recording of certain matters of no particular moment.
inexorable wheels of a larger Destiny.
VENERATED4 SIRE,—It is not for the earthworm to say when and in what exact position the iron-shod boot shall descend5, and this person, being an even inferior creature for the purpose of the comparison, bows an acquiescent6 neck to your very explicit7 command that he shall return to Yuen-ping without delay. He cannot put away from his mind a clinging suspicion that this arising is the result of some imperfection in his deplorable style of correspondence, whereby you have formed an impression quite opposed to that which it had been the intention to convey, and that, perchance, you even have a secret doubt whether upon some specified8 occasion he may not have conducted the enterprise to an ignoble9, or at least not markedly successful, end. However, the saying runs, “The stone-cutter always has the last word,” and you equally, by intimating with your usual unanswerable and clear-sighted gift of logic10 that no further allowance of taels will be sent for this one’s dispersal, diplomatically impose upon an ever-yearning son the most feverish11 anxiety once more to behold12 your large and open-handed face.
Standing13 thus poised14, as it may be said, for a returning flight across the elements of separation, it is not inopportune for this person to let himself dwell gracefully15 upon those lighter17 points of recollection which have engraved18 themselves from time to time upon his mind without leading to any more substantial adventure worthy20 to record. Many of the things which seemed strange and incomprehensible when he first came among this powerful though admittedly barbarian21 people, are now revealed at a proper angle; others, to which he formerly22 imagined he had found the disclosing key, are, on the other hand, plunged23 into a distorting haze24; while between these lie a multitude of details in every possible stage of disentanglement and doubt. As a final and painstaking26 pronouncement, this person has no hesitation27 in declaring that this country is not—as practically all our former travellers have declared—completely down-side-up as compared with our own manners and customs, but at the same time it is very materially sideways.
Thus, instead of white, black robes are the indication of mourning; but as, for the generality, the same colour is also used for occasions of commerce, ceremony, religion, and the ordinary affairs of life, the matter remains28 exactly as it was before. Yet with obtuse29 inconsistency the garments usually white—in which a change would be really noticeable—remain white throughout the most poignant30 grief. How much more markedly expressed would be the symbolism if during such a period they wore white outer robes and black body garments. Nevertheless it cannot be said that they are unmindful of the emblematic31 influence of colour, for, unlike the reasonable conviction that red is red and blue is blue, which has satisfied our great nation from the days of the legendary33 Shun34, these pale-eyed foreigners have diverged35 into countless36 trifling37 imaginings, so that when the one who is now expressing his contempt for the development required a robe of a certain hue38, he had to bend his mouth, before he could be exactly understood, to the degrading necessity of asking for “Drowned-rat brown,” “Sunstroke magenta,” “Billingsgate purple,” “London milk azure,” “Settling-day green,” or the like. In the other signs of mourning they do not come within measurable distance of our pure and uncomfortable standard. “If you are really sincere in your regret for the one who has Passed Beyond, why do you not sit upon the floor for seven days and nights, take up all food with your fingers, and allow your nails to grow untrimmed for three years?” was a question which I at first instinctively39 put to lesser40 ones in their affliction. In every case save one I received answers of evasive purport41, and even the one stated reason, “Because although I am a poor widder I ain’t a pig,” I deemed shallow.
I have already dipped a revealing brush into the subject of names. Were the practice of applying names in a wrong and illogical sequence maintained throughout it might indeed raise a dignified42 smile, but it would not appear contemptible43; but what can be urged when upon an occasion one name appears first, upon another occasion last? A dignity is conferred in old age, and it is placed before the family designation borne by an honoured father and a direct line of seventeen revered44 ancestors. Another title is bestowed45, and eats up the former like a revengeful dragon. New distinctions follow, some at one end, others at another, until a very successful person may be suitably compared to the ringed oleander snake, which has the power of growing equally from either the head or the tail. To express the matter by a definite allusion46, how much more graceful16 and orchideous, even in a condensed fashion, would appear the designation of this selected one, if instead of the usual form of the country it was habitually47 set forth48 in the following logical and thoroughly49 Chinese style:—Chamberlain Joseph, Master, Mr., Thrice Wearer of the Robes and Golden Collar, One of the Just Peacemakers, Esquire, Member of the House of Law-givers, Leader in the Council of Commerce, Presider over the Tables of Provincial51 Government, Uprightly Honourable52 Secretary of the Outlying Parts.
