IT must not be supposed that the life of a personage naturally so active as Phoebe could be wholly confined within the precincts of the old Pyncheon House. Clifford’s demands upon her time were usually satisfied, in those long days, considerably1 earlier than sunset. Quiet as his daily existence seemed, it nevertheless drained all the resources by which he lived. It was not physical exercise that overwearied him — for except that he sometimes wrought2 a little with a hoe, or paced the garden-walk, or, in rainy weather, traversed a large unoccupied room — it was his tendency to remain only too quiescent3, as regarded any toil4 of the limbs and muscles. But, either there was a smouldering fire within him that consumed his vital energy, or the monotony that would have dragged itself with benumbing effect over a mind differently situated5 was no monotony to Clifford. Possibly, he was in a state of second growth and recovery, and was constantly assimilating nutriment for his spirit and intellect from sights, sounds, and events which passed as a perfect void to persons more practised with the world. As all is activity and vicissitude6 to the new mind of a child, so might it be, likewise, to a mind that had undergone a kind of new creation, after its long-suspended life.
Be the cause what it might, Clifford commonly retired7 to rest, thoroughly8 exhausted9, while the sunbeams were still melting through his window-curtains, or were thrown with late lustre10 on the chamber11 wall. And while he thus slept early, as other children do, and dreamed of childhood, Phoebe was free to follow her own tastes for the remainder of the day and evening.
This was a freedom essential to the health even of a character so little susceptible12 of morbid13 influences as that of Phoebe. The old house, as we have already said, had both the dry-rot and the damp-rot in its walls; it was not good to breathe no other atmosphere than that. Hepzibah, though she had her valuable and redeeming14 traits, had grown to be a kind of lunatic by imprisoning15 herself so long in one place, with no other company than a single series of ideas, and but one affection, and one bitter sense of wrong. Clifford, the reader may perhaps imagine, was too inert16 to operate morally on his fellow-creatures, however intimate and exclusive their relations with him. But the sympathy or magnetism17 among human beings is more subtile and universal than we think; it exists, indeed, among different classes of organized life, and vibrates from one to another. A flower, for instance, as Phoebe herself observed, always began to droop18 sooner in Clifford’s hand, or Hepzibah’s, than in her own; and by the same law, converting her whole daily life into a flower fragrance19 for these two sickly spirits, the blooming girl must inevitably20 droop and fade much sooner than if worn on a younger and happier breast. Unless she had now and then indulged her brisk impulses, and breathed rural air in a suburban21 walk, or ocean breezes along the shore — had occasionally obeyed the impulse of Nature, in New England girls, by attending a metaphysical or philosophical22 lecture, or viewing a seven-mile panorama23, or listening to a concert — had gone shopping about the city, ransacking24 entire depots25 of splendid merchandise, and bringing home a ribbon — had employed, likewise, a little time to read the Bible in her chamber, and had stolen a little more to think of her mother and her native place — unless for such moral medicines as the above, we should soon have beheld26 our poor Phoebe grow thin and put on a bleached27, unwholesome aspect, and assume strange, shy ways, prophetic of old-maidenhood and a cheerless future.
Even as it was, a change grew visible; a change partly to be regretted, although whatever charm it infringed29 upon was repaired by another, perhaps more precious. She was not so constantly gay, but had her moods of thought, which Clifford, on the whole, liked better than her former phase of unmingled cheerfulness; because now she understood him better and more delicately, and sometimes even interpreted him to himself. Her eyes looked larger, and darker, and deeper; so deep, at some silent moments, that they seemed like Artesian wells, down, down, into the infinite. She was less girlish than when we first beheld her alighting from the omnibus; less girlish, but more a woman.
The only youthful mind with which Phoebe had an opportunity of frequent intercourse30 was that of the daguerreotypist. Inevitably, by the pressure of the seclusion31 about them, they had been brought into habits of some familiarity. Had they met under different circumstances, neither of these young persons would have been likely to bestow32 much thought upon the other, unless, indeed, their extreme dissimilarity should have proved a principle of mutual33 attraction. Both, it is true, were characters proper to New England life, and possessing a common ground, therefore, in their more external developments; but as unlike, in their respective interiors, as if their native climes had been at world-wide distance. During the early part of their acquaintance, Phoebe had held back rather more than was customary with her frank and simple manners from Holgrave’s not very marked advances. Nor was she yet satisfied that she knew him well, although they almost daily met and talked together, in a kind, friendly, and what seemed to be a familiar way.
