At Crotona, where he finally established himself, his extraordinary qualities collected round him a great number of disciples4. The inhabitants were notorious for luxury and licentiousness5, but the good effects of his influence were soon visible. Sobriety and temperance succeeded. Six hundred of the inhabitants became his disciples and enrolled6 themselves in a society to aid each other in the pursuit of wisdom, uniting their property in one common stock for the benefit of the whole. They were required to practise the greatest purity and simplicity7 of manners. The first lesson they learned was silence; for a time they were required to be only hearers. “He [Pythagoras] said so” (Ipse dixit), was to be held by them as sufficient, without any proof. It was only the advanced pupils, after years of patient submission8, who were allowed to ask questions and to state objections.
Pythagoras considered numbers as the essence and principle of all things, and attributed to them a real and distinct existence; so that, in his view, they were the elements out of which the universe was constructed. How he conceived this process has never been satisfactorily explained. He traced the various forms and phenomena9 of the world to numbers as their basis and essence. The “Monad” or unit he regarded as the source of all numbers. The number Two was imperfect, and the cause of increase and division. Three was called the number of the whole because it had a beginning, middle, and end. Four, representing the square, is in the highest degree perfect; and Ten, as it contains the sum of the four prime numbers, comprehends all musical and arithmetical proportions, and denotes the system of the world.
As the numbers proceed from the monad, so he regarded the pure and simple essence of the Deity11 as the source of all the forms of nature. Gods, demons12, and heroes are emanations of the Supreme13, and there is a fourth emanation, the human soul. This is immortal14, and when freed from the fetters15 of the body passes to the habitation of the dead, where it remains16 till it returns to the world, to dwell in some other human or animal body, and at last, when sufficiently17 purified, it returns to the source from which it proceeded. This doctrine3 of the transmigration of souls (metempsychosis), which was originally Egyptian and connected with the doctrine of reward and punishment of human actions, was the chief cause why the Pythagoreans killed no animals. Ovid represents Pythagoras addressing his disciples in these words: “Souls never die, but always on quitting one abode18 pass to another. I myself can remember that in the time of the Trojan war I was Euphorbus, the son of Panthus, and fell by the spear of Menelaus. Lately being in the temple of Juno, at Argos, I recognized my shield hung up there among the trophies20. All things change, nothing perishes. The soul passes hither and thither21, occupying now this body, now that, passing from the body of a beast into that of a man, and thence to a beast’s again. As wax is stamped with certain figures, then melted, then stamped anew with others, yet is always the same wax, so the soul, being always the same, yet wears, at different times, different forms. Therefore, if the love of kindred is not extinct in your bosoms22, forbear, I entreat23 you, to violate the life of those who may haply be your own relatives.”
Shakspeare, in the “Merchant of Venice,” makes Gratiano allude24 to the metempsychosis, where he says to Shylock:
“Thou almost mak’st me waver in my faith,
To hold opinion with Pythagoras,
That souls of animals infuse themselves
Into the trunks of men; thy currish spirit
Governed a wolf; who hanged for human slaughter25
Infused his soul in thee; for thy desires
Are wolfish, bloody26, starved and ravenous27.”
The relation of the notes of the musical scale to numbers, whereby harmony results from vibrations28 in equal times, and discord29 from the reverse, led Pythagoras to apply the word “harmony” to the visible creation, meaning by it the just adaptation of parts to each other. This is the idea which Dryden expresses in the beginning of his “Song for St. Cecilia’s Day”:
“From harmony, from heavenly harmony
This everlasting30 frame began;
From harmony to harmony
Through all the compass of the notes it ran,
The Diapason closing full in Man.”
In the centre of the universe (he taught) there was a central fire, the principle of life. The central fire was surrounded by the earth, the moon, the sun, and the five planets. The distances of the various heavenly bodies from one another were conceived to correspond to the proportions of the musical scale. The heavenly bodies, with the gods who inhabited them, were supposed to perform a choral dance round the central fire, “not without song.” It is this doctrine which Shakspeare alludes31 to when he makes Lorenzo teach astronomy to Jessica in this fashion:
“Look, Jessica, see how the floor of heaven
Is thick inlaid with patines of bright gold!
There’s not the smallest orb19 that thou behold’st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubim;
Such harmony is in immortal souls!
But whilst this muddy vesture of decay
Doth grossly close it in we cannot hear it.”
—Merchant of Venice.
The spheres were conceived to be crystalline or glassy fabrics32 arranged over one another like a nest of bowls reversed. In the substance of each sphere one or more of the heavenly bodies was supposed to be fixed33, so as to move with it. As the spheres are transparent34 we look through them and see the heavenly bodies which they contain and carry round with them. But as these spheres cannot move on one another without friction35, a sound is thereby36 produced which is of exquisite37 harmony, too fine for mortal ears to recognize. Milton, in his “Hymn on the Nativity,” thus alludes to the music of the spheres:
“Ring out, ye crystal spheres!
Once bless our human ears
(If ye have power to charm our senses so);
And let your silver chime
Move in melodious38 time,
And let the base of Heaven’s deep organ blow;
And with your ninefold harmony
Make up full concert with the angelic symphony.”
Pythagoras is said to have invented the lyre. Our own poet Longfellow, in “Verses to a Child,” thus relates the story:
“As great Pythagoras of yore,
Standing39 beside the blacksmith’s door,
And hearing the hammers as they smote40
The anvils41 with a different note,
Stole from the varying tones that hung
Vibrant42 on every iron tongue,
The secret of the sounding wire,
And formed the seven-chorded lyre.”
See also the same poet’s “Occultation of Orion”—
“The Samian’s great ?olian lyre.”
SYBARIS AND CROTONA
Sybaris, a neighboring city to Crotona, was as celebrated43 for luxury and effeminacy as Crotona for the reverse. The name has become proverbial. J. R. Lowell uses it in this sense in his charming little poem “To the Dandelion”:
“Not in mid10 June the golden cuirassed bee
Feels a more summer-like, warm ravishment
In the white lily’s breezy tent
(His conquered Sybaris) than I when first
From the dark green thy yellow circles burst.”
A war arose between the two cities, and Sybaris was conquered and destroyed. Milo, the celebrated athlete, led the army of Crotona. Many stories are told of Milo’s vast strength, such as his carrying a heifer of four years old upon his shoulders and afterwards eating the whole of it in a single day. The mode of his death is thus related: As he was passing through a forest he saw the trunk of a tree which had been partially44 split open by wood-cutters, and attempted to rend45 it further; but the wood closed upon his hands and held him fast, in which state he was attacked and devoured46 by wolves.
Byron, in his “Ode to Napoleon Bonaparte,” alludes to the story of Milo:
“He who of old would rend the oak
Deemed not of the rebound47;
Chained by the trunk he vainly broke,
Alone, how looked he round!”
EGYPTIAN DEITIES48
The Egyptians acknowledged as the highest deity Amun, afterwards called Zeus, or Jupiter Ammon. Amun manifested himself in his word or will, which created Kneph and Athor, of different sexes. From Kneph and Athor proceeded Osiris and Isis. Osiris was worshipped as the god of the sun, the source of warmth, life, and fruitfulness, in addition to which he was also regarded as the god of the Nile, who annually49 visited his wife, Isis (the Earth), by means of an inundation50. Serapis or Hermes is sometimes represented as identical with Osiris, and sometimes as a distinct divinity, the ruler of Tartarus and god of medicine. Anubis is the guardian51 god, represented with a dog’s head, emblematic52 of his character of fidelity53 and watchfulness54. Horus or Harpocrates was the son of Osiris. He is represented seated on a Lotus flower, with his finger on his lips, as the god of Silence.
In one of Moore’s “Irish Melodies” is an allusion55 to Harpocrates:
“Thyself shall, under some rosy56 bower57,
Sit mute, with thy finger on thy lip;
Like him, the boy, who born among
The flowers that on the Nile-stream blush,
Sits ever thus,—his only song
To Earth and Heaven, ‘Hush58 all, hush!’?”
MYTH OF OSIRIS AND ISIS
Osiris and Isis were at one time induced to descend59 to the earth to bestow60 gifts and blessings61 on its inhabitants. Isis showed them first the use of wheat and barley62, and Osiris made the instruments of agriculture and taught men the use of them, as well as how to harness the ox to the plough. He then gave men laws, the institution of marriage, a civil organization, and taught them how to worship the gods. After he had thus made the valley of the Nile a happy country, he assembled a host with which he went to bestow his blessings upon the rest of the world. He conquered the nations everywhere, but not with weapons, only with music and eloquence63. His brother Typhon saw this, and filled with envy and malice64 sought during his absence to usurp65 his throne. But Isis, who held the reins66 of government, frustrated67 his plans. Still more embittered68, he now resolved to kill his brother. This he did in the following manner: Having organized a conspiracy69 of seventy-two members, he went with them to the feast which was celebrated in honor of the king’s return. He then caused a box or chest to be brought in, which had been made to fit exactly the size of Osiris, and declared that he would give that chest of precious wood to whosoever could get into it. The rest tried in vain, but no sooner was Osiris in it than Typhon and his companions closed the lid and flung the chest into the Nile. When Isis heard of the cruel murder she wept and mourned, and then with her hair shorn, clothed in black and beating her breast, she sought diligently70 for the body of her husband. In this search she was materially assisted by Anubis, the son of Osiris and Nephthys. They sought in vain for some time; for when the chest, carried by the waves to the shores of Byblos, had become entangled71 in the reeds that grew at the edge of the water, the divine power that dwelt in the body of Osiris imparted such strength to the shrub72 that it grew into a mighty73 tree, enclosing in its trunk the coffin74 of the god. This tree with its sacred deposit was shortly after felled, and erected75 as a column in the palace of the king of Ph?nicia. But at length by the aid of Anubis and the sacred birds, Isis ascertained76 these facts, and then went to the royal city. There she offered herself at the palace as a servant, and being admitted, threw off her disguise and appeared as a goddess, surrounded with thunder and lightning. Striking the column with her wand she caused it to split open and give up the sacred coffin. This she seized and returned with it, and concealed77 it in the depth of a forest, but Typhon discovered it, and cutting the body into fourteen pieces scattered78 them hither and thither. After a tedious search, Isis found thirteen pieces, the fishes of the Nile having eaten the other. This she replaced by an imitation of sycamore wood, and buried the body at Phil?, which became ever after the great burying place of the nation, and the spot to which pilgrimages were made from all parts of the country. A temple of surpassing magnificence was also erected there in honor of the god, and at every place where one of his limbs had been found minor79 temples and tombs were built to commemorate80 the event. Osiris became after that the tutelar deity of the Egyptians. His soul was supposed always to inhabit the body of the bull Apis, and at his death to transfer itself to his successor.
Apis, the Bull of Memphis, was worshipped with the greatest reverence81 by the Egyptians. The individual animal who was held to be Apis was recognized by certain signs. It was requisite82 that he should be quite black, have a white square mark on the forehead, another, in the form of an eagle, on his back, and under his tongue a lump somewhat in the shape of a scarab?us or beetle83. As soon as a bull thus marked was found by those sent in search of him, he was placed in a building facing the east, and was fed with milk for four months. At the expiration84 of this term the priests repaired at new moon, with great pomp, to his habitation and saluted85 him Apis. He was placed in a vessel86 magnificently decorated and conveyed down the Nile to Memphis, where a temple, with two chapels87 and a court for exercise, was assigned to him. Sacrifices were made to him, and once every year, about the time when the Nile began to rise, a golden cup was thrown into the river, and a grand festival was held to celebrate his birthday. The people believed that during this festival the crocodiles forgot their natural ferocity and became harmless. There was, however, one drawback to his happy lot: he was not permitted to live beyond a certain period, and if, when he had attained88 the age of twenty-five years, he still survived, the priests drowned him in the sacred cistern89 and then buried him in the temple of Serapis. On the death of this bull, whether it occurred in the course of nature or by violence, the whole land was filled with sorrow and lamentations, which lasted until his successor was found.
We find the following item in one of the newspapers of the day:
“The Tomb of Apis.—The excavations90 going on at Memphis bid fair to make that buried city as interesting as Pompeii. The monster tomb of Apis is now open, after having lain unknown for centuries.”
Milton, in his “Hymn on the Nativity,” alludes to the Egyptian deities, not as imaginary beings, but as real demons, put to flight by the coming of Christ.
“The brutish gods of Nile as fast,
Isis and Horus and the dog Anubis haste.
Nor is Osiris seen
In Memphian grove91 or green
Trampling92 the unshowered[35] grass with lowings loud;
Nor can he be at rest
Within his sacred chest;
Nought93 but profoundest hell can be his shroud94.
In vain with timbrel’d anthems95 dark
The sable-stoled sorcerers bear his worshipped ark.”
Isis was represented in statuary with the head veiled, a symbol of mystery. It is this which Tennyson alludes to in “Maud,” IV., 8:
“For the drift of the Maker96 is dark, an Isis hid by the veil,” etc.
ORACLES98
Oracle97 was the name used to denote the place where answers were supposed to be given by any of the divinities to those who consulted them respecting the future. The word was also used to signify the response which was given.
The most ancient Grecian oracle was that of Jupiter at Dodona. According to one account, it was established in the following manner: Two black doves took their flight from Thebes in Egypt. One flew to Dodona in Epirus, and alighting in a grove of oaks, it proclaimed in human language to the inhabitants of the district that they must establish there an oracle of Jupiter. The other dove flew to the temple of Jupiter Ammon in the Libyan Oasis99, and delivered a similar command there. Another account is, that they were not doves, but priestesses, who were carried off from Thebes in Egypt by the Ph?nicians, and set up oracles at the Oasis and Dodona. The responses of the oracle were given from the trees, by the branches rustling100 in the wind, the sounds being interpreted by the priests.
But the most celebrated of the Grecian oracles was that of Apollo at Delphi, a city built on the slopes of Parnassus in Phocis.
It had been observed at a very early period that the goats feeding on Parnassus were thrown into convulsions when they approached a certain long deep cleft101 in the side of the mountain. This was owing to a peculiar102 vapor103 arising out of the cavern104, and one of the goatherds was induced to try its effects upon himself. Inhaling105 the intoxicating106 air, he was affected107 in the same manner as the cattle had been, and the inhabitants of the surrounding country, unable to explain the circumstance, imputed108 the convulsive ravings to which he gave utterance109 while under the power of the exhalations to a divine inspiration. The fact was speedily circulated widely, and a temple was erected on the spot. The prophetic influence was at first variously attributed to the goddess Earth, to Neptune110, Themis, and others, but it was at length assigned to Apollo, and to him alone. A priestess was appointed whose office it was to inhale111 the hallowed air, and who was named the Pythia. She was prepared for this duty by previous ablution at the fountain of Castalia, and being crowned with laurel was seated upon a tripod similarly adorned112, which was placed over the chasm113 whence the divine afflatus114 proceeded. Her inspired words while thus situated115 were interpreted by the priests.
ORACLE OF TROPHONIUS
Besides the oracles of Jupiter and Apollo, at Dodona and Delphi, that of Trophonius in B?otia was held in high estimation. Trophonius and Agamedes were brothers. They were distinguished116 architects, and built the temple of Apollo at Delphi, and a treasury117 for King Hyrieus. In the wall of the treasury they placed a stone, in such a manner that it could be taken out; and by this means, from time to time, purloined118 the treasure. This amazed Hyrieus, for his locks and seals were untouched, and yet his wealth continually diminished. At length he set a trap for the thief and Agamedes was caught. Trophonius, unable to extricate119 him, and fearing that when found he would be compelled by torture to discover his accomplice120, cut off his head. Trophonius himself is said to have been shortly afterwards swallowed up by the earth.
The oracle of Trophonius was at Lebadea in B?otia. During a great drought the B?otians, it is said, were directed by the god at Delphi to seek aid of Trophonius at Lebadea. They came thither, but could find no oracle. One of them, however, happening to see a swarm121 of bees, followed them to a chasm in the earth, which proved to be the place sought.
Peculiar ceremonies were to be performed by the person who came to consult the oracle. After these preliminaries, he descended122 into the cave by a narrow passage. This place could be entered only in the night. The person returned from the cave by the same narrow passage, but walking backwards123. He appeared melancholy124 and dejected; and hence the proverb which was applied125 to a person low-spirited and gloomy, “He has been consulting the oracle of Trophonius.”
ORACLE OF ?SCULAPIUS
There were numerous oracles of ?sculapius, but the most celebrated one was at Epidaurus. Here the sick sought responses and the recovery of their health by sleeping in the temple. It has been inferred from the accounts that have come down to us that the treatment of the sick resembled what is now called Animal Magnetism126 or Mesmerism.
Serpents were sacred to ?sculapius, probably because of a superstition127 that those animals have a faculty128 of renewing their youth by a change of skin. The worship of ?sculapius was introduced into Rome in a time of great sickness, and an embassy sent to the temple of Epidaurus to entreat the aid of the god. ?sculapius was propitious129, and on the return of the ship accompanied it in the form of a serpent. Arriving in the river Tiber, the serpent glided130 from the vessel and took possession of an island in the river, and a temple was there erected to his honor.
ORACLE OF APIS
At Memphis the sacred bull Apis gave answer to those who consulted him by the manner in which he received or rejected what was presented to him. If the bull refused food from the hand of the inquirer it was considered an unfavorable sign, and the contrary when he received it.
It has been a question whether oracular responses ought to be ascribed to mere131 human contrivance or to the agency of evil spirits. The latter opinion has been most general in past ages. A third theory has been advanced since the phenomena of Mesmerism have attracted attention, that something like the mesmeric trance was induced in the Pythoness, and the faculty of clairvoyance132 really called into action.
Another question is as to the time when the Pagan oracles ceased to give responses. Ancient Christian133 writers assert that they became silent at the birth of Christ, and were heard no more after that date. Milton adopts this view in his “Hymn on the Nativity,” and in lines of solemn and elevated beauty pictures the consternation134 of the heathen idols135 at the advent136 of the Saviour137:
“The oracles are dumb;
No voice or hideous138 hum
Rings through the arched roof in words deceiving.
Apollo from his shrine139
Can no more divine,
With hollow shriek140 the steep of Delphos leaving.
No nightly trance or breathed spell
Inspires the pale-eyed priest from the prophetic cell.”
In Cowper’s poem of “Yardley Oak” there are some beautiful mythological141 allusions142. The former of the two following is to the fable143 of Castor and Pollux; the latter is more appropriate to our present subject. Addressing the acorn144 he says:
“Thou fell’st mature; and in the loamy clod,
Swelling145 with vegetative force instinct,
Didst burst thine egg, as theirs the fabled146 Twins
Now stars; two lobes147 protruding148, paired exact;
A leaf succeeded and another leaf,
And, all the elements thy puny149 growth
Fostering propitious, thou becam’st a twig150.
Who lived when thou wast such? O, couldst thou speak,
As in Dodona once thy kindred trees
Oracular, I would not curious ask
The future, best unknown, but at thy mouth
Inquisitive151, the less ambiguous past.”
Tennyson, in his “Talking Oak,” alludes to the oaks of Dodona in these lines:
“And I will work in prose and rhyme,
And praise thee more in both
Than bard152 has honored beech153 or lime,
Or that Thessalian growth
In which the swarthy ring-dove sat
And mystic sentence spoke;” etc.
Byron alludes to the oracle of Delphi where, speaking of Rousseau, whose writings he conceives did much to bring on the French revolution, he says:
“For then he was inspired, and from him came,
As from the Pythian’s mystic cave of yore,
Those oracles which set the world in flame,
Nor ceased to burn till kingdoms were no more.”
?NEAS AT THE COURT OF QUEEN DIDO.
From painting by P. Guerin. Salon154 of 1817.
A VALKYR.
From painting by P. N. Arbo.
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1
conformity
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| n.一致，遵从，顺从 | |
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doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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doctrine
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| n.教义；主义；学说 | |
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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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licentiousness
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| n.放肆，无法无天 | |
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enrolled
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| adj.入学登记了的v.[亦作enrol]( enroll的过去式和过去分词 )；登记，招收，使入伍（或入会、入学等），参加，成为成员；记入名册；卷起，包起 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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submission
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| n.服从，投降；温顺，谦虚；提出 | |
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phenomena
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| n.现象 | |
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mid
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| adj.中央的，中间的 | |
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deity
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| n.神，神性；被奉若神明的人(或物) | |
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demons
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| n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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sufficiently
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| adv.足够地，充分地 | |
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abode
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| n.住处，住所 | |
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orb
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| n.太阳；星球；v.弄圆；成球形 | |
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trophies
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| n.（为竞赛获胜者颁发的）奖品( trophy的名词复数 )；奖杯；（尤指狩猎或战争中获得的）纪念品；（用于比赛或赛跑名称）奖 | |
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thither
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| adv.向那里；adj.在那边的，对岸的 | |
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bosoms
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| 胸部( bosom的名词复数 )； 胸怀； 女衣胸部（或胸襟）； 和爱护自己的人在一起的情形 | |
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entreat
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| v.恳求，恳请 | |
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allude
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| v.提及，暗指 | |
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slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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ravenous
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| adj.极饿的，贪婪的 | |
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vibrations
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| n.摆动( vibration的名词复数 )；震动；感受；（偏离平衡位置的）一次性往复振动 | |
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discord
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| n.不和，意见不合，争论，（音乐）不和谐 | |
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everlasting
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| adj.永恒的，持久的，无止境的 | |
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alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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fabrics
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| 织物( fabric的名词复数 )； 布； 构造； （建筑物的）结构（如墙、地面、屋顶）：质地 | |
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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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transparent
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| adj.明显的，无疑的；透明的 | |
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friction
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| n.摩擦，摩擦力 | |
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thereby
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| adv.因此，从而 | |
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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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melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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39
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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40
smote
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| v.猛打，重击，打击( smite的过去式 ) | |
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41
anvils
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| n.（铁）砧( anvil的名词复数 )；砧骨 | |
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42
vibrant
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| adj.震颤的，响亮的，充满活力的，精力充沛的，(色彩)鲜明的 | |
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43
celebrated
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| adj.有名的，声誉卓著的 | |
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44
partially
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| adv.部分地，从某些方面讲 | |
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45
rend
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| vt.把…撕开，割裂；把…揪下来，强行夺取 | |
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46
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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47
rebound
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| v.弹回；n.弹回，跳回 | |
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48
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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49
annually
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| adv.一年一次，每年 | |
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50
inundation
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| n.the act or fact of overflowing | |
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51
guardian
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| n.监护人；守卫者，保护者 | |
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52
emblematic
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| adj.象征的，可当标志的；象征性 | |
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53
fidelity
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| n.忠诚，忠实；精确 | |
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54
watchfulness
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| 警惕，留心； 警觉（性） | |
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55
allusion
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| n.暗示，间接提示 | |
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56
rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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57
bower
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| n.凉亭，树荫下凉快之处；闺房；v.荫蔽 | |
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58
hush
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| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
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59
descend
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| vt./vi.传下来，下来，下降 | |
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60
bestow
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| v.把…赠与，把…授予；花费 | |
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61
blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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62
barley
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| n.大麦，大麦粒 | |
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63
eloquence
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| n.雄辩；口才，修辞 | |
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64
malice
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| n.恶意，怨恨，蓄意；[律]预谋 | |
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65
usurp
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| vt.篡夺，霸占；vi.篡位 | |
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66
reins
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| 感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带 | |
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67
frustrated
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| adj.挫败的，失意的，泄气的v.使不成功( frustrate的过去式和过去分词 )；挫败；使受挫折；令人沮丧 | |
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68
embittered
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| v.使怨恨，激怒( embitter的过去式和过去分词 ) | |
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69
conspiracy
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| n.阴谋，密谋，共谋 | |
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70
diligently
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| ad.industriously;carefully | |
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71
entangled
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| adj.卷入的；陷入的；被缠住的；缠在一起的v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的过去式和过去分词 ) | |
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72
shrub
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| n.灌木，灌木丛 | |
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73
mighty
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| adj.强有力的；巨大的 | |
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74
coffin
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| n.棺材，灵柩 | |
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75
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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76
ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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77
concealed
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| a.隐藏的，隐蔽的 | |
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78
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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79
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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80
commemorate
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| vt.纪念，庆祝 | |
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81
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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82
requisite
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| adj.需要的，必不可少的；n.必需品 | |
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83
beetle
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| n.甲虫，近视眼的人 | |
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84
expiration
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| n.终结，期满，呼气，呼出物 | |
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85
saluted
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| v.欢迎，致敬( salute的过去式和过去分词 )；赞扬，赞颂 | |
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86
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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87
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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88
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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89
cistern
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| n.贮水池 | |
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90
excavations
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| n.挖掘( excavation的名词复数 )；开凿；开凿的洞穴（或山路等）；（发掘出来的）古迹 | |
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91
grove
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| n.林子，小树林，园林 | |
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92
trampling
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| 踩( trample的现在分词 )； 践踏； 无视； 侵犯 | |
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93
nought
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| n.／adj.无，零 | |
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94
shroud
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| n.裹尸布，寿衣；罩，幕；vt.覆盖，隐藏 | |
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95
anthems
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| n.赞美诗( anthem的名词复数 )；圣歌；赞歌；颂歌 | |
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96
maker
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| n.制造者，制造商 | |
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97
oracle
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| n.神谕，神谕处，预言 | |
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98
oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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99
oasis
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| n.（沙漠中的）绿洲，宜人的地方 | |
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100
rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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101
cleft
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| n.裂缝；adj.裂开的 | |
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102
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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103
vapor
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| n.蒸汽，雾气 | |
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104
cavern
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| n.洞穴，大山洞 | |
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105
inhaling
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| v.吸入( inhale的现在分词 ) | |
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106
intoxicating
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| a. 醉人的,使人兴奋的 | |
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107
affected
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| adj.不自然的，假装的 | |
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108
imputed
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| v.把（错误等）归咎于( impute的过去式和过去分词 ) | |
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109
utterance
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| n.用言语表达，话语，言语 | |
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110
Neptune
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| n.海王星 | |
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111
inhale
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| v.吸入(气体等)，吸(烟) | |
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112
adorned
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| [计]被修饰的 | |
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113
chasm
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| n.深坑，断层，裂口，大分岐，利害冲突 | |
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114
afflatus
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| n.灵感，神感 | |
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115
situated
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| adj.坐落在...的，处于某种境地的 | |
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116
distinguished
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| adj.卓越的，杰出的，著名的 | |
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117
treasury
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| n.宝库；国库，金库；文库 | |
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118
purloined
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| v.偷窃( purloin的过去式和过去分词 ) | |
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119
extricate
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| v.拯救，救出；解脱 | |
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120
accomplice
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| n.从犯，帮凶，同谋 | |
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121
swarm
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| n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入 | |
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122
descended
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| a.为...后裔的，出身于...的 | |
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123
backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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124
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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125
applied
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| adj.应用的；v.应用，适用 | |
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126
magnetism
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| n.磁性，吸引力，磁学 | |
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127
superstition
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| n.迷信，迷信行为 | |
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128
faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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129
propitious
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| adj.吉利的；顺利的 | |
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130
glided
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| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
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131
mere
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| adj.纯粹的；仅仅，只不过 | |
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132
clairvoyance
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| n.超人的洞察力 | |
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133
Christian
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| adj.基督教徒的；n.基督教徒 | |
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134
consternation
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| n.大为吃惊，惊骇 | |
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135
idols
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| 偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像 | |
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136
advent
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| n.(重要事件等的)到来，来临 | |
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137
saviour
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| n.拯救者，救星 | |
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138
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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139
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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140
shriek
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| v./n.尖叫，叫喊 | |
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141
mythological
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| adj.神话的 | |
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142
allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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143
fable
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| n.寓言；童话；神话 | |
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144
acorn
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| n.橡实，橡子 | |
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145
swelling
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| n.肿胀 | |
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146
fabled
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| adj.寓言中的，虚构的 | |
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147
lobes
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| n.耳垂( lobe的名词复数 )；（器官的）叶；肺叶；脑叶 | |
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148
protruding
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| v.（使某物）伸出，（使某物）突出( protrude的现在分词 )；凸 | |
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149
puny
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| adj.微不足道的，弱小的 | |
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150
twig
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| n.小树枝，嫩枝；v.理解 | |
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151
inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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152
bard
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| n.吟游诗人 | |
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153
beech
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| n.山毛榉；adj.山毛榉的 | |
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154
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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