At ten o'clock, in fact, one of the neighbours living nearest to the lodge2, from whose house my uncle or Bérangère had been in the habit of telephoning, sent word to say that he was connected with Paris and that I was asked to come to the telephone without losing a minute.
I went round in a very bad temper. I was worn out with fatigue3. It was raining cats and dogs; and the night was so dark that I knocked against the trees and houses as I walked.
The moment I arrived, I took up the receiver. Some one at the other end addressed me in a trembling voice:
"M. Beaugrand . . . M. Beaugrand . . . Excuse me . . . I have discovered . . ."
I did not understand at first and asked who was speaking.
"My name will convey nothing to you," was the answer. "Benjamin Prévotelle. I'm not a person of any particular importance. I am an engineer by profession; I left the Central School two years ago."
I interrupted him:
"One moment, please, one moment. . . . Hullo! . . . Are you there? . . . Benjamin Prévotelle? But I know your name! . . . Yes, I remember, I've seen it in my uncle's papers."
"Do you mean that? You've seen my name in Noël Dorgeroux's papers?"
"Yes, in the middle of a paper, without comment of any kind."
The speaker's excitement increased:
"Oh," he said, "can it be possible? If Noël Dorgeroux made a note of my name, it proves that he read a pamphlet of mine, a year ago, and that he believed in the explanation of which I am beginning to catch a glimpse to-day."
"What explanation?" I asked, somewhat impatiently.
"You'll understand, monsieur, you'll understand when you read my report."
"Your report?"
"A report which I am writing now, to-night. . . . Listen: I was present at both the exhibitions in the Yard and I have discovered. . . ."
"Discovered what, hang it all?"
"The problem, monsieur, the solution of the problem."
"What!" I exclaimed. "You've discovered it?"
"Yes, monsieur. I may tell you it's a very simple problem, so simple that I am anxious to be first in the field. Imagine, if any one else were to publish the truth before me! So I rang up Meudon on the chance of getting you called to the telephone. . . . Oh, do listen to me, monsieur: you must believe me and help me. . . ."
"Of course, of course," I replied, "but I don't quite see . . ."
"Yes, yes," Benjamin Prévotelle implored4, appealing to me, clinging to me, so to speak, in a despairing tone of voice. "You can do a great deal. I only want a few particulars. . . ."
I confess that Benjamin Prévotelle's statements left me a little doubtful. However, I answered:
"If a few particulars can be of any use to you . . ."
"Perhaps one alone will do," he said. "It's this. The wall with the screen was entirely5 rebuilt by your uncle, Noël Dorgeroux, was it not?"
"Yes."
"And this wall, as you have said and as every one had observed, forms a given angle with its lower part."
"Yes."
"On the other hand, according to your depositions6, Noël Dorgeroux intended to have a second amphitheatre built in his garden and to use the back of the same wall as a screen. That's so, is it not?"
"Yes."
"Well, this is the particular which I want you to give me. Have you noticed whether the back of the wall forms the same angle with its lower part?"
"Yes, I've noticed that."
"In that case," said Benjamin Prévotelle, with a note of increasing triumph in his voice, "the evidence is complete. Noël Dorgeroux and I are agreed. The pictures do not come from the wall itself. The cause lies elsewhere. I will prove it; and, if M. Massignac would show a little willingness to help . . ."
"Théodore Massignac was kidnapped this evening," I remarked.
"Kidnapped? What do you mean?"
I repeated:
"Yes, kidnapped; and I presume that the amphitheatre will be closed until further notice."
"But this is terrible, it's awful!" gasped7 Benjamin Prévotelle. "Why, in that case they couldn't verify my theory! There would never be any more pictures! No, look here, it's impossible. Just think, I don't know the indispensable formula! Nobody does, except Massignac. Oh, no, it is absolutely necessary . . . Hullo, hullo! Don't cut me off, mademoiselle! . . . One moment more, monsieur. I'll tell you the whole truth about the pictures. Three or four words will be enough. . . . Hullo, hullo! . . ."
Benjamin Prévotelle's voice suddenly died away. I was clearly aware of the insuperable distance that separated him from me at the very moment when I was about to learn the miraculous8 truth which he in his turn laid claim to have discovered.
I waited anxiously. A few minutes passed. Twice the telephone-bell rang without my receiving any call. I decided9 to go away and had reached the bottom of the stairs when I was summoned back in a hurry. Some one was asking for me on the wire.
