At this point of her agonised reflections, the door opened, and Sir Daniel Jerce again appeared. "I think," he said, coldly, yet very pointedly7, "that if you take a walk, and put away those medicine bottles, you will find that your illness will vanish. Good-day." And he was gone in a moment.
Clarice flung off the shawl and ran to the door. Jerce, then, saw through her feigned8 disorder9. What a fool she was to try and deceive so clever a physician. By the time she gained the hall, Jerce had already passed out of the front door, and when she opened that, he was passing out of the gate. For the moment she felt inclined to call him back, and insist upon her illness, but knowing that she could not deceive so capable a judge, she closed the door again, and returned to the drawing-room.
There she wrapped herself up again. It was necessary to deceive those in the house, since no one was so acute as Jerce, to tell a false illness from a real one. She could not carry out her plot unless she pretended to be ill, and so had taken advantage of being in the porch on the previous night to secure her ends. Intending to go secretly to London on that same evening, Clarice wished to keep to her room, so that no one save Mrs. Rebson--in whom she would have to confide--should know that she was out of the house. And especially had she wished to deceive Jerce. Yet he had seen through her scheme of pretended sickness, and would be on the look-out to see why she had acted in such a manner. Clarice was certain that in some way Jerce was plotting against her and Anthony, notwithstanding his denial of the anonymous10 letter. It would take her all her ingenuity11, clever as she thought herself, to circumvent12 the doctor. He was uncommonly13 sharp and uncommonly suspicious, and if he found out what she intended to do, he would nullify the success of her plot in some way. What a fool she had been to see him, especially when she had gained nothing by the interview.
In the face of this first failure to impose upon a clever man who wanted his own way, many a woman would have thrown up the sponge. But Clarice only stiffened14 her back in the face of the increasing difficulties. Come what may, she would masquerade as she intended, and learn the truth of Ferdy's hidden life. Her plan was at once daring and simple. In looks she exactly resembled Ferdy, and, dressed in a suit of his clothes, no one would be able to recognise her as his sister. Also she could mimic15 Ferdy's tricks of speech and ordinary gestures exactly, and thus would be able to pass as her brother, even with those who knew him well. Once arrayed as Ferdy, Clarice intended to go to London and pass the evening at the Mascot16 Music Hall, in order to witness the performance of Sarah Dumps. Then--as Ferdy--she would go round and see the dancer, and perhaps Zara might let slip something which would put her on the track of the boy's delinquencies. If she could arrive at the truth of Ferdy's fast life, at which Jerce had hinted, she might learn how he came to be implicated in the crime. And he was implicated rather than Clarke, since Clarice believed that Zara had only accused Clarke to save her lover, as well as to prevent the marriage with Prudence17. Also the direct accusation in the anonymous letter hinted that someone--if not Jerce--knew that Ferdy had some connection with the death of Henry Horran. Jerce himself hinted that Ferdy was mixed up in the matter, and was ready to use his information--whatever it might be--to place Ferdy in the dock, if the match with Ackworth was not broken off.
It can thus be seen why Clarice had asked Anthony to invite her brother to Gattlinsands on that evening, and to detain him, if possible, for the next night. She did not want to run the risk of meeting Ferdy at the Mascot Music Hall, or to have--as it were--two Richmonds in the field. On this one night she hoped to learn sufficient to force Ferdy into open confession18, and when she knew all, she might be able to save him. But failing success on this night, she trusted to be more successful on the ensuing evening. But in any case, she felt that she must be successful if Ferdy was to be saved from the tricksters who were around him and from his own weak self. Of course, her experiment was a daring one, and Anthony certainly would not approve of it. But too much was at stake to hesitate, so Clarice went up to her room about five o'clock to get ready for her masquerade. On the stroke of the hour, Mrs. Rebson appeared with a telegram, which proved to be from Anthony. He wired that Ferdy had accepted his invitation, and was on his way to Gattlinsands.
"That's all right," said Clarice, putting the wire carefully away.
"What's all right, deary?" asked Mrs. Rebson, who was smoothing her nursling's bed.
"Nanny, come here," said the girl, and led Mrs. Rebson to a chair. "I dare say you remember what you said about disgrace?"
"The Domestic Prophet," replied Mrs. Rebson, smoothing her apron19; "yes, and disgrace will come, say what you like."
"It will come, I fear."
