Three hundred and forty-eight years, six months, and nineteen days ago to-day, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal1.
The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois2 of Paris in a ferment3 from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of "our much dread4 lord, monsieur the king," nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the fifteenth century, of some plumed5 and bedizened embassy. It was barely two days since the last cavalcade6 of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance7 of M. le Cardinal8 de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable9 mien10 towards this whole rustic11 rabble12 of Flemish burgomasters, and to regale13 them at his H?tel de Bourbon, with a very "pretty morality, allegorical satire14, and farce," while a driving rain drenched15 the magnificent tapestries16 at his door.
What put the "whole population of Paris in commotion," as Jehan de Troyes expresses it, on the sixth of January, was the double solemnity, united from time immemorial, of the Epiphany and the Feast of Fools.
On that day, there was to be a bonfire on the Place de Grève, a maypole at the Chapelle de Braque, and a mystery at the Palais de Justice. It had been cried, to the sound of the trumpet18, the preceding evening at all the cross roads, by the provost's men, clad in handsome, short, sleeveless coats of violet camelot, with large white crosses upon their breasts.
So the crowd of citizens, male and female, having closed their houses and shops, thronged20 from every direction, at early morn, towards some one of the three spots designated.
Each had made his choice; one, the bonfire; another, the maypole; another, the mystery play. It must be stated, in honor of the good sense of the loungers of Paris, that the greater part of this crowd directed their steps towards the bonfire, which was quite in season, or towards the mystery play, which was to be presented in the grand hall of the Palais de Justice (the courts of law), which was well roofed and walled; and that the curious left the poor, scantily21 flowered maypole to shiver all alone beneath the sky of January, in the cemetery22 of the Chapel17 of Braque.
The populace thronged the avenues of the law courts in particular, because they knew that the Flemish ambassadors, who had arrived two days previously23, intended to be present at the representation of the mystery, and at the election of the Pope of the Fools, which was also to take place in the grand hall.
It was no easy matter on that day, to force one's way into that grand hall, although it was then reputed to be the largest covered enclosure in the world (it is true that Sauval had not yet measured the grand hall of the Chateau24 of Montargis). The palace place, encumbered25 with people, offered to the curious gazers at the windows the aspect of a sea; into which five or six streets, like so many mouths of rivers, discharged every moment fresh floods of heads. The waves of this crowd, augmented26 incessantly27, dashed against the angles of the houses which projected here and there, like so many promontories28, into the irregular basin of the place. In the centre of the lofty Gothic* fa?ade of the palace, the grand staircase, incessantly ascended29 and descended30 by a double current, which, after parting on the intermediate landing-place, flowed in broad waves along its lateral31 slopes,--the grand staircase, I say, trickled32 incessantly into the place, like a cascade33 into a lake. The cries, the laughter, the trampling34 of those thousands of feet, produced a great noise and a great clamor. From time to time, this noise and clamor redoubled; the current which drove the crowd towards the grand staircase flowed backwards35, became troubled, formed whirlpools. This was produced by the buffet36 of an archer37, or the horse of one of the provost's sergeants38, which kicked to restore order; an admirable tradition which the provostship has bequeathed to the constablery, the constablery to the ~maréchaussée~, the ~maréchaussée~ to our ~gendarmeri~ of Paris.
* The word Gothic, in the sense in which it is generally employed, is wholly unsuitable, but wholly consecrated39. Hence we accept it and we adopt it, like all the rest of the world, to characterize the architecture of the second half of the Middle Ages, where the ogive is the principle which succeeds the architecture of the first period, of which the semi-circle is the father.
Thousands of good, calm, bourgeois faces thronged the windows, the doors, the dormer windows, the roofs, gazing at the palace, gazing at the populace, and asking nothing more; for many Parisians content themselves with the spectacle of the spectators, and a wall behind which something is going on becomes at once, for us, a very curious thing indeed.
If it could be granted to us, the men of 1830, to mingle40 in thought with those Parisians of the fifteenth century, and to enter with them, jostled, elbowed, pulled about, into that immense hall of the palace, which was so cramped41 on that sixth of January, 1482, the spectacle would not be devoid42 of either interest or charm, and we should have about us only things that were so old that they would seem new.
With the reader's consent, we will endeavor to retrace43 in thought, the impression which he would have experienced in company with us on crossing the threshold of that grand hall, in the midst of that tumultuous crowd in surcoats, short, sleeveless jackets, and doublets.
And, first of all, there is a buzzing in the ears, a dazzlement in the eyes. Above our heads is a double ogive vault45, panelled with wood carving46, painted azure47, and sown with golden fleurs-de-lis; beneath our feet a pavement of black and white marble, alternating. A few paces distant, an enormous pillar, then another, then another; seven pillars in all, down the length of the hall, sustaining the spring of the arches of the double vault, in the centre of its width. Around four of the pillars, stalls of merchants, all sparkling with glass and tinsel; around the last three, benches of oak, worn and polished by the trunk hose of the litigants48, and the robes of the attorneys. Around the hall, along the lofty wall, between the doors, between the windows, between the pillars, the interminable row of all the kings of France, from Pharamond down: the lazy kings, with pendent arms and downcast eyes; the valiant49 and combative50 kings, with heads and arms raised boldly heavenward. Then in the long, pointed51 windows, glass of a thousand hues52; at the wide entrances to the hall, rich doors, finely sculptured; and all, the vaults53, pillars, walls, jambs, panelling, doors, statues, covered from top to bottom with a splendid blue and gold illumination, which, a trifle tarnished54 at the epoch55 when we behold56 it, had almost entirely57 disappeared beneath dust and spiders in the year of grace, 1549, when du Breul still admired it from tradition.
Let the reader picture to himself now, this immense, oblong hall, illuminated58 by the pallid59 light of a January day, invaded by a motley and noisy throng19 which drifts along the walls, and eddies60 round the seven pillars, and he will have a confused idea of the whole effect of the picture, whose curious details we shall make an effort to indicate with more precision.
It is certain, that if Ravaillac had not assassinated61 Henri IV., there would have been no documents in the trial of Ravaillac deposited in the clerk's office of the Palais de Justice, no accomplices62 interested in causing the said documents to disappear; hence, no incendiaries obliged, for lack of better means, to burn the clerk's office in order to burn the documents, and to burn the Palais de Justice in order to burn the clerk's office; consequently, in short, no conflagration63 in 1618. The old Palais would be standing64 still, with its ancient grand hall; I should be able to say to the reader, "Go and look at it," and we should thus both escape the necessity,--I of making, and he of reading, a description of it, such as it is. Which demonstrates a new truth: that great events have incalculable results.
