Unaccustomed as I was to be out of doors during the hours of siesta2, I had never yet seen the streets of the town thus overwhelmed by the sunshine, thus deserted3 in the silence and solitary4 brilliancy peculiar5 to all hot countries.
In front of all the shops hang white shades, adorned6 here and there with slight designs in black, in the quaintness7 of which lurks8 I know not what — something mysterious: dragons, emblems9, symbolical10 figures. The sky is too glaring; the light crude, implacable; never has this old town of Nagasaki appeared to me so old, so worm-eaten, so bald, notwithstanding all its veneer11 of new papers and gaudy12 paintings. These little wooden houses, of such marvellous cleanly whiteness inside, are black outside, timeworn, disjointed and grimacing13. When one looks closely, this grimace14 is to be found everywhere: in the hideous15 masks laughing in the shop-fronts of the innumerable curio-shops; in the grotesque16 figures, the playthings, the idols17, cruel, suspicious, mad; it is even found in the buildings: in the friezes18 of the religious porticoes19, in the roofs of the thousand pagodas20, of which the angles and cable-ends writhe21 and twist like the yet dangerous remains22 of ancient and malignant23 beasts.
And the disturbing intensity24 of expression reigning25 over inanimate nature, contrasts with the almost absolute blank of the human countenance26, with the smiling foolishness of the simple little folk who meet one’s gaze, as they patiently carry on their minute trades in the gloom of their tiny open-fronted houses. Workmen squatted27 on their heels, carving28 with their imperceptible tools the droll29 or odiously30 obscene ivory ornaments31, marvellous cabinet curiosities which have made Japan so famous with the European amateurs who have never seen it. Unconscious artists tracing with steady hand on a background of lacquer or of porcelain32 traditional designs learned by heart, or transmitted to their brains by a process of heredity through thousands of years; automatic painters, whose storks33 are similar to those of M. Sucre, with the inevitable34 little rocks, or little butterflies eternally the same. The least of these illuminators, with his insignificant35, eyeless face, possesses at his fingers’ ends the maximum of dexterity36 in this art of decoration, light and wittily37 incongruous, which threatens to invade us in France, in this epoch38 of imitative decadence39, and which has become the great resource of our manufacturers of cheap “objects of art.”
Is it because I am about to leave this country, because I have no longer any link to bind40 me to it, any resting-place on its soil, that my spirit is ready on the wing? I know not, but it seems to me I have never as clearly seen and comprehended it as to-day. And more even than ever do I find it little, aged41, with wornout blood and worn-out sap; I feel more fully42 its antediluvian43 antiquity44, its centuries of mummification, which will soon degenerate45 into hopeless and grotesque buffoonery, as it comes into contact with Western novelties.
It is getting late; little by little, the siestas46 are everywhere coming to an end; the queer little streets brighten up and begin to swarm47 in the sunshine with manycolored parasols. Now begins the procession of ugliness of the most impossible description — a procession of long-robed, grotesque figures capped with pot-hats or sailors’ headgear. Business transactions begin again, and the struggle for existence, close and bitter here as in one of our own artisan quarters, but meaner and smaller.
At the moment of my departure, I find within myself only a smile of careless mockery for the swarming48 crowd of this Lilliputian curtseying people — laborious49, industrious50, greedy of gain, tainted51 with a constitutional affectation, hereditary52 insignificance53, and incurable54 monkeyishness.
Poor cousin Number 415! how right I was to have held him in good esteem55! He was by far the best and most disinterested56 of my Japanese family. When all my commissions are finished, he puts up his little vehicle under a tree, and, much touched by my departure, insists upon escorting me on board the ‘Triomphante’, to watch over my final purchases in the sampan which conveys me to the ship, and to see them himself safely into my cabin.
His, indeed, is the only hand I clasp with a really friendly feeling, without a suppressed smile, on quitting Japan.
No doubt in this country, as in many others, there is more honest friendship and less ugliness among the simple beings devoted57 to purely58 physical work.
At five o’clock in the afternoon we set sail.
Along the line of the shore are two or three sampans; in them the mousmes, shut up in the narrow cabins, peep at us through the tiny windows, half hiding their faces on account of the sailors; these are our wives, who have wished, out of politeness, to look upon us once more.
There are other sampans as well, in which other Japanese women are also watching our departure. These stand upright, under great parasols decorated with big black letters and daubed over with clouds of varied59 and startling colors.

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收听单词发音

1
alleviation
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n. 减轻,缓和,解痛物 | |
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2
siesta
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n.午睡 | |
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3
deserted
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adj.荒芜的,荒废的,无人的,被遗弃的 | |
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solitary
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adj.孤独的,独立的,荒凉的;n.隐士 | |
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peculiar
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adj.古怪的,异常的;特殊的,特有的 | |
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adorned
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[计]被修饰的 | |
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quaintness
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n.离奇有趣,古怪的事物 | |
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lurks
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n.潜在,潜伏;(lurk的复数形式)vi.潜伏,埋伏(lurk的第三人称单数形式) | |
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9
emblems
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n.象征,标记( emblem的名词复数 ) | |
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10
symbolical
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a.象征性的 | |
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11
veneer
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n.(墙上的)饰面,虚饰 | |
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gaudy
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adj.华而不实的;俗丽的 | |
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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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grimace
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v.做鬼脸,面部歪扭 | |
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hideous
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adj.丑陋的,可憎的,可怕的,恐怖的 | |
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16
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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17
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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18
friezes
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n.(柱顶过梁和挑檐间的)雕带,(墙顶的)饰带( frieze的名词复数 ) | |
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19
porticoes
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n.柱廊,(有圆柱的)门廊( portico的名词复数 ) | |
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20
pagodas
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塔,宝塔( pagoda的名词复数 ) | |
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21
writhe
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vt.挣扎,痛苦地扭曲;vi.扭曲,翻腾,受苦;n.翻腾,苦恼 | |
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22
remains
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n.剩余物,残留物;遗体,遗迹 | |
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23
malignant
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adj.恶性的,致命的;恶意的,恶毒的 | |
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24
intensity
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n.强烈,剧烈;强度;烈度 | |
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25
reigning
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adj.统治的,起支配作用的 | |
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countenance
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n.脸色,面容;面部表情;vt.支持,赞同 | |
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27
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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28
carving
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n.雕刻品,雕花 | |
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droll
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adj.古怪的,好笑的 | |
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odiously
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Odiously | |
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31
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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32
porcelain
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n.瓷;adj.瓷的,瓷制的 | |
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33
storks
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n.鹳( stork的名词复数 ) | |
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inevitable
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adj.不可避免的,必然发生的 | |
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insignificant
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adj.无关紧要的,可忽略的,无意义的 | |
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dexterity
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n.(手的)灵巧,灵活 | |
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wittily
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机智地,机敏地 | |
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epoch
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n.(新)时代;历元 | |
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decadence
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n.衰落,颓废 | |
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40
bind
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vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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41
aged
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adj.年老的,陈年的 | |
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42
fully
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adv.完全地,全部地,彻底地;充分地 | |
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43
antediluvian
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adj.史前的,陈旧的 | |
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antiquity
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n.古老;高龄;古物,古迹 | |
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45
degenerate
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v.退步,堕落;adj.退步的,堕落的;n.堕落者 | |
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46
siestas
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n.(气候炎热国家的)午睡,午休( siesta的名词复数 ) | |
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47
swarm
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n.(昆虫)等一大群;vi.成群飞舞;蜂拥而入 | |
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48
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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49
laborious
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adj.吃力的,努力的,不流畅 | |
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50
industrious
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adj.勤劳的,刻苦的,奋发的 | |
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51
tainted
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adj.腐坏的;污染的;沾污的;感染的v.使变质( taint的过去式和过去分词 );使污染;败坏;被污染,腐坏,败坏 | |
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52
hereditary
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adj.遗传的,遗传性的,可继承的,世袭的 | |
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53
insignificance
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n.不重要;无价值;无意义 | |
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54
incurable
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adj.不能医治的,不能矫正的,无救的;n.不治的病人,无救的人 | |
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55
esteem
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n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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56
disinterested
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adj.不关心的,不感兴趣的 | |
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57
devoted
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adj.忠诚的,忠实的,热心的,献身于...的 | |
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58
purely
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adv.纯粹地,完全地 | |
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59
varied
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adj.多样的,多变化的 | |
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