The artist, in a desultory34 manner, had imparted to Phoebe something of his history. Young as he was, and had his career terminated at the point already attained35, there had been enough of incident to fill, very creditably, an autobiographic volume. A romance on the plan of Gil Blas, adapted to American society and manners, would cease to be a romance. The experience of many individuals among us, who think it hardly worth the telling, would equal the vicissitudes36 of the Spaniard’s earlier life; while their ultimate success, or the point whither they tend, may be incomparably higher than any that a novelist would imagine for his hero. Holgrave, as he told Phoebe somewhat proudly, could not boast of his origin, unless as being exceedingly humble37, nor of his education, except that it had been the scantiest38 possible, and obtained by a few winter-months’ attendance at a district school. Left early to his own guidance, he had begun to be self-dependent while yet a boy; and it was a condition aptly suited to his natural force of will. Though now but twenty-two years old (lacking some months, which are years in such a life), he had already been, first, a country schoolmaster; next, a salesman in a country store; and, either at the same time or afterwards, the political editor of a country newspaper. He had subsequently travelled New England and the Middle States, as a peddler, in the employment of a Connecticut manufactory of cologne-water and other essences. In an episodical way he had studied and practised dentistry, and with very flattering success, especially in many of the factory-towns along our inland streams. As a supernumerary official, of some kind or other, aboard a packet-ship, he had visited Europe, and found means, before his return, to see Italy, and part of France and Germany. At a later period he had spent some months in a community of Fourierists. Still more recently he had been a public lecturer on Mesmerism, for which science (as he assured Phoebe, and, indeed, satisfactorily proved, by putting Chanticleer, who happened to be scratching near by, to sleep) he had very remarkable39 endowments.
His present phase, as a daguerreotypist, was of no more importance in his own view, nor likely to be more permanent, than any of the preceding ones. It had been taken up with the careless alacrity40 of an adventurer, who had his bread to earn. It would be thrown aside as carelessly, whenever he should choose to earn his bread by some other equally digressive41 means. But what was most remarkable, and, perhaps, showed a more than common poise42 in the young man, was the fact that, amid all these personal vicissitudes, he had never lost his identity. Homeless as he had been — continually changing his whereabout, and, therefore, responsible neither to public opinion nor to individuals — putting off one exterior43, and snatching up another, to be soon shifted for a third — he had never violated the innermost man, but had carried his conscience along with him. It was impossible to know Holgrave without recognizing this to be the fact. Hepzibah had seen it. Phoebe soon saw it likewise, and gave him the sort of confidence which such a certainty inspires. She was startled. however, and sometimes repelled44 — not by any doubt of his integrity to whatever law he acknowledged, but by a sense that his law differed from her own. He made her uneasy, and seemed to unsettle everything around her, by his lack of reverence45 for what was fixed46, unless, at a moment’s warning, it could establish its right to hold its ground.
Then, moreover, she scarcely thought him affectionate in his nature. He was too calm and cool an observer. Phoebe felt his eye, often; his heart, seldom or never. He took a certain kind of interest in Hepzibah and her brother, and Phoebe herself. He studied them attentively47, and allowed no slightest circumstance of their individualities to escape him. He was ready to do them whatever good he might; but, after all, he never exactly made common cause with them, nor gave any reliable evidence that he loved them better in proportion as he knew them more. In his relations with them, he seemed to be in quest of mental food, not heart-sustenance. Phoebe could not conceive what interested him so much in her friends and herself, intellectually, since he cared nothing for them, or, comparatively, so little, as objects of human affection.
Always, in his interviews with Phoebe, the artist made especial inquiry48 as to the welfare of Clifford, whom, except at the Sunday festival, he seldom saw.
“Does he still seem happy?” he asked one day.
“As happy as a child,” answered Phoebe; “but — like a child, too — very easily disturbed.”
“How disturbed?” inquired Holgrave. “By things without, or by thoughts within?”
“I cannot see his thoughts! How should I?” replied Phoebe with simple piquancy49. “Very often his humor changes without any reason that can be guessed at, just as a cloud comes over the sun. Latterly, since I have begun to know him better, I feel it to be not quite right to look closely into his moods. He has had such a great sorrow, that his heart is made all solemn and sacred by it. When he is cheerful — when the sun shines into his mind — then I venture to peep in, just as far as the light reaches, but no further. It is holy ground where the shadow falls!”
