Member of the Académie Fran?aise, and premier1 commis des batimens du Roi, was born, as he himself tells us in the Mémoires he left to his children, in Paris, on the 12th of January, 1628; and at eight and a half years of age was sent to the College of Beauvais, where he gave early proof of his literary abilities. He died in 1703. Although the author of many creditable compositions, both in prose and verse, he is indebted for his celebrity2 to that collection of Fairy tales which, under the title of Histoires, ou Contes du Tems passé, were first published in 1697, and speedily obtained a world-wide popularity as Les Contes de ma Mère l'Oye, known in England as Mother Goose's Fairy Tales.
They were published by Perrault, under the name of his son, Perrault D'Armancour, at that time a child only ten years old, whose name is appended to the dedication3 of the first edition to "Mademoiselle," i.e., Elizabeth Charlotte d'Orleans, sister of Philippe, Duke of Chartres, and, after the death of Louis XIV., Regent of France. Mademoiselle was born 13th September, 1676. The title, Contes de ma Mère l'Oye, has given rise to much controversy4, and a great deal of paper, not to say learning, has been wasted in the attempt to discover the original source of the stories, and the reason of their being called those of "Ma Mère l'Oye." The former question I shall reserve for discussion in my notices of the tales themselves. The latter we will dispose of at once. Monsieur Colin de Plancy, in his valuable edition of the ?uvres Choisis de Charles Perrault, 8vo, Paris, 1826; and [Pg 510] Baron5 Walkena?r in his Lettres sur les Contes des Fées attribués à Perrault, &c., Paris, 12mo, same date, have pretty well exhausted6 the subject. The three principal derivations that have been insisted upon, are:—
Firstly. That in an ancient fabliau, "a goose is represented telling stories to her goslings, worthy7 of them and of her."
Secondly8. That in the frontispiece to the first edition of Perrault's Fairy Tales, an old woman is represented spinning, and beside her are three children, one boy and two girls, whom she is apparently9 amusing by her stories; and that as underneath10 this are the words Contes de ma Mère l'Oye,[47] this old woman is no less a personage than Ma Mère l'Oye in propria persona.
Thirdly. That Ma Mère l'Oye is one and the same individual with La Reine Pédauque, the goose or bird-footed Queen, a soubriquet applied11 by some to a Bertha, Queen of France; and by others to St. Clotilde and the Queen of Saba.
The first is an assertion without proof. The second a mere12 opinion, which is instantly met by another—namely, that the old woman is repeating to her hearers the stories of Ma Mère l'Oye. The third is a tangible13 proposition, and has been dealt with accordingly.
At St. Marie de Nesle, in the diocese of Troyes, at St. Bénigne de Dijon, at St. Pierre de Nevers, St. Pourcain in Auvergne, and in divers14 other churches in France, the statue is to be seen of a queen with a web-foot, and therefore called La Reine Pied-d'oie, or Pédauque.[48] This statue is said by Mabillon, but without giving any authority for his assertion, to represent St. Clotilde.
The Abbé Leb?uf believes that the origin of this name is to be found at Toulouse. He quotes a passage in Rabelais, who, speaking of certain large-footed persons, says, "they were splay-footed, like geese, or Queen Pédauque in her portrait formerly15 at Toulouse;" "and the Abbé concludes," says Monsieur de Plancy, "curiously16 enough, that the Queen Pédauque is the Queen of Saba;" supporting his opinion by the following tale in the Targum of Jerusalem:—
[Pg 511]
"The Queen of Saba was so fond of bathing, that she plunged17 every day in the sea. When she went to visit Solomon, he received her in an apartment of crystal. The Queen of Saba on entering it, imagined that the Monarch18 was in the water, and in order to pass through it to him, she lifted her robe. The King then seeing her feet, which were hideous19, said to her: 'Your face unites all the charms of the most beautiful women, but your legs and feet correspond but little to it.'"
