In my walks through the burial-ground of Edgartown — where the dead have lain so long that the soil, once enriched by their decay, has returned to its original barrenness — in that ancient burial-ground I noticed much variety of monumental sculpture. The elder stones, dated a century back or more, have borders elaborately carved with flowers and are adorned20 with a multiplicity of death’s-heads, crossbones, scythes21, hour-glasses, and other lugubrious22 emblems24 of mortality, with here and there a winged cherub25 to direct the mourner’s spirit upward. These productions of Gothic taste must have been quite beyond the colonial skill of the day, and were probably carved in London and brought across the ocean to commemorate26 the defunct27 worthies28 of this lonely isle14. The more recent monuments are mere29 slabs30 of slate in the ordinary style, without any superfluous32 flourishes to set off the bald inscriptions33. But others — and those far the most impressive both to my taste and feelings — were roughly hewn from the gray rocks of the island, evidently by the unskilled hands of surviving friends and relatives. On some there were merely the initials of a name; some were inscribed35 with misspelt prose or rhyme, in deep letters which the moss36 and wintry rain of many years had not been able to obliterate37. These, these were graves where loved ones slept. It is an old theme of satire38, the falsehood and vanity of monumental eulogies39; but when affection and sorrow grave the letters with their own painful labor19, then we may be sure that they copy from the record on their hearts.
My acquaintance the sculptor40 — he may share that title with Greenough, since the dauber of signs is a painter as well as Raphael — had found a ready market for all his blank slabs of marble and full occupation in lettering and ornamenting41 them. He was an elderly man, a descendant of the old Puritan family of Wigglesworth, with a certain simplicity42 and singleness both of heart and mind which, methinks, is more rarely found among us Yankees than in any other community of people. In spite of his gray head and wrinkled brow, he was quite like a child in all matters save what had some reference to his own business; he seemed, unless my fancy misled me, to view mankind in no other relation than as people in want of tombstones, and his literary attainments43 evidently comprehended very little either of prose of poetry which had not at one time or other been inscribed on slate or marble. His sole task and office among the immortal44 pilgrims of the tomb — the duty for which Providence45 had sent the old man into the world, as it were with a chisel46 in his hand — was to label the dead bodies, lest their names should be forgotten at the resurrection. Yet he had not failed, within a narrow scope, to gather a few sprigs of earthly, and more than earthly, wisdom — the harvest of many a grave. And, lugubrious as his calling might appear, he was as cheerful an old soul as health and integrity and lack of care could make him, and used to set to work upon one sorrowful inscription34 or another with that sort of spirit which impels47 a man to sing at his labor. On the whole, I found Mr. Wigglesworth an entertaining, and often instructive, if not an interesting, character; and, partly for the charm of his society, and still more because his work has an invariable attraction for “man that is born of woman,” I was accustomed to spend some hours a day at his workshop. The quaintness48 of his remarks and their not infrequent truth — a truth condensed and pointed49 by the limited sphere of his view — gave a raciness to his talk which mere worldliness and general cultivation50 would at once have destroyed.
Sometimes we would discuss the respective merits of the various qualities of marble, numerous slabs of which were resting against the walls of the shop, or sometimes an hour or two would pass quietly without a word on either side while I watched how neatly51 his chisel struck out letter after letter of the names of the Nortons, the Mayhews, the Luces, the Daggets, and other immemorial families of the Vineyard. Often with an artist’s pride the good old sculptor would speak of favorite productions of his skill which were scattered52 throughout the village graveyards53 of New England. But my chief and most instructive amusement was to witness his interviews with his customers, who held interminable consultations54 about the form and fashion of the desired monuments, the buried excellence55 to be commemorated56, the anguish57 to be expressed, and finally the lowest price in dollars and cents for which a marble transcript58 of their feelings might be obtained. Really, my mind received many fresh ideas which perhaps may remain in it even longer than Mr. Wigglesworth’s hardest marble will retain the deepest strokes of his chisel.