“How prettily50 you express this sentiment!” said the artist. “I can understand the feeling, without possessing it. Had I your opportunities, no scruples51 would prevent me from fathoming52 Clifford to the full depth of my plummet-line!”
“How strange that you should wish it!” remarked Phoebe involuntarily. “What is Cousin Clifford to you?”
“Oh, nothing — of course, nothing!” answered Holgrave with a smile. “Only this is such an odd and incomprehensible world! The more I look at it, the more it puzzles me, and I begin to suspect that a man’s bewilderment is the measure of his wisdom. Men and women, and children, too, are such strange creatures, that one never can be certain that he really knows them; nor ever guess what they have been from what he sees them to be now. Judge Pyncheon! Clifford! What a complex riddle53 — a complexity54 of complexities55 — do they present! It requires intuitiv e sympathy, like a young girl’s, to solve it. A mere56 observer, like myself (who never have any intuitions, and am, at best, only subtile and acute), is pretty certain to go astray.”
The artist now turned the conversation to themes less dark than that which they had touched upon. Phoebe and he were young together; nor had Holgrave, in his premature57 experience of life, wasted entirely58 that beautiful spirit of youth, which, gushing59 forth60 from one small heart and fancy, may diffuse61 itself over the universe, making it all as bright as on the first day of creation. Man’s own youth is the world’s youth; at least, he feels as if it were, and imagines that the earth’s granite62 substance is something not yet hardened, and which he can mould into whatever shape he likes. So it was with Holgrave. He could talk sagely63 about the world’s old age, but never actually believed what he said; he was a young man still, and therefore looked upon the world — that gray-bearded and wrinkled profligate64, decrepit65, without being venerable — as a tender stripling, capable of being improved into all that it ought to be, but scarcely yet had shown the remotest promise of becoming. He had that sense, or inward prophecy — which a young man had better never have been born than not to have, and a mature man had better die at once than utterly66 to relinquish67 — that we are not doomed68 to creep on forever in the old bad way, but that, this very now, there are the harbingers abroad of a golden era, to be accomplished69 in his own lifetime. It seemed to Holgrave — as doubtless it has seemed to the hopeful of every century since the epoch70 of Adam’s grandchildren — that in this age, more than ever before, the moss71-grown and rotten Past is to be torn down, and lifeless institutions to be thrust out of the way, and their dead corpses72 buried, and everything to begin anew.
As to the main point — may we never live to doubt it!— as to the better centuries that are coming, the artist was surely right. His error lay in supposing that this age, more than any past or future one, is destined74 to see the tattered75 garments of Antiquity76 exchanged for a new suit, instead of gradually renewing themselves by patchwork77; in applying his own little life-span as the measure of an interminable achievement; and, more than all, in fancying that it mattered anything to the great end in view whether he himself should contend for it or against it. Yet it was well for him to think so. This enthusiasm, infusing itself through the calmness of his character, and thus taking an aspect of settled thought and wisdom, would serve to keep his youth pure, and make his aspirations78 high. And when, with the years settling down more weightily upon him, his early faith should be modified by inevitable79 experience, it would be with no harsh and sudden revolution of his sentiments. He would still have faith in man’s brightening destiny, and perhaps love him all the better, as he should recognize his helplessness in his own behalf; and the haughty80 faith, with which he began life, would be well bartered81 for a far humbler one at its close, in discerning that man’s best directed effort accomplishes a kind of dream, while God is the sole worker of realities.
Holgrave had read very little, and that little in passing through the thoroughfare of life, where the mystic language of his books was necessarily mixed up with the babble82 of the multitude, so that both one and the other were apt to lose any sense that might have been properly their own. He considered himself a thinker, and was certainly of a thoughtful turn, but, with his own path to discover, had perhaps hardly yet reached the point where an educated man begins to think. The true value of his character lay in that deep consciousness of inward strength, which made all his past vicissitudes seem merely like a change of garments; in that enthusiasm, so quiet that he scarcely knew of its existence, but which gave a warmth to everything that he laid his hand on; in that personal ambition, hidden — from his own as well as other eyes — among his more generous impulses, but in which lurked83 a certain efficacy, that might solidify84 him from a theorist into the champion of some practicable cause. Altogether in his culture and want of culture — in his crude, wild, and misty85 philosophy, and the practical experience that counteracted86 some of its tendencies; in his magnanimous zeal87 for man’s welfare, and his recklessness of whatever the ages had established in man’s behalf; in his faith, and in his infidelity. in what he had, and in what he lacked — the artist might fitly enough stand forth as the representative of many compeers in his native land.
