Juno one day perceived it suddenly grow dark, and immediately suspected that her husband had raised a cloud to hide some of his doings that would not bear the light. She brushed away the cloud, and saw her husband on the banks of a glassy river, with a beautiful heifer standing3 near him. Juno suspected the heifer’s form concealed4 some fair nymph of mortal mould—as was, indeed the case; for it was Io, the daughter of the river god Inachus, whom Jupiter had been flirting5 with, and, when he became aware of the approach of his wife, had changed into that form.
Juno joined her husband, and noticing the heifer praised its beauty, and asked whose it was, and of what herd6. Jupiter, to stop questions, replied that it was a fresh creation from the earth. Juno asked to have it as a gift. What could Jupiter do? He was loath7 to give his mistress to his wife; yet how refuse so trifling8 a present as a simple heifer? He could not, without exciting suspicion; so he consented. The goddess was not yet relieved of her suspicions; so she delivered the heifer to Argus, to be strictly9 watched.
Now Argus had a hundred eyes in his head, and never went to sleep with more than two at a time, so that he kept watch of Io constantly. He suffered her to feed through the day, and at night tied her up with a vile10 rope round her neck. She would have stretched out her arms to implore11 freedom of Argus, but she had no arms to stretch out, and her voice was a bellow12 that frightened even herself. She saw her father and her sisters, went near them, and suffered them to pat her back, and heard them admire her beauty. Her father reached her a tuft of grass, and she licked the outstretched hand. She longed to make herself known to him, and would have uttered her wish; but, alas13! words were wanting. At length she bethought herself of writing, and inscribed14 her name—it was a short one—with her hoof15 on the sand. Inachus recognized it, and discovering that his daughter, whom he had long sought in vain, was hidden under this disguise, mourned over her, and, embracing her white neck, exclaimed, “Alas! my daughter, it would have been a less grief to have lost you altogether!” While he thus lamented16, Argus, observing, came and drove her away, and took his seat on a high bank, from whence he could see all around in every direction.
Jupiter was troubled at beholding18 the sufferings of his mistress, and calling Mercury told him to go and despatch19 Argus. Mercury made haste, put his winged slippers20 on his feet, and cap on his head, took his sleep-producing wand, and leaped down from the heavenly towers to the earth. There he laid aside his wings, and kept only his wand, with which he presented himself as a shepherd driving his flock. As he strolled on he blew upon his pipes. These were what are called the Syrinx or Pandean pipes. Argus listened with delight, for he had never seen the instrument before. “Young man,” said he, “come and take a seat by me on this stone. There is no better place for your flocks to graze in than hereabouts, and here is a pleasant shade such as shepherds love.” Mercury sat down, talked, and told stories till it grew late, and played upon his pipes his most soothing21 strains, hoping to lull22 the watchful23 eyes to sleep, but all in vain; for Argus still contrived24 to keep some of his eyes open though he shut the rest.
Among other stories, Mercury told him how the instrument on which he played was invented. “There was a certain nymph, whose name was Syrinx, who was much beloved by the satyrs and spirits of the wood; but she would have none of them, but was a faithful worshipper of Diana, and followed the chase. You would have thought it was Diana herself, had you seen her in her hunting dress, only that her bow was of horn and Diana’s of silver. One day, as she was returning from the chase, Pan met her, told her just this, and added more of the same sort. She ran away, without stopping to hear his compliments, and he pursued till she came to the bank of the river, where he overtook her, and she had only time to call for help on her friends the water nymphs. They heard and consented. Pan threw his arms around what he supposed to be the form of the nymph, and found he embraced only a tuft of reeds! As he breathed a sigh, the air sounded through the reeds, and produced a plaintive25 melody. The god, charmed with the novelty and with the sweetness of the music, said, ‘Thus, then, at least, you shall be mine.’ And he took some of the reeds, and placing them together, of unequal lengths, side by side, made an instrument which he called Syrinx, in honor of the nymph.” Before Mercury had finished his story he saw Argus’s eyes all asleep. As his head nodded forward on his breast, Mercury with one stroke cut his neck through, and tumbled his head down the rocks. O hapless Argus! the light of your hundred eyes is quenched27 at once! Juno took them and put them as ornaments28 on the tail of her peacock, where they remain to this day.
