Five boys, bareheaded, barefooted, dirty-faced, and joyful1, grouped themselves before a mud-walled Alpine2 cabin, the last of a quaint3 village row, while Pablo, their leader, hailed some one within.
Instantly there appeared in the doorway5 a boy of their own age, clad as roughly and lightly as themselves. His blouse was loosened comfortably at the throat, his trousers were rolled well above the knee, and over these cool garments he wore a hempen6 working-apron7 which was held in place by a stout8 cord attached to its upper corners[Pg 177] and passing about his neck. In one hand he held a small steel hammer, in the other a chisel9.
"Come on, Tonin," repeated Pablo, pointing excitedly toward the brook10.
The lad in the doorway shook his head and lifted his chisel meaningly, as though no additional explanation were needed.
"Oh, do, do!" urged the new-comers. "Leave your old stone-chipping for an hour and come with us. We'll let you pole all the time if you will."
"I can't," returned the other briefly12.
"Please come! Come along!" insisted four alluring13 voices, but Pablo turned away impatiently.
"Leave that sullen14 Tonin alone! He'd rather bang away at his grandfather's stones than go with us on the jolliest jaunt15 we could name. Come on, and let him stay by himself."
Thereupon the boys ran swiftly down the adjoining slope, and Tonin Canova stepped into the house with a shrug16, as[Pg 178] though glad to be rid of them and their invitations. He did not tarry in the cleanly sunlit cabin, but hurried out to the rear garden, where an old man wearing an apron similar to his was busily tapping and chipping at a block of stone erected17 upon wooden supports.
"Why didn't you go with the others?" inquired the stone-cutter, looking up from his work. "You needn't have come back, because I have finished the urn11 for the terrace of the Villa4 d'Asolo, and it is too late in the afternoon to begin on the Monfumo altar ornaments19. Besides, you have stood by your work pretty hard lately, and I think every boy needs a holiday once in a way."
"I don't want a holiday, grandfather."
"Bless us! What are you talking about? Who ever heard of a boy who didn't want a holiday every day in the week, if he could get it?"
"I'd like to be free from working on your things, of course, but I don't want to pole a raft. I'd rather carve my[Pg 179] cherries, if you can do without me the rest of the afternoon."
"Ho, ho!" chuckled20 the old man fondly; "you're just like me, Tonin: work is play when it happens to be stone-work. Do your cherries, if you have the mind."
"Hurrah21! I can finish them to-day, and I'll do a pear next, and—see, grandfather, by carnival22-time I'll have plenty to sell," and throwing open the door of a small rude cupboard set in the branches of a stunted23 acacia, Tonin proudly displayed a collection of peaches, apples, and grapes which his skilful24 fingers had wrought25 out of fragments of stone left from old Pasino's cuttings. Next autumn, when all the villagers and country folk of the province would assemble at Asolo for their carnival and yearly frolic, Tonin would peddle26 his pretty fruit among the pleasure-seekers, confident of filling his purse-bag with coins in exchange for his wares27. As he stood reviewing his handiwork, he smiled slyly at thought[Pg 180] of the gifts he would buy for the two old people who adored him, and who had freely shared with him their roof and bread, from his earliest infancy28.
The stone-cutter's earnings29 were necessarily small, and for two years Tonin had assisted him regularly at his work, cutting, carrying, measuring, and delivering day by day. He seconded Pasino's efforts so intelligently, and labored30 through the long hours with such manly31 patience, that the scanty32 comforts in the Alpine cabin visibly increased, and all the while the boy was learning the use of the cunning edged tools which his grandfather wielded33 so dexterously34. The lad's name, as it appeared on the parish register, was Antonio, but to the guileless aged35 pair who cared for him he was simply and always Tonin.
Hoof-beats, accompanied by a shout from the roadway, caused the stone-cutter and the boy to hurry quickly to the hedgerow before the cabin.
