Her name was Margherita Cornado. She lived in Girgenti on the south side of Sicily, in the great mining district. When she was a child her father was a miner; later he inherited a little money, so that he no longer needed to work.
There was a little, narrow, miserable1 roof-garden on Margherita Cornado’s house in Girgenti. A small and steep stairway led up to it, and one had to creep out through a low door. But it was well worth the trouble. When you reached the top you saw not only a mass of roofs, but the whole air over the town was gaily2 crowded with the towers and fa?ades of all Girgenti’s churches. And every fa?ade and every tower was a quivering lace-work of images, of loggias, of glowing canopies3.
And outside the town there was a wide plain which sloped gently down towards the sea, and a semicircle of hills that guarded the plain. The plain was glittering red; the ocean was blue as enamel4; the hillsides were yellow; it was a whole orient of warmth and color.
But there was even more to be seen. Ancient temples were dotted about the valley. Ruins and[355] strange old towers were everywhere, as in a fairy world.
As Margherita Cornado grew up, she used to spend most of her days there; but she never looked out over the dazzling landscape. She was occupied with other things.
Her father used to tell her of the life in the sulphur mines at Grotte, where he had worked. While Margherita Cornado sat on the airy terrace, she thought that she was incessantly5 walking about the dark mine veins6, and finding her way through dim shafts8.
She could not help thinking of all the misery9 that existed in the mines; especially she thought of the children, who carried the ore up to the surface. “The little wagons10,” they called them. That expression never left her mind. Poor, poor little wagons, the little mine-wagons!
They came in the morning, and each followed a miner down into the mine. As soon as he had dug out enough ore, he loaded the mine-wagon with a basket of it, and then the latter began to climb. Several of them met on the way, so that there was a long procession. And they began to sing:—
“One journey made in struggling and pain,
Nineteen times to be travelled again.”
When they finally reached the light of day, they emptied their baskets of ore and threw themselves on the ground to rest a moment. Most of them dragged themselves over to the sulphurous pools near the shaft7 of the mine and drank the pestiferous water.
But they soon had to go down again, and they[356] gathered at the mouth of the mine. As they clambered down, they cried: “Lord and God, have mercy, have mercy, have mercy!”
Every journey the little wagons made, their song grew more feeble. They groaned11 and cried as they crawled up the paths of the mine.
The little wagons were bathed in perspiration12; the baskets of ore ground holes in their shoulders. As they went up and down they sang:—
“Seven more trips without pause for breath,
The pain of living is worse than death.”
Margherita Cornado had suffered for those poor children all her own childhood. And because she was always thinking of their hardships, people believed that she would be a saint.
Neither did she forget them as she grew older. As soon as she was grown, she went to Grotte, where most of the mines are, and when the little wagons came out into the daylight, she was waiting for them by the shaft with fresh, clean water. She wiped the perspiration from their faces, and she dressed the wounds on their shoulders. It was not much that she could do for them, but soon the little wagons felt that they could not go on with their work any day that Margherita Cornado did not come and comfort them.
But unfortunately for the little wagons, Margherita was very beautiful. One day one of the mining-engineers happened to see her as she was relieving the children, and instantly fell very much in love with her.
A few weeks after, Margherita Cornado stopped coming to the Grotte mines. She sat at home[357] instead and sewed on her wedding outfit13. She was going to marry the mining-engineer. It was a good match, and connected her with the chief people of the town, so she could not care for the little wagons any longer.
A few days before the wedding the old beggar, Santuzza, who was Margherita’s god-mother, came and asked to speak to her. They betook themselves to the roof-garden in order to be alone.
“Margherita,” said the old woman, “you are in the midst of such happiness and magnificence that perhaps there is no use speaking to you of those who are in need and sorrow. You have forgotten all such things.”
Margherita reproved her for speaking so.
“I come with a greeting to you from my son, Orestes. He is in trouble, and he needs your advice.”
