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X. THE MYSTERY OF LORD BATEMAN
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Ever and again, in the literary and antiquarian papers, there flickers1 up debate as to the Mystery of Lord Bateman. This problem in no way concerns the existing baronial house of Bateman, which, in Burke, records no predecessor2 before a knight3 and lord mayor of 1717. Our Bateman comes of lordlier and more ancient lineage. The question really concerns ‘The Loving Ballad4 of Lord Bateman. Illustrated5 by George Cruikshank, London: Charles Tilt6, Fleet Street. And Mustapha Syried, Constantinople. MDCCCXXXIX.’

The tiny little volume in green cloth, with a design of Lord Bateman’s marriage ceremony, stamped in gold, opens with a ‘Warning to the Public, concerning the Loving Ballad of Lord Bateman.’ The Warning is signed George Cruikshank, who, however, adds in a postscript7: ‘The above is not my writing.’ The ballad follows, and then comes a set of notes, mainly critical. The author of the Warning remarks: ‘In some collection of old English Ballads8 there is an ancient ditty, which, I am told, bears some remote and distant resemblance to the following Epic9 Poem.’

Again, the text of the ballad, here styled ‘The Famous History of Lord Bateman,’ with illustrations by Thackeray, ‘plain’ (the original designs were coloured), occurs in the Thirteenth Volume of the Biographical Edition of Thackeray’s works. (pp. lvi-lxi).

The problems debated are: ‘Who wrote the Loving Ballad of Lord Bateman, and who wrote the Notes?’ The disputants have not shown much acquaintance with ballad lore10 in general.

First let us consider Mr. Thackeray’s text of the ballad. It is closely affiliated11 to the text of ‘The Loving Ballad of Lord Bateman,’ whereof the earliest edition with Cruikshank’s illustrations was published in 1839.255 The edition here used is that of David Bryce and Son, Glasgow (no date).

255 There are undated cheap broadside copies, not illustrated, in the British Museum.

Mr. Blanchard Jerrold, in his ‘Life of Cruikshank,’ tells us that the artist sang this ‘old English ballad’ at a dinner where Dickens and Thackeray were present. Mr. Thackeray remarked: ‘I should like to print that ballad with illustrations,’ but Cruikshank ‘warned him off,’ as he intended to do the thing himself. Dickens furnished the learned notes. This account of what occurred was given by Mr. Walter Hamilton, but Mr. Sala furnished another version. The ‘authorship of the ballad,’ Mr. Sala justly observed, ‘is involved in mystery.’ Cruikshank picked it up from the recitation of a minstrel outside a pot-house. In Mr. Sala’s opinion, Mr. Thackeray ‘revised and settled the words, and made them fit for publication.’ Nor did he confine himself to the mere12 critical work; he added, in Mr. Sala’s opinion, that admired passage about ‘The young bride’s mother, who never before was heard to speak so free,’ also contributing ‘The Proud Young Porter,’ Jeames. Now, in fact, both the interpellation of the bride’s mamma, and the person and characteristics of the proud young porter, are of unknown antiquity13, and are not due to Mr. Thackeray — a scholar too conscientious14 to ‘decorate ‘ an ancient text. Bishop15 Percy did such things, and Scott is not beyond suspicion; but Mr. Thackeray, like Joseph Ritson, preferred the authentic16 voice of tradition. Thus, in the text of the Biographical Edition, he does not imitate the Cockney twang, phonetically17 rendered in the version of Cruikshank. The second verse, for example, runs thus:

Cruikshank:

He sail-ed east, he sail-ed vest,
Until he came to famed Tur-key,
Vere he vos taken and put to prisin,
Until his life was quite wea-ry.

Thackeray:

He sailed East, and he sailed West,
Until he came to proud Turkey,
Where he was taken and put to prison,
Until his life was almost weary.

There are discrepancies18 in the arrangement of the verses, and a most important various reading.

Cruikshank:

Now sevin long years is gone and past,
And fourteen days vell known to me;
She packed up all her gay clouthing,
And swore Lord Bateman she would go see.

To this verse, in Cruikshank’s book, a note (not by Cruikshank) is added:

‘“Now sevin long years is gone and past,
And fourteen days well known to me.

In this may be recognised, though in a minor19 degree, the same gifted hand that portrayed20 the Mussulman, the pirate, the father, and the bigot, in two words (“This Turk”).

‘“The time is gone, the historian knows it, and that is enough for the reader. This is the dignity of history very strikingly exemplified.”’

That note to Cruikshank’s text is, like all the delightful21 notes, if style is evidence, not by Dickens, but by Thackeray. Yet, in his own text, with an exemplary fidelity22, he reads: ‘And fourteen days well known to THEE.’ To whom? We are left in ignorance; and conjecture23, though tempting24, is unsafe. The reading of Cruikshank, ‘vell known to ME’— that is, to the poet — is confirmed by the hitherto unprinted ‘Lord Bedmin.’ This version, collected by Miss Wyatt Edgell in 1899, as recited by a blind old woman in a workhouse, who had learned it in her youth, now lies before the present writer. He owes this invaluable25 document to the kindness of Miss Wyatt Edgell and Lady Rosalind Northcote. Invaluable it is, because it proves that Lord Bateman (or Bedmin) is really a volkslied, a popular and current version of the ancient ballad. ‘Famed Turkey’ becomes ‘Torquay’ in this text, probably by a misapprehension on the part of the collector or reciter. The speech of the bride’s mother is here omitted, though it occurs in older texts; but, on the whole, the blind old woman’s memory has proved itself excellent. In one place she gives Thackeray’s reading in preference to that of Cruikshank, thus:

Cruikshank:

Ven he vent26 down on his bended knee.

Thackeray:

Down on his bended knees fell he.

Old Woman:

Down on his bended knee fell he.

We have now ascertained27 the following facts: Cruikshank and Thackeray used a text with merely verbal differences, which was popular among the least educated classes early in last century. Again, Thackeray contributed the notes and critical apparatus28 to Cruikshank’s version. For this the internal evidence of style is overpowering: no other man wrote in the manner and with the peculiar29 humour of Mr. Titmarsh. In the humble30 opinion of the present writer these Notes ought to be appended to Mr. Thackeray’s version of ‘Lord Bateman.’ Finally, Mr. Sala was wrong in supposing that Mr. Thackeray took liberties with the text received from oral tradition.

What was the origin of that text? Professor Child, in the second part of his ‘English and Scottish Popular Ballads’256 lays before us the learning about Lord Bateman, Lord Bedmin, Young Bicham, Young Brechin, Young Bekie, Young Beichan and Susie Pie (the heroine, Sophia, in Thackeray), Lord Beichan, Young Bondwell, and Markgraf Backenweil; for by all these names is Lord Bateman known. The student must carefully note that ‘Thackeray’s List of Broadsides,’ cited, is NOT by Mr. W. M. Thackeray.

256 Pt. ii. p. 454 et seq., and in various other places.

As the reader may not remember the incidents in the Thackeray, Cruikshank, and Old Woman version (which represents an ancient ballad, now not so much popularised as vulgarised), a summary may be given. Lord Bateman went wandering: ‘his character, at this time, and his expedition, would seem to have borne a striking resemblance to those of Lord Byron. . . . SOME foreign country he wished to see, and that was the extent of his desire; any foreign country would answer his purpose — all foreign countries were alike to him.’- -(Note, apud Cruikshank.) Arriving in Turkey (or Torquay) he was taken and fastened to a tree by his captor. He was furtively32 released by the daughter of ‘This Turk.’ ‘The poet has here, by that bold license33 which only genius can venture upon, surmounted34 the extreme difficulty of introducing any particular Turk, by assuming a foregone conclusion in the reader’s mind; and adverting35, in a casual, careless way, to a Turk hitherto unknown as to an old acquaintance. . . . “THIS Turk he had” is a master-stroke, a truly Shakespearian touch’—(Note.) The lady, in her father’s cellar (‘Castle,’ Old Woman’s text), consoles the captive with ‘the very best wine,’ secretly stored, for his private enjoyment36, by the cruel and hypocritical Mussulman. She confesses the state of her heart, and inquires as to Lord Bateman’s real property, which is ‘half Northumberland.’ To what period in the complicated mediaeval history of the earldom of Northumberland the affair belongs is uncertain.

The pair vow37 to be celibate38 for seven years, and Lord Bateman escapes. At the end of the period, Sophia sets out for Northumberland, urged, perhaps, by some telepathic admonition. For, on arriving at Lord Bateman’s palace (Alnwick Castle?), she summons the proud porter, announces herself, and finds that her lover has just celebrated39 a marriage with another lady. In spite of the remonstrances40 of the bride’s mamma, Lord Bateman restores that young lady to her family, observing

She is neither the better nor the worse for me.

So Thackeray and Old Woman. Cruikshank prudishly reads,

O you’ll see what I’ll do for you and she.

‘Lord Bateman then prepared another marriage, having plenty of superfluous41 wealth to bestow42 upon the Church.’—(Note.) All the rest was bliss43.

The reader may ask: How did Sophia know anything about the obscure Christian44 captive? WHY did she leave home exactly in time for his marriage? How came Lord Bateman to be so fickle45? The Annotator46 replies: ‘His lordship had doubtless been impelled47 by despair of ever recovering his lost Sophia, and a natural anxiety not to die without leaving an heir to his estate.’ Finally how was the difficulty of Sophia’s religion overcome?

To all these questions the Cockney version gives no replies, but the older forms of the ballad offer sufficient though varying answers, as we shall see.

Meanwhile one thing is plain from this analysis of the pot-house version of an old ballad, namely, that the story is constructed out of fragments from the great universal store of popular romance. The central ideas are two: first, the situation of a young man in the hands of a cruel captor (often a god, a giant, a witch, a fiend), but here — a Turk. The youth is loved and released (commonly through magic spells) by the daughter of the gaoler, god, giant, witch, Turk, or what not. In Greece, Jason is the Lord Bateman, Medea is the Sophia, of the tale, which was known to Homer and Hesiod, and was fully31 narrated48 by Pindar. THE OTHER YOUNG PERSON, the second bride, however, comes in differently, in the Greek. In far-off Samoa, a god is the captor.257 The gaoler is a magician in Red Indian versions.258

257 Turner’s ‘Samoa,’ p. 102.

258 For a list, though an imperfect one, of the Captor’s Daughter story, see the Author’s Custom and Myth, pp. 86–102.

As a rule, in these tales, from Finland to Japan, from Samoa to Madagascar, Greece and India, the girl accompanies her lover in his flight, delaying the pursuer by her magic. In ‘Lord Bateman’ another formula, almost as widely diffused49, is preferred.

The old true love comes back just after her lover’s wedding. He returns to her. Now, as a rule, in popular tales, the lover’s fickleness51 is explained by a spell or by a breach52 of a taboo53. The old true love has great difficulty in getting access to him, and in waking him from a sleep, drugged or magical.

The bloody54 shirt I wrang for thee,
The Hill o’ Glass I clamb for thee,
And wilt55 thou no waken and speak to me?

He wakens at last, and all is well. In a Romaic ballad the deserted56 girl, meeting her love on his wedding-day, merely reminds him of old kindness. He answers —

Now he that will may scatter57 nuts,
And he may wed50 that will,
But she that was my old true love
Shall be my true love still.

