About six o’clock, while I was on duty, the ‘Triomphante’ abandoned her prison walls between the mountains and came out of dock. After much manoeuvring we took up our old moorings in the harbor, at the foot of the Diou-djen-dji hills. The weather was again calm and cloudless, the sky presenting a peculiar1 clarity, as if it had been swept by a cyclone2, an exceeding transparency bringing out the minutest details in the distance till then unseen; as if the terrible blast had blown away every vestige3 of the floating mists and left behind it nothing but void and boundless4 space. The coloring of woods and mountains stood out again in the resplendent verdancy5 of spring after the torrents6 of rain, like the wet colors of some freshly washed painting. The sampans and junks, which for the last three days had been lying under shelter, had now put out to sea, and the bay was covered with their white sails, which looked like a flight of enormous seabirds.
At eight o’clock, at nightfall, our manoeuvres having ended, I embarked7 with Yves on board a sampan; this time it is he who is carrying me off and taking me back to my home.
On land, a delicious perfume of new-mown hay greets us, and the road across the mountains is bathed in glorious moonlight. We go straight up to Diou-djen-dji to join Chrysanthème; I feel almost remorseful8, although I hardly show it, for my neglect of her.
Looking up, I recognize from afar my little house, perched on high. It is wide open and lighted; I even hear the sound of a guitar. Then I perceive the gilt9 head of my Buddha10 between the little bright flames of its two hanging night-lamps. Now Chrysanthème appears on the veranda11, looking out as if she expected us; and with her wonderful bows of hair and long, falling sleeves, her silhouette12 is thoroughly13 Nipponese.
As I enter, she comes forward to kiss me, in a graceful14, though rather hesitating manner, while Oyouki, more demonstrative, throws her arms around me.
Not without a certain pleasure do I see once more this Japanese home, which I wonder to find still mine when I had almost forgotten its existence. Chrysanthème has put fresh flowers in our vases, spread out her hair, donned her best clothes, and lighted our lamps to honor my return. From the balcony she had watched the ‘Triomphante’ leave the dock, and, in the expectation of our prompt return, she had made her preparations; then, to wile15 away the time, she was studying a duet on the guitar with Oyouki. Not a question did she ask, nor a reproach did she make. Quite the contrary.
“We understood,” she said, “how impossible it was, in such dreadful weather, to undertake so lengthy16 a crossing in a sampan.”
She smiled like a pleased child, and I should be fastidious indeed if I did not admit that to-night she is charming.
I announce my intention of taking a long stroll through Nagasaki; we will take Oyouki-San and two little cousins who happen to be here, as well as some other neighbors, if they wish it; we will buy the most amusing toys, eat all sorts of cakes, and entertain ourselves to our hearts’ content.
“How lucky we are to be here, just at the right moment,” they exclaim, jumping with joy. “How fortunate we are! This very evening there is to be a pilgrimage to the great temple of the jumping Tortoise! The whole town will be there; all our married friends have already started, the whole set, X——, Y——, Z——, Touki-San, Campanule, and Jonquille, with ‘the friend of amazing height.’ And these two, poor Chrysanthème and poor Oyouki, would have been obliged to stay at home with heavy hearts, had we not arrived, because Madame Prune17 had been seized with faintness and hysterics after her dinner.”
Quickly the mousmes must deck themselves out. Chrysanthème is ready; Oyouki hurries, changes her dress, and, putting on a mouse-colored gray robe, begs me to arrange the bows of her fine sash-black satin lined with yellow-sticking at the same time in her hair a silver topknot. We light our lanterns, swinging at the end of little sticks; M. Sucre, overwhelming us with thanks for his daughter, accompanies us on all fours to the door, and we go off gayly through the clear and balmy night.
Below, we find the town in all the animation18 of a great holiday. The streets are thronged19; the crowd passes by — a laughing, capricious, slow, unequal tide, flowing onward20, however, steadily21 in the same direction, toward the same goal. From it rises a penetrating22 but light murmur23, in which dominate the sounds of laughter, and the low-toned interchange of polite speeches. Then follow lanterns upon lanterns. Never in my life have I seen so many, so variegated24, so complicated, and so extraordinary.
We follow, drifting with the surging crowd, borne along by it. There are groups of women of every age, decked out in their smartest clothes, crowds of mousmes with aigrettes of flowers in their hair, or little silver topknots like Oyouki — pretty little physiognomies, little, narrow eyes peeping between their slits25 like those of new-born kittens, fat, pale, little cheeks, round, puffed-out, half-opened lips. They are pretty, nevertheless, these little Nipponese, in their smiles and childishness.
The men, on the other hand, wear many a pot-hat, pompously26 added to the long national robe, and giving thereby27 a finishing touch to their cheerful ugliness, resembling nothing so much as dancing monkeys. They carry boughs28 in their hands, whole shrubs29 even, amid the foliage30 of which dangle31 all sorts of curious lanterns in the shapes of imps32 and birds.
As we advance in the direction of the temple, the streets become more noisy and crowded. All along the houses are endless stalls raised on trestles, displaying sweetmeats of every color, toys, branches of flowers, nosegays and masks. There are masks everywhere, boxes full of them, carts full of them; the most popular being the one that represents the livid and cunning muzzle33, contracted as by a deathlike grimace34, the long straight ears and sharp-pointed35 teeth of the white fox, sacred to the God of Rice. There are also others symbolic36 of gods or monsters, livid, grimacing37, convulsed, with wigs38 and beards of natural hair. All manner of folk, even children, purchase these horrors, and fasten them over their faces. Every sort of instrument is for sale, among them many of those crystal trumpets40 which sound so strangely — this evening they are enormous, six feet long at least — and the noise they make is unlike anything ever heard before: one would say gigantic turkeys were gobbling amid the crowd, striving to inspire fear.
In the religious amusements of this people it is not possible for us to penetrate41 the mysteriously hidden meaning of things; we can not divine the boundary at which jesting stops and mystic fear steps in. These customs, these symbols, these masks, all that tradition and atavism have jumbled42 together in the Japanese brain, proceed from sources utterly43 dark and unknown to us; even the oldest records fail to explain them to us in anything but a superficial and cursory44 manner, simply because we have absolutely nothing in common with this people. We pass through the midst of their mirth and their laughter without understanding the wherefore, so totally do they differ from our own.
Chrysanthème with Yves, Oyouki with me, Fraise and Zinnia, our cousins, walking before us under our watchful46 eyes, move slowly through the crowd, holding hands lest we should lose one another.
Along the streets leading to the temple, the wealthy inhabitants have decorated the fronts of their houses with vases and nosegays. The peculiar shed-like buildings common in this country, with their open platform frontage, are particularly well suited for the display of choice objects; all the houses have been thrown open, and the interiors are hung with draperies that hide the back of the apartments. In front of these hangings, and standing45 slightly back from the movement of the passing crowd, the various exhibited articles are placed methodically in a row, under the full glare of hanging lamps. Hardly any flowers compose the nosegays, nothing but foliage — some rare and priceless, others chosen, as if purposely, from the commonest plants, arranged, however, with such taste as to make them appear new and choice; ordinary lettuce-leaves, tall cabbage-stalks are placed with exquisite47 artificial taste in vessels48 of marvellous workmanship. All the vases are of bronze, but the designs are varied49 according to each changing fancy: some complicated and twisted, others, and by far the larger number, graceful and simple, but of a simplicity50 so studied and exquisite that to our eyes they seem the revelation of an unknown art, the subversion51 of all acquired notions of form.
On turning a corner of a street, by good luck we meet our married comrades of the Triomphante and Jonquille, Toukisan and Campanule! Bows and curtseys are exchanged by the mousmes, reciprocal manifestations52 of joy at meeting; then, forming a compact band, we are carried off by the ever-increasing crowd and continue our progress in the direction of the temple.
The streets gradually ascend53 (the temples are always built on a height); and by degrees, as we mount, there is added to the brilliant fairyland of lanterns and costumes yet another, ethereally blue in the haze54 of distance; all Nagasaki, its pagodas55, its mountains, its still waters full of the rays of moonlight, seem to rise with us into the air. Slowly, step by step, one may say it springs up around, enveloping56 in one great shimmering57 veil all the foreground, with its dazzling red lights and many-colored streamers.
No doubt we are drawing near, for here are steps, porticoes58 and monsters hewn out of enormous blocks of granite60. We now have to climb a series of steps, almost carried by the surging crowd ascending61 with us.
We have arrived at the temple courtyard.
This is the last and most astonishing scene in the evening’s fairy-tale — a luminous62 and weird63 scene, with fantastic distances lighted up by the moon, with the gigantic trees, the sacred cryptomerias, elevating their sombre boughs into a vast dome64.
Here we are all seated with our mousmes, beneath the light awning65, wreathed in flowers, of one of the many little teahouses improvised66 in this courtyard. We are on a terrace at the top of the great steps, up which the crowd continues to flock, and at the foot of a portico59 which stands erect67 with the rigid68 massiveness of a colossus against the dark night sky; at the foot also of a monster, who stares down upon us, with his big stony69 eyes, his cruel grimace and smile.
This portico and the monster are the two great overwhelming masses in the foreground of the incredible scene before us; they stand out with dazzling boldness against the vague and ashy blue of the distant sphere beyond; behind them, Nagasaki is spread out in a bird’s-eye view, faintly outlined in the transparent70 darkness with myriads71 of little colored lights, and the extravagantly72 dented73 profile of the mountains is delineated on the starlit sky, blue upon blue, transparency upon transparency. A corner of the harbor also is visible, far up, undefined, like a lake lost in clouds the water, faintly illumined by a ray of moonlight, making it shine like a sheet of silver.
Around us the long crystal trumpets keep up their gobble. Groups of polite and frivolous74 persons pass and repass like fantastic shadows: childish bands of small-eyed mousmes with smile so candidly75 meaningless and coiffures shining through their bright silver flowers; ugly men waving at the end of long branches their eternal lanterns shaped like birds, gods, or insects.
Behind us, in the illuminated76 and wide-open temple, the bonzes sit, immovable embodiments of doctrine77, in the glittering sanctuary78 inhabited by divinities, chimeras79, and symbols. The crowd, monotonously80 droning its mingled82 prayers and laughter, presses around them, sowing its alms broadcast; with a continuous jingle83, the money rolls on the ground into the precincts reserved to the priests, where the white mats entirely84 f disappear under the mass of many-sized coins accumulated there as if after a deluge85 of silver and bronze.
We, however, feel thoroughly at sea in the midst of this festivity; we look on, we laugh like the rest, we make foolish and senseless remarks in a language insufficiently86 learned, which this evening, I know not why, we can hardly understand. Notwithstanding the night breeze, we find it very hot under our awning, and we absorb quantities of odd-looking water-ices, served in cups, which taste like scented87 frost, or rather like flowers steeped in snow. Our mousmes order for themselves great bowls of candied beans mixed with hail — real hailstones, such as we might pick up after a hailstorm in March.
Glou! glou! glou! the crystal trumpets slowly repeat their notes, the powerful sonority89 of which has a labored90 and smothered91 sound, as if they came from under water; they mingle81 with the jingling92 of rattles93 and the noise of castanets. We have also the impression of being carried away in the irresistible94 swing of this incomprehensible gayety, composed, in proportions we can hardly measure, of elements mystic, puerile95, and even ghastly. A sort of religious terror is diffused96 by the hidden idols97 divined in the temple behind us; by the mumbled98 prayers, confusedly heard; above all, by the horrible heads in lacquered wood, representing foxes, which, as they pass, hide human faces — hideous99 livid masks.
In the gardens and outbuildings of the temple the most inconceivable mountebanks have taken up their quarters, their black streamers, painted with white letters, looking like funeral trappings as they float in the wind from the tops of their tall flagstaffs. Thither100 we turn our steps, as soon as our mousmes have ended their orisons and bestowed101 their alms.
In one of the booths a man, stretched on a table, flat on his back, is alone on the stage; puppets of almost human size, with horribly grinning masks, spring out of his body; they speak, gesticulate, then fall back like empty rags; with a sudden spring they start up again, change their costumes, change their faces, tearing about in one continual frenzy102. Suddenly three, even four, appear at the same time; they are nothing more than the four limbs of the outstretched man, whose legs and arms, raised on high, are each dressed up and capped with a wig39 under which peers a mask; between these phantoms103 tremendous fighting and battling take place, and many a sword-thrust is exchanged. The most fearful of all is a certain puppet representing an old hag; every time she appears, with her weird head and ghastly grin, the lights burn low, the music of the accompanying orchestra moans forth104 a sinister105 strain given by the flutes106, mingled with a rattling107 tremolo which sounds like the clatter108 of bones. This creature evidently plays an ugly part in the piece — that of a horrible old ghoul, spiteful and famished109. Still more appalling110 than her person is her shadow, which, projected upon a white screen, is abnormally and vividly111 distinct; by means of some unknown process this shadow, which nevertheless follows all her movements, assumes the aspect of a wolf. At a given moment the hag turns round and presents the profile of her distorted snub nose as she accepts the bowl of rice which is offered to her; on the screen at the very same instant appears the elongated112 outline of the wolf, with its pointed ears, its muzzle and chops, its great teeth and hanging tongue. The orchestra grinds, wails113, quivers; then suddenly bursts out into funereal114 shrieks115, like a concert of owls88; the hag is now eating, and her wolfish shadow is eating also, greedily moving its jaws116 and nibbling117 at another shadow easy to recognize — the arm of a little child.
We now go on to see the great salamander of Japan, an animal rare in this country, and quite unknown elsewhere, a great, cold mass, sluggish118 and benumbed, looking like some antediluvian119 experiment, forgotten in the inner seas of this archipelago.
Next comes the trained elephant, the terror of our mousmes, the equilibrists, the menagerie.
It is one o’clock in the morning before we are back at Diou-djen-dji.
We first get Yves to bed in the little paper room he has already once occupied. Then we go to bed ourselves, after the inevitable120 preparations, the smoking of the little pipe, and the tap! tap! tap! tap! on the edge of the box.
Suddenly Yves begins to move restlessly in his sleep, to toss about, giving great kicks on the wall, and making a frightful121 noise.
What can be the matter? I imagine at once that he must be dreaming of the old hag and her wolfish shadow. Chrysanthème raises herself on her elbow and listens, with astonishment122 depicted123 on her face.
Ah, happy thought! she has guessed what is tormenting124 him:
“Ka!” (“mosquitoes”) she says.
And, to impress the more forcibly her meaning on my mind, she pinches my arm so hard with her little pointed nails, at the same time imitating, with such an amusing play of her features, the grimace of a person who is stung, that I exclaim:
“Oh! stop, Chrysanthème, this pantomime is too expressive125, and indeed useless! I know the word ‘Ka’, and had quite understood, I assure you.”
It is done so drolly126 and so quickly, with such a pretty pout127, that in truth I can not think of being angry, although I shall certainly have tomorrow a blue mark on my arm; about that there is no doubt.
“Come, we must get up and go to Yves’s rescue; he must not be allowed to go on thumping128 in that manner. Let us take a lantern, and see what has happened.”
It was indeed the mosquitoes. They are hovering129 in a thick cloud about him; those of the house and those of the garden all seem collected together, swarming130 and buzzing. Chrysanthème indignantly burns several at the flame of her lantern, and shows me others (Hou!) covering the white paper walls.
He, tired out with his day’s amusement, sleeps on; but his slumbers131 are restless, as may be easily imagined. Chrysanthème gives him a shake, wishing him to get up and share our blue mosquito-net.
After a little pressing he does as he is bid and follows us, looking like an overgrown boy only half awake. I make no objection to this singular hospitality; after all, it looks so little like a bed, the matting we are to share, and we sleep in our clothes, as we always do, according to the Nipponese fashion. After all, on a journey in a railway, do not the most estimable ladies stretch themselves without demur132 by the side of gentlemen unknown to them?
I have, however, placed Chrysanthème’s little wooden block in the centre of the gauze tent, between our two pillows.
Without saying a word, in a dignified133 manner, as if she were rectifying134 an error of etiquette135 that I had inadvertently committed, Chrysanthème takes up her piece of wood, putting in its place my snake-skin drum; I shall therefore be in the middle between the two. It is really more correct, decidedly more proper; Chrysanthème is evidently a very decorous young person.
Returning on board next morning, in the clear morning sun, we walk through pathways full of dew, accompanied by a band of funny little mousmes of six or eight years of age, who are going to school.
Needless to say, the cicalas around us keep up their perpetual sonorous136 chirping137. The mountain smells delicious. The atmosphere, the dawning day, the infantine grace of these little girls in their long frocks and shiny coiffures-all is redundant138 with freshness and youth. The flowers and grasses on which we tread sparkle with dewdrops, exhaling139 a perfume of freshness. What undying beauty there is, even in Japan, in the fresh morning hours in the country, and the dawning hours of life!
Besides, I am quite ready to admit the attractiveness of the little Japanese children; some of them are most fascinating. But how is it that their charm vanishes so rapidly and is so quickly replaced by the elderly grimace, the smiling ugliness, the monkeyish face?
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1
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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cyclone
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| n.旋风，龙卷风 | |
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vestige
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| n.痕迹，遗迹，残余 | |
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boundless
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| adj.无限的；无边无际的；巨大的 | |
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verdancy
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| n.幼稚；嫩绿 | |
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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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embarked
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| 乘船( embark的过去式和过去分词 )； 装载； 从事 | |
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remorseful
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| adj.悔恨的 | |
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gilt
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| adj.镀金的；n.金边证券 | |
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Buddha
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| n.佛；佛像；佛陀 | |
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veranda
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| n.走廊；阳台 | |
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silhouette
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| n.黑色半身侧面影，影子，轮廓；v.描绘成侧面影，照出影子来，仅仅显出轮廓 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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wile
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| v.诡计，引诱；n.欺骗，欺诈 | |
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lengthy
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| adj.漫长的，冗长的 | |
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prune
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| n.酶干；vt.修剪，砍掉，削减；vi.删除 | |
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animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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penetrating
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| adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的 | |
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murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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variegated
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| adj.斑驳的，杂色的 | |
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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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pompously
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| adv.傲慢地，盛大壮观地；大模大样 | |
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thereby
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| adv.因此，从而 | |
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boughs
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| 大树枝( bough的名词复数 ) | |
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shrubs
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| 灌木( shrub的名词复数 ) | |
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foliage
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| n.叶子，树叶，簇叶 | |
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dangle
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| v.(使)悬荡，(使)悬垂 | |
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imps
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| n.（故事中的）小恶魔( imp的名词复数 )；小魔鬼；小淘气；顽童 | |
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muzzle
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| n.鼻口部；口套；枪(炮)口；vt.使缄默 | |
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grimace
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| v.做鬼脸，面部歪扭 | |
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pointed
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| adj.尖的，直截了当的 | |
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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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grimacing
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| v.扮鬼相，做鬼脸( grimace的现在分词 ) | |
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wigs
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| n.假发，法官帽( wig的名词复数 ) | |
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wig
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| n.假发 | |
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trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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jumbled
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| adj.混乱的；杂乱的 | |
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utterly
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| adv.完全地，绝对地 | |
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cursory
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| adj.粗略的；草率的；匆促的 | |
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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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watchful
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| adj.注意的，警惕的 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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varied
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| adj.多样的，多变化的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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subversion
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| n.颠覆，破坏 | |
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manifestations
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| n.表示，显示（manifestation的复数形式） | |
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53
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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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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55
pagodas
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| 塔，宝塔( pagoda的名词复数 ) | |
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56
enveloping
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| v.包围，笼罩，包住( envelop的现在分词 ) | |
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57
shimmering
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| v.闪闪发光，发微光( shimmer的现在分词 ) | |
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58
porticoes
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| n.柱廊，（有圆柱的）门廊( portico的名词复数 ) | |
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59
portico
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| n.柱廊，门廊 | |
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60
granite
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| adj.花岗岩，花岗石 | |
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61
ascending
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| adj.上升的，向上的 | |
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62
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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63
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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64
dome
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| n.圆屋顶，拱顶 | |
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65
awning
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| n.遮阳篷；雨篷 | |
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66
improvised
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| a.即席而作的,即兴的 | |
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67
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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68
rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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69
stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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70
transparent
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| adj.明显的，无疑的；透明的 | |
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71
myriads
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| n.无数，极大数量( myriad的名词复数 ) | |
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72
extravagantly
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| adv.挥霍无度地 | |
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73
dented
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| v.使产生凹痕( dent的过去式和过去分词 )；损害；伤害；挫伤（信心、名誉等） | |
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74
frivolous
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| adj.轻薄的；轻率的 | |
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75
candidly
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| adv.坦率地，直率而诚恳地 | |
