The Five Days’ Festival
THURSDAY, JULY 25. — The street was this day much enlivened by the presence of the men from Little Makin; they average taller than Butaritarians, and being on a holiday, went wreathed with yellow leaves and gorgeous in vivid colours. They are said to be more savage1, and to be proud of the distinction. Indeed, it seemed to us they swaggered in the town, like plaided Highlanders upon the streets of Inverness, conscious of barbaric virtues2.
In the afternoon the summer parlour was observed to be packed with people; others standing3 outside and stooping to peer under the eaves, like children at home about a circus. It was the Makin company, rehearsing for the day of competition. Karaiti sat in the front row close to the singers, where we were summoned (I suppose in honour of Queen Victoria) to join him. A strong breathless heat reigned5 under the iron roof, and the air was heavy with the scent6 of wreaths. The singers, with fine mats about their loins, cocoa — nut feathers set in rings upon their fingers, and their heads crowned with yellow leaves, sat on the floor by companies. A varying number of soloists7 stood up for different songs; and these bore the chief part in the music. But the full force of the companies, even when not singing, contributed continuously to the effect, and marked the ictus of the measure, mimicking9, grimacing10, casting up their heads and eyes, fluttering the feathers on their fingers, clapping hands, or beating (loud as a kettledrum) on the left breast; the time was exquisite11, the music barbarous, but full of conscious art. I noted12 some devices constantly employed. A sudden change would be introduced (I think of key) with no break of the measure, but emphasised by a sudden dramatic heightening of the voice and a swinging, general gesticulation. The voices of the soloists would begin far apart in a rude discord13, and gradually draw together to a unison14; which, when, they had reached, they were joined and drowned by the full chorus. The ordinary, hurried, barking unmelodious movement of the voices would at times be broken and glorified15 by a psalm-like strain of melody, often well constructed, or seeming so by contrast. There was much variety of measure, and towards the end of each piece, when the fun became fast and furious, a recourse to this figure —
[Musical notation16 which cannot be produced. It means two/four time with quaver, quaver, crotchet repeated for three bars.]
It is difficult to conceive what fire and devilry they get into these hammering finales; all go together, voices, hands, eyes, leaves, and fluttering finger-rings; the chorus swings to the eye, the song throbs17 on the ear; the faces are convulsed with enthusiasm and effort.
Presently the troop stood up in a body, the drums forming a half — circle for the soloists, who were sometimes five or even more in number. The songs that followed were highly dramatic; though I had none to give me any explanation, I would at times make out some shadowy but decisive outline of a plot; and I was continually reminded of certain quarrelsome concerted scenes in grand operas at home; just so the single voices issue from and fall again into the general volume; just so do the performers separate and crowd together, brandish18 the raised hand, and roll the eye to heaven — or the gallery. Already this is beyond the Thespian19 model; the art of this people is already past the embryo20: song, dance, drums, quartette and solo — it is the drama full developed although still in miniature. Of all so-called dancing in the South Seas, that which I saw in Butaritari stands easily the first. The HULA, as it may be viewed by the speedy globe-trotter in Honolulu, is surely the most dull of man’s inventions, and the spectator yawns under its length as at a college lecture or a parliamentary debate. But the Gilbert Island dance leads on the mind; it thrills, rouses, subjugates21; it has the essence of all art, an unexplored imminent22 significance. Where so many are engaged, and where all must make (at a given moment) the same swift, elaborate, and often arbitrary movement, the toil24 of rehearsal25 is of course extreme. But they begin as children. A child and a man may often be seen together in a maniap’: the man sings and gesticulates, the child stands before him with streaming tears and tremulously copies him in act and sound; it is the Gilbert Island artist learning (as all artists must) his art in sorrow.