Mrs. Rebson clapped her gnarled old hands. "I've brought you to your senses," she cried, in her cracked voice, and with great triumph; "you will never doubt the Domestic Prophet again."
"Oh, no," answered Clarice, artfully. "Disgrace is coming, I fear, Nanny, and to Ferdy."
Mrs. Rebson's hands fell by her side, and she began to shake. "Disgrace, and to my darling boy," she whimpered. "Oh, Miss Clarice, what is it? What have you been doing?"
"It's not what I have been doing, but what I am about to do," said Miss Baird, resolutely20. "Now, Nanny, if you want to save Ferdy from disgrace, from imprisonment21, and perhaps from worse, you must hold your tongue about what I am going to tell you."
"I swear it on the Bible," whimpered Mrs. Rebson again. "Oh, my pretty boy--my sweet darling!" She began to cry in a senile manner.
Clarice knew that she could trust the old woman to be silent, as her affection for the unworthy Ferdy would have sealed her lips, even had she been threatened with the gallows22 to open them. If Clarice wanted to leave The Laurels23 secretly for her masquerade, and to return without her absence being known, it was absolutely necessary that she should trust the old woman. Therefore, she risked telling Mrs. Rebson all that she knew, and again impressed upon her, at the end of the confession, the absolute necessity--for Ferdy's sake--of silence.
Mrs. Rebson wept all the time and cried out at intervals24, and exclaimed indignantly at Ferdy's enemies, and altogether conducted herself as a partisan25 of that shifty youth. "But I knew that the Domestic Prophet could not lie," cried Mrs. Rebson, "though I never thought he meant my precious lamb. Oh, Miss Clarice, what is to be done? They will hang and quarter my darling baby."
"No, no, Nanny. I can save him," said Clarice, soothingly26.
"And you will--you will?"
"If you will consent to help me."
"I would go to the scaffold for my Ferdy, sweetheart," said Mrs. Rebson, fervently27, whereupon Clarice explained how she meant to masquerade as her twin brother. Mrs. Rebson was startled, and expostulated in alarm. "Oh, my deary, it's a dreadful thing you would do. What would the world say?"
"The world will never know, Nanny. That is why I want you to help me. I am supposed to be ill with this cold, so I can be thought to be in this room nursing it. While I am away don't let anyone enter, but attend to me as if I were really ill in bed. Everyone will think that, I am indisposed."
"When will you be back?" asked Mrs. Rebson, shaking and nervous.
"To-morrow some time. I can stop at some hotel in town."
"Oh, Miss Clarice, a young lady without a chaperon."
"I won't be a young lady, but a young man," said Clarice, impatiently, and crossing the room to look into a Gladstone bag which she had packed with masculine belongings28.
"A young gentleman, seeing that you are to be Master Ferdy," said Mrs. Rebson, with dignity. Then she began to beat her hands on her old knees. "Oh, dear, it is all very dreadful, and I don't know what your poor pa and ma would say. I don't think I should allow it."
Clarice forbore to tell Mrs. Rebson that she had no power to forbid, since she was not now a nursery autocrat29. But she wanted to set the old woman entirely30 on her side so as to carry out her plans. "If you think it would be better to let Ferdy get into trouble----"
"No! no! oh, dear me, no, Miss Clarice! Anything but that. I'll say that you are ill in bed, and I shan't allow anyone into the room. But how will you get out of the house and away from the station without being recognised?"
"I can dress as Ferdy, and slip out of the drawing-room window," explained Clarice, quietly, and getting a pair of scissors; "as to the station, there will probably be a crowd there, and I can get unnoticed into a carriage. Besides, everyone will take me to be Ferdy."
"Not those who know you."
"Oh, yes, I think so. I can imitate Ferdy exactly. I shall have to, if I want to deceive Zara Dumps."
"The hussy" said Mrs. Rebson, vigorously; then, with a cracked scream, "Miss Clarice, what are you doing to your hair?"
"Cutting it off," said Clarice, snipping31 vigorously. "I can't expect to masquerade successfully with a woman's hair."
"Oh, Miss Clarry, Miss Clarry, your lovely hair," wept Mrs. Rebson, and but that Ferdy's life--as she thought--depended upon the assumption of Ferdy's personality, she would then and there have refused to join in, what seemed to her, to be a mad, fantastic scheme.
"What's the use of going on in this way?" asked Clarice, angrily. "Perhaps I am acting32 foolishly, but it's the only chance that I can see of saving Ferdy from his enemies. Come, Nanny, cut my hair, and trim it--not too short."
Mrs. Rebson, with the tears streaming down her wrinkled face, manipulated the scissors. "What will the captain say?"
"Nothing," retorted Clarice, "when I tell him my reason. Anthony has every confidence in me. I dare say he'll be shocked, but I can't help that. There "--she surveyed her cropped head in the glass, and was surprised to see how remarkably33 she resembled Ferdy--"no one will ever guess that I am not my brother."
"Ah!" said Mrs. Rebson, pointedly, "you may deceive a man, but you'll never get a woman to believe in you."
"I'll try, at all events," said Clarice, thinking of Zara. "Come, Nanny, help me to dress."
Mrs. Rebson was not of much use, and she wept most of the time, so Clarice set her to work to re-pack the Gladstone bag. In it was stowed a tweed suit, since Clarice was rapidly assuming a spare evening dress of Ferdy's. Also he had left behind him, luckily, a fur-lined coat, and Clarice had purchased in the High Street a silk hat, ostensibly for her brother, but really for her masquerade. Ferdy was very extravagant34 in the matter of clothes, and no doubt much of the squandered35 two thousand pounds had gone on his wardrobe, so that the girl was easily able to array herself in the evening purple and fine linen36 of a young man about town.
When she was dressed--when the fur coat was on, when the silk hat was worn, and when Clarice placed a cigarette in her mouth--even Mrs. Rebson was startled, and stared, open-mouthed, at the change. "Oh, deary, mercy me," cried Mrs. Rebson, raising her hands, "I really should take you for Master Ferdy, my dear."
"Rippin' old Nanny," said Clarice, with so exact an imitation of her brother's voice that Mrs. Rebson jumped.
"It's not right--it really ain't right," she blubbered. "You might be my darling boy from the looks of you and the voice of you."
"That's as it should be. Now, Nanny, kiss me, and wish me God speed."
"Never," said Mrs. Rebson, energetically, "when you're doing exactly what Moses said you shouldn't do, and wearing man's clothes."
"To save Ferdy, Nanny," murmured Clarice, and, gained the kiss and the blessing37. Then, the servants being at their tea, she slipped down with the Gladstone bag in her hand, and went out by the French window of the drawing-room. Mrs. Rebson, at the bedroom window, saw her disappear up the lane.
"It might be Master Ferdy himself," said Mrs. Rebson, with a heavy heart, and prepared to carry out her part of the deception38.
There was, as Clarice had anticipated, a crowd at the station, as it was market day in Crumel, and many sellers and buyers were leaving by the 6.30 train. Slipping unnoticed through the crowd, she obtained her ticket from a clerk too busy to glance up, and got into an empty first-class smoking carriage. She did not like the atmosphere, as her sense of smell was delicate, but it was necessary to keep up the deception of manliness39, and, moreover, in a smoker40 she was not likely to meet with any local women friends, who might penetrate41 her disguise. Also Clarice smoked herself a little, having first done so out of bravado42, because Anthony had laughed at her early attempt. She, therefore, lighted a cigarette, and tried to feel herself a man. What she did feel was undoubtedly43 a delightful44 sense of freedom, and regretted again, as she had often regretted before, that she had not been born with a beard. Nature had undoubtedly made a mistake in creating Clarice a woman. Perhaps owing to the similarity of the twin's looks, she had confused the souls, and had given to Clarice the body which was truly Ferdy's.
In due time the young gentleman--Clarice felt herself to be truly a young gentleman--arrived at Liverpool Street Station, and hailed a cab. She told the man to drive to a quiet West End hotel, where Ferdy sometimes stopped, when it was too late to return home to his quarters in Dr. Jerce's Harley Street house. Here Clarice was quite delighted with the result of her masquerade. Everyone, including the landlord, the barmaid, and the waiters, took her for Ferdy, and she was given the dinner table at which Ferdy usually sat. And from the smirk45 of the barmaid, who inquired if Mr. Baird would take a glass of sherry before dinner, Clarice gathered some information as to Ferdy's urban habits.
After Clarice had placed her bag in the bedroom--and only then did it occur to her that she could have assumed her evening dress in Town--she ordered a hansom, and drove to the Mascot Music Hall. It was a magnificent, palatial46 structure, decorated and painted and gilded47 like the Golden House of Nero. For the first time in her quiet life Clarice found herself in such a place, and was astonished at the blaze of light, the number of well-dressed people, the quantity of flowers, and the numerous aids to pleasure which she beheld48 on every hand. Also, she was surprised to see what a lot of liquor was drunk, and wondered if it was necessary to keep up her assumed character by ordering a whisky and soda49. Although some acrobats50 were performing on the splendid stage, it was yet early, and the house was not yet quite full. Clarice was thus enabled to secure a very comfortable stall. As the evening grew later, the seats on all sides of her were gradually filled, but she found that the one next to her remained empty.
The performance was of the usual class, and showed little originality51, although it was entirely new to the girl, who had lived most of her life in Crumel. Acrobats tumbled, thought-readers performed their wonders, musical Americans played various instruments, and interspersed52 their jangling with United States slang, delivered in nasal voices, and various crack comedians53 sang the comic songs of the day, which were--Clarice thought--but dreary54 productions. She enjoyed the performance, however, as it was all new to her, but wondered what Ferdy could find in the "turns" to come there night after night. Perhaps "The Birth of the Butterfly" would be more artistic55 and amusing, and it came on at nine o'clock. This was the especial moment for which Clarice had waited all the evening.
Immediately before the curtain rose on the sketch56, a little overdressed woman came pushing along to the vacant seat beside Miss Baird. She turned to see who it was, and to her dismay recognised Mrs. Dumps. The little woman also recognised--as she thought--Clarice's brother, and exchanged greetings very affably.
"Though I'm not astonished to see you here, Mr. Ferdinand," said Mrs. Dumps, in her voluble way, "Zara says that you come nearly every night to see her sketch."
"Don't you come yourself, Mrs. Dumps?" said Clarice, carefully imitating her brother's voice, and rejoiced to see that even keen-eyed Mrs. Dumps did not know her.
"I don't," said Mrs. Dumps, screwing up her mouth. "I've been weeks in London, but this is the first time I've been to see Zara play, although she has begged me on her bended knees. But I was brought up a Churchwoman, and I don't hold with theatres, much less with ungodly music-halls. Zara would go on the stage, being always bent57 on having her own way, although I said I'd curse her if she did."
"And did you?" asked Clarice, quietly, perfectly58 certain that her disguise could not be penetrated59.
"What would have been the good?" said Mrs. Dumps, crossly, "seeing that Zara is my own daughter, and my only one, and not Dumps' child either, though she took his name. My first husband was her father, Mr. Ferdinand, so when you marry her, you will have to take her as Sarah Twine60, that being the poor man's name. Hush61! here's the piece beginning. I do hope it's respectable. Zara said it was, else I should not have come. Oh, dear me," wailed62 Mrs. Dumps, in an under tone, "how dreadful it is to have my child and Twine's appearing on the wicked, wicked, bad, evil, shameless stage."
Clarice would have liked to question Mrs. Dumps further about the marriage, but that the curtain rose, and she had to pay attention to the sketch. The scene represented, very picturesquely63, a garden of roses, and at the back was a Brobdignagian flower, upon which lay stretched out a gigantic green worm. This was probably the Chrysalis, which it had been Ferdy's ambition to act. While the music thrilled through the air, and the lights rapidly changed, the worm began to writhe64 and to execute acrobatic feats65. It twisted and turned on the small space--comparatively speaking--of the flower, and finally crawled across the stage, wriggling66 grotesquely67. Mrs. Dumps was annoyed.
"To think that a child of mine and Twine should make such an exhibition of herself," she said, indignantly.
"That is not Zara," whispered Clarice, smiling; "she appears as the Butterfly, you know."
"Then all I can say is that she ain't like the butterflies I've met with," said Mrs. Dumps, angrily, "me having chased them as a girl."
"Wait till Zara appears," was the reply of the charming, handsome young gentleman, whom the landlady68 of the Savoy Hotel took to be Mr. Ferdinand Baird, of The Laurels.
Mrs. Dumps sniffed69 aggressively, and sat very rigid70, with the fullest intention of giving her daughter a good talking to for daring to lower the dignity of the Twine name. Meanwhile, the eyes of all were watching the pretty picture on the stage. A wind swept through the garden of flowers, and the blossoms withered71 under its blighting72 breath. In one moment the radiant Paradise of Roses took on a wintry aspect. Snow fell thickly, the trees shed their leaves, the sky turned dark, and the ungainly green chrysalis shivered and wriggled73 in a wonderful manner to the shrill74 blowing of flutes75 and trumpets76 in the orchestra. It was so realistic that the audience could almost--as one enthusiast77 declared--feel the cold.