An elderly lady came to bespeak59 a monument for her first love, who had been killed by a whale in the Pacific Ocean no less than forty years before. It was singular that so strong an impression of early feeling should have survived through the changes of her subsequent life, in the course of which she had been a wife and a mother, and, so far as I could judge, a comfortable and happy woman. Reflecting within myself, it appeared to me that this lifelong sorrow — as, in all good faith, she deemed it — was one of the most fortunate circumstances of her history. It had given an ideality to her mind; it had kept her purer and less earthy than she would otherwise have been by drawing a portion of her sympathies apart from earth. Amid the throng60 of enjoyments62 and the pressure of worldly care and all the warm materialism63 of this life she had communed with a vision, and had been the better for such intercourse64. Faithful to the husband of her maturity65, and loving him with a far more real affection than she ever could have felt for this dream of her girlhood, there had still been an imaginative faith to the ocean-buried; so that an ordinary character had thus been elevated and refined. Her sighs had been the breath of Heaven to her soul. The good lady earnestly desired that the proposed monument should be ornamented66 with a carved border of marine67 plants interwined with twisted sea-shells, such as were probably waving over her lover’s skeleton or strewn around it in the far depths of the Pacific. But, Mr. Wigglesworth’s chisel being inadequate68 to the task, she was forced to content herself with a rose hanging its head from a broken stem.
After her departure I remarked that the symbol was none of the most apt.
“And yet,” said my friend the sculptor, embodying69 in this image the thoughts that had been passing through my own mind, “that broken rose has shed its sweet smell through forty years of the good woman’s life.”
It was seldom that I could find such pleasant food for contemplation as in the above instance. None of the applicants70, I think, affected71 me more disagreeably than an old man who came, with his fourth wife hanging on his arm, to bespeak gravestones for the three former occupants of his marriage-bed. I watched with some anxiety to see whether his remembrance of either were more affectionate than of the other two, but could discover no symptom of the kind. The three monuments were all to be of the same material and form, and each decorated in bas-relief with two weeping willows72, one of these sympathetic trees bending over its fellow, which was to be broken in the midst and rest upon a sepulchral73 urn3. This, indeed, was Mr. Wigglesworth’s standing74 emblem23 of conjugal75 bereavement76. I shuddered78 at the gray polygamist who had so utterly79 lost the holy sense of individuality in wedlock80 that methought he was fain to reckon upon his fingers how many women who had once slept by his side were now sleeping in their graves. There was even — if I wrong him, it is no great matter — a glance sidelong at his living spouse81, as if he were inclined to drive a thriftier82 bargain by bespeaking83 four gravestones in a lot.
I was better pleased with a rough old whaling-captain who gave directions for a broad marble slab31 divided into two compartments84, one of which was to contain an epitaph on his deceased wife and the other to be left vacant till death should engrave85 his own name there. As is frequently the case among the whalers of Martha’s Vineyard, so much of this storm-beaten widower’s life had been tossed away on distant seas that out of twenty years of matrimony he had spent scarce three, and those at scattered intervals86, beneath his own roof. Thus the wife of his youth, though she died in his and her declining age, retained the bridal dewdrops fresh around her memory.
My observations gave me the idea, and Mr. Wigglesworth confirmed it, that husbands were more faithful in setting up memorials to their dead wives than widows to their dead husbands. I was not ill-natured enough to fancy that women less than men feel so sure of their own constancy as to be willing to give a pledge of it in marble. It is more probably the fact that, while men are able to reflect upon their lost companions as remembrances apart from themselves, women, on the other hand, are conscious that a portion of their being has gone with the departed whithersoever he has gone. Soul clings to soul, the living dust has a sympathy with the dust of the grave; and by the very strength of that sympathy the wife of the dead shrinks the more sensitively from reminding the world of its existence. The link is already strong enough; it needs no visible symbol. And, though a shadow walks ever by her side and the touch of a chill hand is on her bosom87, yet life, and perchance its natural yearnings, may still be warm within her and inspire her with new hopes of happiness. Then would she mark out the grave the scent88 of which would be perceptible on the pillow of the second bridal? No, but rather level its green mound89 with the surrounding earth, as if, when she dug up again her buried heart, the spot had ceased to be a grave.
Yet, in spite of these sentimentalities, I was prodigiously90 amused by an incident of which I had not the good-fortune to be a witness, but which Mr. Wigglesworth related with considerable humor. A gentlewoman of the town, receiving news of her husband’s loss at sea, had bespoken93 a handsome slab of marble, and came daily to watch the progress of my friend’s chisel. One afternoon, when the good lady and the sculptor were in the very midst of the epitaph — which the departed spirit might have been greatly comforted to read — who should walk into the workshop but the deceased himself, in substance as well as spirit! He had been picked up at sea, and stood in no present need of tombstone or epitaph.
“And how,” inquired I, “did his wife bear the shock of joyful94 surprise?”
“Why,” said the old man, deepening the grin of a death’s-head on which his chisel was just then employed, “I really felt for the poor woman; it was one of my best pieces of marble — and to be thrown away on a living man!”