“You know that you can speak freely to me, Santuzza,” said the girl.
“Orestes is no longer at the Grotte mines; you know that, I suppose. He is at Racalmuto. And he is very badly off there. Not that the pay is so bad, but the engineer is a man who grinds down the poor to the last drop of blood.”
The old woman told how the engineer tortured the miners. He made them work over time; he fined them if they missed a day. He did not look after the mines properly; there was one cave-in after another. No one was secure of his life as long as he was under earth.
“Well, Margherita, Orestes had a son. A splendid boy; just ten years old. The engineer came and wished to buy the boy from Orestes, and set him to[358] work with the little wagons. But Orestes said no. His boy should not be ruined by such work.
“Then the engineer threatened him, and said that Orestes would be dismissed from the mine.”
Santuzza paused.
“And then?” asked Margherita.
“Yes, then Orestes gave his son to the engineer. The next day the boy got a whipping from him. He beat him every day. The boy grew more and more feeble. Orestes saw it, and asked the engineer to spare the boy, but he had no mercy. He said that the boy was lazy, and he continued to persecute14 him. And now he is dead. My grandson is dead, Margherita.”
The girl had quite forgotten all her own happiness. She was once more only the miner’s daughter, the protector of the little wagons, the poor child who used to sit on the bright terrace and weep over the hardships of the black mines.
“Why do you let the man live?” she cried.
The old woman looked at her furtively15. Then she crept close to her with a knife. “Orestes sends you this with a thousand questions,” she said.
Margherita Cornado took the knife, kissed the blade, and gave it back without a word.
It was the evening before the wedding. The parents of the bridegroom were awaiting their son. He was to come home from the mines towards night; but he never came. Later in the night a servant was sent to the Grotte mines to look for him, and found him a mile from Girgenti. He lay murdered at the roadside.
A search for the murderer was immediately instituted. Strict examinations of the miners were held,[359] but the culprit could not be discovered. There were no witnesses; no one could be prevailed upon to betray a comrade.
Then Margherita Cornado appeared and denounced Orestes, who was the son of her god-mother, Santuzza, and who had not moved to Racalmuto at all.
She did it although she had heard afterwards that her betrothed16 had been guilty of everything of which Santuzza had accused him. She did it although she herself had sealed his doom17 by kissing the knife.
She had hardly accused Orestes before she repented18 of it; she was filled with the anguish19 of remorse20.
In another land what she had done would not have been considered a crime, but it is so regarded in Sicily. A Sicilian would rather die than be an informer.
Margherita Cornado enjoyed no rest either by night or by day. She had a continual aching feeling of anguish in her heart, a great unhappiness dwelt in her.
She was not severely21 judged, because every one knew that she had loved the murdered man and thought that Santuzza had been too cruel towards her. No one spoke22 of her disdainfully, and no one refused to salute23 her.
But it made no difference to her that others were kind to her. Remorse filled her soul and tortured her like an aching wound. Orestes had been sentenced to the galleys24 for life. Santuzza had died a few weeks after her son’s sentence had been passed, and Margherita could not ask forgiveness of either of them.
[360]
She called on the saints, but they would not help her. It seemed as if nothing in the world could have the power to free her from the horror of remorse.
At that time the famous Franciscan monk25, Father Gondo, was sojourning in the neighborhood of Girgenti. He was preaching a pilgrimage to Diamante.
It did not disturb Father Gondo not to have the pope acknowledge the Christ-image in the church of San Pasquale as a miracle-worker. He had met the blind singers on his wanderings and had heard them tell of the image. Through long, happy nights he had sat at the feet of Father Elia and Brother Tommaso, and from sunset to sunrise they had told him of the image.
And now the famous preacher had begun to send all who were in trouble to the great miracle-worker. He warned the people not to let that holy time pass unheeded. “The Christchild,” he said, “had not hitherto been much worshipped in Sicily. The time had come when he wished to possess a church and followers26. And to effect it he let his holy image perform miracle after miracle.”
