Fujitsubo was most eager that Akikonomu, the former high priestess of Ise, be received at court. Genji knew that Akikonomu had no strong and reliable backer but, not wanting to alienate1 the Suzaku emperor, had decided2 not to bring her to Nijō. Making every effort to appear withdrawn3 and impartial4, he took general responsibility for the proceedings5 and stood in the place of the girl’s father.
The Suzaku emperor knew of course that it would not do to write to her of his disappointment. On the day of her presentation at court he sent magnificent robes and other gifts as well, wonderfully wrought6 cases and vanity chests and incense7 coffers, and incomparable incenses8 and sachets, so remarkable9 that they could be detected even beyond the legendary11 hundred paces. It may have been that the very special attention he gave to his gifts had to do with the fact that Genji would see them.
Akikonomu’s lady of honor showed them to Genji. He took up a comb box of the most remarkable workmanship, endlessly fascinating in its detail. Among the rosettes on the box of decorative12 combs was a poem in the Suzaku emperor’s own hand:
“I gave you combs and sent you far away.
The god now sends me far away from you?”
Genji almost felt as if he were guilty of sacrilege and blasphemy13. From his own way of letting his emotions run wild, he could imagine Suzaku’s feelings when the priestess had departed for Ise, and his disappointment when, after years of waiting, she had returned to the city and everything had seemed in order, and this new obstacle had intervened. Would bitterness and resentment14 mar10 the serenity15 of his retirement16? Genji knew that he himself would have been very much upset indeed. And it was he who had brought Akikonomu to the new emperor at the cost of hurting the retired17 emperor. There had been a time, of course, when he had felt bitter and angry at Suzaku; but he had known through it all that his brother was of a gentle, sensitive nature. He sat lost in thought.
“And how does she mean to answer? Have there been other letters? What have they said?”
But the lady of honor showed no disposition18 to let him see them.
Akikonomu was not feeling well and would have preferred not to answer.
“But you must, my lady.” Genji could hear the discussion through blinds and curtains. “You know that you owe him a little respect.”
“They are quite right,” said Genji. “It will not do at all. You must let him have something, if only a line or two.”
Though the inclination19 not to answer was very strong, Akikonomu remembered her departure for Ise. Gently, softly handsome, the emperor had wept that she must leave. Though only a child, she had been deeply touched. And she remembered her dead mother, then and on other occasions. This (and only this?) was the poem which she nally set down:
“Long ago, one word you said: Away!
Sorry now am I that I paid no heed20.”
She rewarded Suzaku’s messenger lavishly21. Genji would have liked to see her reply, but could hardly say so. He was genuinely troubled. Suzaku was so handsome a man that one could imagine falling in love with him were he a woman, and Akikonomu was by no means an ill match for him. Indeed they would have been a perfect couple. And the present emperor was still a boy. Genji wondered whether Akikonomu herself might not feel uneasy at so incongruous a match. But it was too late now to halt the proceedings.
He gave careful instructions to the superintendent22 of palace repairs. Not wishing the Suzaku emperor to think that he was managing the girl’s affairs, he paid only a brief courtesy call upon her arrival at court. She had always been surrounded by gifted and accomplished23 women, and now that the ones who had gone home were back with her she had easily the finest retinue24 at court. Genji thought of the Rokujō lady, her dead mother. With what feelings of pride would she now be overseeing her daughter’s affairs! He would have thought her death a great loss even if he had not loved her. She had had few rivals. Her tastes had been genuinely superior, and she was much in his thoughts these days.
Fujitsubo was also at court. The emperor had heard that a fine new lady had arrived, and his eagerness was most charming.
“Yes, she is splendid,” said his mother. “You must be on your best behavior when you meet her.”
He feared that a lady of such advanced years might not be easy to talk to. It was late in the night when she made her appearance. She was small and delicately molded, and she seemed quiet and very much in control of herself, and in general made a very good impression on the emperor. His favorite companion was Tō no Chūjō‘s little daughter, who occupied the Kokiden apartments. The new arrival, so calm and self-possessed, did make him feel on the defensive25, and then Genji behaved towards her with such solemnity that the emperor was lured26 into rather solemn devoirs. Though he distributed his nights impartially27 between the two ladies, he preferred the Kokiden apartments for diurnal28 amusements. Tō no Chūjō had ambitious plans for his daughter and was worried about this new competitor.
The Suzaku emperor had difficulty resigning himself to what had happened. Genji came calling one day and they had a long and affectionate talk. The Suzaku emperor, who had more than once spoken to Genji of the priestess’s departure for Ise, mentioned it again, though somewhat circum- spectly. Genji gave no open indication that he knew what had happened, but he did discuss it in a manner which he hoped would elicit29 further remarks from his brother. It was clear that the Suzaku emperor had not ceased to love the girl, and Genji was very sorry for him indeed. He knew and regretted that he could not see for himself the beauty which seemed to have such a powerful effect upon everyone who did see it. Akikonomu permitted not the briefest glimpse. And so of course he was fascinated. He saw enough to convince him that she must be very near perfection.
The emperor had two ladies and there was no room for a third. Prince Hyōbu’s plans for sending his daughter to court had foundered30. He could only hope that as the emperor grew older he would be in a more receptive mood.
The emperor loved art more than anything else. He loved to look at paintings and he painted beautifully. Akikonomu was also an accomplished artist. He went more and more frequently to her apartments, where the two of them would paint for each other. His favorites among the young courtiers were painters and students of painting. It delighted him to watch this new lady, so beautiful and so elegant, casually31 sketching32 a scene, now and again pulling back to think the matter over. He liked her much better now.
Tō no Chūjō kept himself well informed. A man of affairs who had strong competitive instincts, he was determined33 not to lose this competition. He assembled master painters and he told them exactly what he wanted, and gave them the best materials to work with. Of the opinion that illustrations for the works of established authors could always be counted on, he chose his favorites and set his painters to illustrating34 them. He also commissioned paintings of the seasons and showed considerable flair35 with the captions36. The emperor liked them all and wanted to share his pleasure with Akikonomu; but Tō no Chūjō objected. The paintings were not to leave the Kokiden apartments.
Genji smiled. “He was that way when he was a boy, and in many ways he still is a boy. I do not think it a very deft38 way to manage His Majesty39. I’ll send off my whole collection and let him do with it as he pleases.”
All the chests and bookcases at Nijō were ransacked40 for old paintings and new, and Genji and Murasaki sorted out the ones that best suited current fancies. There were interesting and moving pictures of those sad Chinese ladies Yang Kuei-fei and Wang Chao-chün. Genji feared, however, that the subjects were inauspicious.
Thinking this a good occasion to show them to Murasaki, he took out the sketchbooks and journals of his exile. Any moderately sensitive lady would have found tears coming to her eyes. For Murasaki those days had been unrelieved pain, not easily forgotten. Why, she asked, had he not let her see them before?
“Better to see these strands42 where the fishermen dwell
Than far away to weep, all, all alone.
“I think the uncertainty43 might have been less cruel.”
It was true.
“Now more than in those painful days I weep
As tracings of them bring them back to me.”
He must let Fujitsubo see them. Choosing the more presentable scrolls45, the ones in which life upon those shores came forward most vividly46, he could almost feel that he was back at Akashi once more.
Hearing of Genji’s activities, Tō no Chūjō redoubled his own efforts. He quite outdid himself with all the accessories, spindles and mountings and cords and the like. It was now the middle of the Third Month, a time of soft, delicious air, when everyone somehow seemed happy and at peace. It was also a quiet time at court, when people had leisure for these avocations47. Tō no Chūjō saw a chance to bring the young emperor to new raptures48. He would offer his collection for the royal review.
Both in the Kokiden apartments and in Akikonomu’s Plum Pavilion there were paintings in endless variety. Illustrations for old romances seemed to interest both painter and viewer. Akikonomu rather preferred secure and established classics, while the Kokiden girl chose the romances that were the rage of the day. To the casual observer it might have seemed perhaps that her collection was the brighter and the more stylish49. Connoisseurs51 among the court ladies had made the appraisal52 of art their principal work.
Fujitsubo was among them. She had had no trouble giving up most pleasures, but a fondness for art had refused to be shaken off. Listening to the aesthetic53 debates, she hit upon an idea: the ladies must divide into two sides.
On the left was the Plum Pavilion or Akikonomu faction54, led by Heinaishinosuke, Jijū no Naishi, and Shōshō no Myōbu; and in the right or Kokiden faction, Daini no Naishinosuke, Chūjō no Myōbu, and Hyōe no Myōbu. Fujitsubo listened with great interest as each gave forth55 with her opinions.
The first match was between an illustration for The Bamboo Cutter, the ancestor of all romances, and a scene centering upon Toshikage from The Tale of the Hollow Tree.
From the left came this view: “The story has been with us for a very long time, as familiar as the bamboo growing before us, joint56 upon joint. There is not much in it that is likely to take us by surprise. Yet the moon princess did avoid sullying herself with the affairs of this world, and her proud fate took her back to the far heavens; and so perhaps we must accept something august and godly in it, far beyond the reach of silly, superficial women.”
And this from the right: “It may be as you say, that she returned to a realm beyond our sight and so beyond our understanding. But this too must be said: that in our world she lived in a stalk of bamboo, which fact suggests rather dubious57 lineage. She exuded58 a radiance, we are told, which flooded her stepfather’s house with light; but what is that to the light which suffuses59 these many-fenced halls and pavilions? Lord Abe threw away a thousand pieces of gold and another thousand in a desperate at mpt to purchase the fire rat’s skin, and in an instant it was up in flames — a rather disappointing conclusion. Nor is it very edifying60, really, that Prince Kuramochi, who should have known how well informed the princess was in these matters, should have forged a jeweled branch and so made of himself a forgery61 too.”
The Bamboo Cutter illustration, by Kose no Omi with a caption37 by Ki no Tsurayuki, was mounted on cerise and had a spindle of sandalwood — rather uninteresring, ill in all.
“Now let us look at the other. Toshikage was battered62 by tempests and waves and swept off to foreign parts, but he finally came home, whence his musical activities sent his fame back across the waters and down through the centuries. This painting successfully blends the Chinese and the Japanese and the new and the old, and I say that it is without rival.”
On stiff white paper with a blue mounting and a spindle of yellow jade64, it was the work of Tsunenori and bore a caption by Michikaze. The effect was dazzlingly modern. The left had to admit defeat.
The Tales of Ise was pitted against The Tale of Jōsammi. No decision was forthcoming. The picture offered by the right was again a bright, lively painting of contemporary life with much, including details of the palace itself, to recommend it.
“Shall we forget how deep is the sea of Ise
Because the waves have washed away old tracks?”
It was Heinaishinosuke, pleading the cause of the left, though without great fire or eloquence65. “Are the grand accomplishments66 of Lord Narihira to be dwarfed67 by a little love story done with a certain cleverness and plausibility68?”
“To this Jōsammi, high above august clouds,
The thousand-fathomed sea seems very shallow.”
It was Daini, speaking for the right.
Fujitsubo offered an opinion. “However one may admire the proud spirit of Lady Hyōe, one certainly would not wish to malign69 Lord Narihira.
“At first the strands of sea grass may seem old,
But the fisherfolk of Ise are with us yet.”
And so poem answered poem in an endless feminine dispute. The younger and less practiced women hung upon the debate as if for their very lives; but security precautions had been elaborate, and they were permitted to see only the smallest part of the riches.
Genji stopped by and was much diverted. If it was all the same, he said, why not make the final judgments70 in the emperor’s presence? He had had a royal inspection71 in mind from the start, and so had taken very great pains with his selections, which included a scroll44 of his own Suma and of his Akashi paintings. Nor was Tō no Chūjō to be given low marks for effort. The thief business at court these days had become the collecting of evocative paintings.
“I think it spoils the fun to have them painted specially,” said Genji. “I think we should limit ourselves to the ones we have had all along.”
He was of course referring to Tō no Chūjō and his secret studio.
The Suzaku emperor heard of the stir and gave Akikonomu paintings of his own, among them representations of court festivals for which the emperor Daigo had done the captions; and on a scroll depicting72 events from his own reign63 was the scene, for him unforgettable, of Akikonomu’s departure for Ise. He himself had carefully gone over the sketches73, and the finished painting, by Kose no Kimmochi, quite lived up to his hopes. It was in a box, completely modern, of pierced aloeswood with rosettes that quietly enhanced its beauty. He sent a verbal message through a guards captain on special assignment to Suzaku, setting down only this verse, beside a painting of the solemn arrival at the Grand Hall:
“Though now I dwell beyond the sacred confines,
My heart is there committing you to the gods.”
It required an answer. Bending a corner of one of the sacred combs, she tied a poem to it and wrapped it in azure74 Chinese paper:
“Within these sacred precincts all has changed.
Fondly I think of the days when I served the gods.”
She rewarded the messenger very elegantly.
The Suzaku emperor was deeply moved and longed to return to his days on the throne. He was annoyed at Genji, and perhaps was now having a gentle sort of revenge. It would seem that he sent large numbers of pictures through his mother to the Kokiden lady. Oborozukiyo, another fancier of painting, had also put together a distinguished75 collection.
The day was appointed. The careful casualness of all the details would have done justice to far more leisurely76 preparations. The royal seat was put out in the ladies’ withdrawing rooms, and the ladies were ranged to the north and south. The seats of the courtiers faced them on the west. The paintings of the left were in boxes of red sandalwood on sappanwood stands with flaring77 legs. Purple Chinese brocades were spread under the stands, which were covered with delicate lavender Chinese embroidery78. Six little girls sat behind them, their robes of red and their jackets of white lined with red, from under which peeped red and lavender. As for the right or Kokiden side, the boxes were of heavy aloes and the stands of lighter79 aloes. Green Korean brocades covered the stands, and the streamers and the flaring legs were all in the latest style. The little page girls wore green robes and over them white jackets with green linings80, and their singlets were of a grayish green lined with yellow. Most solemnly they lined up their treasures. The emperor’s own women were in the uniforms of the two sides.
Genji and Tō no Chūjō were present, upon royal invitation. Prince Hotaru, a man of taste and cultivation81 and especially a connoisseur50 of painting, had taken an inconspicuous place among the courtiers. Perhaps Genji had suggested inviting82 him. It was the emperor’s wish that he act as umpire. He found it almost impossible to hand down decisions. Old masters had painted cycles of the four seasons with uncommon83 power, fluency84, and grace, and a rather wonderful sense of unity85; but they sometimes seemed to run out of space, so that the observer was left to imagine the grandeur86 of nature for himself. Some of the more superficial pictures of our own day, their telling points in the dexterity87 and ingenuity88 of the strokes and in a certain impressionism, did not seem markedly their inferior, and sometimes indeed seemed ahead of them in brightness and good spirits. Several interesting points were made in favor of both.
The doors to the breakfast suite41, north of the ladies’ withdrawing rooms, had been slid open so that Fujitsubo might observe the proceedings. Having long admired her taste in painting, Genji was hoping that she might be persuaded to give her views. When, though infrequently, he was not entirely89 satisfied with something Prince Hotaru said and offered an opinion of his own, he had a way of sweeping90 everything before him.
Evening came, and still Prince Hotaru had not reached a final decision. As its very last offering Akikonomu’s side brought out a scroll depicting life at Suma. Tō no Chūjō was startled. Knowing that the final inning had come, the Kokiden faction too brought out a very remarkable scroll, but there was no describing the sure delicacy91 with which Genji had quietly set down the moods of those years. The assembly, Prince Hotaru and the rest, fell silent, trying to hold back tears. They had pitied him and thought of themselves as suffering with him; and now they saw how it had really been. They had before their eyes the bleakness92 of those nameless strands and inlets. Here and there, not so much open description as poetic93 impressions, were captions in cursive Chinese and Japanese. There was no point now in turning to the painting offered by the right. The Suma scroll had blocked everything else from view. The triumph of the left was complete.
Dawn approached and Genji was vaguely94 melancholy95. As the wine flagons went the rounds he fell into reminiscence.
“I worked very hard at my Chinese studies when I was a boy, so hard that Father seemed to fear I might become a scholar. He thought it might be because scholarship seldom attracts wide acclaim97, he said, that he had rarely seen it succeed in combining happiness with long life. In any event, he thought it rather pointless in my case, because people would notice me whether I knew anything or not. He himself undertook to tutor me in pursuits not related to the classics. I don’t suppose I would have been called remarkably98 inept99 in any of them, but I did not really excel in any of them either. But there was painting. I was the merest dabbler100, and yet there were times when I felt a strange urge to do something really good. Then came my years in the provinces and leisure to examine that remarkable seacoast. All that was wanting was the power to express what I saw and felt, and that is why I have kept my inadequate101 efforts from you until now. I wonder,” he said, turning to Prince Hotaru, “if my presuming to bring them out might set some sort of precedent102 for impertinence and conceit103.”
“It is true of every art,” said the prince, “that real mastery requires concentrated effort, and it is true too that in every art worth mastering (though of course that word ‘mastering’ contains all manner of degrees and stages) the evidences of effort are apparent in the results. There are two mysterious exceptions, painting and the game of Go, in which natural ability seems to be the only thing that really counts. Modest ability can of course be put to modest use. A rather ordinary person who has neither worked nor studied so very hard can paint a decent picture or play a decent game of Go. Sometimes the best families will suddenly produce someone who seems to do everything well.” He was now speaking to Genji. “Father was tutor for all of us, but I thought he took himself seriously only when you were his pupil. There was poetry, of course, and there was music, the flute104 and the koto. Painting seemed less study than play, something you let your brush have its way with when poetry had worn you out. And now see the results. See all of our professionals running off and hiding their faces.”
The prince may have been in his cups. In any event, the thought of the old emperor brought a new flood of tears.
A quarter moon having risen, the western sky was silver. Musical instruments were ordered from the royal collection. Tō no Chūjō chose a Japanese koto. Genji was generally thought the finest musician in court, but Tō no Chūjō was well above the ordinary. Genji chose a Chinese koto, as did Prince Hotaru, and Shōshō no Myōbu took up a lute105 Courtiers with a good sense of rhythm were set to marking time, and all in all it was a very good concert indeed. Faces and flowers emerged dimly in the morning twilight106, and birds were singing in a clear sky. Gifts were brought from Fujitsubo’s apartments. The emperor himself bestowed107 a robe on Prince Hotaru.
Examination and criticism of Genji’s journals had become the main business of the court. He asked that his paintings of the seacoast be given to Fujitsubo. She longed to see what went before and came after, but he said only that he would in due course show her everything. The pleasure which he had given the emperor was pleasure for Genji himself. It worried Tō no Chūjō that Genji should so favor Akikonomu. Was her triumph to be complete? He comforted himself with the thought that the emperor would not have forgotten his own early partiality for the Kokiden girl. Surely she would not be cast aside.
Genji had a strong sense of history and wanted this to be one of the ages when things begin. Very great care therefore went into all the fetes and observances. It was an exciting time.
But he was also obsessed108 with evanescence. He was determined to withdraw from public affairs when the emperor was a little older. Every precedent told him that men who rise to rank and power beyond their years cannot expect long lives. Now, in this benign109 reign, perhaps by way of compensation for the years of sorrow and disgrace, Genji had an abun- dance, indeed a plethora110, of rank and honor. Further glory could only bring uncertainty. He wanted to withdraw quietly and make preparations for the next life, and so add to his years in this one. He had purchased a quiet tract96 off in a mountain village and was putting up a chapel111 and collecting images and scriptures112. But first he must see that no mistake was made in educating his children. So it was that his intentions remained in some doubt.
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alienate
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| vt.使疏远，离间；转让(财产等) | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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impartial
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| adj.(in,to)公正的，无偏见的 | |
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proceedings
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| n.进程，过程，议程；诉讼(程序)；公报 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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incenses
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| 香( incense的名词复数 ) | |
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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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mar
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| vt.破坏，毁坏，弄糟 | |
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legendary
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| adj.传奇（中）的，闻名遐迩的；n.传奇（文学） | |
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decorative
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| adj.装饰的，可作装饰的 | |
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blasphemy
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| n.亵渎，渎神 | |
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resentment
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| n.怨愤，忿恨 | |
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serenity
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| n.宁静，沉着，晴朗 | |
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retirement
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| n.退休，退职 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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heed
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| v.注意，留意；n.注意，留心 | |
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lavishly
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| adv.慷慨地，大方地 | |
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superintendent
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| n.监督人，主管，总监；(英国)警务长 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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retinue
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| n.侍从；随员 | |
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defensive
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| adj.防御的；防卫的；防守的 | |
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lured
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| 吸引，引诱（lure的过去式与过去分词形式） | |
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impartially
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| adv.公平地，无私地 | |
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diurnal
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| adj.白天的，每日的 | |
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elicit
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| v.引出,抽出,引起 | |
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foundered
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| v.创始人( founder的过去式和过去分词 ) | |
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casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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sketching
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| n.草图 | |
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determined
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| adj.坚定的；有决心的 | |
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illustrating
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| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
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flair
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| n.天赋，本领，才华；洞察力 | |
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captions
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| n.标题，说明文字，字幕( caption的名词复数 )v.给（图片、照片等）加说明文字( caption的第三人称单数 ) | |
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caption
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| n.说明，字幕，标题；v.加上标题，加上说明 | |
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deft
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| adj.灵巧的，熟练的（a deft hand 能手） | |
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majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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ransacked
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| v.彻底搜查( ransack的过去式和过去分词 )；抢劫，掠夺 | |
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suite
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| n.一套(家具)；套房；随从人员 | |
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strands
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| n.（线、绳、金属线、毛发等的）股( strand的名词复数 )；缕；海洋、湖或河的)岸；（观点、计划、故事等的）部份v.使滞留，使搁浅( strand的第三人称单数 ) | |
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43
uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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45
scrolls
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| n.（常用于录写正式文件的）纸卷( scroll的名词复数 )；卷轴；涡卷形（装饰）；卷形花纹v.（电脑屏幕上）从上到下移动（资料等），卷页( scroll的第三人称单数 )；（似卷轴般）卷起；（像展开卷轴般地）将文字显示于屏幕 | |
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46
vividly
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| adv.清楚地，鲜明地，生动地 | |
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avocations
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| n.业余爱好，嗜好( avocation的名词复数 )；职业 | |
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raptures
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| 极度欢喜( rapture的名词复数 ) | |
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49
stylish
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| adj.流行的，时髦的；漂亮的，气派的 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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appraisal
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| n.对…作出的评价；评价，鉴定，评估 | |
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aesthetic
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| adj.美学的，审美的，有美感 | |
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faction
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| n.宗派，小集团；派别；派系斗争 | |
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forth
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| adv.向前；向外，往外 | |
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joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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dubious
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| adj.怀疑的，无把握的；有问题的，靠不住的 | |
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exuded
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| v.缓慢流出，渗出，分泌出( exude的过去式和过去分词 )；流露出对（某物）的神态或感情 | |
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59
suffuses
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| v.（指颜色、水气等）弥漫于，布满( suffuse的第三人称单数 ) | |
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edifying
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| adj.有教训意味的，教训性的，有益的v.开导，启发( edify的现在分词 ) | |
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forgery
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| n.伪造的文件等，赝品，伪造（行为） | |
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battered
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| adj.磨损的；v.连续猛击；磨损 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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jade
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| n.玉石；碧玉；翡翠 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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accomplishments
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| n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就 | |
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dwarfed
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| vt.（使）显得矮小（dwarf的过去式与过去分词形式） | |
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plausibility
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| n. 似有道理, 能言善辩 | |
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malign
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| adj.有害的；恶性的；恶意的；v.诽谤，诬蔑 | |
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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inspection
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| n.检查，审查，检阅 | |
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depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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azure
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| adj.天蓝色的，蔚蓝色的 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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leisurely
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| adj.悠闲的；从容的，慢慢的 | |
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flaring
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| a.火焰摇曳的，过份艳丽的 | |
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embroidery
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| n.绣花，刺绣；绣制品 | |
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lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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linings
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| n.衬里( lining的名词复数 )；里子；衬料；组织 | |
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cultivation
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| n.耕作，培养，栽培（法），养成 | |
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inviting
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| adj.诱人的，引人注目的 | |
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uncommon
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| adj.罕见的，非凡的，不平常的 | |
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fluency
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| n.流畅，雄辩，善辩 | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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dexterity
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| n.(手的)灵巧，灵活 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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sweeping
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| adj.范围广大的，一扫无遗的 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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bleakness
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| adj. 萧瑟的, 严寒的, 阴郁的 | |
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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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vaguely
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| adv.含糊地，暖昧地 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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tract
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| n.传单，小册子，大片(土地或森林) | |
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acclaim
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| v.向…欢呼，公认；n.欢呼，喝彩，称赞 | |
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remarkably
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| ad.不同寻常地，相当地 | |
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99
inept
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| adj.不恰当的，荒谬的，拙劣的 | |
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dabbler
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| n. 戏水者, 业余家, 半玩半认真做的人 | |
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101
inadequate
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| adj.(for,to)不充足的，不适当的 | |
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102
precedent
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| n.先例，前例；惯例；adj.在前的，在先的 | |
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103
conceit
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| n.自负，自高自大 | |
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104
flute
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| n.长笛；v.吹笛 | |
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lute
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| n.琵琶，鲁特琴 | |
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106
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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107
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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108
obsessed
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| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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109
benign
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| adj.善良的，慈祥的；良性的，无危险的 | |
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plethora
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| n.过量，过剩 | |
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111
chapel
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| n.小教堂，殡仪馆 | |
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112
scriptures
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| 经文，圣典( scripture的名词复数 )； 经典 | |
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