Lillie's best hopes were confirmed. The famous critic wished to become an Old Maid. The President and the new and promising4 candidate had a delightful5 chat over a cup of tea and the prospects6 of the Club. The two girls speedily became friends.
"Perhaps so," said Frank Maddox thoughtfully. "My pen-name does sound odd under the peculiar8 circumstances. On the other hand to revert9 to Laura Spragg now might be indiscreet. People would couple my name with Frank Maddox's—you know the way of the world. The gossips get their facts so distorted, and I couldn't even deny the connection."
"But of course you have had your romance?" asked Lillie. "You know one romance per head is our charge for admission?"
"Oh, yes! I have had my romance. In three vols. Shall I tell it you?"
"If you please."
"Listen, then. Volume the First: Frank Maddox is in her study. Outside the sun is setting in furrows10 of gold-laced sagging11 storm-clouds, dun and——"
"Oh, please, I always skip that," laughed Lillie. "I know that two lovers cannot walk in a lane without the author seeing the sunset, which is the last thing in the world the lovers see. But when the sky begins to look black, I always begin to skip."
"Forgive me. I didn't mean to do it. Remember I'm an habitual12 art-critic. I thought I was describing a harmony of Whistler's or a movement from a sonata13. It shall not occur again. To the heroine enter the hero—shabby, close-cropped, pale. Their eyes meet. He is thunderstruck to find the heroine a woman; blushes, stammers14, and offers to go away. Struck by something of innate15 refinement16 in his manner, she presses him to avow17 the object of his visit. At last, in dignified18 language, infinitely19 touching20 in its reticence21, he confesses he called on Mr. Frank Maddox, the writer he admires so much, to ask a little pecuniary22 help. He is starving. Original, isn't it, to have your hero hungry in the first chapter? He speaks vaguely23 of having ambitions which, unless he goes under in the struggle for existence may some day be realized. There are so many men in London like that. However, the heroine is moved by his destitute24 condition and sitting down to her desk, she writes out a note, folds it up and gives it to him. 'There!' she says, 'there's a prescription25 against starvation.' 'But how am I to take it?' he asked. 'It must be taken before breakfast, the first thing in the morning,' she replied, 'to the editor of the Moon. Give him the note; he will change it for you. Don't mention my name.'
"There's a prescription against starvation."
"He thanked me and withdrew."
"I can't quite remember. But something of this sort. 'The numerous admirers of Frank Maddox will be gratified to hear that she has in the press a volume of essays on the part played by color-blindness in the symphonic movements of the time. The great critic is still in town but leaves for Torquay next Tuesday.' For that the editor of the Moon gave him half-a-crown."
"Do you call that charity?" said Lillie, astonished.
"Certainly. Charity begins at home. Do many people give charity except to advertise themselves? Philanthropy by paragraph is a perquisite27 of fame. Why, I have a pensioner28 who comes in for all my Acadæum paragraphs. That Moon part saved our hero from starvation. Years afterwards I learnt he had frittered away two-pence in having his hair cut."
"It seems strange for a starving man to get his hair cut," said Lillie.
"Not when you know the cause," replied Frank Maddox. "It was his way of disguising himself. And this brings me to Volume Two. The years pass. Once again I am in my study. There is a breath of wind among the elms in the front garden, and the sky is strewn with vaporous sprays of apple-blossom——I beg your pardon. Re-enter the hero, spruce, frock-coated, dignified. He recalls himself to my memory—but I remember him only too well. He tells me that my half-crown saved him at the turning-point of his career, that he has now achieved fame and gold, that he loves my writing more passionately29 than ever, and that he has come to ask me to crown his life. The whole thing is so romantic that I am about to whisper 'yes' when an instinct of common sense comes to my aid and my half-opened lips murmur30 instead: 'But the name you sent up—Horace Paul—it is not known to me. You say you have won fame. I, at least, have never heard of you.'
"'Of course not,' he replies. 'How should you? If I were Horace Paul you would not marry me; just as I should certainly not marry you if you were Frank Maddox. But what of Paul Horace?'"
"Paul Horace," cried Lillie. "The great composer!"
"That is just what I exclaimed. And my hero answers: 'The composer, great or little. None but a few intimates connect me with him. The change of name is too simple. I always had a longing—call it morbid31 if you will—for obscurity in the midst of renown32. I have weekly harvests of hair to escape any suspicion of musical attainments33. But you and I, dearest—think of what our life will be enriched by our common love of the noblest of the arts. Outside, the marigolds nod to the violets, the sapphire—excuse me, I mean to say——' thus he rambled34 on, growing in enthusiasm with every ardent35 phrase, the while a deadly coldness was fastening round my heart. For I felt that it could not be."
"And why?" inquired Lillie in astonishment36. "It seems one of the marriages made in heaven."
"I dared not tell him why; and I can only tell you on condition you promise to keep my secret."
"I promise."
"Listen," whispered the great critic. "I know nothing about music or art, and I was afraid he would find me out."
Lillie fell back in her chair, white and trembling. Another idol37 shivered! "But how——?" she gasped38.
"There, then, don't take on so," said the great critic kindly39. "I did not think you, too, were such an admirer of [pg 282] mine, else I might have spared you the shock. You ask how it is done. Well, I didn't set out to criticise40. I can at least plead that in extenuation41. My nature is not wilfully42 perverse43. There was a time when I was as pure and above criticism as yourself." She paused and furtively44 wiped away a tear, then resumed more calmly, "I drifted into it. For years I toiled45 on, without ever a thought of musical and art criticism sullying my maiden meditations46. My downfall was gradual. In early maidenhood47 I earnt my living as a type-writer. I had always had literary yearnings, but the hard facts of life allowed me only this rough approximation to my ideal. Accident brought excellent literature to my machine, and it required all my native honesty not to steal the plots of the novelists and the good things of the playwrights48. The latter was the harder temptation to resist, for when the play was good enough to be worth stealing from, I knew it would never be produced and my crime never discovered. Still in spite of my honesty, I benefited indirectly49 by my type-writing, for contact with so much admirable work fostered the graceful50 literary style which, between you and me, is my only merit. In time I plucked up courage to ask one of my clients, a journalist, if he could put some newspaper work in my way. 'What can you do?' he asked in surprise. 'Anything,' I replied with maiden modesty51. 'I see, that's your special line,' he said musingly52. 'Unfortunately we are full up in that department. You see, everyone turns his hand to that—it's like schoolmastering, the first thing people think of. It's a pity you are a girl, because the way to journalistic distinction lies through the position of office-boy. Office-girl sounds strange. I doubt whether they would have you except on a Freethought organ. Our office-boy has to sweep out the office and review the novels, else you might commence humbly53 as a critic of literature. It isn't a bad post either, for he supplements his income by picking rejected matter out of the waste paper basket and surreptitiously lodging54 it in the printer's copy pigeonhole55. His income in fees from journalistic aspirants56 must be considerable. Yes, had you been a boy you might have made a pretty good thing out of literature! Then there is no chance at all for me on your paper?' I inquired desperately57. 'None,' he said sadly. 'Our editor is an awful old fogey. He is vehemently58 opposed to the work of outsiders, and if you were to send him his own leaders in envelopes he would say they were rot. For once he would be a just critic. You see, therefore, what your own chance is. Even I, who have been on the staff for years, couldn't do anything to help you. No, I am afraid there is no hope for you unless you approach our office-boy.' I thanked him warmly for his advice and encouragement, and within a fortnight an article of mine appeared in the paper. It was called 'The Manuscripts of Authors,' and revealed in a refined and ladylike way the secrets of the chirographic characteristics of the manuscripts I had to type-write. My friend said I was exceedingly practical——"
"Because most amateur journalists write about abstract principles, whereas I had sliced out for the public a bit of concrete fact, and the great heart of the people went out to hear the details of the way Brown wrote his books, Jones his jokes, and Robinson his recitations. The article made a hit, and annoyed the authors very much."
"So, I should think," said Lillie. "Didn't they withdraw their custom from you instanter?"
The office boy edits the paper.
"Why? They didn't know it was I. Only my journalistic friend knew; and he was too much of a gentleman to give away my secret. I wrote to the editor under the name of Frank Maddox, thanking him for having inserted my article, and the editor said to my friend, 'Egad, I fancy I've made a discovery there. Why, if I were to pay any attention to your idea of keeping strictly60 to the old grooves61, the paper would stagnate62, my boy, simply stagnate.' The editor was right, for my friend assured me the paper would have died long before, if the office-boy had not condescended63 to edit it. Anyhow, it was to that office-boy I owed my introduction to literature. The editor was very proud of having discovered me, and, being installed in his good graces, I passed rapidly into dramatic criticism, and was even allowed to understudy the office-boy as literary reviewer. He could not stomach historical novels, and handed over to me all works with pronouns in the second person. Gradually I rose to higher things, but it was not until I had been musical and art critic for over eighteen months that the editor learnt that the writer whose virile64 style he had often dilated65 upon to my friend was a woman."
"And what did he do when he learnt it?" asked Lillie.
"He swore——"
"That he loved me—me whom he had never seen. Of course, I declined him with thanks; happily there was a valid67 excuse, because he had written his communication on both sides of the paper. But even this technical touch did not mollify him, and he replied that my failure to appreciate him showed I could no longer be trusted as a critic. Fortunately my work had been signed, my fame was established. I collected my articles into a book and joined another paper."
"But you haven't yet told me how it is done?"
"Oh, that is the least. You see, to be a critic it is not essential to know anything—you must simply be able to write. To be a great critic you must simply be able to write well. In my omniscience68, or catholic ignorance, I naturally looked about for the subject on which I could most profitably employ my gift of style with the least chance of being found out. A moment's consideration will convince you that the most difficult branches of criticism are the easiest. Of musical and artistic69 matters not one person in a thousand understands aught but the rudiments70: here, then, is the field in which the critical ignoramus may expatiate71 at large with the minimum danger of discovery. Nay72, with no scintilla73 of danger; for the subject matter is so obscure and abstruse74 that the grossest of errors may put on a bold face and parade as a profundity75, or, driven to bay, proclaim itself a paradox76. Only say what you have not got to say authoritatively77 and well, and the world shall fall down and worship you. The place of art in religion has undergone a peculiar historical development. First men worshipped the object of art; then they worshipped the artist; and nowadays they worship the art critic."
"It is true," said Lillie reflectively. "This age has witnessed the apotheosis78 of the art critic."
"And of all critics. And yet what can be more evident than that the art of criticism was never in such a critical condition? Nobody asks to see the critic's credentials79. He is taken at his own valuation. There ought to be an examination to protect the public. Even schoolmasters are now required to have certificates; while those who pretend to train the larger mind in the way it should think are left to work their mischief80 uncontrolled. No dramatic critic should be allowed to practise without an elementary knowledge of human life, law, Shakespeare, and French. The musical critic should be required to be able to perform on some one instrument other than his own trumpet81, to distinguish tune82 from tonality, to construe83 the regular sonata, to comprehend the plot of Il Trovatore, and to understand the motives84 of Wagner. The art critic should [pg 287] be able to discriminate85 between a pastel and a water-color, an impressionist drawing and a rough sketch86, to know the Dutch school from the Italian, and the female figure from the male, to translate morbidezza and chiaroscuro87, and failing this, to be aware of the existence and uses of a vanishing point. A doctor's certificate should also be produced to testify that the examinee is in possession of all the normal faculties88; deafness, blindness, and color-blindness being regarded as disqualifications, and no one should be allowed to practise unless he enjoyed a character for common honesty supplemented by a testimonial from a clergyman, for although art is non-moral the critic should be moral. This would be merely the passman stage; there could always be examinations in honors for the graduates. Once the art critics were educated, the progress of the public would be rapid. They would no longer be ready to admire the canvases of Michael Angelo, who, as I learnt the other day for the first time, painted frescoes89, nor would they prefer him, as unhesitatingly as they do now, to Buonarotti, which is his surname, nor would they imagine Raffaelle's Cartoons appeared in Puncinello. All these mistakes I have myself made, though no one discovered them; while in the realm of music no one has more misrepresented the masters, more discouraged the overtures90 of young composers."
"But still I do not understand how it is done," urged Lillie.
"You shall have my formula in a nutshell. I had to be a musical critic and an art critic. I was ignorant of music and knew nothing of art. But I was a dab91 at language. When I was talking of music, I used the nomenclature of art. I spoke92 of light and shade, color and form, delicacy93 of outline, depth and atmosphere, perspective, foreground and background, nocturnes and harmonies in blue. I analyzed94 symphonies pictorially and explained what I saw defiling95 before me as the music swept on. Sunsets and belvedere towers, swarthy Paynims on Shetland ponies96, cypress97 plumes98 and Fra Angelico's cherubs99, lumps of green clay and delicate pillared loggias, fennel tufts and rococo100 and scarlet101 anemones102, and over all the trail of the serpent. Thus I created an epoch103 in musical criticism. On the other hand, when I had to deal with art, I was careful to eschew104 every suggestion of the visual vocabulary and to confine myself to musical phrases. In talking of pictures, I dwelt upon their counter-point and their orchestration, their changes of key and the evolution of their ideas, their piano and forte-passages, and their bars of rest, their allegro105 and diminuendo aspects, their suspensions on the dominant106. I spoke of them as symphonies and sonatas107 and masses, said one was too staccato and another too full of consecutive108 sevenths, and a third in need of transposition to the minor109. Thus I created an epoch in art criticism. In both departments the vague and shifting terms I introduced enabled me to evade110 mistakes and avoid detection, while the creation of two epochs gave me the very first place in contemporary criticism. There is nothing in which I would not undertake to create an epoch. I do not say I have always been happy, and it has been a source of constant regret to me that I had not even learnt to play the piano when a girl and that unplayed music still remained to me little black dots."
"And so you did not dare marry the composer?"
"No, nor tell him why. Volume Three: I said I admired him so much that I wanted to go on devoting critical essays to him, and my praises would be discounted by the public if I were his wife. Was it not imprudent for him to alienate111 the leading critic by marrying her? Rather would I sacrifice myself and continue to criticise him. But I love him, and it is for his sake I would become an Old Maid."
"I would rather you didn't," said Lillie, her face still white. "I have found so much inspiration in your books that I could not bear to be daily reminded I ought not to have found it."
Poor president! The lessons of experience were hard! The Club taught her much she were happier without.
That day Lord Silverdale appropriately intoned (with banjo obligato) a patter-song which he pretended to have written at the Academy, whence he had just come with the conventional splitting headache.
(NOT BY ALFRED JINGLE.)
Brain a-whirling, pavement twirling,
Cranium aching, almost baking,
Million pictures, million mixtures,
Small and great 'uns, Brown's and Leighton's,
Sky and wall 'uns, short and tall 'uns,
Landscape, figure, white or nigger,
Steely etchings, inky sketchings,
Realistic, prize-fight-fistic,
Still-life (flowers, tropic bowers),
Pure domestic, making breast tick
With emotion; endless ocean,
Children, cattle, 'busses, battle,
Nymphs and peasants, peers and pheasants,
Dogs and flunkeys, gods and monkeys
Half-dressed ladies, views of Hades,
Doves and dreamers, stars and steamers,
Saucepans, blossoms, rags, opossums,
Tramway, cloudland, wild and ploughed land,
Gents and mountains, clocks and fountains,
Pan and pansy—these of fancy
Have possession in procession
Never-ending, ever blending,
All a-flitter and a-glitter,
Ever whirling, ever curling,
Ho, some brandy—is it handy?
Hang all—no, don't hang all—painting!
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1
dispelled
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| v.驱散，赶跑( dispel的过去式和过去分词 ) | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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rosebud
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| n.蔷薇花蕾，妙龄少女 | |
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promising
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| adj.有希望的，有前途的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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prospects
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| n.希望，前途(恒为复数) | |
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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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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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revert
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| v.恢复，复归，回到 | |
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furrows
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| n.犁沟( furrow的名词复数 )；（脸上的）皱纹v.犁田，开沟( furrow的第三人称单数 ) | |
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sagging
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| 下垂[沉，陷]，松垂，垂度 | |
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habitual
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| adj.习惯性的；通常的，惯常的 | |
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sonata
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| n.奏鸣曲 | |
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stammers
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| n.口吃，结巴( stammer的名词复数 )v.结巴地说出( stammer的第三人称单数 ) | |
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innate
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| adj.天生的，固有的，天赋的 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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avow
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| v.承认，公开宣称 | |
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dignified
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| a.可敬的，高贵的 | |
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infinitely
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| adv.无限地，无穷地 | |
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touching
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| adj.动人的，使人感伤的 | |
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reticence
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| n.沉默，含蓄 | |
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pecuniary
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| adj.金钱的；金钱上的 | |
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vaguely
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| adv.含糊地，暖昧地 | |
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destitute
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| adj.缺乏的；穷困的 | |
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prescription
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| n.处方，开药；指示，规定 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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perquisite
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| n.固定津贴，福利 | |
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pensioner
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| n.领养老金的人 | |
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passionately
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| ad.热烈地，激烈地 | |
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murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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morbid
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| adj.病的；致病的；病态的；可怕的 | |
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renown
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| n.声誉，名望 | |
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attainments
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| 成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就 | |
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34
rambled
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| （无目的地）漫游( ramble的过去式和过去分词 )； （喻）漫谈； 扯淡； 长篇大论 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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astonishment
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| n.惊奇，惊异 | |
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idol
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| n.偶像，红人，宠儿 | |
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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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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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criticise
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| v.批评，评论；非难 | |
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extenuation
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| n.减轻罪孽的借口；酌情减轻；细 | |
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42
wilfully
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| adv.任性固执地；蓄意地 | |
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perverse
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| adj.刚愎的；坚持错误的，行为反常的 | |
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furtively
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| adv. 偷偷地, 暗中地 | |
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toiled
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| 长时间或辛苦地工作( toil的过去式和过去分词 )； 艰难缓慢地移动，跋涉 | |
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meditations
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| 默想( meditation的名词复数 )； 默念； 沉思； 冥想 | |
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maidenhood
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| n. 处女性, 处女时代 | |
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playwrights
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| n.剧作家( playwright的名词复数 ) | |
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indirectly
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| adv.间接地，不直接了当地 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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musingly
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| adv.沉思地，冥想地 | |
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53
humbly
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| adv. 恭顺地，谦卑地 | |
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54
lodging
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| n.寄宿，住所；(大学生的)校外宿舍 | |
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pigeonhole
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| n.鸽舍出入口；v.把...归类 | |
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56
aspirants
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| n.有志向或渴望获得…的人( aspirant的名词复数 )v.渴望的，有抱负的，追求名誉或地位的( aspirant的第三人称单数 )；有志向或渴望获得…的人 | |
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desperately
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| adv.极度渴望地，绝望地，孤注一掷地 | |
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vehemently
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| adv. 热烈地 | |
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59
sneer
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| v.轻蔑；嘲笑；n.嘲笑，讥讽的言语 | |
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60
strictly
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| adv.严厉地，严格地；严密地 | |
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61
grooves
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| n.沟( groove的名词复数 )；槽；老一套；（某种）音乐节奏v.沟( groove的第三人称单数 )；槽；老一套；（某种）音乐节奏 | |
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62
stagnate
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| v.停止 | |
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63
condescended
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| 屈尊，俯就( condescend的过去式和过去分词 )； 故意表示和蔼可亲 | |
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64
virile
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| adj.男性的；有男性生殖力的；有男子气概的；强有力的 | |
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65
dilated
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| adj.加宽的，扩大的v.（使某物）扩大，膨胀，张大( dilate的过去式和过去分词 ) | |
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66
profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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67
valid
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| adj.有确实根据的；有效的；正当的，合法的 | |
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68
omniscience
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| n.全知，全知者，上帝 | |