This incident, the strange, often magically caused oblivion of the lover, whose love returns to him, like Sophia, at, or after, his marriage, is found in popular tales of Scotland, Norway, Iceland, Germany, Italy, Greece, and the Gaelic Western Islands. It does not occur in ‘Lord Bateman,’ where Mr. Thackeray suggests probable reasons for Lord Bateman’s fickleness. But the world-wide incidents are found in older versions of ‘Lord Bateman,’ from which they have been expelled by the English genius for the commonplace.

Thus, if we ask, how did Sophia at first know of Bateman’s existence? The lovely and delicate daughter of the Turk, doubtless, was unaware58 that, in the crowded dungeons59 of her sire, one captive of wealth, noble birth, and personal fascination60, was languishing61. The Annotator explains: ‘She hears from an aged62 and garrulous63 attendant, her only female adviser64 (for her mother died while she was yet an infant), of the sorrows and sufferings of the Christian captive.’ In ancient versions of the ballad another explanation occurs. She overhears a song which he sings about his unlucky condition. This account is in Young Bekie (Scottish: mark the name, Bekie), where France is the scene and the king’s daughter is the lady. The same formula of the song sung by the prisoner is usual. Not uncommon65, too, is a TOKEN carried by Sophia when she pursues her lost adorer, to insure her recognition. It is half of her broken ring. Once more, why does Sophia leave home to find Bateman in the very nick of time? Thackeray’s version does not tell us; but Scottish versions do. ‘She longed fu’ sair her love to see.’ Elsewhere a supernatural being, ‘The Billy Blin,’ or a fairy, clad in green, gives her warning. The fickleness of the hero is caused, sometimes, by constraint66, another noble ‘has his marriage,’ as his feudal67 superior, and makes him marry, but only in form.

There is a marriage in yonder hall,
Has lasted thirty days and three,
The bridegroom winna bed the bride,
For the sake o’ one that’s owre the sea.

In this Scottish version, by the way, occurs —

Up spoke68 the young bride’s mother,
Who never was heard to speak so free,

wrongly attributed to Mr. Thackeray’s own pen.

The incident of the magical oblivion which comes over the bridegroom occurs in Scandinavian versions of ‘Lord Bateman’ from manuscripts of the sixteenth century.259 Finally, the religious difficulty in several Scottish versions is got over by the conversion69 and baptism of Sophia, who had professed70 the creed71 of Islam. That all these problems in ‘Lord Bateman’ are left unsolved is, then, the result of decay. The modern vulgar English version of the pot-house minstrel (known as ‘The Tripe72 Skewer73,’ according to the author of the Introduction to Cruikshank’s version) has forgotten, has been heedless of, and has dropped the ancient universal elements of folk-tale and folk-song.

259 Child, ii. 459–461.

These graces, it is true, are not too conspicuous74 even in the oldest and best versions of ‘Lord Bateman.’ Choosing at random75, however, we find a Scots version open thus:

In the lands where Lord Beichan was born,
Among the stately steps o’ stane,
He wore the goud at his left shoulder,
But to the Holy Land he’s gane.

That is not in the tone of the ditty sung by the Tripe Skewer. Again, in his prison,

He made na his moan to a stock,
He made na it to a stone,
But it was to the Queen of Heaven
That he made his moan.

The lines are from a version of the North of Scotland, and, on the face of it, are older than the extirpation76 of the Catholic faith in the loyal North. The reference to Holy Land preserves a touch of the crusading age. In short, poor as they may be, the Scottish versions are those of a people not yet wholly vulgarised, not yet lost to romance. The singers have ‘half remembered and half forgot’ the legend of Gilbert Becket (Bekie, Beichan), the father of St. Thomas of Canterbury. Gilbert, in the legend, went to Holy Land, was cast into a Saracen’s prison, and won his daughter’s heart. He escaped, but the lady followed him, like Sophia, and, like Sophia, found and wedded77 him; Gilbert’s servant, Richard, playing the part of the proud young porter. Yet, as Professor Child justly observes, the ballad ‘is not derived78 from the legend,’ though the legend as to Gilbert Becket exists in a manuscript of about 1300. The Bateman motive79 is older than Gilbert Becket, and has been attached to later versions of the adventures of that hero. Gilbert Becket about 1300 was credited with a floating, popular tale of the Bateman sort, and out of his legend, thus altered, the existing ballads drew their ‘Bekie’ and ‘Beichan,’ from the name of Becket.

The process is: First, the popular tale of the return of the old true love; that tale is found in Greece, Scandinavia, Denmark, Iceland, Faroe, Spain, Germany, and so forth80. Next, about 1300 Gilbert Becket is made the hero of the tale. Next, our surviving ballads retain a trace or two of the Becket form, but they are not derived from the Becket form. The fancy of the folk first evolved the situations in the story, then lent them to written literature (Becket’s legend, 1300), and thirdly, received the story back from written legend with a slight, comparatively modern colouring.

In the dispute as to the origin of our ballads one school, as Mr. T. F. Henderson and Professor Courthope, regard them as debris81 of old literary romances, ill-remembered work of professional minstrels.260 That there are ballads of this kind in England, such as the Arthurian ballads, I do not deny. But in my opinion many ballads and popular tales are in origin older than the mediaeval romances, as a rule. As a rule the romances are based on earlier popular data, just as the ‘Odyssey’ is an artistic82 whole made up out of popular tales. The folk may receive back a literary form of its own ballad or story, but more frequently the popular ballad comes down in oral tradition side by side with its educated child, the literary romance on the same theme.