Even if we could suppose Solomon to have been so ungallant, there does not appear much in this Hebrew story to bear upon the subject; for what possible reason was there for attributing these stories to the Queen of Saba? Bullet, doyen of the University of Besan?on, goes back to the eleventh century, in France, for the source of this epithet20. The Good King Robert had married his relative, Bertha; Gregory V. compelled him to divorce her, and imposed on him a penance21 of seven years. The King, who loved Bertha, refused obedience22, and the Pope excommunicated him. He was deserted23 by everybody except two servants. In the meanwhile, Bertha was said to have been brought to bed of a monster resembling an ill-formed duck, or, according to others, a goose. Abbon, Abbot of Fleury, brought the supposed offspring to the King, who, horrified24 at the sight of it, repudiated25 Bertha, leaving her, however, the title of Queen. The dreadful story was circulated that she had given birth to a goose, and that she had herself become goose-footed, as a punishment for her criminal marriage. Her name of Bertha gave more authority to this story in the eyes of the people. They remembered that Bertha or Bertrade, wife of Pepin-le-bref, was surnamed "Bertha with the Great Foot," because she had one foot larger than the other; and they called the repudiated wife of Robert, "Bertha au pied d'Oie." It is possible also, remarks Mons. de Plancy, that this fable26 was invented to flatter Queen Constance, who succeeded her, for it was the period of credulity and superstition27. Constance went to Toulouse. She was lodged28 in front of an aqueduct so narrow that a man could not pass through it. To amuse the Princess, they told her it was the bridge of Queen Goose, or of the queen with the goose's foot. This story was afterwards amplified29, and it became a saying that Queen Pédauque was of Toulouse.
[Pg 512]
In the Contes d'Entrapel, by No?l Dufail, published during the latter half of the sixteenth century, a man is made to swear by "the spindle of Queen Pédauque;" and therefore Bullet assumes that she must have been Queen Bertha, because there is an old French saying, "when Queen Bertha spun30,"[49] which is applied to any marvellous story of bygone days, or to events that are said to have happened "once upon a time." This is very inconclusive. In the middle ages, spinning was a favourite occupation of queens and princesses, and Queen Bertha was by no means an exception.[50] There is another French saying, similarly applied to an incredible tale—"It is of the time when King Robert sang to the lute," the said King Robert being the husband of Queen Bertha. This is all tantamount only to our old English sayings, "When Adam was a little boy," and "When Adam delved32 and Eve span," &c. It is also more than probable that the Bertha of the proverb is identical with the Frau Berchta of German superstition. She is said to live in the imaginations of the upper German races in Austria, Bavaria, Swabia, Alsace, Switzerland, and some districts of Thuringia and Franconia. She appears in The Twelve Nights as a woman with shaggy hair, to inspect the spinners, when fish and porridge are to be eaten in honour of her, and all the distaffs must be spun off. This superstition was also common in England:—
Partly work and partly play You must on St. Distaff's day.
That is, the day after Twelfth Day, and is evidently the relic33 of some pagan rite31 in honour, most probably, of Freya or Frega, the Venus of the Scandinavians. "Dame34 Bertha horned," is one of the characters in Les Evangiles des Conoilles (Quenouilles), the joint35 composition of Jean d'Arras and three other writers, in 1475. It was translated into English, and printed by Winkyn de Worde, with the title of The Gospelles of Distaffs.[51]
[Pg 513]
A writer who signs himself Philetymus, has acutely pointed36 out a more probable origin of the title of Contes de ma (or de le) Mère l'Oye, which it is clear, from passages in Boileau and Molière, was applied to a certain collection of old stories, long before Perrault published his Histoires du Temps Passé. This writer refers us to the customs of antiquity37 and the superstitions38 of the middle ages. He recals to us that the ancient Romans confided39 their dwellings40 to the care of their geese. He alludes41 to the two hundred thousand Crusaders who, in 1096, directed their march by the flight of a goose from Hungary to Jerusalem; to the guardian43 fairies of the Chateau44 de Piron in the Contentin, who, at the time of the invasion of the Normans, transformed themselves into wild geese; to the benevolent45 and protecting dwarfs46 of the Canton of Berne, who are said to have been all goose-footed; and above all, to Marguerite de Navarre, who, in her Heptameron, calls herself Oisille; and he concludes by saying, "C'est que la bonne dame Oisille, veuve de grand expérience y représente la Mère l'Oie; c'est que du conté le moins discret elle sait tirer toujours une conclusion favorable à la morale47.... Contes de la Mère l'Oie c'est à dire42 contes de la vieille grand mère, jaseuse et criande comme l'Oie mais comme l'Oie, surtout gardienne vigilante de la maison.... J'allais dire de la Vertu."