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69
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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70
rudiments
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| n.基础知识，入门 | |
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71
expatiate
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| v.细说，详述 | |
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72
nay
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| adv.不；n.反对票，投反对票者 | |
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73
scintilla
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| n.极少，微粒 | |
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74
abstruse
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| adj.深奥的，难解的 | |
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75
profundity
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| n.渊博；深奥，深刻 | |
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76
paradox
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| n.似乎矛盾却正确的说法；自相矛盾的人(物) | |
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77
authoritatively
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| 命令式地，有权威地，可信地 | |
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78
apotheosis
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| n.神圣之理想；美化；颂扬 | |
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79
credentials
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| n.证明，资格，证明书，证件 | |
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80
mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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81
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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82
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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83
construe
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| v.翻译，解释 | |
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84
motives
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| n.动机，目的( motive的名词复数 ) | |
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85
discriminate
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| v.区别，辨别，区分；有区别地对待 | |
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86
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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87
chiaroscuro
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| n.明暗对照法 | |
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88
faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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89
frescoes
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| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
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90
overtures
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| n.主动的表示，提议；（向某人做出的）友好表示、姿态或提议( overture的名词复数 )；（歌剧、芭蕾舞、音乐剧等的）序曲，前奏曲 | |
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91
dab
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| v.轻触，轻拍，轻涂；n.(颜料等的)轻涂 | |
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92
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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93
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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94
analyzed
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| v.分析( analyze的过去式和过去分词 )；分解；解释；对…进行心理分析 | |
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95
defiling
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| v.玷污( defile的现在分词 )；污染；弄脏；纵列行进 | |
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96
ponies
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| 矮种马，小型马( pony的名词复数 )； ￡25 25 英镑 | |
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97
cypress
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| n.柏树 | |
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98
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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99
cherubs
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| 小天使，胖娃娃( cherub的名词复数 ) | |
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100
rococo
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| n.洛可可；adj.过分修饰的 | |
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101
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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102
anemones
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| n.银莲花( anemone的名词复数 )；海葵 | |
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103
epoch
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| n.(新)时代；历元 | |
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104
eschew
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| v.避开，戒绝 | |
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105
allegro
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| adj. 快速而活泼的；n.快板；adv.活泼地 | |
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106
dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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107
sonatas
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| n.奏鸣曲( sonata的名词复数 ) | |
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108
consecutive
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| adj.连续的，联贯的，始终一贯的 | |
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109
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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110
evade
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| vt.逃避，回避；避开，躲避 | |
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111
alienate
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| vt.使疏远，离间；转让(财产等) | |
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112
jingle
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| n.叮当声，韵律简单的诗句；v.使叮当作响，叮当响，押韵 | |
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113
muddle
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| n.困惑，混浊状态；vt.使混乱，使糊涂，使惊呆；vi.胡乱应付，混乱 | |
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114
puddle
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| n.(雨)水坑，泥潭 | |
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115
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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116
transit
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| n.经过，运输；vt.穿越，旋转；vi.越过 | |
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117
genre
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| n.(文学、艺术等的)类型，体裁，风格 | |
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118
eke
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| v.勉强度日，节约使用 | |
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119
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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120
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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121
glaze
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| v.因疲倦、疲劳等指眼睛变得呆滞，毫无表情 | |
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122
jumble
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| vt.使混乱，混杂；n.混乱；杂乱的一堆 | |
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123
varnish
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| n.清漆；v.上清漆；粉饰 | |
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124
taper
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| n.小蜡烛，尖细，渐弱；adj.尖细的；v.逐渐变小 | |
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125
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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126
seamen
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| n.海员 | |
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127
shipping
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| n.船运（发货，运输，乘船） | |
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128
hearth
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| n.壁炉炉床，壁炉地面 | |
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129
brooks
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| n.小溪( brook的名词复数 ) | |
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130
prancing
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| v.（马）腾跃( prance的现在分词 ) | |
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131
swirling
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| v.旋转，打旋( swirl的现在分词 ) | |
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132
throbbing
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| a. 跳动的,悸动的 | |
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133
tainting
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| v.使变质( taint的现在分词 )；使污染；败坏；被污染，腐坏，败坏 | |
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