A comely95 woman with a pretty rosebud96 of a daughter came to select a gravestone for a twin-daughter, who had died a month before. I was impressed with the different nature of their feelings for the dead. The mother was calm and woefully resigned, fully97 conscious of her loss, as of a treasure which she had not always possessed98, and therefore had been aware that it might be taken from her; but the daughter evidently had no real knowledge of what Death’s doings were. Her thoughts knew, but not her heart. It seemed to me that by the print and pressure which the dead sister had left upon the survivor99’s spirit her feelings were almost the same as if she still stood side by side and arm in arm with the departed, looking at the slabs of marble, and once or twice she glanced around with a sunny smile, which, as its sister-smile had faded for ever, soon grew confusedly overshadowed. Perchance her consciousness was truer than her reflection; perchance her dead sister was a closer companion than in life.
The mother and daughter talked a long while with Mr. Wigglesworth about a suitable epitaph, and finally chose an ordinary verse of ill-matched rhymes which had already been inscribed upon innumerable tombstones. But when we ridicule100 the triteness101 of monumental verses, we forget that Sorrow reads far deeper in them than we can, and finds a profound and individual purport102 in what seems so vague and inexpressive unless interpreted by her. She makes the epitaph anew, though the selfsame words may have served for a thousand graves.
“And yet,” said I afterward103 to Mr. Wigglesworth, “they might have made a better choice than this. While you were discussing the subject I was struck by at least a dozen simple and natural expressions from the lips of both mother and daughter. One of these would have formed an inscription equally original and appropriate.”
“No, no!” replied the sculptor, shaking his head; “there is a good deal of comfort to be gathered from these little old scraps104 of poetry, and so I always recommend them in preference to any new-fangled ones. And somehow they seem to stretch to suit a great grief and shrink to fit a small one.”
It was not seldom that ludicrous images were excited by what took place between Mr. Wigglesworth and his customers. A shrewd gentlewoman who kept a tavern105 in the town was anxious to obtain two or three gravestones for the deceased members of her family, and to pay for these solemn commodities by taking the sculptor to board. Hereupon a fantasy arose in my mind of good Mr. Wigglesworth sitting down to dinner at a broad, flat tombstone carving106 one of his own plump little marble cherubs107, gnawing108 a pair of crossbones and drinking out of a hollow death’s-head or perhaps a lachrymatory vase or sepulchral urn, while his hostess’s dead children waited on him at the ghastly banquet. On communicating this nonsensical picture to the old man he laughed heartily109 and pronounced my humor to be of the right sort.
“I have lived at such a table all my days,” said he, “and eaten no small quantity of slate and marble.”
“Hard fare,” rejoined I, smiling, “but you seemed to have found it excellent of digestion110, too.”
A man of fifty or thereabouts with a harsh, unpleasant countenance111 ordered a stone for the grave of his bitter enemy, with whom he had waged warfare112 half a lifetime, to their mutual113 misery115 and ruin. The secret of this phenomenon was that hatred116 had become the sustenance117 and enjoyment61 of the poor wretch’s soul; it had supplied the place of all kindly118 affections; it had been really a bond of sympathy between himself and the man who shared the passion; and when its object died, the unappeasable foe119 was the only mourner for the dead. He expressed a purpose of being buried side by side with his enemy.
“I doubt whether their dust will mingle,” remarked the old sculptor to me; for often there was an earthliness in his conceptions.
“Oh yes,” replied I, who had mused91 long upon the incident; “and when they rise again, these bitter foes120 may find themselves dear friends. Methinks what they mistook for hatred was but love under a mask.”
A gentleman of antiquarian propensities121 provided a memorial for an Indian of Chabbiquidick — one of the few of untainted blood remaining in that region, and said to be a hereditary122 chieftain descended123 from the sachem who welcomed Governor Mayhew to the Vineyard. Mr. Wiggles-worth exerted his best skill to carve a broken bow and scattered sheaf of arrows in memory of the hunters and warriors124 whose race was ended here, but he likewise sculptured a cherub, to denote that the poor Indian had shared the Christian125’s hope of immortality126.
“Why,” observed I, taking a perverse127 view of the winged boy and the bow and arrows, “it looks more like Cupid’s tomb than an Indian chief’s.”
“You talk nonsense,” said the sculptor, with the offended pride of art. He then added with his usual good-nature, “How can Cupid die when there are such pretty maidens128 in the Vineyard?”