But the vengeance29 of Juno was not yet satiated. She sent a gadfly to torment30 Io, who fled over the whole world from its pursuit. She swam through the Ionian sea, which derived31 its name from her, then roamed over the plains of Illyria, ascended32 Mount H?mus, and crossed the Thracian strait, thence named the Bosphorus (cow-ford), rambled33 on through Scythia, and the country of the Cimmerians, and arrived at last on the banks of the Nile. At length Jupiter interceded34 for her, and upon his promising35 not to pay her any more attentions Juno consented to restore her to her form. It was curious to see her gradually recover her former self. The coarse hairs fell from her body, her horns shrank up, her eyes grew narrower, her mouth shorter; hands and fingers came instead of hoofs36 to her forefeet; in fine there was nothing left of the heifer, except her beauty. At first she was afraid to speak, for fear she should low, but gradually she recovered her confidence and was restored to her father and sisters.
In a poem dedicated37 to Leigh Hunt, by Keats, the following allusion38 to the story of Pan and Syrinx occurs:
“So did he feel who pulled the bough39 aside,
That we might look into a forest wide,
. . . . . . .
Telling us how fair trembling Syrinx fled
Arcadian Pan, with such a fearful dread40.
Poor nymph—poor Pan—how he did weep to find
Nought41 but a lovely sighing of the wind
Along the reedy stream; a half-heard strain,
Full of sweet desolation, balmy pain.”
CALLISTO
Callisto was another maiden42 who excited the jealousy43 of Juno, and the goddess changed her into a bear. “I will take away,” said she, “that beauty with which you have captivated my husband.” Down fell Callisto on her hands and knees; she tried to stretch out her arms in supplication44—they were already beginning to be covered with black hair. Her hands grew rounded, became armed with crooked45 claws, and served for feet; her mouth, which Jove used to praise for its beauty, became a horrid46 pair of jaws47; her voice, which if unchanged would have moved the heart to pity, became a growl48, more fit to inspire terror. Yet her former disposition49 remained, and with continual groaning50, she bemoaned51 her fate, and stood upright as well as she could, lifting up her paws to beg for mercy, and felt that Jove was unkind, though she could not tell him so. Ah, how often, afraid to stay in the woods all night alone, she wandered about the neighborhood of her former haunts; how often, frightened by the dogs, did she, so lately a huntress, fly in terror from the hunters! Often she fled from the wild beasts, forgetting that she was now a wild beast herself; and, bear as she was, was afraid of the bears.
One day a youth espied52 her as he was hunting. She saw him and recognized him as her own son, now grown a young man. She stopped and felt inclined to embrace him. As she was about to approach, he, alarmed, raised his hunting spear, and was on the point of transfixing her, when Jupiter, beholding, arrested the crime, and snatching away both of them, placed them in the heavens as the Great and Little Bear.
Juno was in a rage to see her rival so set in honor, and hastened to ancient Tethys and Oceanus, the powers of ocean, and in answer to their inquiries54 thus told the cause of her coming: “Do you ask why I, the queen of the gods, have left the heavenly plains and sought your depths? Learn that I am supplanted55 in heaven—my place is given to another. You will hardly believe me; but look when night darkens the world, and you shall see the two of whom I have so much reason to complain exalted56 to the heavens, in that part where the circle is the smallest, in the neighborhood of the pole. Why should any one hereafter tremble at the thought of offending Juno, when such rewards are the consequence of my displeasure? See what I have been able to effect! I forbade her to wear the human form—she is placed among the stars! So do my punishments result—such is the extent of my power! Better that she should have resumed her former shape, as I permitted Io to do. Perhaps he means to marry her, and put me away! But you, my foster-parents, if you feel for me, and see with displeasure this unworthy treatment of me, show it, I beseech57 you, by forbidding this guilty couple from coming into your waters.” The powers of the ocean assented58, and consequently the two constellations60 of the Great and Little Bear move round and round in heaven, but never sink, as the other stars do, beneath the ocean.
Milton alludes61 to the fact that the constellation59 of the Bear never sets, when he says:
“Let my lamp at midnight hour
Be seen in some high lonely tower,
Where I may oft outwatch the Bear,” etc.
And Prometheus, in J. R. Lowell’s poem, says:
“One after one the stars have risen and set,
Sparkling upon the hoar frost of my chain;
The Bear that prowled all night about the fold
Of the North-star, hath shrunk into his den2,
Scared by the blithesome62 footsteps of the Dawn.”
The last star in the tail of the Little Bear is the Pole-star, called also the Cynosure63. Milton says:
“Straight mine eye hath caught new pleasures
While the landscape round it measures.
. . . . . . .
Towers and battlements it sees
Bosomed64 high in tufted trees,
Where perhaps some beauty lies
The Cynosure of neighboring eyes.”
The reference here is both to the Pole-star as the guide of mariners65, and to the magnetic attraction of the North. He calls it also the “Star of Arcady,” because Callisto’s boy was named Arcas, and they lived in Arcadia. In “Comus,” the brother, benighted66 in the woods, says:
“. . . Some gentle taper67!
Though a rush candle, from the wicker hole
Of some clay habitation, visit us
With thy long levelled rule of streaming light,
And thou shalt be our star of Arcady,
Or Tyrian Cynosure.”
DIANA AND ACT?ON
Thus in two instances we have seen Juno’s severity to her rivals; now let us learn how a virgin68 goddess punished an invader69 of her privacy.
It was midday, and the sun stood equally distant from either goal, when young Act?on, son of King Cadmus, thus addressed the youths who with him were hunting the stag in the mountains:
“Friends, our nets and our weapons are wet with the blood of our victims; we have had sport enough for one day, and to-morrow we can renew our labors70. Now, while Ph?bus parches71 the earth, let us put by our implements72 and indulge ourselves with rest.”
There was a valley thick enclosed with cypresses73 and pines, sacred to the huntress queen, Diana. In the extremity74 of the valley was a cave, not adorned75 with art, but nature had counterfeited76 art in its construction, for she had turned the arch of its roof with stones as delicately fitted as if by the hand of man. A fountain burst out from one side, whose open basin was bounded by a grassy77 rim53. Here the goddess of the woods used to come when weary with hunting and lave her virgin limbs in the sparkling water.
One day, having repaired thither78 with her nymphs, she handed her javelin79, her quiver, and her bow to one, her robe to another, while a third unbound the sandals from her feet. Then Crocale, the most skilful80 of them, arranged her hair, and Nephele, Hyale, and the rest drew water in capacious urns81. While the goddess was thus employed in the labors of the toilet, behold17 Act?on, having quitted his companions, and rambling82 without any especial object, came to the place, led thither by his destiny. As he presented himself at the entrance of the cave, the nymphs, seeing a man, screamed and rushed towards the goddess to hide her with their bodies. But she was taller than the rest and overtopped them all by a head. Such a color as tinges83 the clouds at sunset or at dawn came over the countenance84 of Diana thus taken by surprise. Surrounded as she was by her nymphs, she yet turned half away, and sought with a sudden impulse for her arrows. As they were not at hand, she dashed the water into the face of the intruder, adding these words: “Now go and tell, if you can, that you have seen Diana unapparelled.” Immediately a pair of branching stag’s horns grew out of his head, his neck gained in length, his ears grew sharp-pointed, his hands became feet, his arms long legs, his body was covered with a hairy spotted85 hide. Fear took the place of his former boldness, and the hero fled. He could not but admire his own speed; but when he saw his horns in the water, “Ah, wretched me!” he would have said, but no sound followed the effort. He groaned86, and tears flowed down the face which had taken the place of his own. Yet his consciousness remained. What shall he do?—go home to seek the palace, or lie hid in the woods? The latter he was afraid, the former he was ashamed, to do. While he hesitated the dogs saw him. First Melampus, a Spartan87 dog, gave the signal with his bark, then Pamphagus, Dorceus, Lelaps, Theron, Nape, Tigris, and all the rest, rushed after him swifter than the wind. Over rocks and cliffs, through mountain gorges88 that seemed impracticable, he fled and they followed. Where he had often chased the stag and cheered on his pack, his pack now chased him, cheered on by his huntsmen. He longed to cry out, “I am Act?on; recognize your master!” but the words came not at his will. The air resounded89 with the bark of the dogs. Presently one fastened on his back, another seized his shoulder. While they held their master, the rest of the pack came up and buried their teeth in his flesh. He groaned,—not in a human voice, yet certainly not in a stag’s,—and falling on his knees, raised his eyes, and would have raised his arms in supplication, if he had had them. His friends and fellow-huntsmen cheered on the dogs, and looked everywhere for Act?on, calling on him to join the sport. At the sound of his name he turned his head, and heard them regret that he should be away. He earnestly wished he was. He would have been well pleased to see the exploits of his dogs, but to feel them was too much. They were all around him, rending90 and tearing; and it was not till they had torn his life out that the anger of Diana was satisfied.
