On the very edge of the Jumna, where russet fields break the monotony of its white sandy banks, is the private state-room, the residence of the sovereigns of Delhi, built of translucent3 milky[Pg 217] marble, warmed by the reflection of gold inlaid on the columns and merged4 with the stone that is turned to amber5.
Under the white dome6 a wooden ceiling, gilt7 in the hollows of the carving8, has taken the place of an earlier ceiling of massive silver, worth seventy lacs of rupees, which was carried off by the conquerors9 after some long-ago seizure10 of the city. Inside, by way of walls, are carvings11 in marble of twisted lilies, inconceivably graceful12 and light. And then, at one of the entrances, those marble lattices, once gilt and now bereft13 of their gold, look just like topaz in the midday sun. After that magic splendour of gold and marbles fused to topaz and amber, the rest of the palace—the sleeping-rooms, the couches inlaid with mosaic14 flowers, the pierced stone balconies overlooking the Jumna—all seemed commonplace and familiar.
From a quite small garden close to the palace a bronze gate with three medallions of lilies in high relief, of marvellous workmanship, opens on the Pearl Mosque16, exquisitely17 white, at the end of its forecourt of immaculate pavement enclosed by a marble balustrade. Three polished and shining domes18 are supported by columns of snow made of a hard white marble, scarcely broken by [Pg 218]ornament19, and carrying a roof hollowed into three vaults20. The rings are still to be seen on the marble walls outside, to which, when the great Mogul came to prayer, curtains were attached made of gold net and spangled with diamonds and pearls.
In the evening I was to dine with the officers of the Artillery22 mess, and in going I lost my way. Suddenly before me stood the amber palace, with blue shadows, moon-coloured, the carvings like opal in changing hues23 of precious gems25. Half hidden by a growth of jasmine that loaded the air with fragrance27, up rose the cupolas of the little mosque, like pearls reflecting the sparkle of the stars.
Outside the town of Delhi a road bordered by great trees leads across the white plain, all strewn with temples and tombs, to Khoutab, the ancient capital of the Moguls—a dead city, where the ruins still standing28 in many places speak of a past of unimaginable splendour. There is a colossal29 tower of red masonry30 that springs from the soil with no basement; it is reeded from top to bottom, gradually growing thinner as it rises, with fillets of letters in relief, and balconies on brackets as light as ribbands alternating to the top. It is an enormous mass of red stone, which the ages have scarcely discoloured,[Pg 219] and was built by Khoutab-Oudeen Eibek to commemorate31 his victory over the Sultan Pithri-Raj, the triumph of Islam over Brahminism.
To reach this tower in its garden of flowering shrubs32 the way is under the Alandin gate of pink sandstone; the name evokes33 a tale of wonder, and the pointed34 arch, exquisitely noble in its curve, looks like pale vellum, graven all over with ornaments35, and inscriptions37 to the glory of Allah.
Close to the monumental trophy38 of Khoutab is a temple with columns innumerable, and all different, overloaded39 with carvings incised and in relief, with large capitals; beams meet and cross under the roof, also carved in the ponderous40 stone, and the whole forms a cloister41 round a court; while in the centre, amid Moslem42 tombs, an iron pillar stands, eight metres high, a pillar of which there are seven metres sunk in the ground—a colossal casting placed here in 317, when half the civilized43 world was as yet ignorant of the art of working in metal. An inscription36 records that "King Dhava, a worshipper of Vishnu, set up this pillar to commemorate his victory over the Belikas of Sindhu."
And side by side with history a pleasing legend tells that King Anang-Pal1 yearned44 to atone45 for his faults and redeem46 the earth from sin. So by the[Pg 220] counsels of a wise Brahmin he caused this vast iron spike47 to be forged by giants, to be driven into the earth and pierce the serpent Sechnaga, who upholds the world. The deed was done, but because certain disbelieving men denied that the monster was dead, the king caused the weapon to be pulled up, and at the end of it behold48 the stain of blood; so the iron beam was driven in again. But the spell was broken—the creature had escaped. The column remained unstable49, prefiguring the end of the dynasty of Anang, and the serpent still works his wicked will.
Only one entrance to the temple remains50, built of polished red stone mingled52 harmoniously53 with marble, toned by time to a warm golden hue24 almost rose-colour. All the profusion54 of Indian design is lavished55 on this gateway56 framing the marvel15 erected57 by Pal. Tangles58 of interlacing letters incised and in relief, mingling59 with trails of flowers as lissom60 as climbing plants, and supporting figures of gods; while a fine powdering of white dust over the dimmed warm yellow of marble and sandstone softens61 yet more the carved flowers and sinuous62 patterns, amid which the images sit in tranquil63 attitudes.
A roofless mausoleum is that of the Sultan[Pg 221] Altamsh, who desired to sleep for ever with no vault21 over his tomb but that of the heavens; a vast hall, its walls wrought64 with inscriptions in Persian, Hindostanee, and Arabic, built of brick-red granite65 and yellow marble softened66 to pale orange in the golden sunshine. Here and there traces may be seen of wall-paintings, green and blue, but quite faded, and now merely a darker shadow round the incised ornament. Hibiscus shrubs mingle51 their branches over the tomb and drop large blood-red blossoms on the stone sarcophagus. Further on is another mausoleum, in such good preservation67 that it has been utilized68 as a bungalow69 for some official.
After passing the temples and tombs that surround the Khoutab, the town of ruins lies scattered70 over the plain of pale sand and withered71 herbage.
A prodigious72 palace has left the skeleton of its walls pierced with large windows, and in the blackened stone, almost at the top of the building, a balcony with a canopy73 over it, resting on fragile columns, is still uninjured; of a pale yellow, like lemon-tree wood, it looks as if it had come into existence only yesterday, a flower risen from the death of the ruins.
Huge vultures were prowling about the place.[Pg 222] At our approach they flapped a little away, and then perching on a heap of stones preened74 their feathers with clumsy, ungraceful movements.
A tank here is deep below ground, down three flights of galleries. Quite at the bottom is a little stagnant75 water, into which children leap from the top of the structure, a plunge76 of twenty metres, ending in a great splash of green mud that smells of water-lilies and grease.
More and yet more palaces; remains of marble porticoes77 and columns, walls covered with tiles glittering in the blazing sunshine like topaz and emerald; and over all the peace of dust and death, the only moving thing those vultures, in shades of dull grey almost indistinguishable from the colour of the stones.
And suddenly, emerging from the ruins, we came on a Moslem street with high walls, windowless, and waving plumes78 of banyan79 and palm trees rising above the houses.
At the top of the street a caravan80 of moollahs were performing their devotions at the tomb of a Mohammedan saint, whose sarcophagus was enclosed within a balustrade of marble and a border of lilies, alternately yellow and green, with large full-blown flowers in blue, fragile relics81 that have[Pg 223] survived for centuries amid ruins that are comparatively recent.
The road goes on. Trees cast their shade on the flagstone pavement, but between the houses and through open windows the sandy plain may be seen, the endless whiteness lost in a horizon of dust.
And again ruins. Under an archway still left standing on piers82 carved with lilies and foliage83, lay a whole family of pariahs85 covered with leprosy and sores.
Close to a village that has sprouted86 under the baobab-trees, in the midst of the plain that once was Khoutab, in the court of a mosque, is the marble sarcophagus of a princess. Grass is growing in the hollow of the stone that covers her, in fulfilment of the wishes of the maiden87, who in her humility88 desired that when she was dead she should be laid to rest under the common earth whence the grass grows in the spring. And not far from the rajah's daughter, under a broad tamarind tree, in the blue shade, is the tomb of Kushru, the poet who immortalized Bagh-o-Bahar. On the sarcophagus, in the little kiosk, was a kerchief of silk and gold, with a wreath of fresh flowers renewed every day by the faithful.
[Pg 224]
A humble89 poet, more venerated90 than the kings whose superb mausoleums are crumbling91 to dust in subjugated93 India, who, though she forgets her past, is still true to her dreams.
Another magnificent temple, with marble arcades94 wrought to filigree95, curved in frilled arches, on spindle-like columns that soar to support the cupolas, as light as flower-stems. A gem26 of whiteness and sheen in the desert of ruins where yet stand three matchless marvels96: the tower of Khoutab, the gate of Alandin, and the column of Dhava.
Toglackabad, again an ancient Delhi, a rock on the bank of the Jumna after crossing a white desert; walls of granite, massive bastions, battlemented towers of a Saracen stamp, rough-hewn, devoid97 of ornament, and uniform in colour—bluish with light patches of lichen98. The enclosure has crumbled99 into ruin, in places making breaches100 in the walls, which nevertheless preserve the forbidding aspect of an impregnable citadel101.
Entering by one of the fourteen gates in the ramparts of stone blocks scarcely hewn into shape, the city of palaces and mosques102 is found in ruins, matching the fortifications, without any decoration,[Pg 225] and all of the same cold grey hue, like a city of prisons.
At a short distance from Toglackabad, on a solitary103 rock, stands a square building of massive architecture, sober in outline, and crowned by a stone dome. It dwells alone, surrounded by walls; the mausoleum of Toglack, containing his tomb with that of his wife and his son, Mohammed the Cruel.
And there are ruins all the way to Delhi, whither we returned by the old fortress104 of Purana Kila, with its pink walls overlooked by a few aerial minarets105 and more traces of graceful carving, the precursors106 of the Divan107 i Khas and Moti Musjid the Pearl Mosque.
In the town camels were harnessed to a sort of carriage like a hut perched on misshapen wheels, and rumbling92 slowly through the streets, seeming very heavy at the heels of the big beast with its shambling gait.
To the Chandni Chowk—the bazaar108. In a miniature-painter's shop was a medley109 of ivories, of boxes inlaid with silver and ebony, and toys carved in sandal-wood.
The artist sat at work in a corner of the window, copying minutely, for the thousandth time perhaps, a Taj or a Moti Musjid. Quite unmoved while his[Pg 226] shopman displayed his wares110, he worked on with brushes as fine as needles; but when, on leaving, I asked him where I could procure111 some colours I needed, "Then the sahib paints?" said he; and he rose at once, insisted on my taking a seat, pressed me to accept a little sandal-wood frame, as a fellow-artist, and then would positively112 paint my portrait.
In a little alley113 of booths was a shop with no front show, and behind it a sort of studio full of carvers and artists working on sandal-wood boxes, ivory fans as fine as gauze, and wooden lattices with elaborate flower patterns, used to screen the zenana windows. And in little recesses114 workmen dressed in white, with small copper115 pots about them in which they had brought rice for their meals, were chasing and embossing metal with little taps of their primitive116 tools, never making a mistake, working as their fancy might suggest, without any pattern, and quite at home in the maze117 of interlacing ornament.
In order that I might be far from the noise of the street the merchant had the objects I wished to see brought to me in a little room over the shop. Everything was spread before me on a white sheet, in the middle of which I sat. Refreshments118 were[Pg 227] brought, fruits and sweetmeats, while a coolie waved a large fan over my head—a huge palm-leaf stitched with bright-hued silks.
In the distance we heard a sound of pipes, and the merchant hastened out to call the nautch-girls, who began to dance in the street just below us, among the vehicles and foot-passengers. There were two of them; one in a black skirt spangled with silver trinkets, the other in orange and red with a head-dress and necklace of jasmine. They danced with a gliding119 step, and then drew themselves up with a sudden jerk that made all their frippery tinkle120. Then the girl in black, laying her right hand on her breast, stood still, with only a measured swaying movement of her whole body, while the dancer in yellow circled round, spinning as she went. Next the black one performed a sort of goose-step with her feet on one spot, yelling a so-called tune121, and clacking her anklets one against the other. Then, after a few high leaps that set her saree flying, the dance was ended; she drew a black veil over her head, and turned with her face to the wall. The other boldly asked for backsheesh, held up her hands, and after getting her money, begged for cakes and sugar.
[Pg 228]
In the evening to the theatre—a Parsee theatre; a large tent, reserved for women on one side by a hanging of mats. The public were English soldiers and baboos with their children, and in the cheapest places a packed crowd of coolies.
The manager also traded in clocks, and a selection was displayed for sale at one end of the stalls.
The orchestra, consisting of a harmonium, a violin, and a darboukha, played a languishing122, drawling air to a halting rhythm, while the chorus, standing in a line on the stage, sang the introductory verses.
The actors were exclusively men and boys, those who took female parts wore rusty123 wigs125 over their own long, black hair; these were plaited on each side of the face, and waxed behind to fall over the shoulders. The costumes of velvet126 and satin, heavily embroidered127 with gold and silver, were hideous128.
The scenery was preposterous129: red and green flowers growing on violet boughs130, with forests in the background of pink and yellow trees; perspective views of streets, in which the houses were climbing over each other, and finally a purple cavern131 under a brilliant yellow sky.
The actors spoke132 their parts like lessons, with a gesture only now and then, and invariably wrong;[Pg 229] and they all spoke and sang through the nose in an irritating voice pitched too high.
The play was Gul-E-Bakaoli.
King Zainulmulook has lost his sight, and can recover it only if someone will bring to him a miraculous133 flower from the garden of Bakaoli. His four sons set out in search of it. Zainulmulook has a fifth son, named Tazulmulook. At the birth of this child the king has had his horoscope cast by the astrologers of the palace, who declared that the king would become blind if he should see his son before his twelfth year; but hunting one day the king has met Tazulmulook, who was walking in the forest, and has lost his sight.
In a jungle we now see Tazulmulook banished134 and solitary, and he relates his woes135.
The four sons of the king presently come to a town. They ring at the door of a house inhabited by a woman who, as the little English translation tells us, carries on a foul136 trade, and Dilbar the dancing-girl appears.
This Dilbar was a boy with a more woolly wig124 than the others, and to emphasize her sex wore a monstrous137 display of trinkets round her neck and arms, in her ears and nose.
Dilbar dances and sings before the brothers, and[Pg 230] then proposes to play cards. The stake is the liberty of the loser. The four princes play against the dancing-girl, who wins and has them imprisoned138 on the spot.
Tazulmulook arrives in the same town, and is on the point of ringing at Dilbar's door when he is hindered by his father's vizier, who tells him how many times this dangerous woman has been the ruin of kings' sons. But Tazulmulook, in a discourse139 on valour addressed to the audience, who stamped applause, rejects the counsels of prudence140 and rings at the dancer's door. Tazulmulook wins the game with Dilbar, and compels her to release his brothers, but only after branding each on the back of his neck.
The young prince then goes on his way in search of the magical flower. He is about to rest awhile in a cavern, but at the moment when he lies down on a stone it is transformed into a monster made of bladder, which rears itself enraged141 in the air with a trumpet-cry. By good luck the king's son calls upon the aid of the prophet Suleiman, whom the dragon also reveres142, and the pacified143 monster conveys Tazulmulook to the garden of Bakaoli, and, moreover, gives him a ring which will be a talisman144 in danger.
[Pg 231]
Tazulmulook finds Bakaoli asleep in her garden, and after plucking the miraculous flower he exchanges the ring for that of the princess and departs. Bakaoli awakes, and discovering the theft of the flower and of her ring is much disturbed, and gives orders that the thief is to be caught.
Tazulmulook on his way meets a blind man, whom he restores to sight by the help of the magical flower; the man relates the story of the cure to the four brothers, who quickly follow up Tazulmulook and presently overtake him. After a short conflict they rob him of the talisman and fly. The young prince is in despair, but as he wrings145 his hands he rubs Bakaoli's ring and the dragon instantly appears. Tazulmulook commands him forthwith to build a palace in front of that of King Zainulmulook.
While all this is going forward in the jungle, Bakaoli, disguised as an astrologer, comes to the king, to whom she promises the coming of the miraculous flower, and even while she is speaking the return of the four princes is announced.
The old king is at once cured; he embraces his sons again and again. After this emotion the first thing he remarks is the new palace that has sprung from the ground exactly opposite his own.
[Pg 232]
He, with his four sons, goes to pay a call on Tazulmulook, whom he does not recognize in his palace, when suddenly Dilbar arrives to claim her prisoners. The fifth son then relates to the king the deeds of his elder brothers, and in proof of his words points to the mark each of them bears on his neck. The king anathematizes the princes, and sends them to prison, but loads Tazulmulook with honours and affection.
Bakaoli, having returned to her own country, sends her confidante, named Hammala, with a letter to Tazulmulook, who at once follows the messenger. The prince and the queen fall in love with each other. Bakaoli's mother finds them together, and furious at the disobedience of her daughter, who is affianced to another rajah, she calls up a djinn to plunge Tazulmulook in a magic fount. The prince finds himself transformed into a devil with horns, and wanders about the jungle once more. There he meets a pariah84 woman with three children, who begs him to marry her. Tazulmulook in despair leaps back into the spring to die there, and to his great surprise recovers his original shape.
Bakaoli bewails her lover's departure, for which no one, not even her mother, can comfort her.
Tazulmulook, again an outcast in the jungle, rescues a lady related to Bakaoli from the embrace of a demon146, and she in gratitude147 takes the prince to Bakaoli's court. So at last the lovers are united and married.
This interminable piece, with twenty changes of scene, dragged its weary length till two in the morning. One by one the soldiers went away; even the baboos soon followed them, and only the coolies remained, enthusiastically applauding every scene, every harangue148, in a frenzy149 of delight, before the final apotheosis150 of Tazulmulook and Bakaoli, as man and wife, lovingly united against a background of trees with golden boughs.
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1
pal
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| n.朋友，伙伴，同志；vi.结为友 | |
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2
colonnades
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| n.石柱廊( colonnade的名词复数 ) | |
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3
translucent
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| adj.半透明的；透明的 | |
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4
merged
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| （使）混合( merge的过去式和过去分词 )； 相融； 融入； 渐渐消失在某物中 | |
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5
amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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6
dome
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| n.圆屋顶，拱顶 | |
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7
gilt
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| adj.镀金的；n.金边证券 | |
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8
carving
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| n.雕刻品，雕花 | |
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9
conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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10
seizure
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| n.没收；占有；抵押 | |
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11
carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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12
graceful
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| adj.优美的，优雅的；得体的 | |
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13
bereft
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| adj.被剥夺的 | |
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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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15
marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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16
mosque
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| n.清真寺 | |
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17
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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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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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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vaults
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| n.拱顶( vault的名词复数 )；地下室；撑物跳高；墓穴 | |
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vault
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| n.拱形圆顶，地窖，地下室 | |
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22
artillery
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| n.(军)火炮，大炮；炮兵(部队) | |
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23
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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hue
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| n.色度；色调；样子 | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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fragrance
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| n.芬芳，香味，香气 | |
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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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colossal
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| adj.异常的，庞大的 | |
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masonry
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| n.砖土建筑；砖石 | |
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commemorate
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| vt.纪念，庆祝 | |
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shrubs
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| 灌木( shrub的名词复数 ) | |
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evokes
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| 产生，引起，唤起( evoke的第三人称单数 ) | |
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pointed
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| adj.尖的，直截了当的 | |
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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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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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trophy
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| n.优胜旗，奖品，奖杯，战胜品，纪念品 | |
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overloaded
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| a.超载的，超负荷的 | |
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40
ponderous
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| adj.沉重的，笨重的，(文章)冗长的 | |
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41
cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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Moslem
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| n.回教徒，穆罕默德信徒；adj.回教徒的，回教的 | |
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civilized
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| a.有教养的，文雅的 | |
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yearned
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| 渴望，切盼，向往( yearn的过去式和过去分词 ) | |
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atone
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| v.赎罪，补偿 | |
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redeem
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| v.买回，赎回，挽回，恢复，履行（诺言等） | |
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47
spike
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| n.长钉，钉鞋；v.以大钉钉牢，使...失效 | |
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behold
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| v.看，注视，看到 | |
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unstable
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| adj.不稳定的，易变的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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51
mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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52
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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53
harmoniously
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| 和谐地，调和地 | |
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54
profusion
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| n.挥霍；丰富 | |
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55
lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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56
gateway
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| n.大门口，出入口，途径，方法 | |
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57
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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58
tangles
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| （使）缠结， （使）乱作一团( tangle的第三人称单数 ) | |
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59
mingling
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| adj.混合的 | |
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60
lissom
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| adj.柔软的，轻快而优雅的 | |
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61
softens
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| （使）变软( soften的第三人称单数 )； 缓解打击； 缓和； 安慰 | |
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62
sinuous
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| adj.蜿蜒的，迂回的 | |
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63
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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64
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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65
granite
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| adj.花岗岩，花岗石 | |
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66
softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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67
preservation
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| n.保护，维护，保存，保留，保持 | |
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68
utilized
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| v.利用，使用( utilize的过去式和过去分词 ) | |
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69
bungalow
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| n.平房，周围有阳台的木造小平房 | |
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70
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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71
withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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72
prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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73
canopy
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| n.天篷，遮篷 | |
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74
preened
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| v.（鸟）用嘴整理（羽毛）( preen的过去式和过去分词 ) | |
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75
stagnant
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| adj.不流动的，停滞的，不景气的 | |
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76
plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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77
porticoes
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| n.柱廊，（有圆柱的）门廊( portico的名词复数 ) | |
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78
plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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79
banyan
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| n.菩提树，榕树 | |
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80
caravan
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| n.大蓬车；活动房屋 | |
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81
relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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82
piers
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| n.水上平台( pier的名词复数 )；（常设有娱乐场所的）突堤；柱子；墙墩 | |
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83
foliage
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| n.叶子，树叶，簇叶 | |
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84
pariah
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| n.被社会抛弃者 | |
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85
pariahs
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| n.被社会遗弃者( pariah的名词复数 )；贱民 | |
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86
sprouted
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| v.发芽( sprout的过去式和过去分词 )；抽芽；出现；（使）涌现出 | |
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87
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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88
humility
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| n.谦逊，谦恭 | |
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89
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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90
venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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91
crumbling
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| adj.摇摇欲坠的 | |
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92
rumbling
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| n. 隆隆声, 辘辘声 adj. 隆隆响的 动词rumble的现在分词 | |
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93
subjugated
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| v.征服，降伏( subjugate的过去式和过去分词 ) | |
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94
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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95
filigree
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| n.金银丝做的工艺品；v.用金银细丝饰品装饰；用华而不实的饰品装饰；adj.金银细丝工艺的 | |
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96
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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97
devoid
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| adj.全无的，缺乏的 | |
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98
lichen
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| n.地衣, 青苔 | |
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99
crumbled
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| （把…）弄碎， （使）碎成细屑( crumble的过去式和过去分词 )； 衰落； 坍塌； 损坏 | |
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100
breaches
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| 破坏( breach的名词复数 )； 破裂； 缺口； 违背 | |
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101
citadel
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| n.城堡；堡垒；避难所 | |
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102
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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103
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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104
fortress
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| n.堡垒，防御工事 | |
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105
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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106
precursors
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| n.先驱( precursor的名词复数 )；先行者；先兆；初期形式 | |
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107
divan
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| n.长沙发；（波斯或其他东方诗人的）诗集 | |
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108
bazaar
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| n.集市，商店集中区 | |
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109
medley
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| n.混合 | |
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110
wares
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| n. 货物, 商品 | |
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111
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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112
positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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113
alley
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| n.小巷，胡同；小径，小路 | |
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114
recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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115
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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116
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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117
maze
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| n.迷宫，八阵图，混乱，迷惑 | |
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118
refreshments
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| n.点心,便餐;(会议后的)简单茶点招 待 | |
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119
gliding
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| v. 滑翔 adj. 滑动的 | |
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120
tinkle
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| vi.叮当作响；n.叮当声 | |
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121
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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122
languishing
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| a. 衰弱下去的 | |
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123
rusty
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| adj.生锈的；锈色的；荒废了的 | |
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124
wig
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| n.假发 | |
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125
wigs
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| n.假发，法官帽( wig的名词复数 ) | |
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126
velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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127
embroidered
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| adj．绣花的 | |
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128
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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129
preposterous
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| adj.荒谬的，可笑的 | |
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130
boughs
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| 大树枝( bough的名词复数 ) | |
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131
cavern
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| n.洞穴，大山洞 | |
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132
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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133
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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134
banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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135
woes
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| 困境( woe的名词复数 )； 悲伤； 我好苦哇； 某人就要倒霉 | |
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136
foul
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| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
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137
monstrous
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| adj.巨大的；恐怖的；可耻的，丢脸的 | |
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138
imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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139
discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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140
prudence
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| n.谨慎，精明，节俭 | |
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141
enraged
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| 使暴怒( enrage的过去式和过去分词 )； 歜； 激愤 | |
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142
reveres
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| v.崇敬，尊崇，敬畏( revere的第三人称单数 ) | |
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143
pacified
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| 使（某人）安静( pacify的过去式和过去分词 )； 息怒； 抚慰； 在（有战争的地区、国家等）实现和平 | |
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144
talisman
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| n.避邪物，护身符 | |
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145
wrings
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| 绞( wring的第三人称单数 )； 握紧（尤指别人的手）； 把（湿衣服）拧干； 绞掉（水） | |
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146
demon
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| n.魔鬼，恶魔 | |
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147
gratitude
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| adj.感激，感谢 | |
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148
harangue
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| n.慷慨冗长的训话，言辞激烈的讲话 | |
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149
frenzy
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| n.疯狂，狂热，极度的激动 | |
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150
apotheosis
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| n.神圣之理想；美化；颂扬 | |
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