“Very true,” answered I; and for the rest of the day I thought of other matters than tombstones.
At our next meeting I found him chiselling130 an open book upon a marble headstone, and concluded that it was meant to express the erudition of some black-letter clergyman of the Cotton Mather school. It turned out, however, to be emblematical131 of the scriptural knowledge of an old woman who had never read anything but her Bible, and the monument was a tribute to her piety132 and good works from the orthodox church of which she had been a member. In strange contrast with this Christian woman’s memorial was that of an infidel whose gravestone, by his own direction, bore an avowal133 of his belief that the spirit within him would be extinguished like a flame, and that the nothingness whence he sprang would receive him again.
Mr. Wigglesworth consulted me as to the propriety134 of enabling a dead man’s dust to utter this dreadful creed135.
“If I thought,” said he, “that a single mortal would read the inscription without a shudder77, my chisel should never cut a letter of it. But when the grave speaks such falsehoods, the soul of man will know the truth by its own horror.”
“So it will,” said I, struck by the idea. “The poor infidel may strive to preach blasphemies136 from his grave, but it will be only another method of impressing the soul with a consciousness of immortality.”
There was an old man by the name of Norton, noted137 throughout the island for his great wealth, which he had accumulated by the exercise of strong and shrewd faculties138 combined with a most penurious139 disposition140. This wretched miser114, conscious that he had not a friend to be mindful of him in his grave, had himself taken the needful precautions for posthumous141 remembrance by bespeaking an immense slab of white marble with a long epitaph in raised letters, the whole to be as magnificent as Mr. Wigglesworth’s skill could make it. There was something very characteristic in this contrivance to have his money’s worth even from his own tombstone, which, indeed, afforded him more enjoyment in the few months that he lived thereafter than it probably will in a whole century, now that it is laid over his bones.
This incident reminds me of a young girl — a pale, slender, feeble creature most unlike the other rosy142 and healthful damsels of the Vineyard, amid whose brightness she was fading away. Day after day did the poor maiden129 come to the sculptor’s shop and pass from one piece of marble to another, till at last she pencilled her name upon a slender slab which, I think, was of a more spotless white than all the rest. I saw her no more, but soon afterward found Mr. Wigglesworth cutting her virgin-name into the stone which she had chosen.
“She is dead, poor girl!” said he, interrupting the tune92 which he was whistling, “and she chose a good piece of stuff for her headstone. Now, which of these slabs would you like best to see your own name upon?”
“Why, to tell you the truth, my good Mr. Wigglesworth,” replied I, after a moment’s pause, for the abruptness143 of the question had somewhat startled me — “to be quite sincere with you, I care little or nothing about a stone for my own grave, and am somewhat inclined to scepticism as to the propriety of erecting144 monuments at all over the dust that once was human. The weight of these heavy marbles, though unfelt by the dead corpse145 or the enfranchised146 soul, presses drearily147 upon the spirit of the survivor and causes him to connect the idea of death with the dungeon-like imprisonment148 of the tomb, instead of with the freedom of the skies. Every gravestone that you ever made is the visible symbol of a mistaken system. Our thoughts should soar upward with the butterfly, not linger with the exuvi? that confined him. In truth and reason, neither those whom we call the living, and still less the departed, have anything to do with the grave.”
“I never heard anything so heathenish,” said Mr. Wigglesworth, perplexed149 and displeased150 at sentiments which controverted151 all his notions and feelings and implied the utter waste, and worse, of his whole life’s labor. “Would you forget your dead friends the moment they are under the sod?”
“They are not under the sod,” I rejoined; “then why should I mark the spot where there is no treasure hidden? Forget them? No; but, to remember them aright, I would forget what they have cast off. And to gain the truer conception of death I would forget the grave.”
But still the good old sculptor murmured, and stumbled, as it were, over the gravestones amid which he had walked through life. Whether he were right or wrong, I had grown the wiser from our companionship and from my observations of nature and character as displayed by those who came, with their old griefs or their new ones, to get them recorded upon his slabs of marble. And yet with my gain of wisdom I had likewise gained perplexity; for there was a strange doubt in my mind whether the dark shadowing of this life, the sorrows and regrets, have not as much real comfort in them — leaving religious influences out of the question — as what we term life’s joys.