Father Gondo, who had passed his novitiate in the monastery27 of Aracoeli on the Capitol, told the people of the image of the Christchild that was there, and of the thousand miracles he had performed. “And now that good little child wishes to be worshipped in Sicily,” said Father Gondo. “Let us hesitate no longer, and hasten to him. For the moment heaven is generous. Let us be the first to acknowledge the image! Let us be like the shepherds and wise men of the East; let us go to[361] the holy child while he is still lying on his bed of straw in the miserable hut!”
Margherita Cornado was filled with a new hope when she heard him. She was the first to obey Father Gondo’s summons. After her others joined him also. Forty pilgrims marched with him through the plateaus of the inland to Diamante.
They were all very poor and unhappy. But Father Gondo made them march with song and prayer. Soon their eyes began to shine as if the star of Bethlehem had gone before them.
“Do you know,” said Father Gondo, “why God’s son is greater than all the saints? Because he gives the soul holiness; because he forgives sins; because he grants to the spirit a blessed trust in God; because his kingdom is not of this world.”
When his little army looked tired, he gave them new life by telling them of the miracles the image had performed. The legends of the blind singers were like cooling drinks and cheering wine. The poor wanderers in the barren lands of Sicily walked with a lighter28 step, as if they were on their way to Nazareth to see the carpenter’s son.
“He will take all our burdens from us,” said Father Gondo. “When we come back our hearts will be freed from every care.”
And during the wandering through the scorched29, glowing desert, where no trees gave cooling shade, and where the water was bitter with salt and sulphur, Margherita Cornado felt that her heart’s torments30 were relieved. “The little king of heaven will take away my pain,” she said.
At last, one day in May, the pilgrims reached the foot of the hill of Diamante. There the desert[362] stopped. They saw about them groves31 of olive-trees and fresh green leaves. The mountain shone; the town shone. They felt that they had come to a place in the shadow of God’s grace.
They toiled32 joyfully33 up the zigzag34 path, and with loud and exultant35 voices sang an old pilgrims’ song.
When they had gone some way up the mountain, people came running from Diamante to meet them. When the people heard the monotonous36 sound of the old song, they threw aside their work and hurried out. And the people of Diamante embraced and kissed the pilgrims.
They had expected them long ago; they could not understand why they had not come before. The Christ-image of Diamante was a wonderful miracle-worker; he was so compassionate37, so loving that every one ought to come to him.
When Margherita Cornado heard them she felt as if her heart was already healed of its pain. All the people of Diamante comforted her and encouraged her. “He will certainly help you; he helps every one,” they said. “No one has prayed to him in vain.”
At the town-gate the pilgrims parted. The townspeople took them to their homes, so that they might rest after their journey. In an hour they were all to meet at the Porta Etnea in order to go out to the image together.
But Margherita had not the patience to wait a whole hour. She asked her way out to the church of San Pasquale and went there alone before all the others.
When Father Gondo and the pilgrims came out to San Pasquale an hour later, they saw Margherita[363] Cornado sitting on the platform by the high altar. She was sitting still and did not seem to notice their coming. But when Father Gondo came close up to her, she started up as if she had lain in wait for him and threw herself upon him. She seized him by the throat and tried to strangle him.
She was big, splendidly developed and strong. It was only after a severe struggle that Father Gondo and two of the pilgrims succeeded in subduing38 her. She was quite mad, and so violent that she had to be bound.
The pilgrims had come in a solemn procession; they sang, and held burning candles in their hands. There was a long line of them, for many people from Diamante had joined them. Those who came first immediately stopped their singing; those coming after had noticed nothing and continued their song. But then the news of what had happened passed from file to file, and wherever it came the song stopped. It was horrible to hear how it died away and changed into a low wail39.
All the weary pilgrims realized that they had failed in their coming. All their laborious40 wanderings had been in vain. They were disappointed in their beautiful hopes. The holy image would have no consolation41 to offer them.