Among the notes which at various times I have inscribed53 in a book for future guidance I find it written on an early page, “They do not hesitate to express their fathers’ names openly,” but to this assertion there stands a warning sign which was added after the following incident. “Is it true, Mr. Kong,” asked a lesser one, who is spoken of as vastly rich but discontented with her previous lot, of this person upon an occasion, “is it really true that your countrymen to not consider it right to speak of their fathers’ names, even in this enlightened age?” To this I replied that the matter was as she had eloquently54 expressed it, and, encouraged by her amiable56 condescension57, I asked after the memory of her paternal58 grandsire, whose name I had frequently heard whispered in connection with her own. To my inelegant confusion she regarded me for a period as though I had the virtue59 of having become transparent60, and then passed on in a most overwhelming excess of disconcertingly-arranged silence.
“You’ve done it now, Kong,” said one who stood by (or, as we would express the same thought, “You have succeeded in accomplishing the undesirable”); “don’t you know that the old man was in the tripe61 and trotter line?”
“To no degree,” I replied truly. “Yet,” I continued, matching his idiom with another equally facile, “wherein was this person’s screw loose? Are they not openly referred to—those of the Line of Tripe and Trotter—by their descendants?”
“Not in most cases,” he said, with a concentration that indicated a lurking62 sting among his words. “Generally speaking, they aren’t mentioned or taken into any account whatever. While they are alive they are kept in the background and invited to treat themselves to the Tower when nice people are expected; when dead they are fastened up in the family back cupboard by a score of ten-inch nails and three-trick Yale locks, so to speak. And in the meantime all the splash is being made on their muddy oof. See?”
I nodded agreeably, though, had the opportunity been more favourable63, I would have made the feint to learn somewhat more of this secret practice of burying in the enclosed space beneath the stairs. Thus is it set forth why, after the statement, “They do not hesitate to express their fathers’ names openly,” it is further written, “Walk slowly! Engrave19 well upon your discreet64 remembrance the unmentionable Line of Tripe and Trotter.”
Another point of comparison which the superficial have failed to record is to be found in the frequent encouragements to regard The Virtues65 which are to be seen, like our own Confucian extracts, freely inscribed on every wall and suitable place about the city. These for the most part counsel moderation in taking false oaths, in stepping heedlessly upon the unknown ground, in following paths which lead to doubtful ends, and other timely warnings. “Beware a smoke-breathing demon,” is frequently cast across one’s path upon a barrier, and this person has never failed to accept the omen2 and to retrace66 his steps hastily without looking to the right or the left. Even our own national caution is not forgotten, although to conform to barbarian indolence it is written, “Slowly, slowly; drive slowly.” “Keep to the Right” (or, “Abandon that which is evil,” as the analogy holds,) is perhaps the most frequently displayed of all, and doubtless many charitable persons obtain an ever-accruing merit by hanging the sign bearing these words upon every available post. Others are of a stern and threatening nature, designed to make the most hardened ill-doer pause, as—in their own tongue—“Rubbish may be shot here”; which we should render, “At any moment, and in such a place as this, a just doom67 and extinction68 may overtake the worthless.” This inscription69 is never to be seen except in waste expanses, where it points its significance with a multiplied force. There is another definite threat which is lavishly70 set out, and so thoroughly that it may be encountered in the least frequented and almost inaccessible71 spots. This, as it may be translated, reads, “Trespass not the forbidden. The profligate72 may flourish like the gourd73 for a season, but in the end assuredly they will be detected, and justice meted74 out with the relentless75 fury of the written law.”