There is, amidst all this suggestion, one fact to repose48 upon. It is, that Perrault was not the inventor of the stories he published; that he merely transmitted to writing, no doubt with some touches of his own, tales of the nursery which had descended49 orally from the earliest ages of the Celtic occupation of Armorica or Bretagne, to the peculiar50 superstitions of which we shall find, as we proceed, they all have more or less reference, and that the particular stories printed in the first edition of his Histoires du Temps Passé, had long been popularly known as Contes de ma Mère l'Oye. In 1678, at the age of fifty, Perrault retired51 from his public office to dedicate himself entirely52 to literature and the education of his children. Some ten years afterwards he composed a novel in verse, founded on a celebrated53 tale in the Decamerone of Boccaccio, and well known to us as Patient Grizzel, his title being La Marquise de Salusses; ou, la Patience de Griselidis. It was published at Paris, by Jean Baptiste Coignard, in [Pg 514] 1691. La Fontaine had, as early as 1678, said, in the fourth Fable of his eighth Book, Le Pouvoir des Fables—
——"Et moi même Au moment que je fais cette moralité Si Peau d'Ane m'etait conté J'y prendrais un plaisir extrême."
These lines it would seem induced Perrault to versify the old nursery story of Peau d'Ane, with which Louis XIV., when an infant, used to be rocked to sleep; and in 1694, on the publication of the second edition of his Griselidis, he added to it his metrical version of Peau d'Ane, and Les Souhaits Ridicules54, known to us as The Three Wishes. The success of these stories led him to publish, in 1697, his collection of Les Contes de ma Mère l'Oye, under the title of Histoires du Temps Passé, and in the name of his son, as before stated. This collection consisted of eight stories only, all in prose: La Belle55 au Bois Dormant56, Le Petit Chaperon Rouge57, Barbe Bleue, Le Chat Botté, Les Fées, Cendrillon, Riquet à la Houpe, and Le Petit Poucet—a proof that Peau d'Ane was not one of the Contes de ma Mère l'Oie, any more than Griselidis or Les Souhaits Ridicules. The same eight stories alone appear in the second edition in 1707 (four years after the death of Perrault), and in the third edition by Nicolas Gosselin, in 1724. It is not until 1742, when an edition of the Histoires du Temps Passé was published at the Hague,[52] that we find any addition to the first eight stories, and then we have for the first time the story of L'Adroite Princesse; ou, Les Aventures de Finette, presented to us, with a dedication to the Countess of Murat, as a story by Perrault, although a story with that title and on that subject was published by Madlle. Lheritier in 1696, in a work entitled, ?uvres Mêlées, contenant Nouvelles et autres Ouvrages en Verse et en Prose, in which also appears a letter from the author to the daughter of Perrault. But even in the Hague edition of 1742, there is no Peau d'Ane, and it is only in comparatively modern collections that a prose version of that story, as well as the one in verse actually written by Perrault, is, with L'Adroite Princesse, Griselidis, and Les Souhaits Ridicules, added to the eight original Contes de ma Mère l'Oie, or Histoires du Temps Passé.