A mounted horseman wearing the[Pg 181] livery of the Duke d'Asolo called out, as with difficulty he brought his spirited steed to a standstill,—
"Pasino, you are wanted at the villa. Something in the picture gallery needs to be done, and you are the only one to do it. The duke gives a great banquet to-night, and the room must be in readiness. Vittori sent me, and bids you to hurry as fast as you can."
"I'll follow you at once. Come, Tonin, mayhap you can be of service at the villa also."
Off galloped36 the messenger, and down the road marched Pasino Canova, bearing his tool-box upon his shoulder, while his barefooted grandson, similarly equipped, trudged37 cheerily by his side.
The stone-cutter was frequently in demand at the Villa d'Asolo, for besides the craft of his trade, the old man understood something of the uses of plaster, stucco, and even marble. No other workman in this remote hill country was so skilled, and for many years he had[Pg 182] received the friendly patronage38 of Giovanni Falier, Duke d'Asolo.
On the way, Pasino stopped for an instant before the entrance of a gentleman's country residence. "This'" said he, "is the home of Toretto, the great, great sculptor39."
"Oh, grandfather, let's go in and look at his wonderful statues," begged Tonin. "Please, grandfather! Surely he wouldn't care, for I came once with Giuseppe Falier, and he allowed us to look at everything. Do, grandfather!"
"Not to-day," objected the old man, hastily resuming his onward40 way; "we have work to do, and have promised to hurry to the Villa d'Asolo as fast as we can."
Tonin slowly followed Pasino down the road, looking backward over his shoulder as long as the tall chimneys of Toretto's palace could be seen.
"Grandfather," said he thoughtfully, as a turning of the way shut the sculptor's house from sight, "I'd rather be able to[Pg 183] make a statue as beautiful as the ones Toretto showed us that day than do anything else in the whole world."
"Ah, that you might!" burst out the old man emphatically; "but, Tonin, for such work the eyes, the fingers, the mind must be taught—taught, Tonin, and—well, you know the rest: poor folk like us mustn't be gloomy because we can't do fine works. Chances to learn such things cost so much that none but gentlemen with bulging41 purses can afford them."
"I'm not gloomy, grandfather! You can teach me all that you know, and when I am a man, I will take care of you and grandmother." Here the boy began to whistle gayly, seeking to banish42 the look of sadness that had rested for a moment on the old man's features.
Presently they reached the Villa d'Asolo, whose pillared gates were thrown open to them by retainers. Across the terraces they took their way, past arbors, gardens of blossoms, and plashing [Pg 184]fountains, reaching at last a postern door of the many-storied castle.
In the passage they were confronted by Giuseppe Falier, the duke's youngest son, a handsome lad no older than Tonin. A serving-man attended him, carrying a glass aquarium43 that contained numerous brilliant goldfish. Boy and groom44 were preparing to depart through the door by which the Canovas had entered, but at sight of the new-comers Giuseppe halted.
"Hello, Tonin," he exclaimed; "come with me up to my cousin's house. This is David's birthday, and I forgot all about it until this minute. I didn't have any present to give him, so I decided45 I'd take the goldfish out of the conservatory46. He likes such things. I don't, myself. Come on, and we'll have some fun. David has a new boat, and we'll make him take it out."
Giuseppe's invitation was so frankly47 cordial that Tonin would have joined him readily had he had no duties to perform. Giuseppe was a lad of jovial48 spirit[Pg 185] who chose his friends wherever he found good comrades, quite regardless of rank and riches, and many were the half-days that he and Tonin had spent together, exploring the hills and valleys round about Asolo.
"I can't go to-day, Giuseppe," replied Tonin; "grandfather has something to do in the picture gallery before the banquet to-night, and he is likely to need me."
"My eye, but there will be a crowd of people here! One reason I'm going up to David's is because I'm not allowed to stay up for the fun. Good-by. I'll take you up to see the boat some day next week," and beckoning49 the servant to follow with the aquarium, the young patrician50 disappeared through the outer door, and the Canovas made their way up a stately marble stair, and through a winding51 corridor until they came to a long narrow apartment whose walls were hung with canvases.