I may seem to praise too much; here is a passage from my wife’s diary, which proves that I was not alone in being moved, and completes the picture:—‘The conductor gave the cue, and all the dancers, waving their arms, swaying their bodies, and clapping their breasts in perfect time, opened with an introductory. The performers remained seated, except two, and once three, and twice a single soloist8. These stood in the group, making a slight movement with the feet and rhythmical27 quiver of the body as they sang. There was a pause after the introductory, and then the real business of the opera — for it was no less — began; an opera where every singer was an accomplished29 actor. The leading man, in an impassioned ecstasy30 which possessed31 him from head to foot, seemed transfigured; once it was as though a strong wind had swept over the stage — their arms, their feathered fingers thrilling with an emotion that shook my nerves as well: heads and bodies followed like a field of grain before a gust32. My blood came hot and cold, tears pricked33 my eyes, my head whirled, I felt an almost irresistible34 impulse to join the dancers. One drama, I think, I very nearly understood. A fierce and savage old man took the solo part. He sang of the birth of a prince, and how he was tenderly rocked in his mother’s arms; of his boyhood, when he excelled his fellows in swimming, climbing, and all athletic35 sports; of his youth, when he went out to sea with his boat and fished; of his manhood, when he married a wife who cradled a son of his own in her arms. Then came the alarm of war, and a great battle, of which for a time the issue was doubtful; but the hero conquered, as he always does, and with a tremendous burst of the victors the piece closed. There were also comic pieces, which caused great amusement. During one, an old man behind me clutched me by the arm, shook his finger in my face with a roguish smile, and said something with a chuckle36, which I took to be the equivalent of “O, you women, you women; it is true of you all!” I fear it was not complimentary37. At no time was there the least sign of the ugly indecency of the eastern islands. All was poetry pure and simple. The music itself was as complex as our own, though constructed on an entirely39 different basis; once or twice I was startled by a bit of something very like the best English sacred music, but it was only for an instant. At last there was a longer pause, and this time the dancers were all on their feet. As the drama went on, the interest grew. The performers appealed to each other, to the audience, to the heaven above; they took counsel with each other, the conspirators40 drew together in a knot; it was just an opera, the drums coming in at proper intervals42, the tenor43, baritone, and bass44 all where they should be — except that the voices were all of the same calibre. A woman once sang from the back row with a very fine contralto voice spoilt by being made artificially nasal; I notice all the women affect that unpleasantness. At one time a boy of angelic beauty was the soloist; and at another, a child of six or eight, doubtless an infant phenomenon being trained, was placed in the centre. The little fellow was desperately45 frightened and embarrassed at first, but towards the close warmed up to his work and showed much dramatic talent. The changing expressions on the faces of the dancers were so speaking, that it seemed a great stupidity not to understand them.’
Our neighbour at this performance, Karaiti, somewhat favours his Butaritarian majesty46 in shape and feature, being, like him, portly, bearded, and Oriental. In character he seems the reverse: alert, smiling, jovial47, jocular, industrious48. At home in his own island, he labours himself like a slave, and makes his people labour like a slave-driver. He takes an interest in ideas. George the trader told him about flying-machines. ‘Is that true, George?’ he asked. ‘It is in the papers,’ replied George. ‘Well,’ said Karaiti, ‘if that man can do it with machinery49, I can do it without’; and he designed and made a pair of wings, strapped50 them on his shoulders, went to the end of a pier51, launched himself into space, and fell bulkily into the sea. His wives fished him out, for his wings hindered him in swimming. ‘George,’ said he, pausing as he went up to change, ‘George, you lie.’ He had eight wives, for his small realm still follows ancient customs; but he showed embarrassment52 when this was mentioned to my wife. ‘Tell her I have only brought one here,’ he said anxiously. Altogether the Black Douglas pleased us much; and as we heard fresh details of the king’s uneasiness, and saw for ourselves that all the weapons in the summer parlour had been hid, we watched with the more admiration53 the cause of all this anxiety rolling on his big legs, with his big smiling face, apparently54 unarmed, and certainly unattended, through the hostile town. The Red Douglas, pot-bellied Kuma, having perhaps heard word of the debauch55, remained upon his fief; his vassals56 thus came uncommanded to the feast, and swelled57 the following of Karaiti.
FRIDAY, JULY 26. — At night in the dark, the singers of Makin paraded in the road before our house and sang the song of the princess. ‘This is the day; she was born to-day; Nei Kamaunave was born to-day — a beautiful princess, Queen of Butaritari.’ So I was told it went in endless iteration. The song was of course out of season, and the performance only a rehearsal. But it was a serenade besides; a delicate attention to ourselves from our new friend, Karaiti.
SATURDAY, JULY 27. — We had announced a performance of the magic lantern to-night in church; and this brought the king to visit us. In honour of the Black Douglas (I suppose) his usual two guardsmen were now increased to four; and the squad58 made an outlandish figure as they straggled after him, in straw hats, kilts and jackets. Three carried their arms reversed, the butts59 over their shoulders, the muzzles60 menacing the king’s plump back; the fourth had passed his weapon behind his neck, and held it there with arms extended like a backboard. The visit was extraordinarily61 long. The king, no longer galvanised with gin, said and did nothing. He sat collapsed62 in a chair and let a cigar go out. It was hot, it was sleepy, it was cruel dull; there was no resource but to spy in the countenance63 of Tebureimoa for some remaining trait of MR. CORPSE64 the butcher. His hawk65 nose, crudely depressed66 and flattened67 at the point, did truly seem to us to smell of midnight murder. When he took his leave, Maka bade me observe him going down the stair (or rather ladder) from the verandah. ‘Old man,’ said Maka. ‘Yes,’ said I, ‘and yet I suppose not old man.’ ‘Young man,’ returned Maka, ‘perhaps fo’ty.’ And I have heard since he is most likely younger.
While the magic lantern was showing, I skulked68 without in the dark. The voice of Maka, excitedly explaining the Scripture69 slides, seemed to fill not the church only, but the neighbourhood. All else was silent. Presently a distant sound of singing arose and approached; and a procession drew near along the road, the hot clean smell of the men and women striking in my face delightfully70. At the corner, arrested by the voice of Maka and the lightening and darkening of the church, they paused. They had no mind to go nearer, that was plain. They were Makin people, I believe, probably staunch heathens, contemners of the missionary71 and his works. Of a sudden, however, a man broke from their company, took to his heels, and fled into the church; next moment three had followed him; the next it was a covey of near upon a score, all pelting72 for their lives. So the little band of the heathen paused irresolute73 at the corner, and melted before the attractions of a magic lantern, like a glacier74 in spring. The more staunch vainly taunted75 the deserters; three fled in a guilty silence, but still fled; and when at length the leader found the wit or the authority to get his troop in motion and revive the singing, it was with much diminished forces that they passed musically on up the dark road.
Meanwhile inside the luminous76 pictures brightened and faded. I stood for some while unobserved in the rear of the spectators, when I could hear just in front of me a pair of lovers following the show with interest, the male playing the part of interpreter and (like Adam) mingling77 caresses78 with his lecture. The wild animals, a tiger in particular, and that old school-treat favourite, the sleeper79 and the mouse, were hailed with joy; but the chief marvel80 and delight was in the gospel series. Maka, in the opinion of his aggrieved81 wife, did not properly rise to the occasion. ‘What is the matter with the man? Why can’t he talk?’ she cried. The matter with the man, I think, was the greatness of the opportunity; he reeled under his good fortune; and whether he did ill or well, the exposure of these pious82 ‘phantoms83’ did as a matter of fact silence in all that part of the island the voice of the scoffer84. ‘Why then,’ the word went round, ‘why then, the Bible is true!’ And on our return afterwards we were told the impression was yet lively, and those who had seen might be heard telling those who had not, ‘O yes, it is all true; these things all happened, we have seen the pictures.’ The argument is not so childish as it seems; for I doubt if these islanders are acquainted with any other mode of representation but photography; so that the picture of an event (on the old melodrama85 principle that ‘the camera cannot lie, Joseph,’) would appear strong proof of its occurrence. The fact amused us the more because our slides were some of them ludicrously silly, and one (Christ before Pilate) was received with shouts of merriment, in which even Maka was constrained86 to join.
SUNDAY, JULY 28. — Karaiti came to ask for a repetition of the ‘phantoms’ — this was the accepted word — and, having received a promise, turned and left my humble87 roof without the shadow of a salutation. I felt it impolite to have the least appearance of pocketing a slight; the times had been too difficult, and were still too doubtful; and Queen Victoria’s son was bound to maintain the honour of his house. Karaiti was accordingly summoned that evening to the Ricks, where Mrs. Rick fell foul88 of him in words, and Queen Victoria’s son assailed89 him with indignant looks. I was the ass26 with the lion’s skin; I could not roar in the language of the Gilbert Islands; but I could stare. Karaiti declared he had meant no offence; apologised in a sound, hearty90, gentlemanly manner; and became at once at his ease. He had in a dagger91 to examine, and announced he would come to price it on the morrow, to — day being Sunday; this nicety in a heathen with eight wives surprised me. The dagger was ‘good for killing92 fish,’ he said roguishly; and was supposed to have his eye upon fish upon two legs. It is at least odd that in Eastern Polynesia fish was the accepted euphemism93 for the human sacrifice. Asked as to the population of his island, Karaiti called out to his vassals who sat waiting him outside the door, and they put it at four hundred and fifty; but (added Karaiti jovially) there will soon be plenty more, for all the women are in the family way. Long before we separated I had quite forgotten his offence. He, however, still bore it in mind; and with a very courteous94 inspiration returned early on the next day, paid us a long visit, and punctiliously95 said farewell when he departed.
MONDAY, JULY 29. — The great day came round at last. In the first hours the night was startled by the sound of clapping hands and the chant of Nei Kamaunava; its melancholy96, slow, and somewhat menacing measures broken at intervals by a formidable shout. The little morsel97 of humanity thus celebrated98 in the dark hours was observed at midday playing on the green entirely naked, and equally unobserved and unconcerned.
