What depressing weather for a first landing, and how was I to find a wife through such a deluge12, in an unknown country?
No matter! I dressed myself and said to Yves, who smiled at my obstinate13 determination in spite of unfavorable circumstances:
“Hail me a ‘sampan,’ brother, please.”
Yves then, by a motion of his arm through the wind and rain, summoned a kind of little, white, wooden sarcophagus which was skipping near us on the waves, sculled by two yellow boys stark14 naked in the rain. The craft approached us, I jumped into it, then through a little trap-door shaped like a rat-trap that one of the scullers threw open for me, I slipped in and stretched myself at full length on a mat in what is called the “cabin” of a sampan.
There was just room enough for my body to lie in this floating coffin15, which was scrupulously16 clean, white with the whiteness of new deal boards. I was well sheltered from the rain, that fell pattering on my lid, and thus I started for the town, lying in this box, flat on my stomach, rocked by one wave, roughly shaken by another, at moments almost overturned; and through the half-opened door of my rattrap I saw, upside-down, the two little creatures to whom I had entrusted17 my fate, children of eight or ten years of age at the most, who, with little monkeyish faces, had, however, fully18 developed muscles, like miniature men, and were already as skilful19 as regular old salts.
Suddenly they began to shout; no doubt we were approaching the landing-place. And indeed, through my trap-door, which I had now thrown wide open, I saw quite near to me the gray flagstones on the quays21. I got out of my sarcophagus and prepared to set foot on Japanese soil for the first time in my life.
All was streaming around us, and the tiresome22 rain dashed into my eyes.
Hardly had I landed, when there bounded toward me a dozen strange beings, of what description it was almost impossible to distinguish through the blinding rain — a species of human hedgehog, each dragging some large black object; they came screaming around me and stopped my progress. One of them opened and held over my head an enormous, closely-ribbed umbrella, decorated on its transparent23 surface with paintings of storks24; and they all smiled at me in an engaging manner, with an air of expectation.
I had been forewarned; these were only the djins who were touting25 for the honor of my preference; nevertheless I was startled at this sudden attack, this Japanese welcome on a first visit to land (the djins or djin-richisans, are the runners who drag little carts, and are paid for conveying people to and fro, being hired by the hour or the distance, as cabs are hired in Europe).
Their legs were naked; to-day they were very wet, and their heads were hidden under large, shady, conical hats. By way of waterproofs26 they wore nothing less than mats of straw, with all the ends of the straws turned outward, bristling27 like porcupines28; they seemed clothed in a thatched roof. They continued to smile, awaiting my choice.
Not having the honor of being acquainted with any of them in particular, I chose at haphazard30 the djin with the umbrella and got into his little cart, of which he carefully lowered the hood31. He drew an oilcloth apron32 over my knees, pulling it up to my face, and then advancing, asked me, in Japanese, something which must have meant: “Where to, sir?” To which I replied, in the same language, “To the Garden of Flowers, my friend.”
I said this in the three words I had, parrot-like, learned by heart, astonished that such sounds could mean anything, astonished, too, at their being understood. We started, he running at full speed, I dragged along and jerked about in his light chariot, wrapped in oilcloth, shut up as if in a box — both of us unceasingly drenched33 all the while, and dashing all around us the water and mud of the sodden34 ground.
“To the Garden of Flowers,” I had said, like a habitual35 frequenter of the place, and quite surprised at hearing myself speak. But I was less ignorant about Japan than might have been supposed. Many of my friends, on their return home from that country, had told me about it, and I knew a great deal; the Garden of Flowers is a tea-house, an elegant rendezvous36. There I should inquire for a certain Kangourou-San, who is at the same time interpreter, laundryman, and confidential37 agent for the intercourse38 of races. Perhaps this very evening, if all went well, I should be introduced to the bride destined39 for me by mysterious fate. This thought kept my mind on the alert during the panting journey we made, the djin and I, one dragging the other, under the merciless downpour.
Oh, what a curious Japan I saw that day, through the gaping40 of my oilcloth coverings, from under the dripping hood of my little cart! A sullen41, muddy, half-drowned Japan. All these houses, men, and beasts, hitherto known to me only in drawings; all these, that I had beheld42 painted on blue or pink backgrounds of fans or vases, now appeared to me in their hard reality, under a dark sky, with umbrellas and wooden shoes, with tucked-up skirts and pitiful aspect.
At times the rain fell so heavily that I closed up tightly every chink and crevice43, and the noise and shaking benumbed me, so that I completely forgot in what country I was. In the hood of the cart were holes, through which little streams ran down my back. Then, remembering that I was going for the first time in my life through the very heart of Nagasaki, I cast an inquiring look outside, at the risk of receiving a drenching: we were trotting44 along through a mean, narrow, little back street (there are thousands like it, a labyrinth45 of them), the rain falling in cascades46 from the tops of the roofs on the gleaming flagstones below, rendering47 everything indistinct and vague through the misty48 atmosphere. At times we passed a woman struggling with her skirts, unsteadily tripping along in her high wooden shoes, looking exactly like the figures painted on screens, cowering49 under a gaudily50 daubed paper umbrella. Again, we passed a pagoda51, where an old granite52 monster, squatting53 in the water, seemed to make a hideous54, ferocious55 grimace56 at me.
How large this Nagasaki is! Here had we been running hard for the last hour, and still it seemed never-ending. It is a flat plain, and one never would suppose from the view in the offing that so vast a plain lies in the depth of this valley.
It would, however, have been impossible for me to say where I was, or in what direction we had run; I abandoned my fate to my djin and to my good luck.
What a steam-engine of a man my djin was! I had been accustomed to the Chinese runners, but they were nothing beside this fellow. When I part my oilcloth to peep at anything, he is naturally always the first object in my foreground; his two naked, brown, muscular legs, scampering57 along, splashing all around, and his bristling hedgehog back bending low in the rain. Do the passers-by, gazing at this little dripping cart, guess that it contains a suitor in quest of a bride?
At last my vehicle stops, and my djin, with many smiles and precautions lest any fresh rivers should stream down my back, lowers the hood of the cart; there is a break in the storm, and the rain has ceased. I had not yet seen his face; as an exception to the general rule, he is good-looking; a young man of about thirty years of age, of intelligent and strong appearance, and a frank countenance58. Who could have foreseen that a few days later this very djin? But no, I will not anticipate, and run the risk of throwing beforehand any discredit59 on Chrysanthème.
We had therefore reached our destination, and found ourselves at the foot of a high, overhanging mountain; probably beyond the limits of the town, in some suburban60 district. It apparently61 became necessary to continue our journey on foot, and to climb up an almost perpendicular62 narrow path.
Around us, a number of small country-houses, garden-walls, and high bamboo palisades shut off the view. The green hill crushed us with its towering height; the heavy, dark clouds lowering over our heads seemed like a leaden canopy63 confining us in this unknown spot; it really seemed as if the complete absence of perspective inclined one all the better to notice the details of this tiny corner, muddy and wet, of homely64 Japan, now lying before our eyes. The earth was very red. The grasses and wild flowers bordering the pathway were strange to me; nevertheless, the palings were covered with convolvuli like our own, and I recognized china asters, zinnias, and other familiar flowers in the gardens. The atmosphere seemed laden65 with a curiously66 complicated odor, something besides the perfume of the plants and soil, arising no doubt from the human dwelling67-places — a mingled68 odor, I fancied, of dried fish and incense69. Not a creature was to be seen; of the inhabitants, of their homes and life, there was not a vestige70, and I might have imagined myself anywhere in the world.
My djin had fastened his little cart under a tree, and together we climbed the steep path on the slippery red soil.
“We are going to the Garden of Flowers, are we not?” I inquired, desirous to ascertain71 whether I had been understood.
“Yes, yes,” replied the djin, “it is up there, and quite near.”
The road turned, steep banks hemming72 it in and darkening it. On one side it skirted the mountain, all covered with a tangle73 of wet ferns; on the other appeared a large wooden house almost devoid74 of openings and of evil aspect; it was there that my djin halted.
What, was that sinister-looking house the Garden of Flowers? He assured me that it was, and seemed very sure of the fact. We knocked at a large door which opened immediately, slipping back in its groove75. Then two funny little women appeared, oldish-looking, but with evident pretensions76 to youth: exact types of the figures painted on vases, with their tiny hands and feet.
On catching77 sight of me they threw themselves on all fours, their faces touching78 the floor. Good gracious! What can be the matter? I asked myself. Nothing at all, it was only the ceremonious salute79, to which I am as yet unaccustomed. They arose, and proceeded to take off my boots (one never keeps on one’s shoes in a Japanese house), wiping the bottoms of my trousers, and feeling my shoulders to see whether I am wet.
What always strikes one on first entering a Japanese dwelling is the extreme cleanliness, the white and chilling bareness of the rooms.
Over the most irreproachable80 mattings, without a crease81, a line, or a stain, I was led upstairs to the first story and ushered82 into a large, empty room — absolutely empty! The paper walls were mounted on sliding panels, which, fitting into each other, can be made to disappear — and all one side of the apartment opened like a veranda83, giving a view of the green country and the gray sky beyond. By way of a chair, they gave me a square cushion of black velvet84; and behold85 me seated low, in the middle of this large, empty room, which by its very vastness is almost chilly86. The two little women (who are the servants of the house and my very humble87 servants, too), awaited my orders, in attitudes expressive88 of the profoundest humility89.
It seemed extraordinary that the quaint29 words, the curious phrases I had learned during our exile at the Pescadores Islands — by sheer dint90 of dictionary and grammar, without attaching the least sense to them — should mean anything. But so it seemed, however, for I was at once understood.
I wished in the first place to speak to one M. Kangourou, who is interpreter, laundryman, and matrimonial agent. Nothing could be easier: they knew him and were willing to go at once in search of him; and the elder of the waiting-maids made ready for the purpose her wooden clogs91 and her paper umbrella.
Next I demanded a well-served repast, composed of the greatest delicacies92 of Japan. Better and better! they rushed to the kitchen to order it.
Finally, I beg they will give tea and rice to my djin, who is waiting for me below; I wish — in short, I wish many things, my dear little dolls, which I will mention by degrees and with due deliberation, when I shall have had time to assemble the necessary words. But the more I look at you the more uneasy I feel as to what my fiancee of to-morrow may be like. Almost pretty, I grant you, you are — in virtue93 of quaintness94, delicate hands, miniature feet, but ugly, after all, and absurdly small. You look like little monkeys, like little china ornaments95, like I don’t know what. I begin to understand that I have arrived at this house at an ill-chosen moment. Something is going on which does not concern me, and I feel that I am in the way.
From the beginning I might have guessed as much, notwithstanding the excessive politeness of my welcome; for I remember now, that while they were taking off my boots downstairs, I heard a murmuring chatter97 overhead, then a noise of panels moved quickly along their grooves98, evidently to hide from me something not intended for me to see; they were improvising99 for me the apartment in which I now am just as in menageries they make a separate compartment100 for some beasts when the public is admitted.
Now I am left alone while my orders are being executed, and I listen attentively101, squatted102 like a Buddha103 on my black velvet cushion, in the midst of the whiteness of the walls and mats.
Behind the paper partitions, feeble voices, seemingly numerous, are talking in low tones. Then rises the sound of a guitar, and the song of a woman, plaintive104 and gentle in the echoing sonority105 of the bare house, in the melancholy106 of the rainy weather.
What one can see through the wide-open veranda is very pretty; I will admit that it resembles the landscape of a fairytale. There are admirably wooded mountains, climbing high into the dark and gloomy sky, and hiding in it the peaks of their summits, and, perched up among the clouds, is a temple. The atmosphere has that absolute transparency, that distance and clearness which follows a great fall of rain; but a thick pall107, still heavy with moisture, remains108 suspended over all, and on the foliage109 of the hanging woods still float great flakes110 of gray fluff, which remain there, motionless. In the foreground, in front of and below this almost fantastic landscape, is a miniature garden where two beautiful white cats are taking the air, amusing themselves by pursuing each other through the paths of a Lilliputian labyrinth, shaking the wet sand from their paws. The garden is as conventional as possible: not a flower, but little rocks, little lakes, dwarf111 trees cut in grotesque112 fashion; all this is not natural, but it is most ingeniously arranged, so green, so full of fresh mosses113!
In the rain-soaked country below me, to the very farthest end of the vast scene, reigns114 a great silence, an absolute calm. But the woman’s voice, behind the paper wall, continues to sing in a key of gentle sadness, and the accompanying guitar has sombre and even gloomy notes.