Here they were greeted by Vittori, the stout and hoary52 seneschal of the[Pg 186] palace. He wore his crimson53 robe of office, and a stupendous bunch of keys hung by a chain from his girdle, clanking as he walked.
He bustled54 up to the Canovas hurriedly, puffing55 and panting as from some undue56 exertion57.
"Ha, Pasino, you are the very man I most need to see. Those four deep niches58 in the walls, two at either end of this gallery, are to be filled with the statues which Toretto has just finished. The beastly things were delivered yesterday, and Toretto himself promised to come to see that they were set up properly, but instead, a message was brought from him two hours ago saying that he had sprained59 his silly ankle and could not stir from the house. The duke will be furious if his marble doll-babies are not on view to-night, and as I wouldn't touch them myself for fear of harming them with my clumsy fingers, I called you for the business. There, in that further ante-room, you will find Toretto's[Pg 187] beauties inside the packing cases, and you are to get them safely into these niches. My-o! My-o! What a load of care falls on a poor old man who is keeper of a palace where one hundred noble guests are expected for a feast! Nobody in all Venetia has more worries and responsibilities. You may have as many men as you want, Pasino, and if your eye spies out any need for decorations in this chamber60, send for what you wish. My-o! My-o! The carriages are beginning to arrive, and I must make eleven more arrangements before the feast is ready. You have plenty of time, for this room is not to be used until the ladies come up at the end of the banquet, to drink their Persian coffee," and the seneschal departed, accompanied by the sounds of his labored breathing and jangling keys.
Pasino's task was a delicate one, and though Vittori sent four strong men to aid him, the evening was nearly spent by the time the glistening61 statues were[Pg 188] released from their temporary prisons and lifted to their pedestals in the gallery niches.
While they worked, sounds of music and subdued62 laughter floated up to them, and fragrances63 and appetizing odors were continually wafted64 from the banquet-hall below.
Tonin worked with the others, and when the sculptured nymphs were brought to view, his delight knew no bounds. Taking up his position before the last erected one, he stood with folded arms, silently, wonderingly drinking in the beauties which Toretto's chisel had effected. He was wholly lost to time and place and was quite unaware65 that the servants had removed all traces of packing and litter, and that a bevy66 of maids were now seated in the gallery, weaving garlands at Pasino's order, for the festooning of the unfinished pedestals. He was so absorbed in the snowy goddess before him that he was deaf to everything until old Vittori's voice [Pg 189]suddenly rent the gallery's stillness with something between a groan67 and a shriek68.
"Where is the aquarium? Who's seen my gold-fish? Answer, somebody, or I'll throw you all out of the window! Oh, I shall be disgraced and discharged and maybe half killed! Where is it? Why don't you speak?"
The seneschal's appearance, as well as his words, indicated unusual excitement, for his scarlet69 robe was thrown open at the throat, his frosty locks were rumpled70, his uplifted hands were shaking, and his lips were twitching71 uncannily.
"What's the matter? What's wrong?" demanded a dozen voices, but Tonin darted72 across to the old man's side with the announcement—
"Giuseppe carried it away this afternoon as a present to his cousin David."
"My-o! My-o! I am lost, I am done, I am dead!" ejaculated the seneschal, wringing73 his hands.
"What's the trouble, Vittori?" asked[Pg 190] Pasino, laying a quieting hand upon the shoulder of his agitated74 friend.
"It is this," returned the seneschal hoarsely75; "the duke ordered me to send to the table a fresh ornamental76 centrepiece with each course, making every one handsomer than the one used before it. I did so, and all has now been served but the dessert, and that will be due in about fifteen minutes. For this fancy piece I have filled a great tray with Parma violets on snow, thousands of them—and in the midst of the flowers I planned to set the aquarium of goldfish for a bit of color and life. My-o! My-o! What shall I do?" and once again the seneschal fell to moaning.
"Build a column of fruit in the centre of the tray," suggested Pasino.
"Impossible! I used a pyramid of apricots and nectarines for the second course."
"Wouldn't a lighted candle or lamp do?" inquired Pasino, earnestly endeavoring to find relief for the seneschal.