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1
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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speculation
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| n.思索，沉思；猜测；投机 | |
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urn
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| n.（有座脚的）瓮；坟墓；骨灰瓮 | |
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transmute
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| vt.使变化，使改变 | |
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slate
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| n.板岩，石板，石片，石板色，候选人名单；adj.暗蓝灰色的，含板岩的；vt.用石板覆盖，痛打，提名，预订 | |
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sojourn
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| v./n.旅居，寄居；逗留 | |
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secluded
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| adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词) | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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revolving
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| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
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bustle
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| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
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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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bestows
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| 赠给，授予( bestow的第三人称单数 ) | |
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isles
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| 岛( isle的名词复数 ) | |
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isle
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| n.小岛，岛 | |
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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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dearth
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| n.缺乏，粮食不足，饥谨 | |
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recording
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| n.录音，记录 | |
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specimen
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| n.样本，标本 | |
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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adorned
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| [计]被修饰的 | |
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scythes
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| n.（长柄）大镰刀( scythe的名词复数 )v.（长柄）大镰刀( scythe的第三人称单数 ) | |
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lugubrious
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| adj.悲哀的，忧郁的 | |
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emblem
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| n.象征，标志；徽章 | |
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emblems
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| n.象征，标记( emblem的名词复数 ) | |
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cherub
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| n.小天使，胖娃娃 | |
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commemorate
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| vt.纪念，庆祝 | |
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defunct
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| adj.死亡的；已倒闭的 | |
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worthies
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| 应得某事物( worthy的名词复数 )； 值得做某事； 可尊敬的； 有（某人或事物）的典型特征 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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slabs
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| n.厚板，平板，厚片( slab的名词复数 )；厚胶片 | |
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slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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superfluous
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| adj.过多的，过剩的，多余的 | |
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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moss
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| n.苔，藓，地衣 | |
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obliterate
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| v.擦去，涂抹，去掉...痕迹，消失，除去 | |
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satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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eulogies
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| n.颂词，颂文( eulogy的名词复数 ) | |
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sculptor
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| n.雕刻家，雕刻家 | |
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ornamenting
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| v.装饰，点缀，美化( ornament的现在分词 ) | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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attainments
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| 成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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providence
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| n.深谋远虑，天道，天意；远见；节约；上帝 | |
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chisel
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| n.凿子；v.用凿子刻，雕，凿 | |
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impels
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| v.推动、推进或敦促某人做某事( impel的第三人称单数 ) | |
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quaintness
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| n.离奇有趣，古怪的事物 | |
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pointed
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| adj.尖的，直截了当的 | |
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cultivation
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| n.耕作，培养，栽培（法），养成 | |
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51
neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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52
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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53
graveyards
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| 墓地( graveyard的名词复数 )； 垃圾场； 废物堆积处； 收容所 | |
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54
consultations
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| n.磋商（会议）( consultation的名词复数 )；商讨会；协商会；查找 | |
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55
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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56
commemorated
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| v.纪念，庆祝( commemorate的过去式和过去分词 ) | |
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57
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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58
transcript
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| n.抄本，誊本，副本，肄业证书 | |
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59
bespeak
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| v.预定；预先请求 | |
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60
throng
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| n.人群，群众；v.拥挤，群集 | |
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61
enjoyment
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| n.乐趣；享有；享用 | |
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62
enjoyments
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| 愉快( enjoyment的名词复数 )； 令人愉快的事物； 享有； 享受 | |
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63
materialism
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| n.［哲］唯物主义，唯物论；物质至上 | |
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64
intercourse
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| n.性交；交流，交往，交际 | |
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65
maturity
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| n.成熟；完成；(支票、债券等)到期 | |
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66
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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67
marine
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| adj.海的；海生的；航海的；海事的；n.水兵 | |
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68
inadequate
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| adj.(for,to)不充足的，不适当的 | |
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69
embodying
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| v.表现( embody的现在分词 )；象征；包括；包含 | |
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70
applicants
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| 申请人，求职人( applicant的名词复数 ) | |
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71
affected
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| adj.不自然的，假装的 | |
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72
willows
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| n.柳树( willow的名词复数 )；柳木 | |
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73
sepulchral
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| adj.坟墓的，阴深的 | |
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74
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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75
conjugal
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| adj.婚姻的，婚姻性的 | |
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76
bereavement
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| n.亲人丧亡，丧失亲人，丧亲之痛 | |
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77
shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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78
shuddered
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| v.战栗( shudder的过去式和过去分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
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79
utterly
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| adv.完全地，绝对地 | |
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80
wedlock
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| n.婚姻，已婚状态 | |
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81
spouse
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| n.配偶(指夫或妻) | |
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82
thriftier
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| 节俭的( thrifty的比较级 )； 节约的； 茁壮的； 茂盛的 | |
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83
bespeaking
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| v.预定( bespeak的现在分词 )；订（货）；证明；预先请求 | |
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84
compartments
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| n.间隔( compartment的名词复数 )；（列车车厢的）隔间；（家具或设备等的）分隔间；隔层 | |
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85
engrave
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| vt.（在...上）雕刻，使铭记，使牢记 | |
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86
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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87
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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88
scent
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| n.气味，香味，香水，线索，嗅觉；v.嗅，发觉 | |
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89
mound
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| n.土墩，堤，小山；v.筑堤，用土堆防卫 | |
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90
prodigiously
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| adv.异常地，惊人地，巨大地 | |
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91
mused
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| v.沉思，冥想( muse的过去式和过去分词 )；沉思自语说（某事） | |
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92
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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93
bespoken
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| v.预定( bespeak的过去分词 )；订（货）；证明；预先请求 | |
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94
joyful
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| adj.欢乐的，令人欢欣的 | |
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95
comely
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| adj.漂亮的，合宜的 | |
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96
rosebud
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| n.蔷薇花蕾，妙龄少女 | |
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97
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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98
possessed
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| adj.疯狂的；拥有的，占有的 | |
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99
survivor
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| n.生存者，残存者，幸存者 | |
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100
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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101
triteness
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| n.平凡，陈腐 | |
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102
purport
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| n.意义，要旨，大要；v.意味著，做为...要旨，要领是... | |
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103
afterward
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| adv.后来；以后 | |
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104
scraps
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| 油渣 | |
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105
tavern
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| n.小旅馆，客栈；小酒店 | |
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106
carving
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| n.雕刻品，雕花 | |
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107
cherubs
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| 小天使，胖娃娃( cherub的名词复数 ) | |
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108
gnawing
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| a.痛苦的，折磨人的 | |
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109
heartily
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| adv.衷心地，诚恳地，十分，很 | |
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110
digestion
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| n.消化，吸收 | |
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111
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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112
warfare
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| n.战争(状态)；斗争；冲突 | |
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113
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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114
miser
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| n.守财奴，吝啬鬼 (adj.miserly) | |
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115
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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116
hatred
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| n.憎恶，憎恨，仇恨 | |
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117
sustenance
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| n.食物，粮食；生活资料；生计 | |
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118
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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119
foe
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| n.敌人，仇敌 | |
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120
foes
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| 敌人，仇敌( foe的名词复数 ) | |
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121
propensities
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| n.倾向，习性( propensity的名词复数 ) | |
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122
hereditary
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| adj.遗传的，遗传性的，可继承的，世袭的 | |
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123
descended
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| a.为...后裔的，出身于...的 | |
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124
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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125
Christian
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| adj.基督教徒的；n.基督教徒 | |
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126
immortality
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| n.不死，不朽 | |
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127
perverse
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| adj.刚愎的；坚持错误的，行为反常的 | |
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128
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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129
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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130
chiselling
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| n.錾v.凿，雕，镌( chisel的现在分词 ) | |
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131
emblematical
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| adj.标志的，象征的，典型的 | |
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132
piety
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| n.虔诚，虔敬 | |
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133
avowal
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| n.公开宣称，坦白承认 | |
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134
propriety
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| n.正当行为；正当；适当 | |
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135
creed
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| n.信条；信念，纲领 | |
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136
blasphemies
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| n.对上帝的亵渎，亵渎的言词[行为]( blasphemy的名词复数 )；侮慢的言词（或行为） | |
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137
noted
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| adj.著名的，知名的 | |
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138
faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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139
penurious
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| adj.贫困的 | |
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140
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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141
posthumous
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| adj.遗腹的；父亡后出生的；死后的，身后的 | |
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142
rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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143
abruptness
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| n. 突然，唐突 | |
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144
erecting
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| v.使直立，竖起( erect的现在分词 )；建立 | |
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145
corpse
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| n.尸体，死尸 | |
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146
enfranchised
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| v.给予选举权( enfranchise的过去式和过去分词 )；（从奴隶制中）解放 | |
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147
drearily
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| 沉寂地，厌倦地，可怕地 | |
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148
imprisonment
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| n.关押，监禁，坐牢 | |
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149
perplexed
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| adj.不知所措的 | |
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150
displeased
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| a.不快的 | |
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151
controverted
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| v.争论，反驳，否定( controvert的过去式和过去分词 ) | |
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