There is, however, some advantage for Russia in this isolation8 from the "rotten West." They are not obliged to pass through all the various phases of our so-called art movement, and therefore are not carried from one extreme to the other, but calmly pursue their own quiet way. They also had the good-fortune, while the rest of Europe was in a state of conflict over unfruitful theories, to possess really great creative artists, always the best antidote9 against doctrinarianism. When the one-sided, methodically proletarian naturalism reigned10 in the West, itself a protest against the shallow idealistic formalism of the preceding decades, Russian literature possessed11 its greatest realistic poets, Tolsto?, Turgenyev, Dostoyevski, who never overlooked the inner process, the true themes of poetical12 creation, for the sake of outward appearances, and have thereby13 created that incomparable, physiological14 realism that we still lack. And because their great realists were poets, great poets and geniuses, they felt no need of a new drawing-room art, which of necessity goes to the other extreme, the romantic, aristocratic, catholic. They had no Zola, and therefore they needed no Maeterlinck. And it was exactly so with their painting. Their great artists did not lose themselves, like Manet and his school, in problems purely15 of light and air without poetical contents; hence to rediscover poetry and to save it for art[Pg 46] there was no need for Preraphaelites or Decadents16. The great painter is artist, man, and poet, a phenomenon like Leo Tolsto?, therefore the few symbolists who believe they must imitate European fashions make no headway against them.
Imitators can only exist among imitators, by the side of nature's imitators, imitators of Raphael's predecessors18.
A single true artist frightens away all the ghosts of the night, and thus decadence19 plays an insignificant20 r?le alongside of Tolsto? and Ryepin, whether it be the decadent17 literature of Huysmans and Maeterlinck, or the decadence of the Neoromanticists and of the Neoidealists.
It is time, however, to speak of the artist himself, an artist of sixty, still in the fulness of power, who, besides wielding21 the brush, occupies a professor's chair at the St. Petersburg Academy. I have just called him professor. He is more than that, he is, like Leo Tolsto?, a revolutionist, the terrible accuser of the two diabolical22 forces that keep the nation in its course, the church and the despotism of government. But, to the honor of the Russian dynasty be it said, this artist, acknowledged to be the greatest of his country, was never "induced" to cast aside the criticism of the prevailing23 system he made by his painting and to engage in the decorative24 court art. His so-called nihilist pictures, reproduction of which has been prohibited by the police, are for the most part in the possession of grand-dukes,[Pg 47] and, notwithstanding his undisguised opinions, he was intrusted with the painting of the imperial council representing the Czar in the midst of his councillors. The czars have always been more liberal than their administrators25. Nicholas I. prized Gogol's "Revizor" above all else, and Nicholas II. is the greatest admirer of Tolsto?. And so Ryepin may paint whatever and however he will. And we shall see that he makes proper use of this opportunity. He is Russian, and nothing but Russian. At twenty-two he received for his work, "The Awakening27 of Jairus's Little Daughter," an academic prize and a travelling fellowship for a number of years. But before the expiration29 of the appointed time spent by him in Berlin and Paris he returned to Russia, and produced in 1873 his "Burlaks" (barge-towers), which attracted great attention at the Vienna exposition. The thirty years that have passed since then have detracted nothing from the painting. How far surpassed do Manet's "revolutionizing" works already appear to us, and still how indelibly fresh these "barge-towers." That is so. The reason is simple—it is no painting of theory but of nature represented as the individual sees it, the masterly impression of an artist, the most concentrated effect of landscape, light, and action. The purely technical problem is subordinated to the whole, to the unity26 of action and mood, solved naturally and easily. The problem of the artist to tell us what we cannot forget, to give us something of[Pg 48] his soul, his sentiments, his thoughts, is of first importance, just as geniuses of all ages cared less to be thought masters of technique than to win friends, fellow-thinkers, and comrades, to share their joys and feelings. From the purely technical stand-point, where is there a painting that presents in a more masterly manner the glimmer30 of sunlight on the surface of a broad stream—as in this case—and where, nevertheless, the landscape is treated merely as the background? And again, where is the action of twelve men wearily plodding31 onward32, drawing with rhythmic33 step the boat against the stream, seized more forcibly, more suggestively than in this plaintive34 song of the Russian people's soul?
The youth of barely twenty-four years had at one leap placed himself at the head of all contemporary artists. Analogies between him and the artistic35 career and method of Leo Tolsto? force themselves on us again and again. Tolsto?'s Sketches36 from the Caucasus, Sevastopol, Cossacks, are his early works, yet they are the most wonderful that the entire prose of all literature can show. And so it is in this lifelike picture of a twenty-four-year-old youth. Had we no other work of his than the "Barge-towers," we should yet see in him a great master. It is but necessary to look at the feet of these twelve wretched toilers to realize with wonder the characterization, the full measure of which is given only to genius. How they strain against the ground and almost dig into the rock! How the bodies are bent[Pg 49] forward in the broad belt that holds the tow-line! What an old, sad melody is this to which these bare-footed men keep step as they struggle up along the stream? In all his barefoot stories of the ancient sorrow of the steppe children, Gorki has not painted with greater insight. A sorrowful picture for all its sunshine, and the more sorrowful because no tendency is made evident. It means seeing, seeing with the eyes and with the heart, and, therefore, it is art.
It would be wrong, however, to say that Ryepin—in his works as a whole if not in a given instance—has introduced a "tendency" in his choice of solely37 sorrowful subjects. Such is not the case. There is nothing more exuberant38, more convulsing than his large painting, "Cossacks Preparing a Humorous Reply to a Threatening Letter of Mohammed III." The answer could not have been very respectful. That may be seen from the sarcastic39 expression of the intelligent scribe as well as from the effect that his wit has on the martial40 environment. A be-mustached old fellow in a white lamb-skin cap holds his big belly41 for laughing; another almost falls over backward, his bald pate42 quite jumping out of the canvas. One snaps his fingers; another, old and toothless, grins with joy; a third pounds with clinched43 fist on the almost bare back of his neighbor; another shuts his right eye as if perceiving a doubtful odor; one with a great tooth-gap shouts aloud, while others smile in quiet joy through the smoke of their short pipes. All these are crowded around a [Pg 50]primitive wooden table scarcely a metre wide; twenty figures, a natural group, one head hiding another, and with all you have an unobstructed view of the camp lying bright in the sunshine and dust and full of horses and men. The effect of the picture is so overpowering that at the mere5 recollection of it you can scarcely refrain from joining in the hearty44 laughter of these sturdy, untutored natures. In the entire range of modern painting there is no other picture so full of the strong joy of living.
"The Village Procession," preserved in the Tretyakov Gallery in Moscow—the finest collection of the master's works—is not gloomy like the mournful song of the "Barge-towers," nor exuberant with serf arrogance45 and vitality46 like the Cossack camp, but a fragment of the colorless Russian national life as it really is, a sorrowful human document for the thoughtful observer alone. Tattered47 muzhiks in fur coats are carrying on poles a heavy sacred image, and behind them crowds the village populace with flags and crucifixes. I will not again emphasize how masterfully everything is noted49 here, from the gold border of the sacred image to the last bit of dusty sunshine on the village street. Absolute mastery is self-evident in Ryepin's work. We are again attracted in this picture by the great intensity50 of mood. What harmony there is in it—the mounted gendarme51 who pitilessly strikes with his knout into the peasant group to make room for the priests and the local officials; the half-idiotic, greasy52 [Pg 51]sexton; the well-fed, bearded priest; the crowd of the abandoned, the crippled, and the maimed, the brutalized peasants, the old women. A long procession of folly54, brutality55, official darkness, ignorance; a chapter from the might of darkness; the crucifix misused56 as an aid to the knout, a symbol of the Russian régime that could not be held up to scorn more passionately57 by any demagogue; and yet only a street-scene which would hardly strike the Moscow merchant when strolling in the gallery of a Sunday, because of its freedom from any "tendency."
Then comes a work of an entirely58 different character, a tragedy of Shakespearean force, a painting that is red on red. Ivan the Terrible holds in his arms the son he has just stricken to death with his heavy staff. It is a horrible scene from which one turns because of the almost unbearable59 misery60 depicted61 there, and yet you return to it again and again. So great is the conception, so wonderful the insight, so incomparable the technique. The madman, whom a nation of slaves endures as its master, is at last overtaken by Nemesis62, and he is truly an object for pity as he crouches63 on the ground with the body of his dying son in his arms. He would stanch64 the blood that is streaming from the gaping65 wound to the red carpet. He kisses the hair where but a moment before his club had struck. The tears flow from his horrified66 eyes, and their terror is augmented67, for at this last and perhaps first caress68 of[Pg 52] the terrible father a happy smile plays on the face of the dying son. He had killed his son! Nothing can save him! He the Czar of Moscow, the master of the Kremlin, can do nothing. He draws his son to himself, presses him to his breast, to his lips. What had he done in his anger, that anger so often a source of joy to him when he struck others less near to him and for which he had been lauded69 by his servile courtiers, since the Czar must be stern, a terrible and unrelenting master?
Shakespeare has nothing more thrilling than this single work, its effect so tragic70 because the artist has succeeded in awakening our pity for this fiend, pity which is the deliverance from hatred71 and resentment72. The pity that seizes us is identical with the awe73 of the deepest faith, the feeling of Christian74 forgiveness. We can have no resentment towards this sorrow-crushed old man with the torn, thin, white hair. And we can never quite forget the look in these glassy old eyes from which the bitter tears are gushing75, the first that the monster had ever shed. And how the picture is painted, the red of the blood contrasting with the red of the Persian rug and the green-red of the tapestry76. Nothing else is seen on the floor except an overturned chair. The figures of the father, and of the son raising himself for the last time, alone in all the vast space, hold the gaze of the spectator. With this painting hanging in the ruler's palace the death-sentence would never be signed again.
[Pg 53]
Still another ghastly picture shows that the artist, like all great masters, is not held back by affectation and feels equal to any emergency. It represents Sophia, the sister of Peter the Great, who from her prison is made to witness the hanging of her faithful "streltzy" (sharp-shooters) before her windows. It was a brotherly mark of consideration shown her by the Czar. The resemblance of the princess to her brother is striking; but the expression of pain, anger, and fear on the stony77 face turned green and yellow is really terrifying. But it is also characteristic of the great master to have chosen just that incident in the life of the great Czar.
In general it must be said that for a professor in the imperial academy the choice of historical subjects is curious enough. It certainly does not indicate loyalty78.
I could not if I would discuss in detail the fruits of thirty years of the artist's activity. Besides, mere words cannot give an adequate idea of the beauty of his works. But there is one thing that may be accomplished79 by the description of his most important painting—namely, the refutation of the absurd notion that the artist and his art can become important only when they are entirely indifferent to the joys and sorrows of their fellow-men and concern solely the solution of artistic problems. The doctrine80 of art for art's sake has no more determined81 opponents than the great artists of our time, and among them also Ryepin in the front rank. He is[Pg 54] willing to subscribe82 to it just as far as every artist must seek to influence only by means of his own peculiar83 art; yet he rejects the absurdity84 that it is immaterial for the greatness of the artist whether he depicts85 the essence of a great, rich, and deep mind or only that of a commonplace mind. According to him only a great man that is a warm-hearted, upright, and courageous86 man can become a great artist; and he regards it as the first duty of such to share the life of their fellow-men, to honor the man even in the humblest fellow-being, and to strengthen with all their might the call for freedom and humanity as long as it remains87 unheeded by the powerful. Just like Tolsto?, he has only a deep contempt for the exalted88 decadents who, with their exclusive and affected89 morality, would attack nations fighting for their freedom. Like every independent thinker, he is disgusted with the modern epidemic90 of individualism, and his sympathies belong to the progressive movement derided91 by the fools of fashion. To be sure, that does not make him greater as artist, for artistic greatness has absolutely nothing to do with party affiliations92; neither does it make him less, for his artistic achievements are not at all lessened93 by his giving us sentiments as well as images. But if a humane94, altruistic95, cultured man who finds joy in progress stands ethically96 higher than the exclusive, narrow-minded reactionary97 or self-sufficient, surfeited98 decadent, then Ryepin is worth more than the idols99 of snobs100. And not as[Pg 55] man only; he also stands higher as artist, for he gives expression with at least the same mastery, and, in truth, with an incomparably greater mastery, to the ideals of a more noble, greater, and richer mind. The belief that participation101 in the struggles and movements of the day affects the artist unfavorably is ridiculed102 by him; the contrary is true in his case. It has given him an abundance of striking themes as well as the duel103 and nihilist cycles.
I will pass by the duel cycle culminating in the powerfully portrayed104 suffering of the repenting105 victor. For us the nihilist cycle is more interesting, more Russian. "Nihilist" is, by-the-way, an abominable106 name for those noble young men and women who, staking their lives, go out among the common people to redeem107 them from their greatest enemies—ignorance and immorality108. The real nihilists in Russia are those of the government who are not held back even by murder when it is of service to the system, the cynics with the motto, "Après nous le déluge"; surely not these noble-hearted dreamers who throw down the gauntlet to the all-powerful Holy Synod and to the not less powerful holy knout.
At the time when the "well-disposed" portion of Russian society had turned away in honor from the Russian youth because a few fanatics109 had believed that they could more quickly attain2 their aims by the propaganda of action than by the fully48 as [Pg 56]dangerous and difficult work among the people, Ryepin painted his cycle which explains why among the young people there were a few who resorted to murder. Who does not know from the Russian novels those meetings of youths who spent half the night at the steaming samovar discussing the liberation of the people and the struggle against despotism, in debates that have no other result than a heavy head and an indefinite desire for self-sacrifice? The cycle begins with such a discussion. Men and women students are gathered together, unmistakably Russian, all of them, Slavic types, the women with short hair, the men mostly bearded and with long hair. In the smoky room, imperfectly lighted by the lamp, they are listening to a fiery110 young orator111. We find this young man again as village teacher in the second picture. He had gone among the people. In one of the following pictures he has already been informed against, and the police search through his books and find forbidden literature. The police spy and informer, who triumphantly112 brings the package to light, is pictured to his very finger-tips as the gentleman that he is. In still another picture the young martyr114 is already sitting between gendarmes115 on his way to Siberia; and in the last he returns home old and broken, recognized with difficulty by his family, whom he surprises in the simple room. One may see this cycle in the Tretyakov Gallery, and copies of it in the possession of a few private individuals, persons in high authority, who are above fear of the[Pg 57] police; and one is reminded of the saying so often heard in Russia, "We are governed by the scoundrels, and our upright men are languishing116 in the prisons." The nihilist has the features of Dostoyevski who was so broken in Siberia that he thanked the Czar, on his return, for his well-deserved punishment, and who had become a mystic and a reactionary. In another picture a young nihilist on his way to the scaffold is being offered the consolation117 of religion by the priest, but he harshly motions him back.
All these pictures are homely118 in their treatment. The poverty of the interior, the inspired faces of the noble dreamers, and the brutal53 and stupid faces of the authorities speak for themselves clearly enough, and no theatrical119 effects of composition are necessary to impart the proper mood to the observer. On the contrary, it is just this discretion120, the almost Uhde-like simplicity121 that is so effective. Yet Pobydonostzev and Plehve will scarcely thank the artist for these works that for generations will awaken28 hatred against the system among all better-informed young men. However, their reproduction is prohibited.
On the other hand, the drawings which Ryepin made for popular Russian literature are circulated by hundreds of thousands among the people. It is an undertaking122 initiated123 by Leo Tolsto? with the aid of several philanthropists, for combating bad popular literature. It is under the excellent [Pg 58]management of Gorbunov in Moscow. There are annually124 placed among the people about two millions of books, ranging in price from one to twenty kopeks. It may be taken for granted that the men who enjoy Tolsto?'s confidence will not be a party to barbarism. The foremost artists supply the sketches for the title-pages, among them Ryepin, the fiery Tolsto?an. Ryepin's admiration125 for the great poet of the Russian soil is also evident from his numerous pictures of Tolsto?. He has painted the saint of Yasnaya Polyana at least a dozen times—at his working-table; in the park reclining under a tree and reading after his swim; a bare-footed disciple126 of Kneipp; or following the plough, with flowing beard, his powerful hand resting on the plough-handle. All are masterly portraits, and, above all things, they reflect the all-embracing kindness that shines in the blue eyes of the poet—eyes that one can never forget when their kindly127 light has once shone upon him.
Public opinion in Russia has been particularly engrossed128 with a recent picture which furnishes much food for reflection. Two young people, a student clad in the Russian student uniform and a young gentlewoman with hat and muff, step out hand-in-hand from a rock right into the raging sea. What is the meaning of it? The triumphant113 young faces, the outstretched arms of the student exclude the thought of suicide. It has been suggested that it is an illustration of the Russian saying, "To the [Pg 59]courageous the sea is only knee-deep." But in that case it would mean, "Have courage, young people; do not fear the conflict; for you the sea is only knee-deep." But it could also be interpreted, "Madmen, what are you doing? Do you not see that this is the terrible, relentless129 sea into which you would step?" In that case it would be a warning intended for the Russian youth, revolutionary throughout, who would dare anything. This much is certain: the greatest Russian painter, and one of the greatest of contemporary painters, is on the side of these young people, and his heart is with them even though he may doubt, as many another, the success of the heroic self-sacrifice. The noble ideals of youth cannot conquer this sea of ignorance and slave-misery. Great and immeasurable as is the Russian nation, nothing can help the country. It must and will collapse130 within itself, and then will come the hour of release for all, whether noble or poor, to whom the Ryepins and the Leo Tolsto?s have dedicated131 their incomparably great works. Perhaps this hour is nearer than is suspected. Russian soil is already groaning132 under the March storms which precede every spring.
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literally
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| adv.照字面意义，逐字地；确实 | |
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attain
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| vt.达到，获得，完成 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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renown
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| n.声誉，名望 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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isolates
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| v.使隔离( isolate的第三人称单数 )；将…剔出（以便看清和单独处理）；使（某物质、细胞等）分离；使离析 | |
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insolence
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| n.傲慢；无礼；厚颜；傲慢的态度 | |
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isolation
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| n.隔离，孤立，分解，分离 | |
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antidote
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| n.解毒药，解毒剂 | |
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reigned
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| vi.当政，统治（reign的过去式形式） | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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thereby
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physiological
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purely
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decadents
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| n.颓废派艺术家（decadent的复数形式） | |
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decadent
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| adj.颓废的，衰落的，堕落的 | |
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predecessors
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decadence
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| n.衰落，颓废 | |
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insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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wielding
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| 手持着使用（武器、工具等）( wield的现在分词 )； 具有； 运用（权力）； 施加（影响） | |
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diabolical
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| adj.恶魔似的，凶暴的 | |
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prevailing
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| adj.盛行的；占优势的；主要的 | |
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decorative
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administrators
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| n.管理者( administrator的名词复数 )；有管理（或行政）才能的人；（由遗嘱检验法庭指定的）遗产管理人；奉派暂管主教教区的牧师 | |
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unity
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awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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awaken
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expiration
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| n.终结，期满，呼气，呼出物 | |
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glimmer
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plodding
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| a.proceeding in a slow or dull way | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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rhythmic
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plaintive
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| adj.可怜的，伤心的 | |
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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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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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solely
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| adv.仅仅，唯一地 | |
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exuberant
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| adj.充满活力的；（植物）繁茂的 | |
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sarcastic
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| adj.讥讽的，讽刺的，嘲弄的 | |
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martial
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| adj.战争的，军事的，尚武的，威武的 | |
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belly
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| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
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pate
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| n.头顶；光顶 | |
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clinched
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| v.（尤指两人）互相紧紧抱[扭]住( clinch的过去式和过去分词 )；解决（争端、交易），达成（协议） | |
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hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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arrogance
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| n.傲慢，自大 | |
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vitality
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| n.活力，生命力，效力 | |
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tattered
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| adj.破旧的，衣衫破的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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noted
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| adj.著名的，知名的 | |
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50
intensity
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| n.强烈，剧烈；强度；烈度 | |
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51
gendarme
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| n.宪兵 | |
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52
greasy
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| adj. 多脂的，油脂的 | |
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53
brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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54
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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55
brutality
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| n.野蛮的行为，残忍，野蛮 | |
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56
misused
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| v.使用…不当( misuse的过去式和过去分词 )；把…派作不正当的用途；虐待；滥用 | |
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57
passionately
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| ad.热烈地，激烈地 | |
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58
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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59
unbearable
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| adj.不能容忍的；忍受不住的 | |
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60
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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62
nemesis
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| n.给以报应者，复仇者，难以对付的敌手 | |
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63
crouches
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| n.蹲着的姿势( crouch的名词复数 )v.屈膝，蹲伏( crouch的第三人称单数 ) | |
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64
stanch
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| v.止住（血等）；adj.坚固的；坚定的 | |
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65
gaping
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| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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66
horrified
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| a.(表现出)恐惧的 | |
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67
Augmented
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| adj.增音的 动词augment的过去式和过去分词形式 | |
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68
caress
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| vt./n.爱抚，抚摸 | |
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69
lauded
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| v.称赞，赞美( laud的过去式和过去分词 ) | |
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70
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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hatred
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| n.憎恶，憎恨，仇恨 | |
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resentment
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| n.怨愤，忿恨 | |
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73
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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75
gushing
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| adj.迸出的；涌出的；喷出的；过分热情的v.喷，涌( gush的现在分词 )；滔滔不绝地说话 | |
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76
tapestry
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| n.挂毯，丰富多采的画面 | |
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77
stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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loyalty
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| n.忠诚，忠心 | |
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79
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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doctrine
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| n.教义；主义；学说 | |
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determined
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| adj.坚定的；有决心的 | |
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82
subscribe
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| vi.(to)订阅，订购；同意；vt.捐助，赞助 | |
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83
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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absurdity
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| n.荒谬，愚蠢；谬论 | |
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85
depicts
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| 描绘，描画( depict的第三人称单数 )； 描述 | |
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courageous
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| adj.勇敢的，有胆量的 | |
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87
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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affected
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| adj.不自然的，假装的 | |
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epidemic
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| n.流行病；盛行；adj.流行性的，流传极广的 | |
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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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affiliations
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| n.联系( affiliation的名词复数 )；附属机构；亲和性；接纳 | |
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lessened
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| 减少的，减弱的 | |
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humane
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| adj.人道的，富有同情心的 | |
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95
altruistic
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| adj.无私的，为他人着想的 | |
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ethically
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| adv.在伦理上，道德上 | |
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97
reactionary
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| n.反动者，反动主义者；adj.反动的，反动主义的，反对改革的 | |
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surfeited
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| v.吃得过多( surfeit的过去式和过去分词 )；由于过量而厌腻 | |
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99
idols
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| 偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像 | |
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100
snobs
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| （谄上傲下的）势利小人( snob的名词复数 )； 自高自大者，自命不凡者 | |
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101
participation
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| n.参与，参加，分享 | |
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102
ridiculed
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| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
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103
duel
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| n./v.决斗；(双方的)斗争 | |
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104
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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105
repenting
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| 对（自己的所为）感到懊悔或忏悔( repent的现在分词 ) | |
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106
abominable
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| adj.可厌的，令人憎恶的 | |
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107
redeem
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| v.买回，赎回，挽回，恢复，履行（诺言等） | |
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108
immorality
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| n. 不道德, 无道义 | |
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109
fanatics
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| 狂热者，入迷者( fanatic的名词复数 ) | |
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110
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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111
orator
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| n.演说者，演讲者，雄辩家 | |
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112
triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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113
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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114
martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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115
gendarmes
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| n.宪兵，警官( gendarme的名词复数 ) | |
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116
languishing
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| a. 衰弱下去的 | |
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117
consolation
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| n.安慰，慰问 | |
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118
homely
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| adj.家常的，简朴的；不漂亮的 | |
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119
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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120
discretion
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| n.谨慎；随意处理 | |
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121
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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122
undertaking
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| n.保证，许诺，事业 | |
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123
initiated
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| n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入 | |
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124
annually
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| adv.一年一次，每年 | |
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125
admiration
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| n.钦佩，赞美，羡慕 | |
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126
disciple
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| n.信徒，门徒，追随者 | |
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127
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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128
engrossed
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| adj.全神贯注的 | |
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129
relentless
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| adj.残酷的，不留情的，无怜悯心的 | |
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130
collapse
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| vi.累倒；昏倒；倒塌；塌陷 | |
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131
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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132
groaning
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| adj. 呜咽的, 呻吟的 动词groan的现在分词形式 | |
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