The summer parlour on its artificial islet, relieved against the shimmering99 lagoon100, and shimmering itself with sun and tinned iron, was all day crowded about by eager men and women. Within, it was boxed full of islanders, of any age and size, and in every degree of nudity and finery. So close we squatted101, that at one time I had a mighty102 handsome woman on my knees, two little naked urchins103 having their feet against my back. There might be a dame104 in full attire105 of HOLOKU and hat and flowers; and her next neighbour might the next moment strip some little rag of a shift from her fat shoulders and come out a monument of flesh, painted rather than covered by the hairbreadth RIDI. Little ladies who thought themselves too great to appear undraped upon so high a festival were seen to pause outside in the bright sunshine, their miniature ridis in their hand; a moment more and they were full-dressed and entered the concert-room.
At either end stood up to sing, or sat down to rest, the alternate companies of singers; Kuma and Little Makin on the north, Butaritari and its conjunct hamlets on the south; both groups conspicuous106 in barbaric bravery. In the midst, between these rival camps of troubadours, a bench was placed; and here the king and queen throned it, some two or three feet above the crowded audience on the floor — Tebureimoa as usual in his striped pyjamas107 with a satchel108 strapped across one shoulder, doubtless (in the island fashion) to contain his pistols; the queen in a purple HOLOKU, her abundant hair let down, a fan in her hand. The bench was turned facing to the strangers, a piece of well-considered civility; and when it was the turn of Butaritari to sing, the pair must twist round on the bench, lean their elbows on the rail, and turn to us the spectacle of their broad backs. The royal couple occasionally solaced109 themselves with a clay pipe; and the pomp of state was further heightened by the rifles of a picket110 of the guard.
With this kingly countenance, and ourselves squatted on the ground, we heard several songs from one side or the other. Then royalty111 and its guards withdrew, and Queen Victoria’s son and daughter-in — law were summoned by acclamation to the vacant throne. Our pride was perhaps a little modified when we were joined on our high places by a certain thriftless loafer of a white; and yet I was glad too, for the man had a smattering of native, and could give me some idea of the subject of the songs. One was patriotic112, and dared Tembinok’ of Apemama, the terror of the group, to an invasion. One mixed the planting of taro113 and the harvest-home. Some were historical, and commemorated114 kings and the illustrious chances of their time, such as a bout4 of drinking or a war. One, at least, was a drama of domestic interest, excellently played by the troop from Makin. It told the story of a man who has lost his wife, at first bewails her loss, then seeks another: the earlier strains (or acts) are played exclusively by men; but towards the end a woman appears, who has just lost her husband; and I suppose the pair console each other, for the finale seemed of happy omen23. Of some of the songs my informant told me briefly115 they were ‘like about the WEEMEN’; this I could have guessed myself. Each side (I should have said) was strengthened by one or two women. They were all soloists, did not very often join in the performance, but stood disengaged at the back part of the stage, and looked (in RIDI, necklace, and dressed hair) for all the world like European ballet — dancers. When the song was anyway broad these ladies came particularly to the front; and it was singular to see that, after each entry, the PREMIERE DANSEUSE pretended to be overcome by shame, as though led on beyond what she had meant, and her male assistants made a feint of driving her away like one who had disgraced herself. Similar affectations accompany certain truly obscene dances of Samoa, where they are very well in place. Here it was different. The words, perhaps, in this free-spoken world, were gross enough to make a carter blush; and the most suggestive feature was this feint of shame. For such parts the women showed some disposition116; they were pert, they were neat, they were acrobatic, they were at times really amusing, and some of them were pretty. But this is not the artist’s field; there is the whole width of heaven between such capering117 and ogling118, and the strange rhythmic28 gestures, and strange, rapturous, frenzied119 faces with which the best of the male dancers held us spellbound through a Gilbert Island ballet.
Almost from the first it was apparent that the people of the city were defeated. I might have thought them even good, only I had the other troop before my eyes to correct my standard, and remind me continually of ‘the little more, and how much it is.’ Perceiving themselves worsted, the choir120 of Butaritari grew confused, blundered, and broke down; amid this hubbub121 of unfamiliar122 intervals I should not myself have recognised the slip, but the audience were quick to catch it, and to jeer123. To crown all, the Makin company began a dance of truly superlative merit. I know not what it was about, I was too much absorbed to ask. In one act a part of the chorus, squealing124 in some strange falsetto, produced very much the effect of our orchestra; in another, the dancers, leaping like jumping-jacks, with arms extended, passed through and through each other’s ranks with extraordinary speed, neatness, and humour. A more laughable effect I never saw; in any European theatre it would have brought the house down, and the island audience roared with laughter and applause. This filled up the measure for the rival company, and they forgot themselves and decency38. After each act or figure of the ballet, the performers pause a moment standing, and the next is introduced by the clapping of hands in triplets. Not until the end of the whole ballet do they sit down, which is the signal for the rivals to stand up. But now all rules were to be broken. During the interval41 following on this great applause, the company of Butaritari leaped suddenly to their feet and most unhandsomely began a performance of their own. It was strange to see the men of Makin staring; I have seen a tenor in Europe stare with the same blank dignity into a hissing125 theatre; but presently, to my surprise, they sobered down, gave up the unsung remainder of their ballet, resumed their seats, and suffered their ungallant adversaries126 to go on and finish. Nothing would suffice. Again, at the first interval, Butaritari unhandsomely cut in; Makin, irritated in turn, followed the example; and the two companies of dancers remained permanently127 standing, continuously clapping hands, and regularly cutting across each other at each pause. I expected blows to begin with any moment; and our position in the midst was highly unstrategical. But the Makin people had a better thought; and upon a fresh interruption turned and trooped out of the house. We followed them, first because these were the artists, second because they were guests and had been scurvily128 ill-used. A large population of our neighbours did the same, so that the causeway was filled from end to end by the procession of deserters; and the Butaritari choir was left to sing for its own pleasure in an empty house, having gained the point and lost the audience. It was surely fortunate that there was no one drunk; but, drunk or sober, where else would a scene so irritating have concluded without blows?
The last stage and glory of this auspicious129 day was of our own providing — the second and positively130 the last appearance of the phantoms. All round the church, groups sat outside, in the night, where they could see nothing; perhaps ashamed to enter, certainly finding some shadowy pleasure in the mere131 proximity132. Within, about one-half of the great shed was densely133 packed with people. In the midst, on the royal dais, the lantern luminously134 smoked; chance rays of light struck out the earnest countenance of our Chinaman grinding the hand-organ; a fainter glimmer135 showed off the rafters and their shadows in the hollow of the roof; the pictures shone and vanished on the screen; and as each appeared, there would run a hush136, a whisper, a strong shuddering137 rustle138, and a chorus of small cries among the crowd. There sat by me the mate of a wrecked139 schooner140. ‘They would think this a strange sight in Europe or the States,’ said he, ‘going on in a building like this, all tied with bits of string.’
收听单词发音 |
1
savage
|
|
| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
参考例句： |
|
|
|
|
2
virtues
|
|
| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
参考例句： |
|
|
|
|
3
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
4
bout
|
|
| n.侵袭，发作；一次(阵，回)；拳击等比赛 | |
参考例句： |
|
|
|
|
5
reigned
|
|
| vi.当政，统治（reign的过去式形式） | |
参考例句： |
|
|
|
|
6
scent
|
|
| n.气味，香味，香水，线索，嗅觉；v.嗅，发觉 | |
参考例句： |
|
|
|
|
7
soloists
|
|
| n.独唱者，独奏者，单飞者( soloist的名词复数 ) | |
参考例句： |
|
|
|
|
8
soloist
|
|
| n.独奏者，独唱者 | |
参考例句： |
|
|
|
|
9
mimicking
|
|
| v.（尤指为了逗乐而）模仿( mimic的现在分词 )；酷似 | |
参考例句： |
|
|
|
|
10
grimacing
|
|
| v.扮鬼相，做鬼脸( grimace的现在分词 ) | |
参考例句： |
|
|
|
|
11
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
12
noted
|
|
| adj.著名的，知名的 | |
参考例句： |
|
|
|
|
13
discord
|
|
| n.不和，意见不合，争论，（音乐）不和谐 | |
参考例句： |
|
|
|
|
14
unison
|
|
| n.步调一致，行动一致 | |
参考例句： |
|
|
|
|
15
glorified
|
|
| 美其名的，变荣耀的 | |
参考例句： |
|
|
|
|
16
notation
|
|
| n.记号法，表示法，注释；[计算机]记法 | |
参考例句： |
|
|
|
|
17
throbs
|
|
| 体内的跳动( throb的名词复数 ) | |
参考例句： |
|
|
|
|
18
brandish
|
|
| v.挥舞，挥动；n.挥动，挥舞 | |
参考例句： |
|
|
|
|
19
thespian
|
|
| adj.戏曲的；n.演员；悲剧演员 | |
参考例句： |
|
|
|
|
20
embryo
|
|
| n.胚胎，萌芽的事物 | |
参考例句： |
|
|
|
|
21
subjugates
|
|
| v.征服，降伏( subjugate的第三人称单数 ) | |
参考例句： |
|
|
|
|
22
imminent
|
|
| adj.即将发生的，临近的，逼近的 | |
参考例句： |
|
|
|
|
23
omen
|
|
| n.征兆，预兆；vt.预示 | |
参考例句： |
|
|
|
|
24
toil
|
|
| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
参考例句： |
|
|
|
|
25
rehearsal
|
|
| n.排练，排演；练习 | |
参考例句： |
|
|
|
|
26
ass
|
|
| n.驴；傻瓜，蠢笨的人 | |
参考例句： |
|
|
|
|
27
rhythmical
|
|
| adj.有节奏的，有韵律的 | |
参考例句： |
|
|
|
|
28
rhythmic
|
|
| adj.有节奏的，有韵律的 | |
参考例句： |
|
|
|
|
29
accomplished
|
|
| adj.有才艺的；有造诣的；达到了的 | |
参考例句： |
|
|
|
|
30
ecstasy
|
|
| n.狂喜，心醉神怡，入迷 | |
参考例句： |
|
|
|
|
31
possessed
|
|
| adj.疯狂的；拥有的，占有的 | |
参考例句： |
|
|
|
|
32
gust
|
|
| n.阵风，突然一阵（雨、烟等），（感情的）迸发 | |
参考例句： |
|
|
|
|
33
pricked
|
|
| 刺，扎，戳( prick的过去式和过去分词 )； 刺伤； 刺痛； 使剧痛 | |
参考例句： |
|
|
|
|
34
irresistible
|
|
| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
参考例句： |
|
|
|
|
35
athletic
|
|
| adj.擅长运动的，强健的；活跃的，体格健壮的 | |
参考例句： |
|
|
|
|
36
chuckle
|
|
| vi.／n.轻声笑，咯咯笑 | |
参考例句： |
|
|
|
|
37
complimentary
|
|
| adj.赠送的，免费的，赞美的，恭维的 | |
参考例句： |
|
|
|
|
38
decency
|
|
| n.体面，得体，合宜，正派，庄重 | |
参考例句： |
|
|
|
|
39
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
40
conspirators
|
|
| n.共谋者，阴谋家( conspirator的名词复数 ) | |
参考例句： |
|
|
|
|
41
interval
|
|
| n.间隔，间距；幕间休息，中场休息 | |
参考例句： |
|
|
|
|
42
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： |
|
|
|
|
43
tenor
|
|
| n.男高音（歌手），次中音（乐器），要旨，大意 | |
参考例句： |
|
|
|
|
44
bass
|
|
| n.男低音(歌手)；低音乐器；低音大提琴 | |
参考例句： |
|
|
|
|
45
desperately
|
|
| adv.极度渴望地，绝望地，孤注一掷地 | |
参考例句： |
|
|
|
|
46
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
47
jovial
|
|
| adj.快乐的，好交际的 | |
参考例句： |
|
|
|
|
48
industrious
|
|
| adj.勤劳的，刻苦的，奋发的 | |
参考例句： |
|
|
|
|
49
machinery
|
|
| n.(总称)机械，机器；机构 | |
参考例句： |
|
|
|
|
50
strapped
|
|
| adj.用皮带捆住的，用皮带装饰的；身无分文的；缺钱；手头紧v.用皮带捆扎(strap的过去式和过去分词)；用皮带抽打；包扎；给…打绷带 | |
参考例句： |
|
|
|
|
51
pier
|
|
| n.码头；桥墩，桥柱；[建]窗间壁，支柱 | |
参考例句： |
|
|
|
|
52
embarrassment
|
|
| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
参考例句： |
|
|
|
|
53
admiration
|
|
| n.钦佩，赞美，羡慕 | |
参考例句： |
|
|
|
|
54
apparently
|
|
| adv.显然地；表面上，似乎 | |
参考例句： |
|
|
|
|
55
debauch
|
|
| v.使堕落，放纵 | |
参考例句： |
|
|
|
|
56
vassals
|
|
| n.奴仆( vassal的名词复数 )；（封建时代）诸侯；从属者；下属 | |
参考例句： |
|
|
|
|
57
swelled
|
|
| 增强( swell的过去式和过去分词 )； 肿胀； （使）凸出； 充满（激情） | |
参考例句： |
|
|
|
|
58
squad
|
|
| n.班，小队，小团体；vt.把…编成班或小组 | |
参考例句： |
|
|
|
|
59
butts
|
|
| 笑柄( butt的名词复数 )； （武器或工具的）粗大的一端； 屁股； 烟蒂 | |
参考例句： |
|
|
|
|
60
muzzles
|
|
| 枪口( muzzle的名词复数 )； （防止动物咬人的）口套； （四足动物的）鼻口部； （狗）等凸出的鼻子和口 | |
参考例句： |
|
|
|
|
61
extraordinarily
|
|
| adv.格外地；极端地 | |
参考例句： |
|
|
|
|
62
collapsed
|
|
| adj.倒塌的 | |
参考例句： |
|
|
|
|
63
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
64
corpse
|
|
| n.尸体，死尸 | |
参考例句： |
|
|
|
|
65
hawk
|
|
| n.鹰，骗子；鹰派成员 | |
参考例句： |
|
|
|
|
66
depressed
|
|
| adj.沮丧的，抑郁的，不景气的，萧条的 | |
参考例句： |
|
|
|
|
67
flattened
|
|
| [医]（水）平扁的，弄平的 | |
参考例句： |
|
|
|
|
68
skulked
|
|
| v.潜伏，偷偷摸摸地走动，鬼鬼祟祟地活动( skulk的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
69
scripture
|
|
| n.经文，圣书，手稿；Scripture:(常用复数)《圣经》，《圣经》中的一段 | |
参考例句： |
|
|
|
|
70
delightfully
|
|
| 大喜，欣然 | |
参考例句： |
|
|
|
|
71
missionary
|
|
| adj.教会的，传教(士)的；n.传教士 | |
参考例句： |
|
|
|
|
72
pelting
|
|
| 微不足道的，无价值的，盛怒的 | |
参考例句： |
|
|
|
|
73
irresolute
|
|
| adj.无决断的，优柔寡断的，踌躇不定的 | |
参考例句： |
|
|
|
|
74
glacier
|
|
| n.冰川，冰河 | |
参考例句： |
|
|
|
|
75
taunted
|
|
| 嘲讽( taunt的过去式和过去分词 )； 嘲弄； 辱骂； 奚落 | |
参考例句： |
|
|
|
|
76
luminous
|
|
| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
参考例句： |
|
|
|
|
77
mingling
|
|
| adj.混合的 | |
参考例句： |
|
|
|
|
78
caresses
|
|
| 爱抚，抚摸( caress的名词复数 ) | |
参考例句： |
|
|
|
|
79
sleeper
|
|
| n.睡眠者，卧车，卧铺 | |
参考例句： |
|
|
|
|
80
marvel
|
|
| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
参考例句： |
|
|
|
|
81
aggrieved
|
|
| adj.愤愤不平的，受委屈的；悲痛的；（在合法权利方面）受侵害的v.令委屈，令苦恼，侵害( aggrieve的过去式)；令委屈，令苦恼，侵害( aggrieve的过去式和过去分词) | |
参考例句： |
|
|
|
|
82
pious
|
|
| adj.虔诚的；道貌岸然的 | |
参考例句： |
|
|
|
|
83
phantoms
|
|
| n.鬼怪，幽灵( phantom的名词复数 ) | |
参考例句： |
|
|
|
|
84
scoffer
|
|
| 嘲笑者 | |
参考例句： |
|
|
|
|
85
melodrama
|
|
| n.音乐剧；情节剧 | |
参考例句： |
|
|
|
|
86
constrained
|
|
| adj.束缚的,节制的 | |
参考例句： |
|
|
|
|
87
humble
|
|
| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
参考例句： |
|
|
|
|
88
foul
|
|
| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
参考例句： |
|
|
|
|
89
assailed
|
|
| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
参考例句： |
|
|
|
|
90
hearty
|
|
| adj.热情友好的；衷心的；尽情的，纵情的 | |
参考例句： |
|
|
|
|
91
dagger
|
|
| n.匕首，短剑，剑号 | |
参考例句： |
|
|
|
|
92
killing
|
|
| n.巨额利润；突然赚大钱，发大财 | |
参考例句： |
|
|
|
|
93
euphemism
|
|
| n.婉言，委婉的说法 | |
参考例句： |
|
|
|
|
94
courteous
|
|
| adj.彬彬有礼的，客气的 | |
参考例句： |
|
|
|
|
95
punctiliously
|
|
参考例句： |
|
|
|
|
96
melancholy
|
|
| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
参考例句： |
|
|
|
|
97
morsel
|
|
| n.一口，一点点 | |
参考例句： |
|
|
|
|
98
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
99
shimmering
|
|
| v.闪闪发光，发微光( shimmer的现在分词 ) | |
参考例句： |
|
|
|
|
100
lagoon
|
|
| n.泻湖，咸水湖 | |
参考例句： |
|
|
|
|
101
squatted
|
|
| v.像动物一样蹲下( squat的过去式和过去分词 )；非法擅自占用（土地或房屋）；为获得其所有权；而占用某片公共用地。 | |
参考例句： |
|
|
|
|
102
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
103
urchins
|
|
| n.顽童( urchin的名词复数 )；淘气鬼；猬；海胆 | |
参考例句： |
|
|
|
|
104
dame
|
|
| n.女士 | |
参考例句： |
|
|
|
|
105
attire
|
|
| v.穿衣，装扮[同]array；n.衣着；盛装 | |
参考例句： |
|
|
|
|
106
conspicuous
|
|
| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
参考例句： |
|
|
|
|
107
pyjamas
|
|
| n.（宽大的）睡衣裤 | |
参考例句： |
|
|
|
|
108
satchel
|
|
| n.(皮或帆布的)书包 | |
参考例句： |
|
|
|
|
109
solaced
|
|
| v.安慰，慰藉( solace的过去分词 ) | |
参考例句： |
|
|
|
|
110
picket
|
|
| n.纠察队；警戒哨；v.设置纠察线；布置警卫 | |
参考例句： |
|
|
|
|
111
royalty
|
|
| n.皇家，皇族 | |
参考例句： |
|
|
|
|
112
patriotic
|
|
| adj.爱国的，有爱国心的 | |
参考例句： |
|
|
|
|
113
taro
|
|
| n.芋，芋头 | |
参考例句： |
|
|
|
|
114
commemorated
|
|
| v.纪念，庆祝( commemorate的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
115
briefly
|
|
| adv.简单地，简短地 | |
参考例句： |
|
|
|
|
116
disposition
|
|
| n.性情，性格；意向，倾向；排列，部署 | |
参考例句： |
|
|
|
|
117
capering
|
|
| v.跳跃，雀跃( caper的现在分词 )；蹦蹦跳跳 | |
参考例句： |
|
|
|
|
118
ogling
|
|
| v.（向…）抛媚眼，送秋波( ogle的现在分词 ) | |
参考例句： |
|
|
|
|
119
frenzied
|
|
| a.激怒的；疯狂的 | |
参考例句： |
|
|
|
|
120
choir
|
|
| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
参考例句： |
|
|
|
|
121
hubbub
|
|
| n.嘈杂；骚乱 | |
参考例句： |
|
|
|
|
122
unfamiliar
|
|
| adj.陌生的，不熟悉的 | |
参考例句： |
|
|
|
|
123
jeer
|
|
| vi.嘲弄，揶揄；vt.奚落；n.嘲笑，讥评 | |
参考例句： |
|
|
|
|
124
squealing
|
|
| v.长声尖叫，用长而尖锐的声音说( squeal的现在分词 ) | |
参考例句： |
|
|
|
|
125
hissing
|
|
| n. 发嘶嘶声, 蔑视 动词hiss的现在分词形式 | |
参考例句： |
|
|
|
|
126
adversaries
|
|
| n.对手，敌手( adversary的名词复数 ) | |
参考例句： |
|
|
|
|
127
permanently
|
|
| adv.永恒地，永久地，固定不变地 | |
参考例句： |
|
|
|
|
128
scurvily
|
|
| 下流地，粗鄙地，无礼地 | |
参考例句： |
|
|
|
|
|
129
auspicious
|
|
| adj.吉利的；幸运的，吉兆的 | |
参考例句： |
|
|
|
|
130
positively
|
|
| adv.明确地，断然，坚决地；实在，确实 | |
参考例句： |
|
|
|
|
131
mere
|
|
| adj.纯粹的；仅仅，只不过 | |
参考例句： |
|
|
|
|
132
proximity
|
|
| n.接近，邻近 | |
参考例句： |
|
|
|
|
133
densely
|
|
| ad.密集地；浓厚地 | |
参考例句： |
|
|
|
|
134
luminously
|
|
| 发光的； 明亮的； 清楚的； 辉赫 | |
参考例句： |
|
|
|
|
135
glimmer
|
|
| v.发出闪烁的微光；n.微光，微弱的闪光 | |
参考例句： |
|
|
|
|
136
hush
|
|
| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
参考例句： |
|
|
|
|
137
shuddering
|
|
| v.战栗( shudder的现在分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
参考例句： |
|
|
|
|
138
rustle
|
|
| v.沙沙作响；偷盗(牛、马等)；n.沙沙声声 | |
参考例句： |
|
|
|
|
139
wrecked
|
|
| adj.失事的，遇难的 | |
参考例句： |
|
|
|
|
140
schooner
|
|
| n.纵帆船 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |