货马车，运货车；敞篷车箱 | |
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104
munificence
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| n.宽宏大量，慷慨给与 | |
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105
unfamiliar
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| adj.陌生的，不熟悉的 | |
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