260 Cf. The Queen’s Marie.

Mr. Henderson has answered that the people is unpoetical. The degraded populace of the slums may be unpoetical, like the minstrel named ‘Tripe Skewer,’ and may deprave the ballads of its undegraded ancestry83 into such modern English forms as ‘Lord Bateman.’ But I think of the people which, in Barbour’s day, had its choirs84 of peasant girls chanting rural snatches on Bruce’s victories, or, in still earlier France, of Roland’s overthrow85. If THEIR songs are attributed to professional minstrels, I turn to the Greece of 1830, to the Finland of today, to the outermost86 Hebrides of today, to the Arapahoes of Northern America, to the Australian blacks, among all of whom the people are their own poets and make their own dirges87, lullabies, chants of victory, and laments88 for defeat. THESE peoples are not unpoetical. In fact, when I say that the people has been its own poet I do not mean the people which goes to music halls and reads halfpenny newspapers. To the true folk we owe the legend of Lord Bateman in its ancient germs; and to the folk’s degraded modern estate, crowded as men are in noisome89 streets and crushed by labour, we owe the Cockney depravation, the Lord Bateman of Cruikshank and Thackeray. Even that, I presume, being old, is now forgotten, except by the ancient blind woman in the workhouse. To the workhouse has come the native popular culture — the last lingering shadow of old romance. That is the moral of the ballad of Lord Bateman.

In an article by Mr. Kitton, in Literature (June 24, 1899, p. 699), this learned Dickensite says: ‘The authorship of this version’ (Cruikshank’s) ‘of an ancient ballad and of the accompanying notes has given rise to much controversy90, and whether Dickens or Thackeray was responsible for them is still a matter of conjecture, although what little evidence there is seems to favour Thackeray.’

For the ballad neither Thackeray nor Dickens is responsible. The Old Woman’s text settles that question: the ballad is a degraded Volkslied. As to the notes, internal evidence for once is explicit91. The notes are Thackeray’s. Any one who doubts has only to compare Thackeray’s notes to his prize poem on ‘Timbuctoo.’

The banter92, in the notes, is academic banter, that of a university man, who is mocking the notes of learned editors. This humour is not the humour of Dickens, who, however, may very well have written the Introduction to Cruikshank’s version. That morceau is in quite a different taste and style. I ought, in fairness, to add the following note from Mr. J. B. Keene, which may be thought to overthrow belief in Thackeray’s authorship of the notes:—

Dear Sir — Your paper in the ‘Cornhill’ for this month on the Mystery of Lord Bateman interested me greatly, but I must beg to differ from you as to the authorship of the Notes, and for this reason.

I have before me a copy of the first edition of the ‘Loving Ballad’ which was bought by my father soon after it was issued. At that time — somewhere about 1840 — there was a frequent visitor at our house, named Burnett, who had married a sister of Charles Dickens, and who gave us the story of its production.

He said, as you state, that Cruikshank had got the words from a pot-house singer, but the locality he named was Whitechapel,261 where he was looking out for characters. He added that Cruikshank sung or hummed the tune93 to him, and he gave it the musical notation94 which follows the preface. He also said that Charles Dickens wrote the notes. His personal connection with the work and his relation to Dickens are, I think, fair evidence on the question.

I am, dear Sir,

Yours truly,
J. B. KEENE.

Kingsmead House, 1 Hartham Road,

Camden Road, N., Feb. 13,1900.

Mr. Keene’s evidence may, perhaps, settle the question. But, if Dickens wrote the Introduction, that might be confused in Mr. Burnett’s memory with the Notes, from internal evidence the work of Thackeray. If not, then in the Notes we find a new aspect of the inexhaustible humour of Dickens. It is certain, at all events, that neither Dickens nor Thackeray was the author of the ‘Loving Ballad.’

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1 flickers b24574e519d9d4ee773189529fadd6d6     
电影制片业; (通常指灯光)闪烁,摇曳( flicker的名词复数 )
参考例句:
  • The fire flickers low. 炉火颤动欲灭。
  • A strange idea flickers in my mind. 一种奇怪的思想又在我脑中燃烧了。
2 predecessor qP9x0     
n.前辈,前任
参考例句:
  • It will share the fate of its predecessor.它将遭受与前者同样的命运。
  • The new ambassador is more mature than his predecessor.新大使比他的前任更成熟一些。
3 knight W2Hxk     
n.骑士,武士;爵士
参考例句:
  • He was made an honourary knight.他被授予荣誉爵士称号。
  • A knight rode on his richly caparisoned steed.一个骑士骑在装饰华丽的马上。
4 ballad zWozz     
n.歌谣,民谣,流行爱情歌曲
参考例句:
  • This poem has the distinctive flavour of a ballad.这首诗有民歌风味。
  • This is a romantic ballad that is pure corn.这是一首极为伤感的浪漫小曲。
5 illustrated 2a891807ad5907f0499171bb879a36aa     
adj. 有插图的,列举的 动词illustrate的过去式和过去分词
参考例句:
  • His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
  • The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。
6 tilt aG3y0     
v.(使)倾侧;(使)倾斜;n.倾侧;倾斜
参考例句:
  • She wore her hat at a tilt over her left eye.她歪戴着帽子遮住左眼。
  • The table is at a slight tilt.这张桌子没放平,有点儿歪.
7 postscript gPhxp     
n.附言,又及;(正文后的)补充说明
参考例句:
  • There was the usual romantic postscript at the end of his letter.他的信末又是一贯的浪漫附言。
  • She mentioned in a postscript to her letter that the parcel had arrived.她在信末附笔中说包裹已寄到。
8 ballads 95577d817acb2df7c85c48b13aa69676     
民歌,民谣,特别指叙述故事的歌( ballad的名词复数 ); 讴
参考例句:
  • She belted out ballads and hillbilly songs one after another all evening. 她整晚一个接一个地大唱民谣和乡村小调。
  • She taught him to read and even to sing two or three little ballads,accompanying him on her old piano. 她教他读书,还教他唱两三首民谣,弹着她的旧钢琴为他伴奏。
9 epic ui5zz     
n.史诗,叙事诗;adj.史诗般的,壮丽的
参考例句:
  • I gave up my epic and wrote this little tale instead.我放弃了写叙事诗,而写了这个小故事。
  • They held a banquet of epic proportions.他们举行了盛大的宴会。
10 lore Y0YxW     
n.传说;学问,经验,知识
参考例句:
  • I will seek and question him of his lore.我倒要找上他,向他讨教他的渊博的学问。
  • Early peoples passed on plant and animal lore through legend.早期人类通过传说传递有关植物和动物的知识。
11 affiliated 78057fb733c9c93ffbdc5f0ed15ef458     
adj. 附属的, 有关连的
参考例句:
  • The hospital is affiliated with the local university. 这家医院附属于当地大学。
  • All affiliated members can vote. 所有隶属成员都有投票权。
12 mere rC1xE     
adj.纯粹的;仅仅,只不过
参考例句:
  • That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
  • It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。
13 antiquity SNuzc     
n.古老;高龄;古物,古迹
参考例句:
  • The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
  • There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。
14 conscientious mYmzr     
adj.审慎正直的,认真的,本着良心的
参考例句:
  • He is a conscientious man and knows his job.他很认真负责,也很懂行。
  • He is very conscientious in the performance of his duties.他非常认真地履行职责。
15 bishop AtNzd     
n.主教,(国际象棋)象
参考例句:
  • He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
  • Two years after his death the bishop was canonised.主教逝世两年后被正式封为圣者。
16 authentic ZuZzs     
a.真的,真正的;可靠的,可信的,有根据的
参考例句:
  • This is an authentic news report. We can depend on it. 这是篇可靠的新闻报道, 我们相信它。
  • Autumn is also the authentic season of renewal. 秋天才是真正的除旧布新的季节。
17 phonetically d87214cef4a3ae303ea6cbcb14d32ef8     
按照发音地,语音学上
参考例句:
  • In actual speech, a phoneme is realized phonetically as a certain phone. 在实际会话中,音位总是以某个音素的形式得以体现出来。
  • Though phonetically alike, they are written with different ideographs. 虽然语音相同,它们的书写却不同。
18 discrepancies 5ae435bbd140222573d5f589c82a7ff3     
n.差异,不符合(之处),不一致(之处)( discrepancy的名词复数 )
参考例句:
  • wide discrepancies in prices quoted for the work 这项工作的报价出入很大
  • When both versions of the story were collated,major discrepancies were found. 在将这个故事的两个版本对照后,找出了主要的不符之处。 来自《简明英汉词典》
19 minor e7fzR     
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修
参考例句:
  • The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
  • I gave him a minor share of my wealth.我把小部分财产给了他。
20 portrayed a75f5b1487928c9f7f165b2773c13036     
v.画像( portray的过去式和过去分词 );描述;描绘;描画
参考例句:
  • Throughout the trial, he portrayed himself as the victim. 在审讯过程中,他始终把自己说成是受害者。
  • The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》
21 delightful 6xzxT     
adj.令人高兴的,使人快乐的
参考例句:
  • We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
  • Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。
22 fidelity vk3xB     
n.忠诚,忠实;精确
参考例句:
  • There is nothing like a dog's fidelity.没有什么能比得上狗的忠诚。
  • His fidelity and industry brought him speedy promotion.他的尽职及勤奋使他很快地得到晋升。
23 conjecture 3p8z4     
n./v.推测,猜测
参考例句:
  • She felt it no use to conjecture his motives.她觉得猜想他的动机是没有用的。
  • This conjecture is not supported by any real evidence.这种推测未被任何确切的证据所证实。
24 tempting wgAzd4     
a.诱人的, 吸引人的
参考例句:
  • It is tempting to idealize the past. 人都爱把过去的日子说得那么美好。
  • It was a tempting offer. 这是个诱人的提议。
25 invaluable s4qxe     
adj.无价的,非常宝贵的,极为贵重的
参考例句:
  • A computer would have been invaluable for this job.一台计算机对这个工作的作用会是无法估计的。
  • This information was invaluable to him.这个消息对他来说是非常宝贵的。
26 vent yiPwE     
n.通风口,排放口;开衩;vt.表达,发泄
参考例句:
  • He gave vent to his anger by swearing loudly.他高声咒骂以发泄他的愤怒。
  • When the vent became plugged,the engine would stop.当通风口被堵塞时,发动机就会停转。
27 ascertained e6de5c3a87917771a9555db9cf4de019     
v.弄清,确定,查明( ascertain的过去式和过去分词 )
参考例句:
  • The previously unidentified objects have now been definitely ascertained as being satellites. 原来所说的不明飞行物现在已证实是卫星。 来自《简明英汉词典》
  • I ascertained that she was dead. 我断定她已经死了。 来自《简明英汉词典》
28 apparatus ivTzx     
n.装置,器械;器具,设备
参考例句:
  • The school's audio apparatus includes films and records.学校的视听设备包括放映机和录音机。
  • They had a very refined apparatus.他们有一套非常精良的设备。
29 peculiar cinyo     
adj.古怪的,异常的;特殊的,特有的
参考例句:
  • He walks in a peculiar fashion.他走路的样子很奇特。
  • He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。
30 humble ddjzU     
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低
参考例句:
  • In my humble opinion,he will win the election.依我拙见,他将在选举中获胜。
  • Defeat and failure make people humble.挫折与失败会使人谦卑。
31 fully Gfuzd     
adv.完全地,全部地,彻底地;充分地
参考例句:
  • The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气,然后全部呼出。
  • They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。
32 furtively furtively     
adv. 偷偷地, 暗中地
参考例句:
  • At this some of the others furtively exchanged significant glances. 听他这样说,有几个人心照不宣地彼此对望了一眼。
  • Remembering my presence, he furtively dropped it under his chair. 后来想起我在,他便偷偷地把书丢在椅子下。
33 license B9TzU     
n.执照,许可证,特许;v.许可,特许
参考例句:
  • The foreign guest has a license on the person.这个外国客人随身携带执照。
  • The driver was arrested for having false license plates on his car.司机由于使用假车牌而被捕。
34 surmounted 74f42bdb73dca8afb25058870043665a     
战胜( surmount的过去式和过去分词 ); 克服(困难); 居于…之上; 在…顶上
参考例句:
  • She was well aware of the difficulties that had to be surmounted. 她很清楚必须克服哪些困难。
  • I think most of these obstacles can be surmounted. 我认为这些障碍大多数都是可以克服的。
35 adverting fc049c2c996a54abe56f0e17ede7141a     
引起注意(advert的现在分词形式)
参考例句:
  • He set up several adverting consultancy business in the UK. 他在英国建立了好几家广告咨询公司。
  • NOTES: 1. The trust unit must be responsible for the adverting content of legalization and authenticity. 附注:1。刊户对所刊登广告内容的合法性、真实性负责。
36 enjoyment opaxV     
n.乐趣;享有;享用
参考例句:
  • Your company adds to the enjoyment of our visit. 有您的陪同,我们这次访问更加愉快了。
  • After each joke the old man cackled his enjoyment.每逢讲完一个笑话,这老人就呵呵笑着表示他的高兴。
37 vow 0h9wL     
n.誓(言),誓约;v.起誓,立誓
参考例句:
  • My parents are under a vow to go to church every Sunday.我父母许愿,每星期日都去做礼拜。
  • I am under a vow to drink no wine.我已立誓戒酒。
38 celibate 3cKyS     
adj.独身的,独身主义的;n.独身者
参考例句:
  • He had defended the institution of a celibate priesthood.他捍卫了独身牧师制度。
  • The instinct of the celibate warned him to hold back.单身汉的本能告诫他回头是岸。
39 celebrated iwLzpz     
adj.有名的,声誉卓著的
参考例句:
  • He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
  • The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。
40 remonstrances 301b8575ed3ab77ec9d2aa78dbe326fc     
n.抱怨,抗议( remonstrance的名词复数 )
参考例句:
  • There were remonstrances, but he persisted notwithstanding. 虽遭抗议,他仍然坚持下去。 来自《现代汉英综合大词典》
  • Mr. Archibald did not give himself the trouble of making many remonstrances. 阿奇博尔德先生似乎不想自找麻烦多方规劝。 来自辞典例句
41 superfluous EU6zf     
adj.过多的,过剩的,多余的
参考例句:
  • She fined away superfluous matter in the design. 她删去了这图案中多余的东西。
  • That request seemed superfluous when I wrote it.我这样写的时候觉得这个请求似乎是多此一举。
42 bestow 9t3zo     
v.把…赠与,把…授予;花费
参考例句:
  • He wished to bestow great honors upon the hero.他希望将那些伟大的荣誉授予这位英雄。
  • What great inspiration wiII you bestow on me?你有什么伟大的灵感能馈赠给我?
43 bliss JtXz4     
n.狂喜,福佑,天赐的福
参考例句:
  • It's sheer bliss to be able to spend the day in bed.整天都可以躺在床上真是幸福。
  • He's in bliss that he's won the Nobel Prize.他非常高兴,因为获得了诺贝尔奖金。
44 Christian KVByl     
adj.基督教徒的;n.基督教徒
参考例句:
  • They always addressed each other by their Christian name.他们总是以教名互相称呼。
  • His mother is a sincere Christian.他母亲是个虔诚的基督教徒。
45 fickle Lg9zn     
adj.(爱情或友谊上)易变的,不坚定的
参考例句:
  • Fluctuating prices usually base on a fickle public's demand.物价的波动往往是由于群众需求的不稳定而引起的。
  • The weather is so fickle in summer.夏日的天气如此多变。
46 annotator 8b7e4b5765b226888b42ae3b26ec9e3f     
n.注释者
参考例句:
47 impelled 8b9a928e37b947d87712c1a46c607ee7     
v.推动、推进或敦促某人做某事( impel的过去式和过去分词 )
参考例句:
  • He felt impelled to investigate further. 他觉得有必要作进一步调查。
  • I feel impelled to express grave doubts about the project. 我觉得不得不对这项计划深表怀疑。 来自《简明英汉词典》