His career it would be difficult to prefigure. There appeared to be qualities in Holgrave, such as, in a country where everything is free to the hand that can grasp it, could hardly fail to put some of the world’s prizes within his reach. But these matters are delightfully88 uncertain. At almost every step in life, we meet with young men of just about Holgrave’s age, for whom we anticipate wonderful things, but of whom, even after much and careful inquiry, we never happen to hear another word. The effervescence of youth and passion, and the fresh gloss89 of the intellect and imagination, endow them with a false brilliancy, which makes fools of themselves and other people. Like certain chintzes, calicoes, and ginghams, they show finely in their first newness, but cannot stand the sun and rain, and assume a very sober aspect after washing-day.
But our business is with Holgrave as we find him on this particular afternoon, and in the arbor90 of the Pyncheon garden. In that point of view, it was a pleasant sight to behold91 this young man, with so much faith in himself, and so fair an appearance of admirable powers — so little harmed, too, by the many tests that had tried his metal — it was pleasant to see him in his kindly92 intercourse with Phoebe. Her thought had scarcely done him justice when it pronounced him cold; or, if so, he had grown warmer now. Without such purpose on her part, and unconsciously on his, she made the House of the Seven Gables like a home to him, and the garden a familiar precinct. With the insight on which he prided himself, he fancied that he could look through Phoebe, and all around her, and could read her off like a page of a child’s story-book. But these transparent93 natures are often deceptive94 in their depth; those pebbles95 at the bottom of the fountain are farther from us than we think. Thus the artist, whatever he might judge of Phoebe’s capacity, was beguiled96, by some silent charm of hers, to talk freely of what he dreamed of doing in the world. He poured himself out as to another self. Very possibly, he forgot Phoebe while he talked to her, and was moved only by the inevitable tendency of thought, when rendered sympathetic by enthusiasm and emotion, to flow into the first safe reservoir which it finds. But, had you peeped at them through the chinks of the garden-fence, the young man’s earnestness and heightened color might have led you to suppose that he was making love to the young girl!
At length, something was said by Holgrave that made it apposite for Phoebe to inquire what had first brought him acquainted with her cousin Hepzibah, and why he now chose to lodge97 in the desolate98 old Pyncheon House. Without directly answering her, he turned from the Future, which had heretofore been the theme of his discourse99, and began to speak of the influences of the Past. One subject, indeed, is but the reverberation100 of the other.
“Shall we never, never get rid of this Past?” cried he, keeping up the earnest tone of his preceding conversation. “It lies upon the Present like a giant’s dead body In fact, the case is just as if a young giant were compelled to waste all his strength in carrying about the corpse73 of the old giant, his grandfather, who died a long while ago, and only needs to be decently buried. Just think a moment, and it will startle you to see what slaves we are to bygone times — to Death, if we give the matter the right word!”
“But I do not see it,” observed Phoebe.
“For example, then,” continued Holgrave: “a dead man, if he happens to have made a will, disposes of wealth no longer his own; or, if he die intestate, it is distributed in accordance with the notions of men much longer dead than he. A dead man sits on all our judgment-seats; and living judges do but search out and repeat his decisions. We read in dead men’s books! We laugh at dead men’s jokes, and cry at dead men’s pathos101! We are sick of dead men’s diseases, physical and moral, and die of the same remedies with which dead doctors killed their patients! We worship the living Deity102 according to dead men’s forms and creeds103. Whatever we seek to do, of our own free motion, a dead man’s icy hand obstructs104 us! Turn our eyes to what point we may, a dead man’s white, immitigable face encounters them, and freezes our very heart! And we must be dead ourselves before we can begin to have our proper influence on our own world, which will then be no longer our world, but the world of another generation, with which we shall have no shadow of a right to interfere105. I ought to have said, too, that we live in dead men’s houses; as, for instance, in this of the Seven Gables!”
“And why not,” said Phoebe, “so long as we can be comfortable in them?”