"Some one!" I said, going upstairs again. "But it must be the same person."
And I at once took up the receiver:
"Are you there? Is that M. Prévotelle?"
At first I heard only my name, uttered in a very faint, indistinct voice, a woman's voice:
"Victorien. . . . Victorien. . . ."
"Hullo!" I cried, very excitedly, though I did not yet understand. "Hullo! . . . Yes, it's I, Victorien Beaugrand. I happened to be at the telephone. . . . Hullo! . . . Who is it speaking?"
For a few seconds the voice sounded nearer and then seemed to fall away. After that came perfect silence. But I had caught these few words:
[Pg 198]"Help, Victorien! . . . My father's life is in danger: help! . . . Come to the Blue Lion at Bougival. . . ."
I stood dumbfounded. I had recognised Bérangère's voice:
"Bérangère," I muttered, "calling on me for help. . . ."
Without even pausing to think, I rushed to the station.
A train took me to Saint-Cloud and another two stations further. Wading10 through the mud, under the pelting11 rain, and losing my way in the dark, I covered the mile or two to Bougival on foot, arriving in the middle of the night. The Blue Lion was closed. But a small boy dozing12 under the porch asked me if I was M. Victorien Beaugrand. When I answered that I was, he said that a lady, by the name of Bérangère, had told him to wait for me and take me to her, at whatever time I might arrive.
I trudged13 beside the boy, through the empty streets of the little town, to the banks of the Seine, which we followed for some distance. The rain had stopped, but the darkness was still impenetrable.
"The boat is here," said the boy.
"Oh, are we crossing?"
"Yes, the young lady is hiding on the other side. Be very careful not to make a noise."
We landed soon after. Then a stony14 path took us to a house where the boy gave three knocks on the door.
Some one opened the door. Still following my guide, I went up a few steps, crossed a passage lighted by a candle and was shown into a dark room with some one waiting in it. Instantly the light of an electric lamp struck me full in the face.
"Silence, do you understand? The least sound, the least attempt at escape; and you're done for. Otherwise you have nothing to fear; and the best thing you can do is to go to sleep."
The door was closed behind me. Two bolts were shot.
I had fallen into the trap which the man Velmot—I did not hesitate to fix upon him at once—had laid for me through the instrumentality of Bérangère.
This unaccountable adventure, like all those in which Bérangère was involved, did not alarm me unduly16 at the moment. I was no doubt too weary to seek reasons for the conduct of the girl and of the man under whose instructions she was acting17. Why had she betrayed me? How had I incurred18 the man Velmot's ill-will? And what had induced him to imprison19 me, if I had nothing to fear from him as he maintained? These were all idle questions. After groping through the room and finding that it contained a bed, or rather a mattress20 and blankets, I took off my boots and outer clothing, wrapped myself in the blankets and in a few minutes was fast asleep.
I slept well into the following day. Meanwhile some one must have entered the room, for I saw on a table a hunk of new bread and a bottle of water. The cell which I occupied was a small one. Enough light to enable me to see came through the slats of a wooden shutter21, which was firmly barricaded22 outside, as I discovered after opening the narrow window. One of the slats was half broken. Through the gap I perceived that my prison overlooked from a height of three or four feet a strip of ground at the edge of which little waves lapped among the reeds. Finding that, after crossing one river, I was facing another, I concluded that Velmot had brought me to an island in the Seine. Was this not the island which I had beheld23, in a fleeting24 vision, on the chapel25 in the cemetery26? And was it not here that Velmot and Massignac had established their head-quarters last winter?
Part of the day passed in silence. But, about five o'clock, I heard a sound of voices and outbursts of argument. This happened under my room and consequently in a cellar the grating of which opened beneath my window. On listening attentively27, I seemed on several occasions to recognize Massignac's voice.
The discussion lasted fully28 an hour. Then some one made his appearance outside my window and called out:
"Hi, you chaps, come on and get ready! . . . . He's a stubborn beast and won't speak unless we make him."
It was the tall fellow who, the day before, had forced his way through the crowd in the Yard by making an outcry about a wounded man. It was Velmot, a leaner Velmot, without beard or glasses, Velmot, the coxcomb29, the object of Bérangère's affections.
"I'll make him, the brute30! Think of it. I've got him here, at my mercy: is it likely that I shouldn't be able to make him spew up his secret? No, no, we must finish it and by nightfall. You're still decided?"
"He's not half badly trussed up, eh? All right. I'll do without you. Only just lend me a hand to begin with."