Stay, though! Now the music is somewhat quicker — one might even suppose they were dancing!
So much the worse! I shall try to look between the fragile divisions, through a crack which has revealed itself to my notice.
What a singular spectacle it is; evidently the gilded115 youth of Nagasaki holding a great clandestine116 orgy! In an apartment as bare as my own, there are a dozen of them, seated in a circle on the ground, attired117 in long blue cotton dresses with pagoda sleeves, long, sleek118, and greasy119 hair surmounted120 by European pot-hats; and beneath these, yellow, worn-out, bloodless, foolish faces. On the floor are a number of little spirit-lamps, little pipes, little lacquer trays, little teapots, little cups-all the accessories and all the remains of a Japanese feast, resembling nothing so much as a doll’s tea-party. In the midst of this circle of dandies are three overdressed women, one might say three weird121 visions, robed in garments of pale and indefinable colors, embroidered122 with golden monsters; their great coiffures are arranged with fantastic art, stuck full of pins and flowers. Two are seated with their backs turned to me: one is holding the guitar, the other singing with that soft, pretty voice; thus seen furtively123, from behind, their pose, their hair, the nape of their necks, all is exquisite124, and I tremble lest a movement should reveal to me faces which might destroy the enchantment125. The third girl is on her feet, dancing before this areopagus of idiots, with their lanky126 locks and pot-hats. What a shock when she turns round! She wears over her face the horribly grinning, death-like mask of a spectre or a vampire127. The mask unfastened, falls. And behold! a darling little fairy of about twelve or fifteen years of age, slim, and already a coquette, already a woman — dressed in a long robe of shaded dark-blue china crape, covered with embroidery128 representing bats-gray bats, black bats, golden bats.
Suddenly there are steps on the stairs, the light foot steps of barefooted women pattering over the white mats. No doubt the first course of my luncheon129 is just about to be served. I fall back quickly, fixed130 and motionless, upon my black velvet cushion. There are three of them now, three waiting-maids who arrive in single file, with smiles and curtseys. One offers me the spirit-lamp and the teapot; another, preserved fruits in delightful131 little plates; the third, absolutely indefinable objects upon gems132 of little trays. And they grovel133 before me on the floor, placing all this plaything of a meal at my feet.
At this moment, my impressions of Japan are charming enough; I feel myself fairly launched upon this tiny, artificial, fictitious134 world, which I felt I knew already from the paintings on lacquer and porcelains135. It is so exact a representation! The three little squatting women, graceful136 and dainty, with their narrow slits137 of eyes, their magnificent coiffures in huge bows, smooth and shining as shoe-polish, and the little tea-service on the floor, the landscape seen through the veranda, the pagoda perched among the clouds; and over all the same affectation everywhere, in every detail. Even the woman’s melancholy voice, still to be heard behind the paper partition, was evidently the proper way for them to sing — these musicians I had so often seen painted in amazing colors on rice-paper, half closing their dreamy eyes among impossibly large flowers. Long before I arrived there, I had perfectly138 pictured Japan to myself. Nevertheless, in the reality it almost seems to be smaller, more finicking than I had imagined it, and also much more mournful, no doubt by reason of that great pall of black clouds hanging over us, and this incessant139 rain.
While awaiting M. Kangourou (who is dressing140 himself, it appears, and will be here shortly), it may be as well to begin luncheon.
In the daintiest bowl imaginable, adorned141 with flights of storks, is the most wildly impossible soup made of seaweed. After which there are little fish dried in sugar, crabs142 in sugar, beans in sugar, and fruits in vinegar and pepper. All this is atrocious, but above all unexpected and unimaginable. The little women make me eat, laughing much, with that perpetual, irritating laugh which is peculiar143 to Japan — they make me eat, according to their fashion, with dainty chop-sticks, fingered with affected144 grace. I am becoming accustomed to their faces. The whole effect is refined — a refinement145 so entirely146 different from our own that at first sight I understand nothing of it, although in the long run it may end by pleasing me.
Suddenly enters, like a night butterfly awakened147 in broad daylight, like a rare and surprising moth148, the dancing-girl from the other compartment, the child who wore the horrible mask. No doubt she wishes to have a look at me. She rolls her eyes like a timid kitten, and then all at once tamed, nestles against me, with a coaxing149 air of childishness, which is a delightfully150 transparent assumption. She is slim, elegant, delicate, and smells sweet; she is drolly151 painted, white as plaster, with a little circle of rouge152 marked very precisely153 in the middle of each cheek, the mouth reddened, and a touch of gilding154 outlining the under lip. As they could not whiten the back of her neck on account of all the delicate little curls of hair growing there, they had, in their love of exactitude, stopped the white plaster in a straight line, which might have been cut with a knife, and in consequence at the nape appears a square of natural skin of a deep yellow.
An imperious note sounds on the guitar, evidently a summons! Crac! Away she goes, the little fairy, to entertain the drivelling fools on the other side of the screens.
Suppose I marry this one, without seeking any further. I should respect her as a child committed to my care; I should take her for what she is: a fantastic and charming plaything. What an amusing little household I should set up! Really, short of marrying a china ornament96, I should find it difficult to choose better.
At this moment enters M. Kangourou, clad in a suit of gray tweed, which might have come from La Belle155 Jardiniere or the Pont Neuf, with a pot-hat and white thread gloves. His countenance is at once foolish and cunning; he has hardly any nose or eyes. He makes a real Japanese salutation: an abrupt156 dip, the hands placed flat on the knees, the body making a right angle to the legs, as if the fellow were breaking in two; a little snake-like hissing157 (produced by sucking the saliva158 between the teeth, which is the highest expression of obsequious159 politeness in this country).
“You speak French, Monsieur Kangourou?”
“Yes, Monsieur” (renewed bows).
He makes one for each word I utter, as if he were a mechanical toy pulled by a string; when he is seated before me on the ground, he limits himself to a duck of the head — always accompanied by the same hissing noise of the saliva.
“A cup of tea, Monsieur Kangourou?”
Fresh salute and an extra affected gesticulation with the hands, as if to say, “I should hardly dare. It is too great a condescension160 on your part. However, anything to oblige you.”
He guesses at the first words what I require from him.
“Of course,” he replies, “we shall see about it at once. In a week’s time, as it happens, a family from Simonoseki, in which there are two charming daughters, will be here!”
“What! in a week! You don’t know me, Monsieur Kangourou! No, no, either now, to-morrow, or not at all.”
Again a hissing bow, and Kangourou-San, understanding my agitation, begins to pass in feverish161 review all the young persons at his disposal in Nagasaki.
“Let us see — there was Mademoiselle Oeillet. What a pity that you did not speak a few days sooner! So pretty! So clever at playing the guitar! It is an irreparable misfortune; she was engaged only yesterday by a Russian officer.
“Ah! Mademoiselle Abricot! — Would she suit you, Mademoiselle Abricot? She is the daughter of a wealthy China merchant in the Decima Bazaar162, a person of the highest merit; but she would be very dear: her parents, who think a great deal of her, will not let her go under a hundred yen163 —[A yen is equal to four shillings.]— a month. She is very accomplished164, thoroughly165 understands commercial writing, and has at her fingers’-ends more than two thousand characters of learned writing. In a poetical166 competition she gained the first prize with a sonnet167 composed in praise of ‘the blossoms of the blackthorn hedges seen in the dew of early morning.’ Only, she is not very pretty: one of her eyes is smaller than the other, and she has a hole in her cheek, resulting from an illness of her childhood.”
“Oh, no! on no account that one! Let us seek among a less distinguished168 class of young persons, but without scars. And how about those on the other side of the screen, in those fine gold-embroidered dresses? For instance, the dancer with the spectre mask, Monsieur Kangourou? or again she who sings in so dulcet169 a strain and has such a charming nape to her neck?”
He does not, at first, understand my drift; then when he gathers my meaning, he shakes his head almost in a joking way, and says:
“No, Monsieur, no! Those are only geishas — [Geishas are professional dancers and singers trained at the Yeddo Conservatory170.]— Monsieur — geishas!”
“Well, but why not a geisha? What difference can it make to me whether they are geishas or not?” Later, no doubt, when I understand Japanese affairs better, I shall appreciate myself the enormity of my proposal: one would really suppose I had talked of marrying the devil.
At this point M. Kangourou suddenly calls to mind one Mademoiselle Jasmin. Heavens! how was it he had not thought of her at once? She is absolutely and exactly what I want; he will go to-morrow, or this very evening, to make the necessary overtures171 to the parents of this young person, who live a long way off, on the opposite hill, in the suburb of Diou-djen-dji. She is a very pretty girl of about fifteen. She can probably be engaged for about eighteen or twenty dollars a month, on condition of presenting her with a few costumes of the best fashion, and of lodging172 her in a pleasant and well-situated house — all of which a man of gallantry like myself could not fail to do.
Well, let us fix upon Mademoiselle Jasmin, then — and now we must part; time presses. M. Kangourou will come on board to-morrow to communicate to me the result of his first proceedings173 and to arrange with me for the interview. For the present he refuses to accept any remuneration; but I am to give him my washing, and to procure174 him the custom of my brother officers of the ‘Triomphante.’ It is all settled. Profound bows — they put on my boots again at the door. My djin, profiting by the interpreter kind fortune has placed in his way, begs to be recommended to me for future custom; his stand is on the quay20; his number is 415, inscribed175 in French characters on the lantern of his vehicle (we have a number 415 on board, one Le Goelec, gunner, who serves the left of one of my guns; happy thought! I shall remember this); his price is sixpence the journey, or five-pence an hour, for his customers. Capital! he shall have my custom, that is promised. And now, let us be off. The waiting-maids, who have escorted me to the door, fall on all fours as a final salute, and remain prostrate176 on the threshold as long as I am still in sight down the dark pathway, where the rain trickles177 off the great overarching bracken upon my head.
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1
torrents
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| n.倾注；奔流( torrent的名词复数 )；急流；爆发；连续不断 | |
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2
drenching
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| n.湿透v.使湿透( drench的现在分词 )；在某人（某物）上大量使用（某液体） | |
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3
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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4
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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5
amassed
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| v.积累，积聚( amass的过去式和过去分词 ) | |
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funnel
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| n.漏斗；烟囱；v.汇集 | |
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7
shreds
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| v.撕碎，切碎( shred的第三人称单数 )；用撕毁机撕毁（文件） | |
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vault
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| n.拱形圆顶，地窖，地下室 | |
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9
gusts
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| 一阵强风( gust的名词复数 )； （怒、笑等的）爆发； （感情的）迸发； 发作 | |
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10
seethed
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| （液体）沸腾( seethe的过去式和过去分词 )； 激动，大怒； 强压怒火； 生闷气(~with sth|~ at sth) | |
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11
agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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12
deluge
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| n./vt.洪水，暴雨，使泛滥 | |
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13
obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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14
stark
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| adj.荒凉的；严酷的；完全的；adv.完全地 | |
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15
coffin
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| n.棺材，灵柩 | |
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16
scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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17
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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quay
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| n.码头，靠岸处 | |
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21
quays
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| 码头( quay的名词复数 ) | |
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22
tiresome
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| adj.令人疲劳的，令人厌倦的 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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24
storks
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| n.鹳( stork的名词复数 ) | |
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25
touting
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| v.兜售( tout的现在分词 )；招揽；侦查；探听赛马情报 | |
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26
waterproofs
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| n.防水衣物，雨衣 usually plural( waterproof的名词复数 )v.使防水，使不透水( waterproof的第三人称单数 ) | |
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27
bristling
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| a.竖立的 | |
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28
porcupines
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| n.豪猪，箭猪( porcupine的名词复数 ) | |
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29
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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30
haphazard
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| adj.无计划的，随意的，杂乱无章的 | |
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31
hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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32
apron
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| n.围裙；工作裙 | |
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33
drenched
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| adj.湿透的；充满的v.使湿透( drench的过去式和过去分词 )；在某人（某物）上大量使用（某液体） | |
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34
sodden
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| adj.浑身湿透的；v.使浸透；使呆头呆脑 | |
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35
habitual
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| adj.习惯性的；通常的，惯常的 | |
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36
rendezvous
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| n.约会，约会地点，汇合点；vi.汇合，集合；vt.使汇合，使在汇合地点相遇 | |
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37
confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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38
intercourse
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| n.性交；交流，交往，交际 | |
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39
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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40
gaping
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| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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41
sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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42
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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43
crevice
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| n.(岩石、墙等)裂缝；缺口 | |
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44
trotting
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| 小跑，急走( trot的现在分词 )； 匆匆忙忙地走 | |
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45
labyrinth
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| n.迷宫；难解的事物；迷路 | |
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46
cascades
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| 倾泻( cascade的名词复数 )； 小瀑布（尤指一连串瀑布中的一支）； 瀑布状物； 倾泻（或涌出）的东西 | |
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47
rendering
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| n.表现，描写 | |
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48
misty
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| adj.雾蒙蒙的，有雾的 | |
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49
cowering
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| v.畏缩，抖缩( cower的现在分词 ) | |
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50
gaudily
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| adv.俗丽地 | |
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51
pagoda
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| n.宝塔（尤指印度和远东的多层宝塔），（印度教或佛教的）塔式庙宇 | |
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52
granite
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| adj.花岗岩，花岗石 | |
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53
squatting
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| v.像动物一样蹲下( squat的现在分词 )；非法擅自占用（土地或房屋）；为获得其所有权；而占用某片公共用地。 | |
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54
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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55
ferocious
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| adj.凶猛的，残暴的，极度的，十分强烈的 | |
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56
grimace
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| v.做鬼脸，面部歪扭 | |
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57
scampering
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| v.蹦蹦跳跳地跑，惊惶奔跑( scamper的现在分词 ) | |
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58
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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59
discredit
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| vt.使不可置信；n.丧失信义；不信，怀疑 | |
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60
suburban
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| adj.城郊的，在郊区的 | |
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61
apparently
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| adv.显然地；表面上，似乎 | |
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62
perpendicular
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| adj.垂直的，直立的；n.垂直线，垂直的位置 | |
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63
canopy
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| n.天篷，遮篷 | |
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64
homely
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| adj.家常的，简朴的；不漂亮的 | |
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65
laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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66
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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67
dwelling
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| n.住宅，住所，寓所 | |
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68
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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69
incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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70
vestige
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| n.痕迹，遗迹，残余 | |
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71
ascertain
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| vt.发现，确定，查明，弄清 | |
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72
hemming
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| 卷边 | |
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73
tangle
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| n.纠缠；缠结；混乱；v.(使)缠绕；变乱 | |
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74
devoid
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| adj.全无的，缺乏的 | |
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75
groove
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| n.沟，槽；凹线，（刻出的）线条，习惯 | |
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76
pretensions
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| 自称( pretension的名词复数 )； 自命不凡； 要求； 权力 | |
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77
catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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78
touching
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| adj.动人的，使人感伤的 | |
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79
salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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80
irreproachable
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| adj.不可指责的，无过失的 | |
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81
crease
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| n.折缝，褶痕，皱褶；v.(使)起皱 | |
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82
ushered
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| v.引，领，陪同( usher的过去式和过去分词 ) | |
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83
veranda
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| n.走廊；阳台 | |
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84
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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85
behold
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| v.看，注视，看到 | |
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86
chilly
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| adj.凉快的，寒冷的 | |
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87
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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88
expressive
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| adj.表现的，表达…的，富于表情的 | |
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89
humility
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| n.谦逊，谦恭 | |
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90
dint
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| n.由于，靠；凹坑 | |
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91
clogs
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| 木屐； 木底鞋，木屐( clog的名词复数 ) | |
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92
delicacies
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| n.棘手( delicacy的名词复数 )；精致；精美的食物；周到 | |
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93
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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94
quaintness
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| n.离奇有趣，古怪的事物 | |
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95
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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96
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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97
chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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98
grooves
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| n.沟( groove的名词复数 )；槽；老一套；（某种）音乐节奏v.沟( groove的第三人称单数 )；槽；老一套；（某种）音乐节奏 | |
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99
improvising
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| 即兴创作（improvise的现在分词形式） | |
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100
compartment
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| n.卧车包房，隔间；分隔的空间 | |
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101
attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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102
squatted
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| v.像动物一样蹲下( squat的过去式和过去分词 )；非法擅自占用（土地或房屋）；为获得其所有权；而占用某片公共用地。 | |
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103
Buddha
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| n.佛；佛像；佛陀 | |
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104
plaintive
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| adj.可怜的，伤心的 | |
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105
sonority
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| n.响亮，宏亮 | |
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106
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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107
pall
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| v.覆盖，使平淡无味；n.柩衣，棺罩；棺材；帷幕 | |
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108
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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109
foliage
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| n.叶子，树叶，簇叶 | |
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110
flakes
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| 小薄片( flake的名词复数 )； （尤指）碎片； 雪花； 古怪的人 | |
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111
dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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112
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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113
mosses
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| n. 藓类, 苔藓植物 名词moss的复数形式 | |
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114
reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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115
gilded
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| a.镀金的，富有的 | |
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116
clandestine
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| adj.秘密的，暗中从事的 | |
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117
attired
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| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
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118
sleek
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| adj.光滑的，井然有序的；v.使光滑，梳拢 | |
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119
greasy
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| adj. 多脂的，油脂的 | |
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120
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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121
weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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122
embroidered
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| adj．绣花的 | |
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123
furtively
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| adv. 偷偷地, 暗中地 | |
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124
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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125
enchantment
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| n.迷惑，妖术，魅力 | |
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126
lanky
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| adj.瘦长的 | |
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127
vampire
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| n.吸血鬼 | |
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128
embroidery
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| n.绣花，刺绣；绣制品 | |
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129
luncheon
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| n.午宴，午餐，便宴 | |
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130
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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131
delightful
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| adj.令人高兴的，使人快乐的 | |
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132
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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133
grovel
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| vi.卑躬屈膝，奴颜婢膝 | |
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134
fictitious
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| adj.虚构的，假设的；空头的 | |
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135
porcelains
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| n.瓷，瓷器( porcelain的名词复数 ) | |
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136
graceful
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| adj.优美的，优雅的；得体的 | |
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137
slits
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| n.狭长的口子，裂缝( slit的名词复数 )v.切开，撕开( slit的第三人称单数 )；在…上开狭长口子 | |
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138
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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139
incessant
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| adj.不停的，连续的 | |
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140
dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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141
adorned
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| [计]被修饰的 | |
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142
crabs
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| n.蟹( crab的名词复数 )；阴虱寄生病；蟹肉v.捕蟹( crab的第三人称单数 ) | |
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143
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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144
affected
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| adj.不自然的，假装的 | |
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145
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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146
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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147
awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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148
moth
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| n.蛾，蛀虫 | |
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149
coaxing
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| v.哄，用好话劝说( coax的现在分词 )；巧言骗取；哄劝，劝诱；“锻炼”效应 | |
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150
delightfully
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| 大喜，欣然 | |
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151
drolly
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| adv.古里古怪地；滑稽地；幽默地；诙谐地 | |
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152
rouge
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| n.胭脂，口红唇膏；v.(在…上)擦口红 | |
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153
precisely
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| adv.恰好，正好，精确地，细致地 | |
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154
gilding
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| n.贴金箔，镀金 | |
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155
belle
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| n.靓女 | |
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156
abrupt
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| adj.突然的，意外的；唐突的，鲁莽的 | |
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157
hissing
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| n. 发嘶嘶声, 蔑视 动词hiss的现在分词形式 | |
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158
saliva
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| n.唾液，口水 | |
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159
obsequious
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| adj.谄媚的，奉承的，顺从的 | |
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160
condescension
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| n.自以为高人一等，贬低(别人) | |
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161
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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162
bazaar
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| n.集市，商店集中区 | |
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163
yen
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| n. 日元；热望 | |
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164
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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165
thoroughly
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| adv.完全地，彻底地，十足地 | |
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166
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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167
sonnet
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| n.十四行诗 | |
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168
distinguished
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| adj.卓越的，杰出的，著名的 | |
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169
dulcet
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| adj.悦耳的 | |
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170
conservatory
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| n.温室，音乐学院；adj.保存性的，有保存力的 | |
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171
overtures
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| n.主动的表示，提议；（向某人做出的）友好表示、姿态或提议( overture的名词复数 )；（歌剧、芭蕾舞、音乐剧等的）序曲，前奏曲 | |
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172
lodging
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| n.寄宿，住所；(大学生的)校外宿舍 | |
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173
proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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174
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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175
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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176
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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177
trickles
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| n.细流( trickle的名词复数 )；稀稀疏疏缓慢来往的东西v.滴( trickle的第三人称单数 )；淌；使)慢慢走；缓慢移动 | |
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