“But we shall live to see the day, I trust,” went on the artist, “when no man shall build his house for posterity106. Why should he? He might just as reasonably order a durable107 suit of clothes — leather, or guttapercha, or whatever else lasts longest — so that his great-grandchildren should have the benefit of them, and cut precisely108 the same figure in the world that he himself does. If each generation were allowed and expected to build its own houses, that single change, comparatively unimportant in itself, would imply almost every reform which society is now suffering for. I doubt whether even our public edifices109 — our capitols, state-houses, court-houses, city-hall, and churches — ought to be built of such permanent materials as stone or brick. It were better that they should crumble110 to ruin once in twenty years, or thereabouts, as a hint to the people to examine into and reform the institutions which they symbolize111.”
“How you hate everything old!” said Phoebe in dismay. “It makes me dizzy to think of such a shifting world!”
“I certainly love nothing mouldy,” answered Holgrave. “Now, this old Pyncheon House! Is it a wholesome28 place to live in, with its black shingles112, and the green moss that shows how damp they are?— its dark, low-studded rooms — its grime and sordidness113, which are the crystallization on its walls of the human breath, that has been drawn114 and exhaled115 here in discontent and anguish116? The house ought to be purified with fire — purified till only its ashes remain!”
“Then why do you live in it?” asked Phoebe, a little piqued117.
“Oh, I am pursuing my studies here; not in books, however,” replied Holgrave. “The house, in my view, is expressive118 of that odious119 and abominable120 Past, with all its bad influences, against which I have just been declaiming. I dwell in it for a while, that I may know the better how to hate it. By the bye, did you ever hear the story of Maule, the wizard, and what happened between him and your immeasurably great-grandfather?”
“Yes, indeed!” said Phoebe; “I heard it long ago, from my father, and two or three times from my cousin Hepzibah, in the month that I have been here. She seems to think that all the calamities121 of the Pyncheons began from that quarrel with the wizard, as you call him. And you, Mr. Holgrave look as if you thought so too! How singular that you should believe what is so very absurd, when you reject many things that are a great deal worthier122 of credit!”
“I do believe it,” said the artist seriously; “not as a superstition123, however, but as proved by unquestionable facts, and as exemplifying a theory. Now, see: under those seven gables, at which we now look up — and which old Colonel Pyncheon meant to be the house of his descendants, in prosperity and happiness, down to an epoch far beyond the present — under that roof, through a portion of three centuries, there has been perpetual remorse124 of conscience, a constantly defeated hope, strife125 amongst kindred, various misery126, a strange form of death, dark suspicion, unspeakable disgrace — all, or most of which calamity127 I have the means of tracing to the old Puritan’s inordinate128 desire to plant and endow a family. To plant a family! This idea is at the bottom of most of the wrong and mischief129 which men do. The truth is, that, once in every half-century, at longest, a family should be merged130 into the great, obscure mass of humanity, and forget all about its ancestors. Human blood, in order to keep its freshness, should run in hidden streams, as the water of an aqueduct is conveyed in subterranean131 pipes. In the family existence of these Pyncheons, for instance — forgive me, Phoebe. but I, cannot think of you as one of them — in their brief New England pedigree, there has been time enough to infect them all with one kind of lunacy or another.”
“You speak very unceremoniously of my kindred,” said Phoebe, debating with herself whether she ought to take offence.
“I speak true thoughts to a true mind!” answered Holgrave, with a vehemence132 which Phoebe had not before witnessed in him. “The truth is as I say! Furthermore, the original perpetrator and father of this mischief appears to have perpetuated133 himself, and still walks the street — at least, his very image, in mind and body — with the fairest prospect134 of transmitting to posterity as rich and as wretched an inheritance as he has received! Do you remember the daguerreotype135, and its resemblance to the old portrait?”
“How strangely in earnest you are!” exclaimed Phoebe, looking at him with surprise and perplexity; half alarmed and partly inclined to laugh. “You talk of the lunacy of the Pyncheons; is it contagious136?”
“I understand you!” said the artist, coloring and laughing. “I believe I am a little mad. This subject has taken hold of my mind with the strangest tenacity137 of clutch since I have lodged138 in yonder old gable. As one method of throwing it off, I have put an incident of the Pyncheon family history, with which I happen to be acquainted, into the form of a legend, and mean to publish it in a magazine.”
“Do you write for the magazines?” inquired Phoebe.