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76
illuminated
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| adj.被照明的；受启迪的 | |
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77
doctrine
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| n.教义；主义；学说 | |
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78
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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79
chimeras
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| n.（由几种动物的各部分构成的）假想的怪兽( chimera的名词复数 )；不可能实现的想法；幻想；妄想 | |
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80
monotonously
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| adv.单调地，无变化地 | |
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81
mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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82
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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83
jingle
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| n.叮当声，韵律简单的诗句；v.使叮当作响，叮当响，押韵 | |
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84
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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85
deluge
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| n./vt.洪水，暴雨，使泛滥 | |
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86
insufficiently
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| adv.不够地，不能胜任地 | |
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87
scented
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| adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词) | |
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88
owls
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| n.猫头鹰( owl的名词复数 ) | |
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89
sonority
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| n.响亮，宏亮 | |
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90
labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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91
smothered
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| （使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制 | |
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92
jingling
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| 叮当声 | |
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93
rattles
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| （使）发出格格的响声， （使）作嘎嘎声( rattle的第三人称单数 )； 喋喋不休地说话； 迅速而嘎嘎作响地移动，堕下或走动； 使紧张，使恐惧 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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puerile
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| adj.幼稚的，儿童的 | |
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96
diffused
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| 散布的，普及的，扩散的 | |
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97
idols
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| 偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像 | |
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98
mumbled
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| 含糊地说某事，叽咕，咕哝( mumble的过去式和过去分词 ) | |
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99
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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100
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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101
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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102
frenzy
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| n.疯狂，狂热，极度的激动 | |
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103
phantoms
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| n.鬼怪，幽灵( phantom的名词复数 ) | |
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104
forth
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| adv.向前；向外，往外 | |
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105
sinister
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| adj.不吉利的，凶恶的，左边的 | |
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106
flutes
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| 长笛( flute的名词复数 )； 细长香槟杯（形似长笛） | |
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107
rattling
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| adj. 格格作响的, 活泼的, 很好的 adv. 极其, 很, 非常 动词rattle的现在分词 | |
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108
clatter
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| v./n.(使)发出连续而清脆的撞击声 | |
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109
famished
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| adj.饥饿的 | |
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110
appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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111
vividly
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| adv.清楚地，鲜明地，生动地 | |
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112
elongated
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| v.延长，加长( elongate的过去式和过去分词 ) | |
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113
wails
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| 痛哭，哭声( wail的名词复数 ) | |
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114
funereal
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| adj.悲哀的；送葬的 | |
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115
shrieks
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| n.尖叫声( shriek的名词复数 )v.尖叫( shriek的第三人称单数 ) | |
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116
jaws
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| n.口部；嘴 | |
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117
nibbling
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| v.啃，一点一点地咬（吃）( nibble的现在分词 )；啃出（洞），一点一点咬出（洞）；慢慢减少；小口咬 | |
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118
sluggish
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| adj.懒惰的，迟钝的，无精打采的 | |
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119
antediluvian
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| adj.史前的，陈旧的 | |
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120
inevitable
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| adj.不可避免的，必然发生的 | |
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121
frightful
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| adj.可怕的；讨厌的 | |
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122
astonishment
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| n.惊奇，惊异 | |
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123
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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124
tormenting
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| 使痛苦的，使苦恼的 | |
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125
expressive
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| adj.表现的，表达…的，富于表情的 | |
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126
drolly
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| adv.古里古怪地；滑稽地；幽默地；诙谐地 | |
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127
pout
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| v.撅嘴；绷脸；n.撅嘴；生气，不高兴 | |
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128
thumping
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| adj.重大的，巨大的；重击的；尺码大的；极好的adv.极端地；非常地v.重击(thump的现在分词)；狠打；怦怦地跳；全力支持 | |
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129
hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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130
swarming
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| 密集( swarm的现在分词 )； 云集； 成群地移动； 蜜蜂或其他飞行昆虫成群地飞来飞去 | |
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131
slumbers
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| 睡眠，安眠( slumber的名词复数 ) | |
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132
demur
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| v．表示异议，反对 | |
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133
dignified
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| a.可敬的，高贵的 | |
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134
rectifying
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| 改正，矫正( rectify的现在分词 )； 精馏； 蒸流； 整流 | |
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135
etiquette
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| n.礼仪，礼节；规矩 | |
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136
sonorous
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| adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇 | |
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137
chirping
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| 鸟叫，虫鸣( chirp的现在分词 ) | |
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138
redundant
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| adj.多余的，过剩的；(食物)丰富的；被解雇的 | |
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139
exhaling
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| v.呼出，发散出( exhale的现在分词 )；吐出（肺中的空气、烟等），呼气 | |
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