A curious book, called "Life in Paris," published in 1822, contains a number of the artist's plates in the aquatint style; and though we believe he had never been in that capital, the designs have a great deal of life in them, and pass muster4 very well. A villanous race of shoulder-shrugging mortals are his Frenchmen indeed. And the heroes of the tale, a certain Mr. Dick Wildfire, Squire5 Jenkins, and Captain O'Shuffleton, are made to show the true British superiority on every occasion when Britons and French are brought together. This book was one among the many that the designer's genius has caused to be popular; the plates are not carefully executed, but, being colored, have a pleasant, lively look. The same style was adopted in the once famous book called "Tom and Jerry, or Life in London," which must have a word of notice here, for, although by no means Mr. Cruikshank's best work, his reputation was extraordinarily7 raised by it. Tom and Jerry were as popular twenty years since as Mr. Pickwick and Sam Weller now are; and often have we wished, while reading the biographies of the latter celebrated8 personages, that they had been described as well by Mr. Cruikshank's pencil as by Mr. Dickens's pen.
As for Tom and Jerry, to show the mutability of human affairs and the evanescent nature of reputation, we have been to the British Museum and no less than five circulating libraries in quest of the book, and "Life in London," alas9, is not to be found at any one of them. We can only, therefore, speak of the work from recollection, but have still a very clear remembrance of the leather gaiters of Jerry Hawthorn11, the green spectacles of Logic12, and the hooked nose of Corinthian Tom. They were the schoolboy's delight; and in the days when the work appeared we firmly believed the three heroes above named to be types of the most elegant, fashionable young fellows the town afforded, and thought their occupations and amusements were those of all high-bred English gentlemen. Tom knocking down the watchman at Temple Bar; Tom and Jerry dancing at Almack's; or flirting13 in the saloon at the theatre; at the night-houses, after the play; at Tom Cribb's, examining the silver cup then in the possession of that champion; at the chambers14 of Bob Logic, who, seated at a cabinet piano, plays a waltz to which Corinthian Tom and Kate are dancing; ambling15 gallantly16 in Rotten Row; or examining the poor fellow at Newgate who was having his chains knocked off before hanging: all these scenes remain indelibly engraved17 upon the mind, and so far we are independent of all the circulating libraries in London.
As to the literary contents of the book, they have passed sheer away. It was, most likely, not particularly refined; nay18, the chances are that it was absolutely vulgar. But it must have had some merit of its own, that is clear; it must have given striking descriptions of life in some part or other of London, for all London read it, and went to see it in its dramatic shape. The artist, it is said, wished to close the career of the three heroes by bringing them all to ruin, but the writer, or publishers, would not allow any such melancholy19 subjects to dash the merriment of the public, and we believe Tom, Jerry, and Logic, were married off at the end of the tale, as if they had been the most moral personages in the world. There is some goodness in this pity, which authors and the public are disposed to show towards certain agreeable, disreputable characters of romance. Who would mar20 the prospects21 of honest Roderick Random23, or Charles Surface, or Tom Jones? only a very stern moralist indeed. And in regard of Jerry Hawthorn and that hero without a surname, Corinthian Tom, Mr. Cruikshank, we make little doubt, was glad in his heart that he was not allowed to have his own way.
Soon after the "Tom and Jerry" and the "Life in Paris," Mr. Cruikshank produced a much more elaborate set of prints, in a work which was called "Points of Humor." These "Points" were selected from various comic works, and did not, we believe, extend beyond a couple of numbers, containing about a score of copper24-plates. The collector of humorous designs cannot fail to have them in his portfolio25, for they contain some of the very best efforts of Mr. Cruikshank's genius, and though not quite so highly labored26 as some of his later productions, are none the worse, in our opinion, for their comparative want of finish. All the effects are perfectly27 given, and the expression is as good as it could be in the most delicate engraving28 upon steel. The artist's style, too, was then completely formed; and, for our parts, we should say that we preferred his manner of 1825 to any other which he has adopted since. The first picture, which is called "The Point of Honor," illustrates29 the old story of the officer who, on being accused of cowardice30 for refusing to fight a duel31, came among his brother officers and flung a lighted grenade down upon the floor, before which his comrades fled ignominiously32. This design is capital, and the outward rush of heroes, walking, trampling33, twisting, scuffling at the door, is in the best style of the grotesque34. You see but the back of most of these gentlemen; into which, nevertheless, the artist has managed to throw an expression of ludicrous agony that one could scarcely have expected to find in such a part of the human figure. The next plate is not less good. It represents a couple who, having been found one night tipsy, and lying in the same gutter35, were, by a charitable though misguided gentleman, supposed to be man and wife, and put comfortably to bed together. The morning came; fancy the surprise of this interesting pair when they awoke and discovered their situation. Fancy the manner, too, in which Cruikshank has depicted36 them, to which words cannot do justice. It is needless to state that this fortuitous and temporary union was followed by one more lasting37 and sentimental38, and that these two worthy39 persons were married, and lived happily ever after.
We should like to go through every one of these prints. There is the jolly miller40, who, returning home at night, calls upon his wife to get him a supper, and falls to upon rashers of bacon and ale. How he gormandizes, that jolly miller! rasher after rasher, how they pass away frizzling and, smoking from the gridiron down that immense grinning gulf41 of a mouth. Poor wife! how she pines and frets42, at that untimely hour of midnight to be obliged to fry, fry, fry perpetually, and minister to the monster's appetite. And yonder in the clock: what agonized43 face is that we see? By heavens, it is the squire of the parish. What business has he there? Let us not ask. Suffice it to say, that he has, in the hurry of the moment, left up stairs his br——; his—psha! a part of his dress, in short, with a number of bank-notes in the pockets. Look in the next page, and you will see the ferocious44, bacon-devouring ruffian of a miller is actually causing this garment to be carried through the village and cried by the town-crier. And we blush to be obliged to say that the demoralized miller never offered to return the banknotes, although he was so mighty45 scrupulous46 in endeavoring to find an owner for the corduroy portfolio in which he had found them.
Passing from this painful subject, we come, we regret to state, to a series of prints representing personages not a whit2 more moral. Burns's famous "Jolly Beggars" have all had their portraits drawn47 by Cruikshank. There is the lovely "hempen48 widow," quite as interesting and romantic as the famous Mrs. Sheppard, who has at the lamented49 demise50 of her husband adopted the very same consolation51.
"My curse upon them every one,
They've hanged my braw John Highlandman52;
. . . .
And now a widow I must mourn
Departed joys that ne'er return;
No comfort but a hearty53 can
When I think on John Highlandman."
Sweet "raucle carlin," she has none of the sentimentality of the English highwayman's lady; but being wooed by a tinker and
"A pigmy scraper wi' his fiddle54
Wha us'd to trystes and fairs to driddle,"
prefers the practical to the merely musical man. The tinker sings with a noble candor55, worthy of a fellow of his strength of body and station in life—
"My bonnie lass, I work in brass56,
A tinker is my station;
I've travell'd round all Christian57 ground
In this my occupation.
I've ta'en the gold, I've been enroll'd
In many a noble squadron;
But vain they search'd when off I march'd
To go an' clout58 the caudron."
It was his ruling passion. What was military glory to him, forsooth? He had the greatest contempt for it, and loved freedom and his copper kettle a thousand times better—a kind of hardware Diogenes. Of fiddling59 he has no better opinion. The picture represents the "sturdy caird" taking "poor gut-scraper" by the beard,—drawing his "roosty rapier," and swearing to "speet him like a pliver" unless he would relinquish60 the bonnie lassie for ever—
"Wi' ghastly ee, poor tweedle-dee
Upon his hunkers bended,
An' pray'd for grace wi' ruefu' face,
An' so the quarrel ended."
Hark how the tinker apostrophizes the violinist, stating to the widow at the same time the advantages which she might expect from an alliance with himself:—
"Despise that shrimp61, that withered63 imp62,
Wi' a' his noise and caperin';
And take a share with those that bear
The budget and the apron64!
"And by that stowp, my faith an' houpe,
An' by that dear Kilbaigie!
If e'er ye want, or meet wi' scant65,
May I ne'er weet my craigie."
Cruikshank's caird is a noble creature; his face and figure show him to be fully6 capable of doing and saying all that is above written of him.
In the second part, the old tale of "The Three Hunchbacked Fiddlers" is illustrated66 with equal felicity. The famous classical dinners and duel in "Peregrine Pickle67" are also excellent in their way; and the connoisseur68 of prints and etchings may see in the latter plate, and in another in this volume, how great the artist's mechanical skill is as an etcher. The distant view of the city in the duel, and of a market-place in "The Quack69 Doctor," are delightful70 specimens71 of the artist's skill in depicting72 buildings and backgrounds. They are touched with a grace, truth, and dexterity73 of workmanship that leave nothing to desire. We have before mentioned the man with the mouth, which appears in this number emblematical74 of gout and indigestion, in which the artist has shown all the fancy of Callot. Little demons75, with long saws for noses, are making dreadful incisions76 into the toes of the unhappy sufferer; some are bringing pans of hot coals to keep the wounded member warm; a huge, solemn nightmare sits on the invalid's chest, staring solemnly into his eyes; a monster, with a pair of drumsticks, is banging a devil's tattoo77 on his forehead; and a pair of imps78 are nailing great tenpenny nails into his hands to make his happiness complete.
The late Mr. Clark's excellent work, "Three Courses and a Dessert," was published at a time when the rage for comic stories was not so great as it since has been, and Messrs. Clark and Cruikshank only sold their hundreds where Messrs. Dickens and Phiz dispose of their thousands. But if our recommendation can in any way influence the reader, we would enjoin79 him to have a copy of the "Three Courses," that contains some of the best designs of our artist, and some of the most amusing tales in our language. The invention of the pictures, for which Mr. Clark takes credit to himself, says a great deal for his wit and fancy. Can we, for instance, praise too highly the man who invented that wonderful oyster80?
Examine him well; his beard, his pearl, his little round stomach, and his sweet smile. Only oysters81 know how to smile in this way; cool, gentle, waggish82, and yet inexpressibly innocent and winning. Dando himself must have allowed such an artless native to go free, and consigned83 him to the glassy, cool, translucent84 wave again.
In writing upon such subjects as these with which we have been furnished, it can hardly be expected that we should follow any fixed85 plan and order—we must therefore take such advantage as we may, and seize upon our subject when and wherever we can lay hold of him.
For Jews, sailors, Irishmen, Hessian boots, little boys, beadles, policemen, tall life-guardsmen, charity children, pumps, dustmen, very short pantaloons, dandies in spectacles, and ladies with aquiline86 noses, remarkably87 taper88 waists, and wonderfully long ringlets, Mr. Cruikshank has a special predilection89. The tribe of Israelites he has studied with amazing gusto; witness the Jew in Mr. Ainsworth's "Jack90 Sheppard," and the immortal91 Fagin of "Oliver Twist." Whereabouts lies the comic vis in these persons and things? Why should a beadle be comic, and his opposite a charity boy? Why should a tall life-guardsman have something in him essentially92 absurd? Why are short breeches more ridiculous than long? What is there particularly jocose93 about a pump, and wherefore does a long nose always provoke the beholder94 to laughter? These points may be metaphysically elucidated95 by those who list. It is probable that Mr. Cruikshank could not give an accurate definition of that which is ridiculous in these objects, but his instinct has told him that fun lurks96 in them, and cold must be the heart that can pass by the pantaloons of his charity boys, the Hessian boots of his dandies, and the fan-tail hats of his dustmen, without respectful wonder.
He has made a complete little gallery of dustmen. There is, in the first place, the professional dustman, who, having in the enthusiastic exercise of his delightful trade, laid hands upon property not strictly97 his own, is pursued, we presume, by the right owner, from whom he flies as fast as his crooked98 shanks will carry him.
What a curious picture it is—the horrid99 rickety houses in some dingy100 suburb of London, the grinning cobbler, the smothered101 butcher, the very trees which are covered with dust—it is fine to look at the different expressions of the two interesting fugitives102. The fiery103 charioteer who belabors104 the poor donkey has still a glance for his brother on foot, on whom punishment is about to descend106. And not a little curious is it to think of the creative power of the man who has arranged this little tale of low life. How logically it is conducted, how cleverly each one of the accessories is made to contribute to the effect of the whole. What a deal of thought and humor has the artist expended107 on this little block of wood; a large picture might have been painted out of the very same materials, which Mr. Cruikshank, out of his wondrous108 fund of merriment and observation, can afford to throw away upon a drawing not two inches long. From the practical dustmen we pass to those purely109 poetical111. There are three of them who rise on clouds of their own raising, the very genii of the sack and shovel112.
Is there no one to write a sonnet113 to these?—and yet a whole poem was written about Peter Bell the wagoner, a character by no means so poetic110.
And lastly, we have the dustman in love: the honest fellow having seen a young beauty stepping out of a gin-shop on a Sunday morning, is pressing eagerly his suit.
Gin has furnished many subjects to Mr. Cruikshank, who labors105 in his own sound and hearty way to teach his countrymen the dangers of that drink. In the "Sketch-Book" is a plate upon the subject, remarkable114 for fancy and beauty of design; it is called the "Gin Juggernaut," and represents a hideous115 moving palace, with a reeking116 still at the roof and vast gin-barrels for wheels, under which unhappy millions are crushed to death. An immense black cloud of desolation covers over the country through which the gin monster has passed, dimly looming117 through the darkness whereof you see an agreeable prospect22 of gibbets with men dangling118, burnt houses, &c. The vast cloud comes sweeping119 on in the wake of this horrible body-crusher; and you see, by way of contrast, a distant, smiling, sunshiny tract120 of old English country, where gin as yet is not known. The allegory is as good, as earnest, and as fanciful as one of John Bunyan's, and we have often fancied there was a similarity between the men.
The render will examine the work called "My Sketch-Book" with not a little amusement, and may gather from it, as we fancy, a good deal of information regarding the character of the individual man, George Cruikshank: what points strike his eye as a painter; what move his anger or admiration121 as a moralist; what classes he seems most especially disposed to observe, and what to ridicule122. There are quacks123 of all kinds, to whom he has a mortal hatred124; quack dandies, who assume under his pencil, perhaps in his eye, the most grotesque appearance possible—their hats grow larger, their legs infinitely125 more crooked and lean; the tassels126 of their canes127 swell128 out to a most preposterous129 size; the tails of their coats dwindle130 away, and finish where coat-tails generally begin. Let us lay a wager131 that Cruikshank, a man of the people if ever there was one, heartily132 hates and despises these supercilious133, swaggering young gentlemen; and his contempt is not a whit the less laudable because there may be tant soit peu of prejudice in it. It is right and wholesome134 to scorn dandies, as Nelson said it was to hate Frenchmen; in which sentiment (as we have before said) George Cruikshank undoubtedly135 shares. In the "Sunday in London,"* Monsieur the Chef is instructing a kitchen-maid how to compound some rascally136 French kickshaw or the other—a pretty scoundrel truly! with what an air he wears that nightcap of his, and shrugs138 his lank139 shoulders, and chatters140, and ogles141, and grins: they are all the same, these mounseers; there are other two fellows—morbleu! one is putting his dirty fingers into the saucepan; there are frogs cooking in it, no doubt; and just over some other dish of abomination, another dirty rascal137 is taking snuff! Never mind, the sauce won't be hurt by a few ingredients more or less. Three such fellows as these are not worth one Englishman, that's clear. There is one in the very midst of them, the great burly fellow with the beef: he could beat all three in five minutes. We cannot be certain that such was the process going on in Mr. Cruikshank's mind when he made the design; but some feelings of the sort were no doubt entertained by him.
* The following lines—ever fresh—by the author of
"Headlong Hall," published years ago in the Globe and
Traveller, are an excellent comment on several of the cuts
from the "Sunday in London:"—
I.
"The poor man's sins are glaring;
In the face of ghostly warning
He is caught in the fact
Of an overt142 act,
Buying greens on Sunday morning.
II.
"The rich man's sins are hidden
In the pomp of wealth and station,
And escape the sight
Of the children of light,
Who are wise in their generation.
III.
"The rich man has a kitchen,
And cooks to dress his dinner;
The poor who would roast,
To the baker's must post,
And thus becomes a sinner.
IV.
"The rich man's painted windows
Hide the concerts of the quality;
The poor can but share
A crack'd fiddle in the air,
Which offends all sound morality.
V.
"The rich man has a cellar,
And a ready butler by him;
The poor must steer143
For his pint144 of beer
Where the saint can't choose but spy him.
VI.
"This rich man is invisible
In the crowd of his gay society;
But the poor man's delight
Is a sore in the sight
And a stench in the nose of piety145."
Against dandy footmen he is particularly severe. He hates idlers, pretenders, boasters, and punishes these fellows as best he may. Who does not recollect10 the famous picture, "What IS taxes, Thomas?" What is taxes indeed; well may that vast, over-fed, lounging flunky ask the question of his associate Thomas: and yet not well, for all that Thomas says in reply is, "I DON'T KNOW." "O beati PLUSHICOLAE," what a charming state of ignorance is yours! In the "Sketch-Book" many footmen make their appearance: one is a huge fat Hercules of a Portman Square porter, who calmly surveys another poor fellow, a porter likewise, but out of livery, who comes staggering forward with a box that Hercules might lift with his little finger. Will Hercules do so? not he. The giant can carry nothing heavier than a cocked-hat note on a silver tray, and his labors are to walk from his sentry-box to the door, and from the door back to his sentry-box, and to read the Sunday paper, and to poke146 the hall fire twice or thrice, and to make five meals a day. Such a fellow does Cruikshank hate and scorn worse even than a Frenchman.
The man's master, too, comes in for no small share of our artist's wrath147. There is a company of them at church, who humbly148 designate themselves "miserable149 sinners!" Miserable sinners indeed! Oh, what floods of turtle-soup, what tons of turbot and lobster-sauce must have been sacrificed to make those sinners properly miserable. My lady with the ermine tippet and draggling feather, can we not see that she lives in Portland Place, and is the wife of an East India Director? She has been to the Opera over-night (indeed her husband, on her right, with his fat hand dangling over the pew-door, is at this minute thinking of Mademoiselle Leocadie, whom he saw behind the scenes)—she has been at the Opera over-night, which with a trifle of supper afterwards—a white-and-brown soup, a lobster-salad, some woodcocks, and a little champagne—sent her to bed quite comfortable. At half-past eight her maid brings her chocolate in bed, at ten she has fresh eggs and muffins, with, perhaps, a half-hundred of prawns150 for breakfast, and so can get over the day and the sermon till lunch-time pretty well. What an odor of musk151 and bergamot exhales152 from the pew!—how it is wadded, and stuffed, and spangled over with brass nails! what hassocks are there for those who are not too fat to kneel! what a flustering153 and flapping of gilt154 prayer-books; and what a pious155 whirring of bible leaves one hears all over the church, as the doctor blandly156 gives out the text! To be miserable at this rate you must, at the very least, have four thousand a year: and many persons are there so enamored of grief and sin, that they would willingly take the risk of the misery157 to have a life-interest in the consols that accompany it, quite careless about consequences, and sceptical as to the notion that a day is at hand when you must fulfil YOUR SHARE OF THE BARGAIN.
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depict
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| vt.描画，描绘；描写，描述 | |
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whit
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| n.一点，丝毫 | |
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peruse
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| v.细读，精读 | |
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muster
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| v.集合，收集，鼓起，激起；n.集合，检阅，集合人员，点名册 | |
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squire
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| n.护卫, 侍从, 乡绅 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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extraordinarily
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| adv.格外地；极端地 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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hawthorn
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| 山楂 | |
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logic
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| n.逻辑(学)；逻辑性 | |
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flirting
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| v.调情，打情骂俏( flirt的现在分词 ) | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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ambling
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| v.（马）缓行( amble的现在分词 )；从容地走，漫步 | |
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gallantly
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| adv. 漂亮地，勇敢地，献殷勤地 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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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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mar
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| vt.破坏，毁坏，弄糟 | |
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prospects
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| n.希望，前途(恒为复数) | |
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prospect
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| n.前景，前途；景色，视野 | |
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random
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| adj.随机的；任意的；n.偶然的(或随便的)行动 | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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portfolio
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| n.公事包；文件夹；大臣及部长职位 | |
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labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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engraving
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| n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中） | |
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illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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cowardice
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| n.胆小，怯懦 | |
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duel
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| n./v.决斗；(双方的)斗争 | |
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ignominiously
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| adv.耻辱地，屈辱地，丢脸地 | |
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trampling
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| 踩( trample的现在分词 )； 践踏； 无视； 侵犯 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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gutter
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| n.沟，街沟，水槽，檐槽，贫民窟 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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39
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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40
miller
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| n.磨坊主 | |
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41
gulf
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| n.海湾；深渊，鸿沟；分歧，隔阂 | |
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42
frets
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| 基质间片； 品丝（吉他等指板上定音的）( fret的名词复数 ) | |
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43
agonized
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| v.使（极度）痛苦，折磨( agonize的过去式和过去分词 )；苦斗；苦苦思索；感到极度痛苦 | |
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44
ferocious
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| adj.凶猛的，残暴的，极度的，十分强烈的 | |
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45
mighty
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| adj.强有力的；巨大的 | |
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46
scrupulous
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| adj.审慎的，小心翼翼的，完全的，纯粹的 | |
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47
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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48
hempen
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| adj. 大麻制的, 大麻的 | |
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49
lamented
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| adj.被哀悼的，令人遗憾的v.（为…）哀悼，痛哭，悲伤( lament的过去式和过去分词 ) | |
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50
demise
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| n.死亡；v.让渡，遗赠，转让 | |
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51
consolation
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| n.安慰，慰问 | |
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52
highlandman
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| 高原居民，山地居民； [H-](英国)苏格兰高地人 | |
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53
hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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54
fiddle
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| n.小提琴；vi.拉提琴；不停拨弄，乱动 | |
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55
candor
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| n.坦白，率真 | |
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56
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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57
Christian
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| adj.基督教徒的；n.基督教徒 | |
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58
clout
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| n.用手猛击；权力，影响力 | |
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59
fiddling
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| 微小的 | |
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60
relinquish
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| v.放弃，撤回，让与，放手 | |
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61
shrimp
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| n.虾，小虾；矮小的人 | |
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62
imp
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| n.顽童 | |
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63
withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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64
apron
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| n.围裙；工作裙 | |
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65
scant
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| adj.不充分的，不足的；v.减缩，限制，忽略 | |
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66
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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67
pickle
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| n.腌汁，泡菜；v.腌，泡 | |
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68
connoisseur
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| n.鉴赏家，行家，内行 | |
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69
quack
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| n.庸医；江湖医生；冒充内行的人；骗子 | |
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70
delightful
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| adj.令人高兴的，使人快乐的 | |
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71
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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72
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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73
dexterity
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| n.(手的)灵巧，灵活 | |
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74
emblematical
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| adj.标志的，象征的，典型的 | |
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75
demons
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| n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念 | |
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76
incisions
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| n.切开，切口( incision的名词复数 ) | |
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77
tattoo
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| n.纹身，(皮肤上的)刺花纹；vt.刺花纹于 | |
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78
imps
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| n.（故事中的）小恶魔( imp的名词复数 )；小魔鬼；小淘气；顽童 | |
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79
enjoin
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| v.命令；吩咐；禁止 | |
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80
oyster
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| n.牡蛎；沉默寡言的人 | |
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81
oysters
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| 牡蛎( oyster的名词复数 ) | |
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82
waggish
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| adj.诙谐的，滑稽的 | |
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83
consigned
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| v.把…置于（令人不快的境地）( consign的过去式和过去分词 )；把…托付给；把…托人代售；丟弃 | |
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84
translucent
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| adj.半透明的；透明的 | |
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85
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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86
aquiline
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| adj.钩状的，鹰的 | |
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87
remarkably
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| ad.不同寻常地，相当地 | |
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88
taper
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| n.小蜡烛，尖细，渐弱；adj.尖细的；v.逐渐变小 | |
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89
predilection
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| n.偏好 | |
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90
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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91
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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92
essentially
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| adv.本质上，实质上，基本上 | |
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93
jocose
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| adj.开玩笑的，滑稽的 | |
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94
beholder
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| n.观看者，旁观者 | |
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95
elucidated
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| v.阐明，解释( elucidate的过去式和过去分词 ) | |
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96
lurks
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| n.潜在，潜伏；（lurk的复数形式）vi.潜伏，埋伏（lurk的第三人称单数形式） | |
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97
strictly
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| adv.严厉地，严格地；严密地 | |
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98
crooked
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| adj.弯曲的；不诚实的，狡猾的，不正当的 | |
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99
horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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100
dingy
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| adj.昏暗的，肮脏的 | |
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101
smothered
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| （使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制 | |
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102
fugitives
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| n.亡命者，逃命者( fugitive的名词复数 ) | |
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103
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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104
belabors
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| vt.毒打一顿（belabor的第三人称单数形式） | |
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105
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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106
descend
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| vt./vi.传下来，下来，下降 | |
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107
expended
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| v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽 | |
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108
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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109
purely
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| adv.纯粹地，完全地 | |
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110
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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111
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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112
shovel
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| n.铁锨，铲子，一铲之量；v.铲，铲出 | |
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113
sonnet
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| n.十四行诗 | |
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114
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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115
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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116
reeking
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| v.发出浓烈的臭气( reek的现在分词 )；散发臭气；发出难闻的气味 (of sth)；明显带有（令人不快或生疑的跡象） | |
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117
looming
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| n.上现蜃景（光通过低层大气发生异常折射形成的一种海市蜃楼）v.隐约出现，阴森地逼近( loom的现在分词 )；隐约出现，阴森地逼近 | |
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118
dangling
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| 悬吊着( dangle的现在分词 )； 摆动不定； 用某事物诱惑…； 吊胃口 | |
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119
sweeping
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| adj.范围广大的，一扫无遗的 | |
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120
tract
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| n.传单，小册子，大片(土地或森林) | |
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121
admiration
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| n.钦佩，赞美，羡慕 | |
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122
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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123
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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124
hatred
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| n.憎恶，憎恨，仇恨 | |
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125
infinitely
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| adv.无限地，无穷地 | |
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126
tassels
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| n.穗( tassel的名词复数 )；流苏状物；（植物的）穗；玉蜀黍的穗状雄花v.抽穗， （玉米）长穗须( tassel的第三人称单数 )；使抽穗， （为了使作物茁壮生长）摘去穗状雄花；用流苏装饰 | |
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127
canes
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| n.（某些植物，如竹或甘蔗的）茎( cane的名词复数 )；（用于制作家具等的）竹竿；竹杖 | |
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128
swell
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| vi.膨胀，肿胀；增长，增强 | |
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129
preposterous
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| adj.荒谬的，可笑的 | |
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130
dwindle
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| v.逐渐变小（或减少） | |
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131
wager
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| n.赌注；vt.押注，打赌 | |
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132
heartily
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| adv.衷心地，诚恳地，十分，很 | |
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133
supercilious
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| adj.目中无人的，高傲的；adv.高傲地；n.高傲 | |
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134
wholesome
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| adj.适合；卫生的；有益健康的；显示身心健康的 | |
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135
undoubtedly
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| adv.确实地，无疑地 | |
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136
rascally
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| adj. 无赖的，恶棍的 adv. 无赖地，卑鄙地 | |
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137
rascal
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| n.流氓；不诚实的人 | |
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138
shrugs
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| n.耸肩（以表示冷淡，怀疑等）( shrug的名词复数 ) | |
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139
lank
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| adj.瘦削的；稀疏的 | |
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140
chatters
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| （人）喋喋不休( chatter的第三人称单数 )； 唠叨； （牙齿）打战； （机器）震颤 | |
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141
ogles
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| v.（向…）抛媚眼，送秋波( ogle的第三人称单数 ) | |
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142
overt
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| adj.公开的，明显的，公然的 | |
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143
steer
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| vt.驾驶，为…操舵；引导；vi.驾驶 | |
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144
pint
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| n.品脱 | |
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145
piety
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| n.虔诚，虔敬 | |
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146
poke
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| n.刺，戳，袋；vt.拨开，刺，戳；vi.戳，刺，捅，搜索，伸出，行动散慢 | |
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147
wrath
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| n.愤怒，愤慨，暴怒 | |
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148
humbly
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| adv. 恭顺地，谦卑地 | |
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149
miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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150
prawns
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| n.对虾，明虾( prawn的名词复数 ) | |
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151
musk
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| n.麝香, 能发出麝香的各种各样的植物，香猫 | |
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152
exhales
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| v.呼出，发散出( exhale的第三人称单数 )；吐出（肺中的空气、烟等），呼气 | |
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153
flustering
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| v.使慌乱，使不安( fluster的现在分词 ) | |
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154
gilt
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| adj.镀金的；n.金边证券 | |
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155
pious
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| adj.虔诚的；道貌岸然的 | |
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156
blandly
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| adv.温和地，殷勤地 | |
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157
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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