[Pg 191]
"No! No!" wailed77 Vittori; "lighted things would melt the snow."
"To be sure," agreed Pasino sympathetically.
"I know something that might be pretty," ventured Tonin timidly.
"What is it?" Vittori demanded.
For answer the boy turned from the seneschal and his fellow-retainers, and whispered to Pasino apart. The old man's face brightened as he received the boy's confidence.
"I don't know," he commented; "but it ought to be good—yes, yes, it would be, it would indeed!"
"Then let him put it through," shouted the seneschal desperately78. "I can't wait to hear what it is, for I'm late now. Do as he says, everybody, for I've got to trust my reputation to this stripling whether I like it or not. Saints help him, for if the work is a failure, woe79 to poor Vittori! Have your ornament18 ready in the lower rear passage, lad, when the tray goes through to the [Pg 192]banquet-room. Everything else shall be taken in first, so that you may have as much time as possible."
Off went the harassed80 seneschal, and Tonin, beset81 with misgivings82 lest he had been both rash and bold in his offer of assistance, addressed the grooms83 with outward composure.
"Bring me a firkin of butter, a pail of the coldest spring water, and a big china platter."
His orders were swiftly obeyed, and all looked on with expectant interest while he directed a servant to dig from the cask as much butter as could be heaped on the platter. Next he rolled back his sleeves and plunged84 his hands into the water-pail, holding them there until they were sufficiently85 cooled for his purpose, then attacking the butter with his dripping fingers, he rolled and patted it into a goodly loaf, with motions so quick and decisive that the spectators fairly blinked. Seizing a small chisel and a pointed86 wooden blade from Pasino's tool-chest,[Pg 193] Tonin began to convert the meaningless dairy lump into a form familiar to all beholders.
With the touch of his nimble instruments, attended by occasional taps and pressures from his lithe87 brown fingers, the loaf vanished, and in its place appeared a noble lion, quite as though Tonin's chisel had been a magic wand which had freed the king of the forest from a stifling88 and hideous89 disguise.
In its place appeared a noble lion
"In its place appeared a noble lion."
The tawny90 beast, with his bushy head, slender body, powerful limbs, and graceful91 tail, brought a torrent92 of babbling93 admiration94 from the on-lookers; but Tonin, heedless of their chatter95, sought out his grandfather with questioning glance. He received a quiet nod from Pasino, and drying his hands on a corner of his hempen apron, he caught up the platter and carried it to the appointed place below stairs, followed by Pasino and a train of chuckling96 servants.
He had gauged97 the time exactly, for as he stepped into the low-ceiled passage,[Pg 194] six flower-maidens98, bearing the debatable centrepiece, entered from the opposite doorway. The seneschal joined them immediately, and without a word set Tonin's lion in the centre of the snowy field, enclosed on every side by drifts of Parma violets. Vittori then abruptly100 directed the maidens to enter the banquet-hall with their ornament.
That the seneschal was alarmed lest the duke would not be pleased with this hastily contrived101 decoration, Tonin read at a glance; and impulsively102 he threw himself before the carriers to stay their progress.
"Don't send it in if it isn't right, Master Vittori! Try something else, please!" he implored103.
"Hist! Let them go, let them go! I have nothing else to send, so I must stand or fall by your butter-toy. Alas104 for me, and you, too, sirrah, if the duke be vexed105!"
A strained silence fell upon the group in the rear passage as the flower-maidens[Pg 195] crossed the main corridor and entered the banquet-hall. The grooms and maids exchanged significant nods and winks106, old Vittori unconsciously pressed his keys tightly to his breast, Pasino withdrew into the shadow, and Tonin waited in acute suspense107, wondering whether in his desire to relieve the seneschal's dilemma108 he had been guilty of a childish and ignorant blunder. As the seconds flew by, the boy's perplexity increased, and presently he was writhing109 with the fear that his offering would affront110 the duke, and perhaps even render him ridiculous before the lords and ladies who sat at the board.
Sounds of harps111 and violins greeted them from beyond the velvet-hung portal, but none in the rear passage regarded the melody.
Five minutes dragged by, and one of the flower-maidens stepped into the corridor. Each person in the rear passage started breathlessly forward to hear her message.
[Pg 196]
"His grace desires the seneschal to come to him."
"My-o! My-o!" groaned112 Vittori; "mercy knows what he'll do to me—and to you, too, Tonin Canova!"
Pausing just long enough to settle his scarlet robe and adjust his linen113 neckcloth, the seneschal concealed114 his distress115 as well as he could, and walked sedately116 into the banquet-hall.
Tonin locked his hands together in despair.
"What a dunce I was—I, Tonin Canova, who has never been off this mountain—to dare to set up my little work before grand persons like those! Oh, oh! and poor Vittori may be discharged on account of it!"
Suddenly the seneschal reappeared.
"Tonin, you are wanted at once! His grace has sent for you. Hurry! Go on!"
"Not in there!" gasped117 Tonin, retreating toward the stair door; "I should die of fright before those great folk."
[Pg 197]
"Hurry, hurry, you impudent118 monkey! Do you think you can keep the Duke d'Asolo waiting?"
To make an end of the argument, Vittori seized the boy by the arm, giving him a push that sent him into the banquet-room with a rush.
Tonin was half-blinded by the myriads119 of lights, and quite dazed by the grandeur120 of the spectacle. He dimly comprehended that the vast apartment was hung with vines and banked with flowers; that a table like a huge cross ran the entire length and nearly the breadth of the room; that the Duke d'Asolo sat at the upper end, and that hosts of ladies and gentlemen in gorgeous raiment turned about in their chairs and fixed121 their eyes upon the young visitor.
A scalding wave of shame rushed upward through Tonin's body, scorching122 his cheeks and dyeing his neck as he became conscious of his own workaday garb123. He came to an abrupt99 stop, standing124 with downcast eyes before the[Pg 198] Venetian company, a truly diverting figure with his loose blouse, rolled-up trousers and sleeves, bare arms, bare legs, and dripping apron.
"Come, my lad, and tell us something about yourself," said the duke in a tone surprisingly gentle for one who palpitated with wrath125 and vengeance126.
Tonin made his way slowly up the room, pausing at the duke's elbow, and raising his eyes just far enough to get a glimpse of his yellow lion on the table, directly before Giovanni Falier.
"When did you do this?" inquired the master of the feast, indicating the ornament with his jewelled index finger.
"To-night," admitted Tonin feebly.
"Can you make other figures and objects?"
"Yes, signor."
"Where did you learn?"
"From grandfather, signor."
"I have been greatly surprised this evening, as also have been my guests,[Pg 199] at sight of this—this decoration, and ahem—"
"Now it's coming," thought Tonin in a panic. "Perhaps he'll put me in a dungeon127."
"I have sent it clear around the table so that every one might examine it closely, and we all agree about it. How should you like to make statues, lad,—nymphs, you know, and fairies—"
"And goddesses like that one upstairs?" cried Tonin, his face alight with this unexpected turn of the conversation.
"Yes."
"Oh, oh! I'd rather make a goddess like that than to be a king, or go to the carnival!"
A chorus of laughter greeted this outburst, and Tonin trembled with embarrassment128 and surprise.
"Then you shall," the duke declared with a smile like April sunshine. "You must have worked pretty hard, harder than most boys ever do, to be able to make this," pointing to the lion; "and if[Pg 200] you are willing to keep on working, you may learn to do great things. You shall go to Toretto, the sculptor who did the four pieces upstairs, and he will teach you to make statues as good. Shall you like it, my boy?"
"Like it! Oh, signor, if I had a chance to learn anything so beautiful I'd work—I'd work—"
A vision of the glistening goddess and her wordless grace came before him, causing something to spring up in his throat that choked him. Twice he tried to finish his eager speech, but the words did not come. He gave a quick, eloquent129 gesture of entreaty130, and down went his face into his hands before them all.
"A toast, a toast!" exclaimed the duke, springing to his feet with upraised glass. "We'll pledge in water, if you please, good people, for clear water and unspoiled childhood are the purest things of earth. Ladies and gentlemen, I offer you our little friend, Tonin [Pg 201]Canova. May he work faithfully with his teacher day by day, and when he comes to manhood, may he be good and great and happy! God bless him!"
Clink, clink, went the glasses.
Tonin raised his head, and as he turned to withdraw, he whispered to the duke with a beaming smile,—
"I don't know any nice words to say, but maybe you'll tell all the people for me how a boy feels when he's too happy to laugh and too happy to cry."
Up the Alpine road to the village of mud-walled cabins rode a man one day in autumn. His air was that of an experienced traveller, his dress rich but modest, his horse a spirited charger.
At the entrance to the village, a turn in the road brought him face to face with a man in peasant attire131 who was walking in the opposite direction. The rider bent132 curiously133, and gazed down at the passer-by with keenest interest; then bringing his horse sharply to a standstill, he cried,—
[Pg 202]
"Pablo! Don't you remember me?"
The man by the way halted in surprise. For a moment he regarded the stranger blankly, then some memory out of his boyhood seemed to awaken134, for suddenly he seized the horse's bridle135 with both hands, and shouted,—
"Tonin Canova! By all the fates and furies, you are the last man in the world I expected to see to-day!"
"I knew you by your quick and springy step. I suppose you are still the leader of the town, Pablo, the foremost citizen of Passagno."
A flush of pride crept into the peasant's cheek, but he merely waved his hand toward the extensive vineyard lying further down the slope.
"That is mine. That's all."
"And enough, too, old friend. Your purse must be ready to overflow136, after a harvest from that fine vineyard."
The peasant blushed again and nodded. Then half timidly he addressed the other,—
[Pg 203]
"I'm glad to see you again, signor—"
The rider lifted his hand in rebuke137.
"Not signor to me, Pablo! I am still your friend, and not in any wise changed from the lad who played with you in this very roadway."
"But you have grown powerful and wealthy!"
"Ye-es, but gold coins can never make me anything else than I was before."
"But we have heard that the city of Venice gave you a pension for your whole life, because you had made such wonderful statues."
"Yes, Venice has been good to me."
"And that all the great people of Rome are friends with you."
"True, but—"
"That the Pope has written your name in the golden book of the capital."
"So he did; still—"
"That Napoleon of France invited you to his court, and that the German Emperor has even made you a knight138."
"Hark to me, Pablo!" and this time[Pg 204] the rider's voice was commanding. "These things are indeed true, for people everywhere have shown me the rarest kindness; but while the palace doors of all Europe are open to me if I care to enter, and ladies and gentlemen of every nation pour their compliments and gold upon me, my heart has turned back to my native village and the dear simple friends of my childhood. I have left the great world for a time, and have come back to see the old faces; and Pablo, on that slope, near the little cottage,"—here his voice broke, as he pointed to the last of the mud-walled cabins,—"I have planned to build a church as beautiful as the Parthenon at Athens. If my good old neighbors cannot travel far enough to see the temples of the world, they shall have one near at hand, which will show them that Canova has not forgotten them."
True to his word, the sculptor lingered in Passagno until there had risen on the mountain side a classic, snowy edifice[Pg 205] which was the wonder and pride of all the villagers. When the builders had finished and had gone their way, the man who had designed it all put on his apron, took up his chisel, and completed for the altar ornaments that he had begun twenty years before, when he had lived in the cabin just over the way.
How the people rejoiced in their pillared house of worship, and how grateful they were to the giver of so splendid a gift. Warmly they bade him farewell when his task was at length completed, and he was obliged to go in order to execute the greater works that awaited him.
At last, in the city of Rome, when the sculptor's hair whitened, his step faltered139, and his heart grew strangely still, the friends about him, a brilliant company, carried him tenderly up the Alpine road, and laid him to rest beneath the altar of his own carving140.
When the service was ended, the lords and ladies, the princes and cardinals,[Pg 206] the poets and teachers who had paid him their devotion to the last, wound their way slowly down to the turbulent world; and Tonin Canova slept on the mountain side, in the heart of his Alpine village.
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joyful
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| adj.欢乐的，令人欢欣的 | |
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alpine
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| adj.高山的；n.高山植物 | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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villa
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doorway
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hempen
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apron
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| n.围裙；工作裙 | |
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chisel
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| n.凿子；v.用凿子刻，雕，凿 | |
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brook
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| n.小河，溪；v.忍受，容让 | |
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briefly
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alluring
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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jaunt
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shrug
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ERECTED
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ornament
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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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chuckled
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| 轻声地笑( chuckle的过去式和过去分词 ) | |
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hurrah
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| int.好哇，万岁，乌拉 | |
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22
carnival
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| n.嘉年华会，狂欢，狂欢节，巡回表演 | |
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23
stunted
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| adj.矮小的；发育迟缓的 | |
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24
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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25
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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26
peddle
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| vt.(沿街)叫卖，兜售；宣传，散播 | |
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27
wares
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| n. 货物, 商品 | |
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28
infancy
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| n.婴儿期；幼年期；初期 | |
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29
earnings
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| n.工资收人；利润，利益，所得 | |
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30
labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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31
manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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32
scanty
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| adj.缺乏的，仅有的，节省的，狭小的，不够的 | |
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33
wielded
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| 手持着使用（武器、工具等）( wield的过去式和过去分词 )； 具有； 运用（权力）； 施加（影响） | |
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34
dexterously
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| adv.巧妙地，敏捷地 | |
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35
aged
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| adj.年老的，陈年的 | |
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36
galloped
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| （使马）飞奔，奔驰( gallop的过去式和过去分词 )； 快速做[说]某事 | |
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37
trudged
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| vt.& vi.跋涉，吃力地走（trudge的过去式与过去分词形式） | |
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38
patronage
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| n.赞助，支援，援助；光顾，捧场 | |
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39
sculptor
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| n.雕刻家，雕刻家 | |
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40
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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41
bulging
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| 膨胀； 凸出（部）； 打气； 折皱 | |
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42
banish
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| vt.放逐，驱逐；消除，排除 | |
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43
aquarium
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| n.水族馆，养鱼池，玻璃缸 | |
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44
groom
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| vt.给（马、狗等）梳毛，照料，使...整洁 | |
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45
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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46
conservatory
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| n.温室，音乐学院；adj.保存性的，有保存力的 | |
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47
frankly
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| adv.坦白地，直率地；坦率地说 | |
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48
jovial
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| adj.快乐的，好交际的 | |
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49
beckoning
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| adj.引诱人的，令人心动的v.（用头或手的动作）示意，召唤( beckon的现在分词 ) | |
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50
patrician
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| adj.贵族的，显贵的；n.贵族；有教养的人；罗马帝国的地方官 | |
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51
winding
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| n.绕，缠，绕组，线圈 | |
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52
hoary
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| adj.古老的；鬓发斑白的 | |
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53
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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54
bustled
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| 闹哄哄地忙乱，奔忙( bustle的过去式和过去分词 )； 催促 | |
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55
puffing
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| v.使喷出( puff的现在分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
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56
undue
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| adj.过分的；不适当的；未到期的 | |
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57
exertion
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| n.尽力，努力 | |
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58
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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59
sprained
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| v.&n. 扭伤 | |
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60
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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61
glistening
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| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
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62
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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63
fragrances
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| n.芳香，香味( fragrance的名词复数 )；香水 | |
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64
wafted
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| v.吹送，飘送，（使）浮动( waft的过去式和过去分词 ) | |
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65
unaware
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| a.不知道的，未意识到的 | |
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66
bevy
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| n.一群 | |
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67
groan
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| vi./n.呻吟，抱怨；(发出)呻吟般的声音 | |
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68
shriek
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| v./n.尖叫，叫喊 | |
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69
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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70
rumpled
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| v.弄皱，使凌乱( rumple的过去式和过去分词 ) | |
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71
twitching
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| n.颤搐 | |
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72
darted
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| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
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73
wringing
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| 淋湿的，湿透的 | |
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74
agitated
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| adj.被鼓动的，不安的 | |
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75
hoarsely
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| adv.嘶哑地 | |
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76
ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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77
wailed
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| v.哭叫，哀号( wail的过去式和过去分词 ) | |
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78
desperately
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| adv.极度渴望地，绝望地，孤注一掷地 | |
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79
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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80
harassed
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| adj. 疲倦的，厌烦的 动词harass的过去式和过去分词 | |
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81
beset
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| v.镶嵌；困扰，包围 | |
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82
misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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83
grooms
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| n.新郎( groom的名词复数 )；马夫v.照料或梳洗（马等）( groom的第三人称单数 )；使做好准备；训练；（给动物）擦洗 | |
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84
plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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85
sufficiently
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| adv.足够地，充分地 | |
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86
pointed
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| adj.尖的，直截了当的 | |
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87
lithe
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| adj.(指人、身体)柔软的，易弯的 | |
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88
stifling
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| a.令人窒息的 | |
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89
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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90
tawny
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| adj.茶色的，黄褐色的；n.黄褐色 | |
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91
graceful
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| adj.优美的，优雅的；得体的 | |
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92
torrent
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| n.激流，洪流；爆发，(话语等的)连发 | |
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93
babbling
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| n.胡说，婴儿发出的咿哑声adj.胡说的v.喋喋不休( babble的现在分词 )；作潺潺声（如流水）；含糊不清地说话；泄漏秘密 | |
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94
admiration
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| n.钦佩，赞美，羡慕 | |
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95
chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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96
chuckling
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| 轻声地笑( chuckle的现在分词 ) | |
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97
gauged
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| adj.校准的；标准的；量规的；量计的v.（用仪器）测量( gauge的过去式和过去分词 )；估计；计量；划分 | |
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98
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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99
abrupt
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| adj.突然的，意外的；唐突的，鲁莽的 | |
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100
abruptly
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| adv.突然地，出其不意地 | |
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101
contrived
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| adj.不自然的，做作的；虚构的 | |
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102
impulsively
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| adv.冲动地 | |
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103
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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104
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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105
vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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106
winks
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| v.使眼色( wink的第三人称单数 )；递眼色（表示友好或高兴等）；（指光）闪烁；闪亮 | |
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107
suspense
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| n.（对可能发生的事）紧张感，担心，挂虑 | |
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108
dilemma
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| n.困境，进退两难的局面 | |
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109
writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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110
affront
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| n./v.侮辱，触怒 | |
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111
harps
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| abbr.harpsichord 拨弦古钢琴n.竖琴( harp的名词复数 ) | |
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112
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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113
linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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114
concealed
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| a.隐藏的，隐蔽的 | |
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115
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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116
sedately
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| adv.镇静地，安详地 | |
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117
gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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118
impudent
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| adj.鲁莽的，卑鄙的，厚颜无耻的 | |
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119
myriads
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| n.无数，极大数量( myriad的名词复数 ) | |
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120
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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121
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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122
scorching
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| adj. 灼热的 | |
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123
garb
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| n.服装，装束 | |
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124
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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125
wrath
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| n.愤怒，愤慨，暴怒 | |
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126
vengeance
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| n.报复，报仇，复仇 | |
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127
dungeon
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| n.地牢，土牢 | |
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128
embarrassment
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| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
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129
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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130
entreaty
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| n.恳求，哀求 | |
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131
attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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132
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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133
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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134
awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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135
bridle
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| n.笼头，束缚；vt.抑制，约束；动怒 | |
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136
overflow
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| v.(使)外溢，(使)溢出；溢出，流出，漫出 | |
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137
rebuke
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| v.指责，非难，斥责 [反]praise | |
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138
knight
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| n.骑士，武士；爵士 | |
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139
faltered
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| （嗓音）颤抖( falter的过去式和过去分词 )； 支吾其词； 蹒跚； 摇晃 | |
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140
carving
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| n.雕刻品，雕花 | |
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