Then came the mellow78 sound of flutes, and the delicate trilling of stringed instruments. The roses began to bloom again, the sky regained79 its brilliant blue, and the trees budded afresh, under the touch of sudden spring. The green worm writhed80 its way to the gigantic rose, and lay there exhausted81 and still, until the rising petals82 of the flower concealed83 it from sight. Then came a pause, and afterwards, with a triumphal burst of music, out of the closed rose sprang a light and airy figure, with glittering, glorious butterfly wings, scintillating84 and vast. Zara shot up to the flies like a rocket, and then swooped85 gracefully86 down to the front of the stage. Supported in her airy flights by invisible wires, she fluttered amongst the blossoms like an immense jewelled insect, coquetting and caressing87 and hovering88 marvellously on iridescent89 pinions90. Over all played the ever-changing limelights, so that the girl floated lightly as thistle-down in the midst of a King-Opal of prismatic hues91. Then she dropped lightly on to the stage, and began a dreamy, sensuous92 dance, which would have driven St. Anthony out of his senses. When the dance was at its height, and Zara whirled fast and furious in the radiant lights and colours, a dismal93 note sounded in the orchestra. The butterfly paused, and shivered, as a cold wind bent the flowers, and chilled them. Again the dance commenced, but this time it was slower. The music grew sadder, the many flowers began to fade once more, and finally the snow began to fall in feathery white flakes94. Shortly the garden was again strewn in ruins, and the poor Butterfly, frozen and dying, sank weakly to the ground, while the snow piled a white mound95 over its short-lived beauty. When the dancer was completely buried, the curtain fell.
It rose again in answer to thunderous applause, and Zara appeared, leading by the hand her fellow-artiste, who had so wonderfully performed the Chrysalis. He had put aside his mask, and came to the front of the stage, where he could be plainly seen. Clarice looked at him indifferently, but when she glanced aside at Mrs. Dumps, she saw that the little woman's face was bloodless and pinched.
"Oh, Mr. Ferdinand," gasped96 Mrs. Dumps, clutching her companion's arm, "that's Osip--that's the murderer!"
点击
收听单词发音
收听单词发音 |
1
guilt
|
|
| n.犯罪；内疚；过失，罪责 | |
参考例句： |
|
|
|
|
2
implicated
|
|
| adj.密切关联的；牵涉其中的 | |
参考例句： |
|
|
|
|
3
vile
|
|
| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
参考例句： |
|
|
|
|
4
apparently
|
|
| adv.显然地；表面上，似乎 | |
参考例句： |
|
|
|
|
5
toils
|
|
| 网 | |
参考例句： |
|
|
|
|
6
accusation
|
|
| n.控告，指责，谴责 | |
参考例句： |
|
|
|
|
7
pointedly
|
|
| adv.尖地，明显地 | |
参考例句： |
|
|
|
|
8
feigned
|
|
| a.假装的，不真诚的 | |
参考例句： |
|
|
|
|
9
disorder
|
|
| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
参考例句： |
|
|
|
|
10
anonymous
|
|
| adj.无名的；匿名的；无特色的 | |
参考例句： |
|
|
|
|
11
ingenuity
|
|
| n.别出心裁；善于发明创造 | |
参考例句： |
|
|
|
|
12
circumvent
|
|
| vt.环绕，包围；对…用计取胜，智胜 | |
参考例句： |
|
|
|
|
13
uncommonly
|
|
| adv. 稀罕(极，非常) | |
参考例句： |
|
|
|
|
14
stiffened
|
|
| 加强的 | |
参考例句： |
|
|
|
|
15
mimic
|
|
| v.模仿，戏弄；n.模仿他人言行的人 | |
参考例句： |
|
|
|
|
16
mascot
|
|
| n.福神，吉祥的东西 | |
参考例句： |
|
|
|
|
17
prudence
|
|
| n.谨慎，精明，节俭 | |
参考例句： |
|
|
|
|
18
confession
|
|
| n.自白，供认，承认 | |
参考例句： |
|
|
|
|
19
apron
|
|
| n.围裙；工作裙 | |
参考例句： |
|
|
|
|
20
resolutely
|
|
| adj.坚决地，果断地 | |
参考例句： |
|
|
|
|
21
imprisonment
|
|
| n.关押，监禁，坐牢 | |
参考例句： |
|
|
|
|
22
gallows
|
|
| n.绞刑架，绞台 | |
参考例句： |
|
|
|
|
23
laurels
|
|
| n.桂冠，荣誉 | |
参考例句： |
|
|
|
|
24
intervals
|
|
| 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 | |
参考例句： |
|
|
|
|
25
partisan
|
|
| adj.党派性的；游击队的；n.游击队员；党徒 | |
参考例句： |
|
|
|
|
26
soothingly
|
|
| adv.抚慰地，安慰地；镇痛地 | |
参考例句： |
|
|
|
|
27
fervently
|
|
| adv.热烈地，热情地，强烈地 | |
参考例句： |
|
|
|
|
28
belongings
|
|
| n.私人物品，私人财物 | |
参考例句： |
|
|
|
|
29
autocrat
|
|
| n.独裁者；专横的人 | |
参考例句： |
|
|
|
|
30
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
31
snipping
|
|
| n.碎片v.剪( snip的现在分词 ) | |
参考例句： |
|
|
|
|
32
acting
|
|
| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
参考例句： |
|
|
|
|
33
remarkably
|
|
| ad.不同寻常地，相当地 | |
参考例句： |
|
|
|
|
34
extravagant
|
|
| adj.奢侈的；过分的；(言行等)放肆的 | |
参考例句： |
|
|
|
|
35
squandered
|
|
| v.（指钱，财产等）浪费，乱花( squander的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
36
linen
|
|
| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
参考例句： |
|
|
|
|
37
blessing
|
|
| n.祈神赐福；祷告；祝福，祝愿 | |
参考例句： |
|
|
|
|
38
deception
|
|
| n.欺骗，欺诈；骗局，诡计 | |
参考例句： |
|
|
|
|
39
manliness
|
|
| 刚毅 | |
参考例句： |
|
|
|
|
40
smoker
|
|
| n.吸烟者，吸烟车厢，吸烟室 | |
参考例句： |
|
|
|
|
41
penetrate
|
|
| v.透(渗)入；刺入，刺穿；洞察，了解 | |
参考例句： |
|
|
|
|
42
bravado
|
|
| n.虚张声势，故作勇敢，逞能 | |
参考例句： |
|
|
|
|
43
undoubtedly
|
|
| adv.确实地，无疑地 | |
参考例句： |
|
|
|
|
44
delightful
|
|
| adj.令人高兴的，使人快乐的 | |
参考例句： |
|
|
|
|
45
smirk
|
|
| n.得意地笑；v.傻笑；假笑着说 | |
参考例句： |
|
|
|
|
46
palatial
|
|
| adj.宫殿般的，宏伟的 | |
参考例句： |
|
|
|
|
47
gilded
|
|
| a.镀金的，富有的 | |
参考例句： |
|
|
|
|
48
beheld
|
|
| 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 | |
参考例句： |
|
|
|
|
49
soda
|
|
| n.苏打水；汽水 | |
参考例句： |
|
|
|
|
50
acrobats
|
|
| n.杂技演员( acrobat的名词复数 )；立场观点善变的人，主张、政见等变化无常的人 | |
参考例句： |
|
|
|
|
51
originality
|
|
| n.创造力，独创性；新颖 | |
参考例句： |
|
|
|
|
52
interspersed
|
|
| adj.[医]散开的；点缀的v.intersperse的过去式和过去分词 | |
参考例句： |
|
|
|
|
53
comedians
|
|
| n.喜剧演员，丑角( comedian的名词复数 ) | |
参考例句： |
|
|
|
|
54
dreary
|
|
| adj.令人沮丧的，沉闷的，单调乏味的 | |
参考例句： |
|
|
|
|
55
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
56
sketch
|
|
| n.草图；梗概；素描；v.素描；概述 | |
参考例句： |
|
|
|
|
57
bent
|
|
| n.爱好，癖好；adj.弯的；决心的，一心的 | |
参考例句： |
|
|
|
|
58
perfectly
|
|
| adv.完美地，无可非议地，彻底地 | |
参考例句： |
|
|
|
|
59
penetrated
|
|
| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
参考例句： |
|
|
|
|
60
twine
|
|
| v.搓，织，编饰；（使）缠绕 | |
参考例句： |
|
|
|
|
61
hush
|
|
| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
参考例句： |
|
|
|
|
62
wailed
|
|
| v.哭叫，哀号( wail的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
63
picturesquely
|
|
参考例句： |
|
|
|
|
64
writhe
|
|
| vt.挣扎，痛苦地扭曲；vi.扭曲，翻腾，受苦；n.翻腾，苦恼 | |
参考例句： |
|
|
|
|
65
feats
|
|
| 功绩，伟业，技艺( feat的名词复数 ) | |
参考例句： |
|
|
|
|
66
wriggling
|
|
| v.扭动，蠕动，蜿蜒行进( wriggle的现在分词 )；（使身体某一部位）扭动；耍滑不做，逃避（应做的事等）；蠕蠕 | |
参考例句： |
|
|
|
|
67
grotesquely
|
|
| adv. 奇异地,荒诞地 | |
参考例句： |
|
|
|
|
68
landlady
|
|
| n.女房东，女地主 | |
参考例句： |
|
|
|
|
69
sniffed
|
|
| v.以鼻吸气，嗅，闻( sniff的过去式和过去分词 )；抽鼻子（尤指哭泣、患感冒等时出声地用鼻子吸气）；抱怨，不以为然地说 | |
参考例句： |
|
|
|
|
70
rigid
|
|
| adj.严格的，死板的；刚硬的，僵硬的 | |
参考例句： |
|
|
|
|
71
withered
|
|
| 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 | |
参考例句： |
|
|
|
|
72
blighting
|
|
| 使凋萎( blight的现在分词 )； 使颓丧； 损害； 妨害 | |
参考例句： |
|
|
|
|
73
wriggled
|
|
| v.扭动，蠕动，蜿蜒行进( wriggle的过去式和过去分词 )；（使身体某一部位）扭动；耍滑不做，逃避（应做的事等） | |
参考例句： |
|
|
|
|
74
shrill
|
|
| adj.尖声的；刺耳的；v尖叫 | |
参考例句： |
|
|
|
|
75
flutes
|
|
| 长笛( flute的名词复数 )； 细长香槟杯（形似长笛） | |
参考例句： |
|
|
|
|
76
trumpets
|
|
| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
参考例句： |
|
|
|
|
77
enthusiast
|
|
| n.热心人，热衷者 | |
参考例句： |
|
|
|
|
78
mellow
|
|
| adj.柔和的；熟透的；v.变柔和；(使)成熟 | |
参考例句： |
|
|
|
|
79
regained
|
|
| 复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地 | |
参考例句： |
|
|
|
|
80
writhed
|
|
| （因极度痛苦而）扭动或翻滚( writhe的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
81
exhausted
|
|
| adj.极其疲惫的，精疲力尽的 | |
参考例句： |
|
|
|
|
82
petals
|
|
| n.花瓣( petal的名词复数 ) | |
参考例句： |
|
|
|
|
83
concealed
|
|
| a.隐藏的，隐蔽的 | |
参考例句： |
|
|
|
|
84
scintillating
|
|
| adj．才气横溢的,闪闪发光的; 闪烁的 | |
参考例句： |
|
|
|
|
85
swooped
|
|
| 俯冲，猛冲( swoop的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
86
gracefully
|
|
| ad.大大方方地；优美地 | |
参考例句： |
|
|
|
|
87
caressing
|
|
| 爱抚的，表现爱情的，亲切的 | |
参考例句： |
|
|
|
|
88
hovering
|
|
| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
参考例句： |
|
|
|
|
89
iridescent
|
|
| adj.彩虹色的，闪色的 | |
参考例句： |
|
|
|
|
90
pinions
|
|
| v.抓住[捆住]（双臂）( pinion的第三人称单数 ) | |
参考例句： |
|
|
|
|
91
hues
|
|
| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
参考例句： |
|
|
|
|
92
sensuous
|
|
| adj.激发美感的；感官的，感觉上的 | |
参考例句： |
|
|
|
|
93
dismal
|
|
| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
参考例句： |
|
|
|
|
94
flakes
|
|
| 小薄片( flake的名词复数 )； （尤指）碎片； 雪花； 古怪的人 | |
参考例句： |
|
|
|
|
95
mound
|
|
| n.土墩，堤，小山；v.筑堤，用土堆防卫 | |
参考例句： |
|
|
|
|
96
gasped
|
|
| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |