It was in fact Vivaldi who, putting aside the knot of idlers about thechaise, stepped forward at Odo's approach. The philosopher's countenancewas perturbed2, his travelling-coat spattered with mud, and his daughter,hooded and veiled, clung to him with an air of apprehension3 that smoteOdo to the heart. He caught a blush of recognition beneath her veil; andas he drew near she raised a finger to her lip and faintly shook herhead.
The mute signal reassured4 him. "I see, sir," said he, turningcourteously to Vivaldi, "that you are in a bad plight5, and I hope that Ior my carriage may be of service to you." He ventured a second glance atFulvia, but she had turned aside and was inspecting the wheel of thechaise with an air of the most disheartening detachment.
Vivaldi, who had returned Odo's greeting without any sign of ill-will,bowed slightly and seemed to hesitate a moment. "Our plight, as yousee," he said, "is indeed a grave one; for the wheel has come off ourcarriage and my driver here tells me there is no smithy this sideVercelli, where it is imperative6 we should lie tonight. I hope,however," he added, glancing down the road, "that with all the trafficnow coming and going we may soon be overtaken by some vehicle that willcarry us to our destination."He spoke7 calmly, but it was plain some pressing fear underlay8 hiscomposure, and the nature of the emergency was but too clear to Odo.
"Will not my carriage serve you?" he hastily rejoined. "I am forVercelli, and if you will honour me with your company we can go forwardat once."Fulvia, during this exchange of words, had affected9 to be engaged withthe luggage, which lay in a heap beside the chaise; but at this pointshe lifted her head and shot a glance at her father from under her blacktravelling-hood.
Vivaldi's constraint10 increased. "This, sir," said he, "is a handsomeoffer, and one for which I thank you; but I fear our presence mayincommode you and the additional weight of our luggage perhaps delayyour progress. I have little fear but some van or waggon11 will overtakeus before nightfall; and should it chance otherwise," he added with atouch of irresistible12 pedantry13, "why, it behoves us to remember that weshall be none the worse off, since the sage14 is independent ofcircumstances."Odo could hardly repress a smile. "Such philosophy, sir, is admirable inprinciple, but in practice hardly applicable to a lady unused to passingher nights in a rice-field. The region about here is notoriouslyunhealthy and you will surely not expose your daughter to the risk ofremaining by the roadside or of finding a lodging15 in some peasant'shut."Vivaldi drew himself up. "My daughter," said he, "has been trained toface graver emergencies with an equanimity16 I have no fear of putting tothe touch--'the calm of a mind blest in the consciousness of itsvirtue'; and were it not that circumstances are somewhat pressing--" hebroke off and glanced at Cantapresto, who was fidgeting about Odo'scarriage or talking in undertones with the driver of the chaise.
"Come, sir," said Odo urgently, "Let my servants put your luggage up andwe'll continue this argument on the road."Vivaldi again paused. "Sir," he said at length, "will you first stepaside with me a moment?" he led Odo a few paces down the road. "I makeno pretence," he went on when they were out of Cantapresto's hearing,"of concealing17 from you that this offer comes very opportune18 to ourneeds, for it is urgent we should be out of Piedmont by tomorrow. Butbefore accepting a seat in your carriage, I must tell you that you offerit to a proscribed20 man; since I have little reason to doubt that by thistime the sbirri are on my track."It was impossible to guess from Vivaldi's manner whether he suspectedOdo of being the cause of his misadventure; and the young man, thoughflushing to the forehead, took refuge in the thought of Fulvia's signaland maintained a self-possessed silence.
"The motive21 of my persecution," Vivaldi continued, "I need hardlyexplain to one acquainted with my house and with the aims and opinionsof those who frequent it. We live, alas22, in an age when it is a moraloffence to seek enlightenment, a political crime to share it withothers. I have long foreseen that any attempt to raise the condition ofmy countrymen must end in imprisonment23 or flight; and though perhaps tohave suffered the former had been a more impressive vindication24 of myviews, why, sir, the father at the last moment overruled thephilosopher, and thinking of my poor girl there, who but for me standsalone in the world, I resolved to take refuge in a state where a man maywork for the liberty of others without endangering his own."Odo had listened with rising eagerness. Was not here an opportunity, ifnot to atone25, at least to give practical evidence of his contrition26?
"What you tell me sir," he exclaimed, "cannot but increase my zeal27 toserve you. Here is no time to palter. I am on my way to Lombardy, which,from what you say, I take to be your destination also; and if you andyour daughter will give me your company across the border I think youneed fear no farther annoyance28 from the police, since my passports, asthe Duke of Pianura's cousin, cover any friends I choose to take in mycompany.""Why, sir," said Vivaldi, visibly moved by the readiness of theresponse, "here is a generosity29 so far in excess of our present needsthat it encourages me to accept the smaller favour of travelling withyou to Vercelli. There we have friends with whom we shall be safe forthe night, and soon after sunrise I hope we may be across the border."Odo at once followed up his advantage by pointing out that it was on theborder that difficulties were most likely to arise; but after a fewmoments of debate Vivaldi declared he must first take counsel with hisdaughter, who still hung like a mute interrogation on the outskirts31 oftheir talk.
After a few words with her, he returned to Odo. "My daughter," said he,"whose good sense puts my wisdom to the blush, wishes me first toenquire if you purpose returning to Turin; since in that case, as shepoints out, your kindness might result in annoyances32 to which we have noright to expose you."Odo coloured. "Such considerations, I beg your daughter to believe,would not weigh with me an instant; but as I am leaving Piedmont for twoyears I am not so happy as to risk anything by serving you."Vivaldi on this assurance at once consented to accept a seat in hiscarriage as far as Boffalora, the first village beyond the Sardinianfrontier. It was agreed that at Vercelli Odo was to set down hiscompanions at an inn whence, alone and privately33, they might gain theirfriend's house; that on the morrow at daybreak he was to take them up ata point near the convent of the Umiliati, and that thence they were topush forward without a halt for Boffalora.
This agreement reached, Odo was about to offer Fulvia a hand to thecarriage when an unwelcome thought arrested him.
"I hope, sir," said he, again turning to Vivaldi, and blushing furiouslyas he spoke, "that you feel assured of my discretion34; but I oughtperhaps to warn you that my companion yonder, though the good-naturedestfellow alive, is not one to live long on good terms with a secret,whether his own or another's.""I am obliged to you," said Vivaldi, "for the hint; but my daughter andI are like those messengers who, in time of war, learn to carry theirdespatches beneath their tongues. You may trust us not to betrayourselves; and your friend may, if he chooses, suppose me to betravelling to Milan to act as governor to a young gentleman of quality."The Professor's luggage had by this been put on Odo's carriage, and thelatter advanced to Fulvia. He had drawn35 a favourable36 inference from theconcern she had shown for his welfare; but to his mortification37 shemerely laid two reluctant finger tips in his hand and took her seatwithout a word of thanks or so much as a glance at her rescuer. Thisunmerited repulse38, and the constraint occasioned by Cantapresto'spresence, made the remainder of the drive interminable. Even theProfessor's apposite reflections on rice-growing and the culture of themulberry did little to shorten the way; and when at length thebell-towers of Vercelli rose in sight Odo felt the relief of a man whohas acquitted39 himself of a tedious duty. He had looked forward with themost romantic anticipations40 to the outcome of this chance encounter withFulvia; but the unforgiving humour which had lent her a transitory charmnow became as disfiguring as some physical defect; and his heart swelledwith the defiance41 of youthful disappointment.
It was near the angelus when they entered the city. Just within thegates Odo set down his companions, who took leave of him, the one withthe heartiest42 expressions of gratitude43, the other with a hurriedinclination of her veiled head. Thence he drove on to the Three Crowns,where he designed to lie. The streets were still crowded withholiday-makers and decked out with festal hangings. Tapestries44 andsilken draperies adorned45 the balconies of the houses, innumerable tinylamps framed the doors and windows, and the street-shrines were dressedwith a profusion46 of flowers; while every square and open space in thecity was crowded with booths, with the tents of ambulant comedians47 anddentists, and with the outspread carpets of snake-charmers,posture-makers and jugglers. Among this mob of quacks48 and pedlarscirculated other fantastic figures, the camp-followers of the army ofhucksters: dwarfs49 and cripples, mendicant50 friars, gypsy fortune-tellers,and the itinerant51 reciters of Ariosto and Tasso. With these mingled52 thetowns-people in holiday dress, the well-to-do farmers and their wives,and a throng53 of nondescript idlers, ranging from the servants of thenobility pushing their way insolently54 through the crowd, to thosesinister vagabonds who lurk55, as it were, in the interstices of everyconcourse of people.
It was not long before the noise and animation56 about him had dispelledOdo's ill-humour. The world was too fair to be darkened by a girl'sdisdain, and a reaction of feeling putting him in tune19 with the humoursof the market-place, he at once set forth30 on foot to view the city. Itwas now near sunset and the day's decline irradiated the stately frontof the Cathedral, the walls of the ancient Hospital that faced it, andthe groups gathered about the stalls and platforms obstructing57 thesquare. Even in his travelling-dress Odo was not a figure to passunnoticed, and he was soon assailed58 by laughing compliments on his looksand invitations to visit the various shows concealed59 behind the flappingcurtains of the tents. There were enough pretty faces in the crowd tojustify such familiarities, and even so modest a success was not withoutsolace to his vanity. He lingered for some time in the square, answeringthe banter60 of the blooming market-women, inspecting thefiligree-ornaments from Genoa, and watching a little yellow bitch in ahooped petticoat and lappets dance the furlana to the music of anarmless fiddler who held the bow in his teeth. As he turned from thisshow Odo's eye was caught by a handsome girl who, on the arm of adashing cavalier in somewhat shabby velvet61, was cheapening a pair ofgloves at a neighbouring stall. The girl, who was masked, shot a darkglance at Odo from under her three-cornered Venetian hat; then, tossingdown a coin, she gathered up the gloves and drew her companion away. Themanoeuvre was almost a challenge, and Odo was about to take it up when apretty boy in a Scaramouch habit, waylaying62 him with various gracefulantics, thrust a play-bill in his hand; and on looking round he foundthe girl and her gallant63 had disappeared. The play-bill, with a wealthof theatrical64 rhetoric65, invited Odo to attend the Performance to begiven that evening at the Philodramatic Academy by the celebrated66 CapoComico Tartaglia of Rimini and his world-renowned67 company of Comedians,who, in the presence of the aristocracy of Vercelli, were to present anew comedy entitled "Le Gelosie di Milord Zambo," with an Intermezzo ofsinging and dancing by the best Performers of their kind.
Dusk was already falling, and Odo, who had brought no letters to thegentry of Vercelli, where he intended to stay but a night, began towonder how he should employ his evening. He had hoped to spend it inVivaldi's company, but the Professor not having invited him, he saw noprospect but to return to the inn and sup alone with Cantapresto. In thedoorway of the Three Crowns he found the soprano awaiting him.
Cantapresto, who had been as mute as a fish during the afternoon'sdrive, now bustled68 forward with a great show of eagerness.
"What poet was it," he cried, "that paragoned youth to the Eastersunshine, which, wherever it touches, causes a flower to spring up? Herewe are scarce alit in a strange city, and already a messenger finds theway to our inn with a most particular word from his lady to theCavaliere Odo Valsecca." And he held out a perfumed billet sealed with aflaming dart69.
Odo's heart gave a leap at the thought that the letter might be fromFulvia; but on breaking the seal he read these words, scrawled70 in anunformed hand:--"Will the Cavaliere Valsecca accept from an old friend, who desires torenew her acquaintance with him, the trifling71 gift of a side-box at DonTartaglia's entertainment this evening?"Vexed72 at his credulity, Odo tossed the invitation to Cantapresto; but amoment later, recalling the glance of the pretty girl in themarket-place, he began to wonder if the billet might not be the preludeto a sufficiently73 diverting adventure. It at least offered a way ofpassing the evening; and after a hurried supper he set out withCantapresto for the Philodramatic Academy. It was late when they enteredtheir box, and several masks were already capering74 before thefootlights, exchanging lazzi with the townsfolk in the pit, andaddressing burlesque75 compliments to the quality in the boxes. Thetheatre seemed small and shabby after those of Turin, and there waslittle in the old-fashioned fopperies of a provincial76 audience tointerest a young gentleman fresh from the capital. Odo looked about forany one resembling the masked beauty of the market-place; but he beheldonly ill-dressed dowagers and matrons, or ladies of the town moreconspicuous for their effrontery77 than for their charms.
The main diversion of the evening was by this begun. It was a comedy inthe style of Goldoni's early pieces, representing the actual life of theday, but interspersed78 with the antics of the masks, to whose improviseddrolleries the people still clung. A terrific Don Spavento in cloak andsword played the jealous English nobleman, Milord Zambo, and the part ofTartaglia was taken by the manager, one of the best-known interpretersof the character in Italy. Tartaglia was the guardian80 of the primaamorosa, whom the enamoured Briton pursued; and in the Columbine, whenshe sprang upon the stage with a pirouette that showed her slenderankles and embroidered81 clocks, Odo instantly recognised the gracefulfigure and killing82 glance of his masked beauty. Her face, which was nowuncovered, more than fulfilled the promise of her eyes, being indeed asarch and engaging a countenance1 as ever flashed distraction83 across thefoot-lights. She was greeted with an outburst of delight that cost her asour glance from the prima amorosa, and presently the theatre wasringing with her improvised79 sallies, uttered in the gay staccato of theVenetian dialect. There was to Odo something perplexingly familiar inthis accent and in the light darting84 movements of her little head framedin a Columbine's ruff, with a red rose thrust behind one ear; but aftera rapid glance about the house she appeared to take no notice of him andhe began to think it must be to some one else he owed his invitation.
From this question he was soon diverted by his increasing enjoyment85 ofthe play. It was not indeed a remarkable86 example of its kind, beingcrudely enough put together, and turning on a series of ridiculous anddisconnected incidents; but to a taste formed on the frigid87 eleganciesof Metastasio and the French stage there was something refreshing88 inthis plunge89 into the coarse homely90 atmosphere of the old populartheatre. Extemporaneous91 comedies were no longer played in the greatcities, and Odo listened with surprise to the swift thrust and parry,the inexhaustible flow of jest and repartee92, the readiness with whichthe comedians caught up each other's leads, like dancers whirlingwithout a false step through the mazes93 of some rapid contradance.
So engaged was he that he no longer observed the Columbine save as afigure in this flying reel; but presently a burst of laughter fixed94 hisattention and he saw that she was darting across the stage pursued byMilord Zambo, who, furious at the coquetries of his betrothed95, wasavenging himself by his attentions to the Columbine. Half way across,her foot caught and she fell on one knee. Zambo rushed to the rescue;but springing up instantly, and feigning96 to treat his advance as a partof the play, she cried out with a delicious assumption of outrageddignity:--"Not a step farther, villain97! Know that it is sacrilege for a commonmortal to embrace one who has been kissed by his most illustriousHighness the Heir-presumptive of Pianura!""Mirandolina of Chioggia!" sprang to Odo's lips. At the same instant theColumbine turned about and swept him a deep curtsey, to the delight ofthe audience, who had no notion of what was going forward, but were inthe humour to clap any whim98 of their favourite's; then she turned anddarted off the stage, and the curtain fell on a tumult99 of applause.
Odo had hardly recovered from his confusion when the door of the boxopened and the young Scaramouch he had seen in the market-place peepedin and beckoned100 to Cantapresto. The soprano rose with alacrity101, leavingOdo alone in the dimly-lit box, his mind agrope in a labyrinth102 ofmemories. A moment later Cantapresto returned with that air of furtiverelish that always proclaimed him the bearer of a tender message. Theone he now brought was to the effect that the Signorina MirandaMalmocco, justly renowned as one of the first Columbines of Italy, hadcharged him to lay at the Cavaliere Valsecca's feet her excuses for theliberty she had taken with his illustrious name, and to entreat103 that hewould show his magnanimity by supping with her after the play in herroom at the Three Crowns--a request she was emboldened104 to make by thefact that she was lately from Pianura, and could give him the last newsof the court.
The message chimed with Odo's mood, and the play over he hastened backto the inn with Cantapresto, and bid the landlord send to the SignorinaMiranda's room whatever delicacies105 the town could provide. Odo onarriving that afternoon had himself given orders that his carriageshould be at the door the next morning an hour before sunrise; and henow repeated these instructions to Cantapresto, charging him on his lifeto see that nothing interfered106 with their fulfilment. The sopranoobjected that the hour was already late, and that they could easilyperform the day's journey without curtailing107 their rest; but on Odo'sreiteration of the order he resigned himself, with the remark that itwas a pity old age had no savings-bank for the sleep that youthsquandered.
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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perturbed
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| adj.烦燥不安的v.使（某人）烦恼，不安( perturb的过去式和过去分词 ) | |
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apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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reassured
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| adj.使消除疑虑的；使放心的v.再保证，恢复信心( reassure的过去式和过去分词) | |
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plight
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| n.困境，境况，誓约，艰难；vt.宣誓，保证，约定 | |
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imperative
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| n.命令，需要；规则；祈使语气；adj.强制的；紧急的 | |
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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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underlay
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| v.位于或存在于（某物）之下( underlie的过去式 )；构成…的基础（或起因），引起n.衬垫物 | |
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affected
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| adj.不自然的，假装的 | |
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constraint
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| n.(on)约束，限制；限制(或约束)性的事物 | |
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waggon
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| n.运货马车，运货车；敞篷车箱 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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pedantry
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| n.迂腐，卖弄学问 | |
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sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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lodging
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| n.寄宿，住所；(大学生的)校外宿舍 | |
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equanimity
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concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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opportune
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| adj.合适的，适当的 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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proscribed
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| v.正式宣布（某事物）有危险或被禁止( proscribe的过去式和过去分词 ) | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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imprisonment
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| n.关押，监禁，坐牢 | |
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vindication
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| n.洗冤，证实 | |
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atone
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| v.赎罪，补偿 | |
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contrition
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| n.悔罪，痛悔 | |
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zeal
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| n.热心，热情，热忱 | |
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annoyance
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| n.恼怒，生气，烦恼 | |
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generosity
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| n.大度，慷慨，慷慨的行为 | |
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forth
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| adv.向前；向外，往外 | |
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outskirts
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| n.郊外，郊区 | |
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annoyances
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| n.恼怒( annoyance的名词复数 )；烦恼；打扰；使人烦恼的事 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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discretion
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drawn
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favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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mortification
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repulse
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| n.击退，拒绝；vt.逐退，击退，拒绝 | |
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acquitted
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| 宣判…无罪( acquit的过去式和过去分词 )； 使（自己）作出某种表现 | |
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anticipations
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| 预期( anticipation的名词复数 )； 预测； （信托财产收益的）预支； 预期的事物 | |
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defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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heartiest
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| 亲切的( hearty的最高级 )； 热诚的； 健壮的； 精神饱满的 | |
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gratitude
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| adj.感激，感谢 | |
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tapestries
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| n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 ) | |
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adorned
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| [计]被修饰的 | |
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profusion
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| n.挥霍；丰富 | |
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comedians
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| n.喜剧演员，丑角( comedian的名词复数 ) | |
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quacks
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| abbr.quacksalvers 庸医，骗子(16世纪习惯用水银或汞治疗梅毒的人)n.江湖医生( quack的名词复数 )；江湖郎中；（鸭子的）呱呱声v.（鸭子）发出嘎嘎声( quack的第三人称单数 ) | |
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dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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mendicant
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| n.乞丐；adj.行乞的 | |
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itinerant
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| adj.巡回的；流动的 | |
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52
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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53
throng
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| n.人群，群众；v.拥挤，群集 | |
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54
insolently
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| adv.自豪地，自傲地 | |
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lurk
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| n.潜伏，潜行；v.潜藏，潜伏，埋伏 | |
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56
animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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57
obstructing
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| 阻塞( obstruct的现在分词 )； 堵塞； 阻碍； 阻止 | |
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58
assailed
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| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
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59
concealed
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| a.隐藏的，隐蔽的 | |
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60
banter
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| n.嘲弄，戏谑；v.取笑，逗弄，开玩笑 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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62
waylaying
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| v.拦截，拦路( waylay的现在分词 ) | |
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63
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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rhetoric
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| n.修辞学，浮夸之言语 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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68
bustled
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| 闹哄哄地忙乱，奔忙( bustle的过去式和过去分词 )； 催促 | |
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dart
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| v.猛冲，投掷；n.飞镖，猛冲 | |
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scrawled
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| 乱涂，潦草地写( scrawl的过去式和过去分词 ) | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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73
sufficiently
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| adv.足够地，充分地 | |
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capering
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| v.跳跃，雀跃( caper的现在分词 )；蹦蹦跳跳 | |
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burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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provincial
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| adj.省的，地方的；n．外省人，乡下人 | |
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effrontery
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| n.厚颜无耻 | |
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interspersed
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| adj.[医]散开的；点缀的v.intersperse的过去式和过去分词 | |
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improvised
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| a.即席而作的,即兴的 | |
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80
guardian
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| n.监护人；守卫者，保护者 | |
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embroidered
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| adj．绣花的 | |
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82
killing
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| n.巨额利润；突然赚大钱，发大财 | |
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83
distraction
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| n.精神涣散，精神不集中，消遣，娱乐 | |
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darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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85
enjoyment
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| n.乐趣；享有；享用 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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frigid
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| adj.寒冷的，凛冽的；冷淡的；拘禁的 | |
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refreshing
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| adj.使精神振作的，使人清爽的，使人喜欢的 | |
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plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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homely
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| adj.家常的，简朴的；不漂亮的 | |
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extemporaneous
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| adj.即席的，一时的 | |
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repartee
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| n.机敏的应答 | |
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mazes
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| 迷宫( maze的名词复数 )； 纷繁复杂的规则； 复杂难懂的细节； 迷宫图 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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betrothed
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| n. 已订婚者 动词betroth的过去式和过去分词 | |
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96
feigning
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| 假装，伪装( feign的现在分词 )； 捏造（借口、理由等） | |
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97
villain
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| n.反派演员，反面人物；恶棍；问题的起因 | |
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whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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99
tumult
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| n.喧哗；激动，混乱；吵闹 | |
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100
beckoned
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| v.（用头或手的动作）示意，召唤( beckon的过去式和过去分词 ) | |
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101
alacrity
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| n.敏捷，轻快，乐意 | |
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102
labyrinth
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| n.迷宫；难解的事物；迷路 | |
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103
entreat
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| v.恳求，恳请 | |
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104
emboldened
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| v.鼓励，使有胆量( embolden的过去式和过去分词 ) | |
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105
delicacies
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| n.棘手( delicacy的名词复数 )；精致；精美的食物；周到 | |
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106
interfered
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| v.干预( interfere的过去式和过去分词 )；调停；妨碍；干涉 | |
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107
curtailing
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| v.截断，缩短( curtail的现在分词 ) | |
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