48 narrated 41d1c5fe7dace3e43c38e40bfeb85fe5     
v.故事( narrate的过去式和过去分词 )
参考例句:
  • Some of the story was narrated in the film. 该电影叙述了这个故事的部分情节。 来自《简明英汉词典》
  • Defoe skilfully narrated the adventures of Robinson Crusoe on his desert island. 笛福生动地叙述了鲁滨逊·克鲁索在荒岛上的冒险故事。 来自《现代汉英综合大词典》
49 diffused 5aa05ed088f24537ef05f482af006de0     
散布的,普及的,扩散的
参考例句:
  • A drop of milk diffused in the water. 一滴牛奶在水中扩散开来。
  • Gases and liquids diffused. 气体和液体慢慢混合了。
50 wed MgFwc     
v.娶,嫁,与…结婚
参考例句:
  • The couple eventually wed after three year engagement.这对夫妇在订婚三年后终于结婚了。
  • The prince was very determined to wed one of the king's daughters.王子下定决心要娶国王的其中一位女儿。
51 fickleness HtfzRP     
n.易变;无常;浮躁;变化无常
参考例句:
  • While she always criticized the fickleness of human nature. 她一方面总是批评人的本性朝三暮四。 来自互联网
  • Cor.1:17 This therefore intending, did I then use fickleness? 林后一17我有这样的意思,难道是行事轻浮么? 来自互联网
52 breach 2sgzw     
n.违反,不履行;破裂;vt.冲破,攻破
参考例句:
  • We won't have any breach of discipline.我们不允许任何破坏纪律的现象。
  • He was sued for breach of contract.他因不履行合同而被起诉。
53 taboo aqBwg     
n.禁忌,禁止接近,禁止使用;adj.禁忌的;v.禁忌,禁制,禁止
参考例句:
  • The rude words are taboo in ordinary conversation.这些粗野的字眼在日常谈话中是禁忌的。
  • Is there a taboo against sex before marriage in your society?在你们的社会里,婚前的性行为犯禁吗?
54 bloody kWHza     
adj.非常的的;流血的;残忍的;adv.很;vt.血染
参考例句:
  • He got a bloody nose in the fight.他在打斗中被打得鼻子流血。
  • He is a bloody fool.他是一个十足的笨蛋。
55 wilt oMNz5     
v.(使)植物凋谢或枯萎;(指人)疲倦,衰弱
参考例句:
  • Golden roses do not wilt and will never need to be watered.金色的玫瑰不枯萎绝也不需要浇水。
  • Several sleepless nights made him wilt.数个不眠之夜使他憔悴。
56 deserted GukzoL     
adj.荒芜的,荒废的,无人的,被遗弃的
参考例句:
  • The deserted village was filled with a deathly silence.这个荒废的村庄死一般的寂静。
  • The enemy chieftain was opposed and deserted by his followers.敌人头目众叛亲离。
57 scatter uDwzt     
vt.撒,驱散,散开;散布/播;vi.分散,消散
参考例句:
  • You pile everything up and scatter things around.你把东西乱堆乱放。
  • Small villages scatter at the foot of the mountain.村庄零零落落地散布在山脚下。
58 unaware Pl6w0     
a.不知道的,未意识到的
参考例句:
  • They were unaware that war was near. 他们不知道战争即将爆发。
  • I was unaware of the man's presence. 我没有察觉到那人在场。
59 dungeons 2a995b5ae3dd26fe8c8d3d935abe4376     
n.地牢( dungeon的名词复数 )
参考例句:
  • The captured rebels were consigned to the dungeons. 抓到的叛乱分子被送进了地牢。 来自《简明英汉词典》
  • He saw a boy in fetters in the dungeons. 他在地牢里看见一个戴着脚镣的男孩。 来自辞典例句
60 fascination FlHxO     
n.令人着迷的事物,魅力,迷恋
参考例句:
  • He had a deep fascination with all forms of transport.他对所有的运输工具都很着迷。
  • His letters have been a source of fascination to a wide audience.广大观众一直迷恋于他的来信。
61 languishing vpCz2c     
a. 衰弱下去的
参考例句:
  • He is languishing for home. 他苦思家乡。
  • How long will she go on languishing for her red-haired boy? 为想见到她的红头发的儿子,她还将为此烦恼多久呢?
62 aged 6zWzdI     
adj.年老的,陈年的
参考例句:
  • He had put on weight and aged a little.他胖了,也老点了。
  • He is aged,but his memory is still good.他已年老,然而记忆力还好。
63 garrulous CzQyO     
adj.唠叨的,多话的
参考例句:
  • He became positively garrulous after a few glasses of wine.他几杯葡萄酒下肚之后便唠唠叨叨说个没完。
  • My garrulous neighbour had given away the secret.我那爱唠叨的邻居已把秘密泄露了。
64 adviser HznziU     
n.劝告者,顾问
参考例句:
  • They employed me as an adviser.他们聘请我当顾问。
  • Our department has engaged a foreign teacher as phonetic adviser.我们系已经聘请了一位外籍老师作为语音顾问。
65 uncommon AlPwO     
adj.罕见的,非凡的,不平常的
参考例句:
  • Such attitudes were not at all uncommon thirty years ago.这些看法在30年前很常见。
  • Phil has uncommon intelligence.菲尔智力超群。
66 constraint rYnzo     
n.(on)约束,限制;限制(或约束)性的事物
参考例句:
  • The boy felt constraint in her presence.那男孩在她面前感到局促不安。
  • The lack of capital is major constraint on activities in the informal sector.资本短缺也是影响非正规部门生产经营的一个重要制约因素。
67 feudal cg1zq     
adj.封建的,封地的,领地的
参考例句:
  • Feudal rulers ruled over the country several thousand years.封建统治者统治这个国家几千年。
  • The feudal system lasted for two thousand years in China.封建制度在中国延续了两千年之久。
68 spoke XryyC     
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说
参考例句:
  • They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
  • The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。
69 conversion UZPyI     
n.转化,转换,转变
参考例句:
  • He underwent quite a conversion.他彻底变了。
  • Waste conversion is a part of the production process.废物处理是生产过程的一个组成部分。
70 professed 7151fdd4a4d35a0f09eaf7f0f3faf295     
公开声称的,伪称的,已立誓信教的
参考例句:
  • These, at least, were their professed reasons for pulling out of the deal. 至少这些是他们自称退出这宗交易的理由。
  • Her manner professed a gaiety that she did not feel. 她的神态显出一种她并未实际感受到的快乐。
71 creed uoxzL     
n.信条;信念,纲领
参考例句:
  • They offended against every article of his creed.他们触犯了他的每一条戒律。
  • Our creed has always been that business is business.我们的信条一直是公私分明。
72 tripe IGSyR     
n.废话,肚子, 内脏
参考例句:
  • I can't eat either tripe or liver.我不吃肚也不吃肝。
  • I don't read that tripe.我才不看那种无聊的东西呢。
73 skewer 2E3yI     
n.(烤肉用的)串肉杆;v.用杆串好
参考例句:
  • I used a skewer to make an extra hole in my belt.我用扦子在腰带上又打了一个眼儿。
  • He skewered his victim through the neck.他用扦子刺穿了受害人的脖子。
74 conspicuous spszE     
adj.明眼的,惹人注目的;炫耀的,摆阔气的
参考例句:
  • It is conspicuous that smoking is harmful to health.很明显,抽烟对健康有害。
  • Its colouring makes it highly conspicuous.它的色彩使它非常惹人注目。
75 random HT9xd     
adj.随机的;任意的;n.偶然的(或随便的)行动
参考例句:
  • The list is arranged in a random order.名单排列不分先后。
  • On random inspection the meat was found to be bad.经抽查,发现肉变质了。
76 extirpation 24e80f0b67cdcaab1a1ccb18d37d9d8e     
n.消灭,根除,毁灭;摘除
参考例句:
  • Gamma Knife surgery has recently been tried as an alternative to surgical extirpation. 伽玛刀治疗最近被尝试作为手术根治之外的另一种选择。 来自辞典例句
  • Gamma Knife surgery (GKS) has recently been tried as an alternative to surgical extirpation. 伽玛刀治疗(GKS)最近被尝试作为手术根治之外的另一种选择。 来自互联网
77 wedded 2e49e14ebbd413bed0222654f3595c6a     
adj.正式结婚的;渴望…的,执著于…的v.嫁,娶,(与…)结婚( wed的过去式和过去分词 )
参考例句:
  • She's wedded to her job. 她专心致志于工作。
  • I was invited over by the newly wedded couple for a meal. 我被那对新婚夫妇请去吃饭。 来自《简明英汉词典》
78 derived 6cddb7353e699051a384686b6b3ff1e2     
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取
参考例句:
  • Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
  • He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》
79 motive GFzxz     
n.动机,目的;adv.发动的,运动的
参考例句:
  • The police could not find a motive for the murder.警察不能找到谋杀的动机。
  • He had some motive in telling this fable.他讲这寓言故事是有用意的。
80 forth Hzdz2     
adv.向前;向外,往外
参考例句:
  • The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
  • He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。
81 debris debris     
n.瓦砾堆,废墟,碎片
参考例句:
  • After the bombing there was a lot of debris everywhere.轰炸之后到处瓦砾成堆。
  • Bacteria sticks to food debris in the teeth,causing decay.细菌附着在牙缝中的食物残渣上,导致蛀牙。
82 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
83 ancestry BNvzf     
n.祖先,家世
参考例句:
  • Their ancestry settled the land in 1856.他们的祖辈1856年在这块土地上定居下来。
  • He is an American of French ancestry.他是法国血统的美国人。
84 choirs e4152b67d45e685a4d9c5d855f91f996     
n.教堂的唱诗班( choir的名词复数 );唱诗队;公开表演的合唱团;(教堂)唱经楼
参考例句:
  • They ran the three churches to which they belonged, the clergy, the choirs and the parishioners. 她们管理着自己所属的那三家教堂、牧师、唱诗班和教区居民。 来自飘(部分)
  • Since 1935, several village choirs skilled in this music have been created. 1935以来,数支熟练掌握这种音乐的乡村唱诗班相继建立起来。 来自互联网
85 overthrow PKDxo     
v.推翻,打倒,颠覆;n.推翻,瓦解,颠覆
参考例句:
  • After the overthrow of the government,the country was in chaos.政府被推翻后,这个国家处于混乱中。
  • The overthrow of his plans left him much discouraged.他的计划的失败使得他很气馁。
86 outermost w4fzc     
adj.最外面的,远离中心的
参考例句:
  • He fired and hit the outermost ring of the target.他开枪射中了靶子的最外一环。
  • The outermost electron is shielded from the nucleus.原子核对最外层电子的作用受到屏蔽。
87 dirges cc05dce1b828dae30a63a98483ec1ec3     
n.挽歌( dirge的名词复数 );忧伤的歌,哀歌
参考例句:
  • The radio played dirges all day long. 广播电台整天都在播放哀乐。 来自《简明英汉词典》
  • It was as if the Night sang dirges with clenched teeth. 那仿佛是夜神正在那儿咬牙切齿地唱挽歌。 来自辞典例句
88 laments f706f3a425c41502d626857197898b57     
n.悲恸,哀歌,挽歌( lament的名词复数 )v.(为…)哀悼,痛哭,悲伤( lament的第三人称单数 )
参考例句:
  • In the poem he laments the destruction of the countryside. 在那首诗里他对乡村遭到的破坏流露出悲哀。
  • In this book he laments the slight interest shown in his writings. 在该书中他慨叹人们对他的著作兴趣微弱。 来自辞典例句
89 noisome nHPxy     
adj.有害的,可厌的
参考例句:
  • The air is infected with noisome gases.空气受到了有害气体的污染。
  • I destroy all noisome and rank weeds ,I keep down all pestilent vapours.我摧毁了一切丛生的毒草,控制一切有害的烟雾。
90 controversy 6Z9y0     
n.争论,辩论,争吵
参考例句:
  • That is a fact beyond controversy.那是一个无可争论的事实。
  • We ran the risk of becoming the butt of every controversy.我们要冒使自己在所有的纷争中都成为众矢之的的风险。
91 explicit IhFzc     
adj.详述的,明确的;坦率的;显然的
参考例句:
  • She was quite explicit about why she left.她对自己离去的原因直言不讳。
  • He avoids the explicit answer to us.他避免给我们明确的回答。
92 banter muwzE     
n.嘲弄,戏谑;v.取笑,逗弄,开玩笑
参考例句:
  • The actress exchanged banter with reporters.女演员与记者相互开玩笑。
  • She engages in friendly banter with her customers.她常和顾客逗乐。
93 tune NmnwW     
n.调子;和谐,协调;v.调音,调节,调整
参考例句:
  • He'd written a tune,and played it to us on the piano.他写了一段曲子,并在钢琴上弹给我们听。
  • The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。
94 notation lv1yi     
n.记号法,表示法,注释;[计算机]记法
参考例句:
  • Music has a special system of notation.音乐有一套特殊的标记法。
  • We shall find it convenient to adopt the following notation.采用下面的记号是方便的。


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