“Is it possible you did not know it?” cried Holgrave. “Well, such is literary fame! Yes. Miss Phoebe Pyncheon, among the multitude of my marvellous gifts I have that of writing stories; and my name has figured, I can assure you, on the covers of Graham and Godey, making as respectable an appearance, for aught I could see, as any of the canonized bead-roll with which it was associated. In the humorous line, I am thought to have a very pretty way with me; and as for pathos, I am as provocative139 of tears as an onion. But shall I read you my story?”
“Yes, if it is not very long,” said Phoebe — and added laughingly —“nor very dull.”
As this latter point was one which the daguerreotypist could not decide for himself, he forthwith produced his roll of manuscript, and, while the late sunbeams gilded140 the seven gables, began to read.
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considerably
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wrought
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quiescent
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toil
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situated
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vicissitude
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retired
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thoroughly
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exhausted
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lustre
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chamber
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susceptible
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morbid
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redeeming
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imprisoning
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inert
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magnetism
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droop
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fragrance
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inevitably
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suburban
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philosophical
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panorama
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depots
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beheld
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bleached
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wholesome
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infringed
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| v.违反（规章等）( infringe的过去式和过去分词 )；侵犯（某人的权利）；侵害（某人的自由、权益等） | |
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30
intercourse
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| n.性交；交流，交往，交际 | |
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31
seclusion
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| n.隐遁，隔离 | |
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32
bestow
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| v.把…赠与，把…授予；花费 | |
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33
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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34
desultory
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| adj.散漫的，无方法的 | |
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35
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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36
vicissitudes
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| n.变迁，世事变化；变迁兴衰( vicissitude的名词复数 )；盛衰兴废 | |
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37
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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38
scantiest
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| adj.（大小或数量）不足的，勉强够的( scanty的最高级 ) | |
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39
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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40
alacrity
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| n.敏捷，轻快，乐意 | |
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41
digressive
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| adj.枝节的，离题的 | |
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42
poise
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| vt./vi. 平衡，保持平衡；n.泰然自若，自信 | |
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43
exterior
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| adj.外部的，外在的；表面的 | |
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44
repelled
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| v.击退( repel的过去式和过去分词 )；使厌恶；排斥；推开 | |
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45
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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46
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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47
attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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48
inquiry
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| n.打听，询问，调查，查问 | |
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49
piquancy
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| n.辛辣，辣味，痛快 | |
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50
prettily
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| adv.优美地；可爱地 | |
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51
scruples
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| n.良心上的不安( scruple的名词复数 )；顾虑，顾忌v.感到于心不安，有顾忌( scruple的第三人称单数 ) | |
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52
fathoming
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| 测量 | |
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53
riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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54
complexity
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| n.复杂(性)，复杂的事物 | |
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55
complexities
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| 复杂性(complexity的名词复数)； 复杂的事物 | |
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56
mere
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| adj.纯粹的；仅仅，只不过 | |
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57
premature
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| adj.比预期时间早的；不成熟的，仓促的 | |
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58
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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59
gushing
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| adj.迸出的；涌出的；喷出的；过分热情的v.喷，涌( gush的现在分词 )；滔滔不绝地说话 | |
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60
forth
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| adv.向前；向外，往外 | |
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61
diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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62
granite
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| adj.花岗岩，花岗石 | |
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63
sagely
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| adv. 贤能地，贤明地 | |
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64
profligate
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| adj.行为不检的；n.放荡的人，浪子，肆意挥霍者 | |
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65
decrepit
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| adj.衰老的，破旧的 | |
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66
utterly
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| adv.完全地，绝对地 | |
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67
relinquish
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| v.放弃，撤回，让与，放手 | |
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68
doomed
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| 命定的 | |
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69
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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70
epoch
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| n.(新)时代；历元 | |
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71
moss
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| n.苔，藓，地衣 | |
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72
corpses
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| n.死尸，尸体( corpse的名词复数 ) | |
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73
corpse
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| n.尸体，死尸 | |
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74
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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75
tattered
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| adj.破旧的，衣衫破的 | |
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76
antiquity
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| n.古老；高龄；古物，古迹 | |