It is true that it may be quite possible, in the first place, that Ravaillac had no accomplices; and in the second, that if he had any, they were in no way connected with the fire of 1618. Two other very plausible65 explanations exist: First, the great flaming star, a foot broad, and a cubit high, which fell from heaven, as every one knows, upon the law courts, after midnight on the seventh of March; second, Théophile's quatrain,--
"Sure, 'twas but a sorry game When at Paris, Dame66 Justice, Through having eaten too much spice, Set the palace all aflame."
Whatever may be thought of this triple explanation, political, physical, and poetical67, of the burning of the law courts in 1618, the unfortunate fact of the fire is certain. Very little to-day remains68, thanks to this catastrophe,--thanks, above all, to the successive restorations which have completed what it spared,--very little remains of that first dwelling69 of the kings of France,--of that elder palace of the Louvre, already so old in the time of Philip the Handsome, that they sought there for the traces of the magnificent buildings erected70 by King Robert and described by Helgaldus. Nearly everything has disappeared. What has become of the chamber71 of the chancellery, where Saint Louis consummated72 his marriage? the garden where he administered justice, "clad in a coat of camelot, a surcoat of linsey-woolsey, without sleeves, and a sur-mantle of black sandal, as he lay upon the carpet with Joinville?" Where is the chamber of the Emperor Sigismond? and that of Charles IV.? that of Jean the Landless? Where is the staircase, from which Charles VI. promulgated73 his edict of pardon? the slab74 where Marcel cut the throats of Robert de Clermont and the Marshal of Champagne75, in the presence of the dauphin? the wicket where the bulls of Pope Benedict were torn, and whence those who had brought them departed decked out, in derision, in copes and mitres, and making an apology through all Paris? and the grand hall, with its gilding76, its azure, its statues, its pointed arches, its pillars, its immense vault, all fretted77 with carvings78? and the gilded79 chamber? and the stone lion, which stood at the door, with lowered head and tail between his legs, like the lions on the throne of Solomon, in the humiliated80 attitude which befits force in the presence of justice? and the beautiful doors? and the stained glass? and the chased ironwork, which drove Biscornette to despair? and the delicate woodwork of Hancy? What has time, what have men done with these marvels81? What have they given us in return for all this Gallic history, for all this Gothic art? The heavy flattened82 arches of M. de Brosse, that awkward architect of the Saint-Gervais portal. So much for art; and, as for history, we have the gossiping reminiscences of the great pillar, still ringing with the tattle of the Patru.
It is not much. Let us return to the veritable grand hall of the veritable old palace. The two extremities83 of this gigantic parallelogram were occupied, the one by the famous marble table, so long, so broad, and so thick that, as the ancient land rolls--in a style that would have given Gargantua an appetite--say, "such a slice of marble as was never beheld84 in the world"; the other by the chapel where Louis XI. had himself sculptured on his knees before the Virgin85, and whither he caused to be brought, without heeding86 the two gaps thus made in the row of royal statues, the statues of Charlemagne and of Saint Louis, two saints whom he supposed to be great in favor in heaven, as kings of France. This chapel, quite new, having been built only six years, was entirely in that charming taste of delicate architecture, of marvellous sculpture, of fine and deep chasing, which marks with us the end of the Gothic era, and which is perpetuated87 to about the middle of the sixteenth century in the fairylike fancies of the Renaissance88. The little open-work rose window, pierced above the portal, was, in particular, a masterpiece of lightness and grace; one would have pronounced it a star of lace.
In the middle of the hall, opposite the great door, a platform of gold brocade, placed against the wall, a special entrance to which had been effected through a window in the corridor of the gold chamber, had been erected for the Flemish emissaries and the other great personages invited to the presentation of the mystery play.
It was upon the marble table that the mystery was to be enacted89, as usual. It had been arranged for the purpose, early in the morning; its rich slabs90 of marble, all scratched by the heels of law clerks, supported a cage of carpenter's work of considerable height, the upper surface of which, within view of the whole hall, was to serve as the theatre, and whose interior, masked by tapestries, was to take the place of dressing-rooms for the personages of the piece. A ladder, naively91 placed on the outside, was to serve as means of communication between the dressing-room and the stage, and lend its rude rungs to entrances as well as to exits. There was no personage, however unexpected, no sudden change, no theatrical92 effect, which was not obliged to mount that ladder. Innocent and venerable infancy93 of art and contrivances!
Four of the bailiff of the palace's sergeants, perfunctory guardians94 of all the pleasures of the people, on days of festival as well as on days of execution, stood at the four corners of the marble table.
The piece was only to begin with the twelfth stroke of the great palace clock sounding midday. It was very late, no doubt, for a theatrical representation, but they had been obliged to fix the hour to suit the convenience of the ambassadors.
Now, this whole multitude had been waiting since morning. A goodly number of curious, good people had been shivering since daybreak before the grand staircase of the palace; some even affirmed that they had passed the night across the threshold of the great door, in order to make sure that they should be the first to pass in. The crowd grew more dense95 every moment, and, like water, which rises above its normal level, began to mount along the walls, to swell96 around the pillars, to spread out on the entablatures, on the cornices, on the window-sills, on all the salient points of the architecture, on all the reliefs of the sculpture. Hence, discomfort97, impatience98, weariness, the liberty of a day of cynicism and folly99, the quarrels which break forth100 for all sorts of causes--a pointed elbow, an iron-shod shoe, the fatigue101 of long waiting--had already, long before the hour appointed for the arrival of the ambassadors, imparted a harsh and bitter accent to the clamor of these people who were shut in, fitted into each other, pressed, trampled102 upon, stifled103. Nothing was to be heard but imprecations on the Flemish, the provost of the merchants, the Cardinal de Bourbon, the bailiff of the courts, Madame Marguerite of Austria, the sergeants with their rods, the cold, the heat, the bad weather, the Bishop104 of Paris, the Pope of the Fools, the pillars, the statues, that closed door, that open window; all to the vast amusement of a band of scholars and lackeys105 scattered106 through the mass, who mingled107 with all this discontent their teasing remarks, and their malicious108 suggestions, and pricked109 the general bad temper with a pin, so to speak.
Among the rest there was a group of those merry imps110, who, after smashing the glass in a window, had seated themselves hardily111 on the entablature, and from that point despatched their gaze and their railleries both within and without, upon the throng in the hall, and the throng upon the Place. It was easy to see, from their parodied112 gestures, their ringing laughter, the bantering113 appeals which they exchanged with their comrades, from one end of the hall to the other, that these young clerks did not share the weariness and fatigue of the rest of the spectators, and that they understood very well the art of extracting, for their own private diversion from that which they had under their eyes, a spectacle which made them await the other with patience.
"Upon my soul, so it's you, 'Joannes Frollo de Molendino!'" cried one of them, to a sort of little, light-haired imp44, with a well-favored and malign114 countenance115, clinging to the acanthus leaves of a capital; "you are well named John of the Mill, for your two arms and your two legs have the air of four wings fluttering on the breeze. How long have you been here?"
"By the mercy of the devil," retorted Joannes Frollo, "these four hours and more; and I hope that they will be reckoned to my credit in purgatory116. I heard the eight singers of the King of Sicily intone the first verse of seven o'clock mass in the Sainte-Chapelle."
"Fine singers!" replied the other, "with voices even more pointed than their caps! Before founding a mass for Monsieur Saint John, the king should have inquired whether Monsieur Saint John likes Latin droned out in a Proven?al accent."
"He did it for the sake of employing those accursed singers of the King of Sicily!" cried an old woman sharply from among the crowd beneath the window. "I just put it to you! A thousand ~livres parisi~ for a mass! and out of the tax on sea fish in the markets of Paris, to boot!"
"Peace, old crone," said a tall, grave person, stopping up his nose on the side towards the fishwife; "a mass had to be founded. Would you wish the king to fall ill again?"
"Bravely spoken, Sire Gilles Lecornu, master furrier of king's robes!" cried the little student, clinging to the capital.
A shout of laughter from all the students greeted the unlucky name of the poor furrier of the king's robes.
"Lecornu! Gilles Lecornu!" said some.
"~Cornutus et hirsutus~, horned and hairy," another went on.
"He! of course," continued the small imp on the capital, "What are they laughing at? An honorable man is Gilles Lecornu, brother of Master Jehan Lecornu, provost of the king's house, son of Master Mahiet Lecornu, first porter of the Bois de Vincennes,--all bourgeois of Paris, all married, from father to son."
The gayety redoubled. The big furrier, without uttering a word in reply, tried to escape all the eyes riveted117 upon him from all sides; but he perspired118 and panted in vain; like a wedge entering the wood, his efforts served only to bury still more deeply in the shoulders of his neighbors, his large, apoplectic119 face, purple with spite and rage.
At length one of these, as fat, short, and venerable as himself, came to his rescue.
"Abomination! scholars addressing a bourgeois in that fashion in my day would have been flogged with a fagot, which would have afterwards been used to burn them."
The whole band burst into laughter.
"Holà hé! who is scolding so? Who is that screech120 owl121 of evil fortune?"
"Hold, I know him" said one of them; "'tis Master Andry Musnier."
"Because he is one of the four sworn booksellers of the university!" said the other.
"Everything goes by fours in that shop," cried a third; "the four nations, the four faculties122, the four feasts, the four procurators, the four electors, the four booksellers."
"Well," began Jean Frollo once more," we must play the devil with them."*
* ~Faire le diable a quatre~.
巴黎人被旧城区、大学区和市民区三重城垣里一片轰鸣的钟声惊醒的那个日子，距离今天已经有三百四十八年六个月零十九天了。
一四八二年一月六号那个日子，历史上并没有保存下什么记忆。一大早就使得巴黎市民和那些钟如此骚动的那个事件，也没有什么值得大书特书的地方。那既不是庇卡底人和勃艮第人的进攻，也不是一个抬圣骨盒的仪式行列，也不是拉斯葡萄园的一次学生暴动，也不是“尊贵的国王陛下”的入城式，也不是巴黎的司法宫判处的男女盗窃犯的漂亮绞刑，更不是十五世纪常见的那些盛装的戴翎毛的使臣们的莅临。才不过两天以前，就有那样一支人马——弗朗德勒的使臣们，带着为王太子与弗朗德勒的玛格丽特公主联姻的使命来到了巴黎。他们的到来使波旁红衣主教非常厌烦，因为他为了向国王讨好，不得不对那帮土里土气的弗朗德勒市政官笑脸相迎，并且用许多“寓意剧、滑稽剧和闹剧”，在他的波旁官邸招待他们，当时下了一场瓢泼大雨，把他房门口的精致帷幔全浇透了。
一月六日，这个若望·德·特渥依斯所谓的“使全体巴黎民众情绪激动的日子”，一个从远古以来既是庆祝主显节又是庆祝愚人节的日子。
在那天，格雷沃广场上要燃起篝火，布拉克小教堂要植上五月树，司法宫要上演圣迹剧。身穿胸前缀有白十字的紫红羽缎上衣的府尹衙役们，前一天已经在各个十字路口用喇叭般的高音通知了大家。
男女市民一大早就关好家门和店铺，从四面八方向那三个指定的场所涌去。他们各有各的打算：有些人要去看篝火，有些人要去看圣迹剧，有些人要去观赏五月树。不过，巴黎游民很具备那种古已有之的见识，大多数要去看篝火——它正合时令——，或是去看圣迹剧——它要在屋顶严实、门窗紧闭的司法宫演出。那些爱热闹的人都赞成让那花朵稀少的可怜的五月树孤零零地在布拉克小教堂的墓园里，在一月的天空下冻得发抖。
聚集在通往司法宫的几条路上的群众尤其多，因为他们知道，那些两天前到达的弗朗德勒使臣准备来观看圣迹剧的演出和愚人王的选举，这个选举也要在司法宫大厅举行。
在那个日子，要挤进司法宫大厅可不是一件轻而易举的事，虽然它号称当时全世界最大的大厅（真的，那时索瓦尔还不曾测量过孟达里行宫的大厅呢）。司法宫广场上万头攒动，站在窗口看热闹的人们只看见一片人的海洋，而广场的五六条街口就象是通到海洋的河口，随时吐送着一股股人流。人群的浪潮不断高涨，冲击着那些屋角和房檐，它们象海岬似的到处突出在形状象不规则的大水池般的广场上。在司法宫高高的哥特式前墙的正当中，有一座大阶梯，人流在那里分成了两股，川流不息地上上下下，在中间的台阶上散开，又在两旁的坡道上扩展成巨大的浪潮倾泻而下。这座大阶梯不断向广场倾泻人流的情景，正象是万丈飞瀑落入湖泊。喊声、笑声、千万人杂沓的脚步声，汇成一片巨大的喧哗和声响。这片喧哗和声响随时增涨着，涌向大阶梯的人流后退了，波动了，混乱了，原来是京城总督的弓箭手跑来干涉，京城总督的执达吏骑着马维持秩序来了。这个由京城总督传给保安队，由保安队传给武装警察队，由武装警察队传给我们巴黎宪兵队的传统，可真值得称道呢。
在所有门口、窗口、天窗和屋顶上，聚集着又安静又老实的千千万万市民的漂亮面孔，对着司法宫，对着广场，显得十分满意。我们不少的巴黎人都喜欢观看那些看热闹的人，只要看到墙背后有点什么动静，就会使我们心满意足。
假若我们这些一八三○年的人有幸能混杂在十五世纪的这些巴黎人当中，同他们一道拉拉拽拽地、推推挤挤地、跌跌撞撞地走进这个司法宫大厅（它在一四八二年一月六日显得何等窄小），那景象就不是既无兴趣、又无吸引力的了，我们就会觉得周围那些很古老的事物都显得十分新鲜。
假若读者愿意，就请他想象一下，当我们和那些穿宽外套，穿武士装，系裙子的人们一起跨进大厅的当儿，会产生什么印象。
起先只听见一片嘈杂声，只感到一阵眼花缭乱。我们头顶上是一道有木刻镶板的双尖拱，涂刷成天蓝色，饰有金色百合花的图案。我们脚下是黑白两色大理石交错铺成的路面。离我们几步远是一根大柱子，然后又是一根，又是另一根，一共有七根柱子在大厅里形成纵列，从横的方面支撑着双尖拱的起拱点。头四根柱子的周围摆着商人们的杂货摊，闪烁着玻璃和金箔的亮光。后三根柱子的四周有几条橡木板凳，已经被诉讼代理人的短裤和律师们的长袍磨损磨亮。在大厅四周，沿着高高的墙壁，在那门扉、窗户和柱子的空档里，是一长串从法拉蒙开始的法兰西国王们的塑像，多得望不到头。懦弱的国王两臂下垂，双目俯视，孔武善战的国王们头颅和臂膀都豪迈地朝天高举。那些尖拱顶的长窗上都装着五光十色的花玻璃，在大厅的几个宽阔的出口处，是几扇精雕细刻的富丽堂皇的门扉。所有这一切：拱顶、柱子、墙壁、窗框、镶板、门扉、塑像，上上下下都涂饰得金碧辉煌，我们看见的时候已经有几分暗淡，到了公元一五四九年，就几乎完全被灰尘和蛛网淹没了。
据说，就是在那一年，杜布厄尔还赞赏过它们呢。
假若读者想象一下，那长方形的宽阔的大厅被一月的暗淡天光映照着，被各色服饰的熙熙攘攘的人群占据着，那些人顺着墙壁乱跑，绕着七根柱子转悠，这样你对整个地方就会有一个大致的印象了，我们且试着来较为准确地描述它各个有趣的方面。
当然啦，假若拉瓦亚克没有暗杀过亨利四世，那么，司法宫的档案室里就不会存有他的案卷，而他的从犯们也就不会出于利害关系去销毁那些案卷，放火的人们也就不至于为了销毁那些案卷，而又无计可施，只好放火去烧档案室。为了火烧档案室就要火烧司法宫。所以要不是因为这样，也就不会有一六一八年的大火灾了。古老的司法宫，连同它的大厅，也就会依旧安然屹立，这样我就可以告诉读者：“你们自己去看吧！”于是我们双方也就都省事了：我用不着来描述一番，读者也用不着来阅读这样的描述。这情况可以说明一个真理：凡是重大事件，其后果往往难以预料。
这当然很有可能，首先拉瓦亚克可能并没有从犯，再说即使他有从犯，那些人对一六一八年的大火灾可能并没有什么干系。有两种说法都解释得通：第一是三月七日后半夜，有一颗直径一呎、高一呎半的燃烧着的星星，从天上落到了司法宫。第二呢，有代阿菲的四行诗为证：那当然是一场悲惨的游戏，司掌法律的女神在巴黎由于吞吃了太多的贿赂，放火烧毁了自己的庙宇。
关于一六一八年司法宫的那场大火灾，说它是政治性的也罢，自然界引起的也罢，富于诗意的起因也罢，不管你如何看待这三种解释，可惜的是，它确实是一场火灾。由于那次灾难，特别是由于以后接二连三的修复，又把灾后幸存的一切都扫荡一空，这座比卢浮宫更为年代久远的法兰西帝王们最早的宫室，到如今就所剩无几了。它在美男子菲立浦时代已经存在，有人曾经在那里寻找过为罗贝尔王所兴建、为艾尔加杜所描述过的宏伟建筑的遗迹。这些差不多全都无影无踪了。圣路易在其中“成就了婚事”的那个机要室遭了什么难呀？他 “穿着紫红羽缎上衣、棉毛布的宽马甲和黑呢外套躺在地毯上”，同若安魏耶一起审理案件的那座花园遭了什么难呀？哪儿是西吉斯蒙皇帝的寝宫？还有查理四世的？还有“没领地的约翰”的寝宫呢？哪儿是查理六世颁布大赦令的那道楼梯？哪儿是马赛尔当着王太子的面杀害罗贝尔·德·克雷蒙和香槟元帅的那块石板？哪儿是伪教皇贝内迪克特的诏书被扯成碎片的那道小门？那些把诏书带来的人穿戴非常可笑，又从那里走出来去向全巴黎的人认罪。哪儿是那座金碧辉煌的大厅，连同那些尖拱、那些塑像、那些柱子、那些由于复杂的雕饰而显得支离破碎的巨大拱顶？那间金色的房间在哪里？它的门口有着一头石狮，垂着脑袋、夹着尾巴，就象所罗门座前的那些狮子一样姿态恭顺，表示暴力要服从正义。那些漂亮的门扇，漂亮的花玻璃窗又在哪里？那些曾经使比斯哥雷特认输的錾花的铁器在哪里？杜昂席的那些精工木器在哪里……? 时间和人使这些卓绝的艺术遭受了什么样的摧残？关于这一切，关于古老的高卢历史，关于整个哥特式艺术，现在还有什么存留给我们呢？艺术方面给我们留下的只是这位笨拙的圣·热尔维教堂大门道的建筑师德·布罗斯先生的沉重的扁圆拱，至于历史方面给我们留下的，那只有巴推之流对那根大柱的胡说八道了。
这些都无关紧要。我们还是来说说古代那座司法宫的大厅吧。
这座巨大的长方形大厅两头都被占据着，一头是那著名的大理石台子，那个台子在长度、宽度和厚度方面都是罕见的，正象早先土地赋税簿籍上那种能使卡冈都亚读后兴趣大增的文体所描写的：“此大理石板真乃举世无匹”。另一头就是那座小礼拜堂。在圣母像前有着路易十一的跪着的塑像。
路易十一又叫人把他认为深得天宠的象圣人一样的查理曼大帝和圣路易皇帝的塑像从那里搬走，并不在乎使那一列君王塑像里留下两个空空的壁龛。这座修建了才不过六年的小礼拜堂依然很新，仍旧保留着那种精致的建筑艺术所特有的高雅风格：到处是卓绝的雕刻、精妙的金属雕制品，它给我们指出哥特式艺术时代已经结束，现在已朝着十六世纪中叶文艺复兴时期那一富于想象的仙境迈进。正门顶端那透光的小小的花形玻璃窗，装饰得更为优美精巧，真可以说是一颗花边形状的星星。
在大厅中央，正对着大门，是一座铺饰着金线织锦的看台，背靠墙壁，墙上有个特别入口，凭借走廊上一扇窗户通向那个金饰房间。这座看台是用来迎接弗朗德勒使臣们和另一些请来观赏圣迹剧的贵宾的。
圣迹剧照例要在那个大理石台子上演出。为此它一大早就准备好了。在它那被司法宫的书记官们的脚跟划了许多道道的亮堂堂的大理石台面上，搭起了一个相当高的棚子，台面就当作戏台，整个大厅都看得见。棚子尽头挂着帷幔，当作演员们的更衣室。一架梯子无遮无盖地靠在外边，当作戏台和更衣室之间的通路，粗糙的梯级就当作上场口和下场口。当时也没有什么角色是意料不到的，没有什么曲折的剧情和临时插入的情节，一切都从这架梯子登上舞台。早期的戏剧艺术和布景装置是何等的天真诚实啊！
四名卫士直挺挺地站在大理石台子的四角上。无论在节日或是行刑日，他们总要到场监视老百姓的娱乐活动。
戏要在司法宫的大钟敲响正午十二点的时候才能开演。这对一场戏的开演说来当然是够晚的了，然而还是得遵照使臣们的时间来行事。
可是群众从大清早起就已经在等候了。这些爱热闹的老实人当中，大多数是天刚亮就已在司法宫的台阶前冻得发抖，有些还声称他们已经在司法宫的大门口守了一宿，为的是能抢在别人前面挤进去。人越来越多了，象猛涨的河水一样，他们沿着墙壁升高，朝着柱子周围扩展，一直泛滥到屋椽上、飞檐上、窗棂上，甚至爬到这座建筑物和它的雕刻装饰的一切突出部分上。
在使臣们应该到来的时刻以前，沮丧和不耐烦的情绪，狂欢日子里的打打闹闹，各种原因所引起的争吵，例如胳膊肘被人碰了一下，或是脚被谁的钉鞋踩了一下，还有长时间等待的疲劳等等，早就已经在摩肩接踵、骚乱打闹的群众中引起了刺耳的叫嚷。只听得一迭连声地埋怨和咒骂弗朗德勒的使臣们，咒骂市政总监、波旁红衣主教、法官、奥地利的玛格丽特夫人、教堂的侍役们，还有那冷和热，那坏天气，那巴黎主教和愚人王，那柱子和塑像，那道紧闭着的大门和那扇打开着的窗子。总之这情景使成群的学生和散杂在人群里的仆役们大为高兴，他们用嘲讽和戏谑给不满的群众火上浇油，也可以说是用恶作剧来刺激大家的恶劣情绪。
人群中还有这样一批快活的捣蛋鬼，他们把一扇窗子的花玻璃打掉，大胆地坐到墙头上去，一会儿对着大厅里的人们，一会儿对着广场外的人们，边看边嘲笑。从他们模仿别人的动作，从他们响亮的笑声，从他们和大厅两头的伙伴们互相打招呼和相互嘲骂的声音，很容易看出这些青年书生没有任何一点在场的人的那种厌烦和疲倦，可以看出他们很懂得，为了使自己开开心，要从眼下场景中引出一幕戏来，这幕戏可以使他们耐心地等待着那另外一场戏的开演。
“准定是你呀，若望·孚罗洛·德·梅朗狄诺！”这些人中有一个小伙子，头发褐黄、面孔又漂亮又狡猾，高踞在柱子顶端的雕饰上喊道，“你取名叫磨坊的若望倒挺好呢，你的两条腿活象风磨的四个翅膀呀。你来这儿多久了？”
“魔鬼见怜，”若望·孚罗洛回答，“来了四个多钟头哪，我希望这四个多钟头能算在我的净罪时间里就好了。我听到西西里国王的八个唱经人在圣小教堂里高唱七点钟举行的第一遍弥撒曲呢。”
“多好的唱经人呀，”那一个又说，“嗓子比他们的尖帽子还尖！在创作一支献给圣若望先生的弥撒曲以前，国王应当去问一问圣若望先生喜欢不喜欢人家用普罗旺斯省的口音来唱拉丁文的赞美诗。”
“雇用西西里国王的那些该死的唱经人原来是为了这回事！”窗户下边人群中有个老妇人尖声嚷道。“我问问你，一场弥撒花了一千个巴黎里弗。
再说，而且还是在巴黎菜市场卖海鱼的地方进行呢！”
“老太婆肃静！”卖鱼妇旁边有个板着脸孔的胖子捂着鼻子斥责道，“举行一场弥撒是挺应该的呀，你总不希望国王再生病吧？”
“说得好，吉尔·勒科尼阁下，王室皮货店老板！”盘踞在柱顶雕饰上的小个子学生喊道。
学生们听见王室皮货店老板这个倒霉称呼，就哄堂大笑起来。
“勒科尼！吉尔·勒科尼！”有的喊道。
“有角有毛的。”另一个说。
“哎，没问题！”柱顶上那个小子接口说。“有什么好笑的？令人肃然起敬的吉尔·勒科尼，是王宫总管若望·勒科尼的令弟，凡赛纳森林首席护林官马耶·勒科尼的公子，他们都是巴黎公民，父子两代都是新郎倌！”
玩笑越来越多。肥胖的皮货店老板一言不答，竭力要摆脱四面八方投射到他身上的目光，他尽管又流汗又喘气也是枉然，就象一支想钻进木器里去的楔子，他的努力只能使他那由于羞耻和愤怒而涨红了的中风的大脸盘在周围人群中更加显眼。
周围的人中有个同他一样又矮又胖、一样道貌岸然的人来给他帮忙了。
“大学生竟敢对一位市民这样讲话！在我们那时候，要是这样就得把他们先鞭打一顿再活活烧死！”
大伙儿嚷嚷开了。
“哎呀，谁在唱这个调调？那不吉祥的猫头鹰是哪一个？”
“瞧，我认得他，”一个说道，“那是安德里·米斯尼哀老板。”
“因为他是大学区四个该骂的书店老板之一。”另一个说道。
“在他的店铺里，什么都用四来计算，”第三个嚷道，“譬如说四个国家，四种学科，四个节日，四个医学家，四个选举人，四个书店老板。”
“那就让‘四’见鬼去吧！”若望·孚罗洛说。
“米斯尼哀，我们要烧掉你那些书！”
“米斯尼哀，我们要揍你店里的那些伙计！”
“米斯尼哀，我们要让你老婆伤心！”
“那好心肠的胖胖的乌达德女士啊。”
“要是她成了寡妇，她也还是又鲜艳又快活的！”
“魔鬼把你们都抓去吧！”安德里·米斯尼哀老板嘀咕道。
“住口，安德里老板！”依旧吊在柱顶雕饰上的若望说，“要不我就跌到你脑袋上来了！”
安德里老板举目一望，好象在目测柱子的高度和那滑稽家伙的体重，又把那体重和跌下来的速度相乘起来，算了一算，只好住口不响了。
战场上的主人若望又胜利地接着说下去：“我一定要这样干的，虽然我是一位副主教的老弟！”
“我们大学区的人真是些好好先生，在这样一个日子，也不要求别人尊重我们的特权，到头来在市民区人家有五月树和篝火，在旧城区有愚人王和弗朗德勒使臣们，而在大学区却什么都没有！”
“但是莫贝尔广场可够大的呢！”守在窗台上的学生里有一个说道。
“打倒校长！打倒选民们和医学家们！”若望嚷道。
“安德里老板的那些书呀，”另一个接着说，“今晚上应该拿到加雅田野里去烧起一堆篝火！”
“还有书记们的桌子！”他旁边的人说。
“还有教堂侍役们的棍棒！”
“还有长老们的痰盂！”
“还有医学家们的大肚皮！”
“还有选民们的票箱！”
“还有校长的那些凳子！”
“打倒呀！”小若望用打雷般的声音嚷道，“打倒安德里老板，侍役们和书记们！打倒神学家们、医生们和发号施令的人们！打倒医学家们、选民们和校长！”
“这真是世界的末日啦！”安德里喃喃说，一面把耳朵捂上。
“说起校长，校长凑巧到广场来啦！”窗口上那群人里面有一个喊道。
这话是向那个正要朝广场转过身去的人说的。
“真的是我们可敬的校长蒂博大师吗？”磨坊的若望·孚罗洛问道。他蜷缩在里边的一根柱子上，看不见外面发生的事。
“对呀，对呀，”其余的人一齐回答，“就是他，真的是他，是校长蒂博大师。”
那的确是校长，他和大学区全体要员排着队去欢迎使臣们，此刻正从司法广场走过。拥挤在窗口的学生们用嘲笑和讽刺的鼓掌来迎接他们。走在同伴们前头的校长忍受了第一发排炮，这发排炮是够厉害的。
“日安，校长先生，喂，日安呀！”
“他到这儿干吗，这个老赌棍？难道他不再掷骰子了吗？”
“他骑在骡子上摇摆得多厉害！骡子的耳朵还没有他的耳朵长呢！”
“喂，日安，校长蒂博先生！幸运儿蒂博！老糊涂！老赌棍！”
“上帝保佑你！昨晚你照常去掷双六了么？”
“啊，这张脸是多么衰老！那是因为爱玩爱赌，给扭歪了，抓破了，打伤了的呀！”
“倒霉蛋蒂博，你这样背向大学区朝着市民区奔跑，想上哪儿去呀？”
“他准是要上蒂博多代街去找个住处！”磨坊的若望嚷道。
那群人全都重复这句嘲骂，一面雷鸣般地嚷叫，使劲地鼓掌。
“你要到蒂博多代街找住处，不是吗，校长先生，从魔鬼那里来的赌棍？”
随后又轮到嘲笑那些要员们了。
“打倒教堂侍役们！打倒权杖手们！”
“你说说，罗班·普斯潘，那个家伙是什么人？”
“那是吉贝尔·德·许里，‘吉贝尔杜·德·索里亚科’，他是俄当学院的挂名校长。”
“喂，这是我的鞋。你占的位置比我优越，把它朝他脸上扔去！”
“今天可会有烂苹果丢到头上哪！”
“打倒那六个穿白袈裟的神学家！”
“那边的几个就是神学家吗？我还当是圣热纳维埃夫学院为了胡尼采邑送给市民区的六只白鹅呢。”
“打倒医生们！”
“打倒乱七八糟的争论和玩笑！”
“我向你行脱帽礼，圣热纳维埃夫学院的校长！你亏待了我，那可是确实的！他把我的名次，一个诺曼底人的，给了布尔日省人小阿伽略·法札斯巴达，其实他是个意大利人。”
“这可不公平呀，”所有的学生一齐嚷道。“打倒圣热纳维埃夫学院的校长！”
“喂！若相·德·拉朵大师！喂，路易·达于耶！喂，朗贝·阿克特芒！”
“让魔鬼勒死那个德国医生吧！”
“还有圣小教堂那些戴黑头巾的神甫！”
“还有那些穿灰毛皮袈裟的！”
“哎呀，艺术大师们！穿漂亮灰斗篷的人们！穿漂亮红斗篷的人们！”
“这可就使校长有了一条漂亮尾巴啦！”
“真象是一位去和大海举行婚礼的威尼斯公爵呀！”
“喂，若望！圣热纳维埃夫司教会的会员们来啦！”
“司教会会员们见鬼去吧！”
“克洛德·绍尔长老！克洛德·绍尔博士！你是在找玛丽·拉·日法尔德吗？”
“她是格拉蒂尼的芸香。”
“她给流氓头儿铺床。”
“她付出四个德尼埃。”
“或者光是嚷嚷。”
“你愿意她当面付给你吗？”
“同学们，那是庇卡底的选举人西蒙·尚甘先生，他让老婆坐在马屁股上哪！”
“骑士背后坐着黑色的悲伤。”
“好样的，西蒙先生！”
“日安呀，选举人先生！”
“晚安呀，选举人太太！”
“他们什么都看得见可快活啦！”若望·梅朗狄诺感叹道，他依旧高踞在柱顶的花叶形雕饰上。
这当儿，该挨骂的大学区书店老板安德里·米斯尼哀凑到王室皮货商吉尔·勒科尼老板的耳边说道：“先生，我告诉你，这是世界的末日到了，从来没见过这么胡闹的学生。
都怪本世纪那些该死的发明把一切都毁了。什么大炮呀、古炮呀、射击炮呀，尤其是印刷术——它是德国传过来的另一种瘟疫。手稿越多，书越多！印刷术败坏售书业。世界末日到了。”
“这个呀！我从天鹅绒衣料的风行上也看得出来。”皮货商说道。
正在这时，响起了正午的钟声。
“啊！……”人们异口同声地喊了一声。学生们不再出声了。接下去是一阵大骚动，一阵手忙脚乱，一阵使劲地咳嗽和用手绢的声音。人们各自调整位置，坐着或是踮起脚尖站着，或是聚到一处。然后是一片沉寂。所有的人都伸着脖子，张着嘴，所有的眼睛一齐向那个大理石台子望去。那四个卫士依旧站在原处，直挺挺地一动不动，好象四座涂了彩色的塑像。人们又把眼睛朝那个为弗朗德勒使臣们准备好的看台望去。门依旧紧闭着，看台依旧空无一人。这群人从大清早就指望着三桩事：中午的到来、弗朗德勒使臣们以及圣迹剧。现在只有中午是按时到来了。
这太过分了啊。
人们又等了一分钟、两分钟、三分钟、五分钟，直到一刻钟。什么也没有出现。看台上依旧空空如也，戏台上依旧毫无动静。人们的烦躁到这时变成了愤怒。怒冲冲的话起先真的还只是低声地回荡着。“开演圣迹剧呀！开演圣迹剧呀！”人们低声嘀咕着，所有的脑袋都在晃悠。一场风暴起初还只是轻轻地扫过人们的头顶，那是磨坊的若望使它发出了第一阵雷电。
“开演圣迹剧！让弗朗德勒的使臣们见鬼去吧！”他象一条蛇似的绕着柱顶雕饰扭来扭去，使足劲大声喊道。
群众拍起手来。
“开演圣迹剧！”他们又嚷道：“让弗朗德勒人见鬼去吧！”
“得马上给我们开演圣迹剧，”若望说，“要不然我可敢把法官吊起来，这件事就算是喜剧和寓言剧了。”
“说得好，”人们嚷道，“咱们先把这几个卫士吊起来吧！”
一片响亮的欢呼随之而起。那四个可怜虫吓得脸色发白，面面相觑。人群朝他们涌过去，他们看见那道把他们同群众隔开的不大牢固的木栏杆，已经被挤得向里面弯过来了。
情况十分危急。
“杀呀！杀呀！”四面八方一片喊声。
这当儿，我们在前面提起过的那幅帷幔忽然揭开，走出一个人来。人们一看见他就忽然停止了叫嚷，好象变戏法似的，这事把人们的愤怒变成了好奇心。
“肃静！肃静！”
那个人相当不安，手脚颤抖，一直走到大理石台子边上连连鞠躬，走得离人们越近，那种鞠躬越发象是跪拜了。
“公民先生们！”他说道，“公民女士们！我们十分荣幸地宣布，我们要当着红衣主教大人的面，演一出美妙的警世剧，剧名叫《圣母玛丽亚的裁判》。由我扮演朱比特。红衣主教大人刚才是在陪伴尊敬的奥地利公爵的使臣们，他们在波代门听大学校长的演讲被耽搁住了。等红衣主教大人一到场，我们马上开演。”
老实说，不用别的，单只这位朱比特的突然出现，就使那四个卫士得救了。是不是因为我们有这荣幸把这故事编得那么好，所以才要我们在圣母面前承担责任，而不是为了反对我们，人家才在这个时候引用了这一惯用的训诫：“但愿神不来干预”。再说大神朱比特又穿扮得十分漂亮，没费力就吸引住了观众的注意，使他们安静了下来。朱比特穿着一件金扣的黑天鹅绒铠甲，戴着一顶有白银镀金装饰的头盔，要不是那占了他双颊一半的又红又厚的胡须，要不是他手拿着钉有铁钉，饰有长短金箔条的涂金的硬纸卷（不难看出那是代表雷电的），要不是他那照希腊方式绑着饰带的肉色双脚的话，那么，他那副严厉的神态，真比得上贝里先生卫队里一个布列塔尼地方的射击手了。
收听单词发音 |
1
peal
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| n.钟声；v.鸣响 | |
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bourgeois
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| adj./n.追求物质享受的(人)；中产阶级分子 | |
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ferment
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| vt.使发酵；n./vt.（使）激动，（使）动乱 | |
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dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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plumed
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| 饰有羽毛的 | |
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cavalcade
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| n.车队等的行列 | |
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annoyance
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| n.恼怒，生气，烦恼 | |
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cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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mien
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| n.风采；态度 | |
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rustic
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| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
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rabble
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| n.乌合之众，暴民；下等人 | |
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regale
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| v.取悦，款待 | |
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satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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drenched
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| adj.湿透的；充满的v.使湿透( drench的过去式和过去分词 )；在某人（某物）上大量使用（某液体） | |
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tapestries
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| n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 ) | |
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17
chapel
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| n.小教堂，殡仪馆 | |
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18
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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19
throng
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| n.人群，群众；v.拥挤，群集 | |
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thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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scantily
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| adv.缺乏地；不充足地；吝啬地；狭窄地 | |
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cemetery
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| n.坟墓，墓地，坟场 | |
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23
previously
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| adv.以前，先前（地） | |
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24
chateau
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| n.城堡，别墅 | |
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encumbered
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| v.妨碍，阻碍，拖累( encumber的过去式和过去分词 ) | |
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26
Augmented
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| adj.增音的 动词augment的过去式和过去分词形式 | |
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27
incessantly
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| ad.不停地 | |
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28
promontories
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| n.岬，隆起，海角( promontory的名词复数 ) | |
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29
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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30
descended
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| a.为...后裔的，出身于...的 | |
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31
lateral
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| adj.侧面的，旁边的 | |
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32
trickled
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| v.滴( trickle的过去式和过去分词 )；淌；使)慢慢走；缓慢移动 | |
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33
cascade
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| n.小瀑布，喷流；层叠；vi.成瀑布落下 | |
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34
trampling
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| 踩( trample的现在分词 )； 践踏； 无视； 侵犯 | |
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35
backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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36
buffet
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| n.自助餐；饮食柜台；餐台 | |
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archer
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| n.射手，弓箭手 | |
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38
sergeants
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| 警官( sergeant的名词复数 )； （美国警察）警佐； （英国警察）巡佐； 陆军（或空军）中士 | |
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39
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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40
mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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41
cramped
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| a.狭窄的 | |
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42
devoid
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| adj.全无的，缺乏的 | |
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43
retrace
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| v.折回；追溯，探源 | |
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44
imp
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| n.顽童 | |
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45
vault
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| n.拱形圆顶，地窖，地下室 | |
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46
carving
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| n.雕刻品，雕花 | |
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47
azure
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| adj.天蓝色的，蔚蓝色的 | |
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48
litigants
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| n.诉讼当事人( litigant的名词复数 ) | |
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49
valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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50
combative
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| adj.好战的；好斗的 | |
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51
pointed
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| adj.尖的，直截了当的 | |
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52
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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53
vaults
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| n.拱顶( vault的名词复数 )；地下室；撑物跳高；墓穴 | |
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54
tarnished
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| （通常指金属）（使）失去光泽，（使）变灰暗( tarnish的过去式和过去分词 )； 玷污，败坏 | |
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55
epoch
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| n.(新)时代；历元 | |
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56
behold
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| v.看，注视，看到 | |
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57
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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58
illuminated
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| adj.被照明的；受启迪的 | |
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59
pallid
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| adj.苍白的，呆板的 | |
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60
eddies
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| （水、烟等的）漩涡，涡流( eddy的名词复数 ) | |
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61
assassinated
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| v.暗杀( assassinate的过去式和过去分词 )；中伤；诋毁；破坏 | |
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62
accomplices
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| 从犯，帮凶，同谋( accomplice的名词复数 ) | |
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63
conflagration
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| n.建筑物或森林大火 | |
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64
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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65
plausible
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| adj.似真实的，似乎有理的，似乎可信的 | |
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66
dame
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| n.女士 | |
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67
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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68
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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69
dwelling
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| n.住宅，住所，寓所 | |
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70
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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71
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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72
consummated
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| v.使结束( consummate的过去式和过去分词 )；使完美；完婚；（婚礼后的）圆房 | |
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73
promulgated
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| v.宣扬（某事物）( promulgate的过去式和过去分词 )；传播；公布；颁布（法令、新法律等） | |
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74
slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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75
champagne
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| n.香槟酒；微黄色 | |
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76
gilding
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| n.贴金箔，镀金 | |
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77
fretted
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| 焦躁的，附有弦马的，腐蚀的 | |
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78
carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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79
gilded
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| a.镀金的，富有的 | |
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80
humiliated
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| 感到羞愧的 | |
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81
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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82
flattened
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| [医]（水）平扁的，弄平的 | |
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83
extremities
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| n.端点( extremity的名词复数 )；尽头；手和足；极窘迫的境地 | |
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84
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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85
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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86
heeding
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| v.听某人的劝告，听从( heed的现在分词 ) | |
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87
perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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88
renaissance
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| n.复活，复兴，文艺复兴 | |
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89
enacted
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| 制定（法律），通过（法案）( enact的过去式和过去分词 ) | |
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90
slabs
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| n.厚板，平板，厚片( slab的名词复数 )；厚胶片 | |
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91
naively
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| adv. 天真地 | |
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92
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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93
infancy
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| n.婴儿期；幼年期；初期 | |
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94
guardians
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| 监护人( guardian的名词复数 )； 保护者，维护者 | |
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95
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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swell
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| vi.膨胀，肿胀；增长，增强 | |
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discomfort
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| n.不舒服，不安，难过，困难，不方便 | |
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98
impatience
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| n.不耐烦，急躁 | |
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99
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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100
forth
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| adv.向前；向外，往外 | |
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101
fatigue
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| n.疲劳，劳累 | |
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102
trampled
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| 踩( trample的过去式和过去分词 )； 践踏； 无视； 侵犯 | |
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103
stifled
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| （使）窒息， （使）窒闷( stifle的过去式和过去分词 )； 镇压，遏制； 堵 | |
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104
bishop
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| n.主教，（国际象棋）象 | |
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105
lackeys
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| n.听差( lackey的名词复数 )；男仆（通常穿制服）；卑躬屈膝的人；被待为奴仆的人 | |
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106
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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107
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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108
malicious
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| adj.有恶意的，心怀恶意的 | |
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109
pricked
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| 刺，扎，戳( prick的过去式和过去分词 )； 刺伤； 刺痛； 使剧痛 | |
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110
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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111
hardily
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| 耐劳地，大胆地，蛮勇地 | |
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112
parodied
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| v.滑稽地模仿，拙劣地模仿( parody的过去式和过去分词 ) | |
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113
bantering
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| adj.嘲弄的v.开玩笑，说笑，逗乐( banter的现在分词 )；（善意地）取笑，逗弄 | |
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114
malign
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| adj.有害的；恶性的；恶意的；v.诽谤，诬蔑 | |
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115
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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116
purgatory
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| n.炼狱；苦难；adj.净化的，清洗的 | |
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117
riveted
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| 铆接( rivet的过去式和过去分词 )； 把…固定住； 吸引； 引起某人的注意 | |
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118
perspired
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| v.出汗，流汗( perspire的过去式和过去分词 ) | |
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119
apoplectic
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| adj.中风的；愤怒的；n.中风患者 | |
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120
screech
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| n./v.尖叫；(发出)刺耳的声音 | |
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121
owl
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| n.猫头鹰，枭 | |
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122
faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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