In Shelley’s poem “Adonais” is the following allusion to the story of Act?on:
“?’Midst others of less note came one frail91 form,
A phantom92 among men: companionless
As the last cloud of an expiring storm,
Whose thunder is its knell93; he, as I guess,
Had gazed on Nature’s naked loveliness,
Act?on-like, and now he fled astray
With feeble steps o’er the world’s wilderness94;
And his own Thoughts, along that rugged95 way,
Pursued like raging hounds their father and their prey96.”
Stanza97 31.
The allusion is probably to Shelley himself.
LATONA AND THE RUSTICS
Some thought the goddess in this instance more severe than was just, while others praised her conduct as strictly consistent with her virgin dignity. As usual, the recent event brought older ones to mind, and one of the bystanders told this story: “Some countrymen of Lycia once insulted the goddess Latona, but not with impunity98. When I was young, my father, who had grown too old for active labors, sent me to Lycia to drive thence some choice oxen, and there I saw the very pond and marsh99 where the wonder happened. Near by stood an ancient altar, black with the smoke of sacrifice and almost buried among the reeds. I inquired whose altar it might be, whether of Faunus or the Naiads, or some god of the neighboring mountain, and one of the country people replied, ‘No mountain or river god possesses this altar, but she whom royal Juno in her jealousy drove from land to land, denying her any spot of earth whereon to rear her twins.’ Bearing in her arms the infant deities100, Latona reached this land, weary with her burden and parched101 with thirst. By chance she espied on the bottom of the valley this pond of clear water, where the country people were at work gathering102 willows103 and osiers. The goddess approached, and kneeling on the bank would have slaked104 her thirst in the cool stream, but the rustics forbade her. ‘Why do you refuse me water?’ said she; ‘water is free to all. Nature allows no one to claim as property the sunshine, the air, or the water. I come to take my share of the common blessing105. Yet I ask it of you as a favor. I have no intention of washing my limbs in it, weary though they be, but only to quench26 my thirst. My mouth is so dry that I can hardly speak. A draught106 of water would be nectar to me; it would revive me, and I would own myself indebted to you for life itself. Let these infants move your pity, who stretch out their little arms as if to plead for me;’ and the children, as it happened, were stretching out their arms.
“Who would not have been moved with these gentle words of the goddess? But these clowns persisted in their rudeness; they even added jeers107 and threats of violence if she did not leave the place. Nor was this all. They waded108 into the pond and stirred up the mud with their feet, so as to make the water unfit to drink. Latona was so angry that she ceased to mind her thirst. She no longer supplicated109 the clowns, but lifting her hands to heaven exclaimed, ‘May they never quit that pool, but pass their lives there!’ And it came to pass accordingly. They now live in the water, sometimes totally submerged, then raising their heads above the surface or swimming upon it. Sometimes they come out upon the bank, but soon leap back again into the water. They still use their base voices in railing, and though they have the water all to themselves, are not ashamed to croak110 in the midst of it. Their voices are harsh, their throats bloated, their mouths have become stretched by constant railing, their necks have shrunk up and disappeared, and their heads are joined to their bodies. Their backs are green, their disproportioned bellies111 white, and in short they are now frogs, and dwell in the slimy pool.”
This story explains the allusion in one of Milton’s sonnets112, “On the detraction113 which followed upon his writing certain treatises114.”
“I did but prompt the age to quit their clogs115
By the known laws of ancient liberty,
When straight a barbarous noise environs me
Of owls116 and cuckoos, asses117, apes and dogs.
As when those hinds118 that were transformed to frogs
Railed at Latona’s twin-born progeny119,
Which after held the sun and moon in fee.”
The persecution120 which Latona experienced from Juno is alluded121 to in the story. The tradition was that the future mother of Apollo and Diana, flying from the wrath122 of Juno, besought123 all the islands of the ?gean to afford her a place of rest, but all feared too much the potent124 queen of heaven to assist her rival. Delos alone consented to become the birthplace of the future deities. Delos was then a floating island; but when Latona arrived there, Jupiter fastened it with adamantine chains to the bottom of the sea, that it might be a secure resting-place for his beloved. Byron alludes to Delos in his “Don Juan”:
“The isles125 of Greece! the isles of Greece!
Where burning Sappho loved and sung,
Where grew the arts of war and peace,
Where Delos rose and Ph?bus sprung!”
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1
rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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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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concealed
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| a.隐藏的，隐蔽的 | |
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5
flirting
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| v.调情，打情骂俏( flirt的现在分词 ) | |
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herd
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| n.兽群，牧群；vt.使集中，把…赶在一起 | |
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7
loath
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| adj.不愿意的；勉强的 | |
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8
trifling
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| adj.微不足道的；没什么价值的 | |
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9
strictly
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| adv.严厉地，严格地；严密地 | |
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10
vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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implore
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| vt.乞求，恳求，哀求 | |
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bellow
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| v.吼叫，怒吼；大声发出，大声喝道 | |
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13
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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14
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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hoof
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| n.(马，牛等的)蹄 | |
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lamented
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| adj.被哀悼的，令人遗憾的v.（为…）哀悼，痛哭，悲伤( lament的过去式和过去分词 ) | |
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behold
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| v.看，注视，看到 | |
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beholding
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| v.看，注视( behold的现在分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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despatch
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| n./v.(dispatch)派遣；发送；n.急件；新闻报道 | |
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slippers
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| n. 拖鞋 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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lull
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| v.使安静，使入睡，缓和，哄骗；n.暂停，间歇 | |
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watchful
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| adj.注意的，警惕的 | |
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contrived
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| adj.不自然的，做作的；虚构的 | |
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plaintive
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| adj.可怜的，伤心的 | |
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quench
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| vt.熄灭，扑灭；压制 | |
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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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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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vengeance
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| n.报复，报仇，复仇 | |
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torment
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| n.折磨；令人痛苦的东西(人)；vt.折磨；纠缠 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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rambled
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| （无目的地）漫游( ramble的过去式和过去分词 )； （喻）漫谈； 扯淡； 长篇大论 | |
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interceded
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| v.斡旋，调解( intercede的过去式和过去分词 )；说情 | |
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promising
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| adj.有希望的，有前途的 | |
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hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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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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allusion
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| n.暗示，间接提示 | |
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bough
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| n.大树枝，主枝 | |
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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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41
nought
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| n.／adj.无，零 | |
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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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jealousy
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| n.妒忌，嫉妒，猜忌 | |
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supplication
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| n.恳求，祈愿，哀求 | |
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crooked
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| adj.弯曲的；不诚实的，狡猾的，不正当的 | |
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horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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jaws
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| n.口部；嘴 | |
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growl
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| v.（狗等）嗥叫，（炮等）轰鸣；n.嗥叫，轰鸣 | |
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49
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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50
groaning
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| adj. 呜咽的, 呻吟的 动词groan的现在分词形式 | |
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51
bemoaned
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| v.为（某人或某事）抱怨( bemoan的过去式和过去分词 )；悲悼；为…恸哭；哀叹 | |
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52
espied
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| v.看到( espy的过去式和过去分词 ) | |
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53
rim
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| n.(圆物的)边，轮缘；边界 | |
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54
inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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55
supplanted
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| 把…排挤掉，取代( supplant的过去式和过去分词 ) | |
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56
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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57
beseech
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| v.祈求，恳求 | |
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58
assented
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| 同意，赞成( assent的过去式和过去分词 ) | |
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59
constellation
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| n.星座n.灿烂的一群 | |
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60
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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61
alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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62
blithesome
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| adj.欢乐的，愉快的 | |
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63
cynosure
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| n.焦点 | |
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64