In a converse76 position, the wide difference in the ceremonial forms of retaliatory77 invective78 has practically disarmed79 this usually eloquent55 person, and he long since abandoned every hope of expressing himself with any satisfaction in encounters of however acrimonious80 a trend. At first, with an urbane81 smile and gestures of dignified contempt, he impugned82 the authenticity83 of the Ancestral Tablets of those with whom he strove, in an unbroken stream of most bitter contumely. Finding them silent under this reproach, he next lightly traced their origin back through generations of afflicted84 lepers, deformed85 ape-beings, and Nameless Things, to a race of primitive86 ghouls, and then went on in relentless fluency87 to predict an early return in their descendants to the condition of a similar state. For some time he had a well-gratified assurance that those whom he assailed88 were so overwhelmed as to be incapable89 of retort, and in this belief he never failed to call upon passers-by to witness his triumph; but on the fourth occasion a young man whom I had thus publicly denounced for a sufficient though forgotten reason, after listening courteously90 to my venomous accusations91, bestowed a two-cash piece upon me and passed on, remarking that it was hard, and those around, also, would have added from their stores had it been permitted. From this time onward92 I did not attempt to make myself disagreeable either in public or to those whom I esteemed93 privately94. On the other hand, the barbarian manner of retort did not find me endowed by nature to parry it successfully. Quite lacking in measured periods, it aims, by an extreme rapidity of thrust and an insincerity of sequence, to entangle25 the one who is assailed in a complication of arising doubts and emotions. “Who are you,—no one but yourself,” exclaimed a hireling of hung-dog expression who claimed to have exchanged pledging gifts with a certain maiden95 who stood, as it were, between us, and falling into the snare96, I protested warmly against the insult, and strove to disprove the inference before the paralogism lay revealed. Throughout the whole range of the Odes, the Histories, the Analects, and the Rites97 what recognised formula of rejoinder is there to the taunt98, “Oh, go and put your feet in mustard and cress”; or how can one, however skilled in the highest Classics, parry the subtle inconsistencies of the reproach, “You’re a nice bit of orl right, aren’t you? Not arf, I don’t think.”
Among the arts of this country that of painting upon canvas is held in repute, but to a person associated with the masterpieces of the Ma epoch99 these native attempts would be gravity-dispelling if they were not too reminiscent of the torture chamber50. It is rarely, indeed, that even the most highly-esteemed picture-makers succeed in depicting101 every portion of a human body submitted to their brush, and not infrequently half of the face is left out. Once, when asked by a paint-applier who was entitled to append two signs of exceptional distinction behind his name, to express an opinion upon a finished work, I diffidently called his attention to the fact that he had forgotten to introduce a certain exalted102 one’s left ear. “Not at all, Mr. Kong,” he replied, with an expression of ill-merited self-satisfaction, “but it is hidden by the face.” “Yet it exists,” I contended; “why not, therefore, press it to the front at all hazard, rather than send so great a statesman down into the annals of posterity103 as deformed to that extent?” “It certainly exists,” he admitted, “and one takes that for granted; but in my picture it cannot be seen.” I bowed complaisantly, content to let so damaging an admission point its own despair. A moment later I continued, “In the great Circular Hall of the Palace of Envoys104 there is a picture of two camels, foot-tethered, as it fortunately chanced, to iron rings. Formerly there were a drove of eight—the others being free—so exquisitely105 outlined in all their parts that one night, when the door had been left incautiously open, they stepped down from the wall and escaped to the woods. How deplorable would have been the plight106 of these unfortunate beings, if upon passing into the state of a living existence they had found that as a result of the limited vision of their creator they only possessed107 twelve legs and three whole bodies among them.”
Perchance this tactfully-related story, so applicable to his own deficiencies, may sink into the imagination of the one for whom it was inoffensively unfolded. Yet doubt remains. Our own picture-judgers take up a position at the side of work when they with to examine its qualities, retiring to an ever-diminishing angle in order to bring out the more delicate effects, until a very expert and conscientious108 critic will not infrequently stand really behind the picture he is considering before he delivers a final pronouncement. Not until these native artists are able to regard their crude attempts from the other side of the canvas can they hope to become equally proficient109. To this fatal shortcoming must be added that of insatiable ambition, which prompts the young to the portrayal110 of widely differing subjects. Into the picture-room of one who might thus be described this person was recently conducted, to pass an opinion upon a scene in which were depicted111 seven men of varying nationalities and appropriately garbed112, one of the opposing sex carrying a lighted torch, an elephant reclining beneath a fruitful vine, and the President of a Republic. For a period this person resisted the efforts of those who would have questioned him, withdrawing their attention to the harmonious114 lights upon the river mist floating far below, but presently, being definitely called upon, he replied as follows: “Mih Ying, who was perhaps the greatest of his time, spent his whole life in painting green and yellow beetles115 in the act of concealing116 themselves beneath dead maple117 leaves upon the approach of day. At the age of seventy-five he burst into tears, and upon being approached for a cause he exclaimed, ‘Alas, if only this person had resisted the temptation to be diffuse118, and had confined himself to green beetles alone, he might now, instead of contemplating119 a misspent career, have been really great.’ How much less,” I continued, “can a person of immature120 moustaches hope to depict100 two such conflicting objects as a recumbent elephant and the President of a Republic standing beneath a banner?”
Upon the temptation to deal critically with the religious instincts of the islanders this person draws an obliterating121 brush. As practically every traveller who has honoured our unattractive land with his effusive122 presence has subsequently left it in a printed record that our ceremonies are grotesque123, our priesthood ignorant and depraved, our monasteries124 and sacred places spots of plague upon an otherwise flower-adorned landscape, and our beliefs and sacrifices only worthy to exist for the purpose of being made into jest-origins by more refined communities, the omission125 on this one’s part may appear uncivil and perhaps even intentionally126 discourteous127. To this, as a burner of joss-sticks and an irregular person, he can only reply by a deprecatory waving of both hands and a reassuring128 smile.
With the two-sided memories of many other details hanging thickly around his brush, it would not be an achievement to continue to a practically inexhaustible amount. As of the set days when certain things are observed, among which fall the first of the fourth month (but that would disclose another involvement), another when flat cakes are partaken of without due caution, another when rounder cakes are even more incautiously consumed, and that most brightly-illuminated of all when it is permissible129 to embrace maidens130 openly, and if discreetly131 accomplished132 with no overhanging fear of ensuing forms of law, beneath the emblem32 of a suspended branch, in memory of the wisdom of certain venerable sages133 who were doubtless expert in the practice. As of the inconvenient134 custom when two persons are walking together that they should arrange themselves side by side, to the obvious discomfort135 of others, the sweeping136 away of all opportunities for agreeable politeness, and the utter disregard of the time-honoured example of the sagacious water-fowl. As of the inconsistency of refusing, even with contempt, to receive our most intimate form of regard and use this person’s lip-cloth after a feast, yet the mulish eagerness in that same youth to drink from a cup previously137 used by a lesser one. As of the precision (which still remains a cloud of doubt,) with which creatures so intractable as the bull are successfully trained to roar aloud at certain gong-strokes of the day as an agreed signal. As of the streets in movement, the lights at evening, and the voices of those unseen. As of these and as of other matters, so multitudinous that they crowd about this person’s mind like the assembling swallows, circling above the deserted138 millet139 fields before they turn their beaks140 to the sea, and dropping his brush (perchance with an acquiescent sigh), he, also, kow-tows submissively to a blind but appointed destiny, and prepares to seek a passage from an alien land of sojourning.
With the impetuous craving141 of an affectionate son to behold a revered sire, intensified142 by the fact that he has reached the innermost lining113 of his sleeve; with affectionate greetings towards Ning, Hia-Fa, and T’ian Yen143, and an assurance that they have never been really absent from his thoughts.
KONG HO.
Ernest Bramah, of whom in his lifetime Who’s Who had so
little to say, was born in Manchester. At seventeen he chose
farming as a profession, but after three years of losing
money gave it up to go into journalism144. He started as
correspondent on a typical provincial paper, then went to
London as secretary to Jerome K. Jerome, and worked himself
into the editorial side of Jerome’s magazine, To-day, where
he got the opportunity of meeting the most important
literary figures of the day. But he soon left To-day to
join a new publishing firm, as editor of a publication
called The Minister; finally, after two years of this, he
intensely interested in coins and published a book on the
the creator of the charming character Kai Lung who appears
in Kai Lung Unrolls His Mat, Kai Lung’s Golden Hours, The
Wallet of Kai Lung, Kai Lung Beneath the Mulberry Tree, The
Mirror of Kong Ho, and The Moon of Much Gladness; he also
wrote two one-act plays which are often performed at London
variety theatres, and many stories and articles in leading
periodicals. He died in 1942.
The End
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1
prosaic
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| adj.单调的，无趣的 | |
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omen
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| n.征兆，预兆；vt.预示 | |
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symbolic
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| adj.象征性的，符号的，象征主义的 | |
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venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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descend
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| vt./vi.传下来，下来，下降 | |
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acquiescent
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| adj.默许的，默认的 | |
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explicit
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| adj.详述的，明确的；坦率的；显然的 | |
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specified
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| adj.特定的 | |
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ignoble
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| adj.不光彩的，卑鄙的；可耻的 | |
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logic
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| n.逻辑(学)；逻辑性 | |
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feverish
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| adj.发烧的，狂热的，兴奋的 | |
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behold
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| v.看，注视，看到 | |
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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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poised
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| a.摆好姿势不动的 | |
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gracefully
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| ad.大大方方地；优美地 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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engrave
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| vt.（在...上）雕刻，使铭记，使牢记 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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barbarian
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| n.野蛮人；adj.野蛮(人)的；未开化的 | |
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formerly
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| adv.从前，以前 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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entangle
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| vt.缠住，套住；卷入，连累 | |
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painstaking
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hesitation
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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obtuse
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| adj.钝的；愚钝的 | |
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poignant
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| adj.令人痛苦的，辛酸的，惨痛的 | |
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emblematic
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| adj.象征的，可当标志的；象征性 | |
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emblem
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| n.象征，标志；徽章 | |
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legendary
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| adj.传奇（中）的，闻名遐迩的；n.传奇（文学） | |
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shun
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| vt.避开，回避，避免 | |
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diverged
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| 分开( diverge的过去式和过去分词 )； 偏离； 分歧； 分道扬镳 | |
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countless
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| adj.无数的，多得不计其数的 | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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hue
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| n.色度；色调；样子 | |
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instinctively
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| adv.本能地 | |
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lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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purport
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| n.意义，要旨，大要；v.意味著，做为...要旨，要领是... | |
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dignified
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| a.可敬的，高贵的 | |
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contemptible
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| adj.可鄙的，可轻视的，卑劣的 | |
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revered
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| v.崇敬，尊崇，敬畏( revere的过去式和过去分词 ) | |
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bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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allusion
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| n.暗示，间接提示 | |
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habitually
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| ad.习惯地，通常地 | |
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forth
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| adv.向前；向外，往外 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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provincial
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| adj.省的，地方的；n．外省人，乡下人 | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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eloquently
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| adv. 雄辩地(有口才地, 富于表情地) | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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condescension
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| n.自以为高人一等，贬低(别人) | |
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paternal
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| adj.父亲的，像父亲的，父系的，父方的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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60
transparent
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| adj.明显的，无疑的；透明的 | |
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61
tripe
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| n.废话，肚子, 内脏 | |
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62
lurking
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| 潜在 | |
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63
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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65
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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66
retrace
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| v.折回；追溯，探源 | |
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67
doom
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| n.厄运，劫数；v.注定，命定 | |
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68
extinction
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| n.熄灭，消亡，消灭，灭绝，绝种 | |
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69
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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70
lavishly
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| adv.慷慨地，大方地 | |
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71
inaccessible
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| adj.达不到的，难接近的 | |
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72
profligate
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| adj.行为不检的；n.放荡的人，浪子，肆意挥霍者 | |
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73
gourd
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| n.葫芦 | |
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74
meted
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| v.（对某人）施以，给予（处罚等）( mete的过去式和过去分词 ) | |
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75
relentless
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| adj.残酷的，不留情的，无怜悯心的 | |
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76
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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77
retaliatory
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| adj.报复的 | |
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78
invective
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| n.痛骂，恶意抨击 | |
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79
disarmed
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| v.裁军( disarm的过去式和过去分词 )；使息怒 | |
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80
acrimonious