[Pg 515]
From these eight stories I have selected six, omitting only Le Petit Chaperon Rouge, and Les Fées, so well known in the nursery as Little Red Riding Hood58 (why "Riding?") and Toads59 and Diamonds, and for the atmosphere of which they are alone calculated. On the others I shall now offer a few observations in their order of publication, and in the same spirit as those appended to the Fairy Tales of the Countess d'Aulnoy.
BLUE BEARD.
La Barbe Bleue is founded, according to Mons. Colin de Plancy, on a tradition of Lower Brittany; and he remarks that Perrault must have heard it from the lips of nurses, or perhaps peasants, to have written with so much na?veté the scene of Sister Anne. He states also that it is pretended that Blue Beard was actually a nobleman of the house of Beaumanoir. He does not, however, seem to have been aware that the original of this terrible portrait is also said to have been Gilles de Laval, Seigneur de Raiz, created Maréchal de France, June 21st, 1429, for his defence of Orleans against the English, but whose infamous60 conduct in Brittany so exasperated61 the public against him, that in 1440 he was arrested by order of the Procureur-Général de Bretagne, and having been tried and found guilty, was condemned62 to be hanged and burnt, and underwent that sentence in a field at Nantes, on the 8th of October (some say 23rd of December) of that same year, after exhibiting, says the chronicler, great signs of repentance63; his body was taken out of the flames, and buried in the church of the Carmelites at Nantes. It was, we are told, his taste for luxury and libertinism64 which plunged him into all the crimes for which he was so fearfully punished. He squandered65 a revenue of two hundred thousand crowns per annum, an enormous sum in those days, and which he had inherited at the age of twenty. He never travelled without being accompanied by an army of cooks, musicians, dancers of both [Pg 516] sexes, packs of hounds, and two hundred saddle horses. Unfortunately for him, he thought it necessary to include in his suite66 of attendants some fortune-tellers and pretended magicians, which it is possible in those days may have caused the credulous67 multitude to impute68 to him some atrocities69 of which he may have been innocent. The whole procès is said to be still extant: but we are not furnished with any details which would identify him with the gentleman who rejoiced in a blue beard, and expiated70 his offences by being run through the body with cold iron, instead of being roasted at a stake like the guilty but penitent71 Marshal.[53] Whether the line of Beaumanoir or of Laval has the best claim to the honour of his relationship, may be still a matter of dispute; but the fact more important to our present inquiry72 is, that in either case it is a tradition of Bretagne, and therefore strengthens the theory of Mons. de Plancy and the Baron Walkena?r.
There is no fairy in this story, but there is an enchanted73 key. "La clef," says the author, "etait fée." In the old translations this is rendered "the key was a fairy." "Fée" is, however, in such instances as these, not a noun substantive74, but an adjective, now obsolete75, but to be found in Cotgrave, spelt with a third e in the feminine. "Fée, m.; éee, f.: Fatall appointed, destined76; also, taken, bewitched or forespoken; also, charmed, inchanted."—Edit. 1650.
There is another popular passage in this story which requires a word of remark:—"Je ne vois rien que le soleil qui poudroie et l'herbe qui verdoie." This has been generally translated, "I see nothing but the sun which makes a dust, and the grass which looks green." Mons. de Plancy appends a note to this passage, as follows:—"1. Poudroyer, darder, éblouir les yeux. 2. Verdoyer, jeter un éclat vert."
[Pg 517]
With great submission77 to so high an authority, I must venture to differ with him on this point. "Poudroyer" is an old French verb, signifying to reduce to powder. "Je poudroie, tu poudroies, il poudroie," &c. "Un cheval Espagnol poudroyant tous les champs," J. B. Rouss; and Bescherelle, in his Dictionnaire National, remarks, quoting the actual passage from Perrault, "Ce mot sonore poètique, épargnant une périphrase est a regretter." Verdoyer is also a verb active, signifying to grow or become green, and I have therefore taken the liberty to render the above celebrated reply, "I see nothing but the sun making dust" (that is to say, reducing the soil to dust by its heat), "and the grass growing green." It is the flock of sheep that afterwards raise or make a dust. It may be thought I am "making a dust," to use a familiar phrase, about a trifle; but I wished to point out that unless we could say in English, "the sun that dusts and the grass that greens," we cannot approach the terse78 and graphic79 description of dear Sister Anne.
Mons. de Plancy observes that the incidents of this story (excepting, of course, that of the enchanted key) are not impossible, provided they are supposed to have occurred in the middle ages; but that Perrault has placed them nearer his own times, by saying that Blue Beard's widow employed part of her fortune in purchasing commissions for her two brothers, as the sale of commissions in the French army was not known before the reign80 of Francis I.; but he does not notice that the mention of dragoons and musqueteers brings them still nearer. Blue Beard has been a favourite subject with the dramatists, both French and English. The celebrated melodrama81 by George Colman the younger, produced at Drury Lane Theatre, in 1798, in which the scene was transferred to the East, was rendered still more popular by the music of Michael Kelly: the "March in Blue Beard" was perpetrated on every piano alternately with the "Duke of York's March," the "Battle of Prague," and the "Overture82 to Lodoiska."
THE SLEEPING BEAUTY IN THE WOOD.
The charming fairy tale of La Belle au Bois dormant is the gem83 of the collection. Its popularity is as great at the present day as it was two hundred years ago. I have called the reader's attention in a marginal note to the first mention [Pg 518] probably of seven league boots,[54] but I reserved for the Appendix some observations upon the earliest mention of Ogres and Ogresses. The Baron Walkena?r, in his letters already quoted, has, I think successfully, combated the earlier notion that the word Ogre was derived84 from a classical source. He deduces it from the Oigours or Igours, a Turkish race mentioned by Procopius in the sixth century. Some tribes of Oigurs established themselves in the Crimea, and their language was called "Lingua Ouguresca" by the Italian merchants who first traded with them. In the twelfth and thirteenth centuries all Tartars were confounded under the name of Oigurs. When the Magyars, a Tartar tribe from the banks of the Wolga, overran Dacia and Pannonia, the names of the ancient Huns and of the ferocious85 Oigurs were united to designate them. They were first called Hunnie-Gours, and their country Hunnic-Gourie, from whence Hongrois and Hungary. The atrocities committed by and attributed to the Oigurs spread horror and alarm throughout Europe. Their cruelties to infants, in which they have been only equalled by the barbarous Sepoys in the recent calamitous86 events in India, took especial hold of the imaginations of those to whose care children were specially87 entrusted88, and the appellation89 of Oigur or Ogre became synonymous with that of cannibal, or any other ferocious monster in human form. In Roquefort's Glossaire de la Langue Romaine, Ogre is also derived from the same source. That "l'Huorco" of the Italians, the Orco of Bojardo and Ariosto, may be derived from the Latin Orcus, according to Minucci, as Mr. Keightley imagines, I am not prepared to dispute. Such curious coincidences are common to all who have wandered in the mazes90 of etymology91; but I will merely suggest that it is quite as probable that Orco and Huorco were also derived from Oigur, the name by which the Tartars of the Crimea were known to the Italians as early as the twelfth century, as we have already seen. Florio, however (1598), says, "Orco as Orca, a sea monster," which the Ogre never was.
[Pg 519]
Spinning with the distaff is the oldest form. A wheel appears in illuminations of the fourteenth century, but the woman hent stood to her work. The more modern spinning-wheel, at which women sit, was invented in 1530, by a citizen of Brunswick, named Jurgen. For illustration of the accident to the Princess, it is perhaps worthy of remark that in the Pyrenees and western provinces of France the spindle is sometimes pointed with iron. "It is thus," says Mr. Akerman (the author of a paper on the Distaff in the Arch?ologia, vol. xxxvii.), "rendered a stiletto, with which the woman could defend herself." The same antiquary informs us that "the art of spinning in its simplest and most primitive92 forms is yet pursued in Italy, where the women of Caià still twirl the spindle unrestrained by that 'ancient rustic93 law which forbade its use without doors.'" So that the father of the Sleeping Beauty had a sort of precedent94 for his "Must not spin with spindles Act."
The Germans have a version of this story called Briar-Rose: vide Grimm's Kinder und Hausm?rchen.
MASTER CAT; OR PUSS IN BOOTS.
Ma?tre Chat; ou, le Chat Botté.—This capital story is said by Mr. Dunlop and Mr. Keightley to be taken from a collection of stories by Giovan Francesco Straparola, printed at Venice in 1550-54, under the titles of Tredici Piacevole Notte, and translated into French "with considerable embellishments" in 1585. That the first story of the Eleventh Night is derived from the same source as Perrault's there can be little doubt; but I am not by any means prepared to admit that Perrault was indebted to that or any other printed collection for this or any one of those eight stories which it is clear were well known in France as Les Contes de ma Mère l'Oye. Straparola, who seems to have borrowed largely from Morlini, and collected stories wherever he could find them, drew upon the traditions of Brittany as well as on the fabliaux of Provence. It is indeed notorious that the Italian novelists were indebted almost entirely to the Trouvères or Troubadours of Languedoc, whilst they themselves admit that the plots of their romances were of Armorican origin.
In Britanie of old time These lays were wrought95, so saith this rhyme.
Says the old translator of the Lai le Fraine, the author of [Pg 520] which Mr. Dunlop acknowledges "must have been better informed than any modern writer" (History of Fiction, 8vo, 1845, p. 196). In the second edition of the Countess D'Aulnoy's Fairy Tales, I took an opportunity of vindicating96 that lady from the charge so hastily preferred against her both by Mr. Dunlop and Mr. Keightley, and I now contest as strongly the accuracy of the opinions of the same writers respecting the tales of Charles Perrault. Neither in the story of Straparola, first of the Eleventh Night, nor in the Gagliuso of Signor Basile (whose Pentamerone, published in 1672, is also roundly asserted to have been the "origin" of the French Contes des Fées[55]), do we find Puss in Boots. What would Le Ma?tre Chat be, were he not also Le Chat Botté? Nor is there an Ogre—that especial characteristic of a legend of Brittany—nor consequently the delicious scene between him and Puss, which so dramatically winds up the French story. The same unmistakeable indications of its being a veritable Histoire du Temps Passé, militate against the belief alluded97 to by M. de Plancy, that the Marquis de Carabas was intended as a portrait of some particular nobleman of the time of Louis XIV.; and therefore that the usurpation98 of the castle and property of the ogre might be an allusion99 to the indelicate seizure100 by D'Aubigné of the domains101 of a Protestant, an exile in consequence of the religious persecutions at the close of the seventeenth century, "In which case," he adds, "the Cat would be Madame de Maintenon!" What a pity so ingenious an idea should be destitute102 of foundation. It is more probable that the wits of the day compared the illustrious individuals to the Marquis de Carabas and his Cat.
I have kept the old English title of Puss in Boots, though it is not literally103 that of the original. It would have been an indictable offence to have altered it.
The tricks of the cat to catch the rats are described almost in the words of Lafontaine, in his fable of Le Chat et le Vieux Rat, in which Ma?tre Mitis, "l'Alexandre des chats," a second Rodillard, "se pend la tête en bas" and "s'enfarine" for the same purpose.
The End
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28
lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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29
amplified
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| 放大，扩大( amplify的过去式和过去分词 )； 增强； 详述 | |
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spun
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| v.纺，杜撰，急转身 | |
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rite
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| n.典礼，惯例，习俗 | |
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delved
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| v.深入探究，钻研( delve的过去式和过去分词 ) | |
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33
relic
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| n.神圣的遗物，遗迹，纪念物 | |
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34
dame
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| n.女士 | |
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35
joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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pointed
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| adj.尖的，直截了当的 | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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38
superstitions
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| 迷信，迷信行为( superstition的名词复数 ) | |
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39
confided
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| v.吐露（秘密，心事等）( confide的过去式和过去分词 )；（向某人）吐露（隐私、秘密等） | |
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40
dwellings
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| n.住处，处所( dwelling的名词复数 ) | |
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41
alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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42
dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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43
guardian
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| n.监护人；守卫者，保护者 | |
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44
chateau
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| n.城堡，别墅 | |
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45
benevolent
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| adj.仁慈的，乐善好施的 | |
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46
dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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47
morale
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| n.道德准则，士气，斗志 | |
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48
repose
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| v.(使)休息；n.安息 | |
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49
descended
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| a.为...后裔的，出身于...的 | |
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50
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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54
ridicules
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| n.嘲笑( ridicule的名词复数 )；奚落；嘲弄；戏弄v.嘲笑，嘲弄，奚落( ridicule的第三人称单数 ) | |
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belle
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| n.靓女 | |
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dormant
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| adj.暂停活动的；休眠的；潜伏的 | |
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rouge
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| n.胭脂，口红唇膏；v.(在…上)擦口红 | |
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hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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toads
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| n.蟾蜍，癞蛤蟆( toad的名词复数 ) | |
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infamous
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| adj.声名狼藉的，臭名昭著的，邪恶的 | |
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exasperated
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| adj.恼怒的 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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repentance
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| n.懊悔 | |
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libertinism
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| n.放荡，玩乐，（对宗教事物的）自由思想 | |
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squandered
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| v.（指钱，财产等）浪费，乱花( squander的过去式和过去分词 ) | |
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suite
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| n.一套(家具)；套房；随从人员 | |
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credulous
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| adj.轻信的，易信的 | |
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impute
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| v.归咎于 | |
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atrocities
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| n.邪恶，暴行( atrocity的名词复数 )；滔天大罪 | |
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expiated
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| v.为（所犯罪过）接受惩罚，赎（罪）( expiate的过去式和过去分词 ) | |
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penitent
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| adj.后悔的；n.后悔者；忏悔者 | |
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inquiry
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| n.打听，询问，调查，查问 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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substantive
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| adj.表示实在的；本质的、实质性的；独立的；n.实词，实名词；独立存在的实体 | |
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obsolete
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| adj.已废弃的，过时的 | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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submission
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| n.服从，投降；温顺，谦虚；提出 | |
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terse
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| adj.(说话，文笔)精炼的，简明的 | |
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graphic
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| adj.生动的，形象的，绘画的，文字的，图表的 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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melodrama
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| n.音乐剧；情节剧 | |
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82
overture
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| n.前奏曲、序曲，提议，提案，初步交涉 | |
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83
gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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84
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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ferocious
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| adj.凶猛的，残暴的，极度的，十分强烈的 | |
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calamitous
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| adj.灾难的，悲惨的；多灾多难；惨重 | |
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87
specially
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| adv.特定地；特殊地；明确地 | |
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88
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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appellation
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| n.名称，称呼 | |
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90
mazes
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| 迷宫( maze的名词复数 )； 纷繁复杂的规则； 复杂难懂的细节； 迷宫图 | |
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etymology
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| n.语源；字源学 | |
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92
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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93
rustic
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| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
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precedent
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| n.先例，前例；惯例；adj.在前的，在先的 | |
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95
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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vindicating
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| v.澄清（某人/某事物）受到的责难或嫌疑( vindicate的现在分词 )；表明或证明（所争辩的事物）属实、正当、有效等；维护 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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98
usurpation
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| n.篡位；霸占 | |
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99
allusion
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| n.暗示，间接提示 | |
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100
seizure
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| n.没收；占有；抵押 | |
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101
domains
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| n.范围( domain的名词复数 )；领域；版图；地产 | |
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102
destitute
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| adj.缺乏的；穷困的 | |
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103
literally
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| adv.照字面意义，逐字地；确实 | |
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