He stepped into a boat fastened to a ring on the bank. One of the men pushed it with a boat-hook between two stakes planted in the mud and standing33 out well above the reeds. Velmot knotted one end of a thick rope to the top of each stake and in the middle fastened an iron hook, which thus hung four or five feet above the water.
"That's it," he said, on returning. "I shan't want you any more. Take the other boat and go and wait for me in the garage. I'll join you there in three or four hours, when Massignac has blabbed his little story and after I've had a little plain speaking with our new prisoner. And then we'll be off."
He walked away with his two assistants. When I saw him again, twenty minutes later, he had a newspaper in his hand. He laid it on a little table which stood just outside my window. Then he sat down and lit a cigar. He turned his back to me, hiding the table from my view. But at one moment he moved and I caught sight of his paper, the Journal du Soir, which was folded across the page and which bore a heading in capitals running right across the width of the sheet, with this sensational34 title:
"THE TRUTH ABOUT THE MEUDON
APPARITIONS35 REVEALED"
I was shaken to the very depths of my being. So the young student had not lied! Benjamin Prévotelle had discovered the truth and had managed, in the space of a few hours, to set it forth36 in the report of which he had spoken and to make it public.
Glued to the shutter, how I strove to read the opening lines of the article! These were the only lines that met my eyes, because of the manner in which the paper was folded. And how great was my excitement at each word that I made out!
I have carefully preserved a copy of that paper, by which a part at least of the great mystery was made known to me. Before reprinting the famous report, which Benjamin Prévotelle had published that morning, it said:
"Yes, the fantastic problem is solved. A contemporary published this morning, in the form of 'An Open Letter to the Academy of Science,' the most sober, luminous37 and convincing report conceivable. We do not know whether the official experts will agree with the conclusions of the report, but we doubt if the objections, which for that matter are frankly38 stated by the author, are strong enough, however grave they may be, to demolish39 the theory which he propounds40. The arguments seem unanswerable. The proofs are such as to compel belief. And what doubles the value of this admirable theory is that it does not merely appear to be unassailable, but opens up to us the widest and most marvellous horizons. In fact, Noël Dorgeroux's discovery is no longer limited to what it is or what it seems to be. It implies consequences which cannot be foretold42. It is calculated to upset all our ideas of man's past and all our conceptions of his future. Not since the beginning of the world has there been an event to compare with this. It is at the same time the most incomprehensible event and the most natural, the most complex and the simplest. A great scientist might have announced it to the world as the result of meditation43. And he who, thanks both to able intuition and intelligent observation has achieved this inestimable glory is little more than a boy in years.
"We subjoin a few particulars gleaned44 in the course of an interview which Benjamin Prévotelle was good enough to grant us. We apologize for being able to give no more details concerning his personality. How should it be otherwise: Benjamin Prévotelle is twenty-three years of age. He . . ."
I had to stop here, as the subsequent lines escaped my eyes. Was I to learn more?
Velmot had risen from his chair and was walking to and fro. After a brief disappearance45, he returned with a bottle of some liqueur, of which he drank two glasses in quick succession. Then he unfolded the newspaper and began to peruse46 the report or rather to reperuse it, for I had no doubt that he had read it before.
His chair was right against my shutter. He sat leaning back, so that I was able to see, not the end of the preliminary article, but the report itself, which he read rather slowly.
The daylight, proceeding47 from a sky whose clouds must have hidden the sun, was meantime diminishing. I read simultaneously48 with Velmot:
"An Open Letter to the Academy of Science
"I will beg you, gentlemen, to regard this memorandum49 as only the briefest possible introduction to the more important essay which I propose to write and to the innumerable volumes to which it is certain to give rise in every country, to which volumes also it will serve as a modest preface.
"I am writing hurriedly, allowing my pen to run away with me, improvising50 hastily as I go along. You will find omissions51 and defects which I do not attempt to conceal52 and which are due in equal proportions to the restricted number of observations which we were able to make at Meudon and to the obstinate53 refusal which M. Théodore Massignac opposes to every request for additional information. But the remarkable54 feeling aroused by the miraculous pictures makes it my duty to offer the results, as yet extremely incomplete, of an investigation55 in respect of which I have the legitimate56 ambition to reserve the right of priority. I thus hope, by confining my hypotheses to a definite channel, to assist towards establishing the truth and relieving the public mind.
"My investigations57 were commenced immediately after the first revelations made by M. Victorien Beaugrand. I collated58 all his statements. I analysed all his impressions. I seized upon all that Noël Dorgeroux had said. I went over the details of all his experiments. And in consequence of carefully weighing and examining all these things I did not come to the first performance at Meudon with my hands in my pockets, as a lover of sensations and a dabbler59 in mystery. On the contrary, I came with a well-considered plan and with a few working-implements, deliberately60 selected and concealed61 under my own clothing and that of some of my friends who were good enough to assist me.
"First of all, a camera. This was a matter of some difficulty. M. Théodore Massignac had his misgivings62 and had prohibited the introduction of so much as the smallest Kodak. Nevertheless I succeeded. I had to. I had to provide a definite answer to a first question, which might be called the critical question: are the Meudon apparitions due to individual or collective suggestions, possessing no reality outside those who experience them, or have they a real and external cause? That answer may certainly be deduced from the absolute identity of the impressions received by all the spectators. But to-day I am adducing a direct proof which I consider to be unassailable. The camera refuses any sort of suggestion. The camera is not a brain in which the picture can create itself, in which an hallucination is formed out of internal data. It is a witness that does not lie and is not mistaken. Well, this witness has spoken. The sensitive plate certifies63 the phenomena64 to be real. I hold at the disposal of the Academy seven negatives of the screen thus obtained by instantaneous exposures. Two of them, representing Rheims Cathedral on fire, are remarkably65 clear.
"Here then the first point is settled: the screen is the seat of an emanation of light-rays.
"While I was obtaining the proofs of this emanation, I submitted it to the means of investigation which physics places at our disposal. I was not, unfortunately, able to make as many or as accurate experiments as I should have wished. The distance of the wall, the local arrangements and the inadequacy66 of the light emitted by the screen were against me. Nevertheless, by using the spectroscope and the polarimeter, I ascertained67 that this light did not appear to differ perceptibly from the natural light diffused68 by a white surface.
"But a more tangible69 result and one to which I attach the greatest importance was obtained by examining the screen by means of a revolving70 mirror. It is well known that, if our ordinary cinematographic pictures projected on a screen be viewed in a mirror to which we impart a rapid rotary71 movement, the successive pictures are dislocated and yield images in the field of the mirror. A similar effect can be obtained, though less distinctly, by turning one's head quickly so as to project the successive pictures upon different points of the retina. It was therefore indicated that I should apply this method of analysis to the animated72 projections73 produced at Meudon. I was thus able to prove positively75 that these projections, like those of the ordinary cinematograph, break up into separate and successive images, but with a rapidity which is notably76 greater than in the operations to which we are accustomed, for I found that they average 28 to the second. On the other hand, these images are not emitted at regular intervals77. I observed rhythmical78 alterations79 of acceleration80 and retardation81 and I am inclined to believe that the rhythmical variations are not unconnected with the extraordinary impression of steroscopic relief which all the spectators at Meudon received.
"The foregoing observations led up to a scientific certainty and naturally guided my investigations into a definite channel: the Meudon pictures are genuine cinematographic projections thrown upon the screen and perceived by the spectators in the ordinary manner. But where is the projecting-apparatus82? How does it work? This is where the gravest difficulty lies, for hitherto no trace of an apparatus has been discovered, nor even the least clue to the existence of any apparatus whatever.
"Is it allowable to suppose, as I did not fail to do, that the projections may proceed from within the screen, by means of an underground device which it is not impossible to imagine? This last theory would obviously greatly relieve our minds, by attributing the visions to some clever trick. But it was not without good reason that first M. Victorien Beaugrand and afterwards the audience itself refused to accept it. The visions bear a stamp of authenticity83 and unexpectedness which strikes all who see them, without any exception. Moreover, the specialists in cinematographic "faking," when questioned, frankly proclaim that their expert knowledge is at a loss and their technique at fault. It may even be declared that the exhibitor of these images possesses no power beyond that of receiving them on a suitable screen and that he himself does not know what is about to appear on the screen. Lastly, it may be added that the preparation of such films as that would be a long and complicated operation, necessitating84 an extensive equipment and a numerous staff of actors; and it is really impossible that these preparations can have been effected in absolute secrecy85.
"This is exactly the point to which my enquiries had led me on the night before the last, after the first performance. I will not presume to say that I knew more than any chance member of the public about that which constitutes the fundamental nature of the problem. Nevertheless, when I took my seat at the second performance, I was in a better condition mentally than any of the other onlookers86. I was standing on solid ground. I was self controlled, free of feverish87 excitement or any other factor that might diminish the intensity88 of my attention. I was hampered89 by no preconceived ideas; and no new idea, no new fact could come within my grasp without my immediately perceiving it.
"This was what happened. The new fact was the bewildering and mystifying spectacle of the grotesque90 Shapes. I did not at once draw the conclusion which this spectacle entailed91, or at least I was not aware of so doing. But my perceptions were aroused. Those beings equipped with three arms became connected in my mind with the initial riddle92 of the Three Eyes. If I did not yet understand, at least I had a presentiment93 of the truth; if I did not know, at least I suspected that I was about to know. The door was opening. The light was beginning to dawn.
"A few minutes later, as will be remembered, came the gruesome picture of a cart conveying two gendarmes94, a priest and a king who was being led to his death. It was a confused, fragmentary, mutilated picture, continually broken up and pieced together again. Why? For, after all, the thing was not normal. Until then, as we know and as M. Victorien Beaugrand had told us, until then the pictures were always admirably distinct. And suddenly we beheld a flickering95, defective96 image, confused, dim and at moments almost invisible. Why?
"At that critical instant, this was the only train of thought permissible97. The horror and strangeness of the spectacle no longer counted. Why was this, technically98 speaking, a defective picture? Why was the faultless mechanism99, which until now had worked with perfect smoothness, suddenly disordered? What was the grain of sand that had thrown it out of gear?
"Really the problem was proposed to me with a simplicity100 that confounded me. The terms of the problem were familiar to all. We had before us cinematographic pictures. These cinematographic pictures did not proceed from the wall itself. They did not come from any part of the amphitheatre. Then whence were they projected? And what obstacle was now preventing their free projection74?
"Instinctively101, I made the only movement that could be made, the movement which a child would have made if that elementary question had been put to it: I raised my eyes to the sky.
"It was absolutely clear, an immense, empty sky.
"Clear and empty, yes, but in the part which my eyes were able to interrogate102. Was it the same in the part hidden from my view by the upper wall of the amphitheatre?
"The mere41 silent utterance103 of the words which propounded104 the question was enough to make me almost swoon with anxiety. They bore the tremendous truth within themselves. I had only to speak them for the great mystery to vanish utterly105.
"With trembling limbs and a heart that almost ceased to beat, I climbed to the top of the amphitheatre and gazed at the horizon. Yonder, towards the west, light clouds were floating. . . ."
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1
logic
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| n.逻辑(学)；逻辑性 | |
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lodge
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| v.临时住宿，寄宿，寄存，容纳；n.传达室，小旅馆 | |
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fatigue
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| n.疲劳，劳累 | |
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implored
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| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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depositions
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| 沉积（物）( deposition的名词复数 )； （在法庭上的）宣誓作证； 处置； 罢免 | |
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gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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wading
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| （从水、泥等）蹚，走过，跋( wade的现在分词 ) | |
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pelting
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| 微不足道的，无价值的，盛怒的 | |
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dozing
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| v.打瞌睡,假寐 n.瞌睡 | |
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trudged
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| vt.& vi.跋涉，吃力地走（trudge的过去式与过去分词形式） | |
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stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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pointed
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| adj.尖的，直截了当的 | |
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unduly
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| adv.过度地，不适当地 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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incurred
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| [医]招致的，遭受的； incur的过去式 | |
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imprison
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| vt.监禁，关押，限制，束缚 | |
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mattress
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| n.床垫，床褥 | |
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shutter
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| n.百叶窗；(照相机)快门；关闭装置 | |
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barricaded
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| 设路障于，以障碍物阻塞( barricade的过去式和过去分词 )； 设路障[防御工事]保卫或固守 | |
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beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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fleeting
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| adj.短暂的，飞逝的 | |
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chapel
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| n.小教堂，殡仪馆 | |
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cemetery
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attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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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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coxcomb
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| n.花花公子 | |
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brute
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| n.野兽，兽性 | |
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growls
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| v.（动物）发狺狺声， （雷）作隆隆声( growl的第三人称单数 )；低声咆哮着说 | |
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sneered
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| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
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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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sensational
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| adj.使人感动的，非常好的，轰动的，耸人听闻的 | |
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apparitions
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| n.特异景象( apparition的名词复数 )；幽灵；鬼；（特异景象等的）出现 | |
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forth
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luminous
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38
frankly
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| adv.坦白地，直率地；坦率地说 | |
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39
demolish
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| v.拆毁(建筑物等)，推翻(计划、制度等) | |
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propounds
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| v.提出（问题、计划等）供考虑[讨论]，提议( propound的第三人称单数 ) | |
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41
mere
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| adj.纯粹的；仅仅，只不过 | |
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42
foretold
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| v.预言，预示( foretell的过去式和过去分词 ) | |
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43
meditation
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| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
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gleaned
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| v.一点点地收集（资料、事实）( glean的过去式和过去分词 )；（收割后）拾穗 | |
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45
disappearance
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| n.消失，消散，失踪 | |
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peruse
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| v.细读，精读 | |
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47
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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48
simultaneously
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| adv.同时发生地，同时进行地 | |
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49
memorandum
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| n.备忘录，便笺 | |
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50
improvising
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| 即兴创作（improvise的现在分词形式） | |
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51
omissions
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| n.省略( omission的名词复数 )；删节；遗漏；略去或漏掉的事（或人） | |
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52
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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53
obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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54
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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55
investigation
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| n.调查，调查研究 | |
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56
legitimate
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| adj.合法的，合理的，合乎逻辑的；v.使合法 | |
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investigations
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| （正式的）调查( investigation的名词复数 )； 侦查； 科学研究； 学术研究 | |
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58
collated
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| v.校对( collate的过去式和过去分词 )；整理；核对；整理（文件或书等） | |
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dabbler
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| n. 戏水者, 业余家, 半玩半认真做的人 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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61
concealed
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| a.隐藏的，隐蔽的 | |
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misgivings
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| n.疑虑，担忧，害怕；疑虑，担心，恐惧( misgiving的名词复数 )；疑惧 | |
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certifies
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| （尤指书面）证明( certify的第三人称单数 )； 发证书给…； 证明（某人）患有精神病； 颁发（或授予）专业合格证书 | |
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phenomena
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| n.现象 | |
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remarkably
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| ad.不同寻常地，相当地 | |
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inadequacy
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| n.无法胜任，信心不足 | |
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ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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diffused
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| 散布的，普及的，扩散的 | |
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tangible
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| adj.有形的，可触摸的，确凿的，实际的 | |
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revolving
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| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
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rotary
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| adj.(运动等)旋转的；轮转的；转动的 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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projections
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| 预测( projection的名词复数 )； 投影； 投掷； 突起物 | |
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projection
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| n.发射，计划，突出部分 | |
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positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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notably
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| adv.值得注意地，显著地，尤其地，特别地 | |
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intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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rhythmical
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| adj.有节奏的，有韵律的 | |
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alterations
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| n.改动( alteration的名词复数 )；更改；变化；改变 | |
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acceleration
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| n.加速，加速度 | |
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81
retardation
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| n.智力迟钝，精神发育迟缓 | |
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82
apparatus
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| n.装置，器械；器具，设备 | |
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83
authenticity
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| n.真实性 | |
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84
necessitating
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| 使…成为必要，需要( necessitate的现在分词 ) | |
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85
secrecy
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| n.秘密，保密，隐蔽 | |
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86
onlookers
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| n.旁观者，观看者( onlooker的名词复数 ) | |
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87
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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88
intensity
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| n.强烈，剧烈；强度；烈度 | |
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89
hampered
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| 妨碍，束缚，限制( hamper的过去式和过去分词 ) | |
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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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entailed
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| 使…成为必要( entail的过去式和过去分词 )； 需要； 限定继承； 使必需 | |
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riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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93
presentiment
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| n.预感，预觉 | |
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94
gendarmes
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| n.宪兵，警官( gendarme的名词复数 ) | |
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95
flickering
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| adj.闪烁的，摇曳的，一闪一闪的 | |
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96
defective
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| adj.有毛病的，有问题的，有瑕疵的 | |
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97
permissible
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| adj.可允许的，许可的 | |
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98
technically
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| adv.专门地，技术上地 | |
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99
mechanism
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| n.机械装置；机构，结构 | |
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100
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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101
instinctively
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| adv.本能地 | |
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102
interrogate
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| vt.讯问，审问，盘问 | |
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103
utterance
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| n.用言语表达，话语，言语 | |
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104
propounded
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| v.提出（问题、计划等）供考虑[讨论]，提议( propound的过去式和过去分词 ) | |
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105
utterly
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| adv.完全地，绝对地 | |
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