Father Gondo himself was in despair. It was a more severe blow to him than to any one else, for each one of the others had only his own sorrow to think of, but he bore the sorrows of all those people in his heart. What answer could he give to all the hopes he had awakened42 in them?
Suddenly one of his beautiful, child-like smiles passed over his face. The image must wish to test[364] his faith and that of the others. If only they did not fail, they would certainly be helped.
He began again to sing the pilgrim song in his clear voice and went up to the altar.
But as he came nearer to the image, he broke off in his song again. He stopped and looked at the image with staring eyes. Then he stretched out his hand, took the crown and brought it close to his eyes. “It is written there; it is written there,” he murmured. And he let the crown fall from his hand and roll down on the stone floor.
From that moment Father Gondo knew that the outcast from Aracoeli was before him.
But he did not immediately cry it out to the people, but said instead, with his usual gentleness,—
“My friends, I wish to tell you something strange.”
He told them of the Englishwoman who had wished to steal the Christ-image of Aracoeli. And he told how the image had been called Antichrist and had been cast out into the world.
“I still remember old Fra Simone,” said Father Gondo. “He never showed me the image without saying: ‘It was this little hand that rang. It was this little foot that kicked on the door.’
“But when I asked Fra Simone what had become of the other image, he always said: ‘What should have become of him? The dogs of Rome have probably dragged him away and torn him to pieces.’”
When Father Gondo had finished speaking, he went, still quite slowly and quietly, and picked up the crown that he had just let fall to the floor.
“Now read that!” he said. And he let the[365] crown go from man to man. The people stood with their wax-candles in their hands and lighted up the crown with them. Those who could read, read; the others saw that at least there was an inscription43.
And each one who had held the crown in his hand instantly extinguished his candle.
When the last candle was put out, Father Gondo turned to his pilgrims who had gathered about him. “I have brought you here,” he said to them, “that you might find one who gives the soul peace and an entry to God’s kingdom; but I have brought you wrong, for this one has no such thing to give. His kingdom is only of this world.
“Our unfortunate sister has gone mad,” continued Father Gondo, “because she came here and hoped for heavenly benefits. Her reason gave way when her prayers were not heard. He could not hear her, for his kingdom is only of this world.”
He was silent a moment, and they all looked up at him to find out what they ought to think of it all.
He asked as quietly as before: “Shall an image which bears such words in its crown any longer be allowed to desecrate44 an altar?”
“No, no!” cried the pilgrims. The people of Diamante stood silent.
Father Gondo took the image in his hands and carried it on his outstretched arms through the church and towards the door.
But although the Father had spoken gently and humbly45, his eyes had rested the whole time sternly and with compelling force on the crowd of people. There was not one there whom he had not subdued46 and mastered by the strength of his will. Every[366] one had felt paralyzed and without the power of thinking independently.
As Father Gondo approached the door, he stopped and looked around. One last commanding glance fell on the people.
“The crown also,” said Father Gondo. And the crown was handed to him.
He set the image down and went out under the stone canopy47 that protected the image of San Pasquale. He whispered a word to a couple of pilgrims, and they hurried away. They soon came back with their arms full of branches and logs. They laid them down before Father Gondo and set them on fire.
All who had been in the church had crowded out. They stood in the yard outside the church, still subdued, with no will of their own. They saw that the monk meant to burn their beloved image that helped them so, and yet they made no resistance. They could not understand themselves why they did not try to save the image.
When Father Gondo saw the fire kindle48 and therefore felt that the image was entirely49 in his power, he straightened himself and his eyes flashed.
“My poor children,” he said gently, and turned to the people of Diamante. “You have been harboring a terrible guest. How is it possible for you not to have discovered who he is?
“What ought I to believe of you?” he continued more sternly. “You yourselves say that the image has given you everything for which you have prayed. Has no one in Diamante in all these years prayed for the forgiveness of sins and the peace of the soul?
[367]
“Can it be possible? The people of Diamante have not had anything to pray for except lottery50 numbers and good years and daily bread and health and money. They have asked for nothing but the good of this world. Not one has needed to pray for heavenly grace.
“Can it really be? No, it is impossible,” said Father Gondo joyfully, as if filled with a sudden hope. “It is I who have made a mistake. The people of Diamante have understood that I would not lay the image on the fire without asking and investigating about it. You are only waiting for me to be silent to step forward and give your testimony51.
“Many will now come and say: ‘That image has made me a believer;’ and many will say: ‘He has granted me the forgiveness of sins;’ and many will say: ‘He has opened my eyes, so that I have been able to gaze on the glory of heaven.’ They will come forward and speak, and I shall be mocked and derided52 and compelled to bear the image to the altar and acknowledge that I have been mistaken.”
Father Gondo stopped speaking and smiled invitingly53 at the people. A quick movement passed through the crowd of listeners. Several seemed to have the intention of coming forward and testifying. They came a few steps, but then they stopped.
“I am waiting,” said the Father, and his eyes implored54 and called on the people to come.
No one came. The whole mass of people was in wailing55 despair that they would not testify to the advantage of their beloved image. But no one did so.
“My poor children,” said Father Gondo, sadly.[368] “You have had Antichrist among you, and he has got possession of you. You have forgotten heaven. You have forgotten that you possess a soul. You think only of this world.
“Formerly it was said that the people of Diamante were the most religious in Sicily. Now it must be otherwise. The inhabitants of Diamante are slaves of the world. Perhaps they are even infidel socialists56, who love only the earth. They can be nothing else. They have had Antichrist among them.”
When the people were accused in such a way, they seemed at last to be about to rise in resistance. An angry muttering passed through the ranks.
“The image is holy,” one cried. “When he came San Pasquale’s bells rang all day.”
“Could they ring for less time to warn you of such a misfortune?” rejoined the monk.
He went on with his accusations57 with growing violence. “You are idolaters, not Christians58. You serve him because he helps you. There is nothing of the spirit of holiness in you.”
“He has been kind and merciful, like Christ,” answered the people.
“Is not just that the misfortune?” said the Father, and now all of a sudden he was terrible in his wrath59. “He has taken the likeness60 of Christ to lead you astray. In that way he has been able to weave his web about you. By scattering61 gifts and blessings62 over you, he has lured63 you into his net and made you slaves of the world. Or is it not so? Perhaps some one can come forward and say the contrary? Perhaps he has heard that some one who is not present to-day has prayed to the image for a heavenly grace.”
[369]
“He has taken away the power of a jettatore,” said one.
“Is it not he who is as great in evil as the jettatore who has power over him?” answered the father, bitterly.
They made no other attempts to defend the image. Everything that they said seemed only to make the matter worse.
Several looked round for Donna Micaela, who was also present. She stood among the crowd, heard and saw everything, but made no attempt to save the image.
When Father Gondo had said that the image was Antichrist she had been terrified, and when he showed that the people of Diamante had only asked for the good of this world, her terror had grown. She had not dared to do anything.
But when he said that she and all the others were in the power of Antichrist, something in her rose against him. “No, no,” she said, “it cannot be so.” If she should believe that an evil power had governed her during so many years, her reason would give way. And her reason began to defend itself.
Her faith in the supernatural broke in her like a string too tightly stretched. She could not follow it any longer.
With infinite swiftness everything of the supernatural that she herself had experienced flashed through her mind, and she passed sentence on it. Was there a single proven miracle? She said to herself that there were coincidences, coincidences.
It was like unravelling64 a skein. From what she herself had experienced she passed to the miracles[370] of other times. They were coincidences. They were hypnotism. They were possibly legends, most of them.
The raging monk continued to curse the people with terrible words. She tried to listen to him to get away from her own thoughts. But all she thought was that what he said was madness and lies.
What was going on in her? Was she becoming an atheist65?
She looked about for Gaetano. He was there also; he stood on the church steps quite near the monk. His eyes rested on her. And as surely as if she had told him it, he knew what was passing in her. But he did not look as if he were glad or triumphant66. He looked as if he wished to stop Father Gondo, to save a little vestige67 of faith for her.
Donna Micaela’s thoughts had no mercy. They went on and robbed her soul. All the glowing world of the supernatural was destroyed, crushed. She said to herself that no one knew anything of celestial68 matters, nor could know anything. Many messages had gone from earth to heaven. None had gone from heaven to earth.
“But I will still believe in God,” she said, and clasped her hands as if still to hold fast the last and best.
“Your eyes, people of Diamante, are wild and evil,” said Father Gondo. “God is not in you. Antichrist has driven God away from you.”
Donna Micaela’s eyes again sought Gaetano’s. “Can you give a poor, doubting creature something on which to live?” they seemed to ask. His eyes[371] met hers with proud confidence. He read in her beautiful, imploring69 eyes how her trembling soul clung to him for support. He did not doubt for a moment that he would be able to make her life beautiful and rich.
She thought of the joy that always met him wherever he showed himself. She thought of the joy that had roared about her that night in Palermo. She knew that it rose from the new faith in a happy earth. Could that faith and that joy take possession of her also?
She wrung70 her hands in anguish. Could that new faith be anything to her? Would she not always feel as unhappy as now?
Father Gondo bent71 forward over the fire.
“I say to you once more,” he cried, “if only one person comes and says that this image has saved his soul, I will not burn it.”
Donna Micaela had a sudden feeling that she did not wish the poor image to be destroyed. The memory of the most beautiful hours of her life was bound to it.
“Gandolfo, Gandolfo,” she whispered. She had just seen him beside her.
“Yes, Donna Micaela.”
“Do not let him burn the image, Gandolfo!”
The monk had repeated his question once, twice, thrice. No one came forward to defend the image. But little Gandolfo crept nearer and nearer.
Father Gondo brought the image ever closer to the fire.
Involuntarily Gaetano had bent forward. Involuntarily a proud smile passed over his face. Donna Micaela saw that he felt that Diamante belonged to[372] him. The monk’s wild proceedings72 made Gaetano master of their souls.
She looked about in terror. Her eyes wandered from face to face. Was the same thing going on in all those people’s souls as in her own? She thought she saw that it was so.
“Thou, Antichrist,” said Father Gondo, threateningly, “dost thou see that no one has thought of his soul as long as thou hast been here? Thou must perish.”
Father Gondo laid the outcast on the pyre.
But the image had not lain there more than a second before Gandolfo seized him.
He caught him up, lifted him high above his head, and ran. Father Gondo’s pilgrims hurried after him, and there began a wild chase down Monte Chiaro’s precipices73.
But little Gandolfo saved the image.
Down the road a big, heavy travelling-carriage came driving. Gandolfo, whose pursuers were close at his heels, knew nothing better to do than to throw the image into the carriage.
Then he let himself be caught. When his pursuers wished to hurry after the carriage, he stopped them. “Take care; the lady in the carriage is English.”
It was Signora Favara, who had at last wearied of Diamante and was travelling out into the world once more. And she was allowed to go away unmolested. No Sicilian dares to lay hands on an Englishwoman.
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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gaily
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| adv.欢乐地，高兴地 | |
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canopies
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| （宝座或床等上面的）华盖( canopy的名词复数 )； （飞行器上的）座舱罩； 任何悬于上空的覆盖物； 森林中天棚似的树荫 | |
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enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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incessantly
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| ad.不停地 | |
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veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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shaft
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| n.(工具的)柄，杆状物 | |
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shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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wagons
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| n.四轮的运货马车( wagon的名词复数 )；铁路货车；小手推车 | |
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groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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perspiration
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outfit
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| n.（为特殊用途的）全套装备，全套服装 | |
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persecute
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| vt.迫害，虐待；纠缠，骚扰 | |
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furtively
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| adv. 偷偷地, 暗中地 | |
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betrothed
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| n. 已订婚者 动词betroth的过去式和过去分词 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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repented
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| 对（自己的所为）感到懊悔或忏悔( repent的过去式和过去分词 ) | |
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anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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remorse
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| n.痛恨，悔恨，自责 | |
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severely
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| adv.严格地；严厉地；非常恶劣地 | |
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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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salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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galleys
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| n.平底大船，战舰( galley的名词复数 )；（船上或航空器上的）厨房 | |
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monk
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| n.和尚，僧侣，修道士 | |
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followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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monastery
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| n.修道院，僧院，寺院 | |
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lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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scorched
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| 烧焦，烤焦( scorch的过去式和过去分词 )； 使（植物）枯萎，把…晒枯； 高速行驶； 枯焦 | |
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torments
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| （肉体或精神上的）折磨，痛苦( torment的名词复数 )； 造成痛苦的事物[人] | |
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groves
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| 树丛，小树林( grove的名词复数 ) | |
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toiled
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| 长时间或辛苦地工作( toil的过去式和过去分词 )； 艰难缓慢地移动，跋涉 | |
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joyfully
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| adv. 喜悦地, 高兴地 | |
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zigzag
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| n.曲折，之字形；adj.曲折的，锯齿形的；adv.曲折地，成锯齿形地；vt.使曲折；vi.曲折前行 | |
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exultant
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| adj.欢腾的，狂欢的，大喜的 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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compassionate
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| adj.有同情心的，表示同情的 | |
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subduing
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| 征服( subdue的现在分词 )； 克制； 制服； 色变暗 | |
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wail
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| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
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laborious
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| adj.吃力的，努力的，不流畅 | |
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consolation
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| n.安慰，慰问 | |
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awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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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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desecrate
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| v.供俗用，亵渎，污辱 | |
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humbly
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| adv. 恭顺地，谦卑地 | |
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subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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canopy
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| n.天篷，遮篷 | |
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kindle
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| v.点燃，着火 | |
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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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lottery
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| n.抽彩；碰运气的事，难于算计的事 | |
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testimony
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| n.证词；见证，证明 | |
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derided
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| v.取笑，嘲笑( deride的过去式和过去分词 ) | |
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invitingly
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| adv. 动人地 | |
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implored
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| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
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wailing
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| v.哭叫，哀号( wail的现在分词 )；沱 | |
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socialists
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| 社会主义者( socialist的名词复数 ) | |
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accusations
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| n.指责( accusation的名词复数 )；指控；控告；（被告发、控告的）罪名 | |
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Christians
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| n.基督教徒( Christian的名词复数 ) | |
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wrath
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| n.愤怒，愤慨，暴怒 | |
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likeness
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| n.相像，相似（之处） | |
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scattering
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| n.[物]散射；散乱，分散；在媒介质中的散播adj.散乱的；分散在不同范围的；广泛扩散的；（选票）数量分散的v.散射(scatter的ing形式)；散布；驱散 | |
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blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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lured
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| 吸引，引诱（lure的过去式与过去分词形式） | |
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unravelling
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| 解开，拆散，散开( unravel的现在分词 )； 阐明； 澄清； 弄清楚 | |
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atheist
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| n.无神论者 | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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vestige
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| n.痕迹，遗迹，残余 | |
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celestial
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| adj.天体的；天上的 | |
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imploring
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| 恳求的，哀求的 | |
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wrung
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| 绞( wring的过去式和过去分词 )； 握紧（尤指别人的手）； 把（湿衣服）拧干； 绞掉（水） | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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precipices
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| n.悬崖，峭壁( precipice的名词复数 ) | |
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