This is especially true of Palestine. Nothing about it is more distinctive2 than its colour-scheme; and nothing is perhaps less familiar to those who have not actually seen it. Syria may be treated as if it were Italy, or even Egypt—in hard intense colouring; or it may be treated as if it were England, in strong tones but with a certain homely3 softening4 of edge. Neither of these modes is true to Syria. Its edge-lines are sharp, but they are traced in such faint shades as to produce an effect very difficult either to reproduce or to describe, and yet impossible to forget.
The colours are manifold, and they vary considerably5 with the seasons of the year. Yet the bare hill-sides{8} (which form the greater masses of colour in most landscapes), the desert, and the distant mountain ranges, are ever the same. Most travellers make their first acquaintance with Palestine in Judea, entering it from Jaffa. When the plains are behind you, and you are in among the valleys up which the road climbs to Jerusalem, you at once recognise the fact that a new and surprising world of colour has been entered. In the valley-bottom there may be but a dry watercourse, or perhaps a rusty6 strip of cultivated land; but above you there is sure to be the outcrop of white and grey limestone7. In some places it appears in characterless and irregular blotches8 whose grotesque9 intrusion seems to confuse and caricature the mountain side. This is, however, only occasional, and the usual and characteristic appearance is that of long and flowing lines of striation which generally follow pretty closely the curve of the sky-line. The colours of these strata10 are many. You have rich brown bands, dark red, purple, yellow, and black ones; but these are toned down by the dominant11 grey of the broader bands, and the general effect is an indistinct grey with a bluish tinge12, to which the coloured bands give a curiously13 artificial and decorative14 appearance. As a work of Art Judea is most interesting; as part of Nature it is almost incredible.
In the northern district, near Bethel, everything yields to stone, and the brighter colours disappear. The mountain slopes shew great naked ribs15 and bars—the gigantic stairs of Jacob’s dream. On the heights your horse slips and picks his way over long stretches of{9}
[Image unavailable.]
THE MOUNT OF TEMPTATION, FROM JERICHO.
The Mount of Temptation is one of the spurs of the mountains which overlook the deep valley of the Jordan on its western side. The central peak is the traditional site of the Temptation of Christ.
smooth white rock; in the valleys the soil is buried under innumerable boulders16 and fragments of broken rock.
The whole land is stony17, but Judea shews this at its worst. It is an immense stone wedge thrust into Palestine from east to west. South of it lie the fertile valleys of Hebron, with their wealth of orchard18 and plantation19. North of it open the “fat valleys” of Samaria, winding20 among rounded hills planted to the top with olives, or terraced for vines. Over these, here and there, a red cliff may hang, or the irrigation ditches may furrow21 and interline a vale of dove-coloured clay. But while the green of Judea is for the most part but the thinnest veil of sombre olive-green, a mere22 setting for the rocks, Samaria is a really green land, variegated23 by stone.
In the north of Samaria the land sinks gradually upon the Plain of Esdraelon. As we saw it first it was covered by a yellow mist through which nothing could be seen distinctly. But afterwards, viewed in its whole expanse from the top of Tabor in clear sunlight, the great battlefield of the Eastern world appeared in characteristic garb—“red in its apparel,” with the very colour of the blood which has so often drenched24 it.
Galilee repeats the limestone outcrop of Judea, but in far gentler fashion, the undergrowth and trees softening almost every landscape, and the mountains leading the eye along bold sky-lines to rest on that form of beauty and of light which masters and watches over the whole land—the white Hermon. Hermon is always{10} white. But sometimes when clouds are forming rapidly around its summit, it is a wonder of brightness. On no other mountain, surely, was it that “a bright cloud overshadowed” Jesus and his three friends. Even now, on many a summer day, Hermon is lost in a changing glory of frosted silver, when the sun strikes upon its cloudwork, and the long trails of snow in the corries stream towards the plain below.
The limestone runs on into Ph?nicia, and seems to grow whiter there. Nothing could be finer than the valleys east of Tyre at harvest time, when the fields of ripe grain wave below cliffs white as marble, and the whole scene, with its foreground of brilliantly robed reapers25, is a study in white and gold. But in the higher valleys of Ph?nicia the rock breaks through a rich red soil, which in parts is gemmed26 with the curious and beautiful “Adonis stones”—little egg-shaped bits of sandstone, dyed to the heart of them with deep crimson27, as if they had been steeped in newly shed blood. Little wonder if the women of old days “wept for Tammuz” at the sight of them.
The thing most characteristic of Syrian colour is its faintness and delicacy28. Pierre Loti, who in this matter is a witness worthy29 of all regard, is constantly ending the colour adjectives in his Syrian books with -atre—“yellowish,” “bluish,” “greenish,” etc. The general impression is of dim and faded tints30, put on, as it were, in thin washes. In the stoniest31 regions there seems to be no colour at all, as if the sun had bleached32 them. The curious colouring of the Judean valleys, which has{11} been described, is never aggressive, and it takes some carefulness of observation to see anything in them more than a blue green in the sparsely-planted olive-groves fading into faint greenish grey above. The valleys of ripe sesame and vetch are washed into the picture in pale yellow or yellow ochre. Where tilled earth appears it is generally a variegated expanse of light brown, or pink, or terra-cotta. The eastern slopes of Hermon, below the snow, shew vertical33 stripes like those of the haircloth and jute garments of the peasants, washed out with rain and sun; or they are spread upon the roots of the mountain like some vast Indian shawl cunningly and minutely interwoven with red and green threads, but worn almost threadbare. As you approach a village in strong sunlight, you see it as a dark brown mass shaded angularly with black; but it seems to float above a mist of the airiest purple sheen, where the thinly-planted iris-flowers stand among the graves before the walls. The Sea of Galilee, as we saw it, was light blue; the Dead Sea was light green, with a haze34 of evaporation35 rendering36 it even fainter in the distance.
If this be true of the near, it is doubly so of the distant, landscape. In a country so mountainous and so sheer-cleft37 as Palestine, distant views are seen for the most part as vistas38, the “land that is very far off” revealing itself at the end of some V-shaped gorge39 or towering over some intermediate mountain range. Of course distant views are faint in all lands, but in Palestine the clear air keeps them distinct with clean-cut edge, however faint they are. Thus there is perhaps{12} nothing more delicate and spirituel in the world than those faint dreamlike mountains in the extreme distance of Syrian vistas—the hills east of Jordan grey, with a mere suspicion of blue in them, or the lilac and heliotrope40 mountains of the desert which form the magic background of Damascus looking eastward41.
Reference has been made to the irises42 (the “lilies of the field”) near villages. These are but typical of the general sheen of that carpet of wild flowers which every spring-time spreads over the land. They are of every colour. There are scarlet43 poppies and crimson anemones44, blue dwarf45 cornflowers, yellow marigolds, white narcissus (said to be the Rose of Sharon); but here they seldom grow in patches of strong hue46. Each flower blooms apart, and the sheen of them is delicate and suggestive rather than gorgeous. They seem to share the reticence47 and shyness of the land, and tinge rather than paint it. Even the animal life conforms to this dainty rule; lizards48 are everywhere, but their colouring is that of their environment, now stone-grey, now wine-red, now straw-coloured. Chameleons49 are anything you please—green in growing corn, black among basalt rocks. Tortoises are blue at the sulphur springs, brown or slate50 in the muddy banks of streams.
