Nothing, surely, could be more delightful18 than to find this noble building thrown open for the reception of eloquent19 praise, its atmosphere laden20 with panegyric21, its very walls reechoing, cavern-like, to every syllable22, prolonging each cadence23, dwelling24 on each period; — nay25, they are themselves an audience, most appreciative26 of audiences, that stores up the speaker’s words in memory, and recompenses his efforts with a meed of most harmonious27 flattery. Even so do the rocks resound28 to the shepherd’s flute29; the notes come ringing back again, and simple rustics30 think it is the voice of some maid, who dwells among the crags, and from the depths of her rocky haunt makes answer to their songs and their cries.
I feel as if a certain mental exaltation resulted from this magnificence: it is suggestive; the imagination is stimulated31. It would scarcely be too much to say that through the medium of the eyes Beauty is borne in upon the mind, and suffers no thought to find utterance32 before it has received her impress. We hold it for true that Achilles’ wrath33 was whetted34 against the Phrygians by the sight of his new armour36, and that as he donned it for the first time his lust6 of battle was uplifted on wings: and why should not a beautiful building similarly be a whet35 to the zeal37 of the orator38? Luxuriant grass, a fine plane-tree and a clear spring, hard by Ilissus, were inspiration enough for Socrates: in such a spot he could sit bantering39 Phaedrus, refuting Lysias, and invoking40 the Muses41; never doubting — indelicate old person — but that those virgin42 Goddesses would grace his retirement43 with their presence, and take part in his amorous44 discourse45. But to such a place as this we may surely hope that they will come uninvited, We can offer them something better than the shade of a plane-tree, though for that upon Ilissus’ bank we should substitute the golden one of the Persian King. His tree had one claim to admiration — it was expensive: but for symmetry and proportion and beautiful workmanship, nothing of that kind was thrown in; the gold was gold, an uncouth46 manifestation47 of solid wealth, calculated to excite envy in the beholder49, and to procure50 congratulations for the possessor, but far from creditable to the artist. The line of the Arsacidae cared nothing for beauty; they did not appeal to men’s taste; not How may I win approval? but How may I dazzle? was the question they asked themselves. The barbarian51 has a keen appreciation52 of gold: to the treasures of art he is blind.
But I see about me in this Hall beauties that were never designed to please barbarians53, nor to gratify the vulgar ostentation54 of Persian monarchs55. Poverty is not here the sole requirement of the critic: taste is also necessary; nor will the eyes deliver judgement without the assistance of Reason. The eastern aspect, procuring56 us, as in the temples of old, that first welcome peep of the sun in his new-born glory, and suffering his rays to pour in without stint57 through the open doors, the adaptation of length to breadth and breadth to height, the free admission of light at every stage of the Sun’s course — all is charmingly contrived58, and redounds59 to the credit of the architect. What admirable judgement has been shown, too, in the structure and decoration of the roof! nothing wanting, yet nothing superfluous60; the gilding61 is exactly what was required to achieve elegance62 without empty display; it is precisely63 that little touch of adornment64 with which a beautiful and modest woman sets off her loveliness; it is the slender necklace about her neck, the light ring upon her finger, the earrings65, the brooch, the fillet that imprisons66 her luxuriant hair, and, like the purple stripe upon a robe, enhances its beauty. Contrast with this the artifices67 of courtesans, and particularly of the most unlovely among them, whose robes are all of purple, and their necks loaded with golden chains, who hope to render themselves attractive by their extravagance, and by external adornments to supply the deficiencies of Nature; their arms, they think, will look more dazzlingly white if gold glitters upon them, a clumsy foot pass unobserved if hidden in a golden sandal, and the face be irresistible68 that appears beneath a halo of gold. The modest house, far from resorting to such meretricious69 charms, uses as little gold as may be; I think she knows that she would have no cause to blush, though she should display her beauty stripped of all adornment.
And so it is with this Hall. The roof — the head, as I may say — comely70 in itself, is not without its golden embellishments: yet they are but as the stars, whose fires gleam here and there, pranked in the darkness of the sky. Were that sky all fire, it would be beautiful to us no longer, only terrible. Observe, too, that the gold is not otiose71, not merely an ornament72 among ornaments73, put there to flatter the eye: it diffuses74 soft radiance from end to end of the building, and the walls are tinged75 with its warm glow. Striking upon the gilded76 beams, and mingling77 its brightness with theirs, the daylight glances down upon us
with a clearness and a richness not all its own. Such are the glories overhead, whose praises might best be sung by him who told of Helen’s high-vaulted chamber78, and Olympus’ dazzling peak.