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77
patchwork
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| n.混杂物；拼缝物 | |
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78
aspirations
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| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
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79
inevitable
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| adj.不可避免的，必然发生的 | |
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80
haughty
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| adj.傲慢的，高傲的 | |
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81
bartered
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| v.作物物交换，以货换货( barter的过去式和过去分词 ) | |
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82
babble
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| v.含糊不清地说，胡言乱语地说，儿语 | |
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83
lurked
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| vi.潜伏，埋伏（lurk的过去式与过去分词形式） | |
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84
solidify
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| v.(使)凝固，(使)固化，(使)团结 | |
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85
misty
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| adj.雾蒙蒙的，有雾的 | |
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86
counteracted
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| 对抗，抵消( counteract的过去式 ) | |
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87
zeal
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| n.热心，热情，热忱 | |
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88
delightfully
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| 大喜，欣然 | |
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89
gloss
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| n.光泽，光滑；虚饰；注释；vt.加光泽于；掩饰 | |
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90
arbor
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| n.凉亭；树木 | |
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91
behold
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| v.看，注视，看到 | |
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92
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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93
transparent
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| adj.明显的，无疑的；透明的 | |
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94
deceptive
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| adj.骗人的，造成假象的，靠不住的 | |
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95
pebbles
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| [复数]鹅卵石； 沙砾； 卵石，小圆石( pebble的名词复数 ) | |
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96
beguiled
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| v.欺骗( beguile的过去式和过去分词 )；使陶醉；使高兴；消磨（时间等） | |
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97
lodge
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| v.临时住宿，寄宿，寄存，容纳；n.传达室，小旅馆 | |
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98
desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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99
discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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100
reverberation
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| 反响； 回响； 反射； 反射物 | |
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101
pathos
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| n.哀婉，悲怆 | |
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102
deity
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| n.神，神性；被奉若神明的人(或物) | |
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103
creeds
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| （尤指宗教）信条，教条( creed的名词复数 ) | |
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104
obstructs
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| 阻塞( obstruct的第三人称单数 )； 堵塞； 阻碍； 阻止 | |
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105
interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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106
posterity
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| n.后裔，子孙，后代 | |
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107
durable
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| adj.持久的，耐久的 | |
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108
precisely
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| adv.恰好，正好，精确地，细致地 | |
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109
edifices
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| n.大建筑物( edifice的名词复数 ) | |
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110
crumble
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| vi.碎裂，崩溃；vt.弄碎，摧毁 | |
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111
symbolize
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| vt.作为...的象征，用符号代表 | |
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112
shingles
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| n.带状疱疹；（布满海边的）小圆石( shingle的名词复数 )；屋顶板；木瓦（板）；墙面板 | |
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113
sordidness
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| n.肮脏；污秽；卑鄙；可耻 | |
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114
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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115
exhaled
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| v.呼出，发散出( exhale的过去式和过去分词 )；吐出（肺中的空气、烟等），呼气 | |
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116
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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117
piqued
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| v.伤害…的自尊心( pique的过去式和过去分词 )；激起（好奇心） | |
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118
expressive
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| adj.表现的，表达…的，富于表情的 | |
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119
odious
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| adj.可憎的，讨厌的 | |
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120
abominable
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| adj.可厌的，令人憎恶的 | |
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121
calamities
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| n.灾祸，灾难( calamity的名词复数 )；不幸之事 | |
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122
worthier
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| 应得某事物( worthy的比较级 )； 值得做某事； 可尊敬的； 有（某人或事物）的典型特征 | |
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123
superstition
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| n.迷信，迷信行为 | |
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124
remorse
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| n.痛恨，悔恨，自责 | |
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125
strife
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| n.争吵，冲突，倾轧，竞争 | |
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126
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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127
calamity
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| n.灾害，祸患，不幸事件 | |
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128
inordinate
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| adj.无节制的；过度的 | |
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129
mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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130
merged
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| （使）混合( merge的过去式和过去分词 )； 相融； 融入； 渐渐消失在某物中 | |
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131
subterranean
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| adj.地下的，地表下的 | |
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132
vehemence
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| n.热切；激烈；愤怒 | |
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133
perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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134
prospect
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| n.前景，前途；景色，视野 | |
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135
daguerreotype
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| n.银板照相 | |
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136
contagious
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| adj.传染性的，有感染力的 | |
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137
tenacity
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| n.坚韧 | |
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138
lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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139
provocative
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| adj.挑衅的，煽动的，刺激的，挑逗的 | |
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140
gilded
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| a.镀金的，富有的 | |
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