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| adj.严厉的，辛辣的，刻毒的 | |
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81
urbane
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| adj.温文尔雅的，懂礼的 | |
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82
impugned
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| v.非难，指谪( impugn的过去式和过去分词 )；对…有怀疑 | |
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authenticity
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| n.真实性 | |
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84
afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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85
deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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86
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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87
fluency
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| n.流畅，雄辩，善辩 | |
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88
assailed
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| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
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89
incapable
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| adj.无能力的，不能做某事的 | |
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90
courteously
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| adv.有礼貌地，亲切地 | |
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91
accusations
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| n.指责( accusation的名词复数 )；指控；控告；（被告发、控告的）罪名 | |
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92
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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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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96
snare
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| n.陷阱，诱惑，圈套；（去除息肉或者肿瘤的）勒除器；响弦，小军鼓；vt.以陷阱捕获，诱惑 | |
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97
rites
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| 仪式，典礼( rite的名词复数 ) | |
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98
taunt
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| n.辱骂，嘲弄；v.嘲弄 | |
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99
epoch
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| n.(新)时代；历元 | |
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100
depict
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| vt.描画，描绘；描写，描述 | |
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101
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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102
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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103
posterity
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| n.后裔，子孙，后代 | |
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104
envoys
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| 使节( envoy的名词复数 )； 公使； 谈判代表； 使节身份 | |
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105
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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106
plight
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| n.困境，境况，誓约，艰难；vt.宣誓，保证，约定 | |
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107
possessed
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| adj.疯狂的；拥有的，占有的 | |
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108
conscientious
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| adj.审慎正直的，认真的，本着良心的 | |
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109
proficient
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| adj.熟练的，精通的；n.能手，专家 | |
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110
portrayal
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| n.饰演；描画 | |
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111
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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112
garbed
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| v.（尤指某类人穿的特定）服装，衣服，制服( garb的过去式和过去分词 ) | |
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113
lining
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| n.衬里，衬料 | |
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114
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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115
beetles
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| n.甲虫( beetle的名词复数 ) | |
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116
concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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117
maple
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| n.槭树，枫树，槭木 | |
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118
diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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119
contemplating
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| 深思，细想，仔细考虑( contemplate的现在分词 )； 注视，凝视； 考虑接受（发生某事的可能性）； 深思熟虑，沉思，苦思冥想 | |
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120
immature
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| adj.未成熟的，发育未全的，未充分发展的 | |
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obliterating
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| v.除去( obliterate的现在分词 )；涂去；擦掉；彻底破坏或毁灭 | |
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122
effusive
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| adj.热情洋溢的；感情(过多)流露的 | |
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123
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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124
monasteries
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| 修道院( monastery的名词复数 ) | |
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125
omission
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| n.省略，删节；遗漏或省略的事物，冗长 | |
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126
intentionally
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| ad.故意地，有意地 | |
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127
discourteous
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| adj.不恭的，不敬的 | |
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128
reassuring
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| a.使人消除恐惧和疑虑的，使人放心的 | |
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129
permissible
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| adj.可允许的，许可的 | |
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130
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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131
discreetly
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| ad.(言行)审慎地，慎重地 | |
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132
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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133
sages
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| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
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134
inconvenient
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| adj.不方便的，令人感到麻烦的 | |
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135
discomfort
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| n.不舒服，不安，难过，困难，不方便 | |
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136
sweeping
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| adj.范围广大的，一扫无遗的 | |
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137
previously
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| adv.以前，先前（地） | |
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138
deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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139
millet
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| n.小米，谷子 | |
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140
beaks
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| n.鸟嘴( beak的名词复数 )；鹰钩嘴；尖鼻子；掌权者 | |
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141
craving
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| n.渴望,热望 | |
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142
intensified
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| v.（使）增强， （使）加剧( intensify的过去式和过去分词 ) | |
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143
yen
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| n. 日元；热望 | |
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144
journalism
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| n.新闻工作，报业 | |
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145
full-time
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| adj.满工作日的或工作周的，全时间的 | |
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146
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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