And for the rest, the frescoed79 walls, with their exquisite80 colouring, so clear, so highly finished, so true to nature, to what can I compare them but to a flowery meadow in spring? Even so the comparison halts. Those flowers wither81 and decay and shed their beauty: but here is one eternal spring; this meadow fades not, its flowers are everlasting82; for no hand is put forth83 to pluck away their sweetness, only the eye feeds thereon. And what eye would not delight to feed on joys so varied84? What orator would not feel that his credit was at stake, and so be fired with ambition to surpass himself, rather than be found wanting to his theme?
The contemplation of beautiful objects is of all things the most inspiring, and not to men only. I think even a horse must feel some increase of pleasure in galloping85 over smooth, soft fields, that give an easy footing, and ring back no defiance86 to his hoofs87: it is then that he goes his best; the beauty of his surroundings puts him on his mettle88; he will not be beaten, if pace counts for anything. And look at the peacock. Spring has just begun; never are flowers a gladder sight than now; it is as if they were really brighter, their hues89 more fresh, than at other times. Watch the bird, as he struts90 forth into some meadow: he spreads his feathers, and displays them to the Sun; up goes his tail, a towered circle of flowery plumage; for with him too it is spring, and the meadow challenges him to do his utmost. See how he turns about, and shows forth his gorgeous beauty. As the sun’s rays strike upon him, the wonder grows: there is a subtle transmutation of colours, one glory vanishing and giving place to another. The change is nowhere more apparent than in those rainbow rings at the ends of his feathers: here a slight movement turns bronze to gold, and (such is the potency91 of light) purple becomes green, because sun is exchanged for shadow. As for the sea, I need not remind you how inviting92, how attractive, is its appearance on a calm day: the veriest landlubber must long to be upon it, and sail far away from the shore, as he marks how the light breeze fills the sails and speeds the vessel93 on its gentle gliding94 course over the crests95 of the waves.
The beauty of this Hall has a similar power over the orator, encouraging him, stimulating96 him to fresh effort, enlarging his ambition. The spell was irresistible: I have yielded to it, and come hither to address you, as though drawn97 by wryneck’s or by Siren’s charm; nor am I without hope that my words, bald though they be in themselves, may yet borrow something from that atmosphere of beauty in which they are here clothed as in a garment.
Scarcely have I pronounced these last words, when a certain Theory (and a very sound one, too, if we can take its own word for it), which has been interrupting me all along, and doing its best to break my speech off, informs me that there is no truth in my statements, and expresses its surprise at my assertion that gilding and mural decoration are favourable98 to the display of rhetorical skill. The very contrary, it maintains, is the case. On second thoughts, it may as well come forward and plead its own cause; you, gentlemen, will kindly99 serve as jury, and hear what it has to say in favour of the cheap and nasty in architecture, considered as rhetorical conditions. My own sentiments on this subject you have already heard, nor is there any occasion for me to repeat them. The Theory is therefore at liberty to speak; I will withdraw for a while, and hold my tongue.
‘Gentlemen of the jury,’ it begins, ‘a splendid tribute has been paid to this Hall by the last speaker; and I for my part am so far from having any fault to find with the building, that I propose to supply the deficiencies of his encomium100; for by magnifying its glories, I am so much the nearer to proving my point, which is, its unsuitableness to the purposes of the orator. And first I shall ask your permission to avail myself of his simile101 of feminine adornments. In my opinion, it is not enough to say that lavish102 ornament adds nothing to feminine beauty: it actually takes away from it. Dazzled by gold and costly103 gems104, how should the beholder do justice to the charms of a clear complexion105, to neck, and eye, and arm, and finger? Sards and emeralds, bracelets106 and necklaces, claim all his attention, and the lady has the mortification107 of finding herself eclipsed by her own jewels, whose engrossed108 admirers can spare no words, and barely a casual glance for herself. The same fate, it seems to me, awaits the orator who exhibits his skill amid these wondrous109 works of art: his praises are obscured, quite swallowed up, in the splendour of the things he praises. It is as if a man should bring a wax light to feed a mighty110 conflagration111, or set up an ant for exhibition on a camel’s or an elephant’s back. That is one pitfall112 for the orator. And there is another: the distracting influence of that resonant113 music that echoes through the Hall, making voluminous answer to his words, nay, drowning them in the utterance; surely as trumpet114 quells115 flute, or the sea-roar the boatswain’s pipe, if he presume to contend with the crash of waves, so surely shall the orator’s puny116 voice be overmastered by this mighty music, and seem like silence.
‘Then again, my opponent spoke117 of the stimulating, the encouraging effect produced on the speaker by architectural beauty. I should have said that the effect was rather dispiriting than otherwise: the speaker’s thoughts are scattered118, and his confidence shaken, as he reflects on the disgrace that must attach to mean words uttered beneath a noble roof. There could be no more crushing ignominy; he is precisely in the position of a warrior119 in brilliant armour who sets the example of flight, and whose cowardice120 is only emphasized by his splendid equipment. To this principle I should refer the conduct of Homer’s model orator, who, so far from attaching any importance to externals, affected121 the bearing of a man that was altogether witless; his design was to bring his eloquence into stronger relief by the studied ungracefulness of his attitude.
‘The orator’s mind, too, is so engrossed with what he sees, that it is absolutely impossible for him to preserve the thread of his discourse; he cannot think of what he is saying, so imperatively122 do the sights around him claim his attention. It is not to be expected that he will do himself justice: he is too full of his subject. And I might add that his supposed hearers, when they come into such a building as this, are no longer hearers of his eloquence, but spectators of its beauties; he must be a Thamyris, an Amphion, an Orpheus among orators123 who could gain their attention in such circumstances. Once let a man cross this threshold, and a blaze of beauty envelops124 his senses; he is all eyes, and to the orator is “as one that marketh not”; — unless, indeed, he be altogether blind, or take a hint from the court of Areopagus, and give audience in the dark. Compare the story of the Sirens with that of the Gorgons, if you would know how insignificant126 is the power of words in comparison with that of visible objects. The enchantments127 of the former were at the best a matter of time; they did but flatter the ear with pleasing songs; if the mariner128 landed, he remained long on their hands, and it has even happened to them to be disregarded altogether. But the beauty of the Gorgons, irresistible in might, won its way to the inmost soul, and wrought129 amazement and dumbness in the beholder; admiration (so the legend goes) turned him to stone. All that my opponent has just said about the peacock illustrates130 my point: that bird charms not the ear, but the eye. Take a swan, take a nightingale, and set her singing: now put a silent peacock at her side, and I will tell you which bird has the attention of the company. The songstress may go hang now; so invincible131 a thing is the pleasure of the eyes. Shall I call evidence? A sage132, then, shall be my witness, how far mightier133 are the things of the eye than those of the ear. Usher134, call me Herodotus, son of Lyxes, of Halicarnassus. — Ah, since he has been so obliging as to hear the summons, let him step into the box. You will excuse the Ionic dialect; it is his way.’
Gentlemen of the jury, the Theory hath spoken sooth. Give good heed135 to that he saith, how sight is a better thing
than bearing; for a man shall sooner trust his eyes than his ears.
‘You hear him, gentlemen? He gives the preference to sight, and rightly. For words have wings; they are no sooner out of the mouth than they take flight and are lost: but the delight of the eyes is ever present, ever draws the beholder to itself. Judge, then, the difficulty the orator must experience in contending with such a rival as this Hall, whose beauty attracts every eye.
‘But my weightiest argument I have kept till now: you, gentlemen, throughout the hearing of this case, have been gazing with admiration on roof and wall, scanning each picture in its turn. I do not reproach you: you have done what every man must do, when he beholds136 workmanship so exquisite, subjects so varied. Here are works whose perfect technique, applied137 as it is to the illustration of all that is useful in history and mythology138, holds out an irresistible challenge to the judgement of the connoisseur139. Now I would not have your eyes altogether glued to those walls; I would fain have some share of your attention: let me try, therefore, to give you word-pictures of these originals; I think it may not be uninteresting to you to hear a description of those very objects which your eyes view with such admiration. And you will perhaps count it a point in my favour, that I, and not my antagonist140, have hit upon this means of doubling your pleasure. It is a hazardous141 enterprise, I need not say — without materials or models to put together picture upon picture; this word-painting is but sketchy142 work.
‘On our right as we enter, we have a story half Argive, half Ethiopian. Perseus slays144 the sea-monster, and sets Andromeda free; it will not be long ere he leads her away as his bride; an episode, this, in his Gorgon125 expedition. The artist has given us much in a small space: maiden145 modesty146, girlish terror, are here portrayed147 in the countenance148 of Andromeda, who from her high rock gazes down upon the strife149, and marks the devoted150 courage of her lover, the grim aspect of his bestial151 antagonist. As that bristling152 horror approaches, with awful gaping153 jaws154, Perseus in his left hand displays the Gorgon’s head, while his right grasps the drawn sword. All of the monster that falls beneath Medusa’s eyes is stone already; and all of him that yet lives the scimetar hews155 to pieces.
‘In the next picture, a tale of retributive justice is dramatically set forth. The painter seems to have taken his hint from Euripides or Sophocles; each of them has portrayed this incident. The two young men are friends: Pylades of Phocis, and Orestes, who is thought to be dead. They have stolen into the palace unobserved, and together they slay143 Aegisthus Clytemnestra has already been dispatched: her body lies, half-naked, upon a bed; all the household stand aghast at the deed; some cry out, others look about for means of escape. A fine thought of the painter’s: the matricide is but slightly indicated, as a thing achieved: with the slaying156 of the paramour, it is otherwise; there is something deliberate in the manner in which the lads go about their work.
‘Next comes a more tender scene. We behold48 a comely God, and a beautiful boy. The boy is Branchus: sitting on a rock, he holds out a hare to tease his dog, who is shown in the act of jumping for it. Apollo looks on, well pleased: half of his smile is for the dog’s eagerness, and half for the mischievous157 boy.
‘Once more Perseus; an earlier adventure, this time. He is cutting off Medusa’s head, while Athene screens him from her sight. Although the blow is struck, he has never seen his handiwork, only the reflection of the head upon the shield; he knows the price of a single glance at the reality.
‘High upon the middle wall, facing the door, a shrine158 of Athene is modelled. The statue of the Goddess is in white marble. She is not shown in martial159 guise160; it is the Goddess of War in time of peace.
‘We have seen Athene in marble: next we see her in painting. She flies from the pursuit of amorous Hephaestus; it was to this moment that Erichthonius owed his origin.
‘The next picture deals with the ancient story of Orion. He is blind, and on his shoulder carries Cedalion, who directs the sightless eyes towards the East. The rising Sun heals his infirmity; and there stands Hephaestus on Lemnos, watching the cure.
‘Then we have Odysseus, seeking by feigned161 madness to avoid joining the expedition of the Atridae, whose messengers have already appeared to summon him. Nothing could be more convincing than his plough-chariot, his ill-assorted team, and his apparent unconsciousness of all that is going forward. But his paternal162 feeling betrays him. Palamedes, penetrating163 his secret, seizes upon Telemachus, and threatens him with drawn sword. If the other can act madness, he can act anger. The father in Odysseus is revealed: he is frightened into sanity164, and throws aside the mask.
‘Last of all is Medea, burning with jealousy165, glaring askance, upon her children, and thinking dreadful thoughts. See, the sword even now is in her hand: and there sit the victims, smiling; they see the sword, yet have no thought of what is to come.
‘Need I say, gentlemen, how the sight of all these pictures draws away the attention of the audience upon them, and leaves the orator without a single hearer? If I have described them at length, it was not in order to impress you with the headstrong audacity166 of my opponent, in voluntarily thrusting himself upon an audience so ill-disposed. I seek not to call down your condemnation167 nor your resentment168 upon him, nor do I ask you to refuse him a hearing: rather I would have you assist his endeavours, listen to him, if you can, with closed eyes, and remember the difficulty of his undertaking169; when you, his judges, have become his fellow workers, he will still have much ado to escape the imputation170 of bringing discredit171 upon this magnificent Hall. And if it seem strange to you that I should plead thus on my antagonist’s behalf, you must attribute it to my fondness for this same Hall, which makes me anxious that every man who speaks in it should come off creditably, be he who he may.’
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1
transparent
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| adj.明显的，无疑的；透明的 | |
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plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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spacious
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| adj.广阔的，宽敞的 | |
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lustre
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| n.光亮，光泽；荣誉 | |
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lust
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| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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8
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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boor
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| n.举止粗野的人；乡下佬 | |
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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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upwards
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| adv.向上，在更高处...以上 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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inadequate
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| adj.(for,to)不充足的，不适当的 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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amazement
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| n.惊奇，惊讶 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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panegyric
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| n.颂词，颂扬 | |
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syllable
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| n.音节；vt.分音节 | |
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cadence
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| n.（说话声调的）抑扬顿挫 | |
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dwelling
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| n.住宅，住所，寓所 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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resound
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| v.回响 | |
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flute
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| n.长笛；v.吹笛 | |
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rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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stimulated
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| a.刺激的 | |
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utterance
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| n.用言语表达，话语，言语 | |
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wrath
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| n.愤怒，愤慨，暴怒 | |
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whetted
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| v.（在石头上）磨（刀、斧等）( whet的过去式和过去分词 )；引起，刺激（食欲、欲望、兴趣等） | |
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whet
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| v.磨快，刺激 | |
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armour
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| （=armor）n.盔甲；装甲部队 | |
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zeal
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| n.热心，热情，热忱 | |
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orator
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| n.演说者，演讲者，雄辩家 | |
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bantering
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| adj.嘲弄的v.开玩笑，说笑，逗乐( banter的现在分词 )；（善意地）取笑，逗弄 | |
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invoking
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| v.援引( invoke的现在分词 )；行使（权利等）；祈求救助；恳求 | |
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muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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retirement
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| n.退休，退职 | |
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amorous
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| adj.多情的；有关爱情的 | |
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discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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uncouth
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| adj.无教养的，粗鲁的 | |
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manifestation
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| n.表现形式；表明；现象 | |
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behold
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| v.看，注视，看到 | |
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beholder
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| n.观看者，旁观者 | |
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procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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barbarian
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| n.野蛮人；adj.野蛮(人)的；未开化的 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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53
barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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ostentation
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| n.夸耀，卖弄 | |
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monarchs
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| 君主，帝王( monarch的名词复数 ) | |
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56
procuring
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| v.（努力）取得， （设法）获得( procure的现在分词 )；拉皮条 | |
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57
stint
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| v.节省，限制，停止；n.舍不得化，节约，限制；连续不断的一段时间从事某件事 | |
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58
contrived
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| adj.不自然的，做作的；虚构的 | |
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59
redounds
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| v.有助益( redound的第三人称单数 )；及于；报偿；报应 | |
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60
superfluous
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| adj.过多的，过剩的，多余的 | |
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61
gilding
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| n.贴金箔，镀金 | |
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62
elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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63
precisely
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| adv.恰好，正好，精确地，细致地 | |
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64
adornment
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| n.装饰；装饰品 | |
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65
earrings
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| n.耳环( earring的名词复数 )；耳坠子 | |
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66
imprisons
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| v.下狱，监禁( imprison的第三人称单数 ) | |
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67
artifices
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| n.灵巧( artifice的名词复数 )；诡计；巧妙办法；虚伪行为 | |
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68
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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69
meretricious
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| adj.华而不实的，俗艳的 | |
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70
comely
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| adj.漂亮的，合宜的 | |
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71
otiose
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| adj.无效的，没有用的 | |
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72
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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73
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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74
diffuses
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| （使光）模糊，漫射，漫散( diffuse的第三人称单数 )； （使）扩散； （使）弥漫； （使）传播 | |
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75
tinged
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| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
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76
gilded
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| a.镀金的，富有的 | |
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77
mingling
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| adj.混合的 | |
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78
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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79
frescoed
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| 壁画( fresco的名词复数 )； 温壁画技法，湿壁画 | |
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80
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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81
wither
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| vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡 | |
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82
everlasting
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| adj.永恒的，持久的，无止境的 | |
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83
forth
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| adv.向前；向外，往外 | |
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84
varied
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| adj.多样的，多变化的 | |
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85
galloping
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| adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
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86
defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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87
hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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88
mettle
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| n.勇气，精神 | |
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89
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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90
struts
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| （框架的）支杆( strut的名词复数 )； 支柱； 趾高气扬的步态； （尤指跳舞或表演时）卖弄 | |
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91
potency
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| n. 效力，潜能 | |
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92
inviting
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| adj.诱人的，引人注目的 | |
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93
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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94
gliding
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| v. 滑翔 adj. 滑动的 | |
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95
crests
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| v.到达山顶（或浪峰）( crest的第三人称单数 )；到达洪峰，达到顶点 | |
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96
stimulating
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| adj.有启发性的，能激发人思考的 | |
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97
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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98
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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99
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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100
encomium
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| n.赞颂；颂词 | |
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101
simile
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| n.直喻，明喻 | |
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102
lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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103
costly
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| adj.昂贵的，价值高的，豪华的 | |
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104
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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105
complexion
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| n.肤色；情况，局面；气质，性格 | |
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106
bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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107
mortification
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| n.耻辱，屈辱 | |
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108
engrossed
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| adj.全神贯注的 | |
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109
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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110
mighty
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| adj.强有力的；巨大的 | |
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111
conflagration
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| n.建筑物或森林大火 | |
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112
pitfall
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| n.隐患，易犯的错误；陷阱，圈套 | |
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113
resonant
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| adj.(声音)洪亮的，共鸣的 | |
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114
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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115
quells
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| v.（用武力）制止，结束，镇压( quell的第三人称单数 ) | |
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116
puny
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| adj.微不足道的，弱小的 | |
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117
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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118
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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119
warrior
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| n.勇士，武士，斗士 | |
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120
cowardice
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| n.胆小，怯懦 | |
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121
affected
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| adj.不自然的，假装的 | |
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122
imperatively
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| adv.命令式地 | |
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123
orators
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| n.演说者，演讲家( orator的名词复数 ) | |
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124
envelops
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| v.包围，笼罩，包住( envelop的第三人称单数 ) | |
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125
gorgon
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| n.丑陋女人，蛇发女怪 | |
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126
insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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127
enchantments
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| n.魅力( enchantment的名词复数 )；迷人之处；施魔法；着魔 | |
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128
mariner
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| n.水手号不载人航天探测器，海员，航海者 | |
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129
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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130
illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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131
invincible
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| adj.不可征服的，难以制服的 | |
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132
sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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133
mightier
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| adj. 强有力的，强大的，巨大的 adv. 很，极其 | |
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134
usher
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| n.带位员，招待员；vt.引导，护送；vi.做招待，担任引座员 | |
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135
heed
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| v.注意，留意；n.注意，留心 | |
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136
beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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137
applied
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| adj.应用的；v.应用，适用 | |
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138
mythology
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| n.神话，神话学，神话集 | |
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139
connoisseur
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| n.鉴赏家，行家，内行 | |
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140
antagonist
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| n.敌人，对抗者，对手 | |
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141
hazardous
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| adj.(有)危险的，冒险的；碰运气的 | |
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142
sketchy
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| adj.写生的，写生风格的，概略的 | |
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143
slay
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| v.杀死，宰杀，杀戮 | |
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144
slays
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| 杀死，宰杀，杀戮( slay的第三人称单数 ) | |
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145
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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146
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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147
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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148
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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149
strife
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| n.争吵，冲突，倾轧，竞争 | |
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150
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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151
bestial
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| adj.残忍的；野蛮的 | |
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152
bristling
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| a.竖立的 | |
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153
gaping
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| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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154
jaws
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| n.口部；嘴 | |
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155
hews
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| v.（用斧、刀等）砍、劈( hew的第三人称单数 )；砍成；劈出；开辟 | |
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156
slaying
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| 杀戮。 | |
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157
mischievous
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| adj.调皮的，恶作剧的，有害的，伤人的 | |
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158
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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159
martial
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| adj.战争的，军事的，尚武的，威武的 | |
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160
guise
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| n.外表，伪装的姿态 | |
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161
feigned
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| a.假装的，不真诚的 | |
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162
paternal
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| adj.父亲的，像父亲的，父系的，父方的 | |
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163
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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164
sanity
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| n.心智健全，神智正常，判断正确 | |
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165
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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166
audacity
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| n.大胆，卤莽，无礼 | |
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167
condemnation
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| n.谴责; 定罪 | |
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168
resentment
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| n.怨愤，忿恨 | |
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169
undertaking
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| n.保证，许诺，事业 | |
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170
imputation
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| n.归罪，责难 | |
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171
discredit
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| vt.使不可置信；n.丧失信义；不信，怀疑 | |
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