The mules5, the mustangs, the dogs, the peons, the slippered6 wenches, with their coarse trailing tresses, the low roofs, the iron-barred windows, the orange-trees by the fountain, the palms hanging over the wall, the glistening7 cocuyos, were all strange sights to us.
The sounds that rang in our ears were not more familiar. Even the voices of the men, unlike the Saxon, sounded wild and sharp. It was the Spanish language, spoken in the patois8 of the Aztec Indians. In this the guerilleros chatted, and sang, and swore. There was a medley9 of other sounds, not less strange to our ears, as the dogs howled and barked their bloodhound notes—as the mustangs neighed or the mules whinnied—as the heavy sabre clanked or the huge spur tinkled10 its tiny bells—as the poblanas (peasant-women), sitting by some group, touched the strings11 of their bandolons, and chanted their half-Indian songs.
By a blazing pile, close to where we sat, a party of guerilleros, with their women, were dancing the tagarota, a species of fandango.
Two men, seated upon raw-hide stools, strummed away upon a pair of bandolons, while a third pinched and pulled at the strings of an old guitar—all three aiding the music with their shrill12, disagreeable voices.
The dancers formed the figure of a parallelogram, each standing13 opposite his partner, or rather moving, for they were never at rest, but kept constantly beating time with feet, head, and hands. The last they struck against their cheeks and thighs14, and at intervals15 clapped them together.
One would suddenly appear as a hunchback, and, dancing out into the centre of the figure, perform various antics to attract his partner. After a while she would dance up—deformed also—and the two, bringing their bodies into contact, and performing various disgusting contortions16, would give place to another pair. These would appear without arms or legs, walking on their knees, or sliding along on their hips17!
One danced with his head under his arm, and another with one leg around his neck; all eliciting18 more or less laughter, as the feat4 was more or less comical. During the dance every species of deformity was imitated and caricatured, for this is the tagarota. It was a series of grotesque19 and repulsive20 pictures. Some of the dancers, flinging themselves flat, would roll across the open space without moving hand or foot. This always elicited21 applause, and we could not help remarking its resemblance to the gymnastics we had lately been practising ourselves.
“Och, be me sowl! we can bate22 yez at that!” cried Chane, who appeared to be highly amused at the tagarota, making his comments as the dance went on.
I was sick of the scene, and watched it no longer. My eyes turned to the portale, and I looked anxiously through the half-drawn23 curtains.
“It is strange I have seen nothing of them! Could they have turned off on some other route? No—they must be here. Narcisso’s promise for to-night! He at least is here. And she?—perhaps occupied within—gay, happy, indifferent—oh!”
The pain shot afresh through my heart.
Suddenly the curtain was drawn aside, and a brilliant picture appeared within—brilliant, but to me like the glimpse which some condemned24 spirit might catch over the walls of Paradise. Officers in bright uniforms, and amongst these I recognised the elegant person of Dubrosc. Ladies in rich dresses, and amongst these—. Her sister, too, was there, and the Dona Joaquiana, and half a dozen other ladies, rustling25 in silks and blazing with jewels.
Several of the gentlemen—young officers of the band—wore the picturesque costume of the guerilleros.
They were forming for the dance.
“Look, Captain!” cried Clayley; “Don Cosmé and his people, by the living earthquake!”
“Hush! do not touch me—do not speak to me!”
I felt as though my heart would stop beating. It rose in my bosom26, and seemed to hang for minutes without moving. My throat felt dry and husky, and a cold perspiration27 broke out upon my skin.
He approaches her—he asks her to dance—she consents! No: she refuses. Brave girl! She has strayed away from the dancers, and looks over the balustrade. She is sad. Was it a sigh that caused her bosom to rise? Ha! he comes again. She is smiling!—he touches her hand!
“Fiend! false woman!” I shouted at the top of my voice as I sprang up, impelled28 by passion. I attempted to rush towards them. My feet were bound, and I fell heavily upon my face!
The guards seized me, tying my hands. My comrades, too, were re-bound. We were dragged over the stones into a small room in one corner of the patio.
The door was bolted and locked, and we were left alone.
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1
patio
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n.庭院,平台 | |
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2
picturesque
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adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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3
pointed
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adj.尖的,直截了当的 | |
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4
feat
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n.功绩;武艺,技艺;adj.灵巧的,漂亮的,合适的 | |
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5
mules
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骡( mule的名词复数 ); 拖鞋; 顽固的人; 越境运毒者 | |
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slippered
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穿拖鞋的 | |
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glistening
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adj.闪耀的,反光的v.湿物闪耀,闪亮( glisten的现在分词 ) | |
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8
patois
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n.方言;混合语 | |
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9
medley
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n.混合 | |
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10
tinkled
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(使)发出丁当声,(使)发铃铃声( tinkle的过去式和过去分词 ); 叮当响着发出,铃铃响着报出 | |
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11
strings
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n.弦 | |
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12
shrill
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adj.尖声的;刺耳的;v尖叫 | |
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13
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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14
thighs
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n.股,大腿( thigh的名词复数 );食用的鸡(等的)腿 | |
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intervals
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n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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16
contortions
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n.扭歪,弯曲;扭曲,弄歪,歪曲( contortion的名词复数 ) | |
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17
hips
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abbr.high impact polystyrene 高冲击强度聚苯乙烯,耐冲性聚苯乙烯n.臀部( hip的名词复数 );[建筑学]屋脊;臀围(尺寸);臀部…的 | |
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18
eliciting
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n. 诱发, 引出 动词elicit的现在分词形式 | |
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19
grotesque
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adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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20
repulsive
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adj.排斥的,使人反感的 | |
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21
elicited
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引出,探出( elicit的过去式和过去分词 ) | |
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22
bate
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v.压制;减弱;n.(制革用的)软化剂 | |
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23
drawn
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v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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24
condemned
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adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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25
rustling
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n. 瑟瑟声,沙沙声 adj. 发沙沙声的 | |
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26
bosom
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n.胸,胸部;胸怀;内心;adj.亲密的 | |
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27
perspiration
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n.汗水;出汗 | |
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28
impelled
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v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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