bosomed
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| 胸部的 | |
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65
mariners
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| 海员，水手（mariner的复数形式） | |
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66
benighted
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| adj.蒙昧的 | |
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67
taper
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| n.小蜡烛，尖细，渐弱；adj.尖细的；v.逐渐变小 | |
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68
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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69
invader
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| n.侵略者，侵犯者，入侵者 | |
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70
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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71
parches
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| v.（使）焦干， （使）干透( parch的第三人称单数 )；使（某人）极口渴 | |
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72
implements
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| n.工具( implement的名词复数 )；家具；手段；[法律]履行（契约等）v.实现( implement的第三人称单数 )；执行；贯彻；使生效 | |
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73
cypresses
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| n.柏属植物，柏树( cypress的名词复数 ) | |
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74
extremity
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| n.末端，尽头；尽力；终极；极度 | |
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adorned
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| [计]被修饰的 | |
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76
counterfeited
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| v.仿制，造假( counterfeit的过去分词 ) | |
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77
grassy
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| adj.盖满草的；长满草的 | |
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78
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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79
javelin
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| n.标枪，投枪 | |
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80
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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81
urns
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| n.壶( urn的名词复数 )；瓮；缸；骨灰瓮 | |
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82
rambling
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| adj.[建]凌乱的，杂乱的 | |
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83
tinges
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| n.细微的色彩，一丝痕迹( tinge的名词复数 ) | |
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84
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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85
spotted
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| adj.有斑点的，斑纹的，弄污了的 | |
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86
groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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87
spartan
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| adj.简朴的，刻苦的；n.斯巴达；斯巴达式的人 | |
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88
gorges
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| n.山峡，峡谷( gorge的名词复数 )；咽喉v.（用食物把自己）塞饱，填饱( gorge的第三人称单数 )；作呕 | |
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89
resounded
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| v.（指声音等）回荡于某处( resound的过去式和过去分词 )；产生回响；（指某处）回荡着声音 | |
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90
rending
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| v.撕碎( rend的现在分词 )；分裂；（因愤怒、痛苦等而）揪扯（衣服或头发等）；（声音等）刺破 | |
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91
frail
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| adj.身体虚弱的；易损坏的 | |
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92
phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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93
knell
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| n.丧钟声；v.敲丧钟 | |
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94
wilderness
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| n.杳无人烟的一片陆地、水等，荒漠 | |
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95
rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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96
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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97
stanza
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| n.（诗）节，段 | |
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98
impunity
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| n.(惩罚、损失、伤害等的)免除 | |
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99
marsh
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| n.沼泽，湿地 | |
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100
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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101
parched
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| adj.焦干的；极渴的；v.（使）焦干 | |
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102
gathering
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| n.集会，聚会，聚集 | |
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103
willows
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| n.柳树( willow的名词复数 )；柳木 | |
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104
slaked
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| v.满足( slake的过去式和过去分词 ) | |
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105
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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106
draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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107
jeers
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| n.操纵帆桁下部（使其上下的）索具；嘲讽( jeer的名词复数 )v.嘲笑( jeer的第三人称单数 ) | |
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108
waded
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| （从水、泥等）蹚，走过，跋( wade的过去式和过去分词 ) | |
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109
supplicated
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| v.祈求，哀求，恳求( supplicate的过去式和过去分词 ) | |
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110
croak
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| vi.嘎嘎叫，发牢骚 | |
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111
bellies
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| n.肚子( belly的名词复数 )；腹部；（物体的）圆形或凸起部份；腹部…形的 | |
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112
sonnets
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| n.十四行诗( sonnet的名词复数 ) | |
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113
detraction
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| n.减损；诽谤 | |
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114
treatises
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| n.专题著作，专题论文，专著( treatise的名词复数 ) | |
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115
clogs
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| 木屐； 木底鞋，木屐( clog的名词复数 ) | |
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116
owls
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| n.猫头鹰( owl的名词复数 ) | |
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117
asses
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| n. 驴，愚蠢的人，臀部 adv. (常用作后置)用于贬损或骂人 | |
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118
hinds
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| n.（常指动物腿）后面的( hind的名词复数 )；在后的；（通常与can或could连用）唠叨不停；滔滔不绝 | |
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119
progeny
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| n.后代，子孙；结果 | |
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120
persecution
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| n. 迫害,烦扰 | |
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121
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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122
wrath
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| n.愤怒，愤慨，暴怒 | |
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123
besought
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| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
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124
potent
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| adj.强有力的，有权势的；有效力的 | |
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125
isles
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| 岛( isle的名词复数 ) | |
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