This faintness is, however, but half the truth of the colour of Syria. Everywhere it is rendered emphatic51 by certain vivid splashes of the most daring brilliance52. Wherever springs are found you have instances of this contrast, and Palestine is essentially53 the land of bright foregrounds thrown up against dim backgrounds.{13}
The Jordan valley is the greatest example, running south along its whole length, “a green serpent” between the pale mountains of the east and the faint mosaic54 of the western land. Its jungle is uncompromisingly distinct throughout the entire course, and its colour is living green, with a white flash of broken water or a quiet flow of brown bursting here and there through the verdure. Other streams are similarly marked, with luxurious56 undergrowth of reeds, varied57 by clumps58 of hollyhock or edged with winding ribbons of magenta59 oleander. But the most striking oases60 of this kind are the valley of Shechem and the city of Damascus. There is a hill seldom visited by tourists, but well worth climbing, set in the broad vale of Makhna, right opposite Jacob’s Well. North and south past the foot of this hill runs the broad valley. It is edged on the western side by the continuous line of the central mountain range of Samaria—continuous except for one great gash61, where, as if a giant’s sword had cleft the range, the valley of Shechem enters that of Makhna at right angles. The whole landscape is in dim colour except for that valley of Shechem. Ebal and Gerizim guard its eastern end, dull and rocky both. But the valley which they guard is fed by countless62 springs and intersected by rivulets63, so that below the shingle64 of their slopes there spreads a fan-shaped expanse of intensely vivid green, like a carpet flung out from Nablus between the mountains. The lower edge of the green is broken by the white wall of the enclosure of Jacob’s Well, and the cupola of{14} Joseph’s tomb. Damascus—surely the most bewitching of cities—owes its witchery to the same cause. The river Abana spends itself upon the city. As you approach it from the south it discloses itself as a mass of bold outline and high colour in the midst of a great field of verdure, flanked on the west by precipitous hills of sand and rock—sheer tilted65 desert. When you climb those hills you see the white city, jewelled with her minarets66 of many hues67, resting on a cloth of dark green velvet68 whose edge is sharply defined. Immediately beyond that edge the sand begins, stretching into the farther desert through paler and paler shades of rose and yellow to the lilac hills in the eastern distance.
It is not only the water-springs, however, that provide the land with vivid foregrounds. Loti describes a little sand-hill in the desert “all bespangled with mica,” which “sets itself out, shining like a silver tumulus.” Such bold and detached features are by no means uncommon69 even on the west of the Jordan. The name of the cliff “Bozez” in Michmash means “shining,” and there are many shining rocks in these valleys—either masses of smooth limestone, or dark basalt rocks, from whose dripping surface the sun is reflected in blinding splendour after rain. Even without such reflection the sudden intrusion of black rock will often give character to an otherwise neutral landscape.
But the sun is the magician of Syria, who bleaches70 her and then throws up against his handiwork the boldest contrasts of strong light and shade. No one{15} who has seen the crimson flush of sunset on the olives, or the sudden change of a grey Judean hill-side to rich orange, or the whole eastern cliffs of the Sea of Galilee turned to the likeness71 of flesh-coloured marble, will be likely to forget the picture. Loti’s wonderful description of desert sunsets—“incandescent violet, and the red of burning coals”—is not overdrawn72. Shadows will transform the poorest into the richest colouring. The tawny73 desert changes to the luscious74 dark of lengthening75 indigo76 at the foot of a great rock; and the shadows of clouds float across Esdraelon, changing the red plain to deep wine-colour as they pass. Silhouettes77 are of daily occurrence in that crisp air. One scene in particular made an indelible impression. It was a village on terraced heights, thrown black against a gold and heliotrope sunset. The figures of Arabs standing78 or sitting statuesque upon the sky-line were magnified to the appearance of giant guardians79 of the walls, and the miserable80 little hamlet might have been an impregnable fortress81.
The inhabitants have entered with full sympathy into the spirit of this play of foreground. They are spectacular if they are anything. Their religion forbids them all practice of the graphic82 arts, and most of the Western pictures which are to be seen in churches are execrable enough to reconcile them to the restriction83. But they obey the law in small things only to break it by transforming themselves and their surroundings into one great picture. Their clothing, their buildings, and their handiwork are a brilliant foil to the dull background.{16} From them Venice learned her bright colouring, and there are few English homes which have not borrowed something from them.
In part, this is thrust upon them by the sun. The interiors of houses are all Rembrandt work, as Conder has happily remarked. The rooms are dark, and the windows very small. But when the sun shines through the apertures84, their rich brown rafters and red pottery85 gleam out of the shadow. One such interior is especially memorable86, where a bar of intense sunlight lit up the skin and many-coloured garments of children sitting in the window-sill, while through the open door the green grass of the courtyard shone. Still more wonderful is the effect when one opens the door of a silk-winding room in sunlight, and sees the colours wound on the great spindles, or when one enters the dark archways of the bazaars87 where long shafts88 of light striking down slantwise upon a shining patch below turn the brown shadow of the arch to indigo. The natives see this, and love the lusciousness89 of it. They build minarets cased with emerald tiles, or domes90 of copper91 which will soon be coated with verdigris92. Of late years a further touch has been added in the red-tiled roofs which are already so popular in the towns.
In proof of the genius of the Easterns for colour, nothing need be mentioned but their carpets and their glass. The glass of old windows in mosques93 beggars all description. It is an experience rather than a spectacle. The panes94 are so minute, and so destitute95 of picture or of pattern, that they are unnoticed in{17}
[Image unavailable.]
CANA OF GALILEE.
This is the village of Kafr Kenná, believed to be the Cana of the New Testament96, where our Lord performed His first miracle at the marriage feast.
detail, and the general effect is that of a religious atmosphere in which all one’s ordinary thoughts and feelings are lost in the overpowering sense of “something rich and strange.” After the magic of that light, with its blended purple and amber97 and ruby98, the finest Western work seems harsh. It is hardly light; it is illuminated99 shadow. The rugs and carpets, with their intricate colouring, are more familiar and need not be described. The finest of them are of silk, and their delicacy of shade is marvellous. The patterns constantly elude100 the eye, promising55 and just almost reaching some recognisable figure, only to lose themselves in a bright maze101. It is said that they were suggested by the meadows of variegated flowers; but they are intenser and more passionate—as if their designers had felt that their task was to supply an even stronger counterpart to the faint landscape.
The gay clothing of the East is proverbial. Even the poorest peasants are resplendent. “Fine linen” is still the mark of the rich man, but Lazarus can match him for “scarlet.” In certain parts the men are clad in coats of sheepskin, the wool being inside, and protruding102 like a heavy fringe along the edges. Almost everybody’s shoes are bright red. In one place we saw a shepherd whose sheepskin coat had met with an accident, and the patch which filled the vacant space in the raw brown back of him was of an elaborate tartan cloth. In another village all the men wore crimson aprons103. When our camp-servants were on the march they seemed to be in sackcloth, or in thick grey felt which{18} suggested fire-proof apparel; but when they reached a town they blossomed out into a rainbow. Children playing in a village street, women at the wells, statuesque shepherds standing solitary104 in the fields, all seemed arranged as for a tableau105. Everybody official—the railway guard, the escort, even the mourner at a funeral—is immensely conscious of his dignity; and on him descends106 the spirit of Solomon in all his glory. The man you hire to guide you for a walk of half a dozen miles will disappear into his house and emerge in gorgeous array. One of our guides decked himself in flowing yellow robes and marched before us ostentatiously carrying in front of him a weapon which appeared to be a cross between a carving-knife and a reaping-hook, through a land peaceful as an infant school. A procession marching to some sacred place across a plain lights the whole scene as with a string of coloured lanterns. Even where the natives have adopted European dress the fez is retained, and a crowd of men, seen from above, is always ruddy.
The delight in strong colour goes even one step farther. The rich hues of the flesh in sunny lands seem to suit the landscape, and one soon learns to sympathise with the native preference for dusky and brown complexions107. To them a fair skin appears leprous, though bright flaxen or auburn hair are regarded with great admiration108. Not satisfied, however, with their natural beauty, the Syrians paint and tattoo109 their flesh in the most appalling110 manner, and redden their finger-nails with henna. Fashionable ladies, and in some places{19} men also, paint their eyebrows111 to meet, and touch in their eyelids112 with antimony, whose blue shadow is supposed to convey the impression of irresistible113 eyelashes. In towns where “the Paris modes” are the sign of smartness, some of the girls paint their faces pink and white—faces painted with a vengeance114, with a thick and shining enamel115 which transforms the wearers into animated116 wax dolls of the weirdest117 appearance. But that which shocks the unsophisticated traveller most is the tattooing118 of many of the women. Some of them are marked with small arrow-head blue patches on forehead, cheeks, and chin; others are lined and scored like South Sea Islanders, and their lower lips transformed entirely119 from red to blue.
All this is savage120 enough, but it illustrates121 in its own crude way that delight in strong colour which transforms the human life of the East into such a vivid foreground to the faint landscape. In the dress there is artistic122 instinct as well as barbaric splendour, and in the carpets, the mosaics123, and the glass there is brilliant and matchless artistry. As to the general principle which has been stated in regard to natural colouring, this is as it always must have been. These were the quiet hues of the land, and these the brilliant points of strong light in it which Christ’s eyes saw, and which gave their colour to the Gospels.
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1
beholder
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| n.观看者，旁观者 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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homely
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| adj.家常的，简朴的；不漂亮的 | |
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softening
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| 变软，软化 | |
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considerably
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| adv.极大地；相当大地；在很大程度上 | |
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rusty
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| adj.生锈的；锈色的；荒废了的 | |
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limestone
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| n.石灰石 | |
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blotches
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| n.（皮肤上的）红斑，疹块( blotch的名词复数 )；大滴 [大片]（墨水或颜色的）污渍 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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strata
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| n.地层（复数）；社会阶层 | |
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dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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tinge
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| vt.(较淡)着色于，染色；使带有…气息；n.淡淡色彩，些微的气息 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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ribs
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| n.肋骨( rib的名词复数 )；（船或屋顶等的）肋拱；肋骨状的东西；（织物的）凸条花纹 | |
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boulders
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| n.卵石( boulder的名词复数 )；巨砾；（受水或天气侵蚀而成的）巨石；漂砾 | |
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stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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orchard
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| n.果园，果园里的全部果树，(美俚)棒球场 | |
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plantation
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| n.种植园，大农场 | |
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winding
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| n.绕，缠，绕组，线圈 | |
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furrow
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| n.沟；垄沟；轨迹；车辙；皱纹 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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variegated
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| adj.斑驳的，杂色的 | |
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drenched
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| adj.湿透的；充满的v.使湿透( drench的过去式和过去分词 )；在某人（某物）上大量使用（某液体） | |
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reapers
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| n.收割者，收获者( reaper的名词复数 )；收割机 | |
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gemmed
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| 点缀（gem的过去式与过去分词形式） | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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stoniest
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| 多石头的( stony的最高级 )； 冷酷的，无情的 | |
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bleached
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| 漂白的，晒白的，颜色变浅的 | |
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vertical
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| adj.垂直的，顶点的，纵向的；n.垂直物，垂直的位置 | |
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haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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evaporation
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| n.蒸发，消失 | |
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rendering
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| n.表现，描写 | |
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cleft
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| n.裂缝；adj.裂开的 | |
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vistas
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| 长条形景色( vista的名词复数 )； 回顾； 展望； （未来可能发生的）一系列情景 | |
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gorge
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| n.咽喉，胃，暴食，山峡；v.塞饱，狼吞虎咽地吃 | |
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heliotrope
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| n.天芥菜；淡紫色 | |
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eastward
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| adv.向东；adj.向东的；n.东方，东部 | |
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irises
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| n.虹( iris的名词复数 )；虹膜；虹彩；鸢尾（花） | |
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scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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anemones
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| n.银莲花( anemone的名词复数 )；海葵 | |
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dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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hue
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| n.色度；色调；样子 | |
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reticence
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| n.沉默，含蓄 | |
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lizards
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| n.蜥蜴( lizard的名词复数 ) | |
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chameleons
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| n.变色蜥蜴，变色龙( chameleon的名词复数 ) | |
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slate
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| n.板岩，石板，石片，石板色，候选人名单；adj.暗蓝灰色的，含板岩的；vt.用石板覆盖，痛打，提名，预订 | |
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51
emphatic
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| adj.强调的，着重的；无可置疑的，明显的 | |
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brilliance
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| n.光辉，辉煌，壮丽，（卓越的）才华，才智 | |
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essentially
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| adv.本质上，实质上，基本上 | |
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54
mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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55
promising
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| adj.有希望的，有前途的 | |
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56
luxurious
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| adj.精美而昂贵的；豪华的 | |
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57
varied
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| adj.多样的，多变化的 | |
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58
clumps
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| n.（树、灌木、植物等的）丛、簇( clump的名词复数 )；（土、泥等）团；块；笨重的脚步声v.（树、灌木、植物等的）丛、簇( clump的第三人称单数 )；（土、泥等）团；块；笨重的脚步声 | |
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59
magenta
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| n..紫红色（的染料）；adj.紫红色的 | |
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60
oases
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| n.（沙漠中的）绿洲( oasis的名词复数 )；（困苦中）令人快慰的地方（或时刻）；乐土；乐事 | |
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61
gash
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| v.深切，划开；n.(深长的)切(伤)口；裂缝 | |
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62
countless
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| adj.无数的，多得不计其数的 | |
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63
rivulets
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| n.小河，小溪( rivulet的名词复数 ) | |
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64
shingle
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| n.木瓦板；小招牌(尤指医生或律师挂的营业招牌)；v.用木瓦板盖（屋顶）；把（女子头发）剪短 | |
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65
tilted
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| v. 倾斜的 | |
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66
minarets
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| n.（清真寺旁由报告祈祷时刻的人使用的）光塔( minaret的名词复数 ) | |
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67
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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68
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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69
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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70
bleaches
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| 使（颜色）变淡，变白，漂白( bleach的第三人称单数 ) | |
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71
likeness
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| n.相像，相似（之处） | |
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72
overdrawn
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| 透支( overdraw的过去分词 )； (overdraw的过去分词) | |
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73
tawny
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| adj.茶色的，黄褐色的；n.黄褐色 | |
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luscious
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| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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lengthening
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| （时间或空间）延长，伸长( lengthen的现在分词 )； 加长 | |
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76
indigo
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| n.靛青，靛蓝 | |
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77
silhouettes
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| 轮廓( silhouette的名词复数 )； （人的）体形； （事物的）形状； 剪影 | |
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78
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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79
guardians
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| 监护人( guardian的名词复数 )； 保护者，维护者 | |
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80
miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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81
fortress
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| n.堡垒，防御工事 | |
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82
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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83
restriction
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| n.限制，约束 | |
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84
apertures
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| n.孔( aperture的名词复数 )；隙缝；（照相机的）光圈；孔径 | |
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85
pottery
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| n.陶器，陶器场 | |
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86
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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bazaars
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| （东方国家的）市场( bazaar的名词复数 )； 义卖； 义卖市场； （出售花哨商品等的）小商品市场 | |
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88
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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89
lusciousness
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90
domes
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| n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场 | |
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91
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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92
verdigris
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| n.铜锈；铜绿 | |
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93
mosques
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| 清真寺； 伊斯兰教寺院，清真寺； 清真寺，伊斯兰教寺院( mosque的名词复数 ) | |
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94
panes
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| 窗玻璃( pane的名词复数 ) | |
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95
destitute
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| adj.缺乏的；穷困的 | |
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96
testament
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| n.遗嘱；证明 | |
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amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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98
ruby
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| n.红宝石，红宝石色 | |
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99
illuminated
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| adj.被照明的；受启迪的 | |
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100
elude
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| v.躲避，困惑 | |
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101
maze
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| n.迷宫，八阵图，混乱，迷惑 | |
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102
protruding
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| v.（使某物）伸出，（使某物）突出( protrude的现在分词 )；凸 | |
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103
aprons
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| 围裙( apron的名词复数 )； 停机坪，台口（舞台幕前的部份） | |
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104
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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105
tableau
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| n.画面，活人画（舞台上活人扮的静态画面） | |
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106
descends
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| v.下来( descend的第三人称单数 )；下去；下降；下斜 | |
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107
complexions
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| 肤色( complexion的名词复数 )； 面色； 局面； 性质 | |
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108
admiration
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| n.钦佩，赞美，羡慕 | |
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109
tattoo
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| n.纹身，(皮肤上的)刺花纹；vt.刺花纹于 | |
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110
appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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111
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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112
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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113
irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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114
vengeance
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| n.报复，报仇，复仇 | |
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115
enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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116
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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117
weirdest
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| 怪诞的( weird的最高级 )； 神秘而可怕的； 超然的； 古怪的 | |
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118
tattooing
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| n.刺字，文身v.刺青，文身( tattoo的现在分词 )；连续有节奏地敲击；作连续有节奏的敲击 | |
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119
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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120
